Alexis Barthelemy Girard is virtually unknown in the history of photomechanical reproduction but is important because he and Disdéri attempted a commercial application of an intaglio halftone process before any other known inventor. Until Girard was studied, von Egloffstein in the United States was considered the first. This print thus becomes an important link in the evolution of photomechanical reproduction. The unusual process combines line screen and aquatint. in After Daguerre Masterworks of French photography from Bibliothèque National, 1981, Bernard Marbot wrote under his entry for Disdéri within his compilation of achievements: …[A] series of photomechanical prints, produced from glass negatives according to the Girard et Cie process, illustrating his ‘Exposé relative à la photographie grave. This note being the first published reference to Girard’s method in a 20th Century publication.  
 David A. Hanson and Steven F. Joseph, “’Heralding A New Era’: B. A. Girard’s Method of Photomechanical Halftone in France, 1863” in Printing History, New Series Number 29–30 (Combined Issue 2021)
 Marbot, Bernard. After Daguerre: Masterworks of French Photography (1848-1900) from the Bibliothèque Nationale. New York: Metropolitan Museum of Art, in association with Berger-Levrault, Paris, 1980.