Henry de TRIQUETI (1803-1874) An album of approximately 40 drawings and three engravings Various techniques some tracings, some drawings are captioned 21 x 17 cm album dimensions Vellum cover Vignettes of various sizes, partially dismantled, pages numbered top right Small stains and folds Various studies of landscapes, figures and decorative elements, including: - Preparatory drawing "la terre" for the Boizot de Sèvres vase Three pencils on brown paper Numbered upper right "118 Our drawing is preparatory to the frieze on the plinth of the pedestal in the Musée du Louvre (see exhibition catalog, Henry de Triqueti, le sculpteur des princes, Musée des Beaux-Arts d'Orléans - Musée Girodet de Montargis, October 3, 2007 - January 6, 2008, Hazan édition, 2007, p. 31, fig. 23). - Dog head Black pencil Annotated upper right "Rosette" and lower right "R.?..son alt...". Our study can be compared to the dog at the foot of Prince Albert's recumbent (see exhibition catalog, Henry de Triqueti, le sculpteur des princes, Musée des Beaux-Arts d'Orléans - Musée Girodet de Montargis, October 3, 2007 - January 6, 2008, Hazan édition, 2007, p. 163, fig. 204). - Views of the convent of San Francisco on the Guadalquivir, view of Rochetartis castle, a portrait for Robinson Crusoe, three portraits, frieze studies, view of a castle on the banks of the Inn, armor studies, frieze studies, landscapes, pastorals, Virgin and Child, vase studies, bas-relief studies, figure studies... 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".