Héliogravures : the unpublished photogravure process of Édouard Baldus

Jennifer I Yeates

doi:10.32920/ryerson.14654829.v1

Abstract

This thesis project uses an incomplete set of twenty six héliogravure prints by Édouard Baldus (1813-1889) from the publication "Les Principaux Monument de la France, reproduit en héliogravure par E. Baldus 1869-70", which are held at the Art Gallery of Ontario. The prints are utilized as a primary means of analysis in an attempt to understand Baldus' working method, as he never published his photogravure process, and about which little is known. The thesis is composed of five sections: 1) a discussion of Baldus' place in photographic history; 2) an examination of the compete set of forty five héliogravures in the publication based on the copy at the Canadian Centre for Architecture; 3) a case study looking at the relationship between Baldus' albumen prints and his héliogravures; 4) a second case study analyzing and comparing the physical nature of the photogravure works of William Henry Fox Talbot, Charles Nègre, Peter Henry Emerson and Alfred Steiglitz; with the intension of, 5) deciphering the method Baldus could have used in printing his héliogravures.

Highlights

Bold entries indicate works from Les Principaux Monument de la France which were printed from the same negative of pre-existing albumen print
It is believed after this analysis that the fundamentals of Baldus’ process are based on the later works of Talbot
Though Baldus was constantly attempting to create a process that was permanent, and would eventually begin experimenting with chemicals to achieve this, his process seems to have been very similar in set up, materials and method as that of Talbot. His change in chemicals would allow for more prints to be produced from one plate, as well as have a stronger plate that would last longer during the printing process

Summary

Introduction

Bold entries indicate works from Les Principaux Monument de la France which were printed from the same negative of pre-existing albumen print. 8. It is believed that Baldus used the same acid to etch as Talbot did with his copper prints which was a solution of ferric chloride in water. 9. The solution would be either mixed with different ratios of water to create different strengths of the solution to achieve different levels of etching or Baldus would use the same strength of the acid but dip the plate for different amounts of time.

Results

Conclusion