Soleil, J.-F. [Jean-Baptiste François]
16mo., 79 pp. Contemporary quarter morocco with raised bands and titled in gilt, with marbled paper over boards; silk ribbon marker. Scattered foxing. Although not called for, bound in is a fine albumen photographic portrait of the author, mounted on card stock; credited in blind "H. Badie, Photographe, B. Sébastopol 17." Nicolas Henri Badié, a Parisian portrait photographer was active at this address, 1860. A very good copy. Jean-Baptise François Soleil (1798 - 1878) was a noted Parisian maker of optical instruments, and like the firm of Vincent and Charles Chevalier, he made instruments for noted scientific researchers. From 1823 on, he worked with Fresnel to develop his first annular lenses for use in lighthouses; this brought Soleil into contact with François Arago. In 1834, the future photographic pioneer, Luis Jules Duboscq apprenticed with Soleil and married one of his daughters. It was through Duboscq that Soleil began making daguerreotypes; there exist stereo daguerreotypes made by the two in collaboration. In 1840, Soleil introduced an actinometer for determining exposure times. In this small volume, Soleil provides simplified instructions for making daguerreotypes based upon the latest improvements of Daguerre's process. Further, he presents Talbot's calotype and the paper processes of Bayard, Lassaigne, Becquerel, et al. Roosens and Salu No. 2819. Bellier de la Chavignerie, Manuel Bibliographie du Photographe Francais, 1863, No. 8. WorldCat lists a single copy of this book, without the portrait frontispiece, at the Bibliothèque Municipale de Lyon. An exceedingly rare publication, enhanced with a portrait of the author/photographer.
Liébert, A [Alphonse]
8vo., x, 679, 24 pp., photogravure frontispiece, 17 woodburytype and carbon photographs mounted on 7 leaves, and one mounted photo-lithograph; other illustrations in text. Publisher's original printed wrappers; The text block is split at p. 544, but holding by the stitches, resulting in the spine cover lacking several blank pieces; the text is intact. Uncommon in the original wrappers. A very good copy. Alphonse Justin Liébert (1827 - 1913) a French naval officer, resigned his commission and opened a photographic studio in San Francisco, 1851. By 1864, he was back in Paris, where he introduced the melainotype (tintype) and was an early advocate of the carbon process. Largely a survey of American approaches to photography, this handbook includes studio design, lighting, apparatus, darkroom work and enlarging, as well as photo-sculpture and photomechanical processes. The third edition was greatly revised and expanded from previous editions, and this, the fourth edition, adds an additional carbon plate and a 24-page appendix on the gelatin silver bromide process.
Weegee [Usher or Arthur Fellig]
8mm, 200 feet of b&w silent film. Housed in illustrated publisher's 5 1/4 x 5 1/4 inch box. The box shows modest wear. I have not viewed this film, however, it appears to be in fine condition. "Weegee's nontheatrical short Camera Magic, made for Castle Films, a demonstration of photographic and cinematographic tricks, embodies some of the same accessible and highly democratic aesthetic traditions of his contemporaries. His use of a carnivalesque sensibility, however, distinguishes him from the avant-garde experimentation of more refined modernist aesthetes. One sequence demonstrates how to stage a photograph called "the girl who lost her head," a bizarre decapitation worthy of the most misogynist dadaist. In another, optical printing stops and reverses the motion of a horse race and a military parade, wreaking havoc on these ordered rituals. Though these techniques echo surrealist photomontage, or Vertov's Man with a Movie Camera, the Marxism here is more Groucho's than Karl's, as these are not employed here as part of a revolutionary political program, but rather as tricks for the "camera buff" or the "amateur " David Serlin and Jesse Lerner from Wide Angle 19.4 (1997) p. 95-108.
Bourgeois, Paul, director
Folio, [vi], 96, [97-101] pp., 14 full-page plates on a heavy woven paper, of which 12 are b&w halftones and 2 are photogravures, each with printed tissue guards; 96 b&w halftone photographs in text with elaborate Art-Nouveau borders and unique page designs (mise-en-page). This copy, which is No. 30 of 75 special copies has an additional suite of the 14 full-page plates, printed on a fine tissue which is inset onto a heavy woven paper. Additionally, there are 47 unnumbered leaves, printed recto/verso of the of 96 halftone photographs and borders, printed without the text. Bound in half morocco and marbled paper over boards, with 5 raised bands and titled in gilt on the spine; the original Art-Nouveau printed wrappers are bound in. A few of the printed tissue guards are creased; there is faint spotting or toning on the black margins of some plate mounts, and a few of the leaves are lacking a tiny semicircular divot at the blank fore edge. A very good or better copy. With photographic contributions by P. Bergon, Mme Binder-Mestro, P. Bourgeois, M. Bucquet, F. Coste, A. Da Cunha, R. Demachy, A. Gilibert, R. C. Jacquin, Ledard, E. Mathieu, C. Petit, C. Puyo, W.H. Stewart, E. Wallon and other members of the Photo-Club de Paris. Imaging Paradise p. 205, "This series of essays on aspects of photographic practice, Esthétique de la Photographie, can be considered the manifesto of the pictorialist movement in France. Its purpose was as much display as debate, published in time to impress foreign practitioners attending the international congress of photography at the Paris World's Fair of 1900. In accord with the subject matter, the book itself is aesthetically pleasing, designed with art nouveau flourishes. Two gravure plates are printed by Dujardin - one work each by the uncontested masters Demachy and Puyo. The remaining twelve plates and imaginatively laid out in-text reproductions, offering a cross-section of work by Photo-Club de Paris members, are printed off the finest halftone blocks then available by the firm of Jean Malvaux of Brussels. Léon Vidal, doyen of photomechanical printing, expressed his parting approval: "Bibliophiles and image connoisseurs of the future will gain subtle satisfactions from photography. The book which these lines conclude fully bears this out." Roosens and Salu No. 8516.
Lerebours, N [Noël] - P [Paymal]
8vo., [vi], 203 pp., folding engraved plate, plus 14 pp. catalogue (possibly lacking a terminal leaf). Publisher's original printed blue wrappers, which are chipped at the spine ends and have a 3-inch separation along the front joint. There is scattered foxing to the text and engraved plate, with one leaf of the catalogue crudely opened. On the upper tip of the front wrapper, the author has signed and inscribed, "Hommage l'auteur, N P Lereboures." A very good, moderately worn, presentation copy. N.P. Lerebours is most noted for his publications EXCURSIONS DAGUERRIENNES (1841-1844) the first large-scaled publication illustrated from photographs, as well as for his manufacture of apparatuses, of which he was among the first. In this work, he discusses the underlying theory of the photographic process, and the numerous practical methodologies of the day. Largely concerned with the daguerreotype, with a compilation of writings by the inventors or practitioners themselves - the list of reads as a European directory of the most famous of the period. There are sections on the galvanographic process to make prints from daguerreotypes, and the gravure process of Fizeau. Although stated as the fourth edition, it should be referred to as the fourth enlarged and revised edition; his earlier publications had various other titles and were less than half the length of this work. The appended priced catalog lists all manner of photographic apparatus. There are several pages concerned with his publication, EXCURSIONS DAGUERRIENNES, and the various contents that could be ordered. In Catalogue 52, Commemorating the Centenary of Fox Talbot and Daguerre 1839 - 1939, E. P. Goldschmidt called this, "the first standard hand-book of photography." WorldCat locates eight copies in European libraries, with a single North American copy held by the University of Ottawa. Roosens and Salu No. 2842. Bellier de la Chavignerie, Manuel Bibliographie du Photographe Francais, 1863, No. 18.
Baur, Max
12mo., [1] pp., and 10 b&w gelatin silver photographs, 3 1/2 x 2 5/16 inches or the reverse, tipped to mounts 5 1/2 x 4 1/2 inches, and one photograph, 3 x 2 inches on a 5 x 3 3/4 inch mount. Housed in the original three-point card portfolio, with a printed label on the upper cover. There is slight silvering to the images. The ten larger photographs are signed in type beneath the image, while the smaller photograph is signed in ink by the photographer beneath the image. On its blank reverse is a handwritten salutation in German, dated 1953, which translates to: "We are on a pilgrimage all our lives. One place is more enjoyable, the other more serious. Let's try to keep as much jot as possible everywhere and pass it on until we come home. From my heart, many good wishes for the future." Near fine. Max Baur (German, 1898-1988) has received renewed attention as the subject of MAX BAUR: IN THE BAUHAUS SPIRIT. Baur's life and career choices were effected greatly by the two World Wars. He began in publishing, ultimately making an interest in the experimental medium of photography a business. He made postcard images of scenes throughout Germany that illustrate how strongly he was influenced by the graphic work being done at the Bauhaus. His first publication contained scenes in Potsdam, a city he moved his family and business to after seeing vistas of the city's Sanssouci Park in a film. IN THE BAUHAUS SPIRIT lists the publisher for this work as Karl Specht Verlag, Berlin. This edition however, was self-published by Baur's own firm in Potsdam. These photographs may predate the 1937 Karl Specht publication, but were certainly created before World War II, which left Potsdam in ruins and forced Baur to relocate to Berlin. The Specht edition has many more illustrations, but none have original photographs as found in this portfolio.
La Blanchère, Henri de
6 volumes. 8vo., [Vol. 1] viii, 508 pp.; [Vol. 2] [iv], 488 pp.; [Vol. 3], [iv], 376 pp.; [Vol. 4] [iv], 390 pp.; [Vol. 5] [iv], 389 pp.; [Vol. 6] [iv], 411 pp.; hundreds of b&w wood engravings. Engraved seal vignettes on each title page. Contemporary binding of quarter morocco and marbled paper over boards with four raised bands with title and decorations in gilt on the spine. A few slight scuffs to the spines; there is scattered foxing in Vols. 1 & 2, and to a much lesser degree in the others. There is a dampstain at the margin of the last few leaves of Vol. 3, and a faint tidemark to the margin of the first few leaves of Vol. 6. Affixed to the front pastedown of the first volume is the label of a Parisian bookseller. A very good to near fine, complete set. Pierre-René-Marie-Henri Moulin du Coudray de la Blanchère, commonly known as Henri de La Blanchère, was born at La Flèche, 1821. His first studies were in forestry, then natural sciences. In 1848, he adopts photography as an aide to his scientific work. By 1856, he has opened a photographic studio in Paris, perfected a waxed paper process based upon that of Gustave Le Gray, and became a member of the Société Francaise de Photographie. He was a prolific writer and experimenter, and exhibited his photographs until his death in 1880. An outstanding encyclopedia of all the photographic materials, formulas, apparatuses and applications known to date, including photomechanical reproduction, with a generous number of illustrations. This is referred to as the first encyclopedia of photography; it is an exhaustive text book of photographic and photomechanical processes. The first two volumes constitute 1538 alphabetically arranged subject articles with an index. The next four volumes were serially issued monthly over a four year period, with each part alphabetically arranged, with each volume indexed. Uncommon, with Worldcat locating full sets at only these United States libraries: Columbia University, Eastman House, Harvard Fine Arts, University of Michigan, New York Public, and the Harry Ransom Center, University of Texas-Austin. Roosens and Salu No. 3541.
Monckhoven, D. [Désiré ] van
8vo., 132 pp., 2 tipped in paper samples and 1 engraved plate; bound in at the end are the 10 folding plates from Monckhoven's 1859, RÉPERTOIRE GÉNÉRAL DE PHOTOGRAPHIE PRATIQUE ET THÉORIQUE., which include a chromolithograph, a photolithograph, engraved plates showing optics, lenses, developing equipment, stereoscopes, and equipment for making and printing photolithographs. Contemporary quarter gilt decorated morocco and marbled paper over boards; slightly rubbed at the edges. There is slight toning to the blank endpapers and at the top blank margin, with light occasional foxing to the additional plates. A very good copy. In this work, Monckhoven has enlarged and improved upon his prior writings on the calotype found in his TRAITÉ GÉNÉRAL DE PHOTOGRAPHIE. 1856, with the addition of albumen coatings, etc. There are two samples of sensitized paper: a coated waxed paper with extra-rapid double iodine, prepared to Mr. Marion's formula tipped to p. 62; and a chloride albumen sample tipped to p. 90. Roosens and Salu No. 2082. Bellier de la Chavignerie, Manuel Bibliographie du Photographe Francais, 1863, fails to list this title. Joseph, Steven F., Belgian Photographic Literature of the 19th Century, No. 622, citing the print run at 1500 copies, with NYPL, UCLA, Harvard and University of Rochester as the only North American holdings. E. P. Goldschmid, Catalogue 52, .Commemorating the Centenary of Fox Talbot and Daguerre 1839 - 1939, called this, "rare."
Barboza, Anthony
Vintage gelatin silver photograph, 9 x 9 inches [22.7x 22.7 cm] on 11 x 14 inch [27.94 x 35.56 cm] double weight photographic paper. Titled, dated and signed by the photographer beneath the image. Fine. Anthony Barboza, born 1944 in New Bedford, Massachusetts, left for New York to study photography at age 19. Through his association with Hugo Bell and Adger Cowans, two successful Black photographers, he was introduced into The Kamoinge Workshop, under the direction of Roy DeCarava. His career as a photojournalist is extensive, as is his advertising work for many prominent companies. Further, he has exhibited widely and published several books of his photographs.
Tiffany, Louis Comfort
Vintage cyanotype photograph, circa 1890 - 1900, measuring 8 1/16 x 6 1/8 inches, mounted on light brown board 12 x 10 7/8 inches and stamped signed "Louis C. Tiffany" beneath the image at the lower right corner. Written in pencil on the mount is "24", and there is a small chip to the lower right corner of the board. The reverse of the board is blank. Fine. "Tiffany was America's design master at the turn of the century. Most people know his lamps, many know his revolutionary and internationally heralded leaded-glass windows, and some know of his mosaics and interior design. But few have any idea that he was also a photographer whose interest in the medium went beyond the help it could be on a practical level and extended to the regions of photographic art. His many subjects included people, plants, boats, and landscapes. The ownership stampâ"Louis C. Tiffanyâ"often can be found on the mats around the images, identifying them as photographs taken during his travels as early as the 1870s. As the artist's photographs grew in quantity, a number was added to the mat for filing purposes, and they were incorporated into a broader collection maintained by his companies. In this way, Tiffany's personal pictures, impressions always artfully composed, continued to be an essential part of the creative process for decades." Charles Homer Morse Museum of American Art. The majority of Tiffany's surviving photographs are albumen prints.
Prince, Doug
Original gelatin silver photograph, 9 3/8 x 7 1/2 inches, dry-mounted to archival board, 13 x 15 inches, signed and dated by the photographer in pencil on the mount beneath the lower right corner. Fine. Doug Prince was born in Des Moines, Iowa, 1943. He earned both his BA and MFA from the University of Iowa, and in 1968 he was appointed as an assistant professor in the department of photography, headed by Jerry Uelsmann. From 1976 through 2017, he taught at the Rhode Island School of Design, Northern Kentucky University, Syracuse University, University of New Hampshire, Tufts University, and the New Hampshire Institute of Art. His work is in the permanent collections of: Addison Gallery of American Art, Art Institute of Chicago, International Center of Photography, Museum of Fine Arts-Houston, Museum of Modern Art, etc.
Cros, Charles
8vo., 12 pp., Printed wrappers, which have one inch closed tear at the top and bottom along the fold. Housed in a blue card chemise and a matching slipcase with gilt titled morocco lable on the front board. A very good copy. Charles Cros (1842 - 1888) and Louis Ducos du Hauron, simultaneously, but independently, discovered and published the basic principles of photographic color by the subtractive method. In 1869, Cros published an article in Les Mondes in which he describes a letter he had deposited in 1867 with the Académie des Sciences that outlined his color process. The contents of his letter was made public on May 7, 1869 at a meeting of the Société Française de Photographie when a similar process by Louis Ducos du Hauron was also announced. Cros continued to explore photography in color and in 1877, he was supported in his experiments by the Duke of Chaulnes. Very few examples of his color photographs survive. This pamphlet is a cornerstone work on the development of color photography. Roosens & Salu No. 2647.
Meldola, Raphael
8vo., 11 pp. Stapled self-wrappers. Creased vertically; moderate foxing. Handwritten in ink at the top of the first page, "With the author's compliments." In this brief history of the discovery, the author examines the interpretation of the term "photography", which literally translates to writing with light; therefore, although unable to "fix" the affects of light upon silver, Johann Heinrich Schulze, would be the first photographer. Meldola remarks upon the work of Niepce, Daguerre and Fox Talbot, et al, for laying the photochemical foundation from which all subsequent processes derive. Raphael Meldola, 1849 - 1915, was a noted professor of organic chemistry, member of numerous scientific societies, and author of, The Chemistry of Photography, 1889. WorldCat locates a single copy at Cornell.
Thierry, J.
8vo., 194 pp.,[1], illustrations in text, at chapter heads. Publisher's original printed wrappers which are moderately soiled; the spine has been expertly repaired with the original title, date and price laid-down, the blank remainder is in facsimile; new endpapers have been added. The blank front upper tip is replaced with similar paper, and blank upper tip of the last two leaves are worn and soiled. A very good copy. Little has been written or known of this daguerreotypist from Lyon. He published a short and concise manual of 24 pp. in 1844, and a few daguerreotypes of his making have appeared at auctions in recent years. This daguerreian manual containing the latest improvements in process, is followed by a short history of photography to date; it contains an additional chapter that discusses the "American process" of daguerreotype. The index does not include this extra chapter. WorldCat locates twelve copies of this works; only two copies, the Musée d'histoire naturelle - Geneva, and the Rijksmuseum Amsterdam contain the extra chapter. Bellier de la Chavignerie, Manuel Bibliographie du Photographe Francais, 1863, No. 41, pagination not noted. Roosens and Salu No. 2876 with pagination as 178 pp.
Robiquet, E. [Edmond]
Small 8vo., ix, 309 pp., illustrated with 39 engraved figures of which 2 are full-page plates, and one mounted carbon print. Contemporary quarter calf and marbled paper over boards; the joints are rubbed with a short crack at the base of the front board, with a bookseller inventory label on the front pastedown. Intermittent foxing. A respectable copy. A manual on all aspects of the collodion and albumen process, stereo photography, photographic chemistry and theory, and Garnier and Salmon's various photomechanical processes, with particular attention to their carbon process. The mounted carbon photograph by James Robertson is a view of the Mosque of Sultan Achmet, in Istanbul. Roosens and Salu No. 187. Bellier de la Chavignerie, Manuel Bibliographie du Photographe Francais, 1863, No. 113.
[HESS-IVES CORPORATION] Ives, Frederic Eugene and Henry Hess
This collection, once owned by George H. Holt, contains the following: HESS-IVES HICHROGRAPHY. 8vo., 12 pp., illustrations from b&w photographs. String-tied decorative stiff wrappers. Faint dampstain; owner's name on the front wrapper. A three page price list is laid-in with holograph corrections. Very good. [with] HESS-IVES HICHROGRAPHY. Philadelphia: Hess-Ives Corporation, February 1916. 8vo., 31 pp., b&w and color illustrations. Decorative stiff wrappers. Previous owner's neat signature on the front wrapper. Faint dampstain and wrinkling. A near very good copy. [with] A folded typed two-page detailed instructions for exposing, developing and printing the "Hicrome" color prints. [with] A folded one-page typed letter signed and dated June 27, 1917, by F. E. Ives on Hess-Ives Corporation letterhead, addressed to Mr Holt, whose signature is on the printed catalogues. [with] Two folded, recto printed, single sheet advertisements, each picturing two of the four different Hicro cameras with prices. The catalogue dated December 1915, is the introductory catalogue for the ingenious camera that was capable of producing direct color photographs (Hichrography) from three negatives simultaneously exposed, as well as conventional b&w. The camera, available in 3 sizes (another was introduced three months later) is pictured and priced. This process was awarded the first United States patent in color photography. The laid-in price list also includes plate holders, film, paper and chemicals. The February 1916 catalogue is the second issued by the manufacturer, and increased the number of camera sizes to four. In his June 1917 letter to Mr. Holt, F.E. Ives states that he will be sending additional Hipacks, as well as his 5 x 7 camera for the Hiblock process (an adaptation of Ducos du Haron's tripack) along with holders which should be returned for processing. Ives' further writes that he is almost ready to demonstrate his "moving picture color process", on which he held three pending patents; tipped to the letter is a 2 1/4 frame sample.
Gaudin, M [Marc] A [Antoine Augustin]
8vo., iv, 248 pp., illustrations in text. Recent binding of half morocco with marbled paper over boards, with five raised bands and titling in gilt on the spine. The title page and first few leaves show an early dampstain and foxing; the foxing diminishes to light for the majority of the text. A very good copy. Gaudin's early and definitive manual covering every aspect of daguerreotyping including making, exposing and processing the plates, electroplating the daguerreotype plates for making reproductions, and making portraits; it also includes complete instructions for making Talbot's calotypes. Bellier de la Chavignerie, Manuel Bibliographie du Photographe Francais, 1863, No. 31. Roosens and Salu No. 2855.
Uelsmann, Jerry N.
Original gelatin silver photograph, 13 5/8 x 11 1/2 inches, tipped to a 16 x 20 inch board with window over-mat (both are archival rag boards) with mounting corners. The blank reverse of the photograph bears the photographer's stamp, copyright stamp, and is titled, dated and signed in ink by Jerry N. Uelsmann. The window-mat is titled, dated and initialed by the photographer in pencil beneath the image; additionally, the photographer has signed, titled and dated the blank reverse of the mounting board in ink. There is a slight crease at the upper right tip of the image that has not cracked the emulsion, and is only visible under close examination. Fine. A comical self-portrait by the master of multiple printing. This photograph is comprised of multiple images: the photographer, seemingly naked, stands behind a giant Elephant Ears plant; an open shelled peanut; a circus elephant; and two oval images of a figure frolicking above the water's waves. The Center for Creative Photography at the University of Arizona, Tucson hold a copy of this scarce self portrait; however, their print is smaller, measuring 12 13/16 x 10 1/2 inches. [only a portion of the window over-mat is pictured here].
Blanquart-Evrard, M. [Louis Désiré]
8vo., l, 199 pp. Contemporary cloth-backed marbled paper over boards, rubbed along the edges. The foxing on the title page diminishes to mild as the text progresses; the last 80 pages show a faint dampstain along the lower edge, which increases towards the last leaves. Helmut Gernsheim's HISTORY OF PHOTOGRAHY, 1969, p. 187-189, notes that Blanquart-Évrard's advancements in printing marked the beginning of a new era of photography by introducing a "very considerable improvement of Talbot's calotype process." The calotype offered very contrasty images and were lacking in halftone sensibilities; Talbot's process brushed the silver nitrate onto the paper, where Blanquart-Évrard floated the paper in the silver solution, which provided a surface impregnated with silver nitrate and therefore, much more light sensitive and able to more fully record gradations in tonality. In this 1851 publication, he provided a procedural for the preparation of glass plate negatives with albumen, and subsequently, he introduced albumen paper for positive prints which revolutionized the production and clarity of the paper print. A rare and important manual which covers all the early paper processes. Roosens and Salu No. 925. Bellier de la Chavignerie, Manuel Bibliographie du Photographe Francais, 1863, does not list this title indicating its scarcity. Imagining Paradise p.165.
Disdéri, [André-Adolphe-Eugène]
Thick 8vo., 367 pp., illustrations in text. Publisher's original printed wrappers. The wrappers are soiled and chipped at the edges with a few short tears; the spine cover is chipped and worn; the front wrapper and first signature are separated but still attached; tips of first and last leaves are curled. In all, a bit worn but still a good copy. André-Adolphe-Eugène Disdéri (1819 - 1889) a self-taught daguerreotypist, researched and improved upon the existing collodion-on-glass negative process, which he outlined in his first publication, Manuel Opératoire de Photographie sur Collodion Instantané, 1853. That same year, he returned to Paris and opened the largest studio in Paris, which spread across two floors. It was there that he introduced his carte-de-visite portraits which were a great financial success. For the 1855 Paris Exposition Universelle, he formed the Société du Palais de l'Industrie and obtained the rights to photograph all the products and works of art exhibited at the Exposition. Josef Maria Eder writes, "Disdéri was considered the outstanding portrait photographer of his time in Paris. Napoleon III appointed him court photographer. In 1861 he instructed French officers in photography under orders from the minister of war. Disdéri's popularity is best shown by the fact that his character was introduced in 1861 as a star attraction on the stage of a small vaudeville theater in Paris by a realistic representation featuring his bald head and tremendous beard." In this, his best known and most influential book, Disdéri provides an introduction to the materials of photography, including photomechanical processes, a thorough discussion of the collodion process, and in the final part he discusses his approach to the practice and the art of photography, defending it as more than a mechanical operation, with comparisons to painting. WorldCat locates thirteen copies, with Getty Research Institute, the National Gallery of Art, and Clark Art Institute as the only U.S. holdings. Bellier de la Chavignerie, Manuel Bibliographie du Photographe Francais, 1863, No. 134. Roosens and Salu No. 4246. The copy of Anatole de Baudot (1834 - 1915) noted French architect, signed and dated 1862 on the verso of the flyleaf.
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