The Art of the Photogravure
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January 12th, 2010

Photographic Art Treasures

Roger Fenton, Water Gate, Raglan Castle, 1856

Roger Fenton, Water Gate, Raglan Castle, 1856

Google alerts are great if you are searching for information on obscure subjects.  That is exactly how I discovered Paul Morgan.  Paul was offering a talk at the National Media Museum entitled ‘Paul Pretsch and Photogalvanography 1850 – 1870′.  Surprised not only to find someone interested in the subject but also to see one of photography’s most prestigious institutions offering a talk on photogralvonagraphy, I emailed Paul to introduce myself and see if he would let me read his lecture.


Paul and I have since had in depth correspondence about Pretsch.  He has provided me with a plethora of images and text regarding Pretsch, photogalvanography and Fenton.  Eventually,  I asked for Paul’s bio.  Expecting to see something like Professor of Art History – Oxford, I was surprised to see that he is a layperson with a passion for creating, learning and writing — rendering his work on Pretsch all the more impressive.


From Paul’s bio….”I was educated at Rossall, then took a degree in Communication Studies at Aston in Birmingham. Have been through quite a variety of jobs, but the main spell was living and working with profoundly handicapped youngsters. Have always been involved in the arts, my own output including painting, drawing, photography, poetry, drama, and prose. Usually occupied in writing of some variety, in latter years mainly odd articles, covering subjects from local history to Captain Morgan the pirate.  My interest in Pretsch came about from finding some photogalvanographic prints, but very little information about them.  I ended up spending a decade intermittently pursuing the full story. Now have turned my attention to an investigation of the Battle of Loos in 1915, where my maternal Grandfather died.”


Paul has generously agreed to let me publish his work on Pretsch in the text section of the site.  It is as comprehensive essay on Photogalvanography you’ll find, celebrating the forgotten innovation that lead to the first published photographic art portfolio in ink – Photographic Art Treasures.

Thank you Paul.

October 31st, 2009

Camera Work Shines at Swann

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Annie Brigman, The Bubble 1909

Swann Galleries Photographs and Photographic Literature

Sale 2191, October 22, 2009

Camera Work made a strong showing at Swann last month. While many lots in the sale passed or sold within or below their estimates, seven of the ten Camera Work lots commanded prices that exceeded their high estimates (including buyer’s premium.)

Numbers 2 & 19 $5,280
Numbers 7 & 8 $3,360
Numbers 13 & 15 $6,960
Numbers 16, 17 & 18 $4,560
Number 22 $3,360
Numbers 25 & 31 $6,480
Number 27 $4,560

To learn more about Camera Work pricing, visit Photogravure Gallery.

August 26th, 2009

The Death of Photogravure

barakeino32


“There is a sense of panic out there…” were the words of Dick Sullivan, proprietor of Bostick-Sullivan. “Without it, photogravure in its present form will cease to exist. End of story,” were Craig Zammiello’s words. ”This is very big!!!! and harrowing!” said Jon Goodman.


What is all the fuss about? Well it appears as though Autotype, the only manufacturer of pigmented gelatin tissue, a material critical to the photogravure process, has decided to cease production… “It is with sadness that after 100 years of supply, MacDermid Autotype is now forced to discontinue the manufacture of Gravure Pigment Papers and films due to the withdrawal of two unique raw materials.”


Without this material, practicing photogravure ateliers have two choices – make their own gelatin tissue (a laborious and unpredictable prospect) or practice polymer photogravure – a distant second choice and not an option for purists.


Hopefully Richard Sullivan will come to the rescue. He is versed in manufacturing carbon tissue and is working diligently to save photogravure. Talking with him today, it appears as though he is making positive strides toward a product that might just be better than Artotype’s (thicker – allowing more depth in the etch). Too complicated for this layperson, the status of the situation can be followed on Richard’s forum, which – if you take the time to read it, illustrates just how complex this process is.


By the way, I must admit I was pleased to hear Richard, a legend in the world of alternative process, tell me that photogravure was among his top top three of all photographic processes when it comes to beauty.