Schlossberg Catalog 19th Century French Master Drawings and Sculpture : Page 11

CATALOG 11

Catalog

<B>Eugène-Emmanuel Pineu Amaury-Duval (1808-1885)</B><br /> <br /> Portrait of a Man, 1845 Graphite on paper 10 x 8 in.<br /> <br /> Signed lower right, Amaury-Duval. Placed Florence, dated 1845.<br /> <br /> Amaury-Duval was a student and follower of Ingres. This example shows the influence of Ingres’ teaching. In addition to being an excellent artist, Amaury-Duval was the author of L’Atelier d’Ingres, which supplied an enormous amount of important information on Ingres, his studio and his students.<br /> <br /> <b>Charles Angrand (1854-1926)</b><br /> <br /> Mother and child Charcoal heightened with white chalk on paper 24 x 17 1/2 in.<br /> <br /> Signed lower right, Charles Angrand.<br /> <br /> In 1899 an exhibition was held at Durand-Ruel, Paris. Charles Angrand sent a series of drawings to this exhibition. The theme was the same, a mother and child. This drawing is one of the exhibited drawings at Durand-Ruel. Angrand is considered a neo-impressionist and was close friends with Signac, Seurat and others in that school. Signac had described Angrand’s drawings as “poems of light.”<br /> <br /> <b>Louis Anquetin (1861-1932)</b><br /> <br /> Portrait of a Woman, most likely Mathilde Richard, circa 1886-1892 Pastel on dark brown wove paper 8 3/8 x 8 1/2 in.<br /> <br /> Signed lower left.<br /> <br /> This extremely rare pastel is part of a project undertaken by Anquetin and Toulouse-Lautrec to decorate the interior of Chez Aristide Bruant (Mirliton). Bruant opened the Mirliton in October 1885, and several students from the Atelier Cormon decided to patronize it. Lautrec and Anquetin decided to help decorate this cabaret with their work. The project was never finished. Approximately six studies are all that remain. These extremely rare studies may be found in the Musée Vincent van Gogh, Musée Maurice Denis, the Musée Toulouse-Lautrec and private collections. This small pastel is one of the drawings surviving from this project. Anquetin was one of the main exponents of a method of painting called cloisonnism.<br /> <br /> <B>Hippolyte Bellangé (1800-1860)</b><br /> <br /> Returning from Battle, 1843 Pen and ink with watercolor on paper, heightened with scratching out 12 x 13 in.<br /> <br /> Signed and dated 1843 lower right.<br /> <br /> Bellangé entered the Ecole des Beaux-Arts in Paris in 1818 as a pupil of Baron Gros. It was there he came under the influence of another pupil, Nicolas-Toussaint Charlet, who encouraged him to specialize in illustrations of the Napoleonic legend. The present composition depicts a scene from one of the French expeditions to Algeria under the reign of King Louis Philippe. Colored wraps worn by some of the soldiers indicate that they belong to the Zouaves, who were infantry regiments in the French army, first seen in Algeria in 1831. This drawing is part of a collection of French 19th century drawings and watercolors from the wedding album for the Duke Antoine de Montpensier and Marie-Louise-Fernande de Bourbon, presented by the Orléans family, October 10, 1846.<br /> <br /> <B>Emile Bernard (1868-1944)</b><br /> <br /> Fête Galante, 1890 Watercolor and colored chalk on tan paper 15 x 11 1/2 in.<br /> <br /> Signed and dated lower right, Emile Bernard 90.<br /> <br /> Emile Bernard was closely associated with Vincent Van Gogh and Paul Gauguin and they exhibited together. The 1890s was a time of tremendous artistic change and innovation. In this drawing we see influences of Paul Cézanne. At the time of the drawing there happened to be an exhibition by the old master Fragonard. Undoubtedly Emile Bernard saw it and included a fête galante in his composition. This may have been Bernard’s way of paying homage to Fragonard.<br /> <br /> <b>Sarah Bernhardt (1844-1924)</b><br /> <br /> Portrait of Emile de Girardin, circa 1870 Bronze bust with greenish-brown patina on original marble socle Height including socle, 13 3/4 inches Inscribed in front of the bust, E de Girardin. Signed Sarah Bernhardt, upper right shoulder.<br /> <br /> Sarah Bernhardt was the most famous actress of her time and her influence was felt deep into the 20th century. Little known is her ability as a painter and sculptor. She made a total of 40 sculptures. This sculpture is extremely rare. Emile de Girardin was a French journalist, politician, novelist and playwright and he was married to the writer Delphine Gay.<br /> <br /> <b>Alexandre Bida (1823-1895)</b><br /> <br /> Haircut Charcoal and white gouache on grey-green paper 11 x 8 1/2 in.<br /> <br /> Alexandre Bida was an orientalist artist, and he portrayed everyday life in Algeria and other areas that were inhabited by Arabs. Other artists who were interested in this type of art were Eugène Fromentin and Eugène Delacroix. It was highly romantic for these artists to go to what they considered an exotic land to make records of it.<br /> <br /> <B>Victor François Eloi Biennourry (1823-1893)</b><br /> <br /> Draped Young Man Kneeling in Pro. Le to the Right, Holding a Cup and Amphora White chalk on blue paper, squared and numbered in black chalk for transfer 11 5/16 x 11 7/16 in.<br /> <br /> Signed and inscribed lower right.<br /> <br /> This drawing is a study for Biennourry’s chapel decoration, which is over the miséricorde, in the Church of Sainte Eustache, Paris. The decoration was painted in 1854. In addition to the chapel in Sainte Eustache, Biennourry received many official commissions and was a favorite of Napoleon III. Among the commissions may be included a mural for the churches of Saint-Roch, Saint-Séverin, Saint-Etienne-du-Mont and the Gallery of Antiquities in the Louvre.<br /> <br /> <b>Emile Antoine Bourdelle (1861-1929)</b><br /> <br /> Head of a Warrior, circa 1894-1900 Bronze with green patina Height 18 1/4 in.<br /> <br /> Monogrammed lower right. Inscribed on reverse lower right on the bronze base, © by Bourdelle Suisse fondeur, Paris No.1.<br /> <br /> This sculpture is a study for the Monument aux morts, aux combattants et serviteurs du Tarn-et-Garonne, erected in 1902 in Montauban, Bourdelle’s hometown. There is a personal letter in the Schlossberg archive from Rhodia Dufet Bourdelle, the artist’s daughter, concerning this sculpture.<br /> <br /> Bourdelle was arguably the most important student of Rodin. His studio has become the Bourdelle Museum, which is located in Paris.<br /> <br /> <b>Jean Baptiste Carpeaux (1827-1875)</b><br /> <br /> Etude d’homme nu tenant un bâton [Study of a Man Holding a Pole], 1864 Pen and brown ink, retouched with white on tan paper 9 13/16 x 6 1/8 in.<br /> <br /> Signed and dated at the bottom left, J. B. Carpeaux 64.<br /> <br /> Carpeaux was an important sculptor during his lifetime. He made many drawings, and his modeling and the form of these drawings point toward his ability as a master sculptor. In 1864 Carpeaux was named professor of the Prince Imperial and a studio was set up for him in the Orangerie museum in Paris. He is best known for his sculpture Ugolino and His Sons. Examples can be seen in the Musée D’Orsay, Petit Palais and the Metropolitan Museum of Art in New York. His work also decorates the Opéra Garnier in Paris.<br /> <br /> <b>Albert-Ernest Carrier-Belleuse (1824-1887)</b><br /> <br /> Portrait of Camille Corot, 1865 Terra cotta Height 9 3/4 in.<br /> <br /> Signed A Carrier, 1865. Proper right, dated 1865. Inscribed Corot in front of bust.<br /> <br /> Carrier-Belleuse was one of the most prominent and prolific artists in the 19th century. In the 1870s he hired a young artist to help him in his studio. The young artist was Auguste Rodin. The early works of Rodin, especially portraits of women, closely resemble the works of Carrier-Belleuse.<br /> <br /> <b>Nicolas-Toussaint Charlet (1792-1845)</b><br /> <br /> Chasing the Thief Pencil, pen and ink, and sepia wash on paper 14 x 17 in.<br /> <br /> Signed lower right.<br /> <br /> Charlet was best known for his admiration of Napoleon and he would glorify him throughout his entire career. Many of his watercolors depicting episodes from the Napoleonic wars are preserved in the Louvre. This drawing, as a previous drawing by Hippolyte Bellangé, was from a collection of 19th century French drawings and watercolors from the wedding album for the Duke Antoine de Montpensier and Marie-Louise-Fernande de Bourbon, presented by the Orléans family on October 10, 1846. This composition is a typical example of Charlet style showing one of his popular subjects.<br /> <br /> <b>Jean-Baptiste Camille Corot (1796-1875)</b><br /> <br /> Italian Town Seen Through Trees, circa 1835 Pencil on paper 6 11/16 x 4 3/16 in.<br /> <br /> Marked with the estate stamp lower right, vente Corot.<br /> <br /> This delicate sketch was probably done during a sojourn to Italy. Corot was the leading figure in the Barbizon school of France. He was a precursor of impressionism with his plein air paintings and drawings.<br /> <br /> <b>Thomas Couture (1815-1879)</b><br /> <br /> Portrait of Anatole Dauvergne Chalk heightened with white on light-brown wove paper 17 3/4 x 13 in.<br /> <br /> Initialed lower right T.C.<br /> <br /> Thomas Couture was one of the teachers of Edouard Manet. Anatole Dauvergne was a friend of Thomas Couture and his student. Couture was in the habit of painting and drawing his friends and incorporating them in major compositions. One of Couture’s compositions was Romains de la Décadence, and it is most probable that Couture used the portrait of Anatole Dauvergne as one of his Romans. The Schlossbergs have a letter written by Anatole Dauvergne to Thomas Couture “thanking him a thousand times for the drawing he made of him and telling him that it will be preciously conserved”. The letter was dated April 17, 1847.<br /> <br /> <b>Pierre-Jean David d’Angers (1788-1856)</b><br /> <br /> Mademoiselle Mars (Anne-Françoise-Hippolyte Boutet Salvetat), 1825 Patinated plaster Height 14 1/2 in.<br /> <br /> Signed proper left David d’Angers. Dated 1825. Inscribed Mlle Mars on front of bust.<br /> <br /> Mlle Mars was the most famous actress of the period and performed in the Comédie Française, Paris. The marble bust, which this is related to, can be found in the collection of the Comédie Française.<br /> <br /> <b>Pierre-Jean David d’Angers (1788-1856)</b><br /> <br /> Monument to Bonchamps, 1824 Bronze 7 3/4 x 9 x 5 1/2 in.<br /> <br /> Inscribed on base at left rear, David D’Angers.<br /> <br /> The Monument to Bonchamps celebrates a vanquished individual’s plea for clemency. David portrays Bonchamps moments before he dies, when he cries, “Pity for the prisoners!” Thus, many Republican prisoners were saved from being put to death. David D’Angers’ own father was one of these prisoners.<br /> <br /> <b>Pierre-Jean David d’Angers (1788-1856)</b><br /> <br /> Study for a Tomb Relief for the Duchesse D’Abrantès, 1841 Soft graphite on papier calque laid on mulberry paper 8 11/16 x 7 7/8 in.<br /> <br /> Signed and inscribed in brown ink along bottom: Projet de bas relief pour le monument de Mme. D’Abrantès.<br /> <br /> David [with flourish] 1841.<br /> <br /> A drawing of the same subject, dated 1839, is in the collection of the Musée Bonnat in Bayonne, France. This project was never completed, and the two sheets are the only remnants of the idea of a tomb for Madame d’Abrantès. Laure Permon Junot (1734-1838), Duchesse d’Abrantès, was a French author who was married to General Junot. She authored numerous historic books, some of which include Souvenirs historiques sur Napoléon, La Révolution, Le Directoire, Le Consulat, L’Empire, La Restauration, La révolution de 1830 et Les premières années du règne de Louis-Philippe.<br /> <br /> David d’Angers was one of the most important sculptors during the first half of the 19th century. He created the pediment of the Pantheon in Paris along with hundreds of portrait medallions and busts of the most important personalities of his time.<br /> <br /> <b>Honoré Daumier (1818-1879)</b><br /> <br /> Study of Two Male Heads in Pro. Le Looking to the Left, circa 1870 Pen with black ink, gray ink and wash, red ink and wash on tan laid paper 3 1/8 x 3 3/4 in.<br /> <br /> Daumier was one of the greatest draftsmen of the 19th century. Daumier made numerous studies of the human face and countless character studies. He was admired by virtually all the great artists of the period, among them Daubigny, Corot, Delacroix and writers Balzac, Baudelaire and the Goncourt brothers. His numerous lithographs appeared regularly in the newspapers and journals of the period.<br /> <br /> <b>Honoré Daumier (1808-1879)</b><br /> <br /> Caricature Portrait of Napoleon III, circa 1852 Crayon on paper 10 x 7 in.<br /> <br /> Initialed lower right, h.d.<br /> <br /> This drawing portrays Napoleon III as an emperor, with his long mustache and a cigarette in the side of his mouth. About 25 years before this portrait was drawn, Daumier drew a portrait of Louis-Philippe that portrayed him as a pear-shaped fat man and was incarcerated for six months for this insult to the king. It seems that Daumier hadn’t learned his lesson as he made fun of Napoleon III in the same way.<br /> <br /> <b>Jacques-Louis David (1748-1825)</b><br /> <br /> Portrait of the Poet Lebrun Graphite on pale blue-green laid paper 7 1/4 x 5 5/8 in.<br /> <br /> Signed and annotated lower right, Lebrun Le Poète par David de souvenir.<br /> <br /> The stamp at the lower left, G, stands for the Gigot Collection.<br /> <br /> Jacques-Louis David was the most important artist in Paris during the French Revolution and later under Napoleon Bonaparte. One of his greatest paintings is known as Le Sacre or, as it is referred to today, Le Couronnement de L’Empereur et L’Imperatrice, (The Coronation of the Emperor and the Empress), which shows Napoleon crowning himself before the Pope, church dignitaries and literary and artistic celebrities of the time. The enormous number of figures in this painting involved a tremendous amount of preliminary study. David made a preliminary life study for each figure in the painting. It was completed in 1808. Once having completed it David started painting a replica that is now in Versailles. During the commencement of the replica he was exiled and finished the painting during his exile in Brussels in 1822. For this painting he made more preliminary drawings, and this drawing is probably one that was done while he was in Brussels, because when he inscribed it par David de souvenir, it gives us a clue: By David from memory. The subject is the portrait of Ponce Denis Ecouchard Lebrun. He was also known as Lebrun- Pindare. He became the official poet of the Terror, and then became a supporter of Napoleon, not unlike Louis David. He was given a front row seat at the coronation and in the large painting can be shown seated in the front row just behind and to the right of the emperor’s mother. It is Number 380, page 344 in the catalogue raisonné of Pierre Rosenberg and Louis-Antoine Prat.<br /> <br /> <b>Jacques-Louis David (1748-1825)</b><br /> <br /> Study of a Young Man’s Head in Pro. Le to the Right Black chalk 6 1/8 x 5 1/2 in.<br /> <br /> Signed lower center, David F.<br /> <br /> This beautiful drawing is an example of David’s neoclassicism. It is believed that it was done in Belgium while he was in exile. It is Number 418, page 365 in the catalogue raisonné of Pierre Rosenberg and Louis-Antoine Prat.<br /> <br /> <b>Edgar Degas (1834-1917)</b><br /> <br /> Study of an Italian Woman Kneeling with Outstretched Arms and a Re-Study of Her Head, Drawn in 1856-1857 Black chalk and pencil 10 1/2 x 15 1/8 in.<br /> <br /> Inscribed lower right, Rome.<br /> <br /> Professor Theodore Reff has noted in a letter of March 14, 1990, that the study of this model’s head is closely related to a pen sketch in one of the carnets in the Bibliothèque Nationale. Degas used this carnet in Rome between October, 1856, and July, 1857. See Theodore T. Reff, The Notebooks of Edgar Degas, Oxford, 1976, two volumes, Notebook Number 8, page 23, illustrated. The studies on this page and adjacent pages in the notebook were for planned illustrations of Dante, and it is most probable that this drawing was executed for the same purpose. The scribbling on the lower right side is Degas’ way of sharpening his pencil.<br /> <br /> <b>Edgar Degas (1834-1917)</b><br /> <br /> Portrait of a Woman Black chalk 13 3/4 x 9 7/8 in.<br /> <br /> Numbered lower left, 2. Also numbered on the verso, number 2.<br /> <br /> Marked with the studio stamp lower left.<br /> <br /> Provenance: Jean Nepveu-Degas Collection, Paris. Then by descent to Madame Arlette Devade, Paris. Jean Nepveu-Degas was the nephew of Edgar Degas, and Madame Arlette Devade was the daughter of Nepveu-Degas and a grandniece of Edgar Degas. In the past it was thought that this was a portrait of Degas’ sister, Thérèse, Madame Edmundo Morbilli. More recent scholarship points out that this is probably another family member and not the sister of Degas.<br /> <br /> <b>Eugène Delacroix (1798-1863)</b><br /> <br /> Studies after Michelangelo, 1832 Red chalk on paper 17 1/2 x 11 1/2 in.<br /> <br /> The top figure is a study after the female figure of Dawn in the Medici Chapel in Florence. The bottom figure is a study after Michelangelo’s Adam in the Sistine Chapel in Rome.<br /> <br /> Delacroix was the leader of the French Romantic school and was influenced by the art of Rubens; he emphasized color rather than line in his work. Delacroix’s travels to North Africa reinforced his love for exoticism and color.<br /> <br /> <b>Eugene Delacroix (1798-1863)</b><br /> <br /> Study of Elements of Armor Watercolor and graphite on paper 10 1/2 x 7 3/8 in.<br /> <br /> Estate stamped bottom center.<br /> <br /> These studies were executed on Saturday, the 9th of July 1825, at the time of the visit of Delacroix to Dr. Meyrick in England. Dr. Meyrick possessed a famous collection of arms of armor from the Middle Ages. Most Delacroix drawings of the Dr. Meyrick collection are in the Musée du Louvre.<br /> <br /> <b>Eugène Delacroix (1798-1863)</b><br /> <br /> Bust of a Bearded Man Pencil on paper 5 3/8 by 5 3/4 in.<br /> <br /> Signed twice in red, ED, lower left and lower right. The cachet lower left is hidden by the mat.<br /> <br /> Lee Johnson, the late expert on Delacroix, suggested that this drawing could have been part of a group of preparatory sketches Delacroix executed for the Peers Library (Senate Library) Cycle in the Palais Luxembourg, painted between 1841 and 1846. This drawing was formerly in the collection of Edgar Degas. It was sold in the Vente Degas, March 26-27, 1918, catalog number 145.<br /> <br /> <b>Eugène Delacroix (1798-1863)</b><br /> <br /> Study for Michelangelo and His Genius Graphite 8 1/2 x 5 3/4 in.<br /> <br /> Estate stamped lower right.<br /> <br /> This drawing is a study for the ceiling decoration for the Library of the Chamber of Deputies, Palais Bourbon, Paris. Note the hammer and sculpture at Michelangelo’s feet.<br /> <br /> <b>Paul Delaroche (1797-1856)</b><br /> <br /> Head of a Woman, Study for The Death of Queen Elizabeth, 1826 Colored chalks over black chalk 13 1/4 x 10 in.<br /> <br /> Signed and dated lower center, Paul Delaroche 1826.<br /> <br /> Paul Delaroche was one of the greatest French history painters. The painting The Death of Elizabeth hangs in the Musée de Louvre, Paris. Some of the other important history paintings of Delaroche were Lady Jane Grey, Assassination of the Duc de Guise at Blois, Cromwell Lifting the Cof. N Lid and Looking at the Body of Charles and many portraits of Napoleon.<br /> <br /> <b>Fernand Desmoulins (1853-1914)</b><br /> <br /> Portrait of Emile Zola, circa 1870 Pen and black ink on paper 89 1/3 x 6 1/3 in.<br /> <br /> Signed F Desmoulins lower right.<br /> <br /> The Musée Fernand Desmoulins is located in Brantôme. Desmoulins was a student of Braquemond and Bougereau. He painted, drew and engraved numerous portraits of celebrities of the period such as Louis Pasteur, the Goncourt brothers, Alexandre Dumas and, of course, Emile Zola. He also illustrated numerous novels. He was an extremely close friend of Emile Zola. Zola’s publication of J’accuse helped free Captain Alfred Dreyfus from Devil’s Island. Dreyfus’ prosecution caused an enormous amount of anti-Semitism with the Dreyfusards and anti-Dreyfusards opposed to one another. Desmoulins made many portraits of personalities involved with the Dreyfus affair. Zola died of carbon monoxide poisoning caused by a stopped chimney. His enemies were blamed, but no one was ever prosecuted. Years later, a Parisian roofer confessed to closing the chimney for political reasons. Zola is buried alongside Victor Hugo and Alexandre Dumas in the Pantheon in Paris.<br /> <br /> <b>Maxime Dethomas (1867-1939)</b><br /> <br /> Seated Woman Drinking Absinthe, circa 1890 Black chalk, watercolor and pastel on board 18 x 14 in., oval<br /> <br /> Maxime Dethomas was a very close personal friend of Toulouse-Lautrec. Lautrec’s nickname for Dethomas was le Grosnarbre (Big as a tree). He accompanied him numerous times to cabarets, bars and houses of prostitution. He also went with Lautrec to the opera and the Moulin Rouge. There is a painting by Lautrec in the National Gallery of Art, Washinton, D.C., portraying Dethomas attending the opera. Drinking absinthe was the rage in Paris at the end of the 19th century. Artists, writers and everyday people drank absinthe. At five o’clock in the afternoon –known as l’heure verte, the green hour, named after the color of absinthe– people filled the bars drinking absinthe. Close inspection of the drawing will show a glass with the spoon in it, denoting the absinthe drink.<br /> <br /> <b>Gustave Doré (1832-1883)</b><br /> <br /> La Cigale et la Fourmi (The Grasshopper and the Ant) Brown and grey wash over black chalk heightened with white on paper 25 3/4 x 19 5/8 in.<br /> <br /> Signed lower right.<br /> <br /> This is a drawing from The Fables of Fontaine and is the first drawing in the two-volume book. It illustrates the story of the grasshopper and the ant, in which the grasshopper played and sang all summer while the ant stored up food for the winter. In this instance Doré portrays the grasshopper as a young woman carrying a violin and the ant as a woman in Alsatian dress busily knitting. There is snow on the ground, and the fantastic dark foreboding forest is seen in the background giving the fable an imaginary dimension. The children may be the children of the grasshopper or the children of the ant. This drawing was exhibited in Strasbourg, Doré’s birthplace, in 1983 on the centennial of the death of Doré.<br /> <br /> Gustave Doré was the most prolific illustrator of the 19th century. Included in his work are 400 paintings, sculptures, 10,000 engravings, and over 3,000 book editions. He had a huge influence on cinema. Cecil B. DeMille, Jean Cocteau, George Cukor and many others were influenced by his work.<br /> <br /> <b>Gustave Doré (1832-1883)</b><br /> <br /> Portrait of Madame G. Doré Black pencil and ink wash on paper, laid down on board 6 3/4 x 5 in.<br /> <br /> This is the sister-in-law of Gustave Doré. Doré had several brothers, whose names have been lost to antiquity. However, one of the brothers obviously had an initial G. Gustave Doré was a bachelor his whole life. He had many lovers among whom were the singer Adelina Patti and the actress Sarah Bernhardt. This drawing came directly from the family of Gustave Doré.<br /> <br /> <b>Ignace Henri Fantin-Latour (1836-1904)</b><br /> <br /> Bearded Man Observing a Nymph, circa 1890 Black lithographic crayon with scratching out on transfer paper laid down on Japan paper 13 x 16 1/2 in.<br /> <br /> Signed lower right, Fantin.<br /> <br /> This drawing is probably a study for a lithograph that was never realized. Fantin-Latour is best known for his flower paintings. He painted several group portraits or “homages” which are considered important historical works showing the avant garde artists of the period.<br /> <br /> <b>Hippolyte Flandrin (1809-1864)</b><br /> <br /> Portrait of a Seated Woman, 1848 Graphite on off-white medium weight paper laid to cream medium weight wove paper 14 3/16 x 9 3/16 in.<br /> <br /> Inscribed in graphite, Paris 1848.<br /> <br /> This drawing is possibly a portrait of Princess Mathilde Bonaparte. A drawing by Gavarni and a drawing and a bust by Carpeaux certainly resemble this portrait. Flandrin was a student of Ingres and a major disciple. The influence of Ingres can be easily seen in this drawing.<br /> <br /> <b>Paul Jean Flandrin (1811-1902)</b><br /> <br /> Portraits of the Brothers Théophile and Edward Mignon Black chalk on paper 13 3/4 x 11 1/2 in.<br /> <br /> Signed and dated, Janvier 1842, lower right.<br /> <br /> In the past these portraits were thought to be of Hippolyte and Paul Flandrin. After careful research and comparisons with other double portraits, we are convinced that these portraits are not a self-portrait of Paul Flandrin and a portrait of his brother, Hippolyte. Conversations with Roger Diederen, conservator at the Kunsthalle der Hypo- Kulturstiftung in Munich, reinforce this hypothesis. Paul Flandrin was primarily a landscape painter. However, he and his brother Hippolyte both did numerous portraits.<br /> <br /> <b>Jean Louis Forain (1852-1931)</b><br /> <br /> Portrait of Ambrose Vollard Pencil on paper 9 1/2 x 7 1/4 in.<br /> <br /> Signed lower right Forain.<br /> <br /> Ambrose Vollard was the legendary art dealer whose artists included Gauguin, Rouault, Renoir, Picasso and many others. Forain was another of his artists and drew this picture, circa 1900, portraying a very young Ambrose Vollard. This drawing was exhibited in the Forain exhibition at the Musée Marmottan, Paris in 1978 (Number 92 in the catalogue.)<br /> <br /> Forain was influenced by Manet and Degas and was one of the groups of impressionists who met at the Café de Nouvelle Athènes at the Place Pigalle. He became close friends with Degas who stated, “He paints with his hands in my pockets.”<br /> <br /> <b>Jean-Louis Forain (1852-1931)</b><br /> <br /> In the Wings, circa 1903 Watercolor and graphite heightened with white gouache on gray paper 6 1/8 x 8 in.<br /> <br /> Signed lower right, Forain.<br /> <br /> The same scene was the subject of a fan-shaped lithograph for Le Bal Gavarni.<br /> <br /> <b>Eugène Fromentin (1820-1876)</b><br /> <br /> Camels Resting Pencil on paper 8 1/2 x 4 1/2 in.<br /> <br /> The cachet of the sale of the atelier is located on the bottom right with the number 647 in the center.<br /> <br /> Eugène Fromentin was a French artist, novelist, critic and essayist. He is most famous, however, for being an orientalist painter, and was one of the first painters to portray the people, animals and life in Algeria. He made several trips to Algeria. The first trip to Algeria was in 1846, and the second trip was in 1847. He filled his sketchbooks with drawings of the people, the animals and the villages. Many of these drawings were later converted to major paintings. These paintings are present in many major museums worldwide. The drawing we have here is very typical of his work from the late 1840s.<br /> <br /> <b>Paul Gauguin (1848-1903)</b><br /> <br /> Mask of a Savage, circa 1893 Bronze with black patina Height 10 in.<br /> <br /> This bronze mask of a savage was cast from some earlier ceramic and plaster images made by Paul Gauguin. It resembles the god Fatu in Gauguin’s 1893 painting The Moon and the Earth. There is also a woodcarving, La Guerre et la Paix or War and Peace, which bears a similarity to the Mask. As with many of Gauguin’s male portraits, there seems to be a suggestion of his face, as portrayed as a savage. At the time Ambrose Vollard was Gauguin’s dealer. A letter was written to Vollard by Gauguin concerning the head of the savage. He wrote, “What a beautiful bronze it would make and not expensive. I am convinced that you could easily find 30 collectors who would pay 100 francs which would mean 3,000 francs or 2,000 after deduction of expenses. Why don’t you consider this? Hope to hear from you. I am, with best regards, Paul Gauguin.” Unfortunately, Ambrose Vollard was very frugal, and there are only two known casts of the bronze mask. One is in the Musée d’Orsay, Paris. The second was formerly in the Walter Chrysler, Jr. Collection and is now in the Schlossberg Collection.<br /> <br /> <b>Paul Gauguin (1848-1903)</b><br /> <br /> Hand and Head Studies, circa 1884 Pencil on paper 5 x 10 1/2 in.<br /> <br /> According to Pola Gauguin, the artist’s son, this album was part of an album of 33 sketches by Paul Gauguin. This statement was made in Oslo, October 24, 1929.<br /> <br /> <b>Paul Gauguin (1848-1903)</b><br /> <br /> Recto: Sleeping Child Black chalk 10 3/4 x 7 in.<br /> <br /> Stamped with the monogram lower right.<br /> <br /> Verso: Studies of a Leopard, Figures on Horseback, and Infants Graphite<br /> <br /> Sleeping Child is a study for Gauguin’s painting D’où venons nous? Que sommes nous? Où allons nous? (Where Do We Come From? What Are We? Where Are We Going?) From 1897. This painting hangs in the Museum of Fine Arts, Boston. The sketches on the verso seem to be related to other paintings by Gauguin. Two Figures on Horseback is a study for The White Horse from 1898, Musée d’Orsay, Paris, and Riders On the Beach, 1902, the Niarchos Collection. The animal at the bottom of the sheet is nearly the same one as in The Dream, Te Rerioa, 1897, Courtauld Gallery in London, which also has a sleeping child.<br /> <br /> <b>Paul Gauguin (1848-1903)</b><br /> <br /> Recto: Study of a Cellist, circa 1881 Verso: Study of a Sleeping Child and a Woman Charcoal on gray paper 11 1/2 x 9 1/16 in.<br /> <br /> Richard Brettell has written me the following: “I think there is little doubt that the cellist is Gauguin himself and that the omission of his right hand on the cello was made for the obvious technical reasons. The drawing must relate to the Courbet self portrait as a cellist from the Arosa Collection, which was sold in February of 1898 and of which Gauguin possessed firsthand knowledge and the sales catalog. The drawing on the verso relates without question to the Sleeping Infant painting of 1884, now in the Josefowitz Collection. The identity of that child has never been fully established, with various views that it is Aline or Jean René, Gauguin’s own children.” Brettell further adds that “Gauguin’s self portrait as a cellist is the link between the Courbet self portrait and Gauguin’s The Cellist (Portrait of Upaupa “Fritz” Schneklud) painting of 1894 in the Baltimore Museum. For that reason, this sheet is one of a handful of early works of art in which Gauguin probed his own identity as an artist and as a man. To find his identity Gauguin searched for areas where he tried to escape the influences of civilization and find the place where man and nature were in harmony.”<br /> <br /> <b>Paul Gauguin (1808-1903)</b><br /> <br /> Recto and verso: Studies Sanguine and black chalk on gray paper, affixed to a mount 9 x 11 1/2 in.<br /> <br /> Multiple sketches of a woman sleeping and looking towards the right, babies sleeping, small drawing of a hand and a small drawing of a man. There is also a sanguine drawing of a man. The drawings of the woman are probably portraits of Gauguin’s wife. The sleeping baby is probably one of his children.<br /> <br /> <b>Paul Gavarni (1804-1866)</b><br /> <br /> Partis en Guerre Pour Tuer Les Ennemis Watercolor, gouache, pen and grey ink on light tan paper 13 1/8 x 8 1/4 in.<br /> <br /> Signed lower right, Gavarni with the inscription, Partis en Guerre Pour Tuer Les Ennemis.<br /> <br /> Gavarni, like the more talented Daumier, made numerous illustrations for le Charivari and the journals of the time. He was a prolific artist and made thousands of lithographs; most were published in the first half of the 19th century.<br /> <br /> <b>Théodore Géricault, (1791-1824)</b><br /> <br /> Recto: Bacchus and Ariadne on the Back of a Leopard Pen and brown ink with blue wash on wove paper 10 1/2 x 8 3/8 in.<br /> <br /> Verso: Study of Coustou’s Horse Graphite<br /> <br /> The recto of the drawing was derived from an ancient engraved gem by Jean-Baptiste Wicar which Géricault knew from a print. The verso of the drawing is a study related to the Chevaux de Marly of Guillaume Coustou, monuments in the place de la Concorde in Paris since 1788. These drawings are going to be reproduced in the unedited drawings of Théodore Géricault by Bruno Chinique, who is the expert on Géricault and in the process of writing the supplement to the catalogue raisonné.<br /> <br /> <b>Théodore Géricault (1791-1824)</b><br /> <br /> Portrait de Famille de sa Logeuse à Londres. (Portrait of the Family of His Landlady in London), circa 1821 Brown wash on paper 3 7/10 x 3 in.<br /> <br /> Cachet Coutan-Hauguet lower right.<br /> <br /> During a trip to London, Géricault stayed with the family of a bootmaker. This is a portrait of the wife and children of the bootmaker. It is a study for an extremely rare lithograph. Géricault was in London because of the exhibition of his most important painting, The Raft of the Medusa. His friend Charlet accompanied him.<br /> <br /> <B>Jean-Léon Gérôme (1824-1904)</b><br /> <br /> Ancient Dancer or Dancer with an Apple, circa 1891 Black ink on thin white wove paper, lined with mulberry paper 11 x 8 1/4 in.<br /> <br /> Signed in ink, right center, J L Gérôme.<br /> <br /> This drawing was created after the sculpture, probably as a personal record for the artist or as a gift to a collector.<br /> <br /> Gérôme was a student of Paul Delaroche. His work is typified by highly finished painting and good draftsmanship. After visiting Egypt in 1856, his subject matter became more exotic. He also had a deep interest in sculpture and spent many years devoted to this art form.<br /> <br /> <b>Jean-Baptiste Greuze (1725-1805)</b><br /> <br /> Hagar and Ishmael, circa 1800 Ink and wash on paper 10 1/2 by 8 in.<br /> <br /> Greuze was one of the great artists and draftsmen of the 18th century, and was championed by Denis Diderot. Late in life he did a series of biblical drawings, of which this is one. It seems appropriate to our time, showing Hagar and Ishmael being cast out by Abraham.<br /> <br /> <b>Ernest-Hyacinthe-Constantin Guys (1802-1892)</b><br /> <br /> Dames de la Halle Graphite and sepia ink heightened with yellow watercolor and gray wash on paper, affixed to a mount 8 x 5 3/4 in.<br /> <br /> Inscribed upper left, Dames de la Halle/Rich Lace Cap Ribbons Bright Silk/Shall Opened in Front/And/Behind. Inscribed upper right, 2299. Inscribed lower right, White Embroidered/Apron Lined with Lace/Scissors.<br /> <br /> Constantin Guys was a war correspondent and traveled widely. He covered the Crimean War. He was a watercolorist illustrator and created watercolors and drawings of military life, cafés and Parisian society during the Second Empire. Baudelaire wrote his essay on Constantin Guys, Le Peintre de la Vie Moderne (The Painter of Modern Life), in 1863. Guys might have been the favorite artist of Baudelaire.<br /> <br /> <b>Henri Harpignies (1819-1916)</b><br /> <br /> Barbizon Graphite 11 1/8 x 8 3/4 in.<br /> <br /> Estate stamped Vente R. Verdun.<br /> <br /> Raymond Verdun was a student of Henri Harpignies and had a large collection of his drawings. Harpignies was a typical Barbizon painter. His later work had a much looser quality, and my feeling is, not as exquisite as his earlier work. This drawing from the 1840s has a neo-classic look to it and is an example of Harpignies’ earlier works.<br /> <br /> <b>Jean-Jacques Henner (1829?-1905)</b><br /> <br /> Saint Sebastian attended by Saint Catherine Black and white chalk on off-white laid paper 11 1/8 x 8 3/4 in.<br /> <br /> Henner did several paintings and drawings on this subject, and there is an oil painting of the same subject that was shown at the Salon of 1888 and also shown at the Exposition Universelle of 1889. The painting is now in the Musée Henner in Paris. There is also a large finished drawing of the same subject in the Los Angeles County Museum of Art.<br /> <br /> Henner was one of the most successful artists of his day and exhibited frequently at the Paris salons. Today he is known to students of 19th century art for his symbolist portraits of women with long red hair.<br /> <br /> <b>Henri Gabriel Ibels (1857-1936)</b><br /> <br /> Portrait of Madame Jeanne Bloch, circa 1892-1898 Pastel on paper 11 x 9 in.<br /> <br /> Signed lower left, H G Ibels.<br /> <br /> Ibels was closely associated with Henri de Toulouse-Lautrec, and they did a portfolio of prints together called the Café Concert. Madame Bloch was a singer and comedienne and she loved to poke fun at the audience and especially soldiers if they were present. This portrait shows her doing exactly that.<br /> <br /> <b>Jean Auguste Dominique Ingres (1780-1867)</b><br /> <br /> Naked Man Kneeling, Study for the . Gure of Henry IV in Henry IV Surprised by the Spanish Ambassador, 1817 Pencil on two drawing sheets 6 7/8 x 9 1/4 in.<br /> <br /> Signed lower left, Ingres.<br /> <br /> The painting Henry IV Surprised by the Spanish Ambassador is in the collection of the Petit Palais, Paris. The mark on the right side is a collector’s stamp (Mr. Haldi).<br /> <br /> <b>Jean Auguste-Dominique Ingres (1780-1867)</b><br /> <br /> Study of Cloaks Graphite on laid paper 4 1/2 x 4 3/4 in.<br /> <br /> Cachet of the atelier lower right.<br /> <br /> This small drapery study is characteristic of Ingres’ method of drawing. He used a sharply pointed graphite pencil on smooth white paper. Many of his portraits and other drawings are also characteristic of this technique.<br /> <br /> <b>Jean-François Legendre Héral (1796-1851)</b><br /> <br /> Prometheus in Chains, 1841 Bronze 13 3/8 x 9 x 9 1/2 in.<br /> <br /> Inscribed on the base, right side, Legendre Héral Paris 1841.<br /> <br /> This masterwork is extremely rare and while probably not unique, it is doubtful that there are any more than one or two casts of this particular bronze.<br /> <br /> Legendre Héral was a professor at l’École des Beaux-arts in Lyon. He received many state commissions for decorating public buildings, churches, and gardens.<br /> <br /> <b>Henri Lehmann (1814-1882)</b><br /> <br /> Recto: Studies of a Young Boy Standing Nude, 1859 Verso: Studies of a Young Boy Graphite on paper 11 3/4 x 8 5/8 in.<br /> <br /> Cachet of the atelier lower left.<br /> <br /> Both these studies are preparatory drawings for the figure of an angel in Henri Lehmann’s painting, Adveniat regnum tuum (Thy Kingdom Come). This was part of the artist’s large decorative project illustrating the Lord’s Prayer for the upper register of the Church of Sainte-Clotilde in Paris. The project was never completely carried out.<br /> <br /> Seurat was a student of Henri Lehmann.<br /> <br /> <b>Henri Lehmann (1814-1882)</b><br /> <br /> Portrait of Marie de Flavigny, comtesse d’Agoult, in pro. Le to the left, 1849 Black lead heightened with red, yellow, and blue chalk in an inscribed oval 9 1/2 x 7 3/8 in.<br /> <br /> Signed and dated and inscribed à Monsieur le comte de Flavigny Henry Lehmann 1849.<br /> <br /> This drawing relates to the portrait of the Comtesse d’Agoult exhibited at the Salon of 1843 and now in the Musée Carnavalet. The drawing was executed six years after the painting, probably on the commission of the Vicomte de Flavigny. The present drawing was executed the same year as Ingres’ portrait of Marie d’Agoult with her daughter Claire. Marie de Flavigny was the daughter of a German banker and was educated in France. In 1827 she married the Comte d’Agoult, but shortly after she met musician Franz Liszt and became his official mistress. She held one of the most sought after salons in Paris and published novels and essays under the name of Daniel Stern, much like George Sand (Amantine Aurore Lucile Dupin). There is a bronze model of the tomb of Madame d’Agoult in the Schlossberg Collection.<br /> <br /> <b>Léon Augustin Lhermitte (1844-1925)</b><br /> <br /> Portrait of an Old Woman Charcoal on paper, squared in white 23 1/2 x 17 in.<br /> <br /> Signed upper left.<br /> <br /> This is a good example of Lhermitte’s early work, circa 1870s. Vincent Van Gogh admired Lhermitte’s work of this period, and his black drawings were an inspiration to Van Gogh. Lhermitte can be loosely classified as a Barbizon school artist.<br /> <br /> In 1879, Degas noted in a sketchbook his intention of inviting Lhermitte to exhibit with the impressionists, but he never joined that movement or exhibited with them.<br /> <br /> <b>Maximilien Luce (1858-1941)</b><br /> <br /> Study of Hands and Feet, 1894 Ink and brush and ink wash on tan paper 8 5/8 x 10 3/4 in.<br /> <br /> This drawing is signed and dated, lower right, Luce Mazas 9/94.<br /> <br /> Maximilien Luce was incarcerated at Mazas prison at the time he did this drawing and was accused of being an anarchist. While in isolation he had no models to draw from, so he used his hands and feet as models and drew these miniature self portraits of himself. This is an important historical document, as it places Luce in Mazas at that particular time.<br /> <br /> Maximilien Luce, together with Camille Pissarro, Paul Signac and Georges Seurat founded the neo-impressionist school. He is represented in major museums.<br /> <br /> <b>Maximilien Luce (1858-1941)</b><br /> <br /> Portrait of a Woman Holding a Hand Mirror, circa 1890 Pencil on gray laid paper 11 4/10 x 9 1/10 in.<br /> <br /> Cachet of the atelier at the bottom left and dry stamp of Jean Bouin-Luce bottom at the center.<br /> <br /> This drawing is typical of the work of Maximilien Luce in the 1890s. It shows his use of the grain of the paper to create light and highlights. This drawing belonged to Jean Bouin-Luce, who was his grandnephew and has written several books on Maximilien Luce, including the catalogue raisonné.<br /> <br /> <b>Maximilien Luce (1858-1941)</b><br /> <br /> Portrait of Pierre Auguste Renoir Pencil on paper 9 1/2 x 6 1/2 in.<br /> <br /> Cachet of the atelier at the bottom right.<br /> <br /> This sensitive portrait of Maximilien Luce’s good friend Auguste Renoir was made circa 1903-1904. The beginnings of the ravages of the severe arthritis that Renoir suffered with are becoming evident in his hollow cheeks and gaunt look. At the very end of his life, Renoir was confined to a wheelchair but continued painting with paintbrushes strapped to his arthritic hands.<br /> <br /> <b>Maximilien Luce (1858-1941)</b><br /> <br /> La Leçon de Couture Pencil and charcoal 8 7/10 x 10 8/10 in.<br /> <br /> Signed at the bottom right with the cachet of the atelier.<br /> <br /> Also signed in pencil at the bottom right.<br /> <br /> This portrait is of a mother teaching her children sewing. Luce’s use of pencil and charcoal on wove paper, creating depth and shadowing, is clearly evident here.<br /> <br /> <b>Aristide Maillol (1861-1944)</b><br /> <br /> Seated Woman Red chalk heightened with white chalk on tan paper 14 1/2 x 10 1/2 in.<br /> <br /> Initialed lower left, M.<br /> <br /> The subject of almost all Maillol’s work is the female body. Of course, he is primarily known as a sculptor, but his Conté crayon drawings and red chalk drawings also display a characteristic style unmistakably Maillol.<br /> <br /> <b>Edouard Manet (1832-1883)</b><br /> <br /> Portrait of Henri Vigneau, 1874 Graphite on paper mounted on board 5 x 3 3/4 in.<br /> <br /> Signed lower left, Manet, à lui Ami Vigneau.<br /> <br /> Manet and his friends gathered at the Café Guerbois, located at 9, grande rue de Batignolles, Paris, which was a meeting place for many artists and writers. Among those meeting there were artists Alfonse Legros, Fantin- Latour, Whistler, Manet, Desboutin, Zachery Astruc and writers Babou, Gignaux, Duranty, as well as the novelists Henri Vigneau and Emile Zola. An incident took place in February 1870. Duranty, the writer, was one of the regulars of the Café Guerbois, along with Manet. Duranty wrote each day for the Paris Journal a review of exhibitions going on in Paris. There was an exhibition that took place at 18 place Vendôme where Manet exhibited several of his paintings (Philosophers and Les Anges au tombeau du Christ). Duranty’s critique of the exhibition was venomous. The same evening Manet, entering the Café Guerbois, saw Duranty and an argument ensued. Manet challenged Duranty to a duel, which was highly unusual during that period. On February 23rd in the Forest of Saint-Germain-en-Laye, around 11 o’clock in the morning, Manet and Duranty engaged in a duel with swords. Duranty was slightly wounded above his right breast, at which time the witnesses immediately declared that honor had been satisfied and that the combat was over. The witnesses for Duranty were the writers Schneer and Paul Defarge, and for Manet the writers Emile Zola and Henri Vigneaux. The portrait of Vigneau is an important part of the history of that period. Interestingly enough, after this incident Duranty and Manet became friends, and Duranty actually supported his work. There is a copy of this drawing in the Baltimore Museum of Fine Art (The Claribel and Etta Cone Collection) that is illustrated, along with this drawing, in their catalogue The Essence of Line: French Drawings from Ingres to Degas. It is not known why Manet made this copy or how it was to be used.<br /> <br /> <b>Edouard Manet (1832-1883)</b><br /> <br /> Femme debout Robe ample (d’après Rubens), circa 1860-1861 Black pencil finished with sanguine on paper 6 x 3 7/8 in.<br /> <br /> This drawing is a study for a painting in the Metropolitan Museum of Art called La Pêche. In this drawing Manet paints himself as Rubens and paints his future wife, Suzanne Leenhoff, as Helena Fourment (Rubens’ wife). At the time Manet also copied a painting of Helena Fourment that hung in the Louvre. There is a long provenance for this drawing, and one of the owners was the late actress Loretta Young of Los Angeles, Calif.<br /> <br /> <b>Henri Martin (1860-1943)</b><br /> <br /> Portrait of Alexandre Charpentier, 1895 Charcoal on tan paper 27 3/8 x 15 3/4 in.<br /> <br /> Signed lower right, Henri Martin.<br /> <br /> Alexandre Charpentier was one of the greatest medalists of the 19th and early 20th centuries. He created multiple plaques and medals in a variety of media. The Musée d’Orsay, Paris had Charpentier in a major exhibition in 2008. This drawing is a study for the painting Inspiration. Henri Martin was a friend of Alexandre Charpentier and used him as a model for the painting. The painting is in the collection of the Musée d’Orsay. Cyril Martin, the artist’s grandson, has verified that this is a portrait of Alexandre Charpentier.<br /> <br /> Martin was a neo-impressionist and active in that movement. He won the grand prize at the Exposition universelle internationale in 1900 and he was named Chevalier of the Legion d’honour in 1914. His work is in many museum collections.<br /> <br /> <b>Charles Maurin (1856-1914)</b><br /> <br /> Casino de Montmartre, circa 1893-1894 Pastel on paper 18 1/2 x 24 in.<br /> <br /> Signed lower right and titled.<br /> <br /> This drawing shows a woman singing and musicians accompanying her. The audience is dressed in clothing of the 19th century. The straw hats were fashionable for both men and women at the time. The fan predates the beginning of Japonism and art nouveau. Neither the singer, nor any of the figures in the audience are identifiable. This pastel gives us a peek into cabaret life in the 19th century. The Casino de Montmartre was located at 47 boulevard de Clichy. The director was F. Trombert.<br /> <br /> Maurin was a regular along with Somm, Dethomas, Lautrec and other members of their circle at the Moulin Rouge, and he exhibited with Lautrec in 1893 at the Baussod Valadon Gallery.<br /> <br /> <b>Jean-Louis Ernest Meissonier (1815-1891)</b><br /> <br /> Studies for the Livre du Mariage, 1840 Graphite and brown ink on paper 8 1/2 x 8 1/4 in.<br /> <br /> Initialed lower right, E M.<br /> <br /> Between 1850 and 1890 the most famous artist was thought to be Meissonier. He made his reputation by creating small recreations of 18th century scenes and patriotic images of the Napoleonic era. He illustrated numerous books, and this drawing is obviously an illustration for a book. It shows an amorous couple facing one another, tenderly holding hands.<br /> <br /> <b>Jean François Millet (1814-1875)</b><br /> <br /> Young Woman in Pro. Le, Her Head Resting on Her Hand Black pencil on blue paper 4 1/2 x 4 1/4 in.<br /> <br /> This drawing was originally sold by Loys Delteil as Number 38 in the sale of January 22, 1909. The actual sticker Number 38 still remained on the front of the mount when I bought it. This drawing is in the original frame and the original mount. Millet was an important precursor of impressionism and modern art. His depictions of rural life helped destroy the restrictions of the French Academy. In Barbizon he began painting landscapes directly from nature thus rejecting the status quo. He influenced the work of Manet, Gauguin, Van Gogh, Degas and many others.<br /> <br /> <b>Paul Paulin (1852-1937)</b><br /> <br /> Portrait of Auguste Renoir, 1902 Cast bronze with a greenish-black patina Height 11 1/4 in.<br /> <br /> Inscribed A Renoir son ami Paulin 1902.<br /> <br /> This sculpture probably was a gift to Renoir by Paulin. Paulin made sculpture portraits of many artists. Included among these are Pissarro, Degas, Albert Lebourg and Monet. Paulin was a dentist who gave dental and medical care to many of these artists. He had a particular talent for portraiture as can be seen in this sensitive portrait of Auguste Renoir. The cast is most likely unique.<br /> <br /> <b>Isadore Alexandre Auguste Pils (1813-1875)</b><br /> <br /> Head of Boy Charcoal and white chalk on blue paper 10 1/2 x 14 1/2 in.<br /> <br /> Cachet of the atelier lower right.<br /> <br /> The model’s expression is vivid and haunting. Pils is considered an academic painter; however, the naturalistic expression in this young boy shows that he did not entirely fit into the academic label given to him.<br /> <br /> <b>Camille Pissarro (1831-1903)</b><br /> <br /> Infant at a Table. Ludovic-Rodolphe Pissarro Sitting in a Highchair, circa 1880 Graphite on paper 12 3/8 x 7 3/4 in.<br /> <br /> Stamped C.P. lower right.<br /> <br /> This drawing is a preliminary sketch for the gouache of 1880 titled Enfants à Table. The chair with the curved back seen here also appears in other Pissarro family interiors.<br /> <br /> <b>Camille Pissarro (1831-1903)</b><br /> <br /> Study of Cows Pencil on paper 9 1/8 x 12 1/2 in.<br /> <br /> Stamped C.P. lower righ<br /> <br /> Pissarro for many years lived on a farm, thus the drawing of cows. He was a French impressionist and exhibited with Monet, Renoir, Sisley, Degas, Cézanne and Morisot.<br /> <br /> <b>Camille Pissarro (1831-1903)</b><br /> <br /> The Family of the Artist, circa 1895 Paint and sepia ink 8 3/4 x 7 in.<br /> <br /> Initialed lower left in sepia ink C P. Inscribed lower right La Famille.<br /> <br /> Pissarro’s family is shown as follows: Paulemile and Cocotte are painting at easels, and Lucien is instructing them. Georges is working at an etching. Félix and Rodo have folios of drawings under their arms. Julie is pictured sewing, and Pissarro himself has drawn his self portrait resting in an easy chair with his children swirling all about him, almost as if in a dream.<br /> <br /> <b>Armand Point (1860-1932)</b><br /> <br /> Portrait of Madame Berthelot, 1895 Charcoal and colored chalks on paper 17 x 12 1/4 in.<br /> <br /> Signed A Point 1895.<br /> <br /> Armand Point was a symbolist painter and exhibited in multiple exhibitions with other French symbolists.<br /> <br /> Madame Berthelot was the mistress of Armand Point.<br /> <br /> Armand Point was captivated by the English Pre-Raphaelites and tried to start a similar movement in France inspired by the works of Sandro Botticelli.<br /> <br /> <b>Jean-Jacques (James) Pradier (1792-1852)</b><br /> <br /> Sappho, circa 1860 Bronze 11 x 14 x 6 1/2 in.<br /> <br /> Signed on the base James Pradier.<br /> <br /> This is one of Pradier’s more popular sculptures. Duplicates may be seen in many museum collections.<br /> <br /> Pradier sculpted the figures of Fame in the spandrels of the Arc de Triomphe and the 12 victories inside the dome of the Invalides. The catalogue raisonné of his work has been recently published.<br /> <br /> <b>August Préault (1809-1879)</b><br /> <br /> La Tuerie, or The Slaughter, 1833 Graphite on off-white wove paper 6 1/2 x 8 1/4 in.<br /> <br /> Signed PREAULT and dated 1833 lower right corner. Inscribed Tuerie upper center edge.<br /> <br /> This is a study for Préault’s most important sculpture of the same name. This drawing is certainly a precursor for depictions of the horrors of war by much more modern artists, Ernst Barlach for one and Pablo Picasso’s Guernica, for another.<br /> <br /> Préault was a romantic sculptor and a student of David d’Angers. His work included portrait medallions, subject matter inspired by literature, funerary sculpture and public commissions. When his studio burned in 1871, many of his works were destroyed.<br /> <br /> <b>Pierre C. Puvis de Chavannes (1824-1898)</b><br /> <br /> Standing Male Nude. Study for L’Inspiration chrétienne, the fresco over the staircase in the Musée des Beaux-Arts, Lyon, circa 1888-1889 Black chalk on paper 11 1/2 x 4 3/8 in.<br /> <br /> Signed and dedicated upper right, à mon cher Baudoin P Puvis Ch.<br /> <br /> Monsieur Baudoin was a friend of Puvis. Puvis influenced many artists, among them Seurat, Picasso, Renoir and Matisse to name a few. He was well known for his large murals and made many studies for them.<br /> <br /> <b>Jean-François Raffaëlli (1850-1924)</b><br /> <br /> À l’Hôtel des ventes Salle Drouot, Paris. (Broker in the Mazas, Hôtel Drouot, circa 1888.)<br /> <br /> India ink and watercolor on paper laid down on board Signed lower right, Jean François Raffaëlli.<br /> <br /> This drawing was illustrated in Harper’s, the monthly magazine in 1889. It was also exhibited in the opening exhibition of the Modern Foreign Gallery, London, in 1926. Jean François Raffaëlli was one of Théo Van Gogh’s favorite artists, and when Théo was working at Boussod Valadon et Cie he had a one-man show of Raffaëlli’s work. It included in that show were 15 drawings including this one, that appeared in an article on the Hôtel Drouot in Harper’s, the monthly magazine.<br /> <br /> Raffaëlli exhibited with the impressionist salons in 1880 and 1881. His work depicted rag pickers, peasants and workers as seen in the Paris suburbs. He was a close friend of Degas who supported his work.<br /> <br /> <b>Jean-François Raffaëlli (1850-1924)</b><br /> <br /> La Discussion politique Bronze 8 1/2 x 10 x 9 in.<br /> <br /> Signed Raffaëlli left side.<br /> <br /> This is an example of a sculpture by Jean-François Raffaëlli, who was a French impressionist. Impressionist sculptures are extremely rare. Raffaëlli was a print-maker, painter and very fine sculptor. This sculpture was exhibited the 27th of May through the 21st of June 1890 at La Maison Goupil at Boussod et Valadon Cie 19 boulevard Montmartre. Raffaëlli created eight sculptures to be exhibited. These sculptures were cast by Gruet using the lost wax process (cire perdue). Only a handful of these sculptures were actually cast.<br /> <br /> <b>Jean-François Raffaëlli (1850-1924)</b><br /> <br /> Seedy Lilies and Shabby Wall. Owers, 1888 Ink on paper 8 1/2 x 12 4/5 in.<br /> <br /> Signed lower right.<br /> <br /> This drawing was exhibited by Théo Van Gogh, in 1890, in the exhibition held at Boussod Valadon et Cie where he was the director.<br /> <br /> <b>Jean-François Raffaëlli (1850-1924)</b><br /> <br /> Les Types de Paris (Edition du Figaro) Black ink and watercolor 11 1/4 x 8 1/2 in.<br /> <br /> Signed and dedicated lower right.<br /> <br /> This is a book illustrated with drawings by Jean François Raffaëlli. (E. Plon, Nourit et Cie, Imprimeurs-Editeurs, 10 Rue de Garancière, Paris.) The book was published the 15th of April, 1889. The text is fully illustrated by multiple drawings, and the text is by numerous writers of the time: Edmund de Goncourt, Alphonse Daudet, Emile Zola, Marcel Proust, Guy de Maupassant, Octave Mirbeau and many others. On the frontispiece of the book is a drawing and watercolor by Jean François Raffaëlli, dedicated to Monsieur Tardieu. It is an illustration for Bohèmes en villégiature, a story by Emile Zola. On page 23 there is a reproduction of the watercolor. Charles Tardieu was a good friend of Raffaëlli; he gave the book to Marguerite Duherme and dedicated it to her in 1902.<br /> <br /> <b>Paul Ranson (1864-1909)</b><br /> <br /> Brittany Landscape, circa 1892 Colored crayons, charcoal and colored graphite on laid paper 12 x 18 1/8 in.<br /> <br /> Stamp, signed lower right.<br /> <br /> Paul Ranson was one of the earliest of the Nabis. Nabi is a Hebrew word meaning prophet and it was the way of predicting things to come for this group of artists. The Académie Ranson was created in 1908. The ideas and methods of the Nabis were promoted there.<br /> <br /> <b>Pierre Auguste Renoir (1841-1919)</b><br /> <br /> Manet’s Fifer, 1883 Crayon on paper 17 1/2 x 10 3/4 in.<br /> <br /> Inscribed lower right, Renoir d’apres Manet.<br /> <br /> Renoir made this drawing on the occasion of a memorial exhibition of Manet’s work held a year after his death, at the Ecole des Beaux-Arts, Paris. This drawing was published in La Vie moderne, January 12, 1884. It formerly was in the collection of Maud and Chester Dale of New York and came from the estate of Maud Dale. The Dales were major benefactors of the National Gallery of Art in Washington, D.C. La Vie moderne was a weekly magazine of which Edmund Renoir, the brother of Pierre August Renoir, was the editor.<br /> <br /> <b>Théodule Augustin Ribot (1823-1891)</b><br /> <br /> Old Woman Reading Pen and china ink over charcoal on paper 7 x 5 1/4 in.<br /> <br /> Signed lower right, T. Ribot.<br /> <br /> This drawing is a study for the painting La Lecture de la Bible and is reproduced in de Fourcaud, Théodule Ribot, sa vie et ses oeuvres, Paris (Théodule Ribot, His Life and His Works), Paris, page 17, as La Liseuse. Théodule Ribot was a French realist painter. He exhibited in the Salon in 1861. In the Salons of 1864 and 1865 he was awarded medals. Ribot painted domestic scenes, portraits and many religious scenes. He greatly admired the Spanish and Dutch Baroque masters such as Ribera and Rembrandt and, like them, emphasized the contrast between light and dark. Ribot painted his family many times, and most of his figure compositions are portraits of his daughter, his wife and his mother.<br /> <br /> <b>Auguste Rodin (1840-1917)</b><br /> <br /> Masque of Hanaka Bronze with dark greenish-brown patina Height 7 in.<br /> <br /> Signed A Rodin, Foundry Alexis Rudier.<br /> <br /> Hanaka was a Japanese actress who was first introduced to Rodin by the dancer Loïe Fuller. Rodin became fascinated with Hanaka’s beauty, form and exoticism, and in 1906, 1907 or 1908 Rodin executed his first masque of Hanaka. He subsequently made multiple portraits of her - more portraits of her than of any other model. The extraordinary quality of this sculpture typifies Rodin’s lifetime casts.<br /> <br /> <b>Auguste Rodin (1840-1917)</b><br /> <br /> Woman Watercolor and graphite on paper 13 x 10 in.<br /> <br /> Signed lower right, A Rodin.<br /> <br /> Rodin began using watercolor between 1900 and 1906. Watercolor was the means by which Rodin was able to realize the fullness of the model. After 1900 he began using strongly contrasting saturated colors, which added to the decorative appeal of his work.<br /> <br /> <b>Auguste Rodin (1840-1917)</b><br /> <br /> Portrait of Jean Walker Simpson Pencil on paper 12 x 9 1/2 in.<br /> <br /> Signed Rodin lower right. Annotated upper right.<br /> <br /> This drawing came from the estate of Jean Walker Simpson from East Craftsbury, Vermont. The model for this drawing, Jean Simpson, was the daughter of John Woodruff Simpson and Kate Seney Simpson, patrons of the arts. They were also patrons of Edward Steichen the photographer, who introduced them to Rodin. Rodin made a marble bust of Kate Seney Simpson in 1902 which is in the collection of the National Gallery of Art, Washington, D.C. This drawing is dated by Rodin 1903 and annotated Mademoiselle Jean Paris 28th September 1903. There is a second drawing in the collection of the same subject matter and the same model. This type of drawing Rodin made by looking at the model and never looking down at the paper. He let his fingers do the work, but he stared at the model.<br /> <br /> <b>Georges Rouget (1783-1869)</b><br /> <br /> Portrait of Jacques-Louis David, circa 1812 Pencil drawing on paper with watercolor wash and title drawn on the surrounding image 4 1/4 x 3 1/4 in.<br /> <br /> Unsigned.<br /> <br /> This is an extremely interesting drawing portraying Jacques-Louis David’s deformity. It portrays a swelling at the angle of his left jaw. It is known he had a facial palsy for over 20 years. An important study by Humphrey Wine from the National Gallery of London and Michael Baum from the University College of London, Division of Surgery, was done concerning David’s deformity. It was determined that he had a cancer of the parotid gland, and this probably resulted in his death. Rouget was David’s favorite student and he assisted him with most of his great works.<br /> <br /> <b>Théodore Rousseau (1812-1867)</b><br /> <br /> Landscape Brown ink on tan laid paper 5 x 7 in.<br /> <br /> Estate stamped, Th. R, lower right.<br /> <br /> Théodore Rousseau was one of the Barbizon artists, and this quick study of a landscape is reminiscent of sketches made by Rembrandt at a much earlier time. Rousseau is regarded as one of the most important landscape painters of the 19th century and a precursor of impressionism.<br /> <br /> <b>Claude Emile Schuffenecker (1851-1934)</b><br /> <br /> Portrait of Paul Gauguin, circa 1885 Black chalk on off-white wove paper 6 5/8 x 7 7/8 in.<br /> <br /> Monogrammed with the stamp lower right.<br /> The relationship of Claude Emile Schuffenecker and Paul Gauguin was a strange one. They were close friends for many years. Whenever Gauguin got back from his travels he always stayed in the home of Schuffenecker. Eventually Gauguin, who was an extremely difficult person to get along with, attempted to seduce Schuffenecker’s wife. This effectively ended their friendship. The portrait was drawn in happier days, probably when Gauguin was staying with them, and it gives us an insight into Gauguin’s appearance at that time.<br /> <br /> <b>Paul Sérusier (1863-1927)</b><br /> <br /> Sketches of Gauguin and Laval, 1888-1890 Charcoal and ink on tan paper 12 x 18 7/8 in.<br /> <br /> Stamped with the initials lower left.<br /> <br /> This drawing depicts several figures from the Brittany area, specifically from Pont-Aven, and there is a life portrait of Paul Gauguin in the central part of the drawing. There is also, in the upper right corner, a portrait of Charles Laval. Previously this portrait was thought to be Paul Ranson, but it was recently identified as being that of Laval. Sérusier was closely associated with Gauguin, and it was he who, under Gauguin’s direction, painted the talisman on the back of a cigar box and brought it from Pont-Aven to Paris to show and inspire the other artists.<br /> <br /> <b>Georges Seurat (1859-1891)</b><br /> <br /> Study of Soldiers Graphite and colored crayons on paper 5 7/8 x 9 1/4 in.<br /> <br /> The inscription in blue on the back of the original mount, dessin de Seurat, 15 centimeters x 24 centimeters, and initialed P. S. and F.F.. The F.F. stands for Felix Fénéon, Seurat’s dealer at the time. There is also a dedication to Madame Laurant Delkire. The drawing is from a notebook Seurat kept during his years of military service in Brest, which began in November 1879. He recorded everyday activities of his fellow soldiers. It should be noted that there is a sailboat in the background, and this may be one of the first seascapes that Seurat did. The Brest notebook probably provided the basis for the style in his future work.<br /> <br /> <B>Georges Seurat (1859-1891)</b><br /> <br /> Ulysses and the Suitors, 1876 Graphite on paper 9 1/8 x 12 1/2 in.<br /> <br /> Signed and dated lower right, 28 novembre 1876 Seurat. Monogram of Félix Fénéon on lower right.<br /> <br /> Its neo-classical feel probably is due to Seurat studying Flaxman drawings when he made this. It was formerly in the collection of the movie producer William Goetze.<br /> <br /> <b>Georges Seurat (1859-1891)</b><br /> <br /> Nude from the Back, Hands on a Wall Ledge, Nu de Dos, Les Mains sur L’arête d’un Mur Pencil on paper 18 1/2 x 12 3/16 in.<br /> <br /> This is an academic drawing by Seurat. It was done early in his career as an artist and was originally in the collection of Félix Fénéon, his primary collector and dealer.<br /> <br /> <b>Georges Seurat (1859-1891)</b><br /> <br /> Study of Hands, Face, and a Soldier, circa 1880 Graphite and crayons on paper 5 3/16 x 9 5/16 in.<br /> <br /> This is the second drawing in the collection from the Brest notebook. It was drawn during Seurat’s years of military service, which had begun in 1879. In this drawing Seurat drew his own hands. In the left corner there is a soldier leaning down, probably at work.<br /> <br /> <b>Alfred Sisley (1839-1899)</b><br /> <br /> Landscape, 1888 Charcoal on gray paper 6 x 7 3/8 in.<br /> <br /> Signed and dated lower right, Sisley 88.<br /> <br /> According to a note by Francois Daulte, this drawing is probably a study for one of the paintings entitled La Route de Veneux à Moret that Sisley painted circa 1887-1899.<br /> <br /> Sisley is the least known of the major impressionists. He was a pure landscape painter, painting the fields and rivers of the Île-de-France. Sisley exhibited in the first (1874), second (1876), third (1877), and seventh (1882) impressionist exhibitions.<br /> <br /> <B>François Clement Somnier, called Henri Somm (1844-1907)</b><br /> <br /> Oriental Scene and Woman with a Fan Watercolor and graphite on fan-shaped paper 8 1/4 by 6 1/2 in.<br /> <br /> Signed lower right, Henri Somm.<br /> <br /> This drawing is a very good example of the Japonism that was prevalent at that time. Many of the artists were heavily influenced by Japanese woodblock prints and the mystery of Japan. Henri Somm was deeply involved in performance art at the Chat Noir, which was a cabaret that attracted an enormous number of celebrities. Henri Somm composed a one-act play called Berline de l’émigré, and this was presented as a puppet show at the Chat Noir. These puppet shows eventually became the first shadow-box theaters, and Henri Somm made many drawings and illustrations for the shadow-box theaters. He is remembered for his belle époque drawings and paintings of elegant men and women and his depiction of Japonism in French art.<br /> <br /> <B>Jacques Joseph Tissot (1836-1902)</b><br /> <br /> Preparatory Study for the Departure of the Prodigal Son from Venice, circa 1862 Graphite heightened with white body color on gray paper 9 1/4 x 9 7/8 in.<br /> <br /> This drawing was made in preparation for the painting The Departure of the Prodigal Son from Venice, circa 1862. The painting itself was exhibited at the Paris Salon of 1863. There are two other preparatory studies for this painting and both are in the collection of the Metropolitan Museum of Art, New York. Today Tissot is best known as a painter of elegant and fashionable society. However, it was as a religious painter that Tissot enjoyed his greatest popular success.<br /> <br /> <b>Henri de Toulouse-Lautrec (1864-1901)</b><br /> <br /> La Belle Hélène, circa 1900 Pencil on paper 13 1/4 x 7 in.<br /> <br /> Signed at the lower right with the monogram.<br /> <br /> After spending time in an asylum in Paris, Toulouse-Lautrec finally was discharged. His friends suggested that he go to Bordeaux, as it was much quieter and more peaceful, than remain in Paris. On going to Bordeaux, he found a studio and began drawing and painting again. There were two plays at the time which delighted him: La Belle Hélène was at the Grand Theatre, and Messeline, another play was close by. This drawing is a study for La Belle Hélène. There is another similar study in the Chicago Art Institute. Lautrec remarked to Maurice Joyant: “I’ve already captured it.” And added, “Hélène is played by a fat tart called Cocyte.”<br /> <br /> <b>Henri de Toulouse-Lautrec (1864-1901)</b><br /> <br /> Mademoiselle Lender?, circa 1895 Pen and ink on paper 8 x 6 1/2 in.<br /> <br /> Collector stamp of Madame Thadée (Misia) Natanson, lower right.<br /> <br /> Toulouse-Lautrec devoted a large part of his career painting and drawing a small circle of popular entertainers of that period. This drawing is probably the actress and singer known as Mademoiselle Lender. He captures her in an amazing pen and ink caricature rapidly done.<br /> <br /> <b>Louis Valtat (1869-1952)</b><br /> <br /> Woman Near a Lake, circa 1896-1898 Watercolor and graphite on paper 9 3/8 x 12 1/4 in.<br /> <br /> Initialed lower right.<br /> <br /> Louis Valtat was born in Dieppe on August 8, 1869. He subsequently studied at the Lycée Hoche in Versailles and eventually was admitted to the Ecole des Beaux-Arts. He collaborated with many artists and was a very good friend of Toulouse-Lautrec. Renoir did a lithograph portrait of Louis Valtat and was also a friend of his. He had several dealers, most important of whom were Galerie Durand-Ruel and Ambroise Vollard. His work has been collected by virtually every major museum in the world.<br /> <br /> <b>Jehan Georges Vibert (1840-1902)</b><br /> <br /> The Knife Grinder Pen and ink on paper 6 5/8 x 4 1/2 in.<br /> <br /> Signed lower left, J. G. Vibert.<br /> <br /> This drawing was probably done on one of Vibert’s travels. He made excursions to numerous places, and this drawing was possibly done while he was in Spain. His specialty was clergy members, often mocking them and showing them in activities having little to do with religion. He also traveled East, like Fromentin and Delacroix, and produced many orientalist paintings.<br /> <br /> <b>Edouard Vuillard (1868-1940)</b><br /> <br /> Madame Vuillard or La Cuisinière Graphite on paper 8 1/8 by 4 1/2 in.<br /> <br /> Stamped with the initials lower right.<br /> <br /> This is a study for a color lithograph from 1899 called La Cuisinière. The lithograph is illustrated in Roger-Marx, Number 32. It is extremely scarce. Vuillard studied at the Académie Julian and was an early member of the Nabis. He specialized in intimate interiors.

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