Created: 1853
Daguerreotype portrait of Charles Dickens
Created: 1852
Daguerreotype of American historian Francis Parkman, circa 1852. From the National Portrait Gallery, Smithsonian Institute. Original 4.25" x 3.25"
Created: 1852
Babbitt, Platt D. - Image Zeno
Created: 1853
Created: 1853
Barnard, George N. - Image Zeno.
Created: 1853
Created: 1853
Created: 1852
Created: 1852
Created: 1852
Created: 13 May 1852
Created: 1852
The Ecole des Beaux-Arts opened in 1648 and was initially placed under the control of Louis XIV's government. It was eventually granted independence from the state by Napoléon III in 1863. This photograph was taken in 1853 by Charles Marville, who became well-known for capturing images of the older Parisian quarters prior to urbanization. In 1850, Marville was hired by the city of Paris to document the changes brought on during the demolition and reconstruction of the Haussmann era. He was named the official photographer of Paris in 1862.
L'École des Beaux-Arts fu inaugurata nel 1648 e inizialmente fu posta sotto il controllo del governo di Luigi XIV. Ottenne infine l'indipendenza dallo Stato da Napoleone III nel 1863. Questa fotografia fu scattata nel 1853 da Charles Marville, che divenne famoso per aver immortalato i quartieri parigini più antichi prima dell'urbanizzazione. Nel 1850, Marville fu incaricato dalla città di Parigi di documentare i cambiamenti apportati dalla demolizione e dalla ricostruzione dell'era Haussmann. Fu nominato fotografo ufficiale di Parigi nel 1862.
Created: 1853
Created: 1852
Created: 1853
Google Art Project
Created: 1853
Amidst a rapidly changing urban landscape, Charles Nègre photographed traditional street people. The itinerant musician, stooped slightly from the weight of his instrument, is about to enter a door. One foot stands on the step and his hand rests upon the doorknob. In comparison with André-Adolphe-Eugene Disdéri's Organ-Grinder, made around the same time, this musician is depicted at the weary end of a day's labor rather than playing at his instrument. Because exposure times in the 1850s prevented much spontaneity, Charles Nègre had to pose his subject upon the threshold in a stance that the organ-grinder could maintain for the duration of the exposure. The vignette effect of the print's darkened edges was a technical sacrifice that Nègre accepted in order to shorten his exposure time. Serving also as a frame for the subject, the dark rim draws the viewer's attention to the isolated figure and produces a more focused image.
In un paesaggio urbano in rapida evoluzione, Charles Nègre fotografò la gente di strada. Il musicista itinerante, leggermente curvo per il peso del suo strumento, sta per varcare una porta. Un piede è appoggiato sul gradino e la mano è appoggiata sulla maniglia. Rispetto all'Organetto di André-Adolphe-Eugène Disdéri, realizzato più o meno nello stesso periodo, questo musicista è raffigurato alla fine di una giornata di lavoro, piuttosto che mentre suona il suo strumento. Poiché i tempi di esposizione degli anni '50 dell'Ottocento impedivano molta spontaneità, Charles Nègre dovette posare il suo soggetto sulla soglia in una posizione che il suonatore potesse mantenere per tutta la durata dell'esposizione. L'effetto vignettatura dei bordi scuri della stampa fu un sacrificio tecnico che Nègre accettò per ridurre il tempo di esposizione. Fungendo anche da cornice per il soggetto, il bordo scuro attira l'attenzione dell'osservatore sulla figura isolata e produce un'immagine più a fuoco.
Charles Nègre - The Getty Center, Created: before March or May 1853
Delamotte, Philip H. - Image Zeno Created: 1853
Disdéri, André Adolphe Eugène - Image Zeno. Created: 1853
Disdéri, André Adolphe Eugène - Image Zeno. Created: 1853
Disdéri, André Adolphe Eugène - Image Zeno. Created: 1853
Disdéri, André Adolphe Eugène - Image Zeno. Created: 1853
Disdéri, André Adolphe Eugène - Image Zeno. Created: 1853
Disdéri, André Adolphe Eugène - Image Zeno. Created: 1853
Disdéri, André Adolphe Eugène - Image Zeno. Created: 1853
Disdéri, André Adolphe Eugène - Image Zeno. Created: 1853
Sagrestia Vecchia di San Lorenzo a Firenze, "Porta degli Apostoli" di Donatello. Fotografia Alinari del 1852.
Questa straordinaria fotografia dimostra chiaramente il genio di Baldus sia come fotografo di architettura che come stampatore. Collocato centralmente e a riempire l'intera composizione, questo grande monumento architettonico è raffigurato con chiarezza, apparentemente fuori dal tempo, poiché non vi sono elementi di disturbo come figure o nuvole che distraggano dalla maestosità dell'edificio. Questa ampia e ambiziosa veduta cattura, quasi senza eguali, l'essenza fisica e simbolica di Notre-Dame. Invece della tradizionale vista frontale, Baldus fotografò l'edificio con un'angolazione obliqua per articolare il volume della struttura, e fu particolarmente consapevole dello spazio negativo creato dal profilo della cattedrale contro il cielo non modulato. Le sue stampe al sale di vedute architettoniche, con le loro mozzafiato tonalità di grigio caldo, sono tra le conquiste più sorprendenti della fotografia del XIX secolo.
This extraordinary photograph clearly demonstrates Baldus’s genius both as an architectural photographer and as a printer. Centrally placed and filling the entire composition, this great architectural monument is clearly depicted, seemingly removed from time, as there are no interfering elements such as figures or clouds to distract from the building’s majesty. This large, ambitious view captures, almost without rival, the physical and symbolic essence of Notre-Dame. Instead of the traditional frontal view, Baldus photographed the building at an oblique angle in order to articulate the volume of the structure, and he was most conscious of the negative space created by the cathedral’s contour against the unmodulated sky. His salt prints of architectural views, with their breathtaking warm gray tones, are among the most striking achievements of 19th-century photography.
Created: 1852
Bearbeitung des Bildes Erechtheum Acropolis 1853.jpg: Histogrammbegrenzung mit g_min = 120 und g_max = 226, anschließend Histogrammspreizung.
Photographie de Jerôme Bonaparte (1784-1860), le plus jeune frère de Napoléon.
Created: 1852
Created: 1853
Fenton, Roger - Image Zeno Created: 1853
Fenton, Roger - Image Zeno Created: 1853
Created: 1852
Rijksmuseum - Created: 1852
Maker: Southworth & Hawes ca. 1852
Harriet Beecher Stowe (1811-1896) and Calvin Ellis Stowe (1802-1886); Half plate daguerreotype
Created: 1852
Clara Hoffmann geb. Plank (Salzpapier koloriert, Maße 187 × 148 mm; mit Rahmen 345 × 294 mm).
Created: 1850
Le Salon de 1852 au Palais-Royal, photographie de Gustave Le Gray sur papier salé à partir d'un négatif sur verre, Musée d'Orsay. Au centre Les Demoiselles de village de Gustave Courbet, aujourd'hui au Metropolitan Museum of Art de New York.
Created: 1852
Created: 1852
Herford, Wilhelm von - Image Zeno Created: 1853
Herford, Wilhelm von - Image Zeno Created: 1853
Herford, Wilhelm von - Image Zeno Created: 1853
Herford, Wilhelm von - Image Zeno Created: 1853
Herford, Wilhelm von - Image Zeno Created: 1853
Amos Starr Cooke (1810–1871) with daughter Mary Annis (1846–1920).
Created: 1853
Цепной мост у Летнего сада
Created: 1853
The recording was probably on 3 Sept. 1852 made. The daguerreotype has a size of 9.5 x 7.3 cm.
Schopenhauer 1852
Jean-Gabriel Eynard (Swiss - Portrait of M. & Mme. Eynard and M. de Regny with his son
Created: 19 May 1852
"View of the Moon," daguerreotype by John Adams Whipple. Image courtesy of the Harvard-Smithsonian Center for Astrophysics, Harvard College Observatory, Plate Stacks.
Created: 26 February 1852
Created: 1852
tudio portrait of 'Little Bear' (Minchu Zhinga) a Kansa (or Kaw) man. Albumen print, photographed at St. Louis, Missouri, by the American photographer John H. Fitzgibbon, 1852. Little Bear is shown seated, wearing a bear-claw necklace, and he is holding a sword. 18.1 cm x 13.2 cm. Courtesy of the British Museum, London.
Created: 1852
Pedro II, Emperor of Brazil, around age 26, c.1852.
Created: 1852
Date: c.1853
Created: 1852
Copy of daguerreotype taken in summer 1852 of group vacationing in the same boarding house at Newport, RI. (L to R) Thomas Gold Appleton, John Gerard Coster, Julia Ward Howe, Fanny Longfellow (center seated), Henry Longfellow (standing at right), and Horatia Augusta Latilla Freeman. Longfellow Family Photograph Collection (3007.001/002.001-#064)
Created: 1852
Copy of daguerreotype taken in summer 1852 of group vacationing in the same boarding house at Newport, RI. (L to R) Thomas Gold Appleton, John Gerard Coster, Julia Ward Howe, Fanny Longfellow (center seated), Henry Longfellow (standing at right), and Horatia Augusta Latilla Freeman. Longfellow Family Photograph Collection (3007.001/002.001-#064)
Created: 1852
portrait of Eloy Chapsal
Created: 1852
Artist: Whitehurst Gallery Artist Bio: American photography studio, active mid 19th century Creation Date: 1852 Print Date: 1852 Process: daguerreotype Credit Line: Gift of Stanley B. Burns
P.Conforti - Own work
Created: 1852
The Admiralty and Statue of Peter the Great, St. Petersburg, 1852 salt print from wet collodion negative
Created: 1852
self-portrait
Created: 1 February 1852
Created: 1852
Portrait of George Sewall Boutwell
Created: 1852
Portrait of Lajos Kossuth and Ferenc Pulszky George Eastman Museum Native name George Eastman House International Museum of Photography and Film Location Rochester, United States
Portrait of Kate and Maggie Fox, Spirit Mediums from Rochester, New York. Along the bottom edge of the daguerreotype "Kate and Maggie Fox, Rochester Mediums, T.M. Easterly Daguerrean" is inscribed. Portions of the daguerreotype are colored with pink pigment. Title: Kate and Maggie Fox, Spirit Mediums from Rochester, New York.
Created: 1852
Portrait of Britton A. Hill, an attorney who lived from 1816 to 1888. Title: Britton A. Hill (1816-1888), Attorney.
Created: 1852
omo con cilindro che immerge una barca nello stagno di Chouteau. Si possono vedere diversi edifici sull'acqua, tra cui una ciminiera. La scritta "Stagno di Chouteau" è incisa sul fondo. Titolo: Stagno di Chouteau, uomo che immerge una barca nell'acqua.
Created: 1852
Un gruppo di uomini bianchi sta di fronte al mercato degli schiavi di Lynch, al 104 di Locust Street. Due uomini tengono dei libri, uno dei quali regge alcuni pacchi incartati. Titolo: Mercato degli schiavi di Lynch, 104 di Locust Street.
Many horses and wagons as well as people along the St. Louis Levee where a vast amount of steamboats are docked. One boat is labeled "Amulet" and another is labeled "Dubuque". An American flag is flown on one of the steamboats. Some architecture can be seen to the left, and the Mississippi River is in the background. "St. Louis Levee" is inscribed along the bottom edge of the daguerreotype. By 1849, 600 steamboats were operating out of St. Louis and along the levee commercial district, over 400 wholesale houses were in operation. During the early part of the 19th century the levee was home to St. Louis’s main commercial enterprises, primarily along First and Levee, between Market and Vine Streets. By the 1840’s the levee ran from Market Street to Washington Avenue, ending in a district known as Battle Row, a tenement district, housing mostly Irish immigrants. Title: St. Louis Levee in 1852.
Created: 1852
Molti uomini e alcuni cavalli con un carro sono in sosta vicino all'argine di St. Louis, in una vista verso sud da Mullanphy Street. La cava di pietra di Peter Lindell è sulla sinistra e il mulino di Roy sulla destra. Mucchi di pietre sono visibili sul lato sinistro dell'immagine e molti battelli a vapore sono allineati lungo l'argine. Nell'angolo in basso a sinistra è incisa la scritta "Peter Lindell's Stone Quarry, St. Louis, Missouri". Titolo: Argine di St. Louis, vista verso sud da Mullanphy Street, la cava di pietra di Peter Lindell sulla sinistra, il mulino di Roy sulla destra.
Created: 1852
Molti uomini e cavalli con carri sulla diga di St. Louis, dove è attraccato lo Steamboat Illinois. Molti altri battelli a vapore sono attraccati sulla diga, e un'iscrizione che recita "St. Louis Levee" corre lungo la parte inferiore del dagherrotipo. Titolo: Diga di St. Louis, Steamboat Illinois.
Created: 1852
Half Plate daguerreotype of california pioneer John Marsh
Created: 1852
Minnesota Historical Society; Created: 1852
Created: 1 January 1852
Created: 1852
Count Pavel Fersen
граф Павел Карлович Ферзен, начальник Императорской охоты.
Created: 1852
Count Pavel Fersen
граф Павел Карлович Ферзен, начальник Императорской охоты.
Created: 1852
Daguerreotype image of Charles Sherwood Stratton, also known as "General Tom Thumb" (1838–1883). TC-97, Harvard Theatre Collection
Created: 1852
Created: 1852
Daguerreotype of Mary Munroe Sanderson (1748 - 1852), of Lexington, MA, c. 1852. Possibly the earliest-born woman ever photographed. Her husband fought in the American revolution.
Created: 1852
Created: 1852
Una foto del 1852 della chiesa di Santa Maria a Peoria, Illinois. Sarebbe diventata la prima cattedrale di Peoria nel 1875. Fu sostituita dalla Cattedrale di Santa Maria dell'Immacolata Concezione nel 1889.
Created: 1852
Created: 1852
Created: 1852
Princess Victoria of Saxe-Coburg and Gotha, Duchess of Nemours (1822-1857) seated in right side profile. She wears a black shawl and bonnet. Standing next to her in three-quarters left is her son, Louis Philippe Marie Ferdinand Gaston d'Orléans, Count of Eu (1842-1922). Seated by her feet and facing the viewer is Ferdinand Philippe Marie d'Orléans, Duke of Alençon (1844-1910), his right hand in his mother's hand.
Created: 1852
Grabplatte Hermann Bokholt Doberan 1853.
Label adhered to velvet inside case: "Julia Germain Prime, Wendell Prime, picture of Eddie Prime (died as a child), S. Irenaeius [i.e., Irenaeus] Prime, Eloisa Lemet Prime, Samuel Thornton Keymes [i.e., Kemeys] Prime, Nathaniel Scudder Prime, Mary Prime [Stoddard]."
Created: 1 October 1852
Addison Brown (February 21, 1830 – April 9, 1913)
Created: 1852
Created: 1852
Created: 1852
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