Brady Portraits

Mathew Brady
Self Portrait with Juliet Brady
and Ellen Brady Haggerty
ca. 1851
daguerreotype
National Portrait Gallery, Washington DC

Mathew Brady
Angiolina Bosisio
before 1859
albumen print from glass-plate negative
National Portrait Gallery, Washington DC

Mathew Brady
Adelaide Ristori
ca. 1860-70
albumen print from glass-plate negative
National Portrait Gallery, Washington DC

Mathew Brady
Hannah Albertine
ca. 1860-70
albumen print from glass-plate negative
National Portrait Gallery, Washington DC

Mathew Brady
John McCullough
ca. 1860-70
albumen print from glass-plate negative
National Portrait Gallery, Washington DC

Mathew Brady
Mary Todd Lincoln
1861
albumen print from glass-plate negative
National Portrait Gallery, Washington DC

Mathew Brady
Martin Jenkins Crawford
ca. 1860
albumen print from glass-plate negative
National Portrait Gallery, Washington DC

Mathew Brady
Kate Morenski
ca. 1860-70
albumen print from glass-plate negative
National Portrait Gallery, Washington DC

Mathew Brady
Unknown Woman
ca. 1860-70
albumen print from glass-plate negative-
National Portrait Gallery, Washington DC

Mathew Brady
Unknown Woman
ca. 1860-70
albumen print from glass-plate negative
National Portrait Gallery, Washington DC

Mathew Brady
Emily Horne Jordan
ca. 1860-70
albumen print from glass-plate negative
National Portrait Gallery, Washington DC

Mathew Brady
Nathaniel Hawthorne
ca. 1860-64
albumen print from glass-plate negative
National Portrait Gallery, Washington DC

Mathew Brady
Giacomo Glech
ca. 1860-70
albumen print from glass-plate negative
National Portrait Gallery, Washington DC

Mathew Brady
Jennie Cleever
ca. 1860-70
albumen print from glass-plate negative
National Portrait Gallery, Washington DC

Mathew Brady
Maggie Mitchell
ca. 1860-70
albumen print from glass-plate negative
National Portrait Gallery, Washington DC

Mathew Brady
Laura Keene
(Keene was on stage performing before Lincoln when he was shot)
ca. 1860-70
albumen print from glass-plate negative
National Portrait Gallery, Washington DC

Mathew Brady
Mary Crisp Gladstone
ca. 1860-70
albumen print from glass-plate negative
National Portrait Gallery, Washington DC

from Metamorphoses

 

    Then sprang up first the golden age, which of it selfe maintainde,

    The truth and right of every thing unforst and unconstrainde.

There was no feare of punishment, there was no threatning lawe

In brazen tables nayled up, to keepe the folke in awe.

There was no man would crouch or creepe to Judge with cap in hand,

They lived safe without a Judge, in everie Realme and lande.

The loftie Pynetree was not hewen from mountaines where it stood,

In seeking straunge and forren landes, to rove upon the flood.

Men knew none other countries yet, than where themselves did keepe:

There was no towne enclosed yet, with walles and diches deepe.

No horne nor trumpet was in use, no sword nor helmet worne,

The world was suche, that souldiers helpe might easly be forborne.

The fertile earth as yet was free, untoucht of spade or plough,

And yet it yeelded of it selfe of every things inough.

And men themselves contented well with plaine and simple foode,

That on the earth of natures gift without their stravell stoode.

Did live by Raspis, heppes and hawes, by cornelles, plummes and cherries,

By sloes and apples, nuttes and peares, and lothsome bramble berries,

And by the acornes dropt on ground, from Joves brode tree in fielde.

The Springtime lasted all the yeare, and Zephyr with his milde

And gentle blast did cherish things that grew of owne accorde,

The ground untilde, all kinde of fruits did plenteously auorde.

No mucke nor tillage was bestowde on leane and barren land,

To make the corne of better head, and ranker for to stand.

Then streames ran milke, then streames ran wine, and yellow honey flowde

From ech greene tree whereon the rayes of firie Phebus glowde.

– Ovid (43 BC-AD 17), translated by Arthur Golding(1567)

Cecil Beaton

Cecil Beaton
Self Portrait
ca. 1924
gelatin silver print
Victoria & Albert Museum, London

Cecil Beaton
Elsie de Wolfe
1928
ink and watercolor on paper
National Portrait Gallery, Washington DC

Cecil Beaton
Carmel Snow
ca. 1928
gelatin silver print
National Portrait Gallery, Washington DC

Cecil Beaton
Paula Gellibrand,
later Marquesa de Casa Maury
ca. 1928-29
gelatin silver print
Art Institute of Chicago

Cecil Beaton
Juliana Force
ca. 1931
gelatin silver print
Whitney Museum of American Art, New York

Cecil Beaton
Flora Whitney
ca. 1932
gelatin silver print
Whitney Museum of American Art, New York

Cecil Beaton
Ruth Ford
ca. 1930-40
gelatin silver print
Hirshhorn Museum, Washington DC

Cecil Beaton
Gloria Swanson
ca. 1935
gelatin silver print
National Portrait Gallery, Washington DC

Cecil Beaton
Elsie de Wolfe
ca. 1939
gelatin silver print
Cooper-Hewitt Smithsonian Design Museum, New York

Cecil Beaton
Churchill, Roosevelt, Stalin, Chiang Kai-Shek
1943
photo-lithograph (poster)
National Museum of American History,
Washington DC

Cecil Beaton
H.M. the King wearing Admiral's uniform
1944
photo-lithograph
National Museum of American History,
Washington DC

Cecil Beaton
Palace of Amber, Jaipur
1944
gelatin silver print
Art Institute of Chicago

Cecil Beaton
Gertrude Stein, 5 rue Christine
1945
gelatin silver print
National Portrait Gallery, Washington DC

Cecil Beaton
Lynn Fontanne
1952
gelatin silver print
National Portrait Gallery, Washington DC

Cecil Beaton
Elizabeth II
1955
gelatin silver print
Carnegie Museum of Art, Pittsburgh

Cecil Beaton
The Tackle
ca. 1960
oil on canvas
National Football Museum, Manchester

Cecil Beaton
William John Christopher Vassall
1966
oil on canvas
National Portrait Gallery, London

from Remedia Amores

Come then sick youth unto my sacred skill,

Whose love hath fallen crosse unto your minde:

Learne how to remedie that pleasing ill,

Of him that taught you your own harmes to finde,

    For in that selfesame hand your helpe is found,

    Whence first ye did receive your careful wound.

Whiles well thou maist, and ere that secret ware,

Be thoroughly kindled in thy troubled minde,

If thou repent, ô run not on too far,

Retire, ere greater cause of grief thou finde.

    Treade down the starting seeds of springing wo,

    And turne thy Steed, ere he untamed growe.

Delay gives strength, time ripes the greenest grasse,

And makes corn stiff, that was a weake spring weed:

The greatest tree that farthest spreads his sape,

Was first a wand, or but a little seed.

    Then mought it be thrown down, drawne up, soone broke,

    Now stands it stiffe, and conquers every stroke.

– Ovid (43 BC-AD 17), translated by F.L. (1600)

Alfred Cheney Johnston

Alfred Cheney Johnston
Fanny Brice
1918
platinum print
National Portrait Gallery, Washington DC

Alfred Cheney Johnston
Statuesque Woman
ca. 1920
gelatin silver print
New Britain Museum of American Art, Connecticut

Alfred Cheney Johnston
Norma Shearer
ca. 1920
gelatin silver print
National Portrait Gallery, Washington DC

Alfred Cheney Johnston
Lillian Gish
1922
gelatin silver print
National Portrait Gallery, Washington DC

Alfred Cheney Johnston
Clara Bow
1923
gelatin silver print
National Portrait Gallery, Washington DC

Alfred Cheney Johnston
Raymond Hitchcock
ca. 1925
gelatin silver print
National Portrait Gallery, Washington DC

Alfred Cheney Johnston
Mrs Cornelius Vanderbilt
(Grace Graham Wilson)
ca. 1925
gelatin silver print
Chrysler Museum of Art, Norfolk, Virginia

Alfred Cheney Johnston
Ida Tarbell
ca. 1925
gelatin silver print
National Portrait Gallery, Washington DC

Alfred Cheney Johnston
Fredric March
ca. 1925
gelatin silver print
National Portrait Gallery, Washington DC

Alfred Cheney Johnston
Mary Pickford
ca. 1925
gelatin silver print
National Portrait Gallery, Washington DC

Alfred Cheney Johnston
Emily Post
ca. 1925
gelatin silver print
National Portrait Gallery, Washington DC

Alfred Cheney Johnston
Barbara Stanwyck
ca. 1927
gelatin silver print
Minneapolis Institute of Art

Alfred Cheney Johnston
Marjorie Merriweather Post
1929
gelatin silver print
National Portrait Gallery, Washington DC

Alfred Cheney Johnston
Dance Exhibition in Nightclub
ca. 1934
tricolor carbro print
Minneapolis Institute of Art

Alfred Cheney Johnston
Woman with Red Nails
ca. 1934
tricolor carbro print
Nelson-Atkins Museum of Art, Kansas City, Missouri

Alfred Cheney Johnston
Tyrone Power
ca. 1936
gelatin silver print
National Portrait Gallery, Washington DC

from The Amores

O! Love! how cold, and slow to take my part!
Thou idle Wanderer, about my Heart;
Why thy old faithfull Souldier wilt thou see
Opprest in thine own Tents? They Murder me:
Thy flames consume, thy Arrows pierce thy Friends,
Rather on foes pursue more Noble ends.
Achilles Sword wou'd generously bestow
A cure as certaine, as it gave the blow.
Hunters, who follow flying Game, give o'er
When the Prey's caught, hope still leads on before.
Wee thy owne Slaves feele thy Tyrannick blows,
While thy tame hand's unmov'd against thy Foes.
On Men disarm'd, how can you gallant prove?
And I was long ago disarm'd by Love.
Millions of dull Men live, and scornfull Maids,
We'll owne Love Valiant, when he these invades.
Rome, from each Corner of the wide World snatch'd,
A Lawrell; or't had beene to this day Thatch'd. 
But the old Souldier has his resting place,
And the good batter'd Horse is turnd to Grasse.
The Harrast Whore, who liv'd a Wretch to please
Has leave to be a Bawd, and take her ease.
For me then, who have freely spent my blood
(Love) in thy service, and soe boldly stood
In Celias Trenches; wer't not wisely done,
E'en to retire, and live at peace at home?
Noe, might I gaine a Godhead, to disclaime
My glorious Title to my endlesse flame,
Divinity with scorne I wou'd forsweare,
Such sweete, deare tempting Devills, Women are.

– Ovid (43 BC-AD 17), translated by John Wilmot, Earl of Rochester (before 1680)