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Mid 1860s Stock Photos and Images
A man in the mid-1860s Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/a-man-in-the-mid-1860s-image261306010.htmlRMW53EDE–A man in the mid-1860s
Art inspired by Nightgown, mid-1860s, American or European, cotton, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/art-inspired-by-nightgown-mid-1860s-american-or-european-cotton-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image462772557.htmlRF2HTW339–Art inspired by Nightgown, mid-1860s, American or European, cotton, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
Nightgown, mid-1860s, American or European, cotton Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-image-nightgown-mid-1860s-american-or-european-cotton-162385666.htmlRMKC58G2–Nightgown, mid-1860s, American or European, cotton
N/A. English: Grand Duchess Alexandra Iosifovna and husband Grand Duke Konstantin Nikolayevich of Russia . Early to mid 1860s. Unknown - photo dates to mid 1860s 82 Alexandra Iosifovna and husband Konstantin Nikolayevich Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/na-english-grand-duchess-alexandra-iosifovna-and-husband-grand-duke-konstantin-nikolayevich-of-russia-early-to-mid-1860s-unknown-photo-dates-to-mid-1860s-82-alexandra-iosifovna-and-husband-konstantin-nikolayevich-image210024014.htmlRMP5KBNJ–N/A. English: Grand Duchess Alexandra Iosifovna and husband Grand Duke Konstantin Nikolayevich of Russia . Early to mid 1860s. Unknown - photo dates to mid 1860s 82 Alexandra Iosifovna and husband Konstantin Nikolayevich
Visiting cape, American or European, mid-1860s, American or European, wool, silk, cotton Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/visiting-cape-american-or-european-mid-1860s-american-or-european-wool-silk-cotton-image344594672.htmlRM2B0HJ0G–Visiting cape, American or European, mid-1860s, American or European, wool, silk, cotton
Honfleur. Artist: Johan Barthold Jongkind (Dutch, Latrop 1819-1891 La-Côte-Saint-André). Dimensions: 20 1/2 x 32 1/8 in. (52.1 x 81.6 cm). Date: 1865. This canvas was painted in August-September 1865, during Jongkind's third visit to Honfleur, a town on the Normandy coast, where Monet also worked in the early and mid-1860s. Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/honfleur-artist-johan-barthold-jongkind-dutch-latrop-1819-1891-la-cte-saint-andr-dimensions-20-12-x-32-18-in-521-x-816-cm-date-1865-this-canvas-was-painted-in-august-september-1865-during-jongkinds-third-visit-to-honfleur-a-town-on-the-normandy-coast-where-monet-also-worked-in-the-early-and-mid-1860s-museum-metropolitan-museum-of-art-new-york-usa-image213295291.htmlRMPB0C8Y–Honfleur. Artist: Johan Barthold Jongkind (Dutch, Latrop 1819-1891 La-Côte-Saint-André). Dimensions: 20 1/2 x 32 1/8 in. (52.1 x 81.6 cm). Date: 1865. This canvas was painted in August-September 1865, during Jongkind's third visit to Honfleur, a town on the Normandy coast, where Monet also worked in the early and mid-1860s. Museum: Metropolitan Museum of Art, New York, USA.
Daniel Huntington, (artist), American, 1816 - 1906, Saco, Looking Northwest, mid 1860s, graphite on wove paper, sheet: 25.6 × 35.2 cm (10 1/16 × 13 7/8 in Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/daniel-huntington-artist-american-1816-1906-saco-looking-northwest-mid-1860s-graphite-on-wove-paper-sheet-256-352-cm-10-116-13-78-in-image386349229.htmlRM2DCFMAN–Daniel Huntington, (artist), American, 1816 - 1906, Saco, Looking Northwest, mid 1860s, graphite on wove paper, sheet: 25.6 × 35.2 cm (10 1/16 × 13 7/8 in
Original early to mid 1860's Victorian Carte de Visite (visiting card or CDV) group of Victorian women outside in the garden, lovely old bench, the older woman is seated on a bench, smiling boy in background wearing a bowler hat. Do not look like family members, so maybe servants, housekeeper or mistress seated. U.K. circa 1865 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/original-early-to-mid-1860s-victorian-carte-de-visite-visiting-card-or-cdv-group-of-victorian-women-outside-in-the-garden-lovely-old-bench-the-older-woman-is-seated-on-a-bench-smiling-boy-in-background-wearing-a-bowler-hat-do-not-look-like-family-members-so-maybe-servants-housekeeper-or-mistress-seated-uk-circa-1865-image598007717.htmlRM2WMWGXD–Original early to mid 1860's Victorian Carte de Visite (visiting card or CDV) group of Victorian women outside in the garden, lovely old bench, the older woman is seated on a bench, smiling boy in background wearing a bowler hat. Do not look like family members, so maybe servants, housekeeper or mistress seated. U.K. circa 1865
RANSOMES PLOUGHS Three different models designed by the Ipswich company in the mid 1860s Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-photo-ransomes-ploughs-three-different-models-designed-by-the-ipswich-company-27031142.htmlRMBFYADX–RANSOMES PLOUGHS Three different models designed by the Ipswich company in the mid 1860s
Mary georgiana caroline lady filmer untitled loose page from the filmer album mid 1860s Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-photo-mary-georgiana-caroline-lady-filmer-untitled-loose-page-from-the-filmer-142888336.htmlRMJ8D3ET–Mary georgiana caroline lady filmer untitled loose page from the filmer album mid 1860s
Amalia queen of Greece with Elisabeth grand duchess of Oldenburg mid 1860s. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/amalia-queen-of-greece-with-elisabeth-grand-duchess-of-oldenburg-mid-1860s-image214493303.htmlRMPCY0B3–Amalia queen of Greece with Elisabeth grand duchess of Oldenburg mid 1860s.
Art inspired by The Environs of Paris, 1860s, Oil on wood, 13 1/2 x 20 1/4 in. (34.3 x 51.4 cm), Paintings, Camille Corot (French, Paris 1796–1875 Paris), Corot painted at least four versions of this composition. The other three seem to predate this work of the mid-1860s by about a, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/art-inspired-by-the-environs-of-paris-1860s-oil-on-wood-13-12-x-20-14-in-343-x-514-cm-paintings-camille-corot-french-paris-17961875-paris-corot-painted-at-least-four-versions-of-this-composition-the-other-three-seem-to-predate-this-work-of-the-mid-1860s-by-about-a-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image462814476.htmlRF2HTY0GC–Art inspired by The Environs of Paris, 1860s, Oil on wood, 13 1/2 x 20 1/4 in. (34.3 x 51.4 cm), Paintings, Camille Corot (French, Paris 1796–1875 Paris), Corot painted at least four versions of this composition. The other three seem to predate this work of the mid-1860s by about a, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
Untitled (French Military Heroes and Political Leaders), mid-1860s. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/untitled-french-military-heroes-and-political-leaders-mid-1860s-image330132613.htmlRM2A52RED–Untitled (French Military Heroes and Political Leaders), mid-1860s.
Vice-Admiral Robert FitzRoy (1805-1865) in a portrait from the early to mid 1860s. FitzRoy was an English officer of the Royal Navy, a scientist, meteorologist, hydrographer, and the 2nd Governor of New Zealand. He achieved lasting fame as the captain of HMS Beagle during Charles Darwin's famous voyage. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/vice-admiral-robert-fitzroy-1805-1865-in-a-portrait-from-the-early-to-mid-1860s-fitzroy-was-an-english-officer-of-the-royal-navy-a-scientist-meteorologist-hydrographer-and-the-2nd-governor-of-new-zealand-he-achieved-lasting-fame-as-the-captain-of-hms-beagle-during-charles-darwins-famous-voyage-image449771958.htmlRM2H3MTM6–Vice-Admiral Robert FitzRoy (1805-1865) in a portrait from the early to mid 1860s. FitzRoy was an English officer of the Royal Navy, a scientist, meteorologist, hydrographer, and the 2nd Governor of New Zealand. He achieved lasting fame as the captain of HMS Beagle during Charles Darwin's famous voyage.
Soldiers from an Indian native regiment mid 1860s Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/soldiers-from-an-indian-native-regiment-mid-1860s-image357969018.htmlRM2BPAW3P–Soldiers from an Indian native regiment mid 1860s
1960s, historical view from this era of Adelaide Crescent, Hove, West Sussex, Brighton, England, UK, a terrace of important architectural interest. On land owned by Sir Isaac Goldsmid, construction work started in 1830 to the design of Decimus Burton, one of the leading architects of the mid-19th century and was finished in the mid-1860s. It is considered to be - outside of the Royal Cresent in Bath - the foremost pre-victorian residental cresent in Britain and Grade II listed. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/1960s-historical-view-from-this-era-of-adelaide-crescent-hove-west-sussex-brighton-england-uk-a-terrace-of-important-architectural-interest-on-land-owned-by-sir-isaac-goldsmid-construction-work-started-in-1830-to-the-design-of-decimus-burton-one-of-the-leading-architects-of-the-mid-19th-century-and-was-finished-in-the-mid-1860s-it-is-considered-to-be-outside-of-the-royal-cresent-in-bath-the-foremost-pre-victorian-residental-cresent-in-britain-and-grade-ii-listed-image544728340.htmlRM2PJ6EFG–1960s, historical view from this era of Adelaide Crescent, Hove, West Sussex, Brighton, England, UK, a terrace of important architectural interest. On land owned by Sir Isaac Goldsmid, construction work started in 1830 to the design of Decimus Burton, one of the leading architects of the mid-19th century and was finished in the mid-1860s. It is considered to be - outside of the Royal Cresent in Bath - the foremost pre-victorian residental cresent in Britain and Grade II listed.
Lady Middleton as Juliet Medea; Ronald Ruthven Leslie-Melville, Scottish,1835 - 1906, England; mid-1860s; Albumen silver print Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/lady-middleton-as-juliet-medea-ronald-ruthven-leslie-melville-scottish1835-1906-england-mid-1860s-albumen-silver-print-image220665211.htmlRMPR04MB–Lady Middleton as Juliet Medea; Ronald Ruthven Leslie-Melville, Scottish,1835 - 1906, England; mid-1860s; Albumen silver print
Breaker boys working in Ewen Breaker Coal Mine, South Pittston, Pennsylvania, USA 1910. A breaker boy was a coal-mining worker in the United States and United Kingdom, whose job was to separate impurities from coal by hand in a coal breaker. breaker boys were primarily children. The use of breaker boys began in the mid-1860s and did not end until the 1920s. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/breaker-boys-working-in-ewen-breaker-coal-mine-south-pittston-pennsylvania-usa-1910-a-breaker-boy-was-a-coal-mining-worker-in-the-united-states-and-united-kingdom-whose-job-was-to-separate-impurities-from-coal-by-hand-in-a-coal-breaker-breaker-boys-were-primarily-children-the-use-of-breaker-boys-began-in-the-mid-1860s-and-did-not-end-until-the-1920s-image225013561.htmlRMR2272H–Breaker boys working in Ewen Breaker Coal Mine, South Pittston, Pennsylvania, USA 1910. A breaker boy was a coal-mining worker in the United States and United Kingdom, whose job was to separate impurities from coal by hand in a coal breaker. breaker boys were primarily children. The use of breaker boys began in the mid-1860s and did not end until the 1920s.
The Whitehead Torpedo. It was designed in the mid 1860's by Robert Whitehead. On board the British warship 'Thunderer', liutenant Wilson, director of torpedo construction in England, examined the new torpedo-fish constructed from thin sheets of hardened steel. Engraving depicting torpedo practice on board H.M.S Thunderer, preparing to launch a Whitehead Fish Torpedo, in Portland. La Ilustración Española y Americana, 1878 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/the-whitehead-torpedo-it-was-designed-in-the-mid-1860s-by-robert-whitehead-on-board-the-british-warship-thunderer-liutenant-wilson-director-of-torpedo-construction-in-england-examined-the-new-torpedo-fish-constructed-from-thin-sheets-of-hardened-steel-engraving-depicting-torpedo-practice-on-board-hms-thunderer-preparing-to-launch-a-whitehead-fish-torpedo-in-portland-la-ilustracin-espaola-y-americana-1878-image447936031.htmlRM2H0N6YB–The Whitehead Torpedo. It was designed in the mid 1860's by Robert Whitehead. On board the British warship 'Thunderer', liutenant Wilson, director of torpedo construction in England, examined the new torpedo-fish constructed from thin sheets of hardened steel. Engraving depicting torpedo practice on board H.M.S Thunderer, preparing to launch a Whitehead Fish Torpedo, in Portland. La Ilustración Española y Americana, 1878
James Buchanan in his later years. c. mid-1860s. Buchanan was the 15th prsident of the USA. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/james-buchanan-in-his-later-years-c-mid-1860s-buchanan-was-the-15th-prsident-of-the-usa-image480166548.htmlRM2JW5D98–James Buchanan in his later years. c. mid-1860s. Buchanan was the 15th prsident of the USA.
Railroad Tracks, Possibly Bartlett (American, active 1860s), United States, mid-19th century, Salted paper print, 20.8 × 26.6 cm (8 3/16 × 10 1/2 in Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/railroad-tracks-possibly-bartlett-american-active-1860s-united-states-mid-19th-century-salted-paper-print-208-266-cm-8-316-10-12-in-image261268190.htmlRMW51P6P–Railroad Tracks, Possibly Bartlett (American, active 1860s), United States, mid-19th century, Salted paper print, 20.8 × 26.6 cm (8 3/16 × 10 1/2 in
A Gust of Wind circa mid 1860s-early 1870s by Jean-Baptiste Camille Corot Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/a-gust-of-wind-circa-mid-1860s-early-1870s-by-jean-baptiste-camille-corot-image560338455.htmlRM2RFHHBK–A Gust of Wind circa mid 1860s-early 1870s by Jean-Baptiste Camille Corot
Alfred Stevens (Belgian, 1823-1906). 'News from Afar,' mid 1860s. oil on canvas. Walters Art Museum (37.183): Acquired by William T. Walters, before 1878. 37.183 1144 Alfred Stevens - News from Afar - Walters 37183 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/alfred-stevens-belgian-1823-1906-news-from-afar-mid-1860s-oil-on-canvas-walters-art-museum-37183-acquired-by-william-t-walters-before-1878-37183-1144-alfred-stevens-news-from-afar-walters-37183-image185594327.htmlRMMNXFCR–Alfred Stevens (Belgian, 1823-1906). 'News from Afar,' mid 1860s. oil on canvas. Walters Art Museum (37.183): Acquired by William T. Walters, before 1878. 37.183 1144 Alfred Stevens - News from Afar - Walters 37183
Saco, Looking Northwest; mid 1860s Daniel Huntington, Saco, Looking Northwest, mid 1860s Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/saco-looking-northwest-mid-1860s-daniel-huntington-saco-looking-northwest-mid-1860s-image335688805.htmlRM2AE3XDW–Saco, Looking Northwest; mid 1860s Daniel Huntington, Saco, Looking Northwest, mid 1860s
. Note: For documentary purposes the original description has been retained. Factual corrections and alternative descriptions are encouraged separately from the original description. Brosch av guld, 1860- tal. Nyckelord: Föremålsbild, Smycke, Brosch. Brosch . Svenska: Av guld med medalj. Rund. . mid 1860s. N/A 242 Brosch av guld, 1860- tal - Hallwylska museet - 109973 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/note-for-documentary-purposes-the-original-description-has-been-retained-factual-corrections-and-alternative-descriptions-are-encouraged-separately-from-the-original-description-brosch-av-guld-1860-tal-nyckelord-fremlsbild-smycke-brosch-brosch-svenska-av-guld-med-medalj-rund-mid-1860s-na-242-brosch-av-guld-1860-tal-hallwylska-museet-109973-image209960003.htmlRMP5GE3F–. Note: For documentary purposes the original description has been retained. Factual corrections and alternative descriptions are encouraged separately from the original description. Brosch av guld, 1860- tal. Nyckelord: Föremålsbild, Smycke, Brosch. Brosch . Svenska: Av guld med medalj. Rund. . mid 1860s. N/A 242 Brosch av guld, 1860- tal - Hallwylska museet - 109973
The Environs of Paris. Artist: Camille Corot (French, Paris 1796-1875 Paris). Dimensions: 13 1/2 x 20 1/4 in. (34.3 x 51.4 cm). Date: 1860s. Corot painted at least four versions of this composition. The other three seem to predate this work of the mid-1860s by about a decade. The subject is a view of the rue Brancas near the artist's home at Ville-d'Avray, southwest of Paris, which is visible in the distance. Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/the-environs-of-paris-artist-camille-corot-french-paris-1796-1875-paris-dimensions-13-12-x-20-14-in-343-x-514-cm-date-1860s-corot-painted-at-least-four-versions-of-this-composition-the-other-three-seem-to-predate-this-work-of-the-mid-1860s-by-about-a-decade-the-subject-is-a-view-of-the-rue-brancas-near-the-artists-home-at-ville-davray-southwest-of-paris-which-is-visible-in-the-distance-museum-metropolitan-museum-of-art-new-york-usa-image213110204.htmlRMPAM06M–The Environs of Paris. Artist: Camille Corot (French, Paris 1796-1875 Paris). Dimensions: 13 1/2 x 20 1/4 in. (34.3 x 51.4 cm). Date: 1860s. Corot painted at least four versions of this composition. The other three seem to predate this work of the mid-1860s by about a decade. The subject is a view of the rue Brancas near the artist's home at Ville-d'Avray, southwest of Paris, which is visible in the distance. Museum: Metropolitan Museum of Art, New York, USA.
by Maull & Polyblank, albumen carte-de-visite, early-mid 1860s 325 Charles Brierley Garside by Maull & Polyblank Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/by-maull-polyblank-albumen-carte-de-visite-early-mid-1860s-325-charles-brierley-garside-by-maull-amp-polyblank-image209888492.htmlRMP5D6WG–by Maull & Polyblank, albumen carte-de-visite, early-mid 1860s 325 Charles Brierley Garside by Maull & Polyblank
Reverse of original early to mid 1860's British Victorian Carte de Visite (visiting card or CDV) blank, U.K. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/reverse-of-original-early-to-mid-1860s-british-victorian-carte-de-visite-visiting-card-or-cdv-blank-uk-image598012668.htmlRM2WMWR78–Reverse of original early to mid 1860's British Victorian Carte de Visite (visiting card or CDV) blank, U.K.
. English: Tea factory interior. Preanger, Java, by Woodbury & Page. Albumen silver print. . mid 1860s. Unknown Batavia tea warehouse Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/english-tea-factory-interior-preanger-java-by-woodbury-page-albumen-silver-print-mid-1860s-unknown-batavia-tea-warehouse-image184911786.htmlRMMMRCTA–. English: Tea factory interior. Preanger, Java, by Woodbury & Page. Albumen silver print. . mid 1860s. Unknown Batavia tea warehouse
Amalia queen of Greece with Elisabeth grand duchess of Oldenburg mid 1860s Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/amalia-queen-of-greece-with-elisabeth-grand-duchess-of-oldenburg-mid-image155566293.htmlRMK12JB1–Amalia queen of Greece with Elisabeth grand duchess of Oldenburg mid 1860s
Mary-georgiana-caroline-lady-filmer-untitled-loose-page-from-the-filmer-album-mid-1860s. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/mary-georgiana-caroline-lady-filmer-untitled-loose-page-from-the-filmer-album-mid-1860s-image398818758.htmlRM2E4RNB2–Mary-georgiana-caroline-lady-filmer-untitled-loose-page-from-the-filmer-album-mid-1860s.
Mother and Child, c. 1855. Some of the most inventive and technically skilled practitioners in the early history of photography are as yet unidentified. However, with time more of these individuals will probably be recognized by name. Introduced into America soon after its invention in 1839 by the Frenchman Louis-Jacques-Mandé Daguerre, the daguerreotype flourished from 1840 to the mid-1860s. This beautiful daguerreotype in its original case is an outstanding example of a very popular subject: mother and child. The polished silver plate precisely renders in warm tones the likeness of the Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/mother-and-child-c-1855-some-of-the-most-inventive-and-technically-skilled-practitioners-in-the-early-history-of-photography-are-as-yet-unidentified-however-with-time-more-of-these-individuals-will-probably-be-recognized-by-name-introduced-into-america-soon-after-its-invention-in-1839-by-the-frenchman-louis-jacques-mandxe9-daguerre-the-daguerreotype-flourished-from-1840-to-the-mid-1860s-this-beautiful-daguerreotype-in-its-original-case-is-an-outstanding-example-of-a-very-popular-subject-mother-and-child-the-polished-silver-plate-precisely-renders-in-warm-tones-the-likeness-of-the-image330107599.htmlRM2A51KH3–Mother and Child, c. 1855. Some of the most inventive and technically skilled practitioners in the early history of photography are as yet unidentified. However, with time more of these individuals will probably be recognized by name. Introduced into America soon after its invention in 1839 by the Frenchman Louis-Jacques-Mandé Daguerre, the daguerreotype flourished from 1840 to the mid-1860s. This beautiful daguerreotype in its original case is an outstanding example of a very popular subject: mother and child. The polished silver plate precisely renders in warm tones the likeness of the
Vice-Admiral Robert FitzRoy (1805-1865) in a portrait from the early to mid 1860s. FitzRoy was an English officer of the Royal Navy, a scientist, meteorologist, hydrographer, and the 2nd Governor of New Zealand. He achieved lasting fame as the captain of HMS Beagle during Charles Darwin's famous voyage. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/vice-admiral-robert-fitzroy-1805-1865-in-a-portrait-from-the-early-to-mid-1860s-fitzroy-was-an-english-officer-of-the-royal-navy-a-scientist-meteorologist-hydrographer-and-the-2nd-governor-of-new-zealand-he-achieved-lasting-fame-as-the-captain-of-hms-beagle-during-charles-darwins-famous-voyage-image449771949.htmlRM2H3MTKW–Vice-Admiral Robert FitzRoy (1805-1865) in a portrait from the early to mid 1860s. FitzRoy was an English officer of the Royal Navy, a scientist, meteorologist, hydrographer, and the 2nd Governor of New Zealand. He achieved lasting fame as the captain of HMS Beagle during Charles Darwin's famous voyage.
Art inspired by The Sea, 1865 or later, Oil on canvas, 20 x 24 in. (50.8 x 61 cm), Paintings, Gustave Courbet (French, Ornans 1819–1877 La Tour-de-Peilz), During successive sojourns at Trouville in the mid-1860s, Courbet fully developed the pictorial vocabulary that he used for his, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/art-inspired-by-the-sea-1865-or-later-oil-on-canvas-20-x-24-in-508-x-61-cm-paintings-gustave-courbet-french-ornans-18191877-la-tour-de-peilz-during-successive-sojourns-at-trouville-in-the-mid-1860s-courbet-fully-developed-the-pictorial-vocabulary-that-he-used-for-his-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image462814730.htmlRF2HTY0WE–Art inspired by The Sea, 1865 or later, Oil on canvas, 20 x 24 in. (50.8 x 61 cm), Paintings, Gustave Courbet (French, Ornans 1819–1877 La Tour-de-Peilz), During successive sojourns at Trouville in the mid-1860s, Courbet fully developed the pictorial vocabulary that he used for his, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
John Coleridge Patteson (1827-1871) was a English, Christian missionary to the South Seas in 1855, and in 1861 was selected the first Anglican Bishop of Melanesia. He was an accomplished linguist who also spoke German, studied Hebrew and Arabic, and learned 23 of the South Seas Islands' more than 1000 languages. Patteson was killed on September 20, 1871 by natives on Nukapu, in the Solomon Islands. (Photo by George William Perry, early to mid 1860s, registered for copyright in 1871.) Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/john-coleridge-patteson-1827-1871-was-a-english-christian-missionary-image156169264.htmlRMK223DM–John Coleridge Patteson (1827-1871) was a English, Christian missionary to the South Seas in 1855, and in 1861 was selected the first Anglican Bishop of Melanesia. He was an accomplished linguist who also spoke German, studied Hebrew and Arabic, and learned 23 of the South Seas Islands' more than 1000 languages. Patteson was killed on September 20, 1871 by natives on Nukapu, in the Solomon Islands. (Photo by George William Perry, early to mid 1860s, registered for copyright in 1871.)
Art inspired by Totem Pole Model, ca. 1885, Canada, British Columbia, Haida, Argillite, H. 26 1/4 x W. 4 5/8 in. (66.7 x 11.7 cm), Stone-Sculpture, Charles Edenshaw, Model totem poles began to be carved in the Pacific Northwest in the mid-1860s, when full-sized totem poles were no, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/art-inspired-by-totem-pole-model-ca-1885-canada-british-columbia-haida-argillite-h-26-14-x-w-4-58-in-667-x-117-cm-stone-sculpture-charles-edenshaw-model-totem-poles-began-to-be-carved-in-the-pacific-northwest-in-the-mid-1860s-when-full-sized-totem-poles-were-no-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image462798821.htmlRF2HTX8H9–Art inspired by Totem Pole Model, ca. 1885, Canada, British Columbia, Haida, Argillite, H. 26 1/4 x W. 4 5/8 in. (66.7 x 11.7 cm), Stone-Sculpture, Charles Edenshaw, Model totem poles began to be carved in the Pacific Northwest in the mid-1860s, when full-sized totem poles were no, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
Utah, Salt Lake City, 'This Is The Place' Heritage Park, relocated Samuel Jewkes / Henry Draper Home c.mid-1860's Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-photo-utah-salt-lake-city-this-is-the-place-heritage-park-relocated-samuel-55410419.htmlRMD644FF–Utah, Salt Lake City, 'This Is The Place' Heritage Park, relocated Samuel Jewkes / Henry Draper Home c.mid-1860's
Art inspired by Totem Pole Model, ca. 1890, Canada, British Columbia, Haida, Argillite, H. 16 1/4 x W. 3 1/4 in. (41.3 x 8.3 cm), Stone-Sculpture, Charles Edenshaw, Model totem poles began to be carved in the Pacific Northwest in the mid-1860s, when full-sized totem poles were no, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/art-inspired-by-totem-pole-model-ca-1890-canada-british-columbia-haida-argillite-h-16-14-x-w-3-14-in-413-x-83-cm-stone-sculpture-charles-edenshaw-model-totem-poles-began-to-be-carved-in-the-pacific-northwest-in-the-mid-1860s-when-full-sized-totem-poles-were-no-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image462798769.htmlRF2HTX8FD–Art inspired by Totem Pole Model, ca. 1890, Canada, British Columbia, Haida, Argillite, H. 16 1/4 x W. 3 1/4 in. (41.3 x 8.3 cm), Stone-Sculpture, Charles Edenshaw, Model totem poles began to be carved in the Pacific Northwest in the mid-1860s, when full-sized totem poles were no, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
The Black Rocks at Trouville, by Gustave Courbet, 1865-66, painting, oil on canvas. In the mid-1860s, Courbet immersed himself in painting the sea along the English Channel Coast to the north. At times he painted alongside Eugene Boudin, James McNeill Whi (BSLOC 2016 5 82) Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-photo-the-black-rocks-at-trouville-by-gustave-courbet-1865-66-painting-oil-115917815.htmlRMGMGE9Y–The Black Rocks at Trouville, by Gustave Courbet, 1865-66, painting, oil on canvas. In the mid-1860s, Courbet immersed himself in painting the sea along the English Channel Coast to the north. At times he painted alongside Eugene Boudin, James McNeill Whi (BSLOC 2016 5 82)
Gabriel Blaise, French, active mid to late 19th century, Escalier de la Psalette à Tours, 1860s, Albumen print from a wet-collodion-on-glass negative, sheet: 17 3/4 x 23 1/16 in. (45.1 x 58.5 cm Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/gabriel-blaise-french-active-mid-to-late-19th-century-escalier-de-la-psalette-tours-1860s-albumen-print-from-a-wet-collodion-on-glass-negative-sheet-17-34-x-23-116-in-451-x-585-cm-image344582107.htmlRM2B0H1YR–Gabriel Blaise, French, active mid to late 19th century, Escalier de la Psalette à Tours, 1860s, Albumen print from a wet-collodion-on-glass negative, sheet: 17 3/4 x 23 1/16 in. (45.1 x 58.5 cm
Art inspired by A Seated Couple, Embracing, ca. 1865, White chalk with touches of graphite, sheet: 13 3/16 x 9 15/16 in. (33.5 x 25.2 cm), Drawings, Sir Edward Burne-Jones (British, Birmingham 1833–1898 Fulham), Burne-Jones likely made this drawing in the mid-1860s, using chalks on, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/art-inspired-by-a-seated-couple-embracing-ca-1865-white-chalk-with-touches-of-graphite-sheet-13-316-x-9-1516-in-335-x-252-cm-drawings-sir-edward-burne-jones-british-birmingham-18331898-fulham-burne-jones-likely-made-this-drawing-in-the-mid-1860s-using-chalks-on-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image462946501.htmlRF2HW50YH–Art inspired by A Seated Couple, Embracing, ca. 1865, White chalk with touches of graphite, sheet: 13 3/16 x 9 15/16 in. (33.5 x 25.2 cm), Drawings, Sir Edward Burne-Jones (British, Birmingham 1833–1898 Fulham), Burne-Jones likely made this drawing in the mid-1860s, using chalks on, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
Daniel Huntington, Saco, Looking Northwest, American, 1816-1906, mid 1860s, graphite on wove paper Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-photo-daniel-huntington-saco-looking-northwest-american-1816-1906-mid-1860s-77362555.htmlRMEDT4MB–Daniel Huntington, Saco, Looking Northwest, American, 1816-1906, mid 1860s, graphite on wove paper
Art inspired by Venezia, ca. 1865–66, Marble, 27 x 15 1/4 x 11 1/8 in. (68.6 x 38.7 x 28.3 cm), Sculpture, Larkin Goldsmith Mead (1835–1910), Vermont-born Larkin Goldsmith Mead was a prominent expatriate sculptor who worked in Florence for more than half a century. During the mid-1860s, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/art-inspired-by-venezia-ca-186566-marble-27-x-15-14-x-11-18-in-686-x-387-x-283-cm-sculpture-larkin-goldsmith-mead-18351910-vermont-born-larkin-goldsmith-mead-was-a-prominent-expatriate-sculptor-who-worked-in-florence-for-more-than-half-a-century-during-the-mid-1860s-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image462896998.htmlRF2HW2NRJ–Art inspired by Venezia, ca. 1865–66, Marble, 27 x 15 1/4 x 11 1/8 in. (68.6 x 38.7 x 28.3 cm), Sculpture, Larkin Goldsmith Mead (1835–1910), Vermont-born Larkin Goldsmith Mead was a prominent expatriate sculptor who worked in Florence for more than half a century. During the mid-1860s, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
James McNeill Whistler. The Artist in His Studio. 1865–1866. United States. Oil on paper mounted on panel By the mid-1860s, the London-based, American artist James McNeill Whistler was increasingly fascinated with the aesthetics of Asian art. In The Artist in His Studio, Whistler stares out at the viewer with palette and paintbrush in hand, surrounded by works from his collection three Japanese scrolls hang on the wall and Chinese porcelain adorns shelves on the left. He applied thin layers of paint in muted tones to evoke the flattened appearance of Japanese woodblock prints. The composition Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/james-mcneill-whistler-the-artist-in-his-studio-18651866-united-states-oil-on-paper-mounted-on-panel-by-the-mid-1860s-the-london-based-american-artist-james-mcneill-whistler-was-increasingly-fascinated-with-the-aesthetics-of-asian-art-in-the-artist-in-his-studio-whistler-stares-out-at-the-viewer-with-palette-and-paintbrush-in-hand-surrounded-by-works-from-his-collection-three-japanese-scrolls-hang-on-the-wall-and-chinese-porcelain-adorns-shelves-on-the-left-he-applied-thin-layers-of-paint-in-muted-tones-to-evoke-the-flattened-appearance-of-japanese-woodblock-prints-the-composition-image337983719.htmlRM2AHTDK3–James McNeill Whistler. The Artist in His Studio. 1865–1866. United States. Oil on paper mounted on panel By the mid-1860s, the London-based, American artist James McNeill Whistler was increasingly fascinated with the aesthetics of Asian art. In The Artist in His Studio, Whistler stares out at the viewer with palette and paintbrush in hand, surrounded by works from his collection three Japanese scrolls hang on the wall and Chinese porcelain adorns shelves on the left. He applied thin layers of paint in muted tones to evoke the flattened appearance of Japanese woodblock prints. The composition
The Sea. Artist: Gustave Courbet (French, Ornans 1819-1877 La Tour-de-Peilz). Dimensions: 20 x 24 in. (50.8 x 61 cm). Date: 1865 or later. During successive sojourns at Trouville in the mid-1860s, Courbet fully developed the pictorial vocabulary that he used for his distinctive minimalist views of the sea and sky under different conditions of light and weather. This 'sea landscape' (<i>paysage de mer</i>), as he called such works, may have been painted along the Normandy coast between 1865 and 1867, or it may be a later studio repetition. Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/the-sea-artist-gustave-courbet-french-ornans-1819-1877-la-tour-de-peilz-dimensions-20-x-24-in-508-x-61-cm-date-1865-or-later-during-successive-sojourns-at-trouville-in-the-mid-1860s-courbet-fully-developed-the-pictorial-vocabulary-that-he-used-for-his-distinctive-minimalist-views-of-the-sea-and-sky-under-different-conditions-of-light-and-weather-this-sea-landscape-ipaysage-de-meri-as-he-called-such-works-may-have-been-painted-along-the-normandy-coast-between-1865-and-1867-or-it-may-be-a-later-studio-repetition-museum-metropolitan-museum-of-art-new-york-usa-image213295423.htmlRMPB0CDK–The Sea. Artist: Gustave Courbet (French, Ornans 1819-1877 La Tour-de-Peilz). Dimensions: 20 x 24 in. (50.8 x 61 cm). Date: 1865 or later. During successive sojourns at Trouville in the mid-1860s, Courbet fully developed the pictorial vocabulary that he used for his distinctive minimalist views of the sea and sky under different conditions of light and weather. This 'sea landscape' (<i>paysage de mer</i>), as he called such works, may have been painted along the Normandy coast between 1865 and 1867, or it may be a later studio repetition. Museum: Metropolitan Museum of Art, New York, USA.
Costume Photo 1860s Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/costume-photo-1860s-image6561214.htmlRMA673RF–Costume Photo 1860s
Boston - mid - 1860's , Buildings, Facilities Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/boston-mid-1860s-buildings-facilities-image500311523.htmlRM2M1Y4CK–Boston - mid - 1860's , Buildings, Facilities
. I know a maiden fair to see, take care . This picture illustrates a passage from a German ballad translated by Henry Wadsworth Longfellow in 1843 . mid 1860s 62 Charles Edward Perugini 1 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/i-know-a-maiden-fair-to-see-take-care-this-picture-illustrates-a-passage-from-a-german-ballad-translated-by-henry-wadsworth-longfellow-in-1843-mid-1860s-62-charles-edward-perugini-1-image211069819.htmlRMP7B1KR–. I know a maiden fair to see, take care . This picture illustrates a passage from a German ballad translated by Henry Wadsworth Longfellow in 1843 . mid 1860s 62 Charles Edward Perugini 1
Picture from Emma Hardinge Britten 281823-189929 in the mid 1860s Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-photo-picture-from-emma-hardinge-britten-281823-189929-in-the-mid-1860s-147618813.htmlRMJG4H8D–Picture from Emma Hardinge Britten 281823-189929 in the mid 1860s
Visiting cape mid-1860s American or European. Visiting cape 104704 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/visiting-cape-mid-1860s-american-or-european-visiting-cape-104704-image458612847.htmlRM2HJ3HA7–Visiting cape mid-1860s American or European. Visiting cape 104704
August-Strindberg-as-a-16-17-year-old-in-the-mid-1860s-352129643933. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/august-strindberg-as-a-16-17-year-old-in-the-mid-1860s-352129643933-image595586450.htmlRM2WGY8GJ–August-Strindberg-as-a-16-17-year-old-in-the-mid-1860s-352129643933.
Group of Bhooteas and Nepaulese. Mid 1860s. Source: Photo 28/2(26). Author: Bourne, Samuel. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/group-of-bhooteas-and-nepaulese-mid-1860s-source-photo-28226-author-bourne-samuel-image227081328.htmlRMR5CCFC–Group of Bhooteas and Nepaulese. Mid 1860s. Source: Photo 28/2(26). Author: Bourne, Samuel.
'La Femme Hydropique' by Gerard Dou. Goupil & Cie., photographer (French, active 1839 - 1860s) mid-1860s–mid-1880s Photograph of a painting of a sick woman being treated by a doctor. The original painting is in the collection of the Louvre Museum. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/la-femme-hydropique-by-gerard-dou-goupil-cie-photographer-french-active-1839-1860s-mid-1860smid-1880s-photograph-of-a-painting-of-a-sick-woman-being-treated-by-a-doctor-the-original-painting-is-in-the-collection-of-the-louvre-museum-image599929423.htmlRM2WT142R–'La Femme Hydropique' by Gerard Dou. Goupil & Cie., photographer (French, active 1839 - 1860s) mid-1860s–mid-1880s Photograph of a painting of a sick woman being treated by a doctor. The original painting is in the collection of the Louvre Museum.
News from Afar, mid 1860s. Stevens depicted domestic interiors, in which he meticulously recorded the latest fashions in dress and furnishings. Here, a young woman, who has apparently just received news from a loved one far away, clutches at her heart. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/news-from-afar-mid-1860s-stevens-depicted-domestic-interiors-in-which-he-meticulously-recorded-the-latest-fashions-in-dress-and-furnishings-here-a-young-woman-who-has-apparently-just-received-news-from-a-loved-one-far-away-clutches-at-her-heart-image575141296.htmlRM2TBKXGG–News from Afar, mid 1860s. Stevens depicted domestic interiors, in which he meticulously recorded the latest fashions in dress and furnishings. Here, a young woman, who has apparently just received news from a loved one far away, clutches at her heart.
COSTUME / PHOTO 1860S Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-photo-costume-photo-1860s-105355625.htmlRMG3BA4W–COSTUME / PHOTO 1860S
Utah, Salt Lake City, 'This Is The Place' Heritage Park, relocated Samuel Jewkes / Henry Draper Home c.mid-1860's Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-photo-utah-salt-lake-city-this-is-the-place-heritage-park-relocated-samuel-51077669.htmlRMCY2P2D–Utah, Salt Lake City, 'This Is The Place' Heritage Park, relocated Samuel Jewkes / Henry Draper Home c.mid-1860's
UK, England, Cheshire, Scholar Green, Little Moreton Hall in 1860s Victorian photograph by Peter Burgess Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-photo-uk-england-cheshire-scholar-green-little-moreton-hall-in-1860s-victorian-29825195.htmlRMBMEJ9F–UK, England, Cheshire, Scholar Green, Little Moreton Hall in 1860s Victorian photograph by Peter Burgess
1860s NOVEMBER 1863 DURING THE CHATTANOOGA CAMPAIGN AMERICAN CIVIL WAR BATTLE OF LOOKOUT MOUNTAIN GEORGIA USA Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-photo-1860s-november-1863-during-the-chattanooga-campaign-american-civil-107226551.htmlRMG6CGFK–1860s NOVEMBER 1863 DURING THE CHATTANOOGA CAMPAIGN AMERICAN CIVIL WAR BATTLE OF LOOKOUT MOUNTAIN GEORGIA USA
Collage Mosaic photograph by Disderi reproduced on a carte de visite showing well-known 'English luminaries' of the period (the 1860s). André-Adolphe-Eugène Disdéri (1819–1889) was a French photographer who started his photographic career as a daguerreotypist but gained greater fame for patenting his version of the carte de visite, a small photographic image which was mounted on a card. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/collage-mosaic-photograph-by-disderi-reproduced-on-a-carte-de-visite-showing-well-known-english-luminaries-of-the-period-the-1860s-andr-adolphe-eugne-disdri-18191889-was-a-french-photographer-who-started-his-photographic-career-as-a-daguerreotypist-but-gained-greater-fame-for-patenting-his-version-of-the-carte-de-visite-a-small-photographic-image-which-was-mounted-on-a-card-image485665971.htmlRM2K63YW7–Collage Mosaic photograph by Disderi reproduced on a carte de visite showing well-known 'English luminaries' of the period (the 1860s). André-Adolphe-Eugène Disdéri (1819–1889) was a French photographer who started his photographic career as a daguerreotypist but gained greater fame for patenting his version of the carte de visite, a small photographic image which was mounted on a card.
1860s 1860s FEBRUARY 1862 AMERICAN CIVIL WAR CAPTURE OF FORT DONELSON BY UNION FORCES TENNESSEE USA Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-photo-1860s-1860s-february-1862-american-civil-war-capture-of-fort-donelson-107226570.htmlRMG6CGGA–1860s 1860s FEBRUARY 1862 AMERICAN CIVIL WAR CAPTURE OF FORT DONELSON BY UNION FORCES TENNESSEE USA
CANADA: GOLD MINING, 1860s. /nA coach with gold, guarded by armed men, passes miners headed for the gold fields of Cariboo country, British Columbia, Canada, along the Cariboo Road, completed in 1865. Drawing by C.W. Jefferys. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-photo-canada-gold-mining-1860s-na-coach-with-gold-guarded-by-armed-men-passes-95492380.htmlRMFFA1E4–CANADA: GOLD MINING, 1860s. /nA coach with gold, guarded by armed men, passes miners headed for the gold fields of Cariboo country, British Columbia, Canada, along the Cariboo Road, completed in 1865. Drawing by C.W. Jefferys.
1860s MAY JUNE JULY 1863 UNION FORCES SIEGE OF CONFEDERATED DEFENDING VICKSBURG MISSISSIPPI USA Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-photo-1860s-may-june-july-1863-union-forces-siege-of-confederated-defending-107226840.htmlRMG6CGX0–1860s MAY JUNE JULY 1863 UNION FORCES SIEGE OF CONFEDERATED DEFENDING VICKSBURG MISSISSIPPI USA
Juan Laurent. Musket-Proof Half Armor of King Philip III (Media Armadura a Prueba de Mosquete del Rey Felipe III). 1863–1873. France. Albumen print Jean (known in Spain as Juan) Laurent was one of the most recognized photographers of 19th-century Spain. He developed a thriving portrait business, documented Spanish public works projects, and produced an encyclopedic survey of Spanish and Portuguese architecture. In the mid-1860s, Laurent was permitted to photograph in the Royal Armory of Madrid, which housed rare personal arms and armor of monarchs from the 15th century onward. He released a ca Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/juan-laurent-musket-proof-half-armor-of-king-philip-iii-media-armadura-a-prueba-de-mosquete-del-rey-felipe-iii-18631873-france-albumen-print-jean-known-in-spain-as-juan-laurent-was-one-of-the-most-recognized-photographers-of-19th-century-spain-he-developed-a-thriving-portrait-business-documented-spanish-public-works-projects-and-produced-an-encyclopedic-survey-of-spanish-and-portuguese-architecture-in-the-mid-1860s-laurent-was-permitted-to-photograph-in-the-royal-armory-of-madrid-which-housed-rare-personal-arms-and-armor-of-monarchs-from-the-15th-century-onward-he-released-a-ca-image337950532.htmlRM2AHPY9T–Juan Laurent. Musket-Proof Half Armor of King Philip III (Media Armadura a Prueba de Mosquete del Rey Felipe III). 1863–1873. France. Albumen print Jean (known in Spain as Juan) Laurent was one of the most recognized photographers of 19th-century Spain. He developed a thriving portrait business, documented Spanish public works projects, and produced an encyclopedic survey of Spanish and Portuguese architecture. In the mid-1860s, Laurent was permitted to photograph in the Royal Armory of Madrid, which housed rare personal arms and armor of monarchs from the 15th century onward. He released a ca
Totem Pole Model. Artist: Charles Edenshaw. Culture: Haida. Dimensions: H. 26 1/4 x W. 4 5/8 in. (66.7 x 11.7 cm). Date: ca. 1885. Model totem poles began to be carved in the Pacific Northwest in the mid-1860s, when full-sized totem poles were no longer being worked. Both wood and argillite, a black shale, were used for the model carvings, the bulk of which were made for sale to outsiders. The Native population had been decimated by smallpox earlier in the decade, and the continuance of full-scale local traditions was not possible in the aftermath. The imagery of the model poles-often similar Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/totem-pole-model-artist-charles-edenshaw-culture-haida-dimensions-h-26-14-x-w-4-58-in-667-x-117-cm-date-ca-1885-model-totem-poles-began-to-be-carved-in-the-pacific-northwest-in-the-mid-1860s-when-full-sized-totem-poles-were-no-longer-being-worked-both-wood-and-argillite-a-black-shale-were-used-for-the-model-carvings-the-bulk-of-which-were-made-for-sale-to-outsiders-the-native-population-had-been-decimated-by-smallpox-earlier-in-the-decade-and-the-continuance-of-full-scale-local-traditions-was-not-possible-in-the-aftermath-the-imagery-of-the-model-poles-often-similar-image212914617.htmlRMPAB2ND–Totem Pole Model. Artist: Charles Edenshaw. Culture: Haida. Dimensions: H. 26 1/4 x W. 4 5/8 in. (66.7 x 11.7 cm). Date: ca. 1885. Model totem poles began to be carved in the Pacific Northwest in the mid-1860s, when full-sized totem poles were no longer being worked. Both wood and argillite, a black shale, were used for the model carvings, the bulk of which were made for sale to outsiders. The Native population had been decimated by smallpox earlier in the decade, and the continuance of full-scale local traditions was not possible in the aftermath. The imagery of the model poles-often similar
1860s MARCH 1862 DURING THE BURNSIDE EXPEDITION BATTLE OF NEW BERN NORTH CAROLINA USA Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-photo-1860s-march-1862-during-the-burnside-expedition-battle-of-new-bern-107226846.htmlRMG6CGX6–1860s MARCH 1862 DURING THE BURNSIDE EXPEDITION BATTLE OF NEW BERN NORTH CAROLINA USA
Victorian Photography Wales fishing on the River Lledr Betwys y Coed in mid 1860s Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/victorian-photography-wales-fishing-on-the-river-lledr-betwys-y-coed-image4386739.htmlRMADJRB4–Victorian Photography Wales fishing on the River Lledr Betwys y Coed in mid 1860s
. I know a maiden fair to see, take care . This picture illustrates a passage from a German ballad translated by Henry Wadsworth Longfellow in 1843 . mid 1860s 62 Charles Edward Perugini - I know a maiden fair to see, take care (1860s) Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/i-know-a-maiden-fair-to-see-take-care-this-picture-illustrates-a-passage-from-a-german-ballad-translated-by-henry-wadsworth-longfellow-in-1843-mid-1860s-62-charles-edward-perugini-i-know-a-maiden-fair-to-see-take-care-1860s-image211069825.htmlRMP7B1M1–. I know a maiden fair to see, take care . This picture illustrates a passage from a German ballad translated by Henry Wadsworth Longfellow in 1843 . mid 1860s 62 Charles Edward Perugini - I know a maiden fair to see, take care (1860s)
1860s A WOMAN IN BATTLE DURING CIVIL WAR KNOWN AS MICHIGAN BRIDGET HERE CARRYING A FLAG WAS THE WIFE OF A SOLDIER Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-photo-1860s-a-woman-in-battle-during-civil-war-known-as-michigan-bridget-107226942.htmlRMG6CH1J–1860s A WOMAN IN BATTLE DURING CIVIL WAR KNOWN AS MICHIGAN BRIDGET HERE CARRYING A FLAG WAS THE WIFE OF A SOLDIER
The United States Postal Service's Railway Mail Service was a significant mail transportation service in the US during the time period from the mid-19th century until the mid-20th century. The RMS, or its successor the Postal Transportation Service (PTS), carried the vast majority of letters and packages mailed in the United States from the 1890s until the 1960s. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/the-united-states-postal-services-railway-mail-service-was-a-significant-mail-transportation-service-in-the-us-during-the-time-period-from-the-mid-19th-century-until-the-mid-20th-century-the-rms-or-its-successor-the-postal-transportation-service-pts-carried-the-vast-majority-of-letters-and-packages-mailed-in-the-united-states-from-the-1890s-until-the-1960s-image246586885.htmlRMT9502D–The United States Postal Service's Railway Mail Service was a significant mail transportation service in the US during the time period from the mid-19th century until the mid-20th century. The RMS, or its successor the Postal Transportation Service (PTS), carried the vast majority of letters and packages mailed in the United States from the 1890s until the 1960s.
1860s JULY 18 1863 AFRICAN AMERICAN UNION SOLDIERS OF THE 54TH MASSACHUSETTS REGIMENT ATTACKING FORT WAGNER MORRIS ISLAND SC USA Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-photo-1860s-july-18-1863-african-american-union-soldiers-of-the-54th-massachusetts-107226810.htmlRMG6CGTX–1860s JULY 18 1863 AFRICAN AMERICAN UNION SOLDIERS OF THE 54TH MASSACHUSETTS REGIMENT ATTACKING FORT WAGNER MORRIS ISLAND SC USA
![Jumrood Fort at the entrance to the Khyber Pass. [Album of photographs mostly by Samuel Bourne]. mid 1860s. Source: Photo 11/74. Author: CHARLES SHEPHERD. Stock Photo](https://c8.alamy.com/comp/RCCYR6/jumrood-fort-at-the-entrance-to-the-khyber-pass-album-of-photographs-mostly-by-samuel-bourne-mid-1860s-source-photo-1174-author-charles-shepherd-RCCYR6.jpg "Jumrood Fort at the entrance to the Khyber Pass. [Album of photographs mostly by Samuel Bourne]. mid 1860s. Source: Photo 11/74. Author: CHARLES SHEPHERD. Stock Photo")
Jumrood Fort at the entrance to the Khyber Pass. [Album of photographs mostly by Samuel Bourne]. mid 1860s. Source: Photo 11/74. Author: CHARLES SHEPHERD. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/jumrood-fort-at-the-entrance-to-the-khyber-pass-album-of-photographs-mostly-by-samuel-bourne-mid-1860s-source-photo-1174-author-charles-shepherd-image231395898.htmlRMRCCYR6–Jumrood Fort at the entrance to the Khyber Pass. [Album of photographs mostly by Samuel Bourne]. mid 1860s. Source: Photo 11/74. Author: CHARLES SHEPHERD.
Young Woman at Her Toilette Ernest-Joseph-Angelon Girard (French, 1813-1898). , probably mid-1860s. Watercolor on paperboard, Image: 13 15/16 x 11 1/4 in. (35.4 x 28.6 cm). European Art probably mid-1860s Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/young-woman-at-her-toilette-ernest-joseph-angelon-girard-french-1813-1898-probably-mid-1860s-watercolor-on-paperboard-image-13-1516-x-11-14-in-354-x-286-cm-european-art-probably-mid-1860s-image504706614.htmlRM2M93AC6–Young Woman at Her Toilette Ernest-Joseph-Angelon Girard (French, 1813-1898). , probably mid-1860s. Watercolor on paperboard, Image: 13 15/16 x 11 1/4 in. (35.4 x 28.6 cm). European Art probably mid-1860s
1860s MARCH 1862 GENERAL AMBROSE BURNSIDE ON HORSEBACK DURING THE BURNSIDE EXPEDITION BATTLE OF NEW BERN NORTH CAROLINA USA Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-photo-1860s-march-1862-general-ambrose-burnside-on-horseback-during-the-107226853.htmlRMG6CGXD–1860s MARCH 1862 GENERAL AMBROSE BURNSIDE ON HORSEBACK DURING THE BURNSIDE EXPEDITION BATTLE OF NEW BERN NORTH CAROLINA USA
Group portrait. Unknown, photographer about mid-1860s A group portrait gathered outside. Charles Anderson-Pelham, 3rd Earl of Yarborough can be seen on the far right of the group, standing in the back row. John Charles Pratt, 3rd Marquess Camden is immediately to the left of Lord Yarborough. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/group-portrait-unknown-photographer-about-mid-1860s-a-group-portrait-gathered-outside-charles-anderson-pelham-3rd-earl-of-yarborough-can-be-seen-on-the-far-right-of-the-group-standing-in-the-back-row-john-charles-pratt-3rd-marquess-camden-is-immediately-to-the-left-of-lord-yarborough-image599925616.htmlRM2WT0Y6T–Group portrait. Unknown, photographer about mid-1860s A group portrait gathered outside. Charles Anderson-Pelham, 3rd Earl of Yarborough can be seen on the far right of the group, standing in the back row. John Charles Pratt, 3rd Marquess Camden is immediately to the left of Lord Yarborough.
Utah, Salt Lake City, 'This Is The Place' Heritage Park, relocated Samuel Jewkes / Henry Draper Home c.mid-1860's Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-photo-utah-salt-lake-city-this-is-the-place-heritage-park-relocated-samuel-51077764.htmlRMCY2P5T–Utah, Salt Lake City, 'This Is The Place' Heritage Park, relocated Samuel Jewkes / Henry Draper Home c.mid-1860's
'Jésus Chez Simon le Pharisien' by Paul Véronèse. Goupil & Cie., photographer (French, active 1839 - 1860s) mid-1860s–mid-1880s Photograph of a painting of Jesus at the head of a table full of guests, in a columned atrium. The original painting is in the collection of Versailles. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/jsus-chez-simon-le-pharisien-by-paul-vronse-goupil-cie-photographer-french-active-1839-1860s-mid-1860smid-1880s-photograph-of-a-painting-of-jesus-at-the-head-of-a-table-full-of-guests-in-a-columned-atrium-the-original-painting-is-in-the-collection-of-versailles-image599928802.htmlRM2WT138J–'Jésus Chez Simon le Pharisien' by Paul Véronèse. Goupil & Cie., photographer (French, active 1839 - 1860s) mid-1860s–mid-1880s Photograph of a painting of Jesus at the head of a table full of guests, in a columned atrium. The original painting is in the collection of Versailles.
1860s THE MOTHERS SACRIFICE KISSING HER YOUNG SON ABOUT TO BECOME A DRUMMER BOY FOR UNION TROOPS IN AMERICAN CIVIL WAR Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-photo-1860s-the-mothers-sacrifice-kissing-her-young-son-about-to-become-107226865.htmlRMG6CGXW–1860s THE MOTHERS SACRIFICE KISSING HER YOUNG SON ABOUT TO BECOME A DRUMMER BOY FOR UNION TROOPS IN AMERICAN CIVIL WAR
The Environs of Paris 1860s Camille Corot French Corot painted at least four versions of this composition. The other three seem to predate this work of the mid-1860s by about a decade. The subject is a view of the rue Brancas near the artist’s home at Ville-d’Avray, southwest of Paris, which is visible in the distance.. The Environs of Paris 435968 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/the-environs-of-paris-1860s-camille-corot-french-corot-painted-at-least-four-versions-of-this-composition-the-other-three-seem-to-predate-this-work-of-the-mid-1860s-by-about-a-decade-the-subject-is-a-view-of-the-rue-brancas-near-the-artists-home-at-ville-davray-southwest-of-paris-which-is-visible-in-the-distance-the-environs-of-paris-435968-image458190911.htmlRM2HHCB53–The Environs of Paris 1860s Camille Corot French Corot painted at least four versions of this composition. The other three seem to predate this work of the mid-1860s by about a decade. The subject is a view of the rue Brancas near the artist’s home at Ville-d’Avray, southwest of Paris, which is visible in the distance.. The Environs of Paris 435968
1860s APRIL 1865 GENERAL ROBERT E LEE SURRENDERS TO ULYSSES S GRANT ENDING AMERICAN CIVIL WAR AT APPOMATTOX COURT HOUSE VA USA Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-photo-1860s-april-1865-general-robert-e-lee-surrenders-to-ulysses-s-grant-107226489.htmlRMG6CGDD–1860s APRIL 1865 GENERAL ROBERT E LEE SURRENDERS TO ULYSSES S GRANT ENDING AMERICAN CIVIL WAR AT APPOMATTOX COURT HOUSE VA USA
Honfleur 1865 Johan Barthold Jongkind Dutch This canvas was painted in August–September 1865, during Jongkind's third visit to Honfleur, a town on the Normandy coast, where Monet also worked in the early and mid-1860s.. Honfleur. Johan Barthold Jongkind (Dutch, Latrop 1819–1891 La-Côte-Saint-André). 1865. Oil on canvas. Paintings Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/honfleur-1865-johan-barthold-jongkind-dutch-this-canvas-was-painted-in-augustseptember-1865-during-jongkinds-third-visit-to-honfleur-a-town-on-the-normandy-coast-where-monet-also-worked-in-the-early-and-mid-1860s-honfleur-johan-barthold-jongkind-dutch-latrop-18191891-la-cte-saint-andr-1865-oil-on-canvas-paintings-image458101885.htmlRM2HH89HH–Honfleur 1865 Johan Barthold Jongkind Dutch This canvas was painted in August–September 1865, during Jongkind's third visit to Honfleur, a town on the Normandy coast, where Monet also worked in the early and mid-1860s.. Honfleur. Johan Barthold Jongkind (Dutch, Latrop 1819–1891 La-Côte-Saint-André). 1865. Oil on canvas. Paintings
Saco, Looking Northwest, mid 1860s. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/saco-looking-northwest-mid-1860s-image506221961.htmlRM2MBGB7N–Saco, Looking Northwest, mid 1860s.
The Sea 1865 or later Gustave Courbet French During successive sojourns at Trouville in the mid-1860s, Courbet fully developed the pictorial vocabulary that he used for his distinctive minimalist views of the sea and sky under different conditions of light and weather. This 'sea landscape' (paysage de mer), as he called such works, may have been painted along the Normandy coast between 1865 and 1867, or it may be a later studio repetition. Listen to experts illuminate this artwork's story Listen Play or pause #6128. The Sea Supported by Bloomberg Philanthropies We're sorry, the transcript for Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/the-sea-1865-or-later-gustave-courbet-french-during-successive-sojourns-at-trouville-in-the-mid-1860s-courbet-fully-developed-the-pictorial-vocabulary-that-he-used-for-his-distinctive-minimalist-views-of-the-sea-and-sky-under-different-conditions-of-light-and-weather-this-sea-landscape-paysage-de-mer-as-he-called-such-works-may-have-been-painted-along-the-normandy-coast-between-1865-and-1867-or-it-may-be-a-later-studio-repetition-listen-to-experts-illuminate-this-artworks-story-listen-play-or-pause-6128-the-sea-supported-by-bloomberg-philanthropies-were-sorry-the-transcript-for-image458578452.htmlRM2HJ21DT–The Sea 1865 or later Gustave Courbet French During successive sojourns at Trouville in the mid-1860s, Courbet fully developed the pictorial vocabulary that he used for his distinctive minimalist views of the sea and sky under different conditions of light and weather. This 'sea landscape' (paysage de mer), as he called such works, may have been painted along the Normandy coast between 1865 and 1867, or it may be a later studio repetition. Listen to experts illuminate this artwork's story Listen Play or pause #6128. The Sea Supported by Bloomberg Philanthropies We're sorry, the transcript for
A Seated Couple, Embracing. Artist: Sir Edward Burne-Jones (British, Birmingham 1833-1898 Fulham). Dimensions: sheet: 13 3/16 x 9 15/16 in. (33.5 x 25.2 cm). Date: ca. 1865. Burne-Jones likely made this drawing in the mid-1860s when he was sketching the Parthenon marbles at the British Museum, using chalks on colored paper. While a student at Oxford, Burne-Jones and his close friend William Morris decided to give up their theology degrees and instead pursue artistic careers. Since he lacked formal training, Burne-Jones sought advice from Dante Gabriel Rossetti, John Ruskin--who lent him print Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/a-seated-couple-embracing-artist-sir-edward-burne-jones-british-birmingham-1833-1898-fulham-dimensions-sheet-13-316-x-9-1516-in-335-x-252-cm-date-ca-1865-burne-jones-likely-made-this-drawing-in-the-mid-1860s-when-he-was-sketching-the-parthenon-marbles-at-the-british-museum-using-chalks-on-colored-paper-while-a-student-at-oxford-burne-jones-and-his-close-friend-william-morris-decided-to-give-up-their-theology-degrees-and-instead-pursue-artistic-careers-since-he-lacked-formal-training-burne-jones-sought-advice-from-dante-gabriel-rossetti-john-ruskin-who-lent-him-print-image213299179.htmlRMPB0H7R–A Seated Couple, Embracing. Artist: Sir Edward Burne-Jones (British, Birmingham 1833-1898 Fulham). Dimensions: sheet: 13 3/16 x 9 15/16 in. (33.5 x 25.2 cm). Date: ca. 1865. Burne-Jones likely made this drawing in the mid-1860s when he was sketching the Parthenon marbles at the British Museum, using chalks on colored paper. While a student at Oxford, Burne-Jones and his close friend William Morris decided to give up their theology degrees and instead pursue artistic careers. Since he lacked formal training, Burne-Jones sought advice from Dante Gabriel Rossetti, John Ruskin--who lent him print
Venezia ca. 1865–66 Larkin Goldsmith Mead American Vermont-born Larkin Goldsmith Mead was a prominent expatriate sculptor who worked in Florence for more than half a century. During the mid-1860s he made frequent trips to Venice, where his brother-in-law William Dean Howells served as the American consul and where Mead met his future wife, Marietta di Benvenuti. Venezia, his best-known sculpture (of which there are more than ten located examples), depicts an attractive young woman, probably the sculptor's wife at the time of their courtship and marriage. As a personification of Venice, she wea Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/venezia-ca-186566-larkin-goldsmith-mead-american-vermont-born-larkin-goldsmith-mead-was-a-prominent-expatriate-sculptor-who-worked-in-florence-for-more-than-half-a-century-during-the-mid-1860s-he-made-frequent-trips-to-venice-where-his-brother-in-law-william-dean-howells-served-as-the-american-consul-and-where-mead-met-his-future-wife-marietta-di-benvenuti-venezia-his-best-known-sculpture-of-which-there-are-more-than-ten-located-examples-depicts-an-attractive-young-woman-probably-the-sculptors-wife-at-the-time-of-their-courtship-and-marriage-as-a-personification-of-venice-she-wea-image458069070.htmlRM2HH6RNJ–Venezia ca. 1865–66 Larkin Goldsmith Mead American Vermont-born Larkin Goldsmith Mead was a prominent expatriate sculptor who worked in Florence for more than half a century. During the mid-1860s he made frequent trips to Venice, where his brother-in-law William Dean Howells served as the American consul and where Mead met his future wife, Marietta di Benvenuti. Venezia, his best-known sculpture (of which there are more than ten located examples), depicts an attractive young woman, probably the sculptor's wife at the time of their courtship and marriage. As a personification of Venice, she wea
A wagon train crossing the Platte River during the Colorado Gold Rush, with Native American woman sitting on the riverbank. Illustration by Albert Bierstadt (1830-1902). Harper's Weekly, August 13, 1859. The Pike's Peak Gold Rush, later known as the Colorado Gold Rush, occurred in Kansas Territory and Nebraska Territory from mid-1858 to early-1861. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/a-wagon-train-crossing-the-platte-river-during-the-colorado-gold-rush-with-native-american-woman-sitting-on-the-riverbank-illustration-by-albert-bierstadt-1830-1902-harpers-weekly-august-13-1859-the-pikes-peak-gold-rush-later-known-as-the-colorado-gold-rush-occurred-in-kansas-territory-and-nebraska-territory-from-mid-1858-to-early-1861-image458811629.htmlRM2HJCJWH–A wagon train crossing the Platte River during the Colorado Gold Rush, with Native American woman sitting on the riverbank. Illustration by Albert Bierstadt (1830-1902). Harper's Weekly, August 13, 1859. The Pike's Peak Gold Rush, later known as the Colorado Gold Rush, occurred in Kansas Territory and Nebraska Territory from mid-1858 to early-1861.
. English: An extremely rare example of G. Woolworth Colton's 1867 vertical pocket map of New York. This important map, first issued in 1865, marks a significant rethinking of the standard Manhattan map. Previous maps of New York City tended to represent only the lower parts of Manhattan (on the Burr model) or orient the city horizontally with the top of the map facing west (as in the Commissioner's Plan). With the opening of Central Park in the mid 1860s, the previously rural northern portions of the city became not only accessible, but desirable destinations. Map publishers of the period, m Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/english-an-extremely-rare-example-of-g-woolworth-coltons-1867-vertical-pocket-map-of-new-york-this-important-map-first-issued-in-1865-marks-a-significant-rethinking-of-the-standard-manhattan-map-previous-maps-of-new-york-city-tended-to-represent-only-the-lower-parts-of-manhattan-on-the-burr-model-or-orient-the-city-horizontally-with-the-top-of-the-map-facing-west-as-in-the-commissioners-plan-with-the-opening-of-central-park-in-the-mid-1860s-the-previously-rural-northern-portions-of-the-city-became-not-only-accessible-but-desirable-destinations-map-publishers-of-the-period-m-image184968381.htmlRMMMX11H–. English: An extremely rare example of G. Woolworth Colton's 1867 vertical pocket map of New York. This important map, first issued in 1865, marks a significant rethinking of the standard Manhattan map. Previous maps of New York City tended to represent only the lower parts of Manhattan (on the Burr model) or orient the city horizontally with the top of the map facing west (as in the Commissioner's Plan). With the opening of Central Park in the mid 1860s, the previously rural northern portions of the city became not only accessible, but desirable destinations. Map publishers of the period, m
The Environs of Paris, 1860s, Oil on wood, 13 1/2 x 20 1/4 in. (34.3 x 51.4 cm), Paintings, Camille Corot (French, Paris 1796 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-image-the-environs-of-paris-1860s-oil-on-wood-13-12-x-20-14-in-343-x-514-162536120.htmlRMKCC4DC–The Environs of Paris, 1860s, Oil on wood, 13 1/2 x 20 1/4 in. (34.3 x 51.4 cm), Paintings, Camille Corot (French, Paris 1796
Breaker Boys,Maltby Breaker, Maltby PA. A breaker boy was a coal-mining worker in the United States and United Kingdom whose job was to separate impurities from coal by hand in a coal breaker. Breaker boys were primarily children, but elderly coal miners who could no longer work in the mines because of age, disease, or accident were also sometimes employed as breaker boys.The use of breaker boys began in the mid-1860s. Although public disapproval of the employment of children as breaker boys existed by the mid-1880s, the practice did not end until the 1920s Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/breaker-boysmaltby-breaker-maltby-pa-abreaker-boywas-a-coal-mining-worker-in-theunited-statesandunited-kingdomwhose-job-was-to-separate-impurities-fromcoalby-hand-in-acoal-breaker-breaker-boys-were-primarily-children-but-elderly-coal-miners-who-could-no-longer-work-in-the-mines-because-of-age-disease-or-accident-were-also-sometimes-employed-as-breaker-boysthe-use-of-breaker-boys-began-in-the-mid-1860salthough-public-disapproval-of-the-employment-of-children-as-breaker-boys-existed-by-the-mid-1880s-the-practice-did-not-end-until-the-1920s-image209195304.htmlRMP49JMT–Breaker Boys,Maltby Breaker, Maltby PA. A breaker boy was a coal-mining worker in the United States and United Kingdom whose job was to separate impurities from coal by hand in a coal breaker. Breaker boys were primarily children, but elderly coal miners who could no longer work in the mines because of age, disease, or accident were also sometimes employed as breaker boys.The use of breaker boys began in the mid-1860s. Although public disapproval of the employment of children as breaker boys existed by the mid-1880s, the practice did not end until the 1920s
Floral appliqué quilt, c. 1860s–70s, 90 1/8 x 86 1/2 in. (228.92 x 219.71 cm), Cotton; pieced, appliquéd, and quilted, United States, 19th century, Many quilts from the 1700s and early 1800s featured a large central motif, called a medallion. But in the mid-1800s, block-style quilts surged in popularity. This one has nine blocks, each punctuated with a spray of green and red tulips. One advantage of such quilts was that the squares—usually one or two feet wide—were easy to carry along on social visits, allowing women to stitch as they chatted. This meant 'free time' was always productive. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/floral-appliqu-quilt-c-1860s70s-90-18-x-86-12-in-22892-x-21971-cm-cotton-pieced-appliqud-and-quilted-united-states-19th-century-many-quilts-from-the-1700s-and-early-1800s-featured-a-large-central-motif-called-a-medallion-but-in-the-mid-1800s-block-style-quilts-surged-in-popularity-this-one-has-nine-blocks-each-punctuated-with-a-spray-of-green-and-red-tulips-one-advantage-of-such-quilts-was-that-the-squaresusually-one-or-two-feet-widewere-easy-to-carry-along-on-social-visits-allowing-women-to-stitch-as-they-chatted-this-meant-free-time-was-always-productive-image573515765.htmlRM2T91W5W–Floral appliqué quilt, c. 1860s–70s, 90 1/8 x 86 1/2 in. (228.92 x 219.71 cm), Cotton; pieced, appliquéd, and quilted, United States, 19th century, Many quilts from the 1700s and early 1800s featured a large central motif, called a medallion. But in the mid-1800s, block-style quilts surged in popularity. This one has nine blocks, each punctuated with a spray of green and red tulips. One advantage of such quilts was that the squares—usually one or two feet wide—were easy to carry along on social visits, allowing women to stitch as they chatted. This meant 'free time' was always productive.
Gwalior. Ancient Brahminical temple in the Fort. General view of the Sasbahu Temple. Mid 1860s. Source: Photo 577/(66). Author: Bourne, Samuel. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/gwalior-ancient-brahminical-temple-in-the-fort-general-view-of-the-sasbahu-temple-mid-1860s-source-photo-57766-author-bourne-samuel-image226870376.htmlRMR52RDC–Gwalior. Ancient Brahminical temple in the Fort. General view of the Sasbahu Temple. Mid 1860s. Source: Photo 577/(66). Author: Bourne, Samuel.
The 1869 caption reads: ' When, high in mid air, he shook himself, the crystal drops were flung into my very face.' The scene shows two men in a boat fishing in the Adirondacks. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/the-1869-caption-reads-when-high-in-mid-air-he-shook-himself-the-crystal-drops-were-flung-into-my-very-face-the-scene-shows-two-men-in-a-boat-fishing-in-the-adirondacks-image473092215.htmlRF2JDK5XF–The 1869 caption reads: ' When, high in mid air, he shook himself, the crystal drops were flung into my very face.' The scene shows two men in a boat fishing in the Adirondacks.
UK, England, Cheshire, Prestbury, St Peter Churchyard, ancient Norman Chapel Schoolroom, circa 1865 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-photo-uk-england-cheshire-prestbury-st-peter-churchyard-ancient-norman-chapel-124339505.htmlRMH6848H–UK, England, Cheshire, Prestbury, St Peter Churchyard, ancient Norman Chapel Schoolroom, circa 1865
A man in the mid-1860s Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/a-man-in-the-mid-1860s-image349930089.htmlRF2B98KB5–A man in the mid-1860s
Utah, Salt Lake City, 'This Is The Place' Heritage Park, relocated Samuel Jewkes / Henry Draper Home c.mid-1860's Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-photo-utah-salt-lake-city-this-is-the-place-heritage-park-relocated-samuel-51077697.htmlRMCY2P3D–Utah, Salt Lake City, 'This Is The Place' Heritage Park, relocated Samuel Jewkes / Henry Draper Home c.mid-1860's
Library at the British Museum, London, England. After a print from the 1860's from a work by C. Dammann. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/library-at-the-british-museum-london-england-after-a-print-from-the-1860s-from-a-work-by-c-dammann-image450880669.htmlRM2H5FAW1–Library at the British Museum, London, England. After a print from the 1860's from a work by C. Dammann.
US flag with medallion formation, used in 1860s Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-photo-us-flag-with-medallion-formation-used-in-1860s-104608644.htmlRMG259B0–US flag with medallion formation, used in 1860s
1860s ILLUSTRATION WORKERS LAYING TRACK FOR TRANSCONTINENTAL RAILROAD - q72155 CPC001 HARS TIES NATIVE AMERICAN SMALL GROUP OF ANIMALS ENGINES MID-ADULT MID-ADULT MAN NATIVE AMERICANS TELEGRAPH YOUNG ADULT MAN B&W BLACK AND WHITE OCCUPATIONS OLD FASHIONED TRANSCONTINENTAL Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-photo-1860s-illustration-workers-laying-track-for-transcontinental-railroad-175940915.htmlRMM66PC3–1860s ILLUSTRATION WORKERS LAYING TRACK FOR TRANSCONTINENTAL RAILROAD - q72155 CPC001 HARS TIES NATIVE AMERICAN SMALL GROUP OF ANIMALS ENGINES MID-ADULT MID-ADULT MAN NATIVE AMERICANS TELEGRAPH YOUNG ADULT MAN B&W BLACK AND WHITE OCCUPATIONS OLD FASHIONED TRANSCONTINENTAL
Mid-late 19th century photograph - Group of Bheel of Bhil people, central India, 1860's Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/mid-late-19th-century-photograph-group-of-bheel-of-bhil-people-central-india-1860s-image401828252.htmlRM2E9MT10–Mid-late 19th century photograph - Group of Bheel of Bhil people, central India, 1860's
A tiny, poignant grave marker at Chico Cemetery, a windswept country graveyard near Avondale in Pueblo County, Colorado Physical description: 1 photograph : digital, tiff file, color. Notes: The cemetery was first populated in the 1860s, as white families from war-torn mid-South states moved westward after the Civil War. Many of their children perished along the trail. The tiny farming community of Chico on the site disappeared as most of its male residents left for city jobs. One of the cemetery's informal caretakers, Don Robertson, told the Pueblo daily newspaper that people have suggested Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/a-tiny-poignant-grave-marker-at-chico-cemetery-a-windswept-country-graveyard-near-avondale-in-pueblo-county-colorado-physical-description-1-photograph-digital-tiff-file-color-notes-the-cemetery-was-first-populated-in-the-1860s-as-white-families-from-war-torn-mid-south-states-moved-westward-after-the-civil-war-many-of-their-children-perished-along-the-trail-the-tiny-farming-community-of-chico-on-the-site-disappeared-as-most-of-its-male-residents-left-for-city-jobs-one-of-the-cemeterys-informal-caretakers-don-robertson-told-the-pueblo-daily-newspaper-that-people-have-suggested-image262622625.htmlRMW77DRD–A tiny, poignant grave marker at Chico Cemetery, a windswept country graveyard near Avondale in Pueblo County, Colorado Physical description: 1 photograph : digital, tiff file, color. Notes: The cemetery was first populated in the 1860s, as white families from war-torn mid-South states moved westward after the Civil War. Many of their children perished along the trail. The tiny farming community of Chico on the site disappeared as most of its male residents left for city jobs. One of the cemetery's informal caretakers, Don Robertson, told the Pueblo daily newspaper that people have suggested
![Carte-de-visite of Sarah "Sally" Cadwallader Ely shown in three-quarter length portrait. [Ely taught at Camp Todd and Camp Rucker, freedmen's villages in Virginia, outside the Washington, D.C., area in the mid 1860s.] She is seated with her body turned so that her left side is foremost to the camera. Her right arm is propped on a table covered with a floral cloth and her right hand is resting on her right cheek. Her left arm rests in her lap and she is holding a book with her thumb inside the pages and the book partially open. Her hair is parted at the center and then pinned in ringl Stock Photo](https://c8.alamy.com/comp/2G4GT4M/carte-de-visite-of-sarah-quotsallyquot-cadwallader-ely-shown-in-three-quarter-length-portrait-ely-taught-at-camp-todd-and-camp-rucker-freedmens-villages-in-virginia-outside-the-washington-dc-area-in-the-mid-1860s-she-is-seated-with-her-body-turned-so-that-her-left-side-is-foremost-to-the-camera-her-right-arm-is-propped-on-a-table-covered-with-a-floral-cloth-and-her-right-hand-is-resting-on-her-right-cheek-her-left-arm-rests-in-her-lap-and-she-is-holding-a-book-with-her-thumb-inside-the-pages-and-the-book-partially-open-her-hair-is-parted-at-the-center-and-then-pinned-in-ringl-2G4GT4M.jpg "Carte-de-visite of Sarah "Sally" Cadwallader Ely shown in three-quarter length portrait. [Ely taught at Camp Todd and Camp Rucker, freedmen's villages in Virginia, outside the Washington, D.C., area in the mid 1860s.] She is seated with her body turned so that her left side is foremost to the camera. Her right arm is propped on a table covered with a floral cloth and her right hand is resting on her right cheek. Her left arm rests in her lap and she is holding a book with her thumb inside the pages and the book partially open. Her hair is parted at the center and then pinned in ringl Stock Photo")
Carte-de-visite of Sarah "Sally" Cadwallader Ely shown in three-quarter length portrait. [Ely taught at Camp Todd and Camp Rucker, freedmen's villages in Virginia, outside the Washington, D.C., area in the mid 1860s.] She is seated with her body turned so that her left side is foremost to the camera. Her right arm is propped on a table covered with a floral cloth and her right hand is resting on her right cheek. Her left arm rests in her lap and she is holding a book with her thumb inside the pages and the book partially open. Her hair is parted at the center and then pinned in ringl Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/carte-de-visite-of-sarah-quotsallyquot-cadwallader-ely-shown-in-three-quarter-length-portrait-ely-taught-at-camp-todd-and-camp-rucker-freedmens-villages-in-virginia-outside-the-washington-dc-area-in-the-mid-1860s-she-is-seated-with-her-body-turned-so-that-her-left-side-is-foremost-to-the-camera-her-right-arm-is-propped-on-a-table-covered-with-a-floral-cloth-and-her-right-hand-is-resting-on-her-right-cheek-her-left-arm-rests-in-her-lap-and-she-is-holding-a-book-with-her-thumb-inside-the-pages-and-the-book-partially-open-her-hair-is-parted-at-the-center-and-then-pinned-in-ringl-image433088004.htmlRM2G4GT4M–Carte-de-visite of Sarah "Sally" Cadwallader Ely shown in three-quarter length portrait. [Ely taught at Camp Todd and Camp Rucker, freedmen's villages in Virginia, outside the Washington, D.C., area in the mid 1860s.] She is seated with her body turned so that her left side is foremost to the camera. Her right arm is propped on a table covered with a floral cloth and her right hand is resting on her right cheek. Her left arm rests in her lap and she is holding a book with her thumb inside the pages and the book partially open. Her hair is parted at the center and then pinned in ringl
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