Charles COZETTE (Paris, 1730 - Rennes, 1804) Equestrian Portrait of a King's Squire Oil on canvas Signed and dated 'C. Cozette / 1756' lower left (Small lacks in lower part) No frame Equestrian portrait of a king's squire, oil on canvas, signed and dated, by C. Cozette 39.76 x 31.50 in. 101 x 80 cm Charles Cozette is best known for his collaboration with Pierre Lenfant (1704-1787) as a battle painter in the War Department. They met during their training in the studio of Charles Parrocel (1688-1752). The painting we are presenting here is dated 1756, slightly earlier than Louis XV, roi de France (1710-1774), a royal portrait in the Musée national des châteaux de Versailles et de Trianon (MV 3752; INV 3589; Mr 1422), and dated 1763. The iconography of our painting can be compared with that of an engraving depicting Monsieur de Cazaux, seigneur de Nestier, écuyer ordinaire de la grande Ecurie du Roy, by Philibert Delarue (1718-1780) and engraved by Jean Daullé (1703-1763), a copy of which is in the Musée d'art et d'histoire de Genève (E 2014-1746). The horse's harness, with the knot around its tail, its posture, and the choice of the riding school as the setting for the composition, all suggest that the model depicted is a royal squire. Charles COZETTE (Paris, 1730 - Rennes, 1804) 101 x 80 cm Charles Cozette is best known for his collaboration with Pierre Lenfant (1704-1787) as a battle painter in the War Department. They met during their training in the studio of Charles Parrocel (1688-1752). The painting we are presenting here is dated 1756, slightly earlier than Louis XV, roi de France (1710-1774), a royal portrait in the Musée national des châteaux de Versailles et de Trianon (MV 3752; INV 3589; Mr 1422), and dated 1763. The iconography of our painting can be compared with that of an engraving depicting Monsieur de Cazaux, seigneur de Nestier, écuyer ordinaire de la grande Ecurie du Roy, by Philibert Delarue (1718-1780) and engraved by Jean Daullé (1703-1763), a copy of which is in the Musée d'art et d'histoire de Genève (E 2014-1746). The horse's harness, with the knot around its tail, its posture, and the choice of the riding school as the setting for the composition, all suggest that the model depicted is a royal squire.