Jacques Antoine Marie Lemoine

Sale, Paris, Nouveau Drouot, 4 November 1981, lot 93,
where acquired by the present owner

N. Jeffares, A Catalogue of the Works of Jacques-Antoine-Marie Lemoine, privately printed, London 1996, vol. I, pp. 126-127, no. 98, also cited pp. 24, 85 (under no. 47), 126 (under no. 97), 177, 192, 201, 203, reproduced pl. 98;
N. Jeffares, 'Jacques-Antoine-Marie Lemoine (1751-1824)', Gazette des Beaux-Arts, vol. CXXXIII, February 1999, p. 118, no. 136, reproduced p. 118, cited p. 135

Hinged at the upper margin. Red chalk sketch of an arm on the verso. Overall condition is good. Some light scattered foxing, more visible in her dress and her neck. Otherwise chalk is fresh and strong. Sold in a carved and gilded 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.

This beautiful portrait of a young lady, dated 1796, is a work from Lemoine's mature career, and is stylistically close to a group of portraits of the same period that Neil Jeffares has commented ‘all have a high degree of realism: they have been compared with those of Vigée Le Brun for naturalness of expression and sincerity of feeling, and with those of David for depth of psychological insight.’¹  Like many of Lemoine's portraits, this highly finished work shows the sitter bust length, facing directly out towards the viewer.  As Jeffares has described, the lighting in Lemoine's portraits is very distinctive, and generally, as here, originates from the left, leaving very characteristic shadows on the left cheek of the sitters.  The artist makes masterly use of stumping to create subtle variations and enhance the effects of lighting, resulting in a highly distinctive smooth and velvety surface.

It seems that while Lemoyne was training in the studio of Jean-Jacques Lagrenée (1737-1821), he was encouraged by his master to specialize in portraiture.  Relatively little else is known of the artist's life, but he is generally thought to have studied next with Maurice Quentin de La Tour, in around 1777.  As Neil Jeffares, who has dedicated two important and exhaustive studies to Lemoine's life and works (see Literature), has observed ‘There is a certainly stylistic evidence for his studying under La Tour, most notably in the remarkable intensity of the sitter’s gaze captured in so many of his portraits.’ ² 

In his mature portraits, Lemoine attained a remarkable level of quality and refinement of execution, characterized by the subtle range of nuances that he achieved through his very personal use of his chosen media.  

¹  N. Jeffares, op. cit., 1999, p. 75
²  Ibid., p. 62