1 November 2026

01

Study for the Muse Euterpe

Black and white chalk, within black chalk framing lines · 25.1 × 19.8 cm

An animated pose and assured chalk modelling distinguish this study of the muse of music. Discussed by Jennifer Montagu in her study of Le Brun’s early work, the sheet comes from the collection of Louis-Antoine and Véronique Prat. The precision of the gesture and suppleness of the body give it a particularly lively presence.

02

Triumphant Flora

Oil on canvas, tondo · 279 × 270 cm

This monumental tondo deploys spiralling putti, bold foreshortening and luminous space characteristic of late Baroque ceiling decoration. The subject may evoke Flora’s triumph over winter. The catalogue states that Riccardo Lattuada confirmed the attribution from photographs; the canvas’s exceptional scale should be considered before acquisition.

03

The Adoration of the Shepherds

Oil on panel · 65 × 64.5 cm

The Virgin’s delicate features, carefully articulated figures and jewel-like palette distinguish this early sixteenth-century Netherlandish devotional painting. Its near-square format may correspond to a former central panel of a triptych, a proposal rather than a certainty about its original arrangement.

04

Portrait of Charles II Gonzaga-Nevers, Duke of Mantua and Montferrat, as Grand Master of the Preziosissimo Sangue di Cristo

Oil on canvas; in a nineteenth-century carved, gilt and polychrome wooden frame · 187 × 134 cm

An imposing dynastic portrait of Charles II Gonzaga-Nevers, in which ceremonial costume, crimson drapery and the insignia of the Preziosissimo Sangue di Cristo assert the sitter’s princely status. Its large format and elaborate display give the effigy considerable presence. The auction house dates it circa 1650.

05

Portrait of Catharina van Noort, traditionally identified as the artist’s wife

Oil on canvas · 41.6 × 33 cm

The sitter is traditionally identified as Catharina van Noort, whose features recur in several Jordaens family portraits. Julius Held associated this intimate study with the mid-1620s. The warm palette and free handling create an unusual sense of familiarity, supported by an extensive exhibition and publication history.

06

The Voice of the Cello

Life-size carved marble, signed JUST BECQUET, on a modern black lacquered base · Marble: 162 cm high; overall: 233 cm high

A synthesis of sculpture and music by François Rude’s last pupil, himself an accomplished cellist. Shown at the Paris Salon of 1893 and the Exposition Universelle of 1900, this life-size marble holds a particularly personal place in Becquet’s work. The supple pose and attention to the instrument give it an interest beyond technical accomplishment alone.

07

The Seven Works of Mercy

Oil on panel, signed MDVS and dated 1595 · 82 × 137 cm

A richly populated composition of late Flemish Mannerism, combining Netherlandish descriptive precision with animated figures. The seven corporal works of mercy unfold beneath the risen Christ in a dense yet organised ensemble. The variety of faces, costumes and gestures makes it a particularly rich narrative and devotional image.

08

The Visit to the Frigate; The Parade at Nicolet’s; The Passage of King Louis XV; Madame du Barry (set of four)

Watercolour and gouache on paper, a set of four, all signed · 123.5 × 44.7 cm

Leloir’s scholarly knowledge of eighteenth-century costume enriches these lively evocations of court ceremony and popular entertainment under Louis XV. Their elongated formats and harmonious colours create a strong decorative unity. The catalogue does not give an execution date: the period depicted should not be confused with the date of the works.

09

The Frozen Scheldt with the City of Antwerp Beyond

Oil on panel, signed and dated 1666 · 53 × 85 cm

The only winter subject among the eighty-one paintings catalogued by Pierre Gustot, this signed and dated panorama ranks among Neyts’s ambitious works. The precise Antwerp skyline combines with a low horizon and luminous atmosphere. The city recedes into the distance, while skaters and stranded boats record both the pleasures and constraints of a frozen river.