9
10
102
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
CPR 1887
Creator
An entity primarily responsible for making the resource
Wm. Notman & Son (photographer)
Date
A point or period of time associated with an event in the lifecycle of the resource
1887
20.0 x 30.0 cm
FC 3205.2 W46 1887 folio
Description
An account of the resource
This presentation album was created to commemorate a Canadian Pacific Railway investors' trip across Canada, and was published by Canadian photographic studio <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3154">William Notman & Son</a>. <br /><br />The album provides an example of <a href="https://www.youtube.com/watch?v=ObveSq3cMkw" target="_blank" rel="noopener">albumen prints</a> created using the <a href="https://www.youtube.com/watch?v=hnxT4WQsLLM" target="_blank" rel="noopener">wet collodion process</a>. The photographers responsible for these images would have travelled across the landscapes pictured here carrying their supply of glass plate negatives and a full darkroom, due to the necessity of preparing and developing wet plates on location. Once the photographs were printed on albumen paper, they had to be individually pasted onto each page of the album.<br />
<p><span style="font-weight: 400;">Photographs like these ones played a role in shaping the ways that the Canadian West was imagined, and provide a good example of what photo historian Joan Schwartz calls "<a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/memory-and-identity">imagined geographies</a>." This album turns the spaces of Canada into an imagined place</span><span style="font-weight: 400;">—</span><span style="font-weight: 400;">and, for the specific purposes of this album</span><span style="font-weight: 400;">—</span><span style="font-weight: 400;">one that was intended to please investors in the railway. </span></p>
<p><span style="font-weight: 400;">As you consider the kind of “imagined geographies” that these photographs both build on and contribute to, consider additional <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/memory-and-identity/1900-to-1969/souvenir-books">souvenir albums</a> of the </span><span style="font-weight: 400;">Western Canadian landscape included in this exhibition. </span><span style="font-weight: 400;">What arguments do these photographs make and how do they encourage us to imagine and remember these places? <br /><br />This album forms part of the Prairie Roots Collection at Bruce Peel Special Collections, supported by the Prairie Roots Endowment Fund (gift of Ralph and Gay Young).</span></p>
landscape
Rockies
William Notman
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Portrait Album
Creator
An entity primarily responsible for making the resource
Deconclois (photographer)
Randall (photographer)
B. Boake (photographer)
Date
A point or period of time associated with an event in the lifecycle of the resource
[1880-1890]
23.0 x 19.6 cm
QL 26 E58 1880
Description
An account of the resource
<p><span style="font-weight: 400;">This album contains a collection of portraits in the format of </span><i><span style="font-weight: 400;">cartes-de-visite </span></i><span style="font-weight: 400;">and cabinet cards.</span></p>
<p><span style="font-weight: 400;">The </span><a href="https://www.gallery.ca/photo-blog/collecting-cards-cartes-de-visite" target="_blank" rel="noopener"><i><span style="font-weight: 400;">carte-de-visite</span></i></a><b><i> </i></b><span style="font-weight: 400;">was introduced in the 1850s by French photographer André-Adolphe-Eugène Disdéri. Since Disdéri depended on the </span><a href="https://www.youtube.com/watch?v=hnxT4WQsLLM&feature=emb_title" target="_blank" rel="noopener"><span style="font-weight: 400;">wet collodion process</span></a><span style="font-weight: 400;"> to create the portraits he sold at his Paris studio, exposing one plate required a significant amount of labour. An astute businessman, Disdéri came up with a new photographic format that would allow him to print eight full-length portraits with just one exposure by using a four-lens camera and sliding plate. The portraits were printed on </span><a href="https://www.youtube.com/watch?v=ObveSq3cMkw" target="_blank" rel="noopener"><span style="font-weight: 400;">albumen paper</span></a><span style="font-weight: 400;">, a type of light-sensitive paper made with a coating of egg whites that allowed for a smooth surface. After printing, the portraits wer</span><span style="font-weight: 400;">e mounted on cardboard and cut to produce eight distinct portraits. </span></p>
<p><a href="https://blog.scienceandmediamuseum.org.uk/find-out-when-a-photo-was-taken-identify-a-cabinet-card/" target="_blank" rel="noopener"><span style="font-weight: 400;">Cabinet cards</span></a><span style="font-weight: 400;"> are similar in format to </span><i><span style="font-weight: 400;">cartes-de-visite</span></i><span style="font-weight: 400;">, with an albumen print mounted on cardboard, but they are larger in size.</span></p>
<p><span style="font-weight: 400;">This album brings together</span><i><span style="font-weight: 400;"> cartes-de-visite</span></i><span style="font-weight: 400;"> of scientists, mostly entomologists, and was collected as part of Bruce Peel Special Collection’s </span><a href="https://bpsc.library.ualberta.ca/collections/dr-ronald-b-madge-entomology-collection" target="_blank" rel="noopener"><span style="font-weight: 400;">Dr Ronald B. Madge Entomology Collection</span></a><span style="font-weight: 400;">. While photography can record an individual’s likeness and provide information about their identity, it also leads us to consider how the work of collecting photographs and organizing them into an album helps shape and communicate information about the identity of the album’s compiler. Another </span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3128"><span style="font-weight: 400;">portrait album</span></a><span style="font-weight: 400;"> housed by the Peel library contains pictures of actresses, singers, and dancers, and provides a feminine counterpoint to the portraits of men collected here. </span></p>
carte-de-visite
entomology
portrait
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Portrait of A.C. Rankin and His Brother Playing Lacrosse
Creator
An entity primarily responsible for making the resource
William Notman (photographer)
Eugène L'Africain (colourist)
Date
A point or period of time associated with an event in the lifecycle of the resource
1887
72.4 x 51.6 cm
TR 140 N68 N913 1887 folio
Description
An account of the resource
<p><span style="font-weight: 400;">This portrait of two boys playing lacrosse is both a photograph and a painting, created by applying paint to a photograph. The portrait was produced by William Notman’s studio, which had artists on staff to transform photographs like this one into works of fine art. This family portrait points towards the twentieth-century tradition of <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/memory-and-identity/1900-to-1969/snapshot-albums">family snapshots</a>. However, due to its large size </span><span style="font-weight: 400;">and painted surface, the result is less like a family snapshot and more like an elite portrait painting, comparable to Thomas Gainborough’s </span><a href="https://www.nationalgallery.org.uk/paintings/thomas-gainsborough-the-painters-daughters-chasing-a-butterfly" target="_blank" rel="noopener"><i><span style="font-weight: 400;">The Painter’s Daughters Chasing a Butterfly</span></i></a><span style="font-weight: 400;"> (1759). </span><span style="font-weight: 400;">This example demonstrates one way that photography could serve as a “humble servant” of art, as <a href="https://iconicphotos.wordpress.com/2010/10/30/on-photography/" target="_blank" rel="noopener">Charles Baudelaire</a> suggested in 1859, and of the concern</span><span style="font-weight: 400;">—also articulated by Baudelaire—that photography’s dependence on realism would stifle the artist’s imagination.</span></p>
<p><span style="font-weight: 400;"><a href="https://www.aci-iac.ca/art-books/william-notman/biography/" target="_blank" rel="noopener">William Notman</a> opened his first photographic studio in 1856 in Montreal, and later expanded to additional cities in Canada. His studios attracted an elite clientele, and h</span><span style="font-weight: 400;">is 1865 publication </span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3154"><i>Portraits of British Americans</i></a> <span style="font-weight: 400;">highlights some of the well-known figures who had their photographs taken by Notman’s firm. </span></p>
colour
portrait
William Notman
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Observations, Relative Chiefly to Picturesque Beauty
Creator
An entity primarily responsible for making the resource
William Gilpin (author and artist)
Date
A point or period of time associated with an event in the lifecycle of the resource
1792
22.0 x 12.3 cm
DA 620 G49 1792
Description
An account of the resource
<p><span style="font-weight: 400;">Willia</span><span style="font-weight: 400;">m Gilpin</span><span style="font-weight: 400;">’s </span><i><span style="font-weight: 400;">Observations, Relative Chiefly to Picturesque Beauty </span></i><span style="font-weight: 400;">instructed readers in how to enjoy the landscapes of England’s Lake District, and was illustrated with <a href="https://www.metmuseum.org/toah/hd/aqtn/hd_aqtn.htm" target="_blank" rel="noopener">aquatints</a> (a type of <a href="https://www.tate.org.uk/art/art-terms/e/etching" target="_blank" rel="noopener">etching</a>) based on Gilpin's drawings. <a href="https://www.royalacademy.org.uk/art-artists/name/william-gilpin" target="_blank" rel="noopener">Gilpin</a> encouraged his readers to create sketches from nature and to tweak what they saw in order to create </span>picturesque drawings<span style="font-weight: 400;">. Gilpin described the <a href="https://www.tate.org.uk/art/art-terms/p/picturesque" target="_blank" rel="noopener">picturesque</a> as a type of view that offered a middleground between the peacefulness of a beautiful landscape and the thrill of a <a href="https://www.tate.org.uk/art/art-terms/s/sublime" target="_blank" rel="noopener">sublime landscape</a>. </span></p>
<span style="font-weight: 400;">Gilpin’s popularization of sketching </span><a href="https://www.nationaltrust.org.uk/features/what-is-the-picturesque-" target="_blank" rel="noopener"><span style="font-weight: 400;">picturesque scenery</span></a><span style="font-weight: 400;"> played a role in William Henry Fox Talbot's </span><a href="https://www.sfmoma.org/watch/sun-pictures-henry-fox-talbot-and-first-photographs/" target="_blank" rel="noopener">discovery of photography</a><span style="font-weight: 400;"><span style="font-weight: 400;">. It was when he was sketching the picturesque landscape of Italy that Talbot grew frustrated, and began imagining how much easier life could be if nature could just imprint itself onto a piece of paper.<br /><br />Many of the landscape views that would be created photographically in the centuries to come followed the formula of </span></span><span style="font-weight: 400;"><span style="font-weight: 400;">picturesque scenery popularized by Gilpin. <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3060"><em>Views of Portree</em></a> offers an excellent example; some of its views seem to come straight out of Gilpin's sketchbooks. Some albums and <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/memory-and-identity/1900-to-1969/souvenir-books">souvenir books</a> focus on <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3147">sublime landscapes</a>, while others include <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3148">both conventions side by side</a>. <br /></span></span><span style="font-weight: 400;"> <br />A full scan of Gilpin’s book is available through the <a href="https://archive.org/details/cu31924104095298/page/n6/mode/2up" target="_blank" rel="noopener">Internet Archive</a>.<br /></span>
engraving
William Henry Fox Talbot
-
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6f2a76a7977be11296e1e48a396cb5f7
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Otis Dump Cars
Date
A point or period of time associated with an event in the lifecycle of the resource
[1910]
8.4 x 14.0 cm
TF 479 O85 1910
Description
An account of the resource
<p><span style="font-weight: 400;">This pamphlet for Otis dump cars provides an example of the promotional uses of photography in the early-twentieth century. It also calls to mind some of the more mundane uses of photography, which were taken up and parodied by conceptual artists in the later twentieth century. </span><span style="font-weight: 400;">The NE Thing Company’s </span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3140"><i><span style="font-weight: 400;">Portfolio of Piles</span></i></a><span style="font-weight: 400;">,</span><span style="font-weight: 400;"> for example, builds on the function and aesthetic of corporate publications like this one.</span></p>
<p><span style="font-weight: 400;">Bruce Peel Special Collections houses both the published pamphlet and the original photographs on which the printed images were based. Considered on their own, the photographs resemble the <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3151">Modernist aesthetic</a> taken up by photographers in the early-twentieth century.</span></p>
Creator
An entity primarily responsible for making the resource
photographer unknown
-
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c3f00325b735249a8f9150e6898c3408
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Life in the Antarctic
Creator
An entity primarily responsible for making the resource
L. H. Valette (photographer)
R. N. Rudmose Brown (photographer)
J. H. Harvey Pirie (photographer)
R. C. Mossman (photographer)
Date
A point or period of time associated with an event in the lifecycle of the resource
1907
9.6 x 14.5 cm
Q 115 S536 1907
Description
An account of the resource
<p><i><span style="font-weight: 400;">Life in the Antarctic: Photographs by the Scottish Antarctic Expedition </span></i><span style="font-weight: 400;">includes a prefatory note explaining that “the illustrations in this little book are all reproductions of genuine photographs from life, taken by the <a href="https://www.gla.ac.uk/myglasgow/library/files/special/exhibns/month/apr2004.html" target="_blank" rel="noopener">Leader and Staff of the Scottish National Antarctic Expedition</a>, during the voyage of the ‘Scotia,’ 1902-1904.” The note goes on to explain that the photographs “were taken under conditions of climate which make photography extremely difficult and often impossible” and “they are not touched up in any way.” </span></p>
<p><i><span style="font-weight: 400;">Life in the Antarctic</span></i><span style="font-weight: 400;"> was published by Gowans & Gray as part of their series of Gowans’s Nature Books, and was intended for a general audience. A full scan of the book is available through the <a href="https://archive.org/details/lifeinantarctics00bruc/page/n5/mode/2up" target="_blank" rel="noopener">Internet Archive</a>, though it is missing the colourful artwork featured on the cover of the volume held by Bruce Peel Special Collections. </span><span style="font-weight: 400;"><a href="https://archive.org/details/reportonscientif05scot" target="_blank" rel="noopener">Reports of the scientific results of the expedition</a> were published by the Scottish Oceanographical Laboratory in multiple volumes, some of which also included photographs.</span></p>
-
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fb948f15e90eb04685a60cdbeff358a3
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a4db2f62a74e77aa747874437a9334ae
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Trial of Patrick J. Whelan for the Murder of the Hon Thos D'Arcy McGee
Date
A point or period of time associated with an event in the lifecycle of the resource
1868
22.0 x 14.0
KE 228 W53 T74 1868
Description
An account of the resource
<p><span style="font-weight: 400;">Here we have an example of </span><a href="https://www.tate.org.uk/art/art-terms/p/photojournalism" target="_blank" rel="noopener"><span style="font-weight: 400;">photojournalism</span></a><span style="font-weight: 400;"> before photojournalism was entirely practical. <span>It would still be a few decades before the </span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3044"><span>halftone process</span></a><span> made it efficient and therefore cost-effective to print photographs and text side-by-side. In this report of the trial of Patrick J. Whelan, there is a a single <a href="https://www.youtube.com/watch?v=ObveSq3cMkw" target="_blank" rel="noopener">albumen print</a> pasted onto the report. Compare this to later examples of photojournalism, such as </span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3045"><i><span>Life</span></i></a><i><span> </span></i><span>and <em><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3164">The Fight for Apartheid!</a></em></span><span>.</span></span><span style="font-weight: 400;"><br /></span></p>
<p><span style="font-weight: 400;">A related example from the history of photography is Alexander Gardner’s “</span><a href="https://www.loc.gov/item/2008680151/" target="_blank" rel="noopener"><span style="font-weight: 400;">Execution of the Conspirators</span></a><span style="font-weight: 400;">” from 1865. When Gardner’s photographs of the execution were reproduced as </span><a href="https://images.indianahistory.org/digital/collection/p0409/id/9" target="_blank" rel="noopener"><span style="font-weight: 400;">woodcut illustrations in </span><i><span style="font-weight: 400;">Harper’s Weekly</span></i><span style="font-weight: 400;"> on 22 July 1865</span></a><span style="font-weight: 400;">, the periodical boasted that “the present perfection of the art of photography enables an illustrated paper like ours to depict persons and events with the utmost precision.” <br /><br />A full scan of the report is available through the <a href="https://archive.org/details/cihm_23543/page/n5/mode/2up" target="_blank" rel="noopener">Internet Archive</a>.<br /></span></p>
Creator
An entity primarily responsible for making the resource
photographer unknown
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Louis Riel
Creator
An entity primarily responsible for making the resource
Israel Bennetto (photographer)
Date
A point or period of time associated with an event in the lifecycle of the resource
[1869-84]
10.0 x 16.0 cm
FC 3217.1 R53 B46 1884
Description
An account of the resource
<p><span style="font-weight: 400;">This </span><em><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3055">carte-de-visite</a></em> <span style="font-weight: 400;">of Métis leader Louis Riel provides an example of how a photograph of a political figure circulates information and ideas. Riel led the </span><a href="https://indigenouspeoplesatlasofcanada.ca/article/red-river-resistance/" target="_blank" rel="noopener"><span style="font-weight: 400;">Red River Resistance</span></a><span style="font-weight: 400;"> in 1869-70, and then negotiated the terms of Manitoba’s entry into Confederation with the Dominion of Canada. Years later, in 1885, Riel led the <a href="https://indigenouspeoplesatlasofcanada.ca/article/1885-northwest-resistance/" target="_blank" rel="noopener">Northwest Resistance</a></span><span style="font-weight: 400;"> in support of Métis' rights and identity, for which he was hanged. This photograph was taken at some point between those two events.</span></p>
<p><span style="font-weight: 400;">As </span><a href="https://bpsc.library.ualberta.ca/exhibits/ancestors" target="_blank" rel="noopener"><span style="font-weight: 400;">Sarah Carter and Inez Lightning</span></a><span style="font-weight: 400;"> have shown, Riel’s portrait circulated widely as both a <em>carte-de-visite</em> and as a <a href="https://www.tate.org.uk/art/art-terms/w/wood-engraving" target="_blank" rel="noopener">wood engraving</a>. In the reproductions, changes to the image allowed Riel to appear at times heroic and at other times dangerous. <br /><br /><br /></span></p>
carte-de-visite
portrait
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https://omeka.library.ualberta.ca/files/original/157154ba2ff9382c26049c55f7eb3db3.jpg
20988739e15a4ab4dc2ec7d10a6a5fc9
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71bf8a09e13898fbadfab9e9dd51603f
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
A System of Phrenology
Creator
An entity primarily responsible for making the resource
George Combe (author)
J. J. Butler (engraver)
Date
A point or period of time associated with an event in the lifecycle of the resource
1844
19.0 x 11.3 cm
BF 870 C72 1844
Description
An account of the resource
<p><span style="font-weight: 400;">The title page of </span><i><span style="font-weight: 400;">A System of Phrenology </span></i><span style="font-weight: 400;">boasts that the volume</span> <span style="font-weight: 400;">features “upward of one hundred engravings.” Photography had been discovered by the time the book was published, but the dominant processes of the time</span><span style="font-weight: 400;"> (the <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3125">daguerreotype</a> and the calotype) did not offer </span><span style="font-weight: 400;">an efficient or practical method of circulating knowledge alongside printed text. </span></p>
<span style="font-weight: 400;">The system of </span><a href="https://victorianweb.org/science/phrenology/intro.html" target="_blank" rel="noopener"><span style="font-weight: 400;">phrenology</span></a><span style="font-weight: 400;"> described in this volume is closely related to the Victorian practice of physiognomy. Described today as pseudosciences, phrenology and </span><a href="https://blogs.getty.edu/iris/physiognomy-the-beautiful-pseudoscience/" target="_blank" rel="noopener"><span style="font-weight: 400;">physiognomy</span></a><span style="font-weight: 400;"> posited that an individual’s exterior features revealed aspects of their character. Later, </span><a href="https://www.metmuseum.org/art/collection/search/301897" target="_blank" rel="noopener"><span style="font-weight: 400;">Francis Galton</span></a><span style="font-weight: 400;"> would use photography as a tool to both investigate and circulate physiognomic principles, and Charles Darwin would use photographs to examine <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3145">human emotion</a>. <br /><br />A full scan of this item is available through the <a href="https://archive.org/details/101519023.nlm.nih.gov/page/n4/mode/2up" target="_blank" rel="noopener">Internet Archive</a>.<br /></span>
engraving
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https://omeka.library.ualberta.ca/files/original/bf5c0a7b2f9d0a333e95de8c67be5505.jpg
75e34a2dd23bf01111d613026346ad72
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4065831d2958b9bc0e34a5e33e12bf9e
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eec996266f56a7d455d66113abb0dbe2
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Aurelian: A Natural History of English Moths and Butterflies
Creator
An entity primarily responsible for making the resource
Moses Harris (creator)
Date
A point or period of time associated with an event in the lifecycle of the resource
1766
38.6 x 26.0 cm
QL 555 G7 H318 1766 folio
Description
An account of the resource
<p><i><span style="font-weight: 400;">The Aurelian: A Natural History of English Moths and Butterflies </span></i><span style="font-weight: 400;">was created by English entomologist and artist </span><a href="https://wonder-cabinet.sites.gettysburg.edu/artful-nature/merian-and-her-context/moses-harris-the-aurelian-and-the-mania-for-insects-and-tulips/" target="_blank" rel="noopener"><span style="font-weight: 400;">Moses Harris</span></a><span style="font-weight: 400;">. The book’s title page explains that its pictures were “drawn, engraved and coloured from the natural subjects.” </span><span style="font-weight: 400;">Harris’s hand-coloured engravings are remarkable, and he went on to become known as a colour theorist after publishing a </span><a href="https://brightonmuseums.org.uk/discover/2013/07/04/rare-copy-of-moses-harriss-natural-system-of-colours-on-display-at-the-royal-pavilion/" target="_blank" rel="noopener"><span style="font-weight: 400;">treatise on colour</span></a><span style="font-weight: 400;"> that also features hand-coloured plates.</span></p>
<p><span style="font-weight: 400;">The frontispiece (the image facing the title page) features a portrait of a man, presumably representing Harris himself, offering us a tray of specimens with his left hand while pointing into a wooded landscape with his right hand. When we follow his gesture, we see the same man engaged in the labour of collecting moths and butterflies. By selecting this image as the frontispiece, Harris seems to emphasize the presence of an expert as a guide. In contrast, photographic collections of scientific specimens often have the effect of effacing the presence of their makers. For example, compare </span><i><span style="font-weight: 400;">The Aurelian </span></i><span style="font-weight: 400;">to an entomological album </span><span style="font-weight: 400;">from 1875, </span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3156"><em>Anatomical Illustrations of the Bee</em></a><span style="font-weight: 400;"></span><i><span style="font-weight: 400;">. </span></i></p>
<p><span style="font-weight: 400;">The copy of </span><i><span style="font-weight: 400;">The Aurelian </span></i><span style="font-weight: 400;">housed in Bruce Peel Special Collections and featured here is a composite of pages from the first and second editions, published in 1766 and 1778, respectively, and brought together by a previous owner. Subsequent editions were published into the nineteenth century, as can be seen from this </span><a href="https://archive.org/details/Aurelian00Harr/page/n5/mode/2up" target="_blank" rel="noopener"><span style="font-weight: 400;">full scan of an edition of 1840</span></a><span style="font-weight: 400;">. <br /><br /></span><i><span style="font-weight: 400;">The Aurelian </span></i><span style="font-weight: 400;">forms part of the <a href="https://bpsc.library.ualberta.ca/collections/dr-ronald-b-madge-entomology-collection" target="_blank" rel="noopener">Dr </a></span><span style="font-weight: 400;"><a href="https://bpsc.library.ualberta.ca/collections/dr-ronald-b-madge-entomology-collection" target="_blank" rel="noopener">Ronald B. Madge Entomology Collection</a>.</span></p>
colour
engraving
entomology