Oil on canvas with a relatively new lining. The surface has a slightly yellowed varnish and some minor surface dirt. Examination under UV light reveals a repaired vertical tear that extends to the left of the sitter from top of her head down almost to the spotted wrap visible at lower left. The tear extends horizontally to the right to the sitter's nose, then turns down again to the bottom of her neck. There are an additional three horizontal branches of this tear – two extending from the top of the vertical tear and a third extending left towards the left edge; there are other small scattered spots of retouching in the sitter's hair. These repairs have been well done and to the naked eye are not overly distracting. Overall the painting presents a very attractive and appealing image which can be hung as is Offered in an elaborately carved and gilt wood frame.
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 closely related to Bouliar's Self-portrait of 1792 in the Norton Simon Art Foundation, Pasadena, CA (inv. no. M1979.43.P). The correct spelling of the artist's surname is "Bouliar" and not "Bouliard," which is the way she is often listed. The error seems to stem from a critic's misspelling of her name in a review of her first exhibition in the Salon in 1791 (see Y. Jackall, "Recovering the work of Marie-Geneviève Bouliar, The invention of self in Revolutionary France," in Les Cahiers d'Histoire de l'Art, No. 7, 2009, p. 49).