1857 The ART-JOURNAL, n.s. vol. II; old series vol. XX
7/3/2021
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. 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.
--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.
The ART JOURNAL:
1857: ArtJ, n.s.?, no#, p. 220:
“Oxford in the Stereoscope* [*A Series of Views of the Public Buildings, Colleges, Gardens and Walks of Oxford; photographed by P.H. Delamotte, F.S.A. Published by Spiers & Son, High Street, Oxford]
Seldom has there been a series of views so entirely interesting as this—the most successful effort that has yet been made to render the stereoscope, not only a source of intense enjoyment, but a veritable and effectual teacher of Art. The pleasant companion of the drawing room has ceased to be ‘a toy;’ it has become an instructor; lessening in no degree its power to amuse, it is now a means of education, the influence of which it would not be easy to overrate, inasmuch as it induces thought in lieu of idleness, and makes leisure profitable. No happier theme could be found on which to employ the charming art of photography than that of the venerable and beautiful city of Oxford; it appeals to so many sympathies; is ‘a memory’ to thousands whose early associations are with its ‘Domes and towers, Gardens and groves;’ and who, in these records of its peculiar graces and beauties, may revisit—by no great strain of imagination—the places in which studious youth was passed in preparation for ardent manhood, and the armour was girded on which gave vigour and power for the battle of life.
We can conceive [of] few pleasures equal to that which must be enjoyed by him who resorts to this elegant and instructive “toy” for memories of long past days’ every familiar scene is brought before him; he knows there is nothing to deduct for the fancy of the artist. Nought has been added, nought abstracted; stern but attractive truth is there, in each one of these many pictures; if the ‘walks’ are altered, it is only because time has added somewhat to the height and breadth of the trees that give augmented shade to paths he has trodden; if there be some change in the walls and gateways and towers he so well remembers, it is only because age has its influence on all outward things. He may again enjoy Oxford—‘that faire citie, wherein make abode so many learned impes’—and enjoy it thoroughly, untroubled by that ‘tumultuous hope’ which here especially ‘toils with futurity.’
If the soldier may ’fight his battles o’er again’ when tracing on the map the march of armies, surely the scholar has higher and nobler triumphs when reveling in the retrospect—in cloisters pale, in venerable halls, beneath stately porticoes, in silent galleries, in sombre quadrangles, by solemn altars, in quiet gardens, in umbrageous walks; every step or stone of which is as familiar friend, entitled to a heart-greeting’ and welcomed by memory without a thought of reproach.
But considered merely as beautiful works of Art, and entirely apart from any association with a life of intellectual labour here commenced, this series of Oxford views has abundant attractions. The subjects are especially calculated for display by the stereoscope’ they are precisely of that nature which are thus made to ‘tell’ best; buildings of striking architecture and order; antique gables and gateways’ ‘bits’ by the water-side—the rich banks of the King of Island Rivers; walks amid trees terminated by quaint temples; ancient walls, embattled, which time has ‘mouldered into beauty;’ bridges and streets, unrivalled anywhere; with the several accessories which give peculiar character to each. The themes here selected will indeed be understood by all who are acquainted with the venerable city’ while those who are strangers to it will at once feel that a source more productive of valuable materials could not be found in England, not perhaps in the world.
The task of thus multiplying these grand attractions of Art and Nature has been confided to safe hands; no artist could have produced them more satisfactorily than M. Delamotte, while in Mr. Alderman Spiers he found a valuable guide—for to him every spot of interest is known. The photographist and the publisher acting together and in concert, have produced a series which cannot fail to give delight while affording information; they have made the pleasant and graceful ‘toy’ a valuable means of education.”
1857: ArtJ, Aug. 1, n.s.?, no#, p.263:
Reviews:
“ ‘The Sunbeam, A Photographic Magazine’ Nos. I & II. Edited by P.H. Delamotte, F.S.A. Published by Chapman & Hall, London.
Mr. Delamotte has given a most appropriate title to his published sun-pictures, when he calls his work the ‘Sunbeam;’ but to speak of it as a ‘Magazine,’ is surely a misnomer, according to the ordinary acceptation of the meaning of the word, which we believe is generally understood as a miscellaneous pamphlet containing original contributions in prose and verse, with or without illustrations of the text. But here the text is, in several instances, quotations selected to suit the pictures. However, we will not run a tilt with the editor upon a point not of any great importance in itself, and certainly of no value at all as regards the ‘Art’ of his publication.
Each part contains four subjects. The first number commences with ‘The Woods at Penllergare,’ photographed by J. D. Llewelyn, a close, umbrageous scene, so thick that the ‘sunbeams’ seem scarcely able to penetrate into its recesses; but they fall forcibly on the trunk of a large tree to the left of the picture, and on a rustic bridge that intersects it in the foreground; all else is in comparatively indistinct masses. ‘The Tournament Court, in the Castle of Heidelberg,’ photographed by Sir Jocelyn Coghill, Bart., is very beautiful; the architecture of the old edifice comes out sharp and clear in its details; trees, ivy, and long grasses, are defined in all the delicacy of their sprays, leaves, and long tender blades. ‘Magdalen College, Oxford, from the Cherwell,’ by P.H. Delamotte, is a very brilliant picture’ it makes one feel hot to look at it; marvelous are the lights and shadows that stand opposed to each other. ‘The Baptistry, Canterbury Cathedral,’ photographed by F. Bedford, is less vivid, but very striking: the dark trees and shrubs in the foreground contrast effectively with the light thrown on the buildings, which retain all the indications of venerable years, except weakness: the only sign of decay is on their wrinkled fronts.
The first subject in Part II. Is ‘The Old Bridge at Fountain’s Abbey,’ by Dr. Holden: this is an extraordinary sun-picture, taken, it may be presumed, at a late season of the year, for the branches of some of the trees are denuded of their coverings, leaving the minutest spray in clear and sharp relief against the sky. How admirably the whole scene composes itself into a picture! What adjustment and balance of parts to each other! There is throughout not an object too much or too little; nothing that the most skillful artist would omit, and nothing that he would introduce to supply a vacuum, or to aid the effect: had it been possible to lower the shadows on the bridge, it would have made the work a little less heavy, without lessening its powerful chiar’-oscuro. ‘Sunshine and Shade,’ photographed by F. R. Pickersgill, A.R.A., is the title given to two figures, a lady and a gentleman, the former standing, the latter in the act of reading, in the open air under a hedge: the photographer has evidently places his figures in position, and very pictorially they are arranged, and with wonderful truth are they made to appear. We know now whether Mr. Pickersgill’s title has a meaning beyond the mere expression of the sunshine and shade of nature, but certainly the face of the lady is not lighted up with sunny smiles: this is the only 'shadow’ that casts a real gloom over this exquisite picture. ‘Cottages at Aberglaslyn’ by F. Bedford, is not a well-chosen subject: parts of it are rendered with undoubted fidelity, but, as a whole, it does not come well together, to speak artistically. ‘The young Audubon,’ by H. Taylor, is a fanciful title given to a wood scene—the idea suggested by a young rustic, who is standing by a stile, contemplating, it may be presumed, some birds in the trees over his head; this is a beautiful photograph, delicate in colour, in gradation of tints, and in the expression of the minutest object that enters into the subject.
Among the multitude of photographic works now coming before the public, the ‘Sunbeam,’ if continued as it has been commenced, must take a foremost place: the subjects, generally, are as well selected as they are varied, and certainly the camera of the photographer has never produced more satisfactory nor more exquisite results.”
1857: ArtJ, Nov. 1, n.s. II, no #, p. 358:
“Richard the Second.”—A series of very admirable stereoscopic views of groups in this drama, as performed at the Princess’s Theatre, has been issued by M. la Roche, of Oxford Street, a photographist who has been eminently successful in the several branches of the art, in portraiture more especially. The series exhibits all the leading remarkable incidents of the play, and the several groupings have been studied with sound judgment; but they are chiefly valuable as so many pictures of costume, for it is unnecessary to say that Mr. Kean has placed beyond dispute the accuracy of his revival in this essential particular. The costume is peculiarly calculated for effective display in the stereoscope; it is highly picturesque, and strongly marked, while the backgrounds and accessories are all of great value as contributions to the history of an eventful age. We have thus another evidence of the value of the art. Long after the theatre has closed, its draperies broken up, and the scenery erased, these records will be preserved, to be accepted, as they may safely be, by the artist who shall hereafter paint the acts or the heroes of the period Mr. Kean will, therefore, have laboured not alone for his own time, but for generations yet to come, who may benefit by his efforts to do his work “wisely and well.”? M. la Roche has produced a collection of views more clear and, so to speak, “emphatic” than any we have yet seen. The relief obtained is positively wonderful; while every part of the minutest matter is developed with amazing finish and effect.
1857: ArtJ, Dec. 1, n.s. II, no #, p. 385:
“A Series of Stereoscope Views, of very conspicuous merit, has been issued at Brighton by M. Mason, the well-known, and much respected printseller of that town. They are the productions of his son, a young and promising artist, who has studied in a good school,--that of M. Henneh whose principal assistant he is. The photographs consist of various subjects—out-door and in-door scenes, dead game, figures in repose and in action, and so forth. They are cleverly grouped and arranged, and ‘tell’ with good effect in the stereoscope, giving high relief, and being singularly free from blemishes.