Unknown

French painting portrait Bearded italian man oil canvas Second half 18th century

Etienne-Prosper BERNE-BELLECOUR Boulogne-sur-mer, 1838 - Paris, 1910 Oil on canvas 46 x 33 cm (55 x 43 cm with the frame) Signed lower right "To his friend doctor Daymard / E. Berne-Bellecour / 1903" Painting exhibited at Salon des Artistes Français of 1904 (number 136. “Portrait of Mr. Major Daymard”) Very good condition ( only a few and small repaints) As an academic painter, Berne-Bellecour worked for illustrated newspapers after failing at the Prix de Rome in 1859. In 1870, he enlisted in the Frankish Corps of Tirailleurs de la Seine and is decorated with the Military Medal. This will decide his career. Companion of Édouard Detaille and Alphonse de Neuville, he painted battle pictures and portraits of soldiers that made him very well known as a specialist military painter. "The Tirailleurs of the Seine in the battle field...

French school of the 18th century or the beginning of the 19th century After Jean-Baptiste GREUZE Tournus, 1725 – Paris, 1805 Oil on mounted canvas 46 x 38 cm (63.5 x 55 cm with the ...

Giovanni Battista PIAZZETTA (Workshop of) Venice, 1683 - Venice, 1754 Oil on canvas 48 x 38.5 cm (64 x 58 cm with the frame) Piazzetta painted a number of "portraits" of saints or laymen in small formats and in a tight framing, and several Virgin Mary readin a book. We can compare our painting to the Virgin in the Hisch collection sold at Sotheby's in London in 1971 . Piazzetta has produced several "Madonna in the Book", a subject traditionally close to the Virgin of the Annunciation. The Virgin Mary is said to have been reading the psalms when the angel Gabriel came to visit her : "Madonna in prayer", Sotheby's New York in 1979, Madonnina orante, Pinacotheque de Vicenze, exhibited in 1982, the “Santa Vergine Maria” represented with a book, print from a missing painting...

Claude VIGNON (After) Tours, 1593 – Paris, 1670 Oil on canvas 60 x 45 cm (80 x 65 cm with the frame) Very good condition In the 17th century the french...

Juan Pablo SALINAS (Attributed to) Madrid, 1871 – Rome, 1946 Oil on canvas on a panel 34 x 22 cm (43 x 31 cm with the frame) Trace of signature lower lef...

Alfred PLAUZEAU Avanton-Paché (Vienna), 1875 - Hendaye, 1918 Oil on oil 61 x 38 cm (75.5 x 52.5 cm with frame) Signed lower right "A. Plauzeau" Good condition (sevreal restoration, w...

Andre Minaux (French 1923 - 1986) "Femme et Homards" / Woman with Lobsters. Oil on canvas. Features a young woman holding one lobster while two others sit on a counter before her. ...

L. FROSSARD (active in Vienna around 1870) Portrait of Adelina Patti (1843-1919) Oil on canvas H. 100.5 cm; L. 73.5 c Signed lower left If the artist maintains a certain discretion ...

Jules Ambroise Francois NAUDIN (Paris 1817 – c.1876) Tasso arriving at his sister's house in Sorrento Oil on canvas H. 49 cm; L. 37.5 cm Signed lower right Exhibition: 1852, Paris Salon, under number 959 Related work: Engraving by Jean-Denis Nargeot in 1852 Bibliography: L’Illustration, April 24, 1852, engraved by Best, Hottelin and Regnier, after a drawing by Valentin) and reproduced p.260, cited p.262; La Mode: Political, Religious and Literary Review, 1852, quoted; Journal des Demoiselles...

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...

Attributed to Jacques DUMONT aka DUMONT LE ROMAIN (Paris 1701 - 1781) Presumed portrait of Louis-Joseph de Formanoir (?-1732) Oil on canvas H. 91.5 cm; ...

Alice BASTIDE (Saint Mandé 1868 – Paris 1959) Portrait of a little girl reading Oil on canvas H. 100 cm; L. 72.5 cm Signed lower right and dated 1912 Daughter of a pastor from Gard and an English woman, Alice Bastide grew up in Paris. A pupil of the Jullian Academy, she began her apprenticeship under the guidance of Henri Royer and François Schommer. The development of his art is mainly oriented towards still lifes, without completely abandoning portraits and landscapes. Her other specialty for which she received numerous awards is miniatures. At the Salon of 1914 she received the Maxime David prize crowning the best piece while her finesse was already noticed by press critics from 1907. Coronation, in 1926 she received a gold medal at the Salon for her miniature Coquetterie. In 1896, the young woman married a man from Gard, Auguste Massebiaux, whose name she would occasionally bear. The latter, a lawyer at the Paris Court of Appeal, died in 1910. The couple had no children. At that time she was domiciled at 48 avenue d'Orléans (later named avenue du general Leclerc) in Paris where she lived until her death in 1959. Until the mid-1930s she continued to exhibit at the Salon des Artistes French with a manner very close to Impressionism, luminous and vigorous. In 1912, two years after the death of her husband, Alice Bastide was certainly still marked by the sadness of her mourning. The tones of our portrait of a little girl and the frame she puts together are dark and heavy. This child, wearing an embroidered bonnet, is bent over her book, her loose hair flowing over a red velvet indoor dress. This intimate portrait on a dark tapestry...