1862 THE ATHENAEUM
Journal of English and foreign Literature, science, and the Fine Arts [no vol. #s]
ver: Oct. 23, 2009 (V&A)
TO DO: RECHECK FINE ARTS: NEW PUBS.
--This journal does NOT have volume #s, only issue #s.
--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.
START:
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.
1862: Athenaeum, Feb. 1, issue # 1788, p. 134:
[Ad] Cambridge Stereographs—New Series of 70 subjects, by W. Russell Sedgfield, One Shilling each, post free—London: A. W. Bennett, 5, Bishopgate Without, E.C.
1862: Athenaeum, Feb. 1, issue # 1788, p. 134:
[Ad] Model Drawing-Room Stereoscope. [Ref. to Swan’s Clairvoyant Stereoscope, with quote from P. Notes]
“This instrument has the following advantages over those in common use [ equally good for opaques and transparencies, paper and glass, can be used for books, used at all angels and focal lengths, easy to hold and pretty]” – the Athenaeum [!]
Price, in highly[finished walnut and lined with rich silk velvet, 1£ 10s, complete, including handsome lock and key case, capable of containing the Stereoscope and 100 Stereoscopic Slides, in less than one-half the space usually required.
Made only for A. W. Bennett, 5, Bishopgate Without, London,, Publisher of Sedgfield’s Stereographs of English and Welsh Scenery, Bedford’s Exhibition Photographs, &c.
1862: Athenaeum, Feb. 1, issue # 1788, p. 134:
[Ad] Mayall’s Portrait Galleries, 224 and 226 Regent Street. Photographs, Stereographs, and Daguerreotypes Taken Daily.
“Mr. Mayall stands supreme in Portraits, and is unrivalled for breadth, manner and finish. Either from the character of his sitters, or the taste of his composition, his portraits appear more dignified, self-possessed, and aristocratic, than those of any other photographer.” --Athenaeum
1862: Athenaeum, Feb. 8, issue # 1789, p. 195:
Our Weekly Gossip [extract]
Mr. C. E. Elliott has produced a series of instantaneous views of London for the stereoscope, including public buildings, streets, bridges and river scenes. It is interesting to compare these works with the Stereoscopic Company’s views of Paris. Paris has the advantage in atmosphere, and the studies have a certain sharpness and brightness of outline which we look in vain for in those of London. London has the advantages of largeness and variety/ The river-scenes are particularly good—some of them perfect pictures, worthy of Turner or Stanfield.
1862: Athenaeum, Mar. 8, # 1793, p. 334:
Our Weekly Gossip [extract]
Messrs. Fothergill & Branfill have photographed five views in the superb city of Genoa. These are specimens of photography are as exquisitely clear, pure in tone, and sharp as can be desired. We do not consider the finest points of the city have been chosen either for picturesque effect or historical interest. One exception is the good representation of the famous ‘Pietà’ of Michael Angelo that stands in the Albergo di Poveri. As memoranda of the present condition of the city in the localities represented, these works will be acceptable to travelers.
1862: Athenaeum, April 26, #1800, p. 547:
[Ad] Egyptian Photographs—A great variety of views from Egypt and Nubia, large sized, at 2s 6d. each. J. Hogarth, 5, Haymarket
1862: Athenaeum, April 26, #1800, p. 547:
[Ad] To Photographers—A Photographic Carriage to be sold, with Plate-Glass Roof and Sides containing two rooms with stove and chimney. It has never been used. Price 100£. Apply to Mr. Joseph Elliott, jun. No. 85, Westminster Bridge-road, S.
1862: Athenaeum, May 17, #1803, p. 665:
Our Weekly Gossip [extract]
The announcement that Mr. W. S. Woodin would re-open his “Cabinet of Curiosities” drew a full house to King William Street on Monday evening last,--the Painters and upholsterers who had been engaged on the work of re-decorating the Polygraphic Hall retiring from the scene of their labour only just previous to the admission of the public. Indeed the entertainment commenced nearly half-an-hour after the appointed time, in consequence of the non-completion of stage arrangements, the interval being spent in a contest of discordant sounds between the carpenters on one side of the curtain, and the more impatient visitors on the other. The delay had, however, no ill effect on the reception of the entertainer, whose appearance elicited cordial applause from the assembly. In addition to new scenic illustrations and effects, painted either by, or under the direction of, Mr. William Callcott, the “Cabinet” has been enriched with several fresh specimens of character. “Sir Charles Lofty” and “Miss Clarinda Lindsay Wolsey” won approval, but the reproduction of Lord Dundreary reading “Brother Sam’s letter” was the achievement that caused the greatest sensation. In this imitation, Mr. Woodin gives all Mr. Sothern’s vocal peculiarities with marvelous exactness. In other respects the mimic falls short of the original, some of the comedian’s best points being missed through want of deliberation, and the more subtle characteristics of the fatuous young lord meeting with no adequate representation through deficiency of facial expression. We are inclined to think that Mr. Woodin will effect improvement in his impersonation of Lord Dundreary; but in its present state, the imitation is an addition to the “Cabinet,” and will doubtless draw to King William street a proportion of his lordship’s acquaintance. On the conclusion of the entertainment Mr. Woodin was warmly applauded.
1862: Athenaeum, May 24, #1804, p. 700:
Fine-Art Gossip: [extract]
Mr. Hogarth has on view in the Haymarket a collection of photographs from localities in Japan, China, [by Rossier??] Egypt, India and Australia. Besides these are many portraits of natives of those countries; amongst them, those of the Japanese are very curious and interesting, as displaying the physical character, costumes and manners of that people. The views of their city, Nagasaki, are well worth seeing. Attesting the extreme fidelity of Japanese Art, these photographs render the landscapes and portraits of men and women with a resemblance to what we find in their pictures that is quite startling.
1862: Athenaeum, June 14, #1807, p. 793-794:
Our Weekly Gossip [extract]:
At Mr. Hering’s, Regent Street, may be seen a large collection of photographic views and panoramas taken by Signor Beato during the Indian Mutiny and the Chinese War. This comprises many interesting representation of Lucknow, Cawnpore, Delhi, Agra, &c. in India; Hong-Kong, and Pei-Ho, Pekin, the Summer Palace, and Canton. As photographs these leave nothing to be desired; while some of the panoramas, especially those of Lucknow, which are in no less than six pieces each, must have demanded extraordinary care in preparation. That taken from the Kaiser Bagh gives an idea of the spelndour of the building itself and the extent of the city, which is most impressive. Scanty as are the notices of Indian architecture amongst us, that splendid specimen known as the Martinièr School, the scene of Sir Colin Campbell’s first and second attacks, has an interest of its own. Many of the buildings show the effect of shot-strokes and shell-explosions in huge holes and cavities where the wall has been pierced, or one of its thicknesses blown in to show an interior chamber. The Interior of the Secundar Bagh after the slaughter of 2,000 rebels displays the horrors of retribution fearfully, the court-yard being strewn with dried corpses and stark skeletons of men that blanch in the sun. The Panorama of Delhi, in eight pieces, merits no less commendation than that of Lucknow; it has equal interest. The Chinese forts of Pehtung and Tangkoo, with the North fort, expand one’s notations of the importance of the difficulties overcome in their capture. The views in Canton and Pekin would have been esteemed inestimable treasure five years ago; now they are just the things to bring the famous cities before us. Believing that men are more interesting subjects of study than buildings however remarkable, or landscapes however famous and beautiful, we should like to see more of the human element added to this collection than it yet contains.
1862: Athenaeum, June 21, issue 1808, p. 827:
Our Weekly Gossip [extract]
Messrs, Cundall, Downes & Co. are about to publish, for Mr. S. Solomon, a series of photographs after drawings of Jewish ceremonials. The artist has, with remarkable ability and good judgment, given himself to the representation of incidents in the history of his people, and with such success that his works are looked for with interest. The series in question will comprise—1. The Presentation of the Child for Circumcision on the Eight Day. 2. The marriage: this is performed under a canopy, which represents the canopy of Heaven. 3. The Week of Mourning: the nearest relatives of the deceased remain in the house for seven days after death. 4. Carrying the Scrolls of the Law in the Synagogue. 5. The Eve of the Sabbath—the mistress of the house lighting the Sabbath lamp, while the children are singing the psalms for the reception of the Sabbath. 6. The Eve of the Passover,--the head of the family repeating a history of the feast, while the table is spread with various symbols. 7. The Fast for the Destruction of Jerusalem, the synagogue is divested of all ornament; the Rabbi, sitting on the steps of the Ark, chants the Lamentations of Jeremiah; the building lighted only with small tapers, one held by each of the congregation. 8. The Day of Atonement,--the chief minister with the scarf or talith drawn over his head, and the congregation kneeling. 9. The Feast of Tabernacles: it is the custom to build a small wooden room in the open air, which the people decorate with evergreens, and sit in for seven days. 10. The Feast of the Dedication of the Temple: the minister represented lighting the lamps, the choristers changing.
1862: Athenaeum, June 28, #1809, p. 860:
Fine Arts Gossip [extract]
Mr. S. Solomon, as recently announced, has published, through Messrs. cundall, Downes, a series of designs illustrating Jewish religious ceremonies. these are photographs from rough but effective pen-and-ink drawings, displaying modern costumes in the home occasions, and the traditional garments of the priests in those which are strictly ecclesiastical. The Eve of the Passover is a pretty modern interior; the Fat for the Destruction of Jerusalem, a broad study for light and shade. The Ceremony of Marriage is shown under the canopy, held by friends, according to the old rite. The Week of Mourning, a family, seated in sorrow and abasement, listening to consolation from a priest, is beautiful in tone. Sabbath Eve is charmingly composed.
1862: Athenaeum, July 5, #1810, p. 2 [page numbers start new in 2nd unnumbered vol., July – Dec.]
[Ad] Photographic Printing for Book Illustration, &c—Russell Sedgfield & Francis G. Eliot [sic], Park-road, Norbiton, S. W., Terms on application. Estimates given for large quantities for publication.
1862: Athenaeum, July 5, #1810, p. 2
[Ad] New Foreign Photographs.—Just received from Rome, a collection of the finesr5t Specimens, including Views of the Forum (Panoramas, &c., large and small), Coliseum, St. Peter’s, At. Paul’s, Via Appia, &c., from 3s. 6d. to 3 ½ guineas each. Mountain Scenery—Monte Rosa, the Bernese and Savoy Alps—250 Views; a complete Panorama of Mont Blanc from the Col de Balme to Mont Joly, showing distinctly all the glaciers, peaks, and the Mont Anvers, with the names and altitudes neatly printed on the margin, price 16 s.; also, a large variety of views in Venice, at 2s. 6d., 4. and 16s. each.
T. H. Gladwell, 21, Gracechurch-street, London, E.C.
1862: Athenaeum, July 5, #1810, p. 2:
[Ad] Egyptian Photographs.—A great variety of Views, from Egypt and Nubia (large size), at 2s. 6d. each. – J. Hogarth, 5, Haymarket
1862: Athenaeum, July 5, #1810, p. 2:
[Ad] Art-Studies and Portraits, taken by O. G. Rejlander at 5, Haymarket
1862: Athenaeum, Aug. 9, #1815, p. 181:
Our Weekly Gossip [extract]
A magnificent series of the monuments of Rome is on view at No. 9, Conduit Street. They are photographed by Mr. Robert Macpherson, of that city; the subjects chosen with fine taste, and the pictures executed with skill and delicacy. From this exhibition the collector may obtain everything he wants of Rome, from the Coliseum to a cameo. The collection consists of two parts, numbering in all more than four hundred and twenty pictures. The first and more attractive part contains about three hundred views of Rome and its environs; one hundred of which have never been exhibited in either Italy or England. The Pontine Marshes, Cora Velletri, Terracina, Civita Vecchia and Spoleto have supplied the most charming additions to Mr. Macpherson’s portfolio. The second part consists of studies from the Capitol and the Vatican, the choicest sculptures of which have been photographed in situ, Mr. Macpherson, as we understand, having enjoyed special facilities for that purpose. Most of these busts and figures, the admiration and despair of artists, are no photographed for the first time.
1862: Athenaeum, Aug. 9, #1815, p. 182:
Our Weekly Gossip [extract]
Mr. Hogarth has published nine photographic views, taken in Normandy, by Mr. Robert Murray, an artist well known by his Egyptian views. The interest of the series will be seen from the following list:--The Ruined Abbey of Jumièges (commenced A.D. 1065),--the same: a nearer view of the Twin Towers,--the Church of St. George de Boscherville (built shortly before the conquest of England),-- the Town of Caudebec, on the Seine (besieged and taken by the English in 1419),--Porch of the Church of Caudebec (begun A. D. 1426),--Porch of the Cathedral of St. Pierre, Caen (thirteenth century),--Apse of the Cathedral of St. Pierre, Caen,--Steeple of St. Pierre, 242 feet high (A.D. 1308),--and the Abbaye-aux-Dames, Caen, built by Matilda, Queen of William the Conqueror, and containing her tomb (consecrated A.D. 1066). Each subject has been carefully studied. If Mr. Murray’s views in Normandy should appear to be less brilliant than his Nile series, the difference of atmosphere between France and Egypt must be considered.
1862: Athenaeum, Oct. 18, #1825, p. 504-505:
Fine Arts. International Exhibition. Photographs.
The universality of photographic practice is attested by the number and widely-diffused sources from which the specimens come. Our Colonies contribute illustrations of their productions and scenery, as well as the manners and customs of those aboriginal races amongst which they are seated. From India there are many transcripts; also some from New Brunswick (Nos. 21, 22), Jamaica (192), New South Wales (298-312), New Zealand (77), Nelson (1), Wellington (9), Nova Scotia (11), Queensland (87), Tasmania (34 and 192), Trinidad and Vancouver. Foreign countries, excepting France, which sends a large collection we shall examine, are not so liberal. Austria has a small number, of general excellence; Baden, few; the Zollverein, none; Bavaria, few; Hanover, none; Hesse, few; Nassau, none Prussia, a good number; Saxony, Greece and Wiertemberg, but few. Those from Italy are valuable, as furnishing copies from famous pictures. Photographs from the Netherlands are scant; yet amongst them those by Dr. Elik (190), from Rembrandt’s etchings, are noteworthy. Some from the national dresses and scenery of Norway, by M. Christophersen, of Christiania (89), have interest of their own. Portugal has but a single specimen. Rome shows, characteristically enough, many productions of strangers, illustrating her ruins and pictures: of these it is needful only to name those by Messrs. Macpherson and Anderson (21 and 31) to distinguish them for excellence. Russia’s contributions are mostly portraits, of fair quality. Spain has none; Sweden, but few. M. Georg’s photographs from pictures in the Basle Museum will interest the lovers of Holbein’s works. With a few more, these represent Switzerland. The Federal States, in which photography has flourished very remarkably, send no specimens of their productions therein.
The English contributions number nearly a thousand, and form a collection of exceeding interest. These, taking into consideration the fact that in 1851 the science was not sufficiently advanced to be placed in a separate Class, and the wide diffusion of the practice just evidenced, are encouraging and somewhat surprising. This and the practice of electric telegraphy mark the striking progress of modern efforts in comparatively new fields. In 1851, daguerreotypes, talbotypes, and other processes now disused, prevailed. With few exceptions, the collodion process is universal at present. Nitrate of silver continues to furnish the material in vogue for printing, although we notice that Mr. J. R. Burnett attempts to produce satisfactory results with diverse materials: see Nos. 778-83, 785-8, 794-7. Mr. Fox Talbot shows photographic etchings, both on copper and steel, entirely produced by photography (Nos. 57-32); these are untouched by the graver. Sir H. James, the Director General of the Ordnance survey, also shows a process which he terms photozincography, by which the photograph becomes transferred to a zinc plate, and can thus be multiplied by printing-ink The process is used by the Government in the Ordnance Survey for the production of maps, plans, &c., enlarged or reduced in the camera, and great economy, both in time, and money, is effected by it. Specimens of it, including a modification termed photopapyrography, as well as of photolithography, and showing its adaptation to the reproduction of engravings, printed matter and MSS., whether old or modern, are seen in Nos. 69-77. Mr. Pouncey (44), Messrs. C. Walker & Son (547), and M. Joubert (on the table at the east end of the room, under the name of phototypes), exhibit specimens of direct printing in carbon from the photograph, without the intervention of any metallic plate or stone. The basis of all these processes is the peculiar action which light causes upon a mixture of gelatine and bichromate of potass. [sic]
Messrs. Contencin (62), Field (78) and Ramage (504) show specimens of photolithography, the image being impressed photographically on the stone. Mr. Field
process is based on the special action of light on a surface of bitumen of Judæa covering the stone; an action investigated in the early days of photography by Daguerre, who subsequently abandoned it for that process which now goes by his name. The printing of positive transparent pictures on glass was, for a long time, exclusively practiced in France; it is now done in England, and specimens are shown on the tables of Mr. Breeze, and of Messrs. Negretti & Zambra. A statue in one of Mr. Breeze’s pictures is taken by moonlight. M. Joubert, on a table at the east end of the room, shows specimens of photographs in vitrifiable colours, burnt in on glass, both monochrome and polychrome. Microscopic photography—i.e., microscopic objects enlarged,--is shown in Nos. 545, 546, by Mr. T. R. Traer, Tip of a Blowfly’s Tongue, Foot of a Spider, Trachea of Silkworm, &c., and by Mr. Olley (548-63); whilst microscopic photographs, or photographs that require the aid of a microscope to inspect them, are to be seen in Nos. 17, 18, 22* [sic = * = ?] and 927, by Messrs. J. B. Dancer, Stovin & Co., and A. Reeves. Enlarged by the solar camera, are represented in Nos. 166, Portrait of a Lady, by Mr. F. R. [sic, “T. R.”] Williams, --277 Portrait of Mr. P. Le Neve Foster, Mr. A. Claudet—and others by other operators. Mr. Warner, in Nos. 102-6, 123 and 127, shows architectural and other views printed from enlarged negatives
In examining the specimens of ordinary photography, we must take the items in the general order of the Class Catalogue, which is also that of their positions on the walls and screens here. Mr. Cruttenden’s [sic] Leeds Castle, Kent (25), is charming as a representation of a beautiful scene: photography triumphs in the rich wall surfaces, the dark and bright still water of the moat, the glittering masses of the clipped laurels that guard the garden-path here. The sunny shadows of a brilliant winter day lie calmly and in deep repose upon the grass of Stoneleigh Park, under the bare trees and by the swiftly-running water of No. 30, by Mr. J. Spode. IN No. 31, of the same, by the same, some massy oaks and dark pines tell beautifully.
A collection of Portraits by Messrs. J. and C. Watkins, numbered 59, and Cartes de Visite (65), by the same, are admirable in execution, and interesting to the observer from the fame of the persons who have sat to the exhibitors. By Mr. H. Watkins may be found a curious set of studies of attitudes assumed by Riastori, which give her tragic force with singular effectiveness. A valuable use of photographs is illustrated in No. 87, by Mr. E/ Kater, Ancient Armour in Mr. Meyrick’s Collection, a splendid series; let us note a finely-chased rapier and breastplate it exhibits. Nos. 89 and 90 contain in the incomparable series of Mr. Frith’s Views in the East, a work which has done more to make known the aspect of Egyptian, Syrian and other countries, than all the volumes of word-painting that have been produced on the subject. We do not remember to have seen before the lovely View of Philœ, from the south, now amongst them.—Sir H. James, besides his official reproductions of maps and plans, exhibits in photozincography a fine transcript from Hogarth’s Canvassing for Votes (69), as engraved by Grignon, and a photograph from the same (70), in order to show the comparative results of each system of operation: also a photo-zincographic facsimile from Doomsday Book (74). Vicsountess Jocelyn contributes some views of Broadlands (100), the Premier’s seat in Hants, which are remarkably clear and good, without hardness. The four-square brick house of commonest pattern has a characteristic suitableness to its owner’s architectural proclivities. The Earl of Caithness’s Snow Scenes (100*) are fine and broad in choice of effect, clear and well toned.
Mr. H. P. Robinson illustrates, more completely perhaps than anything else can do, the fallacy of expecting a mental operation, such as the results of pictorial art are, from a chemical process. In this case the operator has placed some models (children and others), according to a pictorial arrangement, in the hopes of making a picture. His Holiday in the wood (131), and others here, with their set air of portraitures, stiffness, and fixed smiles on the models’ faces are miserably depressing to the spectator. This failure of intention is the more observable, seeing that the operator has taken great pains to obtain a contrary result. In the work named, this is less offensive than in 128-9-30. All Mr. D. Piper’s photographs here are wonderfully good. In frame 138 are many such especially Brignall Banks, on the Greta.—Mr. Siedebotham’s Chepstow Castle and Tintern Abbey (143-4) are exquisite in every sense of choice in point of view and beautiful in execution.
The folly of touching upon photographs was never more strikingly shown than in Mr. J. E. Mayall’s Portraits (152), most of which, originally excellent, have been fairly spoilt by handling, that, however careful, is never an improvement to such things—a fact it requires but a moment’s consideration of the nature of a photograph to make palpable to the observer. A bad photograph is not worth keeping, and a good one is infinitely beyond the power of manipulating to improve.—Mr. G. Wilson’s four sets, of six views each (155-6-7-8), are remarkably fine and worthy of attention for the peculiar felicity of the operator in dealing with the sky. The Loch-in-dorth, of No. 156, has singular fullness of light. The Bridge on the Cluny, Braemar, in No. 155, by the same, and Loch of Park, Evening, are originally true and good; they have the perfect charm of nature in their sheeny [sic] waters and skies.—Mr. C. G. Fountaine’s Hypœthral Court, Philœ (170), is beautifully treated, with breadth and softness.—Many of Mr. J. Graham;s views of Jerusalem, on wax paper, from Nos. 180 to 195, especially that in Nol. 189, Minbar in the Holy Place, are valuable not only for their subjects, but method of production. The Panorama of Jerusalem (195) seems, however, to be fading.
A series of views from famous and beautiful localities in England (604-31) is beyond praise, and to be fully appreciated only by those to whom the places are known: those know how tastefully the points of view have been selected. As photographs, these are all that can be desired. – In No. 646, by Mr. T. C. Ponting, we have Cathedral and Bishop’s College””[sic]” in South Wales, enlarged from a negative 3 ½ inches to 18 inches long: the operation seems, very curiously, to have rendered the work faint of tone, as if a certain key suited the original size only.—In No. 647, Mr. Nivens sends us some views of the City of Carthage, or rather the ruins thereof. These show the very roots of the desolate city—a most melancholy sight: enlargement of the same, as shown in this frame, is no improvement.
By Dr. Hemphill, The Ruins of the Cathedral Rock of Cashel (691), is fine for intense clearness, a are others showing the interior of those eminently picturesque remains (695-6). The ruined tower in No. 690 is very fine.—Mr. H.P. Robinson’s Album Photographs show exquisite taste in toning, and choice of theme. Mr. Niven’s series from Carthage is continued in No. 723, with the addition, in 724 of several views from Egina. [sic] Mr. T. Thompson’s Raphael Cartoon, Peter and John at the Beautiful Gate (208), is a remarkable production in photography that cannot be too highly prized. Mr. Vernon Heath’s View of Perthshire (345) should be looked at by every one who loves to see nature beautifully transcribed: this example is most admirable. Scarcely less so is Mr. H. White’s View down the Llugy from the Miner’s Bridge, Betts-y-Coed, North Wales (310). These are amongst the treasures of photography: the mountain-side in the last will never be forgotten when seen. By Mr. Claudet, a set of Portraits (923) exemplify a fine, bold system of choice in light and shade that ought to be more frequently taken than it is by photographers who desire to quite the beaten track. Messrs. Cundall, Downes & Co. exhibit a fac-simile of the manuscript of Gray’s ‘Elegy’ (38) that is interesting for its subject, and many other examples that are worthy of admiration.
1862: Athenaeum, Oct. 18, #1825, p. 505:
Fine-Art-Gossip [extract]
[TRANSCRIBE FROM PHOTO]
1862: Athenaeum, Oct. 25, #1826, p. 531:
Our Weekly Gossip: [extract]
Mr. O. G. Rejlander is a good manipulator, and we have sometimes found ourselves able to praise his photographs; but he must be told, in very plain words, that the English public will not tolerate his tricks. He must not try to pass, as portraits of Garibaldi, studies from an artist’s model, paid for playing the hero of Marsala at fifteen-pence an hour. The ‘Vision of Aspromonte,’ now in the shop-windows, is a nuisance. The woman is not an Italian. The man is not Garibaldi. The drapery is indecent, and the composition in bad taste.
1862: Athenaeum, Dec. 13, #1833, p. 754:
Ads: [extracts – only one copied; other two in bibliography]
Photographs of the Moon.—A series of twelve different Phases, Mounted on cards, size of Carte de Visite in a neat folding case, 1£ 1s. Published by Smith, Beck and Beck, 6, Coleman street.
1862: Athenaeum, Dec. 13, #1833, p. 772:
Ads: [extract]
Messrs. Smith & Beck [sic] are publishing in various sizes, twelve lunar photographs taken by Mr. Warren De La Rue. the originals are of one inch diameter, but so perfect as to outline and detail that, life a leaf or petal, they allow of any amount of enlargement without injury. Two series of these moon-pictures are complete,-- one series of the size of common album portraits, the second of eighteen inches diameter. One of these is so exceedingly like the photographs recently published by Dr. Le Vengeur-d’Orsan, even down to a curious flaw in the glass negative, as to suggest that the same original must have served for both copies. When did Dr. D’Orsan take his negative?
1862: Athenaeum, Dec. 27, #1835, p. 849:
Ads: [extract]
Bedford’s Photographs of the East, taken during the Tour in which, by command, he accompanied, H.R.H. the Prince of Wales in Egypt, the Holy Land, and Syria, Constantinople, the Mediterranean, Athens, &c. Exhibiting by permission, and Names of Subscribers received, at the German Gallery, 168 New Bond Street, daily, from Ten till dusk.—Admittance, One Shilling.