“This salted paper print from 1839 offers a rare glimpse into the very beginnings of photography, capturing botanical specimens with a scientific precision that was revolutionary for its time.”
This early photograph, titled "1. Aglio. 2. Cestro. 3. Poa.", captures three distinct botanical specimens, meticulously arranged and pressed against a light-sensitive paper. The plants themselves appear as ghostly silhouettes, their delicate forms rendered in varying shades of dark gray against a pale background. The process, known as a photogenic drawing, directly records the light blocked by the plants, revealing the intricate network of veins in the leaves and the subtle textures of their stems. Created in 1839, this image is a testament to the scientific curiosity that drove early photographic experimentation, transforming common flora into objects of careful study and quiet beauty. It demonstrates an early application of photography to scientific documentation, a pursuit that would become central to the medium's development.
- Artist
- William Henry Fox Talbot
- Date
- 1839
- Medium
- Salted paper print
- Location
- The Metropolitan Museum of Art
- Dimensions
- 20.9 x 16.8 cm (8 1/4 x 6 5/8 in.), irregularly trimmed
- Collection
- Photographs
- Credit line
- Harris Brisbane Dick Fund, 1936
What to Notice
Four details hide in plain sight. Here’s where to look.

Observe the delicate, almost translucent quality of the leaves.
See the fine network of veins visible in the larger plant specimen.
Note the subtle variations in tone, from dark outlines to softer gray areas.
Look at the irregular, hand-trimmed edges of the paper.
Stand in front of it and listen
The full narration walks you through 1. Aglio. 2. Cestro. 3. Poa. — the story behind it, the details most visitors miss, and why it matters. Free in the Art Whisper app.
William Henry Fox Talbot
1800–1877 · Kingdom of Great BritainThe man who invented the negative-positive process, making every photograph ever printed possible.
Further Works by Talbot
Bowood
1839 · The Metropolitan Museum of Art
Bromus Maximus, Genoa
1839 · The Metropolitan Museum of Art
Cordella o Nastro a velo
1839 · The Metropolitan Museum of Art
Felce
1839 · The Metropolitan Museum of Art
Sisymbrium Cumingianum
1839 · The Metropolitan Museum of Art
Tavola parecchiata per colazione a Thè
1839 · The Metropolitan Museum of Art
Villaggio
1839 · The Metropolitan Museum of Art
Wrack
1839 · The Metropolitan Museum of Art
More works to explore
Beyond Talbot: works from the same years.
Same era · 1820s–1850s
The Estuary Farm
Léon-Victor Dupré · 1831 · Art Institute of Chicago
Same era · 1820s–1850s
Hamlet and Horatio in the Graveyard
Eugène Delacroix · 1839 · Department of Paintings of the Louvre
Same era · 1820s–1850s
Stormy Sea Breaking on a Shore
J. M. W. Turner · 1840 · Yale Center for British Art
Same era · 1820s–1850s
The Virgin Adoring the Host
Jean-Auguste-Dominique Ingres · 1841 · Pushkin Museum of Fine Arts
Same era · 1820s–1850s
Young Woman
Jean-François Millet · 1844 · Art Institute of Chicago
Same era · 1820s–1850s
Wooded Landscape
Gustave Courbet · 1848 · Art Institute of Chicago
Same era · 1820s–1850s
Mount Chocorua and Moat Mountain from North Conway
William Hart · 1850
Same era · 1820s–1850s
Olive Trees
Vincent van Gogh · 1853 · The Metropolitan Museum of Art
Same era · 1820s–1850s
The Fortune Teller (La Bonne Aventure)
Jacques-Louis David · 1824 · Fine Arts Museums of San Francisco
Same era · 1820s–1850s
Woman in a Blue Dress
School of William Matthew Prior · 1840 · Art Institute of Chicago
Same era · 1820s–1850s
Designs for a Decorated Dish, or Platter, and a Biscuit Barrel
Alfred Henry Forrester [Alfred Crowquill] · 1845 · The Metropolitan Museum of Art
Same era · 1820s–1850s
Mr. James Mackie
Samuel Alcock & Company · 1830 · Art Institute of Chicago
