856
engravings, lithographs, woodcuts, and other graphic
arts and 13 million photographs. Unique items in the
collection include a volume of daguerreotype landscapes
from around the world, transferred onto copper plates
and printed by letterpress. The George S. Lawrence
and Thomas Houseworth Collection contains mid-nine-
teenth century gold-toned stereographic photographs of
California and Nevada. In 1893 the Library acquired
its fi rst motion picture when W.K.L Dixon deposited
Edison Kinetoscopic Records for copyright. In 1968
the American Film Institute formalized an agreement
with the Library to develop a national motion picture
collection.
Special collections within the Photographs Division
include the photoprints and negatives from the Detroit
Publishing Company, which was formed in 1898 (and
later renamed the Detroit Photographic Company) as
a partnership between printer William A. Livingstone
and photographer William Henry Jackson. Livingstone
owned the American rights to a lithographic process that
added color to black-and-white negatives and collabo-
rated with Jackson and other photographers to produce
thousands of postcards and souvenirs, primarily of the
United States.
The Farm Security Administration, headed by Roy
E. Stryer, commissioned photographers Walker Evans,
Dorothea Lange, Russell Lee, Arthur Rothstein, Ben
Shahn, Jack Delano, Marion Post Wolcott, Gordon
Parks, and others to document American life between
1935 and 1943. The project focused on Southern share-
croppers and migratory agricultural workers in the
Midwest and West. Transferred to the Library in 1944,
the holding includes the archives of Walker Evans and
Dorothea Lange, in addition to photographs made for
other government agencies, such as the Offi ce of War
Information.
Contemporary photographic holdings are diverse. In
1970 Toni Frissell donated negatives and photographs
from forty years as a fashion and portrait photographer.
The Library’s collection includes Frissell’s informal
portraits of Winston Churchill, Elearnor Roosevelt,
and John and Jacqueline Kennedy, as well as scenes
from Washington, D.C. and Europe during World Was
II. The Erwin E. Smith Collection comprises portraits
of American cowboys made between 1905–1915 on
ranches in Texas, New Mexico, and Arizona.
The Prints & Photographs Online Catalog provides
computer access to a cross-section of the Library’s
visual material. Material not available online can be
viewed in the Prints & Photographs Reading Room in
the Library’s Madison Building. Much of the material
held by the Library is exhibited on site; some material is
available for exhibition loan. The Library also provides
reference and research services.
Renata Golden
See also: Brady, Mathew B.; and War Phtography.Further Reading
Cole, John Y,. A Chronological History of the Library of Con-
gress, Washington, D.C.: Library of Congress, 1979.
Cole, John Y., For Congress and the Nation: A Chronological
History of the Library of Congress, Washington, D.C.: Library
of Congress, 1979.
Goodrum, Charles A., Treasure of the Library of Congress, rev.
ed., New York: H.N. Abrams, 1991.
Library of Congress web site: http://www.loc.gov/loc/legacy/loc.
html.
Nelson, Josephus, and Judith Farley, Full Circle: Ninety Years
of Service in the Main Reading Room, Washington, D.C.:
Library of Congress, 1991.LICHTWARK, ALFRED (1852–1914)
German photographer
Alfred Lichtwark was born November14, 1852, in
Reitbrock near Hamburg as the eldest son of a poor
miller. In 1860 the family moved to Altona where Alfred
visited a school for the poor and worked subsequently
as a teacher and librarian. In 1886 he was installed as
managing director to the Kunsthalle (art hall) at Ham-
burg founded in 1846. Until his death on November13,
1914, Lichtwark presided the museum and bought a
vast number of items for its collections: 1137 paintings,
pastels, and watercolours, 890 sculptures, reliefs, and
coins, 22,476 graphic prints and drawings, 8004 books,
and 14,367 photographs.
Early in 1893, Alfred Lichtwark installed the fi rst
large show of the fi ne art photography movement on
German ground, which was seen by more than 13,000
visitors in 51 days. This show started the career of the
Viennese Trifolium (Hugo Henneberg, Heinrich Kühn,
Hans Watzek), and instigated a number of similar exhi-
bitions. Alfred Lichtwark published article after atricle
on the pedagogic benefi ts of amateur photography,
held lecture after lecture on the importance of collect-
ing photographs, and by the end of the 19th century
had managed to establish the German defi nition of the
“engaged amateur.” There has been no better mediator
of the Art in Photography in German language since
Alfred Lichtwark.
Rolf SachsseLIÉBERT, ALPHONSE JUSTIN
(1827–1913)
Born in 1827, Alphonse Justin Liébert began his career
as a naval offi cer until he resigned to become pho-
tographer. In 1851, he opened a studio in the United
States, in San Francisco, where he stayed twelve years
long. Back in Paris, he promptly engaged in the French