Jean-Etienne Liotard

Sale, Lucerne, Fischer, November 1954, lot 1981 (sold, with its pendant, as 'Attributed to Liotard,' the sitters identified as Comte Kaunitz and his wife);
Sale, Lucerne, Fischer, 22 May 1992, lot 2446 (sold, with its pendant, as 'Manner of Liotard');
Sale, New York, Sotheby's, 21 January 2004, lot 103 (as 'Attributed to Jean-Etienne Liotard'),
where purchased by Giancarlo Baroni

N. Jeffares, Dictionary of Pastellists before 1800, London 2006, p. 345, reproduced (as "doubtful attribution" to Liotard);
M. Roethlisberger and R. Loche, Liotard: Catalogue, sources et Correspondance, Doornspijk 2008, vol. I, p. 333, cat. no. 131, reproduced vol. II, fig. 217

Pastel on parchment wrapped around the original stretcher. Some small fungus spots scattered throughout. There are a few scratches at the upper right corner near the margin. There also appears to be a scratch on the right sleeve. Overall the work is in good condition, the pastel appears to be less finished in areas of her robe. Sold in a 19th Century gilded frame.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Portrait of a lady, previously only tentatively attributed to Liotard, is now fully accepted by Roethlisberger and included as an autograph work in his recent catalogue raisonné (see Literature).  This work was in the past paired with a male sitter, considered to be the Count Kaunitz, but while acknowledging them to be a pair, Roethlisberger believes the identification with Kaunitz and his wife cannot be supported and refers to them as an unidentified couple. 

The technique is reminscent of Liotard's style while he was working in Vienna, and draws comparisons with certain royal portraits of this period. The handling and treatment of the hair and face, as well as the fur lining and the detailing in the white blouse, are comparable to the Portrait of the Empress Maria-Theresa, now in the palace of Schönbrunn,¹ and there are also similarities with another portrait of her, now in Weimar.²


1.  M. Roethlisberger and R. Loche, op.cit., vol. I, p. 304, cat. no. 107, reproduced vol. II, fig. 157
2.  Ibid., vol. I, p. 310, cat. no. 111, reproduced, vol. II, fig. 188