Jean-Baptiste Greuze, ‘Portrait of Jeanne Philiberte Ledoux (1767–1840)’, ca. 1790, Heather James Fine Art
Jean-Baptiste Greuze, ‘Portrait of Jeanne Philiberte Ledoux (1767–1840)’, ca. 1790, Heather James Fine Art
Jean-Baptiste Greuze, ‘Portrait of Jeanne Philiberte Ledoux (1767–1840)’, ca. 1790, Heather James Fine Art
Jean-Baptiste Greuze, ‘Portrait of Jeanne Philiberte Ledoux (1767–1840)’, ca. 1790, Heather James Fine Art
Jean-Baptiste Greuze, ‘Portrait of Jeanne Philiberte Ledoux (1767–1840)’, ca. 1790, Heather James Fine Art
Jean-Baptiste Greuze, ‘Portrait of Jeanne Philiberte Ledoux (1767–1840)’, ca. 1790, Heather James Fine Art
Jean-Baptiste Greuze, ‘Portrait of Jeanne Philiberte Ledoux (1767–1840)’, ca. 1790, Heather James Fine Art
Jean-Baptiste Greuze, ‘Portrait of Jeanne Philiberte Ledoux (1767–1840)’, ca. 1790, Heather James Fine Art

The sitter, Jeanne Philiberte Ledoux, was a student of Greuze and a successful artist herself. She exhibited portraits and miniatures in the Paris Salons.
As student of Greuze, it is interesting that the sitter holds a laurel wreath which has traditionally been used as a symbol of graduation and success.

Paris, Sedelmeyer Gallery, 300 Paintings by Old Masters, 1898, no. 269;
New York, Wildenstein, March-April 1929, no. 16.;
Princeton, New Jersey, Princeton University Art Museum, European and American Art from Princeton Alumni Collections, 7 May-11 June 1972, no. 24;
Hartford, Connecticut, Wadsworth Atheneum; San Francisco, the Legion of Honor; Dijon, Muse´e des Beaux-Arts, Jean-Baptiste Greuze: 1725-1805, 1 December 1976-7 August 1977, no. 103;
Durham, North Carolina, Nasher Museum of Art, 1981

C. Sedelmeyer, Illustrated catalogue of 300 paintings by old masters of the Dutch, Flemish, Italian, French, and English schools, being some of the principal pictures which have at various times formed part of the Sedelmeyer Gallery, Paris, 1898, no. 269;
J. Martin and C. Masson, Catalogue Raisonné de L'Oeuvre Peint et Dessiné de Jean Baptiste Greuze, 1908, p. 73, no. 1178;

E. Secrétan, Paris; his sale, Paris, 1 July 1889, lot 121 (FF 10,900), where acquired by the following
with Charles Sedelmeyer, Paris;
(Probably) Yolande Lyne Stephens, London; her sale, London, 9-17 May 1895, lot 356;
James Simon, Berlin
with Knoedler, New York
with Wildenstein, New York, 1929;
Henry E. Stehli, New York; Sotheby's, New York, 30 November 1950, lot 18, where acquired by the following
with Hirschl and Adler Galleries, New York;
Dr. and Mrs. James H. Semans, Durham, North Carolina, 1960;
Private Collection, gift from the above by 1976

About Jean-Baptiste Greuze

Considered to represent the highest ideal of genre painting in the mid-18th century, Jean-Baptiste Greuze won popularity with his sentimental, moralizing scenes. Greuze exhibited Father Reading the Bible to His Children at the 1755 Salon to great success. He worked in the bright color and lighter attitude typical of 18th-century painting, but introduced Dutch realism into French genre painting and portraiture. In 1769 Greuze suffered the humiliation of being denied the status of “history painter” after presenting his work to the Académie Royale. By the 1780s Neoclassicism had risen to popularity in France and Greuze’s work went out of fashion; his productivity and skill in decline, he died in poverty and relative obscurity.

French, 1725-1805, Tournus, France, based in Paris, France