Old Masters (before 1870)

Charles LEBRUN (Paris, 1619-1690), atelier de. - Portrait of Louis XIV (1638-1715) in armor. Oil on canvas, oval form (tarnished, old stretcher, restorations). H. 87 x L. 73 cm. In an oval gilded wood frame. H. 107 x W. 93 cm. History King Louis XIV (1638-1715) is portrayed in a three-quarter bust, face to the right, wearing the Grand Cordon of the Order of the Holy Spirit on fleur-de-lys armor. Around his neck, he wears a lace cravat with red ribbon bows; wearing a large dark-brown wig with thick curls that fall to his shoulders, the Sun King sports a fine moustache. He holds his helmet, emblazoned with black feathers, and fixes the viewer with a majestic gaze. The white scarf of the general officers is tied around his waist. Louis XIV poses in front of a gold-thread damask curtain, raised in the corner to reveal a military campaign sky. The personality of the king's face is conveyed by a play of light and shadow that shapes the features, while a slightly more impasto touch is applied to the armor. The king appears as a warlord and protector of the kingdom. A partial reworking of Le Brun's 1682 portrait Our painting is a partial repeat of the portrait "The King in Armor with an Empanached Helmet" painted by Le Brun in 1682; this portrait, which has now disappeared, is known to historians through the partial oval copy of Charles Le Brun's portrait, mentioned without an author's name and deposited since 1936 in the Musée historique de Strasbourg, with the creation date 1682-1700 (ill. 1). Painted in bust form, the king also wears fleur-de-lys armor, on which the blue cordon of the Holy Spirit stands out. The lace jabot and long wig counterbalance any martial severity of a king in his forties. This same effigy of the king is found in an engraving by Edelinck after Charles Le Brun, where the king's portrait is placed on the shield of Religion. The Frontispiece for Abbé de Polignac's thesis, "L'Eglise victorieuse de l'hérésie ou le triomphe de la religion", was completed in June 1686 by Le Brun (ill. 2). The model was engraved by G. Edelinck, but never used for this thesis. One of Le Brun's last royal effigies Twenty years before Rigaud's famous and sumptuous portrait of 1701, which history has retained as an illustration of the reign, court painters focused on portraying Louis XIV as an equestrian (such as René-Antoine Houasse's famous portrait) or martial figure, celebrating the king as the victor of several campaigns after being at war throughout Europe. Among the most prominent painters, Nicolas Mignard (1606-1668) offered several representations of Louis XIV as the god Mars, while Charles Le Brun (1619-1690) painted the king more realistically as a warlord, in armor, portraits that left a strong impression. The 1682 model used in the engraving would therefore be one of the last royal effigies designed by Le Brun, who was ousted by Louvois in favor of Mignard after Colbert's death in 1683. Our painting, which appears to be a studio variant of Charles Le Brun's 1682 portrait, bears witness to one of the artist's last royal effigies. "In the fifteen years between Le Brun and Rigaud, we will find no clear-cut intermediate type in either painting or engraving between that established by Le Brun and the royal figure that Rigaud's brush imposed at the end of the reign". (Lieutenant-Colonel Ch. Maumené and Count Louis d'Harcourt, Iconographie des rois de France, Archives de l'art français, Paris, 1928-1931, p. 16). Related works - After Charles Le Brun, Portrait de Louis XIV, partial copy of the portrait "Le roi en armure avec un casque empanaché" painted by Le Brun in 1682. Château de Versailles, mentioned without author's name, Aile du Nord, second floor, salle des portraits, n°141-150, in the 1837 guide; mentioned in the salle des Portraits (n°146), aile du nord, attiques, in the 1850 inventory; deposited at the Musée historique de Strasbourg on April 2, 1936, inv. MV 3497 (ill. 1). - Gérard EDELINCK (1640-1707), after Le Brun, Sorbonique de l'abbé Melchior de Polignac ("Triomphe de la Religion" or "Triomphe de l'Église") , engraving, circa 1683-1686, Musée du Louvre, Département des Arts graphiques, inv. 6839 (ill. 2). - Atelier de Charles Le Brun, Portrait de Louis XIV, Versailles, Châteaux de Versailles et Trianon, inv. V.2019.65 (ill. 3). - Attributed to Pierre Rabon (1619-1684), after Le Brun, Portrait de Louis XIV à cheval, Douai, Musée de la Chartreuse, 1668, inv. 237 (ill. 4). Literature - E. Bellier de la Chavignerie and L. Auvray, Dictionnaire général des

30 / XVIIIth CENTURY SCHOOL close to Alexis SIMON BELLE (1674-1734) Portrait of Charlotte de Hesse-Rheinfels Rothembourg, Duchess of Bourbon (1714-1741) OIL on canvas 209 x 143 cm (some removal and restoration, wear) Moulded and gilded wood baguette frame with later cartouche

Pierre - Paul Rubens (1577 - 1640) d' après - Peter - Paul Rubens (1577 - 1640) after Portrait of the Infanta Clara-Eugénie Oil on canvas Size: 124 x 94 cm Old restorations. Provenance: J.D. Collection, Liège

ECOLE FRANÇAISE du XVIIe - 17th century FRENCH SCHOOL "Armorial portrait of Margueritte Pierre de Boutteville circa 1650". Oil on canvas, signed and dated upper right Provenance: Belgian private collection Size: 74 x 59 cm

François Pascal Simon dit Baron GÉRARD (Rome, 1770-Paris, 1837), d’après. - Bust portrait of King Charles X. Oil on canvas. In a gilded wood and stucco frame. H. 92 x W. 74 cm. Frame: H. 105 x W. 88 cm. Related work Millon sale, "La Face des Rois", Drouot, May 25, 2023, lot 17 (sold for €28,600). History The last French king to be crowned in Reims, Charles X called on the great portraitists of the day, including Gérard, Robert Lefèvre, Guérin and Ingres, to portray him solemnly in coronation regalia. For his official portrait, he chose the one painted by Baron Gérard, who was highly sought-after at the time and particularly praised for the quality of his portraits. The artist depicts the King in majesty in one of the Tuileries galleries, turned three-quarters to the right, wearing the ermine and grand collar of the Order of the Holy Spirit, leaning on his scepter, throne and crown in the foreground. The monarch's attitude, the emphasis on the sumptuousness of the coronation costume and the symbols of royalty in the foreground are a perfect reminder of the divine right nature of the power held by the Bourbon dynasty. First painter to the King in 1817 since the triumph of his great painting "L'entrée d'Henri IV à Paris", and a leader of the French school, Baron Gérard was then at the height of his fame. He was eagerly awaited for the portrait of the sovereign, having already successfully painted those of Emperor Napoleon in 1805 and King Louis XVIII in the early years of the Restoration. It was to be expected that the official representation of successive sovereigns would be radically different, reflecting the changes of regime from Empire to Royalty, but the artist succeeded in giving each the expected majestic image, in keeping with the pictorial tradition of the great courts. This is what led the great art critic Charles Ephrussi to say that Gérard was "without too much flattery, the king of painters and the painter of kings". Presented at the Salon of 1825, the portrait of Charles X now at Versailles was a resounding success; several replicas were commissioned by the King's household, the bust copies delivered by Gérard's studio being intended primarily as royal presents. Our work, less detailed than the version sold by us in 2023 (see above), bears witness to a revival by François Gérard or possibly his workshop. Literature - Art. E. de Waresquiel. Portrait du Roi et de ses élites sous la Restauration et la Monarchie de Juillet: une contribution à l'étude des représentations du pouvoir. In Versalia, Revue de la Société des Amis de Versailles, n° 9, 2006. - Art. Lucie Lachenal. François Gérard et la critique d'art pendant la Restauration. In Actes du colloque La critique d'art de la Révolution à la Monarchie de Juillet, November 26, 2013.

École française d’époque Second Empire. - General Bonaparte in his study. Oil on canvas. In a large wood and gilded stucco frame. H. 74 x W. 50 cm. History This rare depiction of General Bonaparte studying a map in his study, most probably during the Italian Campaign, is unfortunately anonymous. Although it dates from the Second Empire period, this posture is rare, as only David or Baron Gros have depicted Napoleon in full-length, working in his cabinet. The future emperor was particularly fond of being portrayed as such, evoking his stature as a military statesman.

French school of the 19th century. Portrait of a young woman. Oil on canvas, the canvas supplied by Carpentier et Deforge. H_42,5 cm L_32 cm

Ecole flamande du 17e siècle HSP " Le martyr de Saint André" - Flemish school of the 17th century. "The Martyrdom of Saint Andrew Oil on panel Old restorations. Dimensions : 65 cm x 49 cm

Alexandre CLARYS (1857-1920) - Alexandre CLARYS (1857-1920) "Pair of oils on canvas. "Stallion" Signed lower right and the other left. Small perforations. Dimensions: 60 cm x 80 cm Provenance : Baron and Baroness B.

Lucien HOCK (1899-1972) - Lucien HOCK (1899-1972) "Jeunes filles en fleur" (Young girls in bloom) Painting on glass signed lower right and dated 1950. Dimensions: 40 x 30 cm

Robert LEFÈVRE (1755-1830), suiveur de. - Bust portrait of Napoleon I in coronation costume. Oil on canvas. H. 65 x L. 54 cm. In a gilded wood frame. History A former pupil of the painter Regnault, Robert Lefèvre had earned a reputation as a portraitist through the Salons where he exhibited as early as 1791. At the time, he was particularly appreciated by his contemporaries for the resemblance he gave to his models and the precision of the details and decorations in his works. Thanks to the protection of Denon, then director of the Beaux-Arts and Musée du Louvre, Robert Lefèvre became one of the main suppliers to the Emperor's household, executing over forty large-scale portraits of the Emperor in full coronation costume or uniform, as well as of the Empress. These commissions were destined for the Grand Corps de l'Etat and imperial palaces in France and abroad. The painter also supplied the Grand Chamberlain's gift department with numerous miniatures of the Emperor, to decorate snuffboxes and watches given as diplomatic gifts. The uneven quality of some replicas could be criticized, notably for the somewhat frozen appearance of the model, a fault that can be explained by the enormous output of the painter's studio; but it should be noted that all official portraits were intended by the painter himself. Nevertheless, Robert Lefèvre remained highly regarded by the Emperor, who is said to have appreciated the resemblance of his portraits and, no doubt, the absence of tedious breaks. On the strength of this favor, the artist worked extensively for the imperial family, in particular Princess Pauline, Lucien and the Clary family, and of course Madame Mère, who commissioned several large-scale portraits from him. Our bust portrait of the Emperor shows him in coronation regalia, wearing his red coat with golden bees and the large collar of the Légion d'Honneur on his ermine. This could be a study of the modelo used in Robert Lefèvre's workshop to produce the numerous replicas commissioned by the French state. Among the many commissions made to the artist, it is difficult to distinguish in the archives between portraits of the Emperor in coronation costume and those in uniform. However, it seems that 18 versions in imperial garb were produced, notably for Letizia and Joseph Bonaparte. At least one replica, without the gold laurel wreath, was made for Marshal Soult. Like the uniformed versions, a bust portrait was painted by the artist to serve as a model for the replicas, or presented to the studio's students for copying practice. Related works - Napoleon in coronation costume. 1806. Salon of 1806. The artist's first commission for the Salle de réunion du Sénat (location unknown). - Napoleon in coronation costume (uncrowned). 1807. Château de Soultberg, family of Marshal Soult. - Napoleon in coronation costume. 1807. Provenance Madame mère, then by descent Bathilde Bonaparte, comtesse de Cambacérès, Musée de la Légion d'Honneur. - Napoleon in coronation costume. 1808. Presumed to have come from Joseph Bonaparte, now at the Maison d'éducation de la Légion d'Honneur in Saint-Denis. - Napoleon in coronation costume. 1809. Commissioned for the Château de Fontainebleau, Mme Tussaud's collection, now defunct. - Napoleon in coronation costume. 1809. Purchased in 1949 by the Musée de la Légion d'Honneur. - Napoleon in coronation costume. 1811. Musée de Versailles, MV 5134. Commissioned by the Corps législatif, for the Palais Bourbon, in 1811; Salon of 1812, no. 779 (ill. 1). - Napoleon in coronation costume. 1813. Sotheby's London sale, July 9, 2015, lot 105, copy of Madame Mère, Sir Steward collection in 1816. Literature J.-P. Samoyault (art.), Le portrait de Napoléon par Robert Lefèvre, in "Un Palais pour l'Empereur, Napoléon à Fontainebleau", ed. by Jean Vittet. Exhibition September 2021 - January 2022.

Anne-Louis GIRODET-TRIOSON (Montargis, 1767-Paris, 1824), d’après. - Portrait of Napoleon in the uniform of the Chasseurs à cheval de la Garde. Oil on canvas. H. 61 x W. 46 cm. In a gilded wood frame with palmettes. Related works - Girodet, Napoleon receiving the keys to Vienna (...). 1806-1808. 380 x 532 cm. Musée de Versailles, MV 1549 (ill. 1). - Girodet, Unfinished Portrait of Napoleon. 1806-1808. 45.5 x 29 cm. Musée Bonnat, Bayonne, inv. 64 (ill. 2). History Girodet's original work was commissioned by the Emperor to decorate the Galerie de Diane in the Tuileries. It was part of a series of paintings ordered by decree on March 3, 1806, to commemorate the high points of Napoleon's epic. It was Denon who drew up the list of works, most of which illustrate the glorious German and Austrian campaigns of 1805, requiring the paintings to be completed for the Salon of 1808. Among the important works, Gautherot was commissioned to depict the Emperor haranguing the 2nd Corps at Augsburg, Hennequin the defeated Austrian army at Ulm, Taunay the entry into Munich, Girodet the entry into Vienna, Lejeune and Bâcler d'Albe the bivouacs on the eve of battle, and Gérard a scene from the battle of Austerlitz. Here, Girodet offers a fine portrait of Napoleon, a sketch of whose famous profile was rediscovered at the end of the 19th century by the collector Léon Bonnat. The Emperor's characteristic silhouette, surrounded by Murat, Bessières and Berthier, occupies a central position, facing the submissive Austrian representatives presenting the keys to the city of Vienna. This very classical composition was much appreciated by Napoleon, and contrasts with the artist's usually more heroic style, so admired by Romantic painters. Later, in 1812, Girodet was commissioned to depict the Emperor in his coronation "grand habillement" for the various courts of justice of the Empire. As for the painting of Napoleon in Vienna, which was moved for a time to avoid offending Empress Marie-Louise's sensibilities, it was revived under Louis-Philippe and placed in the historical museum of the Château de Versailles.

Henri Joseph HARPIGNIES HST - Henri Joseph HARPIGNIES (1819-1916) "At the river's edge, animated landscape" Oil on canvas signed lower left Provenance: Belgian private collection Size: 32 x 51.50 cm, minor old restoration and fine craquelures

Ecole hollandaise du 19e siècle. - 19th century Dutch school. "Portrait of a man holding a missive". Oil on canvas Small accidents and missing parts ( recesses ) Dimensions : 100 cm x 76 cm

Englebert VAN ANDERLECHT (1918-1961) - Englebert VAN ANDERLECHT (1918-1961) Composition. Mixed media (ink - pastel - charcoal) on paper, signed on the back and dated 1958. Dimensions: 63 cm x 48 cm Provenance : Collection of Mr and Mrs M.Bruxelles, acquired from the artist.

Pierre Louis Joseph DE CONINCK (1828-1910). Portrait of a clergyman. Oil on canvas, signed and dated 1857 lower right. H_36.5 cm W_28.5 cm

French or Italian school of the 19th century. View of Italy, spinners in foreground. Oil on canvas. H_38 cm L_55 cm. Wood and gilded stucco frame

RARE ET IMPORTANTE GRAVURE DE LA BATAILLE D’EYLAU Pietro ANDERLONI (1785-1849), d’après Antonio Raffaele CALLIANO (1785-c. 1824). - Napoleone il Grande vistendo il campo dopo la battaglia d'Eylau. Etching, 1810. H. 68 x W. 106 cm (as seen). In a large giltwood frame (chips). H. 86 x W. 126 cm. Historical Extremely rare print depicting a famous episode in Napoleon's epic, the Emperor on the battlefield of Eylau. This half-hearted victory, in which many soldiers lost their lives, was the subject of a propaganda campaign designed to control public perception. A precise iconographic program was drawn up by Vivant-Denon to show Napoleon directing the care and rescue of the wounded in the aftermath of the battle. A sketching competition was held at the Louvre in 1807, and was won by Baron Gros, who produced his famous painting 'Napoléon visite le champ de bataille d'Eylau, 9 février 1807' (ill. 1). This subject, which inspired a number of painters, was also taken up in Italy, notably by Antonio Raffaele Calliano, a veteran of Napoleonic subjects, who in 1804 submitted a 'Battle of Marengo' that won him a scholarship to complete his training in Rome at the Académie Saint-Luc. His 'Napoleon Visiting the Battlefield of Eylau' was certainly completed around 1808-1809, and is a work marked by neoclassicism, in which military uniforms coexist with the heroic nudity of soldiers on the ground. The work was engraved by Pietro Anderloni in 1810. This etching, most likely produced for the high dignitaries of the Milan royal court, was printed in a very limited number of proofs. To our knowledge, only two other copies are known to exist (see below). Related works - Antoine-Jean Gros, Napoleon visiting the battlefield of Eylau, February 9, 1807, 1808, Musée du Louvre, inv. 5067 (ill. 1). - Pietro Andeloni (engraver), after Antonio Raffaele Calliano, Napoleone il Grande vistendo il campo dopo la bataglia d'Eylau, 1810, British Museum, inv. 1862,0614.1624. - Pietro Andeloni (engraver), after Antonio Raffaele Calliano, Napoleone il Grande vistendo il campo dopo la bataglia d'Eylau, Osenat sale November 20, 2016, lot 409 (sold for €5,000). Literature A. Roccavilla, L'arte nel Biellese, Rinaldo Allara, Biella, 1905, p. 73.

LOUIS XV, ROI DE FRANCE (1710-1774) - Etching titled "Louis Quinze" depicting the young king in a bust in armor, in a medallion. By J. Daullé, after Hyacinthe Rigaud (1659-1743). 18th century, circa 1737. H. 40.5 x W. 26.5 cm.

G.Michel ( école belge du XIXe/XX e siècle) - G.Michel (Belgian school of the XIXth/XXth century) Equestrian portrait of Monsieur Ferdinand Daoust riding his horse Gaela". Oil on canvas signed lower right and dated 1888. Small tears. Dimensions: 115 cm x 140 cm Provenance: Collection Baron B. By descent. Monsieur Daoust was director of the Cercle équestre gantois. Painted in civic guard uniform on horseback (squadron director).

LOUIS-JOSEPH DE FRANCE (1781-1789) - Beautiful engraving titled "Le bal masqué - Fêtes données au Roi et à la Reine, par la ville de Paris, le 23 janvier 1782 à l'occasion de la naissance de Monseigneur de le Dauphin", son of Louis XVI and Marie-Antoinette. By Jean Michel Moreau (1741-1814), and "Invented by P.L. moreau (Desproux) Chev. de l'ordre du roi, architexte de sa majesté Mtre général des Bâtimens de la ville en 1782". 18th century. H. 53 x L. 42 cm (board cut).

Attributed to Juan de la Corte (Antwerp, circa 1585 - Madrid, 1662) - Attributed to Juan de la Corte (Antwerp, circa 1585 - Madrid, 1662) "The Abduction of Helen". Oil on canvas. 97,5 x 138 cm. The Museo del Prado preserves an oil on canvas by Juan de la Corte(inv. P003102) depicting the same scene, practically identical in composition, style and coloring to the present work. In its description of the work, the museum states that "the theme was much repeated in the painter's oeuvre and several versions, with minor variations, of the same subject are known in private collections", information that supports our attribution of the present painting to de la Corte. Apart from minor variations in some of the positions and expressions of the secondary figures and slight compositional differences in the upper right-hand margin, the similarity in the triangle on the barge is unquestionable. They are the white Helen standing amid the chaos and ferocity of the tragic scene, Paris at the prow of the boat, and an enraged Hercules, dressed in a lion's skin, fighting with a spike in his hands against the soldiers who are trying to prevent the boat from moving. These soldiers, sent by Helen's husband Menelaus, "come to the rescue of their queen from a circular, vaulted building decorated with pilasters reminiscent of Agrippa's Pantheon in Rome", as the Prado illustrates. Born in Antwerp, a fact which is documented in his will, Juan de la Corte probably trained in Flanders butdeveloped his career mainly in Spain, especially at the Court in Madrid. As indicated in a catalogue of an exhibitionheld at the University of Salamanca in 2006, "his activity for the Crown of Spain, which continued from 1615, focused mainly on the Buen Retiro Palace, for which he made more than 50 paintings, of which almost all are lost according to the royal inventories." Regarding his favourite themes, Juan de la Corte himself, as reported by the Prado, confessed that he "focused on 'architecture, battles, and countries,' genres in which he was highly valued by his contemporaries." He is, in fact, "the Spanish painter who most frequently depicts themes from the Trojan War cycle". Bibliographicreferences: - Several authors (2006). "Imágenes de un siglo. Lights of the Baroque. Pintura española del siglo XVII". CCM. University of Salamanca. - Museo del Prado. (n.d.). "Corte, Juan de la". https://www.museodelprado.es/aprende/enciclopedia/voz/corte-juan-de-la/4236322c-50b0-4cfa-aa66-36a16bb44dda. - Museo del Prado. (n.d.). "The abduction of Helena".https://www.museodelprado.es/coleccion/obra-de-arte/el-rapto-de-helena/f2ca6e0a-319b-4327-9979-aaff6c30a2dd

Novohispanic School. Mexico. XVIII Century. - Novohispanic School. Mexico. XVIII Century. Important set of eleven paintings narrating episodes from the life of the Blessed Virgin Mary. Oil on canvas, (silk?) Some relined. 37 x 27,5 cm Very fine and delicate Mexican work representing eleven scenes from the Life of the Blessed Virgin Mary. Because of the "incomplete" number, perhaps one is missing, which would be her VERAE EFIGIE, which would encompass the other 11 and close the gestalt or set). Painted on very fine canvas, (we believe it is silk), very used in pieces of rich workmanship to avoid the roughness of the linen weave and knots and that the oil would form lumps or sticks. The perfection of the painting on silk turns it into paintings "to the hair", almost of miniatures. 1) "The Birth of the Blessed Virgin Mary". All we know of her birth is legendary and is found in the apocryphal Gospel of James, according to which Anna, her mother married a rural landowner named Joachim, a Galilean from Nazareth and a descendant of the royal family of David. His name means "the man whom God raises up" and "preparation of the Lord". After twenty years of marriage the couple's longed-for child did not come. Barrenness according to the Hebrews was considered divine punishment. But both intensified their prayers. And so Joachim and Anna were rewarded for their constant prayer with the birth of a unique daughter, Mary, conceived without original sin and predestined to be the mother of Jesus Christ, the incarnate Son of God. A daily scene: the newborn, lying down, watches with her gaze and that of her husband Joachim as the wet nurses wash their newborn daughter for the first time. 2) "Presentation of the Blessed Virgin Mary in the Temple". Also in the Protoevangelium of James we find: "When the child was three years old Joachim said: call the Hebrew girls of pure race and let each one carry a lamp that will not go out. And the child and her heart shall not look back nor shall she look at anything outside the Temple of the Lord. The Priest welcomed the Girl and blessed her saying, "The Lord has glorified your name throughout all generations. He will reveal in you, on the last day, the redemption which he has granted to the children of Israel"... "And the Lord brought down his grace upon her". The parents returned from the Temple full of admiration and praising God, for the Child had not turned her head away....Mary dwelt in the Temple of the Lord like a dove". It is very significant a detail in the platform where Mary goes up, the white flowers that she steps on speak of her virginity and purity, the blue ones proclaim her name, and the red ones foretell the name of the Son that will be born from her womb by the work of the Holy Spirit. 3) "Betrothal of the Blessed Virgin Mary and Saint Joseph". Scene that reflects very well the betrothal, which does not mean as today the marriage engagement or the request of hand, but biblically represented "an agreement that had even more legal weight than the wedding itself". The rite of betrothal took place a year before the actual wedding. The engaged couple were already considered husband and wife; this is why the evangelist St. Matthew calls them "husband and wife"; and they were expected to be mutually faithful for a year. 4) "The Announcement of the Angel Gabriel to the Blessed Virgin Mary". In Luke chapter 1, it is described very well: "And when the angel came in to her, he said to her, "Hail, full of grace, the Lord is with you, blessed are you among women (....), you will conceive and bear a son, and you shall call his name Jesus. (...) and then Mary said (Lk 1:38), "Behold the handmaid of the Lord, be it done unto me.... "And the angel departed from her. 5) "The Visitation of the Blessed Virgin Mary to her cousin St. Elizabeth". "Turn your eyes to the Virgin and contemplate how she lives the virtue of loyalty. When Elizabeth needs her, Luke's Gospel says that she comes "cum festinatione", "with joyful haste". (Lk 1:39-45). The scene highlights not only the central and principal encounter, but also the contemplative men of the scene: Zechariah who receives her in his house, and Joseph who accompanies her in silence. 6) "The Adoration of the Magi to the Child God in the portal of Bethlehem". The Visit of the Magi from the East to the Child Jesus is only recorded in the Gospel of St. Matthew, which narrates it as follows: "Now when Jesus was born in Bethlehem of Judea in the days of King Herod, wise men came from the east to Jerusalem, saying, "Where is the King of the Jews who has been born? For we have seen his star and have come to worship him." (Mt 2:1-12). 7) "Jesus is presented before Simeon". Forty days after Jesus was born, his parents took him to the temple in Jerusalem to present him before God. This was the command of the law given by Moses: "When the first child born is a male, it is to be

Late 18th century Italian school Rolland discovering Alexander's tomb. Oil on canvas, 32 x 90 cm Paint skip.

George CRUIKSHANK (1792-1878), d’après Ivan TEREBENIOV (1780-1815). - "Napoleons Fame - La Gloire de Napoléon" (Napoleon's Fame) Original engraving with polychrome watercolor highlights whose image is inspired by an engraving by Ivan Terebeniov and repeating his caption and description "Попалась впросак!". Русской солдат штыком снял с нее маску, Козак нагайкою все венцы ее лавровые отхлестал, а Вавила Мороз и огромную трубу ее заткнул снегом - Here you are taken! The soldier removes his mask with his bayonet, the Cossack destroys the laurel wreath with his nagaika, and the peasant Vavila Grandfroid plugs his great trunk with snow." Napoleon's glory is depicted in a winged female body, dressed in a bee-patterned garment and standing on a pile of human bones; beneath the mask appears a demon's face, whose tail appears beneath the garment; on the left, her hand holds the tattered laurel wreath, vigorously struck by the Cossack, on the right are the Russian soldier and the peasant who mischievously prepares his pieces of snow. Publication dated May 18, 1813, by H. Humphrey, London, St James Street. H. 26 x W. 37 cm.

Henri VOORDECKER - Henri VOORDECKER (1779-1861) - Animated Nordic landscape - Oil on panel signed lower left and dated 1821 - 91 x 72 cm

" La Sainte famille avec Saint Jean-Baptiste enfant" - 18th century French school. "The Holy Family with Saint John the Baptist as a Child". Oil on canvas. Dimensions: 136 cm x 105 cm Old restorations

MARIE-ANTOINETTE D’AUTRICHE, REINE DE FRANCE (1755-1793) - Colored engraving, allegory of Queen Marie-Antoinette receiving the cross of martyrdom and trampling underfoot the Vices, Slander and Impiety as she descends to her tomb. Unsigned. Avant-lettre proof, late 18th century. H. 37 x L. 25 cm.

In the taste of the 18th century The Adoration of the Magi Oil on canvas H. 68 cm - L. 55 cm Significant missing parts

BARBARA (active in the 19th century) Peasant women on the road. Large oil on canvas, signed and dated 1875 lower right. H_89.56 cm W_176 cm

Early 19th century FRENCH school, after RUBENS The Adoration of the Magi Oil on canvas H. 66 cm - L. 89 cm We enclose : In the 18th century style Portrait of an elegant woman Pastel H. 45.5 cm - L. 37.3 cm (view) Framed under glass

LOUIS XVI, ROI DE FRANCE (1754-1793) - Etching titled "Le sacre de Louis XVI. Estampe allégorique". By Louis-Joseph MASQUELIER (1741-1811) and François Denis NEE (1732-1817), after Charles MONNET (1732-1817). Annotation "Champagne n°1" lower right. H. 37 x L. 28 cm (board cut). Related work Louis-Joseph Masquelier (1741-1811) and François-Denis Née (1732-1817), after Charles Monnet (1732-1817), "Allégorie gravée à l'occasion du Sacre de Louis XVI", 1774, Bibliothèque nationale de France. History Louis-Joseph Masquelier, born in northern France, moved to Paris to perfect his engraving skills in the workshops of Jacques-Philippe le Bas. There, he met François-Denis Née, with whom he became very close and with whom he collaborated throughout his professional life. On June 11, 1775, Louis XVI was crowned King in Reims Cathedral, following a tradition dating back to the time of Pepin the Short. On the print, the future King Louis XVI is about to be united with France, represented by Marie-Antoinette. He is led to her by Minerva, goddess of wisdom. He is accompanied by the peers of the kingdom, dressed in purple and ermine. For his part, Louis XVI wears the characteristic blue coronation coat lined with ermine. With the coronation, the King of France becomes a lay bishop. The figure of Religion observes the scene from heaven, holding a chalice, doubtless filled with the wine of communion, reserved for priests and the King himself. This figure establishes the king's legitimacy by presenting him as the worthy representative of the kingdom according to God's will.

ECOLE HOLLANDAISE du XVIIe - 17th century HOLLAND SCHOOL - In the taste of David II TENIERS (1610-1690) "Card Players". Oil on canvas armorialized and dated upper right Provenance: Belgian private collection Includes a 1990 restoration certificate Size: 46 x 52 cm

École française de la fin du XVIIIe siècle. - Colored etching, titled "Vue de la montagne élevée au Champ de la Réunion pour la fête qui y a été célébrée en l'honneur de l'Etre Suprême le Decadi 20 Prairial de l'an 2eme de la Republique Francaise". Paris, chez Chéreau rue Jacques aux deux Colonnes, près la Fontaine Severin, N°257. Circa 1793-1794. H. 30.5 x L. 43.5 cm.

Adriaen DE GRYEFF (1657-1722) "Hunting scene" Oil on canvas, 17th-18th century. Weight: 1.45 kg Shipping available Area: Belgique Sizes: H 395 MM X L 500 MM AVEC CADRE Condition: At first glance: good condition

École française de la fin du XVIIIe siècle. - Colored etching, titled "Récit mémorable du siège de la Bastille arrive le quatorze juillet l'an de la liberte mil sept cent quatre-vingt-neuf" and captioned. With couplets dedicated to the nation by M. Deduit. Orléans, chez Le Tourmi, unsigned, circa 1789. H. 27.5 x L. 37 cm.

ESCUELA GRANADINA, SEGUNDA MITAD DEL S. XVII - Sleeping Infant Jesus . Oil on canvas. Size: 77 x 97 cm

George CRUIKSHANK (1792-1878), d’après Alexeï Gavrilovitch VENETSIANOV (1780-1847). - "A Russian Peasant Loading a dung cart". Original etching with polychrome watercolor highlights whose image is inspired by an etching by Alexeï Venetsianov and repeating his caption and description: "Крестянин Иван Долбила - Постой Мусье, не вдруг пройдет!". Здесь хоть мужички да, Руские. Вот и вилы тройчатки пригодились убирать да укладывать. Ну Мусье! Полно вздрягивать! - Halt sir, no one passes! It's only for Russian men here. And here's the pitchfork to clean up and repack all this manure. What, Sir! You're trembling!". The peasant prepares to skewer the French officer, placing him among others lying on the manure cart. The original Russian drawing dates from 1812; this English version was published on March 1, 1813, by H. Humphrey in London, St James Street. H. 24.5 x W. 35 cm.

ESCUELA ESPAÑOLA, S. XVII - Virgin of silence . Oil on canvas. Compare with the painting by Angelino Medoro "Holy Family with St. John the Baptist and Dominican Saint" (1622) which is kept in the Museum of Fine Arts in Seville. Size: 163 x 113 cm

George CRUIKSHANK (1792-1878) - "Snuffing out Boney! - Bony, snuff out!" Original engraving with polychrome watercolor highlights, dated May 1, 1814, by T. Tegg, #115 Cheapside. It features a jubilant Cossack extinguishing a candle in the shape of a panicked Bonaparte, and in a frame higher up, as if showing what had happened before, a similar Cossack lifts a peg under which little Bonaparte was hiding. This engraving is part of a series published in England, in gratitude to the Russians who enabled Napoleon to be exiled in April 1814. H. 37.5 x L. 26.5 cm.

George CRUIKSHANK (1792-1878), d’après Ivan TEREBENIOV (1780-1815). - "A peasant carrying off a French cannon into the Russian camp whilst the enemy had left it to go marauding in the village". Original engraving with polychrome watercolor highlights, inspired by an engraving by Ivan Terebeniov and using his legend. In the distance, a few small isbas and peasants fighting against soldiers of the Grande Armée, in front of which the peasant sets off the horses firing the cannon at full gallop. Publication dated June 8, 1813, by H. Humphrey, London, St James Street. H. 26.5 x W. 37 cm.

Scuola italiana del sec. XVIII - Italian school of the 18th century. Self-portrait. Oil on canvas. cm64X48.5

George CRUIKSHANK (1792-1878), d’après Ivan TEREBENIOV (1780-1815). - "Review of the French Troops on their returning march through Smolensk - Revue des troupes françaises à leur retour de Smolensk" Original engraving with polychrome watercolor highlights whose image is inspired by an engraving by Ivan Terebeniov and repeating his caption and description "Хотя одеты некрасиво да тепло: а это главное дело!... Гамбурск корресп. (...) письмо из Варшавы от 14 нояб. - They're poorly dressed, but warmly, and that's the main thing! Corresp. from Hamburg (...) letter from Warsaw of November 14." Napoleon is depicted as tiny in comparison with the others, despite his makeshift pedestal, with gout in his nose, his emaciated horse trembling on ice skates, and the troops in dilapidated outfits. We can make out rare remnants of their uniforms; one is missing a shoe, another has improvised a loincloth, and some are wearing barrels as headdresses. Publication dated May 27, 1813, by H. Humphrey, London, St James Street. H. 30 x W. 40 cm.

Friedrich Edouard MEYERHEIM HSP - Friedrich Edouard MEYERHEIM (1808-1879) "Children cooking on the doorstep". Oil on panel signed and dated 1867 lower right Small scratches Size: 29 x 23 cm

ESCUELA ESPAÑOLA, S. XVII - Biblical scene (Circumcision ?) . Oil on canvas. Size: 47 x 68 cm

18th century Italian school Chivalrous scene, couple of dancers in a Venetian tavern Oil on canvas 180 x 94 cm

ESCUELA FLAMENCA S. XVII - Oil on canvas. 70x55cm

Lot de 2 gravures sur la famille d’Orléans : - - Portrait of Louis, Duc d'Orléans, known as "le Pieux" (1703-1752), by P. Drevet, after Coypel, surmounting his coat of arms. Stains. 18th century. H. 27 x W. 20.5 cm. - Portrait of Louis Philippe Joseph (1747 - 1793), Duc d'Orléans known as "Philippe Égalité", enhanced, by Fiesinger "after the wax model made by M. Couriguer". Circa 1789. H. 27 x L. 21 cm.

ESCUELA ESPAÑOLA S. XIX-XX - Oil on canvas. With some paint missing. 49x35cm

ESCUELA EUROPEA S. XVII - Oil on canvas. Canvas with deterioration. 163 x 110cm