Adélaïde Labille-Guiard

Anonymous sale, Paris, Hôtel Drouot, December 12, 1988, lot 5.

L. Auricchio, Adélaïde Labille-Guiard, Artist in the Age of Revolution, Los Angeles 2009, p. 121, cat. no. A7 (under "Supplement to Anne-Marie Passez, Adélaïde Labille-Guiard, 1749-1803," Paris 1973, compiled by L. Auricchio and J. Baillio).

The canvas appears to be unlined and is a little loose on its stretcher, resulting in an irregular craquelure pattern. There is good retention of color and detail, particularly in the lace. Inspection under UV reveals fine lines of retouching following the craquelure pattern in the background and in the flesh tones of the face and neck. An old repair to a puncture is visible on the reverse with resulting retouching on the paint surface. The painting could perhaps be restretched but does not appear to require other work and is otherwise ready to hang. Offered in a carved gilt wood 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.

This autograph work, published by Laura Auricchio, is typical of Adélaïde Labille-Guiard, who had a considerable impact on Parisian portraiture of the late eighteenth century.  Labille-Guiard's portraits were applauded for their faithful likeness to the sitters and, in the present work, the typically candid expression of the unknown lady imbues the portrait with a sense of frank immediacy.

The artist's aptitude for the portrayal of texture and light is demonstrated in the sheen of the satin and powdery velvet lining of the dress, contrasted with the mass of matt coiffed hair.  The background is unadorned and reflects the muted hues of the sitter's hair, while the blush in her flawless skin is mirrored in the pink of her hat and lining and trim of her dress.

Labille-Guiard trained first as a miniaturist under François-Élie Vincent then went on  to study oil painting in the studio of François-André Vincent, whom she later married.  With no formal opportunity to exhibit her work, the artist instead requested sittings with leading members of the Académie Royale as a means of displaying her talent and establishing her position.  In the present portrait, the precision of brushstrokes in the hair and lace trim betray her background as a miniaturist and, indeed, it was this quality that led to her acceptance to the Académie in 1783.  By 1786, the year this work was executed, the artist was at the height of her notoriety, accepting commissions from the French aristocracy, and a year later was named Ladies' Painter, the official portraitist to the aunts of King Louis XVI.