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Bertel Thorvaldsen
One of the earliest portrait photographs -- a daguerreotype -- represents the Danish artist Bertel Thorvaldsen. In spite of the fact that the photograph is signed and dated there has been doubts about the dating and the location of the taking of the picture. Starting from the photography itself as well as the historical facts the author sets the photography in its proper context. Written sources material and other pictures are presented to throw light on the photographer, the French businessman A C T Neubourg's work in Scandinavia. Furthermore, the reader gains an insight into the exposure as it is being reflected in the picture where an older conception of art meets the new age of photography. The book also contains an appendix by Jens Frederiksen (The Royal Academy of Fine Arts School of Architecture, Copenhagen) on A C T Neubourg's camera, lens and daguerreotypes.
Daguerreotype hallmarks
Some account of the origin and early history of the photography. Daguerreotype manufacturing and historical daguerreotype process. Recognition, identification and classification of hallmarks on daguerreotype plates; tables with images and reference codes for cataloging hallmarks. Hallmarks impressed on daguerreotype plates can provide precious information on the area of origin, on the producer, on the eventual importer and sometimes also on the photographic studio and the date of production. Most daguerreotypes have long been considered anonymous. The hallmarks impressed on the plates tell a different story and open the way to consider signed daguerreotypes by known makers.
The Daguerreotype
Our scientific work gave us the opportunity to take a new look and interpretation of the scientific and technological literature on the daguerreotype and to reevaluate its technical history.--from the Preface to the 1999 edition
The Silver Canvas
By the middle of the nineteenth century, the most common method of photography was the daguerreotype—Louis Jacques Mandé Daguerre’s miraculous invention that captured in a camera visual images on a highly polished silver surface through exposure to light. In this book are presented nearly eighty masterpieces—many never previously published—from the J. Paul Getty Museum’s extensive daguerreotype collection.
The Daguerreotype in America
Newhall discusses the initial introduction of the daguerreotype in America in 1839, the beginnings of the daguerreotype industry, the entrepreneurs and innovators, the incredible Broadway daguerreotype galleries, the explorers, the quest for a color process, and more. In America, Daguerre's initial technique became greatly modified; the new process that evolved is described in detail in a special chapter. Originally published in 1961, this third edition contains all of the original text and illustrations plus sixteen additional pages of plates, corrections, and minor text revisions.
Likeness and Landscape
Described by his contemporaries as Daguerre's most dedicated follower, Thomas M. Easterly did most of his work in the relative obscurity of St. Louis. This lavishly illustrated account of his twenty-seven-year career established him as a new master in the ranks of nineteenth-century photographers. It will be an essential addition to the libraries of scholars and collectors. Easterly's subjects range far beyond the traditional daguerrean portrait. Of his surviving inventory of over 600 plates in the collection of the Missouri Historical Society, over 140 are views of St. Louis, his native New England, and the Niagara Falls region of New York. Three series of American Indian portraits constitute the earliest dated photographic record of Plains tribal members. A series of studio portraits of ordinary people and celebrities demonstrate a remarkable mastery of technique placing Easterly decades ahead of his time.
The Scenic Daguerreotype
Too often, photographic historians have given credit to the calotype for establishing our sense and standard of the photographic, when in reality it was the daguerreotype that first taught us how to see photographically, taking us beyond portraiture to a standard for scenic images that is still with us today. Here is the first study of scenic daguerreotypes from around the world and the largest assemblage of them ever to be presented in book form. Contending that L. J. M. Daguerre was at the forefront of the romantic revolution, Wood discusses Daguerre's work in the context of John Constable, J. M. W. Turner, and Caspar David Friedrich. He also draws parallels between early landscape photogr...
