Designs for bases, pitchers, capitals, lecturns, and wall brackets are scattered across the sheet. Most are quickly sketched and elaborate on the theme of scrolling designs.
This sheet contains a variety of quick designs for a variety of decorative objects: brackets and consoles, vases, capital, furniture. There is an interconnectedness in the designs based on tight scrolling features (brackets, handles, volutes in the capital) and how that is applied to different materials and functions.
A rooster standing at the base of a column, engraved with the publication information. Before the base is an arrangement of the chemistry and tools used to create etchings. The Societe des Aquafortistes was founded in 1862 and included several renowned artists of the time - Delacroix, Corot, Millet, Manet, Jongkind, Pissarro, etc. This is the first edition of the regular portfolio published by Cadart to highlight their work.
This red-chalk drawing depicts a draped male figure standing with his arms crossed gazing up at a large column with a large urn on top of it amidst classical ruins. Other spoiled sections of columns and an ornate capital are piled next to the central column. The darkly shaded foreground contrasts with the light sky, which takes up the upper three-quarters of the composition.
A young man leans against a stone ledge and gazes to his right. He wears a slate blue jacket with a white collar and cuffs and has a matching mantle. He casually hooks a finger of his left hand in the hilt of a sword that hangs at his waist. A plain stone column immediately behind the sitter creates a near silhouette of the shadowed side of his face. A hazy sky fills the background.
This unfinished half-length portrait represents Lord Charles Spencer, second son of the third Duke of Marlborough, leaning against a stone ledge in a pose of casual refinement. While the sitter's face is constructed from small, careful brushstrokes and is defined by smooth gradations of light, his garments and hands are painted with great fluidity and the forms are fashioned through dramatically juxtaposed passages of color and shadow. The subtle sophistication of the painting--evinced by the expertly balanced tonalities and the skillful evocation of depth--contribute powerfully to the impression of relaxed elegance in the sitter.
A series of architectural spaces unfold, each showing figures engaged in some activity. At right, the largest figure is shown seated looking upwards towards a light source. The same figure, somewhat smaller, walks from right to left towards a small architectural space at the left where the same figure lays a hand on the head of a kneeling woman. Other scenes continue into the distance.
The artist used sequential depictions of St. Peter to portray several scenes of baptism and other events during his time in Jerusalem. The architectural divisions of the space create discrete episodes of baptism and conversion.