拍品专文
Designed by Jean Julien Deltil, a pupil of Debret (who would be one of the leading artists in the French artistic mission to Rio de Janeiro in 1816), after Rugendas' views published between 1827 and 1835 in his Voyage Pittoresque dans le Brésil, the Vues du Brésil was a thirty sheet picture without ends divided into six different scenes. As with Dufour's Les Sauvages de la Mer Pacifique, each scene was given a separate title and each panel was accorded its own number in the accompanying catalogue allowing the purchaser to adapt the design to the wall space available.
This particular example of the Vues du Brésil consists of the last and the first scenes, panels 24 to 30 and 1 to 6, and being a continuous panorama, it was designed so that the first and last match perfectly together. The scenes shown are Vue d'une Plantation et Récolte du Café (24-30) and Vue de Rio de Janeiro et Chasse du Taureau Sauvage (1-6).
A superb example of panoramic papier peint made by the great factory of Jean Zuber, who, along with Joseph Dufour, produced new confident images for post-revolutionary nineteenth century France.
This particular example of the Vues du Brésil consists of the last and the first scenes, panels 24 to 30 and 1 to 6, and being a continuous panorama, it was designed so that the first and last match perfectly together. The scenes shown are Vue d'une Plantation et Récolte du Café (24-30) and Vue de Rio de Janeiro et Chasse du Taureau Sauvage (1-6).
A superb example of panoramic papier peint made by the great factory of Jean Zuber, who, along with Joseph Dufour, produced new confident images for post-revolutionary nineteenth century France.