Lot 0039

1907, HEIGHT AND LIGHT IN BOURGES CATHEDRAL, FRANCE

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1907, HEIGHT AND LIGHT IN BOURGES CATHEDRAL, FRANCE: Title: 1907, HEIGHT AND LIGHT IN BOURGES CATHEDRAL, FRANCE Artist/Source: FREDERICK H. EVANS, (British, 26 June 1853-24 June 1943) Medium: CONTEMPORARY PHOTOLITHOGRAPH, AFTER EVANS ORIGINAL NEGATIVE D

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1907, HEIGHT AND LIGHT IN BOURGES CATHEDRAL, FRANCE

Item Details

Description

Title: 1907, HEIGHT AND LIGHT IN BOURGES CATHEDRAL, FRANCE

Artist/Source: FREDERICK H. EVANS, (British, 26 June 1853-24 June 1943)

Date/Period: 1907 (ORIGINAL DATE)

Origin: Bourges, France

Dimension: 10 x 8

Medium: CONTEMPORARY PHOTOLITHOGRAPH, AFTER EVAN'S ORIGINAL NEGATIVE

Labels/Annotation: NONE

Additional Information:

This lot is a Dye Based Photolithograph, and is a meticulous restoration print, produced 'after' the original photograph. Rather than being a one-of-a-kind work, it is an open edition, non-commercial sheet-fed mechanical print, analagous to the process used for sheet-fed photogravures. The paper is 215 GSM, 12 MIL Matte, Light Fast and Acid Free. It is enclosed in a polypropolene, archival presentation pocket and reinforced before shipping.

ABOUT FREDERICK H. EVANS :: Best known for painstakingly planned and printed images of English and French cathedral interiors, Frederick H. Evans was a friend of F. Holland Day and a member of the Linked Ring, an English society of art photographers. His work was a bridge between the British Pictorialist photographers and the Photo-Secession. Evans began his career as a bookseller, but retired from that to become a full-time photographer in 1898, when he adopted the platinotype technique for his photography. Platinotype images, with extensive and subtle tonal range, non glossy-images, and better resistance to deterioration than other methods available at the time, suited Evans' subject matter. Almost as soon as he began, however, the cost of platinum - and consequently, the cost of platinum paper for his images - began to rise. Because of this cost, and because he was reluctant to adopt alternate methodologies, by 1915 Evans retired from photography altogether.

Evans' ideal of straightforward, "perfect" photographic rendering - unretouched or modified in any way - as an ideal was well-suited to the architectural foci of his work: the ancient, historic, ornate and often quite large cathedrals, cloisters and other buildings of the English and French countryside. This perfectionism, along with his tendency to exhibit and write about his work frequently, earned for him international respect and much imitation. He ultimately became regarded as perhaps the finest architectural photographer of his, or any, era - though some professionals privately felt that the Evans' philosophy favoring extremely literal images was restrictive of the creative expression rapidly becoming available within the growing technology of the photographic field. Evans was also an able photographer of landscapes and portraits, and among the many notable friends and acquaintances he photographed was George Bernard Shaw, with whom he also often corresponded.

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