Acquired by the present owner's uncle in Paris, at the beginning of the 20th century;
Thence by inheritance to the father of the present owner.

To the naked eye: The painting is in overall very good condition. Under a dirty uniform varnish. There is a tear of two centimeters in the center, on the right of the head of the character and a lack of painting around it (two centimeters of diameter). There is an accident and a little restoration of one centimeter of diameter in the center of the column on the upper right corner. Small accident in the hat. Under UV lamp: The painting is under a green thick varnish. There is an oblique restoration of five centimeters in the branches in the upper right corner, an other one in the column (previously reported). There is a restoration of two centimeters of diameter in the center, above the hand.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This portrait, painted in 1765 by Louis-Gabriel Blanchet, shows the charismatic figure of Charles Claude de la Billarderie, Comte d'Angiviller. Much of the portrai♋tist's life and w🎀ork remains a mystery despite his success: in 1727 Blanchet won the second prix de Rome and he spent much of his artistic career in Rome, where he is thought to have encountered the sitter.

The Comte d'Angiviller followed in his ancestors' footsteps and had an illustrious career in the French army, serving under Louis XV at the battle of Fontenoy in 1745. In 1774 he was appointed directeur général des Bâtiments du Roi, thus following royal commissions for works of art and the construction and maintenance of royal residences. A key figure in the scientific and artistic circles in the years just preceding the French Revolution, the Comte d'Angiviller gave increasing importance to the royal buildings and patrimony they represented. His most ambitious and revolutionary project was setting up the Musée Royal in the grande galerie du Louvre, which aimed to house and conserve the king's entire paintings collection for posterity. Charismatic and self-assured, the Comte's cold exterior hid a 'courtoisie extrême et sa timidité jointe à une grande sensibilité' , as described by De Sacy (J.S. de Sacy, "Le comte d'Angiviller, dernier directeur général des Bâtiments du Roi", in Ars et Historia, Paris 1953, p. 104).