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Horace Vernet Auction Price Results

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Lot 3: Horace VERNET (1789-1863) d'après MAZZEPA ET LES LOUPS Paire de gravures en noir illustrant un poème de Byron, l'une par Reynolds et l'autre par Jazet. 70 x 87,5 cm (Accidents et rousseurs)

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Description: Horace VERNET (1789-1863) d'après MAZZEPA ET LES LOUPS Paire de gravures en noir illustrant un poème de Byron, l'une par Reynolds et l'autre par Jazet. 70 x 87,5 cm (Accidents et rousseurs)

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Lot 18: Attribué à Horace VERNET (1789-1863) Vue d'Italie Dessin et rehauts de gouache 30 x 40 cm

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Description: Attribué à Horace VERNET (1789-1863) Vue d'Italie Dessin et rehauts de gouache 30 x 40 cm

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HORACE VERNET Figural and Composition Studies.

Lot 24: HORACE VERNET Figural and Composition Studies.

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Description: HORACE VERNET Figural and Composition Studies. Pen and ink and wash on cream wove paper mounted on board. 307x190 mm; 12 1/8x7 1/2 inches. Signed in ink, lower right recto.

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Emile Jean Horace Vernet Parigi 1789 - 1863

Lot 28: Emile Jean Horace Vernet Parigi 1789 - 1863

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Description: Emile Jean Horace Vernet Parigi 1789 - 1863 Butteri nella campagna olio su tela cm 58 x 73; ; Si conosce un'acquaforte di Horace Vernet raffigurante il medesimo soggetto datata 1828, pubblicata in R. Mammucari - R. Langella, "I pittori della malaria", Newton Compton, pp. 206-207.

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Horace VERNET (1789-1863)  Portrait de Granet.  Plume et encre.  Signée en bas à gauche.  20 x 12 cm.

Lot 32: Horace VERNET (1789-1863)  Portrait de Granet.  Plume et encre.  Signée en bas à gauche.  20 x 12 cm.

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Description: Horace VERNET (1789-1863)Portrait de Granet.Plume et encre.Signée en bas à gauche.20 x 12 cm.

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Attribué à Horace Vernet Paris, 1789 - 1863 Le maréchal Ney chargeant Crayon noir, lavis brun, rehauts de gouache blanche,

Lot 33: Attribué à Horace Vernet Paris, 1789 - 1863 Le maréchal Ney chargeant Crayon noir, lavis brun, rehauts de gouache blanche,

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Description: Attribué à Horace Vernet Paris, 1789 - 1863 Le maréchal Ney chargeant Crayon noir, lavis brun, rehauts de gouache blanche, annoté 'H. Vernet' à gauche et 'le Maréchal Ney' dans le bas à la plume (Insolé, rousseurs) h: 43 w: 30 cm

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VERNET Horace (1789-1863), peintre de sujets de

Lot 55: VERNET Horace (1789-1863), peintre de sujets de

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Description: VERNET Horace (1789-1863), peintre de sujets de batailles, orientaliste.L.A.S. Bormettes près Hyères (Var) 15 mars 1858. 1 p. un quart in-8.Il précise qu'il n'

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Attribué à Horace Vernet Paris, 1789 - 1863 Mère et son enfant conversant avec deux chasseurs à cheval Huile sur papier marouflé sur...

Lot 56: Attribué à Horace Vernet Paris, 1789 - 1863 Mère et son enfant conversant avec deux chasseurs à cheval Huile sur papier marouflé sur...

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Description: Attribué à Horace Vernet Paris, 1789 - 1863 Mère et son enfant conversant avec deux chasseurs à cheval Huile sur papier marouflé sur toile (Déchirure en bas à droite) h: 46,50 w: 38 cm Provenance : Dans la même famille depuis le XIXe siècle ; Collection particulière, Paris

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[RIMBAUD (Arthur)]. Horace Vernet prenant l'armée

Lot 58: [RIMBAUD (Arthur)]. Horace Vernet prenant l'armée

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Description: [RIMBAUD (Arthur)]. Horace Vernet prenant l'armée française sur le fait. Dessin original au crayon, légendé, au verso du fragment d'une carte géographique (14,5 x 12 cm). Précieux dessin légendé. S'il s'agit d'un décalque, ce qui est hautement probable, le modèle n'a pas encore été identifié. Horace Vernet (1789-1863) appartint à une célèbre dynastie de peintres. Il se fit un prénom dans la composition de scènes militaires ou de bataille, dont il devint une sorte de spécialiste. Il fut directeur de l'Académie de France à Rome. Médailles et croix d'honneur lui échurent en abondance, et ses toiles exaltant l'armée française lui valurent une grande célébrité en son temps. Bien qu'il n'ait jamais été soldat, Vernet affectait le maintien rigide d'un officier - un maintien que l'on retrouve dans le présent dessin. Il a été reproduit dans l'Album Rimbaud de la Pléiade (p. 22) mais d'après une copie ; l'original, décrit ici, présente plusieurs variantes. On le retrouve dans l'album Les Dessins de Rimbaud (Flammarion, 2009). Des collections Matarasso (selon le Labyrinthe du 1e juin 1946), puis Jacques Guérin.

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Horace Vernet Paris, 1789 - 1863 Le grenadier blessé Huile sur toile

Lot 69: Horace Vernet Paris, 1789 - 1863 Le grenadier blessé Huile sur toile

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Description: Horace Vernet Paris, 1789 - 1863 Le grenadier blessé Huile sur toile Signée des initiales 'H.V' en bas à gauche h: 46 w: 37,50 cm Provenance : Collection particulière, France Commentaire : Le regard vide de cet officier blessé, le ciel chargé mêlé aux salves d'artillerie, l'ordre de bataille continuant, irrémédiblement; et se dirigeant vers le néant ; voilà la vision de l'Empire finissant qu'a voulu traduire Horace Vernet. Notre tableau montre la fin de l'aventure napoléonienne, et le dernier effort surhumain de Waterloo face à une Europe coalisée. Horace Vernet, pourtant de sentiment pro-napoléonien, individualise ici avec le grenadier ce que Géricault avait déjà brillamment traduit au Salon de 1814 avec son Cuirassier blessé (actuellement conservé au Musée du Louvre). Le rapprochement du travail de Vernet avec celui de Géricault est évident lorsque l'on découvre le Cuirassier assis sur un tertre (Fig. 1), élément du procédé d'élaboration du grand tableau de Salon. Refusé au Salon de 1822, Horace Vernet expose la même année chez lui quarante-cinq de ses toiles dont 'Le soldat de Waterloo' (localisation actuelle inconnue) peint quelques années auparavant. Notre tableau est très proche de ce dernier dans sa volonté de représenter la fin de l'époque napoléonienne. Il peut être daté autour de 1820. Fig. 1 : Théodore Géricault, 'Cuirassier assis sur un tertre', HST, 46 x 38 cm. RMN, Musée du Louvre, Paris

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Black engraving by Horace VERNET (1789-1863)

Lot 76: Black engraving by Horace VERNET (1789-1863)

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Description: Black engraving by Horace VERNET (1789-1863) Horace VERNET (1789-1863) Grand garde de lancier polonais.Gravure en noir.60 x 81 cm. THE AUCTIONEER IS ONLY RESPONSIBLE FOR THE FRENCH INFORMATION PROVIDED BY THIS CATALOGUE. THE ENGLISH TRANSLATION IS COURTESY TO THE ENGLISH SPEAKERS.

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Black engraving by Horace VERNET (1789-1863)

Lot 77: Black engraving by Horace VERNET (1789-1863)

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Description: Black engraving by Horace VERNET (1789-1863) Horace VERNET (1789-1863)Le Prince Ponitowski.Gravure en noir.63 x 84 cm. THE AUCTIONEER IS ONLY RESPONSIBLE FOR THE FRENCH INFORMATION PROVIDED BY THIS CATALOGUE. THE ENGLISH TRANSLATION IS COURTESY TO THE ENGLISH SPEAKERS.

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Black engraving by Horace VERNET (1789-1863)

Lot 78: Black engraving by Horace VERNET (1789-1863)

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Description: Black engraving by Horace VERNET (1789-1863) Horace VERNET (1789-1863)Lancier polonais en cantonnement.Gravure en noir.(déchirure)60 x 81 cm. THE AUCTIONEER IS ONLY RESPONSIBLE FOR THE FRENCH INFORMATION PROVIDED BY THIS CATALOGUE. THE ENGLISH TRANSLATION IS COURTESY TO THE ENGLISH SPEAKERS.

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Horace VERNET (Paris 1789-1863) Portrait de Napoléon en pied regardant une bataille, en arrière-plan un mamelouk tenant son cheval A...

Lot 83: Horace VERNET (Paris 1789-1863) Portrait de Napoléon en pied regardant une bataille, en arrière-plan un mamelouk tenant son cheval A...

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Description: Horace VERNET (Paris 1789-1863) Portrait de Napoléon en pied regardant une bataille, en arrière-plan un mamelouk tenant son cheval Aquarelle sur traits de crayon noir, rehauts de gouache blanche oxydée 41 x 32,5cm Doublé sur son montage Épidermures et restaurations

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Horace Vernet Paris, 1789 - 1863 Etude de nu féminin Crayon noir

Lot 84: Horace Vernet Paris, 1789 - 1863 Etude de nu féminin Crayon noir

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Description: Horace Vernet Paris, 1789 - 1863 Etude de nu féminin Crayon noir (Pliure verticale sur le bord gauche) Sans cadre h: 41,80 w: 34 cm

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Horace VERNET (Paris 1789-1863) Une modiste Aquarelle 16,5 x 10 cm Monogrammé en bas à gauche Le modèle était traditionnellement dit...

Lot 85: Horace VERNET (Paris 1789-1863) Une modiste Aquarelle 16,5 x 10 cm Monogrammé en bas à gauche Le modèle était traditionnellement dit...

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Description: Horace VERNET (Paris 1789-1863) Une modiste Aquarelle 16,5 x 10 cm Monogrammé en bas à gauche Le modèle était traditionnellement dit Mme Horace Vernet née Louise Pujol

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Horace VERNET (Paris 1789-1863) Trois caricatures Plume et encre brune sur traits de crayon noir, lavis brun Dans un même montage 1...

Lot 86: Horace VERNET (Paris 1789-1863) Trois caricatures Plume et encre brune sur traits de crayon noir, lavis brun Dans un même montage 1...

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Description: Horace VERNET (Paris 1789-1863) Trois caricatures Plume et encre brune sur traits de crayon noir, lavis brun Dans un même montage 12,5×9 cm ; 9,5×6,5 cm ; 7,5×11,5 cm

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Horace VERNET (Paris 1789-1863) Sapeur

Lot 93: Horace VERNET (Paris 1789-1863) Sapeur

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Description: Horace VERNET (Paris 1789-1863) Sapeur Plume, encre noire et aquarelle Signé et daté en bas à droite " H. Vernet-1816 " 19 x 11,5 cm Reproduction page 42

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Attribué à Horace VERNET (1789-1863)    Vue d'Italie    Dessin et rehauts de gouache, signé et daté en bas à droite    30 x 40 cm

Lot 107: Attribué à Horace VERNET (1789-1863) Vue d'Italie Dessin et rehauts de gouache, signé et daté en bas à droite 30 x 40 cm

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Description: Attribué à Horace VERNET (1789-1863) Vue d'Italie Dessin et rehauts de gouache, signé et daté en bas à droite 30 x 40 cm

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Horace VERNET (1789-1863)

Lot 165: Horace VERNET (1789-1863)

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Description: Horace VERNET (1789-1863) Soldat arabe. Dessin au crayon. 18 x 25 cm.

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Horace VERNET (1789 -1863).   Russian  Check    brown ink wash (spots).    Signed initials, dated and located in the graphite St. Petersburg 1843. 12.3 x 19.8 cm.

Lot 166: Horace VERNET (1789 -1863).   Russian Check    brown ink wash (spots).    Signed initials, dated and located in the graphite St. Petersburg 1843. 12.3 x 19.8 cm.

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Description: Horace VERNET (1789 -1863). Russian Check brown ink wash (spots). Signed initials, dated and located in the graphite St. Petersburg 1843. 12.3 x 19.8 cm.Horace VERNET (1789 -1863)Cocher russeLavis d'encre brune (rousseurs).Signé des initiales, daté et situé à la mine de plomb Saint-Petersbourg 1843. 12,3 x 19,8 cm.THE AUCTIONEER IS ONLY RESPONSIBLE FOR THE FRENCH INFORMATION PROVIDED BY THIS CATALOGUE. THE ENGLISH TRANSLATION IS COURTESY TO THE ENGLISH SPEAKERS.

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HORACE VERNET, d'après.   Combat entre des dragons du Pape et des Brigands.   vers 1830.  Gravure en noir et blanc (tâches et rousseurs).  Sous verre.  Cadre doré à palmettes.   A.B.E.   61,5 x 89 cm 400 / 600 €

Lot 183: HORACE VERNET, d'après. Combat entre des dragons du Pape et des Brigands. vers 1830. Gravure en noir et blanc (tâches et rousseurs). Sous verre. Cadre doré à palmettes. A.B.E. 61,5 x 89 cm 400 / 600 €

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Description: HORACE VERNET, d'après. Combat entre des dragons du Pape et des Brigands. vers 1830.Gravure en noir et blanc (tâches et rousseurs).Sous verre.Cadre doré à palmettes. A.B.E. 61,5 x 89 cm 400 / 600 €

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Horace VERNET (Paris 1789-1863) Sapeur Plume, encre noire et aquarelle Signé et daté en bas à droite

Lot 190: Horace VERNET (Paris 1789-1863) Sapeur Plume, encre noire et aquarelle Signé et daté en bas à droite " H

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Description: Horace VERNET (Paris 1789-1863) Sapeur Plume, encre noire et aquarelle Signé et daté en bas à droite " H. Vernet-1816 " 19 x 11,5 cm Reproduction page 42

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Lot 203: Horace VERNET (Paris 1789-1863) Étude de costume féminin Plume et encre noire, aquarelle sur traits de crayon noir 19 x 11, 8 cm S...

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Description: Horace VERNET (Paris 1789-1863) Étude de costume féminin Plume et encre noire, aquarelle sur traits de crayon noir 19 x 11, 8 cm Signé et légendé dans le bas " garniture de robe de feuillesde chênes / ce dessin est fait par Mr. Vernet " (Petites taches)

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HORACE VERNET (1789-1863) 211. ECOLE FRANÇAISE DU DEBUT DU XIXE SIECLE « TROMPETTE DE CARABINIER EN ¾ DE PROFIL. » LE MARECHAL JOSF ANTONI PONIATOWSKI EN PIED ETUDE AU CRAYON NOIR ET CRAYON GRAS. AQUARELLE ET GOUACHE NAÏVE SUR PARCHEMIN, SIGNEE

Lot 210: HORACE VERNET (1789-1863) 211. ECOLE FRANÇAISE DU DEBUT DU XIXE SIECLE « TROMPETTE DE CARABINIER EN ¾ DE PROFIL. » LE MARECHAL JOSF ANTONI PONIATOWSKI EN PIED ETUDE AU CRAYON NOIR ET CRAYON GRAS. AQUARELLE ET GOUACHE NAÏVE SUR PARCHEMIN, SIGNEE

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Description: HORACE VERNET (1789-1863) 211. ECOLE FRANÇAISE DU DEBUT DU XIXE SIECLE « TROMPETTE DE CARABINIER EN ¾ DE PROFIL. » LE MARECHAL JOSF ANTONI PONIATOWSKI EN PIED ETUDE AU CRAYON NOIR ET CRAYON GRAS. AQUARELLE ET GOUACHE NAÏVE SUR PARCHEMIN, SIGNEE SIGNEE EN BAS A DROITE. EN BAS GAUCHE « FOILARD » ET DATE EN BAS A DROITE 19 X 13 CM. « OCTOBRE 1814 » SOUS VERRE. CADRE EN BOIS SCULPTE. SOUS-VERRE, BAGUETTE DOREE 400/600€ 43 X 29 CM

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HORACE VERNET (CIRCLE OF) (Paris 1789- 1863 Paris) Study of a Horse.

Lot 229: HORACE VERNET (CIRCLE OF) (Paris 1789- 1863 Paris) Study of a Horse.

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Description: HORACE VERNET (CIRCLE OF) (Paris 1789- 1863 Paris) Study of a Horse. Black crayon and pencil on cream wove paper. 155x213 mm; 6 1/4x8 1/2 inches. Ex-collection Carlo Prayer (Lugt 2044, lower left recto); and unknown collector, inscription in ink, verso.

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HORACE VERNET (1789-1863) LE GIAOUR VAINQUEUR D’HAFSAN (HASSAN) Gravure rehaussée d’aquarelle signée dans la planche et datée 1827, ...

Lot 241: HORACE VERNET (1789-1863) LE GIAOUR VAINQUEUR D’HAFSAN (HASSAN) Gravure rehaussée d’aquarelle signée dans la planche et datée 1827, ...

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Description: HORACE VERNET (1789-1863) LE GIAOUR VAINQUEUR D'HAFSAN (HASSAN) Gravure rehaussée d'aquarelle signée dans la planche et datée 1827, gravée par Jazet (1788-1871). 85 x 64 cm

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Horace Vernet (1789-1863)	Sujets romantiques : La Fiancée d'Abydos ; Naufrage de Don Juan ; Mathilde et Malek Adhel ; Le Rendez-vous,

Lot 334: Horace Vernet (1789-1863) Sujets romantiques : La Fiancée d'Abydos ; Naufrage de Don Juan ; Mathilde et Malek Adhel ; Le Rendez-vous,

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Description: Horace Vernet (1789-1863) Sujets romantiques : La Fiancée d'Abydos ; Naufrage de Don Juan ; Mathilde et Malek Adhel ; Le Rendez-vous, etc. Vers 1825-1835. Lithographie. Formats divers. Très belles épreuves, deux avec pierre de teinte et rehauts de gouache blanche à l'imitation du dessin. Rousseurs éparses. Ens. 13 p.

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Vernet, Horace. Military Camp

Lot 355: Vernet, Horace. Military Camp

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Description: Vernet, Horace. Military Camp. Oil on wood panel, signed "H. Vernet" at lower right, c. 1820-1840. 6 1/2 x 5". Housed in the original 9 1/4 x 7 1/2" gilt wood frame, in which it was purchased in the 1970s, but possibly not original to the painting. It was recently cleaned and varnished by Tatyana M. Thompson, a Sotheby's-recommended restorer in Santa Monica, California.Emile Jean-Horace Vernet (1789-1863) was a French painter who was known for military subjects and for representing war in an accessible and realistic way. His depictions of Algerian battles, such as the Capture of the Smahla of Abd El-Kader and the Capture of Constantine were vivid depictions of the French army in the heat of battle. His patrons included King Louis-Philippe and Napoleon III. He also painted during the Second Empire and accompanied the French army during the Crimean War. Purchased from Sotheby's, London, in the 1970s. Estimated Value $8,000 - 10,000.

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HORACE VERNET (1789-1863) Assalto di cavalleria

Lot 386: HORACE VERNET (1789-1863) Assalto di cavalleria

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Description: HORACE VERNET (1789-1863) Assalto di cavalleria Olio su tela, 65 x 54,5

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Vernet, Horace: Die Feldküche. Wien um 1850

Lot 386: Vernet, Horace: Die Feldküche. Wien um 1850

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Description: Vernet, Horace. Die Feldküche. Getönte Lithographie von Leopold Müller nach Horace Vernet. 42 x 36 cm. Mit Rand 54 x 45 cm. Um 1850.Ein Orientale mit Fez sitzt vor einer Mauer auf einer Kiste und bereitet sich ein frugales Mal, in dem er ein paar gefangene Mäuse mit seinem Messer aufschlitzt. Zu seiner Rechten ein Verwundeter, im Hintergrund eine Kampfszene vor einer Moschee. Eindrucksvolles Blatt nach einem Vorwurf des Pariser Adademiemalers Horace Emile Jean Vernet (1789-1863), lithographiert von Leopold Müller in Wien. - Etwas fleckig am Rand, in der Darstellung aber kaum sichtbar.

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Horace Vernet (178- 1863) manner of - Study of Napoleon (The Batle of Wagram, 6th July 1809) 19 x 14cm

Lot 626: Horace Vernet (178- 1863) manner of - Study of Napoleon (The Batle of Wagram, 6th July 1809) 19 x 14cm

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Description: Horace Vernet (178- 1863) manner of Study of Napoleon (The Batle of Wagram, 6th July 1809) oil on canvas 19 x 14cm signed lower right

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11 Assorted framed artworks including prints, drawings, and etchings

Lot 4690: 11 Assorted framed artworks including prints, drawings, and etchings

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Description: (lot of 11) Assorted framed artworks including a watercolor and gouache of a cafe by the sea signed S. Eliachell, an engraving with hand-coloring of 19th century ships in Chicago, a drawing of a Horse in graphite by (Emile Jean) Horace Vernet (French 1789-1863), a gouache of Germore Church, color engravings of Geneva, the Castle of Chillon, a hand colored lithograph of Geneve, a drawing of a 19th century parisian street scee, and a pair of hand colored lithographs picturing a European waterway, overall (largest/with frame): 15"h x 19.25"w. Provenance: Property from a private collection to benefit Honolulu Museum of Art

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Lot 3: Emile Jean Horace Vernet (1789-1863)

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Description: Le Giaour, vainqueur d'Hassan signed 'Horace Vernet' (slightly indistinct, lower right) oil on canvas 25.5/8 x 21 in. (65 x 54 cm.) LITERATURE G. Hamilton, 'Delacroix, Byron and the English Illustrators', Gazette des Beaux-Arts, CCVI, 1949, p. 261. P. Joannides, "Colin, Delacroix, Byron and the Greek War of Independence", in Burlington Magazine, vol. CXXV, Aug. 1983, London, no. 965, p. 499. N. Tscherny and G. Stair Sainty (ed.), Romance and Chivalry: History and Literature Reflected in Nineteenth Century French Painting, New York, 1996, pp. 144-45. NOTES Le Giaour is a subject borrowed by Vernet from Lord Byron's poem - the first of his Turkish Tales - published in 1813. Vernet would have known the work through Amede Pichot's translation. The vivid colour and drama of the Turkish Tales provided a rich sourcebook for a generation of artists, Romantic and Classicist alike, eager to support the Greek cause in the War of Independence from their Turkish overlords. The Salons of 1824, 1827 and 1831, as well as many independent Paris exhibitions, including two at the Galerie Lebrun organised as charitable functions specifically Au profit des grecs saw numerous portrayals of Greek motifs. The Salon of 1827, for instance, included some 14 other Phillhelene-inspired works alongside Vernet's rendering of La Giaour. The lithograph of Le corsair, published in 1819, established Vernet as the first French artist to illustrate a scene from the Turkish Tales. Gricault, however, was the first artist specifically to treat the subject of Le Giaour with a watercolour of the hero riding through the night (formerly in the Hans E. Bhler Collection and sold in these Rooms, 13 Nov. 1985, lot 58 and now in the Getty Museum). In the particular episode from Le Giaour portrayed in the present work, also chosen by Colin and Delacroix (fig. 2), the eponymous hero is seen having avenged the murder of his mistress by killing Hassan, her cruel Turkish master. It is based on the following lines from the poem: His breast with wounds unnumber'd driven, His back to earth, his face to heaven, Fall'n Hassan lies - his unclosed eye Yet lowering on his enemy, As if the hour that sealed his fate Surviving left his quenchless hate; And oer him bends that foe with brow As dark as his that bled below. The pose Vernet adopts for the triumphant Giaour is strongly reminiscent of the Roman statuary on the Quirinal Hill in Rome (see fig. 1). Understood in the years around 1800 to represent Alexander and Bucephalus, although more recently it is given as Castor and Pollux, the former reading would doubtless have appealed to Vernet who was therefore able to cast Le Giaour in the mould of the greatest of Greek heroes while catering to his own fondness for great equestrian themes. The Salon painting of La Giaour was engraved by Jazet in 1828. Another, smaller treatment by Vernet of this theme appeared recently at auction in New York (Sotheby's, 23 Oct. 1997, lot 49), while a further version was sold in Monaco in June 1994. Both follow Jazet's variations with a rockier landscape background. SALESROOM NOTICE Following further research, it seems likely that the present work is indeed Vernet's version of Le Giaour exhibited at the Salon of 1827 and referred to in the Salon Register for that year. This view is based on the fact that the framed dimensions of our work closely correspond with those given for a work matching its description in the Register of 1827 and that the present work is the largest and most finished known version of the subject. Please also note the following additional provenance: Anon. sale, Helbing, Munich, April 1932 (illustrated in catalogue).

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Lot 5: MANNER OF HORACE VERNET* (FRENCH, 1789-1863)

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Description: NAPOLEON CROSSING THE ALPS bears signature and date "H. Vernet/1878" lower right -- oil on canvas 34 x 47 in. (86.3 x 119.4 cm.).

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Lot 5: MANNER OF HORACE VERNET* (FRENCH, 1789-1863)

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Description: NAPOLEON CROSSING THE ALPS bears signature and date "H. Vernet/1878" lower right -- oil on canvas 34 x 47 in. (86.3 x 119.4 cm.).

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Lot 5: Judaica: [VERNET Horace, 1789 - 1863, d?après]

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Description: Judaica: [VERNET Horace, 1789 - 1863, d?après] Juif de Constantine Huile sur panneau. 33 x 24 cm. Sans cadre. (petites rayures). Reprise d'un personnage qui se trouve en bas et à droite de la « P rise de Constantine...

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D'APRÈS EMILE-JEAN-HORACE VERNET

Lot 6: D'APRÈS EMILE-JEAN-HORACE VERNET

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Description: CAVALIÈRE ALGÉRIENNE AVEC UN FAUCON [AFTER EMILE-JEAN-HORACE VERNET ; ALGERIAN HUNTER WITH A FALCON ; BEARS INSCRIPTION AND DATE D'APRÈS H. VERNET 1840 LOWER RIGHT ; OIL ON CANVAS]Porte une inscription et une date en bas à gauche d'après H. Vernet 1840

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Lot 7: VERNET, Horace (1789-1863, French)

Description: Portrait of Louis Philippe Oil Painting (9x11in).

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Lot 7: VERNET, Horace (1789-1863, French)

Description: The lion hunter, s.d.1853 Oil Painting (22x26in).

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Lot 7: Horace Vernet* (French, 1789-1863)

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Description: The Lion Hunter signed and dated '1853' lower right 25.5/8 x 21.7/8in. (65 x 55.5cm.) NOTES Third and last in an illustrious line of painters, Horace Vernet made his Salon debut in 1812 with two paintings, one of which, " Prise de Glatz", earned him a "mdaille d'or". This early success announced the beginning of a prodigious career for a painter whose fame was based largely on two favourite romantic themes: military scenes and orientalist subjects. One of his greatest patrons was Louis-Philippe and it was due to their relationship that Vernet was commissioned to do a series of large battle scenes for the Muse Historique at Versailles inaugurated in June of 1837. The orientalist aspect of Vernet's career begins in 1833 with the first voyage to Algeria accompanied by the English artist WIlliam Wyld. Vernet was convinced that he had discovered a land unchanged by the Arabs since biblical times and proceded to turn his expressive and fluid romantic technique to religious scenes using the local poulation as his mode,putting Old Testament figures into contemporary Arab dress. In The lion hunter great attention is given to topographical detail as well as to the rendering of material: the silken nose for the donkey, the hunter's striped cotton vest, the lion's rich fur coat. Realistic detail gives immediacy to a scene redolent with biblical allusion. The lion himself is the mascot of several saints, his skin alone a tribute of Hercules and hence of Fortitude. The lion is, above all, the personification of Africa, the continent that Vernet saw as "une mine d'or pour la France". (Thornton, Les Orientalistes p. 172).

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After Émile Jean-Horace Vernet (French,

Lot 8: After Émile Jean-Horace Vernet (French,

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Description: After Émile Jean-Horace Vernet (French, 1789-1863), "Sortie De la Garnison de Dole", mid-19th c., hand-colored engraving, signed "H Colin fecit" in plate lower left, sight 17 in x 14 1/2 in., attractively matted and framed

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Lot 8: VERNET Horace (D'APRES) (1789 - 1863) ETUDE

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Description: VERNET Horace (D'APRES) (1789 - 1863) ETUDE D'APRES LA BATAILLE DE FRIEDLAND. Dessin à la mine de plomb et à la sanguine sur toile préparée. 45 x 36 cm.

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Lot 9: *Emile Jean Horace Vernet (French, 1789-1863)

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Description: HIS FINAL GLORY oil on canvas 17 3/4 by 14 5/8 in. 45.1 by 37.2cm. This is probably the painting purchased by the Societe des Amis des Arts for FF3000, mentioned in the article on Horace Vernet in the Gazette des Beaux-Arts, Paris 1863, p. 316 Exhibited: Possibly, the artist's studio, private exhibition organized by the artist after the Salon jury refused two of his works, 1822 (as L'Hospice du Saint-Gothard) Paris, Societe des Amis des Arts, 1823.

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Horace VERNET (1789-1863)

Lot 9: Horace VERNET (1789-1863)

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Description: Horace VERNET (1789-1863) Portrait de militaire en pied, appuyé sur son fusil Crayon noir. H: 22 x L: 9 cm

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Alexandre-Marie Colin (French, 1789-1875)

Lot 11: Alexandre-Marie Colin (French, 1789-1875)

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Description: Le Giaour signed and dated 'A. Colin 1826' (lower left) oil on canvas 39 1/8 x 31 7/8 in. (99.5 x 81 cm.) Painted in 1826 PROVENANCE The Fine Art Society, Ltd., London, 1980. Acquired from the above by the present owner, 1980. LITERATURE P. Joannides, "Colin, Delacroix, Byron and the Greek War of Independence," Burlington Magazine, August 1983, vol. CXXV, p. 497, no. 93 (illustrated). P. Noon, Richard Parkes Bonington: On the Pleasures of Painting, New Haven, 1991, p. 170 (under no. 65). EXHIBITION Paris, Galerie Lebrun, Explication des Ouvrages de Peinture expos‚ au profit des Grecs, 15 May 1826, no. 31. Cambrai, 15 August-15 September 1826, no. 78. Paris, Mus‚e Colbert, Catalogue des Tableaux et Objets d'art expos‚s dans le Mus‚e Colbert, November 1829, no. 68; 2nd exhibition, December 1829, no. 87; 3rd exhibition, February 1830, no. 221. London, The Fine Art Society, Travellers beyond the Grand Tour, 23 June-25 July 1980, ex-catalogue. NOTES Although Alexandre-Marie Colin never attained the celebrity status of his more famous contemporaries such as Delacroix and Girodet, he remains a pivotal figure in the Romantic painting movement in early 19th Century France. Born in Paris in 1798, he entered the Ecole des Beaux-Arts at the age of fifteen as a pupil of Girodet. A frequent participant at the yearly Salon, he was honored with a first class medal in 1840. While relatively little is known about his life, he was a prolific painter. From portraiture to landscape, Colin explored a wide range of subject matter, yet his oeuvre is particularly noted for subjects inspired from history and literature. The long and drawn-out Greek struggle for Independence against Ottoman rule (1821-32) strongly resonated with the artists, writers and intellectuals throughout Europe. The response from the artistic community in France was especially strong particularly among the first generation of French Romantic painters which included Colin and a circle of Romantic painters, EugŠne Delacroix, Th‚odore G‚ricault and Richard-Parkes Bonington. The Greek-Turkish conflict symbolized not only a struggle for nationalism, already a highly charged issue during the time, but an East-West struggle that pitted the morality of Greece, once the cradle of civilization, against the barbarism of the Ottoman Empire. The writings of Lord Byron were particularly in vogue in France in the 1820's and 30's. His passionate involvement with the Greek freedom fighters and his tragic death at Missolonghi in April of 1824 "martyrized" him in the eyes of the Romantics. Of all Byron's Turkish Tales, no poem had more impact on French artists as the The Giaour. First published in 1813, Colin would have known the work through Am‚d‚e Pichot's translation, widely distributed in France. The Giaour, a Venetian renegade in the service of the Turk Hassan, attempts to elope with one of Hassan's wives, Leila. When their plans are discovered, Leila is drowned on Hassan's orders and the Giaour eventually kills Hassan as an act of revenge. Not surprisingly, the melodrama of the story and its colorful characters provided a rich visual sourcebook that inspired a generation of artists sympathetic to the Greek cause. Often confused with the work exhibited at the 1831 Salon as Le Giaour; sujet de Lord Byron, the present work is now confirmed as the painting Colin debuted in 1826 under the title of Le Giaour at the first of two fund-raising exhibitions at Galerie Lebrun, Au Profit des Grecs. Widely regarded as Colin's most accomplished work, Le Giaour not only embodies all the drama and emotional fervor characteristic of early Romantic painting, but within the considerable body of Byronic subject matter, it remains one of the most ambitious representations of a Byronic hero. Painted in 1826, at the height of French-Panhellenic sentiment, the present work stands, as one scholar notes, as "a further example of the elan of the 1820's when so many artists produced work they were never again to surpass" (Johannides, op.cit., p. 496). Against the backdrop of a dramatic cloud-filled sky and war-torn landscape, the Giaour stands triumphant over the lifeless body of Hassan sprawled beneath his feet. Holding a blood-stained sword in his right hand, he seems posed to deal the final blow. Particularly beautiful atmospheric effects are achieved from the sweeping movement of the storm clouds that echo the atrocities on the battlefield. The rearing black horse, reminiscent of the wild stallions that so fascinated Gericault, creates a strong diagonal across the picture plane. The popularity of the present work is testified to by existence of another smaller version. Le Giaour, sujet tire de Byron, exhibited at the Salon of 1831 under no. 375 is similar in composition and known only through a line engraving executed in 1833 (fig. 1). Horace Vernet capitalized on Colin's composition in a later work Le Giaour, vainqueur d'Hassan (fig. 2) (sold Christie's, London, 29 June 1999, lot 3). The revolutionary climate in Greece united artists on a political front and the resulting comradship fostered group efforts such as the ground breaking Galerie Lebrun show. If on a political level "the Greek exhibitiion" was an important venue in its aim to promote awareness and financial support for the cause, on an artistic level, it became, in the absence of a Salon, "the principal forum for the developments in French Painting since 1845" (Noon, op. cit., p. 54). For nearly a decade Hellenic inspired subjects were prominently featured in exhibitions at the Mus‚e Colbert and Cambrai. Colin would contribute more works to the show including Episode de la Guerre Actuelle en Grecque, a larger battle scene presented in reportage style, commonly mistaken for the present work and now in a private collection (see Burlington Magazine, June 1984, p. 373). Its presence at the exhibition is significant and Patrick Noon even suggests that Colin intended the work as a pendant to Le Giaour. Delacroix's contribution to French painting was immense and his relationship with Colin during these years is only now being more fully explored. Often drawing upon the wealth of Bryonic imagery widely circulated through prints, he devoted no less than six paintings and at least one lithograph to the theme of the Giaour (see The Giaour Contemplating the Death of Hassan, 1828-30 (Johnson, 1981, no. 138) and The Combat of the Giaour and the Pasha, 1826, (Johnson, 1981, no. 114; Art Institute of Chicago). A few years earlier, Th‚odore G‚ricault, a devote admirer of Byron, was exploring Byronic themes as testified to by his atmospheric watercolor Le Giaour, 1822-23 (fig. 3). In the 1820's, Colin was traveling and working closely with Delacroix and, as Patrick Noon points out, may even have been sharing a studio together with Delacroix and Bonington. The stylistic affinities in their work and similarity in subjects alone are enough to affirm that Delacroix was a guiding force and a notable influence on Colin's work. The swift movement of Delacroix's brush is imbued with an emotional intensity and complexity that is unrivaled. As shown in the present work, Colin seeks to imitate his fluid brushwork as shown in the beautiful intensely colored passages of the Giaour's flowing blue cape and red headscarf. Colin never personally visited Greece, thus his work is entirely a production of the studio. Yet from his sensitive rendering of the costume from the leg armour and white kilt to the girdle with pistols and swords, it is evident that he had access to traditional costume of the day. Colin's figure of the Giaour is likely based on sketches of Count Demitri de Palatinous, a wealthy Greek refuge‚ who passed though Delacroix's studio in the winter of 1825. Graphite sketches by Colin of a similar figure in revolutionary costume (see Shepard Gallery, Non-dissenters, exh. cat., 1976) indicates that he was most probably present in the studio during the various sittings. The present work shares even more striking compositional similarities with Delacroix's Greece on the Ruins of Missolonghi (fig. 4). Painted the same year shortly after the Greek army's crushing defeat at Missolonghi, the work was exhibited at the second show at Galerie Lebrun and thus slightly post-dates Colin's work. While markedly different in size, they are similar in many respects, suggesting the possibility that Delacroix was drawing heavily upon Colin's composition. As in Le Giaour, Delacroix's model dominates the foreground, behind her a ruined wasteland. Undeniably, both paintings, on a psychological level, are exploited for their propoganda value - the position of both their hands remains open, their eyes look imploring to the sky. For the Giaour, it symbolizes a call for vengence - for Delacroix's Greece, a promise one day, to rise victorious. The present work has been requested for the upcoming exhibition Romantic Painting in England and France, c. 1820-1840, to be held in 2003 at the Tate Britain, Metropolitan Museum of Art and the Minneapolis Institute of Art. (fig. 1) After Alexandre Colin, Le Giaour contemplant Hassan, engraving, 1833. (fig. 2) Horace Vernet, Le Giaour, vainqueur d'Hassan, Private Collection. (fig. 3) Th‚odore G‚ricault, Le Giaour, 1822-23, Los Angeles, J. Paul Getty Museum. (fig. 4) EugŠne Delacroix, Greece on the Ruins of Missolonghi, Mus‚e des Beaux-Arts, Bordeaux.

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Lot 11: *Horace Vernet (French, 1789-1863)

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Description: PORTRAIT OF REAR ADMIRAL CHARLES RENE MAGON DE MEDINE signed and dated 1816 oil on canvas 85 3/4 by 54 1/4 in. 217.8 by 137.8cm.

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Lot 13: Horace VERNET (1789-1863) «L'ours» Dessin au

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Description: Horace VERNET (1789-1863) «L'ours» Dessin au crayon, signé, annoté et daté 30 mars 1842. 24 x 18,5 cm. L'authenticité de cette oeuvre a été confirmée par M. DE BAYSER Expert Paris. Provenance:...

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A plaster phrenology bust inscribed Horace Vernet,

Lot 14: A plaster phrenology bust inscribed Horace Vernet,

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Description: -- 131/4in. (33.5cm.) high See Colour Illustration NOTES Emile-Jean Horace Vernet (1789 - 1863) was a painter who is best known for his depiction of French military other prowess. However, he had a wide range of subjects including; scenes taken from literature, the Bible, contemporary Italy, North Africa and the Middle East.

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