Paintings

Marcel CARON (1890-1961) Le fumeur de pipe au café, 1926 Huile sur toile marouflée sur panneau Signé et daté en bas au centre: "Marcel Caron 26" 65 x 55 cm Ce tableau cristallise les influences de l'expressionnisme de l'École de Laethem-Saint-Martin, et notamment celles du travail de Constant Permeke et Gustave de Smet que Marcel Caron fréquente depuis le début des années 1920. Il crée ainsi un pont entre la modernité flamande et liégeoise. On peut ici deviner sur le journal posé au premier plan: le titre "L'Escalier", du même nom du groupe fondé en 1926 parles trois peintres modernes majeurs de l'époque à Liège: Edgar Scauflaire, Auguste Mambour et Marcel Caron.

Paul SIGNAC (1863-1935) - Autograph letter signed with watercolor drawing addressed to a friend. December 4 [19]28, 3 pages in-8 in watercolor and ink on paper, framed. Original watercolor drawing of the Pont Neuf in Paris. Signed lower right on page 4. Dimensions of drawing: 12.7 cm. x 16.6 cm. Size of drawing and text: 20 x 16 cm. Transcription of text: "Dec. 4, 28 Dear friends, I'd like to thank Admiral Le Mordu for supplying the squadron with this excellent pasta. The crews strutted their stuff in his honor! We've started to enjoy them. As we had a Breton maid, who was kind but a little naive, I ordered her to make me a dish of stuffed macaroni, and explained to her how it should be done: using a knitting needle, make a meat mince with 3 herbs according to the rules in Paris, stuff the tubes of pasta with this mince and, if necessary, use her breath to make it penetrate the ends of the tubes. After an hour, she came to tell me she couldn't do it. I don't think you're surprised. Will we be seeing you in Paris soon? For the children's party at Gaston's, maybe! Why don't you drop by sometime and say hello? We love you beautiful children! With our thanks, we send our best regards to both of you, and hugs to the little ones. Paul Signac As I'm just a vulgar tapper, if you could occasionally send me a pound of real flour (there's only plaster to be found there) it would be a feast! We'd make crêpes: our Breton woman, if she can't make stuffed macaroni, makes excellent crêpes... When she has good flour. Behold my shamelessness!" (sunstroke, freckles) Provenance Private collection, France

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.

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

Jeanne SELMERSHEIM-DESGRANGES (1877-1958) - Breakfast, blue light Oil on canvas Signed lower right 73 x 92.5 cm Provenance Private collection, France Pupil and later companion of Paul Signac, she was a French neo-impressionist painter who used the pointillist technique. Still lifes and landscapes were her favorite subjects. Her touch is defined by vivid strokes and intense, accentuated light. Her compositions are harmonious, particularly in her choice of oils, with their rare, delicate colors.

18th century FLEMISH SCHOOL: NURSING NURSE. Oil on canvas. 119 x 93 cm. Overlay, accidents, as is.

DIAZ de la PENA Narcisse Virgile (1808-1876) Peonies Oil on panel, signed lower right 14.4 x 9.6 cm

French school of the late eighteenth century Portrait of a Boy in Armor Oil on canvas (foxed, restorations) Two inscriptions: "FRANCOIS II" upper left and "Peint par / Clouet" upper right. 67.7 x 50.5 cm We are grateful to Madame Alexandra Zvereva, who has confirmed that this painting does not represent François II and rejects the attribution to François Clouet. It is part of the vogue for dynastic portraits that emerged at the end of the Ancien Régime and continued under the Restoration.

Françoise GILOT (1921-2023) The artist and her daughter, 1957 Oil on canvas. Signed and dated lower left. 19 x 27 cm

Workshop of Jean-Marc Nattier (Paris 1685 - 1766 Paris) The Judgment of Pâris Oil on canvas 71 x 95 cm. Provenance: - Collection of Julien Gréau (Troyes 1810-1895 ?), a great collector, notably of numismatics and antique glassware, by descent. Our painting is to be compared with an identical composition of the same format, executed by Nattier in 1735, which is known in several copies. Born in Troyes in 1810 to a wealthy Champagne family, Julien Gréau was an enthusiastic collector who successively assembled several collections over the course of his life, dispersing each one to focus on a new area of interest. His Greek, Gallic and French medals were sold in 1867, followed by his Roman medals in 1869, his antique bronzes in 1885, and finally his Greek terracottas in 1891 (the latter purchased in large numbers by the Louvre). He also acquired numerous paintings. His most important work was his collection of antique glassware, enamelware and pottery, comprising five thousand pieces, including over a thousand intact glasses. On Gréau's death in 1895, the collection was purchased by the American John Pierpoint Morgan - and published by W. Froehner - who subsequently donated it to the Metropolitan Museum in New York. Presented in an important gilded and molded wood frame, with foliage decoration, probably dating from the 19th century (recut). (Restorations, wear, abrasion, dusting). Expert : Pierre Antoine Martenet

Bernard BOUTET DE MONVEL, Series of preparatory photographs printed on paper for commissions of society portraits, max. size 16 x 12 cm, circa 1910-1920 [More than 40 documents] Set of preparatory photographs for large-scale commissions of society portraits. The first is a photograph of Pierre Quinsonas in polo costume, taken in Bernard Boutet de Monvel's studio. The artist then chose to portray his friend in front of the polo field at Bagatelle, near Paris. A dandy, Pierre de Quinsonas was well known to the Paris socialites. He was also an avid hunter, and was represented with his rifle in hand in "Portrait du comte pierre de Quinsonas en chasseur", 1914. The lot also includes preparatory photographs for this second painting of the Count. Mobilized during the First World War, he was posted as marshal des Logis in the first Moroccan aviation group. He died on July 19, 1917 at the Versailles military hospital, after a plane crash at Villacoublay airfield. Related works : Bernard Boutet de Monvel, "Le comte Pierre de Quinsonas", oil on canvas, Musée des années 30, Boulogne-Billancourt; reproduction of the preparatory drawing and painting in ADDADE, "Bernard Boutet de Monvel", Éditions de l'amateur, 2001, p. 110-111. Bernard Boutet de Monvel, "Portrait du comte pierre de Quinsonas en chasseur", oil on canvas, 1914, private collection, sold at Artcurial in 2015 (Lot 22, no. 2755). Also in the lot is a series of photographs printed on paper, with negatives, for a portrait of Mr. Georges-Marie Haardt in 1925. He worked for Citroën for twenty years, first as sales manager, then as general manager. He was appointed head of three Citroën expeditions, first across the Sahara, then to Africa (Croisière noire), then to Asia (Croisière jaune). Boutet de Monvel depicts him standing with a folded map in his hand, his autochenille behind him. In this way, the painting retains Haardt's body position and counter-angle from the photograph. Related work: Bernard Boutet de Monvel, "M. Georges-Marie Haardt", Oil on canvas, 1925, Musée du Quai Branly - Jacques Chirac, reproduced in ADDADE, "Bernard Boutet de Monvel", Éditions de l'amateur, 2001, p. 185. Bernard Boutet de Monvel built his reputation on his remarkable talent as a worldly portraitist, dominated by elegant stylization, refined drawing and refined colors. His painter friends, André Dunoyer de Segonzac (1884-1974) and Jean-Louis Boussingault (1883-1943), are thus brought together in one canvas. Camped in the middle of a hostile, vegetation-free landscape, the photograph announces the composition of the future canvas, completed and dated August 1, 1914, just one day before France entered the war. Two negatives are included with the lot, showing Bernard Boutet de Monvel's studio work for this painting. The artist duo can be seen in the same position as outdoors, posing in front of Bernard's canvases hanging in his studio. Related work : Bernard Boutet de Monvel, "MM. André Dunoyer de Segonzac et Jean-Louis Boussingault", Oil on canvas, 1914, Musée des années 30 de Boulogne-Billancourt / Musée du Petit Palais, reproduced in ADDADE, "Bernard Boutet de Monvel", Éditions de l'amateur, 2001, p. 129. The lot also includes a set of photographs printed on paper, with dry gelatin-silver bromide glass plates and negatives, used in the preparation of the painting "La convalescente", dating from 1906. While his grandmother was suffering from repeated fevers, Bernard took advantage of the end-of-year vacations to photograph her bedridden. The portrait was shown at the 1906 Autumn Salon. The canvas was purchased for the Musée du Luxembourg and is now in the collections of the Palais des Beaux-Arts in Lille. Related works : Bernard Boutet de Monvel, "La convalescente", oil on canvas, 1906, Palais des Beaux-Arts de Lille, reproduced in ADDADE, "Bernard Boutet de Monvel", Éditions de l'amateur, 2001, p. 96. Finally, the lot includes a preparatory photograph for the portrait "Sylvie de profil", sold at Sotheby's in April 2016. (Lot sold as is)

Marie BRACQUEMOND (Landunvez, 1840 - Sèvres, 1916) The painter (James Tissot?) and his model in a flower garden, also known as "Étude d'après nature". Oil on canvas Signed and dated 'Marie Bracquemond. 1880' lower right The painter (James Tissot ?) and his model, oil on canvas, signed and dated, by Marie Bracquemond 16.53 × 21.25 in. H : 42.0 cm, W : 54.0 cm Bibliography : Bouillon, Jean-Paul, "Marie Bracquemond, la "dame" de l'impressionnisme", L'Estampille/l'Objet d'art, n° 458, June 2010, repr. p. 60-61. Pfeiffer, Ingrid (dir.), cat. exp. Women impressionists. Berthe Morisot, Mary Cassatt, Eva Gonzales, Marie Bracquemond (Frankfurt, Schirn Kunsthalle Frankfurt, February 22 - June 1, 2008, San Francisco, Fine Arts Museums of San Francisco, June 21 - September 21, 2008), repr. p. 236. Exhibitions : Cinquième exposition impressionniste: 5e exposition de peinture par Mme M. Bracquemond, M. Bracquemond, M. Caillebotte, Mlle Cassatt, M. Degas, MM. Forain, Gauguin, Guillaumin, MM. Lebourg, Levert, Mme Berthe Morisot, MM. Pissarro, M. Raffaëlli, Rouart, Tillot, Eug. Vidal, Vignon, Zandomeneghi, April 1-30, 1880, Paris, 10, rue des Pyramides, 1880, cat. no. 1: "Étude d'après nature". Works by Marie Bracquemond, preface by Gustave Geffroy, Paris, Galerie Bernheim-jeune, May 19-31, 1919, cat. no. 40: "Le Peintre". Marie BRACQUEMOND (Landunvez, 1840 - Sèvres, 1916) The painter (James Tissot ?) and his model in a garden, also called "Etude d'après nature". Signed and dated 'Marie Bracquemond. 1880' lower right H : 42.0 cm, L : 54.0 cm

CANALETTO - Antonio Canal, known as (Suite de) Venice 1697 - 1768 The Entrance to the Grand Canal in Venice towards the Salute from the Piazzetta with the Libreria and the Column of San Teodoro. Oil on canvas (Re-tooled; accident top left and bottom right and left; old varnish dirty). On the reverse an old printed label with Canaletto's name (damaged). 30.7x 54 cm Based on the composition by Canaletto Il Molo in the Albertini collection, Rome (Cf. Lionello Puppi, L'opéra completa del Canaletto, TAV. LV, no. 144 p. 103 - Milano 1981).

VICTOR CHARRETON (FRANCE/ 1864-1936) Lively Garden in Springtime (recto), Moonlit Seaside Study (verso) Oil on panel Signed 'Victor Charreton' (lower left) 33 x 50 cm. Expert : Thomas Morin Williams

French school circa 1830 Portrait of a woman with a red shawl Oil on panel (cracks) 105 x 77 cm

Auguste MORISOT (1857-1951). Symbolist vision. Oil on cardboard. Signed lower left. 14 x 22 cm.

Élisée MACLET (1881-1962) - The Moulin de la Galette in snowy Montmartre Oil on canvas Signed lower left 46.5 x 55 cm

Ferdinand Loyen DU PUIGAUDEAU (1864-1930) "Bretonnes aux lampions", Oil on canvas mounted on cardboard, signed on the back, 26 x 17.5 cm PROVENANCE : Private collection, France BIBLIOGRAPHY : Antoine Laurentin, "Catalogue raisonné de uvre peint de Ferdinand du Puigaudeau", Tome II, Paris, 2023, p.80 N°II-50 reproduced in color "Ferdinand Loyen du Puigaudeau appears in the history of the Pont-Aven school as the only one, along with Charles Laval, to establish cordial relations with Paul Gauguin in 1886, going so far as to come to his aid. Independent and not obliged to sell thanks to his family, this self-taught artist from Nantes embarked on a career, finding a style that oscillated between Impressionism, sometimes close to Pointillism, and Pont-Avenian synthetism with more structured compositions. In February 1895, he returned to Pont-Aven, settling with his wife and newborn daughter in the new Hôtel Gloanec. During this three-year stay, he witnessed the festivities organized in the village for the 14th of July, the parish pardon, the pardon of the Notre-Dame de Trémalo chapel and other events. He found a range of themes, revealing his interest in depicting nocturnal scenes. He showed great originality in painting views of funfairs, merry-go-rounds, huts housing a magic lantern or a "panorama", lantern parades, night processions or fireworks displays. The procession of girls carrying lanterns and running through the village streets in the middle of the festivities is one of his favorite themes, with studies and variations. Puigaudeau translates the effect of movement through the attitudes of the figures as they advance towards the viewer, playing on the interplay of arms, the rhythm of the four lanterns and the lighting effects on the faces and hands. which stand out against a uniform, almost vertical foreground. In the background, he conveys the general atmosphere of the festival, with the crowds milling about and the innumerable lanterns hanging from the foliage of the trees. With virtuosity, Puigaudeau links and enlivens these two parts with the bluish-whites of the headdresses and ruffles and the echoing colors of the lanterns. In his quest for colorful rhythm, he even goes so far as to paint a ruffle green! This lively study is the preparation for a monumental work - 160 cm high by 110 wide - commissioned by Count Amédée Aubert de Vincelles to decorate his château de Penanrun in Trégunc in 1896. André Cariou

by DREUX Alfred after (1810-1860) Amazon in blue dress Oil on panel, signed lower left "D.D". 41.5 x 31.5cm

GEN PAUL (1895-1975) The horseman Oil on panel. Signed upper right. 40 x 26 cm (view) We thank the Gen Paul committee for confirming the authenticity of this work.

Burhan DOGANÇAY (1929-2013) - Défense d'afficher, 1994 Mixed media and collage on paper 56 x 75 cm Signed and dated lower left Provenance Sotheby's sale, Paris, February 23, 2017, lot 260 Private collection

Jean Gabriel DOMERGUE (1889-1962) Woman with parasol Oil on canvas Signed lower left 60 x 74 cm

Albert BITRAN (1929-2018) - Composition (Cross-section of a landscape), c. 1969 Oil on canvas Signed lower left Countersigned, titled and dated on back 130 x 162 cm Provenance Private collection, France

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

Maria VOROBIEFF known as MAREVNA (1892-1984) Nude bust of a young girl, one arm folded over her blond hair. Oil on canvas. Signed lower left. 73 x 54 cm PROVENANCE: Paris, private collection; Cassis, vente publique Me Raynaud et Gamet, n°109, p. 75 (reproduced). EXHIBITION: Kisling et son temps, Palais de la Méditerranée, Nice, March-April 1973 (information taken from the 1975 public sale catalog).

ITALIAN SCHOOL in the style of the 17th century: THE ASSUMPTION OF THE VIRGIN. Oil on canvas. 94 x 72 cm. Overlay, restorations.

HARPIGNIES Henri-Joseph (1819-1916) The Road to Saint Privé Oil on panel, signed and dated 85 lower left and located lower right 24 x 34 cm

Frédéric SOULACROIX (1858-1933) Elegant girl in a pink dress in an undergrowth Oil on canvas. Signed lower right. Label on back O.Ramos (...) Cia, 1885. 51 x 30 cm PROVENANCE: Paris, Ader-Picard-Tajan, November 25, 1986, no. 238.

Alexandre ROUBTZOFF (Saint Petersburg, 1884 - Tunis, 1949) The Roman Ruins of Makthar (1940) Oil on canvas mounted on cardboard, signed and dated lower right "A. Roubtzoff. 1940. July 2" and localized lower left "Maktar". Framed. H. 19 x L. 27.5 cm (when viewed). 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 corpus of an artist recognized and praised by his peers as "the Oriental painter".

NGUYEN VAN MINH Polychrome lacquer and gold leaf on wood panel, decorated with a central medal of wild flowers. Stamped lower left, signed Nguyen Van Minh lower right; dated 1983. Minor scratches. Vietnam, 20th century. 58.7 x 58.7 cm Nguyen Van Minh, Gia Dinh School of Fine Arts, class of 1955; Saigon School of Fine Arts, class of 1958.

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

Marie-Rosalie Bonheur dite Rosa Bonheur (1822-1899) Attributed to Country scene Oil on canvas Signed lower right 19th century Restoration from use and maintenance, craquelures Sight size: H: 30; W: 42 cm

Joos van Cleve (1485 Cleves - 1540 in Antwerp) Circumference Madonna with the Infant St. John, the Lamb of God and two angels This charming, private devotional painting is an important testimony to the artistic exchange between Italian and Flemish painters during the Renaissance. The depiction, characterized by intimate affection between mother and child, is composed in a northern Alpine landscape with oak trees. The original compositional idea comes from the famous Corsini Madonna by the Florentine painter Andrea del Sarto (1486 - 1530), painted in 1513/14, which has only survived in a series of copies or workshop replicas. Other versions by Flemish painters bear witness to the success of the Corsini Madonna north of the Alps just a few years after its creation. The present painting deviates so far from the Italian source that it can clearly be assigned to the Flemish-Dutch art world - probably the circle of Joos van Cleve and his son Cornelis (1520 - 1567/70), who was working at the same time. The artist interpreted the Andrea del Sarto painting very freely, adopting Cornelis van Cleve's canopy stretched on oak branches, changing the position of the child and the depiction of Mary, who was given soft facial features and a warm, fur-lined dress. He added the standing boy John with the inscription "ECCE AGNUS DEI", the reclining Lamb of God with the staff of the cross and the lute in the hand of the angel on the right. Oil/oak panel. Two old 19th century collection seals verso; 35.5 cm x 30 cm. Frame. Among the comparable works are three paintings with the same composition sold at auction in recent years: Veilinghuis Loeckx, Ghent, 24.11.2015, lot 351; Artcurial, Paris, 13.11.2018, lot 10; Sotheby's, New York, 22.10.2021, lot 124. General reference: M. J. Friedländer: "Nachträgliches zu Cornelis van Cleve" in: Oud Holland, 60, 1943, pp. 7-14, fig. 1. Provenance: from the important collection of the Frankfurt banking family von Bethmann, which grew over generations. Circle of Joos van Cleve (1485 - 1540). Oil on oak panel. Two 19th C. collector's seals.

François NARDI (1861-1936) Port of Toulon Oil on canvas Signed lower right 32.5 x 40.5 cm

Albert Marie LEBOURG (1849-1928) "Bord de Seine animé" Oil on canvas, signed lower right, circa 1880 / 1882, label of Galerie Cardo, 61 Avenue Kleber Passy on reverse, 40 x 65.5 cm (Hole upper center and tiny perforations upper right). PROVENANCE: Private collection, France (acquired from the artist, then by descent). We would like to thank Mr. François Lespinasse for kindly confirming the authenticity of this work.

Alexandre ROUBTZOFF (Saint Petersburg, 1884 - Tunis, 1949) View of the town of El Kef (1948) Oil on canvas, signed, dated and localized lower right "El. Kef. 6. 8. Nov. 1948. A. Roubtzoff". Framed. H. 33.5 x W. 55 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 corpus of an artist recognized and acclaimed by his peers as "the Russian Orientalist painter", recently honored by the Galer

Alexandre ROUBTZOFF (Saint Petersburg, 1884 - Tunis, 1949) View of Meded (1940) Oil on canvas mounted on cardboard, signed and dated lower right "A. Roubtzoff. 1940. 18 sept." and localized lower left "Meded". Framed. H. 19.8 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.

Jean Thermitus JOSEPH (20th century): TROPICAL FOREST AND WOMEN IN THE FIELDS. Oil on canvas, signed lower right. 20.5 x 25.5 cm.

RARE LORGNETTE DANS SON ÉCRIN AU CHIFFRE DE L’EMPEREUR NAPOLÉON IER - 5-shot retractable gilt-brass campaign or opera spyglass, the lens trimmed with silver-plated metal forming gadroons framed by two diamond-tipped beaded friezes, unsigned. In its circular red morocco case decorated with a semiset of gilded stars, the lid hinged by a metal push-button is bordered by a frieze of stars and centered with the crowned figure of Napoleon I, cream velvet interior. First Empire period. D. 4.7 cm ; D. 2.8 cm folded and 9.6 cm unfolded. Case: H. 4 x D. 6 cm. Provenance Napoleon I, Emperor of the French. History The lorgnette, or "pocket spyglass", is a small telescope used to distinguish objects located a few dozen meters from the observer. A practical instrument for correcting failing eyesight, they also became a fashionable item in the 18th century, adorning themselves with decoration and precious materials, being supplied by both renowned opticians and goldsmiths. More elaborate than military instruments, it was above all a social accessory, indispensable in the theater or opera to observe the actors on stage. "Not only in the countryside, but also in the city, Napoleon used a pocket spyglass" (Frédéric Masson). We know that Napoleon, who was slightly short-sighted, regularly used pocket glasses or lorgnettes, as several contemporary memoirs attest. Baron Fain, the Emperor's private secretary, said of him that "his eyesight was not excellent, so he made up for it with a spectacle lorgnette that he always carried with him". Napoleon's use of his instruments in the field can be seen in the famous painting Napoleon I at the Battle of Wagram, July 6, 1809, where Horace Vernet shows him scanning his surroundings through a lorgnette. But the Emperor used his pocket glasses just as much in everyday civilian life. Historian Frédéric Masson notes several orders for lorgnettes in the accounts of the Emperor's household, with his chamberlain making several available to him to replace those that were lost or sometimes given as presents. One lorgnette and at least three small spectacles are still listed in the inventory of the Emperor's possessions in exile on St. Helena in April 1821. It seems that during the Consulate, Napoleon called on the services of British opticians, who were then at the cutting edge of precision eyewear manufacture. Under the Empire, Napoleon turned mainly to Noël-Jean Lerebours (1762-1840), the first French optician to compete with the English in this field, winning a prize at the Salon of 1806 for his telescopes and other optical instruments. In his Catalogue et prix des instruments d'optique, de physique, etc., we find, alongside field spotting scopes, models with smaller lenses for civilian use. The Lerebours company boasts that it was behind their manufacture, calling them "Lerebours telescopes". The daily care of the Emperor's optical instruments was entrusted to a man he trusted, such as his Mamluk, Roustam, who was trained for this task by Lerebours himself, author in 1805 of Instructions sur la manière de nettoyer les verres des lunettes. Optician Chevallier, a former supplier to the Court of Versailles, and goldsmith Bapst are still among Napoleon's suppliers. Related works - Pocket lorgnette, by Chevalier opticien, with case. Musée Napoléon de Fontainebleau, inv. F.2016.6, former collection of the Comte de Ségur, Floralies sale June 4, 1970, lot 289. This lorgnette has five sliding levels, with a faceted mother-of-pearl base (ill. 1). - Theater lorgnette and case with Josephine's figure, by Lerebours opticien. Château de Malmaison, inv. MM 66.1-1 and 2 (former Count Roger Walewski collection). - Small pocket spyglass or lorgnette, with box (supplied by the silversmith Bapst). Musée de l'Armée, inv. 6212-Ca25. - Napoleon cornelian pocket lorgnette (without case), by Lerebours opticien. Musée de l'Armée, inv. 851-Ca26. Given by the Emperor to Mme Pellaprat, wife of the Receiver General of Lyon (former Charles Costes collection). - Ivory spyglass engraved with Napoleon's "N", by Lerebours opticien. Musée de l'Armée, inv. n°5331-Ca206. - Lorgnette included in Napoleon's travel kit, delivered by Biennais et Lorillon in 1806. Musée du Louvre, objets d'art department, inv. OA 10359, former collection of Tsar Alexander I. - Two pocket lorgnettes for Bonaparte and Josephine from the Consulate period,

17th century Dutch school, follower of Cornelis van POLENBURGH Bathers and Satyr Oil on oak panel, one board, not parqueted (old restorations) 31.5 x 45.5 cm Bearing a label on the reverse of the frame mentioning a provenance: "Charles. M. de Montherot".

French school, follower of François CLOUET Portrait of a Woman Oil on parquet panel (restorations, early craquelure) 22.5 x 17.3 cm

Paul JOUVE (1878-1973) - Grand Ducs, circa 1930 Oil on panel Signed lower left 29 x 22cm History: This work served as a model for an etching, the first state of which is reproduced in Félix Marcilhac's book, page 373. Bibliography: - Félix Marcilhac, "Paul Jouve", Les éditions de l'Amateur, Paris 2005, the etching from this painting is reproduced on page 373. - Giulia Pentcheff, "Paul Jouve, l'âme animale", Edition GAP, Marseille 2019, reproduced on pages 78 and 79. Exhibitions: Paul Jouve et Jean Després, Atelier de Paul Jouve, Paris, June 7-11, 1961.

Vladimir VELICKOVIC - Vladimir VELICKOVIC (1935-2019) - Homme couché, 1993 - Acrylic on paper, signed and dated 1993 lower left - 103 x 64 cm (à vue) - An artist's certificate on the back of a photo of the work will be given to the buyer.

Georges Antoine ROCHEGROSSE (1859-1938) The Triumpher Oil on panel. 26.5 x 35 cm PROVENANCE: artist's studio; Toulouse, Marambat Malafosse.

Marie BRACQUEMOND (Landunvez, 1840 - Sèvres, 1916) Study for 'La vue de Divonne Oil on canvas (Original canvas) Annotated 'Offered to Madame le Vaillat by / Mr et Mme Pierre Bracquemond' on the stretcher on verso Study for 'La vue de Divonne', oil on canvas, by Marie Bracquemond 14.37 × 11.22 in. H : 36.5 cm, W : 28.5 cm Exhibitions : Works by Marie Bracquemond, preface by Gustave Geffroy, Paris, Galerie Bernheim-jeune, May 19-31, 1919, cat. no. 51: "Femme en rose". Bouillon, Jean-Paul (dir.), cat. exp. Félix et Marie Bracquemond, Mortagne - Chartres, May-September 1972, cat. no. 70: "Femme à la robe rose". Marie BRACQUEMOND (Landunvez, 1840 - Sèvres, 1916) Study for 'La vue de Divonne oil on canvas H : 36.5 cm, W : 28.5 cm

Delphin ENJOLRAS - Delphin ENJOLRAS (1857-1945) - La lettre - Oil on canvas, signed lower left - 58 x 70 cm - Surface craquelure, old restorations in the sky

BERCHERE Narcisse (1819-1891) Meeting in the desert Oil on panel, signed lower left 17.5 x 26.5 cm

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.

Antoine-François CALLET (1741-1823) et son atelier. - Portrait of Charles-Philippe de France, Monsieur, comte d'Artois, lieutenant-general of the Kingdom, in the uniform of colonel-general of the Gardes Nationales. Oil on canvas (restorations). Handwritten inventory label on back "N° 509". H. 52 x W. 39 cm. In a gilded wooden moulding most probably taken from a paneled room, captioned at the bottom with the names of the kings of France, from Henri IV to Louis XVII. History Our tableautin, executed quickly and nervously, is almost certainly the modello for a monumental portrait painted by Callet in the early days of the Restoration (current location unknown), in which Charles Philippe de France, Monsieur, Comte d'Artois, is depicted wearing the uniform of Colonel General of the Gardes Nationales. The artist, who at the time called himself "Peintre du Roi et de S.A.R. Monsieur" (Painter to the King and His Royal Highness Monsieur), also wished to evoke the prince's rank as Colonel General of the Carabinieri, by the presence of a Carabinieri cuirass in the lower right-hand corner. In March 1816, through the press (Moniteur Universel, March 8, 1816; Journal de Paris, March 14, 1816), the artist launched a subscription to have the portrait engraved by Jean Massard (1740-1822), and referred to the portrait as "honored by the suffrage of S.A.R. and several distinguished persons", "publicly exhibited at various times" and "dedicated to the French National Guard". He specifies that he is responding "to the solicitation of several National Guards of the Kingdom" "who expressed the desire to have the portrait of their august colonel-general, so universally cherished". A copy of this engraving (BnF, RESERVE QB-370 (76)-FT 4) bears a handwritten date of "November 20, 1816", the date on which the engraving was most certainly published. It is interesting to note the differences between the engraving and our painting: the cuirass has disappeared, as has the gold embroidery with the scale motif (present between the two columns). The model of the seat has changed, as have the color of the prince's gloves and his head carriage, which is turned more to the right in the engraving. The painter's genuine sympathy for the royal family, whom he had known well before the Revolution, was further echoed in the Journal des Débats, dated May 11, 1814, which informed the public that "we have already been able to place in the grand appartemens of the Tuileries, a full-length portrait of S[a].M[ajesté], dressed in her royal clothes, the work of M. Callet, former painter to the King and to Monsieur's cabinet. This artist had carefully preserved his sketches and several portraits of Monsieur, which put him ahead of all his colleagues on this occasion." Lot presented with Mr. Pierre-Antoine MARTENET, expert. H: 52 x W: 38.5 cm

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