Horace Vernet Auction Price Results

Lot 1: HORACE VERNET (FRENCH, 1789-1863) PORTRAIT OF JOHN B. CHURCH signed H Vernet and dated 1821 lower left --oil on canvas 13 1/4 x 10 in.

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Description: (33.6 x 25.4 cm.) PROVENANCE: Cleveland Museum of Art.

Lot 1: HORACE VERNET (FRENCH, 1789-1863) PORTRAIT OF JOHN B. CHURCH signed H Vernet and dated 1821 lower left --oil on canvas 13 1/4 x 10 in.

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Description: (33.6 x 25.4 cm.) PROVENANCE: Cleveland Museum of Art.

Lot 1: HORACE VERNET (FRENCH, 1789-1863) PORTRAIT OF JOHN B. CHURCH signed H Vernet and dated 1821 lower left --oil on canvas 13 1/4 x 10 in.

Estimated Price: Log in or create account to view price data

Description: (33.6 x 25.4 cm.) PROVENANCE: Cleveland Museum of Art.

Lot 1: HORACE VERNET (FRENCH, 1789-1863) PORTRAIT OF JOHN B. CHURCH signed H Vernet and dated 1821 lower left --oil on canvas 13 1/4 x 10 in.

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Description: (33.6 x 25.4 cm.) PROVENANCE: Cleveland Museum of Art.

Lot 3: Emile Jean Horace Vernet (1789-1863)

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Description: Le Giaour, vainqueur d'Hassan signed 'Horace Vernet' (slightly indistinct, lower right) oil on canvas 25.5/8 x 21 in. (65 x 54 cm.) LITERATURE G. Hamilton, 'Delacroix, Byron and the English Illustrators', Gazette des Beaux-Arts, CCVI, 1949, p. 261. P. Joannides, "Colin, Delacroix, Byron and the Greek War of Independence", in Burlington Magazine, vol. CXXV, Aug. 1983, London, no. 965, p. 499. N. Tscherny and G. Stair Sainty (ed.), Romance and Chivalry: History and Literature Reflected in Nineteenth Century French Painting, New York, 1996, pp. 144-45. NOTES Le Giaour is a subject borrowed by Vernet from Lord Byron's poem - the first of his Turkish Tales - published in 1813. Vernet would have known the work through Amede Pichot's translation. The vivid colour and drama of the Turkish Tales provided a rich sourcebook for a generation of artists, Romantic and Classicist alike, eager to support the Greek cause in the War of Independence from their Turkish overlords. The Salons of 1824, 1827 and 1831, as well as many independent Paris exhibitions, including two at the Galerie Lebrun organised as charitable functions specifically Au profit des grecs saw numerous portrayals of Greek motifs. The Salon of 1827, for instance, included some 14 other Phillhelene-inspired works alongside Vernet's rendering of La Giaour. The lithograph of Le corsair, published in 1819, established Vernet as the first French artist to illustrate a scene from the Turkish Tales. Gricault, however, was the first artist specifically to treat the subject of Le Giaour with a watercolour of the hero riding through the night (formerly in the Hans E. Bhler Collection and sold in these Rooms, 13 Nov. 1985, lot 58 and now in the Getty Museum). In the particular episode from Le Giaour portrayed in the present work, also chosen by Colin and Delacroix (fig. 2), the eponymous hero is seen having avenged the murder of his mistress by killing Hassan, her cruel Turkish master. It is based on the following lines from the poem: His breast with wounds unnumber'd driven, His back to earth, his face to heaven, Fall'n Hassan lies - his unclosed eye Yet lowering on his enemy, As if the hour that sealed his fate Surviving left his quenchless hate; And oer him bends that foe with brow As dark as his that bled below. The pose Vernet adopts for the triumphant Giaour is strongly reminiscent of the Roman statuary on the Quirinal Hill in Rome (see fig. 1). Understood in the years around 1800 to represent Alexander and Bucephalus, although more recently it is given as Castor and Pollux, the former reading would doubtless have appealed to Vernet who was therefore able to cast Le Giaour in the mould of the greatest of Greek heroes while catering to his own fondness for great equestrian themes. The Salon painting of La Giaour was engraved by Jazet in 1828. Another, smaller treatment by Vernet of this theme appeared recently at auction in New York (Sotheby's, 23 Oct. 1997, lot 49), while a further version was sold in Monaco in June 1994. Both follow Jazet's variations with a rockier landscape background. SALESROOM NOTICE Following further research, it seems likely that the present work is indeed Vernet's version of Le Giaour exhibited at the Salon of 1827 and referred to in the Salon Register for that year. This view is based on the fact that the framed dimensions of our work closely correspond with those given for a work matching its description in the Register of 1827 and that the present work is the largest and most finished known version of the subject. Please also note the following additional provenance: Anon. sale, Helbing, Munich, April 1932 (illustrated in catalogue).

Lot 3: Emile Jean Horace Vernet (1789-1863)

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Description: Le Giaour, vainqueur d'Hassan signed 'Horace Vernet' (slightly indistinct, lower right) oil on canvas 25.5/8 x 21 in. (65 x 54 cm.) LITERATURE G. Hamilton, 'Delacroix, Byron and the English Illustrators', Gazette des Beaux-Arts, CCVI, 1949, p. 261. P. Joannides, "Colin, Delacroix, Byron and the Greek War of Independence", in Burlington Magazine, vol. CXXV, Aug. 1983, London, no. 965, p. 499. N. Tscherny and G. Stair Sainty (ed.), Romance and Chivalry: History and Literature Reflected in Nineteenth Century French Painting, New York, 1996, pp. 144-45. NOTES Le Giaour is a subject borrowed by Vernet from Lord Byron's poem - the first of his Turkish Tales - published in 1813. Vernet would have known the work through Amede Pichot's translation. The vivid colour and drama of the Turkish Tales provided a rich sourcebook for a generation of artists, Romantic and Classicist alike, eager to support the Greek cause in the War of Independence from their Turkish overlords. The Salons of 1824, 1827 and 1831, as well as many independent Paris exhibitions, including two at the Galerie Lebrun organised as charitable functions specifically Au profit des grecs saw numerous portrayals of Greek motifs. The Salon of 1827, for instance, included some 14 other Phillhelene-inspired works alongside Vernet's rendering of La Giaour. The lithograph of Le corsair, published in 1819, established Vernet as the first French artist to illustrate a scene from the Turkish Tales. Gricault, however, was the first artist specifically to treat the subject of Le Giaour with a watercolour of the hero riding through the night (formerly in the Hans E. Bhler Collection and sold in these Rooms, 13 Nov. 1985, lot 58 and now in the Getty Museum). In the particular episode from Le Giaour portrayed in the present work, also chosen by Colin and Delacroix (fig. 2), the eponymous hero is seen having avenged the murder of his mistress by killing Hassan, her cruel Turkish master. It is based on the following lines from the poem: His breast with wounds unnumber'd driven, His back to earth, his face to heaven, Fall'n Hassan lies - his unclosed eye Yet lowering on his enemy, As if the hour that sealed his fate Surviving left his quenchless hate; And oer him bends that foe with brow As dark as his that bled below. The pose Vernet adopts for the triumphant Giaour is strongly reminiscent of the Roman statuary on the Quirinal Hill in Rome (see fig. 1). Understood in the years around 1800 to represent Alexander and Bucephalus, although more recently it is given as Castor and Pollux, the former reading would doubtless have appealed to Vernet who was therefore able to cast Le Giaour in the mould of the greatest of Greek heroes while catering to his own fondness for great equestrian themes. The Salon painting of La Giaour was engraved by Jazet in 1828. Another, smaller treatment by Vernet of this theme appeared recently at auction in New York (Sotheby's, 23 Oct. 1997, lot 49), while a further version was sold in Monaco in June 1994. Both follow Jazet's variations with a rockier landscape background. SALESROOM NOTICE Following further research, it seems likely that the present work is indeed Vernet's version of Le Giaour exhibited at the Salon of 1827 and referred to in the Salon Register for that year. This view is based on the fact that the framed dimensions of our work closely correspond with those given for a work matching its description in the Register of 1827 and that the present work is the largest and most finished known version of the subject. Please also note the following additional provenance: Anon. sale, Helbing, Munich, April 1932 (illustrated in catalogue).

Lot 3: Emile Jean Horace Vernet (1789-1863)

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Description: Le Giaour, vainqueur d'Hassan signed 'Horace Vernet' (slightly indistinct, lower right) oil on canvas 25.5/8 x 21 in. (65 x 54 cm.) LITERATURE G. Hamilton, 'Delacroix, Byron and the English Illustrators', Gazette des Beaux-Arts, CCVI, 1949, p. 261. P. Joannides, "Colin, Delacroix, Byron and the Greek War of Independence", in Burlington Magazine, vol. CXXV, Aug. 1983, London, no. 965, p. 499. N. Tscherny and G. Stair Sainty (ed.), Romance and Chivalry: History and Literature Reflected in Nineteenth Century French Painting, New York, 1996, pp. 144-45. NOTES Le Giaour is a subject borrowed by Vernet from Lord Byron's poem - the first of his Turkish Tales - published in 1813. Vernet would have known the work through Amede Pichot's translation. The vivid colour and drama of the Turkish Tales provided a rich sourcebook for a generation of artists, Romantic and Classicist alike, eager to support the Greek cause in the War of Independence from their Turkish overlords. The Salons of 1824, 1827 and 1831, as well as many independent Paris exhibitions, including two at the Galerie Lebrun organised as charitable functions specifically Au profit des grecs saw numerous portrayals of Greek motifs. The Salon of 1827, for instance, included some 14 other Phillhelene-inspired works alongside Vernet's rendering of La Giaour. The lithograph of Le corsair, published in 1819, established Vernet as the first French artist to illustrate a scene from the Turkish Tales. Gricault, however, was the first artist specifically to treat the subject of Le Giaour with a watercolour of the hero riding through the night (formerly in the Hans E. Bhler Collection and sold in these Rooms, 13 Nov. 1985, lot 58 and now in the Getty Museum). In the particular episode from Le Giaour portrayed in the present work, also chosen by Colin and Delacroix (fig. 2), the eponymous hero is seen having avenged the murder of his mistress by killing Hassan, her cruel Turkish master. It is based on the following lines from the poem: His breast with wounds unnumber'd driven, His back to earth, his face to heaven, Fall'n Hassan lies - his unclosed eye Yet lowering on his enemy, As if the hour that sealed his fate Surviving left his quenchless hate; And oer him bends that foe with brow As dark as his that bled below. The pose Vernet adopts for the triumphant Giaour is strongly reminiscent of the Roman statuary on the Quirinal Hill in Rome (see fig. 1). Understood in the years around 1800 to represent Alexander and Bucephalus, although more recently it is given as Castor and Pollux, the former reading would doubtless have appealed to Vernet who was therefore able to cast Le Giaour in the mould of the greatest of Greek heroes while catering to his own fondness for great equestrian themes. The Salon painting of La Giaour was engraved by Jazet in 1828. Another, smaller treatment by Vernet of this theme appeared recently at auction in New York (Sotheby's, 23 Oct. 1997, lot 49), while a further version was sold in Monaco in June 1994. Both follow Jazet's variations with a rockier landscape background. SALESROOM NOTICE Following further research, it seems likely that the present work is indeed Vernet's version of Le Giaour exhibited at the Salon of 1827 and referred to in the Salon Register for that year. This view is based on the fact that the framed dimensions of our work closely correspond with those given for a work matching its description in the Register of 1827 and that the present work is the largest and most finished known version of the subject. Please also note the following additional provenance: Anon. sale, Helbing, Munich, April 1932 (illustrated in catalogue).

Lot 3: Emile Jean Horace Vernet (1789-1863)

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Description: Le Giaour, vainqueur d'Hassan signed 'Horace Vernet' (slightly indistinct, lower right) oil on canvas 25.5/8 x 21 in. (65 x 54 cm.) LITERATURE G. Hamilton, 'Delacroix, Byron and the English Illustrators', Gazette des Beaux-Arts, CCVI, 1949, p. 261. P. Joannides, "Colin, Delacroix, Byron and the Greek War of Independence", in Burlington Magazine, vol. CXXV, Aug. 1983, London, no. 965, p. 499. N. Tscherny and G. Stair Sainty (ed.), Romance and Chivalry: History and Literature Reflected in Nineteenth Century French Painting, New York, 1996, pp. 144-45. NOTES Le Giaour is a subject borrowed by Vernet from Lord Byron's poem - the first of his Turkish Tales - published in 1813. Vernet would have known the work through Amede Pichot's translation. The vivid colour and drama of the Turkish Tales provided a rich sourcebook for a generation of artists, Romantic and Classicist alike, eager to support the Greek cause in the War of Independence from their Turkish overlords. The Salons of 1824, 1827 and 1831, as well as many independent Paris exhibitions, including two at the Galerie Lebrun organised as charitable functions specifically Au profit des grecs saw numerous portrayals of Greek motifs. The Salon of 1827, for instance, included some 14 other Phillhelene-inspired works alongside Vernet's rendering of La Giaour. The lithograph of Le corsair, published in 1819, established Vernet as the first French artist to illustrate a scene from the Turkish Tales. Gricault, however, was the first artist specifically to treat the subject of Le Giaour with a watercolour of the hero riding through the night (formerly in the Hans E. Bhler Collection and sold in these Rooms, 13 Nov. 1985, lot 58 and now in the Getty Museum). In the particular episode from Le Giaour portrayed in the present work, also chosen by Colin and Delacroix (fig. 2), the eponymous hero is seen having avenged the murder of his mistress by killing Hassan, her cruel Turkish master. It is based on the following lines from the poem: His breast with wounds unnumber'd driven, His back to earth, his face to heaven, Fall'n Hassan lies - his unclosed eye Yet lowering on his enemy, As if the hour that sealed his fate Surviving left his quenchless hate; And oer him bends that foe with brow As dark as his that bled below. The pose Vernet adopts for the triumphant Giaour is strongly reminiscent of the Roman statuary on the Quirinal Hill in Rome (see fig. 1). Understood in the years around 1800 to represent Alexander and Bucephalus, although more recently it is given as Castor and Pollux, the former reading would doubtless have appealed to Vernet who was therefore able to cast Le Giaour in the mould of the greatest of Greek heroes while catering to his own fondness for great equestrian themes. The Salon painting of La Giaour was engraved by Jazet in 1828. Another, smaller treatment by Vernet of this theme appeared recently at auction in New York (Sotheby's, 23 Oct. 1997, lot 49), while a further version was sold in Monaco in June 1994. Both follow Jazet's variations with a rockier landscape background. SALESROOM NOTICE Following further research, it seems likely that the present work is indeed Vernet's version of Le Giaour exhibited at the Salon of 1827 and referred to in the Salon Register for that year. This view is based on the fact that the framed dimensions of our work closely correspond with those given for a work matching its description in the Register of 1827 and that the present work is the largest and most finished known version of the subject. Please also note the following additional provenance: Anon. sale, Helbing, Munich, April 1932 (illustrated in catalogue).

Lot 5: MANNER OF HORACE VERNET* (FRENCH, 1789-1863)

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Description: NAPOLEON CROSSING THE ALPS bears signature and date "H. Vernet/1878" lower right -- oil on canvas 34 x 47 in. (86.3 x 119.4 cm.).

Lot 5: MANNER OF HORACE VERNET* (FRENCH, 1789-1863)

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Description: NAPOLEON CROSSING THE ALPS bears signature and date "H. Vernet/1878" lower right -- oil on canvas 34 x 47 in. (86.3 x 119.4 cm.).

Lot 5: MANNER OF HORACE VERNET* (FRENCH, 1789-1863)

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Description: NAPOLEON CROSSING THE ALPS bears signature and date "H. Vernet/1878" lower right -- oil on canvas 34 x 47 in. (86.3 x 119.4 cm.).

Lot 5: MANNER OF HORACE VERNET* (FRENCH, 1789-1863)

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Description: NAPOLEON CROSSING THE ALPS bears signature and date "H. Vernet/1878" lower right -- oil on canvas 34 x 47 in. (86.3 x 119.4 cm.).

Lot 5: MANNER OF HORACE VERNET* (FRENCH, 1789-1863)

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Description: NAPOLEON CROSSING THE ALPS bears signature and date "H. Vernet/1878" lower right -- oil on canvas 34 x 47 in. (86.3 x 119.4 cm.).

Lot 5: MANNER OF HORACE VERNET* (FRENCH, 1789-1863)

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Description: NAPOLEON CROSSING THE ALPS bears signature and date "H. Vernet/1878" lower right -- oil on canvas 34 x 47 in. (86.3 x 119.4 cm.).

Lot 5: MANNER OF HORACE VERNET* (FRENCH, 1789-1863)

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Description: NAPOLEON CROSSING THE ALPS bears signature and date "H. Vernet/1878" lower right -- oil on canvas 34 x 47 in. (86.3 x 119.4 cm.).

Lot 5: MANNER OF HORACE VERNET* (FRENCH, 1789-1863)

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Description: NAPOLEON CROSSING THE ALPS bears signature and date "H. Vernet/1878" lower right -- oil on canvas 34 x 47 in. (86.3 x 119.4 cm.).

Lot 5: Judaica: [VERNET Horace, 1789 - 1863, d?après]

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Description: Judaica: [VERNET Horace, 1789 - 1863, d?après] Juif de Constantine Huile sur panneau. 33 x 24 cm. Sans cadre. (petites rayures). Reprise d'un personnage qui se trouve en bas et à droite de la « P rise de Constantine...

Lot 6: D'APRÈS EMILE-JEAN-HORACE VERNET

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Description: CAVALIÈRE ALGÉRIENNE AVEC UN FAUCON [AFTER EMILE-JEAN-HORACE VERNET ; ALGERIAN HUNTER WITH A FALCON ; BEARS INSCRIPTION AND DATE D'APRÈS H. VERNET 1840 LOWER RIGHT ; OIL ON CANVAS]Porte une inscription et une date en bas à gauche d'après H. Vernet 1840

Lot 7: Horace Vernet* (French, 1789-1863)

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Description: The Lion Hunter signed and dated '1853' lower right 25.5/8 x 21.7/8in. (65 x 55.5cm.) NOTES Third and last in an illustrious line of painters, Horace Vernet made his Salon debut in 1812 with two paintings, one of which, " Prise de Glatz", earned him a "mdaille d'or". This early success announced the beginning of a prodigious career for a painter whose fame was based largely on two favourite romantic themes: military scenes and orientalist subjects. One of his greatest patrons was Louis-Philippe and it was due to their relationship that Vernet was commissioned to do a series of large battle scenes for the Muse Historique at Versailles inaugurated in June of 1837. The orientalist aspect of Vernet's career begins in 1833 with the first voyage to Algeria accompanied by the English artist WIlliam Wyld. Vernet was convinced that he had discovered a land unchanged by the Arabs since biblical times and proceded to turn his expressive and fluid romantic technique to religious scenes using the local poulation as his mode,putting Old Testament figures into contemporary Arab dress. In The lion hunter great attention is given to topographical detail as well as to the rendering of material: the silken nose for the donkey, the hunter's striped cotton vest, the lion's rich fur coat. Realistic detail gives immediacy to a scene redolent with biblical allusion. The lion himself is the mascot of several saints, his skin alone a tribute of Hercules and hence of Fortitude. The lion is, above all, the personification of Africa, the continent that Vernet saw as "une mine d'or pour la France". (Thornton, Les Orientalistes p. 172).

Lot 7: Horace Vernet* (French, 1789-1863)

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Description: The Lion Hunter signed and dated '1853' lower right 25.5/8 x 21.7/8in. (65 x 55.5cm.) NOTES Third and last in an illustrious line of painters, Horace Vernet made his Salon debut in 1812 with two paintings, one of which, " Prise de Glatz", earned him a "mdaille d'or". This early success announced the beginning of a prodigious career for a painter whose fame was based largely on two favourite romantic themes: military scenes and orientalist subjects. One of his greatest patrons was Louis-Philippe and it was due to their relationship that Vernet was commissioned to do a series of large battle scenes for the Muse Historique at Versailles inaugurated in June of 1837. The orientalist aspect of Vernet's career begins in 1833 with the first voyage to Algeria accompanied by the English artist WIlliam Wyld. Vernet was convinced that he had discovered a land unchanged by the Arabs since biblical times and proceded to turn his expressive and fluid romantic technique to religious scenes using the local poulation as his mode,putting Old Testament figures into contemporary Arab dress. In The lion hunter great attention is given to topographical detail as well as to the rendering of material: the silken nose for the donkey, the hunter's striped cotton vest, the lion's rich fur coat. Realistic detail gives immediacy to a scene redolent with biblical allusion. The lion himself is the mascot of several saints, his skin alone a tribute of Hercules and hence of Fortitude. The lion is, above all, the personification of Africa, the continent that Vernet saw as "une mine d'or pour la France". (Thornton, Les Orientalistes p. 172).

Lot 7: Horace Vernet* (French, 1789-1863)

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Description: The Lion Hunter signed and dated '1853' lower right 25.5/8 x 21.7/8in. (65 x 55.5cm.) NOTES Third and last in an illustrious line of painters, Horace Vernet made his Salon debut in 1812 with two paintings, one of which, " Prise de Glatz", earned him a "mdaille d'or". This early success announced the beginning of a prodigious career for a painter whose fame was based largely on two favourite romantic themes: military scenes and orientalist subjects. One of his greatest patrons was Louis-Philippe and it was due to their relationship that Vernet was commissioned to do a series of large battle scenes for the Muse Historique at Versailles inaugurated in June of 1837. The orientalist aspect of Vernet's career begins in 1833 with the first voyage to Algeria accompanied by the English artist WIlliam Wyld. Vernet was convinced that he had discovered a land unchanged by the Arabs since biblical times and proceded to turn his expressive and fluid romantic technique to religious scenes using the local poulation as his mode,putting Old Testament figures into contemporary Arab dress. In The lion hunter great attention is given to topographical detail as well as to the rendering of material: the silken nose for the donkey, the hunter's striped cotton vest, the lion's rich fur coat. Realistic detail gives immediacy to a scene redolent with biblical allusion. The lion himself is the mascot of several saints, his skin alone a tribute of Hercules and hence of Fortitude. The lion is, above all, the personification of Africa, the continent that Vernet saw as "une mine d'or pour la France". (Thornton, Les Orientalistes p. 172).

Lot 7: Horace Vernet* (French, 1789-1863)

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Description: The Lion Hunter signed and dated '1853' lower right 25.5/8 x 21.7/8in. (65 x 55.5cm.) NOTES Third and last in an illustrious line of painters, Horace Vernet made his Salon debut in 1812 with two paintings, one of which, " Prise de Glatz", earned him a "mdaille d'or". This early success announced the beginning of a prodigious career for a painter whose fame was based largely on two favourite romantic themes: military scenes and orientalist subjects. One of his greatest patrons was Louis-Philippe and it was due to their relationship that Vernet was commissioned to do a series of large battle scenes for the Muse Historique at Versailles inaugurated in June of 1837. The orientalist aspect of Vernet's career begins in 1833 with the first voyage to Algeria accompanied by the English artist WIlliam Wyld. Vernet was convinced that he had discovered a land unchanged by the Arabs since biblical times and proceded to turn his expressive and fluid romantic technique to religious scenes using the local poulation as his mode,putting Old Testament figures into contemporary Arab dress. In The lion hunter great attention is given to topographical detail as well as to the rendering of material: the silken nose for the donkey, the hunter's striped cotton vest, the lion's rich fur coat. Realistic detail gives immediacy to a scene redolent with biblical allusion. The lion himself is the mascot of several saints, his skin alone a tribute of Hercules and hence of Fortitude. The lion is, above all, the personification of Africa, the continent that Vernet saw as "une mine d'or pour la France". (Thornton, Les Orientalistes p. 172).

Lot 7: VERNET, Horace (1789-1863, French)

Description: Portrait of Louis Philippe Oil Painting (9x11in).

Lot 7: VERNET, Horace (1789-1863, French)

Description: Portrait of Louis Philippe Oil Painting (9x11in).

Lot 7: VERNET, Horace (1789-1863, French)

Description: Portrait of Louis Philippe Oil Painting (9x11in).

Lot 7: VERNET, Horace (1789-1863, French)

Description: Portrait of Louis Philippe Oil Painting (9x11in).

Lot 7: VERNET, Horace (1789-1863, French)

Description: The lion hunter, s.d.1853 Oil Painting (22x26in).

Lot 7: VERNET, Horace (1789-1863, French)

Description: The lion hunter, s.d.1853 Oil Painting (22x26in).

Lot 7: VERNET, Horace (1789-1863, French)

Description: The lion hunter, s.d.1853 Oil Painting (22x26in).

Lot 7: VERNET, Horace (1789-1863, French)

Description: The lion hunter, s.d.1853 Oil Painting (22x26in).

Lot 8: After Émile Jean-Horace Vernet (French,

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Description: After Émile Jean-Horace Vernet (French, 1789-1863), "Sortie De la Garnison de Dole", mid-19th c., hand-colored engraving, signed "H Colin fecit" in plate lower left, sight 17 in x 14 1/2 in., attractively matted and framed

Lot 8: VERNET Horace (D'APRES) (1789 - 1863) ETUDE

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Description: VERNET Horace (D'APRES) (1789 - 1863) ETUDE D'APRES LA BATAILLE DE FRIEDLAND. Dessin à la mine de plomb et à la sanguine sur toile préparée. 45 x 36 cm.

Lot 9: *Emile Jean Horace Vernet (French, 1789-1863)

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Description: HIS FINAL GLORY oil on canvas 17 3/4 by 14 5/8 in. 45.1 by 37.2cm. This is probably the painting purchased by the Societe des Amis des Arts for FF3000, mentioned in the article on Horace Vernet in the Gazette des Beaux-Arts, Paris 1863, p. 316 Exhibited: Possibly, the artist's studio, private exhibition organized by the artist after the Salon jury refused two of his works, 1822 (as L'Hospice du Saint-Gothard) Paris, Societe des Amis des Arts, 1823.

Lot 9: *Emile Jean Horace Vernet (French, 1789-1863)

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Description: HIS FINAL GLORY oil on canvas 17 3/4 by 14 5/8 in. 45.1 by 37.2cm. This is probably the painting purchased by the Societe des Amis des Arts for FF3000, mentioned in the article on Horace Vernet in the Gazette des Beaux-Arts, Paris 1863, p. 316 Exhibited: Possibly, the artist's studio, private exhibition organized by the artist after the Salon jury refused two of his works, 1822 (as L'Hospice du Saint-Gothard) Paris, Societe des Amis des Arts, 1823.

Lot 9: *Emile Jean Horace Vernet (French, 1789-1863)

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Description: HIS FINAL GLORY oil on canvas 17 3/4 by 14 5/8 in. 45.1 by 37.2cm. This is probably the painting purchased by the Societe des Amis des Arts for FF3000, mentioned in the article on Horace Vernet in the Gazette des Beaux-Arts, Paris 1863, p. 316 Exhibited: Possibly, the artist's studio, private exhibition organized by the artist after the Salon jury refused two of his works, 1822 (as L'Hospice du Saint-Gothard) Paris, Societe des Amis des Arts, 1823.

Lot 9: *Emile Jean Horace Vernet (French, 1789-1863)

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Description: HIS FINAL GLORY oil on canvas 17 3/4 by 14 5/8 in. 45.1 by 37.2cm. This is probably the painting purchased by the Societe des Amis des Arts for FF3000, mentioned in the article on Horace Vernet in the Gazette des Beaux-Arts, Paris 1863, p. 316 Exhibited: Possibly, the artist's studio, private exhibition organized by the artist after the Salon jury refused two of his works, 1822 (as L'Hospice du Saint-Gothard) Paris, Societe des Amis des Arts, 1823.

Lot 11: Alexandre-Marie Colin (French, 1789-1875)

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Description: Le Giaour signed and dated 'A. Colin 1826' (lower left) oil on canvas 39 1/8 x 31 7/8 in. (99.5 x 81 cm.) Painted in 1826 PROVENANCE The Fine Art Society, Ltd., London, 1980. Acquired from the above by the present owner, 1980. LITERATURE P. Joannides, "Colin, Delacroix, Byron and the Greek War of Independence," Burlington Magazine, August 1983, vol. CXXV, p. 497, no. 93 (illustrated). P. Noon, Richard Parkes Bonington: On the Pleasures of Painting, New Haven, 1991, p. 170 (under no. 65). EXHIBITION Paris, Galerie Lebrun, Explication des Ouvrages de Peinture expos‚ au profit des Grecs, 15 May 1826, no. 31. Cambrai, 15 August-15 September 1826, no. 78. Paris, Mus‚e Colbert, Catalogue des Tableaux et Objets d'art expos‚s dans le Mus‚e Colbert, November 1829, no. 68; 2nd exhibition, December 1829, no. 87; 3rd exhibition, February 1830, no. 221. London, The Fine Art Society, Travellers beyond the Grand Tour, 23 June-25 July 1980, ex-catalogue. NOTES Although Alexandre-Marie Colin never attained the celebrity status of his more famous contemporaries such as Delacroix and Girodet, he remains a pivotal figure in the Romantic painting movement in early 19th Century France. Born in Paris in 1798, he entered the Ecole des Beaux-Arts at the age of fifteen as a pupil of Girodet. A frequent participant at the yearly Salon, he was honored with a first class medal in 1840. While relatively little is known about his life, he was a prolific painter. From portraiture to landscape, Colin explored a wide range of subject matter, yet his oeuvre is particularly noted for subjects inspired from history and literature. The long and drawn-out Greek struggle for Independence against Ottoman rule (1821-32) strongly resonated with the artists, writers and intellectuals throughout Europe. The response from the artistic community in France was especially strong particularly among the first generation of French Romantic painters which included Colin and a circle of Romantic painters, EugŠne Delacroix, Th‚odore G‚ricault and Richard-Parkes Bonington. The Greek-Turkish conflict symbolized not only a struggle for nationalism, already a highly charged issue during the time, but an East-West struggle that pitted the morality of Greece, once the cradle of civilization, against the barbarism of the Ottoman Empire. The writings of Lord Byron were particularly in vogue in France in the 1820's and 30's. His passionate involvement with the Greek freedom fighters and his tragic death at Missolonghi in April of 1824 "martyrized" him in the eyes of the Romantics. Of all Byron's Turkish Tales, no poem had more impact on French artists as the The Giaour. First published in 1813, Colin would have known the work through Am‚d‚e Pichot's translation, widely distributed in France. The Giaour, a Venetian renegade in the service of the Turk Hassan, attempts to elope with one of Hassan's wives, Leila. When their plans are discovered, Leila is drowned on Hassan's orders and the Giaour eventually kills Hassan as an act of revenge. Not surprisingly, the melodrama of the story and its colorful characters provided a rich visual sourcebook that inspired a generation of artists sympathetic to the Greek cause. Often confused with the work exhibited at the 1831 Salon as Le Giaour; sujet de Lord Byron, the present work is now confirmed as the painting Colin debuted in 1826 under the title of Le Giaour at the first of two fund-raising exhibitions at Galerie Lebrun, Au Profit des Grecs. Widely regarded as Colin's most accomplished work, Le Giaour not only embodies all the drama and emotional fervor characteristic of early Romantic painting, but within the considerable body of Byronic subject matter, it remains one of the most ambitious representations of a Byronic hero. Painted in 1826, at the height of French-Panhellenic sentiment, the present work stands, as one scholar notes, as "a further example of the elan of the 1820's when so many artists produced work they were never again to surpass" (Johannides, op.cit., p. 496). Against the backdrop of a dramatic cloud-filled sky and war-torn landscape, the Giaour stands triumphant over the lifeless body of Hassan sprawled beneath his feet. Holding a blood-stained sword in his right hand, he seems posed to deal the final blow. Particularly beautiful atmospheric effects are achieved from the sweeping movement of the storm clouds that echo the atrocities on the battlefield. The rearing black horse, reminiscent of the wild stallions that so fascinated Gericault, creates a strong diagonal across the picture plane. The popularity of the present work is testified to by existence of another smaller version. Le Giaour, sujet tire de Byron, exhibited at the Salon of 1831 under no. 375 is similar in composition and known only through a line engraving executed in 1833 (fig. 1). Horace Vernet capitalized on Colin's composition in a later work Le Giaour, vainqueur d'Hassan (fig. 2) (sold Christie's, London, 29 June 1999, lot 3). The revolutionary climate in Greece united artists on a political front and the resulting comradship fostered group efforts such as the ground breaking Galerie Lebrun show. If on a political level "the Greek exhibitiion" was an important venue in its aim to promote awareness and financial support for the cause, on an artistic level, it became, in the absence of a Salon, "the principal forum for the developments in French Painting since 1845" (Noon, op. cit., p. 54). For nearly a decade Hellenic inspired subjects were prominently featured in exhibitions at the Mus‚e Colbert and Cambrai. Colin would contribute more works to the show including Episode de la Guerre Actuelle en Grecque, a larger battle scene presented in reportage style, commonly mistaken for the present work and now in a private collection (see Burlington Magazine, June 1984, p. 373). Its presence at the exhibition is significant and Patrick Noon even suggests that Colin intended the work as a pendant to Le Giaour. Delacroix's contribution to French painting was immense and his relationship with Colin during these years is only now being more fully explored. Often drawing upon the wealth of Bryonic imagery widely circulated through prints, he devoted no less than six paintings and at least one lithograph to the theme of the Giaour (see The Giaour Contemplating the Death of Hassan, 1828-30 (Johnson, 1981, no. 138) and The Combat of the Giaour and the Pasha, 1826, (Johnson, 1981, no. 114; Art Institute of Chicago). A few years earlier, Th‚odore G‚ricault, a devote admirer of Byron, was exploring Byronic themes as testified to by his atmospheric watercolor Le Giaour, 1822-23 (fig. 3). In the 1820's, Colin was traveling and working closely with Delacroix and, as Patrick Noon points out, may even have been sharing a studio together with Delacroix and Bonington. The stylistic affinities in their work and similarity in subjects alone are enough to affirm that Delacroix was a guiding force and a notable influence on Colin's work. The swift movement of Delacroix's brush is imbued with an emotional intensity and complexity that is unrivaled. As shown in the present work, Colin seeks to imitate his fluid brushwork as shown in the beautiful intensely colored passages of the Giaour's flowing blue cape and red headscarf. Colin never personally visited Greece, thus his work is entirely a production of the studio. Yet from his sensitive rendering of the costume from the leg armour and white kilt to the girdle with pistols and swords, it is evident that he had access to traditional costume of the day. Colin's figure of the Giaour is likely based on sketches of Count Demitri de Palatinous, a wealthy Greek refuge‚ who passed though Delacroix's studio in the winter of 1825. Graphite sketches by Colin of a similar figure in revolutionary costume (see Shepard Gallery, Non-dissenters, exh. cat., 1976) indicates that he was most probably present in the studio during the various sittings. The present work shares even more striking compositional similarities with Delacroix's Greece on the Ruins of Missolonghi (fig. 4). Painted the same year shortly after the Greek army's crushing defeat at Missolonghi, the work was exhibited at the second show at Galerie Lebrun and thus slightly post-dates Colin's work. While markedly different in size, they are similar in many respects, suggesting the possibility that Delacroix was drawing heavily upon Colin's composition. As in Le Giaour, Delacroix's model dominates the foreground, behind her a ruined wasteland. Undeniably, both paintings, on a psychological level, are exploited for their propoganda value - the position of both their hands remains open, their eyes look imploring to the sky. For the Giaour, it symbolizes a call for vengence - for Delacroix's Greece, a promise one day, to rise victorious. The present work has been requested for the upcoming exhibition Romantic Painting in England and France, c. 1820-1840, to be held in 2003 at the Tate Britain, Metropolitan Museum of Art and the Minneapolis Institute of Art. (fig. 1) After Alexandre Colin, Le Giaour contemplant Hassan, engraving, 1833. (fig. 2) Horace Vernet, Le Giaour, vainqueur d'Hassan, Private Collection. (fig. 3) Th‚odore G‚ricault, Le Giaour, 1822-23, Los Angeles, J. Paul Getty Museum. (fig. 4) EugŠne Delacroix, Greece on the Ruins of Missolonghi, Mus‚e des Beaux-Arts, Bordeaux.

Lot 11: Alexandre-Marie Colin (French, 1789-1875)

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Description: Le Giaour signed and dated 'A. Colin 1826' (lower left) oil on canvas 39 1/8 x 31 7/8 in. (99.5 x 81 cm.) Painted in 1826 PROVENANCE The Fine Art Society, Ltd., London, 1980. Acquired from the above by the present owner, 1980. LITERATURE P. Joannides, "Colin, Delacroix, Byron and the Greek War of Independence," Burlington Magazine, August 1983, vol. CXXV, p. 497, no. 93 (illustrated). P. Noon, Richard Parkes Bonington: On the Pleasures of Painting, New Haven, 1991, p. 170 (under no. 65). EXHIBITION Paris, Galerie Lebrun, Explication des Ouvrages de Peinture expos‚ au profit des Grecs, 15 May 1826, no. 31. Cambrai, 15 August-15 September 1826, no. 78. Paris, Mus‚e Colbert, Catalogue des Tableaux et Objets d'art expos‚s dans le Mus‚e Colbert, November 1829, no. 68; 2nd exhibition, December 1829, no. 87; 3rd exhibition, February 1830, no. 221. London, The Fine Art Society, Travellers beyond the Grand Tour, 23 June-25 July 1980, ex-catalogue. NOTES Although Alexandre-Marie Colin never attained the celebrity status of his more famous contemporaries such as Delacroix and Girodet, he remains a pivotal figure in the Romantic painting movement in early 19th Century France. Born in Paris in 1798, he entered the Ecole des Beaux-Arts at the age of fifteen as a pupil of Girodet. A frequent participant at the yearly Salon, he was honored with a first class medal in 1840. While relatively little is known about his life, he was a prolific painter. From portraiture to landscape, Colin explored a wide range of subject matter, yet his oeuvre is particularly noted for subjects inspired from history and literature. The long and drawn-out Greek struggle for Independence against Ottoman rule (1821-32) strongly resonated with the artists, writers and intellectuals throughout Europe. The response from the artistic community in France was especially strong particularly among the first generation of French Romantic painters which included Colin and a circle of Romantic painters, EugŠne Delacroix, Th‚odore G‚ricault and Richard-Parkes Bonington. The Greek-Turkish conflict symbolized not only a struggle for nationalism, already a highly charged issue during the time, but an East-West struggle that pitted the morality of Greece, once the cradle of civilization, against the barbarism of the Ottoman Empire. The writings of Lord Byron were particularly in vogue in France in the 1820's and 30's. His passionate involvement with the Greek freedom fighters and his tragic death at Missolonghi in April of 1824 "martyrized" him in the eyes of the Romantics. Of all Byron's Turkish Tales, no poem had more impact on French artists as the The Giaour. First published in 1813, Colin would have known the work through Am‚d‚e Pichot's translation, widely distributed in France. The Giaour, a Venetian renegade in the service of the Turk Hassan, attempts to elope with one of Hassan's wives, Leila. When their plans are discovered, Leila is drowned on Hassan's orders and the Giaour eventually kills Hassan as an act of revenge. Not surprisingly, the melodrama of the story and its colorful characters provided a rich visual sourcebook that inspired a generation of artists sympathetic to the Greek cause. Often confused with the work exhibited at the 1831 Salon as Le Giaour; sujet de Lord Byron, the present work is now confirmed as the painting Colin debuted in 1826 under the title of Le Giaour at the first of two fund-raising exhibitions at Galerie Lebrun, Au Profit des Grecs. Widely regarded as Colin's most accomplished work, Le Giaour not only embodies all the drama and emotional fervor characteristic of early Romantic painting, but within the considerable body of Byronic subject matter, it remains one of the most ambitious representations of a Byronic hero. Painted in 1826, at the height of French-Panhellenic sentiment, the present work stands, as one scholar notes, as "a further example of the elan of the 1820's when so many artists produced work they were never again to surpass" (Johannides, op.cit., p. 496). Against the backdrop of a dramatic cloud-filled sky and war-torn landscape, the Giaour stands triumphant over the lifeless body of Hassan sprawled beneath his feet. Holding a blood-stained sword in his right hand, he seems posed to deal the final blow. Particularly beautiful atmospheric effects are achieved from the sweeping movement of the storm clouds that echo the atrocities on the battlefield. The rearing black horse, reminiscent of the wild stallions that so fascinated Gericault, creates a strong diagonal across the picture plane. The popularity of the present work is testified to by existence of another smaller version. Le Giaour, sujet tire de Byron, exhibited at the Salon of 1831 under no. 375 is similar in composition and known only through a line engraving executed in 1833 (fig. 1). Horace Vernet capitalized on Colin's composition in a later work Le Giaour, vainqueur d'Hassan (fig. 2) (sold Christie's, London, 29 June 1999, lot 3). The revolutionary climate in Greece united artists on a political front and the resulting comradship fostered group efforts such as the ground breaking Galerie Lebrun show. If on a political level "the Greek exhibitiion" was an important venue in its aim to promote awareness and financial support for the cause, on an artistic level, it became, in the absence of a Salon, "the principal forum for the developments in French Painting since 1845" (Noon, op. cit., p. 54). For nearly a decade Hellenic inspired subjects were prominently featured in exhibitions at the Mus‚e Colbert and Cambrai. Colin would contribute more works to the show including Episode de la Guerre Actuelle en Grecque, a larger battle scene presented in reportage style, commonly mistaken for the present work and now in a private collection (see Burlington Magazine, June 1984, p. 373). Its presence at the exhibition is significant and Patrick Noon even suggests that Colin intended the work as a pendant to Le Giaour. Delacroix's contribution to French painting was immense and his relationship with Colin during these years is only now being more fully explored. Often drawing upon the wealth of Bryonic imagery widely circulated through prints, he devoted no less than six paintings and at least one lithograph to the theme of the Giaour (see The Giaour Contemplating the Death of Hassan, 1828-30 (Johnson, 1981, no. 138) and The Combat of the Giaour and the Pasha, 1826, (Johnson, 1981, no. 114; Art Institute of Chicago). A few years earlier, Th‚odore G‚ricault, a devote admirer of Byron, was exploring Byronic themes as testified to by his atmospheric watercolor Le Giaour, 1822-23 (fig. 3). In the 1820's, Colin was traveling and working closely with Delacroix and, as Patrick Noon points out, may even have been sharing a studio together with Delacroix and Bonington. The stylistic affinities in their work and similarity in subjects alone are enough to affirm that Delacroix was a guiding force and a notable influence on Colin's work. The swift movement of Delacroix's brush is imbued with an emotional intensity and complexity that is unrivaled. As shown in the present work, Colin seeks to imitate his fluid brushwork as shown in the beautiful intensely colored passages of the Giaour's flowing blue cape and red headscarf. Colin never personally visited Greece, thus his work is entirely a production of the studio. Yet from his sensitive rendering of the costume from the leg armour and white kilt to the girdle with pistols and swords, it is evident that he had access to traditional costume of the day. Colin's figure of the Giaour is likely based on sketches of Count Demitri de Palatinous, a wealthy Greek refuge‚ who passed though Delacroix's studio in the winter of 1825. Graphite sketches by Colin of a similar figure in revolutionary costume (see Shepard Gallery, Non-dissenters, exh. cat., 1976) indicates that he was most probably present in the studio during the various sittings. The present work shares even more striking compositional similarities with Delacroix's Greece on the Ruins of Missolonghi (fig. 4). Painted the same year shortly after the Greek army's crushing defeat at Missolonghi, the work was exhibited at the second show at Galerie Lebrun and thus slightly post-dates Colin's work. While markedly different in size, they are similar in many respects, suggesting the possibility that Delacroix was drawing heavily upon Colin's composition. As in Le Giaour, Delacroix's model dominates the foreground, behind her a ruined wasteland. Undeniably, both paintings, on a psychological level, are exploited for their propoganda value - the position of both their hands remains open, their eyes look imploring to the sky. For the Giaour, it symbolizes a call for vengence - for Delacroix's Greece, a promise one day, to rise victorious. The present work has been requested for the upcoming exhibition Romantic Painting in England and France, c. 1820-1840, to be held in 2003 at the Tate Britain, Metropolitan Museum of Art and the Minneapolis Institute of Art. (fig. 1) After Alexandre Colin, Le Giaour contemplant Hassan, engraving, 1833. (fig. 2) Horace Vernet, Le Giaour, vainqueur d'Hassan, Private Collection. (fig. 3) Th‚odore G‚ricault, Le Giaour, 1822-23, Los Angeles, J. Paul Getty Museum. (fig. 4) EugŠne Delacroix, Greece on the Ruins of Missolonghi, Mus‚e des Beaux-Arts, Bordeaux.

Lot 11: Alexandre-Marie Colin (French, 1789-1875)

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Description: Le Giaour signed and dated 'A. Colin 1826' (lower left) oil on canvas 39 1/8 x 31 7/8 in. (99.5 x 81 cm.) Painted in 1826 PROVENANCE The Fine Art Society, Ltd., London, 1980. Acquired from the above by the present owner, 1980. LITERATURE P. Joannides, "Colin, Delacroix, Byron and the Greek War of Independence," Burlington Magazine, August 1983, vol. CXXV, p. 497, no. 93 (illustrated). P. Noon, Richard Parkes Bonington: On the Pleasures of Painting, New Haven, 1991, p. 170 (under no. 65). EXHIBITION Paris, Galerie Lebrun, Explication des Ouvrages de Peinture expos‚ au profit des Grecs, 15 May 1826, no. 31. Cambrai, 15 August-15 September 1826, no. 78. Paris, Mus‚e Colbert, Catalogue des Tableaux et Objets d'art expos‚s dans le Mus‚e Colbert, November 1829, no. 68; 2nd exhibition, December 1829, no. 87; 3rd exhibition, February 1830, no. 221. London, The Fine Art Society, Travellers beyond the Grand Tour, 23 June-25 July 1980, ex-catalogue. NOTES Although Alexandre-Marie Colin never attained the celebrity status of his more famous contemporaries such as Delacroix and Girodet, he remains a pivotal figure in the Romantic painting movement in early 19th Century France. Born in Paris in 1798, he entered the Ecole des Beaux-Arts at the age of fifteen as a pupil of Girodet. A frequent participant at the yearly Salon, he was honored with a first class medal in 1840. While relatively little is known about his life, he was a prolific painter. From portraiture to landscape, Colin explored a wide range of subject matter, yet his oeuvre is particularly noted for subjects inspired from history and literature. The long and drawn-out Greek struggle for Independence against Ottoman rule (1821-32) strongly resonated with the artists, writers and intellectuals throughout Europe. The response from the artistic community in France was especially strong particularly among the first generation of French Romantic painters which included Colin and a circle of Romantic painters, EugŠne Delacroix, Th‚odore G‚ricault and Richard-Parkes Bonington. The Greek-Turkish conflict symbolized not only a struggle for nationalism, already a highly charged issue during the time, but an East-West struggle that pitted the morality of Greece, once the cradle of civilization, against the barbarism of the Ottoman Empire. The writings of Lord Byron were particularly in vogue in France in the 1820's and 30's. His passionate involvement with the Greek freedom fighters and his tragic death at Missolonghi in April of 1824 "martyrized" him in the eyes of the Romantics. Of all Byron's Turkish Tales, no poem had more impact on French artists as the The Giaour. First published in 1813, Colin would have known the work through Am‚d‚e Pichot's translation, widely distributed in France. The Giaour, a Venetian renegade in the service of the Turk Hassan, attempts to elope with one of Hassan's wives, Leila. When their plans are discovered, Leila is drowned on Hassan's orders and the Giaour eventually kills Hassan as an act of revenge. Not surprisingly, the melodrama of the story and its colorful characters provided a rich visual sourcebook that inspired a generation of artists sympathetic to the Greek cause. Often confused with the work exhibited at the 1831 Salon as Le Giaour; sujet de Lord Byron, the present work is now confirmed as the painting Colin debuted in 1826 under the title of Le Giaour at the first of two fund-raising exhibitions at Galerie Lebrun, Au Profit des Grecs. Widely regarded as Colin's most accomplished work, Le Giaour not only embodies all the drama and emotional fervor characteristic of early Romantic painting, but within the considerable body of Byronic subject matter, it remains one of the most ambitious representations of a Byronic hero. Painted in 1826, at the height of French-Panhellenic sentiment, the present work stands, as one scholar notes, as "a further example of the elan of the 1820's when so many artists produced work they were never again to surpass" (Johannides, op.cit., p. 496). Against the backdrop of a dramatic cloud-filled sky and war-torn landscape, the Giaour stands triumphant over the lifeless body of Hassan sprawled beneath his feet. Holding a blood-stained sword in his right hand, he seems posed to deal the final blow. Particularly beautiful atmospheric effects are achieved from the sweeping movement of the storm clouds that echo the atrocities on the battlefield. The rearing black horse, reminiscent of the wild stallions that so fascinated Gericault, creates a strong diagonal across the picture plane. The popularity of the present work is testified to by existence of another smaller version. Le Giaour, sujet tire de Byron, exhibited at the Salon of 1831 under no. 375 is similar in composition and known only through a line engraving executed in 1833 (fig. 1). Horace Vernet capitalized on Colin's composition in a later work Le Giaour, vainqueur d'Hassan (fig. 2) (sold Christie's, London, 29 June 1999, lot 3). The revolutionary climate in Greece united artists on a political front and the resulting comradship fostered group efforts such as the ground breaking Galerie Lebrun show. If on a political level "the Greek exhibitiion" was an important venue in its aim to promote awareness and financial support for the cause, on an artistic level, it became, in the absence of a Salon, "the principal forum for the developments in French Painting since 1845" (Noon, op. cit., p. 54). For nearly a decade Hellenic inspired subjects were prominently featured in exhibitions at the Mus‚e Colbert and Cambrai. Colin would contribute more works to the show including Episode de la Guerre Actuelle en Grecque, a larger battle scene presented in reportage style, commonly mistaken for the present work and now in a private collection (see Burlington Magazine, June 1984, p. 373). Its presence at the exhibition is significant and Patrick Noon even suggests that Colin intended the work as a pendant to Le Giaour. Delacroix's contribution to French painting was immense and his relationship with Colin during these years is only now being more fully explored. Often drawing upon the wealth of Bryonic imagery widely circulated through prints, he devoted no less than six paintings and at least one lithograph to the theme of the Giaour (see The Giaour Contemplating the Death of Hassan, 1828-30 (Johnson, 1981, no. 138) and The Combat of the Giaour and the Pasha, 1826, (Johnson, 1981, no. 114; Art Institute of Chicago). A few years earlier, Th‚odore G‚ricault, a devote admirer of Byron, was exploring Byronic themes as testified to by his atmospheric watercolor Le Giaour, 1822-23 (fig. 3). In the 1820's, Colin was traveling and working closely with Delacroix and, as Patrick Noon points out, may even have been sharing a studio together with Delacroix and Bonington. The stylistic affinities in their work and similarity in subjects alone are enough to affirm that Delacroix was a guiding force and a notable influence on Colin's work. The swift movement of Delacroix's brush is imbued with an emotional intensity and complexity that is unrivaled. As shown in the present work, Colin seeks to imitate his fluid brushwork as shown in the beautiful intensely colored passages of the Giaour's flowing blue cape and red headscarf. Colin never personally visited Greece, thus his work is entirely a production of the studio. Yet from his sensitive rendering of the costume from the leg armour and white kilt to the girdle with pistols and swords, it is evident that he had access to traditional costume of the day. Colin's figure of the Giaour is likely based on sketches of Count Demitri de Palatinous, a wealthy Greek refuge‚ who passed though Delacroix's studio in the winter of 1825. Graphite sketches by Colin of a similar figure in revolutionary costume (see Shepard Gallery, Non-dissenters, exh. cat., 1976) indicates that he was most probably present in the studio during the various sittings. The present work shares even more striking compositional similarities with Delacroix's Greece on the Ruins of Missolonghi (fig. 4). Painted the same year shortly after the Greek army's crushing defeat at Missolonghi, the work was exhibited at the second show at Galerie Lebrun and thus slightly post-dates Colin's work. While markedly different in size, they are similar in many respects, suggesting the possibility that Delacroix was drawing heavily upon Colin's composition. As in Le Giaour, Delacroix's model dominates the foreground, behind her a ruined wasteland. Undeniably, both paintings, on a psychological level, are exploited for their propoganda value - the position of both their hands remains open, their eyes look imploring to the sky. For the Giaour, it symbolizes a call for vengence - for Delacroix's Greece, a promise one day, to rise victorious. The present work has been requested for the upcoming exhibition Romantic Painting in England and France, c. 1820-1840, to be held in 2003 at the Tate Britain, Metropolitan Museum of Art and the Minneapolis Institute of Art. (fig. 1) After Alexandre Colin, Le Giaour contemplant Hassan, engraving, 1833. (fig. 2) Horace Vernet, Le Giaour, vainqueur d'Hassan, Private Collection. (fig. 3) Th‚odore G‚ricault, Le Giaour, 1822-23, Los Angeles, J. Paul Getty Museum. (fig. 4) EugŠne Delacroix, Greece on the Ruins of Missolonghi, Mus‚e des Beaux-Arts, Bordeaux.

Lot 11: Alexandre-Marie Colin (French, 1789-1875)

Estimated Price: Log in or create account to view price data

Description: Le Giaour signed and dated 'A. Colin 1826' (lower left) oil on canvas 39 1/8 x 31 7/8 in. (99.5 x 81 cm.) Painted in 1826 PROVENANCE The Fine Art Society, Ltd., London, 1980. Acquired from the above by the present owner, 1980. LITERATURE P. Joannides, "Colin, Delacroix, Byron and the Greek War of Independence," Burlington Magazine, August 1983, vol. CXXV, p. 497, no. 93 (illustrated). P. Noon, Richard Parkes Bonington: On the Pleasures of Painting, New Haven, 1991, p. 170 (under no. 65). EXHIBITION Paris, Galerie Lebrun, Explication des Ouvrages de Peinture expos‚ au profit des Grecs, 15 May 1826, no. 31. Cambrai, 15 August-15 September 1826, no. 78. Paris, Mus‚e Colbert, Catalogue des Tableaux et Objets d'art expos‚s dans le Mus‚e Colbert, November 1829, no. 68; 2nd exhibition, December 1829, no. 87; 3rd exhibition, February 1830, no. 221. London, The Fine Art Society, Travellers beyond the Grand Tour, 23 June-25 July 1980, ex-catalogue. NOTES Although Alexandre-Marie Colin never attained the celebrity status of his more famous contemporaries such as Delacroix and Girodet, he remains a pivotal figure in the Romantic painting movement in early 19th Century France. Born in Paris in 1798, he entered the Ecole des Beaux-Arts at the age of fifteen as a pupil of Girodet. A frequent participant at the yearly Salon, he was honored with a first class medal in 1840. While relatively little is known about his life, he was a prolific painter. From portraiture to landscape, Colin explored a wide range of subject matter, yet his oeuvre is particularly noted for subjects inspired from history and literature. The long and drawn-out Greek struggle for Independence against Ottoman rule (1821-32) strongly resonated with the artists, writers and intellectuals throughout Europe. The response from the artistic community in France was especially strong particularly among the first generation of French Romantic painters which included Colin and a circle of Romantic painters, EugŠne Delacroix, Th‚odore G‚ricault and Richard-Parkes Bonington. The Greek-Turkish conflict symbolized not only a struggle for nationalism, already a highly charged issue during the time, but an East-West struggle that pitted the morality of Greece, once the cradle of civilization, against the barbarism of the Ottoman Empire. The writings of Lord Byron were particularly in vogue in France in the 1820's and 30's. His passionate involvement with the Greek freedom fighters and his tragic death at Missolonghi in April of 1824 "martyrized" him in the eyes of the Romantics. Of all Byron's Turkish Tales, no poem had more impact on French artists as the The Giaour. First published in 1813, Colin would have known the work through Am‚d‚e Pichot's translation, widely distributed in France. The Giaour, a Venetian renegade in the service of the Turk Hassan, attempts to elope with one of Hassan's wives, Leila. When their plans are discovered, Leila is drowned on Hassan's orders and the Giaour eventually kills Hassan as an act of revenge. Not surprisingly, the melodrama of the story and its colorful characters provided a rich visual sourcebook that inspired a generation of artists sympathetic to the Greek cause. Often confused with the work exhibited at the 1831 Salon as Le Giaour; sujet de Lord Byron, the present work is now confirmed as the painting Colin debuted in 1826 under the title of Le Giaour at the first of two fund-raising exhibitions at Galerie Lebrun, Au Profit des Grecs. Widely regarded as Colin's most accomplished work, Le Giaour not only embodies all the drama and emotional fervor characteristic of early Romantic painting, but within the considerable body of Byronic subject matter, it remains one of the most ambitious representations of a Byronic hero. Painted in 1826, at the height of French-Panhellenic sentiment, the present work stands, as one scholar notes, as "a further example of the elan of the 1820's when so many artists produced work they were never again to surpass" (Johannides, op.cit., p. 496). Against the backdrop of a dramatic cloud-filled sky and war-torn landscape, the Giaour stands triumphant over the lifeless body of Hassan sprawled beneath his feet. Holding a blood-stained sword in his right hand, he seems posed to deal the final blow. Particularly beautiful atmospheric effects are achieved from the sweeping movement of the storm clouds that echo the atrocities on the battlefield. The rearing black horse, reminiscent of the wild stallions that so fascinated Gericault, creates a strong diagonal across the picture plane. The popularity of the present work is testified to by existence of another smaller version. Le Giaour, sujet tire de Byron, exhibited at the Salon of 1831 under no. 375 is similar in composition and known only through a line engraving executed in 1833 (fig. 1). Horace Vernet capitalized on Colin's composition in a later work Le Giaour, vainqueur d'Hassan (fig. 2) (sold Christie's, London, 29 June 1999, lot 3). The revolutionary climate in Greece united artists on a political front and the resulting comradship fostered group efforts such as the ground breaking Galerie Lebrun show. If on a political level "the Greek exhibitiion" was an important venue in its aim to promote awareness and financial support for the cause, on an artistic level, it became, in the absence of a Salon, "the principal forum for the developments in French Painting since 1845" (Noon, op. cit., p. 54). For nearly a decade Hellenic inspired subjects were prominently featured in exhibitions at the Mus‚e Colbert and Cambrai. Colin would contribute more works to the show including Episode de la Guerre Actuelle en Grecque, a larger battle scene presented in reportage style, commonly mistaken for the present work and now in a private collection (see Burlington Magazine, June 1984, p. 373). Its presence at the exhibition is significant and Patrick Noon even suggests that Colin intended the work as a pendant to Le Giaour. Delacroix's contribution to French painting was immense and his relationship with Colin during these years is only now being more fully explored. Often drawing upon the wealth of Bryonic imagery widely circulated through prints, he devoted no less than six paintings and at least one lithograph to the theme of the Giaour (see The Giaour Contemplating the Death of Hassan, 1828-30 (Johnson, 1981, no. 138) and The Combat of the Giaour and the Pasha, 1826, (Johnson, 1981, no. 114; Art Institute of Chicago). A few years earlier, Th‚odore G‚ricault, a devote admirer of Byron, was exploring Byronic themes as testified to by his atmospheric watercolor Le Giaour, 1822-23 (fig. 3). In the 1820's, Colin was traveling and working closely with Delacroix and, as Patrick Noon points out, may even have been sharing a studio together with Delacroix and Bonington. The stylistic affinities in their work and similarity in subjects alone are enough to affirm that Delacroix was a guiding force and a notable influence on Colin's work. The swift movement of Delacroix's brush is imbued with an emotional intensity and complexity that is unrivaled. As shown in the present work, Colin seeks to imitate his fluid brushwork as shown in the beautiful intensely colored passages of the Giaour's flowing blue cape and red headscarf. Colin never personally visited Greece, thus his work is entirely a production of the studio. Yet from his sensitive rendering of the costume from the leg armour and white kilt to the girdle with pistols and swords, it is evident that he had access to traditional costume of the day. Colin's figure of the Giaour is likely based on sketches of Count Demitri de Palatinous, a wealthy Greek refuge‚ who passed though Delacroix's studio in the winter of 1825. Graphite sketches by Colin of a similar figure in revolutionary costume (see Shepard Gallery, Non-dissenters, exh. cat., 1976) indicates that he was most probably present in the studio during the various sittings. The present work shares even more striking compositional similarities with Delacroix's Greece on the Ruins of Missolonghi (fig. 4). Painted the same year shortly after the Greek army's crushing defeat at Missolonghi, the work was exhibited at the second show at Galerie Lebrun and thus slightly post-dates Colin's work. While markedly different in size, they are similar in many respects, suggesting the possibility that Delacroix was drawing heavily upon Colin's composition. As in Le Giaour, Delacroix's model dominates the foreground, behind her a ruined wasteland. Undeniably, both paintings, on a psychological level, are exploited for their propoganda value - the position of both their hands remains open, their eyes look imploring to the sky. For the Giaour, it symbolizes a call for vengence - for Delacroix's Greece, a promise one day, to rise victorious. The present work has been requested for the upcoming exhibition Romantic Painting in England and France, c. 1820-1840, to be held in 2003 at the Tate Britain, Metropolitan Museum of Art and the Minneapolis Institute of Art. (fig. 1) After Alexandre Colin, Le Giaour contemplant Hassan, engraving, 1833. (fig. 2) Horace Vernet, Le Giaour, vainqueur d'Hassan, Private Collection. (fig. 3) Th‚odore G‚ricault, Le Giaour, 1822-23, Los Angeles, J. Paul Getty Museum. (fig. 4) EugŠne Delacroix, Greece on the Ruins of Missolonghi, Mus‚e des Beaux-Arts, Bordeaux.

Lot 11: *Horace Vernet (French, 1789-1863)

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Description: PORTRAIT OF REAR ADMIRAL CHARLES RENE MAGON DE MEDINE signed and dated 1816 oil on canvas 85 3/4 by 54 1/4 in. 217.8 by 137.8cm.

Lot 11: *Horace Vernet (French, 1789-1863)

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Description: PORTRAIT OF REAR ADMIRAL CHARLES RENE MAGON DE MEDINE signed and dated 1816 oil on canvas 85 3/4 by 54 1/4 in. 217.8 by 137.8cm.

Lot 11: *Horace Vernet (French, 1789-1863)

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Description: PORTRAIT OF REAR ADMIRAL CHARLES RENE MAGON DE MEDINE signed and dated 1816 oil on canvas 85 3/4 by 54 1/4 in. 217.8 by 137.8cm.

Lot 11: *Horace Vernet (French, 1789-1863)

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Description: PORTRAIT OF REAR ADMIRAL CHARLES RENE MAGON DE MEDINE signed and dated 1816 oil on canvas 85 3/4 by 54 1/4 in. 217.8 by 137.8cm.

Lot 13: Horace VERNET (1789-1863) «L'ours» Dessin au

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Description: Horace VERNET (1789-1863) «L'ours» Dessin au crayon, signé, annoté et daté 30 mars 1842. 24 x 18,5 cm. L'authenticité de cette oeuvre a été confirmée par M. DE BAYSER Expert Paris. Provenance:...

Lot 14: A plaster phrenology bust inscribed Horace Vernet,

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Description: -- 131/4in. (33.5cm.) high See Colour Illustration NOTES Emile-Jean Horace Vernet (1789 - 1863) was a painter who is best known for his depiction of French military other prowess. However, he had a wide range of subjects including; scenes taken from literature, the Bible, contemporary Italy, North Africa and the Middle East.

Lot 14: A plaster phrenology bust inscribed Horace Vernet,

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Description: -- 131/4in. (33.5cm.) high See Colour Illustration NOTES Emile-Jean Horace Vernet (1789 - 1863) was a painter who is best known for his depiction of French military other prowess. However, he had a wide range of subjects including; scenes taken from literature, the Bible, contemporary Italy, North Africa and the Middle East.

Lot 14: A plaster phrenology bust inscribed Horace Vernet,

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Description: -- 131/4in. (33.5cm.) high See Colour Illustration NOTES Emile-Jean Horace Vernet (1789 - 1863) was a painter who is best known for his depiction of French military other prowess. However, he had a wide range of subjects including; scenes taken from literature, the Bible, contemporary Italy, North Africa and the Middle East.

Lot 14: A plaster phrenology bust inscribed Horace Vernet,

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Description: -- 131/4in. (33.5cm.) high See Colour Illustration NOTES Emile-Jean Horace Vernet (1789 - 1863) was a painter who is best known for his depiction of French military other prowess. However, he had a wide range of subjects including; scenes taken from literature, the Bible, contemporary Italy, North Africa and the Middle East.

Lot 15: Unknown (19th century) [after Horace Vernet (1789-1863)] In pursuit of Shipwrecked

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Description: Unknown (19th century) [after Horace Vernet (1789-1863)] In pursuit of Shipwrecked oil on canvas, 27,5 x 39,3 cm.

Lot 17: VERNET, Horace (1789-1863)

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Description: Academie d'homme Crayon 1,6 x 126,8 inches (4.0 x 322.0cm).

Lot 17: VERNET, Horace (1789-1863)

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Description: Academie d'homme Crayon 1,6 x 126,8 inches (4.0 x 322.0cm).

Lot 17: VERNET, Horace (1789-1863)

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Description: Academie d'homme Crayon 1,6 x 126,8 inches (4.0 x 322.0cm).

Lot 17: VERNET, Horace (1789-1863)

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Description: Academie d'homme Crayon 1,6 x 126,8 inches (4.0 x 322.0cm).

Lot 19: VERNET Horace (1789-1863). (École de). GRENADIERS

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Description: VERNET Horace (1789-1863). (École de). GRENADIERS DE LA GARDE A WATERLOO Dessin à la plume et à l'aquarelle signé et daté « 1815 » en bas. 22,5 x 17 cm. Encadré sous verre. B.E.

Lot 19: Horace VERNET (Paris 1789 - 1863) Portrait du

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Description: Horace VERNET (Paris 1789 - 1863) Portrait du sculpteur Bertel Thorvaldsen accoudé devant le buste de Vernet "Huile sur toile signée à droite sur le plateau de la sellette, avec un envoi à son illustre ami Thorvaldsen" "96,5 x 74 cm" "Bertel Thorvaldsen (1770-1834) était un sculpteur danois qui se rendit pour la première fois à Rome en 1797. Il y fit l'essentiel de sa carrière et devint l'un des plus importants représentants de la sculpture néoclassique. Arrivé en tant que pensionnaire des Beaux-Arts de l'Académie de Copenhague, il retourna au Danemark pour quelques mois, en 1819 avant d'y retourner définitivement en 1838." "Thorvaldsen possédait cinq ateliers romains et son aeuvre fut diffusée dans l'Europe entière. A sa mort, son fonds d'atelier et ses collections, dont nombre de tableaux peints à Rome par ses contemporains, revinrent à la ville de Copenhague qui les exposa dans l'actuel Musée Thorvaldsen." "Deux versions de ce tableau y sont conservées. L'une d'entre elles, datée de 1833, est considér e comme originale. Le Metropolitan Museum of Art de New York en conserve une autre version. Thorvaldsen est représenté au plus " "fort de sa célébrité, dans les années 1830, lorsque Vernet dirigeait l'Académie de France à Rome (1828-1834). Les deux hommes s'appréciaient ; ainsi le sculpteur s'accoude à une sellette sur lequel repose le buste du peintre auquel il travaille encore." Provenance : "- Vente Rudolph Lepke's Kunst-Auctions-Haus, Berlin, 1 avril 1930, lot n° 140. Repr. au catalogue" "- Vente Parke-Bernet Galleries, New York, 29 avril 1965, lot n° 76" Exposition : "- ""Consulat, Empire, Restauration : Art in early XIX century France"", Galerie Wildenstein, avril-mai 1982 à New York, reproduit p. 124 du catalogue"

Lot 20: Emile Jean Horace Vernet (French, 1789-1863)

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Description: The lion huntersigned, inscribed and dated 'H. Vernet Rome 1833.' (lower right)oil on canvas14 1/4 x 11 1/2 in. (36.8 x 29.2 cm.)Painted in 1833.

Lot 22: VERNET, HORACE (1789-1863)

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Description: At the tomb of Colonel Monginot Oil/canvas 50.8x61.1 cm Inscr. D verso.

Lot 22: VERNET, HORACE (1789-1863)

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Description: At the tomb of Colonel Monginot Oil/canvas 50.8x61.1 cm Inscr. D verso.

Lot 22: VERNET, HORACE (1789-1863)

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Description: At the tomb of Colonel Monginot Oil/canvas 50.8x61.1 cm Inscr. D verso.

Lot 22: VERNET, HORACE (1789-1863)

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Description: At the tomb of Colonel Monginot Oil/canvas 50.8x61.1 cm Inscr. D verso.

Lot 22: Horace Vernet (French, 1789-1863)

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Description: L'EnlŠvement signed and dated 'H. Vernet Rome 1833' (lower left) oil on canvas 361/4 x 28 5/8 in. (92 x 72.8 cm.) Painted in 1833 NOTES L'EnlŠvement was painted in Rome in 1833 when Vernet was residing there as a director of the French Academy at the Villa M‚decis. The scene, clearly inspired by a literary subject, depicts a young maiden being ravished in the early hours by a group of six, presumably Turkish, brigands. It has been suggested that the scene might represent a modernised version of The Abduction of Angelica, a passage taken from Ariosto's Orlando Furioso, but the exact literary citation remains unclear. This work may also be an allusion to Vernet's support for the Greek struggle for independence; the young woman is in classical guise representing Greece being abducted by Turkish assailants. What is certain is that it is inspired by the type of literary sources and subjects, from medieval romance to the poetry of Byron, that influenced and characterised the work of the painters of the Romantic movement. There is another version of this painting, now in the National Museum of Foreign Art in Riga, which was executed by Vernet in 1820. It is less romantic in style and, although more detailed, is lacking the superb contrasts of light and shade as well as the dramatic impact of the present work.

Lot 22: Horace Vernet (French, 1789-1863)

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Description: L'EnlŠvement signed and dated 'H. Vernet Rome 1833' (lower left) oil on canvas 361/4 x 28 5/8 in. (92 x 72.8 cm.) Painted in 1833 NOTES L'EnlŠvement was painted in Rome in 1833 when Vernet was residing there as a director of the French Academy at the Villa M‚decis. The scene, clearly inspired by a literary subject, depicts a young maiden being ravished in the early hours by a group of six, presumably Turkish, brigands. It has been suggested that the scene might represent a modernised version of The Abduction of Angelica, a passage taken from Ariosto's Orlando Furioso, but the exact literary citation remains unclear. This work may also be an allusion to Vernet's support for the Greek struggle for independence; the young woman is in classical guise representing Greece being abducted by Turkish assailants. What is certain is that it is inspired by the type of literary sources and subjects, from medieval romance to the poetry of Byron, that influenced and characterised the work of the painters of the Romantic movement. There is another version of this painting, now in the National Museum of Foreign Art in Riga, which was executed by Vernet in 1820. It is less romantic in style and, although more detailed, is lacking the superb contrasts of light and shade as well as the dramatic impact of the present work.

Lot 22: Horace Vernet (French, 1789-1863)

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Description: L'EnlŠvement signed and dated 'H. Vernet Rome 1833' (lower left) oil on canvas 361/4 x 28 5/8 in. (92 x 72.8 cm.) Painted in 1833 NOTES L'EnlŠvement was painted in Rome in 1833 when Vernet was residing there as a director of the French Academy at the Villa M‚decis. The scene, clearly inspired by a literary subject, depicts a young maiden being ravished in the early hours by a group of six, presumably Turkish, brigands. It has been suggested that the scene might represent a modernised version of The Abduction of Angelica, a passage taken from Ariosto's Orlando Furioso, but the exact literary citation remains unclear. This work may also be an allusion to Vernet's support for the Greek struggle for independence; the young woman is in classical guise representing Greece being abducted by Turkish assailants. What is certain is that it is inspired by the type of literary sources and subjects, from medieval romance to the poetry of Byron, that influenced and characterised the work of the painters of the Romantic movement. There is another version of this painting, now in the National Museum of Foreign Art in Riga, which was executed by Vernet in 1820. It is less romantic in style and, although more detailed, is lacking the superb contrasts of light and shade as well as the dramatic impact of the present work.

Lot 22: Horace Vernet (French, 1789-1863)

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Description: L'EnlŠvement signed and dated 'H. Vernet Rome 1833' (lower left) oil on canvas 361/4 x 28 5/8 in. (92 x 72.8 cm.) Painted in 1833 NOTES L'EnlŠvement was painted in Rome in 1833 when Vernet was residing there as a director of the French Academy at the Villa M‚decis. The scene, clearly inspired by a literary subject, depicts a young maiden being ravished in the early hours by a group of six, presumably Turkish, brigands. It has been suggested that the scene might represent a modernised version of The Abduction of Angelica, a passage taken from Ariosto's Orlando Furioso, but the exact literary citation remains unclear. This work may also be an allusion to Vernet's support for the Greek struggle for independence; the young woman is in classical guise representing Greece being abducted by Turkish assailants. What is certain is that it is inspired by the type of literary sources and subjects, from medieval romance to the poetry of Byron, that influenced and characterised the work of the painters of the Romantic movement. There is another version of this painting, now in the National Museum of Foreign Art in Riga, which was executed by Vernet in 1820. It is less romantic in style and, although more detailed, is lacking the superb contrasts of light and shade as well as the dramatic impact of the present work.

Lot 22: *Emile Jean Horace Vernet (French, 1789-1863)

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Description: AJU MURAT AND THE COSSACK signed and dated S. Petersbourg 1844 oil on canvas 23 by 20 in. 58.4 by 50.8 cm. Provenance: Private Collection, New York Exhibited: New Orleans, New Orleans Museum of Art; New York, Stair Sainty Matthiesen, Inc.; Cincinnati, Taft Museum: Romance and Chivalry: History and Literature Reflected in Early Nineteenth-Century French Painting, 1996-97, No. 56 Literature: Nadia Tscherny and Guy Stair Sainty, Romance & Chivalry: History and Literature Reflected in Early Nineteenth-Century French Painting, exhibition catalogue, London and New York, 1996, No. 56, pp. 20, 22, 266, illustrated p. 22.

Lot 22: *Emile Jean Horace Vernet (French, 1789-1863)

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Description: AJU MURAT AND THE COSSACK signed and dated S. Petersbourg 1844 oil on canvas 23 by 20 in. 58.4 by 50.8 cm. Provenance: Private Collection, New York Exhibited: New Orleans, New Orleans Museum of Art; New York, Stair Sainty Matthiesen, Inc.; Cincinnati, Taft Museum: Romance and Chivalry: History and Literature Reflected in Early Nineteenth-Century French Painting, 1996-97, No. 56 Literature: Nadia Tscherny and Guy Stair Sainty, Romance & Chivalry: History and Literature Reflected in Early Nineteenth-Century French Painting, exhibition catalogue, London and New York, 1996, No. 56, pp. 20, 22, 266, illustrated p. 22.

Lot 22: *Emile Jean Horace Vernet (French, 1789-1863)

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Description: AJU MURAT AND THE COSSACK signed and dated S. Petersbourg 1844 oil on canvas 23 by 20 in. 58.4 by 50.8 cm. Provenance: Private Collection, New York Exhibited: New Orleans, New Orleans Museum of Art; New York, Stair Sainty Matthiesen, Inc.; Cincinnati, Taft Museum: Romance and Chivalry: History and Literature Reflected in Early Nineteenth-Century French Painting, 1996-97, No. 56 Literature: Nadia Tscherny and Guy Stair Sainty, Romance & Chivalry: History and Literature Reflected in Early Nineteenth-Century French Painting, exhibition catalogue, London and New York, 1996, No. 56, pp. 20, 22, 266, illustrated p. 22.

Lot 22: *Emile Jean Horace Vernet (French, 1789-1863)

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Description: AJU MURAT AND THE COSSACK signed and dated S. Petersbourg 1844 oil on canvas 23 by 20 in. 58.4 by 50.8 cm. Provenance: Private Collection, New York Exhibited: New Orleans, New Orleans Museum of Art; New York, Stair Sainty Matthiesen, Inc.; Cincinnati, Taft Museum: Romance and Chivalry: History and Literature Reflected in Early Nineteenth-Century French Painting, 1996-97, No. 56 Literature: Nadia Tscherny and Guy Stair Sainty, Romance & Chivalry: History and Literature Reflected in Early Nineteenth-Century French Painting, exhibition catalogue, London and New York, 1996, No. 56, pp. 20, 22, 266, illustrated p. 22.

Lot 23: Horace Emilie Jean Vernet

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Description: French 1789-1863 a monk praying oil on canvas 41 by 33cm., 16 by 13in.

Lot 23: Horace Emilie Jean Vernet

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Description: French 1789-1863 a monk praying oil on canvas 41 by 33cm., 16 by 13in.

Lot 23: Horace Emilie Jean Vernet

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Description: French 1789-1863 a monk praying oil on canvas 41 by 33cm., 16 by 13in.

Lot 23: Horace Emilie Jean Vernet

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Description: French 1789-1863 a monk praying oil on canvas 41 by 33cm., 16 by 13in.

Lot 23: VERNET Horace (1789 - 1863), d'après "La déchéance

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Description: VERNET Horace (1789 - 1863), d'après "La déchéance de l'Empereur Napoléon Ier" Gravure en ...

Lot 23: Reitergefecht in der Schlacht bei Hanau (nach

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Description: Reitergefecht in der Schlacht bei Hanau (nach Horace Vernet) Wohl KPM Berlin, um 1830 Berliner Form; Bildfeld die gesamte Wandung umgreifend; in bunten Muffelfarben Darstellung eines Reitergefechts in der Schlacht bei Hanau am 30. Oktober 1813 nach einem Gemälde von Horace Vernet (1789 - 1863) für das Musée du Versailles. Montierung: Silber. (Telefonisches Bieten ist nicht möglich) H=11,2 cm

Lot 24: HORACE VERNET Figural and Composition Studies.

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Description: HORACE VERNET Figural and Composition Studies. Pen and ink and wash on cream wove paper mounted on board. 307x190 mm; 12 1/8x7 1/2 inches. Signed in ink, lower right recto.

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Lot 25: Horace VERNET (Paris 1789 - 1863) Portrait du

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Description: Horace VERNET (Paris 1789 - 1863) Portrait du maréchal de Canrobert Toile. 46 x 38 cm Restaurations Provenance: Collection Delaroche Vernet. Expositions: Les trois Vernet, Paris, Ecole des Beaux-Arts,...

Lot 26: VERNET, HORACE (1789-1863)

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Description: La prise de la Smalah d'Abd el-Kader Lithographie couleurs, par Julien 77x80 cm Cachet.

Lot 26: VERNET, HORACE (1789-1863)

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Description: La prise de la Smalah d'Abd el-Kader Lithographie couleurs, par Julien 77x80 cm Cachet.

Lot 26: VERNET, HORACE (1789-1863)

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Description: La prise de la Smalah d'Abd el-Kader Lithographie couleurs, par Julien 77x80 cm Cachet.

Lot 26: VERNET, HORACE (1789-1863)

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Description: La prise de la Smalah d'Abd el-Kader Lithographie couleurs, par Julien 77x80 cm Cachet.

Lot 26: Horace VERNET (Paris 1789 - 1863) Le Bivouac de

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Description: Horace VERNET (Paris 1789 - 1863) Le Bivouac de cosaques Toile 50 x 61 cm Dans un cadre en bois et stuc redoré. (Restaurations) Provenance: Collection Delaroche Vernet. Exposition: Probablement Salon...

Lot 27: VERNET, Horace (1789-1863, French)

Description: Napoleon's troops battling the troops of Czar Alexander I, s.d.1825 Oil Painting (52x39in).

Lot 27: VERNET, Horace (1789-1863, French)

Description: Napoleon's troops battling the troops of Czar Alexander I, s.d.1825 Oil Painting (52x39in).

Lot 27: VERNET, Horace (1789-1863, French)

Description: Napoleon's troops battling the troops of Czar Alexander I, s.d.1825 Oil Painting (52x39in).

Lot 27: VERNET, Horace (1789-1863, French)

Description: Napoleon's troops battling the troops of Czar Alexander I, s.d.1825 Oil Painting (52x39in).