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Emma Soyer

Biographie

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Naissance : v. 1809 plutôt que 1813

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Postérité

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efforts d'Alexis
  • tableaux d'Emma Soyer exposés dans la cuisine du Reform Club (avant et après sa mort)
  • voyage en Belgique pour présenter ses tableaux au roi de Belgique, au moment de la mort d'Emma
  • achats de tableaux d'Emma par Alexis
  • tombe monumentale 1844
  • Soyer’s Philanthropic Gallery, 1848 - pas pour vendre les tableaux, contrairement à ce que prétend Sandover
  • Soyer's Symposium, 1851 - tableaux de Mme Soyer au Baronial Hall - lien avec endettement subséquent de Soyer
  • testament de Soyer, léguant des tableaux d'Emma à la National Gallery - testament non exécuté en raison de l'opposition d'un créancier
  • vente aux enchères des tableaux d'Emma - au profit du créancier d'A. Soyer
  • mort de François Simonau, peu après celle d'Alexis Soyer : plus personne pour veiller sur la mémoire d'Emma
  • au 20e s., mémoire d'Emma surtout liée à celle d'Alexis Soyer jusqu'en 2017-2018
  • Fake or Fortune


  • Soyer Symposium 1851
    • (en) Frank Clement-Lorford, « Soyer’s Universal Symposium of All nations at Gore House », sur https://alexis-soyer.com, (consulté le ).***
      • "In the garden, Sir Charles Fox (built the Crystal Palace) built for us a huge barrack or wood, glass and iron which we have called the ‘Baronial Hall’ and which we filled with pictures by M. Soyer’s late wife Emma Soyer and lithographs and flags and calico in our own peculiar fashion."
      • "the Baronial Hall, 100 feet long, 50 feet broad, and 30 feet high erected by Fox & Henderson, which is to be decorated by the paintings of the late Madame Soyer"
      • "On the 10th May, however, the hotel doors will be thrown open and the Baronial Hall inaugurated by a dinner of the Sanitary Association, at which the Earl of Carlisle will preside."
    • PRASCH, Thomas. Eating the world: London in 1851. Victorian Literature and Culture, 2008, vol. 36, no 2, p. 587-602. (pour identifier certaines sources de Clement-Lorford)
    • Bullock, April. “Alexis Soyer’s Gastronomic Symposium of All Nations.” Gastronomica, vol. 5, no. 4, 2005, pp. 50–59 DOI 10.1525/gfc.2005.5.4.50 (JSTOR) (s'attarde plus aux caricatures de Sala qu'au Symposium même...)
      • "the Symposium’s Baronial Banqueting Hall rather than Gore House. Built by the firm of Fox and Henderson, the Hall was one hundred feet long, fifty feet wide, and thirty feet high; it could seat four to five hundred people at a time. The Hall resembled a castle on the outside and had one enormous room inside. Its ceiling was made of stained glass; live musicians played somewhere above the visitors’ heads. Sala reported a novel system of ventilation was used to keep the room cool.56 If this system was as successful as Sala claimed and actually did cool the Hall, it was a technological improvement that would have been welcomed by the overheated visitors to the Crystal Palace."
      • George Augustus Sala, The Book of The Symposium; or Soyer at Gore House. A Catalogue Raisonné, Artistic, Historic, Topographic, and Picturesque of That Unique and Gigantic Establishment (n.d.), 40–41. Only one copy is known to exist, held in the extensive Sala collection at Yale University’s Beineke Library. (non numérisé)
    • Blake, George Augustus Sala: the personal style of a public writer (s.d. trop détaillé pour mes besoins)


Adresses

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  • 1823 : 12, en:Greek Street, Soho (Royal Academy)[1]
    • cette adresse, indiquée dans le catalogue de l'expo de la Royal Academy of Arts de 1823, est alors aussi celle de Simonau
    • ancienne Portland House, abritant une boutique et une salle d'exposition de Wedgwood à la fin du XVIIIe siècle. Jusqu'au milieu du XIXe siècle, plusieurs artistes ont vécu et/ou exposé à cette adresse
    • no 12-13 : "Until 1797 the rates for the two houses continued to be paid in the name of Josiah Wedgwood (latterly the son, after his father's death in 1795). The firm's premises were then removed to No. 8 St. James's Square. (fn. 53) / The succeeding occupants of No. 12–13 were a firm of coachmakers, but the premises were soon afterwards in divided occupation. In 1803–7 James Sheridan Knowles, doubtless the dramatist, occupied all or part of the house. Until midcentury various artists lived at or exhibited from this address, including the painters William Barraud (1835 or 1836), (fn. 54) Robert Edmonstone (1833–4), (fn. 28) and John Lucas (1837), and the sculptor, William Cramphorn (1819). (fn. 28) It was between 1799 and 1869 (perhaps in 1846) (fn. 55) that the present division at ground level was made between No. 12 and No. 13 by the construction of an entrance to the yard at the rear. (fn. 56)"[2]
  • 1828 : 66 St. Martin's Lane (Royal Society of British Artists)
  • 1830 : 66, St. Martin's Lane (Royal Academy)
  • 1831 : 5, Southampton Place (Royal Academy)
  • 1831 : 15, Long Acre (British Institution)
  • 1832 : St. George's Place, Canterbury (Royal Academy)
  • 1832 : Canterbury (British Institution)
  • 1833-1834 : I, Fitzroy Square (Royal Academy)
  • 1833-1834 : Ramsgate (British Institution)
  • 1835 : 9, London Street (British Institution)
  • 1835-1837 : 9, London Street (Royal Academy)
  • 1836 : 7, Duke Street (British Institution)
  • 1837-1839 : 9, London Street (British Institution)
  • 1838-1839 : 9 London Street, Fitzroy Square (Royal Society of British Artists)
  • 1840-1842 : 25, Charing Cross (Royal Academy)
  • 1840-1842 : 26, Charing Cross (British Institution)
  • 1840-1843 : 26 Charing Cross (Royal Society of British Artists)

Expositions collectives

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Royal Academy of Arts

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Pour les infos 1823-1837[1] Pour les infos 1838-1843 : [3]

  • 1re exposition, très précoce (elle aurait 10 ou 13 ans...), en 1823, puis sans interruption de 1830 à 1837 ; après son mariage, seulement deux fois en 1840 et 1842
    • creuser pourquoi ses oeuvres auraient été refusées après son mariage... "jalousie" d'après Alexis Soyer ??
1823 - en:Royal Academy Exhibition of 1823

(12, Greek Street, Soho)

  • Watercress woman (no 328)
Indiqué dans le catalogue de l'exposition comme « 328 Water-cress woman - Miss E. E. Jones »[4]. Il s'agit bien d'Emma Jones, puisque Simonau, qui expose aussi, habite alors à la même adresse
1830

66, St. Martin's Lane

  • Study of an old man (no 119)
1831

5, Southampton Place.

  • Children with rabbits (no 336)
  • The little masquerader (no 342)
1832

St. George's Place, Canterbury

  • Girl going to market (no 219)
1833

I, Fitzroy Square

  • Willy and his dog; portrait of the son of F. H. Mitchell, Esq. (no 188)
1834
  • Childhood (no 468)
1835

9, London Street.

1836
  • Elizabeth Love, at the advanced age of 107 (no 969)
1837
  • The escape (no 197)
  • The blind boy (no 449)
1840

25, Charing Cross

  • Juvenile anglers: portraits of the children of R. Thompson, Esq. (no 567)
1842

British Institution

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  • dimensions en pieds et pouces (pas nécessairement équivalent aux mesures modernes, à vérifier)
1831

15, Long Acre

  • Boy with Whitings, 2.11 x 2.6 (no 21)
  • Child and Kitten, 2.1 x 2.4 (no 538)
1832

Canterbury

  • Bavarian Woman and child, 3.3 x 2.11 (no 348)
  • An Italian youth with a bust of His Majesty, 3.5 x 3.1 (no 365)
  • The Gleaner, 3.0 x 2. 6 (no 406)
  • Boy with Roach, 2.11 x 2.6 (no 408)
  • Contemplation, 4.0 x 3.3 (no 535)
1833

Ramsgate

  • Gleaners, 4.0 x 3.1 (no 42)
  • Young Mariner and dog, 3.3 x 2.10 (no 68)
  • Boy with fish, 3.3 x 2. 7 (no 181)
  • Boy with Hops, 3.0 x 2.7 (no 208)
1834
  • Boulogne Fisher Boys, 3.0 x 2.8 (no 107)
  • Net Mender of Boulogne, 2.1 x 1.10 (no 158)
1835

9, London Street

  • A Young Israelite, 3.0 x 2.8 (no 226)
  • Feeding the Young Birds, 5.6 x 5.0 (no 237)
  • Basket women of Covent Garden Market, 3.4 x 3.0 (no 424)
  • The Favourite Pup, 4.6 x 3.9 (no 436)
  • La Petite Vendageuse, 3.5 x 3.0 (no 510)
    • sic pour Vendangeuse
1836

7, Duke Street

  • La Grand Mere à son Rouet [dimensions non fournies] (no 70)
  • Une Poissonniere de Dieppe, 3.9 x 3.0 (no 129)
  • Les Enfans du Pecheur, 3.1 x 3.8 (no 158)
  • A Chelsea Pensioner , painted in his 104th year , 2.10 x 2.5 (no 320)
    • aussi exposé à la Royal Academy en 1835
1837

9, London Street

  • Young Israelites, 5.1 x 4.1 (no 77)
  • A Gleaner, 4.1 x 3.6 (no 134)
  • Children with flowers, 3.6 x 4.0 (no 206)
  • Peasant children, 3.4 x 2.11 (no 406)
1838

Mrs Sayer, 9, London Street

  • Boy and Goat, 4.7 x 3.10 (no 123)
  • A Blind Mendicant, 4.1 x 3. 6 (no 195)
  • Peasant Boy and Donkey, 4.3 x 4.11 (no 357)
1839
  • An old Woman Knitting, 3.0 x 2.6 (no 30)
  • Italian Boys, 5.10 x 5.0 (no 91) - vendu lors de l'exposition (The Art-Union, 1839-05-15: Vol 1 Iss 4, p. 73
    • critique : « Mrs SOYER - a name new to us contributes two charming works - 'An old Woman knitting' and 'Italian Boys.' In the first, the face is highly wrought and perfectly natural, though unpleasantly wrinkled; in the second there is much spirit and character; and both give us reason to hope there is another lady among the applicants "for first places." » (The Art-union, mars 1839, p. 21)
1840

26, Charing Cross

  • Une Paysanne Française, 3.3 x 2.10 (no 38)
  • The Crockery Vendor, 3.8 x 3.0 (no 112)
    • critique : « No. 112. Mrs. Soyer. ‘The Crockery Vendor.’ The portrait of a wanderer we have met score of times. It is painted with considerable truth and vigour. » ("The British Institution. The Exhibition — 1840", The Art-Union 1840-02-15: Vol 2 Iss 13, p. 17-22, ici p. 21
    • critique : "Une Paysanne Francaise" (38), by Mrs. SOYER, is a study that, with a little correction, and somewhat less of dryness, would serve well to be introduced into some larger composition." ("Fine Art. British Institution. (Second Notice).", The Court Magazine and Monthly Critic, and Lady's Magazine and Museum, 1840, p. 336-346, ici p. 343)
1841
  • Il Figurista Italiano, 5.2 x 4.1 (no 105)
  • Les Petits Marchands de Poisson Boullonaise, 3.5 x 3.0 (no 115)
  • critique : « No. 105. ‘Il Figurista Italiano,’ Mrs. Soyer. A well painted and interesting picture of an Italian Image-seller — the production of an accomplished lady. » ("The British Institution. The Exhibition — 1841", The Art-Union, 1841-02-15: Vol 3 Iss 25, p. 27-30, ici p. 29
1842

Madame Soyer, 26, Charing Cross

  • Savoyards resting, 5.7 x 4.7 (no 16)
  • L'heureux Gourmet, 4.0 x 3.5 (no 151)
    • critique : "A clever picture ; but by no means a pleasing one" (Art-Union, march 1842, p. 59
1843

(The late)

  • La petite Friteuse, 2.11 x 2. 7 (no 274)
    • sic pour Frileuse ? [vérifier dans le catalogue de l'expo]

Royal Society of British Artists

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  • expose en 1828 et de 1838 à 1843

source des infos : (en) Jane Johnson, Works exhibited at the Royal Society of British Artists, 1824-1893 and the New English Art Club, 1888-1917w, Antique Collectors' Club, (réimpr. 1984), p. 261 (Jones, Miss Emma) et 435 (Soyer, Mrs) (note dispo UL)

  • 1828 : p. 261
  • 1838-1843 : p. 435
1828

66 St. Martin's Lane

  • Portrait of Miss L. Norton, (wc., miniature or print) (no 796)
  • Portrait of a Young Gentleman, (wc., miniature or print) (no 818)
  • Portrait of Mr. F. Lloyd, (wc., miniature or print) (no 849)
  • Portrait of Mrs. F. Lloyd and Child, (wc., miniature or print) (no 851)
  • Italian Peasants, (wc., miniature or print) (no 870)
1838

9 London Street, Fitzroy Square

  • Young Bavarians (no 474)
    • critique : « No. 474. Young Bavarians. Mrs. Soyer.— Painted with truth, simplicity, and perfect individuality of character. » ("Society of British Artists [Fourth notice.]", The Literary Gazette, and Journal of the Belle Lettres, 1838-04-21: Iss 1109, p. 250
1839
  • The Crockery Vender (no 50) - vendu lors de l'exposition (The Art-Union, 1839-06-15: Vol 1 Iss 5, p. 86
  • Study from Nature (no 53)
1840

26 Charing Cross

  • The Escape (no 79)
  • Kentish Peasant Children (no 314)
1841
  • Une Poissonniere de Dieppe (no 570)
1842
1843
  • Portrait of the late Monseur Louis Pouchee, born 18th Jan. 1736 at Rouen, Normandy, and died in London, Feb. 17, 1843, in his 108th year (no de cat pas indiqué dans la source, mais indiqué dans la critique)
    • critiques :
      • « No. 320. Portrait of the late Louis Pouchée, who died in his 108th year. Mrs. Soyer — also the late — so that subject and artist are both in the grave. The portrait is a fac-simile of the man; as true as Denner, and a curiosity alike for its object and the manner in which it is executed. » ("Fine Arts. Society of British Artists", The Literary Gazette 1843-04-01: Iss 1367, p. 208
      • « 320. "Portrait of the late Monsieur Louis Pouchée, born January 18, 1736, at Rouen, Normandy, and died in London, February 17, 1843, in his 108th year.’’ The late Madame Soyer. This is the most remarkable portrait in the exhibition. It is said to be the last piece of painting executed by the late Madame Soyer. It is certainly one of her most successful portraits for character and fine colour. » ("The Suffolk-Street Exhibition. (Continued from her last)", Illustrated London News 1843-04-08: Vol 2 Iss 49, p. 244-245, ici p. 244

Autres expositions britanniques

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Fourth Exhibition at the Manchester Mechanics' Institution, Christmas 1842-1843

Salon de Paris et autres expositions françaises

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  • expose en 1840, 1841, 1842
  • sources : base Salons
Paris, Salon de 1840

à Londres 26, Charing-Cross ; et à Paris, 2, rue des Orties-Saint-Honoré

  • La centenaire d'Edimbourg (no 1517)
  • Une glaneuse anglaise (no 1518)
Paris, Salon de 1841

à Londres, 26, Charning-cross

  • Jeunes Israélites (no 1834)
Boulogne, expo de 1841
Paris, Salon de 1842

à Londres, 26, Charings-Cross

  • L'aveugle de la tour de Londres (no 1729)
  • Portrait de M. Soyer (no 1730)

Oeuvres individuelles

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Young Bavarians ou A Buy-a-Broom Girl and Her Brother

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  • se trouvait en 1842 dans la collection d'Edmund Higginson (1801-1871) à Saltmarshe Castle ; racheté à la vente aux enchères d'Higginson en 1846 par Alexis Soyer pour 22 livres et 1 shilling.
    • Descriptive Catalogue of the Gallery of Pictures, collected by Edmund Higginson, Esq. of Saltmarshe, London, 1842, p. 63 no 6 H Mrs. Soyer — A Buy-a-Broom Girl and Her Brother, Canvas, height 35 inches, width 27 ⅞
    • Catalogue Of The Very Important Collection Of Pictures, The Property Of Edmund Higginson, Esq.., Of Saltmarshe, Herefordshire : Which Will Be Sold By Auction By Messrs. Christie and Manson, at Their Great Room, 8, King Street, St. James's Square, On Thursday, June The 4th, 1846 And Two Following Days, At One O'clock Precisely, Londres, Christie and Manson, 1846, p. 10, no 43 : Mrs. Soyer — A Buy-a-Broom Girl and Brother
    • Art sales from early in the eighteenth century to early in the twentieth century (mostly old master and early English pictures), 1918, p. 162, oeuvre achetée à la vente de 1846 par Soyer, avec mention du prix (22 livres et 1 shilling) (titre : A Buy a Broom — Girl and Brother)
  • « In the fullness of my own individual regard for her memory and of her rare gifts, and with a view to perpetuate a memorial of her extraordinary genius, I have for some while been adding to my collection, and at any expense, all those of her paintings which may come within my reach. / The last purchase I made was No. 43 in the catalogue, a Buy-a-Broom Girl and Boy, from the celebrated Saltmarsh collection ; this, and many of her other works are to be met with in the galleries of men of the greatest taste and judgment, a sketch of which is given opposite. » [gravure de "Young Bavarians" sur la page opposée] (Alexis Soyer, The gastronomic regenerator : a simplified and entirely new system of cookery, London : Simpkin, Marshall & Co., and sold by John Ollivier, 1846, ici
  • accompagne Soyer en Crimée
    • « My principal fear was for my picture, painted by the late Madame Soyer, called the "Young Bavarian;" which was the admiration of all my Crimean visitors, and well known in London amongst the connoisseurs, having repurchased it at the sale of the great Saltmarsh collection, at Messrs. Christie and Mason’s, in the year 1846 — (subsequently, when travelling in the South of France, I met on my route the illustrious Horace Vernet, and in Paris, had the honour of showing him this painting in his study at the Institute, when he expressed his opinion in the following words : “That no female artist had ever painted in such a bold style, nor with such a truthfulness of colour and design.” He [a]dded, it was worthy of the pencil of Murillo). It hung directly under the conflagration. » (Alexis Soyer, Soyer's culinary campaign : being historical reminiscences of the late war : with the plain wit of cookery for military and civil institutions the army, navy, public, etc. etc., 1857, p. 457-458
    • avant son départ pour la Crimée, sa collection de tableaux d'Emma Soyer est emballée et déposée au quartier général de Crosse et Blackwell pour être conservée en sûreté, à l'exception de Young Bavarians, "which travelled everywhere with him, and would later provide a sense of confort and civilisation in even the most squalid lodgings" (Ruth Cowen, Relish: The Extraordinary Life of Alexis Soyer, Victorian Celebrity Chef, 2010 (2007), livre numérique non paginé)
  • Fait partie des 5 tableaux légués par testament par Soyer à la National Gallery, testament non exécuté
  • Vente de 1859, no 124 : "A Broom Girl and Boy. Capitally painted"

An Italian youth with a bust of His Majesty, 1831

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  • An Italian youth with a bust of His Majesty, 3.5 x 3.1 (British Institute, 1832, no 365)
  • vente de 1859 :
    • 113 An Italian Boy with a bust of the queen
    • 114 A boy with a bust of William IV
  • image Courtauld
    • E. Jones (Mrs Soyers, 1831), A Portrait of a Young Italian Holding a Bust of William IV, s.d. signé E. Jones, 1831, sale Robinson & Fisher, London, 2 June 1932, lot 105

Taglioni (gravure publiée par Emma d'après son tableau

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Marie Taglioni, full-length, facing front, performing in "La Gitana"

  • "Painted from Life by Madame Soyer", "Drawn on Stone by R. J. Lane Esqr. A. R. A. Lith.r to Her Majesty", "London, Published Febry by the Artist 26 Charing Cross & J. Mitchell, 33, Old Bond St,," and "J. Grafr. Printer to the Queen".
  • 'Dedicated by permission to Her Royal Highness The Princess Augusta of Cambridge, / by Her Royal Highness's obliged & devoted Servant / Emma Soyer'
  • dédicataire : Augusta de Hesse-Cassel (1797-1889), épouse d'Adolphe, duc de Cambridge (1774-1850), 7e fils du roi George III.
    • Philippe Soyer, frère d'Alexis, était cuisinier du duc de Cambridge
  • Publié en 1840 par Emma Soyer elle-même ; lithographié par en:Richard James Lane (1800-1872)
  • notice V & A contexte : succès de Taglioni dans le ballet, etc.
  • notice British Museum

Girl Nursing a Skye Terrier / Young Girl with a Dog

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  • moi : peut-être "The Favourite Pup" exposé British Institution en 1835

Gravures

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  • « The English Ceres. Painted by Madame Soyer; engraved by SAMUEL BELLIN, [A very good mezzotint engraving of one of the most pleasing rustic studies the late Madame Soyer, who excelled in depicting the simplicity of homely character. ‘The English Ceres is a comely lass returning from gleaning, laden with the s¢anty harvest of her toil; and looking cheerful, neatly clad, and well fed—the ideal of rural innocence and contentment.] » (The Spectator 1844-05-11: Vol 17 Iss 828, p. 450)

Tombe

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  • "Particularly revealing is the entry on Puyenbroeck’s memorial to Emma Soyer, and her husband the famous chef Alexis Soyer, at Kensal Green. This once had a gaslit cross, a polychrome pedestal, a carved wooden rail by the nineteenth century’s reincarnation of Grinling Gibbons, William Gibbs Rogers, and, at the back, a vitrine full of souvenir items." (p. 453)
    • Ward-Jackson, Philip, "The Art of Memory. Sculpture in the Cemeteries of London (with an Introduction, A Short History of the Cemetery Movement", Sculpture Journal , 2016, Vol. 25 Issue 3, p452-454, 3p; DOI: 10.3828/sj.2016.25.3.11 [compte rendu du livre de Richard Barnes, ISBN 978-1-872914-44-2]
      • Richard Barnes, The Art of Memory. Sculpture in the Cemeteries of London (with an Introduction, A Short History of the Cemetery Movement, by James Stevens Curl). Kirstead (Norfolk), Frontier Publishing, 2016, 239 pp., 10 b&w and 245 colour illustrations, £44. (ISBN 978-1-872914-44-2)

Exposition de 1848 - Soyer's Philanthropic Gallery

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Succession d'Alexis Soyer

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Legs et testament non exécuté

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  • « The will of Alexis Soyer, Esq., of Marlborough-road, St. John’s-wood, who died on the 5th of August last, was administered to by a creditor, to whom was granted letters of administration with the will amended, the executors and rasiduary legatee having renounced. A caveat was entered, which had delayed the passing of the grant until the 23rd of December. The personalty was sworn under £1560. The will is very short, being contained on one side of foolseap, and the signature is very feebly written: it is dated the 19th of June, 1858. He bequeathed to the National Gallery the following pictures :— ‘* English Ceres,” ‘‘ Young Israelites,” ‘‘ Young Bavarians,” *‘* A Centenarian,” and the Portrait of Madame Soyer, his late wife. To Mr. Blackwell, of Soho-square, and his partner, Mr. Crosse, export oilman, each a picture— to the first, ‘‘The Donkey Boy,” and to the other any picture he may select. £50 to a niece; £100 to the Kensal-green Cemetery, where he has a vault; and the residue to Mrs. Cooke, many years his housekeeper. » ("Wills", Illustrated London News, 8 janvier 1859, p. 27

Vente de 1859

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  • 82 A group of tulips
  • 83 Head of a girl
  • 84 A dish of fish
  • 85 A child with a coral necklace
  • 86 A boy with hops
  • 87 A crossing-sweeper
  • 88 A group of three pigs
  • 89 A female portrait, with flowers
  • 90 A girl reading a letter
  • 91 Head of a child
  • 92 Head of a gentleman
  • 93 An Italian boy with a hurdy-gurdy
  • 94 Portrait of a child, in a black veil, holding a mask
  • 95 Portrait of an elderly French woman
  • 96 Two Negro children with a book
  • 97 Portrait of the danseuse Mad. ... - whole-length, in a landscape
  • 98 A child giving bread to a blind boy
  • 99 A boy with a basket of china - whole-length
  • 100 Boys with fish
  • 101 Childhood : a boy with a spaniel
  • 102 A lady, in an ermine cloak
  • 103 Two children with rabbits
  • 104 A Bohemian mother and child
  • 105 A child with cowslips
  • 106 Portraits of a French woman with her child
  • 107 A child with a basket of grapes
  • 108 La petite chaufrette
  • 109 Portrait of a violonist
  • 110 Portrait of a gentleman
  • 111 The Escape : a child with a birdcage
  • 112 A child with a kitten
  • 113 An Italian Boy with a bust of the queen
  • 114 A boy with a bust of William IV
  • 115 Interior with a Chelsea pensioner seated at a table
  • 116 A girl nursing a Skye terrier
  • 117 An old woman knitting
  • 118 Boys selling lemons
  • 119 A Gleaner
  • 120 A woman, with fish
  • 121 A peasant boy, seated by the side of a donkey
  • 122 A woman selling oranges, a child seated on her lap, Blackfriars Bridge in the background. - Capital
  • 123 A girl with a basket of flowers : a group of flowers in a vase, on a table
  • 124 A Broom Girl and Boy. Capitally painted
  • 125 The hop-gatherers
  • 126 Portrait of the late M. Soyer, at dinner. Full of clever character - vendu 3 livres à un dénommé "Goss"[8]
  • 127 Portrait of Madame Soyer, in a red velvet cap - peut-être l'autoportrait de Mme Soyer vendu 5 livres 5 shillings à un dénommé "Pearce"[8]
  • 128 Portrait of Madame Soyer, before an easel - peut-être l'autoportrait de Mme Soyer vendu 5 livres 5 shillings à un dénommé "Pearce"[8]
  • 129 Two Italian Boys, with an organ and Guinea Pigs - in the style of Murillo
    • vendu à un dénommé "Smart" pour 50 livres et 10 shillings (intitulé Boys with Organ and Guinea Pigs dans la source, avec le no de catalogue 129[9])
  • 130 The infant Christ, seated in the lap of the Virgin. A capital copy from Raffaelle
  • 131 La Coneglia, after Coreggio


à identifier
  • p.e. no 125 ? : Young Hop Gatherers, 29 in. by 24 in., "From the Artists' Sale" (no 45) (Catalogue of the valuable collection of modern pictures of Sir Charles Booth, Londres, Christie, Manson & Woods, 1897 (date de vente : March 13, 1897), p. 9, no cat 45 - inscription manuscrite : prix : 8 - 0 ; acheteur : "Hill"
    • artiste indiquée : "Emma Jones (Madame Soyer)" - indique p.e. la signature (i.e. avant son mariage)

Postérité

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  • Gravures d'après Simonau en 1845-1847 indiquées "the only master of the late celebrated artist Madame Soyer" (voir section Simonau)

Simonau

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commons:Category:François Simonau - en:François Simonau - Gustave Simonau

  • Le Grove Art Online en fait un élève de Gros à Paris entre 1808 et 1812, mais le musée de Bruges possède plusieurs de ses dessins, datés entre 1807 et 1810 et les registres de l'école des beaux-arts de Paris notent sa présence en 1811 et 1812 seulement.
  • "folio 363. — 29 août 1811: — François SIMONAU, P. natif de Bruges, Dépt. de la Lys, âgé de 26 ans, demeurant rue de Vaugirard n° 62. Elève de Mr. Gros. — id. février 1812."
    • source : Samuel Rocheblave, Note sur les élèves flamands inscrits à l'Ecole académique de Paris entre les années 1765 et 1812, Annales de l'Académie royale d'archéologie de Belgique, LXX , 6e série , t . X , Anvers , 1922, 1re-2e livraison, p. 146-179, ici p. 178
  • François Simonau expose son autoportrait (Portrait de l’auteur) au Salon de 1812 (no 854). Il demeure alors rue de Vaugirard, n° 62 base Salons
  • 1814 : "Francis Simonan" prisonnier de guerre en Angleterre : FamilySearch / Findmypast (via Bibli Wiki)
  • images de ses oeuvres en ligne : bibliotheque courtauld
  • les gravures réalisées par George Every d'après ses portraits de Fanny Cerrito (1845) (appartenant à Alexis Soyer) et Lucile Grahn (1847) sont indiqués : "Painted from life by F. Simoneau of Antwerp, the only master of the late celebrated artist Madame Soyer"
oeuvres


  • Grove Art Online, Simonau, François (Sibylle Valcke, 2003) et Simonau, Gustave Adolphe (Sibylle Valcke, 2003) :
    • Simonau, Françoi(b Bornhem, May 26, 1783; d London, Aug 1859). Belgian painter and lithographer. He began his artistic education with Robert Frickx in Bruges and between 1808 and 1812 was a pupil of A.-J. Gros in Paris. In 1815 he settled in London, where he met Thomas Lawrence, who introduced him to London society. He soon became successful as a portrait painter, exhibiting at the Royal Academy and the British Institution from 1818. He may also have exhibited in Belgium during his occasional visits to Bruges. // Because of his training with Gros and the influence of English art, Simonau distanced himself from the Neo-classical style that was predominant in Belgium during the early 19th century. He adopted the broad technique and the specific colouring of English portrait painters. His virtuosity increased in the works of his maturity, which were particularly exuberant in their handling. Examples include the Invalid of Greenwich and the Organ Player (1828; both Brussels, Mus. A. Mod.). // Bibliography // Regards et attitudes d’un siècle: Portraits et figures de Navez à Evenepoel (exh. cat., Brussels, Mus. Royaux B.-A., 1967)
    • Simonau, Gustave Adolphe (b Bruges, June 10, 1810; d Brussels, July 10, 1870). Belgian watercolourist and lithographer, nephew of François Simonau. He first worked in oils and then turned to watercolour. At the same time he trained as a lithographer in the London studio of his father, Pierre Simonau. On their return to Brussels in 1828 they founded a lithographic firm, which specialized in publishing suites of architectural drawings such as the Choix de vingt-quatre monuments gothiques des Pays-Bas (1843) and the Recueil des principaux monuments gothiques de l’Europe (Brussels, 1840). For the latter Simonau travelled extensively in France, England, Germany and Italy, bringing back drawings and a considerable number of watercolours. He made a series of lithographs of the disturbances of the September Days in 1830. These were very successful and enabled him to reopen his studio, which had been destroyed by the Dutch during the events he depicted. Later he worked with L. van den Wildenberg on the original plates for Portraits des peintres les plus célèbres (Leuven, 1833). He also illustrated the Vues et monuments d’Oudenaerde (1839). // Simonau was a subtle lithographer and a delicate watercolourist, whose townscapes were much appreciated in the Brussels Salons. Typical of his watercolours are View of a Town (1868) and Street in Oberstein (1869; both Brussels, Mus. A. Mod.) and Berne Castle (Brussels, Mus. Ixelles). Between 1859 and 1870 he exhibited with the New Water-Colour Society in London and he became an honorary member of the British Institute of Water-Colourists. He was also one of the founder-members of the Société Royale Belge des Aquarellistes (1855). // Bibliography : Bénézit; BNB = Bibliographie nationale belge ; A. Voisin: ‘Gustave Simonau’, Messager des sciences historiques de Belgique [see Messager Sci. & A.] (1842), pp. 117–23
expo British Institution ici
  • 1826 : no 78 - A Polish Jew - 3.4 x 2.10 (12, Greek Street.)
  • 1829 : no 53 - Italian Boy and organ - 4.5 x 3.8 ; no 191 - An Old Man - 3.0 x 2.7 (66 St. Martin's Lane)
  • 1841 : no 95 - A Brighton Fisherman - 3.0 x 2.7 (F. Simoneau, 26 Charing Cross)
expo Royal Academy
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  • 1818 - 20, Bennet Street, Blackfriars.
    • 31 Portrait of a young lady.
    • 89 A German artist ; a study.
  • 1819 - 24, Bennet Street.
    • 319 Portrait of a gentleman.
    • 356 W. Kershaw, Esq.
    • 429 W. Robinson, Esq.
    • 437 Mrs. Robinson.
    • 447 W. Hall, Esq.
    • 609 Portrait of a gentleman.
  • 1820 - 26, Commercial Road, Lambeth.
    • 134 Portrait of a gentleman.
    • 309 idem ;
    • 376 idem
  • 1821 - 12, Greek Street, Soho.
    • 517 Mr. Porter of the Royal Exchange.
  • 1822.
    • 186 A study of a Jew Rabbi.
  • 1823.
    • 414 Portrait of a Polish Jew.
    • 1024 F. Rabout, Esq.
  • 1824. 519 Monsieur J. Ancot, Composer and Professor of the Pianoforte.
  • 1826. 861 J. T. Mayne, Esq., F.R.S., F.S.A.
    • moi : identification à John Thomas Mayne (1792-1843) necro ; F.R.S. = Fellow of the Royal Society ; F.S.A = Fellow of the Society of Antiquaries
  • 1860 (The late.)
    • 99 A specimen of Nelson's invincibles pensioned off.
Royal Society of British Artists (1 seule occurence)
  • Simonau, F., 9. London street, Fitzroy square (p. 37)
    • 518 - Portrait of W. Welsh, Greenwich pensioner, who fought on board the Victory, at the memorable action of Trafalgar (p. 24 - "Simonan")

Sources / biblio

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  • « We were shown the other day a few of the numerous paintings of the late Madame Soyer, better known as Miss Emma Jones, who for several years contributed to the London exhibitions, and more recently exhibited in the Louvre, where her works were much admired. The account we received of her quickness of perception and rapidity of execution, the incessant activity of her pencil, and the limited instruction she received, rendered more striking the impression of her talents as an artist. In depicting individual character, especially of a homely and rustic kind, Madame Soyer was particularly successful. Two of her latest performances — "The Gleaner,” a fresh country-lass with her harvest-load; and "The Little Lemon-sellers," a couple of Murilloish boys — are admirable for the true and lively expression of nature in the faces. In colouring she was greatly improving; and had she lived to unite brilliancy of tone and other refinements of art to that force and fidelity of representation which constituted her forte, she would have ranked among the foremost of female limners. A very good mezzotint engraving of the Lemon-sellers has been executed by a French artist, and is about to be published by her bereaved hust sand, M. Soyer, Chef de Cuisine of the Reform Club. » (The Spectator 1842-11-05: Vol 15 Iss 749, p. 1075)
  • Deux tableaux d'Emma Soyer ayant été cédé par son époux pour rembourser une dette envers son fournisseur de vins et spiritueux, un marchand de vin londonien, pour le restaurant qu'il avait ouvert à la Grande exposition de 1851 - l'un des tableaux : "a boy with his shirt-sleeves rolled up offering a small loaf of bread to a blind man with a top-hat on"[10], l'autre "a buxom young woman holding a sheaf of corn" raconté par le petit-fils du fournisseur (G. H. White, Notes and Queries 1932-01-09: Vol 162 Iss 2, p. 31-32

Bibliographie

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Notes et références

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  1. 1 2 (en) Algernon Graves, The Royal Academy of Arts : a complete dictionary of contributors and their work from its foundation in 1769 to 1904, vol. IV : Harral to Lawranson, Londres, Henry Graves and co. / George Bell and Sons, (lire en ligne), p. 264
  2. ↑ https://www.british-history.ac.uk/survey-london/vols33-4/pp170-190#h3-s8
  3. ↑ (en) Algernon Graves, The Royal Academy of Arts : a complete dictionary of contributors and their work from its foundation in 1769 to 1904, vol. VII : Sacco to Tofano, Londres, Henry Graves and co. / George Bell and Sons, (lire en ligne), p. 213
  4. ↑ (en) Royal Academy of Arts, The exhibition of the Royal Academy, MDCCCXXIII. The fifty-fifth (catalogue de l'exposition de la Royal Academy of Arts de 1823), Londres, B. McMillan, (lire en ligne), p. 18. Aussi disponible sur Internet Archive
  5. ↑ https://artuk.org/discover/artworks/sir-george-chetwynd-17831850-2nd-bt-of-grendon-and-brocton-19600
  6. ↑ (en) Frank Clement-Lorford, « Emma Soyer », sur https://alexis-soyer.com/ (consulté le )
  7. ↑ (en) Catalogue of the Fourth Exhibition at the Manchester Mechanics' Institution, Cooper Street, Christmas, 1842-3, Manchester, Cave and Sever, (lire en ligne), p. 17, no 34.
  8. 1 2 3 (en) George Redford, Art sales : a history of sales of pictures and other works of art, vol. II, Londres, (lire en ligne), p. 209
  9. ↑ (en) Algernon Graves, Art sales from early in the eighteenth century to early in the twentieth century (mostly old master and early English pictures), vol. III : Reynolds to Z, Londres, Algernon Graves, (lire en ligne), p. 162
  10. ↑ H. Sato, "Old oil painting to be identified", Notes and Queries 1931-11-21: Vol 161 Iss 21, p. 373
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