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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.
, 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, 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. late 1860s If this photograph is a Kurtz, it must be dated 1865 or later, after Kurtz opened his
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,
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
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
July 15, 1890, and that evening photographed Whitman and his favorite nurse, Warren Fritzinger, who were
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
Whitman's 'Calamus' Photographs" in Betsy Erkkila and Jay Grossman, Breaking Bounds: Whitman and American
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
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
is the only known surviving photograph taken by Fredricks, though Traubel’s comments suggest there were
Gurney and Son, 1871 Whitman dates this picture to about 1865, but Gurney & Son were at 707 Broadway
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
Italian curls—or the semblance of 'em" (Saturday, October 13th, 1888), and he was relieved when they were
According to the 1890 Philadelphia city directory, William, Jr. lived at 864 41st Street, and Louis lived
, 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 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
During these years, when they were apart, Whitman wrote Harry intimate letters: "Dear Harry, not a day
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
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
They were inseparable for the next eight years.In 1889, Whitman had a remarkable talk with Horace Traubel
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