Pwt 42 Daguerreian Week NYC 2016

WEEKLY TRANSMISSION N°42

THURSDAY 20th OCTOBER 2016

A TRIBUTE TO THE INVENTION OF PHOTOGRAPHY:

DAGUERREIAN WEEK

contents : DAGUERREIAN WEEK A Chronology of Daguerreian and Photographic Societies, 1848-1988 Julian Lévy’s copy of Louis Daguerre’s Description, 1839, and two more books Before Daguerre: Physionotrace, Dark Romanticism and Camera Lucida Drawings Daguerreotype and the French Romantic Realist School: The Ruins of Lavardin A Gallery of French Daguerreian Portraits and Plates A Gallery of American Daguerreian Portraits Austrian Nature Printings and various perfectly preserved artefacts Binoche and Giquello Photography Auctions, New York preview

IV

1-3 4-8 9-10 11-20 21-24 26-31 32-42

The Annual

Daguerreian Society Conference

Grand Reception begins with a

This Thursday night, 20 Oct. 2016 Speakers' program on 19th-century photography

on Friday 21 Oct. 2016

The 19th-century Photography Show Early Bird entrance time of 9:15 am Show hours from 10:15 am-4:15 pm

on Saturday 22 October

WYNDHAM NEW YORKER HOTEL

481 8 AVENUE th

NEW YORK, NY 10001 USA

Followow the red spot

The New Yorker Hotel was built by Garment Center developer Mack Kanner.

The hotel opened on January 2, 1930, contemporary with the Empire State Building (1931) and the Chrysler Building (1930). Throughout the 1940s and 1950s, the hotel was among New York's most fashionable. the pronounced decline in New York's fortunes, coupled with the construction of new, more modern hotels, caused the New Yorker to become unprofitable.

As a result, Hilton closed the hotel in April 1972.

Initially left vacant, several proposals were made for the building, and ultimately, in 1975, it was purchased by the Unification Church of the United States for $5.6 million.

The church converted much of the building for use by its members (the church was founded in South Korea in 1954 by Sun Myung Moon; following Moon's death his widow Hak Ja Han has taken on the role of spiritual leader of the church).

This e-bulletin presents articles a selection of books and photographs which will be exhibibited during the 2016 Daguerreian Society Conference.

N°42 : DAGUERREIANA SEPTIMANA NEO EBORACI MMXVI

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A Chronology of Daguerreian and Photographic Societies, 1848-1988 The Athénée de Photographie was founded in April 1848 by the Mayer brothers, Gustave Louis and Leopold, and C. Chevalier with the publication of a Manifeste on 15 April 1848.

The Société Héliographique (SH) was a membership organisation founded in Paris in 1851, dissolved in March 1853 after the turmoil of Louis Napoleon Bonaparte’s Coup d’état.

The Royal Photographic Society (RPS) is a membership organisation founded in London in 1853 as The Photographic Society of London.

The Société Française de Photographie (SFP) is a membership organisation founded in Paris in 1854 one year after the dissolution of SH. A Russian Photographic Society was created in the 1870s within the Paris SFP by Konstantin Shapiro (1840-1900).

The Photographische Gesellschaft (PhG) is a membership organisation founded in Vienna in 1861. The Photographischer Verein was founded in Berlin in 1863.

The National Photographic Association of the United States (NPA) was founded in 1868, dissolved in 1880 with the creation of the Professional Photographers of America (PPA), the world's largest non-profit trade association organized by professional photographers.

The Dansk Fotografisk Forening (DFF) or Danish Photographers Association, founded in Copenhagen in 1879, claims to be the world's oldest organization for professional photographers.

The Toronto Camera Club (TCC) is the oldest photography club in Canada, founded in 1888.

The Japan Photographic Society was a Tokyo-based organization of photographers founded in 1889 that continued until the closing years of the nineteenth century.

The Daguerreian Society was formed in 1988 as a group "dedicated to the history, science, and art of the daguerreotype".

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LOUIS DAGUERRE (1787-1851). Historique et Description des Procédés du Daguerréotype et du Diorama... Nouvelle édition, corrigée, et augmentée du portrait de l'auteur, Paris, Alphonse Giroux et Cie, [September] 1839. In-8, 232x149 mm, 2 fnch, portrait of Daguerre, title-page, 76 pp, plates. New York gallerist Julian Lévy’s copy, in printed paper wrappers.

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EDWARD BRADLEY CUTHBERT (alias BEDE). Photographic Pleasures, London, Thomas McLean, 1855. 8vo., xii- 83 pp., plus lithographic title page, frontispiece and 22 additional lithographic plates. Original blue cloth, illustrated in gilt and blind.

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BARON ERNOUF. Les Inventeurs de (la lumière à) gaz et de la photographie, 1877.

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EDME QUENEDEY DES RICEYS (1756-1830). Physionotrace portrait plate, Paris, 1812.

Copper plate, 117x98 mm, signed and dated 1812.

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ALEXANDRE FRAGONARD (FANFAN, 1780-1850) GODEFROY ENGELMANN (1788-1839).

Ruines de l’église de St-Pierre de Jumièges, 1820. Lithographic print, 510x330mm with margins. Another print exhibited : Le Baron Taylor à l’avant garde du romantisme, Fondation Taylor, 2014. Jumièges prospered around 700 AD and numbered nearly a thousand monks.

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JEAN-BAPTISTE LESUEUR (1794-1883), Dark Corridor, Rome, 1825. Wash drawing on paper, 151x111 mm, signed and dated 1825 in the lower left angle, from the Album Amicorum of Laure Odiot. Premier grand prix de Rome d’architecture, 1819.

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ATTR. À LOUIS BENOIS (1796-1873), Light in a basement, Velletri c. 1821. Wash drawing, 150x95 mm, titled in lower margin, Album Amicorum of Laure Odiot.

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JEAN-BAPTISTE LESUEUR (1794-1883). Baïes, Gulf of Pozzuoli, 1821. Camera Lucida drawing on paper, 221x285 mm, dated 1821, Ink wash completed and captioned by Laure Odiot: «Vue du Temple de Vénus et du chateau-fort à Baïes».

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Daguerreian plate, Ruines de Lavardin, early 1840s. Early small size plate, 108x84 mm.

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Ruines de la Tour de Lavardin, early 1840s. Early small size daguerrian plate, 106x81 mm.

THURSDAY 20th OCTOBER 2016

WEEKLY TRANSMISSION N°42

A TRIBUTE TO THE INVENTION OF PHOTOGRAPHY:

DAGUERREIAN

WEEK

The "plate sizes" used — both in Europe and Americas — in referring to 19th-century daguerreotypes, and later ambrotypes, tintypes, and other photographs stem originally from the daguerreotype, for which, soon after the invention period, the first plates manufactured became approximately 6.5 x 8.5 inches (16.5 x 21.5 cm) in size.

Smaller size daguerreotypes were then defined in terms of how many plates of the smaller size could be cut from such a "full" or "whole" plate.

These plate sizes became standardized for the portraits and were subsequently used for the photographic formats which followed on the daguerreotype. Plate sizes are still the standard method for referring to the dimensions of these 19th century images.

19th-Century Daguerreian Plate Standardized Sizes: Whole Plate: 6.5 x 8.5 inches (16.5 x 21.5 cm) Half Plate: 4.25 x 5.5 inches (11 x 14 cm) Quarter Plate: 3.25 x 4.25 inches (8 x 11 cm) Sixth Plate: 2.75 x 3.25 inches (7 x 8 cm) In 20th century we recognize the Whole Plate format in the French 18x24 cm format.

Remark on mount colors : in France the mount papers are uniformly white until 1848, uniformly black after 1849. The reason can be the 1849 Industrie exhibition. An easy mnemotechnic way is political : white is the favourite color of Bourbon King, who rules until the 1848 revolution.

A GALLERY OF FRENCH DAGUERREIAN PORTRAITS

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UNGILDED DAGUERREIAN PLATE. Mme Dupré et ses deux fils Arthur et ..., early 1840s.

Ungilded quarter plate, 100x75 mm, inscription on original frame. “In 1841, daguerreotypists began toning (‘gilding’) plates with gold chloride, which added greatly to image stability by adhering the particles to the plate, and improving image contrast. Some research has been done on the preservation and stability of gilded daguerreotypes and methods have been developed to clean them. However, no comprehensive study on the preservation of ungilded daguerreotypes exists”. (Library of Congress project).

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EUGÈNE VAILLAT (c. 1820-c. 1880). Husband and Wife, Palais Royal, Paris, c. 1845. Quarter plate, 95x75 in the original unopened frame, name on glass. Vaillat is credited for inventing the early cleaning process, he was an important actor of Paris place since 1845 until the local end (1855), Cf. Bulletin de la Société française de photographie, article de Paul Perier: Exposition Universelle, 1855, daguerréotypeurs).

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BAYARD & BERTALL & ALII. Jeanne d’Amys du Ponceau.

Engagement Daguerreian Portraits, 1846.

In Memoriam, cdv and tissue prints, 1861.

Two daguerrian quarter plates, 100x85 mm, oval shapes, original frames 2 cdvs and a collodion on cloth, 130x105 mm. Jeanne married and Duc de Luynes in 1846.

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PARIS DAGUERREOTYPE. The Studio on the Balcony, 1848 or earlier. 1/6 plate daguerreotype, 80x65 mm, original white paper mount. In the first years of photography, on shiny days, the upper floors balconies became the most efficient studios.

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CONSTANT CHEVALIER. Daguerreian portrait, Athénée de Photographie, Paris, 1848. Sixth plate portrait, 75x65 mm, “Athénée de photographie” printed label at verso.

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PORTRAIT FAIT PAR DAGUERRE EN 1851. Quarter plate, 95x80 mm, original case and ink inscription : “Portrait fait par Daguerre en 1851”. The label is authentic, paper, ink, glue and the piece deserves a patient investigation.

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PARISIAN ATELIER. Portrait or a Bearded Man, c. 1852. Half plate, 155x110 mm, recent mount. Here compared with Nadar portrait of Ernest Meissonier (1815-1891).

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LEMAIRE & S. MARCHI. James Pradier Sculptures, Paris, 1853. Stereo daguerreotypes, green printed label :“Toutes les épreuves non revêtues de ma signature seront considérées comme contrefaçon, attendu que j’ai seul le droit de reproduire tous les modèles des œuvres de Pradier, Mr S. Marchi est l’éditeur propriétaire“ (All photographs not covered with my signature are considered as counterfeit, whereas only I have the right to reproduce all models of artworks of Pradier, Mr. S. Marchi is editor, owner).

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WARREN THOMSON (?-?). Paris Portraits, c. 1853. Stereo daguerreotypes with the “rue de Choiseul� address. According to the American Journal of Photography, Thompson traveled to Paris in 1845 without speaking any French, and only an indirect introduction from the Russian Consul i New York to Paris based Russian photographer Sergei Levitsky. He won a medal in 1849 Paris Industrial Exhibition together with Gustave Le Gray.

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WEEKLY TRANSMISSION N°42

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THURSDAY 20th OCTOBER 2016

A TRIBUTE TO THE INVENTION OF PHOTOGRAPHY:

DAGUERREIAN WEEK

A GALLERY OF AMERICAN DAGUERREIAN PORTRAITS

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ANTONIO L. COSMES DE COSSÍO (c. 1823-c 1860). Portrait of a Gentleman, Mexico, 1848. Quarter plate, 85x70 mm, photographer’s original case and wet stamp on the pink silk.

Provenance collection Murgia.

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MEXICAN DAGUERREOTYPE. Manuel Murguía y Romero, c. 1848. Half plate, 135x105 mm, original heavy glass and case. Owner of the first modern litograph printing in Mexico city, founded 1846: Librería, Imprenta y Litografía de Murguía, Portal del Águila de Oro (calle 16 de Septiembre).

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Thursday 20th October 2016

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MEXICAN DAGUERREOTYPE. The Son of Manuel Murguía, c. 1850. Sixth plate, 75x65 mm, original heavy glass and case. Sr. D. Manuel Murguía y Romero (1807-1860) created the first modern litograph printing in Mexico city (see previous portrait).

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LUIS GARCIA HEVIA (1802-1892). Manuel José de Mosquera-Figueroa y Arboleda-Salazar, Bogotà, c. 1851. Half plate, 130x100 mm in original case. Manuel José Mosquera Arboleda (1800-1853) violently oposed the Reform and went in exile to Paris.

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CONSTANTIN VON ETTINGSHAUSEN (1826-1897) & ALOIS POKORNY (1826-1886).

Soldanella montana, Physiotypia plantarum austriacarum, Vienna, 1856. Naturselbstdruck, 430x300 mm, printed caption.

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CONSTANTIN VON ETTINGSHAUSEN (1826-1897) & ALOIS POKORNY (1826-1886).

Daphne Mezereum, Physiotypia plantarum austriacarum, Vienna, 1856. Naturselbstdruck, 430x300 mm, printed caption.

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ALPHONSE JEANRENAUD (1818-1895). Étude pour une photolithographie de Poitevin, Paris, c. 1856. Premier tirage, 300x390 mm, inscription “Photolithographie Poitevin Paris”.

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Attr. OLYMPE AGUADO (1827-1894). Adrien de Constant-Rebecque dit Adrien ConstantDelessert and family, near Lausanne, c. 1865. Albumen print, 160x213 mm, in the unopened gilded frame by Auguste Gatti at Vevey, printed label verso.

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ORIGINAL GELATIN RELIEF MATRIX. Portrait de Joseph Mery [c 1865]. Gelatin relief matrix prepared by Goupil for the Galerie Contemporaine, 205x170 mm, with a photoglyptic print, c.1876. Joseph Mery, friend of Nerval and Dumas, wrote among many librettis early criminal fiction : Le Bonnet vert (1830) ; L'Assassinat (1832) ; Salons et souterrains de Paris (1851).

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ORIGINAL GELATIN RELIEF MATRIX. Portrait de Georges ClÊmenceau par Étienne Carjat [1876]. Gelatin relief matrix prepared by Goupil for the Galerie Contemporaine, 200x145 mm including the black margins, with a variant photoglyptic print, c.1878. A rare situation when the portrait date do match. Clemenceau was elected to the French parliament in 1876.

Binoche & Giquello. Photography auction Thursday 10 November 2016 Paris Drouot - salle 9 - 6pm online with Drouot live

PHOTOGRAPHIES ANCIENNES ET MODERNES

EXPOSITION TEMPORAIRE NEW YORK DAGUERREIAN SOCIETY SYMPOSIUM AND SHOW WYNDHAM NEW YORKER HOTEL

EXPOSITION PRIVÉE ́ETUDE BINOCHE ET GIQUELLO SUR RENDEZ-VOUS UNIQUEMENT

EXPOSITIONS PUBLIQUES ĤOTEL DROUOT - SALLE 9 MARDI 8, MERCREDI 9 NOV DE 11H ̀A 18H ET JEUDI 10 NOV DE 11H ̀A 15H inquiries : o.caule@betg.fr online catalogue : www.binocheetgiquello.com

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HONORÉ DAUMIER (1808-1879) Proverbes et Maximes, lihograph

Binoche & Giquello. Photography auction Thursday 10 November 2016 Paris Drouot - salle 9 - 6pm online with Drouot live

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19. GUSTAVE LE GRAY (1820-1884) Portrait à la chevelure bandolinée, Paris, vers 1849 Épreuve sur papier salé

Binoche & Giquello. Photography auction Thursday 10 November 2016 Paris Drouot - salle 9 - 6pm online with Drouot live

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41. JAMES ROBERTSON (1813-1888) &

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FELICE BEATO (1832-1909)

Fontaine dans la cour de la Mosquée Bleue, Constantinople, 1854 (lot of 2)

Binoche & Giquello. Photography auction Thursday 10 November 2016 Paris Drouot - salle 9 - 6pm online with Drouot live

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46. JAMES ROBERTSON (1813-1888) &

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FELICE BEATO (1832-1909)

Temple de la Victoire aptère, Arc d’Adrien (lot of 6)

Binoche & Giquello. Photography auction Thursday 10 November 2016 Paris Drouot - salle 9 - 6pm online with Drouot live

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51. EDOUARD DE CAMPIGNEULLES (1826-1879) Vues des ruines et du Nil, Égypte, 1858 (Lot de 8)

Binoche & Giquello. Photography auction Thursday 10 November 2016 Paris Drouot - salle 9 - 6pm online with Drouot live

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70. EUGÈNE NICOLAS (1814-1862) Autoportrait, Saint-Denis, vers 1853 Épreuve sur papier salé, 180x138 mm avec son négatif papier ciré

Binoche & Giquello. Photography auction Thursday 10 November 2016 Paris Drouot - salle 9 - 6pm online with Drouot live

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75. EUGÈNE NICOLAS (1814-1862) Étude de navires, vues du tréport Masques, épreuves méticuleusement découpées

Binoche & Giquello. Photography auction Thursday 10 November 2016 Paris Drouot - salle 9 - 6pm online with Drouot live

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118. NADAR (FÉLIX TOURNACHON, 1820-1910) Portrait de Victor Hugo en 1884 (lot de 8)

Binoche & Giquello. Photography auction Thursday 10 November 2016 Paris Drouot - salle 9 - 6pm online with Drouot live

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120. ÉTIENNE CARJAT (1828-1906) Charles Baudelaire, le dernier portrait [Paris, 1865] Épreuve argentique tirée vers 1906 pour Feli Gautier, seule épreuve connue.

Binoche & Giquello. Photography auction Thursday 10 November 2016 Paris Drouot - salle 9 - 6pm online with Drouot live

Binoche & Giquello Thursday 10 November 2016 at 8 pm

Binoche & Giquello. Dix-huit Vues de Paris auction catalogue Thursday 10 November 2016 Paris Drouot - salle 9 - 8pm