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1870s Whitman is wearing the same shirt as in two other photographs (zzz.00027 and zzz.00028) that were
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
During these years, when they were apart, Whitman wrote Harry intimate letters: "Dear Harry, not a day
They were inseparable for the next eight years.In 1889, Whitman had a remarkable talk with Horace Traubel
Philadelphia to visit Whitman on July 15, 1890, and that evening photographed Whitman and Fritzinger, who were
Philadelphia to visit Whitman on July 15, 1890, and that evening photographed Whitman and Fritzinger, who were
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.
is the only known surviving photograph taken by Fredricks, though Traubel’s comments suggest there were
July 15, 1890, and that evening photographed Whitman and his favorite nurse, Warren Fritzinger, who were
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
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
Copies of this photograph were later made by Charles H. Spieler.
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
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
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
, ca. late 1860s" or "Walt Whitman by William Kurtz?
Italian curls—or the semblance of 'em" (Saturday, October 13th, 1888), and he was relieved when they were
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
Black of Black and Batchelder, 1860 Writing in 1860 about his trip to Boston, Whitman said to his friend
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
, 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.
Negatives for the other two images were purchased from Brady for the National Archives in 1873.For more
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,
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
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
Though Murray’s photographs were intended merely as studies, they are especially important because they
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
Whitman's 'Calamus' Photographs" in Betsy Erkkila and Jay Grossman, Breaking Bounds: Whitman and American
Though Murray’s photographs were intended merely as studies, they are especially important because they