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Creator Name-CRT
Childe Hassam
Title
Grand Prix Day
Creation Date
1887
AMICA Contributor
Museum of Fine Arts, Boston
Creator Name-CRT
Childe Hassam
Title
Grand Prix Day
Creation Date
1887
AMICA Contributor
Museum of Fine Arts, Boston
Creator Name-CRT
Emile Bernard
Title
The Artists's Grandmother
Creation Date
1887
AMICA Contributor
Museum of Fine Arts, Boston
Creator Name-CRT
Dennis Miller Bunker
Title
Samuel Torrey Morse
Creation Date
1887
AMICA Contributor
Museum of Fine Arts, Boston
Creator Name-CRT
Louis Eugène Boudin
Title
Ships at Le Havre
Creation Date
1887
AMICA Contributor
Museum of Fine Arts, Boston
Creator Name-CRT
Winslow Homer
Title
Breaking Wave
Creation Date
1887
AMICA Contributor
Museum of Fine Arts, Boston
Creator Name-CRT
Pascal Adolphe Jean Dagnan-Bouveret
Title
Woman in Breton Costume Seated in a Meadow (study for Breton Women at a Pardon)
Creation Date
1887
AMICA Contributor
Museum of Fine Arts, Boston
Creator Name-CRT
Winslow Homer
Title
The Dory
Creation Date
1887
AMICA Contributor
Museum of Fine Arts, Boston
Creator Name-CRT
John Singer Sargent
Title
Mrs. Charles E. Inches (Louise Pomeroy)
Creation Date
1887
AMICA Contributor
Museum of Fine Arts, Boston
Creator Name-CRT
J. P. Mc L. Watters
Title
Francis Brooks
Creation Date
1887
AMICA Contributor
Museum of Fine Arts, Boston
Creator Name-CRT
Henry Hudson Kitson
Title
Miss Theo Alice Ruggles
Creation Date
1887
AMICA Contributor
Museum of Fine Arts, Boston
Creator Name-CRT
Camille Pissarro
Title
[The Market at Gisors, Le Marché a Pontoise (former title)]
Creation Date
1887
AMICA Contributor
Museum of Fine Arts, Boston
Creator Name-CRT
Henry Roderick Newman
Title
Wild Flowers
Creation Date
1887
AMICA Contributor
Museum of Fine Arts, Boston
Creator Name-CRT
[Rossendale Printing Co., Arthur Silver]
Title
FURNISHING FABRIC: Peacock Feathers
Creation Date
1887
AMICA Contributor
Victoria and Albert Museum
Creator Name-CRT
Eadweard Muybridge
Title
PHTOGRAPH 'Dancer'
Creation Date
1887
AMICA Contributor
The Victoria and Albert Museum
Creator Name-CRT
Eadweard Muybridge
Title
PHOTOGRAPH Man taking off his hat
Creation Date
1887
AMICA Contributor
The Victoria and Albert Museum
Creator Name-CRT
Eadweard Muybridge
Title
PHOTOGRAPH Horse and rider
Creation Date
1887
AMICA Contributor
The Victoria and Albert Museum
Creator Name-CRT
Huntley, Boorne & Stevens
Title
TIN for Huntley and Palmer's 'Orient' biscuits
Creation Date
1887
AMICA Contributor
The Victoria and Albert Museum
Creator Name-CRT
Paul Cezanne
Title
Mont Sainte-Victoire
Creation Date
1887
AMICA Contributor
The Phillips Collection
Creator Name-CRT
Ernest Barthélémy Mouchez
Title
La photographie astronomique a l'Observatoire de Paris et la carte du ciel
Creation Date
1887
AMICA Contributor
San Francisco Museum of Modern Art
Creator Name-CRT
Louis Comfort Tiffany
Title
Fishermen Unloading a Boat, Sea Bright, New Jersey
Creation Date
1887
AMICA Contributor
Smithsonian American Art Museum
Creator Name-CRT
Eadweard Muybridge
Title
Animal Locomotion (plate 319) (Man Throwing a Ball)
Creation Date
1887
AMICA Contributor
Smithsonian American Art Museum
Creator Name-CRT
Edward Mitchell Bannister
Title
Pleasant Pastures
Creation Date
1887
AMICA Contributor
Smithsonian American Art Museum
Creator Name-CRT
Kenyon Cox
Title
Indian Summer
Creation Date
1887
AMICA Contributor
Smithsonian American Art Museum
Creator Name-CRT
Edwin Austin Abbey
Title
Harvest Home
Creation Date
1887
AMICA Contributor
Smithsonian American Art Museum
Creator Name-CRT
J. H. Moser
Title
Self-Portrait
Creation Date
1887
AMICA Contributor
Smithsonian American Art Museum
Creator Name-CRT
Theodore Robinson
Title
At the Piano
Creation Date
1887
AMICA Contributor
Smithsonian American Art Museum
Creator Name-CRT
Frederick Stuart Church
Title
The Viking's Daughter
Creation Date
1887
AMICA Contributor
Smithsonian American Art Museum
Creator Name-CRT
Frederick Stuart Church
Title
Supremacy
Creation Date
1887
AMICA Contributor
Smithsonian American Art Museum
Creator Name-CRT
Abbott Handerson Thayer
Title
Angel
Creation Date
1887
AMICA Contributor
Smithsonian American Art Museum
Creator Name-CRT
George Inness
Title
September Afternoon
Creation Date
1887
AMICA Contributor
Smithsonian American Art Museum
Creator Name-CRT
Albert Pinkham Ryder
Title
Moonlight
Creation Date
1887
AMICA Contributor
Smithsonian American Art Museum
Creator Name-CRT
[Worn by Mrs. Louise Whitfield Carnegie, Made by Herman Rossberg]
Title
Wedding ensemble
Creation Date
1887
AMICA Contributor
The Metropolitan Museum of Art
Creator Name-CRT
John La Farge
Title
The Great Statue of Amida Buddha at Kamakura, Known as the Daibutsu, from the Priest's Garden
Creation Date
1887
AMICA Contributor
The Metropolitan Museum of Art
Creator Name-CRT
Eadweard Muybridge
Title
Animal Locomotion
Creation Date
1887
AMICA Contributor
The Minneapolis Institute of Arts
Date
15 April 1887
Place
New York
Photographer
George C. Cox
Note
On the morning of April 15th, 1887, George Cox took several photographs of Whitman, who was celebrating the success of his New York lecture on Lincoln, delivered the day before. Whitman recalls that "six or seven" photos were made during the session, but Whitman's friend Jeannette Gilder, an observer of the session, said there were many more than that: "He must have had twenty pictures taken, yet he never posed for a moment. He simply sat in the big revolving chair and swung himself to the right or to the left, as Mr. Cox directed, or took his hat off or put it on again, his expression and attitude remaining so natural that no one would have supposed he was sitting for a photograph." A few months later, Whitman was angry that Cox apparently was selling copies of the photos with forged signatures and was refusing to send Whitman copies of the proofs to allow Whitman to decide which ones should be printed, but the problem was straightened out and Cox began sending Whitman modest payments for the sale of photos. By October 1888, Whitman was calling Cox "the premier exception" among photographers and claimed to have received around one hundred dollars in royalties. Cox copyrighted two of the photos from this sitting, the only time he ever did so, apparently to protect Whitman's financial interest in them, and he sold the photos only to aid Whitman. Until now, only seven photos from this session have been known to exist; this collection adds five more, bringing the total to twelve. In a daybook, Whitman records looking through the proofs of the Cox session; he singles out this profile as well as another (Saunders #94) as "very good." These two photos are the ones Whitman felt were salvageable from the Cox session: "they are not all of them satisfactory to me: I had eight or ten and kept only two."
Date
15 April 1887
Place
New York
Photographer
George C. Cox
Note
On the morning of April 15th, 1887, George Cox took several photographs of Whitman, who was celebrating the success of his New York lecture on Lincoln, delivered the day before. Whitman recalls that "six or seven" photos were made during the session, but Whitman's friend Jeannette Gilder, an observer of the session, said there were many more than that: "He must have had twenty pictures taken, yet he never posed for a moment. He simply sat in the big revolving chair and swung himself to the right or to the left, as Mr. Cox directed, or took his hat off or put it on again, his expression and attitude remaining so natural that no one would have supposed he was sitting for a photograph." A few months later, Whitman was angry that Cox apparently was selling copies of the photos with forged signatures and was refusing to send Whitman copies of the proofs to allow Whitman to decide which ones should be printed, but the problem was straightened out and Cox began sending Whitman modest payments for the sale of photos. By October 1888, Whitman was calling Cox "the premier exception" among photographers and claimed to have received around one hundred dollars in royalties. Cox copyrighted two of the photos from this sitting, the only time he ever did so, apparently to protect Whitman's financial interest in them, and he sold the photos only to aid Whitman. Until now, only seven photos from this session have been known to exist; this collection adds five more, bringing the total to twelve. Whitman's lace collar, very visible here, was the handiwork of his housekeeper, Mary Davis, who made Whitman's shirts; he was particularly fond of this one and kept it for special occasions. See the reappearance of the lace in the 1889 Gutekunst photos.
Date
15 April 1887
Place
New York
Photographer
George C. Cox
Note
On the morning of April 15th, 1887, George Cox took several photographs of Whitman, who was celebrating the success of his New York lecture on Lincoln, delivered the day before. Whitman recalls that "six or seven" photos were made during the session, but Whitman's friend Jeannette Gilder, an observer of the session, said there were many more than that: "He must have had twenty pictures taken, yet he never posed for a moment. He simply sat in the big revolving chair and swung himself to the right or to the left, as Mr. Cox directed, or took his hat off or put it on again, his expression and attitude remaining so natural that no one would have supposed he was sitting for a photograph." A few months later, Whitman was angry that Cox apparently was selling copies of the photos with forged signatures and was refusing to send Whitman copies of the proofs to allow Whitman to decide which ones should be printed, but the problem was straightened out and Cox began sending Whitman modest payments for the sale of photos. By October 1888, Whitman was calling Cox "the premier exception" among photographers and claimed to have received around one hundred dollars in royalties. Cox copyrighted two of the photos from this sitting, the only time he ever did so, apparently to protect Whitman's financial interest in them, and he sold the photos only to aid Whitman. Until now, only seven photos from this session have been known to exist; this collection adds five more, bringing the total to twelve.
Date
15 April 1887
Place
New York
Photographer
George C. Cox
Note
On the morning of 15 April 1887, George Cox took several photographs of Whitman, who was celebrating the success of his New York lecture on Lincoln, delivered the day before. Whitman recalls that "six or seven" photos were made during the session, but Whitman's friend Jeannette Gilder, an observer of the session, said there were many more than that: "He must have had twenty pictures taken, yet he never posed for a moment. He simply sat in the big revolving chair and swung himself to the right or to the left, as Mr. Cox directed, or took his hat off or put it on again, his expression and attitude remaining so natural that no one would have supposed he was sitting for a photograph." A few months later, Whitman was angry that Cox apparently was selling copies of the photos with forged signatures and was refusing to send Whitman copies of the proofs to allow Whitman to decide which ones should be printed, but the problem was straightened out and Cox began sending Whitman modest payments for the sale of photos. By October 1888, Whitman was calling Cox "the premier exception" among photographers and claimed to have received around one hundred dollars in royalties. Cox copyrighted two of the photos from this sitting, the only time he ever did so, apparently to protect Whitman's financial interest in them, and he sold the photos only to aid Whitman. Until now, only seven photos from this session have been known to exist; this collection adds five more, bringing the total to twelve.
Date
15 April 1887
Place
New York
Photographer
George C. Cox
Note
On the morning of April 15th, 1887, George Cox took several photographs of Whitman, who was celebrating the success of his New York lecture on Lincoln, delivered the day before. Whitman recalls that "six or seven" photos were made during the session, but Whitman's friend Jeannette Gilder, an observer of the session, said there were many more than that: "He must have had twenty pictures taken, yet he never posed for a moment. He simply sat in the big revolving chair and swung himself to the right or to the left, as Mr. Cox directed, or took his hat off or put it on again, his expression and attitude remaining so natural that no one would have supposed he was sitting for a photograph." A few months later, Whitman was angry that Cox apparently was selling copies of the photos with forged signatures and was refusing to send Whitman copies of the proofs to allow Whitman to decide which ones should be printed, but the problem was straightened out and Cox began sending Whitman modest payments for the sale of photos. By October 1888, Whitman was calling Cox "the premier exception" among photographers and claimed to have received around one hundred dollars in royalties. Cox copyrighted two of the photos from this sitting, the only time he ever did so, apparently to protect Whitman's financial interest in them, and he sold the photos only to aid Whitman. Until now, only seven photos from this session have been known to exist; this collection adds five more, bringing the total to twelve. Regarding this particular photograph, Whitman once told Traubel he couldn't recall the name of the photographer, but he worried a great deal about his image in this portrait: "Does it look glum—sickish—painful? Has it that in it? They say so. I hate to think of myself as pensive, despondent, melancholy. . . . Does it look unkind? No man has any excuse for looking morose or cruel: he should do better. . . . That is so important to me: to not look downcast—cloud up things. . . . If you should ever use this portrait in any way—for this, that—be sure to say Walt Whitman was not a glum man despite his photographers."
Date
15 April 1887
Place
New York
Photographer
George C. Cox
Note
One of twelve extant photographs taken during the Cox sitting, this one with Nigel and Catherine Cholmeley-Jones, the nephew and niece of Jeannette Gilder, editor of <i>The Critic,
Date
15 April 1887
Place
New York
Photographer
George C. Cox
Note
One of twelve extant photographs taken during the Cox sitting, this one with Nigel and Catherine Cholmeley-Jones, the nephew and niece of Jeannette Gilder, editor of <i>The Critic,
Date
15 April 1887
Place
New York
Photographer
George C. Cox
Note
One of twelve extant photographs taken during the Cox sitting, this one with Nigel and Catherine Cholmeley-Jones, the nephew and niece of Jeannette Gilder, editor of <i>The Critic,
Date
15 April 1887
Place
New York
Photographer
George C. Cox
Note
One of twelve extant photographs taken during the Cox sitting, this one with Nigel and Catherine Cholmeley-Jones, the nephew and niece of Jeannette Gilder, editor of <i>The Critic,
Date
15 April 1887
Place
New York
Photographer
George C. Cox
Note
On the morning of April 15th, 1887, George Cox took several photographs of Whitman, who was celebrating the success of his New York lecture on Lincoln, delivered the day before. Whitman recalls that "six or seven" photos were made during the session, but Whitman's friend Jeannette Gilder, an observer of the session, said there were many more than that: "He must have had twenty pictures taken, yet he never posed for a moment. He simply sat in the big revolving chair and swung himself to the right or to the left, as Mr. Cox directed, or took his hat off or put it on again, his expression and attitude remaining so natural that no one would have supposed he was sitting for a photograph." A few months later, Whitman was angry that Cox apparently was selling copies of the photos with forged signatures and was refusing to send Whitman copies of the proofs to allow Whitman to decide which ones should be printed, but the problem was straightened out and Cox began sending Whitman modest payments for the sale of photos. By October 1888, Whitman was calling Cox "the premier exception" among photographers and claimed to have received around one hundred dollars in royalties. Cox copyrighted two of the photos from this sitting, the only time he ever did so, apparently to protect Whitman's financial interest in them, and he sold the photos only to aid Whitman. Until now, only seven photos from this session have been known to exist; this collection adds five more, bringing the total to twelve. This was Whitman's favorite photograph from the Cox session ("it seems to me so excellent—so to stand out from all the others"), a photo he began referring to as "the Laughing Philosopher": "Do you think the name I have given it justified? do you see the laugh in it? I'm not wholly sure: yet I call it that. I can say honestly that I like it better than any other picture of that set: Cox made six or seven of them: yet I am conscious of something foreign in it—something not just right in that place." Still, Whitman believed the picture was "like a total—like a whole story," and he was proud that Tennyson—to whom Whitman sent the photo—admired it: "liked it much—oh! so much."
Date
15 April 1887
Place
New York
Photographer
George C. Cox
Note
On the morning of April 15th, 1887, George Cox took several photographs of Whitman, who was celebrating the success of his New York lecture on Lincoln, delivered the day before. Whitman recalls that "six or seven" photos were made during the session, but Whitman's friend Jeannette Gilder, an observer of the session, said there were many more than that: "He must have had twenty pictures taken, yet he never posed for a moment. He simply sat in the big revolving chair and swung himself to the right or to the left, as Mr. Cox directed, or took his hat off or put it on again, his expression and attitude remaining so natural that no one would have supposed he was sitting for a photograph." A few months later, Whitman was angry that Cox apparently was selling copies of the photos with forged signatures and was refusing to send Whitman copies of the proofs to allow Whitman to decide which ones should be printed, but the problem was straightened out and Cox began sending Whitman modest payments for the sale of photos. By October 1888, Whitman was calling Cox "the premier exception" among photographers and claimed to have received around one hundred dollars in royalties. Cox copyrighted two of the photos from this sitting, the only time he ever did so, apparently to protect Whitman's financial interest in them, and he sold the photos only to aid Whitman. Until now, only seven photos from this session have been known to exist; this collection adds five more, bringing the total to twelve.
Date
15 April 1887
Place
New York
Photographer
George C. Cox
Note
On the morning of April 15th, 1887, George Cox took several photographs of Whitman, who was celebrating the success of his New York lecture on Lincoln, delivered the day before. Whitman recalls that "six or seven" photos were made during the session, but Whitman's friend Jeannette Gilder, an observer of the session, said there were many more than that: "He must have had twenty pictures taken, yet he never posed for a moment. He simply sat in the big revolving chair and swung himself to the right or to the left, as Mr. Cox directed, or took his hat off or put it on again, his expression and attitude remaining so natural that no one would have supposed he was sitting for a photograph." A few months later, Whitman was angry that Cox apparently was selling copies of the photos with forged signatures and was refusing to send Whitman copies of the proofs to allow Whitman to decide which ones should be printed, but the problem was straightened out and Cox began sending Whitman modest payments for the sale of photos. By October 1888, Whitman was calling Cox "the premier exception" among photographers and claimed to have received around one hundred dollars in royalties. Cox copyrighted two of the photos from this sitting, the only time he ever did so, apparently to protect Whitman's financial interest in them, and he sold the photos only to aid Whitman. Until now, only seven photos from this session have been known to exist; this collection adds five more, bringing the total to twelve.
Author
Iwashita, Katanao.
Publisher
Tōkyō-fu : Hayashi Tamiji, Meiji 20 [1887]
Note
1 folded sheet in envelop : col. ill. ; 74 x 52 cm., folded to 25 x 18 cm. Actual size: 73.5 x 52 cm.Illustration of famous sites of the world; in form of a sugoroku game board.
Author
Utagawa, Kuniteru, 1830?-1874
Publisher
Honjo-ku [Tokyo] : Kobayashi Shinkichi
Note
Japanese date Meiji 20 [1887]. 1 folded sheet in wrapper : col. ill. ; 72 x 62 cm., folded to 26 x 20 cm. Actual size: 71.6 x 61.3 cm. Illustration of Industries in the Meiji period; in form of a sugoroku game board. Picture on wrapper.
Author
Utagawa, Kuniteru, 1830?-1874
Publisher
Honjo-ku [Tokyo] : Kobayashi Shinkichi
Note
Japanese date Meiji 20 [1887]. 1 folded sheet in wrapper : col. ill. ; 72 x 62 cm., folded to 26 x 20 cm. Actual size: 71.6 x 61.3 cm. Illustration of Industries in the Meiji period; in form of a sugoroku game board. Picture on wrapper.
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