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Elizabeth Anne McCauley

Description: Industrial Madness: Commercial Photography in Paris, 1848–1871

Industrial Madness: Commercial Photography in Paris, 1848–1871

~Unless otherwise noted, all works are albumen prints from collodion-on-glass negatives. In citing locations of works, the following abbreviations have been used:

Author

Elizabeth Anne McCauley

PublisherYale University Press

Copyright© 1994 by Yale University

https://doi.org/10.37862/aaeportal.00182.002

Stable URL: https://aaeportal.com/?id=-19718

Illustrations

Unless otherwise noted, all works are albumen prints from collodion-on-glass negatives. In citing locations of works, the following abbreviations have been used:

A.P.

Archives historiques de la Préfecture de Police, Paris

B.N.

Bibliothèque nationale, Paris

B.V.P.

Bibliothèque historique de la Ville de Paris

H.R.C.

Harry Ransom Humanities Research Center, University of Texas at Austin, Austin, Texas

I.M.P.-G.E.H.

International Museum of Photography at George Eastman House, Rochester, New York

J.P.G.

J. Paul Getty Museum, Malibu, California

1. Maurisset, La Daguerréotypomanie, lithograph (1840), B.N.

2. Morin, wood engraving, from Champfleury, “La Légende du daguerréotype,” in his Les Bons Contes font les bons amis (Paris, 1863), 60, Gemsheirn Collection, H.R.C.

3. Honoré Daumier, Position réputée la plus commode, pour avoir un joli portrait au Dagueréotype, lithograph, from Le Charivari (July 24, 1847), B.N.

4. Van den Anker, N’bougeons plus!!! wood engraving, from Journal amusant (August 11, 1860), private collection.

5. Marcelin, Les Portraits à cinq francs, ou il n’y a pas de petits moyens, wood engraving, from Petit Journal pour rire, no. 124 (1858), B.N.

6. Marcelin, Fantaisies photographiques, wood engraving, from Journal amusant (February 21, 1857) and Petit Journal pour rire, no. 130 (1858), B.N.

7. André Gill, Etienne Carjat, lithograph, from Les Hommes d’aujourd’hui (ca. 1878–79), B.N.

8. A. A. E. Disdéri, Self-portraits, uncut sheet of cartes de visite (ca. 1860), private collection.

9. Pierre Petit, Self-portrait, carte de visite (ca. 1860), B.N.

10. Pierre Petit, Self-portrait, carte de visite (ca. 1865), B.N.

11. Nadar, Self-portrait (ca. 1860), B.N.

12. Ulrich Grob, Self-portrait (ca. 1862–65), B.N.

13. Raudnitz, The stereograph mounting room in a photographic studio, stereograph (ca. 1858), B.N.

14. Parisian commercial studios, 1848–71, based on listings under “artiste photographe” in the Didot-Bottin commercial directories.

15. Photographs registered in Paris for public sale, 1852–71, based on the dépôt légal registers, A. N. F18* VI 51–73 and F18* VIbis 1–3.

16. Photographers registering works in Paris for public sale, 1852–71, based on the dépôt légal registers, A.N. F18* VI 51–73 and F18* VIbis 1–3.

17. (a) Patents taken out each year for photo-related inventions (not including additions or improvements to existing patents), 1839–71. (b) All patents registered in France (not including additions or improvements), 1839–71.

18. Charles Marville, Place du Pont-Neuf, with Lerebours et Secretan opticians on the left (ca. 1855), B.V.P.

19. Paul Delaroche, Emile Pereire, oil on canvas (ca. 1855, location unknown), B.N.

20. J. C. Tourtin, The studio at 32–34 rue Louis-le-Grand (ca. 1868), B.V.P.

21. Alphonse Liébert, The studio at 13 boulevard des Capucines (ca. 1865), B.N.

22. Charles Marville, Rue de Richelieu with the studio of Georges Numa on the right (ca. 1865), B. V.P.

23. Nadar, The studio at 35 boulevard des Capucines (ca. 1861), B.N.

24. Paul Auguste Gueuvin, The studio at 20 rue Cassette (ca. 1862), B.V.P.

25. Anonymous, Suburban studio, carte de visite (ca. 1865), B.N.

26. Nouvelles Dispositions des ateliers et appartements de M. Disdéri, wood engraving, from Le Monde illustré (April 14, 1860), private collection.

27. Nadar, Interior of studio at 35 boulevard des Capucines (ca. 1861), B.N.

28. Locations of daguerreotype studios in Paris in 1848, based on Didot-Bottin listings.

29. Locations of photographic studios in central Paris in 1860, based on Didot-Bottin listings.

30. Alexandre Flan, Article on the poet Pommier with Nadar promotion, from Petit Journal pour rire (1860).

31. Honoré Daumier, Nadar élevant la Photographie à la hauteur de l’Art, lithograph, from Le Boulevard (May 25, 1862), B.N.

32. Une Soirée chez Et. Carjat (30 juillet 1864).—Pierrot Photographe, acte Ier, wood engraving, B.N.

33. Léon et J. Lévy, Photographie, Section Française—Exposition universelle de 1867, stereograph (1867), B.N.

34. Desroches-Valnay, Exposition de la photographic française, Exposition universelle of 1867, wood engraving, B.N.

35. Bertrand, Pavillon destiné à Vexposition et à l’exécution des oeuvres de la photosculpture, Exposition universelle of 1867, wood engraving, B.N.

36. Goupil et Compagnie, ed., French colonies exhibition, Exposition universelle of 1867, B.N.

37. Franck, Central hall of the Exposition des Beaux-Arts appliqués à l’industrie of 1865 with Franck’s display at the right, Bibliothèque des Arts décoratifs, Paris.

38. Gustave Cousin, Advertisement (ca. 1867), B.N.

39. Jean Delton, Advertisement, composite photograph (ca. 1863), B.N.

40. Nadar, La Vie publique et privée de Mossieu Réac. Chap. VI.—Mossieu Réac s’aperçoit qu’il est républicain de Γavant-veille, wood engraving, from La Revue comique à l’usage des gens sérieux (April 1849), Gernsheim Collection, H.R.C.

41. Nadar, Louis Veuillot (ca. 1862–64), B.N.

42. Nadar, Ernestine Nadar, salted paper print from collodion-on-glass negative (ca. 1857), J.P.G.

43. Nadar, Théophile Gautier, salted paper print from collodion-on-glass negative (ca. 1858), J.P.G.

44. Nadar, Hyacinthe [Louis Hyacinthe Duflost], salted paper print from collodion-on-glass negative (ca. 1855), B.N.

45. Nadar, Huerta (ca. 1860), B.N.

46. Nadar, Revue du quatrième trimestre de 1854 (Suite), wood engraving, from Journal pour rire (January 6, 1855), B.N.

47. Nadar, Marie Laurent, salted paper print from collodion-on-glass negative (ca. 1856), B.N.

48. Nadar, Christoll Terrien, salted paper print from collodion-on-glass negative (ca. 1857), B.N.

49. Nadar, Mlle. Peyrat (ca. 1862), B.N.

50. Nadar, Mlle. Michaëlis (ca. 1862), B.N.

51. Fashion plate (“Le grand pardessus” on the right), engraving, from Journal des tailleurs (November 1, 1853), B.N.

52. Nadar, Charles Baudelaire, salted paper print from collodion-on-glass negative (ca. 1855), B.N.

53. Nadar, Jean Journet, salted paper print from collodion-on-glass negative (ca. 1855–56), B.N.

54. Nadar, Prime du Figaro—Panthéon Nadar, lithograph, second state (1858), B.N.

55. Nadar, Marceline Desbordes-Valmore, salted paper print from collodion-on-glass negative (ca. 1854), J.P.G.

56. Nadar, Vicomtesse de Renneville (1863), B.N.

57. Nadar, Self-portrait, salted paper print from collodion-on-glass negative (ca. 1855–56), J.P.G.

58. Bruno Braquehais, Atelier de lithographie, Institution royale des Sourds-Muets, lithograph (ca. 1839–40), B.N.

59. Alexandre Gouin, Portrait of a musician, daguerreotype (ca. 1850), I.M.P.-G.E.H.

60. [Darnay?], Augustine Guy, stereograph (1858), A.P.

61. Colombier, Pornographic stereograph (1862), A.P.

62. Julien, Etude Académique, lithograph (1833), B.N.

63. Bruno Braquehais, Etude Académique—No. 5 (1854), B.N.

64. Bruno Braquehais, Etude Académique—No. 2 (1854), B.N.

65. Jacques Antoine Moulin (Quinet, ed.), Etudes Photographiques (1854), B.N.

66. Bruno Braquehais, Etude Académique—No. 6 (1854), B.N.

67. Bruno Braquehais, Etude Académique—No. 7 (1854), B.N.

68. Jacques Antoine Moulin (Quinet, ed.), Etudes Photographiques (1853), B.N.

69. Gustave Le Gray, Nude, salted paper print from paper negative, from the Album Regnault (1849), Société française de photographic, Paris.

70. J. A. Belloc, ed., Pornographic stereograph (ca. 1855), B.N.

71. Colombier, Pornographic stereograph (ca. 1862), B.N.

72. Anonymous, Pornographic stereograph (ca. 1860–65), B.N.

73. [Vincent?], Pornographic stereograph (1862), A.P.

74. Gentil et Speisser, Pornographic stereograph (1865), A.P.

75. Courrier, Pornographic stereograph (Nathalie Lauret) (ca. 1863), A.P.

76. Courrier or Rocheblanc, Pornographic stereograph (Amélie Rabeau) (ca. 1863), A.P.

77. Bruno Braquehais, Léo Lespès, carte de visite (ca. 1863), B.N.

78. Bruno Braquehais, Place Vendôme, from Paris pendant la Commune (1871), B.N.

79. Bruno Braquehais, Place Vendôme, from Paris pendant la Commune (1871), B.N.

80. Bruno Braquehais, Mairie de la le arrondissement, from Paris pendant la Commune (1871), pl. 34, B.N.

81. Bruno Braquehais, Hussards dans les Tuileries, from Paris pendant la Commune (1871), pl. 57, B.N.

82. Bruno Braquehais, Bust of the Abbé de l’Epée (1872), B.N.

83. Bruno Braquehais, Clocks (1873), B.N.

84. Philip Delamotte, The Open Colonnade, Garden Front, salted paper print from collodion-on-glass negative (1852–53), from Photographic Views of the Progress of the Crystal Palace, Sydenham (1855), vol. 1, pl. 76, Gernsheim Collection, H.R.C.

85. Philip Delamotte, The Upper Gallery, salted paper print from collodion-on-glass negative (1853), from Photographic Views of the Progress of the Crystal Palace, Sydenham (1855), vol. 1, pl. 35, Gernsheim Collection, H.R.C.

86. Philip Delamotte, Scaffolding for the Erection of the Great Ribs in the Central Transept, salted paper print from collodion-on-glass negative (1853), from Photographic Views of the Progress of the Crystal Palace, Sydenham (1855), vol. 2, pl. 83, Gernsheim Collection, H.R.C.

87. Hippolyte Collard, Vue de l’ancien pont (1859), from Pont-au-Change (1860), pl. 2, private collection.

88. Hippolyte Collard, Vue de la charpente en fonte de l'arche marinière, prise du pied de la pile de rive gauche (1859), from Pont de Solferino (1859), pl. 5, private collection.

89. Hippolyte Collard, Vue de l’arche de rive gauche, pendant le décintrement (1861), from Pont Louis-Philippe et Pont St.-Louis (1862), pl. 3, B.N.

90. Hippolyte Collard, Vue de l’ossature métallique prise du pied de la culée de rive droite (1861), from Pont Louis-Philippe et Pont St.-Louis (1862), pl. 7, B.V.P.

91. Hippolyte Collard, Décintrement.—Vue de l’arche no. 4, prise d'aval (1864), from Pont de Bercy (1865), pl. 5, B.N.

92. Hippolyte Collard, Elévation générale du pont, vue prise d’amont (1864), from Pont de Bercy (1865), pl. 7, private collection.

93. Hippolyte Collard, Gare de Nevers (Halle des voyageurs) (1862), from Chemin de fer du Bourbonnais—Moret—Nevers—Vichy (1863), pl. 26, I.M.P.-G.E.H.

94. Hippolyte Collard, Intérieur de la remise de locomotives (1862), from Chemin defer du Bourbonnais—Moret—Nevers—Vichy (1863), pl. 28, I.M.P.-G.E.H.

95. Hippolyte Collard, Viaduc d’Auteuil, passage des piétons (1866), from Chemin de fer de Ceinture de Paris (rive gauche)—Pont-Viaduc sur la Seine de Point-du-Jour (1867), pl. 15, B.N.

96. Pichot, Pont-Viaduc du Point-du-Jour, à Auteuil, wood engraving, from L’Illustration (February 16, 1867), Bibliothèque des Arts décoratifs, Paris.

97. Hippolyte Collard, Communication du canal avec la Seine—Machine élévatoire, écluse et pont de service, from Docks de Saint-Ouen—Paris (ca. 1864), B.N.

98. Hippolyte Collard, Magasin flottant dans le canal, from Docks de Saint-Ouen—Paris (ca. 1864), B.N.

99. Hippolyte Collard, Pont de Chézy—L’Abbaye (Aisne) sur le ruisseau du doloir—Etat des travaux le 3 octobre 1864, from Dérivations des sources de la Dhuis (n.d.), B.V.P.

100. Hippolyte Collard, Pont de Chézy—Etat des travaux après l’achèvement (1865), from Dérivations des sources de la Dhuis (n.d.), B.V.P.

101. Hippolyte Collard, Pont Aqueduc d’Arcueil (ca. 1869), from Dérivation de la Vanne—Vallée de la Bièvre à Arcueil (n.d.), B.V.P.

102. Hippolyte Collard, Pont Aqueduc d’Arcueil—Situation des travaux 31 mai 1869, from Dérivation de la Vanne—Vallée de la Bièvre à Arcueil (n.d.), B.V.P.

103. Hippolyte Collard, Aqueduc romain, de Marie de Médicis et de la Vanne—20 avril 1870, from Dérivation de la Vanne—Vallée de la Bièvre à Arcueil (n.d.), B.V.P.

104. Hippolyte Collard, Aqueduc en béton aggloméré (Système Coignet.)—Croix du Grand Maître (Forêt de Fontainebleau) (ca. 1873), from Dérivation des Eaux de la Vanne (n.d.), B.N.

105. Hippolyte Collard, St. Philibert et St. Marcouf—17 mai 1870, from Dérivation de la Vanne (n.d.), B.V.P.

106. Adolphe Braun, Roses, poppies, and carnations (ca. 1856), I.M.P.-G.E.H.

107. Charles Aubry, Rose in a glass, from Etudes de feuilles, lère série (1864), B.N.

108. Charles Aubry, Still life with skull and foxglove (ca. 1864), B.N.

109. Charles Aubry, Groupe de marbre de Jacobus Sarazin, from Etudes de feuilles, lère série (1864), B.N.

110. Charles Aubry, Coccolobe à feuilles poilus, from Etudes de feuilles, lère série (1864), B.N.

111. Charles Aubry, Ellebore noir, from Etudes de feuilles, lère série (1864), B.N.

112. Charles Aubry, Groupe sur fond tulle, from Etudes de feuilles, lère série (1864), B.N.

113. Charles Aubry, Wisteria, from Etudes de feuilles, lère série (1864), B.N.

114. Charles Aubry, Peaches (ca. 1864), J.P.G.

115. Charles Aubry, Still life with straw hat (ca. 1864), B.N.

116. Owen Jones, Leaves from Nature, No. 5, from Grammar of Ornament (London, 1856), pl. 95, H.R.C.

117. F. Edward Hulme, Agrimonia eupatorium, from Plants: Their Natural Growth and Ornamental Treatment (London, 1874), pl. 31, H.R.C.

118. Charles Aubry, Skull (ca. 1867), B.N.

119. Charles Aubry, Histoire triste (ca. 1866), New Orleans Museum of Art: Museum Purchase.

120. M. P. Verneuil, Chrysanthemum, from Eugène Grasset, La Plante et ses applications ornementales (Paris, 1896), pl. 70, H.R.C.

121. M. P. Verneuil, Chrysanthemum, from Eugène Grasset, La Plante et ses applications ornementales (Paris, 1896), pl. 71, H.R.C.

122. Anonymous, Reproduction of a portrait drawing by Hippolyte Flandrin, daguerreotype (ca. 1848), B.N.

123. William Henry Fox Talbot, Copy of a Boilly caricature, salted paper print from paper negative, from The Pencil of Nature (London, 1844), pl. 11, Gernsheim Collection, H.R.C.

124. Robert Bingham, Galerie Pereire (ca. 1864), B.N.

125. Gustave Le Gray, First-floor gallery, salted paper print from paper negative, from Salon de 1852, Musée d’Orsay, Paris.

126. [Disdéri?], View of Salon Carré, Exposition universelle of 1855, B.N.

127. P. A. Richebourg, Salon of 1861, from Salon de 1861, B.N.

128. Ch. Michelez, Views of Félix Henri Giacomotti’s Agrippine quitte le camp and Jules Joseph Lefèvre’s Roman Charity, among others, from Tableaux commandés ou acquis par le service des beaux-arts—Salon de 1864 (1864), pl. 23, Archives nationales, Paris.

129. Pierre Petit’s studio on the grounds of the Exposition universelle of 1867, wood engraving, B.N.

130. Dontenville, View of the Exposition universelle of 1867 taken from the Chaillot hill, B.N.

131. Charles Marville, Ingres’s drawing for the Apotheosis of Homer (ca. 1867), B.N.

132. Robert Bingham, E. Fortin’s L’Education du merle, from Chefs-d’oeuvre de Vart contemporain (1860), B.N.

133. Mayer et Pierson, Napoléon III, carbon print (ca. 1860), private collection.

134. Disdéri, Napoléon III, Eugénie, and the prince imperial (negative, ca. 1857; carte de visite, ca. 1860–65), private collection.

135. Disdéri, Famille de S. M. L’Empereur, mosaic carte de visite (ca. 1863), private collection.

136. Mayer frères, Napoléon III (ca. 1853), heliogravure by Niepce de St.-Victor (A. Riffaut, printer; Goupil, ed.; ca. 1853–55), B.N.

137. Charles Nègre, Refectory, from Asile impérial de Vincennes (ca. 1859), private collection.

138. Edouard Baldus, 4 août 1861, from the so-called Album de dimanche recording the destruction of the Louvre, pl. 2, Archives nationales, Paris.

139. Edouard Baldus, 3 novembre 1861, from the Album de dimanche, pl. 15, Archives nationales, Paris.

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Book details

Description: Industrial Madness: Commercial Photography in Paris, 1848–1871

BOOKIndustrial Madness: Commercial Photography in Paris, 1848–1871

Elizabeth Anne McCauley

https://doi.org/10.37862/aaeportal.00182

Stable URL: https://aaeportal.com/?id=-19716

In 1848 there were thirteen commercial photographic studios in the city of Paris. By 1871 this number had expanded to almost 400. This book is the first to analyze the origins of professional photography during the Second Empire and its transformation from a novel curiosity to a vital part of the urban environment.

Drawing on extensive archival documentation, Elizabeth Anne McCauley profiles the people who became commercial photographers—the innovators, entrepreneurs, and "artistes" who tried to earn their fortunes but were beset by bankruptcy and failure. She also discusses the business of photography—the ways studios were formed, products promoted, and financial backers found. In a detailed analysis of five studios that represent different aspects of commercial production, from industrial photographs to art reproductions, McCauley uncovers the social, political, and psychological needs that each type of photography satisfied. For example, in a groundbreaking examination of the market for photographs of female nudes, McCauley documents how the photographs reinforced masculine stereotypes of female sexual passivity, how government responses to such images reflected the precariousness of Napoleon III's political power, and how the photographs were positioned within ongoing arguments about realism as a new literary and artistic movement. Industrial Madness is not only an innovative contribution to the sociology of the arts but also an exploration of the ways ideology and visual representation intersected during the decades that saw the birth of modernism.

The book also includes a comprehensive listing of commercial photographers working in Paris between 1848 and 1871.

*This eBook is available exclusively on the A&AePortal*

Author

Elizabeth Anne McCauley

PublisherYale University Press

Print publication date March 1994 (out of print)

Print ISBN 9780300038545

EISBN 9780300253344

Copyright© 1994 by Yale University

Illustrations 141

Print Status out of print

Publisher (out of print)

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