ULTIMATE Early French Masterworks from the Hyman Collection Louis-Rémy Robert Follow Henriette Robert early 1850s Untrimmed waxed salt print and its unique waxed paper negative. Image: 23.5 x 18.5 cm (9 1/4 x 7 1/4 in.) Sheet: 34 x 26 cm (13 3/8 x 10 1/4 in.) Negative: 23.5 x 18.5 cm (9 1/4 x 7 1/4 in.) This paper negative is unique. This salt print is one of only two known prints of this image to date; the other print, trimmed to image, is held at The Metropolitan Museum of Art.
Condition Report Sign up or Log in Provenance By descent to the Collection of Guy Watelin, Paris Galerie Baudoin Lebon, Paris Christie's London, 18 May 2005, lot 49 The Hyman Collection, London Exhibited Louis Robert: L'Alchimie des Images , Biblioteca regionale di Aosta, Italy; Galerie Baudoin Lebon, Paris; Zabriskie Gallery, New York, July 1999 - April 2000, this lot Literature B. Lebon, ed., Louis Robert: L'Alchimie des Images , Paris: NBC éditions, 1999, pls. 12-13, dated c. 1850, fig. 12, p. 130, this lot Catalogue Essay Louis-Rémy Robert spent his life and career at the porcelain factory at Sèvres, assuming the role of head of the painting workshop in 1847, and together with Henri-Victor Regnault (lot 5), was a central figure among the Sèvres photographers. Robert took up paper photography around 1850, intrigued by the combination of painting and chemistry found in the new medium. His earliest photographs were intimate portraits of his family, friends and colleagues at the factory. His daughter Henriette, seen here, was one of his regular sitters at the time. This contemplative portrait in both positive and negative provides a glimpse of Robert’s painterly sensibilities. The thin waxed paper negative highlights his play with light as seen in the halo around the figure of his daughter. The tonal patches of chemical staining visible on the paired salt print create suggestive textures, resulting in a unique object that is lyrical and full of expressiveness. The present lot reveals Robert’s instinctive approach to creating his salt prints and best exemplifies his ability to draw out aesthetic effects from early photographic techniques. We extend our sincere thanks to The Metropolitan Museum of Art’s Department of Photographs for assisting us in our research. Read More
ULTIMATE Early French Masterworks from the Hyman Collection Louis-Rémy Robert Follow Henriette Robert early 1850s Untrimmed waxed salt print and its unique waxed paper negative. Image: 23.5 x 18.5 cm (9 1/4 x 7 1/4 in.) Sheet: 34 x 26 cm (13 3/8 x 10 1/4 in.) Negative: 23.5 x 18.5 cm (9 1/4 x 7 1/4 in.) This paper negative is unique. This salt print is one of only two known prints of this image to date; the other print, trimmed to image, is held at The Metropolitan Museum of Art.
Condition Report Sign up or Log in Provenance By descent to the Collection of Guy Watelin, Paris Galerie Baudoin Lebon, Paris Christie's London, 18 May 2005, lot 49 The Hyman Collection, London Exhibited Louis Robert: L'Alchimie des Images , Biblioteca regionale di Aosta, Italy; Galerie Baudoin Lebon, Paris; Zabriskie Gallery, New York, July 1999 - April 2000, this lot Literature B. Lebon, ed., Louis Robert: L'Alchimie des Images , Paris: NBC éditions, 1999, pls. 12-13, dated c. 1850, fig. 12, p. 130, this lot Catalogue Essay Louis-Rémy Robert spent his life and career at the porcelain factory at Sèvres, assuming the role of head of the painting workshop in 1847, and together with Henri-Victor Regnault (lot 5), was a central figure among the Sèvres photographers. Robert took up paper photography around 1850, intrigued by the combination of painting and chemistry found in the new medium. His earliest photographs were intimate portraits of his family, friends and colleagues at the factory. His daughter Henriette, seen here, was one of his regular sitters at the time. This contemplative portrait in both positive and negative provides a glimpse of Robert’s painterly sensibilities. The thin waxed paper negative highlights his play with light as seen in the halo around the figure of his daughter. The tonal patches of chemical staining visible on the paired salt print create suggestive textures, resulting in a unique object that is lyrical and full of expressiveness. The present lot reveals Robert’s instinctive approach to creating his salt prints and best exemplifies his ability to draw out aesthetic effects from early photographic techniques. We extend our sincere thanks to The Metropolitan Museum of Art’s Department of Photographs for assisting us in our research. Read More
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