Delacroix 2018

Eugène Delacroix Drawings, Watercolors, Pastels, and Small Oils

This catalogue accompanies an exhibition on view from October 16 to November 20, 2018 Jill Newhouse Gallery 4 East 81st Street New York, NY 10028 Tel (212) 249-9216 email: info@jillnewhouse.com

www.jillnewhouse.com

Eugène Delacroix

Drawings, Watercolors, Pastels, and Small Oils

Essay by Arlette Sérullaz

Jill Newhouse Gallery 4 East 81st Street New York, NY 10028 Tel +212 249 9216 email: info@jillnewhouse.com www.jillnewhouse.com

Galerie de Bayser 69 rue Sainte Anne 75002 Paris Tel +33 1 47 03 49 87 www.debayser.com

“ . . . malgré mon désir de systématiser l’instinct m’emportera toujours . . .”

“ . . . in spite of my desire to be methodical, I shall always be swayed by instinct.”

Journal entry, March 14, 1847

De la réalité au rêve, un dessinateur d’exception, Eugène Delacroix Arlette Sérullaz ENGLISH VERSION ON PAGE 11 “Delacroix attachait, & non sans raison, le plus haut prix à ses cartons; il ne les ouvrait que pour ses élèves ou pour ses amis les plus intimes. Il ne les a jamais vidés pour en tirer profit. Il voulait qu’après sa mort ils vinssent comme un argument solennel protester contre les reproches incessants d’improvisation & de facilité qu’on lui adressait, & prouver qu’une facilité semblable à exprimer l’idée sans le secours préalable de l’étude la plus persistante eût été un phénomène sans exemple dans l’histoire de l’art” souligne Philippe Burty dans sa préface au catalogue de la vente de l’atelier Delacroix qui se tint à Paris, à l’Hôtel Drouot, du 17 au 27 février 1864. 1 En exigeant pareille dispersion en vente publique, Delacroix avait vu juste. Chargé de mettre définitivement en ordre à cet effet les dessins, pastels et aquarelles (environ six mille) de son ami, Burty fut certainement impressionné par la sidération de celles et de ceux accourus dès le premier jour précédant la vente. Le critique Théophile Silvestre, présent lui-aussi, observa avec émerveillement la ruée de cette foule: “( . . . ) Une atmosphère d’étuve de rhumes et de fluxions de poitrines n’a effrayé ni hommes, ni femmes ( . . . ) En quatre heures, pas une âme sortie; impossible, d’ailleurs: les salles adjacentes et les corridors latéraux étaient comble.” Au soir du 22 février, ayant suivi attentivement les premières enchères sur les dessins, Silvestre devait ajouter: “Ce qui a vraiment étonné tout le monde à cette vente publique des aquarelles, des dessins et des griffonnements de Delacroix, c’est l’inépuisable abondance du maître, la variété de ses motifs et l’acharnement qu’il mettait à rendre sous toutes ses formes les sujets dont il avait été frappé. On reconnaît bien là l’homme qui produisait sans cesse pour soulager son esprit et son cœur, et qui avait condamné sa main à une escrime perpétuelle.” 2

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Cat. no. 27

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7 Accusé dès ses premières apparitions au Salon d’être incapable de dessiner correctement, Delacroix n’a pas cherché de son vivant à réfuter les attaques réitérées de ses détracteurs. Dans son Journal, au reste, il a fort peu parlé de ses dessins ou du Dessin en tant que tel, tandis qu’il est revenu inlassablement sur les questions de la couleur et des reflets lumineux. Nulle entrée spécifique à propos du dessin ne figure dans l’ébauche de son Dictionnaire des Beaux-Arts, commencé en 1857, seulement cette mention lapidaire: “Dessin par les milieux ou par le contour.” 3 Trois ans plus tôt, cependant, au cours d’un séjour à Champrosay en avril 1854, l’artiste avait consigné dans son journal une plaidoirie véhémente pour l’une des formes les plus vivantes du dessin selon lui, le croquis, insistant plus particulièrement sur un aspect à ses yeux fondamental: “L’idée première, le croquis, qui est en quelque sorte l’œuf ou l’embryon de l’idée, est loin ordinairement d’être complet; il contient tout, si l’on veut, mais il faut dégager ce tout, qui est autre chose que la réunion de chaque partie. Ce qui fait précisément de ce croquis l’expression par excellence de l’idée, c’est non pas la suppression des détails, mais leur complète subordination aux grands traits qui doivent saisir avant tout. ( . . . ) Chez les grands artistes, ce croquis n’est pas un songe, un nuage confus, il est autre chose qu’une réunion de linéaments à peine saisissables; les grands artistes seuls partent d’un point fixe et c’est à cette expression pure qu’il leur est si difficile de revenir dans l’exécution longue ou rapide de leurs ouvrages. L’artiste médiocre, occupé seulement du métier, y parviendra-t-il à l’aide de ces tours de force de détails qui égarent l’idée, loin de la mettre dans son jour?” 4 A reprendre les commentaires qu’inspirent à Delacroix le traité de son élève et amie, Elisabeth Cavé, Le Dessin sans maître, il est du reste évident que l’artiste n’était pas indifférent aux problèmes du dessin: “Dessiner n’est pas reproduire un objet tel qu’il est, ceci est la besogne du sculpteur, mais tel qu’il paraît, et ceci est celle du dessinateur et du peintre; ce dernier achève, au moyen de la dégradation des teintes, ce que l’autre a commencé

au moyen de la juste disposition des lignes.” 5 Peu enclin à prendre position du côté des partisans de la couleur ou du côté des partisans de la ligne, il a pris sans doute pris plaisir à brouiller les pistes en prônant le dessin de coloriste. Delacroix a eu recours à toutes les techniques du répertoire traditionnel, hormis la miniature et la pointe de métal. Il les a poussées jusqu’à leur extrême limite, privilégiant tantôt l’une, tantôt l’autre, et bien souvent les associant de façon experte. Si le trait continu, unique, qui enserre l’objet ou la figure dans une épure stylisée, n’est pas son propos, sa préférence pour le trait double, plus ou moins fin, en spirale ou en lacis, est en revanche sans limites. Delacroix dessinateur n’a pas son pareil pour user de retouches, de superpositions, d’entrecroisements de lignes nues ou pour combiner lignes et taches, de façon à rendre la force et la frénésie de l’élan vital. Sa main ne cherche pas à définir la forme, mais à la suggérer. Ayant acquis la conviction que certaines lignes “sont des monstres: la droite, la serpentine régulière, surtout deux parallèles. Quand l’homme les établit, les éléments les rongent. Les mousses, les accidents rompent les lignes droites de ses monuments. Une ligne toute seule n’a pas de signification; il en faut une seconde pour lui donner de l’expression.  ( . . . ) Jamais de parallèles dans la nature, soit droites, soit courbes,” 6 il n’a cessé d‘approfondir ses recherches dans tous les domaines du dessin et son écriture s’est sensiblement transformée au cours des années, sacrifiant peu à peu l’accessoire à l’ensemble et le détail à l’essentiel. Parvenu au terme de sa vie, Delacroix a laissé libre cours à son imagination, libéré définitivement de la fastidieuse et réductrice problématique opposant la création à la représentation. Si le musée du Louvre possède le fonds le plus important au monde de dessins de Delacroix, avec un ensemble exceptionnel d’albums de croquis, la plupart des grands musées français et étrangers conservent dans leurs collections nombre de feuilles d’importance. Pourtant, il

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apparaît encore sur le marché de l’art de beaux dessins qui font alors le bonheur des collectionneurs privés, dès lors qu’ils n’ont pas été retenus par une institution publique. La sélection proposée par Jill Newhouse et Galerie de Bayser permet ainsi de découvrir—ou de retrouver—une quarantaine d’œuvres couvrant la quasi totalité de la carrière de Delacroix et dont l’historique peut être souvent suivi depuis la vente de l’atelier de Delacroix en 1864 et le passage dans d’illustres collections d’artistes, d’amateurs ou d’historiens: Edgar Degas, Jean-Baptiste Carpeaux, le comte Charles Edgar de Mornay, le baron Joseph Vitta, le docteur Georges Viau, Paul-Arthur Chéramy, Philippe Burty, etc . . . Feuilles abouties ou croquis rapides, copies, recherches pour des peintures connues ou quelque cycle décoratif, paysages liés à des souvenirs de jeunesse et au voyage en terre africaine, copies, félins et chevaux . . . autant de témoignages attestant, si besoin est, que la pratique assidue du dessin a été pour Delacroix le ferment régénérateur qui lui a permis de porter au plus haut les ressources si diverses de son art. Par la qualité de leur exécution unissant la force linéaire et la subtilité de la touche, par leur mise en page insolite, par le rendu du mouvement ou de la lumière, par le raffinement des détails ou le pouvoir suggestif des lignes rapides, sinueuses, une mention particulière doit être accordée, me semble-t-il, à la Feuille d’études pour le plafond du Salon du Roi, Palais Bourbon (Assemblée Nationale), Paris (cat. no. 21), au Lion attaquant un serpent (cat. no. 33), aux Feuille d’études de chevaux, tête d’oriental, nu feminin et paysage, exécuté sur un papier du Ministère de l’intérieur (cat. no. 27), Intérieur d’une maison morocaine (cat. no. 9), au Caïd ben Abou chef militaire dans un intérieur d’une maison marocaine (cat. no. 7).

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Cat. no. 9

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From Reality to Dream, Eugène Delacroix, An Exceptional Artist Arlette Sérullaz

“Delacroix ascribed, and not without reason, the highest value to the content of his portfolios, works which he had made only for his students or for his closest friends. He never sold the contents for profit. He hoped that after his death they would be considered a solemn defense against the incessant reproaches for improvisation and facility that were made against him, and prove that the capacity to express an idea without the security of a painstaking prior study was a phenomenon without parallel in the history of art,” so proclaimed Philippe Burty in his preface to the catalogue for the sale of Delacroix’s studio that took place from February 17–27, 1864. 1 By demanding that his work be dispersed in this public manner, Delacroix was right. Assigned the task by his friend of making a definitive inventory for the purpose of the sale of approximately 6000 drawings, pastels, and watercolors, Burty was certainly impressed, and astonished by the public rushing in the day before the sale. The critic Théophile Sylvestre, who was also present, observed the fervor of the crowd: “A steamy, tubercular atmosphere deterred neither men nor women (. . .) In four hours, not a soul exited; and in any event it was impossible: the adjacent halls and the side corridors were packed.” On the evening of the February 22, having attentively followed the first bids on the drawings, Sylvestre added: “What really amazed everyone at this public sale of watercolors, drawings, and sketches by Delacroix was the inexhaustible abundance of the master, the variety of his motifs, and the furious determination with which he rendered in all forms the subjects that had inspired him. We recognize here the man who ceaselessly produced in order to lift his spirit and his heart, and who had condemned his (own) hand to perpetual activity.” 2

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Accused from his very first appearances at the Salon of being incapable of drawing accurately, Delacroix did not seek in his lifetime to refute the attacks reiterated by his detractors. In his journal, at least, he barely wrote of his drawings or of drawing as such, while he tirelessly returned to questions about color and luminosity. No specific entry about drawing is found in the draft of his Fine Arts Dictionary, which he began in 1857, only this one pithy statement: “Dessin par les milieux ou par le contour.” 3 Three years earlier, however, during a visit to Champrosay in April 1854, the artist did record in his journal a passionate defense for what was, according to him, one of the most lively forms of drawing, le croquis (quick sketch) insisting in particular on one aspect that was fundamental in his view: “The first idea, the sketch—the egg or embryo of the idea, so to speak—is nearly always far from complete; everything is there, if you like, but this everything has to be released, which simply means joining up the various parts. The precise quality that renders the sketch the highest expression of the idea is not the suppression of details, but their subordination to the great sweeping lines that come before everything else in making the impression. (. . .) With the great masters, the sketch is no dream or remote vision; it is something much more than a collection of scarcely distinguishable outlines; great artists alone are clear about what they set out to do, and what is so hard for them is to keep to the first bure expression throughout the execution of the work, whether this be prolonged or rapid. Can a mediocre artist, wholly occupied with questions of technique, ever achieve this result by means of a highly skillful handling of details with obscure the idea instead of bringing it to light?” 4 In revisiting the comments that were inspired by Delacroix in the treatise of his student and friend Elisabeth Cavé “Le Dessin sans maître,” it is altogether evident that the artist was not indifferent to problems of drawing: “Dessiner n’est pas reproduire un objet tel qu’il est, ceci est la besogne du sculpteur, mais tel qu’il paraît, et ceci est celle du dessinateur et du peintre; ce dernier achève, au moyen de la

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dégradation des teintes, ce que l’autre a commencé au moyen de la juste disposition des lignes.” 5 With little inclination to take a position on the side of the partisans of color or of line, he no doubt took pleasure in covering his tracks by extolling the drawing of the colorist. Delacroix had recourse to all the techniques of a traditional repertoire, with the exception of the miniature and of metalpoint. He pushed the techniques to their extreme limit, favoring one, and then another, and frequently combined them in an expert way. If the creation of a continuous unique line that surrounds the object or the figure in a stylized sketch is not his intention, his preference for the doubled line, more or less refined, in a spiral shape or in cross-hatching, is nevertheless without limits. Delacroix the draughtsman has no equal in the use of retouch, of superimposing, of intertwining simple lines or combinations of lines and marks to render the force and the frenzy of the elan vital. His hand does not strive to define the form, but to suggest it. Having acquired the conviction that certain lines “sont des monstres: la droite, la serpentine régulière, surtout deux parallèles. Quand l’homme les établit, les éléments les rongent. Les mousses, les accidents rompent les lignes droites de ses monuments. Une ligne toute seule n’a pas de signification; il en faut une seconde pour lui donner de l’expression. (. . .) Jamais de parallèles dans la nature, soit droites, soit courbes,” 6 he never ceased deepening his research on all aspects of drawing, and his writing was noticeably transformed over the years, sacrificing little by little the accessory to the whole and the detail to the essential. Approaching the end of his life, Delacroix gave free rein to his imagination, finally liberated from the fastidiousness that repressed creativity. If the Louvre Museum possesses the world’s most important collection of Delacroix drawings, with an exceptional set of sketchbooks, most of the great French and worldwide museums also hold a number of important works of paper in their collections. However, beautiful

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drawings can still appear on the art market that are the potential good fortune of private collectors, having not been snatched up by a public institution. The selection curated by Jill Newhouse Gallery and Galerie de Bayser thus allows us the discovery—or the rediscovery—of forty works spanning nearly the entirety of Delacroix’s career. Their provenance can in many cases be followed from the Delacroix studio sale in 1864 through the illustrious collections of artists, amateurs, or historians: Edgar Degas, Jean-Baptiste Carpeaux, the Count Charles Edgar de Mornay, the Baron Joseph Vitta, the Doctor Georges Viau, Paul-Arthur Chéramy, Philippe Burty, etc. Finished sheets or rapid sketches, copies, studies for well-known paintings or decorative cycles, landscapes tied to the recollections of youth or to the voyage to Africa, copies, cats and horses . . . so many witnesses attesting, as if there were a need, that the assiduous practice of drawing was for Delacroix the regenerating catalyst that allowed him to bring to the highest level the diverse resources of his art. For the quality of execution in uniting linear force and subtle touch, for the unique mise en page , for the rendering of movement or of light, for the refinement of details or the suggestive power of quick, sinuous lines, I would like to mention in particular the Studies of Figures for the Ceiling of the Salon du Roi, Palais Bourbon (Assemblée Nationale), Paris (cat. no. 21), Lion Attacking a Serpent (cat. no. 33), the Sheet of Studies of Horses, a Moroccan Man in a Turban, and a Landscape Drawing on Stationary from the French Ministry (cat. no. 27), Interior of a Moroccan House (cat. no. 9), and Military Chief ben Abou in a Morrocan Interior (cat. no. 7) .

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Endnotes 1. More precisely, from February 17th to 19th for the paintings, from February 22nd to 27th for the drawings, February 29th for the engravings and lithograph stones, then the plaster casts, easels, utensils and objects from the studio being sold March 1st at Delacroix’s house, 6 rue Furstenberg. 2. Théophile Silvestre, Documents nouveaux sur Eugène Delacroix , Paris: Michel Lévy frères, 1864, p. 43. 3. Eugène Delacroix Journal, Nouvelle édition intégrale établie by Michèle Hannoosh, Paris: 2009, Vol. I, p. 1065. 4. Champrosay, 24 avril 1854, Hannoosh, I, p. 755. English translation: Wellington, pp. 224–25. 5. Eugène Delacroix, “Revue des arts—Le dessin sans maître par Mme Elisabeth Cavé,” Revue des Deux Mondes , nouvelle période, Vol. 7, 1850, pp. 1139–46. 6. Hannoosh, II, p. 1600. Arlette Sérullaz is Conservateur général honoraire in the Department of Graphic Arts at the Louvre Museum. From 1984 until 2006, she was Director of the musée national Eugène Delacroix. Until 2017, she was in charge of the cur- riculum at the Ecole du Louvre and the Institut d’études supérieures des arts. Madame Sérullaz is the author of numerous publications on 19th century French and European art, and is a specialist in the work of Delacroix and of J. L. David.

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Figures, Portraits, Ecorchés

“La pratique d’un art demande un homme tout entier.”

“ The practice of art demands a man’s whole self.”

Journal entry, January 19, 1860

1. Academic Male Nude Académie de jeune homme

Pencil on paper 11 1 ⁄ 8 x 8 1 ⁄ 4

inches (28.5 x 21 cm) Annotated in ink lower left: par Eugène Delacroix à l’académie en 1817; and lower right: donné à arago (?)

2. Standing Female Nude Seen from Behind Académie de femme nue

Pencil on paper 9¼ x 6 3 ⁄ 8

inches (23.5 x 16.5 cm.) Estate sale stamp lower right: Lugt 838a

PROVENANCE Delacroix sale 1864, part of lot 653 ( Etudes de têtes et d’académies d’hommes et de femmes, d’après des photographies (. . .) 74 feuilles) or of lot 661 ( Un carton contenant des académies et des études d’après la bosse (. . .) 70 feuilles) ; Collection Paul-Arthur Chéramy; His sale, Paris, Galerie Georges Petit, May 5–7, 1908, no. 335; Dr. Willi Raeber, Basel, as of 1964; Galerie Gabriel Terrades, Paris, as of 2011.

LITERATURE Robaut, part of no. 1905 or 1922.

EXHIBITIONS Bremen, Kunsthalle, Eugène Delacroix 1798 – 1863, February 23– April 16, 1964, no. 103, p. 147 illustrated; London, Royal Academy of Arts, Delacroix, An Exhibition of Paintings, Drawings and Lithographs , October 1–November 10, 1964, no. 81.

3. Portrait of Madame Pierret Portrait de Madame Pierret

c. 1826 Pen and brown ink 8 3 ⁄ 8 x 12 3 ⁄ 4

inches (21.5 x 32.5 cm)

PROVENANCE Collection of Mme. Corneille Frédéric Vila, née Anne-Claire Pierret; Collection R. Escholier.

LITERATURE R. Escholier, Delacroix , Paris, 1826, Vol. I, p. 186, illustrated.

EXHIBITIONS Paris 1930, no. 541; Brussels, Palais des Beaux-Arts, Ingres, Delacroix, Dessins, Pastels et Aquarelles , January–February 1936, no. 118, illustrated; Paris, Galerie Maurice Gobin, Exposition de peintures, aquarelles & dessins par E. Delacroix, 1798 – 1863 , November 26–December 18, 1937, no. 2. This is a portrait of Marguerite-Jeanne-Aimée Heidinger, the wife of Delacroix’s childhood friend Jean-Baptiste Pierret. Pierret became a functionary in the Ministry of the Interior.

LOAN PRIVATE COLLECTION

4. Vicentini in Armor Vicentini en armure

c. 1826 Oil on canvas 9 5 ⁄ 8 x 7 3 ⁄ 8

inches (24.6 x 19 cm)

LITERATURE Robaut, no. 382.

L. Johnson suggests that the work he published in Vol. I, no. 32 (plate 27, Vol. II) might in fact be a copy of a lost work of the same title that he had not yet seen. He goes on to cite a painting called Etude d’après Bastien en cuirasse which appeared on a list compiled by Delacroix in the 1840s. We believe our painting to be the lost work to which Johnson refers and which is illustrated in Robaut, as no. 382, Seigneur en armure. Robaut’s illustration was made from a watercolor copy of the work by Frédéric Villot, a friend of Delacroix.

5. Two Studies of the Flayed Muscles of a Man’s Head and Shoulder Ecorché—Deux études de la tête et des épaules d’un homme

Pencil on paper 9 5 ⁄ 8 x 14 5 ⁄ 8

inches (24.5 x 37.3 cm) Estate sale stamp lower center: Lugt 838a Inscribed lower right: Clavicule and numbered: No. 203

PROVENANCE Delacroix sale 1864, possibly part of lot 659 ( Etudes d’ostéologie et de mythologie. Dessin et croquis. 71 feuilles ) . The drawings on this page and the next are rare examples of a particularly important drawing exercise in Delacroix’s milieu called the écorché or flayed anatomy study of the musculature beneath the skin of humans or animals. The discipline of the écorché has been explained by Ashley Dunn as reflecting “the idea that a familiarity with the underlying structures of the body was key to accurately presenting the human form.” (see MMA 2018, pp. 13–15) .

6. Studies of Flayed Leg and Arm Muscles Ecorché—Etude de jambes Pen and brown ink over traces of pencil and brown wash 8 x 12 1 ⁄ 8 inches (20.5 x 31 cm) Estate sale stamp lower right: Lugt 838a Numbered lower right: No. 291

PROVENANCE Delacroix sale 1864, part of lot 660 ( Etudes d’après des cadavres et des écorchés. Dessins aux crayons et à la plume. 55 feuilles ); Collection Marie Laforêt, Paris.

LITERATURE Robaut, part of no. 1924.

Trip to Morocco and Spain, 1832

“Ils sont plus près de la nature de mille manières: leurs habits, la forme de leurs souliers. Aussi la beauté s’unit à tout ce qu’ils font. Nous autres, dans nos corsets, nos souliers, étroits, nos gaines ridicules, nous faisons pitié. La grâce se venge de notre science.” “In many ways they are closer to nature than we— their clothes, for instance and the shape of their shoes. Hence there is beauty in everything they do. But we, with our corsets, narrow shoes, and tubu- lar clothing, are lamentable objects. We have gained science at the cost of grace.”

Journal entry, April 28, 1832, Tangiers

7. Military Chief ben Abou in a Morrocan Interior Le Caïd ben Abou chef militaire dans un Intérieur d’une maison marocaine

1832 Watercolor on paper 5 3 ⁄ 8 x 8 1 ⁄ 8

inches (13.9 x 20.7 cm.)

Signed lower left

PROVENANCE Gift of the artist to the Count Charles de Mornay in 1832; His sale, Paris, Hôtel Drouot, March 29, 1877, lot 18; Purchased by M. De Bourdesoulle for 660 FF; Collection Count and Countess de Mailly.

LITERATURE Robaut, no. 509; J. Guiffrey, Le voyage de Delacroix au Maroc , Paris, 1909, no. 18, p. 194; Arama 1987, p. 217, no. 15. EXHIBITIONS Paris, Institut du Monde Arabe, Delacroix en Maroc , September 27, 1994–January 1995, no. 56 illustrated.

LOAN PRIVATE COLLECTION

8. Morrocan Jewish Couple Couple juif marocain

1832 Watercolor on paper 3 5 ⁄ 8 x 4 7 ⁄ 8

inches (9.5 x 12.5 cm) Estate sale stamp lower right: Lugt 838a

PROVENANCE Delacroix sale 1864, lot 441, as Buste de juif et de juive ; Purchased by Etienne Arago for 160 FF; Possibly his sale, Paris, 1892, part of lot 102; Private collection, Paris, as of 1933.

LITERATURE Robaut, no. 1609.

EXHIBITION Paris, Musée de l’Orangerie, Voyage de Delacroix au Maroc en 1832 et exposition retrospective du peintre orientaliste M. Auguste , 1933, no. 208.

LOAN PRIVATE COLLECTION

9. Interior of a Moroccan House Intérieur d’une maison morocaine

1832 Watercolor and pencil on paper 4½ x 6 3 ⁄ 8 inches (11.5 x 16.4 cm) Estate sale stamp lower left: Lugt 838a Inscribed at top: vigne/plus recul (é) ; at bottom: blanc

PROVENANCE Delacroix sale 1864, part of lot 572 ( Etudes de croquis de personnages, costumes, intérieures, details d’architecture, etc.) ; Collection Edgar Degas; His second sale, Paris, Hôtel Drouot, November 15–16, 1918, no. 89; Purchased by Doctor Georges Viau (1855–1939); His sale, Succession Viau , Paris, Hôtel Drouot, December 11, 1942, part of lot 22 ( Architecture dans un jardin ). LITERATURE C. Ives, S.A. Stein, J.A. Steiner, and others, The Private Collection of Edgar Degas— A Summary Catalogue , New York, The Metropolitan Museum of Art, 1997, no. 266; Arama 2006, p. 208 (illustrated as Le Kiosque dans les jardins du Palais royal de Meknès , private collection). 

EXHIBITION Paris 1930, no. 337.

10. View of Algeciras, Spain Vue d’Algesiras , Espagne

Executed on board the sailing ship La Perle, January 22, 1832 Watercolor over pencil on paper 6 x 9 5 ⁄ 8 inches (15.5 x 24.5 cm) Estate sale stamp lower right: Lugt 838a Inscribed lower left: Algecirez

PROVENANCE Delacroix sale 1864, no. 581; Private collection, France, as of 1937.

LITERATURE Arama 2006, p. 26, illustrated.

EXHIBITION Paris, Galerie Maurice Gobin, Exposition du 26 novembre au 18 décembre 1937 . . . de peintures, aquarelles & dessins par E. Delacroix, 1798–1863 , November 26-December 18, 1937, no. 70.

LOAN PRIVATE COLLECTION

11. Spanish Singers Les Chantres en Espagne

Pen and brown ink 8 1 ⁄ 8 x 12 3 ⁄ 8 inches (20.7 x 31.5 cm) Estate sale stamp lower left: Lugt 838a

PROVENANCE Delacroix sale 1864.

Drawings after Old Masters

“Tous les grands problèmes d’art ont été résolus dans le seizième siècle. La perfection du dessin, de la grâce, de la composition, dans Raphaël. De la couleur, du clair- obscur, dans Corrège, Titien, Paul Véronèse. Rubens arrive, qui a déjà oublié les traditions de la grâce et de la simplicité. A force de génie, il refait un idéal. . . . Rembrandt le trouve dans le vague de la rêverie et de la tenue .” “All the great problems of art were solved in the sixteenth century. In Raphael, perfection of drawing, grace and composition. In Correggio, Titian and Paolo Veronese, perfection of color and chiaroscuro. Then Rubens, who had already forgotten the traditions of grace and simplicity. By sheer genius he created a new ideal. . . . Rembrandt found his ideal in the vagueness of reverie and in sustained perfection.”

Journal entry on a loose undated page kept in an 1847 notebook

12. Study of a Recumbent Figure after Medieval Sculpture Etude de gisant

Grey wash, watercolor and pencil on paper 3 5 ⁄ 8 x 5 7 ⁄ 8 inches (9.5 x 15 cm) Estate sale stamp lower left: Lugt 838a

PROVENANCE Delacroix sale 1864 , possibly  part of lot 655 ( Etudes d’après des costumes, ornements, etc., du Moyen Age et de la Renaissance. Aquarelles, dessins et croquis, 230 feuilles ).

13. Studies After the Ceiling Decorations of the Fontainebleau Palace Relevés de décor plafonnant château de Fontainebleau

Watercolor on paper 10 x 15 1 ⁄ 4

inches (25.5 x 39 cm) Estate sale stamp upper right: Lugt 838a Annotated in pencil in center: la largeur est dans. . . .

PROVENANCE Delacroix sale 1864, possibly part of lot 657 ( Ornements, détails d’architecture, etc. Aquarelles, dessins et calques. 87 feuilles .)

14. Study Sheet of a Warrior and a Medieval Page Feuille d’études avec des félins se battant, un homme nu et un homme en costume médiéval Brown ink wash and pencil on paper 9 x 13 3 ⁄ 4 inches (23 x 35 cm) Stamped lower right: Lugt 838 Inscribed in graphite lower right: lion acculé ; Annotated in brown ink: Donné par Grasset Nov. 1901

PROVENANCE Pierre Andrieu, his stamp lower right;

Collection E. Grasset; Collection J.F. Boucher; Anonymous sale, Paris, Hôtel Drouot, March 19, 1952, lot 5.

15. Sheet of Studies with an Allegory of Astronomy Feuille d’études avec une allégorie de l’astronomie

c. 1834 (?) Graphite on paper 12 1 ⁄ 2

x 8 inches (32 x 20.5 cm) Estate sale stamp lower right: Lugt 838a Inscribed in graphite at the left along the edge: (?) Architecture/les toiles/ Coupant les fleurs (?)/ se rappeler les vitraux de Valmont

PROVENANCE Delacroix sale 1864.

It has been suggested that this drawing is a copy after an allegorical work of the Fontainebleau School combined with studies for figures in the Salon du Roi mural.

16. Studies after Rembrandt’s Descent from the Cross and Death of the Virgin Etudes d’après La Déposition et La mort de la Vierge par Rembrandt

Pencil on paper 10 1 ⁄ 8 x 7 5 ⁄ 8

inches (25.8 x 19.5 cm) Estate sale stamp lower center: Lugt 838a

PROVENANCE Delacroix sale 1864, part of lot 639 ( Etudes d’après Rembrandt 4 feuilles ); Anonymous sale, Paris, Muizon-Rieunier, Hôtel Drouot, December 11, 2017, lot 71.

LITERATURE Robaut, part of no. 1961.

This drawing combines studies after two engravings by Rembrandt The Descent from the Cross of 1633 and The Death of the Virgin of 1639.

Rembrandt, Descent from the Cross , 1864, engraving

17. Figures after Goya’s Les Caprices Feuille d’études d’après Les Caprices de Goya

Pen and brown ink with wash on paper 8 7 ⁄ 8 x 13 1 ⁄ 2 inches (22.6 x 34.5 cm)

LITERATURE P. Fayos-Perez, “A New Drawing by Delacroix after Goya’s Capricho’s,” (article in preparation). This sheet combines figures from two plates of Goya’s Los Caprichos series of prints. On the left are two of the three figures from Plate 31, Ruega por ella ( She prays for her ) and on the right, the figure from Por que fue sensible ( Because she was susceptible ). It is believed that Delacroix acquired a complete set of Los Caprichos as early as 1824, when a Journal entry on March 19 recounts that he spent the evening looking at Goya in his studio with the painter Edouard Bertin. (see Kilman, “Delacroix’s Lions and Tigers; A Link Between Man and Nature,” The Art Bulletin , vol. 64, no. 3. September 1982, p. 453 and note 46.) Eleven study sheets after Goya passed through Delacroix’s posthumous atelier sale (lot 640), but there are also examples of Delacroix’s copies of Goya that do not bear the estate mark. Fifteen of these are in the Louvre, as Maurice Sérullaz noted in the 1984 inventory of drawings by Delacroix.

Left to right: Goya, Plate 31 from ’Los

Caprichos’: She prays for her (Ruega por ella) , 1799, etching and burnished aquatint Goya, Plate 32 from ’Los Caprichos’: Because she was susceptible (Por que fue sensible) , 1799, aquatint

18. Drawings After Old Masters Feuille d’études d’après les maitres Pen and brown ink with wash on paper 11 x 7 3 ⁄ 4 inches (28 x 20 cm) Estate sale stamp lower left: Lugt 838a

PROVENANCE Delacroix sale 1864, possibly part of lot 638.

This drawing is accompanied by a letter by Delacroix to Monsieur Zimmerman, rue St. Lazare no. 40, postmarked 9 April 1833, asking for a ticket to a concert on Sunday.

19. Studies of Lions, and Figures after Rubens Feuille d’études de lions et de figures d’après Rubens

Verso: Watercolor depiction of two landscapes Pen and ink on paper 9 3 ⁄ 8 x 12 1 ⁄ 8 inches (23.9 x 31 cm.) Estate sale stamp lower left: Lugt 838a

PROVENANCE Delacroix sale 1864, possibly part of lot 636 ( Etudes d’après Rubens. 17 dessins à la plume ) or lot 637 ( Autres études d’après Rubens. Dessins et croquis. 80 feuilles ); Collection Rivet. A watchful lioness presides over this study sheet, whose straining nude figures are further animated by fluid penmanship and a dynamic mise en page . The nudes are among Delacroix’s many copies and interpretations of figures from compositions by Peter Paul Rubens, particularly The Fall of the Damned and The Death of the Virgin , works which he would have known from Suyderhoef’s engravings.

“All the great problems of art were solved in the sixteenth century. In Raphael, perfection of drawing, grace and composition. In Corregio, Titian and Paolo Veronese, perfection of color and chiaroscuro. Then Rubens . . . By sheer genius he created a new ideal. Rembrandt found his ideal in the vagueness of reverie and in sustained perfection.” “Tous les grands problems d’art ont été résolus dans le seizième siècle. La perfection du dessin, de la grâce, de la composition, dans Raphael. De la couleur, du clair-obscur, dans Corrège, Titien, Paul Véronèse. Rubens arrive, qui a déjà oublié les traditions de la grâce et de la simplicité. . . . A force de genie, il refait un ideal. . . . Rembrandt le trouve dans le vague de la reverie ou de la terreur.”

Journal entry on a loose undated page kept in an 1847 notebook

Drawings in Preparation for other Projects

“Je ne puis assez me dire qu’il faut beaucoup de travail pour amener un ouvrage au degré d’impression il est susceptible.”

“I cannot tell myself too often that it requires an immense amount of labor to bring a picture to the last degree of expressiveness of which it is capable.”

Journal entry, November 27, 1852

20. Torso of a Man Seen from Behind, Study for the Murals at The Salon du Roi, Palais Bourbon (Assemblée Nationale), Paris Torse d’homme vu de dos, reprise du bras, Etude pour Le Salon du Roi, Palais Bourbon (Assemblée Nationale), Paris

1833–37 Pencil on paper 7 1 ⁄ 4 x 10 1 ⁄ 8

inches (18.7 x 26 cm) Estate sale stamp lower right: Lugt 838a

PROVENANCE Delacroix sale 1864, part of lot 254 ( Etudes d’après nature pour l’ensemble de toute cette decoration. Dessins et croquis. 45 feuilles .)

This drawing is a study for one of three heroically proportioned men who are fashioning weapons in the frieze La Guerre, Salon du Roi.

War , detail from the wall decoration in the Salon du Roi

21. Studies of Figures for the Ceiling of the Salon du Roi, Palais Bourbon (Assemblée Nationale), Paris Feuille d’études pour le plafond du Salon du Roi, Palais Bourbon (Assemblée Nationale), Paris

1833-37 Pen and ink on paper 13 3 ⁄ 4 x 8 5 ⁄ 8

inches (35 x 22 cm) Estate sale stamp lower left: Lugt 838a

PROVENANCE Delacroix sale 1864, possibly part of lot 250 ( La Justice, la Guerre, l’Industrie, l’Agriculture. Figures allégoriques pour les caissons et Enfants pour les angles du plafond. Dessins et croquis. 35 feuilles ) or lot 255 ( idées premières nonexecutées. Dessins et croquis. 35 feuilles ).

LITERATURE Robaut, possibly part of no. 1659 or 1668.

Clockwise from the top right of our sheet are studies for the figures of Justice (Johnson 1981, 507), Agriculture (Johnson 1981, 508), and the flying Putto with Compasses, Hammer and Chisel (Johnson 1981, 513), a symbol of the fine arts.

Clockwise from top left: Justice , Putto, and Agriculture. Details from the ceiling decoration in the Salon du Roi

22. Study for the Lithograph “Hamlet and Laertes at the Grave of Ophelia” Etude pour la lithographie “Hamlet et Laertes dans la fosse d’Ophelie”

c. 1843 Pencil on paper 10 3 ⁄ 4 x 7 3 ⁄ 8

inches (27.6 x 18.9 cm) Estate sale stamp lower left: Lugt 838a

PROVENANCE Delacroix sale 1864, no.405; Purchased by A. Robaut for 205 FF; Posssibly his sale, December 18, 1907, n° 62 (with an incorrect indication of the location of the stamp); Vente Albert Pontremoli, Drouot, June 11, 1924, no. 23; Vente Louis Godefroy, Paris, 29 avenue Henri Martin, 1924, no. 217; Vente duc de Trévise, Galerie Charpentier, May 19, 1938, no. 2; Purchased by Vidal Bloch.

LITERATURE Robaut, no. 755.

EXHIBITIONS Paris, Ecole nationale des Beaux-Arts, Exposition Eugène Delacroix au profit de la souscription destinée à élever un monument à sa mémoire, March 6–April 1885, no 379 (Property of A. Robaut);

New York, Wildenstein, Eugène Delacroix 1798 – 1863, Loan Exhibition in Aid of the Quaker Emergency Service, October 18– November 18, 1944, no. 74; Paris, Galerie Marcel Guiot, Exposition E. Delacroix oeuvre gravé et dessins , November 25–December 24, 1927, no. 53. Between 1834 and 1843, Delacroix worked on a project to illustrate Shakespeare’s Hamlet which he published in 1843 as a suite of thirteen lithographs. The 1843 edition excluded his compositions for Hamlet and Laertes and two other scenes, while a posthumous edition published all sixteen.

Hamlet and Laertes at the Grave of Ophelia , 1843, lithograph

23. Study for the Ceiling of the Library of the Luxembourg Palace, Showing Virgil Presenting Dante to Homer Homère, avec les poètes Ovide, Horace et Lucain, reçoit, dans l’Elysée, Dante, qui leur est amené par Virgile (ou Homère recevant Virgile et Dante)

1840–46 Oil on paper, mounted to canvas 18 1 ⁄ 2 x 22 3 ⁄ 4 inches (47 x 58 cm) Estate sale stamp on verso in wax PROVENANCE Delacroix sale 1864, part of lot 8; Purchased by Etienne Arago;

Collection Maurice Gobin; Collection Maurice Rey; Private collection, France.

L I TERATURE Robaut, no. 958; R. Huyghe, Delacroix ou le combat solitaire , Paris, 1964, p. 426, pl. 295 illustrated; M. Sérullaz, “A propos de l’exposition Delacroix et la peinture libérée,” La Revue du Musée du Louvre et des Musées de France , 1973, no. 6, p. 366; Johnson 1981, Vol. V, no. 565; Vol. VI, pl. 41 illustrated. EXHIBITIONS Paris 1930 , no. 118A; Paris, Palais du Luxembourg, L’œuvre décoratif d’Eugène Delacroix au Palais du Luxembourg, May 15–30, 1936, no. 1; Paris, Maurice Gobin, Peintures Aquarelles & Dessins par E. Delacroix 1798 – 1863 , November 26–December 18, 1937, no. 53, p. 5 illustrated; Kyoto, Municipal Museum, Eugène Delacroix , May 10–June 8, 1969; National Museum, Tokyo, June 14–August 3, 1969, no. H-21 illustrated; Paris, Musée Delacroix, Hommage à Delacroix pour le 110ème anniversaire de sa mort Delacroix et la peinture libérée , May–September 1973. Continued on next page

This grisaille sketch is a preparatory work for the ceiling decoration of the cupola of the Senate Library at the Palais du Luxembourg. Delacroix conceived the cupola’s composition in reference to Canto IV of Dante’s Inferno , in which Dante, led by Virgil, is presented to the great classical poets Homer, Ovid, Horace and Lucan. Our sketch depicts these poets, the principal group of the cupola, in which famous men from ancient Greece and Rome are gathered around the circumference.

Homer Receiving Virgil and Dante , detail of the mural in the ceiling dome, Library of the Luxembourg Palace.

24. St. Sebastian Tended by the Holy Women St. Sébastien secouru par les Saintes Femmes

1852–54 Pastel on paper 7 1 ⁄ 8 x 10 3 ⁄ 8

inches (18.1 x 26.4 cm) Inscribed in ink on back: Donné par moi à Jenny Leguillou / le 24 mars 1855 / Eug Delacroix

PROVENANCE Given by Delacroix to his housekeeper, March 24, 1855 (possibly for her

birthday on March 25); Baron Vitta, by 1930; George Heilbrun; Acquired by Pierre Berès, 1942; His sale, Sotheby’s London, 30 November 1993, lot 7; Private collection.

LITERATURE Journal, Vol I, p. 843, 28 September 1854; Johnson 1995, pp. 134–135, no. 37 illustrated.

Our pastel is a variant of an 1836 painting purchased by the French state for the Church of St. Michel, Nantua. L. Johnson counted seven smaller reprises of the subject painted between 1836 and 1858.

LOAN PRIVATE COLLECTION

25. Hercules and Hippolyte, Study for a Lunette of The Salon de la Paix Hercule et Hippolyte, esquisse pour une lunette du Salon de la Paix

Oil on canvas 9 5 ⁄ 8 x 18 5 ⁄ 8

inches (24.5 x 47.5 cm) Estate stamp in red wax verso on the stretcher

PROVENANCE Delacroix sale 1864, lot 46; Purchased by Baron Dejean for 46 FF; Sale, 14 May 1873, lot 23, 1500 FF (as Hercule vainqueur du roi d’Oechalie ); Hartmann of Mulhouse;

His sale, Paris, Hôtel Drouot, May 11, 1876, lot 14; Purchased by Louis Bazille, of Montpellier for 1960 FF; Pierre Leenhardt, Montpellier; His sale, May 4, 1922, lot 18, 8500 FF; Sale, Paris, Galerie Charpentier, March 9-10, 1956, lot 37; Sale, Paris, Hôtel Drouot, November 20, 1996, lot 16.

EXHIBITIONS Paris, Galerie Louis Martinet, Oeuvres d’Eug è ne Delacroix , 26, Boulevard des Italiens, opened August 13, 1864, no. 167.

LITERATURE Robaut 1885, no. 1134; Johnson 1981, Vol. V, no. 586, p. 153, Vol. VI, plate 38, illustrated.

This work is a close compositional study for one of the paintings of the Hercules decorative cycle, Salon de Paix, Hôtel de Ville, commissioned by the City of Paris in 1849. It depicts Hercules’s accomplishment of his ninth labor, the taking of the belt of Hippolyte, Queen of the Amazons, who had in turn received it from Ares, the god of war. L. Johnson states that the lunette painting at the Hôtel de Ville closely follows this sketch, with changes only to the position of the horse and of Hercules’s hand, and the addition of a corpse behind the figures (see Johnson 1981, Vol. V, p. 153). The paintings were destroyed by fire in 1871 during the Paris Commune, and are known now only through preliminary studies.

Animals

“Les tigres, les panthères, les jaguars, les lions, etc. D’où vient le mouvement que la vue de tout cela a produit chez moi: de ce que je suis sorti de mes idées de tous les jours qui sont tout mon monde, de ma rue qui est mon univers. Combien il est nécessaire de me secouer de temps en temps . . . ” “Tigers, panthers, jaguars, lions, etc. Why is it that these things have stirred me so much? Can it be because I have gone outside the everyday thoughts that are my world; away from the street that is my entire universe? How necessary it is to give oneself a shake from time to time. . . ”

Journal entry, January 19, 1847

26. Studies of the Head of a Llama Etude de têtes d’un lama

Pencil on paper 4 1 ⁄ 4 x 6 5 ⁄ 8

inches (11 x 17 cm) Estate sale stamp lower right: Lugt 838a Inscribed: jaune/ gris et noir/ gris

PROVENANCE Delacroix sale 1864, possibly part of lot 510 ( Chiens lévriers, chèvres, chauves-souris, oiseaux, reptiles, etc. Dessins et croquis. 58 feuilles ).

27. Sheet of Studies of Horses, a Moroccan Man in a Turban, and a Landscape Drawing on Stationery from the French Ministry Feuille d’études de chevaux, tête d’oriental, nu feminin et paysage, exécuté sur un papier du Ministère de l’intérieur

Pen and brown ink on paper 9 1 ⁄ 4 x 7 1 ⁄ 8

inches (23.8 x 18.2 cm)

28. Studies of Horses Etudes de chevaux

Verso: Studies of Heads, legs, bodies of horses, and a head of a woman Pen and brown ink over traces of graphite on paper 11 1 ⁄ 8 x 17 7 ⁄ 8 inches (28.5 x 45.5 cm) Estate sale stamp on verso: Lugt 838a Inscribed in graphite: ( une ligne barrée)/ aborre le triomphe cet imposteur/ne sois pas dupe de ceux qui sont. . . . /que parce qu’elle n’en veut plus/ta place est plus précieuse/au reste combine d’ames/ont fini par le Blasphé (me)/Brutus (?) mais ce n’est (?)/seulement ne te confounds p(. . . .). PROVENANCE Delacroix sale 1864, possibly part of lot 506 ( Etudes diverses, croquis, etc, 187 feuilles ).

Verso

29. Three Studies of Legs and a Study of the Rump of a Horse Feuille d’études avec trois jambes de cheval et un cheval

1828 Pen and brown ink with brown wash on paper 12 1 ⁄ 4 x 7 5 ⁄ 8 inches (31.3 x 19.5 cm)

Inscription on verso by the artist: J’appelle vanité ou amour propre cet org (ane) / des petites ames (ce qui ne veut pas dire que/les grandes en soient tout à fait exemptes) / qui s’attache aux petites choses et rend (?) / incapable de grandes : ce caractère de suscepti (bilité ?) / pour tout ce qui regarde la réputation et / l’indifférence pour tout ce qui touche au / devoir et à la vertu qui fait plus de cas d’un joli mot que d’une belle action / janvier 1828 / extrait d’un petit ( ?) . Inscription by his friend, the French writer and critic Philippe Burty (1830– 1890): Par Eug. Delacroix / L’écriture ci dessus est de Del. A l’époque où il / voulait apprendre l’écriture anglaise en traçant / les mots avec le poignet et le bras sans ployer les doigts.

Verso

30. Seated Lion in a Landscape Lion couché dans un paysage

Watercolor on paper 7 5 ⁄ 8 x 10 5 ⁄ 8 Signed lower right

inches (19.5 x 27 cm)

PROVENANCE Collection Tony Mayer; His sale, Paris, Galerie Charpentier, December 3, 1957, lot 32; Collection J.P. Durand-Matthiesen, Geneva, as of 1963; Collection Stephen Richard Currier & Audrey Currier, as of 1984;

Their sale, New York, May 25, 1984, lot 295; With Galerie Jan Krugier, Geneva, as of 1987; With Galerie Brame et Lorenceau, Paris; Purchased by Antal Post de Bekessy in 1990.

LITERATURE M. Sérullaz, Eugène Delacroix 1798–1863 , Mémorial de l’exposition organisée à l’occasion du centenaire de l’artiste , Paris, 1963, no. 473 illustrated. EXHIBITIONS Paris, Musée du Louvre, Centenaire d’Eugène Delacroix 1798–1863 , May– September 1963, no. 462 (incorrectly located); Bern, Kunstmuseum, Eugène Delacroix , November 16, 1963–January 19, 1964, no. 206 (M. J.-P. Matthiesen, Genève); Bremen, Kunsthalle Bremen, Eugène Delacroix, 1798 – 1863 , February 23–April 26, 1964, no. 298 (M. J.-P. Matthiesen, Genève); Zurich, Kunsthaus, Eugène Delacroix, Zeichnungen, Aquarelle, Graphik , June 5– August 23, 1987, no. 68 illustrated (loaned by Galerie Jan Krugier, Geneva).

31. A Lion and a Lioness Etudes d’une lionne et d’un lion c. 1855 Pencil on white wove paper 6 7 ⁄ 8 x 9 inches (17.5 x 22.9 cm) Estate sale stamp lower center: Lugt 838a

PROVENANCE Delacroix sale 1864, possibly part of lot 485 ( Lions et lionnes. Etudes de des- sins. 43 feuilles ) or lot 487 ( Lions et lionnes. Etudes et croquis à la plume et au crayon. 79 feuilles ). EXHIBITION Santa Barbara, The Santa Barbara Museum of Art, Drawings of Five Centuries , 1959, no. 80.

32. Head of a Lion Tête d’un lion

Pencil on paper 3 7 ⁄ 8 x 4 5 ⁄ 8

inches (10 x 12 cm) Inscribed on verso: voir dans les croquis de Livet/ un petit page à genoux qui tient/un livre d’après Paul Véronese Annotated in ink: CB

LOAN PRIVATE COLLECTION

33. Lion Attacking a Serpent Lion attaquant un serpent

Pen and brown ink on paper 5 1 ⁄ 4 x 7 3 ⁄ 4 inches (13.5 x 20 cm) Estate sale stamp lower right: Lugt 838a Annotated reverse: AL (?) Thomas rue royale extérieure 177 Bruxelles PROVENANCE Delacroix sale 1864, possibly part of lot 467 ( Lions combattant des hommes ou des animaux. Dessins et croquis ).

LITERATURE Robaut, possibly part of no. 1839.

34. Four Studies of the Head of a Lioness Etude de têtes de lionnes

Pencil and watercolor on paper 11 x 8 inches (28.2 x 20.6 cm) Estate sale stamp lower right: Lugt 838a

PROVENANCE Delacroix sale 1864, possibly part of lot 485 ( Lions et lionnes. Etudes et dessins. 43 feuilles ) or lot 487 ( Lions et lionnes. Etudes et croquis à la plume et au crayon. 79 feuilles ); Collection Suzor, Paris 1939. EXHIBITIONS Zurich, Kunsthaus, Eugène Delacroix 1798 – 1863 , January 28–April 5, 1939, no. 199 (loaned by Suzor).

35. Studies of the Heads of Animals Feuille d’études avec des têtes de fauves Pen and brown ink on paper 12 3 ⁄ 8 x 8 3 ⁄ 4 inches (31.5 x 22.5 cm) Estate sale stamp lower right: Lugt 838a

PROVENANCE Delacroix sale 1864, possibly part of lot 485 ( Lions et lionnes, Etudes et dessins, 43 feuilles ); Collection Giacomelli (annotation verso); His sale, Paris, Hôtel Drouot, April 17, 1894, part of lot 109 ( Cavaliers arabes et têtes de lions ); Purchased by Meyer (?). EXHIBITIONS Paris, Galerie Brame et Lorenceau, Les maîtres du dessin 1820–1920 , May 21– June 21, 1968, no. 6.

LOAN PRIVATE COLLECTION

36. Lion Lying on His Side Lion couché sur le flanc

Pastel on paper 3¾ x 8 inches (9.8 x 20.3 cm) Red wax seal of the estate sale on reverse

PROVENANCE Delacroix sale 1864, lot 468; Purchased by M. Bordais.

LITERATURE Robaut, no. 1850; Johnson 1995, no. xx, p. 177, as unlocated.

Landscapes and Architectural Studies

“Quel rapide instant de gaieté dans toute la nature. Ces feuilles si fraiches, ces lilas, ce soleil rajeuni. La mélancolie s’enfuit, pendant ces courts moments. Si le ceil se couvre de nuages et se rembrunit, c’est comme la bouderie charmante d’un objet aimé; on est sûr du retour.” “That fleeting moment of gaiety that runs through the whole of nature. The new leaves and the lilac, and the sun made young again. During these brief moments melancholy is put to flight. If the sky becomes cloudy and overcast, it is like the delicious pouting of one’s sweetheart; one knows that it will not last. “

Journal entry, May 7, 1824

37. Interior of the Chapel of the Abbey of Valmont Vue intérieure de la chapelle de l’abbaye de Valmont

Watercolor and gouache over pencil on paper 8 x 6 inches (20.5 x 15.5 cm) Estate sale stamp lower left: Lugt 838a

PROVENANCE Delacroix sale 1864, part of lot 597 ( Ruines de l’abbaye de Valmont, vues extérieures et intérieures. Details d’architecture, tombeaux, etc .);

Louis-Auguste Bornot; His son Camille Bornot; His nephew Jacques Béraldi; Thence by descent.

LITERATURE Robaut, no. 1092; A. Conan, “Delacroix à l’abbaye de Valmont,” Art de France , Revue annuelle de l’art ancient et moderne , no. III, 1963, p. 274 and note 18; Johnson 1981, Vol I, under no. 158, note 1, p. 169.

LOAN PRIVATE COLLECTION