Jean-Auguste-Dominique Ingres

Raymond Balze (a gift from the artist. Balze (1818-1909) was a pupil of Ingres; with his annotations: inscribed La Comtesse d'Haussonville/par J. Ingres upper left; 1ère indication upper right; 3 couches/de couleurs/m'ont fait découvrir/cette peinture centre right; La Comtesse d'Haussonville 1 er portrait par J. Ingres. ébauche abandonnée et recouverte. retrouvée par R. Balze lower left)
Joseph-Othenin-Bernard de Cléron, Comte d'Haussonville (purchased from the above before 1882)
Gabriel-Paul-Othenin de Cléron, Comte d'Haussonville
Marquise Guy-Robert-Philippe-Marie du Val de Bonneval, born Madelaine d'Haussonville
Sale: Ader, Picard, Tajan, Paris, 24 June 1985, lot 16
Purchased at the above sale by the late owner

Paris, Galerie Georges Petit, Ingres, 1911, no. 41
Paris, Hôtel de la Chambre Syndicale de la Curiosité et des Beaux-Arts, Ingres, 1921, no. 35, illustrated in the catalogue
Paris, Galerie Charpentier, Cent ans de vie française, 1929, no. 432, illustrated in the catalogue
Paris, Galerie Jacques Seligmann, Portraits par Ingres et ses élèves, 1934, no. 6, illustrated in the catalogue
Paris, Galerie Charpentier, Portraits français, 1945, no. 57
Paris, Galerie André Weil, Ingres, maître du dessin français, 1949, no. 29
Montauban, Musée Ingres, Ingres et son temps, 1967, no. 123
New York, The Frick Collection, Ingres and the Comtesse d'Haussonville, 1985-86, no. 32, illustrated in the catalogue
New York, Jan Krugier Gallery, The Presence of Ingres, Important works by Ingres, Degas, Picasso, Matisse and Balthus, 1988, no. 32
Madrid, Museo Thyssen-Bornemisza, Miradas sin Tiempo. Dibujos, Pinturas y Esculturas de la Coleccion Jan y Marie-Anne Krugier-Poniatowski, 2000, no. 203, illustrated in the catalogue
Munich, Hypo-Kulturstiftung, Das Ewige Auge - Von Rembrandt bis Picasso. Meisterwerke aus der Sammlung Jan Krugier und Marie-Anne Krugier-Poniatowski, 2007, no. 81, illustrated in the catalogue

Henry Lapauze, Les Dessins de J.A.D. Ingres du Musée de Montauban, Paris, 1901, p. 236
Boyer d'Agen, Ingres, d'après une Correspondance inédite, Paris, 1909, p. 349
Henry Lapauze, Ingres, sa Vie, son Oeuvre, Paris, 1911, pp. 382, 391
Louis Flandrin, 'Deux Disciples d'Ingres, Paul et Raymond Balze,' in Gazette des Beaux-Arts, Paris, August 1911, p. 154
Louis Hourticq, Ingres, l'oeuvre du maître, Paris, 1928, p. VII, pl. 86, illustrated
Andrew Carnduff Ritchie, 'The Evolution of Ingres's Portrait of the Comtesse d'Haussonville', The Art Bulletin, September, 1940, no. 3, pp.119-121, illustrated
Agnès Mongan and Paul J. Sachs, Drawings in the Fogg Museum of Art, Cambridge, 1946, p. 379
Agnès Mongan, The Frick Collection, an Illustrated Catalogue of the Works of Art in the Collection of Henry Clay Frick, Pittsburgh, 1949, p. 198
Jean Alazard, Ingres et l'Ingrisme, Paris, 1950, no. 18, pl. LXXXI, illustrated 
Georges Wildenstein, Ingres, Paris and London, 1954, p. 212, no. 238, illustrated
Daniel Ternois, Les dessins d'Ingres au Musée de Montauban, les portraits, dans Inventaire général des dessins des Musées de province, Paris, 1959, no. 64
Ingres Centennial Exhibition 1867-1967, exh. cat., Fogg Art Museum, Cambridge, Massachusetts, 1967, cited with no. 85
Ingres, exh. cat., Petit Palais, Paris, 1967, cited with no. 234
Robert Rosenblum, Jean-Auguste-Dominique Ingres,  New York, 1967, p. 148
Emilio Radius and Ettore Camesasca, L'Opera Completa di Ingres, Milan, 1968, no. 138b, illustrated
The Frick Collection, Illustrated Catalogue, exh. cat., New York, 1968, p. 138
Daniel Ternois and Ettore Camesasca, Tout l'oeuvre peint d'Ingres, Paris, 1971, no. 139b, illustrated
John Whiteley, Ingres, London, 1977, p. 55
Hans Naef, Die Bildniszeichnungen von J.A.D. Ingres, Bern, vol. III, 1980 p. 328, illustrated; vol. V, 1980, no. 292, illustrated
Daniel Ternois, Ingres, Paris, 1980, no. 292, illustrated
Edgar Munhall, Ingres and the Comtesse d'Haussonville, exh. cat., The Frick Collection, New York, 1985, no. 32, pl. 5, illustrated
Uwe Fleckner, Abbild und Abstraktion. Die Kunst des Porträts im Werk von Jean-Auguste-Dominique Ingres, Mainz, 1995, pp. 215-218, 237-249
Georges Vigne, Ingres, Paris, 1995, p. 249, discussed
Gary Tinterow & Philip Conisbee, Portraits by Ingres, Image of an Epoch, exh. cat., The National Gallery, London, The National Gallery, Washington, The Metropolitan Museum of Art, New York, 1999-2000, p. 402, fig. 239, illustrated
Valérie Bajou, Monsieur Ingres, Société Nouvelle Adam Biro, Paris, 1999, no. 202 illustrated
The Mirror & The Mask. Portraiture in the Age of Picasso, exh. cat., Museo Thyssen-Bornemisza, Madrid, 2007, p. 162, fig. 2, illustrated

The following condition report has been provided by Hamish Dewar Ltd, 13 & 14 Mason's Yard, London SW1Y 6BU: UNCONDITIONAL AND WITHOUT PREJUDICE Structural Condition The canvas has been lined and the turnover and tacking edges have been covered with cotton tape. The structural condition is sound and secure. There is a faint craquelure pattern and stretcher-bar lines which are entirely stable and are not visually distracting. Paint surface The paint surface has an even varnish layer and only minimal retouchings are visible, primarily in the background and outside the oval. The surface obviously has an abraded appearance, Ingres' grey overpaint concealing his composition having been rubbed down by its first owner, Raymond Balze. Further areas of the grey overpaint have been removed since the painting's appearance on the market in 1985, revealing more of Ingres' original composition. Summary The painting would therefore appear to be in good and stable condition and no further work is required. The nature of the surface should be noted.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

When Ingres returned to Paris in 1841, after spending six years in Rome as the director of the Académie de France, he was enormously popular among members of the highest ranks of French society. With his first commission being to paint the portrait of the Duc d’Orléans, heir to the throne, he was an artist in demand: a portrait commission by the artist being an enormous coup for families that supported the Orléans regime. By 1842, Ingres had completed the portrait of the duc and accepted two more commissions. Of these Édouard Gatteaux wrote to Charles Marcotte: 'one of Madame Rothschild and one of the duc de Broglie’s daughter. He has already made an ébauche of one [almost certainly the present lot], the other will be sketched soon, but he will not finish them until next winter' (Tinterow & Conisbee, p. 401).

Ingres first met Princess Louise de Broglie in July 1840, while he was in Rome. Her father, Achille-Charles-Léonce-Victor, duc de Broglie, held a number of important positions within the French government, including the presidency of the Council of State and French ambassador to London, and her mother, Albertine, was the daughter of celebrated writer Madame de Staël. They raised Louise with conservative values and in her memoirs she recalls a somewhat extreme self-image, describing 'two persons inside of me, the good and the evil, and the evil usually overcame the good.' She also described her 'taste for society, for flirtation, and for pleasure [which] continued to dominate me' (Tinterow & Conisbee, p. 402). 

The preliminary ébauche that Gatteaux referred to (the present work) shares many characteristics with Ingres’ finished portrait of the Comtesse (1845, Frick Collection, New York; fig. 1). With her head tilted, hair parted simply down the middle and with a ribbon on one side, a gentle smile and somewhat empty expression, and her index and middle finger coyly supporting her chin, Ingres shows a flirtatious character. Shortly after completing the sketch, however, the duc d’Orléans died, and the resulting memorial commissions forced the artist to postpone completion of the Comtesse's portrait. In February 1843, he wrote: 'I still have to finish… the full sketch of Mme. d’Haussonville that I wanted to start over, which will be better beyond comparison' (Tinterow & Conisbee, p. 405). Thus, he abandoned the ébauche and reversed the composition, adding the mantle, mirror and reflection, and still life. Ingres ultimately obliterated the ébauche, painting over it with grey paint and gave it to his student, Raymond Balze, who eventually stripped the layers of paint to reveal the original image and sold it to the Haussonvilles.