Frances (Fanny) d'Ivry
A young Lady, possibly a self-portrait of the artist, wearing ‘Empire’ style white gown with jewelled belt under her bust, blue shawl, her hair curled and plaited, c. 1820
Watercolour on ivory
Oval, 3 in. (73 mm) high
Philip Mould & Co.
£ 4,950.00
To view all current artworks for sale visit philipmould.com Very little is known about the artist Fanny d’Ivry, who was exhibiting at the Salon in Paris between 1831 and...
To view all current artworks for sale visit philipmould.com
Very little is known about the artist Fanny d’Ivry, who was exhibiting at the Salon in Paris between 1831 and 1842. The present portrait would appear to predate her attempts to exhibit at the Salon (according to the lists of entries, she had her first miniature rejected by the committee in 1827). The costume worn by the sitter was fashionable until circa 1820 – if the portrait here does in fact represent the artist herself, she may have been inspired by earlier self-portraits and portraits by other female artists wearing classical dress, including Vigee le Brun and Angelica Kauffman. In 1793, Kauffman painted the amateur artist Cornelia Knight wearing similar dress and cameo belt. By the early 19th century, the Empire style gown was widely worn, as here, with the sitter’s hair curled and plaited, the bare shoulders covered with a shawl.
A miniature of Baron Jean-Baptiste Roslin d'Ivry (1775-1839) [Private Collection] by Frances, dating to circa 1830, must show a member of her family. As female artists were rarely able to receive formal training, Jean-Baptiste may have been her teacher – possibly her father (although the extant records show that he only had one son Léopold Roslin d'Ivry 1801-1883) or brother. Baron Jean-Baptiste Roslin d’Ivry was the grandson of Jean-Baptiste Paulin Hector Edme Roslin, seigneur d’Ivry, Chateau d’Henonville (d.1790), an important patron of Francois Boucher (he was connected through his wife to Pierre Jacques Onésyme Bergeret de Grancourt 1715–1785, also one of Boucher’s most important patrons).[1] The family seat was Château d'Hénonville and during the refurbishment of the castle, Jean-Marie Roslin d’Ivry decorated the main rooms with works by Fragonard.
Frances (or Fanny) was working at the same time as another Fanny – Fanny Charrin (d.1854) – a pupil of Leguay and Augustin. Her technique was clearly inspired by her master, Augustin, who painted Fanny’s portrait in classical robes (now in the Louvre, Paris). The few works by d’Ivry that are known show a certain affinity with this female artist, who was exhibition at the Salon at the same time. As is usual for the period, both women had male teachers as a prerequisite of joining the art establishment, although Charrin ended her career providing her own lessons to budding artists.
[1] Les Lavandières by Boucher was previously part of his collection (now New York, Metropolitan Museum of Art).
Very little is known about the artist Fanny d’Ivry, who was exhibiting at the Salon in Paris between 1831 and 1842. The present portrait would appear to predate her attempts to exhibit at the Salon (according to the lists of entries, she had her first miniature rejected by the committee in 1827). The costume worn by the sitter was fashionable until circa 1820 – if the portrait here does in fact represent the artist herself, she may have been inspired by earlier self-portraits and portraits by other female artists wearing classical dress, including Vigee le Brun and Angelica Kauffman. In 1793, Kauffman painted the amateur artist Cornelia Knight wearing similar dress and cameo belt. By the early 19th century, the Empire style gown was widely worn, as here, with the sitter’s hair curled and plaited, the bare shoulders covered with a shawl.
A miniature of Baron Jean-Baptiste Roslin d'Ivry (1775-1839) [Private Collection] by Frances, dating to circa 1830, must show a member of her family. As female artists were rarely able to receive formal training, Jean-Baptiste may have been her teacher – possibly her father (although the extant records show that he only had one son Léopold Roslin d'Ivry 1801-1883) or brother. Baron Jean-Baptiste Roslin d’Ivry was the grandson of Jean-Baptiste Paulin Hector Edme Roslin, seigneur d’Ivry, Chateau d’Henonville (d.1790), an important patron of Francois Boucher (he was connected through his wife to Pierre Jacques Onésyme Bergeret de Grancourt 1715–1785, also one of Boucher’s most important patrons).[1] The family seat was Château d'Hénonville and during the refurbishment of the castle, Jean-Marie Roslin d’Ivry decorated the main rooms with works by Fragonard.
Frances (or Fanny) was working at the same time as another Fanny – Fanny Charrin (d.1854) – a pupil of Leguay and Augustin. Her technique was clearly inspired by her master, Augustin, who painted Fanny’s portrait in classical robes (now in the Louvre, Paris). The few works by d’Ivry that are known show a certain affinity with this female artist, who was exhibition at the Salon at the same time. As is usual for the period, both women had male teachers as a prerequisite of joining the art establishment, although Charrin ended her career providing her own lessons to budding artists.
[1] Les Lavandières by Boucher was previously part of his collection (now New York, Metropolitan Museum of Art).
Provenance
The Lanvien Collection, Paris;Christie’s, Geneva, 18 May 1994, lot 430.
Literature
M. Friesen, Französische Miniaturen 1770-1880, Darmstadt, 2001, p. 413;N. Lemoine-Bouchard, Les peintres en miniature actifs en France 1650-1850, Paris, 2008, p. 302.
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