192
Further Reading
Armstrong, Carol. Scenes in a Library: Reading the Photograph
in the Book, 1843–75. Boston”MIT Press. 1998.
Bradford, William. The Arctic Regions: Illustrated with Pho-
tographs Taken on an Art Expedition to Greenland. With
Descriptive Narrative by the Artist. London: Sampson, Low,
Marston, Low and Searle, 1873.
Gernsheim, Helmut, Incunabula of British Photographic Litera-
ture 1839-1875, London and Berkeley, Scolar Press, 1984
Heidtmann, Frank, Wie das Photo ins Buch Kam. Berlin: Berlin
Verlag Arno Spitz, 1984.
Johnson, William S, Nineteenth Century Photography, An An-
notated Bibliography, 1839–1879. London: Mansell, 1990.
Parr, Martin and Gerry Badger. The Photobook: A History: v. 1.
London: Phaidon Press Ltd., 2004.
Wakeman, Geoffrey Victorian Book Illustration, The Technical
Revolution. Newton Abbot: David & Charles, 1973.
Wilson, John, Photography and the Printed Page in the Nine-
teenth Century (exh. cat.). Oxford: Bodeian Library, 2001.BOOKS ILLUSTRATED WITH
PHOTOGRAPHS: 1890s
By the 1890s, book illustration had evolved from the
old methods of using original photographs in books to
include photo-mechanically reproduced illustrations.
Many photographers continued to make valued and
rarifi ed objects containing tipped-in photographs while
others looking for a wider audience relied on a variety
of photomechanical reproduction processes.
The book topics benefi ting most from the addition of
photo illustration included scientifi c and ethnographic
studies, promotional pieces for tourism or relocation,
and children’s stories and nursery rhymes. At turn of
the century photographically illustrated books coin-
cided with the fi rst period of consistent development
of art photography. Not withstanding photographers
responded in a number of directions to imaginative and
factual writing when coupling their images to the text.
Preserving memories and a nostalgic look at gentler
times in the face of industrialization is what appears to
have motivated many authors. When Naturalist photog-
rapher Peter Henry Emerson published Wild Life on a
Tidal Water (1890) his images of Britain’s East Anglia
captured the disappearing rural lifestyle yet were repro-
duced in the new halftone printing process.
Perhaps inspired by an equivocal need for fl ight of the
imagination, other photographers illustrated books about
travel and people of the world. William Shepard Walsh
produced Around the World in Eighty Minutes (1894)
showing some of the most interesting monuments and
beautiful scenes on the earth’s surface. Books express-
ing to preserve family memories and mirror society’s
desire for more leisure time are enunciated in E. A.
Allen’s A Jolly Trip: Or, where we went and what we saw
last summer (circa 1895), Frank G. Carpenter, Travels
Through North America with the Children (1898), andMary Abigail Fowler’s Snap Shots with Tales of Travel
Truthfully Told (1898) Lida Brooks Miller features a
number of halftone reproductions of scenes taken in
Africa, Europe American and Asia in Round the World
with Notebook and Camera (1897).
Savoring the historic past and vastly changing pres-
ent through the photographic image appeared to inspire
some photographers. In New England, during the 1890s,
a number of quite gifted regional photographers took
pictures of people at work, interesting local events, and
beautiful views. One such photographer, Henry S. Wyer,
ca. 1890–95, published a number of books illustrating
the sights and characters of his native Nantucket. Wyer’s
book, Nantucket: Old and New featured local townsfolk
at their occupation.
Contrasting somewhat in purpose, photographically
illustrated books about the American West aspired to
attract new residents and tourism to the developing
frontier. Illustrated government publications about the
American West using the halftone printing process were
widespread by the early 1890s. Most books of the West
followed one of four main categories: private memo-
rial projects to commemorate an individual or their
adventure, commercial business enterprises geared to
attract new pioneer settlement, historical documenta-
tion of local interest, and books or manuals aimed at
promoting tourism.
Government published books on the peoples and
places of the western frontier bring together historical
and statistical data coupled with photographic illustra-
tions. Two such books were published in conjunction
with the demographic report of the 1890 census, Moqui
Pueblo Indians of Arizona and Pueblo Indians of New
Mexico (1893) and Report on Indians Taxed and Indians
Not Taxed (1894).
During the fi nal decade of the century, photographi-
cally illustrated children’s books continued to be a popu-
lar form of expression among amateur photographers.
Photographic images advanced the narrative of nurs-
ery rhymes, poetic verse and prose. When illustrating
a text, some photographers considered their subject by
recording the story setting, while others enacted staged
realities or tableaux vivant. Photographically illustrated
children’s books were popular as keepsake mementos
and not necessarily intended for children even though
children were the subject. Amateur photographers gravi-
tated toward the genre of photographically illustrated
books for children. Mary A. Bartlett produced three such
books in the decade, Old Friends with New Faces (1892),
Mother Goose of ’93 (1893), and A Girl I Know (1894).
The fi rst two featured allegorical narratives depicting
young children within a domestic setting acting out
nursery rhymes. Bartlett integrates calligraphic text with
charming photographs printed in the gravure process on
tipped-in Japanese rice paper. Mother Goose of ’93 wasBOOKS ILLUSTRATED WITH PHOTOGRAPHS: 1870s