DOCSLIB.ORG

William Henry Fox Talbot the Boulevards

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
William Henry Fox Talbot the Boulevards William Henry Fox Talbot Hill & Adamson English, 1800–1877 Scottish, active 1843–1848 The Boulevards of Paris, 1843 Elizabeth Rigby Salted paper print (calotype) (Lady Eastlake), 1843–47 Salted paper print The inventor of the salted paper process, Talbot photographed the boulevards from In the mid-1840s, the Scottish painter- a similar vantage point as J. L. M. Daguerre, photographer partners David Octavius the inventor of the daguerreotype, did. Hill and Robert Adamson produced the Talbot’s print allowed people in the know first significant body of artistic portraiture to compare these rival processes on a one using the salted paper process pioneered to one basis. The ghost images of carriages by William Henry Fox Talbot. They often along the boulevard are a product of the photographed Elizabeth Rigby, who would long exposure time needed with this early become Lady Eastlake upon her marriage printing technique. On the captured spring in 1849 to Sir Charles Eastlake, President afternoon, the streets had just been wetted of the Royal Academy, Director of the down to settle the dust stirred up from the National Gallery, and first President of unpaved road. the Royal Photographic Society. An author and critic, Lady Eastlake championed photography as a mysterious art that revived “the spirit of Rembrandt.” Louis-Jacques-Mandé Daguerre (French, 1787–1851), Boulevard du Temple, Paris, 1838. Daguerreotype. WAGSTAFF.Labels_rd3.indd 1 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 2 9/7/16 2:37 PM Unidentified Artist Roger Fenton Fern Leaves, c. 1850 English, 1819–1869 Photogenic drawing Dinornis elephantopus, 1854–58 “Photogenic drawing” was William Salted paper print Henry Fox Talbot’s name for his first— cameraless—photographic process. Appointed the first official photographer To create the “drawing,” Talbot immersed of the British Museum in 1854, Fenton smooth paper in a solution of table salt explored photography’s potential for then brushed the paper with a solution of recording art and artifacts. Against an silver nitrate. The nitrate combined with interior brick wall, he hung a backdrop the salt to produce silver chloride, which of white sheets that emphasizes the is light sensitive. Small textured objects flightless bird’s physical structure. This such as leaves or lace were placed on the extinct creature’s skeleton was among his paper and exposed to sunlight. The objects most unusual subjects. The picture reveals blocked the chemical reaction caused by the skeleton’s scaffold support of thin the sun, leaving them silhouetted against wires, its many vertebrae, and its strange a dark background. proportions—from a tiny head and long neck, to wide hips and giant talons. WAGSTAFF.Labels_rd3.indd 3 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 4 9/7/16 2:37 PM Louis-Antoine Froissart French, 1815–1860 A Flood in Lyon, 1856 Albumen silver print Froissart was the official photographer for the city of Lyon, France. He is best known for documenting the disastrous Rhône Count Olympe Aguado River flood at Lyon in 1856, seen here in French, 1827–1894 this albumen print. Invented in 1850, the albumen print replaced the salted paper Study of Trees, Bois de print. Albumen prints made using glass Boulogne, 1855 plate negatives produced an image with Salted paper print greater detail and a glossy surface quality. WAGSTAFF.Labels_rd3.indd 6 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 5 9/7/16 2:37 PM Maxime Du Camp French, 1822–1894 Louis Désiré Blanquart-Evrard French, 1802–1872 Statue of Memnon, Thebes, Bisson Frères negative, 1850; print, 1852 French, active 1840–1864 Salted paper print Interior of the Church of Armchair travelers were thrilled by Saint-Ouen, Rouen, 1857 photography’s ability to capture views Salted paper print of distant places. Here we see one of two massive stone statues guarding the entrance to the mortuary temple of Egyptian pharaoh Amenhotep III in Thebes. The Greeks named the pair after Memnon, son of Aurora (goddess of the dawn). WAGSTAFF.Labels_rd3.indd 7 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 8 9/7/16 2:37 PM Francis Frith Nadar (Gaspard-Félix English, 1822–1898 Tournachon) The Second Pyramid from French, 1820–1910 the Southeast, negative, 1857; Gustave Doré, 1856–58 print, 1858 Salted paper print Albumen silver print Nadar is considered the greatest French Frith was a pioneering English travel photographic portraitist of his generation. photographer who used the sale of his His clientele included famed artists, photographs to fund his journeys. In 1856, writers, musicians, actors, and royals. he made an extended trip to Egypt. This photograph depicts the bohemian The success of his images, published the painter Gustave Doré, known primarily following year, financed his next trip to for his book illustrations. In this portrait Palestine and then Syria. He returned Nadar has captured the spontaneity to Egypt in late 1857, when he took this and energy of a young artist on the rise. photograph of a Giza pyramid, and again Doré is dressed dashingly in checked in 1859. During his 1859 visit, Frith traveled trousers and scarf. His hair cascades up the Nile to the Fifth Cataract—farther across his head as if blown by the wind than any earlier photographer had gone. and he thrusts his leg forward as if to take a step. Nadar photographed Doré many times, even on his deathbed. 500 WAGSTAFF.Labels_rd3.indd 9 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 10 9/7/16 2:37 PM Gaudenzio Marconi Italian, born Switzerland, 1842– after 1885 Male Figure in Repose, c. 1860 Albumen silver print The nude, a cornerstone of European art, became the subject of photography Léon Crémière shortly after its invention was announced French, 1831 – after 1882 in 1839. Marconi made his living creating photographic figure studies for the Dogs, 1850–52 prestigious art school, the École des Albumen silver print Beaux Arts in Paris. Artists and students used the photographs as sources to sketch when live models were not available. In this example, Marconi positioned his model in a classical pose taken from the Barberini Faun, a life-size Roman marble sculpture dating from about 220 bce. WAGSTAFF.Labels_rd3.indd 12 9/7/16 2:37 PM Barberini Faun, c. 220 bce. Glyptothek, Munich. WAGSTAFF.Labels_rd3.indd 11 9/7/16 2:37 PM Horatio Ross Pierre-Louis Pierson English, 1801–1886 French, 1822–1913 Self-Portrait Preparing Napoleon III and the Prince a Collodion Plate, 1856–59 Imperial, c. 1859 Albumen silver print Albumen silver print Ross was a celebrated athlete as well as an Pierson placed his camera far enough amateur photographer. In this self-portrait, back to capture all the players and he depicts himself at work, holding a sheet reveal the workings of his studio in this of glass while preparing a collodion plate carefully staged scene. At the center is with photographic chemicals. Invented the Prince Imperial, strapped into a seat in 1851, the use of wet collodion on glass on his horse’s back. An attendant at left produced an image with greater detail than keeps the animal steady, while the boy’s could be achieved with the earlier salted father, Emperor Napoleon III, at right, looks paper process. This method of making a on. A variant of this image that featured negative was popular from the 1850s until the child and his horse was sold to the about 1880, when the manufacture of dry- public as a popular carte-de-visite — small plate negatives made them obsolete. photographs mounted on card stock that people collected and traded. WAGSTAFF.Labels_rd3.indd 13 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 14 9/7/16 2:37 PM Gustave Le Gray Gustave Le Gray French, 1820–1884 French, 1820–1884 The Great Wave, Sète, c. 1857 The Beech Tree, 1855–57 Albumen silver print Albumen silver print Le Gray ingeniously used two negatives Le Gray took many photographs of to print an image that captures one of the Forest of Fontainebleau, a popular nature’s most dramatic scenes. Because of destination for artists and vacationing the limitations of photographic chemistry Parisians in the mid-nineteenth century. at the time, if Le Gray timed his exposure This photograph is more of a portrait of to accurately render the sea, the sky would a tree than a landscape. With its gnarly be so overexposed that it would appear roots exposed, this majestic old beech blank. But if he shortened the exposure for is a commanding force of nature whose the sky, the sea and shore would come out trunk glows in the direct sunlight as if lit as silhouettes. Le Gray’s combination gets from within. Its leaves shimmer in the around this limitation: the stormy clouds sun’s glow, making the dense foliage are one negative; the crashing waves and appear weightless. blackened jetty are another. The unified result is a photograph that achieves a sense of a single moment frozen in time. 501 WAGSTAFF.Labels_rd3.indd 15 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 16 9/7/16 2:37 PM Roger Fenton Alexander Gardner English, 1819–1869 American, born Scotland, 1821–1882 Valley of the Shadow of President Lincoln, United Death, 1855 States Headquarters, Army of Salted paper print the Potomac, near Antietam, October 4, 1862 One theme that runs through Wagstaff’s Albumen silver print collection of photographs is death. Here the empty Crimean War battlefield is Gardner took this portrait of Abraham a chilling reminder of war’s destructive Lincoln during the Civil War. The location, power. Fenton traveled in 1853 to the near Antietam, was the recent site of a Crimean peninsula on the Black Sea, costly Union victory.
Load more

Recommended publications
  • The Street—Design for a Poster
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Alfred Stieglitz Key Set Alfred Stieglitz (editor/publisher) after Various Artists Alfred Stieglitz American, 1864 - 1946 The Street—Design for a Poster 1900/1901, printed 1903 photogravure image: 17.6 × 13.2 cm (6 15/16 × 5 3/16 in.) Alfred Stieglitz Collection 1949.3.1270.34 Key Set Number 266 Image courtesy of the Philadelphia Museum of Art KEY SET ENTRY Related Key Set Photographs The Street—Design for a Poster 1 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Alfred Stieglitz Key Set Alfred Stieglitz Alfred Stieglitz The Street, Fifth Avenue Fifth Avenue—30th Street 1900/1901, printed 1903/1904 1900/1901, printed 1929/1937 photogravure gelatin silver print Key Set Number 267 Key Set Number 268 same negative same negative Remarks The date is based on stylistic similarities to Spring Showers—The Street Cleaner (Key Set number 269) and Spring Showers—The Coach (Camera Notes 5:3 [January 1902], pl. A). This photograph was made at Fifth Avenue and 30th Street with a Bausch & Lomb Extra Rapid Universal lens, and won a grand prize of $300 in the 1903 “Bausch & Lomb Quarter-Century Competition”(see Camera Work 5 [January 1904], 53; and The American Amateur Photographer 16 [February 1904], 92). Lifetime Exhibitions A print from the same negative—perhaps a photograph from the Gallery’s collection—appeared in the following exhibition(s) during Alfred Stieglitz’s lifetime: 1903, Hamburg (no. 424, as The Street, photogravure) 1903, San Francisco (no. 34a, as The Street—Winter) 1904, Washington (no.
    [Show full text]
  • A Sheffield Hallam University Thesis
    How do I look? Viewing, embodiment, performance, showgirls, and art practice. CARR, Alison J. Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/19426/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/19426/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. How Do I Look? Viewing, Embodiment, Performance, Showgirls, & Art Practice Alison Jane Carr A thesis submitted in partial fulfilment of the requirements of Sheffield Hallam University for the degree of Doctor of Philosophy ProQuest Number: 10694307 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10694307 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Declaration I, Alison J Carr, declare that the enclosed submission for the degree of Doctor of Philosophy, and consisting of a written thesis and a DVD booklet, meets the regulations stated in the handbook for the mode of submission selected and approved by the Research Degrees Sub-Committee of Sheffield Hallam University.
    [Show full text]
  • Fighting for France's Political Future in the Long Wake of the Commune, 1871-1880
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2013 Long Live the Revolutions: Fighting for France's Political Future in the Long Wake of the Commune, 1871-1880 Heather Marlene Bennett University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the European History Commons Recommended Citation Bennett, Heather Marlene, "Long Live the Revolutions: Fighting for France's Political Future in the Long Wake of the Commune, 1871-1880" (2013). Publicly Accessible Penn Dissertations. 734. https://repository.upenn.edu/edissertations/734 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/734 For more information, please contact [email protected]. Long Live the Revolutions: Fighting for France's Political Future in the Long Wake of the Commune, 1871-1880 Abstract The traumatic legacies of the Paris Commune and its harsh suppression in 1871 had a significant impact on the identities and voter outreach efforts of each of the chief political blocs of the 1870s. The political and cultural developments of this phenomenal decade, which is frequently mislabeled as calm and stable, established the Republic's longevity and set its character. Yet the Commune's legacies have never been comprehensively examined in a way that synthesizes their political and cultural effects. This dissertation offers a compelling perspective of the 1870s through qualitative and quantitative analyses of the influence of these legacies, using sources as diverse as parliamentary debates, visual media, and scribbled sedition on city walls, to explicate the decade's most important political and cultural moments, their origins, and their impact.
    [Show full text]
  • Checklist of Anniversary Acquisitions
    Checklist of Anniversary Acquisitions As of August 1, 2002 Note to the Reader The works of art illustrated in color in the preceding pages represent a selection of the objects in the exhibition Gifts in Honor of the 125th Anniversary of the Philadelphia Museum of Art. The Checklist that follows includes all of the Museum’s anniversary acquisitions, not just those in the exhibition. The Checklist has been organized by geography (Africa, Asia, Europe, North America) and within each continent by broad category (Costume and Textiles; Decorative Arts; Paintings; Prints, Drawings, and Photographs; Sculpture). Within each category, works of art are listed chronologically. An asterisk indicates that an object is illustrated in black and white in the Checklist. Page references are to color plates. For gifts of a collection numbering more than forty objects, an overview of the contents of the collection is provided in lieu of information about each individual object. Certain gifts have been the subject of separate exhibitions with their own catalogues. In such instances, the reader is referred to the section For Further Reading. Africa | Sculpture AFRICA ASIA Floral, Leaf, Crane, and Turtle Roundels Vests (2) Colonel Stephen McCormick’s continued generosity to Plain-weave cotton with tsutsugaki (rice-paste Plain-weave cotton with cotton sashiko (darning the Museum in the form of the gift of an impressive 1 Sculpture Costume and Textiles resist), 57 x 54 inches (120.7 x 115.6 cm) stitches) (2000-113-17), 30 ⁄4 x 24 inches (77.5 x group of forty-one Korean and Chinese objects is espe- 2000-113-9 61 cm); plain-weave shifu (cotton warp and paper cially remarkable for the variety and depth it offers as a 1 1.
    [Show full text]
  • The Unpublished Photogravure Process of Édouard Baldus Jennifer I
    Ryerson University Digital Commons @ Ryerson Theses and dissertations 1-1-2010 Héliogravures : the unpublished photogravure process of Édouard Baldus Jennifer I. Yeates Ryerson University Follow this and additional works at: http://digitalcommons.ryerson.ca/dissertations Part of the Film and Media Studies Commons Recommended Citation Yeates, Jennifer I., "Héliogravures : the unpublished photogravure process of Édouard Baldus" (2010). Theses and dissertations. Paper 1012. This Thesis Project is brought to you for free and open access by Digital Commons @ Ryerson. It has been accepted for inclusion in Theses and dissertations by an authorized administrator of Digital Commons @ Ryerson. For more information, please contact [email protected]. HÉLIOGRAVURES: THE UNPUBLISHED PHOTOGRAVURE PROCESS OF ÉDOUARD BALDUS By Jennifer I. Yeates Honours B.A., Fine Arts, Studio Specialization, University of Waterloo, 2007 A Thesis Project Presented to Ryerson University, the Art Gallery of Ontario, and the George Eastman House International Museum of Photography and Film In partial fulfillment of the requirements for the degree of Masters of Art In the program of Photographic Preservation and Collections Management Toronto, Ontario, Canada 2010 © Jennifer I. Yeates I hereby declare that I am the sole author of this thesis. I authorize Ryerson University to lend this thesis to other institutions or individuals for the purpose of scholarly research. _____________________ Jennifer I. Yeates I further authorize Ryerson University to reproduce this thesis by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. _____________________ Jennifer I. Yeates ii Héliogravures: The Unpublished Process of Édouard Baldus.
    [Show full text]
  • Against Expression?: Avant-Garde Aesthetics in Satie's" Parade"
    Against Expression?: Avant-garde Aesthetics in Satie’s Parade A thesis submitted to the Division of Graduate Studies and Research of the University of Cincinnati In partial fulfillment of the requirements for the degree of MASTER OF MUSIC In the division of Composition, Musicology, and Theory of the College-Conservatory of Music 2020 By Carissa Pitkin Cox 1705 Manchester Street Richland, WA 99352 [email protected] B.A. Whitman College, 2005 M.M. The Boston Conservatory, 2007 Committee Chair: Dr. Jonathan Kregor, Ph.D. Abstract The 1918 ballet, Parade, and its music by Erik Satie is a fascinating, and historically significant example of the avant-garde, yet it has not received full attention in the field of musicology. This thesis will provide a study of Parade and the avant-garde, and specifically discuss the ways in which the avant-garde creates a dialectic between the expressiveness of the artwork and the listener’s emotional response. Because it explores the traditional boundaries of art, the avant-garde often resides outside the normal vein of aesthetic theoretical inquiry. However, expression theories can be effectively used to elucidate the aesthetics at play in Parade as well as the implications for expressability present in this avant-garde work. The expression theory of Jenefer Robinson allows for the distinction between expression and evocation (emotions evoked in the listener), and between the composer’s aesthetical goal and the listener’s reaction to an artwork. This has an ideal application in avant-garde works, because it is here that these two categories manifest themselves as so grossly disparate.
    [Show full text]
  • Revolution at a Standstill: Photography and the Paris Commune of 1871 Author(S): Jeannene M
    Revolution at a Standstill: Photography and the Paris Commune of 1871 Author(s): Jeannene M. Przyblyski Source: Yale French Studies, No. 101, Fragments of Revolution (2001), pp. 54-78 Published by: Yale University Press Stable URL: http://www.jstor.org/stable/3090606 Accessed: 02-04-2018 16:28 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Yale University Press is collaborating with JSTOR to digitize, preserve and extend access to Yale French Studies This content downloaded from 136.152.208.140 on Mon, 02 Apr 2018 16:28:15 UTC All use subject to http://about.jstor.org/terms JEANNENE M. PRZYBLYSKI Revolution at a Standstill: Photography and the Paris Commune of 1871* Revolution is a drama perhaps more than a history, and its pathos is a condition as imperious as its authenticity. -Auguste Blanqui "Angelus Novus'1 Look at them. Heads peering over piles of paving stones, smiling for the camera or squinting down the barrel of a gun (Fig. 1). They stand bathed in the flat light of late winter, suspended between the fact of photographic stillness and the promise of fighting in the streets. It hardly needs saying that in March of 1871 Paris itself was no less be- tween states-half taken apart, half put back together.
    [Show full text]
  • Artist Resources – Alfred Stieglitz (American, 1864-1946)
    Artist Resources – Alfred Stieglitz (American, 1864-1946) Alfred Stieglitz Collection and Archive, Art Institute of Chicago The Key Set Stieglitz Collection, National Gallery of Art Stieglitz at The Getty Stieglitz and Camera Work collection, Princeton University Art Museum Explore The National Gallery’s timeline of all known Stieglitz exhibitions, spanning from 1888 to 1946. View archival documents from MoMA’s 1947 exhibition, which comprised two floors and paired Stieglitz’s photography with his private art collection. The following year, MoMA introduced Photo-Secession (American Photography 1902-1910), organized by surviving co-founder Edward Steichen and featuring photography from the the journal Camera Work. The 1999 PBS American Master’s documentary, Alfred Stieglitz: The Eloquent Eye, charts the photographer’s immense influence and innovation, featuring intimate interviews with his widow, the painter Georgia O’Keefe, museum curators, and scholars. “What is of greatest importance is to hold a moment, to record something so completely that those who see it will relive an equivalent of what has been expressed,“ Stieglitz reflects in recorded audio of his writing, which is threaded throughout the film. Stieglitz, 1934 Photographer: Imogen Cunningham Smithsonian Magazine profiled Stieglitz in 2002 in honor of The National Gallery’s retrospective. Stieglitz was the subject of the NGA’s first exhibition dedicated exclusively to photography, in 1958. In 2011, The Metropolitan Museum of Art debuted the first large-scale exhibition of Stieglitz’s personal collection, acquired by the museum in 1949. Over 200 works display the photographer’s influence with his contemporaries and successive generations, including, among others, works by: Georgia O'Keeffe, Pablo Picasso, Henri Matisse, Constantin Brancusi, Vasily Kandinsky, and Francis Picabia.
    [Show full text]
  • Daniel Fox of East Haddam, Ct., and Some of His Descendants
    4433 . 189 ANIEL FOX OF East Haddam, Ct. AND HIS DESCENDANTS //¥3l. /H Digitized by the Internet Archive in 2016 https://archive.org/details/danielfoxofeasthOOfoxw DANIEL FOX OF Vy 3 EAST HADDAM, CT. AND SOME OF HIS DESCENDANTS Albany, N. Y. 1890 u I know My father, grandsire, and great grandsire, too If farther I derive my pedigree, I can but guess beyond the fourth degree. The rest of my forgotten ancestors Were sons of earth.” Dryden. Daniel Fox and His Descendants. m ANIEL FOX, born about 1722, came from a family which lived in New London, Conn., and was a great grandson of Thomas Fox* of Concord, Mass., three ofwhose sons settled in New London in or about the year 1675. Daniel had two younger brothers, Isaac and John. He was married three times: first, to Hannah Burr, an aunt of Aaron Burr, by which marriage he had six children. His marriage to Hannah Burr occurred Oct. 10, 1747. His second wife was Elizabeth Gates, by whom he had eight children. He married for his third wife, the widow Winslow. * Born in England; died 1658. 3 Daniel Fox’s first wife, Hannah Burr, died while the family was living in East Haddam, Conn. During the Revolu- tionary War he took his second wife and her children,—the other children being in the army or married,—and moved from East Haddam to New Canaan, N. crossing the Connecticut river, in April, 1779. He located about one mile east of Whiting’s pond, where he bought 170 acres of land, and erected a “two- story ” house.
    [Show full text]
  • Download Newsletter
    Historic Camera Newsletter © HistoricCamera.com Volume 14 No. 03 Street, Liverpool. The introduction of the Miral and Flexet reflector cameras became a success. By 1904 the firm employed about 18 young workmen. The new building was called the "Miral Works". The firm of Talbot & Eamer dates In 1906, the business was purchased by Mr. back to 1884, F. Strettell. He continued manufacture of the where Mr. Henry same equipment, but with improved and up- Percy Tattersall to-date lines. founded the establishment at The business was became Talbot & Eamer 11 Exchange- Ltd. in 1909 but quickly declined over the street in Blackburn, following few years. Operations completely England. The closed in 1923. relation or derivation of the See our website for completed detail on business's name Talbot & Eamer cameras. Talbot & Eamer to Tattersall is unknown. He was sometimes listed as a scientific instrument maker. Mr. Tattersal was one of the first manufacturers to make box cameras with a bag changing arrangement. During the 1890s, the business prospered with the introduction of the Talmer, Economic, Diamond and Tattersall Patent hand cameras. In 1897 the firm was located at on 58 Ainsworth Street, Blackburn in the county of Lancaster. The exact date of the move from exchange-street is unknown. Due to financial problems Tattersall sold the business to Mr. G. Jones, a native of Ref: Blackburn in 1901. Mr. Jones bought the 1890 July The Photographic news, p. 581 1897 The London Gazette - Page 159 business for his sons and the business was 1904 May, Photographic Dealer, p. 118 1906 British Journal of Photography vol.
    [Show full text]
  • ROOTS of FRENCH PHOTOGRAPHY-Exhibit
    THE MUSEUM OF MODERN ART 11 WEST 53 STREET, NEW YORK 19, N. Y. TELEPHONE. CIRCLE 5-8900 1+91123 ~ 81L FOR WEDNESDAY RELEASE NOTE: Pre3s Preview, Tuesday November 29, 2-5 P«m<, ROOTS OF FRENCH PHOTOGRAPHY, a loan exhibition from the George Eastman House, Inc<>5 in Rochester, New York, will go on view at the Museum of Modern Art, 11 West 53 Street, on November 30 and will remain on the first floor through January 15> 1950* The George East'.nan House has been established as a permanent home for photography, in memory of George Eastman, founder of the Eastman Kodak Company9 Edward Steichen, Director of the Museum's Department of Photography, has assembled from the Eastman House collection an exhibition of the first 30 years of French photography to commemorate the opening of the George Eastman House on November 9« The photographs to be shown are a part of the famous Cromer Collection acquired by the Eastman Kodak Company,* The earliest work to be shown will be daguerreotypes and daguer~> reotype stereos. The cartes-de-visite to be included in the show are by Disderi, the first person to establish photography as a business in Paris. He popularized this early type of portraiture in France's court of Napoleon IIIo Small-sized photographs suitable for use as calling cards, they depicted the visitors gesturing and in dress appropriate for the occasion of the call, as for example with hat tipped and a smile of greeting for social occasions, with umbrella for rainy weather, in traveling costume for leave-taking* Of unusual interest is a series by Delmaet and Durandelle show­ ing the construction of the Paris Opera House between 1862 and 1875.
    [Show full text]
  • The Other Side of the Lens-Exhibition Catalogue.Pdf
    The Other Side of the Lens: Lewis Carroll and the Art of Photography during the 19th Century is curated by Edward Wakeling, Allan Chapman, Janet McMullin and Cristina Neagu and will be open from 4 July ('Alice's Day') to 30 September 2015. The main purpose of this new exhibition is to show the range and variety of photographs taken by Lewis Carroll (aka Charles Dodgson) from topography to still-life, from portraits of famous Victorians to his own family and wide circle of friends. Carroll spent nearly twenty-five years taking photographs, all using the wet-collodion process, from 1856 to 1880. The main sources of the photographs on display are Christ Church Library, the Metropolitan Museum, New York, National Portrait Gallery, London, Princeton University and the University of Texas at Austin. Visiting hours: Monday: 2:00 pm - 4.30 pm; Tuesday - Thursday: 10.00 am - 1.00 pm; 2:00 pm - 4.30 pm; Friday: 10:00 am - 1.00 pm. Framed photographs on loan from Edward Wakeling Photographic equipment on loan from Allan Chapman Exhibition catalogue and poster by Cristina Neagu 2 The Other Side of the Lens Lewis Carroll and the Art of Photography ‘A Tea Merchant’, 14 July 1873. IN 2155 (Texas). Tom Quad Rooftop Studio, Christ Church. Xie Kitchin dressed in a genuine Chinese costume sitting on tea-chests portraying a Chinese ‘tea merchant’. Dodgson subtitled this as ‘on duty’. In a paired image, she sits with hat off in ‘off duty’ pose. Contents Charles Lutwidge Dodgson and His Camera 5 Exhibition Catalogue Display Cases 17 Framed Photographs 22 Photographic Equipment 26 3 4 Croft Rectory, July 1856.
    [Show full text]