1863 ART JOURNAL
Vol. n.s. ?, old series vol. ?
ver: Aug. 16, 2007
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.
--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.
1863: Art Journal, April 1, vol. ?, no #, p. 82:
Messrs. Day and Son have issued proposals to publish two very interesting works in chromolithography. One, to be edited by W. H. Russell, LL.D., will picture the “progress” of her Royal Highness Alexandra, Princess of Wales, from Copenhagen to Windsor: this will consist of thirty prints. The other will be a chromo-lithographic print of the marriage, selecting the moment when, the “two being made one,” the Prince leads his young bride from the altar. Messrs. Day promise that all the appliances of their art shall be exerted to produce the best example of it that has ever been issued in any country, and there can be no doubt this pledge will be redeemed. Colour seems to be of essential importance in a work of this class, where so much of the brilliancy of the scene depended on it. Mr. G. H. Thomas, the artist who is to paint it, was, by direct command of her Majesty, afforded all possible facilities on the memorable 10th of March, and perhaps there is no British painter who can do such a work so well. It is an especial recommendation of this picture, that the fac-simile copies of it can be, and will be, published, while the happy theme is yet fresh in the memories of the millions who shared the pleasure of that eventful day.
1863: Art Journal, April 1, vol. ?, no #, p. 82:
Shakspere’s House.—The rooms added to the birthplace of Shakspere, by the addition of the houses on each side—which have been restored to the original block as it was supposed to exist when occupied by the poet’s father—are now being fitted with cases to form a Shaksperian museum and library. The valuable collection of documents, which belonged to the late R. B. Wheler, [sic] Esq., and have been presented by his sister, are of the greatest interest to the student of the poet’s personal history. Large collections in connection with the town also came from the same source, and there is promise of much more, so that there is little doubt of a museum of most peculiar interest being established.
1863: Art Journal, April 1, vol. ?, no # , p. 82:
Some Photographic Pictures by Mr. F. M. Good of the Minories, are among the clearest and most perfect landscapes we have seen for a long time. The principal one is a view of St. Paul’s and the river side, taken from Southwark Bridge; it is capital: the noble cathedral towering, in height, length, and breadth, over the surrounding buildings, and yet keeping its place, pictorially, in the distance. The smaller specimens include some views taken in the pretty village of Barfreston, near Deal, which possesses a fine old church, remarkable for its enriched architecture.
1863: Art Journal, April 1, vol. ?, no # , p. 82:
Messrs. Day and Son are publishing, in parts (of three prints), Mr. Francis Bedford’s Photographic Tour in the East, in which, by command, he accompanied his Royal Highness the Prince of Wales. As photographs they are of the very highest merit. Mr. Bedford is among the best, if not the best, of our English landscape photographists, while no more interesting series of subjects could by possibility be brought together; it is sufficient to say it comprises views in Egypt, the Holy Land, and Syria, Constantinople, Athens, the Mediterranean, &c.