An interesting and rare piece of early photographic history. Félix Nadar: Façade nr. 5 "Ossements du cimetière de Vaugirard".

The sixty or so photographs taken by Gaspard-Félix Tournachon (dit Nadar) in the Paris catacombs in 1862 are the most spectacular use of his 1861 patent for artificial light photography which he had been experimenting since 1859.
Nadar worked with the aid of the Victor Serrin electric regulator, activated by a fifty-element Bunsen battery. (Sylvie Aubenas, 2018)
Some of the used wires between the Bunsen battery and the carbon arc lamps are visible in this image. Despite this artificial light, exposures of 18 minutes were required.

Nadar's images of the catacombs invite close viewing of the tidy arrangements of the profuse and undifferentiated mortal remains among the low ceilings and winding pathways of the subterranean necropolis. Nadar adopted various perspectives to accentuate the density of human debris and compartmentalization of burial chambers. (Shao-Chien Tseng, 2014) This photograph is a good example of this practice.

Nadar exhibited his photographs of the catacombs several times after 1862 and even included them in the decoration of successive workshops right until the turn of the twentieth century, as emblematic of a heroic phase of his career. (Aubenas, 2008)
This image is published by Paul Nadar in Paris-Photographe, 1893, p. 294, see last image from the Rijksmuseum (for reference only).

Albumen print is mounted on cardboard with a hand painted red frame. The recognizable and iconic trademark of Nadar. Traces of use and age. Pin holes in every corner of the cardboard.

albumen print ca. 22,7 x 19 cm
mount ca. 25,9 x 22 cm

Literature :
Philippe Néagu, Le Paris souterrain de Félix Nadar 1861 : des os et des eaux, Paris : C.N.M.H.S., 1982 , p. 30, ill. 34.
Sylvie Aubenas, Catacombes. Nadar au royaume des morts, L’Oeil Curieux, Paris, 2018, p. 37.
A similar print is in the collection of BnF, Paris.