Bridget Ann Henisch

Biographic Data

ID5364677
NAMEBridget Ann Henisch
GIVEN NAMESBridget Ann
FAMILY NAMEHenisch
SIGNATUREHENISCH B A
VERIFIEDNo
TOTAL WORKS10
TOTAL CITATIONS0
WORKS AS AUTHOR10
WORKS AS EDITOR0
FIRST PUBLICATION YEAR1977
LATEST PUBLICATION YEAR2004
H-INDEX0

  • Secure the shadow ere the substance fade

    Bridget Ann Henisch, H K HenischARTICLEHistory of Photography2004

    If we dip into the Oxford English Dictionary for information on the word ‘shade’, we find that ‘the shades’ was in use as a term for the Underworld by the late sixteenth century and that soon afterwards it was being applied as well to the inhabitants of that region, the ghosts and disembodied spirits of the dead. ‘Shade’ can also be something that is dark in tone. The two associated meanings of the word were fused in the popular, late-eighteenth-…

  • Cuthbert Bede and the photographic scene in the 1850s

    Bridget Ann Henisch, H K HenischARTICLEHistory of Photography2004

    In the course of 1853–1854, the Reverend Edward Bradley (1827–1889), writing under his pen name Cuthbert Bede, stitched together a light-hearted survey of the state of photography in England at the time.1 Photographic Pleasures (figure 1), which was published in London in late January 1855, was meant to bring a smile to its readers and, if possible, a little fame and fortune to its author. There is nothing in it that is very profound or strikingl…

  • Crimean war photography

    Bridget Ann Henisch, H K HenischARTICLEHistory of Photography2002

    Ulrich Keller's new book is a detailed and fascinating survey of the many pictorial ways in which the Crimean War was presented to the general public of the time, and recorded for posterity. As befits its subject, it is handsomely produced and richly illustrated, to demonstrate the wide variety of approaches used, from formal paintings to sketches, lithographs, woodcuts, engravings and photographs

  • James Robertson and his Crimean War Campaign

    Bridget Ann Henisch, H K HenischARTICLEHistory of Photography2002

    For Britain, the Crimean War began officially on 27 March 1854. By late April, soldiers were disembarking at Scutari, just a short ferry-ride across the Bosphorus from Constantinople, which had been chosen as the major staging-post for the French and British troops on their way to the battlefields of the Black Sea region and the Crimean peninsula. At the time, James Robertson was comfortably established in Constantinople, having been living and w…

  • Art, Culture, and Cuisine

    Bridget Ann HenischARTICLESpeculum2001

  • James Robertson of Constantinople; a chronology

    Bridget Ann Henisch, H K HenischARTICLEHistory of Photography1990

    James Robertson, the nineteenth century photographer best known for his work in Constantinople and during the Crimean War, remains an exasperatingly elusive quarry for researchers. The beginning and end of his life are still lost in the shadows, but by now it is possible to chart in some detail the decade, roughly 1850 to 1860, in which he is known to have been active and ambitious as a photographer. Robertson is always coupled with Fenton, and i…

  • James Robertson of Constantinople

    Bridget Ann Henisch, H K HenischARTICLEHistory of Photography1984

    Although well-known for his Crimean War pictures and his handsome studies of the architecture and landscape of the Mediterranean world, James Robertson has remained a shadowy figure in the annals of photography. The combination of an all-too-common name and a place of residence with which even today postal communication is difficult has proved an effective barrier to research. However, one or two new details about his life have recently emerged, …

  • A. J. Melhuish and the Shah

    Bridget Ann Henisch, H K HenischARTICLEHistory of Photography1980

    Arthur James Melhuish (d. 1895) makes his first appearanance in the photographic records in 1854. At that time the waxed-paper process was fashionable in England, used mainly for landscape and architectural photography. Such work could be arduous, and a number of attempts were made to lighten the cumbrous equipment required. In May 1854, Melhuish and J. B. Spencer patented a rollholder which carried the waxed paper wound onto a spool. This holder…

  • Thorvaldsen daguerreotype cases

    Bridget Ann Henisch, H K HenischARTICLEHistory of Photography1978

    It has been known for some time1 that the daguerreotype ‘Union’ cases popularly known and described by Rinhart2 as ‘Angel Scattering Roses’ and ‘Angel Carrying Babies’ (both made by S. Peck & Co., c. 1856) were based on designs by the Danish sculptor Bertel Thorvaldsen (1770–1844) (Figure 1). The original titles were respectively ‘Day, Aurora with the Genius of Light’, and ‘Night with her children, Sleep and Death’ and, in that sense, the popular…

  • Cuthbert Bede and O.J. Rejlander

    Bridget Ann Henisch, H K HenischARTICLEHistory of Photography1977

    Photographic Pleasures, published in February 1855, was the first collection of humorous essays about the new art to appear in England. Its author, the Reverend Edward Bradley, writing under the pen name of Cuthbert Bede, was a young man of twenty-eight who already had one national best-seller to his credit. This was Mr Verdant Green, a novel about undergraduate life at Oxford, which came out at the end of 1853, with an engraved portrait of the a…