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Paul Delaroche Auction Price Results

Paul Delaroche (1797-1856)  Please Register/Login to access your Invaluable Alerts

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Louis Pierre HENRIQUEL-DUPONT (1797-1892), Paul DELAROCHE (1797-1856). RUSSIAN TSAR PETER THE GREAT.

Lot 8: Louis Pierre HENRIQUEL-DUPONT (1797-1892), Paul DELAROCHE (1797-1856). RUSSIAN TSAR PETER THE GREAT.

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Description: Louis Pierre HENRIQUEL-DUPONT (1797-1892) - engraver, Paul DELAROCHE (1797-1856) - artist. PETER THE GREAT.

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Hippolyte (Paul) Delaroche (France 1797-1856) oil

Lot 27: Hippolyte (Paul) Delaroche (France 1797-1856) oil

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Description: Hippolyte (Paul) Delaroche (France 1797-1856) oil on canvas, court interior scene with nobleman & woman and attendant beside stained glass window, signed P. Delaroche lower left, canvas rear is stamped with retailers stamp Rey & Perrot, Paris, note: on original stretcher, no frame, canvas is

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La partenza del principe per le crociate. Firmato

Lot 58: La partenza del principe per le crociate. Firmato

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Description: La partenza del principe per le crociate. Firmato HIPPOLITE PAUL DELAROCHE (1797-1856)

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Paul Delaroche Paris, 1797 - 1856 Etude pour Charlemagne Huile sur toile de forme ronde, non montée sur châssis

Lot 67: Paul Delaroche Paris, 1797 - 1856 Etude pour Charlemagne Huile sur toile de forme ronde, non montée sur châssis

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Description: Paul Delaroche Paris, 1797 - 1856 Etude pour Charlemagne Huile sur toile de forme ronde, non montée sur châssis Diamètre : 15 cm. (5,9 in.) Commentaire : Notre esquisse est très proche d'un dessin passé en vente chez Artcurial, Paris, le 24 mars 2010, n°71, (Fig. 1). Ce dessin d'après nature semble être préparatoire à notre tête couronnée, elle-même à l'évidence préparatoire à une composition plus ambitieuse. Stephen Bann rattache cette esquisse à la commande royale faite en 1838 à Paul Delaroche pour le Pavillon du Roi du château de Versailles. Cinq grandes compositions avaient été programmées : 'Charlemagne passant les Alpes', 'Charlemagne couronné empereur', 'Le couronnement de Pépin le Bref', 'Le baptême de Clovis' et 'Pharamond sur le pavois'. Delaroche réalisa pour chacune de ces compositions – hormis pour 'Pharamond sur le pavois' – des esquisses préparatoires qui furent dispersées à sa vente après décès en 1857. Nous remercions Monsieur Stephen Bann de nous avoir confirmé l'authenticité de cette œuvre ainsi que pour son aide à la rédaction de cette notice.

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Paul Delaroche Paris, 1797 - 1856 Juliette se réveillant près de Roméo Huile sur panneau

Lot 68: Paul Delaroche Paris, 1797 - 1856 Juliette se réveillant près de Roméo Huile sur panneau

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Description: Paul Delaroche Paris, 1797 - 1856 Juliette se réveillant près de Roméo Huile sur panneau h: 15 w: 17 cm Provenance : Ancienne étiquette de vente au verso portant le numéro 76 Commentaire : Cette scène est tirée du célèbre drame de Shakespeare publié pour la première fois en 1597. Les deux amants sont dans la crypte des Capulets. Après avoir absorbée la potion du frère Laurent qui l'a plongée dans un profond sommeil simulant la mort, Juliette se réveille et sort de sa tombe. C'est alors qu'elle découvre le corps inanimé de Roméo qui s'est par désespoir empoisonné au pied de la tombe de Juliette après l'annonce de sa mort. Notre esquisse est un parfait exemple de la forte inspiration de la littérature anglaise auprès de la jeune génération d'artistes romantiques dont Delacroix et Delaroche sont sans aucun doute les plus célèbres représentants. Le voyage en Angleterre qu'effectue Delaroche en 1827 est un passage obligé pour cette génération romantique ; pensons aux travaux de Géricault, aux illustrations littéraires de Byron ou Shakespeare par Delacroix. Ce dernier milite en 1828 en faveur des représentations au théâtre de l'Odéon de 'Roméo et Juliette' qui, dans leur adaptation en langue originale selon la version de Garrick, ne recueillent pas le succès attendu auprès du public parisien et renforcent ainsi la scission entre romantiques et classiques. Delaroche réalise des dessins qui illustrent le dernier acte d'Henri III et sa cour, pièce d'Alexandre Dumas représentée pour la première fois en 1829. Stephan Bann réalise un parallèle entre notre esquisse et la célèbre composition Les Enfants d'Edouard, exposée au Salon de 1831. Il remarque le même arrière plan latéral prenant une part importante de la composition et qui laisse le regard se perdre dans une ambiance très légèrement lumineuse et mystérieuse propre à une interprétation très personnelle de la scène. Nous remercions Monsieur Stephen Bann de nous avoir confirmé l'authenticité de cette œuvre ainsi que pour son aide à la rédaction de cette notice.

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Paul Delaroche Paris, 1797 - 1856 Etude d'homme barbu Crayon noir

Lot 71: Paul Delaroche Paris, 1797 - 1856 Etude d'homme barbu Crayon noir

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Description: Paul Delaroche Paris, 1797 - 1856 Etude d'homme barbu Crayon noir Sans cadre Black pencil Unframed Height: 9,56 Width: 8 in. h: 24,50 w: 20,50 cm

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after: Paul Hippolyte Delaroche French (1797-1856) Oil on Canvas

Lot 73: after: Paul Hippolyte Delaroche French (1797-1856) Oil on Canvas "Napoleon on Horseback Egyptian Campaign". Bears Signature Lower Left and Paris and Dated 1837. Notation en Verso. Needs a Cleaning or else, Has Minor Restoration and a Little

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Description: after: Paul Hippolyte Delaroche French (1797-1856) Oil on Canvas "Napoleon on Horseback Egyptian Campaign". Bears Signature Lower Left and Paris and Dated 1837. Notation en Verso. Needs a Cleaning or else, Has Minor Restoration and a Little Inpainting Under Horses Neck or else Good to Very Good Condition. Measures 27-1/4 Inches by 22-1/2 Inches, Frame Measures 34-1/2 Inches by 28-3/4 Inches. Shipping $275.00

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ATTRIBUÉ À PAUL DELAROCHE (PARIS 1797 - 1856) PORTRAIT D’HOMME EN BUSTE Plume et encre brune, lavis brun 22,6 X 16 CM Annoté en bas ...

Lot 82: ATTRIBUÉ À PAUL DELAROCHE (PARIS 1797 - 1856) PORTRAIT D’HOMME EN BUSTE Plume et encre brune, lavis brun 22,6 X 16 CM Annoté en bas ...

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Description: ATTRIBUÉ À PAUL DELAROCHE (PARIS 1797 - 1856) PORTRAIT D'HOMME EN BUSTE Plume et encre brune, lavis brun 22,6 X 16 CM Annoté en bas à droite « Delaroche »

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Paul DELAROCHE (Paris 1797 - 1856) Portrait du pape Grégoire XVI Crayon noir 20,5 x 14 cm Signé, situé et daté en bas à droite « Rom...

Lot 107: Paul DELAROCHE (Paris 1797 - 1856) Portrait du pape Grégoire XVI Crayon noir 20,5 x 14 cm Signé, situé et daté en bas à droite « Rom...

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Description: Paul DELAROCHE (Paris 1797 - 1856) Portrait du pape Grégoire XVI Crayon noir 20,5 x 14 cm Signé, situé et daté en bas à droite « Rome 1844 » Notre dessin est préparatoire au portrait du pape Grégoire XVI, aujourd’hui conservé au domaine national de Versailles et Trianon (MV 4835)

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PAUL DELAROCHE (1797-1856): PORTRAIT OF EUGÉNE LAMI

Lot 125: PAUL DELAROCHE (1797-1856): PORTRAIT OF EUGÉNE LAMI

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Description: PAUL DELAROCHE (1797-1856): PORTRAIT OF EUGÉNE LAMI Pencil, charcoal and colored chalk on paper, signed and dated 1834 and dedicated to the sitter. 9 x 7 5/8 in. (sight), 17 1/4 x 15 3/4 in. (frame).

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AFTER PAUL HIPPOLYTE DELAROCHE(French.1797-1856)

Lot 135: AFTER PAUL HIPPOLYTE DELAROCHE(French.1797-1856)

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Description: AFTER PAUL HIPPOLYTE DELAROCHE (French. 1797-1856)"Portrait of Napoleon". Unsigned.Oil on Canvas Laid Down on Board. Measuring 30 1/2" by 24 1/2". Framed. (Cond: surface has a horizontal split to board in the lower margin, will need repair) (600/800)

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Paul DELAROCHE (Paris 1797-1856) Les Saintes Femmes au tombeau Toile  41,5 x 33 cm Étiquette au revers de la toile Je reconnais avoi...

Lot 136: Paul DELAROCHE (Paris 1797-1856) Les Saintes Femmes au tombeau Toile 41,5 x 33 cm Étiquette au revers de la toile Je reconnais avoi...

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Description: Paul DELAROCHE (Paris 1797-1856) Les Saintes Femmes au tombeau Toile 41,5 x 33 cm Étiquette au revers de la toile Je reconnais avoir acheté les deux tableaux du no19 et 20 du catalogue à M. Johbert professeur de dessin au Mans lequel m'a affirmé les avoir reçu de son fils qui lui-même les avaient eu de la mère de de Paul Delaroche. Beaune, le 4 février 1880, signature illisible

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after: Paul Hippolyte Delaroche French (1797-1856) Oil on Canvas

Lot 160: after: Paul Hippolyte Delaroche French (1797-1856) Oil on Canvas "Napoleon on Horseback Egyptian Campaign". Bears Signature Lower Left and Paris and Dated 1837. Notation en Verso. Needs a Cleaning or else, Has Minor Restoration and a Little

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Description: after: Paul Hippolyte Delaroche French (1797-1856) Oil on Canvas "Napoleon on Horseback Egyptian Campaign". Bears Signature Lower Left and Paris and Dated 1837. Notation en Verso. Needs a Cleaning or else, Has Minor Restoration and a Little Inpainting Under Horses Neck or else Good to Very Good Condition. Measures 27-1/4 Inches by 22-1/2 Inches, Frame Measures 34-1/2 Inches by 28-3/4 Inches. Shipping $275.00

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Paul Delaroche Paris, 1797 - 1856 Vue d'Ariccia Crayon noir et estompe

Lot 177: Paul Delaroche Paris, 1797 - 1856 Vue d'Ariccia Crayon noir et estompe

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Description: Paul Delaroche Paris, 1797 - 1856 Vue d'Ariccia Crayon noir et estompe Sans cadre h: 10 w: 16,50 cm Provenance : Ancienne collection Horace-Paul Delaroche-Vernet, fils de Delaroche, son cachet (L.1301) en bas à droite Commentaire : Ce dessin doit dater du deuxième séjour de l'artiste à Rome en 1844. Le sujet est en fait la campagne romaine des Colli Albani, et on voit clairement à gauche la petite ville d'Ariccia, avec l'église Santa Maria dell'Assunzione de Bernini. Delaroche travaillait notamment pendant son séjour à Rome sur sa 'Vierge et enfant' destinée au Marquis de Hertford (actuellement à la Wallace Collection), et l'on voit dans la composition de ce tableau un fond de paysage assez comparable. Nous remercions Monsieur Stephen Bann qui nous a confirmé l'authenticité de ce dessin qu'il date vers 1844 ainsi que pour son aide à l'élaboration de cette notice.

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Attribué à Paul Delaroche Paris, 1797 - 1856 Portrait des enfants de Madame Morel Danville dans un parc Huile sur panneau,

Lot 211: Attribué à Paul Delaroche Paris, 1797 - 1856 Portrait des enfants de Madame Morel Danville dans un parc Huile sur panneau,

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Description: Attribué à Paul Delaroche Paris, 1797 - 1856 Portrait des enfants de Madame Morel Danville dans un parc Huile sur panneau, porte l'inscription 'Enfants dans un parc / tableau de Paul Delaroche / d'après les enfants de / Madame Morel Danville / née Sancède', ainsi qu'une ancienne étiquette portant le numéro '1608' au verso h: 27 w: 21 cm

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Paul Delaroche Paris, 1797 - 1856 Portrait de François Delessert Fusain, craie blanche et pastel

Lot 217: Paul Delaroche Paris, 1797 - 1856 Portrait de François Delessert Fusain, craie blanche et pastel

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Description: Paul Delaroche Paris, 1797 - 1856 Portrait de François Delessert Fusain, craie blanche et pastel Dédicacé et signé 'à Monsieur fr Delessert / Paul Delaroche' dans le bas Sans cadre 'PORTRAIT OF FRANCOIS DELESSERT', CHARCOAL, WHITE CHALK AND PASTEL, DEDICATED AND SIGNED LOWER, BY PAUL DELAROCHE h: 31,70 w: 23,20 cm Provenance : Ancienne collection Louis-Antoine et Véronique Prat, leur cachet (L.3617) en bas à droite Commentaire : Ce dessin est tout a fait typique des portraits "à deux crayons" que l'artiste destinait à ses proches. Un portrait de Francois Delessert par Delaroche (1847, huile sur toile, 120 x 82 cm) était présenté à l'Ecole des Beaux-Arts dans l'exposition rétrospective de Delaroche en 1857 (n° 37). Ce portrait appartenait à cette date à Madame Hottinguer. Dans la thèse de Ziff sur Delaroche (1977), il est encore décrit comme faisant partie de la collection du Baron Rodolphe Hottinguer, ainsi que le portrait de Caroline Delessert (la femme de Francois), qui date de 1840. Ce dessin devrait être daté bien avant, selon Monsieur Stephen Bann, peut-être à la fin des années 1820, ou début des années 1830. Les liens de Delaroche avec la famille Delessert ont commencé probablement vers 1827, avec le portrait à l'huile des deux filles Delessert, qui a peut-être paru au Salon de 1827-28 (n° 308). Nous remercions Monsieur Stephen Bann de nous avoir aimablement confirmé l'authenticité de ce dessin ainsi que pour son aide à la rédaction de cette notice.

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PAUL DELAROCHE (Paris 1797-1856 Paris) Study of an Arab.

Lot 239: PAUL DELAROCHE (Paris 1797-1856 Paris) Study of an Arab.

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Description: PAUL DELAROCHE (Paris 1797-1856 Paris) Study of an Arab. Pencil and white heightening on light tan laid paper. 215x116 mm; 8 1/2x4 1/2 inches.

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Etchings, Various Napoleon Scenes

Lot 264: Etchings, Various Napoleon Scenes

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Description: (lot of 3) Framed etchings, Napoleon in his Study, by Paul Delaroche (French, 1797-1856), Napoleon and Child, and Portrait of Napoleon, French School (19th/20th century), largest overall: 22"h x 18"w

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Miniature

Lot 4255: Miniature

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Description: Miniature Napoléon. Oval. Gouache on ivory after a painting by Paul Delaroche (1797 Paris 1856). Clear dimension 5,7 x 4,5. The painting „Napoleon Bonaparte in Fontainebleau 1846" by Paul Delaroche now hangs in the Kunsthalle Hamburg.Miniatur Napoléon. Ovalform. Gouache auf Elfenbein nach einem Gemälde von Paul Delaroche (1797 Paris 1856). In viereckigem Beinrahmen, ovale Metalleinfassung. LM 5,7 x 4,5 Das Gemälde „Napoleon Bonaparte in Fontainebleau 1846" von Paul Delaroche befindet sich heute in de Kunsthalle HamburgAbsentee bidding only for this lot until 24th September 2009 7pm

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Lot 1: DELAROCHE, PAUL (ATTRIB.) (1797-1856)

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Description: > oil/canvas ().

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Lot 1: DELAROCHE, Paul (1797-1856, French)

Description: Young girl in fountain bath, paper laid on panel Oil Painting (9x7in).

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Circle of Paul Hippolyte Delaroche ( 1797-1856)

Lot 1: Circle of Paul Hippolyte Delaroche ( 1797-1856)

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Description: Circle of Paul Hippolyte Delaroche ( 1797-1856) French Miniature on ivory, an oval Portrait of Henrietta Sontag 1831 Indistinct monogram top right, in an ornate gilt brass oval easel frame with ribbon cresting. 3 x 2 1/2" Henriette Sontag (3 January 1806-17 June 1854) was a German operatic soprano of great international renown. She possessed a sweet-toned, lyrical voice and was a brilliant exponent of florid singing. The original painting by Delaroche painted in 1831 now hangs in the Hermitage, St. Petersburg, Russia

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Lot 1: Paul Delaroche* (French, 1797-1856)

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Description: Jeune Fille Dans Une Vasque oil on paper laid down on panel 7 x 9in. (19 x 24.1cm.) PROVENANCE Ogden L.Mills; sale, Parke Bernet, New York, April 5, 1938, lot 147 as Odalisque Anon.; sale, O. Rundle Gilbert Estate Auctioneer, New York, no. 323 LITERATURE H. Delaborde and J. Godd. Oeuvre de Paul Delaroche. Paris, 1858, pl.39. NOTES Paul Delaroche was the son of an art dealer and nephew of a conservator at the Bibliotheque Nationale and later married Horace Vernet's daughter. Highly respected in his lifetime, Delaroche's studio drew many of the leading artists of the next generation as students, such as Jean-Lon Grme, Thomas Couture and Charles-Francois Daubigny. He studied under Baron Gros from whom he learned the accurate treatment of historical and mythological subjects. In 1822 he submitted his first entries to the Salon and earned the attention of Gricault who took him under his wing, even asking him on his deathbed to help finish two of his own 1824 Salon entries. After Delaroche's 1831 Salon entry Les Enfants d'Edouard (Muse du Louvre, Paris, he was made a member of the Institute des Beaux Arts and the following year he became a professor. During his lifetime, his paintings sold for fantastic sums; one painting that sold for 10,000 francs in 1835 ( Assassinat du Duc de Guise ) was resold in 1852 for 52,500 francs just four years before Delaroche's death. This painting was produced in 1843 during Delaroche's year-long sojourn in Italy. It was a study for another of the same subject in the collection of the Muse des Beaux-Arts, Besancon, completed by the artist the following year. The Besancon version has the addition of a lyre behind the fountain and it has been suggested that the woman may be Sappho. The allegorical figure and etheral mood, while seemingly unusual for Delaroche, foreshadow the neoclassical and romantic characteristics of the work of his own students such as Grme, and of the next generation of French Salon artists, such as Bouguereau and Cabanel. Mills began collecting in the 1890s, and the family's collection reflected current fashionable taste at the turn of the century in America. At the time it was sold in 1938 at their house sale at 4 East 69th Street, New York, this painting was hanging alongside Grme's oil sketch Diogenes and His Lamp.

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Lot 3: Thomas Couture (French, 1815-1879)

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Description: Le Sacrifice de No (The Sacrifice of Noah) oil on canvas 44 x 57in. (113 x 146cm.) PROVENANCE A gift from the family of the artist to the present owner LITERATURE E.Delcluze, Concours pour le grand prix de peinture, Journal des Dbats, September 28, 1837, p.3 H.D., Ecole Royale des Beaux-Arts. Concours pour le grand prix de peinture, Journal des Artistes, no.14, October 11, 1837, pp. 129-133 L'Artiste, IV, 9th edition, 1837, pp. 113-114 T.Couture, Mthode et Entretiens d'Atelier, Paris, 1867, p.81 G.Bertauts-Couture, Thomas Couture 1815-1979 Sa Vie Son Oeuvre Son Caractre Ses Ides Sa Mthode par lui-mme et son petit-fils, Paris, 1932, p.10, illustrated on the frontispiece A.Boime, Thomas Couture and the eclectic vision, New Haven and London, 19080, pp. 71-73, illustrated P.Grunchec, Le Grand Prix de Peinture. les Concours des Prix de rome de 1797 1863, pp. 222-225, 352, 396-397, pl. 2 P.Grunchec, Les Concours des Prix de Rome 1797-1863, Paris, Ecole Nationale Suprieure des Beaux-Arts, October 8 - December 14, 1986, p. 150, and II, pp. 131-134, pl.3 EXHIBITION Paris, Couture, 1880, no.2 NOTES This ambitious painting relates to the composition which won Thomas Couture a second place in the competition for the Prix de Rome in 1837. The award of second place however, was not without controversy. First place was awarded to the painter Murat and there were those who felt the judgement was unjust. The critic Albert Boime advanced the theory that Murat was honored because he had persevered through many years of competitions without winning and was soon to be too old for eligibility. Delcluze too found special merit in Couture's work, writing in Le Journal des Dbats (loc. cit), : "Le tableau de M. Couture est digne d'une mention toute particulire. La tte de son No, tenant sa femme, vers la gauche de la composition, forme aussi un groupe fort bon. En somme, cet ouvrage est le seul u il y ait une ide qui vivifie tous les dtails: on y voit briller cette joie douce, ce contentement intrieure et reconnaissant que l'on prouve quand, un grand danger et un long orage, succde le calme des sens et de l'me." Commenting on the competition itself he continued, that any young artist, exhibiting for the first time would be happy if their painting was as good as that of M. Couture. The dialogue surrounding the work however, was not always consistent as there were negative critics such as the one who disagreed with Couture's placement of God in Journal des Artistes (loc.cit) and another who disagreed with the moment depicted by Couture in L'Artiste (loc.cit). In the present work, the traditional theme coupled with the bold brushstrokes and palette of the present work is consistent with Couture's best known works. Couture often made refernces to old master paintings while creating purely contemporary works, rooted in the Romanticism and Classicism of the day. Thomas Couture was a student of Baron Gros and of Paul Delaroche. He exhibited reguarly at the Salon, winning a third-class medal in 1844 and a first class medal in 1848. Couture also became a chevalier of the Lgion d'Honneur in 1848 and received a gold medal at the Paris Universal Exhibition of 1855.

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Lot 11: DELAROCHE, PAUL (1797-1856)

Description: Autoportrait, 1838 Pierre noire 9x6 inches (22.5x16 cm) signed & dated.

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Lot 18: Paul Hippolyte Delaroche (French, 1797-1856) and Studio

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Description: Head studies of monks oil on canvas 93/4 x 123/4 in. (24.7 x 32.3 cm.) NOTES We are grateful to M.Jocelyn Reboul for confirming the authenticity of this lot. M.Reboul has suggested that these heads were executed after two studies which Delaroche made during a visit to Italy in 1843. He considered that these were probably painted later in France and may be studies for the 'Hemicycle' of the Ecole des Beaux-Arts, Paris.

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Lot 20: PAUL DELAROCHE~~ [French, 1797-1856] Les Enfants d'Edouard oil on canvas 35 x 42 in. [88.9 x 106.7 cm.] Paul

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Description: Delaroche was born July 17, 1797 to a family with artistic interest: his father was an art dealer, his uncle was a conservator at the Bibliotheque Nationale, and his brother was a minor History painter in his own right. Delaroche joined the studio of Baron Gros in 1818 and over the ensuing years came to distinguish himself as one of 19th Century France's most venerable History painters of the "juste milieu". Reflecting a contemporary fascination with themes of modern and post-antique history, he turned to subjects which reflected the triumphs and trials of foreign national heroes with a particular focus on the history of the Elizabethan Age whose parallels to comparable events of usurpation in French political history were not unlost on his audience. An artist of considerable international reputation in his lifetime, Delaroche married the daughter of Horace Vernet and taught a younger generation of artists including Gerome, Couture and Daubigny. Delaroche painted "Les Enfants d'Edouard" in 1830 at the age of thirty-two and submitted it the following year to the Salon where it was enormously well received by Musset, Gros and Ingres and by the general public who clamored to see the picture. Set in 1483 in the Tower of London, the painting depicts the moment before the young King Edward V and his brother Richard, the Duke of York, are to be assassinated at the order of their ambitious uncle Richard III, the Duke of Gloucester. It is a psychologically sobering study of the minutes before their execution which evokes an anxious and suspenseful mood. By intimating danger through gesture and palette rather than illustrating it directly, Delaroche enhances the potency of the dramatic moment. This is furthered by clever manipulation of compositional devises such as cropping in order to give the painting the impression of being photographic. To enhance this air of veracity, Delaroche scrupulously reconstructs minute details. He idealizes neither the characters nor the setting in which they are placed: the King's features reflect his recorded illness while period furnishings, costumes, and jewelry are meticulously replicated to further make the scene historically accurate and believable. Indeed, so convincing was Delaroche in his attention to verisimilitude that many critics were prompted to comment that he was as much a Historian as a painter. Considering the very favorable reception of this picture, it is not surprising that Delaroche chose to paint other versions. The 1831 Salon entry now hangs in the Louvre while another version belongs to the Wallace Collection in London. Our versions of Les Enfants d'Edouard has been seen by Dr. Norman D. Ziff who feels that it was certainly painted by Paul Delaroche on or about the same time as the version in the Louvre dated 1830. We are grateful to Dr. Ziff for his assistance in cataloguing this painting. ~~Christie's warranty of authenticity near the front of this catalogue does not apply to works executed before 1870. Accordingly, Christie's and Seller assume no risk or responsibility for the authenticity of authorship of this lot.

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Paul Delaroche

Lot 22: Paul Delaroche

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Description: oil on paper laid down on panel,8 by 10 1/8 in.,20.3 by 25.7 cm

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Lot 29: DELAROCHE, PAUL (1797-1856)

Description: Portrait d'homme barbu oil/panel 7.1x7.5 in (18x19 cm).

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Lot 30: DELAROCHE, PAUL (1797-1856)

Description: Portrait of an actor in Renaissance dress Pencil/paper 7x8 inches (19x20 cm).

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Lot 32: Hippolyte Delaroche, called Paul Delaroche* (French, 1797-1856)

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Description: Sixteen drawings including seven designs for costumes, five compositional drawings with the assassination of Mary Stuart's lover, a drawing after a portrait by Clouet, two studies of decorative objects and a study of a chair several sheets extensively inscribed by the artist black lead and watercolor 8 x 6 in. (210 x 152 mm.) and smaller (16) PROVENANCE H.P. Delaroche-Vernet (Lugt 1301). NOTES The studies showing a historical assassination scene are possibly related to Delaroche's painting The Assassination of the Duc the Guise, Muse Cond, Chantilly, exhibited at the Salon in 1835.

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Lot 34: DELAROCHE, Paul (1797-1856, French)

Description: Christ in the Garden of Olives, s.d.1846 panel Oil Painting (9x12in).

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Lot 34: DELAROCHE, PAUL (1797-1856)

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Description: Portrait of a seated lady Pencil 3.3x2.8 in (8.5x7 cm) Monog.

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Lot 34: Paul Delaroche (1797-1856)

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Description: Christ in the Garden of Olives signed and dated 'Paul Delaroche 1846' (lower centre) oil on panel 11.7/8 x 9.7/8 in. (30 x 22.5 cm.) PROVENANCE possibly V. J.; sale, Paris, 1857 (sold for 10000 Frf). possibly Norsy; Paris, 1860 (sold for 8000 Frf). Galerie Franois Delessert, no. 33. LITERATURE Expositions de Paul Delaroche. Explications des tableaux, dessins, aquarelles et gravures, Paris, 1857, pp.12-3. H. Delaborde and J. Godd‚, Oeuvres de Paul Delaroche, Paris, 1858. M. Sandoz, Th‚odore Chass‚riau 1819-1856 Catalogue raisonn‚ des peintures et estampes, Paris, 1974, 152. E. B‚n‚zit, Dictionnaire critique et documentaire des peintres, sculpteurs, dessinateurs et graveurs, Paris, 1976, III, p. 455. N. D. Ziff, Paul Delaroche. A Study in Nineteenth-Century French History Painting, New York and London, 1977, no. 126 (as location unknown), checklist no. 150, (illustrated p. 387). EXHIBITION Paris, Palais des Beaux-Arts, Exposition des oeuvres de Paul Delaroche, 1857, no. 33. NOTES Paul Delaroche began his career by studying landscape painting under the guidance of Watelet. In 1817, Delaroche moved to the atelier of Gros, an established history painter. It was this genre of painting that led to Delaroche's great popular success, most notably with the 1831 Salon entry Les enfants d'Edouard, now in the Louvre. His prodigious output comprised not only well-loved historical tales painted with great attention to detail, but a multitude of portraits and religious subjects. The pathos of Christ in the Garden of Olives appealed to the romantic sensibility of the first half of the 19th century. Delacroix painted the subject for the Church of St. Paul-St. Louis, commissioned by the State in 1824, as did Chass‚riau who executed a painting of the same theme also for the ministry of the interior for the Church of St. Jean d'Angely. Delaroche narrates with economy and simplicity of execution. In the present painting of 1845, using a composition already established bythe Renaissance, Delaroche places Christ on a rocky eminence with the three disciples (Peter with his grey hair and beard, James with dark hair and beard and John, the youngest, with his long hair) asleep below. He has also added the menacing outline of a serpent about to strike - symbol of the temptation and a reminder of the Garden of Eden. As pointed out by Jocelyne Reboul, this early symbolic composition foreshadows Delaroche's late major work of 1855, Une Martyre au temps de Diocletien now in the Louvre. An engraving of Christ in the Garden of Olives has been executed by Jules Franois ( Expositions de Paul Delaroche - Explications de tableaux, dessins, aquarelles et gravures, op. cit., p. 38). SALESROOM NOTICE Please note there is the following additional literature for this lot: B. Foucart, Le renouveau de la peinture religieuze en France, Paris, 1987, pp. 246-7, no. 159 ((illustrated) as Le Christ en Gethsemani, location unknown).

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ENGRAVING

Lot 34A: ENGRAVING

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Description: THE HEMICYCLE & THE KEY TO THE HEMICYEL ENGRAVINGS. THE HEMICYCLE ARTIST- HIPPOLYTE (PAUL) DELAROCHE, BORN AT PARIS 1797, DIED 1856, PUPIL OF BARON GROS. TEARS; STAINS. 34 INCHES WIDE X 11 1/2 INCHES HIGH. All property is sold "AS IS", "WHERE IS", and ALL SALES ARE FINAL. There are NO REFUNDS, NO EXCHANGES. ALL ARTWORK, PAINTINGS, ENGRAVINGS, LITHOGRAPHS DRAWINGS, WATERCOLORS, ETCHINGS, POSTERS, PHOTOGRAPHS, RECORD ALBUMS, ETC. ARE SOLD BASED ON SIGNATURE ONLY. IT IS FOR YOU TO DETERMINE THE AUTHENTICITY OF EACH PIECE OF ARTWORK BEFORE TIME OF PURCHASE. WE SHIP THROUGH UPS STORE & USPS. PLEASE GET A PRICE QUOTE FOR SHIPPING PRIOR TO BIDDING. In no event shall Sterling Auction House be held responsible for having made or implied any warranty of merchantability or fitness for a particular purpose. Bidder shall be the sole judge of value.Sterling Auction House will not be responsible for any errors or omissions in the description of the merchandise. FOR COMPLETE CONDITION REPORT CONTACT AUCTION HOUSE BY EMAIL PRIOR TO BIDDING 2 DAYS BEFORE AUCTION DATE.

Condition Report: PLEASE CONTACT AUCTION HALL REGARDING COMPLETE CONDITION REPORT PRIOR TO BIDDING. All property is sold "AS IS", "WHERE IS", and ALL SALES ARE FINAL. There are NO REFUNDS, NO EXCHANGES. ALL ARTWORK, PAINTINGS, ENGRAVINGS, LITHOGRAPHS DRAWINGS, WATERCOLORS, ETCHINGS, ALBUMS, POSTERS, ETC. ARE SOLD BASED ON SIGNATURE ONLY. IT IS FOR YOU TO DETERMINE THE AUTHENTICITY OF EACH PIECE OF ARTWORK BEFORE TIME OF PURCHASE. WE SHIP THROUGH UPS STORE & USPS. PLEASE GET A PRICE QUOTE FOR SHIPPING PRIOR TO BIDDING. In no event shall Sterling Auction House be held responsible for having made or implied any warranty of merchantability or fitness for a particular purpose. Bidder shall be the sole judge of value.Sterling Auction House will not be responsible for any errors or omissions in the description of the merchandise.

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Lot 35: Paul Narcisse SaliŠres (French, 19th Century)

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Description: L'Avare signed and dated 'SaliŠres. 1856' (lower right) oil on panel 38.5/8 x 511/2 in. (98 x 130.7 cm.) Painted in 1856 NOTES A pupil of Paul Delaroche, Paul Narcisse SaliŠres here makes reference to MoliŠre's wonderful play L'Avare (The Miser) and depicts the exact moment when the main character, Harpagon, and his gold are threatened by the presence of an intruder.

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Delaroche Paul (1797-1856), atelier de École

Lot 36: Delaroche Paul (1797-1856), atelier de École

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Description: Delaroche Paul (1797-1856), atelier de École française du XIXe siècle «Napoléon 1er à Fontainebleau le 31 mars 1814». Huile sur toile. Cadre en bois doré. 200 x 152 cm. Le tableau que nous présentons est un copie de grande qualité,...

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Paul Hippolyte Delaroche (Paris 1797-1856)

Lot 36: Paul Hippolyte Delaroche (Paris 1797-1856)

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Description: Paul Hippolyte Delaroche (Paris 1797-1856) Napoleon at Fontainebleau, 31 March 1814 signed and dated 'Paul De la Roche 1845' (centre left) oil on canvas 32¼ x 25½ in. (82 x 65 cm), framed as an oval

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Lot 37: DELAROCHE, PAUL (ATTRIB.) (1797-1856)

Description: drawing preparatoire a l'assassinat de Duc de Guise Crayons noir 3.7x6.5 in (9.5x16.5 cm) signed (Lower Left).

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w - PAUL DELAROCHE FRENCH, 1797-1856

Lot 37: w - PAUL DELAROCHE FRENCH, 1797-1856

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Description: A NUDE SEATED ON A ROCKmeasurements note66cm., 26in.signed: Delarochewhite marble

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Lot 37: DELAROCHE, Paul (1797-1856, French)

Description: Les Girondes, s.d.1846 pen black ink sepia wash W/C htd white Works on paper (10x5in).

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Lot 37: Paul Delaroche

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Description:

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Lot 55: Henri Joseph Armand Cambon

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Description: French 1819-85 diana and her nymphs surprised by actaeon signed l.r. oil on canvas 95.5 by 134.5cm., 37I by 53in. Armand Cambon was born in Montauban and trained at the Ecole de Beaux-Arts from 1839 under Ingres. Although he was also taught by Paul Delaroche and later Picot, it was the restrained classicism of Ingres and David that proved the strongest influence on the young artist. One of Ingres' most talented pupils, Cambon went on to become his teacher's friend, the executor of his will and his spiritual inheritor. He exhibited at the Salon from 1846-1884, specialising in portraits, biblical and mythological subjects and genre scenes. His works were praised by contemporary critics such as Theophile Gautier, who wrote of one of his works in La Presse, 2 June 1852, '(Cambon) ne neglige pas les emmanchements et soigne les extremites de ses figures. Il dessine et modele tres finement, et reste harmonieux dans sa sobriete et son coloris plein de renoncement. The artist also had affinities with paintings directly after nature, and was attracted to the work of the Barbizon painters. So skillful was he in his portrayal of landscape that Ingres asked Cambon to provide views of Pibrac for the background of his Sainte Germaine cousin of Pibrac, painted in 1856 for the Church of Saint-Etienne de Sapiac, Montauban (see Georges Wildenstein, Ingres, London 1956 p. 221, no. 278, illustrated). Cambon later played a crucial role in promoting the legacy of Ingres as the first director of the Musee Ingres. He catalogued 4000 drawings for a descriptive inventory of Ingres' oeuvre. He also built up the Museum's collection of paintings. This painting is probably that exhibited at the Salon of 1861, believed lost. A study for this painting is in the inventory of the Musee Ingres, Montauban. Exhibited: (Probably) Salon of 1861, no. 504.

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Lot 57: EDOUARD-LOUIS DUBUFE (1819-1883)

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Description: Portrait de la marquise d'Aoust, nee de Sayve, assise sur un Canape signe et date "Edouard - Dubufe./1857." huile sur toile, non reentoile 130 x 97,5 cm. PROVENANCE Reste chez les descendants de la famille d'Aoust jusqu'a nos jours Le present portrait date de 1847 est comparable a celui de Madame C., conserve au Musee des Beaux-Arts de Strasbourg, E. Breon, Claude-Marie, Edouard et Guillaume Dubufe, Portraits d'un siecle d'elegance Parisienne, Paris, 1988, p.167. Dans ces deux portraits qu'il executa la meme annee, le peintre donna a ses modeles une attitude indentique en reprenant un canape et un coussin similaries. Second peintre de la dynastie Dubufe, eleve de son pere et de Paul Delaroche qui l'influence dans les portraits jusqu'en 1850, Edouard Dubufe obtient la consecration en executant deux portraits de l'imperatrice Eugenie, conserves au Musee National du Chateau de Compiegne et au Musee du Chateau de Versailles. C'est le debut d'une longue carriere officielle jalonnee de recompenses, durant laquelle il rivalisa avec Winterhalter, comme l'affirmait en 1855 Delecluze: "L'empire du portrait est partage entre Monsieur Dubufe et Monsieur Winterhalter, deux hommes de talent," E. J. Delecluze, les Beaux-Arts en 1855, Paris, 1856, p.277.

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Lot 57: DELAROCHE, Paul (attrib) (1797-1856, French)

Description: Nappoleon Bonaparte Oil Painting (20x25in).

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Lot 58: Hippolyte Delaroche, called Paul Delaroche (1797-1856)

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Description: Delaroche, P Saint Cecilia and her husband Valerius crowned by an Angel signed 'P. Delaroche' black and red chalk, brown wash heightened with white (slightly oxidized) 8 x 14in. (223 x 355mm.) PROVENANCE Nikos Dhikeos (his mark, not in Lugt). SALESROOM NOTICE Please note this lot is sold unframed.

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Lot 58: DELAROCHE, Paul (1797-1856, French)

Description: Portrait d'Alphonse de Lamartine, s.i. black crayon stump sanguine Works on paper (10x13in).

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 - Paul Delaroche , French 1797-1856 The Field of Battle oil on canvas

Lot 60: - Paul Delaroche , French 1797-1856 The Field of Battle oil on canvas

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Description: signed De La Roche (lower left) oil on canvas

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Lot 61: Sir John Lavery, R.S.A., R.A., R.H.A. (1856-1941)

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Description: A Sketch at the Grand Costume Ball, 29 November 1889 signed 'J.Lavery' (lower left), inscribed and dated 'REMBRANDT/1889' (lower right) oil on canvas 163/4 x 121/4 in. (42.5 x 31.1 cm.) PROVENANCE with The Fine Art Society, Edinburgh, August 1973. NOTES 'In February 1889, the artist community in Scotland held meetings in Glasgow and Edinburgh to form the Scottish Artists' Benevolent Association. Based upon the work of the Artists' Benevolent Fund in London, the new charity hoped to support aged and impoverished members of the profession. All of the important Scottish painters and sculptors supported the scheme to raise a capital fund of œ10,000, from which grants and pensions could be given. Under the patronage of HRH Princess Louise, committees were formed and donations received. The most important fundraising occasion was the Grand Costume Ball, to be staged by the members of Glasgow Art Club at St. Andrews Halls, Granville Street, Glasgow on 29 November 1889. Following a series of widely reported 'masque' parties, held by the Prince of Wales at Marlborough House in London, the idea of the fancy dress ball had returned to popularity. However no one could have predicted the success of the Glasgow event. Nine hundred and sixty seven ladies and gentlemen, including the Lord Provost and leaders of the business and professional communities were present. The ball was carefully staged, with a triumphal entrance complete with crimson carpet. Guests first entered the Octagon Hall which was hung with thirty dance programmes painted by members of the club. Lavery's canvas, which illustrates a lady playing a piano, lists nineteen waltzes, reels and polkas (Collection Glasgow Art Club; see K. McConkey, Sir John Lavery, Edinburgh, 1993, fig. 66). The evening began with a pageant in which members of the Art Club, dressed as the great artists of the past, processed into the hall and took up positions on the stage in a tableau vivant of Paul Delaroche's celebrated Hemicycle of the Fine Arts at the Ecole des Beaux Arts in Paris. 'The effect', we are told, 'was exceedingly artistic'. Members of the Glasgow School were conspicuous - Edward Arthur Walton as Hokusai, James Paterson as Botticelli, Lavery as Rembrandt, Grosvenor Thomas as Bellini, and James Guthrie as the great classical painter, Apelles. Other guests went as an assortment of gypsies, moors, matadors and Greek maidens. There was a Horatio, a Hans Holbein and a Robin Hood. One deeply dysfunctional family, the Cargills of Park Terrace, Glasgow, went as a 'Kurd chief', 'a court lady from the reign of Louis XVI', an 'Arab' and 'Night'. After the tableau vivant, an 'efficient orchestra under the conductorship of Herr Iff' took the stage and the ball commenced. At the outset '... dancing was somewhat difficult owing to the crowded state of the hall', but everyone was good-humoured. Half-way through there was a 'carefully rehearsed' minuet which contrasted with the 'vigour and enthusiasm of the Scotch Reel'. The room to the right of the ballroom was set up as an artist's studio, with a sign advertising, 'a fresh old-master at work every half hour', and here, throughout the evening, Lavery and others made sketches of the guests. A photograph shows Lavery in action, at the easel, at the centre of the artist group (see K. McConkey, 1993, p. 67). The present canvas, identified by its second signature, 'REMBRANDT', is one of these. Although, up to this point, it has not been possible to identify the sitter from the costume, a number of alternatives exist. This being the centenary year of the French Revolution, several guests went to the ball dressed as 'revolutionaries' or in eighteenth century French Court costume. For the most part the revolutionaries were women and the courtiers were men. Is the sitter a young woman in male costume, wearing stage make-up? The '1789' theory is weakened however, by the fact that the rosette on the sitter's jacket is not in revolutionary colours. If this proposed identity is discarded there are a number of matadors and toreadors, several characters from unidentified or obscure literary sources, and, perhaps most likely of all, a 'West Indian Planter', to fall back on. One of Lavery's fellow artists, George Pirie, in his Impressions (untraced), a canvas showing miscellaneous studies, includes a figure with a tail coat and stick, although other details suggest that this is a different character. One other painting produced at the ball, Hokusai and the Butterfly (National Galleries of Scotland, Edinburgh; see K. McConkey, 1993, fig. 68) is known. This vivid double portrait of Walton and his girlfriend, Helen Law, commemorates their engagement, which was announced on the occasion. Like the present work, it is lightly drawn with the point of a sable brush and, although blocked in swiftly in colour, is, for the most part, left incomplete. Both pictures exemplify the suggestiveness and economy of Lavery's oil sketching style. With a few light strokes, the whole figure is brilliantly conveyed. When the event was concluded, the profit, œ1317, was assigned to the Scottish Artists' Benevolent Association. Glasgow Art Club produced a large 'souvenir' volume illustrating a number of sketches by the resident artists. This adds three untraced works to the Lavery compliment for the evening - A Milkmaid, and A Corner of the Ballroom, which may have been painted afterwards from photographs. One further watercolour by James Paterson Rembrandt painting the Lily (untraced), shows him painting what was probably a portrait of Eva Fulton'. (Kenneth McConkey, private correspondence, August 2000). We are very grateful to Professor Kenneth McConkey for his help in preparing this catalogue entry.

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Paul DELAROCHE (Paris 1797-1856)

Lot 61: Paul DELAROCHE (Paris 1797-1856)

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Description: Deux têtes de moines Camaldules (domVincenzo Frilli et dom Romualdo Giani) Paire de toiles 17 x 12,5 cm L'execution des tetes des moines illustre le premier voyage...

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