#british daguerreotype

[foreverinthepagesofhistoryy]

Princess Alice throughout her childhood in Photographs

~

1848 (first ever photograph taken of her, age 5)

1852 (age 9)

1853 (age 10)

1854 (age 11)

1855 (age 12)

1856 (age 13)

1857 (age 14)

1858 (age 15)

1859 (age 16)

1860 and 1861 (ages 17 + 18)

~

[thepastisalreadywritten]

—

History of World Photography Day

The first World Photography Day took place on 19 August 2010.

A curated online photograph gallery launched the event. The gallery showcased the works of 250 photographers, and viewing hits came from over 100 countries.

You may be wondering: why do we celebrate World Photography Day on August 19?

On this date in 1939, the French government purchased a patent for the Daguerreotype process.

Louis Daguerre (18 November 1787 – 10 July 1851) developed this groundbreaking photography process, which was later offered free to the world via the patent.

Unlike modern-day photographs, daguerreotypes were cast onto solid metal plates. It was the first commercially successful photography system.

For many photographers, it was the turning point and the subsequent creation of many types of photography.

Credit: Sprout Social

[daguerreotyping]

Daguerreotype of a British infantry officer with steely eyes and soft whiskers, c. 1840s

[vulturesouls]

Daguerreotype portrait of a woman in a green dress and a flower crown, British, about 1850.

Getty Museum

[wrizard]

daemon au: jfj and rosalinda, the long-tailed weasel, in an official daguerreotype. she's in her nicest most professional navy blue bow and fussed for AGES about the best position to be in, and fixed jfj's hair roughly eight hundred times. i like to imagine this is when they got promoted pre-canon

(also on twt here xo)

some more thoughts about dear rosalinda and choice of Creature under the cut:

this is an elaboration of specific thoughts i have re: how settling/forms would likely work in a fun fantasy victorian daemon au, specifically that it would ABSOLUTELY be HUGELY unusual for anyone to settle as a species that would be Weird to see in their usual environment/where they grew up -- jfj gets to have a Special ~Exotic~ Species specifically because of the CONNOTATIONS!!

long-tailed weasels are not native to the british isles!! they're from the americas, from the far north through to parts of brazil. they LOOK essentially like british weasels, but twice the size and with a tail 2-3 times as long.

so, from a distance, rosalinda looks like a "normal" male weasel with a strange tail, which isn't too unusual -- a soul and a body sharing one sex isn't much to remark on in these scientifically enlightened times -- but when one hears her voice, it's easy to tell she's a female twice the size of any other she's ever met.

she utterly hates when people assume she's a boy, and will protest at length (in private); her interest in fine ribbons and bows is as much an attempt to shout her sex as it is a genuine passion. she is very sweet and curious, if a bit fiery and quick to judge.

gender AND ethnicity in MY jfj soup??? more likely than you'd etc.

[blueiscoool]

The Smithsonian Acquires the Earliest Known Photograph of an American First Lady

The National Portrait Gallery purchased an 1846 daguerreotype of Dolley Madison for $456,000.

Three years before her death in 1849 at age 81, Dolley Madison posed for photographer John Plumbe Jr. at his studio in Washington, D.C. Clad in a crocheted shawl and one of her famous turbans, carefully arranged to cover most of her dark curls, the former first lady met the camera’s gaze with a piercing yet inviting stare.

“She’s got this little hint of a smile,” Emily Bierman, global head of Sotheby’s photography department, tells the New York Times’ Jennifer Schuessler. “You can tell she was a commanding and venerable woman.”

A surviving daguerreotype from this 1846 sitting recently resurfaced after decades in obscurity. Now identified as the earliest known photograph of an American first lady, the portrait went up for auction last week at Sotheby’s, where it fetched more than six times its estimated value of $50,000 to $70,000. The Smithsonian’s National Portrait Gallery paid $456,000 for the daguerreotype, which will reside in the museum’s permanent collection alongside the earliest known photograph of a United States president: an 1843 portrait of John Quincy Adams, acquired at auction for $360,500 in 2017.

Dolley served as first lady from 1809 to 1817. The wife of the U.S.’s fourth president, James Madison, she is regularly lauded for her expert hospitality and bravery during the War of 1812. When the British burned the White House in 1814, Dolley saved a portrait of George Washington from falling into enemy hands, telling servants to break the frame and extract its contents to avoid letting the president’s likeness “be mocked and desecrated,” wrote Smithsonian magazine’s Thomas Fleming in 2010.

As the National Women’s History Museum notes online, Dolley “pretty much created” the role of first lady, “setting the bar upon which all [of her successors] have been judged.” She hosted politicians from across the political spectrum at the White House, encouraging the nation’s leaders to put their differences aside in social settings, and she established the first lady’s unofficial duty as hostess. When Dolley died in 1849, President Zachary Taylor eulogized her as “the first lady of the land for half a century.”

Reflecting on the portrait’s acquisition in a statement, Smithsonian Secretary Lonnie G. Bunch III says, “This artifact will provide the Smithsonian another opportunity to tell a more robust American story and illuminate the vital role women like [Dolley] have played in the nation’s progress.”

According to the Times, the daguerreotype’s anonymous sellers discovered it while cleaning out the basement of a family member who had died. Recognizing the first lady’s face, they sent a scan of the photograph to Sotheby’s, attracting Bierman’s attention despite what she describes as the “fairly terrible” quality of the JPEG file.

The newly auctioned portrait isn’t the only surviving photograph of Dolley. Mathew Brady, the photographer who immortalized such 19th-century Americans as Abraham Lincoln and Ulysses S. Grant, captured Dolley’s likeness in 1848. More than a century later, two daguerreotypes from the sitting surfaced in a leather trunk once owned by Dolley’s niece, Anna Payne Causten. One of the portraits—both of which are now housed at the Greensboro History Museum in North Carolina—depicts Dolley seated next to a standing Causten, while the other shows the first lady sitting alone in a pose reminiscent of the Sotheby’s daguerreotype.

An 1848 daguerreotype of Dolley and her niece, Anna Payne Causten, by Mathew Brady.

A separate daguerreotype held by the Maine Historical Society was previously attributed to Brady but is now believed to date to the same sitting as the Sotheby’s one. The image offers a nearly identical view of Dolley, this time with her hands visible and expression slightly different. As Sotheby’s notes in the lot listing for the newly auctioned portrait, “new research and close examination” suggest Plumbe was the creator of both daguerreotypes.

Several clues link the Sotheby’s portrait to Plumbe, a Welsh-born immigrant who emerged as one of the U.S.’s most prominent 19th-century photographers. Visitor logs kept by Dolley indicate she met with Plumbe on February 22, 1846, and contemporary newspaper reports mention a portrait of the first lady featured in the photographer’s exhibitions that May. Most importantly, the back of the portrait’s case bears a printed message stating, “Manufactured at the Plumbe National Daguerrian Depot, New-York.”

According to the Times’ Annie Aguiar, the 1846 daguerreotype will go on view at the National Portrait Gallery in a 2026 exhibition marking both the 50th anniversary of the museum’s photography collection and the 250th anniversary of the nation’s founding.

By Meilan Solly.

[clove-pinks]

I'm casually looking up 1850s male portraits in search of a miwackulous tye, and while this candidate is not exceptionally silly—

The seller of this c. 1852 daguerreotype is seriously calling it "Powerful Man British Daguerreotype"

[carryonthroughtheages]

Hello friends and history lovers!

Another year of Carry On Through The Ages is over and done! I am so happy with success this year has had. Every year, I am blown away by how amazing this little community is. We are a small event, but we are so supportive and loving of each other.

It has been an absolute joy to watch the Discord server so active every single day, with people talking about their research and their projects. Watching as they gained support and encouragement from other history nerds. It was everything I could have hoped for when I first started this fest four years ago. So, thank you, from the bottom of my heart, everyone who participated, whether it was as a creator, or support, or researcher. You all helped to make COTTA 2023 a continued success.

Under the page break, you will find individual links to the fics and art that were created this year for COTTA. They are INCREDIBLE, and I highly encourage you all to read them.

Here is the link to the AO3 Collection: Carry On Through The Ages 2023!

Until next year, love you all!

BazzyBelle 🧡

Monday

Blood, Salt & Hummingbirds (T) - @hushed-chorus : AO3 // tumblr

Simon is lucky to survive when his ship is wrecked, even if it left him stranded on a desert island. But he's not the only one who escaped. The ship's mysterious cargo, the creature in the box, also made it to shore. What hope does Simon have when a vampire is lurking in the island's wooded interior? But the monster is not what it seems, and if they are to survive, they need to work together. And maybe they can do more than survive. Maybe they can thrive.

Fifty Names For A Cat (T) - @hushed-chorus : AO3 // tumblr

Simon and Baz are settling into their new life, getting Pitch Manor in working order and preparing to move to their cottage on the moor. Meanwhile, a certain cat is adjusting to his new life.

Tuesday

The Trails We Blaze (M) - @j-nipper-95 : AO3 // tumblr

Simon and Baz have been through a lot together. Growing up as criminals on London's streets; surviving the Great War; dealing with a lot of repressed feelings. But after their latest con goes wrong, they're left with nothing but an ancient map, a signet ring of unknown provenance or value, and promises of a city that doesn't even exist. Thrust into a world of adventure with danger at every turn, they're forced to decide how far they're willing to go for a myth, a fortune, and a chance at love.

The Snow Fox (E) - @aristocratic-otter : AO3 // tumblr

Simon "Snow" Salisbury is the most wanted patriot in the American Revolution. Wanted by the British army, who want to see him hanged. Wanted by the Tories, who'd shoot him on sight, given the chance. And wanted by Tyrannus Basilton Grimm-Pitch.

Wednesday

Lavender Hearts (M) - @aroace-genderfluid-sheep : AO3 // tumblr

America, 1950s. Queer people are fired left and right, friends lose their jobs daily--and sometimes, their lives. Simon and Baz are caught in the middle of it all with a homophobic father and an unconventional (in more than one way) relationship, terrified out of their minds but unwilling to give up the fight. They'll fight for years if they have to. They'll fight for decades. But even the strongest wills can be broken with the hardest of blows.

An 1800s daguerreotype photograph art piece created by the amazing @samalander01 : tumblr

Thursday

Shoulder To Shoulder, Hand To Hand (M) - @wellbelesbian : AO3 // tumblr

Britain, 1984. Across the country, miners go on strike against pit closures. With the government, police and media set against them and no end in sight, they and their families begin to feel the strain. In London, Simon Snow recognises a familiar struggle, and decides to do something, while closeted Baz Pitch just wants to get out of the house and be among his community for a day. What starts as a few collection buckets at a pride march soon becomes an organisation, and a bond is forged between the lesbians and gay men of London and a village of miners and their families in South Wales. But Simon has a past he's trying to outrun, and Baz is trying to live a double life. Both boys have secrets and shame, but if they want to make it through together, they'll have to find their pride.

A beautiful Galatea/Pygmalion-inspired water colour piece by the wonderful @ic3-que3n : tumblr

Friday

Safe Harbour (M) - @snowbaz-parentis : AO3 // tumblr

It all started on an island... It's 1956, and Baz Pitch is existentially lost in New York City. After graduating from Columbia, he's working for a wedding photographer with no taste as he avoids his inevitable fall attendance at Yale Law School, his father's alma mater. All Baz wants to do is be a fashion photographer, and when an opportunity to assist a famous photographer out on Fire Island falls in his lap, it just may be the key to helping unlock him from the closet of his family's expectations. It's 1956, and Simon Snow is wondering if there's more to life than this or if this is as good as it gets. He's been working in construction with his foster father, David Cadwallader, practically ever since he was taken in at age 13, but there's something beyond the water that's calling for him. When Davy offers Simon a chance to manage his family's rental properties for the summer in Cherry Grove on Fire Island, Simon jumps at the chance to finally take charge of something. What Baz and Simon didn't expect: the sense of freedom that comes from being able to absolutely surrender to the truest version of yourself, and the choices you have to make when it happens.

Costly Colours - A Precious Bane AU (M) - twigs_in_my_hair : AO3

In the aftermath of the Napoleonic wars Baz is being groomed by his aunt to be a physician. Tired of the farming life, Fiona would like to set up shop in town with her sister’s herbal remedies and her nephew settled down with his mentor’s lovely daughter and a fine degree hung on the wall. But first the family must toil and scrimp and save to raise the funds. And what if this is not the future Baz longs for? And what if the townsfolk won’t let go of their superstitions and petty grudges towards this family marked by tragedy? Does the handsome young weaver have all the answers?

[listen-to-the-inner-walrus]

hms captain??

hms captain indeed!!

i meant for this to be a short post but oops its really long already and im nowhere near finished so if you wanna learn about this terribly designed warship, join me after the cut; if you dont, enjoy this picture of an oddly designed ship.

the hms captain was a british warship. it was built during a time where shipbuilders were phasing sails out for steam engines, and where warships were being much better armoured. for example, the hms captain was steam-powered with two propellers and had wrought iron armour.

wrought iron armour caused a problem for warships. like think of any pirate media youve seen where theyve got wooden ships with these iron cannonballs; the cannonballs very easily breach the wooden ships. they dont really do that with iron armour. instead, they bounced off.

so the british admiralty, media and public were all in want, to some extent, of a ship with better guns that could breach ship armour. enter cowper phipps cole:

a man who looks like a rasputin prototype and seems to have the charisma to back up the comparison.

see coles was very good at public engagement. when he needed to, he could very easily get the media and public on his side, which is a power he leveraged in order to get hms captain approved, commissioned and built.

his design, oddly enough, goes back to a raft from the crimean war.

this is the lady nancy, constructed in 1855 to aid during the siege of taganrog. it was for shore bombardment which you can see in this illustration of it. while cameras were a thing back then (i think daguerreotypes existed during this time), i dont believe we have any photos of the lady nancy.

coles was a captain in the navy in 1855, and him and a group of sailors constructed it. according to those there, the guns on the raft were protected by some kind of dome structure or a "cupola" as they called it.

hms captain was inspired by the lady nancy, and so, it was also intended for shore bombardment. for this purpose, two big fuck off rotating turrets were mounted inside the hull on the gun deck.

these had been patented by coles himself in 1859 which is partly how he became a consultant for the admiralty when it came to building ships. being the nephew of admiral lord edmund lyons 1st baron lyons gcb gcmg kch, by marriage, twice over certainly also helped.

quick note on that:

its not technically incest, i think, his wife emily pearson was lyons niece and his mom is the sister of lyons wife augusta

i also didnt know what those acronyms meant beforehand, gcb is a british order of chivalry called most honourable order of the bath, gcmg is another one: most distinguished order of saint michael and saint george, kch is a hanoverian order of chivlary called royal guelphic order. yeah thats just gobbledegook.

lyons was important because of his role in the crimean war as commander-in-chief of the mediterranean fleet and hes credited as ensuring victory for britain.

originally, the admiralty just ordered prototypes of his big fuck off turrets and they were actually impressed with them.

and so the hms prince albert was built with four of them (is that four turrets in your pants or are you just happy to see me) and the hms royal sovereign was converted to be a turret ship. both, however, could only operate as coastal service vessels.

hence, the admiralty allowed coles to draw up plans for a two (2) turret oceangoing ship in 1863, working with nathaniel barnaby who was chief constructor for the navy. keep in mind, coles had little to no experience in ship design.

then, they suspended the project.

but they allowed him to work on a one (1) turret oceangoing ship that was based on the hms pallas with joseph scullard who was head draughtsman in 1864.

and then in 1865, a committee rejected/cancelled his projects, and decided to move forward with a different design for a two (2) turret ship called hms monarch.

this made coles very angry, and an angry coles is not a good thing for the british admiralty.

(i spent an hour making this because im so bad at making things look purposefully bad)

so you know like today where bad actors like andrew tate, tucker carlson, joe rogan and even like graham hancock can just use public platforms and social medias to get a relatively large portion of the population of their side, seemingly with ease, just by talking/communicating confidently, playing into fears and anxieties of the public, and creating an us and them?

yeah so cowper phipps coles was also really good at this. grifters, liars and pretenders have alway existed.

(milo rossi discusses this a lot in his series on hancock's ancient apocalypse docuseries, and id 100% recommend the whole series.)

so how did coles do this?

well, he began with a very strong and very harsh attack on robert spencer robinson who was a vice admiral and controller of the navy, and his full title was admiral sir robert spencer robinson kcb frs.

the title admiral sir is very funny, like i want to get a cat called that with the nickname addy. kcb is basically the same as gcb. lyons was general grand cross and robinson was knight commander, because of fucking course its this stupid. frs is an award given to you from the royal society of london; the fellowship of the ring royal society is granted to those who have made a "substantial contribution to the improvement of natural knowledge, including mathematics, engineering science, and medical science".

it wasnt just mr admiral sir that coles attacked; he also attacked several other admirals who were on the committee but he really seemed to hate robinson. coles also lobbied parliament and the press, focussing on the flaws he saw in monarchs design and how britain was going to be left behind in the shipping arms race since many other nations were pressing ahead with several oceangoing turret ships. unsurprisingly, it was the united states that were winning the race so far.

around this time, coles' contract as a navy consultant was terminated in january 1866. like thats as hard as he was going, he fully lost his job. of course he had his dear not-quite-incest uncle lord lyons to fall back on. one hell of a safety net, very well entwined.

in response to this professional fuck you, coles simply protested that he had been misunderstood and the man must have rolled a nat 20 on his charisma saving roll because on the 1st march 1886, he was re-employed.

he waited a month and a half to submit his critique of the monarch proposal on the 16th april. he refused to publicly support a vessel that didnt represent his "views of a sea going turret-ship" because He Was Like That™. we're in the cowper karen era. his critique went on to say that hms monarch could not give his "principle a satisfactory and conclusive trial."

now at this point, the admiralty really should have just sent him packing. theyve given him chance after chance after chance despite him having pretty much no experience.

like say you have a blocked toilet that you cant unblock, but instead of calling a plumber, you ask your friends nephew whos an art curator who really wants to give this plumbing thing a go. then his first attempt makes it worse; now the taps in your bath turn on everytime you use the kitchen sink and your toilets still blocked. but you give him another go and now theres a shower curtain stuck in your toilet which is still blocked. and now youre fingers are hovering over the call button on a plumbers number when your friend calls and asks you to give their nephew another go. its only been three weeks and theres a 24 hours mcdonalds up the road that you can go to for the bathroom and youve got a shower at work you can use, so you think, okay, sure. and then he accidentally rips your kitchen sink out and you still have a blocked toilet and a non-working shower and your bath taps are running 24/7, and your friend asks you again to give him a "second chance."

like youre not giving him another chance, theres a goddamn shower curtain in your toilet and your kitchen sink is in your fucking living room. of course, youre not giving him another chance.

but say everyone in your street and everyone in your friend group is on his side because hes been telling little lies and charming them all with his aunts baked goods and his knowledge of local art and history. and everyone else is rooting for him and they all believe this is the chance.

thats the situation first naval lord admiral frederick grey (full title: admiral the hon. sir frederick william grey gcb) found himself in. obviously coles should not be given another chance, but the whole country believes he should.

so on the 21st april (thats me moms birthday :)) he agreed that coles should be allowed to build his "perfect" oceangoing turret ship.

and so the hms captain was born

the ship was to be built on a private shipyard and coles selected laird brothers' chesire yard on the 8th may 1866.

one of the biggest problems ship designers had with turret ships is that ships tend to have quite a lot of rigging that gets in the way of the turrets. this was a genuine design flaw for the hms monarch, it was brought up by the chief designer sir edward james reed kcb rfs, but he was overuled. he didnt think a turret ship should have either a forecastle or poop deck.

on a typical warship, youll see a small rise on either end of the ship. at the front/bow, you have the forecastle which was typically used as a defensive measure. at the back/stern, youd typically have the captain quarters within the hull and the roof of that is the poop deck. it would be used for either the captain or a helmsman or a first mate maybe to supervise the crew and their work.

reed, very correctly, did not want these measures because they interfered with the turrets. he also wanted much less rigging because the more wooden beams and rope and sail youve got, the less room the turrets have to fire.

he wrote that "the middle of the upper deck of a full-rigged ship is not a very eligible place for fighting large guns."

and coles and the lairds seemed to agree with this sentiment because their design corrected these flaws.

their solutions were to erect a hurricane deck to place the rigging on. this is an upper deck that is above the frame of the hull. they also used tripod masts to reduce rigging. they also placed the turrets within the hull in their own special gun deck.

now, just because youve corrected for some flaws doesnt mean you havent introduced several of your own which spoiler, the captain had a lot of flaws which we will be getting into.

captain had a length of 320ft or 97.54m; she had a beam (width at the widest part) of 53ft3 or 16.23m; her draught (the distance between the waterline and the keel/bottom of the hull) was 24ft10 or 7.57m; and her top speed was 15 knots which is about 17mph.

in a futile attempt at a balanced view, i will say that the speed was fairly impressive. most other ships had top speeds of 10-12 knots or about 11-14mph. the use of double propellers was a good choice.

one of the very few good choices.

see the captain was designed to displace or essentially weigh 6910 long tons, and was expected to have a freeboard of about 8ft or 2.4m.

a ships freeboard is the distance between her exposed upper deck and the waterline. typically, warships have high freeboards. its not quite as simple as the higher the freeboard, the more stable your ship is, but in general, higher freeboards do offer more stability. this is something the captain needed

see, most of her weight was high up in the ship which meant she had a low metacentric height. to not get into all of the complicated science that im not entirely sure i understand (dyspraxic nation rise up), lower metacentric heights tend to make ships more unstable.

[from wikipedia:]

so all of this is a bad design. apart from her impressive speed, she seemed like a ship with poor stability and a real risk of flooding because of the exposed gun decks. and with flooding, you might just fucking capsize 🚢⬆️↗️↘️🌊☠️

mr admiral sir robert spencer robins already raised concerns at the design stage in regards to the low freeboard and flooding. reed also raised concerns about the ship being too heavy and having too high a centre of gravity, but they were ignored.

if i had a nickel for every time edward james reed was overruled after raising a legitimate concern about the design of a turret ship, id have two nickels, but its weird its happened twice.

still, first lord of the admiralty (genuinely feel like this is a made up job) sir john pakington approved the design on the 23rd july 1866, though he did note that coles and the lairds would be held responsible for any failures.

if youre interested, john pakingtons full title is john somerset pakington 1st baron hampton gcb pc frs and he was a fucking tory, and the right honourable lord hampton, which okay, dude, you overcompensating for anything over there? pc means he was a member of his majestys most honourable privy council, who are all advisors yes-men to whichever bellend is on the crown.

moving past that cag-mag of a man, lets talk about how this mess got even worse. and you might be asking, "kai, how can it get worse? havent you already told me that the ship can easily sink?"

and you know, fair point, but you can always make your ship even more likely to sink.

see coles came down with an illness during the building of the ship. im not sure what it was; i cant find anything on it, but whatever it was, it meant he couldnt supervise the building of his ship. now, im not sure how much that would help considering he was the art curator turned amateur plumber in the metaphor, but maybe it would have done some good.

because when she was finished, she did not displace 6910 long tons. no, she displaced 7767 long tons. and her 8ft freeboard turned into a 6ft6 or 1.98m freeboard. she was floating 22 inches deeper than expected. oh, and her centre of gravity raised by 10 inches!

reed didnt just raise hell over this, he dragged heaven down too. and its not like he was wrong. the ship was a floating disaster.

hms captain had an angle of list of 21°. this means of she listed 21° or more, she would capsize.

now, theres no real average angle of list, but most people would say 40-50° as a reasonable yardstick. for some vessels, it might dip into the 30s°, but 21° is a ridiculously low angle of list.

for reference, this is a 20° angle.

its not much of an angle, is it?

and remember, the captain is meant to be an oceangoing vessel. the oceans dont exactly have a reputation for being calm.

unless youve got a direct telegram to poseidon and are in a place where you can ask him to calm down, the captains not gonna have fun.

and of course when reed raised his concerns, he was overuled.

if i had a nickel for every time edward james reed was overruled after raising a legitimate concern about the design of a turret ship, id have three nickels, and its kinda concerning that its happened three times.

instead, she was commissioned on the 30th april 1870 under captain hugh talbot burgoyne vc. to commission a ship is simply to place it into active service. also vc simply means burgoyne received the victoria cross whatever that one is.

anyway, she underwent several trials in the months after this and i guess everyone had pre-ordered their rose-coloured glasses because the captain won many supporters and was considered everything that coles had promised.

part of these trials were the gunnery trials. these took place in vigo and the captain was against both hms monarch and hms hercules, a non-turret ship. their target was a 600ft long, 60ft high rock. they each had 5 minutes of continuous firing.

all three ships had problems with aiming after the first few shots because the smoke emitted from the weapons meant they couldnt fucking see anything.

still, hms hercules had an accuracy rate of 65%, while hms monarch came in with a 40% rate and hms captain limped in with a 35% rate.

and im not just using "limped" as an exaggeration, these trials showed that when the turrets fired, it caused the ship to list and the list was 20°.

im sure you can see the problem there.

if you can, youre better than the admiralty who just ignored it and was like fantastic, she works. coles straight up had the entire admiralty hostage and the only person speaking up was reed.

if i had a nickel for every time edward james reed was overruled after raising a legitimate concern about the design of a turret ship, id have four nickels, which is great and all but id rather give reed a hug at this point.

-

now the 35% accuracy didnt really matter if the captain was going to be used for shore bombardment. most of the time, youre not aiming for anything specific, youre just trying to cause as much damage as possible.

but that 20° list? that mattered.

it mattered a lot because on the 7th september 1870, she capsized.

shocking i know. only five months after being commissioned and everything.

that day, she was running trials in the bay of biscay during a storm when she was hit by a gale of wind. she rolled over and capsized.

there were over 500 people on board and only 18 survived. coles was among the dead. i hope their souls were able to find peace.

theres a memorial for them in st paul's cathedral in london if youd ever like to pay your respect to them.

now theres not much else to say about the captain other than the inquiry into the sinking blame the public for it.

they concluded that "the captain was built in deference to public opinion expressed in parliament and through other channels, and in opposition to views and opinions of the controller and his department" and this was pretty significant in victorian britain as it was unprecedented.

but realistically, it wasnt wrong. they were the ones backing coles the whole time.

so i guess if theres something to learn from this mess, its that if youre going to support a public figure, whether it be a celebrity or politician or scientist or whatever, take a step back and ask yourself "do i agree with what theyre saying or are they just very good at talking?"

im sure someones said it better than me, but you know, that sentiment. we can also laugh at how much of a disaster hms captain was.

[spider-xan]

Can you imagine being Utterson in the LXG filmverse, still mourning the death of your last childhood friend years later, and one day, you suddenly get a letter from him confirming that he is, in fact, still alive!!, and by the way, he is now in a relationship with an immortal vampire queen, and you know how there was that sea monster destroying British warships back when we were in university, well, it was actually a submarine, and the captain who was formerly a prince is also part of the polycule, and enclosed is a daguerreotype of the three of them hanging out in Atlantis together, xoxo Henry

[bostonfly]

The First Surviving Photograph of the Moon (1840)

Astrophotography properly began in 1840, when John William Draper, a British-born chemist and doctor, took the image above from the roof of the New York University observatory, credited as the first daguerreotype of the Moon. Daguerre himself might have taken an 1839 image, but it was likely destroyed in a fire, as were Draper’s attempts of the previous year, which burned up in a NYU blaze in 1865.

[foreverinthepagesofhistoryy]

Daguerreotype of Princess Helena of Great Britain and Ireland (later Princess of Schleswig Holstein), early 1850s 🤍

[emmanuellegauthiersgallery]

In her latest series Plastic Baroque, Emmanuelle Gauthier explores the latest techniques of digital manipulation to create a refined and glamorous body of work. Layering lush imagery and sensibility of European and American painting to create contemporary photographs of intricate beauty. Her composition is simultaneously dense and fluid with rich coloration and painterly quality.

Emmanuelle explores a favorite subject in different hues, her candy colors entice the viewer. Creating a dreamy allure the images are charged with a Baroque sensibility, seducing the viewer with fairytale settings and subtle luminosity. Dans sa derniere serie “Plastic Baroque”, Emmanuelle Gauthier explore les techniques de pointe de manipulation digitales pour creer une oeuvre raffinee et glamour. En utilisant differents elements d'une imagerie lush, superposes et une sensibilite inspiree par la peinture Europeenne et Americaine afin de creer des photographies Contemporaine d'une beaute subtile. Ses compositions est simultanement dense et fluide avec des couleurs tres riches . Emmanuelle explore un sujet favori en differentes couleurs, ses couleurs acidulees de bonbons attire l'attention du spectateur. En creant une allure de reve les images sont chargees d'une sensibilite Baroque, seduisant le spectateur avec des mise en scene de contes de fees et d'une luminosite subtile.

—————————————————–

Incorporating painting into my photography and using special transfer techniques I give them the look of a colorized daguerreotype.

Adding a single color to the entire image, the color then becomes as important as the image. I’m mostly draw to French Baroque and 19 century American landscape painting. The vibrancy of the colors and the plexiglass presentation gives this series a contemporary sleek and plastic feel…Combining the old with new I reinterpret classical imagery into a modern, original and enigmatic aesthetic.

Emmanuelle Gauthier

New York, 2006-

-LIST OF EXHIBITIONS-

Studied in Paris, France, Film structure and Production techniques,Multimedia at the University of Paris VIII;as well as drawing,painting at the Ecole des Beaux-Arts in Paris.

She also studied History of Photography at Parsons School of Design, NYC

Works included in the MoMA, NYC, British Museum Collection in London-United Kingdom, The Chelsea Art Museum Collection, NYC, and important private collections.

-Selected One Person Shows- May 2014- “Shining Escapes”-Cannes Film Festival-Martinez Hotel-Exhibition of Selected Paintings in an Hotel Suite May 2012- “Bing Beng Booom” -video-art- 8 mns- Cannes Film Festival- Martinez Hotel- Private screenings in an Hotel suite-

June -July 2010: Chelsea-NYC- Intersections Art Projects curated by Kevin Alexander-

May 2009: Cannes Film festival-Short Film Corner & Intersections Films

“Cosmopolitan” screenings - 6 minutes short film-

May 2008: Intersections Art Projects-NYC

‘Colors Wanted"

June 2007: Ca'Zanardi Palazzo-Venice-Italy

Photography installation from Latest Series Plastique Baroque-

March 2007: Intersections Art Projects-USA-

Site Specific installation with Neons sculptures, Photography,

paintings, and videos

February 2007: Red Dot Art Fair, Plastic Baroque Series of photographs and Videos,

Co-curated by Emmanuelle Gauthier and Asher Remy Toledo for Remy

Toledo Gallery in NYC. Park South Hotel-

October 2006: “Candy for dinner” presenting new photography works from

the series “Plastic Baroque” and a video titled

“LACE” at Remy Toledo Gallery, 529 West 20 st-

October 2005: 109 Crosby gallery-

PURSUIT curated by Lynn del Sol from CTS

May 2005: Intersections Presents, exhibition of new

works from the Series: Brazil reportage

December, 2004: Art Basel Miami.

On site installation with new photographs, paintings and videos in a Hotel Suite

January 2004 : Bauhaus Lounge,

Photographs from the Series “SCREENS.”

January 2002: Institute of Matter in Hong Kong, Photography show.

October 1998: Espace gallery in

Montpellier, France, Contemporary Photography show.

-Selected group shows- March 2014- X Gallery- London- September 2010- Chair and the Maiden Gallery- NYC-

October 2009:Allen Projects curated by Robert Curcio-Chelsea-NYC-

“ Fall Survey”

August 2008: Robert Curcio Projects-NYC-

“Walks-in welcome”

June 2008: Garden Art Party-3AM Projects-NYC-

September 2007: Instanbul Biennale. Curator’s choice show curated by:

Michelle Thurz

June 2007: Corniche Art Fair, Venice. Remy Toledo Gallery- NYC-US-

March 2007: Art of Americas, Miami. with Remy Toledo Gallery-USA-

February 2007: Scope Artfair NY- “Aesthetics of belonging” curated by Kasia Kay

January 2007: Palm Beach Art Fair with Remy Toledo Gallery-

January 2007: Twilight Time curated by David Gibson at Realform- Brooklyn-NY

December 2006:Scope Miami with Kasia Kay Gallery, and PAM

August 2006: Kasia Kay Gallery, Chicago

July 2006: SCOPE Hamptons projects. Curated by Lee Wells, photography

and Art Videos for PAM (Perpetual Art Machine)-

May 2006: SAATCHI Gallery group exhibition curated by Jane Sutherland

and the Light Foundation to benefit the Harlem

School of Arts-USA-

March 2006: Intersections Projects at

Diva Artfair in NYC. Video works ( Dennis Oppenheim, Benedicte Gauthier)

October 2005: PHOTO NY Artfair with CTS, Creative

Thrifshop-USA-

June 2005: WATERWAYS at the Venice Biennale curated by Ethan Cohen, Renee Vara.Italy-

April2005: CULTURE VULTURE at JACK THE PELICAN

PRESENTS-NYC- Curated by David Gibson

February 2005: INTERSECTIONS PRESENTS in NYC

STARLIGHT Group show

January 2005: D & H gallery inNYC-

CHROMALUX Group show

March 2004: SCOPE New york with Damien Montalieu Projects and

Pablo’s birthday Gallery in NYC.

March 2003: SCOPE New York with Nikolai

Fine Art at the Dylan Hotel.

Feb 2003: Cynthia Broan Gallery: New York City

Recession 2003, $.99 Show.

January , 2003: Egizio’s project gallery

NYC-USA_

February 2003: Nikolai Fine Art Gallery

New York City.

April , 2002: Marcus Ritter Gallery, New York City-Chelsea-USA-

New Photography works along with works on paper from collaborative artists team:

Petra zmirk, and Moriceau.

- BIOGRAPHY WRITTEN BY RICHARD VINE -

Emmanuelle Gauthier Born in 1971, Emmanuelle Gauthier is a French fine arts photographer who has lived and worked in New York since 1994. She studied photography at the Ecole des Beaux-Arts in Paris, as well as film structure and production techniques at the Université de Paris VIII. Her training also includes history of photography classes with George Pitts, the photo editor of Vibe magazine. Thereafter, working on independent productions, she assisted director Eric Ceret on his documentary Diaries and director Mark Humphrey on numerous music videos.

As a freelance photographer,Emmanuelle Gauthier has contributed to numerous publications such as

Citizen k, Spoon, Trace, Zing, The Fadder, Trax,Madame Figaro, Dazed & Confused, and Pure.

Among her commissions are ad campaigns for Audemars Piguet,Fred Sathal, and Totem. Emmanuelle Gauthier’s images–of airports, clubs, city streets, and glamorous youths–often imbue their

subjects with a dreamy allure. Her figures smoke and drink in louche surroundings; some pose with clothes laid on top of their bodies rather than worn normally. All seem too hip for love or grief. Yet their bohemian chic is inseparable from a pervading sense of desolation–as if the emptiness of the jetways had entered every aspect of life for these young urban nomads. Most recently, Emmanuelle Gauthier completed a compilation video of interviews with several New York-based artists with whom she has an aesthetic affinity: Andres Serrano, Dennis Oppenheim, Scott Hug,and others. Here scenes from the urban environment, including the living and working spaces of the artists, are punctuated by shots of a sleek building lobby and highly reflective revolving door*emblems, in effect, of the hardness, gloss, and transitoriness of life in New York*s often impersonal milieu. Emmanuelle Gauthier has previously exhibited in New York City at Marcus Ritter Gallery, Nikolai Fine Art Gallery, Egizio’s project, Cynthia Broan galleries. And in Hong Kong at the Institute of Matter gallery.

Richard Vine

Editor at large at Art in America

REMY TOLEDO Gallery/ Projects is pleased to present an exhibition of three young artists “Candy for Dinner”

Emmanuelle Gauthier, Vadis Turner, and Hu Ren Yi.

This dinner party has been cooked in America , China and France . French photographer Emmanuelle Gauthier presents a different kind of candy, one of sweet seduction. In her latest series Plastic Baroque, techniques of digital manipulation create a refined and glamorous body of work. Layering lush imagery from European and American painting, Gauthier creates contemporary photographs of intricate beauty. Her composition is simultaneously dense and fluid with rich coloration and painterly quality as she explores favorite subjects in different hues. Creating a dreamy allure the images are charged with a Baroque sensibility, seducing the viewer with fairytale settings and subtle luminosity. Vadis Turner exhibits cupcakes and a tea party constructed from kitchen materials and sewing goods. Influenced by generations of southern women who reigned in the kitchen and sparkled at society events. The immanent artist was expected to learn the ways of a proper lady, folding her napkin properly and writing gracious thank you notes. Such traditions have been replaced by fast food and superficial entertainment, which becoming our legacy. Many now eat candy for dinner. This exhibition will be the first viewing in New York of paintings by the young Chinese artist Hu Ren Yi. His candy color like paintings are cynical and playful with undertones of sexuality, family and politics. They are constructed simply, although the concept is much deeper than what physically appears on the surface of the canvas. The viewer is engaged by the dream like quality of the images. There is an obvious influence of the tradition of Chinese painting that merges with the contemporary.

Barbara Braathen

Curator, Art Dealer

Emmanuelle Gauthier’s work has an ethereal and atmospheric quality, with a delicate sensitivity to light which creates a mysterious and stage like effect on reality.

Irene Nikolai

Nikolai Fine Art Gallery

Photographs- Edition of 3 + 2 Artist proof-

2 SIZES AVAILABLE:

30 X 40 Inches- $10.400.00 ( 76.2X 101.6 CMS)

20 X 24 Inches-$4400.00 ( 50.8X 61 CMS)

Paintings- Size:30X 40 Cms 10.0000.00 £

“Syrup” series is available on nine colors in 20 X 23 Inches, and 40 X 46 inches for wall installation-

-Artist Statement-

“Interventions”

Video art together with photography examine the parallels and liaison between history and truth. The two mediums address issues of misinterpretations, miscommunications and language barriers .

Other themes, such as the rights of animals are very close to my mission of wanting to make a positive change in our life and, give back to this world elements of beauty and wonder. Characterized by a visionary force, the works traces a sense of tragedy and fragility. Inspired, intricately and sensuously styled, the art video titled “Lace” presents lustrous images voluntarily slowed down: capturing and contemplating the moment…all in a surreal film speed. It translates dreamy and eery qualities to movement decomposition and into a different environmental transposition. Against a curtain of violent rupture/ isolation, and a will for using art as an export for social progress and awareness, the images’ aesthetics import a wide range of poetic interpretations.

Experiencing with new software techniques and digital interventions the photography juxtapositions or layers deepens and twists meanings. The moving images are mixed in with music composed with fragmented sample sources running across cultures, time and sensibilities. The piece highlights and emphasizes the importance of cultural differences, the richness and depth of cross cultural exchanges as well as tolerance, and dignity. Emmanuelle Gauthier

NYC, 2006

-ARTIST STATEMENT -

I have always been interested in exploring the

juxtaposition and convergence of illusion and reality.

My photography and film incorporate many references:

video, music, cinematographic special effects, set

design, architecture, poetry and reverie. I’m

interested in linear readings as well as the

possibilities of subjective reinterpretations of

events that have shaped our realities. Luminous and ethereal the images are charged with a

sense of longing, hope and a dreamy allure. Vibrancy

of color imbue the photographs with a warm and sublime

glow. In my process I embrace surrealistic techniques

and theories. Filmmaker’s Luis Bunuel and Jean Cocteau have informed

and inspired my work. Through my films and

photography, I capture the intimate beauty of the

details of life exploring the interconnections and the

fragility of existence. Emmanuelle Gauthier, New York City,2004

—ARTIST STATEMENT —

Art videos titled Dolphins, Transitoriness ( included

in the British Museum collection), dolphins,

effervescence pills, orthodox church, speak with images

mixed with sound, in an elaborate montage that

emulates one’s imagination.

And encourages one’s of having their own

interpretations, through imaginative stimulus…

Using music, editing techniques, repetitive images, an

original concept, and the utilization of storytelling

notions.

The ensemble of my photography works is wrapped up in

a diary style survey of my aesthetic preferences.

Made out of attentive observations where my life

events have transported me.

The different work series ultimately come together in

a reverie collage.

In an omnipresent and also very direct attempt to

unveil life’s deep mysteries the work is mostly

revolving around the themes of loneliness,

psychological states, betrayals, fantasy and reality

realms, blurring system beliefs.

It is translated visually with an imagery of empty

melancolic interiors, extreme close ups of human

forms, close ups of objects, exteriors, abstract

environment which are emotionally charged with a range

of expressed and repressed feelings.

The photos tell the story of social changes throughout

decades, and freezes time into a kaleidoscope of

photos mixed with newspaper clippings, journal entries

and the use of mixed media.

Individual portrait’s placed together to suggest a

single narrative in an exhaustive editing process; that

aim at a critical, long thought juxtaposition of

photographs.

In an inherent artistic logic, the ensemble of the

work thrive to make people think.

Using subjectives point of views designed to haunt

them for a long time. Emmanuelle Gauthier

New York, September 2005 - Aesthetics of Belonging -

Curated by Kasia Kay- Scope Artfair- NYC 2007- Layered and complex ideas of gender, identity, belonging, sexuality and intimate narratives are explored in selected artworks. Presented here short-films examine issues of relationships, the construction of female and her belonging to society, and in relationship.Few works with focus on aesthetics of belonging to space, allude to notions of absence and presence, a sense of place and of no place, volume and void, notions of home, as well as personal freedom and belonging to a pre-constructed world. Artists included: Kristin Anderson, Sandra Bermudez, Emmanuelle Gauthier, David A. Parker, Nick & Shelia Pye, Alicja Karska and Aleksandra Went, and Chris Wasko. The photographs, painting, and collages of Emmanuelle

Gauthier are each different manifestations of the same

desire, to communicate the basic mystery of life.

Though the artist works in a range of different

mediums, she never limits her esthetic choices to one

type of image at a time, nor does she restrain a

natural inclination to exhibit them together, creating

tangents of recognition. Much of Gauthier’s imagery

comes from media sources that may include high school

text books, events reported on TV news programs, as

well as from her own senses. Combining first- and

second-hand images, Gauthier simultaneously offers up

a critique on the nature of meaningful encounter and

on those sources of knowledge which contribute to it.

The many specific images she portrays do not

immediately answer the questions they pose, but

provide further details–further complexities–that

open up the perspective of the viewer. Rather than

seeking a highly focused and morally specific imagery,

the artist expresses the broadest possible spectrum,

which in turn provides more context, and more answers

that ironically enter into a dialectic with existence.

David Gibson Curator Article Projects

https://emmanuellegauthiersgallery.tumblr.com/page/8

[daguerreotyping]

Hand-tinted stereoscopic daguerreotype of a young British army officer, photographed by Thomas Richard Williams c. 1855

[brookstonalmanac]

Events 1.9 (before 1930)

681 – Twelfth Council of Toledo: King Erwig of the Visigoths initiates a council in which he implements diverse measures against the Jews in Spain. 1038 – An earthquake in Dingxiang, China kills an estimated 32,300. 1127 – Jin–Song Wars: Invading Jurchen soldiers from the Jin dynasty besiege and sack Bianjing (Kaifeng), the capital of the Song dynasty of China, and abduct Emperor Qinzong of Song and others, ending the Northern Song period. 1349 – The Jewish population of Basel, believed by the residents to be the cause of the ongoing Black Death, is rounded up and incinerated. 1431 – The trial of Joan of Arc begins in Rouen. 1693 – Sicily earthquake: The first of two earthquakes destroys parts of Sicily and Malta. After the second quake on 11 January, the death toll is estimated at between 60,000 and 100,000 people. 1760 – Ahmad Shah Durrani defeats the Marathas in the Battle of Barari Ghat. 1787 – The nationally known image of the Black Nazarene in the Philippines was transferred from what is now Rizal Park to its present shrine in the minor basilica of Quiapo Church. This is annually commemorated through its Traslación (solemn transfer) in the streets of Manila and is attended by millions of devotees. 1788 – Connecticut becomes the fifth state to ratify the United States Constitution. 1792 – Treaty of Jassy between Russian and Ottoman Empire is signed, ending the Russo-Turkish War of 1787–92.[12] 1793 – Jean-Pierre Blanchard becomes the first person to fly in a balloon in the United States. 1799 – British Prime Minister William Pitt the Younger introduces an income tax of two shillings to the pound to raise funds for Great Britain's war effort in the Napoleonic Wars. 1806 – Admiral Horatio Lord Nelson receives a state funeral and is interred in St Paul's Cathedral. 1816 – Humphry Davy tests his safety lamp for miners at Hebburn Colliery. 1822 – The Portuguese prince Pedro I of Brazil decides to stay in Brazil against the orders of the Portuguese King João VI, beginning the Brazilian independence process. 1839 – The French Academy of Sciences announces the Daguerreotype photography process. 1857 – The 7.9 Mw  Fort Tejon earthquake shakes Central and Southern California with a maximum Mercalli intensity of IX (Violent). 1858 – British forces finally defeat Rajab Ali Khan of Chittagong. 1861 – American Civil War: "Star of the West" incident occurs near Charleston, South Carolina. 1861 – Mississippi becomes the second state to secede from the Union before the outbreak of the American Civil War. 1878 – Umberto I becomes King of Italy. 1903 – Hallam Tennyson, 2nd Baron Tennyson, son of the poet Alfred Tennyson, becomes the second Governor-General of Australia. 1909 – Ernest Shackleton, leading the Nimrod Expedition to the South Pole, plants the British flag 97 nautical miles (180 km; 112 mi) from the South Pole, the farthest anyone had ever reached at that time. 1914 – The Phi Beta Sigma fraternity is founded by African-American students at Howard University in Washington D.C., United States. 1916 – World War I: The Battle of Gallipoli concludes with an Ottoman Empire victory when the last Allied forces are evacuated from the peninsula. 1917 – World War I: The Battle of Rafa is fought near the Egyptian border with Palestine. 1918 – Battle of Bear Valley: The last battle of the American Indian Wars. 1920 – Ukrainian War of Independence: The All-Ukrainian Central Executive Committee outlaws the Makhnovshchina by decree, igniting the Bolshevik–Makhnovist conflict. 1921 – Greco-Turkish War: The First Battle of İnönü, the first battle of the war, begins near Eskişehir in Anatolia. 1923 – Juan de la Cierva makes the first autogyro flight. 1923 – Lithuanian residents of the Memel Territory rebel against the League of Nations' decision to leave the area as a mandated region under French control. 1927 – A fire at the Laurier Palace movie theatre in Montreal, Quebec, Canada, kills 78 children.

[obtener2]

"Dolley [Madison] served as first lady from 1809 to 1817. The wife of the U.S.’s fourth president, James Madison, she is regularly lauded for her expert hospitality and bravery during the War of 1812. When the British burned the White House in 1814, Dolley saved a portrait of George Washington from falling into enemy hands, telling servants to break the frame and extract its contents to avoid letting the president’s likeness 'be mocked and desecrated.'”