Baudement, Émile, Adrien A. Tournachon, Adolphe-Pierre Riffaut, and Charles Nègre. Les Races Bovines Au Concours Universel Agricole De Paris En 1856: Études Zootechniques. Paris: Impr. impériale, 1861. Tournachon’s prints served as models for the illustrations, which were redesigned and otherwise embellished by such known painters as Rosa Bonheur and Constant Troyo. Apparently the drawings were transferred onto a plate by Riffaut (the known collaborator of Niepce de Saint-Victor) but he died before finishing the work, and Baudement turned over the task to other engravers and photoengravers, including Charles Negre. The final results are so misleading that it is impossible to guess that the original models were photographs. (Marbot, After Daguerre P. 168)"In the month of May, 1856, the Imperial Government opened in Paris the first universal agricultural competition which had been held in France. It would be useful to seize this opportunity to have the best types of foreign breeding reproduced in an album. Mr. Baudement, professor of zootechnics at the Conservatoire des arts et métiers and member of the jury, was in charge of this publication and associated himself with ‘excellent artists for these reproductions’ (taken from the dedication). A multitude of renowned artists and engravers collaborated in the enterprise which lasted almost 10 years from 1856 to 1864. Complete with 87 fine plates of cattle races. The plates are based on photographs by Adrien Tournachon ("Nadar jeune") (i.e. Adrien Tournachon, half brother of Félix Nadar), which interpreted in pencil by animal artists or sculptors and then reproduced by a mixed process of heliography (photogravure – Niepce Saint-Victor method) followed by handwork of various kinds – soft ground etching, mezzotint and aquatint, the background tint being achieved by lithography by A. Riffaut (the known collaborator of Niepce de Saint-Victor), Ch. Nègre, and others.
A landmark in the early integration of photography onto the printed page.