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 · 1871
Paris 1871 — Ruins of the Château de Saint-Cloud
- Year
- 1871
- Original process
- Albumen print
- Held at
- Private collection
Key facts
- Edition
- Signed and numbered limited edition
- Authenticity
- Official certificate of authenticity
- Chemistry
- Non-toxic process (Vision Picturale recipes)
- Year
- 1871
- Original held at
- Private collection
- 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
Documentary photograph of the Château de Saint-Cloud reduced to ruins after the bombardments of the Franco-Prussian War (1870-1871) and the fires of the Paris Commune, by Jean Adolphe Braun (1812-1877), the Alsatian photographer-industrialist who founded the Braun studio at Dornach in the 1850s and elevated it to a full industrial enterprise by 1860. The image is part of the « Paris 1871 » series, one of the earliest sustained war-aftermath photographic campaigns and a politically charged document for Braun, whose home region of Alsace had just been annexed by the German Empire. The series circulated in the international press and luxury album market as a moral indictment of the destruction inflicted on the imperial capital and its periphery. By this date, 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 and supplying permanent carbon reproductions to the Louvre, the Vatican and the British Museum. Holdings of the « Paris 1871 » corpus are dispersed between the Musée Unterlinden in Colmar (principal Braun studio archive), the Metropolitan Museum of Art, the J. Paul Getty Museum, the Library of Congress and the Bibliothèque nationale de France. Procédé Transposition Maison Picturale: this Saint-Cloud ruin study 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 documentary precision of the original albumen view in a permanent monochrome support without the dichromate hazards of the Swan-Braun workflow.
Reference file : Wikimedia Commons
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
- PriceOn request
The reference file we hold for this work is too low-resolution for us to commit to a large-format print. We are looking for a better source: write to us and we will answer on this specific point before any order.
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.
