Anna Dorothea Therbusch née Liszewska

To the naked eye: The paintings appear in quite good condition. Both have been relined, most probably in the first half of the 20th century. The relining was correctly realized and did not compress the material. Both present slight traces of the stretcher. They are under a dirty varnish that need to be lightened. On L’arrivée de la lettre we notice a tear that has caused a loss of 3.5 cm. large and 7.5 cm long along the lower right edge toward the center. On the same painting we notice a 0.5 cm. restoration on the figure’s forehead. Under U.V. light: Both paintings appear under a thick green and uniform varnish. We notice the restorations already mentioned on L’arrivée de la lettre. On La lecture we notice the added signature f. boucher.
"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."

Née à Berlin en 1721 mais d’origine polonaise, Anna Dorothea Therbusch fut nommée en 1761 peintre à la cour du duc Charles Eugen von Wuerttemberg à Stuttgart, puis peintre à la cour de Carl Theodors von der Pfalz à Mannheim en 1763. À partir de 1765, date de son installation à Paris, elle entra dans une période très productive, qui la mena à sa nomination à l’Académie Royale en 1767. Elle envoya plusieurs œuvres au Salon, parmi lesquelles son morceau de réception : Un buveur (Paris, Ecole Nationale Supérieure des Beaux-Arts). En dépit de ses succès et de son amitié avec Diderot, l’artiste affronta quelques déceptions : le public, habitué à la sophistication du goût rococo, trouva son œuvre un peu trop réaliste. Elle quitta ainsi Paris un an plus tard pour retourner à Berlin où elle travailla, entre autres, pour Frédéric II de Prusse et Catherine II.