View full screen - View 1 of Lot 3. FRANÇOIS DE TROY  |  PORTRAIT OF CATHERINE DE LA BOISSIÈRE, NÉE LOISON, FULL-LENGTH, SEATED ON A SOFA AND LEAFING THROUGH MUSICAL SCORES HELD BY A PUTTO.
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FRANÇOIS DE TROY | PORTRAIT OF CATHERINE DE LA BOISSIÈRE, NÉE LOISON, FULL-LENGTH, SEATED ON A SOFA AND LEAFING THROUGH MUSICAL SCORES HELD BY A PUTTO

Estimate:

20,000

to
- 30,000 GBP

Property from Didier Aaron, Paris, New York & London

FRANÇOIS DE TROY | PORTRAIT OF CATHERINE DE LA BOISSIÈRE, NÉE LOISON, FULL-LENGTH, SEATED ON A SOFA AND LEAFING THROUGH MUSICAL SCORES HELD BY A PUTTO

FRANÇOIS DE TROY | PORTRAIT OF CATHERINE DE LA BOISSIÈRE, NÉE LOISON, FULL-LENGTH, SEATED ON A SOFA AND LEAFING THROUGH MUSICAL SCORES HELD BY A PUTTO

Estimate:

20,000

to
- 30,000 GBP

Property from Didier Aaron, Paris, New York & London

FRANÇOIS DE TROY

Toulouse 1645 - 1730 Paris

PORTRAIT OF CATHERINE DE LA BOISSIÈRE, NÉE LOISON, FULL-LENGTH, SEATED ON A SOFA AND LEAFING THROUGH MUSICAL SCORES HELD BY A PUTTO


oil on canvas

unframed: 56 x 45.5 cm.; 22 x 17⅞ in.

framed: 76.5 x 65 cm.; 30⅛ x 25⅝ in.


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The canvas is lined, the paint surface is relatively clean, and the varnish is clear and even. Inspection under ultraviolet light reveals a strip of retouching, approx. 1 in. thick, across the upper margin. There are further small, and sensitively-executed, retouchings scattered throughout, most notably in the sitter's forehead, chest, and the lower part of her robe; in the blue bolster to her right; through parts of the putto's body, and in the background, upper left and upper right. None of these are noticeable to the naked eye, and the painting presents well in its current state.

 

The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

D. Brême, François de Troy (1645–1730), Paris 1997, p. 96, reproduced.


The painting will be included in the catalogue raisonné of the work of François de Troy currently being prepared by Dominique Brême.

“While the range of sumptuous fabrics and delicately rendered details in this elegant portrait capture one’s attention immediately, I also found myself curious about the subject. We often see portraits of men with attributes of their vocations, but how wonderful that here we have a female composer, poised and confident with a book of musical scores being held by a putto.”  

 

Calvine Harvey


Initially a student of his father Jean de Troy, François completed his artistic training in the ateliers of Nicolas Loir and Claude Lefebvre. He was received into the Académie Royale in 1674. Parallel to his career as one of the leading portraitists of his time, de Troy also held positions in the Académie Royale where he became professor in 1693, director from 1708–11 and rector in 1722. Following family tradition, his son Jean-François became his pupil. The subject of this portrait can be identified thanks to an engraving by André Bouys after a work by François de Troy very similar in composition to the present painting, showing the sitter on a sofa leafing through musical scores held by a putto, and inscribed Sarabande de Mademoiselle Loison.A larger version of this portrait is in a private collection.2 Noblewomen during this period often sang and played the lute or the harpsichord for their private amusement, and increasingly participated in music-making.



A.P. de Mirimonde, L’iconographie musicale sous les rois bourbons. La musique dans les arts plastiques XVIIème–XVIIIème siècle, Paris 1975, pp. 74–75, no. 37, reproduced pl. XX.

Brême 1997, p. 183, no. 21.