DOCSLIB.ORG

Ste Croix in London, 1839

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

[The first year of the daguerreotype:] Ste Croix in London, 1839. R. Derek Wood [published in History of Photography, Spring 1993, Vol.17 (1), pp. 101–7] The Times, 14 September 1839: “THE DAGUERREOTYPE. – The first experiments made in this country with the instrument and process of M. Daguerre were exhibited yersterday [sic] by M. St. Croix, who has just arrived from Paris, in the presence of a select number of scientific men and artists… The place of exhibition was No. 7, Piccadilly, nearly opposite the southern crescent of Regent–street, and the picture produced was a beautiful miniature representation of the houses, pathway, sky, &c, resembling a beautiful mezzo tint. The experiments were perfectly satisfactory”. September and October in London On 14 September 1839 reports appeared in several newspapers 1 about the first display in London of the apparatus and method used to produce daguerreotypes. The demonstration had been given the previous day of Friday 13th September at 7 Piccadilly, London, by a Frenchman called St. Croix. In Paris, it had been only six days earlier, on Saturday 7th September that the first public demonstration had been given before a large audience by Daguerre himself: an event that had been very swiftly, although briefly, reported from the just arrived French papers in The Times on Tuesday 10 September, and in considerable detail in the Morning Herald 2 the day before St. Croix’s demonstration. Processing equipment and technical data required to produce images could have been available in Paris for only an extremely short time before St.Croix came to England. Even so,he obviously already had technical confidence enough to demonstrate the process to anyone on payment of a fee. Could he have just been simply a self–taught first amateur? He came to, and disappeared from London with a great lack of clues as to his identity. Three days after St. Croix’s display to the press and some other invited guests at his lodgings, another exhibition began on Monday 16 September “and every succeeding day”. In fact those days seem to have been just for the rest of that week. Two shillings was the entrance fee and the place was No. 246 Regent Street, ‘the Argyll Rooms’, not a great distance from the Polytechnic. No name of the person doing the demonstration was given in the first advertisement in The Globe of Saturday 14 September 1839, or a few days later in The Times, but it did appear that the daguerreotype apparatus had been ‘made in Paris under the immediate direction of M. Daguerre’ and it was also stated that 1 (a) The passage quoted is from The Times, Saturday, 14 September 1839, p.4 (but not in a second edition printed later that day). Other reports appearing the same day were in (b) Morning Herald, p.3. (c) Morning Chronicle, p.3. (d) The Globe, p.3. (e) One paper published in the evenings, managed to make its report available at the end of the actual day of the demonstration: The Sun, Friday Evening, 13 September 1839, p.2 2 The Times, Tuesday, 10 September 1839, p.4c. Morning Herald, Thursday, 12 September 1839, p.3d 2 R. Derek Wood some daguerreotype views of London would be shown. So who – apparently with some connection with Daguerre himself? – was exhibiting at the Argyll Rooms? It is a little surprising perhaps to learn from a reviewer of Memes’ English version of Daguerre’s Manual writing in the Literary Gazette of 21 September that It happens, very opportunely, that a French Gentleman, M. St. Croix has arrived in London from Paris; and, at the Argyll Rooms, every day, publicly goes through M. Daguerre’s process. We ‘assisted’ the other 3 morning at one of these lectures or exhibitions.… There is no doubt that the unnamed advertisements saying the apparatus used at the Argyll Rooms was made ‘under the immediate direction of M. Daguerre’ were placed by St. Croix, or – as it seems he did not speak English 4 – by an English associate. So where else would St. Croix have obtained the equipment but at the Giroux et Cie in Paris? ‘ The crowd at Giroux’s shop is immense’ and many were disappointed, it was said, ‘at the price (about 400 francs) of the apparatus!!’.5 Giroux, a relative by marriage to Daguerre, had a contract to produce cameras carrying a notice that it was ‘The Daguerreotype made under the direction of the inventor in Paris by Alphon. Giroux’. A straight–forward statement about such a camera and processing equipment would have been read without a second glance in any other country: but in Britain, where steps to acquire a patent had been set in motion, it was different. So, were the advertisements regarding the daguerreotype apparatus at the Argyll Rooms a mere simple factual statement; or could St. Croix have been trying to puff–up his status? [No easy judgement can be made: not enough facts are available, but the issues need to be discussed later.] At the end of that week at the Argyll Rooms, St. Croix advertised in The Times6 that as well as demonstrating apparatus and daguerreotype views, he would at midday and 3.00pm on the following Monday of 23 September try a ‘new experiment’ of obtaining a portrait. Two shillings was again the cost of entrance to this demonstration, but this time it was to be at St. Croix’s apartment at 7 Piccadilly. Two days later on Wednesday 25 September 1839, St. Croix began demonstrating at the ‘Royal Gallery of Practical Science’. Commonly known as the Adelaide Gallery, it was just off Trafalgar Square in Adelaide Street at the corner of the entrance into Lowther Arcade between St. Martin’s Church and the west end of The Strand. It is not known when or how St. Croix organised the invitations to the press and other ‘scientific and literary gentlemen’ to attend his special first demonstration on 13 September but one person there was ‘Mr Clarke, of the Lowther Arcade, who has done a great deal himself in the construction of apparatus for photogenic drawing from nature upon paper’.7 According to the reporter from The Globe, Clarke had been very impressed by the apparatus brought to London by St. Croix: “he felt pleasure in yielding the palm to Mr.Daguerre, from whose invention all the others stood at an immeasurable distance.” TheSuperintendant of the Adelaide Gallery, at Lowther Arcade, was listed in Robson’s London Directory as a Mr. C. Payne, so maybe the man at St. Croix’s press demonstration was E. M. Clarke, an optical 3 Literary Gazette, 21 September 1839, p. 605 4 London Saturday Journal, 2 November 1839, Vol.2, pp.283–5. “.M.de Ste. Croix being unacquainted with our language, was assisted by an English lecturer, who explained the process as it proceeded...” 5 Literary Gazette, 14 September 1839, p.590 6 The Times, Saturday, 21 September 1839, p.1. Advertisements are generally printed on the front page but sometimes on p.2. Newton and Berry’s notices quoted appeared on the second page of the newspaper. 7 The Globe (London), 14 September 1839, p.3d History of Photography, Spring 1993 Ste Croix in London, 1839 3 instrument maker, with premises in Agar Street only two minutes from the Gallery. If the Adelaide Gallery had actually organised St. Croix’s trip to London, then surely he would not have given the first demonstrations in his apartment and at the Argyll Rooms. But St. Croix’s opening demonstration at the Adelaide Gallery on 25 September began an association for the place with the daguerreotype which surely could not have been without influence on the fact that the well known studio of Antoine Claudet was opened above the Gallery in June 1841. Some time during the two weeks that St. Croix had been demonstrating the daguerreotype apparatus and technique in London, the patent agency Newton and Berry of Chancery Lane must have gone along to see what St. Croix was doing, for on the following Saturday, 28 September, they had a Notice published in The Morning Herald and in The Times drawing attention to the fact that a patent had been sealed by Berry for the exclusive right to use the daguerreotype in England. They wanted to emphasize one particular point: We think it right to state that legal proceedings have already been taken against certain parties for publicly exhibiting this invention, more particularly as the failure of such exhibitions and the imperfect specimens which they have produced in illustration of this extraordinary process, will deceive the public and injure the proprietors of the patent. Furthermore, said Newton and Berry, they were arranging for the lecturer in Chemistry J. T. Cooper to demonstrate for them the daguerreotype technique at the Polytechnic Institution at 309 Regent Street. Cooper being, they said, ‘perfect master of the art, will do ample justice to the discovery’. On Monday 30 September in the first available issues of the same two newspapers following Newton and Berry’s warning, St. Croix or the management of the Gallery placed an advertisement: THE DAGUERREOTYPE. – This beautiful process will be SHOWN by Mr. DE ST. CROIX TODAY and tomorrow, at 1 o’clock precisely, for the last time, in consequence of a threatened injunction for the infringement of an alleged patent The one shilling price of admittance to all the attractions of the Adelaide Gallery also covered St. Croix’s two supposed ‘last time’ events to be held on 1st and 2nd October. When these two days moving from September into October had passed, a notice was again put by Newton and Berry into The Morning Herald and The Times to appear both on the Wednesday and Friday , 2 and 4 October.
Recommended publications
  • Oral History Interview with Beaumont Newhall, 1965 Jan. 23

    Oral History Interview with Beaumont Newhall, 1965 Jan. 23

    Oral history interview with Beaumont Newhall, 1965 Jan. 23 Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Beaumont Newhall on January 23, 1965. The interview was conducted at the George Eastman House in Rochester, New York by Joseph Trovato for the Archives of American Art, Smithsonian Institution. Interview JOSEPH TROVATO: This interview with Mr. Beaumont Newhall is taking place at George Eastman House, Rochester, New York, January 23, 1965. Mr. Newhall, your name has been associated with the best in the field of photography for many years, or just about as long as I can remember, from the early days of the Museum of Modern Art, your writings on photography, such as The History of Photography, which has gone through several editions, I think, and on through to your present directorship here at Eastman House. How long have you held your present post here? BEAUMONT NEWHALL: Actually my present post as director I assumed the first of Sept. 1958. Previous to that I held the title of curator and worked as the associate and assistant to the first director, General Oscar N. Solbert. I came to Rochester for the specific purpose of setting up Eastman House as a museum, bringing to it my knowledge of museum practice, as well as photography. We opened as a museum to the public on the 7th of November, 1949. JOSEPH TROVATO: Well I was about to ask you in addition to my question regarding your career and while we’re on the subject of your career – I think you have already begun to touch upon – we would like to have you give us a sort of resume of your background, education, various positions that you have held, and so forth.
  • Century British Photography and the Case of Walter Benington by Robert William Crow

    Century British Photography and the Case of Walter Benington by Robert William Crow

    Reputations made and lost: the writing of histories of early twentieth- century British photography and the case of Walter Benington by Robert William Crow A thesis submitted to the University of Gloucestershire in accordance with the requirements of the degree of Doctor of Philosophy in the Faculty of Arts and Technology January 2015 Abstract Walter Benington (1872-1936) was a major British photographer, a member of the Linked Ring and a colleague of international figures such as F H Evans, Alfred Stieglitz, Edward Steichen and Alvin Langdon Coburn. He was also a noted portrait photographer whose sitters included Albert Einstein, Dame Ellen Terry, Sir Arthur Conan Doyle and many others. He is, however, rarely noted in current histories of photography. Beaumont Newhall’s 1937 exhibition Photography 1839-1937 at the Museum of Modern Art in New York is regarded by many respected critics as one of the foundation-stones of the writing of the history of photography. To establish photography as modern art, Newhall believed it was necessary to create a direct link between the master-works of the earliest photographers and the photographic work of his modernist contemporaries in the USA. He argued that any work which demonstrated intervention by the photographer such as the use of soft-focus lenses was a deviation from the direct path of photographic progress and must therefore be eliminated from the history of photography. A consequence of this was that he rejected much British photography as being “unphotographic” and dangerously irrelevant. Newhall’s writings inspired many other historians and have helped to perpetuate the neglect of an important period of British photography.
  • The History of Photography: the Research Library of the Mack Lee

    The History of Photography: the Research Library of the Mack Lee

    THE HISTORY OF PHOTOGRAPHY The Research Library of the Mack Lee Gallery 2,633 titles in circa 3,140 volumes Lee Gallery Photography Research Library Comprising over 3,100 volumes of monographs, exhibition catalogues and periodicals, the Lee Gallery Photography Research Library provides an overview of the history of photography, with a focus on the nineteenth century, in particular on the first three decades after the invention photography. Strengths of the Lee Library include American, British, and French photography and photographers. The publications on French 19th- century material (numbering well over 100), include many uncommon specialized catalogues from French regional museums and galleries, on the major photographers of the time, such as Eugène Atget, Daguerre, Gustave Le Gray, Charles Marville, Félix Nadar, Charles Nègre, and others. In addition, it is noteworthy that the library includes many small exhibition catalogues, which are often the only publication on specific photographers’ work, providing invaluable research material. The major developments and evolutions in the history of photography are covered, including numerous titles on the pioneers of photography and photographic processes such as daguerreotypes, calotypes, and the invention of negative-positive photography. The Lee Gallery Library has great depth in the Pictorialist Photography aesthetic movement, the Photo- Secession and the circle of Alfred Stieglitz, as evidenced by the numerous titles on American photography of the early 20th-century. This is supplemented by concentrations of books on the photography of the American Civil War and the exploration of the American West. Photojournalism is also well represented, from war documentary to Farm Security Administration and LIFE photography.
  • Elias Goldensky: Wizard of Photography' Gary D

    Elias Goldensky: Wizard of Photography' Gary D

    Elias Goldensky: Wizard of Photography' Gary D. Saretzky Who would not, out of sheer vanity, like to have himself photographed by ... Elias Goldensky ... ? Sidney Allan [Sadakichi Hartmann], 1904 In June 1924, Elias Goldensky (1867-1943) traveled from his Philadel- phia studio to demonstrate his portrait photography technique at the Con- vention of the Ontario Society of Photographers in Toronto. To encourage attendance, the Society printed a publicity card with Goldenskys portrait. The text on the back reflects the esteem with which Goldensky was held by his professional colleagues: Mr. Elias Goldensky, the Wizard of Photography, is coming from Philadelphia to demonstrate at our convention .... He has dem- onstrated at Conventions perhaps more than any other living pho- tographer. He is a most interesting lecturer and has the great gift of being a natural teacher; he can, and will, solve your many light- ing problems. He will show how to so balance a lighting that he can light four subjects at opposite corners at one time, clever as this may be in its practical way; he will also demonstrate how to make pictorial work. He is an acknowledged artist, in addition to. his practical craftsmanship. Three Big Performances from the brain of this marvelous workman. You owe it to yourself to see and hear him. .2 The wizard did not disappoint his audience. As reported by the Toronto Star Weekly on June 28 under the headline, "King of the Camera Works Like Greased Lightning," Goldensky, described as "one of the six best in the coun- try," took 400 portraits in 55 minutes while keeping up an amusing running commentary: "Good morning, madam," he began, "in the ma-ter of portraits we have two sizes, one at six photos for twenty dollars, one at six for forty.
  • Études Photographiques, 16 | 2005 Beaumont Newhall Et L’Historiographie De La Photographie Anglophone 2

    Études Photographiques, 16 | 2005 Beaumont Newhall Et L’Historiographie De La Photographie Anglophone 2

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OpenEdition Études photographiques 16 | Mai 2005 Colloque « Photographie, les nouveaux enjeux de l’histoire » Beaumont Newhall et l’historiographie de la photographie anglophone Marta Braun Traducteur : François Brunet Édition électronique URL : http://journals.openedition.org/etudesphotographiques/714 ISSN : 1777-5302 Éditeur Société française de photographie Édition imprimée Date de publication : 25 mai 2005 Pagination : 19-31 ISBN : 2-911961-16-1 ISSN : 1270-9050 Référence électronique Marta Braun, « Beaumont Newhall et l’historiographie de la photographie anglophone », Études photographiques [En ligne], 16 | Mai 2005, mis en ligne le 01 octobre 2008, consulté le 01 mai 2019. URL : http://journals.openedition.org/etudesphotographiques/714 Ce document a été généré automatiquement le 1 mai 2019. Propriété intellectuelle Beaumont Newhall et l’historiographie de la photographie anglophone 1 Beaumont Newhall et l’historiographie de la photographie anglophone Marta Braun Traduction : François Brunet 1 Les recherches nord-américaines actuelles sur l’historiographie de la photographie s’accordent sur l’idée que les premières histoires du médium découlent des récits produits par les inventeurs eux-mêmes1. Les histoires ainsi produites privilégient les progrès techniques sur tout autre aspect : « Les inventeurs de la photographie n’attendirent pas les historiens pour faire rentrer leurs découvertes dans l’ordre de l’histoire écrite. Ils se chargèrent eux-mêmes de cette tâche. En situant ces découvertes dans l’évolution scientifique et technique, ils établirent une tradition qui devait influer sur tous les récits ultérieurs : l’histoire de la photographie serait l’histoire de sa technique 2.
  • THE HISTORY of PHOTOGRAPHY, from 1839

    THE HISTORY of PHOTOGRAPHY, from 1839

    he Museum of Modern Art PUBLICATION DATE: West 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart Friday, November 6, 196^ XHEHISTORY OP PHOTOGRAPHY: FROM I839 TO THE PRESENT DAY by Beaumont Newhall. 212 pages, 210 illustrations; hardbound $12.50. Published by The Museum of Modern Art io collaboration with the George Eastman House, Rochester, N.Y.; distributed by Twihledav and Co., Inc. THE HISTORY OF PHOTOGRAPHY: FROM I839 TO THE PRESENT DAY by Beaumont Newhall will be published by The Museum of Modern Art, New York, in collaboration with the George Eastman House, Rochester, on November 6. Completely revised and expanded throughout, this new fourth edition of an established classic contains 210 illustrations, 100 of them new to the book, 38 of which have never been published before, including a num­ ber by such masters as Talbot, Lewis Carroll, Stieglitz and Weston. Beaumont Newhall, Director of the George Eastman House, traces the concept of photography back to the pioneer inventors Nigpce, Daguerre and Talbot and then care­ fully delineates the changing ways in which photographers have continuously sought to interpret the world about them. He documents the ways early photographers fed the nineteenth century desire to see people and places exactly as they were: daguerreotypists took portraits of famous men; adventurous photographers strayed far from home to penetrate Egypt, China and Japan; others, using equipment that required on-the-spot developing, recorded the Crimean War and the American Civil War. While defining the history of the medium, Mr. Newhall also provides a lucid explanation of the technical advances that have affected the development of that medium.
  • The Language of the Camera Eye Ansel Adams and Beaumont Newhall

    The Language of the Camera Eye Ansel Adams and Beaumont Newhall

    The Language of the Camera Eye Ansel Adams and Beaumont Newhall Nancy Newhall (1908 - 1974) Ansel Adams, Death Valley , 1947 The contributions of Ansel Adams (1902 - 1984) to further photography’s acceptance as an art form are many. Besides his artistic works, he spent much of his time educating photographers in both the technical aspects of the medium and the formal aspects of image making. His highly technical system of exposure and development called the Zone System offered photographers the ability to control the tonalities in an image to the point that one could turn black to white or white to black. This complex system of understanding exposure and development when using traditional black and white materials liberated photographers from the technical side of things to concentrate fully on the image. To my mind, Ansel Adams was the pioneer of what we call “The Photo Workshop”. For years his Yosemite workshops educated photographers not just in technique but also in the Art of Photography and what life as a photographer looks like. His tireless efforts and generosity with his students are legendary. Ansel was also an author. Publications of his own work are well known, but, in the late forties Adams, along with his co-author Robert Baker, began publishing The Basic Photo Series. Ansel devoted each of the five volumes to one essential aspect of the medium and explained it in depth: Camera and Lens, The Negative, The Print, and Natural Light and Artificial Light. In the day, these books were “required” reading and I don’t think I ever entered someone’s darkroom or studio without seeing them on a shelf.
  • AFTER ATGET: TODD WEBB PHOTOGRAPHS NEW YORK and PARIS

    AFTER ATGET: TODD WEBB PHOTOGRAPHS NEW YORK and PARIS

    e.RucSCHOELCHERanglcB'PAS a 'ihi\elU'S(k'h,iil(n e. hni • AFTER ATGET: DANTOM^79 TODD WEBB OUS PERMi T AFTER ATGET: TODD WEBB PHOTOGRAPHS NEW YORK and PARIS DIANA TUITE INTRODUCTION byBRITTSALVESEN BOWDOIN COLLEGE MUSEUM OF ART BRUNSWICK, MAINE This catalogue accompanies the COVER Fig. 26 (detail): exhibition A/Tt-rAf^ff; Todd Webb Todd Webb (American, 1905-2000) Photographs New York and Paris Rue Alesia, Paris (Oscar billboards), 1951 on view from October 28, 2011 through Vintage gelatin silver print January 29, 2012 at Bowdoin College 4x5 inches Museum of Art. Evans Gallery and Estate of Todd and Lucille Webb The exhibition and catalogue are generously supported by the PAGES 2-3 Fig. 1 (detail): Todd Webb Stevens L. Frost Endowment Fund, Harlem, NY (5 boys leaning on fence), 1946 the Robert Mapplethorpe Foundation, Vintage gelatin silver print the Estate of Todd and Lucille Webb, 5x7 inches and Betsy Evans Hunt and Evans Gallery and Christopher Hunt. Estate of Todd and Lucille Webb Bowdoin College Museum of Art PHOTOGRAPHY CREDITS 9400 College Station Bowdoin College Museum of Art, Brunswick, Maine 04011 Brunswick, Maine, Digital Image © Pillar 207-725-3275 Digital Imaging: Figs. 4, 15, 28 © Berenice www.bowdoin.edu/art-museum Abbott / Commerce Graphics, NYC: 15, © Walker Evans Archive, The Metropolitan Designer: Katie Lee Museum of Art, New York, NY: 28 New York, New York Evans Gallery and Estate of Todd and Editor: Dale Tucker Lucille Webb, Portland, Maine © Todd Webb, Courtesy of Evans Gallery Printer: Penmor Lithographers and Estate of Todd and Lucille Webb, Lewiston, Maine Portland, Maine USA, Digital Image © Pillar Digital Imaging: Figs.
  • The Photographs of Henri Cartier-Bresson

    The Photographs of Henri Cartier-Bresson

    The photographs of Henri Cartier- Bresson Texts by Lincoln Kirstein and Beaumont Newhall Author Cartier-Bresson, Henri, 1908-2004 Date 1947 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/2703 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art I HENRI CARTIER- BRESSON THE MUSEUM HN OF MQDE ART Reccvi* HENRI CARTIER- BRESSON THE PHOTOGRAPHS OF HENRI CARTIER- BRESSON TEXTS BY LINCOLN KIRSTEIN AND BEAUMONT NEWHALL THE MUSEUM OF MODERN ART ft ACKNOWLEDGMENTS The Museum of Modern Art extends grateful acknowledgment: to Pierre Braun, Editions Braun & Cie., Paris, and to Erich S. Herrmann for the photographs re produced on pages 6, 48, 49, 50, 51 and 53 to be published in the collection visages (Taujourd'hui. to E. Teriade, Verve, Paris, for the photographs reproduced on pages 22, 23, 28, 36 and 45. to Mrs. Caresse Crosby, Black Sun Press, Washington, D. C., for the photographs reproduced on pages 39 and 41 from Portfolio, 1945. 1 to Mrs. Carmel Snow, Harper s Bazaar, New York, for the photographs reproduced on pages 42, 43, 46, 47, 52 and 55. TRUSTEESOF THE MUSEUM OF MODERN ART John Hay Whitney, Chairman of the board; Henry Allen Moe, 1st Vice-Chairman; William A. M. Burden, 2nd Vice-Chairman ; Sam A. Lewisohn, 3rd Vice-Chairman; Nelson A. Rocke feller, President; Philip L. Goodwin, 1st Vice-President ; Mrs. David M.
  • American Culture and the Photographic Image, 1918-1941

    American Culture and the Photographic Image, 1918-1941

    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1991 Changing Eyes: American Culture and the Photographic Image, 1918-1941. Melissa A. Mceuen Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Mceuen, Melissa A., "Changing Eyes: American Culture and the Photographic Image, 1918-1941." (1991). LSU Historical Dissertations and Theses. 5132. https://digitalcommons.lsu.edu/gradschool_disstheses/5132 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMl films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afiect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps.
  • Photographic Periodicals A-D ART CAHAN LITERATURE BOOKSELLER, LTD AMERICANA

    Photographic Periodicals A-D ART CAHAN LITERATURE BOOKSELLER, LTD AMERICANA

    ANDREW Elist 34: Photographic PeriodicalsPHOTOGRAPHY A-D 1 Elist 34: Photographic Periodicals A-D ART CAHAN LITERATURE BOOKSELLER, LTD AMERICANA Terms: All items are offered subject to prior sale. A phone call, email or fax insures availability. Shipping and insurance charges are additional. Returns are accepted for any reason within ten days of receipt; we request notification in advance. All items must be returned in the exact condition in which they were received. Library and Institutional billing requirements will be accommodated. Customers new to us are requested to send payment in advance or provide references. For your convenience we also accept payment by Visa, MasterCard, American Express, and PayPal. Ohio customers will be charged the applicable sale tax. Overseas customers please note: all items will be shipped via insured priority airmail unless otherwise requested. A statement will be sent under separate cover and we request payment in full upon receipt. We accept payment by bank transfer, a check drawn upon a U.S. bank in dollars, or via credit card. This list represents just a small portion of our stock. If there are specific items you are seeking, we would be pleased to receive your desiderata. We hope you will keep in mind that we are always pleased to consider fine individual items or entire collections for purchase. To receive our future E-Lists and other notifications, please send us your email address so we can let you know when a new list is available at our website, cahanbooks.com. PO Box 5403 • Akron, OH 44334 • 330.252.0100 Tel/Fax [email protected] • www.cahanbooks.com 1.
  • Études Photographiques, 16 | 2005 Beaumont Newhall Et L’Historiographie De La Photographie Anglophone 2

    Études Photographiques, 16 | 2005 Beaumont Newhall Et L’Historiographie De La Photographie Anglophone 2

    Études photographiques 16 | Mai 2005 Colloque « Photographie, les nouveaux enjeux de l’histoire » Beaumont Newhall et l’historiographie de la photographie anglophone Marta Braun Traducteur : François Brunet Édition électronique URL : http://journals.openedition.org/etudesphotographiques/714 ISSN : 1777-5302 Éditeur Société française de photographie Édition imprimée Date de publication : 25 mai 2005 Pagination : 19-31 ISBN : 2-911961-16-1 ISSN : 1270-9050 Référence électronique Marta Braun, « Beaumont Newhall et l’historiographie de la photographie anglophone », Études photographiques [En ligne], 16 | Mai 2005, mis en ligne le 01 octobre 2008, consulté le 10 décembre 2020. URL : http://journals.openedition.org/etudesphotographiques/714 Ce document a été généré automatiquement le 10 décembre 2020. Propriété intellectuelle Beaumont Newhall et l’historiographie de la photographie anglophone 1 Beaumont Newhall et l’historiographie de la photographie anglophone Marta Braun Traduction : François Brunet 1 Les recherches nord-américaines actuelles sur l’historiographie de la photographie s’accordent sur l’idée que les premières histoires du médium découlent des récits produits par les inventeurs eux-mêmes1. Les histoires ainsi produites privilégient les progrès techniques sur tout autre aspect : « Les inventeurs de la photographie n’attendirent pas les historiens pour faire rentrer leurs découvertes dans l’ordre de l’histoire écrite. Ils se chargèrent eux-mêmes de cette tâche. En situant ces découvertes dans l’évolution scientifique et technique, ils établirent une tradition qui devait influer sur tous les récits ultérieurs : l’histoire de la photographie serait l’histoire de sa technique 2. » 2 Les histoires de la technique photographique, avec leurs accentuations nationalistes, devaient dominer l’historiographie jusqu’aux premières décennies du XXe siècle.