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Four original photographs of a jumping military horse. gelatin silver prints 16.3 x 23cm; 16.3 x 23cm; 16.2 x 23cm; and 16.3 x 23cm. Photographed c.1895-1898
Details
MAREY, Étienne-Jules (1830-1904) and Maxime GUÉRIN-CATELAIN (fl. late-19th century)
Four original photographs of a jumping military horse.
gelatin silver prints
16.3 x 23cm; 16.3 x 23cm; 16.2 x 23cm; and 16.3 x 23cm.
Photographed c.1895-1898
A fine set of four photographs of ‘sauts du cheval’: an important contribution to the history of animal motion, bionics, physiology, and cinematography. Created using Marey’s self-invented ‘chronophotographic gun’ (1882), the images depict a military horse named Odette leaping with its rider over a short fence, against which is set a chronometer. Unlike the images in the well-known works of Eadweard Muybridge (1830-1904), which were taken with a series of 12 or 24 different cameras, Marey’s chronophotographic gun was capable of capturing 12 images per second with a single device. It was in this sense a direct ancestor of the modern movie camera. A set of 3 similar photographs are held at the Clark Art Institute, Massachusetts.
Four original photographs of a jumping military horse.
gelatin silver prints
16.3 x 23cm; 16.3 x 23cm; 16.2 x 23cm; and 16.3 x 23cm.
Photographed c.1895-1898
A fine set of four photographs of ‘sauts du cheval’: an important contribution to the history of animal motion, bionics, physiology, and cinematography. Created using Marey’s self-invented ‘chronophotographic gun’ (1882), the images depict a military horse named Odette leaping with its rider over a short fence, against which is set a chronometer. Unlike the images in the well-known works of Eadweard Muybridge (1830-1904), which were taken with a series of 12 or 24 different cameras, Marey’s chronophotographic gun was capable of capturing 12 images per second with a single device. It was in this sense a direct ancestor of the modern movie camera. A set of 3 similar photographs are held at the Clark Art Institute, Massachusetts.
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