Meryon etched the first of his series of twenty-two L’Eaux-fortes sur Paris (Etchings of Paris) in 1850, but perhaps only conceived of a whole series in 1852, when he etched a title piece. From an Oxford private collection.

An engraved oval, the most iconic image of the L’Eaux-fortes sur Paris. Meryon initially intended to entitle it La Vigie (the Look-out), before deciding Le Stryge was better, name by which the sculpture itself is now known.

Delteil 23 vi/viii; Schneiderman 27 vi-vii/x (cancelled in the 10th state). The plate signed with initials CM on a chimney, and again in full in cursive script outside the borderline. Dated in reverse in Roman numerals beneath the signature, and with Delâtre’s address as printer. Sixth-seventh state, after the removal of the two lines of verse, but before the addition of the title. On laid paper.