Henry de TRIQUETI (1803-1874) Album entitled "Plantes, voyages en France, en Allemagne" comprising approximately 26 drawings mainly black pencil, white gouache highlights, pen and brown ink, a few washes, one watercolor plate 45 x 30 cm album dimensions Album partially dismantled, some sheets are located and dated, one of which is monogrammed Annotated on the edge of the binding: "Croquis faits en voyage/Dessins 2" ("Travel sketches/Drawings 2"). - 5 views of Le Tréport dated 1846, including a view of the Château d'Eu - tracing after a Gothic sculpture - View of Pau, taken behind the Gassies field and dated 1849 - View of the Ordincède huts (Campan valley) - View of Lac de Gaube - View of a waterfall - View of a field at the foot of the mountains - Study of putti holding a medallion - Study leaf with branches and foliage - Study with two tree leaves, monogrammed upper right - Women and child - Centaur fight - Virgin and child - Study for a drapery - Study for a medallion with a winged figure and a nymph - Allegorical female figure - Project for architectural decor - Study sheet with horse, women and centaur - Project for a pillar with figures for a colonnade - Two vignettes on the same page with putti and drapery Provenance: Château du Perthuis. Note: The primacy of drawing was not an empty word for Triqueti, who subordinated all the arts he practiced to it. 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".