Antoine-Jean GROS, dit baron GROS (Paris, 1771 - Meudon, 1835 ) Le général Bonaparte au pont d'Arcole le 15 novembre 1796 Crayon noir, estompe et rehauts de blanc (Quelques rousseurs) General Bonaparte at the Bridge of Arcole on 15 November 1796, black pencil, stump and white highlights, by A.-J. Gros called Baron Gros 8.66 x 6.30 in. 22 x 16 cm Provenance : Probablement offert par Antoine-Jean Gros au peintre Vincenzo Camuccini ; Collection du peintre Vincenzo Camuccini (1771-1844) ; Puis par descendance à son arrière-arrière-petit-fils ; Collection particulière, Rome Bibliographie : Corrado Maltese, "Un ritratto di Bonaparte e un disegno di Antoine Gros", Bollettino d'Arte, 1959, p. 232, repr. fig. 2 Œuvres en rapport : Antoine-Jean Gros, baron Gros, Bonaparte au pont d'Arcole, esquisse, huile sur toile, vers 1796, musée du Louvre, n° RF 361 (fig. 1) Antoine-Jean Gros, baron Gros, Bonaparte au pont d'Arcole, 1796, exposé au Salon de 1801, musée du Château de Versailles, inv. RF 271 Giuseppe Longhi d'après Antoine-Jean gros, Bonaparte à Arcole, 1798, gravure en noir Anonyme d'après Antoine-Jean Gros, Bonaparte à Arcole, dessin, ancienne collection Castaine (voir Corrado Maltese, op. cit. supra, p. 236, fig. 9) La réapparition de ce dessin inédit rend à Gros ce qui lui revient : l’invention du Romantisme dans l’art du portrait français. Quelques traits de crayon rageurs suffisent à mettre en place le portrait le plus célèbre de Napoléon Bonaparte. Jeunesse, intrépidité, mouvement : les artefacts du héros sont suggérés en un jaillissement d’accents synthétiques. Jamais l’instinct d’un artiste ne fut plus près du génial général impétueux. « Son écriture rapide, impulsive mais synthétique, exprime une sensibilité ardente », disait Gérard Auguier dans sa préface à la vente Delestre (Artcurial, le 22 mars 2017), rappelant le jugement d'Elie Faure, qui résume ainsi la production de Gros : « le passage angoissé de l’immobilité de David au tumulte de Delacroix ». Le 27 mars 1796, Bonaparte prend le commandement de l’armée d’Italie, armée de campagne de l’armée française utilisée pour des opérations en Italie, et lance une offensive contre le royaume de Sardaigne et ses alliés autrichiens. Le 7 décembre 1796 (17 Frimaire), Bonaparte concède quelques minutes de pose à Jean-Antoine Gros dans un palais de Milan. Le général venait de vivre, trois semaines auparavant, le célèbre épisode du pont d’Arcole. Retraçons les grandes lignes de cet évènement crucial de la campagne d’Italie qui scelle la future légende de Napoléon, présenté comme une réincarnation d’Alexandre le Grand. Après avoir vaincu les Piémontais et les Autrichiens, l’armée d’Italie s’avance en Lombardie et assiège Mantoue. L’Autriche envoie deux nouvelles armées aux ordres de Davidovitch et d’Alvinczy pour empêcher la prise de la ville. Bonaparte, replié à Vérone, décide de porter son effort contre Alvinczy en coupant ses arrières. Il confie au général Vaubois le soin de contenir Davidovitch et laisse 9 000 hommes contre l’Autrichien Dagobert von Würmser enfermé dans Mantoue. Sortant de Vérone, Bonaparte lance son attaque le 15 novembre, soit le 25 Brumaire. Augereau passe l’Adige à Ronco mais est arrêté par un feu violent protégeant le passage crucial du pont d’Arcole. Brandissant un drapeau, il s’élance pour franchir le pont mais doit reculer face au feu de l’ennemi. Les soldats refluent dans la panique. Bonaparte, n’écoutant que son courage, récupère un étendard et s’élance à la tête des grenadiers pour forcer le barrage adverse. Sur la gauche, Masséna est parvenu à passer et à rallier l’armée, tandis qu’à droite le général Guieu est parvenu jusqu’à Arcole. Inquiet cependant, Bonaparte replie ses hommes sur Ronco et va désormais s’appliquer à user les Autrichiens jusqu’au moment qu’il jugera favorable pour l’attaque générale. Le 16, la manœuvre se répète et Augereau échoue à nouveau devant le pont, tandis que Masséna avance à gauche et parvient à repousser l’aile droite autrichienne. Dans la nuit du 16 au 17, Bonaparte fait établir un pont par le génie d’Andreossi en avant d’Arcole, d’où Augereau pourra prendre le village de flanc, tandis que Masséna attaquera de front. Tout se passe comme prévu, et Masséna parvient à s’emparer du pont d’Arcole. Alvinczy, qui a perdu 10 000 hommes se replie, au moment où Vaubois est battu par Davidovitch. Bonaparte, encore crotté, les tympans sonnés, rentre à Milan retrouver Joséphine dont il est fou amoureux. Avant de repartir au front, il accepte de consacrer quelques minutes à ce peintre qui lui ressemble tant physiquement. Hâve, presque famélique, jeune, de la même génération, le cheveu long comme lui, comme lui avide de gloire. En pleine Terreur, Gros, élève de David depuis 1785, obtient en 1793 de son maître un laisser-passer pour l’Italie. Il veut se rendre à Rome mais les aléas politiques le retiennent à Gênes, ville neutre pour les Français. Il y vit dans une grande pauvreté donnant occasionnellement des cours de dessin pour gagner sa vie. Il obtient des commandes de portraits grâce à Faitpoult, envoyé de France à Gênes, et à son épouse. C'est par leur intermédiaire que l'espoir finit par survenir, avec une première commande pour une « figure de la République ». Quand Joséphine cède aux suppliques de Bonaparte pour le rejoindre en Italie (ils se sont mariés en mars 1796), elle fait halte à Gênes, où elle est reçue par les Faitpoult. Gros précise alors : « Comme j'allais assez souvent chez le citoyen Faitpoult, envoyé de la République française à Gênes, et qu'il avait quelque estime et amitié pour moi, je me recommandai à lui et à son épouse pour me présenter à la citoyenne Bonaparte à son arrivée, dans la seule espérance de parvenir à faire le portrait du général, dont la gloire et les détails que l'on me donnait de sa physionomie ne faisaient qu'irriter ce désir » (voir Jean-Baptiste Delestre, Gros, sa vie et ses ouvrages, Paris, 1867, p. 33). Gros montre à Joséphine deux tableaux pour attester de ses capacités : un portrait de famille et le portrait d’un homme « à la physionomie sévère, tel qu’il avait imaginé Bonaparte ». Joséphine en fut frappée et emmena le jeune artiste avec elle à Milan. Une fois arrivée sur place, elle présente Gros au grand homme. Gros nous rapporte les paroles échangées alors. « J’ai un grand sujet à traiter ou du moins c’est mon ardent désir, [commence l’artiste.] Comment ? [s’interroge le général.] Votre portrait. Il fit une inclination de tête légèrement et modestement. Je fus retenu à dîner. » Gros est invité à loger au palais Serbelloni où le couple réside. L’unique séance de pose du général pressé est racontée par Gros dans une lettre adressée à sa mère le 17 frimaire 1796 : « Je viens de commencer le portrait du général ; mais l'on ne peut même donner le nom de séance au peu de temps qu'il me donne. Je ne puis avoir le temps de choisir mes couleurs ; il faut que je me résigne à ne peindre que le caractère de sa physionomie, et après cela, de mon mieux, à y donner la tournure d'un portrait. Mais on me fait avoir courage, étant déjà satisfait du petit peu qu'il y a sur la toile. Je suis bien inquiet de voir la tête à peu près faite. » (Jean-Baptiste Delestre, opus cité supra, p.34). Notre dessin, dont la hâte d’exécution se perçoit dans la vigueur des accents, a peut-être été exécuté ce jour-là. La mise en place du tableau tient du génie. On y décèle le précepte général que Gros enseignera plus tard à ses nombreux élèves : « Il faut procéder par ensemble ; ensemble de mouvement, de longueurs, de lumière et d'ombre, ensemble d'effet. Vous ne devez, disait-il, vous occuper d'une portion sans regarder le tout. Faites-vous la tête ? regardez les pieds, et ainsi du reste » (Jean-Baptiste Delestre, opus cité supra, p.356). Dans la fumée des canons, Bonaparte s’est emparé du drapeau qu’il lève vigoureusement au-dessus de lui. Sabre au clair, déjà en mouvement vers l’avant, il se retourne vers ses troupes pour les engager à le suivre. Les traits effilés comme une lame de couteau, le nez aquilin, la bouche fermée d’un trait, l’air décidé suggèrent le héros sans peur qui insuffle le courage à ses soldats. Les cheveux mi-long en désordre, le drapeau en volutes, les stries nerveuses, indiquent le souffle et le mouvement ; la mort rôde autour de lui mais Bonaparte n’en a cure : il traverse avec témérité la mitraille, dans le but de galvaniser ses hommes et de leur faire oublier la peur. Cette « vivante image de l’héroïsme », comme disait Delacroix, sera transposée en peinture et achetée par Bonaparte. Le succès du tableau, exposé au Salon de 1801 et depuis conservé au Louvre, ne s’est toujours pas démenti. L’action de Bonaparte à Arcole est l’une des rares fois où Bonaparte quitta son rôle de général en chef pour montrer qu’il avait l’étoffe d’un héros militaire classique, tel un Bayard ou un Du Guesclin. Bonaparte, extrêmement satisfait du portrait de Gros, le fit immédiatement graver par Giuseppe Longhi afin qu’il soit diffusé auprès des troupes et dans les gazettes rapportant au peuple son triomphe. Dès lors, la carrière de Gros fut attachée au destin de Napoléon Bonaparte. Le dessin de Gros provient de la collection du peintre Vincenzo Camuccini (Rome, 1771-1844). Admirateur de David, Camuccini (fig. 2) est un peintre majeur du courant néoclassique. Il trouve dans les idées de la République une corrélation flagrante avec les sujets tragiques de l’Antiquité qui le fascinent. Comme Appiani et tant d’autres, il voit dans l’application des principes de la République le renouveau de son pays. Il rencontre Gros en Italie et se rend à Paris au cours de l'année 1810. Entre 1814 et 1824, il sera inspecteur des peintures de la Papauté ; en 1825, le roi de Naples Ferdinand 1er le nomme directeur de l'Académie de Naples à Rome. L’inventaire manuscrit de sa collection mentionne ainsi notre dessin : « Ritratto di Napoleone disegnato dal vero da Mr Gros, allorché si trouvava in Genova come Generale [c’est bien Gros qui est établi à Gênes et qui effectue un court séjour à Milan pour y exécuter le portrait de Bonaparte], all’età di Venti Sei anni, stando egli stesso all’azione al pittore volendo che lo rappresentasse nell’azione di togliere la Bandiera al portabandiera, alla Battaglia d’Arcole, ed in tale azione ne dipinse il quadro Mr Gros » (fig. 3)1. La très importante collection de tableaux anciens de Vincenzo Camuccini fut vendue en grande partie par ses héritiers au duc de Northumberland en 1855 mais des albums de dessins restaient à exhumer au moins un chef-d’œuvre : notre dessin. Nous remercions le docteur Pier Ludovico Puddu pour les précieux éléments relatifs à la provenance qui nous ont été transmis ainsi que pour son aide à la rédaction de cette notice. Nous remercions Monsieur Gérard Auguier d’avoir examiné ce dessin de visu et d’avoir confirmé son authenticité. Nous remercions Madame Valérie Bajou d’avoir examiné ce dessin de visu et d’avoir confirmé son authenticité. Antoine-Jean GROS, dit baron GROS (Paris, 1771 - Meudon, 1835 ) 22 x 16 cm The reappearance of this previously unknown drawing gives to Gros that which is rightfully his: the invention of Romanticism in French portraiture. Here, a few fierce pencil strokes were enough to create the most famous portrait of Napoleon Bonaparte. Youth, audacity and movement are all suggested in a burst of concise marks. Never has an artist's instinct been closer to that of the brilliant, impetuous general. His rapid, impulsive but succinct style expressed an ardent sensitivity, wrote Gérard Auguier in his preface to the catalogue of the Delestre collection sale (Artcurial, 22 March 2017), recalling the view of art historian Elie Faure that Gros represented the: “passage angoissé de l’immobilité de David au tumulte de Delacroix”. On 27 March 1796, Bonaparte took up his command of the Armée d’Italie - the field army of the French military used for operations in Italy - and began an offensive against the Kingdom of Sardinia and its Austrian allies. It was then that the famous episode of the Arcole Bridge took place. Let us retrace the main events of this crucial moment in the Italian campaign, which would cement the legend of Napoleon’s being the reincarnation of Alexander the Great. After defeating the Piedmontese and the Austrians, the Armée d’Italie advanced into Lombardy and laid siege to Mantua. In response, Austria sent two new armies under the command of Davidovitch and Alvinczy to prevent the city from being taken. Bonaparte, who had retreated to Verona, decided to focus his efforts on Alvinczy by cutting them off from their rearguard. He charged General Vaubois with containing Davidovitch and left 9,000 men to fight the Austrian Dagobert von Würmser, who was trapped in Mantua. Leaving Verona, Bonaparte launched his attack on 15 November (or 25 Brumaire). Augereau crosses the Adige river at Ronco but was stopped by heavy fire protecting the crucial passage of the Arcole bridge. Brandishing a flag, Augereau rushed to cross it but was forced to retreat in the face of enemy fire. The soldiers drew back in panic. Bonaparte, heeding only his own courage, grabbed a standard and sped to the head of the grenadiers to force the enemy barricade. On the left flank, Masséna managed to get through and rally the army, while on the right, General Guieu was able to reach Arcole. Yet Bonaparte remained concerned and withdrew with his men to Ronco, where he devoted himself to wearing down the Austrians until the moment he deemed favourable for a general attack. On the 16th, the manoeuvre was repeated and Augereau once again failed in front of the bridge, while Masséna advanced on the left and managed to push back the Austrian right wing. In the night of the 16th to the 17th, Bonaparte, thanks to the Andréossy engineers, managed to have a bridge built in front of Arcole, from where Augereau could take the village from the side, while Masséna attacked from the front. Everything went according to plan, and Masséna managed to capture the bridge at Arcole. Alvinczy, who had lost 10,000 men, retreated, just as Vaubois was being defeated by Davidovitch. Bonaparte, still covered in mud and with his eardrums ringing, travels to Milan to be reunited with Josephine with whom he was madly in love. It is in Milan that Bonaparte first meets Gros and, before returning to the front, agrees to spend a few minutes posing for this painter who so resembled him. Haggard to the point of gauntness, young and of the same generation, with the same long hair, and like Bonaparte, hungry for glory. In the midst of the Reign of Terror, Gros, a pupil of David since 1785, had obtained a pass from his master to travel to Italy in 1793. He had hoped to go to Rome, but political turmoil kept him in Genoa, a city that was neutral towards the French. There he suffered great hardship, giving the occasional drawing lesson to make ends meet. He obtained commissions for portraits thanks to Faitpoult, the French envoy to Genoa, and his wife. It was through them that hope finally appeared with a first commission for a “Figure de la République”. When Josephine gave in to Bonaparte's pleas to join him in Italy (they had married in March 1796), she stopped in Genoa, where she was received by the Faitpoult. Gros himself would say: “As I often visited Citizen Faitpoult, the French Republic's envoy to Genoa, and as he held me in some esteem and friendship, I asked him and his wife to introduce me to Citizen Bonaparte upon his arrival, in the sole hope of being able to paint the general's portrait, whose glory and the details I had been given about his appearance only served to heighten my desire (see Jean-Baptiste Delestre, Gros, sa vie et ses ouvrages, Paris, 1867, p.33). Gros showed Josephine two paintings to demonstrate his skills: a family portrait and the portrait of a man ‘with a stern appearance, as he had imagined Bonaparte’. Josephine was impressed and took the young artist with her to Milan. Once there, she introduced Gros to the great man. Gros recounts the words exchanged at that moment. “I have an important subject to tackle, or at least that is my ardent desire,” [began the artist]. ‘How so?’ [asked the general]. “Your portrait.” He bowed his head slightly and modestly. I was invited to stay for dinner.” Gros was also invited to stay at the Palazzo Serbelloni, where the couple was staying. The only sitting with the hurried general is recounted by Gros in a letter written to his mother on 17 Frimaire 1796: "I have just begun the portrait of the general; but the little time he gives me cannot even be called a sitting. I do not have time to choose my colours; I must resign myself to painting only the character of his physiognomy, and after that, to the best of my ability, to give it the appearance of a portrait. But I am encouraged, as he is already satisfied with the little that is on the canvas. I am very anxious to see the head almost finished." (Jean-Baptiste Delestre, op. cit. p.34). Our drawing, whose haste of execution can be seen in the liveliness of each gestural mark, was perhaps done on that day. The composition of the painting is ingenious. We can detect the general precept that Gros would later teach to his many pupils: "One must proceed as a whole; a whole of movement, of lengths, of light and shadow, an overall effect. You must not, he would say, concern yourself with one part without looking at the whole. Are you drawing the head? Look at the feet, and so on" (Jean-Baptiste Delestre, op. cit., p. 356). In the smoke of the cannons, Bonaparte has seized the flag and raised it vigorously above his head. Sword drawn, already moving forward, he looks back at his troops to urge them to follow him. His features, sharp as the blade of a knife, his aquiline nose, his mouth closed in a straight line, his determined air suggest a fearless hero instilling courage in his soldiers. His shoulder-length hair is tousled, the flag is fluttering, and the nervous strokes of pencil indicate a rush of air and movement. Death lurks around him, but Bonaparte is oblivious: he recklessly crosses the hail of bullets in order to galvanise his men and make them forget their fear. This “vivante image de l’héroïsme”, as Delacroix put it, was transposed into painting and purchased by Bonaparte. The success of the painting, exhibited first at the Salon of 1801 and since in the Louvre, has never waned. Bonaparte's action at Arcole is one of the rare occasions where Bonaparte stepped out of his role as commander-in-chief to show that he had the makings of a classic military hero, the likes of Bayard or Du Guesclin. Bonaparte, extremely pleased with Gros' portrait, immediately had it engraved by Giuseppe Longhi so that it could be distributed to the troops and in the papers reporting his triumph to the people. From that moment on, Gros' career was tied to the destiny of Napoléon Bonaparte. This drawing by Gros comes from the collection of the painter Vincenzo Camuccini (Rome, 1771–1844). An admirer of David, Camuccini (fig. 2) was a major painter of the Neoclassical movement. He found in the ideas of the Republic a striking correlation with the tragic subjects of Antiquity that so fascinated him. Like Appiani and so many others, he saw in the application of the principles of the Republic the renewal of his own country. He met Gros in Italy and travelled to Paris in 1810. Between 1814 and 1824, he served as inspector of paintings for the Papacy; in 1825, King Ferdinand I of Naples appointed him director of the Academy of Naples in Rome. The handwritten inventory of his collection describes our drawing as follows: Ritratto di Napoleone disegnato dal vero da Mr Gros allor che si trouvara in Genova come Generale {it was indeed Gros who was based in Genoa and who made a short trip to Milan to paint Bonaparte’s portrait}, all’eta di Venti Sei anni, stando egli stesso all’azione al pittore valendo che lo rappresentasse nell’azione di togliere la Bandiera al portabandiera alla Battaglia d’Arcole ed in tale azione ne dipinse il quadro Mr Gros (fig. 3). Vincenzo Camuccini's very important collection of old master paintings was largely sold by his heirs to the Duke of Northumberland in 1855, but albums of drawings remained to unearth at least one masterpiece: our drawing. We would like to thank Dr Pier Ludovico Puddu for the invaluable information that he gave us regarding the drawing’s provenance as well as for his assistance in the writing of this lot essay. We would also like to thank Gérard Auguier for having examined the work in person and confirming its authenticity and Valérie Bajou for having examined the work in person and confirming its authenticity.
ANTOINE-JEAN GROS (1771-1835) Femme assise avec enfants Dessin à la mine de plomb sur papier. Signé en bas à droite. Dimensions : 22,5 x 19 cm - Elève dans l’atelier de David et à l’Ecole Nationale des Beaux-Arts, il se perfectionne en Italie, à Gênes, Florence et Milan. C’est à Milan en 1796 que Bonaparte lui commande son premier tableau, il en est tellement satisfait qu’il le nomme inspecteur aux revues et à la tête de la commission de sélection des œuvres pour le Louvre. Il recevra ensuite plusieurs commandes importantes de l’Empereur et suite à l’exil de David en 1815, Gros reprend son atelier. Tant le changement de régime en 1815 que l’avènement de la peinture romantique le pousseront au suicide. Œuvres au Louvre, au Panthéon, au Château de Versailles, etc.
PORTRAIT DES AUGUSTE DE MARMONT (1774 – 1852), HERZOG VON RAGUSA Öl auf Leinwand. Randdoubliert. 80 x 62 cm. In dekorativem vergoldetem Rahmen. Beigegeben eine Studie von Dr. Carlos José Catalán, Navarra, Doktor der Kunstgeschichte und Kurator, vom 13. Februar 2018, in Kopie. Vor dunklem Hintergrund das Halbportrait des Mannes leicht nach rechts in Uniform mit Epauletten und hochstehendem silbernen Kragen, mit silbernen Knöpfen und Kordeln, zudem wird die linke Brustseite mit einer Reihe von Orden geschmückt, darunter das Großoffizierskreuz der Ehrenlegion, eine der wichtigsten Auszeichnungen Frankreichs. Diese Ehrenlegion wurde 1804 von Napoleon I ins Leben gerufen und gibt somit einen Hinweis auf die Datierung des Portraits. Der Dargestellte hat lockiges Haar, lange Koteletten und mit seinen braunen Augen blickt er aufmerksam und würdevoll aus dem Bild heraus. Teils rest., Retuschen. Anmerkung: Auguste de Marmon war ein französischer General und Adliger, der es bis zum Marschall des Kaiserreiches brachte und den Titel eines Herzogs von Ragusa erhielt. Er nahm an der Seite Napoleons am Ägyptenfeldzug und an verschiedenen Schlachten teil. (1430601) (18) Antoine-Jean Gros, 1771 Paris – 1835 near Meudon, attributed PORTRAIT OF AUGUSTE DE MARMONT (1774-1852), DUKE OF RAGUSA Oil on canvas. Edges relined. 80 x 62 cm. Accompanied by a survey from Dr Carlos José Catalán, Navarra, PhD in Art History and curator, dated 13 February 2018, in copy. Against a dark background, half-length portrait of a man, the left side of his chest adorned with several decorations, including the Grand Officer’s Cross of the Legion of Honor, one of France’s highest decorations. The Legion of Honor was established by Napoleon I in 1804 and therefore gives a clue to dating the portrait.
Attributed to (Baron) Antoine-Jean Gros (French 1771-1835) Oil Painting, Portrait of Light Cavalry Soldier, Hussar? Painting unsigned. Figure is dressed in richly detailed red jacket and fur lined green pelisse. In gilt wood frame. 1.75lbs Approx. Measurements: canvas 7.25" x 9.25"; framed 9.75" x 12.25". Domestic Shipping: $50
‡ BARON ANTOINE-JEAN GROS (FRENCH 1771-1835)PORTRAIT OF CHARLES X, 1825Oil on canvasInscribed 'Portrait de son Altesse Royale Monsieur Comte d'Artois / peint d'après nature en 1817 (sic) / par Antoine Jean Gros / ... / Mad. Augustin Dufresne décédée le 5 janvier 1842 et veuve de Antoine Jean baron Gros a par un article de son testament, supplié son Altesse Royale Monseigneur le duc de Bordeaux de vouloir bien agréer l'hommage de ce tableau' (verso)81.5 x 65cm (32 x 25½ in.)Provenance:Collection of the artist, until his death, 1835By descent to Mme. Augustin Dufresne (Mme. Gros), until her death, 1842Bequeathed to Henri d'Artois, duc de Bordeaux, later Comte de ChambordComtesse de la BéraudièreSale, Ader-Tajan, Tableaux Anciens, 15 December 1993, lot 88 (as a portrait of Monsieur Comte d'Artois)Private collection, USAExhibitedParis, Petit Palais, Gros, ses amis, ses élèves, 1936, no. 93LiteratureJ.B. Delestre, Gros, sa vie et ses ouvrages, 2nd ed., Paris, 1867, p. 269; G.D. Delestre, Antoine-Jean Gros 1771-1835, Paris, 1951, ill. fig. 58The present work is a preparatory study for the artist's large equestrian portrait of Charles X now in the Museum of Versailles. The sketch, which shows the figure half-length and dressed in military uniform, was executed from life on 29 May 1825, the day of Charles' coronation. The final portrait, in which the king is depicted on horseback as he reviews his troops at Saint Léonard, near Rheims, on May 31, was exhibited at the Salon of 1827. This military review, a custom of French kings, was intended by Charles to emphasise the continuity of the ancien régime.After the death of Louis XVIII (who died without issue), in September 1824, Charles-Philippe, comte d'Artois, succeeded to the throne as King Charles X. After just five years as King, Charles' reign ended with the July Revolution and the accession of his cousin, the duke of Orléans, as Louis-Philippe, king of the French.Rheims Cathedral can be seen in the upper right corner of both the sketch offered here, and in the finished painting. The Cathedral was an important symbol of legitimacy and authority with every French king since 1027, aside from Louis XVIII, having been crowned there.
‡ BARON ANTOINE- JEAN GROS (FRENCH 1771-1835) ULYSSES KILLING THE SUITORS OF PENELOPEPen and brown ink, black chalk, brown and grey wash, heightened with white15.5 x 22cm (6 x 8½ in.)Drawn circa 1798.Provenance:Sale, Christie's, London, Old Master Drawings, 6th July 1999, lot 203Related to the oil sketch datable to around 1798 formerly in the Germain Seligman collection, J. Richardson, The Collection of Germain Seligman, New York, 1979, no. 29. A comparable drawing is held in Besancon, Museé des Beaux-Arts, A. Sérullaz, Le néo-classicisme francais, exhib. cat., 1975, no. 75.
Attributed to (Baron) Antoine-Jean Gros (French 1771-1835) Oil Painting, Portrait of Light Cavalry Soldier, Hussar Painting unsigned. Figure is dressed in richly detailed red jacket and fur lined green pelisse. In gilt wood frame. 1.75lbs (BF4) Measurements: Approx. canvas 7.25" x 9.25"; framed 9.75" x 12.25" Condition: Painting has some crazing, a scratch at the eye, may have been re-stretched. Frame has display wear, scratches, wear, chips. Domestic Shipping: $50
PORTRAIT DES AUGUSTE DE MARMONT (1774–1852), HERZOG VON RAGUSA Öl auf Leinwand. Randdoubliert. 80 x 62 cm. In dekorativem vergoldetem Rahmen. Beigegeben eine Studie von Dr. Carlos José Catalán, Navarra, Doktor der Kunstgeschichte und Kurator, vom 13. Februar 2018, in Kopie. Vor dunklem Hintergrund das Halbportrait des Mannes leicht nach rechts in Uniform mit Epauletten und hochstehendem silbernen Kragen, mit silbernen Knöpfen und Kordeln, zudem wird die linke Brustseite mit einer Reihe von Orden geschmückt, darunter das Großoffizierskreuz der Ehrenlegion, eine der wichtigsten Auszeichnungen Frankreichs. Diese Ehrenlegion wurde 1804 von Napoleon I ins Leben gerufen und gibt somit einen Hinweis auf die Datierung des Portraits. Der Dargestellte hat lockiges Haar, lange Koteletten und mit seinen braunen Augen blickt er aufmerksam und würdevoll aus dem Bild heraus. Teils rest., Retuschen. Anmerkung: Auguste de Marmon war ein französischer General und Adliger, der es bis zum Marschall des Kaiserreiches brachte und den Titel eines Herzogs von Ragusa erhielt. Er nahm an der Seite Napoleons am Ägyptenfeldzug und an verschiedenen Schlachten teil. (1430601) (18) Antoine-Jean Gros, 1771 Paris – 1835 near Meudon, attributed PORTRAIT OF AUGUSTE DE MARMONT (1774–1852), DUKE OF RAGUSA Oil on canvas. Edges relined. 80 x 62 cm. Accompanied by a survey from Dr Carlos José Catalán, Navarra, PhD in Art History and curator, dated 13 February 2018, in copy. Against a dark background, half-length portrait of a man, the left side of his chest adorned with several decorations, including the Grand Officer's Cross of the Legion of Honor, one of France's highest decorations. The Legion of Honor was established by Napoleon I in 1804 and therefore gives a clue to dating the portrait.
Antoine-Jean Gros, called Baron Gros Paris 1771 - 1835 Meudon Studies for Napoleon Pardoning the Cairo Rebels Recto: Kneelling Arab figures Verso: Bonaparte on horseback Pen and brown ink over traces of black chalk on paper irregularly cut and completed 369 x 328 mm
Antoine-Jean Gros (1771 Paris - 1835 Meidon): Figure study, Two ladies in Biedermeier dresses with a group of Napoleonic soldiers, 19th century, Pen drawing Technique: Pen drawing and Pencil on Transparent paper Stamp: Verso Collector's stamp, Lugt no.: 3779. Johann Kühn. Vienna. 20th century Date: 19th century Description: This artwork shows a lively street scene with soldiers flanked by two elegant ladies carrying parcels. Behind them are other figures, including sketched soldiers. The arrangement and depiction emphasise social interactions in public space. Keywords: street scene; soldier; elegant ladies; parcels; social interaction; public space; sketch; drawing; figures; Victorian; uniforms; fashion; military; women; everyday scene; historical clothing; society; public, 19th century, Biedermeier, Figurative, France, Size: Transparent paper: 20,1 cm x 29,0 cm (7,9 x 11,4 in)
Baron Antoine-Jean Gros (French, 1771-1835), Arab of the Desert, 1817, lithograph on paper. The composition depicts an Arab figure with a horse and attendant set against a desert landscape, rendered with narrative detail characteristic of Gros's contribution to French Orientalism. Dated 1817 in the lower left corner and titled at the bottom center. The work reflects Gros's refined draftsmanship and compositional clarity. Presented under glass in a frame. Approximate sight size: 8.5" x 11". Created with SnapGenie Dimensions: 14.5 X 17 X .75 in. Condition: Good overall antique condition with mild surface wear consistent with age and light foxing visible along the top of the work. The frame exhibits mild storage wear along the edges and corners. This condition statement reflects opinion, not fact. Bidders are encouraged to inspect in person or by agent. Estate fresh to the market. Shipping: Hill Auction Gallery offers in-house ground contiguous USA domestic shipping, excluding New Mexico, for $95 plus insurance. Gallery will refer third party shippers for international buyers. Purchaser pick up available upon request. Local Delivery: Florida door-to-door hand delivery service available for this lot; contact Toti@Zemaqua.com for an estimate.
Attributed to (Baron) Antoine-Jean Gros (French 1771-1835) Oil Painting, Portrait of Light Cavalry Soldier, Hussar Painting unsigned. Figure is dressed in richly detailed red jacket and fur lined green pelisse. In gilt wood frame. 1.75lbs (BF4) Measurements: Approx. canvas 7.25" x 9.25"; framed 9.75" x 12.25" Condition: Painting has some crazing, a scratch at the eye, may have been re-stretched. Frame has display wear, scratches, wear, chips.
After Antoine-Jean Gros (French 1771-1835) ‘Napoleon on the Battlefield of Eylau’, etching, dated ‘July 1833’, with an ink stamp to the margin. (57cm high x 77.5cm wide to the margin) Qty: (1) A notable tear in the paper running from the lower left, approximately 10cm into the inked area of the picture. Slight toning. The paper appears to have been trimmed and later re-mounted to give the impression of a plate mark.
Baron Antoine-Jean Gros (French, 1771-1835), Arab of the Desert, 1817, lithograph on paper. This artwork portrays an Arab figure with a horse and attendant in a desert landscape, capturing Gros's detailed narrative style and his contributions to French Orientalism. The piece is dated 1817 in the lower left corner, with the title at the bottom center. The lithograph reflects Gros's exceptional draftsmanship and compositional skill. Presented under glass in a frame. Approximate sight size: 8.5" x 11". Created with SnapGenie Dimensions: 14.5 X 17 X .75 in. Condition: Good overall antique condition with mild surface wear consistent with age and light foxing visible along the top of the work. The frame exhibits mild storage wear along the edges and corners. This condition statement reflects opinion, not fact. Bidders are encouraged to inspect in person or by agent. Estate fresh to the market. Shipping: Hill Auction Gallery offers in-house ground contiguous USA domestic shipping, excluding New Mexico, for $95 plus insurance. Gallery will refer third party shippers for international buyers. Purchaser pick up available upon request. Local Delivery: Florida door-to-door hand delivery service available for this lot; contact Toti@Zemaqua.com for an estimate.
Antoine-Jean Gros (1771 Paris - 1835 Meidon): Figure study, Two ladies in Biedermeier dresses with a group of Napoleonic soldiers, 19th century, Pen drawing Technique: Pen drawing and Pencil on Transparent paper Stamp: Verso Collector's stamp, Lugt no.: 3779. Johann Kühn. Vienna. 20th century Date: 19th century Description: This artwork shows a lively street scene with soldiers flanked by two elegant ladies carrying parcels. Behind them are other figures, including sketched soldiers. The arrangement and depiction emphasise social interactions in public space. Keywords: street scene; soldier; elegant ladies; parcels; social interaction; public space; sketch; drawing; figures; Victorian; uniforms; fashion; military; women; everyday scene; historical clothing; society; public, 19th century, Biedermeier, Figurative, France, Size: Transparent paper: 20,1 cm x 29,0 cm (7,9 x 11,4 in)
Attributed to (Baron) Antoine-Jean Gros (French 1771-1835) Oil Painting, Portrait of Light Cavalry Soldier, Hussar Painting unsigned. Figure is dressed in richly detailed red jacket and fur lined green pelisse. In gilt wood frame. 1.75lbs Measurements: Approx. canvas 7.25" x 9.25"; framed 9.75" x 12.25" Condition: Painting has some crazing, a scratch at the eye, may have been re-stretched. Frame has display wear, scratches, wear, chips. Domestic Shipping: $60
Antoine-Jean Gros (1771 Paris - 1835 Meidon): Figure study, Two ladies in Biedermeier dresses with a group of Napoleonic soldiers, 19th century, Pen drawing Technique: Pen drawing and Pencil on Transparent paper Stamp: Verso Collector's stamp, Lugt no.: 3779. Johann Kühn. Vienna. 20th century Date: 19th century Description: This artwork shows a lively street scene with soldiers flanked by two elegant ladies carrying parcels. Behind them are other figures, including sketched soldiers. The arrangement and depiction emphasise social interactions in public space. Keywords: street scene; soldier; elegant ladies; parcels; social interaction; public space; sketch; drawing; figures; Victorian; uniforms; fashion; military; women; everyday scene; historical clothing; society; public, 19th century, Biedermeier, Figurative, France, Size: Transparent paper: 20,1 cm x 29,0 cm (7,9 x 11,4 in)
Circle of Antoine-Jean Gros, known as Baron Gros, French 1771-1835- Study of a female head with a downward gaze, wearing a veil; oil on card, bears indistinct inscription (lower left), 30.8 x 24.3 cm. Provenance: Private Collection, UK.
GROS, ANTOINE JEAN BARON (ZUGESCHRIEBEN) 1771 Paris - 1835 Meudon (nach Nicolas Poussin) Erminia und Tancred Federzeichnung in Braun über Spuren von schwarzer Kreide. R. u. Sammlungsstempel Louis-Antoine et Véronique Prat (Lugt 3617). Min. fleckig. 12,4 x 17,6 cm. Rahmen. Seitenverkehrte Kopie nach dem Gemälde Poussins im Barber Institut Birmingham. Vgl. Drouot Richelieu, Paris, 25. März 2010, Lot 174.
ANTOINE-JEAN GROS, CALLED BARON GROS (PARIS 1771-1835 MEUDON) A sheet of studies of cavalry, horses and two heads red chalk, pen and brown ink 7 3⁄8 x 7 ½ in. (18.6 x 19 cm)
T.W. Huffman after Boron Antoine-Jean Gros (1771-1835) Print published by I.W. Laird 184. Frame is in good condition. Frame measures approximately 34in x 27in. Image measures approximately 23.5in x 16.5in NR30076 SA
Attributed to Baron Antoine-Jean Gros (French 1771-1835), 'Possible Self Portrait,' oil on canvas, depicting a young male painter holding an artist's pallet and paint brushes on a dark background, apparently unsigned, in a gilt frame. Partial label en verso Shepherd Gallery, New York, NY, "Ingres & Delacroix through Degas & Puvis de Chavannes: The Figure in French Art 1800-1870", Spring 1975; label en verso referencing 'Self Portrait' by Baron Antoine-Jean Gros. Approximate dimensions: canvas h. 18"; w. 14"; frame h. 27.125", w. 23", d. 3.75"
Attributed to (Baron) Antoine-Jean Gros (French 1771-1835) Oil Painting, Portrait of Light Cavalry Soldier, Hussar? Painting unsigned. Figure is dressed in richly detailed red jacket and fur lined green pelisse. In gilt wood frame. 1.75lbs Approx. Measurements: canvas 7.25" x 9.25"; framed 9.75" x 12.25". Domestic Shipping: $25
École française vers 1800 Entourage de Antoine-Jean GROS dit Baron GROS (1771 - 1835) Portrait présumé du Duc de Flandres en buste vu de face Huile sur papier marouflé sur panneau préparé (griffures et restaurations) Dimensions : 15 x 13,5 cm Expert : Alexis Bordes
Attributed to (Baron) Antoine-Jean Gros (French 1771-1835) Oil Painting, Portrait of Light Cavalry Soldier, Hussar? Painting unsigned. Figure is dressed in richly detailed red jacket and fur lined green pelisse. In gilt wood frame. 1.75lbs Approx. Measurements: canvas 7.25" x 9.25"; framed 9.75" x 12.25". Domestic Shipping: $25
"Napoleon Bonaparte" Print on paper After Antoine Jean Gros (1771-1835) and engraved by William Dickinson (1746-1823) Europe, 19th century (faults and defects) 52x36,5 cm
Attributed to Antoine Jean Gros A concert by a girl and two boys oil on canvas; unframed 106 x 84 cm Dorotheum Vienna, 21 October 2014, no. 114; private collection, Austria
ANTOINE-JEAN GROS, BARON GROS (PARIS, 1771 - MEUDON, 1835) Recto : Etudes de figures pour François Ier et Charles QUINT à l’abbaye de Saint Denis; Verso : Etude pour un portrait équestre, de Joachim MURAT, roi de Naples. Crayon noir annoté ‘doublé’ à la plume et encre brune au verso (Bords irréguliers) Sans cadre H: 27 cm - L: 31,50 cm Provenance : - Collection Jean-Baptiste DELESTRE (n° 47 de son recueil de dessins du baron Gros); - Collection Gaston Delestre ; - Puis par descendance - Gros, ses amis et ses élèves’, Paris, Petit Palais, mai - juillet 1936, p. 228, n°442 Commentaire : Une composition commémorant la rencontre de Charles Quint et de François Ier à Saint Denis le 13 janvier 1540 fut demandée à Gros dans le cadre de la grande commande pour le décor de la sacristie de l’abbaye. Deux versions du sujet furent travaillées par le peintre, l’une représentant les deux souverains à cheval devant l’abbaye, dont nous apercevons un croquis à gauche de notre dessin et qui semble ne pas avoir été retenue. Le tableau définitif, conservé au musée du Louvre, fut exposé aux Salons de 1812 et de 1814 (fig. 1).
BARON ANTOINE-JEAN GROS (PARIS 1771-1835 MEUDON) Le général Bonaparte remettant le sabre d'honneur aux grenadiers de la Garde après la bataille de Marengo BARON ANTOINE-JEAN GROS (PARIS 1771-1835 MEUDON) /Le général Bonaparte remettant le sabre d'honneur aux grenadiers de la Garde après la bataille de Marengo/ huile sur toile 42 x 33 cm. (16 1/2 x 13 in.)
Attributed to (Baron) Antoine-Jean Gros (French 1771-1835) Oil Painting, Portrait of Light Cavalry Soldier, Hussar? Painting unsigned. Figure is dressed in richly detailed red jacket and fur lined green pelisse. In gilt wood frame. 1.75lbs Approx. Measurements: canvas 7.25" x 9.25"; framed 9.75" x 12.25". Domestic Shipping: $25
Antoine Jean GROS dit Le Baron GROS (Paris, 1771 – Meudon, 1835) Le roi Charles X visitant les peintures de Gros à la coupole du Panthéon, 3 novembre 1824 Pierre noire et encre brune 25 x 35 cm Provenance : - Collection d’Édouard, duc de Trévise (1883-1946) - Par descendance, collection particulière. Notre dessin est préparatoire au tableau de Louis-Nicolas Lemasle (Paris, 1788 – 1876) conservé au château de Versailles (inv. M 5842), en dépôt à Compiègne, Musée du Château (C. 173). Porte une inscription de Lemasle à la plume dans un cartouche sous le dessin : « Charles X disant à Mr Gros, Lorsque je vous écrirai maintenant Je mettrai à Mr Le Baron Cette croquade a été faite par le Célèbre Gros, pour me faciliter l’exécution du tableau que m’avait commandé Le Roi Charles X, ce tableau était à Rambouillet en 1830. » Inscription postérieure, à la mine de plomb : « Dessin provenant de l’Hotel de Fersen au coin Fg St Honoré et la rue de Matignon. Acheté au moment de sa démolition 5 Fev. 1925 » Piqûres, rousseurs Préparatoire au tableau de Louis-Nicolas Lemasle, notre dessin n’est pourtant pas issu de sa main. Il s’agit d’une oeuvre du baron Gros, prêtant ses talents de dessinateurs au jeune artiste, de 17 ans son cadet. Ainsi, Lemasle produira l’oeuvre peinte, à la gloire de la monarchie, mais également de celui qu’il admire : le sujet représente Charles X, accompagné du duc d’Angoulême, visitant le décor de la coupole du Panthéon décorée des peintures de Gros. Les quelques lignes manuscrites sous l’oeuvre confirment cette identification, Lemasle y rend grâce à Gros : « Cette croquade a été faite par le Célèbre Gros, pour me faciliter l’exécution du tableau que m’avait commandé Le Roi Charles X, ce tableau était à Rambouillet en 1830. » Expert : M. Alexis Bordes - 06 10 80 64 34
Attributed to ANTOINE JEAN GROS (France,1771 -1835). "Auguste de Marmont, Duke of Ragusa". Oil on canvas. Attached is a study by Don Carlos José Catalán, doctor in art history and conservator. It shows restorations. It has a stamp on the back. It conserves frame of epoch, c. 1820. Measurements: 80 x 62.5 cm; 102 x 85 cm (frame). Following the study of Don Carlos José Catalán, the protagonist of this work is Auguste Frédéric Louis Viesse de Marmont (France,1774 - Venice1852) was a French general and nobleman who rose to the rank of Marshal of the Empire and received the title of Duke of Ragusa. In the War of Independence, Marmont succeeded André Masséna in command of the French army in northern Spain, but lost decisively at the Battle of Salamanca. The son of a former army officer who belonged to the petty nobility, Marmont adopted the principles of the Revolution. His love of the military soon showed, and his father took him to Dijon to learn mathematics before he entered the artillery. There he met Napoleon Bonaparte, whom he renewed after obtaining his commission when he served in Toulon. Marmont became aide-de-camp to General Bonaparte, remained with him during his fall from grace and accompanied him to Italy and Egypt, earning distinction and promotion to brigadier general. In 1801, he became inspector general of artillery and in 1804, grand officer of the Legion of Honour. However, he was very disappointed to be omitted from the list of officers who were appointed marshals. In 1805 he was ordered to take possession of Dalmatia with his army and occupied the Republic of Ragusa. For the next five years, he was civil and military governor of Dalmatia and in 1808, he was appointed Duke of Ragusa. After the fall of Napoleon, Marmont remained loyal to the restored Bourbon King Louis XVIII. He was appointed Peer of France and Major General of the Royal Guard, and in 1820, Knight of the Order of the Holy Spirit and Grand Officer of the Order of Saint Louis. Marmont accompanied the king into exile and lost his marshalate. His desire to return to France was never satisfied and he wandered through central and eastern Europe, finally settling in Vienna, where he was welcomed by the Austrian government. Ros studied with Jacques-Louis David in Paris and began an independent artistic career during the French Revolution. Forced to leave France, he moved to Genoa and witnessed the nearby Battle of Arcole (1796). Inspired by an event during the battle, he produced a portrait of the French commander, Napoleon Bonaparte, then a newly promoted general. The portrait brought Gros to public attention and won Napoleon's patronage. After travelling with Napoleon's army for several years, he returned to Paris in 1799. Gros painted several large paintings of battles and other events in Napoleon's life. These were mostly neoclassical in style, but Napoleon on the Battlefield of Eylau adopted a more realistic depiction of the horrors of war. Gros also painted portraits of French army officers and members of French high society. After Napoleon's fall, he changed his artistic approach and produced more historical paintings, which art historians consider less impressive than his earlier works.
Charles Levier (French 1920-2003) Oil Painting on board, Modernist Cityscape, narrow street, Signed "Levier" lower right. c1960. In gilt rustic wood frame. 15.5lbs Earlier in his career, sold paintings under at least 6 different names, aka Verrier, Villard, Narbonne, Jacquou, and Bellevois. Approx. Measurements: 18.75" x 48"; 27" x 56.25" framed. Domestic Shipping: $265
Attributed to Antoine-Jean Baron Gros French, 1771-1835 Portrait of a Young Artist, said to be Theophile Langlois de Chevreville (1805-1842) Oil on canvas 31 7/8 x 25 9/16 inches (81 x 65 cm) Provenance: Purchased from the Estate of Berry B. Tracy, New York in 1987 Newhouse Galleries, New York Private collection Theophile Langlois de Chevreville was a student of Baron Gros. He later worked as an artist in Rome, Geneva, Rouen and Paris. The attribution of this portrait to Baron Gros is traditional. It was recently reviewed by five scholars and curators in the field of French portraiture. Two said that they believed that the attribution to Baron Gros was correct, although they were not at liberty to be quoted owing to their professional positions. The others preferred not to comment for the same reason. None disputed the attribution. It is our belief that the traditional attribution to Baron Gros is correct. C
Tableau HST -Portrait d'homme- Attribué à *GROS A.* (Antoine Jean) (1771-1835) 42.5x34cm cadre brun painting oil on canvas - Portrait of a man - attributed to GROS Antoine Jean
portrait of a lady wearing lace bonnet, on ivory, signed lower right Gros, Vellum packed, indistinctly inscribed Ariandee, possibly dated 1773, image is 4.5cm D, comes in square brass frame with material mount, scroll work detail, fold-out easel stand
Erminia und Tancred (nach Nicolas Poussin) GROS, ANTOINE JEAN BARON (ZUGESCHRIEBEN) (1771 Paris - 1835 Meudon) Federzeichnung in Braun über Spuren von schwarzer Kreide. R. u. Sammlungsstempel Louis-Antoine et Véronique Prat (Lugt 3617). Min. fleckig. 12,4 x 17,6 cm. Rahmen. Seitenverkehrte Kopie nach dem Gemälde Poussins im Barber Institut Birmingham. Sh. Drouot Richelieu, Paris, 25. März 2010, Lot 174 .
Antoine-Jean GROS (1711-1835) Portrait de Madame Sophie Geneviève DESMOUCEAUX, née CLAUSSE (née en 1770) Crayon noir et estompe 27 x 21,5 cm Annoté « Gros » en bas à droite Insolé, taches, mouillure Au verso de l’encadrement, un mot signé Gros : « Je prie Monsieur Desmouceaux de ne pas oublier nos petites affaires et qu’il n’y ait point de retard des premières intentions prises. Mille amitiés, Gros 29 juin »
Antoine Jean, Baron GROS (1771-1835). Ecole française. « La Reine Caroline de Naples ». Esquisse au crayon représentant Caroline assise devant le Vésuve. 17 x 12 cm. Encadré sous verre. B.E. Provenance : Ancienne collection Gaston Delestre. OEuvre en rapport : Le pendant de notre esquisse est sans doute le célèbre portrait du Roi Murat, à cheval, devant le Vésuve, conservé au Louvre et exposé au Salon de 1812.
Antoine-Jean GROS, baron GROS Paris, 1771 - Meudon, 1835 Solon le sage admonestant Crésus Plume et encre brune Légendé ''Cresus'' et ''Solon'' dans le bas Sans cadre Solon the wise admonishing Croesus, pen and brown ink, inscribed, by A. J. Gros h: 11,60 w: 19,40 cm Commentaire : La rencontre entre le roi Crésus et le sage athénien Solon est relatée par Hérodote et par Plutarque. Exhibant son extrême richesse avec orgueil devant Solon, Crésus lui demande quel est selon lui le plus heureux des hommes, persuadé que la réponse du sage le désignera. Solon prodigue alors une véritable leçon à Crésus, indiquant que l''on ne peut dire d''un homme qu''il fut heureux qu''au moment de sa mort, que celle-ci soit glorieuse au combat ou sereine après une longue vie.
Antoine-Jean GROS, baron GROS Paris, 1771 - Meudon, 1835 Recto : Jeune femme pleurant sur un tombeau ; Verso : Etudes de couple Plume et encre brune (Pliure, petites taches) Sans cadre h: 24,50 w: 17 cm Provenance : Collection Jean-Baptiste Delestre ; Collection Gaston Delestre ; Puis par descendance Bibliographie : Jean-Baptiste Delestre, 'Gros, sa vie et ses ouvrages', Paris, 1867, p. 375 Estimation 800 - 1 200 €
