Antoine-Ignace Melling

The drawing is in extremely good condition for a sheet this size and the chalk is fresh. There is some discoloration in the blank space below and some rubbing as well as two repaired tears in the right quarter. The paper is reinforced along a vertical fold on the verso, The overall color is slightly warmer and darker than the illustration. The drawing is in an attractive gilt-wood frame.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Melling studied in Strasbourg and then travelled through Italy and Egypt to Constantinople where he worked for the Sultan for many years. He returned to France in 1803 and worked for the Empress Josephine and later for Louis XVIII.  In 1808 he presented a watercolor at the Salon representing a Vue générale de Paris, prise des hauteurs de Chaillot, à côté de l'église (fig. 1), which is now the site of the Trocadéro.  This is taken from the same view-point as the present drawing, although it concentrates on the central section, the view starting with the Palais du Louvre on the horizon at the left and concluding with the Hôtel des Invalides at the right.  That watercolor was acquired by Empress Joséphine, then was passed to her daughter, Queen Hortense and is now in the collection of the Musée Napoléon at Arenenberg, which was once the Queen's home.¹  Differences between the two views in their dates and the depiction of the buildings, trees and staffage make the present drawing unlikely to be preparatory for the watercolor.  However the numerical grid clearly indicates that the design was intended to be transfered to a canvas: perhaps to a later version that is as yet unknown. 

1. C. Boschma and J. Perot, Antoine-Ignace Melling (1763-1831), artiste-voyageur, exhibition catalogue, Paris, Musée Carnavalet, 1991, p. 45