The First Retrospective Exhibition of the Drawings of J.-A.-D. Ingres (1861): Appendix

Notes

[1] Galichon, “Description des dessins,” 345, does not stipulate a medium for this drawing.

[2] No owner is identified by Galichon. The sheet bears the collection stamp of Étienne-François Haro, suggesting that it could have been among the cache of drawings Ingres sold to the dealer in October 1866 to raise funds to provide for his wife after his death; and indeed, the contract includes a drawing described as “Étude d’enfant” (Study of a child). (On this transaction, see note 13 of the main text.) Haro sold these drawings as part of the second Ingres studio sale in May 1867, and one of the drawings listed in the sales catalogues matches this work. See Vente de quatre-vingt-dix tableaux, dessins, aquarelles et études provenant de l’atelier de M. Ingres, peintre d’histoire, sénateur, membre de l’Institut, auction cat. (Paris: Hôtel Drouot, 1867), 23, lot 43: “Étude d’un enfant nu, debout, pour la même tableau [Le Martyre de Saint Symphorien] et une seconde étude pour la tête” (Study of a standing nude child from the same painting [The Martyrdom of Saint Symphorian] with a second study of the head).

[3] The drawing was sold for EUR 23,000 by Olivier Doutrebente, Estampes, dessins et tableaux anciens et modernes, objets d’art, lustres, mobilier, art Asie, auction cat. (Paris: Hôtel Drouot, November 26, 2021), n.p., lot 24.

[4] This drawing was among those sold by Ingres to Haro in 1866 (it may be the drawing described in the contract as Étude du saint Symphorien [Study for Saint Symphorian]). Haro subsequently sold it at the second Ingres studio sale in May 1867. See Vente de l’atelier de M. Ingres, 22, lot 41.

[5] See Galichon, “Description des dessins,” 352: “La deuxième esquisse n’est qu’une simple indication, faite au trait, avec un crayon et une plume sur une papier-calque. Toutes les figures sont nues, à l’exception de celles d’Apelles, du Poussin et de Corneille. Dans cette étude, comme dans la précédente [cat. 7], la Gloire porte d’une main le flambeau de l’immortalité et de l’autre dépose sur la tête d’Homère une couronne, qu’elle tient de ses deux mains dans le tableau. L’Iliade, semblable à celle de la peinture, à son épée posée près d’elle sur les marches, et l’Odyssée, qui n’est point encore celle de la toile, appuie son front sur sa main gauche.” (The second sketch is only a rough indication, rendered in outlines with pencil and pen on tracing paper. With the exception of Apelles, Poussin, and Corneille, all the figures are nude. In this study, as in the previous one [cat. 7], Glory holds the torch of immortality in one hand and with the other places on Homer’s head a crown, which she holds with both hands in the painting. The personification of the Iliad, as in the painting, has her sword placed next to her on the steps, while the figure representing the Odyssey, which is not yet the one we see on the canvas, rests her forehead on her left hand.)

[6] Galichon does not identify the owner of this drawing. However, it was later in the collection of Delphine Ingres, who sold it at auction in 1886, making it highly likely that Ingres (or his wife) lent it to the 1861 exhibition.

[7] Galichon does not identify the owner of this work. However, the Musées Royaux des Beaux-Arts de Belgique purchased it at the second Ingres studio sale in May 1867 (see Vente de l’atelier de M. Ingres, 27, lot 69). This may also be the drawing entitled Léonard mourant dans les bras de François 1er (Leonardo Expiring in the Arms of King Francis the First) included in the cache of drawings Ingres sold to Haro in October 1866. Either way, the drawing was probably still in the artist’s possession in 1861.

[8] The identity of this figure remains a mystery. His name is not included in the index of Naef, Die Bildniszeichnungen, suggesting that he was not a direct associate of Ingres’s. This drawing was subsequently owned by Haro; it is therefore almost certainly the work sold in the second Ingres studio sale of May 1867. See Vente de l’atelier de M. Ingres, 28, lot 73: Le duc d’Albe à Sainte-Gudule, which was signed and dated J. Ingres 1815.

[9] Galichon, “Déscription des dessins,” 350: “Le dessin exposé ici est la première pensée du célèbre tableaux. . . . Au lieu de songer alors à repésenter la Mère de Dieu glorieuse et portant l’enfant entre ses bras, M. Ingres pensait à la montrer navrée de douleur derrirère le cadavre de son fils soutenu et pleuré par deux anges. Le roi Louis XIII, dessiné seulement au trait, est vu à mi-corps, offrant à la Mère de Dieu son sceptre et sa couronne.” (The drawing exhibited here is the première pensée for the famous painting. . . . Instead of envisioning the representation of the glorious Mother of God carrying the Christ child in her arms, Monsieur Ingres planned to show her grief-stricken behind the cadaver of her son, who is being supported and mourned by two angels. King Louis XIII, drawn only in outline, is viewed half-length, offering up to the Mother of God his scepter and crown.)

[10] Aimé-Charles-Horace His de la Salle (1795–1878) was a prominent collector and connoisseur of drawings and a friend of Frédéric Reiset’s. See Naef, Die Bildnisziechnungen, 3:350, 356–62.

[11] The illustrated work accords closely with the description of cat. no. 24 in Galichon, “Description des dessins,” 350: “un essai d’ajustement pour la draperie de l’ange qui dans le tableau relève le voile de droite. Ce dessin, très-cherché, au crayon noir et blanc et à l’estompe, n’a été utilisé par M. Ingres, dans sa peinture, que pour la partie supérieure” (an exploration of the drapery for the angel that lifts the curtain on the right of the painting. Only the upper part of this highly worked drawing in black-and-white crayon with stumping, was used by Monsieur Ingres in the painting).

[12] Galichon does not identify the owner of this drawing. However, in 1866 it was sold by Ingres to Haro; it is listed as Le Pape à Saint Pierre (The Pope in Saint Peter’s) in the contract. Haro, in turn, sold the drawing as part of the second Ingres studio sale of May 1867. See Vente de l’atelier de M. Ingres, 31, lot 88.

[13] In 1995 the drawing was with the Shepherd Gallery in New York. See Patricia Condon, “J.-A.-D. Ingres: Les dessins historiques achevées,” Bulletin du Musée Ingres, no. 67–68 (1995): 13, no. 15.

[14] Although Galichon does not identify the city personified in this work, in “Description des dessins,” 352, he notes that the figure in the drawing “tient ses genoux entre ses mains dans une attitude qui annonce la resignation” (holds her knees in her hands in an attitude suggesting resignation).

[15] Galichon, “Description des dessins,” 352, records the width of the drawing as 34 cm.

[16] Galichon does not identify the owner of this drawing; if it is, in fact, the drawing now in the Musée Ingres Bourdelle, it would have been on loan from the artist in 1861. One should also note, however, that Ingres also sold drawings of the seven cities surrounding the Apotheosis of Napoleon I to Haro in 1866 (described as “Les sept villes où est entré vainqueur Napoléon Ier” [The seven cities conquered by Napoleon I] in the contract) and that these drawings were then included in the second Ingres studio sale in May 1867. See Vente de l’atelier de M. Ingres, 28, lot 78. If this were the drawing exhibited in 1861, it would also have been lent by the artist himself.

[17] See Galichon, “Description des dessins,” 352, where the drawing is described as representing the city of Madrid.

[18] Although Galichon does not identify the owner of this drawing, it was among those works sold by Ingres in 1866 to Haro, who sold it, in turn, in the second Ingres studio sale. See Vente de l’atelier de M. Ingres, 28, lot 77.

[19] Although Galichon does not identify the owner of this drawing, it seems to have been included in Ingres’s first studio sale. See Catalogue des tableaux, dessins, et oeuvres en cours d’éxécution dépendant de la succession de M. Ingres, auction cat. (Paris: Hôtel Drouot, April 27, 1867), n.p., lot 16. However, the drawing is there described as a watercolor executed in Rome in 1850 (an impossibility, as Ingres left Rome for the last time in 1841) with dimensions of 40 x 32 cm. Otherwise the earliest known provenance of the drawing is in the collection of Paul-Edmond Mahou (1822–81), whose wife Marie-Louise (1827–91), was the daughter of Albert Magimel (1799–1877), author of the 1851 illustrated catalogue of the artist’s works.

[20] A related drawing is in the Musée Ingres Bourdelle in Montauban, Inv. 867.2601 [V. 2468].

[21] Galichon, “Description des dessins,” 354, reports that “presque toutes” (almost all) of the studies for the stained-glass cartoons for the chapels in Neuilly and Dreux are “exécutées à la mine de plomb” (executed in graphite). Galichon also states, 355, that all the figures in both series are “environ de 370 mm de hauteur” (approximately 37 cm high). This is my source for the medium and dimensions of all the nonextant drawings in the series.

[22] [Galichon], Catalogue des dessins, 12, claims that all sixty-five studies for the stained-glass cartoons for the chapels at Neuilly and Dreux belong to Gatteaux.

[23] See Galichon, “Description des dessins,” 355: “l’étude faite d’après le nu pour la figure de sainte Clotilde” (study made after the nude for the figure of Saint Clothilde). This drawing was last recorded in the 1867 memorial exhibition. See Catalogue des tableaux, études peintes, dessins et croquis de J.-A.-D. Ingres, peintre d’histoire, sénateur, membre de l’Institut, exh. cat. (Paris: École Impériale des Beaux-Arts, 1867), 47, no. 281.

[24] The suggestion that the figure on this sheet could have been misidentified as Saint Hildegonde in the 1861 exhibition was made by Jacques Foucart, Ingres: Les Cartons de vitraux des collections du Louvre, exh. cat. (Paris: Musée du Louvre / Réunion des Musées Nationaux, 2002), 109.

[25] Galichon, “Description des dessins,” 356, describes the sitter as “représentée assise; une large ceinture serre sa taille, et une fourrure, indiquée avec quelques rehauts blancs, couvre ses épaules” (represented seated, with a large belt tightened around her waist, and a fur, picked out with several white highlights, covering her shoulders). Naef, Bildniszeichnungen, 2:324, identifies this drawing as a portrait of Madame Alexandre Bénard, which Henry Lapauze declared a fake in 1919, despite its convincing provenance. It was lent to the 1861 exhibition by Alexandre Marcel (died 1886), a little-known artist who had studied with Ingres and was heir to the sitter. According to Naef, the drawing, of which no photographic reproduction seems to exist, was last recorded as “attributed to Ingres” at Sotheby’s, London, on April 14, 1954, lot 315.

[26] The drawing was sold for USD 415,707 at Christie’s, Paris, February 23, 2009, lot 80.

[27] Ingres sold this drawing (Charles X in the contract) in 1866 to Haro, who subsequently sold it in the second Ingres studio sale of May 1867. See Vente de l’atelier de M. Ingres, 29, lot 85.

[28] In [Galichon], Catalogue des dessins, 15, the owner of this drawing is misidentified as Monseiur Lefuel, presumably the architect Hector Lefuel (1810–80). However, Galichon, “Description des dessins,” 357, correctly identifies the owner of this drawing as Monsieur Destouches.

[29] According to Galichon, “Description des dessins,” 358, the inscription on the original drawing read: Ingres fecit, en hommage à madame Gatteaux. Nauphle, 3 septembre 1828.

[30] The drawing in the Louvre reproduces only a part of the original drawing; for a reconstruction of the work in its entirety, see Naef, Bildniszeichnungen, 5:181, no. 345.

[31] According to Galichon, “Description des dessins,” 359, the length of the original drawing was 28.5 cm.

[32] According to Galichon, “Descriptions de dessins,” 359, the original drawing was signed, dated, and inscribed at lower right: Ingres Del 1834 / à / Madame Gatteaux.

[33] Naef, Bildniszeichnungen 4:228, was unable to identify Monsieur Lemaistre.

[34] Although Galichon does not identify the owner of this drawing, it was sold by Ingres to Haro in 1866; it is listed as “d’après Holbein” (after Holbein) in the contract. Haro sold the drawing as part of the second Ingres studio sale in May 1867. See Vente de l’atelier de M. Ingres, 29, lot 86.

[35] The original self-portrait of 1835 by Ingres [N. 364] is in the Musée du Louvre, Paris, Inv. RF9.

[36] Although Galichon does not identify the owner of this drawing, it was sold at auction by Madame Ingres in 1886.

[37] Naef, Bildniszeichnungen, 5:130–33, believes that the autograph replica of this portrait now in the Musée Bonnat-Helleu, Bayonne (Inv. 239) could also have been the sheet exhibited in 1861.

[38] [Galichon], Catalogue des dessins, 16; and Galichon, “Description des dessins,” 360, do not specify which relative of Lethière, who died in 1832, owned the drawing in 1861. Naef, Bildniszeichnungen, 4:130, identifies Charles Lethière as the most likely owner.

[39] This drawing was sold for USD 875,420 by Thierry de Maigret, Dessins anciens et du XIXème siècle, auction cat. (Paris: Thierry de Maigret, March 24, 2010), n.p., lot 1.

[40] The earliest known provenance for this drawing is the collection of the sculptor Jean-Baptiste Claude-Eugène Guillaume (1822–1905), followed by that of the architect Hector Lefuel. Although Galichon does not identify the owner of this drawing, he mistakenly identifies Lefuel as the owner of the portrait of Madame Destouches (cat. 51), which we know was in the collection of the sitter’s son in 1861; perhaps Galichon mistakenly confused the owners of these two drawings.

[41] This drawing was sold for USD 312,607 at Sotheby’s, London, on July 9, 2014, lot 97.

[42] This drawing was offered for sale at Christie’s, London, on July 6, 2021, lot 62 (unsold).

[43] The drawing was sold for FRF 1,800,000 by Piasa Auction House, Paris, on Friday, December 17, 1999, lot 108.

[44] See Galichon, “Description des dessins,” 361–62: “deux études à la mine de plomb pour une Vierge représentée les mains jointes; l’une avant que le maître eût couvert le corps d’une robe et jeté un voile sur la tête, l’autre après” (two studies in graphite of the Virgin represented with her hands joined; one before the master had covered her body with a gown and threw a veil over her head, and the other after).

[45] Galichon does not identify the owner of this drawing; however, among the drawings sold by Ingres to Haro in 1866 were two described as “Étude de Vierges” and “Draperies pour une Vierge,” either of which could refer to this drawing.

[46] This sheet accords well with the description of the drawing exhibited in 1861 in Galichon, “Description des dessins,” 362: “une ravissante tête de jeune fille très-faite, à la mine de plomb, qui rappelle les traits de la Fornarina dans l’oeuvre du maître. (Hauteur, 245 millimètres.)” (an exquisite head of a young woman, carefully executed in graphite, that recalls the features of the Fornarina in the work of the master. [Length, 245 mm.]) In addition to being a study for Ingres’s painting of Raphael and the Fornarina (1814; Fogg Art Museum, Cambridge, MA), the Metropolitan Museum of Art’s drawing is also often identified as a portrait of the artist’s first wife, Madeleine, an identity that would not have been publicized in 1861 in deference to Ingres’s then-current wife Delphine (see cat. 65).

[47] Galichon does not mention the signature, but this most likely would have been added at the time the drawing left Ingres’s studio, presumably as part of the Haro sale in 1866 (see note 48, below). On Ingres’s practice of inscribing his studies with a cursory Ing as well as his more general habit of signing his more fully developed drawings “comme un baiser d’adieu,” (like a goodbye kiss) when he parted with them, see Patricia Condon, “J.A.D. Ingres: Les Dessins historiques achévés (deuxième partie),” Bulletin du Musée Ingres, no. 69 (1996): 7.

[48] Galichon does not identify the owner of this drawing. However, the sheet in the Metropolitan Museum of Art bears Haro’s circular collection stamp and could therefore have been among the works that Ingres sold to the dealer in 1866—the contract includes a work described as “Étude, modèle de femme” (Study, woman model). Unlike so many of the other drawings purchased by Haro in 1866, this sheet was not sold in the second Ingres studio sale of May 1867 but remained in the dealer’s collection until it was sold at the Galerie Sedelmeyer in Paris in 1892.

[49] See Galichon, “Déscription des dessins,” 351: “La deuxième, également à la mine de plomb, montre une jeune femme enlaçant dans ses bras un jeune homme, appuyé sur sa poitrine, et qui la regarde amoureusement. Dans le haut de cette page on voit encore la légère esquisse d’une femme assise. (Hauteur de la femme 290 mm.)” (The second [drawing], also in graphite, shows a young woman wrapping her arms around a young man who is leaning on her chest and who gazes amorously at her. At the top of the page one sees the light sketch of a seated woman. [Height of the woman 290 mm].)

[50] Galichon does not identify the owner of this drawing; however, we might note that among the drawings Ingres sold to Haro in 1866 were two described as “Groupe de l’Age d’or” (Group from the Golden Age) and “Figures de l’Age d’or” (Figures from the Golden Age), either of which could refer to this drawing. In any event, the drawing exhibited in 1861 must have been closely related to studies for L’Âge d’or in the Musée Ingres Bourdelle that Georges Vigne has felicitously designated the Famille au lapin (Family with Rabbit): Inv. 867.645 and 867.646. See Vigne, “Dessins d’Ingres,” nos. 1788, 1789.

[51] Although Galichon does not identify the owner of this drawing, this is most likely an oversight, as the Louvre identifies Gatteaux as its earliest owner.

[52] This drawing accords well with the description of cat. 84 in Galichon, “Déscription des dessins,” 362: “une académie de jeune homme, la main droite élevée et regardant en l’air. . . . (hauteur 230 millimeters)” (an academic study of a young man, with his right hand raised and looking skyward. . . . [length 230 mm]).

[53] Galichon does not mention the inscription.

[54] The drawing was sold for USD 13,293 at Christie’s, London, on July 4, 2006, lot 126.

[55] See Galichon, “Déscription des dessins,” 362: “la tête d’une jeune femme dessinée, avec rehauts de blanc, sur la couverture d’un livre (hauteur 310 millimètres)” (the head of a young woman drawn with white highlights on the cover of a book (length 310 mm). Galichon does not identify the owner of this study.

[56] Although Galichon does not identify the owner of this drawing and the three others listed under cat. no. 89, all four were sold by Ingres to Haro in 1866 (“Études de mains” [Studies of hands] in the contract). Haro subsequently sold the drawings in the second Ingres studio sale. See Vente de l’atelier de M. Ingres, 29, lot 84. Galichon, “Description des dessins,” 556, does not mention any of the inscriptions on the hand studies, all of which were presumably added by Ingres on the occasion of the Haro sale.

[57] This drawing fits the description of cat. 90 in Galichon, “Description des dessins,” 355: “Elle est debout, en toilette décolletée, avec un bijou pendu à son cou; elle s’appuie sur le dossier d’un fauteuil confortablement capitonné. Hauteur, 250 millimètres. Ce dessin, sur papier-calque quadrillée pour la mise au carreau, avec quelques retouches à la sanguine, est l’étude du tableau qui a été exposé au Salon de 1855.” (She is standing in a low-cut gown with a jewel hanging from her neck. She leans on the back of a luxuriously upholstered armchair. Length, 250 mm. This drawing on tracing paper, squared for transfer and with some retouching in red chalk, is the study for the painting that was exhibited at the 1855 Salon.)

[58] Galichon does not identify the owner of this drawing. His silence, combined with the fact that this is a sketchily executed preparatory study, suggests that the sheet was still in the artist’s possession in 1861.

[59] The drawing was sold at the Hôtel Drouot, Paris, on June 24, 1985, lot 3.

[60] Galichon, “Déscription des dessins,” 345–46, correctly identifies this drawing as containing studies for the peasant standing in the left foreground of the Martyrdom of Saint Symphorian: “Elle montre le chemin parcouru par M. Ingres pour arriver à exprimer la noble figure du paysan qui, dans le tableau, se tient près de l’enfant dont nous venons de parler [cat. 4]. Sur cette feuille, le personnage trahit l’état de son âme, c’est-à-dire le commencement de sa conversion, par la position de sa main ent’ouverte ou placée sous le menton dans un attitude pensive, tandis que dans le tableau le maître a posé cette main sur la poitrine. M. Ingres ne s’est pas servi non plus, pour sa peinture, des belles études de draperies qui couvrent encore cette page.” (It shows the route taken by Monsieur Ingres in order to arrive at the expression of the noble figure of the peasant who, in the painting, stands near the child of whom we have just spoken [cat. 4]. On this sheet, the personage reveals the state of his soul, that is to say, the beginning of his conversion, by the position of his half-opened hand or its placement on his chin in a pensive attitude, whereas in the painting the master posed his hand on his chest. Monsieur Ingres also did not make use in the painting of the beautiful drapery studies that also cover this sheet.

[61] [Galichon], Catalogue des dessins, 19, identifies the medium as black chalk. Galichon, “Descriptions de dessins,” 345, reports the height of the figure as 25.5 cm.

[62] While Jules Momméja, who drew up an early inventory of the drawings Ingres bequeathed to the city of Montauban, took this inscription as evidence that this drawing must be by one of the artist’s pupils, Georges Vigne accepts it as an autograph drawing by Ingres himself. See Vigne, Dessins d’Ingres, 113, no. 565.

[63] While Galichon identifies Flandrin as the owner of this drawing, no sheet fitting his description of cat. 91 is known among either the works that Flandrin bequeathed to the Musée des Beaux-Arts in Lyon or those that remain in the collection of his descendants. My most profound thanks go to Céline Bacon, curator of graphic art at the Musée des Beaux-Arts de Lyon, and to Stéphane Paccoud and Elena Marchetti, curators of the monumental 2021 exhibition devoted to the Flandrin brothers, for confirming this information for me. If the sheet in Montauban was, in fact, the work exhibited in 1861, Galichon could either have been mistaken about its ownership, or the sheet could have been returned to Ingres at some point after 1861, perhaps by Madame Flandrin upon the premature death of her husband in 1864.

[64] Although this drawing is not included in [Galichon], Catalogue des dessins, it is described in Galichon, “Déscription des dessins,” 357: “Madame Ducloz-Marcotte est représentée assise. Elle tient un livre dans ses mains, et un bonnet tuyauté encardre son visage sur lequel les années ont empreint le caractère d’une vieillesse aimable et indulgente.” (Madame Ducloz-Marcotte is shown seated. She holds a book in her hands and a fluted bonnet frames her face, on which the years have imprinted the characteristics of a happy and relaxed old age.)

[65] This drawing was sold for USD 53,872 by Thierry de Maigret, Dessins anciens et du XIXème siècle (Paris: Thierry de Maigret, March 24, 2010), lot 4.

[66] This is almost certainly the painter and collector of Renaissance art, Louis-Charles Timbal (1821–80).

[67] Perhaps relying on the evidence of the inscription, Galichon, “Dessins de M. Ingres,” 40, does not further specify the owner of this drawing.

[68] This is almost certainly the drawing listed as Stratonice, étude (Stratonice, Study) in the contract brokering Ingres’s sale of a cache of works to Haro in 1866. The dealer then sold the sheet in the second Ingres studio sale of May 1867. See Vente de l’atelier de M. Ingres, 27, lot 66.

[69] Galichon, “Dessins de M. Ingres,” 41: “une feuille couverte d’études pour les mains et le torse d’Octavie. Les jambes d’Auguste sont également indiquées sur ce papier, mais leur position diffère essentiellement de celle adoptée plus tard par le peintre.” (a sheet covered with studies for the hands and torso of Octavia. The legs of Augustus are also represented on this paper, but their position differs fundamentally from that adopted later by the painter.)

[70] Galichon, “Dessins de M. Ingres,” 41–42 reports the drawing as signed and dated J. Ingres, 1857. He asserts that the inscription alludes to the date when Ingres retouched the drawing “légèrement” (lightly), claiming that it originally served as a preparatory study for the famous painting of the subject now in the Musée des Beaux-Arts in Angers (which Galichon misidentifies as the museum in Nantes). It should be noted that another drawing of this subject exists that is inscribed J. Ingres 1857, and its dimensions accord closely with those reported by Galichon (23 x 17 cm). See Patricia Condon, Marjorie B. Cohn, and Agnes Mongan, In Pursuit of Perfection: The Art of J.-A.-D. Ingres, exh. cat. (Louisville, KY: J. B. Speed Art Museum; Bloomington: Indiana University Press, 1983), 172, no. 21. However, this drawing is not squared for transfer and it is executed in graphite and grey wash heighted with white gouache—a complex technique that Galichon is unlikely to have let go unremarked (he does not specify the medium of ser. 2.12). Thus, the Bayonne drawing appears to be the likelier candidate to have been exhibited in 1861. Perhaps Galichon saw both drawings in Ingres’s studio and became confused over which sheet bore the inscription.

[71] Galichon does not identify the owner of this drawing, and its earliest known provenance is the collection of the painter Léon Bonnat (1833–1922). However, Galichon’s claim that Ingres reworked the sheet in 1857 suggests that it still could have been in his studio in 1861.

[72] Galichon, “Desssins de M. Ingres,” 42, neglects to specify the medium of the drawing, but he does stipulate that the studies were drawn on two pieces of lilac-colored paper.

[73] Galichon, “Dessins de M. Ingres,” 42, notes additionally that the sketches are “tracés sur une feuille rose, qui ne contient pas moins de huit têtes d’anges plus ravissantes les unes que les autres, et quelques études de bras et de jambes.” (traced on a sheet of pink paper, which also contains no fewer than eight heads of angels, one more ravishing than the next, as well as several studies for arms and legs)

[74] Galichon does not stipulate a medium for this drawing.

[75] Although Galichon, “Dessins de M. Ingres,” 42, does not identify the owner of the drawing, it was sold at auction by the artist’s widow Delphine in 1886, strongly suggesting that it must have been lent to the 1861 exhibition by the artist himself.

[76] Galichon, “Dessins de M. Ingres,” 43, gives neither medium nor dimensions for the studies for the stained-glass cartoons included in the second part of the exhibition; my information is inferred from the generalization he makes about the other studies for the stained-glass cartoons included in the first installation of the exhibition.

[77] Galichon, “Dessins de M. Ingres,” 43: “une étude faite d’après le nu. Le saint porte un livre dans sa main droite, et s’appuie de sa main gauche sur un bâton.” (a study made after the nude. The saint carries a book in his right hand and supports himself with his left hand on a baton.) There is a nude study for this figure in the form of an outline drawing in the Musée Ingres Bourdelle (Inv. 867.2489; V. 1696).

[78] Although Galichon does not identify the owner of this drawing, it was sold by Ingres to Haro in 1866—it is almost certainly the work misidentified as Vue de l’Église de Saint-Praxelles [sic], Bruxelles [sic] (View of the Church of Saint Praxelles [sic], Brussels [sic]) in the contract. Haro, in turn, sold the drawing in the second Ingres studio sale in May 1867. See Vente de l’atelier de M. Ingres, 31, lot 89 (correctly identified as Vue intérieur de l’Église de Sainte-Praxède à Rome [Interior View of the Church of Saint Praxedes in Rome]).

[79] Naef, Bildniszeichnungen, 1:571–86, identifies these works as the portrait drawings of Miss Elizabeth Anne Rawdon and (presumably) Mrs. John Theophilus Rawdon, both of which were destroyed in the fire that engulfed Gatteaux’s house during the suppression of the Commune in May 1871. Naef hypothesizes that Ingres derived both bust-length portraits, which he kept for himself, from the larger and more elaborate portraits that had been commissioned from him by the sitters.

[80] According to Galichon, “Dessins de M. Ingres,” 44, the original drawing was executed in graphite on paper, with the figure measuring 12.3 cm in length.

[81] Although Galichon, “Dessins de M. Ingres,” 44, does not identify the owner of this work, it remained in the collection of Madame d’Agoult until her death in 1876.

[82] My thanks to Elena Marchetti for calling my attention to the recent reappearance of this drawing.

[83] According to Naef, Bildniszeichnungen, 5:102, the drawing passed from the sitter to his widow in 1853 and remained in her collection until she died in 1882, when it passed to her daughter, Madame Alfred Wittersheim, née Emélie-Louis-Eudoxie Blondel. However, if Galichon is to be believed, the transfer of the portrait from mother to daughter—and by extension to Blondel’s son-in-law—must have occurred much earlier.

[84] Although Galichon does not identify the owner of this drawing, according to Naef, Bildniszeichnungen, 4:40, upon the death of the sitter, the drawing passed to his unmarried daughter, with whom it remained until her death in 1903.

[85] This drawing was sold for EUR 68,750 at Christie’s, Paris, on March 20, 2018, lot 102.

[86] The drawing was offered for sale at Sotheby’s, Paris on June 25, 2008, lot 13 (unsold).

[87] This drawing was sold, together with its pendant (ser. 2.38), for USD 432,003 at Christie’s, London, on July 7, 2009, lot 56.

[88] See note 87, above.

[89] This drawing was sold for USD 510,179 at Christie’s, London, on July 7, 2009, lot 54.

[90] Galichon, “Dessins de M. Ingres,” 47, does not identify the owner of this drawing. However, according to Naef, Bildniszeichnungen, 5:288, the drawing remained in the collection of the sitter’s husband, Victor Mottez, until his death in 1897.

[91] Galichon, “Dessins de M. Ingres,” 47, does not identify the owner of this drawing. However, according to Naef, Bildniszeichnungen, 5:360, the work remained in the collection of the sitter until his death in 1892.

[92] Although Galichon, “Dessins de M. Ingres,” 47, does not identify the owner of this drawing, according to Naef, Bildniszeichnungen, 4:458, the portrait presumably remained in the collection of its sitter until his death in 1881.

[93] Galichon, “Dessin de M. Ingres,” 48: “une étude d’homme faite à la mine de plomb; divers croquis de bras et de jambes couvrent encore cette feuille; une main qui tient la foudre semble indiquer un Jupiter. L’attitude du personnage rappelle beaucoup aussi celle du tableau de Napoléon en costume impérial.” (a study of a man executed in graphite; various sketches of arms and legs also cover this sheet; a hand holding a lightning bolt would seem to indicate a Jupiter. The attitude of the personage is very reminiscent of that in the painting of Napoleon in his Imperial Costume [see cat. 70].) Galichon does not identify the owner of this drawing.

[94] Louis-Antoine Prat, Ingres (Paris: Musée du Louvre, 2004), 12, correctly identifies the adult figure as a woman and the drawing as a study for the Martyre de Saint Symphorien (Martyrdom of Saint Symphorian).

[95] Galichon, “Dessins de M. Ingres,” 48, notes the fact that the drawing is squared for transfer would indicate its status as a prepatory study for one of Ingres’s paintings, but, surprisingly, he is unable to identify which one.