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| 1. |  | Henry Fox Talbot 1844 (published) Leaf of a Plant [The Pencil of Nature, Part 2, pl. 7] Calotype Hans P. Kraus, Jr., Inc. Taken from the reproductions in Larry J. Schaaf, H. Fox Talbot's The Pencil of Nature; Anniversary Facsimile (New York: Hans P. Kraus, Jr. Inc., 1989). The originals selected for this publication were the best single examples available for each plate. Not to be reproduced without permission of H.P. Kraus, Jr. Hitherto we have presented to the reader the representations of distant objects, obtained by the use of a Camera Obscura. But the present plate represents an object of its natural size. And this is effected by quite a different and much simpler process, as follows. A leaf of a plant, or any similar object which is thin and delicate, is laid flat upon a sheet of prepared paper which is moderately sensitive. It is then covered with a glass, which is pressed down tight upon it by means of screws. This done, it is placed in the sunshine for a few minutes, until the exposed parts of the paper have turned dark brown or nearly black. It is then removed into a shady place, and when the leaf is taken up, it is found to have left its impression or picture on the paper. This image is of a pale brown tint if the leaf is semi-transparent, or it is quite white if the leaf is opaque. The leaves of plants thus represented in white upon a dark background, make very pleasing pictures, and I shall probably introduce a few specimens of them in the sequel of this work: but the present plate shews one pictured in the contrary manner, viz. dark upon a white ground: or, speaking in the language of photography, it is a positive and not a negative image of it. The change is accomplished by simply repeating the first process. For, that process, as above described, gives a white image on a darkened sheet of paper: this sheet is then taken and washed with a fixing liquid to destroy the sensibility of the paper and fix the image on it. This done, the paper is dried, and then it is laid upon a second sheet of sensitive paper, being pressed into close contact with it, and placed in the sunshine: this second process is evidently only a repetition of the first. When, finished, the second paper is found to have received an image of a contrary kind to the first; the ground being white, and the image upon it dark. H. Fox Talbot, The Pencil of Nature, (London: Longman, Brown, Green and Longmans, 1844) |
| 2. |  | Henry Fox Talbot 1835-1836 (ca) Botanical specimen Photogenic drawing negative 16.1 x 10 cm Tel Aviv Museum of Art Anonymous gift |
| 3. |  | Henry Fox Talbot 1839 Bromus Maximus, Genoa - Bromus scaberrimus [Album di disegni fotogenici - The Bertoloni Album, Leaf 8 Recto] Photogenic drawing 22.5 x 18.8 cm (8 7/8 x 7 3/8 ins), irregularly trimmed Metropolitan Museum of Art Harris Brisbane Dick Fund, 1936 (36.37.3) |
| 4. |  | Henry Fox Talbot 1839 Wrack [Album di disegni fotogenici - The Bertoloni Album, Leaf 29 Recto] Salted paper print 22 x 17.5 cm (8 11/16 x 6 7/8 in) Metropolitan Museum of Art Harris Brisbane Dick Fund, 1936 (36.37.20) |
| 5. |  | Henry Fox Talbot 1839, March Heather, Erica mutabilis Photogenic drawing Museum of the History of Science |
| 6. |  | Henry Fox Talbot 1841-1842 Wild Fennel Salted paper print 7 3/8 x 9 in (18.7 x 22.7 cm) Metropolitan Museum of Art Gilman Collection, Purchase, Mr. and Mrs. Andrew W. Saul Gift, Accession Number: 2005.100.260 This photograph was included in the exhibition "Impressed by Light: British Photographs from Paper Negatives" at the Metropolitan Museum of Art, New York (September 25, 2007-December 31, 2007) |
| 7. |  | Henry Fox Talbot 1858 (or later) [Dandelion Seeds] Photogravure (photoglyphic engraving from a copper plate) 10.5 x 7.6 cm (4 1/8 x 3 ins) (image) 12.5 x 9.4 cm (4 15/16 x 3 11/16 ins) (plate) 15.1 x 11.3 cm (5 15/16 x 4 7/16 ins) (sheet) Metropolitan Museum of Art Rogers Fund, 2004, Accession Number: 2004.111 |
| 8. |  | Henry Fox Talbot 1858 (or later) [Dandelion Seeds] (Detail) Photogravure (photoglyphic engraving from a copper plate), Detail 10.5 x 7.6 cm (4 1/8 x 3 ins) (image) 12.5 x 9.4 cm (4 15/16 x 3 11/16 ins) (plate) 15.1 x 11.3 cm (5 15/16 x 4 7/16 ins) (sheet) Metropolitan Museum of Art Rogers Fund, 2004, Accession Number: 2004.111 |
| 9. |  | Henry Fox Talbot 1841 Oak Tree in Winter Salt print 7 5/8 x 6 9/16 in J. Paul Getty Museum The J. Paul Getty Trust (84.XM.893.1) Getty curatorial note: William Henry Fox Talbot's image of a graceful and heroic oak tree, one of the first images to be fixed with a "hypo" solution, represents a pivotal development in the history of photography. In 1839 Talbot made public his process for fixing images on paper treated with silver chloride. He fixed his original images, however, with a salt that did not actually remove the silver chloride, leaving the image unstable and still sensitive to light. In 1841, the year this picture was taken, he began printing more stable images by using a fixing agent called "hypo," which thoroughly removed the silver chloride. Although the fuzziness of Talbot's first prints made his images in some ways less pleasing than the exactness of a daguerreotype, the process did allow multiple positive images to be created from a single negative. In this regard, Talbot's discoveries represent the origin of modern photography. Editorial note: British LIbrary: Talbot Photo 2 (757) - "An Oak Tree in Winter", salted paper print from a calotype negative. British LIbrary: Talbot Photo 1 (97) - "An Oak Tree in Winter", calotype negative |
| 10. |  | Joseph-Philibert Girault de Prangey 1841 261. Paris. 1841. Etude de plantes. Daguerreotype 7 1/2 x 7 1/2 ins (19 x 19 cm) Christie's - New York Christies - NY (Sale: 2396, Lot: 3 - Oct 7, 2010 - A Historic Photographic Grand Tour: Important Daguerreotypes by Joseph-Philibert Girault de Prangey) Incised on the plate 'Paris 1841 GdeP' Titled, dated and numbered in ink on a label (affixed to verso) Girault de Prangey was a passionate horticulturalist and his later photographic interests were almost entirely devoted to documenting the cultivated beautiful and exotic specimens in his greenhouses and gardens. Photographing the colour green was extremely difficult using the daguerreotype process, as it tended to appear as solid black on the plate. Here, Girault de Prangey has mastered the intricacies of the plant study and shows in stunning detail the light and shadow, the veins of the leaves and creates a radical, tightly cropped composition with subtle tonal gradations. |
| 11. |  | Joseph-Philibert Girault de Prangey 1843-1844 230. Assouan. P. Datiers. Daguerreotype 3 1/2 x 3 1/8 in (9 x 8 cm) Christie's - New York Christies - NY (Sale: 2396, Lot: 49 - 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). Aswan is a city located on the Nile, known for its natural beauty and rich flora. Small islands on the river studded with palm trees and plantations on both banks, against the desert backdrop constitute an impressive landscape, on which Girault de Prangey chose to focus in this plate. |
| 12. |  | Anna Atkins 1843-1853 (published) Title page for Anna Atkins "Photographs of British Algae: Cyanotype Impressions" [Photographs of British algae: cyanotype impressions] Cyanotype, cropped NYPL - New York Public Library Courtesy of The New York Public Library www.nypl.org, Image ID: 419632 |
| 13. |  | Anna Atkins 1843, October (Part I) Introduction to "Photographs of British algae: cyanotype impressions", Part I [Photographs of British algae: cyanotype impressions. Part I] Cyanotype NYPL - New York Public Library Courtesy of The New York Public Library www.nypl.org, Image ID: 419691 "The difficulty of making accurate drawings of objects so minute as many of the Algae and Confervae has induced me to avail myself of Sir John Herschel's beautiful process of Cyanotype, to obtain impressions of the plants themselves, which I have much pleasure in offering to my botanical friends." |
| 14. |  | Anna Atkins 1844 (ca) Study of algae Cyanotype British Library © British Library |
| 15. |  | Anna Atkins 1844 (ca) Furcellaria fastigiata [Photographs of British algae: cyanotype impressions. Part IV (Version 1)] Cyanotype NYPL - New York Public Library Courtesy of The New York Public Library www.nypl.org, Image ID: 419636 |
| 16. |  | Anna Atkins 1848, November - 1849, June Gelidium rostratum [Photographs of British algae: cyanotype impressions. Part IX] Cyanotype NYPL - New York Public Library Courtesy of The New York Public Library www.nypl.org, Image ID: 419635 |
| 17. |  | Anna Atkins 1852 (ca) Title page from "British and Foreign Flowering Plants and Ferns" Cyanotype 35 x 25 cm Victoria and Albert Museum © Victoria and Albert Museum, London (Ph.379-1981) |
| 18. |  | Anna Atkins 1852-1854 Papaver Orientale [Poppy] [Cyanotypes of British and Foreign Flowering Plants and Ferns] Cyanotype Victoria and Albert Museum Museum number: PH.381-1981 |
| 19. |  | Anna Atkins 1854 Polypodium crenatum, Norway Cyanotype 32.9 x 23.6 cm National Gallery of Canada / Musée des beaux-arts du Canada Courtesy of the National Gallery of Canada (no. 19712), Purchased 1983 |
| 20. |  | Anna Atkins 1853 Equisetum sylvaticum [collaboration between Anna Atkins and Anne Dixon] [In her book "Cyanotypes of British and Foreign Ferns" (ca. 1860)] Cyanotype 10 x 7 7/8 J. Paul Getty Museum © J. Paul Getty Trust (84.XO.227.45) |
| 21. |  | Anna Atkins 1854 (ca) Taraxacum Officinale [Dandelion] [Cyanotypes of British and Foreign Flowering Plants and Ferns] Cyanotype Victoria and Albert Museum Museum number: PH.382-1981 |
| 22. |  | John Dillwyn Llewelyn 1852 Blue Squills Albumen silver print 8 1/4 x 6 5/8 in (21 x 16.9 cm) Metropolitan Museum of Art Hans P. Kraus, Jr., New York This photograph was included in the exhibition "Impressed by Light: British Photographs from Paper Negatives" at the Metropolitan Museum of Art, New York (September 25, 2007-December 31, 2007) |
| 23. |  | John Dillwyn Llewelyn 1853 (ca) Ferns in a grotto at Penllergare [Lastrea Dilatata] Salted paper print 15.8 x 20.6 cm George Eastman Museum Extended loan from Kodak Ltd. (L74:0045:0007) |
| 24. |  | John Dillwyn Llewelyn 1853 (ca) A Bouquet of Roses Swansea Museum, Library Swansea Museum, Library (SWASM:SM1987.846.31) |
| 25. |  | Charles Hippolyte Aubry 1850 (ca) Still life of thistles (Nature morte aux cardons) Albumen print 36.5 x 27.1 cm Sotheby's - Paris Courtesy of Sotheby's Paris (Photographs, Fri, 20 Nov 09, 4:00 PM, PF9027, Lot 10) Signé Ch. Aubry et numéroté 22 dans le négatif en bas a droite. Monté sur carton et encadré. |
| 26. |  | Charles Hippolyte Aubry 1864 Berce - longue feuille Tirage sur papier albuminé d'après négatif sur verre au collodion 35 x 26 cm Bibliothèque Nationale de France, Département des Estampes et de la Photographie Estampes et Photographie. Eo 69 folio, tome 1. Dépôt légal 1864 |
| 27. |  | Charles Hippolyte Aubry 1864 Hébécline - grandes feuilles Tirage sur papier albuminé d'après négatif sur verre au collodion 37 x 27 cm Bibliothèque Nationale de France, Département des Estampes et de la Photographie Estampes et Photographie. Eo 69 folio, tome 1. Dépôt légal 1864 |
| 28. |  | Charles Hippolyte Aubry 1864 [Study of Leaves on a Background of Floral Lace] Albumen silver print, from glass negative 46.7 x 36.7 cm (18 3/8 x 14 7/16 ins) (image) 56.7 x 45.3 cm (22 5/16 x 17 13/16 ins) (mount) Metropolitan Museum of Art Gilman Paper Company Collection, Purchase, Howard Gilman Foundation Gift, 2004, Accession Number: 2004.106 |
| 29. |  | Charles Hippolyte Aubry 1860s (ca) Lillies Albumen print 14 1/4 x 10 1/2 Charles Nes Photography LLC New York - Paris |
| 30. |  | Adolphe Braun 1854 (ca) [Flower Study, Rose of Sharon] Albumen silver print, from glass negative 37.5 x 41.9 cm (14 3/4 x 16 1/2 in) Metropolitan Museum of Art Gift of Gilman Paper Company, in memory of Samuel J. Wagstaff Jr., 1987 (1987.1161) |
| 31. |  | Adolphe Braun 1854-1855 (ca) Roses Albumen print 15 1/4 x 18 5/8 Charles Nes Photography LLC New York - Paris |
| 32. |  | Adolphe Braun 1855 (ca) Still Life Albumenized salt print from wet collodion negative, rounded corners 10 11/16 x 8 15/16 Charles Isaacs Photographs, Inc |
| 33. |  | Adolphe Braun 1860 (ca) Floral Print Albumen print 7 1/4 x 9 in Lee Gallery Image courtesy of the Lee Gallery (www.leegallery.com) |
| 34. |  | Adolphe Braun 1860 (ca) Oak leaves with acorns and ferns study Albumen print 36 x 43.5 cm Dominic Winter Book Auctions Printed Books,& Maps, Vintage Photography (17 June 2009, Lot: 15) |
| 35. |  | Andreas Ritter von Ettingshausen 1840, 4 March Cross section of a clematis stem Daguerreotype, whole plate Albertina Exhibited in touring exhibition: "Brought to Light: Photography and the Invisible, 1840-1900". Exhibited: Ottawa, National Gallery of Canada : "Beauty of Another Order: Photography in Science", October 1997 - January 1998. Published in: A. Thomas, Exhibition catalogue, "Beauty of Another Order: Photography in Science", New Haven & London, 1998, p.41, no.20.; A. Auer, 'Andreas Ritter von Ettingshausen (1796-1878)', History of Photography, Vol.17, No.1, Spring 1993, p.119. |
| 36. |  | John William Draper 1856 Photomicrograph of Algae Daguerreotype National Museum of American History, Smithsonian Institution Behring Center, Division of Information Technology and Communications, Photographic History Collection, Image No. AFS 146 |
| 37. |  | Adolphe Bertsch 1857 Bois du pin sylvestre (coupe horizontale). Gross. 1600 fs. Salt print Daniella Dangoor |