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Jean-Baptiste-Camille Corot - Marietta, or Roman Odalisque
Jean-Baptiste Carpeaux - Mademoiselle Fiocre
Louis-Ferdinand  Lachassaigne - Vase - Van Dyck painting his first canvas
Charles Durand dit Carolus-Duran - Mademoiselle de Lancey
Jean-Auguste-Dominique Ingres - Francis I Receives the Last Breaths of Leonardo da Vinci
Fernand Pelez - The Death of Emperor Commodus
Eugène Delacroix - Combat of the Giaour and the Pasha
Jacob Mardochée known as Jacob Petit - Mameluke clock
Jean-Baptiste Carpeaux - Buste de Samuel Welles de La Valette
Gustave Courbet - Courbet au chien noir
Édouard Manet - Portrait of Théodore Duret
Louis Léopold Boilly - Portrait of Mademoiselle Athénaïs d’Albenas
Paul Gauguin - Old Man with a Stick
Jean-Baptiste Carpeaux - Ugolino
Jan  Van Beers   - Les funérailles de Charles le Bon, Comte de Flandre, célébrées à Bruges dans l’église Saint-Christophe le 22 avril 1127
Gustave Courbet - La sieste pendant la saison des foins (montagne du Doubs)
Alfred de Dreux - Portrait of Mr and Mrs Mosselman and their two daughters
Jean-Désiré Ringel d'Illzach - Portrait of Jeanne et Mrs Albert Dammouse
Octave  Penguilly L’Haridon  - Côtes de Belleville
Gustave Doré - The Vale of Tears
Gustave Doré - L’Ascension

Pair of chairs from the Gothic study of the Comtesse d’Osmond

François-Honoré-Georges Jacob, know as
Paris, 1770 – Paris, 1841
circa 1817-1820
Gilded and carved wood, modern upholstery
146 x 54 cm

The chair backs bear a crest with the coat of arms of the Osmond family, topped with a count’s crown and the motto “Nihil obstat”.

In 1817, Aimée Destillères married Rainulphe d’Osmond, aide de camp of the Duke of Angoulême and son of the Marquis d’ Osmond, French ambassador to England. The Comtesse d’Osmond’s Gothic study occupied a room in her town house in the chaussée d’Antin district on the rue Basse-du-Rempart. The Comtesse d’Osmond decorated a reception room in the troubadour style at the far end of the first-floor gallery overlooking the boulevard. With their high backs in the shape of Gothic windows, the Comtesse d’Osmond’s chairs are some of the earliest examples of the “cathedral” style which became widespread in France, principally between 1825 and 1835.

Inventory number: 
PPO03509 et PPO03510
Inventory number : PPO03509 et PPO03510
Acquisition details : Purchase, 1990
Room 24. Ingres and Troubador art
The 19th century
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