One of the first images made by a camera and published in permanent printer’s ink. A landmark in the history of photomechanical printing.
In 1839, within just a few weeks of the public announcement of the invention of the daguerreotype, budding daguerreotypists had learned the technique and set off to try their luck in far-flung destinations across Europe, Africa and the Near East. Where they succeeded, they produced the first photographic images ever made of these regions and inaugurated a practice which would forever alter the experience of travel. Parisian optician, maker of scientific instruments and entrepreneur Noël-Paymal Lerebours gathered together over a hundred of these daguerreotypes, had them traced and translated into engravings to be published. The resulting Excursions daguerriennes: Vues et monuments les plus remarquables du globe was the first book to be illustrated from photographs. While most were copied by the hand of an artist, three were printed directly from etched daguerreotype plates making Excursions Daguerriennes a monument in the history of photomechanical printing. The 1842 edition marks the first publication of prints made by a complex process of electroetching invented by Hippolyte Fizeau in which the daguerreotype itself becomes the printing plate. These prints mark the first appearance in book form of illustrations created by a photo-mechanical process. – Imagining Paradise
The dates of publication of Excursions daguerriennes is often confused. At least five different covers and title pages exist, dated 1840, 1841, 1842 and 1844. Happily, references in various French periodicals allow the publication history of the work at least partially to be reconstructed. The Excursions daguerriennes began publication in issues of four plates. The first issue was released on 1 August 1840, with the total projected plates planned at 50. Fourteen issues followed, with the 10th released by 10 September 1841 and the 15th by 12 December 1841. These constitute the “First Series” of 15 parts and what turned out to be 60 plates, rather than 50 (a fact reflected in the dropping of the phrase “Collection de 50 Planches” from the titlepages of the issues). In the two-volume bound set of plates, which is the form the work is usually found in libraries, these make up the first volume. On 14 May 1842 a second series of plates was announced as the “Nouvelles Excursions Daguerriennes”. The 13th and last issue of the second series was released on 20 Dec 1844, with the complete set announced as “114 plates” shortly afterwards. The second series plates usually make up the second volume of the bound set, although somewhat confusingly this often contains only 53 plates (not the required 54), of which only 51 are numbered. To add to the confusion, on 1 Jan 1844 various additional selections of plates had been released, including “Sites et monuments de France”, “Sites et monuments d’Italie” and “Petit Album de Choix”. Whether these were merely duplicates from the existing published editions or were additions to the editions to increase the total number of plates is unclear. Hudson
Alfred Donne of Paris and Josef Berres of Vienna were the first to show prints from etched Daguerreotypes in 1839 and 1840 respectively. Their results from simple etching were not of high quality. In 1841 Hippolyte Fizeau of Paris produced good results by a more complicated process. After lightly etching a Daguerreotype he coated it with linseed oil and wiped it like an intaglio plate. Next he electroplated gold onto the plate, which adhered only to the elevated regions, since oil in the depressions prevented gold adherence. After cleaning, the plate was given a deep etch, the gold now acting as an etch resist. He was able to reinforce the halftones with aquatint resin and obtained quite creditable quality.
Printed title and credits "Daguerreotype Lerebours/Imp. par Tarle/ Grave par le procede Fizeau/ HOTEL-DE-VILLE DE PARIS /PUBLIE PAR GOUPIL & VIBERT Boulevd Montmartre, 15, N.P. LEREBOURS, Place du Pont-Neuf 13. Hr BOSSANGE, Quai Voltaire, 11
Malcolm R. Daniel, and Florian Rodari. Graver La Lumière: L’héliogravure D’alfred Stieglitz À Nos Jours Ou La Reconquête D’un Instrument Perdu. Vevey, Suisse: Fondation William Cuendet & Atelier de Saint-Prex, 2002. p. 83
Gernsheim, Helmut, and Alison Gernsheim. L.j.m. Daguerre (1787-1851): The World’s First Photographer. Cleveland: World Pub. Co, 1956. pl. 57
Leonardi, Nicoletta, and Simone Natale. Photography and Other Media in the Nineteenth Century. University Park, Pa: The Pennsylvania State University Press, 2018. no. 8.5.
Hanson, David A. Checklist of Photomechanical Processes and Printing, 1825-1910. , 2017. p. 53.
Georges Potonniee, Histoire de la Decouverte de la Photographie, Paul Montel, Paris, 1925, pg 267
Beaumont Newhall, Photography, A Short Critical History, The Museum of Modern Art, New York, 1937, pl 4
Raymond Leycuyer, Histoire de la Photographie, Baschet et Cie, Paris, 1945, pg 245
Collection M.+M. Auer, une histoire de la photographie, editions m+m, Hermance, 2003, fig 34
Crawford [38, 237-240]; Eder [48, 577-580]; Gernsheim [61, 539-540]; Jussim [85, 49]; Newhall [105, 249]; Taft [140, 412].