Benutzer:MYR67/Artikelwerkstatt Jules Couppier

Claude Henri Jules Couppier (* 1823 ?, † 14. April 1860 in Amélie-les-Bains-Palalda (Département Pyrénées-Orientales)), war ein französischer Fotograf. Er zählte zu den frühesten Kriegsfotografen und hat wahrscheinlich als erster auch Verwundete und Kriegstote fotografiert.

Lebensweg

Der Geburtsort von Jules Couppier ist unbekannt; geboren wurde er möglicherweise im Jahr 1823. Er war verheiratete mit Anne Anna Thierry; das Ehepaar hatte mindestens einen Sohn, dieser hieß Jules Charles Couppier. Couppier lebte zumindest zeitweilig in Paris. Er war ausgebildeter Chemiker.

Um die Mitte des 19. Jahrhunderts herum nahm Couppier Stereo-Glasdias in Frankreich, Belgien, Algerien, Italien und Russland auf.

1852 schrieb Couppier ein Buch mit dem Titel „Traité pratique de photographie sur verre, d'après les derniers perfectionnements“ (deutsch etwa: „Abhandlung über die Photographie auf Glas, nach den neuesten Verbesserungen“), eine Anleitung zur Aufnahme von fotografischen Negativbildern auf albuminbeschichtetem Glas und über das Anfertigen von Positiv-Abzügen davon, das Couppier dem Erfinder dieses Verfahrens, Claude Félix Abel Niépce de Saint-Victor, widmete.

Im Jahr 1853 veröffentlichte Couppier mehrere Glas-Stereoskopien mit Aufnahmen aus Paris und Versailles.

Er gehörte 1854 zu den Gründungsmitgliedern der „Société française de photographie“, der französischen Gesellschaft für Fotografie.

Fotografien von Couppier wurden unter anderem auf der Weltausstellung in Paris 1855 und auf einer Fotoausstellung in Brüssel 1856 ausgestellt, ferner auf einer Ausstellung der Société française de photographie im Jahr 1857 in Paris und bei der Royal Photographic Society in London im Jahr 1858. Couppier stellte auch im Pariser Kunstsalon von 1859 aus, dem ersten, zu dem auch Fotografen zugelassen waren.

1857 reiste Couppier nach Russland und nahm dort Stereodias in Sankt Petersburg und Moskau auf. Er gehört zu den ersten Berufsfotografen, die in Russland tätig wurden.

1859 begleitete Couppier im Sardinischen Krieg (dem zweiten Italienischen Unabhängigkeitskrieg) die französischen Truppen nach Norditalien, um dort auf den Schlachtfeldern und an anderen Schauplätzen des Krieges zu fotografieren, der vom 17. April bis zum 12. Juli 1859 zwischen Österreich und Frankreich ausgefochten wurde. Er nahm vermutlich die ersten Fotos überhaupt von toten und verwundeten Soldaten auf. Anders als Roger Fentons (1819–1869) frühere Fotografien aus dem Krimkrieg (1853 bis 1856) zeigten die Aufnahmen Couppiers aus dem Sardinischen Krieg auch grausige Ansichten, zum Beispiel Leichen oder Berge amputierter Gliedmaßen.. Besonders bekannt geworden ist seine stereoskopische Aufnahme „Cimetière de Melegnano, le lendemain de la bataille“ („Friedhof von Melegnano, am Tag nach der Schlacht“) von Juni 1859, auf dem die Leichen von etwa 200 Soldaten in ungeordneten Haufen zu sehen sind. Bemerkenswert ist etwa auch seine Aufnahme „Vue de l’Avenue à Brescia avec convoi de blessés et de vivres.“ („Ansicht der Straße nach Brescia mit Konvoy der Verwundeten und Überlebenden“), das bald nach der Schlacht von Solferino Ende Juni 1859 aufgenommen wurde.

Im Jahr 1859 ging Couppier eine Geschäftsbeziehung mit dem Fotografen und „Maler auf Glas“ Alfred Sarrault ein. Sarrault hatte rund acht Jahre zuvor, am 11. November 1851, mit Athanase Clouzard, Louis This und anderen das Unternehmen „Sarrault et Cie.“ gegründet, das an einer Methode zur Übermalung von Fotografien auf Glas arbeitete. Im Jahr 1853 meldet diese Firma ein Verfahren zum Patent an, nach dem stereoskopische Glasplattenfotos durch farbiges Übermalen eingefärbt werden können. Im selben Jahr verlies Alfred Sarrault dieses Unternehmen, das von Athanase Clouzard und Louis This zusammen mit Charles Soulier als „This, Soulier, Clouzard et Cie“ weitergeführt wurde.

Im April 1860 starb Jules Couppier in Amélie-les-Bains-Palalda, wahrscheinlich auf einer Fototour durch die Pyrenäen. Todesursache war offenbar eine Kaliumcyanid-(Zyankali-)Vergiftung. Kaliumcyanid wurde in der Fotochemie unter anderem als Fixiermittel im Kollodium-Nassplattenverfahren verwendet.

Seinen fotografischen Nachlass übernahm die Fotoagentur von Claude-Marie Ferrier und Charles Soulier.

Aufnahmen von Couppier wurden auch schon zu seinen Lebzeiten von anderen Fotoagenturen bzw. Fotoverlagen vertrieben, manchmal unter seinem Namenskürzel J.C. So erschienen zum Beispiel Stereoskopien von Couppier im Katalog der Brüder Marc Antoine Augustin, Alexis und Charles Gaudin vom September 1856.. Auch Alexandre Abazaer hatte um 1861 Stereoskopien von Jules Couppier in seinem Angebot.. In seinem Katalog: „Excursion sur le théâtre de la guerre d'Italie, photographiée pour l'usage du stéréoscope“ („Ausflug auf den Schauplatz des Krieges in Italien, fotografiert für die Benutzung des Stereoskops“) von 1860 bot das Atelier Ferrier & Soulier auch Stereo-Fotos aus dem Sardinischen Krieg an,, deren Zuschreibung zum Teil ungewiss ist; sie könnten (außer von Claude-Marie Ferrier oder seinem Sohn Jacques-Alexandre Ferrier) auch von Jules Couppier stammen.

Rohstoffe und Zettelkasten

Couppier, Jules

Vollständiger Name: Claude Henri Jules Couppier

Jules Couppier (gestorben 1860) verstorben in Amélie-les-Bains-Palalda (Pyrénées-Orientales) am 14. April 1860 Witwe: Anne Anna Thierry Sohn: Jules Charles Couppier

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„Jules Couppier. Glass Stereoviews 1853-1860“

Jules Couppier was French photographer who made glass stereoviews in the mid-nineteenth century. His inventory of views included major sites in France, Algeria, Belgium, Italy, and Russia. He also followed the French army to northern Italy in 1859 to photograph the Franco-Austrian War, where he made the first known photograph of soldiers killed in battle. This book describes his life and work. It is illustrated with over 75 stereoviews.

Since I wrote this book, I found this reference to his death. It completes his story: ‘We all knew Mons. Jules Couppeau [sic], of Paris, who had acquired a reputation by some remarkable stereoscopic pictures on glass, and we all are aware that he died from incautiousness in the use of cyanide [of potassium].' Ernest Lacan, ‘Foreign Correspondence, Paris, February 25, 1861,' The British Journal of Photography 8, no. 137 (1 March 1861): 96.

Janice G. Schimmelman, „Jules Couppier. Glass Stereoviews 1853-1860“, https://www.blurb.de/b/8846801-jules-couppier

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Jules Couppier

It is unclear when and where Claude-Henri-Jules Couppier (? - 1860) was born.

He was a chemist by vocation. In 1852 Couppier wrote a book called "Traité pratique de photographie sur verre, d'après les derniers perfectionnements", a manual for taking negative photographic images on albumen coated glass and printing positives off them. The book is dedicated to Niepce de Saint-Victor, who was the inventor of this process. Couppier wrote in his book:

"Sir, this small work that I deliver to the public is concerned with the area of photography of which you are the creator.

I became committed to undertaking this book through your encouragement and during my time writing it I was often guided by your gracious advice.

Allow me therefore to fulfill the duty of justice and recognition by dedicating this book to you."

In 1853 Couppier publishes some glass stereoviews of Paris and Versailles.

In 1854 he was one of the founding members of the French Photographic Society.

Couppier participated in many exhibitions including the International Exhibition of 1855 in Paris, the International Exhibition of 1856 in Brussels (honorable mention), French Photographic Society exhibition of 1857 in Paris, Photographic Society of London exhibition in 1858. Couppier also exhibited at the 1859 French art salon, the first where photographers were admitted.

In 1857 Couppier traveled to Russia to take the first series of stereoviews of Russian capitals: St. Petersburg and Moscow.

In 1859 Jules Couppier travels to the theater of the Italian war, in which France took an active part. He brought a number of stereoscopic views from this trip. That same year Couppier formed a partnership with a "painter on glass" Alfred Sarrault.

In April of 1860, while on what we can safely presume was a photographic tour of the Pyrenees, Jules Couppier died in the town of Amélie-les-Bains-Palalda.

His heritage ended up in the collection of the firm run by Claude-Marie Ferrier and Charles Soulier.

Kirill Kuzmichev, „Jules Couppier“, in: The Third Dimension: The History of stereoscopic views, 2018, https://www.stereoview.me/couppier

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È noto che i Gaudin attingevano per le serie da loro edite a riprese realizzate da diversi fotografi, alcuni dei quali indicati nel loro catalogo del settembre 1856 – l’unico loro fino ad oggi rintracciato - con delle lettere, quali F (Ferrier), L (?), B (Alexandre Bertrand), H (?), H.P. (Henri Plaut), G (?), J.C. (Jules Couppier), V. (?) et SC (Soulier et Clouzard).

Es ist bekannt, dass die Gaudins für die von ihnen veröffentlichten Serien auf Aufnahmen verschiedener Fotografen zurückgriffen, einige von ihnen sind in ihrem Katalog vom September 1856 - dem einzigen bisher bekannten - mit Initialen aufgeführt, wie F (Ferrier), L (?), B (Alexandre Bertrand), H (?), H.P. (Henri Plaut), G (?), J.C. (Jules Couppier), V. (?) und SC (Soulier und Clouzard).

• Giovanni Fanelli, Le Vedute Stereoscopiche dell’Italia Edite da Alexis e Charles Gaudin (1855-1866 circa), Mai 2020, 102 Seiten, S. 3, http://www.historyphotography.org/doc/AAA_GAUDIN_ARUBA.pdf

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ABAZAER Alexandre, ph. Paris, rue d'Enghien 3; vers 1861. Vues stéréoscopiques. Dépositaire de Jules Couppier et de Jarrault.

J.-M. Voignier, Répertoire des Photographes de France aux Dix-Neuvième Siècle, Le Pont de Pieree, 1993, S. 9, https://excerpts.numilog.com/books/9782307172536.pdf

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Cette vue figure aussi dans le catalogue Gaudin de septembre 1856 (BNF V-39956) Paris et environs série J.C (Jules Couppier)

Le 26 avril 1858, Léautté vient déposer au dépôt légal pour la deuxième fois des images de la série Vues, Groupes et monument. Cette photographie appartient à ce deuxième versement ; elle porte le numéro 2935 au dépôt légal.

La Stéréothèque, Paris, panorama pris de la Butte Montmartre, Auteur du cliché : Leautte Marcel ou Pierre Charles Celestin (son frère)

https://www.stereotheque.fr/result,14469-0

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Couppier, Jules. TRAITÉ PRATIQUE DE PHOTOGRAPHIE SUR VERRE, D'APRÈS LES DERNIERS PERFECTIONNEMENTS. Paris: Ch. Chevalier, Puech et Cie, Guilloux, 1852. First edition. 8vo., 61 pp.

[...]

Jules Couppier, a chemist, was a founding member of the Sociéte Française de Photographie (1854) an outgrowth of the first photographic society in the world, Sociéte Héliographique, founded in 1851. In 1848, Abel Niépce de Saint-Victor, the second cousin of the first photographer, J. N. Niépce, and a founder of the Sociéte Héliographique, published a paper in the journal of the Academy of Sciences on his experiments with albumen coated glass plates for obtaining a negative from which a sharper and tonally richer positive print could be obtained. A distinct advantage of this process was that it allowed for the manufacture of the plates in advance of their use; however, the plate had a low sensitivity to light, therefore portraiture was not possible. In this, one of the earliest full manuals covering the albumen negative on glass and positive print processes, Couppier has dedicated it appropriately to Niépce de Saint-Victor. As a skilled chemist, Couppier was able to improve upon many of the earlier difficulties of sensitivity that had limited this process; improved formulas are provided. Couppier is known today for his albumen glass plate stereographs; one from 1859 taken in the cemetery of Melegnano, showing the bodies of over 2000 combatants, is a harsh testament to the brutality of war.

Andrew Chan Booksellers, New York Book Fair 2017. Photographie: In the Beginning. The First Bibliography of French Photography, 45 Seiten, S. 8, https://ilab.org/assets/catalogues/catalogs_files_3221_combined_20for_20web_20early_20technical_20history_20of_20photography.pdf

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Musée de la Photographie Centre d’art contemporain de la Fédération Wallonie - Bruxelles

COUPPIER JULES Personne, COUPPIER JULES L-10920 PARIS DES PHOTOGRAPHES L-8842 PARIS ET LES PARISIENS SOUS LE SECOND EMPIRE L-6366 CATALOGUES DES EXPOS ORGANISEES PAR LA SFP

https://museephoto.lescollections.be/index.php/Detail/entities/33312

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Couppier, Jules. TRAITÉ PRATIQUE DE PHOTOGRAPHIE SUR VERRE, D'APRÈS LES DERNIERS PERFECTIONNEMENTS. Paris: Ch. Chevalier, Puech et Cie, Guilloux, 1852. First edition. 8vo., 61 pp.

[...]

Jules Couppier, a chemist, was a founding member of the Sociéte Française de Photographie (1854) an outgrowth of the first photographic society in the world, Sociéte Héliographique, founded in 1851. In 1848, Abel Niépce de Saint-Victor, the second cousin of the first photographer, J. N. Niépce, and a founder of the Sociéte Héliographique, published a paper in the journal of the Academy of Sciences on his experiments with albumen coated glass plates for obtaining a negative from which a sharper and tonally richer positive print could be obtained. A distinct advantage of this process was that it allowed for the manufacture of the plates in advance of their use; however, the plate had a low sensitivity to light, therefore portraiture was not possible. In this, one of the earliest full manuals covering the albumen negative on glass and positive print processes, Couppier has dedicated it appropriately to Niépce de Saint-Victor. As a skilled chemist, Couppier was able to improve upon many of the earlier difficulties of sensitivity that had limited this process; improved formulas are provided. Couppier is known today for his albumen glass plate stereographs; one from 1859 taken in the cemetery of Melegnano, showing the bodies of over 2000 combatants, is a harsh testament to the brutality of war.

Andrew Chan Booksellers, New York Book Fair 2017. Photographie: In the Beginning. The First Bibliography of French Photography, 45 Seiten, S. 8, https://ilab.org/assets/catalogues/catalogs_files_3221_combined_20for_20web_20early_20technical_20history_20of_20photography.pdf

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Johnson Vintage Photos, „Combat Photography During the Franco-Austrian War of 1859“, 18. Februar 2012 in: vintagephotosjohnson, https://vintagephotosjohnson.com/tag/ferrier-claude-marie-1811-1889/

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Fig. 58: Jules Couppier, Cimetière de Melegnano, le lendemain de la bataille, 1859, stereoscopic print on albumen paper, 6.9 by 13.6 cm, Musée de l'Armée, Paris

Julia Thoma, „The Final Spectacle: Military Painting under the Second Empire“, 1855-1867, S. 223 https://books.google.de/books?id=tXWcDwAAQBAJ&pg=PA223&lpg=PA223&dq=%22Jules+Couppier%22+Photo&source=bl&ots=-kv6ehdJzY&sig=ACfU3U1fIWFN8uziWYeAVva1NldtewYRAw&hl=de&sa=X&ved=2ahUKEwjlzJLtkNL1AhVrQvEDHZlLDhQQ6AF6BAglEAM#v=onepage&q=%22Jules%20Couppier%22%20Photo&f=false

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The Photographic Journal, Band 2, S. 137 https://books.google.de/books?id=yFn53q5woaAC&pg=PA137&lpg=PA137&dq=%22Jules+Couppier%22+Photo&source=bl&ots=GG_fnwLRcb&sig=ACfU3U2sGIne88nvtrjt5CmsmD3NEBj7ZA&hl=de&sa=X&ved=2ahUKEwjlzJLtkNL1AhVrQvEDHZlLDhQQ6AF6BAgkEAM#v=onepage&q=%22Jules%20Couppier%22%20Photo&f=false

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Fotografien von Jules Couppier

• 19thcentury-photography

https://www.19thcentury-photography.com/product-page/glass-stereoview-of-moscow-eglise-du-sauveur-jules-couppier-1858

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Fewer in number are photographs attributed to Jules Couppier.Footnote 71 His images are of the battlefields and were made in the days following several of the conflicts that were part of the Franco-Austrian War, which lasted from 26 April to 11 July 1859. Unlike Fenton's pictures, these are panoramas taken at a distance. Fenton's Valley picture may have made the battlefield appear more palpable with its proximal composition, but Couppier and Fenton's battlefield scenes are equally devoid of human figures. Couppier, however, did take a certain type of photograph that Fenton did not, or could not: amidst the Couppier collection are a few photographs that contain images of the wounded and the dead. A stereograph of “a convoy of the wounded and survivors” has survived from Solferino.Footnote 72 It is taken at high angle, perhaps from a church bell tower, and shows carriages filled with injured soldiers, stretching as far back as the eye can see, being moved to makeshift medical facilities in the town of Brescia (see Figure 5).

Figure 5. Vue de l'Avenue do Brescia avec convoi de blesses et de Vivres [View of the Road to Brescia, with Convoy of the Wounded and Survivors], attributed to Jules Couppier, 1859. Stereograph of the aftermath of the Battle of Solferino, c. 24–26 June 1859. Courtesy of vintagephotosjohnson.com.

From the Battle of Magenta, which took place two weeks before Solferino, there exists a striking picture of a pile of corpses awaiting burial at the local cemetery (see Figure 6 and detail in Figure 7). The fact that this image was made into a stereograph enhances its affective potential – to see a photograph of a mass of bodies was itself shocking and new, but to see it in three-dimensional quality would have been harrowing. This is precisely what Oliver Wendell Holmes suggested in his account of encountering a stereograph (possibly this same image) of a “heap of dead lying unburied” at the cemetery at Melegnano in his friend's collection of pictures.Footnote 74 The American poet, physician, essayist, and co-founder of The Atlantic Monthly wrote:

Look away, young maiden and tender child, for this is what war leaves after it. Flung together, like sacks of grain, some terribly mutilated, some without mark of injury, all or almost all with a still, calm look on their faces. The two youths, before referred to, lie in the foreground, so simple-looking, so like boys who had been overworked and were lying down to sleep, that one can hardly see the picture for the tears these two fair striplings bring into the eyes.Footnote 75

Figure 6. 702. Vue du Cimetiere de Melegnano – le lendemain du Combat [View of the Cemetery at Melegnano – the Aftermath of Combat], attributed to Claude-Marie Ferrier, 1859. Stereograph. Courtesy of vintagephotosjohnson.com.

[...]

The reports from another photographer present at a battle that preceded Solferino provide additional context of a sentimental sort to Couppier's images. Known only as J. L., this photographer described himself as a British tourist who diverted his plans to take landscape photographs in the mountains of Switzerland and Italy when he heard of the impending battle at Palestro, which took place on 30–31 May 1859. By chance rather than design, he became a de facto correspondent for the Photographic News, a journal that predominantly featured articles on the technical aspects of the medium.

[...]

Fn. 71 The photographs attributed to Jules Couppier and reproduced here have been researched by Janice Schimmelman, who has also researched Claude-Marie Ferrier, another contemporary photographer considered the possible creator of these stereographs. Based on a variety of factors including handwriting comparison, Schimmelman concludes that these images are by Couppier. The Couppier and Gaudin Brothers images are reproduced with permission from the personal holdings of photographic historian William G. Johnson. See John B. Cameron and Janice G. Schimmelman, The Glass Stereoviews of Ferrier and Soulier, 1852–1908, Collodion Press, Rochester, MI, 2016; Janice G. Schimmelman, Jules Couppier: Glass Stereoviews, 1853–1860, Collodion Press, Rochester, MI, 2018.

Sonya de Laat The camera and the Red Cross: “Lamentable pictures” and conflict photography bring into focus an international movement, 1855–1865 Published online by Cambridge University Press: 18 March 2021 Journal: International Review of the Red Cross, Volume 102, Issue 913: Digital technologies and war https://www.cambridge.org/core/journals/international-review-of-the-red-cross/article/camera-and-the-red-cross-lamentable-pictures-and-conflict-photography-bring-into-focus-an-international-movement-18551865/6CF141E03BE53C812B11B2CFDDA1D321

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01/03/2020

While researching my book on the instantaneous stereoviews of Paris taken by Claude-Marie Ferrier in 1861, I found this reference in the British Journal of Photography to the death of JULES COUPPIER, who had died 11 months before in Amélie-les-Bains-Palalda (Pyrénées-Orientales), on April 14, 1860. It concerned his death:

‘We all knew Mons. Jules Couppeau [sic], of Paris, who had acquired a reputation by some remarkable stereoscopic pictures on glass, and we all are aware that he died from incautiousness in the use of cyanide [of potassium].' Ernest Lacan, ‘Foreign Correspondence, Paris, February 25, 1861,' The British Journal of Photography 8, no. 137 (1 March 1861): 96.

I did not know this when I published my book on Jules Couppier, so if you own a copy please slip this reference into it. I guess that since, as Lacan put it, ‘we are all aware . . .’ that it wasn’t necessary for him to mention Couppier’s death in a French photographic journal at the time. And it was only mentioned now in a discussion of the use of cyanide in photography. It completes Couppier’s story . . . although he may reappear in a future publication on the tinting of early glass and tissue stereoviews.

12/01/2019

For those of you who may have purchased my book on Jules Couppier's glass stereoviews. This is a recent acquisition of no. 49 'Labyrinthe du Jardin Mabille,' 1854-56. Open to the public in 1844, the Jardin Mabille was a high-class open-air dance establishment in Faubourg Saint-Honoré, Paris. In a garden setting, it was known for its lawns, trees, and sandy paths. It also had galleries, a grotto, a labyrinth, a Chinese pavilion, artificial palm trees, and a merry-go-round. It's 3000 gas lights meant that it was open in the evenings. It was damaged during the Franco-Prussian War in 1870, and closed in 1875. This is a tinted view of the Chinese pavilion and a fragment of the labyrinth. Tinted glass stereoviews are rare at this early date. Only two photographers offered them for sale: Jules Couppier and Alexandre Bertrand (and I have been increasingly convinced that Bertrand tinted Couppier's views). This one is even more unusual in that the tinting was done in layers, in front and behind the image glass.

Link to purchase 'Jules Couppier: The Glass Stereoviews 1853-1860.' http://www.blurb.com/b/8846801-jules-couppier

01/09/2018 Jules Couppier

A copy of my book on the glass stereoviews of Jules Couppier is now located at the Library of Congress. http://www.blurb.com/b/8846801-jules-couppier

Jules Couppier was French photographer who made glass stereoviews in the mid-nineteenth century. His inventory of views included major sites in France, Algeria, Belgium, Italy, and Russia. He also followed the French army to northern Italy in 1859 to photograph the Franco-Austrian War, where he made...

https://www.schoolandcollegelistings.com/XX/Unknown/243201632467190/The-Collodion-Press

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Jules Couppier was French photographer who made glass stereoviews in the mid-nineteenth century. His inventory of views included major sites in France, Algeria, Belgium, Italy, and Russia. He also followed the French army to northern Italy in 1859 to photograph the Franco-Austrian War, where he made the first known photograph of soldiers killed in battle. This book describes his life and work. It is illustrated with over 75 stereoviews.

Since I wrote this book, I found this reference to his death. It completes his story: ‘We all knew Mons. Jules Couppeau [sic], of Paris, who had acquired a reputation by some remarkable stereoscopic pictures on glass, and we all are aware that he died from incautiousness in the use of cyanide [of potassium].' Ernest Lacan, ‘Foreign Correspondence, Paris, February 25, 1861,' The British Journal of Photography 8, no. 137 (1 March 1861): 96. https://www.blurb.com/b/8846801-jules-couppier

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[...] Ferrier was making a fortune selling stereoscopic glass transparencies—albumen-on-glass positives printed from albumen-on-glass negatives. S. 7

Photographers who mastered albumen-on-glass — including Claude-Marie Ferrier, Robert Macpherson, and Camille Bernabé — also appreciated its extremely subtle light, detail, and tonal range. [...] Whether made with albumen or collodion, glass negatives brought together sharpness (previously the realm of the daguerreotype) and reproducibility (made possible by the calotype). From the mid-1850s, the majority of photographs were made from glass negatives. S. 9

Albumen plates were more difficult to prepare and required longer exposure times than ones using collodion. Even specialists like Jules Couppier admitted a risk of harsh contrast in the image that could destroy subtle gradations in tone if the process wasn’t properly mastered.44 S. 16

• Quelle: Kim Timby, „Glass Transparencies: Marketing Photography’s Luminosity and Precision“, S. 7–24, in: Kelley Wilder (Guest Editor), „Photography in the Marketplace“, PhotoResearcher Nr. 25|2016, European Society for the History of Photography (ESHPh), https://www.academia.edu/23363210/Glass_Transparencies_Marketing_Photographys_Luminosity_and_Precision

Glass Transparencies: Marketing Photography's Luminosity and Precision PhotoResearcher 25: Photography in the Marketplace, edited by Kelley Wilder, 2016 Kim Timby; ACADEMIA, https://www.academia.edu/23363210/Glass_Transparencies_Marketing_Photographys_Luminosity_and_Precision

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Titel: Inventar nach dem Tod von Claude Henri Jules Couppier, aufgenommen in einem Haus in 21 bis, rue de la Contrescarpe-Saint-Marcel, selbst verstorben in Amélie-les-Bains-Palalda (Pyrénées-Orientales) am 14. April 1860 auf Antrag seiner Witwe, Anne Anna Thierry und als gesetzlicher Vormund ihres Sohnes Jules Charles Couppier, wohnhaft 21 bis, rue de la Contrescarpe-Saint-Marcel, in Anwesenheit von Victor Achille Monin, Subrogationsvormund, Leutnant der Marine, wohnhaft in Marseille (Bouches-du-Rhône). (4 f.). Erwähnenswert: Jean Joseph Alfred Sarrault und, Claude Marie Ferrier, Fotograf 99, Boulevard de Sébastopol, die als Sachverständige bestellt wurden, schätzten mit Hilfe des Auktionators den Wert der Fotoausrüstung auf 11.388 Francs. Inhalt : Herkunft der Informationen : , von Marc Durand, Paris, Archives nationales, 2015, notice n° 1182 (entmaterialisierte Version des Suchinstruments, die biografischen Notizen und Ergänzungen zu den Urkundenbeschreibungen sind nur in der Papierversion des Werks zu finden, siehe Kontext im Plan d'orientation général - Notaires de Paris, guides thématiques du Minutier).De l'image fixe à l'image animée (1820-1910), Dokumente des Minutier central des notaires de Paris zur Geschichte der Fotografen und der Fotografie. 2010 Datum der Erstellung des Eintrags :

France Archives, Portail national des archives, Inventaire après décès de Claude Henri Jules Couppier, dressé dans une maison située 21 bis, rue de la Contrescarpe-Saint-Marcel,... https://francearchives.fr/facomponent/ec8c93c0e87214b20fa7699acc019108728969a6

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Cimetière de Melegnano, le lendemain de la bataille Jun 1859 Credit: Photo (C) Paris - Musée de l'Armée, Dist. RMN-Grand Palais / Fanny Reynaud Paris, musée de l'Armée http://www.musee-armee.fr/accueil.html

https://art.rmngp.fr/en/library/artworks/cimetiere-de-melegnano-le-lendemain-de-la-bataille_epreuve-sur-papier-albumine_stereoscopie_1859

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Werke von oder über Jules Couppier: https://www.worldcat.org/search?q=au%3ACouppier%2C+Jules%2C&qt=hot_author

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Zu Kaliumcyanid (Zyankali) in der Fotochemie:

• https://www.cambridgeincolour.com/forums/thread15099.htm
• https://www.photrio.com/forum/threads/cyanide-in-the-olden-days.94276/
• https://www.photo.net/discuss/threads/potassiumcyanide-from-darkroom-chemicals.5499373/

Literatur und Quellen

• Kirill Kuzmichev, „Jules Couppier“, in: „The Third Dimension: The History of stereoscopic views“, 2018, https://www.stereoview.me/couppier

• Janice G. Schimmelman, „Jules Couppier. Glass Stereoviews 1853-1860“, Blurb, https://www.blurb.com/b/8846801-jules-couppier

Personen-Normdaten etc.

• VIAF: http://viaf.org/viaf/41682029

• WorldCat Identities: http://www.worldcat.org/identities/lccn-nr88-496/

• RKD: https://rkd.nl/nl/explore/artists/394559

• LoC: http://id.loc.gov/authorities/names/nr88000496

• IDRef: https://www.idref.fr/252569806