Louis Caravaque and studio

Bremen, Kunstverein Bremen, No. 589

The canvas has been lined. The paint surface is dirty and there is a layer of discoloured varnish. There is pronounced craquelure to the sitter's face and bust and this appears to have been crudely retouched and could be more sensitively restored and significantly improve the overall appearance of this work. There are patches of paint shrinkage to the darker background in places UV light reveals infilling to the above mentioned craquelure throughout and patches of old restoration. A layer of fluorescing discoloured varnish prevents a more conclusive examination. Held in a carved gilt frame. Unexamined out of 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. 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."

 

 

 

The offered work most probably forms part the renowned series of portraits of Elizaveta Petrovna commissioned from Louis Caravaque, who had painted the first official portrait of the new Empress following her coronation on 6^th March 1742. On 7th May of the following year, Caravaque, who had replaced Johann Gottfried Tannauer (1680-1737) as painter to the Romanov Court, was asked to complete 14 portraits of the sovereign for Russian embassies abroad. Archival research into Russia's foreign affairs at the time has revealed the various stages of their composition.

 

Initially the 'ambitious artist from Gascony' promised to complete the commission within a year and without the aid of assistants. However, even after a decade, Caravaque had only finished eight of the portraits, which were distributed throughout Europe: a three-quarter length version was sent to Baron Korf in Stockholm, and later Copenhagen; two large portraits were sent to Count Golovkin in the Hague and Count Bestuzhev-Ryumin in Vienna; five bust portraits were sent to Count Keizerling in Dresden, Count Chernyshev in London, Count Panin in Stockholm, Lachinsky in Vienna and Prince Golitsyn in Hamburg.

 

When the Empress viewed the portraits and expressed dissatisfaction at how her hands had been painted, Caravaque revealed that he had in fact worked on the project with a team of artists in his studio and that one of his assistants had admitted to committing this error. After some 'necessary alterations', the canvases were finally sent by sea from St. Petersburg to Lübeck and then on to Hamburg before being forwarded on to their recipients.

 

In the offered lot, Caravaque's hand is evident in the rendering of Elizaveta Petrovna's face, which is painted with a far greater sensitivity and precision than her clothes and jewels, which attests to the collaboration between the great artist and his studio assistants needed to complete this important and demanding Imperial commission.

 

We are grateful to Dr. Liudmila Markina, Head of the Department of Painting from XVIII-first half of XIX century at the State Tretyakov Gallery, Moscow, for providing this note.