Eugène Cuvelier Sold at Auction Prices

Eugène Cuvelier (1837-1900)

Eugène Cuvelier (1837-1900) Eugène Cuvelier (1837-1900) 'AU BAS DU POINT DE VUE DU CAMP' c.1860s salt print from a paper negative, image size, 254 by 337mm, numbered '282' by the photographer in the negative, mounted on contemporary paper support, titled in an unidentified hand in pencil recto, matted Catalogue Note: The present photograph bears a notable resemblance to a drawing by Théodore Rousseau entitled Route en Forêt (Michel Schulman, Théodore Rousseau 1812 - 1867: Catalogue Raisonné de l'Oeuvre Graphique, no. 738), made circa 1860. In both works, a dirt carriage track dominates the bottom and right sides of the frame, and a grove of tall trees stands on the left. The photograph and the drawing appear to have been made from similar vantage points: Cuvelier and Rousseau each placed themselves squarely in the middle of the track in formulating their compositions. The depth of the shadows in Cuvelier's photograph -- in the foreground, and pooled beneath the stand of trees -- indicates that he took this image under the full force of the sun on a particularly bright day. Gauss does not list this salt print in her census, and accounts for only one albumen print. Literature: Ulrike Gauss, Henning Weidemann, and Daniel Challe, Eugène Cuvelier (Stuttgart, 1996, in conjunction with the exhibition), no. 282 Provenance The collection of John Chandler Bancroft, Middletown, Rhode Island Gustave J. S. White Co., Auctioneers, Newport, Rhode Island, 1989 New England antiques dealer 2007 Sotheby's: An Important Collection of Photographs by Eugène and Adalbert Cuvelier Lot 4 2007

Eugène Cuvelier (1837-1900) Forêt de Fontainebleau, c. 1860.

Eugène Cuvelier (1837-1900) Forêt de Fontainebleau, c. 1860. Épreuve sur papier salé-albuminé, d’après négatif papier, contrecollée sur carton souple. 22,5 x 30,8 cm Provenance : Galerie Texbraun. Eugène Cuvelier était l’élève du peintre Constant Dutilleux et également photographe amateur. Proche des peintres de Barbizon comme Camille Corot, Jean-François Millet ou Théodore Rousseau, il a photographié de manière assidue la forêt de Fontainebleau. Cf. Eugène Cuvelier (1837-1900), photographe de la forêt de Fontainebleau, Orsay, 10 juin - 31 août 1997. Eugène Cuvelier (1837-1900) Fontainebleau forest, c. 1860. Albuminized salt print from paper negative, mounted on cardboard. 22.5 x 30.8 cm Eugène Cuvelier was a pupil of the painter Constant Dutilleux and also an amateur photographer. Close to Barbizon painters such as Camille Corot, Jean-François Millet and Théodore Rousseau, he assiduously photographed the forest of Fontainebleau.

Eugène Cuvelier Route Pavé de Chailly, Forêt de Fontainebleau

Eugène Cuvelier Route Pavé de Chailly, Forêt de Fontainebleau Vintage. Salt print Negative number exposed onto the negative lower left: "280“. Numbered in pencil by various hands on the reverse 10 × 13 1/4 in. (10 1/2 × 13 3/4 in.)

Eugène Cuvelier (1837-1900) Sables de Macherin, Fontainebleau, early 1860s

Eugène Cuvelier (1837-1900) Sables de Macherin, Fontainebleau, early 1860s Albumen print, numbered 288 by the photographer in the negative, 25.7 x 34cm (10 x 13 1/4in) Literature: Ulrike Gausse, Eugène Cuvelier, 1996, p.133

Eugène Cuvelier (1837-1900) Forêt de Fontainebleau, Sous-Bois sous la Neige, early 1860s

Eugène Cuvelier (1837-1900) Forêt de Fontainebleau, Sous-Bois sous la Neige, early 1860s Salt print mounted on card and numbered 9 in negative, 19.2 x 26cm (7 1/2x 10 1/4in) Literature: Ulrike Gausse, Eugène Cuvelier, 1996, p.124

Eugène Cuvelier (1837-1900) Forêt de Fontainebleau, Sous-Bois sous la Neige, early 1860s

Eugène Cuvelier (1837-1900) Forêt de Fontainebleau, Sous-Bois sous la Neige, early 1860s Salt print mounted on card and numbered 9 in negative, 19.2 x 26 cm (7½ x 10¼ in) Literature: Ulrike Gausse, Eugène Cuvelier, 1996, p.124

Eugène Cuvelier (1837-1900) Sables de Macherin, Fontainebleau, early 1860s

Eugène Cuvelier (1837-1900) Sables de Macherin, Fontainebleau, early 1860s Albumen print, numbered 288 by the photographer in the negative, 25.7 x 34 cm (10 x 13¼ in) Literature: Ulrike Gausse, Eugène Cuvelier, 1996, p.133

Eugène CUVELIER (1837-1900) Etude d'après nature,

Eugène CUVELIER (1837-1900) Etude d'après nature, 1863 Tirage albuminé d'après négatif papier, monté sur carton, daté, numéroté et monogrammé dans l'image 25,8 x 20 cm

EUGÈNE CUVELIER | ‘FRANCHARD, FORET DE FONTAINEBLEAU’

two-plate panorama, salt prints, numbered ‘158’ in the negative, mounted, with a hand-ruled decorative ink border on the mount, 1863; accompanied by an early wood frame with the title carved into the top and bottom face, a paper label inscribed ‘Wilder Bancroft’ in ink affixed to the reverse; with the original 1874 Boston Daily Advertiser newspaper frame backing 

Eugène Cuvelier

Eugène Cuvelier

Eugène Cuvelier (1837-1900), Forest of Fontainebleau, c. 1860

Salt print from the negative, mounted on cardboard France, around 1860 Eugène Cuvelier (1837-1900) - French photographer Numbered lower right in pencil on the cardboard '16' Catalog raisonné: Cantz p. 124, 14 Dimensions: 25.8 x 20 cm Provenance: Private collection Stuttgart, Germany Cuvelier's photographs were an important influence for the painters of the Barbizon School; the auction record for a salt print by Cuvelier is set above 200,000 Euros This photograph depicts an interesting detail of a forest grove in Fontainebleau. The large forest area south of Paris was a popular source of inspiration for painters and photographers in the mid-19th century. One of them was Eugène Cuvelier (1837-1900), an at the time still unknown young photographer from Arras, for whom the forest was one his favorite subjects. The young Cuvelier wandered through Fontainebleau in the 1850s and 1860s and photographed everything the forest had to offer: trees, bogs, paths and rocks. The photograph receives a rich tonality through the technique of the salt print. The photograph is mounted on cardboard. The print is in an optically good condition with a stain on the upper right and minimal scratches on the left margin, the surface is minimally rubbed in places, what is only visible in raking light. The support is slightly stained and there is a line in the upper left. The cardboard is 41.4 x 35 cm and the photograph 25.8 x 20 cm in size. Eugène Cuvelier (1837-1900) Eugène Cuvelier was a French photographer who was active during the second half of the 19th century. He originally came from Arras in France and often mixed with the painters of the Barbizon School. He was trained as the son of the painter and photographer Adalbert Cuvelier, who worked together with the Barbizon School and was a close friend of Jean-Baptiste Camille Corot and Eugène Delacroix. Eugène Cuvelier spent a lot of time in the forest of Fontainebleau as nature represented a significant source of inspiration to him. He is also regarded as the master of the salt paper printing technique. His works were rediscovered in the 1980s and subsequently exhibited at the Metropolitan Museum of Art in New York and at the Musée d'Orsay in Paris. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

Eugène CUVELIER (1837-1900). Chêne près d'un chemin. Forêt de Fontainebleau (Sei

Eugène CUVELIER (1837-1900). Chêne près d'un chemin. Forêt de Fontainebleau (Seine-et-Marne). Années 1860. Épreuve d'époque sur papier salé. « 299 » dans le négatif en bas à gauche de l'épreuve. 33,5 x 25 cm. Littérature : « Eugène Cuvelier », Cantz verlag, 1996. Image reproduite cat. 299 page 141.

Eugène CUVELIER (1837-1900). Chemin en forêt, mare , Arbres et rochers , allée f

Eugène CUVELIER (1837-1900). Chemin en forêt, mare , Arbres et rochers , allée forestière. Forêt de Fontainebleau (Seine-et-Marne). Années 1860. 5 épreuves d'époque sur papier albuminé montées sur bristols. N° de négatifs « 17 » (2 ex. ), « 260 » et « 285 » dans 4 épreuves. Format moyen : 20 x 25 cm à 25 x 34 cm. Montages : de 35 x 41 cm à 46 x 58,5 cm.

Eugène CUVELIER (1837-1900). Rochers près des gorges d'Apremont. Forêt de Fontai

Eugène CUVELIER (1837-1900). Rochers près des gorges d'Apremont. Forêt de Fontainebleau (Seine-et-Marne). Années 1860. Épreuve d'époque sur papier salé albuminé montée sur carton. 19,8 x 25,8. Montage : 38 x 48 cm.

Eugène CUVELIER (1837-1900). Rocher et arbres. Forêt de Fontainebleau (Seine-et-

Eugène CUVELIER (1837-1900). Rocher et arbres. Forêt de Fontainebleau (Seine-et-Marne). Années 1860. Épreuve d'époque sur papier salé montée sur bristol. 22 x 16,5 cm. Montage : 32,5 x 25 cm.

Eugène CUVELIER (1837-1900). Arbres et rochers. Forêt de Fontainebleau (Seine-et

Eugène CUVELIER (1837-1900). Arbres et rochers. Forêt de Fontainebleau (Seine-et-Marne). Années 1860. Épreuve d'époque sur papier salé. 21,3 x 25,8 cm.

Eugène CUVELIER (1837-1900). Route à Briquet. Forêt de Fontainebleau (Seine-et-M

Eugène CUVELIER (1837-1900). Route à Briquet. Forêt de Fontainebleau (Seine-et-Marne). Années 1860. Épreuve d'époque sur papier salé albuminé montée sur bristol. « N°_18 » dans le négatif en bas à gauche de l'épreuve. 25,7 x 20 cm. Montage : 41,7 x 35 cm. Littérature : « Eugène Cuvelier », Cantz verlag, 1996. Image reproduite cat. 18 page 125.

Eugène CUVELIER (1837-1900) Arbres dans la forêt de Fontainebleau, c.1860

Eugène CUVELIER (1837-1900) Arbres dans la forêt de Fontainebleau, c.1860 Épreuve d'époque sur papier salé d'après négatif papier ; montée sur support cartonné. 22 x 30,8 cm. Peintre de formation, Eugène Cuvelier s'initie à la photographie auprès de son père, Adalbert Cuvelier. Par l'intermédiaire de Camille Corot, il découvre la forêt de Fontainebleau et se lie d'amitié avec Théodore Rousseau et Jean-François Millet. Promeneur infatigable, il acquiert une connaissance intime de cette forêt qui nourrit son inspiration et lui permet d'offrir des vues d'un Fontainebleau secret et sauvage avec un soin particulier accordé à la lumière. L'usage de négatifs papier donne à ses épreuves une profondeur et un velouté qui adoucissent les volumes et estompent les contrastes (source : musée d'Orsay). Provenance : ancienne collection de la famille Dieterle. Bibliographie : Chantal Georgel, "La forêt de Fontainebleau : un atelier grandeur nature", musée d'Orsay, Paris, 2007 - Françoise Heilbrun, Quentin Bajac, "Eugène Cuvelier (1837-1900)", musée d'Orsay, 1997 - Bernard Marbot, Daniel Challe, "Les photographes de Barbizon. La forêt de Fontainebleau", éditions Hoëbeke / Bibliothèque nationale de France, Paris, 1991.

Eugène CUVELIER (Arras 1837 - Thomery 1900)

Eugène CUVELIER (Arras 1837 - Thomery 1900) L'étang Huile sur toile Signée et datée 93 en rouge en bas à droite

EUGENE CUVELIER (1837-1900) Attribué à LE

EUGENE CUVELIER (1837-1900) Attribué à LE PHARAMOND A FONTAINEBLEAU, vers 1860. Tirage albuminé, monté sur carton. 25,1 x 19,2 cm. Bibliographie : Daniel Challe et Bernard Marbot : Les Photographes de Barbizon - La Forêt de Fontainebleau (Hocbeke/Bibliothèque Nationale 1991) pour les pages 62 et 63 à propos de ce chêne cinq fois centenaire photographié sous un angle différent par BALAGNY vers 1877.

EUGENE CUVELIER (1837-1900) ETUDE D'ARBRES, vers

EUGENE CUVELIER (1837-1900) ETUDE D'ARBRES, vers 1860. Tirage albuminé numéroté « 184 » par le photographe dans le négatif, monté sur carton. 20,1 x 25,7 cm. Bibliographie : Daniel Challe : Eugène Cuvelier Photographe de la forêt de Fontainebleau (Staatsgalerie Suttgart,Cantz Verlag ,1996 Stuttgart), catalogue accompagnant l'exposition du Musée d'Orsay à Paris.

EUGENE CUVELIER (1837-1900) PRES LE BODMER, vers

EUGENE CUVELIER (1837-1900) PRES LE BODMER, vers 1860. Tirage albuminé numéroté « 177 » par le photographe dans le négatif, monté sur carton. 25,8 x 20,1 cm. Bibliographie : Daniel Challe : Eugène Cuvelier Photographe de la forêt de Fontainebleau (Staatsgalerie Suttgart,Cantz Verlag ,1996 Stuttgart), catalogue accompagnant l'exposition du Musée d'Orsay à Paris en1997dans lequel une image similaire est reproduite sous ce numéro.

EUGENE CUVELIER (1837-1900) ACHICOURT ENVIRONS

EUGENE CUVELIER (1837-1900) ACHICOURT ENVIRONS D'ARRAS, vers 1860. Tirage albuminé numéroté « 221 » par le photographe dans le négatif, monté sur carton. 25,8 x 20,1 cm Bibliographie : Daniel Challe et Bernard Marbot : Eugène Cuvelier Photographe de la forêt de Fontainebleau (Staatsgalerie Suttgart,Cantz Verlag ,1996 Stuttgart), catalogue accompagnant l'exposition du Musée d'Orsay à Paris en1997dans lequel une image similaire est reproduite sous ce numéro.

EUGENE CUVELIER (1837-1900)

EUGENE CUVELIER (1837-1900) Paysage en Hiver, c. 1860 salted paper print 7¾ x 10¼in. (19.8 x 25.8cm.)

Eugène Cuvelier (1837-1900) , Paysage au bord d'une rivière, 1852

Épreuve sur papier salé d'après un négatif sur papier. Monogrammée et datée sur le négatif.

Eugène Cuvelier (1837-1900) , Paysage et instruments agricoles à l'orée d'une fôret, 1852

Épreuve sur papier salé d'après un négatif sur papier. Monogrammée et datée dans le négatif en bas à droite.

Eugène Cuvelier (1837-1900) , Pines in winter, Fontainebleau Forest, c. 1860

Salt print, mounted on card. Numbered '158' in the negative.

Eugène CUVELIER (1837-1900) Chêne et sous-bois, 1862 Papier salé monté sur carton.

Eugène CUVELIER (1837-1900) Ferme du Chateau de Fleury, janvier 1862 Tirage sur papier salé monté sur carton

Eugène CUVELIER (1837-1900) Cour de Ferme, Barbizon, 1862 Tirage sur papier salé monté sur carton

Eugène Cuvelier (1837-1900) , Près de la Caverne. Terrain Brulé. 1860s.

Salt print, mounted on card. Numbered 195 by the photographer in the negative.

Eugène Cuvelier (1837-1900) , Forêt de Fontainebleau. Sous-Bois Sous la Neige, early 1860s

Salt print mounted on dark grey card and numbered 9 (?) by the photographer in negative.

Eugène Cuvelier (1837-1900) , Sables de Macherin, early 1860s

Albumen print, numbered 288 by the photographer in the negative, identified in pencil by an unknown hand upon the mount.

CUVELIER, EUGÈNE (1837-1900) Glade.

CUVELIER, EUGÈNE (1837-1900) Glade. Albumen print, 10x 13 1/2 inches (25.4x34.2 cm.), on the original mount. Circa 1860

CUVELIER, EUGÈNE (1837-1900) Barbizon-style study of pastoral setting with wagon.

CUVELIER, EUGÈNE (1837-1900) Barbizon-style study of pastoral setting with wagon. Salted paper print from a calotype negative, 7 3/4x10 inches (19.6x25.4 cm.), on the original mount, with a handwritten date on mount recto. 1862

Eugène CUVELIER (1837-1900) L''homme appuyé contre une roche, 1863 Tirage sur papier salé monté sur carton

Eugène CUVELIER (1837-1900) Carrefour de l''épine, route Belle croix, 1863 Tirage sur papier salé monté sur carton

Eugène Cuvelier 1837-1900 , 'à belle croix, près du clovis'

albumen print, numbered '258' by the photographer in the negative, mounted, titled in an unidentified hand in pencil on the mount, matted, 1860s

Eugène Cuvelier 1837-1900 , fontainebleau, winter, near the porte de rochefort

salt print, numbered '12' by the photographer in the negative, mounted on gray board, matted, late 1850s or early 1860s

Eugène Cuvelier 1837-1900 , route du bodmer

albumen print, numbered '284' by the photographer in the negative, mounted, annotated 'route du' and '178' in an unidentified hand in pencil on the mount, matted, 1860s

EUGÈNE CUVELIER 1837-1900

A FOREST PATH measurements note 10 by 7¾ in. (25.4 by 19.7 cm.) salt print, likely toned, mounted, matted, 1860s PROVENANCE The collection of John Chandler Bancroft, Middletown, Rhode Island Gustave J. S. White Co., Auctioneers, Newport, Rhode Island, 1989 Acquired from the above by a New England antiques dealer To the present owners, 1989 LITERATURE Another print of this image: Ulrike Gauss, Henning Weidemann, and Daniel Challe, Eugène Cuvelier (Stuttgart, 1996, in conjunction with the exhibition), no. 27 NOTE As with Lot 42, Cuvelier may have achieved the unconventional coloration present in this photograph with the use of toning during the print's processing. Gold-toning, which was a common practice in Cuvelier's time, could produce a wide variety of effects in salt prints, sometimes imparting an almost brick-red coloration. Additionally, Cuvelier furthered the unusual appearance of this print by deliberately overexposing it during printing. This practice, known as 'bronzing,' results in the solarized appearance and selective reversal of tones seen here. Gauss does not account for the salt print offered here, but lists two albumen prints of this image.

EUGÈNE CUVELIER 1837-1900

ROUTE PAVÉE DE CHAILLY (VERTICAL) . measurements note 10 by 7½ in. (25.4 by 19.1 cm.) salt print, likely tinted, mounted, matted, 1860s PROVENANCE The collection of John Chandler Bancroft, Middletown, Rhode Island Gustave J. S. White Co., Auctioneers, Newport, Rhode Island, 1989 Acquired from the above by a New England antiques dealer To the present owners, 1989 LITERATURE Another print of this image: Ulrike Gauss, Henning Weidemann, and Daniel Challe, Eugène Cuvelier (Stuttgart, 1996, in conjunction with the exhibition), no. II/5 Daniel Challe and Bernard Marbot, Les Photographes de Barbizon: La Fôret de Fontainebleau (Bibliothèque Nationale, 1991), pl. 41 NOTE This photograph most likely owes its unconventional coloration to Cuvelier's use of pigment during the print's processing. As the photographs in this collection amply demonstrate, Cuvelier had early on achieved a technical mastery of the still-new art of photography - no small feat in an age when there was no standardization of photographic chemicals or materials, and results were forever unpredictable. Yet Cuvelier never stopped approaching the intractable medium creatively. His application of color to this image gives it a brooding quality that could not have been achieved in a conventional print. For another (differently) toned image in this collection, see Lot 43. Gauss does not list this print in her census, but accounts for one other salt print of the image in the collection of the Bibliothèque Nationale. It is the Bibliothèque's print that is reproduced in the two citations listed above.

EUGÈNE CUVELIER 1837-1900

'ROUTE DE L'ALLÉE AUX VACHES À LA ROUTE À BRIQUET' measurements note 10 by 13½ in. (25.4 by 34.3 cm.) albumen print or coated salt print, numbered '253' by the photographer in the negative, mounted, titled in an unidentified hand on the mount, matted, 1860s PROVENANCE The collection of John Chandler Bancroft, Middletown, Rhode Island Gustave J. S. White Co., Auctioneers, Newport, Rhode Island, 1989 Acquired from the above by a New England antiques dealer To the present owners, 1989 LITERATURE Another print of this image: Ulrike Gauss, Henning Weidemann, and Daniel Challe, Eugène Cuvelier (Stuttgart, 1996, in conjunction with the exhibition), no. 253 NOTE This is one of two prints from this negative in the collection. The other, a salt print simply titled Route à Briquet, is present as Lot 40. The slight sheen visible on the surface of the photograph offered here could indicate that it is an albumen print, or a salt print with some type of coating. The title of this photograph suggests that the road pictured is the Allée des Vaches, or cow path, near the Route à Briquet. As Greg M. Thomas recounts in Art and Ecology in 19υth-Century France: The Landscapes of Théodore Rousseu (Princeton University Press, 2000), during the time that Fontainebleau was actively used as a royal hunting ground, residents of the surrounding area were allowed grazing rights within the forest to compensate for the damage that hunts sometimes caused to private property. The rules governing the extent of these grazing rights changed over the years; during Cuvelier's time in the forest, residents were allowed to graze cows and pigs -- but not sheep -- in certain designated areas (ibid., pp. 154-55). Gauss does not account for this print in her census, but lists one albumen print.

EUGÈNE CUVELIER 1837-1900

'ROUTE À BRIQUET' measurements note 10 by 13¼ in. (25.4 by 33.7 cm.) salt print, numbered '253' by the photographer in the negative, mounted, titled in an unidentified hand in pencil on the mount, matted, 1860s PROVENANCE The collection of John Chandler Bancroft, Middletown, Rhode Island Gustave J. S. White Co., Auctioneers, Newport, Rhode Island, 1989 Acquired from the above by a New England antiques dealer To the present owners, 1989 LITERATURE Another print of this image: Ulrike Gauss, Henning Weidemann, and Daniel Challe, Eugène Cuvelier (Stuttgart, 1996, in conjunction with the exhibition), no. 253 NOTE The salt print in this lot is one of two prints from this negative in the collection. The other, either an albumen print or a coated salt print, is alternatively titled Route à l'Allée aux Vaches à la Route à Briquet (Lot 41). Route à Briquet runs roughly north-south in the western part of the forest of Fontainebleau. Beginning in the Bas-Brèau section of the forest, it extends northward until it becomes the Route à Farcy. While it is listed in Felix Herbert's invaluable Dictionnaire historique et artistique de la Forêt de Fontainebleau (Fontainebleau: Maurice Bourges, 1903), the source of its name is not given. The French photographer Alfred Briquet (active 1850s - 1900) photographed in Fontainebleau in the 1850s, and there is the possibility, although slim, that the road was named for him. For more information on Briquet, see Jacobson, Étude d'Après Nature, p. 33, and Challe and Marbot, Les Photographes de Barbizon, p. 80. Gauss does not account for this salt print in her census, but lists one albumen print.

EUGÈNE CUVELIER 1837-1900

COTTAGE WITH GRAPE VINES, BARBIZON measurements note 10 1/8 by 7 7/8 in. (25.7 by 20 cm.) albumen print, numbered '21' by the photographer in the negative, mounted, matted, circa 1863 PROVENANCE The collection of John Chandler Bancroft, Middletown, Rhode Island Gustave J. S. White Co., Auctioneers, Newport, Rhode Island, 1989 Acquired from the above by a New England antiques dealer To the present owners, 1989 LITERATURE Another print of this image: Ulrike Gauss, Henning Weidemann, and Daniel Challe, Eugène Cuvelier (Stuttgart, 1996, in conjunction with the exhibition), no. 21 NOTE Gauss does not account for this albumen print of this image, but lists one salt print. While the location of this rustic cottage with its distinctive trellis of thin branches is not identified, it may be the same that appears in Cuvelier's negative number 30, which shows a farm building also covered in grape vines. The print that Gauss lists for negative 30 is inscribed and dated 'Barbizon - 10 8bre 1863.'

EUGÈNE CUVELIER 1837-1900

'SABLES DE MACHERIN' (PANORAMA) measurements note 7½ by 20 in. (19.1 by 50.8 cm.) 2-plate panorama, salt prints, mounted, titled in an unidentified hand in pencil on the mount, matted, circa 1863 PROVENANCE The collection of John Chandler Bancroft, Middletown, Rhode Island Gustave J. S. White Co., Auctioneers, Newport, Rhode Island, 1989 Acquired from the above by a New England antiques dealer To the present owners, 1989 NOTE Cuvelier made this panoramic view of the sand dunes of Macherin, at the western edge of Fontainebleau, by carefully joining two prints made from separate negatives onto a mount. The idea behind such a panorama is simply stated: once the first view of a scene is made, the photographer then moves the camera slightly to photograph the adjoining terrain. In practice, however, there are numerous difficulties to contend with, the chief one being the accurate registration of the first picture with the second. Printing two images from separate negatives that were identical in tonal values and color also would have presented a challenge. The seamless joining of the two prints in the present image, and their unified tonality, attest to Cuvelier's mastery of the technical aspects of photography. Panoramic views are rare within Cuvelier's body of work. Gauss does not account for this image, and lists only two other panoramas: 'Franchard - Mare au Pigeons' (IV/1) and 'Franchard - 20 8bre 1863' (V/5).

EUGÈNE CUVELIER 1837-1900

'JEAN DE PARIS' measurements note 13¼ by 10 in. (33.7 by 25.4 cm.) salt print, numbered '250' by the photographer in the negative, mounted, titled in an unidentified hand in pencil on the mount, matted, 1860s PROVENANCE The collection of John Chandler Bancroft, Middletown, Rhode Island Gustave J. S. White Co., Auctioneers, Newport, Rhode Island, 1989 Acquired from the above by a New England antiques dealer To the present owners, 1989 EXHIBITED Stuttgart, Staatsgalerie Stuttgart, Eugène Cuvelier oder Die Legende vom Wald, March - May 1997 LITERATURE Ulrike Gauss, Henning Weidemann, and Daniel Challe, Eugène Cuvelier (Stuttgart, 1996, in conjunction with the exhibition), no. 250 (this print) NOTE This image, made in the Jean-de-Paris area of Fontainebleau, shows the birch trees that were, along with oaks and beeches, the most prevalent trees native to the forest. Birches figure prominently in Narcisse Diaz de la Peña's 1867 painting, The 'Jean de Paris' Hill, Fontainebleau (reproduced in Bouret, The Barbizon School and 19υth Century French Landscape Painting, New York, 1972, p. 199). Beginning in the 1840s, Fontainebleau's chief promoter and unofficial steward, Claude-François Denecourt, blazed a network of walking trails through the forest, bestowing names upon the chief aspects of the landscape. His names for trees (especially oaks), rocks, and other landmarks, were all drawn from the deep well of French history. It is unclear for whom Jean de Paris was named, although a quick search of notable Frenchmen reveals two possible candidates. Jean Perréal (circa 1460 - 1530), the renowned French painter, sculptor, and architect, was known as Jean de Paris. Perréal was among the most important portraitists of his day, was a court painter to the Bourbons, and worked under Charles VIII, Louis XII, and Francis I. Jean Quidort (circa 1255 - 1306), also known as Jean de Paris, was a Dominican monk and theologian. His writings on the separation between the Catholic Church and the government, as well as on papal fallibility and transubstantiation, were progressive for the time and ultimately earned him censure and a sentence of perpetual silence. Both Perreal and Quidort held sufficiently prominent positions in French history to have attracted Denecourt. Gauss accounts for only one print of this image: the salt print offered here.

EUGÈNE CUVELIER 1837-1900

'LE SULLY' measurements note 13¼ by 10 in. (33.7 by 25.4 cm.) salt print, numbered '271' by the photographer in the negative, mounted, titled in an unidentified hand in pencil on the mount, matted, 1860s PROVENANCE The collection of John Chandler Bancroft, Middletown, Rhode Island Gustave J. S. White Co., Auctioneers, Newport, Rhode Island, 1989 Acquired from the above by a New England antiques dealer To the present owners, 1989 LITERATURE Ulrike Gauss, Henning Weidemann, and Daniel Challe, Eugène Cuvelier (Stuttgart, 1996, in conjunction with the exhibition), no. 271 (this print) NOTE One of the many venerable oak trees in the forest of Fontainebleau, Le Sully was almost certainly named for the Frenchman Maximilien de Béthune, duc de Sully (1560-1641). Bethune was sent as boy to the court of Henri de Navarre, who would later become King Henri IV of France, and served under him in various capacities, ultimately becoming director of the Council of Finance in 1596. In this office he implemented a series of revisions of the country's tax laws, and wielded an ever increasing amount of influence. He was named duc de Sully in 1606. Sully proposed an elaborate canal system to facilitate the transport of grain and produce to areas in need: the resulting Canal de Briare connected the Loire and Seine rivers and was completed in 1642, a year after Sully's death. It is likely his interest in forests and his efforts to prevent their destruction that earned him the namesake pictured here by Cuvelier. Gauss accounts for only one print of this image: the salt print offered here.