40
collodion plates manufactured for him by Angerer’s
newly opened dry plate factory. Perhaps as a reaction
against the uncertainty of mass produced materials at
the time, Angerer had joined forces with another of
Vienna’s most celebrated photographers, Dr. Székely,
to manufacture plates to their own exacting standards.
The operation lasted only a decade, however, and by
1892 Viktor Angerer had built a new home and studio
on the factory site. The Strauss portraits must have been
amongst the fi rst taken at the new premises. Viktor died
in 1894, at the age of 55.
The studio fi nally closed at the outbreak of the Great
War, 1914.
John Hannavy
See also: Claudet, Frances George; Eder, Joseph
Maria; Petzval, Josef Maximilian; and von
Voigtländer, Baron Peter Wilhelm Friedrich.
Further Reading
Eder, Josef Maria, History of Photography. New York: Dover,
1978.
Henisch, Heinz K., and Brdget A., The Photographic Experience
1839–1914. University Park: Pennsylvania State University
Press, 1993.
Gernsheim, Helmut, The Rise of Photography 1850–1880. Lon-
don: Thames & Hudson, 1988.
Taylor, Roger, Photographs Exhibited in Britain 1839–1865.
Ottawa: National Gallery of Canda, 2002.
ANIMAL AND ZOOLOGICAL
PHOTOGRAPHY
Due to the need for long exposure times in the fi rst
years of photography 1839–1845 only fossils, dead or
stuffed animals could be photographed on metal and
paper (some by use of the microscope) while from the
mid-1840s domesticated animals in static poses appear
in daguerreotypes by Bisson Frères and others. From
1851 access to exotic live animals in new public “zoo-
logical gardens” coinciding with the development of
faster wet-collodion plates, was a boon to photographers
and scientists alike. Spanish gentleman-amateur Juan
de Borbón Comte de Montizon (1822–1887) exhibited
numerous collodion photographs of beasts, birds and
fi sh taken at the London Zoo between 1852–1858 and
in Paris in 1860 Louis de Lucy (Louis Godefroy Lucy-
Fossarieu, 1822–1892) was offi cial photographer for an
album for the new Zoological and Botanical Acclimati-
sation Garden in the Bois de Boulogne.
In The Photographic News of 23 February1866
Frank Haes (1832–1916) described the difficulties
of working with slow speed plates and unpredictable
subjects over two years work at London Zoo preparing
his series of stereographs for sale. His diffi culties were
slight compared to those of explorer James Chapman
(1831–1872) in Namibia who secured a few images of
dead wild animals using a French stereograph camera
in 1861–62.
The publication potential of the new negative-posi-
tive collodion process inspired the Paris Museum in
1853 to commission Bisson Frères (Louis-Auguste
(1814–1876), Auguste-Rosalie (1826–1900) to make
photographs for a serial publication Zoologie pho-
tographique, ou représentation des animaux rares dés
collections du muséum d’histoire naturelle with 60
plates made using Niepce’s photomechanical process.
The British Museum followed suit in 1854 engag-
ing Roger Fenton (1819–1869) but did not produce a
zoological publication. Later publications such as that
of the Harvard College Museum of Comparative Zool-
ogy in 1873–1874 had photographs by John Carbutt
(1832–1905) reproduced in the superior photomechani-
cal process of woodburytype.
A number of specialist pedigree animal photog-
raphers worked in Paris in the 1850s–1860s. Adrien
Tournachon (1825–1903) made photographs at bovine
and equestrian shows later using Adolphe Bertsch’s
rapid collodion plates with the salt paper process in
the mid-1850s but his work was eclipsed by the scale
and style of an equestrian studio hippique set up in the
Bois de Boulogne in 1860 by Jockey-Club member
Louis Jean Delton I (1807–1891). The latter posed
clients on their steeds or in horse and carriage teams
outdoors against a variety of stylish scenic backdrops.
Léon Cremière (1831–1913) editor and illustrator of
the sports journal Le Centaure (1866–1869) produced
albumen and woodburytype photographs on lettered
cards of pedigree dog in shows. Cremière published an
album on bloodhounds; La Vénerie Française [French
Hunting] on the show of 1865 and Delton an Album
hippique [Equestrian album] in 1870.
The French studios practised a form of portraiture,
while in Scotland from the late 1850s Horatio Ross
(1801–86) used dead props to make pictures of hunting
scenes enlivened with titles like “I have got him at last.”
Others like Willoughby Wallace Hooper (1837–1912)
in India also catered to the hunter’s desire for on the
spot proof and souvenirs with staged hunting scenes in
the late 1870s. John Dillwyn Llewelyn (1810–1888) in
England in used stuffed animals in natural settings in the
early 1850s but turned to his own oxymel “dry” preser-
vative process in 1856 to do outdoor animal studies In
Vienna photographer C. Wrabertz used taxidermy speci-
mens for bird photographs in E. Hodek’s Europäische
Raubvögel, serie 1 [European Birds of Prey series 1]
in 1874 and Canada William Notman (1826–1891) a
fi ne canine pet portraitist, used taxidermy in 1876 for
his illustrations to H.G. Vennor’s Our Birds of Prey, or
the Eagles, Hawks and Owls of Canada. Taxidermy
facilitated comic tableaux works such as those by cat