Picture Archive & Historical Portraits
Skip to main content
  • Menu
  • Artists
  • Artworks
  • Image Licensing
  • Philip Mould Gallery
  • Contact
Menu
Portrait miniature of the artist’s daughter, Eugenie Rochard (b. 1814), as Psyche

Browse artworks

Francois Theodore Rochard, Portrait miniature of the artist’s daughter, Eugenie Rochard (b. 1814), as Psyche, mid 19th century

Francois Theodore Rochard

Portrait miniature of the artist’s daughter, Eugenie Rochard (b. 1814), as Psyche, mid 19th century
Watercolour on ivory
Oval, 76mm (3in) high
Philip Mould & Co.
License Image
%3Cdiv%20class%3D%22artist%22%3EFrancois%20Theodore%20Rochard%3C/div%3E%3Cdiv%20class%3D%22title_and_year%22%3E%3Cspan%20class%3D%22title_and_year_title%22%3EPortrait%20miniature%20of%20the%20artist%E2%80%99s%20daughter%2C%20Eugenie%20Rochard%20%28b.%201814%29%2C%20as%20Psyche%3C/span%3E%2C%20%3Cspan%20class%3D%22title_and_year_year%22%3Emid%2019th%20century%3C/span%3E%3C/div%3E%3Cdiv%20class%3D%22medium%22%3EWatercolour%20on%20ivory%3C/div%3E%3Cdiv%20class%3D%22dimensions%22%3EOval%2C%2076mm%20%283in%29%20high%3Cbr/%3E%0A%3C/div%3E
To view all current artworks for sale visit philipmould.com  Set into a gold boîte-à-miniatur by Claude-Pierre Pottier (fl. 1778-1806), marked, Paris 1789 with the charge marks of Jean-Francois Kalendrin...
Read more
To view all current artworks for sale visit philipmould.com

Set into a gold boîte-à-miniatur by Claude-Pierre Pottier (fl. 1778-1806), marked, Paris 1789 with the charge marks of Jean-Francois Kalendrin (1789-1792), the base set with a further portrait miniature of of Mezzetin , after Jean-Antoine Watteau (1684-1721), attributed to Simon Jacques Rochard.This portrait of the artist’s daughter is a celebration of both the painter’s talent and the eleventh birthday of his first child. Although it has been established that Rochard had a daughter (who married an English army officer), her name has not been known outside his descendants until now. Shown portrayed as Pysche, wearing delicate butterfly wings, her father has painted her during fleeting childhood. The only child from his first, apparently unhappy marriage to Henriette Petitjean, Rochard married again at the age of eighty.
By 1825, the date of this portrait, Rochard was established in London with a glittering array of royal and aristocratic clients. Trained in Paris, Rochard worked under, among others, Jean Baptiste Augustin, a French society miniaturist of formidable talent. In 1815, Rochard escaped conscription by going to Brussels, where he made introductions to the court via Baron Falk, minister of foreign affairs. It was here, on the eve of the Battle of Waterloo, that he sketched a portrait of the Duke of Wellington at the request of the King of Spain. This commission led directly to other work, with the artist recording in miniature many of Wellington’s surrounding officers and the cream of society gathered in Brussels at that momentous time. After this, it was requested that he travel to Spa to paint a portrait of William, Duke of Orange, for his bride.Rochard moved to London in 1816 to continue his career, partly based on introductions to London society via Lady Bathurst, sister of the Duke of Richmond whom he had also portrayed at Waterloo. From his London base, Rochard exhibited at the Royal Academy, the British Institution, the Society of British Artists and the New Watercolour Society. He was also employed by the royal family and miniatures of Princess Charlotte of Wales are in the collection of the Holburne Museum, Bath. His clientele were not solely British, and in 1834 he twice painted the queen of Portugal, and in 1839, when the tsar of Russia visited England, he painted six miniatures of the tsarevich for presentation snuff-boxes.
His sitters were portrayed in fresh, rapid brushstrokes in his inimitable mix of French and English styles.
Rochard left England in 1846 and settled in Brussels. His financial success is evident in the catalogue he printed of his collection of old master paintings (Catalogue raisonné des tableaux écoles italienne, flamande et hollandaise de la collection d'un artiste, 1847). This security, however, was not to last, as he was a victim of the failure of Moore’s bank in which he had invested the bulk of his wealth.
This portrait of his only daughter is one of few personal portraits painted by Rochard. Although there is no documentary evidence relating to its provenance, it can be assumed that such a portrait would have remained within the family, the identity of the sitter hidden underneath the portrait until its recent removal for cleaning.
Close full details
Share
  • Facebook
  • X
  • Pinterest
  • Tumblr
  • Email
Previous
|
Next
1569 
of  2015
PHILIP MOULD & COMPANY
CONTACT

+44 (0)20 7499 6818
art@philipmould.com

18-19 Pall Mall
London SW1Y 5LU

philipmould.com

FOLLOW US

Instagram

Facebook

TikTok

YouTube

Artsy

 

Join the mailing list
Manage cookies
Copyright © 2025 Picture Archive & Historical Portraits
Site by Artlogic

This website uses cookies
This site uses cookies to help make it more useful to you. Please contact us to find out more about our Cookie Policy.

Manage cookies
Accept

Cookie preferences

Check the boxes for the cookie categories you allow our site to use

Cookie options
Required for the website to function and cannot be disabled.
Improve your experience on the website by storing choices you make about how it should function.
Allow us to collect anonymous usage data in order to improve the experience on our website.
Allow us to identify our visitors so that we can offer personalised, targeted marketing.
Save preferences
Close

Be the first to hear about our available artworks

Interests *

Sign Up

* denotes required fields

We will process the personal data you have supplied in accordance with our privacy policy (available on request). You can unsubscribe or change your preferences at any time by clicking the link in our emails.