Реальный 19 век. Правда быта - Королева всех доказательств. 7. Начало.
Unidentified photographer/creator / Palais de l'Industrie, Nef Centrale, Exposition Universelle, Paris 1855
Daguerreotype, stereo, laterally reversed / Private collection of John Hannavy
John Hannavy Picture Collection LL/31948
A detailed account of the stereo daguerreotypes of this early World Fair, written by John Hannavy and containing many examples of the genre, was published by The Daguerreian Society in The Daguerreian Annual 2005, pp2-26.
Courtesy of Anthony Davis - Antiq-photo / Rainbow creations (www.19cPhoto.com - 2pe10) LL/8113
Choiselat & Ratel
Provins 1855
Daguerreotype, 1/4 plate
Sotheby's – Paris
Photographies , 29 May 2013, Auction: PF1310, Lot: 10 LL/50888
Robertson, J. & Beato, F.
Jerusalem - Garden of Gethsemane 1855
9 1/2 x 12
Klotz / Sirmon Gallery LL/3353
Southworth & Hawes [View Down Brattle Street from the Southworth & Hawes Studio at 5 1/2 Tremont Row, Boston] 1855
Daguerreotype 21.6 x 16.5 cm (8 1/2 x 6 1/2 ins)
Metropolitan Museum of Art
Gift of I. N. Phelps Stokes, Edward S. Hawes, Alice Mary Hawes, and Marion Augusta Hawes, 1937, Accession Number: 37.14.3 LL/40614
Adolphe Bertsch
Antennes du Moucheron Volucelle (gross 4000 fois) 1855
Salt print 15 x 15 cm
Bassenge Photography Auctions
Courtesy of Bassenge, Berlin (Photography, Sale: 90, Lot: 4023, Dec 5, 2007) LL/25209
Adolphe Bertsch was one of the early pioneers of 19th century photography, being one of the first to make enlargements from smaller negatives. Bertsch invented the megascope which made extreme enlargements possible as early as 1860. In 1857 he published "Etudes d'histoire naturelle au microscope".
Alfred Backhouse
Pots and Pans at Nice 1855
Albumen print 8 1/2 x 10 7/8 in (21.5 x 27.6 cm)
Metropolitan Museum of Art
Paula and Robert Hershkowitz LL/25992
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)
Alfred Rosling
Harbour, Swansea, Wales 1855
Albumen print from wax paper negative 16.10 x 19.70 cm (6 5/16 x7 3/4 ins) (image)
Cleveland Museum of Art
John L. Severance Fund, Accession No.: 1996.353 LL/40889
André Giroux
The Ponds at Obtevoz, Rhône 1855
Salt print 10 1/2 x 13 5/16 in
J. Paul Getty Museum
The J. Paul Getty Trust (84.XP.362.3) LL/7437
Auguste Salzmann
Temple Wall: Triple Roman Portal 1855
Salted paper print 22.3 x 32.0 cm
George Eastman House 1979:2893:0001 LL/57109
Published: Jerusalem: Enceinte du Temple, Triple port romaine
Blandin (Reims) / Label for Blandin, Rue Large, 18. 1855
On the reverse of a Daguerreotype portrait of I. [or J.] Mennesson.
Charles Conway (British, active 1850s)
Winter 1855
Albumen print
Metropolitan Museum of Art
The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1963 LL/45901
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)
Charles Nègre
Untitled 1855
Albumen print 14.9 x 11 cm
Galerie Priska Pasquer LL/1714
Charles Nègre
[Plaster Casts of Bishops' Miters, South Porch, Chartres] 1855
Salted paper print, from paper negative 22 x 32.5 cm (8 11/16 x 12 13/16 ins)
Metropolitan Museum of Art
Gilman Paper Company Collection, Purchase, The Howard Gilman Foundation Gift, 2002, Accession Number: 2002.278 LL/40491
Charles Nègre [Plaster Casts of Books and Hands, South Porch, Chartres] 1855
Salted paper print, from paper negative 21.3 x 32.3 cm (8 3/8 x 12 11/16 ins)
Metropolitan Museum of Art
Gilman Paper Company Collection, Purchase, The Howard Gilman Foundation Gift, 2002, Accession Number: 2002.279
Édouard Baldus
No. 28 Eglise de St. Wulfran a Abbeville 1855
Salt print 17 1/4 x 13 1/8 in
Lee Gallery LL/22085
Édouard Baldus Amiens 1855
Albumen print from wet collodion negative 50.80 x 60.96 cm (20 x 24 ins) (image)
Cleveland Museum of Art
Andrew R. and Martha Holden Jennings Fund, Accession No.: 1986.15 LL/40841
Édouard Baldus
Church at Auvers 1855
Salted paper print from waxed paper negative 33.40 x 43.70 cm (13 1/8 x 17 3/16 ins) (image)
Cleveland Museum of Art
Andrew R. and Martha Holden Jennings Fund, Accession No.: 1992.120 LL/40872
Édouard Baldus
L'entrée du port de Boulogne [Les chemins de fer du Nord. Ligne de Paris à Boulogne. Vues photographiques] 1855
Salt paper print (papier salé, plaque de verre au collodion) 39.2 x 49.2 cm (mount) 31.2 x 42 cm (image)
Musée français de la Photographie
Inventory no: 2004.6.3 LL/42378
Édouard Baldus
[Entrance to the Port of Boulogne] 1855
Salted paper print from paper negative 28.8 x 43.5 cm (11 5/16 x 17 1/8 in)
Metropolitan Museum of ArtCopyright
2000-2005 The Metropolitan Museum of Art. - Purchase, Louis V. Bell Fund, 1992 (1992.5000) LL/6317
Édouard Baldus
Church at Auvers (Eglise d'Auvers) 1855
Salted paper print from waxed paper negative
Cleveland Museum of Art
The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund 1992.120 LL/7944
Edward A. Goodall
A wood engraving after an original drawing by Edward A. Goodall showing the Hospital in Sebastopol with Dr. Durgan attending to the wounded. (published in the Illustrated London News - 6 Oct 1855 - p.404) 1855
Engraving LL/173
Felice Beato
General view of Sevastopol 1855
Albumen print
CCA: Canadian Centre for Architecture PH1980:0932 LL/40670
Francis Bedford
The Baptistery, Canterbury Cathedral 1855
Albumen print from a collodion glass negative
Victoria and Albert Museum
Victoria and Albert Museum, London (36.363 / 31A) LL/6780
Franz Hanfstaengl
Portrait of the German painter Johann Friedrich Overbeck 1855
Salted paper print from wet collodion on glass negative, Mounted on paper
Studio blind stamp for Hermann Krone, Dresden 1855
Studio blind stamp
Archive Farms LL/55230
Hugh Welch Diamond
Mental patient 1855
Royal Photographic Society
Courtesy Royal Photographic Society, Bath, England LL/33151
Photography seemed to be a mechanism that could produce faithful records whose authenticity could be certified by the institutions of power and control from which they arose. As the British medical journal Lancet proclaimed: "Photography is so essentially the Art of Truth and representative of Truth in Art that it would seem to be the essential means of reproducing all forms and structures of which science seeks for delineation."
Lancet, 22 January 1859, 89, quoted in S. L. Gilman, ed., "Hugh W. Diamond and Psychiatric Photography," The Face of Madness (Secaucus, NJ: Brunner-Mazel, 1976), 5.
Isaac A. Rehn
Family Group 1855
Ambrotype, mounted by Rehn's special process 8.9 x 12.2 cm (oval), 1/2 plate
George Eastman House
Courtesy of George Eastman House, Gift of 3M Company: ex-collection Louis Walton Sipley (GEH NEG: 25064 30690) LL/6916
James Graham
The Jordon 1855
Albumen print 20.2 x 25.6 cm
Israel Museum, Jerusalem
Gift of Gérard Lévy, Paris, Accession number: B97.0034
James Robertson
Mosque of Soliman the Magnificent (Solimanyah, Constantinople) 1855
Albumen print 25 x 30,4 cm
Bassenge Photography Auctions
Courtesy of Bassenge, Berlin (Photography, Sale: 90, Lot: 4125, Dec 5, 2007) LL/25257
Signed by the photographer in lower left corner and title in lower right in the negative, flush-mounted to original board (minimally soiled, slight traces of use in edges), titled in ink in lower right corner of mount.
Lit.: Sylvie Aubenas/Jacques LacarriÞre. Voyage en Orient. Editions Hazan Paris 2001, ill. p. 182 (image from same period).
James Robertson
Port de Balaklava pendant la guerre de Crimée (View of Balaklava Harbour during the Crimean War) [Title incorrect: View of Kamiesch] 1855
Salted paper print from wet collodion on glass negative, Mounted on paper
Rijksmuseum
This print has the handwritten French caption "Port de Balaklava pendant la guerre de Crimée" on the mount which is incorrect. The view is not of Balaklava, which is surrounded by steep hills, but of the French-controlled port of Kamiesch to the west of Sevastopol.
[pers. email, David Jones to Alan Griffiths, 4 April 2013]
James Robertson
Part of the French attack Sevastopol 1855
Salted paper print from wet collodion on glass negative, Mounted on paper
Rijksmuseum
Copyright
Rijksmuseum Amsterdam (RP-F-F00642) LL/25783
Different sources give this print the title "Interior of the Mamelon Vert". The Mamelon Vert, near Sebastopol, was captured by the French army on 7th June 1855 during the Crimean War. On the 8th September the French took the Malakhov bastion and presumably this photograph was taken around this time.
James Robertson
The Leander in the Port of Balaclava 1855
Salt print 21,8 x 15,1 cm
Bloomsbury Auctions – Rome
Bloomsbury, Rome (Nov 10, 2008, Sale 17, Lot 19) LL/31181
Taken during the Crimean War. Published in in James Lawrence, 1854-56 Crimea. The war with Russia from Contemporary Photographs, Van Nostrand, 1981, pag.71.
James Robertson
Imperial Gate of the Seraglio, view of the entrance of the Serail, Constantinople 1855
Albumenized salt print 29.8 x 25.6 cm
Bassenge Photography Auctions
Auction (17 June 2009, Sale 93, Lot 4264) LL/32471
Signed by the photographer in lower right corner in the negative as well as inscribed in lower edge in the negative, mounted along edges to cream card.
Sylvie Aubenas/Jacques LacarriÞre. Voyage en Orient. Editions Hazan Paris 2001, ill. p. 185 (similar image).
Special Collections Library, Henisch Collection LL/41964
Interior of the Malakoff, one of the main defenses of Sebastopol, after its capture by the French on 8 Sept. 1855. One of the best-known photographs by James Robertson,this was used as the source of many engravings, exhibited in London, and reviewed in the Illustrated London News. The capture of the Malakoff fort marked the climax of the Crimean War, although the Peace Treaty was not signed until the end of March 1856.
Jean-Baptiste Frenet
Horse and Groom 1855
Salt print Wilson Center for Photography (WCP) LL/55095
Jean-Charles Langlois
Sevastopol 1855
Albumen print, from waxed paper negative 24,5 x 32 cm
Bassenge Photography Auctions
Courtesy of Bassenge, Berlin (Photography, Sale: 90, Lot: 4088, Dec 5, 2007) LL/25240
Jean-Charles Langlois
The Malakoff Tower 1855
Albumen salted paper print from a paper negative, retouched 33.8 x 32 cm
Musée d'Orsay
photo RMN, Hervé Lewandowski, Gift of the Texbraun Gallery, 1982, PHO 1982 30 LL/37325
Jenks Bros (Patterson, NJ)
Portrait of a handsome young man 1855
Daguerreotype
Private collection of Nigel Maister LL/15134
The dating on this Daguerreotype can be assigned pretty authoritatively to 1855 based upon information in Craig's Daguerreian Registry (Nigel Maister, December 14, 2006).
Joseph James Forrester
Près de la Bourse. Paris. 1855 [View of the Bourse in Paris] 1855
Salted paper print, from wet collodion on glass negative
Fragment of the Great Curtain Wall, Sebastopol 1855
Albumen silver print 25 x 32 cm
National Gallery of Canada
Purchased 1967, no. 32262 LL/38974
Printed by Frédéric Martens
This photograph is available through CyberMuse - cybermuse.gallery.ca (Accessed: August 2010).
Léon Eugène Méhédin
Battery, Malakoff 1855
Varnished salt or albumen print from waxed paper negative 25.90 x 31.70 cm (10 3/16 x 12 7/16 ins) (image)
Cleveland Museum of Art
John L. Severance Fund, Accession No.: 1998.175 LL/40904
Léon Eugène Méhédin
Mosquée et quartier de Constantinople 1855
Albumen print from paper negative, on original mount 24.1 x 32.1 cm
CEROS - Jean-Mathieu Martini / Serge Plantureux
Binoche et Giquello, épreuves choisies, 18 november 2010, lot no: 63 LL/41095
Le format, la technique du négatif papier combiné a un tirage albuminé, le ciel repeint avec des nuages correspondent a la signature visuelle de Méhedin.
Léon Eugène Méhédin
Batterie Russe repêchée 1855 (taken) 1856 (ca, printed by Martens)
Albumen print from glass negative 25.6x31.9 cm
CEROS - Jean-Mathieu Martini / Serge Plantureux
Binoche et Giquello, épreuves choisies, 18 november 2010, lot no: 77 LL/41099
Léon Eugène Méhédin
View Towards the Barracks, Sebastopol, Crimea 1855
Albumen print 10 1/8 x 12 1/2 ins
Archive Farms LL/55179
Notes: Napoleon III, captivated by Roger Fenton's photographs shown at the 1855 Universal Exhibition held in Paris, decided he would send a team to the Crimea. The team of two, Jean-Charles Langlois, a career soldier and historical painter, and a young photographer, Léon Eugène Méhédin, arrived there in mid November 1855. Langlois specialised in panoramas celebrating great French military victories. Usually he produced preparatory sketches, but this time he was hoping to replace them with photographs taken on the spot. It would be tempting to assume that the final result would have more veracity... but it was not that simple. In fact, the pictures were taken in difficult conditions, in a race against time with the demolition crews, as the two men had arrived after the siege of Sebastapol had ended. The negatives, brought back to Paris in June 1856, were printed by Frédéric Martens, Napoleon III's photographer.
Linnaeus Tripe
Amerapoora. Entrance of a Kyoung. In the same enclosure as Kyoung No. 86 1855
Salt print from a waxed paper negative 27,4 x 34,5 cm
Bassenge Photography Auctions
Courtesy of Bassenge, Berlin (Photography, Sale: 90, Lot: 4145, Dec 5, 2007) LL/25262
Signed by the photographer in ink in lower left corner, flush-mounted to original album page (small tear in left edge), printed paper label with title and number below the image on the mount.
Linnaeus Tripe
No. 67. Amerapoora. Ouk Kyoung 1855
Salt print, waxed paper negative 9-3/4 x 13-3/4
Charles Isaacs Photographs, Inc LL/4216
Linnaeus Tripe
The Thapinyu Pagoda, Pagan, Burma 1855
Albumen print from a waxed paper negative
British Library LL/6486
Louis-Rémy Robert
Composition avec trois vases de Sèvres et une figure couchée de Klagmann modèle 1853.1855 1855
Photographic print 31.9 x 26 cm (image) 63.1 x 45.4 cm (mount)
Musée Condé
direction des musées de France, musée Condé, 1999, Inventory No: PH No 741, Joconde: 00000105798 LL/33766
Signé en bas a gauche: L. ROBERT Photographie / SÞvres; en bas a droite : EXPOSITION DE SEVRES / 1855
A gauche, le vase de Meudon a quatre anses (Allégorie de l'Hiver par Barriat, No 56), a droite le vase de Bertin (INV No 72); au centre, buire indienne et plateau persan (INV No 123)
Marcus Sparling
Zouave 2nd Division, Portrait of Roger Fenton 1855
Salted paper print from a collodion glass negative 18.3 x 15.4 cm
Gelatin-coated salted paper print (vernis-cuir) 27.3 x 19.8 cm (10 3/4 x 7 13/16 in)
Metropolitan Museum of ArtCopyright 2000-2005 The Metropolitan Museum of Art. - Purchase, The Horace W. Goldsmith Foundation Gift, 1998 (1998.57) LL/6318
Nadar
Alexandre Dumas pthre (1802-1870) 1855
Salted paper print from wet collodion negative
Cleveland Museum of Art
The Cleveland Museum of Art, John L. Severance Fund 1983.198 LL/7943
Nadar
Charles Baudelaire in an armchair 1855
Single print on salted paper from a destroyed negative 0.28 x 0.165 m
Musée d'Orsay R.M.N. LL/7952
Nevil Story-Maskelyne
Charlton House 1855
Albumen silver print 6 x 7 15/16 ins (15.2 x 20.2 cm) (image, irregular) 6 3/4 x 8 3/4 ins (17.1 x 22.2 cm) (sheet)
Philadelphia Museum of Art
Gift of Theodore T. Newbold and Helen Cunningham, 2010, 2010-3-1 LL/40657
Oscar Gustave Rejlander
Mr Coleman as Belphegor 1855
Platinum print
National Media Museum
The Royal Photographic Society, Ref Number: 2003-5001/2/21375 LL/41774
Philippos Margaritis
Stratigos Christodoulis Chatzipetros 1855
Photograph, albumen print / salt print (?), hand-painted LL/57525
The Beauty of Hellas blog - source of original illustration unclear. (Accessed: 8 January 2015)
beautyofhellas.blogspot.ca/2010/03/1839-1900.html
Philippos Margaritis
Costume of Amalias [Greek] 1855
Photograph, albumen print / salt print (?) LL/57526
The Beauty of Hellas blog - source of original illustration unclear. (Accessed: 8 January 2015)
beautyofhellas.blogspot.ca/2010/03/1839-1900.html
Philip Henry Delamotte
Building Up the Colossi of Aboo Simbel (London, 1855). [Photographic Views of the Progress of the Crystal Palace, Sydenham, Volume II, Plate 95] 1855
Salted paper print from a calotype negative
Corning Museum of Glass
Courtesy Collection of the Juliette K. and Leonard S. Rakow Research Library of the Corning Museum of Glass, Corning, NY. LL/33094
Philip Henry Delamotte
Stuffed Animals and Ethnographic Figures 1855
Corning Museum of Glass
Courtesy Collection of the Juliette K. and Leonard S. Rakow Research Library of the Corning Museum of Glass LL/33158
Plate #100, vol. II of Photographic Views of the Progress of the Crystal Palace, Sydenham (London, 1855). The colonial attitude about "white man's burden" is represented amidst models of unindustrialized, half-naked people and wild animals. The endless high-technology geometric iron columns and frames imply that the wilds are confined and under control.
Philip Henry Delamotte
The Nave From The North End, Commencement Of Monti's Fountain 1855
Print British Library LL/33469
Construction work in progress at the nave of the Crystal Palace exhibition hall in Sydenham. Crystal Palace was designed by architect Joseph Paxton for the first universal fair held in Hyde Park in 1851. After the exhibition closed, the prefabricated building was dismantled and reconstructed in south-east London, 1852-1854. It was a milestone in the development of modern architecture for its innovative use of wrought iron and glass. It became a national centre of entertainment and enlightenment for the British public until it was destroyed by fire in 1936. British photographer P H Delamotte was commissioned to document the reconstruction for the Crystal Palace Art Union. [Source: British Library
1) Огромная притянутая за уши проблема с датировками - ЗДАНИЯ огромных размеров уже стоят в 1854, то есть их явно строили значительно ранее и их объем и количество показывает, что хронология литературная весьма сильно (на 180 градусов) противоречит фактам.
КТО ИХ СТРОИЛ? КУДА ОНИ ПОДЕВАЛИСЬ?
2) Сделав самый грубый, самый неточный расчет, высосанный из пальца на клочке бумаги получаем что здания вдруг стали пустыми и потом также были прибраны к рукам по всей планете за короткий промежуток времени, то есть за 1-2 года вдруг. Понимаем, что убрать всех кто в них жил, обслуживал и строить обычными методами нереально сразу со всей планеты, а убрать мусор или стряхнуть пепел - вполне реально. Камен уцелел, белки нет. То есть версия о том что планету с орбиты облучили ЦИРАНОМ (например) или электроплазмой (газоразрядной смесью), гравитационной ли вспышкой или электромагнитной, радиацией или еще - не суть. Тех чьи здания - в них НЕТУ. Не осталось.
3) Технологии строительства, кроме объемов и площадей - сложные, небанальные. с лопатой и зубилом - никак. Потому что сопромат. Потому что пролеты арок. Потому что чертежи и расчеты и грунты и воды и отопление (проводка) и канализация... ГДЕ ЭТО? тонны проектной документации ГДЕ? Даже если все не уникальное а по типовому проекту как хрущебы - где сборочные листы? Но здания то все со шпилями, окнами и врезками всяческих элементов круто и сложно организованных - не панельный ящик. То есть - каждый объект достаточно уникален и в нем присутствует свой конкретный приличный инженерно-технический геморрой. А это ВРЕМЯ стройки и УПРАВЛЕНИЕ ПРОЕКТОМ - ресурсы то какие нужны на таких блошках - ОГРОМНЫЕ. Что, узбеки того времени это придумал и собрали? НЕ СМЕШИТЕ. Делали ВЫСШАЯ РАСА с обалденно высоким культурно-технологическим уровнем по своим стандартам и привычкам не ЗАПАРИВАЯСЬ совершенно над техническими трудностями - не было их.
4) ВСЕ это хозяйство стоит без проблем до сих пор массово по всей планете, там где целое осталось более-менее... НЕ крошиться. НЕ окисляется. НЕ рассыпается.