Contents
| This theme includes example sections and will be revised and added to as we proceed. Suggestions for additions, improvements and the correction of factual errors are always appreciated. |
30.01 Europe > Daguerreotypes: London
   
30.02 Europe > Benjamin Brecknell Turner: England, Worcesterhire, Bredicot (1852-1854)
About this photographer | Photographs by this photographer
    
30.03 Europe > Henry James: Stonehenge
About this photographer | Photographs by this photographer
       
30.04 Europe > Henry W. Taunt: The River Thames
  
The book A New Map of the River Thames from Oxford to London (1872) by Henry W. Taunt used tipped-in albumen prints that were added to maps of the River Thames in England showing locations of interest.
30.05 Europe > Peter Henry Emerson: Marsh Leaves (1895)
About this photographer | Photographs by this photographer
                
In 1895 Peter Henry Emerson produced Marsh Leaves, the last of his volumes of photographs to be published. Smaller in format than the early works, it is illustrated with sixteen photogravures. For On English Lagoons and Marsh Leaves Emerson did, as he claimed he would do, make all his own photogravure plates, finally freeing himself from commercial engravers.
Many of the photographs in this last book demonstrate that he was no longer exclusively concerned with the direct transcribing of perception. Several are taken with a lens of relatively long focal length, resulting in a distant, two-dimensional view quite different from unaided human vision. He was using, to borrow a phrase from Aaron Scharf, ‘the vocabulary and syntax’ of photography. It is possible that, released by his "Renunciation" from the requirement to follow artistic conventions, Emerson at last felt free to discover what photography itself had to offer.
It is tempting to see, in Emerson’s last published photographs, the first suggestions that he had begun to adopt an approach and a working practice that were closer to the twentieth century than to the nineteenth, and it is certainly true that he maintained a keen interest in the most recent technology. No photograph he took after the mid-nineties has been identified, however, so as far as posterity is concerned, his career as a photographer ended in 1895.
The distinctive characteristics of Emerson's later work have been noted by other writers, notably Ian Jeffrey, 1989, Emerson Overturned; On English Lagoons and Marsh Leaves in Weaver, Mike (ed.), 1989, British Photography in the Nineteenth Century (Cambridge University Press) and Mark Durden, 1994, Autumn, Peter Henry Emerson, The Limits of Representation, History of Photography, vol. 18 No. 3, pp. 281-4.
Emerson, PH, 1895, Marsh Leaves (London: David Nutt) [Illustrated with 16 photogravures]
The plates included are:
[Courtesy of David Stone]
30.06 Europe > J. Payne Jennings: Book covers
About this photographer | Photographs by this photographer
  
The rapid growth of an urban middle class in England during the nineteenth century went hand-in-hand with the expansion of a comprehensive railway system providing leisure opportunities. Picturesque regions like the Lake District and the Norfolk Boards in East Anglia were particularly popular and the scenic photographs of J. Payne Jennings were used by the Great Eastern Railway Company to encourage rail travel to rural idylls far removed, and yet accessible, from the major cities.
30.07 Europe > A Record of the Photographic Salon of 1895 (London)
                       
This rare portfolio of photogravure images issued in 1895 by The Photographic Salon (London) was the result two years earlier by a decision in 1893 by members of The Linked Ring Brotherhood in England to "form a Salon of Pictorial Photography and that the exhibition should be displayed at the Dudley Gallery, Piccadilly, in the autumn." (Harker 1979) The Brotherhood "was constituted as a means of bringing together those who are interested in the development of the highest form of Art of which Photography is capable". (Harker 1979) It embodied the Secession (Aesthetic) Movement in Photography in Britain, having been founded in April 1892 by a small group of distinguished photographers who seceded from the Photographic Society of Great Britain in 1891-2." (Harker: 1979) Significantly, the decision by the Linked Ring to allow no "Preferential treatment" to its‘ own members was made: the result was that photographers submitting work from around the world would compete with those entries by member "Links" of the brotherhood itself - insuring that the best work would be exhibited. This of course gave the Linked Ring itself credibility in the larger world view of pictorial photography that was beginning to become a major movement - a movement that rejected the value of the "old school" ways of photography.
This portfolio is the result of a decision made by the the Linked Ring to issue a deluxe portfolio reproducing some of the choice photographs selected for exhibition in the 3rd annual salon. The photographs were printed by Walter L. Colls, a master printer and member of the Linked Ring himself. Significantly, Colls taught the important English photographer Peter Henry Emerson (who championed Naturalistic Photography) how to print his own photogravures in the late 1880s. Colls also etched the printing plates for photogravures that appeared in later issues of the English series "Sun Artists" in 1891. It is known that at least three separate Photographic Salon portfolios were issued for the years 1895, 1896 and 1897.
Alfred Stieglitz makes an appearance in this 1895 portfolio for a photograph he took in 1894 known as "Scurrying Home" (also known as "Hour of Prayer") - depicting two Dutch women walking away from the camera on the beach at Katwyk, Holland. The portfolio, according to Sarah Greenough (2002) was printed by Colls in three separate editions:
- a plate paper edition (This portfolio is from this edition - it is not numbered but perhaps no more than 500 copies were printed on plate paper based on other photographic portfolios issued from the period);
- a 2nd edition of 100 on India paper
- and a 3rd edition of 50 on Japanese paper.
The very first issue of Camera Notes, published by The New York Camera Club and edited by Stieglitz in October of 1897 pronounced its‘ approval of the portfolio: Colls photogravures were "capitally done," and the portfolio as a whole "one of which not only the Salon and Mr. Colls, but photography itself may be proud." (Greenough, 2002, Vol.2, p.936, footnote 23).
According to the Christian A. Peterson (1983: 35):
"Most directly related to what would eventually end up in the pages of Camera Notes, however, were the handsome portfolios commemorating the London photographic salons of the 1890‘s, at least three of which Stieglitz owned. Separate from the checklists for the exhibitions, these deluxe publications presented a selection of twenty images from each salon, finely printed in photogravure by Walter L. Colls, the skilled printer who taught the process to P.H. Emerson. With Camera Notes in mind, a careful study of Pictorial Photographs: A Record of the Photographic Salon of 1895 is very instructive." Peterson continues: "Fully half of the images from this 1895 publication were later duplicated in issues of Camera Notes."
The actual numbers of photogravures for the Salons varied - 1895 included 20 gravures, 1896 contained 18 and the 1897 portfolio 17 (Naef 1978).
The preface and list of plates have been included in this exhibition to provide context to the overall portfolio: 19 large plate photogravures (one plate is printed with two separate images) are presented here making up the entire folio: Each image has been hand printed in the center of individual portfolio sheets measuring 15" by 11". Individual plates are blind-stamp numbered successively in the upper right hand corner .
Image size (in centimeters) are as follows: (Height by Width)
- At the Rushy Pool: by Dr. Hugo Henneberg: (20 by 12.3)
- Rouen: by Roberty Demachy: (17.5 by 12.7)
- Figure Decorative: by Rene Le Begue: (19.7 by 12.5)
- Old Cronies: by Ralph Winwood Robinson: (18.8 by 11.7)
- Fantaisie En Blanc: by Constant Puyo: (20.2 by 14.3)
- Michel: by Hans Watzek: (18.6 by 13.4)
- In Kilbrennan Sound: by Henry Peach Robinson: (11.5 by 20)
- A Dutch Girl: by Philipp Von Schoeller: (17.7 by 13.6)
- Winter Evening: by Dr. Julius Strakosch: (17.4 by 13.6)
- Returning From Pasture: by Tom Bright: (12.5 by 22.8)
- Fog: by Frank Meadow Sutcliffe: (12.2 by 18.7)
- A Little Princess: by James Craig Annan: (20 by 10.5)
- Study of a Head: by Robert Demachy: (16.9 by 12.6)
- Day‘s Decline: by Alfred Horsley Hinton: (19.8 by 11.8)
- The Evening Hour: by Henry E. Davis (6.7 by 9.8)
- Coal Tiers: by Henry E. Davis: (6.7 by 9.8)
- Simplicity: by Walter L. Colls: (13.9 by 8.5)
- The Day Was Nearly Done: by John A. Hodges: (13.8 by 18)
- Scurrying Home: by Alfred Stieglitz: (18.9 by 13.7)
- A Portrait Study: by Hector Colard: (16.1 by 12.5)
Further reading
Greenough, Sarah (2002) Alfred Stieglitz / The Key Set (National Gallery of Art and Harry N. Abrams) [Two volumes]
Harker, Margaret (1979) The Linked Ring: The Secession Movement in Photography in Britain, 1892-1910 (London: Heinemann)
Naef, Weston (1978) The Collection of Alfred Stieglitz: Fifty Pioneers of Modern Photography (The Metropolitan Museum of Art / The Viking Press)
Peterson, Christian A. (1983) Alfred Stieglitz‘s Camera Notes (The Minneapolis Institute of Arts in association with W.W. Norton & Company, Inc.)
© D. Spencer (2006) - Used with permission
Photoseed
30.08 Europe > Bill Brandt: North
About this photographer | Photographs by this photographer
   
30.09 Europe > Tony Ray-Jones: England
About this photographer | Photographs by this photographer
   
Tony Ray-Jones died of luekemia three days after flying back from the USA to England in 1971 to avoid mounting medical bills. His death at only 30 was a tragedy in itself as it came at a time when he was not only taking photographs but gaining an interest in cinemnatography. He studied at the Yale School of Art and it was his years in the USA that made him reflect upon the festivals, leisures activities and pecularities of the everyday in England. It was a heady time in photography with the influences of Henri Cartier-Bresson, Robert Frank, Walker Evans and a host of others and his friendship with Joel Meyerowitz encouraged street photography forays. It would be crash to say that Tony Ray-Jones was the only influence on the street photography of the everyday and the banal within England in the 1960s and early 70s but he has a place in a community that would become popularized by Martin Parr
30.10 Europe > John Bulmer: The North of England
About this photographer | Photographs by this photographer
         
30.11 Europe > Chris Killip: Seacoal
About this photographer | Photographs by this photographer
 
alan@luminous-lint.com |
    
General reading
1894, The Manchester Ship Canal. A Pictorial Record of its Construction, IIth November, 1887, to Ist January, 1894, (Manchester: Henry Blacklock) [Original Photographs and Notes, 2 vol., 62 gelatin silver plates by G. Herbert Bayley and Horace C. Bayley] [Δ]
Edwards, Elizabeth, 2012, The Camera as Historian: Amateur Photographers and Historical Imagination, 1885–1918, (Duke University Press) isbn-10: 0822351048 isbn-13: 978-0822351047 [Δ]
Edwards, S., 2006, The Making of English Photography: Allegories, (University Park, Pa.: Pennsylvania State University Press) [Δ]
Edwards, Steve, 2006, The Making of English Photography: Allegories, (Penn State University Press) isbn-13: 978-0271027135 [Δ]
Howitt, William, 1865, The Ruined Abbeys of Yorkshire [6 photo illustrations by Sedgfield and Ogle] [Δ]
Macek, Vaclav, 2011, The History of European Photography 1900-2000, (Central European House of Photography) isbn-13: 978-8085739558 [Three volumes] [Δ]
Makepeace, Chris (ed.), 1986, Manchester and Salford in the 1890s: A Collection of Photographs by Samuel Coulthurst, (Hendon Mill: Hendon Publishing) [Δ]
Payne, Christiane, 1993, Toil and Plenty: Images of the Agricultural Landscape in England 1780-1890, (New Haven: Yale University Press) [Δ]
Stamp, Gavin, 1984, The Changing Metropolis: Earliest Photographs of London, 1839-79, (Hammondsworth: Penguin) [Δ]
Taunt, Henry W., 1878 (ca), A new map of the River Thames, from Thames Head to London, (on a scale of two inches to a mile), from entirely new Surveys finished during the Summer of 1878... Illustrated by one hundred photographs., (Oxford: [Henry W. Taunt & Co.]) [Third edition] [Δ]
Taylor, John, 1992, ‘Aristocrats of Anthropology: A Study of P. H. Emerson and Other Tourists of the Norfolk Broads‘, Image, vol.35, no.1/2, pp.3-24 [Δ]
Readings on, or by, individual photographers
Bill Brandt
Brandt, Bill, 1936, The English at Home, (London: B. T. Batsford Ltd.) [Δ]
Brandt, Bill, 1938, A Night in London: Story of a London Night in Sixty-Four Photographs, (London, Paris & New York) [Δ]
Brandt, Bill, 1938, Londres de nuit - London by Night, (Paris, London and New York: Arts et Métiers Graphiques, Country Life, and Charles Scribner's Sons) [Δ]
Father Browne
O'Donnell, E.E., 1996, Father Browne's England, (Merlin Publishing) isbn-10: 0863274900 isbn-13: 978-0863274909 [Δ]
John Bulmer
Bulmer, John, 2012, The North, (The Bluecoat Press) isbn-10: 1908457082 isbn-13: 978-1908457080 [Δ]
Peter Henry Emerson
Durden, Mark, 1994, Autumn, ‘Peter Henry Emerson, The Limits of Representation‘, History of Photography, vol.18, no.3, pp.281-284 [Δ]
Emerson, PH & Goodall, TF, 1884-1886, Life and Landscape on the Norfolk Broads, (Dundee: Valentine) [Δ]
Taylor, John, 2006, The Old Order and the New: P.H. Emerson and Photography, 1885-1895, (Prestel) isbn-10: 3791336991 isbn-13: 978-3791336992 [Δ]
Emerson & Goodall
Emerson, PH & Goodall, TF, 1884-1886, Life and Landscape on the Norfolk Broads, (Dundee: Valentine) [Δ]
Frederick H. Evans
Newhall, Beaumont, 1973, Frederick Evans: Photographer of the Majesty, Light and Space of the Medieval Cathedrals of England and France, (Aperture) [Aperture Monograph, Vol 18, No 1] [Δ]
Francis Frith
Jay, Bill, 1973, Victorian Cameraman, 1850-1858: Francis Frith's Views of Rural England, (Newton Abbot: David and Charles) [Δ]
Thomas Frederick Goodall
Emerson, PH & Goodall, TF, 1884-1886, Life and Landscape on the Norfolk Broads, (Dundee: Valentine) [Δ]
Bill Jay
Jay, Bill, 1973, Victorian Cameraman, 1850-1858: Francis Frith's Views of Rural England, (Newton Abbot: David and Charles) [Δ]
J. Payne Jennings
Cotterell, Constance, 1895, Summer Holidays in North East England. Illustrated with photographs by Payne Jennings, etc., (London: Walter Scott) [Δ]
Jennings, Payne, 1875, The English Lakes, ([London?]) [Δ]
Jennings, Payne, 1897, Photo Pictures in East Anglia by Payne Jennings. With descriptive letterpress by A. Berlyn, (Ashtead: Art Photo Works) [Δ]
Jennings, Payne, 1897, Sun Pictures of the Norfolk Boards: . One Hundred Photographs from Nature of the Rivers and Broads of Norfolk and Suffolk, (Ashtead: Art Photo Works) [With letterpress description by E. R. Suffling] [Δ]
Don McCullin
McCullin, Don, 2008, In England, (Random House UK) [Δ]
Beaumont Newhall
Newhall, Beaumont, 1973, Frederick Evans: Photographer of the Majesty, Light and Space of the Medieval Cathedrals of England and France, (Aperture) [Aperture Monograph, Vol 18, No 1] [Δ]
John Thomson
Thomson, John & Smith, Adolphe, 1969, Street Life in London, (New York: Bernard Blom) [Facsimile edition] [Δ]
White, Stephen, 1985, John Thomson: Life and Photographs, (London: Thames and Hudson) [Δ]
Benjamin Brecknell Turner
Barnes, Martin, 2002, Benjamin Brecknell Turner: Rural England Through a Victorian Lens, (London: Victoria & Albert Museum) isbn-10: 0810965836 isbn-13: 978-0810965836 [Exhibition catalogue: The Metropolitan Museum of Art, New York Jan. 22-April 21, 2002. With a biography by Mark Haworth-Booth] [Δ]
If you feel this list is missing a significant book or article please let me know - Alan - alan@luminous-lint.com
Resources
Photographers & Photographic Studios in Derbyshire, England
http://freepages.genealogy.rootsweb.com ...
This site by Brett Payne is a quite wonderful example of using the internet to create a high quality regional resource.
| Brighton Photographers 1841-1910
http://www.spartacus.schoolnet.co.uk ...
David Simkin has created an excellent site on the photographers of the seaside resort of Brighton on the English south coast.
| Sussex PhotoHistory
http://www.photohistory-sussex.co.uk ...
A website by David Simkin collecting together material on the Victorian and Edwardian photographers of Sussex in southern England.
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David Bailey (1938-) • John Blakemore (1936-) • Bill Brandt (1904-1983) • Father Browne (1880-1960) • William Constable (1783-1861) • Henry Dixon (1820-1893) • Peter Henry Emerson (1856-1936) • Frederick H. Evans (1853-1943) • Roger Fenton (1819-1869) • Francis Frith (1822-1898) • Fay Godwin (1931-2005) • Thomas Frederick Goodall (check) • J. Payne Jennings (check) • Chris Killip (1946-) • Charles George Hood Kinnear (1832-1894) • Ian MacDonald (1946-) • Don McCullin (1935-) • A.J. Munby (1828-1910) • Horace A. Murch (1894-1969) • James Ravilious (check) • John Benjamin Stone (1838-1914) • Frank Meadow Sutcliffe (1853-1941) • Henry Fox Talbot (1800-1877) • Charlie Waite • Henry White (1819-1903) | Home > Geographical regions > Europe > UK > England
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