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.
Alfred Stieglitz · 1919-1921
Georgia O'Keeffe
- Year
- 1919-1921
- Original process
- Palladium print
- Held at
- Metropolitan Museum of Art · National Gallery of Art
Key facts
- Edition
- Signed and numbered limited edition
- Authenticity
- Official certificate of authenticity
- Chemistry
- Non-toxic process (Vision Picturale recipes)
- Year
- 1919-1921
- Original held at
- Metropolitan Museum of Art
- Public domain
- Since 2017 (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
Frontal palladium portrait of Georgia O'Keeffe made between 1919 and 1921, one of the earliest formal images in Stieglitz's monumental composite portrait of the painter — 350+ portraits and 200+ nude studies executed between 1918 and 1937. Stieglitz met O'Keeffe in 1916 when he exhibited her abstract charcoals at 291 without her permission; they began their public partnership in 1918 and married in December 1924 after Stieglitz's divorce from Emmeline Obermeyer. The palladium print medium was Stieglitz's chosen procédé for the O'Keeffe portraits from 1918 to 1924, switching to gelatin silver only when platinum salts and palladium became prohibitively expensive after the 1917 Russian Revolution disrupted European refining — the same supply shock that ended F. Holland Day's platinum practice in Norwood, Massachusetts. The MET (DP236331) holds this print within the Alfred Stieglitz Collection donated in 1933 by the photographer himself; the National Gallery of Art holds the Key Set of 1,642 prints donated by O'Keeffe between 1949 and 1980 — the most complete authorised archive of any twentieth-century photographer. Stieglitz exhibited a selection of the O'Keeffe portraits at the Anderson Galleries in 1921, the first major American showing of a serial portrait conceived as cumulative biography rather than discrete image, and the catalogue essay declared each fragment 'a separate portrait' rather than a study toward a single likeness. At Maison Picturale today, the palladium procédé translates directly into a platine-palladium tirage on 640 gsm cotton paper — the same noble-metal procédé Stieglitz himself used, reformulated by Vision Picturale to remove the carcinogenic platinum salts in their dangerous form, signed by master printers in Paris.
Reference file : MET Open Access via Wikimedia Commons (Public Domain)
Procédé Transposition
Print like Alfred Stieglitz 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.
