All lots "Graphic arts" Advanced search

Reset all filters
15081 results

Tue 11 Jun

Jean-Baptiste ISABEY. 1767-1855. Attribué à, - Jean-Baptiste ISABEY. 1767-1855. Attributed to, Early 19th century Portrait of a young woman Black stone, shading, white highlights 50 x 40 cm Jean-Baptiste Isabey, a talented portraitist Isabey, considered the finest portraitist of his time, never saw his talent challenged. Isabey was born in 1767 in Nancy, where he began his apprenticeship with Claudot, painter to Stanislas, already revealing his talent as a portraitist. In Paris, he persevered in the genre under the advice of David himself, who would later become his friend. He stood out from the portraitists of his time, such as Sicardi and Jacques Dumont, for his ability to combine grace and dignity in small, intimate formats, and to reconcile the imperative of idealization with a concern for the reality of his models. Isabey's portraiture became almost an imperative for members of high society. Isabey played a major role in the artistic and social life of his time under all successive regimes, but it was under the First Empire that his influence was at its most flamboyant. Although he remained loyal to the Emperor after his fall, he continued to paint under the Restoration for Louis XVIII. Under the Second Empire, Napoleon III showered honor on the man who had been his mother's teacher. He dedicated a room in the Louvre to an exhibition of his costume designs for the coronation, granted him a pension of 6,000 francs and awarded him the tie of Commander of the Legion of Honor in 1854. He painted until the age of 70, before giving up his brushes after writing his memoirs. Our drawing is perfectly in keeping with Jean-Baptiste Isabey's technique, in which he produced numerous portraits in black stone, playing on a skilful cameo of grays. In these delicate drawings, he depicts the characters of his time, those whom history has remembered, such as Gérard, or those it has forgotten, such as our model or this young girl immortalized by a charcoal drawing in the British Museum.

Estim. 800 - 1 200 EUR

Tue 11 Jun

Attribué à Jean Baptiste Wicar ( 1762-1834 ) - Attributed to Jean Baptiste Wicar ( 1762-1834 ) Portrait of Baron François Gabriel Jules Collin de la Perrière (1779-1841), wearing the insignia of the Order of the Iron Crown (received in 1809) Black pencil with white chalk highlights 21 x 14.7 cm Insolate History Son of Pierre Collin (who became Pierre Collin de la Perrière by law in 1816) and Marie Anne Simonet. Entered service in Paris, at the Ecole de Mars, in Year II (1793), transferred to the 5e régiment de hussards in Year III (1794). Joined the Italian troops, as quartermaster, on 27 nivôse an VII (January 16, 1798). Promoted to captain on 12 vendémiaire an VIII (October 4, 1799). Employed, at this rank, at the Ministry of War, Milan, on 27 vendémiaire an X (19 october 1801). Transferred to the Garde Royale on October 19, 1803. Awarded the Order of the Iron Crown on July 21, 1809. Promoted to battalion commander on August 1, 1810. Promoted to major on January 14, 1812. Campaigns in years IV, V, VI, VII, VIII, IX, in Italy (1795 to 1801). Those of 1805 and 1806 in Germany. Those of 1806, 1807 and 1808 in Dalmatia and Albania. Those of 1809 in Germany, where he was wounded and taken prisoner. Those of 1813 and 1814 in Italy. Commanded a regiment in the Tyrol in 1813, and the besieged Mantua with a commission from the army commander in 1814. Returned to France and inspected in Lyon by Lieutenant-General Baron Delaroche on July 1, 1814. Reinstated in French service, with the rank of infantry major, by royal decree of October 5, 1814. Appointed Knight of the Legion of Honor on January 17, 1815, then Officer of the Order on May 23, 1825.

Estim. 200 - 300 EUR

Tue 11 Jun

Théodore Gudin (Paris 1802 - 1880 Boulogne-Billancourt) - Théodore Gudin (Paris 1802 - 1880 Boulogne-Billancourt) Grenoble: View of the Isère River from the Right Bank, with the Tour de l'Isle, the Wooden Bridge, and in the Distance, the Bell Tower of the Collegiate Church of Saint-André Oil on paper, mounted on canvas 38.7 x 62 cm. On the back, a red wax stamp, probably dating from the mid-19th century. Related work : - Gudin, Vue de Grenoble, circa 1825, oil on paper mounted on canvas, 38 x 62 cm, signed, Paris, Galerie La Nouvelle Athènes - Gudin, Vue de Grenoble, circa 1826, oil on canvas, 75 x 127 cm, signed and dated 1826, exhibited at the 1827 Salon, Sotheby's Amsterdam sale, April 19, 2005, lot 129 (under the title "Town by a river"); private collection, present location unknown - I.-L. Deroy, after Gudin, Vue de Grenoble, c. 1830, lithograph in J. Vatout and J.-P. Quénot, Galerie lithographiée de Son Altesse royale Monseigneur le Duc d'Orléans, Paris, 1830, vol. 1 The view offered by the capital of Dauphiné to travelers returning from Italy must have been highly picturesque for Romantic-era plein-air landscape artists, as several of them depicted it: Louis-Etienne Watelet, Charles Jean Guérard, Gudin. We know of another study on paper, in the same format, in the artist's own hand, featuring the same panorama and anecdotal details (boats, clouds, figures). The final painting had an interesting history: in reaction to the siege of Missolonghi, which was supposed to have suppressed Greek aspirations to independence, the young guard of the art world organized an exhibition in Paris at the Galerie Lebrun, in their support. It featured this "Vue de Grenoble" (no. 105), along with four other works by Gudin. Presumably acquired by the Duc d'Orléans, this view, engraved by Deroy, appears in the album of his "Galerie lithographiée" published in 1830.

Estim. 1 500 - 2 000 EUR

Tue 11 Jun

Théodore Géricault (1791-1824), Entourage de. - Théodore Géricault (1791-1824), Entourage de. Portrait of Jean-Louis-André-Théodore Géricault Circa 1824, pencil, watercolor and gum arabic on vellum mounted on cardboard Glued to the back, a label from the Gosselin sale catalog with the handwritten inscription "aquarelle". 32 x 24 cm Attributes of the arts Pencil, ink and stump on cardboard Inscription : La méduse 6.5 x 20.5 cm Provenance : - De Musigny Collection - Madame de Champy Collection - Madame Tullier-Blum Collection - Madame Amiel Collection - Collection Larrey (?) - Gosselin sale March 7, 1953 Bibliography : - Germain Bazin, Théodore Géricault, étude critique, documents et catalog raisonné. Vol. 2, L'OEuvre: Période de formation. Paris, 1987, p. 331, which relates the work to Horace Vernet's portrait of Géricault. N°17, reproduced. - Lorenz Eitner, Géricault sa vie, son œuvre. p. 244, translation Paris 1991. ill. 129 (related work). Handwritten inscription on back: "Portrait painted (or drawn or colored) by himself. The attributes of this portrait are by his friend M. De Musigny. This portrait was given by M. de Musigny to Madame Champy, who left it as a souvenir to Mme de Tullier-Blum. It was offered to me by his daughter Madame Amiel in his memory (see her letter of May 25, 1875). Larrey (?)" Géricault, icon of Romanticism Théodore Géricault, whose death today marks the bicentenary of his death, 1824 - 2024, was an artist who revolutionized painting in the early 19th century. Characterized by his attraction to pathos and tragedy, his vision of the nascent Romantic movement inspired an entire movement. Romantic painters who knew him or followed his painting precepts were almost devoutly devoted to him. His relics often haunted their studios, and death masks, sculptures in his hand and brushes that had belonged to him were commonplace. So much so, in fact, that the death mask, the artist's last portrait, was the most widely distributed, along with that of the former emperor, who had died three years earlier. Our portrait, whose authorship is open to debate, is a testimony to this era and its transmission, among which relics recall the artist's memory. Complex in execution, our watercolor demonstrates the artist's technical skill. The image itself is reminiscent of the portrait painted by Horace Vernet around 1822, 1823. As mentioned above, the infatuation with the artist's image gave rise to many vocations at the turn of the 1820s and 1830s, and it is difficult to give our work to the artist or to an admirer. As for the provenance, it is exemplary: the various owners were more or less closely related to the artist. The note on the reverse indicating this is signed by Félix Hippolyte Larrey (1808 - 1895), son of Dominique - Jean - Larrey, surgeon to Napoleon I's armies, and himself to Napoleon III, the family also being very close to Girodet, whose personal physician was Dominique Larrey.

Estim. 2 000 - 3 000 EUR

Tue 11 Jun

Johann-Baptist GÖSTL. 1813-1895. - Johann-Baptist GÖSTL. 1813-1895. After Johann Baptist VON LAMPI. 1751-1830. Portrait of Antonio Canova Circa 1850 Watercolor on paper pasted on board, signed in red lower left "J. Göstl"; under glass, in its gilded bronze frame with palmettes, "n°101" on verso. oval format, 14.5 x 11.5 cm Portrait of the great sculptor Antonio Canova, based on one painted in 1806 by Johann-Baptist Lampi the Younger (1775-1837), a painter at the Academy of Arts in Vienna and St. Petersburg, and a pupil of Hubert Maurer (1738-1818) and Heinrich Füger (1751-1818). A large-format miniature, our portrait is by Johann-Baptist Göstl or Goestl, a brilliant portraitist and miniaturist who worked for the Imperial Porcelain Factory in Vienna. "The French Republic makes a special case of the great talents that distinguish you; Famous artist, you have a special right to the protection of the Army of Italy!" So it was that in 1797, the young general Bonaparte offered his protection to the great Venetian sculptor, already famous for the finesse and virtuosity of his neoclassical works. After much procrastination, Antonio Canova (1757-1822) finally travelled to France in 1802 to create a bust of Napoleon as First Consul. He was received in Paris by David, painted by Gérard, met Girodet, Percier, Fontaine and Quatremère de Quincy, and frequented the sculptors Moitte, Giraud, Chaudet and Houdon. The Antique-style bust of Napoleon was approved, but the colossal marble of the hero depicted naked as the peacemaking Mars, judged too "athletic", was rejected by the emperor. Somewhat offended, Canova nonetheless remained the protégé of the Bonaparte clan, for whom he carried out several commissions, including : Amour et Psyché for the Murats, the three Graces for Josephine at Malmaison, Venus Victrix then Galatea for Princess Pauline, later Agrippina for Madame Mère, Polyménie for Princess Elisa, who under the Empire monopolized the Carrara marble quarries and marketed the bust of Napoleon. In 1810, Canova returned to Paris to create the bust of the new Empress Marie-Louise, and exhibited at the Salon in 1812, where his works, Muses and Dancers, were acclaimed. The sculptor's last stay in Paris took place in an entirely different climate, as he was commissioned by the Allies, after Napoleon's second abdication, to return the paintings, sculptures and objects resulting from the conquests and treaties of the French Republic and Empire. The Congress of Vienna appointed him as mediator with ambassadorial rank - "d'emballeur" in Talleyrand's words - to repatriate most of the spoliated Roman works. Although Denon, director of the Musée du Louvre, refused to negotiate, Canova's mission was supported by Wellington, who invited him to London to study the Parthenon frescoes, and by the Papacy, which knighted him. In 1806, the famous sculptor was immortalized in a portrait by painter and Vienna Academy professor Johann-Baptist Von Lampi. Our painting is a bust copy of this work by Gostl, who also copied another famous painting by Von Lampi: the portrait of Catherine of Russia. This copy by our artist is now in the Wallace Collection. Provenance : Collection of the artist, Vienna (Austria) - Sale by the Göstl heirs, I. Graben, Vienna, April 2-3, 1901, lot no. 40 Collection of Baroness von Exterde, Vienna (Austria) - Sale C.J. Wawra, Vienna, October 21, 1925, lot n°191 Private collection (France) Related works - Johann-Baptist von Lampi (1775-1837), Portrait of Antonio Canova, 1806. Vienna Academy of Fine Arts and Princely Collection of Liechtenstein. - Göstl, Portrait of Catherine II of Russia, after Lampi, 1850. Wallace Collection, Inv. M175, former collection of Prince Anatole Demidoff (sale March 8, 1870, no. 427). - Göstl, Portrait of Maria-Anna of Savoy, wife of Francis I of Austria. Bibliography - Leo Schidlof, The miniature in Europe, Vol. I p.300 (our portrait miniature cited).

Estim. 600 - 800 EUR

Tue 11 Jun

Etienne-Charles LE GUAY(ou LEGUAY).1762-1846 - Etienne-Charles LE GUAY(or LEGUAY).1762-1846 Portrait of Marie-Victoire Jaquotot Bust version of Etienne-Charles Le Guay's miniature Portrait of Marie-Victoire Jaquotot, seated on a sofa Between 1794 and 1801 Miniature on ivory, mounted on cardboard 13 x 10 cm Etienne-Charles Le Guay (1762- 1846), was a miniaturist and painter on porcelain, born in Sèvres in 1762 and died in Paris in 1846. He was taught at the Académie Royale by Joseph-Marie Vien (1716-1809), founder of the modern classical school, who taught many of his pupils, including Regnault and David. After managing production at the Dihl et Guérhard porcelain factory in Paris during the French Revolution, Le Guay (or Leguay) was considered the best figure painter at the Sèvres factory in the early 19th century. In 1794, Etienne-Charles Le Guay married his pupil, Marie-Victoire Jaquotot ( 1772-1855), a porcelain painter. The couple separated a few years later in 1801. Le Guay exhibited at the Salon between 1795 and 1819, his work proving in tune with the precious taste of the Consulate and Empire. A painter at the Manufacture de Sèvres from 1778 to 1840, he is particularly renowned for having adorned a monumental "Etruscan" vase at the Sèvres factory with a 2.05 m frieze depicting the wedding procession of Napoleon 1st and Marie-Louise through the Grand Galerie of the Louvre. The vase has now been destroyed, but the model for the frieze, a watercolor by B. Zix, is preserved in the Louvre's cabinet des dessins. Marie-Victoire Jaquotot (1772-1855), a porcelain painter, was a pupil and second wife in 1794 of Etienne-Charles Le Guay, whom she divorced in 1801. She worked as a painter at the Manufacture de Sèvres between 1801 and 1842. She exhibited her porcelain paintings at the Salon between 1808 and 1836, and at the first of these exhibitions was awarded the gold medal, the first given to porcelain painting. In 1816, Marie-Victoire Jaquotot was awarded the title of "premier peintre sur porcelaine du cabinet du roi" (first porcelain painter in the King's cabinet), a title that enabled her to open a private studio where, for almost twenty years, she taught porcelain painting to some thirty students, most of them women, including Marie-Adélaïde Ducluzeau (1787-1849), who was also a painter at Sèvres. Marie-Victoire Jaquotot, while employed at the Sèvres factory, painted a large number of pieces that may rank among the finest paintings on porcelain. According to Le Guide de l'amateur de faïences et porcelaines : poteries, terres cuites, peintures sur lave, émaux, pierres précieuses artificielles, vitraux et verreries published in 1867: "It was she who painted the dessert service given to Emperor Alexander, and the series of portraits of kings, which belonged to the court. She painted La Belle Jardinière, after Raphaël; Anne de Clèves, after Van Dyk; Wellington; Napoleon 1er; Lady Darnley; the Countess Woronzof; the Duchesse d'Orléans; the Duchesse de Berry; the Countess Lorges, etc.". Our ivory miniature is a bust version of Portrait de Marie-Victoire Jaquotot, assise sur un divan, an ivory miniature painted by Etienne-Charles Le Guay between 1794 and 1801, now in the Musée du Louvre. The painter depicts his wife, the artist Marie-Victoire Jaquotot, consulting prints, among which is the figure of Mansuétude, one of the virtues painted by Raphaël in Constantine's bedroom. She is also holding an engraving of La Vierge à la chaise, all of which testify to the artist's admiration for Raphael. Indeed, Marie-Victoire Jaquotot was particularly renowned for her copies after Raphael. Her talent for mastering ceramic colors, combining brilliant hues and velvety complexions, made her a key figure in Alexandre Brongniart's policy of painting copies on large porcelain plates (the quest for unalterable paint), which were framed like paintings. Le Guay plays on the whiteness of ivory to give his wife's portrait "a luminous, slightly ethereal envelope". Camille Mauclair described this work as delightful: "the young miniaturist appears very pretty".

Estim. 3 000 - 5 000 EUR

Tue 11 Jun

Nicolas Toussaint CHARLET. 1792-1845. - Nicolas Toussaint CHARLET. 1792-1845. Napoleon questioning and reprimanding a councillor in charge of worship during the council Drawing for the Mémorial de Sainte-Hélène, Las Cases, Tome 1, p. 157 Pencil on paper Signed lower right Charlet, Diameter: 10.5 cm Extract from Mémorial de Sainte-Hélène, Las Cases, p.157 A religious party was stirring up civil discord, secretly peddling and circulating papal bulls and letters. They were shown to a State Councillor in charge of worship, who, if he did not propagate them himself, at least did not stop or denounce their circulation. This came to light, and the Emperor suddenly challenged him in full council. What could have been your motive," he said, "Sir? Could it be your religious principles? Then why are you here? I'm not violating anyone's conscience. Did I take you by the collar to make you my State Councillor? You've asked me to do you a great favor. You're the youngest and perhaps the only one here without personal titles; I saw in you only the heir to your father's services. You made a personal oath to me; how can your religious feelings be reconciled with the manifest violation you have just made of it? However, speak up: you're here with your family, your comrades will judge you. Your fault is great, Sir! A material conspiracy is stopped as soon as you seize the arm that holds the dagger; but a moral conspiracy has no end, it's a trail of powder. By now, whole towns could be slaughtered because of you. The accused, confused, answered nothing; from the very first interpellation he had agreed to the fact. Almost the entire Council, for whom this event was unexpected, remained astonished and silent. Why," continued the Emperor, "in the obligation of your oath, have you not come to discover to me the culprit and his plot? Am I not affordable to each and every one of you? - Sire," ventured the respondent, "it was my cousin. - Your fault is all the greater, Monsieur," replied the Emperor sharply. Your relative could only have been placed at your request; from that moment on, you took all the responsibility. When I consider that someone is completely mine, as you are here, those who belong to them and those for whom they are responsible are, from that moment on, beyond the reach of any police force. These are my maxims. And as the culprit continued to say nothing: "The duties of a State Councillor towards me are immense," concluded the Emperor, "you have violated them, Sir, you are no longer a State Councillor. Get out, don't show your face here again! On his way out, as he passed by the Emperor's person, the Emperor said to him, casting his eyes on him: "I am sorry, Monsieur; for I have present the memory and services of your father."

Estim. 150 - 200 EUR
Security
Online payments are secured by Ingenico and encrypted transactions.
Guarantees
Each lot has been authenticated and appraised by an Auction House.
Support
Consult our FAQ or contact us
Composed of several subsidiaries, the Drouot Group is a major player in the art market. Hôtel Drouot, located in the heart of Paris, has been the world's largest public auction center since 1852. 15 salerooms are available to more than 70 auction houses. The emulation generated by an annual offer of 230,000 artworks from 21 major specialities - from Antiquity to street art - attracts some 3,000 visitors every day. The Group's digital platform, Drouot.com, offers digital sales - Live auctions (live broadcasting and participation in auctions), Online-only auctions (dematerialised auctions) and Buy Now sales (sales of lots at fixed prices). Nearly 2 million items are offered annually by 600 auction houses. Auction news is reported every week in La Gazette Drouot, the leading weekly magazine for the art market and culture published by Auctionspress.
More about Drouot
Drouot certified auction houses
To buy
How to buy on Drouot.com
How to buy at the Hôtel Drouot
Glossary
Useful links
To sell
Value your property
Auctions at the Hôtel Drouot
Subscribe
SERVICES FOR PROFESSIONALS
Auctioneers
Contacts
HÔTEL DROUOT
9, rue Drouot 75009 Paris, France
+33 (0)1 48 00 20 00
[email protected]

DROUOT.com
[email protected]
Press Center
Private events
CGU and legal notice - Privacy Statement - Copyright © Drouot.com