 |
Register Subscribe Login |
| 1. |  | Louis Jacques Mandé Daguerre 1839 Fossils and Shells Daguerreotype Musée des arts et métiers |
| 2. |  | Henry Fox Talbot 1844 (published) Articles of China [The Pencil of Nature, Part 1, pl. 3] Calotype Hans P. Kraus, Jr., Inc. Taken from the reproductions in Larry J. Schaaf, H. Fox Talbot's The Pencil of Nature; Anniversary Facsimile (New York: Hans P. Kraus, Jr. Inc., 1989). The originals selected for this publication were the best single examples available for each plate. Not to be reproduced without permission of H.P. Kraus, Jr. From the specimen here given it is sufficiently manifest, that the whole cabinet of a Virtuoso and collector of old China might be depicted on paper in little more time than it would take him to make a written inventory describing it in the usual way. The more strange and fantastic the forms of his old teapots, the more advantage in having their pictures given instead of their descriptions. And should a thief afterwards purloin the treasures if the mute testimony of the picture were to be produced against him in court it would certainly be evidence of a novel kind; but what the judge and jury might say to it, is a matter which I leave to the speculation of those who possess legal acumen. The articles represented on this plate are numerous: but, however numerous the objects however complicated the arrangement the Camera depicts them all at once. It may be said to make a picture of whatever it sees. The object glass is the eye of the instrument the sensitive paper may be compared to the retina. And, the eye should not have too large a pupil: that is to say, the glass should be diminished by placing a screen or diaphragm before it, having a small circular hole, through which alone the rays of light may pass. When the eye of the instrument is made to look at the objects through this contracted aperture, the resulting image is much more sharp and correct. But it takes a longer time to impress itself upon the paper, because, in proportion as the aperture is contracted, fewer rays enter the instrument from the surrounding objects, and consequently fewer fall upon each part of the paper. H. Fox Talbot, The Pencil of Nature, (London: Longman, Brown, Green and Longmans, 1844) |
| 3. |  | Henry Fox Talbot 1844 (published) Articles of Glass [The Pencil of Nature, Part 1, pl. 4] Calotype Hans P. Kraus, Jr., Inc. Taken from the reproductions in Larry J. Schaaf, H. Fox Talbot's The Pencil of Nature; Anniversary Facsimile (New York: Hans P. Kraus, Jr. Inc., 1989). The originals selected for this publication were the best single examples available for each plate. Not to be reproduced without permission of H.P. Kraus, Jr. The photogenic images of glass articles impress the sensitive paper with a very peculiar touch, which is quite different from that of the China in Plate III. And it may be remarked that white china and glass do not succeed well when represented together, because the picture of the china, from its superior brightness, is completed before that of the glass is well begun. But coloured china may be introduced along with glass in the same picture, provided the colour is not a pure blue: since blue objects affect the sensitive paper almost as rapidly as white ones do. On the contrary, green rays act very feebly an inconvenient circumstance, whenever green trees are to be represented in the same picture with buildings of a light hue, or with any other light coloured objects. H. Fox Talbot, The Pencil of Nature, (London: Longman, Brown, Green and Longmans, 1844) |
| 4. |  | Henry Fox Talbot 1844 (published) Bust of Patroclus [The Pencil of Nature, Part 1, pl. 5] Calotype Hans P. Kraus, Jr., Inc. Taken from the reproductions in Larry J. Schaaf, H. Fox Talbot's The Pencil of Nature; Anniversary Facsimile (New York: Hans P. Kraus, Jr. Inc., 1989). The originals selected for this publication were the best single examples available for each plate. Not to be reproduced without permission of H.P. Kraus, Jr. Statues, busts, and other specimens of sculpture, are generally well represented by the Photographic Art; and also very rapidly, in consequence of their whiteness. These delineations are susceptible of an almost unlimited variety: since in the first place, a statue may be placed in any position with regard to the sun, either directly opposite to it, or at any angle: the directness or obliquity of the illumination causing of course an immense difference in the effect. And when a choice has been made of the direction in which the sun's rays shall fall, the statue may be then turned round on its pedestal, which produces a second set of variations no less considerable than the first. And when to this is added the change of size which is produced in the image by bringing the Camera Obscura nearer to the statue or removing it further off, it becomes evident how very great a number of different effects may be obtained from a single specimen of sculpture. With regard to many statues, however, a better effect is obtained by delineating them in cloudy weather than in sunshine. For, the sunshine causes such strong shadows as sometimes to confuse the subject. To prevent this, it is a good plan to hold a white cloth on one side of the statue at a little distance to reflect back the sun's rays and cause a faint illumination of the parts which would otherwise be lost in shadow. H. Fox Talbot, The Pencil of Nature, (London: Longman, Brown, Green and Longmans, 1844) |
| 5. |  | Unidentified photographer / artist 1858 (ca) Whole Plate Chair Whole plate collodion-on-glass image Christopher Wahren Fine Photographs Courtesy of Christopher Wahren Fine Photographs (ga03) Comments from Christopher Wahren: "Fascinating salesman's sample image ca. 1858. Numbered cards were placed under the chair before photographing which spell out "64-12" (or perhaps "64-1/2"). Because this collodion-era whole-plate image is currently housed with materials that seem quite recent, we are left with a question of whether it was originally produced for use in albumen printing (wet-plate collodion negative) or to view by itself against a dark ground (ambrotype). I have seen daguerreotypes produced in a very similar way (down to the small numbered cards in image) and in those cases there can be no question that the original itself was intended for use. Either albumen prints produced from a collodion negative, or similar plates used as ambrotypes, would have been a considerable savings in freight to the traveling salesman." |
| 6. |  | Charles Marville 1851-1852 (ca) Statue of St. Jacque, Paris Eglise de la Sainte-Chapelle Salt print, paper negative 13 3/4 x 10 1/8 in Lee Gallery Courtesy of Lee Gallery (S2086) The face of the sitter is probably Daubigny, the famous painter and friend of the sculptor V. Geoffroy-Dechaume, |
| 7. |  | John Dillwyn Llewelyn 1854 (ca) Still Life: classical vase with fruit Collodion negative Swansea Museum, Library Swansea Museum, Library (SWASM:SM1987.845.101) |
| 8. |  | Louis Jules Duboscq 1850 (ca) Still life with skull Daguerreotype, 1/6 plate 8.3 x 6.9 cm George Eastman Museum Gift of Eastman Kodak Company: ex-collection Gabriel Cromer (GEH NEGS: 23334 8518, 70:0001:0187) |
| 9. |  | Anthony's n.d. #4569 Set of Jewelry, Presented to Mrs. Gen. Grant, by Brown & Spaulding, Jewelers, N.Y. the wood used in this set was cut from the apple Tree under which Gen. Lee negotiated with Gen. Grant's officers, on the morning of his surrender, April 9th, 1865. [Anthony's Stereoscopic Views (yellow mount)] Stereocard, detail Jefferson Stereoptics Courtesy of John Saddy (Auction, Tue, Dec 12, 2006 & Thu, Dec 14, 2006, # 06-4, Lot 215) |
| 10. |  | Bell & Bro. n.d. Interior of the Smithsonian (Detail) [Views of Washington D.C.] Stereocard Jefferson Stereoptics Courtesy of John Saddy (Auction, Tues. May 23rd & Thurs. May 25th, 2006, # 06-2, Lot 548) |
| 11. |  | Unidentified photographer / artist 1862 148 Case of Game Birds of Nova Scotia (Detail) [The International Exhibition of 1862] Stereocard Jefferson Stereoptics Courtesy of John Saddy (Auction, Tues. May 23rd & Thurs. May 25th, 2006, # 06-2, Lot 667) |
| 12. |  | William England 1873 #21 the Maiden's Prayer, Marble Bust by Angelo Arcenti, Italy [International Exhibition 1873] Stereocard Jefferson Stereoptics Courtesy of John Saddy (Auction, Tues. May 23rd & Thurs. May 25th, 2006, # 06-2, Lot 701) Published by the London Stereoscopic Company. |
| 13. |  | Goupil studio 1871 (published) Buste de Vierge Woodburytype 9.75 x 7.5 in (25x19 cm) Christopher Wahren Fine Photographs Courtesy of Christopher Wahren Fine Photographs (fc45.10) Woodburytype of antique furnishings from the Collection AM. Mounted on large decorative sheet 24 x 17.5 inches (60x45 cm) with printed border, titles and attribution. |
| 14. |  | Goupil studio 1871 (published) Tapisserie Italienne Woodburytype 7.5 x 9.75 in (19x25 cm) Christopher Wahren Fine Photographs Courtesy of Christopher Wahren Fine Photographs (fc45.32) Woodburytype of antique furnishings from the Collection AM. Photograph by Goupil studio, published 1871. Mounted on large decorative sheet 24 x 17.5 inches (60x45 cm) with printed border, titles and attribution. |
| 15. |  | Louis-Emile Durandelle 1879 Bronzes Albumen print 14 3/4 x 9 5/8 Lee Gallery (S2101) Title and photographer's name on mount on recto. |
| 16. |  | Louis-Emile Durandelle 1875-1881 Le Nouvel Opera de Paris. Sculpture Ornementale Albumen print 10 3/4 x 14 11/16 Lee Gallery (T1259) Series title, editor's and photographer's credits printed on mount on recto. |
| 17. |  | Unidentified photographer 1875 (ca) Machine - Possibly a Meat Tenderizer Albumen print Charles Schwartz Ltd Courtesy of Charles Schwartz (#8391) Likely a patent photograph. Photographer stamp on verso, from New Bedford, MA. It is mounted on a carte de visite. |
| 18. |  | Otto Muller (Oelsnitz, Germany) 1900 Meat Grinder Cabinet card Private collection of Brad Feuerhelm |
| 19. |  | Unidentified photographer / artist n.d. A press Carte de visite Larry Gottheim, Be-hold, Inc Courtesy of Larry Gottheim - Be-Hold (48 / 38) This is shown outside a building. |
| 20. |  | L. Subercaze (Pau, France) n.d. A lectern Carte de visite Paul Frecker |
| 21. |  | Wm. Field Putney 1885 (book published) A violin by Andreas Amati: One of 24 made by Andreas Amati for Charles IX, King of France Woodburytype Private collection of Nigel Maister Published in the book: Ed. Heron-Allen (1885) "Violin-Making (As It Was and Is): being a Historical, Theoretical and Practical Treatise on the Science and Art of Violin-Making, for the use of Violin Makers and Players, Amateur and Professional" (London: Ward, Lock and Co.) This woodburytype was printed by Vincent Brooks. |
| 22. |  | Unidentified photographer 1890-1900 Rats Cyanotype Private collection of Steven Evans |
| 23. |  | Stadler Photographing Company 1900 (ca) Babies Lawn Caps Silver print 24.8 x 30.5 cm (9 3/4 x 12 in) American Art Museum, Smithsonian Institution Museum purchase from the Charles Isaacs Collection made possible in part by the Luisita L. and Franz H. Denghausen Endowment |
| 24. |  | Bisson frères 1860 (ca) Museum Artifacts Lightly albumenized salt print 220 x 295 mm 8 1/2 x 11 3/4 in Antiq-Photo Courtesy of Anthony Davis - Antiq-photo / Rainbow creations (www.19cPhoto.com - 2pe44) |
| 25. |  | S. Bettoney 1880 (or later) Roman Antiquities found by Mr. J. Robinson and others in 1880 Carte de visite Paul Frecker A printed paper label neatly glued to the back of one of the cartes informs the reader that these are:
ROMAN ANTIQUITIES The pieces of the Urn - thirty-two in number- have been skilfully affixed by MR. WILLIAM BERRY GRAHAM, who has thus restored the Urn to the original form which the Potter gave it some 1,500 years ago." Photographed by S. Bettoney of Crosby Street, Maryport [Cumbria]. |
| 26. |  | S. Bettoney 1880 (or later) Roman Antiquities found by Mr. J. Robinson and others in 1880 Carte de visite Paul Frecker A printed paper label neatly glued to the back of one of the cartes informs the reader that these are:
ROMAN ANTIQUITIES The pieces of the Urn - thirty-two in number- have been skilfully affixed by MR. WILLIAM BERRY GRAHAM, who has thus restored the Urn to the original form which the Potter gave it some 1,500 years ago." Photographed by S. Bettoney of Crosby Street, Maryport [Cumbria]. |
| 27. |  | Giorgio Sommer n.d. 1119 Napoli Museo Nazionale Albumen print 7.8 x 10.1 in (198 mm x 257 mm) Paul Frecker Identified on a strip below the image (not shown in scan). The strip also gives the number and title of the image, 1119, Napoli Museo Nazionale. A pencilled inscription in a period hand on the back of the print reads Olearii [Oil jars]. |
| 28. |  | Verlag von Sophus Williams (Berlin) n.d. 53 Ariadne von Dannecker. Original in Frankfurt a.M. Cabinet card Stereoviews: Stereoviews and Fine 19th & 20th Century Antique Photographs Courtesy of David Spahr (www.stereoviews.com) |
| 29. |  | Hugo Henneberg 1894, April Stilleben [Wiener Photographische Blätter: Herausgegeben Vom Camera-Club In Wien] Chine-colle Heliogravure 12.2 x 17.1 cm Photoseed Photograph courtesy PhotoSeed.com Included in: "Wiener Photographische Blätter: Herausgegeben Vom Camera-Club In Wien: 1894" Heliogravure & Druck v. J. Blechinger, Wien. (Chine-colle) |
| 30. |  | Heinrich Kühn 1896, February Stilleben [Wiener Photographische Blätter: Herausgegeben Vom Camera-Club In Wien] Photogravure (chine colle) Photoseed Photograph courtesy PhotoSeed.com Included in: "Wiener Photographische Blätter: Herausgegeben Vom Camera-Club In Wien: 1896" J. Blechinger Wien, hel. & imp |
| 31. |  | Unidentified photographer / artist 1912 (ca) Violin Making Machine 6.5 in (16.51 cm) x 4.5 in (11.43 cm) Robert Tat Gallery Courtesy of Robert Tat Fine Photographs (www.roberttat.com - #705) This odd device is actually a machine used in making violins. This is a patent photo from a Swedish violin maker. The label on the device reads: "Patented / U.S. June 26, 1912 / Mexico Dec. 3, 1912 / Canada Jan. 21, 1913." |
| 32. |  | George H. Seeley 1910 (ca) Still Life Gum print 13 5/8 x 16 3/4 in Lee Gallery Courtesy of Lee Gallery (X1001) |
| 33. |  | André Kertész 1926 Mondrian's Glasses and Pipe, Paris Gelatin silver print 7 3/4 x 9 3/4 Silverstein Photography |
| 34. |  | André Kertész 1928 Fork, Paris Gelatin silver print Peter Fetterman Gallery |
| 35. |  | Williams Studio 1924 (ca) A Group of Chairs, Haverhill, Massachusetts Silver print 15.9 x 20.6 cm (6 1/4 x 8 1/18 in) American Art Museum, Smithsonian Institution Museum purchase from the Charles Isaacs Collection made possible in part by the Luisita L. and Franz H. Denghausen Endowment |
| 36. |  | Resl Chalupa 1930 Still life with cactus Gelatin silver print 12 x 15,8 cm Bassenge Photography Auctions (88 / 4159) |
| 37. |  | George Richmond Hoxie 1930s (early) Brooms Gelatin silver print, Sepia-toned 33,6 x 26,2 cm Bassenge Photography Auctions (88 / 4221) |
| 38. |  | Erich Salomon 1932 Hats of the German Chancellor and his Foreign Minister, on the right, those of the French delegation, by Ramsay Macdonald's door in the Hotel Beau Rivage. Lausanne Silver gelatin paper 31.7 x 43 cm Berlinische Galerie: Landesmuseum für Moderne Kunst, Fotografie und Architektur © Bildarchiv Preussischer Kulturbesitz - Berlinische Galerie, Acquired with funds from the Senator for Cultural Affairs, Berlin |
| 39. |  | Roger M. Parry 1930 (ca) Still-life with Basin and Beakers Silver print 6-7/8 x 9-1/4 in (175 x 235 mm) Charles Isaacs Photographs, Inc Courtesy of Charles Isaacs (v1063j) With 18, Rue A. Gervais address on reverse. Provenance: Julien Levy Collection, Witkin Gallery, Gilman Collection.Exhibited: Julien Levy Gallery, Surrealisme, 1932; Julien Levy Gallery , Modern European Photographers, 1932; Witkin Gallery, Photographs from the Collection of Julien Levy, 1977. |
| 40. |  | Walker Evans 1935 (Figure with Arc on Head) [African Masks] Gelatin silver print Barry Singer Gallery |
| 41. |  | Wright Morris 1947 Dresser Drawers, Ed's Place Gelatin silver print 7.5 x 9.5 Andrew Smith Gallery |
| 42. |  | Tibor Honty 1950s (ca) Fish Gelatin silver print 9 1/2 x 7 Barry Singer Gallery |
| 43. |  | Josef Sudek 1950s (ca) (Eggs in Basket) Gelatin silver print 4 3/16 x 6 7/16 Barry Singer Gallery |
| 44. |  | A. Hameryckx 1950 (ca) Caprice, Show Gelatin silver print 14.1 x 29.5 cm AnamorFose |
| 45. |  | A. Hameryckx 1950 (ca) Electronic parts Gelatin silver print 12.2 x 12.2 cm AnamorFose |
| 46. |  | Stephen Inggs 2004 Wooden pegs Hand-coated silver Gelatin emulsion on 100% rag paper 42 x 47 HackelBury Fine Art Ltd |
| 47. |  | Abelardo Morell 2002 Two Tall Books Gelatin silver print 20 x 24 Ariel Meyerowitz Gallery |
| 48. |  | Elijah Gowin 2001 Game Gelatin silver print, toned 16 x 20 Ariel Meyerowitz Gallery |
| 49. |  | Vasco Ascolini 2000 Parigi, ENSBA [Noir Lumière] Gelatin silver print Provided by the artist - Vasco Ascolini © Vasco Ascolini |
| 50. |  | Mike Robinson 2006 Watchworks Daguerreotype (Contemporary), 1/2 plate Provided by the artist - Mike Robinson © Mike Robinson - Courtesy of the artist (www.centurydarkroom.com) - Collection of the artist "Half plate Daguerreotype of my great grandfather's railroad pocket watch." |
| 51. |  | Irving Pobboravsky 2000 (ca) Pillow block Daguerreotype (Contemporary) 6 x 6 cm Provided by the artist - Irving Pobboravsky © Irving Pobboravsky |