Antoine-Léonard Dupasquier (French, 1748-1828) for the Odiot workshop The Triumph of Trajan, c. 1806 Pen and ink on paper. Model for Thomire's bronzes for the consoles in Empress Josephine's small apartments at Fontainebleau or Anatole Demidoff's malachite mantelpiece. Height 18.7 Width 149.7 cm. (minor brown spots) Mounted on a wooden frame protected by Plexiglas (Height 22 Width 153 cm). Provenance: former Maison Odiot collection. Antoine-Léonard Dupasquier for Atelier Odiot, ca. 1806. An ink drawing of Trajan's Triumph. Model for bronze ornaments by Thomire mounted on console tables furnishing the Fontainebleau apartments of French Empress Joséphine or Anatole Demidoff's fireplace. From the Maison Odiot collections. Bibliography : - Audrey Gay-Mazuel, "Odiot, un atelier sous le Premier Empire et la Restauration", Paris, Musée des Arts décoratifs, 2017, cited p. 188-189 ; - Juliette Niclausse, "Thomire fondeur-ciseleur. Sa vie-son oeuvre", Paris, Librairie Gründ, quoted p. 88. Related works : - Attributed to Antoine-Léonard Dupasquier, "Le Triomphe de Trajan", c.1806, graphite on tracing paper marouflaged on brown paper, Height 20.3 Width 101.7 cm. Provenance: former Odiot collection, Sotheby's sale, London, 2009. - Atelier de Jean-Baptiste-Claude Odiot, Étude pour le "Triomphe de Bacchus", circa 1817, Paris, Musée des Arts décoratifs, inv.2009.174.1 and 2009.174.3 in Audrey Gay-Mazuel, op.cit., p.148-149. This large drawing by Dupasquier, featuring 24 figures and four horses, depicts Trajan's Triumph. The artist drew his inspiration from the 10-meter-long frieze of the "Triumph of Marcus Aurelius" that he himself had created during his stay in Rome between 1766 and 1779. The Musée des Arts Décoratifs holds a drawing on tracing paper mounted on brown paper, which brings the composition to a halt at the chariot (no. 2009.174.4). The drawing served as a model for the frieze cast by Pierre-Philippe Thomire (1751-1828) to decorate the front of two gilded wood consoles by Jacob-Desmalter. They were delivered in October 1808 for the second or grand salon of the Empress's petits appartements in Fontainebleau (no. F34.02). It should be noted that the frieze is also found on "the smaller console lining the central overmantel of the salon's entrefenêtre", in addition to Nicolas Demidoff's malachite mantelpiece. It is likely that Odiot intended to use this design in one of his works, which would explain the presence of the first bronze frieze and the pen-and-ink drawing. No direct use has yet been identified by the Goldsmith. In 1819, the Odiot workshops again used a frieze motif to decorate the "Triomphe de Bacchus" vase. It uses the same dimensions and decoration as the fountain on the tea service sold to Demidoff in 1817. The vase was presented at the Exposition des Produits de l'Industrie in 1819, then donated by Odiot in 1835 to the Chambre des Pairs. It was subsequently exhibited at the Musée du Luxembourg (see: Audrey Gay-Mazuel, op.cit., p. 146).