"En Passant" is no signature no date but marked as ca1908 in Autour De
Leonard Misonne - 112 pages, think it was published in 1990 by the Musee
De La Photographie/Charleroi avenue Paul Pastur 11, 6100 Charleroi,
Belgium
tel +32-71-435810
In La Couleur du Temps Photographies de Leonard Misonne, 1991 Centre
National de la Photographie, Paris
ISBN 2-86754-069-0
They list the print at 1906, and this volume contains several more
Fresson prints by Misonne - at least I think they are as they have that
characteristic texture on the reproduction;
- Aux champs 1909;
- La Forteresse 1905;
- Coucher de soleil 1909.
The thing that intrigues me is that Misonne developed the Mediobrom
process, yet none of the prints I have seen, either originals or in
publications, are marked as using this process?
All the ones I have seen are marked either Oil or Fresson. It states
that he used mediobrome from 1930-1943 and "1931 Obtient un brevet pour
son "ecran flou-net"".
In Autour de Leonard Misonne it has a description of the flou-net and 2
pictures of it, afraid my French is not quite up to the description.
In the biographie in La Couleur du Temps it states "1896-1900 Utilise le
procede au charbon, dit Fresson"
I maybe able to scan the reproduction if you are interested.
brgds
Mel
Luis Nadeau wrote:
> At 12:49 AM +0100 97/11/06, Mel Proudfoot wrote:
> >Hi Luis,
> >
> >Attributed to Misonne? Yes, Its called "En Passant" and marked
> Charbon
> >Fresson.
>
> Very interesting. Any date?
>
> >In the book, printed by the Musee de la Photographie:
> >Autour de Leonard Misonne - Rene Debanterle, Marc-Emmanuel Melon and
> >Donminique Polain.
> >ISBN 2-87183-020-7
>
> Year? No. of pages?
>
> >It lists three fresson prints attributed to Misonne.
> >
> >Vintage Sury prints or contemporary work by Berger? Vintage, at least
> as
> >far as I know, about 10 Marissiaux sury prints - in the catalogue
> they
> >are marked as being produced between 1911-1914, and a couple of
> >examples, I expect modern, showing the prints in the various stages
> of
> >production. I read the description of the sury process in your
> >Encyclopaedia. The colours in the Marissiaux prints are wonderful.
> >
> >It is an oil print, although it could be a collotype. Thanks for the
> >info, the images are very delicate and subdued.
>
> The oil and bromoil processes are extremely flexible, especially with
> the
> transfer technique. The only reason why they are much less popular
> than
> platinum is not because they are inferior but because they are more
> difficult to learn. Once you've mastered them however, like David
> Lewis
> has, you are free of having to use expensive chemicals and you are
> capable
> of making superb prints for the rest of your life.
>
> You also have the satisfaction of being capable of doing something
> very few
> people can do.
>
> >Thanks to your Bromoil/Oil book I can now make oil prints, at least I
>
> >get an image - in fact I get a higher success rate than with Bromoil
> -
> >just need to work on the quality. I am still fighting to get
> consistent
> >results with Kentmere Document Art, but things are slowly getting
> better
> >as I sort out the soak temp and times.
> >
> >Much appreciate your books both for practical guidance and for
> finding
> >out what I am looking at in exhibitions!
>
> _History and Practice of Oil and Bromoil Printing_ has been out of
> print
> for a while. I'm getting many requests these days for a reprint and I
> intend to do something about it real soon.
>
> Luis Nadeau
> NADEAUL@NBNET.NB.CA
> Fredericton, New Brunswick, Canada
> http://www3.nbnet.nb.ca/nadeaul/