Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.
Graphite and pen and brown ink, on cream laid paper, perimeter mounted on cream wove paper
22.6 × 28.7 cm (8 15/16 × 11 5/16 in.)
Margaret Day Blake Collection
The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.
Lorenz Eitner, Géricault: An Album of Drawings in The Art Institute of Chicago (Chicago 1960), p. 24 (ill.).
Harold Joachim and Sandra Haller Olsen, French Drawings and Sketchbooks of the Nineteenth Century, I (Chicago, 1978), pp. 65-67, no. 3C10.
Germain Bazin, Théodore Géricault, Étude Critique, Documents et Catalogue Raisonné, V (Paris, 1992), p. 153, no. 1496 (ill.).
New Haven, Conn., Yale Art Gallery, “The Graphic Art of Géricault,” February 5-March 30, 1969, p. 23, cat. 9, cat. by Kate H. Spencer.
Probably Ary Scheffer, Paris; sold, Hôtel Drouot, Paris, March 15-16, 1859, lot 16, to Anatole-Auguste Hulot [according to Paris 1991]; sold, Hôtel Drouot, Paris, January 11-13, 1894. Baron Joseph Vitta (died 1942), Paris [according to Paris 1991]. Sold by Cesar de Hauke to the Art Institute, 1947.
Object information is a work in progress and may be updated as new research findings emerge. To help improve this record, please email . Information about image downloads and licensing is available here.