Emile-Jean-Horace Vernet

Probably, Collection Gabriel Delessert, commissioned in 1821 ;
Probably, Collection M.M. Delessert, 1846, n°222 ;
Probably, Collection François Delessert, 1860, n°224 ;
Probably, Vente, Collection de l'Impératrice Eugénie, Hôtel Drouot, Paris, March 19th 1881, n°77 ;
Purchased by the current owner's grandfather in the 1960s from a collector who indicated that the painting came from the previous sale ;
Thence by descent

Artist's studio, 1822, Monsieur Delessert's version or Monsieur Laffitte's version is exhibited, draped in black

E. de Mirecourt, Les Contemporains, Horace Vernet, Paris, 1855, p. 41 ;
A. Durande, Joseph, Carle et Horace Vernet : Correspondance et biographie, Paris, 1864, p. 75 ;
A. Dayot, Les Vernet, Paris, 1898, pp. 126 and 201 ;
The Wallace Collection, Catalogue of Pictures, Londres, 1986, Volume 2, pp. 266-267, n°P575 ;
Claudine Renaudeau, Horace Vernet (1789-1863) : Chronologie et catalogue raisonné de l'œuvre peint, Thesis, Université Paris VI - Sorbonne, 1999, Volume 1, p. 211, n°140 ;
Catherine Granger, L'Empereur et les arts, La Liste Civile de Napoléon III, Paris, 2005, pp. 432 and 700

The painting is on its original canvas. It is dirty and would benefit from a light cleaning.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Napoleon dies on May 5th 1821. Horace Vernet first hears the terrible news six months later and immediately decides to paint Le Tombeau de Napoléon. On July 15^th, Vernet allows Jazet to make a print. Finished on August 2^nd 1821, the painting is sold to Monsieur Delessert.

Given the composition's success, Vernet decides to paint a replica which is sold in October to Mr Laffitte. In 1834, the replica is purchased by the 4th Marquis of Hertford, before it is bought by Sir R. Wallace in 1871. It is now kept in the Wallace Collection, London (see fig. 2 on previous page).

The painting we are presenting seems to correspond to the original version which stayed in the Delessert family, at least until 1860 when it is listed in the François Delessert Collection inventory, with the same size and description, no mention of a signature. In 1869, the painting is no longer present in the collection as it isn't presented at the Sale of the Galerie Delessert. On March 19^th, 1881, an Apothéose de Napoléon is listed in the Empress' collection sale, with the same size and description, no mention of a signature, with a precision : the painting was engraved by Jazet.

According to us, the Delessert painting, the Empress' painting and our composition are one same work. Cécile Delessert, daughter of Gabriel Delessert, and niece to François Delessert was very close to Empress Eugénie whom she grew up with, and finally became her lady in waiting. She may have offered her the painting as a present, knowing the Emperor was fond of Vernet's paintings, especially when they commemorate his uncle. The previous owner indicated to the current owner's grandfather that the painting came from the 1881 sale.

Napoleon I is only represented by symbols in the painting : the 'biscorne' and his sword by his tomb. Vernet places the tomb dramatically by the sea, with the wreckage of a ship inscribed with the names of his most important battles. General Charles-Tristan Montholon (1783-1853) and General Henri-Gatien Bertrand (1773-1844) with his family, who were present on St. Helena, console one another, while the cloud-borne mourners on the right background include some of Napoleon's dead Marshals, and Sultan Selim III of Egypt.

Our painting is slightly different from the work the Wallace Collection keep, especially in the position of the dead heroes and the tomb's orientation. One can observe on our painting a repaint by Vernet himself, hesitating on the position of the cliff, and the hat, which confirm the hypothesis of this work being the first version. Claudine Renaudeau indicates that the painting was rapidly painted, which explains it wasn't signed.

Jazet's print has the same composition as our work, except for the wings on a few figures on the right (see fig. 1 on previous page). Claudine Renaudeau asks herself if these details were imagined by Jazet with Vernet's approval, or if the original painting was executed so. We believe, of course, that Jazet added the winged figures in the print, while they weren't present in the original work.