“Stop to appreciate "Felce," a remarkably detailed early photograph from 1839. It's a direct impression of a fern, created by light itself, showcasing the very beginnings of photography.”
This early photograph, titled "Felce," Italian for fern, captures the delicate fronds of a plant pressed flat against a sheet of chemically treated paper. The image is a photogenic drawing, one of the earliest forms of photography, where the fern itself acts as a stencil, blocking light to create a ghostly white silhouette against a darkened background. You can see the intricate veins and serrated edges of each leaflet, rendered with a precision that was revolutionary in 1839. This work exemplifies William Henry Fox Talbot's pioneering efforts to make natural objects "delineate themselves," turning light into a drawing tool. The process involved coating paper with silver chloride, which darkened when exposed to sunlight, creating a direct negative image. This particular print, with its soft, slightly irregular edges, shows the raw, experimental nature of photography in its infancy, a moment when the world was just beginning to see itself through the lens of light-sensitive chemistry.
- Artist
- William Henry Fox Talbot
- Date
- 1839
- Medium
- Salted paper print
- Location
- The Metropolitan Museum of Art
- Dimensions
- 21.4 x 17.4 cm (8 7/16 x 6 7/8 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.

The delicate, almost translucent veins of the fern fronds.
The soft, feathery edges of the leaves, characteristic of a contact print.
The slightly mottled texture of the paper, showing the early photographic process.
The irregular, hand-trimmed edges of the print itself.
Stand in front of it and listen
The full narration walks you through Felce — 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
Cordella o Nastro a velo
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
