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Author
[Morse, Sidney E. (Sidney Edwards), 1794-1871, Breese, S.]
Note
Uncolored map. Shows roads, railroads, rivers, canals, etc. Relief shown by hachures. Prime meridian is Washington.
Author
Burr, David H., 1803-1875
Note
2 maps in pocket form from Burr's New York State Atlas. The maps are mounted across from each other on the verso's of the covers. Full color maps folded into dark green leather covers, 13x8, with "State of N.Y." and below it "N. Hickock." stamped in gilt. Prime meridian is Washington D.C.
Author
Burr, David H., 1803-1875
Note
2 maps in pocket form from Burr's New York State Atlas. The maps are mounted across from each other on the verso's of the covers. Full color maps folded into dark green leather covers, 13x8, with "State of N.Y." and below it "N. Hickock." stamped in gilt. Prime meridian is Washington D.C.
Author
Burr, David H., 1803-1875
Note
2 maps in pocket form from Burr's New York State Atlas. The maps are mounted across from each other on the verso's of the covers. Full color maps folded into dark green leather covers, 13x8, with "State of N.Y." and below it "N. Hickock." stamped in gilt. Prime meridian is Washington D.C.
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
Probably 11 February 1878
Place
New York
Photographer
Augustus Morand
Note
With Harry Stafford. Whitman often stayed with the Stafford family at their farm in New Jersey where he spent restorative time by Timber Creek, regaining his health. In 1876 Whitman entered an intense and stormy relationship with young Harry, who often accompanied Whitman to the creek and to whom Whitman gave a ring; the ring is visible in this photo on Harry's right hand. The ring was taken back and re-given over the next couple of years, and clearly was thought of as a symbol of deep commitment; Harry wrote to Whitman about wanting the ring back in 1877 "to compleete [sic] our friendship." During one of Harry's visits to Camden in February 1878, Whitman notes: "Feb 11—Monday—Harry here—put r[ing] on his hand again—had picture taken at Morand's cor Arch & 9th Phil: for Michener, cor Arch & 10th" (<i>DBN
Date
July 1878
Place
New York
Photographer
William Kurtz
Note
Again with Kitty and Harry Johnston.
Date
July 1878
Place
New York
Photographer
William Kurtz
Note
Written on the back of the Library of Congress copy of this photo: "Walt Whitman with 'Kitty' (Katharine Devereux) and 'Harry' (Harold Hugh) Johnston, children of John H. and Amelia F. Johnston." Johnston was a New York jeweler who befriended Whitman and housed him for long stays in New York in the late 1870s. During his first stay in 1877, Whitman experienced the death of Amelia Johnston as she gave birth to Harry. In 1878, Whitman wrote that "The little 15 months old baby, little Harry . . . is a fine, good bright child, not very rugged, but gets along very well—I take him in my arms always after breakfast & go out in front for a short walk—he is very contented & good with me—little Kitty goes too." Whitman worried about Harry's health—"I hardly think its tenure of life secure." Whitman reported that the children called him "Uncle Walt," and he found them "model children lively & free & children" who "form a great part of my comfort here." In a 1911 letter, J. H. Johnston remembered that during his brief two-day visit in July 1878, "Walt enjoyed rambling up & down the Avenue and opposite in Central Park with our two youngest children, and one day of his own accord he took them down to Kurtz-then the most famous photographer in New York and had himself photographed with them." There is also a cropped and touched up version of this photograph with a clutch of grass added in Harry's hand. The grass in Harry's hand turns him into a representation of the child in "Song of Myself" who said "What is the grass? fetching it to me with full hands."
Date
July 1878
Place
New York
Photographer
Napoleon Sarony
Date
July 1878
Place
New York
Photographer
Napoleon Sarony
Note
Sarony was known for his amazing (and often bizarre) collection of settings, backdrops, and props; in this and the following photo, Whitman is cast into the world of Sarony's illusions. Also apparent in these two photos are Sarony's unconventional posing techniques.
Date
July 1878
Place
New York
Photographer
Napoleon Sarony
Date
July 1878
Place
New York
Photographer
Napoleon Sarony
Note
Of this photo, WW said, "It is one of my good-humored pictures. . . . This is strong enough to be right and gentle enough to be right, too: I like to be both: I wouldn't like people to say 'he is a giant' and then forget I know how to love." On some later copies of this photograph, Whitman's name is printed on the card.
Date
July 1878
Place
New York
Photographer
Napoleon Sarony
Note
In July 1878, Whitman was invited by Sarony to sit for a group of portraits; this and eight other photographs are the result. Whitman wrote Harry Stafford on the afternoon after the sitting at "the great photographic establishment" that he "had a real pleasant time" (<i>Corr
Date
1871
Place
New York
Photographer
V. W. Horton (?) of J. Gurney & Son
Note
This and other photographs from the Gurney session sometimes appear on Rockwood cartes-de-visite. It appears that Rockwood either purchased Gurney's negatives or made copy prints in the 1880s, when he made copies of several unique items for John H. Johnston, including the 1854 Gabriel Harrison daguerreotype and the 1860 painting by Charles W. Hine.
Date
6 July 1878
Place
New York
Photographer
Napoleon Sarony
Date
1871
Place
New York
Photographer
V. W. Horton (?) of J. Gurney & Son
Note
Horace Traubel dates it as during the Civil War, but it is clearly part of the 1871 session at J. Gurney & Son.
Date
1871-1872
Place
New York
Photographer
V. W. Horton (?) of J. Gurney & Son
Note
Whitman dated it both 1871 and 1872.
Date
1871
Place
New York
Photographer
V. W. Horton (?) of J. Gurney & Son
Note
Nearly identical to another photo from this session, but shaded on the opposite side.
Date
1871
Place
New York
Photographer
V. W. Horton (?) of J. Gurney & Son
Note
Whitman dates this picture to about 1865, but Gurney & Son were at 707 Broadway from 1857-1869. Gurney & Son moved to 5th Avenue in 1869 and remained there until the partnership was dissolved in 1874. Among his notebook entries dating between February and July 1871, Whitman notes, "V. W. Horton at Gurney's, cor 5th av. & 16th st." (<i>NUPM
Date
July 1854
Place
New York
Photographer
Samuel Hollyer of a daguerreotype by Gabriel Harrison (original lost)
Note
Of the day the original daguerreotype was taken, Whitman remembered, "I was sauntering along the street: the day was hot: I was dressed just as you see me there. A friend of mine—Gabriel Harrison (you know him? ah! yes!—he has always been a good friend!)—stood at the door of his place looking at the passers-by. He cried out to me at once: 'Old man!—old man!—come here: come right up stairs with me this minute'—and when he noticed that I hesitated cried still more emphatically: 'Do come: come: I'm dying for something to do.' This picture was the result." The job of engraving the image for the 1855 frontispiece was given to Samuel Hollyer, who wrote, "the order was given to McRae but as he was not a stipple engraver (but a mezzotint one) he turned it over to me, and I had several sittings from Walt Whitman as it was taken from a daguerrotype [sic] and was difficult to work from." Though the image portrayed him as he was that summer day, Whitman later worried it sent the wrong message, "The worst thing about this is, that I look so damned flamboyant—as if I was hurling bolts at somebody—full of mad oaths—saying defiantly, to hell with you!" He also worried about the portrait because "Many people think the dominant quality in Harrison's picture is its sadness," but he nevertheless liked the portrait "because it is natural, honest, easy: as spontaneous as you are, as I am, this instant, as we talk together." Whitman guessed that at the time of this portrait he weighed "about a hundred and sixty-five or thereabouts: I formerly lacked in flesh, though I was not thin. . . ." The engraving appeared in the 1855 and 1856 editions of <i>Leaves of Grass,
Date
Probably between 1867 and 1869
Place
New York
Photographer
William Kurtz
Note
Clara Barrus said that this photograph was "taken by Kurtz in the Brooklyn Eagle office in 1873," but 1873 seems an unlikely year for any photographs, since Whitman suffered a paralytic stroke in January, was devastated further by his mother's death in May, and moved to Camden in July. Note the similarity of clothing and pose to other Kurtz photographs from this period. Clearly this photo is in Kurtz's "Rembrandt" style of shadow and light, a style he did not introduce until 1867. An engraved version of this photograph appeared in Frank Leslie's <i>Illustrated Newspaper
Date
Probably between 1866 and 1869
Place
New York
Photographer
William Kurtz
Note
This or one of the following two photos may be the one Whitman described to Horace Traubel as "the Quaker picture: see? the sombrero—the nice adjustment of light and shade." Kurtz was famous for developing methods to photograph shadowed sides of the face.
Date
Late 1860s
Place
New York
Photographer
William Kurtz
Note
This photo is usually dated 1860, but Kurtz did not open his own studio in NY until after the Civil War, and the original photo carries Kurtz's Madison Square imprint (the Madison Square gallery was not opened until 1874, though this may be a later printing of an earlier photo). The Library of Congress copy is endorsed by WW: "Walt Whitman 1869" (which Saunders misread as "1860").
Date
Around 1862
Place
New York
Photographer
Mathew Brady or Alexander Gardner
Note
Whitman described this photo as having "a sort of Moses in the burning bush look." Talking about this photo in 1888, Whitman said, "Somebody used to say I sometimes wore the face of a man who was sorry for the world. Is this my sorry face? I am not sorry—I am glad—for the world." "This picture was much better when it was taken—it has faded out," Whitman noted; "I always rather favored it." This portrait might have been taken between an exhibition, which Whitman may have attended, of Alexander Gardner's Antietam photographs at Brady's New York studio in late September 1862 and Whitman's departure for Fredericksburg in December. In an 1863 notebook, Whitman records receiving photos from Brady.
Date
1863
Place
New York
Photographer
Thomas Faris at Faris and Gray
Note
Saunders, quoting Putnam's (where the photo appeared in November 1908), dates it "Just before the Civil War," and Library of Congress and Ohio Wesleyan University date it 1864. A copy of this photograph in the Kendall Reed Collection, however, includes the above backmark of Faris and Gray, making it possible to date this photograph more accurately. In October 1863, Whitman had his hair and beard closely cropped. To his mother, he wrote: "O I must not close without telling you the highly important intelligence that I have cut my hair & beard—since the event, Rosecrans, Charleston, &c &c have among my acquaintances been hardly mentioned, being insignificant themes in comparison." Similarly, he wrote to Hugo Fritsch: "I have cut my beard short, & hair ditto: (all my acquaintances are in anger & despair & go about wringing their hands)" (Corr 1:158-59). When Whitman visited New York in November 1863, his hair would have still been quite short. Faris appears to have been a long-time acquaintance and mutual friend of Charles W. Hine, who had painted Whitman's portrait in 1860. In 1864 Thomas Faris left New York for Washington, D. C. Though no record exists of their friendship in Washington, Faris did visit Whitman in New York in May 1868, and Whitman records seeing Faris again (after his return to New York) in 1871 to deliver the news that Charles Hine was dying. There is a copy of this photograph in a velvet display box in the Camden house.
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.
Title
Captain America goes to war against drugs
Artist
Velluto, Sal; Williams, Keith, 1957-; Parker, Rick; Sharen, Bob
Date Published
1990
Title
This Spider-Man special edition is not for sale!
Date Published
1992
Title
You've Had It The Story of Basic Training
Artist
Gadbois, Bob
Date Published
1950
Title
Nutri-Man y Vita-Woman: contra el Sugar Demon
Artist
Birsi
Date Published
c1983
Title
United States Marines [No.1]: Victory at Gavutu
Artist
Bailey, Mart; Whitney, Ogden, 1918-; McGill, Ray
Date Published
c1943
Title
Trial of Venom
Artist
Craig, Jim, 1954-; Day, Dan; Day, David; Lopez, Ken; Smith, Tom
Date Published
1992-11
Title
Superman: CMPTOHOCHO HACLEbE [Deadly legacy]
Artist
Lopez, Garcia
Date Published
1996
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