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| 1. |  | Roger Fenton 1855 The artist's van [The photographic van with Sparling on the box] Salt paper print 17.5 x 16.5 cm Library of Congress, Prints and Photographs Division LC-USZC4-9240 - PH - Fenton (R.), no. 122 (A size) [P&P] |
| 2. |  | Roger Fenton 1855, 10 November Mr. Fenton's Photographic Van. - From the Crimean Exhibition Magazine illustration The Courtauld Institute of Art Copyright: Illustrated London News Ltd. All rights reserved, Gale Document Number: HN3100442890 "Mr. Fenton's Crimean Photographs." Illustrated London News (London, England), Saturday, November 10, 1855; pg. 557; Issue 769 |
| 3. |  | Roger Fenton 1855, 10 November Mr. Fenton's Photographic Van. - From the Crimean Exhibition Magazine illustration The Courtauld Institute of Art Copyright: Illustrated London News Ltd. All rights reserved, Gale Document Number: HN3100442890 "Mr. Fenton's Crimean Photographs." Illustrated London News (London, England), Saturday, November 10, 1855; pg. 557; Issue 769 |
| 4. |  | Roger Fenton 1855 William H. Russell, Esqr., the Times special correspondent Salt paper print 20 x 17 cm Library of Congress, Prints and Photographs Division LC-USZC4-9183 - PH - Fenton (R.), no. 67 (A size) [P&P] |
| 5. |  | Roger Fenton 1856, 5 April Mr. Angel, Postmaster, Crimea Salt print 23.5 x 17.25 in Charles Schwartz Ltd Courtesy of Charles Schwartz (#8133) |
| 6. |  | Roger Fenton 1855 General Sir George Brown and Staff [Incidents of Camp Life, Photographed in the Crimea during the Spring and Summer of 1855] Salt print Source requested At the battle of Alma he had a horse shot under him and he was wounded at Inkerman. Fenton (Roger) Incidents of Camp Life, Photographed in the Crimea during the Spring and Summer of 1855, mounted on the original thin card sheet with engraved title, credits and publication date. |
| 7. |  | Roger Fenton 1855 Algerian Zouaves and French officers Albumen print 5.5 x 8.2 in (142 x 207 mm) Paul Frecker This lightly albuminized print shows Algerian Zouaves and French officers during the Crimean War. A pencilled inscription in an unknown hand on the reverse of the mount reads Tirailleurs algeriens / Crimée 1855. |
| 8. |  | Roger Fenton 1855 Maréchal Pélissier Salted paper print from wet collodion on glass negative, Mounted on paper Rijksmuseum Copyright © Rijksmuseum Amsterdam (RP-F-F80055) Roger Fenton [photographer] & Thomas Agnew & Sons [publisher] & Moulin [publisher] & Williams & Co. [publisher] & P & D. Colnaghi & Co. [publisher] Portrait of Marshall Pélissier, the French commander-in-chief during the Crimean War. |
| 9. |  | Roger Fenton 1855 Lieut. Genl. Sir Harry Jones, K.C.B. Salted paper print from wet collodion on glass negative, Mounted on paper Rijksmuseum Copyright © Rijksmuseum Amsterdam (RP-F-F80057) Roger Fenton [photographer] & Thomas Agnew & Sons [publisher] & Moulin [publisher] & Williams & Co. [publisher] & P & D. Colnaghi & Co. [publisher] Portrait of Lieutenant General Sir Harry Jones, K.C.B. in the Military Camp of the British Army during the Crimean War. |
| 10. |  | Roger Fenton 1855 Cooking House of the 8th (The King's Royal Irish) Light Dragoons (Hussars) Albumen print National Army Museum Negative No. 4591, Accession No. NAM. 1964-12-151-6-36 |
| 11. |  | Roger Fenton 1856 The Sanitary Commission Salt print 7 7/16 x 6 3/16 in Lee Gallery Image courtesy of the Lee Gallery (www.leegallery.com) |
| 12. |  | Roger Fenton 1855 Harbour of Balaklava, the Cattle Pier Salt print 11 x 14 in Lee Gallery Image courtesy of the Lee Gallery (www.leegallery.com) |
| 13. |  | Roger Fenton 1855 The Old Post Office, Balaklava Salt print 8 x 10 in Lee Gallery Image courtesy of the Lee Gallery (www.leegallery.com) |
| 14. |  | Roger Fenton 1855 Railway Sheds and Workshops, Balaklava Salt print 8 x 10 in Lee Gallery Courtesy of Lee Gallery (P1413) |
| 15. |  | Roger Fenton 1855 (ca) Cottages at Balaklava Salt print 8 x 10 in Lee Gallery Courtesy of Lee Gallery (P1405) |
| 16. |  | Roger Fenton 1855 (ca) The Genoese Castle, Balaklava Salt print 14 x 11 in Lee Gallery Courtesy of Lee Gallery (Y1349) Photographer's name, title, and date printed on mount recto. |
| 17. |  | Roger Fenton 1855 (ca) Balaklava from Guards Hill Salt print 13 1/2 x 10 1/2 in Lee Gallery Courtesy of Lee Gallery (Y1350) Photographer's name, title, and date printed on mount recto. |
| 18. |  | Roger Fenton 1855 (ca) Cattle & Carts, leaving Balaklava Salt print 8 x 10 in Lee Gallery Courtesy of Lee Gallery (Y1353) Photographer's name, title, and date printed on mount recto. The title of this photograph may be incorrect. "… a study of the picture and a knowledge of the local geography suggests that these carts are pointing in the direction of Balaklava and therefore would seem to be arriving rather than leaving." (Dr. David Jones, pers. comm., 7 April 2013) |
| 19. |  | Roger Fenton 1855 Landing Place, Ordnance Wharf, Balaklava Salted paper print from wet collodion on glass negative, Mounted on paper Rijksmuseum Copyright © Rijksmuseum Amsterdam (RP-F-1995-7) Roger Fenton [photographer] & Thomas Agnew & Sons [publisher] & Moulin [publisher] & Williams & Co. [publisher] & P & D. Colnaghi & Co. [publisher] View of the landing place and ordnance wharf at Balaklava harbour during the Crimean War. |
| 20. |  | Roger Fenton 1855 Valley of the Shadow of Death Salt print 10 7/8 x 13 3/4 J. Paul Getty Museum The J. Paul Getty Trust (84.XM.504.23) This photograph has been the subject of analysis by the documentary filmmaker Errol Morris. Which Came First, the Chicken or the Egg? (Part one) (New York Times, September 25, 2007) Which Came First, the Chicken or the Egg? (Part two) (New York Times, October 4, 2007) The Getty Museum (Los Angeles) provides the following caption information: …in coming to a ravine called the valley of death, the sight passed all imagination: round shot and shell lay like a stream at the bottom of the hollow all the way down, you could not walk without treading upon them… (Roger Fenton) Fenton's most famous photograph is also one of the most well-known images of war. Across a desolate and featureless landscape, not a single figure can be found. The landscape is inhabited only by cannonballs-so plentiful that they first appear to be rocks-that stand in for the human casualties on the battlefield. The sense of emptiness and unease is heightened by the visual uncertainty created by the changing scale of the road and the sloping sides of the ravine. Borrowing from the Twenty-third Psalm of the Bible, the Valley of Death was named by British soldiers who came under constant shelling there. Fenton traveled to the dangerous ravine twice, and on his second visit he made two exposures. Fenton wrote that he had intended to move in closer at the site. But danger forced him to retreat back up the road, where he created this image. On a commissioned assignment, Fenton traveled in 1853 to the Crimean peninsula on the Black Sea, where England, France, and Turkey were fighting a war against Russia. To avoid offending Victorian sensibilities, Fenton refrained from photographing the dead and wounded. His more than three hundred images of encampments, battle sites, and portraits of all miltary ranks, became the first extensive photo-documentation of any war. When exhibited in England, Fenton's photographs of the Crimean War established his reputation. For an analysis of this photograph: Juliet Hacking (ed.), 2012, Photography: The Whole Story, (Prestel), pp. 52-53 |
| 21. |  | Roger Fenton 1855 Kadikoi from Camp of Horse Artillery Salt print 10 x 14 in Lee Gallery Courtesy of Lee Gallery (P1423) |
| 22. |  | Roger Fenton 1855 General Bousquet's Quarters Salt print 6 x 10 in Lee Gallery Courtesy of Lee Gallery (P1434) |
| 23. |  | Roger Fenton 1855 Mamelon and Malakoff from the Mortar Battery Salt print 9 x 14 in Lee Gallery Courtesy of Lee Gallery (P1438) |
| 24. |  | Roger Fenton 1855 Sebastopol from Cathcart's Hill Salt print 9 x 14 in Lee Gallery Courtesy of Lee Gallery (P1441) |
| 25. |  | Roger Fenton 1855 (ca) Officers on the Lookout at Cathcart's Hill Salt print 9 x 13 1/2 in Lee Gallery Courtesy of Lee Gallery (Y1355) Photographer's name, title, and date printed on mount recto. |
| 26. |  | Roger Fenton 1855 (ca) The French Redoubt at Inkerman Salt print 6 1/2 x 10 1/4 in Lee Gallery Courtesy of Lee Gallery (Y1357) Photographer's name, title, and date printed on mount recto. |
| 27. |  | Roger Fenton 1855 (ca) The British Head Quarters Salt print 6 1/4 x 10 1/2 in Lee Gallery Courtesy of Lee Gallery (Y1358) Photographer's name, title, and date printed on mount recto. |
| 28. |  | Roger Fenton 1855 (ca) Mortar Batteries in front of Picquet House, Light Division Salt print 9 x 13 3/4 in Lee Gallery Courtesy of Lee Gallery (Y1354) Photographer's name, title, and date printed on mount recto. |
| 29. |  | Roger Fenton 1855 (ca) A quiet day in the Mortar Battery Salt print 9 1/2 x 13 1/2 in Lee Gallery Courtesy of Lee Gallery (Y1361) Photographer's name, title, and date printed on mount recto. |
| 30. |  | James Robertson 1855 (ca) View of Sebastopol from Studies of the Crimean War Salt print Charles Schwartz Ltd Courtesy of Charles Schwartz |
| 31. |  | James Robertson 1855 (ca) View of Sebastopol from Studies of the Crimean War Salt print 9 x 11.75 in (229 x 298 mm) Charles Schwartz Ltd Courtesy of Charles Schwartz |
| 32. |  | Jean Charles Langlois & Léon Méhédin 1855-1856 View of a damaged building in Sebastopol during the Crimean War Albumen print, from waxed paper negative, Mounted on paper Rijksmuseum Copyright © Rijksmuseum Amsterdam (RP-F-1995-14) |
| 33. |  | James Robertson 1855 Port de Balaklava pendant la guerre de Crimée (View of Balaklava Harbour during the Crimean War) [Title incorrect: View of Kamiesch] Salted paper print from wet collodion on glass negative, Mounted on paper Rijksmuseum Copyright © Rijksmuseum Amsterdam (RP-F-F00108) This print has the handwritten French caption "Port de Balaklava pendant la guerre de Crimée" on the mount which is incorrect. The view is not of Balaklava, which is surrounded by steep hills, but of the French-controlled port of Kamiesch to the west of Sevastopol. [pers. email, David Jones to Alan Griffiths, 4 April 2013] |
| 34. |  | James Robertson 1855, September (ca) Balaklava [Crimean War] Photographic print University of Nottingham Manuscripts and Special Collections, Newcastle (Clumber), Reference number: 2006-12/06-3114m Image cleaned and adjusted. |
| 35. |  | James Robertson 1855 Part of the French attack Sevastopol Salted paper print from wet collodion on glass negative, Mounted on paper Rijksmuseum Copyright © Rijksmuseum Amsterdam (RP-F-F00642) Different sources give this print the title "Interior of the Mamelon Vert". The Mamelon Vert, near Sebastopol, was captured by the French army on 7th June 1855 during the Crimean War. On the 8th September the French took the Malakhov bastion and presumably this photograph was taken around this time. |
| 36. |  | James Robertson 1855 Balaklava Harbour Albumen print National Army Museum Negative No. 71293, Accession No. NAM. 1968-10-73 |
| 37. |  | James Robertson 1855 The Vorontsov Ravine: 'The Valley of Death' Albumen print National Army Museum Negative No. 4448, Accession No. NAM. 1972-03-3-12 |
| 38. |  | James Robertson 1855 Interior of the Redan, Sevastopol Albumen print National Army Museum Negative No. 4450, Accession No. NAM. 1980-11-27-8 |
| 39. |  | James Robertson 1856 Photographic Establishment, Pera, Constantinople, under the Immediate Superintendence of James Robertson Advert Google Books Murray's Handbook Advertiser, 1856, p.30. bound with A Handbook for Travellers on the Continent: Being a Guide to Holland, Belgium, Prussia, Northern Germany, and the Rhine from Holland to Switzerland, Eleventh Edition (London: John Murray, 1856) PHOTOGRAPHIC ESTABLISHMENT, PERA, CONSTANTINOPLE, UNDER THE IMMEDIATE SUPERINTENDENCE OF JAMES ROBERTSON, CHIEF ENGRAVER TO THE IMPERIAL OTTOMAN MINT. VIEWS OF SEBASTOPOL, BALACLAVA, AND KAMIESCH. CHARACTERISTIC GROUPS OF THE OFFICERS AND MEN. Taken during the Siege. VIEWS AND PUBLIC BUILDINGS OF CONSTANTINOPLE. GROUPS AND ORIENTAL COSTUMES. Coloured from the Life. ANTIQUITIES OF ATHENS. This Establishment is situated in the main Street of Pera, and is open every Day (Sundays excepted) from Nine till Dusk. |
| 40. |  | Felice Beato 1855 General view of Sevastopol Albumen print CCA: Canadian Centre for Architecture PH1980:0932 |
| 41. |  | Jean-Charles Langlois 1855 The Malakoff Tower Albumen salted paper print, from paper negative, retouched 33.8 x 32 cm Musée d'Orsay © photo RMN, Hervé Lewandowski, Gift of the Texbraun Gallery, 1982, PHO 1982 30 |
| 42. |  | Jean-Charles Langlois & Léon-Eugène Méhédin 1855, 13 November (after) Canrobert Redoubt Albumen silver print 26.1 x 36.1 cm National Gallery of Canada / Musée des beaux-arts du Canada Purchased 1994, no. 37460 This photograph is available through CyberMuse - cybermuse.gallery.ca (Accessed: August 2010). |
| 43. |  | Léon Eugène Méhédin 1855 Fragment of the Great Curtain Wall, Sebastopol Albumen silver print 25 x 32 cm National Gallery of Canada / Musée des beaux-arts du Canada Purchased 1967, no. 32262 Printed by Frédéric Martens This photograph is available through CyberMuse - cybermuse.gallery.ca (Accessed: August 2010). |
| 44. |  | Léon Eugène Méhédin 1855 (taken) 1856 (ca, printed by Martens) Batterie Russe repêchée Albumen print, from glass negative 25.6x31.9 cm CEROS - Jean-Mathieu Martini / Serge Plantureux Binoche et Giquello, épreuves choisies, 18 november 2010, lot no: 77 |
| 45. |  | Carol Szathmari 1854 The Oltenitza Quarantine Salt print 13,7 x 19,1 cm Library of the Romanian Academy |
| 46. |  | Carol Szathmari 1854 Turkish cavalrymen Salt print 13,3 x 22 cm Private collection of Dr. Adrian-Silvan Ionescu |
| 47. |  | Unidentified photographer 1854-1856 Portrait of a Crimean War Soldier Daguerreotype, 1/9 plate, in full case Charles Schwartz Ltd Courtesy of Charles Schwartz (#8259) |
| 48. |  | Unidentified photographer 1854-1856 Portrait of a Crimean War Soldier Daguerreotype, 1/9 plate, in full case Charles Schwartz Ltd Courtesy of Charles Schwartz (#8258) |
| 49. |  | Unidentified photographer 1855 (ca) [U.S. Military Commission to Crimea] Daguerreotype, whole plate, cut down. Library of Congress, Prints and Photographs Division DAG no. 1113 / cph 3c12296 |
| 50. |  | Cundall & Howlett 1856 Heroes of the Crimean War [Crimean Heroes] Albumen print 8 5/8 in x 7 5/8 ins Archive Farms Additional information provided by Archive Farms. Joseph Cundall and Robert Howlett were commissioned by Queen Victoria to create a series of photographs of Crimean Heroes when the war was over. Cundall was responsible for studio portraits showing the successful heroism of Victoria's men. Howlett worked on location at the naval dockyards and the veterans' hospital recording the underside of war, in the portraits of those who were severely wounded. These portraits have recently been reused on a series of postage stamps in England. |
| 51. |  | Joseph Cundall 1856 Crimean Heroes: William Gardner, Donald McKenzie and George Glen Albumen print 23.30 x 19.30 cm National Galleries of Scotland Courtesy of the National Galleries of Scotland, Purchased 1992 (PGP 140.9) |
| 52. |  | Cundall & Howlett 1856 Noble, Dawson and Harper, 72nd (Duke of Albany's Own Highlanders) Regiment of Foot [Crimean Heroes] Albumen print National Army Museum Negative No. 23533, Accession No. NAM. 1964-12-154-6-14 |
| 53. |  | Cundall & Howlett 1856 Sergeant William Powell, 3rd Battalion, the 1st (or Grenadier) Regiment of Foot Guards [Crimean Heroes] Albumen print National Army Museum Negative No. 23524, Accession No. NAM. 1964-12-154-6-5 |
| 54. |  | Cundall & Howlett 1856 Colour-Sergeant J Stanton, Royal Sappers and Miners [Crimean Heroes] Albumen print National Army Museum Negative No. 23538, Accession No. NAM. 1964-12-154-6-19 |
| 55. |  | Cundall & Howlett 1856 Piper David Muir, 42nd (The Royal Highland) Regiment of Foot [Crimean Heroes] Albumen print National Army Museum Negative No. 23532, Accession No. NAM. 1964-12-154-6-13 |
| 56. |  | Cundall & Howlett 1856 Reynolds, Temple and Judd, Scots Fusiliers Guards [Crimean Heroes] Albumen print National Army Museum Negative No. 23529, Accession No. NAM. 1964-12-154-6 |
| 57. |  | Robert Howlett 1856 Trumpeters Gritten and Lang, Royal Artillery [Crimean Heroes] Albumen print National Army Museum Negative No. 23541, Accession No. NAM. 1964-12-154-6-22 |
| 58. |  | Robert Howlett 1856 Company Sergeant Christy and Sergeant McGifford, Royal Artillery [Crimean Heroes] Albumen print National Army Museum Negative No. 23542, Accession No. NAM. 1964-12-154-6-23 |
| 59. |  | Jean-Baptiste-Henri Durand-Brager [photographer] & Imprimérie Photographique Lemercier [printer] & E. Gambart & Co. [publisher] & Lassimonne [photographer] & Bisson Frères [publisher] 1855-1856 Kinburn. L'Escadre française prise dans les glaces. [French squadron caught in the ice during the Crimean War] Albumen print, from wet collodion on glass negative Rijksmuseum Objectnummer: RP-F-F00623 |
| 60. |  | S.G. Payne & Son 1891 Florence Nightingale Bromide postcard print 4 7/8 x 3 in (12.5 x 7.5 cm) (image) National Portrait Gallery - NPG Purchased, 2008, NPG x132535 |
| 61. |  | Maull & Co. 1873 (ca) Mary Seacole (1805-1881) Albumen print Creative Commons - Wikipedia This is the only known photograph of Mary Seacole. |
| 62. |  | Roger Fenton 1855, 10 November Mr. Fenton's Photographic Van. - From the Crimean Exhibition Magazine page, rearranged The Courtauld Institute of Art Copyright: Illustrated London News Ltd. All rights reserved, Gale Document Number: HN3100442890 "Mr. Fenton's Crimean Photographs." Illustrated London News (London, England), Saturday, November 10, 1855; pg. 557; Issue 769 |
| 63. |  | Roger Fenton 1855, 29 September Exhibition of Mr. Fenton's Photographic Pictures of the Seat of War in the Crimea Magazine page The Courtauld Institute of Art Copyright: Illustrated London News Ltd. All rights reserved, Gale Document Number: HN3100040852 "Exhibition of Mr. Fenton's Photographic Picture of the Seat of War in the Crimea." Illustrated London News (London, England), Saturday, September 29, 1855; pg. 382; Issue 763 |