Mavi Boncuk | Pierre Trémaux - Turkish Stèles 1830 
Pierre Trémaux (b. 20 July, 1818 Charrecey, France – d. 12 March, 1895 Tournus, France) was a French architect, Orientalist photographer, and author of numerous scientific and ethnographic publications.
Education École des Beaux-Arts
His place in the history of photography was assured on the basis of the present survey. He was a graduate of the Institut de France and a laureate of the Société de Géographie. Trémaux spent seven years, from 1847 to 1854 in North Africa and the Near East, where he produced calotypes for a projected 'Atlas of picturesque views, scenes, manners and customs'. The work, issued in parts, was intended to be a monumental production with a total of 355 photographs in three series. The publication was technically uneven, however, so Trémaux began to substitute photo-lithographs for fading salt prints and it appears that these unsatisfactory results brought a premature end to the ambitious project. The series nonetheles includes uncommon images which have ensured the photographer's lasting reputation. The only other set of this work we have traced at auction is the Jammes copy, sold with Trémaux's Voyage au Soudan et dans l'Afrique, Septentrionale', (Jammes sale, Sotheby's, 27 October 1999, lot 150). A full list of the plates in this copy is available on request.
Between 1852 and 1868, Trémaux produced a number of distinct groups of photographic plates to accompany texts on the geography, architecture, and people of African and Anatolian regions. Produced with the support of French government, these high quality publications, combined an array of graphic techniques in ways that had not previously been attempted. The images combine salted paper prints, engravings, tinted and colour lithographs and photolithographs
Selected Publication: Exploration archéologique en Asie mineure, illustré de 92 planches, 1864
Pierre Trémaux.
EXPLORATION ARCHÉOLOGIQUE EN ASIE MINEURE, COMPRENANT LES RESTES NON CONNUS DE PLUS DE QUARANTE CITÉS ANTIQUES. PARIS: L. HACHETTE ET CIE., [C.1858]
first edition, parts 1-20 (of 25?), oblong folio (350 x 550mm.), 3 leaves of text, 83 plates, comprising: 5 salt prints[1], 51 photo-lithographs[2], 2 lithographs and 25 engraved plates and plans, some folding, 4 original printed blue wrappers (each wrapper contained 5 parts), loose as issued.
Date: c. 1862-1868 | Medium Print | Materials portfolio, in original blue paper folder, containing 1 engraving, 1 lithograph, 17 photolithographs, and 1 salted paper print | Dimensions folio: 36.5 x 55.6 cm
Exploration archéologique en Asie Mineure comprenant les restes non connus de plus de quarante cités antiques.
Paris, librairie de L. Hachette, (1863).
1 vol. in-4 oblong. En feuillets, sous chemise cartonnée éditeur.
Manque le dos. Rousseurs éparses plus prononcées sur certaines planches.
Il s'agit de la 6e à 10e livraison.
L'ensemble que nous présentons comporte: 4 ff. de texte; 18 plans et figures d'après les dessins de Trémaux; 40 photolithographies d'après les photographies de P. Trémaux prises lors du second voyage de 1853-1854, avec la lettre: «Trémaux lithophoto- Procédé Poitevin-Lithophoto Lemercier& cie r. de Seine 57»; 4 photographies originales de Trémaux, épreuves sur papier salé d'après négatifs sur papier. Seuls certains exemplaires résentaient cinq photographies du même type.
Pierre Tremaux (1818-1895) était architecte, prix de Rome en 1845. Il effectua des voyages en algérie, Tunisie, Haute- Egypte, Soudan Oriental, Ethiopie d'ou il ramena dessins et photographies. Le musée d'Orsay et le Metropolitan de New York possèdent certaines de ses photographies.
Alphonse Poitevin (1811-1882) trouva le procédé de photolithographie en 1855.
L'ouvrage de Trémaux est l'un des premiers à utiliser ce système de reproduction.
Description des planches triées par ordre alphabétique en suivant:
- Alinda: 1 ff. de texte pl. n°1 (Plan) - 2 (Vue des restes du Palais d'Alinda. Photo.) - 4 - 6.
- Aphrodisias pl. 1 - 3 - 6.
- Aspendus pl. 4 - 8 - 9.
- Belevi pl. 4 - 5.
- Byzance pl. 1.
- Brousse pl. 1.
- Corycus pl. 1 - 2.
- Cremna pl. 1.
- Didyme pl. 1 - 4 (rousseurs).
- Ephese Grecque pl. 6 (rousseurs).
- Ephese Romaine pl. 2 (Plan dépl.).
- Euromus pl. 4 (rousseurs).
- Hiérapolis 2 ff. de texte, pl. 2 (Plan dépl.) 3 - 4 (Plan) - 5 (Plan) - 6 (Plan) 9 - 12 (Plan).
- Magnésie pl. 1 (plan dépl.) - pl. n°8.
- Méandre 1 pl. (non numérotée).
- Milet pl. 2 (Style Greco Egyptien Vue d'une des statues d'une avenue à Milet. Photo). Déchirure sans manque angle bas droit - pl 4.
- Mylasa pl. 1.
- Nymphaeum pl. 1.
- Perge pl. 1 (Plan feuille double)- 2 (Vue antique de Perge. Photo) - 3.
- Pompeiopolis pl.1 (Plan feuille double) - 3.
- Priene pl. 2.
- Sardes pl.1 - (Plan double feuille) - 5 - 6 - 8 - 11.
- Seleucia pl.1 (Plan).
- Sgalassus pl.1 (Plan feuille double) - 2 - 3 (Plan).
- Sidé pl. 2 (plan) - 5.
- Sipylus 1 ff. de texte. pl 1 (Vue des restes mutilés de la statue colossale de Sipylus.
Photo. rousseurs).
- Smyrne pl. 4.
- Stratonicée pl. 1 (Plan feuille double) - 3 - 4 (Plan).
- Sylleum pl. 1.
- Tarse pl. 1.
- Trapezopolis pl. 2 (Plan) - 3.
[1] The salt print was the dominant paper-based photographic process for producing positive prints (from negatives) from 1839 until approximately 1860.
1 vol. in-4 oblong. En feuillets, sous chemise cartonnée éditeur.
Manque le dos. Rousseurs éparses plus prononcées sur certaines planches.
Il s'agit de la 6e à 10e livraison.
L'ensemble que nous présentons comporte: 4 ff. de texte; 18 plans et figures d'après les dessins de Trémaux; 40 photolithographies d'après les photographies de P. Trémaux prises lors du second voyage de 1853-1854, avec la lettre: «Trémaux lithophoto- Procédé Poitevin-Lithophoto Lemercier& cie r. de Seine 57»; 4 photographies originales de Trémaux, épreuves sur papier salé d'après négatifs sur papier. Seuls certains exemplaires résentaient cinq photographies du même type.
Pierre Tremaux (1818-1895) était architecte, prix de Rome en 1845. Il effectua des voyages en algérie, Tunisie, Haute- Egypte, Soudan Oriental, Ethiopie d'ou il ramena dessins et photographies. Le musée d'Orsay et le Metropolitan de New York possèdent certaines de ses photographies.
Alphonse Poitevin (1811-1882) trouva le procédé de photolithographie en 1855.
L'ouvrage de Trémaux est l'un des premiers à utiliser ce système de reproduction.
Description des planches triées par ordre alphabétique en suivant:
- Alinda: 1 ff. de texte pl. n°1 (Plan) - 2 (Vue des restes du Palais d'Alinda. Photo.) - 4 - 6.
- Aphrodisias pl. 1 - 3 - 6.
- Aspendus pl. 4 - 8 - 9.
- Belevi pl. 4 - 5.
- Byzance pl. 1.
- Brousse pl. 1.
- Corycus pl. 1 - 2.
- Cremna pl. 1.
- Didyme pl. 1 - 4 (rousseurs).
- Ephese Grecque pl. 6 (rousseurs).
- Ephese Romaine pl. 2 (Plan dépl.).
- Euromus pl. 4 (rousseurs).
- Hiérapolis 2 ff. de texte, pl. 2 (Plan dépl.) 3 - 4 (Plan) - 5 (Plan) - 6 (Plan) 9 - 12 (Plan).
- Magnésie pl. 1 (plan dépl.) - pl. n°8.
- Méandre 1 pl. (non numérotée).
- Milet pl. 2 (Style Greco Egyptien Vue d'une des statues d'une avenue à Milet. Photo). Déchirure sans manque angle bas droit - pl 4.
- Mylasa pl. 1.
- Nymphaeum pl. 1.
- Perge pl. 1 (Plan feuille double)- 2 (Vue antique de Perge. Photo) - 3.
- Pompeiopolis pl.1 (Plan feuille double) - 3.
- Priene pl. 2.
- Sardes pl.1 - (Plan double feuille) - 5 - 6 - 8 - 11.
- Seleucia pl.1 (Plan).
- Sgalassus pl.1 (Plan feuille double) - 2 - 3 (Plan).
- Sidé pl. 2 (plan) - 5.
- Sipylus 1 ff. de texte. pl 1 (Vue des restes mutilés de la statue colossale de Sipylus.
Photo. rousseurs).
- Smyrne pl. 4.
- Stratonicée pl. 1 (Plan feuille double) - 3 - 4 (Plan).
- Sylleum pl. 1.
- Tarse pl. 1.
- Trapezopolis pl. 2 (Plan) - 3.
[1] The salt print was the dominant paper-based photographic process for producing positive prints (from negatives) from 1839 until approximately 1860.
The salted paper technique was created in the mid-1830s by English scientist and inventor Henry Fox Talbot. He made what he called "sensitive paper" for "photogenic drawing" by wetting a sheet of writing paper with a weak solution of ordinary table salt (sodium chloride), blotting and drying it, then brushing one side with a strong solution of silver nitrate. This produced a tenacious coating of silver chloride in an especially light-sensitive chemical condition. The paper darkened where it was exposed to light. When the darkening was judged to be sufficient, the exposure was ended and the result was stabilized by applying a strong solution of salt, which altered the chemical balance and made the paper only slightly sensitive to additional exposure. In 1839, washing with a solution of sodium thiosulfate ("hypo") was found to be the most effective way to make the results truly light-fast.
The salt print process is often confused with Talbot's slightly later 1841 calotype or "talbotype" process, in part because salt printing was mostly used for making prints from calotype paper negatives rather than live subjects. Calotype paper employed silver iodide instead of silver chloride. Calotype was a developing out process, not a printing out process like the salt print. The most important functional difference is that it allowed a much shorter exposure to produce an invisible latent image which was then chemically developed to visibility. This made calotype paper far more practical for use in a camera. Salted paper typically required at least an hour of exposure in the camera to yield a negative showing much more than objects silhouetted against the sky. Gold toning of the salted paper print was a popular technique to make it much more permanent.
[2] Photolithography is a printing method (originally based on the use of limestone printing plates) in which light plays an essential role. In the 1820s, Nicephore Niepce invented a photographic process that used Bitumen of Judea, a natural asphalt, as the first photoresist. A thin coating of the bitumen on a sheet of metal, glass or stone became less soluble where it was exposed to light; the unexposed parts could then be rinsed away with a suitable solvent, baring the material beneath, which was then chemically etched in an acid bath to produce a printing plate. The light-sensitivity of bitumen was very poor and very long exposures were required, but despite the later introduction of more sensitive alternatives, its low cost and superb resistance to strong acids prolonged its commercial life into the early 20th century. In 1940, Oskar Süß created a positive photoresist by using diazonaphthoquinone, which worked in the opposite manner: the coating was initially insoluble and was rendered soluble where it was exposed to light.nIn 1954, Louis Plambeck Jr. developed the Dycryl polymeric letterpress plate, which made the platemaking process faster.
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