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                <text>Fennings Taylor (author) &#13;
William Notman (photographer)</text>
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                <text>&lt;p&gt;&lt;span style="font-weight: 400;"&gt;&lt;em&gt;Portraits of British Americans&lt;/em&gt; demonstrates some of the challenges of circulating knowledge through photographs in the mid-nineteenth century. Though these &lt;/span&gt;&lt;a href="https://www.youtube.com/watch?v=ObveSq3cMkw" target="_blank" rel="noopener"&gt;&lt;span style="font-weight: 400;"&gt;albumen prints&lt;/span&gt;&lt;/a&gt; &lt;span style="font-weight: 400;"&gt;could be mass-produced, each print had to be individually pasted onto the page in order to combine it with text in the form of an illustrated book.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;This book was published by the photographer &lt;/span&gt;&lt;a href="https://www.aci-iac.ca/art-books/william-notman/biography/" target="_blank" rel="noopener"&gt;&lt;span style="font-weight: 400;"&gt;William Notman&lt;/span&gt;&lt;/a&gt;&lt;span style="font-weight: 400;"&gt;, who ran a successful photographic firm based in Montreal, with branches in several other cities in Eastern Canada and the United States. Notman was an aggressive entrepreneur, and this volume likely functioned as a promotional tool for his portraits, which made up the bulk of his business. Notman’s elegant studio, use of artistic backdrops, and innovative printing techniques drew an elite clientele, who would have been drawn to the idea of joining the ranks of eminent British Americans by having a portrait taken by the “photographer to the Queen,” a title that Notman secured in 1860. The &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3053"&gt;portrait of A. C. Rankin and his brother&lt;/a&gt;&amp;nbsp;provides an example of a particularly lavish portrait produced by Notman’s studio.&amp;nbsp;&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Many of the photographs of Western Canada included in this exhibition were taken by Notman’s photographic firm, such as &lt;/span&gt;&lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3056"&gt;&lt;i&gt;&lt;span style="font-weight: 400;"&gt;CPR&lt;/span&gt;&lt;/i&gt;&lt;i&gt;&lt;span style="font-weight: 400;"&gt;&amp;nbsp;1887&lt;/span&gt;&lt;/i&gt;&lt;/a&gt; &lt;span style="font-weight: 400;"&gt;and &lt;/span&gt;&lt;em&gt;&lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3148"&gt;&lt;span style="font-weight: 400;"&gt;Photographs of the Canadian Rockies, Fraser River, Yellowstone Park, etc&lt;/span&gt;&lt;/a&gt;&lt;/em&gt;, and contributed to&lt;span style="font-weight: 400;"&gt; an &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/memory-and-identity"&gt;imagined geography&lt;/a&gt; of Canada. With these other photographs in mind, consider what this volume and its photographs suggest about the identity of British Americans.&amp;nbsp;&amp;nbsp;&lt;br /&gt;&lt;br /&gt;A full scan of this book is available through the &lt;a href="https://archive.org/details/portraitsofbriti01tayluoft/page/n4/mode/2up" target="_blank" rel="noopener"&gt;Internet Archive&lt;/a&gt;.&lt;/span&gt;&lt;/p&gt;</text>
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                <text>&lt;p&gt;Around the same time as photography’s discovery, &lt;a href="https://library.vicu.utoronto.ca/collections/special_collections/george_baxter/" target="_blank" rel="noopener"&gt;George Baxter&lt;/a&gt; developed a process of colour printing known as &lt;a href="https://www.npg.org.uk/collections/explore/glossary-of-art-terms/chromolithograph" target="_blank" rel="noopener"&gt;chromolithography&lt;/a&gt;, which he patented in 1835. The portraits of the Emperor and Princess of Prussia seen here employ that process in order to create r&lt;span&gt;ichly-coloured portraits that commemorate the powerful and the wealthy. In comparison to &lt;/span&gt;&lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3125"&gt;daguerreotypes&lt;/a&gt;&lt;span&gt;&lt;span&gt;&lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3125"&gt; of middle-class patrons like that of Mrs Morrow&lt;/a&gt;, these could be, and were intended to be, circulated widely in order to promote a public identity.&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;&#13;
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                <text>&lt;span style="font-weight: 400;"&gt;“Postal Souvenirs” provides an example of what the faster exposures of the &lt;/span&gt;&lt;a href="https://www.youtube.com/watch?v=r0eIH69QWd8" target="_blank" rel="noopener"&gt;&lt;span style="font-weight: 400;"&gt;gelatin process&lt;/span&gt;&lt;/a&gt;&lt;span style="font-weight: 400;"&gt; could achieve. Here, a trip to a rodeo provided an opportunity to capture the sense of movement that eluded earlier nineteenth-century photographers. The album also provides an example of the day-to-day memories that could be recorded and preserved once the camera became commonplace. It is noteworthy that some of these photographs were printed as &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3096"&gt;postcards&lt;/a&gt;.&lt;br /&gt;&lt;br /&gt;This album is part of the &lt;a href="https://bpsc.library.ualberta.ca/collections/prairie-ephemera" target="_blank" rel="noopener"&gt;Prairie Ephemera Collection&lt;/a&gt; housed in Bruce Peel Special Collections.&lt;/span&gt;</text>
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                <text>&lt;span&gt;This album of photographic &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3096"&gt;postcards&lt;/a&gt; includes examples of the &lt;a href="https://www.youtube.com/watch?v=3s0hiBi5c4Y" target="_blank" rel="noopener"&gt;cyanotype process&lt;/a&gt;, which was a relatively simple and low-cost process frequently used for &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/memory-and-identity/1900-to-1969/snapshot-albums"&gt;family snapshots&lt;/a&gt;, contact prints, and blueprints. The cyanotype process remained consistent from the early-nineteenth century (when botanist &lt;a href="https://www.nhm.ac.uk/discover/anna-atkins-cyanotypes-the-first-book-of-photographs.html" target="_blank" rel="noopener"&gt;Anna Atkins&lt;/a&gt; used the process) into the twentieth century, as seen in the &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3066"&gt;Report on Evaporation Data&lt;/a&gt;, included in this exhibition. &lt;a href="https://www.taniawillard.ca/images/anthro-a-pologizing-2018-1" target="_blank" rel="noopener"&gt;Tania Willard&lt;/a&gt;, a multidisciplinary artist from the Secwepemc Nation, continues to use the cyanotype process today.&lt;br /&gt;&lt;br /&gt;This album forms part of the&amp;nbsp;&lt;/span&gt;&lt;a href="http://peel.library.ualberta.ca/magee.html" target="_blank" rel="noopener"&gt;Magee Photograph Collection&lt;/a&gt;, along with &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3131"&gt;another album&lt;/a&gt; in this exhibition that features tintypes&lt;span&gt;.&lt;/span&gt;</text>
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                <text>&lt;a href="https://asc.ucalgary.ca/photohistory/photo-postcards/" target="_blank" rel="noopener"&gt;Postcards&lt;/a&gt; grew in popularity in the early-twentieth century. Postcards offer an easy way to send pictures through the mail, and to communicate both visually—with the picture on the front of the card—and textually, with a short message hand-written on the back of the card. This album brings together a collection of postcards created from personal snapshots, though many twentieth-century postcards were mass produced. For some unique examples, look at "&lt;a href="https://www.printmag.com/post/greetings-from-the-brink-of-mutually-assured-destruction" target="_blank" rel="noopener"&gt;atomic postcards&lt;/a&gt;" from the Cold War.&lt;br /&gt;&lt;br /&gt;Other postcards in this exhibition include an album of "&lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3134"&gt;Postal Souvenirs&lt;/a&gt;," a &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3132"&gt;postcard album&lt;/a&gt;, &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3106"&gt;Souvenir of Holy Land&lt;/a&gt;, and &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3043"&gt;Scenes from Kodachromes&lt;/a&gt;.&lt;br /&gt;&lt;br /&gt;&lt;span&gt;This album is part of the&amp;nbsp;&lt;/span&gt;&lt;a href="https://bpsc.library.ualberta.ca/collections/prairie-ephemera" target="_blank" rel="noopener"&gt;Prairie Ephemera Collection&lt;/a&gt;&lt;span&gt;&amp;nbsp;housed in Bruce Peel Special Collections.&lt;/span&gt;</text>
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                <text>From the early decades of the twentieth century, provincial and federal government departments produced free publications encouraging women to make the most of local products. Polly Potato, whose attractive but oversized head must have been modelled on the titular tuber, offered information about Manitoba potato varieties, nutrition, buying, and storage. The book, likely produced by mimeograph, also includes recipes for “Curried Potatoes,” “Escalloped Potatoes,” “Hungarian Potato Soup,” and “Potato Bon Bons” (which combined mashed potatoes with icing sugar). The recipes for “Chocolate Snowballs” and “Potato Doughnuts” have been modified to suit the cook; in the case of the grease-stained doughnut page, the recipe has been doubled. Such annotations speak to the interactive nature of cookbooks, which are constantly edited and refined to suit the reader’s tastes, experiences, and needs. A rare book dealer site also indicates that Polly had a partner in Potato Pete, who says “Buy me wisely, store me carefully, cook me skilfully &amp; I’m Sure to Please” (“Potatoes”).</text>
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                <text>&lt;em&gt;With permission from the Government of Manitoba. Gift of Isabel Desmarais.&lt;br /&gt;&lt;/em&gt;</text>
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                <text>Preliminary Report on Available Evaporation Data for Alberta and Saskatchewan</text>
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                <text>1927&#13;
34.0 x 21.0 cm&#13;
QC 915.7 C3 S76 1927 folio</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>&lt;span style="font-weight: 400;"&gt;This report on evaporation data combines two types of photographs. Glossy&lt;/span&gt; &lt;a href="https://asc.ucalgary.ca/photohistory/silver-gelatin/" target="_blank" rel="noopener"&gt;silver gelatin prints&lt;/a&gt;&lt;span style="font-weight: 400;"&gt; that portray various locations in Alberta and Saskatchewan are inserted into cuts in the pages, while the pages themselves are &lt;/span&gt;&lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3132"&gt;cyanotypes&lt;/a&gt;&lt;span style="font-weight: 400;"&gt; on which the white text was rendered photographically. The rich blue of the pages are typical of the&lt;/span&gt; &lt;a href="https://www.youtube.com/watch?v=3s0hiBi5c4Y" target="_blank" rel="noopener"&gt;cyanotype process&lt;/a&gt;&lt;span style="font-weight: 400;"&gt;.&lt;br /&gt;&lt;br /&gt;This record of evaporation data points toward some of the more mundane uses of photography as it became increasingly commonplace. Yet, due to their disregard for conventional rules of artistic composition, some of the photographs included in this report take on a &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3151"&gt;Modernist aesthetic&lt;/a&gt; while also recalling &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/works-of-art/1950-to-21st-century"&gt;conceptual photography&lt;/a&gt; by artists like &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3171"&gt;Ed Ruscha&lt;/a&gt; and &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3140"&gt;Iain Baxter&amp;amp; and Ingrid Baxter&lt;/a&gt;.&amp;nbsp;&lt;br /&gt;&lt;/span&gt;</text>
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                <text>photographer unknown</text>
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                <text>Présence / estampes</text>
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                <text>Loose Sheets. 17 x 20 x 4 cm.&#13;
N 7433.4 B895 A6 P933 1997 </text>
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            <name>Creator</name>
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                <text>Nicole D. Brunet (artist)&#13;
Karin Fodor (photographer)</text>
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                <text>Édition Au fil du bois, 1997</text>
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