Portraits; Joséphine Mainvielle-Fodor ‘Singer’, and Le Sautoir (The Necklace)
Two fine stipple technique, brown ink/wash (sepia) drawings with handwritten titles below each portrait. Painted with point of brush on Bristol Board, watermarked, Whatman 1821. Both portraits are housed in antique decorative gilded frames with new mounts. Our two drawings can be compared with a portrait of the French actress Mademoiselle Anaďs which has the added signature of the artist, ‘Singry’. The picture can be found online ‘portraitminiature-collectionneur.blogspot’.
Joséphine Mainvielle-Fodor:
Sheet: 8 5/8 x 7 1/8 in. (22 x 18 cm.)
Image, excluding title: 6 5/16 x 5 in. (16 x 12.7 cm.)
Frame: 11 1/2 x 9 7/8 in. (29.2 x 25.2 cm.)
Singry painted Fodor-Mainvielle during her most successful years in Paris (between 1819 and 1822) and was exhibited at the Paris Salon in 1822. The ivory miniature painted in watercolour and gouache can be viewed on The Tansey Miniature Foundation website. Another example painted on porcelain by Marie-Victoire Jaquotot can be found in the Museum of Residence, Munich, (see Lajoix 2006, p.127). Also, there is a lithograph (profile in reverse) published by Godefroy Engelmann I (1788-1839).
Le Sautoir:
Sheet: 8 5/8 x 7 1/8 in. (22 x 18 cm.)
Image, excluding title: 5 7/16 x 3 7/8 in. (13.8 x 9.9 cm.)
Frame: 11 1/2 x 9 7/8 in. (29.2 x 25.2 cm.)
The portrait in this drawing is yet to be identified.
Joséphine Fodor-Mainvielle was the daughter of the famous Hungarian violinist and composer Josephus Andreas Fodor (1751–1828) and Louise Edme Marmet. She was born in Paris in 1793. Her parents left France for Russia when she was only a few months old, emigrating probably because of the French Revolution. She grew up in Saint Petersburg where her father, a teacher of the imperial children, taught her the harp and piano and soon became a successful singer at the Imperial Opera.
In 1810, she made her debut in Fioravanti’s (1770–1837)
...opera Le cantatrici villane at the Imperial Opera of Saint Petersburg, singing in both Russian and French.
In 1812, she married Jean-Baptiste Tharaud-Mainvielle, an actor at the French theatre of Saint Petersburg. Shortly afterwards, the couple left St. Petersburg, which was under attack during the French invasion of Russia and went to France via Finland.
After a few performances at the Opéra Comique in Paris, she was engaged by the Comédie-Italienne and made her debut on 16 November 1814 in Griselda [ it ] (by Ferdinando Paer ). She performed in London and Venice afterwards, before her return to the Comédie-Italienne in 1819 to sing in Il matrimonio segreto , Don Giovanni , Le Barbier de Séville and La gazza ladra.
She went to Italy for her health, and toured to Naples where she triumphed in Otello and Vienna before returning to Paris in 1825 for further performances at the ComédieItalienne. Shortly afterwards, she suffered from vocal difficulties, gradually ended her operatic career and with Drew from the stage. She stayed for a while in Passy where she worked for charities, then in Limoges. A widow, she moved to Lyon where her son Martial Tharaud-Mainvielle lived.
In 1857, she published Thoughts and Advice on the Art of Singing. She died in Saint-Genis-Laval on 10 August 1870, in the country house of her daughter-in-law. Her daughter Henriette, who was also a singer, was engaged by the Königsstädtisches Theatre in Berlin between 1846 and 1849.
Jean-Baptiste Singry (1782 Nancy – 1824 Paris) was a son of the painter Nicolas Singry. In his youth he went to Paris where he became a student of Vincent and Isabey. From the beginning he seems to have specialized in the miniatures although he also exhibited a number of lithographs. He made his Salon debut in 1806 with a self-portrait.
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FOR FURTHER INFORMATION please contact Clayton
T: 01597 272 439
M: 07790 208 712Antique Number: SA1094371
Dateline of this antique is 19th Century
Height is 29.2cm (11.5inches)Width is 25.2cm (9.9inches)Depth is 0cm (0.0inches)
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