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| 1. |  | Unidentified photographer n.d. Untitled (portrait of a lady) Carte de visite, hand-painted Private collection |
| 2. |  | Unidentified photographer n.d. Untitled (portrait of a lady) Carte de visite, hand-painted Private collection |
| 3. |  | Unidentified photographer n.d. Portrait of a young girl Carte de visite Private collection of Christopher Schwer |
| 4. |  | Unidentified photographer n.d. Portrait of a young girl Tintype, hand-painted, full plate Private collection of Christopher Schwer |
| 5. |  | Lewis Carroll 1874 Frederica Harriette Morrell Asleep Albumen print, from wet collodion negative 6 5/8 x 5 Charles Isaacs Photographs, Inc |
| 6. |  | Lewis Carroll 1874 Frederica Harriette Morrell Asleep Albumen print, from wet collodion negative 5 7/8 x 4 1/8 Charles Isaacs Photographs, Inc |
| 7. |  | Julia Margaret Cameron 1866 Clio Albumen print National Science and Media Museum The Royal Photographic Society, Ref Number: 2003-5001/2/20088 |
| 8. |  | Julia Margaret Cameron 1866 Adriana Albumen print 36.1 x 28.1 cm (14 3/16 x 11 1/16 ins) (tp corners rounded) Museum of Fine Arts, Boston Sophie M. Friedman Fund, Accession number: 1987.499 |
| 9. |  | Etienne Carjat 1860 Victor Hugo Albumen print 48.26 x 39.05 cm (19 x 15 3/8 ins) Museum of Fine Arts, Boston Lucy Dalbiac Luard Fund, Accession number: 1998.75 |
| 10. |  | Etienne Carjat 1876 Victor Hugo (French writer) Private collection of Jan Weijers (Servatius) Courtesy of Jan Weijers |
| 11. |  | Félix Bonfils 1870 (ca) Femmes musulmanes syriennes à Beyrouth. Costume de ville Albumen print, cropped 21 x 28 cm Van Ham Fine Art Auctions Van Ham - Contemporary Photographs, Literature on Photography (June 10, 2011) Lot: 1304 Literature: An den sussen ufern Asiens. Reiseziele des 19. Jahrhunderts in fruhen Photographien. Exhibition-cat. Wallraf-Richartz-Museum/ Museum Ludwig. Köln 1988. Pp.151-152. |
| 12. |  | Félix Bonfils 1880 (ca) Femmes musulmanes syriennes à Beyrouth. Costume de ville Photochromie d'après un papier albuminé d'après négatif sur verre au collodion 22 x 16.5 cm Bibliothèque Nationale de France, Département des Estampes et de la Photographie Acquisition 1973 |
| 13. |  | G. Lékégian 1880 Arab Woman, Egypt Albumen print 11 x 8.25 ins 275 x 215 mm Antiq-Photo Courtesy of Anthony Davis - Antiq-photo / Rainbow creations (www.19cPhoto.com - 3eg388) |
| 14. |  | G. Lékégian 1895 (ca) Portrait de femme Albumen print, hand-coloured 21 x 25.8 cm Photo Verdeau |
| 15. |  | Bourne & Shepherd 1870s Maharaja Holkar of Indore Albumen print 280 x 230 mm Bonhams - London Courtesy of Bonhams, London (Sale 15313 - India and Beyond in Books and Photography, Lot 238 - 26 Oct 2007) |
| 16. |  | Bourne & Shepherd n.d. The Maharajah Holkar of Indore, GCSI (1835-86) Cabinet card Richard Meara Tukojirao Holkar II, riuler from 1844 until his death in 1886. |
| 17. |  | 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] |
| 18. |  | Kusakabe Kimbei 1880 (ca) Japon. La Femme à L'Ombrelle Albumen print, hand-coloured 18 x 24 cm Photo Verdeau |
| 19. |  | Baron Raimund von Stillfried 1870 (ca) Young Samurai, Japan Albumen print, hand-tinted 8.5 x 11 ins 215 x 280 mm Antiq-Photo Courtesy of Anthony Davis - Antiq-photo / Rainbow creations (www.19cPhoto.com - 3jc1) |
| 20. |  | Tamamura Kozaburo 1880 (ca) Portrait d'un jeune Japonais Albumen print, hand-coloured 20 x 25 cm Photo Verdeau |
| 21. |  | Felice Beato 1860s Barbers Albumen print, hand-coloured 25.5 x 22.5 cm (10 1/16 x 8 7/8 ins) Museum of Fine Arts, Boston William Sturgis Bigelow Collection, Accession No: 2010.580.13 |
| 22. |  | Felice Beato 1868 (ca) Barbers in Japan Albumen print, hand-coloured Sotheby's - London Travel, Atlases, Maps & Natural History, 30 April 2015, Lot: 206 Title by Alan Griffiths. |
| 23. |  | Unidentified photographer / artist n.d. Chinese criminals in cangues Private collection of Nigel Maister A cangue is a device that was used for public humiliation and corporal punishment in China and some other parts of East Asia and Southeast Asia, until the early years of the twentieth century. It was somewhat similar to the stocks used for punishment in the West, except that the board of the cangue was not fixed to a base, and had to be carried around by the prisoner. Although there are many different forms, a typical cangue would consist of a large, heavy flat board with a hole in the center large enough for a person's neck. The board consisted of two pieces. These pieces were closed around a prisoner's neck, and then fastened shut along the edges by locks or hinges. The opening in the center was large enough for the prisoner to breathe and eat, but not large enough for a head to slip through. The prisoner was confined in the cangue for a period of time as a punishment. The size and especially weight were varied as a measure of severity of the punishment. Often the cangue was large enough that the prisoner required assistance to eat or drink, because his hands could not reach his own mouth. The word "cangue" is French, from the Portuguese "canga," which means yoke - that carrying tool has also been used to the same effect, with the hands tied to each arm of the yoke. |
| 24. |  | William Saunders 1880 (ca) Prisonniers chinois Albumen print 21 x 27 cm (oval) Photo Verdeau |
| 25. |  | Felice Beato 1860s Samurai of the Satsuma clan, during the Boshin War period Source requested Public domain For an analysis of this photograph: Juliet Hacking (ed.), 2012, Photography: The Whole Story, (Prestel), pp. 138-139 |
| 26. |  | Felice Beato 1868 (ca) Samurai of the Satsuma clan Albumen print, hand-painted Sotheby's - London Travel, Atlases, Maps & Natural History, 15 November 2011, Lot 180 LARGE ALBUM OF 'SCENES, MANNERS AND CUSTOMS OF JAPAN'. C.1868] Oblong folio (353 x 474mm.), 100 hand-coloured albumen prints (average 260 x 200mm., or the reverse), individually mounted on card, recto only, 74 with descriptive letterpress mounted facing the image on verso of preceding mount, others captioned in pencil on the mount, contemporary red roan-backed red cloth boards, covers with gilt stamped decoration, upper cover titled 'Views of Japan', For an analysis of this photograph: Juliet Hacking (ed.), 2012, Photography: The Whole Story, (Prestel), pp. 138-139 |
| 27. |  | Felice Beato 1863, November Portrait of the Satsuma Clan Envoys Albumen print 6 3/4 x 6 3/8 ins J. Paul Getty Museum Partial gift from the Wilson Centre for Photography, 2007.26.146 |
| 28. |  | Felice Beato 1864-1867 (ca) Satsuma's envoys Albumen print, from wet collodion negative, hand-painted 183 x 167mm Royal Photographic Society |
| 29. |  | Adolfo Farsari 1875 (ca) Carrying Children Albumen print, tinted 7.75 x 10 in Private collection of Steven Evans |
| 30. |  | Kusakabe Kimbei 1880 (ca) La Promenade Albumen print (Tirage albuminé et réhaussé d'époque) 20 x 26 cm Photo Verdeau |
| 31. |  | Unidentified photographer / artist 1890 (ca) Showing Back Style [Geisha Kimono's and Hairstyle's] Albumen print, tinted 202 x 270 mm Old Japan Images and text courtesy of Terry Bennett (Old Japan - www.old-japan.co.uk - EB-30002) Captioned 'B1094' in the negative. |
| 32. |  | Unidentified photographer 1890s Showing Back Style [Geisha Kimono's and Hairstyle's] Salt print, hand-coloured Private collection of Rob Oechsle Creative Commons - http://creativecommons.org/licenses/by-nc-sa/2.0/ http://www.flickr.com/photos/24443965@N08/2559706751/in/photostream/ (Accessed: 14 Jan 2012) To the uninitiated Westerner, the old Geisha hairstyles often appear the same at first glance. However, this is not the case, and here we can see THREE basic hairstyles on the four girls. Flickr member KUMIYANAGI has identified them (left to right) as SHIMADA, MARUMAGE, SHIMADA (again), and ICHOGAESHI. |
| 33. |  | Félix Bonfils 1880 (ca) Cheik musulman Albumen print 20.5 x 27 cm Photo Verdeau |
| 34. |  | Félix Bonfils 1870 (ca) Syrie. Cheikh Musulman Albumen print 21 x 27 cm Photo Verdeau |
| 35. |  | Pascal Sebah 1870s Nr. 194. Type de Jeune Femme Arabe Albumen print 14 x 10 3/4 Charles Nes Photography LLC New York - Paris |
| 36. |  | Pascal Sebah 1887-1888 (ca) album compiled No. 194 Type de je¹ne Femme Arabe Albumen print 25,5 x 32,5 cm Private collection of Christoph Laubsch From an Album "Egypten, Griechenland, Turkei" (Egypt, Greece, Turkey) containing albumen prints. |
| 37. |  | Antoine Claudet 1840s Portrait of Michael Faraday (1791-1867) Daguerreotype Museum of the History of Science Inventory No: 30015, Clay Collection |
| 38. |  | Antoine Claudet 1850s (ca) Portrait of Michael Faraday Carte de visite Private collection of Noel Chanan |
| 39. |  | F. Jay Haynes 1885 (ca) Old Faithful Geyser, Yellowstone National Park Albumen silver print 55.7 x 43.9 cm (sheet) 55.2 x 43.4 cm (image) National Gallery of Canada / Musée des beaux-arts du Canada Purchased 1998, no. 39166 This photograph is available through CyberMuse - cybermuse.gallery.ca (Accessed: August 2010). |
| 40. |  | F. Jay Haynes 1887 (ca) Geyser, Yellowstone Albumen print 16 x 20 Andrew Smith Gallery |
| 41. |  | Giacomo Brogi 1870s Napoli - View taken from Vomero - Catalogue # 5110 (Napoli - Panorama preso dal Vomero - Numero di catalogo: 5110) Albumen print Creative Commons - Wikipedia |
| 42. |  | Giacomo Brogi 1870s Napoli - View taken from Vomero - Catalogue # 5110 (Napoli - Panorama preso dal Vomero - Numero di catalogo: 5110) Albumen print, colorized Creative Commons - Wikipedia |
| 43. |  | Lehnert & Landrock 1910 (ca) Prière dans le désert, Afrique du Nord Silver print (Tirage argentique) 27.5 x 37 cm Photo Verdeau |
| 44. |  | Lehnert & Landrock 1904-1914 La prière, Sud Algérie Musée de l'Elysée © Lehnert & Landrock |
| 45. |  | John Murray 1858-1862 (ca) Akbar's Tomb, South Front from East Side of Courtyard with Two Figures Waxed paper negative 36.7 x 47.0 cm (14 7/16 x 18 1/2 ins) Museum of Fine Arts, Boston Sophie M. Friedman Fund, Accession number: 1999.529 |
| 46. |  | John Murray 1858-1862 (ca) Akbar's Tomb, South Front from East Side of Courtyard with Two Figures Albumen print, from waxed paper negative 38.3 x 44.4 cm (15 1/16 x 17 1/2 ins) Museum of Fine Arts, Boston Sophie M. Friedman Fund, Accession number: 1999.528 |
| 47. |  | Unidentified photographer 1856 Mrs. Anne L. Gilles as a young lady 1856 Daguerreotype, 1/6 plate Private collection of James V. Burke Tag identifying the sitter as "Mrs. Anne L. Gilles as a young lady 1856". There is no identifying marks on the maker. |
| 48. |  | Schloss (467 & 469 Fifth Ave. Bet. 40 & 41 St. N.Y.) n.d. Anne L. Gilles Cabinet card Private collection of James V. Burke |
| 49. |  | Unidentified photographer 1861-1865 [Union Army Officer] Albumen silver print, from glass negative 19.4 x 14.3 cm (7 5/8 x 5 5/8 ins) Metropolitan Museum of Art Funds from various donors, 2010, Accession Number: 2010.447a, b |
| 50. |  | Unidentified photographer 1861-1865 [Union Army Officer] Albumen silver print, from glass negative with applied color 19.4 x 14.3 cm (7 5/8 x 5 5/8 ins) Metropolitan Museum of Art Funds from various donors, 2010, Accession Number: 2010.447a, b |
| 51. |  | Pacifico Tagliacozzo 1875 Giuseppe Garibaldi Carte de visite Classic Photographics Giuseppe Garibaldi (July 4th, 1807-June 2nd, 1882) Italian Military and Political figure. He fought in many military campaigns which led to the formation of a unified Italy. He was known as the "Hero of Two Worlds" in tribute to his military enterprises in South America and Europe. Considered a National hero and was admired by the likes of Victor Hugo, Alexandre Dumas and many intellectuals of his time. Provenance: From the collection of Mrs. G.W.Childs, the Wife of a wealthy American Philanthropist. |
| 52. |  | P. Tagliacozzo 1875 Garibaldi [Roma, 1875] Carte de visite, hand-tinted Collezione della Fondazione Carispo di Spoleto |
| 53. |  | William Carrick 1860s (ca) Woodsman Carte de visite Paul Frecker Russian occupational portrait. |
| 54. |  | William Carrick 1860s Stoker Carte de visite, hand-painted 9.3 x 5.7 cm Hermitage Museum |
| 55. |  | Goodwin & Company (issued) 1887 Burdock, 2nd Base, Boston [Old Judge series (N172) for Old Judge Cigarettes] Albumen print 2 11/16 x 1 3/8 ins (6.9 x 3.5 cm) (sheet) Metropolitan Museum of Art The Jefferson R. Burdick Collection, Gift of Jefferson R. Burdick, Accession Number: Burdick 214, N172.230 |
| 56. |  | Goodwin & Company (issued) 1887 Burdock, 2nd Base, Boston [Old Judge series (N172) for Old Judge Cigarettes] Albumen print 2 11/16 x 1 3/8 ins (6.9 x 3.5 cm) (sheet) Metropolitan Museum of Art The Jefferson R. Burdick Collection, Gift of Jefferson R. Burdick, Accession Number: Burdick 214, N172.231 |
| 57. |  | 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. |
| 58. |  | 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. |
| 59. |  | Oscar Gustave Rejlander 1857 The Two Ways of Life [Showing two variants] Albumen prints, two photomontage Source requested Collection / accession numbers requested This image shows two variants of "The Two Ways of Life". Left: Looking towards Vice Right: Looking towards Virtue |
| 60. |  | Clarence H. White 1899 The Ring Toss Gum bichromate print 18 x 13.9 cm (7 1/16 x 5 1/2 in) Metropolitan Museum of Art Alfred Stieglitz Collection, 1933 (33.43.303) |
| 61. |  | Clarence H. White 1903 Ring Toss [Camera Work, no. 03, pl. 05] Photogravure 5.5 x 7 Peter Fetterman Gallery |
| 62. |  | Clarence H. White 1899 The Ring Toss Platinum print Yale Visual Resources Collection (VRC) Accession number requested |
| 63. |  | Clarence H. White 1899 The Ring Toss [Showing three versions] Photographic prints Source requested Collection / accession numbers requested Three versions of "The Ring Toss" Left: Gum bichromate print Center: Colour half-tome (Camera Work, III) Right: Platinum print |
| 64. |  | Edward Steichen 1904 The Flatiron Gum bichromate over Platinum print 47.8 x 38.4 cm (18 13/16 x 15 1/8 in) Metropolitan Museum of Art Alfred Stieglitz Collection, 1933 (33.43.39) |
| 65. |  | Edward Steichen 1906 The Flatiron - Evening [Camera Work, no. 14, pl. 08] Halftone, three color Lee Gallery No inscriptions, X1528 |
| 66. |  | Edward Steichen 1904 (taken?) The Flatiron Print type ? Source requested Collection / accession numbers requested Research question (February 2012) This is a variant of "The Flatiron" and this photograph was printed in a more common blue/green (gum bichromate over platinum print) and this rarer red/brown. If you have further information on collections that include this version, the date and the process used please pass them along. |
| 67. |  | John Loengard 1869 (original image) 2008 (publication) Andrew Joseph Russell "Meeting of the Rails at Promontory Point" 1869 [Celebrating The Negative] Gelatin silver print Etherton Gallery Oakland Museum of Art, Oakland, California Hands: Marcia Eyerman, 11.9.93 In 1844, Asa Whitney, a New Yorker, suggested that the federal government sponsor a transcontinental railroad to speed travel to the East. Congress surveyed routes and listened to pitches from various towns and territories before deciding that the Central Pacific Railroad should build east from San Francisco while the Union Pacific would build west from Chicago. The rails met on the 10th of May, 1869, at Promontory Point, Utah, in a photo opportunity. California sent a golden spike, and A. J. Russell, who had made photographs as a captain in the Union Army, set up his camera with its 10 x 13 inch glass plates. After the speeches, according to historian Barry B. Combs, the Union Pacific's engine No. 119 (right) moved over the spot where the spike was placed, and close to the Central Pacific's locomotive, Jupiter, which sported a wide funnel designed for engines burning wood. Grenville M. Dodge (left) and Samuel S. Montague, the two chief construction engineers, shook hands. For most of a century, this picture was attributed to another photographer, but handwriting at the top of the negative clearly identifies the wet-plate as Russell's. This photograph is included in the portfolio Celebrating the Negative photographs by published by John Loengard, Etherton Gallery (2008), pl. 2 All photographs copyright ® John Loengard. Gelatin silver prints printed by Chuck Kelton, Kelton Labs, New York City, under the direct supervision of John Loengard. Printed on Ilford Multigrade Warm Glossy paper. Design and portfolio box construction by Jace Graf, Cloverleaf Studio, Austin, Texas. Celebrating The Negative/Photographs by John Loengard was published by Etherton Gallery, Tucson, Arizona, in March, 2008, in an edition of eighteen portfolios, including fifteen numbered copies and three artist's proofs. |
| 68. |  | A.J. Russell 1864-1869 East and West shaking hands at laying last rail [Photographs taken during construction of the Union Pacific Railroad] Albumen print 28.2 x 35.5 cm Yale University, Beinecke Rare Book and Manuscript Library Call Number: ZZc10 864un, Image ID Number: 1062118 |
| 69. |  | Carlo Naya 1877 (ca) Venice - Ponte dei Sospiri Albumen print 7 3/8 x 9 3/8 in / ca 187 x 240 mm (ca) Eastern Window (Jan van der Wal) Courtesy of Jan van der Wal (it21-05) Titled in the negative "9. Venezia Ponte dei Sospiri". Although not signed - the work and the way it is titled is characteristic for Naya. |
| 70. |  | Carlo Naya 1885 (ca) Le pont des Soupirs de nuit, Venise Albumen print 27 x 35 cm Photo Verdeau |
| 71. |  | Dmitri Constantine 1858 Temple of Olympian Zeus, Athens Albumen print 28.3 x 38.4 cm Princeton University Art Museum Museum purchase, Fowler McCormick, Class of 1921, Fund (2010-25) |
| 72. |  | Dmitri Constantine 1858 (taken) 1875 (or later, print) Temple of Olympian Zeus, Athens Albumen print 27.9 x 37.8 cm Princeton University Art Museum Museum purchase, Fowler McCormick, Class of 1921, Fund (2010-25) |
| 73. |  | Henry Peach Robinson 1858 Fading Away Albumen print National Science and Media Museum The Royal Photographic Society Collection, Purchased with the assistance of The Art Fund This photograph was included in the exhibition The Pre-Raphelite Lens: British Photography and Painting, 1848-1875 at the National Gallery of Art, Washington, DC (October 31, 2010 - January 30, 2011) Robinson, who had initially trained as a painter, was known for combining multiple negatives to create complex compositions. This photograph provoked controversy when first exhibited: though praised for conveying the family's anxiety as the consumptive child lies dying, it was also criticized for making such an upsetting subject seem too realistic. |
| 74. |  | Henry Peach Robinson 1858 Fading Away Albumen print, photomontage Source requested Collection / accession numbers requested This version of "Fading Away" was taken from the L'Aquoiboniste blog (14 Feb 2012) and shows a variant of this famous photomontage created using multiple negatives. Note the differences in the clouds, the woman on the right with the sleeve of her clothing, the folds in her skirt and the object at her feet. We are interested in institutions that have this version in their collections. There is a high quality modern "version" of this photograph by Elizabeth Nelson (elizabethscamera.com). Thanks to Brian Law for pointing out the variants. (13 February 2012) |
| 75. |  | Unidentified photographer / artist 1860s The White Slave Carte de visite Private collection of Brad Feuerhelm |
| 76. |  | Unidentified photographer / artist n.d. The White Slave Stereoview, detail Jefferson Stereoptics Aucton #10-3, Lot: 112 John Saddy added in the auction notes: Period Copyprint/pirate of a view I believe was by Michael Burr published by Ashford Bros. "The White Slave." (white shoeshine boy working on the shoes of a black 'dandy.') |
| 77. |  | Mathew Brady's Studio 1850, Sept [Jenny Lind, three-quarter length portrait of a woman, three-quarters to the left, facing front, seated] Daguerreotype, whole plate, gold toned Library of Congress, Prints and Photographs Division DAG no. 509X / cph 3g06777 Date based on a lithograph of Lind copyrighted in 1850 by D'avignon from a Brady daguerreotype. |
| 78. |  | Mathew Brady's Studio 1850, Sept [Jenny Lind, three-quarter length portrait of a woman, three-quarters to the left, facing front, seated] Daguerreotype, whole plate, gold toned Library of Congress, Prints and Photographs Division DAG no. 509X Date based on a lithograph of Lind copyrighted in 1850 by D'avignon from a Brady daguerreotype. Which photographer with Brady's Daguerreian Study is not certain and it might have been Poly Von Schneidau or Luther Boswell. John Carl Frederick Polycarpus Von Schneidau (Daguerreotype in America by Beaumont Newhall. New York: Dover, 1976, p. 59, and in America of the Fifties: Letters of Fredrika Bremer. New York: American-Scandinavian Foundation, 1924, p. 210) or Luther Boswell (The Chrysler Museum acquired a daguerreotype of Jenny Lind along with a note from Mrs. Luther Boswell that described Lind coming to Brady's studio where operator Luther Boswell made the exposure.) [Wikipedia: December 2010] Further clarification is requested. |
| 79. |  | Mathew Brady's Studio 1850, Sept [Jenny Lind, three-quarter length portrait of a woman, three-quarters to the left, facing front, seated] Daguerreotype, whole plate, gold toned, digitally retouched Library of Congress, Prints and Photographs Division DAG no. 509X Date based on a lithograph of Lind copyrighted in 1850 by D'avignon from a Brady daguerreotype. Which photographer with Brady's Daguerreian Study is not certain and it might have been Poly Von Schneidau or Luther Boswell. John Carl Frederick Polycarpus Von Schneidau (Daguerreotype in America by Beaumont Newhall. New York: Dover, 1976, p. 59, and in America of the Fifties: Letters of Fredrika Bremer. New York: American-Scandinavian Foundation, 1924, p. 210) or Luther Boswell (The Chrysler Museum acquired a daguerreotype of Jenny Lind along with a note from Mrs. Luther Boswell that described Lind coming to Brady's studio where operator Luther Boswell made the exposure.) [Wikipedia: December 2010] Further clarification is requested. |
| 80. |  | El Lissitzky 1925 (before) El Lissitzky Gelatin silver print Van Abbemuseum The portrait was used as the basis for the famous montage "The Constructor" (1925). |
| 81. |  | El Lissitzky 1925 The Constructor Photocollage Van Abbemuseum The Van Abbemuseum (Bilderdijklaan 10, 5611 Eindhoven, Eindhoven (Noord-Brabant), Netherlands) hosts one of the world's most important collections of work by the Russian artist El Lissitzky (1890-1941). For an analysis of this photograph: Juliet Hacking (ed.), 2012, Photography: The Whole Story, (Prestel), pp. 214-215 |
| 82. |  | Dorothea Lange 1936, February Destitute peapickers in California; a 32 year old mother of seven children. February 1936 Gelatin silver print, mounted Library of Congress, Prints and Photographs Division Reproduction number: LC-DIG-ppmsca-12883 (digital file from print); LC-USZ62-95653 (film copy negative) |
| 83. |  | Dorothea Lange 1936 Human Erosion in California (Migrant Mother) [Nipomo, California] Gelatin silver print 13 7/16 x 10 9/16 J. Paul Getty Museum © J. Paul Getty Trust [98.XM.162] |
| 84. |  | Dorothea Lange 1936 (taken) 2009 (ca, colorized) The Migrant Mother (Colorized) Digital image Creative Commons - Wikipedia Public domain Original photo by Dorothea Lange. Colorized by John Boero. This image is available from the United States Library of Congress's Prints and Photographs division under the digital ID fsa.8b29516 |
| 85. |  | Alfons Himmelreich 1941, August Untitled Gelatin silver print 24 x 30 cm Silver Print Gallery and Archive This image of a bolt was used in numerous publications of the time to mark the modernist and progressive development of industry in Palestine, HaTa'assia, vol. 7 (November 1941). It was made at a time when it was forbidden to photograph the horizon of Tel-Aviv because of possible attacks by enemy aircraft. The image with the fencing was also used as a cover for the magazine HaTa'asia, probably in 1947. Using the device of placing a piece of fencing on the printing paper Himmelreich then enlarged the bolt, and made his exposure - thus protesting against the British curfews on Tel-Aviv. |
| 86. |  | Alfons Himmelreich 1947 (ca) Bolt with fence - curfew Gelatin silver print 18 x 24 cm Silver Print Gallery and Archive This image was used as a cover for the magazine HaTa'assia, probably in 1947. Using the device of placing a piece of fencing on the printing paper Himmelreich then enlarged the bolt, and made his exposure - thus protesting against the British curfews on Tel-Aviv. |
| 87. |  | Alfons Himmelreich 1942 Bolt on cover of "Machinery and Technical Supllies Made in Palestine" (Tel Av, Foreign Trade Institute) Cover Silver Print Gallery and Archive This image of a bolt was used in numerous publications of the time to mark the modernist and progressive development of industry in Palestine, HaTa'assia, vol. 7 (November 1941). It was made at a time when it was forbidden to photograph the horizon of Tel-Aviv because of possible attacks by enemy aircraft. |
| 88. |  | W. & F. Langenheim 1849 Frederick Langenheim (1809-1879) Calotype negative 7 5/8 x 5 7/8 ins Cornell University Library On loan from the Stephan and Beth Loewentheil Family Photographic Collection. Curational comment from "Dawn's Early Light: The First 50 Years of American Photography", October 20, 2011 - May 4, 2012, Hirshland Exhibition Gallery in Carl A. Kroch Library, Cornell University This rare portrait of Frederick Langenheim (1809-1879) bears ink annotations, "Talbotype, W. & F. Langenheim, Phila., Mar. 5, 1849. No. 235." The Langenheim brothers, who were among the first successful commercial photographers in the United States, pioneered several photographic advancements. |
| 89. |  | W. & F. Langenheim 1849 (ca) No.235 Talbotype, W. & F. Langenheim. Philada. Mar 5.1849. [Portrait of Frederick Langenheim] Calotype negative, with ink handiwork (here as a positive) 19.3 x 14.8 cm Creative Commons - Wikipedia Courtesy of Christie's, NY,6-7 October 2010, Sale 2395, Lot 317 |
| 90. |  | Lehnert & Landrock 1910 (ca) Jeune Potier, Tunisie Jeune Potier, Tunisie Silver print (Tirage argentique d'époque) 40 x 29,6 cm Photo Verdeau |
| 91. |  | Lehnert & Landrock 1910s [Boy painting vase] Negative Process: Glass Positive Process: Hand-coloured photogravure 23.3 x 29.3 cm J. Paul Getty Museum The Getty Research Institute, Los Angeles. ID no.: 2008r3/3915 |
| 92. |  | Samuel Bourne 1860s (ca, taken) 1905 (print) Cawnpore Memorial Well Platinum print Private collection of Peter Spangenberg |
| 93. |  | Unidentified photographer n.d. Memorial Tomb, Cawnpore Carte de visite Private collection of Christopher Pinney |
| 94. |  | Unidentified photographer 1879-1880 Billy the Kidd Tintype Creative Commons - Wikipedia The only surviving authenticated portrait of Billy the Kid. This tintype portrait sold at Brian Lebel's Old West Show and Auction in June 2011 for USD $2,300,000 to William Koch. |
| 95. |  | Unidentified photographer n.d. Billy the Kid Carte de visite Source requested |
| 96. |  | John C. Browne (American, 1838-1918) 1866 (ca, taken) 1975 (ca, print) A Children's Play (Bluebeard's Wives) Modern gelatin silver print from the original collodion negative George Eastman Museum |
| 97. |  | István Horkay 1866 (ca, original photograph) 2014 (ca, image) A Children's Play (Bluebeard's Wives) Staged photograph Digital process Source requested Source unclear and this is a contemporary plate or video still by István Horkay. (Alan Griffiths, 28 May 2014) 1866: A Children's Play (Bluebeard's Wives) Staged photograph This plate was created by John Coates Browne around 1866. Browne was an amateur photographer with a prominent role in the Photographic Society of Philadelphia. The morbidity of the image may come as a shockfive of the six young girls are play-acting dead. Hung by their hair, their faces are painted white, matching their ghostly gowns. The play is based on a French fairytale about a nobleman who has a penchant for killing successive young wives. An outcast, he is feared for his ugly blue beard. He has been married several times, and each of his young wives mysteriously disappears, frightening the village girls. The story takes place when his most recent wife, still alive, discovers his secret cellar where he keeps the bodies of his murdered former wives, and recounts her attempts to escape. |
| 98. |  | Unidentified photographer 1910 (ca) Sawai Man Singh II of Jaipur Glass negative, hand-tinted Archive Farms |
| 99. |  | Unidentified photographer 1910 (ca) Sawai Man Singh II of Jaipur Glass negative, hand-tinted Archive Farms The Patrick Montgomery Collection, Object No. 2014.320 The blue tinting is so that their faces will print lighter. |
| 100. |  | J.E. Mayall n.d. The Queen and Prince Consort Carte de visite, albumen Charles Nes Photography LLC New York - Paris |
| 101. |  | John Muir Wood 1847 The Citadel of Namur, from a Bridge over the Sambre Calotype negative and uranium or cuprotype print 12.2 x 15.1 cm National Galleries of Scotland Acc. No. PGP W 76 (Curatorial caption, accessed 23 November 2014) This is the negative of a picture that John Muir Wood took in a place he did not find particularly appealing. It is one of his 'failed' negatives which wouldn't have translated into a very good black and white print. Wood's interest in different chemistry and metals, as well as the natural difficulty of the process led to such 'failures' which nevertheless retain the accidental beauty of his compositions. |
| 102. |  | John Muir Wood 1847 The Citadel of Namur, from a Bridge over the Sambre Calotype negative and uranium or cuprotype print 12.2 x 15.1 cm National Galleries of Scotland Acc. No. PGP W 77 (Curatorial caption, accessed 23 November 2014) John Muir Wood undertook a tour of Europe in 1847 and kept notes of his progress and photography in a diary. He came to Namur after Ostend, Bruges, Ghent and Waterloo and dismissed it briskly as, 'not interesting.' Paradoxically this picture, taken there, is among his finest works. Incidental features like the barges; the poles thrust out over the river; and the luminosity of the water against the dark mass of the buildings create a highly atmospheric view. |
| 103. |  | Maull & Co. n.d. Barghash bin Sa'id, Sultan of Zanzibar (reigned 1870-1888) Carte de visite Paul Frecker Paul Frecker provides the following comments: "The son of Sa'id bin Sultan, Barghash was the last Sultan to retain a measure of true independence from European control. During his reign he encouraged the expansion of trans-continental trade, which reached Uganda and the Congo. He replaced the clove plantations, decimated by a hurricane, and he continued the policy of his father and brother of dependence on, and in the last resort, submission to the will of the British. In 1872 he was obliged to prohibit the slave trade. In 1885, abandoned by Britain, he was forced to surrender large areas of the mainland, over which he had exercised paramount authority, to Germany, and in 1887, he handed over administration of what was later to become the Kenya coast to the Imperial British East Africa Company." |
| 104. |  | Unidentified photographer n.d. Sultan von Zanzibar Carte de visite Sotheby's - London Travel, Atlases, Maps & Natural History, 30 April 2015, Lot: 193 |
| 105. |  | Luigi Pesce 1852-1855 (ca) Portrait of Nasir al-Din Shah Salt print 13 1/8 x 8 1/4 ins (33.7 x 21.2 cm) Metropolitan Museum of Art Gift of Charles Wilkinson, 1977 (1977.683.22) |
| 106. |  | Unidentified artist (European) 1850-1900 Nasir Al-Din Shah Qajar Oil painting, on board 8 1/2 x 7ins (21.6 x 17.6 cm) Christie's - London Sale 7077, Islamic Art, Lot: 142 This painting is worked from an official photograph of Nasir al-Din Shah posing by a chair, published in Layla Diba and Maryam Ekhtiar, 1998, Royal Persian Paintings: The Qajar Epoch 1785-1925, (New York), no. 87, p. 262. |