Francois Joseph Heim (1787-1865), bust portrait of a woman in bourgeois costume (Madame Lagard), oil on canvas, monogr. a. dated ''J.H. 1819'' lower left, old inscription ''Madame Ba (...) Lagard'' on verso of stretcher, as well as ''Francois Joseph Heim'', rubbed, 26,5 x 22 cm
Drawing, graphite pencil, heightened with white, 12,5 x 17,6 cm, brown toned paper, signed and dated in lower right corner "J. Heim 44". - German mountain landscape with a winding road and a castle in the distance on the left. A carefully drawn tree in the left foreground dominates the composition. - Joined: Anonymous - Landscape with village and tower ruin. Dutch, ca. 1790. Drawing, grey wash, 28 x 23,5 cm, laid paper with 18th-c. watermark (Heawood:2746), unsigned. Under passe-partout. ( 2pcs)
François-Joseph HEIM (1787-1865) Six études Dessinées à la pierre noire, craie blanche et sanguine Différentes dimensions Black stone, white chalk and red chalk
Attribué à François Joseph HEIM (Belfort 1787-Paris 1865) Étude pour un officier Crayon noir et rehauts de craie blanche sur papier Monogrammé et daté en bas au centre Annoté sur le montage "dessin original de I. Pils 1869" 37,5 x 22cm Petites tâches et insolé
François Joseph HEIM (Belfort 1787-Paris 1865) Portrait de Monsieur Pradier en pied Plume et encre brune Annoté dans le bas "Pradier par Heim" 32 x 12,5cm de forme irrégulière Dessin doublé, tâches, manques et trous
François-Joseph Heim Belfort, 1787 - Paris, 1865 Etudes de personnages, dont le roi Charles X Six dessins dans un même montage, quatre au crayon noir, un au crayon noir, estompe et rehauts de blanc et un à la sanguine, mis au carreau Dimensions du plus grand : 25,50 x 12,50 cm (9,84 x 4,72 in.) Commentaire : Les différentes figures présentes sur ce montage ont pu être réalisées au cours de l'élaboration du tableau de François-Joseph Heim représentant Charles X distribuant des récompenses aux artistes à la fin du Salon de 1284, daté de 1827 et conservé à Paris au musée du Louvre.
François-Joseph Heim Belfort, 1787 - Paris, 1865 Deux hommes conversant Crayon noir et rehauts de craie blanche, annoté 'Pierre rue Grange aux buttes. 34 / (...) hospice des vieillard / St Martin' en haut à droite h: 30 w: 22 cm Provenance : Ancienne collection et vente H. M. Petiet
François-Joseph HEIM (Belfort 1787 - Paris 1865) Portrait de Philippe Lesueur, membre de l'Institut Au revers, mentions du donateur " J. Lesueur " et du dédicataire " Mr Paul Bérard en souvenir du 12 mars 1877 ", sur un carton avec l'étiquette d'Alphonse Giroux " au coq d'or ". Crayon et rehauts de blanc sur papier bleu. Signé Heim 1830 23,5 x 18 cm Jacques-Philippe Lesueur (1759-1830) sculpteur français. Premier Prix au concours de 1781, il travailla à Chantilly, puis sous l'Empire à l'arc de triomphe du Carroussel. François-Joseph Heim fut l'éléve de Vincent. Premier prix du concours de 1807, après son voyage à Rome, il est chargé de décors au musée des souverains (Louvre) sous la Restauration et à Versailles. Peintre d'Histoire, il traite souvent ses sujets avec une certaine préciosité ("Léonard de Vinci sur son lit de mort", "Charles X récompensant les artistes du Salon de 1824"...). Théophile Gautier le reconnaissait comme un peintre de premier ordre. Le cabinet des dessins du musée du Louvre conserve des portraits d'artistes en costume d'Académicien (membres de l'Institut) proches du nôtre (Boïeldieu, Chérubini, Regnault, Galle...)
Attribué à François-Joseph Heim Belfort, 1787 - Paris, 1865 Le retour de Jacob et Moïse enfant et Pharaon Deux huiles sur papier marouflé sur carton formant pendant h: 11 w: 11 cm
François-Joseph Heim Belfort, 1787 - Paris, 1865 Trois études de putti, études pour les plafonds de la cinquième salle de la galerie Campana du musée du Louvre Crayon noir et rehauts de craie blanche, mis au carreau au crayon et à la sanguine, passés au stylet pour deux d'entre-eux, sur papier bleu Au verso, deux études pour la figure de Dupaty dans le tableau représentant 'Charles X distribuant des récompenses aux artistes, à la fin du Salon de 1824' présenté au Salon de 1827. 10 x 9 cm (3,9 x 3,5 in.) 13,20 x 10 cm (5,2 x 3,9 in.) et 14 x 9 cm (5,5 x 3,5 in.) Sans cadres
Old Master Painting: FRANÇOIS-JOSEPH HEIM (Belfort 1787 - Paris 1865) ESQUISSE POUR LA BATAILLE DE ROCROY, LE 19 MAI 1643 Papier marouflé sur toile 19 X ...
Attribué à François Joseph HEIM (Belfort 1787 - Paris 1865) Les âmes au Purgatoire Crayon noir et craie blanche 39 x 57 cm Pliures centrales verticales, petites déchirures sur les bords, petites taches On connaît un dessin de technique très proche (voir « French Drawings neo-classicism », cat. exp. Heim Gallery du 20 février au 27 mars 1975, n°69 repr.).
François-Joseph HEIM (Belfort 1787- Paris 1865) Portrait de Monsieur Huyot, l'architecte Pierre noire et rehauts de craie blanche sur papier bleu 27,5 x 21,5 cm Signé et daté en bas à droite : « Heim, 1829 » Annotation peu lisible au crayon noir en bas à droite En 1829, année où fut dessiné notre portrait, le modèle a une cinquantaine d'année et est bien installé dans la capitale française : fort de son expérience étrangère, il enseigne l'histoire de l'architecture à l'école des Beaux - Arts où ce cours a un très grand succès.
François Joseph HEIM (Belfort 1787- Paris 1865) Portrait de M. Mennechet, littérateur Pierre noire et rehauts de craie blanche sur papier bleu 23,2 x 16,5 cm Signé et date en bas à droite : 1847 Annoté en bas à gauche : Mennechet. 1847 2000 / 3000
François Joseph HEIM (Belfort 1787- Paris 1865) Portrait de Monsieur Huyot, l'architecte Pierre noire et rehauts de craie blanche sur papier bleu 27,5 x 21,5 cm Signé et daté en bas à droite : Heim, 1829 Annotation peu lisible au crayon noir en bas à droite 2000 / 3000
François-Joseph Heim (Belfort 1787-1865 Paris) Portrait of Alexandre Duval, in profile to the right, seated in an armchair signed and dated 'heim 1827' and with inscription 'Alexandre Duval' (Académie Francaise) black and white chalk, on light blue paper 14 7/8 x 10½ in. (378 x 267 mm.)
Portrait d'Adélaïde d'Orléans (1777-1847); et Portrait de Ferdinand, duc d'Orléans (1810-1842) inscrits 'SAR a l M d. Adelaïde.' (1) et 'SAR a l Le Duc d'Orléans' (2) craie noire et blanche sur papier bleuté 351 x 195 mm. (13 7/8 x 7 3/4 in.) (une paire) (2)
Portrait de Merry-Joseph Blondel (1781-1853) de profil à gauche avec inscription 'Blondel par heim Novembre 1851. LM' plume et encre brune 94 x 119 mm.
Chasse … courre : A stag hunt signed and dated 'Carle Vernet 1792' oil on canvas 503/4 x 77 in. (129 x 195.5 cm.) PROVENANCE Vicomte Pernety, 1906 (according to Dayot, 1906, see literature, below). Private collection and by descent to the present owner. LITERATURE A. Dayot, L'art et les artistes, Paris, 1906, pp. 1-7, no. 13, illustrated. Idem, Carle Vernet, Paris, 1925, p. 37, illustrated. H. B‚n‚zit, Dictionnaire des peintres, sculpteurs, dessinateurs, et graveurs, 1976, Paris, p. 464. P. Bordes and R. Michel, Aux Armes et Aux Arts! Les Arts de la r‚volution 1789-1799, Paris, 1988, p. 47, fig. 39. J.F. Heim, Les salons de la r‚volution fran‡aise, Paris, 1989, p. 373. Collection des livrets des anciennes expositions au salon, 1991, VII, p. 23. B. Auvray, Dictionnaire g‚n‚ral des artistes de l'‚cole fran‡aise, 1997, p. 656. P. de Brantes, 'Chasse … Courre sous l'Ancien R‚gime', Equus et les Chevaux, Paris, XXVIII, April/May, 1997, pp. 6-7. EXHIBITION (Probably) Salon of 1793, no. 197, 'Une Chasse, dans le genre Anglais, au moment de l'attaque.' Paris, Galerie Charpentier, Carle Vernet, January-February 1925, no. 2. Paris, Palais des Beaux-Arts de la ville de Paris, Le Paysage fran‡ais de Poussin … Corot, May-June 1925, no. 325, pl. 15. Tours, H“tel de Ville, La chasse et la f“ret, 1943, no. 134. Paris, Galerie Charpentier, L'Automne, 1950, pl. 24. Paris, Galerie Charpentier, Cent chefs d'oeuvre de l'Art Fran‡ais, 1957, no. 104, ' Rendez-vous de chasse … M‚r‚ville chez le comte de Laborde.' Tours, Mus‚e des Beaux-Arts, L'art ancien dans les collections priv‚es de Touraine, 12 July-20 September 1959, no. 55. NOTES Third son of the artist Joseph Vernet, Carle was born in 1758 in Bordeaux, where his father was at work on his masterpiece series of the Ports de France which had been commissioned by the marquis de Marigny for King Louis XV. A precocious pupil, Carle was taught to paint by his father, but at the age of eleven entered the atelier of Nicolas-Bernard L‚pici‚ (see the Portrait of Carle Vernet by L‚pici‚ in the Louvre). By the age of fifteen, as described in his father's account books, Carle had become passionate about horses and riding, and regularly attended hunts. The horse was to become his favourite subject matter in his art. In 1779, the year he received second prize in the prix de Rome (after Jacques-Louis David) for a David and Abigail (present whereabouts unknown), Carle Vernet gave his father a fine oil study of a racing horse (present whereabouts unkown). In 1782, having won the Prix de Rome, he visited that city, where he was naturally drawn to the work of Raphael and Giulio Romano. Back in Paris, he married the daughter of the artist Moreau le Jeune in 1787 and exhibited regularly at the Salon between 1789 and 1836. On the death of his father, Carle inherited from him rooms at the Louvre, where his wife was to give birth to Horace Vernet, later also to become an artist. Profoundly affected by the Revolution - he was wounded by a bullet in 1789, and his sister Emilie Chalgrin was guillotined - he later turned to leading a more light-hearted existence, frequenting places such as the Caf‚ Foy, where artists of the era such as Isabey and Boilly, would meet. The latter exhibited in the salon of 1798 L'atelier d'Isabey (Paris, Louvre), where Vernet can be seen in the foreground with the painter LethiŠre. Carle Vernet's talent as a painter, draftsman and lithographer was well-known to his contemporaries, and he received important commissions to paint grand-scale scenes of recent history. His Battle of Marengo earned him praise from Napoleon and a L‚gion d'Honneur. He was also a great amateur of hunting and frequently joined in the duc d'Orl‚ans' parties. The latter commissioned from him a picture of a day's hunting he had spent with the duc de Chartres (Chantilly, Mus‚e Cond‚). Painted in 1792, during the years of the Terror, this picture was very probably one of two by the artist exhibited at the Louvre Salon of 1793, described as 'Une Chasse, dans le genre anglais, au moment de l'attaque'. Such descriptions were rarely detailed, but the dimensions do correspond to this picture, if the frame is included (see Collection des livrets des anciennes expositions au salon, 1991, VII, p. 23). The reception of the critics to the picture was highly favourable - the work was described by one as 'l'ouvrage le plus capital du salon' ( Explication par ordre des num‚ros et jugement motiv‚ des ouvrages de peinture, sculpture, architecture et gravure expos‚s au Palais National des arts, 1793, XVIII, no. 459, and see also 'Observations sur le salon du Louvre', Courrier fran‡ais, 1793, no. 243). The picture is certainly that exhibited in Paris in 1925 (see above) as Une partie de chasse … M‚r‚ville chez le marquis Fran‡ois de Laborde. The latter was an important collector and had bought Le grand triomphe de Paul-Emile (Metropolitan Museum of Art, New York), exhibited by the young Vernet at the Salon of 1789. The identification of the setting as M‚r‚ville, home to the comtes de Laborde, is however unlikely. Although the certain identification of the people depicted in the present picture has not yet been possible, it is likely that the man preparing to mount his horse on the right is a portrait of the artist (compare, for example, the portrait of Carle Vernet in Joseph Vernet's Mediterranean harbour at sunset with the artist and his family of 1788, sold in these Rooms, 10 July 1998, lot 43). The precedent for the portrayal of the nobility hunting had been well established in France by this time. Jean-Baptiste Oudry's Louis XV Hunting Stag in the Forest of Saint-Germain, dated 1730, painted for Marly (and now in Toulouse, Mus‚e des Augustins) was widely known and effectively made Oudry's career. The present work captures all the elegance of that picture but concentrates more on the landscape in which the pastime is practiced than Oudry's picture, which focuses equally on the huntsmen and the dogs attacking the stag. The broad composition in the present work, with the large tree on the left playing such an important part, and the sweeping landscape beyond, seems to recall some of the hunting scenes by the great English artist George Stubbs, and, in particular, his Grosvenor Hunt of 1762, in the collection of the Duke of Westminster - a picture that was itself possibly inspired by Oudry's canvas of 1730.
inscribed on the reverse of panel F. Heim/ Entrée de Charles VIII a Naples oil on panel In 1828 Heim was commissioned to decorate the vaulted ceilings of the Antiques Room in the Musée Charles X (part of the Musée du Louvre, Paris). This series depicted eight subjects from French history. The present composition is a sketch for the larger work of the same title by Heim located on the north side of the Antiques Room (see I. Compin and A. Roquebert, Catalogue sommaire illustré des peintures du Musée du Louvre et du Musée d'Orsay, 1986, vol. III, Ecole française, p. 306, inv. 5308).
inscribed on the reverse of panel F. Heim/ Entrée de Charles VIII a Naples oil on panel In 1828 Heim was commissioned to decorate the vaulted ceilings of the Antiques Room in the Musée Charles X (part of the Musée du Louvre, Paris). This series depicted eight subjects from French history. The present composition is a sketch for the larger work of the same title by Heim located on the north side of the Antiques Room (see I. Compin and A. Roquebert, Catalogue sommaire illustré des peintures du Musée du Louvre et du Musée d'Orsay, 1986, vol. III, Ecole française, p. 306, inv. 5308).
indistinctly signed and dated lower left 1824 oil on canvas Heim began his artistic career at an early age studying in the studio of Vincent (1746-1816). In 1805, at the age of eighteen, he competed in his first Prix de Rome and in 1807 won the Premier Grand Prix with Thésée vainqueur du Minotaure (École nationale supérieure des beaux-arts, Paris). While in Rome, and under the tutelage of Lethière, he made copies after Michelangelo and Bolognese masters of the 17th century. On his return to Paris he exhibited in the Salons and after the Restoration, Heim, like many other artists of the time, was given commissions by the Church and State. He was requested to depict subjects that ranged from Biblical to decorative historical pictures (for an example see lot 73). In the Salon of 1824 Heim exhibited a large canvas of The Sack of Jerusalem by the Romans (currently in the Musée du Louvre, Paris). This grandiose painting displayed Heim's talent for translating energy and drama onto canvas. The present composition is one of two known preparatory sketches for this larger picture. Literature: J.P. Cuzin, "François-Joseph Heim (1785-1865), peintre d'esquisses", Bulletin de la Société de l'histoire de l'art français, 1992, p. 206, illus. fig. 15 Probably I. Julia, Les années romantiques, La peinture française de 1815 à 1850, catalogue of the exhibition, 1995, under cat. no. 111 (the dimensions listed differ slightly)
