List of Illustrations

Figs. 1–4

Elizabeth Blackwell, A Curious Herbal, vol. 1, John Nourse (1739), Medical Historical Library, Harvey Cushing/John Hay Whitney Medical Library, Yale University. Dandelion ‘Plate 1’; Red Poppy ‘Plate 2’; Garden Cucumber ‘Plate 4’ and Pansy, or Heart’s Ease ‘Plate 44’.

58

Fig. 5

Water Lilly Roots ‘Plate 499’ from Elizabeth Blackwell, A Curious Herbal, vol. 2, John Nourse (1737), Medical Historical Library, Harvey Cushing/John Hay Whitney Medical Library, Yale University.

65

Figs. 6–7

Hart’s Tongue ‘Plate 138’ and Wake Robin ‘Plate 228’ from Elizabeth Blackwell, A Curious Herbal, vol. 1, John Nourse (1739), Medical Historical Library, Harvey Cushing/John Hay Whitney Medical Library, Yale University.

66

Figs. 8–9

Peas ‘Plate 83’, from Elizabeth Blackwell, A Curious Herbal, vol. 1, John Nourse (1739), Medical Historical Library, Harvey Cushing/John Hay Whitney Medical Library, Yale University; and Peas ‘Plate 83’ with French titles, individual sheet from an unknown edition, private collection of one of the authors.

67

Fig. 1

Anonymous artist after Gilbert Stuart, Portrait of George Washington (1801), reverse painting on glass, 1960.0569 A, Winterthur Museum, Garden & Library, Bequest of Henry Francis du Pont, Courtesy of Winterthur Museum.

79

Fig. 2

Gilbert Stuart, Portrait of William Woollett (1783), oil on canvas, Tate Britain. Image by The Athenaeum, Wikimedia: https://commons.wikimedia.org/wiki/File:William_Woollett_by_Gilbert_Stuart_1783.jpeg.

83

Fig. 3

Gilbert Stuart, Portrait of George Washington (1795–1796), oil on canvas, 1957.0857, Winterthur Museum, Garden & Library, Gift of Henry Francis du Pont, Courtesy of Winterthur Museum.

84

Fig. 4

James Heath after Gilbert Stuart, Portrait of George Washington (1800), engraving, Library of Congress, Photographs and Prints Division, https://www.loc.gov/pictures/item/2004667280/.

89

Fig. 5

William Woollett after Benjamin West, The Death of General Wolfe (1776), engraving, 1966.0260 A, B, Winterthur Museum, Garden & Library, Museum purchase, Courtesy of Winterthur Museum, Photo funded by NEA.

98

Fig. 6

Robert Dunkarton, after John Singleton Copley, Portrait of William Ponsonby, Earl of Bessborough (1794), mezzotint, Harvard Art Museums/Fogg Museum, Transfer from Harvard University, Gift of Gardiner Greene. © President and Fellows of Harvard College.

102

Fig. 7

Cornelius Tiebout after Rembrandt Peale, Portrait of Thomas Jefferson (1800), stipple engraving, 1963.0060, Winterthur Museum Garden & Library, Museum purchase, Courtesy of Winterthur Museum, Photo funded by NEA.

105

Fig. 1

William West, Madame Vestris as Fatima in Oberon, 1820.

125

Fig. 2

Charles Hunt, Beeswing, engraving commissioned by John Moore (1839).

130

Fig. 3

Coronation, from Tom Spring’s Life in London, and Sporting Chronicle, June 6, 1841 (artist unknown; thanks to Maks Del Mar for providing this image).

131

Fig. 4

George Zobel(?), Can’t You Talk?, engraving commissioned by Benjamin Brooks, after the painting by George Augustus Holmes, 1875.

138

Fig. 5

What Is It?, woodcut by unknown artist, 1896.

138

Fig. 1

Henry Wallis, Chatterton (1856), Tate, image from Wikimedia Commons, https://commons.wikimedia.org/wiki/File:Henry_Wallis_-_Chatterton_-_Google_Art_Project.jpg.

146

Fig. 2

James Robinson, The Death of Chatterton, 1859, two hand-tinted albumen prints on paper, mounted on a stereograph card (front and back). Collection of Dr. Brian May, reproduced by kind permission.

147

Fig. 3

An example of a Brewster-style stereoscope from around 1870, Museo della scienza e della tecnologia, Milano, CC-BY-SA-4.0, https://commons.wikimedia.org/wiki/File:IGB_006055_Visore_stereoscopico_portatile_Museo_scienza_e_tecnologia_Milano.jpg.

153

Fig. 4

William Frederick Lake Price, Don Quixote in his Study, 1857, albumen silver print from glass negative, Metropolitan Museum of Art, New York, CC0 1.0, https://www.metmuseum.org/art/collection/search/271528.

157

Fig. 5

Thomas Oldham Barlow (after Henry Wallis), The Death of Chatterton, 1860, Art Institute of Chicago, CCO Public Domain, https://www.artic.edu/artworks/148404/the-death-of-chatterton.

160

Fig. 6

Wood engraving of Wallis’s Chatterton, in The National Magazine, edited by John Saunders and Westland Marston, 1 (1857), p. 33, https://babel.hathitrust.org/cgi/pt?id=uiug.30112109516473&view=1up&seq=49.

168

Fig. 7

Edward Orme, after Henry Singleton, Death of Chatterton, 1794. Library of Congress. Public Domain, https://www.loc.gov/item/2003674219/.

172

Fig. 8

Michael Burr, The Death of Chatterton, ca. 1860, Collection of Dr. Brian May, reproduced with kind permission.

186

Fig. 9

A second version of The Death of Chatterton by Michael Burr, ca. 1860, Collection of Dr. Brian May, reproduced with kind permission.

186

Fig. 10

An anonymous and undated carte de visite that closely resembles the Burr photograph in Figure 9, but which uses part of the text printed on the back of Robinson’s card (Figure 2). Collection of Anthony Hamber, CC BY.

187

Fig. 11

Herbert Rose Barraud, photograph of Wilson Barrett as Chatterton at the Princess’s Theater, 1884, Guy Little Theatrical Photograph Collection, Victoria and Albert Museum, http://collections.vam.ac.uk/item/O227561/guy-little-theatrical-photograph-photograph-barraud-herbert-rose/.

188

Fig. 1

Ben-Hur Flour, advertisement by unknown creator (item held by the author).

207

Fig. 2

An Advertisement Poster for Virginia Saffel Mercer’s Ben-Hur’s Show (author unknown), Lilly Library, Indiana University, Bloomington Indiana.

208

Fig. 3

Ben-Hur Klaw & Erlanger’s Stupendous Production, advertisement Poster (1901), Strobridge Lith. Co., Library of Congress, https://www.loc.gov/item/2014635366/.

209

Fig. 4

Ben-Hur’s Play Program (author unknown), Lilly Library, Indiana University, Bloomington.

210

Fig. 5

Ben-Hur Souvenir Album (author unknown), Lilly Library, Indiana University, Bloomington.

211

Fig. 6

Ben-Hur Souvenir Album (author unknown), Lilly Library, Indiana University, Bloomington.

211

Fig. 7

An Advertisement for a Ben-Hur Magic-Lantern Slides Lecture (1896, author unknown), Lilly Library, Indiana University, Bloomington.

215

Fig. 8

An Advertisement for a Ben-Hur Magic-Lantern Slides (author unknown), Lilly Library, Indiana University, Bloomington.

215

Fig. 9

Frank Weeks and Nannie Preston, Six Slides from Riley Brothers’ Ben-Hur Set (1896), Museum of PRECINEMA — Minici Zotti Collection, Padua, Italy.

217

Fig. 10

An Advertisement for the Riley Brothers’ Ben-Hur Slides, in Lew Wallace’s Papers with the Slide List Marked in Red (author unknown, 1896), Lilly Library, Indiana University, Bloomington Indiana.

218

Fig. 11

A Reproduction of the Riley Brothers’ Ben-Hur Slides Set as it Appeared in an Advertisement Submitted to the Court (author unknown, 1896), Lilly Library, Indiana University, Bloomington.

224

Fig. 1

John Moran, [James S. Earle & Son, looking glasses, 816 Chestnut Street, Philadelphia] (Philadelphia, ca. 1861). Library Company of Philadelphia, https://digital.librarycompany.org/islandora/object/digitool%3A100622.

236

Fig. 2

Julio Rae, Rae’s Philadelphia Pictorial Directory & Panoramic Advertiser. Chestnut Street, from Second to Tenth Streets, 900 block Chestnut Street (Philadelphia: Julio Rae, 1851). Library Company of Philadelphia, https://digital.librarycompany.org/islandora/object/digitool%3A123507.

242

Fig. 3

William Boell, View of Chestnut Street Between 8 & 9 Sts. (South Side,) Philadelphia (Philadelphia: W. Boell, 1860). Color lithograph. Bc 87 C 525a, Historical Society of Pennsylvania.

243

Fig. 4

Example of types of frames and engravings sold by Philadelphia frame makers/picture dealers. William Overend Geller after Baron André-Edouard Jolly, Franklin at the Court of France, 1778 (Philadelphia: William Jay, Charles J. Hedenberg and William H. Emerson, 1853). Hand-colored engraving on woven paper in gilded, wood frame. Gift of Mr. & Mrs. Donald F. Carpenter, 1980.0042 A B, Courtesy of Winterthur Museum.

245

Fig. 5

Rosa Bonheur, The Horse Fair (New York: Publ. by J. M. Emerson & Co., 1859). Printed by Sarony, Major & Knapp. Library of Congress, https://www.loc.gov/pictures/resource/pga.02615/.

250

Fig. 6

C. Burt after Richard Caton Woodville, The Card Player (New York: American Art Union, 1850). Library Company of Philadelphia, https://digital.librarycompany.org/islandora/object/digitool%3A130650.

253

Fig. 7

Page 18 of Charles Frederick Bielefeld, Illustrated Tariff of the Improved Papier-Mâché Picture Frames (London, ca. 1847). Metropolitan Museum of Art, Harris Brisbane Dick Fund, 1940, https://www.metmuseum.org/art/collection/search/334058.

255

Fig. 8

Julio Rae, Rae’s Philadelphia Pictorial Directory & Panoramic Advertiser. Chestnut Street, from Second to Tenth Streets, 800 block Chestnut Street (Philadelphia: Julio Rae, 1851). Library Company of Philadelphia, https://digital.librarycompany.org/islandora/object/Islandora%3A61652.

257

Fig. 9

Alfred Jones after Francis William Edmonds, Sparking (New York: American Art Union, 1844). Courtesy of American Antiquarian Society, https://catalog.mwa.org/vwebv/holdingsInfo?bibId=357812.

262

Fig. 10

Christian Inger, Washington’s Triumphal Entry into New York, Nov. 25th, 1783 (Philadelphia: Published by William Smith, 1860). Printed in oil colors by P.S. Duval & Son. Copyright by G. T. Perry. Library Company of Philadelphia, https://digital.librarycompany.org/islandora/object/digitool%3A127816.

264

Fig. 11

Alphonse Bigot, Washington’s Grand Entry into New York, Nov. 25th, 1783 (New York: Published by John Smith, 1860). Chromolith. By T. Sinclair. From The New York Public Library, http://digitalcollections.nypl.org/items/5e66b3e8-a61e-d471-e040-e00a180654d7.

266

Fig. 1a

Print of 1862 Japanese Delegation to Europe with caption in Chambers’s Encyclopaedia, 1863, vol. 5, based on a carte de visite by Vernon Heath, 1862.

298

Fig. 1b

Woodblock for print (T.2011.56.318), National Museums Collection Centre, Edinburgh, photo by Rose Roberto.

298

Fig. 2a

‘Transit’ illustrations found in Penny Cyclopaedia, vol. 25, 1843, p. 123.

303

Fig. 2b

‘Transit’ illustration found in Chambers’s Encyclopaedia, vol. 9, 1868, p. 512. Images are not to scale.

303

Fig. 3a

‘Tattoo’ illustrations in Penny Cyclopaedia, vol. 24, 1842, p. 100. Image is not to scale.

306

Fig. 3b

‘Tattoo’ illustration in entry for Chambers’s Encyclopaedia, vol. 9, 1867, p. 313. Image is not to scale.

306

Fig. 4a

‘Arabian Architecture’ entry, with caption, Chambers’s Encyclopaedia, First Edition, vol. 1, p. 346. Image is not to scale.

319

Fig. 4b

‘Arabian Architecture’ entry, with caption, Chambers’s Encyclopaedia, Second Edition, vol. 1, p. 364. Image is not to scale.

319

Fig. 1

The Quadrant, Regent Street, 1852, City of Westminster Archives Centre.

342

Fig. 2

Metropolitan Railway, Baker Street Station, c.1864, City of Westminster Archives Centre.

342

Fig. 1

Minton and Company after Hiram Powers, The Greek Slave (after 1849), porcelain, Smithsonian American Art Museum, Washington, D.C.

368

Fig. 2

John Crookshanks King, Daniel Webster (patented 1850), plaster, Smithsonian American Art Museum, Washington, D.C.

374

Fig. 3

Thomas Ball, Daniel Webster (1853), bronze, The Metropolitan Museum of Art, New York.

377

Fig. 4

Bronze Casting Record (Henry Clay and Daniel Webster), Ames Manufacturing Company, Bronze Foundry after Thomas Ball (1853–ca. 1877), Archives of American Art, Washington, D.C.

379

Fig. 5

John Rogers, line drawing accompanying application for ‘Design for Statuary (The Checker Players)’, 1862, United States Patent and Trademark Office, Washington, D.C.

381

Fig. 6

John Rogers, Wounded to the Rear, One More Shot (1864), painted plaster, Smithsonian American Art Museum, Washington, D.C.

383

Fig. 7

Leonard Wells Volk, Abraham Lincoln (1860), plaster, National Portrait Gallery, Washington, D.C.

390

Fig. 8

Clark Mills, Abraham Lincoln (cast in 1917 after 1865 original), plaster, National Portrait Gallery, Washington, D.C.

391

Fig. 9

Cornelius & Baker after Clark Mills, Andrew Jackson (1855), bronze, National Portrait Gallery, Washington, D.C.

393

Fig. 1

Howland Brothers, United States Patent Office, Washington (1840), engraving included in Titian Ramsay Peale Album, Washington, D.C., Smithsonian’s National Museum of American History, Photographic History Collection, catalog number PG.66.25A.24, https://ids.si.edu/ids/delivery Service?max=800&id=NMAH-ET2017-14021-000001.

401

Fig. 2

Alexander Walcott patent model camera (1840) and photographer John Paul Caponigro’s iPhone (about 2009), catalog numbers PG.000697 and 2012.0049.13, https://ids.si.edu/ids/deliveryService?max=800&id=NMAH-ET2012-14187.

406

Fig. 3

Meade Brothers, Louis Jacques Mandé Daguerre (1848), daguerreotype, catalog number PG.000953, https://ids.si.edu/ids/deliveryService?max=800&id=NMAH-2009-10914-000001.

406

Fig. 4

John Moffat, William Henry Fox Talbot (1864), carte-de-visite, catalog number PG.000227, https://ids.si.edu/ids/deliveryService?max=800&id=NMAH-AHB2020q046154.

407

Fig. 5

Abraham Bogardus, Samuel F.B. Morse (1871), mounted photograph on cardstock, catalog number PG.000006. Note, Morse is depicted with the camera (turned on its side) seen in Fig. 6, https://ids.si.edu/ids/deliveryService?max=800&id=NMAH-AHB2020q046158.

408

Fig. 6

George W. Prosch, Morse’s Daguerreotype Camera (1839), catalog number PG.000004, https://ids.si.edu/ids/deliveryService?max=800&id=NMAH-2003-36149.

408

Fig. 7

Walter Johnson, Philadelphia Exchange (1840), daguerreotype, catalog number PG.000167, https://ids.si.edu/ids/delivery Service?max=800&id=NMAH-JN2020-00034-000001.

410

Fig. 8

Frederick Langenheim, William Langenheim (1840s), calotype, catalog number PG.003864.12, https://ids.si.edu/ids/delive ryService?max=800&id=NMAH-JN2020-00037-000001.

411

Fig. 9

Unidentified maker, Frederick Langenheim (1840s), daguerreotype, catalog number PG.000203, https://ids.si.edu/ids/deliveryService?max=800&id=NMAH-JN2020-00037-000001.

411

Fig. 10

Frederick Langenheim, Photographic Pictures on glass, patent number 7754 (19 November 1850), wooden frame with attached Patent Office tag and albumen photograph on glass, catalog number PG.000887, https://collections.si.edu/search/detail/edanmdm:nmah_1022700.

412

Fig. 11

Frederick Langenheim and Alexander Beckers, Buildings on the East Side of Broadway (1848–1849), waxed paper negative, catalog number PG.000526, https://collections.si.edu/search/detail/edanmdm:nmah_1399434.

414

Fig. 12

William Henry Fox Talbot, Patent 5171 for Improvement in Photographic Pictures (26 June 1847), calotype catalog number PG.000890. Note the stamp on left, https://collections.si.edu/search/results.htm?q=PG.000890.

415

Fig. 13

William and Frederick Langenheim, Envelope (1849), catalog number PG.003864.33, https://collections.si.edu/search/detail/edanmdm:nmah_1971477?q=PG.003864.33&record=1&hlterm=PG.003864.33.

415

Fig. 14

Unidentified maker (possibly Mathew Brady), Negative of Unidentified sitters, late 1850s to early 1860s, ambrotype, catalog number PG.75.17.892, https://collections.si.edu/search/detail/edanmdm:nmah_1971422.

420

Fig. 15

Unidentified maker (possibly Mathew Brady), Positive of Unidentified sitters, late 1850s to early 1860s, ambrotype, catalog number PG.75.17.892, https://collections.si.edu/search/detail/edanmdm:nmah_1971422.

420

Fig. 16

Cutting and Bradford, James Ambrose Cutting (about 1858), photolithograph, included in Peale’s album, catalog number PG.66.21.55, https://collections.si.edu/search/detail/edanmdm:nmah_1403396?q=PG.66.21.55&record=1&hlterm=PG.66.21.55.

421

Fig. 17

John Wood, The US Capitol Under Construction (July 1860), salted paper print, included in Peale’s album, catalog number PG.66.21.58, https://collections.si.edu/search/detail/edanmdm:nmah_1403399.

423

Fig. 18

Titian Ramsay Peale, White House Portico, Albumen, 12’ exposure 4pm TRP (A drop of perspiration on the portico!) (1850s) salted paper print, included in included in Peale’s album, catalog number PG.66.21.23, https://collections.si.edu/search/detail/edanmdm:nmah_1403377?q=number+PG+66.21.23&record=1&hlterm=number%2BPG%2B66.21.23.

423

Fig. 19

Spooner Brothers, Patent model for 15497 for Photographic Pictures on Glass, Coloring (5 August 1856), ambrotype, catalog number PG.000817, http://collections.si.edu/search/results.htm?q=PG.000817.

428

Fig. 20

Spooner Brothers, Patent model for number 15497, Detail of Cutting patent notification (5 August 1856), brass mat over ambrotype glass plate negative, catalog number PG.000817, http://collections.si.edu/search/results.htm?q=PG.000817.

428

Fig. 21

Peter Neff, William Neff (1856), melainotype (tintype), catalog number PG.000183, https://collections.si.edu/search/detail/edanmdm:nmah_751624.

430

Fig. 22

Mathew Brady, Abraham Lincoln (1860), carte-de-visite, Washington, D.C., Library of Congress, LC-MSS-44297-33-001, https://www.loc.gov/item/mss4429700001/.

432

Fig. 23

Currier & Ives, Hon. Abraham Lincoln, Our Next President (1860), lithograph, Washington, D.C., Library of Congress, LC-USZC2-2593, https://www.loc.gov/item/2002695894/.

433

Fig. 24

Thomas Barbour, Patent model 61,139, Four Lens Tintype Camera (15 January 1867), catalog number PG.001041, https://collections.si.edu/search/detail/edanmdm:nmah_1101428.

433

Fig. 25

Thomas Barbour, Multiple images of portrait of girl made with Barbour’s four lens tintype camera (1866–1867), tintype, catalog number PG.001041A, http://collections.si.edu/search/results.htm?q=PG.001041A.

434

Fig. 26

Scovill Manufacturing Co. Abraham Lincoln/Hannibal Hamlin (1860), tintype political campaign pin, Washington, D.C., Smithsonian’s National Museum of American History, Division of Work & Industry, catalog number 1981.0296.1295, http://collections.si.edu/search/results.htm?q=1981.0296.1295.

434

Fig. 27

Douglass F. Maltby, Specifications for Patent Number 29652 Button (14 August 1860), patent drawing specifications, Washington, D.C., United States Patent and Trademark Office, https://pdfpiw.uspto.gov/.piw?docid=00029652.

435

Fig. 28

Unidentified maker, Samuel Peck and his second wife (about 1847), daguerreotype, catalog number PG.75.17.931, http://collections.si.edu/search/results.htm?q=PG.75.17.931.

437

Fig. 29

Samuel Peck, Case interior showing list of Peck’s case patents (late 1860s), interior of open case, catalog number PG.75.17.798, http://collections.si.edu/search/results.htm?q=PG.75.17.798.

437

Fig. 1

E. Pulman studio, Tūkāroto Pōtatau Matutaera Tāwhiao (1882), Canterbury Museum, Christchurch, New Zealand, 1968.209.5.

444

Fig. 2

George Pulman, Māori Chief (ca. 1870), Canterbury Museum, Christchurch, New Zealand, 19xx.2.3826.

454

Fig. 3

Charles Henry Monkton, Tāwhiao and his Wife Hera (1881), Auckland Libraries Heritage Collections, Auckland, New Zealand, 589–4.

455

Fig. 4

E. Pulman studio, Rewi Maniapoto (1879), Canterbury Museum, Christchurch, New Zealand, 19xx.2.3828.

461

Fig. 5

John Nicol Crombie (attributed), Chief Tomika Te Mutu (ca. 1860), Canterbury Museum, Christchurch, New Zealand, E161.50.

464

Fig. 6

William F. Gordon (artist) and Williamson & Co. (photographer), Te Whiti-o-Rongomai (1880), Canterbury Museum, Christchurch, New Zealand, E161.50.

465

Fig. 1

Three halftone illustrations after unattributed studio photographs embellishing the front page of the New York Journal, Sept. 29, 1898 (Library of Congress).

472

Fig. 2

A series of photographs of Minnie Ashley among other actors, from Benjamin J. Falk, ‘Illustrated Catalogue of Photographer’s Negatives’, vol. 1, ca. 1895 (New York Public Library).

477

Fig. 3

Benjamin J. Falk, Julia Marlowe, 1888, aristotype print (Library of Congress).

480

Fig. 4

Benjamin J. Falk, Julia Marlowe, in Godey’s Magazine, June 1896, halftone reproduction after a gelatin silver print (New York Public Library).

480

Fig. 5

Charles E. Bolles, The Vigilant, ca. 1895, copy print (Library of Congress).

487

Fig. 6

Benjamin J. Falk, Minnie Ashley, in The Ladies Home Journal, October 1899, halftone after a silver gelatin print (collection of the author).

490