Art/ Collection/ Collection/ Art Object

[The Oriel Window, South Gallery, Lacock Abbey]

Artist:
William Henry Fox Talbot (British, Dorset 1800–1877 Lacock)
Date:
probably 1835
Medium:
Photogenic drawing negative
Dimensions:
Sheet: 8.5 × 11.6 cm (3 3/8 × 4 9/16 in.), irregularly trimmed
Classification:
Negatives
Credit Line:
The Rubel Collection, Purchase, Ann Tenenbaum and Thomas H. Lee and Anonymous Gifts, 1997
Accession Number:
1997.382.1
Not on view
This mysterious view through the diamond-paned oriel window of Talbot's home is one of the earliest photographs in existence—a remarkable relic of the inventor's earliest attempts to make pictures solely through the action of light and chemicals. He brushed a piece of writing paper with salt and silver nitrate and placed it in a small wooden camera stationed on a mantel opposite the window for an exposure that may have lasted hours. The image is tonally reversed—a negative, though the term did not yet exist—as the paper darkened most where it recorded the bright light of the windows.
Inscription: No inscriptions or annotations.
Lacock Abbey; Mathilde Talbot; Harold White, Filby, Norfolk, England; [Sean Thackrey, San Francisco]; Rubel Collection; [Hans P. Kraus, Jr. Fine Photography, New York]

The Metropolitan Museum of Art. "Inventing a New Art: Early Photographs from the Rubel Collection in the Metropolitan Museum of Art," June 1, 1999–September 19, 1999.

The Metropolitan Museum of Art. "Framing a Century: Master Photographers, 1840–1940," June 3, 2008–September 1, 2008.

Schaaf, Larry J. Sun Pictures, Catalogue Eight: The Rubel Collection. Sun Pictures. New York: Hans P. Kraus Jr. Fine Photographs, 1997. p. 11.

Daniel, Malcolm. The Metropolitan Museum of Art Bulletin: Inventing a New Art: Early Photographs from the Rubel Collection in The Metropolitan Museum of Art 56, no. 4 (Spring 1999). p. 6.

Batchen, Geoffrey. William Henry Fox Talbot. New York: Phaidon Press, 2008. no. 3.

Rexer, Lyle. The Edge of Vision: The Rise of Abstraction in Photography. New York: Aperture, 2009.



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