Old Masters (before 1870)

Ecole Française du debut du XIXe siècle - Portrait of a young man in an ochre cape and red scarf, presumed to be the musician and composer Victor DOURLEN (1780-1864). Oil on canvas. Repainting, restorations. In a rectangular gilded wood frame with palmettes, bearing a cartouche "INGRES 1780-1867". H. 60.5 x L. 50 cm (canvas).

École flamande vers 1625 Étalage d'un marchand de poissons, allégorie du toucher Toile 109 x 195 cm Ce lot est décrit par le Cabinet Turquin.

Jean ROBIE (1821-1910) Les fleurs Huile sur toile Signé en bas à droite: "J. Robie" 96 x 71 cm On y joint une monographie: Fondation Jean Robie et Brigitte Schuermans, Jean ROBIE 1821-1910, Editions Racine, 2007

FRENCH SCHOOL CIRCA 1730 Narcissus Oil on canvas Framed Size: 59 x 82 cm. Size with frame: 75 x 98 cm. Stains, drips, small chips and varnish soiling, old restorations, frame missing. Expert : Cabinet TURQUIN - Lot visible at the expert's by appointment.

École française de la fin du XVIIIe siècle. - Colored etching depicting a trompe l'oeil meeting of assignats. Paris, chez Basset, Md d'Estampes, rue Jacques, at the corner of rue des Mathurins. H. 27.6 x W. 41.5 cm.

Francken, Frans. II. Antwerp 1581 - 1642, around the. Adoration of the Magi. In the foreground the Magi kneel in a semicircle around the Virgin Mary with the Infant Jesus. Oil on copper. H: 35.5 x 30 cm. Frame.

French school. 19th century Saint Jerome Oil on canvas (Restoration, missing parts) 46x38 cm

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.

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.

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).

MARIE-ANTOINETTE, REINE DE FRANCE (1755-1793) - Colored etching, titled "Les dames de la Halle de Paris vont complimenter la Reine aux Tuilerie". Unsigned, circa 1786-1796. H. 21 x W. 15.2 cm. History The Constitution was decreed by the Assembly on September 3, 1791, submitted to Louis XVI by the 60 deputies who had worked on it, and signed by him on September 14, 1791. Celebrations were held throughout Paris on the following 18th. It was in this context that Marie-Antoinette was thanked by the "dames de la Halle".

École française de la fin du XVIIIe siècle. - Colored etching featuring Henri IV and Sully, titled "Vive le Roi, Vive la Nation - J'Savoit ben qu'j'aurions not tour - A faut esperer qu'ca finira ben tot". Stains. Unsigned, circa 1789. H. 25.5 x L. 33 cm.

G. CH. VARLET - G. CH. VARLET "Landscape of undergrowth with a mother and child", Original oil on canvas. G. CH. VARLET H 55 x W 38 cm

Ecole FRANCAISE de la fin du XVIIe siècle, entourage de Pierre MIGNARD - Virgin and Child Panel 24 x 19 cm

Ecole ITALIENNE du XVIIIe siècle - Landscape with shepherds Prepared panel 25.5 x 33 cm

Allegory. 18th century Bathing nymphs in front of ruins. Oil/copper. H: 22 x 28.5 cm. Frame.

19th century school Portrait of a man with a book Oil on canvas 78.5 x 58.5 cm Framed

École française de la fin du XVIIIe siècle. - Colored etching, titled "Journée du 10 août 1792" and "La France sauvée", on a background of the Tuileries Palace. Unsigned, circa 1792. H. 29 x W. 42 cm.

École française de la fin du XVIIIe siècle. - Colored etching, titled "Triomphe de l'Armée Parisienne réunis au Peuple à son retour de Versailles à Paris le 6 Octobre 1789". Unsigned, circa 1789. H. 27.9 x W. 43.8 cm.

École MILANESE dans le goût de Girolamo Figino - Christ carrying the Cross Panel H: 39 - W: 25 cm In a gilded wood frame, 18th century Italy

Northern school of the 19th century, in the taste of the 17th century Self-portrait Oil on canvas 54 x 43 cm (old restorations - accidents)

D’après John PARKER (1750-1805) et James GILLRAY (1756-1815). - "A stoppage to a stride over the globe - Une enjambée autour du globe interrompue". Original engraving with polychrome watercolor highlights, published in January 1807, by T. Tegg, no. 115 Cheapside, but we can perceive the original publication date of May 1806, at the Royal Exchange. From a drawing made in 1803 (see previous lot), itself from a 1798 cartoon by James Gillray, "Fighting for the Dunghill - John Bull settling Buonaparte". "Ah! Who is it dares to interrupt me in my progress - Why tis I little Johnny Bull, protecting a little spot. I clap my hand on and d-n me if you come any further that's all - Qui ose m'interrompre dans mes avancées - Eh bien c'est moi, Johnny Bull, et je protège mon petit lopin. I'm on it, and it'll be the devil if you come any further, that's all". Bonaparte, dressed as a general, is shown straddling the globe, vexed by the figure beginning to appear behind it: John Bull, or the traditional satirical allegory of England. H. 34 x W. 24 cm.

Ecole du XXe siècle - Portrait of a young girl Oil on canvas 41 x 32 cm (canvas lining, restorations)

Quiringh Gerritsz VAN BREKELENKAM (1620-1668) follower of The Fish Merchant Oil on canvas 46 x 38 cm (Old mending)

*Ecole FRANCAISE de la fin du XIXème, d’après Claude Gellée dit Le Lorrain - David crowned king by Samuel Canvas 120 x 100 cm Worn, damaged, missing, soiled, unframed Bears on the back the stencil mark of the Paris canvas dealer Colin From a work by Lorrain in the Louvre

École française de la fin du XVIIIe siècle. - Colored etching, titled "Cérémonie de la Confédération nationale du Champ de Mars le 14 juillet 1790 au moment où tous les Français ont juré sur l'autel de la Patrie d'être à jamais unis par les liens indissolubles de la fraternité". Paris, chez Chéreau rue st Jacques près la Fontaine st Severin aux deux Colonnes, N°257. Unsigned, circa 1790. H. 30.5 x W. 36.7 cm.

Ecole FRANCAISE du XIXème siècle - Joan of Arc in armor Oil on canvas 57.5 x 46 cm Restorations

Ecole FRANCAISE du XXème siècle - Boat at quay Oil on panel Bears an apocryphal signature "Luce". 20 x 28 cm In a gilded frame: missing parts and accidents

George CRUIKSHANK (1792-1878), d’après Alexeï Gavrilovitch VENETSIANOV (1780-1847). - "A Russian Boor returning from his field sports - Guerrier russe revenant de la chasse". Original engraving with polychrome watercolor highlights whose image is inspired by an engraving by Alexeï Venetsianov and repeating its caption and description: "Для куриозу ребятишкам бирюлек принес - Brought back trinkets to amuse little children". The man has on his rifle and bayonet French soldiers, hanging like partridges after a hunt. The original Russian drawing dates from 1812, and a copy can be found in the Battle of Borodino Museum. This English version was published on January 8, 1813, by H. Humphrey in London, St James Street. H. 20.5 x W. 25.5 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.

Limoges, Laudin workshop, oval polychrome enamel plate on copper depicting Saint Peter, marked on the back "Laudin Emailleur à Limoges", late 17th/early 18th century (accidents / 11.5x9.7cm)

George CRUIKSHANK (1792-1878), d’après Alexeï Gavrilovitch VENETSIANOV (1780-1847). - "Boney hatching a bulletin or Snug Winter Quarters - Bony dictating a bulletin or snug winter quarters". Rare original etching with polychrome watercolor highlights, inspired by an engraving by Alexei Venetsianov. Of the Grande Armée, only the tips of the headdresses with the revolutionary cockades are visible, the rest being covered in snow: We have got into comfortable Winter quarters, and the weather is very fine & will last 8 days longer (...) grilld bears fine eating (...) say whe shall be at home at Xmas to dinner (...) don't let John Bull know that I have been cow poxed, tell a good lie about the Cossacks, D-n it tell any thing but the truth - We've arrived from comfortable winter quarters, the weather is excellent & will last 8 days longer (...) grilled bear eats well (...) say we'll be there for dinner at Christmas (...) don't let John Bull know I've had smallpox, find a good lie to tell about the Cossacks, and, damn it, tell any thing but the truth". A copy of the original Russian drawing is in the Battle of Borodino Museum, this English version was published in December 1812, by Walker & Knight Sweetings Alley Royal Exchange. H. 27 x W. 40 cm.

Alfred Godchaux (1835-1895) hst depicting a seaside at dusk, sbd, with typewritten labels on frame and stretcher, marked "Godchaux n°77" (43x61 cm) frame

ECOLE ORIENTALISTE du début du XX siècle - ORIENTALIST SCHOOL, early 20th century View of Algeria Oil on canvas, signed lower right "Jean G". 16.5 x 27 cm (A very small jump of material in the upper part)

Belle gravure à l’eau-forte coloriée, - titled "La fontaine de la Régénération sur les débris de la Bastille, dix août 1793". By HELMAN, after MONNET, circa 1793. H. 32.7 x L. 46 cm.

Probably Italy, late 18th century. Extensive landscape. Oil/panel. H: 24 x 33.5 cm. Min. dam.

Late 18th century school Infant Jesus Oil on canvas (fragment) 83 x 35 cm (canvas folded at top right, slight delamination and lack of material) ATTENTION: Lot to be picked up at our warehouse in Saint-Ouen, on April 30th.

Louis Émile MINET (1841-1923) - Snowy landscape Oil on canvas Signed lower right 41.5 x 28 cm

Charles Joseph Watelet (1867-1954), hst featuring a portrait of a man, sbg, (126x91cm), wood frame and gilded stucco.

School of the first half of the 19th century, hst depicting a lakeside landscape, animated at dusk, marked on the back in handwriting on the frame "Mr Gérard 1830 ...". (minor damage, old restoration / 51x61 cm) frame

Flemish master of the 17th century, Saint Jerome Penitent cm 55x44.5 oil on canvas Attribution to Victor Wolfvoet (ANVERSA, 1612-1652), pupil of Rubens and Van Dick, as per expert opinion on photo by Prof. Emilio Negro.

* Ecole FRANCAISE du XIXème siècle, suiveur d’Anne VALLAYER-COSTER - Still life with gun and pigeon Rectangular canvas, formerly with oval view 99 x 72 cm

German, 18th century The Resurrection of Jesus Christ. Oil/copper. H: 24 x 18.5 cm. Frame.

DELFT, XVIIIème siècle - Large polychrome-glazed earthenware plate decorated with a return of herring fishing in a frame of moving acanthus leaves H : 35 cm Chips and accidents

Friedrich HARNISCH, German school of the 19th-20th century Shepherd and his flock Oil on canvas Signed lower left FHarnisch 71 x 48.5 cm (Misses)

Ecole FRANÇAISE du XXème siècle - Boats in Sanary Oil on canvas Signed lower left 55.5 x 38 cm

Ecole FRANÇAISE du XIXème siècle - Lake landscape with chalets - Switzerland ? Oil on canvas 48 x 64.5 cm Restorations Wood and gilded stucco frame decorated with palmettes

Hippolyte GARNERAY (Paris 1787 - 1858) - Chivalrous scene in a park near a fountain Canvas 55 x 46 cm Signed Garnerey lower left H: 54 x W: 46 cm

Louis Justin Maurice PERREY (1856-?) - Portrait of Joseph Théodore Rougnon and Charles Amédée Rougnon. Pair of oil on canvas paintings, signed upper right, captioned upper left with the dates 1840 and 1798 surmounted by their coats of arms. In Louis XV-style gilded wood and stucco frames. H. 43 x W. 35 cm. Frames: H. 66 x 58 cm.

Camille FONCE (1867-1937). The birch tree Etching on paper. 23 x 50 cm