THURSDAY, FEBRUARY 12, 2026 
Triqueti Collection Achieves Resounding Success with Two Auction Records
O n 12 February 2026, the auction house Ader dispersed the Triqueti Collection, a remarkably coherent ensemble preserved at the Château du Perthuis since the 19th century and retained within the same family until today.
This sale marked the return to the market of the last major corpus of works by Baron Henry de Triqueti (1803–1874), known as the “Sculptor of Princes”. His works are now held in the collections of the Musée du Louvre, in the memorial chapel to Prince Albert in Windsor, and at the Église de la Madeleine in Paris.
The results confirmed strong interest: a total of €1.37 million, with over 96% of lots sold and nine pre-emptions by French institutions. Two world auction records were set: €527,500 for La Miséricorde divine accueillant le Repentir by Henry de Triqueti, and €197,812 for the sculpture Ruth by Susan Durant.
The collection’s historical and patrimonial significance prompted a strong response from French institutions, with pre-emptions by the École nationale supérieure des Beaux-Arts de Paris, the Musée Girodet, the Musée des Arts Décoratifs, the Institut national d’histoire de l’art, the Musée des Beaux-Arts d’Orléans, the Archives municipales de Montargis and the Bibliothèque Méjanes in Aix-en-Provence.
Beyond its market performance, the sale reaffirms Henry de Triqueti’s stature as a major figure in 19th-century French sculpture and underscores the enduring vitality of a legacy that remains strikingly relevant today.
The results confirmed strong interest: a total of €1.37 million, with over 96% of lots sold and nine pre-emptions by French institutions. Two world auction records were set: €527,500 for La Miséricorde divine accueillant le Repentir by Henry de Triqueti, and €197,812 for the sculpture Ruth by Susan Durant.
The collection’s historical and patrimonial significance prompted a strong response from French institutions, with pre-emptions by the École nationale supérieure des Beaux-Arts de Paris, the Musée Girodet, the Musée des Arts Décoratifs, the Institut national d’histoire de l’art, the Musée des Beaux-Arts d’Orléans, the Archives municipales de Montargis and the Bibliothèque Méjanes in Aix-en-Provence.
Beyond its market performance, the sale reaffirms Henry de Triqueti’s stature as a major figure in 19th-century French sculpture and underscores the enduring vitality of a legacy that remains strikingly relevant today.
