DROUOT
Until Thursday 04 Jul

CLASSIC ONLINE

Leducq Maison de ventes aux enchères - +33181703656 - Email CVV

5 rue auber 75009 PARIS - 75009 Paris, France
Information Conditions of sale
Online
306 results

Lot 57 - 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.

Current bid 50 EUR

Lot 60 - 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.

Current bid 500 EUR

Lot 70 - Louis-Henri de FONTENAY. 1800-1858 ? - Louis-Henri de FONTENAY. 1800-1858 ? Portrait of Empress Eugénie after Winterhalter. 1855. Miniature on ivory, oval form, signed lower right "LH Fontenay 1855"; under glass, Louis XVI style chased gilt bronze frame with ribbon and rose decorations. Signed "Alph. Giroux / à Paris" on the easel bracket. 8.5 x 11 cm Three-quarter bust portrait of Empress Eugenie, based on the famous official portrait painted by Winterhalter. This large-scale miniature was produced by Louis-Henri de Fontenay, a pupil of Jocob Smies and Louis-Marie Autissier, the latter known for the great precision of his drawings and as a former painter to King Louis Bonaparte. Born in Amsterdam of French parents, Fontenay had taken part in Kruyf's 1825 illustration of views of the Dutch capital. He is reported to have worked in The Hague from 1824 to 1827, where he became a court miniature painter. He later settled in Paris, exhibiting at the Salons in 1847, 1850 and 1852. He was appreciated by a select aristocratic clientele, and was a member of the Comité Central des Artistes under the Second Empire. The House of the Emperor seems to have acquired at least one miniature portrait of the imperial family from the artist, still preserved today in the Louvre. The miniature's gilded bronze frame is signed by Alphonse Giroux, then known as "le marchand des princes", a major manufacturer of luxury furniture and accessories. Founded under the Consulate and specializing in toy sales, Giroux's success came at the end of the Empire, with the development of the kaleidoscope, and during the Restoration, when he supplied gifts for the children of France. Giroux continued to specialize in tabletterie and cabinetmaking under the July Monarchy, and remained interested in optics, being the exclusive depositary of the daguerreotype, granting its exploitation to Daguerre and Niépce in 1839. Alphonse Giroux remained in business until 1867, when Ferdinand Duvinage took over management. Related works - Portrait of the Empress in bust form. 1855. 7.2 cm, Christies London, May 25, 2004, no. 208, bronze frame in the same style. - Portrait of Madame, mother of S.M. n.d. Musée du Louvre, Dept des Arts graphiques, cabinet des dessins et miniatures, Inv 26548, inventory annotation "acquis depuis l'avènement de l'Empereur". Bibliography - Nathalie Lemoine-Bouchard, Les peintres en miniature actifs en France, 1650-1850, éd. de l'Amateur, 2008. Art. Le Guay, art. Louise-Henri de Fontenay, p.240-241.

Starting price  600 EUR

Lot 71 - 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."

Current bid 50 EUR