Claude Monet, Impression, soleil levant, 1872 VS René Magritte, Le banquet, 1958 VS Claude Monet, Étretat, soleil couchant, 1883 VS René Magritte, Le soir qui tombe, 1964 VS Claude Monet, Soleil d'hiver à Lavacourt, 1879-1880 VS René Magritte, Le Monde des Images, 1961 VS Claude Monet, Soleil couchant sur la Seine à Lavacourt, effet d’hiver, 1880 VS René Magritte, Le banquet, 1957
Waiting for a loved one (1894). Carel Jozeph Grips (Belgian, 1825-1920). Oil on panel.
From a painter’s studio, the lady scans the street in search for her loved one, perhaps the painter who is in the process of working on a painting with palette and brushes ready and an open book, possibly a source for inspiration.
Manufactured by J. Warnant in Liege, Belgium for a shooting contest in Saumur, France c.1877 - serial number 5109. 11mm73 six-round cylinder, top break double action, star ejector. This revolver was won by Marie Joseph Chatelain, a future WW1 French general. Marksmanship contests were very common during the Belle Epoque, and gave rise to a number of fancy small arms being made in standard issue calibers - like the revolver 11mm73 round for the MAS Mle1873 revolver - to be won in them.
Designed by Charles François Galand c.1868 in Paris, adopted by the Russian Navy c.1870 and manufactured by the Nagant brothers in Liege, Belgium thereafter - ship rack number 727. 11mm Perrin six-round cylinder, double action, break action with automatic disc ejector, saw handle grip and reins trigger guard. I love the era in which you had “boarding revolvers”.
Manufactured by Fabrique Nationale Herstal in Belgium c.1950′s - serial number of the bottom one 72C50445. 9mm Parabellum 13-round removable box magazine, short recoil semi-automatic, Renaissance grade factory engravings, fakeass pearl grips. Fun fact, the FN Browning Hi-Power was originally designed to answer the French military trials of the 1920-30′s, but lost to the indigenous Mle1935 pistols.
Woman at the Piano with Cockatoo (c.1870). Gustave Léonard de Jonghe (Belgian, 1829-1893). Oil on panel.
“M. de Jonghe possesses a valuable quality, one which the schools of Antwerp and Brussels have sometimes too much sacrificed to the seductions of effect; we mean the quality of sentiment, without which Art is nothing more than a carcass grandly adorned.” – The Art Journal of London, 1866