User-agent: AmazonBot Disallow: / Antique May 1921 Comtesse du Barry J. R. Thomas LONDON The Connoisseur Print Ad | British & Far East Traders Lifestyle
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Last Updated on: 12th February 2024, 08:20 am

Antique May 1921 Comtesse du Barry J. R. Thomas  LONDON The Connoisseur Print Ad

Measurements: approx. 8 5/8 inches x 11 inches
Brand/ Business: J. Rochelle Thomas, The Georgian Galleries, 10, 11 and 12 King Street, St. James’s, London, SW1 (next door to Christie’s)
Publication: The Connoisseur, May 1921
Notes: Georgian London print advertising
Subject/ topic: Marie Jeanne, Comtesse du Barry (1746 to 1793). A superbly sculptured White Marble Bust, in perfect preservation. Height, 28 inches. French, artist unknown. Price £175.
Other details: collectable image of Comtesse du Barry’s bust
The Connoisseur magazine, a beacon of high society and the cultured elite, served as a prestigious platform for showcasing the finest collectibles, antiques, and art to a discerning audience. Its readers, connoisseurs and patrons of the arts, were the tastemakers and influencers of the early 20th century, shaping aesthetic standards and valuing heritage.

Within its pages, the bust of Marie Jeanne, Comtesse du Barry, emerges not just as a sculptural masterpiece, but as an emblem of luxury and aristocratic prestige. The Comtesse, known for her beauty and her influential role as the last maîtresse-en-titre to a French king, is immortalised in marble, carrying with it stories of opulence, political intrigue, and the lavishness of the French court.

Owning such a bust goes beyond possessing a piece of exquisite craftsmanship; it’s about stewarding a fragment of French aristocracy into the present. The bust could adorn a private collection, stand as a focal point of conversation in a grand drawing-room, or serve as an inspiration for those fascinated by the grandeur of bygone eras.

Marie Jeanne, Comtesse du Barry, holds a controversial yet captivating position in history. Once a member of the court of Versailles, known for her charm and influence, she was both admired and scorned by the aristocracy. In the turbulent times leading to the French Revolution, she represented the excesses of the monarchy, yet she also became a tragic figure, her end reflecting the seismic shifts in French society.

For collectors and aficionados of fine things, the bust represents a dual opportunity: to own a rare artifact from the Georgian Galleries of London, a symbol of the city’s longstanding tradition as a center for art and antiques, and to capture a piece of the French royal legacy. It’s an invitation to preserve the elegance of the past, and perhaps, to reflect on the transient nature of power and beauty.
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