ca.1895 French photochrom MIRAMARE CASTLE, NEAR TRIESTE, ITALY, #201

Description: Boulanger_201 ca.1895 French photochrom MIRAMARE CASTLE, NEAR TRIESTE, ITALY, #201 Photochrom titled Miramar. Le Chateau, page size 32 x 24 cm, image size 21 x 14.5 cm. From: Autour du Monde - Aquarelles - Souvenirs de Voyages, Paris, L. Boulanger, editeur. Miramare Castle Miramare Castle (Italian: Castello di Miramare; German: Schloss Miramar; Slovene: Grad Miramar) is a 19th-century castle on the Gulf of Trieste near Trieste, northeastern Italy. It was built from 1856 to 1860 for Austrian Archduke Ferdinand Maximilian and his wife, Charlotte of Belgium, later Emperor Maximilian I and Empress Carlota of Mexico, based on a design by Carl Junker. The castle's grounds include an extensive cliff and seashore park of 22 hectares (54 acres) designed by the archduke. The grounds were completely re-landscaped to feature numerous tropical species of trees and plants. History Miramare Castle and its park were built by order of Ferdinand Maximilian (1832–1867), of the House of Habsburg - younger brother of Franz Joseph, Emperor of Austria. In 1850, at the age of eighteen, Maximilian came to Trieste with his brother Charles and, immediately afterwards, he set off on a short cruise toward the Near East. This journey confirmed his intention to sail and to get to know the world. In 1852 he was appointed an officer and in 1854 he became Commander in Chief of the Imperial Navy. He decided to move to Trieste and to have a home built facing the sea and surrounded by a park worthy of his name and rank. According to tradition, when the archduke was caught in a sudden storm in the Gulf, he took shelter in the little harbour of Grignano and he chose that bare rocky spur of limestone origin as the setting for his home. The whole complex, purchased for the first time at the beginning of March 1856, was called Miramar, after the name of Prince Ferdinand of Saxony’s residence in Pena, Portugal. Designed in 1856 by Carl Junker, an Austrian architect, the architectural structure of Miramare was finished in 1860. The style reflects the artistic interests of the archduke, who was acquainted with the eclectic architectural styles of Austria, Germany and England. The craftsman Franz Hofmann and his son, Julius, were entrusted with the furnishing and decorations. Hofmann, who worked in the city of Trieste, was a skilful artisan who was willing to follow Maximilian’s suggestions. Both the artisan and his patron had a similar cultural formation and they were well acquainted with the eclectic tendencies of the time. The work, steadily supervised by Maximilian, was finished only after his departure in 1864 for Mexico; where after a brief reign as Emperor he was executed in June 1867. Maximilian intended to create an intimate atmosphere in the castle in the area reserved for his family – an area which he wanted to be in contact with nature, reflecting both his own spirit and that of an epoch. On the ground floor, destined for the use of Maximilian and his wife, Charlotte of Belgium, worthy of note are the bedroom and the archduke’s office, which reproduce the cabin and the stern wardroom respectively of the frigate Novara, the war-ship used by Maximilian when he was Commander of the Navy to circumnavigate the world between 1857 and 1859; the library, whose walls are lined with bookshelves and the rooms of the Archduchess with their tapestry of light-blue silk. All the rooms still feature the original furnishings, ornaments, furniture and objects dating back to the middle of the 19th century. Many coats of arms of the Second Mexican Empire decorate the castle, as well as stone ornamentations on the exterior depicting the Aztec eagle. The first floor includes guest reception areas and the Throne Room. Of note are the magnificent panelling on the ceiling and walls and the Chinese and Japanese drawing-rooms with their oriental furnishings. Of particular interest is the room decorated with paintings by Cesare Dell’Acqua, portraying events in the life of Maximilian and the history of Miramare. Currently, the rooms in the castle are mostly arranged according to the original layout decided upon by the royal couple. A valuable photographic reportage commissioned by the archduke himself made accurate reconstruction possible. Nowadays to visit the castle is to experience the fascination of life in the middle of the 19th century in a residence that has remained largely intact and which gives the visitor an insight into the personality of Maximilian. Photochrom Photochrom (also called the Aäc process) prints are colorized images produced from black-and-white photographic negatives via the direct photographic transfer of a negative onto lithographic printing plates. The process is properly considered a photographic variant of chromolithography, a broader term referring to color lithography in general. History The process was invented in the 1880s by Hans Jakob Schmid (1856–1924), an employee of the Swiss company Orell Gessner Füssli, a printing firm with a history extending back into the 16th century. Füssli founded the stock company Photochrom Zürich (later Photoglob Zürich AG) as the business vehicle for the commercial exploitation of the process and both Füssli and Photoglob continue to exist today. From the mid 1890s on the process was licensed by other companies including the Detroit Photographic Company in the US and the Photochrom Company of London. The photochrom process was most popular in the 1890s, when true color photography was first being developed but was still commercially impractical. In 1898 the US Congress passed the Private Mailing Card Act which allowed private publishers to produce postcards. These could be mailed for one cent each — the letter rate at the time was two cents. Thousands of photochrom prints, usually of cities or landscapes, were created and sold as postcards and it is in this format that photochrom reproductions became most popular. The Detroit Photographic Company reportedly produced as many as seven million photochrom prints in some years, and ten to thirty thousand different views were offered. After World War One, which brought an end to the craze for collecting Photochrom postcards, the chief use of the process was printing posters and art reproductions, and the last Photochrom printer operated up to 1970. Process A tablet of lithographic limestone, known as a "litho stone," is coated with a light-sensitive coating, comprising a thin layer of purified bitumen dissolved in benzene. A reversed half-tone negative is then pressed against the coating and exposed to daylight for a period of 10 to 30 minutes in summer, up to several hours in winter. The image on the negative allows varying amounts of light to fall on different areas of the coating, causing the bitumen to harden and become resistant to normal solvents in proportion to the amount of light that falls on it. The coating is then washed in turpentine solutions to remove the unhardened bitumen and retouched in the tonal scale of the chosen color to strengthen or soften the tones as required. Each tint is applied using a separate stone bearing the appropriate retouched image. The finished print is produced using at least six, but more commonly from 10 to 15, tint stones.

Price: 23 USD

Location: Zagreb, HR

End Time: 2025-02-09T14:20:29.000Z

Shipping Cost: 12.5 USD