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Carle André van Loo (1705 - 1765)
A Nymph
Black chalk, white heightening
418 x 343 mm (16 7/8 x 13 1/2 in.)
Inscribed on the verso in pen and brown ink: N° 414/ Coustou

Carle van Loo is one of the most important French painters of the eighteenth century. The present drawing is preparatory for the painting Naiad today in the Nationalmuseum of Stockholm.
Philibert-Benoît de La Rue (1718 - 1780)
A Study of a Horse's Head
Black chalk, stumping, white chalk
462 x 296 mm (18 1/8 x 11 5/8 in.)

The painter Philibert-Benoît de La Rue specialized in battles scenes and equestrian subjects. He worked in the studio of François Boucher for whom he drew animals, especially horses. He studied with Charles Parrocel. Drawn from life, the present study of a horse was probably executed in the Grande Écurie de Versailles where the artist was authorized to draw the horses in 1751 and 1753.
Augustin Pajou (1730 - 1809)
Study after the Sculpture Psyche without Wings
Black chalk
173 x 138 mm (6 3/4 x 5 3/8 in.)

Provenance: Louis Deglatigny (L.1768a); Galerie Cailleux

The present drawing by the French sculptor Augustin Pajou is a study after an antique sculpture now in the Capitoline Museum. Pajou was a prolific draftsman. He made many drawings after sculptures and bas-reliefs by other artists. There is an other drawing by Pajou of the same sculpture in the National Gallery of Art (Washington D.C.).
Jacques-Louis David (1748 - 1825)
Academy of a Man as Hercules
Red chalk
670 x 357 mm (26 3/8 x 14 in.), three sheets of paper joined together
Signed bottom center in red chalk: L. David f

Jacques-Louis David executed this Academy of a Man as Hercules around 1778, during his stay at the French Academy in Rome. David reused this pose at a later date for a figure in a preparatory drawing for his painting The Death of Socrates today in The Metropolitan Museum of Art (New York). Only two academies in red chalk by Jacques-Louis David are known today.
Jean-Claude Naigeon (1753 - 1832)
Alexander pays Homage to the Remains of Darius
Pen and brown ink, brown wash, black chalk, graphite white gouache
505 x 780 mm (19 7/8 x 30 3/4 in.)

Provenance: The artist's workshop; the family of the artist; by descent

Born in Dijon in 1753, Jean-Claude Naigeon studied at the Academy of Art in his hometown with François Devosge. He won the Rome Prize of the States of Burgundy in 1780. After five years in Rome, he settled in Paris. In 1811, he became an art professor at the Academy of Dijon, a position he held until his death in 1832.
Executed in pen and ink washes, Alexander pays Homage to the Remains of Darius is typical in technique and subject of the neoclassical aesthetic, of which Jean-Claude Naigeon was an admirable representative.
Jean-Jacques François Le Barbier the older (1738 - 1826)
The North Face of the Eiger with the Grindelwald Glacier
Watercolor on pencil
630 x 969 mm (24 3/4 x 38 1/8 in.)

Painter, illustrator, and writer, Jean-Jacques François Le Barbier probably executed this landscape after his stay in the Swiss Alps between 1776 and 1780. He worked there on the illustrations of Tableau de la Suisse ou voyage pittoresque fait dans les treize cantons du Corps Helvétique published by Beat Zurlauben between 1780 - 1786. Our drawing is exceptional for its large size, and its subject, as the depiction of Alpine scenery was very rare in eighteenth century French art.
Pierre-Paul Prud'hon (1758 - 1823)
The Bath of Venus or The Innocence
Black and white chalk
382 x 244 mm (15 x 9 5/8 in.)
Inscribed in pen and brown ink lower left: P. Prudhon
Inscribed in pencil on the verso lower left: Cailleux

Provenance: Charles Clément, Paris; Michel Clément, Paris; Galerie Cailleux, Paris; Private collection, Paris; Galerie Krugier, Geneva; Private collection, Switzerland

Our drawing is an early study for the artist's painting The Bath of Venus today in the Musée du Louvre.
Eugène Delacroix (1798 - 1863)
Branches of Physalis and Daisies
Pastel
262 x 402 mm (10 1/4 x 15 7/8 in.)

Provenance: Grasset collection; Pierre Dubaut, Paris; Private collection; Sale Audap-Godeau-Solanet, Hôtel Drouot Paris, 3rd April 1992, lot 80; Monsieur Y. collection

The present study of Branches and Daisies by Delacroix is part of a large group of drawings of floral and botanical subjects by the artist. These drawings were not made specifically in the preparation for paintings, but kept in a portfolio, and, as was probably the case here, given as gifts to friends and acquaintances.
Auguste Raffet (1804 - 1860)
The Small Branch of the Seine and Notre-Dame, View from the Former Saint-Michel Bridge
Oil on paper laid down on panel
26,4 x 22,5 cm (10 3/8 x 8 7/8 in.)
Signed and dated in the lower left: Raffet 1832

Provenance: Auguste Bry (Raffet's editor), Paris; then by descendent

Painter, illustrator and lithographer, Auguste Raffet was admitted to the École des Beaux-Arts of Paris in 1824. Although landscapes are rare in Raffet's works, the present painting is a fortunate witness to how the île Saint-Louis and Notre-Dame appeared in 1832, at the time of the publication of Victor Hugo's famous novel, the Hunchback of Notre Dame (1831).
Jean-François Millet (1814 - 1875)
Landscape at Vichy
Pen and brown ink, framing lines in pen and brown ink
218 x 356 mm (8 9/16 x 14 in.)
Situated in pen and brown ink lower right: Vichy

Provenance: Unidentified collection; Jan Krugier, Switzerland

Jean-François Millet went to Vichy every summer between 1866 and 1868. During his stays there, he executed many landscapes in pen and brown ink. The Musée du Louvre owns another Vichy landscape by Millet of the same view and drawn in the same energetic and lively line.
Victor Hugo (1820 - 1885)
Studies after Decorative Sculpture of African Torch Bearers
Brush and brown wash
458 x 357 mm (18 x 14 in.)
Inscribed in pen and brown ink right center: plus/avant

Provenance: The artist's estate (cote Gatine 108/847); Georges Hugo (the artist's grandson); François Hugo (son of Georges Hugo); Jan and Marie-Anne Krugier-Poniatowski, Switzerland

In parallel with his literary work, Victor Hugo executed more than 3000 drawings during his life time. The present drawing of African torch bearers were copied by Hugo after decorative sculptures that the writer owned. Hugo must have had a fondness for these sculptures as he brought them with him to Guernesey during his exile from France.
NATHALIE MOTTE MASSELINK