Jean-Baptiste Le Prince

F.J.E. Horstmann, Kasteel Oud Clingendael;
With Jacques Goudstikker, Amsterdam, 1930;
Looted by the Nazi authorities, July 1940;
Recovered by the Allies, 1946;
In the custody of the Dutch Government at the Netherlands Office for Fine Arts, inv. no. NK 1901;
Restituted in February 2006 to the heir of Jacques Goudstikker;
By whom sold ('Property from the collection of Jacques Goudstikker'), New York, Christie's, 19 April 2007, Lot 42.

Amsterdam, Goudstikker, April–May 1930, no. 45;
Maastricht, Bonnefantenmuseum, on loan from the Netherlands Office for Fine Arts, The Hague, from 1958;
Dijon, Musée des Beaux-Arts; Paris, Institut Neerlandais; Rotterdam, Museum Boymans-van Beuningen, French Paintings from Dutch Collections, 1600-1800, 5 September 1992 - 7 March 1993, no. 30.

Catalogue des nouvelles acquisitions de la collection Goudstikker, Amsterdam 1930, cat. no. 38;
Catalogus van Schilderijen en Beeldhouwwerken Limburgs Museum voor Kunst en Oudheden, Bisschoppelijk Museum Bisdom Roermond, Maastricht 1958, p. 37;
P. Rosenberg, G. Jansen, J. Giltaij, French Paintings from Dutch Collections, 1600-1800, exhibition catalogue, Rotterdam 1992, cat. no 30; pp. 143-145;
C.B. Bailey, 'Exhibition Review: Dijon, Paris and Rotterdam. French Paintings from Dutch collections', Burlington Magazine, December 1992, p. 833;
Old Master Paintings: An illustrated summary catalogue, Rijksdienst Beeldende Kunst (The Netherlands Office for Fine Arts), The Hague 1992, p. 176, no. 1483, reproduced;
A. Wintermute, 'Exhibition Review: French Paintings in Holland', Apollo, February 1993, p. 130.

The paper sheet is laid onto old canvas. Both the paper and canvas support appear to be in good condition. The varnish is clear and even, if a fraction discoloured. Visible to the naked eye and in the catalogue image is a hairline inch-long old restored tear to the left of the ladies head, a second smaller 2cm tear is visible at the centre left on the bottom margin. There are some minor and barely noticeable bumps and scuffs, mostly at the margins. But seemingly very little restoration. Inspection under ultra violet light reveals nothing - the varnish fluoresces opaque. In seemingly very good, mostly untouched condition.
"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."

Executed with thick yet deft brushstrokes, the girl in this charming oil sketch wears a red dress and rests her flower-filled right hand against a balustrade. Jean-Baptiste Le Prince, a pupil of Boucher, traveled to Russia in 1758 to work for Catherine the Great at the Imperial palace, staying for five years. Whilst there he moved around extensively, perhaps even journeying as far as Siberia, creating etchings and paintings of the Russian countryside and daily life. Alan Wintermute was the first to recognise this work as being a study for the figure of a girl standing at the rear left of the Concert Russe, dated to 1770, in the Musée des Beaux-Arts, Angers.