Rosalba Carriera

Sale, London, Christie's, 11 December 1990, lot 47a

N. Jeffares, Dictionary of Pastellists before 1800, London 2006, p. 113, reproduced

Laid down on canvas. There is a small repaired tear, upper right, at the level of the sitter's nose. Losses to pigment in the forehead and left eye. There are quite a lot of losses in the white pigment. Surface looks slightly abraded. There appears to be some type of pigment added in the area above the left eye. Sold in a late 18th century gilded 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.

This fine portrait of an unidentified gentleman is characteristic of Rosalba's style, where her skillful use of sfumato and delicate choice of palette are particularly evident.  In these respects, the present work can be compared with Rosalba's Portrait of a Gentleman in the National Gallery, London.¹  The pose, and also the handling of the hair and costume, are very similar in the London portrait, as is the manner in which the detailing of lace is rendered, employing a technique much used by Rosalba, as Neil Jeffares has noted: 'among her hallmark techniques is the use of the flat side of a chalk dragged over contrasting color to depict lace effectively rather than accurately.^'2

1.  B. Sani, Rosalba Carriera, Turin 1988, pp. 295-6, under no. 146, reproduced fig. 120
2.  Jeffares, op.cit., p. 88