[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-detail-133763-en":3,"doc-seo-133763-105":31,"detail-sidebar-cat-0-en-105":93},{"code":4,"msg":5,"data":6},0,"success",{"doc_id":7,"user_id":8,"nickname":9,"user_avatar":10,"doc_module":4,"category_id":11,"category_name":12,"doc_title":13,"doc_description":14,"doc_content":15,"file_id":16,"file_url":17,"file_type":18,"file_size":19,"view_count":20,"is_deleted":4,"is_public":20,"is_downloadable":20,"audit_status":20,"page_count":21,"language":22,"language_code":23,"site_id":24,"html_lang":23,"table_of_contents":25,"faqs":26,"seo_title":27,"seo_description":28,"update_tm":29,"read_time":30},133763,4810365810221,"Aurora","https://ap-avatar.wpscdn.com/davatar_155a257f0dc6eb9ab79c44ca47cae57d",8,"Research & Report","BESNARD & WILDENSTEIN CONCORDANCE ","\u003Cp>BESNARD & WILDENSTEIN CONCORDANCE provides an index linking the Besnard & Wildenstein numbers to related attributions, figures, and later publication references. It consolidates entries while documenting duplications, conflations, and category confusions that prevent a strict one-to-one correspondence. The concordance records changed identifications, alternate name alphabetisation, and notes on attribution reliability (Uncertain/Accepted/Rejected), using the J number for rapid lookup and directing readers to the main Dictionary for full attribution details.\u003C/p>","\u003Cp>BESNARD & WILDENSTEIN CONCORDANCE  \u003C/p>\u003Cp>In 1928 Georges Wildenstein published (along with an essay on the artist’s life by a modern pastellist, Albert Besnard) the first catalogue raisonné of La Tour’s works. It remains of great value today, despite its numerous deficiencies, and has been supplemented rather than superseded by more recent publications (notably Debrie & Salmon 2000 and the catalogue of the La Tour 2004 exhibition) . Set out below are the numbers in Besnard & Wildenstein which contains several duplications, as well as a good many pastels by other artists as set out in the final column. Various conflations and category confusions mean that a oneto-one correspondance cannot be established. Changed identifications as well as examples where a different part of the name is alphabetised are also noted for convenience. Works in oil or miniature are most unlikely to be autograph, and even where not seen are designated “n/a”. For full details of the attributions and identifications, see the main Dictionary, under the La Tour articles except where an italic reference in the final column directs to a different artist. The quickest way to locate the full entry within each article is by searching for the J number in the final column (e.g. J.46.1234) .  \u003C/p>\u003Cp>\u003Cbr>\u003C/p>\u003Cp>| B&W no. | B&W alternative nos . | [B&W fig. no](B&W fig. no) . | B&W description (abbreviated), including museum inv. nos. | B&W attribution\u003Cbr>(Uncertain/Accepted/Rejected) | Debrie & Salmon | Salmon 2024, [fig. no](fig. no) . | Image | [pastellists.com](pastellists.com) |\u003C/p>\u003Cp>| --- | --- | --- | --- | --- | --- | --- | --- | --- |\u003C/p>\u003Cp>|  |  |  | NAMED SITTERS |  |  |  |  |  |\u003C/p>\u003Cp>| 1 |  |  | Madame ADÉLAÏDE (Chantilly 384 B) | U |  |  | | J.74.102 Valade, inconnue |\u003C/p>\u003Cp>| 2 |  |  | Madame ADÉLAÏDE (Paris, 20 .III. 1852, Lot 1) | U |  |  |  | J.46.1208 uncertain; cf. Frey |\u003C/p>\u003Cp>| 3 |  |  | M. D’ALBESPIERRE (olim Louvre, inv. Rec 7) | U |  |  | | J.46.1214 accepted (note confusion with Rozeville) |\u003C/p>\u003Cp>| 4 |  | f.65 | Jean Le Rond D’ALEMBERT (Louvre, inv. RF 3893) | A | p. 179,\u003Cbr>ill. 95 | 311 | | J.46.1218 accepted |\u003C/p>\u003Cp>| 5 |  | f.223 | D’ALEMBERT, préparation (Saint-Quentin inv. LT 13; inv. 1849, no. 80) | A | p. 179,\u003Cbr>ill. 96. | 312 | | J.46.1227 accepted |\u003C/p>\u003Cp>| 6 |  |  | Comtesse D’ANGERVILLE (château de SaintVaast, 1899) | U |  |  |  | J.46.124 uncertain; cf. Ducreux |\u003C/p>\u003Cp>| 7 |  |  | Marc-René, marquis d’ARGENSON, Salon de 1753, no. 80 (lost) | A | p. 134 |  |  | J.46.3144 accepted, s.v. Voyer |\u003C/p>\u003Cp>| 8 |  | f.34 | D’ARGENSON (Saint-Quentin inv. LT 11; inv. 1849, no. 4) | A | p. 133,\u003Cbr>ill. 60 | 237 | | J.46.31441 accepted, s.v. Voyer |\u003C/p>\u003Cp>| 9 | =?367; 603 |  | D’ARGENSON (Chaumont de La Galaizière) | A |  |  |  | J.46.2431 accepted, v. s. v. Orry |\u003C/p>\u003Cp>| 10 |  | f.245\u003Cbr>(grav.) | Sophie ARNOULD (1744–1802),rôle de Zirphé | U |  |  | | Le Clerq, pnt. |\u003C/p>\u003Cp>| 11 |  |  | Le comte D’ARTOIS (Bréauté, Vernon, 1872) | U |  |  |  | J.46.1259 uncertain; cf. |\u003C/p>\u003Cp>\u003Cbr>\u003C/p>\u003Cp>\u003Cbr>\u003C/p>\u003Cp>|  |  |  |  |  |  |  |  | Ducreux |\u003C/p>\u003Cp>| --- | --- | --- | --- | --- | --- | --- | --- | --- |\u003C/p>\u003Cp>| 12 |  |  | Le comte D’ARTOIS, dessin (Marcille; 4 .III. 1857, Lot 247) | U |  |  |  | J.46.126 uncertain |\u003C/p>\u003Cp>| 13 |  |  | Marie-Thérèse de Savoie, comtesse D’ARTOIS, 45X42 (Vernon, Bréauté, 1872) | U |  |  |  | J.46.1261 uncertain; cf. Ducreux |\u003C/p>\u003Cp>| 14 |  |  | Le duc D’AYEN (comm. Bâtiments du roi) | A |  |  |  | J.46.2422 accepted, s.v. Noailles |\u003C/p>\u003Cp>| 15 |  |  | Petit de BACHAUMONT, Salon de 1740, no. 113 | A |  |  |  | J.46.25 accepted |\u003C/p>\u003Cp>| 16 |  |  | Petit de BACHAUMONT, Salon de 1753, no. 83 | A |  |  |  | J.46.2501 accepted |\u003C/p>\u003Cp>| 17 |  |  | BAILLON, Salon de 1751, no. 48 | A |  |  |  | J.46.1267 accepted |\u003C/p>\u003Cp>| 18 |  |  | Pierre-Augustin Caron de BEAUMARCHAIS (Paris, 9 .XI. 1846, Lot 135; Paris, 8.IV. 1890, Lot 119; 26 .IV. 1890, Lot 18) | U |  |  |  | J.46.1407 J.46.1408 J.46.1409\u003Cbr>uncertain |\u003C/p>\u003Cp>| 19 |  |  | Mlle de BEAUPRÉ, Salon de 1743, no. 105 | A |  |  |  | J.46.127 accepted |\u003C/p>\u003Cp>| 20 |  | f.28 | Le maréchal-duc de BELLE-ISLE, Salon de 1748, no. 81 (Doucet) | A | p. 131,\u003Cbr>il\u003C/p>","cbCaidhNkIstAxKO","https://ap.wps.com/l/cbCaidhNkIstAxKO","pdf",9751046,1,44,"English","en",105,"# NAMED SITTERS\n## Attribution status and cross-references\n## Lookup method via J number","[{\"question\":\"How does this concordance table help in quickly locating items within the main entries?\",\"answer\":\"By searching with the J number (e.g., J.46.1234) in the final column, users can locate the corresponding item within each main entry most quickly.\"},{\"question\":\"Why cannot a one-to-one correspondence be guaranteed between the numbers of Besnard \\u0026 Wildenstein?\",\"answer\":\"The text points out the presence of duplicates, name mix-ups, and category confusions, making it impossible to establish a strict one-to-one correspondence.\"},{\"question\":\"How is the credibility of artwork attribution presented?\",\"answer\":\"The table uses 'Uncertain/Accepted/Rejected' annotations in the attribution column and records uncertain sources or potential confusions when necessary.\"}]","BESNARD & WILDENSTEIN CONCORDANCE  | PDF","BESNARD & WILDENSTEIN CONCORDANCE provides an index linking the Besnard & Wildenstein numbers to related attributions, figures, and later publication references. It consolidates entries while documenting duplications, conflations, and category confusions that prevent a strict one-to-one correspondence. The concordance records changed identifications, alternate name alphabetisation, and notes on attribution reliability (Uncertain/Accepted/Rejected), using the J number for rapid lookup and directing readers to the main Dictionary for full attribution details.",1787280461,111,{"code":4,"msg":32,"data":33},"ok",{"site_id":24,"language":23,"slug":34,"title":27,"keywords":35,"description":28,"schema_data":36,"social_meta":88,"head_meta":90,"extra_data":92,"updated_unix":29},"besnard-wildenstein-concordance-name-cross-reference-and-number-mapping","",{"@graph":37,"@context":87},[38,55,70],{"@type":39,"itemListElement":40},"BreadcrumbList",[41,45,49,52],{"item":42,"name":43,"@type":44,"position":20},"https://docshare.wps.com","Home","ListItem",{"item":46,"name":47,"@type":44,"position":48},"https://docshare.wps.com/document/","Document",2,{"item":50,"name":12,"@type":44,"position":51},"https://docshare.wps.com/document/research-report/",3,{"item":53,"name":27,"@type":44,"position":54},"https://docshare.wps.com/document/besnard-wildenstein-concordance-name-cross-reference-and-number-mapping/133763/",4,{"url":53,"name":27,"@type":56,"author":57,"headline":27,"publisher":59,"fileFormat":62,"inLanguage":23,"description":28,"dateModified":63,"datePublished":64,"encodingFormat":62,"isAccessibleForFree":65,"interactionStatistic":66},"DigitalDocument",{"name":9,"@type":58},"Person",{"url":42,"name":60,"@type":61},"DocShare","Organization","application/pdf","2026-08-21","2026-08-20",true,{"@type":67,"interactionType":68,"userInteractionCount":20},"InteractionCounter",{"@type":69},"ViewAction",{"@type":71,"mainEntity":72},"FAQPage",[73,79,83],{"name":74,"@type":75,"acceptedAnswer":76},"How does this concordance table help in quickly locating items within the main entries?","Question",{"text":77,"@type":78},"By searching with the J number (e.g., J.46.1234) in the final column, users can locate the corresponding item within each main entry most quickly.","Answer",{"name":80,"@type":75,"acceptedAnswer":81},"Why cannot a one-to-one correspondence be guaranteed between the numbers of Besnard & Wildenstein?",{"text":82,"@type":78},"The text points out the presence of duplicates, name mix-ups, and category confusions, making it impossible to establish a strict one-to-one correspondence.",{"name":84,"@type":75,"acceptedAnswer":85},"How is the credibility of artwork attribution presented?",{"text":86,"@type":78},"The table uses 'Uncertain/Accepted/Rejected' annotations in the attribution column and records uncertain sources or potential confusions when necessary.","https://schema.org",{"og:url":53,"og:type":89,"og:title":27,"og:site_name":60,"og:description":28},"article",{"robots":91,"canonical":53},"index,follow",{"doc_id":7,"site_id":24},{"code":4,"msg":5,"data":94},[95,99,103,107,112,117,122,125,130,133,137],{"id":20,"doc_module":4,"doc_module_name":47,"category_name":96,"show_sort_weight":97,"slug":98},"Story & Novel",90,"story-novel",{"id":48,"doc_module":4,"doc_module_name":47,"category_name":100,"show_sort_weight":101,"slug":102},"Literature",80,"literature",{"id":54,"doc_module":4,"doc_module_name":47,"category_name":104,"show_sort_weight":105,"slug":106},"Exam",70,"exam",{"id":108,"doc_module":4,"doc_module_name":47,"category_name":109,"show_sort_weight":110,"slug":111},5,"Comic",60,"comic",{"id":113,"doc_module":4,"doc_module_name":47,"category_name":114,"show_sort_weight":115,"slug":116},6,"Technology",50,"technology",{"id":118,"doc_module":4,"doc_module_name":47,"category_name":119,"show_sort_weight":120,"slug":121},7,"Healthcare",40,"healthcare",{"id":11,"doc_module":4,"doc_module_name":47,"category_name":12,"show_sort_weight":123,"slug":124},30,"research-report",{"id":126,"doc_module":4,"doc_module_name":47,"category_name":127,"show_sort_weight":128,"slug":129},9,"Religion & Spirituality",20,"religion-spirituality",{"id":128,"doc_module":4,"doc_module_name":47,"category_name":131,"show_sort_weight":128,"slug":132},"World Cup","world-cup",{"id":134,"doc_module":4,"doc_module_name":47,"category_name":135,"show_sort_weight":134,"slug":136},10,"Lifestyle","lifestyle",{"id":138,"doc_module":4,"doc_module_name":47,"category_name":139,"show_sort_weight":108,"slug":140},19,"General","general"]