From Inventory to Virtual Catalog: Notes on the 'Catalogue raisonné'Author(s): Jonathan FranklinSource: Art Documentation: Journal of the Art Libraries Society of North America, Vol. 22,No. 1 (Spring 2003), pp. 41-45Published by: The University of Chicago Press on behalf of the Art Libraries Society of NorthAmericaStable URL: http://www.jstor.org/stable/27949234 .

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Front Inventory to Virtual Catalog: Notes on the

'Catalogue raisonn?'_ by Jonathan Franklin, National Gallery of Canada

How can one not be painfully affected by the sight of these

extraordinary estate sale catalogues? It seemed to be the rule

in past times, especially in the North, to hand over collections

to the auctioneers, who were only interested in applying a lot

number to the goods, portfolio by portfolio. In this way they simultaneously compiled an inventory and a catalogue, with

out any alphabetical order, without a list of contents; in short,

a dog's dinner, more likely to hinder than help the collector.1

Today the term 'catalogue raisonn?' is conveniently used to denote a catalog of the output of a single artist, including works in many collections. This is taken for granted in discussions such as the articles on art-historical bibliography in the Macmillan

Dictionary of Art. Yet a title such as Catalogue Raisonn? of the Collection of Spanish Paintings at the Nationalmuseum, Stockholm,2

published only last year, suggests that this is not an absolute def inition. In fact, if we look further back, to the titles of eighteenth century catalogs, the meaning is precisely reversed. The great

majority of 'catalogues raisonnes' of that period are not catalogs of the work of a single artist, covering many collections, but instead catalogs of single collections, covering many artists. This article sets out to cast some light on the origins of this termino

logical drift.

Origins The term 'catalogue raisonn?' seems to have originated in

Paris in the 1720s, in a literary context. The pioneer user of the term for catalogs of art collections was the dealer and friend of

Watteau, Edme-Fran?ois Gersaint (d. 1750), although his sphere was not just art' but 'curiosit?' in general. This was a broad field,

as may be judged from the title of his first printed catalog of 1736: Catalogue raisonn? de coquilles et autres curiosit?s naturelles.3 So what was a 'catalogue raisonn?/ as opposed to a simple cata

log? The growth of collection catalogs is closely linked to the

growth of catalogs for sale by auction, and auctioneers' catalogs had traditionally been little more than inventories, crucially lack

ing both order and detail, not to mention credibility. As the

passage quoted at the head of this article implies, this was stan dard practice in Britain and the Low Countries. French custom, on the other hand, rendered the distinction between an invento

ry and a catalog more evident, because the sale catalog was

generally published separately from, and ahead of, a second, shorter, document called the 'ordre de vacations,' which con

tained the lot numbers according to sale order. In fact, this

contrast, between the inventory, literally 'as found,' and the

catalog, is well expressed by a note in Gersaint's catalog of curiosit? sold on 1st December 1737. "To satisfy all tastes, I shall mix up the items in the course of the sale, so that on any one day everyone can have the opportunity to strike lucky with some

thing in his field of collecting."4 That is, an artificial and deliberate disorder had to be reintroduced into the sale process for the purpose of retaining the interest of the customers.

The catalog therefore had to be, at the very least, a produc tion with more than just arbitrary order. Different organizational

models emerged: alphabetical by artist, or by engraver, for print catalogs; chronological by date of birth of artist; and by medium. The most familiar division is that of the 'Trois ?coles' instituted

by Gersaint, the three schools in question being the Italian, the

Flemish, and, bien s?r, the French. German painting could always be shoehorned into the Flemish school, though the Spanish were a headache (Velasquez was featured as Italian in some catalogs). The principle of the 'Trois ?coles' even found a pleasing counter

part in catalogs of curiosit? relating to natural history, with the 'Trois r?gnes:' animal, vegetable and mineral.

After order, the second element lacking in the inventories was detail. It would be easy to multiply examples of laconic entries in early auction catalogs along the lines of fruit piece/ Two landskips,' etc. A later term, 'catalogue descriptif,' more

common in the nineteenth than the eighteenth century, is often

paired with the term 'raisonn?,' as in catalogue descriptif et

raisonn?,'?an elaboration that acknowledges the addition of detail about the works of art. This can be as basic as information

about dimensions and support; it can include observations on the frame and the condition of the work, or it can blossom into full pages and more of basically factual information about the

subject of the painting. Given that the expense of engraving plates to illustrate the works of art printed in the catalog was

generally prohibitive, a textual description was a logical substi tute. As Gersaint puts it in the 'Avertissement' preceding his 1747

catalog of the collection of the vicomte de Fonspertuis: "My main

objective in catalogues of this kind is to try and make the collec tor aware of the condition of every object, by a fairly detailed

description, so that each one can be discerned by the imagina tion, as it actually is."5 Gersaint's descriptions are in fact quite summary, but a fuller example may be drawn from the 1777 Randon de Boisset catalog by Pierre R?my and Claude-Fran?ois Julliot. Catalog item number 29 is a canvas by Rubens, of a lady "seated on a chair, wearing white, three-quarter-length, turning her back to the right of the picture, wearing a gray hat with a nar row turned-up brim, trimmed with a feather touching her left

Volume 22, Number 1 ? 2003 ? Art Oocumentotion 41

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shoulder...," and so on for several more lines.6 Given that there

were relatively few images in general circulation in the eigh teenth century compared with today, the probability that such a textual description would recall a known image to the collector's

mind was considerably higher.

Catalogues raisonn?s

Order, detail, and credibility: the eighteenth century Paris marchands worked especially hard to attain the third element. It is salutary to glance back at the title of Gersaint's first catalog: Catalogue raisonn? de coquilles et autres curiosit?s naturelles. The essence of the 'catalogue raisonn?/ as opposed to the mere 'cat

alogue descriptif/ is that it explicitly or implicitly gives thought to the correct identification of the objects it describes ('attribu tion' is too narrow a term here, as it hardly applies to shells). This is indicated, for example, by notes accompanying the catalog

entries, debating the attribution of a painting to V or 'y/ Of course, in a sale catalog, quite possibly paid for by the seller of the

collection, fancy footwork may be required to skate over the gap between the cataloger's true opinions about a work and the sell er's expectations, and a separate article could be written on this

topic alone. But the issue of correct attribution is at least under stood and even discussed. In practice, catalog entries have a

tendency to slide from the particular to the general. For example, instead of discussing the particular qualities of a painting by

Guido Reni, they discuss the general characteristics of Guido Reni's style, in the light of which the painting may be considered to be by him. Of course, this can only be done once or twice (there is no point repeating it endlessly in subsequent entries), which is

what gives these ancien r?gime catalogs their unique flavor. Gersaint's standards were not always maintained by his

successors. The authors of the 1756 catalog of the duc de Tallard's

CATALOGUE RAISONN?

DES TABLEAUX, SCULPTURES,

TANT DE MARBRE QUE DE BRONZE,

DESSEINS ET ESTAMPES DES PLUS GRANDS MAITRES,

PORCELAINES ANCIENNES, MEUBLES PRECIEUX , BUOUX,

Et autres Effets

Qui compofent le Cabinet de feu Monf?eat le ?Pac db

Tallardj.

Par les Sieurs Remy & Glomy, ^

L.9I0 A PARIS, Ctcx DI D , Libraire & Imprimeur t

Quai des Auguftins, ? la Bible d'or,

m. d c ?7 l Bible d'or, ?

Frontispiece and title page, Fierre R?my and Jean-Baptiste Glomy: Catalogue raisonn? des tableaux, sculptures, tant de marbre que de bronze (duc de

Tallar?), sale 22 March-13 May 1756 (Paris, 1756), Lugt 910. Photograph courtesy of The Research Library, Getty Research Institute, Los Angeles.

42 Art Documentation ? Volume 22, Number 1 ? 2003

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mm1

Plantes ptrti^i ^ ?atnss Cuu^ 9 ' jSIl I73??

' ^/-\t^?V

Catalc^itttf?con^?ioii confi4en?le de Curiofit?s joe differens get?res ? &cv ?a 1737?

ca*io^ iai^^

Catalog de Jivetfes curiofit?s en. to^ genre , corners dans les Cabinets fie ? Bonnier de za en 174^

Catalogne raifonn? des di?et?ns .?ffets ?oirieux &

rares, contenus dans le Cabinet de M. le Chevalier de x.& Roque , enitT^j*

Catalogue raiiban? <ks B*)0?, Porcelaines ? Lacas ,

Tableaux, De??nsf &c &> autres ?ffets de Curiofit? provenais de la SacceffuKr de ^ 4e ?<www&^*%&k

collection, Pierre R?my and Jean-Baptiste Glomy, state: "we

thought it would be permissible to express the merits [of the pic tures] even though we are not so arrogant as to try and teach

anything to the connoisseurs. Consequently, the notes we have ventured to add to the items in this catalogue are not aimed at them... we have been careful to insert a new paragraph to sepa rate these musings from the item which gives rise to them; in this

way the cognoscenti in the field may pass on and spare them selves the trouble of reading them."7 In other words, they have introduced a further element, ?loges, usually translated as

puffery, although they are at least honest about it. It is noticeable that the Tallard catalog is entitled Catalogue raisonn?..., while another catalog by R?my, of the collections of Jean-Baptiste de

Troy in 1764,8 which uses the same paragraph and font change to

separate descriptive notes from commentary, is entitled simply Catalogue.... Which merely goes to show that the use of the terms in titles is not always a reliable guide to the contents. Catalogs confusing ?loges with the kind of critical notes which distinguish a true 'catalogue raisonn?/ are characterized by a later writer,

Adolphe Thibaudeau, as "catalogues descriptifs et pr?tendus raisonn?s" (claiming to be raisonn?s).9

And once outside the confines of the Paris art scene, we are on even shakier ground. British auction catalogs were much less

sophisticated, being more interested in order for the purposes of sale than for intellectual gratification, and never developing the kind of scholarly apparatus that characterizes their French coun

terparts. This did not, however, stop the terms 'catalogue raisonn?' and 'catalogue descriptif from crossing the Channel. A 1793 Christie's catalog is entitled Catalogue raisonn?e: [sic] Original Drawings,Which Have Distinguished Bell's Various Editions

of the British Classics, perhaps by virtue of the uncharacteristi

cally logical arrangement of the contents. Less justifiably, the

'Descriptive Catalogue' of the important collection of Sir Joshua Reynolds two years later has notes owing more to puffery than to description.11 Upon occasion, the sense of a 'catalogue raison n?' being a critical catalog comes through, notably in the 1815

Catalogue raisonnee [sic] of the Pictures Now Exhibiting at the British

Institution,12 in which an anonymous member of the Royal Academy savaged the Old Master attributions given in the offi cial catalog. But when one finds the term 'catalogue raisonn?'

being deployed by an auctioneer named Robins, for the 1829 sale

catalog of the painter Benjamin West,13 credibility goes out the window. Several years later Robins's talent for shameless hyper bole in the catalog of Horace Walpole's collection at Strawberry Hill gave rise to an amusing parody entitled "Catalogue of the Great Sale at Gooseberry Hall..."14

Coverage of Collections Revenons ? nos moutons. In eighteenth century Paris, 'cata

logues raisonn?s' are almost invariably catalogs of single collections including many artists, although R?my did produce one Catalogue raisonn? de tableaux, desseins & estampes

... qui com

posent diff?rens cabinets,15 but even this covers only about three

collections, each treated individually. This generalization includes the numerically fewer catalogs compiled of permanent collections, rather than collections for sale, such as Fran?ois Bernard L?pici?'s Catalogue raisonn? des tableaux du roi (1752-4).16 However, the seeds of something different were being sown.

Already in the seventeenth century the balance of interest had

Page ii, Edme-Fran?ois Gersaint: Catalogue raisonn? des bijoux,

porcelaines, bronzes, etc. (vicomte de Fonspertuis), sale 4 March 1748

(Paris, 1748), Lugt 682. Photograph courtesy of The Research Library, Getty Research Institute, Los Angeles.

begun to tip from the subjects of works of art towards the artists who produced them, as can be deduced from changes in the cat

alogs of prints for sale, in which the arrangement is by artist rather than subject. Then, in the 1720s, a publishing project was

begun whose progress has been described by Francis Haskell in The Painful Birth of the Art Book.17 The significance that Haskell finds in Pierre Crozat's Recueil d'estampes d'apr?s les plus beaux tableaux.. .of 172918 is that "it was designed to be a book and not

just a collection of related illustrations." But equally striking is the way in which the scope of the project mushroomed, from

recording works of art in the great royal collections, to French

collections, and then to collections of much of Europe, not to say 'toutes les nations.' In Crozat's Recueil.. .a kind of virtual catalog

was born, even though the infant was sickly and never attained the maturity hoped for by its parents.

The same movement from coverage of single to multiple collections, driven by connoisseurial interest, can be seen in

Edme-Fran?ois Gersaint's 1744 sale catalog of the collection of

Quentin de Lorang?re. In the Avertissement, Gersaint states: "I have found this collection so fine and so replete with specimens that are not merely rare but unique, that I was inspired with the idea of being able to give the public a full catalogue of the works of this master [Jacques Callot], by annexing to what the late M. de Lorang?re possessed all the examples I could muster, in both the two collections of the Cabinet du Roi and in those of the var ious serious collectors where I have noted the subject and size of all the works and which are not represented in the late

Volume 22, Number 1 ? 2003 ? Art Documentation 43

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? R EG E' De Ja Viti de Cali*or.

Jacques Cau.ot ?to?t fils de Jean Callot, H?raut d'Armes de Lorraine, # naquit ? jSaney Pan 15^3.

* Il eut ppur grand

- p?re Claude Callot ,

Exempt des Q?rd^-<b-?orps ?a Pue J* M.*erca?lt, dans fa Hommes ??ftres ?l???c pr?? fit?m, du sue c'?toit en l'an 1594,

c

Page 49, Edme-Fran?ois Gersaint: Catalogue raisonn? des diverses

curiosit?s du cabinet (M. de Lorang?re), sale 2 March 1744 (Paris, 1744),

Lugt 590. Photograph courtesy of The Research Library, Getty Research Institute, Los Angeles.

M. de Lorang?re's collection. I thought this would be of some use to collectors, to offer them a catalogue assembled with as much care and precision as possible." And he continues, "If time and

my commitments had permitted, I would have done the same

thing for the works of La Belle and Le Clerc."19 All three of these artists are accorded summary biographies in the course of the

catalog. Gersaint has combined the guiding principle of listing the works of a single artist with the idea of covering more than one collection, thus inaugurating the 'catalogue raisonn?' as we

know it today. That this process should have begun with prints is not sur

prising. After Gersaint's death, his notes generated a 'catalogue raisonn?' of Rembrandt's engraved work,20 while the output of

Wenceslas Hollar had been the subject of a 1745 publication by the English antiquarian George Vertue.21 The reproduction of

paintings by engraving was a scattered business (another reason

why Crozat's Recueil d'estampes d'apr?s les plus beaux tableaux...was such a pioneering publication), but engravings

were themselves a reproductive process, so that to assemble a collection of a printmaker's entire output was not so far-fetched. It was only in the nineteenth century that the increased possibil ity of travel encouraged scholars to think of compiling 'catalogues raisonnes' of paintings from different collections, either of individual artists, such as Gustav Friedrich Waagen's ?ber Hubert und Johann Van Eyck (1822),22 or of schools, notably the classic Catalogue raisonn? of the Works of the Most Eminent

Dutch, Flemish and French Painters by John Smith (8 volumes, 1829-37, supplement 1842).23 When, in the Lorang?re catalog, Gersaint seeks to justify his digressive inclusion into the catalog of all prints by Callot rather than simply those in the collection at hand, he uses a phrase which recurs repeatedly in catalogs by him and his contemporaries: "?viter la s?cheresse" (to avoid dry ness). But in a curious way the metaphor reverses itself. One's

impression is not so much of a genteel sprinkling as of an irre sistible flood of newly acquired knowledge and connoisseurship irrigating what was, given the absence of alternative models for art-historical publishing at the time, the only terrain available to it: the sale catalog. It is the same current which propels so many

weighty 'catalogues raisonn?s' to our library shelves today. I would like to acknowledge the assistance of ARLIS/NA

for the award of an H.W. Wilson Foundation Research Grant, and of the Getty Grant Program for the award of a Library Research Grant

Notes

Note: Sale catalogs included in: Frits Lugt, R?pertoire des cat

alogues de ventes publiques, int?ressant Vart ou la curiosit?... (La Haye: M. Nijhoff, 1938-1987), have been noted.

1. "De quelles p?nibles impressions n'est-on pas saisi, ? la vue de ces inconcevables catalogues de collections vendues

apr?s d?c?s? Il semblait de r?gle autrefois, dans le Nord surtout, de livrer les collections aux directeurs des ventes, et

ceux-ci se bornaient ? donner un num?ro d'ordre aux pi?ces par portefeuille; ils faisaient ainsi ? la fois et un inventaire et un cat

alogue, sans ordre alphab?tique, sans table de mati?res; en un mot ils faisaient un factum barbare, plus propre ? d?router qu'? aider l'amateur." Catalogue de la riche collection de dessins anciens

composant le cabinet de M.A. Mouriau, sale 11 March 1858 (Paris: H?tel Drouot, 1858), Lugt 24059.

2. Catalogue raisonn? of the Collection of Spanish Paintings at the Nationalmuseum, Stockholm (Stockholm: Nationalmuseum, 2002).

3. Catalogue raisonn? de coquilles et autres curiosit?s naturelles, sale 30 January 1736 (Paris, 1736).

4. "Pour contenter les go?ts diff?rents, j'entrem?lerai les articles pendant le cours de la vente, afin que chacun puisse trouver occasion de se satisfaire tous les jours en quelque chose dans le genre de sa curiosit?." Catalogue d'une collection consid

?rable de curiositez de differens genres, sale 1 December 1737

(Paris, 1737), Lugt 479. 5. "Mon objet principal dans ces sortes de catalogues, c'est

de t?cher de faire sentir aux curieux l'?tat de chaque chose, par une description assez circonstanci?e, pour qu'elles puissent

44 Art Documentation ? Volume 22, Number 1 ? 2003

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toutes se tracer dans leur imagination, telles qu'elles sont effec

tivement." Catalogue raisonn? des bijoux, porcelaines, bronzes, etc.,

sale 4 March 1748 (Paris, 1747), Lugt 682. 6. "...assise sur une chaise; son habillement est blanc; on la

voit de trois quarts, le dos tourn? ? la droite du tableau, la t?te couverte d'un chapeau gris ? petit bord rabattu, orn? d'une

plume qui touche sur l'?paule gauche...." Tableaux & desseins

pr?cieux des ma?tres c?lebres des trois ?coles, etc., sale 27 February 25 March 1777 (Paris, 1777), Lugt 2652.

7. "Nous avons cru qu'il nous seroit permis d'en faire sen

tir le m?rite quoique nous ne soions pas assez pr?venus de notre savoir, pour croire que nous puissions apprendre quelque chose aux connoisseurs. Aussi n'est-il point eux que nous avons

en vue en risquant les Notes qui accompagnent les articles de ce catalogue

... Nous avons pris soin de s?parer, par un alin?a,

les r?flexions d'avec l'article qui les occasionne; par ce moien les savans en cette partie, pourront les passer & s'?pargner la

peine de les lire." Catalogue raisonn? des tableaux, sculptures, tant

de marbre que de bronze, sale 22 March-13 May 1756 (Paris, 1756), Lugt 910.

8. Catalogue d'une collection de tr?s beaux tableaux, desseins et

estampes de ma?tres des trois ?coles, sale 9 April-5 May 1764 (Paris, 1764), Lugt 1372.

9. Charles Blanc, Tr?sor de la curiosit? (Paris: J. Renouard, 1857-1858, 2 vol.), 1.

10. Catalogue raisonn?e [sic]. A Catalogue of the Curious and Inestimable Collection of Original Drawings, Which Have

Distinguished Bell's Various Editions of the British Classics, sale 27 March 1793 (London, 1793), Lugt 5023.

11. Capital, Genuine, and Valuable Collection of Pictures,...

Comprising the Undoubted Works of the Greatest Masters of the

Roman, Florentine, Bolognese, Venetian, French, Flemish, and Dutch

Schools, ...descriptive catalogues to be had at the Rooms at one

shilling each, sale 11-14 March 1795 (London, 1795), Lugt 5284. 12. Catalogue raisonnee [sic] of the Pictures Now Exhibiting at

the British Institution (London, 1815). 13. A Catalogue raisonne of the Unequalled Collection of

Historical Pictures, and Other Admired Compositions, the Works of the Revered and Highly-Gifted Painter, the Late Benjamin West, sale 22-25 May 1829 (London, 1829), Lugt 12063.

14. Specimen of the Catalogue of the Great Sale at Gooseberry Hall... by Triptolemus Scattergoods (London, 1842).

15. Catalogue raisonn?, de tableaux, desseins & estampes ...

qui

composent diff?rens cabinets, sale 12 December 1757 (Paris, 1757), Lugt 979.

16. Fran?ois-Bernard L?pici?, Catalogue raisonn? des tableaux du roi (Paris: De L'Imprimerie Royale,1752-54).

17. Francis Haskell, The Painful Birth of the Art Book (New York, NY: Thames and Hudson, 1987).

18. Recueil d'estampes d'apr?s les plus beaux tableaux et les plus beaux dessins qui sont en France dans le cabinet du Roy, dans celui de

Monseigneur le Duc D'Orl?ans et dans autres cabinets (Paris: De

l'Imprimerie royale, 1729 and 1742, 2 vol.). 19. "J'ai trouv? cet oeuvre si beau & si fourni de pi?ces, non

seulement rares, mais uniques, qu'il m'a fait na?tre l'id?e de

profiter de cette occasion, pour pouvoir donner au public un

catalogue complet des ouvrages de ce ma?tre, en ajoutant ? la suite de ce que poss?dait feu M. de Lorang?re, tous les

morceaux que j'ai pu recueillir, tant dans les deux oeuvres du

Cabinet du Roi que dans ceux des diff?rens curieux qui en ont fait des collections suivies, & dans lesquels j'ai pris une note du

sujet & de la grandeur de tous les morceaux qui ne sont point trouv?s dans celui de feu M. de Lorang?re. J'ai cru pouvoir ?tre de quelque utilit? aux curieux, en leur procurant ce catalogue fait avec autant d'exactitude & de soin que je l'ai pu".

... "Si le

temps & mes occupations me l'avoient permis, j'en aurois fait autant de l'oeuvre de La Belle, & de celui de Le Clerc".

Catalogue raisonn? des diverses curiosit?s du cabinet, sale 2 March 1744 (Paris, 1744), Lugt 590.

20. Edme-Fran?ois Gersaint, Catalogue raisonn? de toutes les

pi?ces qui forment l'oeuvre de Rembrandt!compos? par feu M.

Gersaint, et mis au jour, avec les augmentations n?cessaires, par les

sieurs Helle et Glomy (Paris: Hochereau, 1751). 21. George Vertue, A Description of the Works of...W. Hollar,...

With Some Account of His Life (London: George Vertue, 1745). 22. Gustav Friedrich Waagen, ?ber Hubert und Johann Van

Eyck (Breslau: J. Max, 1822). 23. John Smith, Catalogue raisonn? of the Works of the Most

Eminent Dutch, Flemish and French Painters (London: Smith and

Son, 1829-42, 9 vol.).

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