Hyacinthe Rigaud (1659-1743)

After in-depth research and many twists and turns, this portrait, soon to be presented in Bordeaux, has revealed its secrets.

This auction showcases works by Louis XIV's painter, from portraits of the rich and famous to Mary Magdalene meditating on earthly vanities.

The presumed portrait of Madame de La Jonchère was pre-empted, in Bordeaux this Sunday, by the Musée Rigaud de Perpignan at the price of its low estimate (La Tribune de l'art). It was erroneously dated from the 19th century, "after Nicolas Largillière", before it was identified by Stéphan Perrea.

Last Sunday, during the Garden Party at the Château d'Artigny, the Musée Hyacinthe Rigaud acquired, for €38,000, a foundry plaster by Renoir, Maternity, representing the artist's wife and daughter. This model, created in 1916, was made in collaboration with the Catalan sculptor Richard Guino. 

A copy by Hyacinthe Rigaud's studio of his portrait of the Duc de Montfort, this work evokes the remarkable qualities of the great portraitist of the French court.

The great portraitist of the Sun King has not yet had a major exhibition in France. The Chateau of Versailles is repairing this oversight with a show of 150 works to be inaugurated on November 17. The model and the two versions of the portrait of Louis XIV in royal costume will be reunited there for the first time. 

There was a surprise in Switzerland, admirers of the painter of Louis XIV, Hyacinthe Rigaud. It was a record for Rigaud in Switzerland thanks to a well-known figure in Geneva.

Late 2020 proved a fertile period for the Musée d’Art Hyacinthe-Rigaud, when the collection dedicated to the Neo-Impressionist took on several new additions: preemptions illustrating not only his great art but also his immense devotion to Gauguin.

There are painters who evince little liking for feminine charms—as roundly demonstrated by the fine Rigaud retrospective at the Château de Versailles—and those who beautify their models. And princesses de sang royal (princesses of royal blood) were placed in the top rank of Olympian goddesses by Jean-Marc Nattier.

Two outstanding lots illuminated the sale in Bordeaux; a moving bronze by the tormented sculptress, and the triumphant effigy of a great lady portrayed by Rigaud, finally preempted.