隨讓·巴蒂斯·勒芒耶（1704 - 1778年） 法國，十九世紀

Comte Jacques-Victor de la Béraudière, Château de Bouzille, near Angers, before 1885 his sale, 12 Rue de Poitiers Paris, 18-30 May 1885, lot 770 (identified as the Marquise de Pompadour)
Comte Henry Jules Charles Emmanuel Greffulhe, Paris, by 1911 to 1935
Sold Paris, October 1963 (according to G. Scherf n.17)
Antoine Agénor Armand 12^th Duc de Gramont, Paris
His sale, Palais Galliera Paris, 3 April 1968, lot 217

Galerie Georges Petit, Paris, L'Art du XVIII^e siècle, December 1883-January 1884, no. 260 (identified as the Marquise de Pompadour)
Paris 1889, no. 1279

A. de Montaiglon, "Signatures et inscriptions des sculptures de l'Exposition de l'art au XVIII^e siècle", Nouvelles Archives de l'Art Français, Series 3, I, 1884-1885, p. 40, no. 260 (identified as the Marquis de Pompadour)
G. Brière, "Note sur les bustes de Camille Falconet par Etienne Falconet", Bulletin de la Société de l'Histoire de l'Art Français, 1907, p. 91, n. 1
E. Dacier, Catalogues de ventes et livrets des Salons illutrés par Gabriel de Saint-Aubin, V-VI, Paris, 1911, p. 66, n. 2.
S. Lami, Dictionnaire des sculpteurs de l'école française au dix-huitième siècle, II, Paris 1911, p. 63
L. Réau, Les Lemoyne, Paris 1927, p. 152, no. 143, p. 248, no. 85, pl. LXXI, fig. 110
G.M., "Un demi-siècle á l'Hôtel Gramont", Connaissance des Arts, no. 141, November 1963, p. 98, fig. 9
G. Scherf, Madame de Pompadour et les arts, X. Salmon (ed.), Musée national des château de Versailles et de Trianon, 2002-2003, pp. 282, 288, n. 17 (tentatively identified as the Marquise de Pompadour)

Wear, small losses throughout. Some pitting to surface (inherent to stone). Very minor restorations to surface chips. Some hairline cracks, would benefit from cleaning.
"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."

No trace has been found of Lemoyne's marble bust of Madame de Pompadour which was exhibited at the 1761 Salon. Nor did it appear in the Marquise's inventory après décès. At the time of the Salon exhibition, the bust was widely discussed and it was included in a drawing by Saint-Aubin, rendered in situ.

In his 2002 catalogue Madame de Pompadour et les arts, Guilhem Scherf illustrates the present bust as a possible candidate for the Salon marble (Scherf had only seen a black and white image of the bust at that time). Another marble presumed to be of Madame de Pompadour is in Waddesdon Manor (Scherf, op.cit., p. 282, fig. 2) and it has been suggested that it was the Salon piece but Scherf disputes that fact, explaining that it was not carved in Lemoyne's idiosyncratic style (op.cit, p. 282).

The present bust, while lacking in some details, is reminiscent of several of Lemoyne's portraits. It bears the date of 1756 which led Scherf to question the Salon connection because the block of marble was not delivered to Lemoyne's studio until 1758. It is likely that the signature and date are later additions