Thomas Couture Auction Price Results

Lot 1: COUTURE Thomas (1815 - 1879) Portrait d'homme au

Estimated Price: Log in or create account to view price data

Description: COUTURE Thomas (1815 - 1879) Portrait d'homme au tricorne Esquisse, signée du monogramme TC à droite. 46 x 41,5 cm

Lot 2: Thomas Couture (French, 1815-1879)

Estimated Price: Log in or create account to view price data

Description: Timon of Athens (1857-1867) signed with initials 'T. C.' and bears '...outure' lower left oil on panel 8 x 10in. (21 x 26cm.) NOTES Timon of Athens, inspired by Shakespeare's play of the same title, is Couture's allegory of greed. It should be seen as a development of the themes of his L'Amour de L'Or of 1844. Of the earlier picture, Couture wrote: "The picture of Love and Gold is taken from Shakespeare's Timon of Athens; a miser who possesses much gold finds all kinds of temptations coming his way, but since he is swayed more by the possession of his riches, he replies to every offer, "I prefer my gold more," and master Satannas, delighted for having invented this beautiful yellow temptress, laughs like the damned person he is when he sees (the naked ones yielding without receiving anything in turn) this race (to the bell tower) for gold whose goal will be hidden by him who is in Hell"(Couture Family Archives, "Quelques lettres," M.S. no.293). From the above quote, it is apparent, as Boime points out, that Couture has misinterpreted the play and the central character himself(A. Boime, Thomas Couture and the Eclectic Vision, 1980). The rich and generous Athenian Timon had showered his friends and acquintances with gifts only to be abandoned by them when his money is spent. With no other option, Timon goes to live in a cave outside of Athens where he finds a bag of gold. At this point, his supplicating friends return, once again begging for Timon's generosity. Timon instead, gives the gold to Alcibiades to destroy Athens and hangs himself from a nearby tree. A large-scale version of our work was destroyed in the artist's studio in 1870. However, many drawings and oil sketches survive; a version almost identical to the present one, with the exceptions of a black bird perched on a post behind Timon and the lady's cloaked attendant facing Timon is in the Wallace Collection, London; a similar drawing with the addition of a man who stands behind Timon with a coining press, aiding his master's gluttony is in the Louvre; a drawing also with a coiner, and another drawing, with a coining man and with six men dragging a box, being directed by a man on a Church pulpit are in the Chteau de Compigne; with Shickman Gallery, October 1965 (published in Shickman Catalogue of that year) and a drawing with a coiner and with the nude's attendant in the exact position as our painting was with Shickman GAlleries in October 1865. The Brooklyn Museum also has a study for the beggar in the central foreground. It is thought that this man is the same one as in Couture's Stella Maris, the fresco cycle completed by the artist for St. Eustache in 1851. Thomas Couture, born in Senlis moved to Paris in 1826. He studied under Gros from 1830-5, attended the Ecole des Beaux Arts and trained with Paul Delaroche in 1838. In 1847 Couture painted his famed The Romans of the Decadence (Muse d'Orsay, Paris). This painting won him a first class medal at the Salon and enormous praise from the critic while establishing him as a painter of the "juste milieu." A clear commentary on the social decadence of the July Monarchy and the new middle class in Paris, it seems almost ironic that this painting also received a grand reception from the public. The Romans of the Decadence and the present work, show Couture's ability to meld ancient and modern themes, stylistic vocabularies and palettes. Couture exhibited at the Salon from 1838 and continued to exhibit until 1872, winning a Chevalier de la Lgion of d'Honneur in 1848, and a gold medal in the Unviversal Exhibition of 1855. Thomas Couture's influence as a teacher was far reaching and he had an international body of students, many of whom became influential in their own rights, including Edouard Manet, Pierre Puvis de Chavannes, and Anselme Feuerbach.

Lot 2: Thomas Couture (French, 1815-1879)

Estimated Price: Log in or create account to view price data

Description: Timon of Athens (1857-1867) signed with initials 'T. C.' and bears '...outure' lower left oil on panel 8 x 10in. (21 x 26cm.) NOTES Timon of Athens, inspired by Shakespeare's play of the same title, is Couture's allegory of greed. It should be seen as a development of the themes of his L'Amour de L'Or of 1844. Of the earlier picture, Couture wrote: "The picture of Love and Gold is taken from Shakespeare's Timon of Athens; a miser who possesses much gold finds all kinds of temptations coming his way, but since he is swayed more by the possession of his riches, he replies to every offer, "I prefer my gold more," and master Satannas, delighted for having invented this beautiful yellow temptress, laughs like the damned person he is when he sees (the naked ones yielding without receiving anything in turn) this race (to the bell tower) for gold whose goal will be hidden by him who is in Hell"(Couture Family Archives, "Quelques lettres," M.S. no.293). From the above quote, it is apparent, as Boime points out, that Couture has misinterpreted the play and the central character himself(A. Boime, Thomas Couture and the Eclectic Vision, 1980). The rich and generous Athenian Timon had showered his friends and acquintances with gifts only to be abandoned by them when his money is spent. With no other option, Timon goes to live in a cave outside of Athens where he finds a bag of gold. At this point, his supplicating friends return, once again begging for Timon's generosity. Timon instead, gives the gold to Alcibiades to destroy Athens and hangs himself from a nearby tree. A large-scale version of our work was destroyed in the artist's studio in 1870. However, many drawings and oil sketches survive; a version almost identical to the present one, with the exceptions of a black bird perched on a post behind Timon and the lady's cloaked attendant facing Timon is in the Wallace Collection, London; a similar drawing with the addition of a man who stands behind Timon with a coining press, aiding his master's gluttony is in the Louvre; a drawing also with a coiner, and another drawing, with a coining man and with six men dragging a box, being directed by a man on a Church pulpit are in the Chteau de Compigne; with Shickman Gallery, October 1965 (published in Shickman Catalogue of that year) and a drawing with a coiner and with the nude's attendant in the exact position as our painting was with Shickman GAlleries in October 1865. The Brooklyn Museum also has a study for the beggar in the central foreground. It is thought that this man is the same one as in Couture's Stella Maris, the fresco cycle completed by the artist for St. Eustache in 1851. Thomas Couture, born in Senlis moved to Paris in 1826. He studied under Gros from 1830-5, attended the Ecole des Beaux Arts and trained with Paul Delaroche in 1838. In 1847 Couture painted his famed The Romans of the Decadence (Muse d'Orsay, Paris). This painting won him a first class medal at the Salon and enormous praise from the critic while establishing him as a painter of the "juste milieu." A clear commentary on the social decadence of the July Monarchy and the new middle class in Paris, it seems almost ironic that this painting also received a grand reception from the public. The Romans of the Decadence and the present work, show Couture's ability to meld ancient and modern themes, stylistic vocabularies and palettes. Couture exhibited at the Salon from 1838 and continued to exhibit until 1872, winning a Chevalier de la Lgion of d'Honneur in 1848, and a gold medal in the Unviversal Exhibition of 1855. Thomas Couture's influence as a teacher was far reaching and he had an international body of students, many of whom became influential in their own rights, including Edouard Manet, Pierre Puvis de Chavannes, and Anselme Feuerbach.

Lot 2: Thomas Couture (French, 1815-1879)

Estimated Price: Log in or create account to view price data

Description: Timon of Athens (1857-1867) signed with initials 'T. C.' and bears '...outure' lower left oil on panel 8 x 10in. (21 x 26cm.) NOTES Timon of Athens, inspired by Shakespeare's play of the same title, is Couture's allegory of greed. It should be seen as a development of the themes of his L'Amour de L'Or of 1844. Of the earlier picture, Couture wrote: "The picture of Love and Gold is taken from Shakespeare's Timon of Athens; a miser who possesses much gold finds all kinds of temptations coming his way, but since he is swayed more by the possession of his riches, he replies to every offer, "I prefer my gold more," and master Satannas, delighted for having invented this beautiful yellow temptress, laughs like the damned person he is when he sees (the naked ones yielding without receiving anything in turn) this race (to the bell tower) for gold whose goal will be hidden by him who is in Hell"(Couture Family Archives, "Quelques lettres," M.S. no.293). From the above quote, it is apparent, as Boime points out, that Couture has misinterpreted the play and the central character himself(A. Boime, Thomas Couture and the Eclectic Vision, 1980). The rich and generous Athenian Timon had showered his friends and acquintances with gifts only to be abandoned by them when his money is spent. With no other option, Timon goes to live in a cave outside of Athens where he finds a bag of gold. At this point, his supplicating friends return, once again begging for Timon's generosity. Timon instead, gives the gold to Alcibiades to destroy Athens and hangs himself from a nearby tree. A large-scale version of our work was destroyed in the artist's studio in 1870. However, many drawings and oil sketches survive; a version almost identical to the present one, with the exceptions of a black bird perched on a post behind Timon and the lady's cloaked attendant facing Timon is in the Wallace Collection, London; a similar drawing with the addition of a man who stands behind Timon with a coining press, aiding his master's gluttony is in the Louvre; a drawing also with a coiner, and another drawing, with a coining man and with six men dragging a box, being directed by a man on a Church pulpit are in the Chteau de Compigne; with Shickman Gallery, October 1965 (published in Shickman Catalogue of that year) and a drawing with a coiner and with the nude's attendant in the exact position as our painting was with Shickman GAlleries in October 1865. The Brooklyn Museum also has a study for the beggar in the central foreground. It is thought that this man is the same one as in Couture's Stella Maris, the fresco cycle completed by the artist for St. Eustache in 1851. Thomas Couture, born in Senlis moved to Paris in 1826. He studied under Gros from 1830-5, attended the Ecole des Beaux Arts and trained with Paul Delaroche in 1838. In 1847 Couture painted his famed The Romans of the Decadence (Muse d'Orsay, Paris). This painting won him a first class medal at the Salon and enormous praise from the critic while establishing him as a painter of the "juste milieu." A clear commentary on the social decadence of the July Monarchy and the new middle class in Paris, it seems almost ironic that this painting also received a grand reception from the public. The Romans of the Decadence and the present work, show Couture's ability to meld ancient and modern themes, stylistic vocabularies and palettes. Couture exhibited at the Salon from 1838 and continued to exhibit until 1872, winning a Chevalier de la Lgion of d'Honneur in 1848, and a gold medal in the Unviversal Exhibition of 1855. Thomas Couture's influence as a teacher was far reaching and he had an international body of students, many of whom became influential in their own rights, including Edouard Manet, Pierre Puvis de Chavannes, and Anselme Feuerbach.

Lot 2: Thomas Couture (French, 1815-1879)

Estimated Price: Log in or create account to view price data

Description: Timon of Athens (1857-1867) signed with initials 'T. C.' and bears '...outure' lower left oil on panel 8 x 10in. (21 x 26cm.) NOTES Timon of Athens, inspired by Shakespeare's play of the same title, is Couture's allegory of greed. It should be seen as a development of the themes of his L'Amour de L'Or of 1844. Of the earlier picture, Couture wrote: "The picture of Love and Gold is taken from Shakespeare's Timon of Athens; a miser who possesses much gold finds all kinds of temptations coming his way, but since he is swayed more by the possession of his riches, he replies to every offer, "I prefer my gold more," and master Satannas, delighted for having invented this beautiful yellow temptress, laughs like the damned person he is when he sees (the naked ones yielding without receiving anything in turn) this race (to the bell tower) for gold whose goal will be hidden by him who is in Hell"(Couture Family Archives, "Quelques lettres," M.S. no.293). From the above quote, it is apparent, as Boime points out, that Couture has misinterpreted the play and the central character himself(A. Boime, Thomas Couture and the Eclectic Vision, 1980). The rich and generous Athenian Timon had showered his friends and acquintances with gifts only to be abandoned by them when his money is spent. With no other option, Timon goes to live in a cave outside of Athens where he finds a bag of gold. At this point, his supplicating friends return, once again begging for Timon's generosity. Timon instead, gives the gold to Alcibiades to destroy Athens and hangs himself from a nearby tree. A large-scale version of our work was destroyed in the artist's studio in 1870. However, many drawings and oil sketches survive; a version almost identical to the present one, with the exceptions of a black bird perched on a post behind Timon and the lady's cloaked attendant facing Timon is in the Wallace Collection, London; a similar drawing with the addition of a man who stands behind Timon with a coining press, aiding his master's gluttony is in the Louvre; a drawing also with a coiner, and another drawing, with a coining man and with six men dragging a box, being directed by a man on a Church pulpit are in the Chteau de Compigne; with Shickman Gallery, October 1965 (published in Shickman Catalogue of that year) and a drawing with a coiner and with the nude's attendant in the exact position as our painting was with Shickman GAlleries in October 1865. The Brooklyn Museum also has a study for the beggar in the central foreground. It is thought that this man is the same one as in Couture's Stella Maris, the fresco cycle completed by the artist for St. Eustache in 1851. Thomas Couture, born in Senlis moved to Paris in 1826. He studied under Gros from 1830-5, attended the Ecole des Beaux Arts and trained with Paul Delaroche in 1838. In 1847 Couture painted his famed The Romans of the Decadence (Muse d'Orsay, Paris). This painting won him a first class medal at the Salon and enormous praise from the critic while establishing him as a painter of the "juste milieu." A clear commentary on the social decadence of the July Monarchy and the new middle class in Paris, it seems almost ironic that this painting also received a grand reception from the public. The Romans of the Decadence and the present work, show Couture's ability to meld ancient and modern themes, stylistic vocabularies and palettes. Couture exhibited at the Salon from 1838 and continued to exhibit until 1872, winning a Chevalier de la Lgion of d'Honneur in 1848, and a gold medal in the Unviversal Exhibition of 1855. Thomas Couture's influence as a teacher was far reaching and he had an international body of students, many of whom became influential in their own rights, including Edouard Manet, Pierre Puvis de Chavannes, and Anselme Feuerbach.

Lot 2: COUTURE, Thomas (1815-1879, French)

Description: Timon of Athens, init. panel Oil Painting (10x8in).

Lot 2: COUTURE, Thomas (1815-1879, French)

Description: Timon of Athens, init. panel Oil Painting (10x8in).

Lot 2: COUTURE, Thomas (1815-1879, French)

Description: Timon of Athens, init. panel Oil Painting (10x8in).

Lot 2: COUTURE, Thomas (1815-1879, French)

Description: Timon of Athens, init. panel Oil Painting (10x8in).

Lot 3: COUTURE, Thomas (1815-1879)

Estimated Price: Log in or create account to view price data

Description: Tete de jeune garcon Fusain & rehauts blanc 16,9 x 128,0 inches (43.0 x 325.0cm) Initial. lower right Illustrated.

Lot 3: COUTURE, Thomas (1815-1879)

Estimated Price: Log in or create account to view price data

Description: Tete de jeune garcon Fusain & rehauts blanc 16,9 x 128,0 inches (43.0 x 325.0cm) Initial. lower right Illustrated.

Lot 3: COUTURE, Thomas (1815-1879)

Estimated Price: Log in or create account to view price data

Description: Tete de jeune garcon Fusain & rehauts blanc 16,9 x 128,0 inches (43.0 x 325.0cm) Initial. lower right Illustrated.

Lot 3: COUTURE, Thomas (1815-1879)

Estimated Price: Log in or create account to view price data

Description: Tete de jeune garcon Fusain & rehauts blanc 16,9 x 128,0 inches (43.0 x 325.0cm) Initial. lower right Illustrated.

Lot 3: COUTURE, Thomas (1815-1879, French)

Description: The Sacrifice of Noah Oil Painting (57x44in).

Lot 3: COUTURE, Thomas (1815-1879, French)

Description: The Sacrifice of Noah Oil Painting (57x44in).

Lot 3: COUTURE, Thomas (1815-1879, French)

Description: The Sacrifice of Noah Oil Painting (57x44in).

Lot 3: COUTURE, Thomas (1815-1879, French)

Description: The Sacrifice of Noah Oil Painting (57x44in).

Lot 4: COUTURE, Thomas (1815-1879)

Estimated Price: Log in or create account to view price data

Description: Napoleon abdiquant Mine plomb & rehauts craie blanche/papier bleu 11,0 x 15,4 inches (28.0 x 39.0cm) Illustrated.

Lot 4: COUTURE, Thomas (1815-1879)

Estimated Price: Log in or create account to view price data

Description: Napoleon abdiquant Mine plomb & rehauts craie blanche/papier bleu 11,0 x 15,4 inches (28.0 x 39.0cm) Illustrated.

Lot 4: COUTURE, Thomas (1815-1879)

Estimated Price: Log in or create account to view price data

Description: Napoleon abdiquant Mine plomb & rehauts craie blanche/papier bleu 11,0 x 15,4 inches (28.0 x 39.0cm) Illustrated.

Lot 4: COUTURE, Thomas (1815-1879)

Estimated Price: Log in or create account to view price data

Description: Napoleon abdiquant Mine plomb & rehauts craie blanche/papier bleu 11,0 x 15,4 inches (28.0 x 39.0cm) Illustrated.

Lot 5: Thomas Couture

Estimated Price: Log in or create account to view price data

Description: French 1815-1879 portrait of a young girl signed with initials l.r. oil on canvas 50 by 41cm., 19N by 16in.

Lot 5: Thomas Couture

Estimated Price: Log in or create account to view price data

Description: French 1815-1879 portrait of a young girl signed with initials l.r. oil on canvas 50 by 41cm., 19N by 16in.

Lot 5: Thomas Couture

Estimated Price: Log in or create account to view price data

Description: French 1815-1879 portrait of a young girl signed with initials l.r. oil on canvas 50 by 41cm., 19N by 16in.

Lot 5: Thomas Couture

Estimated Price: Log in or create account to view price data

Description: French 1815-1879 portrait of a young girl signed with initials l.r. oil on canvas 50 by 41cm., 19N by 16in.

Lot 9: *Thomas Couture

Estimated Price: Log in or create account to view price data

Description: (French, 1815-79) STUDY FOR '1815' signed with the artist's initials TC (lower left) oil on canvas 16 by 12 7/8 in. 40.6 by 32.7cm. This preparatory sketch is one of the few remaining images of Thomas Couture's monumental painting 1815, destroyed by the Prussians in a pillage of the artist's home at Villiers-le-Bel during the Franco-Prussian War in the Fall of 1870. 1815 was an allegory of the betrayal of France by the formation of an alliance between the church and the aristocracy, an event which Couture blamed for France's devastating loss at Waterloo. A sketch for the composition survives (Fig. 1) and depicts a returning aristocrat emigre standing arm-in-arm with an abbe at the French border surveying through a looking-glass the wreckage of France- fallen soldiers dying in the drapery of the tricolour under a wooded border post marked 1815/FRANCE. A pencil study for the aristocrat also survives, formerly in the collection of Jacob Bean; it is presently in a New York private collection. The present oil sketch is a study for the two principal figures, in the lower left of the composition, the emigre- dressed in the ancien-regime costume of the eighteenth century and the priest who stands to his right. Provenance: Madame Rissler-Couture, Paris Thence by descent through the family Exhibited: Paris, Palais de l'Industrie, Thomas Couture, September 1880, No. 100 (lent by the family of the artist) Paris, Galerie Levesque & Cie, Exposition des Oeuvres de Thomas Couture, June 20-July 26, 1913, No. 51 (lent by Madame J. Th. Couture) Paris, Galerie Leverque & Cie, June 20-July 13, 1926.

Lot 9: *Thomas Couture

Estimated Price: Log in or create account to view price data

Description: (French, 1815-79) STUDY FOR '1815' signed with the artist's initials TC (lower left) oil on canvas 16 by 12 7/8 in. 40.6 by 32.7cm. This preparatory sketch is one of the few remaining images of Thomas Couture's monumental painting 1815, destroyed by the Prussians in a pillage of the artist's home at Villiers-le-Bel during the Franco-Prussian War in the Fall of 1870. 1815 was an allegory of the betrayal of France by the formation of an alliance between the church and the aristocracy, an event which Couture blamed for France's devastating loss at Waterloo. A sketch for the composition survives (Fig. 1) and depicts a returning aristocrat emigre standing arm-in-arm with an abbe at the French border surveying through a looking-glass the wreckage of France- fallen soldiers dying in the drapery of the tricolour under a wooded border post marked 1815/FRANCE. A pencil study for the aristocrat also survives, formerly in the collection of Jacob Bean; it is presently in a New York private collection. The present oil sketch is a study for the two principal figures, in the lower left of the composition, the emigre- dressed in the ancien-regime costume of the eighteenth century and the priest who stands to his right. Provenance: Madame Rissler-Couture, Paris Thence by descent through the family Exhibited: Paris, Palais de l'Industrie, Thomas Couture, September 1880, No. 100 (lent by the family of the artist) Paris, Galerie Levesque & Cie, Exposition des Oeuvres de Thomas Couture, June 20-July 26, 1913, No. 51 (lent by Madame J. Th. Couture) Paris, Galerie Leverque & Cie, June 20-July 13, 1926.

Lot 9: *Thomas Couture

Estimated Price: Log in or create account to view price data

Description: (French, 1815-79) STUDY FOR '1815' signed with the artist's initials TC (lower left) oil on canvas 16 by 12 7/8 in. 40.6 by 32.7cm. This preparatory sketch is one of the few remaining images of Thomas Couture's monumental painting 1815, destroyed by the Prussians in a pillage of the artist's home at Villiers-le-Bel during the Franco-Prussian War in the Fall of 1870. 1815 was an allegory of the betrayal of France by the formation of an alliance between the church and the aristocracy, an event which Couture blamed for France's devastating loss at Waterloo. A sketch for the composition survives (Fig. 1) and depicts a returning aristocrat emigre standing arm-in-arm with an abbe at the French border surveying through a looking-glass the wreckage of France- fallen soldiers dying in the drapery of the tricolour under a wooded border post marked 1815/FRANCE. A pencil study for the aristocrat also survives, formerly in the collection of Jacob Bean; it is presently in a New York private collection. The present oil sketch is a study for the two principal figures, in the lower left of the composition, the emigre- dressed in the ancien-regime costume of the eighteenth century and the priest who stands to his right. Provenance: Madame Rissler-Couture, Paris Thence by descent through the family Exhibited: Paris, Palais de l'Industrie, Thomas Couture, September 1880, No. 100 (lent by the family of the artist) Paris, Galerie Levesque & Cie, Exposition des Oeuvres de Thomas Couture, June 20-July 26, 1913, No. 51 (lent by Madame J. Th. Couture) Paris, Galerie Leverque & Cie, June 20-July 13, 1926.

Lot 9: *Thomas Couture

Estimated Price: Log in or create account to view price data

Description: (French, 1815-79) STUDY FOR '1815' signed with the artist's initials TC (lower left) oil on canvas 16 by 12 7/8 in. 40.6 by 32.7cm. This preparatory sketch is one of the few remaining images of Thomas Couture's monumental painting 1815, destroyed by the Prussians in a pillage of the artist's home at Villiers-le-Bel during the Franco-Prussian War in the Fall of 1870. 1815 was an allegory of the betrayal of France by the formation of an alliance between the church and the aristocracy, an event which Couture blamed for France's devastating loss at Waterloo. A sketch for the composition survives (Fig. 1) and depicts a returning aristocrat emigre standing arm-in-arm with an abbe at the French border surveying through a looking-glass the wreckage of France- fallen soldiers dying in the drapery of the tricolour under a wooded border post marked 1815/FRANCE. A pencil study for the aristocrat also survives, formerly in the collection of Jacob Bean; it is presently in a New York private collection. The present oil sketch is a study for the two principal figures, in the lower left of the composition, the emigre- dressed in the ancien-regime costume of the eighteenth century and the priest who stands to his right. Provenance: Madame Rissler-Couture, Paris Thence by descent through the family Exhibited: Paris, Palais de l'Industrie, Thomas Couture, September 1880, No. 100 (lent by the family of the artist) Paris, Galerie Levesque & Cie, Exposition des Oeuvres de Thomas Couture, June 20-July 26, 1913, No. 51 (lent by Madame J. Th. Couture) Paris, Galerie Leverque & Cie, June 20-July 13, 1926.

Lot 9: Thomas COUTURE - 1815-1879 PORTRAIT D'HOMME AUX

Estimated Price: Log in or create account to view price data

Description: Thomas COUTURE - 1815-1879 PORTRAIT D'HOMME AUX FAVORIS, vers 1840 Huile sur toile, monogrammée à droite au centre. 73 x 59

Lot 11: COUTURE, Thomas (1815-1879)

Description: Etude pour les Romains Huile/toile Signed.

Lot 11: COUTURE, Thomas (1815-1879)

Description: Etude pour les Romains Huile/toile Signed.

Lot 11: COUTURE, Thomas (1815-1879)

Description: Etude pour les Romains Huile/toile Signed.

Lot 11: COUTURE, Thomas (1815-1879)

Description: Etude pour les Romains Huile/toile Signed.

Lot 11: COUTURE, THOMAS (1815-1879)

Description: Portrait de femme oil/canvas 18.1x15 in (46x38 cm).

Lot 11: COUTURE, THOMAS (1815-1879)

Description: Portrait de femme oil/canvas 18.1x15 in (46x38 cm).

Lot 11: COUTURE, THOMAS (1815-1879)

Description: Portrait de femme oil/canvas 18.1x15 in (46x38 cm).

Lot 11: COUTURE, THOMAS (1815-1879)

Description: Portrait de femme oil/canvas 18.1x15 in (46x38 cm).

Lot 14: Thomas COUTURE (attribué à) (Senlis le 1815 -

Estimated Price: Log in or create account to view price data

Description: Thomas COUTURE (attribué à) (Senlis le 1815 - Villiers-le-Bel 1879) Les romains de la décadence Huile sur toile (quelques restaurations anciennes) Porte un monogramme T.C. en bas à gauche 73.5 x 60 cm

Lot 16: COUTURE, Thomas (style) (1815-1879, French)

Description: Les Romains de la decadence, bears mono. painted c.1850 Oil Painting (32x23in).

Lot 16: COUTURE, Thomas (style) (1815-1879, French)

Description: Les Romains de la decadence, bears mono. painted c.1850 Oil Painting (32x23in).

Lot 16: COUTURE, Thomas (style) (1815-1879, French)

Description: Les Romains de la decadence, bears mono. painted c.1850 Oil Painting (32x23in).

Lot 16: COUTURE, Thomas (style) (1815-1879, French)

Description: Les Romains de la decadence, bears mono. painted c.1850 Oil Painting (32x23in).

Lot 17: THOMAS COUTURE (FRENCH, 1815-1879)

Estimated Price: Log in or create account to view price data

Description: PORTRAIT OF A MAN signed with initials "T. C." center right -- black and white chalk on paper 22 x 17 3/8 in. (55.9 x 44.1 cm.).

Lot 17: THOMAS COUTURE (FRENCH, 1815-1879)

Estimated Price: Log in or create account to view price data

Description: PORTRAIT OF A MAN signed with initials "T. C." center right -- black and white chalk on paper 22 x 17 3/8 in. (55.9 x 44.1 cm.).

Lot 17: THOMAS COUTURE (FRENCH, 1815-1879)

Estimated Price: Log in or create account to view price data

Description: PORTRAIT OF A MAN signed with initials "T. C." center right -- black and white chalk on paper 22 x 17 3/8 in. (55.9 x 44.1 cm.).

Lot 17: THOMAS COUTURE (FRENCH, 1815-1879)

Estimated Price: Log in or create account to view price data

Description: PORTRAIT OF A MAN signed with initials "T. C." center right -- black and white chalk on paper 22 x 17 3/8 in. (55.9 x 44.1 cm.).

Lot 17: Thomas COUTURE - 1815-1879 PORTRAIT D'HOMME AUX

Estimated Price: Log in or create account to view price data

Description: Thomas COUTURE - 1815-1879 PORTRAIT D'HOMME AUX FAVORIS, vers 1840 Huile sur toile signée du monogramme TC au centre à droite. 73 x 59

Lot 20: COUTURE, Thomas (1815-1879, French)

Description: Tete de femme, mono.i. black crayon htd white double-sided Works on paper (15x19in).

Lot 20: COUTURE, Thomas (1815-1879, French)

Description: Tete de femme, mono.i. black crayon htd white double-sided Works on paper (15x19in).

Lot 20: COUTURE, Thomas (1815-1879, French)

Description: Tete de femme, mono.i. black crayon htd white double-sided Works on paper (15x19in).

Lot 20: COUTURE, Thomas (1815-1879, French)

Description: Tete de femme, mono.i. black crayon htd white double-sided Works on paper (15x19in).

Lot 22: COUTURE, Thomas (1815-1879, French)

Description: Buste de femme, s. painted c.1847 Oil Painting (18x21in).

Lot 22: COUTURE, Thomas (1815-1879, French)

Description: Buste de femme, s. painted c.1847 Oil Painting (18x21in).

Lot 22: COUTURE, Thomas (1815-1879, French)

Description: Buste de femme, s. painted c.1847 Oil Painting (18x21in).

Lot 22: COUTURE, Thomas (1815-1879, French)

Description: Buste de femme, s. painted c.1847 Oil Painting (18x21in).

Lot 24: COUTURE, THOMAS (1815-1879)

Description: portrait of two mens Pen & brown ink 9.1x7.1 in (23.2x18 cm).

Lot 24: COUTURE, THOMAS (1815-1879)

Description: portrait of two mens Pen & brown ink 9.1x7.1 in (23.2x18 cm).

Lot 24: COUTURE, THOMAS (1815-1879)

Description: portrait of two mens Pen & brown ink 9.1x7.1 in (23.2x18 cm).

Lot 24: COUTURE, THOMAS (1815-1879)

Description: portrait of two mens Pen & brown ink 9.1x7.1 in (23.2x18 cm).

Lot 26: Atelier de Thomas COUTURE (1815-1879)Les Romains de la décadence.Sur sa toile d'origine.83 x 132 cm.Reprise du tableau conservé au Musée d'Orsay à Paris.Provenance : Collection privée, Marseille.

Estimated Price: Log in or create account to view price data

Description: Atelier de Thomas COUTURE (1815-1879)Les Romains de la décadence.Sur sa toile d'origine.83 x 132 cm.Reprise du tableau conservé au Musée d'Orsay à Paris.Provenance : Collection privée, Marseille.

Lot 27: THOMAS COUTURE (FRENCH 1815-1879)

Estimated Price: Log in or create account to view price data

Description: STUDY FOR L'AMOUR DE L'OR signed with initials, and inscribed T.C./1844/AURI SAC/ FAMES center - - oil on panel 8 3/4 x 11 in. (22.2 x 27.9 cm.).

Lot 27: THOMAS COUTURE (FRENCH 1815-1879)

Estimated Price: Log in or create account to view price data

Description: STUDY FOR L'AMOUR DE L'OR signed with initials, and inscribed T.C./1844/AURI SAC/ FAMES center - - oil on panel 8 3/4 x 11 in. (22.2 x 27.9 cm.).

Lot 27: THOMAS COUTURE (FRENCH 1815-1879)

Estimated Price: Log in or create account to view price data

Description: STUDY FOR L'AMOUR DE L'OR signed with initials, and inscribed T.C./1844/AURI SAC/ FAMES center - - oil on panel 8 3/4 x 11 in. (22.2 x 27.9 cm.).

Lot 27: THOMAS COUTURE (FRENCH 1815-1879)

Estimated Price: Log in or create account to view price data

Description: STUDY FOR L'AMOUR DE L'OR signed with initials, and inscribed T.C./1844/AURI SAC/ FAMES center - - oil on panel 8 3/4 x 11 in. (22.2 x 27.9 cm.).

Lot 31: Thomas Couture (French, 1815-1879)

Estimated Price: Log in or create account to view price data

Description: Jeune femme cousant signed with initials 'TC' (lower left) oil on canvas 361/2 x 29 in. (92.5 x 73.5 cm.) Painted circa 1870.

Lot 31: Thomas Couture (French, 1815-1879)

Estimated Price: Log in or create account to view price data

Description: Jeune femme cousant signed with initials 'TC' (lower left) oil on canvas 361/2 x 29 in. (92.5 x 73.5 cm.) Painted circa 1870.

Lot 31: Thomas Couture (French, 1815-1879)

Estimated Price: Log in or create account to view price data

Description: Jeune femme cousant signed with initials 'TC' (lower left) oil on canvas 361/2 x 29 in. (92.5 x 73.5 cm.) Painted circa 1870.

Lot 31: Thomas Couture (French, 1815-1879)

Estimated Price: Log in or create account to view price data

Description: Jeune femme cousant signed with initials 'TC' (lower left) oil on canvas 361/2 x 29 in. (92.5 x 73.5 cm.) Painted circa 1870.

Lot 33: Thomas Couture (1815-1879)

Estimated Price: Log in or create account to view price data

Description: The Surrender of the People of Gand to the Emporer Charles V signed with initials 'T.C.' (lower right) oil on canvas 50.5/8 x 761/2 in. (128.5 x 194.3 cm.).

Lot 33: Thomas Couture (1815-1879)

Estimated Price: Log in or create account to view price data

Description: The Surrender of the People of Gand to the Emporer Charles V signed with initials 'T.C.' (lower right) oil on canvas 50.5/8 x 761/2 in. (128.5 x 194.3 cm.).

Lot 33: Thomas Couture (1815-1879)

Estimated Price: Log in or create account to view price data

Description: The Surrender of the People of Gand to the Emporer Charles V signed with initials 'T.C.' (lower right) oil on canvas 50.5/8 x 761/2 in. (128.5 x 194.3 cm.).

Lot 33: Thomas Couture (1815-1879)

Estimated Price: Log in or create account to view price data

Description: The Surrender of the People of Gand to the Emporer Charles V signed with initials 'T.C.' (lower right) oil on canvas 50.5/8 x 761/2 in. (128.5 x 194.3 cm.).

Lot 35: Thomas Couture 1815 Senlis - 1879 Villiers-le-Bel

Estimated Price: Log in or create account to view price data

Description: Thomas Couture 1815 Senlis - 1879 Villiers-le-Bel - Mythologische Szene / Festzug - Öl/Lwd. Doubliert. 28 x 46,4 cm. Verso Aufkleber eines alten englischen Auktion-Katalogtextes. Rahmen. Beschn. (73040/0022)

Lot 37: Attribuito a Thomas Couture (1815-1879) Le due

Estimated Price: Log in or create account to view price data

Description: Attribuito a Thomas Couture (1815-1879) Le due sorelle Olio su tela, 65 x 54,5 cm. La sigla 'T.C.' (in basso a destra) appare coeva al dipinto.

Lot 38: COUTURE, THOMAS (1815-1879)

Description: Etudes d'arbres (recto-verso) Pierre noire 12x19 inches (31.6x49 cm).

Lot 38: COUTURE, THOMAS (1815-1879)

Description: Etudes d'arbres (recto-verso) Pierre noire 12x19 inches (31.6x49 cm).

Lot 38: COUTURE, THOMAS (1815-1879)

Description: Etudes d'arbres (recto-verso) Pierre noire 12x19 inches (31.6x49 cm).

Lot 38: COUTURE, THOMAS (1815-1879)

Description: Etudes d'arbres (recto-verso) Pierre noire 12x19 inches (31.6x49 cm).

Lot 42A: *Thomas Couture (French, 1815-79)

Estimated Price: Log in or create account to view price data

Description: PORTRAIT OF CHARLES MONGINOT initialed T.C. oil on canvas 25 5/8 by 21 1/4 in. 65.1 by 54cm. Charles Monginot (1825-1900) was a pupil and friend of of Thomas Couture. He was a painter of still lives, portraits and genre scenes. He regularly exhibited at the Paris salons. This picture was painted when Monginot was very young, probably at the time when he was studying in Couture's studio. 1847 is the year when Couture was at the height of his talent and at the dawn of his success. The same year he exhibited his most famous painting, Les Romains de la DEcadence (Paris, Musee d'Orsay) which was to make him one of the most important artists of his time. Exhibited: Possibly, Paris, Salon de 1847, Nb. 402 Provenance: The sitter's family.

Lot 42A: *Thomas Couture (French, 1815-79)

Estimated Price: Log in or create account to view price data

Description: PORTRAIT OF CHARLES MONGINOT initialed T.C. oil on canvas 25 5/8 by 21 1/4 in. 65.1 by 54cm. Charles Monginot (1825-1900) was a pupil and friend of of Thomas Couture. He was a painter of still lives, portraits and genre scenes. He regularly exhibited at the Paris salons. This picture was painted when Monginot was very young, probably at the time when he was studying in Couture's studio. 1847 is the year when Couture was at the height of his talent and at the dawn of his success. The same year he exhibited his most famous painting, Les Romains de la DEcadence (Paris, Musee d'Orsay) which was to make him one of the most important artists of his time. Exhibited: Possibly, Paris, Salon de 1847, Nb. 402 Provenance: The sitter's family.

Lot 42A: *Thomas Couture (French, 1815-79)

Estimated Price: Log in or create account to view price data

Description: PORTRAIT OF CHARLES MONGINOT initialed T.C. oil on canvas 25 5/8 by 21 1/4 in. 65.1 by 54cm. Charles Monginot (1825-1900) was a pupil and friend of of Thomas Couture. He was a painter of still lives, portraits and genre scenes. He regularly exhibited at the Paris salons. This picture was painted when Monginot was very young, probably at the time when he was studying in Couture's studio. 1847 is the year when Couture was at the height of his talent and at the dawn of his success. The same year he exhibited his most famous painting, Les Romains de la DEcadence (Paris, Musee d'Orsay) which was to make him one of the most important artists of his time. Exhibited: Possibly, Paris, Salon de 1847, Nb. 402 Provenance: The sitter's family.

Lot 42A: *Thomas Couture (French, 1815-79)

Estimated Price: Log in or create account to view price data

Description: PORTRAIT OF CHARLES MONGINOT initialed T.C. oil on canvas 25 5/8 by 21 1/4 in. 65.1 by 54cm. Charles Monginot (1825-1900) was a pupil and friend of of Thomas Couture. He was a painter of still lives, portraits and genre scenes. He regularly exhibited at the Paris salons. This picture was painted when Monginot was very young, probably at the time when he was studying in Couture's studio. 1847 is the year when Couture was at the height of his talent and at the dawn of his success. The same year he exhibited his most famous painting, Les Romains de la DEcadence (Paris, Musee d'Orsay) which was to make him one of the most important artists of his time. Exhibited: Possibly, Paris, Salon de 1847, Nb. 402 Provenance: The sitter's family.

Lot 47: COUTURE, THOMAS (1815-1879)

Description: Paysage a Villiers-le-Bel, c.1876, 1876c. oil/canvas 15.4x22.7 in (39x57.5 cm) Catalogue Oeuvre, Ballu, 1880.

Lot 47: COUTURE, THOMAS (1815-1879)

Description: Paysage a Villiers-le-Bel, c.1876, 1876c. oil/canvas 15.4x22.7 in (39x57.5 cm) Catalogue Oeuvre, Ballu, 1880.

Lot 47: COUTURE, THOMAS (1815-1879)

Description: Paysage a Villiers-le-Bel, c.1876, 1876c. oil/canvas 15.4x22.7 in (39x57.5 cm) Catalogue Oeuvre, Ballu, 1880.

Lot 47: COUTURE, THOMAS (1815-1879)

Description: Paysage a Villiers-le-Bel, c.1876, 1876c. oil/canvas 15.4x22.7 in (39x57.5 cm) Catalogue Oeuvre, Ballu, 1880.

Lot 54: COUTURE, THOMAS (ATTRIBUe a) (1815-1879)

Description: Lavandiere Pastel/paper 48.5x34.7 in (123x88 cm) (Lower Right) Inscr.S & dedic.: >.

Lot 54: COUTURE, THOMAS (ATTRIBUe a) (1815-1879)

Description: Lavandiere Pastel/paper 48.5x34.7 in (123x88 cm) (Lower Right) Inscr.S & dedic.: >.

Lot 54: COUTURE, THOMAS (ATTRIBUe a) (1815-1879)

Description: Lavandiere Pastel/paper 48.5x34.7 in (123x88 cm) (Lower Right) Inscr.S & dedic.: >.

Lot 54: COUTURE, THOMAS (ATTRIBUe a) (1815-1879)

Description: Lavandiere Pastel/paper 48.5x34.7 in (123x88 cm) (Lower Right) Inscr.S & dedic.: >.

Lot 57: *Thomas Couture (French, 1815-79)

Estimated Price: Log in or create account to view price data

Description: "LA COURTISANE MODERNE'' signed with initials oil on panel 9 by 133/4 in. 22.9 by 34.9 cm. La courtisane moderne, also known as The Thorny Path, The Courtesan's Chariot and Love Leading the World, is one of Couture's most famous satirical images. It exists in various versions. The earliest, and only finished version, dated 1873, now hangs in the Pennsylvania Academy. According to Professor Albert Boime, the present work is a transitional study linking the Philadelphia version and a larger unfinished version measuring 59 by 83 7/8 inches, now in a private New York collection. The classically draped female figure driving the chariot represents a courtesan, whose numbers in Paris rose dramatically in the second half of the nineteenth century. Couture describes the figure in the present allegory as "attached to her carriage, to her luxury and to her different lovers. Four characters suffice for me to represent youth, riches, courage, and poetry.'' The first of these representatives of the society over which the courtesan how held sway is a bacchic Silenus, symbolic of those who had succumbed to temptations of different kinds; beside him is a young troubadour, naive and candid, his innocence about to be tarnished; next comes the aristocratic student locked in his own intellectual world but about to experience a rude awakening; the final figure is a soldier, representing courage, who may already have fallen victim to carnal desire. Behind the courtesan sits an old woman, possibly herself a former prostitute who in her time seduced many. Her juxtapositon with the younger woman, who may indeed be her daughter, may be read as a symbol of the continuing cycles of the courtesan's seductive power or as a momento mori. Provenance: Georges Bertauts-Couture (grandson of the artist) Exhibited: New York, M. W. Brady & Co, Small Paintings and Oil Sketches 1790-1890, 1994, No. 34, illustrated Literature: J. W. Howe, Thomas Couture: His Career and Artistic Development, Chicago, 1951, No. 127 (unpublished M.A.thesis) Albert Boime, Thomas Couture and the Eclectic Vision, New Haven and London, 1980, pp. 363-370, Pls. IX 93-94 (for illustrations of related versions).

Lot 57: *Thomas Couture (French, 1815-79)

Estimated Price: Log in or create account to view price data

Description: "LA COURTISANE MODERNE'' signed with initials oil on panel 9 by 133/4 in. 22.9 by 34.9 cm. La courtisane moderne, also known as The Thorny Path, The Courtesan's Chariot and Love Leading the World, is one of Couture's most famous satirical images. It exists in various versions. The earliest, and only finished version, dated 1873, now hangs in the Pennsylvania Academy. According to Professor Albert Boime, the present work is a transitional study linking the Philadelphia version and a larger unfinished version measuring 59 by 83 7/8 inches, now in a private New York collection. The classically draped female figure driving the chariot represents a courtesan, whose numbers in Paris rose dramatically in the second half of the nineteenth century. Couture describes the figure in the present allegory as "attached to her carriage, to her luxury and to her different lovers. Four characters suffice for me to represent youth, riches, courage, and poetry.'' The first of these representatives of the society over which the courtesan how held sway is a bacchic Silenus, symbolic of those who had succumbed to temptations of different kinds; beside him is a young troubadour, naive and candid, his innocence about to be tarnished; next comes the aristocratic student locked in his own intellectual world but about to experience a rude awakening; the final figure is a soldier, representing courage, who may already have fallen victim to carnal desire. Behind the courtesan sits an old woman, possibly herself a former prostitute who in her time seduced many. Her juxtapositon with the younger woman, who may indeed be her daughter, may be read as a symbol of the continuing cycles of the courtesan's seductive power or as a momento mori. Provenance: Georges Bertauts-Couture (grandson of the artist) Exhibited: New York, M. W. Brady & Co, Small Paintings and Oil Sketches 1790-1890, 1994, No. 34, illustrated Literature: J. W. Howe, Thomas Couture: His Career and Artistic Development, Chicago, 1951, No. 127 (unpublished M.A.thesis) Albert Boime, Thomas Couture and the Eclectic Vision, New Haven and London, 1980, pp. 363-370, Pls. IX 93-94 (for illustrations of related versions).