C. 1925, oil on canvas, 185 x 58 cm, original canvas and frame.
Material Safety Data Sheet
Painting signed lower left of the canvas: "Herman Richir"
Inscription painted on the back of the canvas: "Rose of Isfahan by Herman Richir"
Label of the "Galerie Georges Giroux S.P.R.L / 347 / n ° 225 / Richir"
L: 158 cm X H: 185 cm with frame
L: 140 cm X H: 165.5 cm without frame
Brussels, Galerie Georges Giroux in Brussels, 1957:
Sale n ° 347: "Catalog of the sale ... which will take place at public auction on Saturday March 16, 1957 ... and which will disperse modern paintings, sculptures and etchings", (Me F. de Coene, Georges Willems - Giroux (expert), M. Bytebier (photographer)), Brussels Galerie Georges Giroux SPRL 1957, lot 225.
Exhibition Herman Richir, Cercle Artistique et Littéraire de Bruxelles, Waux-Hall Parc, from December 8 to 18, 1925, n ° 20 Rose d'Uspahan.
Salon of the National Society of Fine Arts at the Grand-Palais in Paris, from May 1 to June 30, 1926, n ° 1034 Rose d'Uspahan.
Herman Richir exhibition, Petite Galerie de Bruxelles, 17 avenue Louise, from December 4 to 14, 1926, n ° 14 Rose d'Uspahan.
The Rose of Isfahan embodied by the bewitching female figure seated on a divan made of variegated oriental fabrics testifies to the talent as a colourist of Herman Richir, official portrait painter of the Belgian bourgeoisie of the 20th century. Our painting offers the image of a recomposed East through the features of a woman whose identity remains as mysterious as her dazzling beauty.
Presented three times - in December 1925 at the very elitist Cercle Artistique et Littéraire de Bruxelles, the following year in Paris at the Salon de la Société Nationale des Beaux-Arts, and finally at the Petite Galerie in Brussels - the Rose d'Ispahan painting belongs to the most prolific period of maturity in Herman Richir's career. His rise in the art world is rapid. Twenty years old, he won the second second prize in the great painting competition tied with Joseph Middeleer, previously trained with the engraver Gustave Biot teaching at the Academy of Saint-Josse, the painter Charles Hermans, and Jean-François Portaels at the Academy of Brussels. In 1887, Herman Richir made his debut at the Salon of the Royal Society of Fine Arts. Two portraits of his hand were honored with an honorable mention at the 1889 World's Fair.
He received a third class medal in 1890 for his contributions to the selective Salon des Artistes Français. Subsequently, Herman Richir preferred to exhibit his works, almost annually, at the Salon de la Société Nationale des Beaux-Arts, which was more modern. From 1903 and that for more than thirty years, his paintings are hung on the picture rails of the Salon of the National Society to which he was elected member in 1906. Two paintings will be particularly sensation there: the portrait of a girl, In white , exhibited in 1906 and immediately purchased by the Walker Art Gallery in Liverpool and The Red Shawl, in 1914, also presented under the title The Red Shawl in the Belgian section of the Panama-Pacific International Exposition in San Francisco in 1915. Au At the turn of the 20th century, Herman Richir's reputation continued to grow and expand in Europe. Beyond Antwerp, Ghent and Brussels, his paintings can be seen in Barcelona, ??Turin and Paris.
Since his beginnings, it is in the art of portraiture that the painter has excelled. The royal couple of Belgium poses in front of Herman Richir who presents his works at the Triennale des Beaux-Arts exhibition in Brussels in 1914 and after the war in Paris, at the Salon de la Société Nationale des Beaux-Arts, in 1919. The human figure becomes the central motif of his painting. Doesn't the artist usually say: "A portrait, a nude, these two canvases sum up my career! ". If the title of our painting maintains the mystery surrounding the identity of the young woman, her lovely face is known by a more intimate painting, which was on sale in Lokeren on October 27, 2012 (Portrait of a young lady, "Old Masters - Modern and Contemporary Art, Galerie De Vuyst, lot n ° 225). Her devastating charm comes from the perfect oval of her face, her playful gaze, her red lips and blue eyes, highlighted by the measured pose chosen with taste and elegance by the painter. Rose of Isfahan captivates the viewer as much with her luxurious finery as with the flame of her gaze. Here, Herman Richir makes excessive use of exotic accessories: rugs, fabrics covering the sofa, oriental costume, turban, pearls, slippers ...
The title bears multiple references to the mythical, literary and musical Orient. Called the queen of flowers, the Isfahan rose has been rare and renowned for its fragrant qualities since the end of the 16th century. It gave Isfahan its reputation of "City of Roses" or "Rose of the East". The painter makes fun of the metaphor of the flower woman.
28 000 €