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CATALOGUE INITIATEUR AUX PROCÉDÉS ANCIENS ET NOUVEAUX SELS D'ARGENT

CATALOGUE INITIATEUR AUX PROCÉDÉS ANCIENS ET NOUVEAUX SELS D’ARGENT, FERRO-PRUSSIATE ET CHARBON.; [bound with] CATALOGUE DES PAPIERS, APPAREILS, PRODUITS, ETC. POUR PHOTOGRAPHIE SUR COLLODION HUMIDE, COLLODION SEC ALBUMINE, PAPIER CIRÉ, AU CHARBON, ETC.

Marion, A. 8vo., 96, [inserts 4, and 8 pp.]; 47 pp Printed paper wrappers detatched, with crude paper repairs to the spine and an erasure on the blank margin of the front wrapper; title page has large piece lacking from the blank margin and several ink library stamps on blank margins. A fair copy. Marion and Company was the largest and most important supplier of photographic equipment and materials in Europe by the second half of the nineteenth century. Their expertise as stationers was of great advantage to the expanding photographic market – they supplied card stock for carte-de-visites, cabinet cards, etc., printed with the photographer’s name, address and flourishes; they also were publishers of carte-de-visites of famous personage. Auguste Marion, who lead the firm, was also a prolific experimenter and author of photographic manuals. The first title is a manual of the carbon process. Here Marion introduced at length, his improved carbon process, with mention of others as well. The remainder of the manual is concerned with various silver-salt, iron, and other processes. Adjoined, with separate title and pagination is his trade catalog of papers, apparatus and other products for collodion, wet and dry plate, albumen paper, materials for the carbon process, etc. . WorldCat locates four copies; New York Public Library, Rijksmuseum, Bibliotheque Nationale de France has a copy with both titles, and one with just the first title. Roosens and Salu No. 6554 for the first title only.
LA PHOTOGRAPHIE CONSIDÉRÉE COMME ART ET COMME INDUSTRIE:; HISTOIRE DE SA DÉCOUVERTE

LA PHOTOGRAPHIE CONSIDÉRÉE COMME ART ET COMME INDUSTRIE:; HISTOIRE DE SA DÉCOUVERTE, SES PROGRÈS, SES APPLICATIONS, SON AVENIR

Mayer [Ernest and Frédéric] & Pierson [Pierre Louis] 8vo., iv, 244 pp. Contemporary red cloth with simple title and rules in gilt on the spine; spine faded with wear at the crown and lower portion of the joints and tips. Occasional faint foxing, with the rear endpaperssoiled. A near very good copy. The authors, the Parisian photographic firm of Mayer & Pierson, operated a fashionable studio on the Boulevard des Capucines, with Napoleon III, Rossini among their celebrity clients. Their artistry, range of processes and products and sound business practices, elevated the firm above most of their compeditors. LA PHOTOGRAPHIE CONSIDÉRÉE COMME ART ET COMME INDUSTRIE, listing the partners as joint authors, provides a history of photography to date, and a general treatise with consideration for its uses in art and industry, its progress and future. It is here that attention was first drawn to the Tiphaigne de la Roche’s GIPHANTIA, a work of fiction that is thought to be the first mention of the production of images by the agencies of light. This title was included in the Arno Press History of Photography reprint series. We have previously owned another copy with had the half-title page, was unopen and untrimmed and was printed on a heavier paper which increased the bulk of the text block by approximately 35%. Roosens and Salu No. 4241. OCLC locates nineteen copies.
PHOTOGRAPHIE RATIONNELLE: TRAITÉ COMPLET THÉORIQUE ET PRATIQUE

PHOTOGRAPHIE RATIONNELLE: TRAITÉ COMPLET THÉORIQUE ET PRATIQUE, APPLICATIONS DIVERSES.; PRÉCÉDÉ DE L’HISTOIRE DE LA PHOTOGRAPHIE ET SUIVI D’ÉLÉMENTS DE CHIMIE APPLIQUÉE À CET ART

Belloc, A. [Auguste] 8vo., [ii], 413, [blank 414], 419 – 420 pp. [i.e. 416 pages]. Quarter morocco and marbled paper over boards. Moderate foxing to the first and last few leaves. Light rubbing at the edges; a very good copy. Joseph Auguste Belloc, 1789 – 1881, like many of his photographic contemporaries, began his career as a painter. His introduction to photography was to the daguerreian process, and in the early 1850s, he was using wet collodion and wax coating his prints, which added to their luster. He was an ardent experimenter and teacher whose publications were popular and accessible. This work suggests practical and theoretical uses for photography, including daguerreotype, calotype, extensive consideration to the collodion process (archerotype, etc), optics, processing room, and stereo; preceded by a history and section on photographic chemistry. I have now owned two copies of this title and can note that there are two different imprints: Leiber, and Chez Dentu, et Chez L’Auteur. Both have the identical printer’s mark, "VERSAILLES – IMPRIMERIE CERF, 59, RUE DU PLESSIS", and appear to be from the same type setting. However, the Leiber copy appears to be printed on a heavier paper and bulks at 7/8 inches while the Dentu copy bulks at 3/4 inches. Bellier de la Chavignerie, Manuel Bibliographie du Photographe Francais, 1863, No. 140 lists Dentu as the publisher. Roosens and Salu No. 4240 listing Leiber as the publisher. OCLC locates thirteen copies, a mix between the two publishers.
Chimie photographique:; contenant les éléments de chimie expliqués par Des EXEMPLES EMPRUNTÉS A LA PHOTOGRAPHIE; Les procédés de photographie sur GLACE (COLLODION SEC OU HUMIDE ET ALBUMINÉ) sur papiers

Chimie photographique:; contenant les éléments de chimie expliqués par Des EXEMPLES EMPRUNTÉS A LA PHOTOGRAPHIE; Les procédés de photographie sur GLACE (COLLODION SEC OU HUMIDE ET ALBUMINÉ) sur papiers, SUR PLAQUES; La manière de préparer soi-même, D’ESSAYER ET d’employer touS les réactifs et d’utiliser les résidus, ETC.

Barreswil, [Charles Louis] et [Alphonse] Davanne 8vo., xx, 412 pp., charts and tables. A fine and bright copy in contemporary gilt titled and decorated quarter morroco and paper over boards. Charles Louis Barreswil, 1817 – 1870, studied chemistry under Jules Pelouze, and later directed his laboratory, working with Claude Bernard. After 1849, his interests moved from physiological chemistry to those applied to industry and photography. Alphonse Davanne (1824 – 1912) was trained as a chemist, and by 1852, his attention was exclusively devoted to photographic chemistry. In 1854, he was a founding member of the Société Française de Photographie. In 1852, Barreswil, with Lerebours and Lemercier, successfully produced halftone photolithographs in a portfolio of architectural views, the first portfolio to use the halftone lithographic process. A revised and expanded edition of the 1854 first edition. Includes for the first time an appendix on the latest advances in heliogravure, photolithography and color reproduction. The definitive volume to date on photographic chemistry, photographic papers, plates, the collodion and albumen processes, as well as photomechanical processes, including the halftone lithographic method. This proved to be a popular encyclopedia of photographic chemistry and went through four editions, with the last in 1864. Roosens and Salu No. 1835. Bellier de la Chavignerie, Manuel Bibliographie du Photographe Francais, 1863, No. 73.
RÉPERTOIRE GÉNÉRAL DE PHOTOGRAPHIE PRATIQUE ET THÉORIQUE:; CONTENANT LES PROCÉDÉS SUR PLAQUE

RÉPERTOIRE GÉNÉRAL DE PHOTOGRAPHIE PRATIQUE ET THÉORIQUE:; CONTENANT LES PROCÉDÉS SUR PLAQUE, SUR PAPIER, SUR COLLODION SEC ET HUMIDE, SUR ALBUMINE, ETC.

Monckhoven, D. Van [Désiré Carolus Emanuel] 8vo., 600 pp., 128 illustrations on 10 folding pages, including 1chromolithograph, 5 photolithographs. Quarter morocco, marbled paper over boards, gilt on spine largely rubbed away. Some expert conservation to upper spine, slight wear at tips, modern dealer stamp on half-title, top blank corner of title clipped, contemporary marginal notes in table of contents and a few other leaves; text bright and near fine. A very good copy. Désiré Charles Emanuel van Monckhoven (1834-1882) was a Belgian chemist and photographer; he invented an enlarger, a dry collodion process, and made improvements to the carbon print process. He was a major contributor to the literature of photography. This is the third, and greatly expanded and revised edition of TRAITÉ GÉNÉRAL DE PHOTOGRAPHIE.1856. It is a general treatise on the leading process since the discovery of photography, and thorough examination, with formulae, of all aspects of the collodion process. A chapter covers the photogravure processes of Fizeau, Niépce de St. Victor, Talbot, and Poitevin. The plates include examples of heliogravures, chromolithographs, and illustrations of photographic and photomechanical apparatus, totaling 128 figures. Roosens and Salu No. 4239.
RECHERCHES PHOTOGRAPHIQUES: PHOTOGRAPHIE SUR VERRE. HÉLIOCHROMIE. GRAVURE HÉLIOGRAPHIQUE. - NOTES ET PROCÉDÉS DIVERS.; SUIVIES DE CONSIDÉRATIONS PAR M. E. CHEVREUL; AVEC UNE PRÉFACE BIOGRAPHIE ET DES NOTES PAR M. ERNEST LACAN

RECHERCHES PHOTOGRAPHIQUES: PHOTOGRAPHIE SUR VERRE. HÉLIOCHROMIE. GRAVURE HÉLIOGRAPHIQUE. – NOTES ET PROCÉDÉS DIVERS.; SUIVIES DE CONSIDÉRATIONS PAR M. E. CHEVREUL; AVEC UNE PRÉFACE BIOGRAPHIE ET DES NOTES PAR M. ERNEST LACAN

Niépce de Saint-Victor, Claude-Felix-Abel 8vo., xxiv, 140 pp. Lacking the engraved portrait frontispiece. Quarter calf and marbled paper over boards, gilt-title within gilt rules on spine, which is moderately rubbed. [bound with] Blanquart-Évrard, M. [Louis Désiré] TRAITÉ DE PHOTOGRAPHIE SUR PAPIER; AVEC UNE INTRODUCTION PAR M. GEORGES VILLE. Paris: Librairie Encyclopédique de Roret, 1851. 8vo., L, 199 pp. Scattered foxing; very good. [bound with] BULLETIN DE LA SOCIÉTÉ FRANÇAISE DE PHOTOGRAPHIE, 1857. 8vo., 391 pp., with the photolithographic plate by Poitevin. Very good. RECHERCHES PHOTOGRAPHIQUES is a very important collection of the official memoirs presented to the French Academy of Science by the "nephew" (actually, his second cousin) of J.N. Niépce, Niépce de Saint-Victor. Beginning his experiments in photography in 1847, his progress by the next year afforded him the opportunity to report on his invention of photography on glass. Niépce de Saint-Victor presented the first practical glass plate negative process, using at first starch and later albumen as the emulsion base, which was in turn used by many French photographers of this period. The author is also credited with the early development of photographic gravure printing." THE SOURCES OF MODERN PHOTOGRAPHY, Arno Press. Roosens and Salu No. 7480. Sufficiently rare as to be overlooked by Bellier de la Chavignerie, Manuel Bibliographie du Photographe Francais, 1863. WorldCat locates only six copies, among the holdings are: University of California – Riverside, National Gallery of Canada Library, Bibliotheque Nationale de France, and the Staatsbibliothek zu Berlin. Blanquart-Evrard was responsible for great improvements in the printing on paper of photographs. He initially improved upon Talbot’s Calotype, and Niépce de Saint-Victor’s work with negatives on glass [see above entry]. This manual provided a procedural for making albumen prints, which revolutionized the production and clarity of the negative/positive print. A rare and important manual. IMAGINING PARADISE p.165. Roosens and Salu No. 925. Sufficiently rare as to be overlooked by Bellier de la Chavignerie, Manuel Bibliographie du Photographe Francais, 1863. WorldCat lists twelve copies; among the holdings are: National Gallery of Canada Library, Royal Danish Library, and the British Library.
COMPENDIUM DES QUATRE BRANCHES DE LA PHOTOGRAPHIE:; TRAITÉ COMPLET

COMPENDIUM DES QUATRE BRANCHES DE LA PHOTOGRAPHIE:; TRAITÉ COMPLET, THÉORIQUE ET PRATIQUE DES PROCÉDÉS DE DAGUERRE, TALBOT, NIEPCE DE SAINT-VICTOR, ET ARCHER. APPLICATIONS DIVERSES. PRÉCÉDÉ DES ANNALES DE LA PHOTOGRAPHIE ET SUIVI D’ÉLÉMENTS ET CHIMIE ET D’OPTIQUE, APPLIQUEÉS À CET ART

Belloc, A. [Auguste] 8vo., [iv], 447 pp. Contemporary quarter roan and marbled paper over boards. Mild rubbing at edges; shelf numbers and deaccession stamps of the Société Francaise de Photographie on the blank margin of the half-title and title page, a few blank lower tips are creased. A very good copy. Auguste Belloc, born in Paris in 1800, was a portrait miniaturist and watercolor painter. By 1851, Belloc was making portraits with the daguerreotype and calotype processes. He was one of the founding members of the Société Française de Photographie. In the mid 1850’s, he was inventing, manufacturing and selling photographic supplies and equipment, which he continued until his death in 1868. In 1869, Marconi reproduced and published Belloc’s exquisite nudes, which were deemed pornographic at the time. This is an expanded edition of Belloc’s LES QUATRE BRANCHES DE LA PHOTOGRAPHIE: TRAITÉ COMPLET, THÉORIQUE ET PRATIQUE DES PROCÉDÉS DE DAGUERRE. 1855, important as a theoretical and historical account of the earliest photographic processes. Bellier de la Chavignerie, Manuel Bibliographie du Photographe Francais, 1863, No. 106. Roosens and Salu No. 4244. OCLC locates only seven copies.
A MANUAL OF PHOTOGRAPHIC CHEMISTRY

A MANUAL OF PHOTOGRAPHIC CHEMISTRY, INCLUDING THE PRACTICE OF THE COLLODION PROCESS

Hardwich, T. Frederick 12mo., xvi, 384 pp., errata, figures in text. Publisher’s gilt and blind-embossed cloth. There is a short closed tear on the half-title page with no loss, and a private library stamp on the front free endpaper and blank margin of the preface. The rear hinge is a tiny bit weak; a near fine copy. INSCRIBED "with the author’s compts" to Dr. A [Arthur] Farre, with his engraved armorial bookplate affixed to the front pastedown. First published in 1855, this manual quickly became the standard for its time. According to Eder "It is particularly valuable because he treated photo-chemistry exhaustively and gave an original and very useful method for the production of photographic collodion cotton." Sipley, in PHOTOGRAPHY’S GREAT INVENTORS calls this ".the first manual of photo-chemistry." It is actually the first manual of photographic chemistry in the English language. Dr. Arthur Farre was a Fellow of the Royal Society, a prominent obstetrician and made "physician extraordinary" to The Queen. OCLC locates ten copies. Gernsheim – INCUNABULA OF BRITISH PHOTOGRAPHIC LITERATURE 1839 – 1875, No. 739 incorrectly lists the first edition as having 530 pp. The Harry Ransom Center, the repository of the Gernsheim Collection, shows the first edition of 1855 as having 384 pp. (as does ours) and no copies among their numerous editions having 530 pp. Roosens and Salu No. 1836 follows the same pagination mistake as Gernsheim.