Northern landscapes ca 1880s

Axel Lindahl (1841-1906); Olaf Martin Peder Vaering (1837-1906) et divers ~ Suède. Norvège. Danemark, ca. 1870-1880 | src Ader
Axel Lindahl (1841-1906) ~ Nordfjord Brixdalsbrae Olden Isformer / Rich. Andvord, Eneret 1892 | src Ader
Axel Lindahl (1841-1906) ~ Romsdalen, Troldtinderne fra Vest – Rich. Andvord, Eneret 1892 | src Ader
Closer view from image on top; likely by Axel Lindahl

Vintage nudes at Paris photo 2023

Photographe anonyme. Etude de Nu, France, vers 1865. Tirage albuminé. | src galerie lumiere des roses ~ Paris photo 2023
Photographe anonyme. Étude de nu, France, vers 1920. Tirage argentique. | src galerie lumiere des roses ~ Paris photo 2023
Jean-Baptiste Igout (1837-1881) ~ Étude de nu pour peintre, France, vers 1870. Tirage albuminé. | src lumiere des roses
Mary Willumsen (1884-1961) ~ Baigneuse à Helgoland, Danemark, vers 1920. Tirage argentique. | galerie lumiere des roses
Jacques de Lalaing (1858-1917) ~ Nu au chevalet, Belgique, vers 1910. Tirage argentique. | src galerie lumiere des roses ~ Paris photo 2023

Aristocratic hand · 1870s-1890s

Une Main de Mandarin annamite, ca. 1890 (nr. 72). Planté éditeur (Saigon)
Émile Gsell ~ Main d’Annamite, Annam, Cochinchina, ca. 1870, woodburytype. (alternative caption)
Unghie aristocratiche di un mandarino annamita, Indochina, ca. 1870. | src Collezione Molinario
72 – Une main de Mandarin Annamite. Planté, éditeur, Saigon
Ongles aristocratiques d’une main d’un mandarin annamite, Indochine, ca. 1890. Tirage albuminé. | src Yann Le Mouel · IG
Attributed to Emile Gsell on annona.de

The Brighton Cats · Henry Pointer

The infant School ~ The Brighton Cats (1865-1872) ~ Henry Pointer (1822 – 1889) Albumen silver print. Photographic card
Darby & Joan ~ The Brighton Cats (1865-1872) ~ Henry Pointer (1822 – 1889) Albumen silver print. Photographic card
A happy new year ~ The Brighton Cats (1865-1872) ~ Henry Pointer (1822 – 1889) Albumen silver print. Photographic card
Are those sparrows’ Tom ~ The Brighton Cats (1865-1872) ~ Henry Pointer (1822 – 1889) Albumen silver print. Photographic card
The Début ~ The Brighton Cats (1865-1872) ~ Henry Pointer (1822 – 1889) Albumen silver print. Photographic card
The attentive pupil ~ The Brighton Cats (1865-1872) ~ Henry Pointer (1822 – 1889) Albumen silver print. Photographic card
I’m your Valentine ~ The Brighton Cats (1865-1872) ~ Henry Pointer (1822 – 1889) Albumen silver print. Photographic card
A happy new year ~ The Brighton Cats (1865-1872) ~ Henry Pointer (1822 – 1889) Albumen silver print. Photographic card
Rinking at Brighton ~ The Brighton Cats (1865-1872) ~ Henry Pointer (1822 – 1889) Albumen silver print. Photographic card
Peace and War ~ The Brighton Cats (1865-1872) ~ Henry Pointer (1822 – 1889) Albumen silver print. Photographic card
Nine cats asleep on a porch ~ The Brighton Cats ~ Henry Pointer (1822 – 1889) Albumen silver print. Photographic card
The Brighton cats ~ The Brighton Cats (1865-1872) ~ Henry Pointer (1822 – 1889) Albumen silver print. Photographic card
Saturday, Tom, Bull, Brownie, Mitch, Gog ~ The Brighton Cats (1865-1872) ~ Henry Pointer (1822 – 1889) Albumen silver print
A happy new year ~ The Brighton Cats (1865-1872) ~ Henry Pointer (1822 – 1889) Albumen silver print. Photographic card
We wish you a merry Christmas ~ The Brighton Cats (1865-1872) ~ Henry Pointer (1822 – 1889) Albumen silver print
Verso of one card from the set «The Brighton Cats» | src Getty Museum

Table Rock · Cave of the Winds

George Barker (1844-1894) ~ [Niagara Falls], ca. 1888. Albumen silver print. View of Niagara Falls taken from the base of the falls, with large boulder in foreground and footbridge in the background. | src Getty Museum Coll.
George Barker (1844-1894) ~ Cave of the winds, ca. 1888. Niagara Falls with walkway in the foreground. Albumen silver print. | src Library of Congress

This Image is hosted in four American museums; three of them (Library of Congress, Getty Museum and The Metropolitan Museum of Art) acknowledge the authorship to George Barker. According to The Nelson-Atkins Museum of Art [x] this photograph is Nielson’s. In their website there is a mention to the photographer’s logo on back: “H.F. Nielson, Manuf. of all kinds of / Paper & Glass Views / Niagara Falls.”

Though the commercial market for large-scale landscape views was limited in the late 19th century, a small group of talented and savvy photographers found a lucrative niche in this genre. Herman F. Nielson, who lived most of his life in Niagara, New York, specialized in majestic tourist views of Niagara Falls. Here, Nielson depicts the American Falls (Luna Falls and Bridal Veil Falls) and the Rock of Ages. This view, or a slight variant, was reproduced in a popular guidebook at the time.

“New View Manufactory,” Niagara Falls Gazette 30:16 (October 10, 1883): n.p.

quoted from The Nelson-Atkins Museum of Art [x]

George Barker (1844-1894) ~ Niagara Falls, ca. 1888 Albumen silver print from glass negative | src The Met
George Barker (1844-1894) ~ Cave of the winds, ca. 1888. Image of rushing waterfalls leading down to a bridge with large rocks in the foreground. | Library of Congress
George Barker (1844-1894) ~ Ruins of Table Rock, ca. 1870. Stereograph. Albumen print on stereo card. | Library of Congress
Stereograph showing a portion of Table Rock that has fallen off the cliff, with Niagara Falls in the background. | Library of Congress

Butterflies in stereo-view 1870s

Kilburn Brothers, No. 89. Moths and Butterflies; no date (half of stereo-card) | courtesy Alan Griffiths : Luminous-Lint (LL/37775-6)
Right side of stereographic card nº 89 (Kilburn Brothers)

The Kilburn Brothers

A partnership between Benjamin West Kilburn and his brother Edward Kilburn of Littleton, New Hampshire (USA). One of the most significant of the American photographers and publishers of stereo cards in the nineteenth century. In 1879 they patented the “warped” or “curved” stereocard which enhanced the 3D effect. In 1908 James M, Davis obtained the Kilburn negatives and later resold them to Keystone. / quoted from Luminous-lint

Kilburn Brothers :: No. 89. Moths and Butterflies; n.d. Stereoview, hand-painted 
Private collection of Michael McEachern. Courtesy Alan Griffiths / Luminous-lint

Nu à la chevelure ca. 1875

nu de dos, long hair, female nude back to camera
Femme à la tresse. Nu allongé de dos, ca. 1870. Tirage sur papier albuminé, attribué a Gilmer. | src Cultura
Femme à la tresse. Nu allongé de dos, ca. 1870. Tirage sur papier albuminé, attribué a Gilmer. | src Cultura
Nu à la chevelure, ca. 1875. Tirage sur papier albuminé monté sur carton, Gilmer (attrib.) | src Tessier Sarrou
Nu à la chevelure, ca. 1875. Tirage sur papier albuminé monté sur carton, Gilmer (attrib.) | src Tessier Sarrou
Female nude, ca. 1870. Albumen print. | src The New York Times
Female nude, ca. 1870. Albumen print. | src The New York Times
ΛΑΓΝΕΣ ΓΥΝΑΙΚΕΣ
Πρόλογος: SYLVIE AUBENAS
Μετάφραση: Ισμήνη Δούκα
Εκδόσεις ΑΓΡΑ, Δεκέμβριος 2018
HOT WOMEN
Foreword: SYLVIE AUBENAS
Translation: Ismeni Douka
HOT WOMEN
Foreword: SYLVIE AUBENAS
Translation: Ismeni Douka
AGRA Publications, December 2018
FROM THE ARCHIVES OF THE NATIONAL LIBRARY OF FRANCE
ΛΑΓΝΕΣ ΓΥΝΑΙΚΕΣ / Hot Women
[Images from the archives of the National Library of France / Bibliothèque nationale de France]
Πρόλογος: Sylvie Aubenas (Prologue – Forewords)
Μετάφραση: Ισμήνη Δούκα (translation)
Εκδόσεις ΑΓΡΑ, Δεκέμβριος 2018 / AGRA Publications, December 2018
src Agra Publications

The (plaster) Moon (1873)

The Moon; Considered as a Planet, a World, and a Satellite 1873
The Moon; Considered as a Planet, a World, and a Satellite (1873). Photograph (probably a photogravure) from the first edition of the classic and influential text on lunar geology by James Nasmyth and James Carpenter. | src Jeschke van Vliet Auktionen
The Moon; Considered as a Planet, a World, and a Satellite (1873) by James Nasmyth and James Carpenter.
The Moon; Considered as a Planet, a World, and a Satellite (1873) by James Nasmyth and James Carpenter.
The Moon; Considered as a Planet, a World, and a Satellite (1873) by James Nasmyth and James Carpenter.
The Moon; Considered as a Planet, a World, and a Satellite (1873) by James Nasmyth and James Carpenter. | src Jeschke van Vliet Auktionen

The Moon; Considered as a Planet, a World, and a Satellite (1873). With 46 text illustrations, and 25 plates on 24 leaves, comprising 12 mounted Woodburytypes of lunar models, 6 photogravures, 4 autotypes, 2 lithographs, and one chromolithograph. First edition of the classic and influential text on lunar geology by James Nasmyth (1808-1890) and James Carpenter. It was thanks to Nasmyth’s superior talent for visual communication that this book held the misconception that the lunar craters were volcanic for almost 100 years. It was not until 1969, when the Apollo 11 space mission brought back geological samples from the moon, that the impact theory gained credibility and the volcanic hypothesis was finally abandoned. – The book was one of the first to be illustrated with photomechanical prints, praised by a contemporary reviewer as one of the “truest and most striking representations of natural objects”, although the illustrations are not actual photographs of the Moon. The book is the result of decades of studies Nasmyth, a retired industrial engineer and amateur astronomer, made of the moon with a large telescope of his own design. He made numerous studies and maps of the moon, recording its topographical features with extraordinary clarity and precision. Nasmyth and Carpenter pointed the camera not at the lunar surface itself, but at a series of hand-made plaster models based on these drawings. It was already possible to photograph the Moon, but the highly magnified views they sought could only be achieved using plaster models photographed outdoors in glaring light, both to replicate the oblique angle of the sun’s rays on the lunar surface and to reveal the subtle topographical variations of the model’s surface. – Nasmyth’s first drawings of the moon were made as early as 1842 and were first exhibited in Edinburgh in 1850. The first public presentation of photographs of Nasmyth’s models took place at the Manchester Photographic Society exhibition in 1856. – This edition contains seven different prints by six printers, including two different variants of the Woodburytype. [quoted from Jeschke van Vliet]

Young Japanese girls (1875)

Raimund von Stillfried :: [Jeunes filles] [Young girls]; 1875 (Albumen print, hand-coloured) [Detail] | src BnF ~ Gallica
Raimund von Stillfried :: [Jeunes filles] [Young girls]; 1875 (Albumen print, hand-coloured) [Detail] | src BnF ~ Gallica
Raimund von Stillfried :: [Jeunes filles] [Young girls] [Japonais, album 2 of 5] [nº 689] (taken 1875), published 1877-1878 (tirage sur papier albuminé coloriés à la main) | src BnF ~ Gallica
Raimund von Stillfried :: [Jeunes filles] [Young girls] [Japonais, album 2 of 5] [nº 689] (taken 1875), published 1877-1878 (tirage sur papier albuminé coloriés à la main) | src BnF ~ Gallica
Raimund von Stillfried 
[Jeunes filles] [Young girls] 
[Japonais, 2] Japan
1875 (taken) 1877-1878 (album) 
Albumen print, hand-coloured
Baron Raimund von Stillfried :: [Jeunes filles] [Young girls]; 1875 (Albumen print, hand-coloured) [Detail] | src BnF ~ Gallica