Jean-Baptiste Perronneau

Private Collection, England, until 1987,
when purchased by the present owner

London, Clarendon Gallery, The Art of the Pastel, 1986, nos. 6a/b, reproduced pl. VIII ('Monsieur Fleuriau');
New York, Wildenstein, The Arts of France from François I^er to Napoléon I^er:  A Centennial Celebration of Wildenstein's Presence in New York, 2005-2006, p. 217, no. 82, reproduced figs 82-1, 82-2

N. Jeffares, Dictionary of Pastelists before 1800, London 2006, p. 402, both reproduced

Aimé Benjamin Fleuriau: Paper laid down on canvas. There appears to be an added strip of paper along the top margin. Overall condition is good. There is a small repaired tear at the lower right margin at the level of the man's sleeve. There is also a small hole above the repaired tear. There are some losses to medium in certain places and some rubbing, more noticeable in the gentleman's jacket Otherwise pastel has retained its strength in the face and delicate lace details. Madame Fleuriau: pastel on paper wrapped around a stretcher not laid onto canvas, verso of sheet visible through stretcher. Overall in good condition, colors extremely vibrant and fresh. Some losses and rubbing around the edges. Otherwise blue pigment retains its magnificence. Both sold in carved and gilded frames
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 sitters in this elegant pair of portraits are identified in old inscriptions, written on the paper covering the original backings.  The inscription on the back of Madame Fleuriau indicates that her portrait was executed in Bordeaux on 20 September 1756, when she was 23 years of age.  Due to the dominance and competition of Maurice Quentin de La Tour, Perronneau travelled to the provinces extensively at this time, searching for new patrons.  In the same year he executed, also in Bordeaux, the spectacular portrait of Bernard-Olivier Journu, known as the Jeune homme ‘à trois roses’, now in the Metropolitan Museum.¹ 

Aimé-Benjamin Fleuriau (1709-1787) was left by his father penniless and burdened with debts.  With few other options, he set sail for Santo Domingo in 1729, to join his uncle Paul Fleuriau there, and he remained in the colonies for 27 years, gradually making a fortune from trade, sugar production and property.  He returned to La Rochelle a wealthy man in 1755, having entrusted his businesses to relatives.  At that point he became engaged to the young Marianne Suzanne Liège (1733-after 1793), the daughter of another wealthy La Rochelle merchant with interests in the colonies.  Perronneau's pastels, executed in 1756, may well have been made in celebration of the couple's betrothal.  

In 1908 a mediocre copy after the portrait of Madame Fleuriau, formerly in the René d’Hubert collection, was included in the Exposition de cent pastels du XVIIIe siècle, at the Galerie Georges Petit (no. 83).²

Perronneau is regarded as one of the top two French pastellists of the 18^th Century.  Neil Jeffares has aptly described the artist’s ground-breaking achievements as a colourist in:  ‘..obtaining extraordinary harmonies - e. g. garnets and violets against yellow grounds, or the characteristic green strokes to suggest shadows on flesh (which he usually depicts in a predominantly yellow tonality), anticipating the deconstructionist approach of Chardin and even of the impressionists.’ ³

His pastels are characterized by a remarkable spontaneity and although less flamboyant than those of his great rival La Tour, they convey a more realistic and immediate representation of the sitter.

¹ N. Jeffares, op. cit., London 2006, p. 403

² New York, Wildenstein, exhib. cat., op. cit., 2005-2006, p. 218, and note 9

³ N. Jeffares, loc. cit., p. 397