Pierre-Antoine Quillard

With Edward Speelman Ltd., London, 1963;
Probably acquired from the above by the father of the present owner.

London, Herner-Wengraf, Summer Exhibition, 1972.

The original is lighter and brighter in tone than the catalogue illustration suggests. The relining is stable. The paint surface is generally in very good condition though there is an area of strengthening in the sky and a small restoration, some small retouchings in the lower right corner, and the little line of tree trunks at the right have been strengthened. Sold with a modern gilt frame in good condition.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Quillard is thought to have been trained in the Paris studio of Jean Antoine Watteau, in whose style he produced a number of fêtes galantes such as this. After competing unsuccessfully for the Prix de Rome in 1724 and 1725, Quillard left France for Portugal, where he enjoyed rather more recognition. In 1727 he was appointed court painter to John V of Portugal, and he also worked for leading nobles, including the Marquês d'Alegrete and the Conde d'Evicera. The present work probably dates from this period, when Quilllard's work also suggests the influence of Nicolas Lancret.