A museum curator in Trouville-sur-Mer has successfully uncovered the true identity of a Charles Mozin painting that has been misnamed for decades. Karl Laurent, curator of the Montebello Museum, conducted an extensive investigation while preparing an exhibition and book about the 19th-century artist, discovering that the painting's original title was "Entrance to the Port of Trouville" rather than "The Invincible Winning the Port of Trouville" as it had been known for years.
The painting holds special significance as the first artwork to enter the city's municipal collection. In 1868, Charles Mozin's widow donated this large oil on canvas to the city of Trouville-sur-Mer "in memory and tribute to all the love that Charles Mozin could have for it." The 1855 painting has now been properly relabeled with its original name, though the new museum label acknowledges both titles to preserve the history of the confusion.
Laurent's investigation began with initial doubts about the painting's accepted title. "Everything started with a doubt," the curator explained, noting that museum professionals rarely take time to question established artwork names. "Why challenge what is indicated everywhere, what is published," he reflected. However, Laurent was always "surprised" by the title focusing on a single fishing boat when the painting represented much more than just a vessel entering port.
Additional mysteries fueled Laurent's curiosity. Historical records showed that Mozin had submitted two paintings to the prestigious 1855 Salon, which was integrated into the Universal Exhibition: a view of the port of Rouen and an "entrance to the port of Trouville." The second painting's identity remained unclear. Furthermore, Laurent questioned why an artist would create such a large-format painting without a commission unless it was meant for salon exhibition, where it would gain significant exposure.
To solve the mystery, Laurent meticulously examined museum inventories and municipal council deliberations. In February 1868 council records, he found acknowledgment of Madame Mozin's donation described as "a painting representing the entrance to the port of Trouville." Notably, the deliberation never mentioned "The Invincible" and didn't present the description as a formal title. A 1939 museum inventory, created shortly after the museum's establishment, listed "an entrance to the Touques" but still contained no reference to "The Invincible."
The source of the confusion was finally traced to a 1987 publication by a Trouville antique dealer passionate about Charles Mozin. The book documented what became known as the "Mozin Sale" - the dispersal of the artist's studio contents after his death, along with salon-exhibited works. While the author correctly mentioned the "Entrance to the Port of Trouville," he failed to make the connection and separately listed an "Invincible Winning the Port of Trouville" with identical dimensions and an inventory number matching the 1939 "Entrance to the Touques" entry.
The confusion became institutionalized in 1988 when the museums of Trouville and Honfleur organized the first major Mozin exhibition. The two curators adopted the "Invincible" title, which has been used consistently since then, including by Laurent himself during a 2018 exhibition. "Since then we keep using it, I myself during the 2018 exhibition," he acknowledged.
While the name correction might seem like a minor detail to outsiders, Laurent emphasizes its profound significance. "It really tells the story of the work and allows us to connect to the history of a painting we had no trace of," he explained. "This association work is often complex." The discovery reveals that Madame Mozin didn't donate just any painting - she gave the city a major work that was exhibited at the 1855 Universal Exhibition.
The revelation transforms understanding of the painting's importance. While the museum always considered it essential as their first acquisition, Laurent now recognizes it as "much more than that." The corrected identification connects the painting to one of the most prestigious art exhibitions of the 19th century, significantly enhancing its historical and cultural value. The painting is currently displayed in the exhibition "Trouville, That's My America" at the Montebello Museum, where visitors can now appreciate both its artistic merit and its newly uncovered provenance.
