1112
See also: Talbot, William Henry Fox; Daguerre,
Louis-Jacques-Mandé; Bayard, Hippolyte;
Nègre, Charles; Hill, David Octavius, and Robert
Adamson; Jones, Calvert Richard; Fratelli Alinari;
Anderson, James; Braun, Adolphe; Caneva,
Giacomo; MacPherson, Robert; Naya, Carlo; Ponti,
Carlo; Travel Photography; Du Camp, Maxime;
Frith, Francis; Greene, John Beasly; Teynard,
Félix; De Clercq, Louis; Salzmann, Auguste;
Nègre, Charles; Le Secq, Henri; Fenton, Roger;
Brewster, Sir David; Steichen, Edward J.; and
Stieglitz, Alfred.
Further Reading
Baldwin, Gordon, Malcolm Daniel and Sara Greenough, with
contributions by Richard Pare, Pam Robertson and Roger
Taylor, All the Mighty World: The Photographs of Roger
Fenton 1852–1860, New Haven and London: Yale University
Press, 2004.
Bergstein, Mary, “Lonely Aphrodites: On the Documentary Pho-
tography of Sculpture,” Art Bulletin, 1992, 475–498.
Bergstein, Mary, “The Mystifi cation of Antiquity under Pius
IX: The Photography of Sculpture in Rome, 1846–1878.” I
n Sculpture andPhotography: Envisioning the Third Dimen-
sion, edited by Geraldine A. Johnson, 35–50, Cambridge:
Cambridge University Press, 1998.
Fraenkel, Jeffrey (ed.), with an essay by Eugenia Parry Janis,
The Kiss of Apollo: Photography & Sculpture 1845 to the
Present, Fraenkel Gallery in association with Bedford Arts,
Publishers: San Francisco, 1991.
Hamber, Anthony J., “A Higher Branch of Art”: Photographing
the Fine Arts in England, 1839–1880, Amsterdam: Gordon
and Breach Publishers, 1996.
Haskell, Francis, and Nicholas Penny, Taste and the Antique:
The Lure of Classical Sculpture 1500–1900, New Haven and
London: Yale University Press 1981.
Johnson, Geraldine A., “Sculpture and Photography: Envisioning
the Third Dimension.” In Sculpture andPphotography: Envi-
sioning the Third Dimension, edited by Geraldine A. Johnson,
1–15, Cambridge: Cambridge University Press, 1998.
Joel Snyder, “Nineteenth-Century Photography of Sculpture and
the Rhetoric of Substitution,” In Sculpture andPphotography:
Envisioning the Third Dimension, edited by Geraldine A.
Johnson, 21–34, Cambridge: Cambridge University Press,
1998.
PHOTOGRAVURE
An intaglio photomechanical printing process invented
by Karl Klic (1841–1926) of Vienna in 1879. It was
based on F.H. Talbot’s photoglyphic engraving process
of 1852. Intaglio refers to methods of printing in which
the lines, dots, grain or other elements of the printing
plate, are sunk in the plate so that the depressions are
fi lled with ink for printing. Photogravure, aka. gravure,
aquatint photogravure, dust grain photogravure or Tal-
bot-Klic process, is the best known intaglio process. In
capable hands, it can produce high quality images with
a rich matt surface, on a wide variety of papers.
Common etchings, mezzotints and line engravings
are also intaglio processes.
Photogravure is the ultimate facsimile process for the
reproduction of etchings because the lines it reproduces
are actually etched in the printing plate just like the
original etching plate. Rembrandt’s work has been the
subject of more facsimile reproductions than any other
artist’s. Philip Gilbert Hamerton (1834–1894), in his
book, The Graphic Arts (1882) provides an insight into
the techniques used in France. On Goupil, “... [ it] is a
secret, and all I know about it is that the marvelously
intelligent inventor discovered some means of making
a photograph in which all the darks stood in proportion-
ate relief, and from which a cast in electrotype could
be taken which would afterwards serve as a plate to
print from.” On Dujardin “... he covers a plate made of
a peculiar kind of bronze with a sensitive ground, and
after photographing the subject on that simply etches
it and has it retouched with the burin if required.” And
on Amand Durand, “He bites his plates like ordinary
etchings; and when they are intended to represent etch-
ings he rebites them in the usual way and works upon
them with dry point, &c., just as an etcher does, but
when they represent engravings he fi nishes them with
the burin.” He concludes, “The reader now perceives
the essential difference between the Goupil process, in
which there is no etching, and the processes employed
by the héliograveurs, which are entirely founded upon
etching.”
Photogravure was popular with pictorial photog-
raphers at the end of the 19th century and in the early
part of the 20th century. The most impressive use of
this process was the production of Edward S. Curtis’
20 volume work, The North American Indian, each con-
taining 75 hand-pulled photogravures and 300 pages of
text, produced between 1907 and 1930. Alfred Stieglitz’s
Camera Work, which had 53 issues between 1903 and
1917, included 544 illustrations, 416 of which were
photogravures. Alvin Langdon Coburn (1882–1966)
produced the photogravure illustrations for his books
—83 plates and over 40,000 prints.
Peter Henry Emerson (1856–1936) used platinum
printing for his fi rst book but learned photogravure,
which he referred to as “photo-etching,” a term a found
more suitable to a medium of original expression rather
than as a method of reproduction. His best known works
include The Compleat Angler, or the Contemplative
Man’s Recreation, a two-volume work (1888, 54
photogravures) and Wilde Life on a Tidal Water. The
Adventure of a Houseboat and Her Crew (1890, 30
photo-etchings).
Around the 1880s, Thomas Annan (1829–1887) en-
tered into a partnership with Sir Joseph Wilson Swan and
purchased the rights to use the photogravure process from
the Imperial Printing Works in Vienna. His most impres-