Sold at Soteby's on 1987

Sold at Soteby's on 1987

The Pajou portrait is one of a series of portraits of members of the Royal Academy. So successful was this that her name was proposed for membership. This painting was exhibited in the 1783 Salon.

Portrait en buste de Jean-Jacques Bachelier, painter.

The Lady has a grey dress and a rose on it.

Portrait of François-André Vincent (1746-1816), painter.

The portrait of Madame Mitoire recapitulate the iconography of the opulent nude and place the woman in a new, maternal role surronded by adored and adoring children. This painting combines the voluptuosus-stiles of Flemish painitng and the adornements of French aristocratic style with allusions to nature in the flowers woven into the mother's elaborate hairstyle.

Portrait en buste de Jacques-Antoine de Beaufort (1721-1784) painter.

Flore Pajou (1764-1841), daughter of Augustin Pajou and Angelique Roumier, married on 1781, at the age of sixteen, the sculptor Claude Michel, called Clodion. On 1794 she divorced from Clodion and married Louis-Pierre Martin, but after some year she divorced again for the second time. This portrait shows Flore Pajou at the age of eighteen.

Portrait of Marie Therese Louise of Savoia-Carignano, Princesse of Lamballe (1749-1792).

The Princess of Béthune was probably Albertine-Joséphine-Eulalie Le Vaillant, who married Eugène-François-Léon, prince de Béthune (1746-1824). Mme Labille-Guiard painted this beautiful portrait of the princess where she appear very young and elegant.
Sold by Muhlbacher in Paris on May 1907.

The present painting is a direct image, unprejudiced in any way, and reminds one of Adeliade's training with La Tour. Vernet was a famous painter and this portrait was owned by a Vernet's engravier friend, Charles-Nicolas Cochin: firstly was a pandant (now lost) of a portrait of Cochin himself. There are other portrait of Vernet, as the Vigée Le Brun's portrait of him now at the Louvre Museum.

The artist painted herself at her easel in fashionable fress, with boldly undulant plumed hat. The two pupils are Mlle Marie Capet and Mlle Carreaux de Rosemond, and they are more simply clad. This is a rapresentative work of a successful artist. The bust of Adelaide Labille-Guiard's father in the background is the only male presence in this painting filled with female pride and energy.
This painting was exhibited in the 1785 Salon.

Charles Amédée Van Loo, painter (1718-1795).

Maybe a preparatory drawing for the famous "Self-portrait with two pupils".

Jean-Richard Butler (1741-1788) was a "Lieutenant de Vaisseau" in the French military Navy. He lived in La Rochelle and in Rochefort.

Portrait of Prudent de Villiers, born Charlotte-Antoinette Boula de Mareuil (Paris 1765-1819). Here she was 21 years old and it was the year of her wedding.

Madame Adelaide was one of Louis XVI's aunts: near her there are threee portraits of Maria Lezinska (her mother), Louis XV (her father) and the King Louis XVI, as a tribute to the King Louis XV and his family. This painting is kept at the Palace of Versailles near the similar portrait of Madame Victoire. A copy of this portrait is kept at the Phoenix Art Museum.

Madame Adelaide, Louis XVI's aunt.

Madame Victoire was one of the daughters of Louis XV. This portrait is a night scene: the twilight as it were of the glittering splendor of Bourbon royalty. The princess wear a beautiful violet dress picking up the flowers on the left, and the evening sky.

The portrait of Madame Louise-Elisabeth of France, Infante d'Espagne, Duchesse de Parme, was commissioned by King Louis XVI's aunts and it shows one of the daughters of Louis XV with her son. The shadows on her face and on the wall in back of her may simbolize death, in fact she died of a smallpox at the age thirty-two. Completed in 1788, one year after the commission, the picture idealizes its subject, who stands on a terrace in a relaxed, graceful pose, dressed in the low-cut and elaborately decorated costume popular in late eighteen-century.

Portrait of Madame Elisabeth, Louis XVI's sister at the age of 24.

Study for a portrait of Madame Elisabeth.

Madame de Genlis (1746-1831) was exceptionally well educated in her childhood; her intelligence and musical talents were much encouraged; by the age of ten she could play several instruments. She made a financially brillant marriage to Alexis Brulart, comte de Genlis in 1783 at the age of sixteen. Clever, charming and very ambitious, Madame de Genlis soon managed to become the mistress of the Duc de Chartres, in spite of his recent marriage to the daughter of the Duc de Penthièvre. Madame de Genlis wished and obtained the position of instructress for the princesse d'Orléans and togher with her own daughters removed them all to the Convent of the Dames de Bellechasse for their education. her educational mathods were highly respected and quite advances, and were inspired by the ideas of Madame de Maintenon and of Rousseau. At the time of the Revolution, Madame de Genlis embraced the new ideas with enthusiasm; she also attended meetings of the Jacobins club and Cordeliers, renouncing her noble titles, and calling herself "la citoyenne Brulart". She went to England in 1791, one year after this portrait was painted, and except for the briefest visits was forced to remain in exile. Napoleon used her for his secret service and after the Restorations, she wrote several books. She died shortly after the enthronement of her former pupil, Louis-Philippe on January 1831.
Sale at Sotheby's on 1991.

Presumed portrait of Madame de Lafayette, 1793-94
oil on canvas, 78 x 63 cm.

In her earlier portraits of French nobility, Adélaïde Labille-Guiard had proven herself adept at rendering intricate details of elaborate clothing, furniture, and architecture. In Presumed Portrait of the Marquise de Lafayette, however, the artist demonstrates how effective an image she can create using a minimal number of elements. In 1774 Adrienne de Noailles, member of a powerful family of French aristocrats, had married the marquis de Lafayette. This portrait, presumed to depict her, was most likely painted in 1790. By that time the marquise's husband had already become well known in both French and American politics. Appropriately, Labille-Guiard's sitter wears a simple dress of the type favored by women during the early years of the French Revolution. She wears no ornate jewelry. She is not posed in an elaborate architectural setting, and even the landscape behind the marquise is relatively restrained in keeping with the simplicity of her apparel and her pose. Her somewhat tentative smile emphasizes the sitter's physical attractiveness without unduly flattering her. Because of her husband's affiliation with the French monarch, the marquise was arrested and imprisoned and narrowly escaped the guillotine (which her mother, sister, and grandmother did not). In 1795 the marquise voluntarily joined her husband in jail, bringing their two daughters with her. The family members were released in 1797 and retired to their home at Château La Grange, near Paris. Several books have been devoted to the life story of Adrienne de Noailles, marquise de Lafayette, focusing on her remarkable strength of character, bravery, and self-discipline. Through a combination of hard work, political lobbying, and clever business sense, she is credited with having restored the family's fortune and properties seized during the revolution. (Informations from National Museum of Women in the Arts)
 

Son of the Genevan miniaturist François Elie Vincent (1708-1790), François André Vincent (1746-1816), the artist's second husband and also her first teacher, was one of the forerunners of neoclassicism. He was the leader of a school before being dethroned by David. This portrait, one of her rare works of male subjects, was painted in the year of their marriage.

Mademoiselle Capet was the artist's favourite pupil. This painting was exhibited at the Salon of 1798.
Sold at Sotheby's on 1959

Marie Therese Louise of Savoia-Carignano, Princesse of Lamballe (1749-1792), married Louis Stanislas, Prince of Lamballe (1747-68) and brother of Louise Marie Adélaïde de Penthièvre (the future Duchess of Chartres) on 1767: she was left widow only a year after her wedding, at the age of 19 became a close friend of Marie Antoinette. She had been appointed Superintendent to the Queen's House and she was always devoted to the sovereign. On 3rd September 1792 she returned to France from England to stay near to the Royal family, but she was killed; her body was lacerated and her head stuck on a spike, was shown to Marie Antoinette from the Temple's window where the Queen was incarcerated.

Sold on 5 July 1994 and on 3 July 2000.

The picture is from an advertisement in Burlington Magazine, May 1994.

Jean d'Arcet (1727-1801) was a young doctor and became very closed firend with Montesquieu. After the death of his rich and famous friend, Jean worked at the manifacture royale de Sèvres and met many intellectual and important men as Lavoisier.
This portrait was probably shown at the Salon of 1795.

Portrait du Comte de Provence, brother of the king Louis XVI, future Louis XVIII, king of France.

Presumed portrait of Madame Poisson, mother of Madame de Pompadour.
In 1845 the portrait was kept in the Château de Ménars (Collection Grignon de Montigny), then it was sold by Pierre Decourcelle in 1907 and sold again at Christie's in 2002.
Madame Poisson was born in 1699 and died in 1745, then Adelaide Labille-Guiard couldn't paint her portrait because she was born in 1749, four years after Madame Poisson's death: then the woman on this painting has to be another person, or the portrait of Madame Poisson can't be by Adelaide Labille-Guiard.

Attribute to Adelaide Labille-Guiard on "Gazette des Beaux-Arts" (April 1996)

Portrait of an Artist seated, half-lenght, holding a stylus, wearing a blue silk gown with coral sleeves and trimmings.
Sold at Christie, New York, in 1995.

Louise-Rosalie Lefèvre (1755-1821), called "La Dugazon", was an Opera singer, married Jean-Henri Gourgaud, brother of Mme Vestris. Adelaide Labille-Guiard painted her as Babet and she was very interested in her character.

The marquise de la Valette (1762-1788) was the daughter of Charles de Flahaut, marquis de la Billardrie, brother of the count d'Angiviller. She married at the age of twenty the marquis Baptiste de la Valette and she had two children.

The sitter has a blue and white dress and she's playing the harp. There's another young lady playing the harp by Elisabeth Vigée Le Brun, even if she's turned on the left.