VUE D'OPTIQUE Representant le Pont Royal et le Pont Neuf a Paris - Pons Regalis e Pons Novus Parisiis
XVIIIth century optical view in original watercolors. Original copper plate engraving on laid paper with watermark heightened with watercolor at that time. Published by Jean-François Daumont circa 1760, depicting a view of Pont Royal and Pont Neuf - Seine - 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 Musée Carnavalet (Paris, France) owns a copy of this optical view in its collections. For more details on this print please consult the site : Vue d'optique representant le pont royal et le pont neuf a paris - pons regalis e pons novus parisiis
Find more artworks related to these topics :
The Pont Royal is a bridge crossing the river Seine in Paris.
In 1632, Pierre Pidou directed the construction of a wooden toll-bridge which would be called Pont Sainte-Anne, in deference to Anne of Austria or Pont Rouge, due to its color. It was designed to replace the Tuileries ferry upon which the rue du Bac owes its name. The ferry had been offering crossings since 1550. Fragile, this bridge of fifteen arches would be repaired for the first time in 1649, completely redone two years later, burnt in 1654, flooded in 1656, completely rebuilt in 1660, propped up in 1673 and finally carried away by a flood in February 1684.
It was finally reconstructed between 1685 and 1689, this time with stone, receiving complete financing from the king Louis XIV; it was the king who gave it the name Pont Royal. Louvois, director of the Bâtiments du Roi, charged Jacques Gabriel, Jules Hardouin-Mansart and François Romain with the construction project. In the 18th century, the bridge was a popular meeting place for various festivities and celebrations.
The Pont Neuf is the oldest standing bridge across the river Seine in Paris, France. It stands by the western (downstream) point of the Île de la Cité, the island in the middle of the river that was, between 250 and 225 BC, the birthplace of Paris, then known as Lutetia, and during the medieval period, the heart of the city.
The mascarons are the stone masks, 381 in number, each being different and which decorate the sides of the bridge. They represent the heads of forest and field divinities from ancient mythology, as well as satyrs and sylvains. They are copies of the originals attributed to the French Renaissance sculptor Germain Pilon. The mascarons remained in place until 1851–1854, when the bridge was completely rebuilt. At that time six of the original mascarons from the 16th century were placed in the Musée Carnavalet, along with eight molds of other originals.
The Galerie Napoléon is pleased to propose to you this strong water etching printed 262 years ago (around 1760).
As for all the antique prints in our catalogue, this optical view VUE D'OPTIQUE Representant le Pont Royal et le Pont Neuf a Paris - Pons Regalis e Pons Novus Parisiis datant de 1760 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 (1760).
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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