A man in a powdered wig is shown in a bust-length pose, looking to the right. He is dressed in a silk coat with a blue and bronze-colored silk scarf at his throat.
Perronneau here depicts his friend, the engraver and printseller, Laurent Cars. Cars was admitted to the Académie Royale in 1733 as an engraver and he made numerous engraings after paintings by noted painters in France of the era. Around the time that Perronneau painted this portrait, Cars abandoned engraving to devote more time to selling engravings.
After de la Tour, Perronneau was known as one of the most accomplished pastellists in France during a time when pastel enjoyed great popularity. The freedom and verve of this work, particularly the iridescence of the sitter's coat and scarf and the intimate pose devoid of emblems of the sitter's status, are all attributes that are common with pastel portraits of the time.
This oval-shaped ceramic vessel features a wide, steep rim surrounding a large well in the center. The scalloped edges of the rim are cut back into a deep semicircle on one side. The rim is painted in underglaze blue and yellow with plant and floral motifs that are arranged in a whimsical, asymmetrical fashion around the edge. The well is decorated with similar vegetal motifs and two vaguely stork-like birds with long legs that confront one another on a strip of turf.
The deep semicircle cut into one side of this barber's basin allowed it to be held close to a client's neck while being shaved by the barber. The style of informal decoration on this plate was developed around 1740 by Joseph Olérys, the owner of a faience factory in Moustiers near Marseilles in southern France.
This ovoid tureen stands on four curved, leaf-like feet that sprout upward and join together to form a pair of handles at either end of the vessel. The body of the tureen, composed of gentle undulating curves, is decorated with bright red and yellow flowers and leaves painted with overglaze enamel. A scallion, modeled in relief, rests bundled together with sprigs of parsley on top of the lid, introducing a playful trompe-l'oeil element. An onion forms the knob on the top of the lid.
The elegant design and delicately painted decoration of this tureen would have introduced a note of casual refinement to the table of its original owners, who were probably a well-to-do French family. The trompe-l'oeil scallion lain seemingly nonchalantly across the lid and the bulbous vegetal knob resembling an onion give the piece a playful charm.
This small, flat metal piece has a circular shape and an openwork design. It has a triangular shaped sword hole in the center, flanked by two other holes, which are filled with shakudô (copper-gold alloy). The sword hole is mended with gold. Three crests, consisting of pawlownia leaves and flowers, are interconnected with vines. There are some abrasions on the center oval shape around the sword hole. The surface is slightly textured by minute stippling. The outer rim is slightly elevated from the inner design. This openwork carving technique is called "marubori" (round carving).
Tsuba (sword guard) is inserted between a sword handle and blade to protect hands from sharp blades. The center hole is where the sword is placed. The smaller holes are to insert kozuka (left), an ornamental stick, and kougai (right), a spatula-like stick which is said to be used for itching hair underneath hats or helmets. This particlar tsuba has three crests of "Gosangiri" (pawlownia with three-five-three flower petals), which perhaps was the family crest of the owner of the original sword.