The Tansey Miniatures Foundation

The Tansey Miniatures Foundation

Amable-Gabrielle de Noailles, Duchess de Villars, as Saint Genevieve

Jean-Daniel Welper (attributed)

Amable-Gabrielle de Noailles, Duchess de Villars (1706-1742),1 was a member of the female royal household of Queen Maria Leszczyńska, wife of Louis XV of France. She married Honoré-Armand, Duke de Villars (1702-1770) who, however, rarely lived with her. He embarked upon a military career, and became a member of the Académie Française and a patron of Voltaire. The Duchess de Villars was appointed dame du palais in 1727, and in 1742 she received the rank of dame d’atours,2 which meant that she was responsible for dressing, hairstyling and applying the make-up of the queen. She played an important role at court, was considered brilliantly witty and was highly valued by the queen.
Her daughter, Amable-Angélique de Villars was the issue of a love affair with Jean-Philippe-François d’Orléans, an illegitimate son of Philippe I, Duc d'Orléans.
The theme of Arcadia as the setting of idyllic pastoral life had been adapted by literature since the Renaissance, and from the 16th century it appeared in painting. It also conquered the stage in the form of a pastoral play and opera. Playing at being shepherds was a cultural pastime at rococo courts, especially in France and Germany. It was an escape from the burden of courtly etiquette, and the shepherd’s way of life in close touch with nature was considered the ideal of a blithe existence, which was adapted in a stylised copy of pastoral life. In her portrait, the Duchesse de Villars combined this ideal with a religious one; she had herself painted as Saint Genevieve.
J. S. O.

1 Her identity is confirmed by a painting in the Musée de Tesse, Le Mans, inv. no. 10.123, of the French school, showing the Duchess de Villars as a shepherdess (or Saint Genevieve), though in an opposite pose and busy with a distaff. Cf. other versions of this painting: Christie's, London 1 March 1985, no. 115; Palermo, Sarno, 21-23 October 2021, no. 370 (in 2023 at Chalais, Galerie AhTypique, ref. no. 1009567) and Paris, Drouot, Massol, 12 October 2005, no. 14. The face and the clothes in these paintings tally in their main aspects. In some paintings, the sitter is holding a book, like in the Tansey miniature. An engraving by Jacques Tardieu reproduces this type of painting. A rectangular miniature, attributed to Welper, shows a lady (Mme d'Houditot?) with a book and is very similar to the one in the Tansey collection, although laterally reversed (Christie’s South Kensington, 12 May 1998, no. 99). Another one copies the Le Mans painting: Paris, Drouot (Artcurial), 27 September 2023, no. 646. We are grateful to Jean-Jacques Petit, Paris, and Ólafur Thorvaldsson, Cambridge, for their information.
2 Martin 1993, pp. 74-6.