I regt tt y. sd wnt for m. cops for ye AU - it bg difft fr me to compy wh yr reqst. I hve ind
left remaining some cops of engrgs - but these I intd to exclude on principle in order tt you may be able to say that all ye pictures are fm nature;
If any copies of engrs were to be admitted, such is ye ignorce of ye Public, tt they wd not know wch was which, & the result wd be that all ye best wd be supposed to be from engrags.
I hve put asde likewse all
those ye cops wch appd to be imperfect. In fact I hve sent to ye binder all that deserved were worthy of being published.
It is possible of course that there may be an extra demand for the number of the Art Union containg the specns, but this extra demand wd not I suppose be felt for some weeks after ye day of publicn. If it occurs, it may be necessary to
take measures go to all ye expense for supplyg the demand, but it wd not be necessary to provide agst it beforehand, as ye public may perhaps receive the article with their usual apathy, & indiffce for ye fine arts.
I am dear sir
1 February 1846
[Samuel Carter] Hall [editor of Art Union]
I regret that you should want for more copies for the Art Union <1> - it being difficult for me to comply with your request. I have indeed
left remaining some copies of engravings - but these I intend to exclude on principle in order that you may be able to say that all the pictures are from nature;
If any copies of engravings were to be admitted, such is the ignorance of the Public, that they would not know which was which, and the result would be that all the best would be supposed to be from engravings.
I have put aside likewise all
those the copies which appeared to be imperfect. In fact I have sent to the binder all that deserved were worthy of being published.
It is possible of course that there may be an extra demand for the number of the Art Union containing the specimens, but this extra demand would not I suppose be felt for some weeks after the day of publication. If it occurs, it may be necessary to
take measures go to all the expense for supplying the demand, but it would not be necessary to provide against it beforehand, as the public may perhaps receive the article with their usual apathy, and indifference for the fine arts.
I am dear sir
1. The Art-Union Monthly Journal of the Fine Arts and the Arts, Decorative, Ornamental (launched in 1839, the same year as photography) was a lavishly illustrated journal that included many demonstration pieces. Hall originally estimated that he would need 4000 or 5000 prints, but in the end 7000 were required. An original mounted Talbotype was bound in each copy of the June 1846 Art-Union, v. 8 no. 91, facing p. 143. Since each print had to spend some time in the sun under the negative, Henneman pressed every available negative into service, leading to a great variety in different copies of the journal. Hall must have heard from some skeptical artists, for he felt compelled to explain in the next issue that the prints 'were taken from the actual objects they represent; they were, strictly, copies from NATURE; in no case had a print been made use of for the purpose of transfer' - 'The Application of the Talbotype', The Art-Union, July 1846, p. 195. The final effect of this effort was costly to WHFT, both in out of pocket expenses and in reputation. The production of so many prints in such a short time span with the approach of winter suffered from a paucity of sunshine and Henneman's inability to supply (and afford) sufficient warm water for adequate washing. Many of the prints began fading almost straight away, and this fiasco was one of the factors that led WHFT to abandon printing with silver in favour of his photographic engraving and later photoglyphic engraving, both expressed through time-tested printer's ink.