Jean François Sablet

Private collection, France;
Anonymous sale, Paris, Sotheby's, October 20, 2005, lot 35.

Painting is relined. This large work appears to be well preserved in many areas. The marble stand and the gold jug in the lower left have virtually no repairs as seen under U.V. There are some scattered retouches along the top left background. These are faintly visible in some of the darks. In the face of the figure there are pin dot size retouches applied mostly along the canvas grains. In the lower edges of the figure's drapery, there are a few scattered patches of over paint. These are applied mostly in the lights of the paint. Running down the right quarter of the painting is a crease in the canvas which has over paint applied. This over paint is visible to the naked eye, most notable next to the blue vase. Despite scattered retouches, painting is in good condition with nice coloration. In a carved giltwood 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.

The present large scale work depicts a vestal virgin burning incense before an altar. It is undoubtedly influenced by Sablet's teacher, Joseph-Marie Vien, and seems to be related to Greek works painted for the Parisian socialite Madame Geoffrin, which were exhibited in the Salon of 1763. The unidentified coat of arms in the upper right hand corner suggests that the sitter, now unidentified, came from a distinguished family that commissioned the painting as part of their private collection.

Jean-François Sablet was born in Morges, Vaud in 1745. He, along with his brother Jacques-Henri, followed in their father's footsteps as painters (their father also worked as a picture dealer in France). They both studied at the Académie Royale de Peinture et de Sculpture in Paris as pupils of Vien - François from 1768-73 and Jacques from 1772-5. Sablet's earliest portraits include Charles de Bourbon, Comte d'Artois, as Colonel General of the Swiss and Grison Guards (1774; ex-Bourbon-Chalus Col., Paris) and Charles -Henri, Comte d'Estaing (untraced; engraved by Charles-Etienne Gaucher).¹ Sablet spent two years in Rome studying and painting with his brother; however, he was forced to leave in 1793 due to European unrest concerning the French Revolution. He executed a number of revolutionary portraits upon his return to Paris, including Joseph-Agricol Viala, William Tell and Lycurgus (all untraced; engraved by Pierre-Michel Alix), but spent most of his time painting in Normandy, out of the revolutionary spotlight of Paris.

This painting has been viewed by Anne van de Sandt, who confirmed the attribution to Sablet.

1.  A. van de Sandt, "Jean-François Sablet", in Grove Dictionary of Art, vol. 27, New York 1996, p. 484.