Henry de TRIQUETI (1803-1874) Album titled on the edge of the binding "armors/drawn ornaments/1500", comprising approximately 105 pages (and several blank pages) of armors and copies, Renaissance and Gothic scenes. The vignettes are mostly on tracing paper, but also on laid paper, in pen and brown and black ink, and black pencil. Only one is watercolored Vignettes are generally held together at the edges with glue, sometimes glued in place Many captioned vignettes Album dimensions: 47 x 31 cm Our album is a testament to Triqueti's hard work. It's a repertoire of skilfully selected elements, transcribed onto tracing paper, for the artist to use in his projects: goblets, candelabras, daggers, pistols, helmets, shields, bayonets; and also surveys of porticoes, sculptures, copies after the masters... Provenance: Château du Perthuis. Note: The primacy of drawing was not an empty word for Triqueti, who subordinated to it all the arts he practiced. Sculptor, painter, writer and artistic advisor to the Duc d'Aumale, Triqueti is also known in the world of old drawings as a famous collector of drawings and engravings. Through his wife, he inherited the important collection of Thomas Banks (also a sculptor and collector), which included many drawings by Renaissance masters. A regular visitor to the Hôtel Drouot, Triqueti rubbed shoulders with a circle of illustrious collectors and curators such as His de La Salle (1795-1878) and Frédéric Reiset (1815-1891). Triqueti took his first steps as an artist under the aegis of Anne-Louis Girodet-Trioson, a family friend and neighbor. Triqueti demonstrated a perfect mastery of the art of drawing. He deploys every facet of drawing, depending on its purpose or the work's destination. Extremely precise in his drawings and copies, he uses a finely-sharpened pencil. He scratches with a feather in his search for compositions and decorations, multiplying variants and options. He can be powerful in his contours, in a Géricaldian vein, or content himself with a fine, thin line for his ornamental subjects. He sometimes drew in sanguine, particularly for academic studies and portraits. His highly finished watercolors are absolutely limpid and distant, imitating to perfection the rendering he aims to achieve in his "tarsia".