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Jean-Baptiste-Camille Corot - Marietta, or Roman Odalisque
Jean-Baptiste Carpeaux - Mademoiselle Fiocre
Louis-Ferdinand  Lachassaigne - Vase - Van Dyck painting his first canvas
Charles Durand dit Carolus-Duran - Mademoiselle de Lancey
Jean-Auguste-Dominique Ingres - Francis I Receives the Last Breaths of Leonardo da Vinci
Eugène Delacroix - Combat of the Giaour and the Pasha
Jacob Mardochée known as Jacob Petit - Mameluke clock
Jean-Baptiste Carpeaux - Buste de Samuel Welles de La Valette
Gustave Courbet - Courbet au chien noir
Édouard Manet - Portrait of Théodore Duret
Louis Léopold Boilly - Portrait of Mademoiselle Athénaïs d’Albenas
Paul Gauguin - Old Man with a Stick
Jean-Baptiste Carpeaux - Ugolino
Jan  Van Beers   - Les funérailles de Charles le Bon, Comte de Flandre, célébrées à Bruges dans l’église Saint-Christophe le 22 avril 1127
Gustave Courbet - La sieste pendant la saison des foins (montagne du Doubs)
Alfred de Dreux - Portrait of Mr and Mrs Mosselman and their two daughters
Jean-Désiré Ringel d'Illzach - Portrait of Jeanne et Mrs Albert Dammouse
Octave  Penguilly L’Haridon  - Côtes de Belleville
Gustave Doré - The Vale of Tears
Gustave Doré - L’Ascension
Camille  Pissarro - Le Pont Royal et le Pavillon de Flore
Paul Delaroche - Portrait d'Horace Delaroche
Théobald Chartran - Priam asking Achilles for the return of Hector's body

Nice, on the Promenade des Anglais

Henri-Marie-Raymond de Toulouse-Lautrec Monfa dit
Albi, 1864 - Château de Malromé, 1901
Oil on canvas
38,5 x 50 cm

Toulouse Lautrec painted this promenade scene in 1880 when he was only 17, the year in which he chose to become an artist and went to study art in Paris. 
The figure of the driver of this carriage galloping at full speed down the Promenade des Anglais is considered to be an evocation of the artist’s father.

The red and black car is a big hunting brake driven by Count Alphonse de Toulouse-Lautrec accompanied by a groom sitting on a raised back seat. The momentum of the horses runs along a diagonal line that carries the movement towards the front of the painting. The Count was a keen hippologist. He was one of the last aristocrats to practice falconry on horseback. His son Henri went on his first apprenticeship with the animal painter René Princeteau (1843-1914), who specialised in equestrian subjects painted with brisk brushstrokes. While studying with this master the young pupil cultivated this agile brush technique which conveys so well the sensation of speed and lightness that characterises his style. Before painting the portraits of Paris’s café-concerts and brothels, Toulouse-Lautrec mainly drew horses. The teenager then carried out a number of studies of galloping horse-drawn carriages in Chantilly, Auteuil and Nice, inspired by English engravings and the lithographs of Dreux.

Marks Inscriptions Hall-marks: 
Signed and dated, bottom right : H.T.L. Souvenir de la Promenade des Anglais, Nice 1880
Donor, testator or seller: 
Gift from Sir Joseph Duveen, 1925
Inventory number: 
Inventory number : PPP00770
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