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Antoine Bernard, Le drame acadien depuis 1604. Montreal, Les Clercs de Saint Viateur, 1936. In-8. Uncommon first edition, with a long letter from the author to (notably) Acadia specialist Geneviève Massignon, dated 1946. Modern half-basane with corners, covers and spine preserved, a good copy.

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Antoine Bernard, Le drame acadien depuis 1604. Montreal, Les Clercs de Saint Viateur, 1936. In-8. Uncommon first edition, with a long letter from the author to (notably) Acadia specialist Geneviève Massignon, dated 1946. Modern half-basane with corners, covers and spine preserved, a good copy.

Estimate 10 - 20 EUR

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For sale on Wednesday 11 Sep : 10:00 (CEST)

joue-les-tours, France

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PILLE. Reform Leave Certificate. 105 Demi-Brigade d'Infanterie.

Lot 131

Estim. 30 - 50 EUR

[BIARRITZ IMPERIAL] Emile-Antoine BAYARD (1831-1891) after M. FORTRIS (19th century) for Le Monde Illustré (September 7, 1861, no. 230) HM the Emperor's arrival in Biarritz, August 30 LITHOGRAPHY. Color proof not from a later reprint. 16.5 x 22.5 cm Comment: Interesting document illustrating Napoleon III's first visit to Biarritz since construction of the Villa Eugénie, ordered three years earlier, began. In the original edition of Le Monde illustré, it is added that the Emperor comes directly from the Camp de Châlons, where the 3rd military parade of the imperial army was held before, among others, Charles XV of Sweden, William Smith O'Brien of Ireland and Mac Mahon. The journey will last 6 days. ATTACHED: Charles MERCEREAU (1822-1864) for La France de nos Jours, F. SINNETT (ed), 1853-1876 View of the Napoleon Baths and Casino LITHOGRAPHY. Proof after the letter titled, captioned and numbered in the margins. 23 x 32 cm Provenance : Yves Gastou Collection, Biarritz

Lot 391

Estim. 15 000 - 20 000 EUR

Emile BERNARD (1868-1941) Portrait of Mademoiselle Antoinette C. Oil on canvas, signed and dated 1892 lower left 76 x 55 cm With certificate dated May 2, 2024 from Madame Béatrice Recchi Altariba (granddaughter of the artist) Provenance : - Former Eugène BOCH collection, younger brother of Anna BOCH, woman painter and major collector, to whom the Musée de Pont-Aven has just dedicated an exhibition "Anna Boch. An Impressionist Journey" from February 3 to May 26, 2024. - Private collection, Brittany In 1892, Emile Bernard was barely 24 years old, yet his career was already rich in encounters that had a decisive impact on the history of art. Not only was he close to Vincent van Gogh, but he also made a decisive contribution, alongside Paul Gauguin, to the birth of synthesism in Pont-Aven in 1888. His pictorial audacity is no less fascinating than his foresight in choosing the artists and patrons he rubbed shoulders with or admired. In the early 1890s, the young painter's activity was intense, and his creativity was spotted by great connoisseurs such as the Comte de la Rochefoucauld and, of course, Anna and Eugène Boch, both from a famous Belgian industrial dynasty. This portrait comes from just such a collection, and demonstrates the importance that enlightened art circles reserved for Emile Bernard's recent creations. On several occasions, the young painter had distinguished himself by the quality of his portraits, the one of his sister Madeleine (Musée d'Orsay) remaining a model of the genre. Keen to continue in this vein in 1892, Emile Bernard clearly affirmed his admiration for Paul Cézanne's portraits. Eluding anecdote, he imposes a distant, slightly sulky attitude on the model, accentuating the magnetism of his presence. The monochromatic blue-green background of the door is awakened by the piece of compote probably lying on a tablecloth. This nod to Paul Cézanne's famous still lifes reinforces the artistic complicity between the two painters. Bernard's precocious intelligence long ago grasped the major role that the painter from Aix was to play in the rise of Modern Art. Created at a pivotal moment in Emile Bernard's career, this portrait goes beyond the simplifying formulas of synthesism to meet another essential reference point in the history of painting, that of an art that aims to transcend ephemeral fashions. Preserved in the Palmer Museum of Art at Pennsylvania State University, a less accomplished version of this portrait retains the memory of the sitter, since the canvas in this museum is known as Mademoiselle Antoinette C. Signed and dated, the portrait offered in this sale is the perfect, definitive version, immediately spotted by the great collector Eugène Boch.

Lot 115

Estim. 2 000 - 2 500 EUR

Spanish school of ca. 1700. "Apparition of the Infant Jesus to Saint Anthony". Oil on copper in octagonal format. With ebonised wood frame and bronze ornaments. Measurements: 23 x 22 cm; 47 x 47 cm (frame). This copper tells one of the best known visions of Saint Anthony: either in an inn or in a house, the owner of the house saw through the half-open door how the saint was talking to a beautiful child, whom he was holding in his arms. However, in this case, only the presence of the Infant Jesus can be seen in the upper area, without the saint actually holding him. This iconography has generally been used since the 17th century, becoming so well known and appreciated that no other element was needed to identify the subject, as can be seen in the present work. The octagonal frame is decorated on each side with Baroque gilded bronze cherubs. Saint Anthony of Padua is, after Saint Francis of Assisi, the most popular of the Franciscan saints. He was born in Lisbon in 1195 and only spent the last two years of his life in Padua. After studying at the convent of Santa Cruz in Coimbra, he entered the Order of Friars Minor in 1220, where he changed his Christian name from Fernando to Antonio. After teaching theology in Bologna, he travelled through southern and central France, preaching in Arles, Montpellier, Puy, Limoges and Bourges. In 1227 he took part in the general chapter at Assisi. In 1230 he was involved in the transfer of the remains of St Francis. He preached in Padua and died there at the age of 36 in 1231. He was canonised only a year after his death, in 1232. Until the end of the 15th century, the cult of St. Anthony remained located in Padua. From the following century onwards, he became, at first, the national saint of the Portuguese, who placed the churches they built abroad under his patronage, and then a universal saint. He is depicted as a beardless young man with a broad monastic tonsure, dressed in the brown habit of the Franciscans. One of his most frequent attributes is the book, which identifies him as a sacred writer. Another distinctive iconographic feature is the branch of lily, an element borrowed from his panegyrist Bernardine of Siena. Saint Anthony is often depicted with the Infant Jesus, alluding to an apparition he had in his cell. It became the most popular attribute of this saint from the 16th century onwards, and was particularly popular in the Baroque art of the Counter-Reformation.