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| 1. |  | Noël Marie Paymal Lerebours 1841-1842 Excursions daguerriennes : vues et monuments les plus remarquables du globe. (Title page, vol. 1) ([1841]-1842) [Excursions daguerriennes : vues et monuments les plus remarquables du globe] Title page - Aquatint 27 x 39 cm NYPL - New York Public Library Image id: 1690382 |
| 2. |  | Noël Marie Paymal Lerebours 1841-1842 (publication) Pyramid of Cheops [Excursions daguerriennes : vues et monuments les plus remarquables du globe] Aquatint, based on a Daguerreotype 27 x 39 cm NYPL - New York Public Library Image id: 1690379 Additional Name(s): Lerebours, N.-P. (Noël Paymal), 1807-1873 - Photographer |
| 3. |  | Joseph-Philibert Girault de Prangey 1841 (probably) Self-portrait of Joseph-Philibert Girault de Prangey Daguerreotype 4 3/4 x 3 3/4 ins (12 x 9.5 cm) Christie's - New York Christies - NY (Sale: 2396, Lot: 2 - Oct 7, 2010 - A Historic Photographic Grand Tour: Important Daguerreotypes by Joseph-Philibert Girault de Prangey) Compare: Mauron, Brandt, Dutoit and Henguely, Miroirs d'Argent, Musée Gruérien, Editions Slatkine, 2008, p.35, for a variant in the collection of the BibliothÞque nationale de France. (Alan Griffiths, 12 March 2022, addition based on email newsletter from Serge Plantureux) Several close variant daguerrian self-portraits of the same pose exist, one at Bibliothèque Nationale. "Girault de Prangey was introduced to the daguerreotype in 1841, probably in Paris. The first daguerreotypes he made and printed on plates that year were indeed views of Parisian monuments: Notre-Dame cathedral, Tuileries, Saint-Jacques tower, and the fountain of the Château d'eau. Unfortunately, due to a lack of documents, we do not know from whom he took lessons; we can at least assume that Hippolyte Bayard, a friend of Jules Ziegler, could have been his initiator…" (Sylvie Aubenas, La redécouverte d'un précurseur) |
| 4. |  | Joseph-Philibert Girault de Prangey 1842 Athènes, Parthénon. Fac[ade] et C[olonnade] Nord Daguerreotype Christie's - London Christies (Sale 6762: Lot 11 - 20 May 2003, 6:30 pm - Important Daguerreotypes By Joseph-Philibert Girault de Prangey - From the Archive of the Artist) |
| 5. |  | Joseph-Philibert Girault de Prangey 1842 Athènes, T[emple] de J[upiter] Olympien pris de L'Est Daguerreotype Christie's - London Christies (Sale 6762: Lot 13 - 20 May 2003, 6:30 pm - Important Daguerreotypes By Joseph-Philibert Girault de Prangey - From the Archive of the Artist) |
| 6. |  | Joseph-Philibert Girault de Prangey 1842 Arrangement of Sculpture and Other Archaeological Remains, the Acropolis, Athens Daguerreotype, 1/2 plate J. Paul Getty Museum © J. Paul Getty Trust [2003.82.3] |
| 7. |  | Joseph-Philibert Girault de Prangey 1844 196. Jérusalem. Porta aurea. Daguerreotype 4 3/4 x 7 1/2 ins (12 x 19 cm) Christie's - New York Christies - NY (Sale: 2396, Lot: 68 - Oct 7, 2010 - A Historic Photographic Grand Tour: Important Daguerreotypes by Joseph-Philibert Girault de Prangey) Titled, dated and numbered in ink on a label (affixed to verso). The Golden Gate is the oldest of the gates in Jerusalem's Old City walls. It has great religious significance: it is said that Jesus passed through this gate on Palm Sunday, and in Jewish tradition it is through this gate that the Messiah will enter Jerusalem. The gate is thought to have been sealed from as early as 11th century during Arab occupation of the city, to prevent the entry of the Messiah. |
| 8. |  | Pierre-Ambroise Richebourg 1840 (ca) Rome: Le Temple d'Hercule ou de Vesta Daguerreotype 12 x 16 cm Musée d'Orsay Sur plaque estampée en creux sur le bord droit ""Daguerréotype Richebourg a Paris, Quai de l'Horloge 69"", poinçon 30 millièmes. C. 1844." |
| 9. |  | Pierre-Ambroise Richebourg 1840 (ca) Rome: Le Forum romain avec Temple de Saturne Daguerreotype 12 x 16 cm Interencheres - La Gallerie de Chartes Exceptionnel ensemble de 9 daguerréotypes Romes, vers 1840 (Galerie de Chartres, Auction, 23 October 2011, Lot: 4) Sur plaque estampée en creux sur le bord droit ""Daguerréotype Richebourg a Paris, Quai de l'Horloge 69"", poinçon 30 millièmes. C. 1844." |
| 10. |  | Pierre-Ambroise Richebourg 1840 (ca) Rome: L'Arc de Constantin et le Colisée Daguerreotype 12 x 16 cm Interencheres - La Gallerie de Chartes Exceptionnel ensemble de 9 daguerréotypes Romes, vers 1840 (Galerie de Chartres, Auction, 23 October 2011, Lot: 5) Avec femme a l'ombrelle au pied, sur plaque estampée en creux sur le bord droit ""Daguerréotype Richebourg a Paris, Quai de l'Horl oge 69"", poinçon 30 millièmes. C. 1844. N.B : avec le bout du Colisée sur la gauche car non redressé." |
| 11. |  | Adolph Schaefer 1844-1845 [Relief.; Borobudur, eerste gaanderij, westzijde] [ Indonesia; Java; Magelang] Daguerreotype 7,1 x 6,5 cm Universiteit Leiden, Prentenkabinet PK-F-60.875 |
| 12. |  | Adolph Schaefer 1844-1845 [Staand beeld.; Balinese Hanuman] [Indonesia; Java; Jakarta] Daguerreotype 9.3 x 6.6 cm Universiteit Leiden, Prentenkabinet PK-F-60.862 H.J. Moeshart, Adolph Schaefer and Borobudur, in Toward Independence, A Century of Indonesia Photographed, (San Francisco 1991) p. 26 |
| 13. |  | Calvert Richard Jones 1846 House of Sallust, Vesuvius behind, Pompeii Salt print 16 x 21 cm (approx) National Science and Media Museum |
| 14. |  | Jean-Baptiste-Louis Gros 1850, May-June View of the East Facade of the Propylaea on the Acropolis, Athens Daguerreotype 14.9 x 20 cm (5 7/8 x 7 7/8 ins) CCA: Canadian Centre for Architecture This Daguerreotype was included in "The Dawn of Photography: French Daguerreotypes, 1839-1855" exhibition at the Metropolitan Museum. |
| 15. |  | Choiselat & Ratel 1846 (ca) Les Arènes de Nîmes Daguerreotype 14.8 x 20.7 cm Musée d'Orsay (C) RMN (Musée d'Orsay) / Hervé Lewandowski, Europeana Identifier: RMNDO000000278788 ; PHO1985-78 |
| 16. |  | James Robertson 1855 (ca) A ruined temple, Greece [The Propylaea of the Acropolis, Athens] Albumen print 23.7 x 25.9 cm National Science and Media Museum |
| 17. |  | Unidentified photographer / artist 1848 Title page for "Incidents of Travel in Yucatan, Vol.II" by John L. Stephens (New York: Harper & Brothers, 1848) Title page Google Books |
| 18. |  | Unidentified photographer / artist 1848 Chunjuju Book illustration Google Books John L. Stephens Incidents of Travel in Yucatan, Vol.II (New York: Harper & Brothers, 1848) |
| 19. |  | Unidentified photographer / artist 1848 Izamal, Gigantic Head Book illustration Google Books John L. Stephens Incidents of Travel in Yucatan, Vol.II (New York: Harper & Brothers, 1848) |
| 20. |  | Unidentified photographer / artist 1843, May Review of "Incidents of Travel in Yucatan, Vol.II" by John L. Stephens, (New York: Harper & Brothers, 1848) Magazine page Google Books The Ladies' Repository, and Gatherings of the West (Cincinnati), Volume 3, May, 1843, p.160. Incidents of Travel In Yucatan. By John L. Stephens, author of "Incidents of Travel in Egypt, Arabia Petra, and the Holy Land," "Incidents of Travel in Central America, Chiapas, and Yucatan," etc. Illustrated by 120 Engravings. Two vols., 8vo. New York: Harper & Brothers. 1843. We are indebted to the publishers at New York for a copy of this work. Its form is much like that of the ''Incidents of Travel in Central America." The author, with Mr. Catherwood, proceeded to his second examination of the ruina of Yucatan well prepared lo explore, examine, and prepare full and accurate reports of American antiquities. In accordance with this preparation, Mr. Stephens visited forty-four ruined cities; some of them were almost unknown to the citizens of the capital, and had probably never been visited by the white inhabitants. The engravings in these volumes are the finest of their kind. They are from Daguerreotype views, and of course are accurate, and must render all the aid that could possibly be derived from pictorial representations of the objects described. They add inconceivably to the interest, as well as to the value of the work. Probably no traveler of modern times excels Mr. Stephens in accuracy of observation, or in the felicity of his descriptions. His journals have all the interest of the most exciting novels. He can clothe the most common incidents of a journey in a garb which renders them romantically, humorously, or instructively entertaining. Those who have read his former ''Incidents of Travel," in the east and in the west, will need no recommendation of this new work. On sale at the Cincinnati Book Concern. |
| 21. |  | Captain Charles Wilson 1863 Title page for "Ordnance Survey of Jerusalem" by Captain Charles Wilson R.E. Title page Source requested Corporal H. Phillips R.E. took the photographs during the survey of Palestine. First hand account is in: "The Survey of Palestine" by Lieutenant S. Anderson, R.E. p.438-471, in "The Recovery of Jerusalem" by Capt. Wilson, R.E. Capt. Warren, R.E. &c. (London: Richard Bentley, 1871) The Ordnance Survey of Jerusalem having been successfully accomplished by Captain Wilson, R.E., and a party of the Royal Engineers in the season of 1864-65, the Palestine Exploration Fund determined upon sending out an expedition to make such a general survey of the country as would enable the Society to fix on particular spots for further investigation. Captain Wilson was appointed to take charge of the party, and he was accompanied by myself and a photographer, Corporal Phillips, of the Royal Engineers. The party left England on the 8th of November, 1865, and arrived at Beyrout on the 22nd of the same month; there, with the assistance of Mr. Eldridge, the Consul-Greneral, the requisite number of muleteers and mules were engaged, as well as a dragoman or interpreter, who provided tents and complete camp equipment. |
| 22. |  | Unidentified photographer / artist 1876 Palestine Exploration Fund Book page Google Books Karl Baedeker (firm) Palestine and Syria. Handbook for Travellers (Leipsic: Karl Baedeker, 1876), p.125-126. Lastly we must mention the valuable services rendered to science by the society of the 'Palestine Exploration Fund', whose labours have extended over nearly ten years, but which unfortunately has not received pecuniary support commensurate with the importance of its objects. (Subscriptions are received by the Secretary, Walter Besant, Esq., 9 Pall Mall East, London.) The object of the society is the 'accurate and systematic exploration of the topography, geology, natural history, and ethnology of the Holy Land, particularly with a view to the interpretation of the Bible'. The society publishes ' Quarterly Statements', sent gratis to every subscriber, the substance of which down to the end of 1872 is comprised in two very interesting works. The larger of these is the 'Recovery of Jerusalem' by Major Wilson and Capt. Warren, edited by W. Morrison (London, 1871), and the smaller, which is to a great extent abridged from the other, 'Our Work in Palestine' (London, 1873). The Society first sent out Major Wilson, R.E., and Captain Anderson, R.E., to report on the best method of proceeding. These officers made a reconnaissance in Galilee and along the watershed to Nabulus; they took a great number of photographs and discovered several of the Galilean synagogues. The Fund next turned its attention to the archaeology of Jerusalem. In 1867 Capt. Warren, R.E., was sent out. His work was continued till 1870, and consisted mainly in making excavations. He, however, also made reconnaissances in Philistia, the Jordan Valley, and Moab. The results of the Jerusalem work are extremely valuable to scholars, especially in fixing the character and dimensions of the great Temple platform and the original rock surface of the Temple hill. In 1871 the Society sent out Professor Palmer, accompanied by Mi. Tyrwhitt Drake. These gentlemen made an adventurous journey through the Negeb and an expedition into Moab. In 1872 the most important undertaking of the Fund was started, being the topographical survey of Western Palestine to the scale of 1-inch to the mile. The party was commanded by Captain Stewart, R.E., and included Mr. Tyrwhitt Drake. Captain Stewart fell ill at the commencement of the work and was succeeded by Lieut. Conder, R.E., who is still in command. At the present date the survey of the whole country from Beersheba to Safed in Galilee, 4600 sq. miles in area, is complete, while 1400 sq. miles remain to be surveyed in upper Galilee. Mr. Tyrwhitt Drake died at his work from fever in June 1874. On 11th July, 1875, the survey party was attacked by a fanatical armed mob at Safed. Lieut. Conder was wounded, as well as Lieut. Kitchener, R.E., the second in command, and nearly every other member of the party. In consequence of this attack, and of the spread of cholera, the party was withdrawn for the winter. It is hoped that the survey will be completed in 1876, and published about a year later. This work will probably prove the most important yet done in Palestine. The Biblical discoveries have been numerous and important; the number of sites explored and names collected is six or seven times greater than that on any published map; careful observations of natural history, geology, architecture, etc., have been made, and large scale plans of important towns, ruins, or buildings, have been drawn. Between 30 and 40 new churches have been found in various parts of Palestine, and some 200 of the rock-cut tombs have been planned. The map will be published in ten large sheets, each accompanied by a memoir with plans and lists of names in English and Arabic. An endeavour will be made to give a description of every ruined site in the whole country from Dan to Beersheba. Numerous photographs have also been taken by the party, which are now being published. In 1874 the Fund also sent out M. Clermont-Ganneau to Jerusalem. His work was principally epigraphic, and his most valuable discovery was that of a fine Hebrew inscription defining the limits of the city of Gezer, which he had already identified from independent considerations. |
| 23. |  | H. Phillips 1873, October Palestine Exploration Fund Photographs Book advert Google Books Advert was published in List of Books Published by Edward Stanford - October, 1873, p.18. PALESTINE EXPLORATION FUND PHOTOGRAPHS. PHOTOGRAPHIC VIEWS of PALESTINE, taken expressly for the Palestine Exploration Fund in 1865, 1866, 1867. By Sergeant H. Phillips, R.E, under the orders of Captain Wilson, B.E, and Lieutenant Warren, R.E. This beautiful series of Original Photographs now comprises 356 most interesting Views of the Cities, Villages, Temples, Synagogues, Churches, Ruins, Tombs, Seas, Lakes, Priests, Pilgrims, Inhabitants, &c, of the Holy Land and Jerusalem. Any Photograph may be had separately. Mounted on a white board, size 13 inches by 11, price 1s. 6d. each; or, a Selection" of 14 Photographs, in cloth portfolio, lettered, 21s. A List of the Views gratis on application, or per post for penny stamp. Descriptive Catalogue, 6d. |
| 24. |  | C.F. Tyrwhitt-Drake 1871 (published) Gateway of Tower at Sebaita Book illustration, based on a photograph Google Books E.H. Palmer, M.A. The Desert of Exodus: Journeys on foot in the wilderness of the Forty Years' Wanderings, undertaken in connexion with the Ordnance Survey of Sinai and the Palestine Exploration Fund (Cambridge: Deighton, Bell & Co., 1871), inserted before p.374. E.H. Palmer explored the desert and C.F. Tyrwhitt-Drake was commissioned by Cambridge University to record the natural history and collect specimens of its plants and fauna. |
| 25. |  | George Skene Keith 1859 Title page for Alexander Keith "Evidence of the Truth of the Christian Religion derived from the Literal Fulfilment of Prophecy", Thirty-seventh edition (London, T. Nelson and Sons, 1859) Title page Google Books In this book Dr. George Skene Keith took Daguerreotypes of locations and archaeological sites to provide visual evidence for his father Alexander Keith's writings. Preface to the Thirty-Sixth Edition In searching for facts alone, in illustration of prophecies, it has uniformly been the Author's endeavour to adduce the most unexceptionable and conclusive evidence; and hence unbelievers, condemned out of their own mouths, have in general been the leading witnesses. As soon as photography began to take its place among the wonderful arts or inventions of the present day, he anticipated a mode of demonstration that could neither be questioned nor surpassed; as, without the need of any testimony, or the aid of either pen or pencil, the rays of the sun would thus depict what the prophets saw. With this intent, on his first visit to the East, he took with him some calotype paper, &c., the mode of preparing which was then secret; but on reaching Syria it was wholly useless. Then engaged in another object, he passed within an hour of Ashkelon and another of Tyre, without seeing either. A second visit to Syria, accompanied by one of his sons, Dr G. S. Keith, Edinburgh, by whom the daguerreotype views were taken, enables him now to adduce such proof; and has led besides to such an enlargement of the evidence from manifold additional facts, as he fain hopes may impart that lesson to others with which his own mind has been impressed, a still deeper conviction of the defined precision of the sure word of prophecy. |
| 26. |  | George Skene Keith 1859 Roman Temple at Gerasa Engraving, from a Daguerreotype Google Books Alexander Keith Evidence of the Truth of the Christian Religion derived from the Literal Fulfilment of Prophecy, Thirty-seventh edition (London, T. Nelson and Sons, 1859) between p.130-131. The ancient city of Gerasa is the modern city of Jerash in the north of Jordan. |
| 27. |  | George Skene Keith 1859 Petra Engraving, from a Daguerreotype Google Books Alexander Keith Evidence of the Truth of the Christian Religion derived from the Literal Fulfilment of Prophecy, Thirty-seventh edition (London, T. Nelson and Sons, 1859) between p.330-331. |
| 28. |  | Francis Frith 1857 View of Girgeh, Upper Egypt Albumen print British Library |
| 29. |  | Francis Frith 1857 Sinaitic Inscriptions in the Wadee El-Mukattab [Cairo, Sinai, Jerusalem, and The Pyramids of Egypt] Albumen print Private collection of Jan Weijers (Servatius) Francis Frith took other photographs at the same location. We are seeking further information on whether the person viewing the inscription is Francis Frith. The inscriptions were rediscovered by explorer Robert Clayton in 1753. The modern name for this location is Wadi el Mukattab. |
| 30. |  | J. McCartney 1858, June Raising the colossal lion at Cnidus Salted paper print British Library Copyright © The British Library Board, Add. MS 31980 f.196 The colossal lion statue shown here is in the British Museum and the archaeologist Charles Thomas Newton poses by the head of the lion. |
| 31. |  | Unidentified photographer 1873 (on or after) Sophia Schliemann wearing "Priam's Treasure" Albumen print, original Creative Commons - Wikipedia In 1873 amateur archaeologist Heinrich Schliemann excavated a rich treasure from Troy. He called this "Priam's Treasure" although it is now considered to be from a period a thousand years before the Trojan Wars. Schliemann's wife Sophia modelled the jewelry. |
| 32. |  | Unidentified photographer / artist 1859, 27 April Two workmen in the gravel pit near the Seminary of St Acheul, 27 April 1859. The standing workman is pointing to the in situ flint Albumen print Bibliothèques d'Amiens Métropole This is the first use of photography to support claims for prehistoric evidence and captures the moment that human antiquity was established. On 27 April 1859 Joseph Prestwich and John Evans recovered a flint implement that lay 17 feet below the ground surface in context with the bones of extinct animals such as the mammoth and the woolly rhino in the quarries at St Acheul. They were accompanied by three representatives of the Société des Antiquaries de Picardie (Pinsard, Dufour and Garnier) to witness its discovery, and for a photographer to record the moment. The significance of the find was enormous and was presented to the Royal Society on May 26th 1859. This discovery had been demonstrated by Jacques Boucher de Perthes earlier but little trust was given to his theories but with Prestwich and Evans the evidence was accepted and it proved that man had existed in geological time. Clive Gamble & Robert Kruszynski, 2009, "John Evans, Joseph Prestwich and the stone that shattered the time barrier", Antiquity vol. 83, pp. 461-75 John Evans, Joseph Prestwich and the stone that shattered the time barrier This photograph was published as Fig.2 on p.467. This discovery also featured as a BBC Radio 3 Essay on Strange Encounters. The result was broadcast in April 2007 in the UK. Clive Gamble, August 2008, "Breaking the time barrier" Geoscientist Online, vol. 18.8 Breaking the time barrier |
| 33. |  | Désiré Charnay 1863 Title page for Désiré Charnay "Cités et ruines Américaines: Mitla, Palenqué, Izamal, Chichen-Itza, Uxmal" (Paris: Gide, Editeur, A. Morel et Cie., 1863) [Cités et Ruines Americaines] Title page Google Books For a more recent work that places the research of Désiré Charnay in context see R. Tripp Evans Romancing the Maya: Mexican antiquity in the American Imagination, 1820-1915 (University of Texas Press, 2004). |
| 34. |  | Désiré Charnay 1862-1863 Pierre de la Croix, à Palenque. [Cités et Ruines Americaines. Atlas] Albumen print, tipped in NYPL - New York Public Library Image ID: 111406 Désiré Charnay Cités et ruines Américaines. Mitla, Palenqué, Izamal, Chichen-Itza, Uxmal. Recueillies et photographiees par D. Charnay. Avec un texte par [E.E.] Viollet-le-Duc, suivi du voyage et des documents de l'auteur. With atlas. (Paris: Gide, 1862-1863) |
| 35. |  | Désiré Charnay 1862-1863 La Prison, A Chichen-Itza. [Cités et Ruines Americaines. Atlas] Albumen print, tipped in NYPL - New York Public Library Image ID: 111416 Désiré Charnay Cités et ruines Américaines. Mitla, Palenqué, Izamal, Chichen-Itza, Uxmal. Recueillies et photographiees par D. Charnay. Avec un texte par [E.E.] Viollet-le-Duc, suivi du voyage et des documents de l'auteur. With atlas. (Paris: Gide, 1862-1863) |
| 36. |  | Désiré Charnay 1860 The Great Palace at Mitla, interior of the Court Albumen print British Library |
| 37. |  | Charles Piazzi Smyth 1870 Title page for "A Poor Man's Photography at the Great Pyramid in the year 1865" Title page Google Books |
| 38. |  | James McDonald 1864 West entrance to the Church of the Holy Sepulchre, Jerusalem Albumen print British Library |
| 39. |  | Henry James 1867 Stonehenge. Trilithons (B and C) from the south-west Albumen print British Library Shelfmark: 10351.i.2, Item number: Plate 6 |
| 40. |  | George Washington Wilson n.d. Stonehenge Carte de visite Stereographica - Antique Photographica Courtesy of Bryan and Page Ginns (Sept 25, 2010, / 164) |
| 41. |  | George Washington Wilson n.d. Stonehenge Carte de visite Stereographica - Antique Photographica Courtesy of Bryan and Page Ginns (Sept 25, 2010, / 164) |
| 42. |  | Unidentified photographer 1925-1927 Stonehenge Gelatin silver print, snapshot 13 x 8 cm Private collection of John Toohey Inscription on the reverse reads "Stonehenge". This photograph was included on the blog "One Man's Treasure" of John Toohey (4 May 2010) http://junkshopsnapshots.blogspot.com/2010/05/figures-in-landscape.html This photograph comes from a series described by John Toohey: Between 1925 and 1927 a group of people, two men, a woman and the photographer, went on a grand tour, from England to Venice and Switzerland, to Jerusalem and Canada. Of course it may not have been one trip but several yet it appears they travelled together. We don't know any more about them except that they were middle aged, possibly retired, and dressed better than modern tourists. |
| 43. |  | Carlo Baldassare Simelli 1868 Anfore e reperti marmorei rinvenuti durante gli scavi del 1868 Albumen print Source requested Please supply original source and any inventory numbers. Accessed 30 December 2010 http://www.imagoromae.com/Testo_IT.ashx No source provided. |
| 44. |  | Unidentified photographer 1870s Excavations at Pompeii Albumen print Jeffrey Kraus Antique Photographics |
| 45. |  | Frank Good 1875 (ca) [Excavations, Assouan] Albumen print 160 x 210 mm (6.25 x 8.25 in) Bernard J. Shapero Rare Books Courtesy of Bernard J Shapero Rare Books |
| 46. |  | Oscar Montelius 1874 Man standing in a cist grave at UtbogÕrden. (It could be from about 3500 BC). Albumen print Swedish National Heritage Board Photo from the excavations in 1874 by Oscar Montelius (head of the National Heritage Board in 1907-1913). |
| 47. |  | Timothy H. O'Sullivan 1874 Ruins in Ancient Pueblo of San Juan, Colorado Albumen silver print 20.1 x 27.5 cm National Gallery of Canada / Musée des beaux-arts du Canada Purchased 1974, no. 32368 This photograph is available through CyberMuse - cybermuse.gallery.ca (Accessed: August 2010). |
| 48. |  | H.B. King 1853, 7 July Seth Eastman at Dighton Rock Daguerreotype, 1/2 plate J. Paul Getty Museum Object number: 84.XT.182 |
| 49. |  | Unidentified photographer / artist 1856 Dighton Rock Google Books Published in "Ethnological Researches, Respecting The Red Man of America - Information Respecting the Human Condition and Prospects of the Indian Tribes of the United States", Bureau of Indian Affairs (1856), Part IV, by Henry R. Schoolcraft, p.120 Having visited the locality of the Dighton Rock, and examined the inscription, in 1847, its true character, as an example of the ideographic system of the Indians, was clearly revealed to my mind. I had no hesitation in adopting an interpretation of it made in 1837 by an Algonquin pictographist, called Chingwauk, in which he determined it to be the memorial of an ancient Indian battle. The details of this are given in Part I., p. 114. It was perceived that no exact representation of it had ever been made, and no new attempt to make one was then attempted, being without proper apparatus; certain discrepancies were pointed out in Part I., Plate 36, of this work. These, after a lapse of six years, are indicated in a daguerreotyped view of the inscription, taken during the summer of the present season (1853). By this process of transferring the original inscription from the rock, it is shown to be a uniform piece of Indian pictography. A professed daguerreotypist from Taunton attended the artist (Capt. E.) on this occasion. On the uniform dark surface of the rock, no incidence of light could be obtained, after the most careful cleansing of the surface, sufficient in power to reflect the lines of the inscription. These lines are deeply sunk, as if by rubbing with a hard substance; and appear, when carefully studied, of nearly uniform breadth. As the solar rays are, however, reflected with great perfectness from a white surface, the lines were traced with chalk, with great care and labor, preserving their original width. On applying the instrument to the surface, the impression herewith presented (Plate 14) was given. It presents a unity of original drawing, corresponding to the Indian system, which cannot fail to strike the observer. It is entirely Indian, and is executed in the symbolic character which the Algonquins call Kekeewin, i. e., teachings. The fancied resemblances to old forms of the Roman letters or figures, which appear on the Copenhagen copies, wholly disappear. The only apparent exception to this remark, is the upright rhomboidal figure, resembling some forms of the ancient 0, but which appears to be an accidental resemblance. No trace appears, or could be found by the several searches, of the assumed Runic letter Thor, which holds a place on former copies. Rock inscriptions of a similar character have, within a few years, been found in other parts of the country; which denotes the prevalence of this system among the aboriginal tribes, from the Atlantic to the Mississippi. It is more peculiarly an Algonquin trait, and the inscriptions are called by them Muzzinabiks, or rock-teachings; while the elements of the system itself are called, as above stated, Kekeewin and Kekeenowin. Nor does this discovery militate against the general body of Scandinavian testimony respecting the Ante-Columbian discoveries in America. That testimony remains undisputed, even in more southerly latitudes of the United States. These comprise the notices of the Scandinavian monuments of the United States, so far as they have been recognized. |
| 50. |  | 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). |
| 51. |  | Unidentified photographer / artist 1878 Photograph vendors of Cairo Book page Google Books Karl Baedeker (firm) Egypt. Handbook for Travellers. Part First: Lower Egypt, with the Fayum and the Peninsula of Sinai (Leipsic: Karl Baedeker, 1878), p.234-235. Photographs. Schoefft, Abbasiyeh Street (Place Faghalla), with a good background for groups: also a fine collection of groups of natives, and a few desert scenes, some of which are very striking (various prices ; a collection of 25, of small size, is sold for 25 fr.). Helios, Rue du Tribunal, with a handsome studio; Calamidia, Kosetti Garden: Bechart, in the Ezbekiyeh Garden, and others. Among the numerous photographs of Egyptian landscapes and temples the best are those by Sebah of Constantinople, which may be purchased at his depot, adjoining the French consulate in the Ezbekiyeh, or at Kauffmann's. Hr. E. Brugsch, the keeper of the Bulak Museum (p. 293), has caused a number of the objects in the museum to be photographed. This collection, which costs 25 fr., maybe purchased at the museum, or at Kauffmann's, but is not sold by the photographers. |
| 52. |  | Unidentified photographer / artist 1885 Booksellers and photograph vendors of Cairo Book page Google Books Karl Baedeker (firm) Egypt. handbook for travellers. Part First: Lower Egypt, with the Fayum and the Peninsula of Sinai (Leipsic: Karl Baedeker, 1885), p.234-235. Booksellers. Kauffmann, in the Muski, an old-established firm. Penason, Barbier, both in the Ezbekiyeh. Photographs (see below) are also sold at Kauffmanni's. Writing and drawing materials are sold by Kauffmann, Penasson, and Zollikofer, the last in the Muski. Visiting cards may be ordered at Zollikofer's and at Boehm-Anderer's, in the Ezbekiveh. Photographs. Schoefft, Abbasiyeh Street (Place Faghalla), with a good background for groups; also a fine collection of groups of natives, and a few desert scenes, some of which are very striking (various prices; a collection of 25, of small size, is sold for 25 fr.). Stromeyer & Heymann in the Kantaret ed Dikke (PI. B, 5), with a charming garden and well-equipped studio. Laroche & Co., in the Ezbekiyeh Garden. Among the numerous photographs of Egyptian landscapes and temples the best are those by Sebah of Constantinople, which may be purchased at his depot, adjoining the French consulate in the Ezbekiyeh, or at Kauffmann's. Hr. E. Brugsch, the keeper of the Bulak Museum (p.295 ), has caused a number of the objects in the museum to be photographed. This collection, which costs 25 fr. (small size 15 fr.), may be purchased at the museum, or at Kauffmann's but is not sold by the photographers. |
| 53. |  | P. Bergheim 1876 P. Bergheim of Jerusalem Book page Google Books Karl Baedeker (firm) Palestine and Syria. Handbook for Travellers (Leipsic: Karl Baedeker, 1876), p.145 Books, Photographs. Shapira, Christian Street. is the best shop; then Bergheim, in the same street. Photographs of every part of Palestine, medium size 18 fr. per dozen. They should be bought unmounted, and rolled on a round piece of wood to facilitate transport. |
| 54. |  | Tancrède Dumas 1876 Dumas of Beirut Book page Google Books Karl Baedeker (firm) Palestine and Syria. Handbook for Travellers (Leipsic: Karl Baedeker, 1876), p.439. Photographers. Dumas, in the street leading from the two principal hotels into the town. The photographs, generally good and cheap, should be bought of the photographers themselves, and not from the dealers who offer them at the hotels. Unmounted photographs should be rolled on a piece of wood, or packed in a tin box which may be bought at the bazaar for a few piastres. |
| 55. |  | Tancrède Dumas 1875 The camp of the American Palestine Exploration Society [American Palestine Exploration Society] Albumen print 28 x 36 cm Harvard Fine Arts Library Special Collections, AKP185 Arc 495.10 The American Palestine Exploration Society was founded in New York in 1870 as a privately funded society for archaeological and geographic exploration of the Holy Land. A forerunner of the American Schools of Oriental Research, the organization conducted its second expedition to the Holy Land in 1875 and hired French photographer TancrÞde Dumas, who owned a studio in Beirut, to accompany the expedition. |
| 56. |  | Tancrède Dumas 1875 Southern Theatre, Jerash [American Palestine Exploration Society] Albumen print 28 x 36 cm Harvard Fine Arts Library Special Collections, AKP185 Arc 495.10 The American Palestine Exploration Society was founded in New York in 1870 as a privately funded society for archaeological and geographic exploration of the Holy Land. A forerunner of the American Schools of Oriental Research, the organization conducted its second expedition to the Holy Land in 1875 and hired French photographer TancrÞde Dumas, who owned a studio in Beirut, to accompany the expedition. |
| 57. |  | Augustus Le Plongeon 1873 Title page for Augustus Le Plongeon "Manuel de Fotografia" (New York: Scovill Manufacturing Co., 1873) Title page Google Books |
| 58. |  | Augustus Le Plongeon 1877 The size and appearance of the statue, "half as large again as the natural size," is here distinctly pictured, together with Dr. Le Plongeon standing in the rear of his discovery. The head-dress, trappings and sandals are clearly defined. Magazine plate Google Books Stephen Salisbury, Jr. "Dr. Le Plongeon in Yucatan", p.70-119 in Proceedings of the American Antiquarian Society at the Semi-Annual Meeting, held in Boston, April 25, 1877, Volume 28, p.74. [This was also privately printed as a separate volume The Mayas, The Sources of their History: Dr. Le Plongeon in Yucatan (Worcester, 1877) - the full text is available in the public domain at: www.gutenberg.org/files/29723/29723-h/29723-h.htm] |
| 59. |  | Augustus Le Plongeon 1877 Decorated Building at Chichen-Itza, Yucatan Magazine plate Google Books Stephen Salisbury, Jr. "Dr. Le Plongeon in Yucatan", p.70-119 in Proceedings of the American Antiquarian Society at the Semi-Annual Meeting, held in Boston, April 25, 1877, Volume 28, p.74. [This was also privately printed as a separate volume The Mayas, The Sources of their History: Dr. Le Plongeon in Yucatan (Worcester, 1877) - the full text is available in the public domain at: www.gutenberg.org/files/29723/29723-h/29723-h.htm] DESCRIPTION OF PLATE. 1 Represents the building at the southern extremity of the eastern wall of the so-called Gymnasium described by Stephens Travels in Yucatan, vol. II., page 308. It is supposed by Dr. Le Plongeon to have been a monument to the chieftain Chac-Mool. 2. This picture shows the upper portion of the same edifice, in which were found " the mural paintings, bas-reliefs and other signs," which gave a clue to the discovery of the statue. 3. Shows probably the locality where the statue was excavated. The same sculptured slabs that appear in picture 8 in the foreground on the right, are seen resting against a mound, in their supposed original position, and serve to indicate the identity of the localities. In the rear of the slabs is probably the heap of stones forming the pedestal for the stone figure of a tiger spoken of in the " Mexican Memorial." 4. This is probably another view in the Immediate neighborhood. Among the scattered debris is the sculptured head of a serpent, with open jaws. 5 Represents the sculptured slabs, which are seen also in pictures 3, 6 and 8. They are of unequal width, but the length and thickness was probably the same in each. 6. Another view of the sculptured slabs. The first shows a bird of prey; this is apparently a tiger. Both of them hold in their grasp objects of a similar character. Note. Several of these pictures are described in the Mexican Memorial, but are there differently numbered. |
| 60. |  | Augustus Le Plongeon 1877 The statue has now been drawn to the upper part of the inclined plane. The ropes of habin bark are attached to the figure. Near the sculptured slabs at the right, already shown in 3, 5 and 6, Mrs. Le Plongeon appears seated. Magazine plate Google Books Stephen Salisbury, Jr. "Dr. Le Plongeon in Yucatan", p.70-119 in Proceedings of the American Antiquarian Society at the Semi-Annual Meeting, held in Boston, April 25, 1877, Volume 28, p.74. [This was also privately printed as a separate volume The Mayas, The Sources of their History: Dr. Le Plongeon in Yucatan (Worcester, 1877) - the full text is available in the public domain at: www.gutenberg.org/files/29723/29723-h/29723-h.htm] |
| 61. |  | Alice D. Le Plongeon 1875 (ca) Augustus Le Plongeon (with beard) and Chac Mol [sic] statue Cabinet card 10 x 15.6 cm (image) 10.7 x 17.7 cm (mount) Getty Research Institute Accession/ID Number: gri_mexico_96_r_137_469 |
| 62. |  | Augustus Le Plongeon 1875 [Casa Colorada] Cabinet card 10 x 15.6 cm (image) 10.7 x 17.7 cm (mount) Getty Research Institute Accession/ID Number: gri_mexico_96_r_137_447 View of the west facade of the Casa Colorada, Chichén Itzá. |
| 63. |  | C.F. Lindberg 1872 Research assistant and archaeologist Hans Hildebrand, (head of the National Heritage Board in 1879-1907) sitting beside the Rök Stone (Íg 136). Glass plate negative Swedish National Heritage Board The rune stone - covered with nearly 750 runes - was raised in the 9th century AD by Varin in memory of his dead son Võmod. The Rök Stone is also one of several Historical Sites in trust of the Swedish National Heritage Board. |
| 64. |  | Auguste Salzmann 1862, 2 June (Ordered) Antiquities from Camirus, in the Island of Rhodes Book page Google Books The Finance Accounts I.-VII. of The United Kingdom of Great Britain and Ireland, for the Financial Year 1861-1862 (House of Commons) in the section on "Accounts, Estimates, &c. of the British Museum", p.16-17. |
| 65. |  | Matthew W. Rowe (Carlow) 1862 Sepulchral fictile Vessel, found at Ballybit, in the county of Carlow Engraving Google Books Journal of the Kilkenny and South-East of Ireland Archaeological Society, Volume IV, Part I, New Series, 1862 p.12-13. Mr. R. Malcomeon, Carlow, sent a well-executed photograph of an ancient fictile vessel, found at Ballybit, Lisnevagh, county Carlow; it was accompanied by the following communication, addressed to the Rev. James Graves: "I send you a photographic representation of an ancient fictile vessel, recently discovered on the lands of Ballybit, in the barony of Rathvilly, in this county, part of the estate of Colonel Kane Bunbury, of Moyle. The photograph was taken by Mr. Matthew W. Rowe, of this town (Carlow). I also send a cutting from the 'Carlow Sentinel' newspaper, of the 23rd of November, 1861, containing an accurate description of the discovery, from the pen of the late talented editor and proprietor of that journal, Thomas H. Carroll, Esq. (an esteemed Member of the Society), to which a melancholy interest is attached, as being probably the very last emanation of his pen; for, before the number of the journal which contained the brief sketch of the urn went to press, the writer had been suddenly taken away by an attack of apoplexy. There is a peculiarity about the ornamentation of this vessel, which it may be well to remark. In the accompanying plate, engraved from a photograph, a kind of criss-cross scoring is shown: the other side of the antique is ornamented in a more regular and careful manner, by a series of chevron markings, of which the ends appear overlapping at each side of our engraving. Finding that he had not space for another set of chevrons, the potter, with his sharp stick, rudely crossed in the marks we have engraved. This example serves to show the danger of ascribing fictile vessels of a rude character to an earlier period than those more regularly ornamented, as here we have an example of both kinds of ornaments on the same vessel. The height of the original is 5 inches; greatest circumference, 16 inches; circumference at mouth, 13 1/2 inches; at base, 7 inches; weight, 23 3/4 ounces. As intimated in the notice, the vessel has been presented by Mr. Lynch to Colonel Bunbury, by whom it is greatly prized; and by whom, no doubt, it will be carefully preserved for the information of those curious in such matters. The following is Mr. Carroll's account of the discovery: " 'On Tuesday last, while Thomas Eddy (known in this county as "the Cornish Miner") was engaged by Mr. Joseph F. Lynch, builder, cleaving stones at Ballybit, on the estate of Colonel Bunbury, he discovered, under a granite boulder, weighing nearly two tons, a cinerary urn, in a state of perfect preservation, about four feet from the surface. It resembles, in shape, the frustum of a cone, accurate in its proportions. It stands on a flat stern or base, two inches in width, presenting the appearance of an elegantly formed bowl, with three projecting ribs upon the extreme surface. It is covered with curvilinear and vertical scorings, displaying, as a whole, a curious and elaborate specimen of ancient pottery older, if not contemporaneous with the earliest discovered remains of Etruscan Art. It has no flange, like those discovered in 1853 at Ballon Hill, engravings of which may be seen on reference to [the "Transactions" of] the Kilkenny Archaeological Society [vol. ii. P. 200, first series]. It stands six inches in height; its circumference at the top is fifteen inches; but we have no evidence to show, when discovered, that its contents indicated the result of a process of cremation, although, when the interior was examined with a microscope, it appears that some fine ashes were encrusted on the bottom of the urn. It was formed of the best brick clay, moulded by the hand, and then properly baked; and it is now as sound and fresh in its appearance (without a flaw) as it was when it left the hands of the ancient Celtic potter possibly two thousand years ago. It is intended by Mr. Lynch to present it to the landlord, Colonel Bunbury. In the neighbourhood of Ballybit, and on the same estate, may be seen a cromlech, of hexagonal form, rudely carved at the top. It was noticed, together with the cromlech at Browne's Hill, some sixty years since, by the celebrated Captain Grose, in the Antiquities, and is worthy of a visit. We cannot avoid stating, that the students of primaeval antiquity should be thankful to such men as Eddy for the careful preservation of such ancient remains of Celtic Art, as they tend to throw a light on the domestic history of the ancient inhabitants of Ireland. ' " |
| 66. |  | John Thomson 1866 The Bayon Temple, Angkor Thom Albumen print British Library |
| 67. |  | John Thomson 1867 1148, One of the Towers of the Temple at Ongcor Thom. From a photograph by Mr. J. Thomson Book illustration, woodcut Google Books James Furgusson A History of Architecture in all Countries, from the Earliest Times to the Present Day, in three volumes (London: John Murray, 1867), Vol.II, Bk.VI, Ch.II, p.727. The same illustration is shown in John Thomson The Straits of Malacca, Indo-China, and China; or Ten Years' Travels, Adventures and Residence Abroad (London: Sampson Low, Marston, Low & Searle, 1875), p.151 and here it is entitled "Sculptured tower in Nakhon Thom, The ancient capital of Cambodia.". See also p.140 which concerns Thompson supplying photographs to Prof. Ferguson. |
| 68. |  | Samuel Bourne 1860s Tomb of Shums-ood-Deen Altamsh, part builder of the Kotab Mosque, died 1236 [Delhi] Albumen print British Library This photograph appears to be the basis for the illustration "Tomb in Old Delhi" included in F. Marion Crawford, "The Mohammadans in India," 'Harpers New Monthly Magazine' 71,422 (July 1885), pp. 165-180. This image appears on p. 167. |
| 69. |  | Samuel Bourne 1885 Tomb in Old Delhi Magazine illustration Cornell University Library Published in F. Marion Crawford, "The Mohammadans in India," Harpers New Monthly Magazine 71,422 (July 1885), pp. 165-180. This image appears on p. 167. This appears to be based on a Samuel Bourne "Tomb of Shums-ood-Deen Altamsh, part builder of the Kotab Mosque, died 1236 [Delhi]", (1860s) Albumen print. There is a copy of the original print in the British Library collection. |
| 70. |  | Maxime Du Camp 1850 Kalabscheh. Ptolémée Caesarion [Egypte, Nubie, Palestine et Syrie, pl. 91] Papier salé d'après négatif papier 23 x 16.5 cm Bibliothèque Nationale de France, Département des Estampes et de la Photographie Ancienne collection Prisse d'Avesnes |
| 71. |  | John Beasly Greene 1854 Le Sphinx de Gizeh [Le Nil, pl. 1] Papier salé d'après négatif papier 23.5 x 30 cm Bibliothèque Nationale de France, Département des Estampes et de la Photographie Acquisition 1943 |
| 72. |  | Francis Frith 1857 Rock-Tombs, and Pyramid Albumen print 6 1/16 x 9 in Lee Gallery Image courtesy of the Lee Gallery (www.leegallery.com) |
| 73. |  | Calvert Richard Jones 1846 Colosseum, Rome Calotype 187 x 225 mm Det Nationale Fotomuseum (National Museum of Photography) Danish National Museum of Photography (acc. nr. 1967-337/10) |
| 74. |  | Gioacchino Altobelli 1860 (ca) 1075 Roma. Portico di Ottaviano Albumen print 26.7 x 36.7 cm Private collection of Marco C. Antonetto |
| 75. |  | Robert Macpherson 1860 (ca) Rome, Panorama of the Forum Albumen print 23.1 x 40.8 cm Private collection of Marco C. Antonetto Blind stamp. |
| 76. |  | Eugene Piot 1852 Parthenon, Acropolis Blanquart-Evrard salted paper print from a calotype (paper) negative 9x13 1/2 in (22.8x34.2 cm) Swann Galleries - New York Courtesy of Swann Galleries (Auction, May 15, 2008, #2146, Lot 242) |
| 77. |  | William J. Stillman 1868 Portico of the Pandrosium, Athens Carbon print 7 3/8 x 9 1/4 ins Archive Farms |
| 78. |  | Émile Béchard 1875 (ca) Ascension de la grande pyramide (no 143) Papier albuminé d'après négatif sur verre au collodion 42 x 29 cm Bibliothèque Nationale de France, Département des Estampes et de la Photographie |
| 79. |  | Félix Bonfils 1870s Temple de Chafra. Sphinx & Pyramide de Khéops / Temple of Chaffra, Sphynx and Pyramid of Cheops / Pyramid Des Cheops, Sphinx und Tempel des Cafra (Detail) [Vues de Tout l'Orient par Bonfils Phot. A Alais (Gard) - AlaisTyp. Lith. A. Brugueirolle & Cie] Albumen print 38.8 cm x 28.6 cm (15 1/4 x 11 1/4 in) on 62.5 cm x 48,5 cm (25 x 18 3/4 in) mount Private collection of Thomas Weynants |
| 80. |  | Félix Bonfils 1870s Temple de Chafra. Sphinx & Pyramide de Khéops / Temple of Chaffra, Sphynx and Pyramid of Cheops / Pyramid Des Cheops, Sphinx und Tempel des Cafra (Back) [Vues de Tout l'Orient par Bonfils Phot. A Alais (Gard) - AlaisTyp. Lith. A. Brugueirolle & Cie] Albumen print 38.8 cm x 28.6 cm (15 1/4 x 11 1/4 in) on 62.5 cm x 48,5 cm (25 x 18 3/4 in) mount Private collection of Thomas Weynants |
| 81. |  | J. Burki 1878 Piles of the Lake Dwelling of Möringen (Bronze Age) Copied by permission of J. Bürki Esq. of Bern from a Photograph Book plate, from a photograph Google Books Dr. Ferdinand Keller The Lake Dwellings of Switzerland and Other Parts of Europe, Second Edition, Translated and arranged by John Edward Lee, in Two Volumes (London, Longmans, Green, and Co., 1878) Volume II - Plates, with explanations, Frontispiece |
| 82. |  | Unidentified photographer / artist 1878 Niederwyl Book plate, from a photograph Google Books Dr. Ferdinand Keller The Lake Dwellings of Switzerland and Other Parts of Europe, Second Edition, Translated and arranged by John Edward Lee, in Two Volumes (London, Longmans, Green, and Co., 1878) Volume II - Plates, with explanations, Pl.XVII, Niederwyl. The same illustration was included in the first edition (1866) of the same volume. |
| 83. |  | Francis Frith 1850-1870s (ca) 629 Athens Temple of Victory Albumen print, from wet collodion glass negative 6.5 x 8 in (image, approx) Victoria and Albert Museum Museum Number: E.208:167-1994, Acquired from F. Frith and Company, 1954 |
| 84. |  | Joseph-Philibert Girault de Prangey 1843-1844 164. Louksor. Bas rel[ief] (Palais de…) Daguerreotype 7 1/2 x 4 3/4 ins (19 x 12 cm) Christie's - New York Christies - NY (Sale: 2396, Lot: 53 - Oct 7, 2010 - A Historic Photographic Grand Tour: Important Daguerreotypes by Joseph-Philibert Girault de Prangey) Titled, dated and numbered in ink on a label (affixed to verso). This bas-relief shows the intricate shallow carvings that cover the outer walls of the Temple complex at Thebes, depicting subjects that include the pharaoh, Ramesses, seen here, and scenes of battle. |
| 85. |  | Jean-Baptiste-Louis Gros 1850 Athènes, Parthénon, détail de la frise des Panathénées, côté nord Daguerreotype 11 x 14.5 cm Musée d'Orsay (C) RMN (Musée d'Orsay) - Hervé Lewandowski, Europeana Identifier: RMNDO000000278785 ; PHO1985-77 |
| 86. |  | Hippolyte Arnoux n.d. No.2075 Karnak bas-relief du Temple Touthmes III Albumen print 10 1/2 x 8 1/2 in (26 x 21 cm) J. Cosmas Vintage Photography |
| 87. |  | Francis Frith 1857 Sculptures at Dendara, Egypt Albumen print, from wet collodion negative Private collection of John Hannavy |
| 88. |  | J. Pascal Sebah n.d. Hieroglyphics, Temple of Selit (Abidos), Araba al-Madfuna, Egypt Albumen print 21 x 15.5 cm The Courtauld Institute of Art Copyright: © Courtauld Institute of Art , Conway Collections |
| 89. |  | G. Lékégian 1880s (ca) Edfou Albumen print Private collection of Peter Spangenberg |
| 90. |  | John Thomson 1866 Nakhon thom [Angkor Wat], Cambodia Glass plate Wellcome Collection Wellcome Library, London (L0055697) |
| 91. |  | William Henry Cornish 1892 Statue of Mahadeva as Kala in the courtyard of the Yameshvara Temple, Bhubaneshwar Photographic print British Library Courtesy of the British Library, Image number: 10003321, Shelfmark: Photo 1003/(321) Photograph of a statue in the courtyard of the Yameshvara Temple from the Archaeological Survey of India Collections, taken by William Henry Cornish in 1892. The Yameshvara Temple was built in the late 13th Century and consists of a sanctuary and a mandapa richly carved. Inside the courtyard in which the temple stands there are remains of other temple towers that date back to the 7th Century. This is a close view of sculpture slab, measuring about 5 inches in height according to the measuring pole placed beside it. The sculpture represents Kala, the god of Death, one of the names of Shiva. |
| 92. |  | James Anderson n.d. Mosaic, Santa Croce in Gerusalemme, Rome, Lazio, Italy Albumen print 25.2 x 20.2 cm The Courtauld Institute of Art Copyright: © Courtauld Institute of Art , Conway Collections |
| 93. |  | Alinari n.d. Mosaic, National Museum, Rome, Italy Albumen print 24.7 x 19 cm The Courtauld Institute of Art Copyright: © Courtauld Institute of Art , Conway Collections |
| 94. |  | Unidentified photographer / artist 1874 Title page of John Edward Lee "Roman Imperial Photographs being a selection of forty enlarged Photographs of Roman Coins" (London: Longmans, Green, and Co., 1874) Title page Google Books PREFACE The Origin of this little publication may be told in few words. A series of about one hundred and fifty profiles of Roman Emperors, Empresses, and Caesars is now in progress, drawn in lithograph from medallions and coins, but considerably enlarged. It will probably be published shortly after the appearance of this volume. During the progress of the work, Photographs were taken of some of the coins, with a view of lessening the labour of drawing for lithography : this, however, was not found to answer, and the plan was abandoned. But, as the Photographs were very characteristic, the figures or profiles being enlarged three or four times, and as this style of illustration always carries with it the impress of truth, it was thought advisable (although the imperfections in the coins must necessarily be magnified in the same proportion) to bring together in this volume a selection of forty photographs from coins of different periods, not only to show the actual likenesses, which are of considerable interest, but also to indicate the state of Art at the time the coins were minted. Short memoranda, chiefly taken from Mionnet, have been added respecting each of the individuals. A note has also been made as to the metal from which the coins were struck, and the actual inscription around the profile has also been given. As this mode of illustration must necessarily be expensive, and probably there will be but few purchasers, the number of copies printed has been limited to one hundred. |
| 95. |  | Unidentified photographer / artist 1874 XXXIII Trajanus Decius. Plate, tipped in Google Books John Edward Lee Roman Imperial Photographs being a selection of forty enlarged Photographs of Roman Coins (London: Longmans, Green, and Co., 1874), plate XXXIII. TRAJANUS DECIUS. i ?. IMP. C. M. Q. TRAJANVS DECIVS AVG. Caius Messius Quintus Trajanus Decius was born at Bubalia, in Pannonia, A.D. 201. He was sent by Philip to suppress the revolt of Marinus, in M£sia and Pannonia, but was himself proclaimed Emperor by the Legions of these provinces, and kept on the throne by the death of Philip A.D. 249. He lost his life in a marsh, after an unfortunate battle with the Goths near Abricium, in Thrace, A.D. 251. |
| 96. |  | Linnaeus Tripe 1857 Ancient pottery, Madras Exhibition Albumen print National Science and Media Museum The Royal Photographic Society, Ref Number: 2003-5001/2/20326 |
| 97. |  | Auguste Salzmann 1854 Jérusalem : enceinte du temple. Détail de l'appareil de la piscine probatique Papier salé d'après négatif papier 22.5 x 32 cm Bibliothèque Nationale de France, Département des Estampes et de la Photographie Don de l'auteur 1859 |
| 98. |  | John Beasly Greene 1856 Detail of the Tomb of the Christian Woman, Algeria Salted paper print 21.9 x 22.2 cm National Gallery of Canada / Musée des beaux-arts du Canada Gift of Ward C. Pitfield, Toronto, 1981, no. 19018 |
| 99. |  | Félix Teynard 1852 Assouan. Cimetithre arabe. Inscriptions funéraires Tirage sur papier salé d'après négatif sur papier ciré 24 x 31 cm Bibliothèque Nationale de France, Département des Estampes et de la Photographie Estampes et Photographie. Réserve Ub 203 folio, tome 2. Don de l'auteur en juin 1865 |
| 100. |  | Jacques Moulin 1856 Pierres tumulaires et inscriptions trouvées à Cherchell Tirage sur papier albuminé d'après négatif sur verre au collodion 19 x 25.5 cm Bibliothèque Nationale de France, Département des Estampes et de la Photographie Estampes et Photographie. Réserve Oz 110 folio, tome 2. Provient de la bibliothÞque du chÔteau de Fontainebleau |
| 101. |  | Louis Auguste Bisson 1841-1842 Ancient Burial Place of Téa-Kaou (Panga´-Motou), Mangareva, Gambier Islands, Polynesia Daguerreotype 16.2 x 12.1 cm (6 3/8 x 4 3/4 ins) Musée de l'Homme This Daguerreotype was included in "The Dawn of Photography: French Daguerreotypes, 1839-1855" exhibition at the Metropolitan Museum. |
| 102. |  | Thomas Rodger Jr. 1859 (ca) Bronze Age Pottery Urns found at Law Park, St Andrews, 1859. Photographic print St. Andrews University Library, Special Collections / The Photographic Collection Record: ALB-10-57 Pots displayed on marble topped table. Decoration consists of triangles, some with hatched infill. The pots are filled with fragments of calcined bone [from cremations]; cattle teeth are propped up before the pots. The two pieces of metal in the picture, by the card, are bronze blades that were found amongst the bones in the pots. Fleming, D H (1907) 'Notice of the recent discovery of a cist, with fragments of urns and a jet necklace, at Law Park, near St Andrews: with a note of the discovery, near the same place, of a cremation cemetery of the Bronze Age, with many cinerary urns, in 1859', Proc Soc Antiq Scot, vol.41, p.401-14 The urns were discovered near Law Park when a field was ploughed. Mr Charles Howie made a thorough investigation and discovered twenty urns. |
| 103. |  | Roger Fenton 1854 (ca) Cuneiform Clay Tablet Albumen print National Science and Media Museum Photographs Collection, Ref number: 1937-4093 |
| 104. |  | Unidentified photographer 1865 (ca) [The Calf-Bearer and the Kritios Boy Shortly After Exhumation on the Acropolis] Albumen silver print, from glass negative 27.1 x 21.8 cm (10 11/16 x 8 9/16 ins ) Metropolitan Museum of Art Gilman Collection, Gift of The Howard Gilman Foundation, 2005, Accession Number: 2005.100.56 |
| 105. |  | S. Bettoney 1880 (or later) Roman Antiquities found by Mr. J. Robinson and others in 1880 Carte de visite Paul Frecker A printed paper label neatly glued to the back of one of the cartes informs the reader that these are:
ROMAN ANTIQUITIES The pieces of the Urn - thirty-two in number- have been skilfully affixed by MR. WILLIAM BERRY GRAHAM, who has thus restored the Urn to the original form which the Potter gave it some 1,500 years ago." Photographed by S. Bettoney of Crosby Street, Maryport [Cumbria]. |
| 106. |  | Louis Vignes 1864 Arak-el-Emir Papier albuminé d'après négatif sur verre au collodion 19 x 25 cm Bibliothèque Nationale de France, Département des Estampes et de la Photographie Acquisition 1997 |
| 107. |  | Jean-Gabriel Eynard 1850 (ca) Still Life of Greek Vases and three Paintings Daguerreotype, 1/2 plate 3 3/8 x 4 9/16 in J. Paul Getty Museum The J. Paul Getty Trust (84.XT.255.55) |
| 108. |  | Roger Fenton 1856 (ca) Julius Caesar Albumen print National Science and Media Museum The Royal Photographic Society, Ref number: 2003-5001/2/20120 |
| 109. |  | Roger Fenton 1856 (ca) Diogenes Albumen print National Science and Media Museum The Royal Photographic Society, Ref number: 2003-5001/2/20121 |
| 110. |  | Roger Fenton 1854 Untitled [A group of statuary in the British Museum] Stereocard, albumen prints Archive Farms |
| 111. |  | Roger Fenton 1856 (ca) Interior of the British Museum Albumen print National Science and Media Museum The Royal Photographic Society, Ref number: 2003-5001/2/20122 |
| 112. |  | Stephen Thompson 1872, December Photographs from the British Museum Magazine page Google Books The Journal of the British Archaeological Association, December 1872, p.408. During the past year the first set of a most valuable series of photographs of various objects of antiquity in the British Museum has been published by W. A. Mansell and Co., of 2, Percy Street, Rathbone Place, W. It consists of upwards of a thousand plates, each 12 inches by 10 inches, representing about five thousand examples, and is arranged as follows : Part I. Prehistoric and ethnographical series. Plates 1-157. Part II. Egyptian series. Plates 200-317. Part III. Assyrian series. Plates 350-595. Part IV. Grecian series. Plates 600-785. Part V. Etruscan and Roman series. Plates 860-896. Part VI. Antiquities of Britain and foreign mediaeval art. Plates 901-946. Part VII. Seals of corporations, sovereigns, etc. Plates 951-1041. The photographs, which have been taken by permission of the Trustees, are executed by Mr. Stephen Thompson by the advice and under the superintendence of gentlemen attached to the various departments to which the objects represented may be severally referred; and a descriptive catalogue of them has been arranged (approximately chronologically), with an introduction, by Mr. Charles Harrison. Each photograph is sold separately at two shillings, uumounted ; and the subjects are intended to "supply evidence of man's advancement from the lowest stage of his history to the latest epoch." |
| 113. |  | Giorgio Sommer n.d. 1119 Napoli Museo Nazionale Albumen print 7.8 x 10.1 in (198 mm x 257 mm) Paul Frecker Identified on a strip below the image (not shown in scan). The strip also gives the number and title of the image, 1119, Napoli Museo Nazionale. A pencilled inscription in a period hand on the back of the print reads Olearii [Oil jars]. |
| 114. |  | Giorgio Sommer n.d. 10802 Museo di Pompei Albumen print Private collection of Manuel Magalhaes |
| 115. |  | Giorgio Sommer n.d. 5368 Impronte umane (Pompei) Albumen print Private collection of Manuel Magalhaes |
| 116. |  | Unidentified photographer 1923, 2 June Undoing the work of Vesuvius eighteen centuries ago: Pompeii as it is to-day - From the Air Magazine illustration, rearranged The Courtauld Institute of Art Copyright: Illustrated London News Ltd. All rights reserved, Gale Document Number: HN3100254007 "Undoing the Work of Vesuvius Eighteen Centuries Ago: Pompeii as It is To-Day From the Air." Illustrated London News (London, England), Saturday, June 02, 1923; pg. 960-961; Issue [4389]. [Two images have been merged, colour-corrected and the explanatory key removed.] |
| 117. |  | Délié & Béchard 1872 Book cover for Auguste Mariette "Album du Musée de Boulaq: Comprenant quarante planches photographiées par MM. Délié et Béchard avec un texte explicatif" (Le Caire: Mourths & Cie, Imprimeurs-Editeurs, 1872) [Album du Musée Boulaq] Book cover Travellers in the Middle East Archive (TIMEA), Rice University |
| 118. |  | Délié & Béchard 1871-1872 Planche 4 - Panthéon [Album du Musée Boulaq] Carbon print 7.5 x 9.75 in (19 x 25 cm) Christopher Wahren Fine Photographs Initial European archeological activity in Egypt was largely a land-grab in which westerners armed with licenses from the Egyptian government carried off whatever discoveries they could lay their hands on. Items not dispersed in this way were often given away by Egypt's rulers to foreign dignitaries. This process finally met with change in the form of the quasi-expatriate Frenchman Auguste Mariette, who in the 1850s became director of the Antiquities Service for the Egyptian government and founded the Musée Boulaq as a locus for retaining the material produced by his numerous digs throughout Egypt, later to evolve into the Cairo Museum. In 1871-2 this burgeoning collection was documented by the photographers Hippolyte Délié and Emile Béchard in a series of photographs, published with an overview by Mariette as the Album du Musée Boulaq. These inspired prints, largely taken in the crisp direct light of the Egyptian sun, are among the first photographs ever taken of their recently-unearthed objects. [Courtesy of Christopher Wahren] |
| 119. |  | Unidentified photographer / artist n.d. Greek Art Melainotype Larry Gottheim, Be-hold, Inc Courtesy of Larry Gottheim - Be-Hold (49 / 20) The tintype was patented in 1856 by Peter Neff, who had been assigned the patent by the inventor Hamilton L. Smith. They called the iron plates "melainotypes" and these original plates were sold stamped with the Neff patent on the edge. This series is an important example. These early plates are heavier than the more common later tintypes, and are true 1/6 plate size, instead of the CDV size that became more common, and that allowed them to be placed in albums alongside CDV's, rather than having to be placed in cases. Like the ambrotype, these early iron plates aspired and sometimes achieved a conscious artistic status, as opposed to the more mundane and attractively lively character of the later tintypes. Smith and Neff (who had earlier been associated with Yale) were on the faculty of Kenyon College in Ohio, and this important series of photographs of Greek art objects has an academic character. It seems to be a recording of a collection of objects in some museum or other institution, and associates this new process with highest level of art. These 10 plates are all undamaged; tones vary slightly. |
| 120. |  | Unidentified photographer / artist n.d. Greek Art Melainotype Larry Gottheim, Be-hold, Inc Courtesy of Larry Gottheim - Be-Hold (49 / 20) |
| 121. |  | Unidentified photographer / artist n.d. Greek Art Melainotype Larry Gottheim, Be-hold, Inc Courtesy of Larry Gottheim - Be-Hold (49 / 20) |
| 122. |  | Unidentified photographer / artist n.d. Greek Art Melainotype Larry Gottheim, Be-hold, Inc Courtesy of Larry Gottheim - Be-Hold (49 / 20) |
| 123. |  | Unidentified photographer / artist n.d. Greek Art Melainotype Larry Gottheim, Be-hold, Inc Courtesy of Larry Gottheim - Be-Hold (49 / 20) |
| 124. |  | Unidentified photographer / artist 1868, 24 April J. Henderson "Photography as an aid to the study of Archaeology" Magazine page Google Books J. Henderson "Photography as an aid to the study of Archaeology", The Illustrated Photographer, April 24th, 1868, p.139-141. Photography as an aid to the study of Archaeology. By J. Henderson. Archaeology has been defined as the "science of teaching history by its monuments, that is, by every monument of man which the ravages of time have spared." "By the study of the past we advance the interest of the present, and know how to make use of it for the benefit of the future." This being the case, the reproduction, by means of photography, of objects of antiquity, is one among the numerous applications of our art, which is now receiving, as it deserves, no small share of attention. A great deal may be urged in favour of the readiness with which copies of various objects may be made by hand, of their cheapness, durability, and the ease with which they may be multiplied; but against these may be set the absolute truthfulness which is inseparable from a photograph when taken under proper conditions ; the facility with which they also may be reproduced; the great advantage resulting from a stereoscopic combination of views ; lastly, with regard to permanence, the carbon and allied processes, and greater care in the production of silver prints, point at least in this direction, while the simplicity of our own collodio-bromide process commends itself for yielding excellent glass transparencies, which, when encased in Canada balsam, would seem to defy the ordinary wear and tear of time. My attention was first drawn to the subject of my paper by reading a letter in the Times, in January last, wherein Mr. C. J. Stevens stated that he had been enabled to form certain conclusions from photographs of flint implements from gravel-pits at Malton, in reference to which a vexed question was raised. In a letter to me from the Blackmore Museum, Salisbury, that gentleman says: "I had a flint hatchet photographed yesterday, but for such objects photography is not very useful, as the yellows come out too dark." For matters of detail, photography is admirably adapted, or for mere form. Our museum is set apart for prehistoric archaeology and for weapons, and so on, in use by modern savages, as illustrating the collections; and photographs of rare forms of clubs, spears, ornaments, tools, weapons, &c, are useful and valuable to us. We also collect photographs of the Aborigines of various countries, and for this nothing is equal to photography, because artistic license is impossible. For dolmens, and other megalithic structures, photograph)" is a magnificent agent, likewise for sculptured stones of the early period. Of course I do not now allude to any application of the art, as available for other than purposes of archaeology. Our country archaeological societies employ photography largely in their work, and the Hampshire society also. Some photographs of the Roman city of Silchester were taken during a recent visit of that society to the spot. Many important historical monuments are in inaccessible positions, which the artist has to visit hurriedly, filling up subsequently the details of his imperfect sketches. This photography does effectually on the spot. Many objects of antiquarian interest are fragmentary, and from a mere portion the probable outline of the whole has to be deduced. Others, such as cinerary urns, bones, and implements, and also Roman frescoes, when exposed after ages of interment, rapidly crumble in our atmosphere, and are lost for ever. A sketch is often attempted by a rude draughtsman, where a photograph would render valuable aid. The character, date, and evident use of objects, as in the foregoing instances, are frequently determined by the situation and other circumstances under which they are formed, and there our art is of great use. I have, on a former occasion, referred to "Architectural Photography;" and now, in relation to the archaeological part of the subject I may add, that although the architect will learn more by making a careful sketch of an old building, yet you will very seldom find two sketches of the same subject which agree perfectly, while the time and skill necessary to copy the endless intricacies of detail, say in a gothic building, would be better spent in taking a few photographs of the same. Photographs show the difference in the courses of masonry, which often determine relative dates. They also show the juncture of work of different periods and later insertions, and in connection with this subject I may urge the desirability of photographing churches, &c, before and after restoration. As illustrating and adding force to what I have said, I may remind you of what has been done by our own Government, by public and other bodies, and by individuals who have employed photography for the purposes 1 have named. By command of her Majesty, photo zincography has been employed to reproduce in facsimile a selection of the national MSS. of England, from the Conquest to the reign of Queen Anne. Thus far 230 have been published, to which the Doomsday-book must be added. About 80 MSS. of Scotland are already in the hands of the public, and more of that country, and also Ireland, are to follow. By the same process, some municipal and other archives have likewise been copied. The Ordnance Survey of Stonehenge and of Turusachan (Isle of Lewis) is accompanied with illustrative photographs. In a communication received after the rest of my paper was written, Mr. C. J. Stevens, in speaking of the value of the Ordnance photographs of Stonehenge, refers to his remarks upon them in the Athenaeum: also to Mr. Parker's photographic illustrations of the "Antiquities of Wells;" and after enumerating photographs of Celtic and other relics (including those of the Swiss Lake-dwellings), he proceeds to say, "The stone axe from Malton, and the beds from whence it was derived, are chiefly known to archaeologists by the published photographs of them;" and concludes thus, "An artist is not necessarily an archaeologist, and he may slur over or misrepresent some trifling (to him) detail. I have a photograph of a church with the village cross, &c.; upon the latter, even the chalk scribblings of boys are shown no artist would have taken this; but in a strange country, and with all to learn about the antiquities and the people, such minuteness is invaluable." (1) The India Office has published an important work, with photographic illustrations, "The Textile Manufactures and Costumes of the People of India," and the Indian Government has recently directed the whole of the ancient buildings of India to be photographed. (2) The Ordnance Survey of Jerusalem has been the means of many valuable photographs being taken there; and the hon. secretary of the Palestine Exploration Fund also says, "We have already materials for almost an entirely complete and accurate map of the country and photographs of more than 300 spots and objects, large numbers of which have never before been taken." There are catalogues of photographs of about 10,000 objects of antiquarian interest in South Kensington Museum, not to mention the numerous photographs taken of loan and other collections, and also at the British Museum. While making a passing allusion to the use made of photography by our English and other antiquarian societies, I may mention that the Archaeological Society of Rome have proposed to photograph any antiquarian discoveries they make, and send copies to the Society of Antiquaries in London for publication. One account says, "Mr. J. H. Parker is proceeding with a collection of photographs of the ancient monuments of Rome and the Campagna, with a view to facilitate the researches of archaeological students, and demonstrate the successive styles of Roman construction during the periods of the kings, the republic, and the empire." At that date about 500 photographs had been so taken. The mysterious remains of Egypt have attracted the attention of photographers from the first. Frith was early in the field, and was followed by Bedford, who also illustrated Palestine and Greece, &c. The Vicomte de Rouge in his mission to Egypt, in 1863-4, produced 6 volumes of hand copies of inscriptions and 220 photographs. Professor Piazzi Smythe lately took 166 photographs of the Pyramids (many for the lantern) and 50 stereo views. Most of them were taken "solely with a view to procuring aids to scientific inquiry." They were produced on glass slips 3ins, by 1in., exposed while in the bath, and they include 11 views in the interior of the great Pyramids by magnesium light. He prefers stereo views taken with two cameras, and very justly urges the taking of distant objects with the cameras placed widely apart. This, I think, we might often do with advantage, using one stereo camera, first taking one half, and then moving the camera and refocussing for the second half. In this connection, 1 ought to mention the labours of Thompson among the ruins of Cambodia; Ferguson and Hope in Indian Architecture; and Svoboda at the Cave of Elephanta, likewise in Mesopotamia, and on the sitis of the seven churches of Asia. Helsby has illustrated some of the antiquities of South America; and a new work on Central America, by Squier, is, I believe, to be illustrated by 3,000 photographs; and anyone acquainted -with the elaborated monuments of that country will admit that by no other means could fair representations be given. It would be tedious to enumerate the volumes bearing on antiquities which photography has illustrated, either directly by silver, or other prints, or as furnishing a groundwork for the woodcutter. In "Sinai Photographed; or, Contemporary Records of Israel in the Wilderness," Lord Lyndhurst suggested the application of photography, "as the only way so to certify their copies of the inscriptions as to silence evil." Noel Humphrey's interesting work on the "History of the Art of Writing" is cleverly illustrated by photography. Our art science has been employed to some extent in illustration of old coins and medals, also in copying old mosaic pavements on a reduced scale. Some time since, Mr. Rejlander turned his attention to the ancient brasses for which our country is so famous, and by superimposing rubbings on sensitised paper, obtained copies the same size as the originals. I am of opinion that negatives of the rubbings, reduced to a known scale, would yield equally useful and more convenient prints. Of the numerous works of antiquarian interest, I will only mention "The Ruins of Pompeii;" but 1 may mention that at its counterpart in this country, "Uriconium," a photograph previously taken was useful in enabling 120 columns of a hypocaust to be restored utter they had been wantonly overthrown. Some of the details at Iona, and upwards of 100 photographs at Melrose, have been taken, the latter embracing everything of constructive or ornamental interest ; and it is somewhat in this spirit that 1 would urge the copying, by photographic means, wherever practicable, of such works of antiquity as remain to our own day, as well for the purpose of study as for transmission, if possible (cither in the form of negatives or prints), to posterity, to whom the originals may be partially or entirely lost. The portico of the Temple of Drudera, on the Nile, was added by Tiberius; but against this recent acquisition may be set the fact that Egyptian monuments, known to exist in the fourteenth century, are now no more. Of some treasures of antiquity, now lost, only rude representations have come down to us. For example, on the arch of Titus, at Rome, we have some of the sacred trophies from the Jewish Temple, and in this country drawings of the famed shrine of St. Thomas of Canterbury only exist on a portion of an undestroyed window, and in a partly burnt manuscript. Let me conclude in the words from the "Essays of Elia " Antiquity! thou wondrous charm, what art thou? that being nothing art everything! When thou wert, thou wert not antiquity, then thou wert nothing, but hadst a remoter antiquity, as thou callest it, to look back to with blind veneration, thou thyself being to thyself flat, jejeune, modern! What mystery lurks in this retroversion? or what half Januses are we, that cannot look forward with the same idolatry with which we for ever revert? The mighty future is as nothing, being everything; the past is everything, being nothing!" 1) I am indebted to Mr. Stevens for the permission to use his remarks, which were not intended tor publication. 2) Our illustration is from one of these photographs. It was taken from one of some forty-eight or fifty Dagobas, "covered with sculptures, and all the ornaments which these monuments possessed in the palmy days of Buddhism," as Sir James Fergusson remarks in a paper communicated to the Royal Asiatic Society in IS67. The principal figure is Buddha, seated on the great Naga snake. [Footnote notations have been modified and placed at the end of the article to improve readability.] |
| 125. |  | Martin Taylor 1913-1914 Jebel Moya site, Sudan; excavation in progress Gelatin silver print Wellcome Collection Wellcome Library, London (L0021182) |
| 126. |  | Unidentified photographer 1913-1914 (ca) The House of Boulders. Wellcome's headquarters at Jebel Moya. Built largely in order to provide employment for Sudanese who could not employed in the excavations. Gelatin silver print Wellcome Collection Wellcome Library, London (M0013041) |