Child and cat · Cyanotype 1905

An infant and cat seated on a high chair, dated Oct. 1905 in ink on recto. Cyanotype; Edwardian era | src Flints auctions

An infant and cat seated on a high chair, dated Oct. 1905 in ink on recto. Detail from original Cyanotype

Henry P. Bosse · Cyanotypes

**Henry P. Bosse** (1844 – 1903) ~ Mouth of Wisconsin River, 1885, Cyanotype | src The Metropolitan Museum of Art

**Henry Peter Bosse** (1844 – 1903) ~ Mechanic’s Rock, Low Water, 1889. Cyanotype | src Getty Museum
Man walking through low water in river.

**Henry Bosse** (1844-1903) ~ Broken Closing Dam in Shokokon Slough, 1891. Cyanotype depicting a figure sitting on wooden posts next to a break in a river dam. From the series “Views on the Mississippi River” | src Revere auctions

**Henry P. Bosse ~** No. 34. From Bluffs at Merrimac, Minnesota Looking Down Stream, 1885. Cyanotype | src The Met

No. 6. From South Approach of Franklin Ave Bridge, Minneapolis, Minnesota Looking Up Stream (Low Water), Jan. 1890 | The Met

**Henry Peter Bosse** (1844 – 1903) ~ Front Street – Davenport, Iowa, during High Water, 1888. Cyanotype | src Getty Museum

No. 193a. Old Ponton Bridge at Prairie du chien, Wisconsin, 1885 (Cyanotype) | src The Metropolitan Museum of Art

**Henry Bosse** (1844-1903) ~ Boatyard at Wabasha, Minn. depicting a riverfront landscape, 1890. Cyanotype | src Revere auctions

**Henry P. Bosse** (1844-1903) ~ Raftboat “Ten Brook”, 1885. Cyanotype from *Views on the Mississippi* | src Amon Carter museum

Dana Steichen colour portraits

Edward Steichen ~ [Dana Steichen draped in shawl], ca. 1920. Cyanotype and palladium print. | src George Eastman museum — **Edward Steichen ~** [Dana Steichen draped in shawl], ca. 1920. Cyanotype and palladium print. | src George Eastman museum

**Edward Steichen ~** Dana Steichen Holding a Sunflower, ca. 1924. Cyanotype and palladium print. | src George Eastman Museum

**Edward Steichen ~** [Dana Steichen draped in shawl], ca. 1920. Cyanotype and experimental process. | src George Eastman Museum

Flo Peterson in Kimono, ca. 1909

Paul B. Haviland :: Florence Peterson allongée, en kimono à fleurs, entre 1909 et 1910, Cyanotype. | src Musée d'Orsay — **Paul B. Haviland ::** Florence Peterson allongée, en kimono à fleurs, entre 1909 et 1910, Cyanotype. | src Musée d’Orsay

Paul B. Haviland :: Florence Peterson en kimono, entre 1909 et 1910, Cyanotype. | src Musée d'Orsay — **Paul B. Haviland ::** Florence Peterson en kimono, entre 1909 et 1910, Cyanotype. | src Musée d’Orsay

The Sisters Sleep Lovingly

Children in Kindred Worship

Blossoms of Dock by Jaques

Bertha Evelyn Jaques :: Blossoms of Wild Dock, 1910. Cyanotype. | src MutualArt

Bertha Evelyn Jaques :: Blossoms of Dock, 1910. Cyanotype. | src MutualArt — **Bertha Evelyn Jaques ::** Blossoms of Wild Dock, 1910. Cyanotype. | src MutualArt

Jaques was already a respected printmaker when she began making cyanotype photograms of wildflowers. An active member of the Wild Flower Preservation Society, she created over a thousand of these botanical images. Made without a camera by placing objects directly on sensitized paper and exposing it to light, the photogram is the least industrialized type of photography. Because prints were easy to produce by this method, it achieved wide popularity. Graphic artists often chose this form of print because of its rich Prussian blue color. Aligned with the antimodernist views of the late Victorian Arts and Crafts movement, Jaques’s work reflects a reverence for commonplace elements of nature and the beautifully crafted object.

Merry A. Foresta American Photographs: The First Century (Washington, D.C.: National Museum of American Art with the Smithsonian Institution Press, 1996). From Smithsonian American Art Museum (SAAM)

Dandelion Seeds by Jaques

Bertha E. Jaques :: Dandelion Seeds, Taraxacium Officinale, ca. 1910, cyanotype photogram. | src Smithsonian American Art Museum

Bertha E. Jaques :: Dandelion Seeds, Taraxacium Officinale, ca. 1910, cyanotype photogram. (detail) | src Smithsonian American Art Museum — **Bertha E. Jaques ::** Dandelion Seeds, Taraxacium Officinale, ca. 1910, cyanotype photogram. | src Smithsonian American Art Museum

**Bertha Evelyn Jaques ::** Dandelion Seeds. A starry firmament, 1904. Cyanotype. | src MutualArt

**Bertha E. Jaques ::** Dandelion Seeds, Taraxacium Officinale, ca. 1910, cyanotype photogram (full size). Scan from color transparency. | src Smithsonian American Art Museum

Jaques was already a respected printmaker when she began making cyanotype photograms of wildflowers. An active member of the Wild Flower Preservation Society, she created over a thousand of these botanical images. [See Dandelion Seeds, Taraxacium Officinale, SAAM, 1994.91.89] Made without a camera by placing objects directly on sensitized paper and exposing it to light, the photogram is the least industrialized type of photography. Because prints were easy to produce by this method, it achieved wide popularity. Graphic artists often chose this form of print because of its rich Prussian blue color. Aligned with the antimodernist views of the late Victorian Arts and Crafts movement, Jaques’s work reflects a reverence for commonplace elements of nature and the beautifully crafted object.