Paintings

* Attributed to Jean DUCAYER (active in the 17th century) Portrait of a woman with a pearl necklace Canvas Height: 61 cm - Width: 51.5 cm Old restorations !!! Please read carefully : This lot is to be picked up at the auction.

18th century French school, entourage of Nicolas DE LARGILLIÈRRE Portrait of Elisabeth Charlotte d'Orléans dite Mademoiselle de Chartres puis Mademoiselle Oval canvas Height 66 cm ; Width : 55 cm History: - The original is in the Prado Museum, Élisabeth Charlotte d'Orléans , "Mademoiselle de Chartres", 1680-1682, oil on canvas, 102 x 86 cm, Inv. P002351

French school circa 1540 Allegory of Autumn, the Harvest Poplar panel, two boards, not parqueted (Old restorations.) Height 75 cm; Width: 53 cm Provenance : - Lyon private collection - Acquired by the owner's father in Italy in the 1930s.

SCHOOL from the late 18th or early 19th century "Port in the Mediterranean animated with characters". Oil on canvas 56 x 85 cm

* Marie LAURENCIN (1883-1956) Woman's face Oil on canvas. Signed upper right. Resigned on the back. 22.5 x 18.5 cm (Craquelures) !!! Please read carefully: This lot is to be picked up at the studio.

Attributed to the Master of Romagna Ceramics (Maestro delle ceramiche romagnole, painter active in Emilia-Romagna in the mid-18th century) Kitchen interior with jars and mortar Canvas (Tears, holes and missing pieces; red wax stamp on back). Height 82.5 cm; Width: 120.5 cm A group of several ceramic still lifes has been assembled under the conventional name of "Maestro delle ceramiche romagnole". It comprises paintings previously attributed to Giovanni Domenico Valentino, Andrea Seghizzi, Rodolfo Lodi, Arcangelo Resani and Pseudo Resani. These artists are all, to some extent of Cristoforo Munari, depicting rustic kitchen interiors, accumulations of dishes accumulations of crockery, pottery and vases, juxtaposed side by side. This production from the Baroque still lifes of the rest of the Italian Peninsula at the same time, which abound in moving garlands of flowers and heaps of fruit. On the contrary, these canvases influenced by the "bodegones" of Spanish Caravaggism in the previous century, and are not unlike the work of Luis Meléndez. Our painting fits well into this context, and appears to be of higher pictorial quality than the works the Master of Romagna Ceramics, such as Still Life with Ceramics, branches and tomatoes and Interior with garlic rosary, carafe, branches, ceramics and plates, both formerly on sale at Semenzato in Venice (cf. op. infra, Bacchi, 2015, p. 143 and Giardini, 2020, p. 121). Here, the interplay of full and empty spaces, articulated by stone entablatures, the rendering of different textures (are unified and stylized by a range of browns and blacks, enhanced by white earthenware some white earthenware with bluish decoration. In places, the touch becomes unctuous, for example on the lid of the pot to the right of the mortar. General bibliography relating to this group of still lifes: - Edited by Daniele Benati and Lucia Peruzzi, La natura morta in Emilia e in Romagne: Pittori, centri de produzione produzione e collezionismo fra XVII e XVIII secolo. Milano, Skira editore, 2000. pp. 135-139. - Anna Colombi Ferretti, "La natura morta a Bologna e in Romagna", in Frederico Zeri, La natura morta in Italia, Milano, Electa, 1989, pp. 492-494. - Giulia Palloni, "Cucine e deschi tra Romagna e Marche nel XVIII secolo. Il Maestro delle ceramiche romagnole e i Ceccarini", in Bacchi Andrea, La natura morta di Federico Zeri, Bologna, Fondazione Federico Zeri, 2015, pp. 135-151. - Edited by Claudio Giardini, Pitture in quiete, Carlo Magini e la natura morta tra Marche e Romagna nel XVIII secolo. Ancona, Il lavoro editoriale, Fondazione Cassa di Risparmio di Fano, 2020, p. 121.

19th century French school Portrait of a Woman, La Goulue ? Oil on canvas, illegible signature lower left H. 45.5 x W. 38.5 cm Repairs and restorations !!! Please read carefully: This lot is to be picked up at the auction.

Constant LATOUR "Lion and lioness lying down" oil on canvas Oil on canvas signed upper right 53 x 74 cm

Pieter Paul Rubens (Siegen 1577 - Anversa 1640) bottega di - Pieter Paul Rubens (Siegen 1577 - Antwerp 1640) workshop of Silenus, Flora and Zephyrus Oil on canvas 135 x 115 cm Studies, appraisals, written attestations: April 07, 1975 David Rosand (as P.P. Rubens) July 14, 1991 Michael Jaffé (as P.P. Rubens) July 28, 2010 Maurizio Marini (as P.P. Rubens) available only in photocopy August 10, 2010 Didier Bodart (as P.P. Rubens) August 20, 2010 Didier Bodart (as P.P. Rubens) Provenance: England, Earl of Bute, 18th century England, Luton park, 1799 England, London Bute sale, 1883 Switzerland, Private collection until 2005 Italy, Private Collection Bibliography: G.F. Waagen, Treasures of Art in Great Britain, London 1854, III, p. 475. J. Richter, Catalogue of the collection of Earl of Bute, London 1883, no. 208. Scientific studies of materials: Chemical tests, sampling and laboratory analysis, edited by Diagnostica per l'Arte Fabbri, by Davide Bussolari. Pieter Paul Rubens (Siegen 1577 - Antwerp 1640) workshop of. Silenus, Flora and Zephyrus Oil on canvas 135 x 115 cm Studies, appraisals, and written certifications: 07 April 1975 David Rosand (as P.P. Rubens) July 14, 1991 Michael Jaffé (as P.P. Rubens) July 28, 2010 Maurizio Marini (as P.P. Rubens) available only in photocopy August 10, 2010 Didier Bodart (as P.P. Rubens) August 20, 2010 Didier Bodart (as P.P. Rubens). Provenance: England, Earl of Bute, 18th century England, Luton Park, 1799 England, London Bute Sale, 1883 Switzerland, private collection until 2005 Italy, private collection Bibliography: G.F. Waagen, Treasures of Art in Great Britain, London 1854, III, page 475. J. Richter, catalog of the collection of Earl of Bute, London 1883, no. 208. Scientific studies on materials: Chemical tests, samples and laboratory analyses, by Diagnostica per l'Arte Fabbri, by Davide Bussolari.

Paul LECOMTE (1842 - 1920) "Riverside" oil on isorel Oil on isorel signed lower left 26 x 35 cm (view)

Piat Joseph SAUVAGE (Tournai, 1744-1818) and his workshop Lovers gathering fruit; Woman seated with lovers Pair of paintings Unframed (Old restorations, accidents and small missing parts). Height 108 cm; Width: 85.5 cm Provenance : - Nantes mansion in which General Cambronne lived from 1820 to his death in 1842.

LAUGÉE (19th century) Saint-Denis holding his head Pencil, red chalk and chalk drawing on brown paper, signed lower left 22 x 13 cm (view) !!! Please read carefully: This lot is to be picked up at the studio.

Jules COIGNET (1798-1860) Romanesque church and village near Rome Oil on canvas from Durand-Ruel. Signed lower right. On the back of the canvas "Mr Coignet, n°45" and "n°5153" in red on a label. 65 x 53 cm !!! Please read carefully: This lot is to be picked up at the studio.

Pieter Brueghel d. J. - Pieter Brueghel the Younger Winter village landscape with the Swan Inn Oil on wood (parquetted). 47 x 63 cm. Signed and dated lower right: P. Breughel 1620. Provenance Gallery Scheidwimmer, Munich, 1970 - German private collection. Literature Klaus Ertz: Pieter Brueghel the Younger, Lingen 1988/2000, vol. II, p. 828, no. E1148, ill. 634. Among the sons of the famous peasant Brueghel, Pieter Brueghel the Younger was not only the eldest but also the one who most effectively continued his father's genre and, as Klaus Ertz has noted, thus contributed to the spread of his fame. He was only five years old when his important father died, so Pieter the Younger did not learn the profession of painter from him, but probably from Gillis van Coninxloo. However, the decisive starting point for his work, the most important source of inspiration for his motifs and style, always remained the work left behind by his father, especially the graphic works. Most of his father's paintings, which were already in great demand at the time, were already in collections outside Flanders. One of the greatest collectors of Pieter Brueghel the Elder's works at the time was Emperor Rudolf II. Our painting is also inconceivable without this source, as it seems to echo the magnificent Month of January from the Kunsthistorisches Museum in Vienna, painted 50 years earlier: the dark latticework of the leafless trees, the pale winter light, the frozen water, the blankets of snow on the roofs, the peasant figures - all elements are already present in this masterpiece. However, the younger artist's composition is somewhat more detailed and the purely genre character of his painting is more pronounced. From a slightly elevated position, the viewer looks out over a wintry village along a frozen stream. On the left is an unusual central building, which can be recognized by its sign as the Gasthaus zum Schwan. On the other side of the stream, snow-covered houses huddle close together. A solitary figure can be seen here and there, while two small groups of figures catch the eye in the foreground, including a quarrelling peasant couple on the left and two lansquenets with their dogs on the ice. Klaus Ertz lists a total of four versions of this composition, which differ only slightly from one another. They were all painted in the early 1620s, with our painting, dated 1620, being the earliest (K. Ertz, op. cit., nos. 1149, 1150 and 1151).

FERNANDO BOTERO - 1932-2023 - FERNANDO BOTERO - 1932-2023, Untitled ("A costureira"), mixed media on canvas, signed and dated 1997. Notes: Provenance: D. Amélia Pereira, Portuguese employee of the Botero family, in Paris, for 42 years (between 1980 and 2022) - offered by the Author. Cabral Moncada Leilões would like to thank Mr. Miguel Duque and Galeria Duque Arangoa, Colombia, for their collaboration in the expert assessment of this work., the sale of which was previously communicated to the Author's family.- 130 x 95 cm

Alexandre NOZAL (1825-1929) Landscape with farm and pond Pastel signed lower left and located in Berck ? 14.5 x 49 cm (view) !!! Please read carefully: This lot is to be picked up at the studio.

André MARCHAND (1907-1997) "Head of a Woman Oil on canvas signed lower right Titled on the back and numbered 31 41 x 33 cm Small dent lower right, small gaps. Gilded stick.

Attributed to Nicola van HOUBRAKEN (Messina 1660-Livourne 1723) Still life with grapes, peaches, pears and plums on an entablature Canvas (Old restorations.) Height : 73 cm ; Width : 94 cm

André MARCHAND (1907-1997) "The dish of apples, 1941" Oil on isorel signed lower right Titled on the back and dated on the frame 46 x 55 cm Pine frame, slight superficial scratches.

17th century French school, follower of Robert NANTEUIL Portrait of a man wearing the Order of the Holy Spirit, formerly known as Portrait de Michel Le Tellier Oval copper Height 20.7 cm; Width: 17.3 cm Chased and gilded bronze frame On the reverse, label identifying the model as Michel Le Tellier Unknown painter

Hendrik AERTS (1565/1575?1603) Architectural Palace with Saint Paul in Athens Canvas, signed lower left on the base of a column: Hendrik Aerts and dated 1600 (Old restorations.) Height : 112 cm ; Width : 170 cm The Greek inscription on the base at right means "Unknown gods" (Acts 17,23). The scene depicted is the episode of Paul in Athens recounted in the Acts of the Apostles, chapter 17, verses 16 to 34, in which the apostle proclaims the Gospel before the Areopagus, referring to an altar dedicated "to the unknown gods". Although little is known about the life of Hendrik Aerts, we do know that the artist, who was a pupil of Hans Vredeman de Vries, accompanied the latter to the court of Rudolf II in Prague. Throughout his life, he worked perpetuate the style initiated by Vredeman de Vries, who made a major contribution to the renewal of the between 1560 and 1600. His fantastic views of architectural palaces, with their multiple perspectives, bear witness to the extreme refinement in vogue in the Northern Netherlands in the second half of the 16th century. century. They paved the way for artists such as Pieter Neefs, Dirk Van Delen and Daniel de Blieck. Our painting can be compared with one sold in Vienna (dorotheum) on April 25, 2017, no. 30 (panel 65 x 89cm); the Rijksmuseum in Amsterdam also has a similar painting, dated 1602 (canvas 93 x 127.5 cm). Related bibliography: B.M. Vermet, Architectuurschilders in Danzig, Hendrik Aerts en Hans en Paul Vredeman de Vries, in Gentse Bijdragen tot de Kunstgescheinedis en Oudheidkunde, 31, 1996, pp. 37-38. H. Borggrefe et al. Tussen Stadspaleizen en Luchtkatelen, Hans Vredeman de Vries en de Renaissance, Ghent Amsterdam 2002, p 340.

Scuola fiamminga del XVII secolo - Flemish school of the 17th century Portrait of a nobleman Oil on canvas 58.5 x 44 cm Flemish school of the 17th century Portrait of a Nobleman Oil on canvas 58.5 × 44 cm

After Anne-Louis Girodet de Roucy Trioson (1767-1824) Atala au tombeau or Atala's Funeral Oil on canvas H. 32 x L. 41 cm Reworking !!! Please read carefully: This lot is to be picked up at the showroom.

Piat Joseph SAUVAGE (Tournai, 1744-1818) and his workshop The Four Seasons Suite of four paintings Unframed (Old restorations, accidents and small missing parts). Height 103 cm; Width 119 cm Provenance : - Nantes mansion in which General Cambronne lived from 1820 until his death in 1842.

FRENCH SCHOOL - Portrait of a Young Woman Oil on panel in an oval frame 47 x 39 cm - "Portrait of a young girl" Oil on canvas mounted on cardboard 30.5 x 24 cm Set of two framed pieces.

Scuola francese del XVII secolo - French school of the 17th century Madonna and Child with St. John Oil on canvas 103 x 77 cm The work is based on a painting by Pierre Mignard, engraved by François de Poilly. French school of the 17th century Madonna With Child and Saint John Oil on canvas 103 x 77 cm The artwork is based on a painting by Pierre Mignard, engraved by François de Poilly.

Giovanni Paolo Pannini o Panini (Piacenza 1691 - Roma 1765) bottega/allievo di - Giovanni Paolo Pannini or Panini (Piacenza 1691 - Rome 1765) workshop/pupil of Capriccio with the Temples of Hadrian and Fortuna Virile Oil on canvas 69 x 112 cm We report what Ferdinando Arisi writes in the caption dedicated to the original work (p. 409, card 357 from the volume Gian Paolo Panini e i splendi della Roma del '700): In a private Roman collection is preserved a version signed and dated 1735 that must be considered the prototype. It is a painting, which alive Panini, must have been fundamental, if it was replicated at least twice, with slight variations and copied by pupils several times without major variations. He initially studied theatrical scenography in his hometown, moving on to Rome, in 1711, to the workshop of Benedetto Luti. Fascinated by the remains of ancient Rome, he took other protagonists of the Roman stage as models, forming his own artistic production, where the ruins witnessed scenes from sacred texts or ancient literature. His architectural backdrops, as much as his views, are not allusions to time and the transience of man but places of crystalline beauty that exalt the grandeur of ancient time and the beauty of the eternal city. He had the intelligence to use his extraordinary technique in themes congenial to him after observing and pondering what other interpreters of Roman painting culture related to him had painted, such as Alberto Carlieri, Stefano Orlandi, Gaspare Vanvitelli, Jan Frans van Bloemen and Andrea Locatelli and especially Giovanni Ghisolfi. He was very successful both publicly and academically; in 1718 he was admitted to the Congregation of the Virtuosi at the Pantheon, and taught at both the Academy of St. Luke and the Académie de France. Numerous artists were trained in his workshop, including Giovanni Niccolò Servandoni, Antonio Ioli, Charles-Louis Clérisseau, Claude-Joseph Vernet, Jean-Honoré Fragonard, and, above all, Hubert Robert, who was his best pupil. Giovanni Paolo Pannini or Panini (Piacenza 1691 - Rome 1765) workshop/pupil of Capriccio With the Temples of Hadrian and Virile Fortune Oil on canvas 69 x 112 cm We report what Ferdinando Arisi writes in the caption dedicated to the original artwork (page 409, form 357 of the book Gian Paolo Panini e i pompi della Roma del '700): In a private Roman collection a version signed and dated 1735 is preserved must be considered the prototype. It is a painting, which Panini lived, must have been fundamental if it was replicated at least twice, with slight variations and copied by students several times without significant variations.

Maurice ROCHER (1918-1995) "Figure on a gray background", 1980 Oil on canvas signed upper left, countersigned and dated on the back 33.5 x 24 cm

MODERN SCHOOL "Panther of Somalia" Oil on canvas signed B. de S lower right 60 x 92 cm On joint "Tiger head" Oil on canvas signed Caren 24 x 19 cm

MODERN SCHOOL Set of twelve framed pieces: still lifes, woman on a beach, fisherman by the canal, gentleman and his horse, shepherdess and her oxen, ducks and two orientalist scenes. Oils on canvas with various signatures.

Charles KVAPIL (1884-1957) Seated nude Sanguine on paper. Signed lower left 41 x 33 cm !!! Please note: This lot is to be picked up at the studio.

Large light-skinned female breastplate mask, hair reaching down to the breasts, wearing an ousekh necklace. In the hair, a representation of a beetle with outstretched wings Stuccoed and painted canvas, repainted and cracked Reinforcement on the inside to consolidate the support Dealer's label Tano Antiquités Cairo Egypt n° 2148 50 cm Egypt Ptolemaic or Roman period Provenance: Henri Collection, Liège Years 70-80 Presence of a copy of the expert's certificate issued by Galerie Robin in 1987, assigning the mask to the Ptolemaic period.

SCHOOL, late 18th century or early 19th century "Lakescape animated with characters". Oil on canvas (Re-backed, restorations) 64 x 90 cm

Henri LAISSEMENT (1854-1921) La semonce au Cardinal Oil on panel. Signed lower left and dedicated. 22 x 16.5 cm !!! Please read carefully: This lot is to be picked up at the studio.

Henri LE RICHE (1868-1944) Virgin and Child, 1942 Oil on canvas. Signed and dated lower right. 45 x 52 cm !!! Please read carefully: This lot is to be picked up at the studio.

Large icon presenting an assembly of Orthodox saints in four registers. First: Constantine and Helena and the Archangel Gabriel surround the Holy Trinity, flanked by the Mother of God and Saint John the Baptist. Second: Atanasius, Nicholas, Basil the Great, John Chrysostom, Gregory the Theologian, Spiridon and Charalampe. Third: the Resurrection of Christ, Nicholas the Younger, Euthymius the Great, Stylianos and the Dormition of the Mother of God. Last: Georges, Catherine, Come and Damien, Parasceve, Dimitri. Tempera and gold on wood. Greece, late 18th century. Slight damage and wear. H. 65.5 x L. 50 cm. !!! Please note: This lot is to be picked up at the auction.

Justus Sustermans - Justus Sustermans Portrait of a bearded man with a pink silk sash Oil on canvas (relined). 49 x 38 cm. Expertise Prof. Jan de Maere, Rambrouch, 27.5.2022. Provenance Belgian private collection. According to Jan de Maere, the present portrait of an unknown bearded man is an early work by the artist created in Italy. The influence of Frans II Pourbus, with whom Sustermans spent three years in Paris (1616-19) before moving to Florence, is still noticeable. There is a close stylistic affinity with van Dyck's Genoese portraits. Sustermans worked with van Dyck in Florence in 1624. The painting can therefore probably be dated to around 1624/25, a date that also corresponds with the fashionable French clothing. The unknown man is probably an Italian nobleman of high rank, as indicated by the precious pink silk sash. The Flemish painter Justus Sustermans is best known for his portraits of members of the Medici family, for whom he was court painter in Florence. Trained by Frans Pourbus the Younger, the Antwerp native combined Nordic and Italian stylistic elements in his portraits. During his lifetime, he was considered one of the best painters in Italy.

FRENCH SCHOOL circa 1840 Landscape of undergrowth Oil on canvas (faded). 38 x 46 cm

FRENCH SCHOOL, second half of the 20th century "The Lioness Oil on panel Bears an indistinct monogram 19 x 23 cm

Alain BONNEFOIT (1937) "Female nude, 71" Oil on canvas signed upper left 47 x 38 cm Framed

Raffaello Botticini (Firenze 1477 - 1520) - Raphael Botticini (Florence 1477 - 1520) Martyrdom of a Saint Oil on panel 39 x 57 cm The work assimilates perfectly with the three predellas (Christ and the Samaritan Woman at the Well, Expulsion of the Merchants from the Temple, Entrance of Christ into Jerusalem) in the Museo della Collegiata di S. Andrea di Empoli. The son of Francesco Botticini, a painter, he received his training in his father's workshop. Later, his pictorial art was enriched by pointing toward a minor tone classicism, in which we note a thoughtful rhythmicity always guided by precise drawing, probably influenced by Sebastiano Mainardi and the narrative rigor of Iacopo del Sellaio. Reaching the 16th century, his painting was updated through observation of the masters present in Florence. This turning point can be seen in the Nativity, purchased by the Hermitage Museum in Leningrad as a work by Raphael Sanzio, one of the most significant works of his entire activity, where he showed himself interested in the modes of Perugino, Ridolfo del Ghirlandaio and Mariotto Albertinelli, then in the School of St. Mark and Fra Bartolomeo. By virtue of this, in his maturity he painted within the framework of a posed, devout and domestic classicism, following the prevailing spirit in Florence between the last years of the 15th century and the first decades of the 16th century. Raphael Botticini (Florence 1477 - 1520) Martyrdom of a Saint Oil on panel 39 x 57 cm The artwork assimilates perfectly with the three predellas (Christ and the Samaritan Woman at the Well, Expulsion of the Merchants From the Temple, Entry of Christ into Jerusalem) in the Museum of the Collegiate Church of S. Andrea in Empoli.

Guy LACHOT (b. 1955) - "Contexture calme bleu", oil on canvas, signed, titled and numbered on the back (33x41cm). Lacquered wood frame (40x47cm).

Tuke, Henry Scott. Untitled. (Male nude from behind). Oil on canvas. Signed lower left and with the handwritten note "Unfinished". Early 20th century. Dimensions of the painting: 121.5 x 56 cm. Henry Scott Tuke (1858-1929), British painter, devoted his life primarily to painting very young male bodies, whether as mere nudes or in action while swimming, bathing or picking flowers. To make a living, Tuke also produced portraits in his London studio. Almost completely forgotten after his death, he is now regarded as one of the pioneers in the field of homosexual art after his works were rediscovered by the first openly homosexual artists and collectors in the 1970s. - With craquelure, corners and edges more heavily rubbed, a few tiny losses of color, some professional retouches and small professionally backed tears on the verso, which are not visible on the front, the canvas with slight imprint of the stretcher on the verso. - Provenance: Private collector in Devon, England.

Lot of antique engravings including Vue du Pont Neuf.

SCUOLA ITALIANA DEGLI INIZI DEL XIX SECOLO, Olio su tela - EARLY XIXTH CENTURY ITALIAN SCHOOL Portrait of Giordano Bruno Oil on canvas Gilt wood frame. 46.5 x 36 cm.

GERMAN SCHOOL "Ceremony on a river in front of a castle". Oil on canvas, lined. 59 x 73 cm.

Set of FOUR FRAMED PIECES including: - P.A BAUDOIN, "Le matin et le soir", two old engravings, 34 x 24 cm (à vue) - View of Venice", watercolor on paper, 31 x 49 cm (on view) - "Composition abstraite", lithograph signed and dated 65 lower right and numbered E/A, 8.5 x 29 cm

French school, in the taste of DUMONSTIER Portrait of a woman in her thirty-third year holding a book Oil on panel, annotated "attatis sua 33" and "anno 1634". Painted coat of arms top left (Repainted.) Height 66.5 cm; Width: 64.5 cm

Scuola italiana dell'inizio del XIX secolo - Italian school of the early 19th century Self-portrait of painter with portrait of beloved Oil on canvas 90 x 75.5 cm Italian school of the early 19th century Self-Portrait of a Painter With Portrait of Beloved Oil on canvas 90 x 75.5 cm

MARCELLO (Marcello PETTINEO born 1954) Elaphe Deer Mixed media, signed "Marcello" and dated 10/11/2014 lower right. Height 114 cm; Width 162 cm A naturalist artist nourished by the atmospheres of curiosity cabinets and the Muséum National d'Histoire Naturelle in Paris, his style asserts itself through his studies, which appear like the pages of a gigantic travel diary. His vision invites us to explore and question our relationship with wild nature.