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Kinder Karr, in "A Friendship and a Photograph: Sophia Williams, Talcott Williams, and Walt Whitman" (American
Both were frequent visitors to Whitman’s Mickle Street home in Camden in the 1880s.
They were friends of Thomas Eakins, who painted both their portraits.
"Yes—that was an actual moth," he told Traubel, "the picture is substantially literal: we were good friends
What is not often noted is that the photo simply enacts one of the recurrent visual emblems in the 1860
bilingual newspaper published in Bringier, Louisiana, just upriver from New Orleans, between 1846 and 1860
Chicago Albumen Works, Inc., with the assistance of a grant from the Gilder-Lehrmann Institute for American
Walt Whitman by Unknown, ca. early 1860s Henry S.
Black photo in 1860 (zzz.00134) and two photos of Whitman with his friend Bill Duckett, taken in 1886
, ca. late 1860s" or "Walt Whitman by William Kurtz?
Hine, 1860 Whitman called this engraving, which he used as the frontispiece for the 1860 edition of Leaves
See Ted Genoways, "'Scented herbage of my breast': Whitman's Chest Hair and the Frontispiece to the 1860
Perhaps the first American “celebrity photographer,” Sarony made much of his money selling portraits
Perhaps the first American “celebrity photographer,” Sarony made much of his money selling portraits
Perhaps the first American “celebrity photographer,” Sarony made much of his money selling portraits
Perhaps the first American “celebrity photographer,” Sarony made much of his money selling portraits
Perhaps the first American “celebrity photographer,” Sarony made much of his money selling portraits
They were inseparable for the next eight years.In 1889, Whitman had a remarkable talk with Horace Traubel
of slaves / You might have borne deeper slaves— / Doughfaces,” a derisive term for Northerners who were
Nevertheless, be ready, be not weary of watching,He will surely return; his messengers come anon.These were
the first lines ever published of what would later become Leaves of Grass, and they were the last that
anyone would read by Whitman until he dramatically reemerged in 1855 as “an American, one of the roughs
The New York City Directory lists Pendleton at this address starting in 1869, and advertisements for
Craig's Daguerreian Registry as having a studio at 5 Chatham Square in New York from 1857 through 1860
his imprint with the Chatham Square address, suggesting he may have been there through most of the 1860s
Copies of this photograph were later made by Charles H. Spieler.
1870s Whitman is wearing the same shirt as in two other photographs (zzz.00027 and zzz.00028) that were
Though Murray’s photographs were intended merely as studies, they are especially important because they
Though Murray’s photographs were intended merely as studies, they are especially important because they
Though Murray’s photographs were intended merely as studies, they are especially important because they
During these years, when they were apart, Whitman wrote Harry intimate letters: "Dear Harry, not a day
There later were troubles with Duckett, but Whitman recalled in 1889 that "he was often with me: we went
to Gloucester together: one trip was to New York: . . . then to Sea Isle City once: I stayed there at
the hotel two or three days—so on: we were quite thick then: thick: when I had money it was as freely
There later were troubles with Duckett, but Whitman recalled in 1889 that "he was often with me: we went
to Gloucester together: one trip was to New York: . . . then to Sea Isle City once: I stayed there at
the hotel two or three days—so on: we were quite thick then: thick: when I had money it was as freely
, ca. late 1860s This photo is often dated 1861, but it appears to be later, and it would seem to be
Walt Whitman by William Kurtz, ca. late 1860s This photo is usually dated 1860, but Kurtz did not open
Library of Congress copy is endorsed by WW: "Walt Whitman 1869" (which Henry Saunders misread as "1860
, ca. late 1860s If this photograph is a Kurtz, it must be dated 1865 or later, after Kurtz opened his
, ca. late 1860s Kurtz's "Rembrandt" style of light and shadow is suggested here.
The time between the opening of Kurtz’s first studio in New York City in 1865 and the publication of
Robinson, “Laurence Hutton and a Newly Recovered Photograph of Walt Whitman," WWQR, p. 160; Smithsonian American
preconceived notion of what it should be” (With Walt Whitman in Camden, Thursday, May 10, 1888).Most Americans
According to the 1890 Philadelphia city directory, William, Jr. lived at 864 41st Street, and Louis lived
Italian curls—or the semblance of 'em" (Saturday, October 13th, 1888), and he was relieved when they were
Gurney and Son, 1871 Whitman dates this picture to about 1865, but Gurney & Son were at 707 Broadway
Johnston, including the 1854 Gabriel Harrison daguerreotype and the 1860 painting by Charles W.
Stereoscopes were invented before photography (the original ones used drawn landscapes), but they increased
Readers were used to formal portraits of authors, usually in frock coats and ties.
Very often they were posed at reading tables with books spread open before them or holding a thick volume
that except for the photographs taken by Eakins and his assistants in Whitman's room in 1891, these were
the last photographs taken of Whitman by a professional photographer, and certainly they were the last
Walt Whitman by Frederick Gutekunst, 1889 Whitman commented that the photos from this sitting were all
Eakins-O'Donovan. . . . in Walt's own room in November 1891, the Gutekunst sittings, of which this is one result, were
, ca. early 1860s Library of Congress print of photo, in unknown handwriting on the back, identifies
this as having been taken around 1860 by Mathew Brady.For more information on J.
is the only known surviving photograph taken by Fredricks, though Traubel’s comments suggest there were
Hine, who had painted Whitman's portrait in 1860.
talks about a new photo of “the eccentric poet” on display at Root’s Daguerrian Gallery in New York City
his painting of Whitman on this image, which in turn served as the model for Stephen Alonzo Schoff’s 1860
See Ted Genoways, "'Scented herbage of my breast': Whitman's Chest Hair and the Frontispiece to the 1860
Walt Whitman by Edy Brothers, Summer 1880 This and six other photographs were taken in the summer of
Walt Whitman by Edy Brothers, Summer 1880 This and six other photographs were taken in the summer of
Walt Whitman by Edy Brothers, Summer 1880 This and six other photographs were taken in the summer of
Walt Whitman by Edy Brothers, Summer 1880 This and six other photographs were taken in the summer of
Walt Whitman by Edy Brothers, Summer 1880 This and six other photographs were taken in the summer of
Walt Whitman by Edy Brothers, Summer 1880 This and six other photographs were taken in the summer of
Walt Whitman by Edy Brothers, Summer 1880 This and six other photographs were taken in the summer of
Walt Whitman by Edy Brothers, Summer 1880 This and six other photographs were taken in the summer of
Whitman's 'Calamus' Photographs" in Betsy Erkkila and Jay Grossman, Breaking Bounds: Whitman and American
July 15, 1890, and that evening photographed Whitman and his favorite nurse, Warren Fritzinger, who were