Photographers: A Sourcebook for Historical Research

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PHOTOGRAPHERS

A Sourcebook For Historical Research

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PHOTOGRAPHERS

A Sourcebook For Historical Research

Featuring Richard Rudisill’s

Directories of Photographers

An Annotated Bibliography

Edited by Peter E. Palmquist

Foreword by Martha A. Sandweiss

Essays by David Haynes • Drew Heath Johnson Steven Joseph • Steve Knoblock Peter E. Palmquist • Linda A. Ries • Jeremy Rowe

Carl Mautz Publishing

N e va d a C i t y

2000

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Revised Second Edition Copyright 2000 Carl Mautz Publishing All rights reserved in all countries. Edited by Rosemarie Mossinger Designed by Richard D. Moore Composed in Palatino, Mrs. Eaves and Franklin types Printed by Thomson Shore, Dexter Michigan, U.S.A.

Library of Congress Catalog Card Number: 99-070538 Cataloging -in-publication data Photographers: a sourcebook for historical research /Richard Rudisill ... [et al.]; edited by Peter E. Palmquist].—Rev. 2nd ed. p. cm. Includes bibliographical references and index.

ISBN: 1-887694-18-X (paper)

ISBN: 1-887694-17-X (cloth)

1. Photography—History—Sources. 2. Photographers—History— Sources. 3. Photography—History—Bibliography. I. Rudisill, Richard. II. Palmquist, Peter E. III. Rudisill, Richard. Directories of photographers. 1991.

TR15.P477 1999

770'.722

QBI99-572

Frontispiece: Self-portrait of G. W. Browning, Chicago, Illinois. Cabinet card with manuscript date, 1879. Collection of Carl Mautz.

Carl Mautz Publishing 228 Commercial Street, No. 522 Nevada City, CA 95959 Telephone 530 478-1610 Fax 530 478-0466 www.nccn.net/~cmautz/

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Contents

F O R E W O R D 1

Martha A. Sandweiss

THE EXPERIENCE OF REGIONAL DIRECTORY RESEARCH

Where Did You Find That One? 5

Sources for Finding Dead Photographers David Haynes Lochman Located 13

Further Adventures in Photographer Research Linda A. Ries The Regional Photography Collection 21 A Case Study at the Oakland Museum of California Drew Heath Johnson Copyrights and Other Rights 25

Jeremy Rowe

Women in Photography International Archive 33

Peter E. Palmquist

City Gallery 37

Research in the Twenty-First Century Steve Knoblock DIRECTORIES OF PHOTOGRAPHERS

41

An Annotated Bibliography Richard Rudisill APPENDICES

Looking For Lochman 142

Researching an Historical Photographer Linda A. Ries Regional Photographic History in Europe 146

A Review of Methodology and Sources Steven Joseph CONTRIBUTORS

150

AUTHOR INDEX

151

REGION INDEX

154

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Carte-de-visite of the studio of Hedger & Noe, formerly Sutterly’s Photographic Gallery, Virginia City, Nevada, c. 1870. Collection of Carl Mautz.

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Foreword Martha A. Sandweiss Anyone who embarks on a serious research project in the field of photographic history quickly finds that the most satisfying and most maddening parts of the search are both occasioned by the same situation—the scarcity of good pri­ mary and secondary sources. The thrill of the chase and the knowledge that one is producing truly original work make photo history among the most exciting of academic pur­ suits. But one often longs to simply reach over to a shelf and pull out a good biographical dictionary that lays out the basic facts and provides a foundation for further research. Our colleagues in the more traditional fields of art history have long had access to comprehensive reference books. Biographical compilations are so central to the field of art history and so often used, they’re known simply by their authors’ names, such as Bénézit (1911), ThiemeBecker (1925), and Groce and Wallace (1957). Since the early twentieth century, comprehensive catalogue raison­ nés that detail the chronology of an artist’s life, identify exhibitions and publication, and date all significant (and insignificant) works have likewise been indispensable tools for scholars of painting, printmaking and sculpture. The field of photographic history, however, has been slow to engender the foundational reference tools needed for seri­ ous scholarship, although it covers a much shorter period of time than the older arts. There are any number of reasons for the paucity of basic reference tools for the photographic historian, some attrib­ utable to the academy, some to popular thinking about photography, and some to the very nature of the photo­ graphic profession. Until quite recently, it has been nearly impossible to focus on the history of photography at the graduate school level. A dearth of trained academics had translated into a scarcity of academically generated schol­ arship and a slim demand for reference books in the field. While the age-old debate about the status of photography as an art seems finally (and thankfully) put to rest, there’s no question that such doubts inhibited serious research earlier in this century. Finally, one can’t get around the fact that photographers are difficult subjects. People who move in and out of the profession, ardent amateurs, short-lived practitioners, workers in allied fields, all appear in the his­ torical record. But how should one track them and docu­ ment their work? And what does one do about the sheer number of images photographers might produce? It is one thing to produce a catalogue raisonné for a printmaker who made 350 etchings, but quite another to systematically document the work of a photographer who produced twenty or thirty thousand negatives. But enough complaining. This book celebrates just how far the field of photographic history has come in the past decade. Richard Rudisill’s annotated bibliography of books with biographical entries for photographers reflects the growth of scholarship in the field, in large measure because

of a burgeoning interest in photography on the part of museums. Such an institutional interest, of course, reflects the increasing public interest in photography, an interest than can only continue to spur the development of the pho­ tographic history field. The impressive scope of the bibliog­ raphy suggests the wealth of information now available to researchers. Finally, we have a body of reference material broad enough in scope and rigorous enough in content to begin supporting truly ambitious scholarly research efforts. But even as it celebrates a renewed museum interest in photographic history, this book also celebrates the work of the many individuals—amateurs (or lovers of their work) in the very best sense of the word—who have done much of the basic object-collecting and fact-gathering work essential to serious research. It seems fitting to present pho­ tography, long ago dubbed the most democratic art, as a field that can be explored by anyone, whether professional or amateur. Although many of the books listed in the Bibliography are written by professional curators and schol­ ars, the efforts of amateur photographic historians have been absolutely essential to the preservation of important collections and to the growth of the field as an academic discipline. Without the efforts of those who salvaged col­ lections for institutions, preserved local history records, ini­ tiated collectors’ groups for the exchange of information, compiled the photographic history of particular regions, and tediously assembled genealogical information, it is dif­ ficult to imagine where the field would be today. Surely the historical record would be much poorer. Nonetheless, it is important to keep in mind that although the basic facts of a photographer’s life are an essential starting point, they should not be the only goal of photohistorical investigations. There are countless other questions to ask. What kind of pictures did the photo­ grapher make and why did he or she make them? How did these pictures find an audience? How did people under­ stand them? What ideas did they convey, and what kind of responses and actions did they inspire? The growing body of biographical data for photographers makes it possible to go on to ask these and other, even broader, conceptual questions about the place of photography in the nineteenth and twentieth century world. Given the centrality of photo­ graphic documentation to virtually every aspect of modern life, there is no end to the questions we might ask of photo­ graphs, nor to the information they might provide about the social, cultural and material world in which we live. With this book as a guide, it is hoped that even more researchers will plunge into the ever-expanding field of photographic history and become ardent collectors, researchers, and writers themselves. Much basic fact-gathering work remains to be done; many hard questions remain to be asked; many useful and thought-provoking books remain to be written. Let the work begin! 1

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The Experience of

Regional Directory Research

3

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Title page from Zell's United States Business Directory for 1876.

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Where Did You Find That One?

Sources for Finding Dead Photographers David Haynes

Getting Started You will save a lot of time and considerable work if you discuss your project with as many librarians as possible. A good librarian will know of potential sources, and may also be able to put you in touch with other researchers who are engaged in similar projects. If someone in your area is working on another trade—cabinetmakers, for instance—you might split the work and make notes for each other. Genealogical librarians can be particularly helpful because their patrons are also looking for sources of information about individuals. Be sure to let your col­ leagues and acquaintances know about your project, and ask them to tell you if they stumble across a reference to a photographer. Sources for data fall into two categories: primary sources—those created by or with the photographer; and secondary sources—those created by others after the fact. Experienced researchers point out that printed documents are much easier to handle and read than handwritten mate­ rial. Records that list people by occupation are more pro­ ductive than those that include such information incidentally. The best way to begin is to gather a large number of names as quickly as possible, and two methods are detailed below. But first, there are a few rules:

Finding and gathering information about early photo­ graphers can either be exhilarating or frustrating—usually it is both. A little planning, however, can smooth the road, produce better results, and be far more satisfying. Most directory projects do not to start at the beginning. You may have gathered a little information about one photo­ grapher here, about another there, and have accumulated material on a dozen or so individuals. Then it seems like a terrific idea to try to collect data on all the photographers who operated in a particular place. Now you need a plan, and these notes will help you put one together. At the very outset, you must determine your definition of “photographer.” If your purpose is to assemble a list that will help date images that have a photographer’s name printed on the mount, you might be tempted to exclude those who worked for photographers, such as operators, printers, and colorists. However, people changed occupa­ tions frequently in the nineteenth century and some mar­ ginal workers later became photographers. The effort to record these names is fairly small, and the information may be very useful later. You must also decide whether to collect data on those in related fields, such as photographic supply manufacturers and dealers, photo-engravers, and document copyists. If you are interested in social history, it is important to record data about these workers, and indeed, to find as much as possible about all your entries. What did they do before and after engaging in photography? How did they fit as individuals in their time and place? It is important to consider how you will record and retrieve your data. Today’s computer programs are ideal for this task. In addition to making it very easy to record basic facts—who, where, when, and source—database managers allow for the inclusion of extensive notes, comments, and text. The main advantage, however, is the ability to sort your data. With the touch of a few keys, you can list the photogra­ phers by name, location, dates, sex, race, techniques used, or any other information you have entered. You could just as easily produce a list of photographers’ street addresses in ascending or descending order. Nevertheless, there are a few disadvantages to using a computer: it takes time and patience to learn the program, data must be written down before transferring it to com­ puter (unless you use a laptop), and of course, you need a computer and program. On the plus side, most modern programs are not too difficult to master. Many libraries have computers for patrons’ use, and computers and their programs can be rented inexpensively in most parts of the country. All in all, the advantages of using a computer rather than a notebook or a card file far outweigh the disadvantages except for the smallest projects.

1. You will never find all the photographers. 2. The people who created the sources were no more careful than we are today. 3. In the nineteenth century, few cared how names were spelled or whether the initials were correct. 4. Before 1870 many photographers were listed as “artist.” 5. In addition to daguerreotypist, ambrotypist, and tintypist, watch for “shadow catcher” and heaven only knows what else. 6. Make a note of all the information you find about a photographer, then you won’t need to go back to get it later. 7. Carefully record the complete source of all information so you can go back when you violate rule 6. If a large collection of early photographs is readily at hand, you can spend a pleasant afternoon or two recording the names and addresses on the mounts. You should also record any date written on the mount, but these dates must be carefully considered. In most cases it is impossible to know whether the date was written at the time the print was made, added later by owners of the image, or written even later by a helpful, but perhaps uninformed librarian or collector. You must specify in your notes the prove­ nance of any such date. No matter how knowledgable you 5

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PHOTOGRAPHERS: A SOURCEBOOK FOR HISTORICAL RESEARCH

are, resist the temptation to assign a date to an image (and thus to the photographer who made it) based on the process, format, or costume of the subject. Another good beginning is to comb through city, state, and regional directories. State libraries and major university libraries often hold city directories for the entire state or region. Many volumes are recorded on microfilm, and can be borrowed by smaller libraries that might have only the directories issued for their town. City directories were published from the mid-1800s until around 1900 when telephone books appeared, listing similar information. The data was collected annually or bi­ annually, and in some cases included only those who paid a fee. Regional and state directories were sometimes issued less frequently than other types. The titles vary; they may be called a General Directory, Business Directory, Business Guide, Gazetteer, Railroad Guide, or other similar names; ask your reference or local-history librarian for assistance. Directories are easy to use. Those for cities are common­ ly arranged like a telephone book, listing all residents in front alphabetically, with a classified business directory in the back. Work through the business directory first, then read the alphabetical section. If you don’t have time to read the entire alphabetical section, at least look up each of the photographers you find in the business directory; this sec­ tion often contains additional information. When photogra­ phers disappear from the business section in one directory, check the alphabetical section of the next issue; they may be listed there. By the same token, when a photographer appears for the first time in the business section, check for them in the alphabetical section of the previous issue. Regional and state directories are very similar to those for cities, except they are usually organized geographically. Other local and regional publications that are worth a quick look are almanacs, mug books, and booster books. While these usually do not include business directories, they provide other valuable information. Early almanacs contain advertisements, some of photographers. Mug books, common in the late 1800s, are composed of biogra­ phical sketches and pictures of prominent citizens of a state or region, and often include photographers. These are usu­ ally indexed by name or the entries appear in alphabetical sequence. Booster books, such as The Industrial Advan­ tages of Cornfield County, often contain biographies of business leaders and almost always include the photogra­ pher who produced the book’s portraits and illustrations. The subjects of these sketches generally paid to be included, so these works are far from comprehensive. While the results of checking these sources are usually modest, so is the effort. After you have followed these strategies, you should have a good beginning list. The next steps will be more dif­ ficult. For this discussion, the types of sources are divided into two categories—electronic and traditional.

E-mail is perhaps the most useful resource, allowing researchers to correspond directly with other photo histori­ ans. It is like conventional mail, but instantaneous, and usually not priced by the message. Many photo historians around the world have e-mail accounts, and you can send them a request, a message, a document, or a picture elec­ tronically. It will arrive in seconds. Through e-mail, you can access thousands of mailing lists, each one made up of people who are interested in a particular subject. Individual messages are sent to a central server then distributed to everyone on the list by e-mail. Answers to your question can then be sent directly to you, or to the group as a whole. Many of these lists maintain archives of previous messages so that new members can search through them for possible answers to their questions. Photo historians are indeed fortunate to have such a group, photohst, established years ago and operated by Richard Pearce-Moses. The membership includes about 750 people from around the world who are interested in the his­ tory of photography. The group is moderately active, aver­ aging twenty to thirty messages per week. Messages on any subject pertaining to photo history are welcome. Another type of mailing list is similar to a subscription list; a group of people receive messages only from the person who owns the list and members do not correspond with each other. One such group is DagNews, operated by Gary Ewer. Members receive copies of advertisements and edito­ rial material about daguerreotypists, usually on the calendar day the original was published. Both the discussions on pho­ tohst and the material provided by DagNews is archived. There are several discussion groups devoted to photogra­ phy that use the Internet newsgroup utility, Usenet. None of these groups, however, is presently devoted to the history of photography, but many photo historians read one or more of these groups. Each group specializes in some particular aspect of photography; those devoted to equipment, for example, discuss old cameras or other gear. The World Wide Web is a utility that allows users to place documents on servers. The documents may then be read by nearly anyone with Web access, and most can be downloaded or printed. Millions of documents are posted on the Web, but some will present difficulties for experi­ enced researchers and novices alike. Computer hardware and software are evolving rapidly, and new Web docu­ ments often require the latest browser or most powerful computer; their creators forget that many users do not have the latest technology. In addition, documents and the addresses to access them (URLs) change frequently, and published addresses (such as those given here) may no longer work when you try them. Another problem is finding what you want amid the vast domain of the web. The search programs currently in use are fairly inefficient. These programs search documents on the Web, looking for those that contain words specified by the user. These search engines will improve with time, but at the present, the researcher who requests “history of photography” will receive the addresses of sites that con­ tain those words, and the list may vary from less than 100 to more than 19,000,000, depending on which search program is used. All programs function well, however,

Electronic Sources Over the past ten years the volume of information available via the Internet has increased tremendously. Among the most important utilities provided by your Internet service are electronic mail (e-mail), discussion groups on Usenet, and the World Wide Web. 6

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WHERE DID YOUR FIND THAT ONE?

Traditional Sources Newspapers are a rich source of information. Photohistorian Richard Rudisill read more than 130,000 pages in 82 newspapers looking for photographers who were in New Mexico from 1854 to 1912. In Texas there were more than 400 newspapers published between 1839 and the Civil War. Many were published for a very short time and a con­ siderable number of issues have been lost, but there are still plenty around.1 During the 1930s, numerous newspapers were indexed in projects supported by the Works Progress Admin­ istration. The indexes vary—some are by name, some of editorial matter, and some are of very limited scope. The original indexes are probably located in major libraries of each state. Some were local projects, however, and the results may be in a nearby library—another good reason to talk to your librarian. Most early Texas newspapers consist of four or eight pages, and can be read quickly. New advertisements were sometimes placed in a special column, and these often were given a short mention in the local news column as well. Some photographers’ advertisements were illustrated with a daguerreotype case or similar design, making them easi­ er to spot. Newspapers have always been printed on some of the worst paper known to man, and most libraries are reluctant to allow researchers use original copies if micro­ film is available. Most newspapers are reproduced with two or more frames to the page, and it is difficult to read them in this form. If your area is small or had few newspapers, it would certainly be worth the trouble to go through all available issues. A large or populous area, however, probably gener­ ated numerous papers. If you cannot read them all, choose the most important papers for the time periods that have few other sources, and read those thoroughly, rather than picking through issues at random. The following national publications are also important sources:

when the researcher is looking for specific information. They rapidly list the occurrences of the name of an individual, company, or organization, and provide enough information about each site to narrow the search. Numerous non-photographic sites might also have very useful information for the researcher. These include library card catalogs, genealogical organizations, government departments, and book sellers. Some museums and libraries with substantial photo­ graphic holdings have documents on their Web sites specifically designed for the photograph historian. The site for the International Museum of Photography at the George Eastman House, for example, leads the researcher to a database of thousands of photographers worldwide that can be searched by name. The listing includes all the data IMP has collected, such as birth and death informa­ tion, working dates, exhibitions, and collections of works. Both the famous and the obscure are included. In addition to numerous non-photographic sites that might have useful information for the researcher (library card catalogs, genealogical organizations, government departments, book sellers, and the like), there are several specifically designed for photohistorians. Some museums and libraries with substantial photographic holdings have finding aids and other information available on their Web sites. An example is the International Museum of Photo­ graphy at the George Eastman House. Its Web site leads the researcher to a database of thousands of photographers world wide that can be searched by name. The listing includes all the data IMP has collected, such as birth and death information, working dates, exhibitions, and collec­ tions of works. Both the famous and obscure are included. Web sites maintained by individuals also provide impor­ tant photographic information and list links to similar sites.

Internet Addresses: Please remember that Internet addresses may change from time to time. If you cannot reach one, try another and see if a link to your other choice is provided. To join photohst, send an e-mail to: [email protected] with the following message on the first line. Do not use the “Subject” line and do not sign the message. subscribe photohst your_first_name your_last_name

Daguerreian Journal and Humphrey’s Journal of Photography, 1850–1870

Photographic Art Journal, 1851–1861

American Journal of Photography, 1852–?

Philadelphia Photographer, 1864–1888

St. Louis Practical Photographer, 1877–1882

St. Louis Photographer (later the St. Louis and

Canadian Photographer), 1883–1910.2

To join DagNews, send an e-mail request in regular English to Gary Ewer at: [email protected] To access the International Museum of Photography Web site, point your browser to:http://www.eastman.org/ 1_geninfo/curator/gehdata.html and follow the telnet link.

These journals published letters, news notes, and articles about photographers. Letters in early issues are often signed only with initials, but some of your photographers are probably represented. Large libraries should have either originals or microfilm copies.

To access William Allen’s list of photo historians, point your browser to: http://www.clt.astate.edu/wallen/ photohistorians To access City Gallery, point your browser to: http://www.city-gallery.com

Finding Aids OK, so you say you are tired of looking through easy-toread printed sources. Boy, do I have a treat for you. The most useful records for finding individuals associat­ ed with particular professions are the U.S. census sched­ ules. Almost every person in the country is listed (even if

To access McIntire’s Photography Guide, point your browser to: http://photography.mininngco.com/arts/photography To access Safier’s site, point your browser to: http://www.ozemail.com.au/~msafier/ausnzphoto.html To access Safier’s site, point your browser to: http://www.ozemail.com.au/~msafier/ausnzphoto.html 7

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only every ten years) and entries include copious informa­ tion about each individual. While the types of data vary somewhat with each decade, all census entries of the early photography period list the individual’s name, age, race, sex, birthplace, and occupation. Some censuses list proper­ ty value, residential address (if in a city), parents’ birth­ places, education, marital status, and the number of months not employed. Later censuses also record each individual’s birth month and year, and date of immigration (and immigration status) for the foreign born. The 1840 census is not very useful, however, because it lists only the name of the head of each family, and actual occupations are not specified. The 1890 schedules for most states were destroyed by fire before they could be microfilmed. Before beginning to work with the actual census sched­ ules, there are several other sources to check. After each census, the government issues a report, usually called the compendium or the statistical view.3 Most important to the researcher are the tables that give the total number of indi­ viduals in each state by occupation. This tells you how many photographers you may expect to find. The com­ pendium of the 1850 census, for instance, claims three daguerreotypists and seven artists in Texas out of a total of 212,592 individuals (approximately one photographer in every 21,260 entries). It gets better, though. In 1900, you could expect to find a photographer for every 4,160 entries in Texas (733 photographers out of a total population of 3,048,710). In case you are interested, the other years break down as follows: 1860, one per 9,906; 1870, one per 7,442; 1880, one per 7,999; and 1890, one per 5,187. You should also check the name indexes compiled for many early censuses, prepared primarily for genealogists.4 Some include entire states, and some are county and local indexes. Portions of various censuses have also been pub­ lished, usually the local sections. Ask your genealogical librarian before you start. The indexes can help you find the actual entry for a known individual quickly, but you really should read the entire census for the maximum benefit. Reading a census is not too difficult, and they are all available on microfilm. The film can be used in a library or rented for home use. Scan the “Occupation” column until you find an entry that meets your requirements, then record the data for that person and household. The vast majority of people in most places during the period for which censuses are available (1910 is the last one that has been released) were farmers and farm laborers, so you can quickly scan past occupations that begin with “F” and con­ centrate on the others (unless, of course, your enumerator lists “Fotographer”). Now and then you may want to stop and consider what some of the listed occupations actually were in the nineteenth century—stock broker or drug deal­ er, for instance. You might even find an old man whose occupation is listed as “talks politics.” Deciphering early penmanship (not to mention spelling) is only one of the challenges in researching microfilmed manuscript records. The original document may be torn and folded over, or repaired with tape that appears black on the microfilm. The film may be underexposed, scratched, or variably out of focus. Try your best to record the data as accurately as possible, then compare your findings against

the list that you compiled from printed sources. Many of your census “photographers” will not be on your list. Some may be photographers who did not make it into the printed sources, but most of them will actually be people who worked for other photographers—operators, printers, retouchers, framers, and others. The following chart gives a sample of this difference. Photographers Found in Selected Texas Cities in 1900 by Source City

City Directory

Dallas Fort Worth Galveston Houston San Antonio

16 10 6 10 11

Census Compendium

Actually Found in Census

29 14 24 30 27

27 16 24 30 28

It is difficult to cite censuses. For each one, a state or ter­ ritory was divided into supervisory districts and these were further divided into enumeration districts. Each cen­ sus taker started the list in his enumeration district with page 1, household 1, family 1. When he was finished, the individual sheets were bound into volumes and every other page was rubber-stamped with a sequential number. When the originals were microfilmed, each volume (or more commonly parts of two volumes) was filmed on one roll. Thus, to completely describe a page, you must record the date, state, roll, volume, rubber-stamped number, county, division of the county, and the hand-written page number. Each entry on that page includes a household number, a family number, and a line number. The most parsimonious way to cite an individual entry is to use the date, state, roll, volume, rubber-stamped number, and line, but the county and division within the county are usually cited as well. Various states and localities have occasionally produced similar records, for instance, the Great Registers of California. Again, the easiest way to find out about these sources is to ask your librarian. The next large body of manuscript records you need to examine are tax records. In 1862 the United States Congress passed an internal revenue act to help pay for the Civil War. The law went into effect August 1, and among many other provisions, required anyone who wished to produce photographs for sale (and almost anyone else in business) to obtain a license from the federal government. This pro­ vided for a whole new bureaucracy to assess and collect the license fees, and to record the name, occupation, location, payment, and term of each license issued. The great bulk of these records has survived—as a matter of fact, it compris­ es 8,763 volumes measuring 933 linear feet. Unfortunately, not all of the records are microfilmed, and relatively few copies of the film have been distributed. The original records are housed in the National Archives in Washington, D.C. Some of the original records are housed in various National Archives Regional Branches around the country. The requirement for photographers to pay federal license fees was repealed in 1870 (effective May 1, 1871). These records are the best source for locating 8

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photographers during this period, but covers only the areas of the country controlled by the federal government. The Archives staff is very helpful; occupations are shown in a separate column that can be quickly scanned; all you have to do is spend a couple of weeks in Washington. Federal law also required photographers and various other producers of paper goods to purchase and affix revenue stamps to each piece produced from 1864 to 1866. The same stamps were used on a variety of products, how­ ever, and the records do not indicate the occupation of the purchaser. At various times during this period, photogra­ phers and other businessmen were required to pay ad val­ orem or gross receipts taxes, and these records provide additional information about individuals. As you may have noticed, once a tax is established, other agencies quickly assess additional taxes of their own. One month after the federal government repealed the license requirement for photographers in 1870, the Texas legisla­ ture levied a similar tax. Although it was in effect well into the twentieth century, the records indicate that it was only vigorously collected from 1871 to 1876. Once again, a large body of records was created and for the most part, saved. While some of these records still exist in county courthous­ es across the state, the majority are housed in the Archives Division of the State Library in Austin. Unfortunately, the occupation tax records are mixed in with an even larger quantity of other fiscal records (a total of about 400 boxes) in the State Archives and are very time-consuming to use. It’s possible your state imposed such a tax, and the records may be more accessible. Ask your state archivist. In recent years many local governmental entities, faced with an ever-increasing volume of paper and a fixed amount of space, have been forced to destroy old records that have relatively little value for the government. In many places there is a formal plan to determine how long each type of record must be kept. For several decades, for­ tunately, the Mormon Church in Salt Lake City has been quietly microfilming many types of local records of genealogical interest. If you know that some record existed at one time, but you cannot find it locally, check with the Church of Jesus Christ of Latter Day Saints. If you are working on a small area with relatively few photographers, you can probably gather a great deal of interesting information from local government archives. Land records, such as deeds and liens, and probate records, are typically kept at the county level, are indexed by name and often provide details about a person’s life. Birth and death records may be kept by the city, county, or state. In recent years many jurisdictions have decided that these records are not public and allow access only to family members. There are stories, however, that some researchers have gained access by claiming to be a descen­ dant of the photographer. Death certificates are useful because they usually also give the date of birth and may list the place of burial. Cemetery records are normally kept by the cemetery or the organization that owns it; sometimes, however, the records for all or most of the cemeteries in a city are kept by a city agency. It is not unusual to find that a genealogical or local history society has published some of these records or an index to them. Ask your local librarian.

All these finding aids can be very useful, but remember that errors are common in secondary sources. It is wise to double-check the data in original documents—primary sources—if possible. In Texas, a list was published of all printed material (that the compilers could find) produced in the state up to the mid-1870s.5 The index includes an entry under “Photographers” that leads to an advertising broadside for three photographers in Austin in 1859. Similar documents may have been compiled in other states. Local histories of many cities and counties are available, but they vary in accuracy, completeness, and usefulness. Some were carefully researched and written, with compre­ hensive indexes; others were quickly and carelessly thrown together and poorly indexed, if at all. Most of these books were created by or for historical societies, but some were prepared by the WPA, businesses, chambers of commerce, and similar organizations. If you find one with an index, check for the listing of “Photography” as well as for the names of photographers who may be covered. Read the acknowledgments for photograph sources, and check the cutlines under the illustrations for photographer credits. Some state and local photographers’ associations have published histories, and these will obviously include a lot of information in our field. Most of these groups are rela­ tively new, however, and will not offer much material on nineteenth century photographers.6

Where Does Your Tax Money Go? In early 1977 I discovered that the National Archives Regional Branch in Fort Worth had several volumes of assessment lists for Texas, covering the period of the photographers’ occu­ pation. The archivist told me that while they physically possessed the records, they belonged to the IRS and he could not grant permission to look at them. An IRS employee at the Archives also could not grant permission, but suggested that I write to the IRS in Austin (the office that had deposited the records) and request, under the Freedom of Information Act, permission to use them. I wrote such a request March 22. On March 30 that office replied that it had forwarded my request to Washington. After requesting two delays, the IRS responded on June 28 denying my request. On July 12, I appealed the denial on various grounds. On August 10 the IRS acknowl­ edged my appeal and promised a response by September 2. After four IRS requests for more time during the next three months, the Service finally granted my request on December 29 (nine months after my initial request). The records, by the way, do contain significant information that is not duplicated in Washington.

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Notes

Information on early photographers occasionally appears in local and regional historical periodicals. These journals are usually indexed, and the articles are well-prepared and documented. Be sure to ask your local librarian for sugges­ tions; there are many fairly obscure serials, particularly those devoted to genealogy.7 College students often take some aspect of the history of photography as the topic for a thesis or dissertation. Check the indexes and abstracts of these papers published by University Microfilms in Ann Arbor. Your local library may be able to borrow copies that interest you.8 Finally, since you are holding this book in your hands, be sure to check the following list for published works that cover your region or those adjacent to it. Good luck.

1. Richard Rudisill, P hotographers of the New Mexico Territory, 1854–1912 (Santa Fe: Museum of New Mexico), 1973, p. iii. The number 400 is an estimate based on the 101 newspapers reported in Thomas W. Streeter, Bibliography of Texas, 1795–1845 (Cambridge: Harvard University Press), 1955–1960, and the 347 titles, 1845–1861 listed in Marilyn McAdams Sibley, Lone Stars and State Gazettes: Texas Newspapers before the Civil War (College Station: Texas A & M University Press), 1983. 2. S. D. Humphrey began publication of the Daguerreian Journal in 1850 and continued as Humphrey’s Journal of Photography until 1870. The Photographic Art Journal, edited by H. H. Snelling, was absorbed by Charles A. Seely’s American Journal of Photography in 1861. The St. Louis Practical Photographer was followed by the St. Louis Photographer, and later the St. Louis and Canadian Photographer. 3. The full title of the report for 1880 for example, is Statistics of the Population of the United States at the Tenth Census (June 1, 1880), Embracing Tables of the Population of States, Counties, and Minor Civil Divisions, with Distinction of Race, Sex, Age, Nativity, and Occupations; Together with Summary Tables, Derived from Other Census Reports, relating to Newspapers and Periodicals; Public Schools and Illiteracy; the Dependent, Defective, and Delinquent Classes, Etc. (Washington: Government Printing Office), 1883.

Who Told You That? In 1938 Robert Taft published his classic study, Photography and the American Scene.9 At the time this was the most comprehensive study of photography in the United States. In many ways the same is true today. Taft was a very careful researcher and documented all of his facts. The only Texas photographer mentioned in the book is H. B. Hillyer “who began practice in Austin, Texas, in 1857.” A close reading of Taft’s source, however, shows that Hillyer claims he began photography in 1857 and also that he worked for many years in Austin, but he does not claim to have started in that city. In actual fact he learned photography from his father in Goliad County in the mid­ 1850s and did not begin his career in Austin until after the Civil War. The importance of checking the original source of statements made in secondary works, no matter how well researched, written, and cur­ rently regarded, cannot be overemphasized.

4. A Texas example is Ronald Vern Jackson, Gary Ronald Teeples, and David Schaefermeyer, editors, Texas 1850 Census Index (Bountiful, Utah: Accelerated Indexing Systems), 1976. 5. Ernest W. Winkler and Llerena Friend, eds., Check List of Texas Imprints: 1846–1876, two Vols. (Austin: Texas State Historical Association), 1949, 1963. 6. The history of the first seventy-five years of the Texas Professional Photographers Association was published as The Diamond Years of Texas Photography by Ava Crofford (Austin: Ava Crofford), 1975. 7. A Texas example is Wayne Daniel, “A Ragsdale Biography,” Fort Concho Report 19, No. 2 (Summer 1987), pp. 13–27. 8. William Russell Young, “H. B. Hillyer: Life and Career of a Nineteenth Century Texas Photographer” (MA Thesis, University of Texas at Austin), 1985. 9. Robert Taft, Photography and the American Scene (New York: Macmillan), 1938. Reprinted by Dover Publications (New York), 1964. Taft’s source is a letter from Hillyer published in the Philadelphia Photographer, Vol. 13, No. 333, in 1876.

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Figure 1. Carte-de-visite of three men gathered around a camera; reverse contains imprint of Benjamin Lochman of Allentown. Collection of the author.

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Lochman Located:

Further Adventures in Photographer Research* Linda A. Ries “You wish certain questions answered,” the letter ran, “regarding the life of Charles Leightheiser Lochman who was born July 20, 1821 and died Aug. 14, 1900.” If only I had found it at the beginning of researching Lochman in 1988! It would have saved me time and effort piecing together bits of his life from disparate and sketchy resources. Instead I found it a year or so later, a photocopy tucked inside the front cover of a rare Lochman book about medicinal plants, at the Academy of Natural Sciences in Philadelphia.1 The letter was written in 1916 by Eugene Rau, a pharma­ cist an Allentown, Pennsylvania, to J. N. Barnhart of the New York Botanical Garden. It went on in great detail about Lochman, telling me things I already knew, and hint­ ing at things I did not. The irony was that Barnhart had asked Rau for the same information that I was asking, more than seventy-five years later. It did corroborate informa­ tion I had painstakingly mined and verified many of my educated guesses. Historical information never arrives in the original chronological order in which it happened, if indeed it is acquired at all. The bits and pieces come in jumbles, like a jigsaw puzzle waiting to be sorted and put together. It was by chance this letter survived and was discovered to add to our knowledge of Charles Lochman. We are not so lucky with most nineteenth century photographers. In the first edition of this Sourcebook, I outlined a method for research when personal data such as diaries and letters are lacking. Using Lochman as a model, the reader took a journey through public and private information sources, including the federal population censes, local government records, community and regional histories and municipal directories, and newspaper advertisements. By assembling and comparing seemingly disparate data, more can be deduced about a nineteenth century image and its creator. It is a holistic approach, where the sum is greater than the individual parts. The time lines of a photographer’s life can produce a “skeleton” of vital and useful knowledge to aid in dating his or her images. By pursuing other, somewhat obscure, or lesser-known sources of national and local information, flesh and muscle can be added to this skeleton. The chronology can be finetuned, enabling a tighter dating sequence. With Lochman, this process took me to unexpected and interesting places, and enabled me to modify, correct, and add to my original data. A number of such sources are discussed here, and no doubt others exist. After publishing, an author is immediately perceived as somewhat of a magnet on the subject by fellow scholars. New information, clarifications, and corrections, arrive without solicitation. For example, in my previous essay I 13

made the mistake of assuming that William J. Lochman of Hamburg, Charles’ younger brother, also ran a studio in York. An expert on York area photographers politely pointed out to me that the York Lochman was William H., not William J., Lochman. I had mistakenly extrapolated that the same person had studios in these two different cities, and that there was simply a transcription error with his middle initial, not uncommon in the days of moveable type. Mea culpa, although it’s an honest mistake. William J.’s obituary lists him as William L. Lochman!2 Doublechecking my friend’s more thorough research clearly proved that there was a William H. Lochman in York.3 I was not in the least offended, but pleased with the clarifi­ cation. This means that another photographer named Lochman, possibly a cousin, or uncle, is mixed up in this somehow, offering further research venues to pursue. I was also contacted by a scholar in Kentucky who told me about “Lochman’s Locomotive Writing Ink.” He sent copies from a reference book on antique ink bottles that included a photograph of a tiny glass ink bottle shaped like a train engine (figure 2). Embossed printing on the bottle reads: “Lochman’s Locomotive Ink” and “Trademark Pat. Oct. 1874.” Patent research revealed it was granted October 13, 1874 to Charles L. Lochman of Carlisle, Pennsylvania.4

Figure 2. Bottle for “Lochman’s Locomotive Writing Ink.” From Ink Bottles and Ink Wells. See Footnote 4.

Then an antique photography dealer contacted me about a carte-de-visite image from the early 1860s with the imprint of Benjamin Lochman of Allentown on the reverse (figure 1). The subjects are three men of varying ages, hap­ pily positioned around a large format gallery camera, one wearing two sets of pants! There is no other identification on the image, and it is sorely tempting to think that these are the three Lochman Brothers as the dealer would have me believe, but I can only speculate at this point. More like­ ly it is Benjamin Lochman with assistants, the one with two pants perhaps wearing protective darkroom garb. None of

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research on an individual. However, there are other cate­ gories of information collected by the U.S. Census Bureau for its mandated purpose of determining representation in Congress, such as mortality and birth statistics. Of particu­ lar interest to historical photographer research is the U.S. Census of Manufacturers, also conducted decennially. Of all the decennial tables available, Charles Lochman was found only on the 1870 list for Carlisle. Nevertheless, this one appearance reveals much: entries indicate Lochman had two businesses, one as a photographer and the other as an ink manufacturer. The listing as an ink man­ ufacturer corroborates the “Locomotive Writing Ink” data. He listed the value of the businesses at $1,500 each, employing one male over the age of sixteen (besides him­ self?), type of power used (hand), the materials used for ink (“nut galls, sulph. iron, chemicals, oils & other articles”), and photographs (“chemicals and other articles”). He gave the yearly amount produced: ink at 500 gallons and photo­ graphs at 8,000. This last statistic is revealing as an example of the out­ put of just one small-town commercial photography busi­ ness in the 1870s.7 Carlisle, with a population of only a few thousand in 1870, had at least four or five other photogra­ phers operating at the same time as Lochman. The amount of 8,000 possibly refers to the number of negatives pro­ duced rather than prints, for photographers, as they do today, commonly made several negatives of the same sub­ ject in hopes that at least one good image would result from the lot. The failure rate was far greater in 1870, when commercial photographers used the fragile collodion wet plate developing process. The materials were highly sus­ ceptible to seasonal temperature and humidity fluctua­ tions, and the results depended on the quality of handling, mixing and purity of chemicals, and the knowledge and ability of the operators.8 Another useful record series from the National Archives is the Internal Revenue Assessment Lists, 1862–1866.9 The U.S. Department of the Treasury was authorized under an act of July 1, 1862 to raise revenues for “payment of the public debt,” in support of the war effort. This was accom­ plished by requiring certain businesses, including commer­ cial photographers, to purchase annual or monthly licenses. Lochman was assessed three times while operating alone: $25 in September 1862; $6.67 in May 1863 for an eight-month license; and $25 in 1866. He was assessed with his partner, George Bretz, at their Newville business at $3.33 for three months beginning January 1863, and $25 in May 1865. The act fixed the tax according to the amount of receipts. Twenty-five dollars was levied at the level of $1,000 in annual receipts, which gives an idea of the rev­ enue generated by Lochman’s business. Another very useful and telling national resource is a group of private records, the R. G. Dun and Company Collection housed at the Baker Library of Harvard Univer­ sity in Boston, Massachusetts. The company was founded early in the nineteenth century and is still in operation today as Dun & Bradstreet. Dun & Company assessed an applicant’s financial status, and loans and credit were granted on the basis of their reports. Their representatives

Figure 3. Lochman’s grave at Niskey Hill Cemetery; Bethlehem, Pennsylvania. Photograph by the author.

the men look even remotely like the image of an elderly Charles found in the introduction to the book of medicinal plants. The image remains an enigma. I deeply appreciate all this information; a network of fellow scholars can be immensely helpful in furthering research. Shortly after the original essay was published, I made a pilgrimage to Lochman’s grave in Niskey Hill Cemetery, Bethlehem, Pennsylvania. Yes, I’m a sentimentalist, and I thought it appropriate to pay him tribute. I’m also a prag­ matist, and wanted to see if the gravestone noted any infor­ mation I didn’t already have. Lot 139, section F contains Lochman; his second wife Alice Mary Weaver; his son Charles Napier Lochman and his wife Elva E. Lochman; his daughter Alberta Lochman Lewis and her husband Robert B. Lewis; C. N. Lochman’s daughter Lucie J. Mitman and her husband Walter Mitman, who was a close friend of the mother of photogra­ phy historian, Willliam C. Darrah.5 Besides life dates, there was little else to learn from the stone (figure 3). Researchers are often tempted to give up at this point, assuming nothing else can be found. It pays to stop by the cemetery office. Memorial parks usually have maps of plots, grave locations and interment files on each of its occupants. Most of this information is usually in the public domain, and I was happy to pay the small research fee. The helpful clerk found and allowed me to copy the Lochman Family interment information, part of a file of 5 x 7 inch cards. I discovered more than I wanted to know. For instance, Charles Napier Lochman paid $136 to purchase the plot in 1900. However, I was able to obtain death dates for the people listed above, enabling me to look up their obituaries in the local newspapers. Reviewing son Charles Napier Lochman’s obituary revealed he had followed his father into the drug business, but had more formal education. He received a degree from the Philadelphia College of Pharmacy in the 1880s, and worked for many years at the Simon Rau and Company Drugstore in Allentown, one of the oldest retail drugstores in the nation. Eugene Rau, the writer of the informative 1916 letter, was the son of Simon Rau.6 Most scholars are aware of the federal decennial popula­ tion records, the census, a starting point for any kind of 14

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would visit a potential applicant and log their findings in registers established for that region or county. Information on Lochman was found for the years 1874–1888. Despite his seeming wealth in Carlisle, he was not above applying for credit when he moved to the Allentown/Bethlehem area in 1874. The precisely dated, terse and unforgiving assessments written in a cramped and peculiar shorthand depict a man struggling for success in yet a third profession:

this list of titles to a local library and asked the staff to undertake a search. Several locations emerged for two of the books. Dose and Price Labels of all the Drugs and Preparations of the United States Pharmacopoeia of 1880 . . . (1887) and The German Pharmacopoeia (1873 and 1884 editions) were at the Library of the Philadelphia College of Phys­ icians, the nearest location to me. I was then able to visit the Li­ brary and view these rare books. Dose and Price Labels . . . is a convenient aid for “pharma­ cists, physicians and students,” consisting of the actual labels for chemicals and medicinal drugs. They are printed several to a Figure 4. A typical page page, to be cut out and pasted to from Dose and Price Labels. a bottle by the medical or phar­ maceutical professional. Each label includes information on the Latin and common name of the drug, appropriate applications and dosage, and toxic or poisonous warnings (figure 4). The German Pharmacopoeia (figure 5) was an English trans­ lation of “the only legally recognized Pharmacopoeia for the whole German empire.” In “Introduction by the Translator,” Lochman explains the need for the book in America: “In view of the already large, and rapidly increasing German population, including many physicians, the work, it is

C. L. Lochman . . . Allentown . . . Drugs . . . Ins.Agt. . . . Oct 1 74. . . . Formerly a druggist at Carlisle, Pa moved here recently. Has an office in front room of his dwlg house & displays a sign as Agt for sevl fire Ins Cos. Also Mfd Ink. Has no RE but formerly owned a ho at Carlisle wh he says he sold for 26c. his wf carries on Dress Making in same hous. Think he hon & indust but don’t go ahead much. . . . Nov 9 74 . . . “C. L. L.” is not a very sharp bus.man & his success therefore problematical. . . . July 12 76 Very hard up & slow pay, Claims vs him & cannot pay . . . July 13 77 No chge, Not Much to base cr on & caution advised . . . Nov 6 77 Stock . . . held for Sale by Sherif on a judgmt lately serv.[?] Jany 7 77[78?] Sold out by Sheriff.10 Entries could not be found for Lochman between 1878 and 1881. By that time he seems to have gotten back on his feet, but was still having some financial difficulties: C. L. Lochman . . . Bethlehem . . . Photographer . . . Octr 15. 81 . . . This party has no means upon which to base a recommendation for cr. He is however, spoken of as an hon & trustworthy man, who would not buy what he did not intend to pay for. Can only be crd on the strength of honesty & good intentions . . . June 26/83. There has been no change. We hear of some complaints of late that he is rather slow in meeting his bills. Oct 30/83 . . . is well advanced in yrs, seems content to live from hand to mouth.11 In all fairness to Charles Lochman, a glance at other reg­ ister entries reveals the Dun & Company agents had the same level of condescension for all credit applicants. Aside from social bias, new facts are uncovered: Lochman was also dabbling in selling fire insurance; Lochman’s wife Alice helped the family by dressmaking; and local authorities seized his stock of drugs in 1877 due to legal claims against him. Investigating city and county court records for the Allentown area may reveal more con­ cerning the latter incident. It does not appear he was ever granted credit by the R. G. Dun & Company. The Internet and World Wide Web have emerged as new research tools in the ten years since I began my Lochman study. We can now plug into and browse various institu­ tional library database catalogs from all over the world. The On-Line Computer Library Catalog or OCLC can speed the process of data-gathering by locating the institutions that hold the desired books or manuscript collections. Lochman’s obituary in the August 1900 Bethlehem Globe conveniently mentioned a few of his publications. I took

Figure 5. Title page from the second edition of The German Pharmacopoeia. 15

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hoped, will be acceptable to many pharmacists, who are frequently called upon for medicines by the German names, or by the Latin terms, in use in Germany.” Seeing these works, with their sophisticated and precise technical language, gave me a new appreciation for Lochman’s abilities and scientific knowledge, an apprecia­ tion I perhaps never realized through study of his commer­ cial and portrait photographs. I was not as successful with other sources on a national level. Lochman did not serve in the Mexican or Civil Wars (no record could be found of him serving in the Mexican War and he was too old—thirty-nine—when the Civil War began in 1861). His brother Benjamin, however, served in the Civil War, and I found his federal pension application file at the National Archives. These are chock-full of personal details, and often include affidavits from friends and family mem­ bers testifying to the needs of the applicant. Alas, there are none from Charles in the file of Benjamin Lochman.12 The George Eastman House on-line catalog, maintained by the International Museum of Photography in Rochester, New York, was also not productive. The only information they had on Charles Lochman was the material that I had provided them years ago, but it is nice to know your research is used and appreciated. I had no luck studying various photographic trade jour­ nals of the late nineteenth century such as Anthony’s Photographic Bulletin and The Philadelphia Photographer. These usually are unindexed and research is incredibly time-consuming.13 Local property and tax records are also helpful. These are usually generated by county and municipal govern­ ments and are therefore found at courthouses and city or borough offices. Older records, having outlasted their use­ fulness to the agency that created them, are sometimes transferred to local government archives or historical soci­ eties. Many original records for Cumberland County are still at the courthouse, but some of these have been micro­ filmed by the Latter-Day Saints or other organizations and the film is available at the Cumberland County Historical Society and elsewhere. A search through the records at the Cumberland County Courthouse revealed that Lochman bought and sold vari­ ous properties while he was in Carlisle between 1859 and 1874. The first deed is dated 1863. His earliest newspaper ads declare he was staying at a local hotel, so he may have rented and resided at his gallery on 21 W. Main Street dur­ ing the 3 1/2 years between June 1859 and February 1863. He bought and sold the property at 38 Pomfret Street twice; bought it from Hagun Carney on February 9, 1863; sold it to George W. Neidich on October 6, 1865; bought it back from Neidich April 10, 1867; then sold it again September 21, 1868 to David Strohm. Although these facts may seem triv­ ial, they became crucial in later research, as we shall see.14 We know from his newspaper advertisements between October 1865 and January 1867, that he ran a gallery in partnership with George Bretz in Newville, about twelve miles away. Sure enough, these records reveal his purchase of Newville property lot number 33, on March 21, 1865. He sold this same property September 8, 1866.15 This roughly

Figure 6. Stereoview of Lochman’s home at 38 Pomfret St., Carlisle. Collection of the Cumberland County Historical Society, RS9.

coincides with the dates of his newspaper advertisements that note his business move from Carlisle to a lot on West Louther Street, now part of the campus of Dickinson College, where he lived between 1870 and 1873.16 By 1874, he had moved his family to Allentown. Tax records also reveal Lochman’s whereabouts during his Carlisle years. He is listed in all assessments as an “Artist” living in the West Ward, Carlisle, for the years 1862–1876. The assessments for different years also denote his dwelling places, which dovetail with the property and newspaper advertisements. For example, between 1862 and 1864 he is listed as a tenant; between 1865 and 1873 he is taxed for ownership of various dwellings; between 1874 and 1876 he is taxed, but with “no property listed.” This last bit of information implies that though he had moved his family and set up a drug store in Allentown in 1874, he still maintained business ties with Carlisle. He probably traveled between the two towns during this time period, maintaining a rental property in Carlisle. The “Locomotive Writing Ink” patent was granted to C. L. Lochman of Carlisle in October 1874, but that was long after he had moved to Allentown. Recently, Cumberland County Historical Society cura­ tor Richard Tritt alerted me about their newly acquired copies of a collection of sixty-four stereoviews.17 All views appear to have been made by Charles Lochman or his gallery assistants; many are clearly labeled “C. L. Lochman” on the reverse, in what I suspect is his handwriting.18 More importantly, many of the stereos match a group of collodion glass stereo negatives in the A. A. Line Collection at the Society. Line was an apprentice to Lochman, then successor to one of his Carlisle galleries. In my previous writings, I had surmised these negatives were made by Lochman, rather than Line, who was quite young, about twelve, when they were produced. The stereo prints prove the negatives were made by Lochman, or at least his gallery. Some of the prints helped to identify locations for unidentified negatives, and vice versa. 16

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Figure 7. Stereoview of Lochman’s home at W. Louther St., Carlisle. Collection of the Cumberland County Historical Society, RS2.

Figure 8. Stereoview of “Group–Commandant’s House, #64, Lochman’s Stereoscopic Views of Carlisle Barracks,” circa 1861. Collection of the Cumberland County Historical Society, RS33.

Subjects include the ruins of Chambersburg, sacked by Rebel forces in 1864; some offer dated views of the main street and square in Carlisle; and on a more personal level, show images of Lochman’s two Carlisle homes at 38 E. Pomfret and West Louther (figures 6 and 7). The deed research has therefore borne fruit, for we can narrow the dates for the images to the years he owned these properties. There is also a group of views of the Carlisle Barracks with pasted, printed labels on the reverse, “Lochman’s Stereoscopic Views—Carlisle Barracks.” Photographers usually numbered their stereoviews, and these were no exception. The highest number given on the handful of images from Carlisle Barracks is sixty-six, indicating Lochman made and sold at least that number of this series alone (figure 8). The “kicker” in this collection was a sixty-fifth photo­ graph, a carte-de-visite, not a stereo. It was an image of a photographer who for all the world looked like somebody’s dutch uncle, somberly posed with his arm on a stu­ dio camera. Because it was purchased with the Charles Lochman stereoviews, the owner assumed it was a selfportrait of Lochman himself. However, the reverse bears the imprint of Lochman’s brother, William J. Lochman of Hamburg. There is no other identification (Figure 9). The fellow has a heavy brow ridge, much like Charles Lochman in the portrait mentioned previously. But as with the cartede-visite of the three photographers, there is no other infor­ mation on which to base conclusions. Because of the imprint, the image, then, is perhaps William J. Lochman. Only further research and other comparable images will help establish the identity with certainty. What have I gained by additional research on Charles Lochman using more obscure, or less-used resources? I have discovered, as a rule of thumb, that the more obscure the resource, the more specific the information gathered. A federal census population record gives general data about an individual every ten years; a local property deed gives ultra-specific locations and dates. City directories give

business and residential locations; tax records and credit applications give a more precise idea of an individual’s worth. In a pragmatic sense, I can now provide fairly spe­ cific dates for much of Lochman’s Carlisle period, which will assist in dating his images. In a larger, more academic sense, this has been a journey of self-education as well, for I now realize that photogra­ phy was an integral, but small percentage of this man’s life. I suspect this is true for many nineteenth century commer­ cial photographers, who floated in and out of the profes­ sion as an occasional means of gaining revenue. The career photographers, the ones who stayed in it for life with no other means of income, are probably fewer than we think. Lochman was foremost a chemist, a profession that undoubtedly led him to the allied vocation of photography which was just one means of making a living. He was also a druggist, author, poet, insurance agent, inventor, transla­ tor, and purveyor of writing ink. It is therefore a disservice to our subjects to dwell only on the photography aspects of their lives, mistakenly assuming images and photography-specific data are the only resources at our disposal. This is like an archeologist who concludes a past culture was based entirely on stone tools, because they are the only artifacts available for research. Organic remains of a culture, such as items made of wood or leather, often do not survive, but are just as crit­ ical for study. Likewise, if much of the non-photographic aspects of the life of a nineteenth century photographer are not readily apparent, it does not mean they are unavailable for research. There are clues, hints, and crumbs of evidence about these people in our collective written record waiting to be discovered and interpreted. One must try to look at the whole before drawing conclusions about the parts. My research at this point is focused where it began, at the Cumberland County Historical Society. I feel I have come full circle, and analysis of the stereoviews will keep me busy for quite some time. Again I realize one never real­ ly stops research, but only pauses occasionally to publish. 17

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PHOTOGRAPHERS: A SOURCEBOOK FOR HISTORICAL RESEARCH

Figure 9. Carte-de-visite of a man and camera, reverse bears the imprint

of William J. Lochman of Hamburg, Pennsylvania.

Collection of the Cumberland County Historical Society, RS1.

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LOCHMAN LOCATED

notes

Photographers, (Baltimore, Maryland: Historic Graphics, Inc.). Pennsylvania is covered in volume two (1991), and also includes assessments for Lochman’s two brothers William and Benjamin, and the mysterious William H. Lochman of York. The original lists, however, give more complete information—non-photographic data that Kelbaugh does not include in his directories, but that may be useful for extend­ ed research purposes. For example, Lochman is also assessed for two gold watches in 1866, an indication of his wealth at the time.

* The initial essay on Lochman from thre first edition of this book is reprinted in the Appendices, beginning at page 141. 1. Eugene A. Rau to J. H. Barnhart, June 7, 1916. The original letter is at the New York Botanical Garden Library, J. H. Barnhart Collection. Lochman’s birth year was actually 1822. A helpful researcher, Mary Panzer, found the letter in 1982 at the Botanical Library, and supplied the Academy with the photocopy. I never would have known about it but for her foresight.

10. Dun & Co. Collection, Pennsylvania, Vol. 87, p. 46, Baker Library, Harvard Business School, Boston, Massachusetts. The Dun Collection is difficult to access. Records are not on microfilm, therefore one must make a personal visit, and the Baker Library does not permit researchers to purchase and permanently retain copies of entries. The Library also main­ tains the historical business records of the letterbooks with correspondence from photographers all over the country, although I found none relating to Lochman.

2. Bethlehem Globe, August 1900. William J.’s brother Charles died just two weeks later. 3. Eric D. Battorff, “York Area Photographers, 1840–1997,” Special Publication No. 56 of the South Central Pennsylvania Genealogical Society, p. 62. 4. I am grateful to Dr. Joe Nickell of the University of Kentucky for this information. Covill, William E. Jr., Ink Bottles and Ink Wells, Sullwood Publishing (Taunton, Massachusetts), 1971, p. 160.

11. Dun & Co. Collection, Pennsylvania, Vol. 122, p. 113, Baker Library, Harvard Business School, Boston, Massachusetts.

5. “Looking f or Lochman: Researching a Historical Photographer,” by the author, essay in Photographers: A Sourcebook for Historical Research (Nevada City, California: Carl Mautz Publishing), 1991, p. 18. Lochman’s first wife, Margaret Napier of Philadelphia, died in 1867 and is buried in the Old Burying Ground in Carlisle, Pennsylvania.

12. The Civil War Pension Files at the National Archives also include the veteran’s war service records. Neither the com­ plete Pension nor the Service Files are on microfilm and one must endure a six month wait for copies if corresponding by mail, or visit and examine the records in person. 13. The only reference found to date for Lochman was pointed out to me by a friend who noticed it by chance in an issue of Anthony’s Photographic Bulletin. See: “Looking for Lochman . . .” Photographers: A Sourcebook for Historical Research (Nevada City, California: Carl Mautz Publishing), 1991, p. 18.

6. It is presently unknown if the Allentown Rau Family is relat­ ed to the Philadelphia photographer William H. Rau. 7. U.S. Census of Manufacturers, 1870, District No. 174, Schedule No. 4, Products of Industry in East Ward, Carlisle, Pennsylvania, page 4. This census is available on microfilm at the National Archives and at many large libraries around the country.

14. Cumberland County Courthouse, Carlisle Property Deed 2N491, February 19, 1863; Deed 2S95, October 6, 1865; Deed 2V33, April 10, 1867; Deed 2Z179, September 21, 1868. I am grateful to Richard Tritt of the Cumberland County Historical Society for sharing these results of his research.

8. I am grateful to Mark Osterman, editor of the Collodion Journal, for this information.

15. Cumberland County Courthouse, Newville Property Deed 2R206, March 21, 1865; and Deed [?], September 8, 1866.

9. Internal Revenue Assessment Lists for Pennsylvania, 1862–1866, National Archives, Roll 71, M–787. The act was abolished as of July 1, 1873. The lists have been microfilmed only up to 1866. For information between 1866–1873, you must access the original records at the National Archives. Much informa­ tion from this microfilm has been extracted in a helpful series of publications by Ross J. Kelbaugh, Directory of Civil War

16. Cumberland County Courthouse, Carlisle Property Deed 3B354, March 31, 1870; and Deed 3L291, June 2, 1873. 17. The originals are owned by a private collector. 18. I have other examples of Lochman’s handwriting, and the

19

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Figure 1. Storage cabinets for the Andrew J. Russell collection of collodion “wet plate” negatives in the Oakland Museum of California History Department. Containing nearly 800 wet-plate negatives of construction of the transcontinental railroad in the 1860s, the collection is one of the largest and most important archives of collodian negatives outside of federal archives. Pictured is Marcia Eymann, Curator of Historical Photography, Oakland Museum of California.

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The Regional Photography Collection

A Case Study at the Oakland Museum of California Drew Heath Johnson Upon opening its doors in 1969, the new Oakland Museum boldly proclaimed its identity as “The Museum of California,” the first major museum devoted exclusively to the art, history and ecology of the golden state. Housed in a sprawling, innovative 7.7 acre building which some said resembled a garden more than an intimidating temple of high culture, the new institution had ambitions beyond those of a typical municipal museum. Strolling its three permanent galleries and 20,000 feet of temporary exhibi­ tion space, visitors encountered a sweeping view of the region’s natural setting, the history of its people from pre­ historic times, and the art they had created. Clearly, some­ thing important was happening at the Oakland Museum.1 Particularly in the field of art, the new Museum amounted to a declaration of independence for a region whose culture was often regarded with disdain or suspicion by the eastern art establishment. In the words of former curator Paul Mills, “It is hard today to understand what a variant, radical idea specializing in California art, especially in its historic phases, was then.”2 The very identity of the region’s aes­ thetic heritage was in question. Was there, in fact, such a thing as a California tradition in the visual arts? If so, how could that tradition be interpreted in an innovative and engaging way? Much to the credit of the Museum’s founders, photogra­ phy was given a high priority in framing a reply to these questions. Two of the Museum’s three departments, Art and History, devoted great energy to building definitive collections of California photography. The late 1960s were propitious times to take on the task of assembling a worldclass, regional photography collection. A seed was provid­ ed by the former collections of the old Oakland Museum and Municipal Art Gallery, which had collected a smatter­ ing of photographs from the 1920s on. By 1969, many of the best known California photographers of the first half of the twentieth century were still living. Imogen Cunningham, Ansel Adams, Dorothea Lange, Minor White and others represented the older generation—artists who had made an enormous, world-wide impact on the development of photography as a legitimate, expressive art. These photog­ raphers were personally cultivated by curators in the Museum, as were the heirs of deceased artists such as Anne Brigman, Edward Weston, Arnold Genthe and others. This policy resulted in several seminal gifts to the collection. Lange’s estate represented perhaps the most impressive of all. Although she passed away during construction of the Museum, her husband Paul Taylor honored her wishes by donating her personal archive of prints and negatives, ultimately a gift of more than thirty thousand images. In the midst of this collecting activity, California photo­ graphy in the late sixties and early seventies was under­

going a revolution in style and technique, thanks to a new generation of artists. Judy Dater, Richard Misrach, Bill Owens and Robert Heinecken among many others were in their prime, producing work that would define the art of photography in the second half of the century, much as Weston and Lange had in the first. Curators also involved these photographers in the creation of the new Museum, both by invitations to participate in exhibitions and through gifts to the collection. As important as these gifts were, donations of photo­ graphs alone could not build a collection of the scope envi­ sioned by the Museum’s founders. Where purchases became necessary, the timing was also fortunate, for pho­ tography had not yet claimed much of a presence on the fine art market. Anyone familiar with recent auction results knows that photography has finally claimed its place as a desirable and expensive art collectible. It is difficult to imagine, from this perspective, just how affordable good photography was just a couple of decades ago. This fact helped the Museum to build its collection in two ways: not only were purchases affordable, but artists and collectors had less motivation to sell, providing further incentive for donations of California photography. All of which begs the question: “What is California pho­ tography?” This deceptively simple query is precisely the issue Therese Thau Heyman faced upon arriving as the Museum’s first curator of photography in 1961, fully nine years before the building opened. Definitions seemed in order. The obvious answer: “Pictures taken in California.” But might California photography also encompass work done by photographers identified as California artists, whether taken in the state or not? (For example, Carleton Watkins’ work in Yellowstone and Oregon or Edward Weston’s photographs of Mexico). Conversely, photogra­ phers not identified as Californian often visited the state, and many have produced work of great interest (Robert Frank, Diane Arbus and William Henry Jackson spring to mind). Should these images be included? Chronology required definition as well: what time period should the collection represent? Of course this was less of an issue for photography, which had a recognizable begin­ ning, than for other arts. As Heyman wrote, “Both California and the technologies of photography . . . were in their infancies in the 1840s and 1850s.”3 She and the staff of the Museum made the decision to adopt the broadest possible definition, to cast the widest net in defining the photography of California. Visitors to museums across the country were already acquainted with the traditional presentation of matted and framed photographs on paper; in Oakland, curators expanded the meaning of photographic art to include other sorts of treasures. Daguerreotypes, albums, 21

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PHOTOGRAPHERS: A SOURCEBOOK FOR HISTORICAL RESEARCH

autochromes, cameras and darkroom equipment, panora­ mas, snapshots, photographically illustrated books and periodicals, huge negative collections, commercial photo­ graphs, the photograph “morgue” of a century-old urban newspaper, and a souvenir coffee can with a photograph by Ansel Adams—all have been collected and displayed by the Museum at various times. Further guidance for collecting was suggested by the Museum’s basic structure, with the Art Department tending to favor the work of expressive artists, and the History Department more concerned with images possessing his­ toric or documentary value. This too is fraught with ambi­ guities and value judgements. If Anne Brigman clearly falls into the “fine art” category and a carte-de-visite portrait is “historical” or documentary in nature, where then does the work of Dorothea Lange belong? Or anonymous daguerreo­ types of the California Gold Rush? Despite early protesta­ tions against being labeled an “artist,” Lange came in time to regard herself in that light; similarly, there are “documen­ tary” daguerreotypes in the collection that are quite simply as beautiful as any photographs taken in the past 160 years. These are currently fashionable lines of inquiry, which go to the heart of the age-old debate over photography’s place among the more venerable arts. The issue of bound­ aries in the discussion of photography as art and history are ambiguous, with definitions continually shifting. In gener­ al, the categories of photographic criticism and curatorial theory are much less rigid than they were twenty-five years ago when the Museum first opened (Weston was art; stereo views were not). The anonymous portrait and the commer­ cial photograph now take their place next to beautiful and meticulously crafted exhibition prints. A recent show of anonymous snapshots at the San Francisco Museum of Modern Art (closely following an exhibition of police pho­ tography!) was an indication, from a mainstream art muse­ um, that non-traditional photographic imagery is acceptable to audiences if presented in a serious manner. Such a willingness to break traditional barriers is utterly consistent with the sorts of collecting and exhibition policies adopted by the Oakland Museum twenty-five years ago.

approach to integrating photography into permanent displays of historical objects, painting and sculpture. Photographs are chosen for their importance as individual works of art, but equal weight is given to an image’s place within an artistic movement, its interpretive value in tracing aesthetic, technical and social trends, or the way in which it illustrates an artist’s development. Although displays follow a rough chronological scheme, the openness of gal­ leries and the close proximity of art from different periods encourages visitors to make connections and discover continuities in California art and history. While permanent displays call on visitors to see the “big picture,” special exhibitions offer an opportunity to exam­ ine a particular artist or period in detail. Oakland has a number of special galleries set aside for temporary exhibi­ tions, including the Oakes Gallery in the Art Department, an intimate space specifically designed for photographs and other small works. Since 1969, the Museum has an exceptional record of frequent temporary photography exhibitions covering the entire scope of photography in the state, ranging from single artist retrospectives and experi­ mental exhibitions to massive historical overviews. Such temporary exhibitions also offer an opportunity to present work, through loans, owned by private collectors and other institutions. As an example, the recent exhibition of cased images from the California Gold Rush, Silver & Gold, pre­ sented daguerreotypes and ambrotypes from more than forty-five collections across the country.

Issues of Cataloging Of course, every photograph in collections must be tracked, whether in storage, on display or on loan to other institu­ tions. Such basic information as artist, physical dimensions, precise storage location, donor and insurance value must be recorded for hundreds of thousands of photographs and kept centrally available. In the early years of the Museum, this information was kept as file cards and catalog sheets, but in the 1980s conversion to electronic records began. Funded by special grants, a massive data-entry drive accomplished the remarkable task of creating computer records for virtually all of the Museum’s collections. Partly because of its flexibility in this area, the ARGUS database was selected. Designed specifically for museums, ARGUS proved enormously flexible for a multi-disciplinary, regional museum such as Oakland. Collections from all three departments are linked but clearly demarcated in a single database, which is in turn linked to the fund-raising and membership arms of the institution. Objects are tracked from their first appearance at the Museum to their final dis­ position in collections or displays, with video images and source information such as donor meticulously tracked. From the beginning, the regional focus of the institution has guided cataloging as well as collecting policies, partic­ ularly in the thorny field of subject indexing. Computer technology has offered the tantalizing possibility of effec­ tive searches of large photographic collections based on their subject content. But what is a photograph’s subject? In the most basic sense, the objects, individuals, location, date and other physical descriptors of an image are its “subject.” But what of its value in explaining larger issues in history?

Issues of Display Having established collecting guidelines, the Museum faced issues of interpretation and display. More than most works of art or historical objects, photographic collections have precise and unique requirements for preservation. Issues of temperature, humidity and above all, light expo­ sure place severe restrictions on exhibition. The very notion of “permanent” displays of photography is controversial, as it implies long-term exposure to gallery lights. Since only a tiny fraction of the collection may be on display at any time, the problem of image rotation is usually resolved by the simple expedient of pulling a new photograph from storage. Even so, there are certain icons that are so emblem­ atic of the development of photography that a temptation exists to exhibit them more than is healthy. A partial solu­ tion in Oakland has been the installation of motion sensor lights over such popular images, which only illuminate when visitors come within a few feet of the photograph. Early on, the Oakland Museum took an innovative 22

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THE REGIONAL PHOTOGRAPHY COLLECTION

Issues of Public Access and Research The Oakland Museum of California is a public museum, supported by funds from a combination of Federal, State and City agencies as well as private foundations. The radi­ cal decline in government funding for museums in recent years has resulted in drastic staff cuts, without reducing our obligation to provide access to collections and archives. Computerized collection records have helped somewhat, by allowing visitors to search collections on their own, but this is also a mixed blessing. Easy, self-guided access to col­ lections, whether by serious scholars or the general public, gives visitors a glimpse of collections rarely if ever exhibit­ ed. Rather than reduce demands on staff, such effortless access has increased the use of collections, encouraging more publication, loans and collection research, all of which call for heavy involvement by curators and registrars. Perhaps more important, the philosophical ramifica­ tions of random public access to the complete, but unedit­ ed, collections of images, without the mediation of a curator, are just beginning to emerge. Such access calls into question old notions of the museum as Guardian of Culture, a place where one goes to find art or history or sci­ ence presented, interpreted through the eyes of connois­ seurs and experts. It looks instead toward a vision of museums as places of discovery, where one might use the evidence of collections to challenge accepted views, even those presented by the museum itself. The degree to which the Oakland Museum of California has opened its collec­ tions, welcoming this participation of new voices and ideas, provides a model for a new vision of museums in the twenty-first century. It is a vision wholly consistent with the Museum’s aims and history since 1969. A collection is (or should be) a living, breathing thing, open to new concepts but not dictated by fashions. The har­ monious blend of images from a century-and-a-half of West Coast photography housed at the Oakland Museum of California represents an epic spectrum of photographic art and history, shown in an innovative and accessible fashion. The source of the collection’s strength lies in its regional focus. From the work of the first daguerreians who came ashore at San Francisco in 1849, to the postmodern visions of artists that question the very nature of the medium, the Museum continues to collect the images that give California a unique and influential place in the history of photography.4

Its place in an artistic style or school? Its relation to the Museum’s California mission? Developing usable subject terms for such concepts required connoisseurship and a scholarly familiarity with topics in the humanities and arts as they relate to California. It also required a computer lexicon of great power and flexibility which could adapt to the special concerns of a regional museum. To help develop such a lexicon, outside scholars from various disciplines were brought into the Museum to give advice regarding current thought on topics in California studies, the arts and humanities. Subject terms developed from these meetings were then entered into records to describe images in the collection. Subject indexing is a massive and ongoing project, to a large extent imperfectly implemented, but which has increased intellectual access to collections in a way unthinkable a decade ago. It is now possible to search photographic archives such as the Dorothea Lange Collection, creating lists (with video images) in a matter of minutes.

Issues of Storage and Conservation Because only a fraction of collections are exhibited at any given time, proper storage is a primary concern. Photographic collections present a bewildering array of antique and obsolete processes, each with unique preserva­ tion needs. Photographs are usually flat and require less space for storage, but such collections tend to contain a large number of items. In Oakland, the great majority of exhibitable photographs on paper are kept unframed, boxed in flat storage. Most are matted, although large collections, such as work prints, are filed in Mylar sleeves. Framed works are kept vertical in sliding racks, which allows storage of the largest possible number of photographs in the small­ est possible space. Temperature and humidity are carefully controlled in storage areas, as in exhibition spaces. Negative collections offer special challenges for storage and access. Glass negatives face obvious dangers, particu­ larly in earthquake country, which are compounded by their sheer weight. Storage cabinets for collections such as Andrew J. Russell’s collodion negatives are carefully anchored to concrete floors, with special latches to prevent accidental opening. Although more recent, film negatives can actually deteriorate far more rapidly than glass, due to “inherent vice” (a conservator’s term), which causes them to decompose from within. The instability and combust­ ibility of nitrate negatives is well publicized, sometimes to the detriment of later, less stable acetate negative collec­ tions. The Oakland Museum of California is implementing a grant for refrigerated storage of nitrate negatives, a process which has proven far more complex than imag­ ined. Besides the technical challenges of maintaining on-site accessibility to negatives while controlling tem­ perature and humidity, the Museum faces a thicket of complicated fire codes designed to ensure safety from a potentially toxic collection. Although early safety films made of acetate do not pose such a fire danger, they tend to be even less stable than nitrate films, their base subject to alarming shrinking which cracks and shrivels the emulsion.

Notes 1. In order to reinforce its identity as “the Museum of California,” not just a city museum, the institution’s name was recently changed to “Oakland Museum of California.” 2. Paul Mills, quoted in The Art of California: Selected Works from the Collection of the Oakland Museum, Christina Orr-Cahall, edi­ tor, (Oakland: The Oakland Museum Art Department and Chronicle Books), 1984, pp. 9–10. 3. Therese Thau Heyman, “California Prints, Photographs and Drawings,” from Orr-Cahall, The Art of California, p. 24. 4. 1849 is the earliest known presence of daguerreians. It seems unlikely that no daguerreotype artists visited California before the Gold Rush, but years of research by Peter Palmquist and others has failed to discover irrefutable evidence of prior visits. 23

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Tintype, c. 1865. Collection of Jeremy Rowe.

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Copyrights and Other Rights

Jeremy Rowe

The Image Market The control of photographs and other visual resources is a vital concern for both private and public collections. Questions and issues of ownership and the rights to use and reproduce images are complex. The answers depend on many factors, including the circumstances of acquisi­ tion, age of the image, provenance, and the status of the previous owner. As the market for images continues to grow, it is important to understand the changing legal and technological environment in which researchers, collectors, curators, and publishers must work. The interest in historic images—and their value—has grown remarkably as a result of film documentaries, the awareness of the fine arts market, and the voracious appetite of multimedia. Digital media, including CDROMs, Internet, and the World Wide Web, and the ease of reproducing, retouching and distributing material, have further fueled the demand. The total market for all photographs is now estimated at a billion dollars per year, and historic images represent a rapidly expanding share. The high demand and prospects for profit have led to the creation of companies that deal in stock images. Some of these large agencies such as the Bettmann Archive, Liaison, and Digital Stock, have merged into huge consortiums. Corbis [http://www.corbis.com], operated by Bill Gates, controls the Bettmann Archive, Ansel Adams collection and electronic rights for museum collections including those of The Hermitage. Corbis aggressively acquires and markets both contemporary and historic visual materials. Getty Images [http://www.gettyimages.com/] is operated by oil company heir, Mark Getty. Other potential forces in the stock photography market are museums, educational institutions, private and public collections, and companies with access to images, such as auction houses. With the increased awareness of the value of collections, many public institutions face the dilemma of providing access, while retaining some level of control. Administrators are changing their policies, and many are creating and marketing their own stock collections or forming cooperatives. One example is the Museum Digital Licensing Collective, Inc. which includes the Amon Carter Museum, The Historical Society of Washington, DC, and The New York Public Library. By coordinating their efforts, these groups not only improve the level of control over their resources, but provide greater public access to collec­ tions with digital and computer systems. Private individuals, photograph dealers, and auction houses have begun to create their own stock collections, and are becoming more aggressive in monitoring uses and in demanding royalty, permission, and use fees. Digital technology has brought about an urgent need for

copy protection and water-marking software. Companies such as Digimarc provide methods to encode ownership information in digital images, and to track their use on the Internet and in print. New programs are being developed that permit copyright holders to bill those who view, download, and use digital images. One result of the growing market is an increase in the fees charged for reproduction and use. The large stock agencies have raised their prices and many private and public institutions followed suit. Charges at the present time vary from a few dollars to $200 or more per image. Fees are kept low in some cases because images may be obtained in numerous places, and copies of historical images can be found in many collections. The fees also tend to be lower for contemporary commercial photography. Nevertheless, academic publishers and scholars who were previously granted free or reduced rates by many collections, now face significant charges and commercial-style contracts. This has placed a greater financial strain on authors and researchers as well, who may be required to provide pho­ tographs to their publishers along with their manuscripts. Because historic images are a limited resource, the growth of the market is inevitable and fees probably will continue to escalate as the entire system becomes ever more complex.

Background: Copyright and Ownership For years, many authors used libraries and archives as sources of images to illustrate their articles and texts. Typically, they would visit an institution, browse and select photographs, then order copies for publication. The costs often included the production of a negative and print. Occasionally the institution charged a fee for non­ academic publications or commercial uses. They usually required a credit line to indicate the source of the image, and sometimes a copy of the published article or book. Rarely was any attention paid to the context of the intended use or accuracy of presentation of the image, and few controls were in place to follow up on the image or its future uses. Today, however, researchers and authors face a daunt­ ing task when seeking illustrations, and must address chal­ lenging questions such as the following: • What rights do you obtain when you purchase or acquire a

photograph? If you have a physical copy in hand, can you copy it and use it for your own private or commercial uses? • Can you restrict others from reproducing the image from

their original copies?

• Can you sell copies of the photograph for others to use? • Can you display the image in your office reception room or

public space?

25

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PHOTOGRAPHERS: A SOURCEBOOK FOR HISTORICAL RESEARCH

Can you post a scanned copy on your Web page or as part of an electronic publication? Can you continue to use copies after you sell the original image?

outlined in the Digital Millennium Copyright Act that, if successful, would return everything to the 1976 calendar. Once a work is created and fixed in a tangible form such as a photographic image, copyright law assigns several important rights to the copyright holder. They may permit or restrict the following:

If you sell or buy an image through an auction or on consignment, do you or the auction house control future publication of the image? Several factors are involved in determining ownership of a photograph, including copyright law, the ownership status of the seller or donor, and the rights that are trans­ ferred as a result of sale or gift. Copyright and intellectual property law has the greatest potential impact. These laws vary from country to country; those in effect in the United States will be considered here. United States copyright laws apply to tangible, fixed works, such as photographs, and assigns ownership to the creator, or to the hiring agent in specific cases defined as“work for hire.” The duration of ownership depends on the age of the image and the copyright laws that were in effect when the image was created (see table at http://www.library.yale.edu/~okerson/pubdomain.html). An important factor in determining the length of time a work is protected is whether or not it was published. Until recently, copyright assigned ownership for a finite time, and barring unusual circumstances, extended for a maxi­ mum of 75 years for items created and published before the 1976 revision. Material originally created and published after 1976 is copyright protected for the life of the creator plus 50 years. Unpublished materials, such as diaries and family snapshots, were protected for the life of the creator plus 50 years. Congress delayed initial implementation of this provision, however. Under the copyright revision that took effect in 1978, the copyright holder of unpublished material was given control of use until 2003 regardless of the original creation date. After the time specified under copyright law, ownership control lapses, and the item enters the public domain; the original creator or copyright holder has little or no legal right to control its subsequent use. Copyright notices are no longer required, but in works published before 1986 the failure to include it or the use of an incorrect notice potentially shortens the protection period. Such materials may have fallen out of the control of the copyright holder. This creates yet another category of public domain as a potential resource for researchers and publishers. The Digital Millennium Copyright Act, passed October 1998, has changed public domain timelines and is an excel­ lent example of the shifting legal environment. The act was strongly supported by businesses such as Walt Disney Productions, and the estates of creative individuals such as the Gershwins, whose valuable property would soon enter the public domain. Under this law, a twenty-year moratori­ um is established, and only material published prior to January 1923 will lose copyright protection. Thus, no new material will enter the public domain until 2018. The impact on unpublished work is unclear, since the act does not specifically address such material. A further compli­ cation is a recent legal challenge to the extension of protection

1. Copying or reproducing the work (such as print or electronic reproduction of a photograph);

2. Preparing derivative works (such as scanning to create

a digital copy of a photograph);

3. Distributing or marketing copies of the work (such as posting a digital copy on the Internet, selling posters,

postcards, or copy prints of the image);

4. Publicly displaying the work (such as in museum or gallery).

Each of these four rights is separate and the copyright holder may permit or restrict others from using the materi­ al in any or all of these ways. In addition, they may retain, assign, or license each of the rights listed below, in whole or part, to another party: • License a single right, such as reproduction for publication,

or involve all aspects of copyright ownership for a given work. • Restrict use to a single instance, such as one print edition, or unlimited use, such as permitting unlimited print and electronic reproduction. • Grant rights for a finite or unrestricted period of time. Obtaining permission can be a complex and sometimes frustrating process, particularly if any or all of the rights have been transferred to another party. There is no central repository of information about the rights held or trans­ ferred, and in many cases extensive research may be neces­ sary to locate the owner of the copyright. In addition, there is no requirement for the copyright holder to grant permis­ sions or to respond to requests. Failure of the copyright holder to respond does not imply permission. There is one exception to the requirement to obtain per­ mission of the copyright holder for any of the four cate­ gories of uses outlined above, defined as fair use. The fair use exemption permits some types of use, such as in edu­ cation and reporting (see 17 USC Sec. 107). One of the key factors in determining fair use is the potential impact on the marketability of the item in ques­ tion. In the digital environment, building a case for fair use is troublesome because of the ease of duplication of files, and the difficulty in controlling it. Digitizing a photograph creates a derivative work, a right not addressed under fair use, and requires permission of the copyright holder. Obviously, any digital posting on CD-ROM or the World Wide Web will affect the market for the work. Unfortunately the laws and policies change much slow­ er than technology. Most were established long before the advent of Internet and digital imaging, and are still grap­ pling with issues related to past developments such as pho­ tocopying and video. Recently, however, international agreements have addressed the problems, and congress 26

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COPYRIGHTS AND OTHER RIGHTS

has moved to amend and update copyright law. Researchers should be aware of the changes, and periodi­ cally monitor the revisions.

copyright policies under the World International Property Organization (WIPO). The concept of moral rights varies significantly across countries. In general, they transcend the assignable copyrights and address the ability of the author or creator to claim ownership and object to distor­ tion, mutilation, modification, or derogatory action related to their honor or reputation. Some countries such as France, include the right of retraction—the authority to remove the work from public view. Another issue currently in flux is the right of publicity, and the use of the likeness of recognizable personalities such as Charlie Chaplin, W. C. Fields, James Dean, as well as unauthorized pictures of private individuals. Strong lob­ bying, particularly by the entertainment industry and estates of prominent people, has led to increasing control of the use of photographs by individuals and their estates. Again, even though you own an original copy of a photo­ graph, the right of publicity may limit your ability to use the image in other ways without obtaining permission from the subject. An interesting variation of individual control of their likeness has arisen in Hopi Tribal Resolution H-70-94 (adopted May 23, 1994) and policy documents from the Hopi Cultural Preservation office. Under the Native American Graves Protection and Repatriation Act (NAG­ PRA), the Hopi demand that archival records, including field notes, audio tapes, videotapes, (and) photographs; which describe and depict esoteric ritual, ceremonial, and religious knowledge, be placed under restriction by muse­ ums and other repositories for public access and hereby are declared to be the cultural property of the Hopi people. The Hopi seek to limit exploitation of their culture and beliefs by controlling access to collateral materials such as photographs. The tribe has worked for years with local museums and public collections to educate archivists and assist in identifying sensitive materials whose access and use should, in their view, be restricted. The interesting factor is the claim of a broader moral right to control access, instead of the trail of ownership upon which copyright is based. Case law which addresses moral rights and rights of publicity is relatively sparse, so legal interpretations are the primary guide to decisions concerning liability and the potential risks of using non-public domain photographs and images of individuals. The pace of change in copyright and intellectual proper­ ty issues has increased dramatically with the advent of scanners, digital reproduction, and the Internet. The Internet evolved as a tool for education and research. Since its recent transition from a non-profit educational entity to a commercial media, its tone now emphasizes ownership and control. Other factors that are affecting the rate of change in copyright licensing and use include:

Application: How Copyright Affects Photographic Researchers Virtually all original prints of historical photographs pub­ lished before January 1923 are now in the public domain. This means that anyone possessing an original image pro­ duced before that date can copy, prepare derivative works, distribute, or display the photograph without obtaining permission. The most common method of controlling reproduction is limiting access to the original photograph. Access and use of unpublished materials or those creat­ ed after January 1923 can be much more complex, since each of the four rights of the copyright holder can be con­ trolled separately. For example, it is possible to acquire a physical print of an image through purchase or gift, with­ out obtaining any other rights to the image. The copyright holder may retain any or all of the supplemental rights associated with subsequent use of the work. Copyright has little impact on reproduction of historical images from public or private collections if they are in the public domain, despite the many policies and release forms involved. Here, too, control is maintained by limited access. Savvy collections have begun to indicate in their release forms and reproduction contracts that they only provide access, and in no way warrant copyright permis­ sion. The researcher or publisher is held responsible for researching copyright status, and for obtaining the neces­ sary licenses and permissions. Many photographers and artists and their estates—such as those of Ansel Adams, Edward Weston, Georgia O’Keefe, Dorothea Lange—retain the rights to their images, and have begun to aggressively protect them. However, some of the work done for the federal government—the Farm Security Administration or National Parks Service, for example—may be governed by the agency policies and is not under the control of the individ­ ual or their estate. Government collections such as the National Archives hold materials produced under contract and typically include assignment of rights to government entities. Reproduction for print is relatively straightfor­ ward, and other than using frequently reproduced collec­ tions, raise few concerns for older, public domain material. Recently, however, some subcontractors have begun to grant the government agency permissions for specific use only, and retain other ownership rights. Electronic access to government collections, such as the Library of Congress American Memory project may involve addressing the ownership claims of the subcon­ tractors. Those who created the digital derivative works by scanning and structuring the image collections may retain some ownership rights. The issue of ownership of deriva­ tive works has yet to play out in the courts, but appears to hinge on the level of creative input in digitizing projects, as well as project contracts. Moral rights extend beyond the life of the creator and are becoming a more important factor in use of photo­ graphs, as the U.S. and other countries coordinate their

• The entry of Microsoft and Corbis into the field of digital

image licensing. • Enhanced tracking and reporting capabilities of water­

marking software and related services.

• Increasing marketplace for licensing and use of images. • Aggressive efforts of publishers and producers in the

review and recommended revision of copyright law, and 27

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PHOTOGRAPHERS: A SOURCEBOOK FOR HISTORICAL RESEARCH

U. S. participation in international copyright and intellectual property treaties.

• Ease of digital copying and distribution and the potential for loss of revenue, attribution, and subsequent control of uses once material has been posted without permission.

As fees continue to rise and the legal issues become more complicated, many scholars find it advantageous to acquire original images in their area of interest. When this involves private sources or auction, it is important to ask what policies affect the transfer of ownership, particularly for images less than 75 years old or unpublished material. Relevant questions include:

Recommendations Researching the copyright status of a photograph intended for publication is a vital part of the project. Currently, the process for print is less complex than for electronic publica­ tion. Some of the steps are listed below: Identify the intended uses as completely as possible. Specify whether the material will be printed or distributed electronically; if it is for an academic journal or for-profit publisher; the size of print run, etc. Will supplemental materials such as video or CD-ROM, or on-line presenta­ tion be a component of the project? Identify the warrants and permissions made by the col­ lection, and whether they provide access to the image, copyright permissions, or both. Donor or gift stipulations that may limit use should be noted for materials protected by copyright, such as photographs created after January 1, 1923, or unpublished images. If necessary, obtain contact information for, and permissions from parties who may have an ownership claim to the images before publication. Check the current length of Copyright duration and the date for public domain status. Determine whether the material was published prior to 1978. If not, copyright pro­ tection may extend until at least 2003 or the life of the cre­ ator plus fifty years, whichever is longest. If the material was not published, use will probably require permission from the copyright holder. Note whether the image is from an original print or copy print. Many collections have been built on copy prints from other collections. Rarely are reproduction rights transferred along with the copy print. Reproduction from published material may also involve the additional copyright claim of the author or publisher. Whenever pos­ sible, for reasons of both ownership and reproduction quality, locate and work with an original print rather than a copy. Determine if the work was created by a well-known pho­ tographer or publisher. If so, the photographer, estate, or designee may retain ownership of some or all rights needed for publication. Also, materials created in other countries may be more heavily influenced by moral rights, potential­ ly limiting some uses without additional permissions. Identify any fees for duplication and reproduction that are associated with the intended use. Also, note whether copies of the publication are required by the collection. Identify necessary credits and insure that they are included throughout the reproduction and publication process. Get all agreements and stipulations in writing from collections and copyright holders. Many publishers now require verification of permissions, such as reproduction, display or other rights that are involved in a given project. For your protection, maintain a file of correspondence related to your research, including written permissions and fees paid.

• What ownership rights reside in the image? • Who controls any subsidiary rights not associated with

the sale? • Are any ownership rights transferred to the purchaser, or

is only the physical copy of the image involved? • What rights are transferred and what rights, if any are

retained, if an auction or dealer is involved? For example, do they retain any rights to reproduce images? Historical photographs have become a valuable resource for individuals and private and public collections. Hope­ fully, this essay will promote a general awareness and act as a catalyst for action to clarify policies and action to influ­ ence the changing copyright and ownership environment.

PROBLEMS, DISCUSSION AND SOLUTIONS 1. The Curator’s Nightmare As a curator of an institution, you have just completed an exhibition addressing the early settlement of your local area. The signature photograph of the exhibition is a unique daguerreotype from the institution’s collection. The daguerreotype was used to illustrate the exhibition’s cata­ logue and in the solicitation literature for a campaign to attract donations for a new building. As you are driving to a fund-raising event, you notice a billboard for a nationally advertised soft drink which uses the institution’s daguerreotype image to show community pioneers imbibing the soda pop. The daguerreotype has been altered and some individuals eliminated from the image, and of course, no credit is given to the institution. What is your recourse? The issues are: 1. What rights does the institution have over the reproduction of the daguerreotype? 2. What restrictions, if any, apply to the reproduction of the daguerreotype image by the owner, its agents or assigns, or third parties with no ownership interest in the daguerreotype? Discussion: 1. Unless the institution purchased the daguerreotype under a reservation of rights from a prior owner, it holds the right to reproduce the daguerreotype itself. This is a property right. The institution also holds the right to restrict the use of reproductions of the daguerreotype by third parties. This is a privilege of the property owner that can be exercised through the law of contracts. Assuming the daguerreotype was made prior to January 1, 1923, and was “published” prior to that year, the institution does not hold the “copyright” to the daguerreotype. When the copyright term ends, a creative work such as a 28

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COPYRIGHTS AND OTHER RIGHTS

f. Payment, including monetary and/or copies of the finished product; g. Permitted length of use; h. Contact information to obtain permission for any

additional uses;

i. Transfer restrictions regarding third-party use.

daguerreotype enters the “public domain” allowing any­ one to copy the original without restriction. Therefore, if the daguerreotype was made before January 1, 1923, and was published prior to that time, it is in the public domain and anyone owning a copy of the daguerreotype, or rights to reproduce the image that pre­ dates its acquisition by the institution, could give the soft drink company the right to use the image. However, if the daguerreotype was never “published,” i.e., reproduced and distributed, it may be protected as an unpublished work until at least 2003 under the Digital Millennium Copyright Act. The duration of this protection will be clarified as the legislation is interpreted by case law.

Realistically, a written agreement cannot prevent all unauthorized use, because it is difficult to follow the trail of photographs as they wind through production companies and advertising agencies. The greater the scope of restric­ tions, the more time required to monitor the photographs and the more reluctant a producer may be to use them.

2. If the reproduction of the daguerreotype used by the soft drink company was made from a copy made by the institution or a prior owner and the copy had been deliv­ ered to a third party with contract restrictions, then the soft drink company would be subject to those restrictions even though the copy was in the public domain under copyright law. When a copy of an image is made avail­ able, conditions of use such as permission for reproduc­ tion, commercial use and credits required, and any editorial restrictions such as limitations to cropping or captions, must be clearly stated.

3. Auction Purchase You have purchased a photograph for your collection from an auction house. A few months later you are pleased to find an article providing new information about the pho­ tographer. Your photograph is used to illustrate the article, but the ownership is attributed to the auction house and not to the consignor nor to you, the purchaser. When you call the auction house for an explanation, they inform you that they operate a stock photography service and routinely retain and sell reproduction rights to photographs they sell at auction. Discussion: Copyright considerations as discussed in“The Curator’s Nightmare” above pertain to this question. If the photo­ graph was made and published after January 1, 1923, or was unpublished, you may have acquired the image but not the reproduction, use, or other rights. The creator may still retain copyright control over the image and can control use and authorize others to reproduce the image. If the auction company operates a stock business and obtains permission from the consignor or, if appropriate, from the copyright holder to use the photograph for publicity and advertising or for stock use, there is little you can do to restrict such use. If reproduction rights are an issue, you should ask about future uses of the photograph before bidding. As the mar­ ket demand for photographs continues to grow, the market­ ing of reproduction rights will become more enticing.

2. A Collector’s Temptation As a private collector, you are flattered when a major film company calls you about the development of a historical documentary that might include photographs in your collec­ tion. They have heard of your collection and expertise and would like to discuss their project with you. At the meeting they select several photographs from your collection and state that you will be prominently included in the credits and will receive a videotape copy of the film when it is com­ pleted. You provide them with background information about the photographs, allow them to videotape them, and provide several slides in case they are needed. A few months later you see a promotional brochure for the film with one of your photographs on the cover with no attribution to you. In addition, the photograph has been used in a way that is his­ torically inaccurate and ignores your research.

4. Historical Society Use To fill gaps in the collection of your local historical society, you make copies of your photographs for them. You receive a letter of thanks from the outgoing society presi­ dent. Later that year, you receive a solicitation to buy a cal­ ender from the society. Your images are prominently used to illustrate the calendar, but they are credited to the society’s collection. To make matters worse, their collection is absorbed by a state agency and your images now appear on their Web page and include strict warnings not to copy or use them without permission. Your name and your asso­ ciation with the material are nowhere to be found.

Discussion: With no written agreement, you have little or no recourse against the production company. Although oral agree­ ments are enforceable, your case is difficult to prove with­ out a written contract, and invites much greater loss than the use of your photograph. If control of your photographs is important, a written agreement is essential and must include the following:

a. Description of each photograph; b. Formats in which each photograph may be used, such as print, video, world wide web, etc.; c. Permitted use in derivative media, such as advertising,

promotion, etc.;

d. Limitations, such as number of uses, editorial consider­

ations such as cropping, etc.;

e. Required acknowledgments or credits;

Discussion: Without a written agreement restricting use, there is noth­ ing you can do about the use of your photographs in the society’s calendar. Regarding the use by the state agency, you can inform 29

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PHOTOGRAPHERS: A SOURCEBOOK FOR HISTORICAL RESEARCH

the agency of your claim of rights in the photographs and request that the images be correctly credited or removed, but you are at the mercy of the new director and staff for resolving the issue. Without a written agreement restrict­ ing use, you cannot require the state agency to withdraw your images from their web page. If you want to control use of your donations to an insti­ tution, you must have a written agreement such as that discussed above in “A Collector’s Temptation.” In addi­ tion, you should clearly mark each image with your iden­ tity as the source. Marking can include stamped ID on the reverse, credit line in the photo, electronic water marking, or other methods. Some circumstances may dictate pro­ viding a lower quality copy such as a photocopy or low resolution scan to limit possible uses to research and not reproduction.

Your publisher sends a contract that requires you to warrant that you have appropriate permissions and clear­ ances for all of the images submitted with the manuscript. Discussion: What do you need to do before you can commit to the publisher’s contract?

a. Virtually all creative works published before January 1, 1923, are in the public domain and therefore have little or no limitations on reproduction rights. Unpublished materi­ als may still be protected under the digital Millennium Copyright Act or common law copyright and such use will be based on practical considerations determined in discus­ sions with the publisher. For example, an anonymous carte-de-visite portrait found at a flea market would be extremely unlikely to cause a problem under common law copyright theory. b. The FSA materials were produced after 1923, but were made under contract to the government that allows free use of any of its photographs. Reproduction from original prints in an institution or with permission from a source such as the Library of Congress or National Archives will likely be a matter of filling out forms and paying a modest copying fee. However, if the images were not made under the federal contract, permission of the copyright holder would be needed for the publication. c. In the case of Ansel Adams images or those of other photog­ raphers made after 1923, permission from the copyright holder would be required to meet your publisher’s require­ ments for your manuscript.

5. A History Book You are working on a book that documents the history of your town, and intend to illustrate it with photographs. You plan to use the following images: a. Historic post cards and photographs taken by local photog­ raphers between 1870 and 1920. The sources of these images are your collection and public archives; b. Views of building facades taken by Walker Evans and Arthur Rothstein while they worked for the Farm Security Administration. These images are available by copying vintage prints owned by the local museum; c. Scenic views of the area taken by Ansel Adams from origi­ nal prints in your collection.

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31

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Female photographic retoucher at work, photographer unknown, c. 1880. Copy print from the collection of Peter E. Palmquist.

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Women in Photography International Archive Peter E. Palmquist

The Women in Photography International Archive is a grassroots, research-oriented agency located in Arcata, California. Its stated goals are to identify, collect, preserve, and disseminate information about women photographers. This material has been gathered without a predetermined bias for one particular type of photography and encom­ passes work by commercial and amateur photographers, fine art and performance photographers, photo-journalists, feminist image makers, and film makers. Photo-related activities and professions are also tracked, and include stu­ dio bookkeepers, retouchers and colorists, Kodak finishers, camera clerks and others. Indexing of the collection’s resources is ongoing, and a limited publishing program is planned. Eventually, it is hoped that the WIP Archive will become part of a major research institution to continue in perpetuity. Ambitious? Yes! This ambition becomes more remark­ able when you consider the modest beginnings of the WIP Archive, and its steady growth without either financial or institutional support. It is also remarkable that this archive devoted to women, is operated by a man. How did the archive begin? I have been a professional photographer since 1954. In 1971 I went into a local antique store where I was asked: “What do you collect?” “Nothing,” I replied. Undaunted, the owner asked me about my occupation, then proclaimed that as a photogra­ pher I “should collect old photographs.” I was soon hooked, not only on collecting images, but also on learning the history of photography itself. I wrote several essays on photographers and tackled my first book, a monograph on A. W. Ericson (1848–1927), a male photographer who had been active in my area. This was followed by a study of Emma B. Freeman (1880–1928), who photographed the local Native Americans in a roman­ tic style in the years 1910–1920, and resulted in the publica­ tion of With Nature’s Children (1976). This fascinating (and challenging) experience led me to investigate women pho­ tographers as a special subject. The task of separating the photographs (and related data) of women photographers from my overall collection of more than 150,000 images took longer than a year. However, by 1994 this material had become the heart of the Women in Photography International Archive.

ings, interviews and referrals, etc. I seek resumes and artis­ tic statements from living photographers wherever possi­ ble. Filing, as you might imagine, is a nearly endless task. One of the major problems is deciding if a particular name belongs to a woman or a man. “Shirley” or “Sidney,” for instance, could be either. If “Joe” seems male, then “Jo” should be female but this is not always the case. This is unbelievably more difficult when the name is written in Japanese or Arabic! I am sometimes criticized for closely tracking a woman’s marital status, yet it is one of the best indicators of gender, especially in cases where the woman is only identified as Mrs. Charles Smith, for example. If I learn that her name was also Mary Jane Smith, I file her under both names and cross-reference them. The Women in Photography International Archive is continuously seeking information about women photogra­ phers past and present. Biographical profiles, professional vitae, advertising items, exhibition announcements and reviews, newspaper clippings and promotional pieces are always welcome. This diverse data is collected in manila files, labeled A–Z. When a file becomes too overloaded, I carefully re­ organize it and have the contents hardbound as a book. Summarizing biographical information remains a huge and daunting task. It has already taken me nearly four years to enter each woman’s name into the computer and I have only just reached the letter “K.” I have also tried to create a biographical statement for each woman and to this end, have nearly finished the “A” and “B” groupings (approximately 3,500 entries). Thus, at any given moment, information organization will be at varying degrees of completeness. Thus far, I have been unable to find the time needed to tackle cross-indexing by topic such as “photo­ journalist” or “left-handedness.” The long term goal, natu­ rally, is to bring all information on-line in a searchable database. II. General information—approximately 2,600 books and 5,000 articles by and about women photographers. Collecting the literature field has been an education in itself. Books focused on women photographers are scarce; they were often produced regionally, were generally pub­ lished in small numbers, and many were self-published. A surprising number of early women travel writers were also amateur photographers who provided their own book illustrations, thus creating a special category of travel books. Each book is catalogued and organized by date (the most recent book first) under the photographer’s name. Small paperback catalogues and publications are housed in an archival enclosure and spine-labeled. Articles have also proven to be a goldmine of information about women pho­

Current Resources: I. Biographical files—nearly 27,000. Access and organization begins with the woman’s name. These names are gathered in the widest way possi­ ble: from periodical sources and local newspaper accounts, from other researchers’ listings and business directory list­ 33

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PHOTOGRAPHERS: A SOURCEBOOK FOR HISTORICAL RESEARCH

tographers and have been avidly collected. The most frag­ ile publications are stored in archival boxes.

resources to maintain large and vital holdings of promi­ nent photographers. As time passes, I can look back at some of the completed tasks that grew out of my interest in tracking women pho­ tographers. A brief rundown of these projects may be use­ ful in helping the reader assess the effectiveness and overall scope of the WIP Archive generally (see also the Appendix at the end of this essay.):

III. Ephemeral archive objects concerning women photographers—approximately 10,000 items. This is another very important part of the collection: business cards, correspondence, exhibition announce­ ments, and other useful objects that might generally be abused are kept in manila pocket files or Mylar sleeves, and all are housed in archival boxes. These also tend to be items that might one day be considered for exhibition.

1. Monographs and catalogues: Camera and Brush (1976)

Catharine Weed Barnes Ward: Pioneer Advocate for Women

in Photography (1992) Elizabeth Fleischmann: Pioneer X-Ray Photographer (1990) Louise E. Halsey: An American Pictorialist (1985) With Nature’s Children: Emma B. Freeman (1880–1928)

IV. Vintage Photographs by Women—approximately 12,000. While the collection contains relatively few “big name” photographs, it is particularly rich in the historical ele­ ments of the craft—areas that are generally ignored in tra­ ditional fine art collections. There are daguerreotypes and ambrotypes by women, prints in all formats, and more than 600 carte-de-visite images by Swedish women pho­ tographers dated 1860–1920. Approximately half of all the original images were taken before 1910. It has been espe­ cially gratifying to discover the uniformly high quality of work done by women during the entire span of photogra­ phy, since this is traditionally considered a male-dominated profession. All vintage photographs are carefully stored in clear Mylar sleeves and acid-free boxes. It should be noted that women photographers working today will continue to enjoy all legal rights to the creative works they donate to the WIP Archive. Finally, I have also collected a consider­ able number of photographs of women, from the daguer­ reian era to current times. Many of these were taken by men, or the photographer is unknown.

2. Projects resulting in publications: Women Photographers: A Selection of Images from the Women in Photography International Archive (1997). This project provided an opportunity to survey the vin­ tage photographs in the collection, make a selection, and publish them with nearly 90 new biographies. A Bibliography of Writings By and About Women in Photo­ graphy 1850–1990 (2nd edition, 1994). Also, Camera Fiends and Kodak Girls I (1989) and Camera Fiends and Kodak Girls II (1995). These publications represent a long-standing effort to capture periodical writings by and about women pho­ tographers. The bibliography has source data for approximately 3,000 women. The Camera Fiends and Kodak Girls series reprints 110 of the more choice essays in context. The project continues to evolve, with the third edition of the bibliography still in computer. It is approximately fifty percent larger than the published version, but is not indexed.

Facilities and Access The WIP Archive is housed in a variety of small archives at my home. However, there is also a somewhat larger library/reading room where researchers can work by appointment. Staffing consists of a half-time curator (me), one intern, and two or three volunteers. The archive can be visited by appointment: telephone and e-mail access is available, but postal requests are best. Once a year—usually in December—I produce a hard­ bound summary of each of the following resources: 1) Current status of biographical entries; 2) Up-to-date listing of catalogued books; 3) Chronological summary of all arti­ cles dealing with women photographers before l990. These books may be found at the International Museum of Photography, Rochester, New York; National Museum of Women in the Arts, Washington, DC; The Beinecke Library, Yale University, New Haven, Connecticut; and The Bancroft Library, University of California, Berkeley. How good is the WIP Collection? The Women in Photography International Archive is probably the very first place to check for details on any obscure woman pho­ tographer, or for information with a regional context. However, the archive is not a substitute for more major archives, such as the Center for Creative Photography, in Tucson, Arizona, which has both the physical and financial

Shadowcatchers: A Directory of Women in California Photography Before 1901 (Vol. I, 1990, and Vol. 2, 1991) Represents nearly fifteen years of investigation into the women photographers in California—approximately 850 for the nineteenth century and 1,065 for the first two decades of this century. Volume III, covering the period 1920–1940, is still in note form in a five-drawer filing cabinet. 3. Current Projects: A Monograph on Laura Adams Armer. “Journey into the WIP Archive.” Project will review, and generate new essays about books in the WIP collection published before 1950. Publication planned for early 1999. “IN/SITE: The Women Photographers of Humboldt County, California, 1850–2000.” 34

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WOMEN IN PHOTOGRAPHY INTERNATIONAL ARCHIVE

A comprehensive study; major aims: 1) to complete the Archive’s task of gathering all available information on women photographers; 2) to interpret and celebrate their contributions. All aspects of photography will be included. An exhibition of selected works and publica­ tion of a detailed record of the study are planned.

I feel that the answers to these questions will be positive only if the present work goes forward in perpetuity. At age 62, I can look forward to continued stewardship for only a few years more before the WIP archive must be handed to others. Ideally, the Women in Photography International Archive will go to an institution that will actively continue to pursue the subject, and who will make the collection widely available. This will probably be an educational institution on the East Coast, primarily because larger numbers of students in the corridor running from Boston to Washington, DC, would have access to the collection. Your thoughts on the matter are most welcome. In the meantime, I encourage you to continue to send information on women photographers to the WIP archive.

In conclusion, I must say there is no conclusion. The work of the archive will never be finished and will never be complete. The past continues to be investigated and new names come to light every day. New photographers are arriving on the scene in remarkable numbers; their stories must also be told and their products collected as well. Am I pleased with the results so far? What of the future?

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www.city-gallery.com ~ est. 1995 ~ Detail from the City Gallery web page.

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City Gallery

Research in the Twenty-First Century Steve Knoblock unexpected results. I found answers to some of my ques­ tions on identifying and dating antique photographs in the reference section. I was surprised to see Mangold listed in Eskind’s Index to American Photographic Collections and Edwards’ International Guide to Nineteenth Century Photographers and Their Works. Then I learned that he was a publisher of stereographic views, that several of his views were available in the International Museum of Photography collection, and hundreds of his photographs still existed. I might some day see more of his photographs! I wrote to the museum and received helpful advice and some reprints of Mangold’s views. They welcomed my genealogical information on Mangold, and I was delighted and surprised that this man who had made our family photographs was highly regarded by museums. As I continued my research, I combed through old photographs at antique shows and flea markets, looking for Mangold images, family or otherwise. There were plenty of nineteenth century images to be found, and I was both sad and angry that so many people just discard­ ed them. It may be frustrating to deal with an album full of unidentified images, but they are priceless records of one’s family and should be preserved. I had initially found a wealth of information, but it was increasingly difficult to obtain more, especially in dating the photographs and determining their type. Eventually I discovered that much of the material was in books that were out of print or somewhat obscure, and not readily available. It occurred to me that genealogical methods might be important tools for researching an historic photographer. Perhaps I could find cousins who might have other family photographs, and as a side-line, I might be able to rescue old photographs and encourage others to do the same. Because of my familiarity with computer technology, I began to think about creating an on-line bulletin board system featuring genealogy and photography. During the summer, I worked to develop material and software for the system, and named it City Gallery, after the name of Mangold’s studio in Daikon, Illinois. One big drawback of the system, however, was the potential cost to users; every connection would incur a long-distance charge. When I heard of the Internet in 1994, the World Wide Web seemed like the perfect method for the City Gallery project. There were other major advantages to using the web, aside from very low costs. Graphic display and the prom­ ise of multimedia—impractical or impossible on the bul­ letin board system—were basic components of the web. I decided to make the Mangold photographs a significant element of my site. People might be interested in seeing

Part 1: Catching Ancestors on the Web The faces of my ancestors fascinated me. Several dozen cartes-de-visite and cabinet cards had been handed down from my great-great grandmother, Susan (Mangold) Barnum, and when I first saw them in 1980, I made 35mm copies for my parents. But years passed before I took the time to find out more about them. Who would guess that those elegant old images would start me on a journey that would lead to an electronic research project known by the old-fashioned name, City Gallery? My interest in the old family photographs was rekin­ dled by my parents in 1995. I discovered that most of the images were made by my great-great grandmother’s older brother, J. G. Mangold, a photographer. One of the cabinet cards showed Mangold and his camera; another showed him as an older gentleman in front of a seaside backdrop. Most were portraits of my grandmother, her siblings and family. I remember my grandmother (Susan’s granddaughter) saying Mangold “had taken photographs in the civil war, had his own studio, and made photographs along the Mississippi River.” She described the family as wealthy and prosperous, living in southern Illinois. My ancestors had left fascinating handwritten notes and signatures on the small cards. On one, my great-greatgrandaunt wrote “I penciled this picture”; she had handtinted a portrait of children. But only one-fourth of the photographs were identified with any degree of certainty. Ironically, as recently as the 1950s my great-grandfather could have identified all these people; he had grown up with them. He had talked with my dad about his life and work in Little Egypt, as the lower counties in Illinois were called. Names of his friends and co-workers in the carpentry trade came easily to his mind. But my father had only been a boy, and naturally had failed to remem­ ber much of what his grandfather related, much less write it down. Not only were most of the people unknown to me, but the types of images that made up our collection were a mystery. I knew very little about them, not even their proper names, but I suspected that the decorations on the cards and fancy imprints would help date the images. The designs, together with the handwritten material, made a compelling historical mixture. They were mes­ sages from the past, puzzles left for me to solve. I realized that perhaps this was the last chance my generation would have to research the photographs of nineteenth century ancestors before too much valuable information was lost. The pictures had an interesting story to tell, and I had a growing desire to tell it. A trip to the library helped a great deal, and brought 37

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searched and queried in virtually endless combinations, much like data in a spreadsheet application. My vision for the site had been mainly personal—I pic­ tured the genealogical web pages as a fishing net, trawl­ ing the web sea, hoping to snag a relative who might have information or other photographs. But I was realistic about my chances of finding anyone related, much less one with family pictures to share. Only a small fraction of the population had Internet access or an e-mail address. And even if I did find a cousin, any possible photographs would have had to survive from the nineteenth century, passing through many hands. I was amazed at what happened during the next year. One of the first important contacts was a cousin descend­ ed from the brother of Mangold’s mother, who opened up a significant branch of the Gunnell family. Two of our cartes-de-visite depict members of this family, and there are clear connections to western Pennsylvania where Mangold was born, all the way west to Moline, Illinois where Mangold was a major publisher of stereoviews in the 1870s. My cousin provided copies of family photo­ graphs of Mangold’s Gunnell relatives and of sites in Pennsylvania. One of the most significant was a cabinet card by one of Mangold’s sons. This geographic area and family line are still being investigated. Meanwhile, I became involved with an informal e-mail discussion group devoted to all aspects of history of photography. PhotoHst is operated by Richard PearceMoses, and subscribers include museum curators, archivists, photography historians, artists, biographers, and amateur collectors, among many others. Topics cover the general history of photography, processes and techniques, biographies, and aesthetics and criticism of photographer’s works. Announcements, reviews of relevant publications and exhibitions, and job announce­ ments are frequently posted, but no job solicitations are allowed. The list is open to anyone and members are usually friendly and helpful to the professional and novice alike. To subscribe, send an e-mail from the address where you wish to receive mail to [email protected]. ASU.EDU and put “subscribe” (without quotes) in the subject field of the message. Follow the instructions, and your subscription will be confirmed by e-mail. Further subscription information is also available at citygallery.com/resource/photohst/photo_h.html. Through PhotoHst, I located and purchased cabinet cards made by Mangold’s three sons, who had all fol­ lowed in their father’s business. Another mailing list, GenWeb, originated in 1994 and closed August 1997. It was set up to globally distribute and link genealogy databas, and members discussed many complex issues and ideas. Many of today’s stan­ dard tools and concepts originated with this group. The discussions and full archive of messages can be found at http://www.genweb.org/genweblist/ The web pages brought in another cousin descended from Mangold’s brother, Benjamin Franklin Mangold. While there was no treasure trove of original Mangold images or papers, my cousin generously shared family

the old images, and there were always those unknown but hoped-for cousins that might turn up. New informa­ tion could be added to the “Mangold Family Album,” and others might be encouraged to get involved in searches. America Online was scheduled to offer a personal web page service in the fall of 1995, so I started learning the sys­ tem and scanned the Mangold images in preparation. But the homepage space from AOL was slow in coming and I was impatient. The Digital Daguerreian Archive run by Greg Walker was hosted at Webcom, an early web pres­ ence provider, and I decided to place City Gallery there. My goals were simple: to provide a means of exchange between genealogists and historic researchers; and to offer information and advice on the preservation, identifi­ cation and interpretation of old photographs. I thought City Gallery could help popularize the history of photo­ graphy and encourage people to research the older photographs, with their more intractable mysteries. With the reach of the web, I felt I could spread the word that it was imperative to begin researching our photographic heritage in earnest. I was overly ambitious, to say the least. At the same time as I began to learn about the history of photography, I started working on the web site. There was nothing to use as a model for the site I envi­ sioned, and the web itself was new. I wanted to do as much as possible myself, and thus discovered my strengths and weaknesses as the project went forward. The technical work was my strong point, and I eagerly made use of the newest advances and techniques. I had been researching and writing only a short time when I realized that creating content was my weak point. I found others who could write for me and my role became editor. Clearly, though, some limits had to be placed on the projects and the scope of City Gallery. Would its focus be history, or photography, or genealogy? My loyalties were divided, and as a result, I ended up with four web sites: City Gallery (http://www.city-gallery.com) Mangold Family Album (http://www.city-gallery.com /gallery/mangold/): Family photographs and an inter­ pretive text. Digital Album (http://www.city-gallery.com/digital/): Instructions for building a web family album, and direc­ tory of other digital albums on the web. Directory(http://www.citygallery.com/digital/ add_page.html) I also created a web genealogy as a companion to my Album. A printed genealogical chart has only two dimen­ sions and denotes connections between individuals with an obscure and confusing numbering system. A web gen­ ealogy adds a third dimension, and is essentially a book with a series of linked web pages. You simply click the links to follow the myriad connections between you and your ancestors. In addition, the data can be rearranged, 38

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deal of confusion and distracted from the basic activities of creating content. The number-one browser maker usually determines what is considered “standard.” However, with the broad acceptance of basic web technology, more of the limited systems are used by a wider variety of people. The systems able to access the web now range from shell accounts to WebTv units. New technologies such as eXtensible Markup Language and style sheets allow individual web builders to define their own standard languages, but may introduce other unforseen problems. It’s always best to start by learning the basic functions before tackling more complex tasks. It is important to consider how you will fund your site. Web hosting has great appeal, but while it is cheaper than publishing, it demands a commitment of time and money to continuously maintain and publish material. Unlike a book, you cannot just publish and move on. I considered creating a non-profit organization to support the activities of City Gallery, but I found the procedure too complex. In addition, grants are difficult to obtain, advertisers aren’t interested in a small-traffic site, and micro-transactions have never become popular. To place your site on the web, you must rent space from a host or server. The web host provides a place to store your files and serve them on the web. They maintain the web server computer and provide a fast connection to the Internet. The higher the bandwidth and faster the connection, the better the host. Each host may have thousands of accounts, serving web pages for many companies, organizations and individuals. The host may consist of dozens of separate computers networked together. As an account holder, you will receive a certain amount of storage space and be allotted an amount of system resources, such as web traffic, interactive forms and database features. Web pages can be created in any HTML editing application and freely uploaded by file transfer protocol from anywhere in the world. When choosing a web server, consider these factors:

photographs, information, and helped obtain rare books on the area where the Mangolds had lived. Meeting my new cousin over the web and through e-mail was an exciting and pleasurable experience. Not long after, another second-cousin discovered my Mangold genealogy and web photograph album. Through this connection I was able to obtain two unusual cabinet card images of the family, produced by Mangold. More importantly, by comparing images on my web site to my cousin’s family photographs, we were able to posi­ tively identify nearly one-fourth of the previously unknown cartes-de-visite in my collection. During that first year, a number of other cousins and genealogists who were working on the lines posted on my site also made contact, but they had no connections with the Mangold family. Nevertheless, this was proof that caring about family photographs was an important issue and confirmed my belief that there was a great untapped need out there. I was pleasantly surprised at the number of hits racked up by my homepage counter. I disliked counters, but was curious to see how many people would actually be inter­ ested in a site that combined genealogy and photography, and I also wanted to let visitors see the numbers. The same net continues to produce a generous catch to this day. One of my early goals was to offer texts on preserving, copying and identifying old photographs; another was to set up a registry or database of family photographs being researched or shared. Both of these goals are yet unreal­ ized, but remain at the forefront of my plans as I continue to unravel the puzzles of the faces in my past. The possibilities for research in the twenty-first century are beyond imagination. I am excited about the growing enthusiasm for photography history and genealogy, and encourage others to join the research on the web. City Gallery can be visited at http://

www.city-gallery.com

The Mangold Family Album is at http://

www.city-gallery.com/gallery/mangold/

The Digital Album is at http://

www.city-gallery.com/digital/

Add your URL to the directory at http://

www.city-gallery.com/digital/add_page.html

Amount of storage space. The average web page is 10­ 20k, with some reaching 50k. Amount of traffic. Look for a minimum traffic limit of 1,500 to 3,000 megabytes per month. Over-traffic charges for traffic above your limit. Over-storage charges for exceeding your storage limit.

Part 2: Guidelines for Creating a Web Site When I started to work on a web site, I felt like a kid sur­ rounded with colorful and exciting new toys—tempted to play with everything. I wanted to make my site the best possible and was loath to turn down anything new. However, I learned that it’s best to stay away from the “bleeding-edge” of technology and avoid programs that are not proven or widely supported. Some of these techniques will no doubt be available in the future, but if they don’t work in most popular com­ puter systems and their browsers at this time, you do a great disservice to both yourself and your potential visi­ tors by using them. How do you know what will work? Different opinions of web standards for fonts and layout have caused a great

Most hosts will charge for a monthly average; if you exceed the limit by several megabytes for a short time, you may not be charged the full amount. Most sites charge between fifty cents and one dollar per megabyte per month. If your goal is to offer an archive of e-texts (old docu­ ments converted to electronic form), pictures or other bulky items such as mailing-list archives, then look for a host with a low storage cost per unit (usually megabytes). Traffic charges may not be important if your site is visited infre­ quently. If you have a large archive that becomes very popu­ lar, however, you will need a web host with both low storage and low traffic charges. Be sure the host has a clear policy on over- charges, and will notify you when traffic or 39

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storage limits are exceeded.There should be a grace period to allow you to deal with the over-traffic situation by finding supporting funds, asking users to pay an access fee, by using paid advertisements, or by moving to a less costly web host. If you pay by credit card, ask if traffic limit warnings can be set to an acceptable level. Be sure a policy is in place to take your site off-line if an over-traffic situation occurs, so you’re not surprised with a big bill. Beware of hosts that advertise extremely low costs—some unscrupulous servers may later claim several hundred dollars of over-traffic charges. Look for a well-known provider with a good reputa­ tion. Ask friends and associates for the name of site hosts, and select one that has been business for a long time. Web sites seem to work best when a highly focused subject is established with its own domain name. Choose a single, identifiable topic. You will need a suite of applications to create, edit and upload a web page. There are many fine web page editing applications and several popular file transfer applications (FTP or File Transfer Protocol applications) available at shareware sites on the web. If you plan to include photo­ graphs on your web site, you will need a scanner to input the images. The image-editing software necessary to pre­ pare the pictures is also available on the web. Most major vendors provide demonstration software at their web site and it can be downloaded for trial use. They may also pro­ vide help with their image-editing product.

will be many times larger than the 72 dpi of a typical computer screen. Don’t fill your pages with advertising banners, animated graphics, sound effects and music, or other gimmicks. They waste time and often crash visitor’s browsers— sometimes the computers must be restarted to get back to normal. Remember that most visitors won’t have all the latest technology. Use several pages if you have a large amount of textual material, rather than placing it all on one page. Use web technology that works now. Stay away from new technology, no matter how attractive or how convinc­ ing its claim of acceptance by a “standards body.” Often, what is standard is not implemented, and what is imple­ mented is not standard. Don’t abuse your visitors with unworkable features. Once your web site is up, you can keep track of the response. The server log records every request for files (HTML page, picture, media file, etc.) made by visitors. The log can be analyzed to determine the domain where the request originated, the date and time of the request, and the original page if the visitor followed a link. You can identify the popular pages or those that are ignored. The log will also show error or status codes, such as “file not found” messages, that can help you weed out broken links, poorly designed navigation, or other problems with the design. For a genealogical chart, the first software application I used was ged2html, a very basic GEDCOM to HTML con­ verter. It was the the first practical and widely used appli­ cation for generating a genealogical chart as static web pages. The full history can be read in the GenWeb archive at http://www.genweb.org/genweblist/. If you are serious about creating your own web site, check the manuals currently available that offer detailed instructions. Finally, if you create a web site album, be sure to post it in the directory at the City Gallery Digital Album to help guide other researchers to it (http://www.city-gallery. com/digital/).

Here are a few basic guidelines: Create a site of several pages and link them together, rather than placing all your pictures on one page. Keep the total page load weight under 50k including associated images. Keep your image file sizes under 50k. With JPEG com­ pression, there is no need for larger files. A snapshot-size picture (or quarter-plate daguerreotype) should require no more than 24-30k at today’s screen resolutions. Carefully note the different resolutions of screen monitor and printer. An image the size of a postage stamp, scanned at 300 dpi

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Directories of Photographers An Annotated World Bibliography

Compiled by Richard Rudisill and Steven Joseph

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Introduction

This new edition of Directories of Photographers: An Annotated World Bibliography contains more than one thousand entries— books, exhibition catalogues, university dissertations, and periodical and festschrift articles. These represent an enor­ mous body of research into the lives of photographers during the medium’s first century, and our aim is to present a practical guide to this literature. Research has increased dramatically during the past two decades. As recently as 1982, a prominent scholar and writer lamented, “There are hardly any reference tools, periodicals or basic texts [on regional photo-history]. Anyone wishing to discover even general details about photographers’ lives, frequently ends up in the dark.”1 Interest in the heritage of photography has grown rapidly, however, especially after the sesquicentennial celebration of the photograph in 1989. The recognition of the intrinsic value of the medium is now evident world-wide in new museums, festivals, and public auctions. Since the first edition of the Bibliography appeared in 1991, several major long-term projects have been printed, and groundbreaking work has been published on many countries and regions that were previously unsurveyed. Faced with this huge volume of literature, we have been stringent in our criteria. Within the time-frame of photography’s first hundred years, the Bibliography aims for thorough and extensive coverage for the nineteenth century, and selected coverage for 1900 to 1940. The works must contain basic career details and substantial documentation to qualify as valid research. In some cases we included thin or flawed works when they were the best presently available, and they are so noted. Omitted are many popular souvenir books that were illustrated with early photographs, but were steeped in nostalgia and lacked research-based texts. Monographs on individual photographers or families of photographers also lie outside the scope of our work. Nevertheless, the total number of entries increased in eight years from 413 in 1991 to approximately 1,070 in 1999. The contents are organized in two parts. Part A, Published Works, is divided into nine sections. The first, headed General and International, lists catalogues of insti­ tutional and private collections that reflect current biogra­ phical research. Each of the eight following sections broadly corresponds to a continent or sub-continent, and begins with an overview, General and International, then with entries set out by country, alphabetically. Part B, Works in Progress, follows the same basic format as Part A. The list of countries reflects the current geo-political status. Some areas retain earlier names to correspond with older publications or historical borders. Where the current name of a country is new (e.g., Iran for Persia), a crossreference is provided. Countries with profuse photo-histor-

ical research may have two categories for entries: General and National, and Regional and Local. The place of publi­ cation and titles are given in the original languages unless otherwise indicated. Some of the English versions of place names are added for clarity. Foreign language works that contain texts in English (a summary or picture captions, for example) are indicated in our commentary. We considered adding a category for electronic media because of the great increase in computing and telecommu­ nications, along with the scholarly use of the World Wide Web. However, we concluded that such a designation was unnecessary since all forms of material may be properly listed in the Published Works section, regardless of the medium employed. The actual character of research is changing due to the explosion of information available through the internet. Electronic databases offer a superb tool for gathering and organizing material, but this method must be balanced with careful, traditional research that encompasses all historic records, including many sources unavailable in electronic form. Appreciation of the photograph and its history continues to grow. Research using an interdisciplinary approach and a variety of sources yields the best results. The Bibliography is the result of a twenty-year search through many types of published works, many examined firsthand, and often checked against existing bibliogra­ phies in the literature of photography or art history. These are listed below in Frequently Cited Sources. Our work has been supplemented and greatly enhanced by willing col­ laboration. We are grateful to a global network of fellow scholars, researchers, and librarians, whose assistance we acknowledge within the relevant entries. Specialist bookdealers have acted as indefatigable trackers, especially Martijn and Ada Oleff (Posada Art Books) of Brussels, Belgium, Fred and Elizabeth Pajerski of New York City, and David Margolis and Jean Moss of Santa Fe, New Mexico. We pay tribute to our editor Peter Palmquist, whose committment encouraged us, and whose many sug­ gestions improved and refined our initial draft. We hope this current version of the Bibliography will serve as a useful research tool, provide information on the scope and reliability of available works in the field, and further encourage the rewarding research that remains to be done in this essential aspect of photographic history.

notes 1. Janos Frecot, editor, Berlin fotografisch: Fotografie in Berlin, 1860­ 1982 (Berlin: Berlinische Galerie), 1982, p. 12. 43

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6. Latin America (including Mexico) 100

a. General and International 100

b. By country 101

FREQUENTLY CITED SOURCES 45

A. PUBLISHED WORKS 46

7. Near and Middle East 105

a. General and International 105

b. By country 106

1. General and International 46

2. Africa (See also Near and Middle East: Egypt) 54

a. General and International 54

b. By country 55

8. North America (excluding Mexico) 108

a. General and International 108

b. Canada 109

I. General and Regional 109

II. By province 110

c. United States (excluding Hawaii) 112

I. General and Regional 112

II. By state 115

3. Asia 56

a. General and International 56

b. By country 56

4. Caribbean 61

5. Europe 61

a. General and International 61

b. By country 63

9. Oceania (including Hawaii) 129

B. WORKS IN PROGRESS 132

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FREQUENTLY CITED SOURCES

Ochsner: Ochsner, Bjørn. Fotografer i og fra Danmark indtil År 1900 (København [Copenhagen]: Det Kongelige Bibliotek), 1969, second edition.

ABM: ARTbibliographies Modern (Oxford, England and Santa Barbara, California: Clio Press), ongoing.

Pelizzari: Pelizzari, Maria Antonella. “Nineteenth Century Italian Photography: Selected Bibliography,” History of Photography, Vol. 20, No. 1 (Spring 1996), pp. 73–77.

Arnal: Arnal, Ariel. “Mexican Photography: A Bibliography,” History of Photography, Vol. 20, No. 3 (Autumn 1996), pp. 250–254.

Roberts: Roberts, Andrew D. “Photography in Africa: A Bibliography” Supplement to the PhotoHistorian, No. 100 (Spring 1993).

Auer et al.: Auer, Anna, Monika Faber, et al. Geschichte der Fotografie in Österreich (Bad Ischl, Austria: Verein zur Erarbeitung der “Geschichte der Fotografie in Österreich”), 1983.

Roosens and Salu 1: Roosens, Laurent, and Luc Salu. History of Photography: A Bibliography of Books (London and New York: Mansell), 1989.

BHA: Bibliography of the History of Art (Santa Monica, California: The Getty Information Institute, in collab­ oration with the Centre National de la Recherche Scientifique—Institut National de l’Information Scientifique et Technique, Vandoeuvre-lès-Nancy, France), 1991–ongoing.

Roosens and Salu 2: Roosens, Laurent, and Luc Salu. History of Photography: A Bibliography of Books, Vol. 2 (London and New York: Mansell), 1994. Roosens and Salu 3: Roosens, Laurent, and Luc Salu. History of Photography: A Bibliography of Books, Vol. 3 (London and New York: Mansell), 1996.

Davies and Stanbury: Davies, Alan, and Peter Stanbury, assisted by Con Tanre. The Mechanical Eye in Australia: Photography 1841–1900 (Melbourne, Victoria: Oxford University Press), 1985.

Roosens and Salu 4: Roosens, Laurent, and Luc Salu. History of Photography: A Bibliography of Books, Vol. 4 (London and New York: Mansell), 1998.

Gaskins: Gaskins, William. “Selected Bibliography of Early Australian Photography,” Supplement to the PhotoHistorian, No. 103 (Autumn 1993).

Snyder: Snyder, Robert E. “Photography and the American South: A Bibliographical Introduction,” History of Photography, Vol. 19, No. 1 (Spring 1995), pp. 1–3.

Johnson: Johnson, William S. Nineteenth Century Photography. An Annotated Bibliography 1839–1879 (Boston and London: Mansell), 1990.

Söderberg and Rittsel: Söderberg, Rolf, and Pär Rittsel. Den Svenska Fotografins Historia 1840–1940 ([Stockholm]: Bonnier Fakta), 1983.

López Mondéjar: López Mondéjar, Publio. Historia de la Fotografía en España (Barcelona: Lunwerg Editores, S.A.), 1997.

Stein: Stein, Donna. “Recent Research on the History of Photography in Iran,” History of Photography, Vol. 10, No. 1 (January–March 1986), p. 82.

MABS: Photography. Modern Art Bibliographical Series (Oxford, England and Santa Barbara, California: Clio

Press), 1982. Reprint in book form of all entries on

photography in ARTbibliographies Modern, Vols. 4–11

inclusive.

Sztuka fotografii: Sztuka fotografii: Portret, Pejzazæ, Reportazæ w Fotografii Polskiej XIX Wieku (Warszawa [Warsaw]: Muzeum Narodowe w Warszawie), 1990, unpaginated section “Wybrana Bibliografia.”

Mattison: Mattison, David. “Canadian Photography:

A Selected Bibliography,” History of Photography, Vol. 20,

No. 2 (Summer 1996), pp. 186–188.

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A. PUBLISHED WORKS

Billeter, Erika, editor. Self-Portrait in the Age of Photography: Photographers Reflecting Their Own Image [sic] (Houston, Texas: [Houston Foto Fest]), 1986.

1. GENERAL AND INTERNATIONAL (See also entries for Lund and Sprange under Europe/Great Britain)

A reduced English edition of a larger exhibit catalogue pro­ duced in 1985 under the same title for the Musée Cantonal des Beaux-Arts in Lausanne, Switzerland. The section “The Works,” pages 233–247, lists the 200 photographic artists featured and provides years and places of birth and death for each. Many painters and otherwise unreported photo­ graphers are included.

Adressbuch für Photographie und verwandte Fächer (Wien [Vienna] and Leipzig: Photographische Correspondenz), 1879. An address book for photography and related fields. Extensively international, with 137 entries for Vienna, 420 for Paris, and a few listings for the United States. A reprint was issued in Vienna by Bodo Kralik, 1981.

“Biographical Index of Photographers in the George Eastman House Collection” (Rochester, New York: International Museum of Photography at George Eastman House), 1979.

Auer, Michèle and Michel. Auer Index: Encyclopédie internationale des Photographes (Hermance, Switzerland: Editions Camera Obscura), 1992.

Three microfiche indices—one alphabetical, one geographi­ cal, one by process; available directly from the George Eastman House, 900 East Avenue, Rochester, New York 14607. Partly superseded by the works cited below under Eskind et al.

Inventory of more than 25,000 names of photographers from the beginning to the present; gives in abridged form the names, dates of birth and death, periods of activity, processes used, places visited, and themes worked.

Blasco, Victoria, et al., editors. Luz y Tiempo: Colección Fotográfica formada por Manuel Álvarez Bravo para la Fundación Cultural Televisa, A. C. (Mexico City: Centro Cultural Arte Contemporáneo), 1995, three volumes.

———. Encyclopédie internationale des Photographes de 1839 à nos jours [Photographers Encyclopaedia International 1839 to the Present] (Hermance, Switzerland: Editions Camera Obscura), 1985, two volumes.

A catalogue of the overall holdings of a major institution in Mexico City, reflecting the choices made by the leading photographer of the country. Fully illustrated in color and offers sections of commentary for selected individuals throughout the history of the medium. Biographical dates or estimated working periods are given for many among the 271 photographers or firms listed although some entries are incomplete or in error.

A very expansive treatment arranged as a biographical dictionary of more than 1,600 names; includes a biblio­ graphy and indices. French and English texts.

———. Photographers Encyclopaedia International (Neuchâtel, Switzerland: Editions Ides et Calendes), 1997.

Boom, Mattie, editor. Fotokunst 19de eeuw: Hoogtepunten van de internationale fotografie [Nineteenth Century Photographic Art: Masterpieces of International Photography] (Den Haag [The Hague], Netherlands: SDU Uitgeverij), 1989.

Boxed CD-ROM with six-page instruction booklet in English and French. Compatible with Windows 95 or Mac. Second and expanded edition of the work cited immediate­ ly above. A very creditable effort, comprising biographical entries, including exhibition records and bibliographies, for 3,135 photographers from the beginning to the present day and less complete entries for 3,000 others. Incorporates 5,900 images, and can be searched by gender, nationality, country, period, and themes. The authors state in their preface that “what we present today still represents only a part of our total data bank of photographers which currently contains more than 37,000 creators.”

Issued to reflect the decisions of the Dutch State Art Service and the Rijksmuseum of Amsterdam to establish a true national collection of photography, this volume offers 116 plates of pictures made by fifty-eight named photographers or firms and a few anonymous people from the beginning of the medium to the early twentieth century. Pages 150–199 give discussions for each picture and biographical sketches for each known photographer. This section gives generous information, and sometimes presents new material for some of the photographers who are not noted elsewhere. It is not easy to use, however, because it lists names in the chrono­ logical order of the illustrations in the book rather than alphabetically. While the text of the work is given in parallel Dutch and English, the biographies are only in Dutch.

Balk, Claudia. Theaterfotografie: eine Darstellung ihrer Geschichte anhand der Sammlung des Deutschen Theatermuseums (München [Munich]: Hirmer), 1989. Reported as a 231-page exhibition catalogue based on the holdings of the German Theatre Museum, including a listing of the photographers represented.

Boom, Mattie, and Hans Rooseboom, editors. Een nieuwe kunst: Fotografie in de 19de eeuw [A New Art: Photography in the Nineteenth Century—The Photo Collection of the Rijksmuseum, Amsterdam] (Gent, Belgium: Snoeck, Ducaju & Zoon in association with the Rijksmuseum and the Van Gogh Museum, Amsterdam), 1996.

Beaton, Cecil, and Gail Buckland. The Magic Image (Boston: Little, Brown & Company), 1975. Entire book is in format of biographical dictionary of many prominent figures throughout the history of photography. Comprises 200 biographies, arranged chronologically. Reissued (London: Weidenfeld & Nicolson), 1989.

A splendid work issued to celebrate the Rijksmuseum’s opening with the Van Gogh Museum of a major exhibition

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marking the establishment of the Dutch National Photo Collection. Several writers give text sections on the overall history of the medium and its uses in various fields. The small text illustrations are well-printed, and the inter­ spersed sections of plates are all color-toned to the character of the original pictures. Many date periods are indicated in captions for plates and an extensive name list of photogra­ phers represented in the collection is given (without dates). Taken together with the continuing biographical projects noted in Section B, Works in Progress, this volume becomes a landmark for emulation elsewhere.

The section “Biographies of the Artists,” pages 166–188, compiled by John Bloom and Diana C. Du Pont, comprises biographies and portraits of approximately sixty-five photographers ranging from the early twentieth century to the present throughout the artistic field of Europe and North America.

Darrah, William C. A personal collection of 57,000 Cartes-de-Visite. A file of 48,500 items arranged alphabetically by country or state (of the United States) to illustrate works by more than 21,000 different photographers. Another 8,000 items are filed in the Synoptic Collection by subject categories includ­ ing “imprints and photographers.” The whole is accompa­ nied by Darrah’s own index of 50,000 3 x 5 inch cards of information on photographers. Reported in Pennsylvania Historic Photography Group Newsletter, Vol. 1, No. 2 (Spring/Summer 1991), p. 2, as having “a useful four-page descriptive guide . . . available for the visitor’s perusal.” The collection is housed under “controlled” access at the Special Collections Department, Pattee Library, The Pennsylvania State University, State College, Pennsylvania 16803.

Borcoman, James. Intimate Images: 129 Daguerreotypes 1841–1857—The Phyllis Lambert Gift (Ottawa: National Gallery of Canada), 1988. The partially illustrated catalogue of an exhibition celebrat­ ing a major gift of daguerreotypes. Pages 8–22 give an item­ ized list of the pieces shown and include some biographical entries or at least dates for most of the approximately thirtyseven known daguerreotypists represented from England, France, Germany, Switzerland, and the United States. Since several have not previously been known in the literature, and the research is solid, this is a significant contribution for the early period.

———. Cartes de Visite in Nineteenth Century Photography (Gettysburg, Pennsylvania: W. C. Darrah, Publisher), 1981.

———. Magicians of Light: Photographs from the Collections of the National Gallery of Canada (Ottawa: National Gallery of Canada), 1993.

Includes a “Geographic Index of Photographers,” pages 211–218, based exclusively on the author’s collection, and therefore only partial in coverage (see entry immediately above).

A handsomely illustrated selective catalogue of master pic­ tures in the collection of one of the leading museums hold­ ing photography, with life dates or active periods for each individual shown. A “Synoptic Catalogue,” pages 265–291, summarizes the full holdings of the museum and gives dates or work periods for the others represented in the collection.

———. The World of Stereographs (Gettysburg, Pennsylvania: W. C. Darrah, Publisher), 1977. Extensive international and American listings of stereoscop­ ic photographers with estimated time periods of work. An essentially unchanged new edition in paperback is available for $24.95 from Land Yacht Press, P.O. Box 210262, Nashville, Tennessee 37221–0262.

Botanica: Photographies de Végétaux aux XIXe et XXe Siècles (Paris: Centre National de la Photographie), 1987. Published in the series Photo Copies, this volume handsome­ ly illustrates the work of twenty-three identified and two anonymous photographers of plant forms or flowers since the 1840s. Life years are given for most, and many of the pictures are dated.

Dewitz, Bodo von. Das Agfa Foto-Historama im Wallraf-Richartz-Museum / Museum Ludwig der Stadt Köln (Köln [Cologne], Germany: Agfa Foto-Historama), 1986. A concise catalogue of holdings of the Agfa collection relo­ cated to museums in Cologne. Pages 91–126 give life dates and comments for a number of individuals represented in the plates.

Breuille, Jean-Philippe, conceptor, and Michel Guillemot, editor. Dictionnaire Mondial de la Photo­ graphie des Origines à nos Jours (Paris: Larousse), 1994. Heavily illustrated reference work comprising 1,200 entries, mainly biographical, contributed by forty-eight scholars in the field.

Dimock, George. Caroline Sturgis Tappan and The Grand Tour: A Collection of Nineteenth Century Photographs (Lenox, Massachusetts: Lenox Library Association), 1982.

Browne, Turner, and Elaine Partnow. Macmillan Biographical Encyclopedia of Photographic Artists and Innovators: Over 2,000 Leaders in Photography from the 1800s to the Present (New York: Macmillan), 1984.

An exhibit catalogue for a body of early photographs col­ lected during world travels. “Appendix 1: Biographical Notes on the Photographers,” pages 74–75, gives limited details on sixteen photographers around the world, includ­ ing some not reported elsewhere.

The work consists of biographical entries, including biblio­ graphical references, and collections in which work is repre­ sented. Unfortunately incomplete and arbitrary in selecting “leaders.”

[Ecole des Beaux-Arts.] Les Chefs-d’Oeuvre de la Photographie dans les Collections de l’Ecole des BeauxArts (Paris: Ecole Nationale Supérieure des Beaux-Arts), 1991.

Coke, Van Deren, with Diana C. Du Pont. Photography: A Facet of Modernism (New York: Hudson Hills Press in association with the San Francisco Museum of Modern Art), 1986.

An exhibition catalogue featuring the photographs acquired for reference or study over the past century or more. Thirty­

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Foch, Elisabeth. Berge der Photographen— Photographen der Berge (Bern, Switzerland: Benteli Verlag), 1990.

six photographers, mainly French, are discussed in some career detail with dates, and the texts give passing mention of many others.

A magnificently scaled volume featuring work by ninety photographers active in many parts of the world since the 1860s. Each individual is included in the section “Kurzbiographien,” pages 229–236.

Edwards, Gary. International Guide to Nineteenth Century Photographers and Their Works Based on Catalogues of Auction Houses and Dealers (Boston: G. K. Hall & Co.), 1988.

Ford, Colin, editor, et al. Happy and Glorious: 130 Years of Royal Photographs (London: National Portrait Gallery), 1977.

Index of more than 4,000 photographers collated from more than 300 auction and dealers catalogues. Attempts to give for each name the nationality, life dates, chief subject mat­ ter, working dates, processes and formats used, general location of studio, and sales catalogue citations. Since the entries are only as accurate or complete as the source texts permit, there are inevitable errors and a heavy emphasis on European and American photographers, but many previ­ ously unreported people are noted.

An exhibition catalogue in celebration of the Silver Jubilee of Queen Elizabeth II offering many previously unpublished pictures from 1842 to the 1970s. While in no way a biograph­ ical register of the photographers, some dates are given in picture captions, including an accounting of cinematic records of the monarchy beginning in 1896. Pages 60–61 give a listing by date of the forty-seven photographers or firms who were “Royal Warrant Holders During Queen Victoria’s Reign,” explaining such designation to be no more than an acknowledgment “that the monarch had regularly ordered, and paid for, goods or services . . . over a period of at least three consecutive years.” A number of foreign photogra­ phers from locations as far away as India, Denmark, and Italy are included, and the specifications of the warrants clarify the individuals’ underlying corporate partnerships.

Eskind, Andrew H., editor, and Greg Drake, Kirsti Ringger, and Lynne Rummey, associate editors. Index to American Photographic Collections (Boston: G. K. Hall & Co.), 1996 third edition. A general guide to holdings of work by 66,830 photogra­ phers in 582 American collections. The “Photographer Index” itemizes individuals as reported by the collecting institutions, and thus shows considerable variation in names. Where possible, mention is made of nationality and life or estimated activity dates. Supersedes the second edi­ tion published under the same imprint in 1990. The Index is derived from the Photographers/Creators ‘authority’ files in the catalog database shared by the George Eastman House and the Harry Ransom Humanities Research Center, University of Texas at Austin.

Fralin, Frances, editor. The Indelible Image: Photographs of War—1846 to the Present (New York: Harry N. Abrams, Inc., Publishers for the Corcoran Gallery of Art, Washington, DC), 1985. The extensive catalogue for a major exhibition; pages 17–21 give short biographies of the seventy-four photographers represented.

———. “Photographers on Disc: An International Index of Photographers, Exhibitions, and Collections” (Boston: G. K. Hall & Co.), 1996.

Galassi, Peter. Before Photography: Painting and the Invention of Photography (New York: The Museum of Modern Art), 1981.

CD-ROM based on the same data as the work cited immedi­ ately above, but including additional details such as places and dates of birth and death, and adding data based on the Institutions and Exhibitions ‘authority’ files, the latter of which comprises 3,500 entries from 1839 to 1996. Each authority file includes bibliographic references to primary and secondary sources from which factual information has been extracted and confirmed. Furthermore, the online ver­ sion of the database is accessible via TELNET to manning.hrc.utexas.edu and log in as guest 2. A web inter­ face is expected soon.

An exhibition catalogue illustrating the thesis that a specific “photographic” vision had gained a foothold in the general field of art well before 1839. Short biographies are given for twenty-six well-known photographers and twenty-nine workers in other media (a few of whom were also involved in photography). The commentaries and noted bibliograph­ ic sources are useful.

Gautrand, Jean-Claude. Visions du Sport: Photographies 1860–1960 (Aix-en-Provence, France: Editions Admira), 1989.

Ewing, William A., editor. Flora Photographica: Masterpieces of Flower Photography, 1835 to the Present (New York: Simon and Schuster), 1991.

An elaborately produced volume ranging from an early academic study of an athlete to recent action shots, with many images chosen for their artistic quality and broad variety. The section “Biographies,” pages 235–249, gives varying amounts of career details for sixty-four photogra­ phers or firms, some not covered elsewhere.

The section “Commentaries on the Plates,” pages 214–221, gives nationalities and life years or periods of activity for the producers of the 192 pictures, and further details about a few individuals.

Der geraubte Schatten: Photographie als ethnographis­ ches Dokument (München [Munich], Germany: Thomas Theye for the Münchner Stadtmuseum), 1989.

Faber, Monika, editor. Das Innere der Sicht: Surrealistiche Fotografie der 30er und 40er Jahre (Wien [Vienna]: Österreichisches Fotoarchiv im Museum Moderner Kunst), 1989.

Book accompanying a major exhibition on the topic of pho­ tography as ethnographic document. Includes an article, “Forscher und Fotografen: Kurzbiographien” [“Researchers and Photographers: Short Biographies”] by Ulrike Prinz,

A 223-page exhibition catalogue that includes 213 items by more than forty photographers working in this special field.

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pages 506–526, and other possibly helpful articles, such as an overview history of ethnographic photography in German speaking countries in the nineteenth century, pages 60–119.

Groeneveld, Anneke, editor, et al. Odagot: Photographs of American Indians 1860–1920 (Amsterdam: Fragment Uitgeverij and Rotterdam: Museum voor Volkenkunde), 1992. Exhibition catalogue focusing on the activities of the Dutch ethnologist Herman F. C. ten Kate in North and South America and the pictures he assembled, now in museum collections in the Netherlands. The section “Biographies of Photographers,” pages 99–102, has thirtyfour entries, some unfamiliar and some extracted from secondary sources, in particular from The North American Indians in Early Photographs by Paula Richardson Fleming and Judith Luskey (see North America/United States/ General and Regional); a few spelling errors occur. Parallel Dutch and English texts.

Gernsheim, Helmut. Creative Photography: Aesthetic Trends 1839–1960 (New York: Bonanza Books), 1962. The section “Short Biographies of Photographers Illustrated,” pages 231–247, gives information on 122 notable photographers throughout history.

Gesualdo, Vicente. Historia de la Fotografía desde Alaska hasta Tierra del Fuego en el Siglo XIX (Buenos Aires: Editorial Sui Generis), 1990. An odd but surprisingly broad compendium surveying the Americas from north to south, derived from many other published works and seasoned with new and uncomm on matter. Each country or region is given a section with illustrations varying from Xerox copies to rich images. This work is one of the very few to discuss early photography in the islands of the Caribbean. The section “Indice Biográfico,” pages 275–302, gives short biographies for approximately 400 individuals. The texts and picture captions give dates and life or career details for many unreported elsewhere.

Gruber, L. Fritz. Grosse Photographen unseres Jahrhunderts (Düsseldorf and Wien [Vienna]: Econ), 1964. A biographical dictionary of thirty-five prominent twentieth century photographers, beginning with Atget. Superseded by more complete surveys.

Gruber, Renate, and L. Fritz Gruber. The Imaginary Photo Museum (New York: Harmony Books), 1982. The section “About the Photographers,” pages 238–265, compiled by Jeane von Oppenheim, supplies biographical dates (by year only) and short outline statements about the several dozen photographers included in the 1980 Photokina exhibit. Data is largely compiled from sixteen generally standard references in the history of photography.

Gilbert, George. The Illustrated Worldwide Who’s Who of Jews in Photography (New York: George Gilbert), 1996. A difficult work to define or evaluate for several reasons, as suggested by its own sub-title, “Photographers, Scientists, Israel and Women—150 Photos and over 500 Biographies.” While considerable scarce information is given specifically about photographers, the details have come by such diverse means as to preclude verification. Some primary data is from historians or archivists, some from hearsay or thirdhand references and re-transcription, and some from no clear source. The text and organization are idiosyncratic, sometimes whimsical, and not always clear. Particular details, such as how names were changed, are confused at times and in need of stringent editing and proofreading. Some sections do not reflect their bases for inclusion or omission of major people. Although the concept of establish­ ing such a category has troubled a number of researchers, this work documents the presence of large numbers of this ethnic group in the field. An interesting and possibly rewarding compilation that requires caution.

Guichon, Françoise. Montagne: Photographies de 1845 à 1914 (Paris: Editions Denoël), 1984. The well-produced catalogue for an exhibition at the Musées de Chambéry that surveyed mountain views, from a daguerreotype in the Alps by John Ruskin, to scenes from Wales, India, and the Pyrenees. The French text section “Notices Biographiques,” pages 119–123, by Dominique Carré, Sylviane de Decker Heftler, and Elvire Perego, gives useful life and career details on twenty-eight individuals notable in this specialized area of interest.

Hall-Duncan, Nancy. The History of Fashion Photography (New York: Alpine Book Company, Inc., Publishers—A Chanticleer Press Edition), 1977. The first large scale history of this specialized topic, published to accompany an exhibition at the International Museum of Photography at George Eastman House, gives a good overview and an opening for further research. The section “Selected Biographies,” pages 224–231, gives details on approximately sixty individuals or firms of substance, many unrecognized outside their particular sphere.

Glassman, Elizabeth, and Marilyn F. Symmes. Cliché­ verre: Hand-Drawn, Light-Printed—A Survey of the Medium from 1839 to the Present (Detroit: The Detroit Institute of Arts), 1980. Major exhibition catalogue; gives biographical statements on all the major practitioners of the particular medium.

Haller, Margaret. Collecting Old Photographs (New York: Arco Publishing Co., Inc.), 1978.

Greenough, Sarah, et al. On the Art of Fixing a Shadow: One Hundred and Fifty Years of Photography (Boston: Little Brown and Company, Bulfinch Press), 1989.

Chapter Four “Historic Names in Photography,” pages 28–77, lists approximately 312 persons with dates and commentary; there are errors in spelling and information. Chapter Five, “Fifty Twentieth Century Names,” pages 78–90, is similarly flawed.

The section “Artists’ Bibliographies,” pages 483–496, compiled by Megan Fox, gives years and places of birth and death for the 221 photographers featured, along with bibliographic references on each.

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Biographical Supplement of Photographers,” eighteen pages of brief entries, mostly for recently active photographers.

Hambourg, Maria Morris, and Christopher Phillips. The New Vision: Photography between the World Wars—Ford Motor Collection at the Metropolitan Museum (New York: The Metropolitan Museum of Art; distributed by Harry N. Abrams, Inc.), 1989. A major book celebrating a large exhibition of the donated collection of the Ford Motor Company. Both the main section of “Plates,” pages 109–272, and “The List of Text Illustrations,” pages 300–304, give nationalities and life dates for more than seventy-five major international figures from the period 1919–1939.

Hansen, Anna Christine, compiler. To Collect the Art of Women: The Jane Reese Williams Photography Collection—Biographies and Statements of the Artists (Santa Fe, New Mexico: Museum of Fine Arts, Museum of New Mexico), 1997. A free-standing publication issued to supplement the exhib­ it catalogue cited below under Yates et al. Brief biographical statements and quotations about their own work are given for fifty-six women from Mrs. Cameron to the present. Taken together, the two volumes offer considerable useful information to celebrate the gift of a major pioneer collector of photography by women.

Heilbrun, Françoise, and Philippe Néagu, translated by Carol Pratl. Musée d’Orsay: Masterpieces from the Photographic Collection (Amsterdam: Meulenhoff/Landshoff), 1987.

Jacobson, Ken, and Anthony Hamber. Etude d’Après Nature: Nineteenth Century Photographs in Relation to Art (Petches Bridge, Essex: Ken & Jenny Jacobson), 1996.

A finely produced selection of pieces from a major French museum collection. The catalogue listing for the 177 plates gives life years for nearly all of the ninety photographers included, and most captions include the year the image was made. A few of the French and other European photo­ graphers are seldom found elsewhere.

A highly dedicated piece of work based on extended research through the literature after primary study of works by the “group of photographers who specialized in [mak­ ing] artists’ studies in the nineteenth century.” This is a trail­ blazing examination of the careers and output of photographers who provided reference material for artists to use in lieu of preliminary sketches, illustrated with paral­ lel images as well as photographs from several noted painters’ collections. A significant contribution towards understanding the complex relationship between fine art and photography in the nineteenth century, the work also places Atget’s work firmly in its utilitarian art-historical context. The section “Photographers,” pages 169–183, com­ prises 108 short biographies. A very liberal bibliography suggests areas for further study. This work is a highly important contribution to the entire field, and its richness is strengthened by its example of interdisciplinary considera­ tions that reach beyond all previous offerings of the simple parallels between painting and early photography. Available at US$65 or £40 plus $10 for airmail postage out­ side Europe and USA. Address: Ken & Jenny Jacobson, “Southcotes,” Petches Bridge, Great Bardfield, Essex, CM7 4QN, United Kingdom. Fax: +44.1371.810845.

Hinson, Tom E., et al. Catalogue of Photography: The Cleveland Museum of Art (Cleveland, Ohio: The Cleveland Museum of Art), 1996. Cited in BHA, Vol. 7, No. 3 (1997), entry 16321, as a 490-page catalogue including biographies.

Holme, Bryan, editor-in-chief, et al. Landscape [in the series The Library of World Photography] (Boston: Hill & Company, Publishers), 1987. A handsome survey of 210 outstanding images from the entire history of photography. Pages 213–220 give biograph­ ical paragraphs for most of the photographers represented.

Hülsewig-Johnen, Jutta, et al. Das Foto als autonomes Bild: Experimentelle Gestaltung 1839–1989 (Stuttgart: Cantz), 1989. The section “Biografien,” pages 207–216, gives life details for seventy-eight makers of experimental photographic images throughout the 150 years of the medium.

Jaguer, Edouard. Les Mystères de la Chambre Noire: Le Surréalisme et la Photographie (Paris: Flammarion), 1982.

International Center of Photography Encyclopedia of

Photography (New York: Crown Publishers, Inc.—

A Pound Press Book), 1984.

Reproduces 300 images, each with complete caption and commentary, by 130 photographers, most of them active before 1940. Includes much embedded biographical informa­ tion on surrealist photographers, as well as mainstream pho­ tographers who alluded to surrealism. The entries are not in alphabetical order, so the index on page 222 is essential.

A full-scale international encyclopedia with 250 biographical entries on notable individual photographers throughout the history of the medium. Also includes “Appendix I:

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Lang, Robert J. “Panorama Documentation Project— List of Museums and Other Organizations with Panoramas—List of Panoramic Photographers.” Third printing January 1991.

Jeffrey, Ian, editor. The Photography Book (London: Phaidon Press), 1997. Alphabetical presentation of 500 photographers, from the beginning to the present, each represented by one image, brief biographical notes, and a concise commentary.

Compiled for the International Association of Panoramic Photographers, the listing contains information on more than 1,100 panoramic photographers active over the last 150 years. It is backed by a computerized database of biographi­ cal information. Available from the compiler at 100 Cooper Court, Port Jefferson, New York 11777.

Johnson, Brooks. Photography Speaks: 66 Photographers and Their Art (Norfolk, Virginia: Chrysler Museum of Art), 1989. Covering a full range of the history of the medium, the volume presents one picture from the museum’s collection by each of the sixty-six individuals and adds a brief biogra­ phy and a commentary by the photographer, sometimes about the specific work illustrated.

Lionel-Marie, Annick, et al. Collection de Photographie du Musée National d’Art Moderne, 1905–1948 (Paris: Editions du Centre Georges Pompidou), 1996. Cited in BHA, Vol. 7, No. 3 (1997), entry 16326, as a 516-page catalogue including 120 biographies.

———. Photography Speaks II. 70 Photographers on Their Art from the Collection of the Chrysler Museum (Norfolk, Virginia: Aperture in association with the Chrysler Museum of Art), 1996.

Lloyd, Valerie. Photography: The First Eighty Years (London: P. & D. Colnaghi & Co. Ltd.), 1976. Gives some degree of reference on approximately ninety early photographers worldwide with main emphasis on English, Scottish, and French; occasional errors.

The volume covers figures from the complete period of photography, from the daguerreotype through Robert Mapplethorpe, in a format similar to the earlier work cited immediately above.

Lowry, Bates, and Isabel Barrett Lowry. The Silver Canvas: Daguerreotype Masterpieces from J. Paul Getty Museum (London: Thames and Hudson), 1998.

Johnson, William S. Nineteenth Century Photography: An Annotated Bibliography 1839–1879 (Boston: G. K. Hall & Co.), 1990.

Catalogue of a collection rich in beautiful images. The section “Roster of Daguerreian Makers in the Getty Museum Collection,” compiled by Michael Hargraves, pages 230–232, gives life years (or approximate work peri­ ods) and nationalities for 164 individuals and partnerships.

An absolute tome of research. Pages 1–720 list entries alphabetically, with bibliographic notations, for thousands of photographers or writers on photography from the first forty years of the medium. Many entries give solid biogra­ phical notes; many more have at least life or career dates. Six additional sections offer historical surveys of literature in general history, by individual country, by year, by application, and by “Apparatus, Equipment, Cameras and Lenses” for a total of more than 950 pages. Inevitably omissions and errors exist in the first issue of any such massive work, but the quality of detailed information is quite high and offers one of the most substantial additions to the overall literature yet produced.

[Marbot, Bernard, editor.] Une Invention du XIXe Siècle. Expression et Technique. La Photographie (Paris: Bibliothèque Nationale), 1976. Catalogue of a major exhibition based on the holdings of the Société française de photographie, giving annotated biographical or career entries for approximately 100 early photographers, most of them French, but including some from many countries, from America to Russia; several are major pioneers, while others are almost unknown. Since later research has revealed more details on the life and work of some of the earlier members of the Société française de photographie, the volume is best used in conjunction with The Art of French Calotype, with a Dictionary of Photographers, 1848–1870 by André Jammes and Eugenia Parry Janis, cited below under France: General and National.

Kraus, Rosalind, and Jane Livingston. L’Amour Fou: Photography and Surrealism (New York: Abbeville Press, Publishers, for the Corcoran Gallery of Art), 1985. The section “Artist Biographies and Bibliographies,” pages 193–237, compiled by Winifred Schiffman, gives biographi­ cal data and source references for twenty-four key figures of this twentieth century international school of photography.

Mathews, Oliver. Early Photographs and Early Photographers: A Survey in Dictionary Form (New York: Pitman Publishing Corporation), 1973.

Krichbaum, Jörg. Lexikon der Fotografen (Frankfurt am Main: Fischer Taschenbuch Verlag), 1981. Entire book of 198 pages gives 500 biographies of photo­ graphers active from 1830 [sic] to 1980.

The section “Photographers and Photographic Inventors,” pages 6–44, gives sketchy biographies for approximately 300 photographers in various parts of the world. The entries are sometimes unsound or confusing, and the work as a whole has been overtaken by more recent scholarship.

Kunstphotographie um 1900: Die Sammlung Ernst Juhl (Hamburg: Museum für Kunst und Gewerbe), 1989. Massive and lavish exhibition catalogue surveying one of the great surviving collections of Pictorialist photography. The section “Bestandskatalog,” pages 173–301, compiled by Margret Kruse and Jens Jäger, describes 933 prints in the collection by approximately 220 individual photographers. The entries are presented alphabetically, and the collection’s holding by each photographer is preceded by a concise biography.

———. The Album of Carte-de-Visite and Cabinet Portrait Photographs 1854–1914 (London: Reedminster Publications Ltd.), 1974. Includes an alphabetical list of 750 photographers and firms notable for work in these formats.

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A superbly produced exhibit catalogue for one of the major personal collections of the particular photographic form. The historical text is in the form of an interview with the collector, Joachim Bonnemaison, presented in French and English. The section “Index,” pages 177–186, is in French only and gives short career summaries and some biographi­ cal dates for thirty-two individuals or firms working in the particular format.

Mrázková, Daniela, et al. Co Je Fotografie: 150 Let / What Is Photography: 150 Years of Photography (Praha [Prague]: Videopress), 1989. A major exhibit catalogue issued for the sesquicentennial of photography and covering works borrowed from eightynine international sources. Several historical and inter­ pretive essays are interspersed among sections of pictures with dated captions, all with Czech and English texts. The section “Fotografové,” pages 328–350, gives biographical details for 384 individuals, including many central and eastern Europeans usually not found in the literature, and noting many women. Unfortunately, this material is written in Czech only and is difficult to use. One helpful clue is that feminine names in Czech all end in “ová.” There are occa­ sional mechanical errors, but this is a remarkable reference source. An entire catalogue of modern Czech photography is given in an appendix: see Europe/Czechoslovakia.

Pare, Richard. Photography and Architecture 1839–1939 (Montréal: Callaway Editions for Canadian Centre for Architecture), 1982. The “Catalog,” pages 217–272, compiled by Catherine Evans Inbusch and Marjorie Munsterberg, gives biogra­ phies for eighty notable architectural photographers or part­ nerships, including several unresearched elsewhere, who were active during the first century of photography. Somewhat difficult to use because names are given accord­ ing to the order of plates in the book rather than alphabeti­ cally. Some particularly good research. Also published in a French edition.

Naef, Weston J. The Collection of Alfred Stieglitz: Fifty Pioneers of Modern Photography (New York: The Metropolitan Museum of Art, Viking Press), 1978. The “Catalog,” pages 253–495, gives biographical data, portraits, samples of signatures or logos, and other informa­ tion for fifty important photographers of the Pictorialist era drawn from a major collection in the Metropolitan Museum of Art.

Naggar, Carole. Dictionnaire des Photographes (Paris: Editions du Seuil), 1982. Gives biographies of 420 photographers throughout history, together with listings of sixty museums, magazines, and other related items.

Naturalist Photography 1880 to 1920 (Winchester, Massachusetts: Lee Gallery), 1998. An illustrated catalogue including sections on twenty-eight American and British individuals or groups. The biographi­ cal entries by Maura Boylan give details for several persons not seen elsewhere. The Lee Gallery issues occasional thematic catalogues of a similar type. Address: 1 Mount Vernon Street, Winchester, Massachusetts 01890. Fax: (781) 729–4592.

Palmquist, Peter E., and Gia Musso. Women Photo­ graphers: A Selection of Images from the Women in Photography International Archive 1852–1997 (Kneeland, California: Iaqua Press), 1997.

Peterson, Christian A. Alfred Stieglitz’s Camera Notes (New York and London: W. W. Norton & Company, Inc., for the Minneapolis Institute of Arts), 1993.

A rich sample of the holdings of this recently established archive and a strong example of dedicated achievement in the field. The volume features one image by each of eightyeight women photographers, drawn from a total holding of 8,400 works by 1,190 individuals and biographical files on more than 18,000. A section of “Biographies” at the back of the book, which is without page numbering, gives varying amounts of information on each person, as well as total holdings and estimated dates of activity for all photogra­ phers represented by works in the collection. The edition is limited to 300 copies and is available directly from the authors. Address: 1183 Union Street, Arcata, California 95521. E-mail: [email protected]

A very fine monograph which includes a section “The Photographers,” pages 157–178, giving copious biographi­ cal information on fifty-one photographers whose work was published in Camera Notes, periodical of the New York Camera Club, between 1897 and 1903.

[———.] Fotografs [sic] of Flowers (Minneapolis, Minnesota: The Minneapolis Institute of Arts), 1998. An exhibition brochure which includes a biographical cata­ logue listing fifty-two photographers, mostly American but including Europeans and Asians. The time coverage runs from Julia Margaret Cameron and Emile Tourtin to the present day, and includes both major and little-known photographers.

Panoramas: Photographies 1850–1950: Collection Bonnemaison ([Arles, France]: Rencontres Internationales de la Photographie/Actes Sud), 1989. 52

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La Photographie d’Art vers 1900 (Bruxelles [Brussels]: Crédit Communal), 1983.

pages of advertisements. It gives the most thorough picture of the scope and nature of photography at a specific time as anything else ever published. There are inevitable over­ sights, and some scattered inaccuracies in names or geogra­ phy, but the scale and depth of information make this work a landmark of research in the field for any period. See relat­ ed entries for 1893 editions under Europe: Great Britain: General and National; and North America: General and International; they are substantially different publications in form and content. Xerox copies can be ordered from Peter Palmquist, 1183 Union Street, Arcata, California 95521. E-mail: [email protected]

The book for a major exhibition of international Pictorialist photography; includes essays by Pool Andries, Roger Coenen, and Margaret Harker. Extensively illustrated alpha­ betical catalogue gives one-page biographies for all thirtyeight photographers. Also published in a Dutch edition.

Photographs: Sheldon Memorial Art Gallery Collection, University of Nebraska—Lincoln (Lincoln, Nebraska: Nebraska Art Association), 1977. The section “Catalog,” pages 115–202, gives alphabetical listing of 201 photographers throughout the history of the medium; includes biographical dates and notes on edu­ cation, awards, solo exhibitions, locations of work in collections, and a few small reproductions of pictures.

Steinert, Otto, and Bjørn Ochsner. Det Kongelige Bibliotek: Fotografien aus der Sammlung der Königlichen Bibliothek Kopenhagen (Essen, Germany: Museum Folkwang), 1976. A thirty-eight page exhibition catalogue for an historical survey of photography selected from the collection of the Danish Royal Library. A brief essay on the history of photo­ graphy in Denmark by Bjørn Ochsner gives a few datable references, and the two sections of the catalogue—Danish photography and the international collection—give life dates for a number of mostly European individuals.

Photomontages: Photographie Experimentale de l’Entre-Deux-Guerres (Paris: Centre National de la Photographie with the Ministère de la Culture), 1987. Published as No. 31 in the series Photo Poche; includes biographies of several notable workers in this genre active in the period 1918–1939.

Pictorialismus in der Photographie (Zürich, Switzerland: [Galerie] Zür Stockeregg), 1984.

Tooming, Peeter. Hõbedane Teekond [The Silver Journey] (Tallinn, Estonia: Valgus), 1990.

Exhibition catalogue includes a section “Biographien,” pages 63–65, compiled by Wolfgang Wiemann, giving biographical statements for fourteen, mostly well-known, practitioners of the Pictorialist aesthetic.

A short general history of photography that includes expla­ nations of early processes and a brief history of cameras. The book also contains a “calendar of the most important events in the photographic field around the world,” mainly drawn from various standard works, and a “lexicon” of the leading persons in photographic history in which some “Estonian inventors and photographers are included.” Some illustra­ tions show work by Estonian photographers as well as Russ­ ian and Baltic items, so that a bit of career information can be gleaned by careful examination. Estonian text throughout.

[Pinet, Hélène, and Michel Poivert, editors.] Le Salon de Photographie: Les Ecoles Pictorialistes en Europe et aux Etats-Unis vers 1900 (Paris: Musée Rodin), 1993. Well-illustrated collective work accompanying an exhibi­ tion of Pictorialist photography. The section “Biographies,” pages 183–191, contains thirty-six entries, some including portraits of the photographers discussed.

Travis, David. Photographs from the Julien Levy Collection Starting with Atget (Chicago: The Art Institute of Chicago), 1976.

Rosenblum, Naomi. A History of Women Photographers (Paris, London, and New York: Abbeville Press), 1994.

Gives one-page biographies for twenty-eight major photog­ raphers active in Europe and America during the first half of the twentieth century.

A section, pages 291–327, contains biographies of 238 photographers worldwide.

Treadwell, T. K., and William C. Darrah. Stereographers of the World ([n.p.]: The National Stereoscopic Association), 1994; Volume I—Foreign; Volume II—U.S.

Sipley, Louis Walton. Photography’s Great Inventors (Philadelphia: American Museum of Photography), 1965. Includes biographical sketches and portraits for 112 indi­ viduals.

An absolute landmark in the field of photographic history, the result of rare personal dedication. Building far beyond the files collected over decades by the late William C. Darrah, T. K. Treadwell has verified vast amounts of infor­ mation that was denied earlier publication since it was not drawn from direct observation. Adding data gathered by his own research and from several hundred correspon­ dents, he has compiled a computer database of more than 10,000 entries in varying depth. The foreign data is arranged by country, but is somewhat patchy and of variable accura­ cy because of transcription errors and a misinterpretation of the output of carte-de-visite photographers who are not known to have produced stereos. The published work is available in hard or soft covers, unbound, or on computer disk from National Stereoscopic Association Information Service, 4201 Nagle Road, Bryan, Texas 77801.

Sprange, Walter, editor. The “Blue Book” for Amateur Photographers. American Edition, 1895. (Beach Bluff, Massachusetts: Walter Sprange), 1895. An almost inconceivable compendium of detail, the more remarkable for the period in which it was produced. The editor states his intention to offer a volume as full as possi­ ble of useful information to amateur photographers in all countries, and then sets forth 337 pages of broad and sub­ stantive detail: lists of photographic societies all over the world (many with their members and officers named), “Dark Rooms and Dealers—Professional Photographers” (a similar worldwide enumeration), technical and scientific information, and travel details. The book also includes 115 53

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A thin, illustrated catalogue for an exhibit/sale timed to coincide with the Fifth National Conference of Women in Photography, held at Simmons College in Boston. The section “Select Biographies” gives brief sketches on thirteen women photographers of substance, mostly American, from throughout the history of the medium.

[Walter, Paul F.] A Personal View: Photography in the Collection of Paul F. Walter (New York: The Museum of Modern Art), 1985. An exhibition catalogue celebrating one man’s taste as a collector that developed from his interests in Asian art into his becoming a member of the Committee on Photography of the Museum of Modern Art. The “Catalogue” section, pages 98–132, gives biographical notes on fifty-three persons, a few that are rarely examined elsewhere.

[Yates, Steve, Eugenia Parry Janis, et al.] To Collect the Art of Women: The Jane Reese Williams Photography Collection (Santa Fe, New Mexico: Museum of Fine Arts, Museum of New Mexico), 1991.

Walters, Judith Allison. Photographers of North America, Great Britain and Europe (Bothell, Washington: Privately published), 1980.

An exhibit catalogue in celebration of the gift made by a pioneering collector of work by women photographers. Pages 29–32 give life years and nationalities for fifty-six women and one man represented in the exhibition. These details were compiled by Anna Christine Hansen, whose more substantial work on the collection is cited above under her name.

A privately produced commercial computerized reference work intended to assist genealogical dating and family histo­ ry work. Available directly from the compiler for US $8.25. For the compiler’s ongoing research, see under Works in Progress. Has also issued A Guide to Dating Old Family Photographs (1993), which includes 145 examples of photo­ graphs from the 1840s to 1905, with descriptions, sugges­ tions for use, and an index, for US$16.45. Address: P. O. Box 129, Bothell, Washington 98041. E-mail: [email protected]

Zannier, Italo. Le Grand Tour in the Photographs of Travelers of [the] Nineteenth Century (Venezia [Venice]: Canal & Stamperie Editrice and Paris: Canal Editions), 1997.

Weiermair, Peter. Photographie als Kunst 1879–1979/ Kunst als Photographie (Innsbruck, Austria: Allerheiligenpresse), 1979.

One of the most impressive productions thus far in the social history of photography and an elegant tribute to the author, who has long been a valued contributor to the field. Tracing the traditional route of the Grand Tour from Switzerland, through Italy and around the Mediterranean from Greece to Spain, the book offers an excellently repro­ duced selection of typical views, drawn from a number of archives and private collections in Italy. While not a directory, the seventy-five individuals or firms featured can be recognized and given estimated dates of activity from the plate captions, and the text offers career details and valuable insights that are seldom considered elsewhere. Text in Italian, French, and English; occasional curious forms of technical terms result from translators lacking specific vocabulary.

Extensive exhibition catalogue surveying the multifaceted relationship between art and photography. Gives capsule biographies for several hundred photographers throughout the history of the medium, with an emphasis on modern and contemporary individuals.

Welling, William. Collector’s Guide to Nineteenth Century Photographs (New York: Collier Books), 1976. Probably the most reliable and informative of the many col­ lectors’ guides published in the recent past. The section on pages 117–127 gives listings and biographical notes on some early English, Scottish, and American photographers plus membership lists of several turn-of-the-century societies.

2. AFRICA (also see Near and Middle East/Egypt)

Witkin, Lee D. A Ten Year Salute: A Selection of Photographs in Celebration [of] The Witkin Gallery 1969–1979 (Danbury, New Hampshire: Addison House), 1979.

General and International Bensusan, A. D. Silver Images. History of Photography in Africa (Cape Town, South Africa: Howard Timmins), 1966.

Basically an exhibit catalogue with added reminiscences and numerous illustrations with personal comments. The section “Technical Information,” pages 196–198, is actually a picture listing that gives life years for approximately ninetyfive well-known individuals.

This continuous text history has not yet been superseded, and contains information on individuals not available elsewhere. While laying stress on the development of photography in South Africa, the author attempts to survey the whole continent, and includes a chapter, “Rhodesia and Moçambique,” pages 29–32.

Witkin, Lee D., and Barbara London. The Photograph Collector’s Guide (Boston: New York Graphic Society), 1979. Pages 63–275 give biographical data, career assessments, specimen signatures or logos, and bibliographical and collection data for 234 major, mostly recent, photographers. Pages 313–323 give biographical or activity dates and locations for 1,000 daguerreotypists around the world. Pages 325–388 give biographical or activity dates and general locations for several thousand additional photographers.

Fleig, Alain. Rêves de Papier: La Photographie Orientaliste, 1860–1914 (Neuchâtel, Switzerland: Editions Ides et Calendres), 1997. Very handsome presentation of images by photographers in North Africa and the Middle East—residents and visitors— drawn mainly from the collections of the author and Michel and Michèle Auer. The section “Biographies,” pages 169–173, contains brief but informative entries on eightyfour individuals, including forty-one “pioneer travelers,”

Women in Photography (Winchester, Massachusetts: Lee Gallery), June 1997. 54

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twenty-five “photographers resident in the Middle East,” and eighteen “photographers in the Maghreb.” The latter sub-section, covering present-day Algeria and Tunisia, is particularly valuable.

Pankhurst, Richard, and Denis Gérard. Ethiopia Photographed: Historic Photographs of the Country and its People Taken between 1867 and 1935 (London and New York: Kegan Paul International), 1996. The first substantial compilation. While most of the photo­ graphs are unattributed, the introduction sections, “Images of the Country and its History” (pp. 7–18) and “The Coming of Photography” (pp. 19–36), give a good background and written descriptionson pre-photographic images, and the period of photography beginning with the camera obscura. The early period of work by missionaries or British invaders in the 1860s leads into the later years of work by numerous foreign visitors and several resident studios, and the discus­ sion offers many useful details. The notes for the text refer to two previously published articles by Professor Pankhurst.

Jenkins, Paul. “The Earliest Generation of Missionary Photographers in West Africa and the Portrayal of Indigenous People and Culture,” History in Africa, Vol. 20 (1993), pp. 92–93. Not directly examined. Cited by Yarak (see entry under Ghana).

Monti, Nicholas, editor. Africa Then: Photographs 1840–1918 (New York: Alfred A. Knopf), 1987. The section “The Photographers,” pages 161–172, gives biographical and career information on 115 photographers from many countries who were active in various parts of Africa, including Egypt.

Triulzi, Alessandro. “Photographic Records of Nineteenth Century Ethiopian Towns in Italian Archives” in Proceedings of the International Symposium on the Centenary of Addis Ababa (Addis Ababa), 1987, pp. 97–117.

Algeria (See entry for Fleig under Africa/General and International)

Not directly examined. Cited by Roberts, p. 4.

Angola (See entry for Siza and Weiermair under Europe/Portugal)

Ghana Yarak, Larry W. “Early Photography in Elmira” ([n.p.]: [n.p.], 1995). Research article on daguerreotypists in a town on the Ghanaian coast, an important trading post in West Africa. The article appears to have been published electronically only. URL: http://acs.tamu.edu/~yarak/photo-el.htm

Cameroon Geary, Christraud. Images from Bamum: German Colonial Photography at the Court of King Njoya. Cameroon, West Africa, 1902–1915 (Washington, DC: Smithsonian Institution Press), 1988.

Gold Coast (See entry for Jenkins under Africa/General and International)

An anthropological case study, drawing on images by several named German photographers. Translation of a work originally published in German (München [Munich]: Trickster), 1985.

La Réunion

Congo (Also see entry for Joseph, Schwilden, and Claes under Europe/Belgium/General and National)

Ryckebusch, Jackie. Louis Antoine Roussin et ses Précurseurs. Les Débuts de la Lithographie et de la Photographie à La Réunion (Paris: F. & R. Chamonal), 1994.

Meyfroot, Véronique. Fotografen en de Kolonisatie van Congo 1885–1914 (Leuven [Louvain], Belgium: [Master of Arts thesis, KUL-Catholic University of Louvain]), 1982, two volumes.

Lavishly produced and illustrated monograph document­ ing the early development of the twin nineteenth century printing technologies on the island of La Réunion, a French overseas department off the East coast of Africa. Contains a considerable amount of previously unpublished biographi­ cal information in the text.

Contains copious biographical information, especially on expeditionary photographers, and many previously unknown images.

Mauritius

Ethiopia Pankhurst, Richard. “The Genesis of Photography in Ethiopia and the Horn of Africa,” British Journal of Photography, Vol. 123, Nos. 41–44 (1976), pp. 878–882, 910–913, 933–936, and 952–957.

Pavard, Claude. Mémoires de Couleurs: Ile Maurice (Sèvres, France: [n.p.]), 1994. Not directly examined. Cited as a 139-page work compris­ ing “photographic history and contemporary photo­ graphs,” in Roosens and Salu 4, p. 208.

Multisection study, including many names unreported else­ where. The author covers European traveler-photographers, beginning with H. A. Stern in 1859, various French and English military deputations and religious missions, as well the first studio photographers in Addis Ababa in the early twentieth century.

Morocco (See entry for Sanchez Montoya under Spain/Local and Regional)

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Mozambique (See entry for Bensusan under Africa/General and International)

Schoeman, Karel. “‘Photographisten’ en ‘Photographic Artists’: Fotografie in die Vrystaat, 1850–1900,” African Notes and News, Vol. 25, No. 7 (September 1983), pp. 232–237, and Vol. 25, No. 8 (December 1983), pp. 291–294.

Rhodesia (See entry for Bensusan under Africa/General and International)

Reported by Jackie Loos of the South African Library, Cape Town, as a two-part study containing a directory of more than 100 photographers active in the Orange Free State in the nineteenth century.

Sierra Leone

Spencer, B. “Nineteenth Century Natal Photographers” in The Documentation and Care of Photographic Collections: Proceedings of a Symposium held April 22–23, 1982 (Pietermaritzburg, South Africa), 1982, pp. 77–87.

Viditz-Ward, Vera. “Photography in Sierra Leone, 1850–1918,” Africa, Vol. 57, No. 4 (1987), pp. 510–517. A pioneering article that focuses on several African profes­ sional photographers who worked in Freetown during this period.

Not directly examined. Cited by Roberts, p. 4.

Tunisia (Also see entry for Fleig under Africa/General and International)

———. “Notes toward a History of Photography in Sierra Leone, West Africa,” Exposure, Vol. 28, No. 3 (1991–1992), pp. 16–22. Reworking of aspects of the survey article cited immediately above.

Gabous, Abdelkrim. La Tunisie des Photographes 1875–1910 (Paris: Editions Cérès, Editions Paris Audiovisuel, and Editions du Cygne), 1994.

South Africa (Also see entry for Bensusan under Africa/General and International)

A general overview with very brightly printed plates. The section “Les Photographes de Tunisie,” pages 125–129, gives biographical entries for ten persons, mostly unreport­ ed elsewhere.

Bensusan, A. D. “Nineteenth Century Photographers in South Africa,” Africana Notes and News, Vol. 15, No. 6 (June 1963), pp. 219–252.

3. ASIA

Introduction followed by an “Alphabetical List of Photographers of Nineteenth Century in South Africa,” giving entries for more than 400 individuals, including addresses, dates of activity, and references to partnerships. The listing, compiled from local directories and news­ papers, is an excellent pioneering effort, that has not yet been superseded in South Africa nor equalled elsewhere in Africa. The compilers are grateful to Carol Hardijzer for supplying a photocopy of the article.

General and International Falconer, John, Steven Wachlin, and Anneke Groeneveld. Van Bombay tot Shanghai [From Bombay to Shanghai] (Amsterdam: Stichting Fragment Foto and Rotterdam: Museum voor Volkenkunde), 1994. Another important contribution in the fine series produced over several years by this collaboration (with a reorganiza­ tion of the original Fragment Uitgeverij into a nonprofit foundation). Parallel texts in Dutch and English give a sound overview. The section “Biographical Notes on the Nineteenth Century Photographers in the Indian SubContinent, South-East Asia and the Far East,” pages 96–107, gives career details for 490 individuals or firms. A valuable coverage for both quality and infrequency in the field.

Bull, Marjorie, and Joseph Denfield. Secure the Shadow: The Story of Cape Photography from Its Beginnings to the End of 1870 (Cape Town, South Africa: Terence McNally), 1970. Appendix A, pages 222–253, lists photographers and studios active in South Africa 1846–1870 with selected biographies; Appendix B, pages 254–257, categorizes by location. The authors’ alphabetical card index of printed citations, mainly compiled from local newspapers, and on which the appendices were largely based, is now housed in the South African Library, Cape Town.

Burma Singer, Noel F. Burmah: A Photographic Journey, 1855–1925 (Gartmore-Stirling, United Kingdom: Paul Strachan—Kiskadale Ltd.), 1993.

Carstens, Antenie. Waardevolle Foto-dokumentering van die Paarl deur Fotograwe van die Tydperk 1871–1960 [Valuable Photodocumentation of Paarl by Photographers during the Period 1871–1960] (Paarl, South Africa: [Research paper]), 1988.

Basically a book of narrative text and pictures but includes a single-page “List of Photographers and Post Card Publishers,” page 31, comprising forty names without biog­ raphical details or dates. Some captions are dated and some time periods can be surmised from the pictures themselves. Hopefully, further research will be undertaken for the area.

Reported by Renée van der Riet of Museumafrica, Johannesburg. The author comments on difficulties encoun­ tered in dating photographs in the course of the research, undertaken to obtain a higher qualification in photography, in a letter published in The Photographic Journal, Vol. 130, No. 9 (September 1990), p. 381.

Ceylon Falconer, John. “Nineteenth Century Photography in Ceylon,” The Photographic Collector [London], Vol. 2, 56

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[One Hundred Years of Historical Photographs of the Region Anping, Tainam, Taiwan] (Taipei, Taiwan: Taiwan Cultural Foundation), 1995.

No. 2 (Summer 1981), pp. 39–54. A textual article outlining the history of European contact and surveying six major photographers or partnerships on the island. Aside from the author’s recognized quality of research, the article is valuable since it stands substantially alone in the field. This area clearly merits further research.

A 176-page exhibition catalogue, documenting the develop­ ment of photography on the island of Taiwan from the late nineteenth century on. The images appear to be drawn from collections worldwide, including the Bibliothèque Nationale de France, Paris. Text in Chinese throughout.

China (including Taiwan) Boissier, Jean-Louis, and Jacques Willaume. 30 Ans de Photographie Chinoise, 1930–1960 (Paris: Presses de l’Université de Vincennes), 1984.

Worswick, Clark, and Jonathan Spence. Imperial China: Photographs 1850–1912 (New York: Penwick Publishing, Inc.), 1978.

Well-illustrated exhibition catalogue containing much

unfamiliar material.

Pages 150–151 give an “Index of Commercial and Amateur Photographers of China, 1846–1912,” listing eighty-five photographers and firms with date periods and locations or topics of work. Book also published under an English imprint (London: Scolar Press), 1979.

Fontana, C. “Cronache de Commercianti Ambulanti e Indigeni Fotografi nella Cina Imperiale,” Rivista di Storia e Critica della Fotografia, Vol. 2, No. 3 (1981), pp. 37–50.

Wu Qun. Guangdong Sheying Shihua Tekan [Special Issue on Topics in the History of Cantonese Photography] (Guangzhou, China: The Photographers’ Company), 1993.

One of the few resources available in any language but Chinese. There is a listing of names, dates, and events in early photography in China. The text surveys the activities of commercial itinerants and indigenous photographers.

This entry and the two that follow are reported by Edwin K. Lai as collected volumes of essays by the noted photography historian Wu Qun, now deceased. Apparently they give a wide-ranging sample of both the general field of photography in China and more detailed information on some specific areas. All texts are in Chinese.

Huang Shaofen, editor. Shanghai Sheying Shi [History of Photography in Shanghai] (Shanghai: Shanghai Remin Meishu Chubanshe [The Photographers’ Association of China] in association with the Faculty of Arts, Shanghai University), 1992.

———. Zhongguo Sheying Licheng [Historical Developments of Chinese Photography](Beijing: Xinhua Chubanshe [Xinhua Publications], 1986.

Reported by Edwin K. Lai as providing “some useful infor­ mation about the photographic history” of Shanghai, which had early interaction with foreign influence and trade. Chinese text.

———. Zhongguo Sheyingjia Xiehui Guangdong Fenhui Chengli Sanshi Zhounian Jinian Tekan [Special Issue for the Thirtieth Anniversary of the Establishment of the Photographers’ Association of China, Canton Branch] (Guangzhou, China: The Photographers’ Company), 1988.

History of Photography in China 1840–1937 ([Taipei]: Photographer Publications), 1993. A 320-page textual history, produced by a group of histori­ ans based in Peking. The work appears to be divided into two periods for ideological reasons: 1840–1919 (founding of the Communist Party) and 1919–1937 (year of the invasion of China by Japan). Contains much information (including biographical) unfamiliar in the West. Text in Chinese only (except for title and publisher’s name).

Reported by Edwin K. Lai as “an anthology of essays on

the history of photography in Guangdong [Canton].”

Wue, Roberta. Picturing Hong Kong: Photography 1855–1910 (New York: Asia Society Galleries), 1997.

[History of Photography in Shanghai] (Shanghai: The Photographers’ Association of China in association with the Faculty of Arts, Shanghai University), 1992.

Well-illustrated study accompanying an exhibition and containing much new information on the development of photography in the territory which was a possession of the British Crown from 1842 through 1997. Embedded biogra­ phical data in the two essays “Picturing Hong Kong: Photography through Practice and Function,” by Roberta Wue, pages 27–47, and “The Beginnings of Hong Kong Photography,” by Edwin K. Lai, pages 48–57. The latter includes a listing of foreign professionals active in Hong Kong to 1881, page 51.

Reported by Edwin K. Lai as providing “some useful infor­ mation about the photographic history” of Shanghai, which had early interaction with foreign influence and trade. Chinese text.

Marbot, Bernard, and René Viénet. La Chine entre le Collodion Humide and le Gélatinobromure: Notes sur Quelques Photographies de la Chine au XIXe siècle (Paris: Centre de Publication Asie Orientale, Bibliothèque Nationale), 1978.

Zhongguo Sheying Shi 1840–1937 [History of Photography in China 1840–1937] ([Taipei]: Photographer Publications), 1990.

Essentially an exhibit catalogue with a few scattered biogra­ phical details in the text and a few advertisements from early business directories, including a listing from The China Directory for 1865. The work is solid and important, but makes clear the immensity of the region that still lacks a photographic history.

A 320-page textual history produced by a group of histori­ ans based in Peking, including Chen Sen, Hu Zhichuan, and Ma Yunceng. The work appears to be divided for ideologi­ cal reasons into two periods, 1840–1919 (founding of the Communist Party), and 1919–1937 (year of the invasion of 57

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China by Japan). Clearly contains much information (including biographical) unfamiliar in the West. Text in Chinese only (except for title and publisher). First edition (Beijing: Zhongguo Sheying Chubanshe), 1987.

directory, it is a solid survey with much material not available elsewhere.

Wachlin, Steven. “Beeldvorming in de Fotografie, 1839–1939,” Geschiedenis in de Klas, Vol. 10, No. 29 (1989), pp. 2–41.

Dutch East Indies (see Indonesia)

Article surveying the Western image of the Dutch East Indies through photography. Includes short biographical sketches of five notable studios and partnerships.

India Desmond, Ray. “Nineteenth Century Indian Photographers in India,” History of Photography, Vol. 1, No. 4 (October 1977), pp. 313–317.

———. Woodbury and Page: Photographers Java (Leiden, Netherlands: KITLV Press), 1994.

Article containing career details on six prominent individuals.

A full text examination of the major historic firm in the area. While the single focus precludes any true directory, the overall survey and a specific “Chronology of the Firm of Woodbury & Page,” pages 195–200, offer career dates and details on several other photographers involved.

———. “Photography in India during the Nineteenth Century,” India Office Library and Records Report, 1974, pp. 5–36. Useful introductory study, still not superseded.

Japan Falconer, John. “Ethnological Photography in India 1850–1900,” The Photographic Collector [London], Vol. 5, No. 1 ([1984]), pp. 16–46.

The Advent of Photography in Japan (Tokyo: Tokyo Metropolitan Museum of Photography; Hokkaido, Japan: Hakodate Museum of Art), 1997.

A long article rather than a true directory but rich with details on several significant, specifically ethnographic, photographers.

Catalogue for a major exhibition, with much previously unpublished information and images. While the work contains no directory, the individual essays give biographi­ cal and career details for several prominent early Japanese photographers. The work includes a list of exhibits. Text in Japanese and English.

[Rogers, Brett, and Sean Williams, organizers, et al.] A Shifting Focus: Photography in India 1850–1900 (London: The British Council [and] The British Library), 1995.

Bennett, Terry. Early Japanese Images (Rutland, Vermont & Toyko, Japan: Charles E. Tuttle Comany), 1996.

Very fine exhibition catalogue containing an informative introductory essay by John Falconer of the British Library, and a “List of Exhibits,” pages 78–84, with carefully anno­ tated entries for the 153 prints shown. While not strictly biographical, much new information can be extracted and extrapolated.

An excellent survey of nineteenth century photography in Japan, making much information accessible to an English speaking readership for the first time. The chapters “Early Western Photographers in Japan,” pages 33–45, and “Early Japanese Photographers in Japan,” pages 46–58, give detailed career information on several prominent practitioners. In all, an essential reference work.

Thomas, G. History of Photography: India 1840–1980 (Andhra Pradesh, India: State Akademi [sic] of Photography), 1981. A solid textual history containing some individual career details. The index lists several hundred photographers, many active before 1914.

Indonesia Groeneveld, Anneke, et al. Toekang Potret: 100 Years of Photography in the Dutch Indies 1839–1939 (Amsterdam: Fragment Uitgeverij and Museum voor Volkenkunde, Rotterdam), 1989. A well-illustrated general history in both Dutch and English. The section “Commercial Photographers and Photographic Studios in the Netherlands East Indies 1850–1940: A Survey,” pages 177–192, compiled by Steven Wachlin, gives 537 alphabetical entries, followed by a chronological index by locality.

Levy Reed, Jane, editor. Toward Independence. A Century of Indonesia Photographed (San Francisco, The Friends of Photography), 1991. Exhibition catalogue containing fourteen well-illustrated short essays, following the development of photography from the 1840s to the mid-twentieth century. While not a 58

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———. Bakumatsu Shashin no Jidai (Tokyo: Chikuma Shobo), 1994.

Borhan, Pierre, and Kohtarô Iizawa. La Photographie Japonaise de l’Entre-Deux-Guerres: du Pictorialisme au Modernisme (Paris: Association française pour la Diffusion du Patrimoine Photographique), 1990.

Beautifully produced and richly illustrated study of photo­ graphy in Japan of the Bakumatsu era (through 1867). Includes a reprint in facsimile of the first textbook on photography published in Japan and a chronology. Text in Japanese only.

Cited in BHA, Vol. 3, No. 1 (1993), entry 5092, as a 140-page exhibition catalogue surveying the development of Japanese photography in the 1920s and 1930s. The work includes a directory of photographers and the 199 items represented are clearly captioned.

———. Shashin de Miru Bakumatsu Meiji (Tokyo: Sekai Bunkasha), 1990. Companion volume to the work cited immediately above, covering the period to the end of the Meiji era (through 1911). Reported to be equally richly illustrated. Not directly examined.

History of Japanese Photography, 1840–1945 (Tokyo: Heibonsha), 1972. Cited in MABS, p. 157, as a 516-page volume illustrating 100 years of Japanese history and society. Divided into ten, roughly chronological chapters. In Japanese, with an English summary.

———. Shashin no Makuake (Tokyo: Shogakukan), 1985. First volume in a projected comprehensive textual history of Japanese photography from its origins to the present day, Nihon Shashin Zenshu, presented by the Daiichi Art Center. The title translates as The Origins of Photography in Japan. Text in Japanese, with a two-page introduction in English. The title of the second volume, reportly published in 1986, translates The Heritage of Art Photography in Japan.

[Kaneko, Ryuichi.] Japanese Photography—Form In/Out. Part 1: From its Introduction to 1945 (Tokyo: Tokyo Metropolitan Museum of Photography), 1996. Exhibition catalogue, including a section “Artists’ Biography [sic],” pages 114–130, giving career details for more than one hundred individuals. While the main body of the text and captions are in Japanese and English, the biography section unfortunately is in Japanese only.

Winkel, Margarita. Souvenirs from Japan: Japanese Photography at the Turn of the Century (London: Bamboo Publishing Ltd. in association with Ukiyo-e Books bv, Leiden, The Netherlands), 1991.

[———, editor] Japanische Photographie 1860–1929 (Berlin: Argon Verlag for the Berliner Festspiele), 1993.

A handsomely reproduced set of the typical hand-colored “tourist” pictures from the late nineteenth century, mostly unattributed. Two of the sections of the text give more dates and specifics on several early photographers than most previous publications. The research is thorough and careful and offers an international bibliography that apparently includes several works that may offer dates on other individual careers.

A very handsome catalogue for an exhibition jointly pro­ duced by the Tokyo Metropolitan Museum of Photography and the Edo-Tokyo Museum for the 1993 Berlin Festival. Many of the pictures are dated and the section “Biografien,” pages 97–99, gives short summaries and life dates for the seventeen photographers featured in the exhibit in a context of considerable anonymous early work. The volume was published in soft cover as a catalogue and hardbound as a trade book.

Worswick, Clark. Japan: Photographs 1854–1905 (New York: Penwick Publishing, Inc. & Alfred A. Knopf, Inc.) 1979.

Marbot, Bernard. Objectif Cipango: Photographies anci­ ennes du Japon (Paris: Bibliothèque Nationale and Paris Audiovisuel), 1990.

Pages 129–139 provide historical survey text on Japanese photography in the nineteenth century; pages 144–149 give an annotated catalogue of 106 photographers.

An exhibit catalogue drawn from the holdings of the Bibliothèque Nationale. Few dates are given, but a special section, “Cipango devant L’Objectif (1862–1889),” gives scattered dates for albums and collections, with a brief general note about dates. The arrangement of the material makes it rather difficult to use.

Korea Bennett, Terry. Korea: Caught in Time (Reading, England: Garnet Publishing Limited), 1997.

Ono, Tadashi. “Un Dictionnaire des Photographes Japonais,” La Recherche Photographique, No. 9 (October 1990), pp. 80–91.

A fine addition to the Caught in Time series, devoted to bringing forth truly unfamiliar images and sources. A review in Stereo World (November–December 1997), by the historian and collector Norman Thorpe, indicates that the book includes more than 150 plates and information on approximately forty individuals. The reviewer notes that “some of the author’s identifications may be disputed, and there were other early photographers whose names also could have been included,” but adds that the work is “the best one . . . on early photography in Korea, and it provides an excellent starting place for other researchers.” Mr. Thorpe’s commentary is useful in its own right for giving in capsule form an outline of photography’s late entry into Korea and details on some of the pioneers who practiced there.

Directory containing thirty short biographies of Japanese photographers from all periods up to the present day. This special issue of La Recherche Photographique devoted to Japan also includes a survey of six national archives.

Ozawa, Tekesi. “The History of Early Photography in Japan,” History of Photography, Vol. 5, No. 4 (October 1981), pp. 285–303. A general article on the subject, covering the period to the end of the 1870s; gives details on a number of individuals including some from noble families not otherwise reported.

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Malaysia (see Singapore and Malaya)

names, notably John Thomson, and a few others show logo­ types or professional announcements. There are also some listings of professional photographers and participants in the 1905 Bangkok photography exhibition. These and any other details on photographers are to be derived only by extrapolation or very close scrutiny of images, since the entire volume is in Thai (except for a brief English summa­ ry), but the range of images is still important as an introduc­ tion to the nation’s photographic history. The work reflects the establishment of a national museum of photography at Chulalongkorn University in Bangkok, with an internation­ al advisory board. Taken in tandem with the very useful 1987 publication by Nawigamune cited above, it bodes well for more accessible historical publishing in the country.

Nepal Shreshta, Padma Prakash, editor. Nepal Rediscovered: the Rana Court, 1846–1951: Photographs from the Archives of the Nepal Kingdom Foundation (Kathmandu: Nepal Kingdom Foundation), Vol. 14, 1986. Not directly examined. A ninety-seven-page book with ninety illustrations cited in Roosens and Salu 2, p. 217.

Philippines (Also see entry for Yañez-Polo et al. under Spain/General and National) Colonial Philippines Photographs 1860–1910 (Berkeley, California: Lowie Museum of Anthropology, University of California), 1987. Sixteen-page catalogue of an exhibition presented by the Philippine-American Research Center. Includes a checklist of ninety-seven images with the photographers identified. This area clearly requires further thorough research.

Singapore and Malaya Falconer, John. “G. R. Lambert and Co., and Some Notes on Early Photographers in Singapore,” The Photographic Collector [London], Vol. 5, No. 2 ([1984]), pp. 212–231. A textual article which briefly discusses several individuals and firms.

———. A Vision of the Past: A History of Early Photo­ graphy in Singapore and Malaya—The Photographs of G. R. Lambert and Co. (Singapore: Times Editions), 1987. An impressive volume extending the author’s earlier work. The section, “Index of Photographers in Singapore and Malaya 1813 [sic, for 1843]–1914,” pages 189–192, gives career notes on more than 100 photographers and studios. A valuable contribution.

Sri Lanka (see Ceylon)

Tibet

Thailand

Hoffman, Michael E. Tibet: The Sacred Realm. Photographs 1880–1950 (Millerton, New York: Aperture, in association with the Philadelphia Museum of Art), 1983.

Nawigamune, Anake. Early Photography in Thailand (Bangkok, Thailand: Sangdad Publishing House), 1987, second edition 1988.

The section “The Photographers,” pages 148–155, compiled by Martha Chadroudi, gives short biographies for twentytwo individuals.

A small paperback volume of 190 pages written almost entirely in Thai, but with numerous interesting plates (some from other known publications). The three-page English summary identifies the first four photographers in Siam and gives some biographical details for those and a few others. The second edition published in 1988 includes two-page errata with otherwise unaltered text.

Uzbekistan Kurbanov, Sabir, introduction. Samarkand (Reading, England: Garnet Publishing Limited), 1992. In the series and surtitled Caught in Time: Great Photographic Archives, the work presents photographs of this area of Uzbekistan. The images are drawn from archival holdings in St. Petersburg, Russia. The section “The Photographers,” pages 8–10, gives varying amounts of career detail for eight individuals, most of them Russian and quite unfamiliar in the West. Unfortunately the work of Paul Nadar is wrongly attributed to his father Félix.

Siripant, Sakda. King and Camera: Evolution of Photography in Thailand 1845–1992 (Bangkok: Darnsutha Press Co., Ltd.), 1992. A substantial volume reproducing many images previously unseen in the West, including some in color, and suggesting the continued interest in the medium by several of the kings of Siam (later Thailand). A few plates carry photographers’

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[Dansk Vestindien i Gamle Billeder] (København [Copenhagen]: The Danish West Indian Society), 1967.

Nedvetsky, Andrei G., compiler. Bukhara (Reading, England: Garnet Publishing Limited), 1993. In the series and surtitled Caught in Time: Great Photographic Archives, the work presents photographs taken by seven identified Russian expeditionary photographers in the 1890s and early twentieth century. The images are drawn from archival holdings in St. Petersburg, Russia.

A bilingual exhibition catalogue for the fiftieth anniversary of the cession of the Virgin Islands to the United States of America. The items shown were drawn from a number of Danish institutions, and the ten photographers covered are best researched further in Bjørn Ochsner’s major work on photographers in and from Denmark. (See below under Europe/Denmark/General and National.)

———. Khiva (Reading, England: Garnet Publishing Limited), 1993.

5. EUROPE

In the series and surtitled Caught in Time: Great Photographic Archives, the work presents photographs of the former Khanate of Khiva, a city in present-day Uzbekistan. The area became the object of Russian military expeditions in 1858, 1873, and 1878, when many of the photographs were taken. The images are drawn from the collections of the Russian Geographical Society and the Russian Academy of Sciences Institute of the History of Material Culture in St. Petersburg, Russia. While there is little detail given on the lives of the four identified photographers, the text and captions illuminate a previously unknown chapter in the early application of expeditionary photography.

General and International (Also see entry for Aguilar Ochoa under Latin America/Mexico) Allgemeines Adress—Handbuch Ausübender Photographen von Deutschland, den Österr. Kaiserstaaten, der Schweiz und den Hauptstädten der Angrenzenden Länder als Brüssel, Kopenhagen, London, Paris, Petersburg, Stockholm u.a. (Leipzig: Robert Schaefer’s Verlag), 1863. A seventy-four page general address book of practicing photographers of Germany, the Austrian Empire, Switzerland, plus the neighboring capitals of Brussels, Copenhagen, London, Paris, St. Petersburg, Stockholm, and others. As the first attempt at a pan-European directory of photographers, it is an historical curiosity, but useful for inferring periods of activity.

Vietnam (See entry for Falconer et al. under Asia/General and International) 4. CARIBBEAN (Also see entries for Gesualdo under 1. General and International, for Billeter et al. under Latin America/ General and International, and for Karel under North America/General and International)

Arbasino, Alberto, and Daniela Palazzoli. I Viaggi Perduti (Milano: Bompiani), 1985. An expansively illustrated volume on early travel photogra­ phy. The section “Note Biografiche,” pages 181–190, gives information on fifty-six photographers who were important early figures in this genre, including several not discussed elsewhere.

Cuba (Also see entry for Yañez-Polo et al. under Spain/General and National) Haya Jiménez, María Eugenia. Breve Historia de la Fotografía Cubana (Havana: n.p.), 1980.

Arts Council of Great Britain. “From Today Painting is Dead”: The Beginnings of Photography ([London]: The Victoria & Albert Museum), 1972.

Not directly examined. Cited in Roosens and Salu 3, p. 79.

Keynote exhibition catalogue of 914 items. Capsule biogra­ phies are included for a number of photographers, mainly British and French, active up to 1880. Unrevised reprint 1975.

———. La Fotografía Cubana en el Siglo XIX (Havana: Dirección de Artes Plasticas y Diseño), 1982. Not directly examined. Cited in Roosens and Salu 2, p. 78.

Baden Pritchard, H. The Photographic Studios of Europe (London: Piper & Carter), 1882; reprinted (New York: Arno Press), 1973.

Libby, Gary R., Sandra L. Miller, and Judith Zollinger, editors. Salon and Picturesque Photography in Cuba, 1860–1920: The Ramiro Fernandez Collection (Daytona Beach, Florida: Museum of Arts and Science), 1988.

Described in its introduction as a source book of descriptive and operational information collected by the author over a two-year period spent visiting notable and successful studios in western and central Europe, from Britain to Hungary. The volume discusses approximately seventy-four individuals or studios and how they function. In addition to practical details and formulae, historical data is given for a number of leading figures such as Francis Bedford or Walter Woodbury. The work thus offers a pioneer synoptic accounting of dates and phases of several leading careers during the mid-to-late nineteenth century. A decidedly interesting text that offers more than antiquarian value.

A forty-four page exhibition catalogue giving a wide variety of Cuban images, with a chronological review of Cuban photography.

1959–1979. 20. Aniversario Casa de las Américas— Obra Gráfica, Historia de la Fotografía Cubana (Havana: n.p.), 1979. Not directly examined. Cited in Roosens and Salu 1, p. 98.

Virgin Islands (Danish West Indies) Engelstoft, Jesper, and Henning Henningsen, editors. The Danish West Indies in Old Pictures 61

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Brettell, Richard R., et al. Paper and Light: The Calotype in France and Great Britain, 1839–1870 (Boston: David R. Godine, and London: Kudos & Godine Ltd., in association with The Museum of Fine Arts, Houston, and The Art Institute of Chicago), 1984.

Friedman, Martin, et al. The Frozen Image: Scandinavian Photography (New York: Abbeville Press, Publishers, for the Walker Art Center, Minneapolis), 1982. Overview exhibition of Scandinavian photography from its origins to the present, with short essays by eighteen special­ ists. Covers Norway, Sweden, Denmark, Finland, and Iceland. The section “Photographers in the Exhibition,” pages 199–201, consists of a listing of 165 photographers, giving names, life dates, birthplaces, and countries of main work.

Extensive survey accompanying a major exhibition. The section “The Photographers,” pages 79–206, divided into five thematic sub-sections, gives biographies for thirtyseven leading individuals. For ease of consultation, there is an “Index of Photographers,” page 216.

In relatie tot Van Gogh: Fotografie van tijdgenoten [In Relation to Van Gogh: Photography by Contemporaries] (Amsterdam: Stedelijk Museum), 1990.

Camera Gothica: Gothic Church Architecture in the [sic] Nineteenth Century European Photography (Antwerpen, Belgium: Province of Antwerp), 1993.

A finely conceived exhibition catalogue for the centennial of the death of Vincent Van Gogh. A rich selection of anony­ mous period photographs is combined with pictures by fifty-five persons from Belgium, England, France, and the Netherlands to illuminate both the places and the concerns the painter explored. Biographical dates and details are given for thirty-eight of these individuals in the section “Biographies/Survey of Exhibition,” pages 87–110. Texts in Dutch and English. Somewhat laborious to use because of the small typeface.

A very handsome catalogue for an exhibition, organized by the Province of Antwerp, on the occasion of the reopening of the restored Antwerp Cathedral, offering specific essays on Gothic church building and early photography in France, Belgium, Germany, and Great Britain. In addition to a rich selection of color-toned plates and a generous bibliog­ raphy, the section “Biographies,” pages 241–271, gives brief summaries for thirty-nine photographers or publishers active in the countries surveyed. Texts in Dutch, French, and English.

Lobjoy, Martine, et al. Les miroirs qui se souviennent 1787–1987: Daguerréotypes d’hier et d’aujourdhui et autres procédés photographiques (Cormeilles-en-Parisis, France: Syros Alternatives), 1987.

Coppens, Jan, Laurent Roosens, and Karel van Deuren. “ . . . door de enkele werking van het licht”: Introductie en integratie van de fotografie in België en Nederland, 1839–1869 ([Antwerpen, Belgium]: Gemeentekrediet), 1989.

An exhibition catalogue for the bicentennial of the birth of Louis Jacques Mandé Daguerre. Pages 20–34 list historical items in the exhibition interspersed with biographical entries, including some for otherwise obscure persons. Pages 82–93 give biographical details for several modern photographers and practitioners of older processes.

The book accompanied an exhibition held in Antwerp, Belgium and Eindhoven, Netherlands. While not a directo­ ry as such, the entire volume is rich with information on the introduction and integration of photography into the two countries. Numerous passages detail early careers and most illustrations are dated. A fine example of how the medium can be examined in a multinational area of similar cultural heritage.

Mitry, Jean. Schriftsteller als Photographen 1860–1910 (Lucerne, Switzerland: Verlag C. J. Bucher), 1975. While not actually a directory, this work provides informa­ tion otherwise not explored in photographic history by showing a selection of pictures and giving some biographi­ cal data for seven major literary figures who were also photographers.

Fotografier Charlottenborg: Et Udvalg af Det Kongelige

Biblioteks Samling (København [Copenhagen]:

Det Kongelige Bibliotek), 1986.

A monograph to accompany an exhibition of photographs from the Danish Royal Library by Danish and European photographers of the nineteenth and twentieth centuries, with essays by Ib Rønne Kejlbo, Bjørn Ochsner, and Tage Poulsen. The section “Biografier,” pages 154–159, contains eighty-two entries, mostly with life dates and dated career details.

Moser, Eva, editor, et al. Frühe Photographie 1840–1914: Das optische Gedächtnis der Bodensee-Landschaft (Friedrichshafen, Germany: Verlag Robert Gessler), 1985. Publication No. 15 in the series Kunst am See on artists and culture of the tri-national region around Lake Constance. A compilation of articles by fifteen authors on early photo­ graphy and photographers in the areas of Germany, Switzerland, and Austria bordering the Bodensee (Lake Constance). The articles are grouped under five headings: several history and technical developments, pioneers of photography, professional photographers as chroniclers of the region, a discussion of art photography in Ravensburg circa 1900, and aspects of life on the Lake. Contains many illustrations and short biographies of the authors of the book, but unfortunately no index by photographer, which makes the work difficult to consult.

Frank, Hans. Vom Zauber alter Licht-Bilder: Frühe Photographie in Österreich 1840–1860 (Wien [Vienna] et al.: Verlag Fritz Molden), 1981. The section “Photographen der 1840er und 1850er Jahre in Österreich,” pages 93–110, is a directory of 429 early photographers or firms active between the time of the daguerreotype and the collodion wet plate. It gives loca­ tions, biographical or working dates, with more extensive accounts of several noted persons. Listings include areas of Austria, Hungary, Slovenia, Croatia, Poland, Romania, Trieste, and Venice—various parts of the AustroHungarian Empire. Some experts have criticized the work on grounds of accuracy.

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the imperial and royal patent through 1900. Cited in Auer et al., Vol. 2, p. 209.

Nazarieff, Serge. Der Akte in der Photographie 1850–1930 (Berlin: TACO), 1987. The overall book is mainly a presentation of stereoscopic images of nudes. Pages 155–156 give German, English, and French “Biographical Notes on the Early Photographers” for seven notable photographers, some otherwise missed in the general literature.

Regional and Local

Bayer, Adelheid. Die Photographie in Wien von 1844 bis 1914 im Spiegelbild der alten Adressbücher (Wien [Vienna]: Academic thesis, University of Vienna), 1965. Not directly examined.

Sidwall, Åke, et al. Fotografi 150 År: Svensk och utländ­ sk fotografi ca 1840–1989 ur museets samlingar (Stockholm: Fotografiska Museet i Moderna Museet), 1989.

Fotografie im Burgenland: 150 Jahre Photographie, 1839–1989 (Eisenstadt, Austria: Amt der Burgenländischen Landesregierung), 1989.

An historical survey of photography from the collections of the Photographic Museum, Stockholm, as exhibited in July/September 1989. The “Katalog,” pages 91–95, gives biographical data for the 135 international photographers represented, with particular strength in lesser-known Swedish persons.

Cited in BHA, Vol. 2, No. 2 (1992), entry 10637, as a fourteen-page publication on the development of photography in a rural region, including twenty-five illustrations.

Frank, Hans. “Die Photographen in Ischl 1840 bis 1920” in Festschrift Photomuseum des Landes Oberösterreich. Photogeschichtliche Sammlung Frank (Linz and Bad Ischl, Austria: [Amt der oö. Landesregierung]), 1978, unpaginated.

Waibl, Gunther, et al. Zeit-Bilder: 150 Jahre Photographie. Tirol, Südtirol, Trentino/TempoImmagine: 150 Anni di Fotografia. Tirolo, Alto Adige, Trentino (Bolzano/Bozen, Italy: Museum für Moderne Kunst), 1989.

Three-page essay and seven pages of biographies, comprising sixty entries, followed by illustrations of the photographers’ work.

Cited by Pelizzari as a forty-page exhibition catalogue sur­ veying photography in the Alpine region straddling Austria and Italy.

Frank, Hans, and R. W. Litschel. Oberösterreich in alten Photographien 1848–1914 (Linz, Austria: Oberösterreichischer Landesverlag), 1979.

Albania

Cited in MABS, p. 55, as a portfolio of early photographs “introduced by texts discussing the history of photography in thematic sections. . . . An appendix lists all the photographers known to have worked in the region with biographi­ cal information where available.”

Girard, Gérard. “Notes on Early Photography in Albania,” History of Photography, Vol. 6, No. 3 (July 1982), pp. 241–256. An article rather than a directory; gives some biographical information on six photographers active between 1864 and 1930 plus illustrations of some early work.

Pichler, Florian, and Wolfgang Duschek. Südtirol in alten Lichtbildern. Die Anfänge der Photographie in Südtirol und die ältesten Photographen (Bozen/Bolzano, Italy: Athesia), 1981 second edition.

Austria (Also see entry for Frank under Europe/General and International)

Not directly examined. Reportedly a publication first issued in 1979 on photography in the German speaking area of South Tyrol, which was Austrian territory until 1918.

General and National

Auer, Anna, Monika Faber, et al. Geschichte der Fotografie in Österreich (Bad Ischl, Austria: Verein zur Erarbeitung der “Geschichte der Fotografie in Österre­ ich”), 1983, two volumes.

Schiffer, Armgard, and Ernest M. Fürböck. Geheimnisvolles Licht-Bild: Anfänge der Photographie in der Steiermark (Graz, Austria: Bild- und Tonarchiv am Landesmuseum Joanneum), 1979.

A major work in every aspect. Volume I is a textual history of 376 pages; Volume II is a 220-page reference work includ­ ing a biographical dictionary of nearly one thousand Austrian photographers: “Lexikon zur österreichischen Fotografie” by Otto Hochreiter and Timm Starl, pp. 93–196.

Exhibition catalogue on history of photography in the area of Styria, Austria, including a four-page listing of approxi­ mately 150 photographers active 1839–1900.

Vom Porträt zur Ansichtskarte: Gmundener Photographie-Geschichte seit 1856 (Gmunden, Austria: Kammerhofmuseum), 1981.

Frank, Hans. Biographisches Lexikon der österreichis­ chen Photographen 1860–1900 (Bad Ischl, Austria: Unpublished typescript), 1980.

A twenty-three page exhibit catalogue of photography of a single city in Upper Austria.

Not directly examined. Cited in Auer et al., Vol. 2, p. 209.

Waibl, Gunther. Mariner Photographen in Bruneck: Ein Stück Kulturgeschichte (Bruneck/Brunico, Italy: Privately published), 1982.

Rosenberg, Gert. Auflistung der k. k. Hof-Photographen bis zum Jahre 1900 (Wien [Vienna]: Unpublished typescript), 1980.

A solid local publication on photographers in a part of the German speaking area of South Tyrol, Austrian territory

Not directly examined. A listing of photographers awarded

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until 1918. The section “Die Photographie in Bruneck,” pages 14–15, gives a brief history in the form of short biographical entries on twenty professional photographers from all periods.

others. Unfortunately the listing is not at all comprehensive for the great number of ordinary portrait studios and “real photo” post card photographers active in all areas of the country. Texts in French with Dutch and English translations.

Weissmann, Werner. Zeittafel: Grazer Photographen, 1839–1860 (Heusenstamm, Austria: Privately published), 1979.

Regional and Local

Abeels, Gustave. Les pionniers de la photographie à Bruxelles (Zaltbommel, Netherlands: Bibliothèque Européenne), 1977.

Reported as a twenty-page exhibition catalogue. Not directly examined.

A full text history, peppered with inaccuracies, but contain­ ing biographical information on some early photographers not available elsewhere at the time of publication.

Belgium General and National

Antheunis, Georges, et al. Fotografie te Gent: Focus op Fotografie van 1839 tot 1940 (Gent, Belgium: Museum voor Industriele Archeologie en Textiel and Gemeente Krediet), 1987.

Joseph, Steven F., Tristan Schwilden, and MarieChristine Claes. Directory of Photographers in Belgium, 1839–1905 (Antwerpen, Belgium: Museum voor Fotografie and C. de Vries-Brouwers), 1997.

An exhibition catalogue surveying the development of photography in Ghent, including a list of members of the Ghent section of the Association belge de Photographie [Belgian Photographic Association] to 1900, pages 105–107.

Two-volume comprehensive directory. Volume I: approxi­ mately 5,200 biographical entries organized alphabetically; amateurs, professionals and individuals in allied trades (such as camera makers and collotypists) active in Belgium. A small number of individuals active in the Congo Free State, the former Belgian colony in central Africa, are included in the total. Indexed alphabetically by locality with start dates for each individual; also indexed chronologically for photographers active in the period 1839 to 1860. A table of statistics for fifteen major towns in Belgium is included. The text is interspersed with illustrative images and studio imprints, many a little overdark in printing. Volume II: album contains eighty-six full-page four-color reproduc­ tions of nineteenth century images, based on historical representativeness and artistic merit, taken by photo­ graphers featured in Volume I. One reviewer describes the directory as “one of the most dedicated works thus far achieved in the field, and deserves to stand as a landmark of codifying the photographic history of an entire nation.”

Budahazi, Serge. Les Photographes Professionnels dans la Région de Charleroi Fin XIXe—Début XXe Siècle (Marcinelle, Belgium: Research paper, Institut Provincial Supérieur des Sciences Sociales et Pédagogiques), 1990–1991. An eighty-seven page directory, based on the holdings of the Musée de la Photographie, Charleroi. While providing much new biographical information, the work is unfortu­ nately marred by frequent errors and slapdash editing.

Claes, Marie-Christine, and Steven F. Joseph. “‘Messieurs les Artistes Daguerréotypes’ et Autres: aux Origines de la Photographie à Namur (1839–1860),” De la Meuse à l’Ardenne, No. 22 (1996), pp. 5–28. Textual study, based on research in early newspapers and population registers, giving biographical and career details for twenty-one individuals, seventeen of them professional photographers.

Magelhaes, Claude, and Laurent Roosens. De fotokunst in België 1839–1940 (Deurne-Antwerpen, Belgium: Het Sterckshof, Provinciaal Museum voor Kunstambachten), 1970.

Cresens, André. 150 jaar fotografie te Leuven (Brugge [Bruges], Belgium: Uitgeverij Marc Van De Wiele), 1989.

A pioneering exhibit catalogue in Dutch, French, English, and German; gives very brief biographical notes on seventysix photographers from the first hundred years in Belgium.

A full text history of photography in one Flemish Belgian area centering on the city of Leuven/Louvain. Extensively illustrated and offering extrapolative means to date work, the volume also gives specific biographies for many indi­ viduals, copies of imprints, some lists of views by specific persons, and lists of members of various photographic associations. A model of good local photographic history.

Vercheval, Georges, et al. Pour une histoire de la pho­ tographie en Belgique: Essais critiques—Répertoire des photographes (Charleroi, Belgium: Musée de la Photographie), 1993. A solid contribution to developing an orderly understand­ ing of the photography of an entire nation. Eighteen essays cover many aspects of the history and public implications of the medium from 1839 to the present. Sections are devoted to methods of dating early card portraits, technical and social aspects, chronological elements of national life, mem­ bership lists of associations, and terminology. The section “Répertoire des Photographes de 1839 à nos jours,” com­ piled by Marc Vausort and Michèle Lorge, pages 383–463, gives short biographical notices for approximately 600 indi­ viduals and an alphabetical listing of approximately 2,000

Dawyndt, A. “De Eerste Veurnse Huisfotografen,” Bachten de Kupe, Vol. 39, No. 5 (1997), pp. 101–104. Short article on the first professionals in Veurne/Furnes (a small town near the Belgian coast) at the turn of the twentieth century, with biographical indications.

Detry, Maurice, Robert Freyens, and Jacques Spitz. 100 ans de photographie à Verviers, 1839–1939 (Verviers, Belgium: Edition Temps Jadis for the Musées Communaux de Verviers), 1995.

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Excellent local photographic history. The sections “Répertoire des Photographes,” pages 161–210, and “Photographes Amateurs,” pages 211–223, give biographi­ cal details for approximately 100 professionals and fifty amateurs respectively. These sections are in chronological rather than alphabetical order and are difficult to consult.

Pages 9, 12, 14, and 16 give a listing with some biographical details for twenty-three individuals or firms included in the exhibition.

Hostyn, Norbert. “De Fotografie te Oostende tot 1914,” De Plate. Tijdschrift van de Oostendse Heemkundige Kring, Vol. 9 (1980), pp. 3–4, 21–25, 49–53, 67–69, 92–95, 123–127, 153–157. An article in seven parts giving career details on twenty-five professional photographers.

Joseph, Steven F., and Tristan Schwilden. “The First Daguerreian Studios in Brussels,” The Daguerreian Annual 1990: Official Yearbook of The Daguerreian Society, pp. 93–110. Survey of the development of photography in the Belgian capital, beginning with the opening of the first studios in 1842, and including biographical details of the photo­ graphers concerned.

Le Bailly de Tilleghem, Serge. “Les Premiers Photographes à Tournai de 1842 à 1892” in RenéDesclée. Photographe Tournaisien 1868–1953 (Tournai, Belgium: [Casterman, s. a.]), 1988, pp. 23–37. Textual study giving full career details for more than a dozen professional photographers active in the town of Tournai during the first twenty-five years of the medium.

Dewilde, Jan. Ieper: De Verdwenen Stad [The Lost Town] [La Ville Disparue] (Koksijde, Belgium: Uitgeverij De Klaproos), 1998.

Leeuwerck, Ernest. “De Vroegste Fotograaf te Poperinge,” Aan de Schreve, Vol. 3, No. 4 (1973), p. 29.

Excellent account of the development of photography in the town of Ypres from 1839 to 1914, set out in nine chapters, each in the form of biographical entries. The title refers to the virtually total destruction of the town under German bombardment during the First World War. Parallel texts in Dutch, English and French.

Earliest attempt in Belgium at compiling a local directory; lists fifteen photographers with addresses and approximate dates, five active before 1914.

Michiels, Guillaume. Uit de Wereld der Brugse Mensen: de fotografie en het leven te Brugge 1839–1918 (Brugge [Bruges], Belgium: Uitgaven Westvlaamse Gidsenkring), 1979.

Dupont, Pierre-Paul. Un demi-siècle de Photographie à Namur des origines à 1900 (Bruxelles [Brussels]: Crédit Communal), 1986. Textual history. The sections “Principaux Ateliers,” pages 51–60, and “Notices Biographiques,” pages 132–139, give career details for twenty-seven professional and ten amateur photographers respectively, active in one city during the nineteenth century.

A very fine and richly illustrated local history. Pages 20–46 give highly accurate biographical sketches for thirty-six professional photographers active in Bruges in the period 1842–1918. Several hundred early photographs are repro­ duced, constituting in themselves an excellent iconographic sourcework.

Duvosquel, Jean-Marie. “Photos anciennes de Comines et de Warneton (1861–1900),” Mémoires de la Société d’ histoire de Comines-Warneton et de la région, Vol. 11 (1981), pp. 253–256.

Nooyens, Frans. “De Pioniers van de Fotografie in Antwerpen (1839–1869)” in Coppens, Jan, Laurent Roosens, and Karel van Deuren. “. . . door de Enkele Werking van het Licht”: Introductie en Integratie van de Fotografie in België en Nederland, 1839–1869 ([Antwerpen, Belgium]: Gemeentekrediet), 1989, pp. 119–128.

Brief local study with details on several individuals.

Geirnaert, Noël, editor. Brugge door de Lens. Foto’s en Fotografen, 1900–1918 (Brugge [Bruges], Belgium: Uitgeverij Marc Van de Wiele), [1993].

Textual study based on newspaper and directory research, giving biographical details for many professional photo­ graphers active during the first thirty years of the medium.

A study pursuing the development of photography in Bruges from the point where G. Michiels, cited below, left off. The chapter “De Fotografie in Brugge” by Jaak A. Rau, pages 21–29, contains substantial biographical details on twelve photographers active during the period surveyed.

Photographie and ULB 1834–1984 (Bruxelles [Brussels]: Editions “pH 7”), 1984. Exhibition catalogue, marking the sesquicentennial of the foundation of the Université libre de Bruxelles (ULB). Covers of the work of fifteen photographers, six of whom were active before 1914, and includes biographical informa­ tion on each.

Graindorge, Isabelle, et al. Photographies d’hier de 1850 à 1940 [Catalogue for exhibition August 2–18, 1985] (Huy, Belgium: Maison de la Culture), 1985.

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La photographie en Wallonie des origines à 1940 (Liège, Belgium: Musée de la Vie Wallonne), 1979.

———. Praha 1848–1914: C+tení Nad Dobovy;mi Fotografiermi [Prague 1848–1914: What Period-Style Photographs Tell Us] (Praha [Prague]: Panorama), 1984.

A small but significant exhibit catalogue covering the first century of photography in the French speaking part of Belgium. Divided into sections displaying technical devel­ opments before and during the time of the medium, then illustrated with examples of work produced by both artistic and commercial photographers. Biographical material, career statements, or dates for 152 individuals or firms are scattered through the catalogue and in an added section. Another section gives dates of terms for many officers of the Belgian Photographic Association and dates of estab­ lishment for various local sections of the organization. A source to be used in complement with the work by Joseph, Schwilden, and Claes cited above.

A well-illustrated account of the development of photo­ graphy in the Bohemian capital. Pages 275–279 give twenty-eight biographical entries for the most prominent photographers of Prague in the nineteenth century.

———. Praz=ské Fotografické Ateliéry 1839–1918 (Praha [Prague]: Muzeum Hlavnk≤ho Mesta Prahy), Vol. I, 1987 and Vol. II, 1989. These two free-standing issues of the series Acta Musei Pragensis give a very thorough listing for individuals active in the city of Prague. Volume I, covering 1839–1888, lists 177 photographic studios in chart form on pages 123–146. Volume II, covering 1889–1918, lists hundreds more and contains full biographies for twelve of the more prominent Prague photographers on pages 33–38. The work includes a bibliography, lists of photographic organizations, and illustrations.

Van Gysegem, Marc. Fotografie in Oost-Vlaanderen (Gent, Belgium: Provinciebestuur van Oost-Vlaanderen), 1992. Study of the development of photography in the province of East Flanders, from the beginning to the present day. The section “Biografieën,” pages 183–188, gives life-dates and career sketches for thirty-five individuals. Further biograph­ ical details for many other photographers may be extrapo­ lated from the text.

Wirth, Zdenek. Sto Let C+eske; Fotografie, 1839–1939 (Praha [Prague]: Umeleckoprumyslové Muzeum), 1939. Pioneering study on the first hundred years of Czech photo­ graphy, accompanying an exhibition held at the Museum of Applied Art in Prague.

Bohemia and Moravia (The Czech Republic) (also see Czechoslovakia)

Bulgaria

Dufek, Antonin. Avantgardni Fotografie 30. Let na Morave (Olomouc, Czech Republic: n.p.), 1981.

Boev, Peter. Fotografsko Izkustvo v Bulgaria [The Art of Photography in Bulgaria] (Sofia: September Publishing House), 1983.

Not directly examined. Cited in Roosens and Salu 2, p. 80.

A general history of Bulgarian photography emphasizing the period 1856 to 1944. Gives biographical information for several individuals in an expanded treatment of the English text listed next below. Text in Bulgarian Cyrillic type.

Faber, Monika, and Josef Kroutvor. Photographie der Moderne in Prag, 1900–1925 (Wien [Vienna]: Oesterreichisches Fotoarchiv im Museum Moderner Kunst), 1991. Not directly examined. Cited in Roosens and Salu 2, p. 81.

———. “Early Photography in Eastern Europe: Bulgaria,” History of Photography, Vol. 2, No. 2 (April 1978), pp. 155–172.

Scheufler, Pavel. Fotografické Album C+ech 1839–1914 (Praha [Prague]: Odeon), 1989.

An article surveying the earlier period of the country’s photographic history. A number of individuals are given biographical statements. Useful as an introduction to the book listed above.

A substantial book with hundreds of black and white plates and a good sample of color images from the early period. While the text is in Czech, the picture captions and text sections have some dating and names, as well as some use of cognate terms that allow a degree of defining infor­ mation. The section “Medailónky Vybrany;ch Fotografu` v C+echách 1839–1914,” pages 435–443, gives biographical sketches of seventy-two individuals and is preceded by a two-page chronology of notable photographic events. Pages 390–432 add considerable information on studios, scattered with illustrations of studio buildings and interi­ ors and various portraits of photographers. Despite the language difficulty, a very valuable contribution exceeded only by the magnitude of the author’s other work (see below). It should be noted that the word “C+ech” is the Czech for “Bohemia,” which helps clarify the fact that much of the history of the region is localized because the modern nation states of Czechoslovakia or the Czech and Slovak Republics had not yet been consolidated.

Croatia Corjek I More / Man and the Sea (Zadar, Croatia: Art Gallery of the People’s Museum of Zadar), 1989. An exhibit catalogue for the Thirteenth International Triennial Exhibition of Photography. The historian Nada Grcevic contributes an article, “The Adriatic in Old Photographs,” in Croat and English. It provides some career details for seventeen photographers, including several not previously associated with the locale, such as the Baron Raimund Stillfried, who was best known in Japan.

Dubrovic,; Ervin, Milan Galic,; and Miljenko Smokvina. Fotografija u Rijeci, 1844–1940 (Rijeka: Pomorski i Povijesni Musej Hrvatskog Primorja), 1990. Exhibition catalogue on early photography in Rijeka. Not directly examined.

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Grc=evic;, Nada. “Early Photography in Eastern Europe: Croatia,” History of Photography, Vol. 1, No. 2 (April 1977), pp. 153–167.

Kirschner, Zdenek, and Antonin Dufek. Photographes Tchèques, 1920–1950 (Paris: Centre National d’Art et de Culture Georges Pompidou, Musée National d’Art Moderne), 1983.

A general article introducing the subject and giving a few details on individuals. Most useful in conjunction with the author’s Croatian-language book cited below.

Not directly examined. Cited as a sixty-four page exhibition catalogue in Roosens and Salu 1, p. 102.

———. Fotografija devetnaestog stoljec;a u Hrvatskoj (Zagreb: Druétvo Povjesnic;ara Umjetnosti Hrvatske), 1981.

Mrázková, Daniela, et al. Co Je Fotografie: 150 Let Fotografie / What is Photography: 150 Years of Photography (Praha [Prague]: Videopress), 1989.

A full-volume illustrated textual history of photography in what used to be the Croatian area of Austro-Hungary; includes a chronological listing by town of professional photographers to 1900, pages 237–239.

“Czechoslovak Photography 1945–1989,” pages 355–391, compiled by Petr Balajka et al., is a specific national section of the major catalogue cited under “General and International” above. One picture and a biographical state­ ment are given for each of approximately 137 individuals in the exhibition. As with the main publication, the text is in Czech only, so the information on these often overlooked photographers is difficult to use. With patience and the use of some cognate words, the researcher can elicit some solid details. Several women are included and can be recognized by surnames ending in “ová.” An interesting and hand­ some reference source.

———. Fotografija u Hrvatskoj 3: Rana Karlovac=ka Fotografija (Zagreb: Galerija Primitivne Umjetnosti; Karlovac, Croatia: Gradski Muzej), 1982. Exhibition catalogue on early photography in Karlovac=.

Not directly examined.

Malekovic, Vladimir, editor, et al. Photography in Croatia 1848–1951 (Zagreb: Muzej Za Umjetnost I Obrt), 1994.

Mrázková, Daniela, and Vladimir Reme=s. Tschechoslowakische Fotografen 1900–1940 (Leipzig, Germany: VEB Fotokinoverlag), 1983.

An elaborate and substantial exhibit catalogue in Croat and English. A fine contribution to the literature, all the more astonishing because it was produced by a nation while at war. The images are beautifully reproduced. The section “Biographies and Catalogue,” pages 423–453, gives career details only in Croat for dozens of photographers of the 996 pictures exhibited. Furthermore, a “Comparative Chronology,” pages 401–421, gives a year-by-year account of photographic events in Croatia and elsewhere during the period surveyed.

A textual history—a unified state of Czechoslovakia existed during only half of the period covered. Primary emphasis is given to major names, beginning with Mucha, but sixteen biographies are included.

Philippot, Claude, and Serge Therol. Progressive Photography in Czechoslovakia, 1920–1990 (Vandœvrelès-Nancy, France: Galerie Robert Doisneau), 1990.

Czechoslovakia (also see Bohemia and Moravia; Slovakia)

Fine exhibition catalogue, featuring twenty-four photogra­ phers. Each biographical entry is followed by one or more full-page reproductions of work. Text in French, English, and German.

Balajka, Petr, et al. Encyklopedia C+eskych Slovenskych Fotografu (Praha [Prague]: Asco Praha), 1993.

Skopec, Rudolf. “Early Photography in Eastern Europe: Bohemia, Moravia and Slovakia,” History of Photography, Vol. 2, No. 2 (April 1978), pp. 141–153.

A 452-page directory of Czech and Slovak photographers of all periods, with emphasis on contemporary figures.

An article surveying the early period of the region’s photo­ graphic history. A few individuals are given biographical treatment.

Dufek, Antonin. C+eska; Medzivojnova Fotografia [Czech Photography between the Wars] (Bratislava: n.p.), 1977. Not directly examined. Cited in Roosens and Salu 2, p. 80.

Denmark (Also see entry for Steinert and Ochsner under 1. General and International)

Dufek, Antonin, Frantiéek Smejkal, and Jaroslav Andel. C+eská Fotografie, 1918–1938 (Brno, Czech Republic: Moravian Gallery), 1981.

General and National

Not directly examined. Cited as a 164 page exhibition

catalogue in Roosens and Salu 1, p. 102.

Ochsner, Bjørn. Fotografer i og fra Danmark til og med År 1920 (København [Copenhagen]: Bibliotekcentralens Forlag), 1986, two volumes.

Eskildsen, Ute, and Antonin Dufek. Tschechische Fotografie 1918–1938 (Essen, Germany: Museum Folkwang; Vienna: Oesterreichisches Fotoarchiv im Museum Moderner Kunst), 1984.

One of the more comprehensive genuine directories yet done for a single country. The main body of the two volumes is an alphabetical listing of photographers in and from Denmark (including Iceland) with occasionally extensive biographical coverage, locations, and other cogent details. The information is stratified in several ways includ­ ing a register by town, a list of notable amateurs, a list of foreign workers in Denmark, a listing of Danish workers

Reported as a seventy-one page exhibition catalogue, drawn from the holdings of the Museum of Applied Arts, Prague; National Gallery, Prague; Memorial of National Literature, Prague; Moravian Gallery, Brno, and others. Not directly examined.

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England (see Great Britain)

abroad, and a list of persons involved with producing illustrated books—all serving as guides to the master text. Includes an introductory section giving essential terms and abbreviations in Danish text. Almost completely replaces the previous versions (København [Copenhagen]: Det Kongelige Bibliotek), the 1956 first edition and the 1969 second edition, which have listings only to 1900.

Estonia Teder, Kaljula. Eesti Fotograafia Teerajajaid. Sada Aastat (1840–1940) Arenguteed (Tallinn: Kirjastus “Eesti Raamat”), 1972. A full text history of photography in Estonia. Listings of professional photographers for Tallinn and several other localities, extracted from business directories of the 1890s, are given on pages 48–49. Russian summary, pages 137–140, and summary in English, “Pioneers of Estonian Photography,” pages 141–144.

Regional and Local

Arnholtz, Svend. “Gamle Naestved-Fotografer,” Årbog for Historisk Samfund for Praesto Amt, 1954, pp. 105–216. Not directly examined. Cited as a pioneering study and source in Ochsner, p. vi.

Dynesen, Knud. “De Gamle Fotografer i Aalborg,” Aalborg-Bogen, 1967, pp. 7–65.

———. “Early Photography in Eastern Europe: Estonia,” History of Photography, Vol. 1, No. 3 (July 1977), pp. 249–268.

Not directly examined. Cited as a source in Ochsner, p. vi.

A general article on the subject; gives some career details on individuals. Based on the work cited immediately above. Almost the only source available in English.

Frederiksen, Doris. Fotografer i Herning 100 År 1870–1970 (Herning, Denmark: Historisk Forening for Herning Kommune), 1989.

Tooming, Peeter. Tähelepanu, Pildistan! Eesti Foto Minevikust 1840–1940 [Sketches from the Past of Estonian Photography] (Tallinn: Kirjastus “Kunst”), 1986.

Not directly examined.

Grandt-Nielsen, Finn. Odense i Fotografiets Barndom (Odense, Denmark: Lokalhistorisk Forlag—Fyn), 1979.

A general book with an essay-like approach to the subject. While there is no systematic or separate listing of photo­ graphers, considerable information can be found by extrapolation from picture captions and the overall text. Summaries in Russian and German; English summary and “List of Photos,” pages 279–295.

Very comprehensive local history of photography. The section “Fotografer i Odense 1842–85,” pages 145–149, gives entries for fifty individuals and a listing of successive occupants of individual studios.

Haugsted, Ida. “Christian Tuxen Falbe and the Pioneer Daguerreotypists in Denmark,” History of Photography, Vol. 14, No. 2 (April/June 1990), pp. 195–207.

Finland

A general text article giving some biographical or career details for a number of primary but little-known photo­ graphers.

General and National

Hirn, Sven. Ateljeesta luontoon: Valokuvaus ja valoku­ vaajat Suomessa 1871–1900 (Helsinki: Suomen Valokuvataiteen Museon Säätiö), 1977.

Ladegaard, Inge. Fotografer i Kolding indtil 1940 (Kolding, Denmark: Stadsarkiv), 1989.

Continuation in time of earlier item noted below. Textual history of late nineteenth century photography in Finland. Includes biographies of twenty major photographers on pages 115–123 plus a general summary of the text in Swedish, pages 134–137, and in English, “Photography in Finland 1871–1900,” pages 138–141.

Not directly examined.

Nicolajsen, Bent. Hos Fotografen. Fotografiens Socialhistorie i Aalborg 1843–1900 (Aalborg, Denmark: [Dissertation, University of Aalborg]), circa 1988. Not directly examined. A summary was published in the journal of the Dansk Fotohistorisk Selskab [Danish Photohistorical Society] Objektif No. 44 (December 1988).

———. “Danska fotografer i Finland” in Sølv og Salte: Fotografi og forskning, edited by Tove Hansen (København [Copenhagen]: Det Kongelige Bibliotek; Rhodos—Internationalt Forlag for Videnskab og Kunst), 1990, pp. 91–107.

Poulsen, Orla, and Hanna Mathiesen. “Fotografer i Thy,” Historisk Årbog for Thy og Vester Hanherred, 1993, pp. 41–56.

An appendix, “Matrikel över Danske fotografer i Finland,” pages 105–107, gives twenty-one biographies for Danish photographers active in Finland, mostly in the nineteenth century. Text in Danish.

Not directly examined. Reported as an article covering photographers in the Thy area of northern Jutland.

Svenstrup, Carl. Fra Fotografiens Barndom. Små Traek fra Grenaa for et lille Aarhundrede Siden (Grenaa, Denmark), 1955.

———. “Early Photography in Eastern Europe: Finland,” History of Photography, Vol. 1, No. 2 (April 1977), pp. 135–152.

Not directly examined. Cited as a pioneering study and source in Ochsner, p. vi.

An introductory article on the subject giving a few details on specific persons. Most useful in conjunction with the author’s two other Finnish-language books, cited in this section.

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———. Kameran edestä ja takaa; Valokuvaus ja val­ okuvaajat Suomessa 1839–1870 (Helsinki: Suomen Valokuvataiteen Museon Säätiö), 1972.

Fredriksson, Erkki. Jyväskylän valokuvaajat ja heidän asiakaspiirinsä 1800-luvulla [Photographers in Jyväskylä and their Customers in the Nineteenth Century] (Jyväskylä, Finland: n.p.), 1975.

A very good national directory which gives substantial biographical entries on 112 early photographers plus many illustrations of typical pictures, logos, and some advertise­ ments from newspapers. Includes a summary in Swedish, pages 125–126, and in English, “A History of Finnish Photography 1839–1870,” pages 127–128.

Not directly examined. Cited in Roosens and Salu 3, p. 110.

Kukkonen, Jukka, Tuomo-Juhani Vuorenmaa, and Jorma Hinkka. Valokuvan taide: Suomalainen valokuva 1842–1992 (Helsinki: Suomalaisen Kirjallisuuden Seura), 1992. A handsome and ambitious landmark volume offering a near comprehensive overview of a nation’s entire photo­ graphic history, all the more dramatic because of its opu­ lence. Nearly all the 353 plates are in color or color-toned, and the reproduction quality is very high. Sven Hirn, the pioneering writer on early Finnish photography, is a sub­ stantive contributor to this new work, but his previous work is not superseded. Most plates are dated by years, and pages 445–458 provide biographical or career data on approximately 305 photographers throughout the centuryand-a-half covered. A general history of photography and trends is given, along with an illustrated exhibition catalogue, a bibliography, and process explanations. Unfortunately for most researchers, the volume is in Finnish except for a summary in English, “Finnish Photography, 1842–1992,” pages 463–470.

Herranen, Merja. Sadan vuoden kuvat: Valokuvausta Porvoossa 1844–1940 / Hundra år i bilder: Fotografering i Borgå 1844–1940 (Porvoo, Finland: Porvoon Museoyhdistys), 1992.

Suomalainen valokuvataide 1842–1986 [Finländsk fotokonst 1842–1986] [Finnish Photography 1842–1986] (Helsinki: Suomen Valokuvataiteen Museon Säätiö), 1986.

Local history with bilingual Finnish and Swedish text. While there is no directory per se, the body of the text contains more than thirty embedded biographies of photo­ graphers active in Porvoo/Borgå, mainly professionals.

Catalogue of a comprehensive survey exhibition organized by The Finnish Museum of Photography; divided into three chronological sections, with all images clearly captioned. Each section has an introductory essay, translated into Swedish, pages 158–171, and into English, pages 172–189.

France (Also see entries for Marbot under 1. General and International, and for Brettell et al. under Europe/ General and International)

Suomen valokuvaajat, 1842–1920 [Finnish Photographers, 1842–1920] (Helsinki: Suomen Valokuvataiteen Museon Säätiö), 1996.

General and National Bouqueret, Christian. Des années folles aux années noires: La nouvelle vision photographique en France, 1920–1940 (Paris, Marval), 1997.

Full-scale national directory containing substantial entries in alphabetical order for 1693 photographers, professional and leading amateurs. The text is interspersed with illustra­ tions, including portraits of the photographers, and there is an index of place names. Published under the auspices of The Finnish Museum of Photography, the work is the culmination of a seven-year research project headed by Hannu Sinisalo and Ritva Tähtinen. Text in Finnish; summary and list of key terms in Swedish, English, German, and French. For details of a follow-up project, see under Works in Progress.

Very well-produced and illustrated study. Section “Biographies,” pp. 269–279.

———. Les femmes photographes de la nouvelle vision en France, 1920–1940 (Paris, Marval), 1998. Exhibition catalogue derived from the work cited above. The section “Biographies,” pp. 130–135, contains twentythree entries.

Buerger, Janet E. French Daguerreotypes (Chicago: University of Chicago Press), 1989.

Regional and Local

Forss, Anlis, and Aimo Kehusmaa. Oulun valokuvia ja kuvaajia 1800-luvulla [Photography and Photographers in Oulu in the Nineteenth Century] (Oulu, Finland: n.p.), 1976.

A cultural history, and the first complete catalogue of the work of sixty-eight identified and additional unidentified daguerreotypists in the collection of 700 French plates in the International Museum of Photography at the George Eastman House. Biographical dates are given for many individuals.

Not directly examined. Cited in Roosens and Salu 3, p. 110.

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Christ, Yvan, editor. La mission heliographique: Photographies de 1851 ([Paris: Direction des Musées de France]), 1980.

———. Regards sur la photographie en France au XIXe siècle: 180 chefs-d’œuvre de la Bibliothèque nationale (Paris: Berger-Levrault), 1980.

An exhibit catalogue which extensively details the history, itinerary, and works resulting from a national project to calotype the architectural patrimony of several regions of France. Biographical pages are given for four of the five photographers who carried out the project: Baldus, Le Secq, Le Gray, and Mestral.

This is the French original edition of the work cited immediately above.

Mid Nineteenth Century French Photography: Images on Paper (Edinburgh: The Scottish Photography Group Ltd.), 1979. A forty-eight page exhibition catalogue. Pages 43–46 give a checklist of eighty-six items by several noteworthy photog­ raphers; includes biographical data.

Condé, Françoise. Les Femmes Photographes en France, 1839–1914 (Paris: [Master’s thesis, University of ParisVII]), 1992. A groundbreaking study listing ninety-seven professional female photographers active in France, and fifty-eight women who exhibited their work during the period surveyed.

Nori, Claude. French Photography from its Origins to the Present (New York: Pantheon Books), 1979. Basically a picture book, the photographs grouped into sections preceded by introductory texts. Gives dates and sketchy biographical commentaries on a fair number of photographers throughout the history of the medium. A French edition appeared in 1988.

de Mondenard, Anne. Photographier l’architecture 1851–1920. Collection du Musée des Monuments Français (Paris: Editions de la Réunion des Musées Nationaux), 1994. The section “Biographies,” pages 233–241, gives concise biographies for thirty-three French photographers promi­ nent in the field of architectural photography during the period surveyed.

Norton, Russell. “Preliminary Checklist of French Stereo Card Photographers and Publishers,” The Photographic Collector [London], Vol. 5, No. 3 (Spring [1986]), pp. 278–296. Results of a five-year research project, undertaken to identify the many French stereograph producers generally indicated only by initials. Biographical details and studio addresses are given for some entries and date periods for others.

Jammes, André, and Eugenia Parry Janis. The Art of French Calotype, with a Dictionary of Photographers, 1848–1870 (Princeton, New Jersey: Princeton University Press), 1983. Part Two consists of “A Critical Dictionary of Photographers in France Working with Paper Negatives, 1845–1870,” pages 137–258, comprising 152 biographical entries, many of essay length. By far the most substantial work in the domain of early French photography yet to appear; impres­ sive in its scope and depth of treatment.

Pellerin, Denis. La photographie steréoscopique sous le Second Empire (Paris: Bibliothèque Nationale de France), 1995. Exhibit catalogue with lorgnette viewer inserted into the front cover. A thorough treatment of the stereoscopic medi­ um, its introductory years and its period of high use. Essays on the period by the noted authority Bernard Marbot sup­ plement a rich array of uncommon views from the collec­ tion of the French National Library. The section “Le fonds de vues stéréoscopiques de la Bibliothèque nationale de France,” pages 103–111, gives biographical entries for 103 individuals represented in the Library’s holdings, including many often unidentified except by initials on their view card mounts. A landmark project in making unknown material accessible.

Jammes, Isabelle, editor. Albums photographiques édités par Blanquart-Evrard 1851–1855 ([Vincennes, France]: Département des Relations Publiques de Kodak-Pathé), 1978. Gives limited biographical notes on ten selected photogra­ phers whose work was printed by Blanquart-Evrard’s legendary printing establishment of the 1850s. Largely superseded by the more comprehensive coverage in the work cited immediately above.

Poivert, Michel. La Photographie pictorialiste en France, 1892–1914 (Paris: [Doctoral dissertation present­ ed at the Department of Art, University of Paris-I]), 1992.

Die Kalotypie in Frankreich (Essen, Germany: Museum Folkwang), 1965. A twenty-seven-page text catalogue with eighteen pages of plates and including “biographies of calotypists” and an annotated listing of 169 items in the exhibition, mainly from the holdings of the Bibliothèque Nationale, Paris. Not directly examined.

A superbly documented two-volume study. The sections which constitute the second volume include substantial biographies for twenty-nine individuals, and a listing of all French exhibitors at the annual salons of the Photo-Club de Paris.

———. Le pictoralisme en France (Paris: Editions Hoëbeke and Bibliothèque Nationale), 1992.

Marbot, Bernard. After Daguerre: Masterworks of French Photography (1848–1900) from the Bibliothèque Nationale (New York: The Metropolitan Museum of Art), 1980.

A beautifully produced work done for an exhibition drawn from the collections of the Bibliothèque Nationale. Pages 97–101 give biographies for fifty-four photographers of the Pictorialist movement, based on the research contained in the author’s dissertation cited above.

The catalogue, pages 71–179, gives biographical and career data on 102 photographers in the exhibition along with bibliographic citations wherever possible. An excellent and accurate source work.

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DIRECTORIES OF PHOTOGRAPHERS

[Société française de photographie.] I calotipi della Società francese di fotografia 1840–1860 (Venezia [Venice]: Marsilio Editori), 1981.

Challe, Daniel, and Bernard Marbot. Les Photographes de Barbizon: La Forêt de Fontainebleau (Paris: Editions Hoëbeke/Bibliothèque Nationale), 1991.

The catalogue of an exhibition of salted paper prints from the collection of the Société française de photographie. In addition to the general text and dated picture captions, the section “I calotipisti della società francese di fotografia,” pages 11–21, compiled by Christiane Roger and Roméo Martinez, gives varying amounts of biographical detail for twenty-four individual calotypist members of the Society, the great majority French. The entries on the French photo graphers have been superseded by The Art of French Calotype, with a Dictionary of Photographers, 1848–1870 by André Jammes and Eugenia Parry Janis, cited above; and the entries on the few foreign members have been superseded by respective national directories or text histories. Parallel texts in Italian and French.

An elegant exhibit catalogue from the French National Library’s collection Le Siècle d’Or de la Photographie, the volume discusses and illustrates work done in the Forest of Fontainebleau between 1859 and 1889. In addition to a chronological history of the Forest and a bibliography, the book offers an annotated analysis of “Images de la Forêt de Fontainebleau à la Bibliothèque Nationale,” pages 79–85, which gives dates and slight biographical notes for nineteen individuals plus an explanation of authorship for some of the postcards issued between 1890 and 1910. Page 90 gives life years for a number of other artists and writers men­ tioned in the text who were also concerned with the subject.

Cortal, Manuela. La Photographie à Lille au XIXe Siècle (Paris: [Master’s thesis presented at the Department of Art and Archaeology, University of Paris-X]), 1991.

Voignier, Jean-Marie. Répertoire des Photographes de France au XIXème Siècle (Chevilly-Larue, France: Privately published), 1993.

Two-volume work, including a listing of eighty-nine indi­ viduals and substantial biographical entries for fifteen lead­ ing professionals active in this Northern French city.

A directory containing more than 9,000 entries for profes­ sional photographers active in France during the nineteenth century. Successive addresses noted, with generally approx­ imate, rarely precise, dates. Index by department and locali­ ty. The author fails to cite his sources or explain his research methods. Sample testing indicates that he has conflated con­ temporary and later secondary sources without distinction, therefore the work should be consulted with caution.

Debize, Christian. La Photographie à Nancy au XIXe Siècle. I: Une Jeunesse Provinciale (1839–1870); II: L’Univers des Photographes Professionnels (1848–1920) (Paris: [Doctoral dissertation presented at the Department of Art and Archaeology, University of ParisSorbonne]), 1982. Volume II contains an extensive listing of professional photographers in Nancy for the period 1848–1920.

Regional and Local Bardou, Pierre. Photographes en Gironde ([Bordeaux, France]: Conseil Général de la Gironde; l’Horizon Chimérique), 1993.

———. Photographes et photographie d’art à Nancy au 19e siècle (Nancy, France: Centre Régional d’Etudes d’Art et d’Histoire), 1983.

Good historical overview of the development of photo­ graphy in this region of Southwestern France, centered on Bordeaux, from the beginning to the present day. The section “Index,” pages 298–318, gives approximately 700 short entries for photographers active in the region during all periods.

An exhibit catalogue based on the author’s dissertation cited above. The section “Dictionnaire des photographes profes­ sionnels nancéiens: 1843–1920,” pages 114–119, gives biogra­ phical details on fifty-eight persons. The section “Notices viographiques et critiques de quelques photographes amateurs,” pages 120–122, gives data on six others.

Beaugé, Gilbert. La photographie en Provence 1839–1895: Culture photographique et société au XIXe siècle ([Marseille, France]: Editions Jeanne Laffitte), 1995.

Denhez-Apélian, Annie-Dominique. La photographie à Montpellier au XIXe siècle (Paris: [Master’s thesis presented at the Department of Art and Archaeology, University of Paris-Sorbonne]), 1982.

Solid text survey of photography in this large region of southern France, centered on Marseilles. The section “Photographes en Provence: Biographies,” pages 150–167, gives substantial career details for fifty-one individuals. Page 169 has a list of the founding members of the Société marseillaise de photographie, 1860.

Not directly examined. Reported in La Recherche Photographique, No. 8 (1990), p. 98, as containing a list of forty photographers active in Montpellier in the nineteenth century.

Borgé, Guy and Marjorie. Les premiers photographes lyonnais au XIXe siècle (Lyon, France: Musée Historique de Lyon), 1990.

Fons, Claire. Photographies de Marseille. Index des Photographes (Marseille, France: Bibliothèque Municipale de Marseille), 1975.

An actual accounting of the early photographers of one city, including two listings. Pages 12–13 give a “Liste et chronologie des daguerréotypistes et fournisseurs de matériel,” with twenty-three names, working years, and addresses. Pages 14–25 give similar treatment for 154 opera­ tors of the wet collodion process and suppliers of materials.

Fifty-seven page typescript listing photographers active in Marseilles, based on the holdings of the Municipal Library.

Garnier-Pelle, Nicole. Le Domaine de Chantilly, Vu par les photographes du XIXe siècle (Chantilly, France: Musée Condé), 1993. A fifty-nine page exhibition catalogue with biographical

details.

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Grandadam, Bernard, Christian Kempf, and Claude Spiecker. “Daguerréotypie, photographie et phototypie à Colmar au XIXe siècle et jusqu’à la fin de la grande Guerre,” Annuaire de la Société d’Histoire et d’Archéologie de Colmar, 1990, pp. 159–196.

Morand, Sylvain and Marianne. “Les débuts de la photographie à Strasbourg: Les daguerréotypistes de 1839 à 1850,” Annuaire de la Société des Amis de VieuxStrasbourg, 1983, pp. 109–119. A substantial list of the initial photographers.

Contains a detailed directory of sixty-five professionals active in the Colmar area of Alsace, circa 1845 to 1918, including full dates and studio addresses, pages 166–196. Illustrated with eight plates, each reproducing nine card backs, and a further three plates, each reproducing six advertisements. A model local study.

———, and Christian Kempf. Le temps suspendu: Le daguerréotype en Alsace au XIXe siècle (Strasbourg, France: Editions Oberlin), 1989.

Henry, Jean-Jacques. Photographie, les débuts en Normandie (Le Havre, France: La Maison de la Culture du Havre), 1989.

Paris et le Daguerréotype (Paris: Paris Musées), 1989.

A handsome volume with color plates covering one notable region of France. Pages 138–139 give biographical entries for twenty-one photographers.

The splendid “Catalogue” for this monumental exhibition, pages 205–263, gives life dates for some of the more prominent daguerreotypists of the city. The exhibition was based on directory research that unfortunately remains unpublished.

A handsome and unusual work. A biographical section, pages 92–99, covers thirty-six individuals or families and is extended by a list of photographers specific to Rouen, 1839– 1870, with locations and start dates. Includes an English summary, “Early Photography in Normandy,” pages 100–101. The author is seeking further information on the region’s photographers and their interplay with other types of artists. Address: Jean-Jacques Henry, c/o Maison de la Culture du Havre, B.P. 1106-76063, Le Havre cedex, France.

Pélen, Jean-Noël, and Daniel Travier. L’Image et le Regard: Les Cévennes et la Photographie 1870–1930 (Montpellier, France: Presses du Languedoc/Max Chaleil Editeur), 1993. A photographic history of one region of France. The second part, “Photographes et editeurs ayant oeuvré en Cévennes,” pages 75–110, is an extensive listing of photographers and publishers active in the region. While liberally detailed in some ways, almost no dates are given except for a few firms or in picture captions—a puzzling omission in a work that is otherwise very thorough.

Le Calvez, Guy-François. Ombre et lumière: du daguer­ réotype à la photographie (Saumur, France: Iconothèque Daguerre-Lumière), 1990. Not directly examined. Described in La Recherche Photographique, No. 10 (June 1991), p. 114, as a typewritten study accompanying an exhibition on the first photo­ graphers in Saumur.

“La Photographie en Haute-Provence, 1855–1954,” Annales de Haute-Provence. Bulletin de la Société Scientifique et Littéraire des Alpes de Haute-Provence, No. 309 (1989), pp. 1–242.

Marchal, Gaston-Louis. “Histoire de la photographie à Castres,” Cahiers de la Société Culturelle du Pays Castrais, No. 10 (1991), pp. 1–105. Not directly examined.

Not directly examined.

Martini de Châteauneuf, Charles. “Naissance de la photographie à Menton,” Bulletin de la Société d’Art et d’Histoire du Mentonnais, No. 37 (March 1986), pp. 15–21. Not directly examined.

McCauley, Elizabeth Anne. Industrial Madness: Commercial Photography in Paris, 1848–1871 (New Haven, Connecticut: Yale University Press), 1994. A major contribution of research. In addition to an extensive text on the subject, the appendix “Commercial Photographers in Paris, 1848–1871,” pages 315–367, gives information on more than 1,000 individuals, with addresses, working years, and symbols denoting types of activity. The information not only illuminates the Paris scene in relief but throws light on careers of some usually known to work elsewhere.

[Morand, Sylvain.] Charles Winter, photographe: Un pionnier strasbourgeois 1821–1904 (Strasbourg, France: Musées de Strasbourg), 1985.

Pyrénées en images. De l’œil i l’objectif 1820–1860 (Pau, France: Musée National du Château de Pau; Paris: Réunion des Musées Nationaux), 1995.

Exhibit catalogue. Page 102 lists twenty-two professionals active circa 1870. For the author’s ongoing research, see B. Works in Progress/Europe/France.

Superb exhibition catalogue featuring graphic art and pho­ tography in this mountainous region of southern France. The section “Notes biographiques sur lesphotographes,”

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pages 117–125, compiled by Lucie Abadia and Christine Juliat, contains thirteen substantial entries for individuals active in the region during photography’s first two decades.

A 361-page collective work. The section “Biographies,” pages 339–357, compiled by Sabrine Hartmann and Karsten Hintz, gives career details for significant photographers linked to the Bauhaus movement. Original German edition Fotografie am Bauhaus: Überblick über eine Periode der Fotografie im 20. Jahrhundert (Berlin: Dirk Nischen), 1989; French edi­ tion Photographie Bauhaus 1919–1933 (Paris: Editions Carré; Berlin: Dirk Nischen for the Bauhaus-Archiv), 1990.

Tiberi, Dominique. La Photographie et l’Image de la Corse, 1839–1962 (Caen, France: [Master’s thesis, University of Caen]), 1992. Not directly examined. The only source reported for early photography on the island of Corsica.

Honnef, Klaus, Rolf Sachsse, and Karin Thomas. Deutsche Fotografie: Macht des Mediums 1870–1970 (Köln [Cologne]: Dumont), 1997.

Georgia

Catalogue of a controversial exhibition surveying a century of German photography. The time period used is con­ tentious: the starting date of 1870 coincides with the found­ ing of the Wilhelmine Reich, and, therefore according to the authors’ thesis, ushers in a specific “German” photography which ran its course over the following century before rejoining the international mainstream. Several entries in the biography section of the catalogue have been criticized as innaccurate, particularly the references to individual photographers’ ideological positions. An English translation German Photography, 1870–1970, published under the same imprint, is distributed by Yale University Press.

Gersa Miya, T. “Rannyaya Svetopis v Gruzin,” Sovetskoe Foto (1989) No. 5, pp. 36–39. Article surveying the origin of photography in Georgia.

Mamasakhlisi, A. V. “Early Photography in Georgia,” History of Photography, Vol. 2, No. 1 (January 1978), pp. 75–84. A general article introducing the subject of a specific area within the context of the Russian empire. Notes some individuals. No other source available in English; no bibliography.

Germany

Kempe, Fritz. Daguerreotypie in Deutschland: Vom Charme der frühen Fotografie (Seebruck am Chiemsee, Germany: Heering-Verlag), 1979.

General and National

A full book on the topic. While there is no separate directo­ ry section, the extensive chapters on various areas and indi­ viduals give substantial information and dates for many primary photographers.

Adressbuch der photographischen Ateliers, der photo­ chemigraphischen Kunstanstalten und Lichtdruckereien (Leipzig, Germany: Eisenschmidt & Schulze), 1897–1898. Not directly examined. Cited in Roosens and Salu 1, p. 121, as the first edition of a series of directories of photographic studios and photomechanical printers. The volumes appeared irregularly, and the last edition—the ninth—was dated 1914–1915.

———. Kunstfotografie um 1900 in Deutschland und ihre Beziehungen zum Ausland (Stuttgart-Bad Cannstatt, Germany: Dr. Cantz’sche Druckerei), 1982. Catalogue for a traveling exhibition organized by the Institute for Foreign Relations, Stuttgart. The section “Biografien,” pages 57–60, has thirty-three entries for German Pictorialist photographers, in varying degrees of detail.

Bertonati, Emilio. Das experimentelle Photo in Deutschland, 1918–1940 (München [Munich]: Galleria del Levante), 1978. Reported as a 190-page catalogue presenting the work of leading German experimental photographers of the inter­ war years.

Maas, Ellen. “Photographische Ateliers [1860–1910] und ihre Inhaber. Grundlagen für ein allgemeines System zur Ordnung von Photographien aus Familienalben,” Anzeiger des Germanischen Nationalmuseums (Nuremberg, Germany), 1977, pp. 113–136.

Coke, Van Deren. Avant Garde Photography in Germany 1919–1939 (New York: Pantheon Books), 1982.

The section “Verzeichnis,” pages 123–136, is a directory in some detail of approximately 500 portrait photographers in Germany, and is preceded by a ten-page article on the topic.

A section, pages 46–53, gives biographical statements for fifty-six photographers of significance in this genre. Also published in French and German editions (Munich: Schirmer/Mosel), 1982.

Richter, Peter-Cornell. Mit Licht gezeichnet: Aus dem Tagebuch der Photographie (Freiburg, Germany: Herder), 1985.

Eskildsen, Ute. Fotografieren hiess teilnehmen. Fotografinnen der Weimarer Republik (Düsseldorf, Germany: Richter), 1994.

Not directly examined. Reportedly a ninety-six-page book comprising an anthology of short biographies of twenty-one early photographers.

Not directly examined. Catalogue of a groundbreaking exhibition on German female photographers of the 1920s, organized by the Museum Folkwang, Essen. Bilingual Spanish/Catalan translation under the title Dones Fotografes a la República de Weimar 1919–1933 (Barcelona: Fundación “la Caixa”), 1994.

Regional and Local

Articus, Rüdiger. “Aus der Frühgeschichte der Photographie in Altona,” Jahrbuch Altonaer Museum in Hamburg—Norddeutsches Landesmuseum 1990–1993, Vol. 28–31, Part 1, pp. 41–70.

Fiedler, Jeannine, editor. Photography at the Bauhaus (London: Dirk Nischen), 1990.

Comprehensive textual history of photography in this 73

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locality of northern Germany in the area of Hamburg.

An appendix, “Altonaer Photographen 1841–1860,”

pp. 66–67, lists thirty individuals with starting dates.

Gebhardt, Heinz. Königlich Bayerische Photographie 1838–1918 (München [Munich]: Laterna Magica), 1978. A very thorough study, rich in detail and handsomely illustrated with pictures, logotypes, and line cuts of studios, equipment, and practices. The entire book is scattered with biographical listings including the pioneers, the seventyfive royal photographers from 1857 to 1912, the itinerants, the small-town photographers, and others. The overall volume is accessible by an index of persons. If every area of the world were so well-documented, the entire field would be greatly advanced.

Assion, Peter, et al. Photographie auf dem Land um 1900: Karl Weiss, Photograph in Buchen. Mit einem Beitrag zur Frühgeschichte der Photographie im badischen Frankenland (Buchen, Germany: Verlag des Vereins Bezirksmuseum Buchen e.V.), 1982. Includes a history of photography in the Odenwald area of Franconia, centered on Buchen, pages 5–12. While there is no directory as such, extrapolation from the text is possible.

Gerlich, Robert. “Fotografie in Burghausen,” Burghauser Geschichtsblätter, No. 45 (1991), pp. 1–211.

Bartetzko, D., et al. Wie Frankfurt photographiert wurde, 1850–1914 (Frankfurt am Main: Historisches Museum), 1977.

Not directly examined. A monograph on photography in this Upper Bavarian town where the author is the curator of a small photography museum.

A 235-page richly illustrated exhibition catalogue, including biographies for fourteen photographers active in recording the Frankfurt townscape during the period surveyed. For detailed career information, it is largely superseded by Mayer-Wegelin’s study on the same city cited below.

Goergens, Harald, and Alfred Löhr. Bilder für Alle: Bremer Photographie im 19. Jahrhundert (Bremen, Germany: Bremer Landesmuseum für Kunst- und Kulturgeschichte [Focke-Museum]), 1985. Nicely done exhibition catalogue with historical essay and color-toned plates. Pages 88–89 give a membership list of the Photographische Gesellschaft of Bremen for 1902. Pages 105–116 comprise a full directory of professional photogra­ phers in Bremen 1843–1935, including names with address­ es by years for approximately 365 persons and studios.

Brückner, Wolfgang, editor, et al. ‘Äusserst getroffen und schön.’ Historische Fotografie in Unterfranken (Würzburg, Germany: Echter Verlag), 1989. Comprehensive study of early photography in the southern German area of Lower Franconia, centered on Würzburg. The section “Selbständige Würzburger Fotografen bis 1920,” pages 195–207, compiled by Karen Görner, gives entries for 134 individuals. There are also smaller text sur­ veys for seventeen other localities in the area, most with embedded biographical material.

Hesse, Wolfgang. Ansichten aus Schwaben: Kunst,

Land und Leute in Aufnahmen der ersten Tübinger

Lichtbildner und des Fotografen Paul Sinner (1838–1925)

(Tübingen, Germany: Verlag Gebr. Metz), 1989. Very thorough textual study. Contains no actual directory but is chronologically coherent, covering all commercial photo­ graphers in the southern German city of Tübingen up to 1900.

Dost, Wilhelm, in collaboration with Erich Stenger. Die Daguerreotypie in Berlin 1839–1860 (Berlin: R. Bredow Verlag), 1922; reprinted in The Daguerreotype in Germany: Three Accounts, edited by Robert Sobieszek (New York: Arno Press), 1979.

Hoerner, Ludwig. Photographie und Photographen in Hannover und Hildesheim (Hannover & Hildesheim, Germany: Photographen-Innungen), 1989.

A superb pioneering account, not yet superseded. Includes listing of all daguerreotypists and photographers working in Berlin before 1860, pages 103–116, with precise working dates and addresses for 201 individuals.

A textual survey of early photography in one part of north­ ern Germany. Page 116 gives a listing of photographers active in the city of Hildesheim 1843–1914.

Frecot, Janos, editor. Berlin fotografisch: Fotografie in Berlin, 1860–1982 (Berlin: Berlinische Galerie and Medusa), 1982.

———. “Frühe Photographie in Nordhausen” in Ludwig Belitski 1830–1902, Prominenter Photograph and Engagierter Bürger (Marburg, Germany: Jonas Verlag), 1992.

An extensively illustrated exhibition catalogue of photogra­ phy in Berlin, with emphasis on the twentieth century. The section “Bestandskatalog,” pages 17–65, itemizes the institution’s holdings and includes brief biographies of the 140 photographers represented.

Number four of a series of historical publications issued by the City Archives of Marburg, this study examines the life and career of a single photographer and his family’s inter­ connections with his city. The chapter “Frühe Photographie in Nordhausen,” pages 84–89, offers a textual survey of the introduction of photography in Nordhausen, forerunners and competitors of Belitski 1841–1902, and a chart of date periods of operation for nineteen studios, 1862 to 1900.

Frecot, Janos, and Helmut Geisert. Das alte Berlin in Photographien von 1850–1914 (München [Munich]: Schirmer/Mosel), 1984. An expansive picture book covering the second half of the nineteenth century. All photographers and collections are identified. While the book is not in any sense a directory, time periods for individuals can be surmised.

Hoffman, Detlef, Jens Thiele, et al. Lichtbilder Lichtspiele: Anfänge der Fotografie und des Kinos in Ostfriesland (Marburg, Germany: Jonas Verlag), 1989. An extensive textual collection of essays covering the intro­ duction and growth of both photography and cinema on the East Frisian Islands off the northern German coast.

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Lüneburg in der Photographie von 1860 bis 1930 (Lüneburg, Germany: Museumsverein für das Fürstentum Lüneburg), 1964.

Three essays by Christian Timm (pages 156–241) tell the

story of photographers from 1839 to 1900; other sections

deal with established family studios and itinerants.

Not directly examined. Exhibition catalogue for a single northern German town.

Horbert, Wolfgang, and Klaus Lammai. “Koblenzer Fotogeschichte: Eine Atelier-Chronologie der Jahre 1842 bis 1935” in Spurensuche: Frühe Fotografen am Mittelrhein (Koblenz, Germany: Landesmuseum Koblenz), 1989, pp. 101–106.

Mayer-Wegelin, Eberhard. Frühe Photographie in Frankfurt am Main 1839–1870 (München [Munich]: Schirmer/Mosel), 1982.

Section covers a studio chronology of the history of photo­ graphy in one city, with eighty different entries by date and address. (Also see related item, “Fotografen in RheinlandPfalz, 1839–1915” cited below, from the same volume.)

The section “Kurz-Biographien,” pages 45–58, gives biogra­ phies for several major people and some illustrations of work; pages 73–74, “Anhang,” list sixty-five photographers active in the city with date periods of work.

Jakob, Volker, Cäcilia Jansen, and Angela Schöppner. Menschen im Silberspiegel: Die Anfänge der Fotografie in Westfalen (Greven, Germany: Eggenkamp Verlag), 1989. A fine study of the development of the German daguerreo­ type and other early processes, with an emphasis on Westphalia. Unfortunately, no attempt is made to complile a directory or checklist of the photographers represented.

Jordan, Ingeborg. Böhmerwald: Photographie im Böhmerwald, 1880–1940 (Steyr, Germany: n.p.), 1984. Not directly examined. Cited in Roosens and Salu 2, p. 122.

Kemp, Wolfgang, and Floris Neusüss. Kassel 1850 bis heute. Fotografie in Kassel—Kassel in Fotografien (München [Munich]: Schirmer/Mosel), 1981. A 217-page book accompanying an exhibition held under the auspices of the University of Kassel. While the images, drawn from local archives, are well-produced and clearly captioned, the introductory chapter on the development of photography in the town is rather cursory. This area merits further study and a decent directory.

Kempe, Fritz. “A Historical Sketch of Photography in Hamburg” in One Hundred Years of Photographic History. Essays in Honor of Beaumont Newhall, edited by Van Deren Coke (Albuquerque, New Mexico: University of New Mexico Press), 1975, pp. 92–102.

Milde, Horst. Dresdner Atelier-Fotografie zwischen 1860 und 1914 (Dresden, Germany: Verlag der Kunst), 1991. An excellent and well-illustrated directory consisting of entries for 623 professional photographers in 298 studios in Dresden.

Concise article based on the research presented in greater detail in the work cited below.

Neite, Werner. “Die Photographie in Köln 1839–1870,” Jahrbuch des Kölnischen Geschichtsvereins e. V. No. 46 (1975).

———. Vor der Camera: Zur Geschichte der Photographie in Hamburg (Hamburg: Hans Christians Verlag), 1976.

An appendix “Verzeichnis der Photographen in Köln,” lists sixty-nine photographers active in Cologne, Germany between 1839 and 1870; gives names, dates, and addresses collected from city directories.

A compact but informative narrative examination of the overall history of photography in one major north German port city. Several leading figures of the daguerreotype and Pictorialist periods are covered, and brief sketches of a num­ ber of leading and secondary persons from other periods are included. Produced with this author’s usual sense of style.

La Photographie en Saxe: Histoire et Création Contemporaine [Exhibit Catalogue published under the periodical title Photographie Ouverte: Revue du Musée de la Photographie, Charleroi, Belgium] No. 90 (February–March 1994).

Kunstreich, Jan S. Frühe Photographen in SchleswigHolstein (Heide in Holstein, Germany: Westholsteinische Verlaganstalt Boyens & Co.), 1985.

Includes several brief essays on individuals or numbers of photographers through the history of the medium in the German Land of Saxony. Many items give life dates while others give more detail for the period of 1842 to the present, particularly noting one of the earliest women daguerreo­ typists, Bertha Wehnert-Beckmann. Text in French.

Concise monograph on the development of photography in an area of northern Germany centered on the port city of Kiel. Although it contains no directory as such, there is much biographical information in the text.

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Richter, Helmut. “Die Anfänge der Photographie in Neustadt an der Aisch,” Streiflichter aus der Heimatsgeschichte, Geschichts-und Heimatverein Neustadt an der Aisch, Vol. 11 (1987).

Spurensuche: Frühe Fotografen am Mittelrhein (Koblenz, Germany: Landesmuseum Koblenz), 1989. An exhibition catalogue. The section “Fotografen in Rheinland-Pfalz 1839–1915 (ohne Koblenz),” pp. 64–65 lists by town only, approximately eighty names of early photo­ graphers of the Rheinland area excluding Koblenz. Pages 102–106 give a full listing of professional photographers active in the city of Koblenz, 1842–1935, compiled by Wolfgang Horbert and Klaus Lammai (cited above). Both items are most useful in conjunction with the historical text of the book.

Not directly examined.

———. Frühe Fotografien in Erlangen 1843 bis 1914 (Erlangen, Germany: Stadtmuseum), 1977. Not directly examined. An exhibit catalogue on early photography in one southern German town.

———. “Topographische Fotografie in Erlangen 1839–1914,” Fotogeschichte, Vol. 1, No. 1 (1981), pp. 3–16.

Steen, Uwe. “Die Anfänge der Photographie in Schleswig-Holstein, 1839–1848,” Nordelbingen Beiträge zur Kunst- und Kulturgeschichte, Vol. 56 (1987), pp. 102–150.

Excellent research article, ostensibly on landscape photogra­ phy, but includes detailed biographical and career informa­ tion on leading professionals in Erlangen.

An article giving basic information on early photographers in the region of northern Germany bordering Denmark.

Rüdiger, Frank. Fixiert: 150 Jahre Fotografie in Gera (Gera, Germany: Museum für Angewandte Kunst, Stadtarchiv und Stadtmuseum Gera), 1994.

Stenger, Erich. Die Photographie in München 1839–1860 (Berlin: Union Deutsche Verlagsgesellschaft Berlin Roth & Co.), 1939; reprinted 1978.

Exhibition catalogue. The synonymous introductory essay, pages 13–29, includes listings of fifteen intinerants for the period 1842–1863, twenty-five professionals for the period 1862–1899, and fourteen amateurs, members of the Verein der Freunde der Photographie who were active in 1899, the year the club was founded.

Excellent monograph on the first two decades of photogra­ phy in Munich. The section “Lichtbildner in München 1839 bis 1860,” pages 59–91, contains biographies for forty-two individuals, including initial dates and studio addresses.

Voigt, May and Jochen. Historische Photographie in Chemnitz (Karl-Marx-Stadt [Chemnitz], Germany), 1987.

Schüle, Johannes. “Die Photographie in Schwäbisch Gmünd im neunzehnten Jahrhundert,” Unicornis. Beiträge zur Landschafts- und Kulturgeschichte im Raum Schwäbisch Gmünd, Vol. 8 (December 1993), pp. 13–23.

Not directly examined. A survey of early photography in one eastern German city.

Wehnert, Hans. Photographie in Wertheim (Wertheim, Germany: Historisches Museum für Stadt und Grafschaft Wertheim), 1985.

Textual study containing much embedded biographical

information.

Seventy-six page catalogue for an exhibit drawn from the collections of the author and Gerhard Zembsch. The histori­ cal section forms the introduction to the catalogue, but unfortunately is rather sketchy.

Schülke, Ilsabe and Gerolf. Düsseldorf und seine Fotografie (Düsseldorf, Germany: Kulturdezernat), 1994. Superb local study and directory for one major city, commis­ sioned by the municipal authorities. A mine of hitherto unpublished information and images drawn from several previously unresearched public and firm archives. Regrettably, the work has received only a very limited distribution in photocopy form and a print run of 250 copies. The sub-section A2 “Düsseldorfer Fotografen von 1840–1940” lists approximately 400 professionals, including dates and addresses, based mainly on research in business directories. Section B “Fotografen und ihr Werk” comprises detailed biographies for nearly forty of these, as well as other valuable documentary information on exhibitions featuring photography, 1852–1926. In all, one of the best and most comprehensive local studies yet produced in Germany.

Weimar, Wilhelm. Die Daguerreotypie in Hamburg 1839–1860: Ein Beitrag zur Geschichte der Photographie (Hamburg: Otto Meissner), 1915; reprinted in The Daguerreotype in Germany: Three Accounts, edited by Robert Sobieszek (New York: Arno Press), 1979. A notably early academic study—one of the first of its kind—covering the development of photography in one city. Originally issued as a supplement to the Jahrbuch der Hamburgischen Wissenschaftlichen Anstalten, No. 22 (1914). The section “Alphabetisches Verzeichnis der Lichtbildner in Hamburg (-Altona),” pages 38–54, is a complete directory for more than 200 photographers and suppliers.

Schütz, Rosemarie, and Bernd Willscheid. Neuwieder Fotografie im 19. Jahrhundert (Neuwied, Germany: Landkreis Neuwied), 1990.

Wiegand, Thomas. “‘Bitte ganz Ihren natürlichen Ausdruck!’ Fotografen in Eschwege vor 1885,” Eschweger Geschichtsblätter, No. 2 (1991), pp. 29–53.

Twenty-four page monograph accompanying an exhibition on nineteenth century photography. No directory, but much biographical information is set out in the text.

A thoroughly researched article offering information on twenty-eight photographers active in one central German town. The German text gives a narrative survey with illus­ trations of typical works, the notes relate some individuals to other locations or sources mentioning their careers, and tables lay out details in several forms. Table 1 notes names, professions, and date periods for individuals; table 2 gives period studio addresses and modern equivalent addresses,

Siener, Joachim W. Von der maskierten Schlittenfahrt zum Hof-Photographen: Die Photographie und Stuttgart 1839–1900 (Stuttgart, Germany: Edition Cantz), 1989. An extensive exhibit catalogue. A list of photographers is blended into the index on pages 184–189. 76

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along with individuals and their years of occupancy; table 3 lists itinerant and resident painters and silhouette makers by name, date periods, and activity.

Dimond, Frances, and Roger Taylor. Crown and Camera: The Royal Family and Photography 1842–1910 (Harmondsworth, Middlesex, England: Penguin Books), 1987.

———. Ferdinand Tellgmann—Gewerbsmässiges Portraitieren in Malerei und Fotografie um 1850 (Kassel, Germany: Verlag Jenior & Pressler), 1994.

The section “Photographers to Her Majesty,” pages 211–214, consists of a brief essay and “A Chronology of Photographers granted Royal Warrants in the Reign of Queen Victoria” from 1849 to 1901. The section “Photographers represented in the Exhibition,” pages 215–218, gives career data for ninety-seven photographers featured in the exhibition.

Based on the author’s doctoral dissertation at the Gesamthochschule Kassel the previous year, this study is broader than the monographic title indicates. Tellgman practiced in Kassel and Mühlhausen and there is ample material on other photographers in both these localities. Chapter four, “Die Fotografie in Kassel 1839–1860,” pages 123–134, includes information on Göttingen; and a directo­ ry, “Maler und Fotografen in Mühlhausen 1839–1892,” pages 234–235, contains thirty entries.

Flukinger, Roy. The Formative Decades: Photography in Great Britain, 1839–1920 (Austin, Texas: University of Texas Press), 1985. A useful exhibit catalogue, prepared from the collections of the Harry Ransom Humanities Research Center, for the Archer M. Huntington Art Gallery. After a general survey of the history of the medium in Britain, each plate is discussed for style or other considerations. Life years are given for many of the individuals presented, and a fair number of these are seldom noted in other literature. Several uncommon images are shown, many with years of production which help place photographers in their times. Some non-British persons working in Britain are featured, as are some Britons who worked abroad.

Wilhelm, Angelika. “Die Geschichte der Photographie in Leipzig von 1839 bis 1950” in Historische Kameras und Leipziger Photographien (Leipzig, Germany), 1983, pp. 34–37. A concise article on the history of photography in Leipzig, included in an exhibition catalogue of the Museum der bildenden Künste, Leipzig.

Zink, Robert. Bild der Stadt—Stadt im Bild. Frühe Photographie in Bamberg (Bamberg, Germany: Stadtarchiv Bamberg), 1989.

Harker, Margaret F. The Linked Ring: The Secession Movement in Photography in Britain, 1892–1910 (London: Heinemann—A Royal Photographic Society Publication), 1979.

Excellent exhibition catalogue on early photography in a northern Bavarian town. The section “Photographen in Bamberg 1843–circa 1920,” pages 41–46, gives eighty-seven entries with full dates and addresses, unfortunately set out in chronological rather than alphabetical order. There are several more substantial biographies in the text.

The section “Select Biographies of the Links,” pages 145–164, gives reasonably detailed biographies of sixty-two members of The Linked Ring selected from a larger total membership.

Great Britain (England, Scotland, and Wales) (Also see entry for Brettell et al. under Europe/General and International)

Haworth-Booth, Mark, editor. The Golden Age of British Photography 1839–1900 ([Millerton, New York]: Aperture), 1984. The book consists of a set of eleven essays on various trends of the period, accompanied by biographies or career details for a total of forty leading British photographers, along with a selection of their work.

General and National

Adamson, Keith I. P. “Early Provincial Studios,” [Parts I and II] and “More Early Studios,” The Photographic Journal [of the Royal Photographic Society], Vol. 127, No. 2 (February 1987) pp. 74–78, Vol. 128, No. 1 (January 1988), pp. 32–36, and No. 7 (July 1988), pp. 305–309.

Heathcote, Bernard V. and Pauline F. “The Feminine Influence: Aspects of the Role of Women in the Evolution of Photography in the British Isles,” History of Photography, Vol. 12, No. 3 (July/September 1988), pp. 259–273.

While not a directory, this meticulous three-part study discusses the daguerreotype studios licensed by Richard Beard in twenty-eight English cities between 1841 and 1845.

A charming article giving a matrix of details for a table of twenty-two “women who were proprietors of photographic studios in the British Isles, 1841–55,” page 271.

Bartram, Michael. The Pre-Raphaelite Camera: Aspects of Victorian Photography (Boston: Little, Brown and Company—A New York Graphic Society Book), 1985.

Lund’s Directory of Photographers, Photographic Manufacturers [ . . . ] in the British Isles, the British Colonies, etc. (London: P. Lund & Co.), 1896.

An extended discussion of the subjects, themes, and stylistic influences of one of Britain’s leading art periods in a context of exchanges between painting and photography. The sec­ tion “The Photographers—Biographical Notes,” pages 181–192, offers biographical summaries and life years for forty-four individual picturemakers discussed, including some rarely found elsewhere. The endpapers of the book show portraits of ten of the leading photographers.

Not directly examined. Cited in Roosens and Salu 1, p. 121.

Seiberling, Grace, with Carolyn Bloore. Amateurs, Photography, and the Mid-Victorian Imagination (Chicago: The University of Chicago Press), 1986. The “Biographical Appendix,” pages 123–148, compiled by Carolyn Bloore, gives thirty-five extensive biographies and 77

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several portraits of the members “of the Photographic Exchange Club [of Great Britain] and of most of the partici­ pants in the exchange within the [later Royal] Photographic Society” in 1855 and 1857. Includes major figures and several noteworthy amateurs.

A listing of nearly 400 professional photographers compiled from business and local directories.

———. Professional Photographers in Halifax and Huddersfield; with some Neighbouring Towns (Bath, England: Royal Photographic Society Historical Group— The PhotoHistorian Supplement, No. 104), 1994.

Sprange, Walter, editor. The “Blue Book” of Amateur Photographers, British Edition. Being a Directory of Amateur Photographic Societies in Great Britain, the Colonies, and the United States of America (London: Walter Sprange; Piper and Carter), 1892 first edition, 1894 second edition.

A listing of fifty professional photographers in Halifax, seventy-six in Huddersfield, and fifty-three in other neigh­ boring towns, compiled from business and local directories and covering the period 1843–1900.

———. Professional Photographers in Lincolnshire (Bath, England: Royal Photographic Society Historical Group—The PhotoHistorian Supplement, No. 99), 1993.

Not directly examined. A contemporary review states: “The [Blue Book] contains nearly 700 pages and a number of good illustrations. As a list of amateurs in the British possessions it is decidedly a valuable reference book, and the addresses of dark-rooms and dealers will be a distinct advantage to travellers” (The Photogram, Vol. 1, No. 1 (December 1894), p. 314.) Presumably derived from extensive letter inquiry, the work constitutes the most ambitious directory research for its time. Peter Palmquist reports a copy at the International Museum of Photography, George Eastman House, Rochester, New York. For the 1893 American edi­ tion, see under North America/General and International; for the 1895 American edition, see under General and International.

A listing of 277 professional photographers compiled from business and local directories and covering the period 1844–1900.

———. Professional Photographers in Sheffield and Rotherham, 1843–1900 (Bath, England: Royal Photographic Society Historical Group Newsletter Supplement, No. 61), 1983. A listing of 220 Sheffield and thirty-four Rotherham profes­ sional photographers compiled from local directories and newspapers.

Taylor, John. Pictorial Photography in Britain 1900–1920 (London: Arts Council in association with the Royal Photographic Society), 1978.

———. Professional Photographers in York 1844–1913 (Bath, England: Royal Photographic Society Historical Group Newsletter Supplement, No. 71), 1985.

Reported as an illustrated ninety-five page exhibition catalogue containing a chronology, biographies, and a bibliography.

A listing of ninety-five professional photographers compiled from local city and business directories.

———. Professional Photographers on the Yorkshire Coast from Withernsea to Redcar 1842–1900 (Bath, England: Royal Photographic Society Historical Group— The PhotoHistorian Supplement, No. 106), 1995.

Victoria’s World: A Photographic Portrait Drawn from the Gernsheim Collection (Austin, Texas: The Art Museum of the University of Texas), 1968. The section “Nineteenth Century Photographers” gives brief biographies or career sketches for forty-three photo­ graphers or firms, mainly British.

A listing of 142 professional photographers compiled from business and local directories and newspapers.

Adamson, Keith I. P., and Adrian Budge. Professional Photographers in Leeds, 1842–1900 (Bath, England: Royal Photographic Society Historical Group Newsletter Supplement, No. 60), 1983.

Regional and Local—England (including Channel Islands) Adamson, Keith I. P. Commercial Photographers in Doncaster (Bath, England: Royal Photographic Society Historical Group Newsletter Supplement, No. 56), 1982.

A listing of 279 photographers compiled from local directo­ ries and newspapers.

A listing of eighty-five commercial photographers compiled from local directories and newspapers, covering the period 1842–1938.

Appleby, David and John. The Magic Boxes: Professional Photographers and their Studios in North Essex 1845–1937 (Chelmsford, Essex, England: Essex Record Office Publications), 1992.

———. Professional Photographers in Bradford 1843–1900; Including Bingley, Shipley & Baildon (Bath, England: Royal Photographic Society Historical Group— The PhotoHistorian Supplement, No. 96), 1992.

Well-researched local history, set out chronologically in ten short chapters. “Appendix II: A Directory of Photographic Studios and Professional Photographers in North Essex (1845–1937),” pages 53–61, gives more than 250 entries, with addresses and dates of activity.

A listing of 202 professional photographers (subsequently amended by an errata slip to 211), compiled from business directories and other local sources.

———. Professional Photographers in Colchester and North Essex 1845–1937 (Bath, England: Royal Photo­ graphic Society Historical Group—The PhotoHistorian Supplement, No. 95), 1991.

———. Professional Photographers in Derbyshire 1843–1914 (Bath, England: Royal Photographic Society Historical Group—The PhotoHistorian Supplement, No. 118), 1997.

A listing of 236 professional photographers and thirty-eight 78

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Fletcher, S. “Cheltenham’s First Photographers 1841–1856,” Cheltenham Local History Society Journal, No. 3 (1985).

“Studios with Trade Names,” compiled from business directories and other local sources. For a more comprehen­ sive study, see the work cited immediately above.

Short survey of the Daguerreotype era in one town, begin­ ning with the opening of a studio by a Beard patentee.

Aston, C. E. John, Michael Hallett, and Joseph McKenna. Professional Photographers in Birmingham 1842–1914 (Bath, England: Royal Photographic Society Historical Group Quarterly Supplement, No. 77; City of Birmingham Polytechnic), 1987.

Gee, Ian, and Douglas Randell. Victorian and Edwardian Photographers in Altrincham and Sale 1860–1939; Including Ashton-On-Mersey, Bowden and Hale (Bath, England: Royal Photographic Society Historical Group—The PhotoHistorian Supplement, No. 88), 1990.

A listing of 729 professional photographers compiled from local directories, magazines, and newspapers.

Bayliss, Anne and Paul. Photographers in Mid Nineteenth Century Scarborough: The Sarony Years (Scarborough, England: A. M. Bayliss), 1998.

A listing of fifty-one professional photographers in Altrincham and sixteen in Sale, compiled from local directories, census returns, and other sources.

The section “Dictionary of Photographers in Victorian Scarborough,” pages 37–75, gives extensive entries for 118 photographers active in the period 1842–1900. A further chapter covers the life and career of Scarborough’s most prominent early photographer, Oliver Sarony (1820–1879).

Gill, Arthur T. Brighton Photographers in Victorian Times (London: Royal Photographic Society Historical Group Newsletter Supplement, No. 41), 1979. A listing of 300 photographers active at more than 160 addresses, compiled from local directories and covering the period 1854–1898. Inaugural list of the ongoing series published under the auspices of the Royal Photographic Society. For an updated edition, see below under R. C. Grant.

[Budge, Adrian.] Early Photography in Leeds 1839–1870 ([Leeds, England]: Leeds Art Galleries), 1981. The “Index of Leeds Photographers, 1839–70,” pages 38–42, gives names, date periods, addresses, and comments for eighty-four professional and twenty-five amateur photographers.

———. “East Anglia and Early Photography,” Journal of the Royal Society of Arts, Vol. 125 (May 1977), pp. 317–327.

———. “Yorkshire and Photography: The Early Years,” The Photographic Collector [London] Vol. 4, No. 1 (Spring 1983), pp. 10–23.

Cited in MABS, p. 69, as a general account of early photo­ graphy in England, with particular reference to the work of seven identified local practitioners.

An article examining the careers of ten individuals or part­ nerships, both portrait and landscape photographers, active in the county of Yorkshire.

———. Photographers in Eastbourne 1877–1910 (Bath, England: Royal Photographic Society Historical Group Newsletter Supplement, No. 65, in conjunction with the Eastbourne Heritage Centre), 1984.

[Cirket, A. F.] ‘Watch the Birdie’—The Photographer’s Art (Bedford, England: Bedfordshire County Council— County Record Office), [circa 1988].

A listing of sixty-seven professional photographers compiled from local and business directories.

A series of four typewritten studies, based upon data com­ piled from local directories and newspapers, produced to accompany exhibitions organized by the County Record Office for the following areas: Bedford (two pages); Dunstable and Leighton Buzzard (four pages); Luton (two pages); Mid-Bedfordshire (six pages). Complete sets may be obtained from: Senior Records Officer, County Records Office, County Hall, Bedford MK42 9AP, Great Britain.

———. Victorian and Edwardian Photographers in Hastings, St. Leonards and Bexhill (Bath, England: Royal Photographic Society Historical Group Newsletter Supplement, No. 73), 1986. A listing of 196 professional photographers compiled from local and business directories and covering the period 1865–1910.

Elliott, Brian. Professional Photographers in the Barnsley Area, 1850–1940 (Bath, England: Royal Photographic Society Historical Group—The PhotoHistorian Supplement, No. 121), 1998.

Grant, R. C., and Arthur T. Gill. Photographic Studios in Victorian Brighton and Hove (Bath, England: Royal Photographic Society Historical Group—The PhotoHistorian Supplement, No. 116), 1997.

A listing of thirty-nine professional photographers, accom­ panied by extensive career notes on seven of these, com­ piled from local directories, census returns, newspapers, and the author’s own collection.

An updated reprint of the listing by Arthur T. Gill cited above, compiled from business and local directories and covering the period 1848–1900.

Hallett, Michael. Professional Photographers in Cheltenham 1841–1914 (Bath, England: Royal Photographic Society Historical Group Newsletter Supplement, No. 75), 1986.

Eva, S. and K. Professional Photographers in Newcastle,

Gateshead and Sunderland 1873–1920 (Bath, England:

Royal Photographic Society Historical Group—

The PhotoHistorian Supplement, No. 117), 1997.

A listing of 100 professional photographers compiled from local and business directories.

A listing of 176 professional photographers in Newcastle, 29 in Gateshead, and 103 in Sunderland, compiled from business and local directories. 79

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Heathcote, Pauline F. “The First Ten Years of the Daguerreotype in Nottingham,” History of Photography, Vol. 2, No. 4 (October 1978), pp. 315–324.

———. Professional Photographers in Worcestershire 1851–1920 (Bath, England: Royal Photographic Society Historical Group Newsletter Supplement, No. 72), 1986.

Very general article on the subject. Mentions the first few licensed daguerreotypists in the area but gives no biograph­ ical details.

A listing of 174 professional photographers compiled from local and business directories.

———. Victorian and Edwardian Professional Photographers in Dorset (Bath, England: Royal Photo­ graphic Society Historical Group Newsletter Supplement, No. 76), 1987.

James, Peter. The Photographic Manufacturers and

Retailers in Birmingham 1849–1914 (Bath, England:

Royal Photographic Society Historical Group—

The PhotoHistorian Supplement, No. 112), 1996.

A listing of 143 professional photographers compiled from local and business directories and covering the period 1855–1911.

A listing of approximately 200 people engaged in allied activities, compiled from business and local directories; most useful in conjunction with the listing of photographers in the same city, cited above under Aston, Hallett, and McKenna.

———. Victorian and Edwardian Professional Photographers in Gloucester (Bath, England: Royal Photographic Society Historical Group Newsletter Supple­ ment, No. 80), 1988.

———. “Under Exposed: Snapshots of the History of Photography and Photographic Collections in Birmingham 1839–1998” in Coming to Light: Birmingham’s Photographic Collections (Birmingham, England: Birmingham Libraries and Birmingham Museums and Art Gallery), 1998, pp. 8–49.

A listing of fifty-seven professional photographers com­ piled from local and business directories and other sources, covering the period 1854–1914.

———. Victorian and Edwardian Professional Photographers in Herefordshire (Bath, England: Royal Photographic Society Historical Group— The PhotoHistorian Supplement, No. 91), 1990.

Well-documented study, containing extensive career infor­ mation on nineteenth century photographers; best consult­ ed in conjunction with the identically titled exhibition catalogue, listing 168 items and including a section “Biographical Notes (Where Known),” pages 15–23, which gives sixty-two entries.

A listing of fifty-nine professional photographers compiled from business directories and other local sources and cover­ ing the period 1856–1913. Previously issued as Supplement, No. 81 in 1988.

Jones, Gillian A. Professional Photographers in North Staffordshire 1850–1940 (Bath, England: Royal Photo­ graphic Society Historical Group—The PhotoHistorian Supplement, No. 103), 1994.

———. Victorian and Edwardian Professional Photographers in Shropshire (Bath, England: Royal Photographic Society Historical Group— The PhotoHistorian Supplement, No. 94), 1991.

A listing of 314 professional photographers compiled from business and local directories, newspapers, and other sources.

A listing of 103 professional photographers compiled from business directories and other local sources and covering the period 1842–1913. For an updated version, see below under G. and G. Jones and M. Hallett.

———. Professional Photographers in South Staffordshire 1850–1940 (Bath, England: Royal Photo­ graphic Society Historical Group—The PhotoHistorian Supplement, No. 105), 1994.

Hannavy, John, and Chris Ryan. Professional Photographers in Wigan 1853–1925 (Bath, England: Royal Photographic Society Historical Group Newsletter Supplement, No. 78), 1987.

A listing of 429 professional photographers compiled from business and local directories.

A listing of eighty-three professional photographers com­ piled from local and business directories.

———, and Graham Jones. Professional Photographers in Cheshire 1849–1940 (Bath, England: Royal Photo­ graphic Society Historical Group—The PhotoHistorian Supplement, No. 108), 1995.

Heathcote, Bernard V. and Pauline F. Leicester Photographic Studios in Victorian and Edwardian Times (Bath, England: Royal Photographic Society Historical Group Newsletter Supplement), 1982.

A listing of 929 professional photographers compiled from business and local directories, advertisements, and photographs.

A listing of 179 professional photographers compiled from local directories and covering the period 1844–1910.

———, and Michael Hallett. Professional

Photographers in Shropshire 1840–1940 (Bath, England:

Royal Photographic Society Historical Group—

The PhotoHistorian Supplement, No. 114), 1996.

———. Nottingham Photographic Studios in Victorian Times (Bath, England: Royal Photographic Society Historical Group Newsletter Supplement, No. 42), 1979.

A supplementary listing of 184 professional photographers, compiled from business and local directories, newspapers and photographs. It updates and extends the listing by M. Hallett cited above.

A listing of approximately 200 professional photographers compiled from local and business directories and covering the period 1841–1900.

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Photography” is illustrated with maps and graphs plotting the spread of professional studios in London. The main cov­ erage of the volume is the area of central London as defined by the six districts of the Post Office London Directory; as a result, much of Greater London lies outside the scope of the directory.

Kelly, Stephen F. Victorian Lakeland Photographers (Shrewsbury, England: Swan Hill Press), 1991. Study consists of ten short biographical chapters on mainly professional photographers active in the Lake District dur­ ing the nineteenth century, each accompanied by examples of the photographer’s work.

———. Victorian and Edwardian Photographers in Kingston-Upon-Hull and Beverley (Bath, England: Royal Photographic Society Historical Group Newsletter Supplement, No. 66), 1984.

Linkman, Audrey, compiler. Manchester Photographers 1901–1939 (Manchester, England: The Documentary Photography Archive), [1988]. A comprehensive listing derived from trade directories, totaling 860 entries. Conceived as a sequel to the work by Gillian Read cited below.

A listing of 219 professional photographers in KingstonUpon-Hull and eleven in Beverley, compiled from local and business directories and covering the period 1862–1913.

———. Professional Photographers in Liverpool 1851–1900 (Bath, England: Royal Photographic Society Historical Group—The PhotoHistorian Supplement, No. 98), 1992.

———. Victorian and Edwardian Photographers in Watford (Bath, England: Royal Photographic Society Historical Group Newsletter Supplement, No. 45), 1980, revised 1997.

A listing of 1,031 professional photographers, compiled

from business and local directories. One of the largest

listings published by the RPS Historical Group to date.

A listing of thirty-two professional photographers active between 1862 and 1913; includes an essay by Sam Welford, “The Paget Prize Plate Company of Watford,” a local firm of dry plate manufacturers.

Mayne, Richard, and Joan Stevens, compilers. Jersey through the Lens: Photographs taken before 1918 (London and Chichester, England: Phillimore), 1975.

Read, Gillian. Manchester Photographers 1840–1900 (Bath, England: Royal Photographic Society Historical Group Newsletter Supplement, No. 59), 1982.

Not directly examined. Reported as a 116-page study including a list of photographers active in Jersey, 1842–1918.

A listing of 800 photographers compiled from local and business directories.

Murray, Hugh. Photographers of York: The Early Years 1844–1879 (York, England: Yorkshire Architectural and York Archaeological Society in association with Sessions of York), 1986.

Rimmer, Ralph W. Professional Photographers in Croydon 1860–1939 (Bath, England: Royal Photographic Society Historical Group—The PhotoHistorian Supplement, No. 124), 1998.

The appendix, pages 126–127, gives a list of thirty-four

“Commercial Photographers in York 1844–1879.”

A listing of 274 professional photographers compiled from business directories and other local sources.

Norgate, Martin. Directory of Hampshire Photographers ([Winchester], Hampshire, England: Hampshire County Council Museums Service), 1995.

Scott, C. G. Photographers in Devon 1842–1939 (Bath, England: Royal Photographic Society Historical Group— The PhotoHistorian Supplement, No. 101), 1993.

Directory comprising several hundred professional photog­ raphers active in Hampshire, including Bournemouth and Christchurch, or on the Isle of Wight, from the beginning to 1970, compiled mainly from local and business directories.

A sixty-nine page listing of more than 1,000 professional photographers in the county of Devon, centered on the towns of Exeter and Plymouth, compiled from the resources of the Westcountry Studies Library, Essex. The list is in alphabetical order by locality, making it difficult to consult the work.

———, assisted by Judith Blades and Pamela Slocombe. Photographers in Wiltshire (Trowbridge, Wiltshire, England: Wiltshire Library and Museum Service), 1985. A spiral-bound paperback published as No. Five in the series Wiltshire Monographs, listing “nearly 300 photo­ graphers in business in Wiltshire up to 1939.” Data is derived from local directories and photographs held in several regional institutions and some private collections. The contents include a source list, the directory of photo­ graphers, place indices, and a date index.

Smith, Bill, and Michael Pritchard, compilers. Hertfordshire Photographers 1839–1939 (Stevenage, Hertfordshire, England: [n.p.]), 1985. A sixteen-page booklet listing approximately 300 photogra­ phers and “allied trades” by name, address, and working date period; gives some cross reference. Compiled mainly from regional directories. Bill Smith was also noted at that time as “researching photographers in [the town of] Hitchin and the north of the county [of Hertfordshire].”

Pritchard, Michael. A Directory of London Photographers 1841–1908 (Watford, England: PhotoResearch), 1994 second edition.

Smith, Brian Turton. Photographers in Bath 1841–1910 (Bath, England: Royal Photographic Society Historical Group Newsletter Supplement, No. 47), 1980.

A 140-page directory giving an alphabetical listing of individuals and studios, with addresses and date periods of occupancy for 2,535 entries. Revised and expanded edition of a work first published in 1986. An appendix lists more than 500 new names collected since the first edition. An exemplary introductory essay “The Growth of Early

A listing of 167 professional photographers compiled from local and business directories.

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Smith, Mervyn L. Photographers in Abingdon 1863–1909 (London: Royal Photographic Society Historical Group Newsletter Supplement, No. 44), 1979.

Hallett, Michael. Victorian and Edwardian Professional

Photographers in Glasgow (Bath, England:

Royal Photographic Society Historical Group—

The PhotoHistorian Supplement), 1990.

A listing of eleven professional photographers with some additional biographical notes on six.

A listing of 499 professional photographers compiled from business directories and other local sources and covering the period 1855–1911.

———. Professional Photographers in Oxford (Bath, England: Royal Photographic Society Historical Group Newsletter Supplement, No. 58), 1982.

Hannavy, John. A Moment in Time: Scottish Contributions to Photography, 1840–1920 (Glasgow, Scotland: Third Eye Centre), 1983.

A listing of ninety-seven professional photographers

compiled from local directories and covering the period

1842–1910.

Monograph published in conjunction with an exhibition; good historical overview with brief biographies of the pho­ tographers, including a section “Biographical Notes on the Photographers,” pages 69–79, which contains thirty-two entries.

Swithenback, J. S. “Early Professional Photographers in Grimsby,” Lincolnshire Life, April 1982, pp. 46–48. Not directly examined.

McCoo, Don. Paisley Photographers 1850–1900 (Glasgow, Scotland: Foulis Archive Press), 1986.

Thomas, Charles. Views and Likenesses. Photographers and Their Work in Cornwall and Scilly 1839–1870 (Truro, Cornwall, England: Royal Institution of Cornwall), 1988.

A small booklet listing photographers in the area of Paisley, Scotland. Contains new information on the early lives and careers of Alexander Gardner and William Notman, later of North America.

The entire book is an illustrated biographical compilation on the lives and works of the photographers in this area. “Appendix I: Tabulated Details of Photographers, 1839–1870,” pages 145–150, lists ninety-seven amateurs and professionals alphabetically, with localities and dates of activity. “Appendix II: Preliminary List of Professional Photographers in Cornwall and Scilly, By Decades, 1871–1900,” pages 151–152, gives details on an additional fifty-eight individuals.

Turley, Raymond V. “Some Isle of Wight Photographers 1850–1940,” The PhotoHistorian, No. 97 (1992), pp. 40–45. Initial results of the author’s ongoing research, described in Section B/Europe/Great Britain. For a published listing of Isle of Wight photographers, see the directory by M. Norgate cited above.

West, John. The Studio Photographers of the London Boroughs of Lewisham and Greenwich 1854–1939 (Bath, England: Royal Photographic Society Historical Group— The PhotoHistorian Supplement, No. 109–110), 1995. A listing of several hundred professional photographers

compiled from business and local directories and news­

papers.

Wilson, John. Professional Photographers in Kingstonupon-Thames and Surrounding Areas 1854–1911 (Bath, England: Royal Photographic Society Historical Group Newsletter Supplement, in conjunction with the Kingstonupon-Thames Heritage Centre), 1984.

Stevenson, Sara, editor. Light from the Dark Room: A Celebration of Scottish Photography (Edinburgh: National Galleries of Scotland) 1995.

A listing of 157 professional photographers compiled

mainly from local directories.

A very fine exhibition catalogue featuring work by Scottishborn photographers of all periods. “Catalogue—Part Two: The Photographers,” pages 111–124, gives biographies for sixty-four photographers arranged alphabetically, together with descriptions of their work featured in the exhibition.

Regional and Local—Scotland

Buchanan, William. “Photography Comes to Glasgow: A Survey of the Fifteen Years 1839–1854,” Scottish Photography Bulletin (Spring 1988), pp. 4–17.

Stewart, E. Portrait Photographers in Glasgow 1853–1904 (Glasgow, Scotland: [Dissertation presented at the Glasgow School of Art]), 1983.

An article with an extensive chronological approach, giving fair details of numerous early individuals including H. W. Treffrey, the first Glasgow photographer.

Not directly examined.

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DIRECTORIES OF PHOTOGRAPHERS

Regional and Local—Wales

“Biographical Notes of Greek and European Photographers Established in Greece,” pages 205–208, giving biographies of thirty-five photographers included in the exhibition.

Colbourn, Megan. Photographers in Dyfed 1857–1920: Cardiganshire, Carmathenshire, Pembrokeshire (Bath, England: Royal Photographic Society Historical Group Newsletter Supplement, No. 79), 1987.

———, translated by John Solman and Geoffrey Cox. History of Greek Photography 1839–1960 (Athens: Hellenic Literary and Historical Archives Society), 1988.

A listing of 110 professional photographers compiled from South Wales business directories and census returns.

Translation of the second Greek edition published under the same imprint in 1985. While not a directory, this narra­ tive history is the only general treatment of Greek photo­ graphy presently available. Taken together with the 1985 catalogue Athens 1839–1900, above, it offers a solid overview of the subject with dated pictures and scattered career details throughout.

Darlington, Elizabeth A. “High Street Photographers in Aberystwyth, 1857–c. 1900,” Cylchgrawn Llyfrgell Genedlaethol Cymru, Vol. 25, No. 4 (Winter 1988), pp. 445–466. Cited in BHA, Vol. 1, No. 3 (1991), entry 14422, as giving career details on a number of portrait photographers.

Yiakoumis, Haris. La Grèce. Voyage Photographique et Littéraire au XIXe Siècle (Athens: Editions Bastas-Plessas in collaboration with the Institut Français d’Athènes and the Etablissements «Platon»), 1997.

Jones, Stephen K. The Commercial Camera in Cardiff 1855–1920: Including Caerphilly, Cogan and Penarth (Bath, England: Royal Photographic Society Historical Group Newsletter Supplement, No. 50), 1980.

Copiously illustrated catalogue accompanying an exhibition of two hundred prints drawn from the author’s own collec­ tion. The introductory chapter, “Paris—Rome—Athènes: Le Voyage Photographique et Littéraire au XIXe Siècle,” pages 15–37, is mainly a chronological account, giving life dates and some career details for the photographers featured in the exhibition. Parallel Greek and French texts.

A listing of more than 250 professional photographers for a substantial area of Wales, compiled from local directories.

Painting, David. Swansea’s Place in the History of Photography (Swansea, Wales: Royal Institution of South Wales), 1982. Not directly examined.

Greenland

Greece Hansen, Keld. Grønlandsbilleder: Assilissat Kalaallit Nunaannit, 1860–1920 (København [Copenhagen]: Christian Ejlers’ Forlag), 1976.

Dewitz, Bodo von, editor, et al. Das Land der Griechen mit der Seele suchen: Photographien des 19. und 20. Jahrhunderts (Köln [Cologne], Germany: Agfa Foto-

Well-illustrated study of early photographic campaigns

in Greenland. Includes biographies. Text in Danish and

Greenlandic.

Historama), 1990. An elegant exhibit catalogue including several essays on particular aspects of historical photography in Greece, such as the daguerreotype and the work of archaeologist Heinrich Schliemann. Pages 229–236 give career or biogra­ phical notes for twenty-two individuals or firms.

Hungary A Fénykép Varázsa: Tizenkét Kiállítás a Magyar Fotográfia 150 E:ves Történetébo…l [The Magic of Photography: 12 Exhibitions on 150 Years of Hungarian Photography] (Budapest: [Budapest Art Weeks and the Association of Hungarian Photographers]), 1989.

Elentheriou, Manos. Pho[tographies Kai Pho[tographoi: Anthologia 1859–1940 [Photographs and Photographers: An Anthology, 1859–1940] (Athens: Akdoseis Gno[sc*), 1980.

Catalogue accompanying the extensive series of sesquicen­ tennial exhibitions held in Budapest. Contains sixteen essays covering all periods, and each is followed by a set of well-captioned images. Of particular note is the essay “ A Dagerrotípia / The Daguerreotype,” by Margit Szakács, pages 21–31. Parallel Hungarian and English text.

Reported as “a history of photography in Greece and of Greek photographers active elsewhere in the Levant” in a bibliography on the Middle East in progress by András Riedelmayer of the Aga Khan Foundation. Not directly examined.

Hübner, Gerhild. “Bild als Botschaft: Das antike Erbe Athens in FotografischenZeugnissen des 19. und 20. Jahrhunderts,” Fotogeschichte, No. 29 (1988), pp. 3–32.

Di Castro, Federica. Nel Raggio dell’Utopia: L’Esperienza Fotografica Ungherese tra le Due Guerre (Venezia [Venice], Italy: Marsilio), 1987. Not directly examined. Cited as an illustrated study on Hungarian photography between the two world wars, in Roosens and Salu 2, p. 152.

Reported as “information on nineteenth century photogra­ phers of Athens; with many illustrations, and bibliographic references” in a bibliography on the Middle East in progress by András Riedelmayer of the Aga Khan Foundation. Not directly examined.

Karlovits, Károly. “Early Photography in Eastern Europe: Hungary,” History of Photography, Vol. 2, No. 1 (January 1978), pp. 53–74.

Xanthakis, Alkis X. Athens 1839–1900: A Photographic Record (Athens: Benaki Museum), 1985. An extensively illustrated exhibition catalogue which includes a short essay “Greek Photographers of the Nineteenth Century,” pages 25–28, and a section

A general article on the subject. Considers several individu­ als and more of the literature than many other sources.

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Nagy, Istvan. A Györi Fotografia 150 Éve (Györ, Hungary: Pro-Press BT), 1994.

Not directly examined. A 110-page catalogue accompany­ ing an exhibition organized by the City of Dortmund in conjunction with the Hungarian state authorities.

Not directly examined. Cited as a 112-page work Roosens and Salu 4, p. 155.

Vajda, Pál. Creative Hungarians: A Selected BioBibliography (Budapest: Offprint ex Technikatorteneti

Szakács, Margit. Fényképészek és Fényképészmu…termek Magyarországon (Budapest: Magyar Nemzeti Múzeum), 1997.

Szemle), Vol. 11 (1979), pp. 35–74. Contains biographical data on seven Hungarian

photographers.

An excellent national directory based on the holdings of the Photographic Archives of the Hungarian National Museum. An introductory text, “Magyarországi Fényképészek és Fényképészmu…termek (1840–1920) [Photographers and Studios in Hungary 1840–1920],” pages 25–41, is followed by six lists: Budapest photographers, alphabetically and by street; photographers in the other areas of Hungary, alpha­ betically and by locality; and foreign photographers in the Museum’s holdings, alphabetically and by locality. There are several thousand individuals and studios listed. The work also contains an eighty-page section of images, followed by a one-page summary in English and German, page 303.

Iceland (also see Denmark)

Baldvinsdóttir, Inga Lára. “Daguerreotypur á Islandi og Fyrstu Ljósmyndarnir,” Arbók hins Íslenzka Fornleifafélags, 1982, pp. 141–153. An account of photography on Iceland to 1860, based on the thesis cited below. Contains biographical details.

———. “Daguerrotypiet på Island og de Første Fotografiene,” Norsk Fotohistorisk Årbok 1983/84, pp. 17–23.

Szilágyi, Gábor. Magyar Fotográfia Története. A Fémképto…l a Színes Fényképig (Budapest: Magyar

Norwegian version of the article cited above.

Filmintézet), 1996.

———. Ljósmyndarar á Íslandi 1846–1926 (Reykjavik: [Master’s thesis, University of Iceland], 1984, two vols.

Copiously footnoted textual history of nineteenth century photography in Hungary, containing much embedded career information. Name index, pp. 319–326. Not illustrated.

A comprehensive work in two volumes: Volume 1 is a textual history of photography in the country; Volume 2 is a complete directory giving names, dates, genealogy, edu­ cation, descendants, and samples of logos when possible. The research is very thorough and complete and follows the ancient tradition of listing names alphabetically by first name, since family names shift with each generation. The work is in Icelandic, which somewhat relates to other Scandinavian languages, old German, and older English.

———, compiler. Tény-Kép: A Magyar Fotográfia Története 1840–1981 / Fact-Picture: The History of Hungarian Photography from 1840 to 1981 (Budapest: Mu…csarnok Art Gallery), 1981. A limited exhibit catalogue titled to cover a much greater time period than reflected in its sixty-one illustrations; these range from 1870 to 1980 with only nine from before 1900. A two-page text in Hungarian and an English translation offer very brief notes on a number of individuals, and the picture captions have dates. The “Catalogue” listing of the entire exhibit gives considerably more dates for 321 individuals or firms, the total display having been far more ambitious than the sample illustrated here. Although typographically diffi­ cult to use in either its Hungarian or English forms, the cata­ logue does clarify the Hungarian convention of giving surnames before first names.

———. “Stereóskópópmyndir á Íslandi [Stereoscopic Photography in Iceland],” Árbók hins Íslenzka Fornlei-fafélags, 1994, pp. 61–86. Cited in BHA, Vol. 7, No. 2 (1997), entry 10328, as tracing stereo photography in Iceland, beginning with the first work by foreign visitors in 1860, its development to 1915, and including a thriving business boom that involved Icelander photographers in the first decade of the twentieth century. English summary.

Szilágyi, Gábor, and Sándor Kardos. Leletek: A Magyar Fotográfia Történetébo…l (Budapest: Képzo…mu…vészeti

Ireland (also see Great Britain/General and National)

Kiadó), 1983. A substantial, illustrated book on Hungarian photography. The section “A Kötetben Szereplo…/ Szerzo…k,” pages 461–468, offers brief biographical statements on ninety-nine individ­ uals from throughout the history of photography in the area, with a heavy emphasis on the twentieth century.

Chandler, Edward. Photography in Dublin during the Victorian Era (Dublin: Albertine Kennedy), circa 1983. Text study which gives basic information on nineteenth century photographers in the Irish capital. Illustrations include backs of cartes-de-visite from eighteen studios active in the 1860s.

To…ry, Klára. La Photographie Hongroise, 1900–1945 / Hungarian Photography between 1900 and 1945 (Paris: n.p.), 1984.

———, and Peter Walsh. Through the Brass Lidded Eye: Photography in Ireland, 1839–1900 (Dublin: Guinness Museum), 1989.

Reported as a twenty-page exhibition catalogue featuring several unfamiliar individuals. Bilingual French and English text.

Solid text survey which gives data on major studios,

including addresses.

Ungarische Fotografie von 1900–1945 (Dortmund, Germany: Cramers Kunstanstalt), 1987.

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Henggler, Joseph, as told to Laurance Wolfe. “Stereo Emeralds: A Look at Nineteenth Century Irish Stereo Views,” Stereo World, Vol. 14, No. 1 (March–April 1987), pp. 22–30.

Superbly produced and illustrated book associated with an exhibition held at the Agfa-Foto-Historama, Cologne. The section “Biografien der Photographen,” pages 277–283, by Karin Schuller-Procopovici, contains forty-nine entries.

Article gives some biographical details, and a small chart gives locations and general dates of activity for eight stereoscopic photographers.

Fotografia italiana dell’Ottocento (Milano: Electa Editrice; Firenze [Florence]: Edizioni Alinari), 1979. A very impressive collective work. The section “I fotografi,” pages 137–184, contributed by twenty researchers, gives a relatively detailed biographical directory of approximately 220 photographers active in Italy before 1900. There are also surveys of early photography by region. A second edition appeared in 1985.

Slattery, Peadar. Photography in Dublin, 1839–1861 ([Paper submitted for the qualification of associate fellow­ ship of the Royal Photographic Society]), circa 1982. Summarized in the Photographic Journal, Vol. 123, No. 1 (January 1983), page 46, as a study examining the begin­ nings and development of photography in the Irish capital and the growth and decline of organized amateur photo­ graphy; contains a listing of members of the Dublin Photographic Society and a checklist of early photographic exhibitions. A copy is available for consultation in the RPS library in Bath.

Fotografia pittorica 1889–1911 (Milano: Electa Editrice; Firenze [Florence]: Edizioni Alinari), 1979. The catalogue for an exhibition of Italian Pictorialism. Offers general essays by Marina Miraglia and Italo Zannier along with one-page biographies and bibliographies for fourteen practitioners of the style, including a few not discussed elsewhere.

Walker, Brian Mercer. Shadows on Glass: A Portfolio of Early Ulster Photography (Belfast, Northern Ireland: The Appletree Press Ltd.), 1976.

Watson, Wendy M. Images of Italy. Photography in the Nineteenth Century (South Hadley, Massachusetts: Mount Holyoke College Art Museum), 1980.

Gives one or two-page biographical sections on eleven photographers active in Northern Ireland shortly before and after 1900.

Conscientious exhibition catalogue comprising 102 fully captioned images by twenty-seven photographers, present­ ed in alphabetical order and accompanied by a short biogra­ phical sketch for each.

Italy General and National

Zannier, Italo, editor. Segni di luce. Vol. I: Alle origini della fotografia in Italia (Ravenna, Italy: Longo Editore),

Becchetti, Piero. Fotografi e fotografia in Italia 1839–1880 (Roma: Edizioni Quasar), 1978.

1991.

Pages 51–127 list several hundred photographers by town, with some biographical dates or working period dates.

First in a three-volume set, published to accompany a cycle of exhibitions in Ravenna. The other volumes announced are subtitled La fotografia italiana dall’età del collodio al pittori­ alismo and La fotografia italiana contemporaneo. Described by photohistorian Mike Jacob as a “new history of Italian photography including important articles about virtually unknown ‘fathers’ of Italian photography by various contributors.” The work does not contain a directory, but provides generous new information. For two local studies contained in the volume, see the entries for Beltramini cited below.

Bouqueret, Christian, and François Livi. Le voyage en Italie. Les photographes français en Italie, 1840–1920 (Lyon, France: La Manufacture), 1989. Well-illustrated book associated with an exhibition held at the Mission du Patrimoine Photographique in Paris. The work of thirty-seven individuals is featured, accompanied by biographical entries for each.

Colombo, Cesare, and Susan Sontag. Italy: One Hundred Years of Photography (Firenze [Florence]: Fratelli Alinari,

———. Storia della fotografia italiana (Bari, Italy: Laterza), 1986.

distributed in the United States of America and Canada by Rizzoli International Publications, Inc.), 1988.

Not directly examined. Cited as a 423-page work, in Roosens and Salu 1, p. 198.

The “Biographical Catalogue,” pages 185–190, gives brief sketches of eighty-eight photographers of all nationalities, active in Italy since 1888.

Regional and Local

Becchetti, Piero. La fotografia a Roma dalle origini al 1915 (Roma: Editore Carlo Colombo), 1983.

Costantini, Paolo, Italo Zannier, et al. L’insistenza dello sguardo: fotografie italiana 1839–1989 (Firenze [Florence]: Fratelli Alinari), 1989.

A large, handsomely-produced volume with limited general text, 297 plates, and a ninety-one page section of biographies of photographers active in Rome from the beginning to 1915; extensively illustrated with pictures, logotypes, and portraits of photographers.

Not directly examined. Cited as the catalogue of an exhibi­ tion held in the Palazzo Fortuny, Venice, in Roosens and Salu 2, p. 157.

Dewitz, Bodo von, Dietmar Siegert, and Karin SchullerProcopovici. Italien sehen und sterben. Photographien der Zeit des Risorgimento, 1845–1870 (Heidelberg, Germany: Edition Braus), 1994. 85

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———, translated by Ann Thornton. Rome in Early Photographs: The Age of Pius IX: Photographs 1846–1878 from Roman and Danish Collections

Bertuzzi, G., and M. Di Stefano. Fotografi a Piacenza 1857–1900 (Piacenza, Italy: Tipografia Editoriale Piacentina), 1982. Not directly examined.

(København [Copenhagen]: The Thorvaldsen Museum), 1977.

Bruni, Alda. “Fotografi alla Spezia nella secondo metà dell’800” in L’Archivio Fotografico del Comune della Spezia. Gli Studiosi e «l’Immagine» tra ‘800 e ‘900 (Genoa, Italy: Sagep), 1990, pp. 29–60.

An excellent catalogue of annotated images accompanied by a set of essays. The section “Photographers in Rome,” pages 39–51, gives biographical entries for sixty-six photog­ raphers or photographic publishers. Originally published in Danish (København [Copenhagen]: Thorvaldsens Museum), 1977; subsequently published in German (München [Munich]: Schirmer/Mosel), 1978, and in Italian (Roma: Multigrafica), 1979.

Three-page essay on nineteenth century photography in La Spezia, followed by a sample of work by fifteen photogra­ phers, clearly annotated with addresses and dates.

Cassio, Claudia. Fotografi ritrattisti nel Piemonte dell’800 (Aosta, Italy: Musumeci), 1980.

Beltramini, Maria. “1839–1854: quindici anni di fotografia a Verona” in Segni di Luce. Vol. I: Alle origini della fotografia in Italia, edited by Italo Zannier (Ravenna, Italy: Longo Editore), 1991, pp. 157–166.

Cited by Pelizzari.

Cavazzi, Lucia, Anita Margiotta, and Simonetta Tozzi, editors. Pittori fotografi a Roma 1845–1870. Immagini dalla raccolta fotografica comunale (Roma: Multigrafica Editrice), 1987.

Concise essay in a collective work on aspects of early Italian photography.

———. “Origini della fotografia a Milano” in Segni di Luce. Vol. I: Alle Origini della fotografia in Italia, edited by Italo Zannier (Ravenna, Italy: Longo Editore), 1991, pp. 171–179.

Cited by Pelizzari as the catalogue of an exhibition held in the Palazzo Braschi.

Costantini, Paolo, and Italo Zannier. Venezia nella fotografia dell’Ottocento (Venezia [Venice], Italy: Arsenale Editrice-Böhm), 1986.

Survey of the introduction of photography in Milan, 1839 and 1840.

An excellent and well-documented survey of nineteenth century photography in Venice. The chapter “Fotografia a Venezia nell’Ottocento,” pages 11–27, contains much biographical information.

Benassati, Giuseppina, and Angela Tromellini. Fotografia & fotografi a Bologna, 1839–1900 (Bologna, Italy: Grafis Edizioni), 1992. A sumptuously produced local history and directory. Reported by photohistorian Mike Jacob as “the complete guide to everything photographic that happened in the city for sixty years. Extensive material on literally hundreds of named figures. Fine illustrations. A major source.”

Del Pesco, Daniela, et al. Immagine e città. Napoli nelle collezioni Alinari e nei fotografi napoletani fra Ottocento e Novecento (Napoli [Naples], Italy: G. Macchiaroli), 1981. Cited by Pelizzari as the catalogue of an exhibition held at the Monastero di S. Chiara, Naples.

Bergamini, Giuseppe. “Augusto Agricola e i primordi della fotografia in Friuli,” Sot la Nape, Vol. 43, No. 4 (December 1991), pp. 5–16.

Ellero, Gianfranco. “Centocinquant’anni di fotografia,” Sot la Nape, Vol. 41, No. 1 (March 1989), pp. 5–18, and Nos. 2–3 (September 1989), pp. 19–48.

Cited in BHA, Vol. 3, No. 2 (1993), entry 12012, as an article on early photographers in Friuli, presumably revealing new research to supplement Zannier’s study cited below.

Cited in BHA, Vol. 1, No. 2 (1991), entries 8535 and 8536, as a two-part article tracing the development of photography in Friuli-Venezia Giulia, from 1839 to the middle of the twentieth century.

Emiliani, Andrea, editor. Antiche fotografie nelle collezioni civiche modenesi (Modena, Italy: Ufficio Audiovisivi e Grafica del Comune), 1981. Cited by Pelizzari.

———, and Italo Zannier, editors. Il tempo dell’immagine: fotografi e società a Bologna 1880–1980 (Torino [Turin], Italy: Seat), 1993. Cited by Pelizzari.

Falzone del Barbaró, Michele, Monica Maffioli, Emanuela Sesti, et al. Alle Origini della Fotografia: Un Itinerario Toscano, 1839–1880 (Firenze [Florence]: Alinari), 1989.

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Keller, Judith, and Kenneth A. Breisch. A Victorian View of Ancient Rome: The Parker Collection of Historical Photographs in the Kelsey Museum of Archaeology (Ann Arbor, Michigan: The University

Superbly illustrated catalogue for a large sesquicentennial exhibition of early photography in the Tuscany region of Italy. The section “Schede Biografiche,” pages 209–216, contains extensive entries for twenty-one individuals or partnerships.

of Michigan), 1980. The section “Parker and His Photographers,” pages 9–11, by Judith Keller, includes a limited biographical chart of the seven little-known photographers who worked for Parker between 1865 and 1877.

Falzone del Barbaró, Michele, and Marina Miraglia. “Le origini della fotografia nel Regno di Sardegna 1839–1861” in Cultura Figurativa e Architettonica negli Stati del Re di Sardegna 1773–1861 (Torino [Turin], Italy: n.p.), 1980. Cited by Pelizzari as the catalogue of an exhibition held in the Palazzo Reale, Turin.

Lucchetti, Domenico. “I pionieri della fotografia a Bergamo,” Atti dell’Ateneo di Scienze, Lettere ed Arti, Bergamo, Vol. 51 (1989–1990), pp. 89–106.

Falzone del Barbaró, Michele, and Italo Zannier, editors. Fotografia luce della modernità: Torino, 1920–1950: dal pittorialismo al modernismo (Firenze [Florence]: Alinari), 1991.

Cited by Pelizzari.

Marcenaro, Giuseppe. Fotografi liguri dell’Ottocento (Genova [Genoa], Italy: Immagine & Communicazione Editrice), 1980.

Cited in BHA, Vol. 2, No. 4 (1992), entry 23142, as a 208-page exhibition catalogue featuring 259 works.

Cited by Pelizzari.

Fiorentino, Gaetano, and Gennaro Matacena. Napoli in posa 1850–1910: crepuscolo di una capitale (Napoli [Naples], Italy: Electra), 1989.

Menapace, F., editor. Fotografia nel Trentino 1839–1980 (Reana, Italy: Chiandetti), 1980. Cited by Pelizzari.

The section “Note Biografiche sui Fotografi,” pages 255–259, gives extensive career information on twelve photographers active within the period surveyed.

Miraglia, Marina. Culture fotografiche e società a Torino 1839–1911 (Torino [Turin], Italy: Umberto Allemandi & C.), 1990.

Fotografi a Pompei nell’800 dalle collezioni del museo Alinari (Firenze [Florence]: Alinari, for the Soprintendenza

An exhibit catalogue but also one of the most opulent and thorough volumes on the photographic history of any single place yet issued, thanks to the support of the Fondazione Guido ed Ettore de Fornaris. Text essays examine three periods, 1839–1850, 1850–1880 and 1880–1911, with additional attention in the last section to particular aspects of uses of the medium. The color plates are superb, the list of works is well-dated, and a twentypage in-depth bibliography is included. The section “Biografie,” pages 347–432, by Claudia Cassio, offers substantial details on dozens of individuals or groups, with bibliographic citations for every basic entry. Even the “Name Index” is helpful. As the headline of the back cover says, “Un opera esemplare nella storia della fotografia” [An exemplary work in the history of photography].

Archeologica di Pompei), 1990. Exhibition catalogue containing seventy excellently repro­ duced and fully captioned images. Unfortunately the work contains no directory or checklist of photographers, so career information can be inferred only from the captions and the introductory essays.

Fotografi del Piemonte 1852–1899: duecento stampe originali di paesaggio e veduta urbana (Torino [Turin], Italy: Città di Torino-Assessorato per la Cultura-Musei Civici), 1977. A handsome catalogue of an exhibition held in the Palazzo Madama, Turin, the first major display of early images from the Piedmont region of northern Italy. The catalogue is a collective work, and includes several brief essays on topics that range from the daguerreotype to leading regional collections. Claudia Cassio provides a catalogue of works in the show on pages 23–44, accompanied by biographical statements for twenty-seven photographers, and followed by a bibliography keyed to a number of specific individuals.

Mormorio, D., and E. Toccaceli. Immagini e fotografi dell’Umbria, 1885–1945 (Roma: Oberon), 1984. Not directly examined. Reported by photohistorian Mike Jacob as including biographies for ninety-nine photogra­ phers who worked in the Umbrian region and offering a “very good selection of photographs.”

Museo Nazionale del Cinema. “Elenco di fotografi in

Piemonte nel Secolo XlX,” Notiziario Anno XV,

Nos. 31–32–33 (1976), pp. 11–26.

Gentili, Lamberto, and Mike Jacob. L’etá d’Oro della Fotografia, 1839–1880: Catalogo della mostra organizzata in occasione del 150 anniversario della invenzione della fotografia (Spoleto, Italy: Musei di

Gives a directory of nineteenth century photographers in the Piedmont region of Italy.

Spoleto), 1989. Not directly examined. An illustrated brochure of thirtytwo pages, including biographies of sixteen Spoleto photo­ graphers compiled by Lamberto Gentili, and a guide to the Fototeca Pubblica of the city of Spoleto.

Panazza, Gaetano, and Renata Stradiotti. Brescia nelle vecchie fotografie (Gorle/Bergamo, Italy: Grafica Gutenberg), 1980. Basically a picture book. However, it includes a section “I fotografi,” pages 289–299, consisting of a one-page concise text followed by forty-one numbered reproductions of signatures, card backs, and other photographic artifacts. 87

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Paoli, Silvia. “Le origini della fotografia a Milano: i dagherrotipi e le stampe da calotipo,” AFT: Rivista di Storia e Fotografia, No. 10 (December 1989), pp. 65–75; “La Fotografia a Milano: il periodo del collodio,” AFT: Rivista di Storia e Fotografia, No. 11 (June 1990), pp. 65–75; “La Fotografia a Milano: il periodo della gelatina-bromuro d’argento,” AFT: Rivista di Storia e Fotografia, No. 12 (December 1990), pp. 43–52.

Nineteenth Century,” page 142, gives thirty-eight individu­ als with addresses, keyed into a map of Venice on the facing page, thereby indicating the precise studio locations.

Latvia Kreicbergs, Janis. “Early Photography in Eastern Europe: Latvia,” History of Photography, Vol. 1, No. 4 (October 1977), pp. 319–325.

Three-part account of nineteenth century photography in Milan, with some embedded biographical information.

A brief introductory article on the subject; mentions some individuals. No bibliography.

Pertoldi, Brigitte. Approche photographique d’un espace urbain: des français à Rome entre 1846 et 1883

Zeile, Pe\teris, editor. Latvijas Fotoma\ksla: Ve\sture un Mu\sdienas (Rêga: “Liesma”), 1985.

(Paris: [Master’s thesis, University of Paris-VIII]), 1990.

A full text history of this Baltic state’s photography, from the daguerreotype up to publication date, in the form of articles by several experts. Liberally illustrated with brown toned plates, including card back designs clearly related to Scandinavian, German, and Russian styles of the periods shown. Photographers’ names and picture dates are given in captions, and the text appears to carry biographical details and portraits of many photographers. An English summary “The Art of Photography in Latvia,” pages 299–303, makes further names accessible; there are also summaries in Russian, pages 295–298, and in German, pages 304–308.

Not directly examined. Reported as a survey of the work of approximately twenty photographers.

Ritter, Dorothea. Venice in Old Photographs 1841–1920 (Boston: Little, Brown and Company: A Bulfinch Book), 1994. An interesting and extensive visual record of one of the most popular cities in the world, supplemented by useful text and maps. Picture captions often clarify relationships of sites and provide useful date-period clues, and some give attributions for well-known images. The section “Photographers’ Biographies,” pages 199–202, includes sketches on fourteen notable individuals who made extensive records of the area, plus some who were previously unfamiliar or whose work­ ing periods were unclear. An extensive bibliography and some images of the photographers themselves are included. Essentially a derivative text, which does not replaces the work by Costantini and Zannier cited above, but does possess the advantages of easy accessibility and publication in English. British edition (London: Laurence King), 1994.

Lithuania Budryteæ, Z. Lietuvos Fotografuç Darbai XIX a.–1915 (Vilnius: Ltsr Istorijos ir Etnografijos Muziejaus Leidinys), 1985. Catalogue of an exhibition held at the Museum of History and Ethnography, Vilnius, and drawn from the Museum’s holdings of more than 16,000 images. The development of photography in Lithuania is surveyed in 1,007 separate items; 300 are illustrated in monochrome in the catalogue (including seventeen daguerreotypes). Short introductory text and captions in Lithuanian, Russian, and German.

Rosati, Romano, and Gianfranco Uccelli. Camera oscura 1839–1920: fotografi e fotografia a Parma (Parma, Italy: Artegrafica Silva), 1990. Not directly examined. Cited as an illustrated 347-page

work in Roosens and Salu 2, p. 159.

Spocci, Roberto. “Alle origini della fotografia a Parma: saggistica e informazione,” Malacoda, Vol. 5, No. 22 (1989), pp. 3–14. Cited by Pelizzari.

Vanzella, Giuseppe, editor. Padova. I fotografi e la fotografia nell’Ottocento (Campodarsego, Italy: Gruppo Carraro), 1997. Reported as a 169-page study on early photography in the city of Padua. Not directly examined.

Zannier, Italo. Documenti fotografici di Folgaria (Folgaria, Italy: Biblioteca Comunale), 1984. Not directly examined. Cited as a 144-page exhibition catalogue in Roosens and Salu 3, p. 165.

———. Fotografia in Friuli 1850–1970 (Reana, Italy: Chiandetti), 1978. Cited by Pelizzari.

———. Venice, The Naya Collection (Venezia [Venice], Italy: O. Böhm), 1981. The listing “Some Photographers Active in Venice in the 88

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Junevic=ius, Dainius. “1863–1904 m. Vilniaus Gubernijos Fotografai,” Kultu\ros Istorijos Tyrineæjimai, Vol. 3 (1997), pp. 230–298.

ten Behoeve van Datering binnen de Periode 1860–1914 (Castricum, Netherlands: Privately published), 1993 third edition.

Comprehensive survey of nineteenth century photography in the Lithuanian capital and the surrounding area. Includes a directory comprising biographies and dates of activity for nearly 200 individuals, pages 266–294, based on previously unpublished archival sources. English summary, “The Photographers of the Vilnius Province 1863–1904,” pages 339–340.

Directory of Dutch professional photographers, listing a total of 1,535 photographers at 3,623 addresses. As stated in the subtitle, the aim is to facilitate dating of Dutch photo­ graphs produced in the period 1860–1914. The information is presented in two forms: alphabetically by photographer, and then alphabetically by location. There is also a listing of the 150 most commonly encountered photographers. The directory is based on data transcribed from a total of 45,000 card backs in the photography holdings of the Iconografisch Bureau, The Hague (10,000 cartes-de-visite), the Print Cabinet of the University of Leiden (10,000 cartes de visite), and six private collections, including that of the compiler. A massive undertaking, but unfortunately of limited use, since the compiler has added dates only when he has noted them from the items themselves. As a result, and despite his work’s subtitle, approximately seventy-five percent of the entries are undated! First edition published in 1989, second edition in 1990. For information on the compiler’s ongoing research, and access to a web site devoted to the same topic, see under Works in Progress.

Juodakis, Virgilijus. “Early Photography in Eastern Europe: Lithuania,” History of Photography, Vol. 1, No. 3 (July 1977), pp. 235–247. A very general introductory article on the subject based on the author’s dissertation Fotografijos Istorijos Lietuvoje Bruoz=ai iki 1940 m. Gives some detail on individuals. Essentially the only source available in English.

———. Lietuvos Fotografijos Istorija 1854–1940 (Vilnius: Austeæja), 1996. Full-scale history, based on the dissertation reported imme­ diately above, and containing 114 clearly captioned illustra­ tions. The text has been criticized as somewhat tendentious, especially for not documenting the activity of 1840s daguerreotypists. The two-page summary in English is based on the author’s article in History of Photography cited above.

Leijerzapf, Ingeborg Th., editor. Fotografie in Nederland 1839–1920 (Den Haag [The Hague]: Staatsuitgeverij), 1978. A handsomely illustrated history of photography in the Netherlands. The section “Biografieën,” pages 89–108, gives capsule accounts of the careers of many early individuals and groups. Two companion volumes carry the illustrated textual history up to 1975 (see Bool and Broos cited above), but without the attention given to biographical format in this first volume.

Malta Images: Nineteenth Century Malta (Valletta: Valletta Publishing), 1987. Not directly examined. Reported in a bookdealer’s cata­ logue as “a collection of photographs exhibited during the sixth international book fair.”

———, general editor. Geschiedenis van de Nederlandse Fotografie in Monografieën en Thema-artikelen (Alphen aan den Rijn, Netherlands: Samson Uitgeverij bv; Amsterdam: Uitgeverij Voetnoot), 1984 and following.

Netherlands

A continuing and comprehensive project being conducted by a group of Dutch historians and curators, aimed at covering the entire history of photography in the country. Approximately four biographies are published per issue, varying in length and including life or career details, often a portrait or logotype, exhibition records in essay form, bib­ liographic documentation, and illustration of work. One of the most thorough and substantial works from any country thus far; the published sections now fill six large loose-leaf binders, and production is expected to continue indefinitely past the end of this century. The original publisher has relinquished the work to a major national publishing firm. Inquiries address: Fotolexicon, Stichting Fotolexicon, Postbus 18516, 1001 WB Amsterdam, Netherlands.

General and National

Bool, Flip; and Kees Broos, editors. Fotografie in Nederland, 1920–1940 (Den Haag [The Hague]: Staatsuitgeverij), 1979. An overview of the work of more than 200 Netherlands photographers; biographies and bibliography included. The work forms a sequel to the study edited by Ingeborg Th. Leijerzapf cited below.

Broos, Kees; and Flip Bool. De Nieuwe Fotografie in Nederland (Amsterdam: Fragment Uitgeverij), 1989. Not directly examined. Described in a bookdealer’s catalogue as a 143-page survey of the work of thirty-five photographers, mainly active in the 1920s and 1930s.

van Venetië, Robbert, and Annet Zondervan. Geschiedenis van de Nederlandse Architectuurfotografie (Rotterdam, Netherlands: Uitgeverij 101), 1989.

Groeneboer, Joost. In het Licht van de Fotograaf: een Overzicht van de Nederlandse Theaterfotografie tot 1940 (Amsterdam: Nederlands Theater Instituut), 1991.

A beautiful book on the history of Dutch architectural photography, which demonstrates the value to photographic history of enthusiastic effort and taste by researchers and collectors from other, unrelated fields. Aside from superb plates, the volume offers a solidly researched text, a sub­ stantial bibliography, and a list of important Dutch collec­ tions. The section “Technische Gegevens [Technical Data],” pages 135–139, gives life dates and respective nationalities for forty-eight photographers or firms featured. English

Reported by Jan Coppens as a 128-page historical survey of theatre photography in the Netherlands, based on the author’s doctoral dissertation.

Huijsmans, D. P., compiler. Catalogus van Nederlandse Studiofotografen van Carte de Visite en Kabinet Foto’s: 89

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summary, pages 141–142. The first two plates, daguerreo­ types from 1848 and circa 1850, were taken in the Dutch colonies of Java and Curaçao.

Chronological overview of early photography in The Hague, plus an appendix giving career details for fifty-four individuals or partnerships active between 1839 and 1870. This directory appears to be based in part on unpublished research on early photographers by G. Geselschap (a copy is lodged with the municipal archives in The Hague).

Regional and Local

Boer, P. “Alkmaarse Fotografen in de 19e Eeuw,” Alkmaars Jaarboekje, 1973, pp. 124–136.

Peeters, Ronald. Tilburg in Beeld 1865–1945 (Tilburg, Netherlands: Gianotten), 1979.

The whole article is in the form of a biographical directory of seventeen professional photographers active in Alkmaar during the nineteenth century.

Reported by Jan Coppens as containing a nine-page histori­ cal survey on the early development of photography in the town.

Coppens, Jan, Marga Altena, Steven Wachlin, et al. Het Licht van de Negentiende Eeuw: De Komst van de Fotografie in de Provincie Noord-Brabant (Eindhoven, Netherlands: Stichting Brabants Fotoarchief), 1997.

Quarles van Ufford, C. C. G. Amsterdam voor ‘t Eerst Gefotografeerd: 80 Stadsgezichten uit de Jaren 1855–1870 (Amsterdam: J. H. De Bussy), circa 1968.

Excellent collective work on early photography in the south­ ern Dutch province of North Brabant. The section “Lijst van de Voornaamste Beroepsfotografen in Noord-Brabant 1860–1900,” pages 209–215, compiled by Steven Wachlin, contains 122 entries for professional photographers, most of them active in the main towns Breda, Den Bosch, Eindhoven, and Tilburg. The text sections by Jan Coppens give life and career details for some individuals working in the period 1840–1860. The overall volume exemplifies the good work that these two leading photohistorians and their Dutch colleagues regularly produce, and which could be emulated for most regions in many other countries.

Reproduction of eighty early views and cityscapes, preceded by a thirteen-page historical introduction.

Schuitema Meijer, A. T. “Fotografen in het 19e Eeuwse Groningen,” Groningse Volksalmanak, 1961, pp. 125–152. Chronological account of early photography in Groningen, with much embedded biographical detail.

Stempher, A. S. “Kroniek van de Fotografie in Arnhem, 1839–1864” in Arnhem. Elf Facetten uit de 19de en 20ste Eeuw (Zutphen, Netherlands: De Walburg Pers), 1983, pp. 132–145. Detailed chronological account, with career details for eight­ een itinerants and nine resident studio photographers.

Dolk, W. Leeuwarden Gephotographeerd (Leeuwarden, Netherlands: Uitgeverij De Tille), 1975.

van Bommel, Irma. “Fotografie” in De Stad Delft. Cultuur en Maatschappij van 1813 tot 1914 (Delft,

Reported by Jan Coppens as an illustrated work containing a seven-page historical survey on the early development of photography in the town.

Netherlands: Stedelijk Museum Het Prinsenhof), 1992, pp. 288–302.

Erdkamp, J. “Fotografie in Roermond 1839–1900,” Photohistorisch Tijdschrift, Vol. 12, No. 3 (1989), pp. 80–83.

Continuous text account of nineteenth century photography in Delft; to be used with the work by S. Wachlin cited below.

Directory of forty-one individuals active in Roermond dur­ ing the nineteenth century, culled from business directories and newspaper advertisements.

van der Pol, Pierre. Breda’s Oudste Foto’s. Stadsgezichten en Portretten van 19e Eeuwse Fotografen (Tilburg, Netherlands: H. Gianotten b.v. in collaboration with Breda’s Museum), 1992.

Geselschap, J. “Goudse Portretfotografen in de Negentiende Eeuw,” Gens Nostra-Ons Geslacht. Maandblad der Nederlandse Genealogische Vereniging, Vol. 16, No. 4 (April 1961), pp. 85–87. Listing of twelve professional photographers active in Gouda during the nineteenth century, with addresses and dates; also includes several itinerants.

Excellent local study accompanying an exhibition held in Breda’s Museum. The section “Lijst van Fotografen die in de 19e en de Eerste Jaren van de 20e Eeuw in Breda Werkzaam zijn geweest,” pages 27–31, gives short biogra­ phies for twenty-six individuals active in Breda in the nine­ teenth and early twentieth centuries.

Janssen, Ham. De Eerste Fotografen binnen Nijmegen Belicht, 1843–1877. Afstemmen op Afstammen (Nijmegen, Netherlands: Gemeentearchief), 1980.

van Schijndel-Kattestaart, H. J. M. “Fotografen en hun Werk in Helmond tot 1940,” De Vlasbloem. Historisch Jaarboek voor Helmond, Vol. 9 (1988), pp. 113–139. Not directly examined.

Catalogue of an exhibition organized by the municipal archives in Nijmegen. Not directly examined.

Verburg, Adri, and Josephine van Bennekom. In Zeeuws Licht Gevangen: Fotografie in Middelburg 1842–1870 (Middelburg, Netherlands: Zeeuwse Katernen), 1994.

Melssen, J. Th. M. Bijdrage tot de Geschiedenis van de Fotografie in Eindhoven 1857–1940 (Eindhoven, Netherlands: Gemeente-archiefdienst), 1980.

Excellent local study accompanying an exhibition held in the Zeeuwse Bibliotheek, Middelburg. The section “Lijst van Fotografen die tussen 1842 en 1870 Middelburg Bezocht of aldaar Gevestigd waren,” pages 41–57, gives full biogra­ phical entries for thirty individuals active in the Zeeland town of Middelburg during the period surveyed.

Not directly examined.

Mensonides, H. M. “Een Nieuwe Kunst in Den Haag: Encyclopedisch Overzicht van de Eerste Haagse Fotografen,” “Die Haghe” Jaarboekje, 1977, pp. 47–104. 90

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Versprille, Annie. “Leidse Fotografen in de 19e Eeuw,” Jaarboekje voor Geschiedenis en Oudheidkunde van Leiden en Omstreken, 1964, pp. 93–96.

An account of the development of photography in the area centered on the old seaport of Arendal.

Rather concise text, listing thirteen professionals active in Leiden during the period 1855 to 1865.

Skorgevik, Kjell. Fotografer: Ålesund i glassplatenes tid (Ålesund, Norway: Aalesunds Museum), 1985. A comprehensive history of photography in the period of the glass plate for a single town on the upper Norwegian coast. The town was founded in 1848 and after a hundred years, still had a population of fewer than 19,000, yet its size did not limit the author’s dedication and care in document­ ing its photographic history. The text is well-researched and generous with biographical or career details, and there are shorter statements on many foreign workers. There is a good bibliography and source list. Illustrative matter includes card designs, a wide range of images, and many portraits of the photographers. Overall, one of the most praiseworthy volumes yet produced for any area.

Wachlin, Steven. “Fotografen—een Overzicht” in De Stad Delft. Cultuur en Maatschappij van 1813 tot 1914 (Delft, Nether­ lands: Stedelijk Museum Het Prinsenhof), 1992, pp. 303–309. Ample biographical details for forty-four photographers active in Delft during the period surveyed; to be used with the work by I. Van Bommel cited above.

Northern Ireland (see Ireland)

Norway

Sollied, Ragna. Eldre bergenske fotografer (Bergen, Norway: Eget Forlag), 1967.

General and National

A full-scale directory of the early photographers active in the city of Bergen. Reflects thorough research and includes a few portraits and a “Chronological Overview.”

Bonge, Susanne. Eldre norske fotografer: Fotografer og amatørfotografer i Norge frem til 1920 (Bergen, Norway: Universitetsbiblioteket), 1980 second edition. A full-scale national directory, giving biographical or career data for approximately 2,000 individuals. Information is listed alphabetically, with indices by locality, foreign work, foreign workers in Norway, and date periods. Altogether a solid and thorough study.

Westhrin, Tore. “Tidlige fotografer i Kragerø (circa 1850–1915),” Norsk Fotohistorisk Årbok, 1983–84, pp. 7–16. A chronological account that includes listings of ten profes­ sionals, four itinerants, and six amateur photographers active in Kragerø during the period surveyed.

Regional and Local

Poland

Baggethun, Rolf. Speilet som Husket: De Første Fotografer i Horten (Horten, Norway: Preus Fotohistoriske Samling), 1974.

General and National

Solid local history, with much embedded biographical detail. Contains an English summary “The Mirror with a Memory: The First Photographers in Horten,” page 60.

Dobroszycki, L., and B. Kirshenblatt-Gimblett. Image before my Eyes: A Photographic History of Jewish Life in Poland, 1864–1939 (New York: Schocken Books, in asso­ ciation with the YIVO Institute of Jewish Research), 1977.

Erlandsen, Roger. “Frå Fotografiets Barndom i Trondheim,” Norsk Fotohistorisk Årbok, 1983–84, pp. 25–30.

An extensively researched book issued to follow an exhibi­ tion at the Jewish Museum, New York, in 1976. A six-page introduction places nineteenth century Poland photographi­ cally and physically in its European context. “A History of Jewish Photography,” pp. 3–38, offers a general view of the topic from the first daguerreotypist Moritz Scholz to the work of Roman Vishniac and the end of the culture in 1939. The quality of the plates is uniformly good, and many illus­ trations carry career details in their captions. Attention is given to mechanical formats and mass produced, public use of pictures as well. There is an extensive bibliography, maps and charts, and Table 1 gives the Yiddish and Polish names of the towns where the pictures were made—a valuable tool for researchers examining imprinted original pieces. The volume is well done and in English, a rare means of entry into a rich vein of historical material.

Brief chronological account of photography in Trondheim to 1860, with embedded biographical details.

———. Frå Kunstnar til Handverkar: Fotografane i Bergen 1840–65 (Bergen, Norway: [Dissertation presented at the History Faculty, University of Bergen]), 1982. Detailed chronological account, including ample career details. The text section of 373 pages contains various sum­ mary tables, such as “Daguerreotypistane i Bergen 1843–56,” page 82, and “Fotografiske Atelier i Bergen 1856–65,” page 152.

Henriksen, Egil. “Fra Kuriositet til Etablert Håndwerk: Fotografiets Historie i Stavanger 1880–årene,” Stavanger Museum Årbok, 1992, pp. 85–168.

Fotografia Polska. Featuring Original Masterworks from Public and Private Collections in Poland, 1839 to 1945, and a Selection of Avant-Garde Photography, Film and Video from 1945 to the Present

Comprehensive account of the development of photogra­ phy in the coastal town of Stavanger, followed by an appen­ dix listing “Daguerreotypister og Fotografer i Stavanger inntil 1885,” pages 159–168.

(New York: International Center of Photography), 1979. Fifty-page exhibition catalogue containing notes and essays on the development of Polish photography by several researchers in the field.

Hvoslef, Kjell Lund. Sørlandets Fag-Fotografer og Sørlandske Fotograflaug 1850–1920–1988 (Arendal, Norway: Privately published), 1988. 91

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Sztuka fotografii: Portret, Pejzazæ, Reportazæ w fotografii polskiej XIX wieku (Warszawa [Warsaw]: Muzeum

Garztecki, Juliusz. “Early Photography in Eastern Europe: Poland,” History of Photography, Vol. 1, No. 1 (January 1977), pp. 39–62.

Narodowe w Warszawie), 1990.

A general article introducing the subject and one of the few sources in English. Gives career details of a few individuals.

Catalogue for a large historical exhibition of nineteenth century Polish photography, emphasizing portraiture, land­ scape, and reportage, but also covers Polish photographers in other countries such as Belgium, Egypt, France, Italy, Norway, and Russia. Some life dates are given and many pictures carry years or approximate dates. While the entire text is in Polish, a summary in English and some of the plates appeared in a separate publication as an article by Danuta Jackiewicz, “The Art of Photography: Portrait[,] Landscape and Reportage in Polish Nineteenth Century Photography,” Bulletin du Musée Nationale de Varsovie, Vol. 32, No. 2 (1991), pp. 39–52.

———, and Grazæyna Plutecka. Fotografowie nietypowi (Kraków, Poland: Wydawnictwo Literackie), 1987. This work’s title may be translated as “Untypical (extraordi­ nary) Photographers.” It consists of biographies for twelve prominent Polish photographers active in the nineteenth or early twentieth century. A separate chapter deals with a group of Polish pioneers of photography in the Ukraine.

Ihnatowiczowa, Jadwiga. Fotografia polska do 1914 r. (Warszawa [Warsaw]: Wystawa ze zbiorów Biblioteki Nadodowej), 1981.

ZÆakowicz, Andrzej, and Suda J. Firek. Nauczanie fotografii w Polsce w latach 1839–1945 (Czeçstochowa, Poland: n.p.), 1983.

Not directly examined. Cited as an exhibition catalogue of pre-1914 Polish photography in the holdings of the Polish National Library, in Roosens and Salu 2, p. 238.

Not directly examined. Cited as a study of scientific photog­ raphy in Poland to 1945, in Roosens and Salu 2, p. 265.

Jedlinski, Jaromir, and Urszula Czartoryska. Masterpieces of Polish Photography 1912–1948 from the Collection of the Muzeum Sztuki Lódz (Paris: Institut Polonais), 1992.

Regional and Local

Danecka, Tatiana, and Adam Sobota. Fotografia we Lwowie do roku 1939 (Wroc¬aw, Poland: Muzeum

Cited in ABM, Vol. 26, No. 1 (1995), p. 510, as a 102-page exhibition catalogue containing biographies; also published in French.

Narodowe), 1991.

Catalogue of an exhibition held at the Centre Georges Pompidou, Musée National d’Art Moderne, produced through research and cooperation of the International Center of Photography, New York. The section “Notes Biographiques,” pages 36–46, compiled by Wac¬aw ZÆdzæarski and Grzegorz Musial, gives life details for sixty-eight photographers.

Seventy-eight page exhibition catalogue devoted to the first hundred years of photography in Lvov, which was Polish territory until the World War II and is now in the western Ukraine. Short career entries on nearly 200 individuals or firms, pages 66–73. A magazine article describing an exhi­ bition on the same theme is cited in ABM, Vol. 24, No. 1 (1993), p. 424: “Lvov and Lvovians at the Zacheta Gallery in Lvov, Ukraine (March 1991), in which photographs of the city and its inhabitants from the period 1847–1939 were displayed.” It is not clear whether the two exhibitions are related, or if an exhibition catalogue was produced for the Lvov show.

P¬azæewski, Ignacy. Spojrzenie w Przesz¬oóc; polskiej fotografii (Warszawa [Warsaw]: Panstwowy Instytut

Erber, Czes¬aw. Fotografia w Kielcach. czæeóç c; I: wiek XIX (Kielce, Poland: n.p.), 1979.

La Photographie Polonaise 1900–1981 (Paris: Editions Herscher), 1981.

Wydawniczy), 1982.

Not directly examined. Cited as a study of photography in nineteenth century Kielce, in Roosens and Salu 2, p. 238.

The title translates as “An Outlook on Polish Photography of the Past.” The work is in fact a year-by-year chronologi­ cal treatment of the development of photography in the country from 1839 to 1955, often showing a portrait of the photographer along with his work. No separate biographies are given, but some details can be gained by extrapolation from dates of pictures.

Gomo¬a, Zbigniew. “Fotografia tarnowska 1870–1939” in Fiakrem po Tarnowie by S. Potæep ç a (Tarnów, Poland: n.p.), 1985, pp. 193–243. Cited in Sztuka fotografii as a study of early photography in the town of Tarnów.

Sobota, Adam. “Art Photography in Poland, 1900–1939,” History of Photography, Vol. 4, No. 1 (January 1980), pp. 18–34.

Kozin;ski, Jerzy. Fotografia krakowska w latach 1840–1914 (Kraków, Poland: Zarys Historii Kraków), 1978. Cited in Sztuka fotografii as a study of early photography in the town of Kraków.

A general article on the subject; gives a few career details for some individuals. Intended to complement the Garztecki article cited above.

Lejko, Krystyna. “Warszawska fotografia zawodowa na prze¬omie XIX–XX wieku,” Kronika Warszawy, Nos. 3–4 (1988), pp. 143–168.

———. Polska fotografia artystyczna do roku 1939 (Warszawa [Warsaw]: Muzeum Narodowe), 1977.

Cited in Sztuka fotografii as a study of commercial photo­

graphy in Warsaw at the turn of the twentieth century.

Exhibition catalogue comprising sixteen-page introduction and thirty-six full page images. English summary, “Polish Artistic Photography till 1939.”

92

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———, and Jolanta Niklewska. Warszawa na starej fotografii 1850–1914 (Warszawa [Warsaw]: Panstwowe Wydawnictwo Naukowe), 1978.

Zembik, Andrzej. “Fotografia czceçstochowska 1840–1945” (Czeçstochowa, Poland: [Master’s thesis pre­ sented at the Instytucie Wychowania Artystycznego of the Wyzæszej Szkole Pedagogicznej w Czeçstochowie]), 1989.]

The section “Warszawskie Zaklady fotograficzne w XIX i Poczatkach XX w. Reprezentowane w Zbiorach Muzeum Historycznego,” pages 94–109, appears to be an accounting of seventy-seven early photographers represented in hold­ ings of the regional historical museum and featured in the exhibition for which this catalogue was produced. It is followed by a list of 126 photographers active in Warsaw during the period surveyed, including dates and full addresses, pages 110–115.

Cited in Sztuka fotografii as a study of early photography in the town of Czestochowa.

Portugal Magalhaes, M. J. “O Porto e la Fotografia,” Gaia. Gabinete de Historia e Arqueologia de Vita Nova de Gaia, Vol. 5 (1987), pp. 361–374. An article on some aspects of the history of photography in Portugal with discussion of the pioneer photographers in the town of Oporto.

Pavão, Luis. The Photographers of Lisbon, Portugal from 1886 to 1914: Occasional Papers No. 5 of the Rochester Film and Photo Consortium (Rochester, New York: University Education Services, International Museum of Photography at George Eastman House), 1990.

Sena, António. Uma Historia de Fotografia: Portugal 1839–1991 (Lisboa [Lisbon]: Imprensa Nacional/Casa de Moeda), 1991. One volume in the series Synthèses de la Culture Portugaise. Very limited illustrations. While there is no actual directory listing, the names and time periods mentioned in the text or picture captions can be projected into further research by use of the name-specific bibliography. Also published in French translation under the same imprint as Une Histoire de la Photographie: Portugal 1839 à 1991.

———, and Jorge Calado. Portugal 1890–1990 (Mont-sur-Marchienne, Belgium: Musée de la Photographie; Antwerpen, Belgium: Museum voor Fotografie), 1991.

Mossakowska, Wanda. Poczatki fotografii w warszawie, 1839–1863 (Warszawa [Warsaw]: Instytut Archeologii i Etnologii Pan), 1994.

A 220 page exhibition catalogue from the Europalia celebra­ tion of 1991. The section “Bio-bibliographies,” pages 177–212, gives career details for many individuals active during the previous hundred years.

Superbly researched two-volume account of early photo­ graphy in Warsaw. The first volume consists of 343 pages of text, the second of 185 illustrations. Unfortunately there is no directory as such, but the year-by-year presentation does permit extrapolation of individual careers. An English summary, “Beginnings of Photography in Warsaw (1839–1863),” appears on pages 310–318.

Siza, Maria Tereza, and Peter Weiermair, editors. Portugiesische Photographie seit 1854. Livro de Viagens (Kilchberg/Zürich, Edition Stemmle for the Frankfurter Kunstverein, Frankfurt am Main), 1997.

———, and Anna Zen;czak. Kraków na starej fotografii (Kraków, Poland: n.p.), 1985.

Excellently produced and illustrated survey of Portuguese photography of all periods, including work by Portuguese active elsewhere (Angola, Brazil), published to accompany an exhibition organized during the festival PortugalFrankfurt 97. The subtitle Livro de Viagens [Travel Book] refers to the overwhelming choice of topographical views above other genres in the exhibition. The section “Biografien,” pages 215–236, gives life dates and career information for twenty-six photographers featured in the exhibition, ten of whom were active before 1900. Text in German.

Cited in Sztuka fotografii.

Szalow, Robert. “Fotografia poznan;ska w latach 1839–1914” (Warszawa [Warsaw]: [Academic thesis present­ ed at the Wyzszym Studium Fotografii w Warszawie]), 1989. Cited in Sztuka fotografii as a study of early photography in the town of Poznan.

ZÆdzæarski, Wac¬aw. Historia fotografii warszawskiej (Warszawa [Warsaw]: Panstwowe Wydawnictwo Naukowe), 1974.

Sousa Melo, Luís de. Vicentes Photographos (Funchal-Madeira, Portugal: Edições Ilhatur), 1978.

Reported as a 373-page history of photography in the city of Warsaw. Not directly examined.

Reported as a study of early photography on the island of Madeira through the work of a family of photographers headed by Vicente Comes da Silva (1827–1906).

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Romania

Most useful in conjunction with the author’s Russian

language book cited below.

Ionescu, Adrian-Silvan. “Early Portrait and Genre Photography in Romania,” History of Photography, Vol. 13, No. 4 (October 1989), pp. 271–285.

———. Pervye Russkie fotografy-khudozhniki [The First Russian Artist-Photographers] (Moscow: Goskinoizdat), 1952.

Article giving career details on several prominent studio photographers active from the 1850s onward, including Carol Popp de Szathmari.

Not directly examined. Cited as a 118-page illustrated work, in Roosens and Salu 1, p. 378.

Savulescu, Constantin. Cronologia ilustrata¨ a fotografiei din România Perioada 1834–1916 (Bucuresti [Bucharest]: Asociaòiei Artis*tilor Fotografi), 1985.

———. Russkaya khudozhestvennaya fotografiya, 1839–1917 [Russian Artistic Photography] (Moscow: Iskustvo), 1955 first edition, 1961 second edition.

While this book is the first survey of early Romanian work, the title Illustrated Chronology of Photography in Romania was chosen by the author because he felt the basic research did not yet warrant the full-scale interpretation of a true history. Even so, there is nothing else available on the subject and this work reflects twenty years of searching for the scarce details. Listing of photographic studios in Bucharest, 1843–1906, based on directory research, pages 7–12. Because the book is arranged as chronological notes, some sense of notable people and careers can be discerned. Foreword and preface in English, pages vi–xii; also 131 bilingual Romanian/English picture captions.

The work is evidently a narrative history with some illustra­ tions, but it does give notes on the careers of a number of early persons. Unfortunately it is out of print and very difficult to locate.

———. Russkie putishestvenniki-fotografy [Russian Traveler-Photographers] (Moscow: Geographical State Publishers), 1953. Cited and transliterated in History of Photography, Vol. 1,

No. 4 (October 1977), page 347.

Scotland (see Great Britain)

———. “Early Photography in Eastern Europe: Romania,” History of Photography, Vol. 1, No. 1 (January 1977), pp. 63–77.

Serbia

A general article surveying the subject with only a few details on individuals. Most useful in conjunction with the author’s Romanian-language book cited above.

Debeljkovic;, Branibor. Die Alte Serbische Photographie (Beograd [Belgrade]: Museum für Angewandte Kunst), 1980. While not a directory, this exhibit catalogue covers the peri­ od from the first photographer in Serbia, Anastas Jovanovic, in 1841, to World War I. A survey text in German and eighty-two plates with dates and some attributions give information not otherwise available. Clearly based on the work cited immediately below.

Russia (also see USSR)

Elliott, David. Photography in Russia 1840–1940 (London: Thames and Hudson), 1992. A handsome volume with 130 plates in duotone and twenty-four in color, produced by international efforts to coincide with a major exhibition organized by the Museum of Modern Art, Oxford. A fully illustrated catalogue, pp. 225–252, gives life years for most and biographical notes for many of the sixty-nine photographers included, unfortu­ nately in chronological order. A selected bibliography indicates sources for more detail on many individuals, and all entries have been transliterated. The first major source available in English for much of the information given. German edition under the title Russische Photographie 1840–1940 (Berlin: Ars Nicolai), 1993.

———. Stara Srpska Fotografija (Beograd [Belgrade]: Muzej Primenjene Umetnosti), 1977. Exhibition catalogue including a listing of studios by locali­ ty and by decade to 1900 (forty in the capital Belgrade, fiftysix elsewhere in Serbia), pages 25–26.

Îjordjevicc;, Miodrag, editor. Fotografiya kod Srba / Serbian Photography 1839–1989 (Beograd [Belgrade]: Serbian Academy of Science and Arts), 1991. Exhibition catalogue comprising essays by twenty researchers on various aspects of photography in Serbia, followed by nearly 200 pages of illustrations. Includes the listing of studios by locality and by decade to 1900, that originally appeared in the work cited immediately above. Includes essays on photography in the regions of Vojvodina, by Sava Stepanov, pages 45–56, and Kosovo and Metohija, by Peter Îuza, pages 57–63. Bilingual Serb and English texts.

Leben im Zaristischen Russland (Zürich, Switzerland: Schweizerische Stiftung für die Photographie), 1989. Half of a single-volume catalogue for a double exhibit, Photographie aus der Sowjetunion, held at the Kunsthaus in Zürich. Pages 68–76 give an illustrated listing and brief biographies for approximately thirty-three individuals. (For the other half-section, see entry under USSR.) Text in German.

Grcevic;, Nada. “Early Serbian Photography,” History of Photography, Vol. 3, No. 3 (July 1979), pp. 233–252. A very general article surveying the development of Serbian photography. Gives slight biographical or career information on a few individuals but is outweighed by the item cited above except that it is in English and offers a useful bibliography.

Morozov, Sergei. “Early Photography in Eastern Europe: Russia,” History of Photography, Vol. 1, No. 4 (October 1977), pp. 327–347. A general article on the subject. Gives details on several individuals as one of the few sources available in English. 94

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Todic;, Milanka. Photography in Serbia in XIX Century (Beograd [Belgrade]: Museum of the Applied Arts), 1989.

260–274, lists approximately 1,000 nineteenth century photographers or studios by name, with towns, addresses, and some date periods; Appendix B, pages 275–280, indexes the same photographers by locality. The author’s work is thorough and of high quality, a model for other historians of Spanish photography.

An exhibit catalogue with a textual summary of the country’s photographic history and ninety captioned plates. One of the few solid reports yet done about the Balkan area for which the pictures are quite illuminating. A transliterated indication of sources is given in the notes, which helps clarify the bibliography. Text in Serbian Cyrillic type with English translations of only the text and the picture captions.

———. Photography in Spain in the Nineteenth Century (San Francisco, California: Fraenkel Gallery; Dallas, Texas: Delahunty Gallery), 1983.

Slovakia

Excellent exhibition catalogue featuring the work of and career details on twelve major photographers.

(also see Czechoslovakia)

Fontcuberta, Joan, et al. Idas and Chaos: Trends in Spanish Photography 1920–1945 (Madrid: Ministerio de Cultura; El Viso), 1985.

Hlavac, Ludovit. Dejiny Slovenskej Fotografie (Martin, Slovakia: Vydavatelstvo Osveto), 1989. An extensively illustrated 500-page comprehensive history of photography in Slovakia, divided into four chronological chapters. Each chapter ends with a section, “Z+votopisné U:daje,” giving biographical and career details for many of the photographers featured.

230-page catalogue for an exhibition held in the Salas Pablo Ruiz Picasso, Madrid. The section “Biographies,” by Roser Barnich, pages 211–215, gives short entries on leading Spanish photographers for this significant period. Spanish edition under the title Idas y Caos: aspectos de las vanguardias fotográfias en España, 1984.

———. Socialna Fotografia na Slovensku: Obsah Dejiny Suvislosti Prinosy (Praha [Prague]: n.p.), 1974.

La fotografía en España hasta 1900 (Madrid: Biblioteca

Not directly examined. Reported as a 257-page survey of social photography in Slovakia during the 1920s and 1930s, in Roosens and Salu 1, p. 101.

Nacional), 1982. An elaborately produced exhibition catalogue. While not a directory, some details may be derived by extrapolation or by relating to other works by these contributors: Lee Fontanella, Marie-Loup Sougez, Publio López Mondéjar, Joan Fontcuberta, Miguel Angel Yañez-Polo, and others. Mainly useful for its plates and as a quick survey.

Slovenia Kambic=, Mirko, et al., editors. 150 let fotografije na Slovenskem (Ljubljana: Mestna Galerija and Arhitekturni Musej), 1989–1990.

Holgado Brenes, José Manuel; and Justo Ramos Regife. Historia de la fotografía Española 1839–1950 (Sevilla, Spain: Obra Cultural del Monte de Piedad y Caja de Ahorros de Sevilla), 1986.

A massive three-volume exhibit catalogue. Each volume covers part of the total history (Volume I: 1839–1919; Volume II: 1919–1945; Volume III: 1945–1990) and gives a section of biographies, with color plates and good repro­ ductions. In Volume I, the section “Seznam Fotografov,” pages 152–155, by Mirco Kambic=, gives ninety-three short biographies. Text in Slovenian, with substantial summaries in English at the end of each volume (e.g., Volume I, pages 161–176); unfortunately the biographical data is not translated.

Reported as a 100-page work containing an index of photographers and their dates of activity.

King, S. Carl. The Photographic Impressionists of Spain: A History of the Aesthetics and Technique of Pictorial Photography (Lewiston, New York; Queenston, Ontario; Lampeter, Wales: The Edwin Mellen Press), 1989.

———. “Prispevki za Slovenski fotografski leksikon,” Zbornik za Umetnostno ZÆgodovino, Vol. 27 (1991), pp. 123–127.

Excellent account of the development of this movement in Spain during the period 1900–1940. Volume Twelve in the series Studies in Art and Religious Interpretation. Appendix A “Biographies of Lesser Known Pictorialists,” pages 227–253, gives copious career details on thirty individuals. Other biographies are embedded in the text.

Cited in BHA, Vol. 3, No. 2 (1993), entry 12034, as providing additions to the directory of photographers in Slovenia which appeared in the work cited immediately above. The supplementary information concerns in particular Rado Frlan and A. Zankl (or Cankl), active in Slovenia and Austria.

López Mondéjar, Publio. Las fuentes de la memoria: Fotografía y sociedad en la España del siglo XIX (Barcelona: Lunwerg Editores, S. A.), [1989].

Spain General and National

A superbly printed book associated with the first of a series of three exhibitions held at the Museo Español de Arte Contemporaneo, Madrid. The section “Los fotógrafos,” pages 211–225, gives biographies for forty-five photo­ graphers, most of them accompanied by portraits.

Durán Blazquez, et al. Historia de la Fotografía Taurina (Madrid: Espasa Calpe), circa 1990. Two-volume history of bullfighting photography. Includes lists of photographers who took bullfighting scenes.

———. Las fuentes de la memoria 2: Fotografía y sociedad en España, 1900–1939 (Barcelona: Lunwerg

Fontanella, Lee. La historia de la fotografía en España desde sus orígenes hasta 1900 (Madrid: El Viso), 1981.

Editores, S. A.), 1992.

Groundbreaking national history. Appendix A, pages

95

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Equally well-produced sequel for the follow-up exhibition at the Museo Español de Arte Contemporaneo, Madrid. A third exhibition featured the photography of the Franco period as its object of study.

———. Historia de la Fotografía en España (Barcelona: Lunwerg Editores, S.A.), 1997.

the Extremadura region, this is a useful work which features a generous selection of images from the daguerreo­ type on, drawn from several family collections. The opening text, “Historia,” pages 15–29, surveys early photography in the region beginning in 1841. Biographical and career details are given, and some portraits and studio imprints are reproduced.

A 302-page textual survey, divided into three chronological sections coinciding with and based on the research present­ ed in the books associated with the series of exhibitions cited immediately above. No directory, but there is much embedded career information.

Chanzá, José Huguet; and José Aleixandre; and Joseph Meita. Memoria de la Luz: Fotografía en la Comunidad Valenciana, 1839–1939 (Valencia, Spain: Generalidad Valenciana), 1992. Not directly examined. Reported as a 237-page survey on the development of photography in the town of Valencia.

Sougez, Marie-Loup. Historia de la fotografía (Madrid: Ediciónes Cátedra, S.A.), 1981. The chapters devoted to photography in Spain, pages 207–255, give biographical details on many Spanish photo­ graphers.

Copeiro del Villar, Jesús Ramirez. Valverde a traves de la fotografía (1840–1940) (Valverde del Camino, Spain: Privately published), 1987. An extensive pictorial history of the small southern Spanish town of Valverde del Camino in the region of Seville. While the plates are poorly printed, they offer thorough indica­ tions of a century of life and personal styles within the context of an historical overview given at the beginning of the book and in its several topical sections. Pages 9–14 offer a brief history of photography in Valverde by Enrique Martín Rodríguez, which is extended by a census of nine­ teen photographers active between 1855 and 1945. Pages 15–18 discuss the specific career of Manuel Borrero.

Yañez-Polo, Miguel Angel; Luis Ortiz Lara; and José Manuel Holgado Brenes, editors. Historia de la fotografía Española 1839–1986 (Sevilla, Spain: La Sociedad de Historia de la Fotografía Española), 1986. Proceedings of a congress held in Seville in May 1986. The section “Censo general de los fotógrafos que han operado en España desde 1839 a 1986,” pages 519–609, lists approxi­ mately 5,000 photographers by name with some specific addresses, town locations, and periods of work. Other parts of the book include more detail on early photography and photographers by region, particularly in an appendix, pages 383–387, which analyzes the holdings of an archive in Valencia. Three other brief sections discuss early photo­ graphy in Cuba, pages 343–348, the Philippines, pages 351–353, and Maracaibo, Venezuela, pages 399–400. On the occasion of the congress, an exhibition was held and a 109-page catalogue published under the title Historia de la fotografía Española 1839–1950.

Fernández Rivero, J. Antonio. Historia de la fotografía en Málaga durante el siglo XIX (Málaga, Spain: Miramar), 1994. Cited by López Mondéjar, p. 287.

Fontanella, Lee; María de los Santos García Felguera; and Gerardo F. Kurtz. Fotógrafos en la Sevilla del siglo XIX (Sevilla, Spain: Focus: Fundación Fondo de Cultura de Sevilla), 1994.

Local and Regional

Another in the increasing number of lavishly produced and richly illustrated works directly or collaboratively done by Professor Fontanella. The two main texts cover the early and later periods of the century in substantial general terms clarifying the identities of many of the photographers, how they related, and when they were active. A section “Fotografías de Sevilla: Fuentes documentales,” pages 195–200, begins with life-dated entries to develop catalogue listings of work by a few individuals active in Seville. Surprisingly, the book contains no directory; for a list of Seville photographers, see the article by M. A. Yañez-Polo cited below.

Arregi, J., et al. Fotógrafos Vascos: 150 años despues (San Sebastian, Spain: n.p.), 1990. Not directly examined. Reported as an exhibition catalogue on photographers active in the Basque country of northern Spain.

Campos Vilanova, J. “Pioneros de la fotografía Castellonense: 1860–1900,” Revista de Historia de la Fotografía Española, No. 1 (1990), pp. 7–12. Account of the photographers active in the town of Castellón during the nineteenth century, based mainly on extracts of advertising matter and editorial copy from the newspaper Diario de Castellón.

Fontcuberta, Joan, and Cristina Zelich. Photographies catalanes des années trente (Paris: n.p.), 1982. Not directly examined. Cited as an illustrated sixty-one page exhibition catalogue, in Roosens and Salu 2, p. 277. Text in French.

Cánovas, Carlos. Apuntes para una historia de la fotografía en Navarra (Pamplona, Spain: Gobierno de Navarra—Departamento de Educacion y Cultura), 1989. Not directly examined. Reported as a 103-page survey on the development of photography in the province of Navarre.

González, Ricardo. Luces de un siglo: Fotografía en Valladolid en el siglo XIX (Valladolid, Spain: Gonzalo Blanco), 1990.

Castillo, Matilde Muro; and Ma. Teresa P. Zubizarreta. La memoria quieta: La fotografía en Trujillo hasta 1936 (Barcelona: César Viguera, editor), 1987.

A superb volume on one city and region. The section “Relación de fotógrafos,” pages 174–177, lists 106 photo­ graphers and firms by years and locations.

While offered primarily as a nostalgic history of one town in 96

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captions. Includes a listing on pages 169–170 of 120 individ­ uals who operated in the area, along with their principal locations and dates.

Rocandio, Jesús. Cien años de fotografía en La Rioja (La Rioja: Cultural Rioja), 1992. Cited by López Mondéjar, p. 289.

Saenz de San Pedro, Enrique; Venencio del Val; and Juan Vidal Abarca. Alava ayer: Fotografías de la sociedad Alavesa—Siglo XIX (Alava, Spain: Caja Provincial de Alava), 1982. Not a directory but a well-illustrated examination of history for one region covered nowhere else in print. Photographers’ names and approximate dates can be drawn from picture captions. Parallel Spanish and Basque texts.

Sánchez Montoya, F. “El Inicio de la fotografía en Ceuta,” Revista de Historia de la Fotografía Española, No. 1 (1990), pp. 13–16. Account of early photography in the Spanish enclave of Ceuta on the coast of Morocco; the earliest trace dates from 1859.

———. .Segovia en la fotografía del siglo XIX: Colección Juan Francisco Sáez (Segovia, Spain), 1997. Not directly examined. Reported as a 158-page survey on the development of photography in Segovia, including a chapter on “El pictorialismo Segoviana” by Jesús Unturbe.

Vega, Carmelo. “Historia de la fotografía en La Palma (1865–1930)” in Fotografía en Canarias: Historia 1 ([Santa Cruz de Tenerife, Spain]: Instituto de Estudios Hispánicos de Canarias in collaboration with Filmoteca Canaria), 1989, pp. 20–23.

López Mondéjar, Publio. Crónica de la luz: Fotografía en Castilla-La Mancha (1855–1936) ([Madrid]: Ediciónes El Viso—Fundación Cultural de Castilla-La Mancha), 1984.

Brief chronological account, illustrated with one card back and two portraits of professional photographers in their studios.

The section “Fotógrafos,” pages 178–201, gives biographies, mostly with portraits, of eighty-nine photographers active in one region of Spain.

———. “Historia de la fotografía en Tenerife (1839–1900)” in Fotografía en Canarias: Historia 1 ([Santa Cruz de Tenerife, Spain]: Instituto de Estudios Hispánicos de Canarias in collaboration with Filmoteca Canaria), 1989, pp. 8–14.

Manso García, Fernando. “Introduccíon a la historia de la fotografía en Badajoz,” Revista de Historia de la Fotografía Española, No. 3 (1991), pp. 7–9. Very concise article containing some career details.

Chronological account including traces of the first daguerreotypist active in 1847. Illustrated with seven card backs. Superseded by the work cited immediately below.

Mulet, Maria José. “La fotografía en Mallorca (1840–1880),” Estudis Baleàrics, No. 26 (September 1987), pp. 45–57.

———. La isla mirada: Tenerife y la fotografía (1839–1939). I: Los fotógrafos en el estudio; II: Los fotó­ grafos en el paisaje (Tenerife, Spain: Cabildo de Tenerife—

Informative and well-documented article on early photog­ raphy on the island of Mallorca, containing some embed­ ded biographical details. Illustrations include card backs. Revised version of a text published in the congress proceed­ ings Historia de la fotografía Española 1839–1986 cited above under Yañez-Polo et al.

Centro de Fotografía «Isla de Tenerife»), 1995. Excellent two-volume survey of the development of pho­ tography on the island during the first century of the medi­ um. A section in the first volume, “Relación de fotógrafos (Canarias 1839–1939),” pages 137–150, lists more than 200 professionals, with addresses and dates of activity, and covers all seven Canary Islands. Entries are cross referenced to trading or firm names. In common with most other com­ mercial activities, photography was centered on the towns of Santa Cruz de Tenerife and Las Palmas de Gran Canaria.

Pardo, Ignacio. “Los orígines de la fotografía en Gran Canaria” in Fotografía en Canarias: Historia 1 ([Santa Cruz de Tenerife, Spain]: Instituto de Estudios Hispánicos de Canarias in collaboration with Filmoteca Canaria), 1989, pp. 15–19. Brief chronological account illustrated with three card backs.

Yañez-Polo, Miguel Angel. Historia de la fotografía Andaluza. Tome I: Siglo XIX (Sevilla, Spain: Ed. Andaluzas Reunidas), 1955.

Riego, Bernardo, and Angel de la Hoz. Cien años de fotografía en Cantabria (Barcelona: Lunwerg Editores, S. A.), 1987.

Not directly examined. Cited in Roosens and Salu 1, p. 350.

A nicely illustrated general history of the first century of the medium in one region of Spain and its principal city of Santander. Various sections of text give some names and date periods, and some details can be gleaned from picture

———. Retratistas y fotógrafos: Breve historia de la fotografía Sevillana ([Sevilla, Spain: Grupo Andaluz de 97

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Ask, Christer, and Christer Åhlin, editors. Landsbygden genom Linsen: Bygdefotografer i Västergötland (Skara,

Ediciones]), 1981. A small paperbound volume, published as No. 8 in the series Cosas de Sevilla; includes scattered plates and a gener­ al history text interspersed with decade lists of photogra­ phers, indicating working years and nations of birth.

Sweden: Västergötlands Fornminnesförening), 1989. Not directly examined. Study covering photographers active in the Västergötland region, published as a special issue of Västergötlands Fornminnesförening Tidskrift.

———. “Sevilla 1842–1900: sus fotógrafos,” PhotoVisión, No. 12 (June 1985), pp. 5–7 [Spanish] and pp. 42–46 [English].

Campbell, Ann-Mari, and Monica Gauffin. Fotografer i Örkelljunga (Lund, Sweden: BTJ Tryck), 1992.

A short illustrated article with biographies of a few of the earliest photographers in Seville. The section “Censo de Fotógrafos del Siglo XIX en Sevilla,” page 43, is a listing of 123 photographers by name and date period.

Not directly examined. Published as No. 21 in the series Skrifter utgivna av örkelljunga Hembygdsförening.

Götlin, Curt. “Fotografien i Örebro under 1800-talet,” Från Bergslag och Bondebygd, 1968, pp. 43–82.

Sweden

Not directly examined. Cited in Söderberg and Rittsel, p. 337.

General and National

Högland, Helge. När fotografin kom till Sundsvall (Sundsvall, Sweden: n.p.), 1962.

Not directly examined. Cited in Söderberg and Rittsel,

p. 337.

Förteckning över Svenska Porträttfotografer i Kungl. Bibliotekets Samlingar (Stockholm: Kungl. Biblioteket), 1992. Directory of Swedish portrait photographers whose work is in the collections of the Royal Library, Stockholm, compiled at the Department of Maps and Prints, and published as the library’s Rapport, No. 19. Based on holdings of approximate­ ly 30,000 cartes-de-visite and 11,000 cabinet cards in the Library, the listing contains 2,294 entries for approximately 1,300 individuals, active during the period 1860 to 1930. The directory is arranged alphabetically with an index by locality. The directory is available as a book or on diskette (WordPerfect or ASCII) directly from the Royal Library. Address: Kungl. Biblioteket, Kart- & bildsektionen, Box 5039, 102 41 Stockholm, Sweden. Fax: +46.8.611.69.56.

Olson, Walter. “Ljusets riddare—men även mörkman. Om fotograferingen och fotograferna i Kalmar,” Kalmar Län, 1976. Not directly examined. Cited in Söderberg and Rittsel, p. 337.

Papp, David. Fotograferna på Gotland under 1800-talet (Norrköping, Sweden: Gotländskt Arkiv), 1974. Not directly examined. Cited in Söderberg and Rittsel, p. 336.

Rittsel, Pär. Växjö framför kameran 1847–1900 (Växjö, Sweden: Kronobergs Läns Hembygdsförbund), 1977.

Hemmingson, Per. Fotohistorikt: Kring fotografins pio­ njärer och deras bilder (Stockholm: Bonniers), 1970.

Excellent local history, published in the series Krono­ bergsboken: Årsbok för Hyltén-Cavalliusföreningen. The section “Fotografkatalog,” pages 198–207, gives thirty-eight bio­ graphical entries in chronological order of start of activity, some illustrated with the individual’s portrait and examples of card backs.

Swedish history of photography with emphasis on Swedish photographers; includes a foreword by Rune Hassner. Not directly examined, therefore it is unknown whether the work contains a directory listing or biographical data.

Söderberg, Rolf, and Pär Rittsel. Den svenska fotografins historia 1840–1940 ([Stockholm]: Bonnier Fakta), 1983.

Sundin, Bo. “Kvinnlige fotografer i Västerbotten,” Västerbotten, No. 1 (1982), pp. 10–31. Not directly examined. Reported as an article presenting the results of a research project about female photographers active in Västerbotten.

A full-scale illustrated textual history that includes biogra­ phies and career summaries for dozens of Swedish photog­ raphers scattered through various sections of the text, plus an extensive bibliography giving citations for individuals.

Thulin, Otto. “Göteborgs första fotografer,” Göteborgs Musei Årsbok, 1959.

Local and Regional

Not directly examined. Cited in Söderberg and Rittsel, p. 337.

Althin, Harald. “De första Stockholmsfotografierna,” Samfundet Sankt Eriks Årsbok, 1969, pp. 18–41.

Widerberg, Bertil. Kameran minns: fotografi i Malmö 1843–1870 (Malmö, Sweden: Sydsvenska Dagbladets

Not directly examined. Cited in Söderberg and Rittsel, p. 336.

Årsbok), 1964. Not directly examined. Cited as a 186-page book, in

Roosens and Salu 1, p. 361.

———. “De första trettio åren,” Fotografisk Årsbok, 1970, pp. 30–43. Not directly examined. Cited in Söderberg and Rittsel, p. 336.

Switzerland

Appelgren, Arne. “Om fotograferne i 1860–och 1870­ talets Vasa,” Arkiv för Svenska Österbotten—Österbottnisk Årsbok, No. 7 (1948), pp. 5–25.

Binder, Walter, et al., editors. Il Ticino e i suoi fotografi/ Das Tessin und seine Photographen: Fotografia dal 1858 ad oggi / Photographien von 1858 bis heute (Bern, Switzerland: Benteli Verlag), 1987.

Not directly examined. Very early local photo-history. 98

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Perret, René. Frappante Aehnlichkeit: Pioniere der Schweizer Photographie: Bilder der Anfänge (Brugg, Switzerland: BEA + Poly Verlags AG), 1991.

A large scale work accompanying an exhibition, about the history of photography in one canton, centered on the town of Locarno. The section “Biografie dei fotografi/Biografien der Photographen,” pages 271–280, gives details for fortytwo individuals or studios, illustrated with some portraits. The plates are grouped under a number of social history topics. Parallel texts throughout in Italian and German. Published as Volume 5 in the series Schweizer Photographie by the Schweizerische Stiftung für die Photographie.

Survey of early Swiss photography, with many previously unpublished images taken before 1860. The section “Photographen-Verzeichnis,” pages 93–101, gives brief career details for approximately 600 photographers active in nineteenth century Switzerland.

Stenger, Erich. Die beginnende Photographie im Spiegel von Tageszeitungen und Tagebüchern. Ein Beitrag zum hundertjährigen Bestehen der Lichtbildnerei 1839–1939, nach hauptsächlich in der Schweiz durchgeführten Forschungen (Würzburg, Germany: Konrad Triltsch Verlag), 1943 second edition; reprinted (New York: Arno Press Inc.), 1979.

Breguet, Elizabeth. 100 Ans de Photographie chez les Vaudois 1839–1939 (Lausanne, Switzerland: Payot), 1981. Excellent study on photographers active in the Vaud can­ ton, centered on the city of Lausanne. Biographies of pho­ tographers are scattered throughout the text.

Hugger, Paul. Bündner Fotografen (Chur, Switzerland: Bündner Kunstmuseum; Offizin Zürich Verlag), 1992.

First edition published in 1940. Groundbreaking study by a German pioneer of historical research in the domain of photography. The work is based on information compiled from newspapers and business directories, and, as indicated in the subtitle, features Swiss photography. Includes three chapters that describe the development of photography in Bern, pages 17–23, 42–58, and 59–78, and contains much embedded biographical information. These chapters are based on a manuscript by local Bern historian Adolf Fluri, provisionally entitled Charles Durheim & die Anfänge der Daguerreotypie & Photographie in Bern, which remained unpublished after Fluri’s death in 1930.

Well-illustrated exhibition catalogue containing more than fifty substantial biographies for professional photographers active in the picturesque Alpine canton of Graubünden/ Grisons, mostly during the early and mid-twentieth century. Further listing of twenty-five photographers active in the town of Davos, pages 68–69. The survey was undertaken as an oral history project in conjunction with survivors or relatives of the featured photographers.

Im Licht der Dunkelkammer / Révélations de la Chambre Noire. Die Schweiz in Photographien des 19. Jahrhunderts aus der Sammlung Herzog/La Suisse du XIXe siècle à travers les photographies de la Collection Herzog (Basel, Switzerland: Christoph Merian Verlag, in

Wipf, Hans-Ulrich. “Die ersten Photographen in Schaffhausen,” Schaffhauser Mappe, 1982, pp. 59–62. Not directly examined. Brief concise article on the first photographers in one town that was famous for its waterfalls.

association with the Schweizerisches Landesmuseum— Musée National Suisse, Zürich), 1994. An excellent national survey based on the holdings of a single, mainly topographical collection. Brief essays by several researchers accompany well-reproduced images; parallel texts in German and French. The summary section “Die Photographen / Les Photographes,” pages 224–225, lists 122 photographers, both native-born and visiting foreigners, represented in the Herzog collection and active in Switzerland during the period surveyed, along with their places and approximate dates of activity.

Ukraine (See entries for Garztecki and Plutecka under Poland/General and National, and for Danecka and Sobota under Poland/Regional and Local)

USSR (also see Russia)

Antologiya sovietskoy fotografii 1917–1940 (Moscow: Loetscher, Hugo, et al., editors. Photographie in der Schweiz 1840 bis heute / Photographie en Suisse de 1840 à aujourd’hui / Photography in Switzerland: 1840 to Today (Teufen, Switzerland: Arthur Niggli), 1974.

Planeta), 1986. Not directly examined. Cited as a 254-page work in Roosens and Salu 1, p. 377.

Chudakov, Grigory. 20 Soviet Photographers, 1917–1940 (Amsterdam: Fiolet & Draaijer), 1990.

Broad survey published in German, French, and English by the Stiftung für Photographie. The section “Biographien/Biographies,” pages 308–314, gives brief biographical career notes on more than 150 Swiss photographers. For a subse­ quent and more comprehensive edition, see the next entry.

Conscientious 287-page work containing a portfolio of images for each photographer surveyed, preceded by a short biography. Parallel texts in English, French, German, and Dutch.

———. Photographie in der Schweiz von 1840 bis heute (Bern, Switzerland: Benteli Verlag), 1992.

Morozov, Sergei. Sovetskaya Khudozhestvennaya Fotografiya [Soviet Artistic Photography] (Moscow: Iskustvo Press), 1958.

Completely revised and expanded edition of the work cited immediately above, with new text sections and a much improved directory. This section, “Schweizer Photographinnen und Photographen von A–Z,” pages 310–362, gives biographies for approximately 500 individu­ als active in all periods, both historical and contemporary. Published as Volume 7 in the series Schweizer Photographie by the Schweizerische Stiftung für die Photographie.

Clearly a companion piece to the author’s publication on Russian artistic photography (see entry under Russia). Not directly examined.

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———, et al. Soviet Photography: An Age of Realism (New York: Greenwich House), 1984. A study featuring the work of nineteen photographers active in the period 1917 to 1940. A total of 269 images are repro­ duced. There is a separate chapter for each photographer.

Mrázková, Daniela, and Vladimir Remes. Early Soviet Photographers (Oxford, England: Council of the Museum of Modern Art), 1982. Exhibition catalogue featuring seventy-nine images dating from 1918 to 1939. The section “The Photographers,” pages 86–87, gives short biographies for sixteen photographers featured in the exhibition and active in the period between the 1917 Revolution and World War II.

6. LATIN AMERICA (including Mexico) General and International (Also see entries for Gesualdo under 1. General and International, and for Palmquist and Kailbourn under North America/General and International) Billeter, Erika, et al. Fotografie—Lateinamerika von 1860 bis heute (Bern, Switzerland: Benteli Verlag), 1981. An expansive exhibition catalogue with informative essays by several leaders in the field of Latin-American photo­ graphic research. The section “Biografien der Fotografen,” pages 381–399, gives information on several dozen photo­ graphers ranging from Mexico south to Argentina and into the Caribbean. Portraits of many persons are given and sections of reproductions of work by most are included. The work emphasizes the recent period but gives details for some noteworthy early people. Some experts on the region have criticized the working methodology as arbitrary. A Spanish translation subsequently appeared under the title Fotografía Latinoamericana desde 1860 hasta nuestros días (Madrid: Ediciones El Viso), 1982, followed by a second edi­ tion Canto a la Realidad: Fotografía Latinoamericana, 1860–1993 (Madrid: Casa de America & Barcelona: Lunwerg), 1993. English edition A Song to Reality: Latin-American Photography, 1860–1930 published under the Lunwerg imprint, 1998.

Die Revolution: Die Anfänge des Bildjournalismus in der Sowjetunion (Zürich, Switzerland: Schweizerische Stiftung für die Photographie), 1989. The second section of a single-volume catalogue for a double exhibit, with illustrated listings and biographical notes for eighteen individuals on pages 70–80. Each part of the volume is page-numbered separately. (Also see entry for first section under Russia.)

Shudakov, Grigory, Olga Suslova, and Lilya Ukhtomskaya. Pioneers of Soviet Photography (New York: Thames and Hudson), 1983. The section “Biographies” by Aleksandr Lavrentiev, pages 249–252, gives solid information on twenty photographers from the initial period of the USSR. The essay “Soviet Photographers, 1917–1940” by Grigory Shudakov, pages 9–27, comprises a short history of Russian photography from the early twentieth century and gives at least life dates for numerous Soviet photographers not detailed in the “Biographies.” French edition under the title Pionniers de la photographie russe soviétique (Paris: P. Sers), 1983, accompa­ nying an exhibition held at the Musée des Arts Décoratifs, Paris. Similar work by the same authorial team published in German under the title Sowjetische Fotografen 1917–1940 (Leipzig, Germany: Fotokinoverlag), 1980.

Sowjetische Photographie der 20er und 30er Jahre

Casaballe, Amado Becquer, and Miguel Angel Cuarterolo. Imágenes del Rio de la Plata: Crónica de la Fotografía Ríoplatense, 1840–1940 (Buenos Aires: Editorial del Fotógrafo), 1985 second edition. Survey of early photographic history in the Rio de la Plata region which covers parts of Brazil, Uruguay, and Argentina. A two-page “Catalogue of the Principal Photo­ graphers” active in the nineteenth century gives locations and decades for more than sixty persons.

Crovetto, Pier Luigi, and Ernesto Franco. Photo America: Obiettivi sull’America Latina (Ivrea, Italy: Herodote), 1984. Catalogue in Italian for a large exhibition overview of photography of Latin America in the twentieth century. Pages 149–156 give biographical and career data on ninetyseven photographers from all countries of the region.

(Köln [Cologne]: Galerie Alex Lachmann), 1991. Not directly examined. Cited as a copiously illustrated 133­ page exhibition catalogue containing text in German and English, in Roosens and Salu 2, p. 305.

The Utopian Dream: Photography in Soviet Russia 1918–1939 (New York: Laurence Miller Gallery), 1992. The catalogue for an exhibit selected from the Schickler/ Lafaille Collection, Los Angeles. Includes an essay by Max Kozloff and a useful bibliography. The section “Biographies of the Photographers,” pages 51–55, gives details on twentythree individuals and some portraits.

Cuarterolo, M. A. “The Daguerreotype in Latin America,” The Photographist, Nos. 76–77 (1988), pp. 31–35. Survey of daguerreotypists who opened studios in the region between 1841 and circa 1853.

Hoffenberg, H. L. Nineteenth Century South America in Photographs (New York: Dover Publications, Inc.), 1982. Page 152 offers a “partial list of the photographers repre­ sented in this volume,” noting twenty-four individuals with some dates and reference notes.

Wales (see Great Britain)

Yugoslavia (see Croatia, Serbia, and Slovenia)

Testimonios Escritos Relativos al Origen de la Fotografía Rioplatense (Buenos Aires: C.I.F.A.A.), 1987. A volume of facsimile texts from the early period of photo­ graphy in the Argentina-Brazil-Uruguay borderlands. Some texts give particulars on individuals significant in the intro­ duction of the medium in various areas.

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Argentina (Also see entry for Casaballe and Cuarterolo under Latin America/General and International) Adelman, Jeremy, and Miguel Angel Cuarterolo. Los Años del Daguerrotipo. Primeras Fotografías Argentinas, 1843–1870 (Buenos Aires: Fundación Antorchas), 1995. Excellent study; includes a section “Breves Notas Biográficas,” pages 21–22, giving short career details for thirty-nine professional daguerreotypists active in Argentina.

Alexander, Abel José. “Historia de la Fotografía en Mendoza: Etapa del Daguerrotipo” in 1º Congreso de Historia de la Fotografía, 23–24 de Mayo de 1992 (Buenos Aires: [Comité Ejecutivo Permanente, Congesos de Historia de la Fotografía]), pp. 13–20. Chronological account from the introduction of photogra­ phy to 1865, containing embedded biographical information.

Gómez, Juan. La Fotografía en la Argentina: Su Historia y Evolución en el Siglo XIX 1840–1899 ([Buenos Aires]: Abadia Editore), 1986. A full-scale history with numerous plates, reproductions of trade cards and other useful illustrations. Pages 151–173 give a chart for names, life dates, years of establishing studios, and comments for several hundred photographers.

———. “Photography in Argentina: History and Evolution in the 19th Century,” History of Photography, Vol. 14, No. 2 (April–June 1990), pp. 181–193. A general text article translated into English from the publication immediately above. Gives some biographical and career details on a number of early photographers.

Gonzalez, Graciela N. “Los Salvadores del Olvido, 1860–1915” in Historia de la Fotografía, Memoria del 4º Congreso de Historia de la Fotografía en la Argentina, 1995 (Buenos Aires: Comité Ejecutivo Permanente, Congesos de Historia de la Fotografía), pp. 77–81. Survey of the development of photography in the town of Santa Fe, including short biographies of the main practitioners.

Asociación Amigos del Museo de Arte Moderno. Vida Argentina en Fotos (Buenos Aires: Centro Cultural Ciudad de Buenos Aires Museo de Arte Moderno), 1981. An illustrated exhibition catalogue for an overview of the history of Argentine photography. A five-page section, “Datos biograficos,” gives limited details on sixty-nine pho­ tographers or organizations throughout the history of pho­ tography, including some, such as Nadar, who were never in the country, but who may have distributed local images in Europe.

Mikielievich, Wladimir. “La Fotografía en Rosario,” Revista de Historia de Rosario, Vol. 23, No. 37 (1985). Not directly examined. Cited in the conference proceedings Historia de la Fotografía, Memoria del 5º Congreso de Historia de la Fotografía en la Argentina, 1996, p. 7.

Bolivia Bischoff, Efrain U. “Fotógrafos de Córdoba” in 1º Congreso de Historia de la Fotografía, 23–24 de Mayo de 1992 (Buenos Aires: [Comité Ejecutivo Permanente, Congesos de Historia de la Fotografía]), pp. 111–115.

Buck, Daniel. “Pioneer Photography in Bolivia: Register of Daguerreotypists and Photographers, 1840s–1930s,” Bolivian Studies, Vol. 5, no. 1 (1994–1995), pp. 97–128. A very solid compilation of hitherto unknown material. Modestly defined as an “alphabetical register of roughly 200 photographers, studios and expeditions, both Bolivian and foreign, active in Bolivia between the late 1840s and the early 1930s” but actually a rich new contribution. Date periods, locations, and some publications are given, many with clues for further research, for an array of photographers largely overlooked until now. A brief literature survey and indications of numerous women photographers are also included. This work and the entry that follows should serve as models of dedicated activity much needed throughout the field.

Well-documented survey article, concentrating on nine­ teenth century practitioners.

Facio, Sara. La Fotografía en la Argentina desde 1840 a nuestros Días (Buenos Aires: La Azotea Editorial Fotografíca), 1995. Solid history with stress on the twentieth century. It con­ tains a fresh choice of images and some embedded biogra­ phical information not readily available elsewhere. Despite its substance, experts on the region have criticized the work as often too hasty or inaccurate.

———. “Yesterday’s Modern Images, Today’s Archival Treasures,” Américas, Vol. 46, No. 5 (September–October 1994), pp. 20–27. The first presentation on the photographic history of a totally overlooked country. Life years and brief career information are given in the text for a few persons active between 1840 and the end of the century, but some of these are foreign visitors. The handsome illustrations (two in color) indicate the prospect of important material to be discovered as the author continues his research (see under Works in Progress).

———. “El Desarrollo de la Fotografía en Bolivia en el Siglo XIX” in Historia de la Fotografía, Memoria del 5º Congreso de Historia de la Fotografía en la Argentina, 1996

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(Buenos Aires: Comité Ejecutivo Permanente, Congesos de Historia de la Fotografía), pp. 51–56. A reworked version of the article cited immediately above, including an extensive bibliography and a list of public collections consulted.

Brazil (Also see entries for Casaballe and Cuarterolo under Latin America/General and International, and for Siza and Weiermair under Europe/Portugal)

Vasquez, Pedro. Brazilian Photography in the Nineteenth Century (Rio de Janeiro: Museu de Arte Moderno do Rio de Janeiro), [1988]. A fourteen-page fold-up catalogue for an exhibition held during the Houston Fotofest, giving general historical information without specific biographical notes. Largely an English version of the opening sections of the following book.

———. Dom Pedro II e a Fotografía no Brasil (Rio de Janeiro: Fundação Roberto Marinho and Companhia Internacional de Seguros), [1988?]. A full and extensively illustrated history of early photo­ graphy in Brazil with emphasis on the encouraging interest in the medium by the Emperor. No separate biographical material but a one-page list with dates of appointment of the photographers to the imperial household.

Ferrez, Gilberto. A Fotografía no Brasil 1840–1900 (Rio de Janeiro: Fundação Nacional de Artes and Fundação Nacional Pró-Memória), 1985. A full textual survey of nineteenth century photography in Brazil with many illustrations. No separate biographical material but extensive information throughout. English edition, translated by Stella de Sá Rego, Photography in Brazil, 1840–1900 (Albuquerque: University of New Mexico Press), 1990.

———. Bahia: Velhas Fotografias 1858–1900 (Rio de Janeiro: Livraria Kosmos Editora), 1988. A copiously illustrated 200-page social history of early pho­ tography in the Bahia region. Seven individuals or firms are discussed and work illustrated.

Ferrez, Gilberto, and Weston J. Naef. Pioneer Photographers of Brazil 1840–1920 (New York: The Center for Inter-American Relations), 1976.

———. Fotografías Pioneros en Rio de Janeiro (Rio de Janeiro), 1990. Not directly examined. Cited without comment in Roosens and Salu 3, p. 41.

Chile Rodrigues Villegas, Hernán. “Historia de la Fotografía en Chile: Registro de Daguerrotipistas, Fotógrafos, Reporteros Graficos y Camarógrafos, 1840–1940,” Boletín de la Academia Chilena de la Historia, No. 96 (1985), pp. 189–340. The only published item thus far located for a major nation of South America. The work is a major directory in every way, giving information on literally hundreds of photo­ graphers.

Gives text details and selections of work for fifteen early photographers or studios, with occasional mention of others.

Grinberg, Isaac. Memória Fotográfica de Mogi das Cruzes (São Paulo, Brazil), 1986. Photographic record of one of the oldest towns in Brazil; reportedly includes biographies of the photographers. Not directly examined.

Kossoy, Boris. “Nineteenth Century Brazilian Photography” in Windows on Latin America: Understanding Society through Photographs, edited by Robert M. Levine (Coral Gables, Florida: North-South Center, University of Miami, for the South Eastern Council on Latin American Studies), 1987, pp. 39–46. Basically a summary of the work cited immediately below.

Colombia Pasto: A Través de la Fotografía ([Bogotá]: Banco de la Republica), [1986?]. Survey of photography 1900–1940s in a southwest Colombian town and including a list of thirty-three photo­ graphers active there in the nineteenth and twentieth centuries, by decade.

Serrano, Eduardo. Historia de la Fotografía en Colombia ([Bogotá: Museo de Arte Moderna de Bogotá]), 1983. The section “Fotógrafos Colombianos 1840–1950,” pages 317–325, compiled by Myriam Acevedo, provides short biographies for numerous photographers as a detailed reference supplement to one of the most elaborate books thus far produced in the field.

———. Origens e Expansão de Fotografia no Brasil: Século XIX (Rio de Janeiro: Edisão Funarte), 1980. An overview of the early history of photography in the country. The appendix “Fotografos Atuantes no Brasil no Século XIX,” pages 103–121, gives names, addresses, years of work, and comments for more than 400 persons. A fair bibliography mentions several works which may give more details on some persons.

La Photographie Brésilienne au Dix-Neuvième Siècle (Rio de Janeiro: Musée d’Art Moderne for the Mois de la Photographie à Paris), 1986. Compact but informative exhibition catalogue produced by the Museu de Arte Moderna do Rio de Janeiro, featuring seventy-eight carefully described items, an introduction and a bibliography.

Taller La Huella. Crónica de la Fotografía en Colombia 1841–1948 (Bogotá: Carlos Valencia Editores), 1983. Overview of the development of photography, comprising 151 items, all illustrated and dated, and an index of the thirty photographers whose work is featured.

Ecuador Chiriboga, Lucia. Indentidades Desnudas Ecuador 1860–1920: la Temprana Fotografía del Indio de Los Andes (Quito: Ildis), 1994. 102

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An annotated album of sixty-three images (chiefly cartesde-visite, cabinet cards and postcards) of Indians from the Ecuadorian Andes. This, and the publication cited immediately below, are the only works currently available on this country’s photographic heritage. The author is asso­ ciated with the Taller Visual, described as “a private center for photographic research.” Address: Taller Visual, Casilla 17-12-672, Quito, Ecuador (Fax: +593.2.504.735).

———, and Soledad Cruz. Retrato de La Amazonia: Ecuador, 1880–1945 (Quito: Ediciones Libri Mundi), 1992. This study contains introductory essays in Spanish and English, followed by seventy images, mainly taken by missionaries, of Indians in the Amazon region of Ecuador. Photographers are identified by name.

Universidad Nacional Autónoma de México in 1991. The section “Fotógrafos Mexicanos y Extranjeros en la Ciudad de México (1864–1867),” pages 153–162, gives period direc­ tory listings by name and address for about thirty-five indi­ viduals. The texts and picture captions in other sections also provide dates or details for several non-resident photo­ graphers. The substantial bibliography notes several general regional historical surveys in the form of academic theses, as well as a number of unfamiliar and interdisciplinary pub­ lications. Altogether an interesting and informative source which sets the standard for future works in the series.

Casanova, Rosa; and Olivier Debroise. Sobre la Superficie Bruñida de un Espejo: Fotógrafos del Siglo XIX (Mexico City: Fondo de Cultura Económica), 1989. The section “Directorio de Daguerrotipistas, Ambrotipistas y Fotógrafos,” pages 54–60, in a general text history of the first two decades, gives entries for ninety-one persons or firms through 1860, including previously unknown details on a number of daguerreotypists from the United States.

Guatemala Del Cid F., Enrique, translated by David Haynes and Birgitta B. Riera. “First Photographers Who Worked in Guatemala,” The Daguerreian Annual 1994: Official Yearbook of The Daguerreian Society, pp. 35–45. Annotated translation of a two-part article on the early pho­ tographers of Guatemala City “Primeros Fotógrafos que Trabajaron en esta Guatemala de la Asunción,” which origi­ nally appeared in the newspaper El Imparcial (September 2 and 17, 1962). Lists thirty-two photographers active in the period 1843–1868. Cited as a source for the Muñoz chapter noted immediately below.

Muñoz, Luis Luján. “La Fotografía en Guatemala” [Chapter 3 of] Fotografías de Eduardo Santiago Muybridge en Guatemala (1875) (Guatemala City: Cenaltex, Biblioteca Nacional de Guatemala), 1984. An extended catalogue for an exhibition prepared by the National Museum of History and the National Library. This chapter gives a textual survey of the history of photography in the country with some dates and details on a number of individuals.

Orive, Maria Cristina, editor, et al. “La Antigua Guatemala”: J. J. Yas—J. D. Noriega 1880–1960 (Buenos Aires: La Azotea Editorial Fotografica de America Latina), 1990. A selected illustrated history and chronology of one impor­ tant Japanese family of photographers. Names and dates are also given for some of the other notable photographers of the period 1880–1960. Color-toned plates offer a good sample of work. Texts in Spanish and English.

Debroise, Olivier. Fuga Mexicana: Un Recorrida por la Fotografía en México (Mexico City: Consejo Nacional para la Cultura y las Artes), 1994. Published in the series Cultura Contemporanea de México, the work is primarily an impressionistic and personalized overview, possessing more literary merit than solid histori­ cal craftsmanship. While eschewing the traditional academ­ ic approach, the text does frequently provide brief career and biographical discussions on many Mexican and foreign persons and firms. Picture captions often give full names and image dates. The extensive bibliography includes many secondary sources not widely known outside Mexico.

Fernandez Ledesma, Enrique. La Gracia de los Retratos Antiguos (Mexico City: Ediciones Mexicanas, S.A.), 1950. The section “Nomina de los Más Notables Daguerrotipistas, Ambrotipistas y Fotógrafos, que Trabajaron en la Ciudad de México y en Otros Lugares del País, de 1845 a 1880,” pages 148–156, lists approximately 140 early photographers by place only.

“Historia Natural de las Cosas.” 50 Fotógrafos (Mexico City: Fondo de Cultura Económica—Río de Luz), 1985. Cited without comment by Arnal.

Jesús Hernández, Manuel de, with preface by Rafael C. Reséndiz-Rodríguez. Los Inicios de la Fotografía en México: 1839–1850 (Mexico City: Editorial Hersa), 1989. Not directly examined. Cited without comment by Arnal. Cited in the bibliography of the work by Aguilar Ochoa above, as based on a thesis for a degree in communications and journalism, presented at the Faculty of Political and Social Sciences, Universidad Nacional Autónoma de México, 1985.

Mexico (Also see entry for Karel under North America/General and International) Aguilar Ochoa, José Arturo. La Fotografía durante el Imperio de Maximiliano (Mexico City: Universidad Nacional Autónoma de México, 1996. Catalogue of an exhibition held under the auspices of the Institute for Aesthetic Research and intended as the opening in-depth study of a series on the history of Mexican photo­ graphy. Based on the author’s thesis presented at the

Naggar, Carole, and Fred Ritchin, editors. México through Foreign Eyes 1850–1990 (New York: W.W. Norton & Company), 1993. A substantial and excellently illustrated exhibition cata­ logue offering a generous sample of photographs made for many purposes over a 140-year time span, yet unfortunate­ ly excluding the rich first decade of the medium’s history.

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The section “Photographers’ Biographies,” pages 291–306, gives forty-nine entries, although not all photographers fea­ tured in the text are included. Parallel texts throughout in English and Spanish, but the Spanish texts, printed in light gray ink, are difficult to read.

Palma, Francisco Reyes, introduction. Memoria del Tiempo. 150 Años de Fotografía en México (Mexico City: Museo de Arte Moderno), 1989.

Revision of the author’s PhD dissertation, “The History of Photography in Peru in the Nineteenth Century, 1839–1876,” presented at the University of New Mexico in 1977. Appendix A, “Photographers Documented as Active in Peru in the Nineteenth Century,” pages 87–90, lists 111 photographers by name, dates, and locality.

———. Fotografía en el Perú: Siglo XIX (Lima: Galería del Banco Continental), [1975]. Gives listing of 123 photographers active in Peru during the nineteenth century.

Not directly examined. Presumably the original version of the exhibition catalogue cited below under Zeiterinnerung/Memoria del Tiempo.

Priego Ramírez, Patricia, and José Antonio Rodríguez. La manera en que fuimos: fotografía y sociedad en Querétaro, 1840–1930 (Querétaro, Mexico: Gobierno del Estado de Querétaro), 1989. Not directly examined. A social history of early photo­ graphy in the state of Querétaro, cited without comment by Arnal.

———. “The Daguerrean Era in Peru, 1839–1859,” History of Photography, Vol. 3, No. 2 (April 1979), pp. 111–123. A general article on the subject; mentions some individuals and gives a chart of working date periods for several. A shorter version of the item cited immediately above.

Surinam

Rodríguez, José Antonio. “Los Inicios de la Fotografía en Yucatán, 1841–1847,” Foto-Zoom, No. 184 (October 1990). Not directly examined. Cited in the bibliography of the work by Aguilar Ochoa noted above.

Verdugo, René, et al. Imagen Histórica de la Fotografía en México (Mexico City: lnstituto Nacional de Antropología e Historia), 1978. The section “Cronología de Fotógrafos en México,” pages 36–38, includes an admittedly incomplete listing by approxi­ mate date periods of daguerreotypists in Mexico City, some photographers active in scattered towns elsewhere in the country during the nineteenth century, and some notable photographers active in the twentieth century up to 1940. The form of presentation makes the chronology hard to use.

Zeiterinnerung/Memoria del Tiempo: 150 Jahre Fotografie in Mexico (Berlin: Institut für Auslandsbeziehungen—Ausstellungsdienst), 1991. Not directly examined. An illustrated 120-page exhibition catalogue, cited in Roosens and Salu 2, p. 200.

Peru

Wachlin, Steven, et al. Photography in Surinam (Amsterdam: Fragment Uitgeverij for Museum voor Volkenkunde, Rotterdam), 1990. The section “Index of Commercial Photographers in Surinam 1839–1939,” pages 89–93, gives more than fifty biographical sketches of mainly commercial photographers who worked in this former Dutch colony before 1940. Well- illustrated and researched, as are the other items in this series. Parallel Dutch and English texts.

Castro, Fernando. “Photography in the Southern Andes of Peru, 1900–1930,” Photo Metro Vol. 11, No. 97 (March 1992), pp. 5–17. Cited in ABM, Vol. 24, No. 1 (1993), p. 422, as an article on “some of the leading photographers of the southern Andes. . . . [for] the exhibition “Peruvian Photography 1900–1930” at the Fotofest, Houston (March–April 1992).”

Hartup, Cheryl. “Early Twentieth Century Peruvian Photography,” Latin American Art, Vol. 5, No. 2 (1993), pp. 60–62. Cited in ABM, Vol. 25, No. 2 (1994), as an article surveying the work of six individuals.

McElroy, Keith. Early Peruvian Photography: A Critical Case Study (Ann Arbor, Michigan: UMI Research Press), 1985.

Uruguay (Also see entry for Casaballe and Cuarterolo under Latin America/General and International) Alexander, Abel José. Fotógrafos y Estudios Fotográficos Uruguayanos: Etapa de la Carte-de-Visite ([Buenos Aires, Argentina]: Museo Fotográfico Adolfo Alexander), [1990]. Apparently issued separately as a Xerox copy offprint of an article from Anales, Vol. 2, No. 2 (12–14 October 1990), pp. 92–105, published by the Junta Regional de Historia y 104

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Estudios Conexos, Montevideo, Uruguay as the transactions of the congress “VIIº Encuentro Nacional and Vº Regional de Historia” held on those dates. Valuable, despite its obscu­ rity, as the only published source on the entire country.

[Dewitz, Bodo von, editor.] An den süssen Ufern Asiens—Ägypten, Palastina, Osmanisches Reich: Reiseziele des 19. Jahrhunderts in Frühen Photographien (Köln [Cologne], Germany: Agfa Foto-Historama), 1988. Exhibition catalogue. The “Katalog,” pages 147–168, lists the 129 pieces in the exhibit and gives limited biographical or career information for twenty-seven photographers or firms, including a few not seen elsewhere.

Cuarterolo, Miguel Angel. “Napoléon Aubanel’s Stereo View of Montevideo,” The Daguerreian Annual 1994: Official Yearbook of The Daguerreian Society, pp. 67–70. Article concerning a stereoscopic daguerreotype taken in 1858, and broadening to take in the whole of the daguer­ reian era in Montevideo. Reprints the list of seven “Oficinas de Daguerrotipos y Fotógrafos” from the 1859 Montevideo city guide, and cites the pioneering study by José María Fernández Saldaña, “Breve Historia de la Fotografía en Uruguay,” which appeared in the Buenos Aires newspaper La Prensa (September 3, 1939).

Venezuela (Also see entry for Yañez-Polo et al. under Spain/General and National) Cien Años de Fotografía en el Estado Bolivar (Caracas: Galeria de Arte Nacional), 1979.

Faber, Paul, et al., editors. Beelden van de Orient [Images of the Orient: Photography and Tourism 1860–1900] (Amsterdam: Fragment Uitgeverij for Museum voor Volkenkunde, Rotterdam), 1986. An exhibit catalogue covering North Africa and the Middle East rather than the Asian area. Pages 88–89 give brief sketches on thirteen featured photographers who worked in the Middle East. Parallel Dutch and English texts.

Haas, David W. Early Photographers of the Near East Represented in the Print Department of the Boston Public Library: An Inventory (Boston, Massachusetts: Boston Public Library), [1979]. Reported in a bibliography in progress by András Riedlinger of the Aga Khan Foundation. Not directly examined.

Exhibition catalogue. Not directly examined.

Misle (Caremis), Carlos Eduardo. Venezuela Siglo XIX en Fotografía ([Caracas]: Compañia Anónima Nacional Telefonos de Venezuela), 1981. A large format book with many plates and an almost bewildering arrangement of its information. Biographical and career data are liberally scattered through the text and picture captions, but nothing is easy to locate. The work is valuable since little else exists for this major country, but it would be more useful if re-edited and indexed.

Khemir, Mounira, introduction. L’Orientalisme. L’Orient des Photographes au XIXe Siècle (Paris: Centre National de la Photographie, in association with the Ministère de la Culture et de la Francophonie and the Institut du Monde Arabe), 1994. Basically a book of images drawn from the exhibition L’Orient des Photographes au XIXe Siècle shown at the Institut du Monde Arabe in Paris. Unpaginated, but con­ taining three pages of biographies for the photographers featured. Published as Number 58 in the series Photo Poche.

7. NEAR AND MIDDLE EAST General and International (Also see entries for Fleig under Africa/General and International, and for Ter-Sarkissian et al. under Armenia) Chevedden, Paul E. The Photographic Heritage of the Middle East: An Exhibition of Early Photographs of Egypt, Palestine, Syria, Turkey, Greece, and Iran, 1849–1893 (Malibu, California: Undena Publications), 1981; also published as pages 67–106 of Occasional Papers on the Near East, Vol. 1 in the series Monographic Journals of the Near East.

Özendes, Engin. Photography in the Ottoman Empire, 1839–1919 (Istanbul: Iletisim Yayinlari), 1995. Reported as a full-scale history of photography in the Near and Middle East, from its origins until the fall of the Ottoman Empire after the First World War. Not directly examined.

Perez, Nissan N. Focus East: Early Photography in the Near East (1839–1885) (New York: Harry N. Abrams, Inc. in association with The Domino Press, Jerusalem, and The Israel Museum), 1988. “Part II: A to Z of Photographers Working in the Near East,” pages 123–233, gives career or biographical data for 257 photographers or firms active during the first four decades of the medium. The geographic coverage is rela­ tively restricted, mainly touching Egypt, Palestine, and Syria, with slight notice of Arabia and Lebanon.

Gives limited data on nine photographers or firms. Contains some common errors.

Çizgen, Engin. Photography in the Ottoman Empire 1839–1919 (Istanbul, Turkey: Has≤et Kitabevi A. S≤.), 1987. A full-scale illustrated history of photography throughout the Near and Middle East. Pages 46–179 offer a general listing and map along with biographies for dozens of firms and photographers previously known only as surnames on old pictures. A major contribution.

Thomas, Ritchie. “Some 19th Century Photographers in Syria, Palestine and Egypt,” History of Photography, Vol. 3, No. 2 (April 1979), pp. 157–166. A general article discussing the commerce of tourist photo­ graphy in the later nineteenth century; gives business date periods for some individuals.

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Vaczek, Louis, and Gail Buckland, editors. Travelers in Ancient Lands: A Portrait of the Middle East, 1839–1919 (Boston: New York Graphic Society), 1981.

La Riscoperta dell’Egitto nel Secolo XIX: I Primi Fotografi (Torino [Turin], Italy: Studioforma), 1981. A ninety-nine page exhibition catalogue with images drawn from the Egyptian Museum in Turin. Not directly examined. Cited in Roosens and Salu 1, p. 129.

Includes appendix catalogue of photographers with esti­ mated periods of work, locations, and some biographical notes—not very complete or extensive.

Arabia El-Hage, Badr. Saudi Arabia: Caught in Time, 1861–1939 (Reading, England: Garnet Publishing Limited), 1997. In the series Caught in Time: Great Photographic Archives; reported as a 144-page work including an index of people and places.

Facey, William. Saudi Arabia by the First Photographers (London: Stacey International), 1996.

Osman, C. “Postcards from Egypt,” Royal Photographic Society Historical Group Newsletter No. 64 (1984), pp. 10–13. The article mentions names of several photographers active in Egypt between 1890 and 1914.

Rammant-Peeters, Agnes, editor. Palmen en Tempels: Fotografie in Egypte in de XIXe Eeuw [La Photographie en Egypte au XIXe Siècle] [Nineteenth Century Photography in Egypt] (Leuven [Louvain], Belgium: Peeters), 1994. An exhibit catalogue in Dutch, French, and English. The text gives scattered bits of information, and the two-page index of photographers, pages 183–184, gives some nationalities and dates.

Reported as a study containing many images, a bibliogra­ phy, and an index. Not directly examined.

Armenia Miller, Dickinson Jenkins. The Craftsman’s Art: Armenians and the Growth of Photography in the Near East 1856–1981 (Beirut: [Master of Arts thesis, American University of Beirut]), 1981.

Siliotti, Alberto, and Alain Vidal-Naguet. Journal de Voyage en Egypte: Inauguration du Canal de Suez, de Roberto Morra di Lavriano (Paris: Librairie Gründ), 1997. An opulent large format volume documenting events from the 1869 opening of the Suez Canal, and which originally appeared in Italian (Verona, Italy: C.D.A. Geodia s.n.c.), 1995. Brief as it is, the text on “Les Premiers Photographes en Egypte,” a section denoted “Album Photographique,” beginning on page 59, offers a valuable capsule history of the time periods worked by some of the initial photogra­ phers. Not a definitive work by any means, but nevertheless worthwhile for its opening research and rich visual record, including familiar images by little-known photographers.

Not directly examined. Cited in the bibliography of Images of Women: The Portrayal of Women in Photography of the Middle East 1860–1950 by Sarah Graham-Brown (London: Quartet Books), 1988.

Ter-Sarkissian, Pierre, et al. Photographies Arméniennes: Scènes et Portraits 1880–1930 ([Paris]: Centre de Recherches sur la Diaspora Arménienne, Centre de Documentation Arménien), 1983. An effort to give visual treatment to the Armenian Diaspora. Draws on pictures from Constantinople, Jerusalem, Beirut, Damascus, and other points. A few details on specific persons or firms can be found in the text, in picture captions, or in the illustrations of logotype designs. Also contains a map of the Near and Middle East, indicating the location dates of the establishment for thir­ teen American photographic studios in the Ottoman Empire.

Iran (see Persia) Israel (see Palestine) Lebanon Fani, Michel. Liban 1880–1914. L’Atelier Photographique de Ghazir (Paris and Beirut: Editions de l’Escalier), 1995.

Egypt (also see Africa)

A very well-illustrated contribution to the understanding of early photography in the region. The introductory chapter surveys the development of photography in nineteenth century Lebanon. A companion volume, L’Atelier de Beyrouth, Liban 1848–1914 (Paris and Beirut: Editions de l’Escalier), 1996, inventories a group of 259 images, mainly anonymous architectural views taken after 1885.

Howe, Kathleen Stewart. Excursions Along the Nile: The Photographic Discovery of Ancient Egypt (Santa Barbara, California: Santa Barbara Museum of Art), 1993. An extremely handsome exhibit catalogue that considers the parallel regional history of photography and travel. Appendix B, “Principal Biographies,” pages 156–163, offers brief information on thirty individuals and families, but like most works on this area, provides few career details.

Jammes, Marie-Thérèse, and André Jammes. En Egypte au Temps de Flaubert: Les Premiers Photographes 1839–1860 ([Vincennes, France]: Département des Relations Publiques de Kodak-Pathé), [1976]. A handsome small exhibition catalogue which gives a short essay, illustrations, and biographical data on eleven primary photographers of the area.

Romantic Lebanon: The European View 1700–1900 (London: The British Lebanese Association), 1986. Exhibition catalogue which includes a section on photogra­ phy, pages 79–95, compiled by Marwan R. Buheiry, contain­ ing extensive biographical notes on sixteen photographers, both European and local.

Yammine, Mohsen. Histoires Intimes: Liban 1900–1960 (Beirut: Fondation Arabe pour l’Image; Arles, France: Actes Sud), 1998. 106

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Catalogue accompanying an exhibition held at the Institut du Monde Arabe, Paris. The section “Biographies,” pages 11–13, gives career details for ten individuals active during the first half of the twentieth century. Bilingual French and Arab texts. The Fondation Arabe pour l’Image is a body whose purpose is to safeguard and preserve the photographic heritage of the Arab world, and which aims to disseminate information in this sector by publishing monographs and organizing exhibitions. Address: P. O. Box 13-66 76, 8 rue Chukri Assaly, Achrafieh, Beirut, Lebanon. Fax: +961.1.336.820. E-mail: [email protected] URL: http://www.fai.org.lb

Schiller, Ely, with Dan Kyram. The First Photographs of Jerusalem and the Holy Land (Jerusalem: Ariel Publishing House), 1980. Basically a visual history with images arranged in chronolog­ ical order from 1862 to 1925. All photographers identified.

Shaheen, Naseeb. “Photography in Ramallah,” History of Photography, Vol. 19, No. 3 (July 1995), pp. 230–232. Survey of the development of photography in this West Bank town during the late nineteenth and early twentieth century, including the activities of Khalil Raad, reputed to be the first Arab photographer in Jerusalem.

Persia Adle, Chahryar, and Yahya Zoka. “Notes et Documents sur la Photographie Iranienne et son Histoire: les Premiers Daguerreotypistes, 1844–54,” Studio Iranica (1983), pp. 249–283. Reported by Stein as surveying the introduction of photo­ graphy into Persia.

Afshar, Iraj. “Some Remarks on the Early History of Photography in Iran” in E. Bosworth and C. Hildenbrand, editors, Qajar Iran: Political, Social and Cultural Change: Studies Presented to Professor L. P. Elwell-Sutton (Edinburgh, Scotland: Edinburgh University Press), 1983, pp. 261. Reported by Stein as chronologically stringing together a series of texts to show the development of photography in Persia.

Palestine Nir, Yeshayahu. The Bible and the Image: The History of Photography in the Holy Land, 1839–1899 (Philadelphia: University of Pennsylvania Press), 1985. A narrative history without any real directory. Several sections give information on photographers, and a brief listing of “Main Events in Holy Land Photography 1839–1899” gives a few basic dates and names.

Atabai, Badri. Fihristi-i Album’ha-yi Kitabkhanach-’i Saltanati [Catalogue of the Albums in the Royal Library] (Tehran: n.p.), 1978. Reported by Stein as a fundamental study of the develop­ ment of photography in Persia, and as containing a list of early photographers. Text in Farsi.

Stein, Donna. “Early Photography in Iran,” History of Photography, Vol. 7, No. 4 (October–December 1983), pp. 257–291. An article reflecting solid research and sources. While not a directory as such, the text is extensive in treatment of the subject and discusses five early photographers in some depth, including Nasr ed-din Shah, considered the first native-born photographer in Persia. In conjunction with the item by Afshar cited above, essentially the only substantial western material on the subject that is readily available.

Onne, Eyal. Jerusalem: Profile of a Changing City (Jerusalem: Mishkenot Sha’ananim and The Jerusalem Institute for Israel Studies), 1985. Includes a table of photographers listing local and wellknown photographers. Emphasis is on the nineteenth century. Text in English and Hebrew.

———. Photographic Heritage of the Holy Land 1839–1914 (Manchester, England: Institute of Advanced Studies, Manchester Polytechnic), 1980.

Zoka, Yahya. Tarikh-I Akkasi va Akkassan-I Pishgam dar Iran [The History of Photography and Pioneer Photographers in Iran] (Tehran: Offset Press), 1997. Reported with partial analysis by the historian Reza Sheikh as a textual history covering the period 1845 to 1925. A chronological listing is given of more than 100 Iranian and foreign photographers, with working years and some notes as to process or career details. Several individuals were instructors at Dar al-Fonun, the first college to be estab­ lished in Tehran, or were connected to the royal court of the Qajar dynasty, which reigned from 1786 to 1925. Except for Armenians, there were no family names in Persia during this period; the listing is of first names, followed by titles or

A textual history with plates. A few sections give details on local and visiting photographers. Appendix A, pages 90–92, offers a “General Name Index of Photographers Who Worked in the Holy Land” and supplies names, nationali­ ties, techniques, notable publications, and dates of major activity in the region.

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indication of profession (i.e. Akkasbashi for photographer). While most were based in Tehran, some are indicated for other cities. The author is an older scholar, long devoted to identifying and preserving art forms of the period. It is strongly hoped that his important contribution can become available in a western translation.

Darrah, William Culp. “Nineteenth Century Women Photographers” in Shadow and Substance: Essays on the History of Photography in Honor of Heinz K. Henisch, edited by Kathleen Collins (Bloomfield Hills, Michigan: The Amorphous Institute Press), 1990, pp. 89–103. One of Darrah’s last published contributions to the field is this article explaining the working methods and limitations he imposed upon his research. “A Checklist of American Women Photographers,” pages 98–103, comprises an alpha­ betical listing by name, general locations, and estimated decades of work in the nineteenth century for 272 women, recorded exclusively from card mount imprints. While the listing is admittedly incomplete and at times in error, it offers the first continent-wide effort to deal with the subject in published form. The title of the listing is misleading since a number of entries are from Canada.

Sudan Daly, M. W., and L. E. Forbes. Caught in Time. Great Photographic Archives. The Sudan (Reading, England: Garnet), 1994. Collection of images drawn from the Sudan Archive in the library at Durham University. The “Index of Photo­ graphers,” pages 206–207, gives very brief biographies for forty-six individuals, mainly early twentieth century British visitors and Army officers stationed in The Sudan.

Syria (See entry for Thomas under Near and Middle East/General and International)

Di Laura, Mark A. “Niagara Falls,” Stereo World, Vol. 17, No. 4 (September/October 1990), pp. 4–23. The first part of a three-section article on photographers of Niagara Falls. This section gives primary attention to Charles Bierstadt in a context of dealing with othes who were active at the time. Parts 2 and 3 similarly focus on George Barker and George E. Curtis, the total offers consid­ erable detail on a number of individuals.

Turkey Allen, William. “Sixty-nine Istanbul Photographers, 1887–1914,” in Shadow and Substance: Essays on the History of Photography in Honor of Heinz K. Henisch, edited by Kathleen Collins (Bloomfield Hills, Michigan: The Amorphous Institute Press), 1990, pp. 127–136. An illustrated article briefly discussing the character of late nineteenth century commercial photography in the capital of the Ottoman Empire. Photographers are listed alphabeti­ cally with street addresses and years of citation for their appearance in the Annuaire Oriental du Commerce. Annual business directories were published from 1880 until “well into the 20th century,” but the listing in this article is derived from just seven scattered volumes, since these were the only ones available to the compiler thus far.

Ölçer, Nazan, Engin Çizgen, Gilbert Beaugé, and François Neuville. Images d’Empire. Aux Origines de la Photographie en Turquie [Türkiye’de Fotog=rafin Öncü­ leri] (Istanbul: Institut d’Etudes Françaises d’Instanbul), [1993].

Karel, David. Dictionnaire des Artistes de Langue Française en Amérique du Nord (Québec, Canada: Musée du Québec; Les Presses de l’Université Laval), 1992. An impressive research volume of more than 960 pages giving career and biographical entries for hundreds of French speaking artists active in Canada, the United States, Mexico, and the French Caribbean. Includes 393 photogra­ phers along with other types of artists. Several appendices analyze the names listed in a variety of ways including nationality, military involvement, subject matter, and training. Extremely solid, though not fully exhaustive.

Mautz, Carl, producer. Biographies of Western Photographers: A Reference Guide to Photographers Working in the 19th Century American West (Nevada City, California: Carl Mautz Publishing), 1997. A monumental reference work containing entries on “15,000 photographers working in twenty-seven western states [including Alaska and Hawaii] and Canadian provinces, plus itinerants”; this large volume “contains an alphabetical index by State, Province or category of all the photographers listed; a new essay on identifying and categorizing information on photographs including manu­ script notes, stamps, logos and imprints; a comprehensive bibliography; and a dating guide by photo historian Jeremy Rowe.” The overall work is a blend of material reprinted from a number of previous, more localized listings of various ages, and new information provided through cooperation by other researchers. The work offers an initial effort at crossing regional boundaries to combine material allowing fuller research on individual careers. Supersedes the same author’s Checklist of Western Photographers: A Reference Workbook published in 1986. Available directly from the publisher.

Handsome and substantial exhibition catalogue, including a section “Notices biographiques,” pages 248–264. Text in French and Turkish.

United Arab Emirates Facey, William, and Gillian Grant. The Emirates by the First Photographers (London: Stacey International), 1996. Reported as a 128-page work including a bibliography and an index. Not directly examined.

8. NORTH AMERICA (excluding Mexico) General and International (Also see entry for Gesualdo under 1. General and International)

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Smith, James H., & Co., [“A list of all the professional photographers in the United States and Canada”] (Chicago: James H. Smith & Co.), 1893. Noted in Wilson’s Photographic Magazine, Vol. 30, No. 439 (July 1893), p. 327, with the added comment that “No amateurs or employes [sic] are included. it was largely compiled by direct correspondence, and it is, therefore, a list which is as nearly perfect and reliable as it is possible to secure. It contains the names and addresses of 9,170 photographers in the United States and 500 in Canada, alphabetically arranged.” While clearly not biographical in nature, this source would be as nearly comprehensive for its early period as anything else ever done. Researchers have reported this notice for more than fifteen years, but no copy has yet been located, leading us to speculate that the reviewer was consulting galley or author’s proofs, and that the work unfortunately never made it to publication.

McAndrews, Edward, compiler. Great Spirit: North American Indian Portraits (Nevada City, California: Carl Mautz Publishing), 1998. A sample of “vintage images of American Indians” drawn from the compiler’s collection, with an emphasis on works by little-known photographers or by those not generally associated with the subject matter. The section “Biographies,” pages 81–88, gives life years and brief career summaries for fifty-six individuals or studios, several almost impossible to locate elsewhere in the literature. The compiler states that most of the biographical information was “gathered from old newspapers, texts, letters, articles from the public archives, directories, public agencies, and private collec­ tions.” However, apart from a diverse bibliography, no specific sources are given for particular details. A few errors in names have been detected, but the overall information is valuable for its rarity.

Sprange, Walter, editor. The “Blue Book” of Amateur Photographers (Sprange’s Annual) 1893. Being a Directory of the Various Amateur Photographic Societies in the United States of America, and Containing a Complete List of the Officers and Members of the Societies, with their Addresses (Beach Bluff, Massachusetts, and London, England: Walter Sprange), 1893. One of the most comprehensive works of its kind ever pro­ duced, and a remarkably ambitious compilation for its time. Internal data indicates that the information was collected by mail and then organized into sections so each club’s address list of its membership could be treated as a separate item for other uses. While coverage is predictably heavy for the New England region, the work is broader in scope than its sub-title indicates, since it is genuinely national for both the United States and Canada, with a number of national organizations also itemized. Arranged alphabetically by society, irrespective of geography. Numerous women are included, along with a relatively high number of profes­ sional photographers. A nearly identical edition appeared in 1894, and an edition with worldwide coverage in 1895. (See above under General and International.) For the paral­ lel British edition, see under Europe/Great Britain/General and National. Xerox copies can be ordered from Peter Palmquist, 1183 Union Street, Arcata, California 95521. E-mail: [email protected]

Palmquist, Peter E., and Thomas R. Kailbourn. Dictionary of Photographers and Related Artists of the Pacific Frontier to 1865, 1999 forthcoming. The result of thirty years of research, this volume is a land­ mark of monumental proportions. There are entries for approximately 1,500 photographers active before 1866, traced, where possible, through their entire careers, so that the work offers a nearly comprehensive accounting of west­ ern North America’s early recorders. Subjects are tracked throughout the continent and beyond, in a range from Alaska and British Columbia south to Panama, and from the Rocky Mountains west to Hawaii. Illustrations of the photographers and their studios are further illuminated by examples of their work. All entries contain complete citation and source documentation, and a comprehensive bibliogra­ phy is included. Several appendices offer cross reference and classification by medium, gender, geography or associ­ ated trade. The value of this work to the field is potentially immense in both substance and methodological example. Few cultural history topics have been served so well or with such dedication.

Canada General and Regional

Birrell, Andrew J. Into the Silent Land: Survey Photography in the Canadian West, 1858–1900 (Ottowa: Public Archives of Canada), 1975. Forty-seven page exhibition catalogue, giving limited date and career information for several photographers of west­ ern Canada.

Condon, Richard G. “The History and Development of Arctic Photography,” Arctic Anthropology, Vol. 26, No. 1 (1989), pp. 46–87. Cited by Mattison.

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Greenhill, Ralph, and Andrew Birrell. Canadian Photography 1839–1920 (Toronto: Coach House Press), 1979. A full textual history with excellent illustrations, constitut­ ing the substantially revised and expanded edition of Ralph Greenhill’s Early Photography in Canada (1965). While not a directory, the work is useful in conjunction with many of the regional and local studies, to place individual photo­ graphers in historical context.

public some of the extensive holdings of the National Photography Collection of the Public Archives of Canada.” Contains biographies; also published in French.

Robson, Scott, and Shelagh MacKenzie. An Atlantic Album: Photographs of the Atlantic Provinces, before 1920 (Halifax, Nova Scotia: Nimbus Publishing Limited), 1985. The section “Biographical Notes on the Photographers,” pages 159–164, gives short accounts of the lives of thirtyfour photographers, mainly active in New Brunswick, Newfoundland, Nova Scotia, and Prince Edward Island. Includes a brief but useful bibliography.

Koltun, Lilly. City Blocks, City Spaces: Historical Photographs of Canada’s Urban Growth, c. 1850–1900 (Ottawa: National Gallery of Canada), 1980. Informative exhibition catalogue, comprising 207 items drawn from the National Photography Collection, Public Archives of Canada. The section “Biographical Notes,” pages 85–102, contains thirty-five entries, some quite extensive, on individual photographers and firms. Parallel English and French texts.

———, editor, et al. Private Realms of Light: Amateur Photography in Canada 1839–1940 (Markham, Ontario: Fitzhenry & Whiteside), 1984. The major collective work based on an exhibition held at Public Archives Canada in 1983. Five sequential chapters were written by members of the Archives staff to cover the entire period of amateur work in Canada. The section “Biographies of Photographers,” pages 304–328, gives extensive details for fifty-seven significant persons, often including portraits, collections holdings, and facsimile sig­ natures. Altogether a substantial and valuable contribution worthy of wide emulation.

Silversides, Brock. The Face Pullers: Photographing Native Canadians, 1871–1939 (Saskatoon, Saskatchewan: Fifth House), 1994. Cited by Mattison.

———. Waiting for the Light: Early Mountain Photography in Alberta and British Columbia (Saskatoon, Saskatchewan: Fifth House), 1995. Reported to be a substantial monograph. Not directly examined. Alberta Silversides, Brock. “Calgary Photographers 1883–1950,” Timexposures, Vol. 5, No. 2 (Winter 1992), pp. 19–28. Cited by Mattison.

British Columbia Maurice, Phillippe. Catching the Sun: A Catalogue of Photography Studio and Photographica Advertisements and Notices Published in Prairie Canada between 1850 and 1900 (Calgary, Alberta: Privately published), 1998. Reported by Peter Palmquist as the second of a proposed six volume work containing more than 380 pages of micro­ filmed copies of advertisements, notices, and news items about photographers that appeared in twelve Prairie newspapers during the period surveyed. Available from the compiler at $50, or $92 for volumes 1 and 2. Address: Phillippe Maurice/Filmsearch, P. O. Box 24008, Tower Postal Outlet, Calgary, Alberta T2P 4K6, Canada.

Phillips, Glen C. The Western Canada Photographers List (1860–1925) (Sarnia, Ontario: Iron Gate Publishing Co.), circa 1996. Directory giving the names and career dates for 3,044 professional photographers in Western Canada (Alberta: 602; British Columbia: 1,140; Manitoba: 773; Saskatchewan: 510; Yukon: 19) in more than 400 localities.

Robertson, P. Relentless Verity: Canadian Military Photographers since 1885 (Toronto: University of Toronto Press; Québec: Les Presses de l’Université Laval), 1973.

Cobb, Myrna, and Sher Morgan. Eight Women Photographers of British Columbia, 1860–1978 (Victoria, British Columbia: Camosun College), 1978. Reported as brief essays with portfolios of documentary, portrait, and art photographers. Not directly examined.

Douglas, Fred. Eleven Early British Columbia Photographers, 1890–1940 (Vancouver, British Columbia: Vancouver Art Gallery), 1976. Thirty-eight page illustrated exhibition catalogue; includes the work of five photographers active in the nineteenth and six in the twentieth century, and gives data on each.

Francis, Daniel. Copying People: Photographing British Columbia First Nations, 1860–1940 (Saskatoon, Saskatchewan: Fifth House), 1996. Reported as a scholarly study on the photography of Canada’s native people. Not examined directly.

Mattison, David. Camera Workers: The British Columbia Photographers Directory 1858–1900 ([Victoria, British Columbia]: Camera Workers Press), 1985. A full-scale directory of more than one hundred pages; includes biographical dates, samples of logos or print marks, samples of advertising, a geographical index, and a date index. This, and a follow-up volume, provisionally titled Camera Workers: British Columbia Photographers, 1901–1950: a Work in Progress Directory, can be ordered

Cited in MABS, p. 114, as “beginning with the works of Captain James Peters, Canada’s first military photographer, who recorded the Northwest Rebellion of 1885, the book presents the best works of thirteen representative photogra­ phers. . . . The book is part of a programme to diffuse to the

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directly from the author. Address: 2236 Kinross Avenue, Victoria, British Columbia, Canada V8R 2N5. Fax: (250) 370­ 2210. E-mail: [email protected]

———. Eyes of a City: Early Vancouver Photographers 1868–1900 [City of Vancouver Archives Occasional Paper No. 31] (Vancouver, British Columbia: City of Vancouver Archives), 1986.

Photography Collection, Public Archives of Canada), 1975. A comprehensive chronological narrative for the preConfederation period, based on newspaper advertisements and other contemporary printed sources.

———. “Pre-Confederation Photography in Halifax, Nova Scotia,” The Journal of Canadian Art History, Vol. 4, No. 1 (Spring 1977), pp. 25–44. An article utilizing the research from the item cited immediately above.

Seventy-five page study, including a bibliography and a list of “Vancouver Commercial Photographers and Studios, 1868–1900,” page 73.

Ontario Schwartz, Joan M. Images of Early British Columbia: Landscape Photography, 1858–1888 (Vancouver, British Columbia [Master’s thesis, University of British Columbia]), 1977. Includes a chapter on “Photographers of Early British Columbia.”

———. “The Photographic Record of Pre-Confederation British Columbia,” Archivaria, No. 5 (Winter 1977–1978), pp. 17–24. Concise account of landscape photography in British Columbia based on the author’s thesis cited immediately above. Reprinted in Journal of American Culture, Vol. 4, No. 1 (Spring 1981).

Corke, Charles Thomas. “Early Photography and Photographers in Guelph and Area,” Historic Guelph, the Royal City: Guelph Historical Society, No. 17 (1977–1978), pp. 55–67. Cited by Mattison.

Koltun, Lilly. Pre-Confederation Photography in Toronto (Ottawa: National Photography Collection, Public Archives of Canada), 1976. A comprehensive chronological narrative for the preConfederation period, based on newspaper advertisements and other contemporary sources. Part III, “Checklist of Names,” pages 58–165, comprises a directory of early Ontario photographers 1839–1867, with substantial career information on each one.

New Brunswick Burant, James. Photographers and Photographic Studios, St. John, New Brunswick 1845–65 (Ottawa: National Photography Collection, Public Archives of Canada), 1973. A comprehensive chronological narrative for the preConfederation period, based on newspaper advertisements and other contemporary printed sources.

Harper, J. Russell. “Daguerreotypists and Portrait Takers in Saint John [New Brunswick],” The Dalhousie Review, Vol. 35, No. 3 (Autumn 1955), pp. 259–270. An article offering some details on a number of primary individuals from the initial period of the medium.

Newfoundland McGrath, Antonia. “Early Photography in Newfoundland,” The Newfoundland Museum: Museum Notes, No. 3 (Winter 1980); reprinted Fall 1991. Informative, illustrated introduction to the subject, provid­ ing background information on the Museum’s holdings in early local photography. Available electronically at http://www.delweb.com/nfmuseum/notes3.htm

———. Newfoundland Photography, 1849–1949 (St. John’s, Newfoundland: Breakwater Books), 1980.

McKendry, Jennifer. Early Photography in Kingston (Kingston, Ontario: Privately published), 1998 second edition. A thoroughly researched directory, containing sixty-eight entries for individuals or firms active in the city between 1841 and circa 1930. Supersedes the first edition, privately published in a print run of 105 copies in 1979. Several entries have extensive texts, keyed to plates of early images as examples of work with informative captions. Appendix B, pages 67–68, lists a further thirty-nine “Selected Photographers in Nearby Towns and Villages.”

Study covering a time span from the daguerreotype era to the island’s confederation with Canada. Not directly examined.

Nova Scotia Burant, James. Photography in Pre-Confederation Halifax [Nova Scotia] 1839–1867 (Ottawa: National 111

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Phillips, Glen C. The Ontario Photographers List (1851–1900) (Sarnia, Ontario: Iron Gate Publishing Co.), 1990.

———. Les Livernois, Photographes (Québec City: Musée du Québec—Québec Agenda), 1987. An extensively illustrated 338-page study based on the author's doctoral dissertation and published to accompany an exhibition held at the Musée du Québec. While the work concentrates on the studio practice and output of a single prominent family of photographers, active in Québec City from 1854 to 1974, it also provides much career information on other practitioners in the city. The chapter “Les Débuts de la Photographie à Québec,” pages 41–59, deals with precursors of the 1840s and 1850s, while a part of the chapter “Québec vers 1900,” pages 67–68, deals with the Livernois' commercial rivals. The work also contains an extensive bibliography.

Comprehensive directory listing nearly 3,500 professional photographers and their career dates in more than 400 local­ ities. Contains more than 8,000 entries compiled from municipal, provincial, national, and Dun & Bradstreet busi­ ness directories.

———. The Ontario Photographers List, Volume II (1901–1925) (Sarnia, Ontario: Iron Gate Publishing Co.), circa 1996. Companion volume to the work cited immediately above, listing more than 2,200 professional photographers and their career dates in nearly 300 localities.

Prince Edward Island

Triggs, Stanley G. William Notman. The Stamp of a Studio (Toronto: Coach House Press for Art Gallery of Toronto), 1985. An appendix, pages 163–166, includes twenty-seven “Biographies of the Montreal Studio Photographers,” active in the Notman firm between 1863 and 1917, mostly with portraits. Also published in French under the title William Notman. L’Empreinte d’un Studio.

Rowat, Theresa. “Photography in Prince Edward Island 1839–1873,” Photographic Canadiana, Vol. 13, No. 1 (1987), pp. 2–7. An article on the early history of photography in Prince Edward Island, beginning with the first daguerreotypist, J. W. Wilmot, who opened a business in Charlottetown in 1842.

Québec Cloutier, Nicole. “Les Disciples de Daguerre à Québec, 1839–1855,” Annales d'Histoire de l'Art Canadien [Journal of Canadian Art History] Vol. 5, No. 1 (1980), pp. 33–39. Cited by Michel Lessard in Les Livernois, Photographes, p. 48, as “a brief introduction on the production of daguerreo­ types in Québec City.”

Désy, Louise. “L’Histoire de la Photographie au Québec à travers les Périodiques: 1839–v.1880” (Montréal: [Master of Arts thesis, Université du Québec à Montréal]), 1984. Cited by Michel Lessard in Les Livernois, Photographes, p. 62, as a 342-page work, “the first academic study exclusively devoted to the history of photography in Québec . . . based on a systematic inventory of French and English language newspapers and business directories. The work contains a listing of photographers in Québec from 1840 to 1914.”

Lessard, Michel. Histoire de la Photographie au Québec (Montréal: Department of History of Art, Université du Québec à Montréal), 1985 second edition. Cited by Michel Lessard in Les Livernois, Photographes, p. 62, as an unpaginated compilation of “around fifty articles written since 1982, and which have appeared mostly in the periodical Photo-Sélection. These articles have been gathered together in a self-published form given to students at the Université du Québec à Montréal. . . . The compilation aims at taking a fresh look at the medium's past.” The selection covers the development of photography, chronologically and by process, in the province during the nineteenth century.

———. La Photo S’expose: 150 Ans de Photographie à Québec (Québec: n.p.), 1987.

Saskatchewan Silversides, Brock. “Amateur Photographers of Saskatoon, 1885–1925,” Photographic Canadiana, Vol. 9, No. 5 (January–February 1984), pp. 1–10. Cited by Mattison.

Yukon (Also see entry for Wolfe under United States/Alaska) Mattison, David. “Photo Nuggets: Klondike Photographers,” The Beaver: Exploring Canada’s History, Vol. 77, No. 5 (October/November 1997), pp. 33–39. Survey article marking the centennial of the start of the Gold Rush.

United States (excluding Hawaii) General and Regional

(Also see entry for Treadwell and Darrah under 1. General and International) Abajian, James de Tarr. “Photographers Listings” (Unpublished card file), circa 1970–1985. Approximately ten 3 x 5 inch card file boxes of notes on early photographers of California and Nevada, plus some outlying and itinerant workers. Largely assembled from in-depth search of directories, newspapers, and other contemporary sources. Since the compiler’s death, the material has been held for research at the Bancroft Library of the University of California at Berkeley.

Bush, Alfred L., and Lee Clark Mitchell. The Photograph and the American Indian (Princeton, New Jersey: Princeton University Press), 1994. A substantial work accompanying an exhibition and sympo­ sium. The images cover the entire time span of photography. Much of the early material was drawn from the collection

Cited by Mattison.

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of the noted missionary and educator Reverend Sheldon Jackson (1834–1909), and is subject to many of the longstanding attributional problems of the particular subject matter. The section “Biographies of Photographers,” pages 295–317, gives details for both early and quite recent people, some of them hitherto overlooked. As is frequently the case in this aspect of the field, career details should be subject to careful verification. Contains a substantial bibliography.

Castleberry, May, Martha A. Sandweiss, et al. Perpetual Mirage. Photographic Narratives of the Desert West (New York: Whitney Museum of American Art), 1996.

Dartmouth College Library Bulletin, Vol. 25 (NS), No. 2 (April 1985), pp. 72–91. Lists 125 photographers of a region that includes parts of Vermont and New Hampshire, giving biographical details for several persons.

Fleming, Paula Richardson, and Judith Luskey. The North American Indians in Early Photographs (New York: Harper & Row, Publishers), 1986. A full study of the photographing of the North America Indians, extensively illustrated. The first serious effort to straighten out the many confused attributions of this field. In addition to the textual information, two sections function as directories of early photographers: “Appendix 1: Delegation Photographers c. 1840–c. 1900,” pages 230–232, and “Appendix 2: Selected Frontier Indian Photographers c. 1840–c. 1900,” pages 232–245.

Book accompanying a major exhibit. The section “Catalogue of Works with Biographies,” pages 199–228, compiled by Julie L. Mellby, consists of approximately eighty biobibliographies of photographers and explorer-authors active in the American South West in the nineteenth and twentieth centuries.

Coar, V. H. A Century of Black Photographers: 1840–1960 (Providence, Rhode Island: Providence Museum of Art, Rhode Island School of Design), 1983.

Forresta, Merry. American Photographs: The First Century (Washington, DC: Smithsonian Institution Press), 1996. An exhibit catalogue of more than 170 pieces drawn from a collection acquired in 1995 from the dealer Charles Isaacs. Seventy-nine plates are given in color, one to a page, and all items shown are also given as small color reproductions in the catalogue entries. The review of the volume by Carol Johnson, in the Daguerreian Society Newsletter, Vol. 9, No. 3 (May–June 1997), pp. 20–27, states that the catalogue entries “provide concise biographical information on the photo­ graphers and discerning information about their work.” The review further notes that pictures are included by amateur and commercial photographers as well as “major practitioners.” It observes that there are a few “minor shortcomings” in copy editing or checking of facts.

Not directly examined.

A Collective Vision: Clarence H. White and His Students (Long Beach, California: University Art Museum, California State University), 1985. Exhibit catalogue. Text includes biographical summaries on eight of the leading American photographers who studied with one of the founding members of the Photo-Secession.

Craig, John S. Craig’s Daguerreian Registry. Being a Unique and Cross-indexed Reference to the Practitioners of the Art of the Daguerreotype in the United States from 1839 to 1860 (Torrington, Connecticut: John S. Craig), 1994–1996, three volumes. An invaluable reference work and a landmark of dedication and perseverance in the field. Gives biographical and career information on nearly 9,000 photographers and persons in allied professions active in the medium’s first two decades, compiled from more than 1,500 business directories and other sources. Volume 1: The Overview; Volume 2: Pioneers and Progress, Abbott to Lytle; Volume 3: Pioneers and Progress, MacDonald to Zuky, a cross reference by state, and a bibliog­ raphy. Supplemented by Craig’s Daguerreian Registry Newsletter, Vol. 1, Nos. 1–5 (March 1994–August 1995), five issues of a twelve-page journal offering a great range of questions, details, tidbits of research, and suggested sources. Available in book form directly from the author or as an online database (see Section 2. Works In Progress). Address: John S. Craig, P. O. Box 1637, Torrington, Connecticut 06790. Fax: (860) 496-0664. E-mail: [email protected]

Fulton, Marianne, et al. Eyes of Time. Photojournalism in America (Boston, Toronto, London: Little, Brown and Company: A New York Graphic Society Book, in associa­ tion with the International Museum of Photography at George Eastman House), 1988. Excellent survey, covering all periods. The section “Biographical References,” pages 296–317, compiled by Nancy Levin, gives significant career details for more than 200 individuals, mainly active in the twentieth century.

———, editor, with text by Bonnie Yochelson and Kathleen A. Erwin. Pictorialism into Modernism: The Clarence White School of Photography (New York: Rizzoli), 1996. An elegant catalogue for a major exhibition organized by the Detroit Institute of Arts in collaboration with the George Eastman House. The section “Biographies,” pages 192–200, compiled by Kathleen A. Erwin, gives career statements for fifty-five colleagues of Clarence H. White, together with stu­ dents and teachers at the White School. The data is largely derived from secondary sources but is seldom available in a single volume.

Darrah, William C. Stereo Views (Gettysburg, Pennsylvania: Times and News Publishing Co.), 1961. Lists 1,000 American stereo photographers state by state, and by rough time period; an earlier and less certain version of Darrah’s The World of Stereographs noted above under “General and International.”

Galassi, Peter, editor. American Photography 1890–1965 (New York: Museum of Modern Art), 1995. A 256-page catalogue for a touring exhibition of prints drawn from the collection of the Museum of Modern Art. All entries conscientiously annotated.

Drake, Greg. “Nineteenth Century Photography in the Upper Connecticut Valley: An Annotated Checklist,”

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Heymann, Therese Thau. Pioneer Photography of the Great Basin (Reno, Nevada: n.p.), 1984.

Newhall, Beaumont. The Daguerreotype in America (New York: Dover Publications, Inc.), 1976 third edition. Revised and enlarged edition of a work first published in 1961. The section “Biographies,” pages 139–156, gives varying amounts of career data, notes on bodies of work, and bibliographic citations for 158 persons.

A twenty-eight page exhibition catalogue, including a chronology, for the region that covers parts of Nevada, Utah and California. Reported by Peter Palmquist as devot­ ed almost exclusively to the work of Timothy O’Sullivan.

Hiesinger, Ulrich W. Indian Lives: A Photographic Record from the Civil War to Wounded Knee (München [Munich], Germany: Prestel), 1994. An interesting survey done by arbitrary sampling of visual records of selected tribes or regions. Concentrates on famil­ iar images, although a number of important lesser known views are given. The section “Biographical Notes on the Photographers,” pages 122–131, gives details for only thirty individuals, but many more are shown in the book. Some entries give new information, others repeat well-known detail, and some are incomplete or carry needless errors.

“Humphrey’s Daguerreian Artists’ Register 1850 and 1851,” The Daguerreian Annual 1993: Official Yearbook of The Daguerreian Society, pp. 155–157.

Ouimet, Beth. “Dobyns & Company: River City Daguerreian Network,” The Daguerreian Annual 1990: Official Yearbook of The Daguerreian Society, pp. 42–50. This is an article rather than a directory, with scattered but substantial details of dates and locations for approximately twenty daguerreotypists involved with Dobyns’s chain of galleries in eight cities, mainly in the southeastern quarter of the United States.

Palmquist, Peter E. “Asian American Photographers on the Pacific Frontier, 1850–1930” in With New Eyes: Toward an Asian American Art History in the West (San Francisco: San Francisco State University), 1995, pp. 14–21. A brief essay in an exhibit catalogue; includes a three-page “Preliminary Checklist of Asian and Asian American Photographers and Related Trades, Active in California/Oregon/Washington, 1850–1930.” Names, some descriptive notes, locations, and date periods are given for about 160 studios or individuals listed in the author’s files. A few scattered mentions of other and later photographers occur elsewhere in the catalogue.

Reprint, with annotations, of two listings with addresses published in Humphrey’s Daguerreian Journal, Vol. 1, No. 2 (November 15, 1850), and, Vol. 2, No. 12 (November 1, 1851), containing fifty-four and 120 entries respectively.

Jutzi, Alan. Prominent American Photographers. A listing by photographer of information and holdings in the Henry E. Huntington Library, 1151 Oxford Road, San Marino, California 91108.

Katz, D. Mark. Witness To An Era: The Life and Photographs of Alexander Gardner (New York: Viking), 1991. The book primarily explores the career of one man, but the short section “Epilogue,” pages 269–274, gives biographies and some portraits of seven relatives or employees of Gardner who made photographs during the Civil War. The main text has some problems in spelling and details.

Kelbaugh, Ross J. Directory of Civil War Photographers (Baltimore, Maryland: Historic Graphics), 1990–1992, three volumes.

———, et al. “Appendix: Miscellaneous Daguerreian Biographies and Chronologies,” The Daguerreian Annual: Official Yearbook of the Daguerreian Society, 1990, pp. 187–199; 1991, pp. 247–260; 1992, pp. 241–252; 1993, pp. 255–276. This useful series contains thirty-eight biographies for American photographers active during the medium’s first two decades.

Peterson, Christian A. After the Photo-Secession: American Pictorial Photography, 1910–1955 (New York: The Minneapolis Institute of Arts in association with W. W. Norton & Company), 1997. A handsomely produced exhibition catalogue covering much of the major range of this style. The general text is thoughtful and well researched; the illustrations offer fine examples of all aspects of the work in accurate color repro­ ductions. The section “Biographies,” pages 169–209, pro­ vides solid details and bibliographic sources for seventy-six individuals. Many of these photographers have been over­ looked for decades or are accessible only through extensive search through fifty years of periodical literature. This work is a landmark to be emulated for its quality and substance.

Volume 1 covers Maryland, Delaware, the District of Columbia, and parts of Virginia and West Virginia, listing more than 700 individuals. Volume 2 covers Pennsylvania and New Jersey, listing more than 1,100 individuals. Volume 3 covers the Western States and Territories. These three are the first in a projected six-volume set, based on federal tax records (see Section B. Works in Progress). Available directly from the compiler at Historic Graphics, 7023 Deerfield Road, Baltimore, Maryland 21208.

Moutoussamy-Ashe, Jeanne. Viewfinders: Black Women Photographers, 1839–1985 (New York: Dodd, Mead & Company), 1986. A general history with illustrations and sections detailing some careers. The section “Bio-Bibliography,” pages 177–182, gives brief citations of biographies for forty-three persons active during the period of 1860–1960. The “General Listing: 1860–1980” lists names in two sections; then names are listed in a “Geographical Index.”

Polito, Ron, editor. “Photographers of the Late 1850s: Capsule Reviews from the Photographic Journals of the Period,” The Daguerreian Annual 1991: Official Yearbook of the Daguerreian Society, pp. 49–74. Annotated reprinting, including summary tables, of eleven articles published in the Photographic and Fine Art Journal between January 1856 and December 1857. Reviews a total of 162 studios in Baltimore, Cincinnati, New York, Phila­ delphia, Richmond (Virginia), and Washington, DC. Also included are two reviews of Boston photographers, reprinted

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from The Daguerreian Journal (1851) and The American Journal of Photography (1864). An important resource for career information.

Rinhart, Floyd, and Marion Rinhart. American Daguerreian Art (New York: Clarkson N. Potter, Inc.), 1967. Section on pages 112–131 gives biographical notes on sever­ al notable American daguerreotypists. Some caution neces­ sary on the accuracy of individual entries.

———. The American Daguerreotype (Athens, Georgia: The University of Georgia Press), 1981.

Tucker, M. L. “Photography and Photographers” in Encyclopedia of Southern Culture edited by C. R. Wilson and W. Ferris (Chapel Hill, North Carolina: University of North Carolina Press), 1989, pp. 94–100. Noted by Snyder as “a concise overview of photographic practitioners and practices in the American South.” The author co-produced the valuable history of New Orleans photography (see below, under Louisiana).

Turner, William A. Even More Confederate Faces (Orange, Virginia: Moss Publications), 1983. Includes 300 mostly previously unpublished photographs, a “profile” of the firm of Bendann Bros. of Baltimore, and an appendix “Listing of more than 100 Known Photographers of Confederate Soldiers.” No dates are given; most names have addresses.

The section “Biographies,” pages 379–421, contains several hundred short entries. Some caution necessary on the accuracy of individual entries. Superseded, for completeness and biog­ raphical accuracy, by Craig’s Daguerreian Registry, cited above.

Robinson, William F. A Certain Slant of Light: The First Hundred Years of New England Photography (Boston: New York Graphic Society), 1980.

Union Guide to Photograph Collections in the Pacific Northwest (Portland, Oregon: Oregon Historical Society), 1978. Scattered biographical and limited other data throughout the entries about specific picture collections in Idaho, Montana, Oregon, and Washington. Pages 405–408 comprise a “Photographers’ Index.”

The “Checklist of Photographers and Their Work,” pages 220–234, lists eighty-four individuals and firms with limited biographical data, notes on bodies of work, and biblio­ graphical citations.

Rule, Amy. “Archives of American Women Photographers,” History of Photography, Vol. 18, No. 3 (Autumn 1994), pp. 244–247.

Welling, William. Photography in America—The Formative Years 1839–1900 (New York: Thomas Y. Crowell Company), 1978. General format is year-by-year chronology of persons and events. Page 77 reproduces the 1850 “Daguerreian Artists’ Register” from the first issue of The Daguerreian Journal; page 85 reproduces the 1851 list of officers and delegates attending the first convention of the New York State Daguerrean Association in Utica.

A short article and part of a larger section of the periodical specifically devoted to women in photography. Examines the holdings of twelve large and several smaller institution­ al collections, specifically noting forty-six individuals for whom life years are given.

Sandler, M. W. “Early New England Photographers: Pioneers of an Art,” New England Journal of Photography, Vol. 86 (1982).

Willis-Thomas, Deborah. Black Photographers, 1840–1940: An Illustrated Bio-Bibliography (New York: Garland Publishing, Inc.), 1985. A 159-page survey of approximately seventy AfricanAmerican photographers. Quite limited text but gives brief biographies, lists of principal subjects, collection lists, bibliographies, and reproductions of pictures. Somewhat difficult to use because of its arrangement in chronological order. The author published a follow-up survey, An Illustrated Bio-Bibliography of Black Photographers 1940–1988, under the same imprint in 1988.

Not directly examined. A general article presumably discussing at least some careers in a degree of detail.

Sembach, K. J. American Landscape Photography 1860–1978 (München [Munich]: Neue Sammlung), 1978. Cited in MABS, p. 176, as the ninety-six page catalogue for an exhibition “aim[ing] to correct European misconceptions about the American landscape as conveyed through com­ mercial photography. . . . The catalogue is divided into two sections: 1860–1900 and 1900–1978, and biographies of the photographers are appended.” Also published in German.

Witham, George F., compiler. Catalogue of Civil War Photographers: A Listing of Civil War Photographers’ Imprints ([Portland, Oregon: Privately published]), 1988. Listing of more than 1,700 Civil War photographers arranged alphabetically by state or territory, compiled from published works and a survey of thirty-four private collections.

Trachtenberg, Alan, Peter Neill, and Peter C. Bunnell, editors. The City: American Experience (New York: Oxford University Press), 1971. Anthology of text and pictures. The section “Glossary [sic] of Photographers,” pages 615–620, gives brief biographical notes on the fifty-four photographers active from 1840 to 1970.

Travis, David, and Anne Kennedy. Photography Rediscovered: American Photographs 1900–1930 (New York: Whitney Museum of Modern Art), 1979.

Alabama Mellown, Robert O. “Early Photography, F. A. P. Barnard, and the University of Alabama,” Alabama Review, Vol. 37 (January 1984), pp. 24–33. Article concerning the daguerreotype in Alabama. Not directly examined.

Exhibition catalogue surveying Pictorialist and Modernist photography. Includes biographies of the photographers featured, compiled by Anne Kennedy. 115

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Thomasson, Michael V. “Commercial Photography in Mobile, Alabama,” History of Photography, Vol. 19, No. 1 (Spring 1995), pp. 46–50. A “shorter essay” included as part of a thematic issue on the American South. Gives a general overview of the city’s stu­ dio photographers, active mainly between the Civil War and the end of the century. Includes some career dates and locations along with reference citations, some illustrations, and locations of a few bodies of negatives. A sketchy but useful source for an important but previously unexamined area. The author is Director of the University Archives, University of South Alabama, Mobile.

1874–1886,” with names, working periods, and locations for several settled or visiting photographers in one Arizona town.

McLaughlin, Herb and Dorothy. Phoenix 1870–1970 in Photographs ([n.p.]: Arizona Photographic Association), 1970. Page 28 offers a list of twenty-nine persons or firms active “in and around Phoenix prior to 1920.”

Alaska Wolfe, Laurance. “Stereo Gold: Stereography of Alaska, the Yukon, the Klondike, 1868 to 1987,” Stereo World, Vol. 14, No. 3 (July–August 1987), pp. 4–16 and, Vol. 14, No. 4 (September–October 1987), pp. 4–15. Cited in Johnson, p. 860, as a two-part article discussing the work of twelve individuals or firms.

Arizona Cooper, Evelyn S. Etched with Light: A Survey History of Photography in the Territory of Arizona (Tuscon, Arizona: [Doctoral dissertation presented at Arizona State University]), 1993. Cited in ABM, Vol. 26, No. 1 (1995), p. 512, as a 400-page study which “charts the history of photography in Arizona from the 1860s to 1912 and profiles a selection of photo­ graphers . . . active during this period.”

Daniels, David. “Photography’s Wet-Plate Interlude in Arizona Territory: 1864–1880,” The Journal of Arizona History, Vol. 9, No. 4 (Winter 1968), pp. 171–194.

Rowe, Jeremy. Photographers in Arizona 1850–1920: A History and Directory (Nevada City, California: Carl Mautz Publishing), 1997. A handsomely produced volume featuring research long needed in the field. The general text sets photography in a larger historical and social context that clarifies patterns of growth of the medium and the area. The illustrations are well-reproduced, with entire card mounts often included. The ninety-six illustrations are largely drawn from the compiler’s personal collection and rely rather much on unattributed work and “real photo” postcards. Includes a discussion “Overview of Photographic Formats” and a liber­ al bibliography. The actual directory gives considerable new and valuable material but is often sparse in many entries, apparently from limited examination of basic sources such as newspapers and from inadequate communication with other researchers of the specific region. There are errors of names and some confusions between persons of similar names, such as William Bell and William A. Bell. It is to be hoped that the compiler will plan an expanded revision.

Gives career details on seventeen individuals, both survey and commercial portrait photographers.

Hooper, Bruce. “Camera on the Mogollon Rim: Nineteenth Century Photography in Flagstaff, Arizona Territory, 1867–1916,” History of Photography, Vol. 12, No. 2 (April–June 1988), pp. 93–100. An article with extensively scattered details on about a dozen individuals.

———. “Chronology of Commercial Photography and Stereography in Arizona Territory” in “Arizona Territorial Stereography—Part IV,” Stereo World, Vol. 13, No. 4 (September–October 1986), pp. 29 and 48. A very brief synoptic chronology derived by compressing details from a series of articles on the topic. Helps establish date periods for a number of notable photographers. A por­ tion of a five-part series recounting the careers of many individuals during the period 1864 to 1930.

———. “Stoneman Lake: One of Arizona’s Early Tourist Attractions Stereographed by D. F. Mitchell and W. H. Williscraft, 1875–1883,” Stereo World, Vol. 12, No. 4 (September–October 1985), pp. 37–40 and 47.

Spude, Robert L. “Shadow Catchers: A Portrait of Arizona’s Pioneer Photographers, 1863–1893,” Journal of Arizona History, Vol. 30, No. 3 (Autumn 1989), pp. 233–250. Cited in Johnson, p. 861, as an article discussing the careers of several of the more prominent photographers active during the period surveyed, out of a total of eighty-seven identified by the author.

Page 47 gives a column of “Photography in Prescott,

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Vaughn, Tom. Bisbee 1880–1920: The Photographer’s View (Bisbee, Arizona: Cochise Fine Arts, Inc. and Bisbee Council on the Arts & Humanities, Inc.), 1980. Exhibit catalogue rather than an actual directory, but gives full listing of pictures in exhibit with photographers and image dates, making some extrapolation possible.

Fels, Thomas Weston, Therese Heyman, and David Travis. Watkins to Weston: 101 Years of California Photography 1849–1950 (Santa Barbara, California: Santa Barbara Museum of Art, in cooperation with Roberts Rinehart Publishers, Niwot, Colorado), 1992. An exhibition catalogue covering the various trends in one of the most photographed areas in the world; includes three essays examining the periods 1849–1890, 1890–1925, and 1925–1950. The section “Biographies of Photographers,” pages 176–185, offers year-chronology outlines of careers for sixty-three individuals, and some life dates are given in picture captions for others throughout the volume. Includes essays by three specialists and a generous bibliography. There are occasional errors in physical arrangement of information and in typography.

Arkansas Bennett, Swanee, and William B. Wharton. Arkansas Made: A Survey of the Decorative, Mechanical, and Fine Arts Produced in Arkansas, 1819–1870 (Fayetteville, Arkansas: The University of Arkansas Press),1991, Vol. 2. In a general essay, “Photography in Arkansas,” pages 7–16, and a “Biographical Appendix of Arkansas Photographers,” pages 17–28, the compilers offer a solid amount of long for­ gotten detail on 128 individuals from the daguerreotype, ambrotype, and wet plate periods. The material is largely derived from newspapers, census records, business or city directories, and other public records. A valuable contribu­ tion for an area crossed by a few noted artists but usually otherwise a blank in history.

Harris, David, with Eric Sandweiss. Eadweard Muybridge and the Photographic Panorama of San Francisco, 1850–1880 (Montreal, Canada: Canadian Centre for Architecture), 1993. A comprehensive examination of the overall topic, with splendid illustrations, thorough research, and the Centre’s usual elegance of production. The text and captions offer short career summaries for Carleton Watkins and Eadweard Muybridge, together with life dates and terminal locations for three other panorama makers of note. Unfortunately, the daguerreotypists who made the primary items of the genre are not given full accounts but only a passing mention, and a few are not identified.

California (Also see entry for Abajian under United States/General and Regional) Baird, John A., editor. Images of El Dorado: A History of California Photography, 1850–1975 (Davis, California: Memorial Union Art Gallery, University of California), 1975. Fifty-page exhibition catalogue. Not directly examined.

Birt, Rodger C. Envisioning the City: Photography in the History of San Francisco, 1850–1906 (New Haven, Connecticut: [Doctoral dissertation presented at Yale University]), 1985, two volumes.

Hathaway, Pat. Photographers of Monterey County, California 1870–1900. Unpublished typescript listing held by the author, 568 Lighthouse Avenue, Pacific Grove, California 93950.

Hitchcock, Ruth, compiler. Tehama County, California Photographers 1850–1900. Unpublished typescript held by the Tehama County Historical Society, Red Bluff, California 96080.

Not directly examined.

Caddick, James L. Directory of Photographers in the San Francisco Bay Area to 1900 ([San Francisco: Privately compiled]), 1985.

Kobal, John. The Art of the Great Hollywood Portrait Photographers (New York: Alfred A. Knopf), 1980. Includes somewhat informative listing of overlooked photographers in this specialized genre.

A computerized directory of photographers in towns

surrounding San Francisco Bay.

Callarman, Barbara Dye. Photographers of Nineteenth Century Los Angeles County: A Directory (Los Angeles: Hacienda Gateway Press), 1993. A thorough and well-illustrated directory, giving dates and addresses, and additional biographical information for the more prominent photographers.

Latour, Ira H., editor. Silver Shadows: A Directory and History: Early Photography in Chico and Twelve Counties of Northern California [with essays by William A. Jones, Ira H. Latour, Carl Mautz, and Peter E. Palmquist] (Chico, California: The Chico Museum Association and the Chico Art Center), 1993. Stated to be an continuation of interest in photography in the town of Chico after recognition in 1966 by LIFE magazine. The volume offers brief texts on the history of photography, the Gold Rush, early photography in the region, discussion of a regional collection, a section of well-printed illustrations with extensive captions, and short commentary on regional research. Three actual listings by town and date period are given: eighty-four “Photographers Living or Working in Chico,” pages 70–71, fifty-four “Lady Photographers Working in the North State,” page 72, and forty “Additional Photographers Working in the North State,” page 73. Contains scattered typographical and spelling errors.

Demichelis, Karen. Early Stockton [California] Photographers (Stockton, California: [Thesis presented at the Department of History, San Joaquin Delta College]), 1981. Reported by Peter Palmquist as examining the history of the subject with extended discussion of about a dozen of the principal photographers of the region. An appendix lists all Stockton photographers in city directories from 1878 to circa 1950.

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Mangan, Terry William, and Laverne Mau Dicker. California Photographers, 1852–1920: An Index of Photographers in the Paper Print Collection of the California Historical Society (San Francisco: California Historical Society), 1977.

———. “California Stereographs: A Checklist of Makers,” The Photographic Collector [Holyoke, Massachusetts] Vol. 2, No. 4 (Winter 1981–1982), pp. 10–17 and Vol. 3, No. 1 (Spring 1982), pp. 18–25. Two-part article, including many unfamiliar names.

Cited in Johnson, p. 861.

Mann, Margery, organizer. California Pictorialism (San Francisco: Museum of Modern Art), 1977. Eighty-page exhibition catalogue featuring the work of sev­ enteen photographers active in the state between 1900 and 1940, and including biographical notes for each.

Muchnic, Suzanne, and Leland Rice. Southern California Photography, 1900–1965: An Historical Survey (Los Angeles: County Museum of Art), 1980.

———. “The Photographers of Humboldt Bay,” Journal of the West, Vol. 20, No. 3 (July 1981), pp. 42–56. Primarily a textual history but gives biographical information for four maritime photographers of the area.

———. “The Photographers of Trinity County 1850–1900,” Trinity 1979 [Official Yearbook, Trinity County Historical Society, Weaverville, California], pp. 4–33. Includes directory listing of fifty-five photographers and gives biographical annotations.

Twenty-four page exhibition catalogue. Not directly

examined.

Orland, Ted. Man and Yosemite: A Photographer’s View of the Early Years (Santa Cruz, California: The Image Continuum Press), [circa 1985]. Cited in Johnson, p. 861, as a 95-page survey of photo­

graphic activity in the Yosemite during the nineteenth

century, including discussion of individual careers.

———. “Professional Photographers Working in Humboldt County, California 1840–1940,” Humboldt Researcher [Newsletter of the Redwood Genealogical Society, Fortuna, California] Vol. 6, No. 4 (May 1974).

Palmquist, Peter. “California Nineteenth Century Women Photographers,” The Photographic Collector [Holyoke, Massachusetts] Vol. 1, No. 3 (Fall 1980), pp. 18–21. Lists names, places, and dates for 112 women photogra­ phers and firms with women partners. Superseded by the author’s Shadowcatchers cited below.

———, compiler. California Photographers: A Bibliographic Reference and Listing of Photographers Active in California Prior to 1900 (Unpublished bound compendium of research notations and source refer­ ences), 1982 from approximately seven years of research. A unique volume of about 250 pages, partly in typescript and partly in reprographic copies from index cards and other notes. There are entries for more than 2,000 photo­ graphers and a full index, all keyed to 600 various sources originally consulted. Research inquiries can be directed to the compiler. E-mail access is available to a degree, but postal inquiries are more advisable. Address: 1183 Union Street, Arcata, California 95521. E-mail: [email protected]

———, compiler. California Photographers 1850–1920: Miscellaneous Listings Arranged by County (Unpublished bound compendium), n.d.

———. Shadowcatchers: A Directory of Women in California Photography before 1901 (Arcata, California: Peter E. Palmquist), 1990. An absolute landmark of both basic research and presenta­ tion in useful form. Containing relatively expansive infor­ mation about 850 women in various aspects of photography, this 272–page volume distills twenty years of research. Most details are documented and there are numerous interesting illustrations. A checklist by county is included together with a brief but valuable “Selected Readings” list. An even larger second volume, Shadowcatchers II, continuing similar coverage 1900 through 1920, was published by the author in 1991 and comprised a directory of 1065 individuals. Available directly from the author. A third volume, covering the period 1920–1940,

A unique volume of listings collected by the compiler or others during the past thirty years from a great variety of sources. The information is generally organized in the form of alphabetical names, working date periods, and locations within each county of the state. Some sections cover time periods beyond 1920. Essentially a guide for initial research and best consulted along with the compiler’s Bibliographic Reference volume cited immediately above. Research inquiries can be directed to the compiler as indicated above.

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while not yet published, is ready in files.

Address: 1183 Union Street, Arcata, California 95521.

E-mail: [email protected]

An extensive compilation derived from the classified occupational listings of San Francisco city directories. The compiler has given full ownership of the material to Peter Palmquist, who states that it is “useful” and that he often refers to his bound copy in his wide-ranging research. The original set is on long term research loan to the California Historical Society, 678 Mission Street, San Francisco, California 94105.

———. “Silver Plates Among the Goldfields: the Photographers of Siskiyou County, 1850–1906,” California History, Vol. 65, No. 2 (June 1986), pp. 114–125. Discussion of the careers of some of the more prominent professional photographers out of the 150 recorded by the author.

———. “Yesterday’s Photographs: Reflections of the Past—The Photographers of Shasta County California,” The Covered Wagon [Yearbook of the Shasta County Historical Society, Redding, California] (1977), pp. 6–20 and (1978), pp. 33–50. Two-part study giving precise data on nineteenth century photographers and studios, the first part for the period 1850–1870, the second part for the period 1870–1900.

———, and Lincoln Kilian. Photographers of the Humboldt Bay Region (Arcata, California: Peter Palmquist), 1985–1988, seven volumes. This series combines exhaustive photographic history and generous social history for a single county of the northern California coast. The two aspects of history are presented in textual form enhanced by numerous appendices, marginal cuts, sections of illustrations, chronological charts, and many other types of material that enlighten the central topics. While occasional volumes are devoted in depth to single photographers, most cover the photographic activities of a period of years in astonishing detail. Each volume offers an extensive life and career outline for each photographer active in the period along with analysis of all recorded forms of logos or card mounts and an illustrated inventory of known specimens of work. Photographers of short duration are often traced through the remainders of their careers elsewhere, with the effect that the regional emphasis of the series is often exceeded to present valuable material for other areas of California, the United States, and abroad. Sometimes difficult to use quickly because coverage of individuals may reach into several volumes, but an index to the series was issued with Volume 5.

Patton, Mary Elizabeth, and Ronna H. Berezin. Pasadena Photographs and Photographers 1880–1915: An Exhibit Presented by the Pasadena Historical Society (Pasadena, California: The Pasadena Historical Society), 1982. An exhibit catalogue including an informative general text on the photographic history of the city and a biographical essay on the noted Elias A. Bonine. A group of illustrations and a list of the items shown offer further dates for some work.

Thiel, Andrea Christine. A Photographic History of Corona, California (Long Beach, California: [Master of Arts thesis presented at California State University]), 1990. Not directly examined.

Wilson, Michael G., and Dennis Reed. Pictorialism in California: Photographs, 1900–1940 (Malibu, Cali­ fornia: J. Paul Getty Museum; San Marino, California: The Huntington Library and Art Gallery), 1994. A 160-page exhibition catalogue. Section “Biographies,” pages 141–146.

Colorado Harber, Opal. Photographers and the Colorado Scene 1853–1900 (Denver: Western History Department, Denver Public Library), 1961. One of the pioneering works in the field. A slightly revised and expanded version was published as part of Colorado on Glass by Terry William Mangan cited below.

———. Photographers and the Colorado Scene 1901–1941 (Paonia, Colorado: Opal Harber), 1977. A second volume gleaned from business or city directories to expand the time coverage of the previous item. While never formally published, the earlier format giving working years and locations was continued by the compiler after her retirement. Copies or access are best sought through the Western History Department of the Denver, Colorado Public Library.

———. “A Few Early Photographers of Colorado,” Colorado Magazine, Vol. 33, No. 4 (October 1956), pp. 284–295. Discusses the careers of six individuals or partnerships active in the nineteenth century, drawn from the author’s Master’s thesis The Early Photographers of Colorado, 1853 to 1876 (Denver, Colorado: University of Denver), 1956.

Mangan, Terry William. Colorado on Glass: Colorado’s First Half Century as seen by the Camera (Denver: Sundance Limited), 1976. A full-scale photographic history of early Colorado. The section “Directory of Early Photographers 1853 through 1900,” pages 391–400, compiled by Mrs. Opal Harber with additions by the author, is a slightly revised and expanded version of the work by Opal Harber cited above.

Connecticut Fuller, Sue Elizabeth. “Checklist of Connecticut Photographers by Town: 1839–1889” and “Alphabetical Index of Connecticut Photographers: 1839–1889,” The Connecticut Historical Society Bulletin, Vol. 47, No. 4 (Winter 1982), pp. 117–154 and 155–163. Taken together with William F. Robinson’s essay on pages 97–116 of the same issue (see below), these items make up a solid record of the first fifty years of photography in the state.

White, Anthony R. Index of Photographers in San Francisco from 1850 to 1900 (Unpublished typed 5 x 8 inch card index), circa 1975–1980. 119

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Robinson, William F. The Connecticut Yankee and the Camera: 1839–1889 (Hartford, Connecticut: The Connecticut Historical Society), 1983. A history of Connecticut photography, including a checklist of photographers by town, 1839–1889; an offprint of part of the previous entry, available from The Connecticut Historical Society, 1 Elizabeth Street, Hartford, Connecticut 06105. E-mail: [email protected]

June 4–August 9, 1980. The “Appendix: Atlanta Photographers 1840–1930,” pages 58–63, lists 420 photographers with approximate periods of activity only.

Hawaii (see Oceania: Hawaii) Idaho

Delaware Williams, Jon M. “Daguerreotypists, Ambrotypists, and Photographers in Wilmington, Delaware, 1842–1859,” Delaware History, Vol. 18, No. 3 (Spring–Summer 1979), pp. 180–193. Includes a census of twenty-four photographers.

District of Columbia Baty, Laurie. Photographers in Washington, DC, 1870–1885 (Washington, DC: [Master of Arts thesis, George Washington University]), 1979. For the follow-up to this study, see under Works in Progress.

Busey, Samuel C. “Early History of Daguerreotypy in the City of Washington,” Records of the [District of] Columbia Historical Society, Vol. 3 (1900), pp. 81–95. Transcription of an address given to the Columbia Historical Society on November 7, 1898. An early effort in the field that includes some biographical details and notes persons otherwise forgotten.

Waldsmith, John. “Washington City, DC,” Stereo World, Vol. 10, No. 3 (July–August 1983), pp. 14–21. Cited in Johnson, p. 864, as a survey article listing twentyeight resident and sixteen visiting stereo photographers who took views of the city between the 1850s and the early 1900s.

Hart, Arthur A. Camera Eye on Idaho: Pioneer Photography 1863–1913 (Caldwell, Idaho: The Caxton Printers, Ltd.), 1990. A full-volume survey of the history of the area with illustrations and regionalized commentary. Two tables give an alphabetical listing of photographers by name, location, and date periods on pages 156–176, and the same details are arranged alphabetically by town on pages 177–188. The text opens some important new ground and illuminates previous gaps in otherwise known careers but is not exhaustively complete.

Florida Rinhart, Floyd, and Marion Rinhart. Victorian Florida: America’s Last Frontier (Atlanta, Georgia: Peachtree Publishers Ltd.), 1986. An illustrated social and photographic history of the state of Florida. The section “Biographies of Photographers,” pages 205–214, gives varying amounts of detail on lives and careers of 196 photographers or firms issuing photographs of Florida between 1842 and 1900, as derived from a variety of sources. Includes a bibliography.

Weber, Bruce. The Sun and the Shade: Florida Photography, 1885–1983 (West Palm Beach, Florida: Norton Gallery and School of Art), 1983.

Illinois Czach, Marie. A Directory of Early Illinois Photographers: Preliminary Investigations into Photography as Practiced in Illinois, excluding Chicago, from 1846 to 1914 (Macomb, Illinois: Western Illinois University), 1977. Modestly sub-titled “A Work-in-Progress Report,” the work is in fact a full-scale directory, with index by locality. Quite helpful although not total in coverage.

Ninety-six page exhibition catalogue. Not directly examined.

Georgia Album—Original Photographs from the Atlanta Historical Society: Catalogue of an Exhibition at Handshake Center for the Arts, Atlanta, Georgia,

Repp, Stephen. Photographers of Galena, Illinois ([Galena, Illinois: Privately Published], n.d. Cited as a twenty-eight page directory without further com­ ment in Craig’s Daguerreian Registry, Vol. 1 “The Overview,” page 361. Not directly examined. 120

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[Rhymer, Mary Frances, et al.] Chicago Photographers 1847 through 1900 as Listed in Chicago City Directories (Chicago: Print Department, Chicago Historical Society), 1958.

Nickell, Joe, and Thomas House. “Photographists: Nineteenth Century Lexington, Kentucky Photographers,” Journal of Kentucky Studies, Vol. 13 (September 1996), pp. 50–60. Reported by Thomas House as a study partly based on the holdings in the photo archives of the University of Kentucky.

A 175-page directory, one of the pioneer works in the field.

Iowa Louisiana Bennett, Mary. An Iowa Album: A Photographic History, 1860–1920 (Iowa City, Iowa), 1990. Images drawn from the collections of the State Historical Society. Reported by Peter Palmquist as basically a picture book, with little information concerning the photographers themselves.

Mhire, Herman, organizer. A Century of Vision: Louisiana Photography, 1884–1984 (Lafayette, Louisiana: University Art Museum, University of Southwestern Louisiana), 1986. A 136-page exhibition catalogue. The listing “Photographers’ Biographies,” page 132, gives life dates and location for twenty-three individuals, seven active before World War I. Further career details on these individuals can be found in the essay “Louisiana Photography: An Historical Overview 1880–1940,” pages 17–27, by Anne E. Peterson. Texts in English and French.

———, and Paul C. Juhl. Iowa Stereographs: ThreeDimensional Visions of the Past (Iowa City, Iowa: University of Iowa Press), 1997. A volume of 220 stereo views, including a good selection of images of early studios, uses of stereoscopes, and historical quotations on the medium or particular photographers. The primary intent of the work is a mixture of social history and nostalgia, but it offers a good overview of the state’s visual heritage. Pages 337–357 list about 362 individual stereo photographers, with localities and estimated decades of activity. Page 359 lists nineteen individuals or companies based in other states, but with no dates. Between the two lists a few clues occur for persons better known elsewhere who operated in Iowa at some point. These details under­ line the value of collating the pieces of information now available into future regional or broader presentations. Includes a useful bibliography and reference to a related compilation.

———, compilers. Iowa’s Stereo Photographers: A Biographical Directory (Iowa City, Iowa: Privately published), 1998. A volume distilling most of the research on career and biog­ raphical details which underpinned the work cited immedi­ ately above. Considerable information is given on some individuals, and the research is a continuing effort aimed at future expanded publication. More researchers in the field would do well to follow this example of making basic refer­ ence material more widely available.

Kansas

Smith, Margaret Denton, and Mary Louise Tucker. Photography in New Orleans: The Early Years, 1840–1865 (Baton Rouge, Louisiana: Louisiana State University Press), 1982. The section “Biographical Checklist of New Orleans Photographers,” pages 151–171, gives details on the lives or careers of 211 photographers active between 1840 and 1870. A previous version appeared in Louisiana History, Vol. 20, No. 4 (Fall 1979), pp. 393–430. A groundbreaking and wellresearched work; unfortunately, a projected second volume was never realized.

Maine Avery, Myron H. “Nineteenth Century Photographers of Katahdin,” Appalachia N.S., No. 12 (December 1946), pp. 218–224. Cited in Johnson, p. 866, as a survey article touching upon several early professional photographers active in the Katahdin region.

Darrah, William C., compiler. A Check List of Maine Photographers who issued Stereographs—A Special Supplement to the Maine Historical Society NewsLetter (May 1967), pp. 1–8. Lists about 130 photographers or publishers active between 1860 and 1900, both alphabetically and by town, but does not give dates for particular names.

Taft, Robert. “A Photographic History of Early Kansas,” Kansas Historical Quarterly, Vol. 3, No. 1 (February 1934), pp. 3–14; reprinted in Stereo World, Vols. 2 and 3 (1976). This classic account appears to be the single historical study on Kansas yet produced.

Kentucky Coke, Van Deren. “When Photography was a Marvel: Making of Daguerreotypes thrived before the Civil War in many Lexington Galleries,” Louisville Courier (April 19, 1959), pp. 31–36. Cited in Johnson, p. 865, as a local history article touching on seven early photographers. Later research (1980) proved that some details are legend.

Maryland Kelbaugh, Ross J. “Dawn of the Daguerrean Era in Baltimore, 1839–1849,” Maryland Historical Magazine, Vol. 84, No. 2 (Summer 1989), pp. 101–118. An article rather than a directory, but gives useful informa­ tion on several of the original photographers of the city.

———. Directory of Maryland Photographers 1839–1900 (Baltimore, Maryland: Historic Graphics), 1988. A full-scale directory giving alphabetical listings of the

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photographers in two sections, for Baltimore and for other counties of Maryland, with addresses or locations, date periods of work, and reference sources. Some entries offer period quotations on the subject and a section of biogra­ phies of several noted photographers is included. Available directly from the compiler at Historic Graphics, 7023 Deerfield Road, Baltimore, Maryland 21208. E-mail: [email protected]

———. Supplemental Directory of Baltimore Daguerreotypists (Baltimore, Maryland: Historic Graphics), 1994.

Novak, Michael. The Photographic Record of the Great Boston Fire of 1872 (Newport Beach, California: Privately published), circa 1981. Cited in Johnson, p. 868, as a ninety-four page checklist of more than seventy photographers known to have produced stereo images recording the disaster and its aftermath.

Pierce, Sally, and Sloane Stephens. The Daguerreotype in Boston: Process, Practitioners, and Patrons (Boston: The Boston Athenaeum), 1994. A scarce catalogue, issued in sixty-page stapled paper covered form for a temporary exhibition held to honor the 1994 annual meeting of The Daguerreian Society. A fully descriptive checklist of the pieces shown is included. Pages 48–57 give career statements for forty persons whose works were displayed. Research derives from Steele and Polito’s Directory of MassachusettsPhotographers 1839–1900 [q.v.] and various period sources. A map and “A Selected List of Boston Daguerreotype Studio Locations” are added.

Revised edition of a booklet originally published in 1989. It includes location and date information along with descriptions of “every known means of signing an image used locally during this era.” Available directly from the compiler at Historic Graphics, 7023 Deerfield Road, Baltimore, Maryland 21208. E-mail: [email protected]

Sullivan, Joseph C. The Daguerreotype in Baltimore (Baltimore, Maryland: n.p.), 1973. Reported as a monograph checklist of Baltimore daguerreo­ typists 1839–1858 in Craig’s Daguerreian Registry, Vol. 1, “The Overview,” page 359. Not directly examined.

Polito, Ronald, compiler. A Directory of Boston Photographers: 1840–1900 ([Boston: Privately published]), 1983, revised 1985. A full-scale directory listing 890 studio photographers and 204 related professionals; some specialized information is stratified by topic, such as “Women Photographers,” deal­ ers, copyists, and album manufacturers, with one section devoted to “Photographic Activity by Year.” Supersedes 1980 edition. Available directly from the compiler at Department of Art, University of Massachusetts—Boston, Harbor Campus, Boston, Massachusetts 02125.

Massachusetts Bolt, Dick. “Daguerreotype Artists in Massachusetts,” Photo-Nostalgia. Photographic Historical Society of New England Newsletter, No. 11 (May 1974), pp. 1–2. Cited in Johnson, p. 867, as a checklist of more than forty daguerreotypists with addresses.

Coffin, Edward F. “The Daguerreotype Art and some of its Early Exponents in Worcester,” Worcester History Society Publications N.S. Vol. 1, No. 8 (April 1935), pp. 433–439. Cited in Johnson, p. 867, as a pioneering survey based on a talk given at the Worcester History Society on January 21, 1921.

Hoyle, Pamela. The Boston Ambience: An Exhibition of Nineteenth Century Photographs (Boston: The Boston Athenaeum), 1981.

Rodgers, Patricia H., Charles M. Sullivan, et al. A Photographic History of Cambridge (Cambridge, Massachusetts: MIT Press), 1984. Exhibition catalogue containing much new information. An “Appendix of Cambridge Commercial Photographers, 1858–1945,” pages 148–154, lists more than 160 individuals with addresses and dates.

Steele, Chris, and Ronald Polito. A Directory of Massachusetts Photographers, 1839–1900 (Camden, Maine: Picton Press), 1993. A monument of research, this seven-hundred-page work gives details on 5,759 photographers and firms and 1041 associated workers. Each entry includes dates and places of work and residence in Massachusetts. Complementing the text are one hundred images produced in Massachusetts. While the work is thorough, it is rather difficult for researchers to use. The main body of the directory is arranged alphabetically by town, rather than by photogra­ pher, so the careers that spanned more than one locality are not immediately apparent.

While not a directory, this forty-four page exhibition cata­ logue offers career details for a number of leading Boston photographers and firms. Two essays, “The Daguerrean Artists” and “The Second Generation,” generally cover the periods 1850–1875 and 1860–1890.

Johnson, Paul R. “H. B. King and P. R. Read, Taunton Civil War Photographers,” Military Images, Vol. 17, No. 6 (May–June 1996), pp. 22–25. A brief article giving career and death dates for two photog­ raphers in one Massachusetts town, and also mentioning several others who were active at the outbreak of the Civil War. Illustrations include an advertising cut and a logo for one person, and a back design with revenue stamp for another. Studio details can be seen in several pictures by one photographer, and exterior views show both photographers’ buildings.

Varrell, William. “Newburyport: its Pioneer Photographers,” Stereo World, Vol. 2, No. 1 (March–April 1975), pp. 1 and 16, and Vol. 2, No. 2 (May–June 1975), pp. 11 and 15–16. Cited in Johnson, p. 867, as an illustrated two-part survey article, discussing twelve individuals or partnerships.

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Michigan Blanchard, G. L., compiler. Photographers of Jackson, Michigan 1847–1900 (Jackson, Michigan: Studio Art Productions), 1997. A thirty-page booklet giving “Biographies” for eighty photographers or studios, a listing with date periods and studio locations for thirty-six “Employees, Freelancers, etc.,” and two maps of studio locations in the city’s business dis­ trict at different periods. Lamentably, the only indications of sources are occasional, general mentions in the text. When done thoroughly, this is the type of local effort that should be appreciated for preserving and organizing otherwise lost information for further research. Available from the publisher. Address: Box 4094, Jackson, Michigan 49204. Fax: (517) 783-5307.

Anthony Falls daguerreotypists, including places of origin, dates, and studio locations. Presents a set of images of St. Anthony Falls, which became part of Minneapolis in 1872.

———. “Working the Light: Nineteenth Century Professional Photographers in Minnesota,” Minnesota History, Vol. 52, No. 2 (Summer 1990), pp. 42–60. An excellently researched article, containing much new information for a previously neglected area.

Missouri van Ravenswaay, Charles. “The Pioneer Photographers of St. Louis,” Bulletin of the Missouri Historical Society, Vol. 10, No. 1 (October 1953), pp. 49–71. One of the significant early directories done in the field. Includes a “Checklist of St. Louis Photographers 1841–1865,” listing more than 100 photographers with dates of activity and addresses, as well as capsule biographies for the more significant individuals. Although not comprehen­ sive, still a valuable reference.

Caterino, David R. “Union Views of Lansing?,” Stereo World, Vol. 12, No. 2 (May–June 1985), p. 3. A research request that reports by names and years the activities of a team from the Union View Company to Lansing, Michigan. While limited, the information is definite, precise, and useful.

Geuder, Franck, compiler. Index of Saginaw Photographers 1865–1971 (Privately issued typescript), 1973. A seven-page listing for one Michigan city, giving photog­ rapher or firm names with addresses and periods of opera­ tion. The information was derived from city directories by a student at Saginaw Valley State University “for the purpose of estimating the approximate age of photographs taken in Saginaw.”

Lavigna, Arlene, compiler. List of Photographers and Dates Active from City Directories, 1869–1877 (Battle Creek, Michigan: Kimball House Historical Society of Battle Creek), 1979. Not directly examined. A directory cited in Roosens and Salu 2, p. 303.

Welch, Richard W. Sun Pictures in Kalamazoo: A History of Daguerreotype Photography in Kalamazoo County, Michigan 1839–1860 (Kalamazoo, Michigan: Kalamazoo Public Museum), 1974. The section “Kalamazoo Photographers 1848–1881,” pages 25–29, gives career details on more than fifty individuals or partnerships.

Minnesota (Also see entry for Woolworth under Works in Progress) Baker, Tracey. “Nineteenth Century Minnesota Women Photographers,” Journal of the West, Vol. 28, No. 1 (January 1989), pp. 15–23.

Montana Gray, John S. “Itinerant Frontier Photographers and Images Lost, Strayed or Stolen,” Montana, The Magazine of Western History, Vol. 28, No. 2 (April 1978), pp. 2–15. Gives sketchy biographical details for a few noteworthy early photographers of the Montana-Dakota region.

Morrow, Delores J. “Female Photographers on the Frontier: Montana’s Lady Photographic Artists, 1860–1900,” Montana, The Magazine of Western History, Vol. 32, No. 3 (Summer 1982), pp. 76–84. An article of general historical narrative giving some dates and career details for several women professionals and a few amateurs who produced bodies of work.

Nebraska (See entry under Works in Progress) Nevada (See entries for Abajian and for Heymann under United States/General and Regional) New Hampshire (Also see entry for Drake under United States/General and Regional) Griscom, Andrew. “John Merrill, the Philosopher of the Pool,” Stereo World, Vol. 8, No. 4 (September–October 1981), pp. 12–14. Cited in Johnson, p. 869, as a brief survey of stereo photo­ graphy of the pool at Franconia Notch, New Hampshire, including a checklist of more than twenty stereo publishers and their views.

Reported by Peter Palmquist as a checklist of sixty women photographers active during the period 1859 to 1900.

Wilson, Bonnie G. “St. Anthony Falls on Silver: A Daguerreotype Collection,” The Daguerreian Annual 1992: Official Yearbook of the Daguerreian Society, pp. 129–143. The introductory text, page 130, contains a list of ten St.

McShane, Linda. “When I Wanted the Sun to Shine”: Kilburn and Other Littleton, New Hampshire Stereographers (Littleton, New Hampshire: Privately published), 1993.

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Illustrated monograph containing much embedded biogra­ phical and career information on local nineteenth century stereo photographers and publishers. Chapter 1, “In the Beginning: The Early Photographers,” pages 1–6, gives an account of the daguerreian era in Littleton, as gleaned from contemporary newspapers.

Camp, William L. “Early Photographers of Binghamton,” Broome County Historical Society Newsletter, (Spring 1989), pp. 9–11. Cited in Johnson, p. 870, as a survey of photographers active during the years 1841 to 1857, discussing four itinerants of the 1840s and seven resident photographers of the 1850s. Refers to a compilation on local photographers active during the period 1857 to 1907 by Margaret Hinman, with supplementary information on photographers active between 1841 and 1866 supplied by the author (see citation immediately below).

New Jersey Moss, George H., Jr. Double Exposure Two: Stereographic Views of the Jersey Shore (1859 to 1910) and Their Relationship to Pioneer Photography (Sea Bright, New Jersey: Ploughshare Press), 1995 second edition. A handsomely conceived 188-page work devoted to the photography of America’s most popular tourist area in the middle to late nineteenth century. The second part of the book constitutes an alphabetically organized directory of stereo photographers, including biographical and career details, view lists, and illustrations of work. Revised and expanded edition of Double Exposure: Early Stereographic Views of Historic Monmouth County, New Jersey and Their Relationship to Pioneer Photography, published under the same imprint in 1971; copies of the first edition are scarce because half of the 2,000 print run was destroyed in a warehouse fire before general distribution.

———. Photographers of Binghamton, New York, and Vicinity (Unpublished typescript), n.d. A sixteen-page alphabetical listing, giving years or periods of activity, locality, and comments. Sources are not obviously specified except for a note that some details derive from The American Daguerreotype by Floyd and Marion Rinhart. Address: 14 Teeburn Boulevard, Binghamton, New York 13901.

Christopher, A. J. “Early Village Photographers,” Baldwinsville Messenger, (July 24, 1974). A local history newspaper article which touches on seven early photographers of Baldwinsville, New York.

Doherty, Amy S.

New Mexico Rudisill, Richard. Photographers of the New Mexico Territory 1854–1912 (Santa Fe, New Mexico: Museum of New Mexico), 1973. A full-scale directory covering about 500 persons or firms active in the decades before statehood, compiled largely from business directories, newspapers, and county records. Includes resident professional, itinerant, and prominent amateur photographers. Also includes several from El Paso, Texas, who took New Mexico images.

Weigle, Marta, editor. New Mexicans in Cameo and Camera: New Deal Documentation of Twentieth Century Lives (Albuquerque, New Mexico: University of New Mexico Press), 1985. A general survey of U.S. Federal Government documenta­ tion activities by architects, artists, photographers, and writers during the Depression era of the 1930s for one region of the nation. Section “Biographical Sketches of Project Workers Represented,” pages 183–197, gives variously adequate detail for forty-two project workers, including several photographers. An added “Glossary of Pertinent New Deal Projects,” pages 213–216, explains a number of the acronymic abbreviations often used for the names of the many Federal agencies involved.

Has compiled a listing of photographers in Syracuse, New York. For information contact The George Arentz Research Library, Syracuse University, Syracuse, New York 13210.

Fordyce, Robert Penn, compiler. Stereo Photography in Rochester, New York up to 1900: A Record of the Photographers and Publishers of Stereographs Active in Rochester, New York, up to 1900 (Rochester, New York: Privately published), 1975. A twenty-three page checklist, containing career details on forty-five individuals and firms.

Gabriel, Cleota Reed. “Photographers Who Practiced in Syracuse, New York 1841 to 1900” in Photographica—A Resource Guide (Syracuse, New York: Onondaga County Public Library in cooperation with Light Work Organization), 1979, pp. 3–11. Lists thirty-five daguerreotypists, forty-six companies, and 173 photographers.

———. “A Bibliography [sic] of Early Syracuse Photographers,” Photographica: A Publication of the Photographic Historical Society of New York, Vol. 13, No. 8 (October 1981), pp. 12–13. Somewhat truncated and reduced reprinting of previous item; gives names, working dates, and occasional other notes for approximately 165 photographers.

New York Bannon, Anthony, et al. The Photo-Pictorialists of Buffalo (Buffalo, New York: Media Study), 1981.

Sampson, June A Master’s thesis on several stereo photographers in the area of Cooperstown, New York. Copies are held in the collections of New York University at Oneonta, New York and the New York State Historical Association, Lake Road, Rt. 80, Cooperstown, New York 13326.

The section “The Photographers,” pages 87–99, gives biog­ raphies of thirty-two photographers who were members of this Pictorialist group, active between 1906 and 1914.

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historical development of the area. The author is compiling a full directory for the Dakota region (see under Works in Progress).

Sipos, Irene, editor. Buffalo’s Photographic Past (Buffalo, New York: CEPA Gallery), 1980. Reported by Peter Palmquist; contains a section “Photographers Listed in the Buffalo City Directory for More than One Year, 1842–1920,” pages 7–11, giving more than 200 entries with addresses and dates.

Smith, Mary E. Behind the Lens: Nineteenth Century and Turn-of-the-Century Photographs of Western Monroe County, New York (Rochester, New York: Monroe County Photo-History Project), 1980.

Ohio Fullerton, Richard D., compiler. 99 Years of Dayton Photographers (Dayton, Ohio: Privately published), 1982. A forty-seven page directory covering 385 photographers or studios plus 106 “allied businesses.”

Cited in Johnson, p. 870, as a thirty-nine page work.

Van Horn, Ralph, compiler. Study of Photographers Who Worked in Little Falls as Found in Directories, 1869– (Little Falls, New York: Little Falls Historical Society), 1979. Not directly examined. A directory cited in Roosens and Salu 2, p. 304.

Vetter, Jacob C. “Early Photographers: Their Parlors and Galleries,” Chemung County Historical Journal (June 1961), pp. 853–860. A textual article surveying the early photographers of Elmira, New York. Gives some location and date particulars on approximately twenty-five people.

North Carolina Cotten, Jerry, compiler. North Carolina Photographers Through 1910 ([Chapel Hill, North Carolina: University of North Carolina]), 1997. Electronic database “compiled from photographs and print­ ed sources in the North Carolina Collection, University of North Carolina Library at Chapel Hill,” and consisting of an alphabetical directory of approximately 200 individuals and firms, with dates and localities. For the compiler’s follow-up research, see under Works in Progress. URL: http://www.lib.unc.edu/ncc/pha/phgrs.html

Massengill, Stephen E. “‘Portraits by the Sunlight Made’: Daguerrean [sic] Artists in North Carolina, 1842–1861,” Carolina Comments, Vol. 41, No. 5 (September 1993), pp. 137–149.

Gagel, Diane VanSkiver. Photography in Ohio 1839–1900 (Nevada City, California: Carl Mautz Publishing), 1998. A brief essay “Early Ohio Photography” is followed by a twenty-six page section of “Biographies of Selected Ohio Photographers,” giving varying amounts of detail, and a “List of Ohio Photographers,” pages 35–110, giving mainly names with towns and year spans for more than 3,800 persons or firms. The author has substantial experience in genealogy and has been given extensive data collected by John Waldsmith and John S. Craig, thus, many names are included that were previously unknown to the general field. While the basic aims of the work are to assist in dating other research materials and to provide a “context for more fully integrating the visual, written and oral records” of the state, its extent should offer help with the deeper photo­ graphic historical research for a large region that has long needed such a reference.

A narrative text presenting an overview of the early period of photography in North Carolina as derived from a variety of sources. Tables are given to indicate numbers of daguerreotypists, artists, and photographers in the United States and North Carolina, 1840, 1850, and 1860; towns of North Carolina with numbers of photographers in each, 1842–1861; and a “Roster of Daguerreans [sic] Active in North Carolina, 1841–1861,” with names, partners, years, and town locations for about 170 entries.

North Dakota Vyzralek, Frank E. “Dakota Images: Early Photographers and Photography in North Dakota, 1853–1925,”North Dakota History: Journal of the Northern Plains, Vol. 57, No. 3 (Summer 1990), pp. 24–37.

130 Years of Ohio Photography ([Columbus, Ohio]: Columbus Museum of Art), 1978. A seventy-two page catalogue of an exhibition of Ohio images, primarily from the twentieth century. The section “Biographies,” pages 64–72, gives summary entries for approximately 150 individuals, including their life dates when known.

A survey article rather than a directory; gives an overview of several notable early photographers in the context of the

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Waldsmith, John. “Stereo Views of Columbus and Vicinity,” Columbus and Central Ohio Historian, No. 2 (November 1984), pp. 47–56. Cited in Johnson, p. 871, as an article giving brief career summaries for eighteen individuals or partnerships active in the nineteenth century.

Pennsylvania Beatty, Jan, introduction. Pittsburgh Revealed: Photographs since 1850 (Pittsburgh, Pennsylvania: Carnegie Museum of Art), 1997. A fully illustrated 210-page exhibition catalogue. The sec­ tion “Photographers, 1850–1960,” by Linda Benedict-Jones, Charlee Brodsky, Louise Lippincott, Leesa Rittleman, and Thomas M. Weprich, pages 155–187, gives dates of activity and extensive career information on forty-two individuals and firms whose work features in the exhibition.

Oregon Culp, Edwin D. “Oregon Postcards,” Oregon Historical Quarterly, Vol. 66, No. 4 (December 1965), pp. 303–330. Gives capsule biographies for several Oregon photo­ graphers.

Goodman, Theodosia Teel. “Early Oregon Daguerreotypers and Portrait Photographers,” Oregon Historical Quarterly, Vol. 49, No. 1 (March 1948), pp. 30–49.

Brey, William and Mary. Philadelphia Photographers 1840–1900. A Directory with Biographical Sketches (Cherry Hill, New Jersey: Willowdale Press), 1992. Spiral-bound, unpaginated work listing approximately 950 photographers and including a reprinted “History of the Photographic Society of Philadelphia,” first published in 1882. The data is based on city business directories for all years except 1871, 1872, and 1878. A perceptive review by Gary D. Saretzky in History of Photography, Vol. 18, No. 1 (Spring 1994), page 107, compares and corroborates the findings with other sources, both printed and archival, and concludes that this work “is a good source, although incomplete . . . and serves as a caveat for those using business directories as a source for such listings of regional photographers.”

More a text article than a directory, but gives numerous biographical details.

Miller, Alan Clark. Peter Britt: Pioneer Photographer of the Siskiyous (Master’s thesis presented at Trinity College), 1972. Includes a section “Other Photographers in Southern

Oregon.”

Robinson, Thomas. Oregon Photographers: Biographical History and Directory, 1852–1917 (Portland, Oregon: Privately published), 1993 second edition. An astonishing work of more than 725 pages of research information, giving not only a full-scale biographical direc­ tory but adding specialized sections on daguerreotypists, panorama makers, stereoscopic photographers, tintypists, and pinhole photographers, as well as index listings for women photographers and photographers by locality. The first two editions, produced in 1992 and 1993, were sold out within months of publication, and the compiler has continued his ambitious research program (see under Works in Progress). A third edition, expanded from extensive reading of newspapers, is in progress, but no publication date has been set. A parallel computer file on Oregon photographers since 1917 is already several hundred pages long. While the Oregon Historical Society in Portland holds a 1997 printout of this section, it is planned to make it available on computer discs, rather than in print. Address: 441 N.E. Jarrett, Portland, Oregon 97211-3126.

Toedtemeier, Terry. “Oregon Photography: The First Fifty Years,” Oregon Historical Quarterly, Vol. 94, No. 1 (Spring 1993), pp. 36–76. Reported by Peter E. Palmquist as an illustrated capsule history.

———. Wild Beauty: Photography of the Columbia River Gorge 1865–1915 (Portland, Oregon: Portland Art Museum), n.d. Not directly examined.

Finkel, Kenneth. Nineteenth Century Photography in Philadelphia: 250 Historic Prints from the Library Company of Philadelphia (New York: Dover Publications, Inc.), 1980. The section “Selected List of Photographers Represented,” pages 217–219, gives biographical information on fortythree photographers or firms.

Frassanito, William A. Early Photography at Gettysburg (Gettysburg, Pennsylvania: n.p.), 1995. Not directly examined. Described in a bookdealer’s catalogue as a 436-page detailed study.

Gruber, John. “Landscape Photographers on the Pennsylvania Railroad,” The Railway and Locomotive Historical Society Newsletter, Vol. 16, No. 4 (Fall 1996), p. 6. A single-page article in response to the 150th anniversary of the chartering of one of America’s greatest historic railroads. Offers life dates and brief discussions of careers for seven photographers or firms. One typographical error gives a wrong middle initial for the notable R. K. Bonine, but most details are accurate and welcome because of their rarity.

Heisey, M. Luther. “The Art of Photography in Lancaster,” Papers of the Lancaster County Historical Society, Vol. 51, No. 4 (1947), pp. 93–114. Gives historical accounts of several individuals and studios plus chronological list of several others. Possibly supersed­ ed by Rosemary A. Patterson’s article cited below.

Holloway, Lisabeth M. “‘Secure the Shadow, ere the Substance Fade’: A Partial Chronicle of Germantown Photographers Drawn Chiefly from the Collections of the [Germantown Historical] Society,” Germantown Crier, Vol. 38, No. 1 (Winter 1985–1986), pp. 10–18. 126

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Cited in Johnson, p. 872, as an article offering biographical information on more than a dozen individuals active in the nineteenth century.

Homer, William Innes. Pictorial Photography in Philadelphia. The Pennsylvania Academy’s Salons 1898–1901 (Philadelphia: Pennsylvania Academy of Fine Arts), 1984.

nerships active between 1840 and 1920 as defined from a variety of sources. Pages 17–58 give biographical articles for ten specific people.

———, and Kirby L. McKinney. Directory of Chester County, Pennsylvania Photographers 1840–1900 (West Chester, Pennsylvania: Chester County Historical Society), 1998.

Informative exhibition catalogue. The “Appendix I: Exhibitors in the Philadelphia Photographic Salons (1898–1901),” pages 33–37, compiled by J. Susan Isaacs, is an alphabetical listing.

Jezierski, John V. “‘Dangerous Opportunity’: Glenalvon J. Goodridge and Early Photography in York, PA,” Pennsylvania History, Vol. 64, No. 2 (Spring 1997), pp. 310–332. Primarily a history of one studio family, but gives details and dates for several other persons active in the 1840s and 1850s.

A compilation giving life dates, working dates, studio addresses by date, processes used, notes of interest, and biographical details for 136 photographers active in this part of southeastern Pennsylvania. Samples of pictures and card imprints and a bibliography are included.

Ries, Linda A., and Jay Ruby. Directory of Pennsylvania Photographers, 1839–1900 (Harrisburg, Pennsylvania: Pennsylvania Historical and Museum Commission), 1999 forthcoming. A full-scale directory resulting from more than a decade of very wide-ranging research by a number of solid regional experts. The material is particularly welcome because of the importance of the state, the primary nature of the photo­ graphy in some of its cities, and the considerable number of photographers who began their careers here before moving to other parts of the nation.

Meier, Judith. “An Historical and Geneological [sic] Approach to Early Photographers,” Bulletin of the [Historical] Society [of Montgomery County, Pennsylvania] (1991). An article on Montgomery County photographers issued to coincide with an exhibition on the subject. Available from the Society, 1654 DeKalb Street, Norristown, Pennsylvania 19401.

Panzer, Mary. Philadelphia Naturalistic Photography 1865–1906 (New Haven, Connecticut: Yale University Art Gallery), 1982. An exhibition catalogue including a general historical essay and a section “Catalogue,” pages 35–49, which gives short biographies of sixteen significant regional photographers.

Patterson, Rosemary A. “Early Photography in Lancaster,” Journal of the Lancaster County Historical Society, Vol. 87 (1983), pp. 34–52. Not directly examined.

Peterson, Brian, and Lisabeth M. Holloway. Forgotten Images: Photography in Germantown, 1840–1927 (Philadelphia: n.p.), 1983. Twenty-page exhibition catalogue commemorating the 300th anniversary of the founding of Germantown. Not directly examined. Also see work by Holloway cited above.

Powell, Donald Walter. “Studio Photography in Northeastern Pennsylvania from 1839 to 1900,” Northeastern Pennsylvania, Vol. 1, No. 4 (May 1980), pp. 1–24, Vol. 2, No. 1 (August 1980), pp. 1–24, and, Vol. 3, No. 1 (August 1981), pp. 1–20.

Weprich, Thomas M. The Early Photographic History of Pittsburgh, Pennsylvania, 1839–1904 (State College, Pennsylvania: [Master’s thesis presented at Pennsylvania State University]), 1991. ———. “Pioneer Photographers in Pittsburgh, Pennsylvania,” Pennsylvania History, Vol. 64, No. 2 (Spring 1997), pp. 193–203. Article detailing the careers of daguerreians active in the 1840s, based on the thesis cited immediately above.

Rhode Island Taylor, Maureen. “‘Nature Caught at the Twinkling of an Eye’: The Daguerreotype in Providence,” Rhode Island History, Vol. 42, No. 4 (November 1983), pp. 110–121. An article dealing with more than a dozen individuals.

———. “‘Never Give up; It is Better to Hope than Once to Despair’: Providence, Rhode Island, and the Daguerreotype,” The Daguerreian Annual 1995: Official Yearbook of the Daguerreian Society, pp. 126–133. A survey article on the initial period of photography in one significant city, plus a listing by date (but no exact locations) of fifty “Providence Daguerreotypists” or firms active through 1860. A few entries note partnerships or other locations. For additional information, the author refers to her variant previous article cited above.

Cited in Johnson, p. 872, as a three-part survey arranged by county.

South Carolina Powell, Pamela C. Reflected Light: A Century of Photography in Chester County (West Chester, Pennsylvania: Chester County Historical Society), 1988. A “Checklist of Photographers Working in Chester County,” pages 71–72, gives names, locations by town, and work decades for 104 professional photographers or part­

Teal, Harvey S. “Charleston & M. P. Simons,” The Daguerreian Annual 1995: Official Yearbook of the Daguerreian Society, pp. 141–147. Broader subject matter than indicated by the title; in fact, a clear survey of the very lively daguerreian era in

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Charleston, with at least twenty-six professionals active by 1849. Career details given in the text, as well as statement that the subject matter will be extended in the author’s upcoming book on early photography in South Carolina (see under Works in Progress).

Thomson, John. Civil War Photographs of Charleston and Today (Gettysburg, Pennsylvania: Thomas Publications), 1999 forthcoming. A “re-photography” project comparing modern views of Charleston by the author with historic views from the 1860s. Wherever possible, biographical or career details are given for both the half-dozen resident photographers and the numerous visitors who came into the area to record the aftermath of the Civil War. The book illuminates aspects of the visitors’ work scarcely known from their usual locations in the northern United States. The author is actively seeking further details on the period photographers and would appreciate additional sources or research data. Address: 17 Archdale Street, Charleston, South Carolina 29401.

Tennessee Cupo, William, compiler. Photography Businesses and Personnel (Memphis, Tennessee: Unpublished typescript), n.d. An eighteen-page compilation, arranged by years, of names and addresses, apparently derived from a broken run of Memphis city or business directories. Reported with a sample page by Peter E. Palmquist; not otherwise examined. A master copy is held at the Library, Memphis Pink Palace Museum, 3050 Central Avenue, Memphis, Tennessee 38111.

Reynolds, Ann, and John Compton. Recorded in Nashville—A Visual Record by the City’s Early Photographers (Nashville, Tennessee: Metropolitan Historical Commission), 1980. An exhibition catalogue which includes a section, “Nashville Photographers, 1855–1935,” pages 29–30, compiled from city directories, listing names and date periods for about 170 individuals and studios.

Texas (Also see entry for Rudisill under New Mexico) Crofford, Ava. The Diamond Years of Texas Photography, 1898–1973 (Austin, Texas: Privately published), 1975. Reported by Peter Palmquist as a 336-page history of the Texas Professional Photographers Association, containing a large amount of biographical information seldom covered elsewhere.

Haynes, David. Catching Shadows: A Directory of 19th Century Texas Photographers (Austin, Texas: Texas State Historical Association), 1993. A very well-researched full-scale directory listing nearly 2,500 photographers active in the state between 1843 and 1900. Extensive use of indexing, by place, by decade, and with additional indices for women, Blacks, and foreignborn photographers.

Young III, W. R. “A Capital View: Photography in Austin, Texas, after the Civil War” in Photography in the West, edited by Peter E. Palmquist (Manhattan, Kansas: Sunflower University Press), 1987. General account, including extensive career details on Austin’s leading nineteenth century professionals.

Utah (Also see entry for Heymann under United States/General and Regional) Carter, Kate B., compiler. Early Pioneer Photographers (Salt Lake City: Daughters of Utah Pioneers), 1975. Essentially an expanded version of the next item.

———. The Story of an Old Album (Salt Lake City: Daughters of Utah Pioneers), 1947. Anecdotal folk history derived mainly from reminiscences of older citizens with occasional details drawn from newspaper files or other published sources. The overall effect is appealing in its sense of atmosphere and dedication to recording the early days but generally without careful editing or documentation. Primarily useful as a point of departure for basic research.

Galvani, Paul. “Early Houston Photographers, Part I [and] Part II,” The Photographic Collectors of Houston Newsletter (October 1982), pp. 1–2 and (November 1982), pp. 1–2. A mixture of text and listing of more than fifty-six photographers, apparently drawn from city directories and intended to demonstrate the thesis that there were “no famous photographers” and “no famous galleries” and only “average practitioners taking average likenesses for an undemanding populus [sic].” The thesis is contested by other Texas researchers. Some errors.

Wadsworth, Nelson. Through Camera Eyes ([Provo, Utah]: Brigham Young University Press), 1975. A 180-page textual history that gives expansive biographi­ cal treatment to several major Utah photographers.

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———. “Zion’s Cameramen: Early Photographers of Utah and the Mormons,” Utah Historical Quarterly, Vol. 40, No. 1 (Winter 1972), pp. 24–54. A preliminary version of the previous item.

Vermont (See entry for Drake under United States/General and Regional)

An appendix also offers a chronology of first appearances of persons or firms.

Janesville Historical Society. Photographers of Janesville in [the] 19th Century (Janesville, Wisconsin: Unpublished typescript), n.d. A compilation giving names, addresses, and occasional announcements derived from a broken run of city or regional directories published between 1857 and 1907. Available for consultation at the Rock County Historical Society, 440 North Jackson Street, Janesville, Wisconsin 53545.

Virginia Ginsberg, Louis. Photographers in Virginia 1839–1900: A Check List (Petersburg, Virginia: Louis Ginsberg), 1986. A sixty-four page directory with listing by city, but far short of exhaustive.

Johnson, Brooks. Mirror Of an Era. The Daguerreotype in Virginia ([Norfolk, Virginia]: The Chrysler Museum), 1989. Unpaginated catalogue folder for exhibition, containing a section “Virginia Daguerreotypists,” pp. 5–6, which gives brief biographical or career notes on eleven daguerreotyp­ ists active in Virginia, including the area that later became West Virginia. The notes for the exhibit also offer fragments of location or date periods for a few others, including a few who were active elsewhere.

Ritter, Ben. Photographers of the Shenandoah Valley and Contiguous Areas, 1839–1939 (Winchester, Virginia: Frederick County Historical Society), 1979. Cited in Johnson, p. 873.

Wyoming Huidekoper, V. The Early Days in Jackson Hole (Boulder, Colorado: Colorado Associated University Press), 1978. Cited in MABS, p. 187, as a “portfolio of photographs depicting Jackson Hole, Wyoming in the late nineteenth [and] early 20th century. . . . These are followed by information on the photographers represented.”

9. OCEANIA (including Hawaii) Australia General and National

Barrie, Sandy. Australians Behind the Camera: Early Australian Photographers (Sydney: Privately published), 1996. A register of more than 6,000 names of amateur and profes­ sional photographers. The index provides locales, probable working periods, and other relevant details such as address changes. Currently privately published and also available on diskette. Address: Sandy Barrie, P. O. Box A488, Sydney South, New South Wales, Australia 2000. Fax: +61.2.261 8427. E-mail: [email protected]

Washington (Also see second entry for Toedtemeier under Oregon) Jones, Gordon. “Pioneer Northwest Marine Photographers,” The Sea Chest: Journal of the Puget Sound Maritime Historical Society (June 1976). Mainly a reprint of the next item and subject to renewed criticism from local authorities.

———. “Short Biographies of Photographers Who Helped Record the Maritime History of the Pacific Northwest,” Puget Sound Maritime Historical Association Newsletter Supplement (November 1966). Gives very sketchy biographical notes on a few early pho­ tographers; has been criticized by local authorities for brevi­ ty and general lack of substance.

West Virginia (See entry for Johnson under Virginia)

———. Professional Photographers in Australia, 1900 to 1920 ([Sydney: Privately published]), 1987, two Vols. Vol. 1, 66 pages, is an “Alphabetical Listing of Known Professional Photographers in Australia, 1900 to 1920”; Vol. 2, 34 pages, is “Professional Photography in Australia— Additional Notes.” Available directly from the author at the address given above.

Cato, Jack. The Story of the Camera in Australia (Melbourne: Georgian House), 1955. A full-text history, notably early in comparison to national works elsewhere. Each chapter describes in depth the careers of a number of individuals or firms. While for the most part superseded by the work cited immediately below, it offers a different viewpoint from later works.

Wisconsin Hill, Edwin L. A History of Photography in La Crosse, Wisconsin, 1853–1930 (La Crosse, Wisconsin: [Master of Arts thesis presented at University of Wisconsin]), 1978. In addition to brief introductory sections on general history, camera companies, and female photographers, the main body of the work, pages 36–199, is “An Alphabetical Directory of Photographers, Galleries, Firms, Technicians, and Photographic Products in La Crosse from 1853 to 1930.”

Davies, Alan, and Peter Stanbury, assisted by Con Tanre. The Mechanical Eye in Australia: Photography 1841–1900 (Melbourne: Oxford University Press), 1996 second edition. A full-scale textual history. Includes an alphabetical listing of more than 3,400 professional and amateur photographers. Gives known dates and addresses. The list is updated, and 129

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includes photographers who did not appear in the first edition of the work, published in 1985.

that of Sandy Barrie (cited above) and a nationwide compi­ lation by the Directory of Australian Photographers at the Macleay Museum of the University of Queensland. The lat­ ter project obviously relates to the research underpinning the work by Davies and Stanbury cited above, while clearly con­ taining more details than appeared in the published work.

Hall, Barbara, and Jenni Mather. Australian Women Photographers, 1840–1960 (Richmond, Victoria: Greenhouse Publications), 1986. Reported as a 164-page survey, comprising forty-five biogra­ phical entries for women photographers within the frame­ work of the cultural and social developments of their time.

Butcher, Mike. Bendigo and Eaglehawk Photographers, 1981. Cited as a manuscript source in Davies and Stanbury, p. 263.

Lindsay, Lionel, and Gael Newton. Australian Pictorial Photography: A Survey of Art Photography from 1898 to 1938 (Sydney: Art Gallery of New South Wales), 1979. Cited as an exhibition catalogue in Roosens and Salu 2, p. 235.

Newton, Gael. Shades of Light: Photography and Australia, 1839–1988 (Canberra: Australian National Gallery and Collins Australia), 1989. Reported as a large sesquicentennial historical survey. All images well-captioned.

———. Silver and Grey: Fifty Years of Australian Photography, 1900–1950 (Sydney: Angus & Robertson), 1980. A 120-page work cited in Roosens and Salu 1, p. 19.

Tanre, Con. The Mechanical Eye: A Historical Guide to Australian Photography and Photographers (Sydney: n.p.), 1978. A 128-page work cited in Roosens and Salu 1, p. 19. Clearly a forerunner to the Davis and Stanbury work cited above, even to providing the metaphoric title.

Ericson, Rica. Photographers and Painters in Western Australia (Perth, Western Australia: Battye Library— State Library of Western Australia), n.d. Cited as a source in Davies and Stanbury, p. 263.

Fisher, Rod. “Through a Glass Darkly: Photographers and their Role in the Moreton Bay Region before 1860,” Journal of the Royal Historical Society of Queensland, Vol. 12, No. 3 (February 1986). Not directly examined.

Gilbert, Lionel. Armidale Photographers, 1983. Cited as a manuscript source in Davies and Stanbury, p. 263.

Hooper, Andrew, compiler. La Trobe Library Catalogue of Melbourne Photographers 1860–1900 (Melbourne: La Trobe Library—State Library of Victoria), n. d. Cited as a manuscript source in Davies and Stanbury, p. 263.

Lea-Scarlett, Errol J. “Nineteenth Century Photographers in Queanbeyan,” Canberra and District Historical Society Journal (September 1970). Cited as a manuscript source in Davies and Stanbury, p. 263.

Regional and Local

Barrie, Sandy. Queenslanders Behind the Camera: Professional Photographers in Queensland, 1849–1920 ([Sydney: Privately published]), 1987, five volumes. The total set is 186 pages. Vol. 1 is an alphabetical listing with dates and addresses. Vols. 2–5 give photographers’ biographies. Available directly from the author. Address: Sandy Barrie, P. O. Box A488, Sydney South, New South Wales, Australia 2000. Fax: +61.2.9261.8427. E-mail: [email protected]

Brown, Julie Katherine. Brisbane Photographers 1880–1890. Cited as a manuscript source in Davies and Stanbury, p. 263.

———, and Tim Robinson. First Light on the Limestone Plains: Historic Photographs of Canberra and Queanbeyan (Canberra: Canberra & District Historical Society; Sydney: Hale & Iremonger), circa 1986. An eighty-page work cited in Roosens and Salu 1, p. 19.

Littlejohn, R. A. Harden Murrumburrah Photographers prior to 1900. Not directly examined. Cited as a manuscript source in Davies and Stanbury, p. 263.

Long, Chris. Photographers who worked in Tasmania to 1937. Cited as a manuscript source in Davies and Stanbury, p. 263.

———. Versions of Reality: The Production and Function of Photographs in Colonial Queensland 1880–1900 (Brisbane, Queensland: [Doctoral dissertation at the Department of History, University of Queensland]), 1984. In addition to chapters on Queensland government photog­ raphers, professional photographers, and amateur photog­ raphers, an appendix Section E offers “Biographical Information for [thirty-four] Photographers,” pages 270–285. This list is declaredly not comprehensive and includes only those individuals or firms discussed in the text for whom “sufficient biographical information is available.” Introductory text refers to two ongoing projects:

Noye, Robert J. Early South Australian Photography (Saddleworth, South Australia: Privately published), 1968. Cited in Roosens and Salu 2, p. 17. For the author’s current online project on the same topic, see under Works in Progress.

Photographers and Photographic Studios in Western Australia prior to 1900 (Perth, Western Australia: Battye Library—State Library of Western Australia), n. d. Cited in Gaskins, p. 17.

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Smith, Alb. South Australian Photographers and Studios.

The first effort at a general history of photography in the country. The section “New Zealand Photographers to 1900,” pages 181–186, gives a list of more than 500 names with locality and dates of activity, and is followed by the cross referenced “Geographical List of New Zealand Photographers,” pages 187–189. While later works give fuller detail, this volume contains many images not otherwise seen.

Cited as a manuscript source in Davies and Stanbury, p. 263.

Snowden, Catherine. “The Take-Away Image: Photographing the Blue Mountains in the Nineteenth Century” in The Blue Mountains: Grand Adventure for All (Sydney: The Macleay Museum, University of Sydney), 1985, pp. 128–144. Cited in Roosens and Salu 2, p. 17.

Lester, John. William Ferrier, 1855–1922: Photographer ([n.p.]: [n.p.]), [n.d.]. A sixty-page exhibition catalogue of 152 images taken in New Zealand between 1880–1922; includes listing of other photographers active in Timaru.

Webber, Kimberley. Photographers of Ballarat. Cited as a manuscript source in Davies and Stanbury, p. 263.

Hawaii (Also see entry for Palmquist and Kailbourn under North America/General and International)

Main, William. Auckland through a Victorian Lens (Wellington: Millwood Press), 1977. Comprehensive and pictorially rich account. A chrono­ logical chapter “The Story of the Camera in Auckland,” pages 1–22, should be consulted in conjunction with the “Directory of Photographers,” pages 169–170, which lists nearly 150 individuals for the period through 1914.

Abramson, Joan. Photographers of Old Hawaii (Honolulu: Island Heritage), 1981 third edition. A book giving biographies and selections of pictures by sixteen early photographers of Hawaii, from the 1850s to about 1920.

Davis, Lynn. Na Pa’i Ki’i: The Photographers in the Hawaiian Islands 1845–1900 (Honolulu: Bishop Museum Press), 1980. An exhibit catalogue touching work by twenty-four early photographers. Biographical detail is quite limited and scattered through the text, but an “Index to Photographers,” to helps with locations.

Schmitt, Robert C. “Notes on Hawaiian Photography before 1890,” Hawaii Historical Review (October 1967), pp. 409–416. Not directly examined.

———. Wellington through a Victorian Lens (Wellington: Millwood Press), 1972. Companion volume to the work cited immediately above. Not directly examined.

———, and John B. Turner. New Zealand Photography from the 1840s to the Present (Auckland, New Zealand: PhotoForum Inc.), 1993. A colorful exhibit catalogue with a biographical statement and one or more illustrations per page, accounting for nearly eighty individuals, including twenty-seven of the nineteenth century.

Turner, John B., editor. Nineteenth Century New Zealand Photographs (New Plymouth, New Zealand: Govett-Brewster Art Gallery), 1970.

New Caledonia

Exhibition catalogue including a section, pages 80–84, which gives biographical notes on twenty-three early pho­ tographers or studios.

Kakou, Serge. Découverte Photographique de la Nouvelle-Calédonie 1848–1900 ([Paris]: Actes Sud), 1998. Superbly illustrated and documented work, the fruit of exhaustive research into a hitherto virtually uncharted region undertaken by an enthusiastic collector-historian. Eight informative chapters contain much supplementary career information. The section “Biographies,” pages 164–168, contains twenty entries accompanied by portraits of the photographers discussed.

New Zealand Knight, Hardwicke. New Zealand Photographers: A Selection (Dunedin, New Zealand: Allied Press Ltd.), 1981.

Woodward, Joan. A Canterbury Album: Collodion Photography in Canterbury, 1857–1880 (Lincoln, New Zealand), 1987. Presents information on more than fifteen early photo­

graphers of the city.

Samoa Blanton, Casey, editor. Picturing Paradise: Colonial Photography of Samoa, 1875 to 1925 (Daytona Beach, Florida: Southeast Museum of Photography), 1995. The catalogue for a major exhibition of colonial photo­ graphy of Samoa, produced in collaboration with the Rautenstrauch-Joest Museum of Ethnology, Cologne, Germany. Includes essays by authorities from Germany, England, and the United States to give historical and inter­ pretive background, along with an extensive bibliography. Dates and areas of work are provided in the essays and further information in the “Checklist of the Exhibition,” pages 105–129, by Peter Mesenhöller and Alison Devine Nordström, listing forty-six individuals or firms, including

Includes twenty-three one-page biographies, each with a selection of plates, and a listing of more than 1,100 photo­ graphers active before 1900, given by name only with some town or date period notes.

———. Photography in New Zealand: A Social and Technical History (Dunedin, New Zealand: John McIndoe), 1971. 131

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one or two film makers, active for a variety of purposes from ethnology to commerce. The sub-section “The Photographers,” pages 124–129, gives more substantial biographies for ten individuals. Handsomely produced and solidly developed to be a substantive contribution to the field. A German language edition was also published (Marburg, Germany: Jonas Verlag), 1995.

2. AFRICA South Africa Bester, Rory McLachlan Researching mission photographers of the nineteenth and early twentieth century. Address: P. O. Box 91203, Auckland Park, Johannesburg 2006, South Africa. Fax: +27.11.339.6039. E-mail: [email protected]

Tahiti O’Reilly, Patrick. Les Photographes à Tahiti et leurs Oeuvres 1842–1962 (Tahiti: Editions du Pacifique), 1981 second edition. The entire book functions somewhat in the form of a chronologically-ordered directory by giving text sections on individuals or styles according to years. An index list of all references to photographers by name is also included, comprising eighty-four individuals. A few early passages of the text throw light on photographers in South America and other parts of the world. Reprint of the first edition (Paris: Société des Océanistes, Musée de l’Homme), 1969.

Godby, Prof. Michael Researching aspects of early South African photography. Address: Department of History of Art, University of Cape Town, Rondebosch 7700, South Africa. Fax: +27.21.650.3726. E-mail: [email protected]

Hardijzer, Carol H. Researching nineteenth century South African photo­

graphers; preparing a research article and directory of

photographers based in Pretoria to 1900.

Address: P. O. Box 1279, Rooihuiskraal 0154, South Africa.

Fax: +27.11.889.4682. E-mail: [email protected]

B. WORKS IN PROGRESS 1. GENERAL AND INTERNATIONAL

3. ASIA

Lang, Robert J.

China (including Taiwan)

Panorama Documentation Project—List of Museums and Other Organizations with Panoramas—List of Panoramic Photographers being compiled for the International Association of Panoramic Photographers. The listing thus far contains information on more than 1,100 photographers active during the last 150 years. It is backed by an ongoing computerized database of biographical information. Address: 100 Cooper Court, Port Jefferson, New York 11777. Fax: (516) 226–8966.

Chen Sen Contact representative for a group of historians within the Photographers’ Association of China who are continuing research following publication of History of Photography in China 1840–1937 (see Published Works), as reported by Edwin K. Lai. Address: No 61, Hongxing Hutong, Dongdan, Beijing, China. Fax: +86.10.652.33658.

Lai, Edwin K. Continuing research into the history of photography in China for the period 1850–1940; also researching to expand previous similar work on Hong Kong already published in occasional articles. Address: c/o Department of Fine Arts, University of Hong Kong, Pokfulam Road, Hong Kong, China. Fax: +852.2321.7168. E-mail: [email protected]

Palmquist, Peter E. Developing a major research source, The Women in

Photography International Archive, described as “a

grassroots, research-oriented agency,” formalized in 1994 and aiming to identify, collect, preserve, and disseminate information about women photographers and related workers globally. The collection, currently holding about 20,000 biographical files, 6,000 books and articles, and 9,000 original photographs, operates with a limited staff. The ultimate goal is to house the material at a major institution as a permanent archive. New relevant material is continual­ ly welcome and indexed, and a limited publishing program continues as possible. The curator issues a hardbound record of the Archive's resources once a year. The cumula­ tive records for 1998, comprising data obtained from 1971 to date, are available as a three-volume set for $200, including shipping. E-mail access is possible to a degree, but postal inquiries are more advisable. Address: 1183 Union Street, Arcata, California 95521. E-mail: [email protected]

Walters, Judith

Lin Shu-ching Working with a colleague to develop “a systematic collec­ tion and organization of historical information of Taiwan photography,” as reported by Edwin K. Lai. Address: Art Space, Taipei, Taiwan. Fax: +886.2.236.38917.

Ting, Dr. Joseph Overseeing research into early Hong Kong photography, as reported by Edwin K. Lai. Address: Chief Curator, Hong Kong Museum of History, Kowloon Park, Tsimshatsui, Hong Kong, China.

Wu Jia-bao

Continuous collection of location data on early photogra­

phers, photographs, and other genealogy-related materials.

Has published Photographers of North America, Great Britain

and Europe (see Published Works). Research continues for

additional genealogical and dating information.

Address: P. O. Box 129, Bothell, Washington 98041.

E-mail: [email protected]

Researching the history of Taiwanese photography. Address: c/o Fotosoft Institute of Photography Taipei, Society of Photographic Education for China, #130, TungHwa S. Road, Sec. 1, Taipei, Taiwan. Fax: +886.2.773.8183. E-mail: [email protected]

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Yim Shui Yuen Overseeing research into early Hong Kong photography, as reported by Edwin K. Lai. Address: Chief Curator, Regional Museum, 7/F Regional Council Building, 1 Pai Tau Street, Sha Tin, Hong Kong, China.

France Koelzer, Walter Compiling a directory Paris-Photographe: Commercial Photography in Paris 1840–1900. The directory will comprise the entire field of commercial photography, including photographers, manufacturers/suppliers, and publishers of photographic images. Research is based on a variety of contemporary and historical source material, including business directories and specialist periodicals. Planned for publication as a CD-ROM, enabling a search capacity by name, trade, and address. Address: Panoramaweg 1, 56317 Urbach, Germany. Fax: +49.2684.4304. E-mail: [email protected]

India Shinde, Niyatee She is working on a full history of Indian photography, par­ ticularly considering native photographers who are often overlooked. Address: Director and Curator, Birla Academy of Art and Culture, Century Bhavan, Dr. A. B. Road, Worli, Mumbai 400 025, India.

Yadav, Amar S.

Marbot, Bernard

Compiling a directory of nineteenth century photographers in India. Address: B-2/114 Safdarjung Enclave, New Delhi, India.

Has compiled a corpus of biographies of nineteenth century French photographers based on abstraction of contempo­ rary specialist periodicals. Address: Department of Prints and Photography, Bibliothèque nationale de France, 58 rue de Richelieu, 75084 Paris cedex 02, France.

Korea Thorpe, Norman

Morand, Sylvain Compiling a directory of professional photographers in Alsace from 1839 to the present day. Address: Musées de la Ville de Strasbourg, 5 Place du Château, 67000 Strasbourg, France.

Researching early photography and photographers in

Korea to 1920. Address: 6920 South Meadows Road,

Spokane, Washington 99223. Fax: (509) 448–4311.

E-mail: [email protected]

4. CARIBBEAN

Société Française de Photographie Has compiled a list of members for the period 1854 (the year it was founded) to 1905, giving name, address, and dates of membership. Address: 4 rue Vivienne, 75002 Paris, France. Fax: +33.1.42.60.04.57. E-mail: [email protected] URL: http://www.sfp.photographie.com/1-societe/15mem bres-xix.html

Curaçao Wachlin, Steven Compiling a survey of photographers and studios in the area to 1910, compiled from newspaper sources, due to be published in 1999. Address: Goedestraat 9 bis, 3572 PL Utrecht, Netherlands. E-mail: [email protected]

5. EUROPE

Gibraltar Pardo González, Juan Carlos Researching early photographers of Gibraltar and its hinter­ land; has already published several articles on the topic. Address: Calle San Nicolás 7-7°B, 11207 Algeciras, Cádiz, Spain. Fax: +34.56.573834.

Denmark Porse, Poul Updating Ochsner’s directory Fotografer i og fra Danmark til og med år 1920 (see Published Works), and has collected more than 2,000 modifications and additions. Address: Anker Jensens Vej 18, 8230 Åbyhøj, Denmark.

Great Britain Barrie, Sandy Compiling a comprehensive directory of professional photographers of England, Scotland, and Wales, 1840–1940. Information is derived from directory holdings of nearly 100 British and Australian libraries. The compiler reports counts ranging from thirty to one hundred percent above previously published directories for this area. The pub­ lished work is expected to comprise more than 800 pages in two volumes. Research inquiries should include reply postage. Address: Early Australian Photographers Research Project, P. O. Box A 488, Sydney South, New South Wales 2000, Australia. Fax: +61.2.9261.8427.

Finland Sulin, Juha Completing a database of photographers active in Finland from 1842 to the present. The database, planned for avail­ ability online, is the result of merging two separate data­ bases: an updated version of Finnish Photographers, 1842– 1920, previously used for compiling the directory with the same title published in 1996 (see Published Works) and containing 1,700 records, and a more recent database on photographers active after 1920, containing nearly 1,000 records. Address: Database Manager, Suomen Valo­ kuvataiteen Museo—The Finnish Museum of Photography, Kaapelitehdas, Tallberginkatu 1F, 00180 Helsinki, Finland. Fax: +358.9.6866.3630. E-mail: fmp@fmp.fi URL (site under construction): http://www.fmp.fi

Royal Photographic Society Historical Group A continuing series of supplements to The Photo Historian, each giving a directory for one town (or county) in Great Britain. Forty-three directory lists have been issued to December 1998. Address: Royal Photographic Society 133

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Historical Group, The Octagon, Milsom Street, Bath, Avon BA1 1DN, United Kingdom. Fax: +44.1225.448688. E-mail: [email protected]

Huijsmans, Dr. D. P. Maintaining a directory of Dutch studio photographers 1860–1914 based on holdings of cartes-de-visite and cabinet cards in Dutch collections; also a web demo program com­ prising a database of approximately 7,000 cartes-de-visite run in collaboration with the Philips Research Labs at Eindhoven. Address: c/o Computer Science Department, Leiden University, 2300 RA Leiden, The Netherlands. E-mail: [email protected] URL: http://ind156b.wi.leidenuniv.nl:2000/

Taylor, Roger Has completed a relational database on photographers featured in exhibitions held principally in the British Isles during the period 1839–1865. Address: 36 Heaton Grove, Bradford BD9 4DZ, United Kingdom. Fax: +44.1274.499433. E-mail: [email protected]

Turley, Dr. Raymond V. Compiling data on professional photographers on the Isle of Wight during the period 1850–1940, currently listing more than 180 firms. Address: c/o Hartley Library, University of Southampton, Southampton SO17 1BJ, United Kingdom. E-mail: [email protected]

Greece

Stichting Geneologisch Centrum Zeeland Maintains a list of photographers who were active in the Province of Zeeland. Address: Wijngaardstraat 3, 4461 WA Goes, The Netherlands.

Norway SFFR—Sekretariatet for fotoregistrering Maintains a database on professional and amateur

Norwegian photographers active to 1940. Currently

contains data on approximately 3,500 individuals. Address:

Sekretariatet for fotoregistrering, Folke Bernadottes vei 21,

Postboks 21 Kringsjå, 0807 Oslo, Norway.

Fax: +47.22.23.74.89. E-mail: [email protected]

Xanthakis, Alkis X. Compiling a “Lexikon” or directory of Greek photographers, both in and outside Greece, and foreign photographers active in Greece, 1839–1945. Address: Head of Photography, Athens Cultural and Technological Institute, P. O. Box 4198, Athens, Greece. Fax: +30.1.524.7464. E-mail: [email protected]

Portugal Lithuania Vicente, Prof. António Pedro Preparing an in-depth study on nineteenth century Portuguese photography; has published several research papers on the topic. Address: Avenida João XXI 4-3°E, 1000 Lisbon. Fax: +351.1.797.7759. E-mail: [email protected]

Junevicius, Dainius Collecting information for a doctoral dissertation on pho­ tographers active in Lithuania to 1863. Address: Lithuanian Institute of Culture and Art (Lietuvos kulturos ir meno institutas), Tilto g. 4, Vilnius 2001, Lithuania. Fax: +370.2.610989 and +370.2.791119. E-mail: [email protected]

Luxembourg

Sweden Hammar, Stefan, and Anita Leipe Compiling a directory of professional photographers active in Nyköping during the period 1840–1960, and have listed approximately 100 photographers in eighteen different stu­ dios thus far. Address (Hammar): Granvägen 41, S-611 56 Nyköping, Sweden. E-mail: [email protected]; (Leipe): c/o Södermanlands Museum, Box 314, S-611 26 Nyköping, Sweden.

Back, Jean Overseeing research into early photography in the Grand Duchy of Luxembourg, based on institutional holdings. Address: Director, Centre National de l’Audiovisuel, P. O. Box 105, 3402 Dudelange, Luxembourg. Fax: +352.52.0655. E-mail: [email protected]

Malta

Lööf, Lars-Olof Compiling data on photography studios in Göteborg

during the period 1840–1910. Address: Linnégatan 34,

S-413 04 Göteborg, Sweden.

Harker, Professor Margaret Completing an extensive history of photography in Malta,

including listings of photographers, both local and foreign,

who were active on the island. Address: Egdean House,

Egdean, near Pulborough, West Sussex RH20 1JU,

United Kingdom. Fax: +44.1798.865360.

6. LATIN AMERICA (including Mexico)

Netherlands

Bolivia

Wachlin, Steven

Buck, Daniel Compiling a directory of Bolivian and foreign photo­ graphers active in Bolivia between the 1840s and 1930s. Address: 100 Tenth St. SE, Washington, DC 20003-3903. Fax: (202) 544-6556. E-mail: [email protected]

Compiling an inventory of all commercial photographers in the country born before or in 1880, derived from population registers, and supplemented by commercial directories. Also working on the former Dutch colony of Curaçao (see Caribbean). Address: Goedestraat 9 bis, 3572 PL Utrecht, Netherlands. E-mail: [email protected]

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Paredes-Cándia, Antonio

Ward, Robert

Writing a general, book-length history of photography in Bolivia. Address: Casilla 4311 or Avenida Manco Kapac 269, La Paz, Bolivia.

Planning to edit and publish a directory of North American real photo postcard publishers to 1935. Projected to include entries by many contributors, each averaging 800–1,200 words. Will feature the lives and work of numerous indi­ viduals or firms seldom considered elsewhere. Address: Antique Paper Guild, P. O. Box 5742, Bellevue, Washington 98006. Fax: (425) 641-4363. E-mail: [email protected]

Mexico McVey, Lori Brown Preparing an American Studies dissertation for the University of Texas at Austin, to examine the North Amer­ ican and Mexican photographers and cinematographers who documented the Mexican Revolution period of 1910– 1920 in trans-Pecos Texas, southern New Mexico, and northern Chihuahua state of Mexico. Sectional emphasis is given to various genres, and a chapter is devoted to women photographers who were active during the revolution. Two appendices give biographical sketches of the American photographers and a directory of regional Mexican photo­ graphers of the conflict. Address: 5900 Cameron Road, Apt. 117, Austin, Texas 78723-2405. E-mail: [email protected]

Canada Belleau, Bernard Preparing a doctoral dissertation on the history of commer­ cial photography in the province of Québec from 1839 to 1914 at the University of Québec in Montréal. Address: 105 rue des Erables #7, Sherbrooke, Québec J1L 1E7, Canada. E-mail: [email protected]

Mattison, David Continuing research on the photographers of British

Columbia to 1950 for projected revisions of Camera Workers

Volume I (1858–1900) and Volume II (1901–1950). Works

available in published form from the compiler. Address:

2236 Kinross Avenue, Victoria, British Columbia V8R 2N5,

Canada. Fax: (250) 370-2210.

E-mail: [email protected]

Surinam Wilken, Debbie Researching a doctoral dissertation, “De Verbeelding

van Suriname in Prent versus Foto 1839–1900” [“The

Representation of Surinam in Prints versus Photographs 1839–1900”] at the Faculty of Art History, University of Leiden, Netherlands. Address: Koornmarkt 75, NL-2611 EC Delft, Netherlands.

Schwartz, Joan M. Supervising staff research on database project “Checklist of Canadian Photographers, 1839–1885,” and periodically adding entries. Research information currently accessible in-house and upon inquiry, and projected to go online for full web access. Address: Senior Photography Specialist, National Archives of Canada, 344 Wellington Street, Room 1031, Ottawa, Ontario K1A 0N3, Canada. Fax: (613) 995-6575. E-mail: [email protected]

Venezuela Padron Toro, Antonio Compiling data on photographers active in Venezuela between the 1840s and 1890. Address: c/o Fundacion John Boulton, P. O. Box 929, Caracas, Venezuela.

Wright, P. G. Researching professional photographers of the Atlantic provinces of Canada. E-mail: nstn5512fox.nstn.ca

7. NEAR AND MIDDLE EAST Egypt

United States (excluding Hawaii)

SIRA— Service Informatique et Recherches en Archéologie

General and Regional

Constructing a World Wide Web site to provide extensive documentation on photographers and postcard publishers active in Egypt to 1914. Sponsored by the Institut de Recherche sur l’Antiquité et le Moyen-Age, the site currently lists more than 100 individuals and firms. URL:http://silicon.montaigne.u-bordeaux.fr:8001/HTML/ EGYPTE/CPA/photog.html

(Also see entries for Cowen under United States/ Oklahoma, and McVey under Latin America/Mexico) Craig, John S. Maintaining a web site which offers online research capabil­

ity of Craig’s Daguerreian Registry (see Published Works).

The author invites new contributions and corrections.

Address: P. O. Box 1637, Torrington, Connecticut 06790.

Fax: (860) 496-0664. E-mail: [email protected]

URL: http://www.daguerreotype.com/

8. NORTH AMERICA (excluding Mexico) General and International

Fleming, Paula Compiling biographical and career data on photographers of American Indians before 1920. Substantial emphasis to date on Washington, DC; Philadelphia, Pennsylvania; and the Territories (Montana, Wyoming, Dakota, Utah, Nebraska, and the Indian Territory). Address: National Anthropological Archives, Smithsonian Institution, MRC 152, Natural History Building, Washington, DC 20560. Fax: (202) 357-2208. E-mail: fl[email protected]

Mattison, David Continuing research on the photographers of the Klondike Gold Rush area of Alaska and the Yukon Territory, 1883– 1914. Partially available as a work in progress from the compiler. Address: 2236 Kinross Avenue, Victoria, British Columbia, Canada V8R 2N5. Fax: (250) 370-2210. E-mail: [email protected] 135

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Kelbaugh, Ross J.

Spencer, Horace

Continuing work to complete a six-volume Directory of Civil

War Photographers; volumes one through three have already

been published (see Published Works). Address:

Historic Graphics, 7023 Deerfield Road, Baltimore,

Maryland 21208-6008. E-mail: [email protected]

Working toward an illustrated directory of early photo­ graphers of the Stockton area for a book Photographers and Photographs of Stockton from 1850 to the Present. Address: 1964 Rosecrans Way, Stockton, California 95207.

Dakota Territory (see also North Dakota) Knoblock, Steve Creating a Directory of American Photographers of the period 1839–1939, as part of his City Gallery website. The Directory is organized by state, and contains information provided by the page maintainer (one per state). The information includes contacts, helpful hints for researching photogra­ phers in the state, pointers to other sites, and any biographi­ cal information about photographers. As of August 1998, three states have been assigned: Alabama: Frances Osborn Robb (see Alabama) Indiana: Don R. Millbranth. E-mail: [email protected] New Jersey: Gary D. Saretzky (see New Jersey). Address: 1211 South Thomas Street, Apt. 2, Arlington, Virginia 22204-3685. E-mail: [email protected] URL: http://www.city-gallery.com/directory/

Kolbe, Robert, and Brian Bade Collecting details for a directory of photographers of the Dakota Territory and the states of North and South Dakota 1853–1920. Address: The Dakota Image, 636 West 21st Street, Sioux Falls, South Dakota 57105.

District of Columbia Fleming, Paula, and Laurie A. Baty Compiling a directory of nineteenth century photographers

of Washington, DC Address (Fleming): National

Anthropological Archives, Smithsonian Institution, MRC

152, Natural History Building, Washington, DC 20560;

(Baty): 302 Dunkirk Road, Baltimore, Maryland 21212-1813.

Fax (Fleming): (202) 357-2208; (Baty): (410) 377-7004.

E-mail (Fleming): fl[email protected]; (Baty):

[email protected]

Alabama Robb, Frances Osborn Compiling full information on all early photographers

in Alabama, with several years’ accumulation already on

computer and being shared with researchers elsewhere.

Currently interested in locating a publisher.

Address: 506 Lanier Road, Huntsville, Alabama 35801.

E-mail: [email protected]

Alaska (Also see entry for Mattison under North America/General and International) Wood, Richard A. Compiling biographical and career data on photographers for a book A Guide to Early Juneau Area Photographs and Photographers with notes on Early Alaska Photographers: The First 25 Years. The book will include an alphabetical list of photographers active in Alaska before July 1893, with their life and working dates, and location of studios. Address: P.O. Box 22165, Juneau, Alaska 99802. Fax: (907) 789-8450. E-mail: [email protected]

Arizona Hooper, Bruce Compiling a directory of Arizona photographers and motion-picture photographers from 1864 to 1930; includes some amateurs and data from parts of careers pursued in other states. Address: 1200 South Riordan Ranch Road #79, Flagstaff, Arizona 86001.

Florida Punnett, Richard Compiling a biographical directory of Florida photo­ graphers to 1929; to include sub-lists of women and black photographers plus other bibliographic or research aids. Address: 115 Coquina Avenue, Ormond Beach, Florida 32174-3303.

Hawaii (see Oceania: Hawaii) Georgia Eltzroth, E. Lee Compiling a directory of Georgia photographers to be published in two segments (1840–1900 and 1901–1950). Information includes all possible details and sources. Also particularly interested in sharing information on women in photography in the American South. Address: 102 Fox Fall, Peachtree City, Georgia 30269.

E-mail: [email protected]

Indian Territory (see Oklahoma) Indiana (Also see entry for Knoblock under United States/General and Regional) Hostetler, Joan E. Directing the Indiana Photographers Project. The Project comprises a database of more than 4,000 photographers active in Indiana from 1840 to 1940, including biographical and business information. A fully illustrated publication based on the Project is foreseen for 2001. Address: 815 North Highland Avenue, Indianapolis, Indiana 46202. E-mail: [email protected]

California Palmquist, Peter E. Continuing in-depth research on photographers in

California to 1950. Address: 1183 Union Street, Arcata,

California 95521. E-mail: [email protected]

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Iowa

Women Photographers.” An ongoing project, periodically updated. The current version lists eighty-three women by name, town, and decade(s). More research information is welcome and appreciated. Address: The Library, Minnesota Historical Society, 345 Kellogg Boulevard West, St. Paul, Minnesota 55102-1906. Fax: (651) 297-7436. E-mail: [email protected]

Burgess, JoAnn Compiling an extensive computer database on Iowa pho­ tographers before 1900. The long term intention is to pub­ lish, but currently it is accessible only by direct, specific inquiry or through the State Historical Society of Iowa. Address (Burgess): 507 South 9th Street, Clear Lake, Iowa 50428; (State Historical Society of Iowa): 402 Iowa Avenue, Iowa City, Iowa 52240.

Wilson, Bonnie Researching nineteenth century commercial studios and twentieth century fine art photographers in Minnesota. Address: Curator of Sound and Visual Collections, Minnesota Historical Society, 345 Kellogg Boulevard West, St. Paul, Minnesota 55102-1906. Fax: (612) 296-9961. E-mail: [email protected]

Noble, Mary E. Researching the photographers of the northern Iowa coun­ ties of Howard and Mitchell (towns of Osage, Cresco, Riceville, St. Ansgar, Lime Springs, McIntire, Stacyville). Address: c/o University of Iowa Libraries, Iowa City, Iowa 52242. E-mail: [email protected]

Woolworth, Alan Compiling a directory of Minnesota photographers, 1848–1930. Database holding 1,427 records of individuals (of the approximately 4,000 known) is currently accessible. Address: The Library, Minnesota Historical Society, 345 Kellogg Boulevard West, St. Paul, Minnesota 55101-1906. For access to a specific photographer’s biographical infor­ mation, use the Minnesota Historical Society’s research information system at www.mnhs.org/research

Zeller, John Compiling a directory of photographers in Des Moines, Iowa, before 1900; also collecting data on photographers in Iowa to 1860. Address: 7118 El Rancho, Des Moines, Iowa 50322.

Kansas Flottman, Rex Researching early photographers in the Kansas county of Cowley (towns of Winfield and Arkansas City). Address: 915 Main Street, Winfield, Kansas 67156. E-mail: [email protected]

Missouri Kilgo, Dolores (Dee) Continuing research into early midwestern photographers, especially in St. Louis, Missouri, and the State of Illinois. Address: c/o Department of Art, Illinois State University, Normal, Illinois 61761. E-mail: [email protected]

Maryland Kelbaugh, Ross J. Collecting information for a much-expanded, revised direc­ tory and general history of photographers in Maryland. Address: Historic Graphics, 7023 Deerfield Road, Baltimore, Maryland. E-mail: [email protected]

Montana Morrow, Lory Compiling a directory of early Montana photographers. Address: Montana Historical Society, 225 North Roberts Street, Helena, Montana 59620. Fax: (406) 444-2696. E-mail: [email protected]

Massachusetts Steele, Chris Compiling The Massachusetts Daguerreian Directory; collect­ ing information from Massachusetts newspapers 1839–1860, with eighty searched so far. More than 350 new names have been added to the growing list of known individuals. Address: Curator of Photographs, Massachusetts Historical Society, 1154 Boylston Street, Boston, Massachusetts 02215­ 3695. Fax: (617) 859-0074. E-mail: [email protected]

Nebraska Nebraska State Historical Society Constantly updating and adding to a Database Directory of Photographers in Nebraska, 1854–Present, a staff compilation from every form of source material in the Society’s hold­ ings. Research information currently accessible in-house and upon inquiry, and projected to go online for full web access. Address: John E. Carter, Curator of Photograph Collections, Nebraska State Historical Society, P. O. Box 82554, 1500 R Street, Lincoln, Nebraska 685012554. Fax: (402) 471-3100. E-mail: [email protected]

Michigan Tinder, David Collecting comprehensive information on photographers of Michigan before 1920; has identified more than 10,000 to date, with over eighty percent entered into a database and classified by both name and locality. Address: 6404 Coleman, Dearborn, Michigan 48126-2024.

New Hampshire Wilding-White, Sherry B. Researching photography of New Hampshire. Address: Curator, Special Collections, New Hampshire Historical Society, 30 Park Street, Concord, New Hampshire 03301. E-mail: [email protected]

Minnesota Baker, Tracey Compiling a “Checklist of Nineteenth Century Minnesota

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New Jersey

Waldsmith, John Reportly seeking a publisher for completed manuscript A Directory of Ohio Photographers, 1839–1900; includes professional photographers, itinerants, employed studio operators, and “accomplished amateurs,” with verified dates and locations. Used as a source for Photography in Ohio 1839–1900 by Diane VanSkiver Gagel (see Published Works). Address: Antique Graphics, P. O. Box 191, Sycamore, Ohio 44882.

Cummings, Charles F. Compiling data on photographers active in New Jersey through 1900. Address: c/o The Newark Public Library, 5 Washington Street, Newark, New Jersey 07102.

Saretzky, Gary D. Gathering data on nineteenth century New Jersey photo­ graphers. Address: 700 Trumbull Avenue, Lawrenceville, New Jersey 08648. Fax: (908) 409-4888. E-mail: [email protected]

Oklahoma Cowen, Chester R. Continuing work on comprehensive database for photo­ graphers of the Indian Territory (to its end in 1907) and Oklahoma to the present. Because of the frequency of photographers’ moves, listings from directories in other states are included, particularly Arkansas, Kansas, Missouri, New Mexico (to 1939), and Texas. The overall database includes details on more than 11,000 photogra­ phers. A research list by both locality and dates is available. Address: Photo Archivist, Oklahoma Historical Society, Wiley Post Historical Building, Oklahoma City, Oklahoma 73102. Fax: (405) 521-2492.

New Mexico (See entry for Cowen under United States/Oklahoma, and McVey under Latin America/Mexico) New York Peterson, Carl Has recently completed a study on photography in Hamilton, 1841–1900; also compiling an anthology of daguerreotypists’ advertisements in central New York state. Address: Special Collections Department, Case Library, Colgate University, Hamilton, New York 13346-1398. E-mail: [email protected]

Till, Jennifer Undertaking research on female photographers in

Oklahoma and Indian Territories from 1889 to 1907.

Address: 501 Life Sciences, West Oklahoma State

University, Stillwater, Oklahoma 74078.

E-mail: [email protected]

North Carolina Cotten, Jerry Researching photography in North Carolina to 1945. Address: c/o North Carolina Collection Photographic Archives, CB #3934, Wilson Library, University of North Carolina, Chapel Hill, North Carolina 27514-8890. E-mail: [email protected]

Oregon Oregon Historical Society Photographs Library A continuing compilation of data sheets on early Oregon photographers, mainly from city directories. Current form is voluminous and available only in-house and by specific inquiry. Address: Susan Seyl, Director of Image Collections, Oregon Historical Society, 1200 S.W. Park Avenue, Portland, Oregon 97205.

Massengill, Stephen E. Compiling files leading to a publication and a database of all photographers with North Carolina ties, 1842–1941. Currently accessible in-house and by specific inquiry. Address: Iconographic Archivist, Archives and Records Section, North Carolina Division of Archives and History, 109 East Jones Street, Raleigh, North Carolina 27601-2807. Fax: (919) 733-1354. E-mail: [email protected]

Robinson, Thomas Continuing acquisition of data on photographers of Oregon since 1852, for updating Oregon Photographers: Biographical History and Directory (see Published Works). Volume I (1852–1917) may be published in its enlarged third edition, while Volume II will be under frequent revision and avail­ able as computer discs. Address: 441 N.E. Jarrett, Portland, Oregon 97211-3126.

North Dakota (see also Dakota Territory) Vyzralek, Frank E. Working toward a biographical directory of photographers in North Dakota up to the present. Address: Great Plains Research, 702 Capitol Avenue, Bismarck, North Dakota 58501.

Ohio

Pennsylvania Ries, Linda A. Working with Dr. Jay Ruby of Temple University and Richard Saylor of the State Museum of Pennsylvania, to complete The Directory of Pennsylvania Photographers, 1839–1900, due for publication by the Pennsylvania Historical and Museum Commission. Address: Appraisal Section, Pennsylvania State Archives, Box 1026, Harrisburg, Pennsylvania 17108-1026. Fax: (717) 787-4822. E-mail: cjb@postoffice.ptd.net

Bailey, Linda Collecting data on Cincinnati photographers to 1900. The directory is reportedly complete through 1890. Address: Cincinnati Historical Society Library, Cincinnati Museum Center, 1301 Western Avenue, Cincinnati, Ohio 45203-1126. E-mail: [email protected]

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9. OCEANIA

Rifkind, Eugene Maintaining a computer listing of Philadelphia photogra­ phers, currently approximately 400 entries. Address: 1217 Deveraux Avenue, Philadelphia, Pennsylvania 19111.

Australia Barrie, Sandy

South Carolina

Researching a directory and biographical history of profes­ sional and early amateur photographers in Australia from 1840 to 1940. This project has won the compiler honorary life membership of the Australian Institute of Professional Photographers. Research inquiries should include reply postage. Address: Early Australian Photographers Research Project, P. O. Box A 488, Sydney South, New South Wales 2000, Australia. Fax: +61.2.9261.8427.

Teal, Harvey S. Collecting comprehensive information for an upcoming book Partners with the Sun: South Carolina Photographers and their Photography, 1840–1940. Address: 2337 Terrace Way, Columbia, South Carolina 29205.

South Dakota (see Dakota Territory) Miley, Noel Researching photographers in Tasmania to 1914. Address: 48 Brushy Creek Road, Lenah Valley, Hobart, Tasmania 7008, Australia. Fax: +61.3.6228.9019. E-mail: nfmiley@postoffice.sandybay.utas.edu.au

Texas Jones III, Lawrence T. Has compiled a list of seventy-seven professional photo­ graphers operating in the State of Texas before 1860. Address: P.O. Box 2084, Austin, Texas 78768.

Noye, Robert J. Creating a website Photohistory SA: The History of Photography in South Australia 1845 to 1915, comprising the results of more than thirty years’ research. The section “About Photographers” currently consists of a listing of approximately 700 individuals and firms active in South Australia between 1845 and 1915, including colorists and other allied trades, 150 small files of individual short entries, a directory of travelling photographers, and thirty-five substantial biographical entries, many of them illustrated. The webmaster writes: “In its present form this must be regarded as a trial site which contains only a small part of the information that is available.” Address: P. O. Box 60, Clare, South Australia 5453, Australia. E-mail: [email protected] URL:http://www.capri.net.au/~rjnoye/PhotohistorySA.htm

Kurilecz, Peter A. Preparing a biographical dictionary of the nineteenth centu­ ry photographers of Dallas, Texas. Address: 1318 Glourie Drive, Hilshire Village, Texas 77055. Fax: (713) 432-5151. Email: [email protected]

Sarber, Mary A. Collecting comprehensive information on the photogra­ phers of El Paso, Texas. Address: 1024 Oneida Drive, El Paso, Texas 79912. E-mail: [email protected]

Washington Parish, Susan Researching nineteenth and early twentieth century photo­ graphers in the Pacific Northwest, especially Washington State, and maintaining a database “Shadow Catchers, Historic Photographs of the Pacific Northwest.” Address: 218 4th Avenue West, Olympia, Washington 98501. E-mail: [email protected]

Safier, Marcel Glen Creating a website Early Photographers of Southern Queensland 1839–1914. The aim of the site is “to record and also acknowledge the efforts of this state’s early photogra­ phers whose legacy is important for both our historical and personal record.” Currently (August 1998) there are directo­ ries under construction for the towns of Fortitude Valley, Ipswich, Maryborough, and Roma, with four additional localities announced. Address: P. O. Box 539, Annerley, Queensland, Australia. Fax: +61.7.3217.1707. E-mail: msafi[email protected] URL: http:// www.ozemail.com.au/~msafier/photos/southern_qld.html

Wisconsin Graf, John F. Seeking all information on Wisconsin daguerreotypists. Maintaining a database on more than 300 operators in Wisconsin Territory and State, 1840–1860. Address: 1020B S. Erie Street, Apt. 7, De Pere, Wisconsin 54115.

Hawaii

Wyoming

Davis, Lynn Ann Compiling data on commercial and amateur photographers

in Hawaii, 1845–1945. Directory manuscript has more than

1,000 entries. Address: Head, Preservation Department,

Hamilton Library, University of Hawaii, 2550 The Mall,

Honolulu, Hawaii 96822. Fax: (808) 956-5968.

138E-mail: [email protected]

Jost, Loren Compiling information on photographers of Wyoming to 1940. Particularly interested in the Wind River Valley region. Address: Riverton Museum, 700 East Park Avenue, Riverton, Wyoming 82501. E-mail: [email protected]

Erickson, Bruce T. Collecting information on early photographers of the Pacific Area, especially Hawaii. Address: 1315 Kaweloka Street, Pearl City, Hawaii 96782. 139

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Looking For Lochman:

Researching an Historical Photographer * Linda A. Ries

In his pioneering work Cartes-de-visite in Nineteenth Century Photography, William Darrah outlines the large body of information that can be gained from studying a single image: its age, the photographer, the processes used, and the visual content of the image. It is a unit, a document of the historic past. He concludes by calling for more research, as the whole field of photographic documentation is still in its infancy.1 Just as an archaeologist uses artifacts to reconstruct a vanished culture, so too, the photograph historian can recreate a social history from the study of collected images. But unlike the archaeologist examining cultures that exist­ ed before the creation of written history, the photograph historian is blessed with many kinds of records to help piece together the lives of early image makers. An integrat­ ed use of censuses, city directories, newspapers and other types of records can bring new life to a long-dead photog­ rapher, known only as a name on a daguerreotype, cartede-visite or cabinet card. These tangential records can become the central focus of research, especially if personal letters, diaries, and even the images have not survived, as is often the case with historical photographers. Charles L. Lochman, a commercial photographer oper­ ating in Carlisle in Cumberland County in the 1860s and 1870s provides a good example of what can be accom­ plished through integrated use of historical records. The immediate benefit of this approach was the development of a chronology of his professional life whereby his images could be dated with reasonable accuracy. Historians, schol­ ars and genealogists will find this a practical aid for their own studies as well. Similar research on other photogra­ phers around the world will collectively reap even greater benefits. Grouping such data will enable the photograph historian to deduce hitherto unseen patterns in their lives. What was the ratio of photographers and studios to a given population? What percentage were ethnic minority groups or women? From what social strata did they emerge? Such daunting questions are only beginning to be examined. The answers will provide new perspectives on how nineteenth century folk perceived and valued photography. I take the reader on this odyssey in the hope that similar rewards may be reaped elsewhere. The process requires a lot of detective work, patience and a bit of luck. My interest in Lochman began about two years ago when I gave a talk at a local historical society on early pho­ tographers in Harrisburg. Afterward, a member of the audience asked if I could help date a vignetted carte-de-visite with the imprint “C. L. Lochman, artiste, Carlisle, PA.” on the reverse. I made a rough guess of the early 1860s and suggested she try the Cumberland County Historical Society, located in Carlisle, for more information. I knew that they held other Lochman cartes-de-visite and his plates of the ruins of Chambersburg, a city burned by Rebel forces in 1864. Her request piqued my curiosity, and I decided to see if anyone knew anything more about him. The Cumberland

County Historical Society knew that Albert Allen Line had been Lochman’s apprentice, but not much more. Their information was from Line’s biographical statement in a 1905 county history, mentioning Doctor C. L. Lochman, one of the leading photographers of that day with no fur­ ther elaboration.2 The Society’s collection also included some of his carte-de-visite portraits, largely unidentified, but with a variety of different imprints on the reverse. I decided to try the genealogical route and I began where all good genealogists begin, the federal decennial population census. I found a C. L. Lochman in Carlisle in 1860, and in Allentown in 1880 and 1900. The censuses 1840, 1850, 1870 and 1910 turned up nothing.3 Those for 1880 and 1900 reported C. L. Lochman as a druggist and married with two children in Allentown, Lehigh County. I began to wonder if there were two Charles Lochmans. I also tried Carlisle city directories; those at the historical society were sporadic, but able to show he was in that area between roughly 1859 and 1874. I knew if I could at least find his death date, I'd hopefully find his obituary in a local paper. Obituaries, of course, are rich sources for biographi­ cal and personal family information. The state of Pennsylvania did not keep birth and death records before 1906, so I had to determine whether or not the county in which he died kept such records. Not certain of the county, and possibly having two Charles Lochmans, I reviewed microfilm of county courthouse records to see if both Cumberland and Lehigh counties kept death regis­ ters. Neither did, but neighboring Northampton County had them. Luckily, one of these registers listed C. L. Lochman as having died on August 14, 1900. This immediately took me to the local newspaper, the Bethlehem Globe, which printed an obituary the following day, August 15. It was short, but revealed a wealth of new information. Though there was no mention of his Carlisle life, it satisfactorily proved that Lochman the photographer and Lochman the druggist were the same, with tantalizing leads to new areas. He married twice, and was survived by his second wife and two children, Charles and Alberta. He spent some time in Philadelphia, wrote a number of impressive-sounding books, including an 1873 translation of a German pharmacopeia, and an 1896 work of photographs of economically valuable native plant specimens. The obituary also confirmed something I had suspected, that he was the brother of Benjamin and William J. Lochman, all originally from Hamburg, Berks County, and all three photographers. William operated his business in Hamburg, and Benjamin operated his for more than fifty years in Allentown. I began to examine the local newspapers, especially the Carlisle Herald. Newspaper research is time consuming and often difficult, as most nineteenth century papers are on microfilm and almost every edition must be checked in order not to miss something, but it was by far the most fruitful avenue of research. The census and city directories indicated he was in Carlisle probably between 1859 and 1874, so I simply began looking in this time period, hopeful 141

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of finding something. His earliest advertisement appeared in the Carlisle Herald on June 8, 1859, giving not only his gallery location, but the exact date he placed the advertise­ ment, fixing him in time and space.4 Nineteenth century newspaper ads almost always ran several months, some­ times as much as a year or longer. By following this ad and others, pinpointing when they were placed and when they disappeared, Lochman’s movements could be traced. I am lucky in two respects: one, the newspapers still survive; and two, Lochman believed in the power of advertising. I therefore deduced the following: Lochman appeared in Carlisle by at least June 1859. From that time until 1862 he operated a photograph gallery above Imhoff’s Grocery in downtown Carlisle. From 1862 to 1869 he was located at 21 West Main street opposite Marion Hall in downtown Carlisle. Between 1865 and 1867 he was also in partnership with a George Bretz in Newville, about twelve miles north­ west of Carlisle. Between March 1869 and May 1870, Lochman was located at 12 East Main Street; and between 1870 and 1874, on the town square. He apparently left Carlisle sometime in 1874. The newspapers revealed that Lochman moved his gallery frequently and each time, he changed the imprint in his images to reflect the new location. By comparing adver­ tisements with imprints, a chronology of his photographs was established with reasonable accuracy (Table 1). His images can therefore be dated to within a few years and in some instances even less, as in the case of his 12 East Main Street location, a stay of about fourteen months. The advertisements were not the only benefit from newspaper research. Most nineteenth century papers pub­ lished columns citing local news, society information and gossip. Lochman’s name was found here also, such as local reaction to the establishment of the Lochman & Bretz stu­ dio in the Newville paper, Star of the Valley. Locals were elated that they did not have to travel as far as Carlisle to have photographs made.5 I knew that photographers often competed at local fairs or festivals, so I made a point of checking the Carlisle Herald, which not only reported on the annual county fair, but included the exhibitors, descrip­ tions of displays, and winners of premiums. I discovered that Lochman won prizes for best photographs in 1865, 1866, 1870 and 1873. In addition, the 1868 fair reported that he displayed fifteen cases of photographs, including views of the mountains around Mt. Holly Springs. I have no idea where these are today, or if they survived, but it does indi­ cate he was prolific.6 Additional examination of society news revealed an 1870 feud between Lochman and a competing photogra­ pher, Henry P. Chapman, who rented the gallery at 21 West Main Street shortly after Lochman vacated it in 1869. Chapman’s advertisements implied that he had legally purchased Lochman’s business, and was ready to receive his old customers. Lochman had done no such thing, according to a notice in the Herald. This touched off sparks between the two during that spring and summer. At least weekly, and almost daily, one placed an item decrying the abilities of the other. The whole matter came to a head at the county fair that October, with the Herald reporting the judges’ decision that the two men’s entries were of such quality that they shared first premium. Lochman also took second place.7 There are few jibes found in the Herald after this, and tempers seem to have cooled. One line in the Herald’s county fair report for 1866 reported that Lochman also displayed a new type of writ­ ing ink, and one liquor-saving funnel. This led me to pos­

tulate he may have been an inventor of sorts, and I began to investigate U.S. patents. The patent Office in Washington, DC, will search patents by name of inventor for $14.00 for each ten year period specified. I requested a search for the name of Lochman for the years 1855–1875, and began a five month wait. My hunch paid off. Between 1865 and 1874 he took out seven patents, including designs for a cork press, two types of funnels, two types of photograph frames for printing opaltypes, inkstands, and a street lamp. So he was an inventor as well. I then began examining the life of his partner, George Bretz, hoping to turn up something on Lochman. There was a biographical statement on Bretz in a Schuylkill County 1893 history, giving me the added information that Bretz was originally Lochman’s apprentice before their partnership. Bretz went on to operate his own studio in Newville and later Pottville, Schuylkill County, where in the 1870s he made photographs of the Molly Maguire con­ spirators and was one of the first to make photographs inside a coal mine.8 Also, a book had been published, George Bretz: Photographer in the Mines, mentioning Lochman in the introduction.9 A chat with its helpful author, Tom Beck, led me to another source, a Bretz descendant, also named George Bretz, who generously shared with me the excerpts from his ancestor’s diary relat­ ing to Charles Lochman. They were unfortunately cursory, as Bretz simply mentioned the dates and occasions Lochman photographed him, and entries for the important 1865–1867 period were missing. But even for these tidbits, I was grateful. This established a good framework on Lochman’s life in Carlisle, so I began investigating elsewhere. By now the reader is wondering if I attempted contacting Lochman’s descendants by checking present-day telephone directories for the surname. I did. I located Charles Lochman’s great grandnephew, William, who lives in Shillington near Reading. He is the great-grandson of Lochman's brother William, the Hamburg photographer. He knew a bit about his great-grandfather, but nearly nothing of Charles or the third brother, Benjamin. I also tried the biographical direc­ tory of photographers kept by the International Museum of Photography in Rochester, New York, with no results. Additional research in genealogical files kept at the Cumberland County Historical Society provided details on Lochman's marriages, first to Margaret Napier of Philadelphia, who bore him a son, Charles Napier Lochman. Margaret died in December 1867 and is buried in Carlisle Cemetery. In 1871 Lochman married Alice Weaver, who bore him a daughter, Alberta. Realizing there was an information gap between 1822, his birth year, and 1859, I began examining newspapers in other cities, and came up with an item from the Harrisburg Telegraph in 1847, the earliest yet found. It revealed a great deal: he was a traveling daguerreotypist from Phila­ delphia, claiming to be a student of no less than Marcus Root, one of the earliest and best known of that city’s pho­ tographers. Having established a Philadelphia connection, I started checking that city's directories and found him list­ ed as a wholesale druggist at 402 North Third Street in 1858 and 1859, in co-partnership with a man named John Seiberling.10 Lochman lived in the Allentown/Bethlehem area after 1874, engaged in a number of activities centering around photography and the drug business. In 1877 and 1878 he was listed in the Allentown city directory as a “druggist & chemist, with a full assortment of pure drugs, chemicals & 142

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APPENDICES

Pennsylvania State University, I found the only known copy of a book of poems by Lochman, with the rather off­ beat sounding title Address for the Fiftieth Anniversary of an Odd Fellow’s Lodge. At the Library Company of Phila­ delphia there is a broadside from the Lochman’s drugstore in that city advertising German Cattle Powder, a cure-all for various livestock diseases. A friend stumbled across and shared with me an incredible letter Lochman wrote to Anthony’s Photographic Bulletin in 1890 encouraging use of the same lethal chemicals used by the old daguerreotypists as a cure for tuberculosis!16 It is important to realize that a lack of primary sources such as letters and diaries does not equate a poor research potential. Many seemingly disparate sources can together provide important insights, substituting for more tradi­ tional sources, and in some instances, take the scholar far­ ther than traditional sources alone. Who knows where my study of Lochman may end, if at all? More importantly, should it? Lochman was just one photographer and Darrah has stated the photographer as an observer and historian is still a vague concept.17 Researching Charles Lochman is an additional push toward understanding that concept.

medicines, Lochman’s Chemical Writing Fluid and Witch Hazel liniment.”11 His son Charles Napier Lochman appar­ ently followed in his father’s footsteps; he was listed in directories for many years as a druggist at the Simon Rau Drug Store in Bethlehem.12 Lochman’s obituary mentioned that he produced a number of books during the latter phase of his life, and I have located two of them—the only known copies at the present time. The German Pharmacopoeia is in the library of the Philadelphia College of Pharmacy and Science, and Photographs of Medicinal, Economic and Interesting Plants from Natural Living Specimens, is at the Academy of Natural Sciences in Philadelphia. The latter book is a cyanotype proof copy inscribed by Lochman and donated by him to the Academy’s library in 1896.13 It contained an unexpected reward for my efforts, the only known photograph of Charles Lochman. At this point, at least a skeleton of Charles Lochman’s life could be pieced together. He was born in 1822 in Hamburg, was in Philadelphia in the 1840s and studied photography under Marcus Root. He was also trained as a chemist. In 1847 he was an itinerant daguerreotypist pass­ ing through Harrisburg. In the 1850s he operated a drug­ store in Philadelphia, marketing various products. In 1859 he moved with his wife to Carlisle, practicing photography at several different locations in Carlisle and Newville. He won prizes at local fairs, gaining the respect of the local populace. He was an inventor, taking out several patents, some relating to photography. Around 1874 he moved his family to the Allentown/Bethlehem area where he was pri­ marily engaged in the chemistry and drug business, rather than photography. His son followed in his father’s foot­ steps and worked as a druggist. Lochman produced sever­ al publications relating to horticulture and drugs and died August 14, 1900. The above information was disparate, obscure trivia until pieced together. Here was a nineteenth century life, nearly forgotten, but reconstructed through bits and pieces of information culled from several institutions in Pennsylvania and elsewhere. It is possible to do this with other photographers, and I can only wonder how many of them languish in the same obscurity as Charles Lochman. The information is out there, waiting to be found. As a postscript, I must add that William Darrah, who was interested in my research, was sent my published findings.14 Shortly before his death the following May, I received the following from him which added an ironic twist to my odyssey:

Notes * This essay was first published in Photographers: A Sourcebook for Historical Research, Carl Mautz Publishing. Brownsville, Californai, 1991. 1. William C. Darrah, Cartes-de-Visite in Nineteenth Century Photography, (Gettysburg, Pennsylvania, by the author: 1981), p. 199. 2. Biographical Annals of Cumberland County, Pennsylvania. (Chicago: Genealogical Publishing Co., 1905), pp. 224–225. Line’s collection of original glass plates, including those of the 1864 ruins of Chambersburg, are part of the Society’s collection. Some of the very earliest plates are probably Lochman's; Line was only twelve years of age in 1864. 3. The 1890 Population Census has only partially survived due to a fire in the 1920s. 4. Carlisle Herald, June 8, 1859.

My big surprise, [from reading the article] . . . was Lochman’s drug store on Main Street in Bethlehem a few doors above the Moravian Church. Not only did I know the store well, but knew Charles N. Lochman quite well. His daughter, Mrs. Walter Mitman, was my mother's closest friend and we were often in fam­ ily gatherings when he was present. . . . I never knew that CN’s father was Lochman the photographer.15

5. Newville Star of the Valley, January 21, 1865. 6. Carlisle Herald various issues, 1870; October 20, 1870. 7. Samuel T. Wiley and Henry W. Ruoff, Biographical & Portrait Encyclopedia of Schuylkill Co., Pennsylvania, (Philadelphia Rush, West & Co, 1893), pp. 561–562. 8. Tom Beck, George Bretz: Photographer in the Mines, (University of Maryland, Baltimore County Library, 1977).

In this way the historian himself was a resource, provid­ ing yet another lead to pursue. I have continued my research with no particular end in sight. I discovered that no one really stops his research, just pauses occasionally to publish. My efforts to locate Lochman’s immediate descendants continue to be fruitless, but I have found additional material on Lochman in east­ ern Pennsylvania and elsewhere. At Pattee Library of the

9. Harrisburg Telegraph, January 10, 1847. Apparently Hamburg newspapers have not survived. McElroy’s Philadelphia City Directory, 1858 and 1859. 10. Allentown City Directory, 1877–1878. 11. Bethlehem city directories, 1880–1920. 143

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12. The full title is Photographs of Medicinal Economic and Interesting Plants from Natural Living Specimens, Indigenous and Introduced, Growing Without Protection in the United States. It was part of a 1982 exhibit, Philadelphia Naturalistic Photography, present­ ed by the Yale University Art Gallery. The catalog of the exhibit incorrectly identifies Lochman”s son Charles Napier Lochman as the author. Mary Panzer, prep., Philadelphia Naturalistic Photography, 1865–1906, Yale University Art Gallery, (New Haven, Connecticut, 1982), pp. 37–38.

13. “Charles Lochman, Cumberland County’s ‘First Premium’ Photographer,” Cumberland County History, Winter 1988.

Table I DATING LOCHMAN PHOTOGRAPHS

October 1865–March 1869: From C. L. Lochman’s First Premium Photograph Gallery, Main St. Opposite Marion Hall, Carlisle, Pennsylvania or C. L. Lochman’s First Premium Photograph Gallery, No. 21 West Main St., opposite the First National Bank, Carlisle, Pennsylvania.

All dates below are approximate, derived from Lochman’s adver­ tisements in the Carlisle Herald and Newville Star of the Valley. Quoted information is from verso of Lochman photographs. June 1859–November 1862: C. L. Lochman, Artist, Carlisle, Pennsylvania. November 1862–January 1865: C. L. Lochman, Artist, Main Street opposite Marion Hall, Carlisle, Pennsylvania. January 1865–February 1867: Lochman and Bretz, Artists, Newville, Pennsylvania. January 1865–October 1865: J. McMillen (successor to C. L. Lochman) 21 W. Main St., Carlisle.

14. William C. Darrah, personal letter to author, February 27, 1989. 15. Published by Charles L. Lochman, Bethlehem, Pennsylvania, Manuscript Collections, the Library Co. of Philadelphia; Anthony’s Photographic Bulletin, December 13, 1890, p. 127. 16. Darrah, Cartes-de-Visite, p. 200.

March 1869–May 1870: C. L. Lochman’s First Premium Ground Floor Gallery, No. 12 East Main St. opposite Saxton’s Store, Carlisle, Pennsylvania’ May 1870–c. July 1874: C. L. Lochman’s First Premium Photograph Gallery, Market Square, East Main Street, Carlisle, PA, removed from 21 W. Main Street to the Gallery formerly occupied by J. C. Lesher. After July 1874: R. H. Buttorff (successor to C. L. Lochman) S. E. Corner Market Square and Main St., Carlisle, PA.

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Regional Photographic History in Europe:

A Review of Methodology and Sources * Steven Joseph

tion, no single approach is universally valid; none has the monopoly on truth; all have their part to play. I would like to take up the debate in the context of regional research such as I and others have undertaken in Europe, and to suggest a conceptual model for exploiting aspects of all three approaches, and possibly unifying them. At its purest, the technological approach is analytical and quite dry, discounting all argument as to whether pho­ tography is science or an art. Such considerations are treat­ ed as irrelevant—photography is simply one technology among many. The reductionist approach works within its self-imposed limits because a combination of basic scientif­ ic principles use a process to create a product—the durable image of objects in the camera by the action of light on a sensitive surface. Photography is the result of the associa­ tion of two basic components: 1) The principle of optics (known in western Europe since the Middle Ages) where­ by an external image is projected onto the ground glass at the back of the camera obscura—the principle behind the formation of the image; and 2) the chemical component, the application of light-sensitive emulsions to a stable support—the principle behind making the impression and fix­ ing the image. This approach relies greatly on the use of dates to estab­ lish the technological timetable of an invention. Thus, 1839 is the date when an absolute novelty was revealed to the world—an invention—the first achievement of this combi­ nation of process and product. Yet the same date witnessed the simultaneous announcement of two significant and co­ existing variants, the daguerreotype and the pre-calotype. The daguerreotype was a direct positive on a metal plate that also constituted the final product, whereas the pre­ calotype (commonly but confusingly known as photogenic drawing by the inventor himself) reposed on an intermedi­ ate product, the paper negative, to create a quasi-infinite number of final products or positive images. The technological method might start with the inven­ tion, but this is only the first of a succession of significant dates. The individual contributions of Niepce, Daguerre and Talbot, however meritorious, were merely the rather crude beginnings of a series of modifications and improve­ ments that mark the progress of the new technology. Thus in 1841, Goddard and others were able to increase the lightsensitivity of emulsions by the use of accelerators. In 1851, Archer successfully substituted a transparent surface— glass—with the appropriate support, wet collodion. By 1871, Maddox had replaced dry plates for wet. In 1884 emulsions were first applied to a flexible support—celluloid—and in 1888, Eastman introduced the portable rollfilm camera.

The study of history has been satirized as a crazed preoccu­ pation with the chattels and strays of the past. History has also been likened to an echo chamber where we confront the past. When we, the researchers, record history, we are breathing our own life into it—our perceptions, personali­ ty, and philosophic bent. There are many ways to approach the history of photog­ raphy and they all can provide an honorable framework to our field of research. Three complementary methods that are commonly applied are the art-historical, the technolog­ ical, and the societal or broadly cultural. Those who employ the art-historical approach tend to describe the achievements of photography as a medium, photography as visual art, a vehicle for visual or pictorial self-expression. This approach utilizes much of the methodology and the conceptual framework of main­ stream art history, with the aesthetic analysis of oeuvres and schools, and the accolade of Master bestowed upon outstanding practitioners. A rich seam of photographic his­ tory such as Pictorialism easily lends itself to this approach. The art-historical view has been highly profitable to the auction houses since early photography became collectible in the 1970s. A handful of monographs existed to guide collectors down the path of big-name hunting but the roll call has changed very little over the past twenty years. In the technological approach, the researcher traces the development of photography from a technical point of view. Descriptive text is a major element, and the chrono­ logical flow imposed by the method is often seen as the tra­ ditional duty of the historian. Eder, among photohistorians of past generations, is the strongest proponent of this approach.1 The societal approach wherein photography is treated as a phenomenon and analyzed within the context of the shaping forces in society—arts, culture, and technology— is in many ways the most appropriate for the type of regional research many have undertaken. By emphasizing primary source material, this approach can be dynamic and stimulating in charting the reception, growth and expansion of the role of photography as a practice and a profession against the background of the complex changes which were underway in the industrial and economic sys­ tems of nineteenth century Europe. All approaches are equally valid, provided the historian adheres to the fundamental principle of respecting the pri­ mary sources. In fact, the expansion of knowledge in the history of photography has been such in the 1970s and 1980s that there has inevitably been a breaking down of pre-existing schemas or presentations. Gernsheim and Newhall, while still the standard works, have come under assault for parochialism, bias or slackness.2 In this situa­ 145

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The technological approach runs one invention smooth­ ly into the next, as if only the moment of invention count­ ed. However, the approach cannot function in isolation. For example, much was noted in 1839, but very little was actually invented. Niepce had obtained his first image some twelve years earlier, Talbot four years before that time, and Daguerre had almost certainly not improved on the results he had been achieving eighteen months or two years previously. Obviously, 1839 is not a milestone in the technology of photography, but rather in its socialization, when a techno­ logical invention is taken up by society, who then acts upon it and interacts with it. The process takes place with­ in a specific cultural and geographical context, and the acceptance of the invention is governed by a set of vari­ ables, factors which differ in their impact from place to place. Whatever the geographical context, no invention can begin the process of socialization unless two basic factors are present. First, the invention must attain a minimum viability, such as accuracy, reliability, and security of use. Second, the invention must respond to a well-defined need. Important innovations develop only when the per­ ceived need and technical feasibility converge. Belgium, a constitutional monarchy sandwiched between France and Germany, was a newly created state in 1830 and is a perfect example of the socialization process. In the period under discussion, Belgium relied heavily on external trade especially after 1870, and underwent a deep cultural change known as the industrial revolution. The model that I use for research was first developed by the French technology historian François Russo.3 The timetable of socialization is divided into a limited number of periods or phases, each with specific characteristics. This is not based on a general societal or cultural theory, but on the delimited applicability of empirical data. Each phase may be supported by a case study of a fully representative person, process or phenomenon. The first phase in the socialization of a new technology is the experimental or laboratory phase. This is the period in which the inventor or his representative hopes to market the invention, without fulfilling at the same time the two necessary preconditions of viability and market need. For example, Daguerre met with great societal resistance when he tried to sell shares in his invention in 1838. Societal resistance manifested itself in a different form when the daguerreotype was put on public display in 1839; the enthusiasm was dampened by the lack of colour, the lengthy exposure time and the product’s fragility. In Belgium, the first phase of socialization extended from the announcement of the invention of photography in January 1839 to the spring of 1842. The figure who best characterizes this phase in Belgium is the printer, lithographer, journalist and polemicist JeanBaptiste Jobard.4 While not exactly a representative of Daguerre, he met with him several times in Paris that year, and purchased a camera from Isadore Niepce, son of the inventor. On September 17, 1839, he announced in the columns of his own newspaper that he had succeeded in taking the first photograph in Belgium—a seven-minute exposure from the window of his Brussels town house.

Jobard reported that he had set up a company, the Société belge du daguerrotype, and that “the firm . . . will send on site artists versed in selecting the most suitable viewpoints for monuments, mansions or factories or machines to be copied, while awaiting (the possibility) of portraits from life.”5 But Jobard’s initiative was virtually stillborn. He had grasped the potentialities of the new tech­ nology, but it was not yet viable. Later that year when Jobard had time to take the full measure of the new process, he also—somewhat optimistically—foresaw the application of photography to the print­ ing press: “We announce that before another six months have passed, Daguerreotype plates will be engraved for print-runs of thousands.”6 He was wrong of course, but he was a lithographer by training as were many pioneers of the new medium. His predilection for photography, like Niepce’s motivation for inventing it, came from a search for a technical aid to the graphic arts, a means of raising productivity by replicating hand-made objects (litho­ graphs and engravings) in block printing. The printing press would indeed provide a major application for pho­ tography, but not yet. Jobard’s fate was typical of many such precursors in that he was defeated by a new and untried technology. In the end, the slow-acting emulsion and limited aperture lenses thwarted his commercial suc­ cess. By the second phase of socialization, Jobard was out of the running. During this phase, the invention has not yet been widely utilized, but financial incentives and the assis­ tance of entrepreneurs willing to shoulder the risk of com­ mercialization enable the invention to become truly viable. Commercialization now becomes a possibility. In Belgium, the onset of this phase can be dated precisely to the second week of March 1842, when all of the financial and technological factors finally fell into place with the opening of the first two portrait studios in Brussels.7 In por­ traiture, photography found or created the well-defined consumer need that was required for its success. The techni­ cal viability was secured to a great extent by the entrepre­ neur Richard Beard when he engaged a professional chemist named John Frederick Goddard to speed up the exposure times. By the winter of 1840 Beard had succeeded by employing a combined mixture of bromine and iodine as an accelerating agent. He also bankrolled the development of photographic apparatus at a reasonable price. While Beard could not patent photography, he acquired rights on a series of modifications and improvements which constituted a new production process. He took out the first Belgian patents on February 23, 1841 for an improved apparatus for transferring drawings and natural objects to metallic surfaces prepared by a revised process that used bromine and iodine in equal parts. The upgraded layout of the studio also contributed to his success. A year after taking out his Belgian patent, Beard announced: Photographic portrait establishment of the Royal Polytechnic Institution of London, and at the Bazar Pantechnique, near the Park in Brussels. The photo­ graphic process for making portraits is an improve­ 146

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ment of Monsieur Daguerre’s method. Mr. Richard Beard has just obtained a patent for Belgium. Portraits taken by this method require several sec­ onds exposure only and possess a softness and a del­ icacy which can only be obtained by the process of Monsieur Daguerre.8 Beard’s operator soon faced competition from the Brand brothers in Brussels, and from Vanmalderen in Liège. It is not known how long the Beard studio operated but the small format of the plate which the Wolcott mirror camera was capable of holding must have finally told against him. Beard never managed to institute in Belgium the franchis­ ing system which had been so successful in England. A risk-taker by nature, he was ultimately to bankrupt him­ self. At least Beard had demonstrated the commercial pos­ sibilities of the new technology, but it was left to others to see photography through the next phase. The third phase may be summed up as the period when invention becomes innovation. It is the beginning of social­ ization proper. The technology was now being exploited and demand for it began to grow. In Belgium, phase three lasted approximately fifteen years, from 1845 when the first permanent portrait studios were operational until circa 1860. During this time, the practice of photography was almost exclusively in the hands of professionals, and was characterized by two distinct methods of exploitation. In the larger centers of population, such as Brussels, Liège, Antwerp and Ghent, permanent portrait studios were erected. Outlying districts and smaller towns were served by short-stay itinerant photographers who usually operat­ ed in a hotel courtyard or garden. The town of Tournai is a case in point.9 Traveling daguerreotypists visited the town in 1843 (M. Guyard from Paris), 1844 (Messrs. Guyard and Housselot), and 1848 (Edouard), followed by Dondez, Professeur de daguerreotype who visited periodically dur­ ing the years 1852–1857. The first permanent professional photographer in Tournai, Louis Duchatel, began operating in 1855. During this phase, sources of biographical infor­ mation and studio practice are virtually confined to the advertisements and short articles in the daily press, and the publicity information printed on the mounts or backs of the photographs themselves. In phase three of the socialization process, photography cannot yet be considered economically significant. A few full-time practitioners and their traveling colleagues had little economic impact. Thus, in the Belgian population cen­ sus of 1856 (the first time that photography is mentioned), the term photographer is not autonomous but subsumed into a miscellaneous list annexed to the printing trade, which included playing cards, cardboard, wax and signets, pencil manufactures, illuminators, photographers, manu­ facturers of printers’ ink, font makers, type and other engravers. The small number of patents taken out in Belgium con­ firms the negligible impact of photography during phase three. The analysis of patents is an indispensable task for the technology historian and the aggregate data can be used in constructing the model of socialization. During the 1840s only nine patents were issued in the area, and the

number increased to 55 in the 1850s. They jump to between ten and twenty per year during the 1860s, figures which were constant well into the 1880s. The origin of individual patents can also reveal the evolution of technology transfer between countries. As we might expect, about ninety per­ cent of the patents are of foreign origin, showing that Belgium is a consumer rather than initiator of technology, and is dependent on other countries throughout the nine­ teenth century. The diffusion of knowledge can be inferred from the rate of transfer of patent rights to third parties (the number of transfer rights is the second figure on the top of each column). This is central to the theme of acquiring, managing and exploiting new technology. In the 1840s and 1850s no such transfers were made in Belgium. Photographic technology began to be used by individuals other than the patentee in a modest way in the 1860s. The rise in the number of patents and the application of transfer rights leads into the 1860s and phase four. Sources in the form of printed matter, notably trade directories, as well as manuscript material such as census returns and population registers also became more abundant. It is in phase four that society began to accustom itself to the new technology. In Belgium, the sudden expansion of photogra­ phy started in 1860 and continued for about thirty years. Both quantitative and qualitative data precisely document the starting date. Quantitatively, we have the census returns: an estimated 38 photographers are listed in 1856, and the number rose to 256 in 1866—a jump of 670 percent. Qualitatively, we have the testimony of contemporary observers. For example, a journalist introduced a report on the construction of a new portrait studio in Brussels in 1864: Ten years ago, photography was scarcely known here; only Daguerre’s system was in vogue and astonished many people. Today portraits on metal plates are quite out of fashion; men of progress have put their minds to it and, aided by chemistry, have managed to reproduce on paper portraits which can be preserved indefinitely. Progress has not stopped there: to be convinced, you need only consider the number of photographic establishments founded in Brussels alone in the past few years; this is the best proof of vitality in this industrial branch.10 A wood engraving depicts the portrait studio run by Charles D’Hoy in Ghent around 1865. The trappings—the chair, headrest, and skylight—are all standardized. Sophisticated accessories have been added: rather than posing in front of a plain white sheet, the subject could be photographed against a painted backdrop with balustrade (seen on the right) or alongside a stucco mock-Louis XV fireplace and mirror. This became quite formulaic, with accessories as well as with the machine on the floor with the dividing back for taking four simultaneous carte-devisite portraits. Another phenomenon typical of professional photogra­ phy during this phase is geographic clustering. In Belgium, the capital city was the center of attraction. During the peri­ od of 1860 to 1890, thirty to forty percent of all portrait pho­ tographers in Belgium were located in a relatively small 147

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area of Brussels. Trade directories figures fully emphasize the point. In 1860, Brussels had 23 of the 36 studios in the country. By 1868, the numbers had risen to 49 out of 127. While there was a decrease in Brussels’ studios during the next decade, the major cities of Liège, Antwerp and Ghent remained far behind. Toward the end of phase three in 1888, Brussels had three times as many studios as Antwerp—72 to 25. When compared per head of popula­ tion, the position of Brussels is just as predominant: in 1866, there was one photographer for every 6,000 inhabi­ tants in the capital, while the average for the country as a whole was 1 in 19,000. The density ratio of 1:6,000 was not reached in Liege and Antwerp until the mid-1890s, and in the country as a whole, only after the turn of the century. Brussels, with its concentration of wealth, was therefore the natural environment for what was still very much a luxury commodity. The fifth phase of socialization is that of the quantitative leap. The technology experiences a wide social and geo­ graphic diffusion, and is clearly accepted within the con­ text of everyday life. In Belgium, this point was reached in about 1890. At that time professional photographers began to open studios in working-class suburbs and in the coun­ tryside. In parallel, the penetration of the activity in the population at large reached new levels, due to the success­ ful marketing by George Eastman of Kodak cameras and film. The 1890s saw the formation of local amateur groups, but this development also led to a fragmentation of atti­ tudes. The last unified photographic exhibition in Belgium—equipment and images of all sorts—took place in 1891. Thereafter equipment could only be seen at indus­ trial fairs, and exhibitions were either for everyone or for a self-selected Pictorialist elite. During the fifth phase, pho­ tography had yet to reach a saturation point. After the con­ solidation that took place by 1870, the number of professionals doubled more or less every fifteen years in the country as a whole. Brabant, the province of the Brussels region, housed half of the country’s professionals until the beginning of phase five in 1890 when, due to a greater geographic and social penetration, it decreased by ten or fifteen percentage points. Another characteristic of the fifth stage of the socializa­ tion process is the broadening of applications. Photo­ graphy began to be applied to areas of human endeavor other than that for which it was originally conceived. In the mid-1890s the two major inventions to incorporate the photographic technology were cinematography and Roentgen’s X-rays. The acceptance of both applications was much more rapid than for photography itself, due in part to the transformation in transport, communications and economic structures which had taken place in the pre­ vious fifty years. Within the photographic branch itself, industrialization meant the division of labor and a move away from artisandominated structures. J. Malvaux of Brussels was a photo­ graphic printer whose main business was supplying line and half-tone blocks to illustrated magazines in the 1890s and early 1900s. The production process for photoblocks or plates had now been streamlined into discrete functions, each conducted by personnel specializing in a particular

task. Photography in this significant application had been mechanized. The man behind the camera is only one skilled operator on a long process line. Socialization was virtually complete when photography became integrated in the media of daily newspapers and popular magazines, and at the same time, emerged as a mass market requiring large scale industrial production of cameras and continu­ ous production of chemicals. I abandon my analytical model of the socialization process in photography at the dawn of the twentieth centu­ ry, as the technology gears up to a sixth phase—universality. One of the fundamental problems that historical researchers must address is certifying the accuracy of the information upon which hypotheses are built. It is an obvi­ ous lesson but one that must be emphasized. Ingenious theories and sophisticated methodologies can easily be nullified by slap-dash research—a model with feet of clay. When a discipline is relatively young (as is the history of photography), it is doubly important that the gathering of information is beyond reproach. Printed sources are highly diverse. At the basic level of bibliography, many tasks remain to be done. For example, the specialist photographic periodical press in the nine­ teenth century is rich in data not only about processes but also on the dynamics of the interaction between practition­ ers of photography and society at large. Alongside bibli­ ographies of manuals and handbooks, in-depth analysis of these sources can offer insights on how the state-of-the-art was perceived at a particular moment, i.e. the diffusion of technical knowledge in the sector. Handbooks are particu­ larly useful because they tend to concentrate on the prac­ tice of technology in everyday use rather than on advancing innovative technology. Embedded sources can also be of great interest. Through­ out the period in question, the press remains a major source of data for the regional historian. Newspapers are seldom indexed, but the time-consuming task of systemat­ ically reviewing bound collections page by page will be rewarded by the discovery of information available nowhere else. Before the specialist press developed in the 1850s and 1860s, essays and other articles on photography appeared in professional and scientific journals. The result­ ing insights into techniques and processes are invaluable, but additional benefits may be realized by the careful researcher. The meticulous charting and analysis of these sources can plot the geographical spread and the social and intellectual networks that dispersed the new knowledge to practitioners—the socialization of photography. Innovation is a social process and due weight needs to be given to how theory and practice were affected by the milieu—professional, intellectual and scientific bodies— which accommodated them. Highly useful in this context are the membership lists of the Association belge de Photographie, printed annually in the society’s journal. They give a unique insight into the social status of ama­ teurs as well as provide the successive addresses of indi­ vidual practitioners. In most countries abstracts of patents were published by the office responsible for registering them, and these can facilitate initial research. 148

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For analysis of photography as a profession, trade direc­ tories are an indispensable source. They generally were published annually or every two years in most of the major towns and cities by the middle of the nineteenth century. However, the detail and accuracy of the data is quite vari­ able and should be supplemented by other sources when­ ever possible. The date on the title page may be misleading: a so-called annual for 1860-1861 may be using data collected in mid to late 1859. These are often institutional and admin­ istrative documents, generally in manuscript form. Census returns and population registers offer a level of detail not available in published sources. Furthermore, most European countries employed police forces charged with internal security. The files relating to foreigners who were obliged to register with the police (and subsequently monitored in secret!) have proved, in Brussels at least, to be an unexpected source of biographical data. Genealogical records are often deposited in manuscript form in local or regional archives (more abundant in the old monarchies of Europe) and furnish biographical data on many wellheeled amateur photographers. In conclusion, whatever approach is used for the historian’s confrontation with the past, the emphasis should be on the methodical compilation of verifiable data, to para­ phrase Heinz Henisch, Professor in the History of Photography at State College, Pennsylvania. The result must be based upon empirical criteria and include suffi­ cient and reliable documentation. It may also benefit from an analytical system, provided that the system coincides with the carefully tested data. The worst possible strategy would be for the researcher to impose highly abstract con­ ceptual superstructures on insufficient or biased data. In the best of all possible methods, the researcher’s analysis and synthesis of data will increase the knowledge of the growth of photography. Our young and vital discipline is capable of embracing a plurality of approaches that should generate new and unconventional insights. Finally, raw data—facts and statistics—are only build­ ing blocks. Quantification is no substitute for the mortar of historical and intellectual judgment. The researcher there­

fore requires a broad awareness of developments outside his specific field and should evince imaginative sympathy with the past. Gathering the chattels and strays of the past now makes sense. Discrete pieces of information collated with care can help create a general picture and form a viable frame of reference. It is through this frame that we can refocus on the past, capture its texture and perceptions, and begin to hear that echo.

Notes * This essay was first published in Photographers: A Sourcebook for Historical Research, Carl Mautz Publishing. Brownsville, Californai, 1991. 1. J. M. Eder, History of Photography, E. Epstean, trans., New York, 1945 (4th ed.), 1978 (reprint). 2. H. and A. Gernsheim, The History of Photography, New York and London, 1969 (2nd ed.). B. Newhall, The History of Photography, New York and Boston, 1982 (5th ed.). 3. F. Russo, Introduction a l'histoire des techniques, Paris, 1986. 4. For a more complete account, see S. F. Joseph and T. Schwilden, “Sunrise over Brussels: The first year of photogra­ phy in Belgium,” History of Photography, Vol. 13 (1989), pp. 355–368. 5. Le Courrier Belge, September 12, 1839. 6. Le Courrier Belge, September 25, 1839. 7. S. F. Joseph and T. Schwellen, “The First Daguerreian Studios in Brussels,” P. Palmquist, editor, Daguerreian Annual 1990, Eureka, California, 1990, pp. 93–100. 8. Journal de Bruxelles, March 11, 1842. 9. S. Le Bailly de Tilleghem, “Les premiers photographes à Tournai de 1842 à 1892” in Rene Desclee photographe tournaisien 1868–1953, B. Desclee, editor, Tournai, 1988, pp. 23–37. 10. L’Etoile Belge, May 16–17, 1864.

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Contributors

Richard Rudisill Curator of Photographic History, Museum of New Mexico; author of Photographers of The New Mexico Territory and Mirror Image. Linda A. Ries Archivist, Pennsylvania State Archives, and photography historian; co-author of Directory of Pennsylvania Photographers 1839-1900. Steve Knoblock Web developer, “popularizer” of photo history and photographer; host of The City Gallery.

David Haynes Independent researcher, writer, and editor, with particular interest in nineteenth century Texas photographers and photography; author of Catching Shadows: A Directory of 19th Century Texas Photographers. Peter E. Palmquist Independent historian of photography specializing in the daguerreian era, California to 1950, and women in photography, globally; author of Carleton E. Watkins: Photographer of the American West and many other books and publications.

Dr. Jeremy Rowe Head, Media Development, Arizona State University, photo historian and collector, author of Photographers in Arizona 1850-1920: A History & Directory.

Martha A. Sandweiss Associate Professor of American Studies and History, Amherst College; author of Eyewitness to War: Prints and Daguerreotypes of the Mexican War, 1846-1848, Laura Gilpin: An Enduring Grace and Masterworks of American Photography.

Steven F. Joseph Deputy Head of Unit, European Commission, Brussels, and Fellow of the Royal Photographic Society, Bath; co-author of a Directory of Photographers in Belgium, 1839­ 1905, which was awarded the Prix Raymond Lecuyer by the French Photography Museum in 1997. Collector of nineteenth-century photographically illustrated books.

Drew Heath Johnson Curator of Fine Art Photography at the Oakland Museum of California; co-curator the exhibition and editor of the book, Silver & Gold: Cased Images of the California Gold Rush.

150

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Author Index

Abajian, James de Tarr: 112 Abarca, Juan Vidal: 97 Abeels, Gustave: 64 Abramson, Joan: 131 Adamson, Keith I. P.: 77, 78 Adelman, Jeremy: 101 Adle, Chahryar: 107 Afshar, Iraj: 107 Aguilar Ochoa, José Arturo: 103 Åhlin, Christer: 98 Aleixandre, José: 96 Alexander, Abel José: 101, 104 Allen, William: 108 Altena, Marga: 90 Althin, Harald: 98 Andel, Jaroslav: 67 Antheunis, Georges: 64 Appelgren, Arne: 98 Appleby, David: 78 Appleby, John: 78 Arbasino, Alberto: 61 Arnholtz, Svend: 68 Arregi, J.: 96 Articus, Rüdiger: 73 Ask, Christer: 98 Assion, Peter: 74 Aston, C. E. John: 79 Atabai, Badri: 107 Auer, Anna: 63 Auer, Michèle and Michel: 46 Avery, Myron H.: 121 Back, Jean: 134 Bade, Brian: 136 Baden Pritchard, H.: 61 Baggethun, Rolf: 91 Bailey, Linda: 138 Baird, John A.: 117 Baker, Tracey: 123, 137 Balajka, Petr: 67 Baldvinsdóttir, Inga Lára: 84 Balk, Claudia: 46 Bannon, Anthony: 124 Bardou, Pierre: 71 Barrie, Sandy: 129, 130, 133, 139 Bartetzko, D.: 74 Bartram, Michael: 77 Baty, Laurie: 120 Baty, Laurie A.: 136 Bayer, Adelheid: 63 Bayliss, Anne: 79 Bayliss, Paul: 79 Beaton, Cecil: 46 Beatty, Jan,: 126 Beaugé, Gilbert: 108 Beaugé, Gilbert.: 71 Becchetti, Piero: 85 Belleau, Bernard: 135 Beltramini, Maria: 86 Benassati, Giuseppina: 86 Bennett, Mary: 121 Bennett, Swanee: 117 Bennett, Terry: 58, 59 Bensusan, A. D.: 54, 56 Berezin, Ronna H.: 119 Bergamini, Giuseppe: 86 Bertonati, Emilio: 73 Bertuzzi, G.: 86 Bester, Rory McLachlan: 132 Billeter, Erika: 46, 100 Binder, Walter,: 98 Birrell, Andrew: 110 Birrell, Andrew J.: 109 Birt, Rodger C.: 117 Bischoff, Efrain U.: 101 Bade, Brian: 136 Blades, Judith: 81 Blanchard, G. L.: 123 Blanton, Casey: 131 Blasco, Victoria: 46 Bloore, Carolyn: 77

Boer, P.: 90 Boev, Peter: 66 Boissier, Jean-Louis: 57 Bolt, Dick: 122 Bonge, Susanne: 91 Bool, Flip: 89 Boom, Mattie: 46 Borcoman, James: 47 Borgé, Guy: 71 Borgé, Marjorie: 71 Borhan, Pierre: 59 Bouqueret, Christian: 69, 85 Breguet, Elizabeth: 99 Breisch, Kenneth A.: 87 Brenes, José Manuel Holgado: 96 Brettell, Richard R.: 62 Breuille, Jean-Philippe: 47 Brey, Mary: 126 Brey, William: 126 Broos, Kees: 89 Brown, Julie Katherine: 130 Browne, Turner: 47 Brückner, Wolfgang: 74 Bruni, Alda: 86 Buchanan, William: 82 Buck, Daniel: 101, 134 Buckland, Gail: 46, 106 Budahazi, Serge: 64 Budge, Adrian: 79 Budge, Adrian: 78 Budryteæ, Z.: 88 Buerger, Janet E.: 69 Bull, Marjorie: 56 Bunnell, Peter C.: 115 Burant, James: 111 Burgess, JoAnn: 137 Busey, Samuel C.: 120 Bush, Alfred L.: 112 Butcher, Mike: 130 Caddick, James L.: 117 Calado, Jorge: 93 Callarman, Barbara Dye: 117 Camp, William L.: 124 Campbell, Ann-Mari: 98 Campos Vilanova, J.: 96 Cánovas, Carlos: 96 Carstens, Antenie: 56 Carter, Kate B.: 128 Casaballe, Amado Becquer,: 100 Casanova, Rosa: 103 Cassio, Claudia: 86 Castillo, Matilde Muro: 96 Castleberry, May: 113 Castro, Fernando: 104 Caterino, David R.: 123 Cato, Jack: 129 Cavazzi, Lucia: 86 Challe, Daniel: 71 Chandler, Edward: 84 Chanzá, José Huguet: 96 Chen Sen: 132 Chevedden, Paul E.: 105 Chiriboga, Lucia: 102–103 Christ, Yvan: 70 Christopher, A. J.: 124 Chudakov, Grigory: 99 Cirket, A. F.: 79 Çizgen, Engin: 105, 108 Claes, Marie-Christine: 64 Claes, Marie-Christine: 64 Cloutier, Nicole: 112 Coar, V. H.: 113 Cobb, Myrna: 110 Coffin, Edward F.: 122 Coke, Van Deren: 47, 73, 121 Colbourn, Megan: 83 Colombo, Cesare: 85 Compton, John: 128 Condé, Françoise: 70 Condon, Richard G.: 109

Cooper, Evelyn S.: 116 Copeiro del Villar, Jesus Ramirez: 96 Coppens, Jan: 62, 90 Corke, Charles Thomas: 111 Cortal, Manuela: 71 Costantini, Paolo: 85, 86 Cotten, Jerry: 125, 138 Cowen, Chester R.: 138 Cox, Geoffrey: 83 Craig, John S.: 113, 135 Cresens, André: 64 Crofford, Ava: 128 Crovetto, Pier Luigi: 100 Cruz, Soledad: 103 Cuarterolo, Miguel Angel: 100, 101, 105 Culp, Edwin D.: 126 Cummings, Charles F.: 138 Cupo, William: 128 Czach, Marie: 120 Czartoryska, Urszula: 92 Daly, M. W.: 108 Danecka, Tatiana: 92 Daniels, David: 116 Darlington, Elizabeth A.: 83 Darrah, William C.: 47, 108, 113, 121 Davies, Alan: 129 Davis, Lynn Ann: 131, 139 Dawyndt, A.: 64 de la Hoz, Angel: 97 de Mondenard, Anne: 70 Debeljkovic;, Branibor: 94 Debize, Christian: 71 Debroise, Olivier: 103 Del Cid F., Enrique: 103 Del Pesco, Daniela: 86 del Val, Venencio: 97 Demichelis, Karen: 117 Denfield, Joseph: 56 Denhez-Apélian, Annie-Dominique: 71 Desmond, Ray: 58 Désy, Louise: 112 Detry, Maurice: 64 Dewilde, Jan: 65 Dewitz, Bodo von: 47, 83, 85, 105 Di Castro, Federica: 83 Di Laura, Mark A.: 108 Di Stefano, M.: 86 Dicker, Laverne Mau: 118 Dimock, George: 47 Dimond, Frances: 77 Îjordjevicc;, Miodrag: 94 Dobroszycki, L.: 91 Doherty, Amy S.: 124 Dolk, W.: 90 Dost, Wilhelm: 74 Douglas, Fred: 110 Drake, Greg: 48, 113 Du Pont, Diana C.: 47 Dubrovic;, Ervin: 66 Dufek, Antonin: 66, 67 Dupont, Pierre-Paul: 65 Durán Blazquez: 95 Duschek, Wolfgang: 63 Duvosquel, Jean-Marie: 65 Dynesen, Knud: 68 Edwards, Gary: 48 El-Hage, Badr: 106 Elentheriou, Manos: 83 Ellero, Gianfranco: 86 Elliott, Brian: 79 Elliott, David: 94 Eltzroth, E. Lee: 136 Emiliani, Andrea: 86 Engelstoft, Jesper: 61 Erber, Czes¬aw: 92 Erdkamp, J.: 90 Erickson, Bruce T.: 139

151

Ericson, Rica: 130 Erlandsen, Roger: 91 Erwin, Kathleen A.: 113 Eskildsen, Ute: 67, 73 Eskind, Andrew H.: 48 Eva, K.: 79 Eva, S.: 79 Ewing, William A.: 48 Faber, Monika: 48, 63, 66 Faber, Paul: 105 Facey, William: 106, 108 Facio, Sara: 101 Falconer, John: 56, 58, 60 Falzone del Barbaró, Michele: 86–87 Fani, Michel: 106 Felguera, María de los Santos García: 96 Fels, Thomas Weston: 117 Fernandez Ledesma, Enrique: 103 Fernández Rivero, J. Antonio: 96 Ferrez, Gilberto: 102 Fiedler, Jeannine: 73 Finkel, Kenneth: 126 Fiorentino, Gaetano: 87 Firek, Suda J.: 92 Fisher, Rod: 130 Fleig, Alain: 54 Fleming, Paula: 113, 135, 136 Fletcher, S.: 79 Flottman, Rex: 137 Flukinger, Roy: 77 Foch, Elisabeth: 48 Fons, Claire: 71 Fontana, C.: 57 Fontanella, Lee: 95, 96 Fontcuberta, Joan: 95, 96 Ford, Colin: 48 Fordyce, Robert Penn: 124 Forresta, Merry: 113 Forss, Anlis: 69 Fralin, Frances: 48 Francis, Daniel: 110 Franco, Ernesto: 100 Frank, Hans: 62, 63 Frassanito, William A.: 126 Frecot, Janos: 74 Frederiksen, Doris: 68 Fredriksson, Erkki: 69 Freyens, Robert: 64 Friedman, Martin: 62 Fuller, Sue Elizabeth: 119 Fullerton, Richard D.: 125 Fulton, Marianne: 113 Fürböck, Ernest M.: 63 Gabous, Abdelkrim: 56 Gabriel, Cleota Reed: 124 Gagel, Diane VanSkiver: 125 Galassi, Peter: 48, 113 Galic;, Milan: 66 Galvani, Paul: 128 Garnier-Pelle, Nicole: 71 Garztecki, Juliusz: 92 Gauffin, Monica: 98 Gautrand, Jean-Claude: 48 Geary, Christraud: 55 Gebhardt, Heinz: 74 Gee, Ian: 79 Geirnaert, Noël: 65 Geisert, Helmut: 74 Gentili, Lamberto: 87 Gérard, Denis: 55 Gerlich, Robert: 74 Gernsheim, Helmut: 49 Gersa Miya, T.: 73 Geselschap, J.: 90 Gesualdo, Vicente: 49 Geuder, Franck: 123 Gilbert, George: 49 Gilbert, Lionel: 130

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Gill, Arthur T.: 79 Ginsberg, Louis: 129 Girard, Gérard: 63 Glassman, Elizabeth: 49 Godby, Prof. Michael: 132 Goergens, Harald: 74 Gómez, Juan: 101 Gomo¬a, Zbigniew: 92 Gonzalez, Graciela N.: 101 González, Ricardo: 96–97 Goodman, Theodosia Teel: 126 Götlin, Curt: 98 Graf, John F.: 139 Graindorge, Isabelle: 65 Grandadam, Bernard: 72 Grandt-Nielsen, Finn: 68 Grant, Gillian: 108 Grant, R. C.: 79 Gray, John S.: 123 Grc=evic;, Nada: 67, 94 Greenhill, Ralph: 110 Greenough, Sarah: 49 Grinberg, Isaac: 102 Griscom, Andrew: 123 Groeneboer, Joost: 89 Groeneveld, Anneke: 46, 56, 58 Gruber, John: 126 Gruber, L. Fritz: 49 Gruber, Renate: 49 Guichon, Françoise: 49 Haas, David W.: 105 Hall, Barbara: 130 Hall-Duncan, Nancy: 49 Haller, Margaret: 49 Hallett, Michael: 79–80, 82 Hamber, Anthony: 50 Hambourg, Maria Morris: 50 Hammar, Stefan: 134 Hannavy, John: 80, 82 Hansen, Anna Christine: 50 Hansen, Keld: 83 Harber, Opal: 119 Hardijzer, Carol H.: 132 Harker, Margaret F.: 77, 134 Harper, J. Russell: 111 Harris, David: 117 Hart, Arthur A.: 120 Hartup, Cheryl: 104 Hathaway, Pat: 117 Haugsted, Ida: 68 Haworth-Booth, Mark: 77 Haya Jiménez, María Eugenia: 61 Haynes, David: 128 Heathcote, Bernard V: 77, 80 Heathcote, Pauline F.: 77, 80 Heilbrun, Françoise: 50 Heisey, M. Luther: 126 Hemmingson, Per: 98 Henggler, Joseph: 85 Henningsen, Henning: 61 Henriksen, Egil: 91 Henry, Jean-Jacques: 72 Herranen, Merja: 69 Hesse, Wolfgang: 74 Heyman, Therese: 114, 117 Hiesinger, Ulrich W.: 114 Hill, Edwin L.: 129 Hinkka, Jorma: 69 Hinson, Tom E.: 50 Hirn, Sven: 68 Hitchcock, Ruth: 117 Hlavac, Ludovit: 95 Hoerner, Ludwig: 74 Hoffenberg, H. L.: 100 Hoffman, Detlef: 74 Hoffman, Michael E.: 60 Högland, Helge: 98 Hogaldo Biennes, Jose Manuel: 95–96 Holloway, Lisabeth M.: 126–127 Holme, Bryan: 50 Homer, William Innes: 127 Honnef, Klaus: 73 Hooper, Andrew: 130 Hooper, Bruce: 116, 136

Horbert, Wolfgang: 75 Hostetler, Joan E.: 136 Hostyn, Norbert: 65 House, Thomas: 121 Howe, Kathleen Stewart: 106 Hoyle, Pamela: 122 Huang Shaofen: 57 Hübner, Gerhild: 83 Hugger, Paul: 99 Huidekoper, V.: 129 Huijsmans, Dr. D. P.: 89, 134 Hülsewig-Johnen, Jutta: 50 Hvoslef, Kjell Lund: 91 Ihnatowiczowa, Jadwiga: 92 Iizawa, Kohtarô: 59 Ionescu, Adrian-Silvan: 94 Jacob, Mike: 87 Jacobson, Ken: 50 Jaguer, Edouard: 50 Jakob, Volker: 75 James, Peter: 80 Jammes, André: 70, 106 Jammes, Isabelle: 70 Jammes, Marie-Thérèse: 106 Janis, Eugenia Parry: 70 Jansen, Cäcilia: 75 Janssen, Ham: 90 Jedlinski, Jaromir: 92 Jeffrey, Ian: 51 Jenkins, Paul: 55 Jesús Hernández, Manuel de: 103 Jezierski, John V.: 127 Johnson, Brooks: 51, 129 Johnson, Paul R.: 122 Johnson, William S: 51 Jones III, Lawrence T.: 139 Jones, Gillian A.: 80 Jones, Gordon: 129 Jones, Graham: 80 Jones, Stephen K.: 83 Jordan, Ingeborg: 75 Joseph, Steven F.: 64–65 Jost, Loren: 139 Juhl, Paul C.: 121 Junevic=ius, Dainius: 89, 134 Juodakis, Virgilijus: 89 Jutzi, Alan: 114 Kailbourn, Thomas R.: 109 Kakou, Serge: 131 Kambic=, Mirko: 95 Kaneko, Ryuichi: 59 Kardos, Sándor: 84 Karel, David: 108 Karlovits, Károly: 83 Katz, D. Mark: 114 Kehusmaa, Aimo: 69 Kelbaugh, Ross J.: 114, 121–122, 136–137 Keller, Judith: 87 Kelly, Stephen F.: 81 Kemp, Wolfgang: 75 Kempe, Fritz: 73, 75 Kempf, Christian: 72 Kennedy, Anne: 115 Khemir, Mounira: 105 Kilgo, Dolores (Dee): 137 Kilian, Lincoln: 119 King, S. Carl: 95 Kirschner, Zdenek: 67 Kirshenblatt-Gimblett, B.: 91 Knight, Hardwicke: 131 Knoblock, Steve: 136 Kobal, John: 117 Koelzer, Walter: 133 Kolbe, Robert: 136 Koltun, Lilly: 110, 111 Kossoy, Boris: 102 Kozin;ski, Jerzy: 92 Kraus, Rosalind: 51 Kreicbergs, Janis: 88 Krichbaum, Jörg: 51 Kroutvor, Josef: 66 Kukkonen, Jukka: 69

Kunstreich, Jan S: 75 Kurbanov, Sabir: 60 Kurilecz, Peter A.: 139 Kurtz, Gerardo F.: 96 Kyram, Dan: 107 Ladegaard, Inge: 68 Lai, Edwin K.: 132 Lammai, Klaus: 75 Lang, Robert J.: 51, 132 Lara, Luis Ortiz: 96 Latour, Ira H: 117 Lavigna, Arlene: 123 Le Bailly de Tilleghem, Serg.: 65 Le Calvez, Guy-François: 72 Lea-Scarlett, Errol J.: 130 Leeuwerck, Ernest: 65 Leijerzapf, Ingeborg Th.: 89 Leipe, Anita: 134 Lejko, Krystyna: 92–93 Lessard, Michel: 112 Lester, John: 131 Levy Reed, Jane: 58 Libby, Gary R.: 61 Lin Shu-ching: 132 Lindsay, Lionel: 130 Linkman, Audrey: 81 Lionel-Marie, Annick: 51 Litschel, R. W.: 63 Littlejohn, R. A.: 130 Livi, François: 85 Livingston, Jane: 51 Lloyd, Valerie: 51 Lobjoy, Martine: 62 Loetscher, Hugo: 99 Löhr, Alfred: 74 London, Barbara: 54 Long, Chris: 130 Lööf, Lars-Olof: 134 López Mondéjar, Publio: 95–97 Lowry, Bates: 51 Lowry, Isabel Barrett: 51 Lucchetti, Domenico: 87 Luskey, Judith: 113 Maas, Ellen: 73 MacKenzie, Shelagh: 110 Maffioli, Monica: 86 Magalhaes, M. J.: 93 Magelhaes, Claude: 64 Main, WIlliam: 131 Malekovic, Vladimir: 67 Mamasakhlisi, A. V.: 73 Mangan, Terry William: 118–119 Mann, Margery: 118 Manso García, Fernando: 97 Manuel, José: 95 Marbot, Bernard: 51, 57, 59, 70-71, 133 Marcenaro, Giuseppe: 87 Marchal, Gaston-Louis: 72 Margiotta, Anita: 86 Martini de Châteauneuf, Charles: 72 Massengill, Stephen E.: 125, 138 Matacena, Gennaro: 87 Mather, Jenni: 130 Mathews, Oliver: 51 Mathiesen, Hanna: 68 Mattison, David: 110–112, 135 Maurice, Phillippe: 110 Mautz, Carl: 108 Mayer-Wegelin, Eberhard: 75 Mayne, Richard: 81 McAndrews, Edward: 109 McCauley, Elizabeth Anne: 72 McCoo, Don: 82 McElroy, Keith: 104 McGrath, Antonia: 111 McKendry, Jennifer: 111 McKenna, Joseph: 79 McKinney, Kirby L.: 127 McLaughlin, Dorothy: 116 McLaughlin, Herb: 116 McShane, Linda: 123 McVey, Lori Brown: 135 Meier, Judith: 127

152

Meita, Joseph: 96 Mellown, Robert O.: 115 Melssen, J. Th. M.: 90 Menapace, F: 87 Mensonides, H. M.: 90 Meyfroot, Véronique: 55 Mhire, Herman: 121 Michel Poivert: 53 Michiels, Guillaume: 65 Mikielievich, Wladimir: 101 Milde, Horst: 75 Miley, Noel: 139 Miller, Alan Clark: 126 Miller, Dickinson Jenkins: 106 Miller, Sandra L.: 61 Miraglia, Marina: 87 Misle (Caremis), Carlos Eduardo: 105 Mitchell, Lee Clark: 112 Mitry, Jean: 62 Monti, Nicholas: 55 Morand, Marianne: 72 Morand, Sylvain: 72, 133 Morgan, Sher: 110 Mormorio, D.: 87 Morozov, Sergei: 94, 99–100 Morrow, Delores J.: 123 Morrow, Lory: 137 Moser, Eva: 62 Moss, George H., Jr.: 124 Mossakowska, Wanda: 93 Moutoussamy-Ashe, Jeanne: 114 Mrázková, Daniela: 52, 67, 100 Muchnic, Suzanne: 118 Mulet, Maria José: 97 Muñoz, Luis Luján: 103 Murray, Hugh: 81 Musso, Gia: 52 Naef, Weston J.: 52, 102 Naggar, Carole: 52, 103 Nagy, Istvan: 84 Nawigamune, Anake: 60 Nazarieff, Serge: 63 Néagu, Philppe: 50 Nedvetsky, Andrei G.: 61 Neill, Peter: 115 Neite, Werner: 75 Neusüss, Floris: 75 Neuville, François: 108 Newhall, Beaumont: 114 Newton, Gael: 130 Nickell, Joe: 121 Niklewska, Jolanta: 93 Nicolajsen, Bent: 68 Nir, Yeshayahu: 107 Noble, Mary E.: 137 Nooyens, Frans: 65 Norgate, Martin: 81 Nori, Claude: 70 Norton, Russell: 70 Novak, Michael.: 122 Noye, Robert J.: 130, 139 O’Reilly, Patrick: 132 Ochsner, Bjørn: 53, 67 Ölçer, Nazan: 108 Olson, Walter: 98 Onne, Eyal: 107 Ono, Tadashi: 59 Orive, Maria Cristina: 103 Orland, Ted: 118 Osman, C.: 106 Ouimet, Beth: 114 Ozawa, Tekesi: 59 Özendes, Engin: 105 Padron Toro, Antonio: 135 Painting, David: 83 Palazzoli, Daniela: 61 Palma, Francisco Reyes: 104 Palmquist, Peter E.: 52, 109, 114, 118–119, 132, 136 Panazza, Gaetano: 87 Pankhurst, Richard: 55 Panzer, Mary: 127

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AUTHOR INDEX

Papp, David: 98 Pardo González, Juan Carlos: 133 Pardo, Ignacio: 97 Pare, Richard: 52 Paredes-Cándia, Antonio: 135 Parish, Susan: 139 Partnow, Elaine: 47 Patterson, Rosemary A.: 127 Patton, Mary Elizabeth: 119 Pavão, Luis: 93 Pavard, Claude: 55 Peeters, Ronald: 90 Pélen, Jean-Noël: 72 Pellerin, Denis: 70 Perez, Nissan N.: 105 Perret, René: 99 Pertoldi, Brigitte: 88 Peterson, Brian: 127 Peterson, Carl: 138 Peterson, Christian A.: 52, 114 Philippot, Claude: 67 Phillips, Christopher: 50 Phillips, Glen C.: 110, 112 Pichler, Florian: 63 Pierce, Sally: 122 Pinet, Hélène: 53 Plutecka, Grazæyna: 92 Poivert, Michel: 53, 70 Polito, Ronald: 114, 122 Porse, Poul: 133 Poulsen, Orla: 68 Powell, Donald Walter: 127 Powell, Pamela C.: 127 Priego Ramírez, Patricia: 104 Pritchard, Michael: 81 Punnett, Richard: 136 P¬azæewski, Ignacy: 92 Quarles van Ufford, C. C. G.: 90 Ramirez, Jesús: 96 Rammant-Peeters, Agnes: 106 Randell, Douglas: 79 Read, Gillian: 81 Reed, Dennis: 119 Regife, Justo Ramos: 95 Reme=s, Vladimir: 67, 100 Repp, Stephen: 120 Reynolds, Ann: 128 Rhymer, Mary Frances: 121 Rice, Leland: 118 Richter, Helmut: 76 Richter, Peter-Cornell: 73 Riego, Bernardo: 97 Ries, Linda A.: 127, 138 Rifkind, Eugene: 139 Rimmer, Ralph W.: 81 Ringger, Kirsti: 48 Rinhart, Floyd: 115, 120 Rinhart, Marion: 115 Ritchin, Fred: 103 Ritter, Ben: 129 Ritter, Dorothea: 88 Rittsel, Pär: 98 Robb, Frances Osborn: 136 Robertson, P.: 110 Robinson, Thomas: 126, 138 Robinson, Tim: 130 Robinson, William F.: 115, 120 Robson, Scott: 110 Rocandio, Jesús: 97 Rodgers, Patricia H.: 122 Rodrigues Villegas, Hernán: 102 Rodríguez, José Antonio: 104 Rogers, Brett: 58 Ronna H.Berezin,: 119 Rooseboom, Hans: 46 Roosens, Laurent: 62, 64 Rosati, Romano,: 88 Rosenberg, Gert: 63 Rosenblum, Naomi: 53 Rowat, Theresa: 112 Rowe, Jeremy: 116 Ruby, Jay: 127 Rüdiger, Frank: 76 Rudisill, Richard: 124

Rule, Amy: 115 Rummey, Lynne: 48 Ryan, Chris: 80 Ryckebusch, Jackie: 55 Sachsse, Rolf: 73 Saenz de San Pedro, Enrique: 97 Safier, Marcel Glen: 139 Sampson, June: 124 Sánchez Montoya, F.: 97 Sandler, M. W.: 115 Sandweiss, Eric: 117 Sandweiss, Martha A.: 113 Sarber, Mary A.: 139 Saretzky, Gary D.: 138 Savulescu, Constantin: 94 Scheufler, Pavel: 66 Schiffer, Armgard: 63 Schiller, Ely: 107 Schmitt, Robert C.: 131 Schoeman, Karel: 56 Schöppner, Angela: 75 Schuitema Meijer, A. T.: 90 Schüle, Johannes.: 76 Schülke, Gerolf: 76 Schülke, Ilsabe: 76 Schuller-Procopovici, Karin: 85 Schütz, Rosemarie: 76 Schwartz, Joan M.: 111, 135 Schwilden, Tristan: 64–65 Scott, C. G.: 81 Seiberling, Grace: 77 Sembach, K. J.: 115 Sena, António: 93 Serrano, Eduardo: 102 Sesti, Emanuela: 86 Shaheen, Naseeb: 107 Shinde, Niyatee: 133 Shreshta, Padma Prakash: 60 Shudakov, Grigory: 100 Sidwall, Åke: 63 Siegert, Dietmar: 85 Siener, Joachim W.: 76 Siliotti, Alberto: 106 Silversides, Brock: 110, 112 Singer, Noel F.: 56 Sipley, Louis Walton: 53 Sipos, Irene: 125 Siripant, Sakda: 60 Siza, Maria Tereza: 93 Skopec, Rudolf: 67 Skorgevik, Kjell: 91 Slattery, Peadar: 85 Slocombe, Pamela: 81 Smejkal, Frantiéek: 67 Smith, Alb: 131 Smith, Bill: 81 Smith, Brian Turton: 81 Smith, James H.: 109 Smith, Margaret Denton: 121 Smith, Mary E.: 125 Smith, Mervyn L.: 82 Smokvina, Miljenko: 66 Snowden, Catherine: 131 Sobota, Adam: 92 Söderberg, Rolf: 98 Solman, John: 83 Sollied, Ragna: 91 Sontag, Susan: 85 Sougez, Marie-Loup: 96 Sousa Melo, Luís de: 93 Spence, Jonathan: 57 Spencer, B.: 56 Spencer, Horace: 136 Spiecker, Claude: 72 Spitz, Jacques: 64 Spocci, Roberto: 88 Sprange, Walter: 53, 78, 109 Spude, Robert L.: 116 Stanbury, Peter: 129 Steele, Chris: 122, 137 Steen, Uwe: 76 Stein, Donna: 107 Steinert, Otto: 53 Stempher, A. S.: 90 Stenger, Erich: 74, 76, 99 Stephens, Sloane: 122

Stevens, Joan: 81, 133 Stevenson, Sara: 82 Stewart, E.: 82 Stradiotti, Renata: 87 Sulin, Juha: 133 Sullivan, Charles M.: 122 Sullivan, Joseph C.: 122 Sundin, Bo: 98 Suslova, Olga: 100 Svenstrup, Carl: 68 Swithenback, J. S.: 82 Symmes, Marilyn F.: 49 Szakács, Margit: 84 Szalow, Robert: 93 Szilágyi, Gábor: 84 Taft, Robert: 121 Taller La Huella: 102 Tanre, Con: 129 Taylor, John: 78 Taylor, Maureen: 127 Taylor, Roger: 77, 134 Teal, Harvey S.: 127, 139 Teder, Kaljula: 68 Ter-Sarkissian, Pierre: 106 Therol, Serge: 67 Thiel, Andrea Christine: 119 Thiele, Jens: 74 Thomas, Charles: 82 Thomas, G.: 58 Thomas, Karin: 73 Thomas, Ritchie: 105 Thomasson, Michael V.: 116 Thomson, John: 128 Thorpe, Norman: 133 Thulin, Otto: 98 Tiberi, Dominique: 73 Till, Jennifer: 138 Tinder, David: 137 Ting, Dr. Joseph: 132 Toccaceli, E.: 87 Todic;, Milanka: 95 Toedtemeier, Terry: 126 Tooming, Peeter: 53, 68 Tozzi, Simonetta: 86 To…ry, Klára: 84 Trachtenberg, Alan: 115 Travier, Daniel: 72 Travis, David: 53, 115, 117 Treadwell, T. K.: 53 Triggs, Stanley G.: 112 Triulzi, Alessandro: 55 Tromellini, Angela: 86 Tucker, M. L.: 115 Tucker, Mary Louise: 121 Turley, Dr. Raymond V.: 134 Turner, John B.: 131 Turner, William A.: 115 Uccelli, Gianfranco: 88 Ukhtomskaya, Lilya: 100 Vaczek, Louis: 106 Vajda, Pál: 84 van Bennekom, Josephine: 90 van Bommel, Irma: 90 van der Pol, Pierre: 90 van Deuren, Karel: 62 Van Gysegem, Marc: 66 Van Horn, Ralph: 125 van Ravenswaay, Charles: 123 van Schijndel-Kattestaart: 90 van Venetië, Robbert: 89 Vanzella, Giuseppe: 88 Varrell, William: 122 Vasquez, Pedro: 102 Vaughn, Tom: 117 Vega, Carmelo.: 97 Verburg, Adri: 90 Vercheval, Georges: 64 Verdugo, René: 104 Versprille, Annie: 91 Vetter, Jacob C.: 125 Vicente, Prof. António Pedro: 134 Vidal-Naguet, Alain: 106

153

Viditz-Ward, Vera: 56 Viénet, René: 57 Voignier, Jean-Marie: 71 Voigt, Jochen: 76 Voigt, May: 76 Vuorenmaa, Tuomo-Juhani: 69 Vyzralek, Frank E.: 125, 138 Wachlin, Steven: 56, 58, 90–91, 104, 133–134 Wadsworth, Nelson: 128–129 Waibl, Gunther: 63 Waldsmith, John: 120, 126, 138 Walker, Brian Mercer: 85 Walsh, Peter: 84 Walter, Paul F: 54 Walters, Judith Allison: 54, 132 Ward, Robert: 135 Watson, Wendy M.: 85 Webber, Kimberley: 131 Weber, Bruce: 120 Wehnert, Hans: 76 Weiermair, Peter: 54, 93 Weigle, Marta: 124 Weimar, Wilhelm: 76 Weissmann, Werner: 64 Welch, Richard W.: 123 Welling, William: 54, 115 Weprich, Thomas M.: 127 West, John: 82 Westhrin, Tore: 91 Wharton, William B.: 117 White, Anthony R.: 119 Widerberg, Bertil: 98 Wiegand, Thomas: 76 Wilding-White, Sherry B.: 137 Wilhelm, Angelika: 77 Wilken, Debbie: 135 Willaume, Jacques: 57 Williams, Jon M.: 120 Williams, Sean: 58 Willis-Thomas, Deborah: 115 Willscheid, Bernd: 76 Wilson, Bonnie G.: 123, 137 Wilson, John: 82 Wilson, Michael G.: 119 Winkel, Margarita: 59 Wipf, Hans-Ulrich: 99 Wirth, Zdenek: 66 Witham, George F.: 115 Witkin, Lee D.: 54 Wolfe, Laurance: 85, 116 Wood, Richard A.: 136 Woodward, Joan: 131 Woolworth, Alan: 137 Worswick, Clark: 57, 59 Wright, P. G.: 135 Wu Jia-bao: 132 Wu Qun: 57 Wue, Roberta: 57 Xanthakis, Alkis X.: 83, 134 Yadav, Amar S.: 133 Yammine, Mohsen: 106 Yañez-Polo, Miguel Angel: 96–98 Yarak, Larry W.: 55 Yates, Steve: 54 Yiakoumis, Haris: 83 Yim Shui Yuen: 133 Yochelson, Bonnie: 113 Young III, W. R.: 128 ZÆakowicz, Andrzej: 92 ZÆdzæarski, Wac¬aw: 93 Zannier, Italo: 54, 85–88 Zeile, Pe\teris: 88 Zelich, Cristina: 96 Zeller, John: 137 Zembik, Andrzej: 93 Zen;czak, Anna: 93 Zink, Robert: 77 Zoka, Yahya: 107 Zollinger, Judith: 61 Zondervan, Annet: 89 Zubizarreta, Ma. Teresa P.: 96

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Location Index

General and International: 46–54 Africa: 54–56, 132 Algeria: 54–55 Angola: 55 Cameroon: 55 Congo: 55 Ethiopia: 55 Ghana: 55 Gold Coast: 55 La Réunion: 55 Mauritius: 55 Morocco: 55 Mozambique: 56 Rhodesia: 56 Sierra Leone: 56 South Africa: 54–56 Tunisia: 56 Asia: 56–61, 132 Burma: 56 Ceylon: 56–57 China (including Taiwan): 57–58, 132–133

Dutch East Indies

(see Indonesia) India: 58, 133 Indonesia: 58 Japan: 58–59 Korea: 59, 133 Malaysia (see Singapore and Malaya) Nepal: 60 Philippines: 60 Singapore and Malaya: 60 Sri Lanka (see Ceylon) Thailand: 60 Tibet: 60 Uzbekistan: 60–61 Vietnam: 61 Caribbean: 61, 133 Cuba: 61 Curaçao: 133 Virgin Islands (Danish West Indies): 61 Europe: 61–100, 133 Albania: 63 Austria: 63–64 Belgium: 64–66 Bohemia and Moravia: 66 Bulgaria: 66 Croatia: 66–67 Czechoslovakia: 67 Denmark: 67–68, 133 England (see great Britain) Estonia: 68 Finland: 68–69, 133 France: 69–73, 133 Georgia: 73 Germany: 73–77 Gibraltar: 133 Great Britain (England,

Scotland, and Wales): 77–83, 133

Sudan: 108 Syria: 108 Turkey: 108 United Arab Emirates: 108

England: 78–82 Scotland: 82 Wales: 83

Greece: 83, 134 Greenland: 83 Hungary: 83–84 Iceland (also see Denmark): 84 Ireland: 84 Italy: 85–88 Latvia: 88 Lithuania: 88–89, 134 Luxembourg: 134 Malta: 89, 134 Netherlands: 89–90, 134 Northern Ireland (see Ireland) Norway: 91, 134 Poland: 91–93 Portugal: 93, 134 Romania: 94 Russia (also see USSR): 94 Scotland (see Great Britain) Serbia: 94–95 Slovakia (also see Czechoslovakia): 95 Slovenia: 95 Spain: 95–98 Sweden: 98, 134 Switzerland: 98–99 Ukraine: 99 USSR (also see Russia): 99–100 Wales (see Great Britain) Yugoslavia (see Croatia, Serbia, and Slovenia)

North America (excluding Mexico): 108–129, 135 Canada: 109–112, 135 Alberta: 110 British Columbia: 110–111 New Brunswick: 111 Newfoundland: 111 Nova Scotia: 111 Ontario: 111–112 Prince Edward Island: 112 Québec: 112 Saskatchewan: 112 Yukon: 112

United States (excluding Hawaii): 112–129, 135 Alabama: 115–116, 136 Alaska: 116, 136 Arizona: 116–117, 136 Arkansas: 117 California: 117–119, 136 Colorado: 119 Connecticut: 119–120 Dakota Territory: 139 Delaware: 120 District of Columbia: 120, 136 Florida: 120, 136 Georgia: 73, 120, 136 Hawaii (see Oceania) Idaho: 120 Illinois: 120–121 Indian Territory (see Oklahoma) Indiana: 136 Iowa: 121, 137 Kansas: 121, 137 Kentucky: 121 Louisiana: 121 Maine: 121 Maryland: 121–122, 137 Massachusetts: 122, 137 Michigan: 123, 137 Minnesota: 123, 137 Missouri: 123, 137 Montana: 123, 137 Nebraska: 123, 137 Nevada: 123 New Hampshire: 123–124, 137 New Jersey: 124, 138 New Mexico: 124, 138 New York: 124–125, 138 North Carolina: 125, 138 North Dakota (see also Dakota Territory): 125, 138 Ohio: 125–126, 138 Oklahoma: 138 Oregon: 126, 138 Pennsylvania: 126–127, 138–139

Rhode Island: 127

Latin America (including Mexico): 100–105, 134

Argentina: 101

Bolivia: 101–102, 134

Brazil: 102

Chile: 102

Colombia: 102

Ecuador: 102–103

Guatemala: 103

Mexico: 103–104, 135

Peru: 104

Surinam: 104, 135

Uruguay: 104–105

Venezuela: 105, 135

Near and Middle East: 105–108, 135 Arabia: 106 Armenia: 106 Egypt (also see Africa): 106, 135 Iran (see Persia): 106 Israel (see Palestine): 106 Lebanon: 106 Palestine: 107 Persia: 107–108

154

South Carolina: 127–128, 139 South Dakota (see Dakota Territory) Tennessee: 128 Texas: 128, 139 Utah: 128–129 Vermont: 129 Virginia: 129 Washington: 129, 139 West Virginia: 129 Wisconsin: 129, 139 Wyoming: 129, 139

Oceania (including Hawaii): 129–132, 139

Australia: 129–131, 139

Hawaii: 131, 139

New Caledonia: 131

New Zealand: 131

Samoa: 131

Tahiti: 132