"Nicolas De Largillierre (1656-1746) - Portrait Of Ms. De Courcelles"Nicolas de LARGILLIERRE (Paris 1656 - 1746) Portrait of a woman Oil on canvas, H. 84 cm; L. 61.5 cm Provenance: Collection Charles Sedelmeyer (Paris), an art dealer of Austrian origin and a great collector at the end of the 19th century; Exhibition in London in 1898; Auction Gallery of Orléans, March 19, 1998 (Me Louis Savot), n ° 9. Works in relation: - Condé Museum of Chantilly, autograph replica, inv. PE32 - Etienne Jéhandier Desrochers (1668-1741), engraving. Son of a Parisian hatter, Nicolas de Largillierre settled at the age of three in Antwerp, with his parents. After a stay of about twenty months in London, in 1665-1666, he was placed in the workshop of the Antwerp painter Antoon Goubau (1616-1698), specialized in bamboos. Collaborating quickly to the works of his master, who let him paint piles of fruits and vegetables, Largillierre perfect his education in contact with the works of Pierre-Paul Rubens and his entourage. A second stay in London, between 1675 and 1679, allows him to deepen his knowledge of Flemish still lifes and to appropriate the manner of Van Dyck. After Sir Peter Leley (1618-1698), the first painter of King Charles II, entrusted him with some restoration works by the portrait painter, Largillierre attends the Italian painter Antonio Verrio (1639-1670) for the decorations of the royal apartments of the Windsor Castle. Despite the protective measures taken against Verrio and his team (including a certain "Nicholas de Lauzellier" behind which it is necessary to understand Largillière), the persecutions which target the Catholics incite the French painter to leave England for s to settle in Paris. Introduced to the powerful Charles Le Brun (1619-1690), the success of the portraitist is immediate: approved at the Royal Academy of painting and sculpture March 6, 1683, Largillierre was received March 30, 1686 on presentation of the famous Portrait by Charles Le Brun (Paris, Louvre Museum). Private orders flock then, bringing in their wake official orders, emanating particular sheriffs of the City of Paris. At the same time, the portraitist achieved a brilliant career as a teacher in the Academy, since he was successively appointed professor in 1705, rector in 1722, chancellor in 1733, then director from 1738 to 1742. This is only the next year, at an advanced age, that Largillière definitely puts his brushes. Nicolas de Largillierre was at the turn of the eighteenth century, with his rival Hyacinthe Rigaud (1659-1743), the most famous portraitist of France. The interest that his work arouses today among the public as amateurs and historians of art responds perfectly to its past vogue. His corpus is composed of several hundred portraits, religious subjects, still lifes and rare drawings, mainly academies. Throughout his career and still today the artist continues to fascinate. This canvas, made by Largillierre at the same time as another version kept at the Chantilly Museum, was to be in another house owned by this woman. Considered as Anne-Therese of Marguenat de Courcelles by Chantilly, it is towards the specialist of the artist, Dominique Bremen that we wanted to know more. This one offers us several possible identifications corresponding to the portraits made by Largillierre in this spirit around 1715. On the back of the work, several labels of English exhibitions of the late nineteenth give us the name of Madame de l'Aubespine, that Mr Bremen does not refute. This portrait was in the collections of the famous collector and Parisian art dealer Charles Sedelmeyer, known as much for his works of the time as for the important place of his collection at the dawn of the twentieth century in the European landscape.