Collection Gérard Lévy: Rêveries fin-de siècle

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Carlos SCHWABE (Altona, 1866 - Paris, 1926) Woman with cradle among flowers or The Parque Watercolour gouache over pencil lines, passed through with a stylus Signed 'CARLOS SCHWABE' at bottom Bears several labels on verso The Fate, watercolour gouache on pencil strokes, signed, by C. Schwabe 10.43 x 6.3 in. 26.5 x 16.0 cm Provenance: Gabriel Séailles Collection (1852-1923) ; Collection of his wife Octavie Séailles, née Marie Virginie Octavie Paul (1855-1944) [label on reverse]; Then by descent to his daughter Andrée Séailles (1891-1983); Acquired from Andrée Séailles in September 1964 by Gérard Lévy; Gérard Lévy Collection; Then by descent Exhibitions: Neue Kunst in des Schweiz zu Beginn unseres Jahrhunderts, Zurich, Kunsthaus, 19 August - 24 September 1967, cat. no. 224: "Parze" [label on reverse]. Il Sacro e il profano, nell'arte dei Simbolisti, Turin, Galleria Civica d'Arte Moderna, June-August 1969, cat. no. 196 reproduced p.174: "Nel giardino in fiore" [label on reverse] The Sacred And Profane In Symbolist Art, Toronto (Canada), Art Gallery of Ontario, 1-26 November 1969, cat. no. 178 : "Parque" [label on reverse] Bibliography: Art et Décoration, 1st half 1905, reproduced [outside text] p. 69: "aquarelle de Carlos Schwabe" [watercolour by Carlos Schwabe]. Jumeau-Lafond, Jean-David, Carlos Schwabe, Symboliste et visionnaire, ACR Edition, 1994, reproduced p. 117: "Femme au berceau parmi les fleurs" or "La Parque" (work dated circa 1900) Born in Altona, Germany, Carlos Schwabe first lived in Switzerland, where he studied with Joseph Mettey at the École des arts industriels in Geneva, before moving to Paris in 1884. Self-taught, he did not follow any academic training and exhibited for the first time in 1891 at the Salon de la Société Nationale des Beaux-Arts. Although a recluse by temperament, he became involved in Parisian literary and artistic circles and became friends with Sâr Péladan. In 1892, he designed the poster for the first Salon de la Rose+Croix, and the works he exhibited there, which attracted considerable attention, were manifestos of symbolism, expressing a mystical art that resonated with the esoteric philosophy of the Sâr. Taking part in the major development of the bibliophilic world at the time, he devoted himself to illustration, supplying a considerable number of drawings for texts by Mallarmé, Baudelaire, Maeterlinck, Hérédia and Loüys. Very active in France, Schwabe also exhibited regularly at the Munich Secession from 1893, in Brussels and Geneva, and became a member of the Vienna Secession in 1897. Faithful to his aesthetic ideal right up until his death in 1926, the artist was always keen to keep his brush away from the modernist experiments carried out by the avant-gardes at the beginning of the last century. The perfection of his drawings and his sense of decoration earned Carlos Schwabe a place among the most important illustrators of his time. Produced several years after the first, somewhat angular and hieratic Parque, our watercolour bears witness to the technical and stylistic changes in Carlos Schwabe's work in the last decade of the 19th century. In addition to greater graphic flexibility, it seems that the artist was moving towards a more bucolic, peaceful and serene world, no doubt reflecting a certain isolation accentuated by the rarity of commissions. Stripped of any esoteric or didactic language, the composition is simpler, more accessible and familiar. Surrounded by meticulously flowered vegetation, the figure is seductive and carnal, her face bathed in soft light, her eyes lowered, more taken up by her maternal affection than by any mystical outpouring. In this sense, the work retains all its symbolist essence, delivering the delicate poetry of a maternity that is still a little melancholy, but sublimated by the grace of a nature that resembles a secret garden. We would like to thank Mr Jean-David Jumeau-Lafond for confirming the authenticity of this work by means of a visual examination on 28 November 2024 and for his invaluable assistance in writing this notice. Carlos SCHWABE (Altona, 1866 - Paris, 1926) 26.5 x 16.0 cm Born in Altona in Germany, Carlos Schwabe first lived in Switzerland, where he trained with Joseph Mettey at the École des arts industriels in Geneva, before settling permanently in Paris in 1884. Self-taught, he did not follow any academic training and exhibited for the first time in 1891 at the Salon de la Société Nationale des Beaux-Arts. Although a recluse by temperament, he became involved in Parisian literary and artistic circles and became friends with Sâr Péladan. In 1892, he designed the poster for the first Salon de la Rose+Croix, and the works he exhibited there, which attracted considerable attention, were manifestos of symbolism, expressing a mystical art that resonated with the esoteric philosophy of the Sâr. Taking part in the major development of the bibliophilic world at the time, he devoted himself to illustration, supplying a considerable number of drawings for texts by Mallarmé, Baudelaire, Maeterlinck, Hérédia and Loüys. Very active in France, Schwabe also exhibited regularly at the Munich Secession from 1893, in Brussels and Geneva, and became a member of the Vienna Secession in 1897. Faithful to his aesthetic ideal right up until his death in 1926, the artist was always keen to keep his brush away from the modernist experiments carried out by the avant-gardes at the beginning of the last century. The perfection of his drawings and his sense of decoration earned Carlos Schwabe a place among the most important illustrators of his time. Produced several years after the first Parque, with its slightly angular, hieratic archaism, our watercolour bears witness to the technical and stylistic developments in Carlos Schwabe's work in the last decade of the 19th century. In addition to greater graphic flexibility, it seems that the artist was moving towards a more bucolic, peaceful and serene world, no doubt reflecting a certain isolation accentuated by the rarity of commissions. Stripped of any esoteric or didactic language, the composition is simpler, more accessible and familiar. Surrounded by meticulously flowered vegetation, the figure is seductive and carnal, her face bathed in soft light, her eyes lowered, more absorbed in her maternal affection than in any mystical outpouring. In this sense, the work retains all its symbolist essence, delivering the delicate poetry of a maternity that is still a little melancholy, but sublimated by the grace of a nature that resembles a secret garden. We would like to thank Mr Jean-David Jumeau-Lafond for confirming the authenticity of this work through a visual examination on 28 November 2024, and for his invaluable help in writing this notice.

Carlos SCHWABE (Altona, 1866 - Paris, 1926) Study for The Smoking Heart Graphite, Indian ink, gouache and watercolour Signed and dated 'CARLOS SCHWABE 93' in Indian ink lower left and a second time 'carlos schwabe 95' in pencil in the centre Bears several labels on verso (Insolate) Study for 'The Smoking Heart', graphite, Chinese ink, gouache and watercolour, signed and dated, by C. Schwabe 11.42 x 8.86 in. 29.0 x 22.5 cm Provenance: Gérard Lévy Collection ; Then by descent Exhibitions: French Symbolist Painters, London, Hayward Gallery, 7 June - 23 July 1972, Liverpool, Walker Arts Gallery, 9 August - 17 September 1972, cat. no. 310: "Study for The Smoking Heart", reproduced p. 141 [label on verso]. El Simbolismo en la Pintura Francesa, Madrid, Museo Espanol de Arte Contemporeano, October-November 1972, Barcelona, Museo de Arte Moderno, December 1972, cat. no. 249: "Estudio Para 'El Corazon Humante'", p. 107 [label on reverse] Symbolisme et naturalisme : Carlos Schwabe, illustrateur du Rêve de Zola, Paris, Musée d'Orsay, 28 June - 25 September 1994, " Étude pour 'Le Cœur fumant'" Bibliography: Jumeau-Lafond, Jean-David, Carlos Schwabe, Symboliste et visionnaire, ACR Edition, 1994, reproduced on p. 101: "Study for 'The Smoking Heart'". At the same time as Carlos Schwabe was working on the violent, tormented compositions of Les Fleurs du mal, he was also using his more flexible drawing to depict the Virgin Mary. In a preparatory drawing for L'Immortalité, one of the tales in Edmond Haraucourt's L'Effort, which the artist illustrated in 1894, depicting the smoking heart, the symbol of Faith, Schwabe had drawn a woman whose upturned face and distraught gaze expressed all her mysticism. Imbued with gentleness, this feminine image of religious ecstasy, whose features are directly borrowed from his wife Maria, was the starting point for a serial work on the Mother of God, undertaken by Schwabe between 1895 and 1899. We would like to thank Mr Jean-David Jumeau-Lafond for confirming the authenticity of this work by means of a visual examination on 28 November 2024 and for his invaluable assistance in writing this notice. Carlos SCHWABE (Altona, 1866 - Paris, 1926) 29.0 x 22.5 cm At the same time as Carlos Schwabe was working on the violent, tormented compositions of Les Fleurs du mal, he was also using his more flexible drawing to depict the Virgin Mary. In a preparatory drawing for L'Immortalité, one of the tales in Edmond Haraucourt's L'Effort, which the artist illustrated in 1894, depicting the smoking heart, the symbol of Faith, Schwabe had drawn a woman whose upturned face and distraught gaze expressed all her mysticism. Imbued with gentleness, this feminine image of religious ecstasy, whose features are directly borrowed from his wife Maria, was the starting point for a serial work on the Mother of God, undertaken by Schwabe between 1895 and 1899. We would like to thank Mr Jean-David Jumeau-Lafond for confirming the authenticity of this work by means of a visual examination on 28 November 2024, and for his invaluable assistance in writing this notice.

Carlos SCHWABE (Altona, 1866 - Paris, 1926) Drawing for an almanac, Day and Night Black pencil, charcoal and Indian ink Monogrammed and dated '1906/CS' lower left No frame Drawing for an almanac, The Day and Night, black pencil, charcoal and Indian ink, dated, by C. Schwabe 12.2 x 11.02 in. 31.0 x 22.0 cm Provenance: Gérard Lévy Collection ; Then by descent Bibliography: Jumeau-Lafond, Jean-David, Carlos Schwabe, Symboliste et visionnaire, ACR Edition, 1994, reproduced p. 195: "Le Jour et la nuit, dessin pour un almanach". Depicting a languorous embrace between the allegories of day and night, represented respectively by a naked man and a woman draped entirely in black, our drawing relates to a project for an almanac for the publisher Édouard Pelletan. A number of beautiful small sketches have survived from this project, whose movements and motifs suggest a cosmological iconography. We would like to thank Mr Jean-David Jumeau-Lafond for confirming the authenticity of this work by means of a visual examination on 28 November 2024, and for his invaluable assistance in writing this notice. Carlos SCHWABE (Altona, 1866 - Paris, 1926) 31.0 x 22.0 cm Depicting a languorous embrace between the allegories of day and night, represented respectively by a naked man and a woman draped entirely in black, our drawing relates to a project for an almanac for the publisher Édouard Pelletan. A number of beautiful small sketches have survived from this project, whose movements and motifs suggest a cosmological iconography. We would like to thank Mr Jean-David Jumeau-Lafond for confirming the authenticity of this work by means of a visual examination on 28 November 2024, and for his invaluable assistance in writing this notice.

Carlos SCHWABE (Altona, 1866 - Paris, 1926) Spleen and Ideal, after Les Fleurs du mal by Charles Baudelaire Watercolour and gouache on pencil lines and scraped paper Signed 'CARLOS SCHWAB' lower left Bears numerous labels on the reverse relating to various exhibitions (Oxidation with white gouache, small tear restored lower right) In its original frame chosen by the art critic Gabriel Séailles Spleen and Ideal, illustration for 'The Flowers of Evil', signed, by Charles Baudelaire, watercolour gouache on pencil and scraped paper strokes, by C. Schwabe 10.63 x 7.87 in. 27.0 x 20.0 cm Provenance: Gabriel Séailles Collection (1852-1923) ; Collection of his wife Octavie Séailles, née Marie Virginie Octavie Paul (1855-1944) [label on reverse]; Then by descent to his daughter Andrée Séailles (1891-1983); Acquired from her on 4 September 1970 by Gérard Lévy; Gérard Lévy Collection; Then by descent Exhibitions: Carlos Schwab exhibition, Paris, Galerie Georges Petit, 19-30 April 1927, cat. no. 86 p. 15: "Spleen et Idéal - belongs to Mme Gabriel Séailles". L'Art et la Vie en France à la Belle Époque, Île de Bendor, Fondation Paul Ricard, September - October 1971, cat. no. 282: "Spleen et Idéal" [label on reverse]. French Symbolist Painters, London, Hayward Gallery, 7 June - 23 July 1972, Liverpool, Walker Arts Gallery, 9 August - 17 September 1972, cat. no. 313 : "Spleen et Ideal", reproduced p. 142 [label on reverse] El Simbolismo en la Pintura Francesa, Madrid, Museo Espanol de Arte Contemporeano, October - November 1972, Barcelona, Museo de Arte Moderno, December 1972, cat. no. 252: "Esplin E Ideal", p. 108 [label on reverse] Symbolisme et naturalisme : Carlos Schwabe, illustrateur du Rêve de Zola, Paris, Musée d'Orsay, 28 June - 25 September 1994, "Spleen et Ideal" [label overleaf]. Symbolism in Europe, Takamatsu (Japan), Municipal Museum of Fine Arts, 1 November - 8 December 1996, Tokyo (Japan), Bunkamura Museum of Fine Arts, 14 December 1996 - 9 February 1997, Himeji (Japan), Municipal Museum, 15 February - 30 March 1997, cat. no. 107: "Spleen and Ideal" reproduced on p. 153 [Japanese version] ; p. 157 [French version] [back label]. Il Simbolismo da Moreau a Gauguin a Klimt, Ferrara, Palazzo dei Diamanti, 8 February - 20 May 2007, Roma, Galleria Nazionale d'Arte Moderna, 7 June - 16 September 2007, cat. no. 98: "Spleen e Ideale", reproduced p. 273 [label on reverse] Divine Decadence, Gaasbeek (Belgium), Kastel van Gasbeek, 27 March - 23 June 2016, reproduced p. 86 : "Spleen et Ideal". Bibliography: Schurr, Gérald, "Les peintres symbolistes", L'Estampille, no. 19, March 1971, reproduced on p. 61: "Spleen et Idéal". Man & Woman, Vol. 2, part 25, January 1971, reproduced p. 673 Jumeau-Lafond, Jean-David, Carlos Schwabe, Symboliste et visionnaire, ACR Edition, 1994, reproduced p. 94: "Spleen et Idéal". Baudelaire, Charles, Les Fleurs du Mal illustrées par la peinture symboliste et décadente, Éditions Diane de Selliers, 2005, reproduced on p. 441: "Spleen et Idéal". Painted in 1907, our spectacular gouache watercolour relates to the earlier illustration of Charles Baudelaire's Les Fleurs du mal, commissioned in 1896 by the publisher and bookbinder Charles Meunier. It took four years to complete, and the book was published in 1900. For this precious book, Schwabe produced a total of ten main compositions, outside the text, and thirteen vignettes used as culs-de-lampe or chapter headings. The hauntingly beautiful Spleen et Ideal is one of the most seductive of the set. In an ascending composition favoured by the author, the celestial angel opposes the sea monster, symbolising the eternal struggle between spirit and matter. The spiritual battle is embodied here in a strange and violent embrace, in which we see the superior character trying to extricate himself from the evil force that is dragging him to his doom. Adhering to this bipolar vision of conflict, Schwabe seems to have found his full Baudelairean translation in the poem L'Irrémédiable : "An Idea, a Form, a Being Gone from the blue and fallen Into a muddy, leaden Styx Where no eye of Heaven can penetrate; An angel, unwary traveller Tempted by the love of the deformed, At the bottom of an enormous nightmare Struggling like a swimmer, And struggling, funeral anguish! Against a gigantic upheaval Singing like mad And pirouetting through the darkness<a href="#_ftn1" rel="noopener noreferrer" target="_blank"><strong><i>[1]</i></strong></a>." Carlos Schwabe attached great importance to this singular iconography because in 1907, several years after illustrating Baudelaire's collection, he insisted on producing the watercolour we are presenting, as well as two large oil paintings, one of which, which also formed part of the Gérard Lévy collection after having belonged to Gabriel Séailles and his descendants, is also being offered for sale. Although the watercolour and oil don't feature the winged harp present in the original illustration, they do depict the same convulsion of the waves, the same fierce struggle between slimy monster and winged woman, the same interminable conflict, body and soul, between Spleen and Ideal. <a href="#_ftnref1" rel="noopener noreferrer" target="_blank">[1]</a> Charles Baudelaire, "L'Irrémédiable", in Les Fleurs du mal, Poulet-Malassis et de Broise, 1857, p. 242. We would like to thank Mr Jean-David Jumeau-Lafond for confirming the authenticity of this work through a visual examination on 28 November 2024 and for his invaluable assistance in writing this notice. Carlos SCHWABE (Altona, 1866 - Paris, 1926) 27.0 x 20.0 cm Painted in 1907, our spectacular gouache watercolour relates to the earlier illustration of Charles Baudelaire's Les Fleurs du mal, commissioned in 1896 by the publisher and bookbinder Charles Meunier. It took four years to complete, and the book was published in 1900. For this precious book, Schwabe produced a total of ten main compositions, outside the text, and thirteen vignettes serving as culs-de-lampe or chapter headings. The hauntingly beautiful Spleen et Ideal is one of the most seductive of the set. In an ascending composition favoured by the author, the celestial angel opposes the sea monster, symbolising the eternal struggle between spirit and matter. The spiritual battle is embodied here in a strange and violent embrace, in which we see the superior character trying to extricate himself from the evil force that is dragging him to his doom. Adhering to this bipolar vision of conflict, Schwabe seems to have found his full Baudelairean translation in the poem L'Irrémédiable : "An Idea, a Form, a Being Gone from the blue and fallen Into a muddy, leaden Styx Where no eye of Heaven penetrates; An Angel, unwary traveller Tempted by the love of the deformed, In the depths of an enormous nightmare Struggling like a swimmer, And struggling, funeral anguish! Against a gigantic eddy That goes singing like mad And pirouetting through the darkness<a href="#_ftn1" rel="noopener noreferrer" target="_blank"><strong><em>[1]</em></strong></a>." Carlos Schwabe attached great importance to this singular iconography because in 1907, several years after illustrating Baudelaire's collection, he insisted on producing the watercolour we are presenting, as well as two large oil paintings, one of which, which also formed part of the Gérard Lévy collection after having belonged to Gabriel Séailles and his descendants, is also being presented at the sale. Although the watercolour and oil don't feature the winged harp present in the original illustration, they do depict the same convulsive waves, the same fierce struggle between slimy monster and winged woman, the same interminable conflict, body and soul, between Spleen and Ideal. <a href="#_ftnref1" rel="noopener noreferrer" target="_blank">[1]</a> Charles Baudelaire, "L'Irrémédiable", in Les Fleurs du mal, Poulet-Malassis et de Broise, 1857, p. 242. We would like to thank Mr Jean-David Jumeau-Lafond for confirming the authenticity of this work through a visual examination on 28 November 2024 and for his invaluable assistance in writing this notice.

Carlos SCHWABE (Altona, 1866 - Paris, 1926) Spleen and Ideal, after Les Fleurs du mal by Charles Baudelaire Colour engraving, gold highlights and fillets Signed 'CARLOS SCHWABE' lower right Bears two labels relating to two exhibitions Bears two numbers 146 and 159 on the reverse Watermarked paper around the edge pl. 22,5 x 15 cm Sheet size: 27.5 x 19.5 cm Spleen and Ideal, illustration for 'The Flowers of Evil', by Charles Baudelaire, engraving in colours, highlights and gold threads, signed, by C. Schwabe 8.86 x 5.91 in. 22.5 x 15.0 cm Provenance: Gérard Lévy Collection ; Then by descent Exhibitions: French Symbolist Painters, London, Hayward Gallery, 7 June - 23 July 1972, Liverpool, Walker Arts Gallery, 9 August - 17 September 1972, cat. no. 314: "Spleen et Idéal", reproduced p. 142 [label on verso]. El Simbolismo en la Pintura Francesa, Madrid, Museo Espanol de Arte Contemporeano, October - November 1972, Barcelona, Museo de Arte Moderno, December 1972, cat. no. 253: "Esplin E Ideal", p. 108 [label on reverse] Bibliography: related: Jumeau-Lafond, Jean-David, Carlos Schwabe, Symboliste et visionnaire, ACR Edition, 1994, reproduced p. 93: "Spleen et Ideal". Baudelaire, Charles, Les Fleurs du Mal illustrées par la peinture symboliste et décadente, Éditions Diane de Selliers, 2005, reproduced p. 441: "Spleen et Idéal". We would like to thank Mr Jean-David Jumeau-Lafond for confirming the authenticity of this work by means of a visual examination on 28 November 2024 and for his invaluable assistance in writing this notice. Carlos SCHWABE (Altona, 1866 - Paris, 1926) 22.5 x 15.0 cm We would like to thank Mr Jean-David Jumeau-Lafond for confirming the authenticity of this work by means of a visual examination on 28 November 2024 and for his invaluable assistance in writing this note.

Carlos SCHWABE (Altona, 1866 - Paris, 1926) Sketch for Spleen and Ideal, after Les Fleurs du mal by Charles Baudelaire Oil on canvas (Original canvas) Signed and dedicated 'A mon bien cher Jean Bonnike / CARLOS SCHWAB' lower right Canvas from the house of Paul Foinet (Minor restorations) Study for Spleen and Ideal, oil on canvas, signed, by C. Schwabe 51.18 x 33.27 in. 130.0 x 84.5 cm Provenance: Jean Bonnike Collection in 1907 ; Gabriel Séailles Collection (1852-1923); Collection of his wife Octavie Séailles, née Marie Virginie Octavie Paul (1855-1944) [label on reverse]; Then by descent to his daughter Andrée Séailles (1891-1983); Acquired from her on 4 September 1970 by Gérard Lévy; Gérard Lévy Collection; Then by descent Exhibitions: L'Art et la Vie en France à la Belle Époque, Île de Bendor, Fondation Paul Ricard, September - October 1971, cat. no. 283: "L'esquisse pour Spleen et Idéal" [label on reverse]. French Symbolist Painters, London, Hayward Gallery, 7 June - 23 July 1972, Liverpool, Walker Arts Gallery, 9 August - 17 September 1972, cat. no. 312: "Spleen et Idéal", reproduced p. 142 [label on reverse] El Simbolismo en la Pintura Francesa, Madrid, Museo Espanol de Arte Contemporeano, October - November 1972, Barcelona, Museo de Arte Moderno, December 1972, cat. no. 251: "Esplin E Ideal", p. 108 [label on reverse] Il Simbolismo da Moreau a Gauguin a Klimt, Ferrara, Palazzo dei Diamanti, 8 February - 20 May 2007, Roma, Galleria Nazionale d'Arte Moderna, 7 June - 16 September 2007, cat. no. 97: "Studio per "Spleen e Ideale"", reproduced p. 273 [label on reverse] Bibliography: Jullian, Philippe, The Symbolists, Paris, Phaidon, 1973, cat. no. 118: "Study for "Spleen et Idéal"", reproduced This large monochrome sketch prepares the way for another oil on canvas from 1907, Spleen et Idéal, which came from the Gillion-Crowet collection and is now in the Musée Royal des Beaux-Arts in Brussels. It shows the stages in Schwabe's pictorial work, as he first drew the forms before painting them in colour. It is easier to see the circular organisation of the lines that make this struggle an intertwining, but also a powerful vertical tension. As Jean-David Jumeau-Lafond pointed out in his book on the painter, "the graphic design of the wave and the preciousness of its stylised foam are reminiscent of the famous Hokusai print, and it is not surprising that the breaking of the raging waves is for the artist the moving and troubled place where ecstasy and fear, Eros and Thanatos, that incessant ambivalence of desire and death are experienced<a href="#_ftn1" rel="noopener noreferrer" target="_blank"><strong><i>[1]</i></strong></a>. " <a href="#_ftnref1" rel="noopener noreferrer" target="_blank">[1]</a> Jumeau-Lafond, Jean-David, Carlos Schwabe, Symboliste et visionnaire, ACR Edition, 1994, pp. 96-97. We would like to thank Mr Jean-David Jumeau-Lafond for confirming the authenticity of this work through a visual examination on 28 November 2024 and for his invaluable assistance in writing this notice. Carlos SCHWABE (Altona, 1866 - Paris, 1926) 130.0 x 84.5 cm This large monochrome sketch is a precursor to the other oil on canvas from 1907, Spleen and Ideal, which came from the Gillion-Crowet collection and is now in the Royal Museums of Fine Arts in Brussels. It shows the stages in Schwabe's pictorial work, as he first drew the forms before painting them in colour. It is easier to see the circular organisation of the lines that make this struggle an intertwining, but also a powerful vertical tension. As Jean-David Jumeau-Lafond pointed out in his book on the painter, "the graphic design of the wave and the preciousness of its stylised foam are reminiscent of the famous Hokusai print, and it is not surprising that the breaking of the raging waves is for the artist the moving and troubled place where ecstasy and fear, Eros and Thanatos, that incessant ambivalence of desire and death are experienced<a href="#_ftn1" rel="noopener noreferrer" target="_blank"><strong><em>[1]</em></strong></a>. " <a href="#_ftnref1" rel="noopener noreferrer" target="_blank">[1]</a> Jumeau-Lafond, Jean-David, Carlos Schwabe, Symboliste et visionnaire, ACR Edition, 1994, pp. 96-97. We would like to thank Mr Jean-David Jumeau-Lafond for confirming the authenticity of this work through a visual examination on 28 November 2024 and for his invaluable assistance in writing this notice.

Fernand KHNOPFF (Grembergen, 1858 - Saint-Josse-ten-Noode, 1921) La défiance (Lilie) Enhanced pastel and coloured pencil photograph Signed 'F ERNAND KHNOPFF' at bottom Original mounting, monogrammed 'FK' at bottom Distrust, pastel and coloured pencil photograph, signed, by F. Khnopff 6.5 x 6.5 in. 16.5 x 16.5 cm Provenance: Paul Sachs Collection, Munich (Lugt 2113) ; Collection E. S. Collection, Brussels; W. O. R. Collection, Amsterdam; Anonymous sale; Lokeren, De Vuyst, December 2009, no. 539 ; Collection Galerie belge, Wadrin ; Catherine Gilson de Rouvreux, Brussels; Galerie Alexis Bordes, Paris, September - October 2011 ; Acquired from the latter in September 2011 by Gérard Lévy; Gérard Lévy Collection; Then by descent Bibliography: related : Robert L Delevoy, Catherine De Croës, Gisèle Ollinger-Zinque, Fernand Khnopff : catalogue de l'œuvre, Bruxelles, Lebeer-Hossmann, 1987, cat. n° 221 bis p. 438 Fernand Khnopff is one of the most important representatives of Belgian Symbolism. After studying painting at the Académie des Beaux-Arts in Brussels under Xavier Mellery, he helped found the XX group in 1883 alongside Octave Maus. Also a founding member of the Libre Esthétique ten years later, Khnopff, who had been associated with Joséphin Péladan since 1885, took part in the Salon de la Rose+Croix from 1892. After a long stay in England, his participation in the first exhibition of the Viennese Secession in 1898 was noticed by Gustave Klimt and marked a turning point in his career. Although reality is generally treated in a mimetic way, Khnopff's art contains a large element of mystery and interiority. Beyond reality, beyond objects or beings, he questions the hidden face of the world of the soul, where doubt, bitterness and melancholy reign, and is thus part of an approach that is as spiritual as it is aesthetic. Although Khnopff often modelled his work on his sister Marguerite, as the muse of a feminine ideal, in our drawing he portrays Lilie Maquet, a young English girl whose family lived in Brussels. Based on a photograph taken by the photographer Alexandre from an original drawing by the painter, he fixes the almost inexpressive face of his model, paying particular attention to the two eyes, in the depths of which we don't know whether to detect disdain, reverie or candour. The gaze, so important in Khnopff's work, immediately exerts its power of fascination. The whiteness of the cyclamen, meticulously transcribed in the lower part, adds a discreet symbol of purity and defiance to the figure. The oval of the face, barely marked, is only supported by the chin. The whole is bathed in a cameo of grey, made possible by the velvety texture of the original pencil. With the evocative title "La Défiance", the original drawing now belongs to a private collection<a href="#_ftn1" rel="noopener noreferrer" target="_blank">[1]</a>. According to Gisele Ollinger Zinque, a specialist on the artist, around ten enhanced photos of almost identical composition exist, but each has subtle variations in Khnopff's own hand (fig. 1). However, our version stands out for its circular framing, like a Renaissance tondo. There is no doubt that this circular format was intentional, as the artist affixed his monogram to the original yellow/gold passe-partout and signed the enhanced photo in the composition, under the model's chin. Enigmatic and seductive, Lilie seems to embody the principles of Symbolism in a striking icon, in an attempt to restore a lost ideal. Fig. 1: Fernand Khnopff, La Défiance (Lilie), photograph enhanced with pastel and coloured pencil mounted on paper by the artist (29.3 x 20.8 cm), Brussels, Musée d'Ixelles (RW 19). <a href="#_ftnref1" rel="noopener noreferrer" target="_blank">[1]</a> La défiance (Lilie), Original work, 1893, black pencil and coloured pencils on paper, 25.5 x 17.5, in Robert L Delevoy, Catherine De Croës, Gisèle Ollinger-Zinque, F e r nand Khnopff: catalogue of work Brussels, Lebeer-Hossmann, 1987, cat. no. 221 p. 438. Fernand KHNOPFF (Grembergen, 1858 - Saint-Josse-ten-Noode, 1921) 16.5 x 16.5 cm Fernand Khnopff is one of the most important representatives of Belgian Symbolism. After studying painting at the Académie des Beaux-Arts in Brussels under Xavier Mellery, he helped found the XX group in 1883 alongside Octave Maus. Also a founding member of the Libre Esthétique ten years later, Khnopff, who had been associated with Joséphin Péladan since 1885, took part in the Salon de la Rose+Croix from 1892. After a long stay in England, his participation in the first exhibition of the Viennese Secession in 1898 was noticed by Gustave Klimt and marked a turning point in his career. Although reality is generally treated in a mimetic way, Khnopff's art contains a large element of mystery and interiority. Beyond reality, beyond objects or beings, he questions the hidden face of the world of the soul, where doubt, bitterness and melancholy reign, and is thus part of an approach that is as spiritual as it is aesthetic. Although Khnopff often modelled his work on his sister Marguerite, as the muse of a feminine ideal, in our drawing he portrays Lilie Maquet, a young English girl whose family lived in Brussels. Based on a photograph taken by the photographer Alexandre from an original drawing by the painter, he fixes the almost inexpressive face of his model, paying particular attention to the two eyes, in the depths of which we don't know whether to detect disdain, reverie or candour. The gaze, so important in Khnopff's work, immediately exerts its power of fascination. The whiteness of the cyclamen, meticulously transcribed in the lower part, adds a discreet symbol of purity and defiance to the figure. The oval of the face, barely marked, is only supported by the chin. The whole is bathed in a cameo of grey, made possible by the velvety texture of the original pencil. With the evocative title "La Défiance", the original drawing now belongs to a private collection<a href="#_ftn1" rel="noopener noreferrer" target="_blank">[1]</a>. According to Gisele Ollinger Zinque, a specialist on the artist, around ten enhanced photos of almost identical composition exist, but each has subtle variations in Khnopff's own hand (fig. 1). However, our version stands out for its circular framing, like a Renaissance tondo. There is no doubt that this circular format was intentional, as the artist affixed his monogram to the original yellow/gold passe-partout and signed the enhanced photo in the composition, under the model's chin. Enigmatic and seductive, Lilie seems to embody the principles of Symbolism in a striking icon, in an attempt to restore a lost ideal. Fig. 1: Fernand Khnopff, La Défiance (Lilie), photograph enhanced with pastel and coloured pencil, mounted on paper by the artist (29.3 x 20.8 cm), Brussels, Musée d'Ixelles (RW 19). <a href="#_ftnref1" rel="noopener noreferrer" target="_blank">[1]</a> La défiance (Lilie), Original work, 1893, black pencil and coloured pencils on paper, 25.5 x 17.5, in Robert L Delevoy, Catherine De Croës, Gisèle Ollinger-Zinque, F e r nand Khnopff: catalogue of work Brussels, Lebeer-Hossmann, 1987, cat. no. 221 p. 438.

Félicien ROPS (Namur, 1833 - Corbeil-Essonnes, 1898) Winged woman-fish or rare fish, design for the typographic mark of the Art Indépendant bookshop Pen and Indian ink over pencil lines, highlights of white gouache Monogrammed and dated 'FR 76' lower right Captioned 'NON HIC PISCIS OMNIUM' at bottom (Insolate) Woman-winged fish or rare fish, pen and Indian ink on pencil, white gouache highlights, dated, by F. Rops 14.96 x 12.4 in. 38.0 x 31.5 cm Provenance: Henri-Edmond Limet (Edmond Bailly) Collection (1850-1916) ; Collection A. Jaulme Collection in 1936; Gérard Lévy Collection; Then by descent Exhibitions: French Symbolist Painters, London, Hayward Gallery, 7 June - 23 July 1972, Liverpool, Walker Arts Gallery, 9 August - 17 September 1972, cat. no. 299: "Rare Fish", reproduced p. 137 [label on reverse]. El Simbolismo en la Pintura Francesa, Madrid, Museo Espanol de Arte Contemporeano, October - November 1972, Barcelona, Museo de Arte Moderno, December 1972, cat. no. 240: "Pez Raro", p. 105, reproduced p. 179 [label on reverse] Il Simbolismo da Moreau a Gauguin a Klimt, Ferrara, Palazzo dei Diamanti, 8 February - 20 May 2007, Roma, Galleria Nazionale d'Arte Moderna, 7 June - 16 September 2007, cat. no. 92: "Pesce Raro", reproduced p. 263 [label on reverse] Divine Decadence, Gaasbeek (Belgium), Kastel van Gaasbeek, 27 March - 23 June 2016, reproduced p. 81 : "Poisson Rare". Bibliography: "Special issue devoted to Félicien Rops", La Plume, no. 172, 15 June 1896, with contributions of texts and poems by Edmond Bailly, Eugène Demolder, Henry Detouche, José-Maria de Heredia, J.-K. Huysmans, Octave Mirbeau, Joséphin Péladan, J. Pradelle, Félicien Rops, Émile Verhaeren, Philippe Zilcken, reproduced on p. 505: "Poisson rare (mark of the Edm. Bailly bookshop)". An unclassifiable Belgian artist who was a painter, draughtsman, illustrator and engraver, Félicien Rops stood out from his contemporaries through the eminently radical, incisive and often disturbing nature of his work. Published in La Plume in 1896, our striking drawing is no exception to the rule and displays a rare visual force. The winged mermaid with the unusual double tail is not a seductress with a sweet, enchanting voice. Here, she embodies a demon sure of its charms, crouching on a beach strewn with shells, waiting for its next prey. Framed in an oval medallion and accompanied by a Latin expression: Non hic piscis omnium, "this fish is not for everyone", borrowed from André-François Boureau-Deslandes' Pygmalion (1741), this evil figure was created by Félicien Rops for the Librairie de l'Art Indépendant run by Edmond Bailly. Bailly used it as the typeface for his shop at 11 rue de la Chaussée d'Antin in Paris. In addition to his publishing activities, Edmond Bailly, a singular character, also devoted himself to music and, as an active member of the Theosophical Society, had a pronounced interest in a certain occultism. Félicien ROPS (Namur, 1833 - Corbeil-Essonnes, 1898) 38.0 x 31.5 cm An unclassifiable Belgian artist who was a painter, draughtsman, illustrator and engraver, Félicien Rops stood out from his contemporaries through the eminently radical, incisive and often disturbing nature of his work. Published in La Plume in 1896, our striking drawing is no exception to the rule and displays a rare visual force. The winged mermaid with the unusual double tail is not a seductress with a sweet, enchanting voice. Here, she embodies a demon sure of its charms, crouching on a beach strewn with shells, waiting for its next prey. Framed in an oval medallion and accompanied by a Latin expression: Non hic piscis omnium, "this fish is not for everyone", borrowed from André-François Boureau-Deslandes' Pygmalion (1741), this evil figure was created by Félicien Rops for the Librairie de l'Art Indépendant run by Edmond Bailly. Bailly used it as the typeface for his shop at 11 rue de la Chaussée d'Antin in Paris. In addition to his publishing activities, Edmond Bailly, a singular character, also devoted himself to music and, as an active member of the Theosophical Society, had a pronounced interest in a certain occultism.

Armand RASSENFOSSE (Liège, 1862-1934) Beauty with a transparent veil Watercolour gouache over black pencil Signed 'A. RASSENFOSSE' lower left The beauty with the transparent veil, watercolour and gouache with black pen, signed, by A. Rassenfosse 15.35 x 6.69 in. 39.0 x 17.0 cm Provenance: Gérard Lévy Collection ; Then by descent Combining a skilful graphic mix on cream paper, the subject of the drawing we are presenting appears to be similar to Armand Rassenfosse's work illustrating Baudelaire's Fleurs du Mal. Commissioned to illustrate the famous collection in 1899 for the Cent Bibliophiles edition, he produced over two hundred colour engravings. Here, the artist has fixed the features of this Baudelaire nude in a frontal, naturally suggestive pose. The transparency of the gauze gives pride of place to sensual, finely modelled flesh, while the face, beneath thick black hair adorned with a few scarlet feathers, reveals an intense, equivocal gaze. With its more carnal than ethereal canon, the figure illustrates a certain feminine ideal dear to Rassenfosse, whose expressive power is reminiscent of Klimt's decorative compositions. Armand RASSENFOSSE (Liège, 1862-1934) 39.0 x 17.0 cm Combining a clever graphic mix on cream paper, the subject of the drawing we are presenting here seems to be similar to Armand Rassenfosse's research into illustrating Baudelaire's Fleurs du Mal. Commissioned to illustrate the famous collection in 1899 for the Cent Bibliophiles edition, he produced over two hundred colour engravings. Here, the artist has fixed the features of this Baudelaire nude in a frontal, naturally suggestive pose. The transparency of the gauze gives pride of place to sensual, finely modelled flesh, while the face, beneath thick black hair adorned with a few scarlet feathers, reveals an intense, equivocal gaze. With its more carnal than ethereal canon, the figure illustrates a certain feminine ideal dear to Rassenfosse, whose expressive power is reminiscent of Klimt's decorative compositions.

Georges de FEURE (Paris, 1868 - 1943) The Pheasant Tempera on paper, mounted on canvas Monogrammed 'GDF' lower right Bears several exhibition labels on the reverse (Bending) Frameless The pheasant, tempera on paper, laid down on canvas, signed, by G. de Feure 21.26 x 31.89 in. 54.0 x 81.0 cm Provenance: Gérard Lévy Collection ; Then by descent Exhibitions: Esthètes et Magiciens, Symbolistes des collections parisiennes, Paris, Musée Galliera, December 1970 - January 1971, cat. no. 50: "Etude de Papier Peint" [label on reverse]. Georges de Feure, 1868-1943, Amsterdam, Van Gogh Museum, 26 November 1993 - 13 February 1994, cat. no. 55: "Le Faisan: projet de papier peint (The Pheasant: project for wallpaper)", reproduced p. 66 and 85 [label on reverse]. Georges de Feure, du symbolisme à l'art nouveau (1890-1905), Saint-Germain-en-Laye, Musée Départemental Maurice Denis - "Le Prieuré", 11 March - 5 June 1995 ; Gingins (Suisse), Fondation Neumann, 15 June - 3 September 1995, cat. no. 97 : "Le Faisan : projet de papier peint", reproduced p. 87 [label on reverse] Symbolism in Europe, Takamatsu (Japan), Municipal Museum of Fine Arts, 1 November - 8 December 1996; Tokyo (Japan), Bunkamura Museum of Fine Arts, 14 December 1996 - 9 February 1997; Himeji (Japan), Municipal Museum, 15 February - 30 March 1997, cat. no. 29: "Le Faisan: projet de papier peint" reproduced p. 62 [Japanese version]; p. 66 [French version]. Bibliography: Millman, Ian, Georges de Feure, Maître du Symbolisme et de l'Art Nouveau, Paris, ACR Edition, 1992, reproduced p. 163: "Le Faisan: projet de papier peint". Although Georges de Feure was a Symbolist painter, largely inspired by Baudelaire, who made the femme fatale his favourite subject, especially when he took part in the Salon de la Rose+Croix in 1893 and 1894, he was also an important figure in Art Nouveau as a poster artist and designer of furniture and decorative objects such as fans and tapestries. So when the famous art dealer Siegfried Bing set up his own pavilion called "L'Art Nouveau Bing" at the 1900 Universal Exhibition, he quite naturally entrusted Georges de Feure with the decoration of the façade, as well as the design of two interiors for the same pavilion. His work was praised by the critics, who praised its delicacy and feminine grace, and saw it as the quintessence of French art. While the artist's art nouveau furniture draws its sources from the Louis XVI period, his designs for fabrics and wallpapers are above all influenced by Japanese art. For both, he was indebted above all to Bing: with the former, he was putting into practice his boss's philosophy that the designer should be totally immersed in the old French tradition; with the latter, he had found food for thought in artistic Japan, which offered a wide range of examples to Western artists. Here, combining Japanese inspiration with a degree of abstraction, our spectacular pheasant drowned in lush vegetation seems to offer Georges de Feure the opportunity to create elegant decorative combinations by playing with a complementary colour scheme of lilac mauve, pale grey-blue and several shades of yellow and ochre. Georges de FEURE (Paris, 1868 - 1943) 54.0 x 81.0 cm Although Georges de Feure was a Symbolist painter, largely inspired by Baudelaire, who made the femme fatale his favourite subject, particularly when he exhibited at the Salon de la Rose+Croix in 1893 and 1894, he was also an important figure in the Art Nouveau movement as a poster artist and designer of furniture and decorative objects such as fans and tapestries. So when the famous art dealer Siegfried Bing set up his own pavilion called "L'Art Nouveau Bing" at the 1900 Universal Exhibition, he quite naturally entrusted Georges de Feure with the decoration of the façade, as well as the design of two interiors for the same pavilion. His work was praised by the critics, who praised its delicacy and feminine grace, and saw it as the quintessence of French art. While the artist's art nouveau furniture draws its sources from the Louis XVI period, his designs for fabrics and wallpapers are above all influenced by Japanese art. For both, he was indebted above all to Bing: with the former, he was putting into practice his boss's philosophy that the designer should be totally immersed in the old French tradition; with the latter, he had found food for thought in artistic Japan, which offered a wide range of examples to Western artists. Here, combining Japanese inspiration with a degree of abstraction, our spectacular pheasant drowned in lush vegetation seems to offer Georges de Feure the opportunity to create elegant decorative combinations by playing with a complementary colour scheme of lilac mauve, pale grey-blue and several shades of yellow and ochre.

William DEGOUVE de NUNCQUES (Monthermé, 1867 - Stavelot, 1935) Snowy Landscape Pastel on round blue paper Signed with the initials 'WD /de / N' on the right Bears a wax stamp on the reverse Diameter: 22 cm In a metal, wood and leather frame On the back part of a label with "mystique" and wax seal Snow landscape, pastel on blue paper, signed, by W. Degouve de Nuncques D. 8.66 in. Provenance: Gérard Lévy Collection; Then by descent Elegantly framed, our small circular pastel conveys all the singularity of William Degouve de Nuncques's landscapes. Imbued with symbolism, the Belgian artist presents a winter landscape, focusing on snowy branches with decorative curves and a few black birds. The birds are only hinted at in a few black patches that contrast with the chromatic harmony of blues and whites, treated in the artist's own subtle divisionism. William DEGOUVE de NUNCQUES (Monthermé, 1867 - Stavelot, 1935) Elegantly framed, our small circular pastel conveys all the singularity of William Degouve de Nuncques's landscapes. Imbued with symbolism, the Belgian artist offers a winter landscape here, focusing his gaze on snowy branches with decorative curves and a few black birds. The birds are only hinted at in a few black patches that contrast with the chromatic harmony of blues and whites, treated in the artist's own subtle divisionism.

Georges de FEURE (Paris, 1868 - 1943) In the dune Watercolour and gouache Signed 'DEFEURE' lower right Several labels on verso (Tears and dent on the upper right edge) In the dune, gouache watercolour, signed, by G. de Feure 10.63 x 17.13 in. 27.0 x 43.5 cm Provenance: Gérard Lévy Collection ; Then by descent Exhibitions: Esthètes et Magiciens / Symbolistes des collections parisiennes, Paris, Musée Galliera, December 1970 - January 1971, cat. no. 49: "Rêverie au clair de lune", reproduced [label on reverse]. Georges de Feure, 1868-1943, Amsterdam, Van Gogh Museum, 26 November 1993 - 13 February 1994, cat. no. 7: "Dans la dune (In the Dunes)", reproduced p. 37 [label on reverse] Georges de Feure, du symbolisme à l'art nouveau (1890-1905), Saint-Germain-en-Laye, Musée Départemental Maurice Denis - "Le Prieuré", 11 March - 5 June 1995 ; Gingins (Suisse), Fondation Neumann, 15 June - 3 September 1995, cat. no. 7 : "Dans la Dune", reproduced p. 34 [label on reverse] Bibliography: Millman, Ian, Georges de Feure, Maître du Symbolisme et de l'Art Nouveau, Paris, ACR Edition, 1992, reproduced p. 45: "Dans la Dune". "In his early paintings, M. de Feure was so much under the influence of Baudelaire, that he mostly contented himself with paraphrasing him<a href="#_ftn1" rel="noopener noreferrer" target="_blank"><strong><i>[1]</i></strong></a>". It was in these terms that the critic Henri Frantz, looking back on the first ten years of Georges de Feure's career in February 1900, emphasised the eminently Baudelairean character of his work. For Ian Millman, a specialist on the artist, Frantz's praise was based directly on the example of our powerful watercolour<a href="#_ftn2" rel="noopener noreferrer" target="_blank">[2]</a>. Les Fleurs du mal undoubtedly seeded the development of both literary and pictorial symbolism at the end of the nineteenth century and, throughout the 1890s, de Feure constantly drew inspiration from Baudelaire's writings, particularly Les Femmes damnées. The theme of Sapphic love was crucial for the poet, and just as important for the painter, who thus became part of the most accomplished and extreme expression of decadent aesthetics. Soberly entitled Dans la dune, our work takes as its starting point the opening lines of the poem in which Baudelaire describes naked lesbians lying by the sea, their feet and hands touching, gazing at the horizon, like ruminating cattle: "Like pensive cattle lying on the sand, They turn their eyes towards the horizon of the seas, And their feet seek each other and their hands come together Have sweet tongues and bitter shivers<a href="#_ftn3" rel="noopener noreferrer" target="_blank"><strong><i>[3]</i></strong></a>." However, far from making a literal translation, de Feure appropriates the poet's verses and imagery to develop the narrative through a series of subtle variations. In a departure from the resolutely modern synthesism that is his hallmark, the artist here adds a delicate moonbeam that focuses all the attention on the solitary couple, alternating between brown and white skin tones. In the foreground, the dune seems to surmount a curious cavern or grotto. This motif, recurrent in the painter's work, adds a certain symbolism to the composition by suggesting, through the evocation of a subterranean world, direct access to the subconscious and to his most unspoken sexual fantasies. <a href="#_ftnref1" rel="noopener noreferrer" target="_blank">[1]</a> Frantz, Henri, "Georges de Feure", Le Figaro illustré, no. 119, February 1900, pp. 38-47. <a href="#_ftnref2" rel="noopener noreferrer" target="_blank">[2]</a> "It may have been with works like Dans la dune in mind", Millman, Ian, in Georges de Feure, du symbolisme à l'art nouveau (1890-1905), p. 3 <a href="#_ftnref3" rel="noopener noreferrer" target="_blank">[3]</a> Charles Baudelaire, "Femmes damnées", in Les Fleurs du mal, Poulet-Malassis et de Broise, 1857, p. 196. Georges de FEURE (Paris, 1868 - 1943) 27.0 x 43.5 cm "In his first paintings, M. de Feure was so much under the influence of Baudelaire that he usually contented himself with paraphrasing him<a href="#_ftn1" rel="noopener noreferrer" target="_blank"><strong><em>[1]</em></strong></a>". It was in these terms that the critic Henri Frantz, looking back on the first ten years of Georges de Feure's career in February 1900, emphasised the eminently Baudelairean character of his work. For Ian Millman, a specialist on the artist, Frantz's praise was based directly on the example of our powerful watercolour<a href="#_ftn2" rel="noopener noreferrer" target="_blank">[2]</a>. Les Fleurs du mal undoubtedly seeded the development of both literary and pictorial symbolism at the end of the nineteenth century and, throughout the 1890s, de Feure constantly drew inspiration from Baudelaire's writings, particularly Les Femmes damnées. The theme of Sapphic love was crucial for the poet, but just as important for the painter, who thus became part of the most accomplished and extreme expression of decadent aesthetics. Soberly entitled Dans la dune, our work takes as its starting point the opening lines of the poem in which Baudelaire describes naked lesbians lying by the sea, their feet and hands touching, gazing at the horizon, like ruminating cattle: "Like pensive cattle on the sand lying, They turn their eyes towards the horizon of the seas, And their feet seek each other and their hands close together Have sweet tongues and bitter shivers<a href="#_ftn3" rel="noopener noreferrer" target="_blank"><strong><em>[3]</em></strong></a>." However, far from making a literal translation, de Feure appropriates the poet's verses and imagery to develop the narrative through a series of subtle variants. In a departure from the resolutely modern synthesism that is his hallmark, the artist here adds a delicate moonbeam that focuses all attention on the solitary couple, alternating between brown and white skin tones. In the foreground, the dune seems to surmount a curious cavern or grotto. This motif, recurrent in the painter's work, adds a certain symbolism to the composition by suggesting, through the evocation of a subterranean world, direct access to the subconscious and to his most unspoken sexual fantasies. <a href="#_ftnref1" rel="noopener noreferrer" target="_blank">[1]</a> Frantz, Henri, "Georges de Feure", Le Figaro illustré, no. 119, February 1900, pp. 38-47. <a href="#_ftnref2" rel="noopener noreferrer" target="_blank">[2]</a> "It may have been with works like Dans la dune in mind", Millman, Ian, in Georges de Feure, du symbolisme à l'art nouveau (1890-1905), p. 3 <a href="#_ftnref3" rel="noopener noreferrer" target="_blank">[3]</a> Charles Baudelaire, "Femmes damnées", in Les Fleurs du mal, Poulet-Malassis et de Broise, 1857, p. 196.

Edgard MAXENCE (Nantes, 1871 - La Bernerie, 1954) Profile with peacock Pastel with gouache and silver mix on paper laid down on canvas Signed 'EDGARD MAXENCE' lower right (Micro-cuts in the spine of the pen) Peacock profile, gouache pastel enhanced with a mixture of silver on paper, signed, by E. Maxence 18.5 x 12.2 in. 47.0 x 31.0 cm Provenance: Personal collection of the artist ; Then by descent ; Probably sale of the Edgard Maxence studio; Paris, Hôtel Drouot, s. 6, Maître Etienne Ader, 10 February 1960 ; Gérard Lévy Collection; Then by descent Exhibitions: New Gallery, London, 121 Regent Street, 1896, cat. no. 26: "The Peacock Park" [label on reverse]. Esthètes et Magiciens / Symbolistes des collections parisiennes, Paris, Musée Galliera, December 1970 - January 1971, cat. no. 99: "Profil au Paon", reproduced [label on reverse] L'Art et la Vie en France à la Belle Époque, île de Bendor, Fondation Paul Ricard, September - October 1971, cat. no. 256: "Profil au Paon". French Symbolist Painters, London, Hayward Gallery, 7 June - 23 July 1972, Liverpool, Walker Arts Gallery, 9 August - 17 September 1972, cat. no. 133: "Peacock Profile", reproduced p. 75 [label on reverse] El Simbolismo en la Pintura Francesa, Madrid, Museo Espanol de Arte Contemporeano, October - November 1972, Barcelona, Museo de Arte Moderno, December 1972, cat. no. 114: "Perfil con Pavo Real", p. 76 [label on reverse] Art Nouveau Belgium / France, Houston, Rice Museum, 26 March - 27 June 1976, Chicago, Art Institute, 28 August - 31 October 1976, cat. no. 55: "Profil au Paon (Profile with Peacock)", reproduced p. 70 Gustave Moreau et le Symbolisme, Yamanashi (Japon), Musée Départemental d'Art, 9 September - 14 October 1984 ; Kamakura (Japon), Musée d'Art Moderne, 27 October - 2 December 1984, Mie (Japon), Musée Départemental d'Art, 4 January - 1 February 1985, cat. n° 43 : " Profil au Paon ", reproduced p. 77 [label on reverse] Or et couleur: le cadre dans la seconde moitié du dix-neuvième siècle, Paris, Musée d'Orsay, 19 June - 24 September 1989, cat. no. 58: "Profil au Paon". Les Massier: côté cour, côté jardin, Vallauris, Musée Magnelli - Musée de la Céramique, 4 July - 2 November 2009, reproduced p. 111: "Profil au paon / Peacock profile". Edgar Maxence 1871-1954, les dernières fleurs du symbolisme, Nantes, Musée des Beaux-Arts, 21 May - 19 September 2010 ; Douai, Musée de la Chartreuse, 16 October 2010 - 17 January 2011, cat. no. 6 : "Profil au Paon", reproduced p. 14 and 71 Sensucht Nach Farbe: Moreau, Matisse & Co, Neuss (Allemagne), Clemens-Sels-Museum, 23 September 2012 - 13 January 2013, cat. no. 35 : "Profil mit Pfau - Profil au Paon", reproduced p. 64 Bibliography: Schurr, Gérald, "Les peintres symbolistes", L'Estampille, no. 19, March 1971, reproduced p. 56: "Profil au paon". Jullian, Philippe, "Peintres symbolistes", L'Oeil, n° 209, May 1972, cat. n° 4: "Profil au paon", reproduced p. 15 Jullian, Philippe, The Symbolists, Paris, Phaidon, 1973, cat. no. 2: "Peacock Profile", reproduced p. 18 Maison Française, no. 272, November 1973, reproduced p. 186: "Profil de femme-fleurs". Delevoy, Robert, Journal du Symbolisme, Lausanne, Skira, 1977, reproduced p. 155: "Profil au Paon". Guérin, Christine, Monographie du peintre Edgar Maxence (1871-1954), catalogue provisoire de l'œuvre, Rennes, Université de Haute-Bretagne, 1978, cited n. p. (vol. B) under the title "Profil au Paon". Reimbold, Ernst Thomas, Der Pfau - Mythologie und Symbolik, Munich, Callwey, 1983, cat. no. 86: "Frau im Park", reproduced p. 154 Cahn, Isabelle, Cadres de Peintres, Paris, Réunion des Musées Nationaux / Hermann, Editeurs des Sciences et des Arts, 198, p. 108, reproduced on plate 3: "Profil au Paon". Gibson, Michael, Symbolism, Paris, Taschen, 2006, reproduced p. 48: "Profile with a Peacock". Born in Nantes into a wealthy family, nothing destined Edgard Maxence to embrace an artistic vocation. However, once he had finished school, he enrolled at the city's Ecole des Beaux-Arts, where he studied with Alexandre Chantron. In 1891, the young artist passed the competitive examination for the Ecole des Beaux-arts de Paris and joined the studio of Jules-Elie Delaunay from Nantes, where he met Georges Rouault. When Delaunay died a few months later, he was replaced by Gustave Moreau, who had a decisive influence on Maxence. He was awarded first prize for Logiste in 1893 and first prize for figure expression in 1894, but abandoned the race for the Prix de Rome after failing in 1895. Encouraged by his master, he exhibited at the Salon des Artistes français from 1894. As well as portraiture, in which he excelled, he devoted himself to history painting, drawing on the Symbolism of Moreau, and using oils and pastels to paint biblical and mythological scenes or scenes from Breton legends, which were well received. Buoyed by his early success, Maxence took part in the last three Salons de la Rose+Croix from 1895 to 1897, and then in the Universal Exhibition of 1900, where he won a gold medal. Made a knight of the Légion d'honneur the same year, he was elevated to the rank of officer in 1927, after being elected to the Institut in 1924. A mixture of pastel and gouache on paper, with a few delicate highlights in a mix of silver, our Peacock Profile is undoubtedly one of Edgard Maxence's masterpieces of Symbolist painting. In front of a Japanese garden, the artist has created a bust of a young woman whose clearly defined profile is reminiscent of the ancient medallions revived during the Renaissance by Antonio Pisanello. With peacock feathers adorning her hair and dress, the proud beauty of this fantasy figure resonates with the majestic bird in the background, doing a cartwheel as if in homage. This subtle mise en abyme of the image, reinforced, according to Isabelle Cahn, by the motifs of the sculpted frame, which stylistically evoke peacock feathers spread out in a circle1, fully places Maxence in the Symbolist movement, assuming a discourse codified by hidden keys. In the Middle Ages, the peacock, a symbol of eternity and resurrection, was a possession traditionally reserved for kings, lords and abbeys to adorn their gardens, where it roamed freely alongside swans and doves. Profil au paon thus reflects the more personal development of the artist's style after his apprenticeship at the École des Beaux-Arts with Gustave Moreau. By deliberately toning down the chromaticism, Maxence succeeded in fully harmonising the face and the landscape. The refined use of pastel, leaving the brown paper visible in places in reserve, between the branches of the trees and on the upper left-hand edge, attests to his perfect mastery of this graphic technique. Masterfully executed, combining his taste for the Italian Renaissance with Pre-Raphaelite inspirations, our silent watercolour, imbued with great religiosity, belongs to the most singular and seductive side of Edgard Maxence. 1 Cahn, Isabelle, Cadres de Peintres, Paris, Réunion des Musées Nationaux / Hermann, Editeurs des Sciences et des Arts, 198, p. 108. Edgard MAXENCE (Nantes, 1871 - La Bernerie, 1954) 47.0 x 31.0 cm Born in Nantes into a wealthy family, nothing destined Edgard Maxence to embrace an artistic vocation. However, after completing his schooling, he enrolled at the city's Ecole des Beaux-Arts, where he studied with Alexandre Chantron. In 1891, the young artist passed the competitive examination for the Ecole des Beaux-arts de Paris and joined the studio of Jules-Elie Delaunay from Nantes, where he met Georges Rouault. When Delaunay died a few months later, he was replaced by Gustave Moreau, who had a decisive influence on Maxence. He won first prize for Logiste in 1893 and first prize for figure expression in 1894, but abandoned the race for the Prix de Rome after failing in 1895. Encouraged by his master, he exhibited at the Salon des Artistes français from 1894. As well as portraiture, in which he excelled, he devoted himself to history painting, drawing on the Symbolism of Moreau, and using oils and pastels to paint biblical and mythological scenes or scenes from Breton legends, which were well received. Buoyed by his early success, Maxence took part in the last three Salons de la Rose+Croix from 1895 to 1897, and then in the Universal Exhibition of 1900, where he won a gold medal. Made a knight of the Légion d'honneur the same year, he was elevated to the rank of officer in 1927, after being elected to the Institut in 1924. A mixture of pastel and gouache on paper, with a few delicate highlights in a mix of silver, our Peacock Profile is undoubtedly one of Edgard Maxence's masterpieces of Symbolist painting. In front of a Japanese garden, the artist has created a bust of a young woman whose clearly defined profile is reminiscent of the ancient medallions revived during the Renaissance by Antonio Pisanello. With peacock feathers adorning her hair and dress, the proud beauty of this fantasy figure resonates with the majestic bird in the background, doing a cartwheel as if in homage. This subtle mise en abyme of the image, reinforced, according to Isabelle Cahn, by the motifs of the sculpted frame, which stylistically evoke peacock feathers spread out in a circle1, fully places Maxence in the Symbolist movement, assuming a discourse codified by hidden keys. In the Middle Ages, the peacock, a symbol of eternity and resurrection, was a possession traditionally reserved for kings, lords and abbeys to adorn their gardens, where it roamed freely alongside swans and doves. Profil au paon thus reflects the more personal development of the artist's style after his apprenticeship at the École des Beaux-Arts with Gustave Moreau. By deliberately toning down the chromaticism, Maxence succeeded in fully harmonising the face and the landscape. The refined use of pastel, leaving the brown paper visible in places in reserve, between the branches of the trees and on the upper left-hand edge, attests to his perfect mastery of this graphic technique. Masterfully executed, combining his taste for the Italian Renaissance with Pre-Raphaelite inspirations, our silent watercolour, imbued with great religiosity, belongs to the most singular and seductive side of Edgard Maxence. 1 Cahn, Isabelle, Cadres de Peintres, Paris, Réunion des Musées Nationaux / Hermann, Editeurs des Sciences et des Arts, 198, p. 108.

Lucien LEVY-DHURMER (Algiers, 1865 - Le Vésinet, 1953) The gust of wind Pastel on laid paper, mounted on card Signed 'Levy-Dhurmer' lower right The gust, pastel on paper, signed, by L. Levy-Dhurmer 16.14 x 19.69 in. 41.0 x 50.0 cm Provenance: Gérard Lévy Collection ; Then by descent Exhibitions: Esthètes et Magiciens / Symbolistes des collections parisiennes, Paris, Musée Galliera, December 1970 - January 1971, cat. no. 84 "Bourrasque", reproduced [label on reverse]. French Symbolist Painters, London, Hayward Gallery, 7 June - 23 July 1972, Liverpool, Walker Arts Gallery, 9 August - 17 September 1972, cat. no. 114 : "The Gust of Wind (La bourrasque)", reproduced p. 69 [label on reverse] El Simbolismo en la Pintura Francesa, Madrid, Museo Espanol de Arte Contemporeano, October - November 1972, Barcelona, Museo de Arte Moderno, December 1972, cat. no. 97 p. 71: "Borrasca" [label verso]. Autour de Levy-Dhurmer / Visionnaires et Intimistes en 1900, Paris, Galeries nationales du Grand Palais, 3 March - 30 April 1973, cat. no. 66: "Bourrasque", reproduced p. 48 Art Nouveau Belgium / France, Houston, Rice Museum, 26 March - 27 June 1976, Chicago, Art Institute, 28 August - 31 October 1976, cat. no. 53: "La Bourrasque (The Gust of Wind)", reproduced p. 69 Les Symbolistes et Richard Wagner / Die Symbolisten und Richard Wagner, Berlin, Akademie der Künste, 15 August - 29 September 1991, Bruxelles, Maison du Spectacle - La Bellone, 7 October - 24 November 1991, reproduced p. 22: "La Bourrasque" [label on reverse]. Symbolism in Europe, Takamatsu (Japan), Municipal Museum of Fine Arts, 1 November - 8 December 1996, Tokyo (Japan), Bunkamura Museum of Fine Arts, 14 December 1996 - 9 February 1997, Himeji (Japan), Municipal Museum, 15 February - 30 March 1997, cat. no. 12: "La Bourrasque", reproduced p. 48 [label on reverse] Il Simbolismo da Moreau a Gauguin a Klimt, Ferrara, Palazzo dei Diamanti, 8 February - 20 May 2007, Roma, Galleria Nazionale d'Arte Moderna, 7 June - 16 September 2007, cat. no. 40: "La burrasca", reproduced p. 158 [label on reverse] Les Massier: côté cour, côté jardin, Vallauris, Musée Magnelli - Musée de la Céramique, 4 July - 2 November 2009, reproduced p. 128 : "La Bourrasque / Gust of wind". Bibliography: Jullian, Philippe, "Lévy-Dhurmer, le symboliste le plus envoutant", Connaissance des arts, no. 253, March 1973, reproduced on p. 77: "Bourrasque". L'Estampille, n° 41, April 1973, reproduced p. 58: "La Bourrasque". Maison Française, n° 272, November 1973, reproduced p. 186: "La Bourrasque". After studying at the École Communale de Dessin et de Sculpture in Paris in 1879, Lucien Lévy made his debut at the Salon des Artistes français in 1882. From 1887 onwards, pastel became his preferred technique. Despite his first real successes, Lucien Lévy decided to leave Paris that same year and move to the Côte d'Azur to work at Clément Massier's ceramics factory in Golfe-Juan. He became artistic director in 1892 and presented earthenware under the name Lévy Dhurmer, a name he chose to distinguish himself from his many namesakes. Recognised as one of those who contributed to the creation of Art Nouveau and the revival of the art of pottery, the artist did not abandon his interest in painting and travelled to Italy. The art of the Renaissance, especially that of Vinci, left a deep impression on him and he decided to return to Paris in 1895 to devote himself entirely to painting and drawing. Gustave Moreau introduced him to George Rodenbach, whom he immortalised in an iconic portrait of literary symbolism. Capturing the violent effects of an autumn squall on a young girl's red hair, our pastel is part of a series of works on the same subject begun in the late 1890s, probably illustrating the different seasons. In fact, it can probably be linked to a painting of the same title exhibited by the artist in January 1896 during his retrospective at the Galerie Georges Petit (cat. no. 3), then at the Salon des Artistes français (cat. no. 1261) a few months later (fig. 1). Although the two works share the same general composition, with a female face in profile, her hair blowing in the wind, appearing against a background covered in autumn leaves, the spirit of the work differs somewhat in the emotions it conveys. Far from our serene, inward-looking face, the female figure in profile in the oil painting seems to be screaming, her mouth open and clenched in a more dramatic torment, akin to the screaming mask of an ancient Medusa. Fig. 1: Lucien Lévy-Dhurmer, La bourrasque, circa 1896, oil on canvas, private collection. Lucien LEVY-DHURMER (Algiers, 1865 - Le Vésinet, 1953) 41.0 x 50.0 cm After studying at the École Communale de Dessin et de Sculpture in Paris in 1879, Lucien Lévy made his debut at the Salon des Artistes français in 1882. From 1887 onwards, pastel became his preferred technique. Despite his first real successes, Lucien Lévy decided to leave Paris that same year and move to the Côte d'Azur to work at Clément Massier's ceramics factory in Golfe-Juan. He became artistic director in 1892 and presented earthenware under the name Lévy Dhurmer, a name he chose to distinguish himself from his many namesakes. Recognised as one of those who contributed to the creation of Art Nouveau and the revival of the art of pottery, the artist did not abandon his interest in painting and travelled to Italy. The art of the Renaissance, especially that of Vinci, left a deep impression on him and he decided to return to Paris in 1895 to devote himself entirely to painting and drawing. Gustave Moreau introduced him to George Rodenbach, whom he immortalised in an iconic portrait of literary symbolism. Capturing the violent effects of an autumn squall on a young girl's red hair, our pastel is part of a series of works on the same subject begun in the late 1890s, probably illustrating the different seasons. In fact, it can probably be linked to a painting of the same title exhibited by the artist in January 1896 during his retrospective at the Galerie Georges Petit (cat. no. 3), then at the Salon des Artistes français (cat. no. 1261) a few months later (fig. 1). Although the two works share the same general composition, with a female face in profile, her hair blowing in the wind, appearing against a background covered in autumn leaves, the spirit of the work differs somewhat in the emotions it conveys. Far from our serene, inward-looking face, the female figure in profile in the oil painting seems to be screaming, her mouth open and clenched in a more dramatic torment, akin to the screaming mask of an ancient Medusa. Fig. 1: Lucien Lévy-Dhurmer, La bourrasque, circa 1896, oil on canvas, private collection.

Pierre-Amédée MARCEL-BERONNEAU (Bordeaux, 1869 - La Seyne-sur-Mer, 1937) The woman with snakes Oil on canvas Signed 'P. Marcel-Beronneau' lower right Countersigned 'P. Marcel-Beronneau' on the stretcher on the reverse Annotated and titled 'N°2 / La femme aux serpents' on canvas verso Canvas from the house of Paul Foinet The woman with snakes, oil on canvas, signed, by P.-E. Marcel-Beronneau 31.89 x 39.37 in. 81.0 x 100.0 cm Provenance: Anonymous sale; Paris, Drouot Montaigne, Me Tajan, 1 July 1966, no. 25 ; Collection of Galerie Alain Blondel, Paris; Acquired from the latter in June 1981 by Gérard Lévy; Collection Gérard Lévy ; Then by descent Exhibitions: Salon des Artistes français, Paris, Grand palais des Champs-Élysées, May 1911, cat. no. 1256: "La femme aux serpents" ("Woman with snakes") Fifty-Second Liverpool Autumn Exhibition 1924, Liverpool, Walker Art Gallery, 1924, cat. no. 26 [label on reverse]. Marcel-Beronneau /1869-1937 / Symbolist Painter, Paris, Galerie Alain Blondel, June 1981, reproduced : "La Femme aux Serpents Bibliography: Alexandre, Arsène, "Les Salons de 1911", Le Figaro, 29 April 1911, p. 4. Cottaz, Maurice, "Les héroïnes des Marcel-Beronneau, la révélation d'un symboliste, peintre des séductrices", Valeurs actuelles, 10/16, VIII, 10 August 1981, p. 33. "There is no doubt that Marcel Béronneau is one of the most refined and scrupulous artists of his time<a href="#_ftn1" rel="noopener noreferrer" target="_blank"><strong><i>[1]</i></strong></a>." This eulogy by the critic Arsène Alexandre in early 1911 illustrates the extent of the reputation acquired by the painter Pierre-Amédée Marcel-Béronneau at the beginning of the last century. After a short apprenticeship at the École Municipale des Beaux-arts in his native Bordeaux, in 1890 he joined the École Nationale des Arts Décoratifs in Paris, where he studied with Eugène Thirion. In November 1892, he joined Gustave Moreau's highly regarded studio, where he became friends with Rouault, sharing his studio on Boulevard du Montparnasse. Considered by Moreau to be one of his best pupils, he won the first Grand Prix des Arts Décoratifs in 1893 and the Prix Paul Chenavard in 1894. In 1895, he took part in the Salon des Artistes français for the first time, exhibiting his Muse, a work marked by strong symbolist mysticism, before taking part in Joséphin Péladan's Salon de la Rose-Croix in 1897. Marcel-Béronneau won a medal at the 1900 Universal Exhibition, and by the turn of the century he was enjoying increasing success both in France and abroad. In addition to Stuttgart and Elsener in 1901, the artist took part in international exhibitions in London and Saint-Louis in 1904, Montreal in 1909, Ghent in 1913, San Francisco in 1915, and Barcelona and Buenos Aires in 1917. His appointment as Chevalier de la Légion d'honneur in 1914 followed several state purchases in 1910 and 1911, as well as a major commission, only completed in 1923, for a large tapestry depicting Salomé, intended to be woven by and for the Manufacture nationale des Gobelins. The painting we are presenting belongs to this period of maturity and triumph for Marcel-Béronneau. Against a backdrop of a masonry landscape of mauve rocks, in the glowing atmosphere of an orange sunset that bathes the sky in blood-red, rises the disturbing bust of a Gorgon with smooth, pearly flesh, her head and body covered with a multitude of snakes with the mineral appearance of precious stones. When it was exhibited at the Alain Blondel gallery in 1981, our masterly work was accompanied by a short poem by the artist: "O capricious woman enclosed in evil! Only the serpent should approach your mouth, And secret confidant of thy fierce desire Lull your sad heart and your infernal dream<a href="#_ftn2" rel="noopener noreferrer" target="_blank"><strong><i>[2]</i></strong></a> " Despite the eloquence of his verses, the painter maintained a certain mystery around this singular iconography, fusing ancient Cleopatra with a certain Baudelairean seduction. Above all, he feverishly pursued this image of the femme fatale with its multiple symbols, sometimes metamorphosing her into an enigmatic sphinx, a courtesan or a goddess with a more or less hermaphroditic body, inspired in this sense by the eroticism of the painter Frantz von Stuck. When it was exhibited at the Salon des Artistes Français in 1911, our striking painting drew praise from Arsène Alexandre for both its subject and its plastic treatment: "In M. Marcel Béronneau's 'Femme aux serpents', there is an acute imagination and a research into jewellery painting that have their price. This artist would make admirable enamels and ceramics<a href="#_ftn3" rel="noopener noreferrer" target="_blank"><strong><i>[3]</i></strong></a>." <a href="#_ftnref1" rel="noopener noreferrer" target="_blank">[1]</a> Alexandre, Arsène, "Le Salon d'hiver et l'école française", Le Figaro, 24 January 1911, p. 3. <a href="#_ftnref2" rel="noopener noreferrer" target="_blank">[2]</a> Marcel-Beronneau, in Marcel-Beronneau /1869-1937 / Peintre Symboliste, Paris, Galerie Alain Blondel, June 1981. <a href="#_ftnref3" rel="noopener noreferrer" target="_blank">[3]</a> Alexandre, Arsène, "Les Salons de 1911", Le Figaro, 29 April 1911, p. 4. Pierre-Amédée MARCEL-BERONNEAU (Bordeaux, 1869 - La Seyne-sur-Mer, 1937) 81.0 x 100.0 cm "There is no doubt that Marcel Béronneau is one of the most refined and scrupulous artists of his time<a href="#_ftn1" rel="noopener noreferrer" target="_blank"><strong><em>[1]</em></strong></a>." This eulogy by the critic Arsène Alexandre in early 1911 illustrates the extent of the fame acquired by the painter Pierre-Amédée Marcel-Béronneau at the beginning of the last century. After a short apprenticeship at the École Municipale des Beaux-arts in his native Bordeaux, in 1890 he joined the École Nationale des Arts Décoratifs in Paris, where he studied with Eugène Thirion. In November 1892, he joined Gustave Moreau's highly regarded studio, where he became friends with Rouault, sharing his studio on Boulevard du Montparnasse. Considered by Moreau to be one of his best pupils, he won the first Grand Prix des Arts Décoratifs in 1893 and the Prix Paul Chenavard in 1894. In 1895, he took part in the Salon des Artistes français for the first time, exhibiting his Muse, a work marked by strong symbolist mysticism, before taking part in Joséphin Péladan's Salon de la Rose-Croix in 1897. Marcel-Béronneau won a medal at the 1900 Universal Exhibition, and by the turn of the century he was enjoying increasing success both in France and abroad. In addition to Stuttgart and Elsener in 1901, the artist took part in international exhibitions in London and Saint-Louis in 1904, Montreal in 1909, Ghent in 1913, San Francisco in 1915, and Barcelona and Buenos Aires in 1917. His appointment as Chevalier de la Légion d'honneur in 1914 followed several state purchases in 1910 and 1911, as well as a major commission, only completed in 1923, for a large tapestry depicting Salomé, intended to be woven by and for the Manufacture nationale des Gobelins. The painting we are presenting belongs to this period of maturity and triumph for Marcel-Béronneau. Against a backdrop of a masonry landscape of mauve rocks, in the glowing atmosphere of an orange sunset that bathes the sky in blood-red, rises the disturbing bust of a Gorgon with smooth, pearly flesh, her head and body covered with a multitude of snakes with the mineral appearance of precious stones. When it was exhibited at the Alain Blondel gallery in 1981, our masterly work was accompanied by a short poem by the artist: "O capricious woman enclosed in evil! Only the serpent should come near your mouth, and secret confidant of your fierce desire Lulling your sad heart and your infernal dream<a href="#_ftn2" rel="noopener noreferrer" target="_blank"><strong><em>[2]</em></strong></a> " Despite the eloquence of his verses, the painter maintained a certain mystery around this singular iconography, fusing ancient Cleopatra with a certain Baudelairean seduction. Above all, he feverishly pursued this image of the femme fatale with its multiple symbols, sometimes metamorphosing her into an enigmatic sphinx, a courtesan or a goddess with a more or less hermaphroditic body, inspired in this sense by the eroticism of the painter Frantz von Stuck. When it was exhibited at the Salon des Artistes Français in 1911, our striking painting drew praise from Arsène Alexandre for both its subject and its plastic treatment: "In M. Marcel Béronneau's 'Femme aux serpents', there is an acute imagination and a research into jewellery painting that have their price. This artist would make admirable enamels and ceramics<a href="#_ftn3" rel="noopener noreferrer" target="_blank"><strong><em>[3]</em></strong></a>." <a href="#_ftnref1" rel="noopener noreferrer" target="_blank">[1]</a> Alexandre, Arsène, "Le Salon d'hiver et l'école française", Le Figaro, 24 January 1911, p. 3. <a href="#_ftnref2" rel="noopener noreferrer" target="_blank">[2]</a> Marcel-Beronneau, in Marcel-Beronneau /1869-1937 / Peintre Symboliste, Paris, Galerie Alain Blondel, June 1981. <a href="#_ftnref3" rel="noopener noreferrer" target="_blank">[3]</a> Alexandre, Arsène, "Les Salons de 1911", Le Figaro, 29 April 1911, p. 4.

Pierre-Amédée MARCEL-BERONNEAU (Bordeaux, 1869 - La Seyne-sur-Mer, 1937) Salomé Gouache Signed twice, 'P. Marcel-Béronneau' lower left, 'P. Marcel-Béronneau' lower right and a third time 'Marcel Béronneau' in pencil on verso (Paper torn off around the edges) No frame Salome, gouache, signed, by P. -A. Marcel-Beronneau 12.99 x 9.65 in. 33.0 x 24.5 cm Provenance: Gérard Lévy Collection ; Then by descent Dating from the mid-1900s, the gouache we are presenting is part of the important serial work that Marcel-Beronneau devoted over several decades to the figure of Salome. From his earliest youth, he drew on Moreau's biblical iconography, so celebrated by Huysmans, exhibiting a Salome bearing the head of Saint John the Baptist at the Salon des Artistes Français in 1896 (cat. no. 182), which was immediately noticed by the critic Arsène Alexandre, who, in the columns of Le Figaro, saw Marcel-Beronneau as a perfect "Gustave-Moriste". Our work is a good illustration of the singular way in which the young painter, in the years that followed, made this theme his own, moving away from the plastic references of his master. Here, the veiled figure of Salome stands in a landscape of glowing rocks. Quickly outlined by two small white slits in the middle of the turbaned face, the eyes concentrate the seductive and hypnotising power of Herodias' daughter. Pierre-Amédée MARCEL-BERONNEAU (Bordeaux, 1869 - La Seyne-sur-Mer, 1937) 33.0 x 24.5 cm Dating from the mid-1900s, the gouache presented here is part of the important serial work that Marcel-Beronneau devoted over several decades to the figure of Salome. From his earliest youth, he drew on Moreau's biblical iconography, so celebrated by Huysmans, exhibiting a Salome bearing the head of Saint John the Baptist at the Salon des Artistes Français in 1896 (cat. no. 182), which was immediately noticed by the critic Arsène Alexandre, who, in the columns of Le Figaro, saw Marcel-Beronneau as a perfect "Gustave-Moriste". Our work is a good illustration of the singular way in which the young painter, in the years that followed, made this theme his own, moving away from the plastic references of his master. Here, the veiled figure of Salome stands in a landscape of glowing rocks. Quickly outlined by two small white slits in the middle of the turbaned face, the eyes concentrate the seductive and hypnotising power of Herodias' daughter.

Henry de GROUX (Brussels, 1866 - Marseille, 1930) Medea gathers the flowers born of Prometheus' blood Oil on canvas Signed 'Henry de Groux' lower right (Restorations) No frame Medea picks the flowers born of the blood of Prometheus, oil on canvas, signed, by H. de Groux 29.92 x39.37 in. 76.0 x 100.0 cm Provenance: M. Tahan Collection [mentioned in La Plume in 1899] ; Collection Gérard Lévy ; Then by descent Exhibitions: Esthètes et Magiciens / Symbolistes des collections parisiennes, Paris, Musée Galliera, December 1970 - January 1971, cat. no. 66: "Médée cueille les fleurs nées du sang de Prométhée" [label on reverse]. Bibliography: "Numéro spécial consacré à Henry de Groux", La Plume, no. 239-240, 1st - 15th April 1899. Texts by Léon Bloy, Léon Souguenet, Camille Lemonnier, Jules Destrée, Arsène Alexandre, Armand Dayot, Charles Buet, André Fontainas, William Ritter, Léon Maillard, Charles Morice, Charles Saunier, Marcel Batillat, Louis Gillet, Edouard Girard and the artist. Numerous illustrations and reproductions in black, described p. 77-78, mentioned p. 93: "Médée cueille les fleurs nées du sang de Prométhée, belongs to M. Tahan". "Prometheus, the thief of fire, is chastised on a rock, in the middle of a bloody Caspian: an ocean that is supposed to have reached cold altitudes, with all the colours of fire; the scarlets fight with the purples, the greens battle with the ochres, the blacks, defeated, retreat. White slime froths. Fire triumphs. These are the sublimities of colour that de Groux can achieve. He is still a painter on the stone itself. He has created astonishing figures. Prometheus is not bound to his rock by chains. His despondency rivets him to it. Eternally dazed and mouldering, he waits motionless for the fangs and claws of the vulture: he will not even lay his hands on the pink wound from which his exsanguinated entrails flow. With horror, he can make out the sound of approaching wings in the noise of the waves. But in his stubborn eyes lives a single idea: not to give in to the gods<a href="about:blank" rel="noopener noreferrer" target="_blank"><strong><i>[1]</i></strong></a>." This eloquent description of our large canvas by the art historian Louis Gillet in 1899 conveys all the evocative power of Henry de Groux's work. Better known in France since the publication of his Journal by the INHA<a href="about:blank" rel="noopener noreferrer" target="_blank">[2]</a>, the Belgian artist established himself as one of the most fascinating representatives of European Symbolism, through ambitious compositions featuring, as here, the great mythological or historical subjects, but also the masters of painting, literature and music, such as Delacroix, Dante, Wagner and Beethoven. <a href="about:blank" rel="noopener noreferrer" target="_blank">[1]</a> Gillet, Louis, "Numéro spécial consacré à Henry de Groux", La Plume, no. 239-240, 1 - 15 April 1899, pp. 77-78. <a href="about:blank" rel="noopener noreferrer" target="_blank">[2]</a> Edited by Rodolphe Rapetti and Pierre Wat, text established and annotated by Pierre Pinchon, Rodolphe Rapetti, Thomas Schlesser, Pierre Wat, with the collaboration of Anne-Elisabeth Lambert, Henry de Groux 1866-1930, Journal, Paris, Editions Kimé and INHA, 2007, 326 pages. Henry de GROUX (Brussels, 1866 - Marseille, 1930) 76.0 x 100.0 cm "Prometheus, the thief of fire, is punished on a rock, in the middle of a bloody Caspian: an ocean that is supposed to have reached cold altitudes, with all the colours of fire; the scarlets fight with the purples, the greens battle with the ochres, the blacks, defeated, retreat. White slime froths. Fire triumphs. These are the sublimities of colour that de Groux can achieve. He is still a painter on the stone itself. He has created astonishing figures. Prometheus is not bound to his rock by chains. His despondency rivets him to it. Eternally dazed and mouldering, he waits motionless for the fangs and claws of the vulture: he will not even lay his hands on the pink wound from which his exsanguinated entrails flow. With horror, he can make out the sound of approaching wings in the noise of the waves. But in his stubborn eyes lives a single idea: not to give in to the gods<a href="about:blank" rel="noopener noreferrer" target="_blank"><strong><em>[1]</em></strong></a>." This eloquent description of our large canvas by the art historian Louis Gillet in 1899 conveys all the evocative power of Henry de Groux's work. Better known in France since the publication of his Journal by the INHA<a href="about:blank" rel="noopener noreferrer" target="_blank">[2]</a>, the Belgian artist established himself as one of the most fascinating representatives of European Symbolism, through ambitious compositions featuring, as here, the great mythological or historical subjects, but also the masters of painting, literature and music, such as Delacroix, Dante, Wagner and Beethoven. <a href="about:blank" rel="noopener noreferrer" target="_blank">[1]</a> Gillet, Louis, "Numéro spécial consacré à Henry de Groux", La Plume, no. 239-240, 1 - 15 April 1899, pp. 77-78. <a href="about:blank" rel="noopener noreferrer" target="_blank">[2]</a> Edited by Rodolphe Rapetti and Pierre Wat, text established and annotated by Pierre Pinchon, Rodolphe Rapetti, Thomas Schlesser, Pierre Wat, with the collaboration of Anne-Elisabeth Lambert, Henry de Groux 1866-1930, Journal, Paris, Editions Kimé and INHA, 2007, 326 pages.

Gustav Adolf MOSSA (Nice, 1883-1971) The seamstresses Indian ink and watercolour gouache Dedicated, signed and dated 'a l'amico Ponzio / Gustav Adolf Mossa / sept. 1907' lower right Dressmakers, Indian ink and gouache watercolour, signed and dated, by G. A. Mossa 7.28 x 10.83 in. 18.5 x 27.5 cm Provenance: Léon Ponzio Collection (1887-1947) ; Gérard Lévy Collection; Then by descent Dedicated to his friend, the singer, composer and baritone Léon Ponzio, our watercolour belongs to Gustav Mossa's most productive period, at the turn of the century alternating the symbolist subjects that made him a success with more expressionist and synthetic works on paper that fuelled his output as a press illustrator. Combining Indian ink, watercolour and coloured pencil, he sometimes caricatured socialites and sometimes religious figures, while also taking an interest in current affairs and small trades. Our seamstresses, for example, are quickly sketched in a singularly modern framing that partially truncates the figure in profile on the right. Gustav Adolf MOSSA (Nice, 1883-1971) 18.5 x 27.5 cm Dedicated to his friend, the singer, composer and baritone Léon Ponzio, our watercolour belongs to Gustav Mossa's most prolific period, at the turn of the century alternating the symbolist subjects that made him such a success with the more expressionist and synthetic works on paper that fuelled his output as a press illustrator. Combining Indian ink, watercolour and coloured pencil, he sometimes caricatured socialites and sometimes religious figures, while also taking an interest in current affairs and small trades. Our seamstresses, for example, are quickly sketched in a singularly modern framing that partially truncates the figure in profile on the right.

Jules OURY, known as MARCEL-LENOIR (Montauban, 1872 - Montricoux, 1931) Cleopatra Watercolour gouache, pen and Indian ink, gold highlights Signed 'MARCEL LENOIR' lower left Cleopatra, gouache and watercolou, pen and Indian ink, gold highlights, signed, by Marcel-Lenoir 20.87 x 14.17 in. 53.0 x 36.0 cm Provenance: Anonymous sale; Paris, Hôtel Drouot, s. 10, Me Beaussant-Lefèvre, Paris, 18 June 2010, no. 139 (as Femme aux serpents) ; Acquired at this sale by Gérard Lévy; Gérard Lévy Collection; Then by descent Bibliography: Album de la Décoration (Deuxième Volume), Paris, Librairie des Art décoratifs, Calavas, no date [circa 1900]. In-folio on ff. in hardback folder, plate no. 38: "Cleopatra". Born in Montauban into a family of goldsmiths, Jules Oury moved to Paris in 1889, where he attended the École des Arts Décoratifs before taking classes with fresco artist Paul Baudoüin at the École des Beaux-Arts. Deciding to become a painter, he took the pseudonym "Marcel-Lenoir", partly to avoid confusion with his brother Louis Oury, a sculptor and poster artist. Attracted by the art of Puvis de Chavannes and quickly enamoured of Symbolism, he became friends with the poet Paul Fort and befriended Joséphin Péladan, who invited him to take part in the sixth and last Salon de la Rose+Croix at the Georges Petit gallery in 1897. Marcel-Lenoir presented a number of illuminated works of mystical inspiration, combining sumptuous costumes and decor with rigorously synthesised figures. It was at this time that the artist was drawn out of his bohemian life by the publisher Arnould, who, discovering his pure and synthetic work, offered to print and distribute his works. Published around 1900 by the Arts Décoratifs bookshop, our large gouache watercolour belongs to the most symbolist part of Marcel-Lenoir's work. Meticulously painted with coloured inks and delicately enhanced with gold, it preserves the memory of the painter's early ambitions as a goldsmith. From 1896 to 1904, the artist's iconography was essentially esoteric, veiled in hidden symbols, but our subject seems more easily identifiable. Depicting the cloisonné profile of Cleopatra with her hair invaded by snakes, like an ancient Gorgon, it is in keeping with erudite symbolism and the spirit of Art Nouveau posters. Jules OURY, known as MARCEL-LENOIR (Montauban, 1872 - Montricoux, 1931) 53.0 x 36.0 cm Born in Montauban into a family of goldsmiths, Jules Oury went to Paris in 1889, where he attended the École des Arts Décoratifs before taking classes with the fresco artist Paul Baudoüin at the École des Beaux-arts. Deciding to become a painter, he took the pseudonym "Marcel-Lenoir", partly to avoid confusion with his brother Louis Oury, a sculptor and poster artist. Attracted by the art of Puvis de Chavannes and quickly enamoured of Symbolism, he became friends with the poet Paul Fort and befriended Joséphin Péladan, who invited him to take part in the sixth and last Salon de la Rose+Croix at the Georges Petit gallery in 1897. Marcel-Lenoir presented a number of illuminated works of mystical inspiration, combining sumptuous costumes and decor with rigorously synthesised figures. It was at this time that the artist was drawn out of his bohemian life by the publisher Arnould, who, discovering his pure and synthetic work, offered to print and distribute his works. Published around 1900 by the Arts Décoratifs bookshop, our large gouache watercolour belongs to the most symbolist part of Marcel-Lenoir's work. Meticulously painted with coloured inks and delicately enhanced with gold, it preserves the memory of the painter's early ambitions as a goldsmith. From 1896 to 1904, the artist's iconography was essentially esoteric, veiled in hidden symbols, but our subject seems more easily identifiable. Depicting the cloisonné profile of Cleopatra with her hair invaded by snakes, like an ancient Gorgon, it is in keeping with erudite symbolism and the spirit of Art Nouveau posters.

Lucien LEVY-DHURMER (Algiers, 1865 - Le Vésinet, 1953) The music Painting on porcelain plate Signed, dated and annotated 'Lucien Lévy 84 / d'après Hebert' lower left and signed on verso with the initials No frame Music, painting on porcelain, signed and dated, by L. Levy-Dhurmer 17.32 x 12.6 in. 44.0 x 32.0 cm Provenance: Anonymous sale; Paris, Hôtel Drouot, s.6, Mes René et Claude Boisgirard, 20 February 1970 ; Acquired at this sale by Gérard Lévy; Gérard Lévy Collection; Then by descent Exhibitions: Autour de Levy-Dhurmer / Visionnaires et Intimistes en 1900, Paris, Galeries nationales du Grand Palais, 3 March - 30 April 1973, cat. no. 32: "Plaque", reproduced p. 36 Bibliography: Lacambre, Geneviève, "Lucien Lévy-Dhurmer (1865-1953)", La Revue du Louvre et des Musées de France, no. 1, 1973, cat. no. 1: "Mélodie (Rêverie de Schumann)", reproduced on p. 27. Lucien LEVY-DHURMER (Algiers, 1865 - Le Vésinet, 1953) 44.0 x 32.0 cm

Delphin MASSIER (1836 - 1907) Owl vase Ceramic with lustre glaze Signed and localised 'DELPHIN MASSIER / VALLORIS (A.M.)' on the underside Height : 32 cm (Minor damage, small restoration to the owl's left ear and small chip to the bass) Owl vase, ceramic, signed, by D. Massier H. 12.60 in. Provenance: Lucien Levy-Dhurmer Collection (1865-1953) ; Gérard Lévy Collection; Then by descent Exhibitions: Autour de Levy-Dhurmer / Visionnaires et Intimistes en 1900, Paris, Galeries nationales du Grand Palais, 3 March - 30 April 1973, cat. no. 56: "Vase", reproduced p. 41 Les Massier: côté cour, côté jardin, Vallauris, Musée Magnelli - Musée de la Céramique, 4 July - 2 November 2009, reproduced p. 46: "Vase au hibou Vase with owl". The son of a dynasty of ceramists who had lived in Vallauris since the 17th century, Delphin Massier played a part in the revival of the decorative arts at the end of the 19th century, with technical innovations brought about by industrialisation and colourful decorations that were either naturalistic or Orientalist. From the collection of Lucien Lévy-Dhurmer, our vase belongs to the symbolist part of his work, combining a lunar mountain landscape with the strange silhouette of an owl spreading its wings, the mysterious guardian of our dreams and other nocturnal thoughts. Delphin MASSIER (1836 - 1907) The son of a dynasty of ceramists who had lived in Vallauris since the 17th century, Delphin Massier played a part in the revival of the decorative arts at the end of the 19th century, with technical innovations brought about by industrialisation and colourful decorations that were either naturalistic or orientalist. From the collection of Lucien Lévy-Dhurmer, our vase belongs to the symbolist part of his work, combining a lunar mountain landscape with the strange silhouette of an owl spreading its wings, the mysterious guardian of our dreams and other nocturnal thoughts.

Alphonse MUCHA (Ivancice, 1860 - Prague, 1939) The Iris Watercolour gouache over pencil lines on paper stretched over cardboard Signed and dated 'Mucha 1899' lower right The Iris, watercolour, gouache and pen, signed and dated, by A. Mucha 44.69 x 20.08 in. 113.5 x 51.0 cm Provenance: Anonymous sale; Paris, Hôtel Drouot, s. 1, Me Claude Robert, 18 January 1971, no. 19 ; Acquired at this sale by Gérard Lévy ; Gérard Lévy Collection; Then by descent Exhibitions: Mucha 1860-1939, Paintings, Illustrations - Posters, Arts Décoratifs, Paris, Grand Palais, 5 February - 28 April 1980, cat. no. 134: "L'Iris", reproduced [label on reverse]. Alfons Mucha, Vienna, Belvedere, 12 February - 1 June 2009 ; Montpellier, Musée Fabre, 20 June - 20 September 2009, cat. no. 37 reproduced p. 105 : " Etude à l'aquarelle en grandeur originale pour le panneau décoratif 'Iris' " [label on reverse] After starting out as a theatre decorator in his native Moravia, then in Vienna from 1879, Alphonse Mucha was commissioned to decorate the castle of Count Khuen-Belasi who, impressed by his talent, financed his studies at the Munich Academy of Art from 1885. After moving to Paris in 1887, the artist completed his training at the Académie Colarossi and then at the Académie Julian. He began producing advertising posters and illustrating books, catalogues and calendars. Noted for the quality of his illustrations, Mucha was taken on by the Armand Colin publishing house, one of the most important in the capital. He triumphed in 1894 when he designed the poster for Sarah Bernhardt's Gismonda, performed at the Théâtre de la Renaissance. This was followed by a six-year collaboration with the famous actress, for whom he designed the posters for La Dame aux camélias (1896) and Médée (1898). Mucha laid the aesthetic foundations for what was to become his success, mixing plant and floral motifs steeped in Art Nouveau with ornaments inspired by Byzantine, Oriental and Symbolism. With constant attention to detail, he invariably placed at the centre of his compositions a female figure with long, flowing hair, her face sometimes standing out against a circle, dressed in brightly-coloured fabrics and adorned with jewels. Wishing to disseminate his principles, in 1902 he published Les Documents décoratifs, which quickly became a benchmark for ornamental design, listing the complex range of Art Nouveau decor. After a long four-year stay in the United States, between 1906 and 1910, Mucha returned to Prague, where in ten years he produced what he considered to be his major work: The Slavic Epic. Dated 1899 and probably related to a private commission, our monumental watercolour is a meticulous reworking of the composition of The Iris, an important decorative panel by Mucha printed by Champenois the previous year as part of a series devoted to flowers. In addition to the white colouring of the irises, a symbol of purity and innocence, the artist introduced some subtle variations in the treatment of the jewels. As in the poster, the modelling disappeared in favour of a sinuous line that encircled the figure, surrounded by flowers, and the decorative treatment of the hair was simplified to the extreme, resulting in the creation of one of the most famous posters of Art Nouveau. Alphonse MUCHA (Ivancice, 1860 - Prague, 1939) 113.5 x 51.0 cm After starting out as a theatre decorator in his native Moravia, then in Vienna from 1879, Alphonse Mucha was commissioned to decorate the castle of Count Khuen-Belasi who, impressed by his talent, financed his studies at the Munich Academy of Arts from 1885. After moving to Paris in 1887, the artist completed his training at the Académie Colarossi and then at the Académie Julian. He began producing advertising posters and illustrating books, catalogues and calendars. Noted for the quality of his illustrations, Mucha was taken on by the Armand Colin publishing house, one of the most important in the capital. He triumphed in 1894 when he designed the poster for Sarah Bernhardt's Gismonda, performed at the Théâtre de la Renaissance. This was followed by a six-year collaboration with the famous actress, for whom he designed the posters for La Dame aux camélias (1896) and Médée (1898). Mucha laid the aesthetic foundations for what was to become his success, mixing plant and floral motifs steeped in Art Nouveau with ornaments inspired by Byzantine, Oriental and Symbolism. With constant attention to detail, he invariably placed at the centre of his compositions a female figure with long, flowing hair, her face sometimes standing out against a circle, dressed in brightly-coloured fabrics and adorned with jewels. Wishing to disseminate his principles, in 1902 he published Les Documents décoratifs, which quickly became a benchmark for ornamental design, listing the complex range of Art Nouveau decor. After a long four-year stay in the United States, between 1906 and 1910, Mucha returned to Prague, where in ten years he produced what he considered to be his major work: The Slavic Epic. Dated 1899 and probably related to a private commission, our monumental watercolour is a meticulous reworking of the composition of The Iris, an important decorative panel by Mucha printed by Champenois the previous year as part of a series devoted to flowers. In addition to the white colouring of the irises, a symbol of purity and innocence, the artist introduced a few subtle variations in the treatment of the jewels. As in the poster, the modelling disappeared in favour of a sinuous line that encircled the figure, surrounded by flowers, and the decorative treatment of the hair was simplified to the extreme, resulting in the creation of one of the most famous posters of Art Nouveau.

Alexandre SÉON (Chazelles-sur-Lyon, 1855 - Paris, 1917) Study for Spring Oil on canvas mounted on cardboard Annotated and signed 'Etude pr le Printemps/ Décor Courbevoie/ Alex. Séon' lower right (Restorations) Study for The Spring, oil on canvas, signed, by A. Séon 12.60 x 9.84 in. 32.0 x 25.0 cm Provenance: Charles Masson Collection (1858-1931), curator of the Musée du Luxembourg ; Anonymous sale; Paris, Me Fraysse, 2 March 2011, no. 104 ; Acquired at this sale by Gérard Lévy; Gérard Lévy Collection; Then by descent Exhibitions: Alexandre Séon, La Beauté Idéale (1855-1917), Quimper, Musée des Beaux-arts, 19 June - 28 September 2015; Valence, Musée d'Art et d'Archéologie, October 2015 - February 2016, cat. no. 10: "Étude pour 'Le Printemps'", reproduced p. 131 Our seductive female figure is part of the creative process for Alexandre Séon's decoration of the marriage hall in the Courbevoie town hall between 1885 and 1889. At the time, the young artist was encouraged by his master Pierre Puvis de Chavannes, whose synthetic principles he had assimilated and applied to large-scale decorations, after assisting him with his large-scale compositions for the Sorbonne, the Panthéon and the staircase at the Musée des Beaux-arts in Lyon. These decorations for Courbevoie won Séon a silver medal at the 1889 Universal Exhibition, where they met with critical acclaim. The artist divided the ceiling into four scenes evoking the seasons. In preparation for Spring, our youthful face, finely modelled in delicate brown tones, recalls the mysterious complexions of da Vinci's art, while already foreshadowing Séon's vibrant obsession with Greek purity. These multiple influences are brought together here in a perfectly balanced relationship, subjugating the colours to the drawing, the first incarnation of creative thought and the symbolic pillar of Séon's art. The work as a whole achieves a certain formal perfection in the treatment of the modelling, which imitates blurring, thanks to a brushstroke whose lightness, without passion, reaches the height of the absolute and incorruptible ideal towards which the artist never ceased to strive. Alexandre SÉON (Chazelles-sur-Lyon, 1855 - Paris, 1917) 32.0 x 25.0 cm Our seductive female figure is part of the creative process behind Alexandre Séon's decoration of the marriage hall at Courbevoie town hall between 1885 and 1889. At the time, the young artist was encouraged by his master Pierre Puvis de Chavannes, whose synthetic principles he had assimilated and applied to large-scale decorations, after assisting him with his large-scale compositions for the Sorbonne, the Panthéon and the staircase at the Musée des Beaux-arts in Lyon. These decorations for Courbevoie won Séon a silver medal at the 1889 Universal Exhibition, where they met with critical acclaim. The artist divided the ceiling into four scenes evoking the seasons. In preparation for Spring, our youthful face, finely modelled in delicate brown tones, recalls the mysterious complexions of Da Vinci's art, while already foreshadowing Séon's vibrant obsession with Greek purity. These multiple influences are brought together here in a perfectly balanced relationship, subjugating the colours to the drawing, the first incarnation of creative thought and the symbolic pillar of Séon's art. The work as a whole achieves a certain formal perfection in the treatment of the modelling, which imitates blurring, thanks to a brushstroke whose lightness, without passion, reaches the height of the absolute and incorruptible ideal towards which the artist never ceased to strive.

Alphonse OSBERT (Paris, 1857 - 1939) Solitude Oil on panel, one plate Signed and dated 'a Mr Bellion / bien sympathiquement / A. Osbert' lower right Titled, countersigned and dated 'solitude / A. Osbert / 1895' in ink on verso Solitude, oil on panel, signed and dated, by A. Osbert 7.09 x 10.83 in. 18.0 x 27.5 cm Provenance: Appears in the painter's register under number 97: "Solitude"; Given by the painter to M. Bellion in December 1895; Bellion Collection, General Secretary of La Plume; Lugardon Collection; Acquired from the latter on 13 March 1970 by Gérard Lévy; Gérard Lévy Collection; Then by descent True to his aesthetic principles, Alphonse Osbert goes straight to the point here, synthesising a spiritualised nature through the use of simplified forms, supported by the azure monochrome palette typical of his work. Only the yellow half-moon on the horizon brightens this bewitching "Osbert blue", offering a few golden reflections in the calm water below. In this way, a kind of supernatural aura emerges from this landscape, animated only on the right by an almost ghostly figure, whose spectral presence echoes like a poetic call to prayer, dream and meditation. Alphonse OSBERT (Paris, 1857 - 1939) 18.0 x 27.5 cm True to his aesthetic principles, Alphonse Osbert goes straight to the point here, synthesising a spiritualised nature through the use of simplified forms, supported by the azure monochrome palette typical of his work. Only the yellow half-moon on the horizon brightens this bewitching "Osbert blue", offering a few golden reflections in the calm water below. In this way, a kind of supernatural aura emerges from this landscape, animated only on the right by an almost ghostly figure, whose spectral presence echoes like a poetic call to prayer, dream and meditation.

Eugène-Robert POUGHEON (Paris, 1886 - 1955) Study for the Amazons (with magpies) Watercolour gouache, pen and brown ink over pencil lines Study for The Amazons (with magpies), gouache, watercolour, pen and brown ink, by E.-R. Pougheon 4.72 x 5.12 in. 12.0 x 13.0 cm Provenance: Gérard Lévy Collection ; Then by descent Our gouache watercolour is preparatory to an important painting by Pougheon, the Amazons (with magpies), probably painted in Rome in 1923 and exhibited among the "consignments from Rome" of the boarders at the Villa Medici in 1925. The whereabouts of this painting are currently unknown. Influenced as much by his classical training as by the experiments of the Cubists, Pougheon fixed on the sheet the geometric bases of an integrated composition in an almost square format, using perspective to judiciously balance the different elements. The architectural background, with its typically Roman balustrades probably borrowed from the casino at the Villa Borghese, frames the scene on the right. Here, the artist devotes most of his efforts to the attitudes of the Amazons in the middle register, whose slender silhouettes with spindly legs stand out against the clear mass of white horses, in a skilfully orchestrated ideal balance. Eugène-Robert POUGHEON (Paris, 1886 - 1955) 12.0 x 13.0 cm Our gouache watercolour is preparatory to an important painting by Pougheon, the Amazons (with magpies), probably painted in Rome in 1923 and exhibited among the "consignments from Rome" of the Villa Medici boarders in 1925. The whereabouts of this painting are currently unknown. Influenced as much by his classical training as by the experiments of the Cubists, Pougheon fixed on the sheet the geometric bases of an integrated composition in an almost square format, using perspective to judiciously balance the different elements. The architectural background, with its typically Roman balustrades probably borrowed from the casino at the Villa Borghese, frames the scene on the right. Here, the artist devotes most of his efforts to the attitudes of the Amazons in the middle register, whose slender silhouettes with spindly legs stand out against the clear mass of white horses, in a skilfully orchestrated ideal balance.

Paul Elie RANSON (Limoges, 1861 - Paris, 1909) Witch at the river Pen and Indian ink, charcoal Signed 'P. Ranson' lower right Signed with the initials 'P. R.' lower centre No frame Witch by the river, brush pen, indian ink and charcoal, signed, by P. E. Ranson 8.07 x 11.02 in. 20.5 x 28.0 cm Provenance: Gérard Lévy Collection ; Then by descent Leaning over the edge of a river, a naked young woman uses her beater to beat her washing to remove the detergent and dirt. What might appear to be a simple scene from everyday life is tinged here with the esotericism so dear to Paul Ranson. Our washerwoman takes on the appearance of a witch in the midst of occult work, and this is partly due to the bad reputation that the profession sometimes suffered as a result of the many superstitious recommendations made during the big washings. When the washing took place at night, in the moonlight, the assembly of hard-working women did not disdain to empty a few bottles of cider or wine, helping to maintain an aura of legend around their nocturnal work. True to his Nabis principles, Ranson thus played with the traditional iconography of history painters, who multiplied aquatic undines and Narcissus on their canvases. According to Marc-Olivier Bitker, a specialist on the artist, the model represented was probably the Polish actress, journalist and author Gabriela Zapolska, who was close to the Nabis group and lived with Paul Sérusier for two years. In a synthetic treatment borrowed from the Japanese, using only black and white Indian ink and paper, the artist combines her figure with a multitude of animals and symbols. An owl spreads its wings over a dead tree, tadpoles, frogs and hybrid monsters spring from the water on the left, while horse bones litter the ground on the right. All these elements resonate like a symbolist spiritual invitation to shed one's mortifying torments and immerse one's dirty laundry in the clear water of divine mercy. We would like to thank Marc-Olivier Bitker for confirming the authenticity of this work in a visual examination dated 21 November 2024. He suggests dating it to around 1893. Paul Elie RANSON (Limoges, 1861 - Paris, 1909) 20.5 x 28.0 cm Leaning over the edge of a river, a naked young woman uses her beater to beat her washing to get out the detergent and dirt. What might appear to be a simple scene from everyday life is tinged here with an esotericism dear to Paul Ranson. Our washerwoman takes on the appearance of a witch in the midst of occult work, and this is partly due to the bad reputation that the profession sometimes suffered as a result of the many superstitious recommendations made during the big washings. When the washing took place at night, in the moonlight, the assembly of hard-working women did not disdain to empty a few bottles of cider or wine, helping to maintain an aura of legend around their nocturnal work. True to his Nabis principles, Ranson thus played with the traditional iconography of history painters, who multiplied aquatic undines and Narcissus on their canvases. According to Marc-Olivier Bitker, a specialist on the artist, the model represented was probably the Polish actress, journalist and author Gabriela Zapolska, who was close to the Nabis group and lived with Paul Sérusier for two years. In a synthetic treatment borrowed from the Japanese, using only black and white Indian ink and paper, the artist associated her figure with a multitude of animals and symbols. An owl spreads its wings over a dead tree, tadpoles, frogs and hybrid monsters spring from the water on the left, while horse bones litter the ground on the right. All these elements resonate like a symbolist spiritual invitation to shed one's mortifying torments and immerse one's dirty laundry in the clear water of divine mercy. We would like to thank Marc-Olivier Bitker for confirming the authenticity of this work in a visual examination dated 21 November 2024. He suggests dating it to around 1893.

Charles FILIGER (Than, 1863- Plougastel, 1928) Front: Chromatic notation Back: Chromatic notation Watercolour gouache over pencil lines, recto verso Small annotations in the margin on the verso Chromatic notation, watercolour gouache on pencil strokes, double-sided, by C. Filiger 9.65 x 10.43 in. 24.5 x 26.5 cm Provenance: Antoine de La Rochefoucauld Collection (1862 - 1960) ; Collection of the painter Émile Bernard (1868 - 1941); Mr & Mrs Altarriba Collection; Gérard Lévy Collection; Then by descent Exhibitions: Il Sacro e il profano nell'Arte dei Simbolisti, Turin, Galleria Civica d'Arte Moderna, June - August 1969, cat. no. 135: "Notazione Cromatica", reproduced p. 127 Charles Filiger, Strasbourg, l'Ancienne Boucherie - Musée Historique, 16 June - 2 September 1990, cat. nos. 67 and 70 p. 218: "Figure Solaire No. 3 / Notations Chromatiques (double face)", reproduced p. 212 L'aventure de Pont-Aven et Gauguin, Paris, Musée du Luxembourg, 2 April - 22 June 2003; Quimper, Musée des Beaux-arts, 12 July - 30 September 2003, cat. no. 126: "Notation Chromatique", reproduced p. 339 Bibliography: Jacob, Mira, Filiger l'Inconnu, Musées de la Ville de Strasbourg, 1990, cat. no. 132: "Figure Solaire No. 3 / Notations Chromatiques (double face)", reproduced p. 98 This magnificent double-sided watercolour by Charles Filiger is one of the artist's rare "Notations chromatiques", which have apparently not yet revealed all their mystery. It was the poet André Breton, a fervent admirer of the artist, who came up with this name, as he explained in the list of works in the collection he drew up: "the following compositions should be designated as such, in accordance with an inscription in Filiger's hand on the back of one of them<a href="about:blank" rel="noopener noreferrer" target="_blank">[1]</a>". This name and adjective "Notation chromatique" in fact recur several times in the annotations around this type of drawing, although it cannot be said that these are their titles, but they have now been accepted by art historians. These watercolours, which resemble kaleidoscopic effects centred around a half-human, half-animal head, somewhere between mandalas and tools for exploring consciousness, are difficult to understand except through the annotations that accompany them. Filiger uses the name "opus" and gives numbers as if it were a series. The same expressions, associated with the work in progress, recur: to unify further, to take up again, to revise briefly, to push further, etc. The same words are used again and again: general harmony, chromatic progression, methodical, rational, logical, method, chromatic unity, simplification, unity, uniformity, unitary, schematic, etc. Some words are underlined, others are erased and reused. Thought, writing and drawing cannot be dissociated. Sometimes the painter talks to himself, explaining his work, pointing out corrections to be made and encouraging himself. These annotations reinforce the enigmatic character of these skilfully geometrised and coloured "images" in a rigorously established and harmonious order. Their relentless pursuit of formal perfection reflects Charles Filiger's uncompromising aesthetic obsession. <a href="about:blank" rel="noopener noreferrer" target="_blank">[1]</a> Quimper, Musée des Beaux-Arts, Charles Filiger collection. Charles FILIGER (Than, 1863- Plougastel, 1928) 24.5 x 26.5 cm This magnificent recto-verso watercolour by Charles Filiger is one of the artist's rare "Notations chromatiques", which have apparently not yet revealed all their mystery. It was the poet André Breton, a fervent admirer of the artist, who came up with this name, as he explained in the list of works in the collection he drew up: "the following compositions should be designated as such, in accordance with an inscription in Filiger's hand on the back of one of them<a href="about:blank" rel="noopener noreferrer" target="_blank">[1]</a>". This name and adjective "Notation chromatique" in fact recur several times in the annotations around this type of drawing, although it cannot be said that these are their titles, but they have now been accepted by art historians. These watercolours, which resemble kaleidoscopic effects centred around a half-human, half-animal head, somewhere between mandalas and tools for exploring consciousness, are difficult to understand except through the annotations that accompany them. Filiger uses the name "opus" and gives numbers as if it were a series. The same expressions, associated with the work in progress, recur: to unify further, to take up again, to revise briefly, to push further, etc. The same words are used again: general harmony, chromatic progression, methodical, rational, logical, method, chromatic unity, simplification, unity, uniformity, unitary, schematic, etc. Some words are underlined, others are erased and reused. Thought, writing and drawing cannot be dissociated. Sometimes the painter talks to himself, explaining his work, pointing out corrections to be made and encouraging himself. These annotations reinforce the enigmatic character of these skilfully geometrised and coloured "images" in a rigorously established and harmonious order. Their relentless pursuit of formal perfection reflects Charles Filiger's uncompromising aesthetic obsession. <a href="about:blank" rel="noopener noreferrer" target="_blank">[1]</a> Quimper, Musée des Beaux-Arts, Charles Filiger collection.

Robert KASTOR (1872 - 1935 ) Bust portrait of Joséphin Péladan Pen and Indian ink over pencil line Signed 'R. KASTOR' in the margin Dedicated in ink 'Ad Rosam per Crucem / Ad Crucem per Rosam / In ea, in ey, gemmatus / Resurgam / Sar MERODAKJOSEPHINPELADAN'. Bust portrait of Josephin Peladan, pen and Indian ink, signed, by R. Kastor 13.58 x 9.65 in. 34.5 x 24.5 cm Provenance: Gérard Lévy Collection ; Then by descent Attached: - Robert KASTOR, Portrait of Gustave Kahn, pen and ink over pencil, signed 'R.KASTOR' on the model's shoulder, bears an inscription transcribing a poem by the model in ink, 30 x 24.5cm - A dedication to Mademoiselle Louise Read (Barbey d'Aurevilly's mistress) on an engraved portrait by Joséphin Péladan, plate: 15.7 x 11 cm Sheet size: 30.5 x 22 cm A pupil of Joseph Blanc, the painter Robert Kastor also worked in etching and took to pen portraits of the artistic personalities of his time, including Max Linder, André Antoine and Sarah Bernhardt. Accompanied by dedications, our two small portraits of Sâr Péladan and Gustave Kahn are immediately captivating, with their perfect psychological rendering of the models and their meticulous precision. Robert KASTOR (1872 - 1935 ) 34.5 x 24.5 cm Attached : - Robert KASTOR, Portrait of Gustave Kahn, pen and Indian ink over pencil, signed 'R.KASTOR' on the model's shoulder, bears an inscription transcribing a poem by the model in ink, 30 x 24.5cm - A dedication to Mademoiselle Louise Read (Barbey d'Aurevilly's mistress) on an engraved portrait by Joséphin Péladan, plate: 15.7 x 11 cm Sheet size: 30.5 x 22 cm A pupil of Joseph Blanc, the painter Robert Kastor also worked in etching, taking pen-and-ink portraits of the artistic personalities of his time, including Max Linder, André Antoine and Sarah Bernhardt. Accompanied by dedications, our two small portraits of Sâr Péladan and Gustave Kahn are immediately captivating, with their perfect psychological rendering of the models and their meticulous precision.

Armand RASSENFOSSE (Liège, 1862 - 1934) The long sleep ended in death! Silver point Dedicated, monogrammed, dated and titled 'a Albert Neuville / Secrétaire & trésorier / des Peintres Graveurs / en Souvenir / & en remerciement / AR / 1912 / Le long Sommeil / S'est terminé / Par la Mort! on the right Annotated 'silverpoint drawing' lower right Le long sommeil s'est terminé par la mort', silver tip, dated, by A. Rassenfosse 9.25 x 8.27 in. 23.5 x 21.0 cm Provenance: Collection of Albert de Neuville (1864-1924) in 1912 ; Gérard Lévy Collection; Then by descent Armand RASSENFOSSE (Liege, 1862 - 1934) 23.5 x 21.0 cm

Paul QUINSAC (Bordeaux, 1858 - 1929) Druidess Oil on canvas (original canvas and stretcher) Signed and dated 'p. Quinsac / 1889' lower right Canvas and stretcher by Pignel Dupont (Traces of brush cleaning on the reverse) Without frame Druidess, oil on canvas, signed and dated, by P. Quinsac 27.17 x 19.88 in. 69.0 x 50.5 cm Provenance: Gérard Lévy Collection ; Then by descent Exhibitions: L'Art et la Vie en France à la Belle Époque, Île de Bendor, Fondation Paul Ricard, September - October 1971, cat. no. 273: "La femme à la couronne d'or" [label on reverse]. Bibliography: Celebonovic, Aleksa, Peinture kitsch ou réalisme bourgeois, l'art pompier dans le monde, Paris, Seghers, 1974, reproduced p. 174: "La Femme a la couronne d'or". A student of Jean-Léon Gérôme at the École des Beaux-arts, from 1880 Paul Quinsac exhibited regularly at the Salon des Artistes français, becoming a member in 1887. A talented portraitist, he also specialised in allegorical and mythological subjects. Crowned with official honours, he received the bronze medal at the 1889 Universal Exhibition, an honourable mention at the 1900 Universal Exhibition and was made a Chevalier de la Légion d'Honneur in 1908. Sporting golden laurels and an almost rebellious look, our Druidess is a perfect example of Quinsac's work, combining historical subject matter with a certain seductive power. Paul QUINSAC (Bordeaux, 1858 - 1929) 69.0 x 50.5 cm A student of Jean-Léon Gérôme at the École des Beaux-arts, from 1880 Paul Quinsac exhibited regularly at the Salon des Artistes français, becoming a member in 1887. A talented portraitist, he also specialised in allegorical and mythological subjects. Crowned with official honours, he received the bronze medal at the 1889 Universal Exhibition, an honourable mention at the 1900 Universal Exhibition and was made a Chevalier de la Légion d'Honneur in 1908. Sporting golden laurels and an almost rebellious look, our Druidess is a perfect example of Quinsac's work, combining historical subject matter with a certain seductive power.

Manuel ORAZI (Rome, 1860 - Paris, 1934) Theatre outing with Yvette Guilbert Oil on card Signed 'M. ORAZI' lower right Theater outing with Yvette Guilbert, oil on cardboard, signed, by M. Orazi 10.04 x 8.27 in. 25.5 x 21.0 cm Provenance: Gérard Lévy Collection ; Then by descent Exhibitions: L'Art et la Vie en France à la Belle Époque, Île de Bendor, Fondation Paul Ricard, September - October 1971, cat. no. 81: "Leaving the theatre with Yvette Guilbert" [label on back]. Born in Italy, Manuel Orazi moved to Paris to begin his artistic career. Putting his talents as an illustrator and poster artist to work for various Parisian magazines, he regularly contributed to Je sais tout, Figaro illustré, etc. and L'Assiette au beurre, and provided numerous drawings for the works of Charles Baudelaire, Edgar Allan Poe, Oscar Wilde and Pierre Louÿs. At the Universal Exhibition in 1900, Orazi designed the sets for the Palais de la Danse and the Théâtre de Loïe Fuller, largely influenced by Japanese art, reflecting all the modernity of the dancer's performances that so fascinated Lautrec. Our small oil painting captures the profile of Yvette Guilbert in evening dress, between two men in dinner jackets, among whom appears on the right the imposing stature of the painter Louis Anquetin, a close friend of the artist. Manuel ORAZI (Rome, 1860 - Paris, 1934) 25.5 x 21.0 cm Born in Italy, Manuel Orazi moved to Paris to begin his artistic career. He put his talents as an illustrator and poster artist to work for various Parisian magazines, contributing regularly to Je sais tout, Figaro illustré, etc. and L'Assiette au beurre, and provided numerous drawings for the works of Charles Baudelaire, Edgar Allan Poe, Oscar Wilde and Pierre Louÿs. At the Universal Exhibition in 1900, Orazi designed the sets for the Palais de la Danse and the Théâtre de Loïe Fuller, largely influenced by Japanese art, reflecting all the modernity of the dancer's performances that so fascinated Lautrec. Our small oil painting captures the profile of Yvette Guilbert in evening dress, between two men in dinner jackets, among whom on the right appears the imposing stature of the painter Louis Anquetin, who was close to the artist.

Paul ANDREZ, pseudonym of Vlaho BUKOVAC (Ragusa Vecchia (Cavtat), 1855, Prague, 1922) La belle au kimono, trompe-l'œil Oil on canvas Signed and dated 'P.ANDREZ / 1890' lower left The beauty in the kimono, oil on canvas, signed and dated, by P. Andrez 28.74 x 36.22 in. 73.0 x 92.0 cm Provenance: Gérard Lévy Collection ; Then by descent Exhibitions: Or et couleur: le cadre dans la seconde moitié du dix-neuvième siècle, Paris, Musée d'Orsay, 19 June - 24 September 1989, cat. no. 48: "Portrait de Femme". Triumph der Schöneit / Die Epoche der Salonmarelei von Makart bis Rossetti, Krems (Austria), Kunsthalle, 5 March - 30 July 2006, reproduced p. 43 : "Japaneirin in einem Rahmen". Bibliography: Celebonovic, Aleksa, Peinture kitsch ou réalisme bourgeois, l'art pompier dans le monde, Paris, Seghers, 1974, reproduced on p. 176: "Portrait de Femme". Cahn, Isabelle, Cadres de Peintres, Paris, Réunion des Musées Nationaux / Hermann, Editeurs des Sciences et des Arts, 1989, p. 105, reproduced p. 41, cat. no. 18: "Portrait de Femme". In a letter to Gérard Lévy in March 1978<a href="about:blank" rel="noopener noreferrer" target="_blank" style="color: black;">[1]</a>, Croatian art historian Vera Kružić Uchytil (1930-2012) identified the author of this strange painting, which she had discovered by consulting Aleksa Celebonovic's book on firefighter art published in 1974<a href="about:blank" rel="noopener noreferrer" target="_blank" style="color: black;">[2]</a>. The artist in question was Vlaho Bukovac, a ragusain painter, Austrian citizen of Dalmatian origin, who became Czechoslovakian towards the end of his life. During his time in Paris, he used the pseudonym "Paul Andrez" in order to sell some of his paintings more easily. Trained by Alexandre Cabanel at the Ecole des Beaux-Arts in Paris, he exhibited at the Salon des Artistes Français from 1878 to 1887, and won a bronze medal at the 1889 Paris Universal Exhibition. In 1892, he exhibited two works at the Salon under the name of Paul Andrez: a portrait and a Fantasy that is today unidentified (cat. no. 16), before returning the following year to Austria-Hungary, where he became a teacher at the Academy of Fine Arts in Prague. Using a seductive trompe-l'œil, Bukovac amuses himself by depicting on our canvas a young woman in a kimono leaping joyfully out of her painted frame to meet the viewer. This theme of the subject cramped in its frame was one of the commonplaces of nineteenth-century Salon caricaturists. In this way, the model humorously transgresses the limits of her painting to break into the real world. <a href="about:blank" rel="noopener noreferrer" target="_blank">[1]</a> Typed letter signed by Vera Kružić Uchytil to Gérard Lévy, dated 17 March 1978, private archive. <a href="about:blank" rel="noopener noreferrer" target="_blank">[2]</a> Celebonovic, Aleksa, Peinture kitsch ou réalisme bourgeois, l'art pompier dans le monde, Paris, Seghers, 1974, reproduced p. 176. Paul ANDREZ, pseudonym of Vlaho BUKOVAC (Ragusa Vecchia (Cavtat), 1855, Prague, 1922) 73.0 x 92.0 cm In a letter to Gérard Lévy in March 1978<a href="about:blank" rel="noopener noreferrer" target="_blank" style="color: black;">[1]</a>, Croatian art historian Vera Kružić Uchytil (1930-2012) identified the author of this strange painting, which she had discovered by consulting Aleksa Celebonovic's book on firefighter art published in 1974<a href="about:blank" rel="noopener noreferrer" target="_blank" style="color: black;">[2]</a>. The artist in question was Vlaho Bukovac, a ragusain painter, Austrian citizen of Dalmatian origin, who became Czechoslovakian towards the end of his life. During his time in Paris, he used the pseudonym "Paul Andrez" in order to sell some of his paintings more easily. Trained by Alexandre Cabanel at the Ecole des Beaux-Arts in Paris, he exhibited at the Salon des Artistes Français from 1878 to 1887, and won a bronze medal at the 1889 Paris Universal Exhibition. In 1892, he exhibited two works at the Salon under the name of Paul Andrez: a portrait and a Fantasy that is today unidentified (cat. no. 16), before returning the following year to Austria-Hungary, where he became a teacher at the Academy of Fine Arts in Prague. Using a seductive trompe-l'œil, Bukovac amuses himself by depicting on our canvas a young woman in a kimono leaping joyfully out of her painted frame to meet the viewer. This theme of the subject cramped in its frame was one of the commonplaces of nineteenth-century Salon caricaturists. In this way, the model humorously transgresses the limits of her painting to break into the real world. <a href="about:blank" rel="noopener noreferrer" target="_blank">[1]</a> Typed letter signed by Vera Kružić Uchytil to Gérard Lévy, dated 17 March 1978, private archive. <a href="about:blank" rel="noopener noreferrer" target="_blank">[2]</a> Celebonovic, Aleksa, Peinture kitsch ou réalisme bourgeois, l'art pompier dans le monde, Paris, Seghers, 1974, reproduced p. 176.

Luc-Olivier MERSON (Paris, 1846 - 1920) The Judgement of Pâris Oil, pen and ink on canvas (Original canvas) Signed and dated 'LVC OLIVIER - MERSON / .MDCCCLXXXIV.' upper left (Restorations around the edges) The judgment of Pâris, oil, pen and Indian ink on canvas, signed and dated, by L. -O. Merson 31.89 x 19.09 in. 81.0 x 48.5 cm Provenance: Anonymous sale; Paris, Hôtel Drouot, Mes Couturier-Couturier-de Nicolay, 12 February 1969, no. 30 ; Acquired at this sale by Gérard Lévy; Gérard Lévy Collection; Then by descent Exhibitions: Salon des Artistes français, Paris, Palais des Champs-Élysées, May 1884, cat. no. 1690: "Le jugement de Pâris" ("The Judgement of Paris") Exposition des Beaux-Arts, Nantes, 1886, cat. no. 761 bis: "Le Jugement de Pâris" ("The Judgement of Paris") Exposition Universelle de 1889, Paris, Palais des Beaux-arts, 5 May - 31 October 1889, cat. no. 1022: "L'amour au jugement de Pâris". Salon, Mulhouse, 1890, cat. no. 194: "L'amour au jugement de Pâris" ("Love at the Judgement of Paris") Société Nationale des Beaux-arts, Paris, Grand-Palais, 13 April - 30 June 1921, cat. no. 252: "Le Jugement de Pâris" (The Judgement of Paris) L'Art et la Vie en France à la Belle Époque, Île de Bendor, Fondation Paul Ricard, September - October 1971, cat. no. 257: "L'amour au jugement de Paris" [label on reverse]. Bibliography: Comte, J., "Le Salon de 1884", L'Illustration, 3 May 1884, p. 286 Schurr, Gérald, 1820-1920 / Les Petits Maitres de la Peinture / Valeur de Demain, Editions de la Gazette, 1969, reproduced p. 72: "L'Amour au Jugement de Paris". Ribemont, Francis (ed.), Stevenin, Anne-Blanche, L'Etrange Monsieur Merson, Lyon, Editions Lieux-Dits, 2008, work mentioned p. 26-27 and p. 96-98 ["Le Jugement de Pâris"]. The son of painter and art critic Charles-Olivier Merson, Luc-Olivier Merson completed his training with Isidore Pils at the École des Beaux-Arts in Paris. He exhibited for the first time at the Salon of 1866 and was awarded the Grand Prix de Rome for painting in 1869. After winning a first-class medal at the Salon des artistes français in 1875, he triumphed at the Exposition Universelle in 1889, winning a gold medal. The artist had presented our painting, Le Jugement de Pâris (cat. no. 1022), previously exhibited at the Salon des Artistes français in 1884 (cat. no. 1690) and at the Beaux-arts exhibition in Nantes two years later (cat. no. 761 bis). An enthusiast of mythology, Merson succeeded in renewing traditional iconography by whimsically removing the usual protagonists, leaving only a triumphant adolescent Cupid leaning against the base of an archaic bronze statue of Pan, brandishing the golden apple. Paris, Aphrodite, Athena and Hera are suggested only by their traditional attributes strewn across the ground, a fact that did not escape the notice of the critic Jules Comte, who was full of praise in the columns of L'Illustration: "It is true that we are dealing here with an outstanding artist; see a little further on this other delightful canvas that he calls the Judgement of Paris. At first, it is hard to grasp the idea, seeing only the mischievous shepherd; the goddesses have fled, leaving behind all their attributes, her peacock, her owl<a href="#_ftn1" rel="noopener noreferrer" target="_blank"><strong><i>[1]</i></strong></a>". <a href="#_ftnref1" rel="noopener noreferrer" target="_blank">[1]</a> Comte, J., "Le Salon de 1884", L'Illustration, 3 May 1884, p. 286. Luc-Olivier MERSON (Paris, 1846 - 1920) 81.0 x 48.5 cm Son of the painter and art critic Charles-Olivier Merson, Luc-Olivier Merson completed his training with Isidore Pils at the École des Beaux-Arts in Paris. He exhibited for the first time at the Salon of 1866 and was awarded the Grand Prix de Rome for painting in 1869. After winning a first-class medal at the Salon des artistes français in 1875, he triumphed at the Exposition Universelle in 1889, winning a gold medal. The artist had presented our painting, Le Jugement de Pâris (cat. no. 1022), previously exhibited at the Salon des Artistes français in 1884 (cat. no. 1690) and at the Beaux-arts exhibition in Nantes two years later (cat. no. 761 bis). An enthusiast of mythology, Merson succeeded in renewing traditional iconography by whimsically removing the usual protagonists, leaving only a triumphant adolescent Cupid leaning against the base of an archaic bronze statue of Pan, brandishing the golden apple. Paris, Aphrodite, Athena and Hera are suggested only by their traditional attributes strewn across the ground, a fact that did not escape the notice of the critic Jules Comte, who was full of praise in the columns of L'Illustration: "It is true that we are dealing here with an outstanding artist; see a little further on this other delightful canvas that he calls the Judgement of Paris. At first, it is hard to grasp the idea, seeing only the mischievous shepherd; the goddesses have fled, leaving behind all their attributes, her peacock, her owl<a href="#_ftn1" rel="noopener noreferrer" target="_blank"><strong><em>[1]</em></strong></a>". <a href="#_ftnref1" rel="noopener noreferrer" target="_blank">[1]</a> Comte, J., "Le Salon de 1884", L'Illustration, 3 May 1884, p. 286.

Pascal DAGNAN-BOUVERET (Paris, 1852 - Quincey, 1929) Eros shooting an arrow Oil, pen and Indian ink over pencil lines on tracing paper, lined with cardboard Dedicated and signed 'à Monsieur J. Allard, en souvenir de mon Eros, / PA-Dagnan-B' lower right Eros ticking an arrow, oil, pen and Indian ink on pencil strokes on layer, signed, by P. Dagnan-Bouveret 31.69 x 13.19 in. 80.5 x 33.5 cm Provenance: Jules Allard Collection ; Gérard Lévy Collection; Then by descent A student of Alexandre Cabanel and Jean-Léon Gérôme, Pascal Dagnan-Bouveret entered the Salon des Artistes Français in 1875. Quickly, under the influence of Jules Bastien-Lepage, he devoted himself to genre scenes of highly descriptive realism, which brought him his first great success and gradually established him as the leader of the naturalist movement in painting. He left Paris to settle in Franche-Comté, where he painted subjects drawn from everyday rural life. Using photography, he set up a space in his studio where his models could pose individually, before being incorporated into the final composition. In the 1890s, Dagnan-Bouveret's art became increasingly spiritual, imbued with a symbolism marked by a certain mysticism. Shooting an arrow, our large Eros on paper probably relates to the painting of the same subject exhibited by Dagnan-Bouveret at the Salon de la Société nationale des Beaux-Arts in 1895 (cat. no. 354), and now unlocated. In a very vertical format, the artist portrayed the graceful, adolescent build of the God of Love against a quickly brushed green background. Looking mischievous, his two white wings raised behind his back, he stretches his bow on tiptoe, while one of his arrows is already on the ground. This strangely seductive composition was dedicated by Dagnan to Jules Allard, who had opened an art gallery on rue des Capucines in the 2nd arrondissement at the turn of the century. Pascal DAGNAN-BOUVERET (Paris, 1852 - Quincey, 1929) 80.5 x 33.5 cm A student of Alexandre Cabanel and Jean-Léon Gérôme, Pascal Dagnan-Bouveret entered the Salon des Artistes Français in 1875. Quickly, under the influence of Jules Bastien-Lepage, he devoted himself to genre scenes of highly descriptive realism, which brought him his first great success and gradually established him as the leader of the naturalist movement in painting. He left Paris to settle in Franche-Comté, where he painted subjects drawn from everyday rural life. Using photography, he set up a space in his studio where his models could pose individually, before being incorporated into the final composition. In the 1890s, Dagnan-Bouveret's art became increasingly spiritual, imbued with a symbolism marked by a certain mysticism. Shooting an arrow, our large Eros on paper probably relates to the painting of the same subject exhibited by Dagnan-Bouveret at the Salon de la Société nationale des Beaux-Arts in 1895 (cat. no. 354), and now unlocated. In a very vertical format, the artist portrayed the graceful, adolescent build of the God of Love against a quickly brushed green background. Looking mischievous, his two white wings raised behind his back, he stretches his bow on tiptoe, while one of his arrows is already on the ground. This strangely seductive composition was dedicated by Dagnan to Jules Allard, who had opened an art gallery on rue des Capucines in the 2nd arrondissement at the turn of the century.

Albert-Jules EDOUARD (Caen, 1845 - Paris, 1919) The Night Oil on canvas (Original canvas) Signed 'ALBERT. EDOUARD.' lower left No frame The night, oil on canvas, signed, by A.-J. Edouard 32.28 x 21.65 in. 82.0 x 55.0 cm Provenance: Gérard Lévy Collection ; Then by descent Exhibitions: Salon des Artistes français, Paris, Palais des Champs-Élysées, April - May 1896, cat. no. 759: "La Nuit" ("The Night") Probably Salon des Artistes français, Paris, place de Breteuil, 1900, cat. no. 481: "La Nuit étend son voile" ("Night extends its veil") Probably Union artistique de Toulouse, Toulouse, Galeries du capitole, 1904, cat. no. 169: "La Nuit étend son voile" ("Night extends its veil") Probably Salon des Artistes français, Paris, Palais des Champs-Élysées, April - May 1908, cat. no. 621: "La Nuit". L'Art et la Vie en France à la Belle Époque, Île de Bendor, Fondation Paul Ricard, September - October 1971, cat. no. 201: "La Nuit" [label on reverse]. Triumph der Schöneit / Die Epoche der Salonmarelei von Makart bis Rossetti, Krems (Austria), Kunsthalle, 5 March - 30 July 2006, reproduced p. 47 : "Die Nacht". Bibliography: Baschet, Ludovic, Catalogue illustré du Salon de la Société des Artistes Français de 1896, Peinture Et Sculpture, Paris, Ludovic Baschet, 1896, cat. no. 759 reproduced p. 115 Celebonovic, Aleksa, Peinture kitsch ou réalisme bourgeois, l'art pompier dans le monde, Paris, Seghers, 1974, reproduced p. 88: "La Nuit". Jullian, Philippe, Le Nu 1900, Paris, André Barret éditeur, 1976, reproduced p. 33 Albert-Jules Édouard initially trained at the École des Beaux-Arts in Caen, before studying in Paris with Jean-Léon Gérôme, Léon Cogniet and then Jules-Élie Delaunay. Aiming for a career as a history painter, he exhibited regularly at the Salon des Artistes français from 1882, winning a medal that same year, and again in 1885 and at the Universal Exhibition of 1889. In 1896, he exhibited our painting of the Allegory of the Night (cat. no. 759), accompanied in the Salon booklet by Victor Hugo's eloquent verses from La Légende des siècles: "The night draws from the depths of unknown abysses Its net where Mars shines, where Venus shines. And as the hours strike, This net grows, rises, fills the evening sky And in its shadowy meshes and black networks The constellations shiver<a href="#_ftn1" rel="noopener noreferrer" target="_blank"><strong><i>[1]</i></strong></a>". <a href="#_ftnref1" rel="noopener noreferrer" target="_blank">[1]</a> Victor Hugo, "Plein Ciel", in La Légende des siècles, Paris, Hetzel, 1859, p. 225. Albert-Jules EDOUARD (Caen, 1845 - Paris, 1919) 82.0 x 55.0 cm Albert-Jules Édouard first trained at the École des Beaux-Arts in Caen, before studying in Paris with Jean-Léon Gérôme, Léon Cogniet and then Jules-Élie Delaunay. Aiming for a career as a history painter, he exhibited regularly at the Salon des Artistes français from 1882, winning a medal that same year, and again in 1885 and at the Universal Exhibition of 1889. In 1896, he exhibited our painting of the Allegory of the Night (cat. no. 759), accompanied in the Salon booklet by Victor Hugo's eloquent verses from La Légende des siècles: "Night draws from the depths of unknown abysses Its net where Mars shines, where Venus shines. And as the hours strike, This net grows, rises, fills the evening sky And in its shadowy meshes and black networks The constellations shiver<a href="#_ftn1" rel="noopener noreferrer" target="_blank"><strong><em>[1]</em></strong></a>". <a href="#_ftnref1" rel="noopener noreferrer" target="_blank">[1]</a> Victor Hugo, "Plein Ciel", in La Légende des siècles, Paris, Hetzel, 1859, p. 225.

Albert-Jules EDOUARD (Caen, 1845 - Paris, 1919) The poet and the muse, by Lamartine Oil on canvas (Original canvas) Signed 'ALBERT EDOUARD' lower left Traces of annotations above the signature Canvas by Hardy Alan (Restorations) Frameless The poet and the muse, from Lamartine, oil on canvas, signed, by A.-J. Edouard 34.06 x 27.95 in. 86.5 x 71.0 cm Provenance: Anonymous sale; Paris, Hôtel Drouot, s. 5-6, Auction Art Rémy Le Fur & Associés, 23 May 2011, no. 43 (as "L'apothéose d'Alphonse de Lamartine") ; Acquired at this sale by Gérard Lévy; Gérard Lévy Collection; Then by descent Exhibitions: Salon des Artistes français, Paris, Palais des Champs-Élysées, April - May 1894, cat. no. 695: "Le poète et la muse, de Lamartine". Bibliography: Bernard, Tristan, "Le Salon du chasseur de chevelures illustré par Tristan Bernard et Toulouse-Lautrec - Le Salon du Tartare et le Salon des Champs-Élysées", La Revue Blanche, June 1894, p. 582. Bernier, Georges and Rosamond, "Lautrec at the 1894 Salon", L'œil, December 1969, reproduced on p. 24. With its unique iconography, depicting Alphonse de Lamartine carried in triumph to the sea by his winged muse, crowned with laurels and carrying his harp, our painting by Albert Édouard did not go unnoticed when it was exhibited at the Salon des Artistes français in 1894 (cat. no. 695). In fact, in a supplement to the June issue of La Revue Blanche, Henri de Toulouse-Lautrec and Tristan Bernard signed an illustrated Salon du Chasseur de chevelures, in the same vein as the caricatural Salons published in Le Charivari from 1843 onwards. Commenting on his visit to the Salon, Tristan Bernard was quick to mention "A Lamartine-reclame [that] extols a new bicycle<a href="#_ftn1" rel="noopener noreferrer" target="_blank"><strong><i>[1]</i></strong></a>", criticising the somewhat pompous nature of the subject. Lautrec humorously illustrated the writer's satirical remarks with a little sketch thrown in for good measure, replacing the muse with the two wheels of a bicycle. <a href="#_ftnref1" rel="noopener noreferrer" target="_blank">[1]</a> Bernard, Tristan, "Le Salon du chasseur de chevelures illustré par Tristan Bernard et Toulouse-Lautrec - Le Salon du Tartare et le Salon des Champs-Elysées", La Revue Blanche, no. 32, June 1894, p. 582. Albert-Jules EDOUARD (Caen, 1845 - Paris, 1919) 86.5 x 71.0 cm With its singular iconography, depicting Alphonse de Lamartine carried in triumph before the sea by his winged muse, crowned with laurels and carrying his harp, this painting by Albert Édouard did not go unnoticed when it was exhibited at the Salon des Artistes français in 1894 (cat. no. 695). In fact, in a supplement to the June issue of La Revue Blanche, Henri de Toulouse-Lautrec and Tristan Bernard signed an illustrated Salon du Chasseur de chevelures, in the same vein as the caricatural Salons published in Le Charivari from 1843 onwards. Commenting on his visit to the Salon, Tristan Bernard was quick to mention "a Lamartine advertisement [that] extols a new bicycle<a href="#_ftn1" rel="noopener noreferrer" target="_blank"><strong><em>[1]</em></strong></a>", criticising the somewhat pompous nature of the subject. Lautrec humorously illustrated the writer's satirical remarks with a little sketch thrown in for good measure, replacing the muse with the two wheels of a bicycle. <a href="#_ftnref1" rel="noopener noreferrer" target="_blank">[1]</a> Bernard, Tristan, "Le Salon du chasseur de chevelures illustré par Tristan Bernard et Toulouse-Lautrec - Le Salon du Tartare et le Salon des Champs-Elysées", La Revue Blanche, no. 32, June 1894, p. 582.

Gabriel-Joseph FERRIER (Nîmes, 1847 - Paris, 1914) Study for La Liseuse Oil on canvas (Original canvas) Signed '-Gabriel-Ferrier-' upper right Study for la Liseuse, oil on canvas, signed, by G.-J. Ferrier 12.99 x 9.65 in. 33.0 x 24.5 cm Provenance: Anonymous sale; Paris, Hôtel Drouot, s.3, Me Paul Renaud, 17 April 1969 ; Acquired at this sale by Gérard Lévy ; Gérard Lévy Collection; Then by descent Exhibitions: L'Art et la Vie en France à la Belle Époque, Île de Bendor, Fondation Paul Ricard, September - October 1971, cat. no. 213: "Étude pour 'la liseuse'" [label on reverse]. Bibliography: Schurr, Gérald, 1820-1920 / Les Petits Maîtres de la Peinture / Valeur de Demain, Éditions de la Gazette, 1969, reproduced on the cover: "La Liseuse". Trained by Ernest Hebert and Isidore Pils at the École des Beaux-Arts in Paris, Gabriel Ferrier exhibited at the Salon from 1869, before winning the first Grand Prix de Rome for painting in 1872. On his return from the Villa Médicis, he devoted himself to history painting and portraits of personalities from the Third Republic. He won a gold medal at the 1889 Universal Exhibition and became a member of the Académie des Beaux-Arts in 1906. Our little painting belongs to the most popular part of Ferrier's career, in which he also painted charming little intimate scenes that met with great success. Depicting the artist's wife stopping her reading to give free rein to her thoughts, our work is part of a series of compositions that are quite similar, but with subtle variations. Gabriel-Joseph FERRIER (Nîmes, 1847 - Paris, 1914) 33.0 x 24.5 cm Trained by Ernest Hebert and Isidore Pils at the École des Beaux-Arts in Paris, Gabriel Ferrier exhibited at the Salon from 1869, before winning the first Grand Prix de Rome for painting in 1872. On his return from the Villa Médicis, he devoted himself to history painting and portraits of personalities from the Third Republic. He won a gold medal at the 1889 Universal Exhibition and became a member of the Académie des Beaux-Arts in 1906. Our little painting belongs to the most popular part of Ferrier's career, in which he also painted charming little intimate scenes that met with great success. Depicting the artist's wife stopping her reading to give free rein to her thoughts, our work is part of a series of compositions that are quite similar, but with subtle variations.

Henri COURSELLES-DUMONT (Paris, 1856 - 1918) The Captive Oil on canvas Signed and dated 'H. Courselles Dumont 1904' lower right (Restorations) No frame The captive, oil on canvas, signed and dated, by H. Courselles-Dumont 43.9 x 27.95 in. 111.5 x 71.0 cm Provenance: Anonymous sale; Paris, Hôtel Drouot, 17 April 1969 ; Acquired at this sale by Gérard Lévy ; Gérard Lévy Collection; Then by descent Exhibitions: Salon des Artistes Français, Paris, Grand Palais, May 1904, cat. no. 475: "La captive". Bibliography: Postcard no. 609 Gr., ND Phot; 1904: "Salon de 1904 - La Captive, par H. Courselles Dumont". Baschet, Ludovic, Catalogue illustré du Salon de 1904, Librairie d'Art, 1904, cat. no. 475: "La captive". Maison Française, n° 272, November 1973, reproduced p. 189: "La Captive". Schurr, Gérald, 1820-1920 / Les Petits Maîtres de la Peinture / Valeur de Demain, tome 3, Les Éditions de l'Amateur, 1976, reproduced : "La Belle captive" After initial training with Luc-Olivier Merson at the Ecole des Beaux-arts in Paris, Henri Courselles-Dumont joined Jules-Élie Delaunay's studio, where he became his assistant, notably working on the frescoes for the Panthéon. Exhibiting at the Salon des Artistes français from 1882 onwards, he gradually turned to history painting, often combining it with fantastical, erotic and sombre imagery, for which he was awarded a 3rd class medal in 1898. Exhibited in 1904, our large painting of a captive held captive by an imposing barbarian rider provides the perfect pretext for a sensual and unequivocal depiction of a seductive female nude. Henri COURSELLES-DUMONT (Paris, 1856 - 1918) 111.5 x 71.0 cm After initial training with Luc-Olivier Merson at the École des Beaux-arts in Paris, Henri Courselles-Dumont joined Jules-Élie Delaunay's studio, where he became his assistant, notably working on the completion of the frescoes at the Panthéon. Exhibiting at the Salon des Artistes français from 1882 onwards, he gradually turned to history painting, often combining it with fantastical, erotic and sombre imagery, for which he was awarded a 3rd class medal in 1898. Exhibited in 1904, our large painting of a captive held captive by an imposing barbarian rider provides the perfect pretext for a sensual and unequivocal depiction of a seductive female nude.

Georges-Auguste Elie LAVERGNE (Paris, 1863 - 1942) Portrait of a Woman in Black with a Hat Adorned with Yellow Flowers Oil on canvas Signed 'Georges Lavergne' lower right No frame Portrait of woman in black with hat decorated with yellow flowers, oil on canvas, signed, by G. -A. E. Lavergne 59.06 x 25.2 in. 150.0 x 64.0 cm Provenance: Gérard Lévy Collection ; Then by descent Exhibitions: Esthètes et Magiciens / Symbolistes des collections parisiennes, Paris, Musée Galliera, December 1970 - January 1971, cat. no. 78: "Dame en noir". L'Art et la Vie en France à la Belle Époque, Île de Bendor, Fondation Paul Ricard, September - October 1971, cat. no. 243: "Femme en noir" ("Woman in Black") A pupil of Henri Lévy and Jules Lefèbvre, a regular exhibitor at the Salon des Artistes Français from 1888 onwards and winner of the Prix de Rome in 1892, Georges Lavergne established a solid reputation as a portrait painter, which is not contradicted by our striking portrait of a woman. The artist depicts her in a wooded park overlooking a vast body of water, dressed in black fur and a large hat, her face somewhat dreamy and covered in a mantilla. Set against an autumn landscape strewn with dead leaves, this portrait of an elegant woman seems to be in the spirit of James Tissot's best compositions. Georges-Auguste Elie LAVERGNE (Paris, 1863 - 1942) 150.0 x 64.0 cm A pupil of Henri Lévy and Jules Lefèbvre, a regular exhibitor at the Salon des Artistes Français from 1888 and winner of the Prix de Rome in 1892, Georges Lavergne established a solid reputation as a portrait painter, which is not contradicted by our striking portrait of a woman. The artist depicts her in a wooded park overlooking a vast body of water, dressed in black fur and a large hat, her face somewhat dreamy and covered in a mantilla. Set against an autumn landscape strewn with dead leaves, this portrait of an elegant woman seems to be in the spirit of James Tissot's best compositions.

Maximilienne GOEPP GUYON (Paris, 1868 - Neuilly-sur-Seine, 1903) Allegory of Winter, also known as 'The Snow Oil on canvas Signed 'M. Guyon' lower right No frame Allegory of winter, also called "The Snow", oil on canvas, signed, by M. Goepp Guyon 57.09 x 23.62 in. 145.0 x 60.0 cm Provenance: Sale of the studio of the late Maximilienne Guyon; Neuilly-sur-Seine, Maître Desvouges, 10 - 11 January 1904, no. 35 (as "La Neige"); Gérard Lévy Collection; Then by descent Exhibitions: L'Art et la Vie en France à la Belle Époque, Île de Bendor, Fondation Paul Ricard, September - October 1971, cat. no. 227: "L'hiver" [label on back]. Bibliography: Schurr, Gérald, 1820-1920 / Les Petits Maîtres de la Peinture / Valeur de Demain, tome 3, Les Éditions de l'Amateur, 1976, reproduced p. 132: "L'Hiver". Although her career was brutally cut short by her death in 1903, Maximilienne Goepp Guyon was one of the women who made her mark on the art scene of her time. Trained at the Académie Julian with Gustave Boulanger, Jules Lefebvre and Tony Robert-Fleury, her work as a painter was noticed as early as 1888 at the Salon des Artistes Français. That same year, at the "Exposition de Blanc et Noir", she was awarded the gold medal for pastels. At the 1889 Universal Exhibition, she won the silver medal and was awarded a travel grant. In 1893, alongside Marie Bracquemond, she was part of the delegation of French women artists at the 1893 World's Fair in Chicago, grouped together in the Woman's Building. Our large painting belongs to the most symbolist part of her production, depicting an allegory of winter, personified in a woman dressed all in white, with an ecstatic gaze, sitting on the heights of a Gothic architecture, covering the roofs of the city with her white mantle of snow. Maximilienne GOEPP GUYON (Paris, 1868 - Neuilly-sur-Seine, 1903) 145.0 x 60.0 cm Although her career was brutally cut short by her death in 1903, Maximilienne Goepp Guyon was one of the women who made her mark on the artistic scene of her time. Trained at the Académie Julian with Gustave Boulanger, Jules Lefebvre and Tony Robert-Fleury, her work as a painter was noticed as early as 1888 at the Salon des Artistes Français. That same year, at the "Exposition de Blanc et Noir", she was awarded the gold medal for pastels. At the 1889 Universal Exhibition, she won the silver medal and was awarded a travel grant. In 1893, alongside Marie Bracquemond, she was part of the delegation of French women artists at the 1893 World's Fair in Chicago, grouped together in the Woman's Building. Our large painting belongs to the most symbolist part of her production, depicting an allegory of winter, personified in a woman dressed all in white, with an ecstatic gaze, sitting on the heights of a Gothic architecture, covering the roofs of the city with her white mantle of snow.

Jules MACHARD (Sampans, 1839 - Meudon, 1900) Selene, Goddess of the Moon Oval oil on canvas (Original canvas) Signed 'Machard' lower right Selene, goddess of the Moon, oil on canvas, signed, by. L. Machard 18.50 x 12.20 in. 47.0 x 31.0 cm Provenance: Gérard Lévy Collection ; Then by descent Bibliography: Jules Machard, le culte de la ligne, Musée des beaux-arts, Dole, 2003, p. 93, no. 16 A pupil of Émile Signol and Ernest Hébert at the Ecole des Beaux-arts, Jules Machard won the Prix de Rome for painting in 1865. Following an official career as a history painter, he also enjoyed some success as a portrait painter. Our sketch is a preparation for Séléné, a monumental canvas that caused a sensation at the 1874 Salon (cat. no. 1246), prompting a tapestry commission from the Manufacture des Gobelins and a number of eulogistic articles. Among them, Paul Chesneau gave an eloquent description in the Revue de France: "From the midst of the clouds, which she seems to push back with her divine foot, the figure rises, in her white nudity, blonde, light, airy, half inverted, bent in a movement of serpentine lines of unspeakable suppleness, young and charming and even beautiful, but of a gentle, amiable, seductive and chaste beauty. Her head is bathed in a vast silver nimbus. This nimbus, a ravishing invention, is the orb of the planet itself, luminous throughout, but brightly lit on one of its crescent-shaped edges. With one of her small fists, Selene embraces the arc of light; with the other hand, she brings back its points and shoots a line into infinity. In the past, we have to go back to Prud'hon and perhaps as far as Correggio to encounter a plastic creation with an equal power of charm<a href="#_ftn1" rel="noopener noreferrer" target="_blank"><strong><i>[1]</i></strong></a>." <a href="#_ftnref1" rel="noopener noreferrer" target="_blank">[1]</a> Chesneau, Paul, "Le Salon sentimental", Revue de France, 9 July 1874, p. 95. Jules MACHARD (Sampans, 1839 - Meudon, 1900) 47.0 x 31.0 cm A pupil of Émile Signol and Ernest Hébert at the École des Beaux-arts, Jules Machard won the Prix de Rome for painting in 1865. Following an official career as a history painter, he also enjoyed some success as a portrait painter. Our sketch is a preparation for Séléné, a monumental canvas that caused a sensation at the 1874 Salon (cat. no. 1246), prompting a tapestry commission from the Manufacture des Gobelins and a number of eulogistic articles. Among them, Paul Chesneau gave an eloquent description in the Revue de France: "From the midst of the clouds, which she seems to push back with her divine foot, the figure rises, in her white nudity, blonde, light, airy, half inverted, bent in a movement of serpentine lines of unspeakable suppleness, young and charming and even beautiful, but of a gentle, amiable, seductive and chaste beauty. Her head is bathed in a vast silver nimbus. This nimbus, a ravishing invention, is the orb of the planet itself, luminous throughout, but brightly lit on one of its crescent-shaped edges. With one of her small fists, Selene embraces the arc of light; with the other hand, she brings back its points and shoots a line into infinity. In the past, we have to go back to Prud'hon and perhaps as far as Correggio to encounter a plastic creation with an equal power of charm<a href="#_ftn1" rel="noopener noreferrer" target="_blank"><strong><em>[1]</em></strong></a>." <a href="#_ftnref1" rel="noopener noreferrer" target="_blank">[1]</a> Chesneau, Paul, "Le Salon sentimental", Revue de France, 9 July 1874, p. 95.

Raymond GLAIZE (Paris, 1880 - Hargnies, 1914) Two undines Oil on canvas (original canvas) Signed 'RGLAIZE. 1903' lower left Canvas from the house of Paul Denis No frame Two undines, oil on canvas, signed, by R. Glaize 16.34 x 36.22 in. 41.5 x 92.0 cm Provenance: Anonymous sale; Paris, Hôtel Drouot, s. 4, Me Perret, 26 September 1969, no. 23 ; Acquired at this sale by Gérard Lévy ; Gérard Lévy Collection; Then by descent Exhibitions: Esthètes et Magiciens / Symbolistes des collections parisiennes, Paris, Musée Galliera, December 1970 - January 1971, cat. no. 61: "Deux Dames" [label on reverse]. From a dynasty of history painters, grandson of Auguste-Barthélémy Glaize and son of Léon Glaize, Raymond Glaize trained with the latter before joining Jean-Léon Gérôme's studio. He made his debut at the Salon des Artistes Français in 1905 and enjoyed his first successes. Our large canvas is one of the few surviving examples of an artist who died too soon, cut down by the Great War in September 1914. Here, the painter depicts two undines taking advantage of the night to emerge from their stream among the reeds, while the moon illuminates a park animated only by the recognisable silhouette of the Narcissus of Pompeii, an antique model widely distributed in the studios. Raymond GLAIZE (Paris, 1880 - Hargnies, 1914) 41.5 x 92.0 cm From a dynasty of history painters, grandson of Auguste-Barthélémy Glaize and son of Léon Glaize, Raymond Glaize trained with the latter before joining Jean-Léon Gérôme's studio. He made his debut at the Salon des Artistes Français in 1905 and enjoyed his first successes. Our large canvas is one of the few surviving examples of an artist who died too soon, cut down by the Great War in September 1914. Here, the painter depicts two undines taking advantage of the night to emerge from their stream among the reeds, while the moon illuminates a park animated only by the recognisable silhouette of the Narcissus of Pompeii, an antique model widely distributed in the studios.

Ludovic ALLEAUME (Angers, 1859 - Paris, 1941) Chrysanthemum perfumes Oil on canvas Signed 'Ludovic Alleaume' lower right No frame Chrysanthemum fragrances, oil on canvas, signed, by L. Alleaume 45.67 x 35.43 in. 116.0 x 90.0 cm Provenance: Gérard Lévy Collection ; Then by descent Exhibitions: Salon d'Hiver, Association Syndicale Professionnelle de Peintres et Sculpteurs français, 7th exhibition, Paris, Grand-Palais, 1 - 28 February 1907, cat. no. 12: "Chrysanthèmes" [label on reverse]. After training in Angers with the painter Eugène Brunclair, Ludovic Alleaume went on to the École des Beaux-Arts in Paris, where he was admitted to the studios of Ernest Hébert and Luc-Olivier Merson. Initially working as a portrait painter, he made his debut in 1883 at the Salon des Artistes français. Exhibited at the 1907 Salon d'Hiver, our large oil on canvas depicts a weeping young girl, covered only in black gauze, kneeling amid bouquets of chrysanthemums, flowers traditionally associated with mourning. To illustrate his symbolist point more explicitly, Alleaume accompanied his work in the exhibition booklet with a poignant poem entitled Souvenir : "Escape from the trembling hands that sow you, Weeping petals, flowers with pale hearts Whose coppery reflections have the range of golds, Ochres, chromes - and flesh too: The supreme prayer of the Woman who loves. Let your acrid scent, O Flower, O Chrysanthemum, Perfume the sleeping cloud with incense, A tear of mourning for those who have died! Ludovic ALLEAUME (Angers, 1859 - Paris, 1941) 116.0 x 90.0 cm After training in Angers with the painter Eugène Brunclair, Ludovic Alleaume went on to the École des Beaux-Arts in Paris, where he was admitted to the studios of Ernest Hébert and Luc-Olivier Merson. Initially working as a portrait painter, he made his debut in 1883 at the Salon des Artistes français. Exhibited at the 1907 Salon d'Hiver, our large oil on canvas depicts a weeping young girl, covered only in black gauze, kneeling amid bouquets of chrysanthemums, flowers traditionally associated with mourning. To illustrate his symbolist point more explicitly, Alleaume accompanied his work in the exhibition booklet with a poignant poem entitled Souvenir : "Escape from the trembling hands that sow you, Weeping petals, flowers with pale hearts Whose coppery reflections have the range of golds, Ochres, chromes - and flesh too: The supreme prayer of the Woman who loves. May your acrid scent, O Flower, O Chrysanthemum, Perfume the sleeping cloud with incense, A tear of mourning for those who have died!"

Symbolist school Fairy spinning on a branch Oil on canvas (Original canvas) Annotated 'F. Champenois' on the stretcher on verso Fairy spinning on a branch, oil on canvas, Symbolist School 31.89 x 21.46 in. 81.0 x 54.5 cm Provenance: Gérard Lévy Collection ; Then by descent The annotation "F. Champenois" on the back of this mysterious canvas depicting a fairy spinning on a branch inevitably refers to the famous printer Ferdinand Amand Champenois (1842-1915), who ran and developed one of the most important printing companies of his time, distributing advertisements for the most famous brands. He had close ties with Alphonse Mucha, whose designs he published from 1895 onwards, and was president of the Chambre Patronale des lithographes between 1886 and 1892. Awarded the Légion d'Honneur, he won numerous prizes at the Universal Exhibitions, including a bronze medal in Paris in 1867 and in Vienna in 1873, a gold medal in Paris in 1878, a diploma of honour in Antwerp in 1885 and a silver medal in Brussels in 1897. Symbolist school 81.0 x 54.5 cm The annotation "F. Champenois" on the back of this mysterious canvas depicting a fairy spinning on a branch inevitably refers to the famous printer Ferdinand Amand Champenois (1842-1915), who ran and developed one of the most important printing companies of his time, distributing advertisements for the most famous brands. He had close ties with Alphonse Mucha, whose designs he published from 1895 onwards, and was president of the Chambre Patronale des lithographes between 1886 and 1892. Awarded the Légion d'Honneur, he won numerous prizes at the Universal Exhibitions, including a bronze medal in Paris in 1867 and in Vienna in 1873, a gold medal in Paris in 1878, a diploma of honour in Antwerp in 1885 and a silver medal in Brussels in 1897.

Edouard SAIN (Cluny, 1830 - Paris, 1910) Pandora Oil on canvas Signed 'E. Sain' lower right (Restorations) No frame Pandora, oil on canvas, signed, by E. Sain 28.74 x 21.26 in. 73.0 x 54.0 cm Provenance: Gérard Lévy Collection ; Then by descent Exhibitions: L'Art et la Vie en France à la Belle Époque, Île de Bendor, Fondation Paul Ricard, September - October 1971, cat. no. 281: "Pandore" [label on back]. A student of François-Édouard Picot at the École des Beaux-Arts in Paris, Édouard Sain made his debut at the Salon in 1853, winning silver and bronze medals at the Universal Exhibitions of 1889 and 1900. Initially a history and genre painter, drawing much of his inspiration from his travels in the Pyrenees and Italy, he turned exclusively to portraiture and female nudes from the late 1870s. Depicting the myth of Pandora, our painting belongs to the symbolist part of his work. Half-naked in a lush landscape, the daughter of Hephaestus is caught in a moment of reverie, shortly before committing the irreparable act. Edouard SAIN (Cluny, 1830 - Paris, 1910) 73.0 x 54.0 cm A student of François-Édouard Picot at the École des Beaux-Arts in Paris, Édouard Sain made his debut at the Salon in 1853, winning silver and bronze medals at the Universal Exhibitions of 1889 and 1900. Initially a history and genre painter, drawing much of his inspiration from his travels in the Pyrenees and Italy, he turned exclusively to portraiture and female nudes from the late 1870s. Depicting the myth of Pandora, our painting belongs to the symbolist part of his work. Half-naked in a lush landscape, the daughter of Hephaestus is caught in a moment of reverie, shortly before committing the irreparable act.

Georges LORIN (Auxerre, 1850 - Paris, 1927) The Source Oil on canvas Signed 'Georges Lorin' lower left No frame The source, oil on canvas, signed, by G. Lorin 36.42 x 29.13 in. 92.5 x 74.0 cm Provenance: Gérard Lévy Collection ; Then by descent Exhibitions: Salon de la Rose-Croix, Paris, Palais du Champ-de-Mars, 28 March - 30 April 1893, cat. no. 137: "La Source". Also known as an illustrator under the pseudonym Cabriol, Georges Lorin was a versatile artist who was a painter, sculptor, caricaturist, musician and poet. In 1879-1880, he was one of the main illustrators of the newspaper Les Hydropathes and worked with a number of other Parisian periodicals, including Le Chat noir, Le Grelot, Le Tout-Paris and La Vie moderne. After taking part in the Arts incohérents exhibitions between 1882 and 1889, he turned resolutely towards symbolism and took part in the first two Salons de la Rose-Croix organised in 1892 and 1893 by Joséphin Peladan. Our large painting, depicting the allegorical representation of a Spring, was presented by the artist at the second edition of the famous Idealist Salon (no. 137). Georges LORIN (Auxerre, 1850 - Paris, 1927) 92.5 x 74.0 cm Also known as an illustrator under the pseudonym Cabriol, Georges Lorin was a versatile artist who was a painter, sculptor, caricaturist, musician and poet. In 1879-1880, he was one of the main illustrators of the newspaper Les Hydropathes and worked with a number of other Parisian periodicals, including Le Chat noir, Le Grelot, Le Tout-Paris and La Vie moderne. After taking part in the Arts incohérents exhibitions between 1882 and 1889, he turned resolutely towards symbolism and took part in the first two Salons de la Rose-Croix organised in 1892 and 1893 by Joséphin Peladan. Our large painting, depicting the allegorical representation of a Spring, was presented by the artist at the second edition of the famous Idealist Salon (no. 137).

Emile-René-Marie-Auguste MENARD (Paris, 1862 - 1930) The Lute Player at Twilight Pastel Monogrammed 'MRE' lower left Bears a label 'La chanteuse de luth au crépuscule N° 44 catal / Vente atelier 12.XII.73. H.D. Me Robert' on verso Bears the number 8 on the mount on the reverse The lute player at dusk, pastel, by E. Menard 12.01 x 19.29 in. 30.5 x 49.0 cm Provenance: Sale of the studio of Émile-René Ménard (1862-1930); Paris, Me Claude Robert, 12 December 1973, no. 44 (as La chanteuse de luth au crépuscule, reproduced in the catalogue, p. 10); Acquired at this sale by Gérard Lévy; Gérard Lévy Collection; Then by descent Emile-René-Marie-Auguste MENARD (Paris, 1862 - 1930) 30.5 x 49.0 cm

Emile-René-Marie-Auguste MENARD (Paris, 1862 - 1930) The two bathers Pastel Monogrammed 'MRE' lower right Bears a label 'Les 2 Baigneuses N° 58 bis catal. / Vente Atelier 12.XII.73 H.D.' on verso Bears the number 29 on the reverse mount The two bathers, pastel, by E. Menard 17.72 x 25.20 in. 45.0 x 64.0 cm Provenance: Sale of the studio of Émile-René Ménard (1862-1930); Paris, Me Claude Robert, 12 December 1973, no. 58 bis (as Les Deux Baigneuses) ; Acquired at this sale by Gérard Lévy; Gérard Lévy Collection; Then by descent René Ménard was a perfectionist artist, attached to a certain atmospheric and sensitive aesthetic of the landscape. He constantly worked on the same motifs, always recomposed, sometimes in oil, sometimes in pastel, in search of a harmonious balance between figure and nature. Our two works evoke his ideal world in luminous tones that the pastel brings to life. Ménard reflects both the influence of Poussin and that of his many travels, in Italy, Greece and the Near East. His taste for Parnassian aesthetics and the monumentality that marked his grand decors, in the tradition of Puvis de Chavannes, are also apparent. Emile-René-Marie-Auguste MENARD (Paris, 1862 - 1930) 45.0 x 64.0 cm René Ménard was a perfectionist artist, attached to a certain atmospheric and sensitive aesthetic of the landscape. He constantly worked on the same motifs, always recomposed, sometimes in oil, sometimes in pastel, in search of a harmonious balance between figure and nature. Our two works evoke his ideal world in luminous tones that the pastel brings to life. Ménard reflects both the influence of Poussin and that of his many travels, in Italy, Greece and the Near East. His taste for Parnassian aesthetics and the monumentality that marked his grand decors, in the tradition of Puvis de Chavannes, are also apparent.