Director: Gabriel Terrades

8 rue d'Alger
75001 Paris

Phone: +33 1 40 20 90 51
Mobile: +33 6 08 97 33 58


Galerie Terrades

In their gallery near the Tuileries Gardens, Gabriel Terrades and Antoine Cahen share their passion for drawing with art collectors and curators alike.

Their eclectic taste and persistent search for quality give them a unique insight into French and Italian drawings from the 16th and 17th centuries, along with works on paper by 19th and 20th century artists.

Always faithful to his birthplace, Gabriel Terrades also expresses a deep interest in Spanish drawings and paintings.

Galerie Terrades, Pierre-Paul PRUD’HON, Étude de tête d’homme, 1819

Pierre-Paul PRUD’HON

Cluny, 1758 – Paris, 1823


Étude de tête d’homme,1819

Black stone, stump and highlights of white chalk
190 x 240 mm



- Artist's Studio
- Bequeathed by the artist to Charles Leboullenger de Boisfremont (1773-1838) (Lugt 353)
- His daughter, Elisabeth Power, born de Boisfremont (?-1864)
- Sale of her collection, Paris, Hôtel Drouot, April 15-16, 1864, part of lot no. 72, purchased for 75 francs by Mr. Marcellot, rue de Téhéran, Paris



- E. de Goncourt, Catalogue raisonné de l'œuvre peint, dessiné et gravé de P.P. Prud'hon, Paris, 1876, p. 313
- A. Forest, Pierre-Paul Prud'hon, peintre français, Paris, 1913, p. 183
- J. Guiffrey, L'Œuvre de Pierre-Paul Prud'hon, Paris, 1924, p. 35, n°103, cité p. 301



Prud'hon, Paris, May 1874, n°245


Work related

The Dream of Happiness by Constance Mayer-Lamartinière (Paris, Louvre Museum)


Our drawing is a study for the head of the young man observing his sleeping wife for the painting "The Dream of Happiness. Two young spouses in a boat, with their child, are led on the river of life by Love and Fortune," described in the 1819 Salon booklet as the last painting by Constance Mayer-Lamartinière (1778-1821). This is a new collaboration between the artist and her master and lover, Pierre-Paul Prudhon: while the painting seems entirely the work of Miss Mayer, the painted sketches and drawings are by Prud'hon.

This study must be related to a Study of the reclining man preserved in the Louvre Museum (fig. 2): Prud'hon incorporates in our sheet the head of the man, slightly inclined forward, who tenderly looks at his sleeping wife. Initially, the artist outlined the main lines of the sheet with a first stroke of black stone, to sketch the pose. Then, he added, with hatching in black stone and white chalk, before smudging these different lines with his finger to create shadows, the sense of musculature, and the overall volume. This technical refinement reveals Prud'hon's sensitivity in seeking to convey the individuality of his model.