[3] In 1855, the press reported the arrival of a new photography studio in Paris, called Photographie catholique, owned by "Monsier Vaudé-Green" and specialising in the "reproduction sur papier des chefs-d’œuvre de la peinture religieuse" (the paper reproduction of masterpieces of religious painting).
The prints produced included reproductions of Peter Paul Rubens, Fra Bartolomeo and Nicolas Poussin, which were offered for sale at affordable cheap prices.
This included a journalist in the English magazine Photographic Notes suggesting that one day photography might provide pleasant and profitable employment for many young girls otherwise destined to become overworked domestic workers or seamstresses.
[11] La Lumière magazine praised "the considerable work accomplished by Mme Vaudé-Green and the intelligence with which she has chosen the finest gems in this magnificent jewel box of masterpieces".
[13] In 1859, she took part in the third exhibition of the Société française de photographie, where she showed reproductions of paintings, including a drawing after Paolo Veronese's The Wedding at Cana, and an interior view of a palace.
[17] Between 1861 and 1863, she was involved in a dispute with Alphonse Bernoud, a French photographer living in Italy and a member of the Société française de photographie, who had used her professional services.
Few traces remain of Laplance's work, apart from some photo-cards and a series of views of the Maison pompéïenne of Prince Jérôme Napoléon on Avenue Montaigne, kept at the Musée Carnavalet.