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| Étienne Carjat Sarah Bernhardt in Voltaire's Zaїre 1874 albumen print Cleveland Museum of Art, Ohio |
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| Étienne Carjat Portrait of Alphonse Daudet ca. 1876 woodburytype print Art Institute of Chicago |
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| Pierre Edmonds Fontaine du Luxembourg, Paris ca. 1875 albumen print Chrysler Museum of Art, Norfolk, Virginia |
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| Antonio Beato First Cataract of the Nile ca. 1875 albumen print Chrysler Museum of Art, Norfolk, Virginia |
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| Charles Bierstadt Horseshoe Falls from the Canadian Side ca. 1875 albumen prints (stereocard) Chrysler Museum of Art, Norfolk, Virginia |
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| Henri Béchard Thebes - Temple of the Ramesseum Interior of Hypostyle Hall 1875 albumen print Cleveland Museum of Art, Ohio |
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| Félix Bonfils Femme Voilée ca. 1875 albumen print Minneapolis Institute of Art |
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| Félix Bonfils Parthenon Colonnade ca. 1875 albumen print Metropolitan Museum of Art, New York |
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| Samuel Bourne Untitled ca. 1877 albumen print Art Institute of Chicago |
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| Felice Beato Dacoits captured in the Ye-U Jungle, Shwebo Province, Burma ca. 1880 albumen print Princeton University Art Museum |
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| Schroeder & Cie. (Lausanne) Karnak ca. 1880 albumen print Princeton University Art Museum |
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| Thomas Eakins Male Figure in Classical Costume 1883 albumen silver print Getty Museum, Los Angeles |
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| Wilhelm von Gloeden Wrestlers ca. 1885 modern gelatin silver print from glass plate negative Getty Museum, Los Angeles |
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| Wilhelm von Gloeden Youths among Rocks ca. 1885 modern gelatin silver print from glass plate negative Getty Museum, Los Angeles |
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| Pascal Sébah Interior, Abu Simbel Temple, Egypt before 1886 albumen print Minneapolis Institute of Art |
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| Spencer and Company (Santiago, Chile) Composite Portrait of 59 Women ca. 1875 albumen print Princeton University Art Museum |
"This composite photograph assembles fifty-nine women, all wearing the Chilean manto, a veil similar to the Spanish mantilla, traditionally worn on Sundays. As was common practice at the time, the publisher of this image took negatives from separate carte-de-visite portrait sessions and combined the images of the women into one picture. From various negatives of individuals that held value only for those depicted and those who knew them, the photographer produced an image with typological interest that could appeal to a wide array of customers. The women appear to belong together based on their visual similarities, but one wonders what they might have thought of this artificial conglomeration."
– curator's notes from Princeton University Art Museum
