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| 1. |  | Roger Fenton 1852, September-October Domes of the Cathedral of the Assumption, Moscow Salt print, from waxed paper negative Private collection of John Hannavy For further copies of this print: Metropolitan Museum of Art, "Moscow, Domes of Churches in the Kremlin", Gilman Collection, Gift of The Howard Gilman Foundation, 2005, Accession Number: 2005.100.66 The Gernsheim Collection at the Harry Ransom Humanities Research Center at the University of Texas at Austin. |
| 2. |  | Roger Fenton 1853 (ca) Moscow Salt print, paper negative 7 x 8 3/4 in Lee Gallery Courtesy of Lee Gallery (Z1190) Photographer's name, title, and date printed on mount recto. |
| 3. |  | Roger Fenton 1852 Scaffolding for the Repair of a Cathedral, Moscow Salt print, from waxed paper negative Private collection of John Hannavy |
| 4. |  | Roger Fenton 1852 Kiev, Russia Salt print, paper negative Lee Gallery Courtesy of Lee Gallery (M323) |
| 5. |  | Roger Fenton 1854 (ca) Greco-Roman Saloon, British Museum [British Museum] Stereocard Stereographica - Antique Photographica Courtesy of Bryan and Page Ginns (#18 / 270) Refer Hannavy, page 180, plate 39, for an illustration of this view. |
| 6. |  | Roger Fenton 1854 (ca) Group of Muses in the British Museum [British Museum series] Stereo view Stereographica - Antique Photographica Courtesy of Bryan and Page Ginns (#17 / 446) Several of the views are illustrated in John Hannavy's fine book, "Roger Fenton of Grimble Hall". |
| 7. |  | Roger Fenton 1854 (ca) Group of Muses in the British Museum [British Museum] Stereocard Stereographica - Antique Photographica Courtesy of Bryan and Page Ginns (#18 / 269) |
| 8. |  | Roger Fenton 1854 (ca) Relics from Pompeii, in the British Museum. [British Museum] Stereocard Stereographica - Antique Photographica Courtesy of Bryan and Page Ginns (#18 / 271) |
| 9. |  | Roger Fenton 1855 (ca) Cottages at Balaklava Salt print 8 x 10 in Lee Gallery Courtesy of Lee Gallery (P1405) |
| 10. |  | Roger Fenton 1854 Untitled [A group of statuary in the British Museum] Stereocard, albumen prints Archive Farms |
| 11. |  | Roger Fenton 1855 Balaclava Harbour, Crimea Salt print, from wet collodion negative Private collection of John Hannavy |
| 12. |  | Roger Fenton 1855 Harbour of Balaklava, the Cattle Pier Salt print 11 x 14 in Lee Gallery Image courtesy of the Lee Gallery (www.leegallery.com) |
| 13. |  | Roger Fenton 1855 Landing Place, Ordnance Wharf, Balaklava Salted paper print from wet collodion on glass negative, Mounted on paper Rijksmuseum Copyright © Rijksmuseum Amsterdam (RP-F-1995-7) Roger Fenton [photographer] & Thomas Agnew & Sons [publisher] & Moulin [publisher] & Williams & Co. [publisher] & P & D. Colnaghi & Co. [publisher] View of the landing place and ordnance wharf at Balaklava harbour during the Crimean War. |
| 14. |  | Roger Fenton 1855 Railway Sheds and Workshops, Balaklava Salt print 8 x 10 in Lee Gallery Courtesy of Lee Gallery (P1413) |
| 15. |  | Roger Fenton 1855 Valley of the Shadow of Death Salt print 10 7/8 x 13 3/4 J. Paul Getty Museum The J. Paul Getty Trust (84.XM.504.23) This photograph has been the subject of analysis by the documentary filmmaker Errol Morris. Which Came First, the Chicken or the Egg? (Part one) (New York Times, September 25, 2007) Which Came First, the Chicken or the Egg? (Part two) (New York Times, October 4, 2007) The Getty Museum (Los Angeles) provides the following caption information: …in coming to a ravine called the valley of death, the sight passed all imagination: round shot and shell lay like a stream at the bottom of the hollow all the way down, you could not walk without treading upon them… (Roger Fenton) Fenton's most famous photograph is also one of the most well-known images of war. Across a desolate and featureless landscape, not a single figure can be found. The landscape is inhabited only by cannonballs-so plentiful that they first appear to be rocks-that stand in for the human casualties on the battlefield. The sense of emptiness and unease is heightened by the visual uncertainty created by the changing scale of the road and the sloping sides of the ravine. Borrowing from the Twenty-third Psalm of the Bible, the Valley of Death was named by British soldiers who came under constant shelling there. Fenton traveled to the dangerous ravine twice, and on his second visit he made two exposures. Fenton wrote that he had intended to move in closer at the site. But danger forced him to retreat back up the road, where he created this image. On a commissioned assignment, Fenton traveled in 1853 to the Crimean peninsula on the Black Sea, where England, France, and Turkey were fighting a war against Russia. To avoid offending Victorian sensibilities, Fenton refrained from photographing the dead and wounded. His more than three hundred images of encampments, battle sites, and portraits of all miltary ranks, became the first extensive photo-documentation of any war. When exhibited in England, Fenton's photographs of the Crimean War established his reputation. For an analysis of this photograph: Juliet Hacking (ed.), 2012, Photography: The Whole Story, (Prestel), pp. 52-53 |
| 16. |  | Roger Fenton 1855 Valley of the Shadow of Death Salt print Harry Ransom Humanities Research Center at the University of Texas at Austin This photograph has been the subject of analysis by the documentary filmmaker Errol Morris. Which Came First, the Chicken or the Egg? (Part one) (New York Times, September 25, 2007) Which Came First, the Chicken or the Egg? (Part two) (New York Times, October 4, 2007) |
| 17. |  | Roger Fenton 1855 Valley of the Shadow of Death Salt print Harry Ransom Humanities Research Center at the University of Texas at Austin This photograph has been the subject of analysis by the documentary filmmaker Errol Morris. Which Came First, the Chicken or the Egg? (Part one) (New York Times, September 25, 2007) Which Came First, the Chicken or the Egg? (Part two) (New York Times, October 4, 2007) |
| 18. |  | Roger Fenton 1855 (ca) A quiet day on the Mortar Battery Salt print 9 1/2 x 13 1/2 Lee Gallery Photographer's name, title, and date printed on mount recto, Y1361 |
| 19. |  | Roger Fenton 1855 (ca) Mortar Batteries in front of Picquet House, Light Division Salt print 9 x 13 3/4 in Lee Gallery Courtesy of Lee Gallery (Y1354) Photographer's name, title, and date printed on mount recto. |
| 20. |  | Roger Fenton 1855 (ca) The French Redoubt at Inkerman Salt print 6 1/2 x 10 1/4 in Lee Gallery Courtesy of Lee Gallery (Y1357) Photographer's name, title, and date printed on mount recto. |
| 21. |  | Roger Fenton 1855 (ca) The Genoese Castle, Balaklava Salt print 14 x 11 in Lee Gallery Courtesy of Lee Gallery (Y1349) Photographer's name, title, and date printed on mount recto. |
| 22. |  | Roger Fenton 1855, 5 April Captain Bathurst, Grenadier Guards Salt print 6 3/4 x 6 1/2 in Lee Gallery Courtesy of Lee Gallery (Y1306) Photographer's name and date printed on mount recto. |
| 23. |  | Roger Fenton 1856 Captain Thomas Photographic print 20 x 15 cm (image) 60 x 43.7 cm (mount) Musée Condé © direction des musées de France, © musée Condé, 1999, Inventory No: PH No 540, Joconde: 00000104418 Adresse imprimée sur le montage : Photographed by R. Fenton Manchester Published by J. Agnew & Sons London, P. & D. Colnaghi & C.y; Paris, Moulin. 23 rue Riocher; New York, Williams & C.y; cachet sec : T. Agnew and Sons Manchester. |
| 24. |  | Roger Fenton 1856 Prevost Marshall of Gen. Bosquet's division Photographic print 17.5 x 15.1 cm (image) 64 x 43.9 cm (mount) Musée Condé © direction des musées de France, © musée Condé, 1999, Inventory No: PH No 541, Joconde: 00000104419 Adresse imprimée sur le montage : Photographed by R. Fenton Manchester Published by J. Agnew & Sons London, P. & D. Colnaghi & C.y; Paris, Moulin. 23 rue Riocher; New York, Williams & C.y; cachet sec : T. Agnew and Sons Manchester; titre au crayon sur le montage. |
| 25. |  | Roger Fenton 1856 The Sanitary Commission Salt print 7 7/16 x 6 3/16 in Lee Gallery Image courtesy of the Lee Gallery (www.leegallery.com) |
| 26. |  | Roger Fenton 1856, 5 April Mr. Angel, Postmaster, Crimea Salt print 23.5 x 17.25 in Charles Schwartz Ltd Courtesy of Charles Schwartz (#8133) |
| 27. |  | Roger Fenton 1857 South Transept and Tower - York Cathedral Albumen print, from wet collodion glass plate negative 35.5 x 42.5 cm (image) 51 x 71 cm (mount) Private Collection of Robert G. Hill, Toronto, Ont. www.hillcollection.com - Acc: 679 Signed in the lower margin in black ink "Fenton Phot.", circular blind-stamp on the mount "Architectural Photographic Association" and numbered in ink "136" Literature: reproduced as Plate 47 in Gordon Baldwin et al, All the Mighty World: The Photographs of Roger Fenton 1852-1860, pub. Metropolitan Museum of Art, New York, 2004 |
| 28. |  | Roger Fenton 1858 Lincoln Cathedral, part of the West Front Albumen print 44 x 36.5 cm Dominic Winter Book Auctions Printed Books,& Maps, Vintage Photography (17 June 2009, Lot: 70) Arch top albumen print mounted on card, with Architectural Photographic Association embossed label to lower mount and exhibit number 134 inserted in manuscript. |
| 29. |  | Roger Fenton 1860 (ca) Lichfield Cathedral West Front Albumen print 17 x 21 cm Dominic Winter Book Auctions Printed Books,& Maps, Vintage Photography (17 June 2009, Lot: 69) Reprinted by Francis Bedford, c. 1860, arched top on paper mount. |
| 30. |  | Roger Fenton 1858 (ca) Stonyhurst College, the Observatory Albumen print 20.2 x 27.8 cm Dominic Winter Book Auctions Printed Books,& Maps, Vintage Photography (17 June 2009, Lot: 67) On card with orig. printed caption beneath. |
| 31. |  | Roger Fenton 1860 Terrace and Park at Harewood House Albumen print, from wet collodion negative 340 x 440mm Royal Photographic Society |
| 32. |  | Roger Fenton 1858 Reclining Odalisque [Oriental] Salted paper print from glass negative 28.5 x 39 cm (11 1/4 x 15 3/8 in) Metropolitan Museum of Art The Rubel Collection, Purchase, Lila Acheson Wallace, Anonymous, Joyce and Robert Menschel, Jennifer and Joseph Duke, and Ann Tenenbaum and Thomas H. Lee Gifts, 1997 (1997.382.34) |
| 33. |  | Roger Fenton 1858 Pasha and Bedouin [Oriental] Albumen print, mounted on off-white card 26.5 x 25 cm (image) 32.5 x 41.8 cm (mount) Dominic Winter Book Auctions Auction Sale: June 17, 2010 - Lot: 685C, revised catalog entry Neat italic pencil caption beneath. Part of Roger Fenton's Oriental suite of studies made in his London studio in the summer of 1858. Of the fifty-one negatives in the series of which there are extant prints only a small number were exhibited by Fenton in Edinburgh, London and Paris. All the photographs are rare and many of the surviving prints have come from the albums thought to have been Fenton's own, known as the 'grey paper' albums (sold by Christie's between 1978 and 1982). For more information see Gordon Baldwin, Roger Fenton: Pasha and Bayadere, (Getty Museum, 1996). |
| 34. |  | Roger Fenton 1858 Effendi & Musician [Oriental] Albumen print, mounted on off-white card 25.6 x 24.7 cm (image) 41.6 x 33 cm (mount) Dominic Winter Book Auctions Auction Sale: June 17, 2010 - Lot: 685A, revised catalog entry Neat italic pencil caption and 'O[riental?] No 13' below image with photographer's printed credit beneath. Part of Roger Fenton's Oriental suite of studies made in his London studio in the summer of 1858. Of the fifty-one negatives in the series of which there are extant prints only a small number were exhibited by Fenton in Edinburgh, London and Paris. All the photographs are rare and many of the surviving prints have come from the albums thought to have been Fenton's own, known as the 'grey paper' albums (sold by Christie's between 1978 and 1982). For more information see Gordon Baldwin, Roger Fenton: Pasha and Bayadere, (Getty Museum, 1996). |
| 35. |  | Roger Fenton 1858 Nubian water carrier with urn supported on her head [Oriental] Albumen print, mounted on off-white card 36.4 x 26.8 cm (image) 41.1 x 32.5 cm (mount) Dominic Winter Book Auctions Auction Sale: June 17, 2010 - Lot: 685E, revised catalog entry Neat italic pencil number beneath 'O[riental?] No 21'. Part of Roger Fenton's Oriental suite of studies made in his London studio in the summer of 1858. Of the fifty-one negatives in the series of which there are extant prints only a small number were exhibited by Fenton in Edinburgh, London and Paris. All the photographs are rare and many of the surviving prints have come from the albums thought to have been Fenton's own, known as the 'grey paper' albums (sold by Christie's between 1978 and 1982). For more information see Gordon Baldwin, Roger Fenton: Pasha and Bayadere, (Getty Museum, 1996). |
| 36. |  | Roger Fenton 1858 Slave with fly-flapper [Oriental] Albumen print, mounted on off-white card 22.8 x 24.6 cm (image) 32.6 x 41.8 cm (mount) Dominic Winter Book Auctions Auction Sale: June 17, 2010 - Lot: 685D, revised catalog entry Neat italic pencil caption beneath. Part of Roger Fenton's Oriental suite of studies made in his London studio in the summer of 1858. Of the fifty-one negatives in the series of which there are extant prints only a small number were exhibited by Fenton in Edinburgh, London and Paris. All the photographs are rare and many of the surviving prints have come from the albums thought to have been Fenton's own, known as the 'grey paper' albums (sold by Christie's between 1978 and 1982). For more information see Gordon Baldwin, Roger Fenton: Pasha and Bayadere, (Getty Museum, 1996). |
| 37. |  | Roger Fenton 1858 Turkish musicians and dancing girl [Oriental] Albumen print, mounted on off-white card 29.4 x 24.5 cm (image) 451.2 x 32.9 cm (mount) Dominic Winter Book Auctions Auction Sale: June 17, 2010 - Lot: 685B, revised catalog entry Neat italic pencil caption and 'No. 16' below image. Part of Roger Fenton's Oriental suite of studies made in his London studio in the summer of 1858. Of the fifty-one negatives in the series of which there are extant prints only a small number were exhibited by Fenton in Edinburgh, London and Paris. All the photographs are rare and many of the surviving prints have come from the albums thought to have been Fenton's own, known as the 'grey paper' albums (sold by Christie's between 1978 and 1982). For more information see Gordon Baldwin, Roger Fenton: Pasha and Bayadere, (Getty Museum, 1996). |
| 38. |  | Roger Fenton 1860 (ca) Flowers and Fruit Albumen print, from wet collodion negative 35 x 43 cm National Science and Media Museum Royal Photographic Society Collection Fenton abandoned photography in 1861, the year after he had made an astounding series of still life photographs in which he reached technical perfection. Many of these rich, bloomy, albumen prints are in mint condition still. printed from 20 x 16 inch glass negatives, the detail of each flower petal, each grain of pollen, has never been bettered. For an analysis of this photograph: Juliet Hacking (ed.), 2012, Photography: The Whole Story, (Prestel), pp. 122-123 |
| 39. |  | Roger Fenton 1860 [Still Life with Fruit] Albumen silver print, from glass negative 35.2 x 43.1 cm (13 7/8 x 16 15/16 in) Metropolitan Museum of Art Gilman Collection, Gift of The Howard Gilman Foundation, 2005 (2005.100.15) |