Baldus, Reunion des Tuileries at the Louvre. 1852 - 1857 Vintage Print, Lefuel Comma for Sale

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Baldus, Reunion des Tuileries at the Louvre. 1852 - 1857 Vintage Print, Lefuel Comma For Sale

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Baldus, Reunion des Tuileries at the Louvre. 1852 - 1857 Vintage Print, Lefuel Comma:
$320.10

Baldus, Reunion des Tuileries au Louvre. 1852 - 1857 [ZC0088]Catégorie :Photographie Primitive
Année : Circa 1857
Type : Papier salé
Format (cm): 30,5x43,5vintage print, Lefuel commanda à Baldus en 1855, de reproduire en photographie le décor extérieur des palais du Louvre. Sur le détail, cf. dossier d'oeuvres. Le numéro sur la statue correspond "au modèles en plâtre déposés dans les magasins des travaux de la Réunion des Tuileries au Louvre"

Album Meeting of the Tuileries at the Louvre. 1852-1857. Collection of photographs published by order of His Exc. Mr Achille Fould Minister of State and the Household of the Emperor
Paris, print. of Elder Chardon, [1857]. - one of the 4 in-fol oblong volumes. 469 pl. (1 engraving, 1149 photographs: 2 plans, 55 facades, 1092 sculptures), salted paper prints from negatives on paper (for small formats: details of the sculptures) or on collodion glass (for large formats: pavilions of the New Louvre), between 1855 and 1857.
Handwritten captions
Half binding in green morocco. Title on the back decorated with the crowned cipher of Napoleon III
Gift of the Ministry of State, June 22, 1860; National Library of France, Rare Books Reserve, Department of Prints and Photography.Ve-79-Fol. to Ve-79c-Fol. Res.

“Whence comes this perseverance and even this popularity for the execution of a palace? It is that the character of a people is reflected in its institutions as in its customs, in the facts which inspire it as monuments which become the object of his principal interest. Now monarchical France for so many centuries, which constantly saw in the central power the representative of its greatness and of its nationality, wanted the residence of the sovereign to be worthy of the country, and the best way to respond to this feeling was to surround this abode with various masterpieces of human intelligence." On August 14, 1857, the centuries-old dream of reuniting the Louvre and Tuileries palaces came true. "The restored order, stability and ever-increasing prosperity of the country" had made it possible. The Empire was the accomplished monarchy. The New Louvre was its emblem.
To create this enlightened imperial city, at the same time residence of the sovereign, ministry, library, museum and barracks, Hector Lefuel, following Visconti, had extended the wing of Rohan and partly doubled the two galleries by buildings open on a Napoleon square in the perfect axis of the Louvre. The new architecture borrowed religiously from the old palace. The six new pavilions, named after great clerks of the Old Regime or the First Empire, were modeled on that of the Clock, which became the Sully pavilion. On its facade, Napoleon III claimed to be the successor of François I and Catherine de Medici, and everywhere his number "N" struck the building. Sculpted decoration, for which the stampings of the original ornaments had been taken, overloaded the facades with allegorical motifs affirming the power and clemency of the State, the civilizing work of the arts and sciences. A statuary of illustrious men of arts and letters, of the learned, religious and political world guarded the Napoleon court while that of famous generals held the rue de Rivoli. A whole people worked day and night.
To manage construction sites, architects had got into the habit of building up photographic archives. Also, in October 1854, Lefuel, in agreement with the Minister of State Achille Fould, photographed the facades of the Old Louvre. A year later, he did the same for the various parts of sculpture, statuary and ornaments of new constructions. More than two thousand photographs were to be taken in this way by Édouard Baldus, a painter of German origin whom the Heliographic Mission of the Historic Monuments Commission (1851) had established as a great architectural photographer. His style in fact framed the monument as closely as possible and highlighted the ornamental decoration. Continuing now his "photographed cities of France", always supported by the State, he had already taken a pavilion of the Clock. If he continued to use the paper negative for the ornamentation of the Louvre, he now practiced wet collodion for the views of the facades. "The delicate friezes which run under the cornices, the capitals, the garlands, the rose window so purely cut that one would take it for an iron lace; all the details of this rich ornamentation have been reproduced with a precision which shows the power of photography in its application to monumental art. It would be desirable, added Lacan, that, as each of the parts of the New Louvre is finished, it would be reproduced in this way, so that the inhabitants of the province and of foreign countries could know and admire like us the marvelous beauties of this gigantic monument, which will be the collective masterpiece of the first artists of our time, inspired by the patriotic and great thought which presides over this work. So thought the architect, the minister and the emperor.
On copia "pierre à pierre" le Nouveau Louvre dans des albums, vue générale, élévation des façades, grands détails et enfin corpus ornemental pour chaque pavillon. D'abord prévus pour être offerts par l'empereur lors des cérémonies d'inauguration, les vingt-cinq albums de la famille impériale, du gouvernement et des potentats étrangers furent distribués au nouvel an. Onze bibliothèques bénéficièrent d'un don de l'État.

We copied “stone by stone” the New Louvre in albums, general view, elevation of the facades, great details and finally ornamental corpus for each pavilion. First planned to be offered by the emperor during the inauguration ceremonies, the twenty-five albums of the imperial family, the government and foreign potentates were distributed at the new year. Eleven libraries benefited from a donation from the State.Image complémentaire Informations complémentaires relatives à la vente Toutes les photographies vendues sur ce site sont des tirages originaux d'époques, sauf indications contraires.Nous acceptons les retours sans conditions.Nous expédions dans le monde entier via DHL, avec ou sans assurance, suivant la valeur.
Nous sommes acheteurs de collections complètes, si vous avez quelque chose à vendre, contactez-nous au 00 33 6 09 75 86 57 ou bien par mail à tartarin.photo@gmail.com
Concernant nos photochromes vintage, merci de lire : les photographies vendues sur ce site sont des tirages originaux d'époque, sauf indication contraire.Nous acceptons les retours sans conditions. Nous pouvons expédier gratuitement dans le monde entier, avec ou sans assurance, selon la valeur. Nous sommes acheteurs de collections complètes, si vous avez quelque chose à vendre, merci de nous contacter au 06 09 75 86 57 ou par mail à tartarin.photo@gmail.com
Toutes les photos vendues sur ce site sont des tirages originaux d'époques sauf mention contraire.Nous acceptons les retours sans conditions.Nous envoyons gratuitement du monde entier, avec ou sans assurance, selon la valeur.
Concernant notre photochrom vintage, merci de vous référer à :