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| 1. |  | Henry Fox Talbot 1835 (ca) Linen Salt-fixed photogenic drawing negative 4 3/8 x 1 7/8 ins J. Paul Getty Museum 85.XM.150.14 |
| 2. |  | Henry Fox Talbot n.d. Black Lace Salt print, from photogenic drawing negative University of Tartu, Special Collections f42.s6; Schaaf 3803 For the context see Larry H. Schaaf, Very far away from England - Maudie & Tartu (27 November 2015) (Accessed: 27 November 2015) foxtalbot.bodleian.ox.ac.uk/very-far-away-from-england-maudie-tartu/ |
| 3. |  | Henry Fox Talbot 1839 Lace [Album di disegni fotogenici - The Bertoloni Album, Leaf 13 Recto] Photogenic drawing, solar microscope Metropolitan Museum of Art Harris Brisbane Dick Fund, 1936 (36.37.3) A enlargement of lace magnified 400 times with a solar microscope. |
| 4. |  | Henry Fox Talbot 1839 Lace (enlarged detail) [Album di disegni fotogenici - The Bertoloni Album, Leaf 13 Recto] Photogenic drawing, solar microscope, detail Metropolitan Museum of Art Harris Brisbane Dick Fund, 1936 (36.37.3) A enlargement of lace magnified 400 times with a solar microscope. This section of the image has been captured to show the remarkable detail of the original. |
| 5. |  | Henry Fox Talbot 1835 (probably) Depiction of Lace, mounted on blackened paper Photogenic drawing negative National Museum of American History, Smithsonian Institution Photographic History Collection, 1995.206.39; Schaaf 1501 |
| 6. |  | Henry Fox Talbot 1839 Folded Lace and Botanical Specimen Photogenic drawing (digitally enhanced) National Science and Media Museum 1997-5010, Schaaf 886 The pencil X at the bottom of the photogram designates the sensitive side. |
| 7. |  | Henry Fox Talbot 1845 (published) Lace Photogenic drawing negative National Science and Media Museum 1937-396/20; Schaaf 5555 Plate XX in the fifth fascicle of a copy of The Pencil of Nature, published December 1845. As this is the first example of a negative image that has been introduced into this work, it may be necessary to explain, in a few words, what is meant by that expression, and wherein the difference consists. The ordinary effect of light upon white sensitive paper is to blacken it. If therefore any object, as a leaf for instance, be laid upon the paper, this, by intercepting the action of the light, preserves the whiteness of the paper beneath it, and accordingly when it is removed there appears the form or shadow of the leaf marked out in white upon the blackened paper; and since shadows are usually dark, and this is the reverse, it is called in the language of photography a negative image. This is exemplified by the lace depicted in this plate; each copy of it being an original or negative image: that is to say, directly taken from the lace itself. Now, if instead of copying the lace we were to copy one of these negative images of it, the result would be a positive image of the lace: that is to say, the lace would be represented black upon a white ground. But in this secondary or positive image the representation of the small delicate threads which compose the lace would not be quite so sharp and distinct, owing to its not being taken directly from the original. In taking views of buildings, statues, portraits, &c. it is necessary to obtain a positive image, because the negative images of such objects are hardly intelligible, substituting light for shade, and vice versa. But in copying such things as lace or leaves of plants, a negative image is perfectly allowable, black lace being as familiar to the eye as white lace, and the object being only to exhibit the pattern with accuracy. In the commencement of the photographic art, it was a matter of great difficulty to obtain good positive images, because the original or negative pictures, when exposed to the sunshine, speedily grew opaque in their interior, and consequently would not yield any positive copies, or only a very few of them. But, happily, this difficulty has been long since surmounted, and the negative or original pictures now always remain transparent during the process of copying them. H. Fox Talbot, The Pencil of Nature, (London: Longman, Brown, Green and Longmans, 1844) |
| 8. |  | Henry Fox Talbot 1839-1844 Lace Photogenic drawing negative 17.1 x 22 cm (6 3/4 x 8 11/16 ins) (image) National Gallery of Art Patrons' Permanent Fund, 1995.36.116 |
| 9. |  | Henry Fox Talbot 1844 (published) Lace [The Pencil of Nature, Part 5, pl. 20] Calotype Hans P. Kraus, Jr., Inc. Taken from the reproductions in Larry J. Schaaf, H. Fox Talbot's The Pencil of Nature; Anniversary Facsimile (New York: Hans P. Kraus, Jr. Inc., 1989). The originals selected for this publication were the best single examples available for each plate. Not to be reproduced without permission of H.P. Kraus, Jr. As this is the first example of a negative image that has been introduced into this work, it may be necessary to explain, in a few words, what is meant by that expression, and wherein the difference consists. The ordinary effect of light upon white sensitive paper is to blacken it. If therefore any object, as a leaf for instance, be laid upon the paper, this, by intercepting the action of the light, preserves the whiteness of the paper beneath it, and accordingly when it is removed there appears the form or shadow of the leaf marked out in white upon the blackened paper; and since shadows are usually dark, and this is the reverse, it is called in the language of photography a negative image. This is exemplified by the lace depicted in this plate; each copy of it being an original or negative image: that is to say, directly taken from the lace itself. Now, if instead of copying the lace we were to copy one of these negative images of it, the result would be a positive image of the lace: that is to say, the lace would be represented black upon a white ground. But in this secondary or positive image the representation of the small delicate threads which compose the lace would not be quite so sharp and distinct, owing to its not being taken directly from the original. In taking views of buildings, statues, portraits, &c. it is necessary to obtain a positive image, because the negative images of such objects are hardly intelligible, substituting light for shade, and vice versa. But in copying such things as lace or leaves of plants, a negative image is perfectly allowable, black lace being as familiar to the eye as white lace, and the object being only to exhibit the pattern with accuracy. In the commencement of the photographic art, it was a matter of great difficulty to obtain good positive images, because the original or negative pictures, when exposed to the sunshine, speedily grew opaque in their interior, and consequently would not yield any positive copies, or only a very few of them. But, happily, this difficulty has been long since surmounted, and the negative or original pictures now always remain transparent during the process of copying them. H. Fox Talbot, The Pencil of Nature, (London: Longman, Brown, Green and Longmans, 1844) |
| 10. |  | Henry Fox Talbot 1840s (early) Lace Salt print, from calotype negative 23.0 x 18.8 cm Hans P. Kraus, Jr., Inc. This photograph was included in the exhibition "William Henry Fox Talbot: Selections from a Private Collection" held at Hans P. Kraus, Jr., Inc. in New York (September 27 - November 9, 2007) |
| 11. |  | Henry Fox Talbot 1840-1845 (ca) Lace Salted paper print, from a paper negative 9 1/16 × 7 3/8 ins (23 × 18.7 cm) (image and sheet) Philadelphia Museum of Art Purchased with the Robert A. Hauslohner Fund, 1967, Accession Number: 1967-48-3 |
| 12. |  | Henry Fox Talbot 1840s (early) Lace Salted paper print, from a photogenic drawing negative 8 15/16 x 7 3/8 in. (22.7 x 18.7 cm) (image) 9 x 7 7/16 in. (22.9 x 18.8 cm) (sheet) Carnegie Museum of Art Purchased with funds provided by The William Talbott Hillman Foundation. 2017.2.1 |
| 13. |  | Henry Fox Talbot 1844, January (before) [The Milliner's Window] Salt print, from calotype negative 14.3 x 19.5 cm J. Paul Getty Museum lido.getty.edu-gm-obj69835 |
| 14. |  | Henry Fox Talbot 1852-1858 Crossed Muslin Photographic engraving from a metal plate National Science and Media Museum Ref Number: 1937-5106/3 [Curatorial description - National Media Museum - December 2011] The image was made using the photoglyphic engraving process, invented by Talbot. A chemical mixture was applied to a metal plate, then exposed under an object or a photographic positive. The coating hardened where the light reached it, the plate could then be etched and used for printing. |
| 15. |  | Henry Fox Talbot 1844 (album) Lace Salted paper print 18.1 x 22 cm National Science and Media Museum Matilda Talbot 1934, Object owner number: 1937-2535/07, Schaaf no. 1073 Alternate title: Lady Elisabeth Feilding's personal album, 1844 |
| 16. |  | Henry Fox Talbot n.d. Lace Salted paper print 20.4 x 18.2 cm National Science and Media Museum Matilda Talbot 1934, Object owner number: 1937-0366/051, Schaaf no. 888 Alternate title: TALBOT ALBUM No. 10; NMeM first of pair of "Lady E" albums |
| 17. |  | Henry Fox Talbot 1839 Lace magnified 400 times in the solar microscrope Photogenic drawing negative Metropolitan Museum of Art 36.37(14), Schaaf 2281 |
| 18. |  | Henry Fox Talbot n.d. Lace Salted paper print 18.1 x 22 cm National Science and Media Museum Matilda Talbot 1934, Object owner number: 1937-2536/35, Schaaf no. 4183 Alternate title: large marbled album, some titles by Lady Elisabeth Feilding |
| 19. |  | Ludwig Belitski 1854 [Embroidered textiles and lace] Salt print, from wet plate negative 8 1/2 x 9 1/8 ins (21.6 x 23.2 cm) Contemporary Works / Vintage Works REF.# 15014 |
| 20. |  | John Herschel 1839 Study of lace Photogenic drawing Museum of the History of Science |
| 21. |  | Unidentified photographer 1890 Vitraye (France) Cyanotype 61 x 53.7 cm AnamorFose |
| 22. |  | Unidentified photographer 1890 (ca) Nottingham Sample Book #1 (UK) Cyanotype 14.4 x 8.4 cm AnamorFose |
| 23. |  | Charles F. Lummis 1888 (ca) Image of embroidered lace Cyanotype 12 x 19 cm Huntington Library, Art Collections and Botanical Gardens Photograph Album from Charles F. Lummis to Susanita Del Valle, 1888, Call Number: photCL 504, Unique Digital Identifier: 397376 |
| 24. |  | Charles F. Lummis 1887 Image a cloth with embroidered lace edging Cyanotype 12 x 19 cm Huntington Library, Art Collections and Botanical Gardens Photograph Album from Charles F. Lummis to Susanita Del Valle, 1888, Call Number: photCL 504, Unique Digital Identifier: 397420 |
| 25. |  | Unidentified photographer 1890s Lace maker's pattern with lace Cyanotype 10 x 9 in Private collection of Brad Feuerhelm |
| 26. |  | 1900 (ca) Cotton cyanotype pillow case with 12 views depicting an American small town. Pillow case Swann Galleries - New York Sale 2345, The Vernacular Eye: Photographic Albums, Snapshots & Objects, 17 April 2014, Lot: 104 The summertime prints include a July 4th parade, with townspeople lining the streets, a float of dancing girls, a horse-drawn wagon draped in flags, and baby lambs, as well as street scenes in the snow and more. |
| 27. |  | Unidentified photographer 1910 (ca) Pillow made up of 30 cyanotype images on cloth sewn together Cyanotype, on fabric 47.5 x 49.0 x 12.5 cm George Eastman Museum Gift of Mrs. Dorothy Tirrell Clagett, 1989.0164.0001 |
| 28. |  | Unidentified maker 1895 (ca) Child's pillow case highlighted with cyanotypes Cyanotypes Private collection of Daile Kaplan - www.popphotographica.com |
| 29. |  | Syhlinf & Koehn Souvenir Pillow Tops (manufacturer) 1900 (ca) Pillow case with Chicago landmarks Fabric, pillow case Private collection of Jack and Beverly Wilgus |
| 30. |  | Abigail Wyman Wilder 1901 Millers Falls grammar school class of 1901 Cyanotype, on pillow cover 41 × 40.8 cm (16 1/8 × 16 1/16 ins) George Eastman Museum Gift of Bernard Heinz, 1987.0828.0001 |
| 31. |  | Annette Fournet 2006 Irish Seamstress [Lost Promises] Collage, tintype, fabric, thread, buttons Provided by the artist - Annette Fournet |
| 32. |  | Steffani Frideres 2017 Round and Round we go we will stop wherever we go. [Cyanotypes] Cyanotype on cloth, embroidery and dice charm 10 x 10 ins Provided by the artist - Steffani Frideres |
| 33. |  | Steffani Frideres 2017 Little Robin red Breast, sat upon his comfy nest, what shall I do today, stack blocks and cry and say… [Cyanotypes] Cyanotype, bird charm and embroidery Provided by the artist - Steffani Frideres |
| 34. |  | Steffani Frideres 2017 Arithmetic: A reliable Indian thought he might educate them in Cree. [Cyanotypes] Cyanotype on cloth, embroidery and Milagros lungs 10 x 10 ins Provided by the artist - Steffani Frideres |
| 35. |  | Unidentified photographer / artist 1865 Fig. 43. Unfinished Work of a Spanish Nun Book illustration Google Books Bury Palliser History of Lace (London: Sampson Low, Son & Marston, 1865), p.81. We have lately received from Rome photographs of some curious relics of old Spanish conventual work parchment patterns with the lace in progress. They were found in the convent of Jesu Bambino, and belonged to some Spanish nuns who, in bygone ages, taught the art to the novices. None of the present inmates can give further information respecting them. |
| 36. |  | Berenice Abbott 1931 Photograph design for a textile Gelatin silver print 8 7/8 x 6 5/16 ins (22.5 x 16.1 cm) Philadelphia Museum of Art The Lynne and Harold Honickman Gift of the Julien Levy Collection, 2001, 2001-62-1234 |
| 37. |  | Paul Desagne 1878 Dentelles Anciennes Carbon print 10 1/2 x 8 3/4 ins Archive Farms Annotated on mount below image: Pl IV, A. Morel et Cie, Paris, Permanent Printing Company London. |
| 38. |  | Adolf Lazi 1930s Advertising photograph (lace, fabric) Gelatin silver print, ferrotyped Bassenge Photography Auctions Photography 19th-21st Century (1 June 2011) Lot: 4280 |
| 39. |  | Heinrich Koch 1929-1932 Fabric study Gelatin silver print, ferrotyped 23.8 x 18 cm Bassenge Photography Auctions Courtesy of Bassenge, 19th-21st Century Photography, 6 June 2012, Lot: 4204 |
| 40. |  | Hippolyte Bayard 1840 (ca) Lace glove Photographic print Creative Commons - Wikipedia Neue Geschichte der Fotografie, (Köln: Könemann, 1998) p. 22 |
| 41. |  | Arthur E. Smith 1909 Fig. 65. Fine silk. x 50 Book illustration Internet Archive Published in - Richard Kerr & Arthur E. Smith, 1909, Nature Through Microscope and Camera, (London: Religious Tract Society) |
| 42. |  | Unidentified photographer n.d. Portrait of a lady wearing a lace collar (American) Tintype, whole plate 10 x 8 in (edge of matte) Stereographica - Antique Photographica Courtesy of Bryan and Page Ginns (#18 / 130) A sample of the lace collar is attached to the top left corner of the mat. The mustard colored mat shows minor signs of wear. There is a photographer's label on the obverse, "From, Phillips & Krementz Photograph Gallery, Louisville, KY." The item has no glass cover or frame. |
| 43. |  | Unidentified photographer 1850 (ca) Portrait of a young girl Daguerreotype, 1/6 plate Archives of Modern Conflict OR National Gallery of Canada Girl wearing dress with piece of material from the same dress pinned to opposite side of case. The colors of the snippet of material are as fresh as when the material was first made, probably since it was protected from the environment in the closed daguerreotype case. This gives us an unusual chance to see how some colors reproduce in a daguerreotype. Note the design is printed on the cloth as opposed to being woven. Though not really an "occupational", it seemed the girl was so proud of the dress that she wanted to send a message forward concerning its presence in the image. (Matt Isenburg) |