Portraits of Théodore Géricault by Francisque Noël (lithograph) & Georges Gorvel (engraving) after Horace Vernet

A pair of portraits (viz. a lithograph and an engraving) of Théodore Géricault (aka Jean-Louis André Théodore Géricault) (1791–1824)

Francisque Noël (fl.c.1824–1825)

“Portrait of Géricault”, 1923, a rare proof-state lithograph before lettering for publication (see a lettered state impression held by the Art Gallery of NSW, Australia: https://www.artgallery.nsw.gov.au/collection/works/9.2009/) after a drawing by Vionet (possibly F Vionet [fl. early 1900s]; see Germain Bazin 1987, “Théodore Géricault, étude critique, documents et catalogue raisonné”, vol. 1, pp. 219–21), after the portrait of  Théodore Géricault (possibly executed in 1822 or 1823 [MET]) painted by Géricault’s friend and sometimes rival, Horace Vernet (aka Émile Jean-Horace Vernet) (1789–1863) (see https://www.metmuseum.org/art/collection/search/438033).

Lithograph on fine washi paper (possibly chine collé that has become separated from its original backing), proof-state impression before lettering with publication details), backed with a support sheet.

Size: (sheet) 21.1 x 15.3cm

Condition: an excellent and strong impression with a restored abrasion (almost invisible) in the background at right, laid onto a sheet of archival (millennium quality) washi paper providing wide margins.

Georges Gorvel (aka Georges Emile Louis Eugene Gorvel) (1866–1938)

“Portrait of Géricault” early 1900s (1923–1938), engraving after the lithograph by Francisque Noël (shown in this listing), after the drawing/intermediary design by Vionet, after  the portrait of Géricault by Horace Vernet.

Engraving on heavy buff coloured wove paper.

Size: (sheet) 25.7 x 20.5cm; (plate) 17.8 x 13.1cm; (image borderline) 15.9 x 12.4cm.

Inscribed in plate: (lower right) “G. Gorvel sc”.

Condition: a faultless impression in pristine condition.

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I am selling this pair of prints (lithograph and engraving) of Théodore Géricault for AU$350 in total for the pair (currently US$226.25/ EUR214.60/ GBP178.49 at the time of posting this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that payment is in Australian dollars (AU$350) as this is my currency.

If you are interested in acquiring this superb pair of portraits of the great Romantic painter who executed “The Raft of the Medusa”—a painting that can never be erased from memory once it has been seen (see https://en.wikipedia.org/wiki/The_Raft_of_the_Medusa), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Théodore Gericault, Lesaint & Engelmann’s lithograph, “Church of St Nicolas, Rouen”, 1823

Théodore Gericault (1791-1824)—draughtsman of the portrayed horses;

Charles Louis Lesaint (1795-1843)—draughtsman of the architecture;

Godefroy Engelmann I (1788–1839)—printer.

“Church of St Nicolas, Rouen” (aka “L´Église de St. Nicolas” “Eglise St Nicolas, Rouen”), 1823, published in 1825 by l'Imprimerie de Pierre Didot l'Ainé in France as an illustration to Charles Nodier’s (1780–1844) et al., “Voyages Pittoresques et Romantiques dans l'Ancienne France: Ancienne Normandie”, vol. 2, following page 69; see https://archive.org/details/bnf-bpt6k1040443d/page/n215/mode/2up.

Lithograph on chine collé on wove paper.

Size: (sheet) 53 x 34.5 cm; (unevenly cut chine collé) 36.3 x 25.3 cm; (image borderline) 34.4 x 23.9 cm.

Lettered in plate above the image borderline: (centre) “P. 150.”

Lettered in plate below the image borderline: (left) “'Lesaint et Gericault. 1823.”; (centre) “Eglise S^t. Nicolas.”; (right) “Lith. de G: Engelmann.”

Clément 46 (Charles Clément 1879, “Géricault: étude biographique et critique, avec le Catalogue raisonné de l'oeuvre du maître”, Paris, Didier et cie, p. 302, cat. no. 46 [https://archive.org/details/gricaulttudebio00clgoog/page/n405/mode/2up]);  Delteil 93.

The British Museum offers the following description of this print: “View into a chapel, with in the foreground two horses unharnessed from a carriage from which men remove a coffin; light streaming in from the left, details of statuary and glass windows, other horses further back; published in 'Voyages pittoresques et romantiques dans l'ancienne France', (tome II: 'Normandie'). 1823” (https://www.britishmuseum.org/collection/object/P_1868-1114-279).

Condition: a strong and well-printed impression. The chine collé is irregularly cut (compare with similarly irregular chine collé sheet to be seen in the impression held be the MET [https://www.metmuseum.org/art/collection/search/399586]) with minor marks, otherwise, the sheet is in an excellent condition with no tears, holes, folds, abrasions, significant stains or foxing.

Interestingly, I understand that the portrayed church, Saint-Nicolas in Rouen, was damaged during the French Revolution leading to its closure for thirty-two years before this print was executed. Sadly, the church was ultimately destroyed fourteen years after this print was published, but “the steeple was moved to Cottévrard, and the stained glass to York Minster in England” (see https://www.stnicholascenter.org/gazetteer/1867#:~:text=The%2012th%20century%20Church%20of,1791%20and%20destroyed%20in%201840). I suspect that the portrayed scene —and I may be very wrong! —shows the Church of St Nicolas in its deconsecrated state of closure. If this is true then the sight of workmen removing the coffins of those interred into a large mud wagon/stagecoach with the far end of the church being used as a holding stable for horses makes sense for me. Note also the stirrups and other tack hung on the stonework along with a wheel on the left and the light piercing through the gathered dust in the air, I believe, supports the idea that the church is no longer a holy sanctuary.  

I am selling this rare lithograph executed in part by the great Théodore Gericault (who drew the horses and the wagon bearing a coffin) and by Charles Louis Lesaint (who drew the architectural details and light streaming into the church), for the total cost of AU$332 (currently US$221.91/EUR200.78/GBP176.75 at the time of posting 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 outstanding 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

Théodore Géricault's lithograph (in collaboration with Léon Cogniet), “Le Maréchal Français”, 1822

Théodore Géricault (1791–1824) in collaboration with Léon Cogniet (1794–1880)

“Le Maréchal Français” (aka “The French Farrier”; “The French Blacksmith”), 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.

Regarding the execution of this lithograph, Loys Delteil (1902) in his catalogue raisonné for Gericault advises: “Lithographie exécutée en grande partie par Léon Cogniet” (Lithograph executed in large part by Léon Cogniet) (p. 116).

Lithograph on heavy wove paper with wide margins and backed with a support sheet.

Size: (sheet) 38.2 x 48.9 cm; (image borderline) 27.3 x 36.3 cm.

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

State ii (of ii) with the erasure of “Lith. de Villain” at lower right (see Loys Delteil 1902 catalogue: https://archive.org/details/gri_33125005992975/page/n115  

Delteil 84.II (Loys Delteil 1906, “Le Peintre-Graveur Illustré [XIXe et XXe siècles]: Théodore Géricault”, vol. 18, Paris, Loys Delteil, p. 116).

The British Museum offers the following description of this print:

“In the centre foreground, a restless horse is being shod by a farrier, while further back to left a man sees to another horse, and to right a third man is visible indoors hammering a glowing shoe on an anvil.”

(https://research.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1445672&partId=1&people=124335&peoA=124335-2-60&page=1)

See also the description of this print at The Metropolitan Museum of Art:

https://www.metmuseum.org/art/collection/search/358098?searchField=All&sortBy=Relevance&ft=Th%c3%a9odore+Gericault&offset=0&rpp=20&pos=18

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: marvellously strong impression with generously wide margins and laid onto a support sheet of archival (millennium quality) washi paper. The sheet is in excellent condition for its considerable age (i.e. there are no tears, folds, holes, abrasions, significant stains or foxing).

I am selling this large 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, Cogniet, for AU$362 in total (currently US$250.52/EUR225.84/GBP193.51 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 spectacular 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