M. Bachelier, Director of Customs at Lyon (M. Bachelier, Directeur des fermes de
M. Bachelier is shown seated at a desk dressed in a high powdered wig and sumptous gold-embroidered velvet coat and waistcoat. Behind the figure is a rich cloth, pulled back to reveal columns. On the elaborately carved desk are papers and a writing set. M. Bachelier extends his left hand towards the viewer, suggesting that we have interepted him while writing at his des. The painting's coloring consists of rich burgundy red, green, tan and gold.
A woman wearing long robes sits holding a pen in her right hand and props up a blank tablet in her lap. A putto helps support the table from behind and points toward the seated figure. A pot of ink with another pen appears next to his foot.
This drawing represents seven nude men in a landscape with buildings indicated on a hill in the distance. One of the figures, represented full-length and in profile, is bound to a tree or stake on the left. All of the other men appear in half-length in the right part of the drawing. A bearded man sits and gestures in the direction of the bound man. Five other men appear around the seated figure, one of whom carries two long objects over his shoulder toward the man on the left.
Two women accompanied by a pair of putti appear seated in the foreground of this painting. On the left sits a winged woman crowned with a laurel wreath and wearing a long white robe and a vivid ocher-colored mantle. She leans on a globe while cradling a large book in her right arm to which she points with her left hand. In her right hand she holds a compass. A putto peeks from beneath her mantle, and a viol is visible beneath the globe. The other woman sits on a cloud. She wears a golden crown and a richly colored blue mantle. She grasps a lyre with her left hand and leans toward the woman seated next to her, gesturing in the direction of the book with her right hand. A second putto stands near her left shoulder holding a gold circlet in his left hand. The background is filled with glimpses of neoclassical architecture, including fluted columns and a facade with a row of Ionic columns supporting an entablature.
This scroll features a single profile of a horse. The artist’s inscription states that the painting is modeled after Jin Nong’s (1687–1764) famous work entitled Ferghana Horse. Ferghana was the name of an ancient Central Asian kingdom known for its exceptional horses.