sandra_rimskaya (sandra_rimskaya) wrote,
sandra_rimskaya
sandra_rimskaya

Реальный 19 век. Правда быта - Королева всех доказательств. 7. Фотографии 1855 года.



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.



Unidentified photographer/creator
"Closing the Deal"
1855

Salt print
130 x 162 mm

Antiq-Photo
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

Label on reverse of Daguerreotype
13.6 x 16 cm

Collectie Driesen
www.daguerreobase.org - Daguerreobase no: DRI-2004-09-001


LL/41499

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 Art
Copyright ® 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
Rijksmuseum
Copyright © Rijksmuseum Amsterdam (RP-F-F80361)


LL/25771




Gustave Courbet
The Artist's Studio (L'Atelier)
1855

Oil painting
3.59 x 5.98 m

Musée d'Orsay
© R.M.N.


LL/7948


Hermann Krone
Three Pifferari, Dresden
1855

Salted paper print
24.4 x 21.8 cm

Museum Ludwig / Agfa Photo-Historama
http://www.zeno.org/nid/20001881574


LL/47568





Hermann Krone
The Newspaper Man, Dresden
1855

Salted paper print
22.2 x 17.3 cm

Museum Ludwig / Agfa Photo-Historama
http://www.zeno.org/nid/20001881493


LL/47570





Hermann Krone
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
Copyright © Rijksmuseum Amsterdam (RP-F-F00108)


LL/25782

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).




James Robertson
Balaklava Harbour
1855

Albumen print
National Army Museum
Negative No. 71293, Accession No. NAM. 1968-10-73


LL/41362




James Robertson
The Vorontsov Ravine: 'The Valley of Death'
1855

Albumen print
National Army Museum
Negative No. 4448, Accession No. NAM. 1972-03-3-12


LL/41363




James Robertson
Interior of the Redan, Sevastopol
1855

Albumen print
National Army Museum
Negative No. 4450, Accession No. NAM. 1980-11-27-8


LL/41364





James Robertson
Interior of the Malakoff Fortress
1855

Salt print
Pennsylvania State University Library
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
Universiteit Leiden, Prentenkabinet
61.0935.13


LL/48901





Léon Eugène Méhédin
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

Musée d'Orsay
© photo RMN, Patrice Schmidt, PHO 1982 62 22


LL/37324


Маркус Спарлинг
Zouave 2-й дивизион, портрет Роджера Фентона
1855

Musée d'Orsay
© фото RMN, Патрис Шмидт, ПХО 1982 62 22




Nadar
Theophile Gautier
1855

Salt print
9 13/16 x 7 3/16 ins

J. Paul Getty Museum
84.XM.436.37


LL/43664





Nadar
Pierrot Laughing
1855

Gelatin-coated salted paper print (vernis-cuir)
27.3 x 19.8 cm (10 3/4 x 7 13/16 in)

Metropolitan Museum of Art
Copyright ® 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 - http://www.bl.uk/onlinegallery/onlineex/earlyphotos/t/006zzz0tab442a5u00069000.html





Philip Henry Delamotte
Breakfast Time at the Crystal Palace
[Rebuilding the Crystal Palace]
1855

Photographic print
22.6 x 28.2 cm

British Library
Shelfmark: Tab.442.a.5, Item number: 26


LL/40170





Александра Римская 12.01.2015 г., 663 , Anno Domini. Xikrik to river Novogor

Список статей Сандры Римской

Сайт Армия Карусов
Группа ВК "История






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