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Lot Essay
A masterful study from his celebrated series of marine subjects, the present image of vessels leaving harbour has been the focus of detailed research by British-based American historian Ken Jacobson. In note 76 to his 2001 publication, The Lovely Sea View – A study of the marine photographs published by Gustave Le Gray, 1856-1858, Jacobson establishes definitively both the location of the scene and the character of the vessels, settling earlier misunderstandings about this and other studies of sailing vessels. Indeed, Jacobson is acknowledged for this research by Sylvie Aubenas in her monograph published the following year (note to cat. no. 125). The view was made in the port of Le Havre. Contrary to previous assumptions, these are not naval vessels. The two brigantines closest to the camera have painted ports, but not actual gun ports. The deception of such painted ports, indistinguishable from a distance from gun ports, served as a preliminary deterrent to pirates.
Jacobson also lists the known marine subjects, reaching a total of forty-three. About half of these focus principally on ships, notably the August 1858 series showing the British and French naval fleets at Cherbourg. This is not a large number, and the present, exceptionally rich print is among the rarest. It is also among the most impressive, for the dynamism and composition of its subject and for the fine rendering of the contre-jour light. Sylvie Aubenas draws attention to the remarkable parallel with a painting from 1834-35 by Caspar David Friedrich, ‘The three ages of man’, in which the three ages are illustrated by foreground figures, but the picture dominated by the line of vessels sailing into a sunset, suggesting the flow of destiny and of life itself. While there is no suggestion that Le Gray had so specific a reference in mind, the comparison serves to remind us of his formation as an artist and of his determination to align the art of photography with a noble painterly tradition.
This lot is accompanied by export license for cultural property issued by the République Française.
Jacobson also lists the known marine subjects, reaching a total of forty-three. About half of these focus principally on ships, notably the August 1858 series showing the British and French naval fleets at Cherbourg. This is not a large number, and the present, exceptionally rich print is among the rarest. It is also among the most impressive, for the dynamism and composition of its subject and for the fine rendering of the contre-jour light. Sylvie Aubenas draws attention to the remarkable parallel with a painting from 1834-35 by Caspar David Friedrich, ‘The three ages of man’, in which the three ages are illustrated by foreground figures, but the picture dominated by the line of vessels sailing into a sunset, suggesting the flow of destiny and of life itself. While there is no suggestion that Le Gray had so specific a reference in mind, the comparison serves to remind us of his formation as an artist and of his determination to align the art of photography with a noble painterly tradition.
This lot is accompanied by export license for cultural property issued by the République Française.