Henri-François RIESENER (1767-1828) Portrait of a young girl standing Black pencil and red chalk on paper, bears workshop stamp lower left 15 x 9.5 cm Henri-Francois RIESENER (1767-1828) Portrait de jeune fille debout Crayon noir et sanguine sur papier, porte le cachet de l'atelier en bas à gauche 15 x 9,5 cm
Henry François Riesener (1767-1828) Presumed portrait of Monsieur Rolland of the Opéra Comique Oval view canvas signed upper left: Riesener, 61 x 48 cm Restoration period wood and gilded stucco frame Rolland was one of the Emperor's Ordinary actors at the Imperial Theatre of the Opéra Comique Henry François Riesener (1767-1828) Portrait présumé de monsieur Rolland de l'opéra comique Toile à vue ovale signée en haut à gauche : Riesener, 61 x 48 cm cadre en bois et stuc doré d'époque Restauration Rolland était un des comédiens Ordinaire de l'empereur au théâtre impérial de l'opéra comique
RefOld13921 RefImp13921 BILDNIS EINER ELEGANTEN DAME Öl auf Leinwand. 64 x 53 cm. Rechts unten signiert und datiert „HF Riesener 1796“. In vergoldetem Prunkrahmen. Halbbildnis der Dame nach links, vor grünlich braunem Hintergrund. Sie trägt ein weißes hochgegürtetes Kleid mit weitem Ausschnitt und floralem Muster, typisch für die Zeit, dazu einen roten Umhang. Das dunkle Haar mit kunstvoll gelegten Ringellocken über der Stirn und mit einer perlenverzierten Haarspange. Dazu eine Perlenkette um den Hals und passende Ohrringe. Sie hat ein zartes Gesicht mit leicht geröteten Wangen und rötlichen Lippen und blickt mit ihren glänzenden blauen Augen würdevoll aus dem Bild heraus. Fein ausgeführte Malerei und wirkungsvolle sanfte Beleuchtung auf Gesicht und Körper der Dargestellten. Rest., kleinere Retuschen. (1280703) (18)
Henri-François RIESENER (Paris 1767-1828) Portrait d’une petite fille à la poupée et aux jeux d’enfants Huile sur toile. Signé au milieu à droite : Riesener . 115 x 90 cm Beau cadre d’origine en stuc doré d’époque Restauration à décor de feuilles d’acanthe, raies de cœur et frise. Provenance : New-York, collection Christopher Forbes Acquis en 1982 par Malcom Forbes (1919-1990) à la galerie Fischer-Kiener, Paris. Historique : Henri-François Riesener grandit dans un environnement artistique privilégié : fils de Jean-Henri Riesener, « ébéniste du mobilier de la Couronne », et de Françoise-Marguerite Vandercruse, fille de l’ébéniste célèbre et veuve de JeanFrançois Oeben. Il fréquenta les ateliers d’Antoine Vestier, d’André Vincent et de Jacques-Louis David. La fortune familiale disparut avec les privilèges des artistes royaux sous la Révolution. C’est à cette époque qu’HenriFrançois Riesener commença à gagner sa vie comme portraitiste. Il passa quelque temps dans l’atelier de David et exposa régulièrement au Salon. Dans son propre atelier, il accueillit notamment en 1815 son neveu Eugène Delacroix. Fortement impliqué sous l’ Empire par les commandes napoléoniennes, Riesener résolut de s’expatrier au moment de la Restauration , il se rendit en 1816 en Russie, où il entra au service du Tsar Alexandre Ier et devint le peintre officiel de la noblesse russe. Notre délicat portrait de petite fille à la poupée et aux jeux d’enfants condense différentes influences exercées sur Riesener. L’habillement de l’enfant, composé d’une légère robe blanche portée par-dessus un pantalon de lingerie, de style Restauration, nous permet de situer le tableau dans le premier quart du XIX e siècle. L’évocation de la Russie, où il a passé de nombreuses années, est symbolisée ici grâce à la petite église en bois à bulbe, de style orthodoxe. La richesse de la palette du tapis rouge est renforcée par le traitement d’un fond de terre en camaïeu et du velours vert soutenu de la chaise. Le contraste entre la simplicité de l’enfant et la richesse des objets qui l’entourent (robe de la poupée, décor du tapis) met en valeur l’expression du visage de la petite fille et confère au tableau une atmosphère douce et intime. Ce tableau sera inclus dans le catalogue raisonné en préparation sur l’artiste par Alexis Bordes.
Henry François Riesener, 1767 Paris - 1828, zug./ Art des BILDNIS EINER FRAU IM LEHNSESSEL MIT GRÜNEM SEIDENKLEID Öl auf Leinwand. 100 x 80 cm. Im originalen, vergoldeten Empire-Rahmen mit Palmettendekor. Der Blick dem Betrachter zugewandt, das Haar in kunstvoll gelegten Ringellocken in die Stirn geführt, darüber ein Häubchen mit weißen Straußenfedern, breite Spitzenhalskrause über dem Tülleinsatz des Miederausschnitts. Über dem linken Arm ein wollener indischer Kaschmirschal, links ein Stickrahmen. Das Dreiviertelportrait fein ausgeführt, wirkungsvolle sanft Beleuchtung auf dem Gesicht, vor olivgrünem Hintergrund. (930688)
CIRCLE OF HENRI FRANçOIS RIESENER (PARIS 1767-1828) PORTRAIT OF A LADY, HALF-LENGTH, IN A FUR-TRIMMED BLUE AND WHITE DRESS WITH A PLUMMED HAT, BEFORE A RED CURTAIN OIL ON CANVAS 28¾ X 23½ IN. (73 X 59.7 CM.)
Henri François RIESENER (Paris 1755-1830) Portrait d'une jeune mère et de son fils avec des jouets, accoudés à un bord de fenêtre Huile sur toile 74 x 60 cm (Quelques restaurations)
Henri Francois Riesener (1767-1828) PORTRAIT OF A LADY in white dress and shawl oil on canvas signed lower right Riesener restretched and relined 27" x 22 1/2"
RIESENER Henry François (1767-1828). Attribué à. Huile sur toile Portrait d'une dame de qualité. Attribué à Henry François Riesener. Ecole française. Dim.:70x57cm.
François Henri RIESENER (1767-1828) Portrait de femme au carnet de bal Portrait d'un père et sa fille Toiles d'origine, une paire. Restaurations anciennes. Cadre en bois et stuc redoré. 99 x 80 cm
HENRI-FRANCOIS RIESENER (PARIS 1767-1828) Portrait de la baronne d'Este signé 'Riesener' (en bas à gauche) Huile sur toile, non rentoilée 64,8 x 54,8 cm. (25½ x 21½ in.)
Henri-François Riesener Paris 1767-1828 Portrait of a harpist and singer indistinctly inscribed (on the harp sounding board) oil on canvas 51 1/8 x 38½ in. 129.9 x 97.8 cm.
HENRI-FRANCOIS RIESENER PARIS 1767 - 1828 PORTRAIT OF THE MISSES DE BALLEROY IN A LANDSCAPE WITH A DOG 83 1/2 by 57 1/2 in.; 211.5 by 146 cm. oil on canvas, unframed Provenance: Prince Henri Charles-Emmanuel de Bourbon-Parme, grand-son of Princess Joseph de Broglie-Revel, nee Marguerite de Balleroy. Exhibited: Possibly, Paris, Salon, 1808, no. 497, Portrait en pied d'une dame et de sa soeur. or no. 499 Portaits de deux femmes. Catalogue Note: The attribution to Henri-Fran‡ois Riesener has been confirmed by Alexis Bordes who will include this painting in his forthcoming catalogue raisonne on the artist. Henri- Fran‡ois Riesener was the son of the famous cabinet maker Jean-Henri Riesener, who emigrated from Germany to Paris and worked for a select clientele including Louis XVI and Marie Antoinette. Henri-Fran‡ois started his career as an apprentice to Vincent, and later moved to David's studio, where he learned the grand manner of history painting. In his career, however, Riesener was renowned as a portrait, rather than a history, painter, and he remains one of the greatest portaitists to come out of David's studio.
PORTRAIT OF THE MISSES DE BALLEROY IN A LANDSCAPE WITH A DOG PORTRAIT OF THE MISSES DE BALLEROY IN A LANDSCAPE WITH A DOG measurements note 83 1/2 by 57 1/2 in.; 211.5 by 146 cm. oil on canvas, unframed PROVENANCE Prince Henri Charles-Emmanuel de Bourbon-Parme, grand-son of Princess Joseph de Broglie-Revel, née Marguerite de Balleroy. EXHIBITED Possibly, Paris, Salon, 1808, no. 497, Portrait en pied d'une dame et de sa soeur. or no. 499 Portaits de deux femmes. NOTE The attribution to Henri-François Riesener has been confirmed by Alexis Bordes who will include this painting in his forthcoming catalogue raisonné on the artist. Henri-François Riesener was the son of the famous cabinet maker Jean-Henri Riesener, who emigrated from Germany to Paris and worked for a select clientele including Louis XVI and Marie Antoinette. Henri-François started his career as an apprentice to Vincent, and later moved to David's studio, where he learned the grand manner of history painting. In his career, however, Riesener was renowned as a portrait, rather than a history, painter, and he remains one of the greatest portaitists to come out of David's studio.
PORTRAIT OF A MOTHER WITH HER DAUGHTER HOLDING UP A PORTRAIT MINIATURE IN HER LEFT HAND PORTRAIT OF A MOTHER WITH HER DAUGHTER HOLDING UP A PORTRAIT MINIATURE IN HER LEFT HAND measurements note 65 by 54.3 cm.; 25 1/2 by 21 3/8 in. signed with initials lower left: H.R. oil on canvas NOTE The attribution to Henri-François Riesener has been confirmed by Alexis Bordes who will be including the painting in his forthcoming catalogue raisonné on the artist. He believes the painting to date from the artist's Russian sojourn, that is between 1816 and 1823.
PORTRAIT OF A LADY, HALF-LENGTH, WEARING A RED VELVET DRESS AND A BLACK HAT WITH A WHITE PLUME measurements note 76.1 by 63.5 cm.; 30 by 25 in. signed lower left: Riesener oil on canvas
PORTRAIT OF A MOTHE, AND HER DAUGHTER HOLDING A PORTRAIT MINIATURE IN HER LEFT HAND PORTRAIT OF A MOTHE, AND HER DAUGHTER HOLDING A PORTRAIT MINIATURE IN HER LEFT HAND measurements note 65 by 54.3 cm.; 25 1/2 by 21 3/8 in. signed with initials lower left: H.R. oil on canvas NOTE The attribution to Henri-François Riesener has been endorsed by Alexis Bordes who will be including the painting in his forthcoming catalogue raisonné on the artist. He believes the painting to date from the artist's Russian sojourn, that is between 1816 and 1823.
With later movement and replaced blue enamelled globe Representing 'Love triumphing over the flight of Time' with Cupid indicating the time with an arrow pointing at two revolving chapter rings applied with white enamel Roman and Arabic numerals, set within a later blue enamelled globe applied with ormolu stars, with shuttered winding holes to the front, housing a horizontally positioned twin barrel movement with circular plates, the upper plate punch-stamped 'CAY', the anchor escapement with silk suspension and countwheel strike on bell, on a white marble plinth applied with scrolling foliate mounts, the gilding cleaned 25in. (63.5cm.) high, 121/2in. (32.8cm.) wide PROVENANCE Almost certainly Sir Richard Wallace, listed in the Grande Galerie at 2, rue Lafitte, Paris, in the 1871 Inventory. Almost certainly that bequeathed by the above to Sir John Murray Scott, 2, rue Lafitte, Paris. Almost certainly thence by descent to his sister, Mrs. M.K.T Scott, sold W.E. Hurcomb auctioneer, 23 July 1925, lot 142. Acquired from William Redford, London, 1979. LITERATURE Probably 1871 Inventory of 2, rue Lafitte, Paris, listed in situ in the Grande Galerie:- '327 Pendule en bronze dor‚ au mat avec figure du Temps en bronze, socle en marbre blanc pris‚e cinq cents francs '. Probably P. Hughes, The Wallace Collection, Catalogue of Furniture - I, London, 1996, F264, p.498. EXHIBITION Almost certainly Paris, Dix-huitiŠme, 1883-4, no. 284. NOTES Peter Hughes, op. cit., in his authoritative entry on the clock of this model in the Wallace Collection, London, has attributed this model to the fondeur Etienne Martincourt ( maŒtre in 1762), working to a design by the sculptor Augustin Pajou (1730-1809), as a much larger version of the same model is attributed to Martin and Pajou in the sale of the fondeur Pierre-Fran‡ois FeuchŠre in Paris in 1824. This larger version, supported on a caryatid stand by the sculptor Jean-Baptiste Stouf, was made for the duchesse de Mazarin but left with its musical box unfinished at her death in 1781. Only four clocks of this exceptional model are recorded. These comprise:- - that with white marble base listed in the collection of Sir Richard Wallace in the Grande galerie of 2, rue Lafitte in 1871. Subsequently exhibited in Paris in 1883-4, when the movement was noted as being signed by Courieult ( ma/citre in 1767), this is the only recorded clock of this model with a patinated figure of Father Time and a white marble plinth which is not inset with a relief of playful putti. Moreover, when exhibited in 1883-4, it was described as being 65cm. high, 30cm. wide, measurements which correspond extremely closely with this clock, depending upon how the movable scythe is positioned. It is, therefore, almost certainly the clock offered here, whose movement has been replaced, - that in the Wallace Collection (F264), which has a porphyry plinth and further putto bas-relief panels to the base -another, also with white marble plinth but with a gilt figure of Father Time, formerly in the collection of Alfred de Rothschild, sold by Lady Carnarvon in these Rooms, 19 May 1925, lot 286 -a final example, with an ebony section in place of the reliefs and also standing on a porphyry plinth, acquired by the Earl of Granard from Wertheimer in 1918. The clock, with bronze Chronos figure, is designed in the 1770s Roman fashion and celebrates the dominion of Cupid/Love over Chronos/Time ('Le Triomphe de l'Amour sur le Temps'). While the dark figure of Father Time overbears the blue celestial sphere and tramples the fruits of Ceres' cornucopia offered on its cloud-capped 'altar' pedestal, torch-bearing Hymen bears away his 'sablier' hour-glass. Cupid attends with Aurora's garlands and, while his companion disarms Chronos of his destructive scythe, indicates Time himself love's golden dart. Time's hours and minutes are registered on enamel-jewelled medallions that encrust two revolving girdles that are also mosaiced in flowered lozenges evoking Venus's temple in Rome. Peace and Plenty's fruits festoon the pearl-wreathed altar's hollowed corners, while Cupid's attendant Zephyrs puff flower-bringing winds beside a tablet of Roman acanthus fretted in scrolled 'rainceaux' in the 'antique' manner. A poetic Peace trophy, incorporated in the clock's marble step, presents laureled cornucopiae amongst flowered acanthus. The Chronos figure has been credited to the Rome-trained sculptor Augustin Pajou (d. 1809), Louis XV's 'Sculpteur du Roi' (P.Hughes, op. cit., no.110). The theme of the clock model, inspired like many of Boucher's picturesque compositions by Ovid's, 'Metamorphoses', also relates to Pajou's 'decors d'architecture' such as his 1760s bas-relief symbolising the Element of Air and depicting Hymen and Cupid attending the winter wind Boreus as he lovingly abducts Orythyia (J.D. Draper, Augustin Pajou, New York, 1998, no. 36). A different clock-model of 'Le Triomphe de l'Amour sur le Temps' was composed using other figures by Pajou that had been introduced on a clock designed in 1775 for the Prince de Conde by the architect Claude Billard de Bellisard (J.D. Draper, ibid., no.78). The former clock's 'altar' displays a 'Sacrifice to Cupid' tablet as featured on 'secretaires' executed by the ‚b‚niste J.-H. Riesener; and the present clock's tablet also appears on one of Riesener's tables (Hughes, ibid, p.498). Hughes ( ibid.) cites only one aparently 19th Century copy that he has come across in his exhaustive research, and this was sold from the G. Ehni sale, Stuttgart, 1 October 1888, lot 706. In his notes at the Wallace Collection, he records that the Stuttgart clock had the positions of the figures af Father Time and the Putti reversed, Father Time instead standing on the left hand side. Its present whereabouts are unknown. We are extremely grateful to Jeremy Warren Esq., Assistant Director, Head of Collections, Curator of Furniture Sculpture and Metalwork pre-1600 at The Wallace Collection, London, for his help in preparing this catalogue entry.
