Image: the public-domain reference file. Your print is a hand-made interpretation of it, produced at the studio in Platinum-palladium — its matter and tonality are its own.
Adolphe Braun · c. 1865
The Exploded Tower, Heidelberg Castle
- Year
- c. 1865
- Original process
- Albumen print from collodion negative on paperboard
- Held at
- National Gallery of Art, Washington
Key facts
- Edition
- Signed and numbered limited edition
- Authenticity
- Official certificate of authenticity
- Chemistry
- Non-toxic process (Vision Picturale recipes)
- Year
- c. 1865
- Original held at
- National Gallery of Art, Washington
- Public domain
- Since 1948 (CPI L.123-1)
- Printer
- Maison Picturale — Paris 20e studio
- Lead time
- Hand-made · 3 to 5 weeks
Maison Picturale reinterpretation in platinum-palladium
About this work
Large-format view (44.8 × 41 cm) of the « Exploded Tower » of Heidelberg Castle, dynamited by French troops during the Nine Years' War in 1693 and never rebuilt, by Jean Adolphe Braun (1812-1877), the Alsatian photographer-industrialist who founded the Braun studio at Dornach in the 1850s and turned it into a full industrial photographic enterprise by 1860. The plate belongs to Braun's German architectural series, which captured the Romantic ruins favoured by nineteenth-century bourgeois tourism on the Rhine and the Neckar, and was distributed both as single sheets and in bound luxury folios. By the date of this image, Braun had secured a licence to the Swan carbon transfer process (1864) and become the first European industrialiser of the procedure, employing up to 200 staff at Dornach to supply permanent carbon reproductions to the Louvre, the Vatican and the British Museum. The cantilevered fragment of red sandstone tower, suspended above the moat, is framed as a sublime emblem of post-Napoleonic German Romantic taste — Braun's rare ability to reconcile commercial topography with fine-art ambition. Holdings of the German architectural series are dispersed between the National Gallery of Art in Washington (which preserves this print, NGA 101039), the Metropolitan Museum of Art, the J. Paul Getty Museum, the Library of Congress and the Musée Unterlinden in Colmar (principal Braun studio archive). Procédé Transposition Maison Picturale: this Heidelberg view is reinterpreted as a direct-monochrome charbon print using the non-toxic chemistry reformulated by Vision Picturale, with pigmented gelatin in Noir Musée or Couleur Profonde tissues transferred onto 640 g/m² cotton paper — the direct contemporary equivalent of the carbon transfer Braun industrialised, preserving the dense modelling of the sandstone masonry without the dichromate hazards of the Swan-Braun workflow.
Reference file : Wikimedia Commons / National Gallery of Art (Open Access)
Procédé Transposition
Print like Adolphe Braun today — without the toxics.
Each Maison Picturale print is a material reinterpretation of the image. Three readings of the same work — the original, its closest transposition, and a creative transposition into another procédé.
Noble metals — platinum and palladium — on 640 gsm cotton paper. The longest tonal range in all analog photography.
MP procédé — reformulated non-toxic chemistry, signed by Tristan Sidem and Raphaël Lebas de Lacour.
View the procédéHistory of the process
The platinotype was invented in 1873 by the British engineer William Willis, who patented the process that same year under the name Platinotype Process. In 1879 Willis founded the Platinotype Company, which sold platinum-sensitised papers across Europe for several decades. Palladium was introduced in the early twentieth century as an economical variant, giving nothing away on tonal quality.
Platinum-palladium quickly became the process of choice for the masters of fine-art photography. Alfred Stieglitz, Edward Weston, Alvin Langdon Coburn and Frederick H. Evans made it their signature process, and their original prints held at the Royal Photographic Society in London, at George Eastman House in Rochester and at the Metropolitan Museum of Art in New York still testify to platinum's tonal perfection. Stieglitz wrote that platinum offered a wider scale of greys than any other process.
Our approach
Every platinum-palladium print made at the studio at 1 passage Dagorno is a unique piece in a very limited edition, intended for serious collectors and institutions. The cost of platinum and palladium salts — noble metals whose prices follow the financial markets — makes this our premium process. Each print is prepared, sensitised and developed by hand by our master printers.
Our 640 gsm 100% cotton satin watercolour paper suits platinum-palladium particularly well: its pure cotton fibre, free of optical brighteners and alkaline additives, lets the metal salts embed deep in the paper, and its satin surface fully reveals the process's unique warm tonality and exceptional tonal scale.
Inside our studio
1 Passage Dagorno, Paris 20e. Each print is hand-crafted by Tristan Sidem and Raphaël Lebas de Lacour, using Vision Picturale's reformulated non-toxic chemistry. Limited edition, signed and numbered.
Commission this print
- Hand-printed and signed by Tristan Sidem & Raphaël Lebas de Lacour
- Reformulated non-toxic chemistry (Vision Picturale recipes)
- Limited edition, numbered, certificate of authenticity
- 1 Passage Dagorno studio, Paris 20e
- Delivery 3 to 5 weeks · ships worldwide from France
Formats and prices
- ProcédéPlatinum-palladium
- Coquille44 × 56 cm200 €
- Jésus56 × 76 cm400 €
- Grand Aigle76 × 112 cm600 €
- Univers100 × 140 cm1 200 €
Firm prices: they follow from the procédé and the paper format, as on our Process pages. 100% cotton paper, 640 gsm, deckled edges. Which formats are offered depends on the resolution of the reference file we hold for this work.
Contemporary print after a work in the public domain (CPI L.123-1, 70 years post-mortem). Hand-crafted reinterpretation by Maison Picturale's master printers — this is not an original vintage by the master. The mention 'after [Master]' is systematic on the print and on the certificate of authenticity.
