Signed and dated lower right: Hte Bellangé 1829

Shepherd Gallery, New York, "French and Other European Drawings, Paintings, and Sculpture of the 19th Century: Winter Exhibition," 1981-1982; Brown University Art Gallery, Providence, Rhode Island (and elsewhere), "All the Banners Wave: Art and War in the Romantic Era 1792-1851," February 26-March 28, 1982, no. 28.

Private collection, Paris; Colnaghi, New York; Private collection, New York.

Joseph Louis Hippolyte Bellangé (French, 1800-1866) Battle scene at Waterloo, 1829 Watercolor and gouache over pencil on tan paper 14 x 20 inches (35.6 x 50.8 cm) (sheet) Signed and dated lower right: Hte Bellangé 1829 PROVENANCE: Private collection, Paris; Colnaghi, New York; Private collection, New York. EXHIBITED: Shepherd Gallery, New York, "French and Other European Drawings, Paintings, and Sculpture of the 19th Century: Winter Exhibition," 1981-1982, no. 14; Brown University Art Gallery, Providence, Rhode Island (and elsewhere), "All the Banners Wave: Art and War in the Romantic Era 1792-1851," February 26-March 28, 1982, no. 28. LITERATURE: H. Richardson, et al., Providence, Rhode Island, All the Banners Wave: Art and War in the Romantic Era 1792-1851, exhibition catalogue, 1982, p. 83, no. 28, illustrated in black and white. In this dramatic work, Bellangé utilizes three focal planes to draw the eye around the composition, absorbing the variety of color and movement that conveys the frenetic intensity of battle. The French carabiniers, identifiable by their metal breastplates, chain-mail straps, epaulettes, distinctive helmets, and, of course, the carbines that they carry, charge into the fray in a tumble of men, horses, and weapons, sweeping from left to right. The hazy atmosphere of the background suggests a much larger engagement beyond, just hidden from view. The exact source for this composition is unknown, but in line with the working methods of the day, Bellangé probably consulted the readily available sketchbooks and albums of military scenes and costuming for inspiration. Notable similarities exist between the present work and Théodore Géricault's drawing from around 1817, Episode de la campagne d'Égypte. Both pieces employ three planes of focus and feature a rearing charger in the foreground, blocked by the fixed bayonets of lines of infantrymen at the right. We know that Bellangé moved in the same artistic circles as Géricault, and this group was known to borrow from one another frequently, so it stands to reason that Bellangé would have had no qualms about applying Géricault's composition to his own preferred theme, the cavalry charge at Waterloo. This is a recurring scene in Bellangé's oeuvre, and the present sketch could be regarded as a direct predecessor to one of the artist's last major successes before his death, Les Cuirassiers de Waterloo, passage du chemin creux. Executed in 1865, it was his attempt to translate onto canvas the event as described in Les Misérables by another legendary French artist, author Victor Hugo. HID12401132022 © 2024 Heritage Auctions | All Rights Reserved

Presents very well. A faint vertical soft crease visible under raking light at center, extending the height of the work. Very slight toning at edges of sheet, not visible when mat is closed. A small loss to center of lower edge, not visible when mat is closed. A very few scattered small dots of foxing. Sheet is hinged to board along upper edge of verso. Framed with window mat under glass. Framed Dimensions 22.25 X 28.5 X 1 Inches