VUE DE L'EGLISE St. SULPICE
Early XIXth century optical view in original watercolors. Original strong water etching heightened with watercolor at that time. Published by Basset & Debour et Gangel in Paris circa 1840, depicting a view of the Church Saint Sulpice in Paris (France).
During the 18th Century, several renowned establishments in Paris, London (England), Augsburg (Germany) and Bassano (Italy) were specialized in the creation of these optical views. They could be viewed alone or through a zograscope, a wooden foot surmounted by a lens which enlarged the image and accentuated the perspective effect. They could also be placed in optical boxes, the spectator then looked inside the box through the lens. This distraction was greatly appreciated in the 18th Century in the salons of the bourgeoisie and the nobility as in the countryside thanks to the hawkers.
These etchings are nowadays exhibited in museums around the world and extremely appreciated by collectors and decorators for their historical interest and their high decorative value.
Museums & Archives
The Bibliothèque nationale de France owns a copy of this optical view in its collections. For more details on this print please consult the site : Vue de l'eglise st. sulpice
Find more artworks related to these topics :
The Church of Saint-Sulpice is a Roman Catholic church in Paris, France, on the east side of Place Saint-Sulpice, in the Latin Quarter. It is dedicated to Sulpitius the Pious.
The present church is the second building on the site, erected over a Romanesque church originally constructed during the 13th century. Additions were made over the centuries, up to 1631. The new building was founded in 1646 by parish priest Jean-Jacques Olier who had established the Society of Saint-Sulpice, a clerical congregation, and a seminary attached to the church. Anne of Austria laid the first stone.
Construction began in 1646 to designs which had been created in 1636 by Christophe Gamard, but the Fronde interfered, and only the Lady Chapel had been built by 1660, when Daniel Gittard provided a new general design for most of the church. Gittard completed the sanctuary, ambulatory, apsidal chapels, transept, and north portal, after which construction was halted for lack of funds.
Gilles-Marie Oppenord and Giovanni Servandoni, adhering closely to Gittard's designs, supervised further construction (mainly the nave and side-chapels. The decoration was executed by the brothers Sébastien-Antoine Slodtz and Paul-Ambroise Slodtz.
In 1723–1724 Oppenord created the north and south portals of the transept with an unusual interior design for the ends: concave walls with nearly engaged Corinthian columns instead of the pilasters found in other parts of the church.
The Galerie Napoléon is pleased to propose to you this strong water etching printed 182 years ago (around 1840).
As for all the antique prints in our catalogue, this optical view VUE DE L'EGLISE St. SULPICE datant de 1840 is dispatched worldwide within 24H in a Secured packaging, accompanied by its certificate of authenticity guaranteeing the name of the artists (draughtsman, engraver, editor), the impression process used (Strong water) and its date (1840).
In order to guarantee a perfect conservation in time, this strong water etching is dispatched, ready to be framed, under museum quality color passepartout (manufactured without acid in the pulp for a neutral pH) on a cream mountboard made from carton bois (also acid free & neutral pH), in a luxurious portfolio.
At the apogee of the mode for optical views, between 1750 and 1790, four European cities specialized in their edition: Paris (France), London (England), Augsburg (Germany) and Bassano (Italy).
Optical views are prized in very different social circles : pleasant recreation in aristocratic salons, the views are admired in beautiful and richly decorated optical boxes which are real works of art. The show was transformed into a real scientific experiment. But the optical views also entertained the people who were in a hurry when a hawker set up a box on a market and began to narrate the extraordinary events that had taken place in a more or less distant and inaccessible country.
There are three categories in the production of optical views.
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