Contents
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Status: Collect > Document > Analyse > Improve |
Introduction
537.01 Documentary > People of the world
             
As soon as travel with a camera was viable photographers set off to record the sites and peoples of the world. With the daguereotype most of the surviving portraits are one-off portraits of a single person or a small group rather than a social or anthropological study of an ethnic people. An exception to this would be the series London daguerreotypist Richard Beard took which were used as the basis for Henry Mayhew's book London Labour and the London Poor (1861-1862).
As the century progressed photographers created sets of portraits of people in local costume for carte de visites and cabinet cards these were mostly taken in studios rather than outside as the backgrounds show. Certain events such as the visits by Native American delegations to Washington (USA) were photographed by Alexander Gardner, Mathew Brady and others.
Tipos (Types) were series of portraits done by a single photographer, such as Christiano Júnior in Brazil or François Aubert in Mexico, showing the people of a region or country and these can also be occupationals.
Different formats
537.02 Documentary > Daguerreotypes: Ethnic
                
537.03 Documentary > Daguerreotypes: Ethnic: Indians
537.04 Documentary > Daguerreotypes: Ethnic: Chinese
537.05 Documentary > Daguerreotypes: Ethnic: Native Americans
537.06 Documentary > Daguerreotypes: Ethnic: Spanish
537.07 Documentary > Richard Beard: Illustrations for Henry Mayhew - London Labour and the London Poor
About this photographer | Photographs by this photographer
           
In 1851 Henry Mayhew's book London Labour and London Poor was published in three volumes collecting together his well researched articles published in the Morning Chronicle. The book was an attempt at educating the middle and upper classes in Victorian England to the appalling social conditions of London. The illustrations for the book were based on daguerreotypes that were taken under the supervision of Richard Beard that were converted to wood engravings for publication because of the inability to print photographs within books at the time. As Naomi Rosenblaum pointed out in her A World History of Photography the result of using wood engraving is that the characters are removed from their original surroundings by the use of 'sketchily indicated' backgrounds and this separates the viewer from the subject.
Illustrations based on Beard daguerreotypes included:
The Atheneum, No.1407, Oct. 14, 1854, p.1223.
RARE WORK. A few Copies just ready of HENRY MATHEWS Celebrated and very Extraordinary Work, 'LONDON LABOUR AND THE LONDON POOR : a CycIopedia of Those that Work, Those that cannot Work, and Those that will not Work,' with Engravings of the Scenes and People described, copied from Daguerreotypes taken expressly for this Book by Beard. Prices [unclear on scan]. Each bound copy has at end the whole of the valuable "Answers to Correspondents arranged to be read uninterruptedly." EITHER DIVISION OF THE WORK SOLD SEPARATELY.
A quantity of Odd Numbers for completion of sets to 63rd number -(pages -432 of Vol. II. and 199 of Vol. III.}. The Answers to Correspondents prepared for binding, all Advertisements, &c. attached on publication being excluded. Copies bound in manner rendering them more complete than any ever supplied, except by
G. Newbold, 8, Regent-street. Westminster.
N.B. Numbers bought - full price given - lists requested by post.
537.08 Documentary > Acadians, Halifax, Nova Scotia, Canada (1859)
  
Frederic S. Cozzens Acadia; or, A Month with the Blue Noses (New York: Derby & Jackson, 1859), frontispiece. Based on an ambrotype that is now lost.
From the Preface of the book, p.iv-v.
A word in regard to the two Acadian portraits. These are literal ambrotypes, to which Sarony has added a few touches of his artistic crayon. It may interest the reader to know that these are the first, the only likenesses of the real Evangelines of Acadia. The women of Chezzetcook appear at daybreak in the city of Halifax, and as soon as the sun is up vanish like the dew. They have usually a basket of fresh eggs, a brace or two of worsted socks, a bottle of fir-balsam to sell. These comprise their simple commerce. When the market-bell rings you find them not. To catch such fleeting phantoms, and to transfer them to the frontispiece of a book published here, is like painting the burnished wings of a humming-bird. A friend, however, undertook the task. He rose before the sun, he bought eggs, worsted socks, and fir-balsam of the Acadians. By constant attentions he became acquainted with a pair of Acadian women, niece and aunt. Then he proposed the matter to them:
"I want you to go with me to the daguerreotype gallery."
"What for?"
"To have your portraits taken."
"What for?"
"To send to a friend in New York."
"What for?"
"To be put in a book."
"What for?"
"Never rnind ' what for,' will you go ?"
Aunt and niece both together in a breath "No."
So my friend, who was a wise man, wrote to the priest of the settlement of Chezzetcook, to explain the "what for," and the consequence was our portraits! But these women had a terrible time at the head of the first flight of stairs. Not an inch would these shy creatures budge beyond. At last, the wife of the operator induced them to rise to the high flight that led to the Halifax skylight, and there they were painted by the sun, as we see them now.
Nothing more! Ring the bell, prompter, and draw the curtain.
Curatorial note: The Sarony mentioned was presumably Napoleon Sarony (1821-1896)
537.09 Documentary > Albumen prints: Ethnic and traditional costumes
                          
537.10 Documentary > Carte de visites: Ethnic and traditional costumes
              
537.11 Documentary > Cabinet cards: Ethnic and traditional costumes
            
537.12 Documentary > Japanese ambrotypes
                                  
These rare Ambrotypes rank as unique photographic treasures on a number of counts. It is important to note that the images you see before you were not intended for a Western audience. Rather, they are unique, one-of-a-kind images created by Japanese photographers exclusively for Japanese clients. Only in the last few years have they come to attention in the West.
Until now, the best-known images from Japan’s Meiji Period (1868-1912) were taken by Western photographers - Beato, Stillfried, Farsari, et al. They are paper prints (not unique glass, albumen works, as we see here), made by appreciative Western photographers for export to a Western public craving Japan’s exotic, cultural charm. Often the Japanese posed in them as paid sitters, garbed in outmoded forms of dress (a coat of multi-layered, medieval Samurai armor, for instance) or arranged in improbably artistic setups (a bare-chested lady at her toilette). They are exotic specimens of a time that had, or was soon to pass.
Once Westerners taught the Japanese the art of photography, the next wave of images that followed - by the Japanese - were also intended for Western eyes. Not so, here, however. Culled from villages and remote family collections, these photographs (small-scale images, encased in wood) were very private, personal, intended to be passed down as precious heirlooms. The "reformed Samurai" warrior, for instance, pictured here, may have sat for such a photo in order to give his family a record of his life, lest he die in battle. The woman whose traditional whiteface makeup is framed so perfectly by her black (Western) umbrella, would have seemed smartly Westernized to her contemporaries - despite her traditional "geta" wooden platform shoes. Such visual and cultural incongruities of East and West (now marvelous to our eyes) abounded for the Japanese as they found themselves, in the late 1800s, on the brink of huge political and cultural upheaval.
Note a few other formal points of interest: the way the Japanese photographers tend to craft their portraits in full-length pose - from head to feet; the slightly lowered, more respectful position of the camera angle (vs. to the more confrontational approach to portraiture of the West). Then, there is the Ambrotype medium itself, which creates one-of-a-kind images on glass, without a negative. Though the West had already begun to favor the Albumen paper-print process, Japanese photographers set about perfecting the soon-to-be retrograde Ambrotype process, teasing from it a greater tonal range. And finally, note the kiri-wood presentation cases, in which these photographs are housed: they are feather-light, perfectly hand-crafted to fit, just so, in your palm. Thanks to the wood’s natural drying properties, these ambrotypes have withstood the test of time (and humidity, quite prevalent in Japan) and have been preserved in amazing condition. The original owners of the photos have handled these cases, turned them over and over again - proof of their durability. On occasion, they personalized them with inscriptions. They are fascinating objects, in and of themselves.
Charles Schwartz
537.13 Documentary > Alexander Gardner: Ogallalla Sioux (May, 1872)
About this photographer | Photographs by this photographer
                            
There are very few known copies of this series by Alexander Gardner (1821-1882) and the number of albumen prints included seems to vary. The front cover of this volume is entitled simply Ogallalla Sioux. However, a copy of the series came up for auction at Sotheby‘s Sale of "The Frank T. Siebert Library of the North American Indian and the American Frontier" collection in New York on October 28, 1999 which had the fuller title:
Photographs of Red Cloud and Principal Chiefs of Dacotah Indians Taken on Their Visit to Washington, D.C., May, 1872 (Washington D.C.: for Trustees of Blackmore Museum, Salisbury, England, [Gibson Brothers, Printers, 1872])
The volume has a rather intriguing history that is worthy of note. William Henry Blackmore was an English financier, philanthropist and founder of the Blackmore Museum in Salisbury (Wiltshire, UK). His commercial interests in the United States included mining ventures, railways and land speculation that brought him into contact with Native Americans. Blackmore developed a passionate interest in Native American cultures and realized the importance of documenting their societies.. Accordingly, he commissioned noted Civil War photographer, Alexander Gardner, to photograph Native American delegations visiting Washington D.C. This portfolio, Ogallalla Sioux, records the delegation of Red Cloud (Mahpíya Lúta), who visited Washington, DC from May 25 to June 3, 1872. Gardner took this series and in one of the photographs (not included in this volume) Red Cloud is seated with a standing William Blackmore shaking his hand in respect and friendship.
Soon afterwards Blackmore financed and then accompanied Ferdinand V. Hayden on his 1872 survey expedition of the Yellowstone region. Early in the summer of 1872, Mary Blackmore contracted pneumonia and died in Bozeman, Montana. Hayden named Mt. Blackmore in her honor.
The encroachments on Indian lands resulted in increasing hostilities, and only four years later General George Custer (1839-1876) would lead his forces into the Black Hills of Dakota to resounding defeat. Red Cloud was a well known chief but he did not join Crazy Horse and Sitting Bull in their ill-fated attempts to protect their rights.
List of plates in this copy of the portfolio
A copy of this work at the Beinecke Rare Book and Manuscript Library, Yale Univeristy [Zc16D1 +872ga] includes a photograph of a seated Red Cloud shaking hands with a standing William Henry Blackmore.
[Courtesy of the Etherton Gallery]
Tipos
537.14 Documentary > Christiano Júnior: Tipos (Brazil)
About this photographer | Photographs by this photographer
          
537.15 Documentary > François Aubert: Tipos (Mexico)
About this photographer | Photographs by this photographer
      
537.16 Documentary > Merille: Tipos (Mexico)
   
537.17 Documentary > William Saunders: Studio studies of the occupations of the Chinese
About this photographer | Photographs by this photographer
               
537.18 Documentary > Baron Raimund von Stillfried: Portraits from China
About this photographer | Photographs by this photographer
        
537.19 Documentary > Colonel Philip Meadows Taylor: The People of India (1868-1872)
                               
J.F. Watson and J.W. Kaye. (eds.), 1868-72, The People of India. A series of photographic illustrations, with descriptive letterpress, of the races and tribes of Hindustan, (by Meadows Taylor,) originally prepared under the authority of the Government of India, and reproduced by order of the Secretary of State for India (London: W. H. Allen and Co.) attempted to classify the diverse races of India by means of photographs.
The preface to the work gives an incomplete list of the photographers included:
Other photographers including Hurrichund Chintamon provided photographs for this book.
A fascimile reprint of the original 1867 eight volume edition was published in 1987 by B.R. Publishing, Delhi and includes 468 b/w illustrations from original photographs, with descriptive text.
537.20 Documentary > Emilio Biel & Ca.: Album de Phototypico Vistas e Costumes do Norte de Portugal (ca. 1900)
                    
People of all Nations
537.21 Documentary > Aborigines
            
537.22 Documentary > King Billy - A scandal in Tasmania
In Tasmania the aborigine numbers decreased rapidly after colonization and by 1847 only 46 individuals remained. Charles A. Woolley took a studio portrait of a Tasmanian woman called Trucanini in 1866 - here the portrait is interesting because it uses the format used by contemporary portrait photographers rather than the fully body shots that were preferred by anthropologists. The paper print, now in the collection of the Royal Anthropological Institution of Great Britain and Ireland, shows the head and shoulders with the upper body fading out in the lower part of the shot, a style commonly used in carte-de-visite.
The Lancet, No.2391, June 26, 1869, p.882.
THE LAST TASMANIAN.
The public mind of Hobart Town has been greatly disturbed by an unseemly squabble consequent on the death of "King Billy," the last aboriginal Tasmanian. It seems that none of the museums of the colony contain a complete male aboriginal skeleton; and hence King Billy's remains have been fought for in the deadhouse and in the graveyard, and have since been fought about, still more fiercely, in the columns of the local papers. Mr. Crowther, a surgeon of Hobart Town, and the recent recipient of a medal from the Royal College of Surgeons of England, wished to secure the precious skeleton for the museum in Lincoln's-inn-fields. The Government, on the other hand, was in favour of securing the skeleton for the museum of the (colonial) Royal Society; and Dr. Stokell, the house-surgeon to the hospital in which the death took place, received strict orders to preserve the remains from mutilation. Someone, however (and suspicion points to Mr. Crowther), succeeded in gaining access to the deadhouse, and removed the skull, sewing up within the soft parts another skull in place of it. Next, in the interests of the colonial museum, the hands and feet were removed; and, finally, the body, after a public funeral, was exhumed at night under the direction of Dr. Stokell. The skull is still missing, and Mr. Crowther, who is a member of the upper house of the Tasmanian legislature, has been suspended from his duties as surgeon to the hospital. The newspapers are full of letters of acrimonious recrimination, and the editors find in the subject a text for leaders in the largest type. We can only hope that the disjecta membra may in time be united in some fitting resting-place, and that the discreditable incidents of the contest may be speedily forgotten.
537.23 Documentary > Andamanese
About this photographer | Photographs by this photographer
        
537.24 Documentary > Arabs
     
537.25 Documentary > Argentinians
      
537.26 Documentary > Cossacks
    
537.27 Documentary > Dervishes
      
537.28 Documentary > Ecuadorians
537.29 Documentary > Inuit
    
537.30 Documentary > Japanese
         
537.31 Documentary > Jews
                  
537.32 Documentary > Mexicans
 
537.33 Documentary > Peruvians
            
537.34 Documentary > Samoans
          
537.35 Documentary > Zulus
     
Stereotypes
537.36 Documentary > Stereotypical portraits in nineteenth century Italy
      
When portraits for tourists were taken in nineteenth century Italy local photographers such as Giorgio Sommer, Carlo Naya and Giacomo Brogi all took stereotypes of people being robbed while having their shoes cleaned and eating pasta in a dramatic manner. These photographs were often staged and some were taken inside photographic studios.
The merging of races
537.37 Documentary > Augustus Francis Sherman: Ellis Island portraits
About this photographer | Photographs by this photographer
                                
Augustus Francis Sherman (1865-1925) was a registry clerk at Ellis Island (NY) and between 1904 and 1920 he took over 200 photographs of new arrivals.
Socio-cultural studies
537.38 Documentary > Icons of the South - Portraits of Ouleds-Nails (Algeria 1860-1910)
                                        
“Exposed to the curious eyes of foreigners in all the showcases of the photographers, is a portrait of a woman of the south in a bizarre costume, with the impressive face of an idol from the old Orient […], the face of a bird of prey with eyes full of mystery …” So begins Le Portrait de l’Ouled Nail, written by Isabelle Eberhardt at the very beginning of the twentieth century. Classic iconographs of the Algerian south, the Ouled Nail never ceased to fascinate travellers and artists, from Fromentin to Gide and Robert Hitchens, who popularised the legend of these Bedouin women leaving the desert for Biskra and Bou Saada, well before the arrival of the first Europeans, to become dancers and prostitutes for long enough to build up a satisfactory dowry and return to marry a man of their own tribe.
The works in this exhibition is mostly made up of the oldest photographs - that is, those that circulated as cartes de visite between 1860 and 1870. In their particular style they already reveal the irrevocable perversion of a tradition. And, for the achievement of those - expressly proud - poses so favoured by the barrack-room (the client is always male) how many female bodies have been lasciviously abandoned, and at a rate that has been notably accelerated by colonisation! The formidable or striking views of the Ouled taken by Alary-Geiser or the tender fragility of those by Clavier-Richan tell their own story of this extremely threatened sense of pride.
For notably technical reasons, these first images remain distanced, and primarily show ‘bizarre costumes’, hair styled like the horns of a ram, and the finery of necklaces on which the Ouled Nail fastens coins earned in the secrecy of the alcove. This is definitely not to be confused with other Berber costumes of the women of the Aures or Kabylia, and even less with those of ‘belly dancers’ or, at least, of the most celebrated of them - the dance of the Ouled is hieratic, and not undulating.
By the 1860s the most important photographic studios of Algiers were already circulating their first images, but in this exhibition we have favoured two much less well-known studios, both with the name Photographie Saharienne. The first, active since 1865, distributes its cartes de visite with only its address inscribed – 1 rue Tourville. The second, which will later claim its date of creation as 1860, is none other than the first studio set up in Biskra by the photographer, Auguste Maure, now, at last, receiving recognition. Our own research, meticulously carried out by Gilles Dupont, a descendant of Maure, has restored the importance of these two studios, even if it has not yet established an iconographic link between them.
Paradoxically, it’s the moment when the tradition is definitively perverted, when the designation "Ouled Nail" is no more than a virtual tribe whose name signifies only ‘a local prostitute’ that the photographer gets closer and at times achieves real portraits. But if Rudolf Lehnert tried to emulate the art of the painter Etienne Dinet and reconstruct the legend of the Ouled, as Edward Sheriff Curtis would that of the American Indians, his French colleague, photographer Emile Fréchon, who was dubbed within French pictorialism as the equal of naturalist Peter Henry Emerson, was not taken in. For he was also a journalist.
When, in 1892, he compiles for Jules Gervais-Courtellemont a series of articles on Biskra, illustrated by his own plates, he explains that “the number [of Ouleds] who marry lawfully is immensely limited […] ’Ouled Nail’ does not denote a race, but a profession; one is an Ouled Nail as one is a purveyor of pancakes or doughnuts …”
Of these fallen idols, there remains today only the image, “exposed to the curious eyes”, and some first names, preserved by the captions of postcards, Myriam bent Ali , for example, who tried in vain to teach Andre Gide a thing or two but was the delight of Pierre Louÿs, inspiring his famous Chansons de Bilitis. Isabelle Eberhardt was also a journalist, but it‘s as novelist that she questioned her reader’s imagination - and perhaps ours too - when she wondered: "how many extraordinary flights of fancy, how much prescience - perhaps among some refined minds - of this bleak and magnificent South, were evoked by this portrait of the Ouled Nail in the onlookers who gazed at it …"
“Bleak and magnificent” is how the Ouled Nail, these icons of the South, continue to reveal themselves to us.
Michel Mégnin, Toulouse, December 2011
With my profound thanks to Gilles Dupont, great grandson of Auguste Maure; and to Bruno Tartarin, the Photo-Verdeau gallery, Paris.
Michel Mégnin is a historian of photography and a collector. He has written two reference works - Tunis 1900, Lehnert & Landrock photographes (2005), and La photo-carte de visite en Algérie au XIXème siècle (2007).
[Special thanks to Angela Martin for an attentive and sensitive translation from the original French.]
alan@luminous-lint.com |
General reading
Duggan-Cronin, A.M., 1928-1954, The Bantu Tribes of South Africa, (Cambridge: Deighton, Bell) [Eleven volumes] [Δ]
Edwards, Elizabeth, 1990, ‘Photographic 'Types': The Pursuit of a Method‘, Visual Anthropology, vol.3, no.2-3, pp.241-247 [Δ]
Edwards, Elizabeth (ed.), 1992, Anthropology and Photography: 1860-1920, (New Haven: Yale University Press) [Δ]
Escard, F., 1886, Le Prince Roland Bonaparte in Laponie: Episodes et Tableaux, (Paris: G. Chamerot) [Δ]
Falconer, John, 1984, ‘Ethnographical Photography in India 1850-1900‘, Photographic Collector, vol.5, no.1, pp.16-46 [Δ]
Fleming, Paula Richardson & Luskey, Judith Lynn, 1996, Grand Endeavors of American Indian Photography, (London: L. King) [Δ]
Garb, Tamar (ed.), 2013, African Photography from the Walther Collection: Distance and Desire - Encounters with the African Archive, (Steidl) isbn-13: 978-3869306513 [Δ]
Goodyear, Frank, 2003, Red Cloud: Photographs of a Lakota Chief, (University of Nebraska Press) [Δ]
Howe, K.S., 2004, First Seen. Portraits Of The World's Peoples 1840-1880 From The Wilson Centre For Photography, (London: Santa Barbara Museum of Art; Third Millennium Publishing) [Δ]
Maxwell, A., 1999, Colonial Photography and Exhibitions: Representations of the “Native” and the Making of European Identities, (London: Leicester University Press) [Δ]
Maxwell, Anne, 2008, Picture Imperfect: Photography and Eugenics, 1870-1940, (Sussex Academic Press) isbn-10: 1845194152 isbn-13: 978-1845194154 [Δ]
Mofokeng, Santu, 2012, The Black Photo Album / Look at Me: 1890-1950, (Steidl) isbn-10: 3869303107 isbn-13: 978-3869303109 [Δ]
Pieterse J N, 1992, White on Black: Images of Africa and Blacks in Western Popular
Culture, (New Haven: Yale University Press) [Δ]
Taylor, Meadows, 1868-1872, The People of India. A series of photographic illustrations, with descriptive letterpress, of the races and tribes of Hindustan, (by Meadows Taylor,) originally prepared under the authority of the Government of India, and reproduced by order of the Secretary of State for India, (London: W. H. Allen and Co.) [Edited by J.F. Watson and J.W. Kaye. A fascimile reprint of the original 1867 eight volume edition was published in 1987 by B.R. Publishing, Delhi. Includes photographs by Hurrichund Chintamon] [Δ]
Readings on, or by, individual photographers
Gary Auerbach
Auerbach, Gary, 2005, We Walk in Beauty: Native American Photographs & Words, (G. Auerbach) isbn-10: 0977306208 isbn-13: 978-0977306206 [Δ]
Edward S. Curtis
Boesen, Victor & Graybill, Florence Curtis, 1977, Edward S. Curtis: Photographer of the North American Indian, (Dodd Mead) [Δ]
Curtis, Edward S., n.d.As it Was [Unpublished memoir, University of Washington Library, Special Collections] [Δ]
Curtis, Edward S., 1906, ‘Vanishing Indian Types: The Tribes of the Northwest Plains‘, Scribner's Magazine, vol.39, no.6, pp.657-671 [Δ]
Curtis, Edward S., 1906, ‘Vanishing Indian Types: The Tribes of the Southwest‘, Scribner's Magazine, vol.39, no.5, pp.513-529 [Δ]
Curtis, Edward S., 1909, ‘Village Tribes of the Desert Land‘, Scribner's Magazine, vol.45, no.3, pp.274-287 [Δ]
Curtis, Edward S., 1914, Indian Days of the Long Ago, (Yonkers-on-Hudson, NY: World Book Company) [Δ]
Curtis, Edward S., 1915, In the Land of the Head-Hunters, (Yonkers-on-Hudson, NY: World Book Company) [Δ]
Curtis, Edward S., 1992, Native Nations: First Americans as Seen by Edward Curtis, (Boston: Little, Brown and Company) [Δ]
Curtis, Edward S., 1997, The North American Indian: The Complete Portfolio, (New York: Köln: Taschen) [Δ]
Davis, Barbara A., 1985, Edward S. Curtis: The Life and Times of a Shadow Catcher, (San Francisco: Chronicle Books) [Δ]
Edwards, Ralph W., 1962, Curtis's Western Indians, (Bonanza Books) [Δ]
Gidley, Mick, 1998, Edward S. Curtis and the North American Indian, Incorporated, (Cambridge University Press) [Δ]
Gidley, Mick, 2003, Edward S. Curtis and the North Amerrican Indian Project in the Field, (Lincoln: University of Nebraska Press) [Δ]
Hausman, Gerald (ed.), 1995, Prayer to the Great Mystery: The Uncollected Writings and Photography of Edward S. Curtis, (New York: St. Martin's Press) [Δ]
Lyman, Christopher M., 1982, The Vanishing Race and Other Illusions: Photographs of Indians by Edward S. Curtis, (New York: Pantheon Books; Washington, D.C.: Smithsonian Institute Press) [Δ]
Makepeace, Anne, 2000, Coming to Light: Edward S. Curtis and the North American Indians, (Anne Makepeace Productions, Inc.,) [Δ]
Makepeace, Anne, 2001, Edward S. Curtis: Coming to Light, (Washington, D.C.: National Geographic Society) [Δ]
Alexander Gardner
Gardner, Alexander, 1872, Photographs of Red Cloud and Principal Chiefs of Dacotah Indians Taken on Their Visit to Washington, D.C., May, 1872, (Washington D.C.: for Trustees of Blackmore Museum, Salisbury, England, [Gibson Brothers, Printers]) [Δ]
Laura Gilpin
Gilpin, L., 1968, The Enduring Navajo, (Austin, TX: University of Texas Press) [Δ]
Sandweiss, M. A., 1986, Laura Gilpin, An Enduring Grace, (Ft. Worth, TX: Amon Carter Museum) [Δ]
Gertrude Käsebier
Delaney, Michelle, 2007, Buffalo Bill’s Wild West Warriors: A Photographic History by Gertrude Käsebier, (Smithsonian National Museum of American History) isbn-10: 0061129771 isbn-13: 978-0061129773 [Δ]
Josef Koudelka
Koudelka, Josef, 1975, Koudelka: Gypsies, (New York: Aperture Book) [Δ]
Adam Clark Vroman
Webb, William & Weinstein, Robert A., 1987, Dwellers at the Source: Southwestern Indian Photographs of A. C. Vroman, 1895–1904, (Albuquerque: University of New Mexico Press) [Δ]
If you feel this list is missing a significant book or article please let me know - Alan - alan@luminous-lint.com
William Coupon (1952-) • Edward S. Curtis (1868-1952) • Robert Gardner (1925-) • Albert Kahn (1860-1940) • Irving Penn (1917-2009) • Leni Riefenstahl (1902-2003) • August Sander (1876-1964) • Augustus Francis Sherman • Charles A. Woolley (1834-1922) | Home > Themes > Documentary > Peoples of the world
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