Meryon depicted the architecture of old Paris with supreme accuracy and clarity of detail, often imparting to his views an aura of strangeness and unreality. The scene features not only buildings of interest to Meryon but also a miniature melodrama. The lower left of the image shows a body which has recently been pulled from the river and is being taken to the mortuary. A crowd watches from the wall.
La morgue, Paris
iv of 7 states
23.2 x 20.5 cm platemark; 29.5 x 24.8 cm sheet
Signature & date
Signed and dated l.l., [incised plate] "Charles Meryon... mdcccliv".
Not on display
Shown in 4 exhibitions
The Bitten Image: European etchings from the collection, Art Gallery of New South Wales, Sydney, 19 Jul 1980–14 Sep 1980
Meryon, Bracquemond & the 19th Century etching Renaissance, Art Gallery of New South Wales, Sydney, 18 Jun 1998–02 Aug 1998
Printmaking in the age of Romanticism, Art Gallery of New South Wales, Sydney, 06 Aug 2009–25 Oct 2009
European prints and drawings 1500-1900, Art Gallery of New South Wales, Sydney, 30 Aug 2014–02 Nov 2014
Referenced in 9 publications
Bruce James, Art Gallery of New South Wales handbook, 'Western Collection: Works on Paper', pg. 78-92, Sydney, 1999, 83 (illus.).
Bruce James, The Sydney Morning Herald, 'A Portrait of the Artist as a critic', pg. 12, Sydney, 22 Aug 1998, 12s. Appearing in the Spectrum section.
The Master: Charles Meryon, London, 1927, 7, 8, illus.. plate no. 10
The etchings of Charles Meryon, London, 1921, 17, illus.. plate no. 20
The master etchers: Charles Meryon, London, illus.. plate no. 23
The bitten image: European etchings from the collection, Sydney, 1980, 11.
The catalogue raisonné of the prints of Charles Meryon, London, 1990, 87, 88 (illus.), 89 (illus.), 90 (illus.).. cat.no. 42. Illustration on pg. 88 is the second state, illustration on pg. 89 is the fourth state, illustration on pg. 90 is the sixth state.
Portrait of a Gallery, 'Prints & Drawings', pg. 115-122, Sydney, 1984, 116 (illus.).
Meryon, Bracquemond & the 19th Century Etching Renaissance, Sydney, 1998.