This elegant early 18th-century oil painting by French master portraitist Nicolas Fouché (1653-1733) depicts a young lady representing an allegory of Flora, the goddess of flowers and Spring. It exemplifies the refined grace and allegorical charm that characterised the Régence period.

The sitter, portrayed half-length and turned slightly toward the viewer, is adorned in a sumptuous blue gown with gold lacing - its sleeves of translucent silk tied with soft pink ribbons. A rose-pink sash falls across her arm, while matching flowers adorn her powdered hair. She appears both real and idealised, against a wooded backdrop bathed in the warm light of evening. There's a sculptural quality to her form, akin to polychromed marble. She's a vision suspended between portraiture and myth.

Fouché’s treatment of costume - neither courtly nor antique - was typical of early eighteenth-century allegorical portraiture, in which fashionable women were recast as goddesses or virtues. The symbolism of Spring, youth, and beauty is woven subtly into her attire: the pink blossoms for renewal, the blue gown for air and sky, the golden lacing for vitality and abundance.

Comparable works by Fouché, including his recorded 'Portrait of a Lady as Flora, Three-Quarter Length, Accompanied by Zephyr, and his Pomona' (Museum of Fine Arts, Budapest), reveal his ongoing fascination with mythological themes. In these, as here, he tempers the high Baroque with a gentler sensibility, employing softly modelled flesh tones, warm lighting, and balanced compositional rhythm. His figures, though drawn from allegory, maintain a human immediacy that reflects the Parisian taste for idealised beauty.

The plinth in the lower right reinforces the sense of poise and virtue - a motif often used by Fouché and his contemporaries to anchor allegorical figures.

Dated stylistically to around 1710-1720, this painting demonstrates Fouché’s mature manner - refined, decorative, and imbued with the lyrical restraint that anticipated the Rococo. It stands as an eloquent testament to his ability to merge the enduring traditions of the seventeenth century with the lighter, more personal sensibilities of the eighteenth.

Following a professional clean, the colours now sing as buoyantly as early Spring herself.

Held in a gilt frame likely dating to the 18th century, with a beaded inner moulding, flat sight-edge panels, and restrained foliate ornament at the corners.