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| 1. |  | François Arago 1839, 10 August (event) 1864 (published) Fig. 12 Arago annonce la découverte de Daguerre Engraving Google Books Source: "Les merveilles de la science: ou Description populaire des inventions modernes" By Louis Figuier (Paris, Furne, Jouvet et Cie, Editeurs, 1864). This engraving is in the section on "La Photographie" p. 41 |
| 2. |  | Alois Löcherer 1998 Book cover for "Alois Löcherer. Photographien 1845 - 1855" (Schirmer /Mosel Verlag Gm, 1998) Book cover Amazon - Germany |
| 3. |  | Alois Löcherer 1850 Transporting the Bavaria Statue to Theresienwiese [Die Bearbeitung der BAVARIA nach dem Guss, München] Salt print, from calotype negative 9 /7/8 x 9 1/8 ins (25 x 23 cm) Museum Ludwig For an analysis of this photograph: Juliet Hacking (ed.), 2012, Photography: The Whole Story, (Prestel), pp. 68-69 |
| 4. |  | A.J. Russell 1869 (?) Album cover for "Geo. W. Williams & Co.'s Carolina fertilizer, with twenty photographic views from the line of the Union Pacific Railroad." Album cover 24 x 27 cm Yale University, Beinecke Rare Book and Manuscript Library Yale Collection of Western Americana, Beinecke Rare Book and Manuscript Library, Call number: WA Photos 106, Image ID Number: 1073501 Photographs of the west are reduced images from Andrew J. Russell's The Great West Illustrated along with advertisements for the products of the George W. Williams Company. Viewbook of mounted photographic prints compiled by the George W. Williams & Company, fertilizer merchants, ca. 1869. A photographic print appears on the recto of each mount that depicts an advertisement for Carolina Fertilizer with a letterpress testimonial. Album includes 41 photographic plates. |
| 5. |  | A.J. Russell 1869 (?) Title page for "Geo. W. Williams & Co.'s Carolina fertilizer, with twenty photographic views from the line of the Union Pacific Railroad." Album title page 24 x 27 cm Yale University, Beinecke Rare Book and Manuscript Library Yale Collection of Western Americana, Beinecke Rare Book and Manuscript Library, Call number: WA Photos 106, Image ID Number: 1097253 Photographs of the west are reduced images from Andrew J. Russell's The Great West Illustrated along with advertisements for the products of the George W. Williams Company. Viewbook of mounted photographic prints compiled by the George W. Williams & Company, fertilizer merchants, ca. 1869. A photographic print appears on the recto of each mount that depicts an advertisement for Carolina Fertilizer with a letterpress testimonial. Album includes 41 photographic plates. |
| 6. |  | A.J. Russell 1869 (?, album) The last rail; or, Joining the U.P. and C.P.R.R.'s. [Geo. W. Williams & Co.'s Carolina fertilizer, with twenty photographic views from the line of the Union Pacific Railroad] Album page, with tipped in albumen print 24 x 27 cm (album) Yale University, Beinecke Rare Book and Manuscript Library Yale Collection of Western Americana, Beinecke Rare Book and Manuscript Library, Call number: WA Photos 106, Image ID Number: 1073542 Photographs of the west are reduced images from Andrew J. Russell's The Great West Illustrated along with advertisements for the products of the George W. Williams Company. Viewbook of mounted photographic prints compiled by the George W. Williams & Company, fertilizer merchants, ca. 1869. A photographic print appears on the recto of each mount that depicts an advertisement for Carolina Fertilizer with a letterpress testimonial. Album includes 41 photographic plates. |
| 7. |  | A.J. Russell 1869 (?, album) The last rail; or, Joining the U.P. and C.P.R.R.'s. [Geo. W. Williams & Co.'s Carolina fertilizer, with twenty photographic views from the line of the Union Pacific Railroad] Album page, with tipped in albumen print 24 x 27 cm (album) Yale University, Beinecke Rare Book and Manuscript Library Yale Collection of Western Americana, Beinecke Rare Book and Manuscript Library, Call number: WA Photos 106, Image ID Number: 1073542 Photographs of the west are reduced images from Andrew J. Russell's The Great West Illustrated along with advertisements for the products of the George W. Williams Company. Viewbook of mounted photographic prints compiled by the George W. Williams & Company, fertilizer merchants, ca. 1869. A photographic print appears on the recto of each mount that depicts an advertisement for Carolina Fertilizer with a letterpress testimonial. Album includes 41 photographic plates. |
| 8. |  | Justin Kozlowski 1860s Dredgers at work in the Suez Canal Albumen print British Library |
| 9. |  | Zangaki Brothers 1880 (ca) Dredging Machine, Suez Canal Albumen print 11 x 8 1/4 ins Archive Farms |
| 10. |  | Adolphe Braun 1869 Groupe de voyageurs européens visitant les monuments égyptiens au moment de l'inauguration du canal de Suez Bibliothèque Nationale de France, Département des Estampes et de la Photographie |
| 11. |  | Zangaki Brothers 1875 (ca) [Sailing down the Suez canal] Albumen print 205 x 270 mm (8.25 x 10.5 in) Bernard J. Shapero Rare Books Courtesy of Bernard J Shapero Rare Books Photographer's credit, number and title in negative. |
| 12. |  | Edourd-Charles-Romain Collignon (Editor) 1878-1882 Book cover for Edourd-Charles-Romain Collignon " Les travaux publics de la France. Chemins de fer" (Paris, J. Rothschild, 1878-1882) [Travaux Publics de la France] Book cover Musée français de la Photographie Inventory no: D 82.4056.63 |
| 13. |  | J. Duclos 1870s (ca) Phare de la Palmyre [Travaux Publics de la France] Collotype 53.4 x 38.5 cm (mount) 32,7 x 24,1 cm (image) Musée français de la Photographie Inventory no: D82.4056.33 |
| 14. |  | Louis-Emile Durandelle 1867 Threshold of the Main Entrance; Construction of the Paris Opéra Albumen print, from a collodion on glass negative 28.2 x 38.4 cm (image) 37.8 x 48.9 cm (mount) Victoria and Albert Museum Museum Number: E.2349-1990 |
| 15. |  | Louis-Emile Durandelle 1879 Bronzes Albumen print 14 3/4 x 9 5/8 Lee Gallery (S2101) Title and photographer's name on mount on recto. |
| 16. |  | Louis-Emile Durandelle 1875-1881 Le Nouvel Opera de Paris. Sculpture Ornementale Albumen print 10 3/4 x 14 11/16 Lee Gallery (T1259) Series title, editor's and photographer's credits printed on mount on recto. |
| 17. |  | William Notman 1859 (taken) 1971 (print) Men destroying coffer dam crib, Victoria Bridge, Montreal, QC [Victoria Bridge, Montreal, QC] Silver salts on film (safety) - Gelatin silver process 10 x 12 cm McCord Stewart Museum © McCord Museum, Purchase from Associated Screen News Ltd., VIEW-7023.0 |
| 18. |  | William Notman 1859 Laying the foundation stone of no. 11 pier, Victoria Bridge, Montreal, QC [Victoria Bridge, Montreal, QC] Silver salts on paper mounted on card - Albumen process 20 x 25 cm McCord Stewart Museum © McCord Museum, Purchase from Associated Screen News Ltd., VIEW-7030.0 |
| 19. |  | Boehl & Koenig 1873, August (earlier) (St. Louis, Missouri) Stereoview, detail Jefferson Stereoptics Courtesy of John Saddy (Auction, Tues. August 29th & Thurs. August 31st, 2006, # 06-3, Lot 705) Boehl & Koenig cream mt with checklist, nothing marked-off. |
| 20. |  | Boehl & Koenig 1873, August #80 General View of Bridge (St. Louis, Missouri) Stereoview, detail Jefferson Stereoptics Courtesy of John Saddy (Auction, Tues. August 29th & Thurs. August 31st, 2006, # 06-3, Lot 704) Boehl & Koenig cream mt with checklist. |
| 21. |  | Boehl & Koenig 1874, January #98 View of Bridge in Construction (St. Louis, Missouri) Stereoview, detail Jefferson Stereoptics Courtesy of John Saddy (Auction, Tues. August 29th & Thurs. August 31st, 2006, # 06-3, Lot 703) Boehl & Koenig tan mt with checklist, marked off is #98, but it is likely #96. |
| 22. |  | John Fergus 1889, 9 July Cantilevers Complete Photogravure J. Paul Getty Museum The J. Paul Getty Trust (84.XB.874.3.1.34) |
| 23. |  | J. Duclos 1862 (ca) Bridge under construction on the Loire Albumen print 9.75 x 13.5 in (25 x 35 cm) Christopher Wahren Fine Photographs From an album with other identified Duclose images, nscribed in pencil in a modern hand lower right, "Jules Duclos Phot." |
| 24. |  | Emilio Biel 1877, 27 August Construction of the "Ponte Maria Pia" in Porto [Portugal] [Construção da "Ponte Maria Pia", no Porto] Albumen print Private collection of Manuel Magalhaes The Ponte Maria Pia is a railway bridge built by Gustave Eiffel in Porto, Portugal. Construction started on 5 January 1876 and completed on 4 November 1877. At the time of construction it was the longest arch bridge in the world at 160m. |
| 25. |  | Robert Howlett 1857 Isambard Kingdom Brunel Albumen print, from collodion negative Source requested Museum of Modern Art, New York At the time of this portrait, Kingdom Brunel, the greatest British engineer of the Victorian era, was overseeing the construction of the iron-hulled SS Great Eastern, which was then the largest ship ever built. Brunel is standing before "checking chains" intended to ease the ship's launch. These are a backdrop that functions like the studio no-seam of a later day, providing a shallow, uniform space that throws the emphasis forward onto the subject. They also create a powerful image of industry for Brunel to be captain of. If positioning Brunel before the chains was Howlett's contribution to the portrait, the pose was all Brunel's own. The portrait's drama lies in the subject's nonchalance before a machine of such Vulcan scale. We see him as exactly the figure his son-on-law said he was, "a little, businesslike man in seedy dress with a footrule in his hand." He was a new breed of man who didn't stand on ceremony: he just got things done. And yet, numerous ironies attend on the portrait, one being that Howlett was, aside from this photograph, a relatively minor figure in photo history. Another is that the Great Eastern was the biggest fiasco of Brunel's career. It was beset by tragedies that began when the chains didn't work and ended in commercial failure. Within two years Brunel was to die of Bright's Disease at age 53, and in less than a year Howlett would die, too, at age 27, a victim, perhaps, of exposure to photographic chemicals. |
| 26. |  | Robert Howlett 1857 The Great Eastern Albumen print Victoria and Albert Museum Museum no. Ph.259-1979 |
| 27. |  | Underwood & Underwood n.d. "Cedric" the World's largest ship (21,000 tons) two days before launching, Belfast, Ireland. Stereocard Stereoviews: Stereoviews and Fine 19th & 20th Century Antique Photographs Courtesy of David Spahr (www.stereoviews.com) |
| 28. |  | Thomas Easterly 1869 Destruction of Big Mound Daguerreotype Missouri Historical Society Courtesy of the Missouri History Museum, Thomas Easterly Collection N17665. This Daguerreotype was uploaded to Flickr (2009-2010). |
| 29. |  | Thomas Easterly 1869 Big Mound During Destruction Daguerreotype Missouri Historical Society Courtesy of the Missouri History Museum, Thomas Easterly Collection N17088. This Daguerreotype was uploaded to Flickr (2009-2010). |
| 30. |  | Thomas Easterly 1869 Big Mound during destruction. the last of the Big Mound Daguerreotype Missouri Historical Society Courtesy of the Missouri History Museum, Thomas Easterly Collection N17087. This Daguerreotype was uploaded to Flickr (2009-2010). |
| 31. |  | Albert Fernique 1883 [Construction of the skeleton and plaster surface of the left arm and hand of the Statue of Liberty.] [Album de la construction de la Statue de la Liberté] Albumen print NYPL - New York Public Library Courtesy of The New York Public Library www.nypl.org, Image ID: 1161042 |
| 32. |  | Albert Fernique 1883 [Assemblage of the Statue of Liberty in Paris.] [Album de la construction de la Statue de la Liberté] Albumen print NYPL - New York Public Library Courtesy of The New York Public Library www.nypl.org, Image ID: 1161050 |
| 33. |  | Louis-Emile Durandelle 1887, 18 July Gustave Eiffel in front of pier 4 on 18 July 1887 Albumen print, from a collodion glass negative, glued on card 34.2 x 45.1 cm Musée d'Orsay © photo RMN, Hervé Lewandowski, PHO 1981 125 9 b |
| 34. |  | Unidentified photographer 1890 (ca) Base of Eiffel Tower, Paris, with view of Trocadero Private collection of Jan Weijers (Servatius) Courtesy of Jan Weijers |
| 35. |  | Evelyn George Carey 1879-1890 Album "Forth Bridge". Engineers. John Fowler. - Engineer in Chief. Benjamin Baker. Album cover CCA: Canadian Centre for Architecture The CCA has a collection of 500 items relating to the construction of the Forth Bridge in Scotland. |
| 36. |  | Evelyn George Carey 1887, 23 May - 1888, 10 May Queensferry Cantilever As Seen From the South Approach Viaduct, Forth Bridge, Scotland [Forth Bridge, Scotland] Cyanotype CCA: Canadian Centre for Architecture [Text from the CCA - Accesssed: 5th August 2011] http://www.cca.qc.ca/en/collection/660-queensferry-cantilever-as-seen-from-the-south-approach If one thinks of Henri Le Secq, one realizes that sequentiality, discontinuity and the fragmentation of the subject became part of the discourse of photography as he decomposed and recomposed the principal French cathedrals Rheims, Chartres and Amiens, Strasbourg from 1848 to 1853, during the earliest years of the art form. A generation after this project, which was intended to re-present art and history to a society enmeshed in a drastically changing order, the modalities of representation had become the tools through which Evelyn George Carey would prove the grandeur and viability of the gigantesque forms and organizational élan of the new order. The images he made of the total process of constructing the Forth Rail Bridge were intended to redeem the formerly pre-eminent reputation of British engineering, which had suffered in the wake of the collapse of the Tay bridge in 1879, a suspension bridge as was the original Forth Bridge design. A young engineer in the office of Sir John Fowler and Benjamin Baker who redesigned the span as a series of three cantilevers, Carey approached the photographic enterprise from an engineer's understanding. Given privileged access to the construction site, Carey was able to make unique images as he was swung into place and climbed scaffolding carrying an 8 Î 10 inch view camera and the equipment necessary to expose glass plate negatives while standing on temporary platforms. From one cantilever to the next, Carey captured extraordinary views of these structures, whose towers would rise to a height greater than the pyramid of Cheops. Hundreds of numbered and dated albumen prints evoke an organic process as the structure unfolds, from 7 March 1887 to 17 June 1889, according te the speed and time established by the intervals of photographing the growth of the structure. Again a generation later, the idea that the quantity of interval determines the pressure of interpretation and reception, recognized by Sergei Eisenstein in the theory and practice of film montage, led to a new expression of photography. Astounding in themselves, Carey's images, including the cyanotypes the blueprint of architects and engineers permitting annotation such as the demarcation of the crane in the image reproduced here are themselves a bridge as they span the key interval in the conceptualization of motion in architectural representation. - Phyllis Lambert Originally published in Casabella, October 2000 |
| 37. |  | Southworth & Hawes 1847 Early Operation using ether, Massachusetts General Hospital Daguerreotype 15 x 20 cm (5 7/8 x 7 7/8 ins) Massachusetts General Hospital, Archives and Special Collections Harvard Art Museum/Fogg Museum, Loan from the Massachusetts General Hospital Archives and Special Collections, Item Identifier: 1.1979 |
| 38. |  | Guillaume-Amant Duchenne de Boulogne 1862 The facial expression of terror on the human face being induced by electrical currents. Book illustration Wellcome Collection Wellcome Library, London (L0037463, Library reference no.: GC XWM) Guillaume Benjamin Amand Duchenne de Boulogne Mécanisme de la physionomie humaine, ou, Analyse électro-physiologique de l'expression des passions (Paris: Renouard, 1862), Plate 7, Image 64 |
| 39. |  | Platt D. Babbitt 1853, July [Joseph Avery stranded on rocks in the Niagara River] Daguerreotype Library of Congress, Prints and Photographs Division DAG no. 1165 Library of Congress description: http://www.loc.gov/pictures/item/2004664370 [Accessed: 17 July 2010] Three men boating in the Niagara River were overwhelmed by the river's strong current, lost control of their boat, and crashed into a rock. The current carried two men immediately over the Falls to their deaths. The daguerreotype shows the third man, stranded on a log which had jammed between two rocks. He weathered the current for eighteen hours before succumbing to the river. The image is an early example of a news photograph. Charles Richard Weld, A Vacation Tour in the United States and Canada (London: Longman, Brown, Green, and Longmans, 1855), p.171-172 I was shown the scene of the last catastrophe, just above the American fall. It is a small rocky islet to which an unfortunate man clung with terrible tenacity for three days. He had been drawn into the rapids, and was on the point of being swept over the falls, when his course was arrested by the little island. Far better would it have been for him had he not met with this obstruction; for his agony during those three long days and nights was fearful. All attempts to save him were abortive; and at the close of the third day, being unable to cling longer to the rocks, he was carried over the cataract. An American daguerreotypist reaped a rich harvest by taking impressions of the poor fellow during his agony. Avery 1853 William Dean Howells I. All night long they heard in the houses beside the shore, Heard, or seemed to hear, through the multitudinous roar, Out of the hell of the rapids as 'twere a lost soul's cries,-- Heard and could not believe; and the morning mocked their eyes, Showing, where wildest and fiercest the waters leaped up and ran Raving round him and past, the visage of a man Clinging, or seeming to cling, to the trunk of a tree that, caught Fast in the rocks below, scarce out of the surges raught. Was it a life, could it be, to yon slender hope that clung? Shrill, above all the tumult the answering terror rung. II. Under the weltering rapids a boat from the bridge is drowned, Over the rocks the lines of another are tangled and wound; And the long, fateful hours of the morning have wasted soon, As it had been in some blessed trance, and now it is noon. Hurry, now with the raft! But O, build it strong and stanch, And to the lines and treacherous rocks look well as you launch! Over the foamy tops of the waves, and their foam-sprent sides, Over the hidden reefs, and through the embattled tides, Onward rushes the raft, with many a lurch and leap,-- Lord! if it strike him loose from the hold he scarce can keep! No! through all peril unharmed, it reaches him harmless at last, And to its proven strength he lashes his weakness fast. Now, for the shore! But steady, steady, my men, and slow; Taut, now, the quivering lines; now slack; and so, let her go! Thronging the shores around stand the pitying multitude; Wan as his own are their looks, and a nightmare seems to brood Heavy upon them, and heavy the silence hangs on all, Save for the rapids' plunge, and the thunder of the fall. But on a sudden thrills from the people still and pale, Chorussing his unheard despair, a desperate wail: Caught on a lurking point of rock it sways and swings, Sport of the pitiless waters, the raft to which he clings. III. All the long afternoon it idly swings and sways; And on the shore the crowd lifts up its hands and prays: Lifts to heaven and wrings the hands so helpless to save, Prays for the mercy of God on him whom the rock and the wave Battle for, fettered betwixt them, and who, amidst their strife, Struggles to help his helpers, and fights so hard for his life,-- Tugging at rope and at reef, while men weep and women swoon. Priceless second by second, so wastes the afternoon, And it is sunset now; and another boat and the last Down to him from the bridge through the rapids has safely passed. IV. Wild through the crowd comes flying a man that nothing can stay, Maddening against the gate that is locked athwart his way. "No! we keep the bridge for them that can help him. You, Tell us, who are you?" "His brother!" "God help you both! Pass through." Wild, with wide arms of imploring he calls aloud to him, Unto the face of his brother, scarce seen in the distance dim; But in the roar of the rapids his fluttering words are lost As in a wind of autumn the leaves of autumn are tossed. And from the bridge he sees his brother sever the rope Holding him to the raft, and rise secure in his hope; Sees all as in a dream the terrible pageantry,-- Populous shores, the woods, the sky, the birds flying free; Sees, then, the form,--that, spent with effort and fasting and fear, Flings itself feebly and fails of the boat that is lying so near,-- Caught in the long-baffled clutch of the rapids, and rolled and hurled Headlong on to the cataract's brink, and out of the world. |
| 40. |  | J. McPherson n.d. Blondin crossing Niagara Falls on the high wire Stereoview, glass, detail Jeffrey Kraus Antique Photographics |
| 41. |  | William Henry Jackson 1876 (album) Album cover for W.H. Jackson "Portraits of American Indians" (1876) [Portraits of American Indians] Front cover 41 x 54 cm Yale University, Beinecke Rare Book and Manuscript Library Yale Collection of Western Americana, Beinecke Rare Book and Manuscript Library, Call number: WA Photos Folio 54, Image ID Number: 1072976 Full title: Photographs of Indians selected from the collection in the possession of the U.S. Geological survey of the territories Prof. F.V. Hayden in charge. Representing 70 different tribes. The copy at the Beinecke Rale Book & Manuscript Library, at Yale University includes 616 photographic prints. |
| 42. |  | William Henry Jackson 1876 (album) Title page for W.H. Jackson "Portraits of American Indians" (1876) [Portraits of American Indians] Title page 41 x 54 cm Yale University, Beinecke Rare Book and Manuscript Library Yale Collection of Western Americana, Beinecke Rare Book and Manuscript Library, Call number: WA Photos Folio 54, Image ID Number: 1072979 Full title: Photographs of Indians selected from the collection in the possession of the U.S. Geological survey of the territories Prof. F.V. Hayden in charge. Representing 70 different tribes. The copy at the Beinecke Rale Book & Manuscript Library, at Yale University includes 616 photographic prints. |
| 43. |  | Unidentified photographers 1876 (album) Apache [Portraits of American Indians, p.1] Album page, with six tipped-in albumen prints 41 x 54 cm Yale University, Beinecke Rare Book and Manuscript Library Yale Collection of Western Americana, Beinecke Rare Book and Manuscript Library, Call number: WA Photos Folio 54, Image ID Number: 1072981 Plate from: W.H. Jackson Photographs of Indians selected from the collection in the possession of the U.S. Geological survey of the territories Prof. F.V. Hayden in charge. Representing 70 different tribes. (1876) The copy at the Beinecke Rale Book & Manuscript Library, at Yale University includes 616 photographic prints. Individual photographers with images represented in the album include Charles Milton Bell, Thomas Martin Easterly, Alexander Gardner, Benjamin Gurney, Jeremiah Gurney, William Henry Jackson, James Earle McClees, Antonio Zeno Shindler, Henry Ulke, Julius Ulke, Lee Ulke, Julian Vannerson, and Orloff R. Westmann. |
| 44. |  | Unidentified photographers 1876 (album) Crow and Blackfoot [Portraits of American Indians, p.21] Album page, with five tipped-in albumen prints 41 x 54 cm Yale University, Beinecke Rare Book and Manuscript Library Yale Collection of Western Americana, Beinecke Rare Book and Manuscript Library, Call number: WA Photos Folio 54, Image ID Number: 1073001 Plate from: W.H. Jackson Photographs of Indians selected from the collection in the possession of the U.S. Geological survey of the territories Prof. F.V. Hayden in charge. Representing 70 different tribes. (1876) The copy at the Beinecke Rale Book & Manuscript Library, at Yale University includes 616 photographic prints. Individual photographers with images represented in the album include Charles Milton Bell, Thomas Martin Easterly, Alexander Gardner, Benjamin Gurney, Jeremiah Gurney, William Henry Jackson, James Earle McClees, Antonio Zeno Shindler, Henry Ulke, Julius Ulke, Lee Ulke, Julian Vannerson, and Orloff R. Westmann. |
| 45. |  | Alexander Gardner 1872, May Cover [Ogallalla Sioux] Albumen print 5 1/2 x 4 7/8 in / 140 x 124 mm (image) 12 x 10 in / 305 x 254 mm (mount) Etherton Gallery Photographs of Red Cloud and Principal Chiefs of Dacotah Indians Taken on Their Visit to Washington, D.C., May, 1872 Washington D.C.: for Trustees of Blackmore Museum, Salisbury, England, [Gibson Brothers, Printers, 1872] |
| 46. |  | Alexander Gardner 1872, May Contents [Ogallalla Sioux] Albumen print 5 1/2 x 4 7/8 in / 140 x 124 mm (image) 12 x 10 in / 305 x 254 mm (mount) Etherton Gallery Photographs of Red Cloud and Principal Chiefs of Dacotah Indians Taken on Their Visit to Washington, D.C., May, 1872 Washington D.C.: for Trustees of Blackmore Museum, Salisbury, England, [Gibson Brothers, Printers, 1872] |
| 47. |  | Alexander Gardner 1872, May 01 Red Cloud [Ogallalla Sioux] Albumen print 5 1/2 x 4 7/8 in / 140 x 124 mm (image) 12 x 10 in / 305 x 254 mm (mount) Etherton Gallery Photographs of Red Cloud and Principal Chiefs of Dacotah Indians Taken on Their Visit to Washington, D.C., May, 1872 Washington D.C.: for Trustees of Blackmore Museum, Salisbury, England, [Gibson Brothers, Printers, 1872] |
| 48. |  | Alexander Gardner 1872, May 01 Red Cloud b [Ogallalla Sioux] Albumen print 5 1/2 x 4 7/8 in / 140 x 124 mm (image) 12 x 10 in / 305 x 254 mm (mount) Etherton Gallery Photographs of Red Cloud and Principal Chiefs of Dacotah Indians Taken on Their Visit to Washington, D.C., May, 1872 Washington D.C.: for Trustees of Blackmore Museum, Salisbury, England, [Gibson Brothers, Printers, 1872] |
| 49. |  | William Carrick 1870, 1 October A Few Russian Photographs Magazine page Google Books Good Words, Oct 1, 1870, p.672. W.R.S. Ralston "A Few Russian Photographs" in Good Words, Oct 1, 1870, p.667-673. Not far from the Cathedral of St. Isaac in St Petersburg, in the street called the Little Morskaya, there stands a house in which a foreign visitor to Russia may learn more in a few minutes respecting the common people of the country their physiognomy, their dress, and their whole outward bearing than he can acquire elsewhere in many long hours of wearisome research. That house contains the photographic establishment of Mr. Carrick, a member of the AngloRussian community, which musters two thousand strong in the capital, and has representatives scattered about in all parts of the empire. For some years past he and his partner, Mr. MacGregor, have been in the habit of photographing all the best specimens of peasant men and peasant women, as well as all the other dwellers in the city, who have come under their notice. Whenever a particularly Russian representative passed underneath their windows, they immediately rushed out and secured his portrait for their gallery. Some of their sitters were so unaccustomed to scientific manipulation, that they expressed great alarm at the operation which it was proposed to perform, fearing, like a certain old lady in Punch, that the camera would explode, or inflict upon them some permanent disfigurement. Sometimes also an old woman of excessive piety would be afraid of compromising herself by unlawful dealings with the Black Art; but the photographers generally succeeded in dispelling the fears and removing the scruples of their models, who usually ended by expressing great gratification at the result attained. From the numerous portraits which they have thus been enabled to take, our countrymen have made a collection which is highly esteemed in Russia itself, and which, as far as foreign visitors are concerned, is of the highest possible value, teaching them so much while they are in the country, and enabling them after their return home, to recall to mind so vividly the forms and faces of the people among whom they have been sojourning. It is to this collection, and to another which has been on view this year in the Exhibition at St. Petersburg, that we now propose to call the attention of our readers. Out of Mr. Carrick's album we have chosen twelve of the most characteristic photographs. With the exception of two, which represent a priest and a nun, they are all portraits of men and women belonging to the working classes. The first who figures upon our plate is a seller of the large gloves worn in winter. No. 2 and No. 5 are girls who trade in eggs and herrings. No. 3 is a peasant travelling in search of work; his staff is in his hand, and an extra pair of shoes, made of bark, are hanging at his back. Thus provided for his journey, he will perhaps wander for hundreds of miles, only too happy if at length he reaches a district where labour is scarce, and where, by the constant and arduous toil of months, he may gain enough to allow of his taking back to the distant home in which his wife and children are anxiously awaiting him, a sufficient sum of money to pay his share in the cost of governing the country. No. 4 is one of the numerous church-beggars men who either stand at church doors, or who wander about the country, begging alms in the name of Heaven for some charitable purpose, generally for the building or for the restoration of a church. The man in question has formerly been in the army, as his cross and medals show. In his hand is a book bearing a cross on the cover. Inside the book is written the object of his request, and his permission to raise money for it. His head is bare, and even in the coldest weather he will go exposed to the icy winds without any cap or hat. Scandal declares that many of these collectors are not entirely to be depended upon. But they all have at least some amount of conscience, and coins which are laid upon the cross which sanctifies the book are sure to be applied to its holy purpose, though those which are placed elsewhere are devoted to the collector's personal expenses. No. 7 is a peasant in the act of crossing himself, just as he would stand in church. No. n is an excellent type of the Russian moujik. See how erect he stands. There is nothing of the slave about him, although no doubt when his portrait was taken he was a serf. But serfdom has not made the Russian peasant a cringing being. Except in the presence of his own lord, the serf always bore himself like a free man, standing proudly upright, or stalking behind his plough with the air of a Sarmatian Cincinnatus. His hat is worthy of observation. There are various types of hats in Russia, but his is what is called the Moscow hat a tall brimless cylinder, often resembling that which caricature bestows upon the Irishman, not unfrequently reminding the English tourist of the head-dress worn by the casual scarecrow in his native fields. No. 8 is what we may call a cab-driver, an izvoshchik, who is waiting for a fare. His neat little cap is cocked jauntily on one side of his head. In his hands he holds the knout, that nightmare of Russophobists, that terrible instrument of torture of which we have heard so much in books of Russian travel and romance. In No. 9 we see a good specimen of a servant girl in a Russian family of the middle class. No. 6 represents two peasants in sheepskin "touloupes" and their great winter boots, enjoying a cup of tea. On the table stands the samovar, on the top of which may faintly be discerned the white teapot One of the tea-drinkers holds in his hand the saucer from which he is about to drink ; the other, with manifest satisfaction, has just turned down the tea-cup which he has drained. As one wanders along the streets of any Russian town, it is very pleasant to see the bearded occupants of the lower classes of traklirs, or taverns, enjoying the innocuous beverage over which all business is discussed, by which every bargain is celebrated. His taste for tea offers a sufficient reason for hoping that at some future period the Russian peasant will be an eminently sober member of society. At the present moment, unfortunately, the samovar, or tea-urn, is either unknown, or is but poorly represented, in the majority of villages. At any social gathering spirits form the only means of entertainment which can be provided, and their effects are only too apparent when the meeting comes to an end. In No. 12 we see a good specimen of the Russian priest in his long violet gown, with his hair dangling about his shoulders, and his beard spreading majestically across his chest. Lastly, we come to No. 10, a nun wearing the strange head-dress which acts as so unsightly a frame around the somewhat harsh features of the sisters of the Russian Church. With respect to the priest and the nun we do not propose to say more at present than that the priests are, as a general rule, so poor, that it is almost impossible for them to devote much time to anything resembling study, and that therefore they do not occupy that position in society to which a clergyman seems to be justly entitled to aspire; and that the greater part of the nuns appear to lead lives which are almost absolutely useless. There are, it is true, a few Sisters of Charity in Russia, and the work which they do is of the most excellent kind; but the majority of the Russian nuns do not belong to any working order. Those of our readers who wish to study the questions relating to the Russian clergy, may be referred to the work of Madame Romanoff, on the GraecoRussian Church, a book which contains a great amount of information, although its pictures are pervaded by a far too rosy hue. But it is with the Russian peasants that we propose to deal, wishing to convey to our readers some slight idea of what they are really like, and of what sort of lives they actually lead. Too many writers have spoken, and are still likely to speak, of the Russian peasant as if he were as wild and uncouth an animal as the bear which is popularly supposed to be always strolling about his house. We can scarcely wonder that a stranger who, when he first enters Russia, happens to see a group of wild-looking men, and wan, wrinkled women at a railway station, imagines that he has fallen amongst a race of savages, and gazes upon these new specimens of humanity with a mixture of fear and of aversion; but if he lives long enough in the country, and if he only studies aright the people among whom he is sojourning, he ought to be able to correct his first false impressions, and to arrive at a truer knowledge of what are the characteristics of the Slavonic race. The Russian villager is generally a kindly, soft-hearted being, with strong affections, with a genuine religious feeling, and with a natural taste both for sentiment and for humour. He is sincerely attached to his country, and for his birth-place he entertains a love which is almost a passion. Fond as he is of wandering, he always thinks of his native village as the spot to which he longs to return, and in which he hopes to end his days. Between the different members of each family a close attachment ordinarily prevails, the children looking up to their parents with warm affection and real reverence, and the parents entertaining for their children a love which lasts long after the time when in our country the young birds would have gone far away from their native nest. The condition of women in Russia has long been one of great discomfort, and there have been but too many cases in which wives have been terribly ill used by their lords and masters; but such cases were not sufficient to constitute a rule, and it is to be hoped that, in the better day which has lately dawned for Russia, the position of the Russian peasant woman will be far better than it used to be, and that, as she rises in the social scale, she will gradually gain the respect, as well as the love, which is due to her. In no country has so much been done as in Russia to improve, in a short space of time, the position of the rural classes. But a few years ago they were slaves bound to the soil, liable to all manner of ill-treatment at the will of a careless or hard-hearted proprietor. Now they are free, and if they will only be true to themselves they have no one to fear. In the evil days of old they had no chance of redress if a wrong were done them. The rich then too often ground the faces of the poor, and even if the poor cried aloud, there was none to help them, no ear was open to their complaint, no hand was stretched out to save them. But since the emancipation all this has been changed. Within the last six years open courts of law have been established, trial by jury has been introduced, and judges have been appointed at fair salaries to carry out the administration of justice. Under the old system a judge had to keep up appearances and maintain a family on a salary of, perhaps, fifty pounds a year. The consequence was that he lived on bribes, and in his court the richest suitor always carried the day. But now there are few countries in the world in which a poor man is more certain to gain redress for a wrong done him by a rich man, to obtain a speedy settlement of any righteous claim he may have to advance, than in that Russia over which, but a few years ago, brooded the darkness of corruption and injustice. Therefore it is that the study of Russian village life is not only interesting, but is pleasant, for it offers to the observer who looks for them aright manifest signs of a very welcome improvement in the condition of many millions of people, while it makes him rejoice at the abolition of a system which could not fail to be productive of immeasurable moral degradation and physical suffering. Even under favourable circumstances it is always a hard struggle which the peasant in the North of Russia has to maintain. The soil there is thin and sterile. Wastes and sand often extend for leagues and leagues around on every side, broken only by dark and melancholy forests. There the peasant's house is a mere hut, within which the atmosphere is stifling, the smoke circulates everywhere, often scarcely able to find any chink through which to escape, and vermin swarm. As Mr. Michell says in the exceedingly valuable, though somewhat too desponding account he has given of the condition of the agricultural labourer in Russia* "These northern cottages contain scarcely any furniture except a deal table and a bench placed against each wall. There is no bedding beyond a few pillows; a few pots of burnt clay or cast-iron make up the sum of the peasants' domestic utensils." It is generally supposed that every cottage contains a samovar, but in reality it is only in the houses of the wealthier peasants that such a luxury can be found. You may travel through village alter village in the poorer parts of Russia and not be able to find a single tea-urn; only in every room one is certain to find a holy picture, before which hangs a little lamp, or below which bums a candle. Even the poorest peasant would think himself accursed if he could not manage to set aside some little sum for the purpose of showing his respect for the religion which is sometimes his only consolation amid the sorrows of a very hard life. In these miserable huts the peasants spend a great part of their lives, and the women scarcely ever go to any distance from them; but the men often wander far away, walking for hundreds of miles across Russia, for the sake of finding such work as will enable them, after very hard toil, to return home with their little treasure of a few shillings ; and whether at home, or in their wanderings in distant governments, the Russian peasants lead almost ascetic lives as far as eating and drinking are concerned. As Mr. Michell says "The Russian peasant's diet consists of a hunch of black rye bread, a bowl of milk or curds in the morning. In the evening he perhaps lias a similar meal, and his mid-day dinner consists generally of cabbage or mushroom soup, of which meat is but seldom the basis, of baked buckwheat eaten with milk, oil, or butter, according to the means of the family, and of an unlimited quantity of rye bread." His drink is mostly water, stronger drinks being only found on holy days in the houses of the richer peasants. On these occasions, unfortunately, it is but too true that the peasant makes amends for his forced abstinence by getting most unnecessarily drunk. There used to be great excuse in former years for the Russian peasant if he drank in order to forget his troubles. One of the tales of the people describes misfortune as driving the peasant into the pot-house persuading him to pledge all that he had in order to obtain drink, and finally leaving him bare as a linden-tree that had been stripped of its bark. The peasant who was under a tyrannical lord, and who could scarcely call anything his own, was too often induced by bitter need to drink away his senses and his possessions; but now that he is a free man, and that all that he gains will be his own, it is to be hoped that he will set at defiance that temptation which has always proved so strong for men of the Slavonian race. The enemies of the Emancipation have described the peasant, since it took place, as a lazy and reckless vagabond, whose one idea was to become intoxicated; but in reality the Russian peasant is one of the most hard-working among men, and if he can but overcome his tendency to drown his sorrows in drink, he will probably prove a thrifty and prosperous agriculturist. In many parts of the country he is doing well and laying by money. Many and many an estate has already passed from the hands of a reckless landlord into those of his formerly despised tenants, and the free man proudly treads as possessor on soil to which his ancestors may have bent their brow in abject terror. Everything seems to point to a better future for the peasant class in Russia than it has yet known, and it is especially to be hoped that the lot of woman will be improved throughout the country. "Ages have passed," says one of the chief of the Russian poets, " everything else in the world has changed many times, only God has forgotten to change the dreary lot of the peasant woman." Even the type has degenerated, he says; so much has she undergone, so much has she suffered, that her expression has become one "of constant fear or endless suffering." But after having described the wan and wasted forms and faces of the ordinary peasant women in Russia, the poet goes on to draw a picture of another type of the Slavonian woman. "In her you see," he says, "a quiet dignity of face, a strength, a beauty of movement, a queenly look, a regal gait When she passes it seems as if a sunbeam were moving beside you. When she looks at you you feel as if she had given you a rouble. Her life is like that of other women, but on her no mud sticks. She is tall, erect, rosy-cheeked. All that she wears looks well. In all that she undertakes she is successful. Patiently does she endure both hunger and cold. She loves to labour, and on a feast day she is as gay as any one. Firm lips cover her strong and handsome teeth. No one borrows from her; she has not too much pity for the beggar, for she says, ' Why does he go about idle instead of working?' She knows that the highest good results from work, and she labours herself because everything depends upon that for her and hers." Unfortunately such women as this are not often seen ma Russian village. As a general rule, there is very little beauty among the female villagers. The men are often handsome, and their good looks increase with their years, until in their old age they are models of patriarchal majesty. It is true, however, that the flowing beard is partly the cause of this, as may be seen by comparing the shorn plainness of a middle-aged soldier with the hirsute picturesqueness of his civilian brother. But the women are exposed to the sun and rain too much, and have to work too hard on but scanty fare, for them to retain long the prettiness which they often display in childhood. But if they are not strikingly handsome, they are, at least, strong and hardy, and full of good-humour. The amount of toil which they contentedly undergo is wonderful, and, except as far as their complexions are concerned, they do not seem to be much the worse for it. In some districts, as for instance in the government of Yaroslav, the greater part of the farming is done by women. They plough, and reap, and mow; scarcely a man is to be seen among them in the fields, unless it is one of advanced age. The reason of this preponderance of female labour is that the men of these districts are for the most part employed in the cities either as skilled workmen or as servants. The poverty of the soil has driven them to seek employment elsewhere; and as they rank among the most energetic and intelligent of Russians, they generally succeed in obtaining what they require, and the care of looking after their little farms mainly devolves upon the women and children of their families. In other cases all the members of the family circle work together in the fields at such busy periods of the year as harvest-time, as may be seen by any one who consults the admirable photographs which Mr. Carrick and Mr. MacGregor have taken in the country during the last twelve months a different series from that of which we have already spoken. From these pictures it is quite possible even for persons who have never been in Russia to acquire a good idea of the life of a Russian peasant, for they represent most of his ordinary avocations, and of the scenes amid which he spends his life. In one of them, for instance, we see him ploughing or harrowing his little portion of land; in another he is sowing; in a third he and his family are reaping the longed-for harvest; in a fourth the com-ricks are being piled up behind his cottage. Here we see a village of the usual tumble-down pattern so universal in Russia, the walls of the cottages leaning this way and that, the roofs full of holes which give free entrance to all the winds of heaven. In the foreground the cattle are drinking at the pond, or a party of children are fishing in the stream, or playing at some game in one of the courtyards. Others of the photographs represent winter scenes, and most faithfully do they render the effects which are produced in the woods and upon the plains when the mantle of what the peasants call "Good Mother Winter" has been spread over the land. It is not too much to say that these photographs of which Messrs. Carrick and MacGregor exhibited about sixty in the Exhibition at St. Petersburg this year, are worth a whole library of ordinary tourist books to any one who wishes to get a really true idea of what Russian peasants are like. Tourists in Russia are very apt to err, but these photographs unmistakably tell the truth. Not a bad means of judging of the character of the Russian peasant is afforded by the collections which have been made of the stories and songs which give him pleasure. From the folk-lore of Russia some idea may be derived of the general tone of thought and sentiment among the common people of Russia, and of the nature of the views they take of life. There is a softness and kindliness in these legends and songs, from which it is easy to see that the people who tell them are kindly and tender-hearted, and imaginative. Nowhere is this national softness more visible than in the popular stories about the other world and the beings who tenant it, many of which are evidently old heathenish traditions, more or less modified by Christian influences. In one of them, for instance, we are told that a certain peasant went out to plough, and while he was at his work a little demon stole the dinner which the peasant had put aside. The peasant came to look for his meal, found that it had vanished, and said, "Here is a wonder; I have seen no one, but my dinner is gone; surely the devil must have taken it. Well, God be with him; I can do without it." The little demon went down below, and told the ruler of the lower world what had happened. "What!" said the fallen angel, "is there some one living who wishes God to be with me ? Take him back his dinner at once, and see that all goes well with him." And from that day the peasant prospered and became rich. Another story tells how a certain miser lay suffering in the lower world, until an opportunity was given him of communicating with his heirs, and telling them to turn to good uses the money which he had hidden away in the earth. Among other charitable actions they built a bridge with it, for the benefit of the village. One day a little child passed by, and saw the bridge, and said, "What a beautiful bridge! God bless the man that built it." And that same moment the misers soul was taken out of torment. Very touching also is the story of the peasant woman who died leaving behind her a little new-born child. After its mother's death, the child at first cried without ceasing all day and all night; but after a while the crying used to stop when night came, and in the early morning it would be found sleeping quietly and contentedly, though it recommenced its wailing as soon as it awoke. The family could not understand why it became soothed at night; so it was agreed to set a watch. A light was concealed in a pitcher, and, provided with this sort of dark lantern, the child's relatives waited in the room in which its cradle was placed till night fell. As long as the day lasted the child continued to cry, but the sound died away as darkness came on. The -watchers waited till all was still, and then they suddenly broke the pitcher which contained the light. Then they saw that the dead mother was bending over the cradle, and suckling her child, and when she saw the light she cried aloud and wrung her hands, and said, "Why did ye do this? For now my child must die." And so saying, she faded away; and from' that time forward the child refused to be comforted, and soon afterwards it died. W. R. S. RALSTON. * "Reports from H.M. Representatives respecting the Tenure of Land in the several Countries of Europe: 1869-70." |
| 50. |  | William Carrick 1860s (ca) Winter costumes Carte de visite Paul Frecker Russian occupational portrait. |
| 51. |  | William Carrick 1860s (ca) Policeman Carte de visite Paul Frecker Russian occupational portrait. |
| 52. |  | William Carrick 1860s (ca) Peasant Carte de visite Paul Frecker Russian occupational portrait. |
| 53. |  | John Thomson n.d. Book cover for "Street Life in London. Volume I." by John Thomson and Adolphe Smith (London: Sampson Lowe, Marston Searle & Rivington, nd) Book cover Swann Galleries - New York Courtesy of Swann Galleries (Auction, Dec 7, 2006, #2097, Lot 282) |
| 54. |  | John Thomson 1877 The London boardmen [Street Life in London] Woodburytype 4.25 x 3.25 in (image) Pierre Spake Fine Art Pierre Spake Fine Art [7794] |
| 55. |  | John Thomson 1881 (published) Book cover for John Thomson & Adolphe Smith "Street Incidents" (London, Sampson Low, Marston, Searle & Rivington, 1881) [Street Incidents] Book cover Bernard J. Shapero Rare Books Courtesy of Bernard J Shapero Rare Books Thomson travelled and photographed in the Far East for several years before opening a studio in London in 1875. Two years later he collaborated with the left-wing journalist, Adolphe Smith, on a study of some of the poorer inhabitants of the London, which was published as a part-work in 1877-8 under the title, Street Life In London. In terms of the history of photography, Street Incidents is highly significant because it was the first published collection of social documentary photographs anywhere in the world. Opinion at the time was divided about its merit either as art or as propaganda, and there may well have been some disagreement between Thomson, the artist-photographer, and Smith, the radical socialist writer, about the content of the photographs. |
| 56. |  | John Thomson 1877 (ca, taken) 1881 (published) The Crawlers [Street Incidents] Woodburytype 115 x 90 mm (ca) Dominic Winter Book Auctions Auction Sale: Sept 3, 2008 - Lot: 156 Street Incidents, a series of twenty-one permanent photographs, with descriptive letter-press, 1st ed. of this abridgment, 1881, twenty-one mounted woodburytypes, each approx. 115 x 90 mm or the reverse, mounted as issued on individual leaves with printed borders and captions in red, a few plates loose, text leaves spotted, title and last leaf of text browned, orig. red pictorial cloth gilt, soiled and lower cover stained, rubbed and worn with loss to head and of foot of spine and lower edges, 4to First edition of this abridgment of Thomson's pioneering work 'Street Life in London'. The superb woodburytypes were made from Thomson's original dry-plate negatives. The Truthful Lens, 169. For an analysis of this photograph: Juliet Hacking (ed.), 2012, Photography: The Whole Story, (Prestel), pp. 152-153 |
| 57. |  | Charles Marville 1865-1869 Rue de la Harpe, partie nord Albumen print, from wet collodion negative 12 5/16 x 10 9/16 Charles Isaacs Photographs, Inc |
| 58. |  | Charles Marville 1865-1869 Rue de Poissy de la rue St. Victor Albumen print, from wet collodion negative 10 1/4 x 14 5/16 Charles Isaacs Photographs, Inc |
| 59. |  | Thomas Annan n.d. Title page for "the Old Closes & Streets of Glasgow" [The Old Closes & Streets of Glasgow (1900 edition)] Letterpress Photoseed Photograph courtesy PhotoSeed.com This plate was included in: The Old Closes & Streets of Glasgow. Engraved by Annan from photographs taken for the City of Glasgow Improvement Trust. With an introduction by William Young. It was published in 1900 from an edition of 100 by the Glasgow firm of James MacLehose & Sons. |
| 60. |  | Thomas Annan 1868 9 Close No. 193 High Street [The Old Closes & Streets of Glasgow (1900 edition)] Photogravure 22.2 x 18.1 cm Photoseed Photograph courtesy PhotoSeed.com This plate was included in: The Old Closes & Streets of Glasgow. Engraved by Annan from photographs taken for the City of Glasgow Improvement Trust. With an introduction by William Young. It was published in 1900 from an edition of 100 by the Glasgow firm of James MacLehose & Sons. |
| 61. |  | Thomas Annan 1868 28 Closes No. 97 and 103 Saltmarket [The Old Closes & Streets of Glasgow (1900 edition)] Photogravure 21.9 x 17.8 cm Photoseed Photograph courtesy PhotoSeed.com This plate was included in: The Old Closes & Streets of Glasgow. Engraved by Annan from photographs taken for the City of Glasgow Improvement Trust. With an introduction by William Young. It was published in 1900 from an edition of 100 by the Glasgow firm of James MacLehose & Sons. |
| 62. |  | Archibald Burns 1868 Cardinal Beaton's House, the Cowgate, Edinburgh [Picturesque Bits from Old Edinburgh] Albumen print 10.6 x 8.5 cm National Galleries of Scotland Courtesy of the National Galleries of Scotland, Gift of Mrs. Riddell in memory of Peter Fletcher Riddell 1985 (PGP R 814) |
| 63. |  | Archibald Burns 1871 The Cowgate, Edinburgh Salt print 23.4 x 18.6 cm National Galleries of Scotland Courtesy of the National Galleries of Scotland, Gift of Mrs. Riddell in memory of Peter Fletcher Riddell 1985 (PGP R 214) |
| 64. |  | Jacob A. Riis 1890 Book cover for Jacob August Riis "How the Other Half Lives: Studies Among the Tenements of New York" (New York: Charles Scribners's Sons, 1890) Book cover Christie's - New York Christies - NY (Sale 2110: Lot 1 - April 10, 2008 - Fine Photobooks from an Important Private Collection) |
| 65. |  | Jacob A. Riis 1890 Book cover for Jacob August Riis "How the Other Half Lives: Studies Among the Tenements of New York" by Jacob A. Riis (Charles Schribners Publishers, 1890) Book cover Private collection of Edward Grazda |
| 66. |  | Jacob A. Riis 1890 (ca) [Untitled] [How the Other Half Lives] Museum Dr. Guislain Courtesy of the Museum Dr. Guislain, Ghent, Belgium |
| 67. |  | Unidentified photographer / artist 1842 View of the Conflagration of the City of Hamburg Engraving Source requested Illustrated London News, May 14, 1842 (First issue) |
| 68. |  | Hermann Biow 1842 [The destruction of the Hamburg fire of 1842] Daguerreotype Creative Commons - Wikipedia This photograph was for a long time attributed to Carl Ferdinand Stelzner but it is now known to be by Hermann Biow. Eckart Klessmann, 1981, Geschichte der Stadt Hamburg, (Hamburg: Hoffmann und Campe) |
| 69. |  | George N. Barnard 1853, July 5 Fire in the Ames Mills, Oswego, New York Daguerreotype, 1/6 plate, with applied colour 7.0 x 8.3 cm George Eastman Museum Courtesy of George Eastman House, Museum Purchase; ex-collection James Cady (GEH NEG: 5815) |
| 70. |  | George N. Barnard 1853, July 5 Burning Mills at Oswego, New York Daguerreotype, 1/6 plate, with applied colour 5.7 x 6.9 cm George Eastman Museum Courtesy of George Eastman House, Museum Purchase; ex-collection James Cady (GEH NEG: 5814) |
| 71. |  | F. Robbins 1875, 10 September No. 82. Burning of the Imperial Refinery [Views of the Penna. Oil Region] Stereoview, detail Jeffrey Kraus Antique Photographics |
| 72. |  | Unidentified photographer / artist 1864 Sheffield Flood, Bachelor Joseph Chapman, tailor of Hillsbrough survived by getting in this box Sheffield City Council, Library Service Id: s08751 |
| 73. |  | B.D. Jackson 1884, February Cincinnati Flood, Smith Street, Looking South February 1884 Albumen print 4 x 7 1/8 in Jeffrey Kraus Antique Photographics Courtesy of Jeffrey Kraus (Discab1) |
| 74. |  | B.D. Jackson 1884, February Cincinnati Flood, Relief Boat taking provisions to sufferers on Water St. February 1884 Albumen print 4 x 7 1/8 in (Part) Jeffrey Kraus Antique Photographics Courtesy of Jeffrey Kraus (Discab1) |
| 75. |  | B.D. Jackson 1884, February Cincinnati Flood, Scene near the Gas Works; Front Street, Looking West February 1884 Albumen print 4 x 7 1/8 in (Part) Jeffrey Kraus Antique Photographics Courtesy of Jeffrey Kraus (Discab1) |
| 76. |  | Langill & Darling 1889 Johnstown Flood, General View looking South Albumen print 18.4 x 24.4 cm (7 1/4 x 9 5/8 in) American Art Museum, Smithsonian Institution Museum purchase from the Charles Isaacs Collection made possible in part by the Luisita L. and Franz H. Denghausen Endowment |
| 77. |  | George Barker 1889 A Slightly Damaged House, Johnstown, Pa., U.S.A. Gelatin silver print, stereograph 8.0 x 15.5 cm George Eastman Museum Courtesy of George Eastman House, Gift of Henry Ott (GEH NEG: 37414) |
| 78. |  | George Barker 1889 The Johnstown Calamity. Searching for bodies and clearing the wreck (Detail) Stereocard Jefferson Stereoptics Courtesy of John Saddy (Auction, Tues. May 23rd & Thurs. May 25th, 2006, # 06-2, Lot 672) |
| 79. |  | Robert K. Bonine 1889 (ca) 25 this is the famous dog, Romey, owned by the Kress family of Johnstown (Detail) Stereocard Jefferson Stereoptics Courtesy of John Saddy (Auction, Tues. May 23rd & Thurs. May 25th, 2006, # 06-2, Lot 672) Full title: "This is the famous dog, Romey, owned by the Kress family of Johnstown. During the flood this dog performed the wonderful feat of saving the lives of three people, Mrs. Kress, child, and domestic. After they had fallen from the house top the dog pulled them to floating logs and boards and saved their lives." |
| 80. |  | William Shew 1868 Court House at San Leandro, Cal., Destroyed by the great Earthquake Oct 21st, 1868. The Clerk of the Court was buried under the walls Stereoview Jefferson Stereoptics Courtesy of John Saddy (Auction, Tues. August 29th & Thurs. August 31st, 2006, # 06-3, Lot 75) |
| 81. |  | Carleton E. Watkins 1868 #985 Effects of the Earthquake, Oct. 21, 1868, Market and First Streets (Detail) [Taber Pacific Coast Views] Stereocard Jefferson Stereoptics Courtesy of John Saddy (Auction, Tues. May 23rd & Thurs. May 25th, 2006, # 06-2, Lot 93) This view is made from a Carleton E. Watkins negative. |
| 82. |  | Kazumasa Ogawa 1892 (print) Book cover for John Milne, W.K. Burton & Ogawa Kazumasa (Plates), 1892, The Great Earthquake of Japan, 1891, (Yokohama: Lane, Crawford & Co) [The Great Earthquake of Japan, 1891] Book cover Private collection |
| 83. |  | Kazumasa Ogawa 1891 (taken) 1892 (print) XXII. Nagara Gawa Railway Bridge [The Great Earthquake of Japan, 1891] Halftone, possibly the Meisenbach process Private collection Included in the book John Milne, W.K. Burton & Ogawa Kazumasa (Plates) The Great Earthquake of Japan, 1891,(Lane, Crawford & Co, Yokohama, plates by K. Ogawa, bound by N. Yubi, Tokyo, printed at the Tokyo Tsukiji Type Foundry, Tokyo, ca 1892) |
| 84. |  | Kazumasa Ogawa 1891 (taken) 1892 (print) XXIII. Nagara Gawa Railway Bridge [The Great Earthquake of Japan, 1891] Halftone, possibly the Meisenbach process Private collection Included in the book John Milne, W.K. Burton & Ogawa Kazumasa (Plates) The Great Earthquake of Japan, 1891,(Lane, Crawford & Co, Yokohama, plates by K. Ogawa, bound by N. Yubi, Tokyo, printed at the Tokyo Tsukiji Type Foundry, Tokyo, ca 1892) |
| 85. |  | Unidentified photographer 1876-1878 Famine in India: a group of emaciated young men wearing loin cloths and a woman wearing a sari 15.1 x 20.6 cm Wellcome Collection Wellcome Library, London (V0029717, Library reference no.: ICV No 30198) |
| 86. |  | Unidentified photographer 1876-1878 Famine in India: five emaciated children; a girl sitting and four boys lying on a mat. Wellcome Collection Wellcome Library, London (V0029718, Library reference no.: ICV No 30199) |
| 87. |  | W. Stuber & Bro. n.d. No. 5. Twelfth and Jefferson Streets-Baxter Park, back [Tornado Views of Louisville, KY, March 27th, 1890] Stereoview, back Jeffrey Kraus Antique Photographics |
| 88. |  | W. Stuber & Bro. n.d. No. 5. Twelfth and Jefferson Streets-Baxter Park [Tornado Views of Louisville, KY, March 27th, 1890] Stereoview Jeffrey Kraus Antique Photographics |
| 89. |  | W. Stuber & Bro. n.d. No. 5. Twelfth and Jefferson Streets-Baxter Park [Tornado Views of Louisville, KY, March 27th, 1890] Stereoview, detail Jeffrey Kraus Antique Photographics |
| 90. |  | 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.] |
| 91. |  | 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. |
| 92. |  | William Edward Kilburn 1848, 10 April Great Chartist Meeting on Kennington Common Daguerreotype 10.7 x 14.7 cm Royal Photograph Collection The Royal Collection ® 2010, Her Majesty Queen Elizabeth II, RCIN 2932484 This Daguerreotype was included in the exhibition Victoria & Albert: Art & Love at The Queen's Gallery, Buckingham Palace, until 31 October 2010. Purchased by Prince Albert in 1848. In 2010 this photograph was uploaded to flickr by The British Monarchy. |
| 93. |  | 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. |
| 94. |  | 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. |
| 95. |  | 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 |
| 96. |  | 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) |
| 97. |  | Alexander Gardner 1863 Home of a Rebel Sharpshooter [Gardner's Photographic Sketch Book of the War. Incidents of the War, pl. 41] Albumen print 7 x 9 in Lee Gallery Courtesy of Lee Gallery (Z1377) "Alex. Gardner, Photographer. Gettysburg, July, 1863. Entered according to act of Congress, in the year 1865, by A. Gardner, in the Clerk's Office of the District Court of the District of Columbia. Incidents of the War. Home of a Rebel Sharpshooter. Published by Philp & Solomon, Washington. 511 7th Street, Washington" printed in the margin recto. Original caption: On the Fourth of July, 1863, Lee's shattered army withdrew from Gettysburg, and started on its retreat from Pennsylvania to the Potomac. From Culp's Hill, on our right, to the forests that stretched away from Round Top, on the left, the fields were thickly strewn with Confederate dead and wounded, dismounted guns, wrecked caissons, and the debris of a broken army. The artist, in passing over the scene of the previous days' engagements, found in a lonely place the covert of a rebel sharpshooter, and photographed the scene presented here. The Confederate soldier had built up between two huge rocks, a stone wall, from the crevices of which he had directed his shots, and, in comparative security, picked off our officers. The side of the rock on the left shows, by the little white spots, how our sharpshooters and infantry had endeavored to dislodge him. The trees in the vicinity were splintered, and their branches cut off, while the front of the wall looked as if just recovering from and attack of geological small-pox. The sharpshooter had evidently been wounded in the head by a fragment of shell which had exploded over him, and had laid down upon his blanket to await death. There was no means of judging how long he had lived after receiving his wound, but the disordered clothing shows that his sufferings must have been intense. Was he delirious with agony, or did death come slowly to his relief, while memories of home grew dearer as the field of carnage faded before him? What visions, of loved ones far away, may have hovered above his stony pillow! What familiar voices may he not have heard, like whispers beneath the roar of battle, as his eyes grew heavy in their long, last sleep! On the nineteenth of November, the artist attended the consecration of the Gettysburg Cemetery, and again visited the "Sharpshooter's Home." The musket, rusted by many storms, still leaned against the rock, and the skeleton of the soldier lay undisturbed within the mouldering uniform, as did the cold form of the dead four months before. None of those who went up and down the fields to bury the fallen, had found him. "Missing," was all that could have been known of him at home, and some mother may yet be patiently watching for the return of her boy, whose bones lie bleaching, unrecognized and alone, between the rocks at Gettysburg. |
| 98. |  | Adolphe Braun 1871 Ruines du Château de St Cloud [Ruins of the Château of St Cloud] [Paris - 1871] Albumen print 7.4 in x 6.3 in (189 mm x 159 mm) Paul Frecker Courtesy of Paul Frecker |
| 99. |  | Adolphe Braun 1871 St Cloud, rue de l'Eglise [Paris - 1871] Albumen print 7.4 in x 6.3 in (189 mm x 159 mm) Paul Frecker Courtesy of Paul Frecker |
| 100. |  | Unidentified photographer / artist 1840 Place de la Colonne Vendome Book plate Google Books Published in Title page for "Paris et ses Environs Reproduits par le Daguerrotype" Sous la Direction de M. Ch. Philipon (Paris: Chez Aubert et Cie, 1840), plate 1. |
| 101. |  | Édouard Baldus n.d. Vendome Column, Place Vendome, Paris, France Albumen print 26 x 19 cm The Courtauld Institute of Art Copyright: © Courtauld Institute of Art , Conway Collections 1806-1810 destroyed in 1871, 1873-1874. |
| 102. |  | Unidentified photographer / artist 1871 (ca) Place Vendome [Album Photographique des Ruines de Paris] Albumen print, tipped in 12.5 x 9 cm Antiq-Photo Courtesy of Anthony Davis - Antiq-photo / Rainbow creations (www.19cPhoto.com) From "Album Photographique des Ruines de Paris - collection de tous les monuments et édifices incendiés et détruits par La Commune de Paris. Accompagnee de Notices historique de descriptives sur chaque sujet." Published in Paris by Librairie rue Visconti, 22. The author who wrote the notes was Justin Lallier, septembre 1871. |
| 103. |  | Pignolet 1871 Paris, Place Vendome Cabinet card 11 x 16.5 cm Vintage-Photos |
| 104. |  | Alexander Gardner 1865, 7 July Execution of the four persons condemned as conspirators, Mary Surratt, Lewis Powell, David Herold, and George Atzerodt. National Archives and Records Administration [ARC Identifier: 530503] |
| 105. |  | Keystone View Company n.d. 9956. Execution by the Garrote in the Yard of the City Prison, Havana, Cuba Stereoview, detail Jeffrey Kraus Antique Photographics |
| 106. |  | Felice Beato 1868 Post-Mortem of Lieutenant Camus [Post-Mortem of Lieutenant Camus; Foreigners Assassinated by Japanese Samurai; Imprisonment and Punishment of Japanese Assassins] Albumen print Charles Schwartz Ltd Courtesy of Charles Schwartz (#9054) Post-mortem of Lt. Camus - attributed to Felice Beato. Shows the badly mutilated corpse of Lieutenant Camus who was assassinated by anti-foreigner Samurai on the outskirts of Yokohama, Oct. 1863. On the verso of the print, penciled in unknown hand, possibly by Beato, are several graphic accounts detailing the assassination of Camus indicating that Camus was a French Military officer and was assassinated by three Ronin on 10/18/1863, in the suburbs of Yokohama, while on horseback. It indicates that this photograph was taken in order to report the atrocity to France. |
| 107. |  | Unidentified photographer 1868 Assassins of Sir Henry Parkes [Post-Mortem of Lieutenant Camus; Foreigners Assassinated by Japanese Samurai; Imprisonment and Punishment of Japanese Assassins] Albumen print Charles Schwartz Ltd Courtesy of Charles Schwartz (#9054) This unattributed view shows the head of Parkes' assassin, Hihashida. Penned in ink, possibly by Beato, under each photo reads: "Itchikkawa Shabro, Gaung usashinguzu (?), a priest taken prisoner at the attack on Sir Henry Parkes, 23 March 1868" and "Head of Hi-hashi-da, a medical student (one of the Kioto assassins) who attacked Sir Henry Parkes when going to visit Mikado, 23rd March '68, & was killed on the spot by Yakunin Gotoshojiro, officer of the Mikado court." |
| 108. |  | Unidentified photographer / artist 1865, April [Washington, D.C. President Lincoln's box at Ford's theater] Glass negative wet collodion (part of stereograph) Library of Congress, Prints and Photographs Division LC-B811- 3403A / cwpb 02960 |
| 109. |  | Unidentified photographer 1865 (ca) One of the Boots worn by Wilkes Booth at the Assassination of President Lincoln, 1865 Cabinet card Private collection of Graham Pilecki Although this cabinet card has a wet stamp on the reverse claiming that it is: One of the Boots worn by Wilkes Booth,This has to be questioned as the boots work by Wilkes Booth with knee length. There is a boot worn by John Wilkes Booth. It was cut by Dr. Samuel Mudd who tended to Booth's wounds. (Library of Congress, Prints and Photographs) Follow the Evidence: The Trial of the Lincoln Conspirators - Eastern Illinois University www.eiu.edu/~eiutps/april_65aq.php |