THE J. PAUL GETTY MUSEUM LIBRARY Digitized by the Internet Archive in 2016 with funding from Getty Research Institute https://archive.org/details/exhibitionofworkOOgale THE EXHIBITION OF THE WORKS OF MEISSONIER PARIS — 1893 OF THIS WORK THERE HAS BEEN PRINTED COPIES ON JAPANESE PAPER WITH ETCHINGS ON PARCHMENT NUMBERED FROM 1 TO 50 150 COPIES WITH ETCHINGS, ON JAPANESE PAPER NUMBERED FROM 51 TO 200 GEORGES PETIT’S GALLERY 8, RUE DE SEZE, PARIS THE EXHIBITION OF THE WORKS OF M E I S S O N I E R PARIS GEORGES PETIT PRINTER AND EDITOR 12, rue Godot-de-Mauroi, 12 PHILADELPHIA CH.-F. HASELTINE j EDITOR ' 1416, Chesnut Street, 1416 MD COMMITTEE President : M. GEROME, a Member of the Institute Vice-Presidents : MM. FUANGAI5 and PUYIS de GHAYANNES MM. Beraldi MM. Baron de Livois Henry Blount Magnard Chenayard Gh. Meissonier Maurice Coukant Arthur Meyer Edouard Detaille Rqger-Miles Alexandre Dumas Alphonse Moutte Garnier Georges Petit Lucien Gros Antonin Proust JOURDE Alfred Stevens Kngebler Tooth Le Turc Auguste Vacquerie The Exhibition of Meissonier’s works was organised for the purpose of providing funds for the « QEuvrcs de V Hospitalite de Nuit », « Caisse des Victimes du Devoir » and « Orphelinat des Arts ». HAVE CONTRIBUTED TO THE EDITING OF THIS CATALOGUE : MEISSONIER An essay by M. ALEXANDRE DUMAS, of the Academic Francalst- MEISSONIER’S STUDIO AND PRIVATE COLLECTION M. L. Roger Miles ENGRAVINGS AND ILLUSTRATIONS COURTRY, M. Henri Reraldi ETCHINGS BY ABOT, ALASSONIERE, BOULARD, CII AMPOLLION , FAIVRE, FOCILLON, KRATKE, LALAUZE, LETERRIER, DE LOS RIOS, MANCIION, MANESSE, MATIIEV, MIGNON, MORDANT, TEYSSONNIERES, TOUSSA1NT, WALTNER. Translated from the French by M. George Elwall MEISSONIER HOSE who enter this gallery , where the pious devotion of children and friends and pupils has brought together, as far as was possible, the ivorks of one of the greatest artists of all time, must leave curiosity behind them and prepare them- selves for emotions of gratitude and respect. For here they will see the results of sixty years of the most sincere and determined labour, of the warmest and noblest love of art, and of the purest devotion to the ideal. No one has done more than this painter to conquer your admiration and your esteem. During all those sixty years of work , of poverty, of struggle, of fortune, of glory, there was not one minute given to hesitation, discouragement, or doubt, or, on the other hand, to self-satisfaction and self-indul- gence; not a moment without its new effort after that perfection which he so often reached; not a concession to the taste of amateurs or dealers or to their vast offers. During sixty years IT he never lay down to rest after the work of the day ivithout thinking and planning about the work of the morrow. What the lad of fifteen, the son of a small shopkeeper , began to dream and half to perceive in art beyond the walls of his father’s shop, filled as it was with the commonest and least beautiful of commodities , he strove to realize, through more than half a cen- tury, clay after day, ivith a patience, an energy, and a faith that never varied. If there ever was a true vocation, marking a child on the forehead as it were, and pushing him on through every difficulty and every obstacle to the point where he was destined to become a master, it teas that which summoned Meis- sonier. In those days the priests of art could not live of the altar ; and therefore men of the commercial classes, when they had sons who wished to become artists, met the ivish with an oppo- sition which went to the length of cutting off the supplies. “Ah!” said young Meissonier’s father, “and so, instead of perfecting yourself in my business and helping me in the house that I shall leave to you prosperous and respected, you wish to enlist in the army of bearded and longhaired rapins who starve to death ! Very ivell, my lad; I don’t ivish you to starve to death, and one can live on fvepence a day , so here are fifteen francs a month for you. That’s the best way to find out whether you are really born a painter, as you say you are ; but when you have no dinner of your own, you can come and dine with us; remember, six o’clock!” By “us” he meant not only himself but also the boy’s mother, who drew a little in miniature, in her spare moments, Ill by the pale light of a window opening upon a silent courtyard. It was this mother, with her large blue eyes and her countenance at once proud, gentle, and sad, that had been the first inspira- tion of the child, who through his blood and his earliest memories derived from her that love of art which was to give him immor- tality. Often had he seen her seated close to her window, before her mahogany table, making a reduced copy of some modern picture, or drawing in chalk or water-colour the portrait of a friend or of a little girl. Often had he seen again, in thought, as he conceived some picture, that window with its pale and uniform light illuminating a person reading or writing, or examining a print or a sworcl. In the picture, doubtless, we have a more elegant window than that of the maternal room, and one of another epoch perhaps; but it is always essentially the same as that in the beams of which the shade of his smiling and beloved mother seemed to him to appear and to melt away. The pious regard that Meissoniefs children have to-day for the undying works of their father is no more sincere and no more touching than that which the painter of “ 1814 ” and “La Rixe ” preserved for the little pictures of his mother, which he always kept by him and which he showed to those of whose friendship he teas sure. “ That is what I start from'" , he said to me; “ to her I owe my love of painting ; she taught me the alphabet of my art, my first counsels came from her ; if you could only know how just they were!” And then he would tenderly kiss the little yellow papers and put them back in their drawer. The mother had naturally seen further into the future of her IY son than his father had, for eyes like hers command a more distant and a clearer horizon; and she tried, hut without success, to enlighten her husband and to make him change his mind. So mother and son, well understanding one another, pressed hands, kissed, and parted; and the lad left the shop where his duty had been to make up parcels for customers, and made his way to the garret which already his imagination teas filling with the perso- nages that owe their existence to him. He took with him that love of calm, of self -absorption, of meditation, of solitary work, which he owed to the room where his mother used to retire for her drawing ; and this love he has not only conveyed to us in a multitude of his pictures, but he spread it abroad over the whole of his life. The truth is that in the little room where he dwelt with his comrade Steinheil, poverty and struggle were great, but ivill and dignity were greater and stronger. These were “ the elder and more terrible”, as Shakespeare would have said. His five-pence a clay were not enough for the lads to dine upon, and the twenty-eight francs a month that Steinheil earned by giving drawing-lessons were but a small addition to the budget. He, whose pictures in the days to come were destined to sell for four and fve hundred thousand francs, used to go from dealer to dealer and offer for ten francs, or even for five, dra- wings m pen-and-ink or in pencil of which some have been recovered and have a place in this exhibition. He used to take them timidly from the crown of his hat where he hid them, and where he sadly replaced them when, as was the case ninety- nine times out of a hundred, the dealer sent him away with a refusal. In those days, like Chateaubriand during his exile in London, he dined off a halfpenny roll, and then, feeling him- self literally at the point of exhaustion, he would pay a visit to his parents at the time of dessert. “ You have dined ? ” his father would say. “ Oh! yes, I have only come to take coffee with you ” . And so, honour was saved, though hunger was not satisfied. Generally the evening teas spent at Mme Steinheil’ s , where the lads sometimes consented to dine. The family sat around the high lamp ; Mme Steinheil, who was a widow, sewing, embroi- dering, or mending ; the two boys drawing and MUe Steinheil playing the piano or reading aloud. Thus, little by little, a new family circle was preparing itself for Meissonier by the natural means of common ideas, common hopes, and common trials honestly faced. Why should he not establish there and as soon as possible the modest home, rich in tenderness and mutual esteem, which is so necessary for daily work ? as they all understood one another so well in matters of art, conscience and destiny, why not live all together ? Why should not love lead to marriage ? Since the young man had taken a vow of work and had faith in the f uture, why shoidd he work for himself alone ? Why not for this girl, so intelligent, so modest, so poor, and the children that she might bear him? The ivhole scene recalls the sixteenth and seventeenth centuries in some little house of Flanders, or Holland, or Germany, where were silently realized the early dreams of a Quintin Massys, a Memlinc, a Metzu, a Mieris, a Gerard Dou, a Mirevelt, an VI Albert Darer, a Holbein. What simplicity , what grandeur, in such a view of life! From this moment, as though Providence wished instantly to reward such faith, Meissonier s name begins to be known, success and fortune arrive, but bring no change in the resolutions and habits of life of this indefatigable worker. Rising at daybreak in summer, and in winter before daybreak, he lights his lamp , he mercilessly revises that which he did yesterday, he prepares his palette, while breakfasting on a crust of bread and an apple; and there he is, fixed at his easel till dinner-time , without any other companion than one of those big greyhounds which during thirty gears came to him from me. At noon he lunches quite alone, like a true' anchorite , off a sardine or two, or a slice of ham and a cup of tea which he makes for himself ; and during this frugal meal he reads Shakespeare, Byron, Dante, Saint-Simon, or some book of military or other history, or of philosophy — always something serious, which he thinks over, which excites him, ami which he ivill discuss with the friends who come to see him. For the family dinner there are generally one or two friends come down by the evening train, and afterwards his daughter plays while he takes up his pen or his pencil and, by lamplight as of old, draws one or more of the thousand figures that haunt his imagination. For rest and refreshment there is riding in the forest of St. Germain, or boating, or swimming. When age comes upon him and the doctor forbids riding or cold bathing , he works two or three hours more a dag, that is all. In Paris, at Poissg, at Antibes, where he spent many ivinters, at VII Venice, whither he turned his trilling steps towards the end of August, the division of the dag was always the same . The day after he reached Venice, he would take up his position in St. Mark's or on the Piazzetta, or on the shore, the quays, on the public ways, with his album or even with his easel, convinced, that nobody knew him, and, that the world minded him as little as he minded the world. Is it surprising , then, that the twelve hundred numbers of this catalogue do not represent half his ivork? To anyone asking him how he came to be able to execute so many masterpieces , he could have answered, like Newton : “ By always thinking about them ". For that was the incessant occupation of that fine, calm, powerful head which seemed, to be modelled upon that of the Moses of Michael- Angelo. And then, one evening in December, after he had been working every day fora whole week in the open air, in four or five degrees of frost, Death entered quite softly, took the brush from his hand, and said: “It is enough ; rest! "He understood at once that all was over and he kept saying so to those who surrounded him, so as to prepare them for the inevitable separation, without complaint, or weakness, or revolt. He looked Death in the face as he had, always looked upon everything ; with all his intelligence and, all his faith he saw Death in his true proportions and his true perspective, and he gave to God the childlike soul he had received from Him and of which he had made so noble a use. Never have I seen a dead face more majestic, more confident. Was it that the immor- tality of the soul in which he believed and the immortality of glory for which he had so longed now appeared to him, splendid VIII and beyond question ? I know not ; I only know that he smiled. In truth no child dying at ten years old teas ever more simple and candid than this great artist; nor did anyone possess in a higher degree than he that mark of men of the first order , the combination of enthusiasm, admiration, justice, benevolence. And here it is well to say that the legends spread about concerning Meissonier, who was misunderstood as are many other famous men, are absolutely the reverse of the truth. It is necessary to have been, like myself, admitted to his daily intimacy during many years, to know how innocent he ivas, and hoiv much he suffered from the imputations made upon him by a few ill-informed or jealous minds. Some of his brother artists used to say “ He painted toy men for the toy shops ” ; ivell, he never allowed himself to speak without the most delicate impartiality of the talent even of those very persons — some of them had talent — whose impertinences were , of course , brought to his notice by candid friends. Moreover , to this faculty for admiring other people , he joined the greatest modesty and the most extreme severity as regards himself. When Fortuny came before the ivorld with his beautiful water-colours , Meissonier said to me ( perhaps , indeed , only to me!), “/ would cut off the little finger of my left hand to be able to do water-colours like that” , and he actually made for me a water-colour drawing of a subject taken from my novel, L’affaire Clemenceau, which is in the present Exhibition, and in which he competed with Fortuny and beat him , then as always. And all the time Fortuny teas making literal copies of Meissonier to strengthen himself in his art, and he came to show IX him his copies and to ask if he teas satisfied with them. One dap he had admired at my house a watercolour by Jacquemart , which I sent round to him immediately , without his knowledge , so that he might find it on his return home. Next day he came to see me , cried out: “ Plague take you and your present l why, that water-colour is a masterpiece” . “ Well”, I answe- red, “ I sent it you because I thought it might give you pleasure ”, “ Yes ; but it kept me awake all night. 1 spent hours in trying to discover Jacquemart s method, which is undiscoverable . It is discouraging ; but that is not all. I had an abominable thought! Just fancy, for one moment (it must have been the result of sleeplessness) I rejoiced that Jacquemart teas dead, saying to myself that if he had lived he \ would, have trampled on us all. Happily I quickly drove the scoundrel thought away”. The day when he was to send off to America his picture of “ The Charge at Friedland ”, on which I had seen him wor- king for ten years, I came to see him and to say good-bye to the picture. He was touching-in the last lights upon the swords. “ So ”, said I, “ is it really to-day that it is to go? ” — - “ Yes” , he replied, “ and if I hadn’t given mg word I would begin it all over again. I don’t like it! ” And this was at the very time when people were spreading stories about the unbounded conceit of the man! As to his admiration for the Masters, it took in his mouth the most decisive and original forms. Once in his presence people were discussing Delacroix, and some of the group were amusing themselves with offering him up as a sacrifice to Meissonier. “ Leave me out of count” , he suddenly b X cried; “ he his the cock; we are only the hens ” . Another time he was just hack from the centenary of Michel Angelo, where he had made a speech. There was a reception in his studio, and people were talking about the celebration. Somebody said, “ Meissonier has such an admiration for Michel Angelo that I saw him ivith these very eyes take his slippers and kiss them”. The story is all the more charming”, said another, “ since they ivere not the real slippers of Michel Angelo” . “ I know, I know” , said Meissonier from his easel, “but what difference does it make? worship does not ask for proof”. “But then”, said the other, “if they had been the real slippers, what would you have done ? ” — “I woidd have stolen them ”, he replied. One evening after dinner we were talking about Moliere, La Fontaine, and Boileau, and ivere saying that the dinners which they sometimes took together at Auteuil must have been very interesting , as is natural to the intimate conversation of three such minds. “How is it”, said / to Meissonier , “ that it has never occurred to you to paint the subject?” . “Ah, I have thought about it very often” , he said, “but I have never dared to attempt it” . Another time, in the morning , I came to see him, and found him at work as usual, but silent and absorbed. I thought that he had met with one of those difficulties of his art which make a man wish to be alone, and after a few minutes of silence I held, out my hand and said good-bye. “ You are going already?" said he. “I am afraid I am disturbing you”. “ No; only ” — “Only what?” I replied. XI He looked me straight in the face and said : “ Promise to tell me the truth” . “Why, ivhafs the matter ?” — “ Promise me! ” — “ I promise”. “Is it true that there are people who detest me?” — “ Oh ! ” I answered, “it is only natural that your great talent, your great reputation, the great prices that your pictures command , have made you enemies ” . “I am not speaking of the enemies that I have made involuntarily by my work and my position. I am speaking of those whom, it seems, I have made by my conduct and disposition” . “ Well then ”, I replied , “ I must own that people think you somewhat proud, somewhat haughty , somewhat overbearing”. “ Why , but I swear to you that I cannot reproach myself with the least illfeeling towards anyone in the world”, replied he, ivith tears in his eyes. “It’s a question of manner”, I answered. “Suppose, for example, that you meet an old comrade who is all the more suscep- tible because he remains far behind in the race that you have won. He comes to you ivith hands outstretched, with open arms, full of sincere admiration and proud of his recollections of your friendship; you scarcely reply to him, you hold out one finger to him and you leave him”. “ Why, my dear friend, the reason is that I am always thinking about something else; about a movement , a gesture, a tone in the picture that I have just quitted to do some necessary business out of doors, and that I am in a hurry to go and take up again. And, by the ivay, do tell me ; is it true that Giraud’s brother is dead?” — “No; he is still living”. “Ah, then it ivas he that I met yesterday ; he came up to me and said very XII — affectionately , c How are you, old fellow ? ’ I didn't recognize him, and I answered : ‘ Thank you, 1 am very well’ , on which he bowed stiffly and went away. All the while I was saying to myself : ‘ I know that face ’ ; and suddenly the image of Charles Giraud seemed to pass before my eyes. Of course it was he l Where does he live?” I gave him Giraud’ s address ; he took his hat and coat, begged me to go with him, and off we set for Les Ternes. The he rang at Giraud’ s door, flung, himself into his arms, and ivith tears and apologies explained to him his conduct of yesterday. I repeat, he had the soul of a child. Sometimes he took advantage of his position not to send his i pictures to the annual exhibitions at the same time as his brother artists, and even sometimes to send them at the last moment before the opening. People said it was pride. It was not ; it was conscience. In everything that he did he alivays saw some- thing that he wished to do over again. Only some actual necessity , a date, a promise, could tear his work from his liads and prevent his working upon it for ever. I well remember, when he teas sending to the Salon of 1877 , just before the opening, my portrait which had occupied him during forty sittings, how he said to me : “ When it comes back from the Salon you must give me a score or so of extra sittings. The portrait is not what it should be”. Aiid recollect, this picture was a present that he was making me ! Another charge that people used to make was that he loved uniforms and trappings and decoration; that he played the Co- XIII lonel during the siege of Paris , and that all this was ridiculous , etc. , etc. Those who said this forgot , or rather did not /mow, that Meissonier , like all rich and powerful natures , his whole self into whatever work he had in hand. That barricade of which he made so admirable a picture , a tragedy on a canvas a few inches square-that barricade , before painting it all blood- stained, terrible , and covered with dead , he had helped to take it, he had marched against those who held it, and the impression which the painter gives, us is all the greater for his having felt it as a soldier. That sentiment of envy which he had experienced for a moment in regard to Jacquemarfs water-colour he had known a first time in regard to the death of Regnault. ‘ ‘ What good fortune he had / ” said he to me. u What a fine death! what a fine ending to a life of work! But he was too young to die in that way ; it was too soon; it is 1 ivho ought to have died so” . Meissonier'’ s character was sincere and simple , crossed with passion and fiery impulse ; and he had received from nature the enviable power of overcoming that passion and impulse and subordinating them to the strict rules of his unswerving science. Examine the smallest and what seems to be the least important of the studies around you. Look well at it ; you will soon be as completely absorbed by this little bit of p tainted panel as was the painter himself, and it will grow under your eye till, little by little, it assumes the size of life. The reason is that for some hours of his life there had existed for Meissonier nothing on the whole earth except the model that he had under his eyes and his wish to render it exactly as he saw it, in the XIV dimensions to which his eye was accustomed, and in the position in which it pleased him to represent it. The whole facidties of this artist, vigorous and delicate and yet always the servant of truth, were strained towards one object; that of giving movement , expression, life. And you are now in your turn before his work ; you feel as he did ; he subjects you to the same impression that he felt; but as you cannot , like him , translate it into form , it is for you to experience that admiration , that respect , that gratitude which I asked of you at the beginning , and which is, so to speak, the fuel that keeps up a perpetual fire before reputations justly acquired. My business here is neither to write the biography of Meissonier nor to ivrite a criticism on the cesthetic aspect of his work. To do so would be to exceed at once my powers and the limits of this notice. It will be done by others better than by me, and he who undertakes it must be prepared for a long and serious task. Vkhen Fromentin was speaking of MetsiCs “Visit”, of Terbmxfs “Soldier and Young Woman”, and of Peter de Hooch 1 s “Dutch Interior”, he ivrote : “An enlightened critic who undertook to reveal to us all that these three pictures contain, would astonish us by the abundance and the novelty of his discoveries. The reader would then be convinced that the most modest work of art can serve as a text for long analyses ; that study is to be measured rather by depth than by width ; that a picture can have penetrating force though its scale be small, and that a little object is governed by great laws 11 . XV The truth could not he stated better. As for myself, in writing this preface that Meissonier' s son has done me the honour to ask of me, my desire has been not to comment upon and explain the genius of the artist which the whole world admires, and which the walls of the gallery on which his works are for the last time exhibited proclaim and affirm in so striking a fashion; my desire has been simply to show the simplicity , the unity, the energy, the conscience which marked that beautiful life consecrated to work; to reconstitute the sound and healthy atmosphere in the midst of which grew those per- sonages of his that have already become historical; to offer as an example to young artists those sixty years spent in the search of beauty and truth; in a word, to call up again, to make visible, as it were, and to summon into the midst of us the soul of this man whom / loved so much because l knew him so well. PART THE FIRST THE STUDIO OF MEISSONIER PICTURES AND STUDIES The Evangelists are standing up, assembled together, clo- thed in their antique garb, falling in simple folds; they are carrying a Bible. The two who stand in the middle of the picture cast their glances up at the sky where in a luminous vision Christ appears, with a halo of gold, clothed in white, his arms open. The two other Evangelists gaze at Mankind and their vigorous hands point to heaven. A sketch. A bay horse, in right-hand side profile. First study of a horse. Three figures stand attentive before a picture which a fourth figure is holding out to their view. The dark complexioned man on the left-hand side is clo- thed in a red cloak thrown back over his shoulder. 1 — The Evangelists . (1838) Canvass. Height, 22 cent. 1/2; width, 32 cent. 1/2. 2 ( 1830 ) Canvass. Height, 22 cent.; width, 30 cent. 3 — The Amateurs . ( 1845 ) Pannel. Height, 30 cent.; width, 24 cent 1/2. 4 — Horsemen crossing ci ford . Under a stormy sky, where lurid streaks mingle with dark and thickening clouds, some horsemen are crossing a ford out of the muddy waters of which reeds arise. The wind lashes their ample cloaks of different colours. (184b) Pannel. Height, 20 cent,.; width, 41 cent. 5 — Samson fighting against the Philistines. In his uplifted right-hand Samson brandishes the jawbone of an ass; with his left-hand, he holds down a fallen Philis- tine; some try to avoid the infuriated man’s blows; others are lying on the ground, struck down, dying; Samson is clothed in red drapery flowing loosely about his body ; in the distance, on the left-hand side a warrior is seen riding a pran- cing mehari ; in the dark blue sky float red and sombre clouds. This sketch was composed by the painter with a view to a picture he never completed . (184b) Canvass. Height, 33 cent.; width, 28 cent. G — A Portrait of D r Lefehvre. The Doctor is sitting in a mahogany arm-chair; he is dressed in black, in cloth coat and knee breeches; a satin waistcoat opens showing a large white necktie ; his left-hand is resting on the arm of the seat which finishes in a carved lion’s head; his right-hand, the thumb and forefinger of which seem to hold a pinch of snuff, is carelessly lying on his crossed right leg. The head is seen front-view ; he has a high and large forehead framed by grizzled hair, a smooth face, an epicurean lip, a marked nose, deep and witty eyes. On the right-hand side of the arm-chair, the portrait bears this inscription : « To Doctor Lefehvre. « A token of deeply felt gratitude. « E. Meissonier. » ( 1840 ) Height, 27 cent.; width, 20 cent, i \o 1 1 ; — 7 7/ e ( 'oHnuhscent Girl , elehecl by Totssaint. • ' $ * ! • ’ •/% I' ' 1 * <7 i i streaks mingle with dark men are crossing a ford out . reeds arise. < loaks of different colours. _ i ; t , 20 cent.; width, 41 cent. , - Philistines. .? iUMHi brandishes the jawbone UU down a fallen Philis- ed man’s blows; others k down, dying; Samson is ci v about his body ; in the i : ior is seen riding a pran- iv, T Y.l Irnhl; A;g> 7 ^!,^ fc , mb rc 1 i;e painter with a view to a i; cent.; width, 28 cent. ■ a mahogany arm-chair; he is - ,it which finishes in a carved tire thumb and forefinger of . . , ■ ' . p. C >! suuif, is carelessly lying on ! ;• seen front-view ; he has a high grizzled hair, a smooth face, •i . - . deep and willy eyes. • un-chair, the portrait bears |ti. lor Lefebvre. i ' hen of deeply felt gratitude. . « E. Mkissonier. » 1846) Height, 27 cent.; width, 20 cent. — 5 — 7 — A Charge in a ravine. In a ravine climbing up through a forest, the soldiers armed with cuirasses rush off at full gallop, swords in hand. On the left-hand side, one of the men and his horse have been hurled to the ground. (1846) Canvass. Height, 16 cent. 1/2; width, 27 cent. 8 — Portrait of M me X. She is sitting in an arm chair; her body turned three quarters to the right; her face front-view; pink dress, red bodice tightened round the waist by a green sash which is half concealed by a fichu of white muslin tied in the italian style. Her right arm is resting on her left-hand. In her dark auburn hair, made up in heavy plaited tresses, a red rib- bon adorned with white flowerets is wound ; the eyes are calm, her nose betokens a steadfast will, her mouth evinces affection. (1847) Pannel. Height, 36 cent.; width, 27 cent. 9 — His Garden at Poissy. The garden of the painter at the time he became the pur- chaser of it : the ground is covered with long grass ; on the left-hand side, beyond lofty trees, a thick woodland. On the right-hand side and in the distance, the building is seen with low enclosing walls. (1848) Pannel, Height, 27 cent.; width, 37 cent.. 10 — A Country-house. A country-house by the road side. On the left-hand side over the enclosing wall the trees raise their thick-spreading foliage ; in the distance a sunbeam brings into relief some verdure on the corner of the wall. (1848) Cartoon. _Hcight, 24 cent.; width, 30 cent, 1/2. 6 11 — A Tiorba player. Sitting down, his left leg crossed over his right, a young nobleman is playing on a tiorba; his ample red cloak has fallen down, held back by the hilt of his sword, and gives a glimpse of his slashed sleeves and iron corselet; his head is thrown backwards, his mustaches are turned up, his hair is fair and long. (1848) Pannel. Height, 26 cent.; width, 21 cent. 12 — The Smokers. By the hearth, one of the friends, seen in the left-hand pro- file, is talking, standing with his pipe in his right-hand, whilst the left one is thrown back behind his body and exposed to the warmth of the fire. Before him, leaning on the table, by the tankards, two other friends are talking as they smoke ; one front-view, clothed in grey, his left-hand resting on his knee; the other in profile, with pink coat, his cocked-hat on his head. (1848) Pannel. Height, 16 cent.; width, 21 cent. 13 — Rest, a study. Lying on cushions of pink and white drapery, a young woman is sleeping, her raised arms supporting her head ; her right foot is crossed over her left one. (1840) Pannel. Height, 8 cent.; width, 13 cent. 14 — In the Sun. Standing in a yard by a wall, covered with creeping vine lighted by the sun, two gossips are talking; one, clothed in brown, has his hands crossed behind his back; the other one, in grey breeches, while waistcoat and blue coat, stands seen side wise, his left shoulder leaning against the wall, his left- hand lifted up holding the bowl of a clay pipe. On the window, on the right-hand side, a flower-pot; on the left-hand side, in the shade of a door, a straw-seated chair. ( 1849 ) Pannel. Height, 19 cent.; width, 15 cent. 15 A Fisherman with net. ( 1849 ) The fisherman is pushing his boat with a long pole ; at the bow, his square net is set up erect. *^Lt morn; the landscape is shrouded in a fog. l’annel. Height, 12 cenL.; width, 16 cent. 16 — The Convalescent girl. In her bed tbe curtains of which are open, is sitting the con- valescent girl ; before her, she has several albums ; on the right-hand side, on a round table are a cup, a sugar basin, a glass. On the left-hand side, sitting in an arm-chair, a young lady, in a satin tippet, is talking and smiling. ( 1850 ) Height, 25 cent.; width, 19 cent. — 8 — 17 — The Painter. Sitting before bis easel, negligently dressed in red velvet trowsers and cambric shirt, he leans back in the chair over the back of which is thrown his left arm; his right-hand, hol- ding a brush, is resting on his right thigh; melancholy is impressed on his face seen in left-hand profile. On the right-hand side, on the ground, gauntlets and sundry , pieces of armour. (1850) Pannel. Height, 31 cent. 1/2; width, 23 cent. 2/3. 18 — The Message. A nobleman in the time of Louis XIII, dressed in light colours and bedecked wilh green ribbons a la Alceste , is reading a message he holds in his right-hand, while his left one is resting palm outwards on biship. Before him, holding his felt hat in both his hands stands waiting the valet, with straight hair, red stockings ; anxiety is depicted on his coun- tenance. (1853) Pannel. Height, 21 cent. 1/2; width, 16 cent. 19 — Portrait of M me Sabatier. Standing, leaning against a balustrade garnished with red velvet on which her right arm is resting, her hand turned forward, her small finger projecting. The left-hand is squa- rely placed on the prominence of her hip. The skirt is of a light brown; a long red sash hangs from her waist. The bodice imitates the form of a cuirass; the sleeves have white and blue ruffles. Her head , with ondulating auburn hair , is leaning backwards slightly turned, showing the ample un- covered neck ; her half shut eyes have a sly and humorous expression ; her lips slightly parted, about to smile. (1853) Pannel. Height, 36 cent. 1/2; width, 28 cent. 8 easel, negligently dressed in red velvet shirt, he leans back in the chair over thrown his left arm; his right-hand, hol- ... hi right thigh; melancholy is in left-hand profile. •; the ground gauntlets and sundry Height, 34 ceiU. 1/2; width, 23 cent. 2/3.- .! Louis XIII, dressed in light .-/anT>.K yd bodolo ,• ‘^ ul W\n A\m\k&S\s-*- X&r.v/e. in his right-hand, while his leit • Is on his hip. Before him, holding- ids stands waiting the valet, with anxiety is depicted on his coun- uht, 21 cent, i/2; width, 16 cent. ; -trade garnished with red D , hand Inrne : ... The left-hand is squa- ll o hip. The skirt is ol a irdm her waist. The bodice sleeves have white and iating auburn hair, is «j ■ .wing the ample un a sly and liumorou t in. lit to smile. I .!; width, 28 cent. . — 9 — 20 — Bravi. Two men are awaiting the moment to attack their victim : one, his long rapier in his right-hand, his leaning forward and peeping through the keyhole : with his left-hand, he is kee- pingback his accomplice, who is standing, his left foot foremost, ready to strike at the critical moment; both are dressed in red breeches and leathern accoutrements; the neck of the standing bravo is enclosed in a rigid ruff. (1853) Pannel. Height, 15 cent. 3/4; width, 19 cent. 21 — Portrait of M me Lehon. Standing, her body is turned three quarters to the left; a low necked blue dress, grey overskirt set off with lace ; she holds a book in her hands the forefinger of which marks the last read page; the head front-view leaning on the right-hand, the fair and curling hair are worn in bands on the forehead. (1853) Pannel. Height, 22 cent. 1/2; width, 14 cent. 1/2. 22 — Spring. She is clothed in pink; he is dressed in blue and grey. She is sitting; he is kneeling down by her ; both lock their arms about each other in a loving embrace. (1853) Pannel. Height, 12 cent.; width, 9 cent. 23 — The Tapestry. A young lady dressed in a robe of Louis XV’s time, is sitting before her tapestry frame ; her right-hand is drawing her needle, threaded with silk; by her, on a chest of drawers, an open work-box, a black phial, a small copper flowersland and a stone vase in which a nosegay of roses is set. On the wall is hung a picture. Height, 19 cent.; width, 13 cent. 1/2. 2 (1853) — 10 — 24 — In the Park. In the walk of a park, a nobleman in a costume of Louis XIII’s time, red breeches, a cloak a la Balagny over bis shoulder, a grey felt bat in bis band, walks arm in arm with a fair haired young lady dressed in white and grey, with , low necked bodice. (1853) Pannel. Height, 15 cent. 1/4; width, 10 cent. 1/2. 25 — A Song of heroic deeds. In the ball, troopers and valets are silting or standing ; some in a yellow, others in a grey or in a red jerkin; one of them, a pink scarf cross-wise, still wears his iron gorget. On the left-hand side, standing before them the old bard is singing the heroic deeds of the forefathers to the music of his hurdy-gurdy. (1853) Pannel. Height, 23 cent.; width, 30 cent. 26 — In the Taproom. A trooper, dressed in grey and yellow, red velvet breeches, is sitting, his left elbow leaning on the back of his chair, his right-hand resting on the wooden table, on which is a pewter pot, a glass and a rapier. At the trooper’s feet, a large danish greyhound is lying, asleep. This dog, which belonged to Meissonier, was called Sloughy. (1853) Pannel. Height, 22 cent. 1/3; width, 17 cent. — 11 27 — Portrait of M me Sabatier. She is silling in an arm-chair, her right foot on a cushion, the left one crossed over it. Her left-hand holds a hook open on her knee ; the right arm emerges from a lace sleeve and the chin is leaning on her hand. She wears a cream-coloured dress with simple folds; the low necked bodice is adorned with knots of blue ribbon ; out of all this paleness stands out the head in a warm and glowing tone under her double bands of ondulaling black hair in which a red floweret almost disappears. The mouth smiles, the nose is marked by the dilation of the nostrils, her eyes are full of spirit and vivacity. (1854) Pannel. Height, 16 cent.; width, 11 cent. 1/2. 28 — The Brawl. Two opponents, in a splendid burst of wrath, rush on one another, a dagger in hand; their friends, holding them back, form two groups, one on the left-hand side with the fighting man struggling forward, the other on the right-hand side, where the adversary has the upper part of his body held backwards. (1854) Pannel. Height, 24 cent.; width, 32 cent. 29 — The Mastiff and the little dog. (Contes Remois) One of the pannels composed as a study with a view to the illustration of the Contes Remois. An old fop, his felt hat tilted on his ear, his sword at his side, has just been knocking at a door, and is leaning to listen to the noise of approaching or hesitating foot steps. (1857) Pannel. Height, 17 cent.; width, 13 cent. 1/2. — 12 — 30 — A Halberdier. S landing, his right arm holding a halberd, the man at arms, dressed in red and brown, his heavy rapier at his side, his left-hand on the hilt, his right leg crossed before his left, unconsciously lets the moments of his duty pass away. (1857) Pannel. Height, 15 cent. 1/2; width, 11 cent. 31 — The Poet. This takes place in the time of Ronsard and Malherbe. In the small drawing-room , adorned with thick and heavy hangings, in the silent and rich intimacy of cosy furniture, a poet sitting on the edge of a stool, making gestures with his right-hand, the left holding the manuscript, reads the last ballad he has been writing. On the right-hand side, two young women are listening, dressed in elegant blue and black attire. In the back ground, a young nobleman , reclining on cushions , indolently sub- mits to this reading. At the poet’s feet, a spaniel, its neck encircled with a blue ribbon, is lying asleep. (1858) Pannel. Height, 28 cent. 1/2; width, 37 cent. 32 — A Reader. Silting near a round table covered with red cloth and on which he lays his left-hand in a decided way, a nobleman of Louis XIII’s time holds in his right-hand, resting on the arm of his seat, a memorandum he is reading attentively . (1858) Pannel. Height, 15 cent. 1/2 ; width, 17 cent. 30 - \ \ ; • 1 . the man at his h. i pier at his right h civ * d before his nis o' dut, 'ass away. tti Ctrl! . 1 1 ».• jj, r ' b-rP -b i UP Tii Tf V ' t heavy Ti in ul cosy furniture. -jjgl^l'.VvwvAX «W --a*” 7 - ix u-U-i 1 im holding > a? neen writing. ,icl c . D 4 -Jft^right-hancl side. y*«£ed in elegant blur :■ f this read. * the pot * 11. • . - ; K :«T! . b i ipt, reads the last v aiicn are listening, .re. In the back ground, lshuMis, indolently sub- k encircled with a blue 111. : i; width, 3*7 ceiil. 1 Rentier. Si" mg • d with red cloth and on 1 way, a nobleman of K resting on the arm attentively. ! "i v !•!!('. i 1' AJ. — 13 — 33 — Portrait of Miss J. S. Sitting, in left-hand profile ; her chin leaning on her raised right-hand ; her left arm falls naturally ; the fore part of the arm on her knee ; a blue dress trimmed with white muslin ; a blue ribbon is wound in her fair tawny lined hair. (1859) Pannel. Height, 25 cent.; width, 18 cent. 34 — A Priest. He is smartly dressed in dark brown. His stockings are exquisitely drawn up ; his cocked-hat is carefully set on a tastefully powdered wig; and out in the sun, his elegant figure stands out on the well lighted wall, while thoughtfully he reads his breviary, which he holds in both hands. (1859) Pannel. Height, 15 cent.; width, 7 cent. 35 — Sing inf/. On the right-hand side a Venetian nobleman, silting before a clavier is with fond eyes gazing at a young woman, dres- sed in white, who stands singing. She is seen in right-hand profile. (1859) Pannel. Height, 21 cent.; width, 14 cent. 1/2. 36 — A Halberdier. Leaning against a high mantle-piece, the halberdier is standing, his rapier at his side, his raised right-hand holding the halberd by the guard. His left-hand palm outwards rests on the hip ; he is dressed in red velvet breeches, and a doublet with yellow facings : the head, covered with a brown cap, emerges from a stiffly frilled ruff. (I860) Pannel. Height, 25 cent.; width, 14 cent. — 14 — 37 — ■ cc Desesperee ». A dark bay mare, is seen three quarters to the left and from behind. A study for the Solferino. (I860) Pannel. Height, 15 cent.; width, il cent. 38 — Fontainebleau. On each side of the road lofty trees with thick spreading foliage; on the ground here and there, streaks of sunlight shooting through the branches. In the depth of the forest, at intervals, patches of blue sky mirrored in a pond. (1861) Pannel. Height, 14 cent.; width, 11 cent. 1/2. 39 — Concert. (A sketch). At a Venetian Nobleman’s. On the right and left-hand side, on seats, young women, in melancholy attitudes, listen to a female singer, standing, whom a player accompanies on the psaltery. The broken folds of the grey, blue, white, yellow, and red satin dresses sparkle in a rich play of colours ; behind, listening noblemen. (1801) Pannel. Height, CO cent.; width, 80 cent. 40 — A white Horse. Seen three quarters from in front, a white horse with the red saddle of the Emperor ; this study was made for the Em- peror after his horse Soliman, for a first picture of 1814. (1802) Pannel. Height, 14 cent.; width, 12 cent. — 15 — 41 — -A walking Horse. A study for his picture : 1814. (The Emperor’s horse.) A white horse, with a red velvet saddle ; the left foreleg is raised in advance. (1862) Pannel. Height, 16 cent.; width, 18 cent. 42 — Napoleon III. Napoleon III seen in profile on a bay horse ; a study for the picture : Solferino. On the left-hand side we read ; « Fontainebleau, 30 Ul of June 60. » (I860) Pannel. Height, 10 cent.; width, 10 cent. 1/2 43 — Buckingham. A study of Buckingham, a horse belonging to the Emperor (Napoleon III) made at Fontainebleau, the 11 th of June 1862, for the picture : Solferino. The chestnut horse ready saddled is seen in the right-hand profile. (1862) Pannel. Height, 12 cent.; width, 13 cent. 44 — Study for the two Van de Weldes. A nobleman of Louis XIII’s time sitting, in light brown attire and a red cloak. He holds his felt hat in his left-hand. (1862) Canvass. Height, 33 cent. 1/2; width, 19 cent. 43 — A walking Horse. A study for the picture : 1814 . Bay horse turned to the right. In the saddle is drawn a horseman. (Marshal Ney’s horse). (1862) Pannel. Height, 17 cent. 1/2; width, 13 cent. 1/2. 16 — 46 — A Knight on his wag to the tournament. Behind the heralds sounding the trumpets, on his capari- soned steed sits proudly the armed knight, the plumes of his helm floating in the breeze; by him, a man at arms carries his banner; behind him, erect in their saddles, warriors armed with the lance and, forming their escort on the right and left-hand side, a few arcpiebuseers on foot. (1863) Canvass. Height, 30 cent.; width, 40 cent. 47 — Study of Marshal Ney. A study for the Marshal Ney of the picture : 1814 ; on horseback, his uniform appearing from beneath the grey great-coat thrown over his shoulders and fastened by the first button. The study indicates the right leg, a part of the saddle and of the body, but not the head. (1863) Pannel. Height, 16 cent.; width, 12 cent. 48 — Rembrandt. In his studio, dressed in a red cloak, a black velvet cap on bis head, seen turned three quarters to the right Rembrandt, a brush in his right-hand, is taking a survey of a picture already commenced, set on the easel before him. On the left-hand side, the cross-barred window throws a bright sunlight over the seat of the painter, over his hand, his right knee and the party-coloured plush cloth which covers the round table on the right-hand. (1863) Pannel. Height, 22 cent.; width, 17 cent. 1/2. I uvnament. - t ‘i limpets, on his capari- • knight, tlie plumes of his n. a man alarms carries i their saddles, warriors . theii • scort on the right •rs on foot. 'ik; width, VO cent. .t/.i/.^'kiT yd bo do I o .('(■ "/. 'die picture: 1814 ] on • ! 1 ni beneath the grey and fastened by the first t/ ■ part of the saddle and at.; width, 12 cent. ■•‘lack velvet cap on right Rembrandt, . -v of a picture i him. - vuulow throws a „ his hand, his inch covers — 17 — 49 — The Etcher. Silling, in left-hand profile, the etcher is earnestly engaged in contemplating the plate he has just bitten. Before him, in the softened light of the screen, the bottles containing his acids and the glasses used in his profession. To the right, against a background of tapestry, an easel on which stands the study of the picture : Singing. In the background, on the right-hand side, a round table with different works of art. On the left-hand side, in the fore ground, the frame of an old clock at the foot of which is the dish necessary to the etcher’s work. (1 8G3) Pannel. Height. 24 cent. 1/2; width, 18 cent. 50 — - Napoleon I. On horse-hack, in his buttoned up great-coat, his collar raised to his ears, his hat on his head, his right-hand, holding his riding stick, passed between the third and fourth button of his coat : the Emperor is seen turned three quarters to the right, the eye is serious, his brow expressing anxiety. A study for the figure of Napoleon in the picture entitled : 1814. (1863' Pannel. Height, 21 cent.; width, 16 cent. 1/2. 51 — Portrait of « L’ Aventnriere ». A chestnut mare, with a glossy coat, seen in left-hand pro- file. Red saddle, bridle and trappings with polished brass buckles. In the distance, a thick wood and a sunlighted bit of land- scape. Signed on the right-hand side 3V1, 1863. Pannel. Height, 38 cent. 1/2 ; width, 28 cent. 3 (1863) — 18 — 52 — Study of a cuirassier. A cuirassier, erect in his stirrups, his right arm thrown forward, his mouth open and shouting. A study for the 1807 . (The horseman alone is painted.) (1864) Pannel. Height, 31 cent. 1/2; width, 24 cent. 53 — Study of a horse. In a meadow, a chestnut horse, seen almost front-view and browsing. In harness. A study for the picture : Outposts of hussars. (1864) Pannel. Height, lb cent. ; width, 12 cent. 54 — ■ A field Officer. The body front-view, his head slightly turned to the right. A study for the large aquarelle of 1807 . Pannel. Height, 12 cent. 1/2; width, 10 cent. 55 — Study of cuirassiers. On a same pannel, a cuirassier’s head seen in left-hand profile, the up-raised hand holding the sword, and an other cuirassier on horseback, seen in profile turned away, his right arm raised. Studies for the 1807 . (186b) Pannel. Height, 14 cent.; width, 24 cent, — 19 56 — A Brigasse shepherd. He is standing seen in profile, and playing the flute; with his left arm he supports his coat and staff ; the fringe of his red sash hangs on his brown breeches ; that of his blue garter on his white stockings. Study for a picture never completed. (1865) Pannel. Height, 22 cent. 1/2; width, 12 cent 1/2. 57 — Portrait of Mr. Meissonier. On the road to Antibes : on the sunnily lit background, where the sky descends to the ondulating waves of the sea, the forms of a man on horseback, dressed in brown velvet, and of his white horse stand in front-view. The master has painted himself, his head covered with a tyrolian felt hat, his right- hand resting on his thigh, the forefinger passed into the pocket of his waistcoat. Study for the picture called : The Road to Antibes. (1865) Pannel. Height, 26 cent. 1/2; width, 16 cent. 58 — A Horseman of the time of Louis XIII. Standing, booted, his buff coat tightly closed about his body, wearing a felt hat with upturned rim, the rider, seen in left- hand profile, his right shoulder leaning against the wall, is amusing himself testing the pliancy of a switch. (1865) Pannel. Height, 20 cent. ; width, 11 cent. 59 — Portrait of a Bachelier ». In the corner of a garden, the portrait of a grey and white horse, seen turned three quarters and in front. On the right-hand side, the painter has written : « My poor Bachelier taken from me by the army of the Loire, on the 27 th of January 1871. » (1865) Pannel. Height, 40 cent. ; width, 27 cent. — 20 — GO — A Soldier of the first Republic, on guard. Standing, under arms, white leggings, his right arm hangs along his body, white leather bands across his breast, his earthern gourd cross-wise, the red tuft, a cocked hat : seen three quarters to the right. (1865) Pannel. Height, 21 cent. 1/2; width, 1 cent. 1/2. 01 — The Trumpeter of « 1807 » . The trumpeter of 1807 , in his saddle, his right arm raised. A study for the dragoon in rose coloured tunic and for the saddle with its accoutrements. (1865) Pannel. Height, 23 cent. 1/2; width, 12 cent. G2 — Soliman. A white horse, seen three quarters to the right and in front. Behind him a background of verdure. On the left, these words written by the painter : « My brave Soliman. » (1865) Pannel. Height, 40 cent. 1/2; width, 29 cent. 63 — A Cuirassier charging. On his chestnut horse, at full gallop, with flashing eyes, the cuirassier, his head bent forward, raises his sword and joins with all the force of his lungs in the cheer which salutes the Emperor. It is the study used in the picture : 1807 , for the cuirassier placed in the middle of the first fde. (I860) Pannel. Height, 40 cent.; width, 29 cent. 1/2. V 60 ' 18 - 6 ( 186 b) 62 - '•miif' : width, 29 cent. ' . - ■ — 21 — 64 - — A Traveller. In a landscape, where reeds arise from a pond, under a clouded and stormy sky a traveller, riding a while horse is trotting along the road thickly covered with grass. He wears a black three-cornered hat and is muffled up to his nose in the folds of his large brown cloak. His black leggings indicate the epoch of Louis XV. On his saddle are hung red holsters. (1866) Pannel. Height, 15 cent. 1/2; width, 20 cent, 1/2. 65 — A Nobleman of Louis XI IF s time. He is gallantly walking, his closed right-hand on his hip ; his left-hand on the hilt of his sword ; under his leathern trap- pings one sees the red velvet vest; a soft felt hat covers a head with a winking eye and swaggering look. (1866) Pannel. Height, 27 cent. 1/2; width, 15 cent. 66 — A Study of legs. Legs in boots and breeches and a gloved hand resting on the hilt of a sword; for the nobleman exhibited under the above number. (1866) Pannel. Height, 11 cent. 1/2; width, 23 cent. 1/2. 67 — A Study of a canon. A canon on its carriage, one wheel of which is broken. On the left a few branches of a tree are indicated. Study for the 1807 . (1866) Pannel. Height, 12 cent. ; width, 24 cent. A Cuirassier. (i860) (1806) (I860) On horse-back, leaning backwards, his right arm raised, brandishing a sword, the cuirassier at a gallop cheers the Em- peror. His uniform and accoutrements are covered with mud. Study of a cuirassier for the 1807. Pannel. Height, 23 cent. 1/2; width, 17 cent. 1/2. A Study of a horse. A white horse galloping. Study of head, chest and legs for the horse of the trum- peter of 1807. Pannel. Height, 31 cent; width, 22 cent. A Study of a dragoon. On horseback, turned three quarters to the left, a dragoon, pistol in hand ; the accoutrements bear the number : 23 rd , the horse is chestnut ; indication of blue sky. Pannel. Height, 25 cent. 1/2; width, 18 cent. Study of a horse. A dark bay horse seen almost front-view. The head down, the legs at a trolling pace. Study fora horse of the Guide of 1807. (1867) Pannel. Height, 21 cent. 12; width, 12 cent. 23 — 72 — (1867) 73 — (1866) 74 — (1867) 75-76 - Colonel of cuirassiers. A colonel of cuirassiers riding a bay horse, in left-hand pro- file, at full gallop; the horse has no reins; the horseman raises his right arm in a gesture full of energy. Study for the 1807 . Height, 25 cent. 1/2; width, 21 cent. Study of a cuirassier. A cuirassier, in his saddle, erect in his stirrups, seen in profile. Study for the 1807. Study of a cuirassier. A cuirassier holding his sword at arm’s length, his widely open mouth cheering. The trooper alone is painted. Study for the 1 807 . Pannel. Height, 39 cent.; width, 17 cent. Lannes and Bessieres. In one same frame. Marshal Lannes, erect in his saddle, on a dark bay horse, front-view, his left-hand resting on his thigh. Study for the 1807 . Marshal Bessieres, riding a hay horse, the head of which is hanging forward; he is seen front-view, the right-hand on his thigh, his head slightly turned to the right. Study for the 1807. (1868) Pannel. Height, 34 cent; width, 14 cent, — 24 — 77 — Study. The horse of a Guide , seen almost front-view; the legs indicate a trot. About the saddle appear different parts of the troopers uniform. Study for the 1807. (1868) Pannel. Height, 22 cent. 3/4; width, 14 cent. 3/4. 78 — Study of a horse. A hay horse, in left-hand profile, at full gallop. Study for the 1807 . (1868) Height, 44 cent.; width, 4b cent. 79 — Staff officer. A staff officer seen almost from behind and on the left-hand side, on a horse at a full gallop. (1868) Pannel. Height, 17 cent. 1/2; width, 18 cent. 80 — The Farm at Chenonceaux. On the right-hand side, the dwelling with an open door and the stone stairs at the top of which are a table and chair. In the background, on the left and in the shade, one of the farm buildings. On the right, in the sun a dog is lying asleep. Blue sky. Canvass. Height, 23 cent.; width, 31 cent. (1868) X" IS. — lienihrmid 7 . c- 1 c- 1 1 1 ‘( I by Ai.ASsoNir.Ki:. ! i 'Hide, seen dr front-view; the legs ii tin « j>pear different parts of form. am. i width, 14 cent. 3/4. FisJH 5 profile, at full gallop. cent. ost from behind and on the left-hand i gallop. Height, t " cent. 1/2; width, 18 cent. lling with an open door and eh are a table and chair. In be shade, one of the farm asleep. Blue sky. — 25 81 — Study of figure. A study of the Emperor in his saddle; the right leg and the upper part of the body alone are indicated. On the back of the pannel, the study of the head of a young girl is roughly sketched. (1868) Pannel. Height, 18 cent.; width, 12 cent. 82 — Antibes. On the road which borders the sea, a horseman dressed in brown, rides a white horse. On the left, at the top of a slope, buildings over which the sun throws a pale light. On the right, over the sea and beneath the blue sky resting on the jagged hills, the old walls of the town. (1868) Pannel. Height, 13 cent.; width, 25 cent. 1/2. 83 — Antibes. A corner of the old walls. To the right, the ramparts over which the sun throws trails of light. To the left, at the foot of a slope, an 'open swung gate; in the background, a curtain of blue sky. (1868) Pannel. Height, 22 cent.; width, 27 cent. 1/2. 84 — • A Coroner of the square Fort at Antibes. Along the saracen wall climb stone stairs with an iron hand-rail. The sun lights the warm and glowing tone of the bricks ; two large shadows follow the geometrical lines of the building, over which an immutable blue sky looks down. Pannel. Height, 29 cent. 1/2; width, 21 cent. 4 (1868) — 26 85 — Antibes. From the middle of the cliffs spring the green mosses spiked with rocks : the sea stretches the clear sheet of its waters full of blue green thrills to the horizon to which the sky of azure and grey descends. (1868) Pannel. Height, 22 cent.; width, 38 cent 1/2. 86 — Antibes. On the shores of the sea whose blue borders are defined by the curve of a creek with verdant cliffs, a shepherd leads his flock. In the sky, the noonday sun sheds its checkered light. (1869) Pannel. Height, 22 cent. 1/2; width, 36. 87 — A Street at Antibes. Between the high houses that counterforts join together, the yards are filled with shade; yet, in the background, through an azure break, long trails of light caress the walls; under an archway, on the top of a terrace, two silhouettes leaning against a parapet are brought into relief by the sunshine. (1863) Pannel. Height, 23 cent. 1/2; width, 15 cent. 88 — - On the Ramparts of Antibes. Around a yard, the ground of which is overgrown with grass, tile-roofed buildings on the walls of which the sun throws a pale light. By an open door, a donkey is browzing, loaded with his pack saddle. Blue sky. (1868) Pannel. Height, 19 cent.; width, 28 cent. 1/2. — 27 — 89 — A Fisherman s wife, at Antibes . Standing, with a highly coloured face, dressed in a violet hued skirt and a grey caraco, the fisherman’s wife, seen front- view, holds in her arms her child, his head in a white cap and the body wrapped in an old shawl with red ends, (1868) Pannel. Height, 19 cent.; width, 11 cent. 1/2. 90 — Alms. A poor woman carrying her child on her left arm and a bundle of . clothes in the right, holds out her hand. Her bare feet are seen under a brown robe. (1868) Pannel. Height, 26 cent.; width, 1 cent. 9i — Old Mother Lucretia . Sitting against the wall, the old woman is holding her grand- child on her knees ; the grandmother with shrivelled face and bony hands, on which are strongly defined the blue cords of her veins, has her white hair enclosed in a madras cap. She is wearing a black caraco and a brown skirt with stripes. The child, very fair, has pink stockings, alight dress, a blue apron. (1868) Pannel. Height, 24 cent.; width, 16 cent. 92 — Portrait of Mr. Meissonier. Seen almost from in front, with a highly coloured com- plexion, the hair brushed up, the white beard floating over his black coat. (1868) Pannel. Height, 20 cent.; width, lb cent. 28 93 — The Military servant. By a wall over which under an azure sky the sun is throwing light, a soldier of the Republic, seen in left-hand profile, his right knee in advance, is holding the chestnut horse of an officer. The horse is seen in right-hand profile. (•1869) Canvass. Height, 44 cent.; width, 30 cent. 94 - — Antibes. Above the blue sea, from which the rocks spring in places, on the left, Antibes raises its ancient ramparts where the sun throws trails of light. In the distance the horizon is outlined by the hills under an azure sky. (1 8G8) Pannel. Height, 13 cent. 1/2; width, 22 cent. 1/2. 95 — Antibes. Against the rocks bristling on the shore the white frothy waves of the sea expire. On the horizon the sky seems to lead the whiteness of its fleeting clouds over the blue green w r aters. (18G8) Pannel. Height, 15 cent.; vidth, 29 cent. 96 — The « Plan de I’llette », at Antibes. Like to a huge tooth, Le Plan de I’llette , juts into the sea. The sunburnt stones here and there show the green moss of a sparse nature. Sheltered in the creek formed by this mass of rock, a fishing boat is fastened on the right. On the right also in the distance, in the transparency of the sky and ho- rizon, a sail is indicaded under a streak of sunlight. (1808) Pannel. Height, 14 cent.; width, 23 cent. 1/2. 93 — The Milil B lig 1 ri ( 1869 ) ■ sun is throwing I: : hand profile, hi- « -tnut horse of an /cl profile. . ; width, 30 cent. r1 d< ; the rocks spring in places, u ■: nt ramparts where the sun eight, 13 ceni. 1/2; width, 22 cent. 1/2.. A’ t •» i / on the shore the white frothy i he horizon the sky seems to lead clouds over the blue green (If iL'lit, 15 cent. ; vidth, 29 cent. j j full gallop, 5een in left-hand profile. m Offtlle'nl^oVf red portions ' are other studies of legs and hoofs. Panned. Height, 21 cent. 1/2; width, 24 cent. • • corpses of soldiers and horses, some b -rs fallen on their back hold in death ■ -.villi fury. Here Neverhle, to the left . > ••• h« v on Franchetti, further still, a ■ -t ■< ■■ g the arms of the town, a sailor e/.Ti ti:< d • »f grape shot, brother Antelme; _' ! 1 1 . amen. fa (her seeking the body of his other presen' i! the mortally wounded father n . In the h the (lily of Paris, still erect, receives in her Irl ' "i ! I he last embrace of Henri • iu i right-hand ■ ; . i with a broadsword she h -s against the .It -any bird of prey with ha! a criminal fatality guides on. Behind ! the tricolour is seen the horizon !. bon and thunders the tempest. itfi 1 1 cent. 1/2; width, 39 cent. IWtkeLs.c, 34 — 115 — Alms. (1873) In a road through the wood, a horseman stops his horse and fumbles in his pocket for the loose coins of alms, whilst his look shaded by a large three-cornered hat pries into the face of a beggar. The horse is of a bay cherry colour, the horseman wears buck skin breeches, a white waistcoat with facings and the long frock-coat in fashion under the Directoire. Study for the picture : Alms. Pannel. Height, 31 cent. 1/2; width, 20 cent. 116 — Hussar. (1873) Study for the picture : The military Servants. A hussar, riding a dark bay horse ; horse and horseman are seen from behind. Pannel. Height, 24 cent.; width, 12 cent. 1/2. 117 — « Guides » in a change of front. (1874) To the right, the Emperor on horse-back; behind him, his staff; in the back-ground, a guard is keeping off the crowd. In the middle, the squadron of the Guides , in two fdes, are making a change of front at full gallop of their chestnut horses. To the left, other squadrons are about to fall into line and receive the words of command from an officer sitting a white horse. To the left, in the fore ground, a grenadier on horse-back is maintaining order. In front in the grass lays a grenadier’s bearskin cap. Pannel. Height, 38 cent.; width, 61 cent. 118 — Study of a horse. (1874) A dapple-grey horse, seen three quarters and from behind; the head slightly turned to the left. Study for the picture : Horsemen drinking before an inn. Pannel. Height, 21 cent. 1/2; width, lb cent. 3/4. 119 — Grenadier on horse-back. (1874) Seen in right-hand profile ; dark hay horse, wilh firmly posed legs and head hanging down ; the grenadier stands erect in his saddle. This is the study of the figure seen in the fore ground, to the left, in the picture entitled : Guides in a change of front. Panncl. Height, 28 cent.; width, 25 cent. 1/2. 120 — A Nobleman of Louis XIII’ s time. (1874) Wrapped in his coat a la Balagny, tucked up over the hilt of the sword and exposing the red breeches, the nobleman, seen in profile, seems deeply sunk in thought ; his left-hand supporting his right arm, upon the upraised hand of which rests the chin ; he wears a large felt hat with plumes. Pannel. Height, 23 cent.; width, 12 cent. 121 — A Nobleman of Louis XIII’ s time. (1874) A nobleman of Louis XIII’s time, dressed in brown bree- ches and leathern accoutrements. He wears a long sword hanging from his baldrick, his right foot placed in advance; both hands are holding a stick passed behind his back. From under his black felt hat with turned up rim, is seen his cur- ling hair. Pannel. Height, 25 cent.; width, 13 cent. 122 — Charles I. (1874) Riding a chestnut horse, in left-hand profile, Charles I, dressed in light brown velvet breeches and white doublet; his dignified silhouette is brought into relief against the leafy depth of a wood; he wears a black felt hat with white plumes. Panncl. Height, 19 cent. 1/2; width, 21 cent. 1/2. — 3G — 123 — (1875) 124 — (187a) 125 — (1875) 126 — A Nobleman of Louis XIII’ s time . A nobleman of Louis XIII’s time, bis left-band resting on tlie hilt of bis sword, is going down a spiral flight of stairs; he is dressed in brown breeches and light brown doublet over which falls a large while collar. He wears blue stoc- kings and on bis shoes are knots of red ribbons. As he descends, he fondly glances up towards the loved one, who watches his departure. Pannel. Height, 38 cent. 1/2; width, 18 cent. 1/2. A Man at arms and his horse. A man al arms in a light brown buff jerkin, his legs enclo- sed in high soft leathern boots, a helmet on his head, his left-hand on the hilt of his rapier, leads by the briddle, through ploughed land, a bay horse, the right foreleg of which is raised. Canvass. Height, Go cent.; width, 54 cent. Study of a horse. A chestnut horse, seen almost in right-hand profile, with a green saddle lined with red. Study for the picture : Moreau and Dessoles. Panned. Heiglil, 12 cent.; width, 10 cent. A Lieutenant of Cuirassiers. In left-hand profile turned away, a lieutenant of cuiras- siers in bis saddle, riding a dark bay horse. Study for the picture : 1805. (1875) Canvass. Heighl, 24 cenl. 1/2; width, 24 cent. 1/2 "! i 9 \j i „,M ■' jgt " :. v '. a? > - • WMm^i % 1 : wi ■ ffiji •■j j‘F(- ■ ■■■. •■{i • • •*„«» ■> _V ■ ’ > ‘.via f. * # - ■& X° ()2. — So/ i man , elched by CobitTitv. W' 9 X’'. JaA X If '';h V ! ' i 1 6 i ir SM. ife g - \ * \ 123 — A Not ‘iinc. \ ■Cl hand resting on hral flight of stairs; light brown doublet He wears blue stoc- 'of id ribbons. As he (he loved one, who- (i f j ; widlh, t8 cent. 1 12. i*<> fmrse. ,i wn buff jerkin, liis legs enclo- o^t his head, hi . the 1 r, leads by the briddle, through u land, a .bav • he right foreleg of which is j. Cdtiw l'h. U4 cent. ■ ii horse, seen almost in right-hand profile, with a ^ -addle lined with red. v for the picture : Moreau and Dessoles. i*:,) Pannel. Height, (2 cent.; widlh, 10 cent. \ Lieu ■ / Cuirassiers. it, ! . , ill turned away, a lieutenant of cuiras- •n i- ;n i : . Height, 2 » cent. 1 i; width, 24 coni. 1/2. \ / — 37 — 127 — Study of a horse. (1875) A chestnut horse, seen three quarters to the left and in front. A long white streak from the forehead to the nostril. A horseman is outlined in the saddle. Pannel. Height, 19 cent. 1/2; width, 11 cent. 1/2. 128 — A Horse s head with its accoutrements. In left-hand profile. Study for the picture : The two Friends. Pannel. Height, 10 cent. 1/2; width, 8 cent. 1/2. 129 — A Lieutenant of Cuirassiers. (1875) In his saddle, a lieutenant of cuirassiers, seen three quarters to the right from in front, is patting his dark bay horse, the raised right leg of which marks impatience. Pannel. Height, 29 cent. 1/2; width, 22 cent. 1/2. 130 — Traveller on horse-back. The horse is walking; on his croup is fastened the port- manteau with wide trappings. The traveller, erect in his saddle, dressed in olive coloured cloth, is turning his head as if he was conversing with a fellow traveller. (1875) Pannel. Height, 32 cent.; width, 18 cent. — 38 — 131 A Guide. (1875) A Guide on horse-back ; the trooper in his green uniform, his red pelisse thrown over his shoulder, has his right-hand palm outwards resting on his thigh ; the chestnut coloured horse is walking. Study for the picture : The two Friends. Pannel. Height, 17 cent.; width, 15 cent. 1/2. 132 — Nadetje. (1875) On a sofa with red cushions, Nadege, a danish greyhound, is lying. His silky black coat relieved by white forefeet. Pannel. Height, 12 cent.; width, 14 cent. 133 Horsemen in a plain. On a hilly plain, under a sky glowing with the tawny flames of the setting sun, two horsemen of the last century are riding, conversing. One of them, to the left, riding a chestnut horse is dressed in a red coat; the other one to the right, riding a grey horse, wears dark blue attire. To the left, on the lace-worked line of the horizon, a wood raises its leafy mass reddened by autumn. (1875) Pannel. Height, 21 cent.; width, 31 cent. 134 On Vedette. In his saddle, on a dark bay horse, front-view, a dragoon is on vedette. In his right-hand, he holds his carbine, the but-end of which rests on his thigh. Study for the picture : On Vedette. (1 87L) Panncl. Height, 32 cent, i/2; width, lb cent. 1/2. — 39 — 135 — (1876) 136 — (1876) 137 — (1876) 138 — Study of a horse. A black horse, seen three quarters to the left and in front, the left hindleg raised, the tip of the hoof about to touch ground. The horse has a white speck on the forehead. Study for the cuirassiers of 1805 . Pannel. Height, 29 cent. 1/2; width, 27 cent. Study of a horse. The black horse of a cuirassier, seen three quarters to the left and in front; it has military accoutrements. Pannel. Height, 13 cent.; width, 9 cent. 1/2. Cuirassier. Erect in his saddle, on his chestnut horse motionless, his head turned to the right, the cuirassier, seen in left-hand profile, holds his helmet in his right-hand and with his left fastens his chin-strap. Study for the cuirassiers of 1805 . Pannel. Height, 27 cent. 1/2; width, 27 cent. Study for the « 1805 ». To the left, a general, on horse-hack, points to the spot which concerns his orders. To the right, a colonel of cuiras- siers, whose horse is turned in the opposite direction, is lea- ning over his saddle and his eyes follow the gesture of his chief. Study for the picture : 1805 . (1876) Pannel. Height, 19 cent. 1/2; width, 17 cent, — 40 139 — Koubra. (1876) A white greyhound with long hair, lazily lying at the foot of a table covered with a green velvet tahle-cloth ; his paws are resting against a wooden foot stool. Round his neck, a red ribbon. The right eye is open watching. Pannel. Height, 20 cent.; width, 14 cent. 140 — Study of a horse. (1876) A bay horse, seen in profile; the head is slightly turned to the right, the forelegs are firmly planted and motionless. The right hindleg is raised and the tip of the hoof alone rests on the ground. The saddle is summarily outlined. Study for the / 805 . Pannel. Height, 28 cent.; width, 23 cent. i/2. 141 — A Nobleman of Louis XIII’ s time. (1876) Standing , in profile , on a balcony , a nobleman of Louis XIII’s time lets his look wander on the horizon. His lace collar falls over his red vest with light brown slashes. From his brown breeches hang knots of black ribbons. The blue stockings descend to shammy leather shoes. The left- hand rests on the balcony, his right-hand on his hip; his eye is light and dreamy under the felt hat which rests upon his ear. Pannel. Height, 2a cent.; width, 18 cent. 142 — Drayoon on vedette. On a chestnut horse, front-view, a dragoon, his carbine resting on his leg, glances to the right ; he wears his field accoutrements, llis figure rises in an open plain under a cloudy sky. (1876) Canvass. Height, 1 m. la cent.; width, 94 cent. Canvass. Height, 1 m. 1 o coni.; width, 94 cent. - iO — »' YK A white greyhound with long hair, lazily lying at the foot of a table cuo red with a green velvet table-cloth; his pa « - are resti:.-.' gainst a wooden foot stool. Round his neck. i red ribbon. The right eye is open watching. Parni'-l Height, 20 cent.; width, 14 cent. Simhj of a horse. \ bay horse. profile ; the -head is slightly turned > < he right, the forelegs are firmly planted and motionless right hindleg is raised and the tip of the hoof alone rest- it the ground. The saddle is summarily outlined. Study for th el 805. _ HHviA’iyd badolo »\o^bu\c — . < * » Parinel. Height, 28 cent.; width, 23 cent. 1 2. \--’hteman of Louis XII I s time. , ;>? - h. *r\ -* . i nobleman of . # . „ -■ : • horizon. His .. ■ •. mown slashes. „ ;i j , ... . > ;>iack ribbons. The iihie -look mgs dcserun ■ : i »■ leather shoes. The left- hand rest- on the balcom . n>- . ;< iand on his hip; his eye i- light and dreamy under the felt hat which rests upon Ins ear. Panne!. Height, 2o cent.; width, t8 cent. on vedette. -I nut hor>t\ front-view, a dragoon, bis carbine h - 1- g, glances to the right; he wears his field His figure rises in an open plain under a H. iali' t ni. IS cent.; wiJlh, 94 cent. J'cu^rl^. Q ^~ f- — 41 — 143 — (18761 144 — ( 1876 ) 145 ( 1877 ) 146 ( 1877 ) Study of a horse. A cuirassier’s chestnut horse, with four white spots well marked, with held accoutrements, seen three quarters to the left and in front. Study for the 1805 . Pannel. Height, 31 cent. 1/2 ; width, 26 cent. 1/2. A Cuirassier. A cuirassier, in his saddle, on a bay horse, seen in left- hand profile. Study for the 1805. Canvass. Height, 24 cent. 1/2 ; width, 24 cent. 1/2. Study of a horse. A bay liorse seen from in front, at a trotting pace. The white spots showing, except that of the left foreleg. Study for the picture : The « Guide ». Pannel. Height, 64 cent.; width, 35 cent. 1/2. A Corporal of cuirassier's. In his saddle, on a chestnut horse, almost in pro hie, a corporal of cuirassiers in resting attitude. His left-hand on his thigh. Study for the 1805. Canvass. Height, 41 cent. 1/2 ; width, 28 cent. 1/2. 6 — 41 — 143 — (1876) 144 — (1876) 145 — (1877) 146 — (1877) Study of a horse. A cuirassier’s chestnut horse, with four white spots well marked, with field accoutrements, seen three quarters to the left and in front. Study for the 1805. Pannel. Height, 31 cent. 1/2 ; width, 26 cent. 1/2. A Cuirassier. A cuirassier, in his saddle, on a bay horse, seen in left- hand profile. Study for the 1805. Canvass. Height, 24 cent. 1/2 ; width, 24 cent. 1/2. Study of a horse. A bay horse seen from in front, at a trotting pace. The white spots showing, except that of the left foreleg. Study for the picture : The « Guide ». Pannel. Height, 64 cent.; width, 35 cent. 1 / 2. A C orporal of cuirassiers . In his saddle, on a chestnut horse, almost in profile, a corporal of cuirassiers in resting attitude. His left-hand on his thigh. Study for the 1805. Canvass. Height, 41 cent. 1/2 ; width, 28 cent. 1/2. G 154 — -A young Woman. (1878) 155 — (1878) 156 — A young woman is standing, almost in profile. The red slashed vest opens on a light brown robe. The hands hold by both ends a black fan. The light auburn hair is plaited and made up into a chignon. The neck stands out of an open collar, lined with lace. Study for the picture : An Arrival at the castle. Pannel. Height, 22 cent. 1/4 ; width, 13 cent. Portrait of Mr. Meissonier. Sitting in a Venetian arm-chair, his feet resting on a tapes- try cushion, wrapped in a red velvet gown, both his hands leaning on the arm of the chair, the forefinger of his right-hand marking the last read page of a book, the master is painted front-view. His hair is in disorder and his long white beard streaks with silver the purple shade of the gown. The look is profound and candid. Behind him a tapestry falls to a round table covered with a green velvet table-cloth. At his feet his danish greyhound, Koubra, is lazily lying on his side. Pannel. Height, 22 cent.; width, 17 cent. 1/2. A Philosopher . In his study : to the right, an oak table covered with a green velvet table-cloth ; on it, heavy folios, papers, a missel stand, a vase in which a sheaf of flowers is placed : to the left, comfortably sitting in an arm-chair, his right arm and hand supporting his head, the philosopher, dressed in velvet, seems sunk in deep meditation. On the ground, a carpet. In the back-ground, a sculptured oak door and a tapestry. (1878) Canvass. Height, 33 cent.; width, 40 cent. 156 - ; 1 rii/tn. -•n, r woman i- -i. ng, almost in profile. The red vest open ,!*l. In-own robe. The hands hold by nds a 1 ! u a. The light auburn hair is plaited and i.The neck stands out of an open collar, lined with • ■ lore : An Antral at the ca-sl'e. ’> • -:i 1/4; width, 13 cent. Portrait of Mr. Meissonier . "iiung in a Venetian arm-chair, his feet resting on a lapes- . rsrrji-jf «:) rd hands » * he arm of the chair, the forefinger of his right-hand ' ~t read png.-, of a book, the master is painted ' - m disorder and his long white beard '•• • 1 ■'hade of the gown. The look ios a tapestry falls to a >’ table-cloth. At his K M-!,.. lazily lying on his side. *'• nCit. i. -ul.; width, 17 cent. 1/2. .1 Philosopher. - * 1 id y ; to the right, an oak Lable covered with a • I table-cloth; on it, heavy folios, papers, a missel which a sheaf of flowers is placed : to the left, e in an arm-chair, his right arm and hand d, the philosopher, dressed in velvet, >!•' m meditation. On the ground, a carpet. In :romni. ■ d oak door and a tapestry. < 7aj« \ •• - c. Ill cent.; width, 40 cent. fiA i iutty J ‘ 157 — (1878) 158 — (1878) 159 — (1879) 160 — A Gust of wind. On a hilly plain, where here and there the ground appears verdant with mosses and heath, a horseman, riding a chestnut horse, seen three quarters and in front, advances with diffi- culty against the wind which swells his ample grey cloak. The sky is heavy with storm. Pannel. Height, 19 cent. 1/2; width, 20 coni. Study of a horse. A hay horse, seen three quarters to the right and in front, walking. Study for his picture : The « Guide ». Pannel. Height, 29 cent. 1/2; width, 15 cent. Dragoon on i^edette. A dragoon on vedette, seen front-view, on a bay horse turning its head to the right; he holds his carbine in his right- hand, the butt-end on his thigh. Clear landscape. Canvass. Height, 36 cent.; width, 20 cent. A Canal at Venice. To the left, a red hrick building, the foot of which is washed by the water of the canal. In the distance and to the right, joined to the other part of the city by bridges with one archway, other buildings rise covered with plaster and red tiled roofs. The canal in the foreground widens and its hanks are used as work-yards by ship builders in boats. The blue sky is mirrored in the rough waters. To the right, above a roof, the sun throws a streak of light. (1879) Pannel. Height, 12 coni.; width, 20 cent. 1/2. — 46 — 161 — Study for the Madona del Baccio. (1880) On the right-hand side, the pillar on which stands the Madona del Baccio; on the left, a transept of the church of Saint-Mark. Study for the picture : The Madona del Baccio. Pannel. Height, 20 cent. 1/2; Avidth, 14 cent. 162 — The Labbia Pcdace. (1880) The inside, on the ground-floor of the Labbia-Palace , at Venice. To the left, a monumental door; to the right, a stone bench against the wall; at a slight distance, a column. In the distance, above the open door, a tribune. Pannel. Height, 14 cent.; width, 20 cent. 1/2; 163 - Drayoon on vedette. In a woodland, under a sky with white and grey clouds, a dragoon on horseback, his carbine in his right-hand. He is seen three quarters to the left; chestnut horse. On the saddle cloth, one reads the number « 23 ». (1880) Pannel. Height, 23 cenl. 1/2; width, 17 cent. 164 An Inn maid. (1880) Study for the picture : The Halt at the inn. The maid, seen almost in left-hand profde, is dressed in a grey skirt under her white apron and in a dark blue grey caraco, the collar opening on a white whimple. Her right-hand, with fingers reddened by labour, is crossed under her left, carrying a saucer. Pannel. Height, 18 cent.; width, 11 cenl, — 47 — 165 — The Mad ana del Baccio. (1880) Study of Saint-Mark’s for the picture : The Madona del Baccio. PanneL Height, 20 cent. 1/2; width, 14 cent. 166 - Study of a horse. (1880) A dark dapple-grey horse, seen from behind, three quar- ters to the left. The weight of the body bears on the left fore- leg and the right hind leg. Pannel. Height, 19 cent. 1/2; width, 18 cent. 1/2. 167 — 1806. (1880) To the right, at the top of a ridge of land, the Emperor, on a white horse seen in left-hand profile, clothed in his grey over- coat, has his gaze fixed before him. To the left, his staff of gene- rals and field officers. To the left, at the foot of the slope, the guides of his escort. And in the plain, at full gallop of their horses, the squadrons of cuirassiers, sword in hand. In the distance the vapour and smoke of canonading ascending from the ground, grey and white clouds descending from the sky. Pannel. Height, 55 cent.; width, 70 cent. 168 — On the Balcnoy. A sort of Gil Bias, sitting in the recess of a loggia, smiling and sceptical, is looking down on the stir of life of the public place below, which' gives him subject for his thoughts; wrapped in an ample grey cloak, he affects negligent scorn. (1880) Canvass. Height, 45 cent.; width, 31 cent. — 48 — 169 — ( 1881 ) 170 ( 1881 ) 171 — ( 1882 ) 172 Anglers. To the left at the foot of the bank sloping down to the Seine, two anglers. One, in shirt sleeves, is sitting, his head covered with a straw hat. By him, a young woman in a light dress. To the right, in the distance, behind a cluster of leafy trees, the bridge of Poissy, above which stretches a spring sky. Pannel. Height, .34 cent.; width, 36 cent. A Nobleman of Louis XIII’ s time. Standing, his left foot placed behind him, his doublet unbuttoned, with light brown breeches, his felt hat back- wards, his head slightly turned towards his left shoulder, the right-hand on the hip, the left on the hilt of his sword. Canvass. Height, 30 cent.; width, 19 cent. 1/2. A Traveller. Study for a traveller, in a costume of the time of the Directoire, before an inn. He is on horseback and empties the glass he holds in his raised left-hand. The left leg and the upper part of the body alone are painted. He his seen from behind. l’annel. Height, 17 cent. 1/2; width, 11 cent. 1/3. Koubra. At the foot of a Venetian arm-chair, on which is placed a velvet costume with brass buttons, a russian greyhound is lying. Ilis fur blends with the glowing tones of the carpels. The head is turned front-view, the four feet are brought together, his legs extended. ( 1882 ) Pannel. Height, 29 cent.; width, 20 cent. : i 88 1 170 171 (1882 To tin' left at the fool of the bank sloping down to tlu ■Si in-,-. two anglers. One, in shirt sleeves, is silting, his bead - vi-ifd with a straw hat. By him, a young woman in a light ; " i’o the right, in the distance, behind a cluster of leah 1 *re.-, the bridge of Poissy. above which stretches a spring sky . i’.u 1 1 1 1 • I . 34 cent.; width, !>G cent. A Nobleman 'of Lon in XI l is time. Standing, his left foot placed behind him, his doubh l unbuttoned, with light brown breeches, Jiis felt liat bad BMftf.tefS tetKfe Ms Jf ^° ul de' the right-hand on the hip, the left on the hilt of his sword . Caifri'S. Height, 30 cent.; width, J 9 cent. 1/2. A Travel la . Study f*» a i t 1 , in •< ’ .:in.i of the time of Uie Directoire. before an inn. He is on horseback and empties lh glass he holds in his raised left-hand. The left leg and the uppet part of the body alone are painted. He his seen from behind. I'annel. Height, 17 cent. 1/2; width, 11 cent. 1/3. lion hr a. si the foot • nelian arm-chair, on which is place o ■■I costume v. : ih brass buttons, a russian greyhounds His fur blends with the glowing tones of tb< head is lurried front- view, the four feet at. her, his legs extended. I 8 M 2 Pannel. Height, 29 cent.; width, 20 cent. 49 — 173 — 174 — (1882) 173 — (1882) 176 — Koubra. At the foot of a Venetian arm-chair with red velvet cush- ions, is lying a white grey-hound ; the head is seen front-view, the four feet are brought together. Canvass. Height, 43 cent. ; width, 32 cent. A Nobleman of Louis XII I s time. Standing, his left leg placed in advance, the point of the foot out. Grey breeches, enclosed in buff accoutrements ; his coat tucked up by the hilt of the sword, on which leans the right arm. The nobleman is turning his head in a foppish attitude and is curling his mustache with his raised right-hand. His dark tawny hair falls from under his plumed felt hat. Pannel. Height, 20 cent.; width, 12 cent. In the evening; horsemen in a plam. On the road, through the plain, the windings of which are marked by mosses, two horsemen are returning to the castle. They are seen from behind. The right-hand side one rides a dapple-grey horse ; the one on the left a bay horse. To the left, a forest with autumn tinged foliage stretches below a sky of expiring day; long dark clouds lined with light stream through the azure of the sky. To the right, a bank increases the slope of the road. Canvass. Height, 45 cent. ; width, 65 cent. A Horseman. On a chestnut horse, turned to the left and front-view, a horseman, in buck skin breeches, white waistcoat, light brown cloak and a hat with buckle, fumbles in his waistcoat pocket with his right-hand. Study for the picture : Alms. Pannel. Height, 21 cent. ; width, 15 cent. (1882) 50 — 177 — Study of Saint-Marc . (1882) Inside of the church of Saint-Marc, in Venice. Pannel. Height, 24 cent. 1/2; width, 16 cent. 178 — General Ghampionnet. (1882) On the sea-side, at Antibes, the general, on horse-back, followed at a gallop by two estafettes : the wind blows brist- ling the manes of the horses, while on the yellow sand expire the foaming waves of the sea. The general, riding a dark bay horse, wears a dark blue tunic ; his profile, with the double peaked hat, is brought into relief by the cloudy sky. Pannel. Height, 22 cent. ; width, 35 cent. 1/2. 179 — Study. (1883) Head and chest of a chestnut horse, with accoutrements. The right boot of the horseman rests in the stirrup. Study for the picture ; The « Guide ». Pannel. Height, 35 cent.; width, 21 cent. 1/2. 180 — Study for « Singing ». He is sitting, dressed in red, both his hands on a clavier. The head, turned towards the right shoulder, has a soft and tender look. Study. (1883) Canvass. Height, 61 cent. ; width, 50 cent. 181 — (1883) 182 — (1888) 183 — (1885) 184 — - 5! Dragoon on vedette. In his saddle, seen in left-hand profile, a dragoon riding a bay horse, holds his carbine, the butt-end on his thigh, the right hand on the ring. On the accoutrements and cloth of the saddle, one may read the number : 23. The dragoon, carrying his cloak over the shoulder, has his left sleeve marked with a stripe. Canvass. Height, 31 cent. ; width, 23 cent. Venice . Gondolas stopping by the bank of a canal. To the right and left, dwellings. The blue sky mirrors bright flashings in the rough water. Pannel. Height, 19 cent. ; width, 15 cent. Study of a dragoon on foot. Standing, his left foot slightly placed backwards, his helmet on his head, the cloak rolled up, his carbine over his back, lie leans with both hands on his sword before him. He wears a stripe on his left sleeve. Pannel. Height, 34 cent. ; width, 14 cent. Valentin. In the gallery of a palace, a standing trooper, his right leg, with red slashed trowsers, placed in advance. His doublet, with equally slashed sleeves, is yellow. His right-hand rests on his hip ; the left leans on the hilt of his dagger. His head is covered with a slashed cap, showing his dark hair on the forehead and temples. (1885) Pannel. Height, 39 cent. ; width, 24 cent. — 52 — 185 — Study of a horse. A Lay horse, with foaming mouth, his strained nostrils in the air, his throat swelled with neighing, seen almost front- view. At the bottom of the picture, to the left, a carriage wheel. At the top, to the right, the leg of ahorse is indicated. Study of the horse of a Guide, for the large aquarelle of 1807 . (1886) Pannel. Height, 24 cent. ; width, 12 cent. 1/2. 186 — Study of a horse. A hay horse, the neck stretched out ; seen almost front- view. Study of the horse of a Guide for the large aquarelle of 1807 . ' (1886) Pannel. Height, 2b cent. 3/4; width, 13 cent. \ 187 — Charles V. Standing, in his black velvet dress with fur lining, his right- hand resting on his dagger, his left-hand by his belt, the right leg slightly placed in advance ; his cap sidewise on his forehead. His eye is bright and anxious, the lip stern, his fair heard of a tawny hue. (1886) Pannel. Height, 60 cent. ; width, 29 cent. 188 — At the end of the bridge of Poissy. To the left, in the distance, beyond the enclosing walls, the green landscape spotted afar with red tiles. In the foreground, to the right, in the shade, an inn with its stone flight of stairs. To the left, over the roadway, a building lighted up by the sun. Blue sky where white clouds are floating. A study for the picture : The Postboys. ( 1886 ) Pannel. Height, 20 cent. ; width, 21 cent. i N 11 82. — An/i/m , etched by Lalauzh null, his strained nostrils h. i i '.filing, seen almost froni die left, a carriage wheel I a horse is indicated. / , for the large aquarelle i’ omul. Height. 24 cent. ; width, 12 cent. 4/2. oj < i horse. \ • horse, the neck stretched out; seen almost frot view. . aquarelle . 1807 . ' 1886) Pannel. Height, 25 cent. 3/4 ; width, 13 cent. • ' : f ; \ T . * .... : . 1 - w ; ; h iui lining, his rig! i f i t is left-hand by. his belt, i; i.: ; ii advance : Ins cap. sidewise on h- 1 ; - the lip stern, his fair lx - of a taw ny hue. ( 1886 Pannel. Height, CO cent. ; width, 29 cent. \ 188 - \t //-/• end of the bridge of Poissy. ■’!. mi the distance, beyond the enclosing walls it- * spotted afar with red tiles. In theforegrou ! 1 1 1 • shade, an inn with its stone flight Slaio. i er the roadway, a building lighted i i ' i -m; Hi ! * -here white clouds are floating. " I **r the picture : The Postboys. (1886 Pannel. Height, 20 cent. ; width, 21 cent. 189 - (1887) 190 — (1887) 191 — (1887) 192 — — 53 — Study of figure. A young nobleman, in a costume of Louis XV’s lime, is going down a flight of steps. With his left-hand, he parts the lappets of his old rose coat and shows his embroidered white waistcoat. His light grey breeches are fastened below the knee on the silk white stocking. In his right-hand he clasps another smaller hand to whose owner his bent and smiling head darts a love hearing look. Study for a picture which was never painted and the scenery of which is borrowed from an old flight of steps at Lausanne. Pannel. Height, 23 cent.; width, 13 cent. 1/2. A « Guide ». A Guide on horse-back, seen from behind; a dark bay horse. Study for the 1807. Pannel. Height, 19 cent. 1/2; width, 11 cent. A « Guide ». A Guide restrains his horse with his left-hand, his right holding his sword. The trooper alone is painted. Study for the large aquarelle of 1807 . Pannel. Height, 24 cent.; width, 14 cent. A « Guide ». A Guide in his saddle, seen almost from in front, his sword held erect; the body and left leg are painted. His hay horse is only indicated. Study for the large aquarelle of 1807 . (1887) Pannel. Height, 24 cent.; width, 14 cent. — 54 — 193 — (1887) 194 — (1887) 195 — A « Guide ». In his saddle, riding a dark hay horse, seen from behind, a Guide , sword in hand, his red pelisse thrown over his left shoulder. Study for the 1806. Pannel. Height, 23 cent. 1/2; width, 15 cent. The Herald at arms. Standing, on the steps of a palace, the herald at arms sounds his call in his trumpet with embroidered armorial hearings. His left-hand rests on the hilt of his sword. Beneath his gold laced red coat appear his brown breeches ending in soft leathern gaiters. His left foot raised backwards shows the brass rowel of his spur. Canvass. Height, 31 cent.; width, 23 cent. The Bridge of Poissy . In front of the bridge of Poissy, behind which the island stretches a curtain of verdure, men are taking their horses to bathe. To the right, a horse is already up to the breast in the water. To the left, a hay horse, ridden by an ostler, is walking into the water, whilst a white horse seems frightened by its depths. On the other side of the middle archway is seen a fish- erman’s boat and further still, a moored barge. On the parapet of the bridge, people are passing. (1887) Pannel. Height, 15 cent.; width, 24 cent. 196 - (1887) 197 — (1887) 198 — 199 — — 55 — Study of a « Guide ». j A Guide , in his saddle, seen front-view, his sword held erect, riding a hay horse, slightly turning from right to left. Pannel. Height, 28 cent.; width, 14 cent. The Inn-Keeper. Standing, a blooming smile on her lips, the hostess is hol- ding out a tray on which she has just poured out a glass of white wine. She is dressed in red, with a white apron and a muslin cap. Study for the picture called : The Post-boy. Canvass. Height, 41 cent.; width, 27 cent. Study of a field-officer in his saddle. The body front-view, the head turned to the left. Study for the picture : 1807 . Pannel. Height, 12 cent. 1/4; width, 8 cent. 1/2. The Church of Saint-Marc . Around the sacred pillar, kneeling people are praying. An old man, standing, is touching the stone with a beseeching gesture . In the distance, in the softened light of the arches, one sees, before the altar, the clergy officiating and the congre- gation. To the left, in the shadow, a woman dips her fingers into the holy water font. Study for the picture : The Mudona del Baecio. (1887) Pannel. Height, 15 cent.; width, 21 cent. 1/2, — 56 — 200 — (1887) 201 — (1888) 202 — (1888) 203 — A Light infantry soldier (Voltigeur). Seen almost from behind, a light infantry soldier on guard, under arms. The left leg is carried forward. On his back, his leathern knapsack with his rolled up capote. Pannei. Height, 24 cent.; width, 14 cent. Study for the 1806. A general seen from behind riding a white horse ; the up- per part of the body is leaning forward . Pannei. Height, 50 cent.; width, 33 cent. 1/2. Croup of a horse. The croup of a dapple-grey horse ; on his back is indicated a horse-cloth with red lining. Pannei. Height, 46 cent. ; width, 32 cent. The Post-hoy. On a brown horse, seen from behind, the post-boy, with bis heavy boots, his buck skin breeches, his blue velvet vest with gold facings, his prowdered wig with long tresses under his oil-cloth hat, is leaning to the left and returning the glass out of which he has been drinking the stirrup-cup. Study for the picture called : The Post-boy. (1888) Tannel. Height, 31 cent.; width, 16 cent. 1/2. N u 90. — A/iu-s, etched by Faivki;. ' 200 — ' S87) 201 — 1888) 202 — (1888) 203 — — 56 — soldier (Voltigeur). Seen almost from behind, a light infantry soldier on under arms. The left leg is carried forward. On his b« leathern knapsack with his rolled up capote. Pannel. Height, 24 cent.; width, 14ceni ■ Study for the 1 SOIL A general seen from behind riding a whitehorse; tin per part of the body is leaning forward. Pannel. Height, 50 cent.; width, 33 cent. 1/2. .:nm/.T yd bodoJo .'OuW, — .06 "/. (J r*/h ; uj tt • • 1 he croup <>:' ■< d ■>} i*. -g» e\ nurse; on -his back is indie, u a liorse-clolh with red lining. Pannel. Height, 4G cent.; width, 32 cent. The Post-boy. On a brown horse, seen from behind, the post-boy, v. ! i- heavy bool' buck skin breeches, his blue velvet's* ■ v. : -md faeino. • - prowdered wig with long tresses unu . h hat. is leaning to the left and returning fm t ; . , which he has been drinking the stirrup-cup S l * : d \ ! V > i i iu‘ picture called ; The Posl-boy. (1888) !’ mi. 1. Height, 31 cent.; width, 10 cent. 1/2. 1 *. — 57 — 204 — (1888) 205 — (1888) 206 — (1888) 207 — (1888) Officer of cuirassiers. An officer of cuirassiers in his saddle, his head turned to the left; a sketch indicating that the right arm was to he stretched out sideways. Oil-painting on tinted paper. Height, 8 cent. 1/2 ; width, 15 cent. Pascuale. Sitting in a Venetian arm-chair, the musician, dressed in light brown velvet and grey cloth, and red stockings, his left leg crossed over his right, is running his nervous hands over the chords of a tiorba ; his head leaning backwards has a pleased expression. A portrait of Pascuale. Pannel. Height, 56 cent.; width, 55 cent. 1/2. Study of the Church of Saint-Marc. A cornice of Saint-Marc’s. Pannel. Height, 11 cent.; width, 8 cent. Study of a horse. A chestnut horse, saddled, his four white spots marked, seen in left-hand profile. Study for the 1806. Pannel. Height, 54 cent.; width, 53 cent. 8 — 58 — 208 — Study of the body of a dead soldier. A bavarian soldier, lying on his face ; the right hand has relapsed its hold of the sword passing over his leg. Study for the 1806. (1889) Canvass. Height, 14 cent.; width, 26 cent. 209 — Hercules. Hercules is sitting on the hide of the Neniean lion he has killed and skinned. In his two clasped hands he holds his raised right knee. The head is turned to the right with an expression of satisfied indifference. The background, where is seen a wild landscape, is lighted up by a hit of blue sky. (1889) Pannel. Height, 24 cent.; width, 22 cent. 210 — Waitiny. A nobleman of Louis XIIFs time, seen in left-hand profile, with crossed hands, his arms pressing the cloak a la Balagny , a side of which is turned up showing the green breeches with brass buttons ; red stockings. He is waiting on a plain hemmed in, at the horizon, by a small wood. (1890) Pannel. Height, 32 cent.; width, 10 cent. 211 — On Guard. In the trenches, a light infantry soldier of the guard is on duly. Standing, under arms, the weight of the body bearing on the right leg, the left knee in advance, the soldier crosses his hands. To the left, in the fog, under the grey sky, the silhouettes of two other sentries. (1890) Pannel. Height, 43 cent.; width, 34 cent. 1/2. — 59 212 — The Morning of C as tig Hone. On the front of the troops, who cheer him and lift up their cockaded hats at gun’s end, Bonaparte passes at a gallop, preceded by a picket of dragoons and followed by his stall of young generals. Above the horizon hemmed in by hills, the sky spreads all azure, with a checkered light of morn. It is the dawn of a splendid day, the dawn also of a grand epopee. This unfinished picture was on the easel of the painter, when he died. January 1891. Pannel. Height, 87 cent.; width, 1 met. 39 cent. 213 — Study of a cuirassier . A cuirassier in saddle, the body leaning on his left hip ; the right arm is raised; the head is seen front-view and leaning to the right. Oil-paintig on white paper. On the same sheet, three other sketches. Height, 26 cent. 1/2 ; width, 18 cent. 214 — Study of a horse. A bay horse with bridle, seen three quarters to the left, his right leg pawing the ground, with curved neck. Oil-painting on grey paper. Height, 26 cent. 1/2 ; width, 20 cent. 215 — Study of a horse. A bay horse, in right-hand profile, the bridle of which is held by a booted outrider ; in the distance a wall is indicated. Oil-painting on paper. Height, 14 cent.; width, 15 cent. 1/2. 60 216 — Study of a corpse. A dead bavarian soldier lying on the grass. Height, 9 cent.; width, 13 cent. 1/2. 217 — Study of a horse. Forepart of a bay horse pawing the ground, with curved neck, in right-hand profile. Oil-painting on cream hued paper. Brest and fore-legs of a bay horse trotting. Oil-painting on letter-paper with blue initials E. M. A chestnut horse of cuirassier seen three quarters and from in front, at full gallop ; bridled. In the stirrup, the leg of a horseman is outlined. On the ground, grass. Oil-painting on tinted paper. A Guide in saddle , seen from behind , the red pelisse thrown over his shoulders. Oil painting. Sketch on the back of a sheet of letter paper with the pain- ter’s crest. 218 — Study of a horse. 219 horse. Height, 37 cent.; width, 40 cent. 220 — Study of a « Guide ». V 60 216 — Study of u **ftrpse. •..« » bavarian soldier lying on the grass. Height, 9 cent.; width, 13 cent. l/-j. - Study of a horse. Forepart of a hay horse pawing the ground, with cm neck, in light hand profile. Oil-painting on cream hued paper. 218 — Study of a horse. . ifeLf n Al Wing: 60 "7 Oil-painting on letter-paper with blue initials E. M. 219 ft fn r seen three quarters -u 1 from in front, at iuii r - hi idled. In the stirrup, th of a horseman is outlined. On the ground, grass. Oil-painting on tinted paper. Height, 37 cent.; width, 40 cent 220 — Study of a « Guide ». \ uldle , seen from behind, the red p* thrown ovei i- -houlders. Oil painting. ' i die back of a sheet of letter paper with tin -<>*? ter’s crest. 61 — 221 to 225 — In one same frame : Head of a field-officer, in right-hand profile and the upper part of the body. Study for the / 807 . Head of a « Guide », for the 1807 . (1874). A « Guide » of the escort, riding a hay horse. Study for the picture : 1807. (1872). A Field-Officer in saddle. Study for the 1807. (1874). A « Guide » in saddle. Study for the escort of the pic- ture : 1807. (1872). 226 to 228 ■ — In one same frame : Field-Officer, in right-hand profile, left part of the torso, head and hat. Study for the 1807 . Pannel. Height, 13 cent.; width, 9 cent. 1/2. A Field-Officer on horse-back, seen three quarters to the left and from in front. Study for the staff of 1807 . (1872). A Surgeon-Major on horse-back, seen from behind. Study for the 1807 . (1868). 229 to 231 — In one same frame : Helmets of cuirassiers. Study for the 1807 . (1867). Head and torso of a cuirassier, his right arm raised. Study for the 1807. (1874). Three Hands on the hilt of swords. Study for the 1807. (1869). 232-233 — In one same frame : Heads of cuirassiers and torso; at the top, to the left, the head of a chestnut horse. First studies for the 1807. (1863). A Cuirassier in his saddle, leaning forward, seen in left- hand profile. First studies for the 1807 . (1863). — 62 — 234 to 236 — In one same frame : A Field-Officer in his saddle. Study for the 1814. (1863). A « Guide », seen front-view, in his saddle. To the right, a field-officer’s head. Study for the 1814. (1863). An Officer of the Emperor's staff. On horse-back, seen three quarters to the right, wrapped in an ample cloak with cape. Study for the 1814. (1863). 237 to 239 — In one same frame : Saddle-cloth of a « Guide ». Study for the Guides of 1807 . (I860). Bay Horse, seen from behind, head turned to the left. Study for the picture : Moreau and Desso T es. (1876 i. Sword and accoutrements of a trumpeter. Study for the /*07. (1867). 240 to 242 — In one same frame : Field-Officer, in right-hand profile. Study for the 1807. (1867). Grenadier, seen front-view, under arms; to the right, ano- ther grenadier’s head. Study for the 1807. (1869). Hands placed on the ramrod and barrel of a gun. (1865). 243 to 245 — In one same frame : Grenadier under arms, in left-hand profile. Study for the 1807. (1869). Officer of grenadiers, front-view, his sword held crosswise and resting on the leg. Study for the 1807 . (1869). Grenadier, almost from in front, under arms, the right hip prominent. Study for the 1807 . (1869). — 63 — 246 to 248 — In one same frame : A Grenadier’s bearskin hat. Study for the 1807 . (1865). Grenadier standing, front-view, underarms, his hands cros- sed. Study for the 1807 . (1869). Torso of a cuirassier. in his saddle; the left sleeve is mar- ked with two stripes. Study for the 1807 . (1864). 249 to 257 — In one same frame : Head of a chestnut horse, turned to the left. Study for the 1807 . (1868). Hat of the Emperor, with cockade. Study for the 1807 . (1865). Horse’s head, in left-hand profile, for the 1806. (1887). Field-Officer, in profile, with a plumed hat. Study for the 1807. (1872). Grenadier, under arms, head in profile, right-hand falling along the body. Study for the 1807 . (1872) . Cuirassier’s head, in profile. Study for the 1807. (1872). Saddle-Cloth, for the picture : The Traveller. (1874). Helmet of a cuirassier, in profile. Study for the 1807 . (1872).. Hussar’s boot in the stirrup. Study for the 1807 . 64 — 258 to 262 — In one same frame : Horse’s head and fore part with accoutrements, seen front- view. 1 1 862) . Study of a saddle and of accoutrements on a chestnut horse, in right-hand profile. 1874). Reddish bay horse, seen front-view. Study for The Dragoon on vedette. (1876). Horse’s head, turned front-view. (1869). One Side of a dragoon’s saddle cloth. (1868). 263 to 265 — In one same frame : Bowl-player, in right-hand profile, highly coloured com- plexion, grizzled whiskers, grey hat and trowsers, dark coloured waistcoat ; his arms, in shirt sleeves, passed behind his back and holding bowls. Study for the picture : Bowl-players, at Antibes. (1869). Old Woman spinning at Antibes. She is sitting; redcaraco, violet hued dress, brown apron. Her head in profile, very dark and wrinkled under the whiteness of a frilled cap. (1869). Bowl-player. Standing, with a large felt hat, his hands crossed behind his back, a blue cloth coat thrown over his shoulder, a man in grey trowsers, seen in profile. Study for the picture : The bowl-players at Antibes. 1869). 266 to 268 — In one same frame : The Emperor, in his saddle, seen from behind. To the left, the sketch of a major-general, seen front-view. Study for Solferino. (1861). General on horse-back, seen front-view. Figure for the picture : The Emperor and his staff. (1864). General, in his saddle, seen front-view. Study for the same picture. (1864). 64 — 258 to 262 — Inone sarm> frame ; H " : v head ■ i!! <1 fWe part with accoutrements, seen ! *62 . i idy of a saddle , hements on a chestnut hmwe iM ! tile . ^1874). . xi bay horse, seen front- view. Study for The Drav • - on rede He. (4876) . Horse’s head, turned front-view. (1869). One Side of a dragoon’s saddle cloth. (1868). 26 3 to 265 — In one same frame : Bowl-player, in right-hand profile, highly coloured co plexion, grizzled whiskers, grey hat and trowsers, daril . TeoleeuKr 1 ifewh/th ; . ^ •\y^\^^t_5lepyps, / ; 1,1 ll,s ' <• r hoi ling howls. Study for the piclu- •• Bowl-players, at Antibes. 1869). ; A u : She is sitting; red carru : profile. ■ \ v ,f ’ * ^ j i i i i *. * . tijidt i the whiteness of a frilled cej (1869). Bowl-player. Standing, with a large felt hat, his crossed behind his back, a blue cloth coat thrown over ; shoulder, a man in grey trowsers, seen in profile. St no «i for the picture : The bowl-players at Antibes. (1869). 266 to 2b8 — In one same frame : The Emperor, in his saddle, seen from behind. To the n ,l "' ' k,, fch el a major-general, seen front-view. Stud\ '■ Hr, no. '' 1861 ). ' horse-back, seen front-view. Figure foi picture : / ' ■ / . or and his staff. (1864). General, in his saddle, seen front-view. Studv Un same picture. 1864). — 65 — 269 to 271 — In one same frame, : Two figures of Louis XV’s time, standing and taking a cup of lea (1819). Three figures of the Middle-Age, arm in arm, in right- hand profile, rocking their heads to and fro. (1847). ( Contes Remois ). Four figures of the Middle-Age, in left-hand profde, arm in arm, singing a jolly song. (1847). ( Conies Remois). 272 to 274 — In a same frame : A Horseman of Louis XIII’s time, placing his left foot in the stirrup to mount. A red sash with ample bow contrasts with the light brown tone of the leathern accoutrements. Study for the picture : The Trumpeter . (1881). A Soldier of Louis XIII’s time, in saddle : right leg and torso. Study for the picture : Horsemen on the march. (1869). A Horseman of Louis XIII’s time, in saddle and leaning to the left to converse with some person still on foot. Study for the background of the picture : The Trumpeter. (1881). 275 to 277 — In the same frame : Nera, sitting on her hind quarters, with intent gaze. Study for the picture : The portrait of the sergeant. (1874). Nadege, lying on her side, with legs turned towards the observer. (1875). Koubra, seen from behind, with head turned to the left. (1875). 9 — 66 — 278 to 280 — In one same frame : Left leg of a Colonel in saddle. Study for the 1807 . (1869). Upper part of the body of a cuirassier in his saddle, his arm is stretched out holding a sword. Study for the 1807 . (1865). Left leg of a lieutenant-colonel. Study for the 1807. (1865). 281 to 283 — In one same frame : Head and breast of a dark bay horse, seen in left-hand profile. Study for the 1807 . (1865). Cuirassier in saddle, the upper part of the body and arm raised, in left-hand profile. Study for the 1807. (1865). Horse’s head and breast, in left-hand profile. Study for the 1807. (1865). 284 to 286 — In one same frame : Head of a dark bay horse, seen front-view, hanging forward, his right eye flashing. Study for the 1807. (1887). Dragoon in saddle, seen front-view. Study for the Guide. (1874). Horse’s head and breast, seen front-view. (1874). 287 to 289 — In one same frame : Head and neck of a horse, with bridle, hanging forward, foam on the breast. Study for the 1807 . (1865). Cuirassier in saddle, three quarters and in front, the right arm raised. Study for the 1807 . (1869). Horse’s head, left-hand profile. Study for the 1807 . (1872). — 67 — 290 lo 292 — In one same frame : Bay horse, seen three quarters lo the left and in front. The knee of the left fore leg is raised. Study for the Guide. (1874) . Pannel. Height, i.3 cent.; width, 10 cent. Field-Officer, on horse-back, front-view. Study of a cloak for the 1814. (1864). Panned. Height, 13 cent. 1/2; width, 9 cent. Bay horse, right fore leg raised, seen three quarters to the right. Study for the picture : The Guide. (1882). Pannel. Height, 13 cent. 1/2; width, 9 cent. 1/2. 293 to 295 — In one same frame : Study of a dark bay horse, three quarters to the right for the picture ; Solferino. In the stirrup, the right boot of the trooper is painted. (1860). Pannel. Height, 14 cent. 1/2; width, 9 cent. 1/2. Whitehorse, seen from behind, three quarters to the right. Study for the Solferino. (1859). Pannel. Height, 14 cent. 1/2; width, 9 cent. 1/2. Study of a dark bay horse, with a general’s saddle, three quarters to the right and in front. Study for the Solferino. (1859). Pannel. Height, 13 cent. 1/2; width, 86 millim. 296 to 298 — In one same frame : Horse’s head,, in left-hand profile, officer’s reins. Study for the 1806. (1888). Pannel. Height, 13 cent.; width, 12 cent. 1/2. A Guide in his saddle, seen from behind, his head turned slightly to the left. Study for the 1806. (1888). Pannel. Height, 23 cent. 2/3 ; width, 12 cent. 2/3. Head of a bay horse with bridle, seen in left-hand pro- file. Study for the 1807 . (1872). Pannel. Height, 11 cent. 1/2; width, 14 cent. — 68 — 299 to 301 — In one same frame: Leg of a bay horse, galloping. Study for the 1807 . 1869 ). Pannel. Height, 8 cent.; width, 10 cent. 12. Bay horse, at a gallop : fore part. To the right, a leg of a horse and jointure of the hreast. Study for the 1807 . (1869). Pannel. Height, 8 cent. ; width, 10 cent. 1 / 2. Study of the leg of a horse, and of the low fore part of the body. Study for the 1807. 1868;. Pannel. Height, 8 cent.; width, 10 cent. 1/2. 302 to 304 — In one same frame : Leg of a horse, hind part, galloping. Study for the 1807 . (1867). Pannel. Height, 11 cent. 1/2; width, 23 cent. 1/2. Study of legs, breast and head of a horse craUopina Study for the 1807. (1869). Pannel. Height, 11 cent. 1/2; width, 23 cent. 1/2. Low forepart of a bay horse at full gallop. To the right, a horse’s hoof and the low part of a leg. Study for the 1807 . (1868). Pannel. Height, 12 cent.; width, 23 cent. 1/2. 30o to 307. — In one same frame : Fore part of a bay horse, galloping. To the right and left, the hoof and leg of a horse. Study for the 1807. (1868). Pannel. Height, 11 cent.; width, 14 cent. 1/2. Fore part of a dapple grey horse, at full gallop. Seen almost front-view. At the bottom of the picture, the begin- ning of a leg. Study for the 1807 . (1872). Pannel. Height, 14 cent. 1/2; width, 11 cent. Left hind leg and thigh of a chestnut horse. To the right, at the top. a croup in profile. Study for the 1807. 1872). Pannel. Height, 10 cent. 1/2; width, 14 cent. 2/3. — 68 — In one mme fHnt*? : Leg of a bay hors? . ig- Study fur the 1807. 1 I. _nt.; » idl iO cent, i 2. ; ■■■■'• ' • - m. fore part. To the right, a le_- : . jointure of the breast: Studv for the JsrJ PaimO H ; width, 10 cent, t 2. Study of the teg of a horse, and of the low fore pai i the body. bv. * * h«. 1807. 1868). Pu Height, 8 cent.; width, 10 cent. ! 2. 302 to 304 — In one i '/'hi' Howl-players, at Antibes. (1869). Pannel. Height, 12 eenl. 1/2 ; width, 8 cent. A Donkey, seen front-view with pack-saddle and carrying hv olive panniers Antibes • ISOS'. i T (.'•■nt. i/2 ; width, 12 cent 3/4. A Man, v« ith straw hat, dressed in brown velvet coat au light, trowsers. His head in profile and the body thr- quarters from in front. His left-hand in his pocket, his right’ . ar.u: jaLI gd Jic\ W dx itfp f hy players , at Antibes. (1869). Pannel. Height, i2 cent. 1/2; width, 7 cent. 333 lo 335 — in one sunn li mn(s : White horse, seen three quarters to the right, with the > •-•“• saddle of the Emperor. To the right, forelegs of a wh horse. Study for the 1814.[ 1862). \ Pannel. Height, 11 cent. 1/2; width, 14 cent. 1/2, f orr el horse, walking, seen front-view, a horseman in sad* Study for the picture called : The road, lo Antibes. (18th Pannel. Height, 22 cent. 1/2; width, 10 cent. Hr. part of a chestnut horse, seen in profile and .a* i man in -addle. Study for the picture : T •« t'r . •' *r • (1869). i Height, 10 cent. 1/2; width, 15 cen*. 1/2. ' — 73 — 336 lo 338 — In one same frame : Study of a carriage of the beginning of the century. Yellow frame. Painted at Saint-Gongolph, near Evian. Pannel. Height, 13 cent. 1/2; width, 16 cent. 1/2. Dapple grey horse, seen from behind, his head turned to the left. Study for the picture : An Arrival at the castle. (1883). On the back of the pannel the face of Napoleon I. Pannel. Height, 23 cent.; width, 15 cent. Study of a vis-k-vis of Louis XV’s time, three quarters to the right. Pannel. Height, 14 cent.; width, 17 cent. 1/2. 339 to 341 — In one same frame : White horse, in right-hand profile, walking. The saddle cloth is hidden by the Emperor’s grey overcoat ; the boot rests in the stirrup. Study for the 1814. (1864). Pannel. Height, 15 cent. 1/2; width, 18 cent. Dapple grey horse, three quarters to the left, from in front; has its accoutrements, but no bridle. Study for The Hussar on vedette. (1867.) Pannel. Height, 25 cent.; width, 20 cent. Grey horse, walking, in right-hand profile; the booted right leg of a horseman in the saddle. Study for the 1814. (1864). Pannel. Height, 15 cent. 2/3; width, 19 cent. 10 74 342 to 344 — In one same frame : Head, neck and breast of a horse, turned to the left. Study for the 1807. (1872). Pannel. Height, 10 cent.; width, 10 cent. 1/2. Buckingham, in right-hand profile, with the red saddle- cloth of the Emperor. Study for the Solferino. (1860). Pannel. Height, 12 cent. 1/2; width, 11 cent. 1/2. Study for a horse’s head, turned to the left, for the picture 1807 . (1869). Pannel. Height, 10 cent. 2/3; width, 10 cent. 345 to 347 — In one same frame : Bay horse, from in front, seen three quarters to the left, under a ray of sun. In the background, the entrance of a wood. Study for the picture : Tournebride. (1868). Pannel. Height, 11 cent. 1/2; width, 13 cent. Bay horse, without bridle or saddle, from in front, three quarters to the left ; on his back , a horseman outlined with pencil. (1879). Pannel. Height, 13 cent.; width, 13 cent. Sorrel horse at a trotting pace, three quarters to the left and from in front, grey background. Study for The Horseman on the sea shore. (1875). Pannel. Height, 10 cent. 3/4; width, 12 cent. 348 to 350 — In one same frame : Chestnut horse, almost front-view, with horseman in saddle. Study. (1879). Pannel. Height, 13 cent. 1/2; width, 9 cent. Sorrel horse , seen three quarters to the left, with red saddle. Study for the picture : An Arrival at the castle. • (1883). Pannel. Height, 23 cent. 1/2; width, 17 cent. 1/2. Sorrel horse, seen from behind. Study. (1881). Pannel. Height, 10 cent.; width, 9 cent. 1/2. — 75 — 351-352 — In one same frame : Bay horse, three white spots, seen from in front, three quarters to the right, with slightly arched neck, red saddle. Study for the picture : At a Stretch. (1868). Pannel. Height, 18 cent.; width, 14 cent. Study. In the corner of a landscape, with a hovel in the background, a white horse with accoutrements, seen three quarters to the left and from in front. For the picture : Military Servants. (1865). Pannel. Height, 19 cent.; width, 12 cent. 353 to 355 — In one same frame : A Right hand, raised to the cheek, palm outwards. Study for The Man reading at his window. (1883). Pannel. Height, 11 cent.; width, 12 cent. 1/2. Study of a hand, a finger passed between the leaves of a book with red edges, for a portrait of Mr. Meissonier. (1881). Pannel. Height, 12 cent. 1/2; width, 9 cent. 1/2. Study of a right hand, resting on the arm of a chair for a portrait of Mr. Meissonier. (1881). Pannel. Height, 11 cent. 1/2; width, 12 cent. 1/2. 356 to 358 — In one same frame : Bay horse’s head, three quarters to the left, with pinched mouth. Study for the aquarelle of 1807 . (1883). Pannel. Height, 8 cent. 1/2; width, 10 cent. Two horse’s heads, pulling of the reins sideways : one is sorrel, the other one black. Studies for the 1801 . (1883). Pannel. Height, 8 cent. 1/2; width, 10 cent. Fore leg and a bay horse’s breast jointure. In the corner, at the top and to the right, an other leg of a horse. Study for the picture : The two friends. (1874). Pannel. Height, 13 cent.; width, 9 cent. 1/2. — 76 359 to 361 — In one same frame : A Cluster of trees,, to the left. To the right, at the top a fisherman’s boat. Study for the picture : The Road , to Antibes. (1868). Pannel. Height, 8 cent, i/2; width, 10 cent. At Beaulieu, by KTizza. Two boats are moored in a creek ; in the background, the cliffs. (1875). Pannel. Height, 12 cent. 1/2; width, 19 cent. A Gondola in a boat builder’s yard, at Venice. (1880). Pannel. Height, 8 cent. 1/2; width, 11 cent. 1/2. 362 to 365 • — In one same frame : The Lagoons of Venice, under a checkered sky. Study. (1889). Pannel. Height, 15 cent.; width, 23 cent. 1/2. Sea-piece, rough water under a stormy sky. Study. (1889). Pannel. Height, 15 cent.; width, 23 cent. 1/2. Bathing-time ; to the left, the premises ; to the right, the shore. Clear summer sky. Study. (1889). Pannel. Height, 15 cent.; width, 23 cent. 1/2. View of Venice. Study. (1889). Pannel. Height, 15 cent.; width, 23 cent. 1/2. 70 359 to 361 — In one same frame : A Cluster of trees,, to the left. To the right, at the top a ■ ■■ t oat. Studv for the picture : The Road , to A '.r nt. 1 / 2 . hli to 3* ’■ > — fn onr same frame • . ! y . Height, io cent.; width, ct ut. Sea-piece, rough water under a stormy sky. Study. (1889). Pannel. Height, IS cent.; width, 23 cent. 1/2. Bathing-time ; to the left, the premises ; to the right, the shore. Clear summer sky. Study. (1889). Pannel. Height, 15 cent.; width, 23 cent. 1/2. Ww of Venice. Study. (1889). P:wmel. Height, 15 cent.; width, 23 cent. 1/2. 77 — 386 to 389 — In one same frame : Cote des Gribs, near Poissy. A path winding through ferns; to the right, reeds bristling out of a pond. [On the horizon to which the grey sky descends, some clusters of trees. (1885). Pannel. Height, 13 cent. 1/2 ; width, 20 cent. Study of a piece of ground in the forest of Saint-Ger- main. (1880), Cote des Gribs, near Poissy. Study for The Guide. (1879). Pannel. Height, 13 cent. 1/2 ; width, 20 cent. Study of a piece of ground, at the «C6te des Gres, » near Poissy. In the fore ground, a bare ground ; in the back- ground, the forest with reddened foliage. (1879) . Pannel. Height, 13 cent. 1/2; width, 20 cent. 370-371 — - In one same frame : A Lane in a wood, in Switzerland. The sun streams through the light verdure. To the right, in the fore ground, a water trough. (1885). Pannel. Height, 13 cent. 1/2 ; width, 20 cent. Evian, Pannel. Height, 13 cent, i/2 ; width, 20 cent. 372 to 374 — In one same frame : In Italy. In the middle of a circus formed by mountains, a blue lake ; to the left, a cluster of trees, and in the back- ground, beyond the horizon, soaring over the crest of the mountains, long clouds stream in the azure sky. Pannel. Height, 13 cent. 1/2; width, 20 cent. A Monumental stair-head, at Thonon. (1802). Pannel. Height, 13 cent. 1/2; width, 19 cent. Study. The environs of Poissy. (1880). Pannel. Height, 13 cent. 1/2; width, 19 cent. — 78 — 375-376 — In one same frame : Environs of Poissy. Study of heath. (1882). Pannel. Height, 20 cent.; width, 13 cent. 1/2. At Ouchi. Above, the road over which the sun throws pale lights ; lofty trees bend their leafy branches over the blue water. (1885). Pannel. Height, 20 cent.; width, 13 cent. 1/2. 377 to 379 — In one same frame : The Church Porch at Poissy. Through the Gothic arch is seen the blue sky ; to the right, the trees on the green. (1883). Pannel. Height, 13 cent.; width, 19 cent. 1/2. Environs of Poissy. To the right a tile roofed wall ; at its foot, a bushy bank sloping to a pathway ; to the left, in the background, on the other side of the bridge, a grove grown yellow with autumn. (1882). Pannel. Height, 13 cent. 1/2; width, 20 cent. Study for the Road. To Antibes. (1868). Pannel. Height, 12 cent. 1/2 ; width, 19 cent. 1/2. 380 to 382 — In one same frame : An Officer looking through his spy-glass, seen from behind and in saddle. Study for Solferino. (1860). Pannel. Height, 8 cent.; width, 6 cent. 1/2. General Rose, on horse-hack, turning in his saddle and seen in right-hand profile ; the general is leaning with his right-hand on the croup of his horse. Study for Solferino. (1860). Pannel. Height, 14 cent.; width, 8 cent. A Colonel, on horse-hack, the upper part of the body alone is outlined. Study for the Solferino. (1860). Pannel. Height, 10 cent.; width, S cent, — 79 — 383 to 385 — • In one same frame : Bowl-player. A bowl-player, standing, in shirtsleeves, wearing a round grey hat. Study for the picture : Bowl- players , at Antibes. (1865). Pannel. Height, 13 cent.; width, 6 cent. 1/2. Nera. Portrait of a small griffon hitch, brown coat with yellow spots. Painted at Antibes. (1868). Pannel. Height, 8 cent.; width, 9 cent. A Beggar. A beggar, with grey heard, high crowned hat, a bundle of clothes on his shoulder, both hands resting on a walking staff, his gourd hanging from his wrist, is leaning against a wall and looking on at a game of bowls. Study for The Bowl-players, at Antibes. (1865). Pannel. Height, 8 cent. 3/4 ; width, G cent. 1/6. 386 to 389 — In one same frame : Portrait of a man, seen three quarters to the right, his hair brushed up, rounded beard with glancing lights. The collar of his shirt is unbuttoned. Pannel. Height, 34 cent.; width, 14 cent. Portrait of a child, seen front-view, his light auburn hair falling in locks behind his ears. Red background. Portrait of Mr. Meissonier, front-view, wearing a tyro- lianhat. Grizzled beard. At the back, a study of spurs on a riding boot. Portrait of a child, front-view, curling hair ; dressed in a white gown the collar of which stands out from a black apron. Painted on a pannel. — 80 — 390 to 392 — In one same frame : Portrait of a man, -seen almost front-view, his dark hair brushed back on his temples, tawny mustaches and heard, a high black tie tucked into his 1830 frock coat. Portrait of a man, seen almost front-view, with bald head and grizzled hair at the sides, tawny beard, with Byron tie falling on his white shirt with supple front ; a 1830 frock- coat. Portrait of a man, seen front-view, his head leaning forward, the look passing along his eyebrows, black hair over his forehead, fair beard. Painted on a pannel. 393 to 395 — In one same frame : Head of a fair-haired woman, in right-hand profile. Head of a dark-haired woman, almost front-view ; leaning slightly backwards, glancing up to the sky, the drawing of the mouth marked with thick lips. Head of a fair-haired woman, seen in left-hand profile, slightly leaning over her right shoulder : a beseeching or fond look in her eye. Painted on a pannel. X' 1 ] 11 . . — A Cmwdicr of the /ic/nt/dic, ek-luxl by Lai.ai /i — 80 — ' > «*'«*: • i . tmnt-view, his dark hair ^ *« -i nples. tawny mustaches and beard, a . hu ked into his 1830 frock coat. 1 man, seen ' ! »nt-view, with bald head •1 • d hair at lh*- - ! • lawny beard, with Byron tie - • ■ -i le front ; a 1830 frock- Portr pee 4 **i . • •% . I i' leaning forward, vebrows, black hair over his i inted on a punnet. :-w*i /^S»wl %\\\\ vVvWsm^ L . 1 1 | >y He^d t a fair-haired woman, in right-hand profile. Head of a dark-naired woman, almost front-view ; ..id 1 v backwards, glancing up to the sky, the • tli marked with thick lips a fair-haired woman, seen in left-hand profile, - ami r <- , - } . i > ' : a beseeching or foi ‘ 1* : - 0, . % Painted on a pannel. AQUARELLES, GOUACHES AND SEPIA DRAWINGS 396 — Coming out of Church . A character of Moliere’s plays holding out his fingers with holy water to a young woman going out after the sermon and who holds her prayer-book in her left hand. This Agnes has wrapped her head in a black lace mantle well becoming her delicate profile. The figure of the man bows with perfect cur- tesy; he is dressed in dark brown attire bedecked with red ribbons. Behind them rise the high pillars of the church, to one of which is fastened the shell containing the holy water. Signed to the left and dated : Lyons, 1835. Aquarelle. Height, 12 cent.; width, 10 cent. 397 — The Convicts. Arriving at the fortress, the battlemented walls of which bristle in the background, the gang of convicts, their hands bound with fetters, are walking bent with disgrace and shame. To the right and left, horsemen accompany the unfortunate men, as well as armed infantry. Aquarelle. Height, 12 cent. 1/2; width, 19 cent. 1/2. 11 (1847) — 82 398 — (1849) 399 — (1857) 400 — Gang of convicts. Through the wind swept plain, musketeers, pistol in hand, are leading a gang of convicts, whose faces are characterised by ferocity. Aquarelle and gouache. Height, 17 cent.; width, 39 cent. Portrait of Mr. Meissonier. In his studio, by the high mantlepiece, he has sat down after his ride. He still has his riding boots on and smokes a pipe he holds in his left hand, his arms resting on his knee. As the upper part of the body, seen front-view, is leaning for ward and sidewise, it is supported by the right hand placed on his knee. At his feet, to the right, Ivoubra, is lying on its side resting, its eyes wide open. Further on, on the same side, a table, on which with books are placed the hat, gloves and whip of the rider. Aquarelle. Height, 28 cent. 1/2; width, 22 cent. Study of a young lady. A young lady, sitting on a settee, the upper part of the body slightly leaning backwards, the head three quarters to the right ; low necked bodice ; the right arm placed against the waist; study for a picture of Ariosto. Aquarelle on blue paper. (1857) Height, 11 cent, 1/2; width, 24 cent, 1/2, — 83 — 401 — (1858) 402 — (1859) 403 — Study of fiyure. A young lady, seen in right-hand profile, is sitting in a Venetian arm-chair. She is leaning on her left arm, her right hand negligently holding a hand screen. On her dress are embroidered flowers. The young woman listens very attentively and smiles. Study for a picture : Ariosto. Aquarelle and gouache on blue tinted paper. Height, 17 cent. 3/4; width, 14 cent. A Bravo. His right hand on his hip, the left on the hilt of his rapier, a bravo walks with heels resounding on the pavement. His head is thrown backwards in an attitude of insolent swagger, whilst a certain disorder in his dress indicates former quarrels. His breeches are of nacarat velvet, his waistcoat of a light brown velvet, his sleeves are light pink. Aquarelle on blue paper. Height, 17 cent. 1/2; width, 10 cent. 1/2. The Bivouack. The bivouack of the 1 st cuirassiers of the guard at Volta, in 1859. To the left, on the ground, the men have laid helmets, cuirasses and accoutrements. To the right, the unsaddled horses are browsing the grass. In the background, the tents of the troopers. Pencil drawing ; the left part is done in water colour. Height, 12 cent.; width, 25 cent. (1859) — 84 — 404 — Camp of Rovigo. To the left, unsaddled horses are being rubbed down. To the right, alongside a wood, the tents are pitched for the camp of the 1 st cuirassiers. Aquarelle on grey paper. (1859) Height, 12 cent. 1/2; width, 25 cent. 405 — A Canon with team. (1859) A canon and caisson drawn by a team of four white horses, seen in right-hand profile. Desenzano, 1859. Aquarelle. Height, 13 cent. 1/2; width, 27 cent. 406 — Punch. (1861) Punch in right-hand profile, his hands behind his back, in a light doublet over crimson breeches, his right foot jollily thrown forward. The old wrinkled face is smiling under his cocked hat, and his eye is brightened by a humorous flash. Aquarelle on white paper. Height, 16 cent. 1/2; width, 9 cent. 1/2. 407 — The Amateurs. (1862) Before the painter’s easel, on which stands a sketched can- vass, the amateurs are assembled ; one, seen from behind, dressed in a green coat, is sitting to the right; another one, dressed in red, also sitting, has his humorous profile brought into relief by the brown attire of his neighbour, who is stan- ding. The man, in red dress, examines silently. With his right hand he caresses his chin, while the left holding the three cornered hat rests on the head of his cane. A fourth figure is sketched, to the left. Aquarelle. Height, 19 cent 1/2; width, 23 cent. 1/2. Camp of Rtmyo. 84 m T. b rubbed down. To ■ : ) •;> arc i'-.: ! for tlie camp . V" !-ht, 12 cent. 1/2; width, 25 cent. 1. >. f earn of four white horses, -•sic . Desenzano, 1859. A. pen, die. Height, 13 cent. 1/2; width, 27 cent. /, 1 XI/.. 1 /J vd bmbJo uVwmvv ‘«w uo imiwW — .ill right-hand profile, ids hands behind ku back , in . ! ' * *. breeches, his right foot jollily Ui;. : tinaer h i -• cocked hat, • ,• * : '.i • '• ! . ■ • ■- : ' ; : • : c nr. i/2; width, 9 cent. 1/2. 407 The Amateurs. Before the painter’s easel, on which stands a sketched can- i! amateurs are assembled ; one, seen from behind, green coat, is sitting to the right; another one, red. also sitting, has his humorous profile brought .\ the b'u'Wii attire of his neighbour, who is stan- • ... in ied dress, examines silently. With his Masses he t. bin, while the left holding the iiu-.. ; -Us on the head of his cane. A fourth figure i • -> ' 9. i | 2 ; " id th. 2 :* cent. 1/2. . ' * — 85 — 408 — (1864) 409 — (1867) 410 — (1868) 411 — Nuremberg . Old buildings with turrets and tiled roofs, walls opening on stone steps, arch walled lanes. Aquarelle. Height, 18 cent.; width, 23 cent. Napoleon I. In saddle, on a white horse, almost in left-hand profile, the Emperor is dressed in a green coat, white waistcoat and breeches, soft leathern hoots. He bears the broad ribbon of the Legion of Honour. On his head, seen three quarters to the left, the double-peaked hat with tricoloured cockade. The left arm falls naturally and rests on the saddle cloth, the projecting little finger touches the sheath of his sword. Aquarelle on blue tinted paper. Height, 25 cent.; width, 19 cent. A Grenadier. A grenadier front-view, under arms; to the right, the sketch of a gun . Study for the 1807 . Aquarelle on blue paper. Height, 11 cent.; width, 23 cent. Study of a canon. A canon front-view on its carriage the axle and one wheel of which are broken. On the same grey green paper, in the corner to the right, a shako of a light infantry soldier of the guard. (1868) Aquarelle. Height, 26 cent.; width, 40 cent. — 86 412 — Ensign. (I860) Aquarelle of an ensign coming out of the Louvre. Yellow and green tones of the flag, grey attire, green rib- bons at the folds of the breeches, red stockings. Aquarelle. Height, 30 cent.; width, 18 cent. 413 _ Antibes. (1869) On the road along the shore of Antibes, to the left, Mr. Meissonier, dressed in brown velvet, is riding a white horse, accompanied by his son mounted on a bay horse. He is conversing with a labourer following the same road as they do. Behind them, donkeys loaded with panniers for the olive gathering. To the right, over the small creek, Antibes raises its old ramparts and beyond, under an azure sky, the horizon is defined by the transparent lace work of hills. Aquarelle. Height, 20 cent.; width, 34 cent. 414 _ Study of a horse. (1869) A white horse, seen three quarters and from in front, with a horseman. To the right and left, the outlines of figures un- der the framework of a penthouse. Aquarelle and gouache on grey paper. Height, 17 cent. 1/2; width, 18 cent. 1/2. 415 — Portrait of Mr . Meissonier. Leaning, seen front-view, the little finger of the right hand encircling the eyebrow ; the other fingers, the fourth wearing a ring, are lost in the hair; the eye is bright with deep meditation, he gazes before him and seems to fathom the unknown. At the bottom of the portrait, this date : 2 nd of December 1870, one o’clock in the morning. Aquarelle and gouache. Height, 14 cent.; width, 8 cent. 1/2. — 87 — 416 — (1871) 417 — (1871) 418 — - Ruins of the Tuileries. The ground is heaped with ruins; marble, stones, hits of iron blend their pallid notes of disaster. To the right and left, columns raise their former splendour that the flames have de- faced. On the balcony of the first floor, in the background, the iron work remains still. Higher up, in medallions, we read two names : « Marengo », « Austerlilz », as if fire had betimes the respect of history. In the background, through the large empty opening of the burnt door, is seen the trium- phal group standing over the arch of the Carrousel. In the fore ground, on a scroll, the painter has written : « Gloria majo- rum per flammas usque superstes. » And at the top, through the broken walls, the blue sky speaks of peace and sere- nity. Aquarelle. Height, 41 cent.; width, 28 cent. Battery on the march. In winter; a battery on the march, to the left; the gun and caisson are drawn by four horses; the gunners are wrapped in their long capotes; to the right, an officer, riding a bay horse. Aquarelle on white paper. Height, 17 cent.; width, 29 cent. Study of a canon. A canon in left-hand profile, the muzzle introduced into a porthole. In the background, running up to the right-hand side, the silhouette of a rampart. Aquarelle on grey paper. Height, 18 cent.; width, 272 niillim. (1871) — 88 — 419 — (1872) 420 — (1873) 421 Study of a horse. Head, neck and breast of a bay horse, seen three qnarters, the head turned front-view. Aquarelle on light brown paper. Height, 28 cent.; width, 10 cent. 1/2. Study of figure. A man standing, in a costume of the time of the Empire, cocked hat on his head, seen three quarters to the right, long frock coat opening on a waistcoat of shawl stuff, breeches ending in riding boots. His right hand is placed thumb pro- jecting in the breeches pocket. The left hand is holding a pipe. The left leg is crossed before the right, the point of the foot touching the ground. Aquarelle and gouache. Height, 34 cent. 1/2; width, 20 cent. « La Partie de Piquet » . In the taproom of an inn, two men in a costume of the time of the Directoire are playing at cards. One to the left, dressed in a green frock coat, his white breeches in his boots, is seen in right-hand profile. His cards are evidently unfa- vourable : the eye is grave, the mouth malicious. To the right, his partner, dressed in blue, brown breeches, with silk stock- ings, looks at him with scornful indulgence. He wears a cocked hat. On the wooden table, which separates them, a pewter pot. (1873) Aquarelle. Height, 21 cent.; width, 29 cent. 88 ' i \ ‘ * horse. H. n-:'( k * i ? ) ■> i ‘ .1 bay hoi-, ».*, seen three qnarters, she head turned (.fit-view. A (j » -• i l i ht brown paper . I s7->), Height, 28 cent.; width, 10 cent. 1/2. \ 20 — Study of figure , A man ■ranting, in a costume of the time of the Empire, cocked hat on his head, seen three quarters to the right, long frock coat opening on a waistcoat of shawl stuff, breeches ' "a/. •aUj>iac eM!nt of the foot touching the „ -Uisd ' j . ; U i i;i; width, 20 cent. 4 2 * — « La Purhe de Piquet ». In the taproom of an inn, two men in a costume of the time of the Directoire are playing at cards. One to the left, Tre-s-'d in a green frock coat, his white breeches in his-boots. i- seen m right-hand profile. His cards are evidently unla i I,- eve is grave, the mouth malicious. To the right, «. !> ,.( ;i . r< dr ,--ed in blue, brown breeches, with silk stock at. him with scornful indulgence. He wears a cocked wooden table, which separates them, a pewter i (dh*. Height, 21 cent.; width, 29 cent. — 89 — 422 — Charles I. (1874) Mounted on a bay horse, dressed in grey velvet breeches with white satin jerkin, Charles I is riding through a wood. To his right, a greyhound running by his side ; behind him an outrider on horseback, dressed in red. Aquarelle. Height, 62 cent.; width, 62 cent. 423 — The Guide. (1874) In a ravine, edged with lofty trees stripped of their leaves, an alsatian youth, his pipe in his mouth, is guiding a column of dragoons. Aquarelle. Height, 94 cent.; width, 72 cent. 424 — 1803. (1874) First sketch. From the right-hand side, cuirassiers drawn up in battle array ; before the line, the officers holding their position. On the left, the staff officers receiving orders from a general. Aquarelle. Height, 43 cent.; width, 53 cent. 423 — Under the Balcony. (1874) A nobleman of Louis XIII s time, with light brown lea- thern accoutrements, is leaning against the wall of a palace. With both hands, he gracefully tests the pliancy of a switch ; he crosses his right leg before the left, with upturned heel showing the shining spur. His head, thrown backwards, is fondly glancing up towards a window from which he knows eyes are looking at him. With the little finger of his right hand, he holds his doe-skin gloves. Aquarelle. Height, 39 cent. 1/2 ; width, 20 cent. (1874) — 90 — 426 — Study for the Pantheon. Two nude figures : to the right, the youth supports with his vigorous arm the girl who rests her loving head on his shoulder. Both, glancing to the left, in a burst of enthusiasm raise an arm in the same direction. The couple is seen from behind. The girl places her left foot backwards ; the youth his right foot placed slightly to the right, his toe touching the ground. Study. Aquarelle on grey paper. (1875) Height, 34 cent. 1/2 ; width, 21 cent. 1/2. 427 — « Garde- francaise ». Standing, three quarters to the left and from behind, his head in left-hand profile, the soldier is firmly planted before the artist who is painting his portrait. He throws in relief the calf of his right leg, bends the left knee in white leggings and, while his right hand rests on his hip, he lays the left on the hilt of his sword. He wears a white tunic with blue facings. For the Portrait of the Sergeant. (1875) Aquarelle. Height, 57 cent.; width, 38 cent. 428 — Study for « V Affaire Clemenceau ». Standing in voluptuous nudity, a young woman, raising her arms, elbows up, behind her head, throws her throat in relief. The back is gracefully arched, the bend of the abdomen is delicately projected ; the right leg with sligthly bent knee has its foot placed backwards beyond the left heel. Study for the aquarelle of « L’ Affaire Clemenceau » . Aquarelle on grey paper. (1875) Height, 18 cent.; width, 11 cent. — 91 — 429 — (1875) 430 - (1876) 431 — On the Stairs. On the stairs of a castle, with wooden balustrade, two figures are watching some departing friend; to the right, a young lady, with ondulating hair, her head slightly leaning on her left shoulder, in a fond and graceful attitude, is smi- ling with melancholy. The fore part of the left arm is laid on the wooden balustrade. To the left, a man in a costume of Henri II’s time, dressed in nacarat, with blue silk tights and spangles, is stooping forward and leaning against the balus- trade, his right arm stretched out, the left arm passed round a pillar. The body weighs on the right leg, the left leg is bent and the foot with up turned heel rests on the top steps. To the right, over the balustrade, a cloth of silk plush is negligently thrown. Aquarelle. Height, 32 cent.; width, 23 cent. The good Host. (Conte Remois.) To the right, on the threshold of an inn, a young woman is watching with smiling emotion a horseman in a costume of Louis XIII’s time, who has stopped his horse before the inn and is gallantly raising his hat. The hostess’ husband has gone to meet him ; his air is fresh and simple ; his right hand raises his cap, and he holds a pipe in his left. Aquarelle and gouache. Height, 13 cent.; width, 13 cent. 1/2. Study of a landscape. To the left, a brick coloured ground ; to the right, into a verdant double hank oaks drive the sinews of their wayward I’oots. In the background, to the right, the outline of a wood. (1876) Aquarelle. Height, 31 cent.; width, 42 cent. -- 92 — 432 — (1876) 433 — (1876) 434 — (1876) 435 — Portrait of Mr. Meissonier. Almost front-view, deep eye, strong nose, hair still black, white beard, highly coloured complexion. Seen to the shoul- ders ; dressed in brown velvet. Aquarelle. Height, 24 cent.; width, 17 cent. 1/2. Reception at the castle . To the left, on the steps of the castle, figures in costumes of Louis XIIFs time are exchanging affectionate embraces. In the middle of the picture, a coach from which noble ladies are alighting to whom noblemen are giving the hand. To the right, bent over their saddles, the horsemen who were forming the escort ; in the fore ground, a child is patting the nose of a dapple grey horse, whilst a russian greyhound is looking on indifferently. More to the left, another child, in his haste to speak to the hosts, is drawing by the hand a nobleman dressed in red. Aquarelle. Height, 4b cent.; width, b6 cent. Study of a dragoon. On a dark bay horse seen front-view the head of which is turned to the right, a dragoon, in saddle ; the left arm han- ging down naturally, the head slightly turned to the left. Study for The Guide. Aquarelle. Height, 49 cent.; width, 34 cent. A Lane through a forest. A corner of the wood ; to the right the sloping lane ; to the left, trees with dried up boughs. In the background, the wood wrapped in mists. On the ground, spots of verdure. Study for The Guide (environs of Poissy). (1876) Aquarelle. Height, bb cent.; width, 43 cent. V mrm 92 432 — Pi of Mr. Mrissotn'er. Ah ‘ iu‘j> eye, strong nose, liair still black, ; ,r coloured eomph ; u, Seen to the shoul- ■ii own velvet. s <|i: -n ■•He H f . .'I ill.; width, 17 cent. 1/2. ■ h in costumes ■ •■ntu ile embraces. In . ■ -.tell from which noble ladies i • „ ' w;,' ; noblemen are giving the hand. To the right, bent over their saddles, the horsemen who were . , A wiiATi-j/.V' ,teW!i W'fHf pnUi, ’ s (hc nose of a dapple’ grey horse, whilst a russian greyhound is on indifferently. More to the left, another child, - . :•( tin hosts is drawing by the hand ■ ‘i <( t.i ci i.t . ftidth, 56 cent. in . .1 1 hay horse seen front-view the head of which is turned to the right, a dragoon, in saddle ; the left arm ban gingdown naturally, the head slightly turned to the left. Study for The Guide. Aquarelle. Height, 49 cent.; width, 34 cent. > -hi \ ;h it forest. n: , • ■ ,! n- right the sloping lane ; to ! ■ . he background 1 i t.i np On the ground, spots oi verdure . >' ■ t !> environs of Poissy). (1876) A. mi” ini!. .3 cent.; width, 43 cent. oU PsT V Y ACvj'N 93 — 436 — Drag oo7i on vedette. In an open landscape, under a clear sky, a dragoon on ve- dette. Seen almost front-view, his head turned in left-hand profde, his carbine in his right hand, the butt-end on his thigh. (1877) Aquarelle. Height, 36 cent. ; width, 54 cent. 437 — The Painter. Sitting before his easel, the painter dressed in a red gown, is looking at his work ; his left hand holds his palette and brushes; his right hand is raised, the fingers linked in those of a young woman, with tawny hair, her cheek leaning on the dark locks of the painter. (1877) Aquarelle. Height, 40 cent. ; width, 51 cent. 438 — « Aide-de-camp » and his escort. In the country covered with waste grass, a general in saddle on a bay horse seen in left-hand profile, is trotting lashed by the rain and wind swelling his black cloak. He is bending his head forward to shelter his face with the peaks of his cocked hat. Behind him, two hussars form his escort. In the sky, the storm projects threatening clouds. (1878) Aquarelle. Height, 39 cent. 1 / 2 ; width, 60 cent. 1 /2. 439 — - Drag 0071 on vedette. In a wood, with trees stripped of leaves, a dragoon stands on vedette. The horse in left-hand profile raises his hind hoof and turns his head sidewise. The trooper, his carbine in hand the butt-end resting on his thigh, is slightly leaning forward with turned head in the attitude of a vedette some noise has just surprised. (1878) Aquarelle. Height, 30 cent. ; width, 20 cent. — 96 — 449 — (1879) 450 — (1879) 451 — Study for the « 1803 ». An officer of cuirassiers in saddle on a bay horse, in left-hand profile and at a standstill. Study for the 1805. Aquarelle : on the back of the picture a general in saddle, with his hand stretched out to the left, pointing in the direc- tion of the battle ; a colonel of cuirassiers is leaning towards him. Behind them, drawn with slight strokes in red chalk, the two men of the escort. The sketch of the general is drawn in ink, set off with wash and Indian ink. Height, 29 cent. 1 /2 ; width, 22 cent. The Guide. An alsatian youth seen front-view, his right hand in the pocket of his breeches, his left hand holding the bowl of a pipe ; his dress is completed with a brown felt hat and a frock coat of the same colour, a red waistcoat with two rows of brass buttons and white leggings. He is walking, wonder in his eyes, his right foot in advance, the left heel turned up. Study for the picture : The Guide. Aquarelle on grey paper. Height, 24 cent. 1/2; width, 16 cent. The Traveller. In the country, which Autumn has clothed with russet hues, a horseman seen front-view, is advancing his head to break the strength of the wind : the horse is chestnut, the horseman wearing a three-cornered hat is wrapped in an ample dark cloak. Dark clouds roll through the sky. (1879) Aquarelle. Height, 35 cent. ; width, 25 cent. V — 96 — -» t * Study fr v ^ » i cts in saddle on a bay horse, in left-hand a standstill. Study for the 1805 . ; on ih<* had; d 'the picture a general in saddle, ‘ 1 - ’ the left, pointing in the direc- m .,0 . ; uirassiers is leaning towards ; slight strokes in red chalk, of the general is drawn i vs ash and Indian ink. Height, 29 cent, 1 /2 ; width, 22 cent. 450 — The Guide . ydhsdote . *\o k — .021 °X .. . . . • r view, his right hand in the pocket of his bn i~. a- - ieit h;>; I hokhng the bowl of a Ids dress is completed \. * ; ; ■ t and a i, , : . ! > ••(. «:mn ■ l ! :<’■ ■■ ; with two rows v. under in :j ned up. - , i i • s , Height, 24 cent, i , 2 ; width, 16 cent. V v » f - The Traveller. , luntrv. w iiich Autumn has clothed with russet hues. •« n front-view, is advancing his head to break the .-id : the horse is chestnut, the horseman , d hat is wrapped in an ample d.u w dunk i ugh the sky. , v Aquarelle. H igM .35 cent. ; width, 2b cent. I\WKE JC, — 97 — 452 — (1832) 453 — (1884) 454 — (1886) 455 — Suspicious. By a closed door, leaning against Ihe wall, a Venetian gentleman, dressed in black and white, is waiting : the hilt and point of his rapier appear from beneath his cloak. The left hand rests on the hip, the right is raised to the mouth; the head, seen in profile, is leaning forward and covered with a black cap. Aquarelle. Height, 30 cent.; width, 19 cent. The Kiss. Almost in left-hand profile, on a dapple grey horse, a young man raises himself in his stirrups to the crest of a wall and sets his fond lips on the hand of a young woman who is leaning over the top towards the loved one. Aquarelle. Height, 54 cent.; width, 36 cent. 1/2. Bacchus. Astride on a cask, covered and crowned with vine-branch, his hand resting on his thigh, Bacchus, with raised right arm, is pouring into his mouth the contents of a tankard. Study for the sign in The Sign-painter . Aquarelle. Height, 45 cent.; width, 36 cent. Study of a « Guide ». A Guide in saddle, on a bay horse, seen three quarters to the right. Study for the 1807. Aquarelle and gouache on blue paper. Height, 19 cent.; width, 12 cent. 13 (1887) — 98 — 456 — Study for a cuirassier. (1887) A cuirassier in saddle, the torso leaning forward, his right arm carried forward almost horizontally and slightly sidewise ; his hand on the hilt of his sword. Aquarelle : on the same sheet, a pencil sketch of the hand on the hilt of the sword. Study for the 1807. Height, 27 cent.; width, 19 cent. 457 — Study for a cuirassier. A cuirassier in saddle, in left-hand profile, his head slightly thrown backwards, his right arm raised forward, his left holding the reins; the horse is lightly outlined, but the atti- tude of the leg weighing in the stirrup of the saddle with cloth and accoutrements shows a trooper at full gallop. Study for the 1807 . Aquarelle on white paper. (1887) Height, 38 cent. 1/2; width, 27 cent. 1/2. 458 — Study for a cuirassier. (1887) Torso of a cuirassier, with head thrown hack, in left-hand profde, raised right arm, his hand on the hilt of his sword. Study for the 1807 . Aquarelle. Height, 27 cent.; width, 19 cent. 459 — Study for a cuirassier. (1887) Torso of a cuirassier, front-view, head thrown hack, seen fore-shortened ; the right arm raised and grasping the hilt of the sword. Aquarelle : on the same white sheet, other sketches of a cuirassier and right hand. Height, 29 cent.; width, 39 cent. 1/2, — 99 460 — Study for a cuirassier. (1887) Torso of a cuirassier seen in left-hand profile, his right arm raised forward; his hand on the hilt of the sword. Aquarelle : on the same white sheet, a study of sleeves and foot in the stirrup. Study for the 1801 . Height, 33 cent.; width, 23 cent. 461 — Study of boots. (1887) Boots of a cuirassier in the stirrup . The study in the middle of the paper is in profile, the leg stretched out, the horse at a gallop ; the right-hand side study is three quarters to the left with bent knee. To the left, in pencil, is outlined a thirp sketch of a hoot; the top is tinted with Indian ink. Aquarelle. Height, 34 cent.; width, 48 cent. 1/2. 462 — The Eayte and the sword. (1890) The eagle with outspread wings, holding in its talons the imperial sword, round the scabbard of which is rolled the belt. Study for the crest for engraving of the 1807 . Aquarelle. Height, 9 cent. 1/2; width, 16 cent. 463 — Dragoon of the Spanish army. He is quartered at a burgher’s house ; the breakfast is over. To the left on the wooden table, a cup of coffee and carafon of cognac. Near the table, against the wall, sitting on a chair, his knees wide apart, almost front-view, the dragoon quietly smokes his pipe. He is agreeably digesting his meal ; an air of complete satisfaction floats on his lips. By him, on a chair, he has laid helmet, sword and leathern accoutrements. Aquarelle, 1890. — 100 464 — Johann of Arc. Johann of Arc is on horse-back, almost front-view, clad in armour, having on each side valets at arms. To the right and to the left, a knight bearing her lance and banner. Aquarelle and gouache on blue paper. Height, 18 cent.; width, 29 cent. 465 — A Nobleman of Louis XIII’ s time. Standing three quarters to the left, a nobleman of Louis XIII's time has stopped walking, wholly lost in thought. His ample cloak is lucked up by the hilt of his sword. In his left hand, he holds his gloves, his right hand raised to his mouth in thoughtful attitude. The right foot is placed backwards and the heel raised up. Aquarelle and gouache. Height, 17 cent.; width, 10 cent. 1/2. 466 — Hercules. Nude, sitting on the hide of the Nemean lion he has killed, his fingers are clasped before his right knee, the right foot crossed behind the calf of his left leg. Hercules is turning his head to the right, in an attitude of victorious scepticism. To his left is lying his club. Aquarelle and gouache. Height, 21 cent.; width, 18 cent. 467 — Bacchus. Astride on a cask, covered and crowned with vine-branch, his left hand resting on his thigh, his right arm raised. He is greedily gazing at a tankard, the contents of which he is about to pour into his mouth. Aquarelle. Height, 29 cent.; width, 40 cent. f tu> — \iy\ — -/ • \ ' • h : . > I most front-view, clad in . 1 o the right and !k : lance and banner, n blue j)aper. Height, 18 cent.; width, 29 cent. / Mil's time. ■ • e left, a nobleman of Louis XII I‘s w holly lost in thought. His ampk ; - ■ v : \ I: ii ■ x hand, he holds his gloves, his right hand raised to his mouth the heel raised up. - Iquarelle and gouache. : 'I !.>», 10 1/2. r it an lie has killed his lingers arc cla>ped before lus right knee, the right to crossed behind the calf of his left leg. Hercules is turning ho hi, in m attitude of victorious scepticism. 1 his left is lying his club. . Aquarelle and gouache. Height, 21 cent.; width, i8 cent. ttatrhifs . .. .i f ij» reel and crowned with vine-br^m h . r- i\ h ind v* rtir.g oil hi- ugh. his right arm raised il« • i*' /will) it a tankard, tin contents of which he is abo *..>• ■nth. V Hill’ Height, 29 cent.; width, 40 o — 101 — 468 — An Abbe reading. In a yard, in the sun, an abbe of the last century, in smart attire and with vivacious step, is reading his breviary. He is seen in left-hand profile, his left leg placed forward. To the right, in the background, a stone bench over which the sun throws shades. Aquarelle. Height, 14 cent. 1/2; width, 20 cent. 1/2. 469 — Field-Officer . A field-officer on horse-back and at a walking pace, sees front-view, his right arm hanging along his leg. The head in slightly turned to the left. To the left, a sketch of a horseman. Aquarelle and gouache. Height, 19 cent.; width, 13 cent. 1/2. 470 — Nobleman of Louis XIIFs time. A nobleman in attire of Louis XIII’s time, a red cloak over his shoulder, seen three quarters to the left ; his fell hat in hand, the upper part of the body slightly leaning forward in the attitude of a courteous petitioner. Aquarelle and gouache on blue paper. Height, 15 cent. 1/2; width, 10 cent. 1/2. 471 — -A Venetian Nobleman. A Venetian nobleman wrapped in a sort of stale mantle, his right hand on his hip, the two first fingers outstretched. The left hand on the hilt of his sword. Aquarelle. Height, 26 cent. 1/2; width, 17 cent. — 102 — 472 — Study of a horseman. Front-view, head slightly turned to the right (upper part of the body and left leg). The right arm is outlined, the left hand resting on the thigh. Aquarelle and gouache on green paper. Height, 26 cent.; width, lb cent. 1/2. 473 — Horseman on a plain. In a desolate landscape, a horseman, in right-hand profile at a walking pace. The horseman is bending forward to get shelter from the wind blowing in his black cloak. In the sky, stormy clouds. Gouache on light brown paper. Height, 19 cent.; width, 25 cent. 1/2. 474 — An Officer on observation. To the left, on the summit of a slope and hid by trees stripped of their leaves, a general, in left-hand profile, exa- mines through a spy-glass the movement of troops on the plain. To the right, a dragoon, his orderly, in left-hand profile, holds in his left hand the bridle of his chiefs horse, and slightly leaning in his saddle, looks in the direction of the battle. His standing horse is slightly raising his right hind leg and the tip of his hoof touches the ground. In the background, in the ridges of a hilly land, the mass of a wood. Aquarelle touched with gouache on tracing paper. Height, 33 cent. 1/2; width, 48 cent. — 103 — 475 — Study of a nude woman. Standing, her elbows raised and hands brought back behind her head, the throat and abdomen thrown out, her right foot slightly placed backwards, tbe head thrown back, her lips parted, the whole attitude expressing voluptuous lassitude. Study for the aquarelle « F Affaire Clemenceau. » 476 — « Lazarille de Tonnes »; illustration. At the time of Rabelais : jolly fellows, in costumes of tbe XVI th century, are gaily skipping about arm in arm in a lane hemmed in by a public fair. They are seen three quarters to the right. For Lazarille de Tormes. Aquarelle. Height, 9 cent.; width, 12 cent. 477 — Portrait of M me Sabatier. In left-hand profile, her head almost front-view, beautifully fine and witty, with its ondulating bands ; a black hood with grey strings frames in the pretty head which stands out as from a rose bush. Aquarelle. Height, 21 cent.; width, 17 cent. 478 A Nobleman of Louis XII Fs time. Three quarters to the left, his head turned front-view, his right shoulder leaning against a wall, the nobleman with his left hand resting on the hilt of his sword, holds his red cloak. The right knee is slightly placed forward. Aquarelle on white paper. — - 104 — 479 — Tale of the taking of Berg-op-Zoom ; study. Two citizens of the time of Louis XV are conversing, sitting on a stone bench, one his knees apart, his right hand resting on a cane, is dressed in black breeches, yellow waistcoat and old rose coat ; to the left, his companion is listening to him, his fingers clasped on his right knee crossed over his left leg; he is dressed in red. Both wear a three cornered hat over a triple bob-wig. Aquarelle. Height, 20 cent.; width, 26 cent. 480 — Study of a trumpeter of musketeers. A trumpeter of musketeers in saddle, seen front-view. To the right a sketch of a musketeer, in profile. Aquarelle and gouache on grey paper. Height, 20 cent.; width, 33 cent. 481 — Study of a horse. In a corner of landscape, a white horse, three quarters to the left and from in front. Aquarelle. Height, 8 cent. 1/2 ; width, 20 cent. 482 — Study of a horse. Foreleg and breast of a white horse. Aquarelle and gouache on light brown paper. At the top, to the right, the silhouette of a greyhound at rest. Study for the 1814 . Height, 30 cent. 1/2; width, 22 cent. 104 — 79 — I Vf !f' tub He/ (j-op-Zoom; study . i tune of Louis XV are conversing It, one his knees apart, his right ha cm . is dressed in black breeches, yellow ■ 1 -id rose coat; to the left, bis companion : ■ u (->• ‘ d wuls. leaning on (hr ,ig on r un o loured paper. .hopes. J (lie quai lhnirboniri i ' <-.d barges are moored to the i ned mi i;id iiTcw plank bridges used by ' m tin-- background, a bridge and the buildings J •■•hi cilv Hound , «•: ; her studies of barges, bridges and building*. Lead : - . . -oil drawing. ,miMDoi yd bmbfe yymlVf 1 V ^hhm™K- '/?■ - - 1 j leaving the harbour. Shull/ jo, n \h< if ft (14* fit A young woman in the dress of the Margaret of Faust standing, her head slightly, bent over her breast. Study for the folds of the dress. 1. id pencil sketch. U Meissonier. !v growing beard, long hair falling it ; the head seen three quart- i - • • V-;ik with turned duw» — 113 — 515 — Sketch for an illustration of Balzac. (1839) Young woman silling on a bench, in right-hand profile and bent over the table she is writing on. Lead pencil drawing. 516 — Study for « The Prophets ». (1839) Figure of a young man wrapped alter the antic fashion, the body in right-hand profile and sitting, the head turned front- view. He crosses his leg over his left knee and with his hand is holding an open album on his right knee. Lead pencil drawing on white paper. Height, 20 cent. 1/2; width, 16 cent. 517 — Sketch for a picture of Esther. (1839) A figure sitting three quarters to the right on an antic seat. She is leaning her head on her left shoulder ; the arms are placed forward ; the naked foot appears from under heavy drapery. Crayon and red chalk drawing, on cream coloured paper. Height, 29 cent. 1/2; width, 22 cent. 518 Study of a sleeve. (1839) Study of a straight sleeve tightened at the wrist. Lead pencil sketch touched with gouache. On rose hued laid paper. O 114 — 519 — Study for a picture of Esther. ( 1839 ) A woman clothed after the antic fashion, sitting in a curule chair, in left-hand profile. The head and arms are stretched forward; the head is leaning sidewise. The left foot is placed backwards. At the foot of the sheet of paper, to the right, this mention : Too large a torso. Red chalk drawing on light brown paper. 520 — A Sheet of studies. On a same sheet, the profile of a smiling old woman, a frock-coat and sleeves in profile to the left; a hand holding a small case, another hand laid flat on a table; a third hand handling a brush; lastly, a row of tacks used to fix a canvass on its frame-work. Lead pencil sketch, on cream coloured paper. 521 — Studies of hands. Two studies of right hands, one to the left with closed fingers, the other to the right with outstretched fingers. Below, a man’s head in left-hand profile. Crayon drawing touched with white on blue paper. 522 — Study of hands. Two hands closing on an object; one is seen front-view; the other palm outwards, with contracted fingers. Crayon drawing with gouache after-touches. 523 — Portrait of Mr. P. ( 1840 ) Silling, the head front-view standing out from a stock cravat; grizzled hair, profound eyes, a nose the turn of which expresses scepticism. Lead pencil drawing on white paper. — 115 — 524 — Sketch for « The Marriage Book ». A couple of young lovers of former times, seen front- view. They are arm in arm, with their hands fondly inter- laced. Under her left arm, the young woman lifts up the train of her dress ; here and there, on the same sheet of paper, sketches of a man, a hand, a leg and a head. Lead pencil drawing, on cream coloured paper. 525 — Study of legs. Legs in silk breeches ; the lappet of a coat after the French fashion ; a well drawn stocking on a rounded calf and shoes with buckles. Pencil drawing on white paper. 526 — Peasant Woman. ( 1840 ) An old peasant woman with a cap, sitting with clasped hands, her head three cpiarlers to the left. Pencil drawing touched with Indian ink wash. 527 — The Holy Family. ( 1841 ) To the right, sitting and gazing on her child, the Virgin, with bent head, downcast eyes, full of melancholy, lo the right, Saint-Joseph kneeling, with clasped hands, is praying to the Messiah. The two figures are clothed in long drapery. Lead pencil drawing on cream coloured paper. — 116 — 528 — Study for « The Players in the guard-house » . Legs and body wrapped in a cloak, their rapiers at the side, the right foot placed backwards, the left foot thrown for- ward. Charcoal drawing with white after-touches. ( 1842 ) 529 — Study of a hand , leg and shoe. ( 1842 ) Crayon drawing with some white pencil touches on grey paper. 530 — Study for « Players in the guard-house ». A soldier, his rapier at his side , with his cloak thrown over his shoulder, has just cast the die on the drum on which he is leaning. Charcoal drawing on grey paper. Some touches with white pencil. 531 — A Valet of Louis XV’ s time. A valet of Louis XV’s time, standing three quarters to the left, is fdling a bumper. To the right, at the top, on the same sheet, the study of the hand holding the glass. Lead pencil drawing on white paper. ( 1842 ) ( .1 — m — . [or « The Phttjrr* i>> the guard-house ». Lt_ • J in a cloak, their rapiers at the ■ backwards, the left foot thrown for- * v. aig with white after-touches. 520 <>f u hum!, ie*f ft ltd shoe. Craven .-.iwing with some white pencil touches on gi> \ paper. 1 1842: .aat/.aA vd hmfoJo ,v\"A — . c»0 1 / .*>30 — Sftahj !),, o ////* fj rtu vd-house ». -.. . 1 • * - . * c ioak thrown •> ■- . h • -t i :» hie on the drum which he is leaning. Charcoal dra-.\ im: on grey paper. Some touches with wv pencil. .*♦31 — A \ o t i ) j Louis XV’ s time. A W s time, standing three quarters ut» • . i- li a i. ti - wr. To the right, at the top. on th* -a** - -tf. * 'li- - l. :iencil drawing cm. wh ite paper. <1842 — 117 — 532 (1842) 533 (1842) 534 (1842) 535 — Study of cm armour. The bust of a soldier sheathed in armour, helmet and breast- plate, in right-hand profile. Lead pencil drawing touched with gouache. Study for a picture of wassailers. A man in a costume of Louis XIII’s time has sunk to the ground after deep drinking. Ilis head rests between the feet of an over-thrown stool. His hands express a longing still to hold an imaginary glass. To the right, a study of the hand. Lead pencil drawing on white paper. A Man in half armour. The cuirass with its shoulder pieces, braces and thigh plates; the right arm is bent. From under the helmet with raised visor the head of a soldier is seen three quarters to the left. Lead pencil drawing touched with gouache, on light brown paper. Height, 22 cent. ; width, 13 cent. Study for the « Residts of a gambling quarrel » . A lying body, with breeches after the fashion of the xvm ,h century. At the bottom of the sheet of paper, two studies of hands, pahn inwards. Crayon drawing on blue paper. (1842) 118 — 536 — - A Knight . A knight in armour, silting, drapery over his right leg, his clenched left hand leaning on his thigh, seen almost front- view. Crayon drawing touched with white and red chalk on grey paper. (1843) Height, 35 cent. ; -width, 21 cent. 1 /2. 537 — Sketch of an armour. (1843) Sketch of a soldier in armour; the arm is enclosed in the brace. The head is leaning forward. Lead pencil sketch touched with gouache. 538 — Study for « The Bookstall-Keepers ». In the neighbourhood of the Pont Neuf drawing its out- line on the background scenery of the city, a melancholy bookstall keeper, leaning against the parapet of the wharfs, is watching his book boxes the contents of which allure no buyer. At the bottom, to the right, a small sketch of the platform and statue of Henri IV. Pen and lead pencil drawing. (1844) 539 — Study for « The Citizens of Calais ». An old woman sunk on the ground by a wall, in right-hand profile ; her head thrown backwards, wearing a kind of madras cap, is leaning on her right shoulder ; the arm falls naturally to the ground. To the right, on the same sheet, and at the top, a sketch ot the head. Lead pencil drawing on tinted laid paper. ( 1844 ) Height, 24 cent. 1 /2 ; width, 16 cent. 1/2. — 119 540 — Study for « The Citizens of Calais ». An old woman, in a beggar’s dress, crouched by a wall, in right-hand profile; the head is thrown back, wearing a kind of madras cap, leaning on her right shoulder ; the arm falling naturally to the ground. Lead pencil drawing. (1844) 541 — Study for the « Corneille ». A nobleman, seen front-view, wrapped in an ample cloak and holding his felt hat the inside turned outwards in his left hand. To the left, at the bottom, study of folds of cloth. Crayon and white pencil drawing on grey paper. (1845) 542 — Study for the « Samson ». A man, hurled to the ground, his left fist raised in a threa- tening gesture, supported by his right hand, seen three quar- ters to the right. On the same sheet, another sketch of a leg. Lead pencil drawing on light brown paper. (1845) Height., 23 cent. ; width, 18 cent. 543 — Study for the « Samson ». A nude man, hurled to the ground in the altitude of an ancient wrestler. Crayon and red chalk drawing, bearing the corrections of the master, on light brown paper. (1845) Height, 15 cent, ; width, 21 cent, — 120 — 544 — The Convicts . To the left, a squad of musketeers in saddle ; to the right, guarded by men at arms on foot, convicts kneeling. Drawing with one part in water colours on brown paper. (1855) 545 — Study for « Lcizarille de Tor mis ». A nobleman, his cloak thrown back over his shoulder, a rapier at his side ; he is turned in left-hand profile, his right leg in advance ; the head is seen three quarters, his curled hair has just been dressed. Sepia drawing on laid paper. (1845) Height, 33 cent. 1 / 2 ; width, 18 cent. 1 /2. 546 — - Study for an « Esther ». A young woman, clothed after the antic fashion, in left- hand profile and kneeling down. In her left hand, she is hol- ding the folds of her dress : her right hand placed in advance. Red chalk drawing. (1845) 547 — Johann of Arc. The Maid of Orleans in armour, riding her white horse held in hand by pages : on her right and left-hand side, knights sheathed in armour bearing her oriflamme ; she is followed by an army. Pen drawing touched with gouache. (1845) Height, 18 cent. ; width, 31 cent. 1/2. Iclied l>v Mordant The Ci Dn i i«i at arms on foot, convicts kneeling. ‘.vith one part in water colours on brown paper. vv . m / / Ih’ ‘ die tie 'Tor mes ». a- eU-eh back over his shoulder, a : his >! \wt iu-i- dress : her right hand placed in advance Red chalk drawing. u of Are. * ‘ rh ans in armour, riding her white Iioi m- held her right and left-hand side, knights nnamme ; she is followed by an u -U with Height — 121 — 548 — Study of figure. A nobleman walking, seen in left-hand profile, wrapped in a large cloak, his left hand resting on the hilt of his sword. Lead pencil drawing. (1846) 549 - — Study for « An Amateur of painting ». Leaning, both hands crossed over the hack of an arm-chair, dressed in a long frock coat; his head slightly thrown back- wards, in left-hand profile. Hair and beard unkempt. In the top corner and to the right, a study of the right hand, placed with fingers apart, on the fore part of the left arm. (1846) 550 — The old Bachelor. To the right, a woman filling up a trunk; to the left, mounted on a chair, another woman rummaging a linen cupboard; in the fore ground, a man bent over a bundle he is searching, whilst in the background two figures are searching a chest of drawers. In another room, through the open door, the old bachelor is seen lying dead. Lead pencil and Indian ink drawing. (1846) 551 — Portrait of I) Lefebvre. Seen front-view, with smooth face , selfwilled nose, sensual mouth, a straightforward look, his hair carefully arranged, his neck enclosed in a wide cravat. Lead pencil drawing. Height, 18 cent. 1/2; width, 14 cent. 16 (1846) 552 — Study for « Reading ». Sitting in an arm-chair in right-hand profile, a young lady, in attire of Louis XV’s time, is attentively reading a book she holds in both hands. To the right, in the background, is outlined a mantle-piece. Lead pencil drawing touched with white, on greyish brown paper. (1848) 553 — Studies for « The Barricade ». Studies of an arm and leg fore-shortened for men lying on the ground and dead. Crayon and white pencil drawing on blue paper. (1848) 554 — Study for « The Barricade ». A man, lying on his hack, his right arm outstretched, his left hand, on his breast; the fore-shortening is seen from right to left. Pencil drawing touched with white, on blue paper. (1848) Height, 13 cent. 1/3; width, 19 cent. 1/2. 555 — Study for « The Barricade ». On one sheet, to the left, a man lying on his face ; to the right, another man lying on his back. His shoulders and head up raised. Crayon drawing touched with white on blue paper. (1848) Height, 20 cent.; 1/2; width, 32 cent. — 123 — 556 — Study for « The Barricade ». ( 1848 ) A man lying on his side, dressed in a sort of smock-frock; he is seen fore-shortened ; his head forward. Crayon drawing touched with white on green paper. 557 — Study for « The Barricade ». ( 1848 ) A man lying on his right side, with bent knees, his right hand with contracted fingers, palm forward; the right arm placed backwards seems to be flat on the pavement on the edge of which the man has fallen. Crayon drawing on blue paper. 558 — Study for « The Barricade ». ( 1848 ) The corpse of a man, lying on his back, his arms wide apart; drapery is outlined under him. To the right, at the top, study of a hand ; at the bottom, a study of contracted movement. Pencil drawing. 559 — Study for « The Barricade ». ( 1848 ) A man fallen to the 'ground on his side, seen obliquely, his head turned to the left. Crayon sketch on laid paper. 560 — Study for « The Barricade ». A corpse lying on his back, seen fore-shortened. The left arm is stretched out, the right arm is bent at the elbow, the right hand raised to the head. Crayon drawing with white touches, on grey paper. ( 1848 ) 124 — 561 — - Study for « The Barricade ». A man flat on his face, his body following the ondulation of the ground, stretched left arm, the hand palm outwards. Crayon drawing with white touches on blue paper. ( 1848 ) 562 — Study for « The Barricade ». A man sunk on his face, head turned to the right, his feet to the left and apart, the right hand with palm forward. The torsion of the body tells the last writhe of agony. Pencil drawing with white after touches on blue paper. ( 1848 ) 563 — The Wassailers. A day of revelry. The troopers raise their beer mugs as they shout drinking songs. Already two of them have fallen over their stools, in heavy drunkenness ; another one has rolled to the ground. Drawing on boxwood, with lead pencil and ink, touched with gouache. ( 1848 ) 504 _ Portrait of Theophile Gautier. Righ-hand profile of Theophile Gautier; the mouth is seen under the moustache, the chin is rounded under the tuft, the forehead expands under the long tresses of hair falling on each side of the head. Lead pencil drawing. ( 1840 ) — 124 — .%*> \ Study for « The Barricade ». A man flat on liis faro, his body following the ondulation of the ground, stretched left arm, the hand palm outwards. Crayon drawing with white touches on blue paper. ( 1848 ) ! 'dy for « The Barricade ». ■ . head tin ned to the right, his feet i ! ight hand with palm forward. The •die of agony. Pencil drawing with White alter touches on blue paper. ( 1848 ) ,'k'AT j-.hsI yd bedoJe f sbus^ k — .861 A • s • • dh. - raise their beer mugs as !:> • • , . - d » -id v have fallen over tiie.* *(.- 1-. ii ■ • drunkenness; another one has rolled to • he gi Drawing on boxwood, with lead pencil and ink, touched with gouache. ( 1848 ) ' 5G4 — Portrait <•[ ThSaphilc Haulier. Tiigh-h.'u d > >tib‘ of rheophilc (lauticr ; the mouth is sec under the o ■ h . „ h ■ rliin rounded under the full the forehead expands under the long tresses oi hair falln on each side of the head. Lead pencil drawing. — 125 — 565 — - Reading. Round the table, at which several figures are sitting : woman, girl, child ; a man seen in right-hand profile, the upper part of the body bent forward, lias both hands leaning on the table and is reading aloud. To the right, a stove ; to the left, an empty chair. Drawing on boxwood, with lead pencil and some touches of gouache and bistre, ( 1849 ) 566 — The Bookstall-Keepers . On the parapet of the wharf, the bookstall keepers have opened their boxes ; they are conversing with long known customers ; to the left, a student with long hair carrying a port-folio under his arm ; to the right, a woman with a bonnet and pointed shawl is walking arm in arm with a man, his waist tight in bis frock coat. In the background, at the end of the Pont-Neuf which sketches its saddle-shaped outline, the statue of Henri IV stands under the warm sky opposite the old buildings of the City. Drawing on boxwood, lead pencil touched with gouache. ( 1849 ) 567 — « Coffee » . In a drawing-room in the last century, at coffee time. To the left, figures sitting. To the right, a round table by which stand a young lady and noblemen, a cup in hand. In the back- ground, a man sitting in profile and having a strong likeness to the patriarch of Ferney. Lead pencil drawing on boxwood . ( 1848 ) — 126 — 568 — Nobleman of Louis XV’ s time. A nobleman of Louis XV’s lime, turned three quarters to the left, and bowing with profound respect to a young lady seen in right-hand profile, who is courtesying. Drawing on boxwood, in ink, with touches of gouache. ( 1849 ) 569 — Shaking hands. Two fellows are shaking hands as they come out probably of a tavern. Ink drawing on boxwood. ( 1849 ) 570 — A Knight. On his horse pawing the ground, erect in his armour, his iron gauntlet resting on his thigh, he is marching at the head of his lances, under a heavy clouded sky ; to the right, in the background, a man at arms on foot. Drawing on boxwood, in ink and lead pencil, touched with gouache, ( 1849 ) 571 — Two Musketeers . ( 1849 ) Two musketeers clasping one another in brotherly embrace. They hold their felt hats in their hand. Sketch on boxwood, in ink and gouache. 572 — A Citizen of Paris. A man, his right hand in his trowsers pocket, in right-hand profile, raising his hat with his left hand ; he wears a frock coat ; the left leg is placed in advance. Drawing on boxwood, in lead pencil and ink. ( 1849 ) — 127 — 573 — Study of a woman. (1849) A young woman sitting sidewise on the ground, but with erect body, leaning on her hand, seen from behind ; the upper part of the body is nude, the legs are hid by folds of drapery. Lead pencil sketch, on paper with blue initials. 574 — Idyll. (1850) Through a leafy lane in the depth of a wood, a youth and young woman, arm in arm, mincing and smirking. Lead pencil drawing on boxwood. 575 - Study for « A Sunday at Poissy ». (1850) Before a tavern of the last century tables are placed in rows and beset with people drinking; a skittle player is about to throw the ball in a violent gesture. Ink drawing : the trees are drawn with lead pencil. 576 — Study for « A Sunday at Poissy ». A player, standing, firmly planted on his legs, the body weighing on the right leg, his left in advance, in left-hand profile turned away, the whole body expressing strength. Lead pencil drawing on while paper. (1851) 577 (1851 ) 578 — (1851) 579 — — 128 — Study for « A Sunday at Poissy ». Before the inn with tables beset by people drinking, is placed a hogshead, whilst a figure to the left, with hand in advance, is about to throw a quoit. His companions, watching the game, are looking at him mockingly. Three cornered hats and cloaks have been laid on the benches round the table they were sitting at. In the fore ground a dog is asleep, lying on its side, and fowls are pecking oats. To the right, behind leafy boughs, is seen the building and a bell turret. Bistre tinted drawing with etching needle on glazed paper. The group of players is outlined with ink. Height, 20 cent.; width, 28 cent. Study for « A Sunday at Poissy ». A man in breeches of Louis XV’s time, with unbuttoned waistcoat and his shirt sleeves upturned above his elbow, his arms akimbo. Lead and black pencil drawing, touched with gouache, on white laid paper in the filigree of which we read : J. Waissier, 1783 . Height, 31 cent, i/2; width, 16 cent. 1/2. The Cardinal’s coach. The coach has stopped. To the left, the escort of muske- teers in saddle are turned towards the great cardinal they are attending. To the right, a crowd of people, with low bent heads, present to the visitor respectful obeisance and humble requests. Ink drawing touched with wash on tinted paper. ( 1852 ) Heighl, 10 cent.; width, 17 cent. « A Sin- nay at Poissy ». *<>v< \ r ( i : with tables beset by people drinking, is .need -head, whilst a figure to the left , with hand in < " about to throw a quoit. His companions, mg the game, are looking at him mockingly.- Three ered hats and cloaks have been laid on the benches round the table they were sitting at. In the fore ground a dog is asleep, i\ on e -Tie. and fowls are pecking oats. To the right, ! >..•;> • kvdy boughs, is seen the building and a bell turret. ' a 1 - ■ m --.viM' etching needle on glazed paper. > o • i with ink. ( 1 80 1 ) Height, 20 cent.; width, 28 cent. .xmiivsxw'eiiT yd boifoJo \o tnYY. — .(’.(? 1 "Z 578 - — Study for « A Sunday at Poissy ». •• I ouis XV’s time, with unbuttoned -dhow, his . Load id j * : w; h« d with gouache, on " i • : ■ ■ ' d-. m. v. hi« h we read ; J. Waissier, 178d (1851; Height, 31 cent. 1/2; width, 16 cent. 1/2. 579 — The Cardinal's coach. ‘»:mh has the left, the escort of must lot ■! i if Inrned towards the great cardinal they attending. ]’■> right, a crowd of people, with low 1- heads, present lo tin visitor respectful obeisance and hue requests. Ink drawing touched with wash on tinted paper. Height, 10 cent.; width, 17 . (1852) 129 ~~ 580 — Study of « Reading ». (1852) A young lady sitting in an arm-chair, turned three quarters to the left; she is dressed after the fashion of Louis XY's lime in attire with furbelows; her right hand holds an open book, the text of which brings a smile on her lips. The right hand is resting on the fore part of the left arm. Crayon drawing with slight white touches on cream coloured paper. Height, 21 cent. 1/2; width, 28 cent. 581 — The Tapestry. (1853) A young lady in a costume of Louis XV’s time, three quarters to the left, is sitting before her tapestry frame. Her left hand holds the canvass, whilst the right, with the little finger projecting, draws her silk threaded needle with natural elegance. On. the edge of the frame work are hanging the silk skeins. A dark background brings the figure into relief. Height, 15 cent. 1 / 2 ; width, 12 cent. 1/2. 582 — Study for « A Smoker ». (1853) A man of the time of Louis XY, seen front-view ; his left hand in his breeches pocket ; the right hand holds the stem of a long pipe. Lead pencil drawing. 583 — Study for a bowl-player . A burgher of Louis XV’s time. He is walking, with turned back, his right hand behind his back; the left arm is bent and the hand placed in advance. Linder his three cornered hat, powdered hair. Lead pencil drawing. (1853) 17 130 — 584 (1853) 585 (1853) 586 (1834) 587 Portrait of M me Sabatier. Three quarters to the left, with ondulating hair, a serious mouth, her head slightly leaning on her right shoulder. Lead pencil sketch. Height, 13 cent. 1/2; width, 102 millim. Nobleman of Louis A V s time. A nobleman in a costume of Louis XV’s time, his hat under his right arm, his sword hanging crosswise behind his back. The right leg is placed in advance. Lead pencil sketch. Study for « The Bowl-players at St-Germain ». A nobleman of Louis XV’s time, seen from behind, his hands crossed behind and holding a cane, a book under his left arm. His head seen in right-hand profile, has a three cornered hat on ; the right foot in right-hand profde. The upper part of the body leaning slightly forward. Crayon drawing. Height, 34 cent. 1/2; width, 20 cent. A Bowl-player. A bowl-player seen from behind. He wears a sort of ample cloak. The right leg is moving forward as well as the right arm ; the foot is squarely placed ; his left hand on his hip. Crayon drawing touched with gouache on grey paper. (1854) — 131 — 588 — (1854) 589 — 590 — (1854) 591 — (1854) Study for a bowl-player . Seen from behind, leaning forward, his left hand resting on his knee, the right hand holding the howl, swinging before throwing it. Lead pencil sketch. Height, 12 cent.; width, 14 cent. A Man of Louis XV’ s time. A man in breeches and waistcoat of Louis XY’s time, his body three quarters to the left, his head leaning on his shoulder and seen in profile; the right foot placed in advance. Height, 26 cent. 1/2; width, 14 cent. Musketeer. A musketeer walking, three quarters to the right, left foot in advance, right hand raised, left hand on the hilt ot his rapier. The head is seen in right-hand profile. To the right, at the top, a sketch. Charcoal drawing. Height, 37 cent.; width, 21 cent. 1/2. Sketch for a stage costume. A musketeer, in right-hand profile, crossing over his clasped hands the lappets of his cloak . Lead pencil drawing. — 132 — 592 — Study for a bowl-player. (1854) A man of Louis XY’s time seen front-view, his head turned to the right; a buttoned waistcoat, both hands in his breeches pocket, the right foot placed backwards. Lead pencil drawing. 593 — A Man reading. (1854) A nobleman of the time of Louis XV is sitting in an arm- chair, reading a hook resting on his right knee crossed over the left. He is seen three quarters to the right. Lead pencil drawing. 594 — Sketch for « An Amateur of painting ». (1854) A nobleman of Louis XIII’s time, sitting, in left-hand profile. The upper part of the body is leaning forward, his chin resting on his right hand, the elbow placed on the right knee, in an attitude of deep thought. The folds of his lace fall below the large cloak he is wrapped in. Lead pencil drawing. 595 — Bowl-player . lie is bent forward, seen from behind, holding the bowl he is about to throw in his right hand and arm turned backwards. The left hand resting on his knee supports the body. Dress of Louis XV’s time. Lead pencil drawing with while touches. ( 1854 ) Height, It cent. 1/2; width, 15 cent. 432 — 502 — Study for a bowl-player, \ man nf I. on!' XV s time seen front-view, his head turned to llit* ' ;ght; a buttoned waistcoat, both hands in his breeches pocket, the right, foot placed backwards. Lead pencil drawing. (1834) ; ; i, :ii i i, !(.' of Louis XV is sitting in an arm- i-b.r- . . ■ • : . ’ on hi- right knee crossed over II.' ■ ilo v quarters to the right. L -ad pencil drawing. . Tx/.uiiol/ yd bo duty .Ann A A •v\wVL-\wwVL - .001 °Z . i ' I f > ;• • ■ - i *i (f » . i O A nobleman ot Lorn- Xllls tune, silling, in left-ban- pioiiic. The ui-o.-r part of the body is leaning forward, i chin i-i-sung on in- right hand, the ei bow placed on the rigi knee, in an attitude ofde throw in his right hand and arm turned back The bit hand noting on Ins knee supports the bod\ of Louis A V s time. Lead pencil drawing with white touches. (1834) Height, II cent, i/2; width. — 133 — 596 — Study for « The Bowl-players ». (1854) A man of Louis XV’s lime, standing in left-hand profile; his three cornered hat somewhat awry, his left hand in his breeches pocket, the right leg placed backwards. Lead pencil drawing. Height, 10 cent. 1/2; width, 5 cent. 1/2. 597 — Sketch for « A Bowl-player » . (1854) A bowl-player leaning forward, seen from behind, his hand supporting the body resting on his thigh ; the head is not outlined. Lead pencil sketch on laid paper. 598 — Sketch of a nobleman of 1610 . (1855) Standing, his right hand leaning against a table, the left hand holding his hat on his hip; he is seen almost front-view and wears a gorget. Pen and lead pencil drawing. 599 — Study of a nobleman. A nobleman of Louis XIV’s time, in boots with spurs, wrapped in a large cloak, three quarters to the right, the left leg placed in advance, with bent knee. The sword is hanging at his right side, the study having been made after the master’s figure seen in a looking-glass. Crayon drawing touched with white. On the same blue sheet, other studies of hands. (1850) Height, 493 millim.; width, 28 cent. 1/2. 134 — 600 — Study for « The Ariosto ». (1856) A young lady, seen in left-hand profile, sitting in a Venetian arm-chair, costume of the time of Boccaeio's tales, the fore part of the left arm resting on the arm of the chair, the hand falling down naturally; the right arm is being raised, the elbow resting on the knee, the hand by the neck, stopped in its movement, bv the attention which causes the voung ladv to look up. To the right, at the top of the same sheet, a larger study of the same profile. Red chalk drawing. Height, 26 cent.: ’width, 17 cent. 1/2. 601 — Study for « The Ariosto ». (1856) A young lady sitting in a Venetian arm-chair, in left-hand profile, the upper part of the body leaning forward, the chin resting on the right hand with bent fingers whilst the elbow is placed on the knee. The fore part of the left arm rests on the arm of the chair. The skirt falls in large folds before and about the seat. Red chalk drawing dated februarv 29. 1856. Height, 25 cent. 1 2 ; width, 18 cent. 1 2. 602 — Study for a « Conte remois ». An old woman, wrapped after the ancient fashion, is sit- ting on a post. The right hand shows itself out of the cloak, and rests on the seal ; the left hand keeps back the folds of the cloth . The head is slightly outlined, with sorrowful expres- sion. Lead pencil drawing on blue tinted laid paper. I 856 — 135 — 603 — Portrait of Mr. Tedesco. Silling in an arm-chair, the fore finger of his right hand joins that of the left hand ; the man turns slightly to the left his head leaning on the back of his seat. Lead pencil drawing. (1856) 604 — Studio of Mr. Geoffroy Dechaume. A sculptor’s studio; all around, work brenhes and turn- stools. On shelves, mouldings. Lead pencil drawing on foolscap paper. Study for The Crucifix [Conte remois ). (1856) Height, 12 cent. 1/2; width, 18 cent. 605 — Study of leys. Study of breeches and legs for a nobleman of Louis XIII’s time, seen front-view, the left leg placed in advance. To the right, sketches of booted feet with spurs. Crayon drawing on white paper. (1856) 606 — A Smithy at Poissy. The penthouse of the smithy. To the right, the door of the workshop, with walls and windows adorned with horse-shoes. In the background, a shut door with open shutters. Study for The good Cousin [Conte remois ) . (1856) 607 — Study for « The Broken fast ». (Conte Remois.) Study of a man kneeling, his body resting on his heels, seen three quarters to the right and turned away. The left hand, holding some object, is placed forward. Lead pencil drawing, on white laid paper. (1856) — 136 008 — Study for a « Conte remois ». (1850 Standing in right-hand profile, a young priest in white sur- plice. his hands slightly placed in advance, in the gesture of a teacher. Lead pencil sketch. Height, 15 cent.; width, 82 millim. 009 — Study for a « Conte remois ». (1850) A man, sitting in an arm-chair, his torso leaning backwards the fore-finger of the left hand crossed over the right-hand one, the head turned front-view. To the right, on the same paper, a repetition of the gesture of the hands. Lead pencil sketch. Height, 13 cent.: width, 17 cent. 12. 010 — Study for « The simple Avowal ». ( Conte Remois. ) (1850) Young woman lying and sleeping on her left side ; the right arm projects from the bed clothes the folds of which fall to the ground. To the right, by the head of the bed, a round table on which are a glass and small decanter. Lead pencil drawing. Height, 12 cent. 12; width, 10 cent. 1/2. Oil — Study fora « Conte remois ». A young woman, dressed in attire of Louis s time, sit- ting. in left-hand profile, at her round table and writing a letter. Lead pencil drawing on white paper. 1850 N" 200. A Liyhl Lnfanirtj soldier, etched by Mathey. r S X T, u « Conte remois ». - ending in nght-hand profile, a young priest in white sut t . his hands slightly placed in advance, in the gesture of teacher. Lead pencil sketch. u :s torso leaning backwards the lorc-lingci ol f ht hand eroded over the right-hand one. the head turned iron! vu %v !<> the right, on the same paper. '• "nog v, r, . m A cju>ig • •! : hi r left side; the rie arm projects from tin* bed clothes the folds of which fail the ground. To the right, by the head of the bed. a r< . ; table on which are a glass and small decanter. Lead pencil drawing. 611 — Study for u •< Conte remois ». A vim eg woman, dressed in attire of Louis XV’s tin ting, in left-hand profile, at her round table and " • letter. Lead pencil drawing on white paper. Height, i‘i cent.; width, 82 millim. d/. yd borlolo i p<*fitfiFsfcel . — 137 — 612 — (1856) 613 — (1856) 614 — (1856) 615 — Sketch fora « Conte remois ». At the bottom, two men of Louis XV’s time, sitting in a tavern ; in the middle, the man seen front-view is fumbling in his pocket for coins to pay his share to the servant girl stan- ding in right-hand profile. Above, on the same sheet, study of a man fumbling in his pocket. Lead pencil drawing touched with blue ink, on white laid paper. Height, 20 cent.; width, 12 cent. 1/2. Sketch for a « Conte remois ». A young woman in Middle-Age attire, sitting her right knee raised, her head turned to the right with roguish eyes. Lead pencil sketch. Study for « The Avowal ». An « abbe » sitting at a table, seen in left-hand profile, the upper part of the body leaning forward and holding by its foot a delicate crystal glass. Red chalk drawing. Height, 20 cent.; width, 13 cent. Punch . Standing, both hands clasped over his abdomen, his stick under his left arm, his three cornered hat awry, with winking eyes and legs wide apart, Punch, almost front-view, takes the conquering air of one about to gratify all his desires. Height, 14 cent.; width, 8 cent. 1/2. 18 (1856) — 138 616 — Studies for heads of Punch. (1856) Two faces with a winking left eye, smiling mouth, ironical nose. Lead pencil drawing. 617 — A Knight . (1856) A knight sheathed in armour riding a white horse, his right hand on his thigh, with upraised visor. He is followed by a few men at arms. Lead pencil drawing on boxwood, touched with gouache. 618 — A Man reading. (1857) A man of Louis XIII's time, sitting in an arm-chair, seen in right-hand profile and reading a book he holds in both hands ; his left leg crossed over his right takes the place of a desk. Lead pencil drawing. Height, 12 cent. 1/2; width, 9 cent. 1/2. 619 — A Man reading. An « abbe » of Louis XV s time, standing, seen almost front- view. He is walking reading, a book he holds open in both hands. Lead pencil drawing for the head and hands, in ink and Indian ink wash for the rest, on whitepaper. (1857) Height, 18 cent.; width, 11 cent. 1 2. — 139 620 — (1857) 621 (1857) 622 Study for . — /■* (i.sniale, ololu'd l>v Migno.n. YU flliqnon. Sc _ 140 - 623 — Study for a « Conte reniois ». Sitting before li is table, charged with a folio, a sand glass and sundry instruments, a scholar of Louis XI’s time, with spectach ~ on his nose, is studying the text in which he is seeking eternal truth. His stern profile is drawn to the left. Behind him, a chest on which is placed another book. Lead pencil drawing. $ M h^ffcarm : the hefld The head of an d man with deep wrinkles, three quarter" to the left, locks falling over his forehead; the neck i- enclosed in a wolfs hide. Lead pencil drawing, slightly touched with gouache an< sepia. \ ;n.u< m ; Venetian dress, sunk down on the cushion a sofa, in left hand profile. • Lead pencil drawing touched with gouache on blue p.* Hoighf. It cent.; width, 13 cent. 1/2. \n im iuyablr dx.au of the French Direcloire) his right is only outlined. Lead pencil drawing. (1858) 625 — Study of nn otd man. (1800 Height, 1$ cent.; width, 10 cent. 626 — Study for « Ariosto ». Height, 21 cent.; width, 17 cm' 141 — 627 — Study for « The Ariosto ». (1862) In a Venetian arm-chair, in right-hand profile, a man is sitting, the upper part of his body leaning forward, his left arm hanging over the back of his seat; his right-hand on his right thigh supporting the body ; the left leg placed in advance, the right foot backwards. He wears a Venetian mantle. Lead pencil drawing touched with gouache on blue tinted paper. 628 — The Empress at Nancy. (1862) The place Stanislas : before the line of « cent gardes », the people are cheering the Empress and the young prince, standing on the steps of the « hotel de vilie » of Nancy, rising to the left. Lead pencil drawing on boxwood, with some touches of dry water painting. 629 — Study for « The Ariosto ». (1862) A young woman, three quarters to the right, is sitting in an arm-chair ; she clasps her hands round the arm of her seat, the well developed throat rounds from a low necked bodice ; the dress falls to the ground in silky folds. Lead pencil drawing touched with gouache on blue paper. Height, 13 cent.; width, 15 cent. 1/2. 636 — Study of a 1 woman . (1862) A young woman sitting, slightly leaning on the back of her chair. With both hands she holds an open book, she is seen three quarters to the left, her head leaning on the right shoulder and dressed in a flowered costume of Louis XY's time. Red chalk drawing touched with white, on rose tinted paper. Height, 19 cent.; width, 22 cent. 631 — Study for « The Ariosto ». (1862) A young woman, sitting in a Venetian arm-chair, on the arm of which she is resting both hands : she is seen in right- hand profile. A sunray brings her silhouette into relief. Lead pencil drawing touched with gouache. Height, 19 cent. 1/2; width, 15 cent. 1/2. 632 — Sketch of the sword of Napoleon I. (1864) The hilt of a sword. Pencil drawing. 633 — Study of sleeves . (1867) A man seen three quarters to the right, in silk doublet, both arms akimbo. Pencil drawing touched with gouache. Height, 24 cent. 1/2; width, 21 cent. 1/2. 634 — Study for the « 1807 ». (1867) A Guide in saddle, seen front-view. At the bottom, study of frogs. Lead pencil drawing. 635 — Portrait of Mr. X... Three quarters to the left, the neck enclosed in a high neck-cloth, his face heavily wrinkled, quick eye, hair cropped short and brushed forward. (1868) Pencil drawing. — 143 — 636 — Fisherman s wife at Antibes. (1869) A fisherman’s wife, seen front-view and carrying her child on her right arm. Lead pencil drawing and touches of white pencil on grey paper. 637 — Study for the « 1807 ». (1869) A hussar in saddle, seen front-view, the left hand is bent and resting on the thigh . Lead pencil drawing. 638 — Study for « V Affaire Clemenceau ». (1870) Standing with raised up elbows, her hands behind her head, the throat and chest brought out, the right foot slightly placed backward, the head thrown back, the lips apart, the whole attitude expressing voluptuous lassitude. Study for the aquarelle : L’ Affaire Clemenceau. 639 — Design for decorative painting. Round the statue of Apollo, Arts, Sciences and Poetry are assembled, holding forth on their extended arms wreaths of laurels and offerings. To the right, a youth and a young woman clasp their fingers over the foliage of one same wreath. To the left, a horseman, whose horse paws the ground, is also holding out a wreath to the god. At the foot of the socle an old woman is squatting. Is she the symbol of ignorance ? is she the image of life ? Indian ink drawing touched with gouache. (1873) Height, 20 cent.; width, 2o cent. — 144 — 640 — A Fencing Lesson. Before amateurs, in fencing costume, fencers are fighting a fencing maclh with foils. Ink drawing with Indian ink wash. 641 — Study for « The Good Host ». (Conte Remois.) A horseman in saddle, about to depart, is taking from the hands of the inn-keeper a last glass of liquor. To the left, standing in right-hand profile, the hostess is a witness of this farewell. Ink drawing touched with wash. (1875) 642 — Study for « The Cavalcade ». A horseman of Louis XY’s time in saddle ; he is seen from behind, hut turns round in his saddle, lying his right hand on his portmanteau. Lead pencil drawing. (1876) Height, 18 cent. 1/2; width, 12 cent. 643 — A Cuirassier. A cuirassier on horseback, three quarters to the left, the head is seen in profile ; the left sleeve wears a stripe and galon . Ink drawing on tracing paper and squared off. (1878) Height, 39 cent.; width, 27 cent. ■ V 144 ii , 0 draw u r r — 145 — 644 - — The Prodigal Child. The youth is about to mount; his horse stands to the right; by him, his clogs crowd fondly. His father lovingly takes his right hand ; behind him stand his mother and some other figures. Sketch : ink drawing. (1879) 645 — Koubra. A russian greyhound with long hair ; lying flat and curled up, his head leaning on the fore part of his hind legs, the left fore leg stretched out. Drawing touched with gouache on white paper. (1879) Height, 14 cent.; width, 9 cent. 646 — Portrait of Mr. Gunzbourg . Silting on the arm of an arm-chair, his left leg crossed over the right knee ; his left hand, holding a cigar, is resting on his left knee. His right arm akimbo, the head front-view, the beard spreading over his neck tie ; glasses on his nose. Dated : 20 th of december 1880. Lead pencil drawing. 647 — Sketch for « An Arrival at the Castle ». A nobleman of Louis XV ’s time in left-hand profile, his hat in his left hand,' his right arm placed in advance in a welcoming gesture. Lead pencil sketch. 19 (1880) — 146 648 — Sketch for « An Arrival at the Castle ». (1880) A head seen in profile and placing a kiss on a forehead held ont to it. Lead pencil sketch, slightly touched with white on blue paper. Height, 14 cent. 1/2; width, 10 cent. 1/2. 649 — Officer of cuirassiers. (1880) An officer of cuirassiers in saddle, sword in hand, seen front- view. Study for the cuirass. Lead pencil drawing, touched with wash and gouache. Height, 15 cent.; width, 9 cent. 1/2. 650 — Officer of cuirassiers. (1880) An officer of cuirassiers leaning to the right on his saddle ; he has his sword in hand ; the head is seen three quarters. Sketch with Indian ink wash and sepia. 651 — Study for « An Arrival at the Castle ». A nobleman of Louis XIII’s time, seen from behind and saluting with a wave of the hand as he departs ; the head is seen in right-hand profile. Lead pencil drawing touched with gouache on blue paper. ( 1881 ) Height, 25 cent. 1/2; width, 12 cent. — 147 — 652 — Sketch for the crest of an engraving. (1890) On a road, in the neighbourhood of a village the houses of which draw their outline on the horizon, a coach of Louis X Ill’s time at full gallop of two horses. Through the carriage windows several figures are seen conversing. Lead pencil and ink drawing, touched with slight wash. Height, 13 cent.; width, 21 cent. 653 — Horse and Foot soldiers. (1890) Two horse and two foot soldiers holding out their arm raised in a gesture of enthusiasm. Ink sketch, 28 lh of October 1890 654 — Study of a woman. A young woman, her left hand raised to her chin in a pretty gesture. She wears a dress of the time of the Directoire. Study for the left side of the bodice, the sleeve and folds of the skirt about the hip. Red chalk drawing, on rose tinted laid paper. 655 — Study of an overthrown man. A man, overthrown to the ground and seen fore-shortened. His arms wide open, his face expressing last anguish. Drawing touched with gouache on blue paper. Height, 14 cent.; width, 18 cent. 1/2. 148 — 656 — A?i Epicurean of the XVIII th century . A man of Louis XV’s time, in left-hand profile, his heels brought together, his hands in his waistcoat pocket, with rounded stomach; a double chin that would have rende- red Vitellius jealous, with an amiable smile, below an enormous nose that vainly attempts to look Bourbonnian; the eye full of malice. Ink sketch. 657 — The Lunch. To the right, sitting in costumes of Louis XV’s time, a group of figures to whom a little girl is holding out a plate loaded with fruit. Behind the child, a couple standing: the man is bowing and the lady carries on her right shoulder a green parasol. To the left and in the fore ground, figures sitting on the grass. To the right, a round table with fruit. Lead pencil drawing touched with ink, on white laid paper. 658 — Study of figure. A small man of Louis XIII’s time, three quarters to the right, his feet placed squarely, holding his hat with both hands against his abdomen in a very respectful attitude. Ink drawing touched with slight wash. 659 — Study of a man. A' man in breeches, the body almost front-view, the head in right-hand profile; he is drawing on the sleeve of his coat. The left arm is stretched out, his right aiding his movement. Lead pencil sketch. jBjjpJ-; •>/ d MHhct (. :/■ jL • ' N" 22-1 . — Head <>[ a field-o f/irer, cl died bv Ai.assomkuk. •: •Si.Wr . ■ VMJt . .__ r lj g»«r a — 148 656 — An Epicurean of tl A man brought l rounded s red Viteli enormous the eye fuh Ink ske /rb 657 — The urn UU1II ied ' / ni Louis XV’s linn WidliSiS; ■v'/.i! a ; /id. ; i couple standing : her right shouldt 1 lore ground, i table with fruit i on white uarlers t< lat with ,1 dv almost front- k I 'XJOn.'CC V'c- — 149 — 660 — - Study of figure. An old man stooping to pick np with his right hand some- thing fallen to the ground. Lead pencil drawing, some gouache touches in the hair. 661 — A Man. A man, in right-hand profile, a sort of grecian cap on his head, dressed in vest and breeches, carrying on his left arm a cloak he brushes down with his right hand. To the right, a study of the folds of the cloak on the arm. To the back, sketch of the same man, smaller and his head not leaning so much forward . Lead pencil sketch. 662 — A Halberdier. Standing, his body in right-hand profile, his head front- view, the halberdier, a dagger at his side, leans with both hands on the staff of his halberd. Everything in his attitude tells his self satisfaction. Ink drawing, on foolscap. Height, 31 cent.; width, 17 cent. 1/2. 663 — - A Venetian Gentleman. A Venetian gentleman, standing three quarters to the right, his left hand on the hilt of his sword, his right hand, the two first fingers well stretched out, resting on his hip. The head is turned and seen front-view. Indian ink drawing and gouache, on light brown paper. Height, 30 cent. 1/2; width, 18 cent. 1/2. 150 — 664 — An old Soldier . An old soldier, seen almost from behind, sitting at the end of a bench, his left leg bent, the foot placed aside, his left hand on his thigh, his rapier hanging crosswise behind his hack, the end of the scabbard resting on the ground. Lead pencil sketch. 665 — - Study of a « Guide ». A Guide in saddle, seen from behind, the red pelisse thrown over his shoulders. Sketch on the hack of a letter paper sheet with the master’s initials. 666 — Soldier of the first Rejmhlic. Five soldiers of the Republic advancing with an enthusiast gesture; the one in the middle raises his sword in his right hand, his hat in his left. Ink sketch on white paper. 667 — Study of a horse. Fore legs and jointures of the breast of white horses. Indian ink sketch relieved with dry water painting, on grey paper. 668 — Drummers. Three line infantry drummers, three quarters to the right, their drums upheld on one side by the left hand. Lead pencil sketch, — 151 — 669 — Study of a drummer. A drummer on the march upholding his drum on one side with his left hand, the right arm swinging naturally, his right knee placed in advance.' Lead pencil sketch. 670 — -An Infantry soldier. An infantry soldier of the first Empire, almost front-view, his gun on his right shoulder, the trappings of his cartridge hox and sabre crossed over his breast ; the left arm hanging natu- rally alongside of his body. Lead pencil sketch. 671 — Study of legs. The legs of a wounded soldier. Crayon and white drawing on grey paper. 672 — A Mail drinking. A man sitting at a table, seen in left-hand profile, and rai- sing a claret glass the transparency of which he is examining with a gourmet’s look. To the right, on the same sheet, the study of the thumb and fore finger of the right hand. Lead pencil sketch. 673 — A Horseman. A man in saddle, seen from behind, his head turned to the left, his arm stretched out in the same direction. Lead pencil sketch on white laid paper. — 1 52 674 — Page of studies. On one side, a dog sitting on his hind quarter and other studies of the forehead, eye and paws. On the other side, study of a hand resting on the blade of a dagger. Lead pencil sketch touched with gouache, on rose hued paper. Height., 24 cent.; width, 24 cent. X" 22<). — lueiji-Of/icer, elehed J>v Kit \ '» If f • sfcjgJ \ ¥, ATKI.. jVV V 152 07 i - l*ntje of studies. On one side, a dog sitting on his hind quarter and • ■ studies of the forehead, eye and paws. On the other side, study of a hand resting on the blad« dagger. Lead pencil sketch touched with gouache, on rose i< paper. Height, 24 cent.; width, 24 cent. ..i>rw iyl vd hodoJo . vvn\\0-W\ r -\ — .d£S / — 153 — 875-676 In one same frame : Study of drapery for The Evangelists ; Hie body standing, three quarters to the right, both arms carrying the holy book ; the cloak is drawn up and held back under the fore part of the right arm. Study of drapery for The Evangelists ; the body standing three quarters to the left ; the head with curling hair leaning on the breast and attentively reading the book which both hands are bolding. The roman garb is drawn up under the fore part of the arms. Crayon and white drawing on blue paper. ( 1838 ) 677 — In one same frame : Ten small drawings for The Marriage-Book and The Childrens Book. Ink drawings, a few of which with water-colour touches. ( 1839 ) 678 to 686 — In one same frame : Virgin’s body, sitting. Study for drapery. To the right, a virgin’s head almost front-view and leaning to the right. A Man, in a 1836 dress, his head seen almost front-view, the body erect on shaking legs, the hands carry a cane in a horizontal position. (Study for an illustration of Balzac.) A Nude Man sunk to the ground. He is seen three quarters and from behind, his head in profile, the weight of the body leaning on the left hip ; he upholds the upper part ot his body with both arms, the hands convulsively moving res- ting on the ground. (Study for a Saint -Lawrence, martyr.) Lead pencil sketch. ( 1840 ) 20 681-682 — ( 1846 ) 683 to 685 ( 1846 ) 686 to 688 154 — In one same frame : Drunkard drinking, sitting and leaning back on his chair. In the right-hand side corner, study of a hand pouring out a glass. Drunkard asleep, the head on the table, both hands still holding the glass. Lead pencil sketch. — In one same frame : A Nobleman of the Middle-Age period walking, in left-hand profile, his left hand on the hilt of his sword over the scabbard of which the folds of his cloak fall in frills. To the right, at the top, study of a hand. (Study for LazarVle de Tonnes). A Soldier of the last century, slightly leaning forward and conversing. He wears a three cornered hat .(Study for The Recrinting serjeanl). Cast of a man, standing, with bending knees, his left arm placed forward. Lead pencil drawings. In one same frame : A man of the last century, in right-hand profile, a book under his arm. The hand is placed forward and seems to follow some argument. Study for The Indian Hat. A Venetian Nobleman, is sitting on a bench by his wife carrying their child. He fondly lays his hand on her shoulder. Their heads touch each other. The man has his left leg crossed over the right. Study for The Family. — 155 A Burgher of last century is departing, his three cornered hat on his head, for his usual walk, both hands in his pockets, a book under his arm. In right-hand profile, his left foot placed in advance. Study for The Indian Hid. Lead pencil sketch. ( 1840 ) 689 to 691 — In one same frame : A right Leg placed backwards, the left foot lying flat, in left-hand profile ; garter of the left leg. Cast of the motion of the legs and thighs, the right leg in advance, the right foot behind, with raised heel. Same kind of study. The left leg forward, the right leg backwards both feet lying flat. At the bottom of this same sheet, study of a left hand palm outwards. Study for Lazar ille de Tor mbs. Lead pencil sketch . ( 1846 ) 692 — In one same frame : Five sheets of studies of hands. Lead and black pencil sketches on white, cream coloured, blue tinted and light brown paper. ( 1848 ) 693-694 — In one same frame : A Man of Louis XV’s time, seen in right-hand profile turned away. He walks with melancholy, his right hand in his coat pocket; the coat is buttoned above his belt. A Man sitting, front-view, his head- turned to the right, both hands crossed before his knees. Two lead pencil drawings. ( 1849 ) 156 695-696 ( 1849 ) 697 to 699 ( 1849 ) 700 to 702 In one same frame : A Man of Louis XV’s time sitting, seen in right-hand profile turned away and taking down notes on a pocket hook. Two Men of Louis XV’s time, one almost front-view, filling up a glass to drink ; the other, in left-hand profile, his hand on his hip. Between them, a study of hands with fingers closed on the neck of a decanter. Lead pencil sketch. — In one same frame : Portrait of a young man, sitting, seen almost front- view. Men from behind and leaning over balusters. A Painter, his palette and brushes in hand, sitting with legs outstreched before his easel, his head turned front- view. Crayon drawing on cream coloured paper. In one same frame : Young Lady in attire of Louis XV’s time, sitting on the ground, her head leaning to the left, almost front-view. A Lunch on a mossy lawn in a park. Figures of Louis XV’s time, of the greatest gallantry, are conversing after lunch. Some groups of figures are sitting, and in the background to the right, some are standing. Children are taking a part in this merriment. A young Woman of Louis XV’s time, her right hand touching a round table by which she is standing and holding in her left a letter the perusal of which seems to make her anxious. To the right, a gallant couple. Lead pencil sketch on cream coloured paper. ( 1852 ) V — 157 — 703 to 705 — In one same frame : Young Woman profile. of Louis XV’s time, in right-hand Young Woman of Louis XV’s time, seen almost from behind. Study of train and dressing-gown. ( 1853 ) Young Woman sitting in an arm-chair and working at a tapestry. In left-hand profile. Her head leaning forward. Crayon sketch on white and on cream coloured paper. 706-707 — In one same frame : A Man of Louis XV’s time, in right-hand profile, leaning on a table, his right arm hanging over the back of a seat. On the same sheet, other sketches, seen in profile, and folds of dress. Sitting in an arm-chair, in left-hand profile, a man raises his two hands, palm outwards, in a gesture of denegation and indifference. Before him a round table. On the same sheet, sketches of hands and sleeves. Lead pencil drawing. For The « Conies remois » . ( 1856 ) 708 to 710 — In one same frame : A Smith before his work-bench, erect body, outstretched arms, in left-hand profile. A Smith, pinching a piece in his tongs. In right-hand A Smith, in right-hand profile, the upper part ot the body stooping forward, with slightly bent knees, his hand about to handle a hammer. Crayon drawing on light brown paper, b or l he « Conies remois ». profile ( 1856 ) — 158 — 711 lo 713 — In one same frame : A Burgher of the last century, in right-hand profile, the right hand in his breeches pocket, his left hand holding a pipe with long howl. Five Studies of musketeers in saddle, from behind, three quarters and in profile. (For The Cavalcade.) A Nobleman of Louis XV’s time, in saddle from behind. Lead pencil sketch. ( 1850 ) 714 to 716 — In one same frame : A Trooper, in right-hand profile, walking, his left hand on his sword, the right on his hip ; large plumed hat ; his neck en- closed in a stiff ruff. Pencil drawing; the slashes of his doublet are touched with Indian ink. A young Peasant girl, a basket on her left arm, her right hand forward and holding out a flower. ( 1856 ) A Trooper, from behind. Pencil sketch. 717 to 719 — In one same frame : Sketch for a figure standing, the hent knee placed for- ward, the right hand raised. At the bottom of the sheet, to the right, a hand passed through the hilt of a sword. A Nobleman of Louis XIII’s time, wearing his felt hat, his left hand on the hilt of his sword and poking out from under the large cloak; the left leg placed in advance. A Soldier of old, the arm standing out of the leathern accoutrements, the sword at his side, both hands resting on the muzzle of his arquebuse. In left-hand profile. Thi *ee pencil sketches, on white and on blue tinted paper. (For the « Conte remois » : De par le Roy.) ( 1857 ) — 159 — 720-721 — (1857) 722 to 724 (1864) 725 lo 727 In one same frame : A Venetian Gentleman, sitting in an arm-chair, his right hand pressing the end of the arm of his seat, the upper-part of the body leaning forward, the head in profile, attentive; the left leg placed in advance, the foot resting on the heel, the right leg withdrawn beneath the chair, with raised heel. Height, 30 cent. ; width, 20 cent. 1/2. The Same Venetian gentleman, with bust erect, the arm placed hack on the arm of his chair ; his face bears a less intenselyheedful expression ; the two feet crossed one before the other. To the right, at the top, study of a right hand. Red chalk studies for the picture : Ariosto. Height, 30 cent.; width, 21 cent. — In one same frame : Head of a field-officer, the neck front-view, the head three quarters to the right. Field-Officer in saddle, leaning to the right, the head seen three quarters. General, head seen three quarters to the left. Pencil sketches. — In one same frame : Artillery Soldier in saddle, holding out his right arm, seen from behind. An Officer of the « Guides » in saddle, his head turned to the left, seen front-view. His right hand holds the hilt of a sword . A « Voltigeur » in saddle, his right arm raised, his horse at full gallop. At the bottom of the same sheet, this very same voltigeur, in left-hand profile. Three pencil sketches for the 1807. (1868) — 160 — 728 to 730 — In one same frame : Guide in saddle, seen front-view. Officer of grenadiers, seen front-view, his bearskin cap on his head, his left leg with leggings placed in advance. ( 1869 ) An Artillery Soldier in saddle, seen from behind. Three lead pencil sketches. 731 to 733 — In one same frame : A Guide in saddle, three quarters to the right. (For The Two Friends.) Field-Officer in saddle, in right-hand profile. ("For The Two Friends.) A Guide in saddle, seen from behind. His head turned to the left. Lead pencil sketch. ( 1873 ) 734 to 736 — In one same frame : Face of an smiling host, three quarters to the right. Study of a inn-keeper’s wife, in left-hand profile ; her left hand carrying a saucer. Two Heads of smiling children, one in profile, the other three quarters to the right. (Study for Alms.) Three pencil sketches. ( 1876 ) N" 37 t . — Er.ian , etched by Letkkuikh. SC: ' if .» ' ■ b : i ■'■‘Vs »':s 728 to 730 73 i to 733 ( 1873 ) 73i to 736 — 160 — In one same frame : Guide in saddle, seen front-view. Officer of grenadiers, seen front-view, his bearskin cap *>» hi*, head, his left leg with leggings placed in advance. A a. \r cillery Soldier in saddle, seen from behind. jo id p. ■ i! si ■! dies. >t nmi irad yd bedolo ,u\wt r A — . KT. "V. A Guide in saddle, three quarters to the right, (tor Tin J ft? Friends.) Field-Officer in saddle, in right-hand profile. (For Thel . A Guide .o. o p ■ Mis head tim' d i* the left { g . ' > f , ' • ? • M'lt'h, In one ' same frame : Face of an smiling host, three quarters to the rig Study of a inn-keeper’s wife, in left-hand profit- hand carryintr a saucer. Two Heads of smiling children, one in profile, thru -j- »>-tcrs to the right. (Study for Alms. ) Three pt in il sketches. (187t>) — 161 737 lo 739 — In one same frame : A Musketeer in saddle, the head in right-hand profde and bowing with raised felt hat. A Musketeer in saddle, in left-hand profile. ( 1870 ) A Musketeer in saddle, seen from behind, the head in left- hand profile. Lead pencil drawings. 740-741 — In one same frame : A General of the First Empire, in saddle, front-view, his head turned to the right. A Man, seen front-view, his left foot placed in advance, his hands crossed behind his back, the upper part of the body slightly leaning forward. The head turned to the right is covered with a large brimmed hat. The buck skin breeches end in the boots ; the waistcoat is seen under a coat after the french fashion. Two pencil drawings on white paper. ( 1870 ) 742-743 — In one same frame : Field-Officer, looking through a spy-glass; seen almost from behind. Study of legs, against which flap the lappets of a long capote lashed by the wind ; seen from behind. (Studies for Moreau and Desso'es.) Lead pencil sketch. ( 1870 ) 21 — 162 — 744 to 749 — In one same frame : Study for The Guile. The head and upper part of the torso of a dragoon seen three quarters to the right, his chin-strap round his chin, his rolled cloak over his shoulder. A Dragoon in saddle, seen from behind. Dragoon in saddle seen almost front-view, his head leaning to the left and turned to the right. His right hand, the two first fingers outstretched, is resting on the thigh. Dragoon in saddle, his head front-view, his right arm stretched out. Study for the saddle cloth and accou- trements. ( 1878 ) Dragoon in saddle, with head in right-hand profile ; the butt-end of the carbine is outlined by the right arm hanging. Dragoon in saddle, in profile with hand on the thigh. Study for the accoutrements, carbine and holsters. Lead pencil sketch. (For the picture of The Guide.) 750 to 755 — In the same frame : Dragoon in saddle, seen almost from behind. At the bottom, to the left, a silhouette of a dragoon seen in Dragoon in saddle, seen three quarters to the left, in field accoutrements. Dragoon in saddle, in right-hand profile, his body leaning forward . Dragoon in saddle, three quarters to the right, his right arm hanging, the projecting little finger is outstretched on the butt-end of the carbine. Dragoon in saddle, in right-hand profile, his head turned and seen three quarters. — 163 — ( 1878 ) 756-757 — ( 1880 ) 758 to 760 ( 1887 ) 761 to 763 Dragoon in saddle, seen almost front-view, his head turned and leaning to the left. Ilis right hand slightly raised to hold the reins. Studies for the picture of The Guide. Lead pencil sketch on white paper. The second is touched with ink and wash. In one same frame : An Equerry holding a bridle rein, seen almost front- view, with bending knees, the upper part of the body leaning forward. A Musketeer, seen from behind, on fool and standing. Lead pencil sketch with gouache touches on blue and on white paper. Study for An Arrival at the Castle. — In one same frame : Head of an officer of cuirassiers, three quarters to the left. (Study for the 1806.) Grenadier on duty, in left-hand profile, walking, his left leg placed in advance, under arms. (For the 1806.) Head of a field-officer, in left-hand profile, with the cocked hat of the First Empire. (For the 1806.) Three lead pencil drawings on laid or cross-lined paper and on light brown paper. — In one same frame : A Hand raised to the hilt of a cuirassier’s sword. Dead Bavarian Officer. (Study for the 1807.) Fore part of the arm and hand of a cuirassier on the hilt of a sword. Lead pencil sketch. ( 1887 ) 164 — 764 to 766 ( 1888 ) 767 to 772 ( 1889 ) 773 to 775 In one same frame : Officer of cuirassiers in saddle, almost front-view, sword in hand. Head of a Guide, front-view-. Officer of cuirassiers in saddle, three quarters to the left, sword in hand. Pencil sketches. In one same frame : Guide in saddle, seen from behind, the upper part of the body and left leg. Guide, torso front-view, head turned to the left. Guide in saddle, seen front-view. Study of the cloak and accoutrements. Guide in saddle, seen from behind; same study. To the right at the bottom, the ties of a sabretasch. A Guide, his head slightly turned to the right. A Guide in saddle, seen from behind, his head in left- hand profile. Lead and white pencil sketches on white and on blue tinted paper. In one same frame : A Man of Louis XV’s time, three quarters to the light. In his right hand he holds his pipe. The left leg is placed in advance, the foot is raised. (The Doctor of Ihe Indian Hut.) ( 1898 ) — 165 — (1834) On a same sheet, several Virgin praying, kneeling in left-hand profile or standing. (1834) A young Woman in large antic drapery, sitting, seen almost front-view. Lead pencil sketch. 776-777 — In one same frame : (1862) Horse, seen in right-hand profile. The fore-part alone is outlined. (1834) Casts of men sitting or lying in sorrowful attitudes. (Studies for a Saint Lawrence, martyr.) Lead pencil sketches. 778 to 780 — In one same frame ; (1846) A Man, in right-hand profile, sitting. (1846) A Man, three quarters to the left, sitting on the ground. This drawing bears indications of Mr. Meissonier. (For The Indian Hut.) (1841) A Man of Louis XV’s time, sitting on a stone bench in the sun, in left-hand profile, the upper part of the body leaning forward, attentively reading a book he holds in Loth hands. Pencil sketch, with Indian ink touches, on cream colou- red and on white paper. — 166 — 781 lo 783 ( 1848 ) ( 1846 ) ( 1848 ) 784 to 786 ( 1858 ) ( 1858 ) ( 1842 ) 787 to 789 ( 1848 ) In one same ft ame : A Man lying on his back, seen fore-shortened ; he is dead, his right leg outstretched, the left knee bent, both hands convulsively clenched. Study for The Barricade. Man seen from behind, rising from a sLool with the help of his right hand, his left arm raised. Study for The Wassailers. Study of the right leg fore-shortened . Study for The Barricade. Lead pencil sketch on white paper. In one same frame : A Man of Louis XIII’s time, hands and back leaning against a table, bis legs well stretched, his feet crossed, in right-hand profile. A Man of Louis XV’s time, seen three quarters to the right, sitting at his desk and reading. A young Woman, sitting in an arm-chair, in left-hand The body alone is outlined. Lead pencil sketches. In one same frame : Young Woman, holding her child, in right-hand profile. Young Woman, her head front-view, slightly leaning, with indulgent eyes, smiling mouth, her hair parted in bands on her forehead. (1851 J — 167 — ( 1853 ) Portrait of M me Sabatier. Study of the head, almost front- view, her hair in ondulating bands ; smiling lips. Lead pencil sketches. 790 to 792 - - In one same frame : ( 1856 ) Woman wrapped after the antic fashion, sitting three quarters to the right. ( Contes remois.) ( 1844 ) Study of a cloak drawn up under the left arm over which its folds are falling. Study for The Corneille. ( 1852 ) Study of a leg passed into a trooper’s breeches, front-view. The right leg placed in advance. Lead pencil sketches. 793 to 795 - - In one same frame : ( 1854 ) A Man, in a costume of Louis XV’s time, sitting on a wooden stool, in right-hand profile, his right hand laid on a table, is writing. ( 1852 ) A Musketeer on horse-back, seen from behind. On the same sheet, other sketches of musketeers. Study of a nude man, in an attitude of effort, the upper part of the body leaning, both his arms acting on an object which is only indicated. His right leg backwards. Lead pencil sketches on white paper. ( 1841 ) — 168 796 to 798 - — In one same frame : (1859) Horses taken out by the carts covered with large awnings, on a market day in the village. (1882) The Seine and picturesque sight of the wharfs framed by the arches of a bridge. (1859) A Cloister from which picturesque dwellings are seen. Lead pencil drawings on blue paper. 799 to 801 - — In one same frame : (1856) A young Woman sitting on the ground, her head leaning forward and hiding herself with her hand. In left-hand profile. For The « Contes remois ». (1844) Portrait of Pierre Corneille, almost front-view ; his head and upper part of the shoulder only. For The French Phi- losopher. (1847) A young Man lying on a sofa and smoking his pipe. He uses his right leg, crossed high over the left, for a desk and has placed on it the book the leaves of which he is turning over. Lead pencil sketch. 802 to 804 - - In one same frame : Study of the torso of a sitting man, three quarters to the right, the fore finger of his right hand placed across that of the left hand, in the attitude of a gesture underlining a word . (185C) '-V' N" .'>98. - Tlir'droi // : cl died by CorrmiY. / 168 796 to 798 — In one same frame : Horses taken out by the carts on a market day in the vilb ( 1859 ) ( 1882 ; ( 1859 ) 799 to 801 — 1. Tbo ? a relic* lidyltetidief hand. In 18 ” skclcl a sitting man, three quart* )f Ins right hand placed acr< *-»* *4 * I attitude of a gesture und< i (1866) A Man of ouis XV’s time, in right-hand profile, standing, his left leg placed in advance, as well as the fore part of the left arm, his right hand on his hip ; the head is slightly leaning on the left shoulder. (1840) Study of the fore part of an arm crossed over the back o an arm-chair. Three quarters to the left. Lead pencil sketch. 805-806 — In one same frame (1868) Portrait of a man, head front-view, his body dressed in a garb with large folds, both hands are crossed. (1854) A Nobleman of Louis XV’s time, seen from behind, his left hand leaning on the head of a cane. Lead pencil sketch. 807 to 812 — In one same frame (1860) Artillery Soldier on horse-back. (1860) Gent-Garde in saddle, the head in right-hand profile. fFor Solferino. ) (1862) Two Guides in saddle, the right hand palm outwards on the thigh. (For 1814.) (1862) A Field-Officer in saddle, seen front-view. — 170 — (i860) An Artillery Soldier, seen almost from behind, his right arm raised, the left arm held out, his gun over his shoulder. (i860) An Artillery Soldier standing, on the march, his gun over his shoulder, his hands carrying something. He is seen in left-hand profile. For Sol ferine.) Pencil sketch, touched with slight wash. 813 to 815 - - In one same frame : (1878) On a Horse at full gallop, a horseman raising his right arm in a heroic gesture, seen in right-hand profile. (1856) Two Horses’ heads, drawing a heavy cart, in right-hand profile. (1878; Horse in right-hand profile, at full gallop; the head and neck are only outlined. Lead pencil sketches. The third has ink touches. 816 to 818 - — In one same frame : (1877) Forehead in profile and mane of a horse. (1887) Cuirassier shouting, in left-hand profile. (1874) A Horse’s head, almost from in front ; his nostrils incom- plete. Lead pencil drawings. 819 to 821 ( 1802 ) ( 1862 ) ( 1887 ) 822 to 824 ( 1887 ) ( 1887 ) 825 to 830 — 171 — In one same frame : Study of armours, shoulder-pieces, braces, cuishes, ancl knee-pieces, etc. Sloughi, danish greyhound lying flat; his forelegs outstret- ched, open eye and nose sniffing up the air. A dead Guide, lying on his left side. Crayon drawings on white-paper. In one same frame : Study of a cuirassier, three quarters to the left. Study of a cuirassier in saddle, leaning forward, with raised right hand . Lead pencil sketches, touched with gouache, on white and on blue paper. In one same frame : Field-Officer, in right-hand profile. Field-Officer, three quarters to the right. Field-Officer, three quarters to the left. Head of a gendarme with cocked hat, in right-hand profile. Head of an artillery soldier, seen three quarters to the right. Head of a man of Louis XV’s time, smoking his pipe. Lead pencil sketches. 831-832 — In one same frame : Study of breeches, seen from behind. Lead pencil drawing. A Man of Louis XV’s time, walking with his head leaning forward and to the left, the body weighing on the left leg, his two arms hanging down. Lead pencil drawing touched with gouache, on cream co- loured paper. 833 to 835 — In one same frame : Two Legs, the right bending the knee and placing its foot backwards : in right-hand profile. A Trooper’s breeches and thighs, seen to the knee, crossed one before the other ; in right-hand profile ; the man is standing, leaning against a balcony. Aright leg crossed before the left; the garter round the knee holds the folds of the breeches, lied chalk sketches. MODELLED IN WAX 836 — Napoleon I. On horse-back, his frock coat buttoned up, the right hand passed between the third and fourth button. The head is erect, the eyebrows frowning, the eyes deep, the mouth stern. The horse is walking, the right fore leg raised. 837 — The Traveller. The wind is blowing and the rain falling ; the horse strikes the wet and muddy ground with a nervous foot and stoops his head; the mane bristles up. The horseman, to protect himself, is leaning over his saddle, being at some pains to keep down his black cloak upraised by the wind. 838 — A Cuirassier. A cuirassier in saddle, sword in hand, on a horse at full gallop. The horse is in red wax ; the horseman and accou- trements in grey wax. 839 - — Of fieer of cuirassiers. Study of an officer of cuirassiers in saddle on a horse at full galop. He is turning round to the right, yelling out a word of command. The arms of the horseman are not made. Red an yellow wax. 174 — 840 — A « Guide ». A Guide in saddle, stopping his horse pawing the ground with its left fore feet. The horseman stands a little backwards, the right hand acting on the rein. Red wax. — Study of a horse. Buttressed on his legs, his right fore leg raised up high to paw the ground ; with arched neck ; the mane falling on the left side ; a rein hanging on the forehead. 842 — The Crusader. On a horse at a full gallop, a crusader, in his coat of mail and doublet. Study. The right part above is executed. Red wax. 843 — Study of a horse. A trotting horse; on the left side, the leg of a rider and a saddle-cloth. Red wax. 844 — A Horseman. Study of a horseman in saddle, with which the painter intended to do his portrait. He wears a fez and a frock coat; the horse is walking, his left fore leg slightly raised. Reproduction of model in wax, grey wax, with after touches. 175 — 845 — Study of a horse. Study of a horse at a trot, without bridle : his nostrils are dilated. Green wax. 846 — Study of a horse. Study of a horse at full gallop, the head slightly arched. Green wax. > LAST DRAWING OF M. MEISSONIER 847 — Study. Study of a leg and Lust of a hussar, in riding hoots : the left hand is resting on the sword and sabretasch. Front-view, the right leg slightly carried to the side. Sepia drawing on white paper. (December 1890) Height, 30 cent. 1/2; width, 19 cent. last drawing OF M MEISSONIER 847 _ Shut if. Si im.-! oi a hussar, in riding bools loft hand is resting on the sword and sabretasch. Front- the right leg slightly e:n : i* d l<> the side. Sepia drawing on wlvile paper. (December 1890) Height, 30 ceui. i 2; width, 19 e n\ .hai /.hA vd bailnJy asVV — . - 1 1 RAT K E ,5 C, PART THE SECOND PRIVATE COLLECTIONS THE PRIVATE COLLECTIONS COLLECTION OF Mr. ALIBERT 848 — Leaf of an album. Drawing. COLLECTION OF Mr. G. ALLAIN 849 — Portrait of M me A... Sitting, in a reel velvet arm-chair, her cheek resting on her left hancl, with leaning arm. Seen front-view, almost to the waist. Pannel, 1875. 850 — Horseman of Louis XV I s time. A horseman of Louis XYI's time, in left-hand profile, riding a grey horse. He wears a light brown dress and black leggings. He holds his reins in both hands, in the attitude of a professional in higher equitation ; his riding stick is passed under his left arm. Pannel. 851 — General Froissard. A general, in saddle, on a dark bay horse, seen from behind, his right arm hanging naturally alongside his body. Study for the Solferino. 1861. 852 — A Field-o f fieer. An artillery officer, in saddle on a bay horse, in right- hand profile. The upper part of the body slightly leaning forward; Ins right hand palm outwards resting on his thigh. Study for the Solferino. 1861. Pannel. — 181 — 853 — Portrait of the duke de Rivoli. An officer riding a bay horse, seen three quarters and from behind, his military cap on his ear; his right hand is patting the neck of his horse. Study for 1861 . Pannel . 354 — A General. A field-officer in saddle seen from behind, his body slightly leaning forward. His right arm outstretched alongside his body, his hand passing by his thigh. Study for the Solferino. 1861. J 82 COLLECTION OF Mr. ARNOULD 800 — Study for « The Chess-players ». Sitting by a rosewood table, a man with black hair and beard, dressed in a black costume, velvet breeches and silk stockings ; bis left leg is crossed over bis right knee ; in his left hand he bolds a snuff-box from which the hand is about to take snuff. His bead is turned towards the right shoulder and seen in profile. Signed at the bottom and dated. Canvass. Height, 17 cent.; width, 27 cent. 1/2. — 183 — COLLECTION OF M“ e VEUVE EMILE AUGIER 856 — Grandin. Standing, three quarters to the right, clothed in brown with red stockings, his right hand on the head of his cane, his left on his hip ; black ribbons, large-brimmed black bat ; lace collar. (Costume for one of the characters in Diane , a comedy of M. Emile Augier.) Aquarelle . 857 — The Marquis de Pienne. Standing, front-view, his right hand on his hip, his left arm bent, wrapped in bis cloak a la Balagny passed over his sword. Striped red breeches; yellow doublet; soft leathern boots. Long plumes adorn his hat; lace collar. (A costume for the same play.) Aquarelle . 858 — Diane. Yellow dress which appears from under a black costume : bodice the opening of which ends in a point. Sash and knots of red ribbons ; the left -hand holds the black costume ; three quarters to the left and standing. She glances aside. (A costume for the same play.) Aquarelle . — 184 — 859 — Paul de Mirmande. In right-hand profile, wrapped in a bine cloak whose folds he holds in his clasped hands : hooted and spurred. Large blue and yellow feathers on his felt hat. (A costume for the same play.) Aquarelle. 860 — Parnajon. Standing, blue breeches with red knots , grey leathern accoutrements, from which stand out the yellow sleeves of the doublet. In both hands he holds his sword by the hilt and blade. Grizzled hair, moustaches and tuft of an old musketeer. (A costume for the same play.) Aquarelle. 861 — The Tapestry. Sitting three quarters. To the left, before her frame, a young woman, in attire of Louis XY’s time, is making tapestry. Lead pencil drawing, touched with gouache and red chalk, on grey paper. ippedina blue cloak whost i-.UU booled and spurred. I..**** • on his felt hat. ' i-.‘ play.) ; •'] knots, grey le; ■ f ■<** i out the yellow sleev e h 1 d izzied hair, moustaches and tuft of an old muskeh A costume for the same play.) .v ! ar^D^y^i^ yd borloJy — .blf °V[ . 861 — 77 /. • , in-fore, her in * young woman, a, ■ • •• ■ ■■l Luws AY s time, is n •«*.. lapestrv. 1 • with gouache and red ■ s -% . on grey paper. — 185 — COLLECTION OF M me B... 862 — A Child’s Head. A fair haired child, seen front-view. Painted on a small pannel in the shape of a brooch. 186 — COLLECTION OF Mr. BALLY 863 — 1801. To the left, on the summit of a slope, Napoleon I, on a white horse, is raising his hat. Behind him, his staff and, further on, the line of the grenadiers of his guard. To the left, in advance, an escort of guides. To the right, in splendid rush, a regiment of cuirassiers pass at full gallop. They raise their swords in a bold gesture and, as they fde off, salute the Emperor with loud and heroic cheers. Large aquarelle. 187 — COLLECTION OF Mr. BATTA 804 — Portrait of Mr. Batta. The artist is sitting, playing on his violoncello, his head turned to the right ; he wears a brown dressing gown and grey tight trowsers ; he has red slippers on ; in the back- ground, a mantle-piece. On an easel, the sketch of a cartoon for an Ariosto reading verses. This portrait was made in the painter’s studio at Poissy in 1855. 865 — - Study of a hand for a violoncello player. Study for the picture exhibited at the Salon in 1841, and now belonging to the collection of Mr. Ivrafft. 866 — Punch. Large drawing of a Punch, in red chalk. 867 - — Portrait of Miss. J. S. A young girl, silling, seen front-view, holding her doll tightly clasped in her hands. Drawing of the picture now belonging to M me Sleinheil’s collection. Crayon drawing. 868 — The Braid. Small pen sketch of the picture : The Brawl. — 188 — THE MAXIMILIEN BAYER COLLECTION 869 — The Amateur. To the left, placed slanting, the easel on which is set a picture ; sitting before this easel, an amateur is attentively examining the work. His feet are crossed one behind the other, with bent knees apart, both his hands on his thighs; his felt hat inside turned out is held by the right hand; his head is seen three quarters to the left, leaning on the soft frilled ruff. Standing by him, 'towards the left, and seen front- view, his head slightly leaning, his left hand laid on the amateur’s shoulder, his right hand holding the palette and resting on his hip, the painter is listening to the remarks of his visitor. At the bottom to the left, between the feet of the easel, a greyhound is lying flat asleep. 870 — Dragoon on vedette. Front-view, his head turned towards the left shoulder, a dragoon in saddle on a chestnut horse; his carbine in his right hand, the butt-end on his thigh. Aquarelle. Signed to the right and dated 1876. 871 — Punch and the Rose. Aquarelle. Signed and dated 1879. 872 — Nobleman of Louis XV’s time. * Standing, front-view, his head turned towards his left shoulder, his right hand in his breeches pocket, his hat under his left arm, his right hand placed in advance, with a satisfied and smiling expression. Signed to the left and dated 1879. Indian ink and sepia drawing, touched with gouache. — 189 — COLLECTION OF Mr. CARLOS DE BESTEIGUI 873 — The Barricade. At the thoroughfare of the rue de la Martellerie and the rue Geoffroy-Lasnier,- the day after the battles of June 1848. On the ground of the deserted street, bloody corpses are lying in a huddled heap amidst the paving stones of the des- troyed barricade. To the right, the walls in shadow of the closed houses look as if the grief of civil war had clothed all things in its mourning garb. Signed and dated 1848. Exhibited in 1850 under the tittle : Recollection of Civil War. Height, 29 cent. ; width, 22 cent. 190 — COLLECTION OF Mr. BIANCHI 874 — The Blacksmith. Under the penthouse of the smithy, a white horse in right- hand profile, the hind left foot of which the smith, helped by a boy holding the hoof, is shoeing. To the left, in the back- ground, the smith’s wife, carrying her child is conversing with the carter; in the yard to the left, a dog is waiting, sit- ting on his hind quarter; in the fore-ground, hens are busy pecking oats. Along the woodwork climbs ivy grape. Signed to the left and dated 1850. Height, 10 cent.; width, 13 cent. 875 — Solferino. First sketch of the picture to he seen in the « Musee du Luxembourg ». Aquarelle. COLLECTION OF Mrs. BLOOMFIELD-MOORE 876 — The Ensign, As he conies out of a monumental arch-way, the ensign has stopped, his head seen front-view; the right hand with doe skin glove is resting, palm outwards, on his hip ; the right leg in advance, the point of the foot out; he is carrying, with gallant air, the flag with short staff, the long silken folds of which stream behind him. His sword is hanging from his baldrick which passes under his down-turned lace collar, and his long curling hair falls from under his felt hat with brim tucked up on his right. Signed at the bottom, to the right, 1875. Pannel. Height, 28 cent.; width, \1 cent. — 192 — COLLECTION OF Mr. BLUMENTHAL 877 — A Musketeer of Louis XIII. Standing, his red cloak over his shoulder and falling before him on his hip, his right hand ; holding his gloves ; his left leg slightly placed in advance. He wears a large felt hat and looks before him, with a proud expression. Aquarelle. Signed to the right and dated 1867. Height, 25 cent.; width, 16 cent. 878 — Hussar on duty. A hussar on duty, in an open landscape by a grey autum- nal weather. Aquarelle. 192 / i LECTION OF Mr. BLUMENTHAL ^'Y'7 — \ ,1/t/H/S ‘ f't ‘‘I 7- i'tina \1II . Stand in/, \ clonk, over lus shoulder and falling bt * tv. - band : holding his gloves; hi- Sr# fie wears a large felt ha: a. 4 with a proud expression. Aquarelle. Signed to the right and dated 1867. . yhth'joD yu berblo ,ywvAw\ v\\ 'v\w\ — .(.2c V. Height, 2b cent.; width, i6 cent 878 Hussar on a a hi. : !-• a . i coon landscape by a grey Aquarelle. OJ) Coutf,^ -JC 33 — 193 — COLLECTION OF Mr. BODINIER 879 — Officer of the first Republic. An officer of the first Republic seen almost front-view ; on his bead a cocked hat placed backwards, slightly turned towards the right shoulder; his right hand behind his hack, his sword under his left arm, the sword-belt buckled over his buttoned coat ; his left foot slightly in advance, the weight of the body resting on the right leg. Ink drawing, the outline of which is cut in silhouette. 25 194 — 880 — 881 — (1859) COLLECTION OF M‘» e BOESWILWALD Portrait of M me X . . . A young lady seen front-view, her fair hair parted in bands on her forehead, blue eyes, a bodice with white front. Signed to the left and dated 1853. Oval pannel. Height, 10 cent.; width, 7 cent 1/2. Portrait of a man. His bust seen front-view, the beard and hair with tawny flashings, frock-coat opening on a white shirt, black neck- tie. Oval pannel. Height, 11 cent.; width, 7 cent. 1/2. \ — 195 — COLLECTION OF Mr. BOREL 882 — Portrait of M me Sabatier. Silting in a red arm-chair, dressed in white attire with low- necked hodice, hedeeked with knots of green ribbons. The left knee is crossed over the right and is used as a desk for an open hook her left hand is holding. The head, leaning, rests on the right hand raised in a gesture of lovely elegance. The expression is smiling and witty. Pannel. — 196 — COLLECTION OF Mr. F. BOUCHERON 883 — On the Balcony. A nobleman of Louis XIII’s time, in light brown leathern accoutrements, is leaning against the wall of a colonnaded pa- lace. With both hands he is coquettishly testing the pliancy of a switch; he crosses his right leg before the left, with raised up heel and shining spur. The head, which is thrown backwards, glances lovingly towards a window from which he knows eyes are looking at him ; with the little finger of his right hand he holds his doe skin gloves. Signed to the right and dated 1877. Height, 32 cent, i/2; width, 20 cent. — 197 COLLECTION OF Mr. HECTOR. BRAME FILS 884 — Study for the « Solferino ». Two artillery men. 885 — A Scholar in his study. Before the window, sitting at a table, in right-hand profile, in a costume of Louis XY’s time, his left hand laid out- stretched on sheets of white paper, his right hand holding a large feathered quill with which he caresses his upper lip, the scholar, attentive, is sunk deep in thought. His left foot is crossed over the right. The upper part of the body, leaning forward, lets the lappets of the coat hang down with silky flashings. In the background, over the wall, a tapestry the subject of which with figures is widely indicated. Lead pencil drawing. Signed to the left in full, below a few-words of dedication. Height, 21 cent.; width, 15 cent. 886 — Study of a dragoon. A dragoon, in saddle, seen in left-hand profile, carbine in hand, the butt-end on his thigh. Aquarelle. — 198 — COLLECTION OF PRINCE DE BROGLIE 887 — The Halberdier . Standing, turned to the left, his head almost front-view, the halberdier is leaning on his halberd. A white plume is fixed to his brown cap. Signed to the left and dated 1851, Height, 18 cent.; width, 12 cent. — 199 — COLLECTION OF Mr. CALVE 888 — Portrait of general Rose , on horse-back. Study for Solferino. 200 COLLECTION OF Mr. CANDAMO 889 — « La Partie de piquet » . The two players in costume after the Directoire fashion have placed their table before the brick building. To the right, one of the players, his hat backwards, shows his partner, who seems much annoyed, the lucky cards he has just turned. On the table, a pewter pot, glasses half full of beer and the pipe of the unfavoured player. Signed to the right at the bottom and dated 1872. 890 — The Horseman with his pipe. Riding a horse at a trotting pace, a horseman wrapped in a large cloak, his three-cornered hat on his head, smokes his pipe the bowl of which is kindled by the plain sweeping wind. Signed to the left and dated 1864. Height, 19 cent.; width, 24 cent. 8 -v ■ & J'J'M i * 1 i , •'■■■ alEM 5 < : ^>SE5p'* * ■ - f J ; ' ■ v^y,. N' J 430. — The Good Host, etched by Mancho>. rs 5 , after the Directoire fash»*m vefore the brick building. To ib* ' hat backwards, shows his pari n< \ .p ved, the lucky cards he has just lur** ' baxbfs ll Abi f ^ er ai ' " uiuavoured player. i the right at the bottom and dated 1872. O v imfJi his pipe. , horseman wrap*- s o* a ; three-cornered hat on his head, smo' •*> hat pi|.. - h ; • kindled by the plain sw wine ', ,i to the left and dated 1864. Height, 19 cent.; width, 2» COLLECTION OF THE MARQUIS DE CESARIERA Bowl-players at Antibes. On the road of « La Salice », bowl-players have set up a game ; to the right and left, the groups of players looking on are gathered before the bowls. In the background, on the road, a player is giving his arm the swing which is to throw the victorious bowl ; to the left, the walls of a house cover with cooling shade a part of the road. To the right, still further than the background, the small creek and the ramparts of the old town. Signed to the right; dated: 1869. Pannel. Height, 12 cent.; width, 19 cent. — 202 — COLLECTION OF Mr. CHAUCHARD 892 — 1814. The Emperor, in saddle on his white horse and escorted by a numerous staff, is following at a walking pace the painful road of retreat ; his hand passed under his buttoned iip grey overcoat, he looks before him with fixed eye as if he would tear the veil which hides the future to his looks. The staff officers follow anxious, sometimes hanging down their head. To the right, in the background, walking in ploughed land still spotted with snow, a regiment of grenadiers follow the parallel road, with silent drums. The sky is covered with grey clouds. In the background, to the left a bright tone, like the last flashing of the dying sun. In the staff, marshal Ney, Berthier, Drouot, Gourgaud, de Flahaut. Signed to the right and dated 1864. Pannel. Height, 48 cent.; width, 75 cent. 893 — - The Man and the sword. To the right on the table, swords, a plume felt hat, a long cloak of a reddish brown. To the left, a man standing three quarters to the right, his right leg slightly placed in advance, the yellow sleeve of the waistcoat standing out of the grey doublet; he holds, his right hand on the hilt of a sword the blade of which he is examining, while the left hand holds the scabbard. He wears red stockings on which fall a knot of heliotrope ribbons. Exhibited at the Salon of 1852 under the title ; Man choosing a sword. Signed to the left, dated 1851. Pannel. Height, 33 cent.; width, 19 cent. — 203 — 894 — Man in black reading. Quite young, the reader has placed himself by the window and there, standing with attentive brow, his head slightly leaning towards his left shoulder, he reads the pages of a book that both his hands hold open. The reader has a serious air which well becomes his black attire, well lighted up by the light of day passing through the opening of the shutters. Signed to the left and dated 1853. Pannel. Height, 27 cent. ; width, 18 cent. 895 — Man in white reading. The reader has just been choosing on the shelves of his book-case a book the interest of which is so great to him that he does not even take time to go back and sit at his table, covered with a green velvet table-cloth and loaded with papers and books. He has stopped by the window which lights up his whole figure, and there, seen in right-hand profile, leaning against his table, his right leg crossed before his left foot, he reads with a humorous smile in his look and on his lips. He is elegantly dressed in coarse camlet attire and has powdered hair. Signed to the right and dated 1857. Height, 20 cent.; width, la cenl. 896 — The Designer. On the easel, a drawing by Boucher : a young woman nude lying down. Before the easel, seen from behind, the designer is sitting on a low stool. He copies the work placed before his eyes. He is dressed in black; his fair hair are tied, en queue, with a knot of black ribbon . In the background, canvasses turned face to the wall or front-view; to the right, on the floor, two small phials at the foot of a chest of drawers. On the wall, to the right, the white silhouette of a horse- man of the time of Louis XIII. Signed to the right below the silhouette : Meissonier at Poissy. In the background is read the name : Didier, rue de Hanovre. Pannel. Height, 21 cent.; width, 14 cent. 204 897 - — The Confidence. Two friends have been breakfasting together. The one, on the right, dressed in a rose coat and cream coloured breeches, is stooping and leaning on the table, still covered with fruit and old wines. He is young, rosy-cheeked and reads with emotion the letter he has received from the loved one. The other, in cream coloured attire, leans on his right elbow, his left arm resting heavily on the back of his seat, his right leg crossed over the left; he is older and listens, sceptical to the engagements of the letter, hut full of affection and admi- ration for this youth still opened to the blandishments of the heart. On the floor, a leaf has fallen from the peach plate ; to the right, the two three-cornered hats are hung to the wall, above a drawing portfolio leaning against the wainscot. Signed to the right, dated 1857. Pannel. Height, 31 cent.; width, 41 cent. 898 — The Inn. A corner of Poissy : to the left, on the threshold of the red painted inn, by the rustic stairs, the smiling hostess, clothed in red with a white apron, holds in her hand the bottle out of which she poured out a glass to the post-boy in saddle, seen from behind, leaning to the left and holding a second horse by the rein. Behind her, her daughter is leaning against the door, her right hand on her hip, a corner of her apron drawn up by the left hand : she wears a red caraco and blue skirt. In the background to the right, under a bright sky where float white and grey clouds the green landscape appears ; an angler, his fishing rod on his shoulder, is looking at the water running at his feet and seems to look out for some favourable spot. Signed to the left. Pannel. Height, 52 cent. ; width, 43 cent. 205 — 899 — The Amateurs. • The painter is working at his easel, giving a delicate touch to his picture. Several amateurs are watching him. To the right, one dressed in grey, seen from behind, is leaning to examine the work and holds his three-cornered hat in his hands crossed behind his back. To the left, another one is sil- ting, his right hand holding his hat and resting on the head of his cane. He is seen in right-hand profde and slightly leans his head on his shoulder in the attitude of a connoisseur. Lastly, a third, standing and front-view, forgets in the atten- tion he gives the artist, to take the delicious pinch of snuff which, according to tradition, he is holding between his thumb and forefinger. The studio has a rich appearance : in the background, can- vasses on easels ; to the left, on a round table, against which lean cartoons, books and a bottle. Further and on the same side, a screen the folds of which are expanded before the window. Signed to the right : I860. Pannel. Height, 36 cent.; widLli, 28 cent. 900 — « Aa Tourne-Bride ». At the door of the Tourne-Bride , at the turning of the road, lighted by the sun which throws a bright light over the walls, the innkeeper in white breeches, coat and cap, is holding out refreshments to three horsemen dressed after the fashion of Louis XV’s time. To the left, one in rose attire rides a white horse and is seen from behind. Opposite him and front-view, his companion on a chestnut horse, is emptying his glass. The third, three quarters to the left, holds his reins and carries his riding stick under his left arm . To the right two greyhounds are running. To the right and still further in the background, where rises the green scenery of a spring time wood under an azure sky, a couple arm in arm, shaded by a red parasol, and a coach advancing at full gallop. Signed to the left, dated 1860. Pannel. Height, 17 cent.; width, 23 cent. 206 — 901 — Man laughing. A nobleman of Louis X Ill's lime, standing, his legs wide apart, his right hand, holding his riding slick, resting on his hip; the left hand on the hilt of his rapier. He is slightly lea- ning backwards, shaken by an unreserved laugh. His head, covered with a large felt hat, is turned to the right ; in his eyes tears of joy. A green sash over his grey attire ; his boots with falling tops show his red stockings. To the light and at the back, a chair over which is thrown a red cloak. To the left before a flag, a drum is placed flat on the ground. Undoubtedly a gourmet ; he is seen three quarters to the left, his head almost front-view. Firmly sitting on his chair, the upper part of his body leaning forward, he is resting on a wooden table and smokes slowly, fondly, his long stemmed clay pipe. Before him a pewter pot and a glass. He wears a three-cornered hat and a light yellow dress; his left leg is placed in advance, the right is withdrawn under his chair. Signed to the right, dated 1867. Signed to the left, dated 1865. Pannel. Height, 21 cent.; width, 13 cent. Punnet. Height, 14 cent.; width, 10 cent. — 207 — 903 — Hussars at a halt. In the glade of a wood with dried up boughs hussars have made a halt; all four have dismounted. To the right, one seen from behind is conversing with his comrade, seen front- view and leaning against his while horse. To the left, a third lights his pipe whilst his horse browzes the grass. The fourth is standing aloof and leading about his hay horse. Around them, the woody hills are covered with russet foliage, under a sky in warm harmonies. Signed to the right, dated 1869. Pannel. Height, 25 cent. ; width, 35 cent. 208 - COLLECTION OF Mr. COQUELIN 904 — • Curling his mustache. Standing in his leathern accoutrements over which falls a guipure collar, in short breeches and soft leathern boots, a young musketeer is curling his mustache with conquering air. He holds his felt hat by his left hip, above the hilt of his rapier. Signed to the left and dated 1880. Height, 22 cent.; width, IS cent. 905 — Dragoon on vedette. Aquarelle. 208 - COLLECTION OF Mr. COQUELIN 00i — Cutinaj his mustache. .. laments over which .>& a guipure collar, in short breeches and soft leathern a \ oung musketeer is curling his mustache with con

» Hm| l ’ 1 ' ^.THTfnd . J fe vs ^ he lult rt< t! rapier. Signed to the left and dated 1880. Height, 22 cent.; width, la * i ’ • 005 — Dragoon on cnlette. Aquarelle. — 209 — COLLECTION OF M me MAURICE COTTIER 906 — Mr. Punch. Standing, his left leg thrown forward, his foot placed aside, toes out; with triumphing abdomen, his head almost front-view and making wrv faces under his cocked hat, Mr. Punch, his hands behind his hack and holding is staff takes airs of taunting provocation. Signed at the bottom and to the right : 1858. Height, 16 cent.; width, 11 cent. 907 — The Park. In a park with thick foliage, figures of Louis XV’s time are walking on the side of a pond where white swans are swimming, or round a piece of water that a fountain supplies. Above the top of the trees, the blue sky. The landscape by Frangais, the figures by Meissonier. — 210 — COLLECTION OF CRABBE 908 — The Guide . In the road sloping from the woody hill with foliage reddened by autumn a squadron of dragoons is advancing at walking pace, guided by an Alsacian youth seen front-view, his right hand with the thumb passed into his breeches pocket, his left hand holding the bowl of his pipe. To the right and left of the road, banks where wild ferns are drying. — 211 COLLECTION OF Mr. TH. DECK 909 — The Man and the sivord. A nobleman of Louis XIII’s time, standing, is attentively examining the blade of a sword. Indian ink drawing, touched with gouache. COLLECTION OF Mr. ED. DETAILLE 910 — A Dragoon. A dragoon in saddle, front-view, his head turned towards the left; his right hand resting on his thigh; his left hand, holding the reins, is placed hy the saddle cloth. Study for The Guide. Indian ink drawing, with red chalk touches. 911 — A Hoi ’ seman . A horseman riding a hay horse three quarters to the left and from in front ; the low part of the legs hlack ; a white spot on the forehad. In the corner to the left, study of the two fore legs. Pannel. 912 — Head of a man. Leaning forward, three quarters to the left; the nose arched, the mouth, though the lips are closed, is smiling; sparse hair. Ink sketch, drawn on the cover of an account-hook during an English lesson. 1880. — 213 — COLLECTION OF M. H. DEUTSCH (DE LA MEURTHE) 913 — A Painter . He is silling, his back turned to the window which throws on his easel a favourable light. The upper part of the body is leaning backwards; his palette in his left hand, the right holding a brush and resting on his knee, he is examining, at- tentive and satisfied, the effect produced by the begun canvass. Pannel. _ 214 — COLLECTION OF D r DIEULAFOY 914 — Nobleman of Louis XIIFs time (Portrait of Mr. Ch. Meissonier). Standing, walking through a park, a young nobleman of Louis XIII’s lime, dressed in grey with a large red cloak in the folds of which are wrapped both hands. The right leg is placed in advance, his foot aside ; ribbons hang down from his hat. Signed at the bottom and dated 1883. Aquarelle. — 215 — COLLECTION OF Mr. DONATES 915 — A Saint Woman. Aquarelle. — 216 — COLLECTION OF Mr. DREUX 916 — A Man reading. He is silting by bis window, dressed in grey, with crossed legs; bis eyes read with attention a book the leaves of which are well lighted up. Near him bis desk. Height, 17 cent.; width, 13 cent. V. 2 lf» COLLECTION OF Mr. DREUX — A Matt rvaduitj. is sitting by hi- window, dressed in grey, with cr<. legs | his ey< • . ' *••• mtioii a book the leaves ofwi are wed lighted up. Near him his desk. Height, n cent.; width, i3 cenl. . rjrnnjoO yd bodtaJe y\oV}K\v , u& — .£cl- *Vi CHON OF Mr. DREUX \ . dressed in grey, willi cr< --- i ! , . -a a book Ihe leaves of \ a aji. Near him his desk. Height., H cent.; width, 1.‘5 cent. yhthuoD Ytl borioJo — .Sc;k *'A — 217 — COLLECTION OF Mr. AUGUSTE DREYFUS 917 — Nobleman of Louis XIII’ s time , reading. By the window, to the right, a nobleman standing, leaning against a shutter, is attentively reading a book held by both his hands. His floating dressing gown shows the folds of his cambric shirt. His left leg is crossed over the right foot. To the left, on a table, papers and hooks. Through the window appear the leafy tops of trees under a bright sky. Signed to the right and dated 1859. Height, 20 cent.; width, t4 cent. 28 — 218 — COLLECTION OF Mr. ALEXANDRE DUMAS 918 — Portrait of Mr. Alex. Dumas fils. Sitting on a high backed chair, his fingers clasped, his left leg over his right knee, Mr. Alex. Dumas has his right arm resting on a sculptured oak table loaded with hooks and papers. The head seen three quarters, is leaning backwards and to the left. The look direct and with a firm intensity. His mouth seems about to speak. His brown hair hardly begins to grow grey on his temples. To the right, at the bottom, this mention : To my friend Alexandre Dumas. Canvass. Height, 60 cent.; width, 42 cent. 919 — - Saint Paul. Standing almost front-view, his right hand on the hilt of his sword, his left hand carrying the Bible open; he is clo- thed in a brown vestment. His head is encircled with the halo of the Saints. Picture executed to illustrate the Holy Book of Curmer, editor. 1838, Canvass. Height, 92 cent. ; vidLh, 72 cent. 920 — Chess-players. The table is placed obliquely. To the left, a player silling in an arm-chair, is leaning forward on the table. Opposite, watching and smoking his pipe, his partner rests his left hand on the arm of his seat. By them, to the right, a round table with a glass and decanter. Sketch. Pannel. Height, 31 cent.; width, 24 cent. — 219 — 921 — « L y Affaire Clemenceau ». At last, erect, throwing her head slightly backwards and with both hands gathering up her hair tailing over her shoul- ders : « — What altitude am I to take? » she asked. To (he left, at the bottom, these words : To my friend Dumas. Height, 29 cent. ; width, 2i cent. 922 — 1806. On a high ground to the right, Napoleon I on horse-back, in profde, in his grey overcoat ; behind him, his staff officers : at the foot of the slope, two Guides of his escort, seen from behind; in the background the squadrons of cuirassiers. Through the sky stream grey clouds. Aquarelle. Height, 29 cent.; width, 40 cent. 923 — Nobleman of Louis XIIFs time. Three quarters to the right, his hands on his hip and on the hilt of his sword. Red stockings, green breeches, light brown waistcoat and cloak. Aquarelle. Height, 17 cent. ; width, 25 cent. 924 — Turcarel. Swelling his chest, under his long white waistcoat, giving a firm line to his calfes enclosed in red stockings, he is stan- ding erect, both hands in his breeches pocket, three quar- ters to the left; the head, turned to the right, wears a three cornered hat backwards and makes a wry face. Aquarelle. Height, 17 cent.; width, 10 cent. — 220 — 925 — The Ensign. Seen three quarters, to the right, his right hand on his hip, the ensign is in his left hand holding the staff of his flag. The silky folds streaming behind him bring into relief the gallant face of the musketeer of Louis XIII’s time. 926 — Nobleman of Henry IFs time. Standing, at the head of a flight of stairs, a nobleman of Henry II’s time, seen front-view, rests his raised left hand on the pillar of the balusters ; he has proudly laid his right hand on his hip and turns his head to the left. The left leg is placed in advance. Ink drawing. Height, 30 cent. ; width, 19 cent. 927 — The Players. Both, seen in profile, engrossed by some difficult move ; to the left, the player, with bent head, is calculating; to the right, the player, leaning on his right arm, is impatiently awaiting his move. Ink drawing touched with bistre. Height, 10 cent. ; width, 18 cent. 928 — Nobleman of Louis XII Fs lime. Advancing his left leg, his toe out, his arm wrapped up in the cloak as in a sleeve, the nobleman is ogling aside whilst his right hand is curling up his mustache and the left holds his glove. Drawing touched with wash and gouache. Height, 20 cent; width, 10 cent. — 221 — COLLECTION OF H. R. II. THE COUNTESS D’EU 929 — Moreau and Dessoles. On the skirt of a wood, mounted on the top of a rock, Moreau, his spy-glasses before his eyes, and accompanied by Dessoles is examining the enemy’s position. The wind blows against his legs the tails of his capote. In the fore-ground, towards the left, their orderlies are keeping their horses whose feet sink into the snow lying thick on the ground. Aquarelle . ( 1876 ) 222 COLLECTION OF VICE-ADMIRAL CHARLES DUPERRE 930 — Study for « The Portrait of the Imperial prince ( Fontainebleau ) ». He is riding his horse Efhe, a hay horse, seen three quarters, his fore feet drawn close to each other, the hind leg outstretched; the head is slightly outlined. Pannel. Height, 18 cent.; width, lb cent. — 223 — COLLECTION OF Mr. ENGEL- GROS 931 — A Lansquenet. Standing, liis right hand closed on his hip, his left arm on the Mid of his sword. Seen three quarters. Sepia drawing touched with gouache. Exhibited at the Universal Exhibition of 1889. — 224 COLLECTION OF Mr. FAURE 932 — The Civic Guard . Alongside a wall, a company of halberdiers has made a halt and is at rest; to the right, one of the men whose two raised hands rest on the guard of his halberd. In the fore- ground, before all, with gallant air and front-view, stands the officer, both arms akimbo, a leg slightly placed in advance. A ray of light enlightens his leathern accoutrements. Signed to the left, dated 1853. Height, 15 cent.; width, 10 cent. 933 — Punch sitting. On a velvet seat, Punch is sitting, seen front-view, his two hands firmly set on his knees. He is dressed in red breeches and yellow doublet with white sleeves. His vivacious and laughing face stands out from a lace ruff : he has a blue three-cornered hat with yellow facings. By his side a drum; between his wooden-shoes, on the floor, a bottle of wine. Signed to the left and dated 1862. Height, 17 cent, 1/2; width, 13 cent, 1/2, — 22 i — COLLECTION OF Mr. FAURE 932 — : 77 * Guard. Alon-,-- : .-tiy of halberdiers lias in.: !i: ' : ... ..me right, one of llie men who?. • hands rest on the guard of his halberd. In th< ground, before all, with gallant air and front-view, stair officer, both arms akimbo, a leg slightly placed in a — 225 — 934 — Nobleman of Louis XI IF s lime. Standing, seen three quarters to the left, a nobleman of Louis XIII’s time walking. He is wrapped in a cloak one side of which is thrown back over his shoulder, his left hand on the hilt of his sword. His felt hat placed backwards. At the top, this dedication : « To my friend Faure who was kind enough to sing at my son’s wedding. » And at the bottom : signed to the right : 3VI 1866; to the left, 10 th of november 1868. « Thanks, dear friend, dear and great artist; let this sketch call back to your mind the happiness you gave us all. I shall always keep a touching rememberance of it. « Yours truly, « E. Meissonier. » — 226 — COLLECTION OF Mr. E. FERAL 935 — A Lansqueiiet. Standing' three quarters to the right, his left hand on the sheath of his dagger, his right hand palm outwards on his hip, the body resting on his right leg; his left leg placed in advance, his foot lying flat. Aquarelle slightly touched with gouache. 1866. 936 — Men drinking. At a tavern, « gardes-frangaises » drinking. To the right, one in right-hand profile, the upper part of the body leaning forward, his leg almost stretched out, holds his glass in his right hand resting on his thigh, by the knee. On the other side of the table, standing, one of the figures holds out his glass to the soldier playing the part of cup-bearer. Behind him is leaning one of the men : the figures look happy and the turn of the conversation must be very jolly. Ink drawing. 937 — Sunday at Poissy. To the right, before the inn, between the tables where men are sitting drinking, players have set up their skittles and stand around. To the left, one of the players, leaning forward is about to throw the ball with a violent gesture of the right arm. Behind him, by a table, other figures sitting or standing : the background is occupied by the view of the building. Ink drawing. — 227 938 — A Character from Balzac. Standing, in breeches and coat after the French fashion, his sword at his side, his hands behind his hack, three quarters to the left, the left leg slightly placed in advance, his head with while hair resigned and somewhat sceptical under its wrinkles. Lead pencil drawing. — 228 COLLECTION OF Mr. FERRIOT 939 ■ — Portrait of Mr. Ferriot. 940 — Portrait of M me Ferriot. — 229 — COLLECTION OF Sir JOHN FOWLER 941 - — Smoker. A smoker, his hand on his hip, standing by a table on which are a glass and a beer jug ; the smoker is bare-headed, he has hung his hat on the wall between two coloured images and, in his freedom, has opened his redcoat. Signed to the right and dated 1855. Height, 17 cent.; width, 12 cent. 942 A Halberdier. 230 COLLECTION OF Mr. FRANQAIS 943 — Sketch for « The Indian Hut ». Lead pencil sketch. — 231 — COLLECTION OF Mr. GAMBARD 944 — A Venetian Nobleman. lie is clothed in a large red gown, silting in a vast arm- chair of the Renaissance, his elhow wide apart, both hands holding an open hook. His head is seen almost front-view and wears a full beard. To the left, on the carpet, a dog is lying down. To the right, a table loaded with hooks. His left foot appears from under the gown. Signed to the left and dated 1866. Was to he seen at the Universal Exhibition of 1867. Height, 30 cent. ; width, 27 cent. 232 — COLLECTION OF Mr. HENRI GARNIER 945 - — Dante. He is standing, in profile, dressed in a long red garb, his forehead wreathed with laurel. Pannel. COLLECTION OF Mr. HENRI GARNIER Dante. He ir- standing, in prolile. dressed in a long red g- forehead wreathed with laurel. Pannel. .kou.io-ii^/.hO yd Ij-jiI jI'j f s>n9\Vs\$voO ssVY — .TG8 ,J /. — 233 COLLECTION OF Mr. GEOFFRO Y-DECHAUME . 94g — - Portrait of Mr. Meissonier. The body in profile turned away ; his head towards the right seen three quarters. Thick hair, falling in rounded locks on his forehead ; beard and mustaches beginning to grow, the look soft and dreaming. The collar of the shirt throws a clear and bright note on the wide brown cloak. Flat tint on canvass. (1835) Height, 33 cent.; width, 24 cent. 947 — The Bag-piper. In a yard, a bag-piper, his cheeks inflated, creates a flood of harmony. In right-hand profile, his head covered with an old hat, from under which fall black locks. The collar of his red waistcoat stands out from his coat ; he wears white leggings and breeches of a greenish cloth . His right hand gloved in red wool rests on along stick. At the back is found this inscription : « 1850, Bartolommeo Buttaii, Pittura da me ; Meissonier. » Pannel. Height, 35 cent.; width, 27 cent. 948 — The Cobbler. Sitting at his work bench, the cobbler, with enormous and powerful hand, is drawing his thread : he is engrossed by his work, over wich his head covered with a skull-cap is leaning. To the left at the foot of a basket full of old shoes, a melancholy boot, lying on one side. Lead pencil drawing. 1846. Height, 18 cent. ; width, 25 cent. 1/2. 30 — 234 — 949 — Portrait in caricature of Mr. Geoffrog- Dechaume. Standing, front-view, firmly planted on his legs spread apart. Loth his hands crossed over the head of a stick. Lead pencil drawing, 1844. Height, 49 cent. ; width, 18 cent. 950 — The Stirrup-cup . A horseman of Louis XIII's time, in left-hand profile, emptying a glass a tapster has just handed to him : the tapster, seen in right-hand profile, has a plate in his left hand and carries a pitcher in his right, his arm outstretched. Ink drawing, 1854. Height, 12 cent. ; width, 19 cent. 951 — Drawing for « The Fall of an Angel ». On the ground, in their nude distress, the mother, dead, still holding in a loose embrace her children, who have also breathed their last. By them, raising the upper part of his body, the father holds his threatening arm towards heaven. Lead pencil drawing on boxwood, touched with gouache. Height., 15 cent. ; width, 13 cent. 952 — Punch and Harlequin. Punch, very proud in left-hand profile; his hands behind his back ; with a glowing nose ; his humps shaken with jovia- lity ; his toes out, as a gallant who is sure of what he does. Behind him. Harlequin, made envious by the vanity of Punch, feigns a (restore of sarcastic imitation. 1848. 7 O O Aquarelle. Height, 19 cent.; width, 15 cent. 1/2. — 235 953 — A Reading at Diderot's. Calqued with a point on glazed paper from A Reading at Diderot's. Touched with red chalk. Height., 20 cent.; width, 24 cent. 954 — Portrait of M me Augustine Brohan. Three quarters to the left, her black ondulating hair under awhile coiffe, with delicate mouth, very lively eyes, the neck free. Character of Marinette in the Depit Amoureux . Lead pencil sketch. 955 — ■ A School-boy of yore. Sitting in a stall, in left-hand profile, both elbows resting on the arms of his seat, the black-haired school-boy, dressed in tight and spangles and a sort of smock-frock, holds in his hands a half open book placed on his right knee ; he is wat- ching a figure partially outlined to the left in the background. Lead pencil drawing. 1837. Height, 33 cent. ; width, 22 cent. 956 — The R lack-smith. Under the penthouse of the smithy ; in right-hand profile a white horse the left hind foot of which the smith is shoeing, while a workman holds up the foot. To the left, the carter, firmly planted on his legs, is lighting his pipe. (See « Le Bon Casimir » of the « Contes remois ».) Lead pencil drawing on boxwood, touched with gouache. Height, 0 cent. 1 /2 ; width, 10 cent. — 236 — 957 — Portrait of M me M. G. The head three quarters to the right. Chenonceau, October 1868. Red chalk drawing. Height, 26 cent.; width, 19 cent. 958 to 960 — Silhouettes in one same frame : A sketch for The French painted by themselves ; a man standing three quarters to the right ; a foraging cap on his ear ; the lappets of his frock-coat raised and held up in his hands, the thumb of which is passed into his breeches pockets. A National Guard under arms, in left-hand profile, with an unmartiallike look; face of a jeering peasant. These two sketches have tones on the head and hands. Punch, in left-hand profile, his left arm and leg placed backwards, his right hand held out in the attitude of a man speechifying. COLLECTION OF M me GEORGET Napoleon /. In saddle, seen front-view; his grey overcoat open shows the uniform ; he is glancing to the left with a look full of thought and sadness. The right arm falls naturally and rests on the saddle. Study for the 1814 . Signed at the top, to the left : 1862. Pannel. Height, 21 cent.; width, 12 cent. — 238 COLLECTION OF Mr. GOLDSCHMIDT 902 — - A Painter in the XVI th century. A Venetian painter of the xvi th century showing a picture to three noblemen. Dated 1845. — 239 — COLLECTION OF Mr. GORDON BENNETT 963 — The Game of cards. Troopers are attentively watching a game of cards ; a bench stands in lieu of a table ; one of the players looks anxious : around them, companions standing or astride on chairs, follow the game and judge the play. Signed to the right and at the bottom : 1868. Standing, at the top of a staircase, a nobleman of Henry II’s time, seen front-view, is resting his raised left hand on the framework of a door. He gallantly lays his right hand on his hip and turns his head to the left. The left leg is placed in advance. Pannel. Height, 18 cent. 1/ 2; width, 24 cent. the stairs. Signed to the left .: 1870. Pannel. Height, 19 cent.; width, 16 cent. 240 COLLECTION OF COUNT GREFFULHE 965 — A Song. In the low tap-room of a tavern, two soldiers of Louis XIIFs time have met ; one, to the right, sitting on a corner of the table, his right foot placed aside on a bench, accompanies on a lute a song which must he exceedingly sentimental ; the other soldier astride on the bench, the upper part of the body leaning to the left and supported by the fore part of the right arm resting on his knee, listens attentively, a smile on his lips, his left hand on the edge of the table, his arm outstretched by a fiesca ; on the wall in the background they have hung their rapiers and felt hats. Signed to the left and dated 1865. Pannel. Height, 29 cent. ; width, 22 cent. 240 COLLECTION OF COUNT GREFFULHE t Sony Li \'.w ' -n-i'oom of a tavern, two soldi* !. .<■ XlliV time have met; one, to the right, sitting corner of the table, his right foot placed aside on a h ' accompanies on a lute a song which must he exceeds sentimental ; the other soldier astride on the bench, tb. part of the body leaning to the left and supported by u I »art Arfrf listens alien ' smile on his lips, his left hand on the edge of the tai arm outstretched by a fiesca ; on the wall in the back ■«& i)c\ have hung their rapiers and felt hats. Signed *«> lb* left and dated SHbo. i! n«‘l . Height, 20 cent.; width, 22 241 — COLLECTION OF Mr. Y. GOUPIL 966 — Portrait of Mr. X. His bust seen front-view, auburn hair, lively complexion, with whiskers, his mustaches waxed to a point and imperial. Signed to the right and at the top. Pannel. Height, 12 cent.; width, 9 cent. 1/2. 31 COLLECTION OF Mr. LUCIEN GROS 967 — The Military Servant. At the foot of a high building, a soldier under arms is conversing with a military servant, a hussar on horse-back, whose left hand is holding by the rein the bay horse of the officer. To the left, over the building, a sky of azure blending with white. Aquarelle. Height, 54 cent.; width, 20. — 243 — COLLECTION OF Dr. GUYON 968 — Portrait of D r Guy on. Seen front-view, sitting in an arm-chair and dressed in black frock coat. Signed to the left and dated 1884, with this mention : « To D r Guyon, a token of friendship. » Height, 34 cent.; width, 28 cent. — 244 — COLLECTION OF Mme CH. HEINE 969 — The Bowl-players at St-Germain. They have set up their game on a terrace, in the shade of lofty trees. And whilst, in the background, under the bright day light, a couple of lovers are walking, the players form a circle round their bowls, much engrossed by the match. One of them is leaning better to judge the hit his partner seen in the distance is preparing for. in a movement full of energy. Signed to the left and dated 1854. Height, 10 cent.; width, 13 cent. — 245 — HETZEL COLLECTION 970 — Portrait of Mr. Jules Hetzel. Silling in a red velvet arm-chair; seen almost front-view to his knees. The left knee crossed over the right ; both hands, with clasped fingers, resting naturally on his knees. Butto- ned up black frock-coat. The head with while heard and scant white hair. A self willed nose, eyes with a deep and soft look of a resigned melancholy ; the eyelids half closed. To the right, at the top: « To my old friend J. Hetzel, 1880. » Pannel. Height, 32 cent.; width, 22 cent. 971 — Portrait of Mr. Jules Hetzel. Sitting sideways on a chair over the hack of which the left arm is leaning, the hand hanging. The right hand, holding a hook with red edge, its forefinger inserted in the last pages, is resting on the inner side of the right leg crossed over the left. He is dressed in a black coat buttoned up, from the collar of which stands out a neck-cloth tied as a cravat. The head is seen front-view, with red heard and dark hair, brushed up backwards. In the right corner, at the bottom, we read these words : « My dear Hetzel, « I sign to day this incompleled portrait, a token of our w old friendship. « How sorry I am now not to have finished it ! « Meissonier. — 17 th of april, 1878. » Pannel. Height, 34 cent. ; width, 24 cent. — 246 — 972 — Portrait of Mr. Jules Hetzel. In left-hand profile, with hair brushed up backward. Lead pencil drawing. 973 — - Portrait of Mr. Jules Hetzel , fils. Sitting, seen front-view to the knees, his head slightly lean- ing to the left ; fair beard cut in a point, tight lips ; his right hand holds the thumb of the left hand. In the background, red velvet hangings. Pannel. Height, 3i> cent. ; width, 2o cent. 974 — Departure of volunteers. Soldiers are starting arm in arm with volunteers, who have copiously preluded the sacrifice hy deep drinking. Some of them wave their hats with enthusiasm. Small Aquarelle. Height, 4 cent. 1/2; width, 8 cent. 975 - — Account of the taking of Berg-op-Zoom. Two figures in costumes of Louis XV's time are sitting on a stone-bench and conversing. One has his knees spread apart ; the other his left leg crossed over the right. Small drawing used for the etching. Height, 4 cent.; width, 7 cent. 976 — Study for the account of the taking of Berg- op-Zoom. The right hand side figure has his hands clasped over his left knee. The man to the left is indicated with a pencil. Aquarelle. — 247 — 977 — The Confidence. An abbe sitting at a table spread with dessert and looking at a keepsake. Opposite, to the left, a young man in a cos- tume after the fashion of 1830, seen in profile with a tender look. At his feet, a dog asleep. Drawing on box-wood. Height, 15 cent.; width, 12 cent. 1/2. 978 — Portrait of Mr. Meissonier. Three quarters to the right. The upper part of the head and the cheek are completed ; his long beard is only in- dicated, also the shoulder. At the bottom, we read these words ; « Old chap, you come too soon and I have no time to finish it. « Nice, 8"' of April, 1875. » 979 to 984 — In one same frame : Musketeers in saddle and at a standstill. A Charge of musketeers. 29"‘ of September 1841. Soldier writing a statement. A Soldier sitting on the trunk of a tree ; he is seen in right-hand profile. Cuirassier on horse-back, in left-hand profile. A Nobleman of Louis XIII’s time bowing, in left-hand profile. Ink sketches, — 248 — 985 to 987 — In one same frame : The Adjutant, ink sketch. Portrait of a man, three quarters to the left, crayon, A Post-boy, on the threshold of the steps of an inn. Drawing with this note from Mr. Iletzel. « Sketch of the picture Mr. Meissonier is just now doing : done at the « cafe Caron » by Meissonier to give Hetzel an idea of his picture. « 16" 1 of August, 1861. » 988 to 992 — In one same frame : Man and a young woman, dressed after the fashion of Louis XT's time, leaning on a balcony. A Figure of Louis XV’s time, fumbling in his pockets. Two Soldiers of Louis XIII’s time, are conversing one opposite the other. Madame, holding by the hand her child leaning to catch a butterfly. 29 th of September 1841. A Snuff-taker of Louis XV’s time, in left-hand pro- file. Signed and dated, 29 ,h of Sept. 1841. To the right, at the top. the study of a hand taking a pinch of snuff. 993 to 996 — In one same frame : Sketch of a man, with a gun. in right-hand profile. An Insurgent of fSiS. A Figure of Louis XV’s time seen in left-hand profile. Head of a man, humorous and sensual under his three-cor- nered hat. With a large signature : « Ernest Meissonier. « August, 1841. » A Babe sitting, a cap on his head. Ink sketches. 9 \ _ 218 — / f m ‘ /at • ; . - kt*U*h . ft ,\\n. Miree quarters to the left, era von. /,'■ > : oiMnreshtdil of the steps of an inn. !)■ [.'• n Mr Ilelzel. / SI tiii picture Mr. Mejssonier is just now d< toil! ■ •••; . < inron » by Meissonier to give ! ‘ it u i ; h»> picture. « 16" 1 of August, 186! e>8 to 992 — In one same frame : Man and a young woman, dressed after the fas) Louis XT’s time, leaning on a balcony. .ththuoD \d hodoJ9 suML — AOe °’/I A Figure of Louis XV’s time, fumbling in his po i Two Soldiers of Louis XIII’s time, are convert opposite the other. Madame, . M:-., .>> .in hand her child leaning to butterfly 29 l! of -oplembcr 1841. A Snud-tuk-.r j Louis XV’s time, in left tile. Signed and dated. 29“' of Sept. 1841. To the top, the study of a hand taking a pinch of sum If 9‘n 1 io 996 — In one same frame : Sketch of a man, with a gun, in right-ha Insurgent of 1848. A Figure of Louis XV’s time seen in It fi Head of a man, humorous and sensual mt > oil lint. With a large signature :<« ! ■■ A Babe sitting, a cap on his head Ink sketches. Ay' Qj/t'jcfrt/, /ty3 — 249 — COLLECTION OF BARON HOTTINGUER 997 — The Amateurs. The painter, seen in left-hand profile, a black kerchief round his head, is at his easel, working with much spirit. On each side of him, are sitting two amateurs; one, dressed in grey, is leaning backwards on his chair in the attitude of a connoisseur ; the other in a pink coat, is leaning on the back of the painter’s chair, with attentive look and mouth ready to criticize. Behind them, on the walls of the studio, pictures, sketches. Signed to the left. This picture was exhibited at the Salon of 1843 under the title : A Painter in his studio. The portrait of the painter is that of Mr. Steinheil, the brother-in-law of Meissonier; the man in pink that of Mr. Joseph Decaisne, the botanist. Height, 28 cent. ; width, 21 cent. 32 — 250 — COLLECTION OF Mr. FRANCOIS HOTTINGUER 998 — The Chess-player . In the small and cosy drawing room the silence of which is only broken by the movement of a Louis XV clock placed on the wall above three small frames, the chess-players are assembled. One, in a light coloured dress, seen from behind is sitting in a well stamped velvet arm-chair, his right arm han- ging ; he watches the game without great interest. His partner sitting opposite him, his forehead in his right hand, his look fixed on the chess-board, studies his plan of battle with serious- ness in no wise free from anxiety. He is dressed in brown. To the right, sitting by them, a third figure, dressed in black, watches the difficult game with a half smile, whilst his hand absently takes a pinch from his snuff-box. The player, dressed in brown, is the portrait of Mr. Dro- mond, a friend of Meissonier ; the friend, dressed in black, is the portrait of the painter Emile Reranger. In the background, on a small desk, books are piled. (1841) Pannel. Height, 19 cent.; width, lb cent. — 251 — COLLECTION OF M. G. M. KEILER (OF DUNDEE) 999 — A Chat. Picture. — 252 — COLLECTION OF Mr. KRAFFT 1000 — The Violoncellist. He is sitting his violoncello between his legs and plays the Romaneska the music of which is placed on a tapestry chair which he uses as a music-stand. Behind him, a table covered with a velvet table-cloth, on which are a tray, a flower and a glass. On the wall, on a tapestry, hangs a picture. Signed to the left and dated 1841. Height, 35 cent.; width, 27 cent. — 253 — COLLECTION OF M me FANNY LANNA 1001 — Horsemen. In a road through a landscape ondulating to the horizon two horsemen are at a walking pace, going to the left. One rides a white horse seen in profile ; the other mounts a dark bay horse. They are conversing; they wear costumes of noblemen after the fashion of Louis XV’s time. Signed at the bottom, right-hand. COLLECTION OF D r LECAUDEY 1002 — Portrait of D r Lecaudey . The head is seen almost front-view. Signed at the top. 1883. Height, 13 cent.; width, 10 cent. 1003 — Punch . Head of Punch, with a rare and humorous feeling of life. Indian ink drawing touched with gouache. Signed with the painter’s monogram and dated : 1 st of January 1890. Height, 9 cent.; width, 6 cent. 1/2. — 255 — COLLECTION OF M me LEFEVRE 1004 — Antibes. The ramparts by the sea. On the horizon, the mountains with snowy tops. Sunlight effect. Signed to the left and dated 1868. Height, 14 cent.; width, 20 cent. 1005 — Antibes . The road running along the sea. In the distance, on the far away screen of the hills, the silhouettes of the ramparts under a flash of sunlight. Study. Signed to the right and dated 1868. Height, 14 cent.; width, 20 cent. 1006 — Horseman of Louis XII Fs time. Standing, front-view, a riding-whip in his hand, dressed in a grey cloak showing the guipure collar falling over his doublet ; he wears large bools and a wide brimmed felt hat. Signed with the artist’s monogram to the left and dated 1854. Height, 17 cent.; width, 12 cent. COLLECTION OF BARON ADOLPHE DE ROTHSCHILD 1007 — The Guitar-player. He has set on the edge of his table covered with a red cloth a stand by a bottle and a Venice glass half full. And before it, sitting, elegant in his grey doublet bedecked with green ribbons and opening on an ample shirt, a nobleman of Louis XIII’s time, with long curled wig, reads the song he intends to go and sing that very evening under the balcony of the loved one. Signed to the left and dated 1858. Height, 23 cent.; width, 17 cent. 0 f Lalauzf. V- t x • a/. — HON BARON ADOLPHE DE ROTHSCHILD — The Guitar-player. He has set on the edge of his table covered with a red doth a stand by a bottle and a Venice glass half full. And before it, sitting, elegant in his grey doublet bedecked with green ribbons and opening on an ample shirt, a nobleman of Louis XIII's time, with long curled wig. reads the song he intends to go and sing that very evening ^lrnler, the balcony ,*«»»*> w Signed to the left and dated 1858. Height, 23 cent.; width, 17 cent. — 257 — COLLECTION OF Mr. VICTOR LEFRANC 1008 — His Portrait. 33 260 — COLLECTION OF Mr. LEROY 1011 — On a Balcony. At the top of the castle, leaning against a stone and brick balcony, which overlooks the landscape, stands a nobleman of Louis XIILs time in left-hand profde, his left hand passed between the hilt of his rapier and the leathern baldric ; the fore part of his right arm rests on the balcony, the hand holds a cane, the right leg crosses its foot behind the left leg ; on the heavy boots ring the chain bearing spurs ; the forehead is shaded by the felt hat adorned with large plumes ; in the sky bright clouds stream to the horizon. Signed to the right and dated 1867. Pannel. — 261 — COLLECTION OF Mr. CHARLES LEVESQUE 1012 — Nobleman of Henry IFs time . Standing, seen front-view, his left hand on his hip, his right hand teasing the chain of his collar, the proud looking nobleman of Henry IFs time holds his head erect on a white ruff. He is dressed in red velvet breeches and doublet, wears red stockings, his cloak thrown over his shoulders. His left foot slightly in advance. Pannel. Signed to the left. 1013 — Troop of musketeers on the march. Along the road winding half way up the hill, edged to the left by a bushy bank and to the right overlooking a smooth slope where a tree with autumnal russet hues starts up, the troop of musketeers defde at the walking pace of their prancing- horses ; under the grey clouded sky, the sundry tones of their attire and their large plumed felt hats have a handsome look. Height, li cent. 1/2; width, 17 cent. 1/2. COLLECTION OF Mr. G. LUTZ 1014 — Phoebus and Boreas. On the road, edged to the left by a slope with leafy top, to the right, through the plain, a horseman in saddle wrapped in a red cloak. He leans his head forward to get shelter from the lashing gale. Above the horizon limited by the ridge of the hills, the gathering clouds are blown together according to the humour of the raging winds. Signed and dated 1870. Height, 12 cent. ; width, 17 cent. — 263 — MUSEUM OF THE LUXEMBOURG 1015 — Solferino. To the right, in the distance the tower of Solferino that the light infantry of the guard are storming. Before a slope, a battery of artillery ; to the left, at the top of the slope and followed by his staff officers among vhom we recognize the field-officers : Fleury, Edgar Ney, Frossard, Vaillant, due de Rivoli, baron Larrey, Murat, due de Bour- goin ; the captains Moulier, Protsch ; the generals Rose, Lassalle and Mr. Meissonier himself ; Napoleon III is on horse-back, in right-hand profile, casting his look towards the spot where the battle takes place. The sky is heavily blended with clouds. Signed to the left and dated 1860. Height, 43 cent. ; width, 73 cent. 1016 — The Staff . 1017 — Singing. Study. — 264 — 1018 — The Man at the window. In a studio. To the right, a seat near a table covered by a cloth and on which are a sword, a glass and a fiesca ; a noble- man in knee-breeches with cast off coat has opened one of the window cross bars over looking the landscape; with both hands he leans on the edge of the opening. His head, seen in right-hand profile, is attentive and seems to watch the road; hut a smile is just gliding on his lips and his waiting will not last long. The sun gilds the country : it is the spring time of things ; it is also for him who stands at the window, the spring time of the heart. Signed at the bottom, left-hand, 1857. Pannel. Height, 21 cent; width, 15 cent. N® 922. 18(H) »j elchetl by L)ii Los liios. at the window. - studio. To the right, a seal near a table covered by a . rth and on w hich are a sword, a glass and a fiesca ; a noble- tan in knee-b*. veches with cast off coat has opened one of the window cros bars over looking the landscape ; with both hands he u ■ the edge ot the opening. His . ■ .in right-hand profile, is attentive and seems to watr 1 . i road; but a smile is just gliding on his lips and his V 1 • r will not last long. Ids the country : it is the springtime of things: it - him who stands at the window, the springtime ■ ! at the bottom, left-hand, 1857. Pannel. Height, 21 cent; width, 15 cent. |h : ic.!’.: i*ui dated I 860 . it IS tut.; width, 0 cent. — 289 — COLLECTION OF BARON ARTHUR DE ROTHSCHILD 1066 — Musketeers on the march. On the road running through a flat landscape, where scan l ferns are growing, a squad of musketeers are marching towards the horizon where the transparent sky brings into relief the lace-work crest of the hills ; those in the rear are conversing ; the last turns round to the right towards a small pool the mirror of which is bristling with reeds. Signed at the bottom, right-hand, and dated 1878. 1067 — Grenadier on duty. Standing, by the guard-house of the barracks, underarms, his hands crossed, the left foot placed square before the right heel. Seen three quarters to the left, his face partially shel- tered by the shadow of his three-cornered hat. Aquarelle. Signed to the left and dated 1872. 1068 — Officer of the first Republic. Standing, in white breeches and blue waitscoat appearing from under his buttoned coat. On his head a cocked hat placed backwards. His sword under his left arm, his right hand behind his back, his left leg in advance, his head slightly turned towards the right shoulder with a look of mischievous bantering. Aquarelle. Signed, to the left, 1871. 37 COLLECTION OF BARON EDMOND DE ROTHSCHILD 1069 — Reading at Diderot’ s. In the library, with books irregularly placed on the shelves of the book case; round the table Diderot has assembled several friends, to listen to one of them who is reading. The reader is holding erect in his left hand the manuscript, whilst a gesture of the right Hand underlines the passage being read. Opposite him, on the' other side of the table, two attentive figures, one with fingers clasped on the table, the other leaning on his left hand : his face has a vivacious and humorous ex- pression. To the right, before another figure sitting, Diderot is standing in left-hand profile, his hands placed behind him and swinging a chair he holds by the back. In the background standing against the book-case, his hands behind his back, the head front-view with a haughty look, a new hearer; to the right of the reader lastly a friend turns his back to the table against which his left arm is leaning and glances over the manuscript. Through the left-handside window an equal light is thrown over these faces full of wit and intelligence. Signed to the left and dated 1853. Pannel. Height, 25 cent.; width, 21 cent. 1070 — Punch and the drum. Dressed in a yellow silk doublet with blue sleeves, crimson velvet breeches and red stockings ending in wooden shoes, li is cocked hat on his head, his arms akimbo, Punch is standing before a green curtain. On his lips and winking eyelids glides a smile of sceptical optimism ; by him the drum that is to sound during the out of door scene. Signed to the left and dated 1866. Aquarelle. Height, 19 cent. ; width, 12 cent. — 291 1071 — An Incroyable. In the street, with walls stuck round with advertising bills, among which we read on a square of paper : An Appren- tice is wanted at citizen Meissonier’s, painter , rue de I’Homme- Arrne, an incroyable lias stopped, his right hand holding his rattan and resting on it his right thigh, he uses it as a prop. Under his left arm is passed his hat. In an attitude of elegant affeclation, he places his left foot behind his right. Ilis plum coloured coat, in the latest style, shows a blue waistcoat with imperceptible buttons. The neck is beautifully stiffened in the numerous windings ofhis neck-tie. The hair frame the temples and brow with methodical ondulations. The head is slightly turned to the right with the sauciness of a swell accustomed to conquests. Signed to the right, dated 1858. Panncl. Height, 24 cent.; width, 1G cent. — 292 COLLECTION OF BARON G. DE ROTHSCHILD 1072 — A Man smoking. Silting by a table, where are a pewter pot and beer glass, the figure half turned, warmly wrapped in a red upper coal, bolds in his mouth a dutch pipe with long stem. Height., 9 cent. ; width, 0 cent. 1/2. — 293 — ED. SIMON COLLECTION 1073 — Una : 1806. To the left, on the top of a slope, the Emperor on horse- back in profile, his capote buttoned up, looking straight before him with anxious brow. Behind him, his staff looking on in silence where the battle is waging on. Before the slope, three guides seen from behind, stand sentry sword in hand. In the plain, the cuirassiers rush off in an heroical charge, under a sky covered with grey clouds. In the fore-ground, to the left, in a ridge of land, the corpse of a Bavarian soldier, lying on his face. Signed to the right and dated 1890. Height, 1 m. iO cent.; width, i m. 45 coni. 1074 — The Traveller . On a steep road, through ploughed land, a traveller riding a dark bay horse, in right-hand profile, is pushing on at a trot his weary nag. The wind blows up his cloak which he tries to keep down with his chin. Over the left hand slope and over the wood which forms the background to the right, the storm passes, bending the grass and sending a thrill through the russet foliage of the lofty trees. In the sky, clouds touch one another furiouslv. Signed to the right and dated 188G. o o Height, 55 cent.; width, 70 cenl. — 294 — COLLECTION OF M me SPITZER 1075 — A Trooper. Aquarelle painted in the margin of an Meissonier. 1882. autograplie of — 295 — COLLECTION OF Mr. CH. STEIN 1076 — Armours. In one same frame : Italian Helmet, beautifully chased and damaskeened. (N° 79 of the Catalogue of the Musee d’Arlillerie.) Armour ornamented with lion’s head, enchased and damas- keened with gold and silver. Italian Helmet, old shape, chased and damaskeened. Indian ink drawings, touched with gouache. 1843. Eugene Piot’s sale, 1861. 1077 (1849) 1078 - (1849) 1079 - (1838) 1080 - — 296 — COLLECTION OF Mr. A. STEINHEIL Landscape. On the river side, at the top of the sloping bank, trees with foliage reddened by autumn. In the cloudy sky, streaks of the setting sun. Pannel. Height, 4 deni.; width, 7 cent. 1/2. Setting sun. Over the open plain, here and there bristling with leafy trees, the setting sun throws through the purple sky all the power of its rays. Pannel. Height, G cent. 1/2; width, 10 cent. 1/2. An Old Model. Old man sitting, wrapped in a large greenish cloak, his head three quarters to the left. Canvass. Height, 4G cent.; width, 38 cent. Portrait of Louis Steinheil. Profile in shadow, to the left, wearing a black head kerchief, light green dress, pale background. Study by the painter for his picture : The Amateurs. (1843) Canvass stuck on a pannel. Height, 11 cent. 1/2; width, 9 cent. 1077 - ( 1849 -) 1078 - 1079 1080 - — 2% — O' . • A CTION OF Mr. A. STEINHEIL On the l iver side, at I lie top of the sloping bank, trees With ioliage reddened by autumn. In the cloudy sky, streaks of the setting sun. JPannel. Height, 4 cent.; width, 7 cent. 1/2. , ( o(h b.odoi9 °>s\A — -S8H °W Over the open i ; . ; t ; ii tiatling with leafy i ■ - ■ i :• setting sun throws timnfgh ilie purple sky all the P"\ver of its rays. * m u ' !!■ ■ ; . • 1 1; cent. 1 2. An Old Model. Old man sitting, wrapped in a large greenish cloak, hi* head three quarters to the left. Canvass. Height, 40 cent.; width, 38 cent. Portrait of Louis Steinheil. Prolile in shadow, lo the left, wearing a black head i hief, light green dress, pale background. Study by the painter for bis picture : The Amateurs. i r. i- stuck on a pauucl. Height, 11 cent. 12; width, 9 cent. — 297 1081 - — A Man smoking. Sitting on a chair, front-view, his head slightly turned to the left, a smoker, his elbow leaning on the table, is enjoying a farniente, smoking his pipe he holds in his right hand, the left in his waistcoat pocket. Costume of Louis XT’s time. Lead pencil drawing. (1841) Height, 13 cent. 1/2; width, 9 cent. 1/2. 1082 — The Man with the sword. Tracing of The Man with the Sword , for the etching. Bistred hue. 1083 — Punch. Tracing for an etching of Punch. Bistred hue. 1084 — The Falcon. Tracing for a drawing on wood of the Contes Remois ( The Falcon). Black tone. 1083 — The Crucifix. Drawing on black wood and gouache for the tale of The Crucifix. (Contes Remois.) To the right by a workbench, the turner is at work, his left foot raised on a stool. To the left, standing before him, is a young girl ; in the background, sundry models in prepa- ration . Wood. Height, 73 milliin.; width, 58 millim. 38 — 298 — 1086 (1834) 1087 - (1838) 1088 - (1888) 1089 — 1090 — Study of a young woman. \oung woman, in court attire, drawing up her skirt with her right hand. Seen three quarters to the right. Signed to the left. Dated to the right. Lead pencil drawing. Height, 14 cent.; width, 82 millira. Study for an Evangelist . Body of a man, seen three quarters to the right ; his right thigh placed in advance and supporting a Bible held in the right hand. Boman drapery. Black .and white crayon drawing. Height, 35 cent.; width, 22 cent. Sketches of legs of Lansquenets. Some sketches of legs for the composition of a wood engra- ving : Lansquenets drinking. Black and white crayon drawing. Height, 27 cent. ; width, 44 cent. Study of a woman sitting. Woman sitting, her faces expresses grief and dejection. Her left hand is resting on her knee, the right on the seat covered with cloth. Neglected attire and nude legs. Drawing in black and white. Height, 37 cent.; width, 37 cent. Musketeer. Sepia drawing. At the back, a lead pencil drawing. — 299 — 1091-1092 — In one same frame : General of the first Republic. Lead pencil drawing. Soldier of the first Republic. Ink drawing. 1093 — Figure of Louis XV’s time sitting , with crossed legs. Sketch. 1094 • — Portrait of Mr. Meissonier drawing on an album . 1095-1096 — In one same frame : Man bowing. For the Contes Remo is. Woman. 1097 to 1099 — In one same frame : Study of two draught-horses. Sketch for « The Blacksmith ». Study of a draught-horse. 1100-1101 — In one same frame : Sketch of a man sitting with a cap on and of a man in a smock-frock lighting his pipe. More finished sketch of the man lighting his pipe. — 300 1102 — - Man thinking , his head leaning on his left hand. 1103 — Studies of heads and hands in the attitude of prayer. 1104 — A Monk. — 301 — \ 105 (1852) 1106 - (1854) 1107 - COLLECTION OF WIDOW A. STEINHEIL Portrait of M me A. S. A young woman silting on a sofa ; seen front-view, her head slightly leaning to the right, with smiling lips, soft eyes under the thick bands of ondulating black hair. The lithesome neck stands out from a low-necked black bodice with white transparent stuff. Both hands join and rest naturally on the knees, the necked wrists in starched white cuffs. To the left, black drapery is negligently thrown over the back of the seat. Pannel. Height, 45 cent. 1/2; width, 32 cent. Portrait of M me A . S. The head three quarters to the left ; the thick bands of dark hair where course tawny vibrations give a poetical softness to the tender rose of the cheek and to the depth of the side- way glance. Flat tinted background . Painted on paper. Height, 10 cent. ; width, 87 millim. « A Happy new-year ! » The morning of the first day of the year, two elegant citizens meet and, three-cornered hat in hand, shake hands, a smile on their lips. That to the left is dressed in crimson coat, that to the right in black breeches, grey coal, the upper part of which is buttoned . Aquarelle on tinted paper. (1846) Height, 12 cent.; width, 9 cent. 1/2. 1108 (1846) 1109 1110 — 302 « Par tie de piquet » . On each side of the table, charged with half full tumblers , and bottles, the players are engrossed by their game; the one to the right, seen in profde, has his three-cornered hat on; that to left, his body seen three quarters, bare-headed, seems satisfied; he has hung his three-cornered hat on the wall. Ink drawing. Height, 12 cent.; width, 14 cent. < \ Tapestry . A young woman, in costume of Louis XY’s time, and seen three quarters to the left, is sitting before her tapestry frame, her right hand raised and drawing the silk-threaded needle ; the left hand is placed beneath the canvass, upholding it. Lead pencil drawing, touched with gouache. D’ Artagnan. Standing, front-view, his head turned to the left and handsome under his large brimmed felt hat, d’ Artagnan holds with the forepart of his left arm the folds of his cloak a la Balagny , whilst his right hand, playing with a riding-whip, is leaning palm outwards on his hip. Lead pencil drawing. (1852) Height, 10 cent. ; width, 6 cent. — 303 — 1111 (1847) 1112 ( 1853 ) 1113 Portrait of Miss J. S. Sitting, seen front-view, she holds on her knees by the neck her doll, which seems to be strangled. The fair hair is short; the mouth serious, with pretty conceited pouting; the neck and forepart of the arms are nude ; she is dressed in a sky blue baby-dress. Pannel. Height, 13 cent.; width, 8 cent. 1/2. A Man reading. Comfortably sitting on a red sofa, the man, in red breeches and white shirt, holds his book with both hands; he turns his head to the right, as if he had been disturbed in his reading; a ray of light filters through the badly closed shutters behind him . Painting. Pannel. Height, 13 cent. ; width, 8 cent. Landscape ; the Seme at Andresy. On the other side of the Seine, at Andresy, the bank is woody and picturesque. To the right, a ray of light gilds the leafy tops of the trees. On the river, a boat with filled sails and further on, to the left, some barges with mast erect. In the sky, large grey clouds lined with reddish mists. Oval-shaped pannel. (1845) Height, 25 cent. 1 /2 ; width, 73 millim. 304 — 1114 - — Young Woman in attire of Louis X Ill’s time. Standing, three quarters to the right, a fan of feathers in her left hand, her right hand putting aside her mantle. Crayon drawing. (1853) ) Height, 16 cent.; width, 9 cent. 1115 — Officer of the first Republic. Standing, his right foot placed backwards, his right hand passed in the front of his coat, his sword carried under his left arm, the officer, with cocked hat on, slightly turns his head aside. Lead pencil drawing. Height, 19 cent.; width, 15 cent. 1116 to 1118 — In one same frame : A Horseman, with his two greyhounds and drinking a glass that a servant girl has just handed over to him. A Musketeer on horse-back, in left-hand profile. A Miller on his donkey. 1119 to 1121 — In one same frame : A Man of Louis XV’s time, leaning againsta wall to the right, and smoking a pipe he holds in his right hand. 1853. The Red House, at Strasbourg. 1852. A Man of Louis XV’s time, standing, his hands behind his back, with unbuttoned coat. Head in left-hand profile. 1853. ' N" 1148. — The Bridge of Poissy, etched by Leteurier . - 304 — H In attire of Louis XIII s time. ihrve quarters to the right, a fan of feathers in , ) i, her right hand putting aside her mantle. • i i von drawing. Height, 18 coni..; width, 9 cent. — Officer of the first Republic. Standing, his right foot pfac/bd backwards, his right hand passed in the front of his 'Wat. his sword carried under his left arm, the officer, with cocked hat on, slightly turns his head aside. i Height, 19 cent.; width, It; cent. 1116 to M 18 — /' mme frame : ■ ,\ ••t'o? • «*«■? : <• . i h ; -H. I :-K!Hg a glass ■ ;| ,t M.-rva;d girl has just handed over to him. A Musketeer on horse-back, in left-hand profile. A Miller on his - donkey. llio : ! i , i — In one same frame : A Man of Louis XV’s time, leaning against a wall to the light, and smoking a pipe he holds in his right hand. lH:ii The Red House, at Strasbourg. 1852. A Man of Louis XV’s time, standing, his hands behind his back, with unbuttoned coat. Head in left-hand profile. 1853. 305 — 1122 lo 1125 — In one same frame : A Stout Man smoking, standing in left-hand profile. A Falconer, in right-hand profile. A Nobleman, reading as he walks, in left-hand profile, his cane under his arm. 1 1. These silhouettes were drawn and cut by Meissonier to amuse his children and nephews, during the winter evenings of 1853. 39 306 — COLLECTION OF ARTHUR STEVENS 1126 — The Barricade. Study for the picture : The Barricade. Aquarelle. 1127 — Portrait of Mr. Joseph Stevens. Half-length portrait, seen three quarters. STEWART COLLECTION A Halt at the inn . At the door of the inn, on the sunlighted road, the horse- man has just mounted his horse ; but, before starting, be empties the glass handed to him by the host, standing to the left, a napkin in his left hand, the right on his hip. On the same side, on the hospitable threshold, the inn- keeper’s wife is gazing at the horseman, and holds her slee- ping child in her arms. To the right, lofty trees with thick foliage screen the light and throw the lace-work of their shadow over the wall of the house. Dated at the bottom, left-hand, 1864. Pannel. Height, 14 cent. 1/2; width, 11 cent. The Results of a gambling quarrel. The game has evidently been a cause of discontent ; making it a point of honour, they have fought with swords and daggers. One, hurled to the ground, lies his head against the back of a chair; and dead, his hand has dropped his bloody sword. The other, in the background of the room one hand on his breast, has attempted a last effort to sit up ; but his profile, full of anguish, says well enough he is mortally wounded. Around them, every thing is in disorder ; alone in the iireplace, the flame is living still, the table fallen through the hearth giving it new fuel. Signed to the right and dated I 860 . Pannel. Height, 22 cent.; width, 18 cent. — 308 — COLLECTION OF BARONESS THENARD 1130 — Portrait of Baroness Thenard. Half-length portrait, front-view, of a young woman with fair hair falling in locks over her shoulders; she is sitting in a red velvet arm-chair. Signed with initials at the top, to the right, and dated 1839. Height, 22 cent. ; width, IT cent. 1131 — Punch. Aquarelle. — 309 — COLLECTION OF IF TRUFFIER 1132 — Philosopher reading. A Philosopher in a costume of Louis XIII’s time, silting at his desk, leaning on his left arm and reading a manuscript he holds in his right hand. The table is loaded with papers and books. Ink drawing. Dated : 7 th of January 1889. With a letter addressed to D 1 ' Truffier. 310 COLLECTION OF MISS VAN DEN EYNDE 1133 — Punch and the rose. Punch is alone, standing, his left foot elegantly thrown before the right ; in his raised right hand resting against the Avail he holds a full blown rose. He slightly leans his head towards a drapery behind which he probably hears the fair one avIio makes his old heart leap and sets a good natured joy on his wrinkled face, still full of pretensions. Signed to the right and dated 1879. Height, 37 cent.; width, 22 cent. — 311 — COLLECTION OF Mr. VASNIER j 1 34 — The Vicar’s wine. This vicar is a man full of wit who with regard to old wine professes the same worship as Voltaire ; he has given some to taste to his guest and, as he sees he is attentive, he relates in detail all the qualities of his vine-yard; they have reached the end of their breakfast and, with fruit, wine tastes better. The good vicar’s guest does not discuss ; he smiles, his right arm leaning on the table with curved legs, his left hand resting on his knee. Height, 1) cent.; width, 16 cent. — 312 COLLECTION OF Mr. HENRI VEVER 1135 — The Breakfast. He has placed his table to the left by his window a cross- bar of which is open. Now his appetite is satisfied, the young man is slowly peeling an apple, while his look is fixed on an open hook for which the bread is holding lieu of a stand. Over the table, a bottle and decanter are brought into relief by the white table cloth, where a soft light throws its caressing brightness. Through the window we see the vernal green of the landscape and the silhouette of neighbouring houses. Signed to the left and dated I8o2. Height, iGcent.; width, 12 cenl. 1136 — Reconnoitring. On a hill overlooking the plain, a general of the First Empire, has got off his horse, and, pocket book in hand, examines through his spy-glass what is going on afar ; behind him to the right of the picture, his orderly, a trooper of the Guides, has remained in saddle and holds the officer's horse. Height, 37 cent.; width, 47 cent. JgKftv .. & SHKrli N" 1149. — Meissonier in his studio, etched By Lalalze I ■111 m I® v> o — 312 * OF Mr. HENRI VEVER ft 35 — The Breakfast. lie has pine; 'il Ins table to the left 'by bis window a cross- bar of which is open. Now Ins appetite is satisfied, the young man is slowly peeli : an apple, while bis look is fixed on an open book for which the bread is holding lieu of a stand. Over the table, a bottle and decanter are brought into relief by the white table "(Mt -a Through \Ur window we see the vernal green of the landscape and the silhouette nf neighbouring houses. Signed to the let; d d d.- 1 ' ‘ J Height, 1 • > c i’ ii I . ; width, 12 cent. 1136 — Recomwih > > ,, . lull overlooking the plain, a general of the First mpire, has got off his horse, and, pocket book in hand, examines through his spy-glass what is going on afar; behind him to the right of the picture, his orderly, a trooper of the Guides, has remained in saddle and holds the officer's horse. Height, 37 cent.; width, 47 cent. © "covnrRitc — 313 — COLLECTION OF F. VIOUGEARD 1137 — Nobleman of Henry II ’s time. Standing, his right shoulder leaning against the wall ; his left hand on his hip, above the hilt of his sword whilst his raised right hand caresses the chain of his collar. He is dressed in dark brown doublet and velvet breeches, with yellow sleeves and rose-tinted stockings; he wears a small felt hat with white plumes. Signed at the bottom, right-hand. Aquarelle. Height, 14 cent.; width, 10 cent. 40 — 314 — COLLECTION OF Mr. LEQUOY 1 1138 — In The Loggia. In the loggia of a palace, on the balcony, a nobleman of Louis XIIFs time is sitting and looks down on the people crossing the square. With his hands he brings forward his cloak from under which passes the sheath of his sword. He wears a large brimmed felt hat, placed backwards. Wash drawing touched with gouache. Signed to the left and dated 1882. Height, 60 cent.; width, 41 cent. 1. Indications too late at hand to be written down in the Catalogue in alphabetical order. COLLECTION OF D r DUCHASTELET 1139 — A Doctor in the time of Louis XIII. Ink drawing. — 316 COLLECTION OF Mr. X. 1140 — The Musketeer. In a plain absolutely bare and following a road skirling a large lake, a horseman wearing the uniform of the musketeers, is walking straight towards the beholder. He is followed by other musketeers seen in the distance. The rising sun darts its first rays through the slight clouds streaming through the sky. Aquarelle. Height, 22 cent.; width, 33 cent. 1141 — The known Duellist. He is dressed in light brown doublet and breeches, his sword crosswise behind hanging from his baldrick, both hands holding his cane behind his back, his head turned front-view, with saucy eye, his right leg in advance. Aquarelle signed at the bottom. Height, 21 cent. ; width, 14 cent. COLLECTION OF Miss X. A Nobleman of the time of Louis XIII. A nobleman of Louis XIII’s time bowing; be is seen in Ink drawing. — 318 — COLLECTION OF Mr. X. 1143 - — Portrait of a Man. Front-view, black hair, auburn mustache and tuft, the head with lively complexion standing out from a stiff collar, black frock-coat opening on a white waistcoat. Painted on wood. 1144 — Portrait of a Man . In right-hand profile, standing away, mustaches waxed to the point, fair tuft; auburn hair ondulating over the ear. Grey background. Painted on pannel. — 319 — COLLECTION OF Mr. DE X. (HAMBOURG) 1145 — On the Terrace. On the terrace of a palace, both hands resting on a para- pet, the upper part of the body leaning forward, his head sheltered by a large felt hat, seen in left-hand profde, a no- bleman of Louis XIIEs time, the sword hanging crosswise behind from his baldrick, is attentively looking at a fair one going to the neighbouring church. He is dressed in brown doublet and velvet breeches. Signed at the bottom, right-hand : 1873. N° 1150. — Study of a Cuirassier , etched by Maxesse. V / n\ baxlois » \o \sfossV<& — .08 It °V1 \ ■ ERRATUM 1146 — Study of a horse. Fore part of a cherry bay horse. In the top part of the pannel, an orderly bit. Oil painted pannel. 1147 — A Suspicion. A nobleman standing by a door. Green breeches, red stock- ings : a mantle « baise-moi, ma mignonne ». In left-hand pro- file, gloved hand, placed forward on his hip. Oil painted pannel. 1148 — The Bridge of Poissy. Along the bank, to the left, pleasure boats and barges are moored; in the background, on the other side of the bridge whose arches mirror in the water, we see the top of the trees of the island . Pannel. 1149 — Meissonier in his studio. Standing, in his studio, almost front-view, palette in hand, a tyrolian hat on his head, his legs with gaiters. He is dressed in brown velvet. To the left, on an easel, a canvass begun for a picture of the imperial epopee. Pannel. 41 — 322 — 1150 — Study of a cuirassier. A cuirassier, front-view, riding a dark bay horse. He is resting his hand on his thigh and turns his head seen in left- hand profile. His horse turns its head to the other side. Study for the 1805. 1151 — Portrait of the Marquis de Toulongeon. Painted on pannel. Height, 9 cent.; width, 8 cent. 1152 — A Hussar. A hussar, seen three quarters to the right, riding a hay horse, his right hand on his thigh, in a resting attitude. Study for the picture : The Enquiries. (1890) Aquarelle. Height, 31 cent.; width, 21 cent. 1153 — A Nobleman. A nobleman, seen from behind, hat in hand, bowing slightly to the right. At the bottom, to the right, study of a cloak. Study for An Arrival at the castle. Aquarelle. PART THE THIRD ETCHINGS AND ILLUSTRATIONS ETCHINGS 1832-1890 1154 — The Communion Table. First stage of a sacred image drawn and etched towards 1832. Steinheil Collection. 1155 — The Violin. Visiting card of the musical instrument maker Vuillaume. — Two states. Beraldi Collection. 1156 — The Young Smoker standing. Charles Meissonier Collection. 1157 — The Smoker. Published in 1843 in The Amateur’s Cabinet , of Eugene Piot. Beraldi Collection. 1158 — The Reporter Serjeant. 1159 — The Troopers (Lazarille and the Germans). Subject renewed after one of the engravings of Lazarille dc Tormes. Bitten plate. Charles Meissonier Collection. — 326 — 1160 — Account of the Siege of Berg-op-Zoom. The original etching is quite a rarity. Here is seen a fac-simile etched bv Yion. to be used as a crest for the plate of The Confidence. 1161 — Punch Esq. Reproduction after a tracing on gelatine. Steinheil Collection. 1162 — The Man running. Figure renewed after the engraving of The tiro Partridges in the Contes remois. Charles Meissonier Collection. 1163 — The Anglers. This etching was intended to illustrate Angling, a poem by Count de Chevigne. 1164 — The Trout fisher. Uncompleted plate, intended for the poem Angling. 1163 — I Signor Annibale, 1860. He represents the braggadocio of L'Acenturiere, by Emile Augier. State of etching and finished state. Charles Meissonier Collection. 1166 — Preparations for a due ! or The Man and the stcord. About 1860. State of etching and finished state. 1167 — Dead Soldier. Taken from The Siege of Paris. Attempt of an experiment in photogravure after a tracing on gelatine. 327 — 1168 — Meissonier on horse-back (coming to the left). Design for a crest, etched by Meissonier, on the plate of The Brawl, etched by Bracquemond, then abandoned and wiped off. First state and wiped off state. 1169 — Meissonier on horse-back, 1885 (the horse in right-hand profile). Crest for engraving definitively etched by Meissonier on the margin of The Brawl etched by Bracquemond. Charles Meissonier Collection. 1170 — The Serjeant, 1887 . Crest for engraving, etched by the very hand of Meissonier on the margin of the plate The Portrait of the Serjeant, by Jules Jacquet. 1171 — Bacchus. Etched as a crest for engraving by Meissonier on the margin of the plate of 7 he Sign-Painter, by Achille Jacquet. 1172 — A republican Hussar. Experiment in dry point, in the corner of a plate. Effaced after several proofs taken. Beraldi Collection. 1173 — The Two republican Hussars on horse-back. Etched by Meissonier, for a crest for engraving on the margin of the plate la Parlie de piquet, by Aug. Boulard. 328 — 1174 1175 - The Amateurs. Etched by Meissonier, for a crest, on the margin of the plate Post-boy before an inn, by Monzies. - The Eagle of Napoleon. Etched by Meissonier, for a crest, on the margin of the plate of the 1807, by Jules Jacquet. Two states. \! ’*rfa*fa^fi^*?$r^*^*^**^*i$/*'$*^*d!**$*9$!*i$*f$/**^*f$}*r$* “TVTT’F’FTTTTTTVTTTTTTT ILLUSTRATIONS ETCHED AFTER MEISSONIER ON WOOD AND STEEL 1 8-35-1 858 1176 to 1179 — Napoleon at Schosnbrunn; An Execution on the market-place under King John; The Shoemaker of Seville; Sea-ragamuffins under Philip II. First illustrations of Meissonier. These woodcuts were issued in 1835-1837, in The Universal Magazine. 1180 to 1183 — Holopherne, Judith, Death of Eleazcir, Delivery of Saint- Peter. For the History of the Old and New Testament. Curmer, 1835. First drawings, for illustrations executed by Meissonier for the editor Curmer. Gauthier (the successor to Curmer) Collection. 1184 to 1188 Five engravings for The Travel to Pleasure Island by Fenelon. In The Children's Book, by M mcs Elise Voiart and Amable Tastu. 1836-1838. Hetzel Collection. — 330 — 1189 — The Medallion of the hermit Paul. 1190-1191 — Expanded stuffs; the purse sent by Virginia to Paul. 1192 — View of the mountain of « le Pouee ». 1193 to 1196 - — Four landscapes of the Ile-de-France. 1197 to 1216 — Twenty subjects of Plants, decorated Letters, etc. 1217 to 1221 — Five engravings : Books, Ship, etc. 1222 to 1236 — Fifteen decorated Letters: Attributes of navigation, reading and writing, geography, boat; emblems of patience, despondency, work, poverty, wealth, etc. The above illustrations, n os 1189 to 1236, are to be found in PAUL AND VIR- GINIA, Curmer edition, 1838. Beraldi Collection. — 331 — 1237 — Title of The Indian Hut, Curmer edition, 1838. Under this title, two medallions; that to the left is the portrait of Mcissonier in 1838, the other is that of Paul Huet. 1238 — The English Doctor. Engraved on steel by Pigeot. 1239 — The Royal Society of London. 1240 to 1251. — Voyage of the Doctor, from Amsterdam to Benares; twelve engravings. 1252 — The Doctor musing sitting on a bale. 1253 to 1263 — The Doctor's Lectures; eleven engravings. 1264 to 1272 — Voyage of the Doctor, from Calcutta to Jaggrenat; nine engravings. 1273 to 1275 — View of Jaggrenat, and Two Landscapes. 1276 — Presents destined to the Brahmins. — 332 — 1277 — The Doctors clothes. Wood engraving by Lavoignat. 1278 to 1286 — The Doctor and the Brahmins; nine engravings. 1287-1288 — The Bay adeers, the Halt. 1289 to 1291 — The Paria and the Brahmin, and two Landscapes. 1292 to 1308 — Seventeen engravings. \ 309 — The Caravan on the banks of the Ganges. 1310 to 1312 — The Doctor and the Paria , three drawings. 1313 to 1316 — The Doctor and the Paria; four drawings. 1317 — The Doctor thinking of the Paria and the Paria thinking of the Docidi', The above illustrations, n os 1237 to 1317 are taken from THE INDIAN HUT,' Curmer edition, 1838. Beraldi Collection. — 333 — 1318 — The Married Couple. Engraved on steel by Robinson. 1319 to 1323 — The Family , Education , Recreation , Alms , Return to work. N os 1318 to 1323 illustrate THE MARRIAGE-BOOK, a publication issued by Curmer, 1838. Gauthier Collection. 1324 to 1337 — The Cedars of Lebanon, The Huntsman and Ddidha, The Struggle of Djezcd , Ddidha and Cedar, Lakmi and Ddidha. Illustrations for The Fall of an Angel by Lamartine, Gosselin-Furne edi- tion, 1839. Concjuet Collection. 1338 to 1341 — Rradamante descries Pinabel, Ferragus in the forest, Atlant vanquished by Rradimart, Obsequies of Rradimart. Illustrations for Rolando Furioso, Knab edition, 1839. 1342-1343 — View of Nevers, View of Nantes. Page headings for Gresset’s Works (Vert-Vert), Houdaille, 1839. Reraldi Collection. 334 — 1344 to 1346 — Isaiah, Saint-Paul. — Frame. Engraved on steel by Cousin. The frame engraved on wood is by Feart, the figures by Meissonier. 1347 — Charlemagne. Engraved steel by Caron. 1348 to 1353 — The Creation, God speaks to Abraham, Destruction of Troja, Coming of Christianism , etc. The n os 1344 to 1353 illustrate the Discourse on Universal History, Curmer edition. Gauthier Collection. 1354 to 1356 — The Old Clothes Seller, The Cobbler at work, The Cobbler carrying back his work. 1357 — The Usher. 1358 — The Fast Man. 1359-1360 — The Stock-brokers round the ring, A Stock-broker driving his tilbury. 1361 — Coal barge on the Seine. 1362 — The stables of a Parisian sportsman. — 335 — 1363 — The Old Bibliomaniac, humoristic drawing. 1364-1365 — Drummer, Soldier. 1366 — Officer of Hussars in a tunic. 1367 — Captain of light infantry of the National Guard, humoristic drawing. 1368 to 1370 — The Chartreux, Dom Francois, The Trappist. 1371 to 1373 — View of Rouen, Absis of Saint-Peter at Caen, The Harbour of Le Havre. 1374-1375 — The Arenas of Nimes, View of Monlbrison. 1376 to 1381 — The Model in the studio, The Poet, The Beggar, The Blind Man, The Cider- Apples, Camping of Arabs. The illustrations from n os 1354 to 1381 are to be found in THE FRENCH PAIN- TED BY THEMSELVES. ( Paris and Provinces.) Curmer publication, 1840-4:2. Beraldi Collection. 336 1382 to 1384 — Raftsman sitting on a parapet, Raftsman standing, Raftsman sitting. Article on Raftsmen , in The Prism (supplement of The French painted by themselves), Curmer, 1841. 1383 to 1390 — The Old Bachelor bepainting himself , In Society, Three Colla- teral heirs at dinner , Visit to an old uncle , The Sick old bachelor and his maid, The Clothes of the dying old bachelor plundered, humoristic drawings. Article Certain old bachelors, in The Prism. 1391 to 1393 — Peasant lighting his pipe, Peasant sleeping on the grass. The Cock of the milage (?). Unpublished woodcuts, probably meant for The Prism and which were not turned to use. Gauthier Collection. 1394 to 1397 — Corporal sitting [?), Errand-man (?), Bargeman (?), Peasant (?) seen from behind. Unpublished woodcuts, prepared for The Prism (?). Gauthier Collection. 1398 — The Burgher. For The Physiology of Gentlemen, by Balzac and Fremy ; Martinon, 1841. — 337 — 1399 to 1403 — Skinner, Mr. Guillaume, The Marquis de Fontaine, Mr. Grot tat the Notary , The Forsaken Woman. Complete Works of Balzac, Furne, 1842 and next. 1404 to 1406 — ■ Ernestine and her doll, The Doll lying on the floor, Paul showing his mother his writing exercise. The Two Dolls. — Story of a doll and lead-soldier. (In Small Children’s Book) ; Hetzel, 1843. Hetzei Collection. 1407 to 1410 — The recruiting Serjeant, Mcinon before the Chief of Police, Manon and Louis XV, Wedding-ball of Manon. Engravings on steel by Nargeot for Manon the Dress-Maker , song by Vade. (In Popular Songs and Burdens of France); Delloye edition, 1843. Beraldi Collection. 1411 — Louis XI at the Bastille. Etched by Johannes de Mare, for Notre-Dame de Paris, Perrotin edition, 1844. Beraldi Collection. 43 338 — 1412 — Pierre Corneille. Etched by Lestudier-Lacour fox' The French Pluiarcli. Beraldi Collection. 1413 — Lazarille de Torm'es . 1414 — Lazarille drinking the blind mans wine. 1415 — At the old Clothesmans. 1416 to 1422 — Lazarille before the hutch, Lazarille and the blind man, The Tinker, The Monk, The Equerry, The Archpriest, Lazarille and the Germans. The illustrations from n os 1413 to 1422 are taken from LAZARILLE DE TORMES, Dubochet edition, 1846. These woodcuts were engraved by Lavoignat. Beraldi Collection. — 339 — 1423 — Count de Chevigne. Etched by Buland, to be placed at the head of the Contes Itemois. 1424 — The Five Sets of baby-linen. 1425 — The Franciscans’ breeches. 1426 — The Woman who rows a boa' . 1427 — The Cradle. 1428 — By the King’s order . 1429 — The Good Cousin. 1430 — Inconveniency of repentance. 1431 — The Preacher . 1432 — Paradise. 1433 — The Mastiff and little dog. 1434 — The One-eyed Husband. — 340 1435 — The Early-rising Husband. 1436 — The Scruple of an Accountant . 1437 — The Solecism. 1438 — The Good Host. 1439 — The Suppressed Confession. 1440 — The Parrot. 1441 — The Manage of interest. 1442 — The Good Doctor. 1443 — The Ill-revenged Husband. 1444 — The two Partridges. 1445 — The Pilgrimage. 1446 — The Kind Virgin. — 341 — 1447 — The Power of a woman. 1448 — Who shall feed the Child? 1449 — The Good Woman. 1450 — Is it good to know every thing ? 1451 — A Simple Avowal. 1452 — The Bold Child. 1453 — The Choice of a Mass. 1454 — The Falcon, 1 455 — The Crucified Lover. 1456 : — Happy Couple. 1457 — The Broken Fast. The n os 1423 to 1457 illustrate the CONTES REMOIS of count of Chevigne Michel Levy, edition, 1858. These woodcuts were engraved by Lavoignat. Charles Meissonier Collection. — 342 1458 — The Guard-house. Woodcut engraved by Lavoignat for The Picturesque Magazine. 1459 — The two Players. Woodcut engraved by Lavoignat for Tiie Picturesque Magazine. 1460 — Vive la Republique ! (25 th of February at Very’s). Fac-simile of a sketch, by Tiburce de Mare. 1461 — The Lorraine populations marching past the Empress and Imperial Prince at Nancy. Etched by Jules Jacquemart, for the Travelling through Lorraine of her Imperial Majesty ; Plon, 1867. 1462 — The Herald of Murcia, in-4°. Fac-simile for Paris-Murcia. 1463 — Watching the game. Etching by Vogel. 1464 — The Herald. Published by Jouaust. 1465 to 1468 — Trumpeter, Knight, Gallant, Horseman. Fac-simile published in Sword and Women by Edouard de Beaumont. Goupil, 1881. CONTENTS Pages. Preface : Meissonier, by Alexandre Dumas 1 PART THE FIRST THE STUDIO OF MEISSONIER Picture and Studies 3 Aquarelles, gouaches and sepia drawings 81 Ink, lead pencil and red chalk drawings . . 109 Wax 173 The last drawing of Meissonier 176 PART THE SECOND PRIVATE COLLECTIONS Collection of Mr. Alibert 179 of Mr. Allain 180 — of Mr. Arnould 182 of Mme Veuve Emile Augier 183 — of Mme B 185 — of Mr. Bally 186 — - of Mr. Batta 187 — of Mr. Maximilien Bayer 188 — of Mr. Carlos de Besteigui 189 — of Mr. Bianchi 190 — of Mme Bloomfield-Moorc 191 of Mr. Blumenthal 192 — of Mr. Bodinier 193 — of Mme Boeswilwald 194 of Mr. Borel 195 — of Mr. Boucheron 196 — of Mr. Hector Brame fils 197 — of the prince de Broglie 198 — of Mr. Calve 199 of Mr. Candamo 200 — of the marquis de Casariera 201 — of Mr. Chauchard 202 — of Mr. Coquelin 208 — - of Mme Maurice Cottier 209 — 346 — Pages. Collection of Mme Crabbe 210 — of Mr. Th. Deck. . 211 — of Mr. Ed. Detaille 212 — of Mr. H. Deutsch (de la Meurthe) 213 — of D r Dieulafoy 214 — of Mr. Donatis 215 — of Mr. Dreux . 216 — of Mr. Auguste Dreyfus 217 — of Mr. Alexandre Dumas 218 — of the comtess d’Eu 221 — of the vice-admiral Duperre 222 — of Mr. Engel-Gros 223 of Mr. Faure 224 — of Mr. Feral 226 — of Mr. Ferriot 228 - — of Sir John Fowler 229 — of Mr. Francois 230 — of Mr. Gambard 231 — of Mr. Henri Gamier 232 — of Mr. Geoffroy-Dechaume 233 — of Mme George t 237 — of Mr. Goldschmidt 238 — of Mr. Gordon Benriet 239 — of the count Greffulhc 240 — of Mr. V. Goupil 241 — of Mr. Lucien Gros 242 — of D r Guyon 243 — of Mme Ch. Heine 244 — of Mr. Jules Hetzel 245 — of the baron Hottinguer 249 — of Mr. Francis Hottinguer . 250 — of G. M. Keiler, Esq. (Dundee) 251 — of Mr. KrafTt 252 — of Mme Fanny Launa 253 — of D r Lecaudey 254 — of Mme Lefevre 255 — of the baron Alphonse de Rothschild 256 — of Mr. Victor Lefranc 257 — of Mme J. Lemoinne 258 — of Mme Lepel-Cointet 259 — of Mr. Leroy 260 — of Mr. Levesque 261 — of Mr. Lutz 262 — of the Museum of the Luxembourg 263 of the Museum of Lyons 265 of deceased Colonel M. M. . 266 — of Mr. Marinoni 267 of Mr. Charles Meissonier 268 of Mme Gabriel Meissonier . 269 of the Misses J. and C. Meissonier . 272 of Mme Meguillet 274 — 347 — Pages. Collection of Mr. Morillot 276 — of the due de Morny 277 — of Mr. Alphonse Moutte 278 — of Mr. Mulhbacher 280 — of Mme G. P 281 — of Mr. Pastie 283 — of Mme Isaac Pereire 28 i — of Mr. Peronne 285 — of Mr. Quidant 286 — of Mr. Revenaz 287 — of Mr. Reitlinger 288 — of the baron Arthur de Rothschild 289 — of the baron Edmond de Rothschild 290 — of the baron Gustave de Rothschild 292 — of Mr. Ed. Simon 293 — of Mme Spitzer 294 — of Mr. Ch. Stein 295 — of Mr. M. A. Steinheil 296 — of Widow A. Steinheil 301 — of Mme Arthur Stevens 306 — of Mr. Stewart 307 — of the baronness Thenard 308 — of D r Truffier 309 — of Mme Van der Eyndc 310 — of Mr. Vasnier 311 — - of Mr. Henry Vever 312 — of Mr. Viougeard 313 — of Mr. Lequoy 314 — of D r Duchastelet 315 — of Mr. X 316 — of Miss X 317 — of Mr. X 318 — of Mr. X. (Hambourg) 319 PART THE THIRD ETCHINGS. AND ILLUSTRATIONS Etchings 325 Illustrations 329 GEORGES FROM THE PRESSES OF PETIT’S PRINTING OFFICE 12 , RUE GODOT-DE-MAUROI, 12 THE l’ 1 OF JANUARY 1894 THE ETCHINGS HAVE BEEN PRINTED BY GEORGES PETIT’S FIRM 12 , RUE GODOT-DE-MAUROI, 12