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Alexander Roslin

(1718 -  1793 ) Wikipedia® : Alexander Roslin
ROSLIN Alexander Portrait Of Adrien Jacques Puissant

Palais Dorotheum
Apr 19, 2016
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Artworks in Arcadja
127

Some works of Alexander Roslin

Extracted between 127 works in the catalog of Arcadja
Alexander Roslin - Portrait Of Claude-françois Martineau De Floriant

Alexander Roslin - Portrait Of Claude-françois Martineau De Floriant

Original 1788
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Lot number: 385
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Description:
Alexander Roslin (1718 - 1793) Lot 385: Alexander Roslin, Portrait of Claude-François Martineau de Floriant (1752–1827) Description: Signed Le Chev. Roslin and dated 1788. Canvas 73 x 60 cm. Period gilded and richly carved frame. Exhibited: Malmö Museum, the Roslin exhibition, 1962, cat. nr. 75 Literature: Gunnar W Lundberg, "Några nyupptäckta Roslinska familjeporträtt", Ord och Bild, 1951, ill. at p.. 104. Gunnar W Lundberg, "Roslin - Liv och verk", 1957, ill. pl. 175, catalogue no 594 (with wrong year). Per Bjurström, "Roslin", 1993, the portrait is described at p. 139 and ill. at p. 142. Provenance: François Felix Oudot (1783-1833), Paris, married 1811 to the daughter (of the man in the portrait), Adèle Pauline Martineau (1789-1873); sold by their grandsons daughters to Minister Viljelm Assarsson. Bukowskis, Auction 422, 1983, catalogue no 317.
Alexander Roslin - Portrait Of A Lady

Alexander Roslin - Portrait Of A Lady

Original
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Price: Not disclosed
Lot number: 14
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Description: Alexander Roslin Malmö 1718 - Paris 1793 Swedish-French artist, one of the most eminent portrait painters of the 18th cent. R. was taught painting in the studio of G. E. Schröder in Stockholm since 1736. He worked in Brandenburg a. Bayreuth a. lived in Italy for some years. In 1752 he settled in Paris where he soon became member of the academy a. exhibited at the Salon since 1753. He worked at the courts of Stockholm, St. Petersburg, Warsaw a. Vienna since 1774 before returning to Paris in 1779. attr. Portrait of a Lady Oil/canvas, 66,5 x 57 cm, relined to the margins.
Alexander Roslin - Portrait Of Adrien Jacques Puissant

Alexander Roslin - Portrait Of Adrien Jacques Puissant

Original
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Price:

Lot number: 101
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Alexander Roslin
Provenance:sale, Sotheby\’\’\’\’s, Monaco, 26 June 1983, lot 506;sale, Bruun Rasmussen, Copenhagen, 23 February 1999, lot 270Literature:G. W. Lundberg, Roslin, Liv och Verk, Malmö 1957, vol. I, pp. 212and 310, vol. III, p. 95, cat. no. 528;O. Levertin, Niklas Lafrensen, Stockholm,1999, p. 153Exhibited:Paris, Salon, 1781, no. 5The present sitter, Adrien Jacques Puissant, was a \‘fermier général\’\’\’\’, a tax collector, who had come to great riches and lived aluxurious life in the rue Saint Marc in Paris. That he had Roslinpaint his portrait is hardly surprising, he simply chose theleading portraitist of the day. To sit for Roslin was a mark ofsocial distinction. Alexander Roslin was born in Sweden, where heinitially trained before travelling to Italy in 1750 and eventuallysettled in Paris in 1752. At an early date he was befriended byFrançois Boucher, Maurice Quentin de la Tour, and the celebratedantiquarian, Comte de Caylus. He rapidly established his reputationas a portrait painter at the court of Louis XV. He was one of themost fashionable painters in France, renowned for his extraordinarytechnical skill, especially in the depiction of drapery, and hisintimate characterizations of his sitters. His cool tones, keenobservation, and rococo grace made him the principal rival of thegreat official portraitists in France, notably Elisabeth VigéeLebrun and Jean Marc Nattier. Having received the Order of Vasa in1772 by one of his most important patrons, the enlightened KingGustavus III of Sweden, which elevated him to the rank of thenobility, he began to include \‘le Chevalier\’\’\’\’ in his signature. Thenobility of Russia, Austria, Sweden and Poland were equallyenthusiastic in their pursuit of his redoubtable talents. Hisprodigious output, despite an exceptionally meticulous technique,made him one of the most celebrated, and certainly one of thewealthiest artists in Europe.
Alexander Roslin - Portrait Of A Gentleman With A Book

Alexander Roslin - Portrait Of A Gentleman With A Book

Original 1760
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Lot number: 346
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Alexander Roslin
(Malmö 1718–1793 Paris)

Portrait of a gentleman with a book

signed and dated lower left: Roslin 1760

oil on canvas, 90 x 72.5 cm, framed

Provenance:

sale, Ader, Tajan, Paris, 1st July 1994, lot 152;

Noble collection, Belgium

The Swedish-born artist Alexander Roslin was a leading portraitist of the 18th century. A virtuoso in the rendering of surface textures and a sensitive psychologist, he celebrated numerous successes throughout Europe. In 1752 the painter settled in Paris and the following year was admitted to the Académie as a member. Journeys to St. Petersburg, Warsaw, and Vienna contributed to his fame across Europe.
Alexander Roslin - Portrait Of The Reichsgräfin Von Fries, Née Gräfin Anna D'escherny (1737-1807), Seated, Half Length, In A Plumed Headdress And White Satin Fur-trimmed Gown

Alexander Roslin - Portrait Of The Reichsgräfin Von Fries, Née Gräfin Anna D'escherny (1737-1807), Seated, Half Length, In A Plumed Headdress And White Satin Fur-trimmed Gown

Original -
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Gross Price
Lot number: 64
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Description:
Lot Description

Alexander Roslin (Malmö 1718-1793 Paris)
Portrait of the Reichsgräfin von Fries, née Gräfin Anna d'Escherny (1737-1807), seated, half length, in a plumed headdress and white satin fur-trimmed gown
pastel on paper
35 x 28½ in. (89 x 71.5 cm.).

Provenance

Andreas Achenbach (1815-1910), Dseldorf; Lepke, Berlin, 17 November 1910, part of lot 90 (with the pendant, as by Liotard).
Arthur Sambon; Paris, Georges Petit, 25-28 May 1914, part of lot 217 (with the pendant, as by Liotard).
with Arnold Seligmann, Rey & Co., New York (with the pendant, as by Liotard).
with Kleinberger Gallery, New York; their sale, American Art Association, New York, 18 November 1932, lot 64 (as by Liotard).
Alfred Hausammann, Zurich, and thence by descent to the present owner.

Pre-Lot Text

PROPERTY FROM A PRESTIGIOUS SWISS COLLECTION (LOTS 60 AND 64)

Literature

N. Jeffares, Dictionary of Pastellists before 1800, London, 2006, p. 441, illustrated (as attributed to Roslin).
M. Roethlisberger and R. Loche, Liotard: Catalogue, sources et correspondence, Doornspijk, 2008, no. 519, fig. 724.
View Lot Notes >

Lot Notes

In 1778, Jean-Etienne Liotard, son of the pastellist, recorded in his diary a visit with his father to the house of Madame de Fries in Vienna: 'Après le repas qui fut très bon, madame de Fries nous chanta et s'accompagnant de la harpe. Elle chante avec tant d'âme & a une si belle voix qu'elle nous enchanta'. This passage could not more perfectly describe this pastel of Madame de Fries, and also may be responsible for its sometime attribution to Liotard. In fact, this work is a product of the struggle for supremacy in Vienna between Liotard and the Swedish portraitist Alexander Roslin. Liotard wrote to his wife complaining that there was no business for him in Vienna as 'tout la grande Noblesse est pour Mr Rossselin [sic]'.

There are oil versions of this pastel and its pendant (Roslin's Portrait of Johann Reichsgraf von Fries, sold at Christie's, New York, 21 June 2012, lot 1184) in the family collection at Schloss Wolfsthal, which family tradition had attributed to Liotard; and indeed Liotard's presence in Vienna at this date has resulted in debate about the attribution of the pastels - whether they are by Roslin himself, either as principal versions or immediate repetitions; or by Liotard after Roslin; or by a third hand. Neil Jeffares feels that only the first hypothesis is tenable and has suggested that the level of finish of this pastel, and its pendant, suggests that they may well have been the primary works from which the oil replicas were made.

Most of Roslin's work was in oil, but elements in the present pastel - the light reflections on the fabric, the fur, the reddish outline to the hand, and especially the bravura handling of the lace - mimic precisely Roslin's work in oil, in a manner which one can easily see him replicating in pastel. Mr Jeffares believes that the pendant pastels of Monsieur and Madame de Fries were executed in 1778 as a deliberate demonstration of Roslin's continued mastery of the medium, possibly in response to a direct challenge from Liotard or more likely as a repsonse to the conflicting demands of his most exacting patrons: Monsieur de Fries, already convinced of Roslin's genius, and his wife, who showed a preference for Liotard, perhaps because he used a medium particularly favoured by the fashionable intelligentsia to whom she belonged.

Madame de Fries was born in Lyon, the daughter of Jean d'Escherny, and in 1764 she married Johann Fries (1719-1785), a Swiss banker who had made his fortune through his licence to produce imperial thaler between 1752 and 1776. Madame de Fries's brother, François-Louis d'Escherny (1733-1815), was a noted writer, musicologist and philosophe, particularly associated with Rousseau and Diderot, and she herself kept up correspondence with literary figures, including the Prince de Ligne, Mme de Staël and Benjamin Constant. She knew Mme Vigée Le Brun, who painted three of her children: the Gräfin von Haugwitz, the Gräfin von Schönfeld and Moritz Christian, Reichsgraf von Fries. Most significantly for the present portrait, however, she was a friend of Gluck who, in November 1777, sent her two airs from Armide, after some of the early performances in Paris had met with a mixed reception. She performed these airs at the musical evening described by Liotard fils and, although the notation on the sheet on her music table is not too precise, we can identify the music as Armide's aria Venez, venez, Haine implacable from Act 3, Scene III of the opera.

We are grateful to Neil Jeffares for confirming the attribution upon examination of the original and for his assistance in preparing this catalogue note.
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