141 Sentences With "carte de visite" | Random Sentence Generator

It appears in a carte-de-visite album compiled by the Quaker abolitionist Emily Howland.

Astor, who had a daughter pining to attend, finally succumbed, carte de visite in hand.

Perhaps the most famous usage of the American carte de visite was by Sojourner Truth, in the 1860s.

Light-Lewis' research indicates that the drawing was copied directly from a carte de visite photo of Clark.

Left: Benjamin F. Powelson; Harriet Tubman; a hitherto unknown carte-de-visite in the Emily Howland photograph album; 1868 or 1869.

As a newlywed myself, I deeply regret not having my dark and sober carte de visite portrait made on my wedding day.

One of the most popular types of paper photographs in the 603s was quite small and referred to as the "carte de visite" format.

The photograph for auction is in the form of a carte de visite, a 19th-century custom in which people would leave photos of themselves as a calling card.

Researchers believe that the photography of Tubman is a carte de visite portrait dating from around 1868–69, when the abolitionist and Underground Railroad conductor would have been in her 40s.

Among these are a rare carte-de-visite of Harriet Tubman that the Library acquired last year; a record of the Wright brothers' first flight in 1903; and postcard pictures from the Detroit Publishing Company.

Day said research had shown the photographer Benjamin F. Powelson, who made Tubman's carte de visite, only spent time near Tubman's home in Auburn in upstate New York from 1868 to 1869, when Tubman was about 48.

The exhibit is arranged by category: family, labor, war, social change, celebrity (including a carte de visite of Sojourner Truth), self-presentation, identification, self-portraiture and appropriation, which includes Carrie Mae Weems's appropriated photos of enslaved people.

The black-and-white carte-de-visite, which depicts the abolitionist in her mid-40s, is set to hit the auction block on March 30 as part of the sale Printed & Manuscript African Americana hosted by Swann Auction Galleries.

In the context of such tragedy, it is upsetting to think of the seemingly innocent carte-de-visite as the way the photographer cashed in on white Americans' fascination with the Others whose way of life their government was destroying.

In 1872, Susan B. Anthony's attempt to vote and her subsequent arrest got the lion's share of publicity, but Ware uses a carte de visite of the black activist Sojourner Truth to tell the story of how she, too, tried to vote in the Presidential election that year.

The Smithsonian's National Museum of African American History and Culture and the Library of Congress jointly acquired a carte-de-visite album of 44 photographs that includes a previously unrecorded image of Harriet Tubman and the only known photograph of John Willis Menard, the first African American man elected to the US Congress.

Californians and visitors will have close-up access to some of the country's most iconic photography: a carte-de-visite of seated underground railroad leader Harriet Tubman in the late 1860s; Dorothea Lange's 1936 "Migrant Mother" image, which has come to symbolize the Great Depression; an intimate snapshot of John F. Kennedy and Jackie Bouvier on their wedding day in 1953; the Wright brothers' first flight, in 1903; and Harry Houdini doing a magic trick in 1908.

Carte de visite of Bisse- Challoner, as Colonel of the Surrey militia.

Marcel Safier (2015). "The Gem and Carte de Visite Ferrotype." Accessed May 21, 2019.

The carte de visite was usually made of an albumen print, which was a thin paper photograph mounted on a thicker paper card. The size of a carte de visite is × mounted on a card sized × . In 1854, Disdéri had also patented a method of taking eight separate negatives on a single plate, which reduced production costs. The carte de visite was slow to gain widespread use until 1859, when Disdéri published Emperor Napoleon III's photos in this format.

Dansk Fotografihistorie, ed. Mette Sandbye. Gyldendal, Copenhagen. 2004. p. 33. In 1860, he introduced carte-de-visite photography to Denmark.

Abraham Cooper, c. 1827. Carte de visite of Abraham Cooper, 1860s. Abraham Cooper (1787–1868) was a British animal and battle painter.

He took up photography in St. Louis in 1853 and in 1858 produced the first carte de visite made in the United States. His first subject was Baron Rothschild. Mrs. August Belmont was the first woman of whom he made a vignette carte de visite. He was an inventor as well as a photographer and made many improvements in the tools of his trade.

Box with cartes de visite of members of the Regout family, Netherlands, c. 1865 1859 carte de visite of Napoleon III by Disdéri, which popularized the CdV format Carte de visite of John Wilkes Booth; circa 1863, by Alexander Gardner The carte de visiteAlso spelled carte-de-visite or erroneously referred to as carte de ville. (, visiting card), abbreviated CdV, was a type of small photograph which was patented in Paris by photographer André Adolphe Eugène Disdéri in 1854, although first used by Louis Dodero.WellingLeggat Each photograph was the size of a visiting card, and such photograph cards were commonly traded among friends and visitors in the 1860s.

Carte de visite depicting John Cumming, 1860s Rev Dr John Cumming DD FRSE (10 November 1807 – 5 July 1881) was a Scottish clergyman and religious author.

Carte de visite depicting Richard Redgrave, 1860s Richard Redgrave (30 April 1804 in Pimlico, London – 14 December 1888 in Kensington, London) was an English landscape artist, genre painter and administrator.

Barcroft was also often seen using, a carte de visite, which is 10 x 6.4 cm stiff card, with a paper photograph attached, invented in 1854 by André- Adolphe-Eugène Disderi.

Carte de visite depicting Archibald Smith, 1860s. Archibald Smith of Jordanhill (10 August 1813, in Greenhead, North Lanarkshire - 26 December 1872, in London) was a Scots-born barrister and amateur mathematician.

Carte de visite produced by George & Walton Carte de visite produced by Eden George Co Ltd George was born in Forbes, New South Wales to photographer and well-known cyclist William Rufus George and Bettina Holme. He attended Sydney Grammar School before becoming a photographer in c.1883 in Christchurch, New Zealand. The name of his business was George and Walton and they operated at 214 Colombo Street, which was located in the central city opposite Victoria Square.

Carte de visite from about 1868 William Hepworth Dixon (30 June 1821 – 26 December 1879) was an English historian and traveller. He was also active in organizing London's Great Exhibition of 1851.

Frans Last married Ida Catharina Wilhelmina Elisabeth Carlier. A carte de visite of Frans Last can be found in the photoalbum of John F. Loudon, which is kept in the print room of Leiden University.

Elijah Porter Barrows from a c. 1865 carte de visite photograph by George Kendall Warren Elijah Porter Barrows (5 January 1807 – 14 September 1888) was an American clergyman and writer. He was born in Mansfield, Connecticut.

The carte de visite (cdv) was the most popular of the portrait formats. The cdv also generated the most income. Mayall produced over half a million cartes a year, which helped him secure an annual income of £12,000.

Later on he created his own type of carte de visite, it consisted of a small picture secured onto a card. He patented that type and it became popular amongst people to collect and exchange them in the late 1850s.

Carte de visite of Hendershot by Mathew Brady Robert Henry Hendershot, known as the Drummer Boy of the Rappahannock, was an American Civil War drummer boy known for his reputed heroics at the Battle of Fredericksburg, Virginia, in December 1862.

Carte de visite of Robert Elwes of Congham Robert Elwes (1819–1878) was an English Victorian traveller and painter, and the author of A Sketcher's Tour Round the World illustrated by engravings from his own works which he published from his home at Congham, Norfolk, in 1853.

However, Élisabeth stayed in Brest and continued to work in the studio until the late 1860s. While on her own she created and mastered a lot of techniques. She kept her studio running by producing the carte de visite photographs. During this time the photographers mostly produced portrait pictures.

She subsequently confirmed the image after Bourns sent her a carte de visite copy of the image. Bourns took the original image to Humiston's widow. The family subsequently resided at the "National Homestead at Gettysburg" (opened October 1866) for 3 years until the widow remarried, when they relocated to Massachusetts.

Annotation printed on back of Carte de visite: F. & A. Duffty. Photographers. Levuka Fiji. At the age of 25 Dufty arrived in Levuka from Victoria in the SS Egmont in June 1871. He set up a new studio next door to the Fiji Times newspaper office on 24 May 1871.

Mrs. Conant of Banner of Light. Her Brother, Charles H. Crowell. The ghostly image of the medium's brother appears behind her in this Albumen print carte de visite. The Banner of Light began as a general literary magazine with some mentions of spiritualism and a page titled The Messenger covering Mrs.

Marie Rôze Carte-de-visite Photograph Of French Opera Singer Marie Roze, mid 19th Century. An oil portrait of Marie Roze, circa 1865, attributed to Pierre Paul de Pommayrac. Marie Rôze (born Maria Hippolyte Ponsin; 2 March 1846 in Paris – 2 June 1926 in Paris), was a French operatic soprano.

Buerger, Janet, French daguerreotypes, University of Chicago Press, 1980, pp. 108-10, and ns.34-35,p18585 Following his father's lead, Rafail Levitsky worked alongside his father in Paris placing his Russian monogram ; on the carte de visite (CDV) photo cards when his hand was involved in the process of taking the photograph.

A Carte de visite in Giovanni Bonello's collection confirms her operating as an independent photographer in Senglea, Malta at that time. Sarah Ann Harrison is considered to be the first woman running her own photo studio in Malta. In the 1871 UK census she is listed as a photographer operating in Boston, Lincolnshire.

The Minnesota Historical Society and the Library of Congress have collections of albumen prints of his work. A carte de visite of his photo of Wa-kan-o-zhan- zhan (Medicine Bottle), one of the leaders of the Dakota War of 1862, is in the collection of the National Portrait Gallery in London.

Charles Danby in a carte de visite of 1891 Charles Clemson Percy Danby (1858 - 7 September 1906) was a British actor, singer and comedian of the late Victorian era who regularly appeared at the Gaiety Theatre in London. During his career he made 37 tours of the United States and three of Australia.

One of two known photographs of Mary Seacole, taken for a carte de visite by Maull & Company in London (c. 1873) Seacole had joined the Roman Catholic Church circa 1860, and returned to a JamaicaRobinson, pp. 182–83. changed in her absence as it faced economic downturn. She became a prominent figure in the country.

Matamoros left behind an extensive collection of Carte de Visite for Protestants he had met in Lausanne, Gibraltar and elsewhere. These provide an insight into who he knew. For instance there is a card for Rev. William Harris Rule, a Methodist minister who had tried unsuccessfully to introduce Protestantism into Spain twenty years before Matamoros.

Goodrich, pp. 35–36. A Carte de visite of John Wilkes Booth Some critics called Booth "the handsomest man in America" and a "natural genius", and noted his having an "astonishing memory"; others were mixed in their estimation of his acting.Bishop, p. 23. He stood tall, had jet-black hair, and was lean and athletic.

The London studio enjoyed the patronage of Queen Victoria and the Prince of Wales, taking photos at Balmoral and Frogmore during the 1860s. Its first Royal image was of the Princess of Wales at the York Agricultural Show in about 1865. The studio also produced the iconic carte-de-visite portrait of the Princess of Wales piggybacking Princess Louise.

Retrieved 13 February 2010. He opened a photographic studio in Aalborg where he soon specialised in the carte-de-visite technique as it facilitated the production of prints. Most of his work was concentrated on portraits although he also took many landscapes. His photographs often presented people in their working clothes rather than formally dressed for the occasion.

Charles Merivale by Samuel E. Poulton, albumen carte-de-visite, 1860s-1870s The Very Reverend Charles Merivale (8 March 1808 - 27 December 1893) was an English historian and churchman, for many years dean of Ely Cathedral. He was one of the main instigators of the inaugural Oxford and Cambridge Boat Race which took place at Henley in 1829.

But his principal contribution to the history of Brazilian photography is his photographic record of the different social classes in Brazil in the 19th century: portraits, usually in the carte de visite format, taken of the nobility, of rich tradesmen, of the middle-class, and of black people, either slaves or free, in a period before the Lei Áurea.

Albumen carte de visite, late 1860s Other works were The Buccaneer, Can Wrong Be Right?As Mrs. S. C. Hall, monthly installments in St James's Magazine, April 1861 – March 1862, and in two volumes, London, 1862. and many sketches in the Art Journal, of which her husband Samuel Carter Hall was editor, and Sharpe's London Magazine.

He engaged Fraser in 1860 as his main artist, with the young Henry Sandham as his assistant. Fraser was paid a salary of $125 per month. Over time Fraser's art department grew to employ a large staff that coloured photographs, retouched negatives and painted backgrounds. Painted photographs were made from the carte-de-visite size, , or the cabinet photograph size, .

Napoleon III, ca. 1869, carte de visite albumen print Through the 1860s, the health of the Emperor steadily worsened. It had been damaged by his six years in prison at Ham; he had chronic pains in his legs and feet, particularly when it was cold, and as a result, he always lived and worked in overheated rooms and offices. He smoked heavily.

Samuel Hood, 2nd Baron Bridport, albumen print carte de visite by Camille Silvy, from the album of his friend Col. Thomas-Chaloner Bisse-Challoner. Arms of Hood, Baron Bridport (1794), Viscount Bridport (1868): Azure, a fret argent on a chief or three crescents sable.Montague-Smith, P.W. (ed.), Debrett's Peerage, Baronetage, Knightage and Companionage, Kelly's Directories Ltd, Kingston-upon-Thames, 1968 , pp.

Jean-Baptiste Philibert Vaillant, 1st Comte Vaillant (6 December 1790 - 4 June 1872), born in Dijon, was a Marshal of France. 19th century carte de visite. Vaillant entered the French army in 1809 in the corps of engineers. He served in the French invasion of Russia (1812) and the next year became a prisoner of war after the Battle of Kulm.

Although he was awarded two gold medals, he never mentioned them in his promotional materials. Most of his works were in "cabinet" format (14.5 x 10 cm) or larger. Very few are in the popular "Carte de visite" format. He had three sons, including Maurice Otto Wegener (1875-1918), an aspiring artist who reportedly died of physical and mental exhaustion, resulting from the war.

Rudolph Striegler: carte-de-visite photograph of Hans Christian Andersen (1861) Rudolph Striegler (1816–1876) was one of Denmark's early photographers, specialising in portrait photography. Trained as a picture-framer, Strieger opened Odense's first daguerreotype studio in 1846. With his experience of gold-plating, he was able to combine photography with ornate framing. Until 1857, he travelled widely around the country until he finally moved to Copenhagen.

Edmund Smith-Baker ran a studio on Bristol Street in Birmingham together with his younger brother Thomas William, where – alongside the production of carte de visite photographs – he is believed to have completed new and previously unfinished Baker landscapes. Some of these works are signed "E.S. Baker" while others display a rather more decorative signature of "E.S.B" in which the "S" is combined with an enlarged "B".

Carte de visite of Gina Krog, ca. 1873. Jørgine Anna Sverdrup "Gina" Krog was born on 20 June 1847 in Flakstad, Lofoten as the daughter of parish priest Jørgen Sverdrup Krog (1805–1847) and Ingeborg Anna Dass Brinchmann (1814–1872). Gina Krog's brother was barrister Fredrik Arentz Krog. After her father's early death, Krog lived with her mother in Karmøy until she was eight years old, and then moved to Christiania.

Carte-de- visite, 1882 Finsch was born at Bad Warmbrunn in Silesia to Mortiz Finsch and Mathilde née Leder. His father was in the glass trade and he too trained as a glass painter. An interest in birds led him to use his artistic skills for the purpose. Finsch went to Budapest in 1857 and studied at the Royal Hungarian University, earning money by preparing natural history specimens.

Carte de visite of David Douglas Cunningham FRS, photo by Maull & Fox David Douglas Cunningham (29 September 1843 – 31 December 1914) was a Scottish doctor and researcher who worked extensively in India on various aspects of public health and medicine. He studied the spread of bacteria and the spores of fungi through the air and conducted research on cholera. In his spare time he also studied the local plants and animals.

Untitled, 1867-1877, by B.C.Boake, carte de visiteUntitled, 1867-1877, by B.C.Boake, carte de visite After migrating to Australia, Barcroft Capel Boake spent majority of his working life in Sydney. He had a hugely successful business. Owning and running his own studio on George St, where he explored the streets and buildings of Sydney through his wet plate work. These outdoor prints would be sold as whole albums.

Retrieved 23 November 2010. Much of his commercial success resulted from his appointment as court photographer in 1891. His degree of success meant that by 1900 he was in a position to construct impressive new three-storey premises for what he called Atelier Bernhoeft at the corner of rue de l'Arsenal (Grand-Rue) and boulevard Royal. For his portraits, he used the widely available carte de visite and cabinet card formats.

Militão Augusto de Azevedo Collection at the Paulista Museum of the University of São Paulo is made up of the documentation and office ephemera from Carneiro & Gaspar and Photographia Americana. It includes 12,000 portraits originally produced in the carte-de-visite and cabinet-portrait. The portraits are gathered in six leather bindings, with dates engraved on the spines, glued whole or cut out in order to identify only the customer's face.

Mayall was given permission to publish the portraits of the Royal Family as a set of cartes-de-visite. In August 1860, the cartes were released in the form of a Royal Album, consisting of 14 small portraits of Queen Victoria, Prince Albert and their children. The Royal Album was an immediate success, and hundreds of thousands were sold. Britain began collecting carte de visite portraits of famous people.

He worked from studios in Herne Bay from 1903 to 1922, and in Swindon from 1922 to 1936 or 1937. As of 2011 there are over 70 known photographs and postcards by Fred C. Palmer. The earliest known (shown here) is a carte de visite photograph showing two girls, taken in Herne Bay and dated 1903–1905; the earliest known postcards (here) are the tinted photos of Minster-in-Thanet, taken in 1903–1904.

Antoine Sonrel (died 1879) was an illustrator, engraver, and photographer in Switzerland and Boston, Massachusetts, in the 19th century. He moved from Neuchâtel to the United States around the late 1840s, and was affiliated with Louis Agassiz throughout his career. As a photographer he created numerous carte de visite portraits in the 1860s and 1870s; subjects included his friend Agassiz, Oliver Wendell Holmes, Sr., Oliver Wendell Holmes, Jr., Abbott Lawrence Rotch, and sculptor Anne Whitney.

Count Olympe-Clemente-Alexandre-Auguste Aguado de las Marismas (3 February 1827 – 25 October 1894) was a Franco-Spanish photographer and socialite, active primarily in the 1850s and 1860s. One of several early photographers who learned the practice from Gustave Le Gray, Aguado pioneered a number of photographic processes, including carte de visite photographs and photographic enlargement processes. He was also a founding member of the influential French Photographic Society in 1854.

323x323px James Abbott McNeill Whistler, Paris, c.1863, albumen print (carte-de-visite) by Etienne Carjat (detail), National Gallery of Art, Washington, DC, Department of Image Collections. In 1861, after returning to Paris for a time, Whistler painted his first famous work, Symphony in White, No. 1: The White Girl. The portrait of his mistress and business manager Joanna Hiffernan was created as a simple study in white; however, others saw it differently.

Carte de visite, 1863, held in the Gladstone Collection of African American Photographs at the Library of Congress Watch Meeting—Dec. 31st 1862—Waiting for the Hour is an 1863 painting by the US artist William Tolman Carlton. The location of the original painting is not known, but a different version, possibly a study, is displayed in the Lincoln Bedroom at the White House. Watch meetings originated as nighttime religious services of the Methodist Church.

The carte de visite photograph proved to be a very popular item during the American Civil War. Soldiers, friends and family members would have a means of inexpensively obtaining photographs and sending them to loved ones in small envelopes. Photos of Abraham Lincoln, Ulysses S. Grant, and other celebrities of the era became instant hits in the North. People were not only buying photographs of themselves, but also collecting photographs of celebrities.

Gordon, or "Whipped Peter" (fl. 1863), was an enslaved African American who escaped from a Louisiana plantation in March 1863, gaining freedom when he reached the Union camp near Baton Rouge. He became known as the subject of photographs documenting the extensive scarring of his back from whippings received in slavery. Abolitionists distributed these carte de visite photographs of Gordon throughout the United States and internationally to show the abuses of slavery.

A carte de visite of Evans created, most likely as a 'cut & paste', by photographer N. White, of Bendigo, Victoria, after September 1879, to be sold as a curiosity. Edward De Lacy Evans (born Ellen Tremayne or Tremaye, 1830? – 25 August 1901) was a servant, blacksmith and gold miner, who immigrated from Ireland to Australia in 1856, and made international news in 1879 when it was revealed he was born a woman.

Another series of royal portraits by Mayall was published in 1861. Prince Albert succumbed to typhoid fever in December 1861. His death created an enormous demand for his portrait. The Photographic News later reported that within one week of his death "no less than 70,000 of his carte de visite were ordered from Marion & Co." By the end of the decade, Marion & Co, had paid Mayall £35,000 for his portraits of the Royal Family.

Carte-de-visite c. 1900 Othmar Reiser or Otmar Rajzer (21 December 1861 – 31 March 1936, Pickern) was an Austro-Slovenian ornithologist and naturalist who worked as curator of the bird collections in the natural history museum at Sarajevo, working there from its foundation for thirty-three years during which he explored various regions including the Balkans and South America and collecting specimens for the museum. Several species are named after him based on his specimens.

However, books or albums made specifically for showcasing photographs alone were not popularized in the United States until closer to 1860. Before that point, photographs were not thought of as items to be reproduced and shared. Demand for photo albums was spurred on in large part by the growing popularity of the carte de visite, a small photograph distributed in the same manner one might a visiting card. A page from a photograph album circa 1906.

H. Tønnies: Jens Bangs Stenhus in Aalborg (1890) The technique of carte de visite photography was brought to Denmark by Rudolph Striegler in 1860. It spread rapidly and by the 1870s provided a cheap and attractive alternative to portrait painting for photographers such as Ludvig Grundtvig (1836–1901) and Adolph Lønborg (1835–1916) in Copenhagen, and Heinrich Tønnies (1856–1903) who opened a studio in Aalborg."Johan Georg Heinrich Ludwig Tönnies", Gravsted.dk. Retrieved 28 January 2010.

Sir Herbert Benjamin Edwardes by William Edward Kilburn. Carte-de-Visite, 1860s. National Portrait Gallery, London (NPG x45342) Aged 40, in mid-1859 Edwardes once more returned to England, his health so greatly impaired by the continual strain of arduous work that it was doubtful whether he could ever return to India. During his stay he was created KCB, with the rank of brevet colonel; and the degree of LL.D. was conferred upon him by the University of Cambridge.

Self-portrait of Mayall (daguerreotype, c. 1844) John Jabez Edwin Paisley Mayall (17 September 1813 near Oldham, Lancashire – 6 March 1901 in Southwick, West Sussex) was an English photographer who in 1860 took the first carte-de- visite photographs of Queen Victoria. Born into a Baptist family on 17 September 1813, at Chamber Hall, near Oldham in the county of Lancashire, his birth name was registered as Jabez Meal. He was the son of John and Elizabeth Meal.

Betty Jackson, a former slave of Andrew Jackson, with her two great-grandchildren, photographed by Giers in 1867 Giers initially worked with daguerreotypes, but was offering ambrotypes and miniatures by the end of the 1850s. During and after the Civil War, he specialized in carte de visite, a popular type of portraiture at the time. He offered colored photographs (manually colored with oil and ink) as early as 1864."To My Patrons," Nashville Union and American, 11 October 1874, p. 4.

Annotation printed on back of Carte de visite: F. & A. Duffty. Photographers. Levuka Fiji. In December 1871 at the age of 16, Dufty moved to Levuka, Fiji and joined his brother Francis Herbert Dufty who had set up a photography studio next door to the Fiji Times newspaper office on 24 May 1871. The Dufty brothers produced studio portraits, landscape photographs and a large body of "cartes de visite", which had been popularised in Europe in the mid-19th century.

Dale died on 13 March 1895 and was buried in Key Hill Cemetery, Hockley. A statue of Dale sculpted by Edward Onslow Ford in 1898 was rediscovered in 1995, and is now on loan from Birmingham Museum & Art Gallery to Carr's Lane Church Centre (his old church).. The National Portrait Gallery holds a carte de visite photograph and a wood engraving of him. There is a Birmingham Civic Society blue plaque commemorating him on Carrs Lane Church, Carrs Lane, Central Birmingham.

Next, he followed General Joseph Hooker. In May 1863, Gardner and his brother James opened their own studio in Washington, D.C, hiring many of Brady's former staff. Gardner photographed the Battle of Gettysburg (July 1863) and the Siege of Petersburg (June 1864–April 1865) during this time. A carte de visite of a US Navy Lieutenant of US Civil war 1861-1865 Gardner studio Title page of Gardner's Photographic Sketch Book of the Civil War (1866), design by Alfred R. Waud.

Portrait of Castro Alves (1870) Henschel was considered the hardest-working photographer and businessman in 19th-century Brazil. He always remained up-to-date with the latest techniques on the photography market. By the time the aesthetic format of photography carte de visite became popular, Henschel was already dominating this technique which he used frequently in his establishments. His studios possessed the latest equipment appropriate for the instantaneous portraits of children who, never still, were the headaches of the photographers.

Many of his photographs are carte de visite shots of Scandinavians visiting Rome, taken in the yard outside his studio door. Over the door frame, the word "Roma" can be seen, sometimes with the year when the photograph was taken, and on either side of the door there are various flowers, some in pots. Boyesen had a talent for composition and characterization. In contrast to the staid studio portraits which were so common at the time, Boyesen would have his subjects pose outdoors in intimate Roman settings.

There is a carte de visite from Rule in the collection of Manuel Matamoros and he has been called the founder of Protestantism in Spain. His wife died in February 1872, and it was she who actually started the first charity school. Rule married again in 1873, and he extended his earlier translation of the gospels to include the whole of the New Testament, and this was published by the Missionary Society in 1880. Rule died on 25 September 1890 in Addiscombe, near Croydon, Surrey.

The British Government had to determine whether the situation in North America or the containment of Russia was more urgent. The decision was to give priority to threats closer to home and to decline France's suggestion of a joint intervention in America; the threatened race war over slavery never happened. Palmerston rejected all further efforts of the Confederacy to gain British recognition. Carte de visite depicting Lord Palmerston, 1863 The raiding ship CSS Alabama, built in the British port of Birkenhead, was another difficulty for Palmerston.

Van Loo's photograph of the Workum family, possibly from the 1860s Van Loo's carte de visite of a small boy Leon Van Loo (1841–1907) was a Belgian-born photographer and art promoter. Born 12 August 1841, in Ghent, Belgium, he moved to Cincinnati, Ohio in 1858, when he opened a photography gallery. After doing well in the cotton trade after the Civil War, he retired early in 1866. He subsequently spent time travelling to Europe and collecting art, which he displayed in Cincinnati.

Carte de visite of John Bright by Elliott & Fry At the general election in 1841 Cobden was returned for Stockport, Cheshire, and in 1843 Bright was the Free Trade candidate at a by-election at Durham. He was defeated, but his successful competitor was unseated on petition, and at the second contest Bright was returned. He was already known as Cobden's chief ally, and was received in the House of Commons with suspicion and hostility. In the Anti- Corn Law movement the two speakers complemented each other.

Nāser al-Dīn Shah - Shah of Persia - Carte de visite Woodburytype from Felix Nadar Paris A Woodburytype is both a printing process and the print that it produces. In technical terms, the process is a photomechanical rather than a photographic one, because sensitivity to light plays no role in the actual printing. The process produces very high quality continuous tone images in monochrome, with surfaces that show a slight relief effect. Essentially, a Woodburytype is a mold produced copy of an original photographic negative with a tonal range similar to a Carbon print.

Hunting Dogs In the late 1840s, Aguado learned photography from pioneering French photographer Gustave Le Gray. From his studio on the Place Vendôme, he initially worked with daguerreotypes, but by the early 1850s, was already experimenting with other photographic processes, namely with negative paper and collodion on glass. In 1854, he and Edouard Delessert developed the carte-de-visite printing method as a way to add portraits to visiting cards (the process was patented by Eugène Disderi later that year). Later in the decade, he experimented with enlargement processes.

When the American Civil War began, he enlisted in the New York Seventh Regiment and served with them intermittently over the course of the war. In 1865, he entered into a partnership with fellow photographer George G. Rockwood, who was credited with popularizing the carte de visite in America. The next year he formed a studio with another partner, named Huston. The two of them practiced a technique called "photosculpture", which involved taking up to 24 simultaneous photographs of a subject from various angles to assist a sculptor to create a sculpture of that person.

Photographed by Henry Hering for a carte de visite around 1860 Owing to her high position in the country, Charlotte once described her situation as being "isolated to a degree I could never have imagined". She found comfort in her collection and artistic renderings of India's flora, and devoted much of her time to the garden at Barrackpore. As an amateur artist, Canning favoured watercolours and kept many portfolios of her works. The historian Eugenia W. Herbert describes Charlotte as the "most memorable and the most accomplished of the women botanical illustrators in India".

James Gordon Bennett Jr., publisher of the New York Herald and funder of the expedition, had delayed sending to Stanley the money he had promised, so Stanley borrowed money from the United States Consul. During the expedition through the tropical forest, his thoroughbred stallion died within a few days after a bite from a tsetse fly, many of his porters deserted, and the rest were decimated by tropical diseases. 1872 Carte de visite – Stanley and Kalulu. Stanley found David Livingstone on 10 November 1871 in Ujiji, near Lake Tanganyika in present-day Tanzania.

Peter Palmquist, "Theodore M. Schleier," Pioneer Photographers from the Mississippi to the Continental Divide (Stanford University Press, 2005), p. 535. Carte de visite of a Union soldier, created by Schleier during the Union occupation of Nashville In 1859, Schleier moved to Nashville to work in the Southern Photographic Temple of Fine Arts, a studio and gallery on Deaderick Street operated by fellow Prussian immigrant Carl Giers (1828–1877).The Nashville Patriot, 12 July 1859, p. 4. Accessed at the Library of Congress Chronicling America database, 21 February 2014.

1905 cat postcard by upright British portrait photographer Harry Pointer created a carte de visite series featuring cats posed in various situations in the early 1870s. To these he usually added amusing text intended to further enhance their appeal. Other notable early figures include Harry Whittier Frees and (using mounted animals) Walter Potter. The first recorded use of the term "lolcat" was used on 4chan, an anonymous imageboard. The word "Lolcat" was in use as early as June 2006, and the domain name `lolcats.com` was registered on June 14, 2006.

André-Adolphe-Eugène Disdéri pioneered the carte de visite, an early form of mass-production portraiture photography. According to his biographer Elizabeth Anne McCauley, Disdéri developed this process during his stay in Nîmes in 1853, and then moved back to Paris to make his fortune. She cites Disdéri's own book which thanks a chemist and assay office inspector in Nîmes named Monsieur Laurent for his assistance with the chemistry. In her book McCauley identifies the full name of this Monsieur Laurent as Joseph Jean Pierre Laurent, citing an 1855 passport application.

Lord Amberley in the 1860s, on an albumen carte-de-visite John Russell was born on 10 December 1842 at Chesham Place, London, the first son of Lord John Russell, himself the son of the 6th Duke of Bedford. His mother was Lord Russell's second wife, Lady Frances, daughter of the 2nd Earl of Minto. In 1846, his father became Prime Minister of the United Kingdom and served as such twice. Due to Lord John's elevation to peerage as Earl Russell in 1861, his son and heir apparent became known as Viscount Amberley.

In 1860 they accompanied Napoleon III on his visit to Savoy. The pair produced remarkable images of the local scenery. Having received an encouraging response to his work, the following year Auguste ascended Mont Blanc, taking with him twenty-five porters to carry his equipment. The photographs were made using the Collodion process, with very large negatives, often up to 30 cm x 40 cm (12" x 16") The brothers refused to reduce their images to the carte de visite size and, consequently, after four years, they ceased operating their business.

Edward Moran, late 1860s, albumen print (carte-de-visite), National Gallery of Art, Washington, DC, Department of Image Collections. It was in Philadelphia around 1845 that Edward apprenticed under James Hamilton and landscape painter Paul Weber; Hamilton guided Moran specifically in the style of marine paintings. In the 1850s Moran began to make a name for himself in the Philadelphia artistic scene; working in the same studio as his younger brother, famous American painter Thomas Moran, Edward received commissions and even completed some lithographic work. In 1862, he traveled to London and became a pupil in the Royal Academy.

In 1902 the two museums were amalgamated, taking the latter name. Following Humphrey Blackmore's death, a significant number of Blackmore Museum artefacts were distributed to other museums including the Smithsonian Institution, the Birmingham Museum, and the British Museum. In 1932, Barbara Freire-Marreco Aitken (1879–1967), a prominent anthropologist who had worked with the innovative educator and passionate amateur archaeologist Edgar Lee Hewett (1865–1946), secured a substantial set of Blackmore's papers relating to his activities in New Mexico for the Historical Society of New Mexico. This material also included some 112 photographs in carte de visite, stereoscopic, Cabinet and other formats.

Carte-de-visite from Krumbiegel's English period Krumbiegel was born in Lohmen near Dresden, and his early studies were in Wilsdruff and Dresden after which he trained in horticulture in Pillnitz. In 1884 he worked in Schwerin and from 1885 to 1887 he worked as a landscape gardener in Hamburg. In 1888, he moved to England, designing flower beds at Hyde Park and became a staff at the Royal Botanical Gardens in Kew. He then took up a position in 1893 with the princely state of Baroda as Curator of the botanical gardens after the retirement of J.M. Henry (1841-1937).

Carte-de-visite taken in Wheeling, April 15, 1865, Brown & Lose, Photographers, notated on reverse "Aunt Susan". The western part of Virginia which became West Virginia was settled in two directions, north to south from Pennsylvania, Maryland and New Jersey and from east to west from eastern Virginia and North Carolina. The earliest arrival of slaves was in the counties of the Shenandoah Valley, where prominent Virginia families built houses and plantations. The earliest recorded slave presence was about 1748 in Hampshire County on the estate of Thomas Fairfax, 6th Lord Fairfax of Cameron, which included 150 slaves.

Anna Mahler (at right) with her older sister Maria and her mother, carte de visite cabinet card photo circa 1906 Born in Vienna, Anna Mahler was the second child of the composer Gustav Mahler and his wife Alma Schindler. They nicknamed her 'Gucki' on account of her big blue eyes (Gucken is German for 'peek' or 'peep'). Her childhood was spent in the shadow of her mother’s love affairs and famous salon. Anna also suffered the loss of her older sister Maria Mahler (1902–1907) who died of scarlet fever when Anna was three—and her father, who died when she was six.

He was born in Phillips, Maine on October 19, 1828. His younger brother, William Stinson Soule, also became a photographer. J.P. Soule maintained photographic studios on Washington Street in Boston, ca.1861-1882.Boston Directory, 1861; Boston Almanac, 1879. He is not listed in the 1883 Boston Almanac. As a photographer, his subjects in Boston included buildings, the 1869 National Peace Jubilee, the great fire of 1872, and carte-de-visite portraits. He also photographed mountains in New Hampshire, and the 1866 fire in Portland, Maine. He exhibited works in the Charitable Mechanic's exhibitions of 1850,MCMA exhibit. 1850.

The resulting images were produced in the carte de visite format and were sold for twenty-five cents each, with the profits of the sale being directed to Major General Nathaniel P. Banks back in Louisiana to support education of freedmen. Each of the photos noted that sale proceeds would be "devoted to the education of colored people". Of the many prints that were commissioned, at least twenty-two remain in existence today. Most of these were produced by Charles Paxson and Myron Kimball, who took the group photo that later appeared as a woodcut in Harper's Weekly.

Identified image dated 1855. An advertisement of the period specifically lists the Daguerreotype method as being used by Forshew in 1851 Advertisement from the "Directory of the City of Hudson for the Year 1851-52", by Parmenter & Van Antwerp, Hudson N.Y. Forshew also worked with tintype photography during this period. He created "carte de visite" (visiting cards), cabinet cards, and stereoviews. Forshew did a brisk business during the Civil War providing cartes de visite to transient soldiers as well as to the families and friends on the home front who wanted to send their images to soldiers away from home on the battlefronts.

XLV, No. 3 (Fall 1986), pp. 230-243. Schleier and federal photographer George N. Barnard were the two most active photographers in the city during this period. Places and buildings photographed by Schleier during the war include the railroad bridge over the Cumberland River, Morgan Park, the Tennessee State Capitol, the tomb of James K. Polk, the Planters Hotel, and the original Elm Street Methodist Church (flanked at the time by federal barracks). He also created carte de visite photographs for soldiers stationed in the city, including members of the all-German 32nd Indiana Infantry Regiment.

Emily Faithfull, ca. 1860s by Leonida Caldesi (1822–1891), albumen carte-de- visite, 1860s, NPG x46997 With the object of extending their sphere of labour, which was then very limited, in 1860 Emily Faithfull set up in London a printing establishment for women, called The Victoria Press. From 1860 until 1864, the Victoria Press published the feminist English Woman's Journal. Both Faithfull and her Victoria Press soon obtained a reputation for its excellent work, and Faithfull was shortly afterwards appointed printer and publisher in ordinary to Queen Victoria, indicating that Faithfull was the official printer and publisher of Queen Victoria.

Photo of Ferdinand Lassalle on a carte de visite Only briefly engaged in the revolutionary struggle during 1848, Lassalle reentered public politics in 1862, motivated by a constitutional struggle in Prussia. King Wilhelm I, who became king on 2 January 1861, had repeatedly clashed with the liberal Chamber of Deputies, resulting in multiple dissolutions of the Diet. As a recognized legal scholar, Lassalle was asked to make public addresses dealing with the nature of the constitution and its relationship to the social forces within society. Lassalle replied by giving a speech wherein he set out that constitutional matters are merely questions of power.

Carte de visite of Dr Khory Rustomjee Naserwanjee Khory (1839-1905) was an Indian physician and writer who practiced in Bombay and later lived in London. He compiled a two volume work on medicine and a compilation on the medicinal plants of western India and traditional treatments. Khory came from a Parsi family in Bombay and studied medicine at the Grant Medical College, Bombay in 1864 before he obtained a diploma of the LRCP, London in 1870 and graduated MD from Brussels. He studied the medicinal plants of western India and published the Bombay Materia Medica and Therapeutics in 1887.

Carte-de-visite portrait, 1894 Aaron Ludwig Kumlien (March 15, 1853 – December 4, 1902) was an American ornithologist, oldest son of Thure Kumlien. He took part in the Howgate Polar Expedition 1877-78 and collected a large number of bird specimens which led to the discovery of several new species including what is now known as Kumlien's gull (Larus [glaucoides] kumlieni). Kumlien was born in a log cabin in Busseyville, Jefferson County to the Swedish-born naturalist Thure and his wife Christina Wallberg. Ludwig went to school followed by Albion Academy, Albion Wisconsin, in Dane County, Wisconsin, where his father was professor of zoology and botany.

The only known photograph of Mary Seacole, taken for a carte de visite by Maull & Company in London (1873) From the 16th century to the 19th century, enslaved Africans were shipped by European slave traders to British colonies in the Caribbean and British North America, as well as French, Dutch, Danish, Spanish, and Portuguese colonies. New World slavery was originally focused on the extraction of gold and other precious raw materials. Africans were then later set to work on the vast cotton, tobacco and sugar plantations in the Americas for the economic benefit of these colonial powers and their plantocracy.Black Britons find their African roots BBC Online.

Four former slaves - three children and an adult man, all with books in their hands; the image is entitled "Learning is Wealth" By 1863 in Louisiana, ninety-five schools for freedmen, serving 9,500 students, were active in areas controlled by the Union Army. Funding was needed to continue to run the schools. The National Freedman's Association, the American Missionary Association, and Union officers launched a publicity campaign to raise money by selling carte de visite (CDV) photographs of eight former slaves, five children and three adults. The former slaves were accompanied on a tour of Philadelphia and New York by Colonel George H. Hanks.

'Carte de visite' of Giampietro Campana Giampietro Campana (1808 – 10 October 1880), created marchese di Cavelli (1849), was an Italian art collector who assembled one of the nineteenth century's greatest collection of Greek and Roman sculpture and antiquities. The part of his collection of Hellenistic and Roman gold jewellery conserved in the Musée du Louvre warranted an exhibition devoted to it in 2005-06. He was an early collector of early Italian paintings, the so-called "primitives" of the fourteenth and fifteenth centuries, which were overlooked by his contemporaries. And like many collectors of his generation, he coveted Italian maiolica of the 15th and 16th centuries.

Seraphine (1838) was followed by Blasedow und seine Söhne, a satire on the educational theories of the time. Between 1850 and 1852 appeared Die Ritter vom Geiste, which may be regarded as the starting point for the modern German social novel. Der Zauberer von Rom is a powerful study of Roman Catholic life in southern Germany. About 1860: “Carte de visite” of Gutzkow, No. "1170" probably made by an anonymous copyist After the success of Die Ritter vom Geiste, Gutzkow founded a journal on the model of Dickens' Household Words, entitled Unterhaltungen am häuslichen Herd, which first appeared in 1852 and continued till 1862.

Disruption Assembly of 1843 by Hill & Adamson. Carte de visite showing Guthrie in the early 1870s. memorial to Dr Thomas Guthrie in St Giles Cathedral, Edinburgh The statue of Thomas Guthrie on Princes Street, Edinburgh George Harvey's Dr. Guthrie preaching in the Glen Very Rev Thomas Guthrie FRSE DD (12 July 1803 – 24 February 1873) was a Scottish divine and philanthropist, born at Brechin in Angus (at that time also called Forfarshire). He was one of the most popular preachers of his day in Scotland, and was associated with many forms of philanthropy—especially temperance and Ragged Schools, of which he was a founder.

Carte de visite of Hoffmann, card no. "1324" by an unidentified photographer with crown over the letter "P", about 1860 August Henrich Hoffmann by Carl Georg Christian Schumacher (1819) Hoffmann was born in Fallersleben in Lower Saxony, then in the duchy of Brunswick-Lüneburg. The son of a merchant and mayor of his native city, he was educated at the classical schools of Helmstedt and Braunschweig, and afterwards at the universities of Göttingen and Bonn. His original intention was to study theology, but he soon devoted himself entirely to literature. In 1823 he was appointed custodian of the university library at Breslau, a post which he held till 1838.

Thomas Henry Huxley, c. 1885, from a carte de visite Method and results, 1893 Huxley's interest in education went still further than school and university classrooms; he made a great effort to reach interested adults of all kinds: after all, he himself was largely self- educated. There were his lecture courses for working men, many of which were published afterwards, and there was the use he made of journalism, partly to earn money but mostly to reach out to the literate public. For most of his adult life he wrote for periodicals—the Westminster Review, the Saturday Review, the Reader, the Pall Mall Gazette, Macmillan's Magazine, the Contemporary Review.

May Fortescue in an 1886 Carte de visite May Fortescue (9 February 1859 – 2 September 1950) was an actress, singer and actor-manager of the Victorian era and a protégée of playwright W. S. Gilbert. She was a member of the D'Oyly Carte Opera Company from 1881 to 1883, when she left the company following her engagement to a nobleman, young Arthur William Cairns, Lord Garmoyle (later the 2nd Earl Cairns). Cairns soon broke off the engagement under pressure from his friends, and Fortescue returned to the stage in leading roles. With the £10,000 that she received in her breach of promise lawsuit, Fortescue started her own touring theatre company, often performing the plays of W. S. Gilbert.

This leads Juliet Wilson-Bareau to conclude that Monsieur de Lange's carte de visite dates to the same yearAd. Anjoux photo studio, 270, rue Saint-Honoré. Note in Juliet Wilson-Bareau: Manet and Spain, page 487.. It is therefore plausible to conclude the Manet and Lange families were then directly related. Art historians have also compared Little Lange and its themes to Manet's Child with a Sword (1860-61) and The Old Musician (1862) Manuela B. Mena Marqués: Manet en el Prado, page 435Juliet Wilson-Bareau: Manet and Spain, page 215.. More evidence on the Lange family is to be found in letters between the Danish art collector Vilhelm Hansen and Manet's friend and biographer Théodore Duret.

When larger guns were needed to bombard Veracruz, Navy volunteers landed large guns and manned them in the successful bombardment and capture of the city. This successful landing and capture of Veracruz opened the way for the capture of Mexico City and the end of the war. The U.S. Navy established itself as a player in United States foreign policy through the actions of Commodore Matthew Perry in Japan, which resulted in the Convention of Kanagawa in 1854. A carte de visite of a U.S. Navy lieutenant during the Civil War Naval power played a significant role during the American Civil War, in which the Union had a distinct advantage over the Confederacy on the seas.

After the campaign, Johnston served as a nurse in a hospital in Baltimore and was transferred to Company H, 20th Regiment of Veteran Reserve Corps, where he played in the regimental brass band as Drum Major. His carte de visite photograph must have been taken at this time as his cap insignia is from this unit. Johnston re-enlisted, on the same day as his father, at Brandy Station, Va., on February 15, 1864. After some confusion as to which unit he'd reenlisted in (He'd intended to return to the 3rd Vermont, yet he was still on the rolls of the 20th VRC) he was mustered out of service on December 30, 1865.

Johnson made his London stage début at a Savage Club performance at the Lyceum Theatre as Cassim Baba in The Forty Thieves. He then joined the company at Astley's Amphitheatre, appearing in plays and farces until early 1860. From 1860 to late 1862 Johnson was in Edinburgh where he played low comedy roles and Scottish characters, and from April to December 1862 he was actor-manager of the new Theatre Royal at St Helens. During 1863 he appeared at the St James's Theatre in The Carte de Visite and played Spilliken in H.J. Byron's Goldenhair the Good and Leontes in William Brough's burlesque Perdita, the title role being played by Marie Wilton.

In 1850, he developed and introduced the albumen paper printing technique, which became the staple process of the soon to be popular carte de visite type of photo prints.Louis-desire Blanquart-evrard (1802-1872) Artwork Images, Exhibitions, Reviews In September 1851 in Lille, France, with Hippolyte Fockedey, he started the Imprimerie Photographique de Lille, which was the first large scale printing company to employ a large number of employees. Blanquart-Évrard introduced to public the work of many pioneering European photographers, such as Édouard Loydreau (1820-1905), Charles Marville (1813-1879), Ernest Benecke (1817-1894), Thomas Sutton (1819-1875), and Maxime Du Camp (1822-1894). In the 1850s he became known for publishing John Stewart's views of the Pyrenees and Auguste Saltzmann's views of Jerusalem.

World War I soldiers Although photographic film was available, it is probable that Fred C. Palmer used large−format glass negatives and that the postcards and portraits were direct prints from these, because of their fine detail. From 1892 to 1903 he was working for the family firm, William Eastman Palmer & Sons, at Bloom House, Leicester Road, New Barnet. From 1903 to 1922 he was working as a photographer and picture-frame maker in Herne Bay, at 21 High Street from 1903 to 1905 (where Kent Kebab is, as of 2011), and at Telford Villa, 6 Tower Parade from 1907 to 1922. and Information from trade directories; confirmed by photographic historian Ron Cosens at Carte de Visite, and notes held by The Swindon Collection.

During the 1880s, Schleier's studio sold numerous cabinet cards, a type of photograph that had largely replaced the carte de visite as the most popular form of portraiture. Prominent individuals for whom Schleier created cabinet cards included President James Garfield, and Lakota chiefs Crow Dog, Spotted Tail and Red Cloud."James A. Garfield (1831-1881), Head and Shoulders Portrait Surrounded by Black Drape, Tennessee State Library and Archives Photograph and Image database. Accessed: 21 February 2014."Studio Portrait of Sioux Indian Chiefs Red Cloud (1822-1909) and Spotted Tail (1823-1881), and C.P. Jordan, Tennessee State Library and Archives Photograph and Image database. Accessed: 21 February 2014. He photographed the upper Caney Fork Valley in 1883,McMinnville Southern Standard, 24 November 1883, p. 8.

She was most renowned, however, for her "sand jig," a straight jig performed as a series of shuffles and slides on a sand-strewn stage to music in schottische tempo.Douglas Gilbert, American Vaudeville: Its Life and Times (New York: Whittlesy House, 1940), p. 52. O'Neil's dance costume, as seen in the carte de visite photo above, was virtually identical to that of her male contemporaries. As dance historian April F. Masten noted: “…rather than donning the flesh-colored tights of female chorus dancers, which suggested nudity, she sports the white stockings, black pumps, and long-sleeved blouse of her male cohort, which signified skill.”April F. Masten, “Challenge Dancing in Antebellum America: Sporting Men, Vulgar Women and Blacked-Up Boys,” Journal of Social History, Vol.

Darwin's visage, particularly his iconic beard, continues to be culturally significant and widely recognisable into the 21st century. According to historian Janet Browne, Darwin's capacity to commission photographs of himself—and their widespread reproduction as carte de visite and cabinet card photographs—helped to cement the lasting connection between Darwin and the theory of evolution in popular thought (largely to the exclusion of the many others who also contributed to the development of evolutionary theory), especially as these portraits were reinterpreted in caricature.Janet Browne,'Looking at Darwin: Portraits and the Making of an Icon’ Isis 100 (2009): 542–570 At that time few could afford to commission portrait photographs, and this gave Darwin an advantage in gaining public recognition. Especially in his last decades as his illness progressed, Darwin expressed frustration about sitting for photographs.

27, 117, 241 Brady's early images were daguerreotypes, and he won many awards for his work; in the 1850s ambrotype photography became popular, which gave way to the albumen print, a paper photograph produced from large glass negatives most commonly used in the American Civil War photography. In 1850, Brady produced The Gallery of Illustrious Americans, a portrait collection of prominent contemporary figures. The album, which featured noteworthy images including the elderly Andrew Jackson at the Hermitage, was not financially rewarding but invited increased attention to Brady's work and artistry. In 1854, Parisian photographer André-Adolphe-Eugène Disdéri popularized the carte de visite and these small pictures (the size of a visiting card) rapidly became a popular novelty; thousands were created and sold in the United States and Europe.

His first studio in Luxembourg was at 1, rue du Génie (now avenue Monterey) but by 1900 he was in a position to construct impressive new three-storey premises for what he called Atelier Bernhoeft at the corner of rue de l'Arsenal (Grand-Rue) and boulevard Royal. For his portraits, he used the widely available carte de visite and cabinet card formats. Albums such as Cöln und der Rhein (1895–1896), Bilder aus der Pfalz (1895), Nederland in Beeld (1896) and Eifel- Album (1896) show that he did not travel far outside the borders of Luxembourg, although he did reproduce exotic pictures from exhibitions such as the Antwerp International Exposition in 1894. Bernhoeft's work did much to encourage tourism, which was just beginning to develop at the time.

Gardner's business acumen and expertise at wet-plate collodion photography and particularly the "Imperial Print", a 17 by 21 inch enlargement, brought Brady enormous success. The developed plates, which had typically been used as positives to create individual portraits called ambrotypes, were now being widely used as negatives, which employed the use of sensitized papers, making possible the production of unlimited copies of stereocards, album cards, and the increasingly popular "carte-de-visite", or visiting card. In November 1861 Gardner was appointed to the staff of General George McClellan, the commander of the Army of the Potomac, and was given the honorary rank of captain. In 1862, Gardner and/or his operators photographed the 1st Bull Run battlefield, McClellan's Peninsula Campaign, and the battlefields of Cedar Mountain and Antietam.

Pit-brow women working outside in the cold and dirt developed a distinctive "uniform", they wore clogs, trousers covered with a skirt and apron, old flannel jackets or shawls and headscarfs to protect their hair from coal dust. The women's unconventional but practical dress drew them to the attention of the public and carte de visite and cabinet card portraits and later postcards of them in working clothes were produced commercially and sold to visitors as noveties. Photographic studios in Wigan which produced such work were Louisa Millard (in the late-1860s), Cooper (between 1853 and 1892) and Wragg (which produced a series of at least 18 studio images). Arthur Munby, a Cambridge University academic with an interest in women who worked in dirty and unusual conditions, commissioned many photographs.

On the other hand, the surname Lange is also handwritten in a Manet family photograph album under a carte de visite of a seated man - it was taken in the Dagron studio at 66 rue Neuve des Petits-ChampsJuliet Wilson-Bareau: Manet and Spain, page 487.. Manet's biographer Adolphe Tabarant questioned Léon Leenhoff about the artist's personal environment - Leenhoff was an illegitimate son of Manet, though the painter did not know his paternity. According to Leenhoff, Madame Lange was one of those who attended the weekly Tuesday literary salon held by Manet's wife and motherTabarant papers, Pierpont Morgan Library, New York, page 5. Note in Juliet Wilson-Bareau: Manet and Spain, page 487.. This photograph album may also offer evidence on the work's precise date, which is unknown. Next to it is a photograph of an unknown girl, on whose back is inscribed the year 1861.

He succeeded to the business of Samuel Bennett in 1836, printer and publisher, based on Long Row in Nottingham and until 1847 issued the Nottingham and Newark Mercury, later shortened to the Nottingham Mercury, which was the organ of the Whig party in Nottingham. He was based at Caxton House Photographic Studio, 34 Long Row, Nottingham and produced many Carte de visite for local people. In June 1860 he installed a steam engine and Cameron’s patent boiler to power the printing presses and insured it with the Steam Boiler Assurance Company of Manchester On 10 December, the insurance company sent its inspector who discovered considerable leakage and corrosion but deemed the boiler safe to continue to use until Christmas when repairs could be made. On 14 December the boiler exploded but the insurance company refused to pay out which led to a Nisi prius court case in 1864 from which Richard Allen was awarded £58 () in damages.

90; Crown Publishers; ASIN: B0006BW9JI Very few of these entertainers made the five- to six-month trip by wagon on the California Trail or chose the five- to seven-month all sea journey around Cape Horn. Carte de Visite photograph of a Chinese woman, California As the gold mining and associated businesses prospered, many men decided to make California their new home and many husbands or potential husbands sent money back to their original homes for their women and families to join them. Others went back east to wind up their business there and escort their women and families to California. Many single men started communicating with female acquaintances they knew and many proposals were accepted with this long-distance dating. In some cases, it would take 60 days for a letter to go from California via Panama to a city in the east and another 40–60 days for a reply, so this was ’slow’ courting.

His collection of views included photographs of masterpieces of Chinese architecture such as sites within the Summer Palace and the Fragrant Hills Pagoda in Beijing, the Temple of the Six Banyan Trees in Guangzhou, and numerous others, as well as magnificent panoramas of such locations as Victoria harbor and Gulangyu island. As Lai Afong’s reputation quickly grew, both Chinese and foreign clientele flocked to his studio for portrait sessions, including some of China’s most important people such as Qing dynasty official Li Hongzhang. According to the verso of many of his Carte de visite works, he was photographer to Governor of Hong Kong Sir Arthur Kennedy KCB and Grand Duke Alexei Alexandrovich of Russia. Picture wall in Afong Studio Lai Afong was the most successful of his generation of Chinese photographers in appealing to both a Chinese and foreign cosmopolitan clientele. Lai Afong advertised in English-language newspapers – offering a “Larger, and more complete collection of Views than any other Establishment in the Empire of China” – and the artist captioned much of his work in both Chinese and English.

His studio, where the Hotel Palcát now stands, became very popular. Most of his work was making portraits, mostly in Carte de visite format. He also experimented with outdoor photography – at that time, an immensely difficult task. In 1860, he sold to the City of Tábor, a photograph of the town, for 26 gold pieces, which was equivalent to a typical month’s salary for a teacher. Customers flocked to Seik’s studio in Tábor from surrounding towns, even those that had their own photographic studios. The oldest known preserved photographs are hand-colored salt paper prints, now stored in the Práchenské muzeum in Písek, of the parents of August Sedláček, dated to 1858. In 1865, Seik opened a new photographic salon, with more modern equipment, in Mr Mrazík’s house (today, opposite the theatre). After two months, however, he found that the studio lacked adequate light, and he decided to totally renovate, and re-open, his original studio. Seik’s studio achieved international recognition during the Prussian invasion of Bohemia, in 1866. Many Prussian soldiers chose to be photographed, and then sent the portraits home, as Seik’s photographs were said to be superior to those available in Berlin.

Joseph Cundall, albumen carte-de-visite, 1860s Joseph Cundall (22 September 1818 Norwich – 10 January 1895 Wallington, London), was a Victorian English writer under the pseudonym of "Stephen Percy", a pioneer photographer and London publisher of children's books. He provided employment for many of the best artists of the day by using them as illustrators. Joseph was the son of Eliza and Benjamin Cundall, a draper. He trained as a printer in Ipswich, and aged 16 found work in London with Charles Tilt, a bookseller and publisher. He wrote two books for Tilt and succeeded N Hailes in 1841 at the Juvenile Library, 12 Old Bond Street. In 1848 he started a lending library for children called St. George's Reading Library. In 1843 Cundall became publisher of the Home Treasury children's books, a series conceived and edited by Henry Cole under the pseudonym Felix Summerly. Cole, who was later knighted, became the first director of South Kensington Museum which later changed its name to the Victoria and Albert Museum. Because of his association with Henry Cole, his early business ventures were successful, but by 1849 he had gone bankrupt. During the same year he started a partnership with H M Addey and moved his business premises to 21 Old Bond Street.