1860 The Athenaeum
Journal of English and foreign Literature, science, and the Fine Arts
1860 [no vol. #s]
ver: Oct. 23, 2009 (V&A)
--This journal does NOT have volume #s, only issue #s.
--There are two volumes for 1860. Recheck does the page numbering start over?
--These articles have been transcribed directly from the originals in the V&A Art Library; NO copies made.
--Ads = only checked in spotty manner; they are listed together then they occur. More thorough search needed when time permits.
--NO reference found to Cheyne stereos of Franklin relics although many articles on and by McClintock and Franklin are included.
NOTES:
--Italics have been retained from publications, which use them for both titles as well as emphasis. To more easily locate image titles, I have continued this italicization when titles have been rendered in all capitols or put in quotes, however italics have NOT been used when the general subject of an image is mentioned.
--Spelling and typos: Nineteenth-century spellings occasionally differs from currently accepted norms. In addition, British spellings also differ from American usage. Common examples are: “colour” vs. “color”; “centre” vs. “center’” the use of “s” for “z” as in “recognise” vs. “recognize; and the use of one “l” instead of “ll” as in “fulfilment”. While great care has been exercised in transcribing the 19th-century journals exactly as printed, “spell check” automatically corrects many of these differences. An attempt has been made to recorrect these automatic changes, but no doubt some have slipped through. As for typographical errors, these have been checked although no doubt some have managed to slip through the editorial process. For matters of consequence, I will be happy to recheck the original sources if need be for specific references.
--Image numbers listed in articles can be either an entry number in an exhibition, or the photographer’s own image number as found on labels.
--All names have been bolded for easy location. Numbers frequently refer to the photographer’s image number, but can also refer to a number in a catalog for a show. Decide whether to bold or not if can tell.
--It is not always possible in lists of photographers to know when two separate photographers are partners or not, e.g., in a list, “Smith and Jones” sometimes alludes to two separate photographers and sometimes to one photographic company. Both names will be highlighted and indexed but a partnership may be wrongly assumed. Any information to the contrary would be appreciated.
-- Brackets [ ] are used to indicate supplied comments by the transcriber; parenthesis
( ) are used in the original sources. If the original source has used brackets, they have been transcribed as parenthesis to avoid confusion.
--“illus” means that I have the view mentioned and should be scanned and included.
--Articles by photographers about technical matters – when transcribed, only names and titles have been listed. If other names are associated with the paper they are listed as well.
--Meetings of Societies – Names of officers, members attending or referenced, dates and locations of meetings have been given. If the reports are very short or discuss photographs, then the articles have been copied; if administrative or technical in nature, they have not.
--“[Selection]” = This has been used when not all portions of a feature are copied, such as The Photographic News’ “Talk In The Studio”. If the word does not appear, then the entire feature was transcribed.
-- Some journals, e.g., The Art-Journal, cover both photographer and painting/drawing. As they frequently refer to the production of both the photographer and the painter as “pictures” it is not always possible to tell when photography is indicated. If there is doubt, it will be included but a note will be added stating that the names listed may in fact not be photographers.
--Mostly articles totally discussing technical aspects of photography, products, etc. are not transcribed unless they are part of a larger article covering photographs. When technical descriptions are too lengthy to transcribe that is noted.
--Cultural sensitivity – these are direct transcriptions of texts written in the 19th-century and reflect social comments being made at that time. Allowances must be made when reading some texts, particularly those dealing with other cultures.
1860: Athenaeum, Jan. 21, issue #1682, p. 98-99: [photos taken]
Fine Arts: the Photographic Exhibition.
The Photographic Society having attained its seventh anniversary, has again furnished the public with an opportunity of judging of the progress made in perfecting an art to which its members are presumed to devote their special attention. Judging from the pictures which now grace the walls of its rooms in Pall Mall, their labours have not been unproductive. It may safely be pronounced that this year’s Exhibition is an advance on its predecessors; not so much in the introduction and development of new methods of taking pictures, as in the judicious treatment of subjects and the better management of those processes which are open to all photographers. Indeed, in the present Exhibition, there is a marked absence of what may be termed experimental essays. The specimens of the dry processes brought to our notice contain in themselves nothing new, the instantaneous pictures are in nowise novel; yet, with all this, in many works exhibited there is an evidence of study and care that promise more for the future of the photographic art than if every picture were taken by some newly-invented process, or by some adaptation of an old one. Strange to say, wherever in this Exhibition operators have ventured upon a departure from the routine of the art, they have failed; particularly in working with dry collodion. Four views on the ‘Wharfe near Bolton Abbey,’ which Mr. Sykes Ward announces in the Catalogue to have been taken by a modification of the collodio-albumen process, bear ample testimony to this, as almost every specimen gives evidence of having been printed from a somewhat blistered negative; but such is not the case with Mr. A. Rosling’s ‘Four Views in surrey,’ taken by the original process of Dr. Taupenot, which are particularly worthy of commendation, not only for the rapidity with which they appear to have been impressed, but also for the neat manner in which their development has been conducted. As there is an absence of theoretical extension in the present Exhibition, so is there an absence of originality in subjects. Few have attempted to rival Bisson Frères in their Alpine scenery; none to follow Mr. Robinson in the formation of pictures from living models. The merit of the present Exhibition can only be said to exist in the choiceness of its selection, and in the artistic industry which appears to have been bestowed on their works by the principal exhibitors. Nor do the pages of the Catalogue show many new names among them. Messrs. Roger Fenton, Maxwell Lyte, Hering, Meidd, Robinson, among out own countrymen, Bisson Frères, Bingham and Caldesi among foreigners, still reign supreme, and with varied success have sustained their former reputation.
Mr. Fenton, particularly, has well maintained his place by the numerous pictures which he has exhibited. The new buildings, ‘Magdalen College, Oxford,’ ‘The Hodder,’ ‘Views on the River Ribble,’ ‘Scenes from Stonyhurst,’ are wonderful instances of his taste in choosing picturesque spots for illustration. There is about his pictures an atmosphere which gives reality, and what is more difficult in the art, a perspective to the scenes which he alone would seem to possess the secret of correctly reproducing. Mr. Fenton’s highest skill may be said to consist in his selection of subjects, and in his wonderful management of the lights in every part of his pictures. We have never seen his negatives, but we should divine that they are as fine as any that can be produced. It is, therefore, the more unfortunate that he cannot use them better in the printing process than he does. In this he frequently fails to bring forth a proof at all commensurate with the plate he uses to produce it. We suspect his fault lies not so much in printing his proofs as in toning them. Witness his two pictures of the ‘Mill and Cottage at Hurst Green,’ which have a uniformity of shade about them that completely mars their general effect, although no fault can be found with their details. The interior and altar of the ‘Sodality Chapel, Stonyhurst,’ are beautiful specimens of Mr. Fenton’s skill in photographing interiors, and are entirely exempt from the fault we have just pointed out. Next to Mr. Fenton, and in many respects we may almost say superior to him, comes Mr. W. F. Bedford. This gentleman has made real progress in the art since last year, and from the number of pictures which he has exhibited shows that his zeal for it has not diminished. His works are not of so large a nature as Mr. Fenton’s but are well worthy the attention of all lovers of photography. A frame numbered 216 in the Catalogue, containing four landscapes, will bear comparison with many of the pictures of a more pretentious character, which hang around it; accuracy of focus, clearness of development, and judicious toning are here visible in every shade. Nor is this group the only one which evidences Mr. Bedford’s skill and judgment; his ‘Carnarvon Castle,’ ‘View at Llanberris,’ and the ‘Deserted Cottage at Capel Carig, North Wales,’ are all gems of Art, and to him earnests of future triumphs in this field. Perhaps no man understands the process of printing from the negative better than Mr. Maxwell Lyte; the lights of his proofs are unequalled. We much regret that he has not given us larger specimens than those that bear his name in this year’s Exhibition. His wanderings in foreign countries have presented him with many opportunities of selecting subjects, but he has not availed himself of them as we could wish. ‘Le Moulin au Cascade, in the Hautes Pyrenées,’ ‘Le Cascade d’Enfer, Luchon,’ ‘Le Pont du Roi’ and many others of his pictures are finely executed, but might be more artistically finished; the ‘Passages.’ Spain, is decidedly bad.
It is a pity that Mr. Lyndon Smith does not either expose his pictures a little more, or else continue their development longer. he has exhibited one or two which would have been much better for attention to these points. His ‘Study in the Valley of Desolation,’ however, is a beautiful work, fortunately, the proximity of the foliage to the foreground somewhat spoils the general effect. The works of the gentlemen we have named may safely be said to be the masterpieces of this Exhibition in Landscape Photography,--many others of their co-exhibitors are, however, entitled to praise. Mr. Henry White’s study of ‘Oak Trees and Water,’ Dr. Holden’s ‘Evening, Durham,’ and Mr. Spode’s ‘Netley Abbey,’ are all carefully executed pictures, although the latter gentleman’s ‘Lilleshall Abbey, Salop,’ is capable of improvement. As English photographers take the lead in rural subjects, we must be content to allow the chief praise to the French School in the treatment of architectural ones. Messrs. Bisson Frères still stand unrivalled in this branch; we may also add, in their pictures of Alpine scenery. A great deal of their success may be attributed to the clearness of a Continental atmosphere, and to the extreme whiteness of the stone in the public buildings abroad in comparison with our own. Whatever affect these causes may have upon their photographs in general, it cannot be considered the main cause of their success in the ‘Moissac,’ which is as fine a specimen of the kind as we have ever met with; the highest lights and the deepest shadows are equally brought out, and that, too, without making the former too glaring, which is generally the case when the two extremes of light and darkness have to be produced.
Messrs. Cundell [sic] and Downes have shown themselves not a little enterprising in endeavouring to rival these great masters of the French School. Their ‘Hurstmonceaux Castle’ and ‘Norman Tower, Bury St. Edmund’s,’ are entitled to all praise, but fail to equal Bisson’s ‘Tourelle of the Palais de Justice at Rouen;’ probably on account of the atmospheric defects of our climate.
Mr. Piper Dixon has exhibited nothing gigantesque, but in his unassuming pictures there is much to admire. Mr. Victor Prout’s interiors are wonderfully executed and fitting pendants to some of Mr. Fenton’s best; his views of the ‘tombs in Westminster Abbey’ will all bear a minute examination. Some, however, are a little over-printed.
It is to be regretted that Mr. Melhuish, whose fame in this line is world-wide, has not exhibited finer specimens of his manipulation; those which he has on the walls of the Society cannot be otherwise than well executed, but are scarcely calculated to satisfy the expectations of his friends.
Messrs. Caldesi, Blandford and Co. have exhibited many of their works, but in none have they shown themselves deserving of particular mention. There is to us something unfinished about their pictures; witness their copies of Mr. W. E. Frost’s ‘Syren’ and ‘Allegro,’ which, setting aside the difficulty they may have had to contend against, in producing a different shade for each colour on the artist’s canvas, are, nevertheless, crude. Compare Mr. Fenton’s copy from one of Lance’s ‘Fruit-pieces,’ or Mr. Bingham’s ‘Chien de Temps’ with them, and their inferiority will be manifest. We expected better things from the photographers of the Hampton Court Cartoons.
Mr. Thompson’s monster photograph of the cartoon, ‘Paul preaching at Athens’ is a proof of what photography can be carried to, yet we doubt whether the colouring will stand; his desire to apply photography to the purposes of the Studio is apparent in most of the works which he has sent to this Exhibition; he may, therefore, be considered a worthy exception to the rule.
The success which attended his original photograph, ‘Fading away,’ has induced Mr. H. P. Robinson to attempt at least six pictures from real life, but in each he has signally failed in giving effect; for here we are not speaking of manipulation. His ;Gleaners; is a good conception, but the girls are badly grouped. To all appearance one, instead of reposing, is rolling down the bank on which she is supposed to be lying; while in ‘Preparing to cross the Brook,’ the light is allowed to shine askant [sic] one of the female faces so as only to lighten up her nose; the effect produced is far from improving the young lady’s beauty, or adding to the artistic appearance of the group; but in the ‘Lady of Shallot,’ Mr. Robinson has been most unfortunate, both as regards the personal attractions of his model and his method of posing her. The position of the shoulder required study, and more folds on the upper drapery would have broken the monotony of the figure. ‘Nearing Home,’ another pretty idea, is marred by the bad effect of the background. Notwithstanding these defects in his rpesent attempts, Mr. Robinson is deserving of commendation for his efforts in this field. At present he stands almost alone; for although Mr. Lake Price’s ‘Don Quixote’ was a masterpiece, still he has not persevered, not has Mr. Rejlander published any of his compositions of late. The former gentleman had only exhibited three-pictures in the present Exhibition, the latter none.
Coloured photographic portraits abound in the present Exhibition, and in many instances occupy space which their merit but little entitles them to. Messrs. Claudet, Herbert Watkins, Hering (whose copies of engravings, by-the-bye, are exquisitely done), and Williams, are still unrivalled in their respective styles. The exclusion of oil-painted miniatures, photographs only in name, would be a wholesome regulation, and one which would in nowise injure the Society. Many of these portraits should more fitly hang at the photographer’s door than on the walls of the Society’s rooms.
1860: Athenaeum, Jan. 28, issue #1683, p. 139:
Fine-Art Gossip: [extract]
By accident we last week omitted to mention the name of the clever photographer of the Aberdeen portraits. it is Mr. George W. Wilson, a local artist. Praise should not be blown in air; and we restore to Mr. Wilson his due.
In the notice of the Photographic Exhibition, published in our impression of last week, we omitted to mention the admirable photographs of the ‘Norman Tower,’ and ‘Abbey Gate, Bury St. Edmonds,’ exhibited by Mr. Dixon Piper (whose names, by-the-bye, were accidentally transposed). Whether those two works be regarded as examples of the dimensions which may now be attained by the Photographic Art, or as specimens of careful manipulation and artistic finish, they are equally entitled to commendation.
1860: Athenaeum, Mar. 31, issue #1692, p. 444:
Our Weekly Gossip: [extract]
The Photographic Society has obtained, by arrangement with the Council of King’s College, the use of apartments in Somerset House. The meetings of the Society will in future take place in that locality. The society’s Exhibition is about to change quarters; going, as we understand, bodily, to the Crystal Palace.
1860: Athenaeum, April 7, issue #1693, p. 480:
Fine-Art Gossip: [extract]
The second part of Mr. Conway Shipley’s ‘Photographs from Sketches in the Holy Land and Syria’ lies before us, with representations of the Church of the Holy Sepulchre,--Jerusalem, from the Damascus Road,--Mount Tabor,--and the Convent of Mer Saba. We can only repeat our objection to this series, on the ground that photographs direct from Nature possess advantages immeasurably beyond those which have common-place drawings for their originals. The poorest drawing has a characteristic value not to be given to these reproductions.
1860: Athenaeum, April 21, issue #1695, p. 550:
Fine-Art Gossip: [extract]
A series of photographs, by Messrs. Lock and Whitfield, “from Original Sketches in the Holy Land and Syria, by Conway Shipley, Esq.,” judging by the number which lie before us, appear to have no merit beyond that of the localities. Photographs direct from nature have transcendent interest of their own; but photographs from landscape drawings are inevitably subject to the inaccuracies of the artist with the compelled short-comings of the photographer. We should have thought Mr. Frith’s similar series would have completely forestalled such a work as this.
1860: Athenaeum, June 23, issue #1704, p. 857
Our Weekly Gossip: [extract]
Mr. Frederick Jones has published a set of Stereoscopic views of the Interior of the Chapel Royal of St. George’s Windsor. They are of remarkable merit. The depth of long dark colonnades, with the mystic obscurities and accidental flashes of light, is rendered with a fidelity to nature unequalled by anything we have ever seen in stereoscopes. How we wish somebody would give us the delicious arcades of the Alhambra and the darker glories of the Seville cathedral in this minute and faithful style!
1860: Athenaeum, July 21, issue #1708, p. 100 [page numbers start over]
Fine Art Gossip: [extract]
The Architectural Photographic Association is about to distribute to the subscribers the photographs which the latter selected for themselves from the collection exhibited, in Conduit Street, at the beginning of the year. We confess to some surprise that the members of the committee of this Association do not endeavour to make more use of the opportunities afforded by their position than they appear hitherto to have done. In our notice of their Exhibition, we referred to the want of completeness in the characters of each series of photographs, indeed, we might have said that, with one exception only,--those from Venice,--anything like an approach to completeness was not to be found. instead of collecting photographs of all kinds of subjects,--picturesque as well as architectural,--they would do well to select some good themes which either would not or could not be attempted at the risk of any individual photographer, and to present every subscriber with a copy. We might then see transcripts in detail of the sculptur5ed accessories of old architecture, so difficult of appreciation from ordinary drawings and so seldom emulated by any architects now-a-days. Instead of distant views of Durham Cathedral, Cascades at Tivoli, general views of Jerusalem, and similar subjects—which have hitherto formed the staple of the photographs exhibited by the Architectural Photographic Association,--a collection of near views of York, Durham, or Canterbury, taken from many points and accompanied with studies of the most interesting details, such as windows, doorways, carvings, mullions, or the like, would be far more valuable to the student, and of greater service to the art, than a world of picturesque distant scenes, even if the last, when required, could not be obtained, as is invariably the case, by other and more popular means. We confess we should rejoice to see this youthful society devoting itself to the production of an extensive series of photographic transcripts which should illustrate the architecture of some particular age, period of Art, or individual country. How little, for example, do our English architects, as a body, know of German Gothic! Still less are they acquainted with Spanish architecture, which, notwithstanding its obvious debasement in later times and frequent mixture with Moorish, has a vitality that deserves more study than it has yet obtained. Moorish architecture itself needs illustration, being a perfect mine of thoughtful Art. Or take a particular period of English Gothic: what treasures of knowledge and thought are hidden in Early English work that might be educed by careful comparison and systematic study!
1860: Athenaeum, Aug. 18, issue #1712, p. 230:
Our Weekly Gossip: [extract]
Mr. Mayall has put together, in a ‘Royal album,’ the series of royal photographic portraits made by him from time to time at Buckingham Palace. These exquisite studies from the real life are fourteen in number:--one of the Queen and Prince Consort, one of the Queen and Princess Beatrice, one of the Queen alone, one of the Prince alone, one of the Prince of Wales and Princess Alice, one of the Prince of Wales, one of the Princess Alice, one of Prince Alfred, one of the Princesses Helena and Louisa, one of Princess Helena alone, one of Princess Louisa alone, one of Princes Arthur and Leopold, one of Prince Arthur alone, and one of Princess Beatrice: each study reproducing, with a homely truth, far more precious to the historian than any effort of a flattering court artist, the lineaments of the royal race. The Album reflects the highest credit on Mr. Mayall.
1860: Athenaeum, Nov. 17, #1725, p. 675:
Societies: Photographic. Nov. 6
The Right Hon. the Lord Chief Baron, President, in the chair—J. Scott, R. Gordon,, and W. Plumtree, Esqrs., were elected Members.—The Chairman congratulated the Members on their now being enabled, by the liberality of the Council of King’s College, to hold their Meetings in that institution.—Mr. Joubert exhibited specimens of his new process of photographs burnt in glass, by which means they become as indestructible as the glass itself, and formed transparencies surpassing in beauty all the ordinary glass-painting. They included some minute details of domestic scenery from negatives, by Mr. H. White, as well as an enlarged portrait of the late Douglas Jerrold, taken a few days before his death, by Dr. Diamond.—Mr. Barnes contributed a large assortment of what are termed enameled paper photographs.—Mr. Silvy presented, by the hands of the President, a copy of the ‘Manuscrit [sic]Sforza.’ being a fac-simile of the original in the possession of the Marquis D’Azeglio.—the Secretary read a communication from Mr. Rothwell, on the apparently incorrect perspective of photographic pictures.—Mr. Malone briefly addressed the Meeting on printing by means of electric light, and exhibited specimens which he had been enabled to produce through the kindness of mr. Gassiot and Mr. DelaRue [sic], they having lent him the needful expensive apparatus. Mr. Malone observed that, although somewhat costly, he believed that electricity might be often used with much advantage where it was requisite to produce photographs in dull weather, and the light of day could not be available.
1860: Athenaeum, Dec. 6, #1728, p. 795:
Societies: Photographic: Dec. 4
Peter Le Neve Foster, Esq., V.P. in the chair.—The following gentlemen were elected Members:--C. Lloyd, G. Wharton Simpson, W. S. Grey and W. Rawles, Esqrs.—The Chairman announced the names of such members of the Council were recommended for retirement, according to Rule 7 of the society, together with those whom they recommend for election in February next.—Mr. Robinson exhibited a large composition picture from nature, entitled, “a Holiday in the Wood.” --Mr. Hetzer, of Sydney, New South Wales, also exhibited a series of stereoscopic views of that country.—Mr. Fry laid on the table a view of waves, clouds and shipping, taken instantaneously, by the “Taupenot process.”—Dr. J. Ryley read a communication, being the ‘Result of a Series of experiments on the Collodio-Albumen Process, as tending to show that the Structural Condition of the Albumen plays an important part in the Sensitiveness of the Plate.’—After a discussion thereon, Mr. Thomas read a communication containing much practical information on “How to varnish the Negative.”
1860: Athenaeum, Dec. 22, #1730, p. 874: [Note: No ad for Bedford stereos found in December issues]
Our Weekly Gossip: [extract]
A dozen stereoscopic views of Chester and North Wales, photographed by Mr. Bedford, and published by Messrs. Catherall & Pritchard, lie on our table. These doze4n specimens appear to be selected from a larger number, illustrating the quaint streets, picturesque churches, and historical walls of Chester, as well as the more romantic beauties of Llangollen and Llanberis. The specimens sent to us are very well done—though the choice of subject sometimes speaks too much of the shop. The most ardent lover of photography will hardly care for a picture of Mr. Catherall’s premises, even though the portraits of all his shopmen are thrown in for nothing.
1860: Athenaeum, Dec. 29, #1731, p. 912:
Our Weekly Gossip: [extract]
In consequence of Tuesday next being New Year’s Day, the ordinary meeting of the Photographic Society, at King’s College, has been postponed from that day to Tuesday the 8th of January.
The President and Council of the Photographic society have also resolved, in consequence of the arctic state of the weather, to postpone the annual winter soirée, which had been previously announced for an early day in January.