Louis Rolland Trinquesse

France (17461800 ) - Artworks
TRINQUESSE Louis Rolland A Seated Woman Looking To The Right, Perhaps Marianne Framery

Christie's /Jul 3, 2007
4,443.79 - 7,406.31
4,617.77

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Along with Louis Rolland Trinquesse, our clients also searched for the following authors:
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Artworks in Arcadja
55

Some works of Louis Rolland Trinquesse

Extracted between 55 works in the catalog of Arcadja
Louis Rolland Trinquesse - Porträtt Av Man I Sidenväst

Louis Rolland Trinquesse - Porträtt Av Man I Sidenväst

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Lot number: 967
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Description:
Louis Roland Trinquesse Frankrike c:a 1746‑1800. Tillskriven. Porträtt av man i sidenväst. Olja på uppfodrad duk, 28,5 x 22,5. Attributed to. Oil on relined canvas, 28.5 x 22.5 cm. / 20.000 - 25.000:- / / € 2.200 - 2.800 / Dra musen över bilden för att se större, ladda ner eller lägga bud. Klicka på 'Lägg bud' för att spara objektet i 'Mina objekt', där Ni nu eller senare kan lägga bud.
Louis Rolland Trinquesse - Le Feu Aux Poudres

Louis Rolland Trinquesse - Le Feu Aux Poudres

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Lot number: 13
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LOT 13 LOUIS ROLAND TRINQUESSE PARIS CIRCA 1746 - CIRCA 1800 "LE FEU AUX POUDRES" oil on canvas 80,000—120,000 USD measurements note 23 5/8 by 28 3/4 in.; 60 by 73 cm. Anonymous sale, Monaco, Sotheby's, 8 December 1984, lot386; Anonymous sale ("Property of a Gentleman"), London, Sotheby's, 3July 1997, lot 74;There purchased by the present collector. Although better known during his lifetime as a portrait painter,Trinquesse's favorite subject was the pursuit of love and carnalpleasure in either the confines of the boudoir or in fancifulromantic landscape environs as seen in this titillating scene. Inthe center of the composition we see an elegant maiden lying withher yellow satin skirts billowing up around her waist and puttiigniting the "fires of love" while above the heavens are trying toput them out with torrents of water. The men, eager for a differentoutcome, raise their umbrellas determined to keep the firesburning. Trinquesse here displays his theatrical gift for comicintrigue that would have impressed even his contemporary theplaywright Beaumarchais. Trinquesse's artistic style owes much to the depictions ofromantic dalliances by the earlier generation of French artists,including Fragonard, Watteau, de Troy and Boucher. Indeed one ofFragonard's most erotic works at the Louvre shares this title "Feuau Poudres". A petit maître who operated outside theacademic establishment during the reign of Louis XVI, Trinquessetrained in Paris at the Académie Royale and in The Hague, andexhibited at the Salon de la Correspondance, an independent learnedsociety devoted to the encouragement of the arts and sciences,organized by Pahin de la Blancherie. During his lifetime,Trinquesse earned a respected position as a portraitist, countingamong his patrons the Vicomtesse de Laval and the Duc deCossé-Brissac, as well as artists, architects and men ofletters.
Louis Rolland Trinquesse - A Young Woman Seated At A Harpsichord

Louis Rolland Trinquesse - A Young Woman Seated At A Harpsichord

Original 1763
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Lot number: 109
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Louis-Rolland Trinquesse (Paris 1745-1800) A young woman seated at a harpsichord with inscription 'no 32' red chalk 13 3/8 x 9½ in. (341 x 243 mm.) Lot Notes A similar drawing dated '15 November 1763', is in the Louvre(inv. no. 40667) (Acquisitions 1984-1989, exhib. cat., Louvre,1990, no. 163).
Louis Rolland Trinquesse - A Seated Woman Looking To The Right, Perhaps Marianne Framery

Louis Rolland Trinquesse - A Seated Woman Looking To The Right, Perhaps Marianne Framery

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Lot number: 3
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Louis-Roland Trinquesse (Paris circa 1746-circa 1800)
A seated woman looking to the right, perhaps Marianne Framery
Add. Notes: red chalk, watermark P [star] L MOIS FD 10 5/8 x 7¾ in. (271 x 197 mm.) Provenance
Notes: It possible that the sitter is Madame de Framery, the subject of numerous drawings in red chalk by Trinquesse. Other sitters for the artist include Louise-Elisabeth Bain and Louise-Charlotte Marini, who share with Madame de Framery the same delicate features, dress and 'English' curls. It has been suggested that these drawings, which were executed in the mid to late 1770s, are connected to fashion plates. However in the Galeries des Modes et Costumes Français, first published in 1778 and depicting the fashion of the day, there are no plates engraved Trinquesse. Similar drawings by Trinquesse were formerly in the Goncourt Collection, Paris (E. Launay, Les Frères Goncourt, collectionneurs de dessins, Paris, 1991, nos. 345-349).
Provenance: with P. & D. Colnaghi, London, 1979, where acquired by the present owner.
Exhibited: King's Lynn, Fermoy Gallery, French Drawings of the 17th and 18th Century, 1985, no. 48.
Literature: Russell, no. 131A.
Louis Rolland Trinquesse - An Interior With Two Ladies And A Gentleman

Louis Rolland Trinquesse - An Interior With Two Ladies And A Gentleman

Original 1776
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Gross Price
Lot number: 49
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Louis-Rolland Trinquesse (Paris? 1745-c. 1800) An interior with two ladies and a gentleman signed and dated 'R L Trinquesse pinx 1776' (lower left) oil on canvas 38 x 48 in. (96.5 x 122 cm.) Pre-Lot Text PROPERTY OF MONSIEUR MAURICE SEGOURA Literature E.M. Zafran, The Rococo Age: French Masterpieces of the Eighteenth Century, exhibition catalogue, Atlanta, 1983, pp. 108 and 120, no. 56. M. Hayot, 'La Biennale des Antiquaires', in L'Oeil, September 1984. H. Oursel et al., Au temps du Watteau, Chardin et Fragonard: chefs d'oeuvre de la peinture de genre en France, exhibition catalogue, Lille, 1985, pp. 326-7, no. 101. J. Collins, The Age of Watteau, Chardin, and Fragonard: Masters of French Genre Painting, Ottawa, 2003, cat. no. 101, pp. 326. Gruber, et al., Mozart: Experiment Aufklärung im Wien des Ausgehenden 18 Jahrhunderts, 17 March-20 September 2006, pp. 119 and 254, no. 271. Exhibited Altanta, High Museum of Art, The Rococo Age: French Masterpieces of the Eighteenth Century, 1983, no. 56. Ottawa, National Gallery of Canada, The Age of Watteau, Chardin and Fragonard: Masters of French genre painting, 6 June-7 September 2003, no. 101; and Washington D.C., National Gallery of Art, 12 October 2003-11 January 2004; Berlin, Staatliche Museen zu Berlin, Gemäldegalerie, 8 February-9 May 2004. Vienna, Albertina, Mozart: Experiment aufklärung im Wien des Ausgehenden 18 Jahrhunderts, 17 March-20 September 2006, no. 271. Lot Notes A petit maître who operated outside the academic establishment during the reign of Louis XVI, Trinquesse was known for his portraits and genre scenes that drew on the tradition of the tableau de mode. He trained in Paris at the Académie Royale and in The Hague, and exhibited at the Salon de la Correspondance, an independent learned society devoted to the encouragement of the arts and sciences, organized by Pahin de la Blancherie and supported through subscriptions. During his lifetime, Trinquesse earned a respected position as a portraitist, counting among his patrons the Vicomtesse de Laval, the governor of Paris and the Duc de Cossé-Brissac, as well as artists, architects and men of letters. Recently, a spectacular, full-length portrait of Charles Grant, Vicomte de Vaux, attended by his groom with their horses was recognized as the work of Trinquesse by Dr. Colin B. Bailey, significantly enlarging our understanding of the artist's oeuvre (Christie's, London, 6 July 2006, lot 61 for £377,600=$719,189). In the nineteenth century, the Goncourt brothers collected Trinquesse's costume drawings, which, today, are probably the artist's most familiar works. As John Collins observed in his thorough study of the present painting (op.cit.), this Interior with two ladies and a gentleman owes much 'to the portrayals of intrigues among the fashionable bourgeoisie by the earlier generation of French artists, such as de Troy, Watteau, and Boucher. But rather than being regressive in outlook, Trinquesse's painting anticipates the highly polished 'Metsu Manner' of the genre scenes of Marguerite Gérard and Louis-Léopold Boilly'. This intimate grouping of figures in a woman's boudoir draws attention to the presence of the male visitor who might represent a husband or fiancé, but who more likely appears to be, as Collins suggested in the Ottawa exhibition catalogue, a client being entertained by a courtesan at her morning toilette and in the presence of her maid. She listens to his entreaties while undertaking the intricate task of removing pins from a cushion and attaching them to her elaborate hat that is ornamented with ostrich plumes 'à la Henri IV', a style popularized by Marie Antoinette. The furnishings in the apartment are the height of Louis XVI style, notably the neo-grecque brule parfum (a freestanding incense burner) seen on the far right. Trinquesse's Interior with two ladies and a gentleman is insinuatingly suggestive. 'Dramatic tension is created by the knowing exchanges among the protagonists, small gestures that enrich the erotic subtext', as Collins notes, 'the way the male figure leans forward and smiles, the woman's hesitant response, and the maid's furtive eavesdropping. What is being said and why is a matter of conjecture.' What is self-evident is the artist's technical brilliance and psychological insight, and a theatrical gift for comic intrigue that would have impressed even Beaumarchais.
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