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Further Reading
Arnold, H.J.P., William Henry Fox Talbot, Pioneer of photography
and man of science, London, Hutchinson Benham, 1977.
Eder, Josef Maria, History of Photography, translated Edward
Epstean, New York, Dover edition, 1978.
England, William, “The Tannin Process—Transparencies—In-
stantaneous Photography,” The Photographic News, Volume
VI, April 11, 1862, 175–176.
‘Exposure,’ Cassell’s Cyclopaedia of Photography, edited by
Bernard E. Jones. London, New York etc. Cassell and Com-
pany Ltd., 1911.
‘Exposure,’ The Focal Encyclopedia of Photography, vol. 1,
London & New York, Focal Press Ltd, 1965 (fully rev. ed.).
Emerson, P.A., Naturalistic Photography, London, Sampson Low,
Marston, Searle and Rivington, 1889.
Gernsheim, Helmut and Alison, The History of Photography,
London, Thames and Hudson, 1969.
Price, Lake, A Manuel of Photographic Manipulation (2nd ed.),
London, John Churchill & Sons, 1868.
Schaaf, Larry J., Records of the Dawn of Photography, Cam-
bridge, Cambridge University Press, 1996.
Sutton, Thomas., A Description of Certain Instantaneous Dry
Processes, London, Sampson Low, Son & Marston, 1864.EYNARD, JEAN-GABRIEL (1775–1863)
Born in 1775 in France, Eynard fl ed to Switzerland
in 1793 to escape the excesses of the French Revolu-tion. An illustrious career as a merchant, international
fi nancier, and diplomat ensued, enabling him to amass
a large fortune, much of which he devoted in the 1820s
to helping Greece win its independence.
Eynard was sixty-three when the invention of the
daguerreotype was announced in 1839. He exercised his
prodigious energy to learning the process, and in 1842
made eight daguerreotypes of the French king, Louis-
Philippe, and his family, images now seemingly lost.
Free from fi nancial constraints, Eynard chose his
subjects at will. Not surprisingly, he drew from the life
immediately around him: his family, friends, servants,
houses, carriages, the city of Geneva, and the stage
sets of his private theater. He selected his settings, ar-
ranged the poses, and, with the help of his valet, Jean
Rion, included himself in many images. These care-
fully composed, technically accomplished, and elegant
documentations of Eynard’s life collectively comprise,
in effect, an extended family album at once both sophis-
ticated and artful.
As they were made for private delectation and were
not subject to the vicissitudes of the market place until
well after his death in 1863, a surprisingly large number
of his daguerreotypes have survived.
Gordon BaldwinEYNARD, JEAN-GABRIEL
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