57 Sentences With "cartes de visite" | Random Sentence Generator

Digitized now are cartes de visite, stereoviews, hand-painted tintypes, cyanotypes, and daguerreotypes.

Cartes de visite are baseball card–sized portraits that people shared and collated in albums.

Most of these were printed as cartes de visite and sold to support her abolitionist work.

We saw the proliferation of the cartes-de-visite, studio portraits—[photography's] utilization to establish the idea of the nation and its individuals.

This was the experience of those who bought the small, inexpensive cardboard-mounted photographs known as cartes de visite in the 19th century.

I have not been able to track down the original drawings, but they survive through cartes de visite taken by San Francisco photographer William Shew.

Other cartes-de-visite from the album portray individuals from antislavery lawyer Charles Sumner and British novelist Charles Dickens to entertainers Commodore Nutt and his wife.

Museum experts will also study the other cartes-de-visite in the album, which includes portraits of many people from Auburn, where the heroic abolitionist had lived for over 50 years.

A practicing photographer, he sometimes used his own images but very often worked from existing cartes de visite or glass plates by photographers such as the Foy Brothers and Elizabeth Pulman.

The rare picture, preserved in an album of 44 cartes-de-visite, was taken by an unknown, local photographer in Auburn, where she moved to care for her family after the war.

The diversity of portraits can be seen in materials — there are daguerreotypes; tintypes; cartes de visite, or small prints mounted on cards that could be mailed; lithographs; even F.B.I. wanted posters — and in content.

Advertise on Hyperallergic with Nectar Ads Viewpoints, an exhibition at the New York Public Library on photography in Latin America, begins with an enigmatic set of four sepia cartes de visite from 1863, all depicting women.

The studio — which, starting in the 1860s, produced cabinet cards and cartes de visite that propelled it to prominence — has since 53 occupied an old, four-story structure owned by Life Insurance Corporation of India (LIC).

Advertise on Hyperallergic with Nectar Ads A previously unrecorded photograph of Harriet Tubman has resurfaced from an album of cartes-de-visite, showing a considerably younger image of the abolitionist than those captured in other known portraits.

In highlighting a centuries-old Peruvian custom believed to have derived from Moorish influence in Spain centuries earlier, these somewhat mysterious cartes de visite illustrate one among many instances of complex colonial and cross-cultural exchange in the exhibition.

Digging into history and offering a glimpse of a future narrative, the show features some 100 archival, vintage and contemporary photographs from the Catherine E. McKinley collection, a trove of photographic prints, cartes de visite and postcards spanning the African continent.

The names on those cartes de visite to St. Elizabeths constitute a roll call of major American poets: John Berryman, Elizabeth Bishop, T. S. Eliot, Randall Jarrell, Robert Lowell, W. S. Merwin, Charles Olson, Marianne Moore, William Carlos Williams, Louis Zukofsky and others.

As Levine's selection of cartes de visite, personal snapshots, commercial imagery, and more shows, knitting has served in the past to indicate that a woman is a skilled housewife or good mother — but it's also a popular hobby or means to relax, enjoyed by men as much as women.

At first, that might be thought of a sheet of uncut cartes de visite that recorded the execution of Emperor Maximilian I. It was designed to be divided up, and those passport-size photographs were then bought by Mexicans celebrating after the downfall of the French-imposed ruler in 1867.

According to Bill Jay, Blanchard "took stereoscopic pictures, cartes-de-visite, 'quality' portraits, instantaneous views, and art studies in platinum". He died in Meadow Lea, Herne Common, near Canterbury.

The painting was widely spread by copies on engraved copies on cartes de visite, in which the details are clearer than the known painted version held by the White House.

Gems of British Columbia. 1883 Maynard's portrait work encompassed several different formats following the fashions of the day, cartes-de-visite in the 1860s, cabinet cards in the following decade, as well as larger-sized prints. The Maynard studio is known to have produced forty- three cartes-de-visite of native people, often Victoria street vendors. Maynard was a master of lighting technique, and she was one of the early adopters of line-lit photography to highlight facial features.

At various times during his career, Schleier specialized in ambrotypes, cartes de visite, and cabinet cards. By 1863, he was using a "multiplying camera" designed by Simon Wing that utilized movable lenses to produce a popular type of photograph known as a "gem." His branch studio in Knoxville, which opened in 1864, offered "photographs, cartes de visite and stereotypes." His main Knoxville studio, which opened in 1867, specialized in ambrotypes, pearl miniatures, and photographs.Knoxville Whig, 19 June 1867, p. 2.

After his return to New Ulm, Gag earned most of his income through his photography studio, especially portraits and the popular cartes-de-visite. He pursued working as an artist, although it did not earn him much money. In 1886, Gag married Ida Berndt. She died the next year of complications from child birth.

LPC initially issued its photographs as 10×8" and 8½×6½" prints or as 'cartes de visite'. Postcards were increasingly popular around this period, with the increase in mass holidays and excursions, themselves reliant on the expanding railway traffic. The company also began to sell photographs as postcards, particularly as themed sets. Some works, particularly for the more populist photographs were coloured.

Portrait photography was Buehman's primary source of income. Cartes de visite were popular and his clientele would return to his studio for updated portraits as styles changed to prefer things such as full length or three-quarters poses or cabinet cards instead of smaller hand-held images. When stereographic cards became popular in the American West, Buehman was among the first photographers to produce them.

Gernsheim p. 55 This made the format an overnight success. The new invention was so popular that its usage became known as "cardomania"Newhall and spread quickly throughout Europe and then to America and the rest of the world. By the early 1870s, cartes de visite were supplanted by "cabinet cards", which were also usually albumen prints, but larger, mounted on cardboard backs measuring by .

The earliest references to Walton Adams's involvement in photography show him to be working in the Southampton studio of Samuel J. Wiseman (1825-1872) as an apprentice in 1861. There he met William Stilliard. In 1869 Adams and Stilliard were in partnership at 9 Bernard Street, Southampton. 'Cartes de Visite' described their business variously as the 'South of England Photographic Institution', 'Artists and Photographers' and 'Artists in Photography'.

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.

Catharine died on 4 April 1867. Rossier maintained a photographic studio in Fribourg until at least 1876 and he also had a studio in Einsiedeln. During the 1860s and 1870s, he produced a number of stereographs and cartes-de-visite comprising portraits and views of Fribourg, Einsiedeln and other places in Switzerland. An 1871 advertisement in the French-language Fribourg newspaper offered photographs by Rossier of religious paintings by the artist Melchior Paul von Deschwanden.

A number of Woodburytype images were also printed for sale as individual images or as cartes-de-visite (CDV) or cabinet cards (CC). Woodbury himself and a number of other researchers continued to improve various practical aspects of the Woodburytype process. Several important variants of the Woodburytype process were also developed and used on a very limited scale. The Woodburytype process was a unique photomechanical process as it was the only practical fully continuous-tone photomechanical process ever invented.

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.

Eisenmann also supplied Duke Tobacco Company with cheesecake photography to stuff in their tobacco cans. The book Victorian Cartes-de-Visite credits Eisenmann with being the most prolific and well known photographer when it comes to Cabinet cards. His work was the subject of a 1979 monograph, Monsters of the Gilded Age, focusing on his work on human oddities from the Barnum and Bailey circus, with a notable widely circulated picture of Jojo the Dog-faced Boy.Artnet, "JOJO: The Russian Dog Face Boy by Charles Eisenmann".

Winifred, Ridley's daughter, then 21, is also mentioned and has "Photo Printing & Colorist" as her occupation. Harry Miell and Martin Ridley formed Miell & Ridley, Bournemouth & Bristol with premises firstly at the Ridley home and then at 90 Old Christchurch Road, Bournemouth. It seems that Miell did mostly portraiture in the studio while Ridley concentrated on landscapes, townscapes and seaside shots – often for the purpose of producing Cartes de Visite. Picture postcards made from Ridley's photographs are still highly collectible items and are frequently found on eBay and at postcard fairs.

Ignác Šechtl was born in Prague, on 26 May 1840, into the family of a miller. His father intended him to become a trader, and his first job was administrator for the business of Alexander Klier, in Prague. In 1863 he moved to Kladno, to learn the art of photography, and in 1865 he was granted tradesman’s rights. Only a few of his cartes de visite remain from that time, and these are now stored in the family archive. In 1864, he moved to Plzeň, and opened his studio, the fourth in the town.

Her major works include Aviary (2013), an exhibition of avian-morphed, faux-Victorian portrait photography, video and audio in the collection of Art Gallery of York University. The photographs in Aviary embody many themes of the nineteenth century. Born of the domestic realm, they express a conflation of interests where the family photo album, with its role of commemoration, is brought together with natural science and spiritual emanations. Made by combining photographs of endangered or extinct North American birds with anonymous nineteenth century cartes-de- visite portraits—they portray creatures about to become ghosts.

He also had a jewellery business on the same premises. His brother Alfred William Buchanan Dufty who was 16 at the time, arrived to join him from Sydney on 29 December 1871. Alfred was out of Fiji in Australia and New Caledonia for extended periods of time, that most of the photographs of Fiji are attributed to Francis Dufty. The Dufty studio produced studio portraits, street scenes landscape photographs and a large body of "cartes de visite", which had been popularised in Europe in the mid-19th Century.

Abraham Lincoln. Salt Print Photograph Inscribed and Signed by Lincoln to Fanny Speed, wife of his closest friend, Joshua Speed, 1861. From the Stephan Loewentheil Photography Collection,19th Century Shop Loewentheil's photography collection is rooted in early photographic methods of the 19th century – daguerreotypes, cartes de visite, albumen prints, tintypes, and cyanotypes. Much like his rare book collection, Loewentheil's photography collection has a historical theme, featuring rare portraits of some of the most notable Americans of the 19th century - John D. Rockefeller, Abraham Lincoln, Clara Barton, and John C. Calhoun, among many others.

Interested in the theatre, in 1854 Carjat published a series of lithographic caricatures of Parisian actors, each being accompanied by a comic verse. These proved popular and Carjat later used reproductions to make cartes de visite, and the photographer Pierre Petit produced enlarged versions. In 1858, Carjat learned the profession of photography from Pierre Petit, and in 1861, he moved into his own workshop at number 56 Rue Laffitte in Paris. This was the same location as the offices of the newspaper Le Boulevard, which he founded, and which was run by his friend Alphonse de Launay.

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.

One or more hardy, lightweight, thin tintypes could be carried conveniently in a jacket pocket. They became very popular in the United States during the American Civil War. Although prints on paper (see cartes de visite and cabinet cards) soon displaced them as the most common type of photograph, the tintype process continued to enjoy considerable use throughout the 19th century and beyond, especially for casual portraiture by novelty and street photographers. Edward M. Estabrooke's book The Ferrotype and How to Make It (1872), and the introduction of low cost variants known as "Gem ferrotypes" helped to sustain the tintype's longevity.

Picture of alleged "Confederate dead on Matthews Hill, Bull Run" Brady Handy Collection Pickets cooking their rations. Reserve picket fort near Fredericksburg, December 9, 1862 At first, the effect of the Civil War on Brady's business was a brisk increase in sales of cartes de visite to departing soldiers. Brady readily marketed to parents the idea of capturing their young soldiers' images before they might be lost to war by running an ad in The New York Daily Tribune that warned, "You cannot tell how soon it may be too late." However, he was soon taken with the idea of documenting the war itself.

A nearly complete series of these, mounted in an album bound by Lucas himself, and including a frontispiece portrait of the artist, was held the British Museum. These albumen "cartes de visite" (now in the National Portrait Gallery) show Lucas in a variety of theatrical and expressive poses that further reveal his eccentricity. Towards the end of his life, Lucas's conversational prowess ensured that he was a frequent guest at Broadlands, the seat of Lord Palmerston, who obtained for him a civil-list pension in June 1865. Lucas made three wax portraits of Palmerston, and a statuette which formed his last exhibit at the Royal Academy in 1859.

Something not generally known by the public is the fact that roughly 70% of the war's documentary photography was captured by the twin lenses of a stereo camera."Blue & Gray in Black & White", Zeller, Bob, 2005 Introduction xvi The American Civil War was the first war in history whose intimate reality would be brought home to the public, not only in newspaper depictions, album cards and cartes-de-visite, but in a popular new 3D format called a "stereograph," "stereocard" or "stereoview." Millions of these cards were produced and purchased by a public eager to experience the nature of warfare in a whole new way.

In December of that year, Buntline also wrote a Buffalo Bill play, Scouts of the Prairie, which was performed by Cody himself, Texas Jack Omohundro, the Italian ballerina Giuseppina Morlacchi, and Buntline. For some time, 6-year-old Carlos Montezuma also was featured in the show as "Atzeka, the Apache-child of Cochise", being the only genuine American Indian on stage, while his adoptive father, the Italian photographer Carlo Gentile, was hired to produce and sell promotional cartes de visite of the cast members. Cody at first was a reluctant actor, but came to enjoy the spotlight. Scouts of the Prairie opened in Chicago in December 1872 and starred Cody.

Other cameras were fitted with multiple lenses for photographing several small portraits on a single larger plate, useful when making cartes de visite. It was during the wet plate era that the use of bellows for focusing became widespread, making the bulkier and less easily adjusted nested box design obsolete. For many years, exposure times were long enough that the photographer simply removed the lens cap, counted off the number of seconds (or minutes) estimated to be required by the lighting conditions, then replaced the cap. As more sensitive photographic materials became available, cameras began to incorporate mechanical shutter mechanisms that allowed very short and accurately timed exposures to be made.

Local photographers, notably including C.N. Christensen of Cass Lake, used him as a model for numerous stylized images of Ojibwe life, which were widely distributed as cabinet photos and postcards. Smith would carry cartes de visite of himself, selling them to visitors. He was known to travel for free on the trains running through the Reservation, selling his photo to passengers, and becoming something of an attraction in and of himself.Cited in Tim Roufs, When Everybody Called Me Gah-bay-bi-nayss: "Forever-Flying-Bird", footnote 34 Smith converted to Catholicism in about 1914, and is buried in the Catholic section of Pine Grove Cemetery in Cass Lake.

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.

In the following years, Wassaja/Carlos accompanied his adoptive father in his pioneering photographic and ethnographic expeditions in Arizona, New Mexico and Colorado. For a few months in 1872–73 they even joined the theatrical troupe of Ned Buntline and Buffalo Bill, where the boy Wassaja was featured as Azteka, the Apache-child of Cochise in the Wild West melodrama The Scouts of the Prairie in cities such as Chicago, St. Louis, Cincinnati, Louisville, Cleveland and Pittsburgh, while Gentile produced and sold promotional cartes de visite of the cast members.Palmquist, Peter E.; Kailbourn, Thomas R. (2000) Pioneer Photographers of the Far West: A Biographical Dictionary 1840-1865. Stanford, California: Stanford University Press.

Israël David Kiek was an early portrait photographer who gave rise to the Dutch expression , meaning snapshot."Israël David Kiek", Joods Historisch Museum (Dutch, archived) Kiek, who lived and worked in the Netherlands in the 19th century, produced cartes de visite,"Israël David Kiek", RKD - Netherlands Institute for Art History but was best known as a photographer of students at the University of Leiden. It was common practice among Leiden's students to have a group portrait taken by Kiek at his workshop on the Rijnsburgersingel. Groups of students would regularly appear on his doorstep in the early morning, after a long night of drinking, banging on the door to wake him and get their picture taken.

A. & G. Taylor was a British photographic business, and manufacturer of cabinet cards and cartes de visite, and later picture postcards. In 1866, the photographers Andrew Taylor (1832–1909) and George Taylor opened their first studio in London's Cannon Street. They expanded to have 30 outlets in major British cities and some in the US. In 1886, they received a Royal Warrant, and became self-proclaimed "Photographers to the Queen". By 1901, they were producing picture postcards, using four different series, the Reality Series of greetings, children, actresses, and military themes, as real photo postcards, the Carbontone Series of black and white printed views and greetings, the Orthochrome Series of views and greetings, printed in tinted halftone, and a Comic Series.

The collection – which focuses on images of everyday African-American life and includes cartes de visite, stereoviews, hand-painted tintypes, cyanotypes, and daguerreotypes – was fully digitized in February 2017 and is available to view in its entirety on the library's website. Loewentheil is a member of the Board of Trustees for his undergraduate alma mater, Washington & Jefferson College. Loewentheil has been a supporter of the New York Public Library, and of the Library's annual Young Lions Fiction Award for over a decade. Since its inception in 2001, the award, given each spring to an author under the age of 35 of a novel or collection of short stories, has honored such luminary young writers as Molly Antopol, Karen Russell, Jonathan Safran Foer, and Uzodinma Iweala.

Royal Collection This was the first time a woman had photographed the Queen.Jonathan Marsden, of the Queen's Gallery, London, Victoria & Albert: art & love, Royal Collection 2010 p410Anne M. Lyden, A Royal Passion: Queen Victoria and Photography, Getty 2014 p122 Some of Day's photographs were sent to royal relatives abroad, probably in the form of cartes de visite, while ten went into a royal photograph album.Margaret Homans, Royal Representations: Queen Victoria and British Culture, 1837-1876, University of Chicago 1999 Some were copied and turned into etchings. Margaret Homans suggests that some of Day's photographs of Victoria and Albert together show them with quite a casual "democratic" look and yet the image chosen for public circulationImage here suggests more of a "worshipful wife" role for the Queen where "she gazes up at him [Albert] intensely".

George Cook, half stereo of Federal ironclads firing on Fort Moultrie, Sept 8, 1863 (click to enlarge) – The Valentine, Richmond, Va. Lt. John R. Key's (CSA) "exploding shell" painting, of the interior of Fort Sumter – The Valentine, Richmond, Va. The most renowned Southern photographer was George Smith Cook (1819–1902). The native of Stamford, Connecticut was not successful in the mercantile business, so he moved to New Orleans and became a portrait painter. This proved unprofitable and in 1842 Cook began working with the "new art" of the daguerreotype, settling in Charleston, South Carolina, where he raised a family. Cook's status as one of the South's most famous photographers was due in part to his visit to Fort Sumter on Feb. 8, 1861, which resulted in the first mass marketing of cartes-de-visite, a photograph of the fort's commander, Maj.

The mark of Pierre Rossier's photographic studio in Fribourg Pierre Joseph Rossier (16 July 1829 – 22 October 1886) was a pioneering Swiss photographer whose albumen photographs, which include stereographs and cartes-de-visite, comprise portraits, cityscapes, and landscapes. He was commissioned by the London firm of Negretti and Zambra to travel to Asia and document the progress of the Anglo-French troops in the Second Opium War and, although he failed to join that military expedition, he remained in Asia for several years, producing the first commercial photographs of China, the Philippines, Japan and Siam (now Thailand). He was the first professional photographer in Japan, where he trained Ueno Hikoma, Maeda Genzō, Horie Kuwajirō, as well as lesser known members of the first generation of Japanese photographers. In Switzerland he established photographic studios in Fribourg and Einsiedeln, and he also produced images elsewhere in the country.

The modern and contemporary African works featured in the collection now range from the 1950s to the present day, cutting across colonial and post-colonial histories while investigating the multivalent facets of social identity, questioning notions of belonging, and examining socio-political concerns of migration, lineage, and the legacies of colonialism. The Walther Collection also significant holdings of late nineteenth and early twentieth-century cartes de visite, postcards, albums, vintage portraits and books from Southern and Eastern Africa. Walther was inspired by Santu Mofokeng’s The Black Photo Album and the way in which it created a ‘counter-archive’ of historical South African studio portraiture to expand his collection to include historical photography. The holdings of historical African photography are part of The Walther Collection's ongoing process of revising conceptions of photographic history according to Hal Foster's idea of the “archival impulse,” whereby confronting the archive, new systems of knowledge can be created.

Civil War photographic album of Louis Philippe d'Orleans Comte de Paris. ca. 1862 – The Beth and Stephan Loewentheil Family Photography Collection, Cornell University Loewentheil has maintained a close relationship with his alma mater, Cornell University, and, through multiple donations, has established the Beth and Stephan Loewentheil Family Photography Collection, the centerpiece of the Cornell Library's collection of fine-art photography. The Loewentheil Collection, which numbers over 16,000 images, "includes 19th- and 20th-century photographs organized in several major groups: Daguerre ephemera and early photographic processes, African-American collection, Mathew Brady and the Civil War, Lincoln, Native Americans and the West, hand-colored photography, and cartes de visite." In 2014, Loewentheil donated a rare Civil War-era photograph album, containing 265 photographs from noted Civil War photographer Mathew Brady and others, to the Cornell University Library, where it was celebrated as the library's eight millionth volume. Photographs from the Collection have been featured in the Cornell exhibitions Dawn’s Early Light: The First 50 Years of American Photography and The Lincoln Presidency: The Last Full Measure of Devotion.