1860 PHOTOGRAPHIC NEWS vol. IV
START PNews p. 88
NOTES:
--Italics have been retained from publications, which uses them for both titles as well as emphasis. To more easily locate image titles have also been italicized, whether or not they have been rendered in capitals or quotes in the original. Italics have NOT, however, been used when only the general subject of an image is mentioned.
--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. It is reasonably safe to assume that when a photographer’s works are being reviewed and numbers noted, they refer to the image whereas numbers referenced to given works in an exhibition, are exhibition entry numbers and are not the photographer’s.
--All photographer’s 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.
--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.
--Articles by photographers about technical matters – only name and titles have been listed. IF AT ALL. 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.
-- 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.
PHOTOGRAPHIC NEWS:
1860: PNews June 22, #94, p. 88-9:
Critical Notices.
Stereographs of the English Lake District. By A. Pettitt* [sic] (*London: Published by Thomas R. Mills, Pantheon, Oxford Street.)
Some two hundred “Artistic Studies of the Scenery of the English Lakes” is no insignificant contribution to the Stereoscopic Treasury. In this “Fairy Land” of England, the mention of any place within its domain awakens associations with scenes of poetic beauty, that are hallowed and immortalised by the pens of Wordsworth, Wilson, Southey, and Coleridge. The mere catalogue of these charming views is of itself a poem. What delightful reminiscences are called up by such titles as “Elleray,” the bridal home of Professor Wilson; of “Grassmere Church,” the poet’s last resting-place after his life’s Excursion; of the “Cottage where Hartley Coleridge died;” of “Rydal Mount,”
1860: PNews July 13, #97, p. 127:
Critical Notices.
Stereoscopic views of the Interior of Westminster Abbey. By V.A. Prout* (*London: Published by James Elliott, 48, Piccadilly.)
Westminster Abbey posses a hallowed interest to the mind of every Englishman, whilst it is no less an object of historic interest to the intelligent of other nations. A series of stereoscopic views of the most interesting objects and points of view of the interior, has strong claims upon public attention. The task of obtaining them is one of no ordinary difficulty, owing to the deficiency of light, and is one that has become only recently possible. The progressive improvements in the photographic art have put us in possession of many things that were once thought unattainable, and none among them that could be more welcome or highly prized than views in the ancient Abbey of Westminster. A dozen of these stereographs are now before us. They consist of—
1. The Nave, from the West Door looking East, showing the monument to Sir Isaac Newton, that of James, Earl of Stanhope (1720), and the New Gothic Screen; this view exhibits a pleasing distribution of light and shade, and the chiar-oscuro also is good. 2. South Aisle of the Nave from the South Transept, looking West. The flood of light streaming in through the southern windows, gives a fine Rembrandtish effect. 3. North Aisle of the Nave, from the South Transept, looking West, is a picture of the dioramic class, exceedingly effective, but not so much as—4. North Aisle, looking East, with the chapel of St. Paul in the distance. 5. The Choir, taken from the Altar, looking West, which, we think, would have been better if it had been taken when the sun was shining through the western window instead of the southern; in the present view there is too great a contrast of light and shade. 6. Henry the Seventh’s Chapel, looking East, with the tomb of Henry VII. And his wife, and that of Villiers, Duke of Buckingham, favourite of Charles I. 7. Henry the Seventh’s Chapel, looking West, with the chantry of Henry V. in the distance. 8. Tomb of Queen Philippa, Queen of Edward III. 9. Monument of Mary Stuart, Queen of Scots, a striking view, very difficult of execution. The next are subjects of more recent interest. 10. The Monument to the memory of James Watt is, in point of chiar-oscuro, the best of the series; a fine harmony of tone, free from harsh contrasts of light and shade, being most conspicuous. 11. Is the Monument to the Duke de Montpensier, brother of Louis Philippe, in Henry the Seventh’s Chapel. This view being taken at an unsuitable hour of the day, is deficient in relief. 12. Gibson’s Statue of the late Sir Robert Peel forms a striking subject. Had the point of view been slightly changed, the window over the head of the statue might have been made less obtrusive. But the difficulties of photographing in so cramped a space as the aisles of the Abbey are very great, and the artist must be greatly perplexed to find elbow-room. Upon the whole, we may pronounce these results very successful, and they doubtless might have been much more so, had the most suitable hours of the day, with respect to the direction of light, been chosen.
1860: PNews Aug. 3, #100, p. 165:
Critical Notices.
Twelve Stereoscopic Views of the Interior of St. George’s Chapel, Windsor* (*London: Frederick Jones, 145, Oxford-street).
The Royal Chapel of St. George, in Windsor Castle, is one of the most interesting architectural structures in England. Erected in the fifteenth century, by Edward IV., it exhibits a fine and pure example of the architecture of the time.
This series of views will be equally interesting to the antiquarian, artist, and general public. Few who have visited this noble chapel but would gladly obtain some memento of their visit, and nothing is so well calculated to renew the pleasing impressions received on the spot as the stereoscopic image. The views, which are exceedingly well taken, represent that portion of the “Choir” in which Devine service is performed, the lectern occupying the centre of the picture; next is a “General View of the Choir,” with the organ gallery—an exceedingly brilliant and effective view, quite dioramic in its effects of contrasted light and shade; next we have views of the “South Side of the Choir,” and the “North Side” of the same, exhibiting the large stained window over the alter; then there is the “Rutland Chapel”: in the north aisle, with the monumental tomb of Sir George Manners, Lord Ross, and his wife, niece to Edward IV. A view in the “South Aisle” displays the tomb of the late Duchess of Gloucester, erected by command, and at the expense of, Her Majesty the Queen; a second view of the “South Aisle,” looking east, displays another view of a portion of this tomb; “Beaufort Chapel,” also in the south aisle, possesses very fine stereoscopic effect, the sculptured figures on the tomb being seen through the railings in front. The “Tomb of Edward IV.,” attributed to Quentin Matsys, is a most curious and elegant work of art, which forms a truly exquisite picture., Another view represents the “West Window,” so remarkable for its six compartments of stained glass, the details of which are admirably rendered. We regard this series of views as a truly valuable addition to the wealth of the Stereoscopic Treasury—one whose pictorial interest is second only to its historical.
1860: PNews Aug. 3, #100, p. 165-6:
Critical Notices.
Fourteen Stereoscopic Slides of the Relics of Sir John Franklin’s Expedition, brought home in the “Fox,” by Capt. M’Clintock. Photographed by Lieut. Cheyne, R.N., at the United Service Museum, Whitehall. (Published by the artist, at 42, Duncan Terrace, Islington, N.)
This interesting work ahs been appropriately undertaken by an officer, who, to use Lady Franklin’s words, “has himself served, with great credit, in three Arctic expedition.” Upon the great and melancholy interest attached to these relics there can be no necessity for us to dwell. Perhaps “The Record” will be considered the most interesting among these slides; it is very neatly reduced from the original, and will be eagerly scanned by every one taking an interest in the subject. The nature of these “relics” must be well known to our readers. They consist of various articles found in the cairns, and in the boat with the skeletons. A view of the schooner, Fox, with a portrait of its commander, Sir Leopold M’Clintock, are included in the series, to which is added a photograph of Sir John Franklin, from the best engraved likeness. The national and historical interest attaching to these stereographs is so great, we are not surprised to learn that the labours of the artist are appreciated in the highest quarters. Her Majesty and the Prince Consort have both graciously acknowledged their appreciation of this most interesting box of stereographs.
1860: PNews Oct. 12, #110, p. 283:
Critical Notices.
Six Stereoscopic Views of the Interior of the College Chapel, Eton: F. Jones, Oxford Street.
These views derive their chief value from the subject and its associations. The memorials of Etonians who fell in the Crimean war, which form the subjects of two of the slides will give them a mournful interest in many minds. As photographs they are not quite equal to some issued by Mr. Jones.
1860: PNews Oct. 12, #110, p. 283-284:
Critical Notices:
Stereoscopic Views of Canada. Montreal: W. Notman.
The lament recently made by the Times, correspondent as to the non-existence of stereoscopic views or photographs of the magnificent scenery of Canada, appears to have been written in singular ignorance of the real facts of the case. In addition to the variety of Canadian views included in the series recently noticed, as published by the London Stereoscopic Company, we have before us a catalogue of upwards of five hundred views in Canada, including every class of subject—urban, sylvan, and maritime. Of these a copious selection has been forwarded to us, from Montreal, for notice. Viewed simply as photographs their qualities are very much varied, and some of them inferior to many issued in this country. As pictures, however, they all possess artistic excellence, whilst a few of them we must pronounce as amongst the best, if not the best, both as photographs and as pictures that we have ever examined. In these we have natural skies in the utmost perfection. Masses of cumulose clouds driving along in headlong haste, as if to keep pace with the unresting turbulence of the rapids or cataracts beneath, give a singular unity and harmony of wild grandeur that we have never before met with. These heavy stormy skies are suggestive of anything but brilliant sunlight in which to produce the views; and yet they are evidently instantaneous photographs. It would be too much to say that the foliage has not in some instances suffered; but to an extent comparatively trifling when the other advantages are considered. The exquisite beauty of these sky effects should, we think, stimulate photographers to more effort to secure them: white skies, unlike anything ever seen in nature, are the chief defects of English photographs.
1860: PNews Oct. 12, #110, p. 284:
Critical Notices
Sedgefield’s [sic] English Scenery: A Series of Stereoscopic Views. London: A. W. Bennet.
The name of W. Russell Sedgefield in connection with stereographs of English scenery has become a sufficient guarantee at once of their excellence as photographs and of their artistic selection. The additions to the series, before published, consist of views in or about Hastings, Dover, Deal, Ramsgate, Margate, Canterbury, Rochester, Rye, &c. The familiar interest attaching to these places as summer resorts will ensure a large demand for the pictures.