N°1 (detail)
ARISTOTYPE FLOWERS
Weekly transmission 32-2017 presents: The Rise and Decline of the Aristotype Process Weekly Drawing by Théophile Bouchet: Organic Flowers Twelve Large Artist Studies: Arystotype Flowers Previous transmissions can be found at:
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N°10 (detail)
The Rise and Decline of the Aristophotographic Process
The term aristotype derives from the Greek ἄριστος (aristos) "excellent," and τύπος (typos), impression. So the best way to print a photographic image. The name ‘aristotype’ was used indifferently for both gelatin and collodion base photographic coated paper. Between the era of albumen (1850s-1890s) and the era of silver prints (1920s-1998s), aristotypes were very popular at the end of 19th century, neighboring pictorialist sophisticated processes as well as Kodak cameras. It is considered a very easy process for amateurs, avoiding many manipulations: “There are many advantages: a greater sensitivity, a consistent quality, ease of treatment (fixing-toning in one bath) a glossy surface, and good resolution. Their prepared coating made them the precursors of 20th century photographic papers...” The e-bulletin presents articles as well as selections of books, albums, photographs and documents as they have been handed down to the actual owners by their creators and by amateurs from past generations. The physical descriptions, attributions, origins, and printing dates of books and photographs have been carefully ascertained by collation and through close analysis of comparable works. The aristotype flowers prints are available at the price of 180 euros each, PayPal is acceped.
N°32-2017. ARISTOTYPE FLOWERS
Weekly Transmission 32
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Intensively used during twenty years (1895-1914), they disappeared during WWI. One reason of the decline is that aristotypes are contact prints, they have the same size as the negatives and are easily viewed, mostly 9 × 12 cm up to 30x40 cm (those large flowers). This is not possible with small 24x35 mm negatives. When the photographers had to enlarge the negatives, they decided to use development paper. “From a technological point of view, the great innovation of aristotypes resides first of all in the use of an emulsion. The sensibilisation of the base is no longer done by successive soakings but by coating with a solution containing suspended photosensitive salts. The paper support is subject to a treatment; baryta coating. This method, patented in 1881, by Hutinet and Lamy and designed to give a glossy surface to the photograph, consists in giving to the paper a coating of barium sulfat in suspension in a gelatin, arabic gum or albumin solution. Gelatin is the most commonly used binder. With the time the formulation evolved and manufacturers introduce wax, casein, milk, starch…etc.
N°3 (detail)
The first aristotypes were hand coated, the emulsion being poured on a sheet of paper already fixed in a frame or fixed by three angles on a wood plate. However, very soon, the coating was automated using a cylinder machine...
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After exposure, the samples are washed, toned with gold or platinum, then fixed (After 1914, the price of these metals increased dramatically). The fixing bath removed the residual silver salts. When the sample is immersed, a fading and change of tone can be observed. These two phenomena, which do not occur with development paper, have several physical and chemical origins. The color shift is due to the transformation of the silver colloidal-chloride complex into silver gelatin (or collodion) whose maximum absorption is situated at a short wavelength. The dissolving of the silver chloride leaves space in the binder where the silver particles can rearrange themselves and coagulate, which modifies their optical qualities. As soon as they were produced aristotypes were announced as permanent processes. They are, it is true, much more stable than the albumen papers but ... their stability is due mainly to the way in which the images are treated, handled and stored. Collodion aristotypes are mechanically fragile; they scratch easily and the image layer can sometimes leave the support.� (Cf. Bertrand Lavedrine, online : ).
N°4 (detail)
http://resources.conservation-us.org/pmgtopics/1991-volume-four/04_08_Lavedrine.html
Weekly Drawing by ThĂŠophile Bouchet: Organic Flowers
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FRENCH ARISTOTYPIST. Flower Study: “Arum”, circa 1900 Aristotype, 375x285 mm, title in pencil
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FRENCH ARISTOTYPIST. Flower Study: “Renoncule d’eau”, circa 1900 Aristotype, 375x270 mm, title in pencil, verso
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FRENCH ARISTOTYPIST. Flower Study: “Iris germanique”, circa 1900 Aristotype, 375x270 mm, title in pencil, verso
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FRENCH ARISTOTYPIST. Flower Study: “Roseaux, fleurs brunâtres”, circa 1900 Aristotype, 378x288 mm, title in pencil, verso
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FRENCH ARISTOTYPIST. Flower Study: “Rouges pourpre et jaunes d’or”, circa 1900 Aristotype, 375x289 mm, title in pencil, verso
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FRENCH ARISTOTYPIST. Flower Study: “cypérus papyrus”, circa 1900. Aristotype, 365x270 mm, title in pencil, verso.
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FRENCH ARISTOTYPIST. Flower Study: “Sagittaire”, circa 1900 Aristotype, 377x285 mm, title in pencil, verso
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FRENCH ARISTOTYPIST. Flower Study: “Cypéracée”, circa 1900 Aristotype, 378x290 mm, title in pencil, verso
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FRENCH ARISTOTYPIST. Flower Study: “Fleur rose à base brune”, circa 1900 Aristotype, 375x285 mm, title in pencil
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FRENCH ARISTOTYPIST. Flower Study: “Cypéracée”, circa 1900 Aristotype, 368x290 mm, title in pencil, verso
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FRENCH ARISTOTYPIST. Flower Study: “Jonc fleuri”, circa 1900 Aristotype, 383x285 mm, title in pencil, verso
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FRENCH ARISTOTYPIST. Flower Study: “Pontederia caerulea”, circa 1900 Aristotype, 373x275 mm, title in pencil
Serge Plantureux - Photographies Cabinet d'expertises et d'investigations 80 rue Taitbout, rez-de-chaussée (Entrée du square d'Orléans) 75009 Paris + 33 140 16 80 80 www.plantureux.fr Number Thirty-Second, Third Year, of the Weekly Transmission has been uploaded on Tursday 10 August 2017 at 17:15 (Paris time) Forthcoming uploads and transmissions on Thursday 17 August 2017, 15:15 The cabinet is open every Thursday 3-7 pm every other moment by appointment