Simply enter the word you wish to find and the search engine will search for every instance of the word in the journals. For example: Fight. All instances of the use of the word fight will show up on the results page.
Using an asterisk (*) will increase the odds of finding the results you are seeking. For example: Fight*. The search results will display every instance of fight, fights, fighting, etc. More than one wildcard may be used. For example: *ricar*. This search will return most references to the Aricara tribe, including Ricara, Ricares, Aricaris, Ricaries, Ricaree, Ricareis, and Ricarra. Using a question mark (?) instead of an asterisk (*) will allow you to search for a single character. For example, r?n will find all instances of ran and run, but will not find rain or ruin.
Searches are not case sensitive. For example: george will come up with the same results as George.
Searching for a specific phrase may help narrow down the results. Rather long phrases are no problem. For example: "This white pudding we all esteem".
Because of the creative spellings used by the journalists, it may be necessary to try your search multiple times. For example: P?ro*. This search brings up numerous variant spellings of the French word pirogue, "a large dugout canoe or open boat." Searching for P?*r*og?* will bring up other variant spellings. Searching for canoe or boat also may be helpful.
| Entering in only one field | Searches |
|---|---|
| Year, Month, & Day | Single day |
| Year & Month | Whole month |
| Year | Whole year |
| Month & Day | 1600-#-# to 2100-#-# |
| Month | 1600-#-1 to 2100-#-31 |
| Day | 1600-01-# to 2100-12-# |
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
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
one used in Brady's Washington studio; the "Lincoln chair" was given to Brady by the President in 1860
It had been Lincoln's chair in the House of Representatives before new chairs were installed in 1857,
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
Black of Black and Batchelder, ca. 1860 This rugged, footloose portrait was taken by James Wallace Black
, of Black & Batchelder, in March 1860, when Whitman was in Boston to oversee the typesetting of his
1860 edition of Leaves of Grass.
the publishing firm of Thayer & Eldridge, who apparently commissioned the photograph to promote the 1860
the basis for the engraving of Whitman that appeared with its review of Leaves of Grass on June 2, 1860
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
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
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. 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.
Black of Black and Batchelder, 1860 Writing in 1860 about his trip to Boston, Whitman said to his friend
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.
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
Walt Whitman by Unknown, ca. early 1860s Henry S.
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
, ca. late 1860s Kurtz's "Rembrandt" style of light and shadow is suggested here.
"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
, ca. late 1860s If this photograph is a Kurtz, it must be dated 1865 or later, after Kurtz opened his
Johnston, including the 1854 Gabriel Harrison daguerreotype and the 1860 painting by Charles W.
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?
, ca. late 1860s This photo is often dated 1861, but it appears to be later, and it would seem to be
bilingual newspaper published in Bringier, Louisiana, just upriver from New Orleans, between 1846 and 1860
Whitman's 'Calamus' Photographs" in Betsy Erkkila and Jay Grossman, Breaking Bounds: Whitman and American
According to the 1890 Philadelphia city directory, William, Jr. lived at 864 41st Street, and Louis lived
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
about the book emphasized Whitman’s increasingly conservative stance, and many of the sexual passages were
edition, but the book eventually appeared in November without one.Initial sales of the Osgood edition were
strong, and reviews were almost universally positive.
about the book emphasized Whitman’s increasingly conservative stance, and many of the sexual passages were
edition, but the book eventually appeared in November without one.Initial sales of the Osgood edition were
strong, and reviews were almost universally positive.
about the book emphasized Whitman’s increasingly conservative stance, and many of the sexual passages were
edition, but the book eventually appeared in November without one.Initial sales of the Osgood edition were
strong, and reviews were almost universally positive.
about the book emphasized Whitman’s increasingly conservative stance, and many of the sexual passages were
edition, but the book eventually appeared in November without one.Initial sales of the Osgood edition were
strong, and reviews were almost universally positive.
Whitman recalls that "six or seven" photos were made during the session, but the poet's friend Jeannette
Gilder, an observer of the session, said there were many more than that: "He must have had twenty pictures
These two photos are the ones Whitman felt were salvageable from the Cox session: "they are not all of
Whitman recalls that "six or seven" photos were made during the session, but the poet's friend Jeannette
Gilder, an observer of the session, said there were many more than that: "He must have had twenty pictures
These two photos are the ones Whitman felt were salvageable from the Cox session: "they are not all of
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
1870s Whitman is wearing the same shirt as in two other photographs (zzz.00027 and zzz.00028) that were
Chicago Albumen Works, Inc., with the assistance of a grant from the Gilder-Lehrmann Institute for American
Whitman recalls that "six or seven" photos were made during the session, but the poet's friend Jeannette
Gilder, an observer of the session, said there were many more than that: "He must have had twenty pictures
Whitman recalls that "six or seven" photos were made during the session, but the poet's friend Jeannette
Gilder, an observer of the session, said there were many more than that: "He must have had twenty pictures
Whitman recalls that "six or seven" photos were made during the session, but the poet's friend Jeannette
Gilder, an observer of the session, said there were many more than that: "He must have had twenty pictures
Whitman recalls that "six or seven" photos were made during the session, but the poet's friend Jeannette
Gilder, an observer of the session, said there were many more than that: "He must have had twenty pictures
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
Negatives for the other two images were purchased from Brady for the National Archives in 1873.For more
Walt Whitman by Edy Brothers, Summer 1880 This and six other photographs were taken in the summer of