Ary Scheffer Auction Price Results

Lot 1: ARY SCHEFFER* (FRENCH, 1795-1858)

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

Description: PORTRAIT OF A MAN signed "Ary Scheffer" and indistinctly inscribed center left -- oil on canvas 25 x 17 1/2 in. (63.5 x 44.4 cm.).

Lot 1: ARY SCHEFFER* (FRENCH, 1795-1858)

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

Description: PORTRAIT OF A MAN signed "Ary Scheffer" and indistinctly inscribed center left -- oil on canvas 25 x 17 1/2 in. (63.5 x 44.4 cm.).

Lot 1: ARY SCHEFFER* (FRENCH, 1795-1858)

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

Description: PORTRAIT OF A MAN signed "Ary Scheffer" and indistinctly inscribed center left -- oil on canvas 25 x 17 1/2 in. (63.5 x 44.4 cm.).

Lot 1: ARY SCHEFFER* (FRENCH, 1795-1858)

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

Description: PORTRAIT OF A MAN signed "Ary Scheffer" and indistinctly inscribed center left -- oil on canvas 25 x 17 1/2 in. (63.5 x 44.4 cm.).

Lot 1: SCHEFFER, Ary (1795-1858)

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

Description: Bust portrait of a man Oil/canvas 24,8 x 17,3 inches (63.0 x 44.0cm) Signed Illustrated.

Lot 1: SCHEFFER, Ary (1795-1858)

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

Description: Bust portrait of a man Oil/canvas 24,8 x 17,3 inches (63.0 x 44.0cm) Signed Illustrated.

Lot 1: SCHEFFER, Ary (1795-1858)

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

Description: Bust portrait of a man Oil/canvas 24,8 x 17,3 inches (63.0 x 44.0cm) Signed Illustrated.

Lot 1: SCHEFFER, Ary (1795-1858)

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

Description: Bust portrait of a man Oil/canvas 24,8 x 17,3 inches (63.0 x 44.0cm) Signed Illustrated.

Lot 3: *Ary Scheffer (French, 1795-1858)

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

Description: ST. LOUIS, LEAVING ON CRUSADE, HANDS THE REGENCY TO QUEEN BLANCHE, JUNE 13, 1248 signed oil on canvas 14 3/4 by 19 in. 37.5 by 48.3 cm. This is a preparatory sketch for one of five paintings commissioned on April 30, 1838 to adorn the King's Pavillion at the Chateau de Versailles, a scheme which was never completed, due in part to the Revolution of 1848. Until now, the overall composition of this particular painting was known from a drawing in the Dordrecht Museum (1935 catalogue, No. 178), to which this painted sketch comes very close. The Dordrecht Museum contains other preparatory drawings (Nos. 179 and 180). Dr. Leo Ewals and the Director of the Dordrecht Museum have kindly confirmed the authenticity of this work. We are grateful to Dr. Ewals for his assistance in the cataloguing of this work. Literature: Galeries historiques du palais de Versailles, Paris, 1839, Vol. I, p. 95, No. LXXXII (for mention of the final composition) L. Ewals, "De gebroeders Scheffer en het Versailles van Louis-Philippe", De Negentiende Eeuw 3, 1979, 4, pp. 212-234 (for a discussion of the overall scheme) L. Ewals, M. J. de Groot, J.-J. Heij, Ary Scheffer, dessins, aquarelles et esquisses a l'huile, exhibition catalogue, Dordrecht and Paris, 1979-80 (for a discussion of the overall scheme) L. Ewals, Ary Scheffer, Sa vie et son oeuvre, Ph.D., Nijmegen, 1987 (for a discussion of the overall scheme) L. Ewals, Ary Scheffer, exhibition catalogue, Dordrecht, Waanders, Uitgevers, Zwolle, 1995 (for a discussion of the overall scheme) Leo Ewals, Ary Scheffer 1795-1858, exhibition catalogue, Musee de la vie romantique, Paris, 1996, (for a discussion of the overall scheme).

Lot 3: *Ary Scheffer (French, 1795-1858)

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

Description: ST. LOUIS, LEAVING ON CRUSADE, HANDS THE REGENCY TO QUEEN BLANCHE, JUNE 13, 1248 signed oil on canvas 14 3/4 by 19 in. 37.5 by 48.3 cm. This is a preparatory sketch for one of five paintings commissioned on April 30, 1838 to adorn the King's Pavillion at the Chateau de Versailles, a scheme which was never completed, due in part to the Revolution of 1848. Until now, the overall composition of this particular painting was known from a drawing in the Dordrecht Museum (1935 catalogue, No. 178), to which this painted sketch comes very close. The Dordrecht Museum contains other preparatory drawings (Nos. 179 and 180). Dr. Leo Ewals and the Director of the Dordrecht Museum have kindly confirmed the authenticity of this work. We are grateful to Dr. Ewals for his assistance in the cataloguing of this work. Literature: Galeries historiques du palais de Versailles, Paris, 1839, Vol. I, p. 95, No. LXXXII (for mention of the final composition) L. Ewals, "De gebroeders Scheffer en het Versailles van Louis-Philippe", De Negentiende Eeuw 3, 1979, 4, pp. 212-234 (for a discussion of the overall scheme) L. Ewals, M. J. de Groot, J.-J. Heij, Ary Scheffer, dessins, aquarelles et esquisses a l'huile, exhibition catalogue, Dordrecht and Paris, 1979-80 (for a discussion of the overall scheme) L. Ewals, Ary Scheffer, Sa vie et son oeuvre, Ph.D., Nijmegen, 1987 (for a discussion of the overall scheme) L. Ewals, Ary Scheffer, exhibition catalogue, Dordrecht, Waanders, Uitgevers, Zwolle, 1995 (for a discussion of the overall scheme) Leo Ewals, Ary Scheffer 1795-1858, exhibition catalogue, Musee de la vie romantique, Paris, 1996, (for a discussion of the overall scheme).

Lot 3: *Ary Scheffer (French, 1795-1858)

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

Description: ST. LOUIS, LEAVING ON CRUSADE, HANDS THE REGENCY TO QUEEN BLANCHE, JUNE 13, 1248 signed oil on canvas 14 3/4 by 19 in. 37.5 by 48.3 cm. This is a preparatory sketch for one of five paintings commissioned on April 30, 1838 to adorn the King's Pavillion at the Chateau de Versailles, a scheme which was never completed, due in part to the Revolution of 1848. Until now, the overall composition of this particular painting was known from a drawing in the Dordrecht Museum (1935 catalogue, No. 178), to which this painted sketch comes very close. The Dordrecht Museum contains other preparatory drawings (Nos. 179 and 180). Dr. Leo Ewals and the Director of the Dordrecht Museum have kindly confirmed the authenticity of this work. We are grateful to Dr. Ewals for his assistance in the cataloguing of this work. Literature: Galeries historiques du palais de Versailles, Paris, 1839, Vol. I, p. 95, No. LXXXII (for mention of the final composition) L. Ewals, "De gebroeders Scheffer en het Versailles van Louis-Philippe", De Negentiende Eeuw 3, 1979, 4, pp. 212-234 (for a discussion of the overall scheme) L. Ewals, M. J. de Groot, J.-J. Heij, Ary Scheffer, dessins, aquarelles et esquisses a l'huile, exhibition catalogue, Dordrecht and Paris, 1979-80 (for a discussion of the overall scheme) L. Ewals, Ary Scheffer, Sa vie et son oeuvre, Ph.D., Nijmegen, 1987 (for a discussion of the overall scheme) L. Ewals, Ary Scheffer, exhibition catalogue, Dordrecht, Waanders, Uitgevers, Zwolle, 1995 (for a discussion of the overall scheme) Leo Ewals, Ary Scheffer 1795-1858, exhibition catalogue, Musee de la vie romantique, Paris, 1996, (for a discussion of the overall scheme).

Lot 3: *Ary Scheffer (French, 1795-1858)

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

Description: ST. LOUIS, LEAVING ON CRUSADE, HANDS THE REGENCY TO QUEEN BLANCHE, JUNE 13, 1248 signed oil on canvas 14 3/4 by 19 in. 37.5 by 48.3 cm. This is a preparatory sketch for one of five paintings commissioned on April 30, 1838 to adorn the King's Pavillion at the Chateau de Versailles, a scheme which was never completed, due in part to the Revolution of 1848. Until now, the overall composition of this particular painting was known from a drawing in the Dordrecht Museum (1935 catalogue, No. 178), to which this painted sketch comes very close. The Dordrecht Museum contains other preparatory drawings (Nos. 179 and 180). Dr. Leo Ewals and the Director of the Dordrecht Museum have kindly confirmed the authenticity of this work. We are grateful to Dr. Ewals for his assistance in the cataloguing of this work. Literature: Galeries historiques du palais de Versailles, Paris, 1839, Vol. I, p. 95, No. LXXXII (for mention of the final composition) L. Ewals, "De gebroeders Scheffer en het Versailles van Louis-Philippe", De Negentiende Eeuw 3, 1979, 4, pp. 212-234 (for a discussion of the overall scheme) L. Ewals, M. J. de Groot, J.-J. Heij, Ary Scheffer, dessins, aquarelles et esquisses a l'huile, exhibition catalogue, Dordrecht and Paris, 1979-80 (for a discussion of the overall scheme) L. Ewals, Ary Scheffer, Sa vie et son oeuvre, Ph.D., Nijmegen, 1987 (for a discussion of the overall scheme) L. Ewals, Ary Scheffer, exhibition catalogue, Dordrecht, Waanders, Uitgevers, Zwolle, 1995 (for a discussion of the overall scheme) Leo Ewals, Ary Scheffer 1795-1858, exhibition catalogue, Musee de la vie romantique, Paris, 1996, (for a discussion of the overall scheme).

Lot 4: *Arÿ Scheffer (French, 1795-1858)

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

Description: PAOLO AND FRANCESCA signed oil on panel 12 7/8 by 17 3/4 in. 32.7 by 45.1cm. Scheffer painted several versions of this picture from the 1820s to the 1850s. The painting which appeared in the Salon of 1835, described in the catalogue as belonging to the Duke of Orleans, is now in the Wallace Collection, London. Receiving high praise from the critics for the painting, Scheffer was awarded the Legion d'honneur following the close of the Salon. The largest version was commissioned by Scheffer's close friend, the Polish portrait and Romantic poet Count Sigismund Kransinski (1812-59). Another, smaller version was dedicated to Pauline Viardot, a celebrated opera singer of the period with whom the artist fell in love. The compostion is based on Canto V of Dante's Inferno in which Dante encounters the lovers Paolo and Francesca in the second circle of Hell. Dante was the first to make a literary reference to this famous tragedy. Francesca da Rimini (died 1283/84) was daughter of Guido da Polenta, Lord of Ravenna. Married to Gianciotto Malatesta (called "the Lame") for reasons of state, she was murdered by him when he discovered her adultery with his brother Paolo (called "the fair") whom he also killed. In Dante's Inferno, the adulterous lovers are damned to be caught in eternal winds, but are not physically reunited; Scheffer has obviously taken license with Dante's text. Scheffer's image enjoyed international popularity, many as a result of numerous engravings. George Eliot, upon seeing the Paolo and Francesca at Gambart's French Gallery in London in 1854, wrote: "It surpasses one's expectations from engraving. I could look at it for hours. There is nothing at the Royal Academy to affect one in the same way-or indeed at all" (in Romance and Chivalry, 1996, p. 133). According to Nadia Tscherny the image appeared on Worcester porcelain in 1867, nine years after Scheffer's death, and was the inspiration for Rodin's treatment of Dante's Inferno and the Paolo and Francesca tale. Scheffer was born and brought up in Holland, but from 1811 he lived in Paris, where he became a pupil possibly of Pierre-Paul Prud'hon, then of Pierre GuErin, and attended the Ecole des Beaux-Arts. He exhibited at the Paris Salon from 1812 to 1846. The high-point of Scheffer's career coincided with the period of the July Monarchy (1830-48). Since 1822 Scheffer had been giving drawing lessons to the children of Louis-Philippe, duc d'Orleans, whose son, Ferdinand-Philippe, was the original owner of the Salon version of Paolo and Francesca. When the Duke came to power himself in an influential position, Scheffer received important commissions for the Musee Historique at Versailles and was asked to paint portraits of the royal family. His greatest successes during this period, however, were the religious and literary subjects like this one which he sent to the Salon and which formed an increasingly important part of his output. We are grateful to Dr. Leo Ewals for confirming the authenticity of this work.

Lot 4: *Arÿ Scheffer (French, 1795-1858)

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

Description: PAOLO AND FRANCESCA signed oil on panel 12 7/8 by 17 3/4 in. 32.7 by 45.1cm. Scheffer painted several versions of this picture from the 1820s to the 1850s. The painting which appeared in the Salon of 1835, described in the catalogue as belonging to the Duke of Orleans, is now in the Wallace Collection, London. Receiving high praise from the critics for the painting, Scheffer was awarded the Legion d'honneur following the close of the Salon. The largest version was commissioned by Scheffer's close friend, the Polish portrait and Romantic poet Count Sigismund Kransinski (1812-59). Another, smaller version was dedicated to Pauline Viardot, a celebrated opera singer of the period with whom the artist fell in love. The compostion is based on Canto V of Dante's Inferno in which Dante encounters the lovers Paolo and Francesca in the second circle of Hell. Dante was the first to make a literary reference to this famous tragedy. Francesca da Rimini (died 1283/84) was daughter of Guido da Polenta, Lord of Ravenna. Married to Gianciotto Malatesta (called "the Lame") for reasons of state, she was murdered by him when he discovered her adultery with his brother Paolo (called "the fair") whom he also killed. In Dante's Inferno, the adulterous lovers are damned to be caught in eternal winds, but are not physically reunited; Scheffer has obviously taken license with Dante's text. Scheffer's image enjoyed international popularity, many as a result of numerous engravings. George Eliot, upon seeing the Paolo and Francesca at Gambart's French Gallery in London in 1854, wrote: "It surpasses one's expectations from engraving. I could look at it for hours. There is nothing at the Royal Academy to affect one in the same way-or indeed at all" (in Romance and Chivalry, 1996, p. 133). According to Nadia Tscherny the image appeared on Worcester porcelain in 1867, nine years after Scheffer's death, and was the inspiration for Rodin's treatment of Dante's Inferno and the Paolo and Francesca tale. Scheffer was born and brought up in Holland, but from 1811 he lived in Paris, where he became a pupil possibly of Pierre-Paul Prud'hon, then of Pierre GuErin, and attended the Ecole des Beaux-Arts. He exhibited at the Paris Salon from 1812 to 1846. The high-point of Scheffer's career coincided with the period of the July Monarchy (1830-48). Since 1822 Scheffer had been giving drawing lessons to the children of Louis-Philippe, duc d'Orleans, whose son, Ferdinand-Philippe, was the original owner of the Salon version of Paolo and Francesca. When the Duke came to power himself in an influential position, Scheffer received important commissions for the Musee Historique at Versailles and was asked to paint portraits of the royal family. His greatest successes during this period, however, were the religious and literary subjects like this one which he sent to the Salon and which formed an increasingly important part of his output. We are grateful to Dr. Leo Ewals for confirming the authenticity of this work.

Lot 4: *Arÿ Scheffer (French, 1795-1858)

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

Description: PAOLO AND FRANCESCA signed oil on panel 12 7/8 by 17 3/4 in. 32.7 by 45.1cm. Scheffer painted several versions of this picture from the 1820s to the 1850s. The painting which appeared in the Salon of 1835, described in the catalogue as belonging to the Duke of Orleans, is now in the Wallace Collection, London. Receiving high praise from the critics for the painting, Scheffer was awarded the Legion d'honneur following the close of the Salon. The largest version was commissioned by Scheffer's close friend, the Polish portrait and Romantic poet Count Sigismund Kransinski (1812-59). Another, smaller version was dedicated to Pauline Viardot, a celebrated opera singer of the period with whom the artist fell in love. The compostion is based on Canto V of Dante's Inferno in which Dante encounters the lovers Paolo and Francesca in the second circle of Hell. Dante was the first to make a literary reference to this famous tragedy. Francesca da Rimini (died 1283/84) was daughter of Guido da Polenta, Lord of Ravenna. Married to Gianciotto Malatesta (called "the Lame") for reasons of state, she was murdered by him when he discovered her adultery with his brother Paolo (called "the fair") whom he also killed. In Dante's Inferno, the adulterous lovers are damned to be caught in eternal winds, but are not physically reunited; Scheffer has obviously taken license with Dante's text. Scheffer's image enjoyed international popularity, many as a result of numerous engravings. George Eliot, upon seeing the Paolo and Francesca at Gambart's French Gallery in London in 1854, wrote: "It surpasses one's expectations from engraving. I could look at it for hours. There is nothing at the Royal Academy to affect one in the same way-or indeed at all" (in Romance and Chivalry, 1996, p. 133). According to Nadia Tscherny the image appeared on Worcester porcelain in 1867, nine years after Scheffer's death, and was the inspiration for Rodin's treatment of Dante's Inferno and the Paolo and Francesca tale. Scheffer was born and brought up in Holland, but from 1811 he lived in Paris, where he became a pupil possibly of Pierre-Paul Prud'hon, then of Pierre GuErin, and attended the Ecole des Beaux-Arts. He exhibited at the Paris Salon from 1812 to 1846. The high-point of Scheffer's career coincided with the period of the July Monarchy (1830-48). Since 1822 Scheffer had been giving drawing lessons to the children of Louis-Philippe, duc d'Orleans, whose son, Ferdinand-Philippe, was the original owner of the Salon version of Paolo and Francesca. When the Duke came to power himself in an influential position, Scheffer received important commissions for the Musee Historique at Versailles and was asked to paint portraits of the royal family. His greatest successes during this period, however, were the religious and literary subjects like this one which he sent to the Salon and which formed an increasingly important part of his output. We are grateful to Dr. Leo Ewals for confirming the authenticity of this work.

Lot 4: *Arÿ Scheffer (French, 1795-1858)

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

Description: PAOLO AND FRANCESCA signed oil on panel 12 7/8 by 17 3/4 in. 32.7 by 45.1cm. Scheffer painted several versions of this picture from the 1820s to the 1850s. The painting which appeared in the Salon of 1835, described in the catalogue as belonging to the Duke of Orleans, is now in the Wallace Collection, London. Receiving high praise from the critics for the painting, Scheffer was awarded the Legion d'honneur following the close of the Salon. The largest version was commissioned by Scheffer's close friend, the Polish portrait and Romantic poet Count Sigismund Kransinski (1812-59). Another, smaller version was dedicated to Pauline Viardot, a celebrated opera singer of the period with whom the artist fell in love. The compostion is based on Canto V of Dante's Inferno in which Dante encounters the lovers Paolo and Francesca in the second circle of Hell. Dante was the first to make a literary reference to this famous tragedy. Francesca da Rimini (died 1283/84) was daughter of Guido da Polenta, Lord of Ravenna. Married to Gianciotto Malatesta (called "the Lame") for reasons of state, she was murdered by him when he discovered her adultery with his brother Paolo (called "the fair") whom he also killed. In Dante's Inferno, the adulterous lovers are damned to be caught in eternal winds, but are not physically reunited; Scheffer has obviously taken license with Dante's text. Scheffer's image enjoyed international popularity, many as a result of numerous engravings. George Eliot, upon seeing the Paolo and Francesca at Gambart's French Gallery in London in 1854, wrote: "It surpasses one's expectations from engraving. I could look at it for hours. There is nothing at the Royal Academy to affect one in the same way-or indeed at all" (in Romance and Chivalry, 1996, p. 133). According to Nadia Tscherny the image appeared on Worcester porcelain in 1867, nine years after Scheffer's death, and was the inspiration for Rodin's treatment of Dante's Inferno and the Paolo and Francesca tale. Scheffer was born and brought up in Holland, but from 1811 he lived in Paris, where he became a pupil possibly of Pierre-Paul Prud'hon, then of Pierre GuErin, and attended the Ecole des Beaux-Arts. He exhibited at the Paris Salon from 1812 to 1846. The high-point of Scheffer's career coincided with the period of the July Monarchy (1830-48). Since 1822 Scheffer had been giving drawing lessons to the children of Louis-Philippe, duc d'Orleans, whose son, Ferdinand-Philippe, was the original owner of the Salon version of Paolo and Francesca. When the Duke came to power himself in an influential position, Scheffer received important commissions for the Musee Historique at Versailles and was asked to paint portraits of the royal family. His greatest successes during this period, however, were the religious and literary subjects like this one which he sent to the Salon and which formed an increasingly important part of his output. We are grateful to Dr. Leo Ewals for confirming the authenticity of this work.

Lot 5: SCHEFFER, ARY (1795-1858)

Description: Faust et Marguerite au jardin, 1846 Oil/canvas/panel 86x53 inches (217.8x134.6 cm) signed & dated (Lower Right).

Lot 5: SCHEFFER, ARY (1795-1858)

Description: Faust et Marguerite au jardin, 1846 Oil/canvas/panel 86x53 inches (217.8x134.6 cm) signed & dated (Lower Right).

Lot 5: SCHEFFER, ARY (1795-1858)

Description: Faust et Marguerite au jardin, 1846 Oil/canvas/panel 86x53 inches (217.8x134.6 cm) signed & dated (Lower Right).

Lot 5: SCHEFFER, ARY (1795-1858)

Description: Faust et Marguerite au jardin, 1846 Oil/canvas/panel 86x53 inches (217.8x134.6 cm) signed & dated (Lower Right).

Lot 7: ARY SCHEFFER (FRENCH, 1795-1858)

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

Description: ARIADNE signed and indistinctly dated Ary Scheffer 18... lower right - - oil on canvas 38 3/4 x 27 in. (98.4 x 68.6 cm.).

Lot 7: ARY SCHEFFER (FRENCH, 1795-1858)

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

Description: ARIADNE signed and indistinctly dated Ary Scheffer 18... lower right - - oil on canvas 38 3/4 x 27 in. (98.4 x 68.6 cm.).

Lot 7: ARY SCHEFFER (FRENCH, 1795-1858)

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

Description: ARIADNE signed and indistinctly dated Ary Scheffer 18... lower right - - oil on canvas 38 3/4 x 27 in. (98.4 x 68.6 cm.).

Lot 7: ARY SCHEFFER (FRENCH, 1795-1858)

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

Description: ARIADNE signed and indistinctly dated Ary Scheffer 18... lower right - - oil on canvas 38 3/4 x 27 in. (98.4 x 68.6 cm.).

Lot 7: SCHEFFER, ARY (1795-1858)

Description: Ariadne Oil/canvas 39x27 inches (98.4x68.6 cm) signed (Lower Right).

Lot 7: SCHEFFER, ARY (1795-1858)

Description: Ariadne Oil/canvas 39x27 inches (98.4x68.6 cm) signed (Lower Right).

Lot 7: SCHEFFER, ARY (1795-1858)

Description: Ariadne Oil/canvas 39x27 inches (98.4x68.6 cm) signed (Lower Right).

Lot 7: SCHEFFER, ARY (1795-1858)

Description: Ariadne Oil/canvas 39x27 inches (98.4x68.6 cm) signed (Lower Right).

Lot 10: Ary Scheffer (French, 1795-1858)

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

Description: Scheffer, A. Portrait of a young woman signed and dated 'Ary Scheffer 1841' (lower right) oil on canvas 24 x 16 in. (62.4 x 40.8 cm.).

Lot 10: Ary Scheffer (French, 1795-1858)

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

Description: Scheffer, A. Portrait of a young woman signed and dated 'Ary Scheffer 1841' (lower right) oil on canvas 24 x 16 in. (62.4 x 40.8 cm.).

Lot 10: Ary Scheffer (French, 1795-1858)

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

Description: Scheffer, A. Portrait of a young woman signed and dated 'Ary Scheffer 1841' (lower right) oil on canvas 24 x 16 in. (62.4 x 40.8 cm.).

Lot 10: Ary Scheffer (French, 1795-1858)

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

Description: Scheffer, A. Portrait of a young woman signed and dated 'Ary Scheffer 1841' (lower right) oil on canvas 24 x 16 in. (62.4 x 40.8 cm.).

Lot 10: Ary Scheffer

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

Description:

Lot 10: Ary Scheffer

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

Description:

Lot 10: Ary Scheffer

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

Description:

Lot 10: Ary Scheffer

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

Description:

Lot 12: Michael Stohl (1813-1881) after Ary Scheffer

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

Description: Augustinus and Monica stamped with a crowned 'A' on the reverse of the backing pencil and watercolour heightened with white on paper laid down on board 43.8 x 36 cm NOTES Scheffer painted four versions of this composition. The first, painted in 1845, oil on canvas 168 x 141 cm, is in a private collection. A second, dated 1849, is in the Dordrechts Museum; another from 1854 is in the National Gallery in London; and one from 1855 is in the Louvre (L.Ewals, Ary Scheffer 1795-1858: Gevierd Romanticus, exhibition catalogue Dordrechts Museum, 1995/1996, pp.257-259, n o67). The first version was shown at the Salon in 1846 and elicited sarcastic comments from Charles Baudelaire, who included a chapter 'De M. Ary Scheffer et de singes du Sentiment' in his review of that year's Salon. The subject is taken from St.Augustine, Confessiones IX, X, in which a conversation on Christianity between Augustinus and his recently converted mother Monica is described, shortly before her death in 387.

Lot 12: Michael Stohl (1813-1881) after Ary Scheffer

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

Description: Augustinus and Monica stamped with a crowned 'A' on the reverse of the backing pencil and watercolour heightened with white on paper laid down on board 43.8 x 36 cm NOTES Scheffer painted four versions of this composition. The first, painted in 1845, oil on canvas 168 x 141 cm, is in a private collection. A second, dated 1849, is in the Dordrechts Museum; another from 1854 is in the National Gallery in London; and one from 1855 is in the Louvre (L.Ewals, Ary Scheffer 1795-1858: Gevierd Romanticus, exhibition catalogue Dordrechts Museum, 1995/1996, pp.257-259, n o67). The first version was shown at the Salon in 1846 and elicited sarcastic comments from Charles Baudelaire, who included a chapter 'De M. Ary Scheffer et de singes du Sentiment' in his review of that year's Salon. The subject is taken from St.Augustine, Confessiones IX, X, in which a conversation on Christianity between Augustinus and his recently converted mother Monica is described, shortly before her death in 387.

Lot 12: Michael Stohl (1813-1881) after Ary Scheffer

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

Description: Augustinus and Monica stamped with a crowned 'A' on the reverse of the backing pencil and watercolour heightened with white on paper laid down on board 43.8 x 36 cm NOTES Scheffer painted four versions of this composition. The first, painted in 1845, oil on canvas 168 x 141 cm, is in a private collection. A second, dated 1849, is in the Dordrechts Museum; another from 1854 is in the National Gallery in London; and one from 1855 is in the Louvre (L.Ewals, Ary Scheffer 1795-1858: Gevierd Romanticus, exhibition catalogue Dordrechts Museum, 1995/1996, pp.257-259, n o67). The first version was shown at the Salon in 1846 and elicited sarcastic comments from Charles Baudelaire, who included a chapter 'De M. Ary Scheffer et de singes du Sentiment' in his review of that year's Salon. The subject is taken from St.Augustine, Confessiones IX, X, in which a conversation on Christianity between Augustinus and his recently converted mother Monica is described, shortly before her death in 387.

Lot 12: Michael Stohl (1813-1881) after Ary Scheffer

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

Description: Augustinus and Monica stamped with a crowned 'A' on the reverse of the backing pencil and watercolour heightened with white on paper laid down on board 43.8 x 36 cm NOTES Scheffer painted four versions of this composition. The first, painted in 1845, oil on canvas 168 x 141 cm, is in a private collection. A second, dated 1849, is in the Dordrechts Museum; another from 1854 is in the National Gallery in London; and one from 1855 is in the Louvre (L.Ewals, Ary Scheffer 1795-1858: Gevierd Romanticus, exhibition catalogue Dordrechts Museum, 1995/1996, pp.257-259, n o67). The first version was shown at the Salon in 1846 and elicited sarcastic comments from Charles Baudelaire, who included a chapter 'De M. Ary Scheffer et de singes du Sentiment' in his review of that year's Salon. The subject is taken from St.Augustine, Confessiones IX, X, in which a conversation on Christianity between Augustinus and his recently converted mother Monica is described, shortly before her death in 387.

Lot 13: SCHEFFER, ARY (1795-1858)

Description: Saint Jean-Baptiste prechant dans le desert Pierre noire 11x9 inches (27x24 cm) signed (Lower Right).

Lot 13: SCHEFFER, ARY (1795-1858)

Description: Saint Jean-Baptiste prechant dans le desert Pierre noire 11x9 inches (27x24 cm) signed (Lower Right).

Lot 13: SCHEFFER, ARY (1795-1858)

Description: Saint Jean-Baptiste prechant dans le desert Pierre noire 11x9 inches (27x24 cm) signed (Lower Right).

Lot 13: SCHEFFER, ARY (1795-1858)

Description: Saint Jean-Baptiste prechant dans le desert Pierre noire 11x9 inches (27x24 cm) signed (Lower Right).

Lot 15: SCHEFFER, Ary (studio) (1795-1858, French)

Description: Portrait de la duchesse de Joinville, nee Bragance Oil Painting (22x38in).

Lot 15: SCHEFFER, Ary (studio) (1795-1858, French)

Description: Portrait de la duchesse de Joinville, nee Bragance Oil Painting (22x38in).

Lot 15: SCHEFFER, Ary (studio) (1795-1858, French)

Description: Portrait de la duchesse de Joinville, nee Bragance Oil Painting (22x38in).

Lot 15: SCHEFFER, Ary (studio) (1795-1858, French)

Description: Portrait de la duchesse de Joinville, nee Bragance Oil Painting (22x38in).

Lot 20: SCHEFFER, Ary (1795-1858, French)

Description: Woman with a fan, s.d.1838 Oil Painting (28x36in).

Lot 20: SCHEFFER, Ary (1795-1858, French)

Description: Woman with a fan, s.d.1838 Oil Painting (28x36in).

Lot 20: SCHEFFER, Ary (1795-1858, French)

Description: Woman with a fan, s.d.1838 Oil Painting (28x36in).

Lot 20: SCHEFFER, Ary (1795-1858, French)

Description: Woman with a fan, s.d.1838 Oil Painting (28x36in).

Lot 20: ARY SCHEFFER (DUTCH/FRENCH, 1795-1858)

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

Description: WOMAN WITH A FAN Signed and dated "Ary Scheffer 1838" l.r. Oil on canvas, 36 x 28 in. (91.4 x 71.2 cm.), framed. CONDITION Lined, retouched, scattered losses, prevalent craquelure.

Lot 20: ARY SCHEFFER (DUTCH/FRENCH, 1795-1858)

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

Description: WOMAN WITH A FAN Signed and dated "Ary Scheffer 1838" l.r. Oil on canvas, 36 x 28 in. (91.4 x 71.2 cm.), framed. CONDITION Lined, retouched, scattered losses, prevalent craquelure.

Lot 20: ARY SCHEFFER (DUTCH/FRENCH, 1795-1858)

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

Description: WOMAN WITH A FAN Signed and dated "Ary Scheffer 1838" l.r. Oil on canvas, 36 x 28 in. (91.4 x 71.2 cm.), framed. CONDITION Lined, retouched, scattered losses, prevalent craquelure.

Lot 20: ARY SCHEFFER (DUTCH/FRENCH, 1795-1858)

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

Description: WOMAN WITH A FAN Signed and dated "Ary Scheffer 1838" l.r. Oil on canvas, 36 x 28 in. (91.4 x 71.2 cm.), framed. CONDITION Lined, retouched, scattered losses, prevalent craquelure.

Lot 29: SCHEFFER, Ary (circle) (1795-1858, French)

Description: Travellers returning home, bears sig. Oil Painting (13x15in).

Lot 29: SCHEFFER, Ary (circle) (1795-1858, French)

Description: Travellers returning home, bears sig. Oil Painting (13x15in).

Lot 29: SCHEFFER, Ary (circle) (1795-1858, French)

Description: Travellers returning home, bears sig. Oil Painting (13x15in).

Lot 29: SCHEFFER, Ary (circle) (1795-1858, French)

Description: Travellers returning home, bears sig. Oil Painting (13x15in).

Lot 30: Attribué à Ary Scheffer Dordrecht, 1795 - Argenteuil, 1858 Homme arrêtant un cavalier Huile sur panneau

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

Description: Attribué à Ary Scheffer Dordrecht, 1795 - Argenteuil, 1858 Homme arrêtant un cavalier Huile sur panneau 'A MAN STOPPING A HORSEMAN', OIL ON PANEL, ATTRIBUTED TO ARY SCHEFFER h: 20 w: 25,50 cm Provenance : Collection Jacques Thuillier, Paris

Lot 31: Ary Scheffer (1795-1858) Helena, Contesse de Noailles 53 x 47 cm, oval

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

Description:

Lot 31: Ary Scheffer (1795-1858) Helena, Contesse de Noailles 53 x 47 cm, oval

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

Description:

Lot 31: Ary Scheffer (1795-1858) Helena, Contesse de Noailles 53 x 47 cm, oval

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

Description:

Lot 31: Ary Scheffer (1795-1858) Helena, Contesse de Noailles 53 x 47 cm, oval

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

Description:

Lot 33: Attributed to Ary Scheffer Dante & Virgil with

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

Description: Attributed to Ary Scheffer Dante & Virgil with Paola & Francesca - scene from Dante's Inferno Oil on canvas 28¼" x 29¾".

Lot 36: A Victorian embroidery of a Greek Child defending his Father

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

Description: A Victorian embroidery of a Greek Child defending his Father (mid 19th century), tent stitch embroidery in woolen thread, 57,7 x 48,5 cm. (slight wear in the lower left corner). Based on a painting by Ary Scheffer (1795-1858).

Lot 37a: SCHEFFER, Ary (1795-1858)

Description: Le Croise Huile/toile Signed lower right Illustrated.

Lot 37a: SCHEFFER, Ary (1795-1858)

Description: Le Croise Huile/toile Signed lower right Illustrated.

Lot 37a: SCHEFFER, Ary (1795-1858)

Description: Le Croise Huile/toile Signed lower right Illustrated.

Lot 37a: SCHEFFER, Ary (1795-1858)

Description: Le Croise Huile/toile Signed lower right Illustrated.

Lot 38: Faust in his study

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

Description: Ary Scheffer (Dutch, 1795-1858) Faust in his study signed 'Ary Scheffer' (lower left) oil on canvas 9½ x 7 3/8 in. (24.2 x 18.8 cm.)

Condition Report: Oil on canvas, not relined. Some fine craquelure. Some surface dirt. Colours are similar to catalogue illustration. The UV light shows one or two small retouches in the background. Frame is gilt composite in reasonable condition.

Lot 40: SCHEFFER, Ary (circle) (1795-1858, French)

Description: Portrait de la Reine Marie Amelie en deuil Oil Painting (37x50in).

Lot 40: SCHEFFER, Ary (circle) (1795-1858, French)

Description: Portrait de la Reine Marie Amelie en deuil Oil Painting (37x50in).

Lot 40: SCHEFFER, Ary (circle) (1795-1858, French)

Description: Portrait de la Reine Marie Amelie en deuil Oil Painting (37x50in).

Lot 40: SCHEFFER, Ary (circle) (1795-1858, French)

Description: Portrait de la Reine Marie Amelie en deuil Oil Painting (37x50in).

Lot 40: Ary SCHEFFER (1795-1858). - La Grèce sur les

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

Description: Ary SCHEFFER (1795-1858). - La Grèce sur les ruines de Missolonghi.

Lot 53: ARY SCHEFFER (FRENCH 1795-1858)

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

Description: THE THREE MARIES signed l.l., oil on panel, arched top 46 by 30.5 cm.; 18 by 12 in.

Lot 53: ARY SCHEFFER (FRENCH 1795-1858)

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

Description: THE THREE MARIES signed l.l., oil on panel, arched top 46 by 30.5 cm.; 18 by 12 in.

Lot 53: ARY SCHEFFER (FRENCH 1795-1858)

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

Description: THE THREE MARIES signed l.l., oil on panel, arched top 46 by 30.5 cm.; 18 by 12 in.

Lot 53: ARY SCHEFFER (FRENCH 1795-1858)

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

Description: THE THREE MARIES signed l.l., oil on panel, arched top 46 by 30.5 cm.; 18 by 12 in.

Lot 55: ARY SCHEFFER (1795-1858)

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

Description: PORTRAIT OF FERDINAND-PHILIPPE-LOUIS-CHARLES-HENRI, DUC D'ORLEANS (1810-1842), HALF LENGTH, WEARING A BLACK JACKET AND THE INSIGNIA OF THE ORDER OF THE LEGION D'HONNEUR signed and dated "A. Scheffer/1838" 32 x 23 in. (81.5 x 58 cm.) PROVENANCE Given to Lord Lansdowne by S.A.R. the Duc d'Orleans and by descent LITERATURE E. Morris, Ary Scheffer and his English Circle, Oud Holland, 1985, vol. 99, no. 4, p. 315 under no. P15 The Duc d'Orleans was known for his philanthropy and liberal ideas. The eldest son of King Louis-Philippe, he attended the egalitarian college, Henri IV, before pursuing a military career. His humanitarian and social acts included the financial help he gave to the victims of the cholera epidemic in March, 1832. On the 30 May 1837, he married Helene of Mecklenburg, with whom he had two sons, Louis-Philippe-Albert, Comte de Paris (b. 1838) and Robert-Philippe-Louis-Eugene-Ferdinand, Duc de Chartres (b. 1840). The Duc d'Orleans died as the result of a riding accident in 1842, on the way to join his family in Neuilly.

Lot 55: ARY SCHEFFER (1795-1858)

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

Description: PORTRAIT OF FERDINAND-PHILIPPE-LOUIS-CHARLES-HENRI, DUC D'ORLEANS (1810-1842), HALF LENGTH, WEARING A BLACK JACKET AND THE INSIGNIA OF THE ORDER OF THE LEGION D'HONNEUR signed and dated "A. Scheffer/1838" 32 x 23 in. (81.5 x 58 cm.) PROVENANCE Given to Lord Lansdowne by S.A.R. the Duc d'Orleans and by descent LITERATURE E. Morris, Ary Scheffer and his English Circle, Oud Holland, 1985, vol. 99, no. 4, p. 315 under no. P15 The Duc d'Orleans was known for his philanthropy and liberal ideas. The eldest son of King Louis-Philippe, he attended the egalitarian college, Henri IV, before pursuing a military career. His humanitarian and social acts included the financial help he gave to the victims of the cholera epidemic in March, 1832. On the 30 May 1837, he married Helene of Mecklenburg, with whom he had two sons, Louis-Philippe-Albert, Comte de Paris (b. 1838) and Robert-Philippe-Louis-Eugene-Ferdinand, Duc de Chartres (b. 1840). The Duc d'Orleans died as the result of a riding accident in 1842, on the way to join his family in Neuilly.

Lot 55: ARY SCHEFFER (1795-1858)

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

Description: PORTRAIT OF FERDINAND-PHILIPPE-LOUIS-CHARLES-HENRI, DUC D'ORLEANS (1810-1842), HALF LENGTH, WEARING A BLACK JACKET AND THE INSIGNIA OF THE ORDER OF THE LEGION D'HONNEUR signed and dated "A. Scheffer/1838" 32 x 23 in. (81.5 x 58 cm.) PROVENANCE Given to Lord Lansdowne by S.A.R. the Duc d'Orleans and by descent LITERATURE E. Morris, Ary Scheffer and his English Circle, Oud Holland, 1985, vol. 99, no. 4, p. 315 under no. P15 The Duc d'Orleans was known for his philanthropy and liberal ideas. The eldest son of King Louis-Philippe, he attended the egalitarian college, Henri IV, before pursuing a military career. His humanitarian and social acts included the financial help he gave to the victims of the cholera epidemic in March, 1832. On the 30 May 1837, he married Helene of Mecklenburg, with whom he had two sons, Louis-Philippe-Albert, Comte de Paris (b. 1838) and Robert-Philippe-Louis-Eugene-Ferdinand, Duc de Chartres (b. 1840). The Duc d'Orleans died as the result of a riding accident in 1842, on the way to join his family in Neuilly.

Lot 55: ARY SCHEFFER (1795-1858)

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

Description: PORTRAIT OF FERDINAND-PHILIPPE-LOUIS-CHARLES-HENRI, DUC D'ORLEANS (1810-1842), HALF LENGTH, WEARING A BLACK JACKET AND THE INSIGNIA OF THE ORDER OF THE LEGION D'HONNEUR signed and dated "A. Scheffer/1838" 32 x 23 in. (81.5 x 58 cm.) PROVENANCE Given to Lord Lansdowne by S.A.R. the Duc d'Orleans and by descent LITERATURE E. Morris, Ary Scheffer and his English Circle, Oud Holland, 1985, vol. 99, no. 4, p. 315 under no. P15 The Duc d'Orleans was known for his philanthropy and liberal ideas. The eldest son of King Louis-Philippe, he attended the egalitarian college, Henri IV, before pursuing a military career. His humanitarian and social acts included the financial help he gave to the victims of the cholera epidemic in March, 1832. On the 30 May 1837, he married Helene of Mecklenburg, with whom he had two sons, Louis-Philippe-Albert, Comte de Paris (b. 1838) and Robert-Philippe-Louis-Eugene-Ferdinand, Duc de Chartres (b. 1840). The Duc d'Orleans died as the result of a riding accident in 1842, on the way to join his family in Neuilly.

Lot 55: SCHEFFER, ARY (1795-1858)

Description: Study for La defense de Missolonghi Watercolour, gouache 10x7 inches (26.5x19 cm).

Lot 55: SCHEFFER, ARY (1795-1858)

Description: Study for La defense de Missolonghi Watercolour, gouache 10x7 inches (26.5x19 cm).

Lot 55: SCHEFFER, ARY (1795-1858)

Description: Study for La defense de Missolonghi Watercolour, gouache 10x7 inches (26.5x19 cm).

Lot 55: SCHEFFER, ARY (1795-1858)

Description: Study for La defense de Missolonghi Watercolour, gouache 10x7 inches (26.5x19 cm).

Lot 58: SCHEFFER, ARY (1795-1858)

Description: La declaration, 1844 oil/canvas 18x15 inches (45.5x38.5 cm) signed & dated (Lower Right).

Lot 58: SCHEFFER, ARY (1795-1858)

Description: La declaration, 1844 oil/canvas 18x15 inches (45.5x38.5 cm) signed & dated (Lower Right).

Lot 58: SCHEFFER, ARY (1795-1858)

Description: La declaration, 1844 oil/canvas 18x15 inches (45.5x38.5 cm) signed & dated (Lower Right).

Lot 58: SCHEFFER, ARY (1795-1858)

Description: La declaration, 1844 oil/canvas 18x15 inches (45.5x38.5 cm) signed & dated (Lower Right).

Lot 58: *Ary Scheffer (French, 1795-1858)

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

Description: "LE DANTE ET VIRGILE RENCONTRANT L'OMBRE DE FRANCISCA DI RIMINI ET PAULO AUX ENFERS'' signed oil on canvas 93/4 by 13 in. 24.8 by 33 cm. Scheffer painted numerous versions of this picture from the 1820s to the 1850s (at least ten, according to the Scheffer scholar Dr. Leo Ewals). The painting which appeared in the Salon of 1835, described in the catalogue as belonging to the Duke of Orleans, is now in the Wallace Collection. Receiving high praise from the critics for the painting, Scheffer was awarded the Legion d'honneur following the close of the Salon. The largest version was commissioned by Scheffer's close friend, the Polish patriot and Romantic poet Count Sigismund Kransinski (1812-59). Another, smaller, version was dedicated to Pauline Viardot, a celebrated opera singer of the period with whom the artist fell in love. The composition is based on Canto V of Dante's Inferno, in which Dante encounters the lovers Paolo and Francesca in the second circle of Hell. Dante was the first to make a literary reference to this famous tragedy. Francesca da Rimini (died 1283/84) was the daughter of Guido da Polenta, Lord of Ravenna. Married to Gianciotto Malatesta (called "the Lame'') for reasons of state, she was murdered by him when he discovered her adultery with his brother Paolo (called "the Fair'') whom he also killed. In Dante's Inferno, the adulterous lovers are damned to be caught in eternal winds, but are not physically reunited; Scheffer has obviously taken license with Dante's text. Scheffer's image enjoyed international popularity, mainly as a result of numerous engravings. George Eliot, upon seeing the Paolo and Francesa at Gambart's French Gallery in London in 1854, wrote: "It surpasses one's expectations from the engraving. I could look at it for hours. There is nothing at the Royal Academy to affect one in the same way - or indeed at all'' (in Romance and Chivalry, 1996, p. 133). According to Nadia Tscherny the image appeared on Worcester porcelain in 1867, nine years after Scheffer's death, and was the inspiration for Rodin's treatment of Dante's Inferno and the Paolo and Francesca tale. Scheffer was born and brought up in Holland, but from 1811 he lived in Paris, where he became a pupil possibly of Pierre-Paul Prud'hon, then of Pierre Guerin, and attended the Ecole des Beaux-Arts. He exhibited at the Paris Salon from 1812 to 1846. The high-point of Scheffer's career coincided with the period of the July Monarchy (1830-48). Since 1822 Scheffer had been giving drawing lessons to the children of Louis-Philippe, duc d'Orleans, whose son, Ferdinand-Philippe, was the original owner of the Salon version of Paolo and Francesca. When the Duke came to power during the Revolution of 1830, Scheffer found himself in an influential position. He received important commissions for the Musee Historique at Versailles and was asked to paint portraits of the royal family (see Lot 164). His greatest successes during this period, however, were the religious and literary subjects like this one which he sent to the Salon and which formed an increasingly important part of his output. Provenance: Mme Marjolin (nee Scheffer) M. Fouret (gift from the above) Literature: Nadia Tscherny and Guy Stair Sainty, Romance and Chivalry: History and Literature reflected in Early Nineteenth-Century French Painting, New York, 1996, pp. 129-133, 264-5 (for discussion and illustration of related versions).

Lot 58: *Ary Scheffer (French, 1795-1858)

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

Description: "LE DANTE ET VIRGILE RENCONTRANT L'OMBRE DE FRANCISCA DI RIMINI ET PAULO AUX ENFERS'' signed oil on canvas 93/4 by 13 in. 24.8 by 33 cm. Scheffer painted numerous versions of this picture from the 1820s to the 1850s (at least ten, according to the Scheffer scholar Dr. Leo Ewals). The painting which appeared in the Salon of 1835, described in the catalogue as belonging to the Duke of Orleans, is now in the Wallace Collection. Receiving high praise from the critics for the painting, Scheffer was awarded the Legion d'honneur following the close of the Salon. The largest version was commissioned by Scheffer's close friend, the Polish patriot and Romantic poet Count Sigismund Kransinski (1812-59). Another, smaller, version was dedicated to Pauline Viardot, a celebrated opera singer of the period with whom the artist fell in love. The composition is based on Canto V of Dante's Inferno, in which Dante encounters the lovers Paolo and Francesca in the second circle of Hell. Dante was the first to make a literary reference to this famous tragedy. Francesca da Rimini (died 1283/84) was the daughter of Guido da Polenta, Lord of Ravenna. Married to Gianciotto Malatesta (called "the Lame'') for reasons of state, she was murdered by him when he discovered her adultery with his brother Paolo (called "the Fair'') whom he also killed. In Dante's Inferno, the adulterous lovers are damned to be caught in eternal winds, but are not physically reunited; Scheffer has obviously taken license with Dante's text. Scheffer's image enjoyed international popularity, mainly as a result of numerous engravings. George Eliot, upon seeing the Paolo and Francesa at Gambart's French Gallery in London in 1854, wrote: "It surpasses one's expectations from the engraving. I could look at it for hours. There is nothing at the Royal Academy to affect one in the same way - or indeed at all'' (in Romance and Chivalry, 1996, p. 133). According to Nadia Tscherny the image appeared on Worcester porcelain in 1867, nine years after Scheffer's death, and was the inspiration for Rodin's treatment of Dante's Inferno and the Paolo and Francesca tale. Scheffer was born and brought up in Holland, but from 1811 he lived in Paris, where he became a pupil possibly of Pierre-Paul Prud'hon, then of Pierre Guerin, and attended the Ecole des Beaux-Arts. He exhibited at the Paris Salon from 1812 to 1846. The high-point of Scheffer's career coincided with the period of the July Monarchy (1830-48). Since 1822 Scheffer had been giving drawing lessons to the children of Louis-Philippe, duc d'Orleans, whose son, Ferdinand-Philippe, was the original owner of the Salon version of Paolo and Francesca. When the Duke came to power during the Revolution of 1830, Scheffer found himself in an influential position. He received important commissions for the Musee Historique at Versailles and was asked to paint portraits of the royal family (see Lot 164). His greatest successes during this period, however, were the religious and literary subjects like this one which he sent to the Salon and which formed an increasingly important part of his output. Provenance: Mme Marjolin (nee Scheffer) M. Fouret (gift from the above) Literature: Nadia Tscherny and Guy Stair Sainty, Romance and Chivalry: History and Literature reflected in Early Nineteenth-Century French Painting, New York, 1996, pp. 129-133, 264-5 (for discussion and illustration of related versions).