French School Art

Jean-Louis PREVOST (attributed to) (Nointel, 1745 – Paris, 1827) Flowers in a Glass, Resting on a Book Gouache on paper H. 38.5 cm; W. 30.5 cm Unsigned The biography of Jean-Louis P...

Joseph LÉPINE (Rochefort 1867 – Paris 1943) The Church of Caillac - Lot Oil on cardboard H. 33 cm; W. 41 cm Signed lower left Joseph Lépine quickly moved to Bordeaux, where he studied under Louis-Alexandre Cabié, a well-known landscape painter in the region and teacher of many early 20th-century artists. Despite the master's warnings, he sought to confront the Parisian modernity of the late 19th century and discover Impressionist and even early Post-Impressionist styles. There, he became a student of the neoclassical painters Courtois and Girardot, both former students of the great Jean-Léon Gérôme. In 1897, he exhibited at the Salon, where he sent landscapes of Provence. He became a member of the Société des Artistes Indépendants in 1905, the same year that the Fauves Matisse, Derain, and Vlaminck participated in and became known at the Salon d'Automne. A purchase by the French government of the 1908 Salon des Indépendants, "Vieille boutique," now housed at the Menton Museum, officially launched his career. He exhibited that year in London at the Royal Albert Hall, at the invitation of the Allied Artists' Association, demonstrating the painter's distinguished status within the international art scene. In Paris, the artist met several well-known painters of the time in the Montmartre and Montparnasse neighborhoods, including Matisse and Signac. His painting is based in particular on his approach to material, light, and color, whose juxtapositions present a play of saturation and composition based on apparent reserves. After the First World War, Lépine returned more to his home region, where he painted landscapes around Bordeaux and up the Dordogne River to the charming landscapes of the lower Corrèze. He painted Beaulieu-sur-Dordogne, Argentat, and also the Lot region, with the built-up escarpments of Saint Circq Lapopie. The city of Bordeaux and the French government acquired two of his works, representing a landscape near Verdelais and a view of the Saint-Michel Church in Bordeaux, in 1939 and 1941. Considered today a very important figure in Bordeaux painting...

Arched Stone Bridge over the River Seine with Parisian Buildings Beyond Maurice Mazeilie (French, 1924–2021) Watercolour on artist paper, unframed. Unsigned. Artwork: 5 × 7 inches. P...

Ducks by a Pond By Laure Noetzlin-Azam (French, 1929–2024) Pupil of André Lhote Gouache on artist paper, unframed Artist paper: 14 × 18 inches Provenance: from the artist’s estate, ...

Paris: Sarazin, 1865. Etching with engraving on Chine collé mounted to wove paper with a false platemark, 3 5/8 x 6 (92 x 152 mm); matrix 12 1/4 x 16 3/4 inches (312 x 425 mm), full...

Julien Leopold BOILLY Paris 1796-1874 Portrait of a man First third of the 19th century Pierre noire Signed on the right 23,5 x 17 cm 38 x 29 cm framed Small stains

Hippolyte LECOMTE (Puiseaux, 1781 – Paris, 1857) Colonel of Russian cuirassiers Oil on canvas H. 33 cm; W. 24 cm Signed and dated at the bottom towards the center 1817 Exhibition: S...

Boussod Valadon & Co., c1859. Photogravure with hand coloring in watercolor and gouache on cream wove paper with a false platemark, 9 3/4 x 13 inches (248 x 330 mm), full margins. In...

Boussod Valadon & Co., c1859. Photogravure with hand coloring in watercolor and gouache on cream laid paper with a false platemark, 9 3/4 x 13 inches (248 x 330 mm), full margins. In...

Jean François Marie Bellier (Paris 1745 – Paris 1836) Portrait of a Man Oil on oval canvas laid flat H. 45 cm; W. 55 cm Signed on the left Circa 1790 Jean François Marie Bellier occ...

Circle of Léon Lhermitte (1844-1925) Meditation Oil on canvas 32 x 24 cm This painting depicts an old man seated on a chair, his hands clasped in his lap, his gaze lowered, pensiv...

Portrait of Suzanne Vérité by Marcel GIMOND (1894-1961) Bronze sculpture with a nuanced green patina signed on the neck "M. Gimond" cast by "Bisceglia, cire perdue" (with the foundr...

Louis-Alexandre CABIE (Dol-de-Bretagne 1853 - Bordeaux 1939) Landes in Pessac - Gironde Oil on panel H. 31 cm; L. 55 cm Signed lower right Louis Cabié, re...

Mixed media on panel Hand signed Unique piece Mint condition

Still Life of Flowers and Tall Vase on Table Laure Noetzlin-Azam (French, 1929–2024) Pupil of André Lhote. Medium: charcoal and pencil on artist paper, unframed. Artist paper: 21.5 ×...

Suite of four large family portraits, kept together to this day. Created around 1840 by the painter Théophile Morel, who presented portraits at the Salon des Artistes Français from t...

Work on canvas

Spaniel n°1 (second version) by Antoine-Louis Barye (1796-1875) Bronze sculpture with a nuanced dark brown patina signed "Barye" on the base old edition cast – probably from the Bar...

This charming watercolour on paper, titled 'Les Quais à Honfleur', was created in 1971 by the French artist Bernard Loriot (1925–1998). The work captures the timeless atmosphere of t...

Alexandre Toussaint MENJAUD (Paris, 1768 – Paris, 1832) Study for The coronation of Tasso Oil on paper mounted on canvas 37.5 x 29.5 cm Around 1819 Related work: Painting exhibite...

Nicolas Edward GABE (Paris, 1814 - Paris, 1865) The death of General Négrier on Place de la Bastille on June 25, 1848 Oil on canvas Signed and dated lower right 82 x 101 cm 1849 Nicolas Edward Gabé is a 19th century artist who is still little studied to this day and yet seems to have enjoyed, according to the artistic press of the time, a certain notoriety, in particular for his seascapes. The few bibliographical elements that we have come from the Salon booklets and tell us that the artist was born in Paris in 1814, therefore shortly before the end of the Empire. No elements on his artistic training are mentioned in the booklets, we just know that Gabé exhibited at the Paris Salon from 1835 to 1864 where he first practiced miniature then then approached easel painting, risking himself as well in still life that the seascapes, the landscape, the portrait or the hunting. According to press articles, he also took part in various exhibitions in the provinces such as Boulogne-sur-Mer and Marseille. Notably, Gabé did not exhibit at the Salon his large historical canvases on the revolution of 1848, which today are of obvious documentary and iconographic interest; probably for political reasons which are easily understandable to us today in view of the historical events of then. Gabé died in Paris at the age of 51 on January 4, 1865 with a mention in the January 7, 1865 edition of L'Union des Arts: “The death of Mr. Gabé, painter, well known in the export trade in paintings as well as to the auctioneers' hotel, whose sales it supplied through its numerous navies. “ "On June 25, 1848, in front of the barricades erected in the Bastille by the insurgents of the Red Republic, General Négrier fell to death, while he was uttering words of order and conciliation". Here are the opening lines of the tribute paid by Colonel Borgarelli d´Ison, friend of General Négrier. General Négrier belonged to a family from Maine, brought back by Marshal Lannes from emigration. Born in Le Mans on April 27, 1788, François Marie Casimir de Négrier entered, barely 18, as a volunteer in the 2nd Light Infantry Regiment. He began in 1806 with the campaigns of Prussia and Poland, during which he earned, through his bravery, the rank of sergeant and the decoration of the Legion of Honor. He made the following campaigns in Spain and Portugal, and left, with his regiment, only for the campaign of France, in 1814, after having risen successively, by actions of brilliance and by a serious wound, to the ranks of head of battalion and officer of the Legion of Honor, with which he was provided from October 1813. The Restoration retained his rank in his regiment. After having fought and wounded a second time seriously in Waterloo, Négrier was recalled in 1816 under the second Restoration. He was appointed, in 1825, lieutenant-colonel, then colonel in 1830, brigadier general in 1836, and of division in 1841. From March 1837 he participated in the conquest of Algeria. The Revolution of 1848 found Negrier in possession of the important command of the 16th Military Division in Lille. Quaestor of the Assembly in these times which promised to be troubled, Négrier reviewed the Place de la Concorde on June 23 at around noon various mobile guard battalions. He then took the head of 2,000 men provided by the 10th and 11th legions of the national guard and bivouacked on the Place du Palais until the next day 24. On Sunday 25 at nine o'clock, the Négrier division resumed the fight towards the Saint suburb. -Antoine. The troop gains continual advantages. At around two o'clock the column of Négrier had seized the Pont Marie: it had removed the barricades from the Quai Saint-Paul, the rue de l'Etoile, the rue des Barres...

Arthur SEVERN (Rome, 1842 – London, 1931) Twilight over an Estuary Watercolour on paper mounted on canvas H. 69 cm; W. 101 cm Signed lower left Provenance: Galerie The Fine Art Soci...

Jean CLUSEAU-LANAUVE (Périgueux 1914 - Paris 1997) The Pianist Oil on canvas H. 46 cm; W. 38 cm Signed lower right. Countersigned, titled, and dated on the back - 1962 Provenance: E...

Sold with the Gold-leaf frame ( see last picture ) An original French figurative oil painting on panel by José Frappa (1854–1904), depicting a cardinal in scarlet robes enjoying a ...

Paris: Gazette des Beaux-Arts, 1853. Heliogravure on cream laid paper with a lintel and mirror watermark, 7 1/4 x 5 1/4 inches (184 x 134 mm); sheet 8 3/4 x 6 1/8 inches (223 x 157 ...

Antoine-Claude PONTHUS-CINIER (Lyon, 1812 - Lyon, 1885) Maritime Pines in the Mediterranean Oil on paper laid down on cardboard H. 36 cm; W. 51 cm Signed lower right Provenance: -...

Antoine VESTIER, attributed to (Avallon, 1740 - Paris, 1824) Portrait of a man under the Revolution Oil on canvas H. 46 cm; L. 37 cm Circa 1793-95 This beautiful unsigned portrait i...

James Rassiat ( 1909 -1998 ) « Vacances à la Bocca » pastel and gouache on paper 38 x 28 cm

Louis-Ernest Barrias (1841-1905) "The Hunt. Impressive bronze sculpture with brown patina, 98 cm tall. Signature "E. Barrias" on the rock; "F. Barbedienne fondeur Paris" and mechanic...

Paris: Cadart & Luquet, c1870. Etching with engraving on Chine-collé mounted to wove paper, 14 1/4 x 9 5/8 inches (360 x 244 mm) full margins. In good condition with some marginal w...

Title: Provence Watercolor of Château des Baux & Sunlit Limestone Cliffs by Robert Lepine (French, 1929 - 2017) Signed: Yes Medium: Watercolor painting on artists paper Size: 12.25 x...

Paris: Cadart, c1860. Etching with engraving on Chine collé mounted to wove paper, 5 3/4 x 8 1/4 inches (141 x 210 mm); sheet 10 3/4 x 14 3/8 inches (273 x 365 mm), full margins. Ex-...

Franz Kaspar Huibrecht VINCK (Antwerp, 1827 - Berchem, 1903) The two lovers Oil on canvas Signed at the bottom 82 x 56 cm Pupil of Edward Dujardin (1817-1889) and Joseph Dyckmans ...

Marcel Vertes: 1895-1961. Well, listed Hungarian French artist who is known for his posters and printmaking. This charming lithograph is pencil signed lower right and numbered 76 out...

Louis Reinhardt or Ludwig Reinhardt (born 1849 in Plauen; born late October 1870 in Traunsee) was a German painter. Reinhardt waged war on a animal and landscape painter of spätroman...

Louis-Gabriel BLANCHET (Versailles, 1701 – Rome, 1772) Presumed self-portrait of the artist Oil on canvas H. 73 cm; W. 60 cm Circa 1730 Originally presented in a Restoration period frame with a "Mignard" cartouche, this beautiful painting initially appeared to us as a work from northern Italy. However, it exuded a rather French form of refinement, suggesting that its artist may have assimilated a dual influence from both sides of the Alps. We thank our colleague and friend Philippe Mendès for spontaneously and judiciously "bringing out" the name of Louis-Gabriel Blanchet, a Romanized French portraitist, whose spirit and stylistic characteristics we clearly recognize here. Blanchet's "French" years, before his final departure for Rome in 1728, following his winning of the second Grand Prix for painting after Subleyras in 1727, are extremely poorly documented. His father, Gabriel, was valet to Blouin, himself Louis XIV's first valet at the time. According to Thierry Lefrançois, Blanchet was one of the few students of Nicolas Bertin (1667-1736), whose studio he is said to have joined in the early 1720s. At a baptism on March 24, 1724, where he was godfather, he is mentioned as a painter in the picture store of the Duke of Antin, the director of buildings between 1708 and 1736. At this time, he was probably already married to Jeanne Quément, with whom he had a daughter also named Jeanne, who would marry Nicolas Aviet, the son of a valet in the queen's wardrobe, in Versailles in 1738. When Blanchet arrived in Rome in October 1728, he was accompanied by Subleyras, Trémolières, and Slodtz. He enjoyed the goodwill of Vleughels, the director of the Académie de France, which had been based at the Palazzo Mancini since 1725, even though the latter was not always kind to our resident. From 1732, he was under the protection of the Duke of Saint-Aignan when he took up his post as ambassador to Rome. Along with Slodtz and Subleyras, they formed a trio of friends, joined by Joseph Vernet shortly after his arrival in Rome in 1734. Slodtz and Blanchet, on the occasion of Subleyras's marriage in 1739, were there to attest that their friend was not bound by any marital commitment, and Blanchet was a witness at Vernet's wedding in 1745. It is most likely from these early years in Rome that our portrait of the artist dates, the expression and turn of his face irresistibly reminiscent of a self-portrait. The still relatively youthful features may correspond to Blanchet's thirty-something years, and the fluffy wig was still fashionable at this time. The painting fits well with the depiction of a young painter wanting to display both the beginnings of success and a certain simplicity or restraint. A slight smile expresses a form of assurance in this man with a gentle, sincere gaze and a face radiating a keen sense of wit. We find here the air of intimacy present in almost all of Blanchet's portraits, even those from the 1750s and 1760s, as well as an almost complicity with the viewer. The spirit of the painting is quite close to that of the presumed portrait of Bouchardon (painted around 1730) and the portrait of Pannini, painted in 1736, but it possesses a more natural quality, notably thanks to the absence of decorum. Our work exhibits the characteristics of Blanchet's paintings: elegance, luminosity (especially in the whites), vibrant and refined colors (here, the harmony of the garnet of the garment and the slate blue of the background, whose uniformity is tempered by a very sketched landscape and a grove of greenery), light complexions, rather rosy cheekbones, often full lips, and rather tight framing. According to the Academy's rules, Blanchet's stay should have ended in the spring of 1732, but, for reasons unknown, he remained in the Eternal City until his death, as did his friend Subleyras, with whom he shared accommodation until the late 1730s. The latter regularly called upon him to collaborate on his paintings, such as The Meal at Simon's. Through Saint-Aignan's intervention, Blanchet was employed in the late 1730s by the Stuart princely family, then exiled in Italy. He notably produced copies (now lost) after Liotard of the portraits of Charles Edward and Henry Benedict, the sons of James III Stuart. The latter also commissioned three other portraits (now in the National Portrait Gallery in London), whose more formal character contrasts with the intimate spirit of Blanchet's portraits. Blanchet frequented English painters, such as the landscape painter Richard Wilson, and studied with the Scottish portraitist Katherine Read...

Marc Joseph Octave Théodule BOISSIN (Bénévent-l’Abbaye, 1839 - Paris, 1891) Allegory of Geography Oil on canvas Signed lower right 75 x 125 cm without frame 100 x 150 cm with frame...

Voiles à la mer, color Lithograph on Rives paper 1953 by Zao Wou-ki Printed in 5 colors by E. and J. Desjobert, Paris Published by La Hune, Paris signed and numbered image 36.5 x 49 cm; sheet 50.0 x 65 cm Edition 106/120 Provenance: Private Collection Germany Literature: Catalogue Raisonné of Zao Wou-ki's graphic works (AGERUP) plate 81 About the Artist: Born in 1920 in Beijing, Zao Wou-Ki attended the National School of Arts, Hangzhou for six years under the supervision of Lin Fengmian...

Portrait of a Young Girl – Fanny Gilbert, 1868 Oil on canvas, signed Fanny Gilbert and dated 1868, this delicate portrait embodies all the charm and sensitivity of 19th-century Fren...

Louis-Alexandre CABIÉ (Dol-de-Bretagne 1853 - Bordeaux 1939) The Saint Antoine bridge in Clisson Oil on cardboard H. 26 cm; L. 29.5 cm Signed lower left, dated 1907 Provenance: Priv...

Monogrammist F. G. 19th Century French School Doe Trophy Oil on Vachet panel Monogrammed FG and dated lower right 41 x 32 cm 1831 This animal still life, signed with the monogram ...

Title: French Watercolor Painting of “La Baie de Loya et La Rhune” in Hendaye by Robert Lepine (French, 1929 - 2017) Signed: Yes Medium: Watercolor painting on artists paper, unframe...

Figures Seated Together in a Paris Park Laure Noetzlin-Azam (French, 1929–2024), pupil of André Lhote Canvas: 8.75 x 13 inches Medium: Pencil on canvas, unframed. Provenance: From th...

Louis-Alexandre CABIÉ (Dol-de-Bretagne 1853 - Bordeaux 1939) Farmyard in Andernos Oil on panel H. 39 cm; L. 52 cm Signed lower right and dated 1889 Louis Cabié, renowned artist in F...

A fine grisaille oil painting on canvas of putti in the clouds, unsigned, labeled on verso BOUCHER (genre de Francois), titled “Amours sur des nuages jouant avec des colombes ” (literally translated “cupids on clouds playing with doves”), dating to the 19th century, unframed. French artist Francois Boucher (1707-1770) was well known for Rococo portrait, landscape and mythology painting...

Still Life with Bottle, Jar and Ceramic Vessel Laure Noetzlin-Azam (French, 1929–2024) Pupil of André Lhote. Medium: charcoal and pencil on artist paper, unframed. Artist paper: 15 ×...

Yves LAC (1944-2021) Place du Tertre Oil on canvas. Size: 60 x 73 cm Signed lower left. Painting in good condition. Montparnasse type frame. Offered Size with frame: 81 x 92 cm ...

Gladiolus Still Life by Annie Faure (French 1940-2021) signed lower corner oil painting on canvas, unframed canvas size: 32 x 25.5 inches condition: overall very good, minor surface ...

Large French Mid 20th Century, oil on paper laid on canvas, portrait of a seated female figure by Sylvain Vigny. The painting is signed bottom left and presented in a very fine carve...

French Modernist Charcoal Still Life Pineapple on Dish Original Drawing Laure Noetzlin-Azam (French, 1929–2024) Pupil of André Lhote. Medium: charcoal and pencil on artist paper, unf...

French School circa 1645 Portrait of Cardinal Mazarin - Sketch Oil on canvas H. 41.5 cm; W. 27 cm Provenance: Collection of the Reverend Georges Downing Bowles (1789-1863) Would ...

Jean Marais (1913–1998) is immortalised as the face of French cinema's golden age—the hero of Beauty and the Beast, the swashbuckler of Le Bossu, and the muse of Jean Cocteau. Yet, t...

Noel Bouvard French School (1912 - 1975) Signed bottom right Exhibited at the renowned Stacey-Marks Gallery in London with the exhibition label on the reverse. Canvas Size: 19 x 25...

From: XXe Siecle, No. 31, 1968 Publisher: Gualtien di San Lazzaro, Paris Printer: Muorlot, Paris Large unspecified edition, c. 2000 Reference: Poliakoff/Schneider 68 Composition roug...

Dog in a landscape French oil painting on canvas 19Th by Augustin Luc Demoussy French oil painting signed and date 1947 French painter and lithographer, born October 5 1809 in Paris...

Pierre Bonnard (French, 1867–1947) Conversation, 1893–94 Lithograph printed in bistre-black on smooth wove paper Image: approximately 29.2 × 24.8 cm (11½ × 9¾ in.) Sheet: approximat...

La Croisette, Cannes (Carlton Hotel) French School, late 20th century indistinctly signed watercolour on artist paper, framed framed: 26 x 24.5 inches watercolour : 23.5 x 22 inches...

Paris Café Terrace with Figures French Modernist Graphite Drawing By Laure Noetzlin-Azam (French, 1929–2024) Pupil of André Lhote. Graphite on artist's paper, unframed. 9.25 × 12.75 ...

Vibrant street scene by Maurice Mazeilie (French, 1924-2021) watercolor painting on artist paper, unframed signed lower right stamped verso A robustly coloured and lively scene of a ...

Pierre ALLARD Peindre comme un âne et descendre au Lapin Agile, 2016 Oil on canvas Size: 73 x 92 cm Signed lower left Painting in perfect condition. Frameless. Sold with invoice ...