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Further Reading
Bresc-Bautier, Geneviève, Françoise Heilbrun, et al., Le pho-
tographe et l’architecte: Édouard Baldus, Hector-Martin
Lefuel et le chantier du Nouveau Louvre de Napoléon III
(Dossiers du Musée du Louvre 47), Paris: Réunion des Musées
Nationaux, 1995.
Daniel, Malcolm, and Barry Bergdoll, The Photographs of Éd-
ouard Baldus, New York: Metropolitan Museum of Art, and
Montreal: Canadian Centre for Architecture, 1994; translated
as Édouard Baldus, Photographe, Paris: Réunion des Musées
Nationaux and Montreal: Centre Canadien d’Architecture,
1995.
Daniel, Malcolm, “Edouard Baldus, les albums du Chemin de
fer du Nord,” La Recherche Photographique 8 (February
1990), pp. 82-89; translated as “Édouard-Denis Baldus and
the Chemin de Fer du Nord Albums” in Image 35, nos. 3–4
(Fall-Winter 1992), 2–37.
Daniel, Malcolm, “Stone by Stone: Edouard-Denis Baldus and
the New Louvre,” History of Photography XVI/2 (Summer
1992), 115–122.
de Mondenard, Anne, La mission héliographique: cinq pho-
tographes parcourent la France en 1851, Paris: Centre des
monuments nationaux, 2002.
BALL, JAMES PRESLEY (1825–1905)
One of the country’s fi rst African American photogra-
phers, James Presley Ball learned his craft in 1844–5
from fellow African American John B Bailey, before
opening his fi rst studio in Cincinnati in 1845.
Ball was born in Virginia, a free man, and went on
to become a signifi cant fi gure in both photography and
the abolitionist movement in America.
A brief move to Richmond, Virginia, in 1846 brought
some success and, but he was back in Cincinnati from
1847 and “Ball’s Great Daguerrean Gallery of the West”
was established at 28 West 4th Street. With his brother
Thomas running the studio, Ball became an itinerant
photographer for a period travelling in both America
and Europe. Alexander Thomas joined him in Cincinnati
from 1852, becoming his partner before 1859, and by
1854 he was recorded as employing nine people.
With his studio established and his reputation and
wealth growing, Ball turned his attention to the plight
of slaves, publishing a pamphlet on the subject in 1855,
and mounting panoramic exhibitions in his gallery to
highlight the evils of slavery.
A tornado destroyed the gallery in May 1860, but it
was rebuilt, and his partnership with Thomas continued
the 1870s, by which time his son, James Presley Ball
Jr. also a photographer, had been taken into partnership
with him as well.
The studio moved to Minneapolis and St Paul (mid
1870s) and Helena, Montanta (1887), and eventually Se-
attle (1900) followed—where he operated as the Globe
Photographic Studio, and where he died in 1905.
John Hannavy
BAMBRIDGE, WILLIAM (1819–1879)
British photographer
As a young man William Bambridge travelled with the
1841 mission of Bishop Selwyn to New Zealand, which
had recently come under British sovereignty. There
Bambridge was employed as a teacher and clerical as-
sistant. He became an accomplished colonial artist and
made many drawings of native Maoris and Europeans.
Bambridge returned to his home town of Windsor in
1848 and is known to have been working for the Royal
Family at Windsor Castle from 1854.
Bambridge appears to have started work in the Royal
Household with the role of photographic manager;
printing and cataloging negatives from the many com-
missioned ‘Royal’ photographers, including Roger
Fenton.
In 1857 he printed Fenton’s large negatives, taken
at Balmoral (the Queen’s Scottish estate). That same
year he was kept busy printing many of the Queen’s
other negatives; just between July and September
1857 he made nearly 2000 prints and that year’s bill
for his photographic services was the then large sum
of £640.
As well as printing other photographers’ work Bam-
bridge took many pictures himself. Living locally he
was on hand to record the royal pets and farm animals
and to make informal family portraits. He exhibited his
pictures of animals, including cattle, dogs and deer at
the Photographic Society between 1855–57. He also was
involved in copying many of the Royal Collection’s art
works, including the Raphael Cartoons.
In the early 1860’s Bambridge collaborated with the
keen amateur photographer James Sinclair, fourteenth
Earl of Caithness (1821–1881), to produce a book of tree
studies, taken in the nearby Royal Parks. The History
of Windsor Great Park and Windsor Forest. Longman,
Roberts, Green and Co. (1865) comprised 20 studies of
ancient trees. The photographs were probably taken by
Caithness, with the assistance of Bambridge, who also
made the 10 × 12 inch albumen prints.
Bambridge retired from photography in 1874 and was
granted a Royal Pension for his 20 years’ service.
Ian SumnerBARKANOV, V.V.
Professional photographer
V.V. Barkanov was one of the fi rst Georgian photog-
raphers. His full name, date of birth and death are
unknown. He began working as a professional pho-
tographer in 1869 in the town of Kutaisi, later moving
to Tifl is (today Tbilisi) to work there. He made studio
portraits but it was his collection of “Views and Types”