Rosalba CARRIERA (Venice 1673 1757) "Tête de femme tourné de - Lot 386

Rosalba CARRIERA (Venice 1673 1757) "Tête de femme tourné de trois quarts, les yeux levés au ciel" Pastel on blue paper, Dim : 35.5 x 29.5 cm Bearing on verso an old label Pastel by Rosalba Carriera / born in Venice in 1672 died / in the same city in 1757 /. / Catalogue by M ; de julienne / N° 71 121 tt L. Provenance: Probably given by the artist to Jean de Jullienne in 1721, "ebbi dalla parte di M. r di Julienne ducento franchi et il scarlato" ; Sale Jean de Jullienne collection, Paris, Salon carré du Louvre, December 1767, no. 72, (122 livres); Acquired at this sale by Abbé Gruel for President de Bandeville; Vente de la présidente de Bandeville, Paris, Hôtel de Bandeville, December 3 10, 1787, (Me Hayot de Longpré and Pierre Rémy, expert), no. 7, (120 livres) ; Private collection, Agen, 1956. Bibliography: Probably R. Carriera, Diari, reprint London, 2011, p. 51 ; P . G., "Catalogue des tableaux de Monsieur de Julienne Carnet extraordinaire demeuré inédit pendant deux cents ans ouvre les portes d'un collectionneur parisien en 1756", in Connaissance des Arts, Paris, 1956, pp. 64 69 ; B. Sani, Rosalba Carriera, Turin, 1988, no. 110, reproduced fig. 86; N. Jeffares, Dictionary of pastellists before 1800, London, 2006, p. 118, reproduced, and online catalog no. J. 21.2297; B. Sani, Rosalba Carriera, Turin, 2007, no. 119, reproduced; I. Tillerot, Jean de Jullienne et les collectionneurs de son temps: un regard singulier sur le tableau, Paris, 2010, no. 425; V. Toutain Quittelier, Le carnaval, la fortune et la folie, Rennes, 2017, fig. 125. Rosalba Carriera arrived in Paris in April 1720, where she enjoyed immediate success and was admitted to the Académie in October of the same year with a pastel portrait of Louis XV. Rosalba lived with her mother and sister at Pierre Crozat's home on rue de Richelieu, where the best Regency society sought her company. She was literally overwhelmed by commissions, all of which she could not fulfill, and her pastels were fought over. During her stay in Paris (she left in 1723), Rosalba frequented most of the great artists in vogue at the time: Watteau, Rigaud, Lemoine, Coypel, de Troy and Falconnet. Bernardina Sani recognizes a certain influence of François Lemoine on our pastel, which we can compare with the Hébé in the British Museum in London. Our woman's head is very close to the brown woman's head and the blond woman's head in the Hermitage Museum in Saint Petersburg (see B. Sani, 1988, no. 115, reproduced in fig. 91). We would like to thank Mr. Neil Jeffares for confirming the attribution of this pastel and for the information contained in this notice. Expert: René MILLET