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| 1. |  | Thomas Le Clear 1865 (ca) Interior with Portraits Oil on canvas 25 7/8 x 40 1/2 ins (65.7 x 102.9 cm) American Art Museum, Smithsonian Institution Museum purchase made possible by the Pauline Edwards Bequest (1993.6) This painting was included in the "American Stories: Paintings of Everyday Life, 1765-1915" at the Metropolitan Museum of Art (October 12, 2009 - January 24, 2010). The online notes for the exhibition described this painting in the following way. By about 1865 American artists were beginning to understand the implications of photography for the art of painting. This canvas reportedly was commissioned by the elder brother of the two children James and Parnell Sidway posing in the skylit studio. The paraphernalia of painting are upstaged by the photographer and his gear and the landscape is a mere prop, not an awe-inspiring view. Yet Le Clear does not simply tell a story of photography's triumph over painting. At the time the painting was made, James Sidway, a volunteer firefighter in his mid-twenties, had recently died in a hotel fire; his older sister, Parnell, had died in adolescence, more than fifteen years earlier. Thus, Le Clear may be lauding painters who, unlike photographers, could capture more than the moment at hand, invent narrative, and even restore life to individuals who had passed. |
| 2. |  | Pascal Adolphe Dagnan-Bouveret (artist, 1852-1929) 1878-1879 Wedding Party at the Photographer's Studio [Une Noce chez le Photograohe] Oil on canvas 85 x 122 cm Museum of Fine Arts / Musée des beaux-arts, Lyon Inventory no: H 715, Joconde: 000PE027838 This painting was exhibited at the Exposition Universelle, Paris, 1878, Paris Salon (Salon des artistes français, Paris), 1879. An engraving of this painting was made by Auguste-Louis Lepère from a photograph by Maison Goupil and it was published in: Le Monde illustré, no. 1193, February 7, 1880, pg 88-89 The engraving has been included in further publications including: Michel F. Braive, 1966, The Photograph, A Social History, (New York: McGraw-Hill Book Company) p. 175 Michel F. Braive & Ruth Henry, 1965, Das Zeitalter der Photographie: von Niépce bis heute, (Munchen: Verlag Georg. D.W. Callwey), p. 175 |
| 3. |  | Unidentified photographer / artist 1807 A camera lucida in use Engraving George Eastman Museum From Chambre Claire. |
| 4. |  | John Herschel 1822-1827 Earth Columns at Stalde in the Visp Thal, Switzerland, between 1822 and 1827 Camera Lucida drawing Museum of Photographic Arts - MOPA Gift of Susan and Graham Nash, Accession Number: 2002.040.031 |
| 5. |  | Antoine Claudet 1844 (ca) William Henry Fox Talbot Daguerreotype British Library Courtesy of the British Library, Shelfmark: Talbot Photo 4 The monocle around the neck of William Henry Fox Talbot is in the National Trust Collection at Lacock Abbey, Wiltshire, England. (Roger Watson, Curator at Lacock Abbey, FB comment, 30 January 2020) |
| 6. |  | Henry Fox Talbot 1833, 5 October Sketch of Lake Como Drawing, made with a camera lucida National Science and Media Museum Courtesy of the Science and Society Picture Library. |
| 7. |  | Jean-Baptiste Sabatier-Blot n.d. Daguerre Daguerreotype Société Française de Photographie [SFP - Inventory id number required] |
| 8. |  | Louis Jacques Mandé Daguerre 1827, 30 June Sights of London. the Diorama - Ruins in a Fog Magazine illustration Google Books The Mirror of Literature, Amusement and Instruction (London), volume 9, No.260, June 30, 1827, p.425. Sights of London The Diorama - Ruins in a Fog The subject of the above engraving is a novel illustration for our pages; as the fine old ruin is merely an imaginative design, and does not represent a real object: nevertheless, we are assured our engraving will have many admirers, as it is a faithful copy of one of the magnificent views new exhibiting at The Diorama. This fine picture represents a Gothic Gallery falling to decay, situate at the extremity of a narrow valley, beneath barren mountains. All is sombre, desolate, and mournful; the long-drawn aisles, at a first glance, are alone perceived, for a thick fog reigns without, and such is the illusion of the scene, that you actually fancy yourself chilled by the cold and damp air. By degrees, however, the fog disperses, and through the vast arches are plainly discovered the forests of pine and larch-trees that cover the valley. The magic of this effect ot light is indeed most extraordinary, and the illusion is complete and enchanting. The execution of this picture reflects the highest honour on Mr. Daguerres, the artist, whose talents have been frequently exercised on other subjects which have been exhibited at The Diorama, but with none of which have we been more interested, than the present specimen, which entitles Mr. Daguerres to be ranked as one of the most distinguished painters that ever lived. Another picture, painted by Mr. Bouton, is exhibited with the Ruins in a Fog: it is a View of St. Cloud and Environs of Paris, and the eye wanders over a rich landscape, which embraces in ex tent about forty miles of the country adjacent to the French metropolis. At our feet runs a road, which looks arid and dusty, by the side of which lies a man sleeping, which is life itself; this portion at the picture is executed in the most masterly style. Beyond the bridge thrown over the Seine rise the fine chateau and eminences of St. Cloud, and the Lantern of Demosthenes, which, when illuminated, used to announce to the Parisians, that Napoleon had deserted their city for the palace of St. Cloud. Mount Valerian, the vineyards of Argenteuil, the mills of Sannoy, the steeple of St. Denis, may be recognized, and to the extreme right is Paris, the numerous edifices of which may be easily distinguished. In a work of such magnitude, and possessing so many claims to admiration, it is impossible to carry on a description which, at best, can but convey a feeble idea of thls magnificent picture to our reader. We shall then desist from further detail, especially as the major part of our friends will doubtless take an opportunity of visiting tlie Diorama, and passing, as we have done, an agreeable hour in viewing this highly interesting exhibition. |
| 9. |  | Louis Jacques Mandé Daguerre 1822 (or later) Daguerre's Diorama in Paris Lithograph Archives of Modern Conflict OR National Gallery of Canada In 1822 at age 35 Daguerre with a partner and investors opened the Diorama in Paris. To control the lighting effects, the glass roof is necessary. This illustration was included in the lecture "The many faces of Daguerre" presented by Matt Isenburg at the Daguerreian Society Symposium (2009). (16 April 2016) Beverly Wilgus noted that the reversed title at the top of the print would be shown correctly when viewed through a Zograscope, a popular parlor amusement of the time. |
| 10. |  | L. Leblanc n.d. Christian painting or etching Daguerreotype 23 x 19 cm Dordrechts Museum www.daguerreobase.org - Daguerreobase no: DMU07 Label for "Portraits Daguerriens et Photographie sur Papier Perfectionnés par L. LeBlanc. Reproduction de Tableaux, Dessins, Gravures, Objets d'Art &c. No.1 Boulevard des Italiens et rue Richelieu, 115. Maison de la Petite Jeanette" |
| 11. |  | Joseph Weekes (Albany, NY) 1854, 22 August Portrait of a gentleman Daguerreotype, 1/4 plate Archives of Modern Conflict OR National Gallery of Canada Well dressed gentleman, clenched fist on table, wearing the fraternal regalia of his Lodge. The information is found behind the image. It reads: J. F. Settle D.D.Taken August 23, 1854 after the meeting of RWG Lodge of Northern NY held at Albany Aug 22, 1854. (Matt Isenburg) |
| 12. |  | Mayer & Pierson 1861, 29 March Portrait of a ten year old girl [Portrait d'une fillette de dix ans] Photograph, hand-painted 36.4 x 29.5 cm (mount) 20,9 x 17,4 cm (image) Musée français de la Photographie Inventory no: 84.4391.1 |
| 13. |  | Kusakabe Kimbei 1900 (ca) 16. Wind Costume Studio portrait, hand-tinted National Archives Catalogue Reference: CO 1069/416 f.48 Thanks to Terry Bennett for finding the photographer for this photograph. [November 2010] |
| 14. |  | Felice Beato 1863 (or later) My Artists Carte de visite Private collection This carte de visite is of immense significance as it shows the Japanese colourists who worked for Felice Beato. There is a printed paper label pasted on the back - "My Artists." |
| 15. |  | Julia Margaret Cameron 1875 So like a shatter'd Column lay the King [Illustrations to Tennyson's Idylls of the King and other poems - II, Tome 2, folio 12] Albumen print, from collodion glass negative 34 x 27.8 cm Musée d'Orsay © photo musée d'Orsay / RMN, PHO 1980 25 épreuve sur papier albuminé a partir d'un négatif verre au collodion, contrecollée sur carton |
| 16. |  | Southworth & Hawes 1855 (ca) Sculpture Gallery, Boston Athenaeum Daguerreotype 18.6 x 13.7 cm (7 5/16 x 5 3/8 ins) (visible) Metropolitan Museum of Art The Rubel Collection, Purchase, Ann Tenenbaum and Thomas H. Lee and Lila Acheson Wallace Gifts, 1997, Accession Number: 1997.382.40 |
| 17. |  | Southworth & Hawes 1850 (ca) [Girl with Portrait of George Washington] Daguerreotype 21.6 x 16.5 cm (8 1/2 x 6 1/2 ins) Metropolitan Museum of Art Gift of I. N. Phelps Stokes, Edward S. Hawes, Alice Mary Hawes, and Marion Augusta Hawes, 1937, Accession Number: 37.14.53 |
| 18. |  | Olympe Aguado 1860 (ca) Admiration! Albumen print 15.2 x 20.4 cm Musée d'Art Moderne et Contemporain Purchased in 1996 Inventory no requested. |
| 19. |  | Alfred Rudolph Waud (American, born Great Britain, 1828-1891) 1870 (ca) [Woman in an Interior] Tintype 13.8 x 10.6 cm (5 7/16 x 4 3/16 ins) Metropolitan Museum of Art Gilman Collection, Purchase, Jennifer and Joseph Duke Gift, 2005, Accession Number: 2005.100.616 |
| 20. |  | Southworth & Hawes 1850 (ca) [Boston Beauty in Black Taffeta Dress and Lace Shawl] Daguerreotype 21.6 x 16.5 cm (8 1/2 x 6 1/2 ins) Metropolitan Museum of Art Gift of I. N. Phelps Stokes, Edward S. Hawes, Alice Mary Hawes, and Marion Augusta Hawes, 1937, Accession Number: 37.14.4 |
| 21. |  | Albert Sands Southworth 1845-1850 (ca) [Self-Portrait] Daguerreotype 14.1 x 10.8 cm (5 9/16 x 4 1/4 ins) Metropolitan Museum of Art Gilman Collection, Gift of The Howard Gilman Foundation, 2005, Accession Number: 2005.100.79 |
| 22. |  | Juan Laurent 1865 (ca) Etude pour peintre, Moine Albumen print 25 x 33 cm Photo Verdeau |
| 23. |  | Walter Barnes 1885 The Apotheosis of Degas [Apothéose de Degas] Silver print from a silver gelatine glass negative, pasted on card 9 x 11 cm Musée d'Orsay © photo RMN, PHO 2006 5 1 A parody of the "Apotheosis of Homer" by Ingres (1827). |
| 24. |  | Jean Auguste Dominique Ingres 1827 Apotheosis of Homer OIl on canvas 386 x 515 cm Musée du Louvre |
| 25. |  | Edgar Degas 1865 (ca) Princess Pauline de Metternich Oil on canvas 41 x 29 cm The National Gallery, London NG3337. Presented by the National Art Collections Fund, 1918; returned from the Tate Gallery, 1934. Stamped signature of the Degas studio sale. The sitter was the wife of the Austro-Hungarian ambassador at the court of Napoleon III. The portrait is based on a photograph of 1860 which the Prince and Princess used as a visiting card. The floral backdrop was the artist's own invention. |
| 26. |  | André Adolphe-Eugène Disdéri 1862 Prince Richard Metternich and Princess Pauline Metternich Carte de visite Paul Frecker This portrait shows Princess Pauline with her husband, Prince Richard Metternich, the Austrian ambassador to the court of Napoléon III. The carte-de-visite was copied by Degas for his portrait of the Princess (cropped at the waist, and with her husband omitted altogether) which now hangs in the National Gallery, London, one of the earliest known examples of an artist basing a painting entirely on a photograph. |
| 27. |  | Thomas Couture (1815-1879) 1847 Romans during the Decadence [Romains de la décadence] Oil on canvas 472 x 772 cm Musée d'Orsay © RMN (Musée d'Orsay) / Hervé Lewandowski, RF 1937 117 |
| 28. |  | Oscar Gustave Rejlander 1857 The Two Ways of Life [Father / Philosopher looking towards Vice] Albumen print, photomontage 31 x 16 ins Source requested Collection / accession numbers requested First shown at the Manchester Art & Treasures Exhibition in 1857. Research question (February 2012) If you have details on the collection and inventory number for this version of "The Two Ways of Life" I'd be most grateful if you could email it through. |
| 29. |  | Oscar Gustave Rejlander 1857 The Two Ways of Life [Father / Philosopher looking towards Virtue] Albumen print, photomontage Source requested Collection / accession numbers requested Research question (February 2012) If you have details on the collection and inventory number for this version of "The Two Ways of Life" I'd be most grateful if you could email it through. |
| 30. |  | François-Rupert Carabin 1895-1910 Nude woman, standing, front view Albumen print, from a silver gelatin glass negative 17.5 x 12 cm Musée d'Orsay © photo RMN, PHO 1992 15 1 68 |
| 31. |  | Achille Bonnuit n.d. Porcelain mark, Sevres Porcelain Factory Book illustration Google Books William Chaffers The Hand Book of Marks and Monograms on Pottery and Porcelain or the Renaissance and Modern Periods (Read Books, 2008) ISBN : 1443734624, 9781443734622, p.248. |
| 32. |  | Achille Bonnuit 1860 (ca) Sèvres Porcelain Factory, the painters (Manufacture de Sèvres, les peintres) Albumen print, from wet plate collodion glass negative Musée d'Orsay © droit réservé - photo musée d'Orsay / RMN, PHO 1984 73 51 épreuve sur papier albuminé a partir d'un négatif verre au collodion humide. Album de photographies d'une famille d'artistes de la Manufacture de Sèvres |
| 33. |  | Achille Bonnuit 1870 (ca) Orientalist scene, a guard giving a drink to a prisoner (Tableau orientaliste, garde donnant à boire au prisonnier) Albumen print, from wet plate collodion glass negative Musée d'Orsay © droit réservé - photo musée d'Orsay / RMN, PHO 1984 70 61 épreuve sur papier albuminé a partir d'un négatif verre au collodion humide. Album de photographies d'une famille d'artistes de la Manufacture de Sèvres |
| 34. |  | Unidentified photographer 1851 (ca) Thomas Cowperthwaite Eakins (25 Jul 1844-25 Jun 1916) and Frances Eakins (1848-?) Daguerreotype 10.9 x 8.2 cm (4 5/16 x 3 1/4) National Portrait Gallery, Smithsonian Institution [NPG.80.248] |
| 35. |  | Thomas Eakins 1884 Marey Wheel Photographs of Thomas Eakins Platinum print 1 5/8 x 2 1/2 in (4.1 x 6.3 cm) Smithsonian Hirshhorn Museum and Sculpture Garden Gift of Joseph H. Hirshhorn, 1966, Accession Number: 83.38 |
| 36. |  | Thomas Eakins 1883 (ca) Thomas Eakins and Students Albumen print 3 3/16 x 3 7/8 in irreg. (8.1 x 9.8 cm) Smithsonian Hirshhorn Museum and Sculpture Garden Gift of Joseph H. Hirshhorn, 1966, Accession Number: 83.16 |
| 37. |  | Thomas Eakins 1883 Study for "Swimming" Albumen print 3 1/4 x 3 3/4 in irreg. (8.1 x 9.5 cm) Smithsonian Hirshhorn Museum and Sculpture Garden Gift of Joseph H. Hirshhorn, 1966, Accession Number: 83.15 |
| 38. |  | Thomas Eakins 1883 Study for "Swimming" Albumen print 6 1/16 x 7 13/16 in (15.4 x 19.8 cm) Smithsonian Hirshhorn Museum and Sculpture Garden Gift of Joseph H. Hirshhorn, 1966, Accession Number: 83.17 |
| 39. |  | Thomas Eakins 1884-1885 The Swimming Hole Oil on canvas 27 3/8 x 36 3/8 in (69.5 x 92.4 cm) Amon Carter Museum The Swimming Hole (1884-5) features Eakins' finest studies of the nude, in his most successfully constructed outdoor picture.[1] The figures are those of his friends and students, and include a self-portrait. Although there are photographs by Eakins which relate to the painting, the picture's powerful pyramidal composition and sculptural conception of the individual bodies are completely distinctive pictorial resolutions.[2] The work was painted on commission, but was refused [3]. 1. Lloyd Goodrich, Thomas Eakins. Harvard University Press (1982. ISBN 0-674-88490-6) Volume I, page 240. 2. Lloyd Goodrich, Thomas Eakins. Harvard University Press (1982. ISBN 0-674-88490-6) Volume I, pages 239-241. 3. Edward Hornor Coates commissioned the painting. It was Coates who, as chairman of the Committee on Instruction at the Pennsylvania Academy, was soon to request Eakins' resignation. Lloyd Goodrich, Thomas Eakins. Harvard University Press (1982. ISBN 0-674-88490-6), Volume I, page 286. [Wikipedia, "Thomas Eakins", accessed: 3 June 2010] |
| 40. |  | Thomas Eakins 1883 [George Reynolds: Seven Photographs] Albumen silver print 8.1 x 18.9 cm (3 3/16 x 7 7/16 in) J. Paul Getty Museum Object number: 84.XM.254.23 |
| 41. |  | Gustave Le Gray 1856 The Road to Chailly, Fontainebleau Albumen print 10 1/16 x 13 15/16 in J. Paul Getty Museum The J. Paul Getty Trust (84.XM.347.3) |
| 42. |  | Claude Monet (1840-1926) 1865 Le Pavé de Chailly Oil painting 42 x 59 cm Musée d'Orsay |
| 43. |  | Alphonse Marie Mucha 1900 Study for the Bosnia-Hercegovina pavilion at the World Fair, Paris Gelatin silver print, toned 5 x 6 3/4 in Paul Cava Fine Art Courtesy of Paul Cava Fine Art |
| 44. |  | Charles Thurston Thompson 1859 Work - Portrait of Thomas Carlyle Albumen print 18.5 x 31.2 cm Birmingham Museum and Art Gallery Accession number: 1975P329 Curatorial notes © Birmingham Museums and Art Gallery Although Brown met Thomas Carlyle (1795-1881), the essayist was too busy to sit for 'Work' in person and instead posed for this photograph. It appears to have been taken in 1859 at 'Mr Thompson's Photographic Establishment'. Mr. Thompson is likely to have been the photographer Charles Thurston Thompson (1816-1868). Brown was deeply impressed with the works of Carlyle and several of them influenced his choice of subject matter. Carlyle's writings were known for their lively rhetoric which comes across in the letter he wrote to Brown agreeing to pose for the photograph:'I think it a pity you had not put (or should not still put) some other man than me in your Great Picture. It is certain you could hardly have found among the sons of Adam, at present, any individual who is less in a condition to help you forward with it … I very well remember your amiable request, and the promise I made to you, to 'sit for some photographs.' That promise I will keep; and to that we must restrict ourselves, hand of Necessity compelling. Any afternoon I will attend here, at your studio, or where you appoint me, and give your man one hour to get what photographs he will or can of me. If here, the hour must be 3"pm (my usual hour of quitting work, or to speak justly, the chamber of work); if at any other place, attainable by horseback, it will be altogether equally convenient to me; and the hour may such as enables me to arrive (at a rate of 5 miles per hour we will say!)' (F. M. Hueffer, 'Ford Madox Brown: A Record of his Life and Work, p. 163) The National Portrait Gallery holds another photograph of Carlyle sitting in a chair, which was owned by the sculptor Thomas Woolner (1825-1892), a friend of the artist. It appears to have been taken in the same studio session as the sitter as the same clothes, props and backdrop can be seen in the photograph. It is a smaller portrait of Carlyle from the waist up, and is likely to have been taken as the sitter seems to have moved his head in the Birmingham photograph, producing a blurred effect which may not have contained enough detail for Brown to work from. The Birmingham photograph has pin holes in the corners suggesting that Brown tacked it up to use as a guide to Carlye's pose, which is the same as in the finished picture, but may have relied on the clearer half-length study for his likeness. |
| 45. |  | Ford Madox Brown (1821-1893) 1852-1865 Work Oil paint 137 x 197.3 cm Manchester Art Gallery © Manchester City Galleries, Accession Number: 1885.1 Curatorial notes © Manchester Art Gallery The moral value of work was much discussed in the middle of the 19th century. This painting reflects that debate. One day, as Brown walked to his Hampstead studio, he caught sight of a group of navvies digging a drain. He had been reading Thomas Carlyle's Past and Present, which discusses the nobility of labour. It occurred to him that navvies were as worth painting as any group of picturesque Italian peasants who graced the walls of London art galleries. He made these constructors of the modern world the central focus of his painting, surrounding them with those who do not need to work or are deprived of meaningful work. In contrast, on the right, Thomas Carlyle watches as he converses with Rev. F D Maurice, founder of the first college for working men. These are brainworkers, the cause of purposeful work and happiness in others. Street scene with arched top, representing aspects of work. In the centre, a group of navvies are digging up the road, one is carrying bricks, another drinking beer, while others shovel the earth dug up by their workmates below into a pile on the surface. In front of them, a young girl with tousled hair and a ragged red, velvet dress looks after three children; a baby in her arms, a small girl at her side, and boy to the right, whose refusal to leave the workmen's wheelbarrow alone has forced the young girl to pull him away by his hair. A mongrel dog at her feet faces a well groomed greyhound, dressed in a red cape, opposite, a third dog lies down between them. To the left, walking to the side of navvies, a ragged flower seller holding a large basket of plants makes his way towards the viewer. He looks suspiciously to the right, his eyes visible through a tear in the brim of his hat. A wealthy lady with blue parasol walks behind him, with an older lady, more soberly dressed, distributing pamphlets behind her. Behind this group a baker, just visible, walks away from the viewer, carrying a tray of pastries on his head. Behind the navvies, a wealthy middle-aged gentleman and his daughter sit on horseback, their path blocked by the roadworks. To the far right, two intellectual men lean against the fence at the side of the road. Behind them a steep grassy bank runs down to road below. Unemployed workers (haymakers) are sleeping at the top of the bank in the shade of a large tree. A couple feeding baby sit close to the tree, a man wearing a top hat stands behind them, leaning against the trunk. Along the lower road, running into distance, a group of people wearing sandwich boards walk away from the viewer, advertising for votes. In the top right corner, a woman with a large basket of oranges is apprehended by policeman, causing her to spill her oranges into the road. |
| 46. |  | Julia Margaret Cameron 1864 William Holman Hunt, painter [peintre] Albumen print, from collodion glass negative 23 x 18 cm Musée d'Orsay © photo musée d'Orsay / RMN, PHO 1984 99 épreuve sur papier albuminé a partir d'un négatif verre au collodion |
| 47. |  | Pierre Petit 1860s (ca, early) Ingres Silver print (?) 18.7 x 14.5 cm Musée d'Orsay © photo RMN, Jean-Gilles Berizzi, PHO 1993 11 5 |
| 48. |  | Unidentified photographer 1870s Daydreaming girl (Photo after painting by Ingres) Albumen print Private collection of Jan Weijers (Servatius) |
| 49. |  | Unidentified photographer n.d. Sculpture of a female nude Daguerreotype, gold-toned, stereo 8.3 x 17 cm Universiteit Leiden, Prentenkabinet www.daguerreobase.org - Daguerreobase no: PKL-57.0355 |
| 50. |  | Unidentified photographer n.d. Unknown woman painting a man's portrait, surrounded by art objects Daguerreotype, gold-toned, stereo 16.9 x 8.3 cm Universiteit Leiden, Prentenkabinet www.daguerreobase.org - Daguerreobase no: PKL-57.0357 |
| 51. |  | Unidentified photographer n.d. Unknown woman painting a man's portrait, surrounded by art objects Daguerreotype, gold-toned, stereo, right 16.9 x 8.3 cm (whole) Universiteit Leiden, Prentenkabinet www.daguerreobase.org - Daguerreobase no: PKL-57.0357 |
| 52. |  | Charles Desavary 1871-1872 (ca) Camille Corot painting in the open air at Saint-Nicolas-les-Arras (Camille Corot peignant en plein air à Saint-Nicolas-les-Arras) Albumen print 14 x 10 cm Artcurial courtesy of Artcurial (Sale 1170, Lot 176) |
| 53. |  | Gustave Le Gray 1852 The Salon of 1852 Salted paper print from paper negative 24.1 x 37.9 cm Metropolitan Museum of Art Gilman Collection, Purchase, Mrs. Walter Annenberg and The Annenberg Foundation Gift, 2005, Accession Number: 2005.100.311 |
| 54. |  | Gustave Le Gray 1852 Salon of 1852, large north gallery (centre: "The Village Girls" by Gustave Courbet) Salted paper print from paper negative, glued on card 19.4 x 23.6 cm Musée d'Orsay © photo RMN, Hervé Lewandowski, PHO 1984 104 2 |
| 55. |  | Jeremiah Gurney 1854 Daguerrean Sketches in New York [Interior of J. Gurney's daguerreian gallery at 349 Broadway, New York] Engraving Daguerreian Society Courtesy of the Daguerreian Society (www.daguerre.org) |
| 56. |  | Meade Brothers Studio 1853, 5 February Interior view of Meade Brothers' Daguerreotype Gallery, Broadway, New York Magazine illustration Archive Farms Gleason's Pictorial Drawing Room Companion, Feb. 5, 1853. |
| 57. |  | London Stereoscopic Company 1862 No. 54 - The French Photographic Gallery Stereocard, half Archives of Modern Conflict OR National Gallery of Canada Accession number: 2017.0017 Includes the booth of Richebourg, a camera and lens maker and that of H. Corbin. |
| 58. |  | Unidentified photographer / artist 1876 Photographic Hall of the International Centennial Exhibition of 1876, Philadelphia Albumen print 7.75 x 4.75 in (image) 9.25 x 6 in (mount) Stereographica - Antique Photographica Courtesy of Bryan and Page Ginns (#20 / 216) There is a lot of detail in this image, we clearly see a Marcy Stereopticon in the glass cabinet center right, an advertisement for micro photographs and photographic prints galore. |
| 59. |  | Centennial Photographic Co. 1876? Trapp & Munch's exhibit-Photographic Hall Albumen print 21 x 26 cm Free Library of Philadelphia Collection: Centennial Exhibition, Item No: c021233 "Trapp & Munch Friedberg near Frankfurt on the Main Germany Manufactory of albumen paper and photographic chemicals Founded 186?…"--Display poster. Exhibit title: Trapp & Munch, Friedberg, Exhibit #228, Photographic Exhibition Building, Bldg. #104. Framed photographs of people and buildings developed using Trapp & Munch's make of albumen paper. |
| 60. |  | Lewis H. Bissell 1895 (ca) Photographer's Studio Cabinet card Carl Mautz Vintage Photographs Courtesy of Carl Mautz Bissell (Effingham, Illinois) |
| 61. |  | Unidentified photographer 1880 (ca) The painter and his model (and her friend?) Photographic print Private collection of Jan Weijers (Servatius) |
| 62. |  | Adolphe Braun 1863-1865 (taken) 1871 (print, after) Vue Suisse, Chillon Albumen print 36.8 x 47.2 cm (image) 54.3 x 71 cm (mount) Musée Condé © direction des musées de France, © musée Condé, 1999, Inventory No: PH No 55, Joconde: 00000103929 A. Braun a Dornach (Haut-Rhin), No 44 et titre au crayon sur le montage |
| 63. |  | Gustave Courbet 1874 Le château de Chillon (the chateau of Chillon) Oil painting Source requested |
| 64. |  | Georg Hendrik Breitner n.d. Girl in a kimono (Geesje Kwak) in Breitner's studio on Lauriersgracht, Amsterdam Gelatin silver print 12 1/4 x 15 1/4 ins (framed) Collection RKD / Netherlands Institute for Art History |
| 65. |  | Georg Hendrik Breitner 1893-1895 Girl in Red Kimono, Geesje Kwak Oil on canvas 24 x 19 1/2 ins Noortman Master Paintings On behalf of private collection, Netherlands. |
| 66. |  | Otto Reinhold Jacobi 1860 The Rapids, Montmorency River [Les Rapides, rivière Montmorency] Oil on canvas 41 x 48.8 cm Musée national des beaux-arts du Québec |
| 67. |  | William Notman 1887 Natural Steps, Montmorency, Quebec Printing out paper 7.5 x 9.5 ins Archive Farms |
| 68. |  | William Notman 1860-1868 (ca) Example page from William Notman [Canadian town and landscape scenery: an album of photographs] Album page Donald A. Heald - Rare Books, Prints & Maps Donald A. Heald - Rare Books, Prints & Maps, New York (#20186) |
| 69. |  | Pierre-Auguste Renoir 1881 Luncheon of the Boating Party Oil on canvas The Phillips Collection French title: Le déjeuner des canotiers. |
| 70. |  | Neil Folberg 2003-2005 Renoir: After the luncheon of the boating party [The French Impressionists] Color print Provided by the artist - Neil Folberg © Neil Folberg, courtesy of the artist In an email Neil Folberg explained the context for this photograph and if it was taken at Maison Fournaise. The answer is that I did go check out the Maison Fournaise and the porch there, but because it was high and a bit small, I would have had to build scaffolding outside the porch to stand on. Also, because it was still an operating restaurant, I would have had to pay to shut it down for two days (had they agreed). What happened is that in my early researches, I was wandering around along the river in the little village of Vétheuil near where Monet had lived sometime before he got involved in his grandiose project at Giverny. Someone who had a house right on the river - Stefan is his name - came down to talk to me and invited me for a drink on his porch which overlooked the Seine … and Stefan is a set designer whose profession is restaurant design. I kept his name for a year or so until I decided to recreate the scene and then went back to see his porch after looking at the Maison Fournaise. It was just so much easier and nicer to work with and he helped create the set. He is seated in the picture with his children and his wife Nina is in the back, the tallest woman standing. She's talking to my good friend Bénedicte. I also used two other friends, Laurent and a cousin of my assistant who is an acting instructor and helped me assign roles to each of the characters. So I was not only recreating the scene of Renoir in a contemporary mode, I was recreating the process, too, where he had used his friends as models and probably had had a pretty good time with them. Believe me, after rehearsing all morning and having a good lunch with plenty of wine we made a party out of this in the late afternoon and by the time we made the shot it wasn't posed - it had become real. That's the story! And I'm still very close friends with Stefan and Nina and Bénedicte … just saw them all last November.(The other people are hired models or actors, some of whom I used in other staged shots). (Pers. email, Neil Folberg to Alan Griffiths, 8 April 2014) This concentrates on the work Neil Folberg completed in France from 2003-2005. |
| 71. |  | Unidentified photographer 1890-1910 (ca) A painter and his model Photomontage Photo-And-Co - Photographies anciennes |