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Caterina Maffeis

A remarkable, highly rare, museum-grade working sheet—Delacroix’s renowned Death of Hamlet composition captured in formation.

Compositional Study for The Death of Hamlet c. 1840
Black pencil on paper
Sheet size: 24 × 30 cm
Monogrammed “ED” in red, lower left.

Provenance:
Artist’s studio sale, Paris, Hôtel Drouo t, 17–29 February 1864, likely lot no. 407.
Bearing the artist’s estate stamp (Lugt 838a) at lower left.

MOUSEION CURATOR NOTE:

“This sheet captures Delacroix at his most theatrical—building a tragedy not through finish, but through placement, weight, and gesture. The drawing is an early compositional invention for the climactic tableau of The Death of Hamlet, testing the two engines of the scene—Hamlet collapsing in the arms of Horatio, and the carried body of Laertes—before Delacroix later tightened the drama into the monumental clarity of the published renowned lithograph. An exceptionally rare opportunity to acquire a sheet that preserves Delacroix’s creative process at work.”

THE WORK IN RELATION TO THE FAMOUS LITHOGRAPH:

Delacroix’s lithograph The Death of Hamlet (1843) forms the dramatic culmination of his celebrated Hamlet suite. Delacroix began his Hamlet lithographs in 1834, pursuing the subject over many years before the principal publication.  They were later recognized as one of Delacroix’s most significant achievements.

This drawing is especially illuminating because it records a stage before the final orchestration. Figures are established with searching contours and structural shorthand rather than finished modelling; the main tragedy group is already conceived, but their positions remain fluid. Notably, parts of the composition read as reversed relative to the final print—an effect frequently encountered in printmaking workflows, where transfer to lithographic printing invert the image direction. 

Delacroix hamlet suite is now seen as one of the defining statements of French Romantic printmaking—images that feel staged like theatre, yet psychologically charged, with Delacroix selecting key scenes and transforming Shakespeare into intensely personal, dramatic pictorial narratives.

COMPOSITION AND EXECUTION:

Executed in black pencil with rapid, exploratory handling, the sheet is conceived as a true compositional study. The drama is organized into two counterbalancing masses:

The Hamlet–Horatio group is treated as the emotional core: Hamlet’s collapse and extended arm create a dominant diagonal, while Horatio’s crouched lean forms a protective arch over the dying body.

The carried Laertes group functions as the compositional counterweight: a “public” movement of bodies bearing the dead/stricken figure, staging the catastrophe as both intimate and communal.

Additionally at the extreme right, the Queen’s stricken fall—poisoned in the final scene—adds a secondary tragedy that deepens the tableau and clarifies Delacroix’s ambition to stage the entire catastrophe within a single composition.

What gives this study particular value for understanding the lithograph is its state of becoming: the figures are present as ideas—positions, weights, and vectors—before Delacroix’s later refinement seen in the final printed composition.

HISTORICAL CONTEXT: THE FINAL SCENE AS A “STRUCTURAL” IMAGE

In narrative cycles, the concluding catastrophe scene demands maximum clarity: multiple protagonists, multiple deaths, and a court reacting in a single staged moment. Delacroix’s lithograph is built to read instantly as tragedy—yet this sheet reveals the underlying labor of invention: not “illustration,” but pictorial decision-making, where gesture, reversal, and group placement are tested until the image becomes inevitable.

CONDITION:

The sheet presents well, with overall age toning and scattered foxing/spotting, with minor surface handling and softening of the pencil in places consistent with an artist’s working drawing on paper. 

NOTE:

We take the utmost care in packing and ship via a secure, fully tracked and insured service.

The frame is provided free of charge and the seller cannot accept liability for any damages to the frame.

The lithograph shown in the comparative images is for reference only and is not included in this sale.

Desenho a lápis - Assinado - 1840

Eugène Delacroix (1798–1863) - Compositional Study for The Death of Hamlet

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Eugène Delacroix (1798–1863) - Compositional Study for The Death of Hamlet

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