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| 1. |  | Choiselat & Ratel 1845 Landscape with Cottage Daguerreotype 6 7/16 x 8 9/16 ins (16.4 x 21.7 cm) Metropolitan Museum of Art Louis V. Bell Fund, 1994 (1994.417) |
| 2. |  | Thomas Easterly 1851, 18 July Chouteau's Pond, South to Eight and Gratiot Daguerreotype Missouri Historical Society Courtesy of the Missouri History Museum, Thomas Easterly Collection N17018. This Daguerreotype was uploaded to Flickr (2009-2010). |
| 3. |  | Louis-Adolphe Humbert de Molard 1847 Louis Dodier, en prisonnier Daguerreotype 11.5 x 15.5 cm Musée d'Orsay (C) RMN (Musée d'Orsay) / Hervé Lewandowski, Europeana Identifier: RMNDO000000367682 ; PHO1988-4 |
| 4. |  | Auguste Belloc & Félix Jacques Antoine Moulin 1855 (ca) Femme sur un lit Daguerreotype, stereo, half 8.5 x 17.3 cm Musée d'Orsay (C) RMN (Musée d'Orsay) / Droits réservés, Europeana Identifier: RMNDO000000494451 ; PHO1986-125 |
| 5. |  | Juan Laurent 1870s Courtship Albumen print 33.4 x 25.3 cm Ken & Jenny Jacobson |
| 6. |  | Marie-Alexandre Alophe 1860s (ca) Le Ruisseau [Reclining female nude] Albumen print 21 x 16 cm Bassenge Photography Auctions Photography 19th-21st Century (1 June 2011) Lot: 4010 |
| 7. |  | J. Craig Annan 1896, September Der Franciscaner [Wiener Photographische Blätter: Herausgegeben Vom Camera-Club In Wien] Photogravure Photoseed Photograph courtesy PhotoSeed.com Included in: "Wiener Photographische Blätter: Herausgegeben Vom Camera-Club In Wien: 1896" Hand-printed photogravure on heavy paper similar to Japan Vellum or parchment |
| 8. |  | Juan Laurent 1865 (ca) Etude pour peintre, Moine Albumen print 25 x 33 cm Photo Verdeau |
| 9. |  | J. Craig Annan 1896 Les Frères Blanc [Photo-Club de Paris / 1896, Pl. XIV] Heliogravure / Photogravure 9.9 x 9.1 cm Photoseed Photograph courtesy PhotoSeed.com Country: Scotland: Glasgow This photograph, taken in Italy in 1894 and also known as The White Friars, is an early example of stop-movement photography made by Annan with a hand-held camera. This plate is a slight variant crop on one made by Annan and reproduced as Plate #2 in the book by Weston Naef (1978) The Collection of Alfred Stieglitz: Fifty Pioneers of Modern Photography (The Metropolitan Museum of Art / The Viking Press) That version shows the entire shadow cast on ground in lower right and more detail in the print. Annan, a contemporary of Stieglitz and important influence on him, was not only a gifted photographer but also a publisher who made his own copper plates for printing photogravures for himself and the family firm: T & R Annan & Sons. Today, the Annan family is still in business- operating The Annan Gallery (a fine art dealer gallery) at 164 Woodlands Road in Glasgow. Plate (Graveur) by James Craig Annan Printed by Ateliers Charles Wittmann Included in the "Troisième Exposition d'Art Photographique" of the Photo-Club of Paris (1896) |
| 10. |  | Hill & Adamson 1843-1847 William Leighton Leitch, the Drawing Master to Queen Victoria and a Landscape Painter and Watercolorist (1804-1883) Calotype 7.75 x 5.5 in (197 x 140 mm) Charles Schwartz Ltd Courtesy of Charles Schwartz (#4229) Sitter's name inscribed in pencil by unknown person on recto of mount. |
| 11. |  | Robert Demachy 1895 Etude [Photo-Club de Paris / 1895, Pl. II] Photogravure Antiq-Photo Courtesy of Anthony Davis - Antiq-photo / Rainbow creations (www.19cPhoto.com) Included in: "Deuxieme Exposition d'Art Photographique" of the Photo-Club of Paris (1895), Pl. II - Etude The Photographic Salon - 1895 (London) Pl.13 - Study of a Head Camera Notes, July, 1898 - Study in Red Note the different titles given to this photograph when it was published. |
| 12. |  | Robert Demachy 1903 (or earlier) Struggle Gum bichromate print 17.4 x 11.6 cm (6 7/8 x 4 9/16 ins) (image) Metropolitan Museum of Art Gift of Isaac Lagnado, in honor of Thomas P. Campbell, 2008, Accession Number: 2008.666.3 |
| 13. |  | Nikolai Andreev 1930 Portrait of an Old Peasant Moscow House of Photography Moscow House Of Photography (Private collection) |
| 14. |  | Julia Margaret Cameron 1865 Sir Henry Taylor [A study in the manner of Rembrandt] Albumen print 10 x 7 1/2 in (25.4 x 19.1 cm) Swann Galleries - New York Courtesy of Swann Galleries (Auction Oct 21, 2008, Lot 13) With Cameron's signature and notation, in ink, on mount recto. Julia Margaret Cameron: The Complete Photographs, 781. Julia Margaret Cameron, 1815-1879, 111. |
| 15. |  | Gustave Marissiaux 1908 VII. Figure de Vieillard, étude [Visions d'Artistes (1908)] Photogravure 16.7 x 11.5 cm AnamorFose Courtesy of Xavier Debeerst (Anamorfose - www.anamorfose.be) |
| 16. |  | Guido Rey 1908 The Letter Platinum print 8 3/4 x 5 1/2 in J. Paul Getty Museum The J. Paul Getty Trust (85.XP.314.7) |
| 17. |  | Guido Rey 1910 (ca) Costume Scene Platinum print National Science and Media Museum The Royal Photographic Society, Ref Number: 2003-5001/2/21193 |
| 18. |  | Guido Rey 1910 (ca) Seventeenth Century Costume Piece Platinum print National Science and Media Museum The Royal Photographic Society, Ref Number: 2003-5001/2/21190 |
| 19. |  | Richard Polak 1919 (published) The Little Boat Book plate Internet Archive Photograms of the Year 1919 (London: Iliffe & Sons, 1919), plate XLI |
| 20. |  | Richard Polak 1914 La malaise imaginaire Book plate Internet Archive Photograms of the Year 1914 (London: Hazell, Watson & Viney, 1914), plate XXXIV |
| 21. |  | Richard Polak 1915 Nasty medicine Book plate Internet Archive Photograms of the Year 1915 (London: Hazell, Watson & Viney, 1915), plate LXI |
| 22. |  | Robert Demachy 1880-1900 (ca) Untitled (young girl) Gelatin print 14 x 11.4 cm (5 1/2 x 4 1/2 ins) Yale University Art Gallery Gift of Mr. and Mrs. Arthur Lee, 1984.96.12 |
| 23. |  | Gertrude Käsebier 1897 Maternity Gumprint 29.8 x 21.4 cm (sheet) Yale University Art Gallery Everett V. Meeks, B.A. 1901, Fund, 1975.20 |
| 24. |  | John Robert Parsons 1865-1890 Jane Morris, seated on divan, Three-quarter length Albumen print, toned 33 x 39 cm Birmingham Museum and Art Gallery Accession number: 1941P359.6 By John R. Parsons and Sir Emery Walker. Curatorial notes © Birmingham Museums and Art Gallery One of a set of photographs commissioned by Rossetti. As described by Julian Treuherz, Jane Morris had an extraordinary beauty, 'quite different from the Victorian ideal' which was not an invention,'even his late paintings, often described as exaggerated, are remarkably true to their original'. For an analysis of this photograph: Juliet Hacking (ed.), 2012, Photography: The Whole Story, (Prestel), pp. 118-119 |
| 25. |  | Henry Peach Robinson 1894 Temps orageux [Photo-Club de Paris / 1894, Pl. LIV] Heliogravure / Photogravure 15.9 x 12.6 cm Photoseed Photograph courtesy PhotoSeed.com Listed as Henry Peach Robinson (Tunbridge Wells) Plate and print by M. Fillon of the ateliers LeMercier & Cie, Paris. Included in the "Première Exposition d'Art Photographique" of the Photo-Club of Paris (1894) This composite photograph by H.P. Robinson (1830-1901) is also known as "Wild Weather" and was taken in 1893. |
| 26. |  | René Le Begue 1897 Bouquet de greves [Photo-Club de Paris / 1897, Pl. XXIV] Heliogravure / Photogravure 19.3 x 15.3 cm Photoseed Photograph courtesy PhotoSeed.com Country: France: Paris René Le Begue was the first of the French Secessionists to become a member of the British Linked Ring Brotherhood in 1894. Plate (Graveur) by Fillon et Heuse Print: Ateliers Charles Wittmann Included in the "Quatrieme Année Salon de Photographie" of the Photo-Club of Paris (1897) |
| 27. |  | José Ortiz-Echagüe 1931 Basque Oarsman [sp. Remero Vasco] Carbon Fresson print Ortiz Echagüe Collection - Legado Ortiz Echagüe © Ortiz Echague Collection-University of Navarra - Legado Ortiz Echague-Universidad de Navarra. Fundacion Universitaria de Navarra |
| 28. |  | Dührkoop & Dièz-Dührkoop 1907 (ca) Hans Heinz Ewers Bromoil print National Science and Media Museum Ref Number: 2003-5001/2/20085 [Curatorial description - National Media Museum - December 2011] Ewer was a writer of fantastic fiction and horror stories, including 'Alraune' (1911) and 'Vampire' (1921). |
| 29. |  | Frank Eugene 1900s The Archer Photogravure 17.4 x 11.9 cm (6 7/8 x 4 11/16 ins) Metropolitan Museum of Art Rogers Fund, 1972, Accession Number: 1972.633.57 Inscription: Signed in negative UL: "Eugene"; signed in pencil LR: "F. Eugene Smith 57" |
| 30. |  | Alvin Langdon Coburn 1906 The White Bridge - Venice Gum bichromate over platinum print 36.6 x 29.0 cm (14 7/16 x 11 7/16 ins) Metropolitan Museum of Art Alfred Stieglitz Collection, 1933, Accession Number: 33.43.212 |
| 31. |  | Miguel Goicoechea (1894-1983) 1920-1930 Una calle de Pamplona Gum bichromate print 23 x 17 cm (image) 43 x 36 cm (mount) Soler y LLach Photographs and Photobooks Auction, 7 June 2012, Lot: 82 |
| 32. |  | Oscar Gustave Rejlander 1857 (ca) Too Late Albumen print 19.4 x 14.5 cm (7 5/8 x 5 11/16 ins) Princeton University Art Museum Museum purchase, anonymous gift, Object Number: x1993-17 |
| 33. |  | Unidentified photographer 1923-1924 Film still from "Die Nibelungen", directed by Fritz Lang Gelatin silver print 30 x 24 cm Bassenge Photography Auctions Courtesy of Bassenge, Berlin (Photography, Dec 2, 2009, Sale: 94, Lot: 4191) |
| 34. |  | Brassaï 1935 Festivities in Bayonne Moscow House of Photography |
| 35. |  | Roman Vishniac 1938 (taken) 1960s (print) The Street of Isaac, Cracow [The Vanished World] Silver print 13 1/4 x 10 1/2 in (33.7 x 26.7 cm) Swann Galleries - New York Swann Galleries (Auction Oct 21, 2008, Lot 99), © Mara Vishniac Kohn With Vishniac's signature, title and date, in ink, on mount recto. Roman Vishniac: A Vanished World, 159. |
| 36. |  | Tom Kearcher 1990 Berkeley Series #24 Photogravure 5 3/4 x 5 11/16 S K Josefberg Studio (CLOSED - 2004) |
| 37. |  | Roger Fenton 1858 Pasha and Bayadere Albumen print National Science and Media Museum There are two known versions of this work. An uncropped version at the J. Paul Getty Museum in Los Angeles and this one. The Pasha is played by Roger Fenton and the musician is the English landscape painter Frank Dillon. Acquired by the National Media Museum with the assistance of The Art Fund (November 2010). |
| 38. |  | Henry Peach Robinson 1857 She Never Told Her Love Albumen print National Gallery of Art Paul Mellon Fund This photograph was included in the exhibition The Pre-Raphelite Lens: British Photography and Painting, 1848-1875 at the National Gallery of Art, Washington, DC (October 31, 2010 - January 30, 2011) This preliminary study for Fading Away, a print made from multiple negatives, takes its title from Shakespeare's Twelfth Night. |
| 39. |  | Henry Peach Robinson 1858 Fading Away Albumen print National Science and Media Museum The Royal Photographic Society Collection, Purchased with the assistance of The Art Fund This photograph was included in the exhibition The Pre-Raphelite Lens: British Photography and Painting, 1848-1875 at the National Gallery of Art, Washington, DC (October 31, 2010 - January 30, 2011) Robinson, who had initially trained as a painter, was known for combining multiple negatives to create complex compositions. This photograph provoked controversy when first exhibited: though praised for conveying the family's anxiety as the consumptive child lies dying, it was also criticized for making such an upsetting subject seem too realistic. |
| 40. |  | Walter Barnes 1885 The Apotheosis of Degas [Apothéose de Degas] Silver print from a silver gelatine glass negative, pasted on card 9 x 11 cm Musée d'Orsay © photo RMN, PHO 2006 5 1 A parody of the "Apotheosis of Homer" by Ingres (1827). |
| 41. |  | J. Mantélier 1896 Obstination [Photo-Club de Paris / 1896, Pl. XXVII] Heliogravure / Photogravure 14.0 x 17.5 cm Photoseed Photograph courtesy PhotoSeed.com Country: France: Tours Plate (Graveur) by Fillon et Heuse Printed by Ateliers Charles Wittmann Included in the "Troisième Exposition d'Art Photographique" of the Photo-Club of Paris (1896) |
| 42. |  | Frank Asakichi Kunishige 1924 (ca) The Dark Before Dawn Gelatin silver print 9.25 x 12 in University of Washington Libraries - Digital Collections University of Washington Libraries, Special Collections (PH Coll 343.8) Studio portrait of man and woman in costume Handwritten on mount: Kunishige Handwritten on verso: 5. The Dark Before Dawn On label on verso: Portsmouth Camera Club. This is to certify that this Picture was accepted and hung at the 31st Annual Exhibition of Pictorial Photography, held at Portsmouth, November, 1925. F.J. Mortimer, Esq., F.R.P.S., Judge |
| 43. |  | Count Aleksander von Tyszkiewicz 1897 Scene d'intérieur Empire [Photo-Club de Paris / 1897, Pl. XXXV] Heliogravure / Photogravure 16.0 x 22.1 cm Photoseed Photograph courtesy PhotoSeed.com Country: France: Paris Tyszkiewicz (born 1862 in Poland) is often identified in photographic reproductions of this period as Graf B. Tyszkiewicz. Graf is German for "count". Juhl (1989-page #294) identifies Tyszkiewicz as a painter who dedicated himself in his palace in Howory/Polon to the history of wall painting. This may well be the same palace in the present day Lithuania (Palanga) where there is a major tourist attraction: a collection of amber numbering over 25,000 examples. It is interesting to note that this photograph and another variant example in the author's photographic archive feature a partial elaborately painted backdrop. Plate (Graveur) by Blechinger Print: Ateliers Charles Wittmann Included in the "Quatrieme Année Salon de Photographie" of the Photo-Club of Paris (1897) |
| 44. |  | Count Aleksander von Tyszkiewicz 1898 Der Besuch [Die Kunst in der Photographie (Art Folio #4)] Photogravure-Chine-collé 15.1 x 20.6 cm Photoseed Photograph courtesy PhotoSeed.com Heliographed (Plate) & Printed by: Meisenbach, Riffarth & Co. (Berlin) Tyszkiewicz (born 1862 in Poland) is often identified in photographic reproductions of this period as Graf B. Tyszkiewicz, as is evident in the printing attribution for this particular photogravure at the lower left corner. Graf is German for "count". Juhl (1989, page 294) identifies Tyszkiewicz as a painter who dedicated himself in his palace in Howory/Polon to the history of wall painting. This may well be the same palace in the present day Lithuania (Palanga) where there is a major tourist attraction: a collection of amber numbering over 25,000 examples. Please also see: Photo-Club de Paris / 1897, Pl. XXXV for another example by this photographer. |
| 45. |  | Emile Joachim Constant Puyo 1900 (ca) Mélancolie Bromoil transfer print image: 26.1 x 36.8 cm (10 1/4 x 14 1/2 ins) sheet: 38.5 x 50.7 cm (15 3/16 x 19 15/16 ins) (irregular) Princeton University Art Museum Museum purchase, anonymous gift, Object Number: x1992-127 |
| 46. |  | Ch. Commessy 1895 Les Glaneuses [Photo-Club de Paris / 1895, Pl. LVIII] Photogravure Antiq-Photo Courtesy of Anthony Davis - Antiq-photo / Rainbow creations (www.19cPhoto.com) Included in the "Deuxieme Exposition d'Art Photographique" of the Photo-Club of Paris (1895) |
| 47. |  | Hofmeister Brothers 1900 Nachtgang [Die Kunst in der Photographie (Art Folio #6)] Photogravure 14.5 x 20.3 cm Photoseed Photograph courtesy PhotoSeed.com Theodor & Oskar Hofmeister (Hamburg) Heliographed (Plate) & Printed by: Georg Buxenstein & Comp. (Berlin) The Brothers Hofmeister photographed an old woman hunched over supported by a cane in 1899. The photograph was transformed via the gum bichromate process into a night scene in 1900. "The brothers Theodor and Oskar Hofmeister frequently used brushes to retouch their photographs. The three prints of their famous Old Woman (figs. 28-30) reveal the successive stages of the process." (Source: Impressionist Camera: Pictorial Photography in Europe, 1888-1918 Merrell Publishers, 2006: p.17.) The three examples of this photograph: gelatin silver, photogravure and gum bichromate can be seen on pages 58-59 of this book. |
| 48. |  | Frank Eugene 1890 (ca) The Horse Photogravure National Science and Media Museum Ref Number: 2003-5001/2/20021 [Curatorial description - National Media Museum - December 2011] To produce this photogravure of a horse Eugene used an etching needle to scratch lines onto the surface of the negative, creating a hybrid between a purely photographic image and an etching. Eugene often used graphic techniques to alter a photograph. He would change or replace a background, reduce aspects of the photograph to anonymity or apply highlights with paint. |
| 49. |  | Giorgio Sommer 1870 (ca) Tarantella, Naples Albumen print, photomontage 18.8 x 25.3 cm (7 3/8 x 9 15/16 ins) (image with border) 28 x 33 cm (11 x 13 ins) (mount) Harvard Art Museum / Fogg Museum Gift of Dr. Daniel Tassel, © President and Fellows of Harvard College, Item Identifier: P2003.200.B |
| 50. |  | Oscar Gustave Rejlander 1854-1856 (ca) Child study after Raphael's Sistine Madonna Albumen print 20.5 x 26.3 cm (8 1/16 x 10 3/8 ins) Princeton University Art Museum Museum purchase, David H. McAlpin, Class of 1920, Fund, Object Number: x1976-203 |
| 51. |  | Jean-Baptiste Tournassoud 1915 The Angelus Autochrome Lumière 13 x 18 cm Association of the Friends of Jean-Baptiste Tournassoud © Private collection / info@tournassoud.org |
| 52. |  | Jean-Baptiste Tournassoud 1920 (ca) Still life with apples [S01] Autochrome Lumière 13 x 18 cm Association of the Friends of Jean-Baptiste Tournassoud © Private collection / info@tournassoud.org |
| 53. |  | Jean-Baptiste Tournassoud 1910 (ca) Portrait of Geo with shawl [Georgette Tournassoud, aka "Geo", wife of Jean-Baptiste Tournassoud] [P01] Fresson carbon print from an Autochrome Lumière 13 x 18 cm Bibliothèque Municipale de Lyon © Bibliothèque Municipale de Lyon - France / info@tournassoud.org |
| 54. |  | Anton Solomoukha n.d. Untitled [Petit Chaperon Rouge visite le Grand Louvre.] Galerie 208 From the series "Little Red Riding Hood visits the Louvre". Famous actors, singers , poets and personalities from the cultural community play roles within these tableau. |
| 55. |  | Yasumasa Morimura 2001 An Inner Dialogue with Frida Kahlo (Hand Shaped Earring) Color print Institute of Contemporary Art Courtesy of Luhring Augustine, New York. |
| 56. |  | Neil Folberg 2003-2005 Cezanne: Rocher Rouge, Bibemus [The French Impressionists] Color print Provided by the artist - Neil Folberg © Neil Folberg, courtesy of the artist This concentrates on the work Neil Folberg completed in France from 2003-2005. |
| 57. |  | Neil Folberg 2003-2005 Renoir: After the luncheon of the boating party [The French Impressionists] Color print Provided by the artist - Neil Folberg © Neil Folberg, courtesy of the artist In an email Neil Folberg explained the context for this photograph and if it was taken at Maison Fournaise. The answer is that I did go check out the Maison Fournaise and the porch there, but because it was high and a bit small, I would have had to build scaffolding outside the porch to stand on. Also, because it was still an operating restaurant, I would have had to pay to shut it down for two days (had they agreed). What happened is that in my early researches, I was wandering around along the river in the little village of Vétheuil near where Monet had lived sometime before he got involved in his grandiose project at Giverny. Someone who had a house right on the river - Stefan is his name - came down to talk to me and invited me for a drink on his porch which overlooked the Seine … and Stefan is a set designer whose profession is restaurant design. I kept his name for a year or so until I decided to recreate the scene and then went back to see his porch after looking at the Maison Fournaise. It was just so much easier and nicer to work with and he helped create the set. He is seated in the picture with his children and his wife Nina is in the back, the tallest woman standing. She's talking to my good friend Bénedicte. I also used two other friends, Laurent and a cousin of my assistant who is an acting instructor and helped me assign roles to each of the characters. So I was not only recreating the scene of Renoir in a contemporary mode, I was recreating the process, too, where he had used his friends as models and probably had had a pretty good time with them. Believe me, after rehearsing all morning and having a good lunch with plenty of wine we made a party out of this in the late afternoon and by the time we made the shot it wasn't posed - it had become real. That's the story! And I'm still very close friends with Stefan and Nina and Bénedicte … just saw them all last November.(The other people are hired models or actors, some of whom I used in other staged shots). (Pers. email, Neil Folberg to Alan Griffiths, 8 April 2014) This concentrates on the work Neil Folberg completed in France from 2003-2005. |
| 58. |  | Nazif Topcuoglu 2007 Lamentations Color print Flatland Gallery |