the eye of napoleon - final object list 05 04 12

The Eye of Napoléon

THE EYE OF NAPOLÉON Object List

Napoléon, the Man Inv # 228 The Emperor’s Hat, summer model ca. 1805 Poupard Chapelier Felt 7 ½ x 20 x 9 inches There is no greater icon of the Napoléon legend than his hat. This one was worn in the 1809 Battle of Essling. He preferred the design “broadside on,” the sides parallel with his shoulders, so that in battle, he could be distinguished from his officers, who wore their hats “fore-‐and-‐aft.” The style and shape of his famous hat changed with the times, and the size was not always the same. Several examples, both summer and winter weight, have survived.

Inv # 019 First Consul Bonaparte ca. 1802 Baron Antoine-‐Jean Gros (1771-‐1835) Oil on canvas 24 x 19 ½ inches 31 x 26 ¾ x 3 ⅛ inches framed Joséphine introduced Napoléon to Gros, whom he admired greatly and from whom he commissioned this official portrait. The young and ambitious Consul, however, was famous for his unwillingness to sit for portraits, and he did not sit for this one. Gros was forced to use studies he had made for Bonaparte at the Bridge of Arcole. Napoléon also commissioned a series of copies intended as gifts for friends or for towns commemorating his latest successes. Only a handful of these copies remain, most having been destroyed during the political upheavals following Napoléon’s exile. As First Consul, Napoléon distinguished himself from the other two consuls, Jean-‐Jacques-‐Régis de Cambacérès and Charles François Lebrun, by dressing in red, while they dressed in blue.


Inv # 148 Colossal Bust of Napoléon ca. 1810 Antonio Canova (1752-‐1822) Marble 27 ¼ x 13 x 14 inches In 1802, Napoléon brought Italian neoclassical sculptor Antonio Canova to Paris to model his portrait in marble shortly after Napoléon appointed the artist President of the Academy of Saint Luke. Canova carved the Colossal Bust as a study for a monumental, full-‐length statue, Napoléon as Mars the Peacemaker. Napoléon disliked the nudity of the completed statue and would not approve it for public installation. The bust, however, was greatly admired for its Olympian size and power to evoke the busts of antiquity. As a result, Canova, his students and the Carrara sculptors made numerous copies, including the one in this exhibition. This bust was in the collection of Louis-‐Philippe (King of the French, 1830-‐1848). It suffered major damage during the British bombing of the King's Normandy country palace during the occupation in World War II.

Inv # 005 General Bonaparte 1797 Painted by Andrea Appiani (1754-‐1817) Engraved by Pierre-‐Michel Alix (1762-‐1817) Engraving with watercolor 20 ½ x 18 inches 24 ¾ x 20 ½ x 1 ½ inches framed This is the first known portrait of Napoléon, made when General Bonaparte was commanding the Army of Italy. It captures the determination of the 28-‐year-‐old general, who, during the First Italian Campaign, defeated three opposing armies with forces outnumbered two to one. Pierre-‐Michel Alix was a French engraver best known for his portraits of figures notable during the French Revolution and the First French Empire.


Inv # 033 Apotheosis of Napoléon Bonaparte, First Consul of the Republic 1803 Constance Meyer (1775-‐1821) and Pierre-‐Paul Prud’hon (1758-‐1823) Oil on canvas 21 ½ x 26 inches 27 ¼ x 31 ½ x 3 inches framed Napoléon understood the value of controlling his image and using the arts to instill respect and admiration for himself and his policies. In this painting, as if a conquering Roman general, the Consul stands on a chariot with a laurel crown on his head, symbolizing the passage from the Republic to the Empire. The young women carry items that represent victory and death, joy and sorrow.

Inv # 156 Bonaparte Crossing the Alps by the Great Saint Bernard Pass 1807 Jean-‐Baptiste Mauzaisse (1784-‐1844) with or after Jacques-‐Louis David (1748-‐1825) Oil on canvas 15 ⅝ x 12 ½ inches 20 ⅜ x 18 ¼ x 3 inches framed The most famous depiction of Napoléon’s military career, Bonaparte Crossing the Alps, captures the energy and excitement of Napoléon’s campaigns and rise to power. Like Hannibal and Charlemagne, whose names appear at the painting’s bottom, Bonaparte courageously took his forces over the Alps in order to surprise his enemy. The strategy ultimately secured him victory at the Battle of Marengo. This painting also demonstrates David’s talent as a propagandist for Napoléon, who actually crossed the mountains on a mule. Jean-‐Baptiste Mauzaisse worked in David’s workshop. The painting is signed on the reverse by both, Mauzaisse and David.


Inv # 392 Study for a Courtroom Decoration in the Palais de Justice June 29, 1809 Anonymous Pen, watercolor and gouache 9 ¾ x 15 inches 17 ¾ x 24 x 3 inches framed This study centers on a portrait of the Emperor and includes a handwritten note by Merlin de Douai, Attorney General, and Honoré Muraire, President of the Assembly.

Inv # 344 Bronze of Napoléon 1809 Antoine Mouton (1765-‐1835) Gilded bronze with marble base 18 3/4 x 13 x 13 inches This bronze depicting Napoléon was owned by Napoléon and used in his office at the Tuileries Palace in Paris. Napoléon is depicted seated and dressed in his Imperial Guard uniform studying a map of Europe and calculating a distance with a compass. Two books sit beside him and four Egyptian women wearing Hathor headdresses and holding palm fronds serve as the legs of the table.

Inv # 310 Bust of Napoléon 1804 Jean-‐Antoine Houdon (1741-‐1828) Plaster on a marble base 27 x 18 x 11 inches Napoléon seldom sat for portraits but made an exception for the original from which this image was made. The sculpture shows Napoléon in the uniform of a colonel of the Chasseurs de la Garde and was made in the latter part of his Consular period. The bust was exhibited at the Salon of 1808, and the original marble is in the collection at Versailles.


Inv # 365 Napoléon’s Watch 1811-‐1814 Etienne Nitot et Fils, imperial jewelers Yellow gold, enamel and pearls 1 ⅓ inches dia. The “N” for Napoléon is crowned in pearls surrounded by laurel leaves. The case is gold with blue enamel. On the reverse a bee of pearls is surrounded by twelve golden stars.

Inv # 147 Relief Portrait of Napoléon 1809 Antonio Canova (1757-‐1822) Bisque 7 ½ x 6 x 1 inches Canova was a talented sculptor who dedicated his career to reviving the classical style of art, as in this profile of Napoléon as a Roman emperor wearing a laurel crown. His most famous work is the great reclining nude Venus Victrix, for which Pauline Borghèse, Napoléon’s favorite sister, posed.

Inv # 394 Cast of the Coat of Arms of Emperor Napoléon 1804-‐1815 Maker unknown Bronze 3 x 2 x ⅜ inches The coat of arms of Emperor Napoléon is surrounded by the old collar of the Legion of Honor. It was used to decorate books that dealt with weaponry.


Inv # 032 Grand Eagle Legion of Honor Medallion of Emperor Napoléon Martin Guillaume Biennais (1764-‐1843) After 1802 Silver thread on fabric 7 ¾ x 5 ⅞ x ¾ inches To recognize the talent and achievement of men from all fields, Napoléon established the Legion of Honor (Légion d’Honneur) in 1802, its name reprising the glory of the Roman republic. The Legion included knights, officers, commanders and grand officers, organized into cohorts. The Grand Eagle was the highest award. Napoléon wore this medallion on the left breast of his uniform.

Inv # 404 Napoléon’s Drinking Glass Empire Period Cristallerie du Montcenis Crystal 3 ½ x 2 ½ dia. at bottom to 3 inches dia. at top The glass, which has a flared rim, is engraved with the Imperial “N.”

Inv # 025 Napoléon’s Snuffbox 1800-‐1802 Bernard-‐Amand Marguerite Gold, silversmith Gold and enamel ⅝ x 3 ¼ x 1 ⅞ inches This snuffbox, probably a gift from Joséphine, belonged to Napoléon when he was First Consul. He was an active man who constantly fiddled with personal possessions. His principal antidotes to stress were inhaling pinches of snuff and sucking on anise flavored licorice.

Inv # 097 Signet Ring commissioned by Napoléon 1809 Etienne Nitot et Fils, imperial jewelers Yellow gold with 10.5 carats of diamonds with additional brilliants ⅞ inches dia. This is the only remaining example of 10 similar rings commissioned by Napoléon from Marie-‐Etienne Nitot. The Emperor gave this one to the Commander of his Honor Guard, Hans de Bruyère of Nimegue, while honeymooning with Marie-‐Louise in September 1810.


Inv # 169 Napoléon’s Collapsible Campaign Bed and Traveling Box ca. 1808 Marie-‐Jean Desouches, locksmith Bed: iron 96 x 78 x 43 inches Box: oak with forged fittings 9 ½ x 42 ½ x 7 inches “The strength of an army, like the amount of momentum in mechanics, is estimated by the mass times the velocity,” said Napoléon. When on campaign, he moved as quickly as his soldiers did, sleeping exclusively on collapsible, easily transportable beds such as this one. Commissioned in 1808, it was probably used at the Battle of Wagram.

Inv # 186 Eagle Finial 1815 Maker unknown Gilded wood 10 ¼ x 8 ⅝ x 5 inches Made to top a flagpole, this eagle finial dates from the “Hundred Days,” the time between Napoléon’s escape from exile on the Island of Elba and his final defeat at Waterloo. Legend has it that eagles began to circle overhead from the moment the Emperor landed at Golfe-‐Juan on the Riviera, and continued to do so throughout his journey to Paris.

Inv # 165 Napoléon’s Personal Map of the French Empire in 1812 ca. 1812 Colored print on paper lined with silk 48 ½ x 57 inches Napoléon’s personal map is marked with pin pricks attributed to the Emperor, who kept track of his campaigns. “It was a beautiful Empire!” he reminisced on St. Helena. “I had eighty-‐three million human beings under my government—half the population of Europe.”


Joséphine and the Coronation Four watercolor engravings for the Compendium of Decorations for the coronation ceremony and the feast of the Distribution of the Eagles at the Champs de Mars 1807 Charles Percier (1764-‐1838) and Pierre François Léonard Fontaine (1762-‐1853) Watercolor on paper The complete set of 10 colored engravings was a gift from Napoléon to Talleyrand. Inv # 042 The Imperial Procession Entering Notre Dame Cathedral from the Book of the Coronation 29 ½ x 23 ¼ inches 32 ½ x 28 ½ x 1 ¼ inches framed With a large coronation party and 8,000 dignitaries in attendance, protocol became a troublesome issue. Napoléon’s family caused a number of problems, with two of his sisters refusing to carry Joséphine’s train because it was beneath their status as “Highnesses,” titles that Napoléon had just conferred. Exasperated, he remarked, “One would think, to hear you, that I had just despoiled you of the heritage of our late father the king.”

Inv # 043 The Military School and Champ-‐de-‐Mars from the Book of the Coronation 24 ¼ x 29 ¾ inches 27 ½ x 34 x 1 ½ inches framed A side view of the military school shows the large temporary facade and reviewing stand built for the week-‐long coronation ceremonies, during which the Emperor presented each of his regiments with their own standard topped by an Imperial Eagle in order to enforce their sense of identity and pride.

Inv # 044 The Emperor’s Throne and Military School at the Champs de Mars from the Book of the Coronation 24 ¾ x 30 ½ inches 28 x 34 ½ x 1 ¼ inches framed A front view of the military school shows the Imperial throne and gallery from which the Emperor and his family and court observed the ceremonies. In Percier and Fontaine’s elaborate design we see all the symbols of the new Empire in a fusion of Roman and medieval design.


Inv # 037 Central Nave of Notre Dame Cathedral from the Book of the Coronation 28 ¾ x 24 ½ inches 33 ¾ x 27 ½ x 1 ½ inches framed Completed after nearly two centuries in 1345, Notre Dame has stood at the heart of French history for hundreds of years. In 1793, with the closure of many of the French churches, the cathedral was vandalized and looted. For nearly a decade, it was used as a warehouse for food. Napoléon restored religious freedoms in 1802. The coronation at Notre-‐Dame two years later returned this powerful symbol of the country to its former place.

Inv# 062 Large Wooden Plaque used at the Coronation 1804 Designed by Jacques-‐Louis David (1748-‐1825) Made by François-‐Honoré-‐Georges Jacob-‐Desmalter (1770-‐1841) (Stamped Jacob-‐Desmalter) Fruitwood 51 ¼ x 43 ¼ x 6 inches Of the 10 coats of arms designed as accents for the red velvet that surrounded the nave of Notre-‐Dame Cathedral for Napoléon’s Coronation, only one remains. Surrounding the Imperial Eagle is the Collier (ceremonial necklace) of the Legion of Honor. Modeled after those used by Charlemagne, the staff on the left portrays the hand of justice giving a benediction and the scepter on the right portrays Charlemagne, the first emperor of the West, on his throne. At the top is the crown of the Empire and below it a drapery embroidered with bees.

Inv # 052 Sketch of a Pavilion for Napoléon I’s Coronation Festivities 1804 Charles Percier (1764-‐1838) and Pierre François Léonard Fontaine (1762-‐1853) Pen, ink and watercolor on paper 20 x 25 inches 27 ⅛ x 31 ⅜ x 2 ½ inches framed All of Paris was taken up with coronation festivities on December 2, 1804. Percier and Fontaine designed dramatic, temporary structures like this one all across the city. This pavilion was erected in the gardens of the Tuileries, a French royal residence adjacent to the Louvre before it was destroyed by arson in 1871.


Inv # 060 Cushion used at the coronation of Napoléon 1804 Augustin-‐François-‐André Picot, the Emperor’s embroiderer Silk velvet, gold thread and embroidered braid 5 x 16 dia. inches Many of the objects used for the coronation displayed Napoléon’s personal emblem, the bee. The symbol provided continuity with the ancient sovereign, King Childeric I (father of Clovis, 5th Century King of the Franks), whose tomb, when discovered in 1653, revealed he had been buried with hundreds of inlaid golden bees. Ancient Egyptians, Romans, Christians and Masons all associated the bee and the hive with industry and regeneration, wisdom and obedience.

Inv # 058 Sword of the Chief of Heralds, used to proclaim Napoléon Emperor 1804 Designed by Jacques-‐Louis David (1748-‐1825) and Jean Baptist Isabey (1767-‐1855) Manufactured by Nicolas Noel Boutet at the Versailles Imperial Armory Gilded bronze, silver gilt, ebony and velvet 36 x 5 x 1 inches During the three-‐hour coronation ceremony, the Imperial couple sat on their thrones, which were placed on a platform under Notre Dame Cathedral’s main arch. The enthronement conferred on Napoléon the supreme power of France. It fell to the Chief of the Heralds to proclaim him Emperor and announce the coronation to the crowd.


Inv # 391 Sketch of Pope Pius VII 1817 Jacques-‐Louis David (1748-‐1825) Pencil and ink on limestone panel 4 ⅛ x 3 ⅝ inches 14 ¼ x 12 ⅛ x 3 ½ inches framed Pope Pius VII agreed to consecrate Napoléon as emperor because he had already gained concessions for the church in the Concordant of 1801, which reestablished Catholicism as the religion of France. It was understood from the beginning that Napoléon would crown himself, symbolizing his own merits and the will of the people rather than a religious consecration. The Pope assumed that, as emperor, Napoléon would further reward the church. This did not happen, and in July 1809 Napoléon‘s officers arrested Pius when he refused to resign as Pope and Head of the Papal States. This preparatory sketch is for a painting now found in the Château at Versailles. It was made during David’s exile in Brussels and is inscribed by hand on the back, “Sketch of Pius VII by David 1817,” and signed “LD.”

Inv # 054 Sketch of Cruets and Tray used at the Napoléon’s Coronation 1804 Charles Percier (1764-‐1838) India ink on paper 23 ¼ x 15 ¼ inches 25 ½ x 17 ¾ x 1 inches framed Many beautiful objects such as these were required for the coronation to assist in the anointing of oil, washing of hands, dispersal of incense and reading of texts.

Inv # 063 Ceremonial Dress Coat 1804 Anonymous Silk velvet and silk embroidery thread 46 x 24 x 4 inches Jean-‐Pierre Bachasson, Comte de Montalivet, who was Napoléon’s Minister of the Interior and a senior member of the Counci l of State, wore this dress coat to Napoléon’s coronation. His wife was a lady-‐in-‐waiting to the Empress Joséphine.


Inv # 414 Costume Train belonging to Countess de Boigne (Adèle d’Osmond) ca. 1804 Satin, velour and silk embroidered with gold thread 50 x 108 inches long 29 inches around top of train The countess was a royalist and refused to attend Napoleon’s coronation, so the train was never worn.

Inv # 318 Empress Joséphine 1810 Jean Baptiste Regnault (1754-‐1829) Oil on canvas 23 ⅛ x 18 ⅞ inches 31 ¾ x 28 x 3 inches framed This portrait was commissioned by Joséphine and her son Eugène. It is a detail of a painting by Regnault that represents the marriage of Jérôme, brother of Napoléon, with Princess Catherine de Wurtemberg, which belongs to the collection at Versailles.

Inv # 351 Bust of Empress Joséphine 1805 Manufacture de porcelaine de Nast, Designer Joseph Chinard (1756-‐1813) Bisque 10 x 6 x 4 inches This version has the same dimensions as the bust in bisque by Chinard, preserved at Malmaison, Joséphine’s home.


Inv # 343 (includes both plates) Two Plates Dihl and Guerhard Manufactory 1811 Porcelain 9 ¾ inches dia. Josephine 9 ¾ inches dia. Eugene Plate with coat of arms of Joséphine at the center. Plate from the service of Eugène de Beauharnais, son of Napoléon’s wife, Joséphine. It is similar to his mother’s plate except for the “E” surrounded by foliage. Entirely gold gilded, the plates were used for fruit.

Inv # 316 Holy Procession (La procession de la fête Dieu dans un village) 1804 Jean Louis De Marne (1752-‐1829) Oil on panel 18 x 26 ¾ inches 25 ½ x 33 ¾ x 2 inches framed This painting of a religious procession in Dalmatia was shown at the Salon of 1808 and acquired for the collection of Joséphine at Malmaison. The frame is from the Empire Period.

Inv # 384 Peruvian Jay ca. 1806 Jacques Barraband (1767-‐1809) Watercolor on paper 20 ½ x 15 inches 33 ⅜ x 26 ¾ x 2 inches framed Joséphine commissioned this drawing by Barraband, a French zoological and botanical illustrator, renowned for his life-‐like renderings of tropical birds.


Inv # 377 Le Bon Jardinier, almanac for the year 1811 Moroccan leather, gilding, vellum 7 x 4 x 2 ½ inches (in folio 8) Fine copy, printed on vellum and bound in Moroccan leather featuring the coat of arms of the Emperor on the cover and bumble bees and eagles, symbols of the First Empire, on the spine. 856 pages.

Inv # 379 Voyage en Pologne, Russie, Suède, Dannemarc, etc. in four volumes By William Coxe First Edition of the French translation, London 1784 Leather and gilding 8 x 5 ¼ x ¾ inches Among the books from the personal collection of Napoléon and Joséphine at Malmaison are these volumes translated from English. The subject is a voyage to Norway by M.P.H. Mallet. Enriched with notes and clarifications, these volumes include beautiful maps and figures. The bindings date from the period of Louis XVI.

Inv # 376 Atlas des figures coloriées du Nouveau Dictionnaire d’Histoire Naturelle 1805 Jacques De Sève (active 1742-‐1788, life dates unknown) Tardieu, Voisard, Drouer, et al., engravers Green Moroccan leather with gold gilding 10 ¾ x 8 ¾ x 3 inches (in folio 4) Joséphine, first wife of Napoléon, had a passionate interest in fauna and flora. The atlas, which she owned, includes 236 engravings in color and black and white depicting quadrupeds, birds, reptiles, fish, insects, plants and minerals. The spine is signed “Rel P. Lefebvre,” a bookbinder appointed by the Emperor.


Inv # 380 Histoire naturelle des Mollusques terrestres et fluviatiles de la France By Jacques Philippe Raymond Draparnaud (1772-‐1804) 1805 Leather 12 x 9 x 1 ⅛ inches (in folio 3) One of Joséphine’s many books having to do with flora and fauna.

Inv # 378 Histoire de l’Empire de Russie sous le règne de Catherine II in six volumes By William Tooke (1744-‐1820) 1801 Calf 8 x 5 ¾ x 1 ¼ inches (in folio 8) This book, written by a British historian of Russia, displays the coat of arms of Joséphine, who kept the book at Malmaison.

Inv # 309 Joséphine’s Portfolio for her Annulment Papers Maker unknown 1809 Red Morocco leather 16 ¼ x 12 ⅛ x ¾ inches This artifact is one of two almost identical portfolios, which originally contained the official documents annulling Napoléon’s and Joséphine’s marriage, along with affidavits testifying to an irregularity of their religious marriage.


Marie-‐Louise and the King of Rome Inv # 302 Pair of Medici-‐style Vases ca. 1811 Louis-‐François Jeannet (1789-‐1856) Bronze 24 ¾ x 17 ½ dia. inches Given the demand for bronze to cast cannons, large-‐scale artworks in this alloy of tin and copper were rarely made during the period. These two are the only known bronze vases of the period on this scale. The first vase represents the King of Rome’s birth in 1811. Napoléon’s eagle, bee and heroic symbolism are featured. The second, a particularly fine example, represents Napoléon’s second marriage to Marie-‐Louise in a classical motif.

Inv # 386 Drawings of the Decorations for the Imperial Marriage 1810 Charles Normand (1764-‐1840) Ink on paper Group A: 3 ⅝ x 5 ¾; 5 ½ x 3 ½ inches 21 ½ x 23 ⅜ x 1 ½ inches framed Group B: 6 x 4; 3 ¾ x 5 ⅝ inches 21 ½ x 25 ¼ x 1 ½ inches framed Group C: 4 x 6; 6 x 4 inches 19 x 26 x 1 ½ inches framed These three groups of thirteen drawings illustrate the decorations for the imperial marriage ceremony of Napoléon and Marie-‐Louise on April 2, 1810.


Inv# 388 Engraving of the Imperial Wedding Procession 1811 Benjamin Zix (1772-‐1811), designer J. Cenneli Reinhotet (dates unknown), engraver 15 ½ x 23 inches This engraving depicts the imperial wedding procession of Napoléon and Marie-‐Louise through the Grande Galerie of the Louvre. The walls are decorated with paintings taken by the French army from the occupied capitals of Europe but later returned in 1815.

Inv # 390 Drawing of a Ball Scene celebrating the marriage of Napoléon to Marie-‐Louise 1810 Paul Thomas Bartholomé (dates unknown) Pen and ink on paper 7 ¾ x 10 inches 17 ⅛ x 20 x 2 inches framed The scene depicted is a ball to celebrate the marriage of Napoléon to Marie-‐Louise held at the War Ministry in Paris. The Minister of War, Henri Clarke, the Duc de Feltre, put up the tent for the ball.

Inv # 389 Emperor Napoléon and Empress Marie-‐Louise in Front of Their Throne Engraving 1812 Loder Matthäus (1781-‐1828), designer Carl Hermann Pfeifer (1769-‐1829), engraver 20 x 17 inches 30 ⅛ x 27 ¼ x 1 ⅞ inches This Viennese engraving celebrates the marriage of Napoléon and Marie-‐Louise.


Inv # 387 Study of Psyche and Amour 1810 Pierre-‐Paul Prud’hon (1758-‐1853) Black crayon sketch 8 ¼ x 14 ⅛ inches 18 ½ x 24 ¼ x 2 inches framed This study was made for a design for the arm of a dressing table chair fabricated by Pierre Philippe Thomire (1751-‐1843) and Jean-‐Baptiste Claude Odiot (1763-‐1850). The chair belonged to a vermeil set given to Marie-‐Louise by the City of Paris as a wedding present.

Inv # 403 Folding Screen belonging to Empress Marie-‐Louise 1815 Maker unknown Mahogany Wood and fabric Each Panel 39 ¼ x 31 ¾ x 1 ⅜ inches After the abdication of Napoléon, Empress Marie-‐Louise became known as the Duchess of Parme. This screen, which she owned after she was widowed, probably came from one of her two residences, the Palace of Parme or the Château of Colorno.

Inv # 346 Bust of Empress Marie-‐Louise ca. 1812 Lorenzo Bartolini (1777-‐1850) Gilded bronze with marble base 13 ⅜ x 7 x 5 ¾ inches 3 ⅜ x 8 ⅝ x 7¼ inches base Bartolini was born in Tuscany and drew inspiration from the sculpture of the Florentine Renaissance rather than the strong influence of Antonio Canova, his Florentine contemporaries and their “marble empire. ” He had already sculpted a colossal bronze bust of Napoléon before he made this one of the new empress.


Inv # 366 Watch belonging to Empress Marie-‐Louise 1811 Etienne Nitot et Fils, imperial jewelers Yellow gold, enamel, diamonds 1 ¼ inches dia. Yellow gold and enamel watch with 36 diamonds including those representing the initials of Empress Marie-‐Louise. Likely a gift from Napoléon as it closely resembles his own watch, also created by François Regnault Nitot.

Inv # 098 Watch belonging to Empress Marie-‐Louise 1811-‐1814 Etienne Nitot et Fils, imperial jewelers Yellow gold, enamel and pearls 1 ⅓ inches dia. This is one of a pair of watches made by François Regnault Nitot, for the Emperor and Empress. The “ML” for Marie-‐Louise is crowned by half pearls.

Inv # 363 Presentation Box belonging to Marie-‐Louise 1810 Etienne Nitot et Fils, imperial jewelers Gold, enamel and precious stones 1 x 3 ½ x 2 ½ inches Presentation box bearing the initials of Marie-‐Louise, presented to her by Napoléon upon her arrival in France for their marriage, a strategic alliance, which ushered in a brief period of peace and friendship between Austria and the French Empire. The marriage followed the renouncement of Joséphine, who could not bear an heir for Napoléon.


Inv # 393 Cast of the Coat of Arms of Marie-‐Louise 1804-‐1815 Maker unknown Bronze ¼ x 3 ⅛ x 2 ½ inches Bronze casting of the coat of arms of Empress Marie-‐Louise, which shows the emblems of France and Austria, joined together, topped by the Imperial Crown. Used for embossing book bindings, the coat of arms is also shown embossed in gold on the red leather portable desk of Marie-‐Louise.

Inv # 102 Teacup and Saucer belonging to the Duchess of Montebello 1813 Manufacture Imperiale de Sèvres Porcelain Plate 6 ½ inches dia.; Cup: 5 ½ x 3 ½ inches dia. Empress Marie-‐Louise gave this unique cup and saucer bearing her likeness to the Duchess of Montebello, who looked after the King of Rome, Napoléon’s son and heir.

Inv # 395 Portable Desk and Ink Stand Box of Marie-‐Louise 1812 Maker unknown Red leather embossed in gold with a silver lock 1 ¾ (6 when expanded) x 13 x 10 ½ inches This portable and expandable desk is embossed in gold with the coat of arms of Empress Marie-‐Louise.


Inv # 136 Napoléon’s Lotto Game Box 1810 Martin Guillaume Biennais (1764-‐1843) Ebony, mahogany, silk, silver thread and painted horn 2 x 12 ½ x 9 ½ inches Napoléon loved to play lotto with Joséphine and, in later years, Marie-‐Louise. It was one of his favorite games. He wanted so passionately to win that, legend has it, he would sometimes “discover” cards up his sleeve. This game box, from the Palace at Fontainebleau, is the only one to survive.

Inv # 362 Gold Medallion 1801 Piere-‐Simon-‐Benjamin Duvivier (1730-‐1761) Gold (151 grams) 2 ¼ inches dia. An allegory showing industry in Mercury being crowned by the Republic, this medallion was awarded to Merlin Hall, an English businessman and factory owner.

Inv # 361 Medallion commemorating the marriage of Napoléon and Joséphine 1804 Nicolas-‐Guy Brenet (1770-‐1846) Gold (36.44 grams) 1 ¼ inches dia.

Inv # 360 Commemorative Medallion in honor of the marriage of Napoléon and Marie-‐Louise 1810 Johann Baptist Harnisch (1785-‐1833) and Franz Zeichner (1778-‐1862), engravers Gold 2 inches dia. Gold medallion struck in Vienna on the occasion of the marriage of Napoléon and Marie-‐Louise, daughter of the Emperor of Austria. The reverse depicts a view of Vienna.


Inv # 408 Commemorative Medallion in honor of the marriage of Napoléon and Marie-‐Louise 1810 Jean-‐Pierre Droz (1746-‐1823), Swiss medallist Gold 1 inch dia. Medallion commemorating the marriage of Napoléon and Marie-‐Louise made by the inventor of a process that allowed coins to be made in multiples.

Inv # 409 Commemorative Medallion in honor of the marriage of Napoléon and Marie-‐Louise 1810 André Galle (1761-‐1844), medallist Gold 1 ¼ inches dia. This medallion commemorating the marriage of Napoléon and Marie-‐Louise was engraved by André Galle, Napoléon’s bronzier.

Inv # 410 Commemorative Medallion in honor of the marriage of Napoléon and Marie-‐Louise 1810 Bertrand Andrieu (1761-‐1822), engraver Gold ⅝ inches dia. Medallion commemorating the marriage of Napoléon and Marie-‐Louise struck by Bertrand Andrieu, considered as the restorer of the art of engraving, which had declined after the time of Louis XIV.


Inv # 107b Study for The King of Rome 1812 Baron François Gérard (1770-‐1837) Graphite on paper 16 x 12 ½ inches need new frame size After a difficult labor, Empress Marie-‐Louise gave birth to a son, the King of Rome, on March 20, 1811. Napoléon had told the attending doctors that if it became a choice between mother and baby, they should save his wife. However, Napoléon was a doting father who was inordinately proud of his heir. Because his son had French and Austrian blood, Napoléon believed he would reconcile the two countries.

Napoléon received the painting for which this drawing was a study while in Russia on September 6, 1812, the day before the Battle of Moskowa. He was very pleased with the portrait and exhibited it in his tent for others to admire. While staying at the Kremlin, he placed the image in his bedroom.

Inv # 108 The King of Rome 1812 Innocent-‐Louis Goubaud (1778-‐1839) Engraving on vellum 17 x 19 ¾ inches 18 x 22 ¼ x 1 ½ inches In this portrait, Napoléon’s baby son is surrounded by an ermine-‐trimmed cloak, a crown, and other emblems of imperial authority. He is playing with a necklace of imperial eagles.

Inv # 107a The King of Rome 1812 Jean-‐Baptiste Isabey (1767-‐1855) Watercolor on paper in silver gilt frame 13 ¼ x 11 ½ x 3 ¼ inches framed This portrait of Napoléon’s son was presented to Madame de Montesquiou, the King of Rome’s housekeeper, by the Empress Marie-‐Louise.


Inv # 357 Portrait Bust of the King of Rome 1812 Philippe Jacob Treu (1761-‐1825) and Henri-‐Joseph Ruxthiel (1775-‐1837) Bronze patina 12 ⅝ 7 x 4 ⅛ inches 4 ¾ x 4 ¾ inches at base Bust of Napoléon-‐François-‐Charles-‐Joseph, son of Napoléon and Marie-‐Louise, by the Belgian-‐born Ruxthiel. He had just returned from Rome when Napoléon commissioned him to sculpt the heir to the throne who had just been born.

Inv # 364 Bracelet with Miniature of the King of Rome 1811 Jean-‐Baptiste Isabey, portraitist Gold and ivory Miniature 1 ⅛ x ⅞ inches ; Bracelet 5 ⅜ inches long Gold bracelet with a miniature portrait on ivory of the King of Rome, given by Napoléon to Empress Marie-‐Louise on the occasion of the birth of their son.

Inv # 400 Layette Set 1811-‐1813 Augustin-‐François-‐André Picot, the Emperor’s embroiderer Embroidered linen, silk, satin, crepe and tulle Dress 23 x 25 inches long; Cradle Cover 36 ⅛ x 29 ½ inches; Bonnet 4 ½ x 4 ½ x 4 ½ inches Baby set created for the King of Rome, Napoléon’s and Marie-‐Louise’s son, consisting of a lace dress, a bonnet embroidered with flowers and oak leaves and a cradle cover embroidered with bees and laurel leaves bordered with Valenciennes lace.


Napoléon and His Family

Inv # 075 Imperial Bed of the King of Westphalia 1810 Made by François-‐Honoré-‐Georges Jacob-‐Desmalter (1770-‐1841)(Stamped Jacob-‐Desmalter) Painted and gilded wood and silk 144 x 80 x 56 ⅓ inches Napoléon appointed his youngest brother Jérôme King of Westphalia. Jérôme was known for his taste for luxury, and his bed, from the palace at Kassel, attests to his penchant for splendor. The bed commemorates Napoléon’s military conquests with Egyptian figures, helmets and stars, and honors his victories with a crown of oak and laurel branches. Jérôme also borrowed his brother’s name, prominently centering a JN (Jerome Napoléon) monogram overhead. The bed’s drapery has been recreated by the House of Prelle, which was established in Lyon in 1752 and was used to furnish the Emperor’s palaces. Using their authentic Empire designs, Prelle often utilizes its original period looms to create its silk and brocades. This is the only royal bed of the First Empire in a private collection.

Inv # 321 Plate 1808 Jean-‐Baptiste Claude Odiot (1763-‐1850) Gold vermeil 9 ½ inches dia. This plate with the coat of arms of Madame Mère was part of a 72-‐piece service in gold vermeil. Divided in two equal parts between her two sons, Joseph et Louis, this service has since been totally dispersed.


Inv # 342 Water Pitcher and Washing Bowl belonging to the King of Naples 1804-‐1807 Manufacture Imperiale de Sèvres; Designed by Charles Percier (1764-‐1838); Painted by Marie-‐Victoire Jacquotot (1772-‐1855) Porcelain Pitcher 15 ⅛ x 6 inches dia.; Bowl 3 ¾ x 18 ½ x 8 ½ inches Begun in 1804 and finished in 1807, this porcelain pitcher and bowl was given in 1807 by Napoléon à Joachim Murat, grand-‐duc of Berg and Clèves and husband of Napoléon’s sister, Caroline. Murat became King of Naples in 1808.

Inv # 396 Two-‐Shot Flintlock Rifle belonging to the King of Holland ca. 1806-‐1809 Signed “J. Devilliers” Encrusted silver, walnut and platinum 47 ½ x 4 ⅜ x 4 inches Louis Bonaparte, Napoléon’s brother and the King of Holland, owned this rifle. The trigger guard is adorned with the Imperial Eagle. The lion engraved in silver represents the "Arms of Holland.”

Inv # 348 Bust of Pauline, Napoléon’s older sister ca. 1810 Martin Guillaume Biennais (1764-‐1843) Bronze with gold gilding 10 ½ x 2 ⅞ x 2 ⅞ inches This bust of Pauline, Napoléon’s older sister who married into the Borghèse family, is one in a series of bronze busts Napoléon commissioned from Biennais.


Inv # 349 Bust of Queen Caroline Murat 1810 Martin Guillaume Biennais (1764-‐1843) Bronze with gold gilding 10 ¼ x 3 ⅛ inches dia. including pedestal This bust of Caroline, Napoléon’s younger sister and Queen of Naples was commissioned by Napoléon.

Inv # 340 and 341 Soup Bowls made for Prince Borghèse Manufacture Imperiale de Sèvres 1808 Porcelain 1 ⅞ x 9 ¼ inches dia. Two bowls with the laurel wreath feature a rosette in the center with alternating leaves and flowers, from a set made for Prince Camille Borghèse, the husband of Napoléon’s sister, Pauline.

Inv # 317 Queen Caroline Murat 1810 From the workshop of François Baron Gérard (1770-‐1837) Oil on canvas 25 ⅛ x 21 ⅛ inches 32 x 27 ⅞ x 2 inches framed This portrait of Napoléon’s youngest sister Caroline, who ruled the Kingdom of Naples with her husband Joaquin Murat, is a detail of a portrait of Caroline and her four children that Napoléon hung in the Château de Saint-‐Cloud.

Inv # 352 Profile of Caroline Murat, Napoléon’s younger sister ca. 1810 Anonymous Bronze on marble decorated in gilt bronze 14 ⅞ x 13 ½ inches 19 ⅝ x 18 ¼ x 1 ½ inches framed


Inv # 353 Profile of Joachim Murat, King of Naples and husband of Caroline ca. 1810 Anonymous Bronze on marble decorated in gilt bronze 14 ⅞ x 13 ½ inches 19 ¾ x 18 ⅛ x 1 ¼ inches framed These two medallions, most probably Italian, resemble similar works by Luigi Manfredini who reproduced the works of Giacomo Spalla.

Inv # 076 Inkwell with Clock belonging to Prince Joachim Murat 1805 Maker unknown Clock movement by Bréguet Gilded brass and enamel base metal 13 x 13 x 5 inches Napoléon gave this elaborate inkwell in the shape of a ship with Poseidon standing on the top to his brother-‐in-‐law, Joachim Murat, when he appointed him Prince and Grand Admiral of the Empire. One of the great cavalry officers of the 19th century, Murat would ultimately be named King of Naples after Joseph became King of Spain.

Inv # 369 Arm Chair commissioned by the King of Naples 1805 François-‐Honoré-‐Georges Jacob-‐Desmalter (1770-‐1841) (stamped Jacob-‐Desmalter, Rue Meslée), furniture maker Lacquered and gilded wood and silk 42 ⅜ x 27 x 24 inches Commissioned by King Murat, Napoléon’s son-‐in-‐law, for his palace in Naples.


Inv # 373 Rectangular Table 1830-‐1840 American, New Jersey Flamed mahogany with bronze wheels 29 ½ x 48 ⅞ x 12 ⅛ inches (closed) 29 ½ x 48 ⅞ x 24 ¼ inches (open) Rectangular table with rounded corners. The table leaves are stacked and flip open. The table belonged to Joseph Bonaparte, Napoléon’s elder brother, when he lived in the United States at Point Breeze, New Jersey.

Inv # 367 Cameo depicting Napoléon I 1804 Niccolo Morelli (1771-‐1838), jeweler Sardonyx, yellow gold, diamonds 1 x ⅝ inches Sardonyx cameo and pendant diamonds mounted with yellow gold. Originally commissioned by Napoléon as a gift to his mother, Madame Mère. As Emperor, Napoléon bestowed on his mother the title of “Son Altesse Impériale, Madame Mère de l'Empereur” (Her Imperial Highness, Mother of the Emperor).

Inv # 358 Ring belonging to Queen Hortense 1810 Maker unknown 1 x 3 ¾ x ⅞ inches Gold ring with 28 old-‐cut diamonds and enamel marked with an H for Queen Hortense, Napoléon’s stepdaughter. Hortense, daughter of Joséphine, married Napoléon’s brother, Louis Bonaparte, King of Holland.


Inv # 326 Toothbrush of Queen Hortense 1809 Martin Guillaume Biennais (1743-‐1843) Gilt 5 ⅛ x ¼ x ½ inches Gilt toothbrush of Queen Hortense, decorated on both sides with palm leaves and clusters of grapes as well as the letter “H.”

Inv # 311 Snuffbox belonging to Queen Hortense 1809-‐1819 Adrien-‐Jean-‐Maximilien Vachette (1753-‐1839) Gold box in red Morocco leather case ½ x 3 ½ x 2 inches

At Napoléon’s request, Hortense, daughter of Joséphine, married Napoléon’s brother Louis Bonaparte, and the two became king and queen of Holland. Although they had three sons (one of them the future Napoléon III), the marriage was unhappy and they separated in 1810. Hortense always remained supportive of her stepfather, which led to her banishment from France after his final defeat.

Inv # 359 Bracelet commissioned by Napoléon in original box 1806 Etienne Nitot et Fils, imperial jewelers Gold set with diamonds and precious stones 6 ¾ x ⅜ inches Box 7 ½ x ⅜ x ¾ inches Acrostic bracelet set with diamonds that denote the year when this gift was given by Napoléon to his eldest sister Elisa on the birth of her daughter. The first letters of each stone (A for amethyst, E for emerald, etc.) spell out “Napoléon 3 Juin 1806 à Lucques.”


Inv # 370 Dressing Table 1805 Pierre Benoit Marcion (1769-‐1840) Mahogany, bronze with gilding, white marble and mirror 39 ⅜ x 56 x 19 ⅛ inches This dressing table was used in the apartment at Château de Fontainebleau that was occupied by Pope Pius VII who was held prisoner there for 18 months beginning in 1812. Later the apartment was occupied by Louis and Hortense, king and queen of Holland.

Inv # 385 Portrait of Queen Hortense 1813 Jean Nicolas Laugier (1785-‐1865) Watercolor on paper 9 ⅜ x 7 ⅞ inches 16 ¾ x 14 ⅜ x 1 ½ inches framed Queen Hortense was the wife of Napoléon’s brother Louis, King of Holland. Born Hortense de Beauharnais, she was the daughter of Joséphine and her first husband, Alexandre de Beauharnais. The frame is from the Empire period.

Inv # 330 Platter belonging to Queen Hortense 1812 Manufacture Imperiale de Sèvres; Designed by Charles Percier (1764-‐1838) ¾ x 17 ⅝ x 13 ½ inches Platter depicting illustrations from Volume One of the Fables of Jean de la Fontaine. The scenes on the left and right sides are from Book 6, The Shepherd and the Lion. At left is The Day Widow; at right The One-‐Year-‐Old Widow. The scene at the center is from Book Three, The Miller, His Son and the Donkey. The two rectangular images depict The Ox and the Frog and The Wolf and the Sheep. The Platter was a Christmas gift from Empress Marie-‐Louise to Queen Hortense, the wife of Napoléon’s brother Louis, King of Holland, as well as the daughter of Empress Joséphine.


Inv # 093 Teapot belonging to Queen Hortense 1813 Manufacture Imperiale de Sèvres, designed by Charles Percier (1764-‐1838) Porcelain 8 ¾ x 8 ¾ x 5 inches dia. Teapot given by Empress Marie-‐Louise to Queen Hortense. The teapot’s decorative motifs were designed by Charles Percier, inspired by Volume Two of the 17th-‐century Fables of Jean La Fontaine. Depicted are scenes, Both Friends and The Shepherd and the King, from Books 8 and 10.

Inv # 374 Les Fables de la Fontaine in two volumes Jean de la Fontaine (1621-‐1695) Printed paper, leather bound Volume 1 -‐ 19 ½ x 14 x 1 ⅜ inches Volume 2 -‐ 19 ½ x 14 x 1 ¾ inches This book was given by Napoléon to Talleyrand, his foreign minister for a time. Fable 1, Book 6, The Shepherd and the Lion, corresponds to the side images on a platter belonging to Queen Hortense. Book 3, The Miller, His Son and the Donkey corresponds to the center image on the platter.

Inv # 382 Portfolio with Scans of Birth Certificate and Baptismal Certificate of Prince Auguste, son of Prince Eugène Portfolio: 1810 Bound in silk and embroidered with gold 12 x 9 x ½ inches (closed) Auguste II, Duke of Leuchtenberg (1810-‐1835), was the grandson of Joséphine. In 1834 he married Maria II da Gloria, Queen of Portugal, but died the following year.


Inv # 319 Eugène ca. 1811-‐1812 Joseph Karl Stieler (1781-‐1858) Oil on canvas 28 ⅛ x 22 ¼ inches 32 ¼ x 26 ½ x 2 inches framed This portrait portrays the son of Joséphine at about 30 years of age, a man torn between civilian life (the dark coat) and the military life he was forced into (the military collar). Following Napoleon’s abdication, he lived in Munich with his father-‐in-‐law, Maximilian I, King of Bavaria. The wooden gilded frame is from the Empire Period.

Inv # 070 Prince Eugène de Beauharnais ca. 1800 Queen Hortense de Beauharnais (1783-‐1837) and Baron Antoine-‐Jean Gros (1771-‐1835) 16 ⅞ x 13 ¾ inches 20 ¾ x 17 ¾ x 2 ⅝ inches framed One of the earliest representations of Eugène, son of Joséphine, this painting depicts him at age 18 as Napoléon’s aide-‐de-‐camp in the Egyptian campaign. Napoléon was close to both of his stepchildren. He adopted Eugène and in 1805 made him a Prince of France and later Viceroy of Italy. Although his stepdaughter Hortense was a talented artist it is Gros’ genius at portraiture that shines through here. This portrait was in Empress Joséphine’s collection at Malmaison and upon her death was given by her daughter to Tsar Alexander I, who remained close to the family despite Russia’s being at war with France.

Inv # 368 Pair of Wing Chairs belonging to Queen Hortense 1803-‐1811 François-‐Honoré-‐Georges Jacob-‐Desmalter (stamped Jacob-‐Desmalter) (1770–1841), furniture maker Mahogany and silk 29 ⅜ x 24 ¾ x 20 inches Made for Hortense de Beauharnais, Joséphine’s daughter, these chairs were used on the second floor of Josephine’s apartments at Châteaux de Malmaison.


Inv # 327 Coffee Server belonging to Prince Eugène 1800-‐1825 Maker unknown Silver 9 ¼ x 6 x 4 inches; 3 ¼ dia. base Displays the mark of Prince Eugène de Beauharnais, Joséphine’s son.

Inv # 333-‐338 Dessert Plates belonging to Prince Eugène 1811 Manufacture Imperiale de Sèvres Porcelain 1 ¼ x 9 ⅜ inches dia. Six of a 72-‐piece service with Swiss views. One other is in the collection of the Metropolitan Museum of Art and another at the Philadelphia Museum of Art. This service was purchased by Napoléon as a gift for his stepson, Eugène.

Inv # 411 Cutlery belonging to Prince Eugène 1809-‐1819 Silversmiths François Dominique Naudin (teaspoons), Pierre Joseph Dehanne (big spoons), Jean-‐Baptiste Dorlin (forks) and Cavet Pére (knives) Gold vermeil Teaspoon 5 ¾ x 1 ⅛ x ⅜ inches; Large Spoon 7 ¾ x 1 ½ x 1 ⅛ inches; Fork 7 ¼ x 1 x 1 inches; Knife 7 ⅞ x ½ inches This service consists of six pieces each.


Inv # 328 Silver Tray and Cover belonging to Prince Eugène and his wife Augusta 1816 Anton Weishaupt (signed WHaupt) (1776-‐1832) Solid silver Tray 11 ¾ inches dia.; Cover 5 x 10 inches dia. Silver tray and cover by a Munich silversmith, who worked for the King of Bavaria as well as Eugène. Decorated with the initials of Eugène, Napoléon’s adopted son, under the crown of the Imperial family. The tray is decorated with the intertwined initials of E and A for Eugène and his wife Augusta.

Inv # 303 Crystal Service belonging to Charles Maurice de Talleyrand-‐Périgord with six glasses of each shape 1805-‐1808 Cristallerie du Souvigny (de Montcenis) Water 5 ⅞ x 2 ⅞ inches dia.; Champagne 6 ¼ x 2 ½ inches dia.; Wine 4 ½ x 2 ½ inches dia.; Liquor 3 ¾ x 1 ⅞ inches dia. For 12 years, Talleyrand employed the legendary chef and author Antonin Carême, founder of le grande cuisine (classic French cooking), who would later practice his culinary art for the crowned heads of France, England, Austria and Russia. Talleyrand said of his table that it was “furnished at once with grandeur and wisdom.” These glasses for water, champagne, wine and liquor bear Talleyrand’s coat of arms. He used them at Valencay and later at Rochecote. In 1832, the Souvigny (Montcenis) factory was purchased by Saint Louis Baccarat.


Arts at the Court of Napoléon

Inv # 128 Chair from Tuileries Palace, one of a set of four 1808 Pierre-‐Benoit Marcion (1769-‐1840) Gilded wood, velvet and brocade reproduced by the House of Prelle 37 ½ x 19 ¾ x 17 inches A chair from Napoléon’s personal Tuileries office, this is one of just a handful of chairs that were used in Napoléon’s small, private office overlooking the Tuileries Gardens and the river Seine. Here the Emperor, his secretary and his intimate circle sat during the years they worked to rebuild France and change the face of Europe.

Inv # 139 Marie Thérèse Bourgoin 1815 Originally attributed to Henri François Riesener (1767-‐1828), but currently thought to have been painted by Jacques-‐Louis David (1748-‐1825) Oil on canvas 38 x 28 ¼ inches 48 ½ x 38 ¾ x 5 inches framed An actress at the Comédie Française, Mademoiselle Bourgoin briefly became the mistress of Napoléon, which he later denied, and of Tsar Alexander I. Bourgoin was said to have impugned the Emperor's virility. Recently museum specialists have speculated that this work may have been painted by one of the great artists of the era, Jacques-‐Louis David, while he was in exile in Brussels in 1814. Riesener worked with David, and the latter was a friend of, and had previously painted, Bourgoin.


Inv # 129 Door Latches from Napoléon’s personal Tuileries apartment 1805-‐1806 Maker unknown Gilded bronze 6 ¼ x 5 ½ x 1 ½ inches These latches bear the Emperor’s monogram and hint at the splendor of the apartment beyond the doors they secured.

Inv # 375 Three Invoices for Luxury Goods ordered by Napoléon or members of his court 1810-‐1815 Biennais 14 ½ x 9 ½ inches; Picot 12 x 8 ⅛ inches; Biennais 15 ⅝ x 9 ⅝ inches These invoices are from Martin Guillaume Biennais, Napoléon’s cabinet maker and silversmith, and Augustin François-‐André Picot, the Emperor’s embroiderer. They were among more than 200 invoices from various imperial artisans, including jewelers, perfumers, florists, book sellers and dentists, providing goods and services to Napoléon and his imperial household.

Inv # 028 Bonaparte Visiting the Cotton Manufacturers of Rouen 1802 Jean-‐Baptiste Isabey (1767-‐1855) India ink and sepia on paper 8 x 12 inches 14 ½ x 18 ¾ x 1 inch framed A passionate supporter of French industry, Napoléon frequently visited factories, where he showed an interest in their products and manufacturing techniques, gave prizes and purchased goods for his palaces. Here he is introduced to an old man who worked in the cotton factory for 53 years. The Consul rewarded the man with an annual pension of 400 Francs.


Inv # 347 Bust of Napoléon with Laurel Wreath 1811 Manufacture Imperiale de Sèvres after Antoine-‐Denis Chaudet (1763-‐1810) Bisque 25 x 25 x 15 inches This bisque bust, presented to the Austrian ambassador, Prince Schwarzenberg, is one of four commissioned by Napoléon on the baptism of his son, the King of Rome. The other recipients were Madame Mère, Cardinal Fesch, and the Count de Ségur. This bust is most likely the largest ever successfully cast in bisque.

Inv # 354 Portrait Bust of Arch Chancellor Cambacérès 1812 Manufacture Imperiale de Sèvres Base: porcelain, Bust: bisque 12 ¼ x 9 x 5 ⅞ inches; Base 3 ⅞ dia. Cambacérès was an important figure in Napoleon’s government. He was instrumental in drawing up a new Civil Law Code, later called the Napoléonic Code, France's first modern legal code. As Napoleon spent more and more time on military affairs, Cambacérès became the de facto domestic head of government of France. He is depicted wearing his decorations and medals, including the medal of the Legion of Honor, which is identifiable.

Inv # 315 and 412 Two Plates belonging to Arch Chancellor Cambacérès 1806 Jean Francois Robert (1778-‐1832) Porcelain 1 ¼ x 9 ½ inches dia. Presented by Napoléon to Jean-‐Jacques-‐Régis de Cambacérès, lawyer and statesman, on the occasion of his niece’s wedding, these plates are from an 80-‐plus piece service. One shows a rare view for the period of Paris’ city hall, the Hôtel de Ville, where the Emperor held celebrations for both his coronation and marriage to Marie-‐Louise. The other shows a scene from the Fables of Jean de la Fontaine, The Frogs Asking for the King.


Inv # 123 Silver service of Jean-‐Jacques-‐Régis de Cambacérès, Second Consul and Archchancellor of the Empire 1809-‐1819 Martin Guillaume Biennais (1743-‐1843) Silver Dish with Lid 1 ¼ x 7 ¾ inches dia.; Beaker 3 ⅞ x 3 ⅛ inches dia.; Pitcher 9 ¾ x 5 ½ inches dia. Cambacérès was renowned throughout Paris for the sumptuousness of his table, where guests enjoyed in reverent silence such delicacies as partridges roasted on one side and grilled on the other. By contrast, Napoléon preferred roast chicken and other simple fare, accompanied by watered wine.

Inv # 355 and 356 Pair of Busts of Greek Physicians Hippocrates and Galen belonging to Marshall Davout, Duke of Auerstadt ca. 1805 Bronze on a base of marble encased in bronze 11 x 3 ⅜ inches dia. The inscriptions on the bronze column of each bust read: Hippocrates: “Prince of Physicians,” and Galen, “Galen native of Pergamum…excellent doctor who lived in the time of the Emperor Antoninus.”

Hippocrates Galen

Inv # 345 Medallion of General Duhesme 1800 From the workshop of Joseph Chinard (1756-‐1813) Terra cotta with gilded wood frame 8 inches dia. Medallion representing General Guillaume Philibert Duhesme in profile. The general died in 1815 of wounds suffered at the Battle of Waterloo.


Inv # 371 Pair of Chairs belonging to Marshal Davout 1804-‐1813 George Jacob (stamped Jacob D, Rue Meslée) Mahogany and leather 35 ⅝ x 17 x 17 ⅜ inches A stamp on the underside refers to the chairs being used in the living room of Marshal Davout.

Inv # 320 Joseph Fouché Empire Period Claude Marie Dubufe (1790-‐1865) Oil on canvas 38 x 29 inches 46 ⅛ x 37 ¾ x 3 ½ inches framed Fouché, statesman and Minister of Police, is dressed in this portrait as a senator, bearing the insignia of the Grand Eagle of the Legion of Honor and the Golden Eagle of Wurtemberg.

Inv # 149 Preparatory drawing for Psyche and Cupid 1798 François Gérard (1770-‐1837) Ink on paper 34 ¼ x 24 inches 41 ⅞ x 31 ¼ x 3 ¼ inches framed The neoclassic style of the First Empire often celebrated the beauty of the nude body, sometimes straining the limits of credibility. In this study for a painting that hangs in the Louvre, Baron Gérard pursues the perfection of physical beauty through line, composition, color and the delicate rendering of flesh.


Inv # 081 Napoléon’s and Joséphine’s Tea Service ca. 1804 Manufacture Imperiale de Sèvres Porcelain Cups 3 x 3 inches dia., handles protrude 1 ¼ inches; Saucers 1 ¼ x 6 ⅛ inches dia.; Pitcher 5 ⅜ x 2 ¼ inches dia. This service of two cups and saucers and a milk pitcher was presented to Napoléon and Joséphine by the Sèvres company on January 1, 1805, following Napoléon’s coronation. The pattern reflects the neoclassical style of the Empire period.

Inv # 397 Clock in the Shape of a Shield owned by Napoléon 1810 Housing by Pierre-‐Philippe Thomire (1751-‐1843) Clock movement by Jean André Lepaute (1720-‐1787 or 89) 10 ⅛ x 5 ⅜ inches This clock was used in Napoléon’s study at Château de Meudon, which in 1812 became the residence of his son, the King of Rome. The chateau was partially destroyed by a fire in 1871.

Inv # 152 Fabric Sample from Versailles ca. 1810-‐1811 Grand-‐Frères (silk manufacturer of Lyon) Silk 39 ⅞ x 25 ¾ inches In honor of his marriage to the Archduchess Marie-‐Louise of Austria in April 1810, Napoléon redecorated the Châeaux of Versailles, placing numerous orders for silk fabrics from Grand-‐Frères. This fabric sample, from the palace’s great living room, includes Napoléon’s personal emblem, the bee, as well as images related to the glories of the Roman Empire.


Inv # 324 Bowl 1814-‐1815 Martin Guillaume Biennais (1743-‐1843) Solid silver 1 ¼ x 9 ½ inches dia. Bowl engraved with palm fronds. During the Restoration, the bowl was re-‐engraved with the coat of arms of King Louis XVIII, who assumed power upon Napoléon’s exile.

Inv # 322 Plate used by Napoléon 1814 Martin Guillaume Biennais (1743-‐1843) ⅝ x 8 ⅜ inches dia. Silver plate with the coat of arms of the Imperial Army, used by Napoléon at the Battle of Waterloo.

Inv #114 Two Plates belonging to Charles Maurice de Talleyrand-‐Périgord 1810 Nast Manufacture Porcelain 8 ¾ inches dia. Talleyrand was the Minister of Foreign Affairs for Napoléon and a key diplomat in Europe. He was famous for his skills as a political operative and his ability to represent his own interests and to accumulate wealth. Napoléon, usually a perceptive judge of character, apparently never realized the extent of Talleyrand’s deception and disloyalty.


Inv # 332 Pair of Vases belonging to Talleyrand 1804 Manufacture Imperiale de Sèvres; Painted by Gilbert Drouet (late 18th century-‐early 19th century) and Charles-‐Marie Pierre Boitel (1802-‐1863) Porcelain 16 ½ x 12 inches dia. at top and 5 ¾ x 5 ¾ inches at bottom This pair of Medici-‐style vases, featuring decorations of palm fronds and oak leaves, was a gift from Napoléon to Talleyrand, one of the most important diplomats in Europe during the late 18th and early 19th centuries.

Inv# 056 Napoléon I in Coronation Robe Gobelins, after François Gérard 1812 Tapestry 40 ¼ x 32 ¼ x 3 ½ inches framed This tapestry was made after a large portrait of the Emperor dressed in coronation robes, painted in 1805 by Gérard. Many copies of the portrait were woven, primarily to be presented as diplomatic gifts.


Napoléon on St. Helena

Inv # 196 Map of St. Helena Island 17th century Anonymous Engraving 15 x 12 x inches 16 ¾ x 13 ½ x 1 inches framed Used as a watering stop for East India Company ships and as a location from which the Royal Navy could dominate the South Atlantic, St. Helena was a mountainous tropical island a mere 28 miles in circumference. The nearest land, the west coast of Africa, was 1,140 miles away. A “buoy lost in the South Atlantic,” it was the place of Napoléon’s final exile, a hell on earth for a man of Napoléon’s active temperament.

Inv # 198 View of Buonaparte’s New Mansion (or View of the House of Longwood) From Cahier d'un voyageur de la maison de Longwood 1819 Anonymous Colored engraving on paper 5 ¾ x 8 ½ x 1 ¼ inches After a few months in Jamestown, the port of St. Helena, Napoléon was moved five miles away to Longwood, a converted farmhouse at 1,700 feet elevation. Here he would spend the last five-‐and-‐a-‐half years of his life in a suite of rooms comprising a study, drawing room, antechamber, bathroom and bedroom. Napoléon received this book about himself while in exile in 1820.

Inv # 210 Napoléon’s Campaign Teabox 1805 Martin-‐Guillaume Biennais (1764-‐1843) Mahogany and gilded brass 5 ½ x 11 ¾ x 6 ¼ inches As he had in his royal palaces, Napoléon liked to surround himself with campaign equipment at St. Helena, where this teabox was used.


Inv # 208 Napoléon’s Silverware used on St. Helena with Original Box 1809-‐1819 Martin-‐Guillaume Biennais Silver Box: Moroccan leather Fork 8 ¼ inches; Spoon 8 ⅜ inches; Knife 8 ¼ inches To keep up his spirits in exile, Napoléon dined formally most evenings with his friends and their wives. Despite their remote exile, they initially ate well on St. Helena. Later, when the English informed him they were reducing his food budget from 20,000 to 12,000 pounds a year, he was outraged. Low on funds, Napoléon had a basketful of his silver service hammered down and sold to raise money for his table. He did this three times in all, making these pieces all the more rare.

Inv # 138 Napoléon’s Shoe Buckles worn on St. Helena ca. 1815 J.H. Brahy (dates unknown) Vermeil silver ½ x 1 ⅞ x 2 ⅝ x inches In his will, Napoléon mentioned golden shoe buckles (he frequently referred to vermeil as gold, although it is actually gilded silver). According to the will, all of his personal belongings were to be handed over to his son, known then as the Duke of Reichstadt. His will was not respected, however, and his executors, Bertrand, Montholon and Noveraz, kept everything.

Inv # 199 General Henri-‐Gratien Bertrand’s Box for personal effects 1809 Martin Guillaume Biennais (1764-‐1843) Mahogany with brass fittings, silk and Morocco leather 8 ¼ x 18 ¾ x 19 ¼ inches General Bertrand was one of four friends who chose to share Napoléon’s exile. The others were General Tristan de Montholon, General Gaspard Gourgaud and Count Emmanuel de Las Cases. Also accompanying the Emperor in exile were Fanny Bertrand and Albine de Montholon, his friends’ loyal wives. After Napoléon’s death, General Bertrand filled this box with souvenirs of the Emperor before leaving St. Helena.


Inv # 329 Plate commissioned by Napoléon 1808 Manufacture Imperiale de Sèvres; Painted by Jacques-‐François Swebach (1769-‐1823) Porcelain 1 ¼ x 9 ¼ inches dia. This plate is part of a 72-‐piece service called “Les Quartiers Generaux” commissioned by Napoléon for his marriage to Marie-‐Louise. Each piece has a different image, this one representing the French army at Mont Saint Bernard on the occasion of the funeral of General Louis-‐Charles-‐Antoine Desaix de Veygoux. It is arguably the most important piece in this gallery as Napoléon chose to take it with him to St. Helena. Swebach, who was called Swebach-‐Desfontaines, was a well-‐known battle artist at the turn of the 19th century.

Inv # 383 Letter in English written by Napoléon Dated March 6, 1816 Ink on paper 10 x 14 x 1 ½ inches (closed) Emmanuel de Las Cases, who went into exile with the Emperor, began teaching English to Napoléon on St. Helena in January of 1816. The daily lessons became a break from the monotony of exile, and Napoléon approached them with great fervor. By March, Napoléon had learned enough to write the note below. Transcription of text: “Sir Count Lascases j write you this letter for say to you that you had done a very good book. It is not however that is not somme fautes but you schal may corect them in the next edition: then schal you may sell you work five pound every exemplary. upon that j pray god that he have you in his holy and worthy guard. 6 Mars 1816 longwood”


Inv # 001 Portrait Bust of Napoléon I ca. 1810 After Antoine-‐Denis Chaudet (1763-‐1810) with laurel crown by Pierre-‐Philippe Thomire (1751-‐1843) Manufacture Imperiale de Sèvres Bisque with gilded bronze 19 ¾ x 10 x 9 inches Sèvres made about 10 busts of Napoléon I, this being one of the largest. Few survived, as Louis XVIII ordered their destruction when he assumed the crown.

Images courtesy of Photo12

April 2012

the eye of napoleon - final object list 05 04 12

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