Re: How can you tell?

A follow-up question would be to the use of carbon in other countries
(besides western europe). Use in Russia, India, Asia? Does anyone know
the extent of its progression outside of europe and the US? For example,
I have a carbon print by an amateur dated 1930 from China in my
collection but not signed.

Here is a thought, as a carbon group, lets gather together what ever
historical information we may have in our personal libraries and notes
(which is not already well documented in the current literature) to see
if some of the pieces produce additional information to the history of
the carbon process. In addition, those who have known vintage carbon
prints (or associated carbon processes) can scan them in to be compiled
for a visual addition to this knowledge base. Who might have room on
their web site to catalog this information? Richard? I have a handful of
articles gleamed from the late 1800s that I have found.

Although my time is very limited, I'm willing to be the initial central
recipient to catalog and burn to a CD(s) for future distribution.

Any thoughts or interest?

Paul A. Lehman

Tod Gangler wrote:
> Eric wrote:
>
>
>>I'd like to ask a couple of follow-on questions to this discussion.
>>
>>* what would be considered the heyday of carbon printing?
>>* what was carbon's niche? It seems to me that it would not have been
>> used for large "editions" in the way that photo-, later roto-, gravure
>> was used, or the way collotype was used, either?
>
>
>
> Hi Eric,
>
> I think there were a couple of carbon printing heydays. First, there is
> the remarkable production of Adolphe Braun's studio in France during the
> full decade of the 1860's, plus a little into the 1870's. Someone on the
> list recently mentioned the very fine publication "Image and Enterprise,"
> by Maureen O'Brien and Mary Bergstein. This is a great book on the life
> and work of Adolphe Braun, who was also great. Braun's studio produced
> large editions of black and white carbon prints, printing in many sizes.
> They made some very large masterpieces that were around 22x30 inches.
>
> The second heyday could be the first flowering of color printing and
> photography that occured in large part due to the carbro process. Nickolas
> Muray and Paul Outerbridge were but two of the great masters working in
> tricolor carbro during the 1920's, 30's and up to World War II. There were
> many individual masters of this difficult printing process, and there was
> also the Vivex Laboratory in England. Vivex was a lab that offered carbro
> printing services, and they produced Mme. Yevonde's original prints. I
> don't know of any real editioning done by these printers. Often, the
> photographers produced only one master carbro print which was then supplied
> as a proof, accompanying the original glass plate separation negatives.
> These camera-original negatives were used to make the color printing plates
> that were inked to print America's first color magazine covers.
>
> best wishes,
>
> Tod Gangler
>
> Art & Soul
> Seattle, WA.
>
>
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Received on Tue Sep 14 22:04:26 2004