U of S | Mailing List Archive | alt-photo-process-l | RE: Jose Ortiz-Echague and Fresson

RE: Jose Ortiz-Echague and Fresson



I have never gone to a museum and view such prints (I assume they are
special collection). So how does one request a viewing? Can a lowly, no-name
person like myself just call up the museum beforehand and make a request and
they will arrange a viewing for me? Or do I need some "credentials" (which I
suppose I can find some too if needed)?


Dave 

> -----Original Message-----
> From: joachim oppenheimer [mailto:joachim2@optonline.net] 
> Sent: Tuesday, May 22, 2007 10:30 AM
> To: alt-photo-process-l@usask.ca
> Subject: RE: Jose Ortiz-Echague and Fresson
> 
> There is a large collection of Echague's work at the print room (by
> appointment) of the Metropolitan Museum of Art in New York). 
> My negative feelings about this man, as well as  the entire 
> secretiveness of the Fresson process, does not deny that 
> those prints are of historic interest. Joachim
> 
> -----Original Message-----
> From: Sandy King [mailto:sanking@clemson.edu]
> Sent: Tuesday, May 22, 2007 12:36 AM
> To: alt-photo-process-l@usask.ca
> Subject: Re: Jose Ortiz-Echague and Fresson
> 
> 
> That could very well be the case. Ortiz-EchagŁe certainly had 
> the means to buy the process.
> 
> My understanding is that the Fresson family did not sell him 
> a machine, but provided him with the technical information to 
> prepare and coat the emulsion and to build a machine. I am 
> fairly certain that Ortiz-EchagŁe wrote this in the 
> introduction to one of his last books. In any event, the key 
> to the process is not the machine, but the emulsion formula 
> and how it is coated. I could think of several ways to coat 
> carbon tissue, but the performance will ultimately be based 
> more on the tissue formula than on the coating procedure.
> 
> Sandy
> 
> 
> 
> 
> At 11:22 PM -0500 5/21/07, achakali@wideopenwest.com wrote:
> >Based upon accounts from Bill Foster, who actually knew and 
> >photographed
> with
> >Echague, the machine and formula was purchased from the 
> Fresson family.
> >Additionally, the "carbondir" was apparently a part of the 
> agreement to 
> >not use the Fresson name for the paper Echague produced.
> >
> >Art
> >
> >
> >On Tue, 22 May 2007 00:09:57 -0400, Sandy King wrote
> >>  There is also he possibility that money exchanged hands. I don't  
> >> know that for a fact, but Ortiz-Echague was definitely a person of
> means.
> >>
> >>  Sandy King
> >>
> >>  At 11:57 PM -0400 5/21/07, Sandy King wrote:
> >>  >Chris.
> >>  >
> >>  >Several reasons I can suggest.
> >>  >
> >>  >There may also be personal connections of which I am not 
> aware. But  
> >> >here are some of the things that may have moved them.
> >>  >
> >>  >At the time Ortiz-Echague was one of the most famous 
> photographers  
> >> >in Europe, and had been using the Fresson paper for 
> almost 50 years.
> >>  >Perhaps they felt that they owed him the favor.
> >>  >
> >>  >And, he was one of the most powerful men in Spain and a 
> person of  
> >> >great accomplishments outside of photography. He was one of the  
> >> >first pilots in the Spanish, rose to the rank of General in the  
> >> >Army, and served as President of both SEAT (a company 
> that produced
> >>  >cars) and of another company that produced airplanes.
> >>  >
> >>  >Basically, I figure they came to the conclusion that 
> their secrets  
> >> >were safe with him, given his age at the time and his status in  
> >> >Spanish society.
> >>  >
> >>  >Sandy
> >>  >
> >>  >
> >>  >
> >>  >  At 9:41 PM -0600 5/21/07, Christina Z. Anderson wrote:
> >>  >>When the Fresson family
> >>  >>ceased commercial distribution of the paper they  
> >>provided him 
> >> with the technical knowledge to coat  >>his own paper, and he 
> >> constructed a coating  >>machine and thereafter called his 
> process  
> >> >>"carbondir" (carbon directo) so as not to offend  >>the Fressons.
> >>  >>
> >>  >>Sandy,
> >>  >>Why would, do you think, the Fresson family share their 
> secrets  
> >> >>with him and yet not with anyone else since then?
> >>  >>
> >>  >>I notice they still do Sheila Metzner's work as well as 
> Deborah  
> >> >>Turbeville's...
> >>  >>Chris
> >
> >
> >--
> >WOW! Homepage (http://www.wowway.com)
> 
> 
> 
> 
>