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Lot Essay
En 1857 Charles Furne et son cousin Henri Tournier s’associent pour photographier paysages, et monuments principalement en vues stéréoscopiques. Cette même année, ils partent documenter une Bretagne vouée à disparaitre, parcourant la région dans une carriole photographique aménagée en chambre noire. Tirée par un unique cheval, elle transporte, outre leurs effets personnels, deux chambres photographiques, cuves et bouteilles de produits chimiques pour le traitement des clichés, et boîtes en bois renfermant près de trois cents plaques de verre. C'est au cours de ce voyage pittoresque et artistique qu'ils photographient ces quatre habitants de Quimperlé en costume traditionnel rare témoignage de la ville et de sa population au milieu du XIXᵉ siècle. Dans une composition qui tutoie l’instantané,les Bretonnes apparaissent sous leur coiffe, les mains jointes sur le haut du tablier, telles que les découvriront les peintres de Pont-Aven.
Cette image constitue la planche 10 de l’album Vues, monuments et costumes de Bretagne, publié à leur retour en 1858. Contrairement à leur série stéréoscopique parallèle Voyage en Bretagne, qui réunit environ 233 vues destinées au stéréoscope, cet ouvrage rassemble 45 épreuves de plus grand format tirées sur papier albuminé et publié en neuf livraisons.
Une variante stéréoscopique au cadrage plus large permet d’identifier un magasin de quincaillerie et de situer précisément la prise de vue sur l’actuelle place Carnot. Le bâtiment visible sur cette version a depuis disparu.
In 1857, Charles Furne and his cousin Henri Tournier joined forces to photograph landscapes and monuments, primarily in stereoscopic views. That same year, they set out to document a Brittany they believed was destined to disappear, traveling through the region in a photographic cart fitted out as a mobile darkroom. Drawn by a single horse, it carried not only their personal belongings but also two cameras, tanks and bottles of chemicals for processing negatives, and wooden boxes containing nearly three hundred glass plates. It was during this picturesque and artistic journey that they photographed these four inhabitants of Quimperlé in traditional dress, a rare record of the town and its population in the mid-nineteenth century. In a composition that approaches the spontaneity of a snapshot, the Breton women appear in their distinctive headdresses, hands clasped at the top of their aprons, much as the painters of Pont-Aven would later encounter them.
This image constitutes plate 10 of the album Views, Monuments, and Costumes of Brittany (Vues, monuments et costumes de Bretagne), published upon their return in 1858. Unlike their parallel stereoscopic series Voyage in Brittany (Voyage en Bretagne), which comprised approximately 233 views intended for the stereoscope, this publication brought together 45 larger-format albumen prints issued in nine installments.
A stereoscopic variant with a wider field of view makes it possible to identify a hardware store and to pinpoint the exact location of the photograph on what is now Place Carnot. The building visible in that version has since disappeared.
Cette image constitue la planche 10 de l’album Vues, monuments et costumes de Bretagne, publié à leur retour en 1858. Contrairement à leur série stéréoscopique parallèle Voyage en Bretagne, qui réunit environ 233 vues destinées au stéréoscope, cet ouvrage rassemble 45 épreuves de plus grand format tirées sur papier albuminé et publié en neuf livraisons.
Une variante stéréoscopique au cadrage plus large permet d’identifier un magasin de quincaillerie et de situer précisément la prise de vue sur l’actuelle place Carnot. Le bâtiment visible sur cette version a depuis disparu.
In 1857, Charles Furne and his cousin Henri Tournier joined forces to photograph landscapes and monuments, primarily in stereoscopic views. That same year, they set out to document a Brittany they believed was destined to disappear, traveling through the region in a photographic cart fitted out as a mobile darkroom. Drawn by a single horse, it carried not only their personal belongings but also two cameras, tanks and bottles of chemicals for processing negatives, and wooden boxes containing nearly three hundred glass plates. It was during this picturesque and artistic journey that they photographed these four inhabitants of Quimperlé in traditional dress, a rare record of the town and its population in the mid-nineteenth century. In a composition that approaches the spontaneity of a snapshot, the Breton women appear in their distinctive headdresses, hands clasped at the top of their aprons, much as the painters of Pont-Aven would later encounter them.
This image constitutes plate 10 of the album Views, Monuments, and Costumes of Brittany (Vues, monuments et costumes de Bretagne), published upon their return in 1858. Unlike their parallel stereoscopic series Voyage in Brittany (Voyage en Bretagne), which comprised approximately 233 views intended for the stereoscope, this publication brought together 45 larger-format albumen prints issued in nine installments.
A stereoscopic variant with a wider field of view makes it possible to identify a hardware store and to pinpoint the exact location of the photograph on what is now Place Carnot. The building visible in that version has since disappeared.