Adalbert Auguste Cuvelier Sold at Auction Prices

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    • Adalbert Cuvelier (1812-1871)
      May. 24, 2022

      Adalbert Cuvelier (1812-1871)

      Est: £5,000 - £7,000

      Adalbert Cuvelier (1812-1871) Adalbert Cuvelier (1812-1871) LANDSCAPE WITH RIVER AND VILLAGE, LIKELY ARRAS, 1853, salt paper print from a paper negative, image size, 191 x 257mm, initialed and dated by the photographer in the negative, mounted, matted, 1853 Catalogue Note Aldabert Cuvelier's photographs are exceptionally rare. Historically, only three other known examples have been offered on the auction market. The collection of the father and sons works that were offered at Sotheby's in 2007 had this image and one other by Aldabert. Both photographs of a river -- most likely the Scarpe or one of its ancillary canals -- bisects the landscape. In the present image a village, possibly Arras, is visible in the distance on the left bank; on the heavily-treed right bank a portion of a wooden structure can be seen. While the other image by Adalbert depicts artists sketching along a lush riverside, the present image is more minimal in its approach, with the essentially blank space of the river taking up a greater part of the photograph. The composition is simpler; Adalbert has reduced the landscape to its essential elements: water, land, and sky.

      Chiswick Auctions
    • ADALBERT CUVELIER 1812-1871
      Apr. 13, 2007

      ADALBERT CUVELIER 1812-1871

      Est: $20,000 - $30,000

      LANDSCAPE WITH RIVER AND VILLAGE, LIKELY ARRAS measurements note 7½ by 10 1/8 in. (19.1 by 25.7 cm.) salt print, initialed and dated by the photographer in the negative, mounted, matted, 1853 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 This is one of two photographs in the collection by Adalbert Cuvelier, Eugène's father -- the other is Lot 26. In both photographs a river -- most likely the Scarpe or one of its ancillary canals -- bisects the landscape. In the present image a village, possibly Arras, is visible in the distance on the left bank; on the heavily-treed right bank a portion of a wooden structure can be seen. While the other image by Adalbert depicts artists sketching along a lush riverside, the present image is more minimal in its approach, with the essentially blank space of the river taking up a greater part of the photograph. The composition is simpler; Adalbert has reduced the landscape to its essential elements: water, land, and sky.

      Sotheby's
    • ADALBERT CUVELIER 1812-1871
      Apr. 13, 2007

      ADALBERT CUVELIER 1812-1871

      Est: $70,000 - $100,000

      ALONG THE SCARPE RIVER, NEAR ARRAS measurements note 7¾ by 10 1/8 in. (19.7 by 25.7 cm.) salt print, initialed and dated by the photographer in the negative, mounted, matted, 1853 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 New York, The Metropolitan Museum of Art, Eugène Cuvelier, Photographer in the Circle of Corot, October 1996 - January 1997 LITERATURE Malcolm Daniel, Eugène Cuvelier, Photographer in the Circle of Corot (The Metropolitan Museum of Art, 1996, in conjunction with the exhibition), p. 5 (this print) NOTE Adalbert Cuvelier, a businessman in the northern French town of Arras, as well as an avid and talented amateur photographer, was connected to a number of the important artists of his day. He first met Camille Corot in 1852, during one of the painter's frequent visits to Arras. It was there that Corot was introduced to the cliché-verre process of image-making. This involved the artist sketching or etching on a prepared glass plate, and then using the completed glass plate as a negative from which a contact print was made on photographically sensitized paper. Corot became enamored of the process, and in the 1850s worked steadily on the creation of glass plates. In all, he produced 66 images with the medium between 1853 and 1874, just before his death a year later. In Arras, there were a number of artists and photographers who were involved with the cliché-verre, and had a great belief in its application to art: the painter and photographer Constant Dutilleux, the drawing professor L. Grandguilliaume, the painter and photographer, Charles Desavary, and Adalbert Cuvelier. Corot's initial clichés-verre were printed by Grandguilliaume in Dutilleaux's studio. Between 1854 and 1857, Adalbert Cuvelier was the chief printer of Corot's plates. Adalbert Cuvelier became a known authority on the cliché-verre, and in the January 1856 issue of the journal of the Société Française de Photographie he published the article 'Sur Plusieurs Méthods de Dessin Héliographique' which gave detailed instructions for several approaches to the technique. Adalbert's son, Eugène, encouraged other artists, Jean-François Millet and Théodore Rousseau among them, to work in cliché-verre. While Adalbert Cuvelier is best known to art historians for his involvement with Corot and the cliché-verre, and to photo historians for teaching his son, Eugène, the craft of photography, the handful of extant photographs by him reveal Adalbert to have been a highly accomplished photographic artist in his own right. These photographs, made in Arras and consisting of landscape views and a remarkable series of portraits of working men, show both a mastery of the photographic process and a subtle intelligence in its application. The photograph offered here, made on the Scarpe River, which flows through Arras, is believed to be the only print of the image extant, and shows a clever and restrained approach to a subject that might otherwise seem hackneyed. Upon first glance, the photograph functions as a picturesque view of a landscape and river that makes great compositional use of the reflections of the trees in the smooth surface of the water. Closer examination reveals a small group of artists sketching upon the left bank of the river, protected from the sun by white umbrellas.

      Sotheby's
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