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 · 1894
The Net Mender
- Year
- 1894
- Original process
- Photogravure
- Held at
- Rijksmuseum · Metropolitan Museum of Art
Key facts
- Edition
- Signed and numbered limited edition
- Authenticity
- Official certificate of authenticity
- Chemistry
- Non-toxic process (Vision Picturale recipes)
- Year
- 1894
- Original held at
- Rijksmuseum
- 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
Made in 1894 at Katwijk aan Zee on the Dutch North Sea coast during Stieglitz's European travels, The Net Mender depicts a fisherwoman patiently repairing a net stretched across her lap. Stieglitz himself singled out the print as one of the finest achievements of his pictorialist decade, comparing his immersion in the Katwijk fishing village to a moral apprenticeship in observation. The figure is set against a low horizon under a vast Dutch sky — a compositional debt to seventeenth-century Hague-school painting that the Photo-Secession would later codify as a pictorialist axiom. Issued as a large photogravure in Camera Notes (the predecessor of Camera Work) and reissued in Picturesque Bits of New York and Other Studies (1897), the image was central to Stieglitz's argument that photography could approach the dignity of Millet-era genre painting. Edward Steichen, who would meet Stieglitz in 1900 and become his closest collaborator at 291 and Camera Work, identified the Katwijk campaign as one of the formative references he had absorbed before joining the Photo-Secession in 1902. Prints are held by the Rijksmuseum (object BI-F-B0447-2-1-5) as a direct legacy of the Katwijk campaign, and by the Metropolitan Museum of Art within the Alfred Stieglitz Collection donated in 1933. At Maison Picturale, this Dutch pictorialist tableau would today be reprinted as a platine-palladium tirage on 640 gsm cotton paper — the noble-metal procédé Stieglitz himself adopted by 1903 for his most considered prints, offering the longest tonal scale of any analog photography without the chromium VI of historic gum bichromate. A charbon (carbon transfer) transposition would emphasise the textile texture of the net and the deposit weight of the woman's woollen shawl, in Vision Picturale's reformulated non-toxic chemistry.
Reference file : Rijksmuseum 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.
