Charles François Daubigny
Le marais aux canards (Marsh with Ducks).
1862

Name: Le marais aux canards (Marsh with Ducks).
Brand: Charles François Daubigny
Price: 500 USD
Availability: InStock

About the Item

1862. Original cliché verre. Delteil, Melot 133. 6 1/2 x 7 7/8 (image and sheet). Edition 150, #85. Posthumous impression from the 1921 edition of 150 printed in Paris by Sagot-Le Garrec on photo-sensitive vellum paper, with their violet seal verso (Lugt 1766a). Signed in the plate in reverse. Housed in an archival 16 x 20-inch mat. Cliché-Verre. means glass picture. The 19th-century French painters Corot, Millet, Daubigny, and others, used this method of making pictures, which involves creating a handmade negative. These artists took pieces of flat glass, smoked them with a lit candle, and drew images on the soot-covered surface with a sharp pointed instrument. Then they would place the glass over a sheet of photographic paper and expose it to light. When light passes through the clear parts of the glass that is scratched, it produces a line drawing in black on a white background. Contact prints made from these negatives have a wonderful sense of belonging to the realms of both drawing and photography. The shot glass holds, by its very nature, both drawing, printmaking and photography. But it is above all a process of multiplication of the image based on the early days of photography. This technique, midway between printmaking and photography was invented in the 1850s by Constant Dutilleux and his son Charles Desavary. Barbizon on the outskirts of the Forest of Fontainbleau had already attracted regular visits from landscape painters wishing to paint in the open air (plein-air) directly from nature. J. F. Millet and Charles Jacque left Paris after the 1848 Revolution. Constant Dutilleux and Daubigny were regular guests at the village inn (as were Georges Sand, the Goncourts and other romantics). Adalbert Cuvelier visited annually bringing his photography students from Arras. In 1859 his son Eugène married the inn-keeper’s daughter and settled in Barbizon. Eugène Cuvelier showed the cliché-verre process to Millet, Rousseau and Daubigny. In 1853, Camille Corot produced the first "drawing on glass photographic". The subject was the woodcutter Rembrandt. He printed their glass plates, which remained in his possession. Few early impressions (printed on thin salted or albumin paper) have survived. The Cuvelier collection of cliché-verres was re-printed in small editions of 10-15 prints in 1911 when it was acquired by Bouasse-Lebel. were subsequently printed in an edition of 150 before chipping the corners of the glass plates as cancellation and giving them to museum collections. The Le Garrec impressions are on gelatine paper and retain the photographically printed scratches and fingerprints in the borders and the ‘black’ edge of the glass plate.

Creator:

Charles François Daubigny (1817 - 1878, French)

Creation Year:

1862

Dimensions:

Height: 6.5 in (16.51 cm)Width: 7.88 in (20.02 cm)Depth: 0.5 in (1.27 cm)

Medium:

Photographic Paper

Movement & Style:

Barbizon School

Period:

Mid-19th Century