A. Polman & J. Hohmann
Portrait of Prince Willem of the Netherlands (1840-1879) 1859
Photograph, painted / Koninklijk Huis Archief Den HaagCopyright
Koninklijk Huis Archief Den Haag (A_XIV_1054_2) LL/25776
Начало...
Фотографии 1859 года.
Alexander Klinder & Alexander Eichenwald
View of Mariinskaya Square [St. Petersburg, Russia] 1859
Albumen print 29 x 39 cm (image) 44.4 x 57.5 cm (mount)
Hermitage Museum Inventory Number: ЭРФТ-293 LL/56518
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André Adolphe-Eugène Disdéri
Pauline Viardot-Garcia in Orphée 1859
Carte de visite
Paul Frecker LL/13458
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Pauline Viardot-Garcia (1821-1910), French soprano
Mezzo-soprano Pauline Garcia was born in Paris on 18 July 1821, to a Spanish family of musicians. Originally trained as a pianist, her father, Manuel Garcia, also gave her singing lessons, although her elder sister Maria Malibran was the singer of the family until her untimely death in 1836.
In 1837, at the age of sixteen, Pauline Garcia gave her first concert performance in Brussels. Her opera début was made at Her Majesty's Theatre, London in May 1839, as Desdemona in Rossini's Otello. In 1849 she created FidÞs in Le ProphÞte and later, the title role in Gounod's Sapho.
In 1840, she married Louis Viardot, director of the Théatre Italien in Paris. Her husband later managed her career.
Renowned for her wide range and her dramatic roles on stage, Garcia's performances inspired several composers, including Frederic Chopin, Hector Berlioz and Camille Saint-SaÙns. Extremely intelligent, she spoke fluent French, Italian, Spanish, English, German and Russian, and composed songs in a variety of national techniques. Her career took her to all the best musical venues of Europe, and from 1843 to 1846 she was permanently attached to the Opera in St. Petersburg.
In 1863 Pauline Viardot-Garcia retired from the stage. Due to her husband's public opposition to Napoléon III, she and her family left France and settled in Baden-Baden. After the fall of the Second Empire, the family returned to France where Pauline taught at the Paris Conservatory. She died in Paris on 18 May 1910 and was buried in the cemetery at Montmartre.
She is seen here as she appeared in 1859 when she sang Orpheus at the ThéÔtre-Lyrique in the historic revival of Gluck's Orphée et Eurydice, in Berlioz's version, with Marie Sax as Eurydice. (Paul Frecker).
André Adolphe-Eugène Disdéri
Adelaide Ristori in Médée 1859
Carte de visite / Paul Frecker LL/13471
The Italian actress Adelaide Ristori paid her first professional visit to Paris in 1855. Her début in the part of Francesca was rather coldly received, but she took the city by storm in the title role of Alfieri's Myrrha. Furious partisanship was aroused by the appearance of a rival to the great Rachel, and the very different acting styles of the two actresses. The fiery, Latin gesticulations of the Italian contrasted strongly with the controlled, restrained, introverted technique that Rachel had popularized since her début as a seventeen-year-old in 1838. Paris was divided into two camps, with playgoers fighting at gallery doors over the merits of their respective favourites.
The playwright Ernest Legouvé originally wrote Médée for Rachel, but when she broke her contract in order to nurse her dying sister, the part was offered to Ristori instead. When the play opened in Paris in 1856, it was a huge success, a triumph that was repeated when Ristori took the play to London. In 1857 she visited Madrid, playing in Spanish to enthusiastic audiences, and in 1866 she paid the first of four visits to the United States, where she proved equally popular, particularly in Giacometti's Elizabeth, an Italian study of the English sovereign. She finally retired from professional life in 1885, dying in Rome in 1906.
She is seen her as the sorceress Medea, who killed her own children to avenge herself on their father, Jason.
André Adolphe-Eugène Disdéri
Adelaide Ristori in Maria Stuarda 1859
Carte de visite / Paul Frecker LL/13472
The Italian actress Adelaide Ristori is seen here as Mary, Queen of Scots, in André Maffei's translation of Schiller's Maria Stuarda, a role which she first played at the age of eighteen.
Bruno L. Hamel
An Album of Photographic Views, Taken during the Government Scientific Exploring Expedition 1859
Title page 29.5 x24 x 2. 5 cm
Auckland War Memorial Museum / Album 80 LL/39179
Full title:
An Album of Photographic Views, Taken during the Government Scientific Exploring Expedition conducted by Dr. Ferdinand Hochstetter, Geologist, of the Imperial Austrian Expedition, of the Province of Auckland, by Bruno L. Hamel, photographic artist, Auckland, New Zealand. 1859.
The album contains the following albumen prints:
1. Dr Ferdinand Hochstetter
2. Auckland [foreshore 1859]
3. Auckland [from Fort Britomart 1859]
4. Government House, Auckland
5a.Drury Hotel
5b.Waikato River, Rangariri
6. Rangariri [with raupo hut]
7a. Raupo Huts [with figures]
7b. Maori School, Taupiri [with children]
8. Reception of the Exploring Party [Europeans being hosted by Maori]
9. Mission Station, Otawhao [with groups of children]
10a. Takatahi Kawhia [includes homestead]
10b. Limestone Rocks, Kawhia
11. Limestone Rocks, Kawhia
12a. Tarawera
12b. Wairoa Settlement, Tarawera
13. Mission Station, Tarawera [Reverend S.M Spencer]
14. Maori School, Tarawera [children with their books]
15. Te Tarata, Rotomahana [white terrace]
16. Te Tarata [white terrace]
17. Te Tarata [white terrace]
18. Rotomahana
19. Otukupuarangi [pink terrace with raupo huts]
20. Waikiti, Whakarewarewa
21. Mutumutu Solfatara, Whakarewarewa
22. Ohinemutu [Maori settlement]
23. Papapatangi, Waiho Plains
24. Forest Scenery
25. Maori Monument at Rotorua [dressed]
26. View at Rotomahana
27. View at Rotomahana 28. Mission Station at Taupiri
Bruno L. Hamel
Dr. Ferdinand Hochstetter [An Album of Photographic Views, Taken during the Government Scientific Exploring Expedition] 1859
Albumen print 14.4 x 18 cm
Auckland War Memorial Museum
Album 80 LL/39180
Included in:
An Album of Photographic Views, Taken during the Government Scientific Exploring Expedition conducted by Dr. Ferdinand Hochstetter, Geologist, of the Imperial Austrian Expedition, of the Province of Auckland, by Bruno L. Hamel, photographic artist, Auckland, New Zealand. 1859.
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Bruno L. Hamel
Limestone Rocks: Rakau Nui, Kawhia [An Album of Photographic Views, Taken during the Government Scientific Exploring Expedition] 1859
Albumen print 21 x 15.5 cm
Auckland War Memorial Museum
Album 80 LL/39181
Included in:
An Album of Photographic Views, Taken during the Government Scientific Exploring Expedition conducted by Dr. Ferdinand Hochstetter, Geologist, of the Imperial Austrian Expedition, of the Province of Auckland, by Bruno L. Hamel, photographic artist, Auckland, New Zealand. 1859.
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Bruno L. Hamel
Maori Monument at Rotorua [An Album of Photographic Views, Taken during the Government Scientific Exploring Expedition] 1859
Albumen print 11.1 x 14 8 cm
Auckland War Memorial Museum
Album 80 LL/39182
Included in:
An Album of Photographic Views, Taken during the Government Scientific Exploring Expedition conducted by Dr. Ferdinand Hochstetter, Geologist, of the Imperial Austrian Expedition, of the Province of Auckland, by Bruno L. Hamel, photographic artist, Auckland, New Zealand. 1859.
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Bruno L. Hamel
Reception of the Exploring Party: by Takerei on the Waipa [An Album of Photographic Views, Taken during the Government Scientific Exploring Expedition] 1859
Albumen print 19.4 x 14.2 cm
Auckland War Memorial Museum
Album 80 LL/39183
Included in:
An Album of Photographic Views, Taken during the Government Scientific Exploring Expedition conducted by Dr. Ferdinand Hochstetter, Geologist, of the Imperial Austrian Expedition, of the Province of Auckland, by Bruno L. Hamel, photographic artist, Auckland, New Zealand. 1859.
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Charles Thurston Thompson [Attributed to]
Work - Portrait of Thomas Carlyle 1859
Albumen print 18.5 x 31.2 cm
Birmingham Museum and Art Gallery
Accession number: 1975P329 LL/45919
Curatorial notes Birmingham Museums and Art Gallery
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ЛЮСТРА!!!
Charles Nègre
Vincennes Imperial Asylum: Recreation Hall 1859
Albumen silver print 21.4 x 16.4 cm
National Gallery of Canada
Purchased 1968, no. 32508 LL/39042
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Although Brown met Thomas Carlyle (1795-1881), the essayist was too busy to sit for 'Work' in person and instead posed for this photograph. It appears to have been taken in 1859 at 'Mr Thompson's Photographic Establishment'. Mr. Thompson is likely to have been the photographer Charles Thurston Thompson (1816-1868). Brown was deeply impressed with the works of Carlyle and several of them influenced his choice of subject matter. Carlyle's writings were known for their lively rhetoric which comes across in the letter he wrote to Brown agreeing to pose for the photograph:'I think it a pity you had not put (or should not still put) some other man than me in your Great Picture. It is certain you could hardly have found among the sons of Adam, at present, any individual who is less in a condition to help you forward with it ... I very well remember your amiable request, and the promise I made to you, to 'sit for some photographs.' That promise I will keep; and to that we must restrict ourselves, hand of Necessity compelling. Any afternoon I will attend here, at your studio, or where you appoint me, and give your man one hour to get what photographs he will or can of me. If here, the hour must be 3"pm (my usual hour of quitting work, or to speak justly, the chamber of work); if at any other place, attainable by horseback, it will be altogether equally convenient to me; and the hour may such as enables me to arrive (at a rate of 5 miles per hour we will say!)' (F. M. Hueffer, 'Ford Madox Brown: A Record of his Life and Work, p. 163) The National Portrait Gallery holds another photograph of Carlyle sitting in a chair, which was owned by the sculptor Thomas Woolner (1825-1892), a friend of the artist. It appears to have been taken in the same studio session as the sitter as the same clothes, props and backdrop can be seen in the photograph. It is a smaller portrait of Carlyle from the waist up, and is likely to have been taken as the sitter seems to have moved his head in the Birmingham photograph, producing a blurred effect which may not have contained enough detail for Brown to work from. The Birmingham photograph has pin holes in the corners suggesting that Brown tacked it up to use as a guide to Carlye's pose, which is the same as in the finished picture, but may have relied on the clearer half-length study for his likeness.
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Charles Nègre
Vincennes Imperial Asylum: Game of Quoits 1859
Albumen silver print 17 cm (diameter)
National Gallery of Canada
Purchased 1968, no. 32490 LL/39038
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Charles Nègre
Vincennes Imperial Asylum: General View with Coach 1859
Albumen silver print 36.8 x 43.4 cm (irregular)
National Gallery of Canada Purchased 1968, no. 32498 LL/39039
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ЧТО НА ПОТОЛКЕ?!
Charles Nègre
Vincennes Imperial Asylum: Inauguration Ceremony 1859
Albumen silver print 16.4 x 14.5 cm
National Gallery of Canada
Purchased 1968, no. 32495 LL/39040
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Charles Nègre
Vincennes Imperial Asylum: Pavillon Gobelin 1859
Albumen silver print 19 x 16.1 cm
National Gallery of Canada
Purchased 1968, no. 32489 LL/39041
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ЧТО НА СТЕНЕ?!
http://www.luminous-lint.com/app/image/168528026165390433765728831
Charles Nègre
Vincennes Imperial Asylum: the Doctor's Visit 1859
Albumen silver print 17 cm (diameter)
National Gallery of Canada
Purchased 1968, no. 32504 LL/39043
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Charles Nègre
Vincennes Imperial Asylum: the Gardens 1859
Albumen silver print 23.1 x 18 cm
National Gallery of Canada
Purchased 1968, no. 32492 LL/39044
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Charles Nègre
Vincennes Imperial Asylum: the Gardens 1859
Albumen silver print 19.1 x 16.6 cm
National Gallery of Canada
Purchased 1968, no. 32493 LL/39045
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Charles Nègre
Vincennes Imperial Asylum: the Inauguration 1859
Albumen silver print 32.3 x 43.2 cm (oval)
National Gallery of Canada
Purchased 1968, no. 32496 LL/39046
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Charles Nègre
Vincennes Imperial Asylum: the Kitchens 1859
Albumen silver print 17 cm (diameter)
National Gallery of Canada
Purchased 1968, no. 32500 LL/39047
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Charles Nègre
Vincennes Imperial Asylum: the Kitchens. Preparing the Plates 1859
Albumen silver print 23.3 x 22.1 cm (sheet) 23.3 x 19.8 cm (image)
National Gallery of Canada
Purchased 1968, no. 32502 LL/39048
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Charles Nègre
Vincennes Imperial Asylum: the Library 1859
Albumen silver print 20.4 x 17.1 cm National Gallery of Canada Purchased 1968, no. 32491 LL/39049
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Charles Nègre
Vincennes Imperial Asylum: the Linen Room 1859
Albumen silver print 22.3 x 18.9 cm
National Gallery of Canada Purchased 1968, no. 32505 LL/39050
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ЕЩЁ ЛЮСТРЫ!!! БЫЛО ЭЛЕКТРИЧЕСТВО!
Charles Nègre
Vincennes Imperial Asylum: the Refectory 1859
Albumen silver print 24.5 x 18 cm (sheet, irregular) 23.3 x 16.6 cm (image)
National Gallery of Canada Purchased 1968, no. 32506
http://www.luminous-lint.com/app/image/6995694926935390513418875044
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Charles Nègre
Spartan Soldier 1859
Albumen silver print, from glass negative 35.3 x 43.5 cm (13 7/8 x 17 1/8 ins)
Metropolitan Museum of Art
Gilman Collection, Purchase, Harriette and Noel Levine Gift, 2005, Accession Number: 2005.100.52
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Charles Nègre
The Tiber, Tuileries Garden, Paris 1859
Albumen print from wet collodion negative 36.50 x 44.60 cm (14 5/16 x 17 1/2 ins) (image)
Cleveland Museum of Art
Leonard C. Hanna, Jr. Fund, Accession No.: 1994.201 LL/40880
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Charles Nègre
The Seine and the Marne, Tuileries Gardens, Paris 1859
Albumen print from wet collodion negative 17 1/4 x 17 ½
Charles Isaacs Photographs, Inc LL/4191
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Felice Beato
Gate of the Golden Temple at Amritsar 1859
Albumen print 260 x 300 mm
Bonhams – London
Courtesy of Bonhams, London (Sale 15313 - India and Beyond in Books and Photography, Lot 228 - 26 Oct 2007) LL/24097
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Francis Bedford
Miner's Bridge at Betws-y-Coed, North Wales 1859 (taken)
Albumen silver print, mounted 5.2 x 21.0 cm
Private collection of Steven Evans LL/47369
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Frederick Pickersgill (British, 1820–1900)
Sunshine and Shade 1859
Albumen print
National Media Museum
The Royal Photographic Society Collection, Purchased with the assistance of The Art Fund LL/45915
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Gabriel__De_Rumine
The Dome of the Rock, Jerusalem 1859
Photograph
J. Paul Getty Museum
Inventory number requested LL/52724
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George K. Warren
Yearbook Cover 1859
Album cover 13 x 11 ins
Smithsonian Books
Courtesy of Smithsonian Books. LL/44455
Owners of early yearbooks, like this one belonging to George Washington McNeel, assembled the books and had them bound by professional bookbinders. Each owner decided which designs and patterns would emblazon the covers and whether elegant touches like gilding were within budget.
This photograph is included in Shannon Thomas Perich The Changing Face of Portrait Photography: From Daguerreotype to Digital (Washington, DC: National Museum of American History, 2011)
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Giacomo Caneva
Portrait of a Family 1859
Salted paper print
Getty Research Instititute
Partial gift of The Kelton Foundation, 2007.R.10.3. LL/43542
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Продолжение...
Александра Римская 16.01.2015 г., 663, Anno Domini. Xikrik to river Novogor
Список статей Сандры Римской
http://sandra-rimskaya.livejournal.com/449814.html
Группа ВК "История
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