Antoine Vestier

With Galerie Sedelmeyer, Paris (according to a wax seal on the reverse).

The work is in good condition, the canvas is lined, light craquelure throughout. A visible repair in the hairline of the woman over the womans left eye. as well as another repaired tear to the left of her head, old visible repainting to the right of her head in the background. Slightly thin surface. UNDER UV: repair mentioned above floresses, as well as a 5 inch area at the lower right hand side near her forearm. Overall she seems to be in good condition, besides a few small touches of inpaining and the two larger areas mentioned above the woman seems to be untouched.
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.

The present work was almost certainly owned by the Sedelmeyer Gallery, as evidenced by the gallery's wax seal on the reverse. However what remains uncertain is which version of the present composition by Vestier is the picture published in the 1901 Sedelmeyer catalogue. Illustrated in1901 Illustrated Catalogue of the Seventh Series of 100 Paintings by Old Masters is a work of almost identical composition to the present lot, as having once formed part of the collection of the Comte de Bryas, Paris.¹ The fact that Sedelmeyer owned both the present picture, and the work illustrated in their 1901 catalogue suggests that these two pictures may be one in the same. However, inconsistencies which are clearly noticeable between the two compositions, such as differences in the sleeves, and the flowers being held in the sitter's hand, as well as the inclusion of an urn in the present work, favors the contrary. Furthermore, the apparent lack of any major surface damage here supports a more likely explanation that Sedelmeyer owned two versions of this composition, the present picture, and the aforementioned published version.

 

1.  C. Sedelmeyer, Illustrated Catalogue of the Seventh Series of 100 Paintings by Old Masters, Paris 1901, p. 88, cat. no. 74, reproduced.