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MÉHÉDIN, LÉON-EUGENE
(UNKNOWN)
French photographer
Léon Méhédin remains somewhat of an enigma. He was
a French national but the place and date of neither his
birth nor death are known.
His name fi rst appears at the time of the Crimean War,
linked with that of Colonel Charles Langlois, who hired
him to assist with the taking of reference views which
would later serve as the basis for Langlois’ panorama
painting of the Taking of Sevastopol, a successor to his
already celebrated painting of the siege. The painting
commission came from Napoleon. Some of their work
is jointly credited, while other images are credited to
Méhédin alone.
Méhédin’s wide panoramic vistas of the destruction
in the city are powerful reminders of what has been
described as the fi rst modern war. Amidst the desola-
tion and the abandoned gun carriages, the exposure
has just been short enough to preserve the image of the
French fl ag.
Becoming interested in the potential of the panorama,
he continued to produce fi ne studies including the af-
termath of the Battle of Tchernaya.
While in the Crimea, Mehedin also collaborated with
Friedrich Martens on several photographic excursions
in the areas surrounding the ruined Malakoff Fort and
the Redan. These may also have served as reference
for Langlois.
John HannavyMEISENBACH, GEORG (1841–1912)
German etcher
Georg Meisenbach was born on May 27, 1841, in
Nuremberg, as the son of a copper etcher and pub owner.
A talented draftsman from early youth, he learned
etching in copper and steel in Nuremberg and, work-
ing for several renowned companies, making himself
a good name. In 1874, he moved to Munich where he
started working on experiments with Gillot’s zinkenite
lithography. Cooperating with a number of printers and
fi nancial advisers, Meisenbach managed to develop his
form of grid lithography after photographic images in
1881 and gained worldwide patents for it in 1883, par-
allel to the patent by Angerer & Goeschl from Vienna.
The process consisted in preparing the printing plate
by an exposure through two plates of very fi nely lined
glass which converted any greyscale into small squares
of different diameter. Meisenbach’s business partner
Josef Ritter von Schmaedel called grid lithography the
“autotype process“. The fi rst publication of the autotype
process was the catalogue to the exhibition of electricity
in Munich in 1882, combining two of the most important
media of modernity. Schmaedel helped Meisenbach to
construct a machine for lining glass in 1883. Restlessly
experimenting Meisenbach spent the rest of his life in
devotion to the autotype process and its adaptation to
any technical progress imaginable. Georg Meisenbach
died in 1912 in Munich.
Rolf SachsseMELHUISH, ARTHUR JAMES
(1829–1895)
Arthur James Melhuish was born in London in 1829,
he married in 1853, and had three sons and four daugh-
ters. Melhuish was a photographer, publisher, a portrait
painter, picture dealer, and a designer of photographic
apparatus. He joined the Photographic Society in
1856.
His photographic studio was his principal activity and
he opened his fi rst in Blackheath, Greenwich, in 1857,
later moving to 12 York Place, Portman Square in 1863,
and then Old Bond Street, and Pall Mall, all in London.
This latter studio was renamed Melhuish and [James]
Gale in February 1894 and lasted until Melhuish’s death.
Melhuish was secretary of the Amateur Photographic