Fremiot

French School 19th Century Portrait of a man dated "aout 1880" (august 1880) and perhaps initials on the lower right Oil on canvas transfered on cardboard panel 49 x 36 cm In good co...

Georges Ferré (1853-1924) Portrait of a friend, 1886, signed, dated, and dedicated "à son ami P. Jallanchouze" on the uper right oil on wood panel 23.8 x 17.9 cm This portrait of ...

Maurice Asselin (1882-1947) Still life with lobsters and fish Signed lower left Oil on canvas 54 x 73 cm In good condition Framed (minor lacks of gilding) : 69.5 x 88.5 cm Maur...

Louis-Félix de La Rue (1730-1777)  A Banquet scene Pen and black ink, brown ink wash on paper Diameter 21 cm In good condition In a modern frame under glass 30 x 30 cm It is not s...

French Romantic school of the 19th Century The artist's inspiration Oil on canvas transferred on wood It is in good condition, but the material has irregularities due to the canvas...

Paul Lecomte (1842-1920) The Tree by the riverbank signed lower left watercolor on paper 33 x 50 cm framed 37 x 54 cm The tree and the river: Paul Lecomte had a particular fondn...

Paul-Emile Lecomte (1877-1950) A walker on a country road Signed lower right watercolor on paper 25.5 x 35.3 cm framed under glass 44.5 x 54.5 cm This antique frame is quite damage...

Siebe Johannes Ten Cate (1858-1908) Dordrecht under the snow Signed and located lower left Pastel on paper 26 x 39.5 cm In good condition, however, pastel is a fragile material and s...

Charles Jouas (1866-1942) Setting up the tents Signed on the lower right watercolor on paper 23.8 x 27 cm Framed : 28 x 31 cm This charming scene, which undoubtedly depicts pre...

Charles Jouas (1866-1942) View of a city from above, 1927, Signed and dated "5 sepbre 27" on the lower right Color pencils and heightenings of white gouache on paper 26.5 x 20 cm (i...

French School 18th Century Portrait of a gentleman holding his hat Oil on paper transferred on wood panel 34 x 27 cm Not signed which is normal for this type of artwork In a beautifu...

French school early 18th Century Portrait of a cleric, oil on canvas 68 x 54 cm, oval Not signed which is normal for this type of artwork I recently had this painting cleaned and r...

18th-century French school Study of a man seen from behind, Charcoal and white chalk on brown paper 46 x 29 cm Framed under glass : 60 x 43 cm This beautiful study of a naked man...

18th-century French school Jacob Blessing the Sons of Joseph oil on paper 8 x 14 cm (view) In a modern frame 27 x 35 cm The subject of this small painting can be identified as Jaco...

French school early 20th century, Portrait of a hunter signed lower right, the signature has not yet been deciphered oil on canvas 40 x 32.5 Framed : 47 x 39 cm In good condition, ...

Maurice Asselin (1882-1947) Notre-Dame, Paris Signed lower left, Oil on canvas 50 x 61 cm In good condition In its original frame : 61 x 72 cm It is really interesting to reme...

Paul Lecomte (1842-1920) A landscape with a bather Oil on canvas signed on the lower right 34 x 46 cm Framed : 42.5 x 55 cm This landscape by Paul Lecomte is particularly original ...

Paul Lecomte (1842-1920) Brighton, the beach 1889 signed located and dated lower left "Brighton juin 89" watercolor on paper 18.5 x 27.5 cm (view) framed 41 x 49.5 cm Paul Lecomt...

Léon Frédéric (1856-1940) A Seascape, Heyst signed at the lower right Oil on canvas transfered on panel 21 x 26.5 cm Framed under glass : 38.5 x 45 cm Certificate from the artist'...

Lucien-Victor Guirand de Scévola (1871-1950) Portrait of his wife, Marie-Thérèse Pierat signed upper left oil on canvas 46 x 38 cm Framed : 57,5 x 49,5 cm The intensity and unique...

Maurice Milliere (1871-1946) An artist in his studio, signed lower right oil on canvas 46 x 27 cm framed : 52 x 33 cm It is particularly interesting to find Maurice Millière working in a genre very different from that for which he is best known: depictions of young Parisian women. This unique portrait shows Millière in a more original and intriguing light. It captures a painter in his studio, creating a scene with various details: canvases on the floor to the right, a stretcher frame on trestles and even shoes that must have been quite striking at the time. The painter appears to be taking a break to smoke and pose for Millière. There is a real sense of complicity between the two artists. At the same time, however, everything in this painting is carefully chosen and composed, such as the admirable red background against which the model stands out. Combining elements of both a portrait and a studio scene, the painter's intention was to create a unique piece that pays homage to the bond between the two artists. Maurice Georges Louis Millière was born in Le Havre in 187. He came from a working-class family in Le Havre; his father was a salesman for a merchant. Millière began by studying painting at the École des Beaux-Arts in Le Havre. He moved to Paris in 1889 and enrolled at the École des Arts Décoratifs, also attending certain workshops at the École des Beaux-Arts. His first notable graphic works were posters and sheet music for companies such as Le Boulch and Le Divan Japonais (1899). From 1917 onwards, he published large numbers of depictions of scantily clad women: first in Fantasio (1917), then in Bagatelles, La Vie parisienne, Le Frou-frou, Le Sourire, Le Gai-Paris, etc. At the end of 1920, he joined the République de Montmartre, a charitable association. Contemporary with those of Louis Icart, his “little women” were to enjoy great success outside France: during the 1920s, American periodicals reprinted his creations, as well as those of Suzanne Meunier and Georges Léonnec...

Edouard Dufeu (1836-1900) A Fantastic scene by a lake Charcoal on paper Signed lower right 23 x 30,5 cm Framed under glass : 42.5 x 51 cm This fantastic scene, the subject of whic...

Charles Jouas (1866-1942) A Suburban landscape, color pencil on paper 24.5 x 38.5 cm Bears the stamp of Ullmann collection (Lugt 3533) and a mention handwritten "offert par madame ...

Paul Lecomte (1842-1920) La Ferme du Pré Oil on canvas signed on the lower right 38 x 55 cm Framed : 49 x 66.5 cm In good condition: a small repair visible on the reverse (see pictu...

Léon Frédéric (1856-1940) The Dunes and the Sea, signed at the lower right Oil on canvas transfered on woodpanel 30 x 40 cm Framed : 42 x 53 cm in good condition, Léon Frédéric always presented his oil landscapes on canvas transferred onto mahogany panels like this one. This seascape and dunes by Léon Frédéric is part of a series of landscapes inspired by the shores of Heyst, near the Belgian coastal resort of Knokke. Although he found much inspiration in the rolling landscapes of the Ardennes, particularly in the area of Nafraiture, at the other end of the country, the North Sea offered him a completely different motif and an opportunity to explore another source of inspiration. His style may seem lighter in some ways, but the same energy is evident in the way he depicts the vegetation in the foreground, for example, with the dunes reminiscent of the hills and valleys he loved. Similarly, his approach to composition is characteristic of his art, with a very high horizon line that seems to raise the viewer's gaze. Finally, this work exudes a great serenity that invites contemplation. Léon Frédéric was born on 26 August 1856 in Brussels and died on 25 January 1940 in Schaerbeek. The son of a prosperous jeweller, Léon Frédéric was apprenticed to the painter-decorator Charle-Albert in 1871, and attended evening classes at the Brussels Academy. In 1874, he worked in the private studio of Jean-François Portaels. The following year, he joined forces with a group of young painters to rent a studio where they could study live models. From 1876 to 1878, he prepared for the Prix de Rome, which he failed, but his father offered him a year's travel to Italy. From 1878 to 1879, he made his debut with the artistic group l'Essor, which brought together proponents of realism. In 1883, he was hailed as a promising painter with his painting Les Marchands de craie, a triptych combining modernism with the genius of the primitive masters, and in the 1890s he became one of the most popular painters in Belgium, cited alongside Constantin Meunier and Eugène Laermans. On 24 April 1929, King Albert I awarded Léon Frédéric - at the same time as James Ensor - the title of Baron. In 1882, he discovered the work of the French naturalist painter Jules Bastien Lepage...

French School 18th century, Interior of a barn Black chalk and black ink wash on paper 30.8 x 23.6 cm Bears a mention " Le Prince" on the back of the sheet (see photograph) In good ...

Siebe Johannes Ten Cate (1858-1908) The River Seine, 1906 Signed and dated lower right Pastel on paper 25 x 39 cm in good condition, very fresh, Framed under glass : 33 x 47 cm ...

Pierre-Adolphe Huas (1838-1900) Young Neapolitan, 1867, signed and dated upper left Pastel on paper transferred to canvas 50.5 x 39.5 cm In good condition, but a small restoration ...

Charles Montlevault (1835-1897) Walkers along a cliff Signed lower left Oil on canvas 35 x 27 cm in good condition Framed 48 x 39.5 cm The manner in which the painting was execut...

André Eugène Costilhes (1865-1940) Portrait of a Lady bears the stamp of the studio of André Eugène Costilhes in the lower right-hand corner pencil red chalk and heightenings of whi...

André Eugène Costilhes (1865-1940) Portrait of a young woman pencil on paper 30.5 x 20 cm In quite good condition Traces of folding in the upper left-hand corner. Lower right corn...

André Eugène Costilhes (1865-1940) A young woman sewing bears the stamp of the studio of André Eugène Costilhes in the lower right-hand corner pencil on paper 30.5 x 20 cm In quit...

René Mels (1909-1977) Portrait of a young man, signed lower right oil on canvas 73 x 60 cm Framed : 77.5 x 64.5 This impressive portrait is obviously tou...

Léon Frédéric (1856-1940) A Summer landscape signed at the lower left Oil on canvas transfered on panel 29 x 44 cm Framed : 39 x 54.5 cm in good condition, However, there is a cr...

Jean-Achille Benouville (1815-1891) Rome, View of the Forum, pencil on paper 28.5 x 37.5 cm framed 38.5 x 47.5 cm This drawing is characteristic of Romantic artists who, like Coro...

Paul-Emile Lecomte (1877-1950) La Route de Naudy (The Road to Naudy) Signed lower left (titled on the verso of the sheet, but now hidden by the back of the frame) watercolor on paper...

Siebe Johannes Ten Cate (1858-1908) A View of Toledo Signed, located and dated lower left Watercolor on paper 35.5 x 55 cm irregularly shaped in good condition, some foxings in the ...

French School of the 19th Century Scenes of the parisian life, three drawings each one signed with the initials LV Pencil on paper Sizes of the drawings : 4.8 x 8 cm 4 x 6.5 cm 4....

Maurice Asselin (1882-1947) A Bouquet of anemones Signed lower left (partially hidden by the frame) Oil on canvas In good condition 21 x 28 cm Framed : 27 x 34cm Maurice Asselin ...

Paul Gavarni (1804-1866) Portrait of a young man leaning on a Chair Signed lower right Black pencil on paper 23.7 x 17.6 cm In good condition Framed : 40 x 34 cm This fine portr...

Jules Coignet (1798-1860) Lago di Guarda, 1837, Inscribed "Lago di Guarda 9 8bre 1837" Graphite on paper 24 x 35 cm Framed : 37 x 48 cm Provenance : Galerie Paul Prouté, Autumn 1...

Jean-Henri Cless (1774-1812) Portrait of a young woman in a landscape signed "Cless fec" for fecit on the lower left Brown ink and brown ink wash on paper Size of the sheet : 31.5 x 22 cm Size of the motive : 24.5 x 17 cm very simply framed under glass without actual frame 32 x 22.5 cm This pre...

Paul Lecomte (1842-1920) A Flowerbed signed lower left Watercolor on paper, 15.5 x 23.5 cm Framed : 25.5 x 33 cm This is a particularly original work by Paul Lecomte. It shows his ...

Auguste Legras (1817-1887) Portrait of a young man in profile, signed lower right Charcoal, red and white chalks on paper 45 x 31.5 cm Framed : 52 x 39 cm This particularly evocati...

Early 19th Century, Portrait of a young man wearing glasses, gouache on paper 13 x 10.5 cm oval view In a vintage frame : 41.5 x 39 cm, accidents and lacks in the gilding but but...

Siebe Johannes Ten Cate (1858-1908) Bruges, windmill canal, 1894, Signed, located and dated 94 lower right Pastel on paper 27 x 41 cm in good condition, very fresh, Framed under g...

French School 19 th Century Portrait of a young man Signed (signature not deciphered) on the lower right Pencil, black chalk and heightenings of white and red chalks on paper Oval vi...

French School of the 19th century Portrait of a young man, 1891 Signed (illegible) and dated 91 on the lower right Oil on canvas 46 x 38 cm Framed 52 x 44 In good condition, recently...

Edouard Detaille (1848-1912) Soldiers, a study Black ink on a wood panel 12.5 x 13 cm Framed : 20 x 20.5 cm On the back of the panel a label inscribed "Dessin à la plume par Detaill...

Octave Denis Victor Guillonnet (1872 - 1967) A young woman seated signed lower leftt Charcoal, red and white chalks on thin paper transfered on cardboard 49 x 39 cm Framed : 55.5 x ...

Octave Denis Victor Guillonnet (1872 - 1967) A naked young woman seated Charcoal and red chalk on thin paper transfered on cardboard 49 x 39 cm Framed : 55.5 x 45.5 cm Octave Denis...

Siebe Johannes Ten Cate (1858-1908) A Garden in Zurich, 1898 Signed, located and dated "Zurich 98" lower right Pastel on paper 28.5 x 41.5 cm in good condition, trace of a small t...

Henri Harpignies (1819-1916) A Barrier on the hedge, study Signed lower left, annotation "branches séchées sur la barrière" (dried branches on the fence) on the upper right Charcoal...

Attributed to Francesco Casanova (1727-1803), A Mamluk fighting on his horse, watercolor and ink on paper 35 x 26 cm Framed 54 x 44 cm (vintage frame, the mount and the back have b...

Siebe Johannes ten Cate (1858-1908) A Dune Landscape Signed lower right Pastel on paper 25.5 x 39.5 cm in good condition, very fresh, traces of pinholes in the upper corners barely...

André Eugène Costilhes (1865-1940) A Pensive young woman pencil on paper 29.5 x 22.5 cm (view) In good condition, except some traces of stains Framed : 55.5 x 41.5 cm (vintage frame...

Siebe Johannes ten Cate (1858-1908) Mill and sailboat in the moonlight, Signed lower rigt Pastel on paper 40 x 31 cm Framed under glass : 52 x 44 cm This landscape shows the out...

Barbizon School, French circa 1850 Fontainebleau landscape with walkers Oil on canvas 21.5 x 31 cm Framed : 32 x 41.5 cm In good condition, some minor lacks of paintingsdue to a former frame abrasion mainly on the right border and in the lower border (see photographs please) This landscape is probably a view of the Fontainebleau forest. This type of scene was painted by the Barbizon painters and by Camille Corot. The village of Barbizon is very close to the forest of Fontainebleau and the painters who lived there, such as Camille Corot, painted the most picturesque views of the spectacular stone quarries. There were also many walkers and hikers in these places, as the artists had made them famous and fashionable. The author of this charming little painting wanted to depict the wildness of the place and, in contrast, the walkers who made it a pittoresque curiosity. Although it's difficult to identify or ascribe the work, as there's no signature or other indication, there's a great deal of sensitivity and self-confidence in a very lively touch that heralds Impressionism. The detail of the barely sketched silhouettes...

Paul Lecomte (1842-1920) L'étang à Mortefontaine, an autumn landscape signed lower left Watercolor on paper, 29,3 x 22.5 cm In its original vintage frame : 46 x 39,5 cm titled on t...

Jean-Jules-Antoine Lecomte du Nouÿ (1842-1923) A shoulder and back study, oil study oil on canvas 34 x 19.5 cm In good condition, a few small inpaintings visible under UV lights Stamp of the Estate sale in Toulouse on the stretcher In a modern frame : 40 x 25 cm Provenance : Estate of the artist and family of the artist by descent Estate sale in Toulouse 22 June 1999 This very interesting oil study was part of a set kept by the artist. He had studied fragments of anatomy both to use them as models in large compositions but probably also because he represented so many fragments. It is clear that this fragment of anatomy has a power of suggestion and serves as a relay to the imagination of the viewer, who is led to imagine the rest of the body taken as a model. We can speak of metonymy in painting and it is clear that the artist had this in mind when he kept such studies with him. Jean-Jules-Antoine Lecomte du Nouÿ was born on 10 June 1842 in Paris. Originally of a Piedmontese origin, his family had been settled in France since the fourteenth century and by the time of his birth had reached the status of nobility He was an Orientalist French painter and sculptor. He was strongly influenced by the works and teachings of Charles Gleyre and Jean-Léon Gérôme. Lecomte du Nouÿ found inspiration for his art through extensive travels to Greece, Turkey, Egypt, Romania and Italy. The thematic content of Lecomte du Nouÿ's work was mainly figural, but also spanned over a vast range of imagery throughout his career, including classical, historical and religious. Lecomte du Nouÿ is known for remaining faithful to his detailed, realistic style throughout the extent of his career, despite the onset of the Impressionist, Fauvist and Constructivist artistic movements during his lifetime. His work is said to have contributed significantly to the establishment of an iconic repertoire representing the Orient in the nineteenth century.A Parisian street was named after him in 1932.  Lecomte du Nouÿ showed a strong attachment to visual art from a young age and was reported to have painted portraits of his father and uncle by the age of 6. In 1861, at 19 years of age, the artistic talents of young Jean-Jules-Antoine Lecomte du Nouÿ prompted him to become a pupil at the atelier of Swiss artist, Charles Gleyre. Under Gleyre's guidance Jean-Jules-Antoine learned the significance of individualistic style and gained the foundations of creative visual presentation. Later, Lecomte du Nouy further perfected his knowledge of the artistic form under the mentorship of Jean-Léon Gérôme, who was a renowned painter of the Academicism movement. It was at this time that Jean-Jules-Antoine learned the precision required to depict "la belle nature" —a style of illustration that aims to create the most beautiful representations of the natural form. This later became one of the main techniques employed in Lecomte du Nouÿ's signature artwork. In 1865, Du Nouÿ accompanied fellow artist, Félix Auguste Clément...