Jean-Joseph Carriès (1855-1894)

Two passionate sculptors who had brief but meteoric careers embody the 19th-century’s dramatic sensibilities.

This work given by Joseph Sima to the wife and collaborator of Jean Ballard, head of Les Cahiers du Sud, illustrates the Surrealists’ interest in mythology.

Painted when the artist was not yet famous, this seaside subject puts people at the center of the composition.

Claude-François Julliot (1727-1794) probably commissioned these two pieces of furniture stamped Joseph, which were in the Comte de Merle’s collection. They are beautiful examples of the resurgence of copper and tortoiseshell "Boulle" marquetry early in the Louis XVI period.

This red chalk drawing by Charles-Joseph Natoire (1700-1777), a renowned Rococo painter and the teacher of Jean-Baptiste Greuze (1725-1805), displays all his talent as a draftsman.

This Jean-Léon Gérôme (1824-1904) painting found in an antique dealer’s collection recalls that, despite his academic reputation, he was a bold artist with no peer when it came to creating powerful images.

Known as a member of the Grand Jeu Group, Joseph Sima (1891-1971) sought a form of unity in representation in all of his work. A prime example of his landscapes of light, Ombres portées I (Cast Shadows I), is by an artist at the height of his powers.

In Perros-Guirec, the award this summer went to the original work of the Breton cabinetmaker and sculptor, who achieved a record, rivaling François Méheut and Édouard-Marcel Sandoz.

This iconic leporello by the New York artist opens a window on American Surrealism.

The marble from Madame Récamier's bedroom, which sold for €918,720 on Dec. 4 in Fontainebleau, is finally joining the Louvre "thanks to the gesture of the collector, who accepted the proposal to buy the statue on behalf of the museum". It will join the torchère that was preempted by the museum.