Bamberger collection;
His sale, Paris, Hôtel Drouot, March 17, 1923, lot 79 (as Studio of Louis Tocqué).

Paris, Galerie Gazette des Beaux-Arts, Le Siècle de Louis XV vu par les artistes, June 1934, no. 15;
New York, Rosenberg & Stiebel, Elements of Style: The Art of the Bronze Mount in 18th and 19th Century France, April 13-June 15, 1984, no.1, pp.12-14, reproduced fig. 3.

A. Doria, "Tocqué et les commandes royales", in Gazette des Beaux-Arts, XVIII, September-October 1928, pp. 154-155;
A Doria, "Tocqué et les commandes royales", in Bulletin de la Société de l'Histoire de l'Art Français, 1928, p. 341;
A. Doria,  Louis Tocqué, Paris 1929, p. 130, under no. 71.

Glue relining is firm and stable. the paint surface has been a bit pressed in the relining and this is more noticeable in the background areas than on the figure. there are also some thinnesses noticeable in areas of the foreground floor, areas of the blue curtain/drapery, and in some other background areas. the paint surface on the figure has been very well retained and there is lovely detail in his costume and strong coloration, and overall the painting presents a very attractive image. ultraviolet light reveals some scattered retouches here and there in foreground and in areas of background. there are just a few very small retouches to the figure on costume, and over craquelure on hand at left. overall, the painting has survived very well for a picture of this size. the restorations have been well appplied and there is no need for further work. In an elaborately carved and gilt wood frame with some minor chips.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

This painting is a replica by Tocqué of the signed and dated portrait formerly in the Royal collection and now in the Musée du Louvre, Paris.¹

The subject of this portrait, Louis de France (1729-1765), was the fourth child and only son of Louis XV and his Polish-born consort, Maria Leczinska. Although heir to the throne, he was dislik🐷ed by his father who purposely kept him at a distance from the affairs of state. Thus, he was only admitted to the Royal Council after 1757, when an attempt was made on the monarch's life. Devout in the extreme, the Dauphin became an advocate for the Jesuit cause. He was an avowed enemy of his father's mistress, Madame de Pompadour, and his Prime Minister, the Duc de Choiseul. Louis died before he could accede to the throne. It was even intimated that Choiseul had poisoned him.

The Dauphin was twice married, the first time in 1745 to an Infanta of Spain, Mariಞa Teresa de Borbón (1726-1746), who died in childbirth. By his second wife, Maria Josepha of Saxony (1731-1767), he sired eight children, three of whom would eventuall⭕y reign as kings of France: Louis XVI, Louis XVIII, and Charles X.

1.  See Doria, op.cit., 1929, cat. no. 71 for the Louvre picture, and also for a discussion of the other versions of🍌 the composition.