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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
 Escalier de cristal - Ecran de cheminée

The print collector

Marseille, 1808 – Valmondois, 1879
Circa 1860
Oil on canvas
41 x 33,5 cm

The prolific draughtsman Daumier frequently painted for himself, often going back to the same subjects in successive versions. This enthusiast caught up in the search for a print is one of those petit-bourgeois figures close to Daumier’s heart.

The Enthusiast illustrates the emergence in Balzac’s France of a new type of collector under the Second Empire. The establishment of the Society of Etchers in 1861 demonstrates a resurgence in interest on the part of enthusiasts in original prints which were more affordable than paintings for those of modest means.
While continuing to observe the lifestyle and personalities of his times, Daumier sets aside the satirical bent of the Croquis de Salon [Salon sketches], to give his character a more universal appeal. The meditative atmosphere is treated in chiaroscuro, the monochrome engravings are subdued and the broad contours conjure up the peaceful seriousness of Chardin’s interiors.

Very few reference points exist for the chronology and stylistic development of Daumier’s paintings, most of which remained in his studio, with just a few scarce exceptions. His output must have increased after he was laid off by the newspaper Le Charivari in 1860, since he had much more time to devote to easel painting. Made famous during his lifetime by Delacroix and Baudelaire, Daumier sold his works to a limited circle of enthusiasts such as Corot, his devoted friend who kept this painting until his death.

Marks Inscriptions Hall-marks: 
Signed bottom left: h. Daumier
Donor, testator or seller: 
Eugène Jacquette bequest, 1899
Inventory number: 
Inventory number : PPP00039
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