1862 JOURNAL OF THE PHOTOGRAPHIC SOCIETY:
“THE PHOTOGRAPHIC JOURNAL” Vol. VIII [1862-1864]
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.
1862: JPS June 16, vol. VIII, #122, p. 73:
Reviews.
Instantaneous Photographs of London; and Marine Views. C.E. Elliot, Aldermanbury Postern.
The very fine series of instantaneous
stereographs we have before us were produced, we understand, by Mr. Valentine
Blanchard. We welcome a new and successful worker in this interesting
branch of our art, which has of late years acquired such importance. The
subjects chosen are pictures containing shipping, water, and clouds, on the
Thames and on the Solent, and street scenes in London. All the specimens we
have received are good, and some possess the highest excellence, artistic and
photographic. On the whole, we prefer the river or marine views to the street
scenes: the latter, it will be readily understood, present difficulties,
arising out of a London atmosphere, which the utmost skill can scarcely be
expected in all cases to surmount. Perhaps no city in the world presents
greater difficulties or greater temptations to the instantaneous photographer
than London; and although amongst the series before us there are some very
successful attempts, we believe the metropolis of the British empire remains yet
to be done for the stereoscope. These exceptional remarks, however, by no means
apply universally. A view of “St. Paul’s from Southwark Bridge” is, we
think, one of the most perfect things of the kind we have seen: the point of
view is well chosen, and the picture is full of atmosphere, whilst every
gradation from the foreground to the extreme distance is well defined, but with
due regard to subordination.
A very fine view of the Houses of Parliament from the river, with fine natural
sky and clouds, is another example-picture in the London series, and derives
considerable value from the perfect definition of a boat and four rowers pulling
lustily through the water, who conveniently break the expanse of river in the
foreground, and complete the composition.
In the marine pictures Mr. Blanchard has followed the daring practice, initiated by Mr. Wilson, of pointing his lens at the setting sun. A “Sunset at Ryde” and a “Sunset at Greenhithe” are two pictures of wondrous beauty, in each of which the sun is descending behind dark banks of cloud, but with entirely different effects. There is a depth of sentiment in these two pictures which only a sight of them can convey. If our readers select any of this series, let them not omit Nos. 123 and 82. Our space forbids us to enter into further detailed description or criticism; but we may remark that almost every phase of atmospheric effect is attempted in the marine pictures, with more or less of success; and whilst the photography is for the most part good, the pictorial effect is better, as nothing can exceed the happy combination of effects secured in many, indicating very great artistic taste and much enterprise, and patience in waiting for and selecting the scenes before us. For the guidance of readers anxious to see these views, we subjoin the numbers of those which, in addition to those named, strike us as especially deserving of attention:--Nos. 65, 98, 83, 110, 51, 114 and 68. We shall look for further work of this kind from Mr. Blanchard, seeing that his last (and, so far as publishing is concerned, we believe his first) essay has been sp successful.
1862: JPS Aug. 15, vol. VIII, #124, p. 104-105:
Photographic Views of the International Exhibition.
We have good reason to be pleased that the London Stereoscopic Company obtained the permission to photograph the objects of industry and art exhibited in the building. The stereoscopic and other views are now to be obtained at various stations in the interior, the Commissioenrs having granted spaces for that especial purpose. As photographs they are all we can desire, and those who are unable to visit the building will obtain a very good idea of its vast interest by the inspection of these beautiful productions. The publication of the following first list may be useful to our friends at a distance in making their selections:--
1. The Opening Ceremony.
2. The Nave, from the Western Dome.
3. The Austrian Court, No. 1.
4. Machinery, Western Annexe.
5. The Roman Court, No. 1.
6. The Austrian Court, No. 2.
7. The Austrian Court, No. 3.
8. Venus, by Gibson, No. 1.
9. The Prussian Court, No. 1.
10. The Austrian Court, No. 4.
11. The Austrian Court, No. 5.
12. The Italian Court, No. 1.
13. The Italian Court, No. 2.
14. The Dining Rooms.
15. The Grecian Court, No. 1.
16. The Grecian Court, No. 2.
17. The Queen, by Noble.
18. The late Prince Consort, by Noble.
19. The Nave, looking towards the Western Dome.
20. Works in Terra Cotta.
21. Centre of Messrs. Garrard’s Case.
22. Entrance to Staircase, Western Dome.
23. Majolica Work, by Minton & Co.
24. The Japanese Court.
25. Fountain in Majolica Ware, by Minton.
26. Prince Frederick William of Prussia and Suite.
27. The English Picture Gallery.
28. The Nave, from the Eastern Dome.
29. La Pieta, by Antonio Cali.
30. The Foreign Picture Gallery, No. 1.
31. Modesty, by Corbellini.
32. The Prussian Court, No. 2.
33. Venus with Temple, by Gibson, No. 2.
34. The South-East Picture Gallery.
35. The Foreign Picture Gallery, No. 2.
36. The English Picture Gallery.
37. The Roman Court, No. 2.
38. The Eastern Transept.
39. The North-East Gallery of Architectural Designs.
40. Lady Goldiva, by Thomas.
41. The Glass Court, No. 1.
42. The Italian Court, No. 3.
43. The Fortune-Teller, by Guglielmi.
44. La Pieta, by Arhtemann.
45. La Bagnante, by Tantardini.
46. Calvary, by Eroli.
47. The Glass Court, No. 2.
48. The South-East Transept.
49. Fountain in Majolica Ware, by Minton, No. 2.
50. The Austrian Court, No. 6.
51. The Foreign Picture Gallery, No. 3.
52. The North=West Transept.
53. The Nave, from Western Dome, No. 2.
54. The Foreign Photographic Gallery.
55. Tinted Venus, by Gibson.
56. Cupid Captive, by C. Marshall.
57. Cock-fighting, by Pelloli.
58. Model of Milan Cathedral.
59. L’Angelo dell’ Ariosto, by Magni.
60. Venus, by Canova, from original Statue.
61. “The Sleep of Sorrow the Dream of Joy,” by Monti.
62. Zenovia Captive, by Miss Hosmer.
63. The Gobelin Tapestry (French Court).
64. Russian Bible, &c., Byzantine style.
65. Portion of Nave, looking towards West Dome.
66. Australian Gold Nugget.
67. Prussian Court, No. 3.
68. The Reading Girl, by C. Magni
69. State Ceremonials (Garden Scene).
69. State Ceremonials, Norway.
69. State Ceremonials, Portugal
69. State Ceremonials, United States.
69. State Ceremonials, Zollverein.
70. Austrian Court, No. 7.
71. Austrian Court, No. 8.
72. Prussian Court, No. 4.
73. The Photographic Jury and Committee.
74. View in the Japanese Court.
75. Venus Rising from the Sea.
76. The Foreign Picture Gallery, No. 4.
77. Nymph and Cupid, by Theis.
78. Austrian Court, No. 9.
79. Austrian Court, No. 10.
80. Mars, Venus, and Cupid, by Vintery.
81. Glass, by Naylor and Co.
82 Prussian Court, No. 5.
83. Daphne, by Marshall Wood
84. Centre-piece, by Christoffe (Hotel de Ville).
85. Enamels.
86. View from Staircase, West Dome.
87. The Glass Court, No. 3.
88. Austrian Court, No. 11.