Portrait of a gentleman, half-length, holding a pair of gloves
Property from the Collection of David and Louise Carter
Claude Lefebvre

Portrait of a gentleman, half-length, holding a pair of gloves

22 January 2021 • New York

Portrait of a gentleman, half-length, holding a pair of gloves
Portrait of a gentleman, half-length, holding a pair of gloves
Portrait of a gentleman, half-length, holding a pair of gloves
Portrait of a gentleman, half-length, holding a pair of gloves
Portrait of a gentleman, half-length, holding a pair of gloves
556

Claude Lefebvre

Portrait of a gentleman, half-length, holding a pair of gloves

Estimate:

10,000 - 15,000 USD

Property from the Collection of David and Louise Carter

Claude Lefebvre

Claude Lefebvre

Portrait of a gentleman, half-length, holding a pair of gloves

Portrait of a gentleman, half-length, holding a pair of gloves

Estimate:

10,000 - 15,000 USD

Lot closes:

Lot closes:

12 days, 13 hours

12 days, 13 hours

January 30, 03:56 PM (GMT)

January 30, 03:56 PM (GMT)

Description

Property from the Collection of David and Louise Carter

Claude Lefebvre

Fontainebleau 1632 – 1675 Paris

Portrait of a gentleman, half-length, holding a pair of gloves


oil on canvas

canvas: 38 3/4 by 30 in.; 98.5 by 78.2 cm.

framed: 49 3/4 by 40 1/2 in.; 126.4 by 102.9 cm.

Condition report

The canvas is lined and remains stable. The paint layer is in very good condition, with the subtle molding of the face and hands still rich and clear. Under ultraviolet light there is some retouching in the blacks but none visible in the face, hands, or costume details. The painting is in excellent condition and is offered in a carved giltwood frame.


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.

Provenance

Elverson, Philadelphia;
Mr. Julius H. Weitzner, by 1946;
With Jaques Seligmann and Co., by 1953;
Akron Institute of Arts, Ohio;
By whom sold, Sotheby's Parke Bernet, New York, 12 January 1979, lot 88;
There acquired. 

Exhibited

New York, Wildenstein & Co., French Paintings of the Time of Louis XII and Louis XIV, 8 May - 1 June 1946, no. 24;
Palm Beach, The Society of the Four Arts, Portraits, Figures and Landscapes, January 12 - February 4, 1951, no. 27;
Des Moines, Iowa, Des Moines Art Center, Portraits and Figure Paintings by French Artists of the Seventeenth, Eighteenth and Nineteenth Centuries, December 5 - 30, 1952;
New York, Jacques Seligmann and Co., Exhibition of Seventeenth Century French Paintings and Drawings, 23 November - 12 December 1953, no. 7;
Birmingham, Alabama, Birmingham Museum of Art, The Reformation and Counter-Reformation, September 15 - October 15, 1954.

Catalogue note

Despite the relatively few paintings by the artist which survive today, Lefebvre was one of the most famous portrait painters of his time.  Born into a family of painters in Fontainebleau, he was trained at the Academy under Charles Le Brun, who encouraged him to focus on portraits.  His work was greatly influenced by Philippe de Champaigne, but eventually he developed his own style which is reflected in the cold yet deep color tones and gravity of personality seen in the present painting.