Jacques Louis Michel GRANDIN

Young Woman With A Rose Signed Grandin Dated 1888

1888

The Pearl Lady, most probably Elisabeth of Bohem, Princess Palatine. Oil on board signed Honthorst, dated 1644 Within a beautiful tortoise shell With a certificate by René Millet ( Well Known French Expert in Paris) The young unknown portrait shows the talent of the artist. We will appreciate the quality of glazed face, the light in the beads and the psychological analysis of the model. We almost read the character of the model. This type of face is found throughout the valley of the Rhin, Switzerland, the Netherlands. Our beauty is flirtatious and love beautiful pearls, symbol of fidelity. And so the large barocco pearl, the earrings, the necklace, the adornment in her hair; all attest of the prosperity. Gerrit Van Honthorst was born in 1590 and died 1656. His career is divided into two very different parts. In the first part of his life he is The “Night Master”, "Cavaragesque" painter, that the Italian nicknamed GUERARDO OF THE NOTTE. This period mainly Roman, which will influence LA TOUR and REMBRAND overshadowed the rest of his work. Indeed, it has been forgotten today; but when GUERARDO DE LA NOTTE returned to Utrecht, he became a fashionable portrait's painter. Radical changes without knowing the real reasons although it is often forgotten that a painter like everyone needs to survive ... Especially since the death of Van Dyck has opened the road to our artist who will rush into exploiting it. He is called to the court of Charles I, in London, where he will paint the king and the nobles of the court. In 1637, he moved to The Hague and become Van Dyck's official successor for the Netherlands and all Europe. Gerrit van Honthorst’s night paintings caused such a sensation in Rome that he was known as Gherardo delle Notti...

A "genre" painting representing a mother supervising her two small daughters at the Park. Oil on canvas signed bottom right Joseph Dierickx and dated 1903. Dierickx Joseph (1865-19...

Lovely portrait of a young Boy standing on an armchair. Oil on canvas signed Felix BRYK. Swedish School, circa 1900-1910 Portraitist and ethnologist of the early twentieth century. ...

Oil on canvas depicting a scene of Fishermen by a lake, Dutch landscape. Signed on the lower left corner of Pieter Cornelis Dommersen. Painter of Dutch seas and landscapes, in Lond...

Oil on panel representing a barn, signed JC Cazin on the lower left corner. Jean Charles Cazin (1840-1901) Born in Samer (his father, from Bologna,...

Painting, oil on paper pasted on panel, representing a view of the city of Royat, located in the department of Puy-de-Dôme. Located in the western suburbs of Clermont-Ferrand, the c...

Julius EXNER (Copenhagen, 1825 - Copenhagen, 1910) Model stripping Oil on canvas H. 122 cm; L. 74 cm Signed and dated 1842 lower right Exhibition: most likely Charlottenborg Salon of 1845, under number 110, titled Modelfigur, awarded with a silver medal Provenance: Emilio Fernando Bolt (c.1860 - 1944), acquired from the artist around 1900, then by descent Our painting was produced as part of the summer sessions organized between 1839 and 1850 by Christoffer Wilhelm Eckersberg (1783-1853), the master of Danish painting of the first half of the 19th century, in his private studio-apartment on the ground floor. floor at the Royal Academy of Fine Arts in Copenhagen. The master brought together a few students there between June and September, rented one or two models for the season, which were painted from different angles, the artists (including Eckersberg himself) sitting side by side. Eckersberg used to paint a fairly small version, the pupils of the larger formats. The work fits more generally into the legendary context of the research and reforms carried out by Eckersberg concerning the studies of nudes and in particular of female nudes, to make this exercise a genre of painting in its own right. Following his two-year stint in Jacques-Louis David's studio in Paris in 1811, Eckersberg had been made aware of work on the nude and in particular on live models, in natural light, while in Denmark the drawings were then only made from casts of antique models or other mannequins. In 1822, when he had been a professor there since 1818, it was he who had the Royal Academy of Copenhagen authorize the study of nudes, no longer in the evening by candlelight, but in natural light; from 1833, it was still he who allowed students to work on nude female models, even if the official authorization of the Academy did not take place until 1839. It was this same year that he instituted his summer sessions, on a private basis, to orient his painting and that of his students towards a new conception of the representation of models: even if the nude remains the real theme, it does not however, this is more than just an academic exercise. The subject is placed in a contemporary interior, with a rather sophisticated decor, and occupied with an intimate activity (it is this type of intimate vein that we will find later in Degas or Cassatt for example); thus in our painting, the young woman is supposed to take off her clothes to wash. The objective is that the viewer forgets that the master and his students are painting a model during a posing session, and that he instead has the impression of being alone with the model, but invisible, almost like a voyeur in spite of himself. Moreover, in these paintings, the model never looks towards the spectator, inducing a psychological distance with him, whereas model and artist are actually physically very close. On the other hand, it is not a question of idealized nudes either, even if Eckersberg, proof of his debt to the antique, chooses fairly classic models and poses. The sensuality is real and very present, with dreamy, even innocent, and timeless expressions (the models do not seem to have a defined age), suave and slow attitudes and movements, and especially with clothes that hide or reveal skillfully parts of the female body: upper buttocks, pronounced hips... Made by an artist under 20, our sensual painting is probably one of the most beautiful and spectacular produced by the students of Eckersberg during these summer sessions. With a perfect balance between the firmness of an ancient statue (it recalls the Venus de Milo) and the softness of the feminine forms, highlighted by a harmonious palette, it captures the attention with many details: the almost photographic folds white clothing...

Jacques STELLA (Lyon, 1596 – Paris, 1657) Judith and Holofernes Oil on slate H. 23.5 cm; L. 24 cm Son of François Stellaert, a painter of Flemish origin who settled in Rome in 1576, then in Lyon, Jacques Stella was born in this city in 1596. Around 1619, he left for Florence where he worked for Cosimo II de Medici. He probably already met Nicolas Poussin and Jacques Callot there. Stella left Florence for Rome in 1622 or 1623, where he befriended Poussin, who arrived in 1624. Stella became famous in the world of Italian amateurs for his small paintings painted on precious supports: marble, agate, lapis, slate, as well as by his engravings and drawings. In 1634, having received offers from the King of Spain, he left Rome in the suite of Marshal de Créqui, French ambassador. He passed through Venice, stopped in Lyon in 1635, then in Paris. Retained by Richelieu who took him into his service, he settled in the capital of the kingdom. Covered with favors, he benefited from accommodation in the Louvre and a considerable pension. He later received the Collar of the Order of Saint-Michel, a rare honor for an artist...

Nicolas de LARGILLIERRE (Paris 1656 – 1746) Portrait of a woman, presumed to be Marie-Anne de Bourbon, Princess of Conti (1666-1739) Oil on oval canvas H. 80 cm; L. 61 cm (107 x 91 c...

"As the incarnate of dawn shines in the morning, such a blushed Diane's complexion exposed without veils to the eyes of a mortal" Les Métamorphoses by Ovide Less tragic is our destin...

Jacques STELLA (Lyon, 1596 - Paris, 1657) The Annunciation Oil on alabaster (single old break perfectly restored) H. 25 cm; W. 30 cm Son of François Stellaert, a painter of Flemish ...

This charming 19th century portrait oil painting is attributed to the French School and painted by a female artoist. It has the composition and delicacy of French academic painters s...