{"data": {"id": 164940, "accession_number": "2006.4", "share_license_status": "CC0", "tombstone": "Winter Trees Reflected in a Pond, 1841\u201342. William Henry Fox Talbot (British, 1800\u20131877). Salted paper print from calotype negative; image: 16.4 x 19.1 cm (6 7/16 x 7 1/2 in.); paper: 19.8 x 24.8 cm (7 13/16 x 9 3/4 in.); matted: 40.6 x 50.8 cm (16 x 20 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2006.4", "current_location": null, "title": "Winter Trees Reflected in a Pond", "creation_date": "1841\u201342", "creation_date_earliest": 1841, "creation_date_latest": 1842, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "salted paper print from calotype negative", "support_materials": [], "department": "Photography", "collection": "PH - British 19th Century", "type": "Photograph", "measurements": "Image: 16.4 x 19.1 cm (6 7/16 x 7 1/2 in.); Paper: 19.8 x 24.8 cm (7 13/16 x 9 3/4 in.); Matted: 40.6 x 50.8 cm (16 x 20 in.)", "dimensions": {"image": {"height": 0.164, "height_inch": 6, "height_inch_fraction": 0.4375, "width": 0.191, "width_inch": 7, "width_inch_fraction": 0.5}, "paper": {"height": 0.198, "height_inch": 7, "height_inch_fraction": 0.8125, "width": 0.248, "width_inch": 9, "width_inch_fraction": 0.75}, "matted": {"height": 0.406, "height_inch": 16, "height_inch_fraction": 0.0, "width": 0.508, "width_inch": 20, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "William Henry Fox Talbot [1800-1877] (the artist), Chippenham, United Kingdom", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "Matilda Theresa Talbot [1871-1956], Chippenham, United Kingdom", "citations": [], "footnotes": [], "date": "?-1930s", "sortorder": 2}, {"description": "Science Museum, London, United Kingdom", "citations": [], "footnotes": [], "date": "1930s", "sortorder": 3}, {"description": "Unknown", "citations": [], "footnotes": [], "date": "1970s", "sortorder": 4}, {"description": "(Robert Hershkowitz, Ltd., Sussex, United Kingdom)", "citations": [], "footnotes": [], "date": "1970s-2006", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "February 27, 2006", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Talbot made this image just a few years after he invented the photograph on paper.", "early_education_description": null, "artlens_description": null, "description": "Talbot captured tree branches flawlessly mirrored on the glassy surface of the pond at his family seat, the 13th-century Lacock Abbey in Wiltshire. A longer exposure, or a lusher season, would have risked a blurred image. The result was a radically abstract composition for its time\u2014a starkly beautiful landscape, as expressive and personal as any painting.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79993203"], "internet_archive": ["https://archive.org/details/clevelandart-2006.4-winter-trees-reflect"]}, "citations": [{"citation": "Solender, Katie. \"The Hinson Perspective.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 51, no. 4 (July/August 2011): 22-24.", "page_number": "Mentioned and reproduced: p. 24", "url": "https://archive.org/details/CMAMM2011-04/page/22/mode/2up"}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 304-305", "url": ""}, {"citation": "Tannenbaum, Barbara. \u201cFrom Long Shot to Close-up: A brief history of the photography collection.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>63, no. 1 (2023): 30-33.", "page_number": "Reproduced: P. 33", "url": "https://archive.org/details/CMAMM2023-01/page/n29/mode/2up"}], "url": "https://clevelandart.org/art/2006.4", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2006.4/2006.4_web.jpg", "width": "1034", "height": "893", "filesize": "761922", "filename": "2006.4_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2006.4/2006.4_print.jpg", "width": "3400", "height": "2936", "filesize": "6239311", "filename": "2006.4_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2006.4/2006.4_full.tif", "width": "4282", "height": "3698", "filesize": "47539776", "filename": "2006.4_full.tif"}}, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 164940, "creators": [{"id": 994, "description": "William Henry Fox Talbot (British, 1800\u20131877)", "extent": null, "qualifier": null, "role": "artist", "biography": "William Henry Fox Talbot British, 1800-1877\r\n\r\nBorn in Melbury, Dorset, Fox Talbot was a gentleman of the 19th century who, like many others of his class, pursued leisure activities in the arts and sciences. He experimented with means for capturing permanently the elusive images formed on paper by the camera obscura, an instrument used as a drawing aid. After several years of varying results, Talbot successfully devised a process that chemically recorded the image made by light on a piece of paper. On February 21, 1839, one month after the announcement of Louis-Jacques-Mand\u00e9 Daguerre's photographic process, Talbot presented his experiments to the Royal Society in London.\r\n\tTalbot's process differed greatly from that of Daguerre. Unlike the daguerreotype's sharply detailed image, the calotype, or Talbotype, was softly blurred; yet because the positive image was made from a negative, it had the advantage of multiple reproduction. This formed the basis of conventional photography.\r\n\tA graduate of Trinity College, Cambridge, Talbot was a man of scholarly and scientific bent whose interests included optics and botany. Before his work in photography, he also had published on mathematics and linguistics. He later played an important role in the deciphering of Assyrian and other cuneiform inscriptions of interest to biblical scholars.\r\n\tTalbot was made a Fellow of the Royal Society at age 32. He is credited with the first photographic negative, which still exists, a view of a set of windows at his home, Lacock Abbey. He invented a form of engraving that was a forerunner of photogravure, as well as other innovations in the quickly growing art form for which he was largely responsible. Talbot's The Pencil of Nature (1844-46) and Sun Pictures in Scotland (1845) are two of the earliest photographically illustrated books. T.W.F.", "name_in_original_language": null, "birth_year": "1800", "death_year": "1877", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2006-02-27T00:00:00", "sortable_date": 1841, "date_added_to_oa": null, "date_text": "1841\u201342", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-09-18 13:07:22.838000"}}