Found Photographs

Anonymous Photographer
Venus de Milo
ca. 1850
daguerreotypes (stereograph)
Clark Art Institute, Williamstown, Massachusetts

Anonymous Photographer
Venus de Milo
ca. 1870
albumen print
Clark Art Institute, Williamstown, Massachusetts

Anonymous Photographer
Victoire de Samothrace
ca. 1860-70
albumen print
Art Institute of Chicago

Anonymous Photographer
Two Models
ca. 1860
albumen silver print
National Gallery of Canada, Ottawa

Anonymous Photographer
Reclining Model
ca. 1852-54
hand-colored daguerreotypes (stereograph)
National Gallery of Victoria, Melbourne

Anonymous Photographer
Man on Horseback
ca. 1845
daguerreotype
National Gallery of Canada, Ottawa

Anonymous Photographer
Portrait of a Man
ca. 1855
daguerreotype
National Gallery of Canada, Ottawa

Anonymous Photographer
Portrait of a Man
ca. 1865
daguerreotype
Lowe Art Museum, University of Miami

Anonymous Photographer
Portrait of a Woman
ca. 1845
hand-colored daguerreotype
National Gallery of Canada, Ottawa

Anonymous Photographer
Portrait of a Woman
ca. 1860
albumen silver print
Los Angeles County Museum of Art

Anonymous Photographer
Portrait of Polly Fuller
ca. 1855
hand-colored daguerreotype
National Gallery of Canada, Ottawa

Anonymous Photographer
Portrait of a Couple with their Daughter
ca. 1845
hand-colored daguerreotype
National Gallery of Canada, Ottawa

Anonymous Photographer
Portrait of F. Maxwell Lyte
ca. 1850
daguerreotype
National Gallery of Canada, Ottawa

Anonymous Photographer
General Tom Thumb (Charles S. Stratton)
ca. 1847-48
daguerreotype
National Gallery of Canada, Ottawa

Anonymous Photographer
The Carpenter
ca. 1850
daguerreotype
National Gallery of Canada, Ottawa

Anonymous Photographer
Cave of Enoshima, Japan
1865
hand-colored albumen silver print
Los Angeles County Museum of Art

Morning

The virtuous girl wakes in the arms of her husband,

the same arms in which, all summer, she moved

restless, under the pear trees:

it is pleasant to wake like this,

with the sun rising, to see the wedding dress

draped over the back of a chair,

and on the heavy bureau, a man's shirt, neatly folded;

to be restored by these

to a thousand images, to the church itself, the autumn sunlight

streaming through the colored windows, through

the figure of the Blessed Virgin, and underneath,

Amelia holding the fiery bridal flowers –

As for her mother's tears: ridiculous, and yet

mothers weep at their daughters' weddings,

everyone knows that, though

for whose youth one cannot say.

At the great feast there is always the outsider, the stranger to joy,

and the point is how different they are, she and her mother.

Never has she been further from sadness

than she is now. She feels no call to weep,

but neither does she know

the meaning of that word, youth.

– Louise Glück (1985)