Eugène-Louis Lami (1800-1890)
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Eugène-Louis Lami (1800-1890)

Chronique du règne de Charles IX: Bernard de Mergy giving his father's letter to Coligny at the Hôtel de Châtillon; and Bernard de Mergy leaving Comminges dead after a duel at the Pré-aux-Clercs, Paris

Details
Eugène-Louis Lami (1800-1890)
Chronique du règne de Charles IX: Bernard de Mergy giving his father's letter to Coligny at the Hôtel de Châtillon; and Bernard de Mergy leaving Comminges dead after a duel at the Pré-aux-Clercs, Paris
signed 'E.L.' and with inscriptions '[C'est de] mon vieux camarade le baron de Mergy [dit l'Am]iral, et vous lui ressemblez tellement, jeune [homme] qu'il faut que vous soyez son fils' and 'un Chef de parti. chap VI P. Merimée'(1), and 'allons nous en....Emmène moi d'ici, dit Mergy d'une [voix] éteinte, en prenant le bras de son frère' and 'le raffiné et le Pré aux clercs chap XI. P. Merimée' (2) on labels attached to the backboards
pencil, watercolour, bodycolour
130 x 201 mm. and 128 x 203 mm. (2)
Provenance
Mme. Roussel; Paris, 25 March 1912, lots 37 and 39.
Literature
P.-A. Lemoisne, L'oeuvre d'Eugène Lami: essai d'un catalogue raisonné, Paris, 1914, pp. 314-5, nos. 1401 and 1405.
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Lot Essay

These drawings are illustrations for the Chronique du règne de Charles IX by Prosper Mérimée (1803-1870). First published anonymously in 1829 as Chronique du temps de Charles IX, the novel was republished in 1832 and again in 1841. Like Victor Hugo's Notre Dame de Paris and Alfred de Vigny's Cinq-Mars, Mérimée's novel was part of the vogue for historical fiction in France inspired by the writings of Sir Walter Scott. The events of the novel centre around two brothers Georges and Bernard de Mergy, who are separated by their conflicting religious beliefs and alligiances, one a Catholic in service of the King, the other a Protestant backing the opposing army led by L'Amiral Coligny. Both drawings are faithful to Mérimée's text, carefully depicting the particulars of costume, setting, gestures and facial expression as described by the author. The drawings were part of a series of ten watercolour illustrations for the novel, eight of which, including these two sheets, were in the Roussel Collection which was dispersed at auction in 1912.

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