Echague's prints using his version of the Fresson method were certainly
stunning. I included a number of them in an exhibition
I curated on the 150 anniversary of the 1839 announcements. I concentrated
on the alternative processes from early calotypes through monochrome and
four colour Fressons to modern platinums and gums. Both the interior and
the landscape Echague/Fressons were of a quality that set them apart as
something really special. It was with some surprise that I thought that
I saw one in the audience in the auditorium at Bath. It turned out to be a
direct carbon print made by William Foster who had worked with Echargue
himself. Art told me, I think, that he and William are now collaborating
on the further development of Art's process.
The Bath meeting was not intended as an exhibition but we may well include
some Echagues in the exhibition we areorganising to go with the
publication of the proceedings of APIS 1997.
Terry King