List of illustrations

  • La Daguerréotypomanie
  • The Story of the Daguerreotype
  • Reputedly the Most Commodious Position for a Good Daguerreotype Portrait
  • Don’t Move!!!
  • Portraits for Five Francs
  • Photographic Fantasies
  • Etienne Carjat
  • Self-portraits
  • Self-portrait
  • Self-portrait
  • Self-portrait
  • Self-portrait
  • Stereograph mounting room in a photographic studio
  • Parisian Photographic Establishments
  • Parisian commercial studios, 1848–1871
  • Photographs registered in Paris for public sale, 1852–1871
  • Photographers registering works in Paris for public sale, 1852–1871
  • Patents taken out each year for photo-related inventions, 1839–1871
  • All patents registered in France, 1839–1871
  • Parisian Photographic Establishments
  • Place du Pont-Neuf
  • Emile Pereire
  • The studio at 32–34 rue Louis-le Grand
  • The studio at 13 boulevard des Capucines
  • Rue de Richelieu
  • The studio at 35 boulevard des Capucines
  • The studio at 20 rue Cassette
  • Exterior of a carte de visite studio
  • New Installation of the Studios and Apartments of M. Disdéri
  • Interior of studio at 35 boulevard des Capucines
  • Locations of daguerreotype studios in Paris in 1848
  • Locations of photographic studios in central Paris in 1860
  • Article on the poet Pommier with Nadar promotion
  • Nadar Raising Photography to the Level of Art
  • An Evening at Et. Carjat's (July 30, 1864)—Pierrot the Photographer, Act I
  • Photography, French Section—Exposition universelle of 1867
  • Exhibition of French Photography, Exposition universelle of 1867
  • Pavilion for the Exhibition and Production of Works of Photosculpture, Exposition universelle of 1867
  • French colonies exhibition, Exposition universelle of 1867
  • Central hall of the Exposition des Beaux-Arts appliqués à l'industrie of 1865
  • Advertisement
  • Advertisement
  • The Public and Private Life of Mister Réac. Chap. VI: Mister Réac Realizes That He Has Become a Republication Overnight
  • Louis Veuillot
  • Ernestine Nadar
  • Théophile Gautier
  • Hyacinthe [Louis Hyacinthe Duflost]
  • Huerta
  • Review of the Fourth Quarter of 1854 (Continuation)
  • Marie Laurent
  • Christoll Terrien
  • Mlle. Peyrat
  • Mlle. Michaëlis
  • Fashion plate (Le grand pardessus on the right)
  • Charles Baudelaire
  • Jean Journet
  • Bonus from Le Figaro: Nadar's Pantheon
  • Marceline Desbordes-Valmore
  • Vicomtesse de Renneville
  • Self-portrait
  • Lithographic Studio, Institution royale des Sourds-Muets
  • Camille Saint-Saens
  • Augustine Guy
  • Pornographic stereograph
  • Academic Study
  • Academic Study—No. 5
  • Academic Study—No. 2
  • Photographic Studies
  • Academic Study—No. 6
  • Academic Study—No. 7
  • Photographic Studies (Odalisque)
  • Nude
  • Pornographic stereograph
  • Pornographic stereograph
  • Pornographic stereograph
  • Pornographic stereograph
  • Pornographic stereograph
  • Pornographic stereograph (Nathalie Lauret)
  • Pornographic stereograph (Amélie Rabeau)
  • Léo Lespès
  • Place Vendôme
  • Place Vendôme
  • Town Hall of the First Arrondissement
  • Hussars in the Tuileries
  • Bust of the Abbé de l'Epée
  • Clocks
  • Crystal Palace under construction: open colonnade, garden front
  • Crystal Palace under construction: upper gallery
  • Crystal Palace under construction: scaffolding for the erection of the great ribs in the central transept
  • View of the Old Bridge
  • View of the Cast-Iron Structure of the Arch Taken from the Base of the Pier on the Left Bank
  • View of the Arch on the Left Bank during the Removal of the Centering
  • View of the Metal Skeleton Taken from the Base of the Abutment of the Right Bank
  • Removal of the Centering—View of Arch No. 4 Taken from Downstream
  • General Elevation of the Bridge: View Taken from Upstream
  • Nevers Train Station
  • Interior of the Roundhouse
  • Auteuil Viaduct, Pedestrian Passageway
  • The Bridge-Viaduct at Point-du-Jour, in Auteuil
  • Connection of the Canal with the Seine—Elevating Machine, Lock, and Service Bridge
  • Floating Storehouse on the Canal
  • Pont de Chézy (Aisne)—State of the Project on October 3, 1864
  • Pont de Chézy—State of the Project after Completion
  • The Bridge-Aqueduct at Arcueil
  • The Bridge-Aqueduct at Arcueil—State of the Project on May 31, 1869
  • The Bridge-Aqueduct at Arcueil—April 20, 1870
  • The Concrete Aqueduct (Constructed Using the Coignet System)—Croix du Grand Maître (Fontainebleau Forest)
  • St. Philibert and St. Marcouf—May 17, 1870
  • Roses, poppies, and carnations
  • Rose in a glass
  • Still life with skull and foxglove
  • Marble Group by Jacques Sarazin
  • Coccoloba pubescens with Hairy Leaves
  • Black Hellebore
  • Group on a Tulle Background
  • Wisteria
  • Peaches
  • Still life with straw hat
  • Leaves from Nature, No. 5
  • Agrimonia eupatorium
  • Skull
  • A Sad Story
  • Chrysanthemum
  • Chrysanthemum
  • Reproduction of a portrait drawing by Hippolyte Flandrin
  • Copy of a Boilly caricature
  • The Pereire Gallery
  • First-floor gallery
  • View of the Salon Carré, Exposition universelle of 1855
  • Salon of 1861
  • Views of Félix Henri Giacomotti's "Agrippina Leaving Camp" and Jules Joseph Lefèvre's "Roman Charity," among others
  • Pierre Petit's studio on the grounds of the Exposition universelle of 1867
  • View of the Exposition universelle of 1867 taken from the Chaillot hill
  • Ingres's drawing for the Apotheosis of Homer
  • E. Fortin's Education of the Blackbird
  • Napoléon III
  • Napoléon III, Eugénie, and the prince imperial
  • The Family of the Emperor
  • Napoléon III
  • Refectory
  • August 4, 1861
  • November 3, 1861
Free
Description: 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:
PublisherYale University Press
Free
Description: Industrial Madness: Commercial Photography in Paris, 1848–1871
~The idea for this book originally came from a sense of frustration. In the course of preparing various articles and catalogue entries on Second Empire photography, I had repeatedly returned to Parisian archives to search for the specific photographer under consideration amid hundreds of unrelated references. Wouldn’t it be more efficient, I thought, to once and...
PublisherYale University Press
Description: Industrial Madness: Commercial Photography in Paris, 1848–1871
In 1848 thirteen photographic studios were listed in commercial directories for the city of Paris. By 1868 this number had expanded to approximately 365...
PublisherYale University Press

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Description: Industrial Madness: Commercial Photography in Paris, 1848–1871
On the evening of February 8, 1859, a gala group of young men and women assembled in a Parisian banquet hall to celebrate the success of a four-year-old enterprise with which they were intimately involved...
PublisherYale University Press

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Description: Industrial Madness: Commercial Photography in Paris, 1848–1871
~Although Maurisset’s 1840 caricature of Paris overrun with photographers and Daumier’s 1840s lithographs of intrepid operators gave the new entrepreneurs great visibility, the real growth of the profession occurred a decade later during the Second Empire. In the...
PublisherYale University Press

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Description: Industrial Madness: Commercial Photography in Paris, 1848–1871
On December 12, 1857, Félix Tournachon—caricaturist, writer, Republican sympathizer, and after 1854 photographer—was legally declared to have the exclusive right to the pseudonym Nadar...
PublisherYale University Press

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Description: Industrial Madness: Commercial Photography in Paris, 1848–1871
Bruno Braquehais, a tired and broken deaf-mute photographer, died quietly in his bomb-shattered house at La Celle St.-Cloud outside Paris on February 13, 1875...
PublisherYale University Press

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Description: Industrial Madness: Commercial Photography in Paris, 1848–1871
On January 23, 1860, Napoléon III signed a trade treaty with England that removed the longstanding prohibitions placed on imported manufactured goods and drastically reduced other protective tariffs on numerous raw materials...
PublisherYale University Press

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Description: Industrial Madness: Commercial Photography in Paris, 1848–1871
The twenty-year-old Vincent Van Gogh, recently transferred by Goupil et Compagnie from its shop in The Hague to its London branch, wrote a letter on November 19, 1873, describing his new job to his younger brother...
PublisherYale University Press

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Description: Industrial Madness: Commercial Photography in Paris, 1848–1871
~Napoléon III (fig. 133) was not known for his public pronouncements on aesthetics, and he certainly left no recorded utterances concerning photography, that minor offshoot of the industrial revolution. But from occasional comments by members of his extended family and actions of his ministers and their subalterns,...
PublisherYale University Press

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Free
Description: Industrial Madness: Commercial Photography in Paris, 1848–1871
~This appendix is based primarily on listings under the category “artiste photographe” (classified until 1853 under “daguerréotypes” and subsequently under “photographie”) in the Parisian professions volumes of the Bottin and Firmin-Didot Annuaire...
PublisherYale University Press
Industrial Madness: Commercial Photography in Paris, 1848–1871
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