Oil on canvas. Dimensions: 65 x 55 cm (unframed). We would like to thank Dominique Brême for his help in cataloging this work. On the back of the frame, there is an erroneous inscription "Duché de Ventadour, gouvernaunce des enfants de France. Louis XV, D(…) par Largillière (ND)” and, in the upper left corner, a shipping label from the Chenue house (Paris). However, this attribution to the Duchess of Ventadour suffers from several inconsistencies. First, the style and workmanship of the painting place it around 1710—due to the lady's hairstyle and the composition—when the real Duchess of Ventadour was around fifty-six years old, a far cry from the youth displayed by the female model. Furthermore, the child portrayed appears to have blue eyes, not the dark ones of the Duke of Anjou. For all these reasons, we can affirm that the female figure actually represents Catherine Marton, known as “Madame Bailly, ” second wet nurse to the 2nd Duke of Brittany, Louis de Bourbon, born on January 8, 1707. Both appear in an intimate and maternal atmosphere: the child, about two years old, rests one hand on the wet nurse's bare breast, while with the other she holds the medallion of the Order of the Holy Spirit worn by the Duke of Anjou. infant, a sign of his status as “Enfant de France.” This gesture, unusually “erotic” for court painting, confirms that this is not the governess, but the one who breastfed and raised the prince. The youthful freshness of the child—Louis de Bourbon, 2nd Duke of Brittany—and the gentle, restrained gaze of the wet nurse coincide with other portraits of her, particularly the group painted by Jacques Dumont “le Romain” in 1731 (Louvre, RF 511), where, at fifty years old, Madame Mercier (his successor) displays identical features (eyes, upturned nose, dimple in the chin). Although the portrait could serve to recognize the prince, its true intention is to highlight the role of the wet nurse. She extends her arm to proudly display the medal of the Order of the Holy Spirit. This detail not only indicates the royal status of the child, but also highlights the authority she exercises over him. Here, the artist adopts an almost provocative—not to say irreverent—approach by turning the sacred emblem of the heir on a toy casually held by the maternal hand. This underlines the role of the wet nurse not as a mere companion, but as the dominant and protective figure in the prince's childhood. This iconographic device even suggests that Marie Madeleine Mercier may have commissioned the work; however, it is also possible that the king (or the Grand Dauphin, or the Duke of Burgundy) wished to honor her by giving her her portrait, in her role as wet nurse and thanks to Largillière's work. There is a large canvas of identical composition in a private Parisian collection (160 × 130 cm), published by Georges de Lastic, attributed to the 2nd Duke of Brittany with his wet nurse ("without doubt Madame Bailly"; L'Œil 323, June 1982, p. 30, repr. 27). After examining both versions, it is confirmed that this is a "ricordo"—a reduced-size replica intended for future clients—since it presents the same "pentimento" on the nurse's arm.If this correction had been a "modello"—a preparatory figure to validate the composition—it would not have been visible in the final work; once it was inserted into the large canvas, it would have also been replicated in this parallel "ricordo." A detailed examination of the original, carried out "in situ" by Dominique Brême, confirms its autograph nature: "The generous paint content, the precision of the drawing, the freedom of the strokes, and the beautiful harmony of the palette leave no room for doubt. This is an original work by Nicolas de Largillière." An extensive report prepared by Dominique Brême in May 2025 is attached. It will soon be added to the artist's catalogue raisonné.
Öl auf Leinwand, Brustbild eines eleganten Herrn mit dunkler Allongeperücke, Spitzenjabot und rotem Samtdrapierung, leicht lächelnd vor dunklem Hintergrund, guter Alterszustand mit altersbedingter Craquelébildung, verso bezeichnet, restauriert, 75 x 60 cm, Rahmen, leicht bestoßen (Versandhinweise beachten) / Oil on canvas, bust portrait of an elegant gentleman wearing a dark allonge wig, a lace jabot, and a red velvet drape, smiling slightly against a dark background; in good condition for its age with age-related craquelure; signed on the reverse; restored; 75 x 60 cm, framed, frame slightly bumped (please note shipping instructions)
Bildnis Louise Françoise de Bourbon, Mademoiselle de Nantes (1673-1743) Spätere Prinzessin von Condé. Öl auf Lwd. (doubl.). (Oval). 40,5×33 cm. Rücks. alte Bez. schwach lesbar „Princess de Condy“. R. (61846)
PORTRAIT EINER ADELIGEN Öl auf Leinwand. Doubliert. 86 x 110 cm. In ornamentiertem Rahmen. Dreiviertelbildnis einer adeligen Dame, die auf einem Stuhl sitzend ihren Arm auf einem kleinen Tisch stützt. Im Hintergrund ragt eine Säule, als herrschaftliches Symbol, hinter einem Velum hoch hinauf. Die Dame schaut den Betrachter direkt an. Ihr Gewand aus gelber und blauer Seide ist detailreich gearbeitet. Blaue Blüten schmücken ihr Haar, diese Farbe wiederholt sich in den Ohrgehängen. In der Hand hält sie eine Blüte einer Zitrusfrucht. Nicolas de Largillière war ein Maler des Rokokos, der sich auf Portraits spezialisierte und vor allem aufgrund seines Kolorits und der lebendigen Auffassung der Portraitierten geschätzt wurde. (1481152) (10)
LARGILLIERE Nicolas de (1656-1746) d'après. Les Quatre Saisons. Quatre gravures aquatintes en couleurs, encadrées sous verre, gravées par JOUBART. 32 x 25 cm
French school, circle of NICOLAS DE LARGILLIÈRE (France, 1656- 1746), "Portrait of a lady". Oil on canvas. Relined. It conserves important frame of epoch. Measurements: 70 x 60 cm; 131 x 88 cm (frame). This portrait reflects certain distinctive stylistic features associated with Nicolas de Largillière and his environment: an exquisite attention to tactile qualities, especially in fabrics and lace, a rich and saturated palette, and a tendency to combine the dignity of the official portrait with a certain grace and naturalness. These characteristics can be related to works such as the Portrait of a Lady in a Blue Dress or the Portrait of Elisabeth Thérèse de Lorraine, where a similar treatment of the fabrics can be appreciated, as well as a similar elegant idealization of the feminine features. Compared to the more solemn portrait of Hyacinthe Rigaud, his contemporary, Largillière and his circle introduce a greater softness and decorative refinement, anticipating the Rococo taste. The brushstroke, although precise, is more flexible than in the full Baroque classicism, and allows to capture vividly the effects of light on the surfaces, especially in the shine of the satin and the transparency of the lace. The female figure is depicted bust-length, slightly turned, on a dark background that enhances the luminosity of the skin and the chromatic richness of the attire. She wears an elegant costume of intense red, enriched with golden embroidery and white lace, whose meticulous execution highlights the painter's technical virtuosity. The expression, serene and restrained, avoids excessive rigidity and suggests a certain psychological vivacity, a characteristic feature of French portraiture of this period. The lighting, soft and directed, delicately models the face and neckline, establishing a subtle contrast with the darker areas of the background. Nicolas de Largillière (1656-1746) was one of the most prominent portraitists of his time in France. Trained between France and England, he developed a brilliant career in Paris, where he specialized in portraits of the aristocracy and the gentry. A member of the Royal Academy, his work is characterized by compositional elegance, chromatic richness and a particular interest in texture and ornamental details. His style, halfway between Baroque and Rococo, exerted a notable influence on later French portraiture, consolidating a refined and attractive model of representation that was widely disseminated among his circle and followers.
Nicolas de LARGILLIERE (1656-1746), entourage de Portrait d’un chevalier de l’ordre du Saint Esprit Huile sur toile, ovale. H_75,5 cm L_60 cm Restaurations, vernis oxydé. Dans un cadre ancien en bois sculpté et doré. Anciens numéros d’inventaire au verso Notre beau portrait présente un homme en armure portant la médaille de l’ordre de Saint Esprit.
Nicolas de Largillierre Paris 1656 - 1746 Portrait of a Lady Oil on canvas, an oval 69,5 x 57,2 cm ; 27⅜ by 22½ in.: We are grateful to Mr Dominique Brême for having confirmed the authenticity of the work after first-hand inspection. It will be included in his forthcoming catalogue raisonné on the artist, as an early work.
Property from the Collection of Jordan and Thomas A. Saunders III Nicolas de Largillière Paris 1656 - 1746 Portrait of Jeanne-Marie de Sacconin de Pravieux as Diana oil on canvas canvas: 53 ⅞ by 41 ⅜ in.; 136.8 by 105.1 cm framed: 65 by 52 ¼ in.; 165.1 by 132.7 cm
Oil on canvas. Dimensions: 65 x 55 cm (unframed). We would like to thank Dominique Brême for his help in cataloging this work. On the back of the frame, there is an erroneous inscription "Duché de Ventadour, gouvernaunce des enfants de France. Louis XV, D(…) par Largillière (ND)” and, in the upper left corner, a shipping label from the Chenue house (Paris). However, this attribution to the Duchess of Ventadour suffers from several inconsistencies. First, the style and workmanship of the painting place it around 1710—due to the lady's hairstyle and the composition—when the real Duchess of Ventadour was around fifty-six years old, a far cry from the youth displayed by the female model. Furthermore, the child portrayed appears to have blue eyes, not the dark ones of the Duke of Anjou. For all these reasons, we can affirm that the female figure actually represents Catherine Marton, known as “Madame Bailly, ” second wet nurse to the 2nd Duke of Brittany, Louis de Bourbon, born on January 8, 1707. Both appear in an intimate and maternal atmosphere: the child, about two years old, rests one hand on the wet nurse's bare breast, while with the other she holds the medallion of the Order of the Holy Spirit worn by the Duke of Anjou. infant, a sign of his status as “Enfant de France.” This gesture, unusually “erotic” for court painting, confirms that this is not the governess, but the one who breastfed and raised the prince. The youthful freshness of the child—Louis de Bourbon, 2nd Duke of Brittany—and the gentle, restrained gaze of the wet nurse coincide with other portraits of her, particularly the group painted by Jacques Dumont “le Romain” in 1731 (Louvre, RF 511), where, at fifty years old, Madame Mercier (his successor) displays identical features (eyes, upturned nose, dimple in the chin). Although the portrait could serve to recognize the prince, its true intention is to highlight the role of the wet nurse. She extends her arm to proudly display the medal of the Order of the Holy Spirit. This detail not only indicates the royal status of the child, but also highlights the authority she exercises over him. Here, the artist adopts an almost provocative—not to say irreverent—approach by turning the sacred emblem of the heir on a toy casually held by the maternal hand. This underlines the role of the wet nurse not as a mere companion, but as the dominant and protective figure in the prince's childhood. This iconographic device even suggests that Marie Madeleine Mercier may have commissioned the work; however, it is also possible that the king (or the Grand Dauphin, or the Duke of Burgundy) wished to honor her by giving her her portrait, in her role as wet nurse and thanks to Largillière's work. There is a large canvas of identical composition in a private Parisian collection (160 × 130 cm), published by Georges de Lastic, attributed to the 2nd Duke of Brittany with his wet nurse ("without doubt Madame Bailly"; L'Œil 323, June 1982, p. 30, repr. 27). After examining both versions, it is confirmed that this is a "ricordo"—a reduced-size replica intended for future clients—since it presents the same "pentimento" on the nurse's arm.If this correction had been a "modello"—a preparatory figure to validate the composition—it would not have been visible in the final work; once it was inserted into the large canvas, it would have also been replicated in this parallel "ricordo." A detailed examination of the original, carried out "in situ" by Dominique Brême, confirms its autograph nature: "The generous paint content, the precision of the drawing, the freedom of the strokes, and the beautiful harmony of the palette leave no room for doubt. This is an original work by Nicolas de Largillière." An extensive report prepared by Dominique Brême in May 2025 is attached. It will soon be added to the artist's catalogue raisonné.
Nicolas de Largillière (Paris 1656-1746) Portrait de Marguerite de Sève inscription au dos 'Peint par Largillière/ en 1726' (au dos, probablement transcrite depuis la toile d'origine) huile sur toile inscribed 'Peint par Largillière/ en 1726' (on the reverse, presumably transcribed from the original canvas) oil on canvas 80.7 x 64.3cm (31 3/4 x 25 5/16in).
Oil on canvas. Dimensions: 65 x 55 cm (unframed). We would like to thank Dominique Brême for his help in cataloging this work. On the back of the frame, there is an erroneous inscription "Duché de Ventadour, gouvernaunce des enfants de France. Louis XV, D(…) par Largillière (ND)” and, in the upper left corner, a shipping label from the Chenue house (Paris). However, this attribution to the Duchess of Ventadour suffers from several inconsistencies. First, the style and workmanship of the painting place it around 1710—due to the lady's hairstyle and the composition—when the real Duchess of Ventadour was around fifty-six years old, a far cry from the youth displayed by the female model. Furthermore, the child portrayed appears to have blue eyes, not the dark ones of the Duke of Anjou. For all these reasons, we can affirm that the female figure actually represents Catherine Marton, known as “Madame Bailly, ” second wet nurse to the 2nd Duke of Brittany, Louis de Bourbon, born on January 8, 1707. Both appear in an intimate and maternal atmosphere: the child, about two years old, rests one hand on the wet nurse's bare breast, while with the other she holds the medallion of the Order of the Holy Spirit worn by the Duke of Anjou. infant, a sign of his status as “Enfant de France.” This gesture, unusually “erotic” for court painting, confirms that this is not the governess, but the one who breastfed and raised the prince. The youthful freshness of the child—Louis de Bourbon, 2nd Duke of Brittany—and the gentle, restrained gaze of the wet nurse coincide with other portraits of her, particularly the group painted by Jacques Dumont “le Romain” in 1731 (Louvre, RF 511), where, at fifty years old, Madame Mercier (his successor) displays identical features (eyes, upturned nose, dimple in the chin). Although the portrait could serve to recognize the prince, its true intention is to highlight the role of the wet nurse. She extends her arm to proudly display the medal of the Order of the Holy Spirit. This detail not only indicates the royal status of the child, but also highlights the authority she exercises over him. Here, the artist adopts an almost provocative—not to say irreverent—approach by turning the sacred emblem of the heir on a toy casually held by the maternal hand. This underlines the role of the wet nurse not as a mere companion, but as the dominant and protective figure in the prince's childhood. This iconographic device even suggests that Marie Madeleine Mercier may have commissioned the work; however, it is also possible that the king (or the Grand Dauphin, or the Duke of Burgundy) wished to honor her by giving her her portrait, in her role as wet nurse and thanks to Largillière's work. There is a large canvas of identical composition in a private Parisian collection (160 × 130 cm), published by Georges de Lastic, attributed to the 2nd Duke of Brittany with his wet nurse ("without doubt Madame Bailly"; L'Œil 323, June 1982, p. 30, repr. 27). After examining both versions, it is confirmed that this is a "ricordo"—a reduced-size replica intended for future clients—since it presents the same "pentimento" on the nurse's arm.If this correction had been a "modello"—a preparatory figure to validate the composition—it would not have been visible in the final work; once it was inserted into the large canvas, it would have also been replicated in this parallel "ricordo." A detailed examination of the original, carried out "in situ" by Dominique Brême, confirms its autograph nature: "The generous paint content, the precision of the drawing, the freedom of the strokes, and the beautiful harmony of the palette leave no room for doubt. This is an original work by Nicolas de Largillière." An extensive report prepared by Dominique Brême in May 2025 is attached. It will soon be added to the artist's catalogue raisonné.
NICOLAS DE LARGILLIÈRE (1656 Paris 1746) Portrait of a nobleman. Oil on canvas. 88.8 × 66.6 cm. Provenance: - Auction Drouot, Paris, 14 June 1954. - Auction Dorotheum, Vienna, 12–13 June 1990, lot 40 (as attributed to Nicolas de Largillière). - European private collection. With a confirmation of authenticity by Dr François Marandet, 13 August 2025. ------------------------------------------------- NICOLAS DE LARGILLIÈRE (1656 Paris 1746) Porträt eines Edelmannes. Öl auf Leinwand. 88,8 × 66,6 cm. Provenienz: - Auktion Drouot, Paris, 14.6.1954. - Auktion Dorotheum, Wien, 12.–13.6.1990, Los 40 (als Nicolas de Largillière, zugeschrieben). - Europäischer Privatbesitz. Mit einer Bestätigung der Eigenhändigkeit von Dr. François Marandet, 13.8.2025.
NICOLAS DE LARGILLIERE (1656-1746) Portrait d'un jeune homme en perruque, accoudé, l'épée au côté Dessin à la pierre noire et rehauts de gouache blanche sur papier beige. Dans un encadrement à coins fleuris en chêne argenté d'époque Louis XIV. Dimensions : 46,5 x 35 cm Accompagné au dos d'une lettre d'époque, manuscrite et signée et d'une correspondance de conservation de Madame Dianne Dwyer Modestini qui a nettoyé l'oeuvre et qui précise qu'il s'agit d'une des deux versions réalisées par Nicolas de Largillière, l'autre tableau se trouvant à Versailles. Provenance : - Vente Damien Libert, 2007 - Collection Adriano Ribolzi, Monte-Carlo Peintre français d’histoire, de paysages, de paysages animés, de natures mortes, né à Paris, ce sont ses portraits qui font de lui l’un des plus grands artistes du règne de Louis XIV et de la Régence. Emmené dès l’âge de trois ans à Anvers par son père, c’est dans l’atelier de Goubau qu’il apprend à peindre fleurs, fruits, légumes, animaux, accessoires des portraits de son maître. Il effectue ensuite un voyage en Angleterre de 1675 à 1679 où il est remarqué par le Roi Charles 1er. Revenu en France, il devient à partir de 1689 l’un des peintres les plus demandés et son talent lui permet de gravir les échelons de la hiérarchie de l’Académie Royale de peinture et de sculpture dont il est fait membre le 30 mars 1686 et directeur en 1736. De Largillière est un peintre aux talents multiples, à l’aise dans de nombreux sujets et si son dessin garde toute la rigueur française, sa couleur a l’éclat des grands coloristes flamands.
Nicolas LARGILLIERE (1656-1746), d’après Portrait présumé de Pierre Mignard Pastel 99 x 79 cm (à vue) Dans un cadre en bois sculpté et ciré, XVIIIe Notre très grand pastel reprend un portrait autrefois en collection particulière et connu pour être celui du peintre Pierre Mignard par Nicolas de Largillière.
Öl auf Leinwand, verso zugeschrieben und mit Provenienzangaben, restauriert, 75 x 60 cm, Rahmen, leicht bestoßen (Versandhinweise beachten) / Oil on canvas, inscribed and with provenance information on verso, restored, 75 x 60 cm, frame, slightly bumped (please note shipping instructions)
Oil on canvas. Dimensions: 65 x 55 cm (unframed). We would like to thank Dominique Brême for his help in cataloging this work. On the back of the frame, there is an erroneous inscription "Duché de Ventadour, gouvernaunce des enfants de France. Louis XV, D(…) par Largillière (ND)” and, in the upper left corner, a shipping label from the Chenue house (Paris). However, this attribution to the Duchess of Ventadour suffers from several inconsistencies. First, the style and workmanship of the painting place it around 1710—due to the lady's hairstyle and the composition—when the real Duchess of Ventadour was around fifty-six years old, a far cry from the youth displayed by the female model. Furthermore, the child portrayed appears to have blue eyes, not the dark ones of the Duke of Anjou. For all these reasons, we can affirm that the female figure actually represents Catherine Marton, known as “Madame Bailly, ” second wet nurse to the 2nd Duke of Brittany, Louis de Bourbon, born on January 8, 1707. Both appear in an intimate and maternal atmosphere: the child, about two years old, rests one hand on the wet nurse's bare breast, while with the other she holds the medallion of the Order of the Holy Spirit worn by the Duke of Anjou. infant, a sign of his status as “Enfant de France.” This gesture, unusually “erotic” for court painting, confirms that this is not the governess, but the one who breastfed and raised the prince. The youthful freshness of the child—Louis de Bourbon, 2nd Duke of Brittany—and the gentle, restrained gaze of the wet nurse coincide with other portraits of her, particularly the group painted by Jacques Dumont “le Romain” in 1731 (Louvre, RF 511), where, at fifty years old, Madame Mercier (his successor) displays identical features (eyes, upturned nose, dimple in the chin). Although the portrait could serve to recognize the prince, its true intention is to highlight the role of the wet nurse. She extends her arm to proudly display the medal of the Order of the Holy Spirit. This detail not only indicates the royal status of the child, but also highlights the authority she exercises over him. Here, the artist adopts an almost provocative—not to say irreverent—approach by turning the sacred emblem of the heir on a toy casually held by the maternal hand. This underlines the role of the wet nurse not as a mere companion, but as the dominant and protective figure in the prince's childhood. This iconographic device even suggests that Marie Madeleine Mercier may have commissioned the work; however, it is also possible that the king (or the Grand Dauphin, or the Duke of Burgundy) wished to honor her by giving her her portrait, in her role as wet nurse and thanks to Largillière's work. There is a large canvas of identical composition in a private Parisian collection (160 × 130 cm), published by Georges de Lastic, attributed to the 2nd Duke of Brittany with his wet nurse ("without doubt Madame Bailly"; L'Œil 323, June 1982, p. 30, repr. 27). After examining both versions, it is confirmed that this is a "ricordo"—a reduced-size replica intended for future clients—since it presents the same "pentimento" on the nurse's arm.If this correction had been a "modello"—a preparatory figure to validate the composition—it would not have been visible in the final work; once it was inserted into the large canvas, it would have also been replicated in this parallel "ricordo." A detailed examination of the original, carried out "in situ" by Dominique Brême, confirms its autograph nature: "The generous paint content, the precision of the drawing, the freedom of the strokes, and the beautiful harmony of the palette leave no room for doubt. This is an original work by Nicolas de Largillière." An extensive report prepared by Dominique Brême in May 2025 is attached. It will soon be added to the artist's catalogue raisonné.
NICOLAS DE LARGILLIERRE (1656-1746) ET ATELIER PORTRAIT DIT DE LOUIS XV ENFANT EN CUPIDON Toile Restaurations anciennes Nicolas de Largillière and his workshop, Portrait known as Louis XV, canvas, with restorations 40 x 87,5 CM – 15,7 x 34,4 IN.
Nicolas de LARGILLIERE (Paris, 1656 - 1746) Portrait dit de la mère de Voltaire, Marie Marguerite Daumart (vers 1661 - 1701), épouse de François-Marie Arouet Toile Hauteur : 81 cm Largeur : 66 cm Cadre ancien en chêne sculpté, à la marguerite, redoré Porte un numéro à l'encre noire au revers du châssis "11" Restaurations anciennes Provenance : -Hotel Drouot, Paris, 1938 -Tableaux anciens, Paris, Hôtel Drouot (Maître Loudmer), 29 octobre 1985, n° 78 (Ecole de). - Collection Ulysse MOUSSALLI (1899-1988) Notre tableau est reproduit dans le premier album consacré aux oeuvres de Nicolas de Largillierre au Cabinet des Estampes à la Bibliothèque Nationale. Nous remercions Dominique Brême d'avoir confirmé l'attribution après un examen de visu. Expert : Cabinet Turquin
ECOLE FRANCAISE du XVIIIe siècle, Suiveur de Nicolas de LARGILLIERRE (1656-1746) Portrait d'une Dame de qualité en robe brodée Huile sur toile ovale Bel encadrement en bois doré à la Bérain 81.5 x 64 cm Cadre 103 x 88 cm (accidents et restaurations)
Oil on canvas. Dimensions: 65 x 55 cm (unframed). We would like to thank Dominique Brême for his help in cataloging this work. On the back of the frame, there is an erroneous inscription "Duché de Ventadour, gouvernaunce des enfants de France. Louis XV, D(…) par Largillière (ND)” and, in the upper left corner, a shipping label from the Chenue house (Paris). However, this attribution to the Duchess of Ventadour suffers from several inconsistencies. First, the style and workmanship of the painting place it around 1710—due to the lady's hairstyle and the composition—when the real Duchess of Ventadour was around fifty-six years old, a far cry from the youth displayed by the female model. Furthermore, the child portrayed appears to have blue eyes, not the dark ones of the Duke of Anjou. For all these reasons, we can affirm that the female figure actually represents Catherine Marton, known as “Madame Bailly, ” second wet nurse to the 2nd Duke of Brittany, Louis de Bourbon, born on January 8, 1707. Both appear in an intimate and maternal atmosphere: the child, about two years old, rests one hand on the wet nurse's bare breast, while with the other she holds the medallion of the Order of the Holy Spirit worn by the Duke of Anjou. infant, a sign of his status as “Enfant de France.” This gesture, unusually “erotic” for court painting, confirms that this is not the governess, but the one who breastfed and raised the prince. The youthful freshness of the child—Louis de Bourbon, 2nd Duke of Brittany—and the gentle, restrained gaze of the wet nurse coincide with other portraits of her, particularly the group painted by Jacques Dumont “le Romain” in 1731 (Louvre, RF 511), where, at fifty years old, Madame Mercier (his successor) displays identical features (eyes, upturned nose, dimple in the chin). Although the portrait could serve to recognize the prince, its true intention is to highlight the role of the wet nurse. She extends her arm to proudly display the medal of the Order of the Holy Spirit. This detail not only indicates the royal status of the child, but also highlights the authority she exercises over him. Here, the artist adopts an almost provocative—not to say irreverent—approach by turning the sacred emblem of the heir on a toy casually held by the maternal hand. This underlines the role of the wet nurse not as a mere companion, but as the dominant and protective figure in the prince's childhood. This iconographic device even suggests that Marie Madeleine Mercier may have commissioned the work; however, it is also possible that the king (or the Grand Dauphin, or the Duke of Burgundy) wished to honor her by giving her her portrait, in her role as wet nurse and thanks to Largillière's work. There is a large canvas of identical composition in a private Parisian collection (160 × 130 cm), published by Georges de Lastic, attributed to the 2nd Duke of Brittany with his wet nurse ("without doubt Madame Bailly"; L'Œil 323, June 1982, p. 30, repr. 27). After examining both versions, it is confirmed that this is a "ricordo"—a reduced-size replica intended for future clients—since it presents the same "pentimento" on the nurse's arm.If this correction had been a "modello"—a preparatory figure to validate the composition—it would not have been visible in the final work; once it was inserted into the large canvas, it would have also been replicated in this parallel "ricordo." A detailed examination of the original, carried out "in situ" by Dominique Brême, confirms its autograph nature: "The generous paint content, the precision of the drawing, the freedom of the strokes, and the beautiful harmony of the palette leave no room for doubt. This is an original work by Nicolas de Largillière." An extensive report prepared by Dominique Brême in May 2025 is attached. It will soon be added to the artist's catalogue raisonné.
NICOLAS DE LARGILLIERRE (PARIS 1656-1746). Portrait d'une femme traditionnellement identifiée comme Madame Mauzeray de.... huile sur toile89,5 x 68 cm (35 ¼ x 26 ¾ in.).
NICOLAS DE LARGILLIERE (1656-1746) Portrait d'un jeune homme en perruque, accoudé, l'épée au côté Dessin à la pierre noire et rehauts de gouache blanche sur papier beige. Dans un encadrement à coins fleuris en chêne argenté d'époque Louis XIV. Dimensions : 46,5 x 35 cm Accompagné au dos d'une lettre d'époque, manuscrite et signée et d'une correspondance de conservation de Madame Dianne Dwyer Modestini qui a nettoyé l'oeuvre et qui précise qu'il s'agit d'une des deux versions réalisées par Nicolas de Largillière, l'autre tableau se trouvant à Versailles. Provenance : Vente Damien Libert, 2007 - Peintre français d’histoire, de paysages, de paysages animés, de natures mortes, né à Paris, ce sont ses portraits qui font de lui l’un des plus grands artistes du règne de Louis XIV et de la Régence. Emmené dès l’âge de trois ans à Anvers par son père, c’est dans l’atelier de Goubau qu’il apprend à peindre fleurs, fruits, légumes, animaux, accessoires des portraits de son maître. Il effectue ensuite un voyage en Angleterre de 1675 à 1679 où il est remarqué par le Roi Charles 1er. Revenu en France, il devient à partir de 1689 l’un des peintres les plus demandés et son talent lui permet de gravir les échelons de la hiérarchie de l’Académie Royale de peinture et de sculpture dont il est fait membre le 30 mars 1686 et directeur en 1736. De Largillière est un peintre aux talents multiples, à l’aise dans de nombreux sujets et si son dessin garde toute la rigueur française, sa couleur a l’éclat des grands coloristes flamands.
Nicolas de LARGILLIERRE (1656-1746), Atelier de Portrait d’Elisabeth Marie-Louise d’Orléans, fille de Philippe d’Orléans (1695-1719) et duchesse de Berry, en Diane chasseresse sur fond de parc Huile sur toile 130 x 97 cm (Avec encadrement : 167 x 133 cm) Rentoilage et restaurations anciennes Important et exceptionnel cadre d’époque XIXe siècle en bois et stuc doré à motif de grenades et de feuilles. (Petits accidents) Veuve dès l’âge de 18 ans, après la mort prématurée de son époux, le duc de Berry, Marie Louise-Élisabeth d’Orléans adopte rapidement un mode de vie qui détonne profondément au sein d’une cour encore très rigide et dominée par des codes stricts, notamment pour les femmes de la noblesse. Elle affiche un goût prononcé pour la liberté, défiant les conventions par ses excès, ses fêtes somptueuses et son audace quotidienne. Sa passion pour la chasse, activité alors largement réservée aux hommes, révèle une personnalité intrépide et hors norme. Elle chevauche avec fougue à travers les bois, organise des parties de chasse fastueuses et se montre à la fois souveraine et aventurière dans un univers encore marqué par la hiérarchie et la retenue. Ce portrait en Diane chasseresse illustre parfaitement cette double facette de son caractère : la noblesse et la puissance mythologique de la déesse, alliées à une liberté farouche et un esprit de rébellion. La qualité exceptionnelle de ce tableau ne peut laisser indifférent. Exécuté dans l’entourage immédiat de Nicolas de Largillière, peintre officiel renommé de la cour de Louis XIV et de la Régence, l’œuvre témoigne d’un savoir-faire et d’une maîtrise technique d’une rare finesse. Le rendu délicat des carnations, la précision des détails dans le costume et le décor, ainsi que la vibrante expressivité du visage, révèlent une touche artistique très proche de celle du maître lui-même. Il ne serait pas surprenant que ce portrait ait pu sortir directement de la main de Largillière ou bénéficier de sa supervision rigoureuse, conférant à l’œuvre une authenticité et une qualité comparables à ses plus grandes compositions.
Nicolas de Largillière (Paris 1656-1746) Portrait presumé du comte de Sainte-Aldegonde, portant le collier de l'Ordre de la Toison d'or huile sur toile oil on canvas 79.6 x 62.3cm (31 5/16 x 24 1/2in).
Ecole de Nicolas de Largillière (Paris 1656-1746) Frédéric III de Saxe-Gotha-Altenbourg huile sur toile oil on canvas 81.7 x 64.3cm (32 3/16 x 25 5/16in).
(French, 1656-1746) Oil on canvas, unsigned, nameplate affixed to frame identifying the sitter as Marquise de Bethune, degraded wax seal on verso, sight size: 45 x 33 3/4 in., framed size: 57 1/2 x 46 1/2 in.
FRÜCHTEKORB MIT PFIRSICHEN, PFLAUMEN UND TRAUBEN Öl auf Leinwand. 50 x 77 cm. In Regence-Stilrahmen. Beigegeben ein Zertifikat von Claudia Salvi, Paris, 11. Februar 2025, mit der Zertifikatnummer 22012025, in Kopie. Auf einer antiken Steinplatte, die links mit Eierstab reliefiert, steht ein Weidenkorb. Darin Trauben unterschiedlicher Couleur mit entsprechendem Laub. Davor ein Pfirsich, links einige Pflaumen. Provenienz: Privatsammlung. (1432021) (13) Nicolas de Largilliere, 1656 Paris – 1746 ibid., and workshop FRUIT BASKET WITH PEACHES, PLUMS AND GRAPES Oil on canvas. 50 x 77 cm. Accompanied by a certificate of authenticity by Claudia Salvi, Paris, 11 February 2025, with certificate no. 22012025. Provenance: Private collection.
Oil on canvas. On the frame in the upper left corner is the label of the Maison de transport "Chenue" (Paris). A report by Dominique Brême (Former director of the Château de Sceaux) dated May 19, 2025 is attached. This work is related to a larger one kept in a private Parisian collection published by Georges De Lastic in L'Oeil, No. 323, June 1982, p. 30. repr. p. 27. In the arms of the model is the little Louis de Bourbon, second Duke of Brittany and Dauphin of France (1707-1712).
De Largilliere, Nicolas 1656 - 1746, orig. Ölgemälde von Nicolas de Largilliere, Hüftbild mit Wappen, Portrait eines eines jungen Edelmannes mit Alonge-Perücke, über einer Wese mit Goldstickerei trägt er einen roten Umhang, rechts oben signiert, darüber das Wappen, restaur., Öl / Lw., H. 87, B. 68, Ra
Oil on canvas. Dimensions: 65 x 55 cm (unframed). We would like to thank Dominique Brême for his help in cataloging this work. On the back of the frame, there is an erroneous inscription "Duché de Ventadour, gouvernaunce des enfants de France. Louis XV, D(…) par Largillière (ND)” and, in the upper left corner, a shipping label from the Chenue house (Paris). However, this attribution to the Duchess of Ventadour suffers from several inconsistencies. First, the style and workmanship of the painting place it around 1710—due to the lady's hairstyle and the composition—when the real Duchess of Ventadour was around fifty-six years old, a far cry from the youth displayed by the female model. Furthermore, the child portrayed appears to have blue eyes, not the dark ones of the Duke of Anjou. For all these reasons, we can affirm that the female figure actually represents Catherine Marton, known as “Madame Bailly,” second wet nurse to the 2nd Duke of Brittany, Louis de Bourbon, born on January 8, 1707. Both appear in an intimate and maternal atmosphere: the child, about two years old, rests one hand on the wet nurse's bare breast, while with the other she holds the medallion of the Order of the Holy Spirit worn by the Duke of Anjou. infant, a sign of his status as “Enfant de France.” This gesture, unusually “erotic” for court painting, confirms that this is not the governess, but the one who breastfed and raised the prince. The youthful freshness of the child—Louis de Bourbon, 2nd Duke of Brittany—and the gentle, restrained gaze of the wet nurse coincide with other portraits of her, particularly the group painted by Jacques Dumont “le Romain” in 1731 (Louvre, RF 511), where, at fifty years old, Madame Mercier (his successor) displays identical features (eyes, upturned nose, dimple in the chin). Although the portrait could serve to recognize the prince, its true intention is to highlight the role of the wet nurse. She extends her arm to proudly display the medal of the Order of the Holy Spirit. This detail not only indicates the royal status of the child, but also highlights the authority she exercises over him. Here, the artist adopts an almost provocative—not to say irreverent—approach by turning the sacred emblem of the heir on a toy casually held by the maternal hand. This underlines the role of the wet nurse not as a mere companion, but as the dominant and protective figure in the prince's childhood. This iconographic device even suggests that Marie Madeleine Mercier may have commissioned the work; however, it is also possible that the king (or the Grand Dauphin, or the Duke of Burgundy) wished to honor her by giving her her portrait, in her role as wet nurse and thanks to Largillière's work. There is a large canvas of identical composition in a private Parisian collection (160 × 130 cm), published by Georges de Lastic, attributed to the 2nd Duke of Brittany with his wet nurse ("without doubt Madame Bailly"; L'Œil 323, June 1982, p. 30, repr. 27). After examining both versions, it is confirmed that this is a "ricordo"—a reduced-size replica intended for future clients—since it presents the same "pentimento" on the nurse's arm.If this correction had been a "modello"—a preparatory figure to validate the composition—it would not have been visible in the final work; once it was inserted into the large canvas, it would have also been replicated in this parallel "ricordo." A detailed examination of the original, carried out "in situ" by Dominique Brême, confirms its autograph nature: "The generous paint content, the precision of the drawing, the freedom of the strokes, and the beautiful harmony of the palette leave no room for doubt. This is an original work by Nicolas de Largillière." An extensive report prepared by Dominique Brême in May 2025 is attached. It will soon be added to the artist's catalogue raisonné.
FRÜCHTEKORB MIT PFIRSICHEN, PFLAUMEN UND TRAUBEN Öl auf Leinwand. 50 x 77 cm. In Régence-Stilrahmen. Beigegeben ein Zertifikat von Claudia Salvi, Paris, 11. Februar 2025, mit der Zertifikatsnummer 22012025, in Kopie. Auf einer antiken Steinplatte, die links mit Eierstab reliefiert, steht ein Weidenkorb. Darin Trauben unterschiedlicher Couleur mit entsprechendem Laub. Davor ein Pfirsich, links einige Pflaumen. Provenienz: Privatsammlung. (1432021) (13) Nicolas de Largilliere, 1656 Paris – 1746 ibid., and workshop FRUIT BASKET WITH PEACHES, PLUMS AND GRAPES Oil on canvas. 50 x 77 cm. Accompanied by a certificate of authenticity by Claudia Salvi, Paris, 11 February 2025, with certificate no. 22012025, in copy. Provenance: Private collection.
NICOLAS DE LARGILLIERRE (PARIS 1656-1746). Portrait d'un homme traditionnellement dit de Charles de Tubières de.... huile sur toile81,2 x 65,2 cm (32 x 25 2/3 in.).
NICOLAS DE LARGILLIERE (Bottega di) (Parigi 1656 – Parigi 1746) Ritratto di nobiluomo Olio su tela Cornice coeva ovale in legno intagliato e dorato. cm 75 x 60.
Nicolas de Largillière Paris 1656 - 1746 Portrait of Jeanne-Marie de Sacconin de Pravieux as Diana oil on canvas canvas: 53 ⅞ by 41 ⅜ in.; 136.8 by 105.1 cm framed: 65 by 52 ¼ in.; 165.1 by 132.7 cm
ECOLE FRANCAISE DU XIXe SIECLE, d'après Nicolas de LARGILLIERRE (1656-1746) Portrait de François-Jules du Vaucel (1672-1739) Huile sur toile 137,5 x 105 cm Cadre en bois et stuc doré (accidents). Restaurations et manques. François-Jules du Vaucel (1672-1739) était seigneur de La Norville et de Mondoville, il cumula également les charges de conseiller secrétaire du roi et de fermier général. Reprise du portrait par Largillierre réalisé en 1724 et conservé au musée du Louvre.
ECOLE FRANCAISE DU XVIIIème SIECLE, suiveur de Nicolas de Largillierre (1656-1746) Portrait de femme en buste à la toilette bleu perlée Huile sur toile 24 x 18 cm Restaurations anciennes, craquelures, rentoilage
PORTRAIT DES PRINZEN GIACOMO FRANCESCO EDOARDO STUART IN DER GESTALT DES JESUSKNABEN MIT KREUZ Öl auf Leinwand. Doubliert. 60 x 44 cm. Ungerahmt. Beigegeben eine Expertise von Emilio Negro, Bologna, in Kopie. Vor beigebraunem Hintergrund in leichter Seitenansicht die Halbfigur des Jesusknaben mit goldblondem Haar, in rotem Gewand, mit weißem Hemdkragen und mit einem blauen Mantelüberwurf. Mit dem Zeigefinger seiner rechten Hand auf das Kreuz hinweisend, welches er mit seiner linken nach oben hält. Er hat ein feines, zartes Inkarnat, den leicht geöffneten Mund und mit seinen braunen, glänzenden Augen blickt er den Betrachter des Gemäldes lächelnd an. Laut Emilio Negro trägt er die Gesichtszüge des Prinzen Giacomo Francesco Edoardo Stuart, dem Sohn von König Jacob II. und der Prinzessin Maria Beatrice d´Este von Modena. Die hellen und brillanten Farben bezeugen die volle künstlerische Reife des Künstlers. (1430041) (18)
NICOLAS DE LARGILLIERRE (PARIS 1656-1746). L’Élévation de la Croix. pierre noire, plume et encre brune, lavis brun, rehaussé de blanc, sur papier brun42,4 x 56 cm (16 ¾ x 22 in.).
NICOLAS DE LARGILLIERRE (PARIS 1656-1746). Étude de trois mains, l'une tenant une lettre. pierre noire, sanguine, craie blanche, estompe22 x 23 cm (8 5/8 x 9 in.).
Nicolas de LARGILLIERRE (Paris, 1656 - 1746) Portrait de Portrait de Madeleine Le Roux de Tilly marquise de Courvaudon (1677 - 1705) Huile sur toile ovale. 82,5 x 64,8 cm. Beau cadre en bois sculpté et doré à décor de rinceaux de feuillages, feuilles d’acanthe d’époque Louis XIV Porte une inscription au dos de la toile : « Magdleine le Roux de tilly fille de Claude le Roux de tilly et de Magdleine du Moncel de Louraille 1ere femme de Manzeray de Courvaudron Mort Doyen des Présidents du parlement de Rouen ». Provenance : - Collection baron d'Esneval, château d'Acquigny, Louviers, jusqu'en 1912 ; - États - Unis, collection particulière ; - Angleterre, collection particulière. Exposition : - Paris, Galerie Philippon, 1913, n°12 ; - Houston, Allied Arts Association, 1952, n°31 ; - Oklahoma City, Oklahoma Museum of Art, 1979, n°9 ; - Charles Decoster, Brussels Galerie Natalia Obadia Portraits, from the 17th to the 21st century, mars - mai 2020 Nous remercions Monsieur Dominique Brême d’avoir confirmé l’authenticité de notre tableau. On ne parloit que de son habileté à peindre les Dames, dont les graces, loin de diminuer, gagnoient beaucoup entre ses mains.1 Fasciné par le dessin qu’il pratique depuis son plus jeune âge, Nicolas de Largillierre se dirige naturellement vers la peinture, malgré les réticences de son père. Élevé à Anvers où sa famille avait emménagé, il débute sa formation auprès du peintre Antoon Goubau (Anvers, 1616-1698) qui ne tarde pas à déceler son talent : « vous en sçavez assez pour travailler par vous-même ; allez et volez de vos propres ailes »2 et le conduit à rejoindre la guilde de Saint-Luc d’Anvers où il est reçu maître en 1674. Après deux voyages fructueux en Angleterre, Largillierre s’installe à Paris et lance pleinement sa carrière de portraitiste, bien que l’Académie n’en ait encore qu’une estime relative. Nourri des influences reçues de ses diverses formations, il trouve notamment l’inspiration grâce à sa rencontre avec l’artiste Peter Lely (Soest, 1618 – Londres, 1680), devenu son ami et probablement son maître durant quelques mois. De son enseignement, Largillierre retiendra les poses naturelles ainsi que le travail mené sur la lumière, inondant les visages doux et sensibles de ses modèles. Conjuguant préciosité et élégance, Largillierre est apprécié en France pour le renouveau stylistique qu’il insuffle à l’art du portrait : sa formation anglo-flamande lui apprend notamment à maîtriser les contrastes saisissants de couleur entre les étoffes et la blancheur des carnations en se rapprochant d’une imitation de la nature. Contrairement à son principal rival Hyacinthe Rigaud (Perpignan, 1659 – paris, 1743), « Largillierre eut peu de liaison avec la cour de France, auprès de laquelle il n’a jamais fait aucune démarche, il aimait mieux, à ce qu’on m’a dit plus d’une fois, travailler pour le public (…) ».3 En choisissant de se rapprocher de la bourgeoisie intellectuelle montante qui se taille une place de plus en plus importante au sein de la société, Largillierre se démarque de ses contemporains académiciens qui défendent avec ferveur son enseignement : un portrait n’est estimable que lorsqu’il reflète la condition sociale du modèle. Amateurs et collectionneurs affectionnent particulièrement la capacité de l’artiste à traduire la distinction française à travers la juvénile ardeur et le charme contenu commun à toutes ses figures. Loin des portraits d’apparat aux visages figés, Largillierre se dédie au portrait de chevalet comme moyen d’exprimer l’élégance mais surtout l’intimité de ses modèles, dont la plupart sont issus de son cercle personnel. Notre tableau présente l’un de ces portraits féminins très demandés, bien souvent épouses, vêtues et coiffées à la dernière mode. Il s’agit de Magdeleine le Roux de Tilly, fille de Claude Le Roux de Tilly, juge à la Cour d’appel, et épouse de Manzeray de Courvaudon, doyen des présidents du parlement de Rouen. Représentée légèrement de profil, élégamment tournée vers la droite, elle est soigneusement maquillée de manière à faire ressortir sa chair nacrée, portant la coiffure dite à la Fontange4 (ill. 1), dont deux noeuds bleus retiennent sa chevelure bouclée. Elle est richement vêtue d’une robe bleu nuit parée de pierreries et d’une cape violine flottant autour d’elle, dont la somptuosité contraste avec la légèreté de son visage délicat. Élève assidu des flamands, Largillierre se détache volontiers de l’art sévère classique italianisant français en préférant la couleur à la ligne froide et exacte du dessin. Reconnu pour ses dons de coloriste, la souplesse de son pinceau permet de rendre avec élégance l’harmonie éclatante des étoffes en jouant des reflets du velours dans la robe bleue aux galons d’or ainsi que dans la cape entourant le modèle. Travailleur infatigable, peintre de l’élite du patriarcat parisien, Largillierre élève progressivement l’art du portrait à son plus haut niveau d’exigence. Alliant naturel et artifice, sa renommée fut telle qu’elle lança une mode : chaque intérieur bourgeois considéré par la société se devait d’orner ses murs d’une oeuvre de sa main. Loin de la cour française, son talent sera également reconnu au-delà des frontières par les plus illustres personnages de son temps, dont le roi Jacques II d’Angleterre et le roi Auguste II de Pologne qui lui réclameront eux aussi leur portrait. 1 Dezallier d’Argenville, 1762, p.296 2 Dezallier d’Argenville, 1762, p.295 3 Dezallier d’Argenville, 1762, p.264 4 La coiffure « à la Fontanges » était en vogue au sein du royaume de France dès les dernières années du XVIIe siècle. Découverte brusquement plutôt qu’inventée, elle fut expérimentée pour la première fois par Marie Angélique de Scorraille de Roussille, duchesse de Fontanges, maîtresse de Louis XIV. Une partie de chasse aurait décoiffé la duchesse qui s’empressa de rattacher ses cheveux à l’aide de sa jarretière. Le résultat légèrement réadapté devint une mode : plusieurs étages de boucles sur lesquelles étaient fixées perles, dentelles ou rubans.
Property from an Important Estate, Texas Nicolas de Largillière Paris 1656 - 1746 Portrait of Jean-Thomas, Comte de Bérulle, Lieutenant-Général des Armées du Roi oil on canvas, in an elaborate eighteenth-century frame, possibly original canvas: 56 ⅝ by 43 ⅜ in.; 143.8 by 110.2 cm framed: 78 ⅛ by 63 ⅞ in.; 198.4 by 162.2 cm
Measurements framed: ~21.5â x 26â / Condition: Excellent / RESERVE: Below fair market value This is a rare original oil on canvas painting, in the manner of/In the style of the renowned French historical & portrait artist who excelled in his artistry of socialites of the wealthiest middle classes during his time. Nicolas de Largilliere was a Parisien, born in 1656 and died in 1746. Late in his career, Largillierre's portraits became more intimate and relaxed than in his earlier works. In his half-length portraits, he concentrated on the character and psychology of the models, portraying them in static poses in front of minimal backgrounds. He was highly honored and painted for King Louis XIV and also was employed to restore paintings at Windsor Castle, London. This is simply an extraordinary, very rare and unique opportunity to own a very special piece of fine artwork. Labels are on the verso of the canvas. Donât let this fine artwork slip by. It is the bidders' responsibility to check the artwork for accuracy before placing a bids and based on information available & provided in this description choose to place their bid. Bid with confidence! Congratulations to the winning bidder who has won an exceptional piece of fine art. Provenance: Private Miami estateÂ
NICOLAS DE LARGILLIERRE (Paris, 1656-1746) Portrait d'un échevin Toile ovale Cadre en bois sculpté et doré de la vallée du Rhône, travail du XVIIe siècle Portrait of an alderman, oval canvas, carved and gilded wooden frame from the Rhone valley 81,5 x 63,8 CM - 32 x 25,1 IN.
