Album, Title: "Out of the Way Places of Long Island July 1892", 25 prints, 1892. Number .8 "Mother Nature's Game", Landscapes, village scenes, captioned in ink by Eickemeyer. Prints are numbered .114 - .26, with .19 titled "On the Lily Pond". Album - tan hard cover with marbelized pattern, tan trim at spine and corners. Album 15 1/4" x 18", Prints 9 1/4" x 7 1/4".
Rudolf Eickemeyer Jr. (1862-1932) started taking photographs in 1884 while working at his father's engineering firm. In 1889, he joined the local camera club in Yonkers, New York, and began contributing articles on photographic chemistry, lighting and technique to journals like the Photographic Times. He turned professional in 1896, relying on commercial work for financial support while continuing to develop his skills as an art photographer. Eickemeyer gained critical acclaim in America and Europe for his landscape and portrait photography.
Eickemeyer 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.
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