Vue perspective de l'Eglise de St. Eustache, autrefois Chapelle dédiée a Ste Agnes, fondée environ l'an 1450 par un Bourgeois de Paris nommé Alais, et l'an 1632 à été rebatie comme on La voit representée
A Paris chez J. Chereau rue St Jacques au dessus de la Fontaine St Severin aux 2 Colonnes n° 257
XVIIIth century optical view in original watercolors. Original copper plate engraving on laid paper heightened with watercolor at that time. Published by Jacques Chéreau in Paris circa 1780, depicting a view of the Saint Eustache Church 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.
Very good state
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Situated in Les Halles, an area of Paris once home to the country's largest food market, the origins of Saint Eustache date back to the 13th century. A modest chapel was built in 1213, dedicated to Sainte-Agnès, a Roman martyr. The small chapel was funded by Jean Alais, a merchant at Les Halles who collected a tax on the sale of fish baskets as repayment of a loan to King Philippe-Auguste. The church became the parish church of the Les Halles area in 1223 and was renamed Saint-Eustache in 1303. The name of the church refers to Saint Eustace, a Roman general of the second century AD who was burned, along with his family, for converting to Christianity. The church was renamed for Saint Eustache after receiving relics related to the Roman martyr as donations from the Abbey of Saint Denis.
Construction of the current church began in 1532 and continued until 1632, and in 1637, it was consecrated by Jean-François de Gondi, Archbishop of Paris. Some of the architects associated with the church's construction include Pierre Lemercier, his son Nicolas Lemercier, and Nicolas' son-in-law Charles David. The addition of two chapels in 1655 severely compromised the structural integrity of the church, necessitating the demolition of the facade, which was rebuilt in 1754 under the direction of the architect Jean Mansart de Jouy.
During the French Revolution, the church was, like most churches in Paris, desecrated and looted. It was closed to Catholic worship in 1793 and used for a time as a barn; it was re-opened in 1795 with significant damage to the building and its furniture. The building was further damaged by a fire in 1844. Architect Victor Baltard directed a complete restoration of the building from 1846-1854, including the construction of the organ case, pulpit, and high altar and the repair of the church's paintings. The church was set afire during the rule of the Paris Commune in 1871, necessitating repairs to the attic, buttresses, and south facade.
The Galerie Napoléon is pleased to propose to you this strong water etching printed 242 years ago (around 1780).
As for all the antique prints in our catalogue, this optical view Vue perspective de l'Eglise de St. Eustache, autrefois Chapelle dédiée a Ste Agnes, fondée environ l'an 1450 par un Bourgeois de Paris nommé Alais, et l'an 1632 à été rebatie comme on La voit representée datant de 1780 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 (1780).
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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