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| 1. |  | Van Loan (Washington) 1847 Lieutenant Colonel C.A, May Book plate, woodcut based on a Daguerreotype Google Books John Frost Life of Major General Zachary Taylor; with Notices of the War in New Mexico, California, and in Southern Mexico; and Biographical Sketches of Officers who have distinguished themselves in the War with Mexico (New York: D. Appleton, 1847), p.198. |
| 2. |  | Van Loan (Washington) 1847 Lieutenant Colonel C.A. May Book plate, steel engraving based on a Daguerreotype Google Books John Frost Life of Major General Zachary Taylor; with Notices of the War in New Mexico, California, and in Southern Mexico; and Biographical Sketches of Officers who have distinguished themselves in the War with Mexico (New York: D. Appleton, 1847), inserted before p.66. |
| 3. |  | J. McGuire (New Orleans) 1848 Captain McCulloch, from a Daguerreotype by J. McGuire, New Orleans Book plate Google Books Samuel Chester Reid The Scouting Expeditions of McCulloch`s Texas Rangers; or, The Summer and Fall Campaign of the Army of the United States in Mexico - 1846 (Philadelphia: G.B. Zieber and Co., 1848), p.22 |
| 4. |  | Unidentified photographer 1846 (ca) Exeter, N.H. [Exeter, New Hampshire, volunteers leaving for the Mexican War] [Mexican-American War] Daguerreotype, 1/4 plate Amon Carter Museum Amon Carter Museum, Fort Worth, Texas, P1979.33 Sandweiss, Martha A.; Rick Steward and Ben W. Huseman Eyewitness to War: Prints and Daguerreotypes of the Mexican War, 1846-1848 (Washington, D,C.: Smithson Institution Press, 1989) [There was an exhibition of the same name held at the Amon Carter Museum.] |
| 5. |  | Unidentified photographer 1847-1848 (ca) Gen. Wool & Staff, Calle Real to South Daguerreotype 8 x 10 cm Yale University, Beinecke Rare Book and Manuscript Library Yale Collection of Western Americana, Beinecke Rare Book and Manuscript Library, Call number: WA Photos 26, Image ID Number: 1005283 Taken during the Mexican War, 1846-1848. |
| 6. |  | Unidentified photographer 1847 (ca) General Wool and staff at Calle Real, Saltillo [Mexican-American War] Daguerreotype, 1/6 plate Amon Carter Museum Amon Carter Museum, Fort Worth, Texas, P1981.65/22 Sandweiss, Martha A.; Rick Steward and Ben W. Huseman Eyewitness to War: Prints and Daguerreotypes of the Mexican War, 1846-1848 (Washington, D,C.: Smithson Institution Press, 1989) [There was an exhibition of the same name held at the Amon Carter Museum.] |
| 7. |  | Unidentified photographer 1847-1848 (ca) Virginia Regiment, Calle Real Daguerreotype 8 x 10 cm Yale University, Beinecke Rare Book and Manuscript Library Yale Collection of Western Americana, Beinecke Rare Book and Manuscript Library, Call number: WA Photos 26, Image ID Number: 1005277 Taken during the Mexican War, 1846-1848. http://www.pbs.org/weta/thewest/resources/archives/two/62_14.htm [Accessed 20 June 2010] for the PBS program "New Perspectives on The West" gave the following caption: A daguerreotype showing Major Lucien B. Webster's battery in the mountains north of Buena Vista, Mexico, following an important American victory in the Mexican War. |
| 8. |  | Unidentified photographer 1847 Amputation, Mexican-American War, Cerro Gordo Daguerreotype Amon Carter Museum A scan of this image is included on Wikipedia (June 2010) with a Creative Commons license as it is out of copyright. The original Daguerreotype is in the collection of the Amon Carter Museum, Fort Worth, Texas, USA. Sandweiss, Martha A.; Rick Steward and Ben W. Huseman Eyewitness to War: Prints and Daguerreotypes of the Mexican War, 1846-1848 (Washington, D,C.: Smithson Institution Press, 1989) [There was an exhibition of the same name held at the Amon Carter Museum.] |
| 9. |  | Unidentified photographer 1847 (ca) Maj. Lewis Cass Jr. [Mexican-American War] Daguerreotype, 1/4 plate Amon Carter Museum Amon Carter Museum, Fort Worth, Texas, P1981.65/1 Sandweiss, Martha A.; Rick Steward and Ben W. Huseman Eyewitness to War: Prints and Daguerreotypes of the Mexican War, 1846-1848 (Washington, D,C.: Smithson Institution Press, 1989) [There was an exhibition of the same name held at the Amon Carter Museum.] |
| 10. |  | Unidentified photographer 1847 (ca) Col. Hamtramck, Virginia Vol. [Mexican-American War] Daguerreotype, 1/4 plate, applied color Amon Carter Museum Amon Carter Museum, Fort Worth, Texas, P1981.86/3 Sandweiss, Martha A.; Rick Steward and Ben W. Huseman Eyewitness to War: Prints and Daguerreotypes of the Mexican War, 1846-1848 (Washington, D,C.: Smithson Institution Press, 1989) [There was an exhibition of the same name held at the Amon Carter Museum.] |
| 11. |  | Unidentified photographer 1847 (ca) Maj. Washington, Chief of Artillery [Mexican-American War] Daguerreotype, 1/4 plate Amon Carter Museum Amon Carter Museum, Fort Worth, Texas, P1981.65/4 Sandweiss, Martha A.; Rick Steward and Ben W. Huseman Eyewitness to War: Prints and Daguerreotypes of the Mexican War, 1846-1848 (Washington, D,C.: Smithson Institution Press, 1989) [There was an exhibition of the same name held at the Amon Carter Museum.] |
| 12. |  | Unidentified photographer 1847 (ca) Col. Paine, N.C. Reg. in Mexican War [Mexican-American War] Daguerreotype, 1/4 plate Amon Carter Museum Amon Carter Museum, Fort Worth, Texas, P1981.65/17 Sandweiss, Martha A.; Rick Steward and Ben W. Huseman Eyewitness to War: Prints and Daguerreotypes of the Mexican War, 1846-1848 (Washington, D,C.: Smithson Institution Press, 1989) [There was an exhibition of the same name held at the Amon Carter Museum.] |
| 13. |  | Mathew B. Brady 1847-1848 (ca) Gen. Taylor taken during or after the Mexican War Daguerreotype, full plate 16 x 14.3 cm Yale University, Beinecke Rare Book and Manuscript Library Yale Collection of Western Americana, Beinecke Rare Book and Manuscript Library, Call number: GEN MSS 243, Image ID number: 1070233 |
| 14. |  | Unidentified photographer 1847 Burial Place of the son of Henry Clay in Mexico [Mexican-American War] Daguerreotype, 1/6 plate Amon Carter Museum Amon Carter Museum, Fort Worth, Texas, P1981.65/40 Sandweiss, Martha A.; Rick Steward and Ben W. Huseman Eyewitness to War: Prints and Daguerreotypes of the Mexican War, 1846-1848 (Washington, D,C.: Smithson Institution Press, 1989) [There was an exhibition of the same name held at the Amon Carter Museum.] |
| 15. |  | Unidentified photographer 1847 [Burial site of Lieutenant Colonel Henry Clay, Jr.] [Mexican-American War] Daguerreotype, 1/6 plate, applied color Amon Carter Museum Amon Carter Museum, Fort Worth, Texas, P1981.65/41 Sandweiss, Martha A.; Rick Steward and Ben W. Huseman Eyewitness to War: Prints and Daguerreotypes of the Mexican War, 1846-1848 (Washington, D,C.: Smithson Institution Press, 1989) [There was an exhibition of the same name held at the Amon Carter Museum.] |
| 16. |  | Montgomery P. Simons 1848 (ca) Henry Clay Daguerreotype, 1/2 plate Swann Galleries - New York Sale 2208 Lot 33 A commanding half-plate daguerreotype of Henry Clay, the "Great Compromiser," with an inscription, in ink, in a period hand, on verso reading "given by Henry Clay to Isacca Fuller;" in a leather case. Henry Clay was one of the most distinguished figures in American political life. He represented Kentucky in Congress from 1806 until his death in 1852, with a few breaks for cabinet duty or a presidential campaign--he ran four times without success. A political moderate, he brokered the Compromise of 1850 that kept the United States intact. A nearly identical portrait of Clay was copyrighted by Philadelphia photographer Montgomery P. Simons. Simons wrote in to the Photographic Art Journal in 1853 to discuss this sitting: "My likeness of Mr. Clay, which has elicited so many encomiums from the press, and which you have been pleased to criticise so favorably, as a valuable likeness, is still more valuable for having associated with it a pleasing and characteristic anecdote of that great statesman. This anecdote made such a strong impression upon my memory, as being a most elegant impromptu, that I am now able to give it to you verbatim, although it has been several years since it happened. At the time I took the picture of Mr. Clay, he was on a visit to Philadelphia, and the guest of one of his warmest friends, Mr. Potter, who accompanied him to my Gallery. As Mr. Potter and myself were about arranging Mr. Clay's drapery, I asked him if he had any choice of position; his answer was, 'None whatever, sir; I am Clay in the hands of a Potter, let him mould me as he will.'" |
| 17. |  | N. Currier (lithographer and publisher) 1847 Death of Lieut. Col. Henry Clay Jr Lithograph Yale University, Beinecke Rare Book and Manuscript Library |
| 18. |  | Charles-François Thibault 1848, 26 June The Barricade in rue Saint-Maur-Popincourt after the attack by General Lamoricière's troops Daguerreotype 12.7 x 10.4 cm Source requested Currently: © RMN (Musée d'Orsay) / Hervé Lewandowski. Historic pictures of the Paris uprising of 1848, the first photographic images to be used in a news story, sold for $265,000 when Sotheby's auctioned them. Illustrations based upon the Daguerreotypes of M. Thibault were published in the French magazine L'illustration n. 279 -280, 1 to 8 July 1848. The two daguerreotypes -- images on metal plates -- were taken by a pioneering French photographer named Thibault during the tumultuous June revolt in which more than 3,000 Parisians were killed. The plates were turned into engravings which appeared in the French newspaper L'Illustration Journal Universel alongside a story about the uprising. Thibault's first photograph of the rue St. Maur on June 25 shows a deserted cobbled street piled high with debris to form barricades. The second image, taken the following day, is of the same street, this time filled with inhabitants and soldiers with cannons. This Daguerreotype was bought with the aid of the Photographic Heritage Fund in 2002 and is now part of the collections at the Musée d'Orsay in Paris ® RMN (Musée d'Orsay) / Hervé Lewandowski. |
| 19. |  | Charles-François Thibault 1848 Barricades Before the Attack, Rue Saint-Maur (French: Barricades avant l'attaque, Rue Saint-Maur) Daguerreotype Musée Carnavalet Inventory no: PH2861 Illustrations based upon the Daguerreotypes of M. Thibault were published in the French magazine L'illustration n. 279 -280, 1 to 8 July 1848 and in a special issue of Journées illustrées de la révolution de 1848 published in August 1848. |
| 20. |  | Charles-François Thibault 1848 Barricades Before the Attack, Rue Saint-Maur (French: Barricades avant l'attaque, Rue Saint-Maur) [Detail] Daguerreotype Musée Carnavalet Inventory no: PH2861 Illustrations based upon the Daguerreotypes of M. Thibault were published in the French magazine L'illustration n. 279 -280, 1 to 8 July 1848 and in a special issue of Journées illustrées de la révolution de 1848 published in August 1848. This Daguerreotype was bought with the aid of the Photographic Heritage Fund in 2002 and is now part of the collections at the Musée d'Orsay in Paris ® RMN (Musée d'Orsay) / Hervé Lewandowski. |
| 21. |  | Southworth & Hawes 1852 Portrait of Lajos Kossuth Daguerreotype, 1/4 plate Archives of Modern Conflict OR National Gallery of Canada |
| 22. |  | n.d. American postage stamp commerating "Lajos Kossuth - Governor of Hungary 1848-1849" Postage stamp Archives of Modern Conflict OR National Gallery of Canada |
| 23. |  | Stefano Lecchi 1849, Summer Veduta panoramica della trincea francese posta davanti ai Quattro Venti [The Defence of Rome - la difesa di Roma, 33] Salt paper print 17 x 22 cm Biblioteca di storia moderna e contemporanea Please supply inventory numbers. Additional information [Accessed: 30 December 2010] http://www.comitatogianicolo.it/new/assedioita/LEC00.htm |
| 24. |  | Stefano Lecchi 1849, Summer Villa Spada, facciata principale [The Defence of Rome - la difesa di Roma, 11] Salt paper print 16 x 22.4 cm Biblioteca di storia moderna e contemporanea Please supply inventory numbers. Additional information [Accessed: 30 December 2010] http://www.comitatogianicolo.it/new/assedioita/LEC00.htm |
| 25. |  | John McCosh 1852 (taken) Manuthiha, Guardian at the Shwe-Dagon Pagoda; Corner of great pagoda Calotype Victoria and Albert Museum Museum number: 85:300 John McCosh was a doctor and amateur photographer stationed in Burma during the Anglo-Burmese War of 1852. This rare photograph is one of the earliest surviving images of the region. |
| 26. |  | Carol Szathmari 1854 Turkish cavalrymen Salt print 13,3 x 22 cm Private collection of Dr. Adrian-Silvan Ionescu |
| 27. |  | Carol Szathmari 1854 The Oltenitza Quarantine Salt print 13,7 x 19,1 cm Library of the Romanian Academy |
| 28. |  | Roger Fenton 1855 Balaclava Harbour, Crimea Salt print, from wet collodion negative Private collection of John Hannavy |
| 29. |  | Roger Fenton 1855 Officers of the 89th Regt. at Cathcart's Hill Salt print, from wet collodion glass negative 16,3 x 19,7 cm Bassenge Photography Auctions Courtesy of Bassenge, Berlin (Photography, Sale: 90, Lot: 4052, Dec 5, 2007) Flush-mounted to original album page (foxing, some traces of use), title and publisher's letterpress below the image on the mount. This print is from one of the original sets of photographs of the Crimean War by Roger Fenton which were published by Thomas Agnew & Sons on a weekly basis from November 1855 - April 1856. |
| 30. |  | 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) |
| 31. |  | 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) |
| 32. |  | 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 |
| 33. |  | Roger Fenton 1856 Ismail Pacha and Attendants Photographic print 19.5 x 15.4 cm (image) 60.2 x 43.9 cm (mount) Musée Condé © direction des musées de France, © musée Condé, 1999, Inventory No: PH No 542, Joconde: 00000104420 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. |
| 34. |  | Roger Fenton 1855 (ca) A quiet day in the Mortar Battery Salt print 9 1/2 x 13 1/2 in Lee Gallery Courtesy of Lee Gallery (Y1361) Photographer's name, title, and date printed on mount recto. |
| 35. |  | James Robertson 1855 Part of the French attack Sevastopol Salted paper print from wet collodion on glass negative, Mounted on paper Rijksmuseum Copyright © Rijksmuseum Amsterdam (RP-F-F00642) Different sources give this print the title "Interior of the Mamelon Vert". The Mamelon Vert, near Sebastopol, was captured by the French army on 7th June 1855 during the Crimean War. On the 8th September the French took the Malakhov bastion and presumably this photograph was taken around this time. |
| 36. |  | James Robertson 1855 Port de Balaklava pendant la guerre de Crimée (View of Balaklava Harbour during the Crimean War) [Title incorrect: View of Kamiesch] Salted paper print from wet collodion on glass negative, Mounted on paper Rijksmuseum Copyright © Rijksmuseum Amsterdam (RP-F-F00108) This print has the handwritten French caption "Port de Balaklava pendant la guerre de Crimée" on the mount which is incorrect. The view is not of Balaklava, which is surrounded by steep hills, but of the French-controlled port of Kamiesch to the west of Sevastopol. [pers. email, David Jones to Alan Griffiths, 4 April 2013] |
| 37. |  | James Robertson 1855, September (ca) Balaklava [Crimean War] Photographic print University of Nottingham Manuscripts and Special Collections, Newcastle (Clumber), Reference number: 2006-12/06-3114m Image cleaned and adjusted. |
| 38. |  | James Robertson 1856, 1 January Crimean Photographs - James Robertson Magazine page Google Books Photographic Notes - Journal of the Photographic Society of Scotland and the Manchester PHotographic Society, Vol.I, No.I, January 1, 1856, p.10. Crimean Photographs Messrs. Sutton and Blanquart-Evrard, beg to announce that they are in correspondence with Mr. James Robertson, of Constantinople on the subject of publishing a series of sixty Crimean Photographs, recently taken by him. The specimens which he has forwarded to them are from magnificent Negatives. They have proposed to publish them at al extremely moderate price, which will place these valuable works within the reach of a large circle of purchasers. More of this matter on the receipt of Mr Robertson's reply; which they trust may be favorable to the project. |
| 39. |  | James Robertson 1858 (published) The Guards at Scutari Book plate Google Books W.H. Russell The British Expedition to the Crimea Revised edition (London: G. Routledge & Co., 1858), Frontispiece. In a contemporary advertisement for this book one of the promotional lines was that the picture of "The Guards at Scutari" was based upon a photograph by Robertson. Interestingly in the book James Robertson or Roger Fenton are never mentioned. |
| 40. |  | Jean-Charles Langlois 1855 Sevastopol Albumen print, from waxed paper negative 24,5 x 32 cm Bassenge Photography Auctions Courtesy of Bassenge, Berlin (Photography, Sale: 90, Lot: 4088, Dec 5, 2007) |
| 41. |  | Léon Eugène Méhédin 1855 Fragment of the Great Curtain Wall, Sebastopol Albumen silver print 25 x 32 cm National Gallery of Canada / Musée des beaux-arts du Canada Purchased 1967, no. 32262 Printed by Frédéric Martens This photograph is available through CyberMuse - cybermuse.gallery.ca (Accessed: August 2010). |
| 42. |  | Gustave Le Gray 1857 Cavalry Maneuvres, Camp de Châlons Albumen print, from wet collodium on glass negative 5.2 x 7 Galerie Zur Stockeregg |
| 43. |  | Gustave Le Gray 1857, 3 October Cavalry Maneuvers Albumen print 12 3/16 x 14 7/16 J. Paul Getty Museum © J. Paul Getty Trust [84.XO.377.12] |
| 44. |  | Gustave Le Gray 1857 Zouave Storyteller Albumen print 10 5/16 x 13 3/16 J. Paul Getty Museum © J. Paul Getty Trust [84.XM.637.5] |
| 45. |  | Gustave Le Gray 1857 [Painting of The Campfires at Camp de Chalons by Bénédict Masson] Albumen silver print, from glass negative 27.8 x 35.9 cm (10 15/16 x 14 1/8 ins) Metropolitan Museum of Art Gift of Mathew Davis Wolf, in memory of Diane Wolf, 1984, Accession Number: 1984.1194.11 Comments by curatorial staff from the Metropolitan Museum of Art [Accessed: November 2011]. In 1857, Le Gray was commissioned to produce an album of photographs documenting the maneuvers of the French Imperial Guard at the Camp de Ch"lons. His series of images encompassed every aspect of military life, from the daily routine in the camp to simulated combat. The firelit activities of the camp at night, however, were beyond the technical capacity of photography, leaving Le Gray to photograph a painter's rendition of a nighttime scene. The gap between the photographer's art and that of the painter is so wide, however, that Le Gray's picture tells more about the nature of these two media than about its supposed subject. |
| 46. |  | Unidentified photographer / artist 1857 Le Camp de Châlons Stereocard Source requested [Further information is being sought] |
| 47. |  | Unidentified photographer / artist 1857 Le Camp de Châlons Stereocard Source requested [Further information is being sought] |
| 48. |  | Felice Beato 1858 (ca) The Residency, Taken in Front, and Showing the Room in Which Sir Henry Lawrence was Killed, Lucknow. Albumen silver print 23.6 x 28.7 cm Brown University Library, Special Collections Courtesy of Brown University, Special Collections, Anne S. K. Brown Military Collection |
| 49. |  | Felice Beato 1858, March (ca) Interior of the Secundra Bagh after the Slaughter of 2,000 Rebels by the 93rd Highlanders and 4th Punjab Regiment. First Attack of Sir Colin Campbell in November 1857, Lucknow Albumen silver print 26.2 x 29.8 cm Brown University Library, Special Collections Courtesy of Brown University, Special Collections, Anne S. K. Brown Military Collection |
| 50. |  | Felice Beato 1858 (ca) British Army group at Lucknow Albumen print 16.5 x 22 cm Victoria and Albert Museum Museum number: 3218-1955 British Army group at Lucknow including Captain Wheeler, Lieutenant Hall, W.H. Warner, Mr. Kavanagh and Lieutenant Maxwell of the 1st Bengal Fusilers. |
| 51. |  | Felice Beato 1858 Mutineers Hanged Albumen print This work is out of copyright This photograph has been published with numerous titles including: Mutineers Hanged The Hanging of Two Rebels The caption used by Getty Images (Editorial image #: 2672706) is: After their capture of Delhi the Indian mutineers lost the city to British forces who extracted swift reprisals by hanging the leaders. Two of them are hanging from a gallows. |
| 52. |  | Felice Beato 1858 (ca) Execution of two Indian mutineers Albumen print 16.6 x 22 cm Victoria and Albert Museum Museum number: 3219-1955 |
| 53. |  | Felice Beato 1858 Mutineers Hanged Albumen print This work is out of copyright This photograph has been published with numerous titles including: Mutineers Hanged The Hanging of Two Rebels The caption used by Getty Images (Editorial image #: 2672706) is: After their capture of Delhi the Indian mutineers lost the city to British forces who extracted swift reprisals by hanging the leaders. Two of them are hanging from a gallows. |
| 54. |  | Robert & Harriet Tytler 1858 Slaughter Ghat, Cawnpore Photographic print British Library Shelfmark: Photo 193/(20), Item number: 19320 |
| 55. |  | Robert & Harriet Tytler 1858 No. 18. The Residency at Lucknow. The square tower on the right slightly in view is the one in which Lawrence was wounded. Photographic print 38 x 53 cm British Library Shelfmark: Photo 32/(12), Item number: 12 |
| 56. |  | Robert & Harriet Tytler 1858 No. 9. Mosque at Meerut said to be the principal resort of the mutineers. Photographic print 36.3 x 47.4 cm British Library Shelfmark: Photo 32/(16), Item number: 16 |
| 57. |  | Eugène Sevaistre 1860, 2 June Num.10. Revolution de Palerme. Barricades de la rue Macqueda pers les 4 cautons [Revolution de Palerme] Albumen print, stereocard 13 x 18 cm Civico Archivio Fotografico Milano (MI), Raccolte Grafiche e Fotografiche del Castello Sforzesco. Civico Archivio Fotografico, fondo Lamberto Vitali, L.V. 25/293 Spedizione dei Mille - Rivoluzione di Palermo - Via Maqueda - Barricate |
| 58. |  | Eugène Sevaistre 1860, 2 June Num.4. Revolution de Palerme. Barricade de la place Bologne. [Revolution de Palerme] Albumen print, stereocard 13 x 18 cm Civico Archivio Fotografico Milano (MI), Raccolte Grafiche e Fotografiche del Castello Sforzesco. Civico Archivio Fotografico, fondo Lamberto Vitali, L.V. 25/281 Spedizione dei Mille - Rivoluzione di Palermo - Piazza Bologna - Barricate |
| 59. |  | Eugène Sevaistre 1860, 2 June Num.2. Revolution de Palerme. Bombe et barricade dans la Correria Vecchia [Revolution de Palerme] Albumen print, stereocard 13 x 18 cm Civico Archivio Fotografico Milano (MI), Raccolte Grafiche e Fotografiche del Castello Sforzesco. Civico Archivio Fotografico, fondo Lamberto Vitali, L.V. 25/280 Spedizione dei Mille - Rivoluzione di Palermo - Correria vecchia - Bombe sulle barricate |
| 60. |  | Eugène Sevaistre 1860, 27 May Ritratto di gruppo - Garibaldini feriti [Group portrait - wounded Garibaldini] Albumen print 21 x 30 cm Civico Archivio Fotografico Milano (MI), Raccolte Grafiche e Fotografiche del Castello Sforzesco. Civico Archivio Fotografico, fondo Lamberto Vitali, L.V. 25/144 |
| 61. |  | Eugène Sevaistre 1860-1861 (ca) La batteria Conca [Gaeta, Italy] Albumen print Comune di Gaeta In questa fotografia, come in altre, figurano cadaveri di soldati napoletani. Verosimilmente si tratta di un espediente pseudo documentario realizzato con figuranti dopo l'avvenuta sepoltura delle salme dei caduti. 150 Unita d'Italia Gaeta (1861-2011) |
| 62. |  | Eugène Sevaistre 1860-1861 (ca) La batteria Presidio (o Cappelletti) [Gaeta, Italy] Albumen print Comune di Gaeta In questa fotografia, come in altre, figurano cadaveri di soldati napoletani. Verosimilmente si tratta di un espediente pseudo documentario realizzato con figuranti dopo l'avvenuta sepoltura delle salme dei caduti. 150 Unita d'Italia Gaeta (1861-2011) |
| 63. |  | Eugène Sevaistre 1861, 5 February (or later) Rovine intorno alla batteria Sant'Antonio, riprese dalla Cortina Cittadella Cappelletti, e conseguenti all'esplosione della polveriera Sant'Antonio del 5 febbraio 1861 [Gaeta, Italy] Albumen print Comune di Gaeta |
| 64. |  | Felice Beato 1860, August Head Quarter Staff, Pehtang Fort [China] Albumen print 10 x 11 25/32 J. Paul Getty Museum © J.P. Getty Trust (84.XM.473.27) |
| 65. |  | Felice Beato 1860, 21 August Interior of the North Taku Fort, immediately after its capture Albumen print British Library |
| 66. |  | Felice Beato 1860 Interior view of the North Fort of Taku on the Peiho River, near Tientsin (Tianjin), China, following its capture by the English and French armies on August 21st 1860. The battlements and cannons are surrounded by Chinese corpses. Albumen print Wellcome Collection Wellcome Library, London (V0037622) |
| 67. |  | Felice Beato 1861 (published) Interior of the North Fort, Takoo, at the angle where the British Forces entered Lithograph Google Books Robert Swinhoe, Narrative of the North China Campaign of 1860; Containing Personal Experiences of Chinese Characters, and of the Moral and Social Condition of the Country; Together with a Description of the Interior of Pekin, (London, Smith, Elder and Co., 1861) From a Photograph by Signor Beato Published by Smith, Elder & Co., 85 Cornhill, London, 1861 Lithograph by Day & Son. |
| 68. |  | Felice Beato 1860, 21 August (event) 1864 (published) Signor Beato at the Taku forts in China during the Second Opium War Book page Google Books D.F. Rennie, The British Arms in North China and Japan: Peking 1860; Kagoshima 1862, (London: John Murray, 1864) p.112. Writing on the attack on the Taku Forts in China - 21st August 1860 I walked round the ramparts on the west side. They were thickly strewed with dead in the north-west angle thirteen were lying in one group round a gun. Signor Beato was here in great excitement, characterising the group as "beautiful," and begging that it might not be interfered with until perpetuated by his photographic apparatus, which was done a few minutes afterwards. Not far from this group, a tall and very dignified-looking man of between fifty and sixty, stated to be the general who had conducted the defence, was lying dead, his lower jaw shattered by a rifle bullet. |
| 69. |  | John Kinder 1862 Near Drury Albumen print 17.5 x 19 cm Auckland War Memorial Museum DU436.136 D79, Album 89 Taken during the New Zealand Wars (1860-1872). |
| 70. |  | Unidentified photographer 1863 Mr Breton's house in Puebla de los Angeles, Mexico, during the siege of 1863 Albumen print British Library |
| 71. |  | Felice Beato 1864, September The captured Choshu Gun Battery at Shimonoseki with the Royal Navy landing party Carte de visite Jeffrey Kraus Antique Photographics During the Shimonoseki War of 1864 fleets from the United States, Britain, France and the Netherlands compelled the Choshu domain in Japan (now Yamaguchi Prefecture) to allow free passage through the Shimonoseki Channel. This photograph is based on a wet collodion glass negative and Besto was able to get the large military group to pose for him showing that by this point hostilities had ceased or there was a significant lull in activity. |
| 72. |  | Unidentified photographer 1867-1868 Belooch regiment [Zoulla, Magdala, Abyssinia] Albumen print National Archives Catalogue Reference: Part of CO 1069/5/121, No known copyright restrictions. Part of an album from the 1868 Abyssinia campaign led by Sir Robert Napier. Available on flickr (January 2011). |