Albumen silver print from glass negative with applied color
Image: 25 x 19.2 cm (9 13/16 x 7 9/16 in.)
Frame: 57.5 x 42.3 cm (22 5/8 x 16 5/8 in.)
Victoria and Albert Museum, London, transferred from the British Musuem
Not on view
In the nineteenth century, slow exposure times made photography under low-light conditions nearly impossible. To compensate, some photographers used color to transform daylight scenes into romantic nocturnes. In this clever day-for-night image, Salviati, a commercial photographer in Venice, applied a cerulean wash to a view of a winding canal, adding a painted moon in the sky above and sparkling reflections of gas lamps in the water below.
This photograph was transferred from the holdings of the British Museum to the Victoria Albert Museum in 2000.
Email from the V & A about the provenance of this object states: "this work is from a large transfer of 4990 objects from the British Museum. The transfer paperwork reads 'This transfer of photographs is part of the British Museum's plans to rationalise the collection and house objects at the V&A where greater expertise and national collections of particular media reside.' There is more detail but not relating to how the objects were acquired by the British Museum or any exhibition history I am afraid."
[See copy of email]
The Metropolitan Museum of Art. "Faking It: Manipulated Photography Before Photoshop," October 10, 2012–January 27, 2013.
Earl A. Powell III, National Gallery of Art, Washington D.C. "Faking It: Manipulated Photography Before Photoshop," February 17, 2013–May 5, 2013.
Gary Tinterow, Museum of Fine Arts, Houston. "Faking It: Manipulated Photography Before Photoshop," June 2, 2013–August 25, 2013.
Fineman, Mia. Faking It: Manipulated Photography Before Photoshop. New York: The Metropolitan Museum of Art, 2012. no. 46, pp. 71, 218.