Théodore Géricault from Private Collections

14 . The Coal Wagon (Verso: Study of a Horse)

c. 1820 – 21 Pencil, pen and grey ink and watercolor on paper Verso: pencil 7 ½ x 10 ½ inches ( 19 . 9 x 27 . 6 cm)

provenance M. Suzor, Paris; sale, Audap-Solanet, Paris, June 17 , 1994 , lot 137 ; Jan Krugier, acquired at the above sale. exhi b i t ions Paris, Galerie Maurice Gobin, Exposition de dessins, aquarelles & gouaches par Géricault, 1791–1824 , 1935 , no. 61 ; Bernheim-Jeune 1937 , no. 142 ; Paris, Galerie Dina Vierny, Cent Aquarelles du XIXe siècle , March–April 1947 ; Bignou 1950 , no. 56 ; London, Marlborough Fine Art, Ltd., Théodore Géricault , October–November 1952 (illustrated on the cover), Cf. no. 58 ; Paris, Galerie Bernheim-Jeune, Cent-cinquante ans de dessin , December 1952 –March 1953 , no. 70 ; Winterthur 1953 , no. 191 , pl. XXI; Paris, Galerie Bernheim-Jeune et Cie., Gros, Géricault, Delacroix , January–March 1954 , no. 64 ; Berlin, Kupferstichkabinett, Staatliche Museen zu Berlin-Preussischer Kulturbesitz, Linie, Licht und Schatten: Meisterzeichnungen und Skulpturen der Sammlung Jan und Marie Anne Krugier-Poniatowski , May–August 1999 , no. 78 , p. 170 , p. 171 (illus.); Venice, Peggy Guggenheim Collection, The Solomon R. Guggenheim Foundation, The Timeless Eye: Master Drawings from The Jan and Marie Anne Krugier- Poniatowski Collection , September–December 1999 , p. 196 , no. 91 , p. 197 (illus.); Madrid, Museo Thyssen-Bornemisza, Miradas sin Tiempo: Dibujos, Pinturas y Esculturas de la Colección Jan y Marie Anne Krugier-Poniatowski , February–May 2000 , p. 244 , no. 106 , p. 245 (illus.). l i terature Antonio del Guerico, Géricault , Milan, 1963 , p. 150 (illus., fig. 80 ; as done after his return from England to France); Bazin, vol. VII, no. 2168 (recto), no. 2169 ( verso ). Géricault made his first, quick visit to England in March 1819 , while still working on The Raft of the Medusa . He returned in April 1820 with an important plan of business: to exhibit the Raft as a ‘paying exhibition’ with a fee of admission, a common English practice. He eventually succeeded, and his extended time in London (April–June 1820 , and January–December 1821 ) was artistically productive and as well as financially rewarding. “I don’t amuse myself at all,” he wrote from London in February, 1821 . “I work a lot in my room and then, for relaxation, wander about the streets which are so full of constant movement and variety that you would never leave them, I am sure . . .” (Cited in Art Cuéllar-Nathan