Note: this transcription is from a poor quality scan, and some words are difficult to read.

January 30, 1883 Salt Lake Tribune Salt Lake Daily Tribune 'MUYBRIDGE VS STANFORD. Suit of the Artist for Damages for the Governor's Horse Book.' 'NEW YORK, Jan 29(?). - The Sun has the following. There is a case in court which is regarded by turfmen and others with much interest. The case alluded to to is "Muybridge vs. Stanford." It is to be tried in Boston. Muybridge is the photographer who took the plates for Ex-Governor Leland Stanford of California, to be used in his work picturing the horse in motion, as shown by instantaneous photography. Persons well informed in the matter say the work has cost Stanford many thousands of dollars more than its sale has produced, one authority placing the figures at $?,000, and that he paid liberally for the services rendered in the production of the book. They further say that since the publication of the work, Muybridge considers himself the author, and claims damages for being unrepresented on the title page, and ignored in parts of the book, and that he is not satisfied with the credit given him in the preface, [--] Mr. Stanford's signature.
Muybridge - here told a reporter he had taken the action aganst Sanford in the Massachussets courts - he was adverse to making the matter public, but that while he had the warmest personal feelings toward Stanford and acknowledged his [--], he was compelled to defend his own professional reputation. (etc, etc)...

Stanford ... smiled when our reporter announced his errand. Motioning to a chair, he said, "Sit down, and I will give you the facts in the case.
About 1871 I had among other horses in California a remarkable fast trotter. He used to stride [--] or [--] 1/2 feet. I became very much interested in the motion of this trotter. I was satisfied that during some part of his action the horse [was?] completely clear of the gound with all his feet. This was a subject of more or less discussion among horsemen. It was prior to my acquaintance with Muybridge. In 1872, I think, Muybridge was employed by Mrs. Stanford to take some pictures of [our?] house and grounds. It was then I made his acquaintance. I conversed with him about the possibility of taking pictures of a horse moving rapidly. At first he said it coudn't be done. Pictures might however, he continued, be taken on the street, where men and animals were moving [freely?], and these touched up to look well but it was impossible to take a horse in quick motion. it would make a blur only. Muybridge returned to Califoria after an absence of several years, and was again commissioned to take pictures of my house and grounds in San Francisco. Then he informed me there were improvements to photography both to the sensitiveness of the plate and adjustment of the camera and that [much?] more distinct pictures could be taken than formerly. I then authorized him to send to London for a camera. He did so, and another picture was taken of Occident, but it so happened he was to such a position [??] he was taken, that it showed two of his feet on the ground. This proved nothing, but that somewhere in the horse's stride was he in that position. All this was done at my expense. Muybridge however, took so much interest in the work that he volunteered his services with the condition that I should board him. During the [--] he took pictures for other people with my instruments, and was paid for them. Most of the pictures taken during the last year of the experiments were with direct reference to my book. My son and I were about a great deal of the time. Dr. Stillman was present with Muybridge and conferred with him about the book, several horses were killed and disected by Stillman for the purpose of obtaining illustrations for the work. Muybridge took the pictures of the horses under the immediate direction of Stillman who was writing the book. The copyrights were taken at my expense and were my property until the spring of 1881 (?) then having no further use for Muybridge's services I gave him all the negatives he wanted, except such as I needed for my book. Muybridge [----] by saying that the pictures of the animal in motion created much greater interest in Paris, where the pictures were [shown?]. More than 200(?) artists and scientific men were present. One of the visitors was a famous painter with a [long?] body and very short legs, who [------] ran around the room in a comical manner [----] exclaiming [--] 'we have all been wrong - I'll never paint a horse again...'[section illegible]" Stanford [----] when in Paris that there were instruments [--] more sensitiveness and [--] than those [----] in his work (etc, etc).

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Nature, review of Stillman's The Horse in Motion. (As reproduced in the Tuapeka Times, New Zealand, 1882.

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