Our thanks to photography historians Jenny and Ken Jacobson, whose recent publication Carrying off the Palaces: John Ruskin’s Lost Daguerreotypes (SA TR 365 .J34 2015Q) identifies another artist represented in the Richard Willats album at Princeton University (Permanent Link: http://arks.princeton.edu/ark:/88435/k930bx11x)

On leaves 35, 49, and 51 of the album are calotypes labeled ‘Mr. Nicholson.’ Not only have the Jacobsons identified him as James Nicholson (ca. 1815-1894), “an amateur photographer and lead and glass merchant in the city of London,” but they also made the discovery that it was Nicholson who instructed John Ruskin (1819-1900) in the calotype process. Get a copy of the book to read the whole, fascinating story.

Nicholson’s calotype above is cropped and photoshopped as it might have looked originally. Inscribed: Taken by Mr. Nicholson, of Queens Street, Cheapside London. Turner’s Chafford Paper Mill.

The subject is the Chafford paper mill, where a special paper was made for the early photographers. A letter to the editor in The Photographic Journal instructs, “You may obtain Turner’s paper, specially made for photography, of Sanford and others, who deal in photographic papers. It is generally marked in the margin with the water-mark ‘R. Turner, Patent Talbotvpe,’ at other times, ‘R. Turner, Chafford Mills.’”—March 16, 1861, p.146.

In her history of the mill, Sarah Tanner notes, “At the time of the census in 1861 Richard Turner was still proprietor of the mill employing 34 men, 11 boys, 30 women, and 8 girls, and in 1864 is listed producing writing, drawing and bank papers, hand and machine made, copying papers tissues etc.” –Sarah Tanner, “The Turner Family and Chafford Mill No 389, Fordcombe, Penshurst, Tunbridge Wells, Kent”

Inscribed: Winchester West Window from the interior by Mr. Nicholson, London, an early interior on Paper if not the first.

Inscribed: Goring Church Nr Reading. Mr. Nicholson, paper.

This photograph shows St. Thomas of Canterbury, Goring-on-Thames. The church is adjacent to the old Mill in Goring and it is possible Nicholson was inspired by “Goring Mill and Church,” ca. 1806-07, an oil painting by Joseph Mallord William Turner (1775–1851) now in the collection of Tate Britain.

(c) Tate Britain

With sincere thanks to Dr Sara Stevenson, former Chief Curator of the Scottish National Photography Collection, at least one photograph has been successfully attributed to a specific member of the Cundell family. No small feat.

All nineteenth-century book and photograph historians have run into questions about the Cundells (George, Joseph, Henry and Edward) along with their contemporary Joseph Cundall. In her book, together with A.D. Morrison-Low, Scottish Photography: the First Thirty Years (Edinburgh, 2015, Marquand TR61 .S73 2015), Dr. Stevenson helps us make distinctions between these men.

“Henry Cundell (1810-86), who was an amateur painter, is the only one who exhibited in the 1850s, and he figured in touring exhibitions set up by the London Society of Arts between 1852 and 1854. His photographs ranged from pictures taken in North Wales, to Perthshire, Durham, and Kensington.

Stevenson continues, “However, the photography exhibitions with their helpful lists did not start until the 1850s, and , in the 1840s, the sociable photographers cheerfully exchanged and gave away photographs. Knowing who took the individual photographs in any of the albums is far from easy.”

Recently, she discovered a reference to a specific calotype collected and preserved by Richard Willats in the scrapbook now in the Graphic Arts Collection at Princeton University [see above]. In an anonymous account of the London Graphic Society’s fourth meeting, published in The Athenaeum on March 11, 1848, this particular photograph is noted as being presented by Henry Cundell [misspelled Cundall, even they had trouble!].

Identifying this image as a calotype by Henry Cundell enables us to consider two aspects of his work–the solid ground of the size and shape of the contact print gives us the size of his camera (allowing for scissors), and the aesthetic of the image tells us something of his approach. This simple identification should assist the international collections–including the John Muir Wood collection in the Scottish National Portrait Gallery, the Gernsheim Collection in the University of Texas, and George Eastman House–in constructing a body of his work.

After a closer look at the calotype Stevenson made a second discovery.

Cropped and photoshopped

“Looking at the photograph again,” she writes, “I see that almost in the centre amongst the warehouses perched on the banks is ‘BEARD &…’ This is the coal selling business of Richard Beard, in Earl Street, Purfleet Warf below Blackfriars Bridge, and it is the same man who purchased the daguerreotype rights for England, and set up the first daguerreotype portrait studio in London. I cannot help but feel that Henry Cundell would have been amused by this, and may even have placed his camera to capture the name.”

According to John Ward’s entry in the DNB, the entrepreneur Richard Beard (1801–1885):

“joined the family grocery business as soon as he was of working age. . . Evidence of wider interests and ambitions can be found in a patent filed on 17 June 1839 by ‘Richard Beard, of Egremont Place, New Road’, concerning the colour printing of calicoes and other fabrics. The announcements in January 1839 of the first practicable photographic processes by L. J. M. Daguerre in France and W. H. F. Talbot in England aroused enormous interest. In early 1840, at the suggestion of the patent agent William Carpmael, Beard met William S. Johnson, who had arrived in London from America to market an ingenious photographic camera on behalf of his son, John Johnson, and an instrument maker, Alexander Wolcott. Beard quickly realized the commercial potential of photography and after securing a financial interest in Johnson and Wolcott’s camera, incorporated it into a patent filed on 13 June 1840.”

“…Beard opened Europe’s first public photographic studio at the Royal Polytechnic Institute in Regent Street, London, in March 1841. By July 1841, following negotiations with Daguerre and his English agent, Miles Berry, Beard had purchased the sole patent rights of the daguerreotype process in England and Wales. On 10 March 1842 Beard filed a patent outlining improvements in colouring daguerreotypes. Later that month he opened a second London studio at 34 Parliament Street, Westminster, and a third at King William Street in April. On 21 March 1842 Prince Albert sat for his portrait in Beard’s studio.”

Richard Willats’s album has been digitized and can be viewed in full at: http://arks.princeton.edu/ark:/88435/k930bx11x. The album appears to have been compiled from the early 1840s onward by Willats, who was a manufacturer and dealer in photographic supplies at 98 Cheapside and Ironmonger Lane, London. The volume contains over 300 of the earliest paper photographs ever created, along with a selection of autographs from authors, authors, and politicians.

We got this identification wrong when it was posted in 2011 but happily, putting it up has led to this wonderful identification. https://blogs.princeton.edu/graphicarts/2011/07/london_in_1844.html

Below is a Photoshopped version of the faded print to give you a little better look at the “picturesque and well-chosen” view made by Henry Cundell in 1844.

In August 1866, members of the British elite toasted the return of Edward John Eyre (1815-1901), ex-Governor of Jamaica, with a banquet in Southampton. John Ruskin delivered the key note address. The same evening, opponents of Eyre organized their own meetings, calling for Eyre to be tried for murder in the hanging of George Gordon following the Morant Bay rebellion of 1865.

The first group organized the Eyre Defence Fund and the second established the Jamaica Committee. Lines were drawn in dining clubs, meeting halls, and street corners across London.

Charles Darwin argued with Charles Dickens; Thomas Huxley clashed with Thomas Carlyle; Herbert Spencer debated John Ruskin and Alfred Lord Tennyson.

In November 1866, Huxley wrote to Darwin: “…I am glad to hear from [Herbert] Spencer that you are on the right (that is my) side in the Jamaica business. But it is wonderful how people who commonly act together are divided about it.” —Life and Letters of Thomas Henry Huxley, v. 1 (Macmillan and Co., 1913).

In her essay, “On the Morant Bay Rebellion in Jamaica and the Governor Eyre-George William Gordon Controversy, 1865-70,″ Sarah Winter notes,

“Repeatedly, English grand juries refused to indict Eyre or convict his subordinates. The question of the constitutionality of martial law raised by the Jamaica Committee’s prosecutions implied that taking sides for or against Eyre’s actions was fundamentally an expression of political views about the legal limitations on the use of force in imperial governance. Defending the importance of the constitutional principles at stake in the Jamaica Committee’s unsuccessful prosecutions of Eyre, Mill articulated the duty to uphold the rule of law as a fundamental principle of modern citizenship. The question of the extent of Gordon’s rights as a “fellow-citizen” within the British Empire, however, remained unresolved.

Images come from a photography album in the Graphic Arts Collection documenting the Morant Bay Rebellion in Jamaica (1865), the Indian Northwest Frontier Hazara Campaign (1867-1870), views of Malta, Ireland, Guernsey, Spain, and elsewhere, compiled [attributed to] by Alexander Dudgeon Gulland. Permanent Link: http://arks.princeton.edu/ark:/88435/736664580

In the early twentieth century, art collector and banker Hugo Reisinger (1856-1914) [second from the right] prepared a series of exhibitions to promote good will between the United States and Germany. A German painting show traveled to New York, Boston, and Chicago from 1908 to 1909. The American art exhibition was held at the Royal Academy of Arts, Berlin, in March 1910 and the Royal Art Society, Munich, in April.

In May, Reisinger was decorated by the Prince Regent of Bavaria “with the Star of the Commanders’ Cross of the Order of St. Michael, in recognition of his successful work in promoting art exhibitions in Germany and the United States.”– ‘Hugo Reisinger Decorated. Munich May 4, 1910,’ New York Times, May 5, 1910.

Four years later, Reisinger died, leaving $1,000,000 to Columbia University, Harvard University,  the Metropolitan Museum of Art, and others.