View full screen - View 1 of Lot 28. FRANÇOIS LE MOYNE | RECTO: HEAD OF A WOMAN TURNING TO HER RIGHT,  VERSO: HEAD STUDY OF A WOMAN IN PROFILE.
28

FRANÇOIS LE MOYNE | RECTO: HEAD OF A WOMAN TURNING TO HER RIGHT, VERSO: HEAD STUDY OF A WOMAN IN PROFILE

Estimate:

10,000

to
- 15,000 USD

FRANÇOIS LE MOYNE | RECTO: HEAD OF A WOMAN TURNING TO HER RIGHT, VERSO: HEAD STUDY OF A WOMAN IN PROFILE

FRANÇOIS LE MOYNE | RECTO: HEAD OF A WOMAN TURNING TO HER RIGHT, VERSO: HEAD STUDY OF A WOMAN IN PROFILE

Estimate:

10,000

to
- 15,000 USD

Lot sold:

27,720

USD

FRANÇOIS LE MOYNE

Paris 1688 - 1737

RECTO: HEAD OF A WOMAN TURNING TO HER RIGHT

VERSO: HEAD STUDY OF A WOMAN IN PROFILE


Red chalk, with touches of white (recto and verso)

6 ⅞ by 5½ in.; 181 by 148 mm.

Some slight toning to the extremities of the verso. Otherwise in predominantly good condition throughout with the chalk reasonably fresh and the images (both recto and verso) strong. Sold in a giltwood 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.

Alexandre Ananoff, Paris (L.3365)

J.-L. Bordeaux, François Le Moyne 1688-1737, and his generation, Neuilly-sur-Seine 1984, p. 158, no. D83, reproduced, fig. 211

Sensitively drawn in red chalk with touches of white chalk, this is a fine example of Le Moyne’s draughtmanship. In terms of the application of chalk, Jean-Luc Bordeaux points out that the ‘delicacy of the contours and the softness of the cross-hatching’ are entirely characteristic of the artist’s style.1  Many of Le Moyne’s drawings were preparatory studies for his painted commissions but no direct connection between this beautiful head study and a painting have been made. Bordeaux dates this study to the mid-1720s.2


1. Bordeaux, op.cit., p. 158, under no. 83

2. Ibid.