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Image for Tracing of Engraved Proof after "Morning in the Highlands" with Annotations
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Image for Tracing of Engraved Proof after "Morning in the Highlands" with Annotations
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Tracing of Engraved Proof after "Morning in the Highlands" with Annotations Thumbnail
Tracing of Engraved Proof after "Morning in the Highlands" with Annotations Thumbnail
Tracing of Engraved Proof after "Morning in the Highlands" with Annotations Thumbnail
Tracing of Engraved Proof after "Morning in the Highlands" with Annotations Thumbnail

Tracing of Engraved Proof after "Morning in the Highlands" with Annotations

Nathalie Micas (French, 1824 - 1889) (Artist)
Rosa Bonheur (French, 1822-1899) (Artist)
between 1857 and 1859
graphite and watercolor on beige, thin, transparent wove paper
(18th and 19th Centuries )

This drawing is evidence of Bonheur’s studio practice. Taught art by her father, like four of her five siblings, Bonheur was often assisted by her sister and two of her brothers, as well as her partner, Nathalie Micas. Executed on thin paper, this drawing is in fact a tracing, which Bonheur has annotated with red and blue lines and instructions for how the composition should be refined. Given the incriptions on the sheet, it seems that the tracing relates to an engraved proof of Bonheur's painting "Morning in the HIghlands." This painting was first engraved by Charles George Lewis (British, 1808-1880), and published March 15, 1859, by E. Gambart & Co. (25 Berners Street, Oxford Street, London and 8 Rue de Bruxelles, Paris). The engraving is dedicated “To William Wilson Esq. of Banknock" who owned the painting. Given this publication date, the tracing has been tentatively dated to between 1857 and 1859. However, numerous prints after "Morning in the Highlands" were made, and more research may alter this finding.

Inscription

Various notation in French by the artist:
Alonger le ? le train bleu indique et le rouge est celui non corrigé, avoir a se servir d’une épreuve nouvelle pour comparé et réparer la faute
[Lengthen the ? the blue line indicates and the red is the one not fixed/retouched, use a new proof/sketch/drawing to compare and fix the mistake]
Pour tout le rest comparer l’épreuve que j’ai retouché avec une non retouché
[For everything else compare the proof/sketch/drawing that I retouched with the one not retouched]
Le train rouge [celui?] de l’épreuve
Le blue celui corrigé soit à dire qu’il faut ressortir comme [j’ai?] indiqué aux [retouches?] sur l’épreuve en comparent avec une épreuve qui n’est pas retoucher
[The red line is the one from the proof/sketch/drawing
The blue is the one fixed, to say that one must ? like I’ve indicated in the fixes/retouching on the proof/sketch/drawing by comparing with a proof/sketch/drawing that is not retouched]
Signifier le terrain comme j’ai indiqué dans l’épreuve
[Signify/render the ground like I’ve indicated in the proof/sketch/drawing]

Provenance
Provenance (from the French provenir, 'to come from/forth') is the chronology of the ownership, custody, or location of a historical object. Learn more about provenance at the Walters.

William T. / Henry Walters Collection, Baltimore [date and mode of acquisition unknown]; Walters Art Museum, 1931, by bequest.

Exhibitions

2024-2025 Reinstallation 2024: Art and Process. The Walters Art Museum, Baltimore.
2012 Public Property.
2005-2006 The Essence of Line: French Drawings from Ingres to Degas. The Walters Art Museum, Baltimore; Baltimore Museum of Art, Baltimore; Birmingham Museum of Art, Birmingham; Tacoma Art Museum, Tacoma.
1983 A Connoisseur's Portfolio: Nineteenth-century Drawings and Watercolors in the Walters Art Gallery. The Walters Art Gallery, Baltimore.

Conservation

Date Description Narrative
1/1/2002 Treatment examined for exhibition; mounted; other
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Geographies

France (Place of Origin)

Measurements

10 11/16 x 15 3/16 in. (27.1 x 38.6 cm)

Credit Line

Acquired by William T. or Henry Walters

Location in Museum

Not on view

Accession Number

In libraries, galleries, museums, and archives, an accession number is a unique identifier assigned to each object in the collection.

37.2365

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Hours

  • Wednesday—Sunday: 10 a.m.—5 p.m.
  • Thursday: 1–8 p.m.
  • Monday—Tuesday: Closed

Location

600 N. Charles St.
Baltimore, MD
21201

Phone

410-547-9000

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