It had not been known where precisely Theodore Géricault had painted his Chasseur à Cheval, exhibited at the 1812 Salon, except that it was made in a building situated on the Boulevard Montmartre, opposite the Passage des Panoramas, where the Passage Jouffroy was to be constructed in 1844. Thanks to documents found in the Minutier Central des Notaires Parisiens in the French Archives Nationales,
... [Show full abstract] it can now be said that this location was a shed, on the boulevard, built at the back of the gardens of the former Hôtel d'Augny. At the time this site was occupied by the Robillard Manufacture de Tabac, where the artist's father and uncle both worked, and where he himself was sometimes employed as apprentice accountant. The location, in a neighborhood where horse dealers and saddle and coach makers were especially numerous would seem to indicate that the painter could easily find a model for his mount. It also suggests that he drew his inspiration direcdy from the spectacular battle paintings that the painter Pierre Prévost exhibited across the boulevard in his Rotondes de Panoramas. It was also very close to where, at this precise moment, his close friend Horace Vernet was living. He was the son of Carle, then painter of the Dépôt de Guerre, who had been his teacher. Théodore and Horace were able to work together in the perspective of the 1812 Salon, and to realize a painting attributed to Géricault in the collection of the Musée des Beaux-Arts in Reims, where a chasseur on horseback is in a position that recalls the first sketches of the Chasseur à Cheval.