This photograph was included in the exhibition The Pre-Raphelite Lens: British Photography and Painting, 1848-1875 at the National Gallery of Art, Washington, DC (October 31, 2010 - January 30, 2011)
A curse befell the Lady of Shalott, who glides down the river to Camelot, where she will die. Based on an Arthurian legend, as retold by Tennyson, Robinson's work is a tour de force made from more than one negative. One reviewer noted that it reflected “the quaint poetic manner of the Pre-Raphaelites.”
Jacques-Philippe Potteau (1807-1879) and Louis Rousseau (1811-1874)
Portrait of Marie Lassus of New Orleans 1860
Albumen print 6 7/8 x 4 3/4 ins (17.4 x 12 cm, image) 6 4/5 x 4 3/5 ins (37.5 x 28 cm, mount)
New Orleans Museum of Art
Museum purchase, Clarence John Laughlin Photographic Society Fund, Accession number:
6.113 LL/54273
James Wallace Black
Boston, as the Eagle and the Wild Goose See It 1860
Albumen silver print, from glass negative 18.5 x 16.7 cm (7 5/16 x 6 9/16 ins) (irregularly trimmed)
Metropolitan Museum of Art
Gilman Collection, Purchase, Ann Tenenbaum and Thomas H. Lee Gift, 2005, Accession Number:
005.100.87 LL/40553
James Wallace Black
Aerial view of Providence, Rhode Island 1860
Albumen print 26.2 x 19.6 cm (10 5/16 x 7 11/16 ins)
Princeton University Art Museum
Robert O. Dougan Collection, gift of WarnerCommunications, Inc., Object Number: x1979-116 LL/44595
James Wallace Black
Boston, as the Eagle and the Wild Goose See It 1860
Albumen print
Boston Public Library, Print Department
File name: 05_01_000036 LL/45537
Description: Earliest extant aerial photograph taken in the United States from Samuel A. King's balloon while tethered over Boston Common.
John Henry Ravenshaw
Panduah. Upper Pillars of Badshah Ka Takht. Adinah Mosque. 1860
Photographic print
British Library
Courtesy of the British Library, Image number: 97843, Shelfmark: Photo 978/(43) LL/37201
Photograph taken in the 1860s by John Henry Ravenshaw, one of 45 prints in the album 'Gaur: Its Ruins and Inscriptions'. Pandua, near Gaur in the Malda district of Bengal, was a centre of provincial Islamic culture, reaching its apogee when it supplanted Gaur as capital of Bengal from 1342 till the beginning of the 15th century. The Adina Mosque in Pandua, one of the largest in India which could hold thousands of worshippers, was built in c.1375 by Sikandar Shah I (ruled 1358-90). It is of stone up to the imposts of the arches with the upper part of the building composed of brick, a method of construction which became widespread in Bengal. The basalt stone used was taken from earlier Hindu structures and the brickwork was carved and moulded into diverse patterns. Although the mosque is largely in ruins following earthquake damage, it is one of the best surviving examples of early Indo-Islamic architecture, with a continuous facade of arches and numerous domes (over 300). The main entrance of the mosque consists of three arches that open on the southeastern corner. Today it can only be accessed from the east through a small arched opening. Three other small entrances are in the northwestern wall, two of which lead to the Badshah-ka-takht, a private hall of worship for the sultans and the ladies. Ravenshaw wrote, '...The stones forming the platform [of the Badshah-ka-takht] are in the shape of long beams, with their ends resting on the pillars, but the accumulated rubbish on the ground below is all that remains of the masonry that must have once filled in and covered these beams. On the platform are built light pillars and arches, which are surmounted by eighteen domes, similar to those over the rest of the cloister...'
John Henry Ravenshaw
Gaur. Entrance to Court of Qadam Rasul Mosque 1860
Photograph
British Library
Shelfmark: Photo 978/(13) LL/49668
John Henry Ravenshaw
Pulpit and Prayer Niche in Transept, Adinah Mosque, Panduah 1860
Photograph
British Library
Shelfmark: Photo 978/(41) LL/49669
John Henry Ravenshaw
Gaur. Ornamental bricks 1860
Photograph
British Library
Shelfmark: Photo 978/(23) LL/49670
John Henry Ravenshaw
Interior of Golden Mosque, Panduah 1860
Photograph
British Library
Shelfmark: Photo 978/(33) LL/49671
John Henry Ravenshaw
Gaur. Sadulpur Ghat 1860
Photograph
British Library
Shelfmark: Photo 978/(4) LL/49673
John Henry Ravenshaw
Panduah. Lower Pillars of Badshah Ka Takht. Adinah Mosque 1860
Photograph
British Library
Shelfmark: Photo 978/(42) LL/49674
J.A. Whipple
Officers and Seamen of the Hayes Arctic Exploring Expedition 1860
Albumen print, card mount 8 1/4 x 11 ins
Swann Galleries - New York
Courtesy of Swann Galleries (Auction, The Eric C. Caren Collection: How History Unfolds on Paper, Part 1, Sept 15, 2011, #2253, Lot 71) LL/44191
Lot note provided by Swanns.
Dr. Isaac Hayes and his men were photographed just before their departure for the coast of Ellesmere Island in far northern Canada. They returned the following year with claim to a new record "Farthest North." No other copies of this image have been found.
Lewis Carroll
Alice & Lorina Liddell on a See-Saw 1860
Albumen print
Princeton University Library
Department of Rare Books and Special Collections, Lewis Carroll Collection, Z-PH-LCA-II.105 LL/40713
Louis-Emile Durandelle
Sculptors working on the marble decor, Opéra Garnier, Paris 1860
Albumen print, from glass negative 39.2 x 27.6 cm (image) 54.4 x 43.5 cm (mount)
Hans P. Kraus, Jr., Inc. LL/53061
Louis de Clercq
Grenada, Alhambra Fontaine des Lions 1860
Albumen print, from waxed paper negative 21.1 x 28.3 cm
Leonard Joel
Sale LJ5801, Lot 81 LL/52361
Louis de Clercq
Grenade, Alhambra, Porte d'Entree de la Forteresse 1860
Albumen print, from paper negative 10 9/16 × 8 3/16 in (26.8 × 20.8 cm)
National Gallery of Art
Patrons' Permanent Fund, 1995.36.77 LL/54874
Louis de Clercq
[Check title] [Voyage en Orient et en Espagne Vol. 5: Monuments & Sites pittoresques de
'Egypte] 1860
Albumen silver prints, from paper negative 21.6 x 28.4 cm (8 1/2 x 11 3/16 in)
Metropolitan Museum of Art
The Metropolitan Museum of Art, New York - Gilman Collection, Purchase, Alfred Stieglitz Society Gifts, 2005 LL/7454
Louis de Clercq
VIe station. Sainte Véronique essuie la face sanglante de Jésus. Aucune marque extérieure n'indique cette station. La tradition la place au pied du petit escalier [Voyage en Orient, tome IV, pl. 8] 1860
Papier salé d'après négatif papier 27.5 x 21.5 cm
Bibliothèque Nationale de France, Département des Estampes et de la Photographie
Ancienne collection impériale LL/7820
Louis de Clercq
Jérusalem. Tour Antonia et environs [Voyage en Orient, tome III, pl. 9] 1860
Papier salé d'après négatif papier 21.5 x 28 cm
Bibliothèque Nationale de France, Département des Estampes et de la Photographie
Ancienne collection impériale LL/7821
Luigi Pesce
Basse-relieve a Persepolis [Album fotografico della Persia (The Rawlinson Album)] 1860
Salted-paper print
Getty Research Instititute
2012.R.18 LL/52838
Mendel Diness
Garden of Gethsemane and the Mount of Olives 1860
Platinum print – modern
Harvard Fine Arts Library
Special Collections, Harvard Semitic Museum Photographic Archives, AKP128.15 LL/41664
Modern photographs printed by John Barnier in 1993 from Diness's original glass, wet collodion negatives. Exhibition catalog: Capturing the Holy Land : M.J. Diness and the beginnings of photography in Jerusalem / with contributions by Dror Wahrman, Carney Gavin, Nitza Rosovsky ; photographs printed by John Barnier from the original glass plate negatives. Cambridge, Mass. : Harvard University Press, c1993.
Nadar
Hermaphrodite 1860
Albumen silver print, from glass negative Image: 23.9 x 19.2 cm (9 7/16 x 7 9/16 in.)
Metropolitan Museum of Art
Bequest of Robert Shapazian, 2010, Accession Number: 2010.457.1 LL/48791
Nadar
Hermaphrodite 1860
Albumen print, from glass negative
Creative Commons – Wikipedia LL/48814
Nadar
Hermaphrodite 1860
Albumen print, from glass negative
Creative Commons – Wikipedia LL/48815
Nadar
Hermaphrodite 1860
Albumen print, from glass negative
Creative Commons – Wikipedia LL/48816
Otto Reinhold Jacobi
The Rapids, Montmorency River [Les Rapides, rivière Montmorency] 1860
Oil on canvas 41 x 48.8 cm
Musée national des beaux-arts du Québec LL/46106
Philippos Margaritis
The students of School Hill at the Acropolis (?) 1860
Photograph, albumen print (?) LL/57527
The Beauty of Hellas blog - source of original illustration unclear. (Accessed: 8 January 2015)
beautyofhellas.blogspot.ca/2010/03/1839-1900.html
Roger Fenton
Roger Fenton in volunteers uniform 1860
Albumen print
National Media Museum
The Royal Photographic Society, Ref number: 2003-5001/2/20111 LL/41674
Roger Fenton
Windsor Castle 1860
Albumen print
National Media Museum
The Royal Photographic Society, Ref number: 2003-5001/2/20123 LL/41682
The Cowgate Arch of George IV Bridge, Edinburgh 1860
Albumen print 21.10 x 27.40 cm
National Galleries of Scotland
Courtesy of the National Galleries of Scotland, Gift of Mrs. Riddell in memory of Peter Fletcher Riddell 1985 (PGP R 113) LL/7685
William Carrick
Chimney Sweep 1860
Albumen print 9.20 x 5.70 cm
National Galleries of Scotland
Courtesy of the National Galleries of Scotland, Purchased 1989 (PGP 81.42) LL/7680
William Carrick
Fishmonger 1860
Albumen print 9.30 x 5.60 cm
National Galleries of Scotland
Courtesy of the National Galleries of Scotland, Purchased 1989 (PGP 81.1) LL/7681
William Fitzgibbon
Portrait of indigenous Guatemalans 1860
Albumen print 6 x 7 1/2 in (15.2 x 19 cm)
Swann Galleries - New York
Courtesy of Swann Galleries (Auction, Oct 15, 2007, #2124, Lot 49) LL/23153
William Notman
Laying Bottom of Tube [Victoria Bridge, Montreal, QC] 1860
Print 21.5 cm
McCord Museum of Canadian History
McCord Museum, Gift of Mr. David Ross McCord, M15934.30 LL/38917
Based on an 1859 photograph "Framework of tube and staging no. 8, Victoria Bridge, Montreal, QC" by William Notman. (McCord Museum, N-0000.193.127). Who made the print is not known.
Although photographers were active in Central America as early as 1843, very few of the photographs taken before 1875 survive today.
William Fitzgibbon and his better-known brother John, a prominent American daguerreotypist, operated a studio in Guatemala in the late 1850s-early 1860s. In addition to photographing the people and architecture of Guatamala City, which is the subject of these prints, they also photographed Quetzaltenango and Antigua.
William Notman
Centre tube in progress [Victoria Bridge, Montreal, QC] 1860
Coloured ink on paper 42.2 x 58.6 cm
McCord Museum of Canadian History
McCord Museum, Gift of Mr. David Ross McCord, M15934.28 LL/38927
Based on 1859 photograph "Centre tube, Victoria Bridge, Montreal, QC" by William Notman (McCord Museum, N-0000.193.135). Who made the print is not known.
Nadar
Studio of Nadar at 35 Boulevard des Capucines, Paris 1860
Albumen print
Creative Commons – Wikipedia LL/35768
Charles Clifford
Mezquita, Cordova 1860
Book plate
Google Books LL/36092
Charles Clifford permitted the use of his photographs to illustrate Rev. Richard Roberts "An Autumn Tour in Spain in the Year 1859" (London: Saunders, Otley, and Co., 1860) between p.336-337.
Notice
The Author takes the present opportunity of acknowledging his obligations to C. Clifford, Esq., 13, Calle de Las Infantas, Madrid, who, with great kindness and liberality, has permitted the use of his admirable Photographs to illustrate this Volume.
Nadar
Studio of Nadar at 35 Boulevard des Capucines, Paris (detail) 1860
Albumen print
Creative Commons – Wikipedia LL/35769
Charles Clifford
Court of Lions, Alhambra 1860
Book plate
Google Books LL/36093
Charles Clifford permitted the use of his photographs to illustrate Rev. Richard Roberts "An Autumn Tour in Spain in the Year 1859" (London: Saunders, Otley, and Co., 1860) between p.408-409.
Notice
The Author takes the present opportunity of acknowledging his obligations to C. Clifford, Esq., 13, Calle de Las Infantas, Madrid, who, with great kindness and liberality, has permitted the use of his admirable Photographs to illustrate this Volume.
Charles Clifford
Charles Vths Balcony, Yuste 1860
Book plate
Google Books LL/36094
Charles Clifford permitted the use of his photographs to illustrate Rev. Richard Roberts "An Autumn Tour in Spain in the Year 1859" (London: Saunders, Otley, and Co., 1860) between p.224-225.
Notice
The Author takes the present opportunity of acknowledging his obligations to C. Clifford, Esq., 13, Calle de Las Infantas, Madrid, who, with great kindness and liberality, has permitted the use of his admirable Photographs to illustrate this Volume.
С одной стороны - ну просто обалдеть какая скульптура, лепнина, декоры, колонны и сложнопредставляемые в техническом плане изделия из камня в громадных масштабах и пропорциях.
С другой стороны - какие-то уроды в дерюжках, голодранцы, обосранцы и вообще хер знает кто, ЯВНО НЕ соответствующие по своим глазам, мозгам и черепам уровню зданий и сооружений вокруг.
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