Nadar

Nadar — marelibri

(Guy de MAUPASSANT) - [NADAR] Felix Tournachon dit NADARBiblio.com

Photographie Portrait photographique de Maupassant Photographic portrait of Guy de Maupassant

1888réf. 92029Paris: Paul Nadar 1888. Fine. Paul Nadar Paris s. d. 1888 - 1900 11 x 16.4 cm une photographie Paris Nadar studio negative circa 1888 print circa 1900-1924. Cabinet-card photograph. Albumen print mounted on the Nadar studio card. Maupassant is shown bust-length in left profile. The mount bears the printed name ""P. Nadar"" at the head and the studio signature printed in red in the lower margin. The verso gives the addresses 51 rue d'Anjou and 53 rue des Mathurins together with Paul Nadar's distinctions at the 1900 Exposition Universelle: hors concours member of the jury Class XII. These details make it possible to distinguish clearly between the date of the sitting and that of the present print. The negative is generally dated to 1888 although 1890 has also been proposed whereas the mount cannot predate the 1900 Exposition Universelle. The present photograph is therefore a later print made by the studio from an earlier negative probably between 1900 and the transfer of the rue d'Anjou premises in 1924. Paul Nadar who had worked full-time in the studio from 1876 had assumed its artistic direction by 1880 and thereafter signed most of its portraits. A label mounted on the verso reads: ""Gaston Bernard / 174 rue de Rivoli / Paris / Estampes"" recording the photograph's passage through this Paris establishment. At least two closely related poses of Maupassant from this sitting are known one showing his right profile and the other his left as here. In the latter the face turned almost entirely away from the viewer together with the moustache and sharply defined line of forehead and nose creates an immediately recognisable silhouette. The image was to become one of the writer's most familiar photographic portraits. The paradox is particularly striking since Maupassant consistently resisted the public dissemination of his likeness. He had little taste for the construction of a public image of the writer and explicitly protested against the reproduction of his portraits. Octave Uzanne who had known him personally reproduced in 1902 an autograph note in which Maupassant expressed his position unequivocally: ""I have made it an absolute rule never to allow my portrait to be published whenever I can prevent it. The exceptions have occurred only by surprise. Our works belong to the public but not our faces."" This reluctance partly accounts for the relative scarcity of his photographic iconography. Less than a decade after Maupassant's death Uzanne already observed that authentic likenesses of the writer consisted essentially of a small number of photographs taken full-face in profile or three-quarter view. He singled out the portrait of 1888 as the one in which he most readily recognised his lost friend: the Maupassant of Le Horla and Sur l'eau then at the height of his literary fame. The photograph belongs precisely to this period. Pierre et Jean and Sur l'eau appeared in 1888 while Bel-Ami published three years earlier had already established Maupassant before a wide readership. The Nadar profile thus fixes the writer at the moment when his face might naturally have become that of a literary celebrity precisely when he was attempting to prevent such a transformation. The present print is all the more revealing for having been produced after his death. The negative retained by the studio continued to be used after 1900 on a mount now advertising Paul Nadar's latest distinctions. The image Maupassant had wished to withhold from public curiosity survived him and entered the commercial repertoire of a photographic house celebrated for its portraits of prominent figures. A photographic sitting had gradually become an icon. A rare cabinet-card portrait of Maupassant printed after 1900 from a negative made circa 1888 by the Nadar studio. Of the writer who insisted that ""our works belong to the public but not our faces"" this photograph was destined to preserve one of the most recognisable faces of all. Â Paul Nadar unknown

Rare Books Le Feu Follet - Edition-Originale.com · France3 450,00 €

(Jules VERNE) - NADAR [Felix TOURNACHON]Biblio.com

PHOTOGRAPHIE Portrait photographique de Jules Verne

1878réf. 82671Paris: Nadar 1878. Fine. Nadar Paris 1878 6 x 10.50 cm une photographie Original albumen photograph of Jules Verne in profile in carte-de-visite format mounted on the heavy card stock of the Nadar studio 51 rue d'Anjou-Saint-Honoré Paris. Early pen inscription on the verso identifying Jules Verne printed advertising matter for the studio including the statement Gold Medal Universal Exhibition 1878 and blue stamp J. Kuhn Paris. Card with rounded corners; very slight wear to one corner otherwise without significant defect. The Nadar mount whose advertising records the gold medal awarded at the 1878 Universal Exhibition establishes a date after 1878 for this print. The Bibliothèque nationale de France preserves several portraits of Jules Verne in the studio's reference albums catalogued under numbers 3436 and 3437 and broadly dated between 1875 and 1895. Jules Verne and Nadar had known one another since the early 1860s when the photographer embarked upon his celebrated campaign in support of heavier-than-air flight. When Nadar founded the Société d'encouragement de la navigation aérienne au moyen du plus lourd que l'air in 1863 Verne was among the dozen or so figures associated with it; a surviving sheet of the Society's letterhead in the Jules Verne collections at Nantes expressly lists him among its censors. In the same year Verne published Nadar the Aeronaut in the Musée des Familles while Nadar constructed the Géant the enormous balloon whose first ascent took place that October. Their association soon passed from aeronautics into fiction. In From the Earth to the Moon published in 1865 Verne gave the French adventurer Michel Ardan a surname formed as an anagram of Nadar; the character would return in Around the Moon. His physical description extends the tribute by borrowing several traits from the photographer's famously exuberant personality: He was a man of forty-two tall though already somewhat stooped like those caryatids that bear balconies upon their shoulders. His powerful head a veritable lion's mask would from time to time toss a mass of fiery hair that formed a true mane. By the rearrangement of a few letters Verne's aeronaut friend had entered the world of the Voyages extraordinaires. By the time this carte de visite was printed after 1878 Verne was already the author of Around the World in Eighty Days Michael Strogoff Hector Servadac and The Fifteen-Year-Old Captain; Nadar whose name had become that of a Verne hero thirteen years earlier now fixed the writer's own likeness. This portrait thus brings together within a single object the personal and intellectual relationship between two men brought close by the aeronautical experiments of the 1860s: the Nadar studio here photographs the writer who in the figure of Michel Ardan had already brought his friend into fiction. Nadar unknown

Rare Books Le Feu Follet - Edition-Originale.com · France2 875,00 €

Nadar

Nadar

Siècle

Langue

Pays du libraire

Ajouté

Sujets

Catalogues

Siècle

Langue

Pays du libraire

Ajouté

Sujets

Catalogues

Siècle

Langue

Pays du libraire

Ajouté

Sujets

Catalogues