Lot 453
  • 453

Jean-Auguste-Dominique Ingres

40,000 - 60,000 EUR
62,500 EUR
bidding is closed


  • Jean-Auguste-Dominique Ingres
  • Ambassador Don Pedro of Toledo kissing the sword of Henri IV
  • Signed, dated and situated lower left Ingres inv et pinxit / Rome 1816
  • Sepia wash and black pencil on paper


Former Villeboeuf Collection ;
Former Magimel Collection ;
Sale, Hôtel Drouot, Paris, March 20th 1959, lot 4 (illustrated pl. I) ;
Sale, Hôtel Drouot, Paris, January 28th 1998 ;
Purchased from the above by Antal Post de Bekessy ;
Thence by descent


Ingres, Galerie Georges Petit, Paris, April - May 1911, n°196 ; 
Ingres, Chambre syndicale de la curiosité et des Beaux-Arts, Paris, May - June 1921, n°161


Exhibition catalogue Ingres, Petit Palais, Paris, 1967-68, mentionned p. 168 under the catalogue note to n°119 ;
Exhibition catalogue Ingres, The J.B. Speed Art Museum, Louisville ; The Kimbell Art Museum Fort Worth, Texas, 1983-1984, mentionned p. 78

Catalogue Note

Ingres had several ideas to illustrate this episode : in the end, four compositions were painted. The first version, presented at the 1814 Salon, has disappeared. However, the composition is known from a print by Réveil. By 1819, another work was executed for Jean Alaux, now kept at the Musée du Château de Pau (illustrated below). A third version was painted in 1820 for M. Graves (Louvre, Abu-Dhabi). Finally, the last version was executed in 1832 and is now kept at the Louvre, Paris. The scene in the first three compositions takes place in the Salle des Caryatides in the Louvre : the first two versions show the sculptures by Jean Goujon on the left ; the third one shows them on the right. The 1832 version takes place before the Henri II stairs in the Louvre, as the king's entourage is looking : Gabrielle d'Estrées, the duc d'Epernon, and perhaps Ingres himself, behind the cardinal Duperron.

The main characters are executed in the same position in each version : Don Pedro is kneeling and the young page is presenting the sword on a velvet cushion. However, the scenography and the costumes are different in all versions. Our drawing is the only other composition presenting Henri IV's "H" in the background, on the wall, as it appears on the 1814 version according to Réveil's print.