Lot 2085 Dα

A charming painting of Françoise Marguerite Claire Boudeville, Marquise de La Frezelière, portrayed in the style called Femme en source.
De Largilliere may have first created this style of portrait, and made it a considerably popular one among French painters of his century. Two other portraits in this style by Largilliere are known, depicting Marie de Mahony in the Wildenstein Collections and another in the Musée Condé, Château de Chantilly, considered to represent the Duchess of Berry (ill. 1).
The Marquise de La Frezelière is shown in a park landscape, her arm resting on a large stoneware jar from which an abundant fountain of water flows. She wears a loose silk gown and a small garland of flowers in her hair. The quality of this portrait is marked by a subdued naturalistic setting, highlighting the young women's rosy complexion and costume. The youthful appearance of the sitter is cleverly enhanced by the visual assimilation made between her and the rejuvenating properties of water.
The fashion for this distinctly French portrait was continued by de Largilliere's disciples, namely Jean Marc Nattier and Pierre Gobert.
A painter of wide and early talent, including for still life and landscapes, Largilliere is known for his highly sought portraits in the late 17th and early 18th century. Trained in Antwerp under Antoine Goubeau in his early years, the French painter was a member of the Guild of Saint Luke from 1673, at the age of seventeen. Subsequently moving to London, he worked in the studio of Peter Lely learning the skills of portraiture. Eventually painting under his own name, de Largilliere quickly received commissions from both the French and English Royal courts. This marked a period in his career traveling between London and Paris, as both courts competed to gain his residency. Admitted to the French Academy in 1693, he eventually settled in Paris to produce works for Louis XIV and French nobility.
This painting once formed part of the collection belonging to French stage actor and director Sacha Guitry for almost 40 years. It is presented in a magnificent period carved and gilt Louis XVI frame.

We thank Dominique Brême for confirming the authenticity of this painting as an autograph work by Nicolas de Largillierre, on the basis of photographs. To be included in the forthcoming catalogue raisonné, subject to an examination in person.