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Jean Etienne Liotard

Switzerland (Genova 1702 -  1789 ) Wikipedia® : Jean Etienne Liotard
LIOTARD Jean Etienne Portrait Of A Seated Young Lady, Seen In Profile

Jul 5, 2017
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Variants on Artist's name :

Liotard Jean Étienne


Artworks in Arcadja

Some works of Jean Etienne Liotard

Extracted between 164 works in the catalog of Arcadja
Jean Etienne Liotard - Portrait Of Maria Theresa, Empress Of Austria

Jean Etienne Liotard - Portrait Of Maria Theresa, Empress Of Austria

Original 1780


Lot number: 21
JEAN-ETIENNE LIOTARD (1702-1789) Portrait of Maria Theresa, Empress of Austria mezzotint, circa 1780, on tan laid paper, a partial watermark Two Men holding a Bunch of Grapes (not in Haewood), a fine impression of this rare print, second, final state (with letters), some soft horizontal printer\’s creases, with margins, in good condition Plate 165 x 130 mm., Sheet 196 x 175 mm.
Jean Etienne Liotard - Portrait Of A Seated Young Lady, Seen In Profile

Jean Etienne Liotard - Portrait Of A Seated Young Lady, Seen In Profile



Gross Price
Lot number: 47
Black and red chalk, heightened with white chalk (recto); selectively toned with blue and black chalk (verso) 229 by 175 mm Provenance Camille Groult, Paris (according to an old inscription to the backing board "Monsieur Groult") Exhibited Paris, Exposition universelle de 1900, Exposition rétrospective de la Ville de Paris (according to an old label to the backing board) The sheet is currently completely free, with only two small tabs of paper to the lower edge of the verso. The sheet has fractionally discolored and there is evidence of foxing to the upper edge and above the chair. There is also evidence of some old water damage to the right edge, though this does not affect the drawing itself. There is some minor creasing to the upper left corner and lower left corner, as well as vertical creasing to the right edge. There are some small losses to the right edge, consistent with the sheet having previously been removed from a bound sketchbook. The chalk medium remains fresh throughout this delightful sheet. Sold in a carved giltwood 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. 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."
Jean Etienne Liotard - Portrait Of Count Jean Diodati

Jean Etienne Liotard - Portrait Of Count Jean Diodati



Gross Price
Lot number: 146
Jean-Étienne Liotard

GENEVA 1702 - 1789


Black and red chalk heightened with white;

on the verso, the same figure is silhouetted and toned with red and black pastels

235 by 188 mm; 9¼ by 7 7/16 in

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Saleroom Notice


Jacques et Raymond de Saussure, Geneva (inscribed in pen and brown ink on the old backing board, now lost: Dessin de Liotard-Portrait d'Inconnu/le meme se trouve chez M. Charles Sarasin/Proprieté de Jacques et Raymond de Saussure);

sale, London, Sotheby's, 12 January 1994, lot 107 (as Louis Carrogis, called Carmontelle);

with Jean-Luc Baroni, London, An Exhibition of Master Drawings, 1994, no. 39, reproduced;

Private collection, USA


N. S. Trivas, Jean-Étienne Liotard: peintures pastes et dessins, unpublished manuscript catalogue, 1936, under no. FA 07 (as Jean-Michel Liotard);

A. de Herdt, Dessins de Liotard, exhib. cat., Geneva, Musèe d'art et d'histoire, and Paris, Musèe du Louvre, 1992, p. 232, under no. 126;

Edinburgh, National Gallery of Scotland, and London, Royal Academy of Arts, Jean-Etienne Liotard, exhib. cat., 2015-16, p. 208, under no. 70

The subject of this exquisite and delicately drawn portrait by Liotard, Count Jean Diodati (1732-1807) was a member of an illustrious Geneva family of Italian origin. It is one of three autograph versions, with small differences, the other two of which, also in private collections, have been dated by Anne de Herdt to circa 1763-1770. One version, formerly in the collection of Aimé Martinet, in Geneva, was included in the important exhibition of Liotard\’\’\’\’s drawings held in Geneva and Paris in 1992.


The other version, currently on view in the Liotard exhibition at the Royal Academy in London, has descended to its present owners directly from the sitter.


Trivas, in his unpublished manuscript, Jean-Étienne Liotard: peintures pastels et dessins, now in the Archives of the Musée d'Art et d'Histoire, Geneva, also mentions the present portrait of Diodati, with its provenance of Jacques et Raymond de Saussure, descendants of an old 18


-century Geneva family, in which the portrait remained until it was sold in 1994. Although Trivas, writing in 1936, wrongly believed that all three versions of the portrait could be the work of Jean-Étienne\’\’\’\’s brother Jean-Michel Liotard, Anne de Herdt studied the two other versions in connection with her 1992 exhibition, publishing them both as autograph, and also concluded that the present sheet, which came to light soon afterwards, in 1994, is the work of Jean-Étienne Liotard himself.


Marcel Roethlisberger, who has recently studied the present drawing in original, has also kindly confirmed the attribution to Liotard.

In a letter to the previous owner, Anne de Herdt has emphasized that the artist often made multiple, and interchangeable, versions of his portraits, as she explained in her 1992 entry for the portrait of Dr. Théodore Tronchin, of which two drawn versions are known: 'Liotard s'astreignait à ce travail méticuleux afin qu'aucun des deux collectionneurs ne puisse dire à l'autre qu'il était seul à posséder l'original' (Liotard forced himself to work so meticulously, so that neither of the two collectors could say to the other that he was the only one to own the original).
The present drawing appears to be more delicately finished than the version exhibited in 1992, and differs from the version currently on view in London, which is also slightly smaller than this, in that here Count Diodati holds the stick at a different angle. Moreover the presence here of the very distinctive and unusual technical device that Liotard typically employed in his chalk drawings of this type to heighten the sense of depth and luminosity is very significant. This technique involved tracing the outlines of the figure on the verso in black chalk, and filling in areas of the figure with blocks of strong red and black, possibly moistened pastel, allowing the colours to show through to the recto, subtly modifying the tonality of the page. While the principle of this technique derives from the artist\’\’\’\’s training as a miniaturist and enameller, Liotard seems to have been characteristically innovative and experimental in the way that he applied it to the rather different medium of drawing.

Liotard worked and excelled in a range of media and in his portraits, including his pastels, he achieves an unparalleled truthfulness that gives his work such a modern sensibility. In this outstanding portrait, even although Diodati is studied in profile, Liotard has succeeded in conveying the sitter\’\’\’\’s expression with immense psychological insight. Diodati was most probably introduced to Liotard through the Tronchin family, with whom the artist had a close relationship throughout his life. Diodati\’\’\’\’s mother was Anne Diodati-Tronchin, his maternal grandparents were Jean and Anne Tronchin-Molenes, and he married Marie-Elisabeth Tronchin, the daughter of Dr. Théodore Tronchin, who was portrayed by Liotard on more than one occasion and in various media.

A. de Herdt, op. cit., p. 232, no. 126, reproduced and p. 287, nos. 153-154

Jean-Etienne Liotard, exhib. cat., loc. cit.

Letter to the previous owner, dated 15 February 1994

A. de Herdt, op. cit., p. 228

M. Roethlisberger and R. Loche, Liotard, Doornspijk 2008, vol. I, no. 416, reproduced vol. II, figs. 597-601

Hinged at the top. Laid down on japan paper. At the top margin in the center a small repair. The tip of the right corner made up as the one of the left bottom corner. A tiny nick at the bottom margin not noticeable. A repaired tear to the right end side, in the center from the margin to below the sitter's stick, at the height of the left arm. The drawing was slightly cleaned in the past. Sold mounted and framed in an old carved and gilded 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.
Jean Etienne Liotard - Portrait Of Empress Maria Theresa

Jean Etienne Liotard - Portrait Of Empress Maria Theresa



Gross Price
Lot number: 103
Jean Etienne Liotard
(Geneva 1702–1789)

Portrait of Empress Maria Theresa,

pastel on card, 65 x 52 cm, framed


Princes of Thurn and Taxis, Castello di Duino, Trieste;

Sale, Duino, Beaussant Lefèvre, 11–14 June 1997, lot 298;

European private collection


M. Roethlisberger, R. Loche, Jean Etienne Liotard 1702–1789, vol. 1, Doornspijk, 2008, pp. 303, 308, fig. 200 (as after Liotard, but \‘exécution digne de Liotard\’\’\’\’)

We are grateful to Neil Jeffares for confirming the attribution of the present painting on the basis of a high-resolution digital photograph.

The present pastel shows the Empress as a half-length figure, slightly turned to the side. Her hands are not visible and only one arm can be seen, so that the focus is clearly on the face. The painting is an autograph version of a painting made in 1743 and presented to Count Goëss in 1765 and now in Ebenthal Palace. In both pictures, the Empress wears a blue robe embellished with an elaborate border and appears without her crown. There are many examples in Liotard\’\’\’\’ s oeuvre where the red lake he used for such passages has faded and exposes the dark brown hatching intended to show through as a shadow, but which now resembles a somewhat oddly unfinished area. The treatment of the flesh tones and of the face in particular shows the characteristic features of works by Liotard.

The numerous portraits Liotard made of the Empress have to be seen in a larger political context. The death of Emperor Charles VI in 1740 had left the Habsburg dynasty without a male heir, which led to disputes with Prussia, Saxony, Bavaria, and France within and after the War of the Austrian Succession between 1740 and 1748. Maria Theresa had finally brought peace to her country and was considered the embodiment of Austria. Consequently, there was a great demand for portraits of the Empress especially in Vienna, to which Liotard responded alongside other artists.

Liotard was first in Vienna between 1743 and 1745 and became a very popular artist at Maria Theresa\’\’\’\’s court. Most of the portraits Liotard painted of members of royal dynasties in Europe depict the Habsburg family. In his autobiography, Liotard reports that he was received at the court on the day after his arrival, when he appeared in an Ottoman costume. On the following day he met Maria Theresa, who was enthusiastic about his pictures. He asked for permission to paint her, and she agreed. He became successful immediately, although Vienna, after his long visit to Constantinople, confronted the artist with an entirely different ambience.
Jean Etienne Liotard - Portrait Of Pierre-philippe Cannac D'hauteville

Jean Etienne Liotard - Portrait Of Pierre-philippe Cannac D'hauteville

Original 1775


Lot number: 151
Jean-Etienne Liotard (Geneva 1702-1789) Portrait of Pierre-Philippe Cannac d'Hauteville, later Baron Cannac, half-length with inscription 'Baron Pierre Philippe / [...] année 1775/ par Liotard' (on the back of the frame) black chalk, pastel, on several joined sheets of paper laid down on wood 34 7/8 x 26½ in. (88.7 x 67.2 cm.)
Baron Pierre-Philippe Cannac d'Hauteville (1705-1785) His son, Jacques-Philippe Cannac d'Hauteville (1731-1808) His daughter, Anne-Philippine-Victoire Grand d'Hauteville (1770-1829) Her daughter, Aimée-Philippine-Marie Grand d'Hauteville (1791-1855) Her son, Paul-Daniel-Gonzalve Grand d'Hauteville (1812-1889) His son, Frédéric Grand d'Hauteville (1838-1918) His son, Paul Grand d'Hauteville (1875-1947) His son, Wilfred Grand d'Hauteville (1913-1987), and thence by descent to the present owners.
F. Grand d'Hauteville, Le Château d\’\’\’\’ Hauteville, Lausanne, 1931, p. 201, illustrated. N. Trivas, Untitled monograph and catalogue of the oeuvre of Liotard, 1936, in the Musée d\’\’\’\’art et d\’\’\’\’histoire, Geneva, no. 96 (as executed circa 1760 in Geneva, at the date when Cannac succeeded to the Seigneurie de Saint-Légier). R. Loche and M. Roethlisberger, L'opera completa di Liotard, Milan, 1978, no. 158, illustrated. N. Jeffares, Dictionary of pastellists before 1800, London, 2006, p. 339. M. Roethlisberger and R. Loche, Liotard: Catalogue, Sources et Correspondance, Doornspijk, 2008, I, no. 209, II, fig. 345.
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