VIII. The Cult of Napoleon: Laurent de l’Ardèche, Norvins, Barthelémy/Méry, and Las Cases – Drawings by Horace Vernet, Raffet, Bellangé, and Charlet

Republican aspirations were not the only thing gaining traction with the population of France during "Citizen King" Louis-Philippe’s July Monarchy of 1830; a warm nostalgia for the era of Napoleon Bonaparte was also on the rise. The most obvious expressions of this are biographical works, which - due to the technique of wood engraving - appeared in abundantly illustrated editions. Following the example of Gigoux's concept of illustration in the Histoire de Gil Blas, Napoleon's story, too, was illustrated and elucidated like that of a novel’s protagonist. In 1839, the Histoire de l'empereur Napoléon by Paul-Matthieu Laurent de l'Ardèche was published in an edition with over 450 woodcuts by Horace Vernet. The two copies on China paper on show in this display [nos. 387-388] come from important collections:

The Histoire de l'empereur Napoléon in two copies on China paper [nos. 387-388]

The volume bound in green morocco by Henri Noulhac, with depictions of Napoleon’s heraldic emblem of the bee, previously belonged to Georges Lainé and André Tissot-Dupont [no. 387]. The other copy [no. 388] originally belonged to Anatole de Démidoff, the Prince of San Donato, who married Napoleon's niece Mathilde Bonaparte in 1840, meaning that this book could have been a wedding present. Afterwards it passed through the collection of Giraudeau as well as those of Lebouf de Montgermont (who commissioned the red morocco binding from Émile Mercier), Vautier and Bonnasse. The second edition from 1843 [no. 390] with Napoleon’s funeral already reflects the emerging cult surrounding the emperor: 44 coloured plates after Hippolyte Bellangé depict all the troop units and uniforms of the Grande Armée. Bound into the green morocco publisher’s binding is a watercolour by Bellangé, as well as the watercolour model for the book’s frontispiece, a monumental equestrian statue.

The second edition from 1843 [no. 390] with 44 coloured plates as well as a watercolour by Bellangé, and the watercolour model for the book’s frontispiece

Around the same time, another work on Napoleon was published in competition with this work: the Histoire de Napoléon by Jacques de Norvins (1839) contained 350 illustrations by Auguste Raffet. More so than in Vernet’s woodcuts, Raffet’s focus was on Napoleon's personality, as well as on animated crowd and battle scenes. Léopold Carteret noted that “this beautiful book is highly sought after for its beautiful illustrations”.

The Histoire de Napoléon in a mosaic binding by Émile Mercier, containing a letter from the author [no. 477] as well as other additional material.

A copy of Histoire de Napoléon with 21 original sketches by Raffet, in a binding by Marcellin Lortic [no. 478]

Raffet's own copy of the the Histoire de Napoléon [no. 479], one of only two known on China paper, containing one original drawing and 33 proofs of the wood engravings

Raffet's own copy of the the Histoire de Napoléon [no. 479], one of only two known on China paper, containing one original drawing and 33 proofs of the wood engravings

The copy in the mosaic binding by Émile Mercier belonged to Jules and Léon Le Roy, contains a letter from the author [no. 477] as well as other additional material. Bound into the morocco binding with Napoleonic emblems by Marcellin Lortic are 21 original sketches by Raffet [no. 478]. This display also shows August Raffet's own copy [no. 479], which is one of only two known on China paper, and contains one original drawing, as well as 33 proofs of wood engravings, which were probably added later by Paul Sébastien Gallimard, some of which show striking divergence from the final state.

Napoléon en Égypte in its publisher’s binding by Boutigny [no. 32]

In 1842, Auguste-Marseille Barthélemy and Joseph Méry published the epic Napoléon en Égypte, with around 150 illustrations, mostly by Hippolyte Bellangé. The publisher’s binding by Boutigny [no. 32], with its illustration of a crowned eagle with outstretched wings, shooting lightning from its claws, most likely also contributed to the mythologization of Napoleon. However, the main work of the cult surrounding the emperor was the Mémorial de Sainte-Hélène, which Napoleon himself had dictated to Naval Officer Emmanuel de Las Cases while in exile.

The 1842 edition was published with over 500 illustrations, mostly by Nicolas-Toussaint Charlet, which depicted Napoleon’s everyday life on St. Helena, combined with reminiscences of the past. However, the artist was said to have been so disappointed by the wood engravings that he decided not to illustrate any further books. A look at the album with its 21 pencil drawings allows a comparison between the artist’s originals and the prints [no. 384]. Two copies in this display are in publisher’s bindings by Boutigny, one in blue morocco [no. 381] and one in red morocco [no. 382]; the third copy is printed on China paper, in an especially rare variant, in which the plates are also mounted on China paper. The two volumes were bound in velour by Bauzonnet-Trautz, with gilded bronze medallions by Antoine Bovy [no. 383].

An album with 21 original pencil drawings by Nicolas-Toussaint Charlet for the Mémorial de Sainte-Hélène [no. 384]

An album with 21 original pencil drawings by Nicolas-Toussaint Charlet for the Mémorial de Sainte-Hélène [no. 384]

Mémorial de Sainte-Hélène; two copies in publisher’s bindings by Boutigny, in blue and red morocco [nos. 381-382], and a copy on China paper, bound in velour by Bauzonnet-Trautz [no. 383]