FRENCH SCHOOL

Portrait of a Goldsmith

Oil on canvas (92 x 76 cm)

Chateau de Versailles

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Despite the extremely high quality of this work, characterized by an uncompromising realism and an execution that reveals the hand of a virtuoso, the identities of both the artist and sitter remain a mystery. All the names of the major portraitists of the 17th century have been put forward but to no avail. Some experts have suggested the name of Claude Lefevre considering the realistic treatment of the figure and the subtle gradations of light in the sitter’s face. Others have mentioned Francois de Troy as a possible author based on the vivacity of the sitter and his plain and sober attire, reminiscent of his Portrait of Francois d’Orbay ( Musee Thomas-Henry, Cherbourg). I personally would favour Nicolas de Largilliere on account of the sitter’s expressive features, the subtle flesh tones and the magnificent vase which he is holding. Considering all this is interesting to compare it with Largilliere’s Portrait of Thomas Germain and his wife (Museu Calouste Gulbenkian, Lisbon)

Justifiably proud, the sitter is shown holding his masterpiece and gazing at an invisible visitor to his workshop. Following traditional academic practice, the artist is depicted alongside one of his works which symbolizes his superb craftsmanship. The sumptuous nature of this article, an urn in the shape of a Medici vase surmounted by a satyr carrying a shell on his back, with a richly decorated body and two handles in the of Pegasus, is not unlike the ones made at the Gobelins for Louis XIV. Melted down before the end of the century, our only knowledge about them comes from a couple of pictures and from descriptions in the inventory of the Crown’s furniture. The documents list numerous pieces of gold and silverware, including ones made by Claude Ballin who, for many years, was wrongly thought to be the sitter here. Although many pieces resemble this one, none is actually identical to it.