La Porte Saint Bernard 1680 In Paris Par Perelle 1680 By Perelle Adam 1638 95

Adam Perelle (1638–1695), son of the influential Parisian printmaker Gabriel Perelle, is best known for etched topographical views that document the architecture, gardens, and urban fabric of 17th‑century France. Among these is his view of the Porte Saint‑Bernard in Paris—typically titled La Porte Saint‑Bernard, à Paris, often accompanied by “par Perelle” or “A. Perelle del. et sculp.”—a work dated around 1680. For collectors and appraisers, this subject sits at the intersection of historical topography and accessible Old Master prints: plentiful enough to study and compare, yet nuanced in state, paper, and condition such that connoisseurship makes a real difference.

This guide explains how to identify, authenticate, and appraise Adam Perelle’s Porte Saint‑Bernard view, with practical pointers on states and editions, paper and watermarks, condition issues, and current market ranges.

Who was Adam Perelle, and why do his Paris views matter?

• Artist profile: Adam Perelle was a draughtsman and etcher active in Paris, trained within a family workshop led by his father Gabriel and alongside his brother Nicolas. The Perelle studio specialized in etched landscapes and prospects, issuing cohesive series of views (veues) that became a visual record of 17th‑century France.
• Signature and credit lines: On Adam’s plates, you’ll commonly see one or more of the following inscriptions in the lower margin:
  • “A. Perelle del. et sculp.” (drawn and engraved by A. Perelle)
  • “A. Perelle fecit” (made by A. Perelle)
  • A centered title, “La Porte Saint‑Bernard, à Paris”
  • A publisher’s address such as “A Paris, chez …” and occasionally “Avec privilège du Roy”
• Importance: Perelle’s Paris views are prime documents for urban historians and collectors of topography. They show city gates, bridges, quays, and the Seine with boats and promenaders—an invaluable snapshot of Paris around the reign of Louis XIV.

The subject: the Porte Saint‑Bernard in its 17th‑century context

• Location and function: The Porte Saint‑Bernard stood near the Seine on the Right Bank’s eastern riverfront, close to the modern Quai Saint‑Bernard and Rue des Fossés‑Saint‑Bernard. City gates punctuated Paris’s fortifications, controlling the flow of goods and people, and often served as landmarks in printed views.
• What to expect in the composition: Perelle’s approach typically places the architectural feature prominently while animating the foreground with small figures—fishermen, merchants, walkers—and a lively river scene. Expect the gate’s masonry and neighboring quays, perhaps with a hint of the city wall, rendered in light, agile linework characteristic of Perelle’s etching.
• Why this subject appeals: Collectors value the Porte Saint‑Bernard plate as part of a comprehensive picture of Paris before major later urban transformations. It pairs well with contemporary Perelle views of bridges (Pont de la Tournelle, Pont Marie) and other gates.

Format, paper, and plate details to examine

• Technique: Etching on copperplate, occasionally with engraved touches. Lines should be clean, with a slightly granular quality to the shaded hatching.
• Plate and image size: Perelle’s Paris views exist in two general formats:
  • Small to medium oblongs with image widths roughly 18–26 cm (7–10 in).
  • Larger “grand” views that can reach 25–35 cm (10–14 in) wide. Exact dimensions vary by plate; always measure the platemark (the beveled impression left by the copperplate) rather than just the sheet.
• Paper: 17th‑century laid paper, typically off‑white to pale cream, with visible chain lines when held to light. Common watermarks include variants of the fleur‑de‑lis, Strasbourg lily, initials, grapes, or shield devices. Deckle edges may survive on untrimmed sheets.
• Platemark: Should be clearly visible—sharper on early impressions, softer on later pulls or worn plates. Weak platemarks, or none at all, may signal trimming to the image or a later photomechanical reproduction (which lacks a genuine platemark).
• Inscriptions and lettering: The title often appears below the image at center. Artist credit sits left or right. A Paris address can attribute the publisher. Note that lifetime and early posthumous impressions might show the same inscriptions; publisher addresses can change across editions.

States, publishers, and later impressions: what affects value

• States: Many Perelle plates exist in multiple states (minor changes to inscriptions, publisher address, or numbering). Earlier states tend to command premiums, especially if they show:
  • No added plate number, or an earlier numbering convention.
  • Early publisher addresses associated with late 17th‑century dealers.
  • Crisper linework with little sign of plate wear.
• Publishers and addresses: The Perelle family and Paris print sellers on Rue Saint‑Jacques widely issued and reissued these plates. Over time, plates could pass to other dealers; addresses in the lower margin may include established Parisian publishers of the 17th and 18th centuries. Such address changes help date an impression but do not by themselves prove a lifetime print.
• Later pulls and 18th‑century reprints: Copperplates often survived decades. Later impressions typically show:
  • Slightly dulled lines and reduced bite in cross‑hatching.
  • Potential retouching to revive areas, sometimes visible as heavier rebitten lines.
  • Different or additional publisher addresses. These remain collectible but are valued below top early impressions.
• Modern reproductions: Collotypes, photogravures, and offset prints—especially from the 19th–20th centuries—are common. They lack an incised platemark and the tactile line quality of etched copper.

Condition assessment: typical issues and how they influence price

• Margins: Wide, original margins with deckle edges are desirable. Many examples are trimmed just outside or on the platemark; trimming into the image reduces value significantly.
• Foxing and toning: Light scattered foxing and even age toning are routine. Heavy foxing, pervasive browning, or mat burn from acidic mounts lowers desirability.
• Stains and water damage: Tide lines, damp staining, or offsetting from facing sheets negatively affect eye appeal and price.
• Tears, losses, and repairs: Edge tears in the margin can be stabilized; losses within the image and overpainting are serious condition faults.
• Folds and creases: Old center folds (from binding) appear on some sets; fine if unobtrusive. Printer’s creases and handling dents are more acceptable than breaks in the printed line.
• Plate wear: Weak, faded lines—especially in delicate hatching—signal late impressions and generally carry lower values.
• Hand-color: Genuine 17th‑century hand-color is scarce. Most colored examples are 18th–19th century or modern. Tasteful old color can add charm; recent, heavy coloring can detract.

Authentication and attribution: step-by-step

1. Confirm printing technique:
   • Look for a real platemark surrounding the image.
   • Under magnification, etched lines should show slight irregularity from the acid bite.
2. Check paper and watermark:
   • Hold to light for chain lines and a watermark. A 17th‑ or early 18th‑century watermark supports an early impression.
3. Read the inscriptions:
   • Note the exact wording of the title and credits, including “A. Perelle del. et sculp.” and any publisher address or “Avec privilège du Roy.”
   • Record any plate numbers.
4. Compare state indicators:
   • Differences in address, numbering, or minute line changes can indicate state; consult standard print catalogues when available.
5. Evaluate condition and margins:
   • Measure the platemark; document sheet size, margin width, and any trimming.
6. Beware reproductions:
   • No platemark, halftone screen, or glossy machine paper suggests a modern reproduction.

Market outlook and values: what appraisers see

Perelle’s Paris views are widely traded, with prices reflecting impression quality, state, margins, and condition more than the subject alone. As general guidance for La Porte Saint‑Bernard:

• Later 18th‑century impressions, modest margins, light foxing: roughly $150–300.
• Attractive early impressions with good margins, minimal faults: roughly $300–700.
• Particularly crisp, early state examples with wide, untrimmed margins and strong provenance: $700–1,200+, with premiums for exceptional preservation.
• Heavily trimmed, stained, or late worn impressions: often under $150.
• Hand-colored examples: add a premium for tasteful period color; subtract for modern, heavy coloring.

Local markets and provenance can swing results. Pairs or groups of Perelle views often bring higher totals than isolated prints, especially when uniformly presented.

Care, display, and conservation

• Mounting and framing: Use 100% rag or museum boards, hinged with Japanese tissue and reversible starch paste. Avoid pressure-sensitive tapes.
• Glazing: UV-filtering acrylic or glass helps mitigate light damage. Keep out of direct sunlight.
• Storage: Flat in archival folders or boxes; interleave with acid-free tissue. Maintain stable humidity and temperature.
• Cleaning and repairs: Professional paper conservators can address surface dirt, foxing, and minor tears; avoid home bleaching or washing.

A quick checklist for owners and appraisers

• Is there a clear platemark? Measure the platemark and sheet.
• What do the inscriptions say? Note artist credit, title, publisher address, and any numbering.
• Paper type and watermark present? Record observations.
• How strong are the lines? Any signs of plate wear or retouching?
• Margins intact? Trimmed to or within the platemark?
• Condition issues? Foxing, toning, stains, folds, tears, repairs.
• Hand-color present? If so, does it look period or modern?
• Provenance and context? Portfolio origin, old labels, collector stamps.

Frequently asked questions

Q: How can I tell if my Perelle Porte Saint‑Bernard is a lifetime impression? A: Lifetime impressions can be suggested by early publisher addresses, crisp linework with minimal wear, and 17th‑century watermarks, but definitive proof often requires comparing states in a print catalogue. Many fine early posthumous pulls exist; the key is overall quality and paper.

Q: My print lacks a visible platemark—does that mean it’s a reproduction? A: Not always, but it’s a red flag. Some sheets were trimmed to the image, removing the platemark. Check line quality under magnification and paper type. If lines resolve into dots or the paper is smooth and modern, it’s likely a reproduction.

Q: Is hand-color desirable on Perelle’s Paris views? A: Period hand-color is uncommon and collectible; later sympathetic color can be appealing. Heavy modern coloring typically lowers value. Uncolored early impressions with good margins remain the market standard.

Q: What references should I consult for states and variants? A: Standard French print catalogues that cover 17th‑century etching and the Perelle family are useful for state comparisons. Auction catalogues with measurements and detailed notes also help in practice.

Q: What’s the best way to increase the value of my print? A: You can’t change state or impression quality, but you can improve presentation. Professional conservation for minor issues, archival mounting, and careful framing often enhance appeal and saleability.

By focusing on technique, paper, inscriptions, and condition, you can confidently place Adam Perelle’s La Porte Saint‑Bernard within its production history and the current market. For appraisers and collectors alike, the difference between a merely decorative example and a choice early impression often resides in a few careful observations made with a ruler, a loupe, and good light.