THE ANDRÉ-LÉON VIVREL (1886-1976) STUDIO COLLECTION [LAST PART] AND IMPRESSIONIST & MODERN ART

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ANDRÉ-LÉON VIVREL (1886-1976) Reunion of ten works Seaside landscapes including Brittany Watercolour on paper Signed lower right or left A set of ten works, watercolor on paper, signed lower right or left From 24,5 x 32,5 cm to 26,5 x 39 cm. From 9 5/8 x 12 3/4 in. to 10 3/8 x 15 3/8 in. Provenance Private collection, France Note The first watercolour in the series is said to depict the port of Ploumanac'h (Côtes-d'Armor). André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he described as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A student at the prestigious Lycée Louis-le-Grand in Paris, Vivrel entered the Académie Julian in 1910. There he studied under Paul Albert Laurens, the eldest son of Jean-Paul Laurens, and then attended the workshops of Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rented a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from that of Auguste Renoir, the painter he admired most of all. He first exhibited at the Salon des artistes français in 1913. Mobilised in 1914, he was awarded the Croix de Guerre for "heroic conduct" in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honourable mention at the 1920 Salon and the State bought two still lifes (not located) from him, which he exhibited at the Salon des Indépendants. He also exhibited two portraits of Breton women, painted on his return from a stay in Ploumanac'h (Côtes d'Armor). The Galerie Lorenceau (Paris) gave him a solo exhibition in 1920. In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After being awarded the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des artistes français with "Le Temps des cerises". In 1934, Vivrel presented Les baigneuses, the first of a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des artistes français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940 Louis Paillard wrote on the front page of the "Petit journal" of 6 May 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - recent paintings", organised by the Galerie de Berri in May 1942, featured 31 paintings illustrating the diversity of genres that Vivrel tackled, but it was landscapes that he explored most passionately. His chosen land was the Loiret, where his elder brother Marcel had a second home at Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was back in Brittany, from where he brought back "Port de Camaret", exhibited at the Salon des Tuileries in 1926. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There he produced watercolours which were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive, fine, yet broad in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", 12 November 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme also made its mark at the Salon des Tuileries, where Vivrel presented views of harbours and liners, evidence of a flourishing tourist industry. In 1947, he was awarded the Prix de l'Académie des Beaux-Arts. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the narrow streets of Montmartre and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series like Monet. He liked to linger on the quays of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on 7 June 1976. Vivrel is represented in the collections of the Musée Eugène-Boudin in Honfleur and the Musée Mandet in Riom. His painting, "Les Meules", decorates the offices of the former Secretary of State for Veterans and Victims of War (Paris).

ANDRÉ-LÉON VIVREL (1886-1976) Reunion of ten works Country landscapes Watercolour on paper Signed lower right or left A set of ten works, watercolor on paper, signed lower right or left From 22,5 x 29 cm to 24,5 x 32,5 cm. From 8 7/8 x 11 3/8 in. to 9 5/8 x 12 3/4 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he described as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A student at the prestigious Lycée Louis-le-Grand in Paris, Vivrel entered the Académie Julian in 1910. There he studied under Paul Albert Laurens, the eldest son of Jean-Paul Laurens, and then attended the workshops of Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rented a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from that of Auguste Renoir, the painter he admired most of all. He first exhibited at the Salon des artistes français in 1913. Mobilised in 1914, he was awarded the Croix de Guerre for "heroic conduct" in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honourable mention at the 1920 Salon and the State bought two still lifes (not located) from him, which he exhibited at the Salon des Indépendants. He also exhibited two portraits of Breton women, painted on his return from a stay in Ploumanac'h (Côtes d'Armor). The Galerie Lorenceau (Paris) gave him a solo exhibition in 1920. In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After being awarded the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des artistes français with "Le Temps des cerises". In 1934, Vivrel presented Les baigneuses, the first of a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des artistes français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940 Louis Paillard wrote on the front page of the "Petit journal" of 6 May 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - recent paintings", organised by the Galerie de Berri in May 1942, featured 31 paintings illustrating the diversity of genres that Vivrel tackled, but it was landscapes that he explored most passionately. His chosen land was the Loiret, where his elder brother Marcel had a second home at Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was back in Brittany, from where he brought back "Port de Camaret", exhibited at the Salon des Tuileries in 1926. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There he produced watercolours which were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive, fine, yet broad in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", 12 November 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme also made its mark at the Salon des Tuileries, where Vivrel presented views of harbours and liners, evidence of a flourishing tourist industry. In 1947, he was awarded the Prix de l'Académie des Beaux-Arts. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the narrow streets of Montmartre and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series like Monet. He liked to linger on the quays of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on 7 June 1976. Vivrel is represented in the collections of the Musée Eugène-Boudin in Honfleur and the Musée Mandet in Riom. His painting, "Les Meules", decorates the offices of the former Secretary of State for Veterans and Victims of War (Paris).

ANDRÉ-LÉON VIVREL (1886-1976) Reunion of ten works Countryside and seaside landscapes including Brittany Watercolour on paper Signed lower right or left A set of ten works, watercolor on paper, signed lower right or left From 22,5 x 29 cm to 27 x 34 cm. From 9 7/8 x 11 3/8 in. to 10 5/8 x 13 3/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he described as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A student at the prestigious Lycée Louis-le-Grand in Paris, Vivrel entered the Académie Julian in 1910. There he studied under Paul Albert Laurens, the eldest son of Jean-Paul Laurens, and then attended the workshops of Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rented a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from that of Auguste Renoir, the painter he admired most of all. He first exhibited at the Salon des artistes français in 1913. Mobilised in 1914, he was awarded the Croix de Guerre for "heroic conduct" in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honourable mention at the 1920 Salon and the State bought two still lifes (not located) from him, which he exhibited at the Salon des Indépendants. He also exhibited two portraits of Breton women, painted on his return from a stay in Ploumanac'h (Côtes d'Armor). The Galerie Lorenceau (Paris) gave him a solo exhibition in 1920. In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After being awarded the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des artistes français with "Le Temps des cerises". In 1934, Vivrel presented Les baigneuses, the first of a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des artistes français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940 Louis Paillard wrote on the front page of the "Petit journal" of 6 May 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - recent paintings", organised by the Galerie de Berri in May 1942, featured 31 paintings illustrating the diversity of genres that Vivrel tackled, but it was landscapes that he explored most passionately. His chosen land was the Loiret, where his elder brother Marcel had a second home at Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was back in Brittany, from where he brought back "Port de Camaret", exhibited at the Salon des Tuileries in 1926. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There he produced watercolours which were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive, fine, yet broad in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", 12 November 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme also made its mark at the Salon des Tuileries, where Vivrel presented views of harbours and liners, evidence of a flourishing tourist industry. In 1947, he was awarded the Prix de l'Académie des Beaux-Arts. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the narrow streets of Montmartre and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series like Monet. He liked to linger on the quays of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on 7 June 1976. Vivrel is represented in the collections of the Musée Eugène-Boudin in Honfleur and the Musée Mandet in Riom. His painting, "Les Meules", decorates the offices of the former Secretary of State for Veterans and Victims of War (Paris).

ANDRÉ-LÉON VIVREL (1886-1976) Reunion of eight works Seaside landscapes including Brittany and countryside Watercolour on paper Signed lower right or left (One yellowed) A set of eight works, watercolor on paper, signed lower right or left From 24,5 x 30 cm to 49,5 x 32 cm. From 9 5/8 x 11 3/4 in. to 19 1/2 x 12 5/8 in. Provenance Private collection, France Note One of the watercolours in the series is said to depict a bridge at Ploumanac'h (Côtes-d'Armor). André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he described as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A student at the prestigious Lycée Louis-le-Grand in Paris, Vivrel entered the Académie Julian in 1910. There he studied under Paul Albert Laurens, the eldest son of Jean-Paul Laurens, and then attended the workshops of Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rented a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from that of Auguste Renoir, the painter he admired most of all. He first exhibited at the Salon des artistes français in 1913. Mobilised in 1914, he was awarded the Croix de Guerre for "heroic conduct" in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honourable mention at the 1920 Salon and the State bought two still lifes (not located) from him, which he exhibited at the Salon des Indépendants. He also exhibited two portraits of Breton women, painted on his return from a stay in Ploumanac'h (Côtes d'Armor). The Galerie Lorenceau (Paris) gave him a solo exhibition in 1920. In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After being awarded the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des artistes français with "Le Temps des cerises". In 1934, Vivrel presented Les baigneuses, the first of a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des artistes français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940 Louis Paillard wrote on the front page of the "Petit journal" of 6 May 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - recent paintings", organised by the Galerie de Berri in May 1942, featured 31 paintings illustrating the diversity of genres that Vivrel tackled, but it was landscapes that he explored most passionately. His chosen land was the Loiret, where his elder brother Marcel had a second home at Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was back in Brittany, from where he brought back "Port de Camaret", exhibited at the Salon des Tuileries in 1926. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There he produced watercolours which were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive, fine, yet broad in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", 12 November 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme also made its mark at the Salon des Tuileries, where Vivrel presented views of harbours and liners, evidence of a flourishing tourist industry. In 1947, he was awarded the Prix de l'Académie des Beaux-Arts. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the narrow streets of Montmartre and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series like Monet. He liked to linger on the quays of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on 7 June 1976. Vivrel is represented in the collections of the Musée Eugène-Boudin in Honfleur and the Musée Mandet in Riom. His painting, "Les Meules", decorates the offices of the former Secretary of State for Veterans and Victims of War (Paris).

ANDRÉ-LÉON VIVREL (1886-1976) Reunion of ten works Seaside landscapes including Brittany Watercolour on paper Signed lower right or left A set of ten works, watercolor on paper, signed lower right or left From 24,5 x 32 cm to 27 x 34 cm. From 9 5/8 x 12 5/8 in. to 10 5/8 x 13 3/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he described as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A student at the prestigious Lycée Louis-le-Grand in Paris, Vivrel entered the Académie Julian in 1910. There he studied under Paul Albert Laurens, the eldest son of Jean-Paul Laurens, and then attended the workshops of Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rented a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from that of Auguste Renoir, the painter he admired most of all. He first exhibited at the Salon des artistes français in 1913. Mobilised in 1914, he was awarded the Croix de Guerre for "heroic conduct" in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honourable mention at the 1920 Salon and the State bought two still lifes (not located) from him, which he exhibited at the Salon des Indépendants. He also exhibited two portraits of Breton women, painted on his return from a stay in Ploumanac'h (Côtes d'Armor). The Galerie Lorenceau (Paris) gave him a solo exhibition in 1920. In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After being awarded the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des artistes français with "Le Temps des cerises". In 1934, Vivrel presented Les baigneuses, the first of a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des artistes français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940 Louis Paillard wrote on the front page of the "Petit journal" of 6 May 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - recent paintings", organised by the Galerie de Berri in May 1942, featured 31 paintings illustrating the diversity of genres that Vivrel tackled, but it was landscapes that he explored most passionately. His chosen land was the Loiret, where his elder brother Marcel had a second home at Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was back in Brittany, from where he brought back "Port de Camaret", exhibited at the Salon des Tuileries in 1926. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There he produced watercolours which were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive, fine, yet broad in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", 12 November 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme also made its mark at the Salon des Tuileries, where Vivrel presented views of harbours and liners, evidence of a flourishing tourist industry. In 1947, he was awarded the Prix de l'Académie des Beaux-Arts. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the narrow streets of Montmartre and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series like Monet. He liked to linger on the quays of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on 7 June 1976. Vivrel is represented in the collections of the Musée Eugène-Boudin in Honfleur and the Musée Mandet in Riom. His painting, "Les Meules", decorates the offices of the former Secretary of State for Veterans and Victims of War (Paris).

ANDRÉ-LÉON VIVREL (1886-1976) Reunion of ten works Seaside landscapes including Brittany and countryside Watercolour on paper Signed lower right or left (Some slightly yellowed) A set of ten works, watercolor on paper, signed lower right or left From 26,5 x 43 cm to 32 x 50 cm. From 10 3/8 x 16 7/8 in. to 12 5/8 x 19 3/4 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he described as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A student at the prestigious Lycée Louis-le-Grand in Paris, Vivrel entered the Académie Julian in 1910. There he studied under Paul Albert Laurens, the eldest son of Jean-Paul Laurens, and then attended the workshops of Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rented a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from that of Auguste Renoir, the painter he admired most of all. He first exhibited at the Salon des artistes français in 1913. Mobilised in 1914, he was awarded the Croix de Guerre for "heroic conduct" in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honourable mention at the 1920 Salon and the State bought two still lifes (not located) from him, which he exhibited at the Salon des Indépendants. He also exhibited two portraits of Breton women, painted on his return from a stay in Ploumanac'h (Côtes d'Armor). The Galerie Lorenceau (Paris) gave him a solo exhibition in 1920. In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After being awarded the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des artistes français with "Le Temps des cerises". In 1934, Vivrel presented Les baigneuses, the first of a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des artistes français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940 Louis Paillard wrote on the front page of the "Petit journal" of 6 May 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - recent paintings", organised by the Galerie de Berri in May 1942, featured 31 paintings illustrating the diversity of genres that Vivrel tackled, but it was landscapes that he explored most passionately. His chosen land was the Loiret, where his elder brother Marcel had a second home at Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was back in Brittany, from where he brought back "Port de Camaret", exhibited at the Salon des Tuileries in 1926. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There he produced watercolours which were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive, fine, yet broad in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", 12 November 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme also made its mark at the Salon des Tuileries, where Vivrel presented views of harbours and liners, evidence of a flourishing tourist industry. In 1947, he was awarded the Prix de l'Académie des Beaux-Arts. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the narrow streets of Montmartre and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series like Monet. He liked to linger on the quays of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on 7 June 1976. Vivrel is represented in the collections of the Musée Eugène-Boudin in Honfleur and the Musée Mandet in Riom. His painting, "Les Meules", decorates the offices of the former Secretary of State for Veterans and Victims of War (Paris).

ANDRÉ-LÉON VIVREL (1886-1976) Reunion of ten works Seaside landscapes including Brittany and industrial installations Watercolour on paper Three signed with the signature stamp [non Lugt] lower right or left, seven signed lower right or left (One slightly stained) A set of ten works, watercolor on paper, three of them stamped with the signature's mark lower right or left, seven of them signed lower right or left From 26,5 x 39 cm to 32 x 50 cm. From 10 3/8 x 15 3/8 in. to 12 5/8 x 19 3/4 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he described as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A student at the prestigious Lycée Louis-le-Grand in Paris, Vivrel entered the Académie Julian in 1910. There he studied under Paul Albert Laurens, the eldest son of Jean-Paul Laurens, and then attended the workshops of Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rented a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from that of Auguste Renoir, the painter he admired most of all. He first exhibited at the Salon des artistes français in 1913. Mobilised in 1914, he was awarded the Croix de Guerre for "heroic conduct" in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honourable mention at the 1920 Salon and the State bought two still lifes (not located) from him, which he exhibited at the Salon des Indépendants. He also exhibited two portraits of Breton women, painted on his return from a stay in Ploumanac'h (Côtes d'Armor). The Galerie Lorenceau (Paris) gave him a solo exhibition in 1920. In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After being awarded the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des artistes français with "Le Temps des cerises". In 1934, Vivrel presented Les baigneuses, the first of a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des artistes français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940 Louis Paillard wrote on the front page of the "Petit journal" of 6 May 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - recent paintings", organised by the Galerie de Berri in May 1942, featured 31 paintings illustrating the diversity of genres that Vivrel tackled, but it was landscapes that he explored most passionately. His chosen land was the Loiret, where his elder brother Marcel had a second home at Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was back in Brittany, from where he brought back "Port de Camaret", exhibited at the Salon des Tuileries in 1926. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There he produced watercolours which were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive, fine, yet broad in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", 12 November 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme also made its mark at the Salon des Tuileries, where Vivrel presented views of harbours and liners, evidence of a flourishing tourist industry. In 1947, he was awarded the Prix de l'Académie des Beaux-Arts. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the narrow streets of Montmartre and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series like Monet. He liked to linger on the quays of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on 7 June 1976. Vivrel is represented in the collections of the Musée Eugène-Boudin in Honfleur and the Musée Mandet in Riom. His painting, "Les Meules", decorates the offices of the former Secretary of State for Veterans and Victims of War (Paris).

ANDRÉ-LÉON VIVREL (1886-1976) Reunion of ten works Seaside landscapes and countryside including Brittany Watercolour on paper Signed lower right or left A set of ten works, watercolor on paper, signed lower right or left 24,5 x 32 cm - 9 5/8 x 12 5/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he described as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A student at the prestigious Lycée Louis-le-Grand in Paris, Vivrel entered the Académie Julian in 1910. There he studied under Paul Albert Laurens, the eldest son of Jean-Paul Laurens, and then attended the workshops of Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rented a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from that of Auguste Renoir, the painter he admired most of all. He first exhibited at the Salon des artistes français in 1913. Mobilised in 1914, he was awarded the Croix de Guerre for "heroic conduct" in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honourable mention at the 1920 Salon and the State bought two still lifes (not located) from him, which he exhibited at the Salon des Indépendants. He also exhibited two portraits of Breton women, painted on his return from a stay in Ploumanac'h (Côtes d'Armor). The Galerie Lorenceau (Paris) gave him a solo exhibition in 1920. In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After being awarded the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des artistes français with "Le Temps des cerises". In 1934, Vivrel presented Les baigneuses, the first of a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des artistes français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940 Louis Paillard wrote on the front page of the "Petit journal" of 6 May 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - recent paintings", organised by the Galerie de Berri in May 1942, featured 31 paintings illustrating the diversity of genres that Vivrel tackled, but it was landscapes that he explored most passionately. His chosen land was the Loiret, where his elder brother Marcel had a second home at Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was back in Brittany, from where he brought back "Port de Camaret", exhibited at the Salon des Tuileries in 1926. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There he produced watercolours which were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive, fine, yet broad in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", 12 November 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme also made its mark at the Salon des Tuileries, where Vivrel presented views of harbours and liners, evidence of a flourishing tourist industry. In 1947, he was awarded the Prix de l'Académie des Beaux-Arts. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the narrow streets of Montmartre and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series like Monet. He liked to linger on the quays of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on 7 June 1976. Vivrel is represented in the collections of the Musée Eugène-Boudin in Honfleur and the Musée Mandet in Riom. His painting, "Les Meules", decorates the offices of the former Secretary of State for Veterans and Victims of War (Paris).

ANDRÉ-LÉON VIVREL (1886-1976) Reunion of four works Seascapes, including Brittany, and river landscapes Oil or watercolour on paper Two signed lower right or left, two signed with the signature stamp [non Lugt] lower right (Tack holes and slight creases for the oils) A set of four works, oil or watercolor on paper, two of them signed lower right or left, two of them stamped with the signature's mark lower right From 24 x 30 to 32 x 50 cm From 9 1/2 x 11 3/4 in. to 12 5/8 x 19 3/4 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he described as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A student at the prestigious Lycée Louis-le-Grand in Paris, Vivrel entered the Académie Julian in 1910. There he studied under Paul Albert Laurens, the eldest son of Jean-Paul Laurens, and then attended the workshops of Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rented a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from that of Auguste Renoir, the painter he admired most of all. He first exhibited at the Salon des artistes français in 1913. Mobilised in 1914, he was awarded the Croix de Guerre for "heroic conduct" in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honourable mention at the 1920 Salon and the State bought two still lifes (not located) from him, which he exhibited at the Salon des Indépendants. He also exhibited two portraits of Breton women, painted on his return from a stay in Ploumanac'h (Côtes d'Armor). The Galerie Lorenceau (Paris) gave him a solo exhibition in 1920. In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After being awarded the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des artistes français with "Le Temps des cerises". In 1934, Vivrel presented Les baigneuses, the first of a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des artistes français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940 Louis Paillard wrote on the front page of the "Petit journal" of 6 May 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - recent paintings", organised by the Galerie de Berri in May 1942, featured 31 paintings illustrating the diversity of genres that Vivrel tackled, but it was landscapes that he explored most passionately. His chosen land was the Loiret, where his elder brother Marcel had a second home at Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was back in Brittany, from where he brought back "Port de Camaret", exhibited at the Salon des Tuileries in 1926. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There he produced watercolours which were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive, fine, yet broad in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", 12 November 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme also made its mark at the Salon des Tuileries, where Vivrel presented views of harbours and liners, evidence of a flourishing tourist industry. In 1947, he was awarded the Prix de l'Académie des Beaux-Arts. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the narrow streets of Montmartre and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series like Monet. He liked to linger on the quays of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on 7 June 1976. Vivrel is represented in the collections of the Musée Eugène-Boudin in Honfleur and the Musée Mandet in Riom. His painting, "Les Meules", decorates the offices of the former Secretary of State for Veterans and Victims of War (Paris).

ANDRÉ-LÉON VIVREL (1886-1976) Reunion of ten works Country landscapes including Normandy and riverbanks Watercolour on paper Signed lower right or left A set of ten works, watercolor on paper, signed lower right or left From 26,5 x 43 cm to 32 x 49,5 cm. From 10 3/8 x 16 7/8 in. to 12 5/8 x 19 1/2 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he described as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A student at the prestigious Lycée Louis-le-Grand in Paris, Vivrel entered the Académie Julian in 1910. There he studied under Paul Albert Laurens, the eldest son of Jean-Paul Laurens, and then attended the workshops of Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rented a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from that of Auguste Renoir, the painter he admired most of all. He first exhibited at the Salon des artistes français in 1913. Mobilised in 1914, he was awarded the Croix de Guerre for "heroic conduct" in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honourable mention at the 1920 Salon and the State bought two still lifes (not located) from him, which he exhibited at the Salon des Indépendants. He also exhibited two portraits of Breton women, painted on his return from a stay in Ploumanac'h (Côtes d'Armor). The Galerie Lorenceau (Paris) gave him a solo exhibition in 1920. In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After being awarded the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des artistes français with "Le Temps des cerises". In 1934, Vivrel presented Les baigneuses, the first of a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des artistes français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940 Louis Paillard wrote on the front page of the "Petit journal" of 6 May 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - recent paintings", organised by the Galerie de Berri in May 1942, featured 31 paintings illustrating the diversity of genres that Vivrel tackled, but it was landscapes that he explored most passionately. His chosen land was the Loiret, where his elder brother Marcel had a second home at Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was back in Brittany, from where he brought back "Port de Camaret", exhibited at the Salon des Tuileries in 1926. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There he produced watercolours which were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive, fine, yet broad in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", 12 November 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme also made its mark at the Salon des Tuileries, where Vivrel presented views of harbours and liners, evidence of a flourishing tourist industry. In 1947, he was awarded the Prix de l'Académie des Beaux-Arts. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the narrow streets of Montmartre and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series like Monet. He liked to linger on the quays of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on 7 June 1976. Vivrel is represented in the collections of the Musée Eugène-Boudin in Honfleur and the Musée Mandet in Riom. His painting, "Les Meules", decorates the offices of the former Secretary of State for Veterans and Victims of War (Paris).

ANDRÉ-LÉON VIVREL (1886-1976) Reunion of ten works Country landscapes including Normandy and riverbanks Watercolour on paper Signed lower right or left (Some slightly yellowed) A set of ten works, watercolor on paper, signed lower right or left From 32 x 49,5 cm to 36 x 53 cm. From 12 5/8 x 19 1/2 in. to 14 1/8 x 20 7/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he described as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A student at the prestigious Lycée Louis-le-Grand in Paris, Vivrel entered the Académie Julian in 1910. There he studied under Paul Albert Laurens, the eldest son of Jean-Paul Laurens, and then attended the workshops of Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rented a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from that of Auguste Renoir, the painter he admired most of all. He first exhibited at the Salon des artistes français in 1913. Mobilised in 1914, he was awarded the Croix de Guerre for "heroic conduct" in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honourable mention at the 1920 Salon and the State bought two still lifes (not located) from him, which he exhibited at the Salon des Indépendants. He also exhibited two portraits of Breton women, painted on his return from a stay in Ploumanac'h (Côtes d'Armor). The Galerie Lorenceau (Paris) gave him a solo exhibition in 1920. In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After being awarded the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des artistes français with "Le Temps des cerises". In 1934, Vivrel presented Les baigneuses, the first of a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des artistes français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940 Louis Paillard wrote on the front page of the "Petit journal" of 6 May 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - recent paintings", organised by the Galerie de Berri in May 1942, featured 31 paintings illustrating the diversity of genres that Vivrel tackled, but it was landscapes that he explored most passionately. His chosen land was the Loiret, where his elder brother Marcel had a second home at Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was back in Brittany, from where he brought back "Port de Camaret", exhibited at the Salon des Tuileries in 1926. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There he produced watercolours which were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive, fine, yet broad in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", 12 November 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme also made its mark at the Salon des Tuileries, where Vivrel presented views of harbours and liners, evidence of a flourishing tourist industry. In 1947, he was awarded the Prix de l'Académie des Beaux-Arts. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the narrow streets of Montmartre and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series like Monet. He liked to linger on the quays of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on 7 June 1976. Vivrel is represented in the collections of the Musée Eugène-Boudin in Honfleur and the Musée Mandet in Riom. His painting, "Les Meules", decorates the offices of the former Secretary of State for Veterans and Victims of War (Paris).

ANDRÉ-LÉON VIVREL (1886-1976) Reunion of four works Views of Paris with the Sacré-Coeur, bridge over the Seine, the Louvre and the Institute Watercolour on paper Signed lower right or left A set of four works, watercolor on paper, signed lower right or left 24,5 x 32,5 cm - 9 5/8 x 12 3/4 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he described as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A student at the prestigious Lycée Louis-le-Grand in Paris, Vivrel entered the Académie Julian in 1910. There he studied under Paul Albert Laurens, the eldest son of Jean-Paul Laurens, and then attended the workshops of Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rented a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from that of Auguste Renoir, the painter he admired most of all. He first exhibited at the Salon des artistes français in 1913. Mobilised in 1914, he was awarded the Croix de Guerre for "heroic conduct" in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honourable mention at the 1920 Salon and the State bought two still lifes (not located) from him, which he exhibited at the Salon des Indépendants. He also exhibited two portraits of Breton women, painted on his return from a stay in Ploumanac'h (Côtes d'Armor). The Galerie Lorenceau (Paris) gave him a solo exhibition in 1920. In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After being awarded the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des artistes français with "Le Temps des cerises". In 1934, Vivrel presented Les baigneuses, the first of a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des artistes français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940 Louis Paillard wrote on the front page of the "Petit journal" of 6 May 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - recent paintings", organised by the Galerie de Berri in May 1942, featured 31 paintings illustrating the diversity of genres that Vivrel tackled, but it was landscapes that he explored most passionately. His chosen land was the Loiret, where his elder brother Marcel had a second home at Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was back in Brittany, from where he brought back "Port de Camaret", exhibited at the Salon des Tuileries in 1926. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There he produced watercolours which were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive, fine, yet broad in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", 12 November 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme also made its mark at the Salon des Tuileries, where Vivrel presented views of harbours and liners, evidence of a flourishing tourist industry. In 1947, he was awarded the Prix de l'Académie des Beaux-Arts. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the narrow streets of Montmartre and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series like Monet. He liked to linger on the quays of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on 7 June 1976. Vivrel is represented in the collections of the Musée Eugène-Boudin in Honfleur and the Musée Mandet in Riom. His painting, "Les Meules", decorates the offices of the former Secretary of State for Veterans and Victims of War (Paris).

ANDRÉ-LÉON VIVREL (1886-1976) Collection of six works Views of Montmartre, Paris Watercolour on paper Signed lower right or left A set of six works, watercolor on paper, signed lower right or left 32,5 x 25 cm - 12 3/4 x 9 7/8 in. 24,5 x 32,5 cm - 9 5/8 x 12 3/4 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he described as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A student at the prestigious Lycée Louis-le-Grand in Paris, Vivrel entered the Académie Julian in 1910. There he studied under Paul Albert Laurens, the eldest son of Jean-Paul Laurens, and then attended the workshops of Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rented a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from that of Auguste Renoir, the painter he admired most of all. He first exhibited at the Salon des artistes français in 1913. Mobilised in 1914, he was awarded the Croix de Guerre for "heroic conduct" in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honourable mention at the 1920 Salon and the State bought two still lifes (not located) from him, which he exhibited at the Salon des Indépendants. He also exhibited two portraits of Breton women, painted on his return from a stay in Ploumanac'h (Côtes d'Armor). The Galerie Lorenceau (Paris) gave him a solo exhibition in 1920. In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After being awarded the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des artistes français with "Le Temps des cerises". In 1934, Vivrel presented Les baigneuses, the first of a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des artistes français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940 Louis Paillard wrote on the front page of the "Petit journal" of 6 May 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - recent paintings", organised by the Galerie de Berri in May 1942, featured 31 paintings illustrating the diversity of genres that Vivrel tackled, but it was landscapes that he explored most passionately. His chosen land was the Loiret, where his elder brother Marcel had a second home at Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was back in Brittany, from where he brought back "Port de Camaret", exhibited at the Salon des Tuileries in 1926. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There he produced watercolours which were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive, fine, yet broad in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", 12 November 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme also made its mark at the Salon des Tuileries, where Vivrel presented views of harbours and liners, evidence of a flourishing tourist industry. In 1947, he was awarded the Prix de l'Académie des Beaux-Arts. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the narrow streets of Montmartre and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series like Monet. He liked to linger on the quays of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on 7 June 1976. Vivrel is represented in the collections of the Musée Eugène-Boudin in Honfleur and the Musée Mandet in Riom. His painting, "Les Meules", decorates the offices of the former Secretary of State for Veterans and Victims of War (Paris).

ANDRÉ-LÉON VIVREL (1886-1976) Collection of six works Views of Paris with the Palais Bourbon, Notre-Dame, the Invalides, the Tuileries, the Passerelle des Arts and the rooftops under the snow Watercolour on paper Signed lower right or left A set of six works, watercolor on paper, signed lower right or left 25 x 32,5 cm - 9 7/8 x 12 3/4 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he described as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A student at the prestigious Lycée Louis-le-Grand in Paris, Vivrel entered the Académie Julian in 1910. There he studied under Paul Albert Laurens, the eldest son of Jean-Paul Laurens, and then attended the workshops of Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rented a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from that of Auguste Renoir, the painter he admired most of all. He first exhibited at the Salon des artistes français in 1913. Mobilised in 1914, he was awarded the Croix de Guerre for "heroic conduct" in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honourable mention at the 1920 Salon and the State bought two still lifes (not located) from him, which he exhibited at the Salon des Indépendants. He also exhibited two portraits of Breton women, painted on his return from a stay in Ploumanac'h (Côtes d'Armor). The Galerie Lorenceau (Paris) gave him a solo exhibition in 1920. In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After being awarded the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des artistes français with "Le Temps des cerises". In 1934, Vivrel presented Les baigneuses, the first of a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des artistes français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940 Louis Paillard wrote on the front page of the "Petit journal" of 6 May 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - recent paintings", organised by the Galerie de Berri in May 1942, featured 31 paintings illustrating the diversity of genres that Vivrel tackled, but it was landscapes that he explored most passionately. His chosen land was the Loiret, where his elder brother Marcel had a second home at Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was back in Brittany, from where he brought back "Port de Camaret", exhibited at the Salon des Tuileries in 1926. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There he produced watercolours which were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive, fine, yet broad in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", 12 November 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme also made its mark at the Salon des Tuileries, where Vivrel presented views of harbours and liners, evidence of a flourishing tourist industry. In 1947, he was awarded the Prix de l'Académie des Beaux-Arts. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the narrow streets of Montmartre and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series like Monet. He liked to linger on the quays of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on 7 June 1976. Vivrel is represented in the collections of the Musée Eugène-Boudin in Honfleur and the Musée Mandet in Riom. His painting, "Les Meules", decorates the offices of the former Secretary of State for Veterans and Victims of War (Paris).

ANDRÉ-LÉON VIVREL (1886-1976) Collection of seven works Views of Paris with the Invalides, the Tuileries, the Pont-Neuf, the Institut and the rooftops Watercolour on paper Six signed lower right or left One unsigned A set of seven works, watercolor on paper, six of them signed lower right or left, one of them unsigned From 24,5 x 32,5 cm to 27 x 40 cm From 9 5/8 x 12 3/4 in. to 10 5/8 x 15 3/4 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he described as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A student at the prestigious Lycée Louis-le-Grand in Paris, Vivrel entered the Académie Julian in 1910. There he studied under Paul Albert Laurens, the eldest son of Jean-Paul Laurens, and then attended the workshops of Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rented a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from that of Auguste Renoir, the painter he admired most of all. He first exhibited at the Salon des artistes français in 1913. Mobilised in 1914, he was awarded the Croix de Guerre for "heroic conduct" in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honourable mention at the 1920 Salon and the State bought two still lifes (not located) from him, which he exhibited at the Salon des Indépendants. He also exhibited two portraits of Breton women, painted on his return from a stay in Ploumanac'h (Côtes d'Armor). The Galerie Lorenceau (Paris) gave him a solo exhibition in 1920. In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After being awarded the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des artistes français with "Le Temps des cerises". In 1934, Vivrel presented Les baigneuses, the first of a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des artistes français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940 Louis Paillard wrote on the front page of the "Petit journal" of 6 May 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - recent paintings", organised by the Galerie de Berri in May 1942, featured 31 paintings illustrating the diversity of genres that Vivrel tackled, but it was landscapes that he explored most passionately. His chosen land was the Loiret, where his elder brother Marcel had a second home at Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was back in Brittany, from where he brought back "Port de Camaret", exhibited at the Salon des Tuileries in 1926. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There he produced watercolours which were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive, fine, yet broad in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", 12 November 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme also made its mark at the Salon des Tuileries, where Vivrel presented views of harbours and liners, evidence of a flourishing tourist industry. In 1947, he was awarded the Prix de l'Académie des Beaux-Arts. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the narrow streets of Montmartre and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series like Monet. He liked to linger on the quays of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on 7 June 1976. Vivrel is represented in the collections of the Musée Eugène-Boudin in Honfleur and the Musée Mandet in Riom. His painting, "Les Meules", decorates the offices of the former Secretary of State for Veterans and Victims of War (Paris).

ANDRÉ-LÉON VIVREL (1886-1976) Collection of six works Views of Paris with Notre-Dame, the Guichets du Louvre, the Conciergerie, the Debilly footbridge with the Eiffel Tower, the Tuileries and the rooftops Watercolour on paper Signed lower right or left A set of six works, watercolor on paper, signed lower right or left 24,5 x 32,5 cm - 9 5/8 x 12 3/4 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he described as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A student at the prestigious Lycée Louis-le-Grand in Paris, Vivrel entered the Académie Julian in 1910. There he studied under Paul Albert Laurens, the eldest son of Jean-Paul Laurens, and then attended the workshops of Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rented a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from that of Auguste Renoir, the painter he admired most of all. He first exhibited at the Salon des artistes français in 1913. Mobilised in 1914, he was awarded the Croix de Guerre for "heroic conduct" in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honourable mention at the 1920 Salon and the State bought two still lifes (not located) from him, which he exhibited at the Salon des Indépendants. He also exhibited two portraits of Breton women, painted on his return from a stay in Ploumanac'h (Côtes d'Armor). The Galerie Lorenceau (Paris) gave him a solo exhibition in 1920. In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After being awarded the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des artistes français with "Le Temps des cerises". In 1934, Vivrel presented Les baigneuses, the first of a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des artistes français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940 Louis Paillard wrote on the front page of the "Petit journal" of 6 May 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - recent paintings", organised by the Galerie de Berri in May 1942, featured 31 paintings illustrating the diversity of genres that Vivrel tackled, but it was landscapes that he explored most passionately. His chosen land was the Loiret, where his elder brother Marcel had a second home at Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was back in Brittany, from where he brought back "Port de Camaret", exhibited at the Salon des Tuileries in 1926. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There he produced watercolours which were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive, fine, yet broad in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", 12 November 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme also made its mark at the Salon des Tuileries, where Vivrel presented views of harbours and liners, evidence of a flourishing tourist industry. In 1947, he was awarded the Prix de l'Académie des Beaux-Arts. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the narrow streets of Montmartre and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series like Monet. He liked to linger on the quays of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on 7 June 1976. Vivrel is represented in the collections of the Musée Eugène-Boudin in Honfleur and the Musée Mandet in Riom. His painting, "Les Meules", decorates the offices of the former Secretary of State for Veterans and Victims of War (Paris).

ANDRÉ-LÉON VIVREL (1886-1976) Reunion of three works Views of Paris with the Obelisk and the Place de la Concorde, the Sacré-Coeur and Notre-Dame Watercolour on paper Signed lower right or left A set of three works, watercolor on paper, signed lower right or left 35,5 x 53,5 cm - 14 x 21 in 32 x 50 cm - 12 5/8 x 19 3/4 in. 49,5 x 31,5 cm - 19 1/4 x 12 3/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he described as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A student at the prestigious Lycée Louis-le-Grand in Paris, Vivrel entered the Académie Julian in 1910. There he studied under Paul Albert Laurens, the eldest son of Jean-Paul Laurens, and then attended the workshops of Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rented a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from that of Auguste Renoir, the painter he admired most of all. He first exhibited at the Salon des artistes français in 1913. Mobilised in 1914, he was awarded the Croix de Guerre for "heroic conduct" in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honourable mention at the 1920 Salon and the State bought two still lifes (not located) from him, which he exhibited at the Salon des Indépendants. He also exhibited two portraits of Breton women, painted on his return from a stay in Ploumanac'h (Côtes d'Armor). The Galerie Lorenceau (Paris) gave him a solo exhibition in 1920. In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After being awarded the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des artistes français with "Le Temps des cerises". In 1934, Vivrel presented Les baigneuses, the first of a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des artistes français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940 Louis Paillard wrote on the front page of the "Petit journal" of 6 May 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - recent paintings", organised by the Galerie de Berri in May 1942, featured 31 paintings illustrating the diversity of genres that Vivrel tackled, but it was landscapes that he explored most passionately. His chosen land was the Loiret, where his elder brother Marcel had a second home at Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was back in Brittany, from where he brought back "Port de Camaret", exhibited at the Salon des Tuileries in 1926. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There he produced watercolours which were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive, fine, yet broad in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", 12 November 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme also made its mark at the Salon des Tuileries, where Vivrel presented views of harbours and liners, evidence of a flourishing tourist industry. In 1947, he was awarded the Prix de l'Académie des Beaux-Arts. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the narrow streets of Montmartre and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series like Monet. He liked to linger on the quays of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on 7 June 1976. Vivrel is represented in the collections of the Musée Eugène-Boudin in Honfleur and the Musée Mandet in Riom. His painting, "Les Meules", decorates the offices of the former Secretary of State for Veterans and Victims of War (Paris).

ANDRÉ-LÉON VIVREL (1886-1976) Collection of five works Views of Paris with Notre-Dame, the Tour Saint-Jacques, the Pont-Neuf, the banks of the Seine and a bridge Watercolour on paper Four signed lower right or left, one signed with the signature stamp [non Lugt] lower left A set of five works, watercolor on paper, four of them signed lower right or left, one of them stamped with the signature's mark lower left From 49,5 x 32 cm to 36 x 53,5 cm From 19 1/2 x 12 5/8 in. to 14 1/8 x 21 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he described as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A student at the prestigious Lycée Louis-le-Grand in Paris, Vivrel entered the Académie Julian in 1910. There he studied under Paul Albert Laurens, the eldest son of Jean-Paul Laurens, and then attended the workshops of Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rented a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from that of Auguste Renoir, the painter he admired most of all. He first exhibited at the Salon des artistes français in 1913. Mobilised in 1914, he was awarded the Croix de Guerre for "heroic conduct" in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honourable mention at the 1920 Salon and the State bought two still lifes (not located) from him, which he exhibited at the Salon des Indépendants. He also exhibited two portraits of Breton women, painted on his return from a stay in Ploumanac'h (Côtes d'Armor). The Galerie Lorenceau (Paris) gave him a solo exhibition in 1920. In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After being awarded the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des artistes français with "Le Temps des cerises". In 1934, Vivrel presented Les baigneuses, the first of a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des artistes français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940 Louis Paillard wrote on the front page of the "Petit journal" of 6 May 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - recent paintings", organised by the Galerie de Berri in May 1942, featured 31 paintings illustrating the diversity of genres that Vivrel tackled, but it was landscapes that he explored most passionately. His chosen land was the Loiret, where his elder brother Marcel had a second home at Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was back in Brittany, from where he brought back "Port de Camaret", exhibited at the Salon des Tuileries in 1926. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There he produced watercolours which were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive, fine, yet broad in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", 12 November 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme also made its mark at the Salon des Tuileries, where Vivrel presented views of harbours and liners, evidence of a flourishing tourist industry. In 1947, he was awarded the Prix de l'Académie des Beaux-Arts. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the narrow streets of Montmartre and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series like Monet. He liked to linger on the quays of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on 7 June 1976. Vivrel is represented in the collections of the Musée Eugène-Boudin in Honfleur and the Musée Mandet in Riom. His painting, "Les Meules", decorates the offices of the former Secretary of State for Veterans and Victims of War (Paris).

ANDRÉ-LÉON VIVREL (1886-1976) Collection of five works Views of Paris with the Arc de Triomphe du Carrousel and the monument to Léon Gambetta, Notre-Dame and bridges over the Seine Watercolour on paper Signed lower right or left (Scratches on the last one) A set of five works, watercolor on paper, signed lower right or left From 31 x 49,5 cm to 35,5 x 53 cm From 12 1/4 x 19 1/2 in. to 14 x 20 7/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he described as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A student at the prestigious Lycée Louis-le-Grand in Paris, Vivrel entered the Académie Julian in 1910. There he studied under Paul Albert Laurens, the eldest son of Jean-Paul Laurens, and then attended the workshops of Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rented a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from that of Auguste Renoir, the painter he admired most of all. He first exhibited at the Salon des artistes français in 1913. Mobilised in 1914, he was awarded the Croix de Guerre for "heroic conduct" in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honourable mention at the 1920 Salon and the State bought two still lifes (not located) from him, which he exhibited at the Salon des Indépendants. He also exhibited two portraits of Breton women, painted on his return from a stay in Ploumanac'h (Côtes d'Armor). The Galerie Lorenceau (Paris) gave him a solo exhibition in 1920. In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After being awarded the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des artistes français with "Le Temps des cerises". In 1934, Vivrel presented Les baigneuses, the first of a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des artistes français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940 Louis Paillard wrote on the front page of the "Petit journal" of 6 May 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - recent paintings", organised by the Galerie de Berri in May 1942, featured 31 paintings illustrating the diversity of genres that Vivrel tackled, but it was landscapes that he explored most passionately. His chosen land was the Loiret, where his elder brother Marcel had a second home at Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was back in Brittany, from where he brought back "Port de Camaret", exhibited at the Salon des Tuileries in 1926. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There he produced watercolours which were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive, fine, yet broad in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", 12 November 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme also made its mark at the Salon des Tuileries, where Vivrel presented views of harbours and liners, evidence of a flourishing tourist industry. In 1947, he was awarded the Prix de l'Académie des Beaux-Arts. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the narrow streets of Montmartre and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series like Monet. He liked to linger on the quays of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on 7 June 1976. Vivrel is represented in the collections of the Musée Eugène-Boudin in Honfleur and the Musée Mandet in Riom. His painting, "Les Meules", decorates the offices of the former Secretary of State for Veterans and Victims of War (Paris).

ANDRÉ-LÉON VIVREL (1886-1976) Reunion of four works Views of Paris with the Pont-Neuf and the Île de la Cité, Notre-Dame, the Pont des Arts and fishermen on the Seine Watercolour on paper Signed lower right or left (Moisture mark on one) A set of four works, watercolor on paper, signed lower right or left From 31,5 x 49 cm to 35,5 x 53,5 cm From 12 3/8 x 19 1/4 in. to 14 x 21 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he described as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A student at the prestigious Lycée Louis-le-Grand in Paris, Vivrel entered the Académie Julian in 1910. There he studied under Paul Albert Laurens, the eldest son of Jean-Paul Laurens, and then attended the workshops of Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rented a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from that of Auguste Renoir, the painter he admired most of all. He first exhibited at the Salon des artistes français in 1913. Mobilised in 1914, he was awarded the Croix de Guerre for "heroic conduct" in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honourable mention at the 1920 Salon and the State bought two still lifes (not located) from him, which he exhibited at the Salon des Indépendants. He also exhibited two portraits of Breton women, painted on his return from a stay in Ploumanac'h (Côtes d'Armor). The Galerie Lorenceau (Paris) gave him a solo exhibition in 1920. In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After being awarded the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des artistes français with "Le Temps des cerises". In 1934, Vivrel presented Les baigneuses, the first of a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des artistes français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940 Louis Paillard wrote on the front page of the "Petit journal" of 6 May 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - recent paintings", organised by the Galerie de Berri in May 1942, featured 31 paintings illustrating the diversity of genres that Vivrel tackled, but it was landscapes that he explored most passionately. His chosen land was the Loiret, where his elder brother Marcel had a second home at Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was back in Brittany, from where he brought back "Port de Camaret", exhibited at the Salon des Tuileries in 1926. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There he produced watercolours which were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive, fine, yet broad in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", 12 November 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme also made its mark at the Salon des Tuileries, where Vivrel presented views of harbours and liners, evidence of a flourishing tourist industry. In 1947, he was awarded the Prix de l'Académie des Beaux-Arts. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the narrow streets of Montmartre and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series like Monet. He liked to linger on the quays of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on 7 June 1976. Vivrel is represented in the collections of the Musée Eugène-Boudin in Honfleur and the Musée Mandet in Riom. His painting, "Les Meules", decorates the offices of the former Secretary of State for Veterans and Victims of War (Paris).

ANDRÉ-LÉON VIVREL (1886-1976) Reunion of four works Views of Paris with Notre-Dame, the Palais du Trocadéro, the Hôtel de Ville and the Sacré-Coeur campanile tower Watercolour on paper Signed lower right or left A set of four works, watercolor on paper, signed lower right or left From 24,5 x 32,5 cm to 26,5 x 39,5 cm From 9 5/8 x 12 3/4 in. to 10 3/8 x 15 1/4 in. 34 x 26,5 cm - 13 3/8 x 10 3/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he described as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A student at the prestigious Lycée Louis-le-Grand in Paris, Vivrel entered the Académie Julian in 1910. There he studied under Paul Albert Laurens, the eldest son of Jean-Paul Laurens, and then attended the workshops of Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rented a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from that of Auguste Renoir, the painter he admired most of all. He first exhibited at the Salon des artistes français in 1913. Mobilised in 1914, he was awarded the Croix de Guerre for "heroic conduct" in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honourable mention at the 1920 Salon and the State bought two still lifes (not located) from him, which he exhibited at the Salon des Indépendants. He also exhibited two portraits of Breton women, painted on his return from a stay in Ploumanac'h (Côtes d'Armor). The Galerie Lorenceau (Paris) gave him a solo exhibition in 1920. In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After being awarded the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des artistes français with "Le Temps des cerises". In 1934, Vivrel presented Les baigneuses, the first of a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des artistes français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940 Louis Paillard wrote on the front page of the "Petit journal" of 6 May 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - recent paintings", organised by the Galerie de Berri in May 1942, featured 31 paintings illustrating the diversity of genres that Vivrel tackled, but it was landscapes that he explored most passionately. His chosen land was the Loiret, where his elder brother Marcel had a second home at Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was back in Brittany, from where he brought back "Port de Camaret", exhibited at the Salon des Tuileries in 1926. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There he produced watercolours which were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive, fine, yet broad in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", 12 November 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme also made its mark at the Salon des Tuileries, where Vivrel presented views of harbours and liners, evidence of a flourishing tourist industry. In 1947, he was awarded the Prix de l'Académie des Beaux-Arts. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the narrow streets of Montmartre and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series like Monet. He liked to linger on the quays of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on 7 June 1976. Vivrel is represented in the collections of the Musée Eugène-Boudin in Honfleur and the Musée Mandet in Riom. His painting, "Les Meules", decorates the offices of the former Secretary of State for Veterans and Victims of War (Paris).

ANDRÉ-LÉON VIVREL (1886-1976) Collection of five works Views of Paris with the Alexandre III Bridge and the Invalides, the Pont-Neuf, the Guichets du Louvre and bridges over the Seine Watercolour on paper Signed lower right or left A set of five works, watercolor on paper, signed lower right or left 32 x 49 cm - 12 5/8 x 19 1/4 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he described as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A student at the prestigious Lycée Louis-le-Grand in Paris, Vivrel entered the Académie Julian in 1910. There he studied under Paul Albert Laurens, the eldest son of Jean-Paul Laurens, and then attended the workshops of Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rented a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from that of Auguste Renoir, the painter he admired most of all. He first exhibited at the Salon des artistes français in 1913. Mobilised in 1914, he was awarded the Croix de Guerre for "heroic conduct" in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honourable mention at the 1920 Salon and the State bought two still lifes (not located) from him, which he exhibited at the Salon des Indépendants. He also exhibited two portraits of Breton women, painted on his return from a stay in Ploumanac'h (Côtes d'Armor). The Galerie Lorenceau (Paris) gave him a solo exhibition in 1920. In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After being awarded the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des artistes français with "Le Temps des cerises". In 1934, Vivrel presented Les baigneuses, the first of a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des artistes français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940 Louis Paillard wrote on the front page of the "Petit journal" of 6 May 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - recent paintings", organised by the Galerie de Berri in May 1942, featured 31 paintings illustrating the diversity of genres that Vivrel tackled, but it was landscapes that he explored most passionately. His chosen land was the Loiret, where his elder brother Marcel had a second home at Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was back in Brittany, from where he brought back "Port de Camaret", exhibited at the Salon des Tuileries in 1926. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There he produced watercolours which were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive, fine, yet broad in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", 12 November 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme also made its mark at the Salon des Tuileries, where Vivrel presented views of harbours and liners, evidence of a flourishing tourist industry. In 1947, he was awarded the Prix de l'Académie des Beaux-Arts. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the narrow streets of Montmartre and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series like Monet. He liked to linger on the quays of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on 7 June 1976. Vivrel is represented in the collections of the Musée Eugène-Boudin in Honfleur and the Musée Mandet in Riom. His painting, "Les Meules", decorates the offices of the former Secretary of State for Veterans and Victims of War (Paris).

ANDRÉ-LÉON VIVREL (1886-1976) Collection of five works Views of Montmartre with the Sacré-Coeur and windmills Watercolour on paper Signed lower right or left A set of five works, watercolor on paper, signed lower right or left From 49,5 x 32,5 cm to 36 x 53,5 cm From 9 1/2 x 12 3/4 in. to 14 1/8 x 21 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he described as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A student at the prestigious Lycée Louis-le-Grand in Paris, Vivrel entered the Académie Julian in 1910. There he studied under Paul Albert Laurens, the eldest son of Jean-Paul Laurens, and then attended the workshops of Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rented a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from that of Auguste Renoir, the painter he admired most of all. He first exhibited at the Salon des artistes français in 1913. Mobilised in 1914, he was awarded the Croix de Guerre for "heroic conduct" in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honourable mention at the 1920 Salon and the State bought two still lifes (not located) from him, which he exhibited at the Salon des Indépendants. He also exhibited two portraits of Breton women, painted on his return from a stay in Ploumanac'h (Côtes d'Armor). The Galerie Lorenceau (Paris) gave him a solo exhibition in 1920. In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After being awarded the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des artistes français with "Le Temps des cerises". In 1934, Vivrel presented Les baigneuses, the first of a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des artistes français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940 Louis Paillard wrote on the front page of the "Petit journal" of 6 May 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - recent paintings", organised by the Galerie de Berri in May 1942, featured 31 paintings illustrating the diversity of genres that Vivrel tackled, but it was landscapes that he explored most passionately. His chosen land was the Loiret, where his elder brother Marcel had a second home at Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was back in Brittany, from where he brought back "Port de Camaret", exhibited at the Salon des Tuileries in 1926. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There he produced watercolours which were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive, fine, yet broad in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", 12 November 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme also made its mark at the Salon des Tuileries, where Vivrel presented views of harbours and liners, evidence of a flourishing tourist industry. In 1947, he was awarded the Prix de l'Académie des Beaux-Arts. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the narrow streets of Montmartre and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series like Monet. He liked to linger on the quays of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on 7 June 1976. Vivrel is represented in the collections of the Musée Eugène-Boudin in Honfleur and the Musée Mandet in Riom. His painting, "Les Meules", decorates the offices of the former Secretary of State for Veterans and Victims of War (Paris).

ANDRÉ-LÉON VIVREL (1886-1976) Collection of five works Views of Paris with the statue of Henri IV, Saint-Gervais-Saint-Protais, Notre-Dame, the Pavillon de Flore in the Louvre and bridges over the Seine Watercolour on paper Four signed lower right or left One unsigned A set of five works, watercolor on paper, four of them signed lower right or left, one of them unsigned From 32 x 49,5 cm to 36 x 53,5 cm From 12 5/8 x 19 1/2 in. to 14 1/8 x 21 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he described as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A student at the prestigious Lycée Louis-le-Grand in Paris, Vivrel entered the Académie Julian in 1910. There he studied under Paul Albert Laurens, the eldest son of Jean-Paul Laurens, and then attended the workshops of Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rented a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from that of Auguste Renoir, the painter he admired most of all. He first exhibited at the Salon des artistes français in 1913. Mobilised in 1914, he was awarded the Croix de Guerre for "heroic conduct" in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honourable mention at the 1920 Salon and the State bought two still lifes (not located) from him, which he exhibited at the Salon des Indépendants. He also exhibited two portraits of Breton women, painted on his return from a stay in Ploumanac'h (Côtes d'Armor). The Galerie Lorenceau (Paris) gave him a solo exhibition in 1920. In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After being awarded the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des artistes français with "Le Temps des cerises". In 1934, Vivrel presented Les baigneuses, the first of a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des artistes français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940 Louis Paillard wrote on the front page of the "Petit journal" of 6 May 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - recent paintings", organised by the Galerie de Berri in May 1942, featured 31 paintings illustrating the diversity of genres that Vivrel tackled, but it was landscapes that he explored most passionately. His chosen land was the Loiret, where his elder brother Marcel had a second home at Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was back in Brittany, from where he brought back "Port de Camaret", exhibited at the Salon des Tuileries in 1926. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There he produced watercolours which were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive, fine, yet broad in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", 12 November 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme also made its mark at the Salon des Tuileries, where Vivrel presented views of harbours and liners, evidence of a flourishing tourist industry. In 1947, he was awarded the Prix de l'Académie des Beaux-Arts. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the narrow streets of Montmartre and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series like Monet. He liked to linger on the quays of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on 7 June 1976. Vivrel is represented in the collections of the Musée Eugène-Boudin in Honfleur and the Musée Mandet in Riom. His painting, "Les Meules", decorates the offices of the former Secretary of State for Veterans and Victims of War (Paris).

ANDRÉ-LÉON VIVREL (1886-1976) Collection of five works Views of Paris with the Pont-Neuf and the statue of Henri IV and bridges over the Seine Watercolour on paper Signed lower right or left A set of five works, watercolor on paper, signed lower right or left From 32 x 49 cm to 36 x 53,5 cm From 12 5/8 x 19 1/4 in. to 14 1/8 x 21 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he described as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A student at the prestigious Lycée Louis-le-Grand in Paris, Vivrel entered the Académie Julian in 1910. There he studied under Paul Albert Laurens, the eldest son of Jean-Paul Laurens, and then attended the workshops of Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rented a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from that of Auguste Renoir, the painter he admired most of all. He first exhibited at the Salon des artistes français in 1913. Mobilised in 1914, he was awarded the Croix de Guerre for "heroic conduct" in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honourable mention at the 1920 Salon and the State bought two still lifes (not located) from him, which he exhibited at the Salon des Indépendants. He also exhibited two portraits of Breton women, painted on his return from a stay in Ploumanac'h (Côtes d'Armor). The Galerie Lorenceau (Paris) gave him a solo exhibition in 1920. In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After being awarded the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des artistes français with "Le Temps des cerises". In 1934, Vivrel presented Les baigneuses, the first of a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des artistes français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940 Louis Paillard wrote on the front page of the "Petit journal" of 6 May 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - recent paintings", organised by the Galerie de Berri in May 1942, featured 31 paintings illustrating the diversity of genres that Vivrel tackled, but it was landscapes that he explored most passionately. His chosen land was the Loiret, where his elder brother Marcel had a second home at Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was back in Brittany, from where he brought back "Port de Camaret", exhibited at the Salon des Tuileries in 1926. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There he produced watercolours which were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive, fine, yet broad in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", 12 November 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme also made its mark at the Salon des Tuileries, where Vivrel presented views of harbours and liners, evidence of a flourishing tourist industry. In 1947, he was awarded the Prix de l'Académie des Beaux-Arts. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the narrow streets of Montmartre and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series like Monet. He liked to linger on the quays of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on 7 June 1976. Vivrel is represented in the collections of the Musée Eugène-Boudin in Honfleur and the Musée Mandet in Riom. His painting, "Les Meules", decorates the offices of the former Secretary of State for Veterans and Victims of War (Paris).

ANDRÉ-LÉON VIVREL (1886-1976) Collection of five works Views of Paris with the Notre-Dame, the Conciergerie, the Louvre, the Pont-Neuf and bridges over the Seine Watercolour on paper Signed lower right or left A set of five works, watercolor on paper, signed lower right or left From 32 x 49,5 cm to 36 x 53,5 cm From 12 5/8 x 19 1/2 in. to 14 1/8 x 21 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he described as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A student at the prestigious Lycée Louis-le-Grand in Paris, Vivrel entered the Académie Julian in 1910. There he studied under Paul Albert Laurens, the eldest son of Jean-Paul Laurens, and then attended the workshops of Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rented a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from that of Auguste Renoir, the painter he admired most of all. He first exhibited at the Salon des artistes français in 1913. Mobilised in 1914, he was awarded the Croix de Guerre for "heroic conduct" in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honourable mention at the 1920 Salon and the State bought two still lifes (not located) from him, which he exhibited at the Salon des Indépendants. He also exhibited two portraits of Breton women, painted on his return from a stay in Ploumanac'h (Côtes d'Armor). The Galerie Lorenceau (Paris) gave him a solo exhibition in 1920. In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After being awarded the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des artistes français with "Le Temps des cerises". In 1934, Vivrel presented Les baigneuses, the first of a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des artistes français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940 Louis Paillard wrote on the front page of the "Petit journal" of 6 May 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - recent paintings", organised by the Galerie de Berri in May 1942, featured 31 paintings illustrating the diversity of genres that Vivrel tackled, but it was landscapes that he explored most passionately. His chosen land was the Loiret, where his elder brother Marcel had a second home at Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was back in Brittany, from where he brought back "Port de Camaret", exhibited at the Salon des Tuileries in 1926. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There he produced watercolours which were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive, fine, yet broad in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", 12 November 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme also made its mark at the Salon des Tuileries, where Vivrel presented views of harbours and liners, evidence of a flourishing tourist industry. In 1947, he was awarded the Prix de l'Académie des Beaux-Arts. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the narrow streets of Montmartre and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series like Monet. He liked to linger on the quays of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on 7 June 1976. Vivrel is represented in the collections of the Musée Eugène-Boudin in Honfleur and the Musée Mandet in Riom. His painting, "Les Meules", decorates the offices of the former Secretary of State for Veterans and Victims of War (Paris).

FERNAND HERBO (1905-1995) Banks of the Seine at Andrésy Gouache and charcoal on paper Signed lower left Situated lower right (Yellowed and creased) Gouache and black chalk on paper, signed lower left, located lower right 28 x 42,5 cm - 11 x 16 3/4 in. Provenance Private collection, France

FRANK-WILL (1900-1950) Snowy landscape at the mill, Bergues Watercolour and charcoal on paper Signed lower right Situated lower left (Slight foxing) Watercolor and black chalk on paper, signed lower right, located lower left 25,5 x 35,5 cm - 10 x 14 in. Provenance Private collection, France

NARCISSE BERCHÈRE (1819-1891) Thatched cottage landscape or Clair-obscur Oil on canvas Signed lower right (Tears, perforations and old restoration with piece) Oil on canvas, signed lower right 60 x 73 cm - 23 5/8 x 27 1/2 in. Provenance - Sale, 'Jewellery, silverware, furniture, objets d'art and furnishings from the 19th and 20th centuries, glassware, ceramics 1900, old paintings from the 17th and 18th centuries, paintings from the 19th and 20th centuries, books from the 19th and 20th centuries', Lombrail-Teucquam et Massol, La Varenne Saint-Hilaire, 25 April 1999, lot 62 - Private collection, France (by descent)

NARCISSE BERCHÈRE (1819-1891) Fête galante in a garden or Pastoral Pastel on paper Monogrammed lower left Pastel on paper, monogrammed lower left 52 x 41,5 cm (oval) - 20 1/2 x 16 3/8 in. (oval) Provenance - Artist's studio (1891) - M*** Collection - Sale, Title unknown, Osenat, Fontainebleau, 28 October 2001, lot 206 (indicated as coming from the artist's family) - Private collection, France (acquired at previous sale and by descent) Note This work could illustrate an episode of 'Gil-Blas'.

NARCISSE BERCHÈRE (1819-1891) Fishing boats on the open sea Watercolour and gouache on paper Signed lower right (Yellowed and drawing pin holes in the corners) Watercolour and gouache on paper, signed lower right 20,5 x 25 cm - 8 1/8 x 9 7/8 in. Provenance - Artist's studio (1891) - M*** Collection - Sale, Title unknown, Osenat, Fontainebleau, 28 October 2001, lot 201 (indicated as coming from the artist's family) - Sale, Unknown title, Osenat, Fontainebleau, 24 March 2002, lot 215 (indicated as coming from the artist's family) - Private collection, France (acquired at previous sale and by descent)

NARCISSE BERCHÈRE (1819-1891) Drinking trough at Caïd Bey, Valley of the Caliphs, Egypt Graphite, coloured pencil and gouache on tracing paper Annotated 'Abreuvoir à Caïd Bey/Vallée des Califes' lower left Unsigned (Creases, small tears and foxing) Graphite, colour pencil and gouache on tracing paper, inscribed 'Abreuvoir à Caïd Bey/Vallée des Califes' lower left, unsigned 20,5 x 25 cm - 8 1/8 x 9 7/8 in. Provenance - Sale, 'Twentieth century European paintings, drawings, watercolours and sculpture and nineteenth century European drawings and watercolours', Sotheby's-Parke Bernet, London, 30 September 1981, lot 248 - Sale, Title unknown, Chorley's, Cheltenham, 29 March 2017, lot 802 (titled 'Ruined Fort') - Private collection, France (by descent)

NARCISSE BERCHÈRE (1819-1891) The Nile at Giza, Egypt Graphite and white chalk on buff paper Situated and stamped 'Vente/N. Berchère' [Lugt L.231] lower right Study of a tent with figures and annotations on the back (Rousseurs) Graphite and white chalk on chamois paper, located and stamped with the 'Vente/N. Berchère' mark lower right, a sketch of a tent with characters on the reverse 12,9 x 21 cm - 5 1/8 x 8 1/4 in. Provenance - Sale, 'Vente après décès des tableaux, études, dessins et aquarelles par feu N. Berchère [...]', Me Lechat, Paris, Hôtel Drouot, 12, 13 and 14 November 1891 - Belly, Title unknown, Germain, Aubagne, lot n° unknown - Sale, 'Tableaux XIXe- XXe', Maison R&C, Marseille, 18 November 2022, lot 35 (titled 'Port oriental animé') - Private collection, France (acquired at previous sale and by descent)

NARCISSE BERCHÈRE (1819-1891) Building and large trees at Choubrah, Egypt Graphite and white chalk on paper Stamp 'Vente/N. Berchère' [Lugt L.231] lower left Situated top left (Restored corners) Graphite and white chalk on paper, stamped with the 'Vente N. Berchère' mark lower left, located upper left 10,5 x 20 cm - 4 1/8 x 7 7/8 in. Provenance - Sale, 'Vente après décès des tableaux, études, dessins et aquarelles par feu N. Berchère [...]', Me Lechat, Paris, Hôtel Drouot, 12, 13 and 14 November 1891 - Sale, 'Islamic Art: photographs and postcards, books and engravings, weapons, textiles, silverware, jewellery and display objects...', Ader-Picard-Tajan, Paris, Hôtel Drouot, 7 March 1988, lot 159C (part of lot) - Sale, 'Art d'Orient, orientalist paintings', 3 December 2001, Tajan, Paris, Espace Tajan, lot 119 (part of lot) - Private collection, France (acquired during the previous sale then by descent)

NARCISSE BERCHÈRE (1819-1891) Feluccas at Farchout, Egypt Charcoal on paper Signed and located lower right Annotated on the back (Yellowed with trace of passe-partout) Black chalk on paper, signed and located lower right, inscribed on the reverse 23 x 19,5 cm - 9 x 7 5/8 in. Provenance - Sale, 'Tableaux, objets d'art, ameublement', Beaussant-Lefèvre, Paris, Hôtel Drouot, 9 February 2001, lot 44 - Sale, 'Primitive Art, Modern Drawings, Paintings and Sculptures [...]', Beaussant-Lefèvre, Paris, Hôtel Drouot, 9 February 2001, lot 139 - Sale, 'Drawings from 1500 to 1900', Tajan, Paris, Espace Tajan, 15 November 2004, lot 202 - Private collection, France (acquired at previous sale and by descent)

INOËL (NINETEENTH-TWENTIETH CENTURY) Pair of paintings Camel driver in front of a town in the East - Camel driver near a marabout Oil on panel Signed lower left for the first and lower right for the second (Dirt and oxidised varnish) A pair of paintings, oil on panel, the first one signed lower left and the second one signed lower right 21,5 x 41 cm - 8 1/2 x 16 1/8 in. Provenance Private collection, France

AFTER JEAN-BAPTISTE CARPEAUX The sulky child or The little sulky one Hollow moulded terracotta with patina Unsigned and without publisher's stamp Model created in 1856 (Accidents, restorations and wear) Patinated terracotta, unsigned 27,5 cm (with base) - 11 1/4 in. (base included) Provenance - Sale, 'Vente courante', Claude Aguttes, Neuilly-sur-Seine, Hôtel des ventes de Neuilly, 5 March 1996, lot 6 - Private collection, France (acquired during the previous sale then by descent) Related work The Musée d'Orsay holds a terracotta edition of "Le Petit boudeur" (RF 1895), bequeathed by Jules Gontier in 1929, which does not have the seams that our example has. Note Good hollow moulding makes it possible to obtain multiples. The bon creux mould is made up of removable parts manufactured one by one on the proof previously obtained by lost hollow moulding, or on any other model from which multiples are to be obtained. Perfectly adjusted, the parts are held together by a thick layer of plaster during casting. Demoulding involves carefully dismantling the various pieces. In this long and meticulous operation, the model and mould are preserved and can be reused. Slightly raised lines form on the surface of the proof, where the parts of the mould meet. These seams are normally flattened, which is not the case with our proof.

HENRI ROYER (1869-1938) Daphnis and Chloé (competition sketch) Oil on canvas Signed lower left Red wax stamp on the right edge (Restorations) Oil on canvas, signed lower left, stamped with a red wax seal on the right edge 41 x 33 cm - 16 1/8 x 13 in. Provenance Artist's family, France

JACQUES MARTIN (1844-1919) Bunch of flowers and metal dish Oil on canvas Signed lower left (Restorations with pieces on the back) Oil on canvas, signed lower left 89 x 116 cm - 35 x 45 5/8 in. Provenance Private collection, France

FÉLIX DE VUILLEFROY-CASSINI (1841-1916) Cows in the meadow Oil on canvas Signed lower left (Minor lack of paint layer and small tear) Oil on canvas, signed lower left 32 x 41 cm - 12 5/8 x 16 1/8 in. Provenance Private collection, France

JULES GABRIEL DUBOIS-MENANT (1855-1921) Bust portrait of Captain Roger Duval (1852-1938) Oil on canvas Signed lower left (Perforations in the corners, small gaps in the paint layer and soiling) Oil on canvas, signed lower left 73 x 60 cm - 28 3/4 x 23 5/8 in. Provenance - Private collection, France - Acquired from the latter

EUGÈNE HENRI CAUCHOIS (1850-1911) Bunch of flowers Oil on canvas Signed lower right (Scratches retouched in the lower part) Oil on canvas, signed lower right 65 x 54 cm - 25 5/8 x 21 1/4 in. Provenance Private collection, Belgium

LOUIS GONTIER (NINETEENTH-TWENTIETH CENTURY) Vegetable and Poultry Merchant, 1879 Oil on canvas Signed and dated '1879' lower right Oil on canvas, signed and dated '1879' lower right 46 x 55,5 cm - 18 1/8 x 21 7/8 in. Provenance Private collection, France

BENJAMIN-CONSTANT (1845-1902) Bust portrait of Eugène Hénard (1849-1923), 18[7?]2 Oil on canvas Signed, dedicated 'À mon ami E. Hénard' and dated '18[7?]2' lower centre (Re-tooled and small superficial scratches) Oil on lined canvas, signed, dedicated 'À mon ami E. Hénard' and dated '18[7?]2' lower middle 55,5 x 46,5 cm - 21 7/8 x 18 1/4 in. Provenance Private collection, France Note Eugène Hénard, a French architect and civil engineer who turned to urban planning as both a realist and a pioneer, was born on 22 October 1849 in Paris and played an important role in the preparations for the 1889 Universal Exhibition: Although his project for a continuous electric train, which was far ahead of its time, was not accepted, he was appointed by Alphand, director of the Exhibition, to supervise the construction of the Galerie des Machines by Dutert and Contamin; he published a description of the building and the progress of the work, an invaluable document for understanding this essential work. In 1894, with a view to the 1900 Exhibition, he drew up a development and major works project with Girault and Paulin, which was awarded a prize, then called into question and finally adopted after a vigorous campaign by Hénard. He was responsible for the construction of the Grand and Petit Palais, the opening of Avenue Alexandre-III and the magnificent view of the Invalides. Following in Haussmann's footsteps, he also showed a concern for preserving sites, trees and open spaces: he helped to save the esplanade des Invalides and later the perspective of the Pont-Neuf, threatened by the creation of a Pont de la Monnaie (planned since Haussmann). His "Études sur les transformations de Paris" (1903-1909) had a major impact: they offered a lucid analysis of the present and future situation (lack of green spaces, traffic problems, foreseeable congestion) and proposed a green belt punctuated by twelve peripheral parks on the "zone". Hénard's prediction of the future of the motor car was remarkable, and went hand in hand with a search for classic solutions (large, widened thoroughfares) or revolutionary ones (three-level crossroads with differentiated traffic flow, artificial floors for pavements and pavements above the natural ground with accessible drains in between, multi-storey streets and differentiated traffic flow in new towns). Hénard showed a great interest in livening up avenues with original building layouts (stepped houses). His design was entirely focused on opening up the city to motor vehicles at the expense of other urban functions, but the scientific study was remarkable; it was accompanied by a prophetic vision and key ideas later taken up by Le Corbusier and rationalist urbanism.

NINETEENTH CENTURY FRENCH SCHOOL Bust of a Woman in Antique Style Oil on canvas mounted on cardboard Apocryphal signature 'P. P. de Chavannes' lower right Oil on canvas laid on cardboard, apocryphal signature 'P. Puvis de Chavannes' lower right 37 x 33,5 cm - 14 5/8 x 13 1/4 in. Provenance - By family tradition: Family of Pierre Puvis de Chavannes (1824-1898) - Private collection, France (acquired from the latter) Note This painting is a reproduction of the head of the central female figure in Thomas Couture's composition "The Romans of Decadence" (1847), now in the Musée d'Orsay (INV 3451).

MARCEL DEBUT (1865-1933) Gallic hunter with dog Bronze with brown patina Signed without founder's stamp Early edition cast Bronze with brown patina, signed with no foundry mark 78 cm - 30 3/4 in. Provenance Private collection, France (by descent)

late nineteenth century school Black and White or Terriers in a Landscape Oil on canvas Unsigned (Small gaps in the paint layer) Oil on canvas, unsigned 38,5 x 51 cm - 15 1/8 x 20 1/8 in. Provenance Private collection, France Oil on canvas.

MODERN SCHOOL Portrait of a Yorkshire Terrier Oil on canvas Unsigned (Lining and old restorations) Oil on lined canvas, unsigned 27 x 22 cm - 10 5/8 x 8 5/8 in. Provenance Private collection, France