373
Josef Maximilian; Talbot, William Henry Fox; and
Wet Collodion Positive Processes.
Further Reading
Barger, M. Susan and William B. White, The Daguerreotype:
Nineteenth-Century Technology and Modern Science. Wash-
ington, DC: Smithsonian Institution Press, 1991.
Daguerre, Louis Jacques Mandé, An Historical & Descriptive
Account of the Various Processes of the Daguerreotype &
the Diorama by Daguerre. 1839. New York: Winter House
Press, 1971.
Davies, Alan and Peter Stanbury, The Mechanical Eye in Austra-
lia: Photography, 1841–1900. Melbourne: Oxford University
Press, 1985.
Debroise, Olivier, Mexican Suite: A History of Photography in
Mexico. Austin: University of Texas Press, 2001.
Ferrez, Gilberto, Photography in Brazil, 1840–1900. Trans.
Stella de Sa Rego. Albuquerque: University of New Mexico
Press, 1990.
Gernsheim, Helmut and Alison Gernsheim, L. J. M. Daguerre:
The History of the Diorama and the Daguerreotype. 2nd rev.
ed. New York: Dover Publications, 1968.
Greenhill, Ralph and Andrew Birrell, Canadian Photography:
1839–1920. Toronto: Coach House Press, 1979.
Hill, Levi, A Treatise on Daguerreotype; The Whole Art Made
Easy. 1850. New York: Arno Press, 1973.
Newhall, Beaumont. The History of Photography, From 1839
to the Present Day. New York: The Museum of Modern Art,
1964.
——. The Daguerreotype in America. 3rd rev. ed. New York:
Dover Publications, 1976.
Palmquist, Peter, ed., The Daguerreian Annual. Eureka, CA: The
Daguerreian Society, 1990–.
Rosenblum, Naomi. A World History of Photography. New York:
Abbeville Press, 1984.
Rudisill, Richard. Mirror Image: The Infl uence of the Daguerreo-
type on American Society. Albuquerque: University of New
Mexico Press, 1971.
Sobieszek, Robert A., ed., The Daguerreotype Process: Three
Treatises, 1840–1849. New York: Arno Press, 1973.
Taft, Robert, Photography and the American Scene: A Social
History, 1839–1889. 1938. New York: Dover Publications,
1964.
Thierry, J., Daguerréotypie [Daguerreotypy]. 1847. New York:
Arno Press, 1979.
Wood, John, ed., The Daguerreotype: A Sesquicentennial Cel-
ebration. Iowa City: University of Iowa Press, 1989.
DAINTREE, RICHARD (1832–1878)
Englishman Richard Daintree was born in 1832 and
came to Australia for health reasons and to prospect
for gold. He joined the Geological Survey of Victoria
as an assistant and undertook further training at the
Royal School of Mines Laboratory in England in 1856
and around this time he took up photography. Back in
Melbourne in 1857 however, Daintree set up as a pho-
tographer in partnership with the fl amboyant French
journalist Antoine Fauchery. The pair produced, in
parts, one of the fi rst albums in Australia showing views
of Victoria including images of Aboriginal people in
- Employed by the Geological Survey Victoria
from 1859–1864 Daintree used of photography in
geological reporting also having them hand coloured
for effect. From the start Daintree’s use of a range of
processes and strategies and his understanding of the
promotional value of photography was inspired. He
also supplied images for publication as stereographs
and made transparencies.
In 1864, Daintree took up pastoral leases in North
Queensland but was appointed northern Queensland
Government Geologist in 1867. He was commissioned
to prepare photographs and mineral samples for the
London International Exhibition of 1870. and he had
his photographs enlarged and coloured as more effective
displays. He produced a Queensland album in autotype
in 1872 as well as folios of views of bush life. In 1872,
Daintree became the Queensland Government Agent-
General in London where he promoted immigration
using his Australian photographs.
Daintree exhibited at the Imperial Exhibition (1872),
the Vienna Exhibition (1873), and the Philadelphia Cen-
tennial Exhibition (1876). Ill health forced his resigna-
tion in 1876 and he died in England in 1878.
Gael Newton
D’ALESSANDRI, FRATELLI (1818–1893)
Studio, ItalyConsisting of Antonio D’Alessandri & Paolo Francesco
D’Alessandri (1827–1889) Fratelli D’Alessandri be-
came one of the foremost studios in Europe, known for
their elegant approach to portraiture. Father Antonio
Alessandri was granted fi nancial and social success
overnight when he became the fi rst offi cial photogra-
pher, fotografi co pontifi co, to the Pope and the Vatican
court with world-wide distribution of Papal imagery.
In 1858 he was awarded a ‘grand medal of gold of His
Holiness Pius IX.’ These were troubled times, not least
that Rome, led by the Pope, was to continue its decline
as the cultural capital of Europe, to be eclipsed by Paris.
Pope Pius IX (1792–1878) became pope in 1846 but if
he did appear to have liberal leanings, these were all
destroyed in the short lived revolution of 1848 when
he fl ed Rome and sought the help of French troops. By
July 1849 the rebellion was over. While the rest of the
Kingdoms of Italy joined in the idea of the Unifi cation,
but not without diffi culty, Pius resolutely refused to
acknowledge the possibility. Thus Rome fi lled up with
the French, along with many destitute priests who had
fl ed from the other provinces as they were no longer
required to be the civil service. It is strange for us today
to conceive of a Pope running a country, complete with
an army, (largely made up of Catholics from outside
Italy together with a foreign army), and a Pontifi cal