VERY BEAUTIFUL PHOTO PUBLICATION ABOUT NOTRE-DAME in Paris, one of the most famous churches worldwide and one of the most impressive publications about Paris in general. COMPLETE WITH ALL (!) SHEETS. Hans-Michael Koetzle, "Eyes on Paris, Paris in Photobooks, 1890 till today", page 144 and 145. "Jean Roubier’s photographs were also featured in the two books La semaine héroïque and La Délivrance de Paris, both of which were so important for France’s postwar self-image. Yet his pictures of the end of the occupation owed more to political commitment - a declaration of solidarity with the Resistance - than to any sustained interest in reportage. If one were to assign an accurate label to Jean Roubier, born in Paris in 1896, it would be that of a photographe illustrateur - an illustration photographer who enriched art- and cultural-historical publications with his images." (Hans-Michael Koetzle) EXCELLENT, VERY FRESH CONDITION. IN THIS WONDERFUL FRESH CONDITION EXTREMELY HARD TO FIND. COLLECTOR'S COPY. Welcome to the second auction by Anatole Desachy (France) and Ecki Heuser (Germany) in celebration of Paris. At the occasion of ‘’Paris Photo’’ fair, we have gathered a new selection of classical & uncommon Photobooks about the city of light. Enjoy and good luck with your bids ! "Notre-Dame de Paris; meaning "Cathedral of Our Lady of Paris", often referred to simply as Notre-Dame, is a medieval Catholic cathedral on the Île de la Cité (an island in the River Seine), in the 4th arrondissement of Paris, France. It is the cathedral church of the Roman Catholic Archdiocese of Paris. The cathedral, dedicated to the Virgin Mary ("Our Lady"), is considered one of the finest examples of French Gothic architecture. Several attributes set it apart from the earlier Romanesque style, including its pioneering use of the rib vault and flying buttress, its enormous and colourful rose windows, and the naturalism and abundance of its sculptural decoration. Notre-Dame is also exceptional for its three pipe organs (one historic) and its immense church bells. The construction of the cathedral began in 1163 under Bishop Maurice de Sully and was largely completed by 1260, though it was modified in succeeding centuries. In the 1790s, during the French Revolution, Notre-Dame suffered extensive desecration; much of its religious imagery was damaged or destroyed. In the 19th century, the cathedral hosted the coronation of Napoleon and the funerals of many of the French Republic's presidents. The 1831 publication of Victor Hugo's novel Notre-Dame de Paris (English title: The Hunchback of Notre-Dame) inspired interest which led to restoration between 1844 and 1864, supervised by Eugène Viollet-le-Duc. On 26 August 1944, the Liberation of Paris from German occupation was celebrated in Notre-Dame with the singing of the Magnificat. Beginning in 1963, the cathedral's façade was cleaned of soot and grime. Another cleaning and restoration project was carried out between 1991 and 2000. A fire in April 2019 caused serious damage, closing the cathedral for extensive and costly repairs; it reopened in December 2024. It is a widely recognised symbol of both the city of Paris and the French nation. In 1805, it was awarded honorary status as a minor basilica. As the cathedral of the archdiocese of Paris, Notre-Dame contains the cathedra or seat of the archbishop of Paris (currently Laurent Ulrich). In the early 21st century, about 12 million people visited Notre-Dame annually, making it the most visited monument in Paris. Since 1905, Notre-Dame, like the other cathedrals in France, has been owned by the French government, with the exclusive rights of use granted to the French Roman Catholic Church. The French government is responsible for its maintenance. Over time, the cathedral has gradually been stripped of many decorations and artworks. It still contains Gothic, Baroque, and 19th-century sculptures, 17th- and early 18th-century altarpieces, and some of the most important relics in Christendom, including the crown of thorns, and a sliver and nail from the True Cross." (Wikipedia) This is a lot by 5Uhr30.com (Ecki Heuser, Cologne, Germany). We guarantee detailed and accurate descriptions, 100% transport protection, 100% transport insurance and of course combined shipping - worldwide. Hans E. Günther & Co., Berlin. Ca. 1939. First edition, first printing. Portfolio (slipcase) with flaps and with 21 loose sheets. 254 x 350 mm. 44 pages (1 double-page text sheet, so 3 pages with text and 1 page with content overview, so 4 pages in total, plus 10 double sheets with 4 photos each, so 40 pages and 40 photos in total). Photos: Jean Roubier. Text: Jean Verrier. Text in German. Condition: Portfolio and pages (loose sheets) in very fresh and clean condition with no marks and with no foxing. Very light trace of use, no remarkable flaws or defects. Overall very fine, much more better and much more fresher condition than usual. Great, highly impressive publication by Jean Roubier about "Notre-Dame" - in wonderful fresh condition. "The titles of the books associated with his name from the mid-1930s through the 1960s already testify to his particular affinity for French Gothic church architecture. Publications devoted to the cathedrals of Amiens, Chartres, and Reims stand as exemplary markers of his success in this field. In 1937, he too - alongside René Zuber, Pierre Boucher, Denise Bellon, Roger Schall, André Steiner, Pierre Verger, and Jean Moral - documented the World’s Fair. He was active in sports photography, and his striking bird’s-eye view of a village in the French countryside, published in AMG Photographie in 1936, places him close to the avant-garde of the 1930s. In fact, Roubier, who also published regularly in Art et Médecine and La France à table, was part of the so-called Nouvelle Photographie, which emerged in France in the early 1930s as a moderate form of Neues Sehen (the New Vision). At the same time, he embodied a certain classicisme français that valued technically impeccable images over experimentation - over the element of chance so cherished by the Surrealists, for example. From the beginning, Roubier was part of a group of photographers called Le Rectangle (“The Rectangle”), whose members - among them Yvonne Chevalier, Pierre Jahan, Gaston Paris, and Emmanuel Sougez - sought not only to counter the influence of immigrant photographers but, above all, to promote traditional craftsmanship. “Photography is a complicated and delicate profession that requires knowledge and years of practice,” one early manifesto declared. “It is not enough to practice it merely passably.” What was meant by this is best illustrated by a portfolio on Notre-Dame, published in 1939 by the Parisian house Alpina, which had carved out a market niche with its Encyclopedia alpina series on European monuments. The existence of a German licensed edition attests to the international reception of an idea whose charm lay not least in the fact that the loose plates could be framed and hung on the wall. Roubier’s photographs stand for a technically precise, classical architectural photography that aimed less to create an “autonomous” image or convey a subjective vision than to provide a convincing impression of the building itself. Calmness, richness of detail, and concentration on the cathedral - capturing its most important aspects such as façade, choir, portals, nave, and general view - characterize Roubier’s working method. In contrast to Sougez, however, he occasionally allowed himself dramatic effects: slightly converging verticals, a monumentalizing perspective achieved through unusual vantage points, or the play of sunlight and shadow. Nevertheless, Roubier remained far removed from the experimental zeal of the avant-garde, which preferred to turn its attention to the Palais de Chaillot or the Eiffel Tower. The photographer, who died in Paris in 1981, remained at heart a traditionalist - both in his choice of subjects and in his visual means." (Hans-Michael Koetzle, Eyes on Paris. Paris in photobooks. 1890 till today", page 144 and 145).