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283287 Los(e)/Seite
Los 60
Estampes modernes Ouvrages – catalogues raisonnés Toudouze (Georges) Henri Rivière, Peintre et imagier.Paris, Floury, 1907. Un vol in-4o avec en frontispice une lithographie de Steinlen (portrait de Rivière). Nombreuses reproductions in-et hors-texte. Ex. numéroté,d’un tirage à 1000. Demi-rel. maroquinà coins, dos à nerfs (frottée).
Los 128
Estampes modernes Edgar Chahine (1874-1947) Portrait de Mademoiselle L. B. 1905. Pointe sèche et aquatinte. 298 x 405. T. 146.Très belle épreuve sur simili-japon, très soigneusement lavée, signée et numérotée à la mine de plomb. Belles marges. Tirage total à environ 60 épreuves. Timbre sec : Ed. Sagot éditeur Paris (Lugt 2254).
Los 340
Estampes modernes Frédéric Villot (1809-1875) Portrait d’Eugène Delacroix. 1847. Manière noire et traits d’eau-forte d’après un autoportrait de Delacroix (« se ipsum del. ») [115 x 180]. Beraldi 1. Très belle épreuve rognée sur le coup de planche et à l’intérieur de la lettre. Frédéric Villot, ami de Delacroix, grava plusieurs de ses compositions. Ce portrait de Delacroix jeune fut publié par Philippe Burty en tête des Lettres d’Eugène Delacroix, Paris, Quantin, 1878.
Los 44
A STAFFORDSHIRE PORTRAIT FIGURE OF GARIBALDI, THOMAS PARRthe patriot seated on a mound with a spade, his hat lying on the rocky green base, the front painted with the title GARIBALDI AT HOME and gilt, 25cm h, c1864++Restoration to right foot, some flaking of the enamel around the head and on the mound/base
Los 504
A RUSSIAN PAPIER MÂCHÉ SNUFF BOXthe lid painted with a portrait of a young man in a red shirt and blue coat, signed and inscribed in Cyrillic, the interior in sealing wax red, 8.25 x 7cm, 19th c++The corners of the lid slightly chipped and with a few light scratches and signs of wear around the sides and on the underside, unrestored
Los 660
ENGLISH SCHOOL, C1800A GENTLEMANin profile, in white stock and cravat and black coat, ivory, oval, 6.5 x 4.5cm, turned and ebonised frame, a glass paste portrait medallion by Marchant, turned pearwood frame and six 19th c English silhouettes, one said to be of J Severn Walker when about 19 years of age, rectangular and oval, papier mâché or other frames (8)++Miniature retaining one half of the original scarlet morocco case and slightly ill fitting in the present ebonised frame, glass paste medallion damaged, silhouettes generally time stained but unrestored
Los 732
ENGLISH EQUESTRIAN ARTIST, 1793PORTRAIT OF THE BAY STALLION "CROP" BENEATH A TREEinscribed CROP AD 1793 AEtatis 29, 65 x 81cm++Restored and with some disturbance of the paint surface and localised overpainting (somewhat extensive in places) but the pigments reasonably bright - highly decorative and ready to hang in neo contemporary early 19th c giltwood and composition cavetto frame
Los 737
WILLIAM HENRY DAVIS (C1786-1865)PORTRAIT OF AN OX IN A PARKsigned and dated 1860, 51.5 x 65cm++Some minor shrinkage of the medium and localised restoration, some ingrained dirt in the varnish/medium, the support not lined, on the reverse some stains and painted consolidation of the support although not patched, in contemporary and rather dirty maple frame
Los 759
AFTER LOUISE ELISABETH VIGÉE LE BRUNPORTRAIT OF THE ARTISToval, board, 24.5 x 19.5cm++In apparently very good condition with some possible localised retouching but not verified under UV light, highly decorative and in ready to hang condition, the giltwood and composition beaded frame with one or two cracks in the lower part
Los 774
ENGLISH SCHOOL, EARLY 18TH CENTURYALLEGORICAL PORTRAIT OF A LADYseated three quarter length in a blue mantle with a sandglass, obelisk and other buildings beyond, panel, 29 x 40cmProvenance: The Hon Catherine Harpur (1682-1744/5), daughter of Thomas, 2nd Lord Crewe of Stene and widow of Sir John Harpur, 4th Baronet, of Calke Abbey, Derbyshire. Specifically bequeathed by her will (written on 6 June 1743) to her daughter, Lady Jemima Palmer (d1768) wife of Sir Thomas Palmer of Carlton Curlieu, Leicestershire.This fascinating rediscovery of a picture known only from its description in Catherine Harpur`s will left Calke Abbey, that quintessential time capsule of a grand house, at an early date. In her Will the testatrix describes the present painting as "A picture with a Lady reading with an hour Glass ...". This is confirmed by the label verso presumably written by her son and which is signed with the initials TP and dated, probably, January [17]83. The present picture, which was clearly regarded as one of some importance would have hung at Calke Abbey (National Trust) and, possibly on account of its small size, was amongst a number of items of special personal significance taken with her when Lady Harpur removed to Luffenham, Rutland on the death of her husband in 1741.The contemplative pose, open book (in which can just be made out the letters `a n and t` and 29) sandglass, butterfly, bird and obelisk all vanitas symbols of the emptiness of earthly life irrespective of wealth or status.A portrait of the Hon Catherine Crewe, Lady Harpur with one of her children by Charles Jervas (c1675-1739) is at Calke Abbey (National Trust).++Localised instability of the medium with a few small spots of flaking near the sitter`s left leg, localised bitumenisation principally around the sitter`s left elbow, the varnish very dirty, the support in excellent condition free from shrinkage cracks or warping and long undisturbed in the present early 18th c ebonised frame which could well be original
Los 331
A CIRCA 17th CENTURY OIL ON CANVAS PORTRAIT OF A YOUNG COUNT WEARING LACE EPAULETTES, SILK SASH OVER A BLUED STEEL AND GILT SEGMENTED BODY ARMOUR WITH A TITLED PLAQUE READING GIUSTO SUSTERMANDS N.AD ANVERSA 1597 M. A FIRENZE 1681 CONTE VALDEMARO CRISTIANO FIGLIO DI FEDERIGO III RE DI DANIMARCA ( DALLA GALLERIA PITTI ) THE PAINTING SET IN A FINE ORNATE GILT AND PLASTER FRAME, SIGNED S CBELI CAPELLA IN RED TO BOTTOM LEFT HAND CORNER, APPROX. 53 X 70cm PAINTING SIZE, 103 X 84cm FRAME SIZE
Los 59
A COLLECTION OF MISCELLANEOUS BOOKS RELATING TO THE ROYAL FAMILY INCLUDING `THE STORY OF CLARENCE HOUSE`, `BUCKINGHAM PALACE` BY MARGUERITE D PEACOCKE, THE SILVER WEDDING BY LOUIS WULFF, THE TWO PRINCESSES BY FRANCES TOWERS, ELIZABETH AND PHILLIP BY LOUIS WULFF, QUEEN OF TOMORROW BY LOUIS WULFF, DIANA HER TRUE STORY BY ANDREW MORTON, HAPPY AND GLORIOUS BY COLIN FORD, THE KING`S DAUGHTER BY LADY CYNTHIA ASQUITH, CHARLES & DIANA A PORTRAIT OF A MARRIAGE. (13)
Los 27
William Conor RHA RUA ROI (1881-1968) The Jaunting Car Crayon, 50 x 60cm (19.5 x 23.5") Signed Provenance: The Bell Gallery, Belfast (label verso) William Conor was born in Belfast and studied graphic design at the Government School of Design and was then apprenticed to a poster designer. He exhibited at the RHA for the first time in 1918 and continued to do so until the year before his death. During both World Wars Conor was commissioned by the British Government to produce records of soldiers in the form of sketches, some of which were included in an exhibition of was artists at the National Gallery, London in 1941. He spent a number of years in London in the 1920s where he met John Lavery and Augustus John, and in 1926 travelled to America to undertake various portrait commissions. Conor was elected a member of the RHA in 1946 and later was president of the Academy. His works can be found in major collections including the Ulster Museum, Dublin City Gallery, The Hugh Lane, Crawford Gallery, Imperial War Museum in London, The Victoria & Albert Museum, London and the Brooklyn Museum in New York.
Los 34
Paul Henry RHA (1876 - 1958) Fishing Boats, Dugort Oil on canvas, 51 x 61cm (20 x 24") Signed Provenance: Purchased by the current owners' father from Combridges, 1940 and thence by descent. Exhibited: Ritchie Hendriks Gallery, Dublin, 1957 "Paul Henry Retrospective Exhibition" Cat. No. 60, which then toured to Belfast Museum and Gallery; 1977 Wexford Arts Centre "Irish Art from Private Collections 1870 - 1930" Cat. No. 17; 2003 The National Gallery of Ireland "Paul Henry Retrospective Exhibition" Cat. no. 93 Literature:"Paul Henry" by Dr SB Kennedy 2003 NGI Illustrated P 123 "Paul Henry - catalogue Raisonne of his works" by Dr SB Kennedy 2007 Cat No. 1037 illustrated P 304. The subject matter of fishing boats is one to which Paul Henry returned from time to time. The village of Dugort is situated on the northern shore of Achill Island in County Mayo. The beach to the left is almost certainly Pollawaddy and the cottages in the foreground lie beside the road running east from Dugort. The mountain in the background is Slievemore, which dominates the landscape of the Island. It was to Dugort that Henry went when he first arrived on Achill in August 1910. But even then he found the village busy with tourists. 'Every second house seemed to be an hotel or boarding house', he later wrote, and so the morning after his arrival he set off for the much quieter village of Keel in the south of the island, where he subsequently established himself, taking rooms with John and Eliza Barrett who ran the post office in Keel. Moving from Dugort to Keel, Henry would have travelled along the road depicted here and he was enthralled with the scenery. 'Never shall I forget my delight and astonishment on that drive,' he wrote (Henry, An Irish Portrait, 1951, p. 3). The bright palette and clear, unmuddied colours which are a feature of this composition typify Henry's later work. Dr. S.B. Kennedy, May 2012
Los 44
F.E. McWilliam RA (1909-1992) Woman of Belfast (No. 16 1972) Bronze, 60cm high (24") Signed with initials and numbered 1/5 Provenance: The Dawson Gallery, where purchased and thence by descent to the current owner (receipt dated 27/12/73) Born in Banbridge, Co. Down, McWilliam studied at Belfast College of Art for two years and then at the Slade School of Fine Art in London where he studied under Henry Tonks and Randolph Schwabe. His intentions of becoming a painter had been altered when he met Henry Moore at Slade and decided to focus instead on sculpture. McWilliam held a studio at Port d'Orléans in Paris for a year before returning to England. On a return trip to the French capital with his wife, Beth, he visited the studio of long established modernist sculptor Constantin Brancusi. In 1936 McWilliam attended the International Surrealist Exhibition at the new Burlington Galleries in London, and in 1938 he exhibited with the British Surrealist Group. His first solo exhibition was at the London Gallery in the following year, where he noted that his Surrealist sculptures were 'rather bare-toothed in conception but very beautiful in execution.' McWilliam's work spans sculptural mediums such as wood, bronze, lignum vitae and aluminium. His sculptures and drawings have been exhibited widely in Ireland and the UK, including the Ulster Museum (Belfast), Hannover Gallery (London), the Douglas Hyde Gallery (Dublin) and the Crawford Municipal Art Gallery (Cork). His first American exhibition was held at the Felix Landau Gallery (Los Angeles) in 1963. His works have been purchased by institutions such as the Tate Gallery, the National Portrait Gallery, London and the Royal Opera House (Covent Garden). McWilliam was awarded an Honorary Doctorate of Literature by Queens University in 1964, and in the same year he was described by Roland Penrose as 'an inventor of styles.' In 1971 he won the Oireachtas gold medal for sculpture and was appointed a Fellow of University College London. In 1989 McWilliam was appointed a Senior Royal Academician, and the Irish Times said that his work was 'unmistakably his own, craftsman-like, humorous, imaginative, with a playful, poetic, slightly capricious element that sets it apart.' The F.E. McWilliam Museum in Banbridge opened in 2008, a fitting tribute to Northern Ireland's most famous sculoptor.
Los 48
Margaret Clarke RHA (1888-1961) Portrait of Éamon de Valera Oil on canvas, 50.5 x 40.5cm (20 x 16") Inscribed verso 'sketch of Eamon de Valera - two sittings by Margaret Clarke' Provenance: The sitter and thence by descent to current owners Margaret Clarke was commissioned to paint Éamon de Valera in the autumn of 1928. De Valera had abandoned abstentionism and taken his seat in Dáil Éireann the previous year, an important year for Margaret Clarke also: she had been granted full academic membership of the Royal Hibernian Academy (RHA), only the second woman to be so honoured. Dermod O'Brien, president of the RHA, was a great admirer of her portraiture: What I like about her work is her sincerity and insight and characterization. She does not content herself with setting a surface likeness but seems to search into the character of the sitter and get at the soul of him or her. (Extract from a letter to Mr Dwyer, Fitzwilliam Square, regarding a commission, July 1932) O'Brien recommended Clarke for a number of commissions, including this one from John J. Shelly of Winnipeg, Manitoba. Shelly had specific ideas regarding the work, which he put to Clarke in a letter now unfortunately lost. In a subsequent letter dated Nov. 1928, he was jubilant with relief, having just received long-awaited confirmation from Frank Gallagher of Fianna Fáil that de Valera was willing to sit for Clarke. Shelly seems to have hoped that the portrait would be part of a promotional campaign. He confided to Clarke that he 'thought his [Gallagher's] silence was one way of "freezing me out"'. Gallagher was de Valera's media and public relations man, soon to be the first editor of the Irish Press. Obviously Shelly had reason to believe that he might not welcome outside interference. Perhaps, in the end, Gallagher had his way. Shelly had specifically requested that the painting should be exhibited at the next RHA annual exhibition. Clarke exhibited works there in 1929 and for many years thereafter, but her portrait of de Valera never appeared publicly. The painting is carefully composed to combine informality and status. A formally dressed De Valera is casually leaning on a bookcase with an academic backdrop of swathes of red fabric partially obscuring a green wall. Most uncharacteristic of Clarke as a portrait artist and of de Valera as a public figure is the hint of a smile on his relaxed face. Arguably, Shelly wanted the image of a civilized, benign gentleman to be used to help banish memories of de Valera's more violent past Margaret Clarke had one more encounter with de Valera: Harry Clarke's work known as the Geneva Window had been in storage in government buildings since his death in Jan 1931. She had tried to buy it back from Cosgrave. On taking office in 1932, de Valera ordered that she be asked if she was still interested in it, and noted that it had 'acquired' two cracks. During negotiations with Seán Lemass and others, Clarke argued strongly for some sort of favourable terms but de Valera and his cabinet insisted she repay the full purchase price of £450. Clarke was deeply disappointed and may well have regretted ever accepting Shelly's thirty guineas and endowing de Valera with a smile. Fiana Griffin
Los 54
John Hogan (1800-1858) Bust of Francis Sylvester Mahony ("Fr. Prout") Marble, 50cm high (19.75") Made in Rome 1846 and signed Hogan Provenance, by descent in the family of the subject Literature "John Hogan, Irish Neoclassical Sculptor in Rome" (Irish Academic Press, 1982) where it is listed as No. 58 in the Catalogue Raisonné. Mahony wrote a description of Hogan's studio in Rome in the spring of 1847 which mentions his own portrait bust. "The locale which forms this sculptor's workshop (once tenanted by Canova) presents just now what may be termed a sort of Hibernian Valhalla…the bust of Father Mathew looks forth redolent of Christian philanthropy: on the same shelf is seen the mirthful brow of Father Prout…the late venerable Mr Beamish of Cork as well as his meritorious partner William Crawford, both models to any mercantile community, have their representations here, with several Murphies from that city." The bust was made before May 1847 so it is unlikely to have been this bust for which Mahony sat for Hogan in November 1847 as Turpin writes. The date is therefore likely to be 1846 rather than 1848. Turpin notes the low relief carvings on either side of the base. On one side an open chest with rolls of parchment and an antique lamp - an illusion to the 'discovery' of Fr Prout's literary remains in a chest - and on the other a book, a wine bottle, a chalice and a classical flask - apt symbols of Mahony's life. Francis Sylvester Mahony (Fr Proust) (1804-1866) "A very singular person, of whom the world tells a thousand and one tales, you know, but of whom I shall speak as I find him, because the utmost kindness and warmheartedness have characterised his whole bearing towards us….a most accomplished scholar and vibrating all over with learned associations and vivid combinations of fancy and experience - having seen all the ends of the earth and the men thereof, and possessing the art of talk and quotation to an amusing degree." Elizabeth Barrett Browning, 10th October 1848 Francis Mahony was born in Cork on 31st December 1804, the son of Martin Mahony a woollen merchant. He went to Clongowes in 1815, to the Jesuit college of St. Acheul at Amiens in 1819 and then to Paris as a Jesuit novice. From 1823-1825 he studied in Rome. He was "brilliant but intractable and ill-disciplined". Eventually he was told that he was not suitable for ordination as a Jesuit. Returning to Ireland still intent on ordination he was made Prefect of Studies at Clongowes and then Master of Rhetoric. Then disaster struck. He took a party of boys on an outing to have dinner in Maynooth. The boys got drunk and returned to Clongowes on turf-cutters' carts after midnight. Mahony resigned his post. He went abroad, continued his studies and was eventually ordained, but not as a Jesuit, in 1832. He served bravely in Cork during the Cholera epidemic of 1832 but again fell out with his superiors. After two years he went to London, gave up life as a priest and began the career in journalism for which he is remembered. His relations with the Church have continued to be uncertain. A friend wrote after his death that "he might have had a cardinal's hat but for that which is imputed to him as his one great fault - conviviality" Mahony loved the sociable, literary world of London. He wrote for Fraser's Magazine under the pseudonym of "Father Prout", allegedly the parish priest of Watergrasshill, near Cork. The editor William Maginn, Thomas Crofton Croker, the antiquarian and collector of Irish fairy stories and Daniel Maclise, the artist, were other Cork-born contributors. Mahony's writing shows him to have been a classical scholar, linguist and wit. He described himself as "an Irish potato seasoned with Attic salt." As a joke he alleged that Thomas Moore, then at the height of his success, was just a plagiarist, merely translating from French, Greek or Latin poems or other "originals" which Francis supplied. The Bells of Shandon - for long included in the Oxford Book of English Verse - was written as the supposed original of Moore's Evening Bells - a St Petersburg Air. Many of these articles were collected as The Reliques of Father Prout. From 1837 he wrote for Charles Dickens's Bentley's Miscellany from Italy. His contributions were collected and published in 1847 as Facts and Figures from Italy by Don Jeremy Savonarola - another pseudonym - with a brief foreword by Dickens. Mahony settled finally in Paris where for eight years he was the correspondent of The Globe and where he died in 1866. He is buried at Shandon in Cork. One of his obituarists wrote "Indeed Francis Mahony… was no common man, either in genius or expression. Many elements met in him, as in a mayonnaise, to make a piquant mixture. He was a Jesuit and a humourist; a priest and a Bohemian; a scholar and a journalist; a wag and a song-writer; a Cork man familiar to everyone in Rome, a Roman Catholic ecclesiastic well known in the convivial clubs of London."
Los 55
Helen Mabel Trevor (1831-1900) Race to the Bottom of the Bowl Oil on canvas, 66 x 71cm (26 x 28") Signed and dated 1892 Helen Mabel Trevor was born near Loughbrickland, Co Down. She attended the Royal Academy Schools in London in the late 1870s, and then the Académie Julian in Paris. She exhibited in Dublin, London and Paris, receiving 'honourable mention' in the Salon in 1898. She was a genre and portrait painter, who excelled at painting children, producing many charming, warm pictures of them throughout her life. As well as many urban scenes of Paris, she travelled to Brittany and Normandy from 1881, and kept a delightfully illustrated journal on her travels. After six years in Italy, from 1883 to 1889, she and her sister, Rose, returned to Paris. She resumed her visits to Brittany and added Cornwall to her regular itinerary but she had a particular empathy for Breton people, their customs and traditions. Here are two young chubby-cheeked children, and a black cat with an arched back. The girls are feeding themselves from a rough earthenware bowl, with a pewter spoon. They wear simple peasant clothing in earthy blues and greys, and close-fitting white bonnets. The older girl holds back to allow her little sister to dip her spoon into the dish. They are totally engrossed in their goûter. The square format frames the children engagingly. The painting is free and fluid with occasional touches of impasto, and there is a stong sense of tactility. These Breton children recur in Trevor's work two or three years later, when she painted Two Breton Girls, the same children, in school (shown in The Irish Impressionists exhibition in the National Gallery, 1984). Dr Niamh O'Sullivan, May 2012
Los 69
Attributed to James Sinton Sleator RHA (1889-1950) Self-Portrait in the Artist's Studio Oil on board, 46 x 30.5cm (18 x 12") This self-portrait was inherited by the present owners some forty years ago and it was always thought to be by the noted Irish painter James Sinton Sleator. After comparing this work with a number of other self-portraits by Sleator, two of which are in the National Gallery of Ireland, we can see no reason to doubt this attribution. Stylistically, it is very close to his work and on examination of his palette we can see the turquoise colour used on the right hand side is one that often appears in his other works, especially his still-life work. Most of his other known self-portraits are also unsigned. Sleator was born in Derrycarne, near Portadown, Co. Armagh and as both his parents were school-teachers they later settled in Belfast. In about 1903 Sleator entered the Belfast College of Art before enrolling in the Metropolitan School of Art in Dublin as a mature student in 1909. Sleator had a distinguished career at the Metropolitan School of Art where his contemporaries included Leo Whelan, Albert Power, Margaret Clarke and Sean Keating. It was here that he came under the influence of Sir William Orpen, an influence that remained with him for the rest of his life. On leaving art college he became Orpen's studio assistant in London, a position he held on and off for the next fifteen years until Orpen's death in 1931. He actually finished some of Orpen's unfinished commissions after his death. It was Orpen who introduced the young Irish artist to Sir Winston Churchill to whom he ended up giving painting lessons. As well as working with Orpen, Sleator established his own successful practice as a portrait painter. The present work is thought to date to the mid to late 1920's. The artist is shown in a confident pose, while the female model cowers behind, initially looking rather innocent but the bright red shoes and lipstick suggest that this may not have been the case. At some levels this work is an 'Homage' to his teacher, who was also very fond of self-portraits. By 1941, at the onset of war, Sleator had moved back to Dublin permanently where he became a prominent member of the art world. This was the golden age of Irish portraiture and so 'Orpen's boys', Sleator, Leo Whelan and Sean O'Sullivan became the portraitists of the rich, famous and influential of Irish social and business circles. Sleator was well regarded by the critics and artists alike and on the death of Dermod O'Brien PRHA in 1945 he was appointed President of the RHA, a position he held until his own sudden death in Academy House in January 1950.
Los 96
Basil Blackshaw ARHA RUA (b.1932) Nude Figure Oil on canvas, 152 x 132cm (60 x 52") Dated June '89/'90, signed and inscribed with title verso Provenance: Acquired Kerlin Gallery 26th November 1990 by the current owner Exhibited: 1995 Basil Blackshaw Retrospective, organized by The Arts Council of Northern Ireland; 1997 Basil Blackshaw Retrospective, RHA Gallery Dublin Painted at the end of a turbulent but highly important decade for Blackshaw, this nude figure denoted a progression both in style and subject for an artist already renowned and celebrated for his remarkable animal studies and landscapes. A devastating studio fire in 1983 coincided with a period of re-assessment by the artist - "About 81 or 82 I looked at the work and thought if that's what's going to go on, then I'm going to pack up painting because there's no point. I know what I'm going to paint, I know how to paint it and I know what it's going to look like when it's done. There's no exploration, no chance taken" (conversation with the artist Feb 2007). The fire destroyed the beginnings of a new body of work but it also liberated him from the constraints of his artistic training and unleashed a newly exuberant, risk taking but confident, spirit. This nude is a powerful example of his fresh treatment of a traditional subject. Meeting his model Jude Stephens in the year after the fire inspired a significant series of nudes informed by hours of life study, works which Blackshaw often destroyed in order to build back up again, in his spirit of retaining the painting as a purely visual experience, removed from association with the subject. This painting demonstrates the playful mood of an artist fascinated by his subject, knowing it so well that he is able to flout conventions to produce an abstracted vision of the female form. Strong colours and thick impasto give depth and grounding to the subject.The traditional three quarter length portrait style is subverted, as the faceless figure quivering with energy appears ready to burst through the confines of the picture, the large scale and unusual cut off points challenging traditional perspective and experimenting with distance and proportion. Claire Dalton, May 2012
Los 12
MFV Ensemble d’ouvrages comprenant : Peter Fuhring, Juste Aurèle Meissonnier, un génie du rococo, Umberto Allemandi & C, Torino, Italie 1999; Collections Tanques Doucet, ventes Paris, 1912, 3 volumes dans un cartonnage; Pierre Verlet, Styles meubles décors du Moyen Age à nos jours, 2 volumes, Larousse, France, 1972; Jean Jacques Bachelier, catalogue de l’exposition du Musée Lambinet, 1999; Les artistes du Pharaon, Louvre, catalogue de l’exposition, 2002; Madame de Pompadour, Duage of a mistress, National Gallery, Catalogue de l’exposition, 2002; Eppe Ramazzotti, Pipes et fumeurs de pipes, Sous le vent, Paris, 1975; Musée du Louvre, L’Âge d’or du petit portrait, catalogue de l’exposition, 1995 1996; Compigné Peintre et Tabletier du Roy. Musée Fragonard, Grasse, catalogue de l’exposition, juin juillet 1991,; Fabio Bourbon, David Roberts, Antonio Attini, Egypte hier et aujourd’hui. Lithographies de David Roberts, Les Édtions du Carroussel, Paris, 1998; Mains et Merveilles, Clémence Vernet, Kymmene France, Paris, 1992; Rodolfo Pallucchini, Les Vedute de Guardi à la Fondation Goulbenkian, 2 volumes, Calouste Gulbenkian, Grande Bretagne, 1965; Daniel Oster, La Vie Parisienne, Sand-Conti, France, 1989; Marc Gaillard, Paris au XIXe siècle, Agep, Marseille, France, 1991; Jean de la Fontaine, Contes de la Fontaine, Molière, Asnières, France, 2005; Ceamica Chini per l’Architectura e l’Eba nisteria, Centro di, Firenze, Italie, 1982; Catalogue de la vente des Collections Papillon, 12 mars 1919, relié.
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283287 Los(e)/Seite