Charles Le Brun

Charles Lebrun Frankrike 1619‑1690. Efter, 1700-tal. Alexander den store och Kung Porus. Olja på uppfodrad duk, 87 x 109. Follower of. 18th century. Oil on relined canvas, 87 x 109 cm. / 20.000 - 25.000:- / / € 2.200 - 2.800 / Dra musen över bilden för att se större, ladda ner eller lägga bud. Klicka på 'Lägg bud' för att spara objektet i 'Mina objekt', där Ni nu eller senare kan lägga bud.

Charles Le Brun (Paris 1619-1690) A river god with inscription 'LeBrun' red and white chalk, squared in black chalk, on two joined sheets,watermark bunch of grapes and A*M 13 x 22 inches (32.9 x 56.2 cm.) Lot Notes Datable to the 1670s and probably related to an ambitious seriesof 52 designs which Le Brun executed for the château and pavilionsat Marly. This estate was purchased by King Louis XIV in 1676 andbuilding work began three years later, with twelve temporarypavilions constructed along the avenue that led to the entrance ofthe château. The pediments of these pavilions, as well as those ofthe main house, were to be decorated with paintings imitatingrelief sculpture. The present drawing relates to the Pavillion del'Abondance, on which one pediment included the figure of the rivergod Oceanus, whose pose is remarkably similar to that in thepresent drawing, apart from the position of his legs. The Châteaude Marly was destroyed in the 18th Century, but the appearance oftwelve of the pediments is recorded through a series of engravingsby Louis de Chatillon (Divers desseins de decorations de pavillionsinventez par Monsieur Le Brun, Paris, n.d., BN Da39a fol.).Fortuitously the Oceanus facade is one of these and provides arecord of the completed work, probably undertaken by Le Brun'spupils using the master's preparatory drawings.

Paris: Chez Louis Surugue, [1725 or later]. Folio (20¼ x 15 inches; 515 x 381 mm). Engraved throughout, nine pages of text, recto and verso of five leaves with one headpiece, one initial, and one tailpiece, 24 plates, 6 double page, with titles in French and Latin; 18 th century French red morocco by Vente (Binder’’s label on front blank), covers with elaborate gilt border with large flour-de-lis at each corner, the upper cover with later gilt arms of duchesse de Berry. Spine in 7 compartments with raised bands, black morocco lettering piece in second compartment, the others with repeat decoration in gilt centering on large flower spray. Condition : Extremities scuffed and bumped, old neat repair to head of spine and upper outer corner, paste down partially detached from boards. Provenance : Marie Caroline Ferdinande Louise, duchesse de Berry (1798-1870, binding)a finely bound copy from the library of the duchesse du berry by an important french binder . The majority of the suite of engraved plates are based on the work of Charles Le Brun and picture the spectacular decoration of the Escalier de Ambassadeurs in Versailles which was “unhappily destroyed in 1752,” (Lewine). The duchesse de Berry was one of the foremost French bibliophiles of the early 19 th century. References: Lewine, p. 301, Brunet, p. III, 72, Cohen/de Ricci, 610.

Set of 4 etchings. Each approximately 185x236 mm; 73/8x93/8 inches,small margins. Two sheets with a bunch of grapes in a circlewatermark. Ex-collection Earl Spencer, Althorp (Lugt supplement2341a, lower left recto). One sheet (Aurora) with a repaireddiagonal tear upper left inside the plate mark. Very goodimpressions of this scarce set.

black chalk, pen and brown ink and brown wash, squared in black and red chalk, the top left corner of the composition replaced this lot contains 1 item(s). provenance:j.a. boussac (l.729b), sale, paris, galeries georges petit, 10-11 may 1926, lot 80, illus. p.38 the present drawing was identified simply as a 'composition mythologique' in the boussac sale, and the subject continues to prove elusive. it could be part of an allegory of abundance, or even represent one of the seasons. one sees huntsmen and figures with loaded baskets on their heads in composition drawings by le brun and his studio for the decoration of the pavillon de l'aurore at the chateau de sceux, and for the allegory of autumn and spring in the grande salon ovale de vaux. the combination of the heavy chalk outline and rapidly applied wash can be found in a number of le brun's studies, including the allegory of fame at besançon (ref. no.p1838) and an allegory of the rhone and the soane on deposit at the fogg museum, harvard university, cambridge, mass.