Baldus first published his own photographs in photogravure form in a publication on the architecture and ornamentation of the Louvre and Tuileries Palaces issued in installments beginning in 1869. His process yielded richly inked, velvety textured prints with an extraordinary clarity and fineness of detail, which he often heightened with etched lines added by hand. The three volumes of Palais du Louvre et des Tuileries, each with 100 plates, parallel the photographic albums made earlier for the Minster of state in presenting sculptural and ornamental details as well as few larger architectural views… Beginning in the mid-1860s and lasting until the early 1880s – in other words, for more than half his career as a photographer – Baldus’s primary commercial activity centered on the production of photogravures, a process that he had first explored in 1854. Photogravures are printed with ink on paper and are thus inherently more stable than photographic prints produced by light and chemistry; rather than being etched or engraved manually the metal printing plate is produced photographically from a negative.” – The photographs of Edouard Baldus, pp. 94-95 p. 95, p. 247
Vols. 1-2 were originally issued 1869-1871; vol. 3 was issued in conjunction with a reissue of the first two vols., all under title: Palais du Louvre et des Tuileries : motifs de décoration intérieure et extérieure … Paris : Ve. A. Morel & Cie, . "The first edition was issued in installments beginning in late 1869, and the series was complete by the end of 1871. Two volumes, each with one hundred plates, focused on interior and exterior decoration. … Because of the success of the first two volumes, a third, showing both interior and exterior motifs, was produced, and the three-volume set was published by Morel in 1875. Morel announced publication of the first two installments of the third series in Bibliographie de France on March 20, 1875, and the third and final installment on October 2, 1875." –Malcolm Daniel, The photographs of Edouard Baldus (1994), p. 272, note 259;
The proof was made before type was set.
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. 92.
Daniel, Malcolm. The Photographs of Edouard Baldus. New York: Metropolitan Museum of Art, 1995. 74.
This is the only Baldus gravure on the Met Museum website http://www.metmuseum.org/collection/the-collection-online/search/266992.