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Prosper Marilhat Auction Price Results

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Prosper Georges Antoine MARILHAT   (1811-1847)   Ruines aux environs de Rome.   Huile sur panneau.   Signée en bas à gauche.   27 x 41 cm.

Lot 29: Prosper Georges Antoine MARILHAT   (1811-1847)   Ruines aux environs de Rome.   Huile sur panneau.   Signée en bas à gauche.   27 x 41 cm.

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Description: Prosper Georges Antoine MARILHAT(1811-1847)Ruines aux environs de Rome.Huile sur panneau.Signée en bas à gauche.27 x 41 cm.

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Prosper MARILHAT (1811-1847) Vue d'Egypte

Lot 86: Prosper MARILHAT (1811-1847) Vue d'Egypte

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Description: Prosper MARILHAT (1811-1847)Vue d'EgypteHuile sur toile signée en bas à gauche58 x 90 cm

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Prosper Georges Antoine MARILHAT (1811-1847)  Le marchand turc.  Huile sur toile.  Signée en bas à droite.  60 x 72 cm.

Lot 90: Prosper Georges Antoine MARILHAT (1811-1847)  Le marchand turc.  Huile sur toile.  Signée en bas à droite.  60 x 72 cm.

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Description: Prosper Georges Antoine MARILHAT (1811-1847)Le marchand turc.Huile sur toile.Signée en bas à droite.60 x 72 cm.

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DANS LE GOÛT DE PROSPER MARILHAT (1811-1847) MONTAGNARDS FUMANT LE TCHIBOUK SOUS LES CÈDRES DU LIBAN MEN SMOKING THE TCHIBOUK UNDER ...

Lot 116: DANS LE GOÛT DE PROSPER MARILHAT (1811-1847) MONTAGNARDS FUMANT LE TCHIBOUK SOUS LES CÈDRES DU LIBAN MEN SMOKING THE TCHIBOUK UNDER ...

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Description: DANS LE GOÛT DE PROSPER MARILHAT (1811-1847) MONTAGNARDS FUMANT LE TCHIBOUK SOUS LES CÈDRES DU LIBAN MEN SMOKING THE TCHIBOUK UNDER THE CIDERS OF LEBANON Dessin au fusain avec rehauts de gouache. (Petits accidents). À vue : 31 x 42 cm (12 x 16.5 in.)

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PROSPER MARILHAT, (French, 1811-1847), ORIENTALIST LANDSCAPE STUDY, pencil and sepia watercolor;, sight: 5 1/4 x 8 1/2 inches

Lot 271: PROSPER MARILHAT, (French, 1811-1847), ORIENTALIST LANDSCAPE STUDY, pencil and sepia watercolor;, sight: 5 1/4 x 8 1/2 inches

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Description: PROSPER MARILHAT (French, 1811-1847) ORIENTALIST LANDSCAPE STUDY pencil and sepia watercolor; signed Marilhat, l.r.; in an elaborately carved frame; sight: 5 1/4 x 8 1/2 inches

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PROSPER MARILHAT, ATTRIBUTED (French 1811-1847) Arab men in bazaar, oil on canvas, indistinctly signed lower left. Contained in newer distressed gilt frame. Condition: original 19th c. crossbraced stretcher and canvas. Three scuffs and/or punctures

Lot 2320: PROSPER MARILHAT, ATTRIBUTED (French 1811-1847) Arab men in bazaar, oil on canvas, indistinctly signed lower left. Contained in newer distressed gilt frame. Condition: original 19th c. crossbraced stretcher and canvas. Three scuffs and/or punctures

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Description: PROSPER MARILHAT, ATTRIBUTED (French 1811-1847) Arab men in bazaar, oil on canvas, indistinctly signed lower left. Contained in newer distressed gilt frame. Condition: original 19th c. crossbraced stretcher and canvas. Three scuffs and/or punctures with paint loss. Dimensions: 23 3/4'' X 19 5/8'', frame 32 1/2'' X 28 1/4''.

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MARILHAT, PROSPER GEORGES ANTOINE

Lot 3447: MARILHAT, PROSPER GEORGES ANTOINE

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Description: MARILHAT, PROSPER GEORGES ANTOINE(1811 Vertaizon 1847)French landscape with herd of cows by a river.Pen, watercolour. Signed on lower margin in brown pen: P. Marilhat.31 x 54.5 cm.MARILHAT, PROSPER GEORGES ANTOINE(1811 Vertaizon 1847)Französische Landschaft mit Kuhherde an einem Fluss.Feder, Aquarell. Am unteren Rand mit brauner Feder signiert: P. Marilhat31 x 54,5 cm.

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PROSPER-GEORGES-ANTOINE MARILHAT VERTAIZON 1811 - THIERS 1847

Lot 7: PROSPER-GEORGES-ANTOINE MARILHAT VERTAIZON 1811 - THIERS 1847

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Description: VUE DE LA PARTIE SUD DE LA NÉCROPOLE DU CAIRE, AVEC LA CITADELLE À L'ARRIÈRE-PLAN[PROSPER-GEORGES-ANTOINE MARILHAT; VIEW OF THE SOUTH OF THE NECROPOLIS IN CAIRO WITH THE CITADEL IN THE BACKGROUND; OIL ON CANVAS; SIGNED, DATED 1839 ; ON THE REVERSE, CROWNED LPO STENCIL]85,5 x 131 cm; 33 2/3 x 51 1/2 inSigné, daté en bas à droite P Marilhat 1839; au dos la marque au pochoir LPO couronnéHuile sur toilePROVENANCELouis-Philippe comte de Paris (1838-1894) ou bien son fils Louis Philippe Duc d'Orléans (1869-1926);Collection de Mr van Isacker en 1860EXHIBITEDSalon de 1840, Paris, n°1147;Tableaux de l'école moderne tirés des collections d'amateurs, Paris, boulevard des italiens, 1860, n°251, p63 LITERATUREA. Arnoud, in "le Commerce", 6 mars et 20 avril 1840 ; E. Bareste in "Revue du XIXe siécle", V p 174 ;E.J.Delecluze in "Journal des Débats" 19 mars 1840 ; Théophile Gautier, in "La Presse" 27 mars 1840; Pr Haussard in "Le Temps" 13 et 27 mars 1840 ;Fabien Pillet in "Le Moniteur Universel" 6 mars 1840 ;Gustave Planche in "Revue des Deux Mondes" 1er avril 1840 t. XXII p 108 ;Alphonse Royer in "Le Siècle" 6 et 28 mars 1840 ;Zacharie Astruc in "Beaux-Arts", Paris 1860, Le Salon Intime Marilhat-Decamps p 86-87 ;Théophile Gautier in "Gazette des Beaux-Arts" t. V p 290 Exposition de 1860 reproduit avec une gravure de M. Piaud p 291 ;A. Tardieu Grand dictionnaire biographique du Puy de Dôme, Moulins 1878 p71 ("admirable tableau") ;H. Gomot Marilhat et son oeuvre, Clermont-Ferrand 1884, p.98-99 note 9 append. ("l'un des chefs-d'oeuvre du Maître") ;J.M. Carré Voyageurs et écrivains français en Egypte, Le Caire 1932-35 tome II p.193 ; Danièle Menu, Prosper Marilhat, essai de catalogue Maîtrise d'histoire de l'art, Dijon juin 1972, p89 n°242NOTELa marque LPO couronnée est celle de Louis-Philippe, comte de Paris, ou de son fils Louis-Philippe duc d'Orléans. Le comte de Paris était le petit-fils du roi Louis-Philippe. A la mort de son grand-père, il devint le chef de la maison d'Orléans, puis en 1883, à la mort du comte de Chambord (dernier survivant de la branche aînée des Bourbons) il devint chef de la Maison Royale de France. Le séjour que Marilhat effectua en Syrie, Palestine et Egypte de 1831 à 1833, détermina sa vocation de peintre orientaliste. Ainsi que l'écrit Théophile Gautier dans son article sur Marilhat (in "La Revue des Deux Mondes 1/7/1848) : " ce voyage fut l'évènement capital de sa vie, ou plutôt ce fut sa vie toute entière : l'éblouissement n'en cessa jamais pour lui, et les années qu'il vécut ensuite n'eurent d'autre emploi que de rendre les impressions reçues à cette époque bienheureuse. A part quelques rares études d'arbres qu'il peignait lorsqu'il était en Auvergne, tous ses tableaux ne représentent que des sites et des scènes de l'Orient. Rentré dans les brumes du Nord, il garda toujours dans l'oeil le soleil de là-bas... Pour lui, la foule bigarrée des Fellahs, des Nubiens, des Coptes, des Nègres, des Turcs, des Arabes, circulait toujours dans le pittoresque dédale du Caire avec ses armes et ses costumes bizarres ; il y avait dans son imagination un perpétuel mirage de dômes d'étain, de minarets d'ivoire, de mosquées aux assises blanches et roses, de caroubiers trapus et de dattiers sveltes..."A son retour à Paris, en 1833, Marilhat commença à exposer ses tableaux orientalistes au Salon de 1834, où ils firent sensation. Les visiteurs et les critiques reconnurent en Marilhat non seulement l'un des premiers orientalistes français, mais aussi l'un des plus grands.Théophile Gautier, grand admirateur de l'oeuvre de Marilhat, décrit notre tableau de façon élogieuse dans son compte-rendu de l'exposition de 1860 (page 290): Au fond de la dernière salle on dirait qu'une fenêtre ouverte vous laisse apercevoir par quelque magique illusion de perspective, la Nécropole du Caire. C'est le génie de Marilhat qui a fait cette trouée au mur. A la place de notre ciel brumeux luit un ciel clair et chaud, où tournent les vautours; au lieu des maisons grises, les remparts, les dômes, les minarets de la ville arabe se lèvent mordorés de soleil, cuits de lumière, et se détachent d'une zone de collines décharnées. La coupole d'un Turbé en ruines (espèce de mosquée funèbre protégeant le sommeil de quelque sultan ou de quelque saint personnage) se lève au milieu des décombres sur un terrain fait de poussières et de débris. Des chameaux se reposent à l'ombre étroite des murs de briques, un âne se vautre, une femme fellah, vêtue de sa chemise bleue, passe comme une silhouette de canéphore, portant un vase sur sa tête. Le silence, la désolation, la chaleur qui règnent dans cette toile, Marilhat a pu les exprimer mais notre plume n'y parviendrait pas. La gravure jointe à notre texte vous donne les lignes de ce tableau surprenant mais elle n'en peut rendre la couleur forte, aride et triste comme l'aveuglante lumière d'Egypte.Paralèlement à notre tableau, Danielle Menu, dans sa maîtrise sur l'artiste, mentionne également une Nécropole du Caire passée dans la vente Baroilhet en 1860. De plus, une Nécropole du Caire est exposée à l'Exposition Universelle de Londres en 1862 n°225 (appartenant à Mr Petit). On ne sait pas s'il s'agit de notre tableau, ou bien d'un autre tableau du même sujet.

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Lot 8: Prosper Marilhat

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Description: French, 1811-47 vue de la place de l'esbekieh et du quartier copte, au caire signed and dated 1833 l.c. oil on canvas 107 by 161 cm., 42 by 63 1/2 in. Provenance: Sale, Hotel Drouot, Paris, 28 May, 1910 Lady Tutton Sale, Galerie Georges Petit, Paris, 27 May, 1920, No. 60 Maria Anchorena, Buenos Aires Thence by descent to the present owner Exhibited: Paris, Salon de 1834, no. 1339 Paris, Exposition des Petits Maitres, 1913 (according to Petit catalogue) Literature: Alexandre Decamps, Le Musee, 1834, p. 93 Pierre Miquel, Le paysage francais au XIXeme siecle, Maurs-la-Jolie, 1975, vol. 2, p. 349 This important rediscovery was one of the four Egyptian views Marilhat submitted to the 1834 Salon, following his return from Cairo a year earlier. Marilhat was one of the earliest orientalists, depicting the East even before Delacroix. Camille Roqueplan, in whose Paris studio Marilhat studied, recommended the young artist to Baron Karl von Hugel, an Austrian politician and botanist planning a scientific expedition to the Middle East. They visited Greece, Syria, Libya, Palestine, and Egypt. Marilhat remained in Egypt from 1831 until 1833, living in Cairo and Alexandria, where he made a living painting portraits, notably that of Mehmet Ali. His passion for Egypt was expressed in many drawings, sketches, and notes, which he brought back to Paris in ten notebooks, along with innumerable souvenirs. This source material became the basis for his orientalist works for the next decade. So influenced was his vision, his painting, and his way of life by this journey, that he favoured Egyptian dress and signed his letters 'The Egyptian'. His collaboration in the production of 86 drawings for the Journey from Syria (1837) and the Journey from Asia Minor (1838), published by the archaeologist Leon de Laborde, confirmed his reputation as an orientalist. Exhibited at the Paris Salon in 1834, Vue de la place de l'Esbekieh was among his first Egyptian paintings to be raptuously acclaimed by critics and public alike. Praise was heaped on the beauty and elegance of these early paintings, the elegance of the drawing, the clarity and force of the brushwork and composition, and the great luminosity, warmth and vivacity of his colours. The present work, blending academicism and romanticism, was singled out for particular praise. Decamps, reviewing the Salon in L'Artiste, remarked that the painting 'contains a warmth in the tonalities and air in the background, and a vigour of sunlight and luminosity in the foreground, which amply show M. Marilhat's resourcefulness at translating visually what his sentiment makes him understand so well in nature'. Marilhat himself clearly considered the painting to be an important one, as it was one of only two from which he produced etchings. The other, Souvenir de la campagne de Rosette, Egypte (Salon of 1835) was sold in these rooms on 28 June 1999 (fig. 1). Both etchings were published in L'Artiste in 1835.

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Prosper-Georges-Antoine Marilhat (French, 1811-1847)

Lot 14: Prosper-Georges-Antoine Marilhat (French, 1811-1847)

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Description: Prosper-Georges-Antoine Marilhat (French, 1811-1847) A gathering outside the city walls signed 'P MARILHAT.' (lower right) oil on canvas 10 x 14 in. (25.3 x 35.5 cm.)

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Prosper Georges Antoine Marilhat , French 1811-1847 Sunset at Syracuse oil on canvas

Lot 22: Prosper Georges Antoine Marilhat , French 1811-1847 Sunset at Syracuse oil on canvas

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Description: signed P. Marilhat (lower left) oil on canvas

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Lot 27: MARILHAT, PROSPER GEORGES ANT. (1811-1847)

Description: Vue d'Egypte oil/canvas 14x21 inches (36.5x52.5 cm) signed (Lower Right).

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Lot 28: PROSPER GEORGES ANTOINE MARILHAT (FRENCH 1811-1847)

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Description: RUINES DE LA MOSQUEE DE CALIFE HAKEM AU CAIRE Signed P. Marilhat and dated October 1844 (ll) Oil on canvas 30 x 50 inches 76.2 x 127 cm. C Not Illustrated.

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Lot 28: MARILHAT, PROSPER GEORGES ANT. (1811-1847)

Description: Ruines de la mosquee du Calife Hakem au Caire, 1844 Oil/canvas 30x50 inches (76x127 cm) signed & dated (Lower Left).

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Lot 28: MARILHAT, PROSPER GEORGES ANT. (1811-1847)

Description: Paysage d'Italie, 1830 oil/canvas 22x29 inches (56x74 cm) signed & dated Rome (Lower Right).

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Lot 36: Prosper Marilhat

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Description: French 1811-1847 outside the village mosque signed l.l. watercolour heightened with gum arabic and touches of white 31 by 46.5 cm., 12 1/4 by 18 1/4 in. Born in Vertaizon (Puy-de-Dome), Marilhat came to Paris around 1829 where he became a pupil of Ciceri and Roqueplan, showing for the first time at the Paris Salon in 1831. The same year he accompanied Baron Karl von Hugel on a journey through Greece, Cyprus, Egypt and the Holy Land, remaining in Egypt on his own, before returning to France in March 1833. A record of his travels is preserved in the titles of his 90 watercolours in the Evans-Lacombe sale in Paris, 27 April-2 May 1863. With Delacroix and Decamps, Marilhat added a new dimension to orientalism, capturing the heat of the desert in his striking watercolours as in this splendid composition. In 1835 Marilhat met Theodore d'Aligny whose classicising landscapes influenced his work and inspired him to travel to Italy the same year. The oriental scenes he showed at the Salon in 1834, 1835, 1837 to 1841 and 1844 earned him a considerable reputation, two of his admirers being Gautier and Baudelaire. At the end of his short life he was struck by mental illness and died in an asylum in Paris.

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Lot 47: Prosper Georges Antoine MARILHAT (1811 - 1847) -

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Description: Prosper Georges Antoine MARILHAT (1811 - 1847) - Paysage de montagne

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Lot 56: PROSPER GEORGES ANTOINE MARILHAT* [French,1811-1847]

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Description: Ruines de la Mosquee du Calife Hakem au Caire signed and dated Octobre 1822-oil on canvas 30 x 50¬in. [76.2 x 127.6 cm.].

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Prosper MARILHAT (1811-1847) Le joueur de

Lot 60: Prosper MARILHAT (1811-1847) Le joueur de

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Description: Prosper MARILHAT (1811-1847) Le joueur de cornemuse Aquarelle. Signée en bas à droite et datée 1842. 24 x 18 cm à vue

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Prosper-Georges-Antoine Marilhat (French, 1811-1847)

Lot 76: Prosper-Georges-Antoine Marilhat (French, 1811-1847)

Description: Prosper-Georges-Antoine Marilhat (French, 1811-1847) A fortified village signed 'P.MARILHAT' (lower left) oil on canvas 15¼ x 23¾ in. (38.7 x 60.3 cm.)

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Lot 76: Prosper Marilhat

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Description:

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Prosper Georges Antoine Marilhat (French, 1811-1847) Tomb of a sheik

Lot 78: Prosper Georges Antoine Marilhat (French, 1811-1847) Tomb of a sheik

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Description: Tomb of a sheik bears exhibition label versooil on board25 x 19.5cm (9 13/16 x 7 11/16in).

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Lot 86: Prosper Marilhat

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Description: French 1811-47 paysanne se reposant dans un sous-bois signed l.r. oil on canvas 110.5 by 143cm., 39I by 56Din. Provenance: Private collection, France (acquired circa 1900) Acquired from the above by the present owner In the 1830s the auvergnat Marilhat was, with Decamps and Delacroix, one of the first wave of peintres-voyageurs whose pioneering orientalism would provide the century with one of its most enduring themes. As this decade drew to a close he began concentrating on French poetical landscapes which juxtapose the influences of neo-classicism (in particular, de Valenciennes and Caruelle d'Aligny), and naturalism (above all, Corot).

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Lot 88: MARILHAT, PROSPER GEORGES ANT. (1811-1847)

Description: La carriole dans un paysage enneige oil/canvas 11x14.2 in (28x36 cm) signed (Lower Right).

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Prosper Georges Antoine Marilhat (1811-1847), French

Lot 99: Prosper Georges Antoine Marilhat (1811-1847), French

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Description: Prosper Georges Antoine Marilhat (1811-1847), French LA HALTE DE LA CRAVANE; Watercolour; signed with initials lower left Sheet 10.75" x 7.5" - 27.3 x 19.1 cm.

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Lot 100: MARILHAT, Prosper (1811-1847, French)

Description: Arabs and camels at rest, s.d.1847 Oil Painting (26x32in).

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Lot 105: Prosper Georges Antoine Marilhat (French, 1811-1847) Tomb of a sheik

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Description: Tomb of a sheik bears exhibition label versooil on board25 x 19.5cm (9 13/16 x 7 11/16in).

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Lot 106: PROSPER-GEORGES-ANTOINE MARILHAT, VERTAIZON 1811 - 1847 THIERS ET CONTANT TROYON, SÈVRES 1810 - 1865 PARIS

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Description: LES  GRANDS  CHNES  PRS  DU  RAVIN PROSPER-GEORGES-ANTOINE  MARILHAT  AND  CONSTANT  TROYON  ;  THE  OAK  TREES  IN  THE  RAVINE  ;  SIGNED  LOWER  LEFT  MARILHAT  ET  TROYON  ;  OIL  ON  PANEL Signé  en  bas  à  gauche  Marilhat  et  Troyon  ;  Cachet  de  collection  à  la  cire  rouge  au  verso Huile  sur  panneau 77  x  64  cm  ;  30    1/3    by  25    1/4    in

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Lot 109: MARILHAT, Prosper Georges Ant. (1811-1847)

Description: Vue du Bosphore Huile/toile 11,8 x 179,1 inches (30.0 x 455.0cm) Signed left Illustrated.

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Lot 118: MARILHAT, Prosper (1811-1847, French)

Description: Wooded landscape with a creek at sunset, s. Oil Painting (16x14in).

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 Prosper Georges Antoine Marilhat 1811-1847 , View of Cairo oil on canvas

Lot 119: Prosper Georges Antoine Marilhat 1811-1847 , View of Cairo oil on canvas

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Description: signed P. Marilhat lower left oil on canvas

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Lot 133: MARILHAT, PROSPER GEORGES ANT. (1811-1847)

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Description: Paysage orientaliste oil/canvas 15x21.7 in (38x55 cm) signed.

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Lot 148: MARILHAT, PROSPER GEORGES ANT. (1811-1847)

Description: A windmill and cottage by the sea Oil/canvas 7x14 inches (17.9x34.9 cm) signed (Lower Right).

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Lot 148: PROSPER MARILHAT (FRENCH, 1811-1847)

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Description: page 1873 Category: ARTFACT REL. 1.5F - (c)1994,1995 ARTFACT, INC./FINE ART AUCTION LISTINGS / A Windmill and Cottage by the Sea signed P. MARILHAT lower right - - oil on canvas 7 x 13 3/4 in. (17.9 x 34.9 cm.).

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Lot 148: Prosper MARILHAT (Vertaison 1811 - Thiers 1847) Chasseur et son chien Plume et encre brune sur trait de crayon 18 x 17,5 cm Signe en

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Description: Prosper MARILHAT (Vertaison 1811 - Thiers 1847) Chasseur et son chien Plume et encre brune sur trait de crayon 18 x 17,5 cm Signe en

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 Prosper Georges Antoine Marilhat , French 1811-1847 VIEW OF THE SOUTH OF THE NECROPOLIS IN CAIRO WITH THE CITADEL IN THE BACKGROUND oil on canvas

Lot 150: Prosper Georges Antoine Marilhat , French 1811-1847 VIEW OF THE SOUTH OF THE NECROPOLIS IN CAIRO WITH THE CITADEL IN THE BACKGROUND oil on canvas

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Description: signed P. MARILHAT and dated 1839 (lower right); LPO crown stencil on the reverse oil on canvas

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PROSPER-GEORGES-ANTOINE MARILHAT VERTAIZON 1811 - THIERS 1847

Lot 154: PROSPER-GEORGES-ANTOINE MARILHAT VERTAIZON 1811 - THIERS 1847

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Description: PAYSAGE AUX BUFFLES[PROSPER-GEORGES-ANTOINE MARILHAT; LANDSCAPE WITH BUFFALOES; OIL ON CANVAS; SIGNED LOWER LEFT P.MARILHAT ]44,5 x 80 cm; 17 1/2 by 31 1/2 in.Signé en bas à gauche P. MarilhatHuile sur toile

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Lot 158: Prosper-Georges-Antoine Marilhat (French, 1811-1847)

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Description: Prosper-Georges-Antoine Marilhat (French, 1811-1847) A drover and cattle in a river landscape, a man and his dog oil on panel 22 x 32 in. (55.8 x 81.2 cm.)

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Lot 166: MARILHAT, Prosper (1811-1847, French)

Description: La rue Darb el-Ahmar, Le Caire, i.d.1832 pencil htd.white Works on paper (12x17in).

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Prosper Georges Antoine Marilhat 1811-1847 , Sunset at Syracuse oil on canvas

Lot 179: Prosper Georges Antoine Marilhat 1811-1847 , Sunset at Syracuse oil on canvas

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Description: signed P. Marilhat lower left oil on canvas

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Prosper Georges Antoine Marilhat 1811-1847 , View of Cairo oil on canvas

Lot 180: Prosper Georges Antoine Marilhat 1811-1847 , View of Cairo oil on canvas

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Description: signed P. Marilhat lower left oil on canvas

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Prosper Georges Antoine Marilhat (French, 1811-1847)

Lot 183: Prosper Georges Antoine Marilhat (French, 1811-1847)

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Description: A watercarrier at the river's edge signed 'P.M' (lower left) oil on panel 133/4 x 101/4 in. (35 x 26 cm.).

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Attribué à PROSPER MARILHAT Sous la tente Lavis.

Lot 189: Attribué à PROSPER MARILHAT Sous la tente Lavis.

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Description: Attribué à PROSPER MARILHAT Sous la tente Lavis. Porte des initiales P. M. en bas à gauche. 27 x 19 cm.

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PROSPER GEORGES ANTOINE MARILHAT, FRENCH 1811-1847

Lot 212: PROSPER GEORGES ANTOINE MARILHAT, FRENCH 1811-1847

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Description: PROSPER GEORGES ANTOINE MARILHAT, FRENCH 1811-1847CAFE SCENE, TANGER54x38cm.; 21 1/4 x15in.signed; inscribed INTERIEUR D'UN CAFE MAURE A TANGER (MAROC) on the overmountpencil, pen, ink and watercolour

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Attribué à Prosper MARILHAT - Une paire : une vue

Lot 219: Attribué à Prosper MARILHAT - Une paire : une vue

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Description: Attribué à Prosper MARILHAT - Une paire : une vue de mosquées...

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Lot 227: PROSPER MARILHAT An Oasis with a Caravan Resting under Banyan Trees.

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Description: PROSPER MARILHAT An Oasis with a Caravan Resting under Banyan Trees.

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                                        Prosper-Georges-Antoine Marilhat (French, 1811-1847)

Lot 239: Prosper-Georges-Antoine Marilhat (French, 1811-1847)

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Description: Prosper-Georges-Antoine Marilhat (French, 1811-1847) A Turkish pipe seller on a Venetian quayside signed 'Marilhat' (lower right) oil on canvas 23 5/8 x 28 5/8 in. (60 x 72.7 cm.)

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Lot 293: PROSPER GEORGES ANTOINE MARILHAT (1811-1847)

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Description: A VIEW OF VENICE signed with the initials l.r. oil on canvas 30 x 41 cm.

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Lot 314: MARILHAT, PROSPER GEORGES ANT. (1811-1847)

Description: An egyptian landscape with thye fortress of Argel, 1837 Oil/canvas 15x24 inches (38.4x60.3 cm) signed & dated.

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Lot 314: PROSPER GEORGES ANTOINE MARILHAT (FRENCH, 1811-1847)

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Description: An Egyptian Landscape with the Fortress of Argel signed and dated 1837 - - oil on canvas 15 1/8 x 23 3/4 in. (38.4 x 60.3 cm.).

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