MILITARY and APPLICATION SCHOOL of CAVALRY, 1828 - 1928 CENTENARY OF THE SAUMUR CARROUSEL. Program booklet "reprise de carrousel de Messieurs les Officiers", directed by Lieutenant-Colonel Wattel, chief riding instructor. Program booklet 8 pages + illustrated cover signed ROLLANT 32 x 25 cm.

Ferdinand Loyen DU PUIGAUDEAU (1864-1930) Fête foraine à Pont-Aven" (1900) Oil on canvas signed and dated lower left 50 x 65 cm Provenance : - Private collection, France, acquired in 1997 from Sotheby's New York - Hilde Gerst Collection, New York, acquired 2007 from Christie's New York - Private collection, France, acquired in 2012 in the United States - Private collection, Bretagne, since then Exhibition: - "Les peintres de Pont-Aven autour de Gauguin", Château de Malmaison, Rueil-Malmaison, January 12 to April 8, 2013, illustrated on page 71 of the exhibition catalog Among the artists who forged the reputation of the Pont-Aven School, Fernand Loyen du Puigaudeau occupies an original and precious place, that of a painter who brought the lessons of luminism to their apogee. A close friend of Paul Gauguin since 1886, he was approached to accompany him and Charles Laval to Panama in 1887, but was unable to leave due to military service obligations. Still close to Gauguin at the time of the invention of Synthétisme in 1888, Puigaudeau was able to free himself from his influence and develop an independent vision, deepening a very sure taste for the chromatic effects of the solar spectrum. Several important stays in Pont-Aven, notably between 1895 and 1898, enabled him to take an interest in the festive gatherings that animated the town. Puigaudeau's depiction of funfairs, with their merry-go-rounds and magic lanterns, was an ode to the jubilation that gripped some of the town's inhabitants. In this large-scale composition, the painter sublimates the joyful bustle of the square, infusing it with a perfectly attuned chromatic vibrancy. The extraordinarily mobile brushstrokes seem to sway between Impressionism and Divisionism, while highlighting the brilliance of the headdresses, foliage and large-scale merry-go-rounds. Light is omnipresent, spreading over the entire surface of the canvas, and finds a magnificent application in the treatment of the clay floor, dominated by yellow-orange hues studded with white or blue patches. Edgar Degas had already recognized the painter's originality in 1897, when he bought a work with a festive Breton theme, a firework display. A few years later, Puigaudeau completed this Breton cycle by painting one of his masterpieces.