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Claude Felix Thodore Caruelle

France (A. Aubine Des Chaumes 1798 -  Lyon 1871 )
FELIX THODORE CARUELLE Claude  Route À Malleval

Mercier & Cie
Jun 25, 2017
Find artworks, auction results, sale prices and pictures of Claude Felix Thodore Caruelle at auctions worldwide.
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Variants on Artist's name :

Aligny Claude Théodore

Claude-Félix-Théodore Caruelle, Dit Caruelle D'Aligny

 

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Artworks in Arcadja
79

Some works of Claude Felix Thodore Caruelle

Extracted between 79 works in the catalog of Arcadja
Claude Felix Thodore Caruelle - Ponte Del Diavolo, Lucca, Tuscany

Claude Felix Thodore Caruelle - Ponte Del Diavolo, Lucca, Tuscany

Original 1859
Estimate:

Price:

Net Price
Lot number: 582
Other WORKS AT AUCTION
Description:
Théodore Caruelle d'Aligny (French, 1798-1871)
Ponte del diavolo, Lucca, Tuscany
Dated and monogrammed indistinctly "15 Maggio 1859..." l.r., identified on a label from Holzapfel Collection affixed to the frame backing.
Oil on paper, 10 5/8 x 14 1/2 in. (26.9 x 36.8 cm), framed.
Condition: Scattered small holes to the sheet, tack holes in the corners, toning to the reverse, areas of bubbling and darkening to the varnish, surface grime.
N.B. The artist's name is presented several different ways in current databases. The name listed on the label "C-F-T Aligny" would reference the version Claude-Félix-Théodore Aligny.
Claude Felix Thodore Caruelle - Study For Homère Et Les Bergers

Claude Felix Thodore Caruelle - Study For Homère Et Les Bergers

Original
Estimate:

Price:

Gross Price
Lot number: 347
Other WORKS AT AUCTION
Description:
Théodore Claude Félix Caruelle d' Aligny (FRENCH, 1798-1871)
Study for Homère et les bergers
signed with monogram 'CA' (lower left), and with indistinct inscription (on the reverse)
oil on canvas
12¾ x 10¾ in. (32.4 x 27.3 cm.)
Provenance
with Waterhouse & Dodd, London.
Claude Felix Thodore Caruelle - Les Muses

Claude Felix Thodore Caruelle - Les Muses

Original
Estimate:

Price:

Gross Price
Lot number: 5
Other WORKS AT AUCTION
Description:
Claude Félix Théodore Caruelle d'Aligny (French,1798-1871)
Les Muses
signed with monogram (lower right)
oil on paper laid down on canvas
12¼ x 9 in. (31.5 x 23 cm.)
J.L. Vaudoyer, Paris
Mr Dumont, Paris
Exhibited
Paris, Galerie René Drouin, Maitres et petits Maitres du XIXSiècle, Oct 1942, no.1
Galerie Lefranc & Engrand, Le Paysage Français, SesPrécurseurs, Jan 1944, no.4
Galerie Charpentier, Paysages d'Italie, 1947
Claude Felix Thodore Caruelle - Homere Et Les Bergers

Claude Felix Thodore Caruelle - Homere Et Les Bergers

Original 1840
Estimate:

Price:

Lot number: 111
Other WORKS AT AUCTION
Description:
Theodore Caruelle
d'Aligny

French, 1798-1871

homere et les bergers

signed with monogram l.l.

oil on canvas

78 by 68.5 cm., 30 3/4 by 27 in.

Painted circa 1840.

Provenance:

Sale: Paris, Hotel Drouot, Vente Caruelle d'Aligny, 4 May 1874, lot
9

Etex collection

Sale: London, Christie's, 30 June 1978, lot 303, illustrated

Sale: London, Sotheby's, 26 November 1980, lot 23,
illustrated

Exhibited:

Cleveland, Museum of Art, on loan

Literature:

Marie-Madeleine Aubrun, Theodore Caruelle d'Aligny, Paris 1988,
no.88,

p.108, illustrated (as location unknown)

Fronia E. Wissman, Corot's Salon Paintings: Sources from French
Classicism to Contemporary Theater Design, Ph.D. thesis, Newhaven
1989, vol.I, pp.103 & 104

Paris, Grand Palais; Ottawa, Musee des Beaux-Arts & New York,
Metropolitan Museum of Art, Corot, exh. cat., Paris 1996,
p.266

During his stay in Rome from 1822 to 1827 d'Aligny worked closely
with Corot, his naturalistic studies of the campagna exerting an
important influence on the older artist. D'Aligny's pioneering
conception of landscape as an

organisation of forms and mass underpinned much of the genre's
subsequent development up to, and

including, the work of Cezanne. In 1828, he became one of the first
landscapists to frequent the Forest of Fontainebleau.

Fronia Wissman dates Homere et les bergeres to around 1840, which
would make it a key source for Corot's 1845 treatment of the theme,
particularly in its figural grouping (Saint-Lo, Musee des
Beaux-Arts). As Michael Pantazzi has noted, this seems to be the
only deliberate imitation of a contemporary in Corot's oeuvre, and
signals the regard in which he held d'Aligny (see Paris; Ottawa
& New York 1996, p. 266).
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