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User Image markscottwood Posted: Dec 16, 2017 1:10 PM (UTC)
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LAST FEW HOURS TO BID: link in @millingtonmarriott bio
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Musky Stang (with small #poster) 2015/17

pulped #cardboard, varnish, #phosphorescent pigment, #string, burnt #ceramic, #feathers, #patchouli oil, laser print #🌳 240mm x 160mm x 15mm

The Millington Marriott #Xmas Auction - bidding has now commenced

www.millingtonmarriott.com

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User Image ladiesinpaintings Posted: Dec 16, 2017 9:16 AM (UTC)
sothebys
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🖌Jean-Etienne Liotard
🖌1702 - 1789

This beautifully preserved pastel by Jean-Etienne Liotard of Mademoiselle Louise Jacquet, was made during one of Liotard's trips to France and counts as a major rediscovery.

This portrait of Mademoiselle Jacquet probably dates from his second stay in Paris (1748-52). When Liotard arrived in Paris in 1748 he was already famous.  In 1749 he was asked to paint the royal family and, in the wake of this commission, numerous courtiers and other influential figures asked him to do their portraits, ranging from Madame de Pompadour and Voltaire to well-known figures of the theatre such as Marivaux and the great actress Madame Favart. It is thus interesting to note that the portrait of Louise Jacquet, also an actress, was probably commissioned during this period.

The pastel is slightly larger than Liotard's standard works of this type, and the sitter is unusually lent a context, or mise en scène – similarly to the portraits of Marie-Justine Favart. Both these portraits of Marie-Justine Favart use accessories or props to indicate the sitter's profession – unlike our portrait, in which the sitter looks at us with a mischievous, coquettish smile and holds a letter, probably sent by an admiring courtier.
It is not unusual to find letters in Liotard's portraits, but this one in particular is unusually explicit, and the only one to be partly legible. We can make out a string of compliments addressed to the young lady, such as 'You know how much I am interested in and admire you... and your perfections.' Such details suggest that it was the sitter herself, or one of her admirers, who chose this ambitious mode of representation – one that makes no allusion to her profession as a singer. (Text by Sotheby's)
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