Thomas Burke (1749-1815) after Agelica Kauffman (1741-1807) "Cupid Disarmed by E…

Description

Thomas Burke (1749-1815) after Agelica Kauffman (1741-1807) "Cupid Disarmed by Euphrosine", 1784, Dotted engraving with roulette heightened with watercolour on wove paper. Sight 27,5 cm x 34 cm. Framed in the taste of Mariette in an elegant oval frame. Chipping at the edge of the frame, paper insolate. Note: Engraving interpreting with gentleness the work of Angelica Kauffman, 18th century painter who studied Art in Italy from 1754 to 1760, then in Florence in 1762, in Rome in 1763 and in Zurich in 1764. Thomas Burke made an engraved portrait of the artist in 1787. Expert : Mrs Edwige BARRETEAU

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Thomas Burke (1749-1815) after Agelica Kauffman (1741-1807) "Cupid Disarmed by Euphrosine", 1784, Dotted engraving with roulette heightened with watercolour on wove paper. Sight 27,5 cm x 34 cm. Framed in the taste of Mariette in an elegant oval frame. Chipping at the edge of the frame, paper insolate. Note: Engraving interpreting with gentleness the work of Angelica Kauffman, 18th century painter who studied Art in Italy from 1754 to 1760, then in Florence in 1762, in Rome in 1763 and in Zurich in 1764. Thomas Burke made an engraved portrait of the artist in 1787. Expert : Mrs Edwige BARRETEAU

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Estim. 250 - 500 EUR

[Medicine] Collection of all the triduanes, printed in 1748 and 1749, presented by the seven competitors for the Gerard Fitz-Gerald chair, which became vacant following his death on January 10, 1748. This chair was one of four generalist chairs created in 1498: they were called Regencies. These triduanes were printed and entitled: "Quaestiones medicae duodecim [...]. Pro regia cathedra vacante." Monspelii, Joannem Martel, 1748-1749 ; Augustinum Franciscum Rochard, 1749. One volume. 17.5 by 22.5 cm. Multiple pagination. Contemporary full calf, 5-rib spine, ornate caissons, red title page. Epidermure on the boards, a lack at the tail. Brown stain in the outer margin of the first 4 leaves, without affecting the text. Scattered brown spots. Fundamental collection for the attribution of chairs of medicine in Montpellier. This is an exceptional collection, as complete copies of all the triduanes from the same competition are extremely rare. "The most decisive test in the dispute for a chair is that of the triduanes. This name is given to twelve theses that must be defended over three consecutive days, two in the morning and two in the evening. These theses, whose subjects have been assigned by the professors judging the dispute, have only twelve days in which to be composed and printed; as soon as they come off the press, they are distributed, and after an interval of four days, they are defended. The publicity given to them by printing undoubtedly requires that they be worked on with great care; but even if they were a little neglected, the brevity of the time could serve as an excuse." (Desgenettes, Éloges des académiciens de Montpellier, p. 290). The competition was won by Charles Serane, who held the chair until his death (September 13, 1756). (cf. Dulieu, La médecine à Montpellier). The title page of Serane's triduanes is reproduced by Dulieu t. III, 1st part, p. 40, Gourraigne's p. 88. Details of the collection: 1) GOURRAIGNE (Hugues). Monspelii, Joannem Martel, 1748, (4)-26 pp.. Conlon 48: 516. 2) SERANE (Charles). Monspelii, Joannem Martel, 1749, (2)-32 pp. Conlon 49: 848. 3) FITZ-MAURICE (Thomas). Monspelii, Joannem Martel, 1749, 29 pp. Conlon 49: 528. 4) PETIOT (Honorat). Monspelii, Augustinum Franciscum Rochard, 1749, 36 pp. Conlon 49: 777. 5) FARJON (Jacques). Monspelii, Augustinum Franciscum Rochard, 1749, 29 pp. + 1 errata butterfly pasted on a blank sheet. Conlon 49: 520. 6) LAMURE (François). Monspelii, Augustinum Franciscum Rochard, 1749, 52 pp. Conlon 49: 629. 7) IMBERT (François). Monspelii, Augustinum Franciscum Rochard, 1749, 42 pp. + 1 f. errata. Conlon 49: 592.

Estim. 20 000 - 30 000 EUR

Thomas Lynch, Jr. Signature - One of the Rarest Declaration Signers Signer of the Declaration of Independence from South Carolina (1749-1779); his father had served in the Continental Congress from 1775 to 1776 but had to return home due to illness. Thomas Lynch, Jr., was chosen to take his father's place in Congress, where he voted for and signed the Declaration. In 1779, he sailed to St. Eustatius in the West Indies, but his ship was lost at sea and never found. Exceedingly rare ink signature, "Lynch,” on an off-white 1.5 x .5 slip, expertly mounted within a custom-made 8.75 x 11 full morocco presentation folder along with engravings of Lynch and the signing of the Declaration of Independence, gilt-stamped on the front cover: "Thomas Lynch, Jr., One of the Rarest Signers of the Declaration of Independence." In fine condition. With the rise of autograph collecting in nineteenth-century America, one of the first areas of specialization was Signers of the Declaration of Independence. Apart from the Signers' central role in American history and the unusual significance of their autographs—after all, writing their names is what ensured their immortality—obtaining all 56 represented a goal that, with a little determination, could be achieved by a resourceful collector. It quickly became evident, however, that there were two notorious ‘stoppers’ among the Signers: Button Gwinnett and Thomas Lynch, Jr. It is not entirely clear who is rarer—while Gwinnett was generally thought to be the rarest of all signers, recent studies have proclaimed Lynch as the scarcer of the two. In either case, Lynch is certainly of the utmost rarity and is far and away one of the most desirable early American autographs.

Estim. 5 000 - 6 000 EUR

Attributed to THOMAS LAWRENCE (Bristol, 1769 - London, 1830). Portrait. Oil on canvas. Measurements: 73,5 x 63 cm; 96 x 84 cm (frame). The author offers us a portrait of great sobriety, dominated by a palette of cold tonalities, which are only qualified with the use of rounded forms that contribute delicacy to the piece as it is observed in the treatment of the handkerchief in the neck. Both the composition and the pictorial execution of this excellent portrait fit with the characteristics of the best English portrait painting of the first quarter of the 19th century, and especially with the work of Sir Thomas Lawrence and his closest circle. Sir Thomas Lawrence was, after the death of Joshua Reynolds in 1792, Britain's foremost portraitist. His early training took place in Bath, where he learned from William Hoare the technique of pastel, and from Thomas Barker the correct handling of oil paint. In 1787 he moved to London, where he exhibited his first works at the Royal Academy. He began to triumph thanks to his female portraits, such as the one of Elizabeth Farren, where we can already guess certain traits of sensitivity that he would develop in his more mature production. In 1791 he was admitted to the Royal Academy and the following year, after the death of Joshua Reynolds, he became the king's painter. In 1815 he was knighted and that same year the royal family commissioned a series of portraits for the Waterloo Chamber at Windsor Castle. In 1820 he succeeded Benjamin West as president of the Royal Academy. Lawrence's portraits were based on the "great style" of Reynolds, but the Bristol painter opened the way to a new concept of portraiture with respect to the model, his personal demeanor and his emotional portrayal. He knew how to rescue a very personal vision of his clients, typical of the romantic portrait and of the Victorian era. His models are presented in relaxed and natural attitudes, the brushstroke is delicate, imperceptible in the faces and lighter and sketched in the clothes and the landscape, which almost always has an important role.

Starting price 50 EUR

L. MASQUELIER (*1741) after BLONDELA (18th), Pierogi from Tchoka, Easter Island, Louis Joseph Masquelier (1741 - 1811 ibid.) after Lieutenant Blondela (18th century): Pierogi from Tchoka and the Easter Islands, , Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "Dessiné par Blondela | Gravé par Masquelier". Inscribed in the printing plate: "Pirouge de Tchoka. / Pirogue de L'Île de Pâque. / L. Aubert scripsit". Upper right numbered in the printing plate: "Atlas du Voyage de la Pérouse No 61". Date: Description: Depiction of two pirogues at sea with local population. Source: Jean-François de Galaup de La Pérouse (1741 La Gua Bei Albi-1788 Vanikoro) Atlas du voyage de La Perouse, 1797, No. 61 | Book, Science, Landscape Keywords: colony, seafaring, explorer, Thomas Cook, natives, Indians, aborigines, Easter Island, Pacific, 18th century, Classicism, Seafaring, France, Size: Paper: 46,3 cm x 29,2 cm (18,2 x 11,5 in), additional specification: Top image: 18 x 24.6 cm, bottom image: 17.9 x 24.6 cm Condition: Very good condition. Browned and somewhat worn along the edges. The sheet edges are uncut. Occasional pale foxing recognisable. The corners of the sheets are slightly bumped and creased.

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