Fremiot

French school 19th century, Court scene in front of a palace watercolor on paper 16.4 x 13.3 cm In good condition, some foxings Framed : 30 x 26.5 cm This enigmatic yet charming s...

Maurice Asselin (1882-1947) A Bouquet of roses and nasturtiums Signed lower right Oil on cardboard canvas In good condition 39.5 x 31.5 cm Framed : 58.5 x 51.5 cm Maurice Asselin w...

Lucien-Victor Guirand de Scévola ( 1871 – 1950) Portrait of a lady, a sketch signed lower right Oil on canvas transfered on cardboard 25 x 18 cm oval Framed : 31 x 24.5 cm This port...

Georges Louis Claude (1879-1963) Still life with fruits, 1938 oil on paper 32 x 40 cm In good condition In a vintage white frame, 41.5 x 49 cm, numerous lacks of white painting (see photographs please) Georges Louis Claude was born in Paris in 1879. The artist first studied at the Bernard Palissy School of Drawing in Paris. There he learned mythological and religious subjects, the art of portraiture, still life and of course, wall decoration, which became his favourite medium. His career began as an architectural decorator for the Galland house in Paris. He then collaborated with the orientalist architect Alexandre Marcel. Noticed at the at the 1900 Universal Exhibition, he decided to emancipate himself and presented his his own projects. It was at this time that Georges-Louis laude was to seduce some of the most influential personalities of their time with his talent. First of all King Leopold II of Belgium, followed immediately by Baron Empain became infatuated with the artist to decorate palaces and flats. In Belgium, Georges-Louis Claude was chosen to decorate the Royal Palace of Laeken (Japanese Tower...

Henry Ottmann (1877-1927) A Still life, signed lower right Oil on canvas 41 x 51 cm Framed : 53.5 x 63.5 cm Another fine example of Henry Ottmann's original art, this still life ...

Maurice Asselin (1882-1947) A Seascape, Brittany, signed lower right watercolor on paper 19.7 x 25.2 cm Framed : 35 x 40.5 cm Maurice Asselin was particularly attached to Britta...

Jules Cheret (1836-1932) La Confidence (The confidence) 1909 signed and dated in the lower right Charcoal and heightenings of white chalk 22.7 x 22.7 cm Framed under glass : 33.8 x...

Jules Cheret (1836-1932) A couple, 1909 signed and dated in the lower right Charcoal and heightenings of white chalk 23 x 23 cm Framed under glass : 33.8 x 33.8 cm This work is hi...

German School 19th Century, Portrait of a boy, pencil on paper 25.7 x 16 cm (view) Framed : 41.8 x 31.5 cm The style and execution are v...

French school circa 1880 Portrait of a boy holding a book graphite and white gouache on paper 39.5 x 32 cm oval view in good condition, slightly yellowed with age In its original ova...

French school late 18th Century Portrait of a young man oil on metal 10.2 x 7.7 cm Framed under glass : 24.4 x 21.8 cm This small portrait painting, quite original in its technique...

Georges Antoine Rochegrosse (1859-1938) A zither player carbon pencil on thin paper 8.5 x 3.3 cm In good condition Framed : 35 x 24 cm Provenance: Estate of the artist and by Inher...

Georges Antoine Rochegrosse (1859-1938) Study for "Le Cocher" carbon pencil on thin paper 14.5 x 13 cm In good condition Framed : 36.7 x 31 cm Provenance: Estate of the artist and...

Albert Paul Guilmet (1879-1922) Portrait of a man, signed upper left charcoal on paper 26.5 x 33,8 cm Framed : 43.5 x 52 cm Little is known about Abert Paul Guilmet, apart from th...

Paul Lecomte (1842-1920) Mother and daughter at a fountain Signed on the lower left Oil on canvas transfered on cardboard 25.5 x 34 cm In good condition In a modern frame : 44 x 52 ...

Roger Cortet (1910-1978) Still-life with a white sculpture Oil on canvas Signed lower right 64 x 80 cm Framed : 70 x 85.5 cm There is a small but inconspicuous hole in the frame groo...

French Romantic School, 19th Century Portrait of a man, a selfportrait ? oil on paper 17.5 x 12 cm oval Framed under glass : 43 x 34.5 cm This rather mysterious portrait is perhaps a self-portrait of the artist who painted it. This is suggested by the three-quarter pose and the gaze fixed on the viewer. What this man seems to be staring at is himself. Similarly, the model's appearance is reminiscent of the image of the romantic, bohemian, tortured artist. It's also very interesting that he used a range of dark colours to reinforce this idea of melancholy. It has been suggested that this small oil on paper is close to the art of François Bonvin (1817-1887) and Théodule Ribot...

Jules-Eugène Lenepveu (1819-1898) Portrait of a man in profile signed on the lower right Pencil and heightenings of white gouache on paper 19.5 x 13 cm Framed : 29 x 22.7 cm Jules-Eugène Lenepveu is of course particularly well known for his large-scale paintings, such as the one on the ceiling of the Paris Opera, but his work here is much more delicate and intimate. We recognise the artist's mastery of talent, but the play of textures, with its highlights of white that enliven and illuminate the model's face, is also very subtle. There's a particularly charming sense of life and impression of light. Jules-Eugène Lenepveu was born in Angers on 12 December 1819, on the site of the street that now bears his name, into a family of small shopkeepers. The painter showed a deep attachment to his family throughout his life through his correspondence and the many portraits of his relatives. He entered the drawing school in Angers in 1833, where he was a pupil of Jean-Michel Mercier. There he rubbed shoulders with the sculptor Ferdinand Taluet. He arrived in Paris in 1837 and entered the Beaux-Arts, where he was officially admitted to François-Édouard Picot's studio in 1838. He exhibited his work "L'Idylle" at the Salon of 1843 and, that same year, left for his first visit to Italy. He was awarded the Second Prix de Rome in 1843 for "Cincinnatus recevant les députés du Sénat" (Cincinnatus receiving the deputies of the Senate), then the First Prize in 1847 for "La Mort de Vitellius" (The Death of Vitellius). A resident at the Villa Médicis from 1848, he was surrounded by painters Alexandre Cabanel, Léon Benouville, Gustave Boulanger, Félix Barrias...

Ernest Lessieux (1848 - 1925) The sea in calm weather, signed lower left watercolor on paper 16.5 x 24 cm Framed : 35 x 41 cm This rather atypical work is a remarkable addition to...

Maurice Asselin (1882-1947) A Bunch of flowers in a vase Signed lower left Oil on canvas In good condition 46 x 38 cm Framed : 52 x 44 cm Maurice Asselin was born on June 24, 1882 ...

French Romantic school, circa 1840 Portrait of a young man, charcoal on paper 22.5 x 17 cm In good condition, however, there is a restoration of the paper in the upper right-hand qu...

Louis-Alphonse DAVID (1798-1849) Le Moulin de la Butte aux Cailles, Paris, (The Mill at la Butte aux Cailles) signed lower left Pencil and white chalk on paper 22,5 x 36 cm Framed : 40,5 x 55 cm Louis-Alphonse David is known for a relatively small body of work, including portraits and large compositions. In any case, in this work he shows a remarkable mastery of drawing, with particularly suggestive and subtle plays of light and shadow. The Butte aux Cailles, now part of the 13th arrondissement of Paris, was a hill covered in meadows, vineyards and woods, built with several windmills and overlooking the river Bièvre. It was named after Pierre Caille...

Jules Noel (1810-1881) Landscape with a manor and a traveler Signed lower left Pencil on paper 27.5 x 44.5 cm Framed under glass : 43 x 59.5 cm This drawing shows more particularly...

Jules Noel (1810-1881) Landscape with a fisherman, Signed lower right Pencil on paper 27.8 x 44 cm Framed under glass : 43 x 59.5 cm We find in this drawing everything that makes...

Maurice Asselin (1882-1947) Les Anémones, a bouquet of anemones signed upper right oil on canvas 38 x 46 cm Label of the exhibition Maurice Asselin at the Galerie Schmit in february...

Auguste Gardanne (circa 1840- circa 1890) Carriages and horses during the franco-prussian war of 1870 Pencil and watercolor on paper On the reverse Studies of horses Pencil and water...

Auguste Gardanne (circa 1840- circa 1890) Soldiers at rest during the franco-prussian war of 1870 Watercolor on paper On the reverse Study of a battlefield (?) Pencil on paper Mark o...

Alexandre Bida (1813-1895) A Young Woman in Profile Signed with the monogram lower right Pencil on grey-blue paper 17.7 x 11.5 cm Framed : 36.5 x 27 cm This drawing shows Bida's tec...

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 which remains a mystery, reveals an aspect of Edouard Dufeu's personality in which he is more influenced by Romanticism. We can recognise his nervous, painterly style, which lends itself particularly well to this fantastic scene. Edouard Jacques Dufeu was born in Marseilles on 27 march 1836, and he died in Grasse on December 1 , 1900. He was a French painter and engraver . Coming from a family originally from Egypt, Dufeu moved to Paris in 1860 and frequented the studio of Charles Gleyre...

Jean Launois (1898-1942) A North African landscape, A Port (Essaouira ?) signed lower right Watercolor on paper 14 x 41.5 cm Framed : 30 x 57 cm It is most likely a view of the por...

Lucien-Victor Guirand de Scevola (1871-1950) Portrait of a young woman Pastel on paper 38 x 28 cm (oval) Framed under glass in a vintage framing : 45 x 35 cm A label on the back "1928 Portrait de femme Etude au pastel de Guirand de Scévola" (see photographs please) This pastel study is of course not signed, as the label on the back of the frame gives its attribution to Guirand de Scévola and, equally interestingly, the date 1928, but in fact the artist's style and execution are immediately recognisable without the need for a signature. This type of woman with a bun is typical of the models the artist loved. Her mysterious air recalls his Symbolist period, and pastel is hisr preferred medium because it lends itself to all the characteristics typical of his art. Lucien-Victor Guirand de Scévola ( 1871 – 1950) was a French painter. He was student of Fernand Cormon and Pierre Dupuis...

Francois Grenier de Saint Martin (1793-1867) A Young Lady on the beach, 1829, signed and dated on the lower left watercolor on paper 17 x 19.5 cm F...

Charles Emile Jacque (1813-1894) Dog in a doghouse Monogrammed "C. J. "lower right Pencil on paper 17 x 13 cm Mark of the Collection of Doctor Albert Finot "AF" (Lugt 3627) lower lef...

Louis-Félix de La Rue (1730-1777)  A Mythological scene Pen and black ink on paper Bears an old inscription with the name of the artist on the lower left bo...

18th Century french School, Courtyard of a ruined palazzo, An Architectural Capriccio, Pen and black ink and black ink wash on paper 17 x 12 cm In good condition Framed : 32 x 26 c...

Henry Ottmann (1877-1927) "Orée du bois par brume", A forest in the mist signed lower right pastel on paper 24 x 32 cm In good condition In a vintage frame : 43.5 x 53 cm The gilding on the frame is missing in many places Henry Ottmann particularly excelled in the pastel technique, as can be seen here. This is due to the fact that this delicate material obviously lends itself very well to the artist's characteristic vaporous style and manner. We should also note the great modernity of this landscape and its fades, which go almost as far as abstraction. Henry Ottmann was born on 10 April 1877 in Ancenis. He made his debut at the Salon La Libre Esthétique in Brussels in 1904 and took part in the Salon des Indépendants in Paris from 1905, the Salon d'Automne, the Salon de la Société Nationale des Beaux-Arts and the Salon des Tuileries. In 1911 and 1912, Ottmann exhibited at the Artistes de la Société Moderne at the Gallery Paul Durand-Ruel together with Armand Guillaumin, Henri Lebasque and others. In 1912, he exhibited at the gallery Eugène Druet. In 1920, Ottmann exhibited at the gallery Marcel...

Léon Frédéric (1856-1940) Vallée de Nafraiture signed with the estate stamp at the lower left Oil on canvas transfered on panel 29.5 x 44.55 cm Certific...

René Buignet (1888-1915) La Fontaine Médicis, Jardin du Luxembourg, Paris Each one signed lower right watercolor on paper size of each : 28.5 x 21 cm In the same mount and framing :...

Felician Myrbach (1853-1940) Pour Guitare solo, For Solo Guitar bears the monogram "M" in the middle left, titled in lower left Ink on paper 29,8 x 18,8 cm in good condition, traces...

Felician Myrbach (1853-1940) Le Cadeau de Sahagun, The Gift of Sahagun bears the monogram "M" on the lower left, titled on the lower left Ink on paper 29,8 x 18.7 cm In a modern fra...

Felician Myrbach (1853-1940) The Musketeers bears the monogram "M" on the lower left Ink and pencil on paper 26,7 x 23,7 cm in good condition, In a mod...

French School 18th Century, L'étonnement, Astonishment as a form of expression, Titled on the lower right "L'étonnement N°9" Black chalk on paper 43 x 29 cm In good condition, a sta...

French School 18th Century, Le Rire, Laughter as a form of expression, Titled on the lower right "Le rire N°12" Black chalk on paper 43 x 29 cm In quite good condition, stains vsibl...

French School 18th Century, Le Mépris et la Haine, Contempt and Hate as a form of expression, Titled on the lower right "Le mépris et la haine N°7" Black c...

Lucien-Victor Guirand de Scevola (1871-1950) A Man writing at his desk, 18th century interior scene Pastel on paper Signed upper right 20.5 x 15.8 cm Framed under glass : 37 x 31.5 cm It is known that Guirand de Scevola was very interested in the Palace of Versailles and its Old Regime atmosphere, that he often painted it and that he participated in the Versailles Revival movement at the beginning of the century. This probably led him to paint scenes in the 18th century style, for which he was particularly well known and which are still sought after. What is striking is the modernity of the execution of our pastel, which obviously contrasts with its subject in the style of the 18th century. Guirand de Scevoal is a great colourist and he proves it here with eclat, by building up his composition with white pastel highlights, contrasting with brown and black. There is something of the northern painters in this treatment of light. All this, as always with him, is very subtle. The light radiating from the window is almost an abstract notation, but it gives meaning to this interior scene. Lucien-Victor Guirand de Scévola ( 1871 – 1950) was a French painter. He was student of Fernand Cormon and Pierre Dupuis...

Italian School 18th Century An Ancient soldier in profile, red chalk on paper 35 x 23.5 cm in good condition, traces of folds in the lower right corner Framed : 46.5 x 35.5 cm This...

French School mid 19th Century Animated dune landscape, oil on cardboard panel 12.4 x 29.8 cm bears a small inscription "Escoublac" on the lower right, not visible under the actual ...

Marie Joseph Clavel dit Iwill (1850-1923) Landscape with a village, signed lower right color pencils on paper 27 x 18.5 cm In good condition, a stain visible in the upper left corner in a modern frame : 40.5 x 32.5 cm This delicate landscape drawn with coloured pencils shows how the artist is trying out a technique that brings him closer to pointillism, here he is part of the contemporary post impressionist movement. A rare work and particularly interesting in this respect. Marie-Joseph Léon Clavel was the son of Frédéric Clavel (1822-1902), an economist and philanthropist, and Amélie Philippe (1822-1904). He learned painting from Emmanuel Lansyer and Karl Joseph Kuwasseg. Spending part of his childhood in Nancy, he finished his studies at the Lycée Bonaparte in Paris. In order to satisfy his father's plans, he began his active life in the trade. In the early days of the 1870 war...

French Romantic School beginning of the 19th Century View of Arriccia, 1828 located and dated, "Arriccia 1828" on the lower right Pencil on paper 23 x ...

Louis Tinayre (1861-1942) An encampment of journalists in Chambéry, signed and titled lower left "Campement de journalistes à Chambéry" Ink on paper In quite good condition, a a visible vertical fold in the centre, some stains and foxings 21 x 29 cm Framed : 33.7 x 45.5 cm Louis Tinayre's background and adventurous life obviously shed light on this humorous and detailed scene. He shows a remarkable sense of observation, capturing as a journalistic illustrator this scene of extraordianarian life. We don't know for the moment why these journalists had to improvise a camp, probably in a hotel room. No doubt it was to cover a trial or a sensational news item that had filled all the hotels in the city with journalists who had flocked for the occasion. In any case, what interests Tinayre as an almost ethnographic observer is this camp of journalists, of which he makes a tender and comical scene. One understands him better when one knows how he could be fascinated in the same way by the territories of Madagascar, the North Pole or the Far West that he painted and drew. Louis Tinayre was born on 14 March 1861 in Neuilly-sur-Seine. His mother, Victoire Tinayre, was a teacher and a member of the International Workers' Association. Louis was the son of a Communard couple. His father, Jean Joseph, known as Jules Tinayre (Issoire 1821 - Paris 1871) was shot during the Bloody Week. His mother, Victoire Tinayre, fled with her children. Louis was the first to be sent to Hungary, and the rest of the family (including his brother Julien) joined him there later. He studied Fine Arts at the Hungarian University of Fine Arts in Budapest. Returning to Paris in 1880 (after the amnesty), Louis Tinayre assiduously frequented Le Chat noir, where he met the positivists and Adèle Jacomet (Buenos Aires 1867-1946), whom he married in 1888. He became an animal painter and press illustrator and was sent by Le Monde Illustré to cover the second expedition to Madagascar (then under French protectorate) in 1895. He stayed there, fascinated, for six months and produced numerous drawings and photographs. Back in France, he created eight 5 x 4 meters dioramas presented at the National and Colonial Exhibition in Rouen in 1896. He returned to Madagascar in 1898 to prepare the creation of a giant panorama representing the surrender of Antananarivo in 1895. The Malagasy pavilion at the 1900 Universal Exhibition in Paris allowed him to admire the dioramas (on the ground floor) and the panorama (on the first floor). On his second trip, Tinayre took a Lumière cinematograph with him to document the daily life of the Malagasy people, no doubt to facilitate the design of the vast panorama. These short films were donated to the Cinémathèque française in 2009 by his grandson, Alain Tinayre. One of the admirers of Tinayre's drawings, watercolours, paintings and photographs at the Universal Exhibition was Prince Albert I of Monaco: from 1901 onwards, Tinayre accompanied him on his hunts, painting scenes in North Africa, Russia, the Far West (Wyoming) and the North Pole. Tinayre, the official painter of the Prince's scientific expeditions, left his name to a glacier. Together with the painter Alexandre Jean-Baptiste Brun, he painted the four murals in the large amphitheatre of the Oceanographic Institute in Paris. Louis Tinayre painted the figures while Alexandre Brun...

Felician Myrbach (1853-1940) Poèmes magyars, Magyar poems bears the monogram "M" on the lower left, titled in the upper right Ink on paper 29,8 x 19,8 cm in good condition, the sheet is slightly yellowed In a modern frame : 33 x 23 cm This is an illustration project by Felician Myrbach for François Coppée's work, "Poèmes magyars". He leaves the space to be occupied by the text blank on the sheet and arranges his composition accordingly. It is interesting to see the artist imagine his drawing with this constraint. Felician Myrbach (also Felicien de Myrbach, Felician von Myrbach, from 1919 Freiherr von Rheinfeld) was born on 9 February 1853 in Zalishchyky, he died 14 January 1940 in Klagenfurt He was an Austrian painter, graphic designer and illustrator. He was a founding member of the Vienna Secession and the director of the Applied Arts School in Vienna (now the University of Applied Arts Vienna), and was instrumental in the creation of the Wiener Werkstätte. Myrbach's father was Franz Myrbach (1818–1882), the Administrator of Bukovina in 1865–70. His older brother Franz Xaver (1850–1919) was an economist and professor at the University of Innsbruck. He attended the Theresian Military Academy in 1868–71, graduating as a Leutnant, then at the Academy of Fine Arts, Vienna under August Eisenmenger. In 1875, he joined the 19th Feldjäger Battalion, and in 1877 became an Oberleutnant in the Military Geographic Institute, then, after campaigning in Bosnia in 1878, he taught drawing at the Infantry Cadet School in Vienna. He continued his artistic studies under C R Huber. In 1881, he went on military leave and moved to Paris, retiring totally from the military in 1884 as a Hauptmann, 2nd Class. He stayed in Paris until 1897, working as an illustrator, including illustrating the works of Alphonse Daudet, Victor Hugo and Jules Verne. Myrbach was a founding member of the Vienna Secession in 1897. In the same year, he became the a professor of the Applied Arts School at the Museum of Art and Industry; Arthur von Scala, another reformer Modernist, was made head of the Museum. In 1889, Myrbach became the director of the school. He brought an enthusiastic Modernist attitude and encouraged an integration between art, design and production. He added Koloman Moser and Josef Hoffmann to the staff, amongst other Secession artists. This would lead to the foundation of the Wiener Werkstätte in 1903. Myrbach leant more towards an aesthetic approach than von Scala, but both worked together to bring about their combined vision of successful, popular Austrian applied art. Myrbach was a voice for reform towards Modernist ideals in the School, which was started 1899 with the support of Alfred Roller, and completed by 1901.The reform of the school has been described as his "lasting merit". Ludwig Hevesi called Myrbach "probably the best [illustrator] in Vienna", partially for his work (with Moser) in the Secession magazine Ver Sacrum. Myrbach visited America on a state-funded study trip in 1904, part of which was to represent the Applied Arts School at the 1904 World...

Felician Myrbach (1853-1940) L'Araignée du Prophète, the spider of the Prophet bears the monogram "Mb" on the middle left, titled in the middle Ink on paper 31,8 x 21.9 cm in quite ...

Maurice Asselin (1882-1947) Le Masque blanc (The White Mask) Signed lower right, Oil on canvas 35 x 27 cm In good condition In its vintage frame : 51 x 43.5 cm The white mask is ...

Louis-Eugène Lambert (1825-1900) La Montagne qui accouche d'une souris (The Mountain and the mouse) Pen and black ink, ink wash on paper Signed lower ...

Attributed to Eugene Deully (1866-1933) A woman , study, Pencil and heightenings of white gouache on blue grey paper in two parts, the left part added ...

Jean Launois (1898-1942) Opium smokers, Indochina Stamp of the artit's estate on the lower right Black ink on paper 22.5 x 30.5 cm Framed : 38 x 46 cm This beautiful drawing, a fine example of Jean Launois' particular art, dates from the artist's stay in Indochina, from which he brought a group of works. An exhibition devoted to this Indochinese period of the artist's production was held at the Musée de l'Abbaye Sainte-Croix, Sables d'Olonne in 1998. About the artist : Of Vendée origin, Jean Launois very quickly showed a sure talent for drawing and was encouraged in this by his parents. He trained with his fellow Vendeans Charles Milcendeau and Auguste Lepère and then entered the Académie Jullian in Paris. Enrolled in the First World War in 1916, he continued to draw at the front, and produced numerous portraits of soldiers...

Lubin de Beauvais (1873-1917) L'anse de Launay, a woman at the beach, 1911 signed, dated and titled "Anse de Launay, Loguivy Ploubazlanec, Bretagne,...

Charles Montlevault (1835-1897) Walkers along a cliff Signed lower left Oil on canvas 35 x 27 cm in good condition In a vintage frame : 57.5 x 50 cm unfortunately damaged with impor...

French school end of 19th century Landscape by the river oil on paper 29 x 49,5 cm In good condition In a modern frame : 33,5 x 53.5 cm

French Romantic School circa 1830 "Le Baiser" The Kiss, A hunter and a girl flirting, study of the girl in the upper register pencil, pen and black ink 19.5 x 13 cm (view) Framed ...