- A Camille Le Tallec Porcelain Sauce
A Camille Le Tallec Porcelain Sauce Tureen and Underplate
French, 20th Century
Overall height 7 3/4 x width over handles approximately 8 inches; underplate diameter 8 1/8 inches.
Property from a Private Collection, Stuart, Florida
- AFTER JEAN-BAPTISTE-CAMILLE COROT LITHOGRAPHAfter
AFTER JEAN-BAPTISTE-CAMILLE COROT LITHOGRAPHAfter Jean-Baptiste-Camille Corot (France, 1796-1875). Lithograph, Morning The Dance of the Nymphs. 9 1/4" x 12 3/4" (with frame 21 3/8" x 24 1/4"). Print loose in frame, edges of sheet cut down, scraps of paper and parts of mat loose under glass, scratches and chips to frame.
- Camille Hilaire Musicians Color Lithograph
Camille Hilaire Musicians Color Lithograph Print. Dimensions: Height: 26 inches, Width: 20 inches. ---
US Packing and Shipping charge: In house shipping available. Will be calculated once destination known. Plus insurance at a rate of $1 per hundred.
Condition: Very Good Condition.
- Camille Moreau-Nélaton. Novembre. 1879,
Camille Moreau-Nélaton. Novembre. 1879, faience. 1¼ h × 14 dia in. result: $504. estimate: $800–1,200. Plate features a hunting scene with horses and dogs. Glazed signature and title to recto ‘CMC Novembre’ and to verso signed and dated ‘Clle Moreau 1879’. Provenance: Acquired in 2009 in Paris by the present owner, Important French Japonisme Collection
- Camille Moreau-Nélaton for Theodore
Camille Moreau-Nélaton for Theodore Deck. Collection of three Renaissance-style portrait works. 1870-72, faience. 1½ h × 12 dia in. result: $1,048. estimate: $800–1,200. Lot is comprised of two plates and one tile. Signed to plate with blue background ‘TH Deck In Domo Sun 3 Rue St. Georges CM’. Signed and dated to example with poppies ‘TH Deck 1870 Fère Clle Moreau 1871’. Signed and dated to front lower corners of tile ‘CCM 72’ and to verso ‘TH Deck’. Provenance: Acquired in Paris by the present owner (two examples), Important French Japonisme Collection
- French. Collection of three plates.
French. Collection of three plates. 1880, c. 1900, oxblood-glazed stoneware, faience. 1½ h × 13 dia in. result: $655. estimate: $1,000–1,500. Lot is comprised of three examples, one each by Camille Moreau-Nélaton, Louis Léon Parvillée, and Fernand Rumèbe. Glazed signature to each example ‘Clle Moreau 1880’, ‘L Parvillée’ and ‘F. Rumèbe 115’. Provenance: Important French Japonisme Collection
- (3) Signed abstract etchings, "Zuri
(3) Signed abstract etchings, "Zuri Gestalt", David Lach, 1962, etching, epreuve d'artiste; untitled, Camille Bryen, etching, 75/120; "Ets Met de Staven", Ko Oosterkerk, 1965, 4/10; largest sheet size 25-1/2" x 19-1/2", good condition
- ARTHUR TURNBULL HILL (AMERICAN, 1868-1929)
ARTHUR TURNBULL HILL (AMERICAN, 1868-1929) "SUNSET EAST HAMPTON" Oil on canvas. Signed 'Arthur Turnbull Hill' (lower center left). Signed and titled on stretcher.
Catalogue Note: American painters in the final decades of the 19th century moved steadily into the transition heralded by George Inness from the heroic, nationalistic landscape into a phase more personally visionary. Their painting focused less on the exact replication of nature than on scenery, as a spiritual manifestation and it tended toward impressions and depictions of personal experience. Landscape painting tends to reflect changes of social and industrial growth, and was in one way escapist but the combination laid the foundation for a new realism.
By the end of the 19th century landscape painting had come full circle and was burgeoning with new perspectives. The great 19th century artist, George Inness, was profoundly responsible for influencing the painters who where to follow him upon his contact with the Barbizon school. Originally, the work of Cole and Durand and Old Masters prints were his true models and taking hikes in the wild where he chose pastoral scenes close to home. A change took hold after a trip that Inness took to Europe, particularly France, where he came under the influence of the Barbizon School. Theodore Rousseau, Charles Daubigny and Camille Corot became his new idols and he decided to abandon the meticulous naturalism of the Hudson River School in favor of his own subjective expression of nature. He no longer portrayed what he saw literally, but tried to project his own vision into his paintings. Inness was seeking to capture the mood of the landscape through a lyrical and painterly style, his own personal Impressionism, for which he became famous. Inness also filled his canvases with the poetic atmosphere in the manner of Turner, whose work had impressed him and he combined this luminist approach with a pastoral quality derived from the Barbizon painters of France.
Artist Collections:
Brooklyn Museum, New York
National Gallery of Art, Washington D.C.
National Arts Club, New York
Artist Memberships and Exhibitions:
Artist Fund Society, New York
Brooklyn Art Club, New York
National Arts Club, New York
Salmagundi Club, New York
- JOHN STOBART (BRITISH, 1929-2023) "STRAIGHT
JOHN STOBART (BRITISH, 1929-2023) "STRAIGHT WHARF, NANTUCKET" Oil on canvas. Signed and dated (lower right).
John Stobart (British, 1929-2023)
Inspired by tradition, John Stobart serves as our historian and guide to life along the water. To the viewer, it seems as though Stobart stood a century ago along the ports and harbors he recreates for us. We can almost feel the effects of the weather and time of day and we learn about our history and our heritage through wonderfully descriptive narratives that have been compared to stories by Mark Twain and Joseph Conrad.
It was as a young art student that Stobart first experienced the work of John Constable and Jean Baptiste-Camille Corot. Constable’s oil sketches motivated Stobart to focus on simplicity and clarity in his work. Corot’s paintings of outdoor subjects and architecture inspired Stobart’s art. In these paintings, Stobart also found a quality of light he had never before seen. The work of these artists deeply affected Stobart and prompted him to define his own artistic style.
When he completed his academic studies, Stobart traveled by ship to his father’s new home in South Africa. While aboard the Braemar Castle, he realized that his artistic future lay in a passion for ships and the sea he had discovered at eight years old. He painted The Braemar Castle and quickly sold it to the Union Castle Line which led the way to his paintings being prominent in boardrooms across England and North America.
For ten years, Stobart divided his time between England and Canada. Stobart learned that artists had recorded only a few nineteenth century American ports and harbors. Newly inspired, he took a six-month sabbatical to learn about this subject. He later began the body of work that now documents the development of American ports.
- CAMILLE HILAIRE "THE BATHERS" WOOL TAPESTRY
CAMILLE HILAIRE "THE BATHERS" WOOL TAPESTRY Camille Hilaire (French, 1916-2004) for Manufactura de Tapecarias de Portalegre, hand-woven wool tapestry textile art, signed "Hilaire / TMP Fino" in weave. 57.25" H x 94.25" W.
- CAMILLE HILAIRE "PESAGE" OIL ON CANVAS
CAMILLE HILAIRE "PESAGE" OIL ON CANVAS Camille Hilaire (French, 1916-2004) "Pesage," oil on canvas, 1962, modern scene with jockeys and horses, signed lower left: "Hilaire." Image: 20.75" H x 25" W; frame: 29.25" H x 33.75" W x 1.5" D.
- LE TALLEC PARIS BLACK CHINOISERIE PORCELAIN
LE TALLEC PARIS BLACK CHINOISERIE PORCELAIN BOX Atelier Camille Le Tallec Paris hand painted and gilt decorated black porcelain box, circa 1981, probably from the Cirque Chinois pattern, of oval form and throughout with Chinoiserie scenes and decorations, marked to base "Le Tallec Paris" and with further mark. 4.75? H x 4? W x 3" D. Provenance: Removed from a 157 East 57th Street estate.
- TIFFANY & CO. LE TALLEC PORCELAIN DRESSER
TIFFANY & CO. LE TALLEC PORCELAIN DRESSER BOX Tiffany and Co. hand painted and gilt decorated porcelain dresser box, Private Stock by Atelier Camille Le Tallec Paris, probably from the Cirque Chinois pattern, fully marked underside. 2" H x 5.25" W x 3.625" D. Provenance: Removed from a 157 East 57th Street estate.
- TIFFANY & CO. LE TALLEC PORCELAIN CANDLESTICKS
TIFFANY & CO. LE TALLEC PORCELAIN CANDLESTICKS Rare pair of Tiffany and Co. hand painted and gilt decorated porcelain candlesticks, circa 1988, Private Stock by Atelier Camille Le Tallec Paris, probably from the Cirque Chinois pattern, modeled as kneeling Chinese figures wearing black clothes with Chinoiserie decorations to their shoulders holding up bowls, signed to bases "Tiffany + Co Private Stock Hand Painted France" and blue stylized 'LT' S?vres-style maker and date and painter mark "LT RU YM." 6? H x 2.5? W x 5.25? D. Provenance: Removed from a 157 East 57th Street estate.
- TIFFANY & CO. LE TALLEC CHINOIS PORCELAIN
TIFFANY & CO. LE TALLEC CHINOIS PORCELAIN URNS, PR Rare near pair of Tiffany and Co. hand painted and gilt decorated porcelain urns, circa 1987, Private Stock by Atelier Camille Le Tallec Paris, probably from the Cirque Chinois pattern, each of campana form and with two handles, overall with Chinoiserie scenes and decorations to their lobed bodies and socle bases, with floral marks and signed to bases "Tiffany + Co Private Stock Hand Painted France" and blue stylized "LT" S?vres-style maker and date and painter mark "LT RR CS." Taller 9.5? H x 8.25? diameter. Provenance: Removed from a 157 East 57th Street estate.
- LARGE FRENCH MACHINE WOVEN PASTORAL
LARGE FRENCH MACHINE WOVEN PASTORAL TAPESTRY COROTLarge French machine woven tapestry, mid to late 20th c., now mounted on stretchers, pastoral lake view in muted colors, after Jean Baptiste Camille Corot (France, 1796-1875), small holes along top edge, overall: approx 54.75"h, 76.25"w
- CAMILLE COROT (1796-1875): FEMME DEBUT,
CAMILLE COROT (1796-1875): FEMME DEBUT, VUE DE PROFILPencil on paper, c. 1845, unsigned, variously inscribed at right and left, with label from Far Gallery, NY and Jacques Mathey, Paris.
8 1/4 x 6 1/8 in. (sheet), 14 1/2 x 12 1/4 in. (frame).
Condition
Pale staining, foxing and surface soiling. Remains of old paper tape on the reverse. Otherwise in good condition.Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold ""as is"" in accordance with our conditions of sale.
- JEAN- BAPTISTE -CAMILLE COROT (AFTER)
JEAN- BAPTISTE -CAMILLE COROT (AFTER) Oil on canvas. Copy of Morning. The Dance of the Nymphs. Inscribed lower right. From a Mamaroneck collection. Dimensions: 29.5" h x 39.5" w Condition: Good. Minor craquelure and old restoration.
- CAMILLE LIAUSU (FRENCH, 1894-1975) Oil
CAMILLE LIAUSU (FRENCH, 1894-1975) Oil on canvas. " A hard day ". Signed lower right. From an Astoria, Queens, NY estate. Dimensions: 37" h x 54" h. Condition: Good. Small puncutre between sails.
- CAMILLE BOMBOIS (FRENCH, 1883-1970).
CAMILLE BOMBOIS (FRENCH, 1883-1970). "Petite Ferme". Oil on canvas. Signed lower left. Partial title on old verso label. From a Greenwich, CT collection. Dimensions: 6.25" h x 8.5" w. Condition: Good. Minor craquelure.
- CAMILLE JEAN-BAPTISTE COROT (1796-1875):
CAMILLE JEAN-BAPTISTE COROT (1796-1875): AUTOGRAPH LETTERHand-written letter signed 'C. Corot'; together with a reproduction photograph of the artist.
Letter 8 x 5 1/4 in. (sheet), Photograph 5 1/8 x 3 3/4 in. (sight), 19 3/4 x 24 3/4 in. (framed together).
Condition
The letter with creases where previously folded. Reverse of sheet corners attached to backmat and showing through slightly. Photograph warped. Not examined out of frame.Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
- JEAN-BAPTISTE-CAMILLE COROT (AFTER).
JEAN-BAPTISTE-CAMILLE COROT (AFTER). French Countryside Scene "Petit Village Du Morvan". Oil on copper panel. Signed lower left. Name plaque with title on frame. Old label verso with traces of date,1847. Part of exhibition / sale at the American Art Assoc. / Anderson Galleries, 57th St NYC; per sheet attached to verso. From a Long Island, NY estate. Dimensions: 9.75" h x 13" h Condition: Good. Small abrasions by edges. Small adhesion spots left.
- CAMILLE COROT (AFTER) (20TH CENTURY).
CAMILLE COROT (AFTER) (20TH CENTURY). Copy of "The Ferryman" (Camille Corot, 1865). Oil on canvas. Signed at lower left, "Lerain"?. Copy from the original in the Metropolitan Museum of Art stamps verso, from 1937. From an Armonk, NY estate. Dimensions: 25" h x 20" w. Condition: Light craquelure and light surface soil consistent with age. Overall good.
- (8) Silverplate table items to include
(8) Silverplate table items to include Barbour Silver quadruple plate candlesticks, 10"H, International Silver Co. Camille water pitcher, WB Mfg Co. bird form shakers on branch, gadrooned cigarette urns, Holmes and Edwards ladle and Sheffield England stuffing spoon.
- 19th C. English portrait of a woman,
19th C. English portrait of a woman, oil on canvas, signed Camille Rigaud, mounted in original gilt wood and gesso frame, 31"x26", framed 43-3/4"x38-3/4", very good condition, appears to have been cleaned at some point
- CAMILLE BOMBOIS COUNTRY RIVER SCENE
CAMILLE BOMBOIS COUNTRY RIVER SCENE PAINTINGCamille Bombois, France (1883-1970). Oil on canvas painting of a countryside river scene mounted in gilt wood frame, matted and signed lower right. Measures 18.5"H x 23.5"W framed; 10.5"H x 16.25"W visual.
- F. BARBEDIENNE AFTER PAUL DUBOIS MEDITATION
F. BARBEDIENNE AFTER PAUL DUBOIS MEDITATION BRONZE After Paul Dubois (French, 1827-1905) "L'Etude et Meditation" Bronze Sculpture, signed "F. Barbedienne Fondeur Paris" to left, and signed "P. Dubois" to back, above the circular stamp "Reduction A. Collas" on plinth. Approx. 25" H x 10" W x 13" D. Note: After the death of General de La Moriciere (French, 1806-1865), it was proposed to erect a funerary monument in the cathedral of Nantes to honor the late General who had formerly led the troops of Pope Pius IX and was highly regarded. The project began in 1869 with architect Louis Boitte and sculptor Paul Dubois finding their inspiration in the Renaissance. The influence of Michelangelo is immediately evident in the offered work. The tomb depicts four allegorical virtues extolling the character of the general: "Courage", "Faith", "Study" or "Meditation", and "Charity". Keywords: Paul Dubois, Barbedienne Foundry, Achille Collas, Musee Camille Claudel, General Lamoriciere, Meditation
- ATTRIBUTED TO CAMILLE PISSARRO (1830-1903):
ATTRIBUTED TO CAMILLE PISSARRO (1830-1903): DEUX HOMMESPencil and wash on paper, with the artist's estate stamp lower left (Lugt 613c), with label from Herman C. Goldsmith, NY.
8 x 6 in. (sheet), 14 1/2 x 12 3/4 in. (frame).
Note: This work has not been submitted to Dr. Joachim Pissarro for review.
Condition
Some surface soiling. Taped to the overmat at the reverse of the sheet corners with staining showing through. Otherwise in good condition.
Notwithstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
- ATTRIBUTED TO CAMILLE PISSARRO (1830-1903):
ATTRIBUTED TO CAMILLE PISSARRO (1830-1903): TRIEURS DE CHOUXCharcoal on paper, signed with initials 'CP' lower left.
9 1/2 x 7 in. (sheet), 17 1/4 x 14 1/4 in. (frame).
Note: This work has not been submitted to Dr. Joachim Pissarro for review.
Condition
Light and mat staining. Sheet with irregular edges and a small hole lower left. A few scattered foxmarks. Otherwise in good condition.
Notwithstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
- Camille Pissarro
(Danish/French, 1830–1903)
Paysans
Camille Pissarro
(Danish/French, 1830–1903)
Paysans portant du foin, 1900
etching
4 5/8 x 3 1/8 inches.
- TIFFANY PRIVATE STOCK LE TALLEC GINGER
TIFFANY PRIVATE STOCK LE TALLEC GINGER JAR & BOX2 pieces Tiffany & Co. private stock porcelain for Atelier Camille Le Tallec, Paris. Ginger jar and dresser box, both with gilt Chinoiserie decoration. Both marked on the underside "Tiffany & Co. private stock hand painted made in France" with Le Tallec marks. Ginger jar 9"H, box 3 3/4"H.
- ATTRIB. JBC COROT, SKETCH VILLAGE SCENE,
ATTRIB. JBC COROT, SKETCH VILLAGE SCENE, VOSE PROV. Graphite sketch on paper, scene of village, perhaps Gouda, attributed to Jean-Baptiste-Camille Corot (1796 - 1875), with red stamp lower left “Vente Corot.” Labeled on reverse from collection of Seth Vose II and Ruth Vose, with inscription on reverse stating was purchased at the sale of Corot’s studio after his death. Image 5” x 8.5”, overall in gilt frame 14.75” x 18.75”.
- Five Books Presented to Alice and Vincent
Five Books Presented to Alice and Vincent Massey by John Burgon Bickersteth Henry LaFarge ed., LOST TREASURES OF EUROPE. New York: Pantheon Books, 1946, inscribed “Vincent and Alice from Burgon Batterwood Christmas 1946.”
Laurence Binyon, DANTE'S PARADISO, London: Macmillan and Co., 1943, inscribed “Vincent and Alice from Burgon Christmas 1943.”
Geoffrey Bickersteth, THE PARADISO OF DANTE ALIGHERI Cambridge: At the University Press, 1932, inscribed “Vincent and Alice from J.B.B. Batterwood Christmas 1932.”
Samuel Bickersteth, MORRIS BICKERSTETH, (1891-1916). Private Circulation: Cambridge, 1931, inscribed "Vincent and Alice Massey from Morris’s parents, Meistyer Omer The Precincts Canterbury June 1931."
Camille Mauclair, THE FRENCH IMPRESSIONISTS, London: Duckworth and Co., 1903, inscribed on front fly leaf: “Hart from J.B. Bickersteth. 7th November 1935. Bought at Edinburgh June 1928.”
various sizes 10 x 8 in — 25.4 x 20.3 cm
- ALEXEI PETROVICH BOGOLYUBOV (1824-1896)
ALEXEI PETROVICH BOGOLYUBOV (1824-1896) RUSSIANLeaving the harbour, oil on canvas, 11 1/4 x 17 1/2 inches, signed. Note: “Leaving the Harbour,” as we have titled it, demonstrates Bogolyubov transitional shift from Romanticism to Realism. Bogolyubov began his artistic career studying under Maxim Vorobiev at the Saint Petersburg Academy of Arts. Vorobiev’s dedication to the romantic style heavily influenced Bogolyubov’s early works. However, once Bogolyubov graduated he spent many years travelling across Europe, working in Italy, Germany, and France. In Paris, he connected with Jean-Baptiste-Camille Corot and Charles-François Daubigny, members of the Barbizon School. Bogolyubov’s work began to embrace the ways of the Barbizon School - painting the world as they saw it - without the emotive melodrama found in the predominant romantic style of the time. In “Leaving the Harbour” the visibility of the brush strokes in the sky and water point to the Barbizon Schools influence, whereas the scene itself still contains elements of Romanticism love for melodrama. The choice to depict sailors traversing choppy waters as they make their way to their ship leads the viewer to contemplate the dangers of the seas. The rough waters and subdued colour palette hint to future tumultuous storms the sailors may have to face on their journey. Despite these suggestions, the use of a softer more realistic lighting, compared to the drastic contrast of light and shadow found in romantic pieces, points to Bogolyubov’s newfound appreciation of realism. Together, these various stylistic influences make “Leaving the Harbour” an exemplary work of Bogolyubov’s transition from Romanticism to Realism. The stylistic shift he made abroad deeply affected his return to Russia. Instead of following the ways of his Russian predecessors, his works lost all traces of Romanticism and were replaced with a staunch realism that led him to work with a group of younger Russian artists, The Wanderers, in the latter part of his career. Provenance, Bertie Bruun (Norwegian), worked at a Finnish embassy during the second world war, assembled a significant art collection during this period from reputable galleries. Brunn, a successful businessman, eventually immigrated to Canada with the collection being passed down in the family, to current owners (Ottawa).
- PAUL-EMILE PISSARRO (FRENCH, 1884 -
PAUL-EMILE PISSARRO (FRENCH, 1884 - 1972) 9 ½" x 11 ¼" "La Vallee A L'Aurore". Pastel drawing on paper, signed "Paulemile Pissarro in center, floated over black mat board with inner gold fillet and framed under glass in a gilt wood frame, overall 26 ¾" x 30 ½". Accompanied by a certificate of authentication from Katia Pissarro, an established European art dealer who became part of the multi-generational Pissarro family of artists upon her marriage to Hugues Claude Pissarro in 1958. H Claude Pissarro, her husband, is the son of Paul-Emile Pissarro and grandson of the patriarch, Camille Pissarro. With H. Claude Pissarro. Katia became entrenched in the history of the Pissarro legacy and with impressionist and post-impressionist artists. She became an art historian and authenticator of artwork and later in life painted canvases that depicted California landscapes, the French country side and cities.
- CAMILLE PISSARRO (FRENCH, 1830-1903)
CAMILLE PISSARRO (FRENCH, 1830-1903) 5 ½" x 4 ½" image; 15" x 11 ¾" paper "Groupe de paysans (Group of Peasants)", ca. 1896. Chine collé lithograph in black on Ingres de couleur paper, signed in pencil in the lower right, annoted no. 4 in pencil in the lower left corner, titled in pencil lower center, full margins, one of approximately only 11 lifetime impressions, matted and framed under glass, overall 19 ¼" x 15 ¼". Deltoid 165.