(Accessed: 1 April 1854 - the website "Florence Nightingale Historical Bulletin" is run by author Hugh Small. The photograph is credited to the collection of Keith Smith.)
"...shows the camp of the 3rd Grenadier Guards with the barracks (later the Barrack Hospital and now the Selimiye Barracks) in the background. Lines to the Selimiye mosque and to the General Hospital (the building on the left) locate the site ... This would now be on the railway tracks and has presumably been excavated. Even if it were possible now to stand in the same spot, the new Marmara University building would probably obscure the view of the barracks."
James Robertson [Acropolis, Athens] 1854
Salted paper print from wet collodion negative 25.9 x 29.1 cm (image) 31.4 x 35.3 cm (mount)
J. Paul Getty Museum
Getty Research Library, Special Collections and Visual Resources, Gary Edwards collection of photographs of Greece, 1842-1959, Id: 92.r.84_03-01 LL/41628
View of the Acropolis showing the Frankish Tower and the Beulé Gate.
James Robertson
Constantinople. Tombeau du sultan Suleiman 1854
Papier salé d'après négatif sur verre au collodion 29.5 x 25.5 cm
Bibliothèque Nationale de France, Département des Estampes et de la Photographie
Ancienne collection Georges Sirot LL/7779
James Robertson
Constantinople. Suleimanieh, côté est 1854
Papier salé d'après négatif sur verre au collodion 32 x 26.5 cm
Bibliothèque Nationale de France, Département des Estampes et de la Photographie
Ancienne collection Georges Sirot LL/7780
James Robertson Constantinople. Base de l'obélisque [de théodose] 1854
Papier albuminé d'après négatif sur verre au collodion 24.5 x 29.5 cm
Bibliothèque Nationale de France, Département des Estampes et de la Photographie
Album du comte de Paris LL/7781
James Robertson
Environs de Constantinople. Sultan Selim. Scutari 1854
Papier albuminé d'après négatif sur verre au collodion 26 x 29.5 cm
Bibliothèque Nationale de France, Département des Estampes et de la Photographie
Album du comte de Paris LL/7782
James Robertson
Constantinople. Mosquée Ahmedieh 1854
Papier salé d'après négatif sur verre au collodion 26 x 30 cm
Bibliothèque Nationale de France, Département des Estampes et de la Photographie
Ancienne collection Alfred Armand LL/7784
Julien Vallou de Villeneuve Deux femmes. Etude d'apres nature no. 1308 1854
Tirage sur papier salé d'après négatif sur papier 16.8 x 12 cm
Bibliothèque Nationale de France, Département des Estampes et de la Photographie
Département des Estampes et de la photographie, Dépôt légal (Eo 9 folio tome 8) LL/7726
Louis-Pierre-Théophile Dubois de Nehaut
The Zoological Garden, Brussels 1854
Salted paper print, from paper negative Metropolitan Museum of Art
Gilman Collection, Gift of The Howard Gilman Foundation, 2005, Accession Number: 2005.100.372.28 LL/40324
Louis-Pierre-Théophile Dubois de Nehaut Another Impossible Task 1854
Salted paper print from glass plate negative 16.3 x 21.2 cm (6 7/16 x 8 3/8 ins)
Metropolitan Museum of Art
Gilman Collection, Gift of The Howard Gilman Foundation, 2005, Accession Number: 2005.100.372.32 LL/40496
Mendel Diness
Portrait of James Graham, Thomas Seddon and William Holman Hunt 1854
Glass plate, scanned from Israel Museum, Jerusalem LL/24986
This is the only known photographic evidence of the presence of the painters in Jerusalem in 1854.
Philip Henry Delamotte & Henry Negretti
Progress of the Crystal Palace at Sydenham 1854
Albumen silver pint
Metropolitan Museum of Art
David Hunter McAlpin Fund, 1952 (52.639.18,.27,.36,.37,.41,.54,.56,.74,.80,.81)
Philip Henry Delamotte & Henry Negretti
Progress of the Crystal Palace at Sydenham
1854
Albumen silver pint
Metropolitan Museum of Art
David Hunter McAlpin Fund, 1952 (52.639.18,.27,.36,.37,.41,.54,.56,.74,.80,.81)
LL/33471
Philip Henry Delamotte Evening 1854
Albumen print
Metropolitan Museum of Art
David Hunter McAlpin Fund, 1952
LL/45904
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) LL/33470
Pierre Tremaux Young Nubian Woman, Sudan 1854
Salted paper print, from a calotype negative 10 x 7.5 cm Archive Farms LL/55219
Publication: Pierre Tremaux, Voyage au Soudan Oriental et dans l'Afrique Septentrionale, pendant les années 1847 à 1854, comprenant une exploration dans l'Algerie, la Régence de Tunis et de Tripoli, l'Asie mineur, l'Égypte, la Nubie, le Déserts, l'Ile de Méroé, le Sennar, le Fa-Zoglo, dans des contrées inconnues de la Nigritie; avec Atlas de Vues pittoresques, scènes de moeurs, types de végetation remarquables, dessins d'objets éthologiques et scientifiques, panoramas, cartes géographiques, un parallèle des édifices antiques et modernes du continent africain, et une Exploration archéologique en Asie Mineure, Paris (Borrani et Droz), London (J. Madden), St. Petersburg (Hauer A. Cluzel), Berlin (A. Asher et Cie) 1847-1854: first series Voyage au Soudan Oriental: pl. 36.
Regards sur la Photographie en France au XIXe siecle, Berger-Levrault, Paris, 1980, #150
After Daguerre: Masterworks of French Photography (1848-1900) from the Bibliotheque Nationale, Metropolitan Museum, New York, 1980,
Platt D. Babbitt Niagara Falls 1854
Daguerreotype, hand-colored National Museum of American History
National Museum of American History, Behring Center, Division of Information Technology and Communications, Photographic History Collection, Image No. AFS 141 LL/36184
Roger Fenton
Untitled [A group of statuary in the British Museum] 1854
Stereocard, albumen prints Archive Farms LL/38896
Roger Fenton
Rievaulx Abbey, the High Altar 1854
Albumen silver print, from glass negative 29.5 x 36.5 cm (11 5/8 x 14 3/8 ins) (image) 48 x 61.5 cm (18 7/8 x 24 3/16 ins (mount)
Metropolitan Museum of Art
Gilman Collection, Purchase, William Talbott Hillman Foundation Gift, 2005, Accession Number: 2005.100.275 LL/40408
Roger Fenton
Wharfe and Pool, Below the Strid 1854
Salted paper print 34.5 x 28.2 cm (13 9/16 x 11 1/8 ins) (image) 56.8 x 44.9 cm (22 3/8 x 17 11/16 ins) (mount)
Metropolitan Museum of Art
Gilman Collection, Purchase, W. Bruce and Delaney H. Lundberg Gift, 2005, Accession Number: 2005.100.8 LL/40551
Roger Fenton
Rievaulx Abbey 1854
Albumen silver print, from glass negative 35.7 x 29.8 cm (14 1/16 x 11 3/4 ins) (image) 40.3 x 34.5 cm (15 7/8 x 13 9/16 ins) (mount)
Metropolitan Museum of Art
Gilman Collection, Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 2005, Accession Number: 2005.100.7 LL/40571
Roger Fenton
York Minster from Lendal 1854
Albumen print
National Media Museum
The Royal Photographic Society, Ref number: 2003-5001/2/20130 LL/41688
Roger Fenton
Bolton Abbey, West Window 1854
Albumen print National Media Museum
The Royal Photographic Society Collection, Purchased with the assistance of The Art Fund
LL/45902
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
Roger Fenton
The Cloisters, Tintern Abbey 1854
Salted paper print, from collodion negative 7 3/16 × 8 11/16 in (18.3 × 22.1 cm)
National Gallery of Art LL/54884
Roger Fenton
Rievaulx Abbey, the North Transept 1854
Albumen print, from wet collodion negative 11 × 14 1/2 in (27.9 × 36.8 cm)
National Gallery of Art LL/54886
Thomas Sutton
Tower Struck by Lightning, Saint-Ouen Bay 1854
Salted paper print (Blanquart-Evrard process) 28.8 x 19.5 cm (11 3/8 x 7 5/8 ins)
Metropolitan Museum of Art
Loaned from the National Gallery of Art, Washington, The Horace W. Goldsmith Foundation through Robert and Joyce Menschel LL/25984
This photograph was included in the exhibition "Impressed by Light: British Photographs from Paper Negatives" at the Metropolitan Museum of Art, New York (September 25, 2007-December 31, 2007)
Thomas Sutton
Rochers, baie de Jiquet
1854
Blanquart-Evrard salt print from waxed paper negative
7-3/4 x 10-3/8
Charles Isaacs Photographs, Inc
LL/4209
T.R. Williams [Attributed to]
Queen Victoria Presiding at the Reopening of the Reconstructed Crystal Palace at Sydenham 1854
Albumen print, from glass negative (copy print of a daguerreotype)
Metropolitan Museum of Art
David Hunter McAlpin Fund, 1952 (52.639.18,.27,.36,.37,.41,.54,.56,.74,.80,.81), Museum Accession (X.673) LL/48872
The original daguerreotype by Philip Henry Delamotte taken on 10 June 1854 is in the collection of the Victoria and Albert Museum, London (Museum number: 1681-1939).
Unidentified photographer
Yale University Rowing Crew 1854
Daguerreotype 1/2 plate
Be-Hold
Courtesy of Larry Gottheim - Be-Hold (49 / 22) LL/18517
This ¢ plate daguerreotype, sealed with original seals to a double elliptical mat, is a great group portrait. The 5 men in back wear their straw hats; the 5 seated in front have their hats on their laps. They all have stars on their decorative vests, with anchors on the collar. Some have different colored shirts and slightly different ties. The seated person at right holds an oar or other object. They are individualized with their interesting faces clear, facing in slightly different directions.
The paper backing inside the case has a period pencil inscription identifying them as "Our Lady Crowd of Old." It names the men, and says it was "Taken in N. Haven July 25, 1854."
There are a few minor rust spots on the plate, but it has the original character expected in an 1854 plate that has not been touched since its making. The most fascinating daguerreotypes of historical importance and lively fascination are ever more scarce.
Unidentified photographer
Wetmore sisters 1854
Daguerreotype, 1/2 plate
Private collection of Nelson Anderson LL/34307
A historical footnote relates the following about this image: This half plate daguerreotype is of sisters Harriet Cooper Wetmore, Born 10 July 1828 and Cornelia Brower Wetmore, Born 11 September 1832 both of New London, Connecticut. This image was taken in 1854 just one year prior to Cornelia's (right) marriage to Richard Haven Chapell of the same city. He was a ships merchant and was among the first to sail into the newly purchased Alaskan territory to harvest fur seals in the 1860's. The clarity [of the original] is so good you can clearly see that Harriet had a rather severe case of acne!
Original image is restored and enhanced at the request of the owner, Nelson Anderson (Flickr/Inferno55).
William Constable Self-portrait with a Recent Invention 1854
Daguerreotype 3 5/8 x 2 5/8 cm
J. Paul Getty Museum
J. Paul Getty Trust [84.XT.266.13]
LL/38299
Description from The Getty (Accessed: 2 July 2010)
William Constable was both an artist and inventor. Here he showed off his most recent scientific invention: an improved regulating device to increase the efficiency of steam power. Constable placed himself with the invention behind him on his right. Rather than position the invention in center frame, Constable shifted it to the left so as to include himself proudly clasping the device. The composition calls as much attention to his own role as inventor as to the invention itself.
The Brighton Herald wrote of Constable's "mechanical genius." In the Machinery Section of the Great Exhibition of 1851, Constable showed his model of a 'Compensating Fly Wheel', which he had designed to improve the working of steam engines. The inventor claimed that his patented 'Compensating Fly Wheel' served "not merely to improve, but perfect the action of the Reciprocating Steam Engine"
See also:
Philippe Garner "William Constable, Brighton's First Photographer", History of Photography, Vol 15, No 3 . Autumn 1991 pp 236-239
William Crookes
The "Meridian Circle", Oxford Observatory 1854
Salted paper print 7.9 x 6 cm
Harry Ransom Humanities Research Center at the University of Texas at Austin HRC LL/6137
Unidentified photographer/creator
Hancock House, Boston: An original Crystallotype or Sun Picture 1854
Title page Google Books LL/36386
Frontispiece for Various writers Homes of American Statesmen: With Anecdotical, Personal, and Descriptive Sketches (New York: G.P. Putnam & Co., London: Sampson Low, Son & Co, 1854), Frontispiece.
From page iv of the Publishers' Notice:
Most of the illustrations in this volume have been engraved from original drawings, or daguerreotypes taken for the purpose. The frontispiece is somewhat of a curiosity, each copy being an original sun-picture on paper. The great luminary has here entered into direct competition with other artists in the engraving business our readers can judge how well he has succeeded.
Meade Brothers Studio
Proposed Elevated Railroad Terrace for Broadway, New York 1854
Magazine illustration
Archive Farms LL/55289
Gleason's Pictorial Drawing Room Companion, 1854, p. 200
Shows the Meade Brothers Daguerreotype Depot at 233 Broadway behind railroad platform.
По моему восстановлению Удар по планете был нанесён Красной (Советской) армией Эльстона-Сумарокова 21 ноября 1852 года. И тогда же началась Великая Война Охранных Войск Bella Arm Air Kondrus с Красной (Советской) армией Эльстона-Сумарокова: Grey slave war crimes.
Впереди будут хорошие фотографии. Неважно, когда они были сделаны, правильно ли они датированы? Это уже мелочи. Главное, что они есть. И это - вторая половина 19 века. То, что пыталась скрыть Красная (Советская) армия Эльстона-Сумарокова: Grey slave war crimes, все годы своей советской власти. Одно дело: прочитать в красных (советских) книгах после всех корректировок об опустевших городах по всей России после крымской-то войны, и другое дело: увидеть эти пустые города по всей Европе и Америке, включая и Россию, после той крымской войны Охранных Войск Bella Arm Air Kondrus с Красной (Советской) армией Эльстона-Сумарокова: Grey slave war crimes.
Лично на меня фотографии произвели гнетущее впечатление. После них славянам трудно будет рассказывать про то, как они всей своей красной (советской) еврейско-немецкой рабоче-крестьянской армией Эльстона-Сумарокова с голыми сабельками разнесли в хлам Париж, и героически обороняли Русский Севастополь от Охранных Войск Bella Arm Air Kondrus- Царей Русских, а заодно и своих славянских Богов Русов. Обратите внимание на ракурс фотографий. Там есть фотографии, где видно, что фотографировали с очень большой высоты. Аэро-фотосъёмка. И есть фотографии, где видны следы применения очень мощного оружия и... которое стреляло сверху, с воздуха, но не с земли.
Я говорю, что я в шоке от этих фотографий. И тут же встает вопрос: если в Европе и Америке снимают всё подряд: цветочки, пейзажи, деревья, простолюдинов, то почему фотографий того времени не оказалось в России?
Где фотографии знаменитой романовской армии славян в это же время? Где фотографии Романовых в качестве царей-то? В Европе и Америке фотографии себе могут позволить простолюдины, а в России не могут позволить себе фотографий даже Романовы со своим крепостным правом? И со своей красной (советской) романовской армией славян: рабочих и крестьян Деникиных, Врангелей, Юденичей, Сумароковых-Эльстонов-Юсуповых? Что так? Денег мало награбили в захваченной России в 1853-1871 гг.?