(Aix-en-Provence 1684–1745) and workshop of; Portrait ofJeanne-Agnès Berthelot de Pléneuf, Marquise de Prie, oil on canvas, 64.7 x 56 cm, framed,

Provenance:: The Hickory Museum of Art, Hickory/North Carolina (as “Etienne Jeurat”). This may be the painting that was in the collection of Count Nikodemus Tessin, the famous Swedish collector, at Schloss Akarö and which was sold in the auction of his estate in 1771 (see N. Jeffares, Dictionary of pastellists before 1800, London 2006, article on Jean Baptiste van Loo).

Literature (comparative): F. Althaus, M. Sutcliffe, The Triumph of Eros, Art and Seduction in 18th century France, London 2006, cat. no. 34. The Marquise de Prie, portrayed here, was one of the most brilliant figures of the Régence and as the ‘maitresse en titre’ of the Duc d'Orleans during his regency for the as yet minor, Louis XV, was de facto the Queen of France. Daughter of a well-to-do finance officer she was married at the age of 15 to the Marquis de Prie, whom she accompanied to the Sayone court in Turin. On her return to Versailles she became the mistress of the Regent, whose policies she helped decisively determine over the next few years. It was the Marquise de Prie, who arranged the marriage of the King to the Polish princess, Maria Leszczynska. In a famous intrigue she attempted to banish the Bishop de Fleury, a favourite of the King, from court. This affair ended badly for her. In 1725 she was banned from court, a humiliation which she never overcame. In 1727 the Marquise died in mysterious circumstances on the estate of her husband. The adventurous life of this woman known for her beauty and her spirit inspired many authors, including Stefan Zweig, who immortalised her in his story, “The Fall of the Marquise de Prie”. The portrait of the famous courtisane is amongst van Loos's better known compositions and the reversed engraving by Jacques Cherreau was widely disseminated. There are good copies in pastel of the prototype which is probably lost. Direct variants in oil are rare. This painting is the one known version which shows the Marquise without floral decoration and with smoothly coiffured hair. A version almost identical to ours is owned by the Hermitage in St. Petersburg. This painting, which departs from ours in certain details of the costume, has been identified as the work of Louis Michel van Loos, who worked for a long time in his father's workshop. Our painting, which is identical in size with the the St. Petersburg version, may thus be another version by the son working in collaboration with his father.