29. Ibid., 130.
37. See Larry Schaaf, Sun Pictures: Photogenic Drawings by William Henry Fox Talbot (New York: Hans P. Krauss Cat-
30. In 1823 Atkins herself had produced 256 drawings of
alogue Seven, 1995), 18.
shells, which were then transformed into engravings to illustrate her father’s translation of Lamarck’s Genera of
38. Allan Sekula, “Photography Between Labour and
Shells. The “cut flower mosaic” technique of illustration
Capital,” in Benjamin H. D. Buchloh and Robert Wilkie,
was invented by a Mrs. Delany in the eighteenth century.
eds., Mining Photographs and Other Pictures, 1948–1968:
See plate 50 in Mrs. Neville Jackson, Silhouette: Notes and
A Selection from the Negative Archives of Shedden Studio,
Dictionary (New York: Charles Scribner’s Sons, 1938).
Glace Bay, Cape Breton (Halifax: Press of the Nova Scotia College of Art and Design and University College of Cape
31. Schaaf, Sun Gardens, 31.
Breton Press, 1983), 218.
32. Ibid., 33. The reference is to figure 13A–C, showing
39. William Henry Fox Talbot, “Some Account of the Art
the same specimen of Dictyota dichotoma in three differ-
of Photogenic Drawing” (1839), in Beaumont Newhall,
ent arrangements.
ed., Photography: Essays and Images (New York: Museum of Modern Art, 1980), 24.
33. In e-mail correspondence exchanged in October 1996, Schaaf made the following comment to me on this possi-
40. William Henry Fox Talbot, The Pencil of Nature
bility: “Mica was available in larger sheets than we are used
(1844–46; facsimile edition, New York: Da Capo, 1968),
to now but it was still scarce and relatively expensive. She
plate 3.
might have used waxed paper (as in the labels) but I have no direct evidence of this. But the number of specimens
41. Rosalind Krauss, “Notes on the Index: Part I” (1977),
that are arranged in subtly different ways—ie, rotated
The Originality of the Avant-Garde and Other Modernist
slightly, would indicate that they were printed nude. If one
Myths (Cambridge, MA: MIT Press, 1985), 203.
was working with even a very large sheet of mica, one would be likely to orient it more consistently.”
42. Jacques Derrida, Of Grammatology, trans. Gayatri Spivak (Baltimore: Johns Hopkins University Press, 1976),
34. Larry J. Schaaf, Records of the Dawn of Photography:
143.
Talbot’s Notebooks P&Q (Cambridge: Cambridge Univer-
notes to pages 158–167
sity Press, 1996), 29.
43. Jacques Derrida, Positions, trans. Alan Bass (Chicago: University of Chicago Press, 1981), 94.
35. Graham Smith, “Talbot and Botany: The Bertoloni Album,” History of Photography 17:1 (Spring 1993), 40.
44. Derrida, Of Grammatology, 157.
36. Schaaf, Notebooks P&Q, 7.
222