Paintings

Henry MORET (1856-1913) "Ouessant, pointe de Creach, 1901", Oil on canvas signed and dated lower right, 60.5 x 81.5 cm. - Roman Norbert Ketterer (Art dealer & Auctioneer in Lugano) in 1974 (accompanied by a letter and a customs invoice evoking the provenance) - Thyssen Bornemisza Group - Private collection A certificate of authenticity from Mr. Jean-Yves Rolland will be given to the buyer. The work will be included in the artist's catalog raisonné currently in preparation. Present in the collections of numerous European and American museums, Henry Moret is today considered one of the key players in the artistic revolution that flourished in Brittany in the late 1880s. His proximity to Paul Gauguin, Emile Bernard, Charles Filiger and Paul Sérusier made him a privileged witness to the effervescence that accompanied the birth and affirmation of synthesism. Endowed with an independent temperament, Henry Moret quickly overcame the debates that stirred this small cenacle tempted by Symbolist sirens to focus solely on the absolute necessity of translating the frank beauty of Breton landscapes. A connoisseur of the diversity of the Armorican shores, he tirelessly surveyed the coastline from the Quiberon peninsula to the Abers region. His proximity to the Ponant islands (especially Belle-Ile, Groix and Ouessant) also nourishes his inspiration. Above all, it enabled him to assimilate and continue the work initiated by Claude Monet in Belle-Ile in 1886. In the early 1890s, his paintings were exhibited at salons associated with the artistic avant-garde (notably Barc de Boutteville and the Salon des Indépendants), earning him a well-deserved reputation. Quickly spotted in 1895 by Paul Durand-Ruel, the famous Impressionist gallery owner, he benefited from the latter's unfailing support and began the most fruitful period of his career. Indeed, it was from these years until the beginning of the 20th century that his painting acquired a form of maturity unmatched by many of his contemporaries. Dated 1901, our large canvas is undoubtedly one of the pure masterpieces painted by the artist during these fertile years. For proof of this, we need only recall that it once belonged to one of Europe's most prestigious collections, that of Baron Thyssen-Bornemisza, renowned for his discerning taste. Its subject and workmanship are also reminiscent of a masterpiece from the Musée de Pont-Aven collections dating from 1901/1902. The latter depicts a cliff landscape on Ouessant, and it seems perfectly plausible to situate our painting in the same geographical environment. Above and beyond the subject, which harmoniously blends the permanence of the rocks with the movement of the ocean and sky, it is the marvellous pictorial qualities of this canvas that enchant all our awakened senses. How can we fail to feel the gentle rustle of the sea breeze as it hems the sea or coats the brightly-lit grass? How can we fail to be intoxicated by the infinite horizon, where the light vapors of the ocean merge with those of the sky? How can we fail to be enthralled by this bath of vivid colors to which the painter invites us, a veritable ode to the colorful magic of a luminous island day? Everywhere, the quivering brushstroke leaps and sculpts the relief of the cliffs as much as it accompanies the undertow of the sea currents: soft greens irrigated with yellow nuances for the vegetation, golden or pinkish ochres for the rocks, a subtle blend of deep blues enhanced by green reflections for the sea, and here culminates the dazzling whiteness of the foam! A master of the art of suggestion, Henry Moret composes one of his most brilliant chromatic scores, elevating the art of Impressionist landscape painting to its pinnacle. Adorned with all these qualities, this major work appears for what it is: an irreplaceable testimony to the formidable painter Henry Moret was.

Lucien SIMON (1861-1945) "Bain en Bretagne" or "Partie de Bain en pays Bigouden" circa 1909, Watercolor and gouache on paper mounted on canvas signed lower right, 147 x 104 cm Bibliography: Léonce Bénédite, "Lucien Simon aquarelliste", Art et Décoration, September 1909. André Cariou, Lucien Simon, Plomelin, Editions Palantines, 2002, reproduction page 123. Exhibitions : Paries, Galerie Georges Petit, Exposition de la Société nouvelle de peintres et sculpteurs. Quimper, Musée des beaux-arts, Lucien Simon, 2006, no. 67. Saint-Briac, Couvent et chapelle de la Sagesse, Lucien Simon, les plaisirs et les jours, 2011, illustrated on p.32 of the catalog. Provenance: Private collection. Sale by Mes Thierry, Martin et Lannon, Douarnenez, July 23, 1988, lot 50 bis. ----------------------------------------------------------------------------------- "This unlikely theme - Bigoudènes bathing naked on the banks of a creek on the Odet - probably predates the 1909 work. In 1893, Lucien Simon, vacationing in Bénodet since his marriage to Jeanne Dauchez in 1890, was visited by his friend Émile-René Ménard. Seduced by the wooded shores of the Odet, Ménard imagined two women bathing naked in the Kergos cove near the Dauchez family villa. For him, this peaceful landscape becomes a kind of Arcadia, where he attempts to exalt the harmony between these two women and nature (L'Anse de Kergos, former collection of Edward Aleksander Raczynski, Château de Rogalin). Probably shortly afterwards, Lucien Simon painted a Nymphe des bois (former collection of Francesco Llobet, Buenos Aires), showing a partially nude young woman on the banks of a river that could be the Odet. He was then looking for subjects, between L'embarquement de saint Gallonec (private collection) and Jésus guérissant des malades (Jesus healing the sick), which he set on the beach at Bénodet. Whatever the subject, Simon always drew on the solid training he had received. The nude is one of them, and it's not surprising that he invented the theme of the Bigouden bath to draw several nude women. Is there an anecdotal reason for this choice? As usual for his ambitious compositions, Simon works from small painted sketches and drawings, through large gouaches to large paintings for the annual Salon. Painted replicas in various formats may follow. Simon sets his scene on a corner of the riverbank, probably the Odet or one of its coves, dominated by the trunks of majestic pine trees. In the various versions, he plays on the inclination of the trunks and the arrangement of the trees in the background. In another version (former Francisco Llobet collection, Buenos Aires National Museum of Fine Arts), he replaces the trunks with a cliff face. The versions differ in the number of figures - three, five or six - and their arrangement. Each figure is clearly identified by the painter, who gives them a precise place. The attitudes of each figure reveal the painter's skilful work in the studio, based on models. On the right, a young woman who has kept her clothes on and is sheltering under an umbrella observes her bathing companion. Further down, a young woman is getting dressed. Then, at the water's edge, another washes her feet. Beside her, a seated Bigoudène sports ribbons and a flashy red skirt. The bather in the middle seems to be looking at the intruder observing the group, in this case the painter. All this is masterfully constructed to animate the group, based on large gouache watercolors such as the one in Auguste Rodin's collection (Paris, Musée Rodin) featuring three figures. The large painted version exhibited at the 1910 Salon (Paris, Musée d'Orsay) features this simplified arrangement. The large watercolor and gouache drawing showing the five figures was not followed by a painting. It's clear that the painter took great pleasure in this work, using a technique in which he excelled, as evidenced by his famous drawings of Bigoudènes and Bigoudens. Auguste Dupouy, another devotee of the Bigouden region, wrote of Le Bain acquis par l'État (La peinture en Bretagne aux XIXe et XXe siècles, 1944, Librairie générale J. Philou, Rennes): "There is also a painting by him in Luxembourg entitled Baigneuses, where three Bigouden Graces, recognizable only by their headdresses, which they have kept, like some others by our great sculptor Quillivic, are dressed only in their youth, which is buxom. As I told him how astonished I was at this disrobing, which was not customary for Breton women, he confided in me that of the three, only the one who had posed from the front had been able to do so.

English neoclassical school circa 1800 after the antique Head of a companion of Ulysses White marble H. 66 cm Reference work : -Head of a companion of Ulysses (Fragment), first half 2nd century AD, marble, H. 74 cm, Hadrian's Villa, Townley Collection, London, The British Museum, inv. 1805, 0703.86. Related work : -Head of a companion of Ulysses, Hadrian period, white marble, H. 70.5 cm, Vatican City, Vatican Museums, inv. 695. Related literature -Marin Quigna, Gavin Hamilton: The Great Harvest: de la fouille à une antiquité rêvée : un antiquaire écossais dans la Rome de la seconde moitié du XVIIIème siècle, mémoire de recherche sous la direction de Corinne Jouys Barbelin, Paris, École du Louvre, September 2016 ; -Brendan Cassidy, The life and letters of Gavin Hamilton (1723-1798): artist and art dealer in eighteenth-century Rome, London, Harvey Miller Publishers, 2011 ; -Guillaume Faroult, L'Antiquité rêvée : innovations et résistance au XVIIIème siècle, cat. exp., Paris, Musée du Louvre, December 2, 2010-February 14, 2011, Paris, Louvre Editions, 2010, pp. 68-69; -Viccy Coltman, Classical sculpture and the culture of collecting in Britain since 1760, New York, Oxford University Press, 2009; -Henri Lavagne, "Deux antiquaires à la villa d'Hadrien", in Bulletin de la Société nationale des Antiquaires de France, 2004, pp. 72-76; -Jacques Charles-Gaffiot, Henri Lavagne, Hadrien : trésors d'une villa impériale, cat. exp. Paris, Mairie du Vème arrondissement, September 22-December 19 1999, pp. 95-97, related work listed under no. 74, p. 231; -Brian Francis Cook, The Townley marbles, London, British Museum publications1, 985, model listed under no. 47, pp 16-18. The ancient work that served as the model for this Head of a Companion of Ulysses was found between 1769 and 1771 during archaeological excavations directed by the Scottish painter and antiquarian Gavin Hamilton (1723-1798), at Pantanello, a site located in the grounds of Hadrian's villa at Tivoli, near Rome. In the 18th century, encouraged by the rediscovery of classical antiquity and the development of collecting alongside the Grand Tour, excavations multiplied in Italy. From 1730 to 1776, Count Fede probed the grounds of Hadrian's Villa. The marshy land on the Villa estate belonged to Luigi Lolli, mayor of Tivoli, who had discovered sculptures around the pond. In 1769, Gavin Hamilton and Giovanni Battista Piranesi (1720-1778), a draughtsman and engraver, joined forces, acquired the Pantanello land and decided to share the discoveries. The draining of the marsh proved to be a laborious and fruitful undertaking. In accordance with the agreement with Piranesi, Gavin Hamilton recovered the most important works, which he quickly sold to European collectors, including the Englishman Charles Townley (1737-1805). Even before their meeting in 1772, Gavin Hamilton and Charles Townley maintained a regular correspondence, in which the antiquarian reported to the antique enthusiast on his research and the condition of his finds. Later, in a letter to the collector dated May 18, 1779, Gavin Hamilton summarized his research at Pantanello and explained that the busts and portraits found buried in the mud were the best preserved. In the same letter, he lists the main discoveries made during the excavations and their location; in particular, he recalls a Greek hero's head now in the possession of the addressee, Charles Townley. First exchanged with Thomas Jenkins, collector and art dealer, this antique head was subsequently acquired by Charles Townley on February 18, 1772 for £200. Charles Townley made several trips to Italy. On his return to London in 1774, he rigorously studied the works he had brought back from his Grand Tour or purchased later from English antiquarians in Rome. He proposed several hypotheses to identify this ancient head: a titan's head, a Homeric hero or a portrait of Diomedes. In 1957, the discovery in the Tiberius grotto in Sperlonga of a later but more complete group depicting the blinding of the Cyclops Polyphemus confirmed that it was indeed the head of a hero from Homer's Odyssey, and more precisely a companion of Ulysses. Following the example of 18th-century English collectors, Charles Townley wrote several catalogs of his acquisitions, including a title, the name of the antique dealer, the price of the work and an academic description based on his exchanges with other collectors and on old sources. An oil on canvas by Johann Zoffany illustrating Charles Townley and his friends

Armand RASSENFOSSE (1862-1934) Au bar Huile sur carton double-face Cachet rouge de l’artiste en haut à gauche 44,5 x 35 cm Provenance: - Atelier de l’artiste, Liège (porte au dos l’étiquette) - Galerie Georges Giroux, n° du stock 4500 (porte au dos l’étiquette) - Collection particulière, Bruxelles

Pierre ALECHINSKY (1927) Sans titre, 1976 Encre appliquée au pinceau et aquatinte sur papier chinois Signé et daté au crayon au centre à droite: "Pierre Alechinsky 1976" Annoté à gauche: "C.D vu" (probablement pour Christian Dotremont vu par Alechinsky) 98,5 x 60 cm Notre oeuvre s'articule ici en deux parties supérieure et inférieure, délimitées par des frises apposées énergiquement au pinceau, propres au vocabulaire esthétique d'Alechinsky. En partie supérieure, le grand motif circulaire à l'aquatinte rouge est un motif que l'artiste utilise souvent dans les années 1970, tel un soleil tournoyant et rayonnant sur la composition. En partie inférieure semblent évoluer deux figures en mouvement. L'homme de gauche au grand nez et coiffé d'un bonnet est probablement Christian Dotremont en bonnet lapon. Alechinsky a souvent rendu hommage à son cher ami et fondateur du groupe CoBrA, à travers plusieurs oeuvres et écrits, et notamment à travers quelques portraits dans lesquels il représentait le poète/artiste coiffé de son célèbre couvre-chef traditionnel de Laponie. La composition et les motifs qui composent notre oeuvre restent cependant très énigmatiques et nous renvoient à l'univers d'Alechinsky qui ne se situe jamais totalement dans l'abstraction ni la figuration, mais dans un monde dont les codes lui sont propres.

Gudmudur ERRO (b. 1932) The Devil and Jawlensky 1864-1941,1990. Acrylic on canvas signed, dated and titled on the back. 46.5 x 33 cm

Alexandre ROUBTZOFF (Saint Petersburg, 1884 - Tunis, 1949) Rue de Menzel Bou Zelfa (1916) Oil on canvas mounted on cardboard, signed and dated lower right "A. Roubtzoff. 1916" and localized lower left "Menzel-Bou-Zelfa". Framed. H. 16.5 x L. 16.5 cm (on view).

Eugène BOUDIN 1824-1898 - LE RIVAGE DE TROUVILLE, 1874 Oil on canvas signed and dated lower left 37 x 58 cm Provenance : Hôtel Drouot sale, Paris, "30 tableaux par Boudin", January 23, 1878 (lot 18) Anon sale: Hotel Drouot, Paris, April 8, 1910 (lot 8) Private collection, Switzerland Bibliography: R. Schmit, Eugène Boudin 1824 - 1898, Paris, 1973, Vol I, p.358 no. 1014 Mandatory pre-sale registration with deposit

Mathurin MEHEUT (1882-1958) "Les joueurs de boules", Gouache and mixed technique on heavy paper mounted on card, monogrammed lower right, 75 x 108 cm

Maximilien LUCE (1858-1941) Landscape Oil on canvas board. Signed lower right 15.5 x 24 cm Expert : cabinet Chanoit

Claude VENARD 1913-1999 - THE PORT AND THE LIGHTHOUSE Oil on canvas signed lower right and titled on back 60 × 73 cm (small chip on the mast) Some craquelure and missing parts

ROMINA Ressia (born 1981), after Bubble gum Photograph Yellowkorner edition - Numbered 580 lower right and certificate on back Sight size: 35 x 23 cm

Alfred STEVENS (1823-1906) Marine Huile sur panneau Signé en bas à droite: A Stevens" 33 x 24 cm

Jean Roger SOURGEN (1883-1978) Lake and pine forest (Hossegor?) Oil on canvas. Signed lower left 50 x 65 cm Expert : cabinet Chanoit

Armand GUILLAUMIN 1841-1927 - VILLAGE IN ILE DE FRANCE, circa 1885 Oil on canvas signed lower right 73 x 92 cm Exhibition : Galerie Durand Ruel Paris Paris Galerie Raphael, Armand Guillaumin centenary exhibition May 24 - June 07, 1941, no. 26 Bibliography: This painting will be reproduced in Volume II of the Catalogue Raisonné of Armand Guillaumin currently being prepared by the committee. A certificate of authenticity from the Comité Guillaumin will be given to the buyer.

École italienne du XVIIe siècle Femme et enfants Huile sur toile 83 x 74 cm (restaurations)

Peter KLASEN (b. 1935) Blue and yellow tarpaulin truck 605 corrosif, 1985. Acrylic on canvas signed, dated and titled on the back. 54 x 45.5 cm

FORMENTO + FORMENTO (born in the 20th century), after Smoking nun cinecitta Italy Photography Yellowkorner edition - Numbered on the back 1136 with certificate Sight size: 23 x 35 cm

Jean MIOTTE 1926-2016 - THE HOPE OF A LIFETIME Spray paint and acrylic on canvas, signed lower center 162 x 130 cm Provenance : Galerie Daniel Besseiche, Paris Private collection

Pontoy, Henry Jean Ksar im südlichen Marokko. Um 1930. Öl auf Leinwand, ganzflächig auf Malkarton kaschiert. Ca. 54 x 85 cm. Signiert. Gerahmt. - Leinwand an den Rändern teils leicht unregelmäßig beschnitten. Im oberen Bildbereich mit wenig merklich - Landscapes - Orient Pontoy, Henry Jean Ksar in southern Morocco. Circa 1930. Oil on canvas, mounted over the entire surface on card. Approx. 54 x 85 cm. Signed. Framed. - Canvas partially slightly irregularly trimmed in the margins. In the upper area of the image with barely noticeable small superficial stains and small losses of color. Very occasional fine craquelure. No retouching visible under UV. Very good overall. Powerful scene in the artist's typical personal style, in opaque, fresh colors. We would like to thank Mr. Frédérick Chanoit for kindly authenticating this painting. The work will be included in the "Les archives Pontoy". - Henry Jean Pontoy was a French painter and important representative of Orientalism in the 20th century. He studied at the École des Beaux-Arts de Paris and took part in several salons with works after his graduation. 1926 was a turning point in his work, as he received a travel grant from the Société coloniale des artistes français, which took him to North Africa. Pontoy traveled to cities and places in Tunisia, Morocco and Algeria. In addition to motifs of the landscape, culture and inhabitants of the countries, he participated in the cultural and artistic life and became a member of the Salon Tunisien immediately after his arrival. Pontoy spent several years in North Africa and received recognition for his work, winning the Grand Prize of the city of Algiers in 1933. Stylistically, his works bear witness to a sensitive examination that perfectly captures the people, nature and climatic conditions in an airy painting characterized by light and shadow, which lent a realistic nuance to the previously academic Orientalism. Our painting was created during a stay in southern Morocco and shows the banks of a river in front of a ksar (High Arabic for castle or fortress), which is a typical and traditional settlement. Morocco - Oriental Art. - Oil on canvas, fully mounted on board. Signed. Framed. - Canvas partially slightly irregularly cut in margin. In the upper area of the image with barely noticeable small superficial stains and small chips. Very occasional fine craquelure. No visible retouching under UV. Very good overall. Powerful scene in the artist's typical personal style, painted in opaque colors. - {We thank Mr Frédérick Chanoit who kindly authenticated the painting. The work will be included in "Les archives Pontoy"}. - Henry Jean Pontoy was a French painter and important representative of Orientalism in the 20th century. He studied at the École des Beaux-Arts de Paris and took part in several salons with his works after graduating. 1926 was a turning point in his work as he received a traveling scholarship from the Société coloniale des artistes français which took him to North Africa. Pontoy visited cities and places in Tunisia, Morocco and Algeria. In addition to motifs of the landscape, culture and inhabitants of the countries, Pontoy took part in the cultural and artistic life and became a member of the Salon Tunisien immediately after his arrival. He spent several years in North Africa and received recognition for his work, winning the Grand Prize of the city of Algiers in 1933. Stylistically, his works bear a sensitive exploration of his subjects, the peolple, nature and climatic conditions captured perfectly in manner characterized by light and shadow which gavea realistic nuance to the hitherto academic Orientalism. Our painting was created during a stay in southern Morocco and shows the banks of a river in front of a ksar (High Arabic for castle or fortress) which is a typical and traditional architectural type of living.

Auguste CHABAUD 1882-1955 - LA COUR DU MAS Oil on card signed lower right 26 × 36 cm On the back, a sketch

Bengt LINDSTRÖM (1925-2008). Consolatrix. Acrylic on paper, mounted on canvas. 1981. On the back: stamp: Artist Bengt Lindstrom - Alexander Linstrom - Mariana Lindstrom - with reference 2669 Dim. 77x56,5 cm.

Auguste RENOIR 1841-1919 - HEAD OF A YOUNG GIRL, circa 1906 Oil on canvas 11.5 x 8.5 cm Provenance : Palais Galliera (Loudmer) sale of December 06, 1975 n°115 Ambroise Vollard unpublished Archives d'Essoyes signed Renoir and dated September 2, 1907 This work will be included in the digital Catalogue Raisonné being prepared under the auspices of the Wildenstein Plattner Institute. A certificate will be given to the buyer.

Italian painter of the Bolognese School (active in the 16th century) Portrait of a humanist or wealthy merchant This representative portrait of the Italian late Renaissance shows a middle-aged, bearded gentleman sitting in an armchair, dressed in long, dark clothing befitting his rank, his body and face turned towards the viewer in half-profile. While he holds a white handkerchief in his right hand, which is bent downwards, his left hand is open upwards in an eloquent gesture. The successful composition follows the famous portrait of Pope Julius II by Raphael from 1511 (who is also holding a white handkerchief in his right hand) and the type of portrait of Pope Paul II by Titian (1543) and the Titian portrait of King Philip II of Spain (1545) based on it. According to the inscription at the bottom right, the sitter is a portrait executed in 1551 by the originally Flemish merchant Giovanna d'Anna (died 1574), who lived in Venice and was a friend and patron of Titian. Stylistically, the portrait can be attributed to the Bolognese school of the 16th century, strongly influenced by important northern Italian artists such as Titian and Tintoretto. Possible artists include Bartolomeo Passarotti (1529 Bologna - 1592 Rome) and Lavinia Fontana (1552 Bologna - 1614 Rome), although Fontana's date of birth would rule her out, assuming that the inscription dated 1551 is authentic and was not added later. Oil on canvas; inscr. and roman dat. "GIOVANNI DANNA E.S. A. D. MDLI". Verso old, red wax seal with coat of arms and inscription "ACCADEMIA CLEMENTINA BONONIENSIS" of the art academy in Bologna called "Accademia Clementina" since 1711. 127.5 cm x 109.5 cm. Frame. Provenance: 1957-2016 Swiss private collection; auction Koller, Zurich, March 18, 2016, lot 6513 (as Venetian school of the 16th century). Italian painter of the Bolognese School of painting active 16th C.; Oil on canvas. Inscribed and dated 1551 in Roman numerals "GIOVANNI DANNA E.S. A. D. MDLI". Old red wax seal with coat of arms of the Accademia Clementina in Bologna.

Marie LAURENCIN 1883-1956 - MADEMOISELLE LESIEUR À LA ROBE ROSE, 1950 Oil on canvas, signed and dated upper right 33 x 24 cm Provenance: Lesieur Collection

Auguste RENOIR 1841-1919 - COCO IN PROFILE, 1901-1902 Oil on canvas, monogrammed lower right 12.2 x 10.3 cm Bibliography : Ambroise Vollard Paris (1918) reproduction page 98 tome II Archives de Cagnes signed by Renoir on January 08, 1909 Ambroise Vollard, Pierre Auguste Renoir edition Alan Wofsy Fine Art San Francisco (1989) n°1245 page 266 Provenance : Ambroise Vollard acquired it from the artist in 1909 Palais Galliera (Loudmer) sale, December 06, 1975, no. 116 This work will be included in the digital Catalogue Raisonné being prepared under the auspices of the Wildenstein Plattner Institute. A certificate will be given to the buyer.

Édouard CORTES 1882-1969 - QUAI DU LOUVRE AT DUSK Oil on canvas signed lower right 50 x 65 cm Bibliography: This work is reproduced in black and white under number 237 in "Edouard Cortes, Catalogue Raisonné de l'Oeuvre Peint - I", published in 2009 by Madame Nicole Verdier, and will be included in the supplement to volume III currently in preparation. A certificate of authenticity from Madame Nicole Verdier will be given to the buyer.

Large male Lulua or Bakwa-Luntu figure. Luluwa ritual statues are extremely rare. This example is exceptional for its size and its ever-present ritual oil agglomerate. This statue is part of a collection of objects collected around 1900 in "Congo - Belge" by Alix Maréchal's father. Provenance: Alix Maréchal Collection, by descent to the current owner.   Weight: 580 g Shipping available Sizes: H 420MM X L 95MM Condition: At first glance: good condition

Attributed to Andréa APPIANI (1754 - 1817) Portrait of Napoleon, King of Italy Panel Height: 18.5 cm Width : 12,9 cm Green wax stamp on reverse, and inscription "Napoleon King of Italy / in the costume of his coronation / painted in Milan milan in 1800 / by appiani". Numerous antique labels, including: one stating "sale of Count Andréassy, Hungarian minister, in 1864, was reproduced in a Russian work";/ "Andrea Appiani, born in Milan, 1754-1814, portrait of Napoleon, Sold to Count Andréassy, Hungarian minister, 1884, was reproduced in a Russian work. Appiani (chevalier) Bosi ...ogio (?).painter in Milan Napoleon mentions him in his will, considering him as a friend. He asked him to pass on to his son, when he grew up, the mementos he had in his hands, of which he was the custodian. of which he was the custodian. This painting belonged to Orloff Denissof, who had set up a museum in France. Napoleon" / "engraved by Alix, in colors" / "Itinéraire général de Napoléon 1er, Calendar du 15 aout 1769 au 5 m... 1821, by Albert Schu...mans" / "Napoleon King of Italy in coronation costume painted in Milan in 1806 by Appiani". Our small format is a repeat of Appiani's composition in the Musée Napoléonien on the Île d'Aix. d'Aix. Some twenty replicas were executed by Appiani and his pupils, at the Schatzkammer at the Vienna Hofburg in Vienna, in the Lord Rosebery collection at Dalmery House, at the Risorgimento Museum in Milan ... Napoleon is dressed in "petit habillement" for the coronation ceremony in Milan on May 26, 1805. He wears the laurel crown of Emperor of the French, by Biennais, of which only one leaf remains conserved at Fontainebleau. He places his hand on the closed crown of King of Italy purchased from the Parisian jeweler jeweler Marguerite (Milan, Risorgimento Museum) and wears the collar, plaque and red cord of the Legion of Honor. He stands before an arch supported by two renamed women draped in antique style. Expert: Cabinet TURQUIN - M. Stéphane PINTA

Carlo LASINIO, after Johann Ernst HEINSIUS (Treviso 1759 - Pisa 1838) Portrait of Edouard Gautier Dagoty Pastel, oval 61 x 50 cm Provenance : Collection Pierre Edouard Gautier - Dagoty (1775 - 1871), son of the model ; Collection Emilie Cuginaud (1820 - 1887), née Gautier - Dagoty, her daughter; Collection Marguerite Jeanne Clara Bouchard (1844 - 1921), née Cuginaud, daughter; Collection Antoine Bouchard (1872 - 1939), his son; Since remained in the family. Our pastel is probably a variant of the portrait painted by Johann Ernst Heinsius (see Ch. Oulmont, J. E. Heinsius 1740 - 1812 Peintre de Mesdames de France, Paris, 1913, no. 50, reproduced on pl. 29). Lasinio was a pupil of Dagoty in Florence, where the latter died in 1783. His son Louis Dagoty is said to have collaborated with Lasinio on a print of Heinsius's portrait. Lasinio began his career as a painter in Venice. He moved to Florence in 1778, and from then on devoted himself to engraving, which he was to teach at the Florence Academy from 1800 onwards. In 1812, he was appointed curator of Pisa's Camposanto, whose frescoes were in danger of falling into ruin. The engravings he published of these frescoes had a considerable influence on the Pre-Raphaelites. In addition to his series of engravings reproducing the Old Masters, Lasinio also produced a number of original works, including portraits of famous Italians. From a dynasty of artists, Arnaud Eloi dit Edouard Gautier Dagoty ( Paris 1744 - Florence 1783), was the son of Jacques Fabien Dagoty, who was an engraver, anatomist and botanist. Edouard Dagoty continued his father's work in anatomy and engraving, perfecting the technique of color engraving that his father had helped invent.

RIEDER Marcel (1862-1942) Reading Oil on canvas Signed lower right (slight breaks in the paint layer) 33.5 x 41 cm

Albert LEBOURG 1849-1928 - THE SEINE IN PARIS Oil on canvas signed lower right 38 x 61 cm

ROMINA Ressia (born 1981), after Coke Photograph Yellowkorner edition - Numbered 200 lower right and certificate on back Sight size: 35 x 23 cm

Alexandre ROUBTZOFF (Saint Petersburg, 1884 - Tunis, 1949) View of Mided (1940) Oil on canvas mounted on cardboard, signed and dated lower right "A. Roubtzoff. 1940. 1er Nov." and localized lower left "Mided". Framed. H. 19.7 x W. 28 cm. Provenance - Gift from the artist to Dr. Éloi Baysse, colonization physician in Tunisia (appointed in 1934), also a friend and physician of the artist. - Then by descent. Expert : Maxime Charron Collection of unpublished works by Alexandre Roubtzoff from Dr. Éloi Baysse, the artist's friend and physician in Tunisia. "I only came to Tunisia for a few days, and I stayed there for the rest of my life", wrote the artist in his memoirs. Alexander Roubtzoff, born in St. Petersburg on January 24, 1884, trained in the painting department of the Imperial Academy of Arts under the tutelage of Yan Frantsevich Tsionglinsky (1858-1912), a key figure in his training since Tsionglinsky was considered one of the first Russian Impressionists and was also a great traveler and lover of exotic countries. Between 1907 and 1912, Roubtzoff travelled extensively on a scholarship, taking him to Austria, Germany, Italy and Morocco, where he was unable to establish himself permanently because of the Moroccan campaign, prompting him to travel to Tunisia and settle there in 1914. The First World War prevented him from returning to Russia, and Roubtzoff took up residence in Tunis in an apartment-studio at 33 rue Al Djazira. The October Revolution of 1917 marked a major turning point in the artist's life; he severed ties with his native country, took French nationality and presented himself as "a Frenchman born in St. Petersburg". This new horizon guided him towards plein-air painting, imbued with the warmth of the Sahara sands and the contrasts of the Atlas mountains. The magic of Tunisian light and its unique nuances, as well as street scenes and depictions of Arab life, inspired Roubtzoff throughout his life, creating over 3,000 works of great diversity. The collection of completely new works presented in this sale is of a truly exclusive nature. Whether portraits or landscapes, these paintings were hitherto unknown to reference books and historians. According to family tradition, all these works originally came from the collection of Éloi Baysse, a doctor from the Cahors region, appointed in 1934 as colonization doctor in Tunisia, which explains why all the works are dated between 1935 and 1948. In his diary, Roubtzoff wrote in 1940: "It's always Dr. Baysse who takes me around the region (...)". This previously unpublished set shows the range of subjects Roubtzoff appreciated, including two portraits of major importance: the portrait of Arbia (1941) and the portrait of Marie Madeleine Leroy (1946). The portrait of Arbia highlights the artist's talent, mainly in the meticulousness of detail, the beauty of the subject and the sincerity of expression. Roubtzoff sublimates the oriental woman, clearly breaking away from the odalisque stereotype. His Bedouin portraits reveal the nobility and beauty of a people. Every detail and every pigment serves to highlight the beauty of Arbia's face, as does the use of intense blues, vibrant pinks and reds in the fabrics that dress her. As for the portrait of Marie Madeleine Leroy, General Mast's wife, it was probably commissioned by the ambassador's wife. Excelling in worldly portraits, the painter depicts her in her official residence, dressed in European style in a verdant, exotic setting. Once again demonstrating great realism, it's possible to recognize her perfectly, as in this period photo of their arrival in Tunis (see illustration). The collection also includes a number of small-format landscapes, also emblematic of Roubtzoff's body of work, the majority of which are painted in oil on canvas mounted on cardboard, a technique unique to the artist that he called "canvas boards", enabling him to transport them easily and in large quantities. The collection of Dr. Éloi Baysse's descendants will be presented to the public for the first time. It has been many years since an ensemble of this importance was auctioned off. Their dispersal will enrich the knowledge and body of work of an artist recognized and acclaimed by his peers as "the Russian Orientalist painter", who was recently put up for auction.

Raphaël DELORME (1885-1962) Bath at the Harem Oil on isorel. Signed lower right 39 x 55 cm Condition report: Good general condition, but a cleaning of the painting will give it a better luminosity. Expert : cabinet Chanoit

FRENCH school circa 1750, workshop of François BOUCHER (1703-1770) The Song Canvas. 65.5 x 54 cm Signed lower right F. Boucher. Taken from the upper part of the panel in the Frick Collection, New York (see A. Ananoff, François Boucher, Tome II, Paris, 1976, no. 367, reproduced fig. 1076).

Fernand LEGOUT-GERARD (1856-1924) "Les quais d'Audierne", Oil on canvas signed lower right 46 x 55 cm PROVENANCE : Galerie Yannick DOYEN, 2007 EXHIBITION : Musée du Faouët, "Fernand Le Gout-Gérard (1854-1924)" from June 12 to October 3, 2010

Marie BRACQUEMOND (Landunvez, 1840 - Sèvres, 1916) Study for 'La Partie de jacquet' (The Backgammon Game) Oil on canvas Study for 'La partie de jacquet', oil on canvas, by Marie Bracquemond 9.64 × 12.79 in. H : 24.5 cm, W : 32.5 cm Exhibitions : Works by Marie Bracquemond, preface by Gustave Geffroy, Paris, Galerie Bernheim-jeune, May 19-31, 1919, cat. no. 49. Marie BRACQUEMOND (Landunvez, 1840 - Sèvres, 1916) H : 24.5 cm, W : 32.5 cm

Karel DU JARDIN (Amsterdam 1626 - Venice 1678) The street singer Canvas. Signed lower left K. du Jardin. 43 x 37 cm Provenance : Henri de Rothschild Collection according to a label on the reverse of the frame. Another version considered problematic is currently lost (see J.M Kilian, The Paintings of Karel du Jardin, 2005, Amsterdam, B28, reproduced plate 155).

Marie BRACQUEMOND (Landunvez, 1840 - Sèvres, 1916) Study of an elegant woman with parasol for 'En bateau (Sisley et sa femme)', also known as 'L'Hirondelle'. Circa 1880 Oil on canvas mounted on cardboard Unframed Study of an elegant woman with parasol for 'En bateau (Sisley et sa femme)', also known as 'L'Hirondelle', oil on canvas laid down on cardboard, by Marie Bracquemond 14.37 × 10.63 in. H : 36.5 cm, W : 27.0 cm Exhibitions : Marie Bracquemond, hommage à Félix Bracquemond, Paris, Galerie Bernheim-jeune, April 7-May 5, 1962. cat. no. 13: "Esquisse - Mme Sisley". Bouillon, Jean-Paul (dir.), cat. exp. Félix et Marie Bracquemond, Mortagne - Chartres, May-September 1972, cat. no. 71: "Femme à l'ombrelle". Marie BRACQUEMOND (Landunvez, 1840 - Sèvres, 1916) Study of an elegant woman with parasol for "En bateau (Sisley et sa femme)", also known as "L'Hirondelle". oil on canvas laid down on cardboard H : 36.5 cm, L : 27.0 cm

Pieter BOEL (Antwerp 1622 - Paris 1674) Still life with hunting trophies Canvas. 155 x 203 cm Monogrammed lower right PB. Provenance: - Anonymous sale, Sotheby's Monaco, December 2, 1994, no. 17, reproduced; - Anonymous sale, Paris, Hôtel Drouot (Mes Neret-Minet et Tessier), June 19, 2009, no. 6, reproduced. The painting evokes a natural harmony with the presence of several music thrushes, great tits, woodcocks, a barn owl, a revered pheasant, a molting mallard, a whistling cane, two rabbits, two hares, red and gray partridges and a barbet dog. Jean-Siméon Chardin was also a fervent admirer of the barbet dog, which he depicts in his painting formerly in the Roberto Polo collection (see P. Rosenberg, Tout l'oeuvre peint de Chardin, Paris, 1983, no. 49, reproduced). Here, he portrays an animal that seems to emanate deep loyalty and quiet vitality, making it the main subject of the painting. Known for his "hunting returns", Pieter Boel was one of the most renowned artists of 17th-century animal painting. He drew directly from live animals in natural settings, enabling him to reproduce the liveliness of textures. Initially trained by his father, himself an engraver, he spent some time in Genoa, before returning to Antwerp, where he was admitted to the Saint Luc guild as a freemason in 1650. He then moved to Paris, where he was commissioned, along with Charles Le Brun, to produce studies for tapestries at the Gobelins manufactory. For the tapestry known as "Les Maisons between 1669 and 1671, eighty-one studies of birds and mammals from the Royal Menagerie at Versailles. They were transferred to the Musée du Louvre and subsequently dispersed to various provincial museums.

Jean Roger SOURGEN (1883-1978) Les Bruyères Oil on panel. Signed lower left 19 x 24 cm Expert : cabinet Chanoit

Jean GOUWELOOS(1868-1943) Femme assise accoudée Huile sur toile Signé en haut à gauche: "Jean Gouweloos" 61 x 50 cm (un accident)

Bengt LINDSTRÖM (1925-2008). The Thinker. Acrylic on paper, mounted on canvas. 1975. On the back: stamp: Artist Bengt Lindstrom - Alexander Linstrom - Mariana Lindstrom - with reference 2476 Dim. 76,5x57 cm.

Armand GUILLAUMIN 1841-1927 - PARIS, THE QUAI SAINT-BERNARD UNDER THE SNOW Oil on canvas signed lower right 48.5 x 65 cm Provenance: Galerie de l'Obsidienne, Paris Bibliography: This work is reproduced in Volume I of the Catalogue Raisonné of the artist's work by Messrs. Serret and Fabiani.

Edwaert Collier (1640 Breda - 1708 London) Circumference Trompe-l'oeil painting with copperplate engraving of a thorn puller on a wooden wall The motif and style reflect the formative influence of Edwaert Collier, who, in addition to vanitas still lifes, also created a series of comparable trompe l'oeil paintings with engravings composed to great effect on wooden walls. Collier was admitted to the Haarlem guild in 1664, from 1667 he was active in Leiden, in 1686 he moved to Amsterdam and in 1693 to London. Oil on canvas; Ger. Gouge, collection no. mounted to lower margin; 65.5 cm x 56.5 cm. Provenance: From the collection of Maria Antonia Pessina de Branconi (1746 - 1793), mistress of Duke Karl Wilhelm Ferdinand von Braunschweig (1735 - 1806), from 1781 in Langenstein Castle near Halberstadt; then in the collection of August Wilhelm Rimpau (1814 - 1892), Langenstein Castle near Halberstadt, inventoried in 1893 by the art historian Wilhelm von Bode (1845 - 1929), who was related to him; owned by the family at Langenstein Castle until 1945; later in various museum collections in the former GDR, including in Berlin, Dessau and Berlin. Berlin, Dessau, Halberstadt, Halle, Mosigkau, Wernigerode and Zeitz; restituted after 1990. Circle of Edwaert Collier (1640 - 1708). Oil on canvas. Minor flaw to the canvas, mounted collection plaque with no.

Maxime MAUFRA (1861-1918) "La clairière en Bretagne" Oil on canvas signed lower left, 112 x 81 cm

Charles KVAPIL (1884-1958). Leda and the Swan. Oil on panel signed lower right, countersigned and dated 1929 on the back. Also bears an old Robinot Frères shipping label on the back. Height 23 cm - Width : 37 cm

École française du début du XVIIIe siècle L’amour, la beauté, la force et la richesse sont de tous les mortels les maîtres et les maîtresses Huile sur toile 100 x 130 cm (oeuvre rentoilée, anciennes restaurations)

Eugène BEGARAT (b. 1943) "Paysage divisionniste animé", Oil on canvas signed lower right, 72 x 92 cm