Drawings, Inks & Watercolors

Original drawing in ink and watercolor depicting an animated seaside view with a village perched on a cliff.
Modern framing in blonde molding.
Drawing executed during the journey made with the Marquis de Sade during the year 1776.
Jean-Baptiste Tierce (1737-1794), student at the École des Beaux-arts in Rouen then at the Academy of Painting and Sculpture in Paris, quickly distinguished himself as a landscape painter for his views of the South of France and Italy. His paintings are preserved at the Uffizi in Florence and in several French museums. When in December 1775 Sade left Rome for Naples, he was welcomed by the son-in-law of his friend Doctor Mesny, Jean-Baptiste Tierce, who at that time was receiving commissions from Cardinal de Bernis. He found lodging for the Marquis "[who] intended to see everything [in the region], learn about everything, judge, admire, criticize, love, hate, in short to give free rein to that insatiable and passionate curiosity which led him into museums, galleries, churches, palaces and libraries, as well as into grottos, vaults, catacombs, and even into the bowels of volcanoes. He was not content to contemplate works of art, ancient or modern monuments; he also observed customs, politics, religion, administration, social life. The beauty of women, worldly customs, the quality of entertainments, ways of eating, drinking, dressing, praying, conducting oneself in society: nothing left him indifferent. He wanted to grasp all the present and all the past of this civilization, to embrace it entirely in a single and universal vision. A gigantic program, commensurate with his exceptional imagination, but which he could no longer fulfill, which was impossible for him to fulfill.
Yet such was his first ambition as a writer: grandiose, excessive. With this 'great work' in view, Sade hastily took notes, at roadsides or in inns, which he supplemented with the notes of his correspondents Mesny and Iberti. Thus was built this monument which he intended for the public, but which would not see the light of day until the 20th^th century.
Jean-Baptiste Tierce collaborated closely: he reread the notes and recorded his observations in small notebooks, with numbers referring to the works described. Sade took the greatest account of them. Often, the painter accompanied him on his excursions, his sketchbook in hand, drawing the buildings and landscapes before their eyes. About a hundred of these drawings and gouaches were recently found in the archives of the Sade family. They give the Journey to Italy the appearance of a true reportage." (Maurice Levert, Sade, pp. 283-284).
Provenance: archives of the Sade family.

First edition, one of 750 numbered copies on vellum of the Marais, only large paper 16 after China.
Book illustrated with 2 original lithographs by André Beaurepaire.
Our copy is enriched autograph dedication of the author an autograph signed by André Beaurepaire Paul and Madeleine Aveline complete with an original drawing in black ink.

Maurice LEMAÎTRE
Le Lettrisme devant Dada
et les nécrophages de Dada !
Centre de créativité | Paris 1967| 14.5 x 22.5 cm | original wrappers
First edition, one of 50 numbered copies on Arches paper, this one not justified, the tirage de tête.
Handsome autograph inscription signed by Maurice Lemaître to Eric Losfeld below the justification: “Spécialement réalisé pour Eric Losfeld, quinze ans d'amitié sans nuage (mais pas grande efficacité) [specially made for Eric Losfeld, fifteen years of uninterrupted friendship (but not great efficiency)]. Lemaître 67.”
This copy retains the original drawing by Maurice Lemaître accompanying the 50 copies of the tirage de tête on Arches.
A very good and rare copy.

first edition on the current paper.
Bicolor autograph and signed Cami in Jacques Guéritat enriched with a self-portrait in the smoking cigarette.
Book illustrated with 30 drawings by the author.

First edition, one of 12 numbered copies on Mulberry Annam, one of ours 6 copies reserved for the collaborators, deluxe edition after 10 Montval.
Signed autograph of Robert Gaillard: "To my dear friend Charles E Laroche who held the forceps of the obstetrician to give birth to this child ...." Enriched autograph dedication of the author autograph signed Yves Brayer embellished with an original drawing in blue ink representing seated personages and busy drink consumption in a brewery.
Illustrated book of 6 original lithographs by Yves Brayer.
Our copy, as it is stated in the justification of the draw is full of his suite on China lithographs.
Rare copy and pleasant.

First edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Signed autograph inscription from Cami to Jacques Chauvin enriched with a drawing depicting the profile of an old man.
Cover illustrated with a drawing by the author.

The first edition, of which there were no deluxe copies.
Precious signed autograph inscription from Didier De Roulx to master Henri Béraud: "... avec mon cordial souvenir encadré d'une aquarelle originale. Didier De Roulx. En vacances à Bruges rue Neuve de Gand..." ["... with my cordial remembrance framed by an original watercolor. Didier De Roulx. On vacation in Bruges, rue Neuve de Gand..."]
Indeed, Didier de Roulx has illustrated the first cover with an original signed watercolor representing three sailing ships navigating.
A slight lack at head of spine which also bears a small reattached tear, light foxing on the second cover.
Provenance: from the library of Henri Béraud in Ré.

First edition of the French translation printed in 70 copies numbered and justified by Luis Mizon on Arches laid paper.
Publisher's binding in full aubergine cloth, smooth spine, front cover with cut-out revealing the color screen print by Pedro Uhart illustrating the front wrapper.
Work illustrated with 8 original hors-texte color screen prints by Pedro Uhart which he signed.
Signed autograph inscription, in Spanish, by Luis Mizon enhanced with an original pencil drawing by Pedro Uhart at the end, on the justification page.
We include an invitation card to the opening of the presentation of this work, a Polaroid of Pedro Uhart, and a publisher's slip from a work by Luis Mizon.
Rare and handsome copy enhanced with an original drawing by Pedro Uhart.

First edition of this exhibition of works by Pontus Carle plate is being held in the gallery Malen, then at Marc Espinosa in Paris and at the Galerie F in Berlin in 1991.
Signed autograph Pontus Carle in art critic and novelist Gerhard Weber and his wife, "For Gerard and Hélène", to whom he communicates his Parisian address, enriched with an original drawing with a pencil.
Illustrated plate reproductions of works in black and color Pontus Carle.
Nice copy.

Unsigned pencil drawing, depicting a large dead tree with a drowsing man and his dog at its foot.
Fine wooden frame showing some scratches.
A student of Jean-Victor Bertin, Jules Coignet adopted his master's predilection for landscape painting. He is the author of a great number of canvases representing views and landscapes painted during his numerous travels in Tyrol and the Baden region, in Switzerland, in Italy and Sicily, in Egypt and Lebanon in the Orient, as well as in several provinces of France, notably Brittany and the Isère valley.

Edition illustrated with original color illustrations by François de Marliave, one of 17 numbered copies on Annam paper, the deluxe copies after 20 Madagascar copies each enhanced with two original watercolors.
Our copy, as stipulated in the justification page, is complete with the original watercolor signed by François de Marliave.
Some marginal worming affecting mainly the spine at head and the final leaves, handsome copy.

Original pastel drawing depicting a nude woman in profile playing the flute. Illegible signature at bottom right of the drawing.
Modern frame.

Sketches and ink drawings of male and female nudes, alone or in pairs. Signed by the artist at the bottom of the sheet.
In an unvarnished wood frame.
Marcel-Lenoir, pseudonym of Jules Oury (1872-1931) was a French painter. Fascinated by Symbolism, he was a frequent visitor of the poet Paul Fort's and also frequented Rosicrucian circles. It was also at this time that he discovered the works of the Swiss artist Arnold Böcklin, the English artist Edward Burne-Jones and Pierre Puvis de Chavannes.
Alberto Giacometti had enormous admiration for him and said: “For me, he was the greatest of his age…he had a way of painting in facets that was totally his own. He made a profound impression on me”.

Original drawing in colored pencils and pastels depicting a view of Nantes.
Edmond Heuzé, pseudonym of Amédée Letrouvé (1884-1967), was a French draughtsman, painter, engraver and writer. For some thirty years, Edmond Heuzé would make his living from seventeen different odd jobs: Nénesse got him into the Moulin Rouge troupe with La Goulue as a dancer under the pseudonym "Williams," which allowed him to travel around the world. He also became a merchant, intermediary, street vendor, traveling circus manager, tap dancer at Maxim's, etc. It was in this last profession that he had the opportunity to paint the circus world in his leisure time. He married Nina Bacquet, the director of the Médrano circus. Declared unfit for service in 1904, he enlisted as a volunteer in 1914. Before the outbreak of the First World War, he was curator of the enamel collection of Grand Duke Nicholas Mikhailovich of Russia. After six unsuccessful attempts, he was incorporated as a guard in the clothing store of the 22nd Infantry Regiment, like André Utter, and drew inspiration from this for a series of paintings entitled Les Masques. In 1918, after various jobs, he became director of the Sagot Gallery, rue Laffitte, where he sold canvases by his friends Maurice Utrillo, Suzanne Valadon, Rouault, as well as his own. The twelve paintings in the Les Masques series were sold during the first two days. At this time Edmond Heuzé was witness at the wedding of André Utter and Suzanne Valladon. He maintained close ties with Maurice Utrillo, Jules Depaquit and Tiret-Bognet. Thanks to the generosity of Georges Chéron, art dealer, he was able to start painting again. From 1920, he exhibited at the Bernheim-Jeune gallery as well as at the Chiron gallery in 1923, and could now live from his art which he then devoted to portraits, particularly in circus circles. In 1938, he won the Paul-Guillaume prize for the portrait of the mime Farina.

Original pencil drawing depicting a seated woman with crossed hands, wearing a dress with imposing drapery and flowers in her hair. Artist's stamp at bottom left of the sheet.
Achille Devéria (1800-1857) is a French painter, illustrator and engraver, student of Girodet-Trioson. He is a recognized illustrator and published numerous lithographs (Contes by Perrault, Don Quixote, Robinson Crusoe, La Henriade...). In 1849, he was appointed director of the prints department of the Bibliothèque Nationale and assistant curator of the Egyptian department of the Louvre.
The famous portrait of Honoré de Balzac as a young man (1825) is attributed to him. He painted in his Parisian studio on rue de l'Ouest. Victor Hugo, Alexandre Dumas (père), Prosper Mérimée, Franz Liszt and numerous other artists and writers came there to be immortalized.

Original ink by Henri Pille depicting a historical scene, preserved under mat and gilt wood frame.
An appreciated figure in the Montmartre artistic milieu, whose work developed through history paintings and genre scenes often tinged with humor, Pille is especially renowned as a pen and ink artist. He executed numerous illustrations for publishing, notably for publisher Alphonse Lemerre, and contributed to reviews and newspapers such as Le Courrier Français, Le Rire, Le Monde illustré, Le Procope, journal parlé, Le Journal Amusant, La Vie moderne, Le Voleur and Le Petit Français illustré. He published drawings in the review of the Le Chat Noir cabaret and participated in creating silhouettes for its shadow theater performances. In his letters to his brother Theo, Vincent van Gogh expressed his admiration several times for the work of Henri Pille, whom he met during his Parisian stay between May 1875 and March 1876.

Two original inks on heavy paper, each depicting two men conversing, in two different styles. Giraud sale stamp at bottom right of the sheet. Three tiny tears at head of sheet and some very minor foxing.

Giraud is a painter, watercolorist, pastellist and engraver. His father obtained a study scholarship from Empress Marie-Louise of Austria, which allowed the young boy to enter an Orléans lycée. Subsequently Eugène Giraud became a pupil in the studio of the history painter and portraitist, Louis Hersent and also frequented the studio of engraver Joseph-Théodore Richomme, then in late 1821, entered the Paris École des Beaux-Arts. In 1826, the young artist won the grand prix de Rome in the engraving section. Giraud met Princess Mathilde, who became a friend; the painter gave her painting lessons and became her protégé for 15 years, even obtaining a studio in the Saint-Gratien residence, where he created the portrait of the imperial prince. Eugène Giraud debuted at the Salon in 1833, with portraits, then presented his pastels the following year. These were very well received and the artist, who had good knowledge of costumes, received commissions for designs, notably for Alexandre Dumas and Victor Hugo.

First edition, one of 50 numbered copies on Arches, tirage de tête.

Authentic original drawing in black ink, signed “Max”.
This work was most likely executed in 1927 during a stay in Douarnenez at the house of his friend, the painter Jean Colle; also present was the latter's son Pierre Colle, who would become Max Jacob's dealer and close friend, before becoming executor of his will and overall heir.
Two tiny tears to half a centimeter of the upper margin, otherwise very well preserved.
Provenance : the personal collection of Philippe Laignel-Lavastine, a close friend of Max Jacob.

Original ink and wash drawing, mounted on tab on cardboard.
Artist's stamp signature in the lower right corner of the work, and studio stamp signature on verso.
Light angular fold marks, otherwise very fine condition.
Provenance: from the artist's studio, catalogued in the Louis Anquetin Studio catalogue (Thierry de Maigret, 28/11/08).
Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, was an important French painter.
He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard, he invented Cloisonnism. From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation that Impressionism introduced to French painting. From 1893 onwards, following a long confrontation with the "masters of the past," he adopted a pictorial approach that would place him on the margins of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigor, he believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in "perfect painting" embodied in remembering the lessons of Michelangelo and Rubens in particular. His work therefore became more classical; he advocated a return to craftsmanship, proposing to reflect on the a priori conditions of all possible forms of art while respecting the rules of perspective and anatomy as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be described as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered drawing to be "an all-powerful means of expression," the essential foundation of all plastic arts. By deliberately working against the grain of his era, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting, he indeed prevented the path of the great Western tradition from being completely blocked.
His works can be admired in numerous prestigious museums such as the Musée d'Orsay and the Louvre in Paris, in San Francisco and Detroit, at the Hermitage Museum in Saint Petersburg, at the National Gallery and the Tate in London, etc.

ANQUETIN Louis
Fête villageoise - étude pour le bal champêtre Pencil on paper, Late 19th - Early 20th century, 22 x 15.5 cm. Original pencil drawing, presented under a two-colour marie-louise frame.
Signed with the artist's signature stamp in the lower right corner of the work, and signed with the workshop's stamp on the back.
A minor tear in the left margin.
Very good condition. Provenance: artist's workshop, referenced in the Atelier Louis Anquetin catalogue (Thierry de Maigret, 28/11/08).
Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, is an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. He is the inventor, with Émile Bernard, of Cloisonnism. From 1884 to 1893, Louis Anquetin never stopped exploring the new possibilities that the freedom of Impressionism brought to French painting. From 1893, following a long confrontation with the “maîtres d'autrefois” “masters of the past,” he adopted a pictorial bias which would put him on the fringes of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigour, he then thought that his childhood friends were taking a path that would lead to the death of painting. He believes in a “peinture parfaite” “perfect painting,” which is embodied in the re-remembering of Michelangelo and Rubens' lessons in particular. His work, therefore, becomes more classic; he advocates the return to the profession, by proposing to reflect on the a priori conditions of any possible form of art in accordance with the rules of perspective and anatomy, as practised by the masters of the 16th and 17th century. Leaving only a few works that can be described as monumental, Anquetin proves to be prolific as a result of his many studies and sketches; he who considered that drawing was “un moyen d'expression tout puissant” “an all powerful means of expression,” the obligatory foundation of all fine art. By working voluntarily in reverse of his time, Louis Anquetin made the existance of an original modern portrayal possible. Through his persistance and his passion for painting, he indeed prevented the path of the great western tradition from being completely sealed.
His works can be admired in many prestigious museums, such as the Musée d'Orsay or the Louvre in Paris, in San Francisco or in Detroit, in the State Hermitage Museum in St Petersburg, in the National Gallery and the Tate in London, etc.

Original pencil drawing, mounted on tab on cardboard.
Artist's stamp signature in the lower left corner of the work, and workshop stamp signature on verso.
Very fine condition.
Provenance: artist's studio, referenced in the catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08).
Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard, he invented Cloisonnism. From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards, following a long confrontation with the "old masters," he adopted a pictorial stance that would place him on the margins of the general art movement and distance him from his friends. Dazzled by baroque art and its creative vigor, he then believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in "perfect painting" embodied in the remembrance of the lessons of Michelangelo and Rubens, among others. His work therefore became more classical; he advocated a return to craft, proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy, as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be described as monumental, Anquetin proved prolific through his numerous studies and sketches, as he considered drawing to be "an all-powerful means of expression," the obligatory foundation of all plastic arts. By deliberately working against the grain of his era, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting, he indeed prevented the complete obstruction of the path of the great Western tradition.
His works can be admired in numerous prestigious museums such as the Musée d'Orsay and the Louvre in Paris, in San Francisco and Detroit, at the Hermitage Museum in Saint Petersburg, at the National Gallery and the Tate in London, etc.

Original pencil drawing, mounted on board.
Artist's signature stamp in the lower right corner of the work, and atelier signature stamp on verso.
Very fine condition.
Provenance: from the artist's studio, referenced in the catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08).
Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, is an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard, he was the inventor of Cloisonnism. From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism into French painting. From 1893 onwards, following a long confrontation with the "masters of old," he adopted a pictorial stance that would place him on the margins of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigor, he then believed that his childhood friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" that was embodied in remembering the lessons of Michelangelo and Rubens in particular. His work thus became more classical; he advocated a return to craftsmanship, proposing to reflect on the a priori conditions of any possible art form while respecting the rules of perspective and anatomy, as practiced by the masters of the 16th and 17th centuries.
Leaving only a few works that can be described as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered drawing to be "an all-powerful means of expression," the obligatory foundation of all plastic arts.
By deliberately working against the grain of his era, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting, he indeed prevented the path of the great Western tradition from being completely blocked.
His works can be admired in numerous prestigious museums such as the Musée d'Orsay and the Louvre in Paris, in San Francisco and Detroit, at the Hermitage Museum in Saint Petersburg, at the National Gallery and the Tate in London, etc.

A male nude from the back
Pencil on paper | Late 19th – Early 20th century| 21 x 27 cm (31 x 47 cm with mount) | one drawing
Original pencil drawing, mounted on guards.
Artist's signature stamp and monogram stamp in the lower right corner of the work; artist studio's stamp on the back. Handwritten note on the back, in pencil, of the paper, the title and the date: 1895.
Light signs of foxing on the left border without affecting the drawing, otherwise in very good condition.
Provenance: artist's workshop, referenced in the Atelier Louis Anquetin catalogue (Thierry de Maigret, 28/11/08).

Original pencil drawing, mounted on board.
Artist's signature stamp in the lower right corner of the work, and atelier signature stamp on verso.
Very fine condition.
Provenance: from the artist's studio, referenced in the catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08).
Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, is an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard, he was the inventor of Cloisonnism. From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism into French painting. From 1893 onwards, following a long confrontation with the "masters of old," he adopted a pictorial stance that would place him on the margins of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigor, he then believed that his childhood friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" that was embodied in remembering the lessons of Michelangelo and Rubens in particular. His work thus became more classical; he advocated a return to craftsmanship, proposing to reflect on the a priori conditions of any possible art form while respecting the rules of perspective and anatomy, as practiced by the masters of the 16th and 17th centuries.
Leaving only a few works that can be described as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered drawing to be "an all-powerful means of expression," the obligatory foundation of all plastic arts.
By deliberately working against the grain of his era, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting, he indeed prevented the path of the great Western tradition from being completely blocked.
His works can be admired in numerous prestigious museums such as the Musée d'Orsay and the Louvre in Paris, in San Francisco and Detroit, at the Hermitage Museum in Saint Petersburg, at the National Gallery and the Tate in London, etc.

Original pencil drawing, mounted on tab on cardboard. Signature stamp of the artist's signature in the lower right corner of the work, and signature stamp of the studio on the verso.
Very handsome condition.
Provenance: artist's studio, referenced in the catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08).
Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, is an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh or Henri de Toulouse-Lautrec. With Émile Bernard, he is the inventor of Cloisonnism. From 1884 to 1893, Louis Anquetin never ceased exploring the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893, following a long confrontation with the "masters of yesteryear," he adopted a pictorial stance that would put him on the margins of the general movement of art, and distance him from his friends. Dazzled by baroque art and its creative vigor, he then thought that his childhood friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" that was embodied in the remembrance of the lessons of Michelangelo and Rubens in particular. His work therefore became more classical, he advocated a return to craftsmanship, by proposing to reflect on the a priori conditions of any possible form of art in respect of the rules of perspective and anatomy, as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be qualified as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered that drawing was "an all-powerful means of expression," the obligatory foundation of all plastic arts. By working deliberately against his time, Louis Anquetin made possible the existence of an original modern figuration. Through his obstination and his passion for painting, he indeed avoided the total obstruction of the path of the great Western tradition.
His works can be admired in numerous and prestigious museums such as the Musée d'Orsay or the Louvre in Paris, in San Francisco or Detroit, at the Hermitage Museum in Saint Petersburg, at the National Gallery and the Tate in London, etc.

Original pencil drawing on tracing paper. Stamped signature of the artist in the lower right corner of the work, and stamped signature of the studio on verso. Very fine condition. Provenance: from the artist's studio, referenced in the Louis Anquetin Studio catalogue (Thierry de Maigret, 28/11/08). Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard, he was the inventor of Cloisonnism. From 1884 to 1893, Louis Anquetin continually explored the new possibilities offered by the liberation introduced by Impressionism into French painting. From 1893 onwards, following a long confrontation with the "old masters," he adopted a pictorial approach that would place him on the margins of the general movement in art, and distance him from his friends. Dazzled by Baroque art and its creative vigor, he then believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" embodied in the remembrance of the lessons of Michelangelo and Rubens in particular. His work therefore became more classical, advocating a return to craftsmanship, proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy, as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be described as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered that drawing was "an all-powerful means of expression," the obligatory foundation of all plastic arts. By deliberately working against the grain of his time, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting, he indeed prevented the path of the great Western tradition from being totally blocked. His works can be admired in numerous and prestigious museums such as the Musée d'Orsay and the Louvre in Paris, in San Francisco and Detroit, at the Hermitage Museum in Saint Petersburg, at the National Gallery and the Tate in London, etc.

Original pencil drawing. Series of eight sketches. Artist's signature stamp in the lower right corner of the work, and studio stamp signature on verso. Manuscript notes by the artist "Donnez à la semeuse, l'éternelle. Semez, semez" ["Give to the sower, the eternal one. Sow, sow"]. Very fine condition. Provenance: from the artist's studio, referenced in the catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08). Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard, he invented Cloisonnism. From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893, following a long confrontation with the "masters of the past," he adopted a pictorial stance that would place him on the margins of the general movement in art, and distance him from his friends. Dazzled by Baroque art and its creative vigor, he believed that his childhood friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" embodied in the remembrance of the lessons of Michelangelo and Rubens in particular. His work therefore became more classical; he advocated a return to craftsmanship, proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy, as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that could be described as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered drawing to be "an all-powerful means of expression," the necessary foundation of all plastic arts. By deliberately working against the grain of his era, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting, he indeed prevented the path of the great Western tradition from being completely blocked. His works can be admired in numerous prestigious museums such as the Musée d'Orsay and the Louvre in Paris, in San Francisco and Detroit, at the Hermitage Museum in Saint Petersburg, at the National Gallery and the Tate in London, etc.

Original pencil drawing. On the verso, two sketches of dresses, accompanied by handwritten explanatory notes by the artist, and a sketch of a church.
Stamped signature of the artist in the lower right corner of the work, and studio stamp signature on the verso.
Very fine condition.
Provenance: from the artist's studio, referenced in the catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08).
Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, was an important French painter.
He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard, he was the inventor of Cloisonnism.
From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting.
From 1893 onwards, following a long confrontation with the "old masters," he adopted a pictorial approach that would place him on the margins of the general art movement and distance him from his friends.
Dazzled by baroque art and its creative vigor, he then believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" that was embodied in the remembrance of the lessons of Michelangelo and Rubens in particular. His work thus became more classical; he advocated a return to craftsmanship, proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy, as practiced by the masters of the 16th and 17th centuries.
Leaving only a few works that can be qualified as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered that drawing was "an all-powerful means of expression," the obligatory foundation of all plastic arts.
By deliberately working against his era, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting, he indeed prevented the path of the great Western tradition from being totally obstructed.
His works can be admired in numerous prestigious museums such as the Musée d'Orsay and the Louvre in Paris, in San Francisco and Detroit, at the Hermitage Museum in Saint Petersburg, at the National Gallery and the Tate in London, etc.

Original pencil drawing, heightened with watercolour. Artist's signature stamp in the lower right corner of the work, and studio stamp signature on verso. Very fine condition. Provenance: from the artist's studio, referenced in the catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08). Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard, he invented Cloisonnism. From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards, following a lengthy confrontation with the "masters of former times," he adopted a pictorial approach that would place him on the margins of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigour, he then believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" embodied in the remembered lessons of Michelangelo and Rubens in particular. His work therefore became more classical; he advocated a return to craftsmanship, proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy as practised by the masters of the 16th and 17th centuries. Leaving only a few works that can be described as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered drawing to be "an all-powerful means of expression," the necessary foundation of all plastic arts. By deliberately working against his era, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting, he prevented the path of the great Western tradition from being completely blocked. His works can be admired in numerous prestigious museums such as the Musée d'Orsay and the Louvre in Paris, in San Francisco and Detroit, at the Hermitage Museum in Saint Petersburg, at the National Gallery and the Tate in London, etc.

Original pencil drawing, mounted on card. Artist's stamp signature in the lower right corner of the work, and workshop stamp signature on verso. Very fine condition. Provenance: from the artist's workshop, referenced in the Louis Anquetin Workshop catalogue (Thierry de Maigret, 28/11/08). Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard, he was the inventor of Cloisonnism. From 1884 to 1893, Louis Anquetin constantly explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards, following a long confrontation with the "old masters", he adopted a pictorial approach that would put him on the margins of the general movement in art, and distance him from his friends. Dazzled by Baroque art and its creative vigour, he believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" that was embodied in the memory of the lessons of Michelangelo and Rubens in particular. His work thus became more classical, advocating a return to craftsmanship, proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy, as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be described as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered that drawing was "an all-powerful means of expression", the obligatory foundation of all plastic arts. By deliberately working against his time, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and his passion for painting, he indeed prevented the path of the great Western tradition from being totally obscured. His works can be admired in numerous and prestigious museums such as the Musée d'Orsay and the Louvre in Paris, in San Francisco and Detroit, at the Hermitage Museum in Saint Petersburg, at the National Gallery and the Tate in London, etc.

Original pencil drawing heightened with watercolor, mounted on cardboard.
Stamp signature of the artist in the lower right corner of the work, and stamp signature of the studio on verso.
A light central fold mark, otherwise very fine condition.
Provenance: artist's studio, referenced in the catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08).
Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, is an important French painter.
He began his career alongside avant-garde painters such as Vincent Van Gogh or Henri de Toulouse-Lautrec. With Émile Bernard, he invented Cloisonnism.
From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting.
From 1893 onwards, following a long confrontation with the "old masters," he adopted a pictorial stance that would place him on the margins of the general art movement and distance him from his friends.
Dazzled by baroque art and its creative vigor, he then thought that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" embodied in the remembrance of the lessons of Michelangelo and Rubens in particular. His work thus became more classical; he advocated a return to craftsmanship, proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy as practiced by the masters of the 16th and 17th centuries.
Leaving only a few works that could be qualified as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered drawing to be "an all-powerful means of expression," the obligatory foundation of all plastic arts.
By deliberately working against his era, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting, he indeed prevented the complete obstruction of the path of the great Western tradition.
His works can be admired in numerous and prestigious museums such as the Musée d'Orsay or the Louvre in Paris, in San Francisco or Detroit, at the Hermitage Museum in Saint Petersburg, at the National Gallery and the Tate in London, etc.

Original pencil drawing. Stamp signature of the artist in the lower right corner of the work, and stamp signature of the studio on verso. Light fold marks, two tiny tears in left margin (1 cm) and right margin (0.5 cm), otherwise very fine condition. Provenance: artist's studio, referenced in the catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08). Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, is an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh or Henri de Toulouse-Lautrec. With Émile Bernard, he invented Cloisonnism. From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards, following a long confrontation with the "old masters," he adopted a pictorial stance that would place him on the margins of the general art movement and distance him from his friends. Dazzled by baroque art and its creative vigor, he then thought that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" embodied in the remembrance of the lessons of Michelangelo and Rubens in particular. His work thus became more classical; he advocated a return to craftsmanship, proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that could be qualified as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered drawing to be "an all-powerful means of expression," the obligatory foundation of all plastic arts. By deliberately working against his era, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting, he indeed prevented the complete obstruction of the path of the great Western tradition. His works can be admired in numerous and prestigious museums such as the Musée d'Orsay or the Louvre in Paris, in San Francisco or Detroit, at the Hermitage Museum in Saint Petersburg, at the National Gallery and the Tate in London, etc.

Original pencil drawing.
Artist's signature stamp in the lower right corner of the work, and workshop stamp signature on verso.
Two minor tears in right margin, otherwise very fine condition.
Provenance: from the artist's studio, referenced in the catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08).
Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, was an important French painter.
He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard, he invented Cloisonnism.
From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting.
From 1893 onwards, following a lengthy confrontation with the "masters of the past," he adopted a pictorial stance that would place him on the margins of the general art movement and distance him from his friends.
Dazzled by Baroque art and its creative vigor, he then believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" that was embodied in the remembrance of the lessons of Michelangelo and Rubens in particular. His work therefore became more classical; he advocated a return to craftsmanship, proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy, as practiced by the masters of the 16th and 17th centuries.
Leaving only a few works that can be described as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered drawing to be "an all-powerful means of expression," the obligatory foundation of all plastic arts.
By deliberately working against the grain of his era, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting, he indeed prevented the complete obstruction of the path of the great Western tradition.
His works can be admired in numerous prestigious museums such as the Musée d'Orsay and the Louvre in Paris, in San Francisco and Detroit, at the Hermitage Museum in Saint Petersburg, at the National Gallery and the Tate in London, etc.

Original pencil drawing.
Artist's signature stamp in the lower right corner of the work, and workshop stamp signature on verso.
Minor dampstain in the lower left corner, otherwise very fine condition.
Provenance: from the artist's studio, referenced in the catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08).
Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, was an important French painter.
He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard, he invented Cloisonnism.
From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting.
From 1893 onwards, following a lengthy confrontation with the "masters of the past," he adopted a pictorial stance that would place him on the margins of the general art movement and distance him from his friends.
Dazzled by Baroque art and its creative vigor, he then believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" that was embodied in the remembrance of the lessons of Michelangelo and Rubens in particular. His work therefore became more classical; he advocated a return to craftsmanship, proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy, as practiced by the masters of the 16th and 17th centuries.
Leaving only a few works that can be described as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered drawing to be "an all-powerful means of expression," the obligatory foundation of all plastic arts.
By deliberately working against the grain of his era, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting, he indeed prevented the complete obstruction of the path of the great Western tradition.
His works can be admired in numerous prestigious museums such as the Musée d'Orsay and the Louvre in Paris, in San Francisco and Detroit, at the Hermitage Museum in Saint Petersburg, at the National Gallery and the Tate in London, etc.

Original pencil drawing.
Artist's signature stamp in the lower right corner of the work, and studio stamp signature on verso. Central fold mark, small central tear very slightly affecting the drawing (3 cm), otherwise very fine condition.
Provenance: from the artist's studio, referenced in the catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08).
Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard, he invented Cloisonnism. From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards, following a long confrontation with the "old masters," he adopted a pictorial stance that would place him on the margins of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigor, he then believed that his childhood friends had embarked on a path that would lead to the death of painting. He believed in "perfect painting" embodied in the remembrance of the lessons of Michelangelo and Rubens, among others. His work therefore became more classical; he advocated a return to craft, proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be qualified as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered drawing to be "an all-powerful means of expression," the obligatory foundation of all plastic arts. By working deliberately against his era, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting, he indeed prevented the path of the great Western tradition from being completely blocked.
His works can be admired in numerous prestigious museums such as the Musée d'Orsay and the Louvre in Paris, in San Francisco and Detroit, at the Hermitage Museum in Saint Petersburg, at the National Gallery and the Tate in London, etc.

Original ink.
Artist's signature stamp in the upper right corner of the work, and studio stamp signature on verso. Light shadow affecting the upper part of the paper, otherwise very fine condition.
Provenance: from the artist's studio, referenced in the catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08).
Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard, he invented Cloisonnism. From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards, following a long confrontation with the "old masters," he adopted a pictorial stance that would place him on the margins of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigor, he then believed that his childhood friends had embarked on a path that would lead to the death of painting. He believed in "perfect painting" embodied in the remembrance of the lessons of Michelangelo and Rubens, among others. His work therefore became more classical; he advocated a return to craft, proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be qualified as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered drawing to be "an all-powerful means of expression," the obligatory foundation of all plastic arts. By working deliberately against his era, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting, he indeed prevented the path of the great Western tradition from being completely blocked.
His works can be admired in numerous prestigious museums such as the Musée d'Orsay and the Louvre in Paris, in San Francisco and Detroit, at the Hermitage Museum in Saint Petersburg, at the National Gallery and the Tate in London, etc.

Original pencil drawing.
Artist's signature stamp in the lower right corner of the work, and studio stamp signature on verso. A small stain at the head not affecting the drawing, otherwise very fine condition.
Provenance: from the artist's studio, referenced in the catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08).
Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. Together with Émile Bernard, he invented Cloisonnism. From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893, following a lengthy confrontation with the "old masters," he adopted a pictorial approach that would place him on the margins of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigor, he then believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" that embodied the remembered lessons of Michelangelo and Rubens, among others. His work thus became more classical; he advocated a return to craftsmanship, proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy, as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be qualified as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered drawing to be "an all-powerful means of expression," the obligatory foundation of all plastic arts. By deliberately working against his era, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting, he indeed prevented the path of the great Western tradition from being completely blocked.
His works can be admired in numerous prestigious museums such as the Musée d'Orsay and the Louvre in Paris, in San Francisco and Detroit, at the Hermitage Museum in Saint Petersburg, at the National Gallery and the Tate in London, etc.

Original pencil drawing.
Artist's signature stamp in the lower right corner of the work, and studio stamp signature on verso. Very fine condition.
Provenance: from the artist's studio, referenced in the catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08).
Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. Together with Émile Bernard, he invented Cloisonnism. From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893, following a lengthy confrontation with the "old masters," he adopted a pictorial approach that would place him on the margins of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigor, he then believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" that embodied the remembered lessons of Michelangelo and Rubens, among others. His work thus became more classical; he advocated a return to craftsmanship, proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy, as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be qualified as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered drawing to be "an all-powerful means of expression," the obligatory foundation of all plastic arts. By deliberately working against his era, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting, he indeed prevented the path of the great Western tradition from being completely blocked.
His works can be admired in numerous prestigious museums such as the Musée d'Orsay and the Louvre in Paris, in San Francisco and Detroit, at the Hermitage Museum in Saint Petersburg, at the National Gallery and the Tate in London, etc.

Original pencil drawing.
Artist's signature stamp in the lower right corner of the work, and studio stamp signature on the verso. Manuscript notes by the artist, commenting on the drawing.
Very fine condition.
Provenance: from the artist's studio, referenced in the catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08).
Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard, he invented Cloisonnism. From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards, following a lengthy confrontation with the "masters of old," he adopted a pictorial stance that would place him on the margins of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigor, he then believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" that was embodied in the remembrance of the lessons of Michelangelo and Rubens in particular. His work therefore became more classical; he advocated a return to craftsmanship, proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy, as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be qualified as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered that drawing was "an all-powerful means of expression," the obligatory foundation of all plastic arts. By deliberately working against the grain of his era, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting, he indeed prevented the path of the great Western tradition from being totally obscured.
His works can be admired in numerous and prestigious museums such as the Musée d'Orsay and the Louvre in Paris, in San Francisco and Detroit, at the Hermitage Museum in Saint Petersburg, at the National Gallery and the Tate in London, etc.

Original drawing in ink and wash.
Artist's signature stamp in the lower right corner of the work, and studio stamp signature on the verso. This drawing forms part of a series of ten studies created for Bertin around 1920-1925.
Very fine condition.
Provenance: from the artist's studio, referenced in the catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08).
Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard, he invented Cloisonnism. From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards, following a lengthy confrontation with the "masters of old," he adopted a pictorial stance that would place him on the margins of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigor, he then believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" that was embodied in the remembrance of the lessons of Michelangelo and Rubens in particular. His work therefore became more classical; he advocated a return to craftsmanship, proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy, as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be qualified as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered that drawing was "an all-powerful means of expression," the obligatory foundation of all plastic arts. By deliberately working against the grain of his era, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting, he indeed prevented the path of the great Western tradition from being totally obscured.
His works can be admired in numerous and prestigious museums such as the Musée d'Orsay and the Louvre in Paris, in San Francisco and Detroit, at the Hermitage Museum in Saint Petersburg, at the National Gallery and the Tate in London, etc.

Original pencil drawing, heightened with ink (mixed technique).
Artist's signature stamp in the lower right corner of the work, and studio stamp signature on verso. This drawing is part of a series of ten studies created for Bertin around 1920-1925.
Very fine condition.
Provenance: from the artist's studio, referenced in the Louis Anquetin Studio catalogue (Thierry de Maigret, 28/11/08).
Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard, he was the inventor of Cloisonnism. From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards, following a long confrontation with the "masters of the past," he adopted a pictorial stance that would put him on the margins of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigor, he then believed that his youthful friends had engaged in a path that would lead to the death of painting. He believed in a "perfect painting" that was embodied in the remembrance of the lessons of Michelangelo and Rubens in particular. His work therefore became more classical; he advocated a return to craftsmanship, proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy, as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be qualified as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered drawing to be "an all-powerful means of expression," the obligatory foundation of all plastic arts. By deliberately working against the grain of his era, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting, he indeed prevented the path of the great Western tradition from being totally blocked.
His works can be admired in numerous prestigious museums such as the Musée d'Orsay and the Louvre in Paris, in San Francisco and Detroit, at the Hermitage Museum in Saint Petersburg, at the National Gallery and Tate in London, etc.

ANQUETIN Louis
Académie d'homme 4 Ink on paper Early 20th century, 20 x 31 cm. Original ink drawing. Signed with the artist's signature stamp in the lower right corner of the work, and signed with the workshop's stamp on the back. This drawing is part of a series of ten studies completed for Bertin around 1920-1925. Very good condition. Provenance: artist's workshop, referenced in the Atelier Louis Anquetin catalogue (Thierry de Maigret, 28/11/08).
Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, is an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. He is the inventor, with Émile Bernard, of Cloisonnism. From 1884 to 1893, Louis Anquetin never stopped exploring the new possibilities that the freedom of Impressionism brought to French painting. From 1893, following a long confrontation with the “maîtres d'autrefois” “masters of the past,” he adopted a pictorial bias which would put him on the fringes of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigour, he then thought that his childhood friends were taking a path that would lead to the death of painting. He believes in a “peinture parfaite” “perfect painting,” which is embodied in the re-remembering of Michelangelo and Rubens' lessons in particular. His work, therefore, becomes more classic; he advocates the return to the profession, by proposing to reflect on the a priori conditions of any possible form of art in accordance with the rules of perspective and anatomy, as practised by the masters of the 16th and 17th century. Leaving only a few works that can be described as monumental, Anquetin proves to be prolific as a result of his many studies and sketches; he who considered that drawing was “un moyen d'expression tout puissant” “an all powerful means of expression,” the obligatory foundation of all fine art. By working voluntarily in reverse of his time, Louis Anquetin made the existance of an original modern portrayal possible. Through his persistance and his passion for painting, he indeed prevented the path of the great western tradition from being completely sealed.
His works can be admired in many prestigious museums, such as the Musée d'Orsay or the Louvre in Paris, in San Francisco or in Detroit, in the State Hermitage Museum in St Petersburg, in the National Gallery and the Tate in London, etc.

Original ink and wash drawing.
Artist's signature stamp in the lower right corner of the work, and workshop stamp signature on verso. This drawing forms part of a series of ten studies created for Bertin around 1920-1925. It includes a manuscript annotation by the artist, commenting on his work: "baisser les épaules" ["lower the shoulders"].
Very fine condition.
Provenance: artist's workshop, referenced in the catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08).
Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, is an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard, he invented Cloisonnism. From 1884 to 1893, Louis Anquetin constantly explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards, following a long confrontation with the "masters of yesteryear," he adopted a pictorial stance that would place him on the margins of the general art movement and distance him from his friends. Dazzled by baroque art and its creative vigor, he then believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" embodied in the remembrance of lessons from Michelangelo and Rubens in particular. His work therefore became more classical; he advocated a return to craftsmanship, proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be described as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered drawing to be "an all-powerful means of expression," the mandatory foundation of all plastic arts. By deliberately working against his era, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting, he indeed prevented the path of the great Western tradition from being completely blocked.
His works can be admired in numerous prestigious museums such as the Musée d'Orsay and the Louvre in Paris, in San Francisco and Detroit, at the Hermitage Museum in Saint Petersburg, at the National Gallery and the Tate in London, etc.

Original ink drawing, with pencil sketch on verso.
Artist's signature stamp in the lower right corner of the work, and workshop stamp signature on verso. This drawing forms part of a series of ten studies created for Bertin around 1920-1925.
A small asymmetrical lack of origin, otherwise very fine condition.
Provenance: artist's workshop, referenced in the catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08).
Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, is an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard, he invented Cloisonnism. From 1884 to 1893, Louis Anquetin constantly explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards, following a long confrontation with the "masters of yesteryear," he adopted a pictorial stance that would place him on the margins of the general art movement and distance him from his friends. Dazzled by baroque art and its creative vigor, he then believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" embodied in the remembrance of lessons from Michelangelo and Rubens in particular. His work therefore became more classical; he advocated a return to craftsmanship, proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be described as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered drawing to be "an all-powerful means of expression," the mandatory foundation of all plastic arts. By deliberately working against his era, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting, he indeed prevented the path of the great Western tradition from being completely blocked.
His works can be admired in numerous prestigious museums such as the Musée d'Orsay and the Louvre in Paris, in San Francisco and Detroit, at the Hermitage Museum in Saint Petersburg, at the National Gallery and the Tate in London, etc.

Original drawing in pencil, ink and wash.
Artist's signature stamp in the lower right corner of the work, and atelier stamp signature on verso. This drawing forms part of a series of ten studies created for Bertin circa 1920-1925. Excellent condition.
Provenance: from the artist's atelier, referenced in the catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08).
Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard, he invented Cloisonnism. From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards, following a lengthy confrontation with the "masters of old," he adopted a pictorial stance that would place him on the margins of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigor, he believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" embodied in remembering the lessons of Michelangelo and Rubens in particular. His work therefore became more classical; he advocated a return to craft, proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy, as practiced by the masters of the 16th and 17th centuries. While leaving only a few works that can be qualified as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered drawing to be "an all-powerful means of expression," the obligatory foundation of all plastic arts. By deliberately working against his era, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting, he indeed prevented the path of the great Western tradition from being totally blocked.
His works can be admired in numerous prestigious museums such as the Musée d'Orsay and the Louvre in Paris, in San Francisco and Detroit, at the Hermitage Museum in Saint Petersburg, at the National Gallery and the Tate in London, etc.

Original ink drawing.
Artist's signature stamp in the lower right corner of the work, and atelier stamp signature on verso. This drawing forms part of a series of ten studies created for Bertin circa 1920-1925. It bears ink annotations by the artist, explaining his work on anatomical proportions. Excellent condition.
Provenance: from the artist's atelier, referenced in the catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08).
Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard, he invented Cloisonnism. From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards, following a lengthy confrontation with the "masters of old," he adopted a pictorial stance that would place him on the margins of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigor, he believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" embodied in remembering the lessons of Michelangelo and Rubens in particular. His work therefore became more classical; he advocated a return to craft, proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy, as practiced by the masters of the 16th and 17th centuries. While leaving only a few works that can be qualified as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered drawing to be "an all-powerful means of expression," the obligatory foundation of all plastic arts. By deliberately working against his era, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting, he indeed prevented the path of the great Western tradition from being totally blocked.
His works can be admired in numerous prestigious museums such as the Musée d'Orsay and the Louvre in Paris, in San Francisco and Detroit, at the Hermitage Museum in Saint Petersburg, at the National Gallery and the Tate in London, etc.

Original pencil drawing. Signature stamp of the artist's signature in the lower right corner of the work, and signature stamp of the studio on the verso. This drawing forms part of a series of ten studies created for Bertin around 1920-1925. It bears the artist's annotations "Cou - Type & divers." The verso is also annotated by the artist: he explains here, in the form of quick notes, the difference between Modern Painting and Ancient Painting. Two tiny marginal lacks, a small tear at head (1 cm), otherwise very fine condition. Provenance: from the artist's studio, referenced in the catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08). Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, is an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard, he was the inventor of Cloisonnism. From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards, following a lengthy confrontation with the "old masters," he adopted a pictorial stance that would put him on the margins of the general art movement and distance him from his friends. Dazzled by baroque art and its creative vigor, he then believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" that was embodied in the memory of the lessons of Michelangelo and Rubens in particular. His work therefore became more classical; he advocated a return to craftsmanship, proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy, as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be described as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered drawing to be "an all-powerful means of expression," the obligatory foundation of all plastic arts. By deliberately working against the grain of his era, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and his passion for painting, he indeed prevented the path of the great Western tradition from being totally blocked. His works can be admired in numerous prestigious museums such as the Musée d'Orsay and the Louvre in Paris, in San Francisco and Detroit, at the Hermitage Museum in St. Petersburg, at the National Gallery and the Tate in London, etc.

Original drawing in ink and wash. Signature stamp of the artist's signature in the lower right corner of the work, and signature stamp of the studio on the verso. This drawing forms part of a series of ten studies created for Bertin around 1920-1925. Very fine condition. Provenance: from the artist's studio, referenced in the catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08). Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, is an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard, he was the inventor of Cloisonnism. From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards, following a lengthy confrontation with the "old masters," he adopted a pictorial stance that would put him on the margins of the general art movement and distance him from his friends. Dazzled by baroque art and its creative vigor, he then believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" that was embodied in the memory of the lessons of Michelangelo and Rubens in particular. His work therefore became more classical; he advocated a return to craftsmanship, proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy, as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be described as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered drawing to be "an all-powerful means of expression," the obligatory foundation of all plastic arts. By deliberately working against the grain of his era, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and his passion for painting, he indeed prevented the path of the great Western tradition from being totally blocked. His works can be admired in numerous prestigious museums such as the Musée d'Orsay and the Louvre in Paris, in San Francisco and Detroit, at the Hermitage Museum in St. Petersburg, at the National Gallery and the Tate in London, etc.

Original pencil drawing. Artist's signature stamp in the lower right corner of the work, and studio stamp signature on verso. A central fold mark, otherwise very fine condition. Provenance: from the artist's studio, referenced in the catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08). Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard, he invented Cloisonnism. From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards, following a lengthy confrontation with the "masters of old," he adopted a pictorial stance that would place him on the margins of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigor, he then believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" embodied in the remembrance of the lessons of Michelangelo and Rubens in particular. His work therefore became more classical; he advocated a return to craftsmanship, proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy, as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be qualified as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered that drawing was "an all-powerful means of expression," the obligatory foundation of all plastic arts. By deliberately working against his era, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting, he indeed prevented the path of the great Western tradition from being completely blocked. His works can be admired in numerous prestigious museums such as the Musée d'Orsay and the Louvre in Paris, in San Francisco and Detroit, at the Hermitage Museum in Saint Petersburg, at the National Gallery and the Tate in London, etc.

Original pencil drawing. Signed with the artist's signature stamp in the lower right corner of the work, and signed with the studio stamp on the verso. Very fine condition. Provenance: from the artist's studio, referenced in the Louis Anquetin Studio catalogue (Thierry de Maigret, 28/11/08). Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, is an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh or Henri de Toulouse-Lautrec. With Émile Bernard, he invented Cloisonnism. From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards, following a long confrontation with the "old masters", he adopted a pictorial stance that would place him on the margins of the general art movement, and distance him from his friends. Dazzled by baroque art and its creative vigour, he then believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" that was embodied in the remembrance of the lessons of Michelangelo and Rubens in particular. His work therefore became more classical, he advocated a return to craftsmanship, proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy, as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be described as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered that drawing was "an all-powerful means of expression", the obligatory foundation of all plastic arts. By deliberately working against his time, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting, he indeed prevented the path of the great Western tradition from being totally blocked. His works can be admired in numerous prestigious museums such as the Musée d'Orsay or the Louvre in Paris, in San Francisco or Detroit, at the Hermitage Museum in Saint Petersburg, at the National Gallery and the Tate in London, etc.

Original pencil drawing. Artist's signature stamp in the lower right corner of the work, and workshop stamp signature on the verso. Very fine condition. Provenance: from the artist's workshop, referenced in the catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08). Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, is an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh or Henri de Toulouse-Lautrec. With Émile Bernard, he invented Cloisonnism. From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards, following a long confrontation with the "masters of the past", he adopted a pictorial stance that would place him on the margins of the general art movement, and distance him from his friends. Dazzled by Baroque art and its creative vigor, he then thought that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" embodied in the remembrance of the lessons of Michelangelo and Rubens in particular. His work therefore became more classical, he advocated a return to craftsmanship, proposing to reflect on the a priori conditions of any possible form of art possible while respecting the rules of perspective and anatomy, as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be described as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered drawing to be "an all-powerful means of expression", the mandatory foundation of all plastic arts. By deliberately working against his era, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting, he indeed prevented the path of the great Western tradition from being totally obstructed. His works can be admired in numerous prestigious museums such as the Musée d'Orsay or the Louvre in Paris, in San Francisco or Detroit, at the Hermitage Museum in Saint Petersburg, at the National Gallery and the Tate in London, etc.

Original ink drawing. Artist's signature stamp in the lower right corner of the work, and workshop stamp signature on the verso. Louis Anquetin, through his friendship with art critic Gustave Geoffroy who was appointed administrator of the Manufactures Nationales, obtained three commissions for cartoons for the Gobelins, "Bourgogne" in 1911, a carpet "Les cygnes", and in 1912 "La Normandie", tapestry. A central fold mark with a tiny tear at foot, otherwise very fine condition. Provenance: from the artist's workshop, referenced in the catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08). Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, is an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh or Henri de Toulouse-Lautrec. With Émile Bernard, he invented Cloisonnism. From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards, following a long confrontation with the "masters of the past", he adopted a pictorial stance that would place him on the margins of the general art movement, and distance him from his friends. Dazzled by Baroque art and its creative vigor, he then thought that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" embodied in the remembrance of the lessons of Michelangelo and Rubens in particular. His work therefore became more classical, he advocated a return to craftsmanship, proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy, as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be described as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered drawing to be "an all-powerful means of expression", the mandatory foundation of all plastic arts. By deliberately working against his era, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting, he indeed prevented the path of the great Western tradition from being totally obstructed. His works can be admired in numerous prestigious museums such as the Musée d'Orsay or the Louvre in Paris, in San Francisco or Detroit, at the Hermitage Museum in Saint Petersburg, at the National Gallery and the Tate in London, etc.

Three original ink drawings on a sheet folded in half, and a manuscript note by the artist on verso "Plus penser que dire". Artist's signature stamp in the lower right corner of the work, and workshop signature stamp on verso. Louis Anquetin, through his friendship with art critic Gustave Geoffroy who was appointed administrator of the Manufactures Nationales, obtained three commissions for cartoons for the Gobelins, "Bourgogne" in 1911, a carpet "Les cygnes", and in 1912 "La Normandie", tapestry. This tapestry was composed of three panels, as can be seen in this study. Very fine condition. Provenance: from the artist's workshop, referenced in the catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08). Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard, he invented Cloisonnism. From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards, following a long confrontation with the "old masters", he adopted a pictorial stance that would place him on the margins of the general art movement, and distance him from his friends. Dazzled by baroque art and its creative vigor, he then believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" that was embodied in the remembrance of the lessons of Michelangelo and Rubens in particular. His work therefore became more classical, he advocated a return to craft, proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy, as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be described as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered that drawing was "an all-powerful means of expression", the obligatory foundation of all plastic arts. By working deliberately against his time, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and his passion for painting, he indeed prevented the path of the great Western tradition from being completely blocked. His works can be admired in numerous and prestigious museums such as the Musée d'Orsay and the Louvre in Paris, in San Francisco and Detroit, at the Hermitage Museum in Saint Petersburg, at the National Gallery and the Tate in London, etc.

Original ink drawing. Artist's signature stamp in the lower right corner of the work, and workshop signature stamp on verso. Louis Anquetin, through his friendship with art critic Gustave Geoffroy who was appointed administrator of the Manufactures Nationales, obtained three commissions for cartoons for the Gobelins, "Bourgogne" in 1911, a carpet "Les cygnes", and in 1912 "La Normandie", tapestry. This tapestry was composed of three panels, as can be seen in this study. A tiny marginal tear not affecting the drawing, trace of central fold, otherwise very fine condition. Provenance: from the artist's workshop, referenced in the catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08). Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard, he invented Cloisonnism. From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards, following a long confrontation with the "old masters", he adopted a pictorial stance that would place him on the margins of the general art movement, and distance him from his friends. Dazzled by baroque art and its creative vigor, he then believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" that was embodied in the remembrance of the lessons of Michelangelo and Rubens in particular. His work therefore became more classical, he advocated a return to craft, proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy, as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be described as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered that drawing was "an all-powerful means of expression", the obligatory foundation of all plastic arts. By working deliberately against his time, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and his passion for painting, he indeed prevented the path of the great Western tradition from being completely blocked. His works can be admired in numerous and prestigious museums such as the Musée d'Orsay and the Louvre in Paris, in San Francisco and Detroit, at the Hermitage Museum in Saint Petersburg, at the National Gallery and the Tate in London, etc.

ANQUETIN Louis
La Normandie : projet de carton pour la tapisserie de la manufacture des Gobelins. Étude 4 Ink on paper 1912-1913, 14 x 21.5 cm. Original ink drawing. Several sketches on one letter folded in two. Signed with the artist's signature stamp in the lower right corner of the work, and signed with the workshop's stamp on the back. Thanks to his friendship with art critic Gustave Geoffroy, who was appointed manager of the Manufactures Nationales, Louis Anquetin obtained three orders for the Gobelins, the “Bourgogne” in 1911, “Les cygnes” tapestry, and in 1912 “La Normandie” tapestry. One sign of a central fold, otherwise good condition. Provenance: artist's workshop, referenced in the Atelier Louis Anquetin catalogue (Thierry de Maigret, 28/11/08).
Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, is an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. He is the inventor, with Émile Bernard, of Cloisonnism. From 1884 to 1893, Louis Anquetin never stopped exploring the new possibilities that the freedom of Impressionism brought to French painting. From 1893, following a long confrontation with the “maîtres d'autrefois” “masters of the past,” he adopted a pictorial bias which would put him on the fringes of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigour, he then thought that his childhood friends were taking a path that would lead to the death of painting. He believes in a “peinture parfaite” “perfect painting,” which is embodied in the re-remembering of Michelangelo and Rubens' lessons in particular. His work, therefore, becomes more classic; he advocates the return to the profession, by proposing to reflect on the a priori conditions of any possible form of art in accordance with the rules of perspective and anatomy, as practised by the masters of the 16th and 17th century. Leaving only a few works that can be described as monumental, Anquetin proves to be prolific as a result of his many studies and sketches; he who considered that drawing was “un moyen d'expression tout puissant” “an all powerful means of expression,” the obligatory foundation of all fine art. By working voluntarily in reverse of his time, Louis Anquetin made the existance of an original modern portrayal possible. Through his persistance and his passion for painting, he indeed prevented the path of the great western tradition from being completely sealed.
His works can be admired in many prestigious museums, such as the Musée d'Orsay or the Louvre in Paris, in San Francisco or in Detroit, in the State Hermitage Museum in St Petersburg, in the National Gallery and the Tate in London, etc.

Original ink drawing, with several ink sketches on the verso, on a sheet folded in half.
Stamp signature of the artist in the lower right corner of the work, and workshop stamp signature on the verso.
Louis Anquetin, thanks to his friendship with art critic Gustave Geoffroy who was appointed administrator of the National Manufactories, obtained three commissions for cartoons for the Gobelins, "Bourgogne" in 1911, a carpet "Les cygnes", and in 1912 "La Normandie", tapestry.
Very fine condition.
Provenance: artist's studio, referenced in the catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08).
Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, is an important French painter.
He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard, he was the inventor of Cloisonnism.
From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting.
From 1893, following a long confrontation with the "masters of the past," he adopted a pictorial stance that would put him on the margins of the general art movement, and distance him from his friends.
Dazzled by Baroque art and its creative vigor, he then thought that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" embodied in the remembrance of the lessons of Michelangelo and Rubens in particular. His work therefore became more classical; he advocated a return to craftsmanship, proposing to reflect on the a priori conditions of any possible form of art in respect of the rules of perspective and anatomy, as practiced by the masters of the 16th and 17th centuries.
Leaving only a few works that can be qualified as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered that drawing was "an all-powerful means of expression," the obligatory foundation of all plastic arts.
By deliberately working against his time, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting, he indeed prevented the path of the great Western tradition from being totally blocked.
His works can be admired in numerous and prestigious museums such as the Musée d'Orsay or the Louvre in Paris, in San Francisco or Detroit, at the Hermitage Museum in Saint Petersburg, at the National Gallery and Tate in London, etc.

Original pencil drawing, heightened with ink (mixed technique).
Artist's signature stamp in the lower right corner of the work, and studio stamp signature on verso. A minute corner fold, and two small inconsequential stains, otherwise very fine condition.
Provenance: artist's studio, catalogued in Atelier Louis Anquetin (Thierry de Maigret, 28/11/08).
Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. Together with Émile Bernard, he invented Cloisonnism. From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards, following a lengthy confrontation with the "masters of old," he adopted a pictorial stance that would place him on the margins of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigor, he then believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" embodied in remembering the lessons of Michelangelo and Rubens in particular. His work thus became more classical; he advocated a return to craftsmanship, proposing reflection on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy, as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be described as monumental, Anquetin proved prolific through his numerous studies and sketches, considering drawing to be "an all-powerful means of expression," the essential foundation of all plastic arts. By deliberately working against the grain of his era, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting, he prevented the complete obstruction of the path to the great Western tradition.
His works can be admired in numerous prestigious museums such as the Musée d'Orsay and the Louvre in Paris, in San Francisco and Detroit, at the Hermitage Museum in Saint Petersburg, at the National Gallery and the Tate in London, etc...

Original pencil drawing, heightened with ink (mixed technique).
Artist's signature stamp in the lower right corner of the work, and studio stamp signature on verso. A minute corner fold, otherwise very fine condition.
Provenance: artist's studio, catalogued in Atelier Louis Anquetin (Thierry de Maigret, 28/11/08).
Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. Together with Émile Bernard, he invented Cloisonnism. From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards, following a lengthy confrontation with the "masters of old," he adopted a pictorial stance that would place him on the margins of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigor, he then believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" embodied in remembering the lessons of Michelangelo and Rubens in particular. His work thus became more classical; he advocated a return to craftsmanship, proposing reflection on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy, as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be described as monumental, Anquetin proved prolific through his numerous studies and sketches, considering drawing to be "an all-powerful means of expression," the essential foundation of all plastic arts. By deliberately working against the grain of his era, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting, he prevented the complete obstruction of the path to the great Western tradition.
His works can be admired in numerous prestigious museums such as the Musée d'Orsay and the Louvre in Paris, in San Francisco and Detroit, at the Hermitage Museum in Saint Petersburg, at the National Gallery and the Tate in London, etc...

Original pencil drawing, heightened with ink (mixed technique).
Artist's signature stamp in the lower right corner of the work, and studio signature stamp on verso. Very fine condition.
Provenance: from the artist's studio, referenced in the catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08).
Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard, he was the inventor of Cloisonnism. From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards, following a long confrontation with the "masters of the past," he adopted a pictorial stance that would place him on the margins of the general movement of art, and distance him from his friends. Dazzled by Baroque art and its creative vigor, he then believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" that was embodied in the remembrance of the lessons of Michelangelo and Rubens in particular. His work therefore became more classical; he advocated a return to craftsmanship, proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy, as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that could be described as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered that drawing was "an all-powerful means of expression," the obligatory foundation of all plastic arts. By deliberately working against the grain of his era, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and his passion for painting, he indeed prevented the complete obstruction of the path of the great Western tradition.
His works can be admired in numerous and prestigious museums such as the Musée d'Orsay or the Louvre in Paris, in San Francisco or Detroit, at the Hermitage Museum in Saint Petersburg, at the National Gallery and the Tate in London, etc...

Original pencil drawing.
Artist's signature stamp in the lower right corner of the work, and studio signature stamp on verso. A minimal corner fold, otherwise very fine condition.
Provenance: from the artist's studio, referenced in the catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08).
Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard, he was the inventor of Cloisonnism. From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards, following a long confrontation with the "masters of the past," he adopted a pictorial stance that would place him on the margins of the general movement of art, and distance him from his friends. Dazzled by Baroque art and its creative vigor, he then believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" that was embodied in the remembrance of the lessons of Michelangelo and Rubens in particular. His work therefore became more classical; he advocated a return to craftsmanship, proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy, as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that could be described as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered that drawing was "an all-powerful means of expression," the obligatory foundation of all plastic arts. By deliberately working against the grain of his era, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and his passion for painting, he indeed prevented the complete obstruction of the path of the great Western tradition.
His works can be admired in numerous and prestigious museums such as the Musée d'Orsay or the Louvre in Paris, in San Francisco or Detroit, at the Hermitage Museum in Saint Petersburg, at the National Gallery and the Tate in London, etc...

Original pencil drawing.
Stamp signature of the artist in the lower right corner of the work, and stamp signature of the studio on the verso. A tiny corner crease, otherwise very fine condition.
Provenance: from the artist's studio, referenced in the catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08).
Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard, he invented Cloisonnism. From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards, following a long confrontation with the "masters of old", he adopted a pictorial stance that would place him on the margins of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigor, he then believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" embodied in the remembrance of the lessons of Michelangelo and Rubens in particular. His work thus became more classical; he advocated a return to craftsmanship, proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that could be called monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered that drawing was "an all-powerful means of expression", the obligatory foundation of all plastic arts. By deliberately working against his era, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting, he indeed prevented the path of the great Western tradition from being completely blocked.
His works can be admired in numerous prestigious museums such as the Musée d'Orsay and the Louvre in Paris, in San Francisco and Detroit, at the Hermitage Museum in St. Petersburg, at the National Gallery and the Tate in London, etc...

Original pencil drawing, heightened with ink (mixed media), on a recto-verso sheet.
Stamp signature of the artist in the lower right corner of the work, and stamp signature of the studio on the verso. A small tear in the left margin not touching the drawing (2 cm), otherwise very fine condition.
Provenance: from the artist's studio, referenced in the catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08).
Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard, he invented Cloisonnism. From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards, following a long confrontation with the "masters of old", he adopted a pictorial stance that would place him on the margins of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigor, he then believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" embodied in the remembrance of the lessons of Michelangelo and Rubens in particular. His work thus became more classical; he advocated a return to craftsmanship, proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that could be called monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered that drawing was "an all-powerful means of expression", the obligatory foundation of all plastic arts. By deliberately working against his era, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting, he indeed prevented the path of the great Western tradition from being completely blocked.
His works can be admired in numerous prestigious museums such as the Musée d'Orsay and the Louvre in Paris, in San Francisco and Detroit, at the Hermitage Museum in St. Petersburg, at the National Gallery and the Tate in London, etc...

Original ink drawing.
Stamped signature of the artist in the lower right corner of the work, and studio stamp signature on verso. A tiny lack to the edge of the right margin, otherwise very fine condition.
Provenance: from the artist's studio, catalogued in Atelier Louis Anquetin (Thierry de Maigret, 28/11/08).
Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard, he invented Cloisonnism. From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards, following a lengthy confrontation with the "masters of old", he adopted a pictorial approach that would place him on the margins of the general movement of art, and distance him from his friends. Dazzled by baroque art and its creative vigour, he then believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" embodied in the remembrance of the lessons of Michelangelo and Rubens in particular. His work therefore became more classical; he advocated a return to craftsmanship, proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy, as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that could be described as monumental, Anquetin proved prolific through his numerous studies and sketches, considering as he did that drawing was "an all-powerful means of expression", the essential foundation of all plastic arts. By deliberately working against the grain of his era, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting, he indeed prevented the complete obstruction of the path to the great Western tradition.
His works can be admired in numerous prestigious museums such as the Musée d'Orsay and the Louvre in Paris, in San Francisco and Detroit, at the Hermitage Museum in St. Petersburg, at the National Gallery and the Tate in London, etc.

Original ink drawing, recto-verso.
Artist's signature stamp in the lower right corner of the work, and studio stamp signature on verso. Slight traces of angular creasing, otherwise excellent condition.
Provenance: from the artist's studio, referenced in the catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08).
Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard, he was the inventor of Cloisonnism. From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards, following a long confrontation with the "old masters," he adopted a pictorial stance that would place him on the margins of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigor, he then believed that his childhood friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" embodied in the remembrance of lessons from Michelangelo and Rubens in particular. His work therefore became more classical; he advocated a return to craftsmanship, proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy, as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be described as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered drawing to be "an all-powerful means of expression," the mandatory foundation of all plastic arts. By deliberately working against his era, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting, he indeed prevented the path of the great Western tradition from being completely blocked.
His works can be admired in numerous and prestigious museums such as the Musée d'Orsay and the Louvre in Paris, in San Francisco and Detroit, at the Hermitage Museum in St. Petersburg, at the National Gallery and the Tate in London, etc...

Original charcoal drawing.
Artist's signature stamp in the lower right corner of the work, and studio stamp signature on verso. Excellent condition.
Provenance: from the artist's studio, referenced in the catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08).
Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard, he was the inventor of Cloisonnism. From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards, following a long confrontation with the "old masters," he adopted a pictorial stance that would place him on the margins of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigor, he then believed that his childhood friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" embodied in the remembrance of lessons from Michelangelo and Rubens in particular. His work therefore became more classical; he advocated a return to craftsmanship, proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy, as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be described as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered drawing to be "an all-powerful means of expression," the mandatory foundation of all plastic arts. By deliberately working against his era, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting, he indeed prevented the path of the great Western tradition from being completely blocked.
His works can be admired in numerous and prestigious museums such as the Musée d'Orsay and the Louvre in Paris, in San Francisco and Detroit, at the Hermitage Museum in St. Petersburg, at the National Gallery and the Tate in London, etc...

ANQUETIN Louis
Duel : Étude 2 Charcoal on paper, Late 19th - Early 20th century, 25 x 16.25 cm. Original charcoal drawing
Signed with the artist's signature stamp in the lower right corner of the work, and signed with the workshop's stamp on the back. Very good condition.
Provenance: artist's workshop, referenced in the Atelier Louis Anquetin catalogue (Thierry de Maigret, 28/11/08).
Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, is an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. He is the inventor, with Émile Bernard, of Cloisonnism. From 1884 to 1893, Louis Anquetin never stopped exploring the new possibilities that the freedom of Impressionism brought to French painting. From 1893, following a long confrontation with the “maîtres d'autrefois” “masters of the past,” he adopted a pictorial bias which would put him on the fringes of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigour, he then thought that his childhood friends were taking a path that would lead to the death of painting. He believes in a “peinture parfaite” “perfect painting,” which is embodied in the re-remembering of Michelangelo and Rubens' lessons in particular. His work, therefore, becomes more classic; he advocates the return to the profession, by proposing to reflect on the a priori conditions of any possible form of art in accordance with the rules of perspective and anatomy, as practised by the masters of the 16th and 17th century. Leaving only a few works that can be described as monumental, Anquetin proves to be prolific as a result of his many studies and sketches; he who considered that drawing was “un moyen d'expression tout puissant” “an all powerful means of expression,” the obligatory foundation of all fine art. By working voluntarily in reverse of his time, Louis Anquetin made the existance of an original modern portrayal possible. Through his persistance and his passion for painting, he indeed prevented the path of the great western tradition from being completely sealed.
His works can be admired in many prestigious museums, such as the Musée d'Orsay or the Louvre in Paris, in San Francisco or in Detroit, in the State Hermitage Museum in St Petersburg, in the National Gallery and the Tate in London, etc.

Original pencil drawing.
Signed with the artist's signature stamp in the lower right corner of the work.
Very fine condition.
Provenance: from the artist's studio, referenced in the catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08).
Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, was an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard, he was the inventor of Cloisonnism. From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards, following a long confrontation with the "old masters," he adopted a pictorial stance that would place him on the margins of the general art movement and distance him from his friends. Dazzled by Baroque art and its creative vigor, he believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" embodied in the memory of the lessons of Michelangelo and Rubens in particular. His work therefore became more classical; he advocated a return to craftsmanship, proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be described as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered that drawing was "an all-powerful means of expression," the obligatory foundation of all plastic arts. By deliberately working against his time, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting, he indeed prevented the path of the great Western tradition from being totally blocked.
His works can be admired in numerous and prestigious museums such as the Musée d'Orsay and the Louvre in Paris, in San Francisco and Detroit, at the Hermitage Museum in Saint Petersburg, at the National Gallery and the Tate in London, etc...

Original pencil drawing.
Stamp-signature of the artist in the lower right corner of the work.
Small marginal tears not affecting the drawing, a small stain, otherwise very fine condition.
Provenance: from the artist's studio, referenced in the catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08).
Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, is an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard, he invented Cloisonnism. From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards, following a long confrontation with the "old masters," he adopted a pictorial stance that would place him on the margins of the general art movement and distance him from his friends. Dazzled by baroque art and its creative vigor, he then believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" embodied in the remembrance of the lessons of Michelangelo and Rubens in particular. His work thus became more classical; he advocated a return to craftsmanship, proposing to reflect on the a priori conditions of any possible form of art in respect of the rules of perspective and anatomy, as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be qualified as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered that drawing was "an all-powerful means of expression," the obligatory foundation of all plastic arts. By deliberately working against his era, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting, he indeed prevented the complete obstruction of the path of the great Western tradition.
His works can be admired in numerous prestigious museums such as the Musée d'Orsay and the Louvre in Paris, in San Francisco and Detroit, at the Hermitage Museum in Saint Petersburg, at the National Gallery and the Tate in London, etc...

Original pencil drawing, recto-verso. On the verso, various studies of dogs.
Stamp-signature of the artist in the lower right corner of the work, and workshop stamp-signature on the verso. Central fold mark, a small central tear affecting the drawing very slightly (4 cm), otherwise very fine condition.
Provenance: from the artist's studio, referenced in the catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08).
Louis Anquetin, born in Étrépagny in 1861 and died in Paris in 1932, is an important French painter. He began his career alongside avant-garde painters such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard, he invented Cloisonnism. From 1884 to 1893, Louis Anquetin continuously explored the new possibilities offered by the liberation introduced by Impressionism in French painting. From 1893 onwards, following a long confrontation with the "old masters," he adopted a pictorial stance that would place him on the margins of the general art movement and distance him from his friends. Dazzled by baroque art and its creative vigor, he then believed that his youthful friends had embarked on a path that would lead to the death of painting. He believed in a "perfect painting" embodied in the remembrance of the lessons of Michelangelo and Rubens in particular. His work thus became more classical; he advocated a return to craftsmanship, proposing to reflect on the a priori conditions of any possible form of art in respect of the rules of perspective and anatomy, as practiced by the masters of the 16th and 17th centuries. Leaving only a few works that can be qualified as monumental, Anquetin proved prolific through his numerous studies and sketches, he who considered that drawing was "an all-powerful means of expression," the obligatory foundation of all plastic arts. By deliberately working against his era, Louis Anquetin made possible the existence of an original modern figuration. Through his obstinacy and passion for painting, he indeed prevented the complete obstruction of the path of the great Western tradition.
His works can be admired in numerous prestigious museums such as the Musée d'Orsay and the Louvre in Paris, in San Francisco and Detroit, at the Hermitage Museum in Saint Petersburg, at the National Gallery and the Tate in London, etc.

Original drawing and wash by Jules Laurens. Date and place inscribed in black pencil by the artist at the top right of the work (November 1848). Presented in an antique varnished and gilt wooden frame, under glass. Minor black mark at the upper left corner and a very small imperfection at the lower right corner; overall, a well-preserved piece.

Jules Joseph Auguste Laurens was a painter and lithographer, born in Carpentras on 27 July 1825, died in Saint-Didier on 5 May 1901. From a family of five children, Jules joined at the age of twelve his elder brother, Jean-Joseph Bonaventure Laurens, who had settled in Montpellier.  He enrolled at the École des Beaux-Arts in Montpellier, alongside Alexandre Cabanel, and mingled with the artistic circles of his brother. From 1842 to 1846, he stayed in Paris to complete his training, admitted fifth out of 600 at the École des Beaux-Arts, and worked in the studio of the painter Paul Delaroche. From 1846 to 1849, he traveled as a draftsman through Turkey and Persia, as part of a scientific mission led by the geographer Hommaire de Hell. Despite the mission’s failure (Hommaire de Hell’s death, unpaid work), Jules returned with several hundred sketches, drawings, and watercolors that nourished his artistic activity. These portfolios are now preserved at the École des Beaux-Arts in Paris, in Avignon, and in Carpentras (Bibliothèque Inguimbertine and museums). From this journey, he also brought back works of Qajar art, later donated to the Musée Calvet in Avignon and the museum in Carpentras. Upon his return to the Comtat, he contributed to the development of the Carpentras library-museum. A collector, he donated numerous notable works by recognized contemporary artists (Victor Hugo, Ingres, Auguste Bonheur, Eugène Cicéri, Gustave Doré, etc.). Known for his Orientalist paintings and portraits of peasants (from Auvergne and Comtat), it is in landscape art that he distinguished himself, a follower of Corot and the Barbizon school.

Signed autograph letter from a page by Louis Pons, to his friend the art critic Georges Raillard, specialist in the works of Joan Miro and Antoni Tapies, about a work on Monticelli that he recently received from a their mutual friend and for whom Georges Raillard wrote the text.
On the attached envelope which he recomposed in his fanciful and ornithological manner, Louis Pons drew, in black ink, on the front and on the back, two curious beasts: a magpie in a tail coat and a rat of which just the head and the tail emerge from the envelope, the place of its body being crossed by a nail.
Finally, on the sidelines of the handwritten letter, Louis Pons drew a character of human appearance with simian features.