Paintings

Marcel CARON (1890-1961) Le fumeur de pipe au café, 1926 Huile sur toile marouflée sur panneau Signé et daté en bas au centre: "Marcel Caron 26" 65 x 55 cm Ce tableau cristallise les influences de l'expressionnisme de l'École de Laethem-Saint-Martin, et notamment celles du travail de Constant Permeke et Gustave de Smet que Marcel Caron fréquente depuis le début des années 1920. Il crée ainsi un pont entre la modernité flamande et liégeoise. On peut ici deviner sur le journal posé au premier plan: le titre "L'Escalier", du même nom du groupe fondé en 1926 parles trois peintres modernes majeurs de l'époque à Liège: Edgar Scauflaire, Auguste Mambour et Marcel Caron.

Pierre SOULAGES(1919-2022) Lithographie n°19, 1968 Lithographie sur papier vélin Signé et numéroté au crayon 45/85 Mourlot, Paris, imprimeur Galerie de France, Paris, éditeur 55 x 70 cm Bibliographie : Pierre Encrevé,Marie-Cécile Miessner,Soulages l'œuvre imprimé, BnF / Musée Soulages, Paris, 2003 (Cat.65) (ill.68) p.197

Alexandre ROUBTZOFF (Saint Petersburg, 1884 - Tunis, 1949) Street scene in Tunis (1915) Oil on canvas mounted on cardboard, signed and dated lower right "A. Roubtzoff 1915" and localized lower left "Tunis". Framed. H. 19.5 x W. 27.7 cm. Provenance - Gift from the artist to Dr. Éloi Baysse, colonization physician in Tunisia (appointed in 1934), also a friend and physician of the artist. - Then by descent. Expert : Maxime Charron Collection of unpublished works by Alexandre Roubtzoff from Dr. Éloi Baysse, the artist's friend and physician in Tunisia. "I only came to Tunisia for a few days, and I stayed there for the rest of my life", wrote the artist in his memoirs. Alexander Roubtzoff, born in St. Petersburg on January 24, 1884, trained in the painting department of the Imperial Academy of Arts under the tutelage of Yan Frantsevich Tsionglinsky (1858-1912), a key figure in his training since Tsionglinsky was considered one of the first Russian Impressionists and was also a great traveler and lover of exotic countries. Between 1907 and 1912, Roubtzoff travelled extensively on a scholarship, taking him to Austria, Germany, Italy and Morocco, where he was unable to establish himself permanently because of the Moroccan campaign, prompting him to travel to Tunisia and settle there in 1914. The First World War prevented him from returning to Russia, and Roubtzoff took up residence in Tunis in an apartment-studio at 33 rue Al Djazira. The October Revolution of 1917 marked a major turning point in the artist's life; he severed ties with his native country, took French nationality and presented himself as "a Frenchman born in St. Petersburg". This new horizon guided him towards plein-air painting, imbued with the warmth of the Sahara sands and the contrasts of the Atlas mountains. The magic of Tunisian light and its unique nuances, as well as street scenes and depictions of Arab life, inspired Roubtzoff throughout his life, creating over 3,000 works of great diversity. The collection of completely new works presented in this sale is of a truly exclusive nature. Whether portraits or landscapes, these paintings were hitherto unknown to reference books and historians. According to family tradition, all these works originally came from the collection of Éloi Baysse, a doctor from the Cahors region, appointed in 1934 as colonization doctor in Tunisia, which explains why all the works are dated between 1935 and 1948. In his diary, Roubtzoff wrote in 1940: "It's always Dr. Baysse who takes me around the region (...)". This previously unpublished set shows the range of subjects Roubtzoff appreciated, including two portraits of major importance: the portrait of Arbia (1941) and the portrait of Marie Madeleine Leroy (1946). The portrait of Arbia highlights the artist's talent, mainly in the meticulousness of detail, the beauty of the subject and the sincerity of expression. Roubtzoff sublimates the oriental woman, clearly breaking away from the odalisque stereotype. His Bedouin portraits reveal the nobility and beauty of a people. Every detail and every pigment serves to highlight the beauty of Arbia's face, as does the use of intense blues, vibrant pinks and reds in the fabrics that dress her. As for the portrait of Marie Madeleine Leroy, General Mast's wife, it was probably commissioned by the ambassador's wife. Excelling in worldly portraits, the painter depicts her in her official residence, dressed in European style in a verdant, exotic setting. Once again showing great realism, it is possible to recognize her perfectly, as in this period photo of their arrival in Tunis (see illustration). The collection also includes a number of small-format landscapes, also emblematic of Roubtzoff's body of work, the majority of which are painted in oil on canvas mounted on cardboard, a technique unique to the artist that he called "canvas boards", enabling him to transport them easily and in large quantities. The collection of Dr. Éloi Baysse's descendants will be presented to the public for the first time. It has been many years since an ensemble of this importance was auctioned off. Their dispersal will enrich the knowledge and corpus of an artist recognized and acclaimed by his peers as "the Russian Orientalist painter", recently mi

Mathurin MEHEUT (1882-1958) Les Logissons Cassis, transhumance departure. Gouache. Signed lower right and titled lower left 31 x 45 cm (Some wetness on the upper horizontal edge) Exhibition: Musée de Morlaix, 2008, Mathurin Meheut retrospective Expert : Cabinet Chanoit

École flamande vers 1625 Étalage d'un marchand de poissons, allégorie du toucher Toile 109 x 195 cm Ce lot est décrit par le Cabinet Turquin.

Maximilien LUCE (1858-1941) Landscape Oil on canvas board. Signed lower right 15.5 x 24 cm Expert : cabinet Chanoit

École italienne du XVIIe siècle Femme et enfants Huile sur toile 83 x 74 cm (restaurations)

Alfred STEVENS (1823-1906) Marine Huile sur panneau Signé en bas à droite: A Stevens" 33 x 24 cm

H. BALLHEIM (act.c.1850-c.1880) Die ersten Kirschen Huile et dorure sur panneau Signé en bas à gauche: "H. Ballheim" 37 x 21 cm

Alexandre ROUBTZOFF (Saint Petersburg, 1884 - Tunis, 1949) The banks of the Tarn (1931) Oil on canvas mounted on cardboard, signed and dated lower right "A. Roubtzoff. 1931. 2 sept" and localized lower left "Albi". Framed. H. 19.5 x W. 27.5 cm. Provenance - Gift from the artist to Dr. Éloi Baysse, colonization physician in Tunisia (appointed in 1934), also a friend and physician of the artist. - Then by descent. Expert : Maxime Charron Collection of unpublished works by Alexandre Roubtzoff from Dr. Éloi Baysse, the artist's friend and physician in Tunisia. "I only came to Tunisia for a few days, and I stayed there for the rest of my life", wrote the artist in his memoirs. Alexander Roubtzoff, born in St. Petersburg on January 24, 1884, trained in the painting department of the Imperial Academy of Arts under the tutelage of Yan Frantsevich Tsionglinsky (1858-1912), a key figure in his training since Tsionglinsky was considered one of the first Russian Impressionists and was also a great traveler and lover of exotic countries. Between 1907 and 1912, Roubtzoff travelled extensively on a scholarship, taking him to Austria, Germany, Italy and Morocco, where he was unable to establish himself permanently because of the Moroccan campaign, prompting him to travel to Tunisia and settle there in 1914. The First World War prevented him from returning to Russia, and Roubtzoff took up residence in Tunis in an apartment-studio at 33 rue Al Djazira. The October Revolution of 1917 marked a major turning point in the artist's life; he severed ties with his native country, took French nationality and presented himself as "a Frenchman born in St. Petersburg". This new horizon guided him towards plein-air painting, imbued with the warmth of the Sahara sands and the contrasts of the Atlas mountains. The magic of Tunisian light and its unique nuances, as well as street scenes and depictions of Arab life, inspired Roubtzoff throughout his life, creating over 3,000 works of great diversity. The collection of completely new works presented in this sale is of a truly exclusive nature. Whether portraits or landscapes, these paintings were hitherto unknown to reference books and historians. According to family tradition, all these works originally came from the collection of Éloi Baysse, a doctor from the Cahors region, appointed in 1934 as colonization doctor in Tunisia, which explains why all the works are dated between 1935 and 1948. In his diary, Roubtzoff wrote in 1940: "It's always Dr. Baysse who takes me around the region (...)". This previously unpublished set shows the range of subjects Roubtzoff appreciated, including two portraits of major importance: the portrait of Arbia (1941) and the portrait of Marie Madeleine Leroy (1946). The portrait of Arbia highlights the artist's talent, mainly in the meticulousness of detail, the beauty of the subject and the sincerity of expression. Roubtzoff sublimates the oriental woman, clearly breaking away from the odalisque stereotype. His Bedouin portraits reveal the nobility and beauty of a people. Every detail and every pigment serves to highlight the beauty of Arbia's face, as does the use of intense blues, vibrant pinks and reds in the fabrics that dress her. As for the portrait of Marie Madeleine Leroy, General Mast's wife, it was probably commissioned by the ambassador's wife. Excelling in worldly portraits, the painter depicts her in her official residence, dressed in European style in a verdant, exotic setting. Once again demonstrating great realism, it's possible to recognize her perfectly, as in this period photo of their arrival in Tunis (see illustration). The collection also includes a number of small-format landscapes, also emblematic of Roubtzoff's body of work, the majority of which are painted in oil on canvas mounted on cardboard, a technique unique to the artist that he called "canvas boards", enabling him to transport them easily and in large quantities. The collection of Dr. Éloi Baysse's descendants will be presented to the public for the first time. It has been many years since an ensemble of this importance was auctioned off. Their dispersal will enrich the knowledge and corpus of an artist recognized and acclaimed by his peers as "the Russian Orientalist painter", recently

L’ADORATION DES MAGES - XVIIe SIÈCLE - Exceptional 17th century tempera painting on wood panel, 57 x 43 cm with its period painted foliate frame and nailed to the wood panel (cracks and minor missing parts). "According to the Gospel of Matthew, the Magi, guided by the Star of Bethlehem, came to bring offerings to the infant Jesus: gold, frankincense and myrrh. The baby Jesus sits on Mary, behind whom stands Joseph, before Melchior on his knees, Gaspard and Melchior standing, their hands laden with offerings. Delivery of lots free of charge to LA SALLE 20 rue DROUOT-PARIS the day after the sale (Saturday, May 4) or a few days after the sale GALERIE 18, rue Grange-Batelière (25 meters from Hôtel Drouot), otherwise shipment from FRANCE at the buyer's expense by the carrier of his choice. High-resolution photos: https://bit.ly/41uZlKv

The death of Adonis Brussels tapestry. 17th century. Woven in wool and silk. H.1,31 x L.1,42 m The tapestry illustrates the death of Adonis (Metamorphoses, Ovid, X, 697-739). Mortally wounded by a wild boar of Artemis' wrath, Adonis is shown lying on the ground. He is surrounded by Venus, crestfallen with grief at the sight of her lover, supported on the right by one of the Three Graces, whose presence monumentalizes the composition. The dogs, faithfully lying beside their master, the bow exposed in the foreground, and the boar chased in the distance by three lovers, bear witness to the fatal hunt for the young man. This interesting panel has preserved its bright colors, and the borders are missing. It is well preserved, with some wear. A similar model is in the Louvre - La mort d'Adonis, oil on canvas, anonymous artist, Venetian school, late 16th century (circa 1560-1600), 1.55 m x 1.99 m. INV 1759 / MR958

Jean Roger SOURGEN (1883-1978) The great Landes pines Oil on canvas. Signed lower right 46 x 61 cm Expert : cabinet Chanoit

Henri PONTOY (1888-1968) Souk in Morocco Oil on panel Signed lower left Size: 51.5 x 43.4 cm Damage to the corners and sides.

Late 19th century French school Landscape with waterfall Oil on paper (handwritten "Louis George" on the back) 41.5 x 32.5 cm (missing)

Silvin BRONKART(1915-1967) Composition, 1954 Huile sur papier Signé en bas à gauche: "Silvin", contresigné, daté et localisé à Vivegnis au dos Porte au dos une étiquette manuscrite "Baron Graindorge" 92 x 63 cm Provenance: - Probablement ancienne Collection Fernand Graindorge, Liège - Collection particulière, Belgique

Pieter BOEL (Antwerp 1622 - Paris 1674) Still life with hunting trophies Canvas. 155 x 203 cm Monogrammed lower right PB. Provenance: - Anonymous sale, Sotheby's Monaco, December 2, 1994, no. 17, reproduced; - Anonymous sale, Paris, Hôtel Drouot (Mes Neret-Minet et Tessier), June 19, 2009, no. 6, reproduced. The painting evokes a natural harmony with the presence of several music thrushes, great tits, woodcocks, a barn owl, a revered pheasant, a molting mallard, a whistling cane, two rabbits, two hares, red and gray partridges and a barbet dog. Jean-Siméon Chardin was also a fervent admirer of the barbet dog, which he depicts in his painting formerly in the Roberto Polo collection (see P. Rosenberg, Tout l'oeuvre peint de Chardin, Paris, 1983, no. 49, reproduced). Here, he portrays an animal that seems to emanate deep loyalty and quiet vitality, making it the main subject of the painting. Known for his "hunting returns", Pieter Boel was one of the most renowned artists of 17th-century animal painting. He drew directly from live animals in natural settings, enabling him to reproduce the liveliness of textures. Initially trained by his father, himself an engraver, he spent some time in Genoa, before returning to Antwerp, where he was admitted to the Saint Luc guild as a freemason in 1650. He then moved to Paris, where he was commissioned, along with Charles Le Brun, to produce studies for tapestries at the Gobelins manufactory. For the tapestry known as "Les Maisons between 1669 and 1671, eighty-one studies of birds and mammals from the Royal Menagerie at Versailles. They were transferred to the Musée du Louvre and subsequently dispersed to various provincial museums.

Alfred RETH (1884-1966) Elegant woman in a hat Oil on cardboard. Studio stamp and numbered 478 on the back. 29 x 20 cm Expert : cabinet Chanoit

Marie BRACQUEMOND (Landunvez, 1840 - Sèvres, 1916) Study for 'La Partie de jacquet' (The Backgammon Game) Oil on canvas Study for 'La partie de jacquet', oil on canvas, by Marie Bracquemond 9.64 × 12.79 in. H : 24.5 cm, W : 32.5 cm Exhibitions : Works by Marie Bracquemond, preface by Gustave Geffroy, Paris, Galerie Bernheim-jeune, May 19-31, 1919, cat. no. 49. Marie BRACQUEMOND (Landunvez, 1840 - Sèvres, 1916) H : 24.5 cm, W : 32.5 cm

Jean Roger SOURGEN (1883-1978) Les Bruyères Oil on panel. Signed lower left 19 x 24 cm Expert : cabinet Chanoit

François Etienne MUSIN (1820-1888) Ostende Huile sur panneau Signé et localisé en bas à gauche: "François Musin Ostende" Porte au dos du panneau un cachet de cire rouge: "F Musin Ostende" 30 x 58 cm

Jean ROBIE (1821-1910) Les fleurs Huile sur toile Signé en bas à droite: "J. Robie" 96 x 71 cm On y joint une monographie: Fondation Jean Robie et Brigitte Schuermans, Jean ROBIE 1821-1910, Editions Racine, 2007

Alexandre ROUBTZOFF (Saint Petersburg, 1884 - Tunis, 1949) View of Mided (1940) Oil on canvas mounted on cardboard, signed and dated lower right "A. Roubtzoff. 1940. 1er Nov." and localized lower left "Mided". Framed. H. 19.7 x W. 28 cm. Provenance - Gift from the artist to Dr. Éloi Baysse, colonization physician in Tunisia (appointed in 1934), also a friend and physician of the artist. - Then by descent. Expert : Maxime Charron Collection of unpublished works by Alexandre Roubtzoff from Dr. Éloi Baysse, the artist's friend and physician in Tunisia. "I only came to Tunisia for a few days, and I stayed there for the rest of my life", wrote the artist in his memoirs. Alexander Roubtzoff, born in St. Petersburg on January 24, 1884, trained in the painting department of the Imperial Academy of Arts under the tutelage of Yan Frantsevich Tsionglinsky (1858-1912), a key figure in his training since Tsionglinsky was considered one of the first Russian Impressionists and was also a great traveler and lover of exotic countries. Between 1907 and 1912, Roubtzoff travelled extensively on a scholarship, taking him to Austria, Germany, Italy and Morocco, where he was unable to establish himself permanently because of the Moroccan campaign, prompting him to travel to Tunisia and settle there in 1914. The First World War prevented him from returning to Russia, and Roubtzoff took up residence in Tunis in an apartment-studio at 33 rue Al Djazira. The October Revolution of 1917 marked a major turning point in the artist's life; he severed ties with his native country, took French nationality and presented himself as "a Frenchman born in St. Petersburg". This new horizon guided him towards plein-air painting, imbued with the warmth of the Sahara sands and the contrasts of the Atlas mountains. The magic of Tunisian light and its unique nuances, as well as street scenes and depictions of Arab life, inspired Roubtzoff throughout his life, creating over 3,000 works of great diversity. The collection of completely new works presented in this sale is of a truly exclusive nature. Whether portraits or landscapes, these paintings were hitherto unknown to reference books and historians. According to family tradition, all these works originally came from the collection of Éloi Baysse, a doctor from the Cahors region, appointed in 1934 as colonization doctor in Tunisia, which explains why all the works are dated between 1935 and 1948. In his diary, Roubtzoff wrote in 1940: "It's always Dr. Baysse who takes me around the region (...)". This previously unpublished set shows the range of subjects Roubtzoff appreciated, including two portraits of major importance: the portrait of Arbia (1941) and the portrait of Marie Madeleine Leroy (1946). The portrait of Arbia highlights the artist's talent, mainly in the meticulousness of detail, the beauty of the subject and the sincerity of expression. Roubtzoff sublimates the oriental woman, clearly breaking away from the odalisque stereotype. His Bedouin portraits reveal the nobility and beauty of a people. Every detail and every pigment serves to highlight the beauty of Arbia's face, as does the use of intense blues, vibrant pinks and reds in the fabrics that dress her. As for the portrait of Marie Madeleine Leroy, General Mast's wife, it was probably commissioned by the ambassador's wife. Excelling in worldly portraits, the painter depicts her in her official residence, dressed in European style in a verdant, exotic setting. Once again demonstrating great realism, it's possible to recognize her perfectly, as in this period photo of their arrival in Tunis (see illustration). The collection also includes a number of small-format landscapes, also emblematic of Roubtzoff's body of work, the majority of which are painted in oil on canvas mounted on cardboard, a technique unique to the artist that he called "canvas boards", enabling him to transport them easily and in large quantities. The collection of Dr. Éloi Baysse's descendants will be presented to the public for the first time. It has been many years since an ensemble of this importance was auctioned off. Their dispersal will enrich the knowledge and body of work of an artist recognized and acclaimed by his peers as "the Russian Orientalist painter", who was recently put up for auction.

Albert RATY(1889-1970) Village ardennais Huile sur toile Signé en bas à gauche "Alb. RATY" et titré au dos de la toile Porte deux cachets de douane français et belge au dos du châssis 40 x 60 cm

Louis TOFFOLI (1907-1999) Mother nursing her child Oil on canvas Signed lower right 27 x 22.5 cm

Raymond THIBÉSART (1874-1968) Apple trees in bloom. Oil on canvas. Signed lower left. 60.5 x 81 cm

CANU Yvonne (1921-2007) - CANU Yvonne (1921-2007). Regattas in Saint-Tropez. Oil on canvas signed lower right. Size : 60x81 cm

Flämische Schule - Flemish School 17th century. The Holy Family with angels. Oil on canvas/doublé, 48 x 60 cm.

Flemish school of the late 16th century The wedding at Cana Oak panel with parquet floor. (Cracks, accidents and missing pieces.) 73 x 104 cm

ANNE-LOUIS GIRODET DE ROUSSY TRIOSON (1767-1824) attributed to, Etude de tête d'homme barbu, Oil on canvas, 45.5 x 37cm (old restorations and missing parts) expert cabinet TURQUIN, work visible in Paris at Cabinet TURQUIN

Maurice UTRILLO (1883-1955) - Montmartre, New Year 1940 Gouache on paper Located lower left, signed lower right H. 13 cm - L. 15.5 cm (view) With certificate of authenticity n°22.526, dated January 31, 1991, signed by Monsieur Gilbert Pétridès

Pendule von Ephraim Hedström - Pendulum by Ephraim Hedström Stockholm, early 19th century. In the shape of an oil lamp. Bronze, fire-gilt and dark patinated. Enamel dial signed. Brass movement with thread suspension and strike on bell. H 40 cm.

Marie BRACQUEMOND (Landunvez, 1840 - Sèvres, 1916) Three women lying on the lawn Oil on canvas mounted on cardboard Unframed Three women lying on the lawn, oil on canvas laid down on cardboard, by Marie Bracquemond 8.27 × 11.61 in. H : 21.0 cm, W : 29.5 cm Exhibitions : Works by Marie Bracquemond, Preface by Gustave Geffroy, Paris, Galerie Bernheim-jeune, May 19-31, 1919, cat. no. 67: "Projet de tableau". Marie BRACQUEMOND (Landunvez, 1840 - Sèvres, 1916) H : 21.0 cm, W : 29.5 cm

Ribot, Théodule A. - Ribot, Théodule A. 1823 Saint-Nicolas-d'Attez - 1891 Colombes Portrait of a woman. Signed. Oil on canvas/double sheet, 33.5 x 26 cm.

Ecole du début du XXe siècle - Dans le goût de Louis VALTAT (1869-1952) - View of the banks of the Seine at Sèvres - 1908 Oil on canvas Situated and dated on the back H. 40 cm. L. 46 cm Examination with a UV lamp reveals no overpainting, very slightly warped canvas.

Henri DEGLUME (1865-1940) Vue d'un étang Huile sur toile Signé en bas à droite: "H Deglume" 60 x 73 cm

17th century FLEMISH school, follower of Anton van DYCK The Holy Family with Saint John the Baptist Canvas. 149 x 118 cm Provenance : - Collection of Marquis Alphonse d'Aoust (1819-1909) ; - By descent to the present owner.

MARCEL DELMOTTE (1901-1984) - MARCEL DELMOTTE (1901-1984) "Man seeks his collective unity", 1983 Oil on isorel, signed and dated lower left. Oil on isorel, signed and dated lower left. H 70 x L 90 cm - H 27 1/2 x W 35 3/8 in.

Attributed to Jacopo ROBUSTI known as LE TINTORET (1518-1594) The Adoration of the Shepherds Canvas. 98 x 122 cm Provenance : Collection of Marquis Alphonse d'Aoust (1819-1909) ; By descent to the present owner.

Marie BRACQUEMOND (Landunvez, 1840 - Sèvres, 1916) The staircase Oil on canvas Unframed The stairs, oil on canvas, by Marie Bracquemond 11.02 × 7.48 in. H : 28.0 cm, W : 19.0 cm Marie BRACQUEMOND (Landunvez, 1840 - Sèvres, 1916) H : 28.0 cm, W : 19.0 cm

Eugène GALIEN-LALOUE (1854-1941) - View of the Conciergerie from Place du Châtelet, Paris Gouache on paper mounted on cardboard Signed lower left H. 19 cm - L. 31 cm (as seen) Frame missing

VERON (FRENCH SCHOOL, late 19th century) Leaving for the falcon hunt The return from the hunt Pair of oak panels, one board, not parqueted. 19 x 24.5 cm Label on reverse 3014. Provenance : Anonymous sale, Paris, Palais Galliera (Me Rheims), December 11, 1961, n°33 and 34.

EPSTEIN - EPSTEIN Henri (1892-1944) : paysage de neige animé situé Epernon et daté 1942, watercolor and gouache signed lower left, unframed - 42 x 57 cm

Henri EPSTEIN (1892-1944) Wounded heron Oil on canvas Signed lower right 66 x 81 cm

DERAIN André (1880-1954) - DERAIN André (1880-1954). Provence landscape. Watercolor on cardboard. Studio stamp. Size : 21x30 cm

Marie BRACQUEMOND (Landunvez, 1840 - Sèvres, 1916) Basket of wild strawberries Oil on canvas mounted on cardboard Annotated 'Bracquemond' in pencil on verso unframed The basket of wild strawberries, oil on canvas laid down on cardboard, by Marie Bracquemond 10.63 × 12.99 in. H : 27.0 cm, W : 33.0 cm Exhibitions : Œuvres de Marie Bracquemond, preface by Gustave Geffroy, Paris, Galerie Bernheim-jeune, May 19-31, 1919, cat. no. 24. Marie Bracquemond, hommage à Félix Bracquemond, Paris, Galerie Bernheim-jeune, April 7-May 5, 1962, cat. no. 6. Marie BRACQUEMOND (Landunvez, 1840 - Sèvres, 1916) H: 27.0 cm, W: 33.0 cm

École moderne du XXe siècle Scène de plage Huile sur toile Signé en bas à droite (signature non déchiffrable) 61 x 91 cm

Edmond Lechevallier-Chevignard (French, 1825-1902) The Fountain of Love in front of the Château de Chaumont-sur-Loire, 1864 Canvas signed and dated lower left: "E. LECHEVALLIER . CHEVIGNARD .P. / .MDCCCLXIV". Height 140.5 Width 173.5 cm. (restorations, accidents) Bibliography: "Explication des ouvrages de peinture, sculpture, architecture, gravure et lithographie des artistes vivants, exposés au Palais des Champs-Elysées le 1er mai 1865", Paris, Charles de Mourgues frères, probably no. 1275, "La Touraine". A pupil of Martin Drolling, Edmond Lechevallier-Chevignard followed in the vein of painters of historical genre scenes, such as Paul Delaroche or Olivier Merson. Our painting perfectly transcribes this new genre, bringing together characters in Renaissance garb in the enchanting setting of a "Fountain of Love". A recurring theme, it conjures up characters in a courtly environment where the arts are invited in, with Cupid and Venus in the background. Eighteenth-century libertine painters such as François Boucher and Jean-Honoré Fragonard were quick to illustrate this subject under the guise of gallant representation. Here, music and reading frame two friends holding hands. Another woman braids a wreath of flowers as Cupid prepares to ignite the passion of love. Exhibiting at the Salon from 1849, Lechevallier-Chevignard followed an official career, winning a 3rd class medal in 1859. Our painting is probably the one presented at the 1865 Salon under the title "La Touraine" at number "1275". "This evocation of 16th-century life, which he loved and knew above all else" (P.V, "Nécrologie Edmond Lechevallier-Chevignard", La Chronique des Arts et de la Curiosité : supplément à la Gazette des Beaux-Arts", March 29, 1902, p.103) reveals the façade of the Château de Chaumont-sur-Loire in the background. At the time, the château was owned by Viscount Joseph Walsh, who married the widow of Count d'Aramon, who had owned the château between 1833 and 1847. The latter commissioned major work to restore and improve the estate, in particular its parkland, for which it is still renowned today. The 1865 Salon continued to foster the rivalry between the large and small genres, as pointed out by some commentators of the time, such as Félix Jahyer ("Salon de 1865 : étude sur les beaux-arts", Paris, Dentu, p.6). Indeed, he deplores the fact that a large majority of living artists indulge in following in the footsteps of painters like Greuze, a skilful orchestrator of historical genre scenes. "It's much easier to surpass this pleasant painter than to follow in the footsteps of the great masters, even from a distance", he declares. This is not the case with our painting, which is in some ways reminiscent in composition of the country concerts of Renaissance masters such as Titian.

Guillaume VOGELS(1836-1896) Maisonnette sous la neige ou La cour de ferme sous la neige Huile sur toile 28 x 30,5 cm Provenance: - Vente de l'atelier Guillaume Vogels, 9 avril 1896 (porte le cachet de la vente au dos de la toile) - Ancienne Collection Wergifosse - Ancienne Collection Jean Renard - Galerie Georges Giroux, vente Jean Renard, 7 décembre 1925, lot n°7 (cat. p.16) (porte au dos l’étiquette et le cachet de cire rouge de la vente) - Collection particulière, Bruxelles Bibliographie: Constantin Ekonomides,Guillaume Vogels catalogue raisonné (1836-1896), Pandora, Anvers, 2000, n°105 (La cour de ferme sous la neige)

Marie BRACQUEMOND (Landunvez, 1840 - Sèvres, 1916) Landscape with alley Oil on canvas (Original canvas) Unframed Landscape with an alley, oil on canvas, by Marie Bracquemond 13.78 × 10.63 in. H : 35.0 cm, W : 27.0 cm Marie BRACQUEMOND (Landunvez, 1840 - Sèvres, 1916) H : 35.0 cm, W : 27.0 cm