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UNE COLLECTION INEDITE - First Sale

Daguerre - 01 45 63 02 60 - Email CVV

Salle 2 - Hôtel Drouot - 9, rue Drouot 75009 Paris, France
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mercredi 29 mai - 11:00/18:00, Salle 2 - Hôtel Drouot
jeudi 30 mai - 11:00/20:00, Salle 2 - Hôtel Drouot
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139 results

Lot 21 - Armand Désire GAUTIER (1825-1894) La folle de la Salpêtrière Paper mounted on canvas. Annotated lower right La folle de la Salpêtrière. 26 x 20.6 cm Armand Gautier was Gustave Courbet's most loyal friend, with whom he shared a quest for realism and an interest in modern, societal subjects. In Paris in the early 1850s, he befriended his fellow Lille medical student, Paul Gachet. Gachet, who was to become a patron of the Impressionists and welcomed Cézanne and van Gogh to his home in Auvers-sur-Oise, was an intern at the Salpêtrière in 1854 in the department of Dr. Falret, who granted Gautier "?permission to carry out numerous studies, such as Une Gâteuse, Une Mégalomane, Une princesse à la Salpêtrière?" (exhibition catalog Armand Gautier 1825-1894. Une amitié à la Courbet, Ornans, Musée Courbet, 2004, p. 29). These studies paved the way for a large-format work, Les Folles de la Salpêtrière, which was rejected at the Salon of 1854; lost, its composition is known from an engraving. Founded in 1656 as a hospice for homeless women, the Salpêtrière hospital in Paris underwent significant changes over the centuries. In the 18th century, the visionary physician Philippe Pinel (1745-1826) instituted major reforms in the establishment's approach to treating mental disorders, such as the abolition of patient shackling. Then, in the 19th century, the renowned Jean-Martin Charcot (1825-1893) took over the reins of the neurology department, devoting himself to the study of hysteria in women. The years 1870-1920 were marked by Charcot's extensive research into hysteria, frequently involving women dubbed the "madwomen of the Salpêtrière". This period was marked by significant advances in the understanding of mental health, but it was also punctuated by controversial medical practices and the stigma associated with mental disorders. These women were regularly exhibited in clinical demonstrations, sometimes in front of an audience, with the aim of displaying the symptoms of hysteria. At the end of the 19th century, a notorious ball was held annually at the hospital, known as the "bal des folles". The event attracted numerous celebrities, attracting the attention of the Parisian press.

Estim. 800 - 1 200 EUR

Lot 23 - SET OF FOUR MEDALLIONS - After Jean-Baptiste NINI (1717-1786) Benjamin Franklin (1706-1790) with fur cap Bronze medallion. Titled on the rim: B. Franklin. Americain and dated 1777 under the shoulder. D. 8.7 cm Related work: Jean-Baptiste Nini, Benjamin Franklin, scholar and minister plenipotentiary of the United States of America to the French court, 1777, medallion profile left, terracotta, D. 12 cm, Paris, Musée du Louvre, inv. RF 4588. - After P. J. David dit DAVID d'ANGERS (1788-1856), François-René de Chateaubriand (1768-1848) Electroplated medallion, signed and dated David / 1830. Titled Chateaubriand. D. 12.5 cm Related work: David d'Angers, Chateaubriand, 1830, bronze medallion, Richard Frères cast, D. 13.4 cm, Paris, Musée du Louvre, inv DA 67 A - Henri CHAPU (1833-1891) Paul Sédille (1836-1900) Bronze medallion with brown patina. Signed h. chapu around the rim, located and dated Paris 1862, dedicated Souvenir affectueux and titled Paul Sédille architecte. D. 12 cm From 1863, Henri Chapu worked with architect Paul Sédille to decorate Parisian hotels. In particular, he created four statues representing the four seasons for the façade of the Printemps department store. The sculptor also models the architect's portrait in terracotta and bronze. - Jules CAVELIER (1814-1894) Jean-Marie Saint-Ève (1810-1856) Bronze medallion with brown patina. Signed J. Cavelier below the neck, dated and located Rome 1846, titled St Eve / Graveur. D. 17 cm 200/300 the lot

Estim. 300 - 400 EUR

Lot 52 - Jean-Léon GEROME (Vesoul, 1824 - Paris, 1904) A shipwreck Canvas. Signed lower left J. L. Gerome. 70.4 x 106.3 cm Exhibition: Cercle de l'Union artistique, 5 rue Boissy-d'Anglas, no. 44 (owned by the artist), 1901. Bibliography: Arsène Alexandre, article in Le Figaro, La Vie artistique section, Monday, February 4, 1901: "?the marine with a shipwrecked boat exhibited by M. Gérôme can be likened to a landscape. There is some analogy, for the subject, but a difference among other things for the setting on canvas with Delacroix's so moving masterpiece in the Louvre museum." This unpublished painting escaped Gerald M. Ackerman's catalog raisonné of the artist, probably because Gérôme unveiled it to the private and select audience of the Cercle de l'Union artistique (1), where he regularly exhibited works since the 1860s, and not to the official salons, where he exhibited more academic compositions throughout his career. While our artist was expected to work on classical and orientalist themes, he showed himself capable of inventing unexpected compositions, far from the reputation of a pompous ar¬tist. Our image is striking in its radicalism, and belongs to a small group of works in which Gérôme stepped outside his comfort zone and his usual subjects, such as his Sign for an Optician (1902), or his Truth Emerging from the Well (1896): "There is indeed, in Gérôme, although often perceived as a reactionary artist, a paradoxical modernity - which stems from the originality of his eye, his skill, at once enhanced and concealed by his academic craft - in creating images, in giving the illusion of truth through artifice and subterfuge" (in L. des Cars, D. de Font-Réaulx, E. Papet. Jean-Léon Gérôme (1824-1904). L'Histoire en spectacle, exhibition catalog, Paris, Musée d'Orsay, 2010, p.18). The dominant emerald-blue-green background is found in several of his paintings, for example in the glazed tiles on the wall of the Snake Charmer at the Ster¬ling and Francine Clark Art Institute in Williamstown (1880), or in the bright skies of his depictions of wild animals in the desert. Despite the anachronistic aspect of describing this painter as "modern", the framing effect of the very high sea, the composition strictly divided by the horizon line, is almost abstract. He accentuates this effect with clouds stretched out lengthwise or the parallel lines of wavelets. The immensity of the oily sea is distracted only by the small boat in the lower corner and its angled mast. This is where the drama takes place, for Gérôme never forgets to be a history painter. Gérôme transforms the tradition of pictorial shipwrecks that goes back more than a century, from Joseph Vernet's tempêtes, to Géricault's Radeau de la Méduse of 1819, Delacroix's Barque de Dom Juan, or similar subjects such as Manet's Evasion de Rochefort (1880, Musée d'Orsay). But he places his skiff on a calm sea, not a rough one as in previous artists, eliminating any hint of hope of rescue. The passengers are crowded together; dead or dying, possibly of disease, left adrift on a lifeboat (2). There are no details, no names on their boats to identify these unfortunates, or any specific historical event. Man, isolated in the face of nature, as in Romanticism, yields here to a nihilistic vision of the human condition, to an awareness of his minuscule place in the universe, resonating with contemporary concerns such as boat-people and migrant exile (3). 1. The restricted space of the Cercle de l'Union Artistique, on rue Boissy-d'Anglas, reserved for an elite of bourgeois and major collectors, did not allow for the exhibition of large-scale historical works, and offered sketches or more decorative works for sale. 2. The accumulation of bodies in Ernest Meissonier's La Barricade (circa 1850, Musée du Louvre) comes to mind. 3. Commenting on another painting, Pierre Sérié wrote: "The preci¬sionism of the facture is matched by the absence of image. The drama reaches maximum intensity in the very abo¬lition of its representation... this spectacle is emptiness" (Pierre Sérié, La Peinture d'histoire en France 1860-1900, 2014, p.217).

Estim. 80 000 - 120 000 EUR
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