Eugène Le Roux, “Course de Chevaux”, c.1849–62, after Théodore Géricault

Eugène Le Roux (aka Eugène Leroux) (1811–1863)

“Course de Chevaux” (“Horse Race”) (aka “Entrance to the Arena”; “Course de Chevaux Libres à Rome”; “Free Horse Racing in Rome”), c.1848, plate 30 from the series of 144 plates (Volume 1 , 1ère Année, 2ème livraison [Plates 1–72]), “Les Artistes Anciens et Modernes”, printed by Bertauts (fl.1830s–1880) in Paris, after Théodore Géricault’s (aka Jean Louis André Théodore Géricault) (1791–1824) painting, “Course de Chevaux Libres à Rome”, in the Musée du Louvre, Paris (https://collections.louvre.fr/en/ark:/53355/cl010059217 [R.F. 2042]).

Palais des Beaux Arts de Lille offers the following description of one of Géricault’s studies for the painting, “Course de Chevaux Libres à Rome”: (transl.) “It's February in Rome, in the middle of Carnival. Today marks the traditional free-range horse race, the highlight of the festivities. Grooms come to show off their finest stallions, watched by the city's notables. The horses are let loose along the Corso, Rome's main thoroughfare, which then takes on the appearance of an arena” (https://pba.lille.fr/Collections/Chefs-d-OEuvre/Peintures-XVI-sup-e-sup-XXI-sup-e-sup-siecles/Course-de-chevaux-libres-a-Rome).

Lithograph on buff chine collé on heavy wove paper with wide margins as published and blind-stamped with the mark of “Les Artistes Anciens et Modernes” (Lugt 36a) below the image borderline at centre.

Size: (sheet) 31.5 x 44.8 cm; (chine collé) 19 x 25.5cm.

Numbered in plate above the image borderline: (upper right) “30”.

Lettered in plate below the image borderline: (left) “Géricault, pinx.”; (centre) “Imp. Bertauts, Paris.”; (right) “E. Le Roux, lith/ Collection de M^r. Marcille.”

Blind stamped: (in oval at lower centre) “LES ARTISTES/ ANCIENS/ ET MODERNES”.

The British Museum offers the following description of this print: “Plate 30: in the foreground, Roman slaves restraining horses before their release into the hippodrome, with classical buildings and crowds visible in the background; after Théodore Géricault
Lithograph on buff chine collé” (https://www.britishmuseum.org/collection/object/P_1936-0302-14-31).

Condition: a strong and well-printed impression with generously wide margins (as published) in a near pristine condition with no tears, holes, folds, abrasions, significant stains, or signs of handling.

I am selling this dramatic and romantic lithograph showing stallions being restrained before being freed into the Via del Corso—a central thoroughfare in Rome connecting Piazza del Popolo and Piazza Venezia—that I understand had been configured at the time into an arena during the February Carnival, for the total cost of AU$244 (approximately US$160.60, EUR 136.27 or GBP 116.80), including express mail shipping worldwide. Import duties, if any, are the responsibility of the buyer.

If you are interested in purchasing this beautifully executed lithograph after Géricault, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Eugène Le Roux’s lithograph, “Officier de Chasseurs à Cheval de la Garde Impériale Chargeant”, c1848, after Théodore Géricault

Eugène Le Roux (aka Eugène Leroux) (1811–1863)

“Officier de Chasseurs à Cheval de la Garde Impériale Chargeant” (Charging Officer of the Mounted Hunters of the Imperial Guard) (aka “Le Guide à Cheval”; “Le Guide”), c1848, plate 89 in the series of 144 plates (Volume 2 , fourth livraison [Plates 73–96]), “Les Artistes Anciens et Modernes”, printed by Bertauts (fl. 1830s–1880) in Paris, after Théodore Géricault’s (aka Jean Louis André Théodore Géricault) (1791–1824) painted study (c1812)  of the same composition in the Musée du Louvre, Paris (see https://commons.wikimedia.org/wiki/File:G%C3%A9ricault_-_Officier_de_chasseurs_%C3%A0_cheval_de_la_garde_imp%C3%A9riale_chargeant,_esquisse,_RF210.jpg?uselang=fr).

Lithograph printed in black ink on buff chine collé on heavy wove paper with wide margins as published and blind-stamped at lower centre.

Size: (sheet) 44.8 x 31.2 cm; (image borderline) 25.9 x 19.3 cm.

Numbered and lettered in plate: (upper right) “89”; (lower left) “Géricault, pinx.”; (lower centre) “Imp. Bertauts, Paris.”; (lower right) “E. Le Roux, lith.”

Blind stamped: (in oval at lower centre) “LES ARTISTES/ ANCIENS/ ET MODERNES”.

IFF 84 (Inventaire du Fonds Français: Bibliothèque Nationale, Département des Estampes, Paris).

The British Museum offers the following description of this print: “Plate 89: officer of the Imperial guard on a rearing horse, turned to left, brandishing his sabre, part of a cannon (?) further away to left; after Géricault” (https://www.britishmuseum.org/collection/object/P_1889-0608-409).

See also the description offered by Musée d’art et d'histoire: https://collections.geneve.ch/mah/oeuvre/officier-de-chasseurs-cheval-de-la-garde-imperiale-chargeant/e-2011-0778.

Condition: a strong and well-printed impression with generously wide margins (as published). Beyond age-toned (darkened) edges, the sheet is in a near pristine condition for its age with no tears, holes, folds, abrasions, significant stains, foxing or signs of handling.

I am selling this dramatic lithograph showing Géricault’s friend, Alexandre Dieudonné—an officer of the chasseurs of the Imperial Guard—wearing a magnificent plumed shakos while welding his sabre from a rearing horse—a somewhat theatrical pose that Nina Athanassoglou-Kallmyer in (2010) “Théodore Géricault” (London, Phaidon) interestingly cites the famous art historian, Norman Bryson’s viewpoint: “overstated virility in compensation for thwarted masculinity at a time of defeat and humiliation” (p. 32)—for a total cost of AU$244 (currently US$174.20/EUR154.61/GBP131.60 at the time of this listing) including postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing this beautifully executed lithograph after Géricault, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold

Léon Cogniet’s lithograph after Théodore Géricault’s design, “Two Dapple-Grays Being Exercised’, 1822

Théodore Géricault (1791–1824) (designer) in collaboration with Léon Cogniet (1796–1865) (lithographer).

“Deux Chevaux Gris Pommelé Que L'on Promène” (Two Dapple-Grays Being Exercised), 1822, from the series of twelve lithographs and the title plate, “Études de Chevaux” (Horse Studies) (aka “Grands Chevaux” [Great Horses]), oringinally printed by François le Villain (aka Villain; Ch Villain; F Villain) (fl.1822–1852), published by Gihaut Frères (fl.1815–1871) in Paris in 1822.

Lithograph on wove paper backed with a support sheet.

Size: (sheet) 38.8 x 54 cm; (image borderline) 29.3 x 42.2 cm.

Lettered on plate below the image borderline: (left) "Géricault del.”

State ii (of ii) with the erasure of “Lith. de Villain” at lower right (signifying state ii) (see Loys Delteil 1902 catalogue: https://archive.org/details/gri_33125005992975/page/n113/mode/2up).

Delteil 83.II (Loys Delteil 1902, “Le Peintre-Graveur Illustré [XIXe et XXe siècles]: Théodore Géricault”, vol. 18, Paris, Loys Delteil, p. 115).

The British Museum offers the following description of this print:

“Seen in profile to left, two horses wearing saddlecloths canter on a path, the one in the foreground is unmounted, held by the reins of the rider on the other horse”

(https://research.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1458580&page=2&partId=1&searchText=gericault).

The Curator of the BM also offers the following insights about this print and the series in which it is a part:

“According to Delteil, the lithograph was executed to a great extent by Léon Cogniet, after the lithograph 'Horses exercising' ([BM inv. no.] 1876,1111.323) in 'The English Set', which is the same subject in reverse, with variations (background wall and pillar, etc)” (BM inv. no. 1868,1114.299).

“Delteil quotes a passage from Ch. Clément, 'Géricault', which states that in order to satisfy public demand, the Gihaut brothers asked for a repeat of the artist's 'The English Set', but that only horses were required. Six equestrian subjects from the original series were retained and Géricault produced watercolours which were to serve as designs for the remaining six. He asked Léon Cogniet and Volmar to execute the work, and he directed the project, sending work back and making some corrections” (BM no. 1868,1114.293).

Condition: strong impression with generous margins, laid onto a support sheet of archival (millennium quality) washi paper. There is a closed tear in the upper margin otherwise the sheet is in a excellent condition for its considerable age.

I am selling this rare lithograph of Géricault’s design for AU$362 in total (currently US$212.40/EUR197.39/GBP182.23 at the time of this listing) including postage and handling to anywhere in the world (but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing this strong image of horses galloping—an image proven to be incorrect in 1872 by Eadweard Muybridge whose photographs of horses revealed that the only moment when a horse has all its hooves off the ground is when it’s galloping and all its feet are pulled in together … but not while outstretched as portrayed here—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Théodore Géricault's lithograph, “Deux Chevaux Promenés par un Jockey”, 1822

Théodore Géricault (1791–1824) (designer) in collaboration with Joseph Simon Volmar (1796–1865) (lithographer).

Regarding the execution of this lithograph, Loys Delteil (1902) in his catalogue raisonné for Gericault advises: “Lithographie exécutée en grande partie par Joseph Volmar” (lithograph was executed to a great extent by Joseph Volmar” (p. 122).

“Deux Chevaux Promenés par un Jockey” (Two Horses Exercised by a Jockey), 1822, from the series of twelve lithographs and the title plate, “Études de Chevaux” (Horse Studies) (aka “Grands Chevaux” [Great Horses]), printed by François le Villain (aka Villain; Ch Villain; F Villain) (fl.1822–1852), published by Gihaut Frères (fl.1815–1871) in Paris in 1822.

Lithograph on buff-coloured wove paper.

Size: (sheet) 38.3 x 48.2 cm; (image borderline) 32.9 x 38.6 cm.

Lettered (slightly indistinctly) on plate below the image borderline: (left) "Géricault del"; (centre) "chez Gihaut éditeur et Md. d'Estampes, bard. des Italiens No.5."

State iii (of iii) with the erasure of “Lith. de Villain” at lower right (signifying state ii) and with the strong deterioration of the image at right (signifying state iii) (see Loys Delteil 1902 catalogue: https://archive.org/details/gri_33125005992975/page/n121  

Delteil 90.III (Loys Delteil 1902, “Le Peintre-Graveur Illustré [XIXe et XXe siècles]: Théodore Géricault”, vol. 18, Paris, Loys Delteil, p. 122).

The British Museum offers the following description of this print:

“One horse ridden, the other just behind, horses and rider in profile to right; wall with pillar in the background. 1822”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1459363&partId=1&searchText=gericault&page=2)

See also the description of this print at The Metropolitan Museum of Art: https://www.metmuseum.org/art/collection/search/360092

Regarding the series, “Études de Chevaux”, of which this plate is a part, the curator of the BM offers the following insights:

“Delteil quotes a passage from Ch. Clément, 'Géricault', which states that in order to satisfy public demand, the Gihaut brothers asked for a repeat of the artist's 'The English Set', but that only horses were required. Six equestrian subjects from the original series were retained and Géricault produced watercolours which were to serve as designs for the remaining six. He asked Léon Cogniet and Volmar to execute the work, and he directed the project, sending work back and making some corrections” (BM no. 1868,1114.293).

Condition: a rare impression showing the curious deterioration of the image at right (viz. the puddling of lighter tone passing over the front of the leading horse) signifying in the third and final state. The sheet is in excellent condition for its considerable age (i.e. there are no tears, folds, holes, abrasions, stains, foxing or significant signs of handling).

I am selling this lithograph that is seldom seen on the art market and executed by the hand of the grand master of Romanticism, Géricault, in collaboration with his key lithographer, Volmar, for AU$362 in total (currently US$244.88/EUR222.03/GBP200.14 at the time of this listing) including postage and handling to anywhere in the world (but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing this quietly regal masterwork with the fascinating technical breakdown of the image in its final state, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Georges Bellenger’s lithograph, “The Triumph of Silenus”, c1862, after Théodore Géricault

Georges Bellenger (1847–1915)

“The Triumph of Silenus” (aka “The Procession of Silenus”) , c1862, after the chiaroscuro drawing in black chalk and white gouache on brown paper (c1816–17) in the Musée des Beaux-Arts d'Orléans by Théodore Géricault (aka Jean-Louis André Théodore Géricault) (1791–1824), published by Lemercier et Cie (fl.1827–1899) in Paris.

Lithograph in black and brown inks on thick wove paper backed with a support sheet.

Size: (sheet) 29.5 x 36.5 cm; (image borderline) 20.4 x 27.6 cm

Lettered on plate below the image borderline: (left) “GÉRICAULT DEL”; (centre) ‘Imp. Lemercier et Cie. Paris.”; (right) “G. BELLENGER LITH.”

Condition: crisp and well-printed impression with the only defect being a restored scratch at the lower right corner (virtually invisible) otherwise the print is in near pristine condition backed with a support sheet of archival (millennium quality) washi paper.

I am selling this marvellous lithograph showing the very drunk and obese satyr, Silenus—the tutor/companion of the wine-god Dionysus and famous for the philosophical quip given to him by Plutarch: “the best thing for a man is not to be born, and if already born, to die as soon as possible”—weighing down a poor donkey. The total price for this richly glowing lithograph is AU$168 (currently US$120.03/EUR106.25/GBP93.07 at the time of this listing) including postage and handling to anywhere in the world (but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing this beautiful original lithograph, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold