« Portrait of a man in a jacket with golden buttons »
Oil on canvas – In its probably original frame in gilded wood and stucco – 22 x 17 cm
« Morning at Cernay, near Chevreuse, August 1826 »
Oil on paper mounted on canvas – 32.5 x 40.5 cm
– Located and dated lower right with the shaft of the brush “Cernay August 1826”
– Dated and titled on the back on the ink frame with probably an inventory number “N°17 / morning at Cernay near Chevreuse / August 1826”
– On the back of the work, the stamp of the canvas merchant “Binant, rue de Cluny, n ° 12 […] Paris ”
« View of the Chamonix Valley »
Oil on paper mounted on canvas – 22 x 28 cm
On the back, on the chassis, the annotation in ink « Vallée de Chamonix » and a number
inventory « 122 ».
Related work :
– “Mountain Landscape: Chamonix” – Preparatory study kept at Louvre Museum from a painter’s travel book (Ref.: 13665-76)
« View of the cliffs of Etretat in heavy weather »
Oil on paper mounted on canvas – dated and signed « 1856/G Lepaulle » lower right – 29.50 x 38.50 cm
“A View of Guignonville near Paris”
Oil on paper laid down on canvas – 36 cm x 33 cm – Annotated and dated lower left “Jardin de Charles / Guignonville / 8br 1838”
A pupil of the painter Jean Victor BERTIN, Coignet is a perfect example of the landscape school of the 1830s and is sometimes referred to as one of the forerunners of the Barbizon school. Seeking to move away from the studios, the painter continued his training in plein air, across France and Europe […]
“The bridge of the old Sorrento gate”
Oil on paper mounted on canvas
Bears an apocryphal inscription lower right : « COROT » – 23 cm x 36 cm
« View of Naples with Vesuvius in the background »
Monogrammed and dated lower right « P. F. 1811 », inscribed on the back on a label « View of Vésuve taken from the valley … painted by P. Fontainieu »
Inscribed on the frame « Fontainieu father n° 1 » – Oil on panel – 33,8 cm x 44,7 cm
« Study for Louis XIV signing the constitutive ordinances of the Navy »
Oil on canvas – signed « ALEXANDRE HESSE » at the top right – Stamp of the Haro house on the chassis on the back 33 cm x 18 cm.
« Rocca Pia near Tivoli and Montecelio in the distance (recto)/ Landscape (verso) »
Oil on paper – 23 cm x 28,4 cm – On the back trace of an old wax seal.
« View of the Forum of Nerva in Rome »
Oil on paper mounted on canvas – 29.5 cm x 18 cm – 1818
On the back, in ink, on the original frame « Sketch of nature / forum Nerva in Rome by Victor SCHNEST / 1818 ».
Another inscription, still in ink, « By Victor SCHNEST/ view of Rome
“Study of the Head of a Bearded Man”
Presence of a wax seal from the posthumous sale of Eugène Delacroix (1864) on the left upright of the stretcher – Presence of a label on the upper left corner brace batten of the stretcher: “169”.
Presence of an ink mark from the Haro company on the back of the canvas: “AU GENIE DES ARTS. / HARO. / Md. de COULEURS et / Restaurateur de Tableaux. / Neveu et Elève de M. REY. / Rue du Colombier, N.° 30 / Faubourg St. Germain. / À PARIS”.
“Ruins of the Temple of Castor and Polux on the Campo Vaccino in Rome”
Circa 1820 – Oil on paper mounted on canvas – 30,5 cm x 24 cm – original montage.
On the back with chalk various annotations including red chalk , “GRANET”. On the median rail, in graphite pencil, “Temple of Castor and Polux”. In the bottom, always on the back an indication “The Fields of Cows”
“Factories near the Villa Borghese”
Oil on paper mounted on cardboard – 23 cm x 31 cm
On the back, original annotation in ink “Italy” and the signature of the painter (almost entirely scraped) “Ch [Philippe Larivière ]” and a number “19”.
“View of the surroundings of Naples”
Oil on paper mounted on canvas – 17,5 cm x 21,5 cm – Signed on the lower right “Ro …”- on the reverse of the original montage “… Naples”
“Classic landscape at dusk”
Oil on canvas – 62 cm x 106 cm – Signed “CFranco Collantes Ft” in the lower left
Little is known about the life of the Spanish baroque painter Francisco Collantes. In fact, only the minimal information provided by Antonio Palomino and Lázaro Díaz del Valle in a short biography dated 1657 is available to retrace his career. Collantes was already referred to in it as “an excellent painter and especially in his landscapes”. […]
“Fabrics in Sainte Marie aux Mines, Haut Rhin department”
Oil on paper mounted on canvas – 23,5 cm x 31 cm – Signed “Rémond” on the lower right, located on a handwritten ink label with a No. 2 on the back of the frame
“The Temple of Aesculapius in the Borghese Gardens in Rome”
Oil on paper mounted on canvas – Signed, located “Rome” and dated 1823 lower right – 21,5 cm x 29,8 cm
“Portrait of Madame Césaire BLANQUET in front of Porte d’Amont in Etretat”
Oil on panel – 34 cm x 21 cm
Inscription on the back of the panel “Madame Césaire blanquet, née Ursule Delepin , née au Havre en … Et morte à Etretat le 15 janvier 1898 / Peint par Eugène LE POITTEVIN”
On the reverse of the panel “MULLER fils / Panneau et Cartons / Vernis à Tableaux / Paris”
“View taken in the surroundings of Florence”
Oil on paper laid on canvas – 25 cm x 37 cm – Painted circa 1827
At the back, an ancient and hardly readable ink writing reading “surroundings of Florence”
A pupil in the studio of Achille Leclerc and then at the Ecole des Beaux-Arts, he makes his first journey to Italy between 1820 and 1822. There he mostly produces architectural drawings. He goes back there between 1826 and 1828 after having been initiated into landscaping by WATELET. Jules COIGNET also provides him with a few advises […]
“Chaos of rocks”
Oil on paper laid on canvas – 38 cm x 39 cm – Painted circa 1827
A friend of Corot, he follows his vocation far from established doctrines. The son of a miniaturist he hardly got to know, he became in 1817 the pupil of WATELET and then entered in 1820 the studio of REGNAULT. His attachment to the sites of the Paris region goes back to this time, notably to that of Fontainebleau […]