Of the world's finest artists from. Porte Notre-Dame à Sens d'après ancienNEs dessins Yonne (Porte Notre-Dame in Sens according to old drawings Yonne).
Original tinted lithograph on strong vellum paper. Image Size 5 1/2 x 9 3/8 inches. Approximately 15 x 18 inches. This piece has been professionally matted and framed using all new materials.
This is not a modern print. This lithograph is more than 160 years old.
The image is crisp and the lines are sharp. The Notre Dame Gate, also known as the Notre Dame de la Grace Gate (Italian: Porta della Maria Vergine delle Grazie), the Cottonera Gate, the Zabbar Gate (Maltese: Il-Mina ta' Haz-Zabbar) or Bieb is-Sultan (Maltese for "King's Gate"), is the main gate of the Cottonera Lines, located in Cottonera, Malta. The gate was built in 1675 in the Baroque style, and it is currently used as the headquarters of the heritage organization Fondazzjoni Wirt Artna. Construction of the Cottonera Lines began in August 1670, when there were fears of an Ottoman attack after the fall of Candia.
The Notre Dame Gate was built in 1675 as the lines' main gate, and its design is attributed to Romano Carapecchia or Mederico Blondel. The gate is located within the Notre Dame Curtain, between Notre Dame and St. James Bastions, facing the town of Zabbar. It is situated at the highest point of the Cottonera area, and its roof was used to relay signals between Valletta and the coastal defences on the eastern part of Malta. The gate was originally protected by a drop ditch and a tenaille.
The gate remained in use throughout the years of Hospitaller, French and British rule. The gate gradually served as an adjunct to the Cottonera Military Hospital now St. Edward's College following its construction in 1870.
Many wounded soldiers were accommodated within the gate during World War I. The gate's ditch was filled in and the drawbridge removed sometime after the 1930s, while the tenaille was demolished. The gate was damaged by aerial bombardment during World War II, when one of the adjacent barrack blocks received a direct hit. In the early 21st century, the Notre Dame Gate was passed to the Malta Heritage Trust, Fondazzjoni Wirt Artna, who moved their main offices into the upper part of the gate in late 2005. The foundation has since carried out a number of restoration works to parts of the gate, which is now open to the public once every week.The gate was included on the Antiquities List of 1925, together with the rest of the Cottonera Lines. It is now scheduled as a Grade 1 national monument, and it is also listed on the National Inventory of the Cultural Property of the Maltese Islands. The gate's ditch was filled in and the drawbridge removed sometime after the 1930s,  while the tenaille was demolished. Victor Petit is a French architectural draftsman, lithographer and writer born in 1817 in Troyes (Aube) and died in 1871 in Aix-les-Bains. He is the son of Michel Victor Petit, who became a drawing teacher at the college of Sens, and Marie-Rose Baltet. His younger brother, Stanislas, devoted himself to industrial and geometric design. He was a pupil of Jean-Siméon Fort, painter of battles from whom he borrowed a taste for detail and great perspectives.
He would also have been a disciple of Lemercier, the famous inventor of chromolithography. Victor Petit contributed regularly from 1838 to 1844 to the review Les arts du Moyen Age directed by Alexandre du Sommerard, founder of the Cluny museum. He gives several plates in the atlas of the great work published under the same title.
His work is much appreciated: The Committee (of Arts and Monuments) gives the greatest praise to these drawings executed in a new way, specific to Mr. Victor Petit, and which allows him to accentuate, like an architect, the most meticulous details, the shapes of the bases and the capitals. The effect and the beauty of the design, far from being lost in this geometric exactitude, are on the contrary raised with more intensity.The committee highly appreciates this method which reconciles the requirements of archeology and the whims of the picturesque. The article is by Didron, secretary of the Committee, who will become his friend. His father contributed to Baron Taylor's Voyages Pittoresques, notably to the volumes of Auvergne (1829-33), then of Languedoc (1833-34-35-37), even as the lithographic genre began to become commonplace. He himself then worked as a draftsman or lithographer in Picardy (1835-40-45), Brittany (1845-46), Dauphiné (started in 1843, published in 1854), and Champagne (started around 1841, published in 1857).
He also participated, as a lithographer, in Adolphe Michel's Old Auvergne, as well as in the Vendée Monumentale and Maine and Anjouof Baron de Wismes. He also dated archaeologist Arcisse de Caumont. Like many "bohemian" artists of his time, Victor Petit traveled a lot.
He twice accompanied Du Sommerard to Italy (1840 and 1842). In the meantime, he published a long series of Swiss and Savoyard Chalets (at least 80 color plates for Avanzo and Gambart), views of England, Germany, etc.
The subtitle of his New Architecture (1856) states: Collection of modern constructions executed in France, England, Germany, Italy, drawn from nature. As his friend Challe told us in 1856, Each year Mr. Petit leaves Paris in the summer, and begins his artistic wanderings; he has already traveled a large part of Europe, pencil in hand, always observing and drawing; his cartoons contain an incredible quantity of views of all kinds, no one better than he knew and drew all the monuments of Europe.Among historical monuments, Victor Petit particularly likes castles. He began with that of Fleurigny, near Sens, from 1838, then he illustrated the work of Chaillou des Barres on Ancy-le-Franc, Saint-Fargeau, Chastellux and Tanlay (1845, 12 plates). He drew an album of 9 boards on the castle of Hautefort (Dordogne) in 1849 (but published ten years later), and wrote the instructions for that of Pinon (Aisne), belonging to Ernest Dubois de Courval. But its interest becomes clearer with Architecture Pittoresque, or Monuments of the 15th and 16th centuries, collection of 100 + 1 plates published by Boivin (sd, 1854) (the frontispiece is entitled Châteaux de France from the 15th and 16th centuries), and especially his castles of the Loire Valley from the 15th and 16th and 17th centuries, drawn from nature and lithographed by VP Paris, Boivin, 1864; lithogr.
2 large folio volumes of 50 plates each. The two volumes roughly follow the course of the river, the separation taking place in Indre-et-Loire. These are most often architect's views (elevations of facades), of scrupulous precision. On the occasion of the Archaeological Congress of France held in Saumur (1862), he became a historian and gave a remarkable lecture on "the architecture of castles in Touraine and Anjou in the 15th and 16th centuries".Victor Petit is also known for his views of the Pyrenees. From the end of the 1840s, leaving Switzerland, he traveled to spas, either for his own health or to accompany wealthy sponsors.
It publishes collections dedicated to each water town "and its surroundings" (mainly Luchon, but also Bagnères de Bigorre, Cauterets, Saint-Sauveur, Barèges, les Eaux bonnes, les Eaux Chauds, or Pau), with variable composition, suitable for all budgets. The total represents more than 120 boards, of a rather uneven quality. His masterpiece is a large panorama of the Pyrenees range taken from the Place de Pau, "of such accuracy that the smallest chalet is indicated there".The collections are published by Bassy in Pau, by Dulon in Bagnères-de-Bigorre, in Paris by the Thierry brothers, and finally by Monrocq (after 1860). Its precursors or competitors are the remarkable Melling, Cervini, Jacottet, Gorse, Cicéri, Édouard Paris, or Alexandre de Bar (also published by Monrocq). Some show the same meticulousness, like Gorse, who however masters architecture less well; and above all Cicéri, whose science of contrasts gives his waterfalls and rocks an almost photographic impression. Victor Petit strives to equal him, and sometimes succeeds but never surpasses him. His meeting around 1853 with the Monrocq brothers, specialists in color maps and plans, seems to mark a decisive turning point in his career, which will turn towards architecture. It was located at 3 rue Suger, not far from the Hôtel de Cluny. Victor Petit, without abandoning the historical monuments, produced about 600 plates there in 9 collections, exclusively devoted to contemporary architecture. He is also described as an architect in the death certificate of his father, in 1865 in Sens, but his diploma has not been found. In fact, it continues until September; the plates appeared in black in the "Album" attached to the newspaper, then in a colored collection.
It is then "New Architecture" (1856, 50 plates of modern constructions executed in France and neighboring countries), "Small models of architecture" (1857, 50 plates), followed by "Small drawings" new collection of 100 plates, 1867, Country houses around Paris" (1858, 50 plates, facades and plans), "Parks and gardens around Paris" (1861, 50 plates), "Small picturesque constructions" (1867, 50 plates, simple drawings on zinc, except factories and park ornaments), "Cosmopolitan habitations, Collection of houses. From all countries" (1868, 50 plates, published on the occasion of the Universal Exhibition of 1867), followed in 1869 by a "New collection of houses. (40 plates, still at Monrocq). Some views, especially the first ones, are nicely colored thanks to the Monrocq process, and very decorative. These architectural models, for didactic purposes, are supplemented by genuine drawing manuals: Cours de paysage (1853, 24 pl); L'École de Dessin (published in a newspaper, in which Petit would have participated); The Parisian Schoolboy, or the ABC of drawing ; 52 collections, classified into 9 categories linear drawing, figure, landscape..., were on sale in 1867; Victor Petit would be the author of twelve of them. To this must be added Small Linear Drawing Exercises (40 plates, sometimes attributed to his brother Stanislas), Communal Constructions (30 plates), and Monumental Architecture(dimensional drawings of historic churches in large format, 5 plates).
Around 1858, Victor Petit left the Pyrenees for Provence, with a more temperate climate for his health. At the time, the Côte d'Azur was only frequented in winter.
The artist is interested in the antiquities of Fréjus Sketches of the Roman monuments of Fréjus, first published in the Monumental Bulletin of 1864, which was completed in 1867 with Fréjus, Forum Julii, Descriptive note... 142 pages, illustrated of (in reality 82) He is also the author of a guide to the city of Arles, which has remained in manuscript. He fixed his residence in Cannes in 1864, protected by the Duke and Duchess of Vallombrosa, who granted him the usufruct of a small house at the foot of their enormous "Château des Tours". But he arrived too late to publish a truly artistic collection, Benoist's monumental work "Nice et Savoie" which had just been published.In addition to the traditional Album de Cannes, Vues en couleurs d'après les aquarelles de VP, his concern for tourism is manifested in the project of a large map of the city (which will not see the light of day), and in a guide, Walks of foreigners in the city and its surroundings(nd, around 1865, followed by a list of hotels, boarding houses and villas), constantly revised and increased; but despite his efforts, he could never compete with the English guides. He entered the office of the new Society of Natural and Historical Sciences, Letters and Fine Arts of Cannes and the Arr. Of Grasse, founded in 1868. He is still the author of three panoramas taken from the sea, Nice and Villefranche; these long leaflets, executed with a drawing pen, are far from having the artistic qualities of his panoramas of the Pyrenees; but the colors of the Monrocq brothers manage to give them a certain charm. Victor Petit had kept his father's house in Sens. He is the author of numerous notices and guides for travelers in the Yonne. He also publishes archaeological maps mainly focused on the Gallo-Roman remains of the department (1851). Finally, he has the project of bringing together his notes and drawings (more than 2000) in a large work, no longer organized in itineraries but dealing with the heritage of all the communes, like the monumental statistics of Calvados to which he had once collaborated. In 1870, he began to publish the first volume of his Description des Villes et Campagnes de l'Yonne relating to the arrondissement of Avallon, but the four other districts planned (1-Auxerre, 3-Joigny, 4-Sens, 5-Tonnerre) will never appear. He died in fact at the age of fifty-four, probably of consumption, in Aix-les-Bains where he had gone for treatment.
He was a member of the Council of the French Archaeological Society for the Conservation of Monuments, a member of the Institut des provinces (founded by Arcisse de Caumont), and of several local associations. These are the Archaeological Society of Sens, from its foundation in 1845, the Society of Sciences of Yonne (end of 1858), the Society of Sciences and Letters...Of Cannes also since its foundation (1868). Victor Petit's finest works are as rare as they are sought-after, notably his Chalets, his Habitations champêtres and his lithographs of the chateaux of the Loire. His publisher credits him with 2,000 lithographs and more than 10,000 drawings. The city of Sens has dedicated a small street to him on the island of Yonne. Accompanied by a Certificate of Authenticity and is Fully Guaranteed to be Certified as Described. Any framing included in a listing is double matted and framed in a solid wood moulding. We can also frame any pieces not listed as such. We are usually half the price of a regular framer. We guarantee all our listings to be 100% as described. This item is in the category "Art\Art Prints". The seller is "themadhattercollection" and is located in this country: US. This item can be shipped worldwide.