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| 1. |  | Louis Auguste Bisson 1850 Bull, Aurillac Daguerreotype 17.1 x 21 cm (6 3/4 x 8 1/4 ins) Gérard Lévy Collection This Daguerreotype was included in "The Dawn of Photography: French Daguerreotypes, 1839-1855" exhibition at the Metropolitan Museum. |
| 2. |  | Unidentified daguerreotypist (American) 1850 (ca) [Four Men Posed with a Bull] Daguerreotype, 1/6 plate J. Paul Getty Museum Object number: 84.XT.1582.25 |
| 3. |  | Unidentified Daguerreotype/ Artist 1853, March (published) Durham Bull, Henry Clay, Two years old, bred and owned by A. Bolmar, West Chester, Pa. Magazine illustration, from a Daguerreotype Google Books The portraits of bull and cow on opposite page, engraved from daguerreotype likenesses, are specimens of what may be attained by scientific and judicious crosses of choice native stock, with selected thorough bred Durham bulls. They are grade animals, the bull being 15-16, and the cow 7/8 Durham, and are fully equal in some points to thorough breds. They were bred and are now owned by A. Bolmar, of West Chester, proprietor of the celebrated boarding school Institution, which bears his name, and whose herd of cows and heifers, 41 in number, all of his own raising, and more or less mixed with Durham blood, have been pronounced by good judges superior as a whole to any dairy of the same number in this section of country. "Improved Stock", The Pennsylvania Farm Journal, March 1853, Vol.2, No.12, p.379 (Accessed: Google Books, 15 April 2012) |
| 4. |  | Thomas Easterly 1854 (ca) Chouteau's Pond. View of drained area with cows. Collier's White Lead factory in background. Daguerreotype Missouri Historical Society Courtesy of the Missouri History Museum, Thomas Easterly Collection N17023. This Daguerreotype was uploaded to Flickr (2009-2010). |
| 5. |  | Unidentified photographer 1845-1850 Déformation congénitale d'une tête de veau Daguerreotype 13 x 15 cm (frame) 7 x 9.5 cm (image) Musée français de la Photographie Inventory no: 2007.19.1 |
| 6. |  | Adrien Tournachon 1860 (ca) Concours agricole Albumen print 20.8 x 27.5 cm Private collection of Nigel Maister Tirage albuminé ciré, signé en bas a droite. Provenance: Pierre Bergé & Associés (Auction, June 16, 2010, Lot: 663) |
| 7. |  | Charles François Daubigny 1861 (original) 1911-1913 (edition) Vaches à l'abreuvoir (Cows at the Watering Place) Cliche-verre salt print 16.7 x 20 cm (image) 17.7 x 20.8 cm (sheet) Yale University Art Gallery Stephen Carlton Clark, B.A. 1903, Fund, 1982.52.2 |
| 8. |  | Adolphe Braun 1860 (ca) Cows, men in pasture, trees Albumen print Larry Gottheim, Be-hold, Inc Courtesy of Larry Gottheim (Auction: March 13, 2008, 51, part 2 / lot 110) |
| 9. |  | Adolphe Braun 1858 (ca) Fermier avec vache Albumen print 10 1/4 x 15 3/8 Charles Nes Photography LLC New York - Paris |
| 10. |  | Adolphe Braun 1860s (ca) Two Men with Cows in Pasture Albumen print 8 9/16 x 11 in Lee Gallery Courtesy of Lee Gallery (U1257) |
| 11. |  | Adolphe Braun 1860s (ca) Man and Boy with Cow Albumen print 7 5/8 x 10 7/8 in Lee Gallery Courtesy of Lee Gallery (U1255) |
| 12. |  | Adolphe Braun 1855 (ca) Untitled Albumen print image: 24.2 x 29.9 cm (9 1/2 x 11 3/4 ins) mount, irregular: 29.3 x 37.9 cm (11 9/16 x 14 15/16 ins) Princeton University Art Museum Museum purchase, anonymous gift, Object Number: x1994-62 |
| 13. |  | Adolphe Braun 1858 (ca) Boy with Oxen Albumen print 7 x 9 in Lee Gallery Courtesy of Lee Gallery (R1702) |
| 14. |  | Adolphe Braun 1865 (ca) Farmyard Carbon print 12 x 15 in (30x38 cm) Christopher Wahren Fine Photographs Courtesy of Christopher Wahren Fine Photographs (hc26b) Printed in carbon by the Braun firm ca. 1890. |
| 15. |  | Adolphe Braun 1865 (ca) Study of a Cow Carbon print 11 7/8 x 14 5/8 in Lee Gallery Courtesy of Lee Gallery (V1082) |
| 16. |  | Constant Alexandre Famin 1860s Prize Bull Albumen print 12 x 17 cm Pierre Spake Fine Art |
| 17. |  | Horatio Ross 1859 (ca) [Prize Cow and Calf] [Ross Family Album] Salted paper print 15.6 x 19.7 cm (6 1/8 x 7 3/4 ins) Metropolitan Museum of Art Gilman Collection, Gift of The Howard Gilman Foundation, 2005, Accession Number: 2005.100.552 (33) |
| 18. |  | Ferdinand Berillon (France) 1870s-1880s Harvesting hay, France Cabinet card 4 1/4 x 6 1/2 in (11 x 16.5 cm) KaufmaNelson Vintage Photographs Titled in a period hand in ink, in French, and with the photographer's Bayonne stamp mount verso. |
| 19. |  | Giraudon's Artist 1870s (late) Cow and Two Sheep Albumen print, from wet collodion negative 4 15/16 x 6 11/16 Charles Isaacs Photographs, Inc |
| 20. |  | Achille Quinet 1860 (ca) Abreuvoir Salt print 4 7/8 x 6 5/8 Charles Nes Photography LLC New York - Paris |
| 21. |  | F. Albert Schwartz 1898 Kuh, Minna, Shorthorn Albumen print 15,8 x 20 cm Bassenge Photography Auctions (88 / 4075) |
| 22. |  | Chusseau-Flaviens 1900-1919 (ca) Torreaux Negative, gelatin on glass 9 x 12 cm George Eastman Museum Record Id: 1975:0111:3704 |
| 23. |  | George Bancroft Cornish 1909 Texas Long Horns [101 Ranch and Burroum Ranch, Del Rio, Texas] Collotype 14.9 x 19.8 cm DeGolyer Library, South Methodist University - SMU File: ag1986_0583_04_opt.jpg |
| 24. |  | Unidentified photographer 1905-1915 (ca) [Milking a cow] Real photo postcard Private collection of Brian Smolens |
| 25. |  | Unidentified photographer 1910-1915 (ca) Charlie Price and a cow Real photo postcard Michael Maslan Vintage Posters, Photographs, Postcards & Ephemera |
| 26. |  | Unidentified photographer 1870 Two Bulls and Handler Tintype, gold tinting on horns 3 7/8 x 4 5 /8 ins Private collection of Richard W. Gadd |
| 27. |  | Unidentified photographer 1890 (ca) Cow Tintype 5 1/8 x 3 5/8 ins Private collection of Nigel Maister |
| 28. |  | Unidentified photographer 1920 (ca) Cow in Pasture Cyanotype 4 5/8 x 3 5/8 ins Private collection of Nigel Maister |
| 29. |  | Henry M. Beach 1910 (ca) "Dekol Queen Lapolka Secondà" Photo postcard, photomontage 3 1/2 x 5 1/2 in Private collection of Robert Bogdan |
| 30. |  | Unidentified photographer 1930 (ca) Dairy Man and Calf Real photo postcard, detail 3.5 x 2.5 ins (image) Private collection of Nigel Maister |
| 31. |  | Unidentified photographer 1930 (ca) Dairy Man and Calf Real photo postcard 3.5 x 2.5 ins (image) Private collection of Nigel Maister |
| 32. |  | Arthur Rothstein 1932 (taken) 1970 (ca, print) Cow skull in the Badlands [Teschio di bue nel Badlands] Gelatin silver print 30 x 35 cm Bloomsbury Auctions - Rome Bloomsbury, Rome (Nov 10, 2008, Sale 17, Lot 399) This photograph created a political stir at the time as the skull was moved by the photographer to create what he considered to be a stronger visual image. In an oral history interview with Arthur Rothstein by Richard Doud (25 May 1964) for the Archives of American Art, Smithsonian Institution the following comment was made. Arthur Rothstein: Well, I found myself in South Dakota on cracked earth where there was a skull, and I made a lot of photographic exercises using the skull-the texture of the skull, the texture of the earth, the cracks in the soil, the lighting, how the lighting changed from the east to the west as the sun went down. I spent a good part of the day taking pictures of it, near a piece of cactus, on grass-you know-and experimenting with it. I sent all these pictures in to Washington. I was on this long trip, which took many months out through the West. Roy was always permitting picture editors from the Associated Press and other agencies to go through the file and if they saw anything they liked, they were to take it and print it. Unknown to me, and perhaps even unknown to Roy, this picture editor, Max Hill with Associated Press (he dies quite some time ago) extracted the photograph. Since he knew nothing about the West, to him this was a symbol of the drought. The fact is that it had been made in May and the fact that these arroyos are to be found even to this day in any part of the West, and the fact that you can find skulls of steers and cows and jackrabbits and rabbits, and so forth, all over the plains meant nothing to him. He just liked this picture probably because I lavished so much photographic artistry on it, you see. And so he sent it out as an example of the drought. This was months later, months after I'd made the picture. The drought was becoming serious around June and July. Well, there, too, nothing would have happened probably if the editor of the Fargo Forum had not picked up this picture, serviced by the Associated Press, Fargo Forum was a member of the Associated Press, and said, "Now this is a real example of fakery." As far as he was concerned, it was a fake photograph. He didn't know that I had made the picture in May and that the picture had a caption on it that I hadn't contributed, that it was sent out by the Associated Press, not by the government! He didn't know any of these things. As far as he was concerned, here was a government picture that was a fake. Propaganda. And of course the Forum was, like most newspapers of the time, opposed to the Democratic Party and to the New Deal. He wrote a big front-page editorial, just as Roosevelt was coming through Bismark, North Dakota, and printed a special edition of the Fargo Forum with this picture on the front page and called it a fake-New Deal Propaganda-there was a lot of talk about that in those days-and put this on the train for all the correspondents to read. It just happened that I was in Bismark, North Dakota, at the time this came through. One of the correspondents asked me if I had made this picture and I agreed that I had. So he immediately sent a message back to Washington and got somebody to start digging through the files. They found a lot of other pictures that I had made, and this of course became a great joke. Cartoonists drew pictures of me wandering all over the United States with a skull, planting it here and planting it there, but the fact is that this was the farthest thing from my mind. I had not taken the picture in the first place as an example of New Deal propaganda; I had taken a picture of something that existed, and may even exist today. I had not taken the picture with the idea of it being used as a symbol of the drought, although it did show the drought, I mean it was dried earth and a skull. And this thing snowballed to the point there were columns written about it, stories in Time Magazine, and Westbrook Pegler wrote a humorous little satirical piece; some people came to the defense of this picture and other people attacked it. Meantime I evaded everybody and went off for a vacation in Minnesota. Interviewee: Roy Stryker (Head of the FSA Photographic Unit) Interviewer: Richard Doud Date: October 17, 1963; June 13, 1964; January 23, 1965 Oral history interview with Roy Emerson Stryker, 1963-1965, Archives of American Art, Smithsonian Institution. Roy Stryker: That wasn't exactly controversial. There's not too much to say. Rothstein had moved to his --from --over to --and cactuses and sparse vegetation. It wasn't dishonesty at all because it was complete honesty. It was a political situation. Newspapers picked it up because we were then going over into a political controversy. Which is a perfectly legitimate, worth-while thing. Thank God that's what democracy is -- a difference of opinion. The result was, there was a stampede, everybody take up the thing and damn us for it. I don't think they even looked carefully. In the end, I think they made something more out of it; it wasn't that important. Richard Doud: By itself it was a terrific picture. Roy Stryker: No. Not a terrific picture. An interesting picture but it wasn't a terrific picture. I don't think it began to even come anywhere near the pictures we had the following -- I don't think -- I think they made a great picture out of it because they made all this fuss. I don't think it was a great picture. Richard Doud: You could call it infamous rather than famous? Roy Stryker: No, I just think they made it a well known picture, let's put it that way. I shouldn't use the word "famous." I just think they made it a very well known picture. I don't think it would ever have had that importance if they hadn't given it a flurry all through the papers because they wanted to raise hell with the Administration's being dishonest. Of course it was dishonest. Maybe what I said, I said it -- didn't realize I'd said it but I guess I did say it. Well, there was a drought, and the hell with it! And I've been quoted on that. I wasn't very smart to have said it that way, but I did, and I said it, and it's out now. There was a drought. Sure he was naïve. Sure he was out of the city; he was moving around; he was almost composing. It were better left alone. We'd have been smarter if we hadn't let those pictures get out. It didn't hurt. |
| 33. |  | Edwin Rosskam 1938, January Bulls in the sugar field Negative 2 1/4 x 2 1/4 in or smaller. Library of Congress, Prints and Photographs Division LC-USF34-012583-E |
| 34. |  | Unidentified photographer 1920 (ca) Car and Cow Gelatin silver print, snapshot 4 1/4 x 2 1/2 ins Private collection of Nigel Maister |
| 35. |  | Unidentified photographer 1939, 14 September An Essex farmer has a herd of black cows and in case they should wander on the road after dusk, he is having them painted with white stripes so that they will be visible to the motorists. Gelatin silver print Imperial War Museum © Barratts - Imperial War Museum: Ministry of Information Second World War Press Agency Print Collection (HU 36167 / 4700-09) |
| 36. |  | Ruth Bernhard 1945 Skull and Rosary Gelatin silver print 13.5 x 8 Andrew Smith Gallery |
| 37. |  | Unidentified photographer / artist 1950s (late) Royal family with cow ValentineÆs real photo snapshot Private collection of John Toohey |
| 38. |  | Arno Fischer 1978 (taken) New Delhi Gelatin silver print 35 x 24.2 cm Bassenge Photography Auctions Auction (17 June 2009, Sale 93, Lot 4385) Signed, titled and dated by the photographer in ink, photographer's stamp and collection stamp on the verso. |
| 39. |  | Unidentified photographer 1930 (ca) Cow Gelatin silver print, snapshot 3 1/4 x 5 1/8 ins Private collection of Nigel Maister |
| 40. |  | T.S. Nagarajan 1986 Visitor at the door Gelatin silver print Provided by the artist - T.S. Nagarajan © T.S. Nagarajan (1986) Photographed while shooting the interior of a century-old home on the bank of the river Ganga in the holy town of Varanasi, India. The cow, friend of the family, is a regular visitor to the house. |
| 41. |  | Laurie Minor 1990 Auctioned calf Gelatin silver print 4 1/2 x 6 in (image) 8 x 10 in (paper) Private collection of Laurie Minor |
| 42. |  | Pentti Sammallahti 1999 Varanasi, India (puppy sleeping on cow) Gelatin silver print 16.7 x 12.3 Candace Dwan Gallery |
| 43. |  | Shelby Lee Adams 1999 Donnie with Baby and Cows Gelatin silver print Stephen Bulger Gallery |
| 44. |  | Muriel Hasbun 2010 (taken) 2011 (printed) Embodied (carne/meat) [encarnado: embodied] Archival pigment print 20 x 30 ins / 33 x 40 ins Provided by the artist - Muriel Hasbun As I photographed in San Miguel de Allende's Rastro, [ ] both the fury and the fragility of life permeated the air. I have always been fascinated by the power of photography to record and reinterpret what is both absent and present, and have created images that re-construct what was once there but no longer exists. My current work encarnado: embodied re-visits this fascination in Mexico, with a body of work made in San Miguel de Allende's Rastro Municipal. As I photographed in San Miguel de Allende's slaughterhouse, I was faced with the body at its most elemental. In a surprising intertwining of flesh, both human and animal, I was drawn into this sensory-charged space where both the fury and the fragility of life permeated the air. I set out to understand the strange mixture of repulsion and attraction, terror and power. Perhaps I could create an image that honed the sensorial onslaught into an offering. encarnado: embodied is a testament to that search. The boundaries between predator and prey, sustenance and deprivation, body and spirit, subject and object become porous as I confront the visceral. What's left alludes to the complicated and violent order of things, in the liminal space linking life and death. Courtesy of Muriel Hasbun, statement (Pers. email, 15 April 2012) |
| 45. |  | Muriel Hasbun 2011 Embodied (cabeza/head) [encarnado: embodied] Archival pigment print 20 x 30 ins / 33 x 40 ins Provided by the artist - Muriel Hasbun As I photographed in San Miguel de Allende's Rastro, [ ] both the fury and the fragility of life permeated the air. I have always been fascinated by the power of photography to record and reinterpret what is both absent and present, and have created images that re-construct what was once there but no longer exists. My current work encarnado: embodied re-visits this fascination in Mexico, with a body of work made in San Miguel de Allende's Rastro Municipal. As I photographed in San Miguel de Allende's slaughterhouse, I was faced with the body at its most elemental. In a surprising intertwining of flesh, both human and animal, I was drawn into this sensory-charged space where both the fury and the fragility of life permeated the air. I set out to understand the strange mixture of repulsion and attraction, terror and power. Perhaps I could create an image that honed the sensorial onslaught into an offering. encarnado: embodied is a testament to that search. The boundaries between predator and prey, sustenance and deprivation, body and spirit, subject and object become porous as I confront the visceral. What's left alludes to the complicated and violent order of things, in the liminal space linking life and death. Courtesy of Muriel Hasbun, statement (Pers. email, 15 April 2012) |
| 46. |  | Jeffrey Becom 1994 Ladder and Bull, Coacoatzintla, Veracruz, Mexico Ilfochrome print Provided by the artist - Jeffrey Becom © Jeffrey Becom |
| 47. |  | Joel Salcido 2002 Toro Obscuro [Spain: Millennium Past] Archival pigment print, Hahnem³hle rag paper 20 x 20 in (image) 24 x 24 in (paper) Provided by the artist - Joel Salcido |
| 48. |  | Phil Bergerson n.d. Untitled, Bremen, Georgia Chromogenic print 16 x 16 Stephen Bulger Gallery |
| 49. |  | Dan Nelkin 2002 Dairy Competition Winner: Otsego County Fair [Till the Cows Come Home: County Fair Portraits] Chromogenic print, Fuji Crystal Paper 16 x 20 in / 20 x 24 in Provided by the artist - Dan Nelkin |
| 50. |  | A. Friyone (Gibralter) 1880 (ca) Bullfight (detail) Albumen print 6 x 8.25 in (15 x 21 cm) Christopher Wahren Fine Photographs |
| 51. |  | Unidentified photographer 1891, June Bullfight Kodak No. 2 4.25 x 5.25 in Private collection of Nigel Maister "Bullfighting in Mexico June 91" |
| 52. |  | Unidentified photographer 1891, June Bullfight (Detail) Kodak No. 2 4.25 x 5.25 in Private collection of Nigel Maister "Bullfighting in Mexico June 91" |
| 53. |  | Chusseau-Flaviens 1900-1919 (ca) Espagne Courses taureaux Negative, gelatin on glass 9 x 12 cm George Eastman Museum Record Id: 1975:0111:4882 |
| 54. |  | Ralston Crawford 1957 Downed Matador And Bull Gelatin silver print 5.3 x 7.75 Andrew Smith Gallery |
| 55. |  | Ernst Haas 1956 Bullfight, Pamplona, Spain Dye transfer print 16 x 20 Peter Fetterman Gallery © The Ernst Haas Estate - Used with permission |
| 56. |  | Unidentified photographer / artist 1853, November The Ayrshire Bull Magazine page Google Books The Journal of Agriculture (Boston), Volume 3, No.4, November 1853, p.145. The Ayrshire Bull belonging to the N. H. Asylum is the best of that breed that we ever saw. To show farmers what a perfect animal is, and thus to form their taste and judgment, it is well to have cuts of such animals engraved. From a Daguerreotype of a beast, a very fine engraving can be made in Boston for ten to twenty dollars, according to the size and degree of finish; and copies may be multiplied, by stereotyping, at 50 to 75 cents each. We will with pleasure superintend the engraving of any portrait that may be forwarded to us at Boston. |