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| 1. |  | Gage (Chicago) 1855 Rev. Edward Mott Woolley Book illustration Google Books Fidelia Woolley Gillett Memoir of Rev. Edward Mott Woolley (Boston: Abel Tomkins, 1885), frontispiece. This illustration was based upon a Daguerreotype of the Rev. Woolley: The daguerreotype from which the likeness in the front of this volume was taken was given him, on his return, by an excellent friend, Mr. Gage, of Chicago; and it is not only satisfactory to his family, but to all his friends who have seen it. It has, at least, borne a good test; for a child in Cedarville, who was; very fond of my father, and had not seen him for the space of a year, when he looked upon this daguerreotype clapped his little hands and exclaimed, "O, it's man Woolley!" (p.246) |
| 2. |  | Unidentified photographer / artist 1850 Andrew Jackson Davis Book illustration, from a Daguerreotype Google Books Andrew Jackson Davis The Great Harmonia: Being a Philosophical Revelation of the Natural, Spiritual, and Celestial Universe (New York: J.S. Redfield, 1850), Volume I, frontispiece. |
| 3. |  | Unidentified photographer / artist 1887 Abraham Lincoln, From a daguerreotype taken in Washington, 1865 Book illustration Google Books Henry Ward Beecher, edited by John R. Howard Patriotic Address in America and England, From 1850 to 1885 on Slavery, the Civil War, and the Development of Civil Liberty in the United States (New York: Fords, Howard, & Hulbert, 1887), inserted before p.269. |
| 4. |  | Unidentified photographer / artist 1859 His Highness, Maha Rajah Duleep Singh Engraving Google Books Rev. J. Johnston Walsh A Memorial of the Futtehgurh Mission and her Martyred Missionaries: with some remarks on the Mutiny in India (Philadelphia: Joseph W. Wilson, 1859), p.107 Futtehgurh has been honoured as being the spiritual birth-place of the first Christian Prince of India, His Highness, the Maha Rajah Duleep Singh. Though not a member of our Church, yet, both as a resident and Christian convert, we feel that no notice of Futtehgurh and our Mission would be complete without some reference to this interesting personage, and his connection with our indigenous Christianity. His first sight and knowledge of Christian truth, his first taste of Bible doctrine, and his first breathings of the divine life, originated with our little Church, and all were nourished and strengthened by us to their fullest extent. The accompanying portrait, engraved from a photograph sent out from England (where he at present remains) to Futtehgurh, is a very striking and faithful representation of his personal appearance. The reader will notice something very winning about the expression of his face, and which we cannot but regard as the impress of the true religion he was permitted to embrace, and still honours by a consistent walk. |
| 5. |  | Unidentified photographer / artist 1854, January Charles Grandemange, the French Prodigy Engraving Google Books The National Magazine, Volume 4, No.1, January, 1854, p.22. The names of several children of extraordinary mathematical powers have lately been introduced to the world. Thomas Safford, "the wonderful Vermont boy," has attained a world-wide celebrity; and we perceive that the West has recently claimed a youthful genius scarcely less remarkable. France has already boasted of two mathematical prodigies, but we venture to affirm that the case of young Grandemange is without a parallel. Physically as well as intellectually he is a wonder. The likeness we present was drawn from a daguerreotype. This poor child is without arms or legs, and can be supported in an erect position only by a sort of box, as seen in the picture, in which he is compelled constantly to live. But this fragment of a human body, which in Sparta would have perished on the day of its birth, has received, in compensation for an infirmity so complete, a faculty of abstraction and calculation, of which it will be difficult to meet with a more extraordinary example. All the vital forces, deprived of the opportunity of expansion, seem to have sought refuge in the brain, and in the midst of misfortune there has resulted a most extraordinary development of mathematical powers. |
| 6. |  | Abraham Bogardus 1868 A Large Head Engraving Google Books The American Phrenological Journal and Life Illustrated, Vol.47, No.2, Whole week, 350, February, 1868, p. 61. A LARGE HEAD. Edward Haycock, the child represented in the portrait, is about five years of age. His head is of great size, having been hydrocephalic in early infancy; otherwise his general health has been good up to the present time. When about three months old his head commenced to expand rapidly, and at the expiration of a year had attained a circumference of twenty-six inches. Since that time no further growth in its size has been observed the disease having apparently suspended its activity. His mental abilities do not appear to be seriously impaired. He was a little backward in learning to talk, but his memory is excellent, and he seems to understand things as well as children of his age and opportunity. Of course his knowledge is limited, the great size of his head rendering him unable to walk and sustain himself independently, and thus preventing him from much of that personal observation and experiment which children are inclined to. He has a fine clear eye, a clear and healthy complexion, but his limbs and general frame are small and his flesh very spare. The expansion of the head has occasioned a very appreciable separation of the bones of the skull; the fontanel, or opening in the tophead, is about two and a half inches in diameter, and at this opening the pulsations, as usual, are distinctly seen and felt. He appreciates keenly any efforts on the part of others to amuse him, and when not embarrassed by the notice of strangers, is lively and talkative. Should there be no further hydrous secretions in the brain of this boy, a sufficient growth of body may ensue to render him in a few years able to balance his large head, and to dispense with the now indispensable assistance of others. Our portrait was engraved from a photograph taken at our request by Mr. Abraham Bogardus, the enterprising photographer of Broadway, this city. |
| 7. |  | Samuel Topham (Leeds) 1848 James W.C. Pennington Engraving Google Books Wilson Armistead A Tribute for the Negro: Being a Vindication of the Moral, Intellectual, and Religious Capabilities of the Coloured portion of Mankind (Manchester, William Irwin, 1848), p.408. James W. C. Pennington is now the settled minister of the first Coloured Presbyterian church of New York, and is a member of the Presbytery. In 1841 he published a volume of about 100 pages, 12mo., entitled " A Text Book of the Origin and History of the Coloured People." He has also published an " Address on West India Emancipation," some sermons, &c. When the question of granting the privilege of citizens to the Coloured population was brought before the people of Connecticut, one of the public papers objected to the measure on the ground that the Blacks are inferior to the Whites. Pennington invited a public meeting, and refuted the calumny before a very large audience of Whites. The portrait of this worthy man is engraved from a photograph, taken at the gallery of Samuel Topham, of Leeds, who kindly allowed the author the use of a duplicate he had preserved for himself. |
| 8. |  | J.E. Mayall 1856 Sir Charles Napier Book illustration, from a Daguerreotype Google Books George Dodd Pictorial History of the Russian War 1854-5-6, (Edinburgh and London: W. & R. Chambers, 1856), p.157 |
| 9. |  | Philadelphia Arch St. Gallery of the Daguerrotype (publisher) 1846 Frank Johnson Lithograph Historical Society of Pennsylvania Record Number: 2293, Collection: Ferdinand Julius Dreer collection [0175] Printed by: Wagner & McGuigan. |
| 10. |  | Van Loan (Washington) 1847 Lieutenant Colonel C.A. May Book plate, steel engraving based on a Daguerreotype Google Books John Frost Life of Major General Zachary Taylor; with Notices of the War in New Mexico, California, and in Southern Mexico; and Biographical Sketches of Officers who have distinguished themselves in the War with Mexico (New York: D. Appleton, 1847), inserted before p.66. |
| 11. |  | Van Loan (Washington) 1847 Lieutenant Colonel C.A, May Book plate, woodcut based on a Daguerreotype Google Books John Frost Life of Major General Zachary Taylor; with Notices of the War in New Mexico, California, and in Southern Mexico; and Biographical Sketches of Officers who have distinguished themselves in the War with Mexico (New York: D. Appleton, 1847), p.198. |
| 12. |  | J. McGuire (New Orleans) 1848 Captain McCulloch, from a Daguerreotype by J. McGuire, New Orleans Book plate Google Books Samuel Chester Reid The Scouting Expeditions of McCulloch`s Texas Rangers; or, The Summer and Fall Campaign of the Army of the United States in Mexico - 1846 (Philadelphia: G.B. Zieber and Co., 1848), p.22 |
| 13. |  | Unidentified Daguerreotypist 1848 (ca) Zachary Taylor Lithograph / Engraving Historical Society of Pennsylvania Record Number: 4775, Collection: Simon Gratz collection [0250B] Engraver: A. H. Ritchie, Printer: A. E. Donnell |
| 14. |  | Marcus Aurelius Root 1854 (?) Margaret Douglass Engraving Library Company of Philadelphia Daguerreotyped by Root.-- engraved by Sartain. In The personal narrative of Mrs. Margaret Douglass, a southern woman, who was imprisoned for one month in the common jail of Norfolk, under the laws of Virginia, for the crime of teaching free colored children to read Boston : John P. Jewitt & Co.; Cleveland, O., Jewett and Worthington, 1854), frontispiece. Douglass established a small school for free black children, teaching them to read and write in her home. For this offense, she spent a month imprisoned in jail in Norfolk, Virginia. |
| 15. |  | Robert H. Vance 1856 Major General William Walker. Commander in Chief of the Republic of Nicaragua. (from a Daguerreotype by "Vance" San Francisco.) Book plate, frontispiece Google Books William Vincent Wells Walker's Expedition to Nicaragua: A History of the Central American War; and the Sonora and Kinney Expeditions (New York: Stringer and Townsend, 1856), frontispiece |
| 16. |  | I.W. Taber n.d. Rear Admiral Andrew E.K. Benham, U.S. Navy Engraving U.S. Navy Naval History and Heritage Command, NH 51532 Portrait engraved from a photograph by Taber, of San Francisco, California. [If you have the source of the original publication please send it though.] |
| 17. |  | Charles Guillain 1848, January Jeune femme de Moguedchou (Mogadishu), Somalie Daguerreotype Internet - Original source ill-defined Source not provided. |
| 18. |  | Charles Guillain 1846-1848 (daguerreotypes taken) 1856 (published) [Young woman from Mogadiscio (named Teri); Soumal from Gueledi; Merka inhabitant; Sid Qoullatin, A. Bayot lithograph after Charles Guillain daguerreotype] Lithograph Smithsonian Institution Libraries Warren M. Robbins Library Charles Guillain, [1856], Voyage a la Côte Orientale d'Afrique, exécuté pendant les années 1846, 1847 et 1848, par le Brick le Ducouedic, (Paris: Arthus Bertrand), pl. 36 |
| 19. |  | Unidentified photographer / artist 1852 Billy Bowlegs Carte de visite Archives of Modern Conflict OR National Gallery of Canada Billy Bowlegs or Billy Bolek (Hulbutta Micco, a.k.a. "Alligator King" or "Alligator Chief") seated second on the right was one of the great leaders of the Seminole who lived on the native lands in Florida. He tried to preserve the land claims of his people but was misled by the United States government and moved to Indian Territory. |
| 20. |  | Unidentified photographer / artist 1852 (photograph) Billy Bowlegs Illustration based on an orginal photograph Archives of Modern Conflict OR National Gallery of Canada Billy Bowlegs or Billy Bolek (Hulbutta Micco, a.k.a. "Alligator King" or "Alligator Chief") seated second on the right was one of the great leaders of the Seminole who lived on the native lands in Florida. He tried to preserve the land claims of his people but was misled by the United States government and moved to Indian Territory. |
| 21. |  | Adrian J. Ebell 1862 People escaping from the Indian massacre of 1862 in Minnesota, at dinner on a prairie Stereocard, right half Creative Commons - Wikipedia Library of Congress, Digital ID: cph 3a13425 http://hdl.loc.gov/loc.pnp/cph.3a13425 |
| 22. |  | Joel E. Whitney 1862 (or later) People Escaping the Indian Massacre of 1862, in Minnesota, at Dinner on a Priaire. Photographed by one of the party. [Gems of Minnesota Scenery] Stereocard Internet - Original source ill-defined Posted to Facebook,Victorian images classified by Mike Zohn, 4 January 2015 Whitney's Gallery (174 Third Street, St. Paul, Minn. - Publisher) |
| 23. |  | Adrian J. Ebell 1863, June The Breakfast on the Prairie Magazine illustration Creative Commons - Wikipedia Adrian J. Ebell, "The Indian Massacres and War of 1862", Harper's New Monthly Magazine, Vol. XXVII, No. 157 |
| 24. |  | Louis Jacques Mandé Daguerre 1853 Daguerre Magazine illustration, from a Daguerreotype Google Books The Illustrated Family Christian Almanac for the United States for The Year of our Lord and Saviour Jesus Christ 1853, p.17. Every one is familiar with the Daguerreotype, in which not only likenesses of persons, but images of all kinds of objects are transferred from the lens of the camera obscura, and permanently fixed on metallic plates. Though it is said to have been the joint invention of M. Daguerre and M. Niepce, yet common consent seems to have given it the name of the former. The engraving gives the appearance of the man whose name is thus associated with one of the most interesting discoveries of the age. It was copied from a daguerreotype of M. Daguerre, taken in France by Messrs. Meade. |
| 25. |  | Mathew B. Brady 1852, November-December James G. Bennett Magazine illustration Google Books Democratic Review, New Series, Volume XXVIII, No. CLXXIII-IV, November and December, 1852, frontispiece |
| 26. |  | Mathew B. Brady 1868, January (after) Rear Admiral Henry H. Bell, USN (1808-1868) Engraving, hand-tinted U.S. Navy Naval History and Heritage Command, NH 56847-KN (color) Hand-tinted line engraving, after a photograph by Matthew Brady, published after RAdm. Bell's death in January 1868. (Alan Griffiths, 13 July 2015) An Ebay listing gives the published source as Harper's Weekly, August 26, 1865 |
| 27. |  | Frederick Gutekunst 1863, 25 April (published) Admiral Samuel F. Dupont, Commanding the Fleet off Charleston Wood-engraved title-page plate 25.6 x 31.9 cm Brown University Library, Special Collections Anne S.K. Brown Military Collection, Call No. UNP1863mf-1 From Harper's Weekly, Apr. 25, 1863. |
| 28. |  | Paine 1850s (ca) Mrs. Warner as Hermione [in Shakespeare's Winter's tale] Engraving 5 1/2 x 4 ins Cornell University Library Folger Digital Library Collection, Call Number (PDI): ART File W283 no.2 copy 2 (size XS), Digital Image File Name: 27506, Digital Image Type: FSL collection, Hamnet Bib ID: 250516, Hamnet Holdings ID: 324394 Graphic based on a lost daguerreotype. Publisher: John Tallis & company. The date mid-nineteenth century is based on the publisher's known dates of activity. |
| 29. |  | Paine 1860 Mrs. H. Marston and Mr. F. Younge as Audrey and Touchstone [in Shakespeare's As you Like It] Steel engraving Collection of Michael G. Jacob Published in William Shakespeare & William Charles Macready, 1860, Illustrated Tallis's Shakespeare, (London & New York: J. Tallis & Co.) |
| 30. |  | Unidentified photographer / artist 1859 "this, with the antique kirtle and picturesque petticoat is an Acadian portrait", Page 56 Book plate Google Books Frederic S. Cozzens Acadia; or, A Month with the Blue Noses (New York: Derby & Jackson, 1859), frontispiece. Based on an ambrotype that is now lost. From the Preface of the book, p.iv-v. A word in regard to the two Acadian portraits. These are literal ambrotypes, to which Sarony has added a few touches of his artistic crayon. It may interest the reader to know that these are the first, the only likenesses of the real Evangelines of Acadia. The women of Chezzetcook appear at daybreak in the city of Halifax, and as soon as the sun is up vanish like the dew. They have usually a basket of fresh eggs, a brace'or two of worsted socks, a bottle of fir-balsam to sell. These comprise their simple commerce. When the market-bell rings you find them not. To catch such fleeting phantoms, and to transfer them to the frontispiece of a book published here, is like painting the burnished wings of a humming-bird. A friend, however, undertook the task. He rose before the sun, he bought eggs, worsted socks, and fir-balsam of the Acadians. By constant attentions he became acquainted with a pair of Acadian women, niece and aunt. Then he proposed the matter to them: "I want you to go with me to the daguerreotype gallery." "What for?" "To have your portraits taken." "What for?" "To send to a friend in New York." "What for?" "To be put in a book." "What for?" "Never rnind ' what for,' will you go ?" Aunt and niece both together in a breath "No." So my friend, who was a wise man, wrote to the priest of the settlement of Chezzetcook, to explain the " what for," and the consequence was our portraits! But these women had a terrible time at the head of the first flight of stairs. Not an inch would these shy creatures budge beyond. At last, the wife of the operator induced them to rise to the high flight that led to the Halifax skylight, and there they were painted by the sun, as we see them now. Nothing more! Ring the bell, prompter, and draw the curtain. |
| 31. |  | Unidentified photographer / artist 1859 "there is nothing modern in the face or drapery of this figure. She might have stepped out of Normandy a century ago." Page 40. Book plate Google Books Frederic S. Cozzens Acadia; or, A Month with the Blue Noses (New York: Derby & Jackson, 1859), frontispiece. Based on an ambrotype that is now lost. From the Preface of the book, p.iv-v. A word in regard to the two Acadian portraits. These are literal ambrotypes, to which Sarony has added a few touches of his artistic crayon. It may interest the reader to know that these are the first, the only likenesses of the real Evangelines of Acadia. The women of Chezzetcook appear at daybreak in the city of Halifax, and as soon as the sun is up vanish like the dew. They have usually a basket of fresh eggs, a brace'or two of worsted socks, a bottle of fir-balsam to sell. These comprise their simple commerce. When the market-bell rings you find them not. To catch such fleeting phantoms, and to transfer them to the frontispiece of a book published here, is like painting the burnished wings of a humming-bird. A friend, however, undertook the task. He rose before the sun, he bought eggs, worsted socks, and fir-balsam of the Acadians. By constant attentions he became acquainted with a pair of Acadian women, niece and aunt. Then he proposed the matter to them: "I want you to go with me to the daguerreotype gallery." "What for?" "To have your portraits taken." "What for?" "To send to a friend in New York." "What for?" "To be put in a book." "What for?" "Never rnind ' what for,' will you go ?" Aunt and niece both together in a breath "No." So my friend, who was a wise man, wrote to the priest of the settlement of Chezzetcook, to explain the " what for," and the consequence was our portraits! But these women had a terrible time at the head of the first flight of stairs. Not an inch would these shy creatures budge beyond. At last, the wife of the operator induced them to rise to the high flight that led to the Halifax skylight, and there they were painted by the sun, as we see them now. Nothing more! Ring the bell, prompter, and draw the curtain. |
| 32. |  | Richard Beard 1842-1843 Jabez Hogg and Mr. Johnson Daguerreotype National Science and Media Museum Identification no: 1983-50-70 daguerreobase,org (Acccessed: 5 January 2020) The first representation of a photographer at work: Jabez Hogg takes the photograph of Mr. Johnson in Richard Beard's studio. The scene depicts Hogg standing on the left, in profile, with a lens cap in his right hand and a watch (on a chain) in his left. He has dark wavy hair, sideburns, and wears a long dark jacket, dark trousers, white shirt and dark cravat. The camera is in front of him on a turned wooden stand. On a footstool (which appears to be beaded) in the foreground is a top hat with the rim uppermost. The carpet is patterned. The sitter on the right is an older man, with receding hair and sideburns. He wears a dark jacket, paler trousers, (what looks like) a decorative patterned waistcoat, white shirt and dark cravat. He is also seen in near profile, his left hand grasping the wooden arm of the chair, his right hand in his lap. The chair has a padded seat . The painted backdrop depicts an alcove lined with a wooden trellis and includes: a stone seat, gothic design, climbing plants with flowers and a bird in an ornate cage. To the left of the alcove is part of an urn and tree, so possibly this is set within a romantic landscape. The bottom of the backdrop has a 'hem', slightly scuffed with use. The brocade curtain behind the sitter is held back with a cord and tassel. To the right of the sitter is a bust of Milton (probably based on a portrait bust attributed to John Cheere). Hogg was one of the earliest British experimenters with the daguerreotype. A woodcut illustration of this image was published in 'A Practical Manual of Photography' in 1843. The same woodcut, in 'The Illustrated London News' on 19th August 1843 page 125, illustrated a satirical poem called 'Lines Written on Seeing a Daguerreotype Portrait of a Lady'. The footnote reads: 'Our engraving represents the photographic process of Mr Beard's establishment, Parliament-Street, Westminster.' In a Wharton case, no further housing. |
| 33. |  | Richard Beard 1843, 19 August The photographic process at Mr. Beard's establishment, Parliament-street, Westminster Magazine illustration The Courtauld Institute of Art Copyright: Illustrated London News Ltd. All rights reserved, Gale Document Number: HN3100007572 Miss Elizabeth Sheridan Carey "Lines Written on Seeing a Daguerreotype Portrait of a Lady" Illustrated London News (London, England), Saturday, August 19, 1843; pg. 125; Issue 68 |
| 34. |  | Richard Beard 1845 Sir John Franklin [British Naval Northwest Passage Expedition 1845-1848] Daguerreotype 6.2 x 7.6 cm Scott Polar Research Institute, University of Cambridge Accession no.: N: 589/1 Three-quarter length portrait of Sir John Franklin, seated and holding a telescope. Sir John Franklin, Captain, HMS Erebus - there is a single Daguerreotype at Cambridge with a reversed copy of what appears to be the Cambridge image in the collection at Derbyshire Record Office, Matlock, England. For a detailed discussion on this series of Daguerreotypes: http://hidden-tracks-book.blogspot.com/2009/06/lost-daguerreotypes.html http://hidden-tracks-book.blogspot.com/2009/06/more-on-franklin-expedition.html http://hidden-tracks-book.blogspot.com/2009/10/new-franklin-expedition-daguerreotype.html |
| 35. |  | Richard Beard 1851, 13 September Portraits of Captain Sir John Franklin, and his Crew Magazine illustration Private collection of Dr. Russell A. Potter |
| 36. |  | Richard Beard 1851, 13 September Captain Sir John Franklin, K.H.C. Magazine illustration Private collection of Dr. Russell A. Potter |
| 37. |  | Richard Beard 1851, 18 October English Exploring Expedition to the Arctic Seas, Portraits of Sir John Franklin and Officers of the English Exploring Expedition Magazine illustration Private collection of Dr. Russell A. Potter Gleason's Pictorial Drawing-Room Companion, Volume 1, Number 25, Boston, Saturday, October 18, 1851. |
| 38. |  | Richard Beard 1851, 18 October Captain Sir John Franklin, K.H.C. [English Exploring Expedition to the Arctic Seas, Portraits of Sir John Franklin and Officers of the English Exploring Expedition] Magazine illustration Private collection of Dr. Russell A. Potter Gleason's Pictorial Drawing-Room Companion, Volume 1, Number 25, Boston, Saturday, October 18, 1851. |
| 39. |  | Unidentified photographer 1851 Napoleon III Daguerreotype Bibliothèque Nationale de France, Département des Estampes et de la Photographie Accession number requested. Accessed from Wikipedia Commons. (23 April 2015) The date is probably incorrect as an illustration based on this daguerreotype was published earlier - 23 December 1848, "French Napoleonism", The Illustrated London News, vol. XIII, no. 349 |
| 40. |  | Unidentified photographer / artist 1848, 23 December (published) Napoleon III Magazine illustration Internet - Original source ill-defined http://www.wholesale-prints.net/MAA1848/MAA1848386.jpg (Accessed: 23 April 2015) 23 December 1848, "French Napoleonism", The Illustrated London News, vol. XIII, no. 349 |
| 41. |  | Unidentified photographer / artist 1848, 23 December (published) Napoleon III Magazine illustration Internet - Original source ill-defined http://www.wholesale-prints.net/MAA1848/MAA1848386.jpg (Accessed: 23 April 2015) 23 December 1848, "French Napoleonism", The Illustrated London News, vol. XIII, no. 349 |
| 42. |  | Donné & Foucault 1855 Fig.40 - thin disc of cow's milk. The 120th of an inch in diameter, magnified 400 times in its linear and 160000 times in its superficial dimensions. Book page Google Books The Museum of Science and Art (London: Walton and Maberly, 1855), Volume 6, edited by Dionysius Lardner, p.97. The plate is discussed on p.106. 87. In fig. 40, p. 97, we have given the appearance presented by a thin disc, the 120th of an inch in diameter, of common cow's milk magnified 400 times in its linear, and therefore 160000 times in its superficial dimensions, engraved from a daguerreotype by MM. Donne and Foucault. |
| 43. |  | Unidentified photographer / artist 1847, April Review of "Cours de microscopie complémentaire des études médicales, anatomie microscopique et physiologie des fluides de l'économie. à" by M. Donné and Leon Foucault (1945-1846) Magazine page Google Books The Medical Examiner: A Monthly Record of Medical Science, New Series, Volume 3, No.XXVIII, April, 1847, p.224-226 Cours de microscopie complémentaire des études médicales, anatomie microscopique et physiologie des fluides de l'économie. à Atlas du cours de microscopie exécuté d'aprÞs nature au microscope daguerréotype Par M. Donné, Docteur en Medecine, ex-chef de Clinique de la Faculte de Paris, Professeur particulier de Microscopie, &c., et Leon Foucault. Fol. P. 30. Paris, 1845-846. The text of the Cours de microscopie of M. Donné was published in 1844, in Paris, but the Atlas before us hias only just been completed. M. Donné has long been celebrated for his chemical and other investigations into the nature of certain of the animal secretions, and especially of the milk. His Memoire sur le Lait was published many years ago, and has been exhausted he informs us; and it was in consequence of his having been invited to issue a new edition of it, that he determined to reproduce it in a separate work, and to associate with it his microscopic researches into the different fluids of the economy. Accordingly, the Cours de microscopie contains the whole of his examinations of mucus, urine, sperm, milk, &c. "These researches" he observes "extended and perfected as far as it was practicable for me since my first publications, united with the physiological considerations and practical applications that flow from them, form the principal portion of the lectures which I now reproduce." p. 9. In his introduction to the "Cours" M. Donné announced, that an Atlas would be added to the work, and that it would present an innovation." It will comprise,"he remarked, "figures of two orders the one will be executed according to the ideas I have formed of the intimate slructure of the microscopic objects depicted: these systematic figures are intended to elucidate the descriptions in the text, and to complete them. Alongside these figures will be placed others representing accurately the objects independently of all interpretation. To attain this result I have been desirous not to trust either my own hand or that of a designer, always more or less influenced by the theoretical ideas of the author. Profiting by the marvellous invention of the daguerreotype, the objects will be reproduced with a rigorous fidelity unknown hitherto by means of photographic processes." And he subsequently added : "The first trials which I made to apply the daguerrean method to the reproduction of microscopic objects will be recollected. Four years ago I had the honour to present to the Académie des Sciences a daguerreotype microscope, by means of which I had obtained the images of several objects of natural history, and of certain tissues, such as the osseous and the dental. Since then, these trials have been resumed by a young savanl, a distinguished amateur of photography. The results obtained by M. Leon Foucault with the daguerreotype microscope, not only on solid objects, but on the intimate particles of fluids, such as the blood corpuscles of different classes of animals, the globules of milk, mucus and pus, zoospermes, &c.,are truly most remarkable, and all give a special value to our Atlas. Our collection of designs is not yet complete, but what we already possess permits us to announce to micrographers results altogether worthy of their attention and interest." The atlas before us is the one promised in the "Cours," and certainly the promises are well fulfilled. The representations of the fluids microscopically examined are beautiful, and their truthfulness cannot admit of question. Portions of the objects seen in the field of the microscope have not been selected; the whole field is given as it presents itself to the eye of the observer, and hence a much more correct idea is formed of the object than if as in the case of the blood corpuscles detached portions were selected. The plates are twenty in number, and afford varied and well executed representations of the blood corpuscles of man and certain animals; the circulation of the blood in the frog's tongue; mucous globules; epidermic cells; vibratory cells of the mucous membrane; pus globules; crystallization of healthy saliva; crystals of cholesterine; globules of yeast, and of fermenting diabetic urine; crystals of nitrate of urea; the crystallization resulting from the evaporation of the urine of a patient affected with typhoid fever; crystals of uric acid; divisions of the micrometer; pulverulent crystallization of urate of ammonia from ihe urine; minute crystals of uric acid proceeding from the decomposition of urate of ammonia by acetic acid; crystals of oxalate of lime from the urine, and of ammoniaco-magnesian phosphate; white filaments, such as are found in the first drops of healthy urine at each emission; blood corpuscles presenting the annular form which they affect when in contact with urine; zoospermes of man and certain animals; crystallization of healthy urine evaporated on a plate of glass; ovulum of the rabbit in and out of the Graafian vesicle; ovula of the frog and salamander; globules of cow's milk; casein coagulated owing to the decomposition of milk and mixed with milk globules; globules of healthy human milk and of that of the ass and goat; the colostrum of the human female; milk of a woman delivered eight days, and not giving suck; muscae volitantes; globules of potatoe starch; blood corpuscles of the salamander; and pollen grains of the flower of the mallow. Great variety of illustration is presented; and both "Atlas" and "Cours" ought to be in the possession of every histologist and microscopist. |
| 44. |  | Unidentified photographer / artist 1845, July Magnetizing in Lateral Curvatures of the Spine. Drawn and Engraved from a Daguerreotype. Magazine page Google Books The Dissector (New York), Volume II, No.III, July, 1845, p.148. The same illustration is published in. Henry Hall Sherwood The Motive Power of the Human System with the Duodynamic Symptoms of Chronic Diseases, Sixteenth edition (New York, 1850), p.126. |
| 45. |  | Unidentified photographer / artist 1850 Distortions of the Spine Book page Google Books Henry Hall Sherwood The Motive Power of the Human System with the Duodynamic Symptoms of Chronic Diseases, Sixteenth edition (New York, 1850), p.195, figs1,2. |
| 46. |  | Jeremiah Gurney 1861, 29 June This cut represents the case three months after the exsection of the head of the femur, and is engraved from a photograph taken by Gurney Engraving Google Books The American Medical Times (New York), Vol.II, June 29, 1861, p.414. |
| 47. |  | W.H. Rhoads 1888 (before) Operations for Contracted Cicatrices Book illustrations Google Books John Ashhurst, Jr. The Principles and Practice of Surgery (), fig.159, p.306 and fig.160, p.307. The two illustrations have been conjoined for ease of display. The photographs on which these are based are included in Laura Lindgren, editor, Mutter Museum: Historic Medical Photographs - The College of Physicans of Philadelphia (New York: Blast Books, 2007), p.40-41. |
| 48. |  | Louis Auguste Bisson n.d. Skulls from the Philippines and Mariannes Lithograph Christopher Wahren Fine Photographs Christopher Wahren Fine Photographs - Auction (Skylight Gallery Catalog 28,April 30, 2009, #9) Large lithographic plate reproducing six daguerreotypes by Louis-Auguste Bisson ca. 1841 of skulls from natives of the Philippines and Mariannes islands. Mounted on sheet 13 x 19.5 inches (33x50cm) . With printed attribution "Voyage au P¶le Sud & Dans L'Océanie / Anthropologie, Pl. 40 / Gide Editeur / Lith par Léveillé d'aprÞs les cr"nes naturels, photographié par Bisson, sous la Direction de Mr. le Dr. Dumoutier / Imp. par Thierry FrÞres a Paris." Print size 11.75 x 16 inches (30x41 cm). From the rare illustrative supplement to Dumont D'Urville, "Voyage au P¶le Sud et dans l'Océanie…" (1842-7). The subjects are identified in the image as "Femme / Femme / Femme / D'un Ossuaire moderne de Zambouagan, Ile Mindanao, Archipel des Philippines (Micronesie) / D'un Ossuaire moderne de Zambouangan, Ile Mindanao, Archipel des Philippines (Malaisie) / D'un Ossuaire Chamoro, District d'Agat, Ile Guabam, Archipel des Mariannes (Malaisie)." Produced at the very dawn of the photographic era, these daguerreian lithographs are one of the earliest uses of photography as a scientific mirror of the external world. Their meticulous detail and strong three-dimensionality recreates the impression of the original daguerreotype plates. Some of Bisson's original daguerreotypes from the project survive in museums, and two (of skulls) are illustrated in "Le daguerréotype franþais: Un objet photographique" (2003), pp. 369-370. (Christopher Wahren) |
| 49. |  | Louis Auguste Bisson n.d. Skulls from the Philippines and Mariannes (detail) Lithograph, detail Christopher Wahren Fine Photographs Christopher Wahren Fine Photographs - Auction (Skylight Gallery Catalog 28,April 30, 2009, #9) Large lithographic plate reproducing six daguerreotypes by Louis-Auguste Bisson ca. 1841 of skulls from natives of the Philippines and Mariannes islands. Mounted on sheet 13 x 19.5 inches (33x50cm) . With printed attribution "Voyage au P¶le Sud & Dans L'Océanie / Anthropologie, Pl. 40 / Gide Editeur / Lith par Léveillé d'aprÞs les cr"nes naturels, photographié par Bisson, sous la Direction de Mr. le Dr. Dumoutier / Imp. par Thierry FrÞres a Paris." Print size 11.75 x 16 inches (30x41 cm). From the rare illustrative supplement to Dumont D'Urville, "Voyage au P¶le Sud et dans l'Océanie…" (1842-7). The subjects are identified in the image as "Femme / Femme / Femme / D'un Ossuaire moderne de Zambouagan, Ile Mindanao, Archipel des Philippines (Micronesie) / D'un Ossuaire moderne de Zambouangan, Ile Mindanao, Archipel des Philippines (Malaisie) / D'un Ossuaire Chamoro, District d'Agat, Ile Guabam, Archipel des Mariannes (Malaisie)." Produced at the very dawn of the photographic era, these daguerreian lithographs are one of the earliest uses of photography as a scientific mirror of the external world. Their meticulous detail and strong three-dimensionality recreates the impression of the original daguerreotype plates. Some of Bisson's original daguerreotypes from the project survive in museums, and two (of skulls) are illustrated in "Le daguerréotype franþais: Un objet photographique" (2003), pp. 369-370. (Christopher Wahren) |
| 50. |  | Robert Cornelius 1843 Martin Hans Boyé Daguerreotype Historical Society of Pennsylvania Record Number: 105, Collection: Cased Photographs Collection [3139] |
| 51. |  | Robert Cornelius n.d. Fig. 17 Book illustration Library Company of Philadelphia Published in: Martin Hans Boye, "Analysis" in James Curtis Booth, 1850, The Encyclopedia of Chemistry, Practical and Theoretical, (Philadelphia: Henry C. Baird) www.librarycompany.org/catchingashadow/section2/index.htm |
| 52. |  | n.d. Two women grinding at a mill Magazine illustration Google Books (From a photograph taken on the spot) The Exploration of Palestine Charles Boutell M.A. "The Exploration of Palestine" The Quiver, p.519-523, this illustration is on p.521. |
| 53. |  | Smith 1855 Araucanian Chief Book plate, based on a Daguerreotype Google Books Lieut. J.M. Gilliss The U.S. Naval Astronomical Expedition to the Southern Hemisphere, During the Years 1849-'50-'51-'52 (Washington: A.O.P. Nicholson, 1855), Volume I - Chile, inserted after p.68. "A cacique who came to Santiago during our residence being thought, by those who had had opportunities to judge, a fair type of the race, a daguerreotype was taken of him by Mr. Smith, and the portrait opposite is copied from it." (p.68) |
| 54. |  | Pierre Tremaux 1858 (ca) Hommes Du Sennar Lithograph, from a photograph 17.5 x 12.5 cm Archive Farms Notes: Plate 42 from "Voyages au Soudan oriental et dans l'Afrique septentrionale, executes de 1847 a 1854, comprenant une exploration dans l'Algerie, les regences de Tunis et de Tripoli, l,Egypte, la Nubie, les derserts, l'ile de Meroe, le Sennar, le Fa-Zogle, et dans les contrees inconnues de la Nigrite.." Didier lith, Imp. Lemercier, Borrani, Paris. |
| 55. |  | William Carrick 1860s (ca) Winter costumes Carte de visite Paul Frecker Russian occupational portrait. |
| 56. |  | William Carrick 1860s (ca) Peasant Carte de visite Paul Frecker Russian occupational portrait. |
| 57. |  | William Carrick 1870, 1 October A Few Russian Photographs Magazine page Google Books Good Words, Oct 1, 1870, p.672. W.R.S. Ralston "A Few Russian Photographs" in Good Words, Oct 1, 1870, p.667-673. Not far from the Cathedral of St. Isaac in St Petersburg, in the street called the Little Morskaya, there stands a house in which a foreign visitor to Russia may learn more in a few minutes respecting the common people of the country their physiognomy, their dress, and their whole outward bearing than he can acquire elsewhere in many long hours of wearisome research. That house contains the photographic establishment of Mr. Carrick, a member of the AngloRussian community, which musters two thousand strong in the capital, and has representatives scattered about in all parts of the empire. For some years past he and his partner, Mr. MacGregor, have been in the habit of photographing all the best specimens of peasant men and peasant women, as well as all the other dwellers in the city, who have come under their notice. Whenever a particularly Russian representative passed underneath their windows, they immediately rushed out and secured his portrait for their gallery. Some of their sitters were so unaccustomed to scientific manipulation, that they expressed great alarm at the operation which it was proposed to perform, fearing, like a certain old lady in Punch, that the camera would explode, or inflict upon them some permanent disfigurement. Sometimes also an old woman of excessive piety would be afraid of compromising herself by unlawful dealings with the Black Art; but the photographers generally succeeded in dispelling the fears and removing the scruples of their models, who usually ended by expressing great gratification at the result attained. From the numerous portraits which they have thus been enabled to take, our countrymen have made a collection which is highly esteemed in Russia itself, and which, as far as foreign visitors are concerned, is of the highest possible value, teaching them so much while they are in the country, and enabling them after their return home, to recall to mind so vividly the forms and faces of the people among whom they have been sojourning. It is to this collection, and to another which has been on view this year in the Exhibition at St. Petersburg, that we now propose to call the attention of our readers. Out of Mr. Carrick's album we have chosen twelve of the most characteristic photographs. With the exception of two, which represent a priest and a nun, they are all portraits of men and women belonging to the working classes. The first who figures upon our plate is a seller of the large gloves worn in winter. No. 2 and No. 5 are girls who trade in eggs and herrings. No. 3 is a peasant travelling in search of work; his staff is in his hand, and an extra pair of shoes, made of bark, are hanging at his back. Thus provided for his journey, he will perhaps wander for hundreds of miles, only too happy if at length he reaches a district where labour is scarce, and where, by the constant and arduous toil of months, he may gain enough to allow of his taking back to the distant home in which his wife and children are anxiously awaiting him, a sufficient sum of money to pay his share in the cost of governing the country. No. 4 is one of the numerous church-beggars men who either stand at church doors, or who wander about the country, begging alms in the name of Heaven for some charitable purpose, generally for the building or for the restoration of a church. The man in question has formerly been in the army, as his cross and medals show. In his hand is a book bearing a cross on the cover. Inside the book is written the object of his request, and his permission to raise money for it. His head is bare, and even in the coldest weather he will go exposed to the icy winds without any cap or hat. Scandal declares that many of these collectors are not entirely to be depended upon. But they all have at least some amount of conscience, and coins which are laid upon the cross which sanctifies the book are sure to be applied to its holy purpose, though those which are placed elsewhere are devoted to the collector's personal expenses. No. 7 is a peasant in the act of crossing himself, just as he would stand in church. No. n is an excellent type of the Russian moujik. See how erect he stands. There is nothing of the slave about him, although no doubt when his portrait was taken he was a serf. But serfdom has not made the Russian peasant a cringing being. Except in the presence of his own lord, the serf always bore himself like a free man, standing proudly upright, or stalking behind his plough with the air of a Sarmatian Cincinnatus. His hat is worthy of observation. There are various types of hats in Russia, but his is what is called the Moscow hat a tall brimless cylinder, often resembling that which caricature bestows upon the Irishman, not unfrequently reminding the English tourist of the head-dress worn by the casual scarecrow in his native fields. No. 8 is what we may call a cab-driver, an izvoshchik, who is waiting for a fare. His neat little cap is cocked jauntily on one side of his head. In his hands he holds the knout, that nightmare of Russophobists, that terrible instrument of torture of which we have heard so much in books of Russian travel and romance. In No. 9 we see a good specimen of a servant girl in a Russian family of the middle class. No. 6 represents two peasants in sheepskin "touloupes" and their great winter boots, enjoying a cup of tea. On the table stands the samovar, on the top of which may faintly be discerned the white teapot One of the tea-drinkers holds in his hand the saucer from which he is about to drink ; the other, with manifest satisfaction, has just turned down the tea-cup which he has drained. As one wanders along the streets of any Russian town, it is very pleasant to see the bearded occupants of the lower classes of traklirs, or taverns, enjoying the innocuous beverage over which all business is discussed, by which every bargain is celebrated. His taste for tea offers a sufficient reason for hoping that at some future period the Russian peasant will be an eminently sober member of society. At the present moment, unfortunately, the samovar, or tea-urn, is either unknown, or is but poorly represented, in the majority of villages. At any social gathering spirits form the only means of entertainment which can be provided, and their effects are only too apparent when the meeting comes to an end. In No. 12 we see a good specimen of the Russian priest in his long violet gown, with his hair dangling about his shoulders, and his beard spreading majestically across his chest. Lastly, we come to No. 10, a nun wearing the strange head-dress which acts as so unsightly a frame around the somewhat harsh features of the sisters of the Russian Church. With respect to the priest and the nun we do not propose to say more at present than that the priests are, as a general rule, so poor, that it is almost impossible for them to devote much time to anything resembling study, and that therefore they do not occupy that position in society to which a clergyman seems to be justly entitled to aspire; and that the greater part of the nuns appear to lead lives which are almost absolutely useless. There are, it is true, a few Sisters of Charity in Russia, and the work which they do is of the most excellent kind; but the majority of the Russian nuns do not belong to any working order. Those of our readers who wish to study the questions relating to the Russian clergy, may be referred to the work of Madame Romanoff, on the GraecoRussian Church, a book which contains a great amount of information, although its pictures are pervaded by a far too rosy hue. But it is with the Russian peasants that we propose to deal, wishing to convey to our readers some slight idea of what they are really like, and of what sort of lives they actually lead. Too many writers have spoken, and are still likely to speak, of the Russian peasant as if he were as wild and uncouth an animal as the bear which is popularly supposed to be always strolling about his house. We can scarcely wonder that a stranger who, when he first enters Russia, happens to see a group of wild-looking men, and wan, wrinkled women at a railway station, imagines that he has fallen amongst a race of savages, and gazes upon these new specimens of humanity with a mixture of fear and of aversion; but if he lives long enough in the country, and if he only studies aright the people among whom he is sojourning, he ought to be able to correct his first false impressions, and to arrive at a truer knowledge of what are the characteristics of the Slavonic race. The Russian villager is generally a kindly, soft-hearted being, with strong affections, with a genuine religious feeling, and with a natural taste both for sentiment and for humour. He is sincerely attached to his country, and for his birth-place he entertains a love which is almost a passion. Fond as he is of wandering, he always thinks of his native village as the spot to which he longs to return, and in which he hopes to end his days. Between the different members of each family a close attachment ordinarily prevails, the children looking up to their parents with warm affection and real reverence, and the parents entertaining for their children a love which lasts long after the time when in our country the young birds would have gone far away from their native nest. The condition of women in Russia has long been one of great discomfort, and there have been but too many cases in which wives have been terribly ill used by their lords and masters; but such cases were not sufficient to constitute a rule, and it is to be hoped that, in the better day which has lately dawned for Russia, the position of the Russian peasant woman will be far better than it used to be, and that, as she rises in the social scale, she will gradually gain the respect, as well as the love, which is due to her. In no country has so much been done as in Russia to improve, in a short space of time, the position of the rural classes. But a few years ago they were slaves bound to the soil, liable to all manner of ill-treatment at the will of a careless or hard-hearted proprietor. Now they are free, and if they will only be true to themselves they have no one to fear. In the evil days of old they had no chance of redress if a wrong were done them. The rich then too often ground the faces of the poor, and even if the poor cried aloud, there was none to help them, no ear was open to their complaint, no hand was stretched out to save them. But since the emancipation all this has been changed. Within the last six years open courts of law have been established, trial by jury has been introduced, and judges have been appointed at fair salaries to carry out the administration of justice. Under the old system a judge had to keep up appearances and maintain a family on a salary of, perhaps, fifty pounds a year. The consequence was that he lived on bribes, and in his court the richest suitor always carried the day. But now there are few countries in the world in which a poor man is more certain to gain redress for a wrong done him by a rich man, to obtain a speedy settlement of any righteous claim he may have to advance, than in that Russia over which, but a few years ago, brooded the darkness of corruption and injustice. Therefore it is that the study of Russian village life is not only interesting, but is pleasant, for it offers to the observer who looks for them aright manifest signs of a very welcome improvement in the condition of many millions of people, while it makes him rejoice at the abolition of a system which could not fail to be productive of immeasurable moral degradation and physical suffering. Even under favourable circumstances it is always a hard struggle which the peasant in the North of Russia has to maintain. The soil there is thin and sterile. Wastes and sand often extend for leagues and leagues around on every side, broken only by dark and melancholy forests. There the peasant's house is a mere hut, within which the atmosphere is stifling, the smoke circulates everywhere, often scarcely able to find any chink through which to escape, and vermin swarm. As Mr. Michell says in the exceedingly valuable, though somewhat too desponding account he has given of the condition of the agricultural labourer in Russia* "These northern cottages contain scarcely any furniture except a deal table and a bench placed against each wall. There is no bedding beyond a few pillows; a few pots of burnt clay or cast-iron make up the sum of the peasants' domestic utensils." It is generally supposed that every cottage contains a samovar, but in reality it is only in the houses of the wealthier peasants that such a luxury can be found. You may travel through village alter village in the poorer parts of Russia and not be able to find a single tea-urn; only in every room one is certain to find a holy picture, before which hangs a little lamp, or below which bums a candle. Even the poorest peasant would think himself accursed if he could not manage to set aside some little sum for the purpose of showing his respect for the religion which is sometimes his only consolation amid the sorrows of a very hard life. In these miserable huts the peasants spend a great part of their lives, and the women scarcely ever go to any distance from them; but the men often wander far away, walking for hundreds of miles across Russia, for the sake of finding such work as will enable them, after very hard toil, to return home with their little treasure of a few shillings ; and whether at home, or in their wanderings in distant governments, the Russian peasants lead almost ascetic lives as far as eating and drinking are concerned. As Mr. Michell says "The Russian peasant's diet consists of a hunch of black rye bread, a bowl of milk or curds in the morning. In the evening he perhaps lias a similar meal, and his mid-day dinner consists generally of cabbage or mushroom soup, of which meat is but seldom the basis, of baked buckwheat eaten with milk, oil, or butter, according to the means of the family, and of an unlimited quantity of rye bread." His drink is mostly water, stronger drinks being only found on holy days in the houses of the richer peasants. On these occasions, unfortunately, it is but too true that the peasant makes amends for his forced abstinence by getting most unnecessarily drunk. There used to be great excuse in former years for the Russian peasant if he drank in order to forget his troubles. One of the tales of the people describes misfortune as driving the peasant into the pot-house persuading him to pledge all that he had in order to obtain drink, and finally leaving him bare as a linden-tree that had been stripped of its bark. The peasant who was under a tyrannical lord, and who could scarcely call anything his own, was too often induced by bitter need to drink away his senses and his possessions; but now that he is a free man, and that all that he gains will be his own, it is to be hoped that he will set at defiance that temptation which has always proved so strong for men of the Slavonian race. The enemies of the Emancipation have described the peasant, since it took place, as a lazy and reckless vagabond, whose one idea was to become intoxicated; but in reality the Russian peasant is one of the most hard-working among men, and if he can but overcome his tendency to drown his sorrows in drink, he will probably prove a thrifty and prosperous agriculturist. In many parts of the country he is doing well and laying by money. Many and many an estate has already passed from the hands of a reckless landlord into those of his formerly despised tenants, and the free man proudly treads as possessor on soil to which his ancestors may have bent their brow in abject terror. Everything seems to point to a better future for the peasant class in Russia than it has yet known, and it is especially to be hoped that the lot of woman will be improved throughout the country. "Ages have passed," says one of the chief of the Russian poets, " everything else in the world has changed many times, only God has forgotten to change the dreary lot of the peasant woman." Even the type has degenerated, he says; so much has she undergone, so much has she suffered, that her expression has become one "of constant fear or endless suffering." But after having described the wan and wasted forms and faces of the ordinary peasant women in Russia, the poet goes on to draw a picture of another type of the Slavonian woman. "In her you see," he says, "a quiet dignity of face, a strength, a beauty of movement, a queenly look, a regal gait When she passes it seems as if a sunbeam were moving beside you. When she looks at you you feel as if she had given you a rouble. Her life is like that of other women, but on her no mud sticks. She is tall, erect, rosy-cheeked. All that she wears looks well. In all that she undertakes she is successful. Patiently does she endure both hunger and cold. She loves to labour, and on a feast day she is as gay as any one. Firm lips cover her strong and handsome teeth. No one borrows from her; she has not too much pity for the beggar, for she says, ' Why does he go about idle instead of working?' She knows that the highest good results from work, and she labours herself because everything depends upon that for her and hers." Unfortunately such women as this are not often seen ma Russian village. As a general rule, there is very little beauty among the female villagers. The men are often handsome, and their good looks increase with their years, until in their old age they are models of patriarchal majesty. It is true, however, that the flowing beard is partly the cause of this, as may be seen by comparing the shorn plainness of a middle-aged soldier with the hirsute picturesqueness of his civilian brother. But the women are exposed to the sun and rain too much, and have to work too hard on but scanty fare, for them to retain long the prettiness which they often display in childhood. But if they are not strikingly handsome, they are, at least, strong and hardy, and full of good-humour. The amount of toil which they contentedly undergo is wonderful, and, except as far as their complexions are concerned, they do not seem to be much the worse for it. In some districts, as for instance in the government of Yaroslav, the greater part of the farming is done by women. They plough, and reap, and mow; scarcely a man is to be seen among them in the fields, unless it is one of advanced age. The reason of this preponderance of female labour is that the men of these districts are for the most part employed in the cities either as skilled workmen or as servants. The poverty of the soil has driven them to seek employment elsewhere; and as they rank among the most energetic and intelligent of Russians, they generally succeed in obtaining what they require, and the care of looking after their little farms mainly devolves upon the women and children of their families. In other cases all the members of the family circle work together in the fields at such busy periods of the year as harvest-time, as may be seen by any one who consults the admirable photographs which Mr. Carrick and Mr. MacGregor have taken in the country during the last twelve months a different series from that of which we have already spoken. From these pictures it is quite possible even for persons who have never been in Russia to acquire a good idea of the life of a Russian peasant, for they represent most of his ordinary avocations, and of the scenes amid which he spends his life. In one of them, for instance, we see him ploughing or harrowing his little portion of land; in another he is sowing; in a third he and his family are reaping the longed-for harvest; in a fourth the com-ricks are being piled up behind his cottage. Here we see a village of the usual tumble-down pattern so universal in Russia, the walls of the cottages leaning this way and that, the roofs full of holes which give free entrance to all the winds of heaven. In the foreground the cattle are drinking at the pond, or a party of children are fishing in the stream, or playing at some game in one of the courtyards. Others of the photographs represent winter scenes, and most faithfully do they render the effects which are produced in the woods and upon the plains when the mantle of what the peasants call "Good Mother Winter" has been spread over the land. It is not too much to say that these photographs of which Messrs. Carrick and MacGregor exhibited about sixty in the Exhibition at St. Petersburg this year, are worth a whole library of ordinary tourist books to any one who wishes to get a really true idea of what Russian peasants are like. Tourists in Russia are very apt to err, but these photographs unmistakably tell the truth. Not a bad means of judging of the character of the Russian peasant is afforded by the collections which have been made of the stories and songs which give him pleasure. From the folk-lore of Russia some idea may be derived of the general tone of thought and sentiment among the common people of Russia, and of the nature of the views they take of life. There is a softness and kindliness in these legends and songs, from which it is easy to see that the people who tell them are kindly and tender-hearted, and imaginative. Nowhere is this national softness more visible than in the popular stories about the other world and the beings who tenant it, many of which are evidently old heathenish traditions, more or less modified by Christian influences. In one of them, for instance, we are told that a certain peasant went out to plough, and while he was at his work a little demon stole the dinner which the peasant had put aside. The peasant came to look for his meal, found that it had vanished, and said, "Here is a wonder; I have seen no one, but my dinner is gone; surely the devil must have taken it. Well, God be with him; I can do without it." The little demon went down below, and told the ruler of the lower world what had happened. "What!" said the fallen angel, "is there some one living who wishes God to be with me ? Take him back his dinner at once, and see that all goes well with him." And from that day the peasant prospered and became rich. Another story tells how a certain miser lay suffering in the lower world, until an opportunity was given him of communicating with his heirs, and telling them to turn to good uses the money which he had hidden away in the earth. Among other charitable actions they built a bridge with it, for the benefit of the village. One day a little child passed by, and saw the bridge, and said, "What a beautiful bridge! God bless the man that built it." And that same moment the misers soul was taken out of torment. Very touching also is the story of the peasant woman who died leaving behind her a little new-born child. After its mother's death, the child at first cried without ceasing all day and all night; but after a while the crying used to stop when night came, and in the early morning it would be found sleeping quietly and contentedly, though it recommenced its wailing as soon as it awoke. The family could not understand why it became soothed at night; so it was agreed to set a watch. A light was concealed in a pitcher, and, provided with this sort of dark lantern, the child's relatives waited in the room in which its cradle was placed till night fell. As long as the day lasted the child continued to cry, but the sound died away as darkness came on. The -watchers waited till all was still, and then they suddenly broke the pitcher which contained the light. Then they saw that the dead mother was bending over the cradle, and suckling her child, and when she saw the light she cried aloud and wrung her hands, and said, "Why did ye do this? For now my child must die." And so saying, she faded away; and from' that time forward the child refused to be comforted, and soon afterwards it died. W. R. S. RALSTON. * "Reports from H.M. Representatives respecting the Tenure of Land in the several Countries of Europe: 1869-70." |
| 58. |  | J.A. Whipple 1852 Daguerreotypes of the Sun and Moon Magazine page Google Books Annual of Scientific Discovery: or, Year-Book of Facts in Science and Art, for 1852 edited by David A. Wells (Boston: Gould and Lincoln, 1852), p.135. DAGUERREOTYPES OF THE SUN AND MOON. During the past season, Mr. J. A. Whipple, of Boston, aided by Mr. Bond, of the Cambridge Observatory, has succeeded in taking several large and beautiful daguerreotype likenesses of the moon, as seen by a high power, under the great equatorial of the Observatory. We have rarely seen anything in the range of the daguerreotype art of so great beauty, delicacy, and perfectness, as the pictures referred to. The inequalities and striking peculiarities of the moon's surface are brought out with such distinctness, that the various mountain ranges, highlands, and isolated peaks are at once recognized. Crater-formed depressions in some of the mountains may be also seen. The views represent the moon at quarter and half-quarter, and are from three to four inches in length. Mr. Whipple, with the aid of Mr. Bond, succeeded in daguerreotyping the solar eclipse of July, in its various stages; and also the sun's disk, with the various spots which appeared upon its surface in the spring of 1851. Several of these daguerreotypes were exhibited at the American and British Associations, and also at the Great Industrial Exhibition, where a medal was awarded to Mr. Whipple. Editor. |
| 59. |  | Lewis M. Rutherfurd 1869, October The Moon Magazine illustration, engraving Google Books Journal of the Franklin Institute, Vol.LXXXVIII, No.526, Third Series. Vol. LVIII, No.4, October, 1869, p.228. We now, however, give our readers an engraving that, for artistic beauty and delicate finish, excells even this, though on account of its smaller size, and the nature of the full phase, it is not available as a map, or useful for topographical study, as was the other. This picture was engraved by Messrs. Van Ingen & Snyder, under our inspection, from one of Mr. Rutherfurd's photographs for Prof. S. H. Peabody, to illustrate his work entitled The Elements of Astronomy, now in course of publication. This is, beyond doubt, the best engraving of its kind ever published, and reflects great credit on the artists who have produced it. If the other illustrations in Prof. Peabody's book equal this one, it will be without a rival in this respect, either in this country or in Europe. |
| 60. |  | Unidentified photographer / artist 1865 Horizontal Screw Engines of the Steam Yacht Brilliant, by Messrs. Day and Co., Southampton Engraving Google Books John Bourne A Catechism of the Steam Engine in its various Applications to Mines, Mills, Steam Navigation and Agriculture; with Practical Instructions for the Manufacture and Management of Engines of Every Class (London: Longman, Green, Longman, Roberts, & Green, 1865), p. fig.58. Messrs. Day & Co. The screw engine of Messrs. Day & Co. of Southampton is also of the horizontal steeple variety, but in most of the details it is the most judiciously arranged engine I have met with. A representation of Messrs. Day's engine is given in fig. 58, which is engraved from a photograph of the engines of the steam screw yacht Brilliant, of 100 horse power, constructed by Messrs. Day. This vessel is 191 ft. long, 21 ft. broad, and of 419 tons builder's measurement. There are two engines, each with a cylinder 40 in. diameter, and 2 ft. stroke; and with a pressure of steam in the boiler of 20 Ibs., and a vacuum in the condenser of 27 in. of mercury. The engines make 90 revolutions per minute, and exert 510 horse power. Fig. 59 contains two indicator diagrams taken from one of the engines, one diagram being taken from the cylinder on one side of the piston and the other diagram from the other side. |
| 61. |  | William Notman 1859 Framework of tube and staging no. 8, Victoria Bridge, Montreal, QC [Victoria Bridge, Montreal, QC] Silver salts on paper mounted on card - Albumen process 22 x 29 cm McCord Stewart Museum © McCord Museum, Gift of Mr. James Geoffrey Notman, N-0000.193.127 |
| 62. |  | William Notman 1860 Laying Bottom of Tube [Victoria Bridge, Montreal, QC] 21.5 cm McCord Stewart Museum © McCord Museum, Gift of Mr. David Ross McCord, M15934.30 Based on an 1859 photograph "Framework of tube and staging no. 8, Victoria Bridge, Montreal, QC" by William Notman. (McCord Museum, N-0000.193.127). Who made the print is not known. |
| 63. |  | William Notman 1859 Centre tube, Victoria Bridge, Montreal, QC [Victoria Bridge, Montreal, QC] Silver salts on paper mounted on card - Albumen process 21 x 26 cm McCord Stewart Museum © McCord Museum, Gift of Mr. James Geoffrey Notman, N-0000.193.135 |
| 64. |  | William Notman 1860 Centre tube in progress [Victoria Bridge, Montreal, QC] Coloured ink on paper 42.2 x 58.6 cm McCord Stewart Museum © McCord Museum, Gift of Mr. David Ross McCord, M15934.28 Based on 1859 photograph "Centre tube, Victoria Bridge, Montreal, QC" by William Notman (McCord Museum, N-0000.193.135). Who made the print is not known. |
| 65. |  | Joseph P. Babbitt 1869 Engineers and Surveyors on the Kansas City Bridge; Interior of Fixed Span Looking North Albumen print 8 x 10 in Charles Schwartz Ltd Charles Schwartz Ltd. (#6253) Published as a book illustration in William H. Maw,1872, Modern examples of road and railway bridges (Berlin : A. Asher), Plate LXVII. |
| 66. |  | Joseph P. Babbitt 1872 Bridge over the River Missouri, At Kansas City, U.S.; Kansas and Cameron Railroad. Mr. O. Chanute, engineer Book illustration Linda Hall Library of Science, Engineering and Technology Identifier: rr049004 Maw, William H., 1872, Modern examples of road and railway bridges (Berlin : A. Asher), Plate LXVII. Editorial note (Alan Griffiths - 3 February 2012) This is based on a 1968 albumen print made by Joseph P. Babbitt. |
| 67. |  | A. de Bonis 1860 (ca) Rome, Cloister of San Pietro in Vincoli Albumen print 24.7 x 19,5 ins (41.5 x 29.4 cm) Private collection of Giovanni Fanelli Source for an Illustration by Émile Thérond. Francis Wey, 1872, Rome, Description et souvenirs, (Paris: Hachette), p. 330 |
| 68. |  | A. de Bonis 1872 [Rome, Cloister of San Pietro in Vincoli] Book illustration 11.8 x 8 Private collection of Giovanni Fanelli Illustration by Émile Thérond based on photograph by Adriano De Bonis. Francis Wey, 1872, Rome, Description et souvenirs, (Paris: Hachette), p. 330 |
| 69. |  | A. de Bonis 1860 (ca) Rome, Interior of Santa Prassede Albumen print 19.2 x24.8 ins (41.5 x 29.5 cm) Private collection of Giovanni Fanelli Source for an Illustration by Émile Thérond. Francis Wey, 1872, Rome, Description et souvenirs, (Paris: Hachette), p. 514 |
| 70. |  | A. de Bonis 1872 [Rome, Interior of Santa Prassede] Book illustration 11.8 x 15.7 Private collection of Giovanni Fanelli Illustration by Émile Thérond based on photograph by Adriano De Bonis. Francis Wey, 1872, Rome, Description et souvenirs, (Paris: Hachette), p. 514 |
| 71. |  | Louis-Emile Durandelle 1866 Le Nouvel Opera de Paris-Sculpteur Autravail Albumen print 14 3/4 x 11 Lee Gallery (V1018) Title and photographer's name printed on center of mount under print. |
| 72. |  | Louis-Emile Durandelle 1875 (published) [Sculpture de la corniche] Woodblock illustration Google Books Charles Nuitter, Le Nouvel Opera, (Paris: Libraire Hachette et Cie, 1875), p.52. This woodcut is based upon an 1867 photograph by Louis-Emile Durandelle. |
| 73. |  | Delmaet & Durandelle 1868-1869 (ca) Sculptor Amié Millet with "Apollo Crowning Dance and Poetry," Full-scale plaster model for bronze statue mounted on the Paris Opera's Flytower Apex. Albumen print 28 x 33 cm George Eastman Museum Gift of Eastman Kodak Company, ex collection Gabriel Cromer |
| 74. |  | Louis-Emile Durandelle 1875-1881 Le Nouvel Opera de Paris. Statues Decoratives Albumen print 15 3/4 x 11 1/2 in Lee Gallery Image courtesy of the Lee Gallery (www.leegallery.com) |
| 75. |  | Louis-Emile Durandelle 1875 (published) [Groupe de M. Millet] Woodblock illustration Google Books Charles Nuitter, Le Nouvel Opera, (Paris: Libraire Hachette et Cie, 1875), p.45. This woodcut is based upon an 1867 photograph by Louis-Emile Durandelle. |
| 76. |  | 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. ' " |
| 77. |  | Henry Bailey Wade Garrick 1883 Lauriya, Asoka's Pillar Magazine illustration, lithograph Google Books Major-General A. Cunningham and H.B.W. Garrick Archaeological Survey of India - Reports of Tours in North and South Bihar, in 1880-1881 (Calcutta: Office of the Superintendent of Government Printing, 1883), Volume XVI, Plate XXVII. |
| 78. |  | John Thomson 1866 The Bayon Temple, Angkor Thom Albumen print British Library |
| 79. |  | 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. |
| 80. |  | Unidentified photographer 1859 [Ordnance Survey Building, Southampton] [The Report of the Committee on the Reduction of Ordnance Plans by Photography] Albumen print Library of Congress, Geography and Maps Division This photograph was included in an online posting to the British Photographic History website (http://britishphotohistory.ning.com/) in "Map Reproductions in Salted Paper by the English Ordnance Survey" by Adrienne Lundgren (November 29, 2011) For background see: Committee on the Reduction of the Ordnance Survey Plans by Photography (Printed by George Edward Eyer and William Spottiswoode, 1859) - 14 pages. A copy is held in the Geography and Maps Division of the Library of Congress. Further details on the location and accession number for this item are requested. |
| 81. |  | 1860, 18 May Perspective view of the Photographic Building constructed by the Ordnance Survey Department, at Southampton, designed by Colonel James, R.E. Magazine illustration Google Books Published in "The construction of glass rooms for photographic purposes" in "The Photographic News", Vol.IV, No.89, May 18, 1860, p.25 |
| 82. |  | Linnaeus Tripe 1855, September-October Colossal Statue of Gautama Close to the North End of the Bridge, Amerapoora Albumen silver print 9 3/4 x 13 1/8 in (24.7 x 33.3 cm) Metropolitan Museum of Art Loaned from the The British Library, London 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) |
| 83. |  | Linnaeus Tripe 1858 (published) Colossal Gautama Engraving State Library of Victoria Published in Henry Yule A narrative of the Mission sent by the Governor General of India to the Court of Ava in 1855, with Notices of the Country, Government, and People (London: Elder Smith, and Co., 1858) This engraving is based on plate 46 in the set of 120 photographs of Burma (now Myanmar) made by Linneaus Tripe in 1855 and print as a set in 1857. Few complete sets reain and there is one at the State Library of Victoria (Australia). |
| 84. |  | 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. |
| 85. |  | 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. |
| 86. |  | Felice Beato 1860 Interior view of the North Fort of Taku on the Peiho River, near Tientsin (Tianjin), China, following its capture by the English and French armies on August 21st 1860. The battlements and cannons are surrounded by Chinese corpses. Albumen print Wellcome Collection Wellcome Library, London (V0037624) |
| 87. |  | Felice Beato 1861 (published) Interior of the North Fort, Takoo, at the angle where the British Forces entered Lithograph Google Books Robert Swinhoe, Narrative of the North China Campaign of 1860; Containing Personal Experiences of Chinese Characters, and of the Moral and Social Condition of the Country; Together with a Description of the Interior of Pekin, (London, Smith, Elder and Co., 1861) From a Photograph by Signor Beato Published by Smith, Elder & Co., 85 Cornhill, London, 1861 Lithograph by Day & Son. |
| 88. |  | H.B. King 1853, 7 July Seth Eastman at Dighton Rock Daguerreotype, 1/2 plate J. Paul Getty Museum Object number: 84.XT.182 |
| 89. |  | 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. |
| 90. |  | Marie Théophile Louis Rousselet 1863-1868 Mausoleum Of the Emperor Hoomayoon, Delhi [Voyage dans L'Inde, plate 135] Albumen print 6 x 7 1/2 in (15 x 19 cm, image) 9 1/2 x 10 3/4 in (mount) J. Cosmas Vintage Photography Attached to a cream paper mount measuring 9 1/2"h x 10 3/4"w, with printed photographer's and publisher's credits, series and plate titles in French and English. It's possible that this is an extra plate that was never bound into a volume, and sold seperately by the publisher or photographer. Reproduced as a book illustration "Mausoleum of Houmayoun" in Louis Rousselet, India and its Native Princes: Travels in Central India and in the presidencies of Bombay and Bengal (Bickers), p. 521 |
| 91. |  | Marie Théophile Louis Rousselet 1888 (published) Mausoleum of Houmayoun Book illustration Google Books Reproduced as a book illustration "Mausoleum of Houmayoun" in Louis Rousselet, 1888, India and its Native Princes: Travels in Central India and in the presidencies of Bombay and Bengal (Bickers), p. 521 |
| 92. |  | J. Pascal Sebah 1865-1889 (ca) Cairo. Citadel and Mamluk Tombs Albumen print 8.2677 x 10.6299 ins (21 x 27 cm) Cornell University Library A. D. White Architectural Photographs, Cornell University Library Accession Number: 15/5/3090.01505 Mohammed Ali Mosque date: 1805-1848 Citadel date: 1176-ca. 1218 |
| 93. |  | J. Pascal Sebah 1885 Tombs of the Mamelukes Book illustration Google Books Karl Baedeker (Firm), 1885, Egypt: Handbook for Travellers : Part First, Lower Egypt, with the Fayum and the Peninsula of Sinai, (Karl Baedeker), illustration between pp. 326-327 |
| 94. |  | Southworth & Hawes 1845 The Branded Hand of Captain Jonathan Walker Daguerreotype, 1/6 plate Massachusetts Historical Society © Massachusetts Historical Society, Boston, MA, USA / The Bridgeman Art Library Nationality / copyright status: American / out of copyright The inscription on the back of the case reads: "This Daguerreotype was taken by Southworth Aug. 1845 it is a copy of Captain Jonathan Walker's hand as branded by the U.S. Marshall of the Dist. of Florida for having helped 7 men to obtain 'Life Liberty, and Happiness.' SS Slave Saviour Northern Dist. SS Slave Stealer Southern Dist." The Daguerreian Society provides the following information: The lateral reversing typical of a daguerreian image is corrected in a wood-engraving that appeared on the title page of "Trial and Imprisonment of Jonathan Walker, At Pensacola, Florida, for Aiding Slaves To Escape From Bondage, with an Appendix, containing a sketch of his life" (Boston: Published At The Anti-Slavery Office, 25 Cornhill. 1845.) A variant wood-engraving also appears with an extensive poem entitled "The Branded Hand" in the 16 September, 1845, "Salem Gazette" (Salem, Massachusetts.) The article mentions that the engraving was "copied from a Daguerreotype picture belonging to Dr. Bowditch." |
| 95. |  | Southworth & Hawes 1845 The Branded Hand of Captain Jonathan Walker Book illustration Google Books Published in "Trial and Imprisonment of Jonathan Walker, At Pensacola, Florida, for Aiding Slaves To Escape From Bondage, with an Appendix, containing a sketch of his life" (Boston: Published At The Anti-Slavery Office, 25 Cornhill. 1845.), front cover and title page. |
| 96. |  | Southworth & Hawes 1845 Title page of "Trial and Imprisonment of Jonathan Walker, At Pensacola, Florida, for Aiding Slaves To Escape From Bondage, with an Appendix, containing a sketch of his life" (Boston: Published At The Anti-Slavery Office, 25 Cornhill. 1845.) Title page Google Books Account of the event by Captain Walker (p.40,43): After the expiration of the hour, I was taken back of the court-house, and water given me to wash with, and then conducted into court again, to receive the remainder of my sentence. When about to be branded, I was placed in the prisoner's box. The marshal, Ebenezer Dorr, formerly of Maine, proceeded to tie my hand to a part of the railing in front. I remarked that there was no need of tying it, for I would hold still. He observed that it was best to make sure, and tied it firmly to the post, in fair view; he then took from the fire the branding-iron, of a slight red heat, and applied it to the ball of my hand, and pressed it on firmly, for fifteen or twenty seconds. It made a spattering noise, like a handful of salt in the fire, as the skin seared and gave way to the hot iron. The pain was severe while the iron was on, and for some time afterwards. There appeared to be but few that wished to witness the scene; but my friend, George Willis, placed himself where he could have a fair view, and feasted his eyes upon it, apparently with great delight. [Southworth & Hawes took a Daguerreotype of the branded hand of Captain Walker in 1845 and it was reproduced on the cover and title page for the book.] |
| 97. |  | Unidentified photographer / artist n.d. The Old Flag of the Second Michigan Infantry Book illustration Google Books Record of Service of Michigan Volunteers in the Civil War 1861-1865 (Senate and House of Representatives of the Michigan Legislature), p.20-21. Colonel O. M. Poe, commanding the regiment, obtained from the War Department a set of regulation infantry colors, which he presented, with a stirring speech, to the regiment, and the original flag was returned to its donors. The remnant of this second flag, tattered and battle-scarred, is shown in the above cut, reproduced from an old photograph. It has been carried in thirty-four engagements, and, under its folds, eleven officers and one hundred and ninety-four men have been killed in action, or mortally wounded. |
| 98. |  | Timothy H. O'Sullivan 1864, 21 May (event) A council of war at Massaponax Church, VA., 21st May, 1864. Gen. Grant and Meade, Asst. Sec. of War, Dana, and their staff officers. Stereoview New York Historical Society Repository: New-York Historical Society, nhnycw/ad ad09025, Call Number: PR-065-779-25 This stereoview was included on the American Memory website (memory.loc.gov) |
| 99. |  | Timothy H. O'Sullivan 1864, 21 May (event) A council of war at Massaponax Church, VA., 21st May, 1864. Gen. Grant and Meade, Asst. Sec. of War, Dana, and their staff officers. Stereoview, right New York Historical Society Repository: New-York Historical Society, nhnycw/ad ad09025, Call Number: PR-065-779-25 This stereoview was included on the American Memory website (memory.loc.gov) Contrast has been enhanced to improve clarity. |
| 100. |  | Timothy H. O'Sullivan 1864, 21 May (event) The war in Virginia Lieutenant General Grant in a council of war at Massaponax Church Graphic Library of Congress, Prints and Photographs Division LC Control No.: 2004670514 , LC-DIG-pga-01674 DLC (digital file from original print) Timothy O'Sullivan took the original photograph upon which this illustration was based. |
| 101. |  | 1864, 21 May (event) 1887, June (published) General Grant and staff at Bethesda Church; General Grant is sitting with his back to the smaller tree. (from a war-time photograph.) Magazine illustration NYPL - New York Public Library Digital ID: 813592, Record ID: 702789 Timothy O'Sullivan took the original photograph upon which this illustration was based. Stereoviews upon which this illustration was based were taken at Massaponax Church, Va. Century magazine, [New York : The Century Co.]. Artist: Gabor. |
| 102. |  | Richard Beard 1861 Title page for "London Labour and the London Poor", Volume III by Henry Mayhew (London: Griffin, Bohn, and Company, 1861) Title page Google Books |
| 103. |  | Richard Beard 1861 The Coster-Girl Book illustration Google Books Published in "London Labour and the London Poor", Volume 1 by Henry Mayhew (London: Griffin, Bohn, and Company, 1861). |
| 104. |  | Richard Beard 1861 Orange Mart, Dukes Place Book illustration Google Books Published in "London Labour and the London Poor", Volume 1 by Henry Mayhew (London: Griffin, Bohn, and Company, 1861). |
| 105. |  | Unidentified Daguerreotype/ Artist 1853, March (published) Durham Bull, Henry Clay, Two years old, bred and owned by A. Bolmar, West Chester, Pa. Magazine illustration, from a Daguerreotype Google Books The portraits of bull and cow on opposite page, engraved from daguerreotype likenesses, are specimens of what may be attained by scientific and judicious crosses of choice native stock, with selected thorough bred Durham bulls. They are grade animals, the bull being 15-16, and the cow 7/8 Durham, and are fully equal in some points to thorough breds. They were bred and are now owned by A. Bolmar, of West Chester, proprietor of the celebrated boarding school Institution, which bears his name, and whose herd of cows and heifers, 41 in number, all of his own raising, and more or less mixed with Durham blood, have been pronounced by good judges superior as a whole to any dairy of the same number in this section of country. "Improved Stock", The Pennsylvania Farm Journal, March 1853, Vol.2, No.12, p.379 (Accessed: Google Books, 15 April 2012) |
| 106. |  | Unidentified photographer / artist 1853, August Silesian Merino Magazine page Google Books The Journal of Agriculture (Boston), Volume 3, No.2, August, 1853, p.44. A letter to the Editor from George Campbell (West Westminster, Vt., July 5th, 1852). Mr. Editor, I send you the cut representing a group of Silesian Merino Ewes, representing them precisely as they were when taken by a daguereotype standing in a yard. Their position does not fully develop all their good points; still enough is exhibited to show the character of the sheep. Note from the editor (p.45): We have heretofore favorably noticed the flocks of Mr. Campbell, and commended him as a fair dealer to all who contemplate a purchase of sheep. At our suggestion he caused a daguerreotype drawing to be made of his sheep, from which the engraving at the head of this article and one of French Merinos in a former No., was executed by F. E. Fox of No. 6 School street, Boston. In our estimation they are the best and most sheepish looking pictures that have appeared in any periodical in America; and so thinking we leave our friend, who desire faithful and life-like likenesses of their stock to profit by this hint. |
| 107. |  | Unidentified photographer / artist 1853, November The Ayrshire Bull Magazine page Google Books The Journal of Agriculture (Boston), Volume 3, No.4, November 1853, p.145. The Ayrshire Bull belonging to the N. H. Asylum is the best of that breed that we ever saw. To show farmers what a perfect animal is, and thus to form their taste and judgment, it is well to have cuts of such animals engraved. From a Daguerreotype of a beast, a very fine engraving can be made in Boston for ten to twenty dollars, according to the size and degree of finish; and copies may be multiplied, by stereotyping, at 50 to 75 cents each. We will with pleasure superintend the engraving of any portrait that may be forwarded to us at Boston. |
| 108. |  | Unidentified photographer / artist 1851, October The American and French Fashions Contrasted Magazine page Google Books The Water-Cure Journal (New York), Vol.XII, No.4, October, 1851, p.96. We herewith present our readers with engraved views of the prevailing European and [proposed] American Fashions. No. 1 represents Mrs. Amelia Bloomer, of Seneca Falls, N. Y. It was engraved from a Daguerreotype for the Cayuga Chief, an excellent newspaper published in Auburn, N. Y., and kindly loaned to us by Mr. Thurlow W. Brown, the gentlemanly proprietor. No. 2 was copied by our own Engraver, from the Illustrated London News, and is an exact copy of the original, without variation; and is a perfect representation of the French Fashions, as worn in July last. We submit the two styles side by side, for the consideration of American Women. |
| 109. |  | Unidentified photographer / artist 1851, October No.1 the American Costume Magazine page Google Books The Water-Cure Journal (New York), Vol.XII, No.4, October, 1851, p.96. No. 1 represents Mrs. Amelia Bloomer, of Seneca Falls, N. Y. It was engraved from a Daguerreotype for the Cayuga Chief, an excellent newspaper published in Auburn, N. Y., and kindly loaned to us by Mr. Thurlow W. Brown, the gentlemanly proprietor. |
| 110. |  | 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 |
| 111. |  | 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 |
| 112. |  | Noël Marie Paymal Lerebours 1841-1842 (publication) Italie. Port Ripetta à Rome [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: 1690380 Additional Name(s): Lerebours, N.-P. (Noël Paymal), 1807-1873 - Photographer |
| 113. |  | Noël Marie Paymal Lerebours 1841-1842 (publication) France. Maison Elevée, rue St. Georges [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: 1690381 Additional Name(s): Fizeau, H. (Hippolyte), 1819-1896 - Associated name, Lerebours, N.-P. (Noël Paymal), 1807-1873 - Photographer |
| 114. |  | Humphrey Lloyd Hime 1858 The prairie, on the banks of Red River, looking south [Assiniboine and Saskatchewan Exploring Expedition] Print, type uncertain Library and Archives Canada Ref. No: C-018694 |
| 115. |  | Humphrey Lloyd Hime 1860 The prairie looking west [Assiniboine and Saskatchewan Exploring Expedition] Chromoxylograph Library and Archives Canada Ref. No: e000009450 A chromoxylograph (a colour wood engraving, "chromo" meaning colour and "xylo" indicating wood) that was produced from a Hime photograph having the same title. Henry Youle Hind Narrative of The Canadian Red River Exploring Expedition of 1857 and the Assinniboine and Saskatchewan Exploring Expedition of 1858 (London: Longman, Green, Longman, and Roberts, 1860) Two volumes. Illustration printed Spottiswoode and Company. |
| 116. |  | Unidentified photographer / artist 1857 Misericordia Book page Google Books Rev. Daniel Parish Kidder and Rev. James Cooley Fletcher Brazil and the Brazilians: Portrayed in Historical and Descriptive Sketches (Philadelphia: Childs & Peterson, 1857), p.114. The new buildings of the Misericordia are upon a grand scale, and the view of it to those entering the harbor is, architecturally considered, truly magnificent. It is constructed of stone, and is six hundred feet in length. There is only the half of the immense structure presented to the eye as we look at the sketch below, engraved from a daguerreotype; and the reader will be astonished at the size of this noble beneficiary edifice when he is informed that it is a double building, and that its twin-brother is in the rear of it; but it is so connected as to form several airy quadrangular courts. With its modern improvements, insuring superior ventilation, light, and cleanliness, with its flower-gardens and shrubberies for the recreation and exercise of the convalescent, with its cool fountains, its spacious apartments, kind attendants, and beautiful situation, this hospital is, as has been well said, "a credit to the civilization of the age, and a splendid monument of the munificence and benevolence of the Brotherhood of Mercy. |
| 117. |  | Unidentified photographer / artist 1865 Guadalajara - Palace of the Duke Infantado Engraving Google Books George Edmund Street Some Account of Gothic Architecture in Spain (London, John Murray, 1865). In a footnote at the bottom of p.203 it says "The illustration of this courtyard is engraved from a photograph." |
| 118. |  | John Ruskin 1884 (publication) John Ruskin "the Seven Lamps of Architecture", Plate XI Book illustration Google Books John Ruskin The Seven Lamps of Architecture (New York: John Wiley & Sons, 1884), Plate XI, between p.124-125. |
| 119. |  | John Ruskin 1886 Part of the Chapel of St. Mary of the Thorn, PISA, as it was 27 years ago. Now in Ruins. Book illustration Google Books John Ruskin Fors Clavigera: Letters to the Workmen and Labourers of Great Britain, Volume 1, (New York: John Wiley & Sons, 1886), p.265-266. From Letter XX, (Venice, 3rd July, 1872). It was some comfort to me, that second of May last, at Pisa, to watch the workman's ashamed face, as he struck the old marble cross to pieces. Stolidly and languidly he dealt the blows, down-looking, so far as in any wise sensitive, ashamed, and well he might be. It was a wonderful thing to see done. This Pisan chapel, first built in 1230, then called the Oracle, or Oratory, "Oraculum, vel Oratorium " of the Blessed Mary of the New Bridge, afterwards called the Seabridge, (Ponte-a-Mare,) was a shrine like that of ours on the bridge of Wakefield; a boatman's praying-place: you may still see, or might, ten years since, have seen, the use of such a thing at the mouth of Boulogne Harbour, when the mackerel boats went out in a fleet at early dawn. There used to be a little shrine at the end of the longest pier; and as the Bonne Esperance, or Grace-de-Dieu, or Vierge Marie, or Notre Dame des Dunes, or Reine des Anges, rose on the first surge of the open sea, their crews bared their heads, and prayed for a few seconds. So also the Pisan oarsmen looked back to their shrine, rnany-pinnacled, standing out from the quay above the river, as they dropped down Arno under their sea bridge, bound for the Isles of Greece. Later, in the fifteenth century, "there was laid up in it a little branch of the Crown of Thorns of the Redeemer, which a merchant had brought home, enclosed in a little urn of Beyond-sea" (ultramarine) and its name was changed to "St. Mary's of the Thorn." In the year 1840 I first drew it, then as perfect as when it was built. Six hundred and ten years had only given the marble of it a tempered glow, or touched its sculpture here and there, with softer shade. I daguerreotyped the eastern end of it some years later, (photography being then unknown), and copied the daguerreotype, that people might not be plagued in looking, by the lustre. The frontispiece to this letter is engraved from the drawing, and will show you what the building was like. But the last quarter of a century has brought changes, and made the Italians wiser. British Protestant missionaries explained to them that they had only got a piece of blackberry stem in their ultramarine box. German philosophical missionaries explained to them that the Crown of Thorns itself was only a graceful metaphor. French republican missionaries explained to them that chapels were inconsistent with liberty on the quay; and their own Engineering missionaries of civilization explained to them that steam-power was independent of the Madonna. And now in 1872, rowing by steam, digging by steam, driving by steam, here, behold, are a troublesome pair of human arms out of employ. So the Engineering missionaries fit them with hammer and chisel, and set them to break up the Spina Chapel. A costly kind of stone-breaking, this, for Italian parishes to set paupers on! Are there not rocks enough of Apennine, think you, they could break down instead? For truly, the God of their Fathers, and of their land, would rather see them mar His own work, than His children's, Believe me, faithfully yours, John Ruskin |
| 120. |  | 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. |
| 121. |  | 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. |
| 122. |  | 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. |
| 123. |  | George Skene Keith 1859 Jerusalem 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. |
| 124. |  | 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. |
| 125. |  | Eliphalet Brown 1856 Title page for "Narrative of the Expedition of an American Squadron to the China Seas and Japan; Performed in the Years 1802, 1853, and 1854, Under the Command of Commodore M. C. Perry, U. S. Navy" (New York : D. Appleton & Co.,1856) Title page Google Books |
| 126. |  | C.F. Tyrwhitt-Drake 1871 (published) El 'Aujeh 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), Frontispiece. 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. |
| 127. |  | Eliphalet Brown 1856 Japanese Cago Book illustration Google Books Illustration in "Narrative of the Expedition of an American Squadron to the China Seas and Japan; Performed in the Years 1852, 1853, and 1854, Under the Command of Commodore M. C. Perry, U. S. Navy" (New York : D. Appleton & Co.,1856). This illustration is entitled "Kago Car." on the plate but in the errata list is corrected to "Japanese Cago". A number of the plates in this volume were based on Daguerreotypes, now lost, by Eliphalet Brown but I'm not sure which ones those were. (Alan Griffiths, March 2010) |
| 128. |  | Eliphalet Brown 1856 Japanese Women Book illustration Google Books Illustration in "Narrative of the Expedition of an American Squadron to the China Seas and Japan; Performed in the Years 1852, 1853, and 1854, Under the Command of Commodore M. C. Perry, U. S. Navy" (New York : D. Appleton & Co.,1856). A number of the plates in this volume were based on Daguerreotypes, now lost, by Eliphalet Brown but I'm not sure which ones those were. (Alan Griffiths, March 2010) |
| 129. |  | Charles Clifford 1860 Charles Clifford permitted the use of his photographs to illustrate Rev. Richard Roberts "An Autumn Tour in Spain in the Year 1859" (London: Saunders, Otley, and Co., 1860) Book page Google Books Notice The Author takes the present opportunity of acknowledging his obligations to C. Clifford, Esq., 13, Calle de Las Infantas, Madrid, who, with great kindness and liberality, has permitted the use of his admirable Photographs to illustrate this Volume. |
| 130. |  | Charles Clifford 1860 Mezquita, Cordova Book plate Google Books Charles Clifford permitted the use of his photographs to illustrate Rev. Richard Roberts "An Autumn Tour in Spain in the Year 1859" (London: Saunders, Otley, and Co., 1860) between p.336-337. Notice The Author takes the present opportunity of acknowledging his obligations to C. Clifford, Esq., 13, Calle de Las Infantas, Madrid, who, with great kindness and liberality, has permitted the use of his admirable Photographs to illustrate this Volume. |
| 131. |  | Charles Clifford 1860 Court of Lions, Alhambra Book plate Google Books Charles Clifford permitted the use of his photographs to illustrate Rev. Richard Roberts "An Autumn Tour in Spain in the Year 1859" (London: Saunders, Otley, and Co., 1860) between p.408-409. Notice The Author takes the present opportunity of acknowledging his obligations to C. Clifford, Esq., 13, Calle de Las Infantas, Madrid, who, with great kindness and liberality, has permitted the use of his admirable Photographs to illustrate this Volume. |
| 132. |  | 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] |
| 133. |  | 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 |
| 134. |  | 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 |
| 135. |  | John Thomson 1869 Peking, Pechili province, China: a travelling chiropodist. Glass plate Wellcome Collection Wellcome Library, London (L0055933) This plate was later copied for a wood engraving by Henri-Théophile Hildibrand after Etienne Antoine Eugène Ronjat which can be located at the Wellcome Library, London (V0016866, Library reference no.: ICV No 17008) |
| 136. |  | John Thomson 1869 (after) A travelling chiropodist tending to a male patient's foot, China. Wood engraving 16.4 x 11.3 cm Wellcome Collection Wellcome Library, London (V0016866, Library reference no.: ICV No 17008) Wood engraving by Henri-Théophile Hildibrand after Etienne Antoine Eugène Ronjat after J. Thomson. Pédicure ambulant. - Dessin de E. Ronjat, d'apres une photographie de M. Thomson. Hildibrand. |
| 137. |  | Felice Beato 1868 (ca) The Executioner Albumen print, with hand-coloring 7 5/8 x 6 1/4 in (19.3675 x 15.875 cm) (image) Smith College Museum of Art Purchased with the Hillyer-Tryon-Mather Fund, with funds given in memory of Nancy Newhall (Nancy Parker, class of 1930) and in honor of Beaumont Newhall, and with funds given in honor of Ruth Wedgwood Kennedy, SC 1982:38-2 (49) THE EXECUTIONER. DECAPITATION by means of a sword is the most common form of capital punishment in Japan. The criminal is made to kneel on a little mat placed in front of a small rectangular pit, about 2 or 3 feet deep, dug in the ground. He is usually blindfolded, and is made to stretch his head, with his neck uncovered, over the pit. On the signal being given, the executioner whisks off the wretched man's head at one blow. à The view represents the execution ground, about a couple of miles from Yokohama, where the murderer of Major Baldwin and Lieut. Bird, the notorious Shimidzu Seiji was executed in December 1864. The executioner is a well known old practitioner, who, by his own account, has in a year when business is brisk, a very tolerable income. He receives some 7 ichiboos (about $2.30) per head, and has taken off as many as 350 heads in a twelvemonth. His office, however, is a despised one. |
| 138. |  | Felice Beato 1869 (published) Executioner and criminal Book illustration Google Books R. Mounteney Jephson and Edward Pennell Elmhirst, 9th Regiment, Our Life in Japan. With illustrations from Photographs by Lord Walter Kerr, Signor Beato, and Native Japanese drawings, (London: Chapman and Hall, 1869), p.30 |
| 139. |  | Frith 1875 (published) City of Shrinagar, From a Photograph by Frith Book illustration Google Books Published in Frederic Drew The Jummoo and Kashmir Territories. A Geographical Account (London: Edward Stanford, 1875) |
| 140. |  | Timothy H. O'Sullivan 1869, June The Photographer's Outfit Magazine illustration Google Books Published in "Photographs from the High Rockies" in "Harper's New Monthly Magazine", No. CCXXXII, September, 1869, Vol. XXXIX, p.466 |
| 141. |  | Timothy H. O'Sullivan 1867 Timothy O'Sullivan's ambulance wagon and portable darkroom used during the King Survey rolls across the sand dunes of Carson Desert, Nev. National Archives and Records Administration 77-KS-346O |
| 142. |  | Timothy H. O'Sullivan 1869, June Shifting Sand-Mounds Magazine illustration Google Books Published in "Photographs from the High Rockies" in "Harper's New Monthly Magazine", No. CCXXXII, September, 1869, Vol. XXXIX, p.474 |
| 143. |  | Timothy H. O'Sullivan 1868 A member of Clarence King's Geological Exploration of the 40th Parallel is surveying from a rock. Shoshone Canyon and Falls, Idaho Terr., in background. National Archives and Records Administration 77-KS-4412 |
| 144. |  | Timothy H. O'Sullivan 1869, June Above the Shoshone Falls Magazine illustration Google Books Published in "Photographs from the High Rockies" in "Harper's New Monthly Magazine", No. CCXXXII, September, 1869, Vol. XXXIX, p.474 |
| 145. |  | William Henry Jackson 1872 William Jackson with his "dark box" in the Teton Range. Photographing in High Places Albumen print, dome topped George Eastman Museum Museum purchase: 74:0041:0291 Half of a stereo pair. This photograph has been widely published including: Jackson, William Henry Descriptive Catalogue of the Photographs of the USGS of the Territories for the Years 1869 to 1875 Inclusive ( Washington, DC: US Government Printing Office, 1875) p. 47. Jackson, Clarence S. Picture Maker of the Old West: William Henry Jackson (New York: Charles Scribners & Sons, 1947) p. 166. |
| 146. |  | William Henry Jackson 1871 Photographing in High Places Albumen print National Parks Service Yellowstone Digital Slide File, Jackson Photos (Accessed: March 2010) |
| 147. |  | William Henry Jackson 1873, June Photographing in High Places Magazine illustration Google Books Nathaniel Langford, "The Ascent of Mount Hayden: A New Chapter of Western Discovery", Scribner's Monthly, Vol.VI, No.2, June, 1873, p.129-157 Mr. Jackson, our persevering photographic artist, took a great number of views of the scenery in this vicinity including many of the cascades in the Canon, and the Tetons from all points of the compass. He is an indefatigable worker, and as often camps alone in some of the wild glens as with the company. Give him fine scenery, and he forgets danger and difficulty in the effort to "get a negative." Editorial note (AG, 11 March 2011): Nathaniel Pitt Langford was a prominent member of the Washburn Expedition of 1870, a lobbyist for making Yellowstone the first national park, and the first park superintendent. Mt. Langford in eastern Yellowstone is named after him. |
| 148. |  | 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 |
| 149. |  | Unidentified photographer / artist 1848 Chunjuju Book illustration Google Books John L. Stephens Incidents of Travel in Yucatan, Vol.II (New York: Harper & Brothers, 1848) |
| 150. |  | 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) |
| 151. |  | 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. |
| 152. |  | Unidentified photographer / artist 1867 Tower of Burgh-Mousa, from a photograph by Mr Marwick Book illustration Google Books William Chambers My Holidays (Printed for private circulation, 1867), p.77. There is a signed copy in Harvard University Library. The Mr Marwick who took the photograph was the Town-clerk of Edinburgh. |
| 153. |  | 1840 Book cover for Title page for "Paris et ses Environs Reproduits par le Daguerrotype" Sous la Direction de M. Ch. Philipon (Paris: Chez Aubert et Cie, 1840) Book cover Google Books |
| 154. |  | Unidentified photographer / artist 1840 Place de la Colonne Vendome Book plate Google Books Published in Title page for "Paris et ses Environs Reproduits par le Daguerrotype" Sous la Direction de M. Ch. Philipon (Paris: Chez Aubert et Cie, 1840), plate 1. |
| 155. |  | Unidentified photographer / artist 1840 Fontain des Innocens Book plate Google Books |
| 156. |  | Unidentified photographer / artist 1840 Pont Neuf du Quai Conti Book plate Google Books |
| 157. |  | Unidentified photographer / artist 1840 Notre Dame de Paris Book plate Google Books |
| 158. |  | Unidentified photographer / artist 1840 Le Pont au Change Book plate Google Books |
| 159. |  | Unidentified photographer / artist 1855 Title page for "Bruges, ses Monuments et ses Tableaux" edited by Daveluy (Bruges, Daveluy, 1855). Title page Google Books |
| 160. |  | Unidentified photographer / artist 1855 Vue de la Chapelle du St. Sang Book plate Google Books Published in "Bruges, ses Monuments et ses Tableaux" edited by Daveluy (Bruges, Daveluy, 1855). Some of the plates are referred to as the "Collection du Daguerreotype" but I'd like to see it confirmed that actual Daguerreotypes were made. [Further information requested.] |
| 161. |  | Unidentified photographer / artist 1855 Hotel de Ville Book plate Google Books Published in "Bruges, ses Monuments et ses Tableaux" edited by Daveluy (Bruges, Daveluy, 1855). Some of the plates are referred to as the "Collection du Daguerreotype" but I'd like to see it confirmed that actual Daguerreotypes were made. [Further information requested.] |