Figure painter, Painter, Sculptor, Etcher, b. 1824 - d. 1904
Artist Jean-Leon Gerome was a French painter from the 1840s until century’s end. He produced an array of artwork, including portraits, and painted images pertaining to Greek mythology, Roman history, and exotic Middle Eastern architecture and locales. Jean-Leon Gerome's paintings fall under the Academicism school, extending the neoclassical movement into photographic realism and meticulous detail.
Artist Jean-Leon Gerome was a member of the Institut de France, an officer in Legion d'honneur, and an honorary member of the British Royal Academy. He became a professor at the Ecole des Beaux-Arts in 1864, holding the post for 39 years. He had great influence over other French painters, although he opposed the nontraditional styling of the Impressionists.
Jean-Leon Gerome art for sale is available in distinguished art galleries in the United States, United Kingdom, and France. Find many other award-winning paintings for sale at Invaluable from all important art movements.
Jean-Leon Gerome (French, 1824-1904) "La Joueuse de Boules [The Ball Player] Gilt Bronze Sculpture, signed and "S424 / Siot / Paris" foundry mark to base, mounted on green onyx plinth. Overall: 7.5" H x 3" W x 2.75" D. Provenance: From the Estate of Gerard Stora, Vice President of Wildenstein Gallery. Keywords: Art Nouveau, Bronzier, Metalworks, Statue, Figurative, Nude woman, Female form, Neoclassical, Antiques, Decorative Arts
Jean-Leon Gerome (French, 1824-1904) "Bacchante a La Grappe" Gilt Bronze Sculpture, signed and "Siot-Decauville / Fondeur / Paris" foundry mark to base. 13.25" H x 4.5" W x 4.25" D. Provenance: From the Estate of Gerard Stora, Vice President of Wildenstein Gallery. Keywords: Art Nouveau, Bronzier, Metalworks, Statue, Figurative, Nude woman, Female form, Bacchus, Grapes, Neoclassical, Antiques, Decorative Arts
Folder containing issues of Emile Bayard’s “Le Nu Esthétique. L’Homme, La Femme, L’Enfant'' from the years 1903 and 1904. Foreword by J.L. Gérome. Approx. 24 issues, each containing numerous black-and-white nude photographs on plates. Text in French. Some pages loose; folder with gold embossing, worn and minimally stained, approx. 39 x 30 cm
(bronze) 40,9 by 36,5 by 12 cm; 16 ¼ by 14 by 6 ⅓ in. (base) 16,9 by 41,8 by 17 cm; 6 ½ by 16 ⅕ by 6 ⅔ in. gilt patinated bronze equestrian sculpture by the French Academic master Jean Leon Gerome (1824 1904), circa 1897, depicting Bonaparte entering Cairo in 1798 during the Egyptian campaign. The original model was exhibited at the Paris Salon of 1897 (no. 2987) and, widely acclaimed, was acquired by the French State for the Musee du Luxembourg. Shaped by Gerome's travels in the Middle East, the work blends historical reconstruction with Orientalist detail. Cast in gilt patinated bronze on a verde antico marble base, signed "J.L. GEROME" and inscribed "SIOT. DECAUVILLE. FONDEUR. PARIS" with number X204; a fine example of 19th century French Academic sculpture.
Attrib Jean-Leon Gerome (French, 1824 - 1904) "The Sword Merchant" Oil On Canvas Painting 19th Cent., French This is an Orientalist painting attributed to French master Jean-Léon Gérôme, who exerted great influence in the Paris art world as a successful artist and teacher at the École des Beaux-Arts, where he trained pupils like Odilon Redon and Thomas Eakins. This piece depicts a young boy inspecting a curved scimitar sword while sitting on a rug. He wears a crimson turban, matching trousers, and a gold-embroidered vest, framed by a heavy antique gold border. The piece is signed "J.L. Gérôme" in the upper left and is presented in an ornate, period gilded wood frame bearing on the verso a paper tag that reads, "Gérôme (J.L.) 'The Sword Merchant' (20 x 14) Signed." Today, his masterpieces are held in prestigious collections worldwide, including the Musée d'Orsay, the Metropolitan Museum of Art, and the J. Paul Getty Museum.
Jean-Léon GÉRÔME (1824-1904), d'après. Buste de "Bellone". Epreuve en bronze à patine polychrome et doré. Signé "J L GEROME" et marqué «E. Muller". H.80 cm. Réf. Un modèle comparable conservé au musée Georges Garret à Vesoul sous le numéro d'inventaire INV945-2-
Gérome, Jean-Léon (1824-1904) (style of). (Nomads with camel in the desert). Drawing, pencil and brush and brown wash, 30x48,5 cm. - With tear in lower margin (affecting image).
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Jean - Léon Gérôme 1824 - 1904, Circle of Phryne before the Areopagus High - quality copy, circa 1870/80 Oil on canvas 71.5 x 114 cm, with frame 87 x 131 cm The French painter Jean Léon Gérôme is one of the most significant representatives of 19th - century academic painting. Trained under Paul Delaroche in Paris, Gérôme combined historical themes, classical subjects, and Orientalist motifs in his work with an extremely precise, detailed painting style. His paintings are characterized by a smooth, almost illusionistic surface, meticulous archaeological reconstruction, and a dramatic, often theatrically staged composition. Gérôme was also a central figure of Orientalism, the 19th - century artistic movement that depicted the so - called “Orient”—the Middle East, North Africa, and the ancient Mediterranean world—as an exotic and sensual counter - space to European modernity. In such depictions, historical interest was combined with a pronounced focus on physicality, staging, and spectacular narrative moments. The subject of Phryne before the Areopagus is one of Gérôme’s best - known historical paintings. The depiction refers to an anecdote from ancient Greece: the famous hetaera Phryne was put on trial for alleged blasphemy. Her defender, the orator Hyperides, is said to have lifted her robe in a dramatic moment to reveal her extraordinary beauty to the judges. Faced with this revelation, according to ancient tradition, the judges did not dare to condemn a woman of such beauty—understood as an expression of divine favor. Gérôme took up this scene and staged it as a dramatic moment of revelation. Gérôme’s famous original painting was created in 1861 and is now in the Hamburg Kunsthalle. There it bears the inventory number HK - 116. The work ranks among the most impressive examples of Gérôme’s combination of historical reconstruction, academic nude depiction, and theatrical staging. This high - quality copy from Gérôme’s Circle of Artists, created around 1870/80, reproduces this composition almost entirely. At the center of the depiction stands the nude Phryne, whose fair complexion stands out particularly in the light, thus immediately drawing the viewer’s gaze to her figure. She covers her face with her right arm, suggesting a gesture of modesty or protection. At the same time, this posture reinforces the dramatic character of the scene: while the body is revealed, the face remains hidden. A man beside her—her defender—pulls a blue cloth away from her body, thereby revealing her nudity to the assembled judges. This moment forms the narrative climax of the composition. The figure of Phryne appears almost sculpturally modeled by the incoming light and stands out clearly from the darker robes of those standing around her. The scene is set in a court of ancient style. Opposite the central group of figures stands an altar with a tripod, a reference to the sacred nature of the place and to the religious dimension of the accusation. Gathered around Phryne and her defender are numerous men depicted in red togas. They form a semicircular group of judges and spectators of varying ages. Their reactions range from curious attention to visible surprise or moral outrage. This multitude of individual gestures and facial expressions creates a lively dramatic tension. The composition corresponds in many respects to Gérôme’s characteristic visual language: the scene is clearly structured, the figures are precisely modeled, and the architecture of the space serves as a stage for the dramatic moment of revelation. At the same time, it reveals the fascination typical of Orientalism with exoticized history, the staging of the female body, and spectacular narrative episodes from the ancient world. The copy preserves the impact of the famous original while also conveying the great popularity of Gérôme’s history paintings in the late 19th century, when his compositions were widely reproduced and repeatedly rendered by students or artists in his Circle of artists. It thus exemplifies the reception of one of the most famous works of 19th - century academic history painting. Jean-Léon Gérôme 1824 - 1904, Umkreis Phryne vor dem Areopag Qualitätsvolle Kopie um 1870/80 Öl auf Leinwand 71,5 x 114 cm, mit Rahmen 87 x 131 cm Der französische Maler Jean Léon Gérôme gehört zu den bedeutendsten Vertretern der akademischen Malerei des 19. Jahrhunderts. Ausgebildet bei Paul Delaroche in Paris, verband Gérôme in seinem Werk historische Themen, antike Stoffe und orientalistische Sujets mit einer äußerst präzisen, detailreichen Malweise. Seine Bilder zeichnen sich durch eine glatte, fast illusionistische Oberfläche, eine sorgfältige archäologische Rekonstruktion sowie eine dramatische, oft theatralisch inszenierte Komposition aus. Gérôme war zugleich ein zentraler Vertreter des Orientalismus, jener künstlerischen Strömung des 19. Jahrhunderts, die den sogenannten „Orient“ – den Nahen Osten, Nordafrika und die antike Mittelmeerwelt – als exotischen und sinnlichen Gegenraum zur europäischen Moderne darstellte. In solchen Darstellungen verband sich historisches Interesse mit einem ausgeprägten Blick auf Körperlichkeit, Inszenierung und spektakuläre narrative Momente. Das Thema Phryne vor dem Areopag gehört zu Gérômes bekanntesten Historienbildern. Die Darstellung bezieht sich auf eine Anekdote aus der griechischen Antike: Die berühmte Hetäre Phryne wurde wegen angeblicher Gotteslästerung vor Gericht gestellt. Ihr Verteidiger, der Redner Hypereides, soll in einem dramatischen Moment ihr Gewand gelüftet haben, um den Richtern ihre außergewöhnliche Schönheit zu zeigen. Angesichts dieser Offenbarung, so berichtet die antike Überlieferung, wagten es die Richter nicht, eine Frau von solcher Schönheit – als Ausdruck göttlicher Gunst verstanden – zu verurteilen. Gérôme griff diese Szene auf und inszenierte sie als dramatischen Augenblick der Enthüllung. Das berühmte Originalgemälde Gérômes entstand 1861 und befindet sich heute im Hamburger Kunsthalle. Es trägt dort die Inventarnummer HK-116. Das Werk zählt zu den eindrucksvollsten Beispielen für Gérômes Verbindung aus historischer Rekonstruktion, akademischer Aktdarstellung und theatralischer Inszenierung. Die vorliegende qualitätsvolle Kopie aus dem Umkreis Gérômes, entstanden um 1870/80, greift diese Komposition nahezu vollständig auf. Im Zentrum der Darstellung steht die nackte Phryne, deren helles Inkarnat im Licht besonders hervortritt und so den Blick des Betrachters unmittelbar auf ihre Gestalt lenkt. Sie verdeckt ihr Gesicht mit dem rechten Arm, wodurch eine Geste der Scham oder des Schutzes angedeutet wird. Gleichzeitig verstärkt diese Haltung den dramatischen Charakter der Szene: Während der Körper sichtbar wird, bleibt das Gesicht verborgen. Ein Mann neben ihr – ihr Verteidiger – zieht ein blaues Tuch von ihrem Körper weg und enthüllt damit den Akt vor den versammelten Richtern. Dieser Moment bildet den erzählerischen Höhepunkt der Komposition. Die Gestalt der Phryne wirkt durch das einfallende Licht fast skulptural modelliert und hebt sich deutlich von den dunkleren Gewändern der Umstehenden ab. Die Szene spielt in einem antikisierenden Gerichtssaal. Gegenüber der zentralen Figurengruppe steht ein Altar mit Dreifuß, ein Hinweis auf den sakralen Charakter des Ortes und auf die religiöse Dimension des Vorwurfs. Rund um Phryne und ihren Verteidiger sind zahlreiche Männer versammelt, die in roten Togen dargestellt sind. Sie bilden eine halbkreisförmige Gruppe aus Richtern und Zuschauern unterschiedlichen Alters. Ihre Reaktionen reichen von neugieriger Aufmerksamkeit bis zu sichtbarer Überraschung oder moralischer Empörung. Durch diese Vielzahl individueller Gesten und Gesichtsausdrücke entsteht eine lebendige dramatische Spannung. Die Komposition entspricht in vielen Aspekten Gérômes charakteristischer Bildsprache: Die Szene ist klar strukturiert, die Figuren sind präzise modelliert und die Architektur des Raumes dient als Bühne für den dramatischen Moment der Enthüllung. Gleichzeitig zeigt sich die für den Orientalismus typische Faszination für exotisierte Historie, für die Inszenierung des weiblichen Körpers und für spektakuläre narrative Episoden aus der antiken Welt. Die Kopie bewahrt die Wirkung des berühmten Originals und vermittelt zugleich die große Popularität von Gérômes Historienbildern im späten 19. Jahrhundert, als seine Kompositionen vielfach reproduziert und von Schülern oder Künstlern aus seinem Umkreis wiederholt wurden. Sie steht somit exemplarisch für die Rezeption eines der bekanntesten Werke der akademischen Historienmalerei des 19. Jahrhunderts.
JEAN-LEON GEROME (AFTER) English, 1824-1904 photogravure This black-and-white photogravure is a reproduction of the famous 1879 Orientalist painting titled "The Snake Charmer" by French artist Jean-Léon Gérôme. The scene is set in a tiled, palatial interior—likely inspired by the Topkapi Palace—where a young, nude boy stands with his back to the viewer, holding a large python that coils around his body. To the right, an older man sits on the floor playing a flute, while a group of armed, cloaked men sit against the intricate, calligraphic wall tiles to the left, watching the performance in various states of repose. Gérôme's work is renowned for its hyper-realistic detail and its historical role in shaping Western perceptions of the "Orient" during the 19th century, blending meticulously researched architectural elements with a staged, voyeuristic narrative. Framed. Not examined out of frame.
Jean-Leon Gerome (1824-1904) Gilt bronze with two patinas depicting a Bacchante with a bunch of grapes, mounted on a rouge marble base. Signed on bronze J.L. Gerome and foundry seal Siot-Decauville Fondeur Paris. very good condition, 13.5" tall, with marble 16.25" tall.
PORTRAIT EINES JUNGEN MÄDCHENS MIT SCHELMISCHEM BLICK Bleistift auf Papier, weiß gehöht. 49 x 40 cm. Rechts mittig signiert und datiert „JL. Gerome 1857“. In ornamentalem Rahmen. Das Portrait eines Mädchens zeigt eine detailliert ausgearbeitete Physiognomie eines Mädchens, die mit der flüchtig gezeichneten Kleidung stark kontrastiert. (1471663) (10)
BATHSEBA IM BADE Höhe: 31 cm. Auf der Plinthe signiert „J. L. GEROME“, Gießermarke „SIOT-PARIS“, bodenseitiges Händleretikett. Auf kreisrunder gekehlter und profilierter Basis die stehende Aktfigur einer jungen Frau, ihren rechten Arm über die linke Schulter legend. Zu ihrer Rechten ein balustriertes Henkelgefäß. Literatur: Vgl. Gerald M. Ackerman, The Life and Work of Jean-Léon Gérôme. With a Catalogue Raisonné, London 1986, S. 37 und S. 320. (1472198) (13)
Jean-Léon GÉRÔME (Vesoul, 1824 – Paris, 1904) Etude de torero en pied Crayon Signé ‘JL. Gérôme’ à droite Full-length study of a torero, pencil, signed, by J.-L .Gérôme 11.41 x 7.48 in. 29 x 19 cm Notre dessin est préparatoire au torero au centre du tableau de 1886 : Plaza de toros : l’entrée du taureau, conservé dans une collection particulière 1. 1. Voir G. M. Ackerman, Jean-Léon Gérôme, ACR Edition, 2000, n° 338, repr. p. 315 Jean-Léon GÉRÔME (Vesoul, 1824 – Paris, 1904) 29 x 19 cm
Liszt, Franz, Komponist (1811-1886). Eigenh. Brief mit Unterschrift. Weimar, 27. Juli 1876. 8°. 2 S. auf Doppelblatt (Faltspuren, kl. Löchlein in den Rändern). In französischer Sprache an den Historienmaler Jean-Léon Gérôme (1824-1904), über ein Gemälde, offenbar eine Kreuzigung, das dieser ihm geschickt hatte. "Le divin mystère du Golgotha vous adonné une inspiration sumblime. (...) en admirant l'oeuvre de votre génie, mon âme prie à l'ombre de la croix rédemptrice où se révêle toujours le salut de l'humantié. Votre tableau est un transcendant poème symbolique. Permettez-moi de vous remercier de me l'avoir envoyé." - Etwas gebräunt.
Jean-Léon GEROME (1824-1904) "La danse de sabre" Personnage oriental en pied tenant un sabre. Crayon noir signé « Gérome » en bas à gauche et titré. Haut. 31 cm Larg. 21 cm Le pendant de notre œuvre a été vendu par la maison Piasa, Paris, 22 mars 2007, lot 207 (La Danseuse Aux Sabres) puis Christie's 22 octobre 2008.
After Jean-Léon Gérôme, French 1824-1904- The Field of Rest; oil on board, bears signature and date 'PH PAVY / 1881' (lower right), 54 x 91.5 cm. Provenance: Private Collection, UK. Note: The present work is a modern copy after Gérôme's original painting, which was conceived in 1876, and which is housed in a private collection.
Circa 1893. Has scuffs, water damage on image, and chipped wood along frame present. Frame measures approximately H24in x W17.5in. Image measures approximately H20in x W13.5in. Kt20110 Ja
Jean-Léon Gérôme (1824 - 1904) "Plaudite Cives", c. 1898 Patinated bronze With function stamp: "Siot-Decauville fondeur Paris". Presents numbering Measurements: 38 x 54 x 26 cm. The work in question was exhibited at the 1898 Paris Salon, and is considered remarkably rare having apparently been produced in only one size. At the foot of the gladiator's figure one can read an inscription in Latin: "Plaudite Cives". This phrase translates as "Applaud, citizens!", and appeals directly to the spectator. The protagonist, after bringing down the lion, directs his gaze towards the audience, seeking recognition for his act of bravery. At the same time, he makes a bow that suggests the action of a stage performer at the conclusion of his performance. Jean-Léon Gérôme (1824-1904) was a French painter and sculptor, a preeminent figure of academicism and one of the leading exponents of Orientalism in the 19th century. Distinguished by his impeccable technique, Gérôme tackled a diversity of subjects including depictions of classical antiquity, exotic scenes inspired by his travels in the Middle East and North Africa, as well as historical subjects. He enjoyed great recognition and influence in his time, teaching at the École des Beaux-Arts in Paris and actively participating in the official Salons.
Jean-Léon Gérôme French 1824 - 1904 Madeleine Juliette Gérôme avec ses Poupées oil on canvas canvas: 33 ½ by 25 ¼ in.; 85.1 by 64.1 cm framed: 43 ½ by 37 ¼ in.; 110.5 by 94.6 cm This work will be included in the revision of Gerald Ackerman’s Jean-Léon Gérôme catalogue raisonné now in preparation by Dr. Emily M. Weeks.
At the 1897 salon – nearly a century after napoléon bonaparte’s famous entry into cairo in 1798 – the sculptor gérôme (1824-1904) exhibited an impressive equestrian statue (no. 2987) Celebrating the future emperor’s victory in the egyptian campaign (h. 83 Cm; Current whereabouts unknown). Universally acclaimed, the work was immediately bought by the state for the musée du luxembourg. The critic georges lafenestre praised the statue, commenting that it ‘combined the best qualities of the sculptor and painter: precision and elegance of form, expressive accuracy of movement, and finely judged historical reconstruction, with the arrangement of details and accessories ingeniously selected and skilfully executed’ (g. Lafenestre, op. Cit.). Expressing the fervent egyptomania of the late nineteenth century, gérôme meticulously portrays the general in all his pomp, brandishing his bicorn hat and riding a mount with a richly embroidered oriental saddlecloth.(Bronze) 40,9 by 36,5 by 12 cm; 16 ¼ By 14 by 6 ⅓ in. (Base) 16,9 by 41,8 by 17 cm; 6 ½ By 16 ⅕ by 6 ⅔ in.
Framed oil on board painting. Signed lower right, DYF. After Jean Leon Gerome (French, 1824-1904), The Bath. Bather scene. Woman being washed. Ornate gilt wood frame. Not examined out of frame. Frame measures approx 24 in by 20 in. Board measures approx 16 in by 12 in. Some wear consistent with exposure. Art, fine art, framed art, home decor, home accessories, wall decor, wall accessories, oil painting, bather, bathing scene, after Jean Leon Gerome, the bath, 10 art wall
JEAN LEON GEROME (French, 1824-1904). Tete de Negresse du Hedjaz (Head of a Negress of Hejaz), circa 1860, Pencil signed lower left hand corner. Etching inscribed in plate: (upper left) "Negresse/ du/ Hedj[az]/ … [possibly poorly inscribed Arabic for "slave from"?]; titled at base: FEMME FELLAH. Unframed. Not mounted or laid down. - Image: 7.5 x 6 inches; sheet: 17 x 12 inches
Jean Léon GÉRÔME (Vésoul, 1824 - Paris, 1904) Bacchante à la grappe (Bacchante and Love) Gilt bronze proof Signed J. L. GEROME on the terrace Foundry stamp SIOT-PARIS (Siot-Decauville) France, circa 1892 H. 35 cm A Bacchante leaning on a thyrse, while a winged child climbs along the stick to grasp a bunch of grapes, illustrates the sculptural work of Jean-Léon Gérôme, a major figure in French Academism and Orientalism. Inspired by Dionysiac themes, Bacchante à la grappe is part of Gérôme's late-career production of neo-Greek bronzes. Published by Siot-Decauville in the 1890s, they met with considerable success thanks to the quality of the modeling and the balance between naturalism and classical idealization. The model is listed in Gérôme's catalog raisonné by Ackerman & Manuel under number S.26, under the titles Bacchante and Infant (Wood Nymph), Bacchante à la grappe or Bacchante et l'Amour. Siot-Decauville distributed this model in several heights; two sizes are documented (97 cm and 58 cm), and smaller editions, like the present one, were also marketed. Reference: Gérald M. Ackerman & Ulrich Manuel, The Life and Work of Jean-Léon Gérôme, 1986, p. 318, no. S.26; illustration p. S.25, B2.
Jean-Léon Gérôme (French, 1824-1904) Danseuse au cerceau gilt bronze inscribed JL GEROME (top of base); bears stamp FONDEUR SIOT DECAUVILLE PARIS and numbered I333 (base edge) Height: 9 in. Property of a Midwest Collector
Jean-Léon Gérôme (French, 1824-1904) Danseuse à la pomme gilt bronze inscribed JL GEROME (top of base); bears stamp FONDEUR SIOT DECAUVILLE PARIS (base edge) Height: 10 in. Property of a Midwest Collector This lot is located in Chicago.
Jean Léon Gérôme (French, 1824-1904): A patinated bronze model of 'Martyre Indienne (Femme et Tigre)' The seated beast with upturned head and open jaw, its paws resting on the yielding body of a maiden clad in loose drapery, her legs drawn to her chest, her eyes closed in subjugation, raised on a shaped integral naturalistic base, signed within the cast JL.GEROME and with SIOT. DECAUVILLE. PARIS. pastille foundry mark, mounted on a correspondingly shaped shallow veined marble plinth, 51.5cm high approximately
Jean-Léon Gérôme (1824-1904) César franchissant le Rubicon Modèle créé vers 1900 Bronze à patine dorée et brune Fonte Siot-Decauville Signé “ J.L. GEROME “ sur la plinthe Porte le cachet “ SIOT DECAUVILLE PARIS “ et le numéro “ 200H “ H. 38 cm, terrasse L. 39 x P. 13 cm Le célèbre peintre Jean-Léon Gérôme s’essaye avec succès à la sculpture à l’occasion de l’Exposition Universelle de 1878. Il exécute alors des statuettes, le plus souvent peintes, en s'inspirant de ses propres peintures. Influencé par l'Antiquité grecque, romaine ou égyptienne, par l'Orient ou encore par l'histoire contemporaine, Gérôme crée de savantes sculptures avec un goût pour le détail, les matières et la couleur qui font de ses créations aux accents symbolistes ou « néo-pompéien » un corpus d'œuvres à part dans le paysage de la sculpture française de la fin du XIXe siècle. Réalisé vers 1900, cette statuette équestre figure Jules César de retour à Rome sur les du Rubicon après avoir vaincu les Gaulois en 49 av. J.-C. Le modèle connait un large succès et l’édition en bronze est confiée au fondeur Siot-Decauville. Œuvre en rapport : -Jean-Léon Gérôme, César franchissant le Rubicon, vers 1900, bronze doré avec patine brune et noire,,75 x 93.7 x 29.8 cm, Musée des beaux-arts du Canada, N°.inv 40157. Littérature en rapport : -Gérald M. Ackerman, Jean-Léon Gérôme, monographie et catalogue raisonné, Paris, édition ACR, 1986, modèle répertorié sous le n° S. 54, pp. 326-327.
[GÉROME, Jean Léon (1824-1904), subject]. ACKERMAN, Gerald M. (1928-2016). Jean-Léon Gérome [Les Orientalistes, Volume 4]. [Paris:] ACR Édition, [2000]. 4to. Profusely illustrated. 420 pp. Text in French. Publisher’s full red cloth, front board and spine stamped in silver, unclipped dust jacket, publisher’s plain cardboard slipcase with partial shrinkwrap and price stickers (some wear, bumping to slipcase). Book and jacket are bright and fine. REVISED EDITION OF THIS CATALOGUE RAISONNÉ. This book is the result of 25 years of research, with an inventory of nearly 700 paintings and 70 sculptures. From the Collection of Louis A. Irmo. Measurements: 12 x 11 x 2”.
JEAN-LÉON GÉRÔME (VESOUL 1824-1904 PARIS). Esquisse pour le portrait de Rachel Félix (1821-1858) en Melpomène, muse de.... huile sur toile, sur sa toile d'originedans son cadre d'origine orné en fronton du masque de la tragédie24,2 x 15,6 cm (9 ½ x 6 1/8 in.).
Jean Léon GEROME (1824-1904) Bonaparte faisant son entrée dans les rues du Caire. Bronze à patine foncée sur socle signé « J. L. GEROME » sur un côté et F.BARBEDIENNE FONDEUR PARIS » sur l’autre. Sur socle en marbre vert. Longueur : 40 cm. Largeur : 15 cm. Ht : 45 cm. B.E. Historique: Ce modèle fut exécuté par Gérôme pour le salon de 1897. Il répond parfaitement au goût de l'Orient et de l'histoire de Gérôme, partisan acharné de la peinture classique, qui fut considérablement critiqué par ses pairs et peu à peu réhabilité au XXe siècle. Œuvre en rapport : «Bonaparte entrant au Caire» par Jean-Léon Gérôme, 1897, fonte Siot Decauville, conservé au Sénat. Inventaire: RF 1178.
Jean-Léon Gérôme (1824-1904) Belluaire dit aussi Plaudite Cives Modèle créé en 1898 Groupe en bronze à patines brune et médaille Signé “J.L GEROME” à l’arrière de la terrasse Titré sur le devant de la terrasse : “PLAUDITE CIVES” Porte la marque du fondeur “SIOT- DECAUVILLE” et le numéro “3743” Porte la lettre “L” au revers Dim. 37,5 x 57 x 24 cm Littérature en rapport : -Catalogue de Vesoul, 1981, n° 191. -Gerald M. Ackerman, Jean-Léon Gérôme, Monographie révisée, Catalogue raisonné mis à jour, Paris, ACR Edition, 2000, n° S.45. -Jean Léon Gérôme (1824-1904), l'Histoire en spectacle, Paris, Musée d'Orsay, Skira Flammarion, 2010, ill. 156, p. 318.
GÉRÔME (Jean-Léon) Paris,, 18 octobre 1889.. Lettre autographe signée à un Monsieur. 2 pages in-8 (20,5 x 13,2 cm), encre sur papier, en-tête du 65 boulevard de Clichy (adresse de l’atelier et domicile de Jean-Léon Gérôme). L’artiste clarifie le statut de M. Boussod, qu’il a recommandé dans une lettre précédente. M. Boussod était « le chef de la Maison Goupil », une maison spécialisée dans l’édition et le commerce d’œuvres d’art et de reproductions. Avec quelques associés, il avait repris le travail du fondateur Adolphe Goupil avec qui Gérôme maintenait un lien familial : l’artiste avait épousé sa fille. Gérôme a envoyé cette lettre afin de « dissiper une erreur de personne, dans le cas où elle aurait lieu ». En effet, l’homonyme de M. Boussod, son fils, était un politicien conservateur avec qui le destinataire n’aurait pas souhaité s’associer. Inscriptions au crayon rouge et bleu en tête de la première page. Pages légèrement brunies.
JEAN-LÉON GÉROME (France, 1824 - 1904) "Horse". Bronze sculpture. Signed on the base. With function stamp: "Siot-Decauville fondeur, Paris". Measurements: 37 x 32 x 9 cm. The equine anatomy has been extremely detailed in this equestrian sculpture, appreciable in the musculature, the mane and the nostrils. Gérôme faithfully captures the expression and the restrained vitality of the animal, in accordance with his realistic and meticulous style. Jean-Léon Gérôme (1824-1904) was a French painter and sculptor, a preeminent figure of academicism and one of the main exponents of Orientalism in the 19th century. Distinguished by his impeccable technique, Gérôme tackled a diversity of subjects including depictions of classical antiquity, exotic scenes inspired by his travels in the Middle East and North Africa, as well as historical subjects. He enjoyed great recognition and influence in his time, teaching at the École des Beaux-Arts in Paris and actively participating in the official Salons.
Jean Léon Gérôme (French, 1824-1904): A patinated bronze model of 'Young Christ entering Jerusalem' The flowing haired youth astride his humble steed, his right hand raised in blessing, a small donkey to the right, raised on naturalistic base covered in palm leaves, the base signed J.L.GEROME, 66cm high overall
Jean-Léon Gérôme (1824 - 1904) "Plaudite Cives", c. 1898 Patinated bronze With function stamp: "Siot-Decauville fondeur Paris". Presents numbering Measurements: 38 x 54 x 26 cm. The work in question was exhibited at the 1898 Paris Salon, and is considered remarkably rare having apparently been produced in only one size. At the foot of the gladiator's figure one can read an inscription in Latin: "Plaudite Cives". This phrase translates as "Applaud, citizens!", and appeals directly to the spectator. The protagonist, after bringing down the lion, directs his gaze towards the audience, seeking recognition for his act of bravery. At the same time, he makes a bow that suggests the action of a stage performer at the conclusion of his performance. Jean-Léon Gérôme (1824-1904) was a French painter and sculptor, a preeminent figure of academicism and one of the leading exponents of Orientalism in the 19th century. Distinguished by his impeccable technique, Gérôme tackled a diversity of subjects including depictions of classical antiquity, exotic scenes inspired by his travels in the Middle East and North Africa, as well as historical subjects. He enjoyed great recognition and influence in his time, teaching at the École des Beaux-Arts in Paris and actively participating in the official Salons.
Jean-Léon GÉRÔME (Vesoul 1824 - 1904 Paris) Étude pour un cardinal assis, vraisemblablement le cardinal Richelieu Sanguine sur papier contrecollée, trace de mise au carreau 24,5 x 21 cm. Signé en bas, à droite, à la mine de plomb : "JLG"
Description française: GÉROME, Jean-Léon (1824-1904) "Bacchante à la Grappe" Bronze patiné Signé sur la base: J.L. Gerome Cachet du fonceur à la base: Siot-Decauville, Paris Provenance: Collection corporative, Montréal H: 58cm - 22,75" English Description: GÉROME, Jean-Léon (1824-1904) "Bacchante à la Grappe" Bronze (patinated) Signed on the base: J.L. Gerome Founder's stamp at the base: Siot-Decauville, Paris Provenance: Corporate collection, Montréal H: 58cm - 22,75"
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