Charles Nègre

circular albumen print from a paper negative, initialed in the negative, numerical notations ‘No. 37’ and ‘B-16’ in pencil and the ‘André Jammes’ collection stamp and ‘a. j.’ collection label on the reverse, 1852

Collection of the photographer

By descent to his son, Charles Nègre

Collection of André Jammes, Paris, 1950s

Sotheby’s Paris, La Photographie III, Collection Marie-Thérèse et André Jammes: l’Oeuvre de Charles Nègre, 22 March 2002, Sale 2003, Lot 317

James Borcomon, Charles Nègre 1820-1880 (National Gallery of Canada, 1976), cover and pl. 29 (this print)

This photograph appears to never have been mounted and is in essentially in excellent condition. The sun-drenched scene is light overall, except for the few shadows which are rendered in this print as near-black. When examined closely in raking light, some faint inconsequential soft creases can be seen. But these do not undermine the print's fine appearance. The print is currently hinged to a modern mount with white paper tape.
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This charming albumen print has been carefully trimmed by Nègre to a circular shape.  Nègre’s experiments in capturing movement photographically certainly aided him in making this picture, although it is likely that this image—which is one of several utilizing the same subjects—was posed for the camera.  Nonetheless, Nègre has done a masterful job photographing this group, in full sunlight with their clothing and gear portrayed in great detail.  The buildings upon the opposite shore from the Quai de Bourbon are beautifully rendered here in evocative soft focus.   Nègre’s background as a painter may have led to his decision to present this image as a tondo; the circular format beautifully encases and accentuates the composition.