Auguste-Hyacinthe de BAY Auguste-Hyacinthe de BAY (1804-1865) - Primitive cradle…

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Auguste-Hyacinthe de BAY

Auguste-Hyacinthe de BAY (1804-1865) - Primitive cradle, Eve and her children - Plaster published by "Salvator Marchi , MD et Editeurs de Me Pradier, Bapts" - 45 x 21x 15 cm - Similar model presented at the 1845 Salon and at the 1855 Exposition UnIverselle

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Auguste-Hyacinthe de BAY

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Estim. 100 - 200 EUR

Michel-Auguste COLLE (1872-1949). Landscape of the Bellefontaine valley, the ancient cradle of the village of Saint Barthélemy, the origin of the town of Champigneulles. Oil on canvas. Signed lower right. Situated. Dimensions : 44 x 60 cm. Provenance: Estate of Monsieur Louis Thirion, furniture from the private mansion built in 1923 by Gibert et Ogé, which has remained in the family ever since. Michel-Auguste Colle (1872-1949) was a French painter associated with the Nancy School. He was active from around 1900 to 1940, and his works can be found in private and public collections in France and elsewhere, including the Musée d'Arts de Nantes, the Musée des Beaux-Arts de Nancy, the Musée de l'École de Nancy, the Musée de l'Histoire du Fer, the Musée Pierre Nol in Saint Dié and the Musée des Marais Salants in Batz-Sur-Mer. Colle was born on January 7, 1872 in Baccarat, France, and died on September 16, 1949 in Batz-sur-Mer. Orphaned in 1885, he apprenticed at the Baccarat crystal glassworks as a gilder and engraver. He then studied painting with Charles Peccatte, an artist from Lorraine working in Baccarat. Colle was introduced to other painters such as Charles de Meixmoron de Dombasle, Émile Friant and Victor Prouvé by Eugène Corbin, a department store owner and art collector.

Estim. 300 - 350 EUR

Henry MILLER (1891-1980). L.A.S. "Henry", Paris January 5, 1953, to Robert and Edie Finkelstein in Los Angeles; 1page small in-4, addressed; in English. The first third of the letter is written by his wife Eve, who begins it in French, wishing their friends a Happy New Year. She makes progress in French, but continues to pantomime to make herself understood. Henry has been very well received, and reporters and photographers are very kind to him... Then Henry Miller takes up his pen: "Oui, I'm still dazed!" He is amazed that he has been able to live in this city for so long: he misses the sun, the warmth and the fresh California air. Paris would kill him after six months! He had just left Cendrars, who had whistled a bottle, at a reception. Prices in France are unimaginable, worse than in New York; housing is still primitive "beyond words", toilets, bathrooms and kitchens are medieval. But what fabulous meals!... They're short of money, but he's done a radio interview and soon for television. He finds Paris "unchanged externally. Only prices are different - really crazy"...

Estim. 20 000 - 30 000 EUR

Hyacinthe RIGAUD Atelier de, circa 1716/17 Louis XV child Oil on canvas in tondo Fine period frame in carved and gilded wood with shell pediment. Restorations to the canvas (peripheral reinforcing canvas and edging paper), accidents and minor restorations to the frame. 71 x 72.5 cm Provenance : Probably commissioned by Charles Auguste d'Allonville de Louville (1664-1731), then collection of the Barons de Wismes by descent. Comparative examples in public collections: - Montauban, Musée Ingres. Inv. MI.843.1.5 (donation Vialetes de Mortarieu, 1843) - Florence, Uffizi Gallery. Inv. O.d.A.1911, 707 (former Parma collection, Palazzo Pitti) Comparative examples at public auction: - Christie's, June 3, 1998, lot 141 (attributed to van Loo) - Beaussant- Lefèvre, Paris, Hôtel Drouot, December 18, 2002, lot no. 13 - Osenat, Versailles, April 18, 2021, no. 87 Comparative bibliography on the subject - JAMES-SARAZIN Ariane, Catalogue Raisonné Hyacinthe Rigaud Tome 2 ; P. 1371, p.467 - éditions Faton 2016 - PERREAU Stéphan, 2013, cat. P.1247, p. 249-250 Our painting will be included in Monsieur Stéphan Perreau's online catalog. Our painting is a bust reduction of the large full-length portrait of the coronation painted by Hyacinthe Rigaud in 1715 (Versailles, Musée national du château. MV3695). Rigaud had entrusted François-Albert Stiémart (1680-1740) with the full-length versions of the large portrait, and La Pennaye and Bennevaux with the bust reductions intended for certain private clients. Several versions of the bust reductions are known, including the one commissioned by the Grand Duke of Tuscany and kept in the Pitti Palace in Florence, and the one commissioned by the Cardinal of Aix. Our painting depicts both the scepter and the crown on a red velvet cushion, which is not the case with the other versions, and the lace and embroidery are superior in quality to other known models. The fist on the young king's hip is taken from the portrait of Louis XIV in the Prado. The very high quality of this portrait lends credence to the theory that it was a private commission from a regular client of the studio, such as Charles Auguste d'Allonville de Louville (1664-1731), who was painted by the artist and his wife in 1708, and whose daughter Adélaïde married Adrien Antoine de Blocquel de Croix, baron de Wismes, in 1731.

Estim. 180 - 270 EUR

August Becker (1878-1942), 'Adam und Eva'

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