With P. & D. Colnaghi Ltd., New York, from whom acquired by the present owner in 1982.

The painting is brighter than the catalogue illustration suggests. The canvas has a firm relining, which has left the paint surface a little abraded, particularly in the darker tones of the lady's hair. The paint surface is otherwise in good condition and secure, with a fine craquelure running throughout the lighter areas. No major damages to the work are apparent, although an old restored tear to her right hand sleeve, measuring 8 cm. and a diagonal old restored tear measuring 8cm. to her décolleté are vaguely visible to the naked eye due to the discolouration of the retouchings. Inspection under UV light further reveals two restored diagonal tears to the upper left hand corner measuring approximately 9 cm. each and a large rectangular tear to the upper left hand background measuring 15 by 12 cm. Fairly concentrated retouchings to the hair and apples, her left hand and edge of her left hand cheek also fluoresce but else where the retouchings are scattered and small. Offered in a gild wood and plaster frame in fairly good condition. The work is ready to hang.
"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."

A painter of history and genre pieces, as well as a competent engraver, Robert de Seri is known to have studied with various artists, Jouvenet and Tisserant amongst them. He travelled to Italy, visiting both Venice and Rome, where he also became a dealer in paintings, drawings and antiquities. He lived in great poverty in Rome until 1724, whereupon he met the Cardinal de Polignac and his fortune changed for the better. The cardinal commissioned him to paint copies after Correggio and took Robert de Seri back to Paris, giving him lodgings in his house there. Despite his obvious talents and the support of connoisseurs such as Polignac and Crozat, Robert de Seri w🌠as disliked by a group of academicians including De Troy and Co🀅ustou, largely due to his lively technique and the fact that he had not been trained through the usual channels of the academy schools.