“Stop to appreciate one of the earliest photographs ever made, capturing the delicate beauty of lace with groundbreaking clarity. This work is a direct ancestor of all modern photography, revealing the world through light and chemistry.”
This early photograph, titled "Cordella o Nastro a velo," captures the delicate texture of a piece of lace or ribbon against a plain background. The fabric's intricate weave and subtle transparency are rendered with remarkable clarity, a testament to the nascent photographic process used. Created in 1839, the same year Louis Daguerre announced his daguerreotype, this work demonstrates an alternative approach to fixing images, one that would prove foundational for photography's future. The soft, almost ethereal quality of the image highlights the material itself, transforming a simple textile into a subject of scientific and aesthetic study. It's a quiet exploration of light and shadow, revealing details that might be overlooked in everyday observation.
- Artist
- William Henry Fox Talbot
- Date
- 1839
- Medium
- Salted paper print
- Location
- The Metropolitan Museum of Art
- Dimensions
- 21.6 x 18 cm (8 1/2 x 7 1/16 in.)
- 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 fine, almost translucent threads of the fabric.
Notice the slight variations in tone across the lace, from light to dark.
See how the edges of the ribbon appear slightly blurred, a characteristic of early paper prints.
Look for the subtle patterns created by the weave of the material.
Stand in front of it and listen
The full narration walks you through Cordella o Nastro a velo — 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
1. Aglio. 2. Cestro. 3. Poa.
1839 · The Metropolitan Museum of Art
Bowood
1839 · The Metropolitan Museum of Art
Bromus Maximus, Genoa
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
