Rome, Inauguration of the iron bridge at S. Giovanni dei Fiorentini 1864
Albumen print 27.4 x 36.8 cm
FondoRomano - Archivio Fotografico e Cartografico di Roma Inventory no: A272 LL/56438
Cundall & Downes
Pierrefonds - View of the Chateau during reconstruction 1864
Albumen print from wet-collodion glass-plate negative 23.5 x 29 cm (image) 38 x 48 cm (mount)
Private Collection of Robert G. Hill, Toronto, Ont.
www.hillcollection.com - Acc: 833 LL/30611
Photographer's blind stamp on the mount "Cundall Downes & Co./ Photographers /168 New Bond St." and titled in ink "18. Pierre-fonds. View of the Chateau", dated in pencil "1864"
Southwell Brothers
Agnes Harrison 1864
Carte de visite
Paul Frecker LL/12326
Mathew Brady's Studio
Brady's photographic outfit in the field near Petersburg, Va. 1864
Albumen print
National Archives and Records Administration 111-B-5077 LL/35275
Adolphe Bilordeaux
Main Drapée 1864
Photograph
Private collection of Jan Weijers (Servatius) LL/49034
Adolphe Braun
Mountaineers, Grindelwald, CH 1864
Photograph
Private collection of Jan Weijers (Servatius) LL/52745
Alphonse De Launay
Mlle Bosquet 1864
Collodion, on glass negative 3.75 x 4.5 ins
Archive Farms LL/55312
Charles Marville
Arts et Métiers (Ancien Modèle) 1864
Albumen silver print, from glass negative 36.6 x 24.1 cm (14 7/16 x 9 1/2 in., image) 63 x 45 cm (24 13/16 x 17 11/16 in., mount)
Metropolitan Museum of Art
Purchase, Alfred Stieglitz Society Gifts, 2007, Accession Number: 2007.167 LL/53879
Curatorial description
Along with the wholesale redrawing of the map of Paris, Baron Haussmann transformed the urban experience by commissioning and installing tens of thousands of pieces of street furniture-kiosks, Morris columns, pissoirs, garden gates, and, above all, street lamps. By the time Haussmann stepped down as Napoleon III's master urban planner in 1870, twenty thousand gas lamps had transformed Paris from a place where residents dared go out at night only if accompanied by armed men carrying lanterns into the City of Light. In this photograph from Marville's final suite of pictures, the flux of humanity flows past in a blur as Gabriel Davioud's street lights line the Boulevard de Sebastopol like proud sentinels of the modern city.
Charles Paxson
Learning is Wealth. Wilson, Charley, Rebecca & Rosa. Slaves from New Orleans 1864
Carte de visite
Charles Schwartz Ltd LL/34584
Charles Paxson
Our Protection - Rosa, Charley, Rebecca. Slave Children from New Orleans 1864
Carte de visite
Charles Schwartz Ltd LL/34585
Churchill and Denison Studio [Attributed to]
Group at the Sanitary Commission Fair, Albany 1864
Salted paper print 15.2 x 20.3 cm (6 x 8 in)
American Art Museum, Smithsonian Institution
Smithsonian American Art Museum, museum purchase from the Charles Isaacs Collection made possible in part by the Luisita L. and Franz H. Denghausen Endowment LL/7555
Jabez Hughes
Prince Albert Victor, Duke of Clarence and Avondale; Queen Victoria 1864
Carte de visite, hand-coloured
National Portrait Gallery (NPG) Purchased, 1966, NPG Ax46727 LL/47113
C.F. Brandt
Military Hospital, Flensburg; Düppeler Schanzen 1864
Albumen print 15,5 x 21 cm
Bassenge Photography Auctions
Courtesy of Bassenge, Berlin (Photography, Sale: 90, Lot: 4117, Dec 5, 2007) LL/25253
Prussian-Danish War
Flush-mounted to original board (slightly soiled), first print with photographer's blindstamp Eigenthum F. Brandt, photogr. Anstalt in Flensburg below the image on the mount.
Lit.: Wolfgang Baier. Geschichte der Fotografie. Munich 1977, see pp. 473 and 475.
Photography 19th-21st Century (1 June 2011) Lot: 4019 LL/43693
D.T.K. Drummond
Loch Earn 1864
Albumen print by the malt process 17.30 x 22.20 cm
National Galleries of Scotland
Courtesy of the National Galleries of Scotland, Purchased 1984 (PGP 39.4) LL/7697
D.T.K. Drummond
Mr Currie 1864
Albumen print by the malt process 18.90 x 22.70 cm
National Galleries of Scotland
Courtesy of the National Galleries of Scotland, Purchased 1984 (PGP 39.6) LL/7698
Felice Beato
Tsurugaoka-Hachiman Shrine at Kamakura 1864
Albumen print 22.9 x 28.7
Bachmann Eckenstein Art & Antiques LL/6442
Francois Sebastien Rondin
Officers with 11-inch forward pivot gun on the deck of the U. S. S. Kearsarge 1864
Albumen print 5 3/4 x 8 1/2 in (14.6 x 21.6 cm)
Swann Galleries - New York
Courtesy of Swann Galleries (Auction, Oct 15, 2007, #2124, Lot 43) LL/23151
The Image of War, Volume IV, Fighting for Time, 147.
Another print of this image is in the collection of the Metropolitan Museum of Art, and was included in their exhibition "Manet and the Civil War: The Battle of the U.S.S. Kearsarge and the C.S.S. Alabama," in 2003. It is reproduced in the accompanying catalogue.
Pictured in this photograph are Master J. R. Wheeler and Engineer S.L. Smith. The U.S. S. Kearsarge sunk the Alabama in a sea battle off Cherbourg in 1864.
Library of Congress, Prints and Photographs Division LC-DIG-cwpb-02244 (digital file from original neg. of left half) LC-DIG-cwpb-02245 (digital file from original neg. of right half) LL/36096
George N. Barnard
Gen. Sherman’s men destroying the Railroad, before the evacuation of Atlanta, Ga. [The War for the Union. No. 3630] 1864
Stereo
DeGolyer Library
Robin Stanford Collection LL/50117
George N. Barnard, published by E. & H.T. Anthony & Co., New York
George N. Barnard
Gen. Sherman’s men destroying the Railroad, before the evacuation of Atlanta, Ga. [The War for the Union. No. 3630] 1864
Stereo, detail
DeGolyer Library
Robin Stanford Collection LL/50143
George N. Barnard, published by E. & H.T. Anthony & Co., New York.
George N. Barnard
Destruction of Hood’s Ordnance Train 1864
Albumen silver print
Metropolitan Museum of Art LL/50242
In different versions of this photograph the cloud formations vary which may indicate that it is a composite print. Compare with the SFMOMA - San Francisco Museum of Modern Art (409.1969.44) from the Photographic Views of Sherman's Campaign. (Alan Griffiths, 7 April 2013)
George N. Barnard [Clothing Warehouse, Chattanooga] 1864 (taken) 1865 (print)
Albumen silver print 25.1 x 32.9 cm (9 7/8 x 12 15/16 in)
J. Paul Getty Museum
Object number: 84.XM.468.70 LL/50522
George N. Barnard
Looking down the Valley of Running-Water Creek from near Whiteside's, Tenn., Nashville & Chattanooga R.R. bridge on the left 1864
Albumen print, panorama 11 x 29 ins
Library of Congress, Prints and Photographs Division
Reproduction Number: LC-USZC4-3925 (color film copy transparency) LC-USZ62-115234 (b&w film copy neg.), Call Number: PH - Barnard (G.), no. 81 (E size) [P&P] LL/55334
George N. Barnard
Battlefield of Atlanta, Ga., 1864 [Original] 1864
Negative
National Archives and Records Administration [ARC identifier: 524961] LL/8089
George__Barnard
Rebel Works in Front of Atlanta, GA. No. 3 1864 (taken) 1866 (print)
Self portrait of Giorgio Sommer with his son Edmondo 1864
Albumen print
Private collection of Giovanni Fanelli LL/46000
James Gardner
Field Hospital, Second Army Corps [Gardner's Photographic Sketch Book of the War. Incidents of the War, pl. 54] 1864
Albumen print 7 x 9 in
Lee Gallery
Courtesy of Lee Gallery (Z1384) LL/13909
"Negative by J. Gardner. Brandy Station, February, 1864. Entered according to act of Congress, in the year 1865, by A. Gardner, in the Clerk's Office of the District Court of the District of Columbia. Incidents of the War. Field Hospital, Second Army Corps. Published by Philp & Solomon, Washington. Positive by A. Gardner, 511 7th Street, Washington" printed in the margin recto.
James McDonald
West entrance to the Church of the Holy Sepulchre, Jerusalem 1864
Albumen print
British Library LL/6489
John Adamson
Captain Speke 1864
Albumen print
St. Andrews University Library, Special Collections / The Photographic Collection
Record: ALB13-44 LL/40266
This digital image has the watermark and text label for the University of St. Andrews - these are not visible on the original photograph.
Johnson & Ward (publishers)
Africa 1864
Map 23.5 x 17.5 cm
Creative Commons – Wikipedia
Courtesy of Geographicus Fine Antique Maps LL/46340
A beautiful first edition example of A. J. Johnson’s highly decorative 1864 map of Africa. The map covers the entire African continent as well as adjacent parts of Arabia and the Mediterranean. Throughout, Johnson identifies various cities, towns, rivers and assortment of additional topographical details. Johnson introduced this map in 1864 to replace the more primitive Colton mapping of Africa used in his earlier atlases. This map accommodates recent discoveries and explorations in Africa. It is consequently the first of Johnson’s Africa series to accurately represent Lake Victoria and Mt. Kilimanjaro. Features the fretwork style border common to Johnson’s atlas work from 1864 to 1869. Published by A. J. Johnson and Ward as plates 99-100 in the 1864 edition of Johnson’s New Illustrated Family Atlas . This is the first edition of the Johnson’s Atlas to bear the Johnson & Ward imprint and the only edition to identify the firm as the “Successors to Johnson and Browning (Successors to J. H. Colton and Company)”. Dated and copyrighted, “Entered according to Act of Congress in the Year 1864 by A. J. Johnson in the Clerks Office of the District Court of the United States for the Southern District of New York.
Julia Margaret Cameron
Mary Hillier and Alice Keown, a Madonna Study 1864
Albumen print, arch-top 25,3 x 18,2 cm
Bassenge Photography Auctions
Courtesy of Bassenge, Berlin (Photography, Sale: 90, Lot: 4031, Dec 5, 2007) LL/25211
The stylized portraits of Julia Maragret Cameron were prepared with great care and have elements of both the more modern photographic realism of an unretouched close-up portrait, which contrasts strongly with the flowery Victorian era, and a more conventional religious and allegorical composition which points back to the Old Master painters. Today Cameron is rightly regarded as one of the finest portraitists in the history of photography.
Julian Cox/Colin Ford. Julia Margaret Cameron. The Complete Photographs. London 2003.
Julia Margaret Cameron
Mary Hillier, Elizabeth and Kate Kuhn 1864
Albumen print 29.1 x 22.1 cm
George Eastman House
Record Id: 1971:0109:0031 LL/35662
In an album given to G.F. Watts by Julia Margaret Cameron on Feb. 22, 1864, plate 31.
Julia Margaret Cameron
Sadness 1864
Albumen print
National Media Museum
The Royal Photographic Society, Ref Number: 2003-5001/2/21477 LL/41796
Julia Margaret Cameron
Annie Philpot 1864
Albumen print, from wet-collodion-on-glass negative
Victoria and Albert Museum
Museum no. PH.214-1969 LL/47117
Julia Margaret Cameron
St Agnes 1864
Albumen print, from wet-collodion-on-glass negative
Victoria and Albert Museum
Museum no. PH.44.772 LL/47121
Julia Margaret Cameron
A Sibyl after the manner of Michelangelo 1864
Albumen print
George Eastman House
Museum purchase LL/54414
Julia Margaret Cameron
Mary Fisher 1864
Albumen print, from wet collodion negative 9 3/4 × 7 1/2 in (24.8 × 19.1 cm)
National Gallery of Art LL/54905
Julia Margaret Cameron Paul and Virginia [Freshwater, Isle of Wight] 1864
Albumen silver print
J. Paul Getty Museum
Lent by: National Museum of Photography, Film & Television, Bradford, United Kingdom LL/5999
Lady Clementina Hawarden
At the Window 1864
Albumen print, detail 20.5 x 15.3 cm
Harry Ransom Humanities Research Center at the University of Texas at Austin LL/39151
Lewis Carroll
Margaret Frances Langton Clarke 1864 (taken)
Albumen print 15.2 x 11.6 cm
Art Institute of Chicago
Gift of Mrs. John W. Taylor, Mrs. Winthrop M. Robinson, Jr., and Mrs. Fred D. Sauter, from the Estate of Frances Hooper, 1987.211.3 LL/45762
Louis Vignes
Tombeau d'Elahbel, Palmyre 1864
Albumen print, glass negative 235 x 180 mm
Studios Robespierre, Serge Plantureux
courtesy Choppin De Janvry (May 30, 2007, #92) LL/19691
Louis Vignes
Khasnet-Jiroun, Petra 1864
Albumen print, glass negative 249 x 196 mm.
Studios Robespierre, Serge Plantureux
courtesy Choppin De Janvry (May 30, 2007, #95b) LL/19692
Louis Vignes
View of Jebel Musa (Sinai) [With members of the expedition] 1864
Albumen print, from paper negative 18 x 25,5 cm (ca)
Bassenge Photography Auctions
Auction 104, 3 December 2014, 19th - 21st Century Photography, Lot: 4076 LL/56077
Louis Vignes
Petra [Jordan] 1864
Albumen print 19,5 x 25,5 cm (ca)
Bassenge Photography Auctions
Auction 104, 3 December 2014, 19th - 21st Century Photography, Lot: 4077 LL/56078
The stone cut structure shown in this image is part of the so-called Royal Wall (2nd cent. AD) in Petra which contained tombs.
Louis Vignes was a naval officer whose photographic work was produced during his early service in the Mediterranean and North Africa. He made 50 calotypes of sites in Morocco, Sicily and Beirut during the Syrian campaigns of 1860. This led to his assignment to the Duke du Luynes expedition, which travelled from Beirut south through Sidon, Tyre, Nablus and Jerusalem to the Dead Sea which they explored by ship from March through May 1864. It has been estimated that he produced some 400 images. In 1875 64 images were published by Charles Negre in Honoré d'Albert, duc de Luynes, Voyage d'exploration à la mer Morte, à Pétra et sur le rive gauche du Joudain.
Louis Vignes
Intérieur de salon à Beyrouth 1864
Papier albuminé d'après négatif sur verre au collodion 19 x 25 cm
Bibliothèque Nationale de France, Département des Estampes et de la Photographie
Acquisition 1997 LL/7789
Louis Vignes
Arak-el-Emir 1864
Papier albuminé d'après négatif sur verre au collodion 19 x 25 cm
Bibliothèque Nationale de France, Département des Estampes et de la Photographie
Acquisition 1997
Mathew B. Brady
Gentlemen's Committee on the Fine Arts 1864
Albumen silver print 14.7 cm x 22.8 cm (5 13/16 x 9).
National Portrait Gallery, Smithsonian Institution [NPG.77.126] LL/2049
Mathew B. Brady
Elk-Horn Chair, Presented to President Lincoln, Nov. 26, 1864, by Seth Kinman, the California Hunter and Trapper 1864
Carte de visite
Creative Commons – Wikipedia
Original uploader was Smallbones at en.wikipedia LL/48904
Mathew B. Brady
Seth Kinman. California Hunter 1864
Carte de visite
Creative Commons – Wikipedia
UofC Berkeley Library: Original shelved BANC PIC 1991.038—PIC LL/48906
Samuel A. Cooley
Savannah, Georgia (vicinity). View of Fort McAllister and Cooley's photographic tent 1864
Library of Congress, Prints and Photographs Division
LC-DIG-cwpb-03484 (digital file from original neg. of left half) LC-DIG-cwpb-03483 (digital file from original neg. of right half) LL/36097
Samuel Bourne
Bridge across the Sutley on Kirlu Road 1864
Albumen print 22.9 x 28.5 cm
Bassenge Photography Auctions
Auction (17 June 2009, Sale 93, Lot 4213) LL/32463
Samuel Bourne
Portrait of Samuel Bourne 1864
Albumen print
National Media Museum
National Media Museum / Royal Photographic Society / Science & Society, Image Ref. 10455043 LL/42073
Samuel Bourne
Kangra - Monuments of Sutteeism 1864
Albumen print 23.8 x 29.3 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 870.16) LL/7661
Samuel Bourne
Bridge on the Margual Canal, Kashmir 1864
Albumen print 210 x 275 mm 8.25 x 11 in
Antiq-Photo
Courtesy of Anthony Davis - Antiq-photo / Rainbow creations (www.19cPhoto.com - 3wo286) LL/8819
Stephen Thompson
Kenilworth Castle, From the Brook 1864
Albumen print 3 7/8 x 6 1/4 ins
Archive Farms LL/55394
Thomas Ogle
Whitby Abbey 1864
Albumen print
Archive Farms LL/55397
William Howitt, 1864, Ruined Abbeys and Castles of Great Britain and Ireland, Second Series, (London: Alfred W. Bennett)
Timothy H. O'Sullivan
Chesterfield Bridge, North Anna, Virginia [Gardner's Photographic Sketch Book of the War. Incidents of the War, pl. 66] 1864
Albumen print 7 x 9 in
Lee Gallery
Courtesy of Lee Gallery (Z1389) LL/14037
"Negative by T.H. O'Sullivan. No. 66. Entered according to act of Congress, in the year 1866, by A. Gardner, in the Clerk's Office of the District Court of the District of Columbia. Chesterfield Bridge, North Anna, Virginia. Published by Philp & Solomon, Washington. Positive by A. Gardner, 511 7th Street, Washington. May, 1864" printed in the margin recto.
Timothy H. O'Sullivan
General Grant's Council of War, Massaponax Church, Virginia 1864
Albumen silver print, from glass negative 8.7 x 10.8 cm (3 7/16 x 4 1/4 ins)
Metropolitan Museum of Art
The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1986, Accession Number: 1986.1027 LL/47167
Timothy H. O'Sullivan
Pennsylvania Light Artillery, Battery B, Petersburg, Virginia 1864
Albumen silver print, from glass negative
Metropolitan Museum of Art
Harris Brisbane Dick Fund, 1933, Accession Number: 33.65.241 LL/50245
Unidentified photographer
Pacific Mail Steamship Company docks at the foot of Brannan Street 1864
Photographic print
Bancroft Library, University of California Berkely
Roy D. Graves Pictorial Collection, Identifier: 27 LL/40159
Unidentified photographer
Photographer, wagon, observation tower, Bermuda Hundred, VA 1864
Albumen print
Library of Congress, Prints and Photographs Division Ref: 01831u LL/42999
The war was sqeezing the CSA into a concentrated area, lots of photographers in close proximity: Egbert G. Fowx, Andrew J. Russell, Thomas C. Roche are all possible candidates. [Dave Tooley, pers. comm. February 2011]
William Despard Hemphill
Holy Cross Abbey 1864
Photograph
British Library
Shelfmark: C.44.d.7,8, Item number: 211 LL/51530
"…Ireland, from a very early period, abounded with monasteries and nunneries. One of the most sacred and esteemed of these establishments was Holy-Cross Abbey in Tipperary. It was founded for monks of the Cistercian order, in honour of the Holy Cross of St. Mary and St. Benedict. It stood on the right bank of the Suir, about three miles from Thurles, and near it a village. It was named the Abbey of the Holy Cross, from a fragment of the true cross which Pope Pascal II. sent to Murtough, King of Ireland, in 1110. The abbey, however, was not founded till 1182, by Donogh Carbragh O'Brien, King of Limerick. The founder conferred on it extensive lands, and Gregory was its first abbot. It received further endowments and privileges from Kings John, Henry III., Richard II., the Earls of Ormond, and the Archbishop of Cashel."
Excerpt from "Holy-Cross Abbey", in Ruined Abbeys and Castles of Great Britain and Ireland by William Howitt.
William Despard Hemphill
Rock of Cashel, General View 1864
Albumen print
Archive Farms LL/55399
William Howitt, 1864, Ruined Abbeys and Castles of Great Britain and Ireland, Second Series, (London: Alfred W. Bennett)
William Despard Hemphill
Rock of Cashel, Round Tower 1864
Albumen print
Archive Farms LL/55400
William Howitt, 1864, Ruined Abbeys and Castles of Great Britain and Ireland, Second Series, (London: Alfred W. Bennett)
William Russell Sedgefield
Triangular Bridge at Troyland 1864
Albumen print / Archive Farms LL/55398
William Howitt, 1864, Ruined Abbeys and Castles of Great Britain and Ireland, Second Series, (London: Alfred W. Bennett)
1) Что имеем наблюдать опять: массивные и немаленькие по размерам каменные и/или бочные здания с массой технологически сложных элементов - пазов, углов, фасок, арок. В полуразрушенном состоянии. То есть много где и весьма приличного качества, только не гламурные и не блестящие. ВОПРОС: откуда такие разрушения? кто сделал? что не устраивало?
2) Можно сказать всегда, что единичные здания не представляют проблемы построить местными силами, но количество таких единичных зданий в совокупности показывает, что их очень много и что они все высокого качества, то есть небанальные в изготовлении, т.к. на все нужно умение, время, деньги, руки. То есть вопрос - КОГДА ИХ ПОСТРОИЛИ В ТАКОМ МАССОВОМ КОЛИЧЕСТВЕ И КТО -весьма непростой, несмотря на его простоту на первый взгляд... Ясен пень, что любой участвовавший в их захвате и разрушении станет пояснять эти очевидные факты, т.к. кровно заинтересован чтобы никто никогда не узнал, У КОГО ОНИ БЫЛИ ЗАХВАЧЕНЫ И ОТОБРАНЫ НАСИЛЬСТВЕНЫМ ПУТЕМ...
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