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Jean-Baptiste de Champaigne (1631 - 1681)
View of the Aventine Hill with the Convent of the Saint Sabine Basilica in Rome
Grey wash and black chalk
230 x 369 mm, (9 1/16 x 14 6/16 in.)
Inscribed upper center in pen and brown ink: il monte Aventino; in black chalk: S. Sabina

Executed during his stay in Rome in 1658/1659, our drawing is one of only two known landscape drawings by Jean-Baptiste de Champaigne, nephew of the famous painter Philippe de Champaigne.
Charles Joseph Natoire (1700 - 1777)
Landscape with Ruins, Figures, and Animals
Black chalk, pen and brown ink, brown wash, white highlights on blue paper
236 x 355 mm
Inscribed in pen and brown ink lower right: C. Natoire 1758

Provenance:
Jean Masson (L.1494a); its first sale in Paris May 7-8, 1923, lot 157;
Sale Versailles 3 February 1963;
Solange and Georges Delauney;
Jean-Claude Delauney

Bibliography:
S. Boyer, Catalogue raisonné de l’œuvre de Charles Natoire, peintre du roi, Archive de l’Art Français, Vol. XXI, 1949, p. 31 - 107, n ° 645
S. Caviglia-Brunel, Charles-Joseph Natoire, Arthena 2012, p.181, n ° D36
Joseph-François-Pierre-Ignace Parrocel (1704-1781)
Three Woman Bathing (Diana and Callisto?)
black chalk, white chalk on a blue/grey paper
304 x 373 mm

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.
Jérôme François Chantereau (1710 - 1757)
Study of a Standing Soldier
Black and red chalk
251 x 122 mm (9 7/8 x 4 6/8 in.)
Inscription in pen and brown ink lower right: Le nain f.
Inscription in pen and brown ink on the verso, top center: noir sur papier bistré

Long considered a minor master working in the style of Watteau, Jérôme-François Chantereau is today appreciated due to about forty drawings given to him. The National Museum of Stockholm and the Musée du Louvre each hold a dozen sheets by Chantereau. The artist’s drawings are characterized by the use of the technique of red and black chalk with the occasional addition of white chalk, and stumping to soften the contours, as well as pastel. He seems to have preferred subjects from daily life as most of his figure drawings depict peasants, soldiers, and beggars.
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.
Jean-Claude Naigeon (1753 - 1832)
The Temple of Minerva in the Forum of Nerva
Pen and black ink, graphite
396 x 515 mm

Here Naigeon traces the picturesque intersection of Rome’s past with the daily life of its present day citizens. With time, Romans colonized the remains of this temple, building windows and balconies onto this formerly sacred site. The Romans nickname for these ruins was the colonnacce. The Corinthian portico is decorated with the statue of Minerva and a frieze illustrating the manual labors of which the goddess was the patron. It was seen at nearly eye level in the nineteenth century.
Emile Jean Horace Vernet (1789 - 1863)
Joseph's Coat
Graphite
verso: Studies of a Jacket, the Bust of a Man with Outstretched Arms, and the Lower Body of a Man seen from Behind
Graphite
360 x 260 mm (14 1/4 x 10 1/8 in.)

Provenance: In the estate of Horace Vernet until the sale in Paris, Hôtel Drouot, Etude Couturier Nicolay, 27 April 1994, lot 139
Théodore Géricault (1791 - 1824)
Cavalry Fight: Combat between Hussars and Mameluks during the Egyptian Campaign
Watercolor, pen and brown ink, graphite
131 x 163 mm (5 1/8 x 6 3/8 in.)

Provenance: Private collection, France

Bibliography:
Bruno Chenique, Citoyens du Monde. Noirs et Orientaux de Géricault, Paris, 2020, p. 228, fig. 127, illus.

The present drawing of a Cavalry Fight: Combat between Hussars and Mameluks during the Egyptian Campaign by Géricault is a recent discovery and exciting addition to the artist’s drawn oeuvre. During his career, the artist tackled several times the subject of the Egyptian campaign, a military expedition led by General Bonaparte between 1798 and 1801 in order to seize this country.
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.
Victor Hugo (1802 - 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.
Alexandre Gabriel Decamps (1803 - 1860)
Death and the Woodman
Charcoal, white chalk, pink pencil
247 x 196 mm, 9¾ x 7¾ inch.
Signed lower left: DECAMPS

Provenance : Private collection, Paris

Decamps was admired for the technical execution of his paintings and drawings, mixing different mediums in an innovative and sophisticated way. He would work the same subject several times using different techniques; in the 19th century, they talked about Les cuisines de M. Decamps. The theme of Death and the Woodsman was directly taken from Jean de la Fontaine’s fable: a woodsman, exhausted by his hard life and work, calls Death to deliver him from his suffering.
Jean-François Millet (1814 - 1875)
Hagar
Charcoal on blue paper, squared in black chalk
220 x 435 mm; 811/16 x 171/8 in.
Verso: An Art Dealer Visiting a Painter, his Family Visible in the Background; a Separate Study of a Mother and her Children before a Wagon with Driver
Charcoal

Provenance: Anonymous sale, Paris, Binoche Renaud-Giquello & Associés, 30 March 2012, n°37, illus.; Collection Aristophile

The present drawing is preparatory for the figure of Hagar painted by Millet in his painting Hagar and Ishmael in the Mesdag museum in The Hague. Commissioned in 1848 by the French government, the painting was never finished, possibly because of Millet's departure for Barbizon.
Adolphe Jacques Barthélémy Appian (1818 - 1898)
Large Landscape with a Lake
Large Lake Landscape
Charcoal
570 x 973 mm, 227/16 x 385/16
Signed and dated in charcoal lower right: Appian 1885

Adolphe Appian favored the use of charcoal for drawing and is one of the most important fusainistes of the nineteenth century. Exceptionally large, our drawing is a window open on a calm and serene nature in which the man, represented in the center of the composition, is completely dominated.
NATHALIE MOTTE MASSELINK