865
Poitevin patented his photolithographic process in both
France and England. He went on to win both prizes
awarded through the competition to fi nd a permanent
photographic print process sponsored by Albert, duc de
Luynes (1802–1867). Poitevin’s process was improved
by F. Joubert in London in 1860.
In 1857, John Pouncy’s Dorsetshire photographically
illustrated was published. Pouncy referred to the process
used as photolithography but the images are heavily
retouched and Pouncy may have meant that the original
photography was manually copied by lithography that
was in turn photolithographed. In the same year, in the
Netherlands, Eduard Isaac Asser (1809–1894) invented
a photolithographic process.
Around 1860 there were a number of signifi cant ad-
vances in photolithography—largely as a result of state
funding. Photozincography—invented by Colonel Henry
James of Ordnance Survey Offi ce in Southampton in the
late 1850s—was based on a zinc plate rather than stone
support. The process was extensively used in the repro-
duction of maps, though James also reproduced a series of
historical and illuminated national manuscripts including
the medieval Domesday Book. The reproduction of line
illustrations and map printings was fi rst made workable
in commercially viable quantities in the late 1850s by
John Walter Osborne (1828–1902) while working in the
Department of Lands and Survey in Melbourne.
The facsimile reproduction of important historical
manuscripts was another area in which photolithography
was to have a signifi cant impact. In 1866 the London pub-
lisher Day & Son exploited photolithography to publish
an “exact facsimile” of William Shakespeare’s famous
First Folio of plays published in1623. From 1868 Wil-
liam Griggs (1832–1911) of Peckham in South London,
used photolithography to reproduce manuscripts, draw-
ings and plans for a number of publications on Indian
art and architecture, several of which were reports con-
nected with the Archæological Survey of India.
Photolithography became increasingly exploited
during the 1860s and this encompassed variants on the
printing support and the integration of photography, li-
thography and other reprographic processes in ‘hybrid’
forms. Jules Labarte’s Histoire des Arts Industriels au
Moyen Age et à l’époque de la Renaissance, published
in Paris between 1864 and 1866, is a particularly perti-
nent example in which photographic, photolithographic
and chromolithographic processes were combined. The
apogee of such a complex combination appeared in 1890
when the Art Institute Orell Fussli of Zurich invented
the Photochrom—based on photolithography and used
between four and fourteen asphalt coated lithographic
stones to produce a “full colour” image from a black
and white negative.
In Germany in the 1860s, photolithography was used
to reproduce topographical views such as those printed by
the fi rm of von Frey of Frankfurt-am-Rhein. However, it
was the reproduction of architectural line drawing that saw
the process’s most infl uential role. J. Akerman of London
was particularly prominent in this fi eld. From the 1870s
many of his photolithographs appeared in professional
journals such as Building News.
Offset lithography, the commonly used photome-
chanical process to reproduce photographs, was intro-
duced in England in the mid to late 1870s though the fi rst
application to print onto paper rather than metal took
place in 1903 in America through the process developed
by Ira Washington Rubel (died 1908)
Photolithography continues to play a prominent role
in 21st century industries through its application to inte-
grated circuits semi-conductor device fabrication.
Anthony J. HamberSee also: Niépce de Saint-Victor, Claude Félix Abel;
Daguerre, Louis-Jacques-Mandé; Talbot, William
Henry Fox; Lemercier, Lerebours and Bareswill;
Davanne, Louis-Alphonse; Le Secq, Henri; Poitevin,
Alphonse Louis; and James, Henry.Further Reading
Senefelder, Alois, A complete course of lithography... accom-
panied by illustrative specimens of drawings. To which is
prefi xed a History of Lithography..., London: 1R. Acker-
mannm, 819.
Bryans, Dennis, A Seed of Consequence. Indirect Image Transfer
and Chemical printing. The Role Played by Lithography in the
Development of Printing Technology, 2000. PhD, Swinburne
University of Technology.
Eder, Josef Maria History of Photography, New York: Dover
Publications, 1968
Wakeman, Geoffrey Victorian Book Illustration—The Technical
Revolution, David & Charles, Newton Abbot, 1973
Aubenas, Sylvie, ‘‘Alphonse Poitevin (1810–1882)—La nais-
sance des procédés de reproduction photoméchanique et de
la photographie inalterable,’’ Maitre ès lettres, Paris: Ecole
nationale des chartes, 1987.
Sylvie Aubenas, D’Encre et de charbon—Le concours photo-
graphique du Duc de Luynes 1856–1867 (exh.cat.), Paris:
Bibliothèque nationale, 1994.
Jeff Rosen, “Lemercier et Compagnie: Photolithography and the
Industrialization of Print Production in France, 1837–1859,”
PhD Thesis, Northwestern University, Evanston, Ill., 1988.
Michael Twyman, Lithography 1800–1850: the techniques of draw-
ing on stone in England and France and their application to
works of topography, Oxford: Oxford University Press, 1970.
Michael Twyman, Early Lithographed Books, London: Farrand
Press and Private Libraries Association, 1990.LIVERNOIS, JULES-ISAÏE (1830–1865)
AND JULES-ERNEST (1851–1933)
Canadian photographers
Jules-Isaïe Benoit dit Livernois was born on October
22, 1830, in Longueuil, near Montreal, Quebec. He