François de Troy

Both have recent glue relinings which are firm and stable. paintings are clean and ready to hang in their present state. Portrait of Gentleman: there is generally very good retention of the paint surface with only some slight thinness noticeable in edges of hair and to background. ultraviolet light reveals small cosmetic retouches here and there on face, hands and costume. others in background with a larger area of retouching to the background under drapery and book lower right, and to pedestal at left. Portrait of Lady: paint surface is very well preserved especially in details of her costume which has lovely detail and coloration; background areas are a bit thin at right side, as are the browns of the pedestal at left and wall at right. there is a canvas seam or edge of the original canvas visible near upper edge with retouching above. ultraviolet light reveals what appears to be a small old repaired horizontal tear in top of wall at lower right; retouching along top edge as mentioned. otherwise there are just a few tiny cosmetic retouches here and there. This very attractive pair does not need any further work and can be hung as is. In French 17th century carved and gilt wood frames in a flower and laurel leaf pattern. frames were regilt ca. 1880 and each is signed by the gilder, Poulin Villeroy Doreur.
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 pair of portraits, painted by François de Troy circa 1680-85, are two of the earliest recorded portraits by the artist known today.       

François de Troy was a successful history and portrait painter, whose long career, alongside that of Hyacinthe Rigaud and Nicolas de Largillière, spanned across the late Baroque and early Rococo.  De Troy's portraits were executed with a great degree of naturalism and intimacy.  By the mid-1690s, de Troy had acquired a reputation as a painter of women.  As writer and connoisseur Dézallier d'Argenville pointed out, women favored him for his ability to make them look beautiful.  His gift at capturing the upper-class preoccupation with manners and social standing made de Troy equally popular with patrons from both the court and bourgeoisie, including Mme. de Montespan, mistress of Louis XIV, and their son, Louis-Auguste de Bourbon, Duc de Maine.

Upon firsthand inspection, Dominique Brême has confirmed the attribution of these portraits to François de Troy. 

The present pair of frames, carved in a flower and laurel leaf pattern, were regilt circa 1880, and each is signed by the gilder, Poulin Villeroy Doreur.