Henri-Eugène Pluchart

Original canvas. There is a layer of surface dirt and a layer of discoloured varnish. There are lines of craquelure throughout, notably to the left side. There are stretcher marks visible on all four edges. There is some impact craquelure to the sitter's upper hand. Under UV there is retouching visible to the lower edge and to the upper section of the left edge and flecks of retouching across her body. There is evidence of old sweeping retouching to the background, strengthening to the ornamentation to the chair and the sitter's face, but an opaque layer of discoloured varnish prevents a conclusive analysis.
"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."

Born in St Petersburg to a French father and a German mother, Pluchart completed his studies abroad in Germany, but returned to Russia in 1832. He is perhaps best known for a series of impressive frescos painted for the interior of St. Isaac's Cathedral in St Petersburg during the 1840s. However his talent for portrait painting, as illustrated by the exquisitely-rendered offered lot, meant that Pluchart was regularly commissioned to produce likenesses of Russian and European high society, including Pushkin's sister, Olga Pavlischeva and the French mezzo-soprano, Pauline Viardot.

Vera Vasilievna Samoilova (1824-1880) was a highly popular actress at the Alexandriinsky theatre in the 1840s and 50s and came to epitomise aristocratic taste. It is known Plushart painted her a number of times. One of these, showing Samoilova standing and engaging the viewer with a coquettish glance, is in the collection of the Tropinin Museum, Moscow (fig.1)