Charles-Claude Delaye (1793–1848) - Quais de Paris

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Charles-Claude Delaye (Paris, 1793–1848)
Pair of monumental gouaches representing the Quays of Paris, signed “Delaye” and dated 1848

Elegant and rare pair of large gouaches on paper, representing two complementary perspectives of the quays of the Seine in Paris in the mid-19th century, signed “Delaye” and dated 1848.

The two compositions constitute a homogeneous ensemble, initially conceived as a pair (pendants), presenting two of the most characteristic views of the French capital before the great urban transformations initiated by Baron Haussmann starting in 1853. Beyond their artistic value, the works also represent a particularly important iconographic document for understanding the appearance of historical Paris, accurately capturing the architecture of the era, the intense traffic on the quays of the Seine, the commercial boats, the animation of daily life and the elegance of the costumes specific to the July Monarchy and the beginning of the of the Second Republic.

Executed in a refined gouache technique on paper, the works demonstrate an excellent mastery of urban perspective and a special sensitivity in the rendering of the Parisian atmosphere. The artist delicately alternates areas of light and shadow, using the transparencies specific to watercolor combined with the controlled opacity of gouache to create depth and particularly convincing atmospheric effects. The human figures, although small in size, are carefully individualized and give the scenes an authentic narrative character.

The signature “Delaye”, present on both works, together with the date 1848, represents a particularly interesting element from a historical and attributive point of view. Following comparative research conducted on French artists active in the first half of the 19th century who used this signature, the closest candidate identified is Charles-Claude Delaye (1793–1848), a Parisian painter documented as the author of landscapes, genre scenes and urban views.

This hypothesis is supported by several converging arguments:

the perfect concordance between the date inscribed on the works and the last known year of the artist's activity;

Charles-Claude Delaye's Parisian origin and documented interest in representing the French capital;

the compatibility of the technique used (gouache and watercolor), characteristic of his known work;

the existence of an authenticated work sold by Christie's, representing La Révolution de 1830 à la Porte Saint-Denis à Paris, signed simply "Delaye", made in a similar technique and with the same concern for the Parisian urban landscape (https://www.christies.com/en/lot/lot-5345623?utm_source);

the general similarity between the execution method and the artist's known thematic repertoire.

Authentic pairs of vedute of Paris executed before the Haussmannian remodeling are considerably rarer than later representations and enjoy constant interest from collectors of French painting, urban iconography and the history of Paris.

Elements that increase commercial appeal:
original pair (pendants), kept together;
generous dimensions (38 × 46 cm without frame);
laborious technique, specific to the French school of the first half of the 19th century;
representation of Paris before the Haussmannian interventions; precise dating 1848, a year with a strong historical resonance in France;
signature present on both works;
very good state of conservation;
quality gilded frames, harmonized with the period.