604
Degas, Boldini, Toulouse-Lautrec... Dessins inédits par Michel
Manzi, Bordeaux: Musée Goupil / Paris: Somogy, 1997 (ex-
hibition catalogue).
État des lieux, no. 1, Bordeaux: Musée Goupil, 1994 (see espe-
cially: Pierre-Lin Renié, “Goupil & Cie à l’ère industrielle.
La photographie appliquée à la reproduction des œuvres
d’art,” 89–114).
État des lieux, no. 2, Bordeaux: Musée Goupil, 1999 (see espe-
cially: Pierre-Lin Renié, “Braun versus Goupil et quelques
autres histoires. La photographie au musée du Louvre au
XIXe siècle,” 97–151).
Figures d’ombres. “Les Dessins de Auguste Rodin,” une produc-
tion de la maison Goupil, Bordeaux: Musée Goupil / Paris:
Somogy, 1996 (exhibition catalogue).
Gérôme & Goupil: Art and Enterprise, Paris: RMN / Bordeaux:
Musée Goupil / New York: Dahesh Museum of Art / Pitts-
burgh: Frick Art & Historical Center, 2000 (exhibition cata-
logue. French version: Gérôme & Goupil: Art et entreprise,
same publishers).
L’Inde, photographies de Louis Rousselet, 1865–1868, Bordeaux:
Musée Goupil, 1992 (exhibition catalogue).
Lagrange, Marion, “Entre la maison Goupil et l’Italie, un axe
commercial porteur d’une image identitaire,” Histoire de l’art,
no. 52, June 2003, 121–133.
Lafont-Couturier, Hélène, “La maison Goupil ou la notion
d’œuvre originale remise en question,” Revue de l’art, no.
112, 1996–2, 59–69
McIntosh, DeCourcy E., “The Origins of the Maison Goupil in
the Age of Romanticism,” The British Art Journal, Vol. V,
No. 1, 2004, 64–76.
McIntosh, DeCourcy E., “New York’s Favorite Pictures in the
1870’s,” Antiques, vol. CLXV, no. 4, April 2004, 114–123.
McIntosh, DeCourcy E., “Merchandising America: American
Views Published by the Maison Goupil,” Antiques, vol.
CLXVI, no. 3, September 2004, 124–133
Mémoires du XVIIIe siècle, Bordeaux: Musée Goupil, 1998
(exhibition catalogue).
Renié, Pierre-Lin, “The Battle for a Market. Art Reproductions
in Print and Photography from 1850 to 1880,” Intersections.
Lithography, Photography and the Traditions of Printmaking
(Kathleen S. Howe ed.), Albuquerque: University of New
Mexico Press, 1998, 41–53.
Renié, Pierre-Lin, “Delaroche par Goupil. Portrait du peintre en
artiste populaire,” and “Œuvres de Paul Delaroche reproduites
et éditées par la maison Goupil,” Paul Delaroche. Un pein-
tre dans l’histoire, Paris: RMN, 1999, 173–218 (exhibition
catalogue).
Renié, Pierre-Lin, “Guerre commerciale, bataille esthétique: la re-
production des œuvres d’art par l’estampe et la photographie,
1850–1880,” Reproductibilité et irreproductibilité de l’œuvre
d’art, Brussels: La lettre volée, 2001, 59–81.
Renié, Pierre-Lin, Une image sur un mur. Images et décoration
intérieure au XIXe siècle, Bordeaux: Musée Goupil, 2005
(exhibition catalogue).
Renié, Pierre-Lin, “Tissot, Bingham, Goupil: le peintre et ses
éditeurs,” James Tissot et ses maîtres, Nantes: Musée des
Beaux-Arts / Paris: Somogy, 2005 (exhibition catalogue).
Savale, Christophe, “Les campagnes photographiques de Martens
en Suisse et en Savoie,” Histoire de l’art, no. 25–26, May
1994, 67–78.
Stolwijk, Chris, and Thomson, Richard, Theo van Gogh,
1857–1891, Amsterdam, Van Gogh Museum, 1999 (exhibi-
tion catalogue).
Whiteley, Linda, “Goupil, Delaroche and the Print Trade,” Van
Gogh Museum Journal, 2000, 75–81.
GOVERNMENT PRINTERS
The 19th century saw the rapid growth in the establish-
ment of government printers required to supply public
documents. A number of these printing offi ces were also
centres of technological experimentation and played
a signifi cant role in developing and exploiting photo-
graphic and photomechanical processes.
The most infl uential Government printer during the
majority of the 19th century was in Austria. The Kaiser-
lich-königliche Hof- und Staatsdruckerei (Imperial and
Royal Court and State Printers) was founded in 1804. By
the end of the 1840s it had a photographic department
founded by its Director, Alois Auer (1813–1869) who
placed Paul Pretsch (1808–1873) as a manager of the
department. This state printer also heavily infl uenced
the Russian State Printing Offi ce.
As Director-General of the British Ordnance Sur-
vey, Colonel Sir Henry James (1803–1877) success-
fully exploited photozincography to save thousands of
pounds a year in the reproduction of maps. James used
photozincography to reproduced important national
manuscripts, particularly the 11th century Domesday
Book published from 1861–1863. In 1867 James used
the Albumen print process to create illustrations to Plans
and Photographs of Stonehenge, and of Turusachan in
the Island of Lewis.
The königlich-preußischen Staatsdruckerei (Royal
Prussian State Printer) was founded in 1852 and
was incorporated into the Reichsdruckerie in 1879.
In 1883–4 a new ‘Chalcographic Department’ was
established for the photomechanical reproduction of
works of art, using photography, heliography, col-
lotype, lithography, chemography, copper engraving
and electroforming.
Anthony HamberGRAF, HEINRICH (active 1860s–1870s)
Little is known about Heinrich Graf, to the degree that
sometimes his name also appears as Graff. There is
evidence that he came from Berlin, worked in several
German countries, most prominently in Altona near
Hamburg where his photographs are collected now.
Besides being a portraitist of some fame and good
quality, he covered the Prussian-Danish war in 1864-
65 alongside to the Swiss Charles Junod and Friedrich
Christian Brandt. His war photographs concentrate on
portraits of staff offi cers in ambient settings. What has
survived of his work are albumen prints made after the
wet collodion process.
The spelling Graff came from some etchings made
after his photographs in German newspapers. These pho-
tographs show members of the Prussian Royal Court in
Berlin throughout the 1870s, mostly at military parades