
Alphonse Poitevin · 1883
Posthumous Portrait of Alphonse Poitevin
- Year
- 1883
- Original process
- Reproduction (Bulletin SFP)
- Held at
- Société française de photographie
Key facts
- Edition
- Signed and numbered limited edition
- Authenticity
- Official certificate of authenticity
- Chemistry
- Non-toxic process (Vision Picturale recipes)
- Year
- 1883
- Original held at
- Société française de photographie
- Public domain
- Since 1953 (CPI L.123-1)
- Printer
- Maison Picturale — Paris 20e studio
- Lead time
- Hand-made · 4 to 8 weeks
Maison Picturale reinterpretation in platinum-palladium
About this work
Posthumous tribute portrait of Louis-Alphonse Poitevin (1819-1882) published in the Bulletin de la Société française de photographie in 1883, one year after his death — a printed homage by the institution that had awarded him its Duc de Luynes Prize in 1862 for his work on photolithography, and that conserves in its archives many of his foundational documents. The Société française de photographie, founded in Paris on 15 November 1854, was throughout the second half of the 19th century the leading learned society of photographic research in France and the body before which Poitevin had presented, in 1855, the experiments establishing the photosensitivity of pigmented colloids — the discovery from which sprang his three patents on gum bichromate, the carbon process and photolithography, all filed the same year. The Bulletin de la SFP, published continuously from 1855 onward, served both as scientific journal and as obituarist for the founders of the medium. This 1883 plate, today freely available on Wikimedia Commons from the Bulletin scans, fixes the canonical image of Poitevin transmitted by the photographic community of his time: chemist of the École Centrale (class of 1843), industrial director of the salt works of Dieuze, Montmorot and Gouhenans, mayor of Conflans-sur-Anille (1871-1878), Chevalier de la Légion d'honneur (24 January 1863). As a posthumous reproduction in a learned journal, the work does not lend itself to a direct Maison Picturale process transposition, but stands as a historical and biographical reference plate, free of copyright since 1953, accompanying the studio's interpretations of Poitevin's other plates and photolithographs.
Reference file : Bulletin SFP 1883 / Wikimedia Commons (Public Domain)
Procédé Transposition
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.
View the procédéHistory of the process
Le platinotype est inventé en 1873 par l'ingénieur britannique William Willis, qui dépose la même année le brevet du procédé sous le nom Platinotype Process. Willis fonde en 1879 la Platinotype Company, qui commercialise les papiers sensibilisés au platine en Europe pendant plusieurs décennies. Le palladium est introduit au début du XXe siècle comme variante économique, sans rien céder sur la qualité tonale.
Le platine-palladium devient rapidement le procédé de prédilection des maîtres de la photographie d'art. Alfred Stieglitz, Edward Weston, Alvin Langdon Coburn et Frederick H. Evans en font leur procédé signature, et leurs épreuves originales conservées à la Royal Photographic Society de Londres, à la George Eastman House de Rochester et au Metropolitan Museum of Art de New York témoignent encore aujourd'hui de la perfection tonale du platine. Stieglitz écrivait que le platine offrait une échelle de gris plus étendue que tout autre procédé.
Our approach
Chaque tirage platine-palladium réalisé à l'atelier 1 Passage Dagorno est une pièce unique en édition très limitée, destinée aux collectionneurs sérieux et aux institutions. Le coût des sels de platine et de palladium, métaux nobles dont les cours suivent ceux des marchés financiers, en fait notre procédé haut de gamme. Chaque épreuve est préparée, sensibilisée et développée à la main par nos artisans tireurs.
Notre papier aquarelle satiné 100 % coton 640 g/m² est particulièrement adapté au platine-palladium : sa fibre coton pure, sans azurants optiques ni additifs alcalins, permet aux sels métalliques de s'inscrire en profondeur dans le papier, et sa surface satinée révèle pleinement la tonalité chaude unique et l'échelle tonale exceptionnelle du procédé.
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
Available formats
- 30 × 40 cmFrom 280€
- 40 × 50 cmFrom 420€
- 50 × 70 cmFrom 680€
- 70 × 100 cmFrom 1180€
- Custom sizeFrom 1850€
Indicative pricing — the exact rate depends on the chosen procédé, support and finish.
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.



