Jean-Baptiste Deshays, called Le Romain

P-A. Baudouin;
His estate sale, Paris, P. Rémy, 15 February 1770, lot 27;
Where acquired by Tassart;
Possibly M. Le Roy de Senneville;
Possibly by whom sold, Paris, A.J. Paillet, 26 April 1784, lot 15;
Mme. Basan;
By whom sold anonymously ("Madame B**"), Paris, Paillet, 4 April 1791, lot 25;
Georges Wildenstein, Paris (as Boucher);
Confiscated from the above by the Einsatzstab Reichleiter Rosenberg (ERR), August 2, 1940 (as Boucher);
Taken by Hermann Göring (inv. RM 1036) and moved from Schloss Veldenstein to Berchstegaden (inv. 2094, as Boucher);
Munich Central Collection Point, (inv. 7144), August 6, 1945 (as Boucher);
Repatriated to the French government, April 4, 1946, and restituted to Wildenstein April 1949 (as Boucher);
Elizabeth Hawes;
By whose estate sold, New York, Christie's, 18 May 1994, lot 83;
With Galerie Cailleux, Paris;
By whom sold, New York, Christie's, 23 October 1998, lot 91;
There acquired by the present collector. 

M. Sandoz, Jean-Baptiste Deshays, Paris 1977, pp. 96, 108, 155, cat. nos. 104A and 205;
A. Bancel, Jean-Baptiste Deshays, Paris 2008, pp. 45, 165-66, cat. no. P.139, reproduced pp. 44, 166;
N. Yeide, Beyond the Dreams of Avarice: The Hermann Goering Collection, Dallas 2009, no. A1045, reproduced p. 152.

The shaped oval canvas has been relined. This painting is in beautiful condition and may be hung in its current state. The colors are still bright and vibrant and the paint is stable. UV light confirms the beautiful condition of this painting as no major retouches of any sort are visible. There are just a couple of tiny retouches towards the outer perimeter of the composition but the figure herself is devoid of any retouches save for one tiny retouch on her proper right hand. In an elaborately carved gilt wood 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. 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."

This sitter in this painting is traditionally identified as Jeanne Elisabeth Victoire Boucher (1735-c. 1772), the eldest daughter of François Boucher and later the wife of Deshays.  She and the artist were married in 1758, just seven years before his premature death.  It is likely that this portrait was completed early in their marriage, when Madame Deshays was in her mid-twenties. Though in the mid-20th century the painting was attributed to Boucher himself, Alistair Laing re-attributed the painting to Deshays in 1998. 

A smaller version of the composition was sold in the Marczell de Nemes sale, Amsterdam, 13 November 1928¹ and a further version, of lesser quality, was sold at Sotheby's London, 1 November 1991, as by a follower of Boucher.  

1. See A. Bancel, p. 166, cat. no. P.140.