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

Portraits of Alma Sjöman

Rosalie Sjöman (Sverige, 1833 – 1919) :: Alma Sjöman, ca. 1870. Albumen print. | src Moderna Museet
Rosalie Sjöman (Sverige, 1833 - 1919) :: Untitled, undated. Albumen print. | src Moderna Museet
Rosalie Sjöman (Sverige, 1833 – 1919) :: Untitled, undated (Alma Sjöman?). Albumen print. | src Moderna Museet

Pimpernel by William Morris

William Morris :: Pimpernel, 1876. Designed by William Morris. Produced by Morris & Co., London. | src AIC
William Morris :: Pimpernel, 1876 (detail). | Morris and Company: The Business of Beauty at Chicago Art Institute

Morris and Company: The Business of Beauty

Artist, designer, and writer William Morris (1834–1896) founded Morris & Co. in 1861. The company quickly became regarded for the objects it designed and made for home interiors—handmade wallpapers, textiles, and furniture—and its style became synonymous with the British Arts and Crafts movement of the late 19th century. Morris was both an avid student of art history and devotee of the natural world, and his and his company’s works were characterized by a design vocabulary drawn from both European and Middle Eastern historical fabric designs and featured, and were titled after, flowers and plants.

Morris and his collaborators—which included his wife Jane Burden Morris, younger daughter May Morris, artisan and designer John Henry Dearle, as well as artists such as Edward Burne-Jones and Dante Gabriel Rosetti—considered themselves design reformers. They were on a mission to bring beauty back into the lives of their consumers through thoughtful design and production that foregrounded the agency of artisans and anti-industrial techniques. Accordingly, they experimented with dye recipes based on natural materials, revived hand-printing methods for fabrics and wallpapers, and reintroduced hand weaving for woven wool and silk textiles as well as pictorial tapestries. [quoted from AIC]

Specimen of ‘Pimpernel’ wallpaper, an almost symmetrical pattern of entwined pale-green foliage and pimpernel plants with small yellow flowers; Block-printed in distemper colours, by hand, on paper. Designed by William Morris; Design registered 1876; Printed by Jeffery & Co. for Morris & Co.; Part of ‘Volume 1’, a pattern book containing 25 Morris & Co. patterns from 1862-81 | src V&A

‘Allalinhorn’ by Vittorio Sella

Vittorio Sella :: Allalinhorn au lever du soleil du carcan de l’Alphubel. Zermatt. Alpes suisses. Impression à la gélatine aux sels d’argent. 19ème siècle. | src Beggi Antichità peintures et sculptures anciennes via Proantic
Vittorio Sella :: Allalinhorn au lever du soleil du carcan de l’Alphubel. Zermatt. Alpes suisses. Impression à la gélatine aux sels d’argent. 19ème siècle. | src Beggi Antichità peintures et sculptures anciennes via Proantic
Vittorio Sella :: “Allalinhorn” (Detail) 19ème siècle. | Proantic
Vittorio Sella :: Allalinhorn au lever du soleil du carcan de l’Alphubel. Zermatt. Alpes suisses. Impression à la gélatine aux sels d’argent. 19ème siècle. | src Beggi Antichità peintures et sculptures anciennes via Proantic
Vittorio Sella :: Allalinhorn au lever du soleil du carcan de l’Alphubel. Zermatt. Alpes suisses. Impression à la gélatine aux sels d’argent. 19ème siècle. | src Beggi Antichità peintures et sculptures anciennes via Proantic

Fröken Alma Sjöman, ca. 1870

Rosalie Sjöman (Sverige, 1833 - 1919) :: Miss Alma Sjöman, ca. 1870. Albumen print. | src Moderna Museet
Rosalie Sjöman (Sverige, 1833 - 1919) Fröken Alma Sjöman, ca. 1870 Moderna Museet
Rosalie Sjöman (Sverige, 1833 – 1919) :: Fröken Alma Sjöman, ca. 1870. Albumen print. | src Moderna Museet
Rosalie Sjöman (Sverige, 1833 - 1919) :: Fröken Alma Sjöman, ca. 1870. Albumen print. | src Moderna Museet
Rosalie Sjöman (Sverige, 1833 – 1919) :: Miss Alma Sjöman, ca. 1870. Albumen print. | src Moderna Museet
Rosalie Sjöman (Sverige, 1833 - 1919) :: Fröken Alma Sjöman, ca. 1870. Albumen print. | src Moderna Museet
Rosalie Sjöman (Sverige, 1833 – 1919) :: Fröken Alma Sjöman, ca. 1870. Albumen print. | src Moderna Museet

Gymnastics ca. 1875

Carl Jacob Malmberg (Finland, 1824 - 1895) :: No title. From the series Gymnastics, ca. 1875. Albumen print. | src Moderna Museet
Carl Jacob Malmberg (Finland, 1824 – 1895) :: No title. From the series Gymnastics, ca. 1875. Albumen print. | src Moderna Museet
Carl Jacob Malmberg (Finland, 1824 - 1895) :: No title. From the series Gymnastics, ca. 1875. Albumen print. | src Moderna Museet
Carl Jacob Malmberg (Finland, 1824 – 1895) :: No title. From the series Gymnastics, ca. 1875. Albumen print. | src Moderna Museet

Alma Sjöman, ca. 1870

Portrait of Alma Sjöman, ca. 1870
Rosalie Sjöman (Sverige, 1833 - 1919) :: Alma Sjöman, ca. 1870. Albumen print. | src Moderna Museet
Rosalie Sjöman (Sverige, 1833 – 1919) :: Alma Sjöman, ca. 1870. Albumen print. | src Moderna Museet
Rosalie Sjöman (Sverige, 1833 - 1919) :: Alma Sjöman, ca. 1870. Albumen print. | src Moderna Museet
Rosalie Sjöman (Sverige, 1833 – 1919) :: Alma Sjöman, ca. 1870. Albumen print. | src Moderna Museet

Chateau Chillon sur le lac Leman

Bisson Frères (*) :: Chateau Chillon sur le lac Leman, Suisse, 19ème siècle. | src Proantic
Bisson Frères (*) :: Chateau Chillon sur le lac Leman, Suisse, 19ème siècle. | src Proantic
Bisson Frères (*) :: Chateau Chillon sur le lac Leman, Suisse, 19ème siècle. | src Proantic

(*) Photo des Frères Bisson Louis-Auguste Bisson (French, 1814–1876) et Artist: Auguste-Rosalie Bisson (French, 1826–1900)

Bisson Frères (*) :: Chateau Chillon sur le lac Leman, Suisse, 19ème siècle (detail). | src Proantic
Bisson Frères (*) :: Chateau Chillon sur le lac Leman, Suisse, 19ème siècle (detail). | src Proantic