RICHARD Félix (Lyon, 1809 - Paris, 1876) - Lot 306

RICHARD Félix (Lyon, 1809 - Paris, 1876) The old Pont du Change, Lyon. Circa 1840. Full-plate daguerreotype. Dimensions: Plate: 16.4 x 21.6 cm; frame: 29.2 x 23.7 cm. As far as we know, this is the first photographic view of Lyon's history. Condition: Very good, despite a few scratches. Recently cleaned by a specialized restorer (conservation report available on request). High-quality daguerreotype, showing the architectural details of each building. Bibliography: Le Monde Illustré, December 17, 1921 Provenance: Remains in the artist's family to this day. Related works: There are two similar views of this bridge in the archives of the city of Lyon P0546 S 0124 and P0546 S 0134 (both glass negatives). Note that the views preserved in the Lyon archives show three arches of the bridge, without revealing the opposite bank of the river. Le vieux pont au change : The old stone bridge was consecrated in 1070 by Archbishop HUMBERT, and was built using materials from the Roman era. It had seven arches, including the marvellous arch (on the right of the plaque) surmounted by tall houses, sometimes 3 or 4 storeys high, inhabited by goldsmiths. Destroyed in 1842, all that remains are a few bleachers opposite Saint-Nizier church to mark the square. A note written on the back by a member of the RICHARD family gives a brief account of the author's life. "Vieux Pont à Lyon. Daguerreotype executed around 1845 by Félix Richard engineer, physicist, optician born in Lyon in 1809, died in Paris 1876. Four sons: Albert, artistic director of the Montereau earthenware factory. Jules, engineer of the Vérascope. Félix-Max and Georges, who led the industrial phalanx that created the automobile and aviation. Contemplating this magnificent plate, with its remarkable dimensions and composition, and taking into account the existence of at least a second similar plate (published as early as 1923, considered the oldest in Lyon), we can envisage the presence of an already experienced operator alongside the young Félix Richard. Finally, noting that the Daguerrian chamber was positioned at the window of this daring optician who later devoted his life to photography, we can note similarities with the famous first public sessions at the Parisian optician Lerebours, where the emblematic view of the Pont Neuf was repeatedly daguerreotyped from his window.