Unidentified photographer/creator
La Gouloe 1886 / Cabinet card, composite, hand colored
Charles Schwartz Ltd Courtesy of Charles Schwartz (#9343) LL/9504
Начало...
Фотографии 1886 года.
Cabinet card featuring a hand colored composite of can can dancers at the Moulin Rouge featuring La Goulue. "La Goulue", the subject of some of Toulouse Lautrec's most famous lithographs, was the queen of the Moulin Rouge from 1886-1895. She was nicknamed "the glutton" both because of her habit of finishing patron's drinks and reputed sexual appetite. Printed on Card "Celebrites Choregraphiques" "La Goulue" and "Quadrille Au Moulin Rouge"
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Adam Diston (Leven / Scotland)
Cutting a sunbeam 1886
Photograph
Private collection of Jan Weijers (Servatius) LL/50355
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Adolfo Farsari
192 Rooms 1886
Albumen print, watercolor images in margins 19.8 x 24.5 cm (7 13/16 x 9 5/8 ins)
Museum of Fine Arts, Boston
Gift of Jean S. and Frederic A. Sharf, Accession No: 2004.269.16 LL/46656
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A. Frank Randall
Arizona female scout 1886
Photographic print
Huntington Library, Art Collections and Botanical Gardens LL/50430
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A. Frank Randall
Natches [i.e., Naiche] and Geronimo after their surrender in ’86 at Fort Bowie, Ariz. 1886
Photographic print
Huntington Library, Art Collections and Botanical Gardens LL/50433
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A. Frank Randall
Yours to Help the Oppressed, A. Franklin Randall [Portrait of A. Frank Randall] 1886
Photographic print
Huntington Library, Art Collections and Botanical Gardens LL/50434
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Charles Bayliss
Bourke [New South Wales Royal Commission: Conservation of water. Views of scenery on the Darling and Lower Murray during the flood of 1886] 1886
Albumen print 24.1 x 29.5 cm (image)
Art Gallery of NSW
Purchased 1984, Accession number: 74.1984.1 LL/54725
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Charles Bayliss
Distant view of Jandra Rocks [New South Wales Royal Commission: Conservation of water. Views of scenery on the Darling and Lower Murray during the flood of 1886] 1886
Albumen print 20.4 x 28.9 cm (image)
Art Gallery of NSW Purchased 1984, Accession number: 74.1984.5 LL/54726
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Charles Bayliss
Wool-washing at Gundabooka Station, Darling River [New South Wales Royal Commission: Conservation of water. Views of scenery on the Darling and Lower Murray during the flood of 1886] 1886
Albumen print 23.3 x 29.3 cm (image)
Art Gallery of NSW Purchased 1984, Accession number: 74.1984.8 LL/54727
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Elbridge Willis Moore (1857-?)
Captain and Chief Engineer of the Kassald, Columbia River, Oregon 1886
Albumen print, mixed media 7 1/2 x 4 3/4 in (19.1 x 12.1 cm)
Swann Galleries - New York Sale 2208 Lot 4 LL/35571
With a hand-drawn nautical cut-out (which is weaving in and out of the photograph) adhered to the mount, and metal circular studs tacked to a secondary mount; with gilt edges and a label containing Moore's name.
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Emile Joachim Constant Puyo
Portrait de Jeune Femme avec Photo au Mur 1886
Albumen print 6 11/16 x 9 1/8 in
Lee Gallery
Image courtesy of the Lee Gallery (www.leegallery.com) LL/3308
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Étienne Jules Marey
[Bird in Flight] 1886
Albumen silver print, from glass negative 3.3 x 17.3 cm (1 5/16 x 6 13/16 ins)
Metropolitan Museum of Art
Gilman Collection, Purchase, Denise and Andrew Saul Gift, 2005, Accession Number: 2005.100.820 LL/40404
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Eugenio Courret
Self portrait of Eugenio Courret 1886
Photographic print
Creative Commons – Wikipedia LL/46684
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F. Jay Haynes
The interior of the Haynes Palace Studio Car at Helena (M/T.) 1886
Uncertain format
Creative Commons – Wikipedia LL/36180
This photograph was published with the following note in Edward W. Nolan Northern Pacific views: The railroad photography of F. Jay Haynes, 1876-1905 (Helena, MT: Montana Historical Society Press, 1983):
The reception room in the Palace Studio car displayed the wide variety of photograph types available to patrons. In addition to fancy frames, Haynes offered mammoth plate views of Yellowstone for sale. The sitting room was through the door to the left of the desk, and beyond that were the living quarters.
[The details on the archive holding the original image along with the accession id are requested. A copy of this photograph may be at Institute for Regional Studies, NDSU, Fargo ]
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Fred Boissonnas
Painter 1886
Carte de visite 4 x 2.5 in(102 x 64mm)
Carl Mautz Vintage Photographs
Courtesy of Carl Mautz LL/11984
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Henry Dixon
London - Queen Anne's Gate [The Society for photographing relics of old London (No.114)] 1886
Carbon print 9 x 7 in (ca)
Eastern Window (Jan van der Wal) Courtesy of Jan van der Wal (gb16-02) LL/15022
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Henshel (instantaneous Art Portraits, New Studios, 3136 Cottage Grove Ave., Chicago)
Bust portrait of Emma Myers 1886
Cabinet card
Private collection LL/37580
The name of the sitter "Emma Myers 1886" is handwritten on the front of the cabinet card.
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J.F. Standiford (publisher)
The great strike and how they did it in Parsons, Kansas. 1886
Albumen print 10.6 x 20 cm (image) 13.4 x 21.6 cm (mount)
Yale University, Beinecke Rare Book and Manuscript Library
Yale Collection of Western Americana, Beinecke Rare Book and Manuscript Library, Call Number: WA Photos 159, Image ID Number: 1051538 LL/38205
Place of origin - Parsons, Kan.; Muskogee, Creek Nation, Indian Territory [Okla.] :
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Josef Maria Eder
Zwei Goldfische und ein Seefisch (Christiceps argentatus) 1886
Photogravure print from x-ray negative 19 x 14 cm
George Eastman House
Gift of Eastman Kodak Company; ex-collection of Josef Maria Eder LL/50386
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J.C. Schaarwächter
Josef Kainz as Don Carlos 1886
Cabinet card Private collection of T. Max Hochstetler LL/14251
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Karl Meckes
Zur Erinnerung an meine Dienstzeit 1886
Albumen print 31 x 44 cm
AnamorFose LL/10672
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Josef Kainz as played the role of Don Carlos in the play by Friedrich Schiller at the Deutsches Theater Berlin in 1886. The German magazine Gartenlaube (1886) included an etching that may have been based on another photograph taken during the same session.
Thanks to Dr. Ulrich Hermanns for this information (pers. email to Alan Griffiths, 10 January 2014).
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N.J. Caire
A prospector's hut, Gippsland, New South Wales, Australia 1886
Albumen print
Cambridge University Library, Royal Commonwealth Society
Cambridge University Library, RCS Y308A/78 LL/40116
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Ormsby (Oakland, Cal.)
California's Tribute to the Nation's Hero, Gen. U.S. Grant. Memorial Day, 1886 1886
Cabinet card
Jeffrey Kraus Antique Photographics LL/37866
The memorial car traveled from California to NYC
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Ormsby (Oakland, Cal.)
California's Tribute to the Nation's Hero, Gen. U.S. Grant. Memorial Day, 1886 1886
Cabinet card, back
Jeffrey Kraus Antique Photographics LL/37867
The memorial car traveled from California to NYC
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Ottomar Anschütz
Three Deer, (Mother and 2 fawns) 1886
Albumen print 3 3/4 x 5 1/2 ins
Private collection of Richard M. Gadd LL/32902
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Paul Nadar
The Art of Living a Hundred Years 1886
Photogravure 5 3/4 x 4 ins
George Eastman House LL/33176
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Peter Henry Emerson
The River Bure at Coltishall 1886
Platinum print 8 3/4 x 11 ins (22.2 x 27.9 cm)
Swann Galleries - New York Sale 2257 Lot 16 LL/44316
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Peter Henry Emerson
The Fringe of the Marsh 1886
Platinum print 7 x 11 1/2 ins (17.8 x 29.2 cm)
Swann Galleries - New York
Sale 2257 Lot 17 LL/44317
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Peter Henry Emerson
The First Frost 1886
Platinum print 20.6 x 28.9 cm (8 1/8 x 11 3/8 ins)
Princeton University Art Museum
Museum purchase, gift of David H. McAlpin, Class of 1920, Object Number: x1975-226 LL/44566
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Peter Henry Emerson
A Rushy Shore [Life and Landscape on the Norfolk Broads] 1886
Platinum print 19.1 x 28.4 cm (7 1/2 x 11 3/16 in.)
Museum of Fine Arts, Boston
Lucy Dalbiac Luard Fund, Accession number: 1977.182 LL/46591
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Peter Henry Emerson
Cattle on the Marshes [Life and Landscape on the Norfolk Broads, plate XXX] 1886
Platinum print 19 x 28.8cm (image)
Van Ham Fine Art Auctions Van Ham - Photography (June 20, 2012) Lot: 64 LL/48357
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Peter Henry Emerson
Gathering Water Lilies 1886
Platinum print 7 13/16 x 11 9/16 in
J. Paul Getty Museum The J. Paul Getty Trust (84.XO.1268.10) L/7368
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Samuel J. Jarvis
F.C.C. Lynch 1886
Albumen silver print 14.1 x 10.4 cm (oval, irregular)
National Gallery of Canada
Gift of the Estate of Frank C.C. Lynch, Ottawa, 1967, no. 34992.80 LL/38969
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Unidentified photographer
Tamil children, Sri Lanka 1886
Albumen print
Cambridge University Library, Royal Commonwealth Society
Cambridge University Library, RCS Y303P/19 LL/40110
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William Henry Jackson
Cañon of the Rio Las Animas 1886
Albumen silver print 53.7 x 42.7 cm (21 1/8 x 16 13/16 in)
J. Paul Getty Museum
Object number: 85.XM.5.25 LL/50509
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Willoughby Wallace Hooper
Arrival of the Expedition at Mandalay on the 28th Nov 1886
Photograph 14.4 x 19.5 cm
British Library Shelfmark: Photo 312/(19) LL/49680
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Willoughby Wallace Hooper
A picture illustrating the height to which the Crops grow round Mandalay 1886
Photograph 10.2 x 15.2 cm
British Library Shelfmark: Photo 312/(46) LL/49681
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Willoughby Wallace Hooper
Group of Pagodas on the road, near the river, leading from the bottom of B road to the landing-place, [Mandalay] 1886
Photograph 14.9 x 10.2 cm
British Library Shelfmark: Photo 312/(50) LL/49682
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Willoughby Wallace Hooper A Money Changer at one of the City Gates, [Mandalay] 1886
Photograph 10.1 x 14.9 cm
British Library Shelfmark: Photo 312/(84) LL/49683
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Unidentified photographer/creator
Six professional criminals 1886
Book plate
Google Books LL/35046
Published in "Professional Criminals of America" by Thomas Byrnes (New York: Cassell & Company, 1886)
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Unidentified photographer/creator
Six professional criminals 1886
Book plate
Google Books LL/35047
Published in "Professional Criminals of America" by Thomas Byrnes (New York: Cassell & Company, 1886)
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Unidentified photographer/creator
Edward Lyons, alias Ned Lyons. Burglar, Sneak, and Pickpocket 1886
Book plate
Google Books LL/35048
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Unidentified photographer/creator
Six professional criminals 1886
Book plate
Google Books LL/35049
Published in "Professional Criminals of America" by Thomas Byrnes (New York: Cassell & Company, 1886)
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Published in "Professional Criminals of America" by Thomas Byrnes (New York: Cassell & Company, 1886), No.70.
Forty-seven years old in 1886. Born in England. Married. Stout build. Height, about 5 feet 8 inches. Weight, about 180 pounds. Hair inclined to be sandy. Wears it long, covering the ears, one of which (the left one) has the top off. Wears a very heavy reddish mustache. Bald on front of head, forming a high forehead.
His picture was taken while he was asleep at the hospital in Connecticut, in 1881.
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Unidentified photographer/creator
A critical moment 1886
Book illustration
Google Books LL/39533
Alexander Black "The Amateur Camera", p.291-301 in Maurice Thompson (ed.) The Boys' Book of Sports and Outdoor Life, (New Yorl: The Century Co., 1886), p.296.
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Unidentified artist
Un Photo-Tricycle 1886
Magazine illustration
Private collection of Jan Weijers (Servatius) LL/47502
L'Illustration Europienne, 1886 (further details requested.) Coventry-rotary, Photo-tricycle, M.D. Rudge and Co. (Great Britain)
Versions of this illustration were published in:
Association Belge de Photographie sous le Protectorat du Roi - Bulletin, No.8, 12th year, Volume 12, (2nd series, Vol.2), 1885, p.294
La Nature: revue des sciences et de leurs applications aux arts et l'industrie (Paris), Volume 13, 1885, p.128. L'Illustration Europienne, 1886 (further details requested.)
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John Ruskin
Part of the Chapel of St. Mary of the Thorn, PISA, as it was 27 years ago. Now in Ruins. 1886
Book illustration
Google Books LL/35865
John Ruskin Fors Clavigera: Letters to the Workmen and Labourers of Great Britain, Volume 1, (New York: John Wiley & Sons, 1886), p.265-266. From Letter XX, (Venice, 3rd July, 1872).
It was some comfort to me, that second of May last, at Pisa, to watch the workman's ashamed face, as he struck the old marble cross to pieces. Stolidly and languidly he dealt the blows, down-looking, so far as in any wise sensitive, ashamed, and well he might be.
It was a wonderful thing to see done. This Pisan chapel, first built in 1230, then called the Oracle, or Oratory, "Oraculum, vel Oratorium " of the Blessed Mary of the New Bridge, afterwards called the Seabridge, (Ponte-a-Mare,) was a shrine like that of ours on the bridge of Wakefield; a boatman's praying-place: you may still see, or might, ten years since, have seen, the use of such a thing at the mouth of Boulogne Harbour, when the mackerel boats went out in a fleet at early dawn. There used to be a little shrine at the end of the longest pier; and as the Bonne Esperance, or Grace-de-Dieu, or Vierge Marie, or Notre Dame des Dunes, or Reine des Anges, rose on the first surge of the open sea, their crews bared their heads, and prayed for a few seconds. So also the Pisan oarsmen looked back to their shrine, rnany-pinnacled, standing out from the quay above the river, as they dropped down Arno under their sea bridge, bound for the Isles of Greece. Later, in the fifteenth century, "there was laid up in it a little branch of the Crown of Thorns of the Redeemer, which a merchant had brought home, enclosed in a little urn of Beyond-sea" (ultramarine) and its name was changed to "St. Mary's of the Thorn."
In the year 1840 I first drew it, then as perfect as when it was built. Six hundred and ten years had only given the marble of it a tempered glow, or touched its sculpture here and there, with softer shade. I daguerreotyped the eastern end of it some years later, (photography being then unknown), and copied the daguerreotype, that people might not be plagued in looking, by the lustre. The frontispiece to this letter is engraved from the drawing, and will show you what the building was like.
But the last quarter of a century has brought changes, and made the Italians wiser. British Protestant missionaries explained to them that they had only got a piece of blackberry stem in their ultramarine box. German philosophical missionaries explained to them that the Crown of Thorns itself was only a graceful metaphor. French republican missionaries explained to them that chapels were inconsistent with liberty on the quay; and their own Engineering missionaries of civilization explained to them that steam-power was independent of the Madonna. And now in 1872, rowing by steam, digging by steam, driving by steam, here, behold, are a troublesome pair of human arms out of employ. So the Engineering missionaries fit them with hammer and chisel, and set them to break up the Spina Chapel.
A costly kind of stone-breaking, this, for Italian parishes to set paupers on! Are there not rocks enough of Apennine, think you, they could break down instead? For truly, the God of their Fathers, and of their land, would rather see them mar His own work, than His children's,
Believe me, faithfully yours,
John Ruskin
http://www.luminous-lint.com/app/tags/6/1886
Продолжение...
Александра Римская 29.01.2015 г., 663, Anno Domini. Xikrik to river Novogor
Список статей Сандры Римской
http://sandra-rimskaya.livejournal.com/477374.html
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