Photography

Leica 35mm Camera

The millions of photographs in the Museum's collections compose a vast mosaic of the nation's history. Photographs accompany most artifact collections. Thousands of images document engineering projects, for example, and more record the steel, petroleum, and railroad industries.

Some 150,000 images capture the history, art, and science of photography. Nineteenth-century photography, from its initial development by W. H. F. Talbot and Louis Daguerre, is especially well represented and includes cased images, paper photographs, and apparatus. Glass stereographs and news-service negatives by the Underwood & Underwood firm document life in America between the 1890s and the 1930s. The history of amateur photography and photojournalism are preserved here, along with the work of 20th-century masters such as Richard Avedon and Edward Weston. Thousands of cameras and other equipment represent the technical and business side of the field.

Resource Type: Documents

To a Venetian Bottle

Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium.
Description
Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium. In his lectures, he pointed out that this approach to photography was important because in the hands of a photographer who “lives and understands the infinitely varied moods of nature, photography can be made to express and interpret them.” In correspondence with Dr. Olmstead at the Smithsonian, as the presentation of his gifts and bequest to the museum was being arranged, Eickemeyer wrote: “The collection illustrates the use of every important process and will, I believe, be of real educational value.”
The first of the Eickemeyer photographic collection came to the National Museum’s Department of Arts and Industries (the “Castle”), Division of Graphic Arts in 1922 at the close of a large exhibition of Eickemeyer’s work at the Anderson Gallery in New York. It was a gift from the photographer of five framed prints from the New York show that he considered representative of his work.
In 1929, Eickemeyer gave the Smithsonian 83 framed prints (including copies of the prints that he had previously given the museum), 15 portfolios, his medals and awards, and several miscellaneous photographic paraphernalia. In 1930, he made a will bequeathing most of his remaining prints, negatives, photographic equipment and other objects relating to his 30-year career as a photographer to the Smithsonian Institution.
Upon Eickemeyer’s death in 1932, an accession consisting primarily of photographic equipment from his studio came to the Smithsonian. Included in the bequest were 2 cameras, several lenses, scales, timers, printing frames, plate holders, dry mounters and a lecture case with slide projector and hand-colored lantern slides. Also included were 43 albums, journals and portfolios and assorted negatives and contact prints, many marked “discards.” There are 58 albums, notebooks and portfolios in the collection. Eickemeyer requested in his will that his gifts and bequests be called The Rudolf Eickemeyer, Jr. Collection.
Location
Currently not on view
date made
1923
maker
Eickemeyer, Jr., Rudolf
ID Number
PG.004135.B036.04
catalog number
4135.B36.4
accession number
128483

In Sore Distress I Helpless Lie

Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium.
Description
Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium. In his lectures, he pointed out that this approach to photography was important because in the hands of a photographer who “lives and understands the infinitely varied moods of nature, photography can be made to express and interpret them.” In correspondence with Dr. Olmstead at the Smithsonian, as the presentation of his gifts and bequest to the museum was being arranged, Eickemeyer wrote: “The collection illustrates the use of every important process and will, I believe, be of real educational value.”
The first of the Eickemeyer photographic collection came to the National Museum’s Department of Arts and Industries (the “Castle”), Division of Graphic Arts in 1922 at the close of a large exhibition of Eickemeyer’s work at the Anderson Gallery in New York. It was a gift from the photographer of five framed prints from the New York show that he considered representative of his work.
In 1929, Eickemeyer gave the Smithsonian 83 framed prints (including copies of the prints that he had previously given the museum), 15 portfolios, his medals and awards, and several miscellaneous photographic paraphernalia. In 1930, he made a will bequeathing most of his remaining prints, negatives, photographic equipment and other objects relating to his 30-year career as a photographer to the Smithsonian Institution.
Upon Eickemeyer’s death in 1932, an accession consisting primarily of photographic equipment from his studio came to the Smithsonian. Included in the bequest were 2 cameras, several lenses, scales, timers, printing frames, plate holders, dry mounters and a lecture case with slide projector and hand-colored lantern slides. Also included were 43 albums, journals and portfolios and assorted negatives and contact prints, many marked “discards.” There are 58 albums, notebooks and portfolios in the collection. Eickemeyer requested in his will that his gifts and bequests be called The Rudolf Eickemeyer, Jr. Collection.
Location
Currently not on view
date made
1923
maker
Eickemeyer, Jr., Rudolf
ID Number
PG.004135.B025.09
accession number
128483
catalog number
4135.B25.9

Invoice

Currently not on view
Location
Currently not on view
date made
ca 1868
ID Number
PG.67.79.19
accession number
268947
catalog number
67.79.19

Rocky Mountain Poem

Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium.
Description
Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium. In his lectures, he pointed out that this approach to photography was important because in the hands of a photographer who “lives and understands the infinitely varied moods of nature, photography can be made to express and interpret them.” In correspondence with Dr. Olmstead at the Smithsonian, as the presentation of his gifts and bequest to the museum was being arranged, Eickemeyer wrote: “The collection illustrates the use of every important process and will, I believe, be of real educational value.”
The first of the Eickemeyer photographic collection came to the National Museum’s Department of Arts and Industries (the “Castle”), Division of Graphic Arts in 1922 at the close of a large exhibition of Eickemeyer’s work at the Anderson Gallery in New York. It was a gift from the photographer of five framed prints from the New York show that he considered representative of his work.
In 1929, Eickemeyer gave the Smithsonian 83 framed prints (including copies of the prints that he had previously given the museum), 15 portfolios, his medals and awards, and several miscellaneous photographic paraphernalia. In 1930, he made a will bequeathing most of his remaining prints, negatives, photographic equipment and other objects relating to his 30-year career as a photographer to the Smithsonian Institution.
Upon Eickemeyer’s death in 1932, an accession consisting primarily of photographic equipment from his studio came to the Smithsonian. Included in the bequest were 2 cameras, several lenses, scales, timers, printing frames, plate holders, dry mounters and a lecture case with slide projector and hand-colored lantern slides. Also included were 43 albums, journals and portfolios and assorted negatives and contact prints, many marked “discards.” There are 58 albums, notebooks and portfolios in the collection. Eickemeyer requested in his will that his gifts and bequests be called The Rudolf Eickemeyer, Jr. Collection.
Location
Currently not on view
date made
1919
maker
Eickemeyer, Jr., Rudolf
ID Number
PG.004135.B029.02
catalog number
4135.B29.2
accession number
128483

To a Venetian Bottle

Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium.
Description
Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium. In his lectures, he pointed out that this approach to photography was important because in the hands of a photographer who “lives and understands the infinitely varied moods of nature, photography can be made to express and interpret them.” In correspondence with Dr. Olmstead at the Smithsonian, as the presentation of his gifts and bequest to the museum was being arranged, Eickemeyer wrote: “The collection illustrates the use of every important process and will, I believe, be of real educational value.”
The first of the Eickemeyer photographic collection came to the National Museum’s Department of Arts and Industries (the “Castle”), Division of Graphic Arts in 1922 at the close of a large exhibition of Eickemeyer’s work at the Anderson Gallery in New York. It was a gift from the photographer of five framed prints from the New York show that he considered representative of his work.
In 1929, Eickemeyer gave the Smithsonian 83 framed prints (including copies of the prints that he had previously given the museum), 15 portfolios, his medals and awards, and several miscellaneous photographic paraphernalia. In 1930, he made a will bequeathing most of his remaining prints, negatives, photographic equipment and other objects relating to his 30-year career as a photographer to the Smithsonian Institution.
Upon Eickemeyer’s death in 1932, an accession consisting primarily of photographic equipment from his studio came to the Smithsonian. Included in the bequest were 2 cameras, several lenses, scales, timers, printing frames, plate holders, dry mounters and a lecture case with slide projector and hand-colored lantern slides. Also included were 43 albums, journals and portfolios and assorted negatives and contact prints, many marked “discards.” There are 58 albums, notebooks and portfolios in the collection. Eickemeyer requested in his will that his gifts and bequests be called The Rudolf Eickemeyer, Jr. Collection.
Location
Currently not on view
date made
1923
maker
Eickemeyer, Jr., Rudolf
ID Number
PG.004135.B036.03
catalog number
4135.B36.3
accession number
128483

Ministry of Agriculture Membership Certificate

A document from The Agricultural Commitie in Paris ca. 1844 commesurating Friedrich von Martens. The title is "Brevet d'Invention." It opens like a booklet, but it is blank on the back.
Description (Brief)
A document from The Agricultural Commitie in Paris ca. 1844 commesurating Friedrich von Martens. The title is "Brevet d'Invention." It opens like a booklet, but it is blank on the back. Stamped on the interior with a blue stamp.
Description
The Friederich von Martens collection in the Photographic History Collection is composed of thirty-eight albumen photographs. Included in the collection is a set of mechanical drawings, patent information and personal correspondence related to von Martens’s panoramic camera and photographs. Many of the photographs in this collection are of Paris in the mid-1800s. There are also photographs of drawings and paintings.
Frédéric Vincent Martens Schuller (Frédéric Martens) or Friedrich von Martens was born in Venice, Italy on December 16, 1806, but spent most of his life living and working in the Paris, France. Martens was the son of a German diplomat, however not much is known about his life before he left Italy. In Europe, Martens was a prominent and respected photographer, even considered as one of the pioneers of the domain. He photographed both seascapes and city scenes in Paris. His work was exhibited in Paris at the Salon (the official art exhibition of the Académie des Beaux-Arts) from 1834 to 1848. In 1845, Martens invented the first successful and technically effective panoramic camera, called the Megaskop-Kamera. The camera featured a swing lens and operated by a handle and gears. The first model used 4.7" x 15" curved daguerreotype plates that had a 150-degree arc. A later model used wet plate curved glass emulsions. The curved plate design made development of the plates difficult, however von Martens managed to produce many high-quality panoramas. In 1851, he exhibited several albumen prints of architectural views at the 1851 Great Exhibition in London, for which he was awarded the Council Medal. Also on view was his panorama of Mont Blanc created with 14 talbotypes. It was reshown at the Exposition Universelle in Paris in 1855, where he was decorated with the National Order of the Legion of Honor. After this event, we don’t have any information about his life or work. Martens died on January 12, 1885, in his appartement in the 6th arrondissement of Paris (at 84 rue Bonaparte).
Location
Currently not on view
date made
ca 1844
maker
von Martens, Friedrich
ID Number
PG.72.76.35
accession number
302033
catalog number
72.76.35

Ministry of Agriculture Membership Certificate

An envelope addressed to Friedrich Martens. The letter was sent to Martens in Paris during the time between 1844 and 1856.
Description (Brief)
An envelope addressed to Friedrich Martens. The letter was sent to Martens in Paris during the time between 1844 and 1856. There is a red wax seal on the back of the envelope.
Description
The Friederich von Martens collection in the Photographic History Collection is composed of thirty-eight albumen photographs. Included in the collection is a set of mechanical drawings, patent information and personal correspondence related to von Martens’s panoramic camera and photographs. Many of the photographs in this collection are of Paris in the mid-1800s. There are also photographs of drawings and paintings.
Frédéric Vincent Martens Schuller (Frédéric Martens) or Friedrich von Martens was born in Venice, Italy on December 16, 1806, but spent most of his life living and working in the Paris, France. Martens was the son of a German diplomat, however not much is known about his life before he left Italy. In Europe, Martens was a prominent and respected photographer, even considered as one of the pioneers of the domain. He photographed both seascapes and city scenes in Paris. His work was exhibited in Paris at the Salon (the official art exhibition of the Académie des Beaux-Arts) from 1834 to 1848. In 1845, Martens invented the first successful and technically effective panoramic camera, called the Megaskop-Kamera. The camera featured a swing lens and operated by a handle and gears. The first model used 4.7" x 15" curved daguerreotype plates that had a 150-degree arc. A later model used wet plate curved glass emulsions. The curved plate design made development of the plates difficult, however von Martens managed to produce many high-quality panoramas. In 1851, he exhibited several albumen prints of architectural views at the 1851 Great Exhibition in London, for which he was awarded the Council Medal. Also on view was his panorama of Mont Blanc created with 14 talbotypes. It was reshown at the Exposition Universelle in Paris in 1855, where he was decorated with the National Order of the Legion of Honor. After this event, we don’t have any information about his life or work. Martens died on January 12, 1885, in his appartement in the 6th arrondissement of Paris (at 84 rue Bonaparte).
Location
Currently not on view
date made
ca 1844-1856
maker
von Martens, Friedrich
ID Number
PG.72.76.38
accession number
302033
catalog number
72.76.38

Toby and his master

Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium.
Description
Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium. In his lectures, he pointed out that this approach to photography was important because in the hands of a photographer who “lives and understands the infinitely varied moods of nature, photography can be made to express and interpret them.” In correspondence with Dr. Olmstead at the Smithsonian, as the presentation of his gifts and bequest to the museum was being arranged, Eickemeyer wrote: “The collection illustrates the use of every important process and will, I believe, be of real educational value.”
The first of the Eickemeyer photographic collection came to the National Museum’s Department of Arts and Industries (the “Castle”), Division of Graphic Arts in 1922 at the close of a large exhibition of Eickemeyer’s work at the Anderson Gallery in New York. It was a gift from the photographer of five framed prints from the New York show that he considered representative of his work.
In 1929, Eickemeyer gave the Smithsonian 83 framed prints (including copies of the prints that he had previously given the museum), 15 portfolios, his medals and awards, and several miscellaneous photographic paraphernalia. In 1930, he made a will bequeathing most of his remaining prints, negatives, photographic equipment and other objects relating to his 30-year career as a photographer to the Smithsonian Institution.
Upon Eickemeyer’s death in 1932, an accession consisting primarily of photographic equipment from his studio came to the Smithsonian. Included in the bequest were 2 cameras, several lenses, scales, timers, printing frames, plate holders, dry mounters and a lecture case with slide projector and hand-colored lantern slides. Also included were 43 albums, journals and portfolios and assorted negatives and contact prints, many marked “discards.” There are 58 albums, notebooks and portfolios in the collection. Eickemeyer requested in his will that his gifts and bequests be called The Rudolf Eickemeyer, Jr. Collection.
Location
Currently not on view
date made
1927
maker
Eickemeyer, Jr., Rudolf
ID Number
PG.004135.B024.19
catalog number
4135.B24.19
accession number
128483

Eadweard Muybridge Yosemite Photographs 1872

Currently not on view
Location
Currently not on view
date made
1977
maker
Chicago Albumen Works
ID Number
PG.78.03.i
accession number
1978.1031
catalog number
78.3.i

Acadamy of Science Membership Certificate

An Acadamy of Science Membership Certificate sent to Friedrich Martens in December of 1856. The title is "Institut Imperial De France, Academie des Science." In the top center of the drawing there is a profile of a person wearing a helmut.
Description (Brief)
An Acadamy of Science Membership Certificate sent to Friedrich Martens in December of 1856. The title is "Institut Imperial De France, Academie des Science." In the top center of the drawing there is a profile of a person wearing a helmut. The back is addressed, as the document was folded to be it's own envelope.
Location
Currently not on view
Date made
1856-12-16
maker
Martens, Friedrich
von Martens, Friedrich
ID Number
PG.72.76.33
catalog number
72.76.33
accession number
302033

Dedicated to Florence and Toby

Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium.
Description
Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium. In his lectures, he pointed out that this approach to photography was important because in the hands of a photographer who “lives and understands the infinitely varied moods of nature, photography can be made to express and interpret them.” In correspondence with Dr. Olmstead at the Smithsonian, as the presentation of his gifts and bequest to the museum was being arranged, Eickemeyer wrote: “The collection illustrates the use of every important process and will, I believe, be of real educational value.”
The first of the Eickemeyer photographic collection came to the National Museum’s Department of Arts and Industries (the “Castle”), Division of Graphic Arts in 1922 at the close of a large exhibition of Eickemeyer’s work at the Anderson Gallery in New York. It was a gift from the photographer of five framed prints from the New York show that he considered representative of his work.
In 1929, Eickemeyer gave the Smithsonian 83 framed prints (including copies of the prints that he had previously given the museum), 15 portfolios, his medals and awards, and several miscellaneous photographic paraphernalia. In 1930, he made a will bequeathing most of his remaining prints, negatives, photographic equipment and other objects relating to his 30-year career as a photographer to the Smithsonian Institution.
Upon Eickemeyer’s death in 1932, an accession consisting primarily of photographic equipment from his studio came to the Smithsonian. Included in the bequest were 2 cameras, several lenses, scales, timers, printing frames, plate holders, dry mounters and a lecture case with slide projector and hand-colored lantern slides. Also included were 43 albums, journals and portfolios and assorted negatives and contact prints, many marked “discards.” There are 58 albums, notebooks and portfolios in the collection. Eickemeyer requested in his will that his gifts and bequests be called The Rudolf Eickemeyer, Jr. Collection.
Location
Currently not on view
date made
1923
maker
Eickemeyer, Jr., Rudolf
ID Number
PG.004135.B025.01
accession number
128483
catalog number
4135.B25.1

Traveling Toby

Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium.
Description
Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium. In his lectures, he pointed out that this approach to photography was important because in the hands of a photographer who “lives and understands the infinitely varied moods of nature, photography can be made to express and interpret them.” In correspondence with Dr. Olmstead at the Smithsonian, as the presentation of his gifts and bequest to the museum was being arranged, Eickemeyer wrote: “The collection illustrates the use of every important process and will, I believe, be of real educational value.”
The first of the Eickemeyer photographic collection came to the National Museum’s Department of Arts and Industries (the “Castle”), Division of Graphic Arts in 1922 at the close of a large exhibition of Eickemeyer’s work at the Anderson Gallery in New York. It was a gift from the photographer of five framed prints from the New York show that he considered representative of his work.
In 1929, Eickemeyer gave the Smithsonian 83 framed prints (including copies of the prints that he had previously given the museum), 15 portfolios, his medals and awards, and several miscellaneous photographic paraphernalia. In 1930, he made a will bequeathing most of his remaining prints, negatives, photographic equipment and other objects relating to his 30-year career as a photographer to the Smithsonian Institution.
Upon Eickemeyer’s death in 1932, an accession consisting primarily of photographic equipment from his studio came to the Smithsonian. Included in the bequest were 2 cameras, several lenses, scales, timers, printing frames, plate holders, dry mounters and a lecture case with slide projector and hand-colored lantern slides. Also included were 43 albums, journals and portfolios and assorted negatives and contact prints, many marked “discards.” There are 58 albums, notebooks and portfolios in the collection. Eickemeyer requested in his will that his gifts and bequests be called The Rudolf Eickemeyer, Jr. Collection.
Location
Currently not on view
date made
1927
maker
Eickemeyer, Jr., Rudolf
ID Number
PG.004135.B024.41
catalog number
4135.B24.41
accession number
128483

Muybridge and the Yosemite Valley

Currently not on view
Location
Currently not on view
date made
1977
maker
Chicago Albumen Works
ID Number
PG.78.03.ii
accession number
1978.1031
catalog number
78.3.ii

Avedon Quote

Currently not on view
Location
Currently not on view
maker
Avedon, Richard
ID Number
PG.006958
catalog number
6958
accession number
246041

Letter

A Friedrich von Martens mechanical drawing of his Megaskop Panoramic Camera ca 1854. It is stamped with the "Bureau Des Maufactures; Brevets D'invention" seal. It is signed by Martens in the lower right corner.
Description (Brief)
A Friedrich von Martens mechanical drawing of his Megaskop Panoramic Camera ca 1854. It is stamped with the "Bureau Des Maufactures; Brevets D'invention" seal. It is signed by Martens in the lower right corner. It is also signed by 'Ler maitre des Requetes Directeur-Alenaz.'
Description
The Friederich von Martens collection in the Photographic History Collection is composed of thirty-eight albumen photographs. Included in the collection is a set of mechanical drawings, patent information and personal correspondence related to von Martens’s panoramic camera and photographs. Many of the photographs in this collection are of Paris in the mid-1800s. There are also photographs of drawings and paintings.
Frédéric Vincent Martens Schuller (Frédéric Martens) or Friedrich von Martens was born in Venice, Italy on December 16, 1806, but spent most of his life living and working in the Paris, France. Martens was the son of a German diplomat, however not much is known about his life before he left Italy. In Europe, Martens was a prominent and respected photographer, even considered as one of the pioneers of the domain. He photographed both seascapes and city scenes in Paris. His work was exhibited in Paris at the Salon (the official art exhibition of the Académie des Beaux-Arts) from 1834 to 1848. In 1845, Martens invented the first successful and technically effective panoramic camera, called the Megaskop-Kamera. The camera featured a swing lens and operated by a handle and gears. The first model used 4.7" x 15" curved daguerreotype plates that had a 150-degree arc. A later model used wet plate curved glass emulsions. The curved plate design made development of the plates difficult, however von Martens managed to produce many high-quality panoramas. In 1851, he exhibited several albumen prints of architectural views at the 1851 Great Exhibition in London, for which he was awarded the Council Medal. Also on view was his panorama of Mont Blanc created with 14 talbotypes. It was reshown at the Exposition Universelle in Paris in 1855, where he was decorated with the National Order of the Legion of Honor. After this event, we don’t have any information about his life or work. Martens died on January 12, 1885, in his appartement in the 6th arrondissement of Paris (at 84 rue Bonaparte).
Location
Currently not on view
date made
ca 1844-1856
maker
von Martens, Friedrich
ID Number
PG.72.76.30
accession number
302033
catalog number
72.76.30

Bringing Toby Home

Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium.
Description
Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium. In his lectures, he pointed out that this approach to photography was important because in the hands of a photographer who “lives and understands the infinitely varied moods of nature, photography can be made to express and interpret them.” In correspondence with Dr. Olmstead at the Smithsonian, as the presentation of his gifts and bequest to the museum was being arranged, Eickemeyer wrote: “The collection illustrates the use of every important process and will, I believe, be of real educational value.”
The first of the Eickemeyer photographic collection came to the National Museum’s Department of Arts and Industries (the “Castle”), Division of Graphic Arts in 1922 at the close of a large exhibition of Eickemeyer’s work at the Anderson Gallery in New York. It was a gift from the photographer of five framed prints from the New York show that he considered representative of his work.
In 1929, Eickemeyer gave the Smithsonian 83 framed prints (including copies of the prints that he had previously given the museum), 15 portfolios, his medals and awards, and several miscellaneous photographic paraphernalia. In 1930, he made a will bequeathing most of his remaining prints, negatives, photographic equipment and other objects relating to his 30-year career as a photographer to the Smithsonian Institution.
Upon Eickemeyer’s death in 1932, an accession consisting primarily of photographic equipment from his studio came to the Smithsonian. Included in the bequest were 2 cameras, several lenses, scales, timers, printing frames, plate holders, dry mounters and a lecture case with slide projector and hand-colored lantern slides. Also included were 43 albums, journals and portfolios and assorted negatives and contact prints, many marked “discards.” There are 58 albums, notebooks and portfolios in the collection. Eickemeyer requested in his will that his gifts and bequests be called The Rudolf Eickemeyer, Jr. Collection.
Location
Currently not on view
date made
1927
maker
Eickemeyer, Jr., Rudolf
ID Number
PG.004135.B024.08
catalog number
4135.B24.8
accession number
128483

The Transmission of Pictures

Currently not on view
Location
Currently not on view
ID Number
PG.003808.01
accession number
89921
catalog number
3808.01

von Marten's Camera Patent Document

A duplicate patent document for Friedrich von Marten's Megaskop Panoramic Camera ca. 1854. The document opens to become a booklet.
Description (Brief)
A duplicate patent document for Friedrich von Marten's Megaskop Panoramic Camera ca. 1854. The document opens to become a booklet. The top caption begins "Memoire descriptif...", the English translation is "Descriptive memoir..."
Description
The Friederich von Martens collection in the Photographic History Collection is composed of thirty-eight albumen photographs. Included in the collection is a set of mechanical drawings, patent information and personal correspondence related to von Martens’s panoramic camera and photographs. Many of the photographs in this collection are of Paris in the mid-1800s. There are also photographs of drawings and paintings.
Frédéric Vincent Martens Schuller (Frédéric Martens) or Friedrich von Martens was born in Venice, Italy on December 16, 1806, but spent most of his life living and working in the Paris, France. Martens was the son of a German diplomat, however not much is known about his life before he left Italy. In Europe, Martens was a prominent and respected photographer, even considered as one of the pioneers of the domain. He photographed both seascapes and city scenes in Paris. His work was exhibited in Paris at the Salon (the official art exhibition of the Académie des Beaux-Arts) from 1834 to 1848. In 1845, Martens invented the first successful and technically effective panoramic camera, called the Megaskop-Kamera. The camera featured a swing lens and operated by a handle and gears. The first model used 4.7" x 15" curved daguerreotype plates that had a 150-degree arc. A later model used wet plate curved glass emulsions. The curved plate design made development of the plates difficult, however von Martens managed to produce many high-quality panoramas. In 1851, he exhibited several albumen prints of architectural views at the 1851 Great Exhibition in London, for which he was awarded the Council Medal. Also on view was his panorama of Mont Blanc created with 14 talbotypes. It was reshown at the Exposition Universelle in Paris in 1855, where he was decorated with the National Order of the Legion of Honor. After this event, we don’t have any information about his life or work. Martens died on January 12, 1885, in his appartement in the 6th arrondissement of Paris (at 84 rue Bonaparte).
Location
Currently not on view
date made
ca 1844-1856
maker
von Martens, Friedrich
ID Number
PG.72.76.31
accession number
302033
catalog number
72.76.31

Toby's friends

Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium.
Description
Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium. In his lectures, he pointed out that this approach to photography was important because in the hands of a photographer who “lives and understands the infinitely varied moods of nature, photography can be made to express and interpret them.” In correspondence with Dr. Olmstead at the Smithsonian, as the presentation of his gifts and bequest to the museum was being arranged, Eickemeyer wrote: “The collection illustrates the use of every important process and will, I believe, be of real educational value.”
The first of the Eickemeyer photographic collection came to the National Museum’s Department of Arts and Industries (the “Castle”), Division of Graphic Arts in 1922 at the close of a large exhibition of Eickemeyer’s work at the Anderson Gallery in New York. It was a gift from the photographer of five framed prints from the New York show that he considered representative of his work.
In 1929, Eickemeyer gave the Smithsonian 83 framed prints (including copies of the prints that he had previously given the museum), 15 portfolios, his medals and awards, and several miscellaneous photographic paraphernalia. In 1930, he made a will bequeathing most of his remaining prints, negatives, photographic equipment and other objects relating to his 30-year career as a photographer to the Smithsonian Institution.
Upon Eickemeyer’s death in 1932, an accession consisting primarily of photographic equipment from his studio came to the Smithsonian. Included in the bequest were 2 cameras, several lenses, scales, timers, printing frames, plate holders, dry mounters and a lecture case with slide projector and hand-colored lantern slides. Also included were 43 albums, journals and portfolios and assorted negatives and contact prints, many marked “discards.” There are 58 albums, notebooks and portfolios in the collection. Eickemeyer requested in his will that his gifts and bequests be called The Rudolf Eickemeyer, Jr. Collection.
Location
Currently not on view
date made
1927
maker
Eickemeyer, Jr., Rudolf
ID Number
PG.004135.B024.24
catalog number
4135.B24.24
accession number
128483

My First Photograph

Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium.
Description
Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium. In his lectures, he pointed out that this approach to photography was important because in the hands of a photographer who “lives and understands the infinitely varied moods of nature, photography can be made to express and interpret them.” In correspondence with Dr. Olmstead at the Smithsonian, as the presentation of his gifts and bequest to the museum was being arranged, Eickemeyer wrote: “The collection illustrates the use of every important process and will, I believe, be of real educational value.”
The first of the Eickemeyer photographic collection came to the National Museum’s Department of Arts and Industries (the “Castle”), Division of Graphic Arts in 1922 at the close of a large exhibition of Eickemeyer’s work at the Anderson Gallery in New York. It was a gift from the photographer of five framed prints from the New York show that he considered representative of his work.
In 1929, Eickemeyer gave the Smithsonian 83 framed prints (including copies of the prints that he had previously given the museum), 15 portfolios, his medals and awards, and several miscellaneous photographic paraphernalia. In 1930, he made a will bequeathing most of his remaining prints, negatives, photographic equipment and other objects relating to his 30-year career as a photographer to the Smithsonian Institution.
Upon Eickemeyer’s death in 1932, an accession consisting primarily of photographic equipment from his studio came to the Smithsonian. Included in the bequest were 2 cameras, several lenses, scales, timers, printing frames, plate holders, dry mounters and a lecture case with slide projector and hand-colored lantern slides. Also included were 43 albums, journals and portfolios and assorted negatives and contact prints, many marked “discards.” There are 58 albums, notebooks and portfolios in the collection. Eickemeyer requested in his will that his gifts and bequests be called The Rudolf Eickemeyer, Jr. Collection.
Location
Currently not on view
date made
1921
ID Number
PG.004135.B043.01
catalog number
4135.B43.1
accession number
128483
106456

Art Directors Club of Cleveland, Honorable Mention

Currently not on view
Location
Currently not on view
date made
1949
ID Number
PG.006264.B
accession number
238737
catalog number
6264B

explanation statement of exograph from St. John x-ray penetrameter

Currently not on view
Location
Currently not on view
ID Number
1986.3074.0001
nonaccession number
1986.3074
catalog number
1986.3074.0001

Story of getting Toby

Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium.
Description
Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium. In his lectures, he pointed out that this approach to photography was important because in the hands of a photographer who “lives and understands the infinitely varied moods of nature, photography can be made to express and interpret them.” In correspondence with Dr. Olmstead at the Smithsonian, as the presentation of his gifts and bequest to the museum was being arranged, Eickemeyer wrote: “The collection illustrates the use of every important process and will, I believe, be of real educational value.”
The first of the Eickemeyer photographic collection came to the National Museum’s Department of Arts and Industries (the “Castle”), Division of Graphic Arts in 1922 at the close of a large exhibition of Eickemeyer’s work at the Anderson Gallery in New York. It was a gift from the photographer of five framed prints from the New York show that he considered representative of his work.
In 1929, Eickemeyer gave the Smithsonian 83 framed prints (including copies of the prints that he had previously given the museum), 15 portfolios, his medals and awards, and several miscellaneous photographic paraphernalia. In 1930, he made a will bequeathing most of his remaining prints, negatives, photographic equipment and other objects relating to his 30-year career as a photographer to the Smithsonian Institution.
Upon Eickemeyer’s death in 1932, an accession consisting primarily of photographic equipment from his studio came to the Smithsonian. Included in the bequest were 2 cameras, several lenses, scales, timers, printing frames, plate holders, dry mounters and a lecture case with slide projector and hand-colored lantern slides. Also included were 43 albums, journals and portfolios and assorted negatives and contact prints, many marked “discards.” There are 58 albums, notebooks and portfolios in the collection. Eickemeyer requested in his will that his gifts and bequests be called The Rudolf Eickemeyer, Jr. Collection.
Location
Currently not on view
date made
1927
maker
Eickemeyer, Jr., Rudolf
ID Number
PG.004135.B024.05
catalog number
4135.B24.5
accession number
128483

Toby the champion

Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium.
Description
Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium. In his lectures, he pointed out that this approach to photography was important because in the hands of a photographer who “lives and understands the infinitely varied moods of nature, photography can be made to express and interpret them.” In correspondence with Dr. Olmstead at the Smithsonian, as the presentation of his gifts and bequest to the museum was being arranged, Eickemeyer wrote: “The collection illustrates the use of every important process and will, I believe, be of real educational value.”
The first of the Eickemeyer photographic collection came to the National Museum’s Department of Arts and Industries (the “Castle”), Division of Graphic Arts in 1922 at the close of a large exhibition of Eickemeyer’s work at the Anderson Gallery in New York. It was a gift from the photographer of five framed prints from the New York show that he considered representative of his work.
In 1929, Eickemeyer gave the Smithsonian 83 framed prints (including copies of the prints that he had previously given the museum), 15 portfolios, his medals and awards, and several miscellaneous photographic paraphernalia. In 1930, he made a will bequeathing most of his remaining prints, negatives, photographic equipment and other objects relating to his 30-year career as a photographer to the Smithsonian Institution.
Upon Eickemeyer’s death in 1932, an accession consisting primarily of photographic equipment from his studio came to the Smithsonian. Included in the bequest were 2 cameras, several lenses, scales, timers, printing frames, plate holders, dry mounters and a lecture case with slide projector and hand-colored lantern slides. Also included were 43 albums, journals and portfolios and assorted negatives and contact prints, many marked “discards.” There are 58 albums, notebooks and portfolios in the collection. Eickemeyer requested in his will that his gifts and bequests be called The Rudolf Eickemeyer, Jr. Collection.
Location
Currently not on view
date made
1927
maker
Eickemeyer, Jr., Rudolf
ID Number
PG.004135.B024.31
catalog number
4135.B24.31
accession number
128483

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