Julia Margaret Cameron The Complete Photographs
Julia Margaret Cameron The Complete Photographs
Julia Margaret Cameron The Complete Photographs
CCORDING
TO
ONE
OF
JuLIA
ABOUT
T H E
AUTHORS
Ford,
Library of Congress
Cataloging-in-Publication Data
Cox, Julian.
Julia Margaret Cameron : the complete
photographs / by Julian Cox and Colin
Ford ; with contributions by Joanne Lukitsh
and Philippa Wright.
p. cm.
Includes bibliographical references and
indexes.
ISBN 0-89236-681-8 (hardcover)
i. Photography, Artistic. 2. Cameron,
Julia Margaret Pattle, 1815-1879. 3. J. Paul
Getty Museum Photograph collections.
4. Photograph collections California
Los Angeles. I. Cameron, Julia Margaret
Pattle, 1815-1879. II. Ford, Colin, 1934III. Lukitsh, Joanne. IV. Wright, Philippa.
V. Title.
TR652,C69 2003
770'. 92 dc2i
2002011369
Contents
vii
viii
X
1
6
II
41
81
95
CATALOGUE
106
108
111
I. Beginnings
373
v. Children
129
II. Religion
433
VI. Illustrations
175
III. Women
467
VII. Idylls
291
IV. Men
483
VIII. Ceylon
496
498
502
506
Appendix A:
Appendix B:
Appendix C:
Appendix D:
Appendix E:
Appendix F:
511
521
528
538
545
553
559
Copyright Registers
Inscriptions, Stamps, and the Business of Photography
Albums
Collections
Sitters
Sources of Inspiration
Selected References
Selected Exhibitions
Title Index
General Index
Photography Credits
Foreword
J
P
DEBORAH G R I B B O N
vn
Preface
N S E P T E M B E R 1986 THE J. P A U L
Getty Museum installed, in freshly appointed galleries at the Villa in Malibu,
the first exhibition drawn from the holdings of a new
curatorial department devoted to photographs, established
by then director John Walsh in July 1984. The fact that
this first exhibition was devoted to the work of Julia
Margaret Cameron reflected how high her art figured in
the priorities of the new department. Even before the
present volume, Cameron was the subject of two Getty
Museum publications: Whisper of the Muse: The Overstone
Album and Other Photographs by Julia Margaret Cameron
and Julia Margaret Cameron: Photographs from the J. Paul
Getty Museum. The former, published in 1986, was authored by Mike Weaver; the latter, which accompanied a
second Cameron show at the Villa in 1996, by Julian Cox.
The title of the Getty Museum's first exhibition and
publication of its photography collection came from Cameron herself, who inscribed "The Whisper of the Muse
Portrait of G. F. Watts" below a photograph she made of
the painter holding a violin (cat. no. 1086). He was accompanied in the picture by Elizabeth and Kate Keown
in the role of muses, the name given by the Greeks to
spirits who were believed to be responsible for inspiring
creativity in poets, musicians, dancers, and scientists.
Long before Cameron thought of using photography to
unite her literary and visual imaginings, she wrote her own
prayers and poems; she knew well the challenges posed to
artists by an empty canvas, a blank sheet of paper, or an
unexposed photographic plate.
Genius can be described as an extraordinary capacity for imaginative creation by a person with native intellectual power of an exalted type. It is not to be frivolously
accorded to artists in any medium of expression, but it is
viii
WESTON NAEF
Curator of Photographs, The]. Paul Getty Museum
Preface
ix
Acknowledgments
Acknowledgments
xi
collaboration and to provide practical and logistical support. We are especially indebted to Rob Cox, head of studios, and Paul Thompson, photographic officer, for the
high quality of the reproductions they supplied for the
catalogue. They traveled to a number of collections and
secured excellent reproductions, often working under farfrom-ideal conditions. Colin Harding, curator, photographic technology, supported the authors with his
expertise on historical processes and photographic technology. Sincere thanks are also offered to the following
colleagues at Bradford who contributed valuable assistance, information, and advice: Barbara Binder, Toni
Booth, Paul Goodman, Greg Hobson, Brian Liddy,
Russell Roberts, and John Trenouth.
The authors have the distinct pleasure to be able to
thank the core members of the team responsible for this
publication. Philippa Wright, assistant curator of photographs at the National Museum of Photography, Film &
Television, deserves our sincere appreciation for her
dedication and skill in cataloguing and organizing information gathered from numerous collections throughout
the United Kingdom. Her commitment to the project and
its many requirements was unstinting. She handled all
with grace and alacrity. The interest and enthusiasm that
she showed for Cameron's small-format photographs
added a new dimension to the catalogue entries and
resulted in the concise essay that appears in this volume.
Joanne Lukitsh, associate professor in the Department of
Critical Studies at the Massachusetts College of Art,
Boston, enhanced the project considerably with her keen
knowledge of the subject. During a visit to the Getty
Museum in the summer of 2001, she worked intensively
with Julian Cox to establish the structure and sequence of
the catalogue section. Her contribution during this visit
was invaluable and in keeping with her long-standing
devotion to improving and expanding scholarship on this
artist. Her essay in this volume represents that ambition,
examining most convincingly Cameron's earliest experiences with photography.
During the process of gathering and organizing the
information contained in this catalogue, those institutions endowed with important holdings of Cameron photographs hosted repeated visits from the authors. Not
only have they borne our demanding presence with good
humor, their staffs have cheerfully responded to our
numerous follow-up requests for information. By facilitating large photographic orders, answering last-minute
e-mail inquiries, and verifying inscriptions, stamps, and
other miscellaneous details, they made substantial contributions of their time, expertise, and facilities in support
xii
Acknowledgments
xiii
xiv
Acknowledgments
xv
Introduction
N A V I B R A N T C A R E E R THAT F L O U R -
denied an export license by Britain's Reviewing Committee on the Export of Works of Art.7 When the National
Museum of Photography, Film & Television, Bradford,
was founded in 1983, the Herschel Album was transferred
gratis to that institution.
If the National Portrait Gallery had not quite realized
Roger Fry's ambition, in acquiring the Herschel Album
it had certainly embraced historical photographs with
enthusiasm. In November 1975 the institution mounted a
well-received exhibition and published both a guide, The
Herschel Album, and an accompanying book, The Cameron
Collection? During the exhibition, Helmut Gernsheim's
pioneering monograph was republished in a revised form,
and Gernsheim himself visited Britain to lecture at the
gallery. More recent interpretations of Cameron's oeuvre
by Mike Weaver,9 Joanne Lukitsh,10 and Sylvia Wolf11
have considerably deepened our understanding of Cameron's achievement. However, less than 40 percent of
her total output has been reproduced in the literature in
the last twenty-five years, and much of what has been
assumed and written about the artist has occurred without knowledge of the complete body of work. Our purpose in this catalogue has been to assemble and present
the full scope of her photographic production. These
images are the visual evidence of her life's work, the
physical facts of Cameron's contribution to the history
of the medium. Precedence has been given to the photographs as objects, rather than attempting to provide the
last word on the artist and her biography, although the
essay "Geniuses, Poets, and Painters: The World of Julia
Margaret Cameron" provides a sketch of the essential facts
of her life. Perhaps this publication can best be understood as a reunion of a special kind, uniting in one place
a record of objects that have never before coexisted in
this way.
Cameron's own preferences for the classification of
her work provided a useful point of departure for the taxonomy of this catalogue. In the album she presented to
Lord Overstone (see appendix C), she prepared a handwritten contents page in which she listed the photographs
in three distinct categories: Portraits, Madonna Groups,
and Fancy Subjects for Pictorial Effect (fig. i). Under
Fancy Subjects, Cameron included photographs with
literary, mythological, and religious themes. In the price
list that accompanied her 1868 exhibition at the German
Gallery in London (see selected exhibitions), the work
was arranged under the headings Fancy Subjects (with a
subcategory of Groups), Portraits, and Series of Twelve
Life-Sized Heads of Fancy Subjects (fig. a). 12 Together,
these categories account for a considerable percentage of
Introduction
i. For Cameron's biography, see Amanda Hopkinson,/w/z'tf Margaret Cameron (London: Virago Press, 1986). The best discussion of her
last years in Ceylon appears in Ismeth Raheem and Percy Colin Thome,
Images of British Ceylon: Nineteenth Century Photography of Sri Lanka
(Colombo, Sri Lanka: privately printed, 2000), and Lori Cavagnaro,
"Julia Margaret Cameron: Focusing on the Orient," Library Chronicle of
the University of Texas at Austin 26, no. 4 (1996), pp. 116-43. See also
Joanne Lukitsh, "'Simply Pictures of Peasants': Artistry, Authorship,
and Ideology in Julia Margaret Cameron's Photography in Sri Lanka,
Introduction
Chronology
1815
Julia Margaret Pattle, the fourth child
of James and Adeline de 1'Etang Pattle,
is born on June n at Garden Reach,
Calcutta, India. Her father is an official
of the East India Company; her mother,
the daughter of French royalists.
1818-34
1847
Translates Gottfried August Burger's
romantic ballad Leonore (1773), which is
published in London with illustrations
by Daniel Maclise.
1848
Charles Cameron retires, and the family
leaves India and settles in Tunbridge
Wells, Kent.
1850
The Camerons move to East Sheen,
London, to be near the playwright and
civil servant Henry Taylor and his
wife, Alice, but gravitate toward Little
Holland House, the London home of
Cameron's sister Sarah Prinsep, which
is one of the city's leading artistic salons.
About this time, the artist in residence
at Little Holland House, George Frederic Watts, begins work on a painting
of Cameron (fig. 4), which is now in
the National Portrait Gallery, London.
i53
Charles Cameron publishes an open
letter on the admission of Indians to the
Indian army and civil service, An Address to Parliament on the Duties of Great
Britain to India in Respect of the Education of the Natives and Their Official
Employment.
1857-59
1863
Charles Cameron again visits Ceylon.
Oscar Gustave Rejlander visits Freshwater and photographs at Dimbola
(fig. 5). In July, Cameron presents an
album of photographs, which includes
several pictures by Rejlander, to her
sister Mia. In December, Cameron
is given a sliding box camera that uses
glass plates of roughly twelve by ten
inches, a Christmas present from her
daughter, Julia, and son-in-law, Charles
Norman. Cameron sets out to realize
the concepts Herschel introduced to her
some twenty years earlier.
1859-60
While her husband is in Ceylon with
their two eldest sons surveying the
family's coffee and rubber plantations,
Cameron travels to Freshwater, on
the Isle of Wight, to see Alfred Tennyson and his family at their new home,
Farringford. She buys two cottages on
1864
At the end of January records her "first
success," a portrait of Annie Philpot
(see cat. nos. 1-3). Cameron works with
great energy, compiling albums of her
photographs for Watts and Herschel.
She also prepares photographs for exhi-
Chronology
1865
1868
1867
Presents seven photographs to the
Pre-Raphaelite painter Dante Gabriel
Rossetti. Exhibits at the Universal
Exposition, Paris, where she is awarded
an honorable mention for "artistic
photography."
1869
Exhibits in Groningen, Netherlands,
where she is awarded a bronze medal
in the portraits category. Creates
The Kiss of Peace (fig. 6), which she
considers her greatest work.
1870
In May exhibits in the annual exhibition of the French Photographic Society
in Paris and the Midland Counties
Exhibition of Art and Industrial Products at Derby, England. In August
presents a group of her photographs to
Victor Hugo.
1871
Displays work in the London International Exhibition in the summer.
Gives a group of her photographs
to George Eliot. Only two photographs
are registered for copyright.
1872
In April exhibits in the London
International Exhibition. Creates a
series of photographs that portray
children as angels.
1873
Exhibits at the Universal Exhibition,
Vienna, where she is awarded a medal
for "Good Taste" in her "Artistic
1866
Wins a silver medal and certificate
of honor at the Hartley Institution,
Southampton. Purchases a larger camera that uses glass plates of fifteen by
twelve inches. It is equipped with a
Dallmeyer Rapid Rectilinear lens with
a focal length of thirty inches and a
working aperture off/8. Begins to work
1874
Writes Annals of My Glass House, an
unfinished account of her photographic
career, not published until 1889. At the
request of Tennyson, makes photographic illustrations for his Idylls of the
King. Disappointed at the reduced size
and quality of the woodcuts made after
her photographs, she publishes her
own limited edition with thirteen fullsized plates in December.
1875
edition, based on the two earlier editions. Instructs the Autotype Company,
London, to produce new negatives from
seventy of her choice images; all prints
are made by the permanent carbon process. In October the Camerons leave
Freshwater and immigrate to Ceylon
to be closer to their sons (fig. 7). They
live near Kalutara, on the southwest
coast of the island. Cameron continues
to photograph from time to time; her
subjects are the domestic help and plantation workers.
1876
In February, Cameron's poem On
a Portrait is published in Macmillans
Magazine. Carbon prints of her
Arthurian subjects are shown in September at the annual exhibition of the
Photographic Society of Great Britain.
She is awarded a medal at the Centennial Exhibition in Philadelphia.
i877
In January the painter and naturalist
Marianne North visits the Camerons
(fig. 8). The Parting of Sir Lancelot
and Queen Guinevere (cat. no. 1170) is
reproduced as a wood engraving on
the cover of the September i issue of
Harper's Weekly.
1878
The Camerons make a short visit to
England in May.
1879
On January 26 Cameron dies after a
short illness at the family's Glencairn
bungalow, in the Dikoya Valley, Ceylon.
Her husband dies the following year.
They are buried on the grounds of
St. Mary's Church at Bogawantalawa,
near Glencairn.
Chronology
COLIN FORD
<rE
5E F I C T I O N A L W O R D S , P U T I N T O
mouth of the leading poet of the Vican age, Alfred Tennyson, are intended
to be comic, coming as they do from a 1923 one-act farce
portraying life in Freshwatera seaside village on the
Isle of Wighta half-century earlier. During that period, the i86os and 18705, Tennyson and his friend Julia
Margaret Cameron lived next door to each other. The
play, Freshwater, was written by Cameron's great-niece,
the famous Bloomsbury author Virginia Woolf, whose
affectionately satirical words convey a surprising truth. As
Queen Victoria's poet laureate, which he became in 1850,
Tennyson was indeed pursued by tourists, lion hunters,
and autograph hounds, whom he tried constantly to
evade. As Cameron put it in a May 25, 1860, letter to her
husband, "the tradesmen cheat him - the Visitors look at
him - Americans visit him - Ladies pester &c pursue him
- enthusiasts dun him for a bit of stone off his gate These things make life a burden and his great soul suffers
from these stings."2 Neither Tennyson nor his wife, Emily,
ever quite came to terms with these penalties of fame.
As Tennyson's neighbor, Cameron was naturally a
character in Freshwater, as were such visitors to their
houses as the children's author and Oxford don Charles L.
Dodgson (Lewis Carroll) and the distinguished portrait
painter George Frederic Watts and his young wife, Ellen
ii
Each day & every day & all day I have made sundry
strong vows to write again to your good Brother Hastings 5c also to you - but the stream of Time has been so
swollen by all sorts of accessory floods & rivulets 8c
drippings from all sources that literally I have been
delayed with much work & seemed to neglect those of
whom I thought perpetually I won't address brother
Hastings thro' you I will only say here that I gratefully
feel all his loving kindness & shall write to him 6c
tell him how it is that Australia has been given up Bombay given up - & how Ceylon is reverted to - once
more What will come to pass I know no more than those
unborn creatures of the year 2000 who perhaps are
already surveying with pity the world as it now is -just
as two hundred years ago our ancestors had we seen
our ancestors contending with difficulties of getting from
London to York in 4 days time we should have pitied
them - Ewen's destiny is an anxious thought & until that
thought takes shape & form he is a victim I think At
present he has gone to the Bay to see the crowds who on
this Coronation day flock to this side of the Island for
of the moment might be. She would sit at her desk until
the last moment of the dispatch. Then, when the postman had hurried off, she would send the gardener running after him with some packet labelled "immediate."
Soon after, the gardener's boy would follow pursuing the
gardener with an important postscript, and, finally,
I can remember the donkey being harnessed and driven
galloping all the way to Yarmouth, arriving as the postbags were being closed.
12
India
that. . . benighted land
ulia Margaret and her six sisters, their dark complexions and flashing eyes inherited from their mother's
Indian great-grandmother, were born in India, most in
Calcutta.8 Julia, the fourth of ten children, was born on
June n, 1815, a week before the battle of Waterloo and
a quarter-century before photography was announced to
the world in Paris and London. Her father, James Pattle,
belonged to a family that, although it could trace its lineage back to a seventeenth-century ancestor living in
Chancery Lane, London, had been involved with India
and the East India Company for a hundred years. His
wife, Adeline, was French (her maiden name was de
1'Etang). James joined the Indian Civil Service at the age
of fourteen and, by the age of forty, had attained a very
senior position. Of the Patties' ten children, only one was
a boy, also named James; he and two of the girls died as
infants.9 The seven surviving sisters, like the children of
many Europeans in India, were sent back home for the
sake of their health and education. The Pattle girls, all of
whom could speak Hindustani and French,10 thus spent
much of their childhood with their maternal grandmother, Therese de 1'Etang, in Paris and Versailles.11 It
Ford
i3
Ford
i5
I
FIG. 13 [Henry Taylor] (CAT. NO. 767)
16
Ford
18
JULIA MARGARET
CAMERON
Ford
19
20
that of the adults. She and Watts were so far apart in age
and reputation that it was perhaps only the obsessive
quest for beauty that brought them together. To Terry,
Little Holland House "seemed a paradise, where only
beautiful things were allowed to come. All the women
were graceful, and all the men were gifted."49 The decision that the newlyweds should live there, however, catapulted Terry into an intense, hectic, public lifestyle that
cannot have been at all easy for her. She was certainly
overshadowed by the dominant, interfering Sara Prinsep, thirty years her senior, who firmly ruled the roost
and presumably aimed to own Terry as voraciously as
she owned Watts.
There are several versions of how the marriage came
to an end after less than a year. Ellen seems to have been
blameless and rather surprised by it all. As she described
it, she
refused at first to consent to the separation, which was
arranged for me in much the same way as my marriage
had been. The whole thing was managed by those
Ford
21
22
and fell in love with the area, which is at its best in the late
spring and early summer. "This island might equal your
island now for richness of effects," she wrote to her husband.58 Impulsive as ever, she arranged to buy two doublefronted bay-windowed "cottages" from a local sailor and
rooming-house keeper, Jacob Long, who had called them
Longlands. "As she has only half of her family with her
she has taken two houses," joked Henry Taylor.59 The
Camerons bought the lease of the cottages on October 3,
1860, naming one Dimbola, after one of their estates in
Ceylon, and the other Sunnyside. Ten years later they were
to join the two together with a new castellated tower,
naming the resulting rather grand single house Dimbola
Lodge (fig. 22). A month after the acquisition the Tennysons felled some trees in order to drive a road down to
the sea and to create a private back gate into the grounds
of Dimbola.
With both the Tennysons and the Camerons settled
in this quiet seaside retreat four miles off the mainland of
England, at the west end of what was sometimes called
the garden isle, the stage was set for a rural equivalent of
Sara Prinsep's Little Holland House salon. Indeed, the
list of artists, writers, academics, scientists, and politicians who visited Freshwater over the next decade and
a half reads like a Who's Who of Victorian Britain. Some
of themamong them Tennyson's brother Horatio (cat.
One visitor put it more succinctly. "Everybody is either a genius or a painter or peculiar in some way," exclaimed Caroline Stephen, according to a letter by her
friend Ritchie, "is there nobody commonplace?"63 The
Camerons invited Anne and her sister Minnie to stay in
one of their cottages after the sudden death of their father
at the end of 1863; resting by the fire one snowy evening,
Anne noted that Tennyson came to call: "walked down
to see us in silent sympathy."64 Once again, she was well
placed to write about Cameron's life and activities.
Ford
23
Photography
from the first moment I handled my lens
with a tender ardour
t Farringford and in her own "picturesque if somewhat untidy home,"65 Cameron was "the presiding
genius of the place,"66 constantly organizing what she
called feasts of intellectmusical evenings, poetry readings, plays, parties, and walks. She was not, any more
than Florence Nightingale's Cassandra, the sort of woman
to be satisfied by "sitting round a table in the drawing
room, looking at prints, doing worsted work and reading
little books."67 Cameron, like Cassandra, must have felt
that "the accumulation of nervous energy, which has had
nothing to do during the day, makes them feel every
night, when they go to bed, as if they were going mad;
they are obliged to lie long in bed in the morning to let it
evaporate and keep it down."68 It was this boredom that
seems to have inspired Cameron's daughter and son-inlaw, Julia and Charles Norman, to give her a camera when
Charles Hay Cameron went to visit his beloved coffee
estates in Ceylon in 1863: "It may amuse you, Mother, to
try to photograph during your solitude at Freshwater."69
Cameron was enraptured: "The gift from those I loved so
tenderly added more and more impulse to my deeply
seated love of the beautiful, and from the first moment I
handled my lens with a tender ardour, and it has become
to me as a living thing, with voice and memory and creative vigour."70
Joanne Lukitsh points out elsewhere in this catalogue that it is entirely plausible that Cameron had already made a number of photographic experiments with
a camera, or cameras, belonging to other people. It certainly seems unlikely that the Normans would have given
her, unprompted, a cumbersome camera, with its complex chemical and other demands, unless she had already
shown more than a passing interest in the medium. However, Cameron herself claims that when she received the
Normans' gift she had "no knowledge of the art,"71 and
she dated the beginning of her photographic career from
this acquisition of a camera of her own. Several surviving
prints of her portrait of Annie Wilhemina Philpot (cat.
nos. 1-3), taken soon after the camera was given to Cameron, are inscribed "My first success." (She had first photographed a local farmer but managed to wipe most of the
chemical coating from the negative before developing it.)
She was so proud of the picture of Annie that she sent it
straight over to Annie's father, Benjamin, who was staying at Farringford with Tennyson, with an excited covering note (see fig. 79) calling it "My first perfect success in
24
Little Holland House was not Cameron's only London base for taking photographs. The founding director
of the South Kensington Museum (later divided into the
Victoria and Albert and Science Museums) was Sir Henry
Cole (cat. no. 633). He knew Watts and Val Prinsep (cat.
nos. 741-45), who had been commissioned to design murals for the museum, as well as Anne and Minnie Thackeray. Cole recorded his experience of being photographed
in a diary entry for May 19,1865: "To Mrs Cameron Little
Holland House to have my portrait taken in her style. A
German girl held an umbrella over me. Mr Prinsep assisting, Scthe Irish girls. Saw Watts."74
The day after photographing Cole, Cameron wrote
to him in a letter typically almost devoid of punctuation
marks:
I have real pleasure in telling you that Mr Watts thinks
my photograph of you "extremely fine" I hope to tone 8c
wash tonight after a day's most arduous work I really
fear even my energies breaking down with the work of
today. All yesty. I took studies of Lady Elcho &, Lord
Elcho said they were the finest things ever done in Art!
The day before I took 12 portraits and the same day or
rather night I toned & printed & I washed six dozen therefore I write this word standing midst work.75
This slightly bathetic little piece d'occasion gives credence to the view of another perceptive observer, the Irish
poet William Allingham: "There is no magic in H. T.'s
pen, whether it write blank verse or rhyme."84 His attitude annoyed Cameron: "Mrs. Cameron has a standing
and, I fear, incurable pique against me for not recognising Henry Taylor as a great poet."85 On another occasion,
referring to Allingham's lack of appreciation of Taylor,
she suggested that "you must have been repenting ever
since in sackcloth and ashes - eh?" 86 Perhaps that was
why both parties readily gave up on their portrait session:
"Mrs. Cameron focuses me, but it proves a failure and I
decline further operations. She thinks it a great honour to
be done by her."87
In 1863 Allingham had become Customs Officer at
Lymington, the mainland port from which steam ferries
sailed three or four times a day to Yarmouth, the nearest
island port to Freshwater. He paid his first visit there on
July 3: "I crossed by the evening boat, walked over the
bridge, and after two or three miles of beautiful greensided roads, spoilt here and there by Forts, reached the
enchanted realm of Farringford."88 Although Allingham
did not meet Tennyson on that occasion, he soon did so,
and from then on his witty and deftly descriptive diary is
full of insights into the Cameron-Tennyson circle. More
than any other eyewitness, he seems to catch the authentic tone of voice of Alfred and Julia, who had a habit of
ending many of her sentences with an interrogative "Eh?"
or "Hm?"
Allingham was another well-connected man whom
Cameron asked to help her tempt a hero into her clutches:
Ford
25
26
(%. 23).
Ford
27
28
doubts. After a rather gory description of William's skeleton, the ghosts who have accompanied the funeral procession back from the battlefield chant a suitably Christian
conclusion:
"Endure! endure! though break the heart,
Yet judge not God's decree.
Thy body from thy soul both part,
Oh! may God pardon thee!"
raphy, Cameron "wrote many poems, some of which appeared in Macmillaris Magazine"; we only know of one,
On a Portrait, published there in February 1876.m Her
translation of Gottfried August Burger's ballad Leonore
had been published in i847,132 with illustrations by Daniel
Maclise (fig. 24):
Leonora from an anxious dream
Starts up at break of day:
"My William, art thou false or slain?
Oh! William, why delay?"
With Frederick's host to battle-field
Her lover had been led;
No tidings came, no line disclosed
If he were false or dead.
Ford
29
30
she looks at her work she does not discern the difference
between the one effect and the other.144
Cameron did take a series of photographs of the Du Mauriers while they were in Freshwater (cat. nos. 21315, 940).
Du Maurier also noted the presence of Andrew
Hichens, who was soon to marry May Prinsep (cat. nos.
96, 391-440), another favorite Cameron model: "A.K.H
is a very good looking chap of 40 with loads of tin - He
has hired a yacht of 64 tons &c is going to take us cruising
about the island."149 Du Maurier used Prinsep as a model
for some cartoons for the satirical magazine Punch, and
two also included likenesses of Hichens.
Ford
3i
Putting on a Show
Whose generous mind
First thought to cheer these hours, and pleasure find
Not for herself but others?
usic and drama were regular features of FreshM water
life, and both the Camerons and Tennysons
I
32
Ford
33
shown in the 1857 Ryal Academy exhibition, which Cameron most surely would have visited since a miniature of
her daughter was on display. Over a period of four or five
years she photographed a half-dozen versions of the subject, modeled by May Prinsep (cat. nos. 40612) and Kate
Keown (cat. nos. 988-89). Written in 1819, The Cenciwas
not in fact performed until after Julia's death (by the Shelley Society in 1886). The judgment of posterity is that the
play "is pure poetry but poor drama, being confused in
action and somewhat too dependent on Shakespeare."164
The same might well be said of Henry Taylor's Philip
vanArtevelde, for which Cameron expressed unrestrained
admiration. Mathew Arnold (cat. no. 584) called this dramatic poem "the noblest effort in the true old taste of our
English historical drama, that has been made for more
than a century,"165 and it was this work above all that
made Taylor one of Tennyson's three rivals for the post of
poet laureate in 1850. Written in 1834, it was, appropriately enough, adapted for the stage by perhaps the most
cultured, serious, and intellectual of the leading Victorian
actor-managers, William Macready.
Philip van Artevelde opened at London's Princess's
34
JULIA MARGARET
CAMERON
n October 1875 the Camerons unexpectedly left Freshwater to move to Ceylon. The reasons for their departure and its suddenness have been the subject of some
speculation. After all, Cameron's photography was at last
enjoying considerable recognition; the illustrated Idylls
had been published, and there were exhibitions of her
work in London and other venues. Furthermore, her poem
On a Portrait was soon to be published in Macmillans
Magazine:
Oh, mystery of Beauty! who can tell
Thy mighty influence? who can best descry
How secret, swift, and subtle is the spell
Wherein the music of thy voice doth lie?169
FIG. 28 Henry Herschel Hay Cameron (British, 1852-1911).
Henry Irving as Becket, 1870. Photogravure, 24.4 x 19.6 cm
(95/g x 7n/i6 in.). J. Paul Getty Museum, 84.xo.i264.
twenty-three performances, Irving turned down Tennyson's second play, Harold, and rejected Eecket as being far
too long for the stage. He changed his mind early in 1892,
however, and sent his manager, Bram Stoker, to Farringford in April to discuss producing a version cut to half the
original length. Tennyson agreed, and Eecket opened to
considerable critical acclaim in the spring of 1893. Sadly,
the author had died the previous October and never knew
of his play's great public success. Irving played the lead in
Becket"a noble and living expression of the beautiful
fabric of the poet's creation," as Ritchie called his performance 168 no less than 380 times and actually died while
on tour doing so. This success owed as much to Irving's
performance as to the play itself, which appears never to
have been revived.
Cameron left Freshwater the very year that Tennyson began writing for the theater, too late for her to
have illustrated his somewhat self-conscious continuations of Shakespeare's history canon, although her son
Henry Herschel Hay Cameron made a famous photograph of Irving as Becket (fig. 28). We can only guess at
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35
36
NOTES
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37
33- "Ten drops of Jeremie's opiate every morning, a dose of creosote zinc and gum Arabic before his meals and a dose of quinine after"
was the diet Julia fed Charles, according to Lady Ritchie. Quoted in
Ritchie, Friend to Friend, p. 17.
34. Watts, George Frederic Watts, vol. i, p. 128.
35. Ibid., p. 129. He actually stayed twenty-five years.
36. Ibid., p. 140.
37. Henry James, "The Picture Season in London, 1877," re ~
printed in The Painters Eye, ed. John L. Sweeney (Madison: University
of Wisconsin Press, 1989).
38. Daphne Du Maurier, ed., The Young George Du Maurier: A
Selection of His Letters, 1860 -6j (Garden City, N.Y.: Doubleday, 1952),
p. 112, quoted in Leonee Ormond, George Du Maurier (London: Routledge and Kegan Paul, 1969), p. 103.
39. This passage by Mrs. A. M. W Stirling from A Painter of
Dreams is quoted in Blunt, England's Michelangelo, p. 78.
40. Ritchie and Cameron, Lord Tennyson, p. 13.
41. For Cameron, the quest was so unending that her very last
word, spoken before she died in her hillside home in Ceylon, was
"beautiful."
42. Taylor, Guests, p. 217.
43. Watts, George Frederic Watts, vol. i, pp. 204-5.
44. Anne Thackeray Ritchie, Old Kensington (London: Smith,
Elder, 1873), pp. 14,132. The title page bears the inscription, "Nice place,
isn't it ... quiet and unpretending." Ritchie dedicated another novel,
The Story of Elizabeth, to Cameron.
45. Ibid., p. 138.
46. Hester Thackeray Ritchie, ed., Thackeray and His Daughter:
The Letters and Journals of Anne Thackeray Ritchie (New York and London: Harper and Brothers, 1924), p. 67.
47. Quoted in Blunt, England's Michelangelo, p. 105.
48. Ibid.
49. Ellen Terry, Ellen Terry's Memoirs (New York: Benjamin
Blom, 1968), p. 43.
50. Quoted in Blunt, England's Michelangelo, p. 114.
51. Ibid.
52. Ibid., p. 105.
53. This and another fine portrait of Terry by Watts are now in
the National Portrait Gallery, London.
54. Quoted in Gernsheim, Cameron, p. 20. Cameron's photographs of Hunt were taken at her sister Maria's house, Brent Lodge, in
Hendon, north of London.
55. Taylor, Guests, p. 213.
56. Quoted in Hester Thackeray Fuller, Three Freshwater Friends:
Tennyson, Watts, and Mrs. Cameron (Newport, Isle of Wight: The
County Press, 1933), p. 6.
57. Anne Thackeray Ritchie, Records of Tennyson, Ruskin, and
Browning (London: Macmillan, 1892), pp. 40-41.
58. Julia Margaret Cameron to Charles Hay Cameron, May 25,
1860 (Heinz Archive and Library, National Portrait Gallery, London).
59. Taylor, Guests, p. 5.
60. Quoted in Blunt, England's Michelangelo, p. 123.
61. Ibid.
62. Wilfrid Ward, "Tennyson at Freshwater," Dublin Review 150
(Jan. 1912), p. 68.
63. Anne Thackeray Ritchie to Walter Senior, Easter 1865, quoted
in Ritchie, Thackeray and His Daughter, p. 138.
64. Hester Thackeray Fuller and Violet Hammersley, comps.,
Thackeray's Daughter, Some Recollections of Anne Thackeray Ritchie (Dublin: Euphorion Books, 1951), p. 98.
38
113. "The conversation at Freshwater was stamped by the simplicity, directness and wide range of interests which marked Tennyson
himself. He gave the tone to his company. We all felt, moreover, in
those days that we were in the making of history." Ward, "Tennyson,"
p. 70.
114. Edward Wakeling, ed., Lewis Carroll's Diaries (Luton, England: Lewis Carroll Society, 1997), vo^ 4' P- : ^115. Allingham and Radford, Diary, p. 87.
Cathedral.
graphs by Julia Margaret Cameron Presented to Sir John Herschel (Wokingham, England: Van Nostrand Reinhold, 1975), p. 116.
Ford
39
JULIAN COX
She played the game of life with such vivid courage and disregard for ordinary rules;
she entered into other people's interests with such warm hearted sympathy and determined
devotion that, though her subjects may have occasionally rebelled, they generally
ended by gratefully succumbing to her rule, laughing and protesting all the time.
Dejatch Aldmayou & Bdshd Fe'lika I King Theodore's Son &? Captain Speedy (detail)
4i
extraordinary rate of production in part signals her commercial intentions, as does the outpouring of breathless
correspondence with family members and friends, which
reveals a feverish preoccupation with the need to make
a living and gain recognition for her work.5 In pursuit
of her ambitious goals, Cameron's photographs were to
be as unconventional as the techniques she employed to
achieve them.
The recovery of Cameron's entire oeuvre in this publication allows us to see the artist for the first time, warts
and all. Her work migrates between compelling brilliance
and unsettling oddness and delivers many memorable
images for the eye, heart, and mind.
Finding Photography
42
While this photograph of Hunt has not been identified, his language suggests a study more highly individualized than the standard fare produced by commercial
Cox
43
Cameron held in disdain photographs made according to the prescribed formula Thackeray outlined and
found distasteful the implication that such works were
produced by operators barely above the level of tradesmen. She saw the slavish verisimilitude of these portraits
as symptomatic of both industrial progress and bland,
bourgeois values of art, the very antithesis of what she was
to strive for in her own work. Cameron was well attuned
to the crisis of identity that accompanied the rapid industrialization of photography. Was it an art or a science or
merely a branch of manufacturing technology? And were
its best interests served by the amateur or the businessminded professional? The debate over the cultural status of
the medium reached fever pitch at the time of the International Exhibition of 1862. The Royal Commissioners
responsible proposed that, of the four established categories of objects on viewraw materials, machinery, manufactures, and fine artphotography should be classified
within a subsection of machinery.15 Prints, drawings, and
44
engravings were readily admitted into the fine art category, but cameras, optical devices, processing equipment,
and prints were to languish cheek by jowl with railroad,
industrial, and agricultural tools and heavy manufacturing
machinery. Was a photograph of no more artistic merit
than a judiciously designed watering can?
The photographic community was in an uproar,
denied entry into the very category of works it prized
above all, fine art. The implication was that the mechanistic nature of photographyrequiring facility with a
camera, lenses, and fussy, laborious processesundermined its claim to the high ground of art. Besieged by an
army of disgruntled photographers, the commissioners
rescinded their plan and provided photography a class of its
own, but the resulting display remained entirely unsatisfactory. The prints were hung in the hot, cramped conditions of the pavilion's glass dome, where many of them, if
not crowded out by photographic equipment and educational aids, were badly damaged by the harmful combination of excessive exposure to light and toxic fumes from
the freshly painted exhibition furniture. Photography's
status in the exhibition was a sham and did nothing to
advance its cause as an art.16 Cameron's position in this
debate was very clear. She was well aware of the growing
conflict between commercial imperatives and artistic ideals,
and when she turned to photography, she responded by
taking great pains to distinguish and promote her work as
fine art.
Camerons moved from their home in Putney, in
T hesouthwest
London, in 1860 and settled in Freshwater, on the Isle of Wight. They occupied a family home
they called Dimbola (after one of the coffee plantations
they owned in Ceylon), which was to become inextricably
linked to Cameron's career in photography. Their neighbors were Tennyson, his wife, Emily, and their two sons,
Hallam and Lionel. Living in such close proximity to the
author, Cameron was perfectly placed to develop thriving friendships with other leading figures in the artistic
and literary culture of the time. In 1863 one of Tennyson's
good friends, the highly regarded Swedish-born photographer Oscar Gustave Rejlander, visited him. Queen Victoria and Prince Albert, who occupied a seasonal residence
at Osborne House, twelve miles northeast of Freshwater
on the landward side of the island, greatly admired his
work.17 Although Rejlander earned his living as a portrait
photographer, he gained a considerable reputation for his
genre pictures soon after exhibiting them at the annual
exhibition of the Photographic Society in 1855.18 By cre-
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45
sisted to see what I could do. All this thro' the severe
month of January. I felt my way literally in the dark thro'
endless failures."22 In the same letter she acknowledged
the guidance provided by David Wilkie Wynfield: "I have
had one lesson from the great Amateur photographer Mr.
Wynfield &c I consult him in correspondence whenever I
am in difficulty but he has not yet seen my successes."23
Wynfield, a painter by training, became known in
the early i86os for a published portfolio of photographs
he called The Studio, which were "fancy portraits" of costumed artist friends personifying characters from literature and history.24 Although no correspondence between
Cameron and Wynfield survives, his example was among
the most significant for her in the initial stages of her
photographic practice. The studied aesthetic of his portraits (fig. 32), in which the subject's features are modeled
in subdued lighting, rendering suggestive rather than
descriptive form, significantly informed her approach. A
reviewer in the Illustrated London News described Wynfield's photographs as having "greater softness, lifelike
46
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47
48
to doing. Valentine Blanchard, in attendance at the meeting, suggested coating the damaged area of the negative
with soot, which would fill in the fissures and permit the
printing of an image magically free of cracks.49
In the first two years of her career Cameron was
extraordinarily productive and worked with steadily increasing control and assurance. 50 She used a standard
sliding-box camera that relied on two light-tight boxes
moving one inside the other to effect the focus. It carried
glass plates of approximately twelve by ten inches and was
fitted with a French-made Jamin lens of Petzval construction that had a fixed aperture of f3.6 and a focal length
of approximately twelve inches.51 This portrait lens, typical of the kind used by many practitioners of the day, was
asymmetrical in design and somewhat undersized relative
to the scale of Cameron's negatives, meaning that, at full
aperture, it did not quite cover the plate. The image
suffered from fall off, softening progressively toward the
outer edges of the glass. Only the center portion of the
image (the sweet spot) showed sharp focus and good definition. In her retrospective written account of her career
in photography, Annals of My Glass House, Cameron described how she focused her pictures as follows: "My first
successes in my out-of-focus pictures were a fluke. That
is to say, that when focussing and coming to something
which, to my eye, was very beautiful, I stopped there
instead of screwing on the lens to the more definite focus
which all other photographers insist upon." 52 Technical
handbooks referred to this practice as turning out the
lens, which ensured that the negative was positioned at
the correct point of optical focus, thereby maximizing its
ability to register the subject evenly and distinctly. Cameron, however, subverted the descriptive properties of her
equipment by declining to turn out the lens. Moreover,
because her lens worked at a fixed aperture, she primarily
managed the depth of field in the image by adjusting the
distance from her camera to the subject. On the whole she
photographed from close range, so consequently the lens
yielded images that were more suggestive than descriptive
in nature. Some of the lens-related difficulties that Cameron encountered were touched upon in an 1863 article by
Colonel Stuart Wortley, "On Photography in Connexion
with Art."53 Wortley cautioned photographers on the
optical problems inherent in the lens:
The photographic portrait lens is not a perfect instrument, and of necessity magnifies the objects that
are nearest to it, and makes them out of proportion with
those situated in a plane somewhat further from the
instrument. To prove this, you only have to look over
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49
50
mere conventional topographic Photographymapmaking & skeleton rendering of feature &c form without that
roundness & fulness offeree & feature that modelling of
flesh Sc limb which the focus I use only can give tho'
called and condemned as 'out of focus.'"5* In taking such a
position, Cameron was determined to pursue a path as
contrary as possible to established commercial norms.
From the outset she recognized that the authority and
strength of her work resided in the individuality of her
methods.
The excitement that accompanied Cameron's earliest photographic efforts is apparent in her remarks about
her "first success," a portrait of Annie Philpot (cat. nos. i3): "I was in a transport of delight. I ran all over the house
to search for gifts for the child. I felt as if she had entirely
made the picture. . . . No later prize has effaced the memory of this joy."59 The confidence her success with Annie
inspired was the catalyst for the torrent of magnificent
pictures that poured from Cameron's darkroom in the
first weeks of 1864. Her simultaneous struggles and successes are memorably enshrined in an album of thirtynine photographs that she presented to George Frederic
Watts on February 22, i864.60
This album is an extraordinary lexicon of her earliest experiments, representing the genesis of the distinctly
revolutionary direction that her work was to take. The
album has the character and feeling of a sketchbook, the
sheer enthusiasm of her experimentation and a sense
of urgency teeming from every page. Cameron's trumpet call was to open the album with two prints of Annie
(cat. nos. 2-3) placed on adjacent pages, each toned and
trimmed in a slightly different manner and presented as
such to display her artistry to Watts.61 The divergent tonality of these prints and others in the album suggests
that at times Cameron worked with a silver-nitrate bath
whose silver content had been depleted.62 There are also
several prints that manifest fingerlike markings with delicate white outlines (see cat. no. 18), indicating that she allowed varnish to drip across the back of the glass plate
and failed to remove it before making the print. Another
significant feature of the Watts Album is the evidence it
provides that Cameron went to the trouble of preparing
the albumen paper herself, even though commercially
coated albumen paper was widely available at the time.63
As her results testify, it was extremely difficult to gain control and consistency in making albumen prints. Experimentation was clearly the order of the day, because when
printing the portraits Katey Keown sf her Father (cat.
no. 8) and [Charlotte Norman] (cat. no. 9), the veiled,
blurred effect was achieved by the deliberate separation of
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5i
Mrs. Cameron's [photographs] have undeniable suggestions of feeling for art and the massing of light and
shadow. . . . but we cannot help feeling that the result
is much enthusiastic effort wasted. Without the delicacy
of gradation, perfection in detail, and effect of finish,
which are the glories of photography; without the colour
and life which belong to the rough sketches of the
master-hand in painting, they fill no void, supply no
want, create no status for themselves, nor any permanent
satisfaction or position for the producer.69
Such criticism, which Cameron denounced as "too manifestly unjust for me to attend to,"70 seemed only to fortify
her resolve to pursue the contrarieties of her approach.
Creative Manipulations
the paper Sir William Newton read at the inaugural
I nPhotographic
Society meeting, he remarked, "I conFIG. 36 Paul and Virginia (CAT. NO. 23, detail)
correct the undue prominence and awkward foreshortening of the boy's feet by scratching away the collodion
in this area of the negative (fig. 36), an after-the-fact
fudging that can be attributed to her relative inexperience
with her equipment and materials.66
Cameron reported to Herschel that Watts was impressed with her first efforts: "I have had great praiseas
you will see by Mr. Watts' letter which I enclosebut
I do not feel content till I have what you think. When
Mr. Watts saw my Book &c wrote this it had none of
its large heads 8c these are quite my recent Photographs
and I rejoice in them."67 Watts's note of praise has not
survived, but we do know from a letter that he wrote
Cameron in 1865 that he did not stop short in his
demands for her to pay closer attention to her technique:
I am sure that you should now turn all your attention
to the object of producing pictures free from these
defects which are purely the result of careless or imperfect manipulation, it is especially with reference to the
sale of your Photographs that this is so important. . .
the public will not care for anything that exhibits
the sort of imperfection it can understand at a glance.68
52
articulating ideas that she believed befit the characterization of a person or a narrative. For her, touch was a natural progression of sight. Her negatives were an arena for
her own invention, and the collodion and varnish were
elemental skins that were susceptible to, and invited,
touch. Once committed, the hair, oils, dirt, and fingertip
smudges were eternally suspended in the plates' cutaneous layers. Cameron considered these blobs and "flaws"
part of the process, both preternatural by-products of a
successful photographic sitting and artifacts of the experience. To her, they occurred automatically and without
reason, thereby validating both the truth of the photograph and the appropriateness of her methods. As she
explained in a letter to Sir Edward Ryan, the retired chief
justice of Bengal, they were the marks of an artist: "as to
spots they must I think remain. I could have them touched
out but I am the only photographer who always issues untouched Photographs and artists for this reason amongst
others value my photographs. So Mr. Watts and Mr.
Rossetti and Mr. du Maurier write me above all others."76
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53
The photographic press maintained an uneasy approval of the art content of Cameron's pictures but emphatically rejected her "manipulations" and resisted any
definition of her work as good photography:
What in the name of all the nitrate of silver that ever
turned white into black have these pictures in common
with good photography? Smudged, torn, dirty, undefined, and in some cases almost unreadable, there is
hardly one of them that ought not to have been washed
off the plate as soon as it appeared. . . . We cannot but
think that this lady's highly imaginative and artistic
efforts might be supplemented by the judicious employment of a small boy with a wash leather, and a lens
screwed a trifle less out of accurate definition. 77
It irked such critics that Cameron proposed her own radical brand of photographic truth, one that dissolved the
boundaries between fact and fiction and image and life,
by embracing accidents of procedure and revealing rather
than masking her techniques. The photographer C. Jabez
Hughes, who lived near Cameron on the Isle of Wight,
commented on the fine art status of composite photographs in 1861:
A photographer, like all artists, is at liberty to employ
what means he thinks necessary to carry out his ideas.
If a picture cannot be produced by one negative, let him
have two or ten; but let it be clearly understood, that
these are only means to an end, and that the picture
when finished must stand or fall by the effects produced,
and not by the means employed.78
Cameron willingly adopted composite printing techniques as a means to investigate and test ideas for her picture making. This necessarily involved her sometimes
conceiving of her photographs as studies or sketches containing the seeds of ideas that could perhaps find their
fullest form in combination with other negatives or image
materials. Traditionally the study is a preliminary stage
in an artist's working method, a conceptual notation loose
in preparation and sometimes containing an artistic essence missing in a more groomed or finished work. William Lake Price advocated making "essays" or "sketches,"
which he described as useful aids in the successful execution of an artistic portrait: "It is desirable, if opportunity
offers, that the artist should make two or three essays, at
small sizes, of the subjects intended for larger works,
which will serve as sketches to show the manner that the
light and shade, the positions, and the colours introduced,
54
tell [appear]photographically in the picture."79 While Cameron seems to have produced the small-size sketches Price
proposed only rarely,80 the evidence assembled in this catalogue suggests that she followed his general principle in
her work. It accorded with her philosophy of picture
making and became part of the process that she went
through in order to achieve her singular results. Two of her
compositions for Hosanna (cat. nos. 138-39) and another
two for [Daughters of Jerusalem] (cat. nos. 143, 145) demonstrate her penchant for the composite study (often quite
crudely executed), whereby she literally seamed together
two separate negatives and printed them simultaneously
to create a new composition with an entirely different emphasis and meaning (fig. 38). Her willingness to experiment in this way was directed by her ambition to achieve
a breadth of expression suitable to fine art.
The broad, extravagantly gestured nature of Cameron's sketches was nonetheless repellent to the critic of
the Photographic News, who reproached her for working in
this way in an 1866 article:
We have frequently expressed our conviction that, in
many respects, the labours of this lady were in the wrong
direction; that the production of a rough, hasty suggestive sketch, with details imperfectly made out, was at
times admissible and admirable in painting, because
it embodied a fine thought which might have been lost
in a more coldly laboured and more highly finished
work; but that, as in photography less time or effort was
required for producing the most marvellous details than
for their studious omission in the picture, the reasons
which justify the painter's rough sketch have no bearing
on the productions of the camera.81
prominent commercial gallery, should make her photographs available to them at half price.83
We should not underestimate the degree to which
Cameron could, and did, control how her photographs
looked. In at least three pictures dating from 1864
[Julia Jackson] (cat. no. 297), Anthony Trollope (cat. no.
823), and Love (cat. no. 35)she printed the image in reverse. This was no accident. Printing a negative in the correct way required care, and Cameron would have paid
attention to such a noticeable detail as which side of the
plate was facing up. She evidently found the visual effects
obtained by printing the negative in reverse to be pleasing. She used this technique in printing several significant individual portraits made at the apex of her creative
powers in 1867 and 1868 studies of Thomas Carlyle (cat.
no. 629), Frank Charteris (cat. no. 631), Charles Darwin
(cat. no. 645), and Julia Jackson (cat. nos. 303-8). On the
verso of a print of her study of Charteris (in the collection
of the Royal Photographic Society) she inscribed, "Good
glass when printed on reverse side." Cameron was probably alluding to the fact that the bubbles, spots, and blemishes so customary to the wet-collodion process could be
minimized by flopping the negative and printing it in
reverse, because the eighth-inch thickness of the plate
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55
In the few instances in which the character of her originals has depended partly on colour, Mrs. Cameron's
portraits are almost as unpleasant in their shadows
as ordinary photographs are. Where there is little or no
colour to interfere with the forms, as in the heads of
Mr. Tennyson, Mr. Henry Taylor, and Mr. Watts,
the portraits are as noble and true as old Italian art could
have made them; but as soon as colour becomes an
element of the character, as in the heads of Mr. Hughes,
Mr. Holman Hunt, and some of the female subjects,
the likeness is vitiated, and the ideality of expression,
which is so remarkable in many of Mrs. Cameron's portraits, is altogether lost.88
56
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57
58
set of nine prints of the Fruits of the Spirit, the first of her
works to enter a museum.102
The Fruits of the Spirit was just the beginning of Cameron's efforts in this direction; some of her subsequent
compositions were far more declarative expressions of her
unbridled artistic ambition. One way that she hoped to
establish an equivalence between her photographs and fine
art was through her liberal appropriation of the subject
matter, compositions, and motifs common to painting.
These characteristics are present in her three variant compositions for The Salutation (cat. nos. 116-18), based on a
scene from the life of the Virgin Mary (which is also often
referred to as the Visitation): "And it came to pass, that,
when Elizabeth heard the salutation of Mary, the babe
leaped in her womb; and Elizabeth was filled with the
Holy Ghost; and she spake out with a loud voice, and
said, Blessed art thou among women, and blessed is the
fruit of thy womb" (Luke 1:41-42). This passage reveals
the intimacy between Mary and her cousin Elizabeth,
shortly to be the mother of John the Baptist. In one Cameron study (fig. 42), the foreground, profile figure of Mary
Hillier gives the initial greeting. Her lips softly trace the
forehead of Mary Kellaway, another household maid,
who plays the role of Elizabeth. Although the subjects of
the story were both pregnant and separated in age by a
significant number of years, Cameron invested the composition with intimate sisterly connotations, a filtered but
nonetheless realistic reflection of her own predominantly
homosocial world.103 While she was particularly adept at
picturing groups of two or more figures in this way, Cameron's approach here was modeled after Giotto's interpretation of the subject in the Arena Chapel frescoes (fig. 43),
which were well known to her through engravings published by the Arundel Society in 1854.104 As an acknowledgment of her inspiration for The Salutation, Cameron
sometimes inscribed prints with the phrase "after the
manner of Giotto." Long-standing and close friendships
with the recognized artists George Frederic Watts (cat.
nos. 826-29) and Sir Coutts Lindsay (cat. nos. 707-9),
the eminent collectors Lord Overstone (cat. nos. 730-32)
and Lord Elcho (cat. nos. 659-60), and Henry Cole
(cat. no. 633), director of the South Kensington Museum,
gave Cameron privileged access to other artworks of an
extraordinary pedigree and historical significance.105
Access to these important collections undoubtedly
nourished Cameron's practice and helped inspire some of
her more enterprising compositions. She sometimes created inspired reinterpretations of pre-Renaissance and later
Italian paintings that were the sources for her experiments.
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59
60
is perhaps best expressed in a letter from Watts to Cameron: "I can well appreciate what is noblest in Art, Scyour
last photographs harmonize well with the effects I wish to
produce, but you must not be satisfied there is more to be
donewhilst that is the case we must never think anything done . . . the greatest things have been done under
difficulties."109 An indefatigable theorist and proselytizer,
Watts was an artistic missionary who genuinely sought to
improve the condition of mankind through his art. His
broad handling of paint, vibrant Titianesque color, and
classical treatment of the human form separated him
from the prevailing fashion for verisimilitude so favored
by the early Pre-Raphaelites.110 Although widely known
as a portrait painter, Watts preferred to create allegorical
compositions. In his autobiography he described his
objectives thus: "If I could carry out my own feeling perfectly, my pictures would be solemn and monumental
in character, noble and beautiful in form, and rich in colour. . . . my most usual tendency is to see nature with such
eyes as Giorgione and Titian had."111
Watts entered the Royal Academy Schools in 1835
and spent many hours sketching the Elgin Marbles in the
British Museum. From 1835 to 1847 he studied painting
in Florence while staying at the home of Lord Holland,
the British minister to the court of Tuscany. When he
returned to England, he was taken in as the permanent
houseguest of Cameron's sister Sarah and her husband,
Henry Thoby Prinsep (cat. nos. 736-40), at Little Holland House and installed in a studio on an upper floor
of the rambling property.112 The son of a piano maker,
Watts longed for acceptance into this genteel world and
accepted the paternalistic terms of his relationship to
Lord Holland and the Prinseps. At times a prickly, obdurate character, Watts was subject to bouts of listlessness
and melancholy, an odd combination of qualities that
nonetheless did not seem to deter Cameron from their
friendship. A seated profile portrait that she made of him
in 1864 (cat. no. 826) conveys the mixture of intimacy and
admiration that marked their relationship. The carefully
crumpled drapery in his sleeve is not an arbitrary feature
of the picture but rather an attempt on Cameron's part to
demonstrate that photography could achieve painterly
effects such as his. In one of her great early works, The
Whisper of the Muse (fig. 46), Cameron presented Watts as
an inspired prophet, changing his occupation from that of
painter to musician (see also cat. no. 1087). The image is
remarkable for the sophistication of its surface elements,
which are skillfully arranged in a tightly compressed
space. There is a taut energy that unites the contrasting
textures and details of the composition, such as the back-
F[rederic].
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61
62
atts's example was significant in shaping Cameron's ambition to create her own pantheon of Victorian men and women. She was determined to assume
for photography the role of the portrait artist as a witness
to history, and the impetus to accomplish this goal gathered significant momentum in 1866, in the months immediately following her acquisition of a larger camera. She
moved up to a camera using fifteen-by twelve-inch plates
that was fitted with a Rapid Rectilinear lens, a model that
had recently been introduced by John Henry Dallmeyer.m
To achieve satisfactory results with this new equipment
required a radical reevaluation of her ideas about scale,
focus, lighting, and the posing and arrangement of her
models. Her Dallmeyer lens, which had a focal length of
thirty inches and a working aperture of f8, was quite different from her first, not least because it was larger than
was necessary to cover the surface of her plate. Being a
symmetrical, flat-field lens, it also had the characteristic of slightly magnifying the subject and thereby increasing its size in the image. Because of this magnification,
the effect of accidental movement either in the camera
or the sitter was greatly accentuated, producing a notably
soft, fuzzy effect in the longer exposures. The lens's long
focal length also significantly reduced the depth of field in
the image, a factor that increased exponentially the closer
Cameron chose to place her camera to the sitter. These
characteristics, which were inherent in her equipment,
gave rise to her extensive exploration of the close-up head,
which was unprecedented in the field and prompted her
proud notations on the mounts under her prints, "From
Life" and "Not Enlarged." The size and weight of her
new plates also represented a considerable logistical challenge. Some idea of the scale of these materials is inferred
by a photograph (fig. 48) that shows the Scottish photographer Horatio Ross inspecting a wet-collodion negative
of similar size in his studio.122 It was extremely uncommon for women to make such large photographs; they
were expected to work to a scale that was in accordance
with accepted notions of modest feminine behavior.123
Cameron was determined to break with convention and
willing to accept the implications of the increased labor
and added risks involved in working in a scale that was
closer to painting than to photography and printmaking.
Some of Cameron's very best work belongs to 1866
and the years immediately following. Large, life-size
heads predominate, filling the entire frame of her compositions, emerging boldly from inky backgrounds and
bathed in crepuscular light. Two albums in the collection
of Yale University's Beinecke Library, which bear the embossed title Photographs From The Life, 1866, contain some
of her best early efforts in this new manner (see appendix C). Her approach was consistently monumental and
emphatic. In one of her studies of The Mountain Nymph
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FIG. 49
64
alized beauty and animate inner life. The series is composed of twelve pictures, of which eleven have been traced
(cat. nos. 874-84); six prints are inscribed by the artist
and numbered according to a sequence. Cameron declared her artistic intention with these life-size heads by
dedicating them "for the Signer," Watts. Writing to Herschel on February 18, 1866, she reported, "I have just been
engaged in that which Mr. Watts has always been urging
me to do. A Series of Life sized headsthey are not only
from the Life, but to the Life, and startle the eye with wonder Sc delight. I hope they will astonish the Public."125
Four days later she wrote in equally excited terms to
Henry Cole:
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65
66
ies made during the sitting (cat. nos. 674-77) have rightly
taken their place among the crowning achievements of
her art. She described the act of photographing famous
men as "almost the embodiment of a prayer,"137 which, if
handled sensitively and artistically, would deliver the devotional offering of a shimmering, idealized head. Cameron was able to penetrate beneath the mask of Herschel's
physical likeness, capturing the epiphany of his character
in his autumn years. These portraits burn with a joyful,
inspired, intuitive grace. She was also acutely aware of the
commercial viability of the "unperishable Treasure of a
Faithful Portrait,"138 promptly registering all four Herschel studies for copyright on April 9, 1867, and placing them on display at Colnaghi's. Ever the opportunist in
the sale and promotion of her work,139 she sent Herschel
blank mounts for him to add his signature in the hope of
augmenting their market value.140 She placed the signed
portraits on sale for twenty shillings, a price described by
the Athenaeum as "very moderate."141
Cameron's friendships with Herschel, Watts, and
Henry Taylor, which were unusually intimate for the
period, encouraged her proclivity for hero worship.
Thomas Carlyle's 1840 lecture series On Heroes, HeroWorship and the Heroic in History had great influence on
Victorian perceptions of history and man's role in the
making of it. Carlyle had very distinct ideas about the
place of great men in culture and society and their role
in shaping history. In an elaborately extended metaphor
he described these men as "The living-light fountain,
which it is good and pleasant to be near. The light which
enlightens, which has enlightened the darkness of the
world; and this is not a kindled lamp only, but rather as a
natural luminary shining by the gift of Heaven; a flowing
light-fountain, as I say, of native original insight, of manhood and heroic nobleness."142 Carlyle further recognized
that historical portraits could function as powerful symbols embodying the concept of achievement and universal
greatness.143
This thinking, and Carlyle's unwavering faith in the
primacy of transcendent moral and social absolutes, undoubtedly appealed to Cameron. 144 Her life-size male
heads in particular were concerned with the representation of the subject as a superior individual. They commemorated her acquaintance with eminent men and
created a significant identity for her as an artist. Nothing available in the commercial marketplace of cartes-devisite and celebrity portraits approached Cameron's work
in either scale or vision.145 The majority of her "famous
men" portraits were bust and head-and-shoulder studies
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67
cloaked her in drapery as a grieving Madonna, goddesslike, whose figure is framed as a monumental, pyramidal
form. The inclusion of her wedding ring at the very bottom of the composition provides sufficient allusion to her
earthly status, however. Cameron also took the unusual
step of bleaching the print during processing, which
intensifies the highlights and heightens the drama of
the characterization. In her matchless portrait series of
Jackson, Cameron gave her best, exemplifying her devotion to the subject and passion for the medium. One of
Cameron's special qualities as a picture maker was her
ability to divest her female subjects of their private selves
and transform them into idealized beings whose existence
appears almost solely to be in the cause of her art. Without
renouncing their individuality, the women become actors
before her camera, taking on multifaceted, constantly
shifting identities. She skillfully co-opted her subjects into
her grand vision, and none more so than Julia Jackson.
Children and Family
subjects into paradigms of cherubic innocence and contentment. In creating her Infant Samuel (cat. no. 953), she
demonstrated not only her knowledge of Christian typology but also a desire to change a humble local boy (Freddy
Gould, the son of a Freshwater fisherman) into a vision of
piety and obedience approaching godliness. Cameron
propped him up, legs crossed, at one end of a couch in her
studio and turned him in three-quarter profile toward the
camera. He is presented as a gentle, saintly child, neatly
fulfilling the hopes of embodied perfection and sacredness prescribed in Anna Jameson's The History of Our Lord
as Exemplified in Works of Art.157 Despite the biblical title,
there is an underlying seductiveness about the child, presented as he is in a semiclothed state.
A similar brand of veiled eroticism and projected
desire is evident in Cameron's three versions of The Infant
Bridal (cat. nos. 862-64). The title of the work is taken
from a poem of the same name by the poet Aubrey de
Vere. A romantic idyll in three parts, it describes the betrothal of two infants whose union secures peace between
two warring kingdoms:
68
JULIA MARGARET
CAMERON
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70
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In
72
NOTES
1. Anne Thackeray Ritchie, From Friend to Friend, ed. Emily
Ritchie (London: John Murray, 1919), p. 20.
2. Sylvia Wolf and Mike Weaver both provide useful sketches of
Cameron's early years and her beginnings in photography. See Sylvia
Wolf, Julia Margaret Cameron's Women (Chicago: Art Institute of Chicago, 1998), pp. 23-31, and Mike Weaver, Julia Margaret Cameron
1815-1879 (Boston: Little, Brown and Company, 1984), pp. 14-15.
3. Cameron to John Herschel, Dec. 31, 1864 (Heinz Archive and
Library, National Portrait Gallery, London). Reprinted in facsimile in
Colin Ford, The Cameron Collection: An Album of Photographs by Julia
Margaret Cameron Presented to Sir John Herschel (Wokingham, England:
Van Nostrand Reinhold, 1975), pp. 140-41.
4. Mike Weaver, Whisper of the Muse: The Overs f one Album and
Other Photographs by Julia Margaret Cameron (Malibu, Calif: J. Paul
Getty Museum, 1986), pp. 15-21.
5. Ibid., pp. 64-67. See also an excerpt from one such letter
(fig. 97). For an excellent analysis of Cameron's promotional and commercial ambitions, see Wolf, Cameron's Women, pp. 208-18.
6. A list of the examples that Herschel sent Cameron is preserved
in the Harry Ransom Humanities Research Center (HRHRC) at the
University of Texas at Austin, J. F. W. Herschel Collection, File No.
Wo26o. The document is dated August 22, 1842, and lists twenty-four
items. Herschel's discovery of sodium hyposulphite as a fixing agent to
dissolve any lingering light-sensitive salts on paper or film after exposure provided critical support that allowed for the implementation of
the negative/positive system of photography as we still know it today.
See Larry J. Schaaf, Herschel, Talbot, and the Invention of Photography
(New Haven, Conn.: Yale University Press, 1992), pp. 49-50, 158.
7. Cameron to John Herschel, Feb. 26, 1864 (The Royal Society,
London, Herschel Correspondence [hereafter RS.HS.], 5.159).
8. Roger Taylor and Edward Wakeling, Lewis Carroll, Photographer (Princeton, N.J.: Princeton University Press, 2002), pp. 13-14.
9. Ibid., pp. 47-48.
10. William Holman Hunt to Cameron, Nov. 22, 1859 (Rosenbach Museum and Library, Philadelphia, No. EL3/.T3I2/MS2). I am
most grateful to Victoria Olsen, who has an extensive knowledge of
Cameron's biography, for sharing this reference and others with me.
11. Cameron translated Gottfried August Burger's Leonore in
1847. See Helmut Gernsheim, Julia Margaret Cameron: Her Life and
Photographic Work (Millerton, N.Y.: Aperture, 1975), pp. 184-85. She
also wrote a novel that was never published.
12. See William Darrah, Cartes de Visite in Nineteenth-Century
Photography (Gettysburg, Penn.: W. C. Darrah, 1981). For an extensive
discussion of the carte-de-visite and its place in contemporary culture,
see Elizabeth Anne McCauley, A. A. E. Disderi and the Carte de Visite
Portrait Photograph (New Haven, Conn.: Yale University Press, 1985).
13. See Helmut Gernsheim, The Rise of Photography 1850-1880,
The Age of Collodion (London: Thames and Hudson, 1988), pp. 193-94.
Gernsheim states that the average retail price for a carte-de-visite of
a celebrity or public figure in the early i86os ranged from a shilling to
one shilling sixpence, an amount approximately equal to one-tenth the
weekly salary of a domestic servant.
14. Anne Isabella Thackeray, Toilers and Spinsters and Other
Essays (London: Smith, Elder, 1874), p. 227.
15. See Steve Edwards, "Photography, Allegory, and Labor," Art
Journal 55 (summer 1996), pp. 38-44.
16. Helpful summaries of the International Exhibition of 1862
and its reception by the photographic community are provided in
Photographic Notes 7 (Aug. 15, 1862), p. 201, and Photographic News 6
(May 30, 1862), p. 255.
17. See Frances Dimond and Roger Taylor, Crown and Camera:
The Royal Family and Photography, 1842 -1910 (New York: Viking Penguin, 1987), pp. 44, 80, 218. There is no evidence that Cameron ever
met either Queen Victoria or Prince Albert. A modest number of her
photographs entered the royal collection, through an agent, in 1865
(PP- I54-55)18. For information on Rejlander's extensive output, see Edgar
Yoxall Jones, Father of Art Photography, 0. G. Rej/anderiSij -1875 (Greenwich, Conn.: New York Graphic Society, 1973), and Stephanie Spencer,
0. G. Rejlander Photography as Art (Ann Arbor: University of Michigan
Research Press, 1985).
19. Information about Rejlander's exhibition history was generously provided by Roger Taylor, who has established a database of photographic exhibitions in the United Kingdom from 1840 to 1865.
20. Algernon Graves, The Royal Academy of Arts; A Complete Dictionary of Contributors and Their Work from Its Foundation in 1769 to 1904
(London: H. Graves and Co., 1905-6), vol. 6, p. 265. Rejlander also exhibited two paintings in 1867 and one in 1873.
21. Victoria C. Olsen, "Representing Culture: Women and Cultural Politics in Mid-Victorian England" (Ph.D. diss., Stanford University, 1994), p. 158.
22. Cameron to John Herschel, Feb. 26, 1864 (RS.115.5.159).
23. Carol MacKay has commented on the ambiguous nature of
some of Cameron's written statements and the concept of ambiguity in
her life and art. See "'Soaring between home and heaven': Julia Margaret Cameron's Visual Meditations on the Self," Library Chronicle of
the University of Texas at Austin 26, no. 4 (1996), pp. 62-87.
24. The full title of the portfolio was A Collection of Photographic
Portraits of Living Artists, Taken in the Style of the Old Masters, by An
Amateur. See Juliet Hacking, "Photography Personified: Art and Identity in British Photography 1857-1869" (Ph.D. diss., Courtauld Institute
of Art, 1998), p. 208. This research was transformed into an exhibition
at the National Portrait Gallery, London, and accompanied by Hacking's publication Princes of Victorian Bohemia: Photographs by David Wilkie Wynfield (London: National Portrait Gallery, 2000).
25. Illustrated London News 44 (Mar. 19, 1864), p. 275. For an
extensive quotation from this article, see Joanne Lukitsh, Cameron: Her
Work and Career (Rochester, N.Y.: International Museum of Photography at George Eastman House, 1986), p. 13.
26. George Frederic Watts to Cameron, 1865 (no exact date)
(Heinz Archive and Library, National Portrait Gallery, London, Watts
MS. Collection).
27. Photographic Journal 9 (Aug. 15, 1864), p. 87. Cameron's photographs were judged here to be "inferior because her artistic knowledge
is inferior to that which is the chief characteristic of those produced by
her master." Wynfield's photographs were the subject of an editorial entitled "An Art Critic on Photographic Portraiture," in the Photographic
News 8 (Mar. 4,1864), pp. 109-10,115, where they were described as the
most significant advance in photographic portraiture since the time of
David Octavius Hill. See also Photographic News 8 (July 15,1864), p. 340,
and 14 (June 24,1870), p. 294, which describe Wynfield as the most important influence on Cameron in the initial stages of her photographic
practice.
28. "Mrs. Cameron's Photographs," Reader (Mar. 18, 1865),
pp. 186-87. This review is carefully analyzed by Joanne Lukitsh in the
essay "Julia Margaret Cameron and the 'Ennoblement' of Photographic Portraiture," in Victorian Scandals: Representations of Gender and
Class, ed. Kristine Ottesen Garrigan (Athens: Ohio University Press,
1992), pp. 207-32.
29. Cameron to William Michael Rossetti, Jan. 23,1866 (Gernsheim Collection, HRHRC). Reprinted in Gernsheim, Cameron, pp.
34-3530. Wynfield also presented his work at a similar gathering at the
South London Photographic Society. See Hacking, "Photography Personified," p. 208. Wynfield's showing at the Graphic Society was also
mentioned in the "Report of Societies" section in the Art Student (Feb. i,
1864), p. 18. I am most grateful to Juliet Hacking, who very liberally
shared with me her extensive knowledge of Wynfield and who has
argued most persuasively as to the significance of this artist in Cameron's early development as a photographer. For information on the
early history of the Graphic Society, see Roger Taylor, "The Graphic
Society and Photography, 1839: Priority and Precedence," History of
Photography 23 (spring 1999), pp. 59-67.
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73
31. Graves, Royal Academy, pp. 382-85. Wynfield began exhibiting at the Royal Academy in 1859 and contributed at least one painting
each year from 1865 to 1887. The only years his work was not on view
were 1861 and 1864. His submissions were mostly historical and allegorical subjects.
32. See Jan Marsh and Pamela Gerrish Nunn, Pre-Raphaelite
Women Artists (Manchester, England: Manchester City Art Galleries,
1998), p. 51.
33. Evelyn Abbott and Lewis Campbell, eds., Letters of Benjamin
Jowett (London: John Murray, 1897), vol. 2, p. 177.
34. In her November 1865 exhibition at the French Gallery, Cameron did, however, include seven glass positives (ambrotypes). At the
London International Exhibition of 1872 she exhibited porcelain reproductions of three photographs, two of which were presented in carved
frames. See selected exhibitions for more information on these shows.
It is highly unlikely that Cameron manufactured the porcelain reproductions herself. We have not been able to trace examples of either type
of object in the course of our research for this catalogue.
35. Four examples of useful manuals by accomplished chemists
and photographers that were available at this time are William Lake
Price, A Manual of Photographic Manipulation, Treating of the Practice of
the Art; and its Various Applications to Nature (London: J. Churchill,
1857); Robert Hunt, The Practice of Photography (London: R. Griffin,
1857); Frederick Hardwich, A Manual of Photographic Chemistry (London: J. Churchill, 1857); an(^ Thomas Sutton, The Collodion Processes, Wet
and Dry (London: Sampson Low and Sons, 1862).
36. From 1864 to 1869 Cameron is known to have used collodion
made by three different manufacturersPerry, Thomas, and Brading,
the last of Newport, Isle of Wight. See Photographic News 13 (May 14,
1869), p. 238.
37. Despite Cameron's repeated claims as to the autonomy of her
efforts at every stage of the photographic process, it is almost inconceivable that she could have sustained such an extraordinary output on
her own. In an undated letter to John Herschel she stated, "I do all alone
without any assistance 8c print also entirely by myself" (RS.HS.5.I74).
However, in at least three photographs there is explicit evidence of the
assistance that she had with sittings. In two studies for Paul and Virginia (cat. nos. 21-22) we see at the left the hand of a maid or an attendant helping to arrange the scene, and in Prospero and Miranda (cat. no.
1093) a figure at the left is holding up an umbrella to help model the
lighting. A figure performing a similar role appears at the right of
untrimmed prints of a portrait of William Michael Rossetti (cat. no.
751). In his diaries, Henry Cole described posing for Cameron at Little
Holland House: "A German girl held an umbrella over me. Mr Prinsep
assisting, 8c the Irish girls" (National Art Library, Victoria and Albert
Museum, Henry Cole unpublished diaries, May 19, 1865). P. H. Emerson described Mary Ryan, a frequent model, as having been "chosen as
Mrs. Cameron's general photographic assistant"; see W. Arthur Boord,
ed., Mrs. Cameron, Sun Artists, no. 5 (London: Kegan Paul, Trench,
Triibner and Co., 1890), p. 36. See also appendix B.
38. Some of Cameron's models describe holding a pose for seemingly interminable exposures. Her occasional preference for carefully
diffused lighting (using screens and sometimes umbrellas) and the
fussiness of her choreography when posing narrative scenes may have
contributed to the retrospective exaggeration of her exposure times.
The longest exposure, in low light, was probably no more than two
to three minutes. See Cameron's inscription underneath a print of the
image Love in Idleness (cat. no. 957). See also Wolf, Cameron's Women,
p. 215, and Gernsheim, Cameron, pp. 69-76.
74
JULIA MARGARET
CAMERON
My most spiritual & glorious head called Christabel is such also . . . Mr.
Blanchard taught me how to print from those glasses that had suffered"
(Cameron to John Herschel, Feb. 6, 1870 [RS.118.5.170]).
50. By her own estimate, Cameron believed that she had produced "four hundred glasses" by the summer of 1865, a figure she quotes
in a letter to Jane Senior June 29,1865 (Insight Research Centre, National
Museum of Photography, Film &c Television, Bradford). Half this
number, precisely two hundred images, are recorded as having been
registered for copyright by December 1865. See R. Derek Wood, ed.,
"Julia Margaret Cameron's Copyrighted Photographs," unpublished
booklet, 1996. The data was compiled from records on deposit at the
Public Record Office, Kew, England.
51. Rudolf Kingslake, A History of the Photographic Lens (London:
Academic Press, 1989), pp. 35-38. See also Ford, Cameron, p. 17; Wolf,
Cameron's Women, p. 215; and Brian Coe, Cameras, From Daguerreotypes
to Instant Pictures (New York: Crown Publishers, 1978), pp. 189-98.
52. Julia Margaret Cameron., dnna/s of My Glass House, written in
1874 and first published at the time of the Cameron exhibition at the
Camera Gallery, London (April 1889), and subsequently in Beacon 2
(July 1890), pp. 157-60, and Photographic Journal 67 (July 1927), pp.
296-301. The original manuscript is in the collection of the Royal Photographic Society, Bath, England. Reprinted in full in Gernsheim,
Cameron, pp. 180-83; Beaumont Newhall, ed., Photography: Essays and
Images (New York: Museum of Modern Art, 1980), pp. 134-39; Weaver,
Cameron, pp. 154-57; and Violet Hamilton, Annals of My Glass House:
Photographs by Julia Margaret Cameron (Seattle: University of Washington Press, 1996), pp. 11-16.
53. See Katherine Di Giulio, Natural Variations: Photographs by
Colonel Stuart Worthy (San Marino, Calif.: Huntington Library, 1994).
54. Photographic Journal 138 (Oct. 15, 1863), pp. 365-68.
55. Journal of the Photographic Society i (January 1853), pp. 66-67.
Reprinted in Newhall, Photography, pp. 79-80.
56. John Ruskin, arguably the most influential Victorian art
critic, was initially a fervent admirer of photography, but by the i86os
he had condemned its mechanistic nature, believing that the photographic image trivialized the grandeur of nature. In an ill-tempered
letter to Cameron (Feb. 23, 1868 [Wilson Centre for Photography,
London, 94-4972]) he remarked:
As for photography, you have only taken it up so eagerly
because you have not known what Watts ought long ago
to have explained to you that it has nothing in common
with art, which is essentially Human Design, and the
record of a human Imagination. And if you could see the
beauty of Nature herself more deeply than you do, you
would not think you had wisely represented her by putting her in stage attitudes, and drawing her out of focus.
57. Cameron posed Hillier so often in the role of the Virgin that
neighbors in Freshwater began to call her "Mary Madonna." Cameron
remarked of Hillier, "The very unusual attributes of her character and
complexion of her mind, if I may so call it, deserve mention in due time,
and are the wonder of those whose life is blended with ours as intimate
friends of the house." (See Cameron, Annals.)
58. Cameron to John Herschel, Dec. 31,1864 (Heinz Archive and
Library, National Portrait Gallery, London, Herschel collection). Reprinted in Ford, Cameron, pp. 140-41.
59. Cameron, Annals. See also Colin Ford, "Rediscovering Mrs.
CameronAnd Her First Photograph," Camera (Lucerne) 58 (May
1979), pp. 4-35. The phrase "my very first success in Photography" is inscribed on the mount of the print of Annie in the Getty Museum's col-
lection (cat. no. i); a similar phrase is found in a letter to Annie's father
(fig. 79). The declarative wording suggests that Cameron considered
this to be the first photograph that adequately fulfilled her expectations.
60. The best discussion of this album is to be found in Lukitsh,
Cameron, pp. 10-13.
61. The version included in the Overstone Album (cat. no. i) is a
later print, probably dating from the summer of 1865, since the album was
presented to Lord Overstone that August; it shows how significantly
the quality of Cameron's printing had advanced in eighteen months.
62. I am indebted to Mark Osterman, an expert in wet-collodion
and other historical processes, for the time that he spent studying this
album with me during my September 2000 visit to the George Eastman
House. I hope his observations and explications of Cameron's technique are adequately represented in this text.
63. At least three prints in the Watts Album (cat. nos. 12 and 719
and GEH 71:0109:0025, which is a duplicate print of the image reproduced as cat. no. 220) were produced on paper made by the Rives company, a leading French supplier of artist papers that branched out into
the production of pre-albumenized photographic papers in the 18505.
These prints bear a stamp with the marking "BFK Rives N45," which
stands for Blanchet, Freres et Kleber, who ran the Rives mill at Isere,
France. A fourth sheet (cat. no. 8) bears an 1862 watermark. Cameron
likely bought the paper from the Marion company, which was the
principal distributor of Rives paper in London. For further information
on Rives, see Carole Darnault, Rives, la memoire du papier (Grenoble,
France: Presses Universitaires de Grenoble, 2000), pp. 117-34.
64. Several early portraits of Julia Jackson (cat. nos. 283, 285-89)
in the collection of the Art Institute of Chicago exhibit similar qualities
to some of the Watts Album prints. Cameron wrote at length to Herschel about technical problems (Mar. 1864 [RS.115.5.158]):
I get into difficulties 6c can't see my way out of them . . .
the film comes off my plate in certain weathers. The plate
is not equally covered with film & should repeat itself on
the side of the glass as I take it out of the bath tho I know
of no cause in the bath to scratch it as it seems scratched.
A print beautifully printed often turns green. I suppose it
is the hyposulphite of soda that causes this.
65. Cameron's unflagging energy was interrupted largely by ill
health, chiefly bronchitis, which was usually brought on by excessive
exposure to the fumes of the ether and potassium cyanide used in the
wet-collodion process. In a letter to Herschel (Sept. n, 1867 [RS.118.5.167])
she wrote:
I never before this attack have known what it was to have
two successive days of lassitudeNow I have been for
seven weeks almost uselessfeeling like an idle weed
yet having a heart stirring with solicitude 6c love for my
friends & remembering how often the dearest of them
have warned me not to over exert myself so continuously.
66. All surviving prints made from this negative have the same
markings in the boy's feet.
67. Cameron to John Herschel, Feb. 26, 1864 (RS.118.5.159).
68. George Frederic Watts to Cameron, 1865 (no exact date)
(Heinz Archive and Library, National Portrait Gallery, London, Watts
MS. Collection).
69. Photographic News 9 (June 2, 1865), p. 255. Cameron's fiercest
critics were the professional studio portraitists, whose work was increasingly influential in exhibitions of photographic societies across the
country, especially after 1862. The Photographic News was regarded as
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75
the trade weekly for this branch of the profession, hence its critical
stance toward Cameron. For a thorough account of the critical reception of Cameron's photographs, see Pam Roberts, "Julia Margaret Cameron: A Triumph over Criticism," in The Portrait in Photography, ed.
Graham Clarke (London: Reaktion Books, 1992), pp. 47-70.
70. Cameron, Annals.
71. Newhall, Photography, p. 80.
72. If Cameron had signed the plate on the filmy side of the glass,
her signature would have printed in reverse. She could avoid this reversal by instead signing the back of the plate. The script is blurry and indistinct because the eighth-inch thickness of the plate caused it to drop out
of focus during printing.
73. There is an almost identical treatment of the lower portion of
the negative in Water Babies (cat. no. 867).
74. See, for example, Henry Taylor I Study of King David (cat.
no. 164), where Cameron scratched the collodion from the upper left
and right portions of the plate, removing the figure of Mary Hillier, who
is at Taylor's side in [Bathsheba Brought to King David] (cat. no. 166).
75. Charles Hay Cameron, Two Essays. On the Sublime and Beautiful, and On Duelling (London: privately printed, 1835), pp. 49-50.
Copies of this manuscript exist at the British Library; Bodleian Library,
Oxford; Harvard University Library; and the National Library of India,
Calcutta. My analysis here owes much to the writing of Carol Mavor.
See the chapter "To Make Mary: Julia Margaret Cameron's Photographs of Altered Madonnas," in her Pleasures Taken: Performances of
Sexuality and Loss in Victorian Photographs (Durham, N.C.: Duke University Press, 1995), pp. 43-70.
76. Cameron to Sir Edward Ryan, Dec. 18, 1874 (Gilman Paper
Company). See also Gernsheim, Cameron, p. 47.
77. Photographic News 14 (Oct. 28, 1870), p. 512. This is an extract
from a review in the Derby and Chesterfield Reporter on the Derby Fine
Art Exhibition, in which Cameron's photographs were included.
78. Photographic News 5 (Jan. 4, 1861), p. 4.
79. Price, Photographic Manipulation, p. 141.
80. A notable exception may be her sitting with George Warde
Norman (see note 43), where two sizes of negatives were employed.
81. Photographic News 10 (June 15,1866), p. 279. The Photographic
News probably saw Cameron's sketches as being intended for artists
rather than as finished works of art. Rejlander also made sketches or
studies, many of them concerned with his fascination for human
expression, that were intended as aids to artists and as visual notes for
his own compositions. See Spencer, Rejlander, pp. 109-29.
82. Photographic Journal 79 (Apr. 1939), p. 182.
83. The publication of Cameron's photographs by Colnaghi was
noted in "Fine Art Gossip,"Athenaeum, no. 1915 (July 16, 1864), p. 88.
The reference to the reduced price of her prints for artists is mentioned
in a June 29, 1865, letter from Cameron to Jane Senior (National
Museum of Photography, Film & Television, Bradford): "I have a long
time ago no a short time ago told Colnaghi that all artists were to have
my prints at half price." Cameron's willingness to discount her photographs is surprising given the remarks she made in this letter regarding
her financial woes (see fig. 97).
84. Sylvia Wolf (Cameron's Women, pp. 70-75) was the first to
comment on Cameron's propensity for reverse printing. See her excellent analysis of specific portraits of Julia Jackson that were printed in
this way.
85. Photographic News 15 (Dec. i, 1871), p. 572. In a review of Cameron's photographs in the 1871 exhibition of the Photographic Society of
London, the writer remarked, "In some of them the effect reminds us of
76
Rembrandt's pictures, and they only seem to want the flush of colour to
make them perfect."
86. Cameron to Henry Cole, Apr. 7,1868 (National Art Library,
Victoria and Albert Museum, Cole Correspondence, Box 8). See also
Haworth-Booth, Photography, pp. 86-88.
87. The Angel in the House was published in four parts from 1856
to 1862 and went through numerous editions during the second half of
the nineteenth century. The poem presented a near-impossible ideal for
women to live up to. They were characterized as frail, vulnerable, and
retiring and yet expected to be domestic guardian angels protecting
men from the harshness of the outside world. Cameron illustrated the
poem in a picture that she may have created in collaboration with her
son in 1873 (cat. no. 372).
88. Macmillan'sMagazine 13 (Jan. 1866), pp. 230-31.
89. I would like to thank Dusan Stulik of the Getty Conservation Institute for undertaking X-ray fluorescence spectroscopy (XRF)
on eight photographs in the Getty Museum collection (cat. nos. 55, 413,
443, 469, 614, 627, 827, 1014) to determine the composition of Cameron's toners. All of the photographs chosen were gold-toned, but certainly not uniformly in terms of the concentration of gold or the processing time. It was also determined that the paper base and mounting
materials were different in each example, suggesting the overall inconsistency of Cameron's methods.
90. Wolf, Cameron's Women, p. 215. Cameron's inscription on a
study of May Prinsep (cat. no. 429) offered a choice of brown or gray
prints.
91. Ibid., pp. 214-15.
92. See A. N. Wilson, God's Funeral, A Biography of Faith and
Doubt in Western Civilization (New York: Ballantine, 1999), pp. S3~7793. Weaver, Whisper of the Muse, pp. 23-37.
94. Ibid.
95. See Benjamin Jowett, College Sermons (London: John Murray,
1895), which reprints examples of his Oxford sermons, including titles
such as "Difficulties of faith and their solution," 1852-53, pp. 11-25;
"The prospects of Christianity," Nov. 26, 1871, pp. 59-79; and "God's
judgement of us and our own," 1868, pp. 295-308. See also Wilson,
God's Funeral, pp. 119-25.
96. Anna Jameson, The History of Our Lord as Exemplified in
Works of Art (London: Longman, Green, Longman, Roberts and
Green, 1865), vol. i, p. 9.
97. Weaver, Cameron, p. 15.
98. Anna Jameson, Legends of the Madonna, as Represented in the
Fine Arts (London: Hutchinson 8cCo., 1864).
99. Photographic Journal 9 (June 15, 1864), p. 65. For more extensive discussion of Rejlander's work in this vein, see Spencer, Rejlander,
pp. 59-107.
100. Carol Armstrong, "Cupid's Pencil of Light: Julia Margaret
Cameron and the Maternalization of Photography," October 76 (spring
1996), pp. 114-41.
101. Photographic News 9 (Jan. 6, 1865), p. 4.
102. The acquisitions register of the Department of Prints and
Drawings records the gift as having been made on Thursday, January 12,
1865. All nine photographs are listed by title and are accompanied by the
brief description "Being the Fruits of the Spirit. Illustrated from Life."
According to the entry, the photographs were originally mounted
together in a single frame. They have subsequently been remounted and
the frame has not survived (Book of Presents, Central Archives of the
British Museum). All nine photographs were transferred to the Victoria and Albert Museum in December 2000.
composition for The Kiss of Peace (cat. no. 1129), which is widely re-
Layard (cat. no. 700), and others that was dedicated to the reproduction
of paintings by Giotto and other Italian artists for the education and
improvement of public taste in art. Ruskin wrote an article for the soci-
the Series of Woodcuts Executed for the Arundel Society After the
Frescoes in the Arena Chapel" (London: The Arundel Society, 1854).
same letter Watts adds, "If you went into my Studio you would have
seen the commencement of a gallery there I am forming for myself &
His analysis of The Salutation was included (pp. 75-76). Layard was
105. Lords Overstone and Elcho were art collectors of the high-
in three principal sizes for his Hall of Fame portraits: Head Size, 26 x
21 inches; Three Quarter Length, 30 x 25 inches; and Kitcat Size, 36 x
25 inches.
See Weaver, Whisper of the Muse, pp. 15-21. Lord Elcho was an avid
collector of works by the Venetian school, and his collection contained
paintings by Tintoretto, Pontormo, Titian, and Giorgione. In 1870 a
group of approximately seventy works from his collection was sent on
loan to the South Kensington Museum and put on display that autumn.
See Art Journal, n.s., 9 (Oct. i, 1870), p. 304.
1801-1886 (New Haven, Conn.: Yale Center for British Art, 1993).
123. Marsh and Nunn, Pre-Raphaelite Women Artists, p. 27.
specifics of a story if she had models available whom she believed could
meet the requirements of the narrative. She did this successfully with
Mary Hillier in The Angel at the Tomb (cat. nos. 264-67)the angel in
the scripture is a manand with Florence Fisher in Study of St. John the
rated it in the handsome album that she presented to Sir Coutts Lind-
example, cat. no. 508) suggest the extent of her congress with Watts
concerning the progress of her art. Some of these prints were made as
gifts for him, but others were sold to a knowing audience through her
pp. 64-86, 102-4, I2 6128. Both inscriptions indicate that the pictures were taken after
Gallery, 1974).
in. M. S. Watts, George Frederic Watts: The Annals of An Artist's
Life (New York: Hodder and Stoughton, 1912), vol. i, pp. 208-9.
of the arts and one of the founders of the Metropolitan Museum of Art.
In the Overstone Album she includes the initials "L.H.H." under some
Cox
77
78
145. One exception was the later work of Colonel Stuart Wortley
(see note 53). In 1870 he was responsible for the production of a series of
very large portrait heads (twenty-four by eighteen inches) that were
compared to Cameron's portraits and were favorably received in the
pages of the Photographic News (Oct. 28, 1870, p. 512; Nov. n, 1870,
p. 530; Nov. 18, 1870, p. 542).
146. Carlyle, Sartor Resartus, pp. 42-48. See also Lynda Nead,
Myths of Sexuality: Representations of Women in Victorian Britain (London: Basil Blackwell, 1998), p. 173.
147. Jeff Rosen, "Cameron's Photographic Double Takes," in
Orientalism Transposed: The Impact of the Colonies on British Culture, ed.
Julie F. Codell and Dianne Sachko Macleod (London: Ashgate, 1998),
pp. 158-83.
148. Ibid., p. 164.
149. Cameron to John Herschel, Feb. 18, 1866 (RS.HS.5.164).
Despite Cameron's hyperbole, Taylor did not die and lived a full life
until 1886.
150. Rosen, "Cameron's Double Takes," pp. 163-67. In the same
article, pp. 167-76, Rosen also writes very convincingly about Cameron's photographs of Prince Alamayou of Abyssinia (cat. nos. 1114,
1117-23), made in the summer of 1868, framing the works in the context
of British colonial expansion and the political climate of Victorian
Britain. A selection of objects owned by the deceased Emperor Theodore (Prince Alamayou's father), lent by Queen Victoria and the Admiralty, were put on view at the South Kensington Museum in 1868. See
James, Victoria and Albert Museum, p. 520.
151. Christopher Wood, The Life and Works of Sir Edward BurneJones (1833-1898) (London: Weidenfeld & Nicholson, 1998), pp. 84-86.
152. Weaver, Whisper of the Muse, p. 66. Cameron also made prenuptial portraits of her son Ewen (cat. no. 611) and Annie Chinery (cat.
nos. 192-93), who were married in November 1869. In correspondence
with the author, John Beaumont has convincingly argued that these
prenuptial portraits of Julia Jackson were made at Saxonbury Lodge,
Frant, Hampshire, the home of the parents of Maria "Mia" and John
Jackson.
153. See Wood, "Copyrighted Photographs," p. 12.
154. Virginia Woolf, To the Lighthouse (New York and London:
Harcourt Brace Jovanovich, 1955), p. 47. Woolf was one of Jackson's
daughters from her later marriage to the writer Leslie Stephen (cat. nos.
758-59)155. Weaver, Whisper of the Muse, p. 64.
156. Cameron sent prints from this series to Watts for his evaluation. Watts replied by advising, "If you are going on Photographing
your grandchild 8c he is well worth it, do have a better shirt made of
some yellowish material. The blot of formless white spoils the whole
picture. What would not do in a painting will not do in a Photograph,
but I am delighted with the amount of gradations you have obtained."
George Frederic Watts to Cameron, 1865 (no exact date) (Heinz Archive
and Library, National Portrait Gallery, London, Watts MS. Collection).
157. Jameson, History of Our Lord, vol. i, pp. 199-200. Jameson
writes, "the pious obedience which marked the life of Samuel is beautifully indicated in the action of the child."
158. Aubrey de Vere, Poems (London: Burns 5c Lambert, 1855),
pp. 1-13.
159. Armstrong, "Cupid's Pencil," pp. 137-41.
160. This discovery was the result of conversations with Mark
Osterman, an expert in wet-collodion and other historical processes.
He tested the theory himself and found the results to be consistent with
those achieved by Cameron.
172. John Ruskin, Sesame and Lilies, The Two Paths, The King of
the Golden River (London: J. M. Dent and Sons, 1907), p. 59. In his
influential 1864 lecture series Sesame and Lilies (also known as Of
Queens Gardens) Ruskin addressed the upbringing of boys and girls and
described the roles that they were destined to assume as adults in the
home:
The man's power is active, progressive, defensive. He is
eminently the doer, the creator, the discoverer, the
defender. . . . But the woman's power is for rule, not for
battle, - and her intellect is not for invention or creation,
but for sweet ordering, arrangement and decision . . .
This is the true nature of homeit is the place of peace;
the shelter, not only from all injury, but from all terror,
doubt and division.
See also Wolf, Cameron's Women, pp. 41-49.
173. In a letter of October 19, 1871, Cameron wrote, "Our poor
Dudy [Julia] has been again suffering great depression from threatening
of a miscarriage. She is just beginning to get betterbut I dread for her
a miscarriage and I also dread a confinement. [Not knowing which will
try her shattered nerves the most.]" Weaver, Whisper of the Muse, p. 64.
174. Maria "Mia" Jackson to Julia Jackson, Nov. 17, 1873 (University of Sussex, Manuscript Collection, Charleston Papers, Additional
Manuscript i).
175. Wolf, Cameron's Women, pp. 208-18, and Weaver, Whisper of
the Muse, pp. 15-21.
176. Jalland, Death in the Victorian Family, pp. 300-306.
177. Times (London) (Dec. 20, 1873), p. 5.
178. Photographic News 15 (Nov. 17,1871), p. 541. In a review of the
Photographic Society of London's annual exhibition, the writer classified Cameron's professional status as follows: "Lake Price, Roger Fenton, Col. Wortley, Mrs. Cameron, and some others who have devoted
themselves considerably to portraiture and figure studies, by the publication and sale of their works assumed at least a quasi-professional
position." See also Wolf, Cameron's Women, p. 216.
179. David J. Bradshaw and Suzanne Ozment, eds., The Voice of
Toil: Nineteenth Century British Writings about Work (Athens: Ohio
University Press, 2000), p. 40.
180. Angela Partington, The Oxford Dictionary of Quotations
(Oxford and New York: Oxford University Press, 1996), p. 391.
Cox
79
PHILIPPA
WRIGHT
3t
E A R L Y A L L O F T H E P H O T O H I S T O RI -
ans who have written about Julia Margaret Cameron have neglected to consider
her small-format photographs. 1 These works, however,
provide a fascinating contrast to the monumental lifesize pictures on which Cameron's reputation as an artist
rests.2 This catalogue surveying Cameron's full oeuvre
provides an excellent opportunity to describe the scope of
her reduced-size photographs, her motives for producing
them, their function and means of distribution, and the
relationship between their commercial and aesthetic value.
Rather than intending them to compete in the commercial market for small-format photographs, Cameron
produced reduced versions of her bigger works as conventional cartes-de-visite and cabinet cards and released
them primarily to emphasize the merits of her large prints
and promote herself as an artist. She also used the reduced
prints to create albums that served as small portable galleries of her work that she gave as gifts to family and
friends. Cameron's experiments with reduced prints thus
fall between the public and the private domain, and while
her small-format photographs appear to have a clearly
discernible cultural and social purpose, their commercial
rationale is less clear. They reveal her deliberate engagement with aspects of popular culture and social ritual in
order to emphasize the value of high art through fine-art
reproductions. A study of these small prints shows that
Cameron was absolutely passionate and determined in
her mission to promote both herself as an artist and her
photographs as works of art. Incidentally, they also provide valuable evidence about images that survive only as
a reduced print since no large print has been found. For
81
Mi Y ALL, I
Cartomania
82
2!/2 incheshad several significant advantages. The camera was designed to combine several separate exposures on
a single negative so that cartes-de-visite could be massproduced relatively easily. This made the product comparatively cheap, which enabled the middle class to acquire
not only portraits but also photographs of works of art
and architecture. 5 During the cartomania of the i86os
millions of cartes-de-visite were produced, and the phenomenon took on an international flavor. In London, for
example, the American John Jabez Edwin Mayall and the
Frenchman Camille-Leon-Luis Silvy6 operated successful commercial portrait studios producing hundreds of
thousands of conventional cartes-de-visite. In addition
to making private portraits for customers, professional
photographers discovered a lucrative market for massproduced cartes-de-visite of celebrities, and a vibrant industry developed with startling rapidity to meet the huge
demand. 7 A photographer who obtained a portrait of a
well-known sitter along with permission to sell it as a carte
had a guaranteed source of income. Portraits of members
of the royal family were particularly popular. Mayall's
portrait of Queen Victoria sold hundreds of thousands of
copies (fig. 56). The fact that the queen herself had endorsed the carte-de-visite format served only to increase
its popularity.8
Typically the subject's face assumed minute proportions on a carte-de-visite. Although it was popularly felt
that details of the moral, emotional, and psychological
status of an individual could be read in his or her face,
commercial photographers did not see it as their task to
emphasize the character or personality of their sitters. In
1864 the Photographic News wrote that the carte
does not give what you habitually see, nor what you
wish to remember. In any average carte you see the legs
occupy as large a portion of the foreground as any
other individual member or pair of members. But in
your mental conception and recollection of your friend
the legs do not occupy a prominent place. . . . It is
his face, his eyes, his mouth, which interpret his mind
to yours, and live in your memory.9
Wright
83
84
Wright
85
86
ALBUM
MINIATURE
H A R D I N G E HAY CAMERON
ALBUM
(2)
ALBUM (l)
ALBUM (l)
ANONYMOUS
MINIATURE
(2)
53 cartes-de-visite
i86os and early 18705
Believed to have been sold through
Christie's, London, December 2, 1998,
lot 188; present whereabouts unknown
BETA M U R R A Y A L B U M
is mounted next to The Wild Flower (see cat. no. 455) (fig.
59); Sir John Herschel (see cat. no. 674) is placed next to
another portrait of Julia Jackson (see cat. no. 302), and
famous men appear next to allegorical and religious photographsHypatia (see cat. no. 469) next to G. F. Watts
(see cat. no. 826). Some images even appear twice.
A closer examination of the album reveals the relationships that Cameron established as she placed each
Wright
87
88
Wright
89
TABLE 3 Copies of Illustrations by Julia Margaret Cameron of Alfred Tennysons Idylls of the King and Other Poems:
Miniature Edition
COPY I
Unbound; consists of frontispiece and
21 plates
Facsimile lithographed inscription by
Cameron: "Dedicated by gracious permission to her Imperial and Royal Highness
Victoria, The Crown Princess of
Germany and Prussia and Princess Royal
by Julia Margaret Cameron"
Julia Margaret Cameron Trust, Dimbola
COPY 2
22 reduced albumen prints
Facsimile lithographed inscription by
Cameron: "Dedicated by gracious permission to her Imperial and Royal Highness
Victoria, The Crown Princess of
COPY 3
Frontispiece, 21 photographs listed,
3 missing
Facsimile lithographed inscription by
Cameron: "Dedicated by gracious permission to her Imperial and Royal Highness
Victoria, The Crown Princess of
Germany and Prussia and Princess Royal
by Julia Margaret Cameron"; inscribed
(possibly by Hardinge Hay Cameron):
"Alec C. Connell from H H H Cameron"
and "To my Jennie A.B.C.C."
COPY 4
Frontispiece and 21 photographs
Facsimile lithographed inscription by
Cameron: "Dedicated by gracious permission to her Imperial and Royal Highness
Victoria, The Crown Princess of
Germany and Prussia and Princess Royal
by Julia Margaret Cameron"; dedication
to Louis Saunders (the son of a friend)
Private collection
well of the growing market for books illustrated by photographs. She embraced that market in the early 18705,
when she produced large-format photographic interpretations of Tennyson's poetry for inclusion in Idylls of the
King and Other Poems. These were published by Henry S.
King and Co.; the first volume in December 1874, the second in May 1875.38 Neither was a great commercial success. Cameron then combined the two volumes into one
and produced a number of albums with reduced prints
Illustrations by Julia Margaret Cameron of Alfred Tennysons
Idylls of the King and Other Poems: Miniature Edition (see
table j).39 It is thought that she created these, like the
portable galleries, as gifts for loved ones and friends and
did not produce them commercially.40 Here again, Cameron was committed, consistent, and systematic as she
produced small reproductions as a means to create greater
awareness of yet another aspect of her work.
Cameron also understood the growing market for
works of art, and she used it to her advantage. Beginning in 1864, she sold her large photographs through two
dealers and printmakers, P. & D. Colnaghi and William
Spooner. At the time, Colnaghi was one of two commercial galleries recognized as leaders in the field of reproduction of artworks, and this may have persuaded Cameron
to use the firm as her main agent. We do not know how
many large prints Cameron actually sold through this
markether prices varied from six shillings to one
90
guineabut the move from selling photographs to offering cartes-de-visite and cabinet cards was an obvious path
for her to have followed. Small-format prints of her work
sold for 35.6d (three shillings and sixpence).41 It is unclear
if Cameron used Colnaghi to distribute the small photographs, but its role as her main dealer is firmly established. Although there is no written record to suggest that
Cameron had any of her reduced prints mounted and prepared there,42 there is some physical evidence. Five known
examples of her small-format photographs are mounted
in the Colnaghi style and bear the typical gold border and
Colnaghi blindstamp: 43 two are of the same image of
Henry Taylor (see cat. no. 783),44 one is of Henry John
Stedman Cotton (see cat. no. 639), and the other two are
of the same image of May Prinsep (see cat. no. 415). This
last image is part of an unusual series of five photographs 45 that is decidedly commercial in style. Prinsep
wears the same dress in all five prints, although the setting
and props change, suggesting that the series was made in
a single sitting. There has been some question whether
these are actually by Cameron, since their style is somewhat atypical, but comparison with other studies immediately preceding these in the chronology (cat. nos. 413-14)
indicates that these are definitely by her. The images also
appear within the miniature albums, which suggests that
Cameron regarded them as equal to her other portraits.
notes
I would like to thank my husband, Bryan Wright, for his constant
support and encouragement and for taking care of our children, James
and Alex, during my research periods away. For assistance with this essay I would like to give special thanks to Julian Cox, Juliet Hacking,
Colin Harding, Russell Roberts, and Roger Taylor.
1. A notable exception is Brian Hinton, Immortal Faces: Julia
Margaret Cameron on the Isle of Wight (Newport, Isle of Wight: Isle of
Wight County Press and Isle of Wight County Council, 1992).
2. For a discussion of conventional portraits, see, for example,
Sylvia Wo\f,Ju/ia Margaret Cameron's Women (Chicago: Art Institute of
Chicago, 1998), pp. 22-85.
3. Julia Hay Norman Miniature Album (see table i).
4. See Elizabeth Anne McCauley, A. A. E. Disderi and the Carte
de Visite Portrait Photograph (New Haven, Conn.: Yale University Press,
1985), and Industrial Madness: Commercial Photography in Paris 1848i8ji (New Haven, Conn.: Yale University Press, 1994).
5. See Anthony J. Hamber, A Higher Branch of Art: Photographing
the Fine Arts in England, 1839-1880 (Netherlands: Gordon and Breach,
1996), pp. 126-41.
6. For a detailed discussion of Silvy's carte-de-visite practice, see
chapter 5 in Juliet Hacking, "Photography Personified: Art and Identity
in British Photography 1857-1869" (Ph.D. diss., Courtauld Institute of
Art, 1998).
7. For a contemporary view of the carte-de-visite, see A. Wynter, "Carte de visite," Once a Week 8 (Jan. 25, 1862), pp. 134-37. Wynter
details how cartes-de-visite were produced and the way they were stored,
distributed, and displayed, concentrating on the market and outlining
what was effectively a stock market of fame engendered by the celebrity
carte-de-visite. The Athenaeum, no. 2025 (Aug. 18,1866), advertises in its
"Fine Art Gossip" column: "The August number of Mr Walford's 'Photographic Portraits of Men of Eminence' contains the carte-de-visite of
Messrs. W Hepworth Dixon, A. de Candolle, and W. H. Ainsworth."
8. See Leonie L. Reynolds and Arthur T. Gill, "The Mayall
Story," History of Photography 9 (Apr.-June 1985), pp. 89-107.
9. "The Art Claims of Photography," Photographic News 8
(Jan. 18, 1864), pp. 558-59. Cameron did not adopt this conventional
style, instead copying her large subjects, in which she did attempt to
capture each sitter's personality.
10. See Audrey Linkman, The Victorians-Photographic Portrait
(London: Tauris Parke Books, 1993), pp. 74-76.
11. Hamber, A Higher Branch of Art, p. 141.
12. "Photographic Portraiture," Once a Week 8 (Jan. 31, 1863), pp.
148-50.
13. For a discussion of backgrounds in portraits, see Photographic
News 10 (Mar. 9, 1866), pp. 109-11.
14. In Silvy's cartes-de-visite, his own persona, even though he
had assistants, is evident in the photographs and integral to the portraits.
If Cameron had taken conventional carte portraits, her persona would
also have shown through.
15. See "Carte de Visite," British Journal of Photography 14
(Mar. 25, 1869), p. 148. This article discusses contemporary dress in
the carte-de-visite, mentions the idea of the carte-de-visite used for a
Rogues Gallery, and references cartes-de-visite as "magic mirrors."
16. The Science and Art Department of the Committee of
Council on Education in South Kensington issued a collective Catalogue of Reproductions of Objects of Art, In Metal, Plaster, and Fictile Ivory,
Chromolithography, Etching, and Photography (London: South Kensington Museum, 1870). For a Classified List of Photographs of Drawings,
Paintings, and Sculpture, published by the Arundel Society, see p. 32.
17. See Mark Haworth-Booth, Photography: An Independent Art
(London: V & A Publications, 1997), pp. 79-88.
18. The Camerons' financial situation is discussed in the Ford
essay and appendix B.
19. The Arundel Society, or Society for Promoting the Knowledge of Art (so named by Thomas Howard, Earl of Arundel in the reigns
of James and Charles I), was established in 1848. The founders sought
the preservation of the record and the diffusion of knowledge of the
most important monuments of painting and sculpture.
20. For the practice of making enlarged prints, see "Enlargements
of carte de visite Portraits, by an improved adaption of the solar camera. Application of photography to painting on canvas and enamels,"
Art journal, n.s., 2 (July i, 1863), p. 138, and "How to Produce Life-Size
Photographs/'^r/ Student i (Jan. i, 1864), pp. 15-17. The latter article
discusses how artists and photographers see life-size photographs:
"Contrasting two large pictures, the one being obtained by the use of a
large lens, and the other by a process of magnifying through a small
negative, few artists would fail to award the latter the palm for natural
truth and beauty. In this country the use of the solar camera, as the instrument for obtaining life-size, or very much larger, photographic images, is called, is in its infancy; but on the Continent, owing chiefly,
perhaps, to reasons upon which we shall have presently to touch, it is
more popular with the profession, and much more largely used."
Wright
91
92
Wright
93
JOANNE LUKITSH
Ji
Assembling Albums
he traces of Cameron's beginnings with the medium
are preserved in seven albums of photographs, assembled in the late 18505 and early i86os, that were owned
95
ALB
UM
SN 1859 A L B U M
323 prints, including cartes-de-visite of
members of the royal family, portraits of
Alfred Tennyson, Lionel Tennyson, and
Henry Taylor, the study Irish & Isle
of Wight peasants inscribed by Cameron,
and photographs of members of the
Norman and Cameron families
Owned by Sibella Norman, Charles
Norman's mother; "1859" is embossed on
the cover
Private collection, United Kingdom
JULIA HAY N O R M A N ALBUM
ALBUM
96
Lukitsh
97
98
her pen in one hand, her other hand keeping sons Henry
and Charles close by (see fig. 30). Related images from
this session, from both albums, feature the boys in other
poses (figs. 65-66). Included in both albums is an 1854
photograph of baby Henry (fig. 67), whose bare shoulders
and legs anticipate Cameron's artistic images of children
(see cat. nos. 862-64, 895-901).
While the identity of the creator of these photographs is unknown, the pictures point to Cameron's familiarity with the role of performing before a camera. She
could have had a hand in directing her sons in their different poses as well. The pictures associate these activities
with those of the Pattle sisters, who cultivated personal
display and unconventional dress in their social lives.
Other images in the Signor 1857 Album, for example, a
photograph of young Val Prinsep (fig. 68), whose contemplative pose is in startling contrast to the sight of
his white socks and bare legs sticking out from his fancy
dress robe, connect the production of such images with
the artistic ambience Sarah Prinsep actively cultivated for
Little Holland House.
Lukitsh
99
IOO
JULIA MARGARET
CAMERON
Lukitsh
IOI
102
with a camera before she obtained her own. She used the
copy negative to transform Rejlander's portrait of Taylor
into her own interpretation of him. Her decision to use a
larger copy negative resulted in a picture where he is more
imposing and seemingly closer in space to the viewer.
Unlike Rejlander, who left most of Taylor s torso in shadow,
Cameron masked the negative during printing to retain
the contours and tones of his figure while keeping details
in the light tones of his hair, face, and beard (darker tones
around his face and beard are signs of some uneven masking). Cameron's version of Rejlander's image results in a
portrait of Taylor that anticipates the numerous images
she would later make of this sitter, who became one of her
most photographed models (see cat. nos. 761-90).
The idea that Cameron explored her own photographic aesthetic by working with a copy negative of a
print made by another photographer is surprising. This
idea runs counter to the popular identification of her art
with her "out-of-focus" lens manipulation and more generally with expectations of artistic photography that the
camera and its operator's individual vision are primary.
Cameron's approach emerged from a different context,
when copy photography was familiar from the numerous
art reproductions included on the pages of albums10 and
when ownership of a camera was a financial investment
more common to commercial uses. From the perspective
of her early experience in photography, Cameron's initial, innovative work with the camera lens no longer
appears as an idiosyncratic activity, but one that developed from a motivated exploration of possibilities she had
already considered in advance.
The flat, screenlike quality of the pictorial space
in some of Cameron's Watts Album photographs (cat.
nos. 8, 27-28) is reminiscent of her interpretation of Rejlander's portrait of Taylor, as she predictably used her new
camera lens to achieve effects that already interested her.
Based on her earlier practice, she initially treated her own
camera negatives as picture surfaces, inscribing or marking them and retaining traces of process and mistakes for
their pictorial possibilities. Cameron's experimentation in
the Watts Album photographs with variant croppings of
the same negative (see, for example, cat. nos. 2-3, 10-11)
explores the implications of framing and composition that
she would later realize with her camera.
Historians have discussed the possibility that Cameron also worked with Rejlander in taking photographs,
Irish & Isle of Wight peasants, for example (fig. 73).n Two
of the models for this picture, Mary Ryan (cat. nos. 44656) and Kate Dore (cat. nos. 210-12), were soon to appear
Lukitsh
I03
NOTES
104
ton University Press, 2002]). I would like to thank Roger Taylor for
making this book available to me in advance of its publication and
Edward Wakeling for his discussion of photographs attributed to
Carroll.
6. The Dictionary of National Biography, i5th rev. ed., s.v. "PettyFitzmaurice, Henry."
7. Mulligan et al., For My Best Beloved Sister Mia, pp. 28-30. Although now disassembled, the Mia Album was originally structured as
a double-faced book (one sequence of prints was arranged on pages
starting at the front of the album, while another sequence began at the
back of the album, rotated 180 degrees from its standard orientation). It
is not known who devised this arrangement, which served the practical
purpose of using both sides of all the pages and allowed for two distinct,
continuous series of images. Graham Ovenden, ed.,A Victorian Album:
Julia Margaret Cameron and Her Circle (London: Seeker and Warburg,
1975), reprints all of the images in the Mia Album but does not represent its original structure and arrangement.
8. Mike Weaver refers to the MacTier Album (in a private collection, present whereabouts unknown), which has a photograph of
Julia Jackson in profile next to a tree (fig. 74) with the Cameron inscription "from Life year 60 printed by me J. M. C." (Mike Weaver, "Julia
Margaret Cameron: The Stamp of Divinity," in British Photography in
the Nineteenth Century: The Fine Art Tradition, ed. Mike Weaver [Cambridge: Cambridge University Press, 1989], p. 154). The inscription is
additional evidence of Cameron's printing of a negative made by
another photographer.
9. Cameron inscribed the more accessible frontal view of the poet
(fig. 69) with his "Poetical Works" and the more impersonal and ideal-
ized profile image (fig. 70) with his "Prose Works," reflecting her keen
interest in interpreting photographic portraits.
10. Roger Taylor quotes an entry in Lewis Carroll's diary
describing a visit to Watts's studio at Little Holland House in the summer of 1864, when the painter showed Carroll "a large photograph (negative) by Mrs. Cameron of Mrs. Watts in 'Choosing.'" Watts and
Carroll were looking at a copy negative by Cameron of Choosing (fig. 19),
Watts's famous circa 1864 painting of Ellen Terry, to whom he was
then married (Taylor and Wakeling, Lewis Carroll, p. 81).
11. Mulligan et al., For My Best Beloved Sister Mia, pp. 20-21.
"Irish & Isle of Wight peasants" is Cameron's inscription to a print of
this photograph in the SN 1859 Album. Prints of the image are also included in the Mia and Somers-Cocks Albums, but without any inscriptions by Cameron. The image has been known as The Three Graces since
its publication in Ovenden, A Victorian Album, pi. 79.
12. Cameron to John Herschel, Feb. 26,1864 (The Royal Society,
London, Herschel Correspondence, 5.150-82).
13. Julia Margaret Cameron, Annals of My Glass House, 1874. The
original manuscript is in the collection of the Royal Photographic Society, Bath, England. Reprinted in full in Helmut Gernsheim,/w/^M^rgaret Cameron: Her Life and Photographic Work (Millerton, N.Y.:
Aperture, 1975), pp. 180-83; Beaumont Newhall, ed., Photography:
Essays and Images (New York: Museum of Modern Art, 1980), pp. 13439; Mike Weaver, Julia Margaret Cameron 1815-1879 (Boston: Little,
Brown and Company, 1984), pp. 154-57; and Violet Hamilton, Annals of
My Glass House: Photographs by Julia Margaret Cameron (Seattle: University of Washington Press, 1996), pp. 11-16.
Lukitsh
105
CATALOGUE
THE
CATALOGUE S E C T I O N P R E S E N T S 1,222 OF J U L I A
Margaret Cameron's photographs (plus three late additions), organized into eight chapters. The individual chapter openings describe these groupings of her work and
explain the ordering of the prints. While the principal
goal has been to show one print from each unique Cameron negative, occasionally included are details, reversed
prints, and prints made after Cameron's death.
The catalogue entries are composed of two tiers of
complementary information. The primary data, which is
found under each photograph, includes the catalogue number, title(s), sitter(s), date, and collection from which the
picture comes. The secondary data, which is found to the
right of the photographs, includes the inscriptions, image
and mount dimensions, medium (if other than an albumen
print), provenance, location and physical characteristics of
other prints of the image, details about where the image has
been reproduced, and additional notes. Fields are omitted
when no relevant information applies. The following sections provide detailed information about each field.
Title(s)
Unbracketed titles are those inscribed by Cameron, usually on the mount to which the photograph is attached
but sometimes in album indexes. Sitters' signatures or facsimile signatures occasionally determine titles. Brackets
around or within titles indicate that they have been assigned by the authors. The artist sometimes gave different
titles to the same image; when alternative titles inscribed
by her are known, this information is supplied in the
Other Prints field. Cameron's often idiosyncratic spelling
and punctuation have been retained in the inscriptions,
with mistakes noted by [sic] and authorial corrections
made in the Title(s) field. For works not titled by Cameron, the authors have avoided assigning descriptive titles
or applying those provided by earlier scholars. Instead, the
106
preference has been for the use of straightforward, taxonomic phrasing, such as [Group], [Two Women, Ceylon],
and [Unknown Girl].
Sitter(s)
When the identity of the sitter(s) is known, and this information does not appear in the title, it is included in this
field. In instances where the identity of a sitter is uncertain, a question mark in parentheses has been added after
the name. When a photograph includes two or more sitters, the identifications proceed from left to right across
the image. There is a brief biographical index of known
sitters in appendix E. As sitters are often portrayed in
biblical, historical, literary, and mythological roles, a listing of sources of inspiration for Cameron's works can be
found in appendix F.
Date
Unbracketed dates are those established by Cameron and
usually inscribed by her on the mount. Brackets indicate
a date assigned by the authors. Sometimes these dates are
approximate and are indicated by a span of years (for
example, 1870-80). Cameron sometimes supplied conflicting dates on different prints of the same work; when
this applies, the discrepancy is indicated in the Other Prints
field. Also included when known is the date that Cameron
registered the photograph for copyright at Stationers'
Hall, London (see appendix A). In most cases she copyrighted the photograph soon after having made it, which
has assisted in the process of assigning dates to works for
which accurate information was hitherto unknown.
Collection
Every effort has been made to provide information about
the current ownership of works. Abbreviations have been
used for most public collections (see collection abbre-
Medium
All works are albumen prints contact printed from wetcollodion negatives, unless otherwise noted. The Medium
field appears only when the photograph is not an albumen
print. Carbon prints of a particularly rare or fine quality are
occasionally reproduced instead of an albumen print; in such
instances the existence of an equivalent albumen print is
indicated in the Other Prints field. If the image survives
only as a small-format photograph, most commonly a
cabinet card or carte-de-visite, this information is noted.
Inscriptions
Most of Cameron's photographs are mounted on boards
and are accompanied by inscriptions and stamps (for examples, see appendix B). Recto and verso inscriptions are
noted, and it is clearly stated whether or not they appear
to be in Cameron's hand. Here the abbreviation JMC
stands for the artist's name. Recto inscriptions are typically
located directly underneath the image, while verso inscriptions are usually in the center or lower quadrants of
the mount. Recto inscriptions always precede mention of
stamps or labels. Illegible parts of an inscription, errors in
spelling and punctuation, and authorial interpolations
are noted in bracketed comments. A slash mark denotes
a line break.
Often the inscriptions consist of a title, date, and the
location of the sitting (for example, Cameron's home at
Freshwater, Isle of Wight, or that of her sister Sarah Prinsep
at Little Holland House, London). Quite commonly the
phrases "From Life," "Registered Photograph," "Copyright,"
and "Not Enlarged" are inscribed on the mount. Numbers
in the corners generally refer to Cameron's sequencing of
images in albums. Many times there is also an oval stamp
issued by Cameron's primary agent, P. & D. Colnaghi, or
a horizontal stamp issued by the print seller William
Spooner. Occasionally there are literary references, sales
and exhibition instructions, and other descriptive notations.
Provenance
The provenance of each work is listed as reliably as possible
in chronological order, from earliest to latest owner. The
year of acquisition or transference is given where known.
Dimensions
Cameron worked with two different sizes of glass-plate
negatives. Initially she used twelve-by-ten-inch negatives,
later progressing to fifteen-by-twelve-inch plates. The albumen prints made from these negatives were usually trimmed
to the desired proportions and attached to an album page
or card mount.
The majority of the works have been remeasured for
this catalogue. Measurements for the image always precede
those for the mount. Dimensions are provided in centimeters
followed by inches, with height always preceding width.
Other Prints
When other prints of the reproduced image are known, the
name of the holding collection is provided along with an
accession number, if available. Duplicate prints from within
the same collection as the reproduced image are always
listed first, followed by other collections in alphabetical
order. While every effort has been made to be thorough,
there may be some instances where prints of the reproduced image have not been listed. This applies particularly to smaller public institutions and private collections.
Cameron often varied her interpretation of an image
and created different croppings of prints from the same
negative. If this applies, the relevant information is included in this field. Possible formats include rectangular,
circular, square, and oval prints as well as those with
arched tops and rounded corners. In instances where the
photograph also exists as a carbon print or a small-format
image, that information is also included.
Reproduced
The references provided here do not amount to a definitive listing of where the image has been reproduced but
rather pertain to the most significant monographs and
exhibition catalogues relating to Cameron's life and work.
They are given in chronological order and include the
author's name, the year of publication, and the relevant
page or plate citation. These references correspond to full
citations in selected references.
Notes
Explanatory remarks in the catalogue are kept to a minimum so as to keep individual entries from becoming
unduly cumbersome. Occasionally, specific issues are clarified in this field.
107
Collection Abbreviations
AIC
Chicago, Illinois
HMA
AM
Ashmolean Museum
Oxford, England
AMAM
Oberlin, Ohio
Hanover,
New Hampshire
BA
Boston Athenaeum
Austin, Texas
Boston, Massachusetts
BLUO
Bodleian Library,
University of Oxford
Oxford, England
BMAG
Birmingham, England
BNF
BRMA
CAI
Williamstown,
Massachusetts
CCAC
CCVA
CM A
Cleveland, Ohio
CMP
California Museum of
Photography
Riverside, California
DAM
Wilmington, Delaware
DIA
Detroit, Michigan
DMCC
Wellesley,
Massachusetts
FAM
Cambridge,
Massachusetts
FAMSF
GEH
108
Atlanta, Georgia
HUHL
Harvard University,
Houghton Library
Cambridge,
Massachusetts
IM
Israel Museum
Jerusalem, Israel
IUAM
Bloomington, Indiana
IWCC
Isle of Wight,
England
JPGM
Los Angeles,
California
LCL
Liverpool, England
LM
Luton Museum
Luton, England
LoC
Library of Congress
Washington, D.C.
LU
Lehigh University
Bethlehem,
Pennsylvania
MAG
Harrogate, England
MAM
Milwaukee, Wisconsin
MDO
Musee d'Orsay
Paris, France
MFAB
Boston, Massachusetts
MFAH
Houston, Texas
MHS
MIA
Minneapolis,
Minnesota
San Francisco,
California
MM
Moderna Museet
Stockholm, Sweden
MMA
MoMA
SMAG
Lincoln, Nebraska
TAMA
TEAM
Tokyo, Japan
TMA
Toledo, Ohio
TRC
Lincoln, England
UCLA
University of California,
Los Angeles
Los Angeles,
California
MoPA
NGA
Washington, D.C.
NGC
Ottawa, Canada
NMAH
National Museum of
American History
Washington, D.C.
Bradford, England
NOMA
New Orleans,
Louisiana
NPG
London, England
NPGSI
Washington, D.C.
UIMA
University of Iowa
Museum of Art
PMA
Philadelphia,
Pennsylvania
UMMA
University of Michigan
Museum of Art
PSU
University Park,
Pennsylvania
Albuquerque,
New Mexico
RBG
Kew, England
V&A
London, England
RIJ
Rijksmuseum
Amsterdam,
the Netherlands
VHM
Paris, France
RISD
Providence,
Rhode Island
VSW
WAM
RPS
Bath, England
Worcester,
Massachusetts
RSA
London, England
WCP
London, England
SAM
Seattle, Washington
WIL
London, England
SCMA
Northampton,
Massachusetts
YUAG
New Haven,
Connecticut
SLAM
YUBL
SLUC
Schenectady,
New York
SMA
Los Angeles,
California
Collection Abbreviations
109
Beginnings
in
112
Beginnings
113
CAT. NO. 5
114
Daisy
Beginnings
115
CAT. NO. 18
Il6
cAT. NO. 21
Beginnings
117
118
Annie [Philpot]
[Annie Philpot]
Annie Philpot
[1864]
GEH Watts Album 71:0109: oooi
[1864]
GEH Watts Album 71:0109:0002
Daisy
Margaret Louisa "Daisy" Bradley
[Kate Keown]
[1864]
NMPFT Herschel Album 1984-5017/27
[1864]
GEH Watts Album 71:0109:0006
JULIA MARGARET
CAMERON
[1864]
HRHRC 964:0016:0045
[Group]
Elizabeth Keown, Annie Philpot, unknown girl
[1864]
Private collection
[1864]
GEH Watts Album 71:0109:0004
6
INSCRIPTIONS: Recto mount in ink by JMC:
Loulou Kuhn [sic] I The Sisters
IMAGE: 12.3 x 12.3 cm (413/i6 x 413/i6 in.)
MOUNT: 29.6 x 24.3 cm (nVs x 99/i& in.)
PROVENANCE: G. F. Watts; Christie, Manson
Sc Woods, London, July 2,1971, lot 21;
Ronald Chapman; anonymous gift in
honor of Dr. Walter Clark, 1971
OTHER PRINTS: Lindsay Album, no. 105;
Mia Album, no. 13
REPRODUCED: Ovenden 1975, pi. 92
7
Beginnings
119
10
ii
[Charlotte Norman]
[Julia Norman]
[1864]
GEH Watts Album 71:0109:0020
[1864]
[1864]
13
14
15
[Group]
Julia Jackson, unknown girl
[1864]
GEH Watts Album 71:0109:0023
I2O
[1864]
LCL, no. 3
[1864]
15
IMAGE: 24 x 19.4 cm (9 7 /i& x 75/s in.)
MOUNT: 35.1 x 26.1 cm (i313/i& x iolA in.)
PROVENANCE: Maria "Mia" Jackson; by
descent to Sotheby's, Belgravia, June 21,
1974, lot 27; private collection; present
owners, 1990
REPRODUCED: Ovenden 1975, pi. 47;
Mulligan et al. 1994, p. 33
IO
16
IMAGE: 23.7 x 19.1 cm (9s/i6 x yl/2 in.)
MOUNT: 46.7 x 37.8 cm (i83/8 x i47/s in.)
PROVENANCE: Christie's, London, March 20,
1980,lot 329
REPRODUCED: Lukitsh 1986, p. 20
II
12
16
Beginnings
121
122
*7
18
[Group]
Percy Keown, unknown girl
[1864]
GEH Watts Album 71:0109:0030
[1864]
GEH Watts Album 71:0109:0031
[1864]
V&A Ph 350-1981
21
22
23
[1864]
GEH Watts Album 71:0109:0039
[1864]
V&A Ph 247-1982
19
20
20
IMAGE: 25.4 x 19.8 cm (10 x 713/i6 in.)
PROVENANCE: Unknown
OTHER PRINTS: Private collection (cdv)
21
23
INSCRIPTIONS: Recto mount in ink by
JMC: Paul and Virginia and at upper right
corner: 2
IMAGE: 25.4 x 19.9 cm (10 x 713/i6 in.)
MOUNT: 33.9 x 29.1 cm (i35/i6 x n7/i6 in.)
PROVENANCE: Sotheby's, Belgravia, June 26,
1975, lot 45; Daniel Wolf, 1984
OTHER PRINTS: JPGM 84.XM.443.12; BLUO
Henry Taylor Album, no. 44; GEH Watts
Album 71:0109:0035; HRHRC Thackeray
Album 964:0312:0034 and 964:0037:0095;
Lindsay Album, no. 3; Mia Album, nos. 31
(arched top) and 32; Norman Album,
no. 48; NPG xi8o38 (cabinet); private
collection (cdv); RPS 2137 (carbon); TRC
5550; UCLA Aubrey Ashworth Taylor
Album, no. 43; V&A 44.952 and 45.148;
WCP 84:1559
REPRODUCED: Woolf and Fry 1973, pi. 23;
Ford 1975, p. 37; Ovenden 1975, pis. 8, 10;
Weaver 1984, p. 47; Hopkinson 1986, p. 121;
Weaver 1986, p. 70; Mulligan et al. 1994,
p. 54; Cox 1996, p. 19; Wolf 1998, p. 19;
Lukitsh 2001, p. 33
24
INSCRIPTIONS: Colnaghi blindstamp;
verso mount in ink in an unknown hand:
Mrs. Julia Margaret Cameron I Sybil [sic]
(1874)
IMAGE: 26.9 x 21.7 cm (ioYi6 x 89/i6 in.)
MOUNT: 49.8 x 40.7 cm (i95/8 x 16 in.)
PROVENANCE: Gift of Mrs. Beatrice Trench,
1929
OTHER PRINTS: GEH Watts Album
71:0109:0026; Lindsay Album, no. 52
(inscribed by JMC: A Sibyl after the
manner of Michelangelo}; V&A Ph 355-1981
REPRODUCED: Wolf 1998, p. 67
22
IMAGE: 26.4 x 20.2 cm (io3/8 x 715/i6 in.)
PROVENANCE: Unknown
24
Beginnings
123
124
25
26
27
[Group]
Unknown woman, Mary Hillier, Mary Ryan
[1864]
HRHRC Thackeray Album 964:0312:0025
[1864]
GEH Watts Album 71:0109:0032
[1864]
GEH Watts Album 71:0109: ooio
29
30
31
[Hallam Tennyson]
Lionel Tennyson
[Henry Taylor]
[1864]
GEH Watts Album 71:0109: oon
[1864]
GEH Watts Album 71:0109:0005
[1864]
GEH Watts Album 71:0109:0027
25
I N S C R I P T I O N S : Recto mount in ink by JMC:
A sybil [sic] after the manner of Michelangelo
IMAGE: 26.4 x 20.6 cm (io3/8 x SYs in.)
MOUNT: 35.2 x 25 cm (137/s x 913/i& in.)
PROVENANCE: Presented by Hester
Thackeray Fuller to the Gernsheim
Collection, October 21, 1953
26
31
IMAGE: 28.8 x 22.4 cm (n5/i6 x 813/i6 in.)
MOUNT: 29.6 x 24.3 cm (nVs x 99/i6 in.)
PROVENANCE: G. F. Watts; Christie, Manson
& Woods, London, July 2, 1971, lot 21;
Ronald Chapman; anonymous gift in
honor of Dr. Walter Clark, 1971
32
27
28
Hallam Tennyson
1864
32
30
INSCRIPTIONS: Recto mount in ink by JMC:
Lionel Tennyson
IMAGE: 18 x 15.5 cm (7Yi6 x 6 Yie in.)
MOUNT: 29.6 x 24.3 cm (n5/8 x 99/i6 in.)
PROVENANCE: G. F. Watts; Christie, Manson
& Woods, London, July 2, 1971, lot 21;
Ronald Chapman; anonymous gift in
honor of Dr. Walter Clark, 1971
[Henry Taylor]
[1864]
GEH Watts Album 71:0109:0028
Beginnings
125
126
33
34
[1864]
GEH Watts Album 71:0109:0013
[1864]
GEH Watts Album 71:0109:0014
JULIA MARGARET
CAMERON
33
INSCRIPTIONS: Recto mount in pencil in an
unknown hand: Sir Henry Taylor I Charles
Cameron1?
IMAGE: 18.3 x 15.2 cm (73/i6 x 6 in.)
MOUNT: 29.6 x 24.3 cm (iiVs x 99/i6 in.)
PROVENANCE: G. F. Watts; Christie, Manson
& Woods, London, July 2, 1971, lot 21;
Ronald Chapman; anonymous gift in
honor of Dr. Walter Clark, 1971
REPRODUCED: Lukitsh 1986, pp. 9, 38; Wolf
1998, p. 34; Lukitsh 2001, p. 25
34
IMAGE: 19.5 x 14.9 cm (7n/i6 x 57A in.)
MOUNT: 29.6 x 24.3 cm (nVs x 99/i6 in.)
PROVENANCE: G. F. Watts; Christie, Manson
Sc Woods, London, July 2, 1971, lot 21;
Ronald Chapman; anonymous gift in
honor of Dr. Walter Clark, 1971
Beginnings
127
II
Religion
<R
very center of Victorian existence, providing the glue that held society together.
For a family of Julia Margaret Cameron's social standing,
gathering for prayer, reading daily from the Bible, and
attending church on Sunday morning were activities understood as essential to the foundation of domestic life. Cameron was a devout Christian, and the number and range of
photographs that she made addressing religious themes
attests to her desire to express her beliefs through art. Christian typology from both the Old and New Testaments
offered a rich resource that Cameron willingly mined.
The historian and iconographer Anna Jameson described the object of religious art as being for "instruction and edification."1 While Cameron's religious studies
were certainly designed to enlighten and edify, they also
played an important role as catalysts in the growth of her
picture-making strategies. She was not preoccupied by
the desire to achieve realistic illustrations of religious subjects or to convey narrative fact, but rather wanted to suggest typical themes. To this end, many of her works carry
generalized rather than specific titles, which allows for a
more fluid interpretation of their meaning. Prayer and
Praise (cat. no. 130), for example, while having an explicitly devotional title, does not refer to any particular story,
and while the composition evokes the Nativity, it is more
broadly evocative of an ideal, unified Christian family.
This chapter contains 134 photographs, the vast
majority of which date from the first eighteen months of
Cameron's career. It was during these early years, 1864
and 1865, that Cameron was at her most productive. She
worked at an express rate and assembled several presen-
129
130
CAT. NO. 44
Religion
131
132
CAT. NO. 92
[A Holy Family]
Religion
133
c AT . NO. 119
134
c AT . NO. 130
Religion
135
136
Religion
137
138
Religion
139
35
37
Mary Hillier
Peace
Elizabeth Keown, Mary Hillier
1864
JPGM Overstone Album 84.xz.186.29
1865
JPGM Overstone Album 84.xz.186.25
[Joy]
39
40
4i
Gentleness
[1864]
Jack and Harriet Lazare, Montreal
Long-suffering
140
36
Love
Elizabeth Keown, Mary Hillier, Alice Keown
35
INSCRIPTIONS: Recto mount in ink by JMC:
Freshwater 1864 I Love
IMAGE: 25.5 x 19.6 cm (10 x y11/^ in.)
MOUNT: 33.7 x 28.3 cm (13 V* x nVs in.)
PROVENANCE: Sotheby's, Belgravia, June 26,
1975, lot 45; Daniel Wolf, 1984
OTHER PRINTS: BLUO Henry Taylor
Album, no. 41; BNF 0.05963/12; GEH
Watts Album 71:0109:0029; HRHRC
Thackeray Album 964:0312:0031; MM A
41.21.7 (printed in reverse; inscribed by
JMC: The Madonna Pensosa [sic])', NMPFT
Herschel Album 1984-5017/43; RPS 2168;
TRC 5501; UCLA Aubrey Ashworth Taylor
Album, no. 51 (trimmed detail showing
upper right quadrant of image); V&A
E.I22I-2OOO (formerly British Museum
1865-1-14-1297); YUBL Gen. Mss. 340,
Vol. i, no. 27, and Vol. 3, folder 6
REPRODUCED: Ford 1975, p. 66; Lukitsh 1986,
p. 20; Weaver 1986, p. 76; Wolf 1998, p. 61
Repose
Freddy Gould, Mary Hillier
[1864]
36
42
Goodness
Mary Hillier, Alice Keown
[1864]; copyright November 4, 1864
JPGM Overstone Album 84.xz.186.27
39
INSCRIPTIONS: Recto mount in ink by JMC:
Fresh Water 1865 [sic] I Long-suffering I
"Fruits of the Spirit"
IMAGE: 25.4 x 19.9 cm (10 x 713/i6 in.)
MOUNT: 33.9 x 29.1 cm (i35/i6 x n7/i6 in.)
PROVENANCE: Sotheby's, Belgravia, June 26,
1975, lot 45; Daniel Wolf, 1984
OTHER PRINTS: Lindsay Album, no. 26;
V&A .1218-2000 (formerly British
Museum 1865-1-14-1294)
REPRODUCED: Weaver 1986, pp. 44, 85
NOTES: Although this photograph was
dated 1865 by JMC, it was registered for
copyright on December 12, 1864.
40
41
INSCRIPTIONS: Recto mount in ink by JMC:
Freshwater 1864 I Gentleness I one of the
series of the nine "fruits of the Spirit" and
at upper right corner: j<?
IMAGE: 25.2 x 19.3 cm (915/i& x 79/i6 in.)
MOUNT: 33.8 x 28.2 cm (i35/i6 x nYi6 in.)
PROVENANCE: Sotheby's, Belgravia, June 26,
1975, lot 45; Daniel Wolf, 1984
OTHER PRINTS: BLUO Henry Taylor
Album, no. 25; Lindsay Album, no. 135;
V&A E.I22O-2OOO (formerly British
Museum 1865-1-14-1296)
REPRODUCED: Weaver 1986, p. 83
42
Religion
141
43
Faith
Elizabeth Keown, Mary Hillier, Alice Keown
45
[Meekness]
Elizabeth Keown, Mary Hillier, Alice Keown
47
48
[Temperance]
Mary Hillier, Percy Keown (?)
49
1864
JPGM Overstone Album 84.xz.186.47
[1864]
BNF D.o<5Q6i/E0.3o6a
142
44
43
I N S C R I P T I O N S : Recto mount in ink by JMC:
Freshwater 1864 I Faith and at upper right
corner: jo
IMAGE: 23.8 x 18.5 cm (yVs x ^A in.)
MOUNT: 34.1 x 28.1 cm (i37/i6 x n Yi6 in.)
PROVENANCE: Sotheby's, Belgravia, June 26,
1975, lot 45; Daniel Wolf, 1984
OTHER PRINTS: IUAM Miniature Album
75.38.89; Lindsay Album, no. 16 (rectangle);
NMPFT Herschel Album 1984-5017/53;
Norman Album, no. 59 (inscribed by
JMC: Holy Family); RPS 2169 (inscribed by
JMC: For Professor Wilson if he care
to have if); TRC 5502 (rectangle); V&A
E.I222-2OOO (formerly British Museum
1865-1-14-1298)
REPRODUCED: Ford 1975, p. 76; Weaver 1986,
p. 77; Cox 1996, p. 23
46
Temperance
Mary Hillier, Percy Keown (?)
[1864]
V&A E.1226-2000
44
I N S C R I P T I O N S : Verso print in ink by JMC
at upper center: Centre of I middle row I
in a round
50
La Madonna Aspettante I Yet a
little while
Freddy Gould, Mary Hillier
47
I N S C R I P T I O N S : Recto print in ink by JMC
at bottom edge: From Life Julia Margaret
Cameron and recto mount in ink: From Life
d'apres Nature Registered Photograph Julia
Margaret Cameron
Religion
143
5i
52
53
[1865]
NPG xi8o25
1865
JPGM Overstone Album 84.xz.186.37
55
144
56
La Madonna Vigilante
Alice Keown, Kate Dore
1864
JPGM Overstone Album 84.xz.186.19
57
51
54
52
INSCRIPTIONS: Recto mount in ink by JMC:
La Madonna Riposata I Resting in Hope
IMAGE: 25.4 x 20 cm (10 x j7/% in.)
MOUNT: 33.5 x 26.8 cm (i33/i6 x io9/i6 in.)
PROVENANCE: Gift of Mrs. Curie, 1959
REPRODUCED: Weaver 1984, p. 33
53
INSCRIPTIONS: Recto mount in ink by JMC:
FreshWater 1865 I La Madonna delta Pace I
Perfect in Peace and at upper right corner: 36
IMAGE: 24.1 x 19.9 cm (972 x 713/i6 in.)
MOUNT: 34 x 28.2 cm (13 Vs x uVu in.)
PROVENANCE: Sotheby's, Belgravia, June 26,
1975, lot 45; Daniel Wolf, 1984
OTHER PRINTS: Lindsay Album, no. 14;
MFAB Hughes family loan; RPS 2174/1-2;
V&A 44.763 and 44.782
REPRODUCED: Weaver 1986, p. 78
58
54
INSCRIPTIONS: Recto mount in ink by
JMC: FreshWater 1865 I La Madonna
Esaltata I Fervent in prayer and at upper
right corner: 34
IMAGE: 24.5 x 19.9 cm (gVs x 713/i6 in.)
MOUNT: 34 x 28.2 cm (13 Vs x iiVi6 in.)
PROVENANCE: Sotheby's, Belgravia, June 26,
1975, lot 45; Daniel Wolf, 1984
OTHER PRINTS: HRHRC Thackeray Album
964:0312:0029; Lindsay Album, no. 28;
V&A 44.754 and 44.773
REPRODUCED: Weaver 1984, p. 33; Weaver
1986, p. 78
55
INSCRIPTIONS: Recto mount in ink by JMC:
FreshWater 1864 I La Madonna Vigilante
and at upper right corner: 18
IMAGE: 25.5 x 20 cm (10 x f/% in.)
MOUNT: 33.9 x 29.1 cm (i35/i6 x n7i6 in.)
PROVENANCE: Sotheby's, Belgravia, June 26,
1975, lot 45; Daniel Wolf, 1984
OTHER PRINTS: HRHRC Thackeray Album
964:0312:0024 and 964:0037 :oo62A;
IWCC Miniature Album, no. 28 (inscribed
by JMC: La Madonna Vigilante I Watching
Always}; Lindsay Album, no. 5; Norman
Album, no. 45; private collection (cdv);
TRC 5498; YUBL Gen. Mss. 340, Vol. i,
no. 22
REPRODUCED: Weaver 1986, p. 74; Hinton
J992, P- 93
56
Religion
145
146
59
60
61
Heaven
Elizabeth Keown, Mary Hillier, Alice Keown
[1864]
YUBL Gen. Mss. 340, Vol. 3, folder 25
[1864]
Present whereabouts unknown
[1864]
NMPFT Herschel Album 1984-5017/36
63
64
65
[1864]
Present whereabouts unknown
[1864]
Michael Mattis and Judith Hochberg
(Mia Album, no. 4)
[1864]
NGA 1995.36.67
59
I N S C R I P T I O N S : Recto mount in ink by
JMC: Registered Photograph Julia Margaret
Cameron
IMAGE: 25.6 x 20.2 cm (ioVi6 x 7is/i6 in.)
MOUNT: 35.1 x 34.3 cm (i313/i6 x i^A in.)
P R O V E N A N C E : Gift of the artist to the
Tennyson family; by descent within the
Tennyson and Prinsep families; Colonel
E. S. M. Prinsep, 1949
OTHER PRINTS: GEH 67:0088:0018
(platinum print by A. L. Coburn); HRHRC
964:0037:0006 (oval)
60
IMAGE: 26.7 x 20.3 cm (ioV2 x 8 in.)
MOUNT: Unknown
P R O V E N A N C E : Sotheby's, New York, May 7,
1985, lot 195
62
Contemplation
Elizabeth Keown, Mary Hillier, Alice Keown
[1864]
JPGM Overstone Album 84.xz.186.28
64
I N S C R I P T I O N S : Recto mount in ink by JMC:
Julia Margaret Cameron and in pencil
below: The Sphinx Madonna
IMAGE: 24.2 x 19 cm (gV2 x j7/\b in.)
MOUNT: 35.1 x 26.1 cm (i313/i6 x 10% in.)
PROVENANCE: Maria "Mia" Jackson; by
descent to Sotheby's, Belgravia, June 21,
1974, lot 27; private collection; present
owners, 1990
REPRODUCED: Ovenden 1975, pi. 42; Mulligan
et al. 1994, p. 17
65
I N S C R I P T I O N S : Colnaghi blindstamp
IMAGE: 26.5 x 21.2 cm (io7/i6 x 85/i& in.)
MOUNT: 53 x 36.2 cm (2o7/s x 14% in.)
P R O V E N A N C E : David and Mary Robinson,
1995
61
66
62
I N S C R I P T I O N S : Recto mount in ink by JMC:
Contemplation
IMAGE: 23.7 x 19.5 cm (gV\(, x 7n/i6 in.)
MOUNT: 34 x 28.1 cm (13Vs x uVu in.)
P R O V E N A N C E : Sotheby's, Belgravia, June 26,
1975, lot 45; Daniel Wolf, 1984
OTHER PRINTS: Lindsay Album, no. 124;
MMA 41.21.11 (Colnaghi blindstamp)
REPRODUCED: Weaver 1986, p. 76
63
I N S C R I P T I O N S : Recto mount in pencil by
JMC: The Sphinx Madonna Mother & Child
and in ink below: From Life Julia Margaret
Cameron 110/6 [10 shillings and sixpence]
can be printed to order
IMAGE: 24 x 18.2 cm (9 7 /i& x 7% in.)
MOUNT: Unknown
PROVENANCE: Sotheby's, Belgravia, June 28,
1978, lot 342
66
Religion
147
148
67
68
69
[1864]
GEH Watts Album 71:0109:0037
[1864]
V&A Ph 340-1981
[1864]
V&A Ph 341-1981
71
72
73
[Group]
Alice Keown, Mary Kellaway, Percy Keown
A Spanish Picture
Elizabeth Keown, Mary Kellaway
[1864]
V&A Ph 332-1981
[1864]
V&A Ph 345-1981
[1864]
Private collection, United Kingdom
(Lindsay Album, no. 70)
JULIA MARGARET
CAMERON
67
7o
[Good Night]
Elizabeth Keown, Mary Kellaway,
Percy Keown
[1864]
MoMA 328.68
74
74
I N S C R I P T I O N S : Recto mount in ink by JMC:
The Mother Wing
IMAGE: 24.6 x 20 cm (9 n /i6 x j7/% in.)
MOUNT: 35.2 x 25 cm (rjVs x 913/i6 in.)
PROVENANCE: Presented by Hester
Thackeray Fuller to the Gernsheim
Collection, October 21, 1953
Religion
149
75
76
77
Aspiration
[1864-65]
V&A Ph 338-1981
[1864-65]
V&A Ph 339-1981
[1864-65]
Private collection, United Kingdom
(Lindsay Album, no. 125)
79
80
150
81
Trust
[Trust]
1865
JPGM Overstone Album 84.xz.186.107
[1865]
V&A Ph 348-1981
[1865]
Present whereabouts unknown
75
I N S C R I P T I O N S : Colnaghi blindstamp
IMAGE: 23.1 x 20 cm (9 Vi6 x j7/% in.)
MOUNT: 40.3 x 29.1 cm (i57/s x uVu, in.)
P R O V E N A N C E : Undocumented gift, 1941,
found in museum vault, 1965
76
INSCRIPTIONS: Colnaghi blindstamp
IMAGE: 18.3 x 13.1 cm (/Yi* x 5% in.)
MOUNT: 38.1 x 28.5 cm (15 x n3/ in.)
PROVENANCE: Undocumented gift, 1941,
found in museum vault, 1965
77
I N S C R I P T I O N S : Recto mount in ink by JMC:
Aspiration and at upper right corner: 725
IMAGE: 24.6 x 19.4 cm (9 n /i6 x yVs in.)
MOUNT: 34.1 x 28.1 cm (i37/i& x uVu in.)
P R O V E N A N C E : Gift of the artist to Sir Coutts
Lindsay; by descent within the family
78
78
IMAGE: 25.3 x 19.9 cm (9^/16 x 7^/16 in.)
PROVENANCE: Undocumented gift, 1941,
found in museum vault, 1965
79
81
I N S C R I P T I O N S : Unknown
IMAGE: 25.4 x 20.3 cm (10 x 8 in.)
MOUNT: Unknown
P R O V E N A N C E : Sotheby Parke Bernet, New
York, March 25, 1975, lot 84
82
82
Religion
5I
83
Lucia
Alice Keown, Mary Hillier
d'Apres Nature
85
Aurora
Unknown girl, Kate Dore
[1864-65]
Private collection, United Kingdom
(Lindsay Album, no. 127)
[1864-65]
BNF 0.05963/646 34911
8?
88
89
152
84
83
INSCRIPTIONS: Recto mount in ink by JMC:
Lucia and at upper right corner: 727
IMAGE: 24.3 x 20.3 cm (99/i6 x 8 in.)
MOUNT: 34.1 x 28.1 cm (i3?/i6 x nVie in.)
PROVENANCE: Gift of the artist to Sir Coutts
Lindsay; by descent within the family
OTHER PRINTS: BNF 0.05963/13; RPS 2308
(circle)
84
INSCRIPTIONS: Recto print in the negative by
JMC at lower center: From Life /JMC and
recto mount in ink: Registered photograph
Julia Margaret Cameron I d'Apres Nature
IMAGE: 26.2 x 21 cm (loVie x 8!/4 in.)
MOUNT: 33.8 x 28.3 cm (i35/i6 x nVs in.)
PROVENANCE: Gift of Vanessa Bell, November 23, 1945
OTHER PRINTS: Sotheby's, Belgravia,
October 29, 1980, lot 230 (printed in
reverse)
86
89
85
INSCRIPTIONS: Recto mount in ink by JMC:
Fresh Water 1864 I Aurora and at upper right
corner: 85
IMAGE: 25.4 x 19.9 cm (10 x 713/i& in.)
MOUNT: 33.9 x 29.1 cm (i35/i6 x n7/i6 in.)
PROVENANCE: Sotheby's, Belgravia, June 26,
1975, lot 45; Daniel Wolf, 1984
OTHER PRINTS: BLUO Henry Taylor Album,
no. 45
REPRODUCED: Weaver 1986, p. 90
86
90
The Nativity
Percy Keown, Cyllena Wilson,
Alice Keown
[i867]
Present whereabouts unknown
Religion
153
9i
92
[A Holy Family]
Unknown girl, Mary Hillier, Freddy Gould
[1872]
Present whereabouts unknown
[1872]
JPGM 84.XM.443.i9
95
96
[May Prinsep]
97
August 3, 1872
Alex Novak, Vintage Works
154
[1864-66]
V&A Ph 357-1981
93
[Mary Hillier]
[1864-66]
MMA 41.21.13
9i
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Registered Photograph copyright
Julia Margaret Cameron IA Study of the
Holy Family
IMAGE: 34.2 x 26.3 cm (i3?/i6 x loVu, in.)
MOUNT: 46 x 38.9 cm (iSYs x i55/i6 in.)
P R O V E N A N C E : P. &, D. Colnaghi &, Co.,
Ltd., London, October 27~December i,
1976,lot 181
REPRODUCED: Lloyd 1976, lot 181
92
I N S C R I P T I O N S : Recto mount in ink in an
unknown hand: A Holy Family
IMAGE: 33.3 x 26.9 cm (13 Vs x ioVi6 in.)
MOUNT: 43 x 31.5 cm (i615/i6 x i23/s in.)
P R O V E N A N C E : Virginia Woolf; Sotheby's,
Belgravia, March 8, 1974, lot 121; Samuel
Wagstaff, Jr., 1984
94
97
INSCRIPTIONS: Recto mount in pencil in
an unknown hand above image:
of Mary Hi/Her; Colnaghi blindstamp
IMAGE: 19.7 x 14.8 cm (f/* x 513/i6 in.)
MOUNT: 45.6 x 32.9 cm (i715/i6 x i215/i6 in.)
PROVENANCE: E. P. Goldschmidt 6t Co., 1941
98
93
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph copyright
Julia Margaret Cameron Freshwater Aug
i8j2 I Une Sainte Famille Dediee a Monsieur
Gustave Dore [A holy family dedicated to
Mr. Gustave Dore]; Colnaghi blindstamp
IMAGE: 33.4 x 26.5 cm (13 Vs x io7/i6 in.)
MOUNT: 55.6 x 44.8 cm (2i7/s x ij5A in.)
PROVENANCE: Samuel Wagstaff, Jr., 1984
94
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph copyright
Julia Margaret Cameron IA Study of a
Holy Family^ Colnaghi blindstamp
IMAGE: 34.1 x 28.8 cm (i37/i6 x n5/i6 in.)
MOUNT: 46.6 x 38.9 cm (i85/i6 x i55/i6 in.)
PROVENANCE: Unknown
R E P R O D U C E D : Weaver 1984, p. 35
98
[Mary Hillier]
[1864-66]
V&A Ph 346-198:
95
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Registered Photograph Copyright
Julia Margaret Cameron Freshwater Aug. jrd
i8j2 I Une Sainte Famille I dediee a Gustave
Dore I group prise le lendemain de sa visite
[A holy family / dedicated to Gustave
Dore / group taken the morning after his
arrival]; Colnaghi blindstamp
IMAGE: 34.8 x 28.3 cm (i3n/i6 x nVs in.)
MOUNT: 58.4 x 46.4 cm (23 x i8Y4 in.)
P R O V E N A N C E : Christie's, London,
October 25, 1984, lot 201
96
I N S C R I P T I O N S : Colnaghi blindstamp
IMAGE: 23.6 x 18 cm (glA x jl/\^ in.)
MOUNT: 37.8 x 28.9 cm (147A x nVs in.)
P R O V E N A N C E : Undocumented gift, 1941,
found in museum vault, 1965
Religion
155
99
Mary Madonna
Mary Hillier
1864; copyright October 10, 1864
JPGM Overstone Album 84.xz.186.76
156
IOO
[Mary Hillier]
[1866]
Present whereabouts unknown
101
Mary Mother
Mary Hillier
[1867]
GEH 81:1124:0006
103
104
[Madonna]
Julia Norman (?)
La Santa Maria
Mary Hillier
La Madonna Purissima
Mary Hillier
March 1868
WCP93:492i
May 1868
HRHRC 964:0037:0018
1868
HRHRC 964:0037:0087
99
INSCRIPTIONS: Recto mount in ink by JMC:
Fresh Water actual size Life 1864 I Mary
Madonna and at upper right corner: 76
IMAGE: 26.7 x 20.8 cm (loYa x 83/i6 in.)
MOUNT: 33.9 x 29.1 cm (i35/i6 x n7/i6 in.)
PROVENANCE: Sotheby's, Belgravia, June 26,
1975, lot 45; Daniel Wolf, 1984
OTHER PRINTS: Lindsay Album, no. 137
REPRODUCED: Weaver 1986, p. 88; Cox 1996,
p. 25
100
IO2
La Madonna
Unknown woman
[1867]
GEH 81:1121:0023
101
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph copyright
Julia Margaret Cameron I Mary Mother,
Colnaghi blindstamp
IMAGE: 32.2 x 26.6 cm (i2 n /i6 x io7/i6 in.)
MOUNT: 55.8 x 45.1 cm (2i15/i6 x ij3A in.)
PROVENANCE: Brussels Associates, New York,
1961
OTHER PRINTS: AM (oval); IUAM Miniature
Album 75.38.23; IWCC Miniature Album,
no. 15; MFAB 42.355 (carbon); NMPFT
1990-5036/11511; Norman Album, no. 23;
NPG xi8o4i (cabinet); PMA 68-26-1;
private collection (cdv); RPS 2154, 20554,
and 23648; UCLA Aubrey Ashworth Taylor
Album, no. 5; VHM Ph 2596
REPRODUCED: Woolf and Fry 1926, pi. 18;
Woolf and Fry 1973, pi. 18; Gernsheim 1975,
p. 172; Bruson 1980, pi. 7; Weaver 1984,
p. 134; Hopkinson 1986, p. 21; Lukitsh 1986,
p. 21; Hinton 1992, p. 67; Wolf 1998, pi. 44;
Lukitsh 2001, p. 91
102
103
INSCRIPTIONS: Recto mount in ink by JMC:
From Life March 1868 Julia Margaret
Cameron
IMAGE: 34.4 x 26.3 cm (i39/i6 x io5/i6 in.)
MOUNT: 40.3 x 31.4 cm (i57/s x i23/s in.)
PROVENANCE: RPS, on loan from the
Norman family; Erich Sommer; Charles
Isaacs, 1993
REPRODUCED: Woolf and Fry 1973, pi. 39;
Wolf 1998, pi. 31; Lukitsh 2001, p. 93
104
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Freshwater May 1868 Julia
Margaret Cameron and in pencil below:
La Santa Maria; Colnaghi blindstamp
IMAGE: 32 x 26.5 cm (i29/i6 x io7/i6 in.)
MOUNT: 51.3 x 40.9 cm (2o3/i6 x i6Yi6 in.)
PROVENANCE: Helmut Gernsheim
105
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Freshwater 1868 Julia Margaret
Cameron and in pencil below: La Madonna
Purissima; Colnaghi blindstamp
IMAGE: 33.9 x 27.5 cm (i35/i6 x io13/i6 in.)
MOUNT: 52.5 x 42 cm (2on/i6 x i6l/2 in.)
PROVENANCE: Helmut Gernsheim
106
106
[Group]
Mary Hillier, Elizabeth Keown
[1865-66]
JPGM 84.XM.443.65
Religion
'57
158
107
108
109
[Group]
Mary Hillier, Elizabeth Keown
[Group]
Mary Hillier, Elizabeth Keown
[Mary Hillier]
[1865-66]
RPS 20588
[1865-66]
RPS 2166
Ill
112
"3
[The Annunciation]
Mary Ryan
[1865-66]
NMPFT Herschel Album 1984-5017/48
[1865-66]
Private collection, United Kingdom
[1865-66]
RPS 2155
JULIA M A R G A R E TC A M E R O N
[1865-66]
Private collection, United Kingdom
107
I N S C R I P T I O N S : Recto mount ink stamp:
Royal Photographic Society / 35, Russell
Square /London W.C. i
IMAGE: 32.6 x 27.8 cm (i213/i6 x io15/i6 in.)
MOUNT: 49 x 37.3 cm (19lA x i4n/i6 in.)
P R O V E N A N C E : Unknown
108
IMAGE: 32.7 x 28 cm (i27/s x u in.)
MOUNT: 36.7 x 32 cm (i47/i6 x i29/i6 in.)
P R O V E N A N C E : Unknown
R E P R O D U C E D : Weaver 1984, p. 16; Weaver
1986, p. 33
109
"3
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Julia Margaret Cameron I After
Perugino and in pencil: The Annuciation\
Colnaghi blindstamp
IMAGE: 33.9 x 26.6 cm (i35/i6 x io7/i6 in.)
MOUNT: 50.4 x 38 cm (i913/i& x i415/i6 in.)
PROVENANCE: Gift of Mrs. Beatrice Trench,
1929
OTHER PRINTS: MMA 1990.1074.3; NMPFT
1990-5036/11528 (cabinet); Norman Album,
no. 36; Paul and Prentice Sack
114
IMAGE: 30.6 x 26.5 cm (12 Vie x io7/i6 in.)
MOUNT: 35.1 x 26.1 cm (i313/i6 x iolA in.)
PROVENANCE: Maria "Mia" Jackson; by
descent to Sotheby's, Belgravia, June 21,
1974, lot 27; private collection; present
owners, 1990
REPRODUCED: Ovenden 1975, pi. 39; Mulligan
et al. 1994, p. 48
112
114
[The Annunciation]
Mary Ryan, Elizabeth Keown
[1865-66]
Michael Mattis and Judith Hochberg
(Mia Album, no. 101)
Religion
159
"5
[The Annunciation]
Unknown woman, Mary Hillier
[1865-66]
Present whereabouts unknown
160
116
The Salutation I after the manner
of Giotto
Mary Kellaway, Mary Hillier
[1864]
HRHRC Thackeray Album 964:0312:0051
117
The Salutation
Mary Kellaway, Mary Hillier
1864
JPGM Overstone Album 84.xz.i86.59
119
I2O
121
[Group]
Mary Ryan, Mary Hillier, Mary Kellaway
[1864]
V&A Ph 343-1981
[1864]
V&A Ph 344-1981
"5
I N S C R I P T I O N S : Unknown
IMAGE: Unknown
MOUNT: Unknown
PROVENANCE: Unknown
116
122
117
n8
[The Salutation]
Mary Hillier, Mary Kellaway
[1864]
V&A Ph 347-1981
121
Religion
161
123
124
!25
A Group
Mary Hillier, Mary Kellaway
162
1864
JPGM Overstone Album 84.xz.i86.8
[1864-65]
V&A 45-155
127
128
129
Devotion
Percy Keown, Mary Hillier
The Day-Spring
Percy Keown, Mary Hillier
June 1865
JPGM Overstone Album 84.xz.i86.i6
[1865]
TRC 5397
123
128
124
126
125
I N S C R I P T I O N S : Recto mount in ink by JMC:
Registered Photograph Julia Margaret
Cameron I St Cecelia \_sic\ I after the manner
of Raphael; Science and Art Library
blindstamp above image
IMAGE: 25.4 x 20 cm (10 x j7A in.)
MOUNT: 38.8 x 29.5 cm (i^A x n5/8 in.)
P R O V E N A N C E : Gift of the artist,
September 27, 1865
OTHER P R I N T S : Lindsay Album, no. 62;
YUBL Gen. Mss. 340, Vol. i, no. 32
129
I N S C R I P T I O N S : Recto mount in ink by JMC:
Julia Margaret Cameron Registered
Photograph I The Day-Spring
IMAGE: 29 x 23.5 cm (u 7 /i6 x glA in.)
MOUNT: 33.9 x 34.1 cm (i35/i6 x i37/i& in.)
PROVENANCE: Gabriel Cromer, 1939;
gift of Eastman Kodak Company, 1949
OTHER P R I N T S : GEH 67:0088:0005
(platinum print by A. L. Coburn); Lindsay
Album, no. 95
R E P R O D U C E D : Lukitsh 1986, p. 24; Wolf 1998,
pi. 42
130
INSCRIPTIONS: Recto mount in ink by JMC:
Fresh Water 1865 I Prayer and Praise and at
upper right corner: 90
IMAGE: 28.1 x 22.7 cm (iiYi6 x 815/i6 in.)
MOUNT: 33.9 x 29.1 cm (i35/i6 x n7/i6 in.)
P R O V E N A N C E : Sotheby's, Belgravia, June 26,
1975, lot 45; Daniel Wolf, 1984
OTHER PRINTS: Lindsay Album, no. 54
REPRODUCED: Weaver 1986, pp. 43, 92
126
I N S C R I P T I O N S : Recto mount in ink by JMC:
Julia Margaret Cameron I The Vision of
Infant Samuel; Spooner blindstamp
IMAGE: 24.3 x 21.3 cm (99/u> x 83/s in.)
MOUNT: 34 x 27.4 cm (13 3A x io3/4 in.)
P R O V E N A N C E : Sotheby's, Belgravia, June 26,
1975, lot 45; Daniel Wolf, 1984
OTHER P R I N T S : BLUO Henry Taylor Album,
no. 33
REPRODUCED: Weaver 1986, p. 91
127
130
Prayer and Praise
Elizabeth Keown, Mary Ryan, unknown man,
Percy Keown
1865; copyright July 18, 1865
JPGM Overstone Album 84.xz.186.91
Religion
163
132
133
[1865-66]
Private collection, United Kingdom
(Lindsay Album, no. 34)
[1865-66]
V&A Ph 337-1981
135
136
*37
June 1866
HRHRC 964:0037:0017
[1866]
YUBL Gen. Mss. 340, Vol. i, no. 29
J3 1
164
I31
137
132
134
A Christmas Carol
Kate Keown (?), Mary Hillier, unknown man,
Freddy Gould
May 1865
JPGM Overstone Album 84.xz.186.73
138
134
I N S C R I P T I O N S : Recto mount in ink by JMC:
FreshWater May 1865 IA Christmas Carol
and at upper left corner: /j
IMAGE: 26.4 x 21.4 cm (loVs x 87/i6 in.)
MOUNT: 33.9 x 29.1 cm (i3Yi6 x uVu, in.)
PROVENANCE: Sotheby's, Belgravia, June 26,
1975, lot 45; Daniel Wolf, 1984
REPRODUCED: Weaver 1986, p. 87
135
I N S C R I P T I O N S : Recto mount in ink by JMC:
Fresh Water 1865 I The Shunamite [sic]
Woman and her dead Son and at upper left
corner: 6j
IMAGE: 27.1 x 21.4 cm (io n /i6 x 87/i6 in.)
MOUNT: 33.9 x 29.1 cm (i35/i6 x n7/i6 in.)
PROVENANCE: Sotheby's, Belgravia, June 26,
1975, lot 45; Daniel Wolf, 1984
OTHER PRINTS: Lindsay Album, no. 75; V&A
Ph 335-i98i
REPRODUCED: Weaver 1986, p. 85
136
138
Hosanna
Mary Kellaway, Mary Ryan, Mary Hillier,
Alice Keown
May 1865; copyright July 18, 1865
JPGM Overstone Album 84.xz.i86.8i
Religion
165
139
[Hosanna]
140
[1865]
V&A Ph 243-1982
[1865]
V&A Ph 245-1982
143
144
[Daughters of Jerusalem]
[1865]
V&A Ph 336-1981
i66
[Hosanna]
[1865]
MMA 41.21.12
141
Decidedly Pre-Raphaelite
Mary Hillier, unknown woman, Mary Ryan
[1864-65]
GEH 81:1121:0033
145
[Daughters of Jerusalem]
Mary Hillier, unknown woman,
Mary Kellaway, Percy Keown
[1865]
GEH 72:0026:0001
!39
IMAGE: 29.2 x 22.4 cm (nY2 x 813/i6 in.)
PROVENANCE: Unknown
140
141
142
Daughters of Jerusalem
H3
IMAGE: 34.5 x 26.2 cm (i39/i6 x io5/i6 in.)
MOUNT: 35.7 x 26.6 cm (14 V x io 7 /i6 in.)
PROVENANCE: Undocumented gift, 1941,
found in museum vault, 1965
144
146
Sister Spirits
Mary Kellaway, Mary Hillier, unknown
woman, Elizabeth Keown, Alice Keown,
Percy Keown
Religion
167
47
148
149
[1864-65]
Private collection, United Kingdom
(Lindsay Album, no. 57)
I I
152
168
[1865]
V&A 45.152
53
47
INSCRIPTIONS: Recto mount in pencil by
JMC: Lilies and Pearls and in ink at upper
right corner: 57
IMAGE: 21.1 x 26.5 cm (85/i6 x io7/i6 in.)
MOUNT: 34.1 x 28.1 cm (i37/i6 x nYi6 in.)
PROVENANCE: Gift of the artist to Sir Coutts
Lindsay; by descent within the family
J51
INSCRIPTIONS: Recto mount in ink by JMC:
My Grand child Eugene's Boy Archie aged
2 years & j months born at Barbados
May 23rd 1863 I Julia Margaret Cameron;
Colnaghi blindstamp
IMAGE: 22.9 x 28.1 cm (9 x nYi6 in.)
MOUNT: 28.5 x 38.1 cm (nVie x 15 in.)
PROVENANCE: Unknown
148
i5o
[1865]
V&A 45.149
150
!54
[Mary Hillier]
152
[1865]
Private collection, United Kingdom
Religion
169
iS6
[1865]
HRHRC 964:0037:0022
August 1865
V&A 45.160
59
160
161
[1865]
GEH 81:1123:0001
[1865]
HRHRC 964:0037:0023
155
I/O
57
[1865]
V&A 45.162
55
INSCRIPTIONS: Recto mount in ink by JMC:
Julia Margaret Cameron My grandchild
Archie aged 2 years &j months I For Signor;
Colnaghi blindstamp
IMAGE: 20.9 x 23.8 cm (83/i6 x 9 3 A in.)
MOUNT: 28.6 x 38 cm (nVt x i415/i6 in.)
PROVENANCE: Gabriel Cromer, 1939;
gift of Eastman Kodak Company, 1949
OTHER PRINTS: BLUO Henry Taylor Album,
no. 49
REPRODUCED: Lukitsh 1986, p. 14
i58
Devotion
Archibald Cameron, Mary Hillier
[1865]
V&A 45.154
i56
INSCRIPTIONS: Recto mount in ink by JMC:
From Life My Grandchild aged 2 years &
3 months Julia Margaret Cameron I For Hay
Cameron; Colnaghi blindstamp
IMAGE: 20.5 x 22.3 cm (8Vi6 x 83A in.)
MOUNT: 26.5 x 32.5 cm (io7/i6 x i213/i6 in.)
PROVENANCE: Helmut Gernsheim
OTHER PRINTS: Mia Album, no. 55; NGC
21286 (circle); RPS 2176/1 (circle)
REPRODUCED: Gernsheim 1948, pi. 2ia;
Gernsheim 1975, p. 138; Ovenden 1975,
pi. 89; Weaver 1984, p. 31; Mulligan et al.
1994, p. 12
157
59
INSCRIPTIONS: Recto mount in ink by JMC:
My grandchild & my chef d'oeuvre Julia
Margaret Cameron I For Signor age 2 years
&3 months; Colnaghi blindstamp
IMAGE: 15.4 x 23.6 cm (6 Vie x gV* in.)
MOUNT: 28.6 x 38.2 cm (nVt x 15 in.)
PROVENANCE: Gabriel Cromer; gift of
Eastman Kodak Company, 1949
OTHER PRINTS: IUAM Miniature Album
75.38.100; private collection (cdv)
REPRODUCED: Lukitsh 1986, p. 15
160
158
162
[1865]
CMA 1991.307
Religion
171
i63
164
165
[1864-65]
Private collection, United Kingdom
(Lindsay Album, no. 81)
167
168
172
[1865-66]
NMPFT Herschel Album 1984-5017/70
[1868-72]
RPS 2088
[1865-66]
Robert Harshorn Shimshak
163
i67
164
166
[Bathsheba Brought to King David]
168
166
I N S C R I P T I O N S : Colnaghi blindstamp
IMAGE: 28.3 x 23.7 cm (nYs x 95/i6 in.)
MOUNT: 47.6 x 36.2 cm (18% x 1474 in.)
PROVENANCE: Alex Novak, Vintage Works;
Charles Isaacs, 1999
OTHER P R I N T S : RPS 2112/2 (inscribed by
JMC: Bathsheba Brought to King David;
deaccessioned May 17, 1978)
NOTES: Cat. no. 166 is a full print from the
negative; cat. nos. 164-65 showJMC's
manipulation of the image.
Religion
173
Ill
Women
ORE THAN A T H I R D OF J U L I A
75
mostly in various guises as characters from classical literature and Shakespeare rather than as herself. (The fact
that eleven solo portraits of Liddell are shown rather than
the two or three usually seen is one demonstration of
how this catalogue has increased knowledge of the scale
of Cameron's achievements.) There are twenty-one portraits of the Pre-Raphaelite painter Marie Spartali (cat.
nos. 465-85), although she appears mainly as one character or another from Greek mythology, as befits her
Greek origins.
Terry and Liddell were in their teens when Cameron
photographed them, as were a considerable number of
the women in this chapter (the way teenagers dressed in
Victorian times makes them look rather more adult to
modern eyes). Their very youth helps to ensure that "fair"
rather than "famous" sittersfriends, relatives, and even
domestic servants (of whom there are none among the
male portraits) predominate. Cameron's maid Mary
176
NOTES
c AT . NO. 437
[May Prinsep]
Women
177
178
Magdalene [Brookfield]
Women
179
l8o
Women
181
182
[The Echo]
The Echo
Women
183
184
Vectis
Women
185
169
171
[Isabel Bateman]
[Isabel Bateman]
RPS 2201
73
[Isabel Bateman]
[Isabel Bateman]
[Isabel Bateman]
[1874]
JPGM 86.XM.636.6
186
i;o
74
[1874]
[1874]
75
[1874]
RPS 2276/4
169
170
I N S C R I P T I O N S : Recto mount in pencil in an
unknown hand: Julia Margaret Cameron;
verso mount in pencil: She Walks in Beauty
IMAGE: 37.5 x 24.5 cm (i43/4 x 9 5 A in.)
MOUNT: 48.2 x 34.9 cm (i815/i6 x i^A in.)
MEDIUM: Carbon
P R O V E N A N C E : Unknown
172
[Isabel Bateman]
[1874]
RPS 2202
171
IMAGE: 35.9 x 26.3 cm (14Ys x icVu, in.)
MOUNT: 48.4 x 39.1 cm (19 Yi& x 153A in.)
PROVENANCE: Gift of Mrs. Beatrice Trench,
1929
OTHER PRINTS: MM FM 1965 ooi 766
R E P R O D U C E D : Weaver 1984, p. 125
172
I N S C R I P T I O N S : Recto print stamp at lower
right corner: Autotype; recto mount in
pencil in an unknown hand: Julia Margaret
Cameron
IMAGE: 35.5 x 24.5 cm (i315/i6 x 95/s in.)
MOUNT: 48.2 x 35.9 cm (i815/i6 x 14 Ys in.)
M E D I U M : Carbon
PROVENANCE: Unknown
74
75
173
IMAGE: 35.9 x 28 cm (14 Ys x n in.)
MOUNT: 58.4 x 46.4 cm (23 x 18 Y* in.)
P R O V E N A N C E : Hardinge Hay Cameron; by
descent within the Cameron and Macleod
families; Neville Hickman, 1986
OTHER PRINTS: RPS 2199/1-2 (albumen and
carbon)
NOTES: Cat. no. 174 is a detail of this picture.
i76
Isabel Bateman
[1874]
RPS 2275
Women
187
178
179
[Isabel Bateman]
Magdalene [Brookfield]
Magdalene [Brookfield]
[1874]
RPS 2206
May 1865
JPGM Overstone Album 84.xz.186.44
181
182
183
'77
188
The Echo
[The Vestal]
[The Echo]
Hatty Campbell
Hatty Campbell
Hatty Campbell
[1868]
JPGM 84.XM.443.64
1868
VHM Ph 2605
September 1868
Vernon Collection CAM-O22
177
182
l
178
179
i8o
Eleanor Campbell
[1868]
Present whereabouts unknown
180
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life registered photograph Julia
Margaret Cameron I Eleanor Campbell
IMAGE: 34.3 x 25 cm (13 Va x 913/i6 in.)
MOUNT: Unknown
PROVENANCE: Arthur Lister
181
184
[Hatty Campbell]
1868
VHM Ph 2603
183
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Freshwater Sep 1868 Registered
Photograph copyright Julia Margaret
Cameron and at lower right corner: For
Dear Mrs. Darwin from her affectionate
friendJMC
IMAGE: 32.9 x 24.4 cm (i215/i6 x g5A in.)
MOUNT: 57.8 x 46 cm (223/4 x iSYs in.)
PROVENANCE: By descent within the Darwin
family; Lee Witkin; Sotheby's, New York,
May 7, 1985, lot 191
REPRODUCED: Wolf 1998, pi. 5
184
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Registered Photograph Copy right
Julia Margaret Cameron Freshwater 1868
and at lower left corner: No. 4', Colnaghi
blindstamp; verso mount wet stamp at
lower right corner: Ville de Paris I
Hauteville I House I Guernsey and in pencil
below: 13 [all within stamp] and in pencil
in an unknown hand above stamp: Hattie
Campbell 11868
IMAGE: 27.8 x 22.8 cm (iols/i6 x 815/i6 in.)
MOUNT: 38 x 28.5 cm (i415/i6 x n3/i6 in.)
PROVENANCE: Victor Hugo, by August 14,
1870
OTHER PRINTS: NPG xi8o36 (cabinet); RPS
20558
REPRODUCED: Bruson 1980, pi. 14
Women
189
190
i85
186
187
The Dedication
Hatty Campbell
1868
UCLA Aubrey Ashworth Taylor Album, no. 46
[1868]
V&A Ph 935-1913
[1868]
Present whereabouts unknown
189
190
[Annie Chinery]
[Annie Chinery]
[Annie Chinery]
[1868]
UCLA Aubrey Ashworth Taylor Album,
no.32A
[1868]
UCLA Aubrey Ashworth Taylor Album,
no. 6A
[1868]
UCLA Aubrey Ashworth Taylor Album,
no. 25A
JULIA MARGARET
CAMERON
191
185
190
186
191
i88
9!3
OTHER PRINTS: HRHRC Thackeray Album
964:0312:0005 and 964:0037:0077; Mia
Album, no. 51; NGC 21283; NMPFT 19955035/12 (cabinet); Norman Album, no. 41
(inscribed by JMC: Hattie Campbell now a
very angel); NPG x:8o34 (cabinet) and
x:8o67 (cdv); RPS 2205; VHM Ph 2602
REPRODUCED: Gernsheim 1948, pi. 28;
Ovenden 1975, pi. 13; Bruson 1980, pi. 13;
Mulligan et al. 1994, p. 57
NOTES: This picture is a detail of cat. no. 187.
187
I N S C R I P T I O N S : Unknown
IMAGE: 32.5 x 26.5 cm (i213/i6 x io7/i6 in.)
PROVENANCE: Phillips, New York, May 5,
1979, lot 140
192
189
192
My Ewen's Bride
Women
191
*93
194
192
[1869]
Thomas Walther
[1869-70]
V&A .2744-1990
198
199
Violet
Annie Chinery Cameron
[1869-70]
RPS 2258/1
[1869-70]
RPS 2231
1869
Michael Mattis and Judith Hochberg
(Mia Album, no. 46)
197
*95
i93
I N S C R I P T I O N S : Recto mount in ink by JMC:
My Ewen's Bride of the i8th of November 1869
IMAGE: 31.1 x 22.4 cm (12 V* x 813/i6 in.)
MOUNT: 35.1 x 26.1 cm (i313/i6 x ioY4 in.)
PROVENANCE: Maria "Mia" Jackson; by
descent to Sotheby's, Belgravia, June 21,
1974, lot 27; private collection; present
owners, 1990
OTHER PRINTS: IUAM Miniature Album
75.38.49; NMPFT 1995-5035/2; RPS 2219/1
(inscribed by JMC: The Bride) and 2219/2
(arched top; inscribed by JMC: Dora as
the Bride)
REPRODUCED: Ovenden 1975, pi. 19;
Weaver 1984, p. 77; Hopkinson 1986, p. 17;
Mulligan et al. 1994, p. 43; Wolf 1998, p. 70
196
[St. Cecilia]
194
INSCRIPTIONS: Recto mount in ink in an
unknown hand at lower right: Mrs. Ewen
Cameron
IMAGE: 30.8 x 25.4 cm (12 V* x 10 in.)
MOUNT: 35 x 39.5 cm (i33/4 x i59/i6 in.)
PROVENANCE: Janet Lehr, Inc., 2001
REPRODUCED: Lehr 1986, p. 701
195
INSCRIPTIONS: Recto mount in pencil in an
unknown hand: Annie: Cameron's Daughter
in law, Colnaghi blindstamp
IMAGE: 34.6 x 24.4 cm (135A x gVs in.)
MOUNT: 58.4 x 46.3 cm (23 x i83/i6 in.)
PROVENANCE: Nevinson Bequest, 1990
196
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Registered Photograph Copyright
Julia Margaret Cameron I Mrs. Ewen Hay
Cameron and in pencil in an unknown hand
below: St. Cecelia [sic] and in ink by
JMC at lower right corner: given to Philip
Norman [brother of Charles Norman]
by Mrs. Cameron 11873. Aug 25; Colnaghi
blindstamp
IMAGE: 33 x 24.6 cm (13 x 9 n /i6 in.)
MOUNT: 53.2 x 41.1 cm (2o15/i6 x i63/i6 in.)
PROVENANCE: Helmut Gernsheim
OTHER PRINTS: RPS 23648
198
INSCRIPTIONS: Recto mount in faded ink
by JMC: From Life Registered Photograph
copyright Julia Margaret Cameron and in
pencil below: Violet', partial Colnaghi
blindstamp
IMAGE: 33.6 x 26.3 cm (i33/i6 x io5/i6 in.)
MOUNT: 46.1 x 36.3 cm (iSVs x 14 V4 in.)
PROVENANCE: Gift of H. S. Marfleet, 1931
OTHER PRINTS: RPS 2258/2-4 (carbon);
IUAM Miniature Album 75.38.6; MFAB
42.344 (carbon); NMPFT 1939-113/6;
TRC 5384
199
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Registered Photograph Copyright
Julia Margaret Cameron Freshwater I
Rebecca at the Well
IMAGE: 35.3 x 25.9 cm (13 Vs x io3/i6 in.)
MOUNT: 48.4 x 38.2 cm (igVu x 15 in.)
PROVENANCE: Unknown
200
INSCRIPTIONS: Recto mount in pencil in an
unknown hand:Ju/ia Margaret Cameron
c. i8j2 I Rachel at the Well (Annie Cameron)
carbon print
IMAGE: 32.5 x 24.6 cm (i213/i6 x 9n/i6 in.)
MOUNT: 48.7 x 39.3 cm (i93/i6 x i57/i6 in.)
MEDIUM: Carbon
PROVENANCE: Helmut Gernsheim
OTHER PRINTS: AIC 1998.232 (inscribed
by JMC: Zuleika\, Lord Lichfield
(inscribed by JMC: Mrs. Ewen Hay
Cameron I as Zuleika); RPS 2233/1-3
(carbon); V&A Ph 23-1939 (inscribed by
JMC: Zuleika I Mrs. Ewen Hay Cameron);
WIL
REPRODUCED: Weaver 1984, p. 127
197
200
[Zuleika]
Women
193
2OI
202
Zuleika
Annie Chinery Cameron
203
Balaustion
Annie Chinery Cameron
[Balaustion]
Annie Chinery Cameron
October 1871
JPGM 84.XM.443.52
October 1871
AIC 1998.231
[October 1871]
RPS 2260
205
206
207
[Group]
Unknown boy, Annie Chinery Cameron
[1870-72]
RPS 2256
July 1873
Paul and Prentice Sack
[1870-72]
SMA 94.30.043
194
2OI
208
202
204
[Group]
Unknown girl, Annie Chinery Cameron,
unknown boy
[1870-72]
MDO PHO 1984-19
208
Women
195
209
2IO
211
Suspense
Joy
[1873-78]
WCP 8813547
196
Kate Dore
Kate Dore
1865
JPGM Overstone Album 84.xz.186.15
213
214
215
[1874]
RPS 2158
[1874]
RPS 2001
[1874]
RPS 2159
209
215
2IO
Ophelia
Kate Dore
[1864-66]
Present whereabouts unknown
216
211
216
Women
197
198
217
218
219
[1865]
V&A Ph 255-1982
221
222
223
[Mary Fisher]
[Mary Fisher]
[Mary Fisher]
[1866-67]
AIC 1968.215
[1866-67]
JPGM 84.XM.1414.2
[1866-67]
AIC 1998.284
217
223
218
224
I N S C R I P T I O N S : Colnaghi blindstamp
IMAGE: 33 x 26.5 cm (13 x io7/i6 in.)
MOUNT: Unknown
P R O V E N A N C E : Sotheby's, Belgravia, March 27,
1981, lot 479
219
22O
[Mary Fisher]
[1864]; copyright June 30, 1864
AIC 1998.274
220
IMAGE: 25 x 20.2 cm (g 13 / x 715/i6 in.)
MOUNT: 44.1 x 35.3 cm (17 Yx x 137A in.)
P R O V E N A N C E : Estate of Vanessa Bell, 1998
OTHER PRINTS: BLUO Henry Taylor Album,
no. 56; GEH Watts Album 71:0109:0025
(rectangle); Mia Album, no. 18 (arched
top); PMA 68-26-2; TRC 5513
R E P R O D U C E D : Ovenden 1975, pi. 2; Mulligan
et al. 1994, p. 53
221
224
Women
199
225
226
22;
[1868]
Present whereabouts unknown
229
230
231
[October 1864]
BLUO Henry Taylor Album, no. 5
Sarah Groves
[1865]; copyright August 4, 1865
JPGM Overstone Album 84.xz.186.63
200
225
230
226
227
228
[Christiana Fraser-Tytler]
[1864-65]
V&A Ph 351-1981
231
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Julia Margaret Cameron and
in pencil in an unknown hand at lower
right corner: Hon. Mrs. Gordon I taken at
Collingsuoood\ Colnaghi blindstamp
IMAGE: 18.2 x 13.1 cm (7% x 5 Ys in.)
MOUNT: 38.1 x 28.5 cm (15 x n3/i6 in.)
P R O V E N A N C E : Andre Jammes, 1984
OTHER PRINTS: BLUO Henry Taylor Album,
no. 52
232
I N S C R I P T I O N S : Recto mount in ink by JMC:
Carry Herschel and at upper right corner: 64
and in index at rear of album: Your Carry
IMAGE: 18 x 11.4 cm (/Yi6 x 4.^/2 in.)
MOUNT: 33.7 x 30.2 cm (13 Y+ x iiYs in.)
PROVENANCE: Sotheby's, Belgravia,
October 18, 1974, lot 34; NPG; NMPFT,
1983
REPRODUCED: Ford 1975, p. 87
228
I N S C R I P T I O N S : Recto mount in ink by
JMC: From Life Julia Margaret Cameron\
Colnaghi blindstamp
IMAGE: 26.4 x 22.2 cm (loYs x 83/4 in.)
MOUNT: 38.2 x 28.2 cm (15 x nY in.)
PROVENANCE: Undocumented gift, 1941,
found in museum vault, 1965
OTHER PRINTS: YUBL Gen. Mss. 340, Vol. i,
no. 34
229
232
Carry Herschel
Caroline Emilia Mary Herschel
[1867]; copyright April 9, 1867
NMPFT Herschel Album 1984-5017/64
Women
201
233
202
234
Julia Herschel
235
Julia Herschel
Annie Hill
[1865]
JPGM Overstone Album 84.xz.i86.
1864
JPGM Overstone Album 84.xz.186.101
237
238
[Mary Hillier]
239
[Mary Hillier]
[Mary Hillier]
[1864-65]
V&A Ph 342-1981
[1864-65]
Private collection, United Kingdom
(Lindsay Album, no. 113)
[1864-65]
Present whereabouts unknown
233
INSCRIPTIONS: Recto mount in ink by JMC:
Julia Margaret Cameron /Julia Herschel
and in pencil in an unknown hand: now
Mrs. Me Clear
IMAGE: 25.6 x 21.1 cm (ioVi6 x 85/i6 in.)
MOUNT: 34 x 28 cm (13 Vs x n in.)
PROVENANCE: Sotheby's, Belgravia, June 26,
1975, lot 45; Daniel Wolf, 1984
OTHER PRINTS: JPGM 84.XM.349.5;
Lindsay Album, no. 92; MMA 41.21.6
REPRODUCED: Weaver 1986, p. 81
234
I N S C R I P T I O N S : Recto mount in ink by JMC:
Julia Herschel; Colnaghi blindstamp
IMAGE: 26.2 x 19.5 cm (io 5 /i& x ju/\t, in.)
MOUNT: 33.9 x 29.1 cm (i35/i6 x n7/i6 in.)
PROVENANCE: Sotheby's, Belgravia, June 26,
1975, lot 45; Daniel Wolf, 1984
OTHER PRINTS: MMA 41.21.6
REPRODUCED: Weaver 1986, p. 94
236
St. Agnes
Mary Hillier
[1864]
NMPFT 1995-5035/11
239
240
INSCRIPTIONS: Recto mount in ink by JMC:
Maud by Moonlight Julia Margaret Cameron
and in pencil below overwritten in ink by
G. F. Watts: very lovely G. R W.
IMAGE: 24.8 x 19.6 cm (93/4 x jn/\b in.)
MOUNT: 34.1 x 28.1 cm (i37/i6 x nVie in.)
PROVENANCE: Gift of the artist to Sir Coutts
Lindsay; by descent within the family
235
INSCRIPTIONS: Recto mount in ink by JMC:
FreshWater 11864 I Annie Hill and at upper
right corner: 99
IMAGE: 26.9 x 20.9 cm (ioVi6 x 83/i6 in.)
MOUNT: 34 x 28.4 cm (133A x n3/i6 in.)
PROVENANCE: Sotheby's, Belgravia, June 26,
1975, lot 45; Daniel Wolf, 1984
OTHER PRINTS: Lindsay Album, no. 48
REPRODUCED: Weaver 1986, p. 94
236
I N S C R I P T I O N S : Recto mount in ink by
JMC:Ju/ia Margaret Cameron I St. Agnes
and in pencil at lower right corner:
/o/ [10 shillings]; Colnaghi blindstamp
IMAGE: 23.3 x 18.4 cm (93/i6 x jV* in.)
MOUNT: 47.8 x 36.2 cm (i813/i6 x 14 V4 in.)
PROVENANCE: Kodak Company Purchase,
1985
OTHER PRINTS: Lindsay Album, no. 65;
RPS 25552 (arched top)
REPRODUCED: Wolf 1998, p. 61
237
I N S C R I P T I O N S : Colnaghi blindstamp
IMAGE: 25.4 x 19.7 cm (10 x 73/4 in.)
MOUNT: 39.5 x 29 cm (i59/i6 x n7/i6 in.)
PROVENANCE: Undocumented gift, 1941,
found in museum vault, 1965
240
Maud by Moonlight
Mary Hillier
[1864-65]
Private collection, United Kingdom
(Lindsay Album, no. 72)
238
Women
203
241
242
243
[Maud by Moonlight]
St. Agnes
Mary Hillier
St. Agnes
Mary Hillier
245
246
247
A Vestal
Mary Hillier
A Vestal
Mary Hillier
[1864-65]
Private collection, United Kingdom
(Lindsay Album, no. 59)
[1864-65]
V&A 44.951
[1864-65]
V&A 45.141
[1864-65]
V&A Ph 331-1981
204
241
244
Hope
Mary Hillier
1864; copyright December 12, 1864
JPGM Overstone Album 84.xz.186.80
243
INSCRIPTIONS: Recto mount in ink by JMC:
FreshWater 1864 I St. Agnes
IMAGE: 25.5 x 20 cm (10 x f/% in.)
MOUNT: 34 x 28.1 cm (133A x uVu in.)
PROVENANCE: Sotheby's, Belgravia, June 26,
1975, lot 45; Daniel Wolf, 1984
OTHER PRINTS: HRHRC Thackeray Album
964:0312:0049; Lindsay Album, no. 121;
NMPFT Herschel Album 1984-5017/13;
V&A 44.751
REPRODUCED: Ford 1975, p. 36; Weaver 1984,
p. 128; Weaver 1986, p. 77
244
248
246
248
INSCRIPTIONS: Recto mount in ink by JMC:
The flower Girl and at upper right corner:
/oj; partial Colnaghi blindstamp
IMAGE: 24.9 x 19.5 cm (913/i6 x jn/u in.)
MOUNT: 33.6 x 26.4 cm (i33/i6 x io3/g in.)
PROVENANCE: Sotheby's, Belgravia, June 26,
1975, lot 45; Daniel Wolf, 1984
OTHER PRINTS: JPGM 84.XM.443.43; BLUO
Henry Taylor Album, no. 24; NMPFT
Herschel Album 1984-5017/47 (oval);
private collection (cdv); UCLA Aubrey
Ashworth Taylor Album, no. 45 (oval);
WCP 89:3912 (oval)
REPRODUCED: Ford 1975, p. 70; Hopkinson
1986, p. 29; Weaver 1986, p. 95
245
I N S C R I P T I O N S : Recto mount in pencil by
JMC: A Vestal and in ink at upper right
corner: 59; Colnaghi blindstamp
IMAGE: 24.6 x 19.3 cm (9 n /i6 x 79/i6 in.)
MOUNT: 34.1 x 28.1 cm (i37/i6 x n1/ in.)
PROVENANCE: Gift of the artist to Sir Coutts
Lindsay; by descent within the family
OTHER PRINTS: LU LUF 82.1010; private
collection, United Kingdom; PSU 1969.003
Women
205
206
249
250
251
Psyche
[Mary Hillier]
[Mary Hillier]
Mary Hillier
[1864-66]
[1864-65]
GEH 81:1121:0021
[1864-66]
LCL, no. 4
253
254
Sappho
255
[Sappho]
Clio
Mary Hillier
Mary Hillier
Mary Hillier
[1865]
JPGM 84.XM.443.39
May 1866
RPS 2299
249
INSCRIPTIONS: Unknown
IMAGE: 23.5 x 19.1 cm (gV* x j}/2 in.)
MOUNT: Unknown
P R O V E N A N C E : Christie's, London, March 20,
1980,lot 326
251
252
[Sappho]
Mary Hillier
[1865]; copyright May 19, 1865
V&A 44-753
254
IMAGE: 35.2 x 28.9 cm (137A x nYs in.)
MOUNT: 42.6 x 31.5 cm (i63/4 x 12 Ya in.)
P R O V E N A N C E : Robert Schoelkopf; Samuel
Wagstaff, Jr., 1984
255
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life May 66 Julia Margaret Cameron
and in pencil below: Clio\ Colnaghi
blindstamp
IMAGE: 27.5 x 21.9 cm (io13/i6 x 8s/s in.)
MOUNT: 57.2 x 45.9 cm (22 Y? x i8Vi6 in.)
P R O V E N A N C E : Unknown
OTHER PRINTS: RPS 20564; AM (arched top;
inscribed by JMC: Adriana)\ HRHRC
964:0037:0090 (printed in reverse; inscribed by JMC: Maud); IUAM Miniature
Album 75.38.79; IWCC Miniature Album,
no. n; JPGM 84.XM.443.61 (inscribed by
JMC: Adriana)\ MFAB 1987.499 (inscribed
by JMC: Adriana)\ Norman Album, no. 20
(inscribed by JMC: Adriana)\ private
collection (cdv); V&A Ph 943-1913
(inscribed by JMC: Adriana)\ YUBL
Gen. Mss. 340, Vol. i, no. 26 (inscribed
by JMC: Clio)
R E P R O D U C E D : Weaver 1984, p. 121; Hinton
1992, p. 59
256
253
256
[Mary Hillier]
[1866]
Present whereabouts unknown
Women
207
257
258
259
The Dream
Mary Hillier
[Mary Hillier]
April 1869
WCP 97:5636
261
262
263
[Mary Hillier]
[Mary Hillier]
[1866]
YUBL Gen. Mss. 340, Vol. 3, folder 27
[1869-70]
NMPFT 1990-5036/11522
[1869]
NPG xi8o42
208
257
260
258
260
The Lady of the Lake
Mary Hillier
[1869]
VHM Ph 2598
264
The Angel at the Tomb
Mary Hillier
[1870]; copyright April 6, 1870
JPGM 84.XM.443.6
261
263
INSCRIPTIONS: Recto mount lithographed
facsimile inscription by JMC: From Life
Copyright Julia Margaret Cameron
IMAGE: n.6 x 9 cm (4%6 x 3%6 in.)
MOUNT: 17 x 11.3 cm (6n/i6 x 47/i6 in.)
MEDIUM: Cabinet card
PROVENANCE: Kodak Company Purchase,
1985
264
Women
209
265
2IO
266
267
Mary Hillier
Mary Hillier
Mary Hillier
1870
VHM Ph 2601
[1870]
RPS 2290
[1870]
RPS 2291/1
269
270
271
Mary [Hillier]
[Mary Hillier]
[Mary Hillier]
1873
RPS 2560
[1873]
RPS 23647
[1874]
RPS 2213
265
268
267
I N S C R I P T I O N S : Colnaghi blindstamp
IMAGE: 34 x 25.7 cm (13 Ys x 10 Ys in.)
MOUNT: 49.3 x 38 cm (19 Ys x 14^/16 in.)
P R O V E N A N C E : Unknown
OTHER P R I N T S : Private collection (cdv)
272
[Mary Hillier]
[1874]
CCVA 1976.140
268
270
I N S C R I P T I O N S : Recto mount in ink in an
unknown hand: Mrs. Cameron's model
IMAGE: 32.4 x 26.5 cm (12 Y* x ioYi& in.)
MOUNT: 54.2 x 37.1 cm (2iYi6 x 14Ys in.)
P R O V E N A N C E : Unknown
OTHER PRINTS: HRHRC 964:0037:0093
271
I N S C R I P T I O N S : Recto mount in pencil in an
unknown hand: Miss Philipot Mrs. Julia M.
Cameron 1865
IMAGE: 37.1 x 28.1 cm (14Ys x nYi6 in.)
MOUNT: 47.4 x 36.6 cm (18 Ys x 14Ys in.)
P R O V E N A N C E : Gift of Mrs. Beatrice Trench,
1929
REPRODUCED: Weaver 1984, p. 53
272
I N S C R I P T I O N S : Recto mount in ink by JMC:
Julia Margaret Cameron I From Life
Registered Photograph
IMAGE: 35.7 x 25.3 cm (i^Vu x 9^/15 in.)
MOUNT: 44.4 x 35.5 cm (i/Yw x 13^/16 in.)
PROVENANCE: Thackrey & Robertson,
April 27, 1976
Women
211
273
[Lady Hood]
212
274
[Lady Hood]
275
[1870]
[1870]
RPS 222I/I
RPS 2222/1
[1868-72]
RPS 2164/1
277
278
279
[Miss Huth]
[Julia Jackson]
[April 1868]
HRHRC Thackeray Album 964:0312:0056
[1864]
AIC 1998.287
2/3
INSCRIPTIONS: Partial Colnaghi blindstamp
IMAGE: 35.3 x 27.3 cm (137A x io3A in.)
MOUNT: 48.2 x 37.8 cm (i815/i6 x i47/8 in.)
PROVENANCE: Gift of Mrs. Beatrice Trench,
1929
OTHER PRINTS: RPS 2221/2-3
274
INSCRIPTIONS: Partial Colnaghi blindstamp
IMAGE: 28 x 23.8 cm (n x 93/g in.)
MOUNT: 46.5 x 34.1 cm (i85/i6 x i37/i6 in.)
PROVENANCE: Unknown
OTHER PRINTS: RPS 2222/2
NOTES: See cat. no. 274a at the end of this
chapter, which is another picture of the
subject made at the same sitting.
279
280
INSCRIPTIONS: Colnaghi blindstamp
IMAGE: 24.5 x 19 cm (g5A x j7/\(, in.)
MOUNT: 38.1 x 28.5 cm (15 x n3/i6 in.)
PROVENANCE: Unknown
OTHER PRINTS: V&A Ph 213-1969 (arched
top); AIC 1998.275 and 1998.297; Mia
Album, no. 20
REPRODUCED: Woolf and Fry 1926, pi. 19;
Ovenden 1975, pi. 84; Mulligan et al. 1994,
pp. 20,36
275
276
[Miss Huth]
April 1868
Present whereabouts unknown
277
INSCRIPTIONS: Recto mount in pencil in
an unknown hand [possibly by Helmut
Gernsheimj: Miss Huth
IMAGE: 30.8 x 23.6 cm (12Vs x 9*/4 in.)
MOUNT: 35.2 x 25 cm (i37/s x 913/i6 in.)
PROVENANCE: Presented by Hester
Thackeray Fuller to the Gernsheim
Collection, October 21, 1953
278
280
[Julia Jackson]
[1864]
V&A Ph 208-1969
Women
213
28l
282
[Julia Jackson]
A Study
Julia Jackson
[1864]
JPGM 84.xp.2i9.29
214
[1864]
MMA 41.21.1.2
283
[Julia Jackson]
[1864]
AIC 1998.291
285
286
287
[Julia Jackson]
[Julia Jackson]
[Julia Jackson]
[1864]
AIC 1998.294
[1864]
AIC 1998.277
[1864]
AIC 1998.252
281
28;
282
284
[Julia Jackson]
[1864]
RPS 2310
288
IMAGE: 24 x 18.7 cm (97/i6 x f/% in.)
MOUNT: 33 x 26 cm (13 x iolA in.)
PROVENANCE: Estate of Vanessa Bell, 1998
283
IMAGE: 24.2 x 19.2 cm (9 1 A x 7%5 in.)
MOUNT: 31.5 x 25.7 cm (12 Ys x 10 Ys in.)
P R O V E N A N C E : Estate of Vanessa Bell, 1998
284
I N S C R I P T I O N S : Colnaghi blindstamp
IMAGE: 25.1 x 20.1 cm (y7A x j7/?, in.)
MOUNT: 48 x 33.2 cm (iSYs x 13 Vu in.)
P R O V E N A N C E : Science Museum, London
OTHER PRINTS: Mia Album, nos. 3 and 29
R E P R O D U C E D : Ovenden 1975, pis. 61, 74;
Hopkinson 1986, p. 5; Mulligan et al. 1994,
P-54
285
IMAGE: 23.9 x 18.6 cm (9 Ys x f/\h in.)
MOUNT: 34 x 26.2 cm (13 Ys x io5/i6 in.)
P R O V E N A N C E : Estate of Vanessa Bell, 1998
OTHER PRINTS: Mia Album, no. 7
REPRODUCED: Ovenden 1975, pi. 7; Mulligan
et al. 1994, p. n
286
288
[Julia Jackson]
[1864]
AIC 1998.293
Women
215
289
290
[Julia Jackson]
291
[Julia Jackson]
[Julia Jackson]
[1864]
AIC 1998.249
[1864]
JPGM 84.XM.443.44
[1864]
AIC 1998.298
293
294
295
[Julia Jackson]
[Julia Jackson]
[1864]
Present whereabouts unknown
216
[1864]
HRHRC Thackeray Album 964:0312: oon
[1864]
NMPFT Herschel Album 1984-5017/5
289
290
I N S C R I P T I O N S : Verso mount in pencil in
an unknown hand: Adeline Vaughan I
nee Jackson? I Julia Margaret Cameron I
jo RE $200
IMAGE: 23.1 x 18.8 cm (yVu x /Vs in.)
MOUNT: 35.7 x 26.3 cm (14^/16 x ios/i6 in.)
PROVENANCE: Samuel Wagstaff, Jr., 1984
OTHER PRINTS: AIC 1970.836; Mia
Album, no. i; NMPFT Herschel Album
1984-5017/31
REPRODUCED: Ford 1975, p. 54; Ovenden
1975, pi. 36
291
292
[Julia Jackson]
[1864]
AIC 1968.226
295
INSCRIPTIONS: Recto mount in ink by JMC:
Julia Jackson I now Mrs Herbert Duckworth
and at upper right corner: 5 and in index at
rear of album: My niece Julia
IMAGE: 25.1 x 20.5 cm (97/8 x 8Yi6 in.)
MOUNT: 33.6 x 32.3 cm (13 Vie x i2n/i6 in.)
PROVENANCE: Sotheby's, Belgravia,
October 18,1974, lot 34; NPG; NMPFT,
1983
OTHER PRINTS: AIC 1970.833 (oval) and
1998.240 (rectangle); BLUO Henry Taylor
Album, no. 30; GEH 67:0088:0008
(platinum print by A. L. Coburn)
REPRODUCED: Ford 1975, p. 28; Lukitsh 1986,
p. 42
296
INSCRIPTIONS: Colnaghi blindstamp
IMAGE: 24.4 x 19.1 cm (95A x jVz in.)
MOUNT: 37.9 x 28.5 cm (i415/i6 x n3/i6 in.)
PROVENANCE: Estate of Vanessa Bell, 1998
OTHER PRINTS: Mia Album, nos. 19 and 122
REPRODUCED: Ovenden 1975, pi. 81
292
293
I N S C R I P T I O N S : Unknown
IMAGE: 25.7 x 19.8 cm (loYs x 713/i6 in.)
MOUNT: Unknown
P R O V E N A N C E : Phillips, Toronto, October 4,
1979,lot 3
294
296
[Julia Jackson]
[1864]
AIC 1998.264
Women
217
297
[Julia Jackson]
[Julia Jackson]
[1864]
AIC 1998.263
301
[Julia Jackson]
[1867]
JPGM 84.XM.443.5i
218
298
302
299
[Julia Jackson]
[1864]
Michael Mattis and Judith Hochberg
(Mia Album, no. 6)
303
[Julia Jackson]
[1867]
AIC 1968.227
297
302
[Julia Jackson]
[1867]
AIC 1968.213
304
Women
219
22O
305
306
307
[Julia Jackson]
[Julia Jackson]
[1867]
JPGM 84.XM.1414.4
[1867]
NPG xi8oi6
[1867]
MMA 1996.99.2
309
310
3"
[Julia Jackson]
[Julia Jackson]
[1867]
AIC 1998.301
305
I N S C R I P T I O N S : Colnaghi blindstamp; verso
mount in pencil in an unknown hand at
upper left corner. Julia Jackson i86j
IMAGE: 27.6 x 21.9 cm (io7/8 x 85/g in.)
MOUNT: 44.5 x 35.3 cm (vjVi x i$7/s in.)
PROVENANCE: Arnold Crane, 1984
OTHER PRINTS: V&cA Ph 361-1981
REPRODUCED: Wolf 1998, p. 72
NOTES: Cat. no. 305 is a print from the
original negative; cat. no. 306 is a reversal
of this. Cat. no. 307 is a reversal of cat. no.
306; cat. no. 308 is a reversal of cat. no. 307.
310
306
308
312
[Julia Jackson]
[1867]
AIC 1968.214
3n
309
INSCRIPTIONS: Verso print in pencil in an
unknown hand: 2a
IMAGE: 24.8 x 19.8 cm (93/4 x 713/i6 in.)
PROVENANCE: Estate of Vanessa Bell, 1998
REPRODUCED: Wolf 1998, frontispiece
Women
221
3i3
[Julia Jackson]
222
3i4
[Julia Jackson]
3i5
[1867]
Private collection (Courtesy of JGS, Inc.)
[1867]
NGA 1995.36.66
1872
TFAM
317
318
3*9
August 1872
AIC 1998.233
1872
AIC 1998.261
3*3
314
I N S C R I P T I O N S : Colnaghi blindstamp
IMAGE: 35.2 x 27.1 cm (13 Ys x io n /i6 in.)
MOUNT: 54.2 x 45 cm (2i5/i6 x 17 "/i* in.)
PROVENANCE: David and Mary Robinson,
!995
REPRODUCED: Wolf 1998, pi. 60
3i6
3i5
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph copyright
Julia Margaret Cameron Freshwater 1872;
Colnaghi blindstamp
IMAGE: 34.2 x 26.5 cm (i37/i6 x io 7 /i6 in.)
MOUNT: 54.4 x 38.6 cm (2i7/i6 x 15 Yu> in.)
P R O V E N A N C E : Christie's, London, March 24,
1983, lot 216; Stephen White, Collection I,
1990
318
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Registered Photograph Saxonbury,
l8j2
INSCRIPTIONS: Unknown
IMAGE: 32 x 22 cm (i29/i6 x 8s/8 in.)
MOUNT: Unknown
PROVENANCE: Sotheby's, Belgravia,
October 28, 1981, lot 384
316
320
[Mrs. Herbert Duckworth]
[1872]
Present whereabouts unknown
Women
223
321
322
[Group]
Florence Fisher, Julia Duckworth,
George Duckworth, Herbert Fisher
[1872]
NPG xi8oi9
224
323
[Group]
Florence Fisher, Julia Duckworth,
George Duckworth, Herbert Fisher
[August 1872]
MFAB 1985.239
August 1872
TMA 85.30
325
326
327
[1872]
NPG xi8oo4
[1872]
AIC 1998.254
August 1872
NPG xi8oi7
321
328
322
I N S C R I P T I O N S : Recto mount in ink in an
unknown hand:Ju/ia with Florence Fisher,
George, and Herbert Fisher; Colnaghi
blindstamp
IMAGE: 35.8 x 29.5 cm (14Vie x nVs in.)
MOUNT: 58.1 x 47 cm (227/s x 18 Y> in.)
P R O V E N A N C E : Ken Jacobson, 1985
OTHER PRINTS: AIC 1968.218; RPS 2167
REPRODUCED: Woolf and Fry 1973, pi. 30;
Hopkinson 1986, p. 6
324
[1872]
NPG xi8oo5
323
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph Copyright
Julia Margaret Cameron Freshwater Aug 1872
I Saxonbury I For my beloved Godchild;
Colnaghi blindstamp
IMAGE: 34.2 x 26.7 cm (i37/i6 x ioY? in.)
MOUNT: 57.1 x 46 cm (22 7 /i6 x 18 Ys in.)
P R O V E N A N C E : By descent within the
Bell family; gift of Edward Drummond
Libbey, 1985
324
IMAGE: 17.8 x 7.6 cm (7 x 3 in.)
P R O V E N A N C E : Gift of Mrs. Curie, 1959
325
IMAGE: 29.9 x 13 cm (n3/4 x 5 Ys in.)
P R O V E N A N C E : Gift of Mrs. Curie, 1959
326
IMAGE: 20 x 15.3 cm (7?/8 x 6 in.)
MOUNT: 44.1 x 35.3 cm (17 Ys x 137A in.)
P R O V E N A N C E : Estate of Vanessa Bell, 1998
328
327
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph Copyright
Julia Margaret Cameron Aug 72
IMAGE: 30.4 x 21.6 cm (u15/i6 x 8 Y> in.)
MOUNT: 41.2 x 35.5 cm (i63/i6 x I315/i6 in.)
P R O V E N A N C E : Gift of Mrs. Curie, 1959
OTHER PRINTS: AIC 1968.217 and 1998.279
(rectangle)
R E P R O D U C E D : Weaver 1984, p. 49
[1872]
AIC 1968.221
Women
225
329
33
331
September 1874
AIC 1998.280
[September 1874]
AIC 1970.835
[September 1874]
AIC 1998.276
333
334
335
Julia Duckworth
September 1874
AIC 1968.222
226
[1872-74]
AIC 1998.245
Mrs. Keene
[June 1866]; copyright June 18, 1866
JPGM 84.XM.349.ii
329
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Registered Photograph Copyright
Julia Margaret Cameron FreshW Sep 74
IMAGE: 35.8 x 25.5 cm (14 V x 10 in.)
MOUNT: 44.1 x 35.3 cm (17 Ys x 13 Ys in.)
PROVENANCE: Estate of Vanessa Bell, 1998
330
IMAGE: 35.2 x 23.2 cm (13 Ys x 9 Ys in.)
MOUNT: 44.1 x 35.3 cm (17 Ys x 13 Y? in.)
PROVENANCE: Hamill and Barker, 1970
OTHER PRINTS: AIC 1968.220; WCP 84:1558
33i
335
INSCRIPTIONS: Recto mount in ink by JMC:
From life not enlarged Julia Margaret
Cameron I The Mountain Nymph Sweet
Liberty; Colnaghi blindstamp; verso mount
in pencil in an unknown hand: A very
fine print of Mrs. Cameron's photo /given us
by herself
IMAGE: 36 x 28.1 cm (14Vie x nYie in.)
MOUNT: 52.4 x 42.4 cm (20 Ys x i6n/i6 in.)
PROVENANCE: Andre Jammes, 1984
OTHER PRINTS: GEH 81:1127:0001
and 67:0088:0007 (platinum print by
A. L. Coburn); HRHRC 964:0037:0112;
IUAM Miniature Album 75.38.10; IWCC
Miniature Album, no. 24 (oval); MFAB
42.362 (carbon); MM FM 1964 ooi 018;
MMA 41.21.15 (inscribed by JMC: June
i866)\ NGA 1997.97.1; NMPFT Herschel
Album 1984-5017/82; Norman Album,
no. 21 (inscribed by JMC in index at rear of
album: The Mountain Nymph Mrs Keene);
NPG xi8o6i (cabinet); private collection
(cdv); RPS 2315/1-19 (albumen and carbon);
TRC 5511; UCLA Aubrey Ashworth Taylor
Album, no. 6; V&A .2752-1990
(photogravure); WCP 93:4917 (rounded
corners)
REPRODUCED: Gernsheim 1948, pi. 31; Ford
1975, p. 105; Gernsheim 1975, p. 157; Weaver
1984, p. 133; Hopkinson 1986, p. 49; Lukitsh
1986, p. 80; Hinton 1992, p. 85; Cox 1996,
p. 53; Wolf 1998, pi. 4; Lukitsh 2001, p. 55
336
334
IMAGE: 35.5 x 23.6 cm (13^/15 x 9 Y* in.)
MOUNT: 44.1 x 35.3 cm (17% x 137/8 in.)
PROVENANCE: Estate of Vanessa Bell, 1998
336
Women
227
228
337
338
339
Cassiopeia
Mrs. Keene
[1866]
RPS 2314
34i
342
343
[Mrs. Keene]
[Mrs. Keene]
[1866-68]
BLUO Henry Taylor Album, no. 54
[1866-70]
TRC 5428
March 1869
RPS 2255/2
JULIA MARGARET
CAMERON
337
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Julia Margaret Cameron I Lady
Clara Vere de Vere and in pencil at lower
left corner: j/ [5 shillings]; Colnaghi
blindstamp
IMAGE: 28.7 x 23.3 cm (n5/i6 x 93/i6 in.)
MOUNT: 38 x 28.7 cm (i415/i6 x us/i6 in.)
PROVENANCE: Helmut Gernsheim
OTHER PRINTS: WAM 1977.4
338
340
[Mrs. Keene]
[1866]; copyright June 18, 1866
YUBL Gen. Mss. 340, Vol. i, no. 6
339
I N S C R I P T I O N S : Recto mount in ink by JMC:
Julia Margaret Cameron [partially effaced]
and in pencil below: Cassiope [sic]
IMAGE: 34.9 x 27.4 cm (i33/4 x io3/4 in.)
MOUNT: 44 x 37.1 cm (iyV^ x 14 5A in.)
P R O V E N A N C E : Sotheby's, Belgravia, June 29,
1979, lot 202; Sean Thackrey; Rubel
Collection; Hans P. Kraus, Jr., 1997
OTHER PRINTS: NMPFT 1955-71/3; private
collection
REPRODUCED: Woolf and Fry 1973, pi. 27;
Weaver 1984, p. 132
342
340
344
[Alice Liddell]
[August 1872]
RPS 2280/1
34i
I N S C R I P T I O N S : Recto mount in pencil by
JMC: The Shunamite's Son
IMAGE: 27.8 x 21.9 cm (io15/i6 x 85/s in.)
MOUNT: 33.9 x 24.2 cm (i35/i6 x gl/2 in.)
PROVENANCE: Bequest of the Taylor family,
1930
NOTES: This print is mounted on top
of another print that JMC titled The
Shunamite's Son (probably from the same
negative as cat. no. 135, The Shunamite
Woman and her dead Son}.
Women
229
345
[Alice Liddell]
Pomona
347
Alice Liddell
[Pomona]
Alice Liddell
[1872]
RPS 2286/1
September 1872
MMA 63.545
349
350
[Alethea]
Ceres
35i
Alice Liddell
Alice Liddell
Alice Liddell
September 1872
Present whereabouts unknown
[August 1872]
RPS 2279
230
346
St. Agnes
345
I N S C R I P T I O N S : Recto mount in ink in an
unknown hand: From Life Registered
Photograph Copyright Julia Margaret
Cameron Freshwater Aug 1872; partial
Colnaghi blindstamp
IMAGE: Diam. 23.8 cm (gVs in.)
MOUNT: 48.4 x 39 cm (19 W x i55/i6 in.)
PROVENANCE: Gift of Mrs. Beatrice Trench,
1929
346
348
[Alethea]
Alice Liddell
[1872]; copyright November 9, 1872
JPGM 84.XM.443.18
347
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph copyright
Julia Margaret Cameron Freshwater Sept
i8j2\ Colnaghi blindstamp
IMAGE: 36.3 x 26.3 cm (14V* x ios/i6 in.)
MOUNT: 49.8 x 37.2 cm (i95/s x i^Vs in.)
PROVENANCE: Emily Driscoll, 1963
REPRODUCED: Gernsheim 1975, p. 158
350
INSCRIPTIONS: Recto mount in ink by JMC:
From Life registered photograph copyright
Julia Margaret Cameron Freshwater Sep.
1872 I Ceres', Colnaghi blindstamp
IMAGE: 35.8 x 25.3 cm (i4Vi6 x 915/i6 in.)
MOUNT: Unknown
PROVENANCE: Sotheby's, Belgravia,
October 18, 1974, lot 61
35i
I N S C R I P T I O N S : Recto mount in ink in an
unknown hand: From Life Registered
Photograph copyright Julia Margaret
Cameron Freshwater Oct 1872 and below
in ink by JMC: St. Agnes; partial Colnaghi
blindstamp
IMAGE: 34 x 22.6 cm (133A x 87/s in.)
MOUNT: 49.5 x 38.3 cm (19*A x i$Vi6 in.)
PROVENANCE: Unknown
OTHER PRINTS: RPS 2198/2 (inscribed by
JMC: St. Agnes I Study No. i)
352
I N S C R I P T I O N S : Recto mount in ink by JMC:
From life registered photograph copyright Julia
Margaret Cameron Sept. i8j2\ Colnaghi
blindstamp
IMAGE: 34.2 x 23.2 cm (i37/i6 x gVs in.)
MOUNT: Unknown
PROVENANCE: Sotheby's, Belgravia,
October 18, 1974, lot 63
348
352
[St. Agnes]
Alice Liddell
September 1872
Present whereabouts unknown
349
I N S C R I P T I O N S : Recto mount in pencil in an
unknown hand: Alethea J. M. C.; recto print
at lower left corner, etched into negative,
.34 and at upper left corner: j series
IMAGE: 35.9 x 26.1 cm (14Vs x iolA in.)
MOUNT: 57 x 46.8 cm (22 7 /i6 x i87/i6 in.)
MEDIUM: Carbon
PROVENANCE: Gift of Mrs. J. D. Cameron
Bradley, June 9, 1942
NOTES: Cat. no. 349 is a carbon print
generated from a copy negative of cat.
no. 348.
Women
231
353
Enid
Alice Liddell
[September 1872]
MFAB 42.331
[1872]
DMCC 1984.39
357
232
354
[St. Agnes]
Alice Liddell
358
355
[Lorina Liddell]
[1870-72]
Private collection
359
[Group]
Two unknown women, Lorina Liddell
[The Sisters]
Edith Liddell, Lorina Liddell
The Sisters
Edith Liddell, Lorina Liddell
August 1871
HRHRC 964:0037:0121
August 1871
HRHRC 964:0037:0070
[1871]
RPS 2185
353
INSCRIPTIONS: Recto mount in pencil in an
unknown hand: Miss Liddle JMC
IMAGE: 34.3 x 23.2 cm (13Yz x gVs in.)
MOUNT: 57 x 46.8 cm (22 7 /i6 x i87/i6 in.)
PROVENANCE: Gift of Mrs. J. D. Cameron
Bradley, June 9, 1942
OTHER PRINTS: RPS 2196/1-7
354
INSCRIPTIONS: Recto mount in ink by JMC:
From life Registered Photograph copy right
Julia Margaret Cameron I Enid
IMAGE: 26.7 x 22.2 cm (icVa x 83A in.)
MOUNT: 42.9 x 34.3 cm (i6 7 A x 13 Yz in.)
PROVENANCE: Gift of Elna Kahn Shulof
(Class of 1933), 1984
356
[Lorina Liddell]
[1870]
MoPA 86:041:048
355
I N S C R I P T I O N S : Recto mount in ink in an
unknown hand: From Life Julia Margaret
Cameron; Colnaghi blindstamp
IMAGE: 35.4 x 24.7 cm (i315/i6 x 9 n /i6 in.)
MOUNT: 46.8 x 34.6 cm (i87/i6 x 135A in.)
PROVENANCE: Sotheby's, Belgravia, June 17,
1981, lot 435; private collection; Swann
Galleries, New York, April 27, 1999, lot 10
359
INSCRIPTIONS: Recto mount in ink in an
unknown hand: From Life Registered
Photograph Copyright Julia Margaret
Cameron and in pencil by JMC below:
The Sisters; partial Colnaghi blindstamp
IMAGE: 34.5 x 25.1 cm (i39/i& x 9 7 A in.)
MOUNT: 49.6 x 39.2 cm (19 Y2 x i57/i6 in.)
PROVENANCE: Unknown
360
356
360
Women
233
3 6i
Alice [Liddell]
[September 1872]
Leonard/Peil Collection, courtesy of Hans P.
Kraus, Jr., Inc., New York
365
Minnie Lloyd
1867
234
362
The Sisters I Edith [Liddell] & Alice
[Liddell]
[1872]
RPS 2186
363
366
367
[Eleanor Locker]
[Marchioness of Lothian]
July 1869
HRHRC 96410037:0037
[1864-66]
Private collection, United Kingdom
361
367
362
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Registered Photograph Copyright
Julia Margaret Cameron and in pencil
below: The Sisters /Edith & Alice; partial
Colnaghi blindstamp
IMAGE: 33.4 x 20 cm (13 V$ x j7A in.)
MOUNT: 49.8 x 39.2 cm (19 5A x i57/i6 in.)
PROVENANCE: Unknown
363
INSCRIPTIONS: Recto mount in ink by JMC:
364
[August 1872]
RPS 2189
368
365
INSCRIPTIONS: Recto mount in pencil by
JMC: Minnie Lloyd and in an unknown
hand below: Now Mrs. Crealock and
in ink by JMC in index at rear of album:
Minnie Lloyd i86j
IMAGE: 31 x 23.7 cm (i23/i6 x 95/i& in.)
MOUNT: 45.9 x 31.4 cm (i8Yi6 x i23A in.)
PROVENANCE: Gift of the artist to Julia and
Charles Norman, September 9, 1869; by
descent within the Norman family
OTHER PRINTS: Private collection (cdv);
TRC (cdv)
366
368
[Mabel Lowell]
May 27, 1869
SCMA 1986:44-2
Women
235
3^9
37
[Ella Norman]
1872
RPS 2246
373
374
[Emily Peacock]
The Sisters
375
[Mabel Lowell]
[1873]
RPS 2266/1
236
JULIA MARGARET
CAMERON
371
[1868-70]
[The Sisters]
[1873]
WCP 93 : 4 85 4
RPS 2195
[1873]
369
I N S C R I P T I O N S : Recto mount in ink by JMC:
From life registered photograph copyright Julia
Margaret Cameron May 2jth 1869
IMAGE: 30.2 x 24.3 cm (uVs x 9 9 /i6 in.)
MOUNT: 49.6 x 41.3 cm (i()V2 x i6V* in.)
PROVENANCE: Gift of Mrs. Priscilla
Cunningham in memory of Esther Lowell
Burnett Cunningham, 1958
REPRODUCED: Lukitsh 1986, p. 56
37
I N S C R I P T I O N S : Recto mount in ink in an
unknown hand: From Life Registered
Photograph Easter of 1872 copyright Julia
Margaret Cameron Freshwater; partial
Colnaghi blindstamp
IMAGE: 33.8 x 25.8 cm (i35/i6 x loYs in.)
MOUNT: 51.5 x 38.8 cm (20 V* x 15 V4 in.)
P R O V E N A N C E : Gift of Mrs. Beatrice Trench,
1929
372
[Emily Peacock]
[1873]
JPGM 84.XM.349.17
371
I N S C R I P T I O N S : Recto album page in ink
by JM.C: Julia Norman and son George
and recto mount lithographed facsimile
inscription by JMC: From Life Copyright
Julia Margaret Cameron
IMAGE: 7.4 x 5.6 cm (2 15 /i6 x 23/i6 in.)
MOUNT: 10 x 6.4 cm (315/i6 x 2^/2 in.)
M E D I U M : Carte-de-visite
P R O V E N A N C E : Gift of the artist to Julia
Norman; by descent within the Norman,
Pryor, and Curtis families
374
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph copyright
Julia Margaret Cameron Freshwater I The
Sisters and at lower right corner: For Charlie
Norman with Mother's love
IMAGE: 36.5 x 25.3 cm (143A x 915/i& in.)
MOUNT: 58.6 x 46.7 cm (23 Vie x i83A in.)
PROVENANCE: By descent within the Norman
family; Charles Isaacs, 1993
REPRODUCED: Woolf and Fry 1973, pi. 14
375
IMAGE: 35.7 x 27.3 cm (i^Vu x io3/4 in.)
MOUNT: 51.1 x 38.2 cm (20 Vs x 15 in.)
P R O V E N A N C E : Unknown
3/6
IMAGE: 34.1 x 28 cm (i37/i& x n in.)
MOUNT: 48.7 x 37.5 cm (i9 3 /i& x i43/4 in.)
PROVENANCE: Unknown
OTHER PRINTS: RPS 2187/1-3 (the last
inscribed by JMC: May 1873 I Three Kings
Daughters Fair and three stanzas from
a poem below: Ah! says the youngest one I
Fly away 0 my heart away I It's my love
my own I So sweet; Ah! says the second one I
Fly away 0 my heart away 11 think the day's
begun I So sweet; Ah! says the eldest one I
Fly away 0 my heart away 11 think the day's
begun I So sweet
REPRODUCED: Weaver 1984, p. 72; Hopkinson
1986, p. 135
372
I N S C R I P T I O N S : Recto mount label at lower
right corner: 2j; verso mount in pencil in an
unknown hand: Angel in the House
IMAGE: 34.5 x 25.5 cm (i39/i6 x 10 in.)
MOUNT: 55.6 x 45.6 cm (2i 7 A x i715/i6 in.)
M E D I U M : Carbon
P R O V E N A N C E : Andre Jammes, 1984
OTHER PRINTS: LCL, no. 13 (inscribed
by JMC: From Life Registered Photograph
copyright Henry Herschel Hay Cameron
Freshwater May 1873 I For Coventry
Patmore}; MFAB 42.348 (carbon); MM
FM 1972 ooi 002 (carbon); RPS 2267/1-5
(albumen and carbon); V&A 2309-1997
(carbon)
REPRODUCED: Weaver 1984, p. 129; Wolf
1998, pi. 2
376
373
I N S C R I P T I O N S : Partial Colnaghi blindstamp
IMAGE: 35.8 x 27.7 cm (14%6 x io7/s in.)
MOUNT: 48.5 x 38.8 cm (19%6 x 15 V4 in.)
PROVENANCE: Gift of A. L. Coburn, 1930
[May 1873]
RPS 2187/4
Women
237
377
[Emily Peacock]
378
[Emily Peacock]
[Egeria]
Emily Peacock
[1874]
V&A Ph 16-1939
[1874]
RPS 2296
381
382
383
[Emily Peacock]
[Emily Peacock]
[1874]
1874
RPS 2293
Emily Peacock
JPGM 84.XM.443.22
238
379
[1874]
V&A Ph 34-1939
377
IMAGE: 38.3 x 30.4 cm (i5Yi6 x n15/i6 in.)
MOUNT: 39.8 x 34.2 cm (i5n/i6 x i^/u in.)
PROVENANCE: Gift of Mrs. Perrin, 1939
REPRODUCED: Gernsheim 1975, p. 100
378
I N S C R I P T I O N S : Recto mount in pencil in an
unknown hand: A Study; partial Colnaghi
blindstamp
IMAGE: 38.3 x 30.5 cm (i5Yi6 x 12 in.)
MOUNT: 49.5 x 39.9 cm (19 V2 x I5n/i6 in.)
P R O V E N A N C E : Unknown
38
379
I N S C R I P T I O N S : Recto mount in pencil in an
unknown hand: Egeria
IMAGE: 38.2 x 30.5 cm (15 x 12 in.)
MOUNT: 44.1 x 33.3 cm (ij^/% x 13 Vs in.)
P R O V E N A N C E : Gift of Mrs. Perrin, 1939
OTHER PRINTS: MFAB 42.333 (carbon);
MMA 1973.502.2; RPS 2294/1 (inscribed
by JMC: Egeria and 1874) and 2294/2-5
(albumen and carbon)
REPRODUCED: Gernsheim 1948, pi. 13;
Gernsheim 1975, p. 112; Wolf 1998, p. 55
383
I N S C R I P T I O N S : Recto mount label at lower
right corner: i6\ verso mount in pencil in an
unknown hand: Ophelia
IMAGE: 35.3 x 27.7 cm (137A x io 7 A in.)
MOUNT: 55.6 x 45.6 cm (2i7A x IJ^/K, in.)
MEDIUM: Carbon
PROVENANCE: Andre Jammes, 1984
OTHER PRINTS: RPS 2253/1-4 (albumen and
carbon)
REPRODUCED: Gernsheim 1975, p. 92; Weaver
1984, p. 56; Weaver 1986, p. 41; Wolf 1998,
P-50
384
I N S C R I P T I O N S : Colnaghi blindstamp
IMAGE: 35.2 x 28.3 cm (i37/s x nVs in.)
MOUNT: 51.1 x 38.5 cm (20 Vs x 15 Vs in.)
P R O V E N A N C E : Gift of Mrs. Beatrice Trench,
1929
380
I N S C R I P T I O N S : Recto mount label in pencil
by JMC: Aurora I Goddess of the Morning I
Study of Emily Peacock
IMAGE: 34.1 x 25.1 cm (i37/i6 x 97/s in.)
MOUNT: 54.3 x 39.4 cm (aiVs x 15 V2 in.)
P R O V E N A N C E : Virginia Woolf; Sotheby's,
Belgravia, March 8, 1974, lot 125; Samuel
Wagstaff, Jr., 1984
OTHER P R I N T S : RPS 2269/1-2 and 20577
38i
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph Copyright
Julia Margaret Cameron FreshWater i8j4\
partial Colnaghi blindstamp
IMAGE: 35.3 x 26.2 cm (i37/s x io5/i6 in.)
MOUNT: 49.3 x 38.9 cm (19 Vs x i5s/i6 in.)
P R O V E N A N C E : Unknown
REPRODUCED: Wolf 1998, pi. 27
382
384
[Emily Peacock]
[1874]
RPS 2282
Women
239
35
386
[Mary Pinnock]
[1864-65]
RPS 2157
Ophelia
Mary Pinnock
389
390
Daphne
Mary Pinnock
39i
[1866-68]
HRHRC 964:0037:0110
240
38?
[1864-70]
Present whereabouts unknown
[May Prinsep]
[1864-66]
V&A Ph 207-1969
385
I N S C R I P T I O N S : Recto mount in ink by JMC:
Julia Margaret Cameron; Colnaghi
blindstamp
IMAGE: 25.3 x 19.8 cm (915/i6 x 713/i6 in.)
MOUNT: 38.7 x 29.6 cm (15 V4 x ns/8 in.)
PROVENANCE: Unknown
386
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life not enlarged Registered Photograph
Julia Margaret Cameron I The Passion
Flower at the Gate I Maud
IMAGE: 28.6 x 27.1 cm (nV* x ion/i6 in.)
MOUNT: 37.8 x 34 cm (147A x i^A in.)
PROVENANCE: Mack Lee, 1991
OTHER PRINTS: CCAC; IUAM Miniature
Album 75.38.58; Norman Album, no. 49;
NPG xi8o6o (cabinet); RPS 20556
REPRODUCED: Ford 1975, p. 19; Wolf 1998,
P-45
388
387
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Julia Margaret Cameron I Ophelia
and in pencil below: For Dante Gabriel
Rossetti with my best remembrances Julia
Margaret Cameron; Colnaghi blindstamp;
verso mount in pencil by Helmut
Gernsheim: Detroit #363 I One of seven
studies given by JMC to Dante Gabriel
Rossetti
IMAGE: 35 x 27.8 cm (133A x io15/i6 in.)
MOUNT: 56.5 x 44.4 cm (22^/4 x rj1/^ in.)
P R O V E N A N C E : Dante Gabriel Rossetti; by
descent within the Rossetti family; Helmut
Gernsheim
OTHER PRINTS: AM
REPRODUCED: Gernsheim 1975, p. 105; Wolf
1998, pi. 16; Lukitsh 2001, p. 63
NOTES: There are seven prints in the
HRHRC's collection that were presented
to Dante Gabriel Rossetti by JMC in 1867.
See references at cat. nos. 387, 509-10,
513, 876, 880, and 985.
388
389
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Julia Margaret Cameron I Daphne
and in pencil by Helmut Gernsheim below:
(Cyllene Wilson)
IMAGE: 35.7 x 27.1 cm (i^.Vi6 x ion/i6 in.)
MOUNT: 38.8 x 27.2 cm (15 Vi x ion/i6 in.)
PROVENANCE: Helmut Gernsheim
OTHER PRINTS: AM
REPRODUCED: Gernsheim 1948, pl. 46;
Gernsheim 1975, p. 133; Weaver 1984, p. 125;
Wolf 1998, pl. 7
390
INSCRIPTIONS: Recto mount in ink in an
unknown hand: Mrs. J. H. Pollen
IMAGE: 21.6 x 17.5 cm (%Vz x 6 7 A in.)
MOUNT: Unknown
PROVENANCE: Sotheby's, New York,
October 7, 1993, lot 24
39i
IMAGE: 27.7 x 21.9 cm (io7/8 x 85/s in.)
PROVENANCE: Unknown
OTHER PRINTS: AIC 1962.322 (rectangle;
inscribed in an unknown hand:
The Neapolitan}; TRC 5416 (rectangle)
REPRODUCED: Mozley 1974, cat. 4
392
pl-3
pl- :5
Women
241
242
393
394
395
[May Prinsep]
[May Prinsep]
1866
Private collection
March 1866
Present whereabouts unknown
397
398
399
[May Prinsep]
[May Prinsep]
Confidence
May Prinsep
J U L I A M A R G A R E TC A M E R O N
March 1866
V&A Ph 938-1913
June 1866
TAMA
393
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life not enlarged Julia Margaret
Cameron and in pencil at lower left corner:
For the Signer; Colnaghi blindstamp
IMAGE: 28.6 x 23.4 cm (nV4 x 93/i6 in.)
MOUNT: 58 x 46.3 cm (2213/i6 x i83/i6 in.)
PROVENANCE: Unknown
394
INSCRIPTIONS: Recto mount in ink by
JMC: From Life not enlarged March 1866
Freshwater I of WJulia Margaret Cameron
and in pencil at lower left corner:
not much moved; Colnaghi blindstamp
IMAGE: 37.2 x 29 cm (14% x n7/i6 in.)
MOUNT: 57.5 x 46.4 cm (225/s x iS'A in.)
PROVENANCE: Unknown
396
Christabel
May Prinsep
[1866]; copyright March 23, 1866
V&A Ph 946-1913
395
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life not enlarged March 1866 Julia
Margaret Cameron
IMAGE: 35.7 x 28.5 cm (14 Vie x n3/i6 in.)
MOUNT: 39.8 x 32.5 cm (i5u/i6 x i213/i6 in.)
PROVENANCE: Gift of Alan S. Cole, April 19,
1913
396
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Julia Margaret Cameron and in
pencil below: Christabel
IMAGE: 33.9 x 27.6 cm (i35/i6 x io7/8 in.)
MOUNT: 37.8 x 31.6 cm (i47/s x i27/i6 in.)
PROVENANCE: Gift of Alan S. Cole, April 19,
400
1913
OTHER PRINTS: BNF D.05963/^0 3o6a-6;
GEH 67:0088:0019 (platinum print by
A. L. Coburn); HRHRC Thackeray Album
964:0312:0058 and 964:0037:0114; IUAM
Miniature Album 75.38.3; IWCC Miniature
Album, no. 39; MFAB 1982.621; MMA
41.21.26; Norman Album, no. 22;
NPG xi8o45 (cabinet); private collection
(cdv); RISD 78.091; RPS 2257/1-18
(albumen and carbon); UCLA Aubrey
Ashworth Taylor Album, no. 2; YUBL
Gen. Mss. 340, Vol. i, no. 7
REPRODUCED: Woolf and Fry 1973, pi. 37;
Hinton 1992, p. 115; Wolf 1998, pi. 21
397
INSCRIPTIONS: Recto mount in ink by
JMC: From Life Julia Margaret Cameron;
Colnaghi blindstamp
IMAGE: 28.1 x 22 cm (iiYie x 85/s in.)
MOUNT: 38.3 x 27.5 cm (i$Vi6 x io13/i6 in.)
PROVENANCE: Unknown
OTHER PRINTS: TRC 5383
REPRODUCED: Weaver 1984, p. 47
398
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Julia Margaret Cameron I For
the Signor / from JMC I taken after sunset I
jpm May ij; Colnaghi blindstamp
IMAGE: 34 x 28.1 cm (i33/s x nYi6 in.)
MOUNT: 57.4 x 46.1 cm (22 9 /i6 x iSVs in.)
PROVENANCE: Gabriel Cromer, 1939; gift of
Eastman Kodak Company, 1949
REPRODUCED: Lukitsh 1986, p. 54; Lukitsh
2001, p. 61
NOTES: A study of Kate Keown (cat. no. 984)
was made at the same sitting.
399
INSCRIPTIONS: Recto mount in ink by JMC:
From life June 1866 Julia Margaret Cameron
and in pencil below: Confidence; Colnaghi
blindstamp
IMAGE: 35.3 x 27.5 cm (i37/s x io"/i6 in.)
MOUNT: 46.4 x 34.9 cm (i8!/4 x i33/4 in.)
PROVENANCE: Private collection, Paris
OTHER PRINTS: NGC 21284; private
collection (cdv)
400
Women
243
4Oi
402
Melpomene
May Prinsep
Egeria
May Prinsep
May Prinsep
June 1866
VSW86:oo 4
July 3, 1866
HRHRC 964:0037:0115
[1866]
JPGM 84.XM.349.i8
405
406
407
Acting Grandmama
244
Beatrice
403
La Contadina
Beatrice
May Prinsep
May Prinsep
May Prinsep
[1866]
NMPFT Herschel Album 1984-5017/49
[1866]
MMA 69.607.9
401
406
402
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life jrdjuly 1866 Julia Margaret
Cameron / Egeria; Colnaghi blindstamp
IMAGE: 35 x 27.4 cm (13'A x ic'A in.)
M O U N T : 53.9 x 43.6 cm (ziVu x 17 Vs in.)
P R O V E N A N C E : Helmut Gernsheim
R E P R O D U C E D : Gernsheim 1975, p. 171
404
[The Neapolitan]
May Prinsep
[1866]
V&A Ph 249-1982
403
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Julia Margaret Cameron I
La Contadina; verso mount in pencil in
an unknown hand: ToJ. Herschelfrom
Mrs. Cameron
IMAGE: 34.8 x 27.6 cm (i3n/i6 x io7/8 in.)
MOUNT: 39 x 28.3 cm (i55/i6 x nVs in.)
P R O V E N A N C E : Andre Jammes, 1984
OTHER PRINTS: IUAM Miniature Album
75.38.73; NMPFT Herschel Album 19845017/87 and 1955/71; Norman Album, no. 73;
NPG xi8o46 (cabinet); private collection
(cdv); YUBL Gen. Mss. 340, Vol. 2, no. i
REPRODUCED: Ford 1975, p. no; Weaver 1984,
p. 73; Wolf 1998, p. 12
404
P- 63
408
Beatrice
May Prinsep
March 1866; copyright March 23, 1866
V&A Ph 944-1913
407
408
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Freshwater March 1866 Julia
Margaret Cameron and in pencil below:
Beatrice
IMAGE: 35.3 x 28.1 cm (137A x nVw in.)
MOUNT: 41.3 x 34.2 cm (i6:/4 x 13 Yi& in.)
P R O V E N A N C E : Gift of Alan S. Cole, April 19,
1913
OTHER PRINTS: HRHRC 964:0037:0045;
JPGM 84.XM.443.34 (cabinet); MAM
1986.40; private collection (cdv); UCLA
Aubrey Ashworth Taylor Album, no. 4;
YUBL Gen. Mss. 340, Vol. i, no. 4
REPRODUCED: Wolf 1998, p. 58
405
I N S C R I P T I O N S : Recto mount in ink by JMC:
Acting Grandmama and at upper right
corner: 49; partial Colnaghi blindstamp
IMAGE: 27.4 x 21.8 cm (io3/4 x 89/i6 in.)
MOUNT: 33.4 x 28.3 cm (13 V* x nVs in.)
P R O V E N A N C E : Sotheby's, Belgravia,
October 18, 1974, lot 34; NPG; NMPFT,
1983
OTHER PRINTS: BLUO Henry Taylor
Album, no. 34; IUAM Miniature Album
75.38.85; Norman Album, nos. 38 and 52;
private collection (cdv); VHM Ph 2595
R E P R O D U C E D : Ford 1975, p. 72; Bruson 1980,
pi. 6
Women
245
246
409
410
411
[1870]
NMPFT 1939-113/3
[1870]
AIC 1964.306
October 1870
Present whereabouts unknown
413
414
4i5
May Prinsep
May Prinsep
[May Prinsep]
[1868]
JPGM 84.XM.443.59
[1868]
MMA 41.21.18
[1868-69]
RPS 2203
409
414
J
939
OTHER PRINTS: AM (carbon); BLUO Henry
Taylor Album, no. 87; RPS 2301/2-4 (the
last inscribed byJMC: September 1870),
2852, and 20573; V&A .2750-1990
(photogravure)
REPRODUCED: Weaver 1984, p. 55; Wolf 1998,
P-58
410
412
[AStudyoftheCenci]
May Prinsep
1870
V&A Ph 30-1939
4i5
INSCRIPTIONS: Recto mount in ink in an
unknown hand: From Life Julia Margaret
Cameron and in pencil below: Miss May
Prinsep and in ink by JMC at lower left
corner: j/6 [3 shillings and sixpence];
Colnaghi blindstamp
IMAGE: 14.8 x 10.2 cm (513/i6 x 4 in.)
MOUNT: 29.3 x 23 cm (n1/? x 9 Vie in.)
MEDIUM: Reduced, cabinet-sized print
PROVENANCE: Unknown source, 1934
OTHER PRINTS: IWCC Miniature Album,
no. 10; private collection (cabinet;
mounted and with Colnaghi blindstamp)
REPRODUCED: Hinton 1992, p. 57
416
412
4 i6
May Prinsep
[1868-69]
IWCC Miniature Album, no. 9
4i3
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Freshwater Julia Margaret
Cameron I May Prinsep
IMAGE: 26.5 x 21.6 cm (io7/i6 x 8!/2 in.)
MOUNT: 43 x 37.5 cm (i615/i6 x i43/4 in.)
PROVENANCE: Sotheby's, London,
December 4, 1973, lot 65; Samuel Wagstaff,
Jr., 1984
OTHER PRINTS: Norman Family Miniature
Album, no. 25; private collection (cdv)
REPRODUCED: Wolf 1998, pi. 38
Women
247
4i7
418
[May Prinsep]
May Prinsep
[May Prinsep]
[1868-69]
Present whereabouts unknown
[1868-69]
Private collection, United Kingdom
[1868-69]
Private collection, United Kingdom
421
422
423
Madame Reine
May Prinsep
[May Prinsep]
[1869-70]
NMPFT 1939-113/4
248
July 1869
RPS 2268
419
4i7
I N S C R I P T I O N S : Unknown
IMAGE: Unknown
MOUNT: Unknown
M E D I U M : Reduced, cabinet-sized print
PROVENANCE: Unknown
OTHER PRINTS: Private collection (cdv)
418
I N S C R I P T I O N S : Recto album page in pencil
by JMC: May Prinsep
IMAGE: 7.4 x 5.6 cm (z 15 / x 23/i6 in.)
MOUNT: 10 x 6.4 cm (315/i6 x 2^/2 in.)
M E D I U M : Carte-de-visite
PROVENANCE: Gift of the artist to Julia
Norman; by descent within the Norman,
Pryor, and Curtis families
419
420
[May Prinsep]
[1869]
RPS 2254/3
423
I N S C R I P T I O N S : Recto mount in ink in
an unknown hand: From Life Registered
Photograph Copyright Julia Margaret
Cameron Freshwater Oct 1870; Colnaghi
blindstamp
IMAGE: 36.5 x 26 cm (14Vs x iolA in.)
MOUNT: 48.4 x 42 cm (19 VH, x i6l/2 in.)
PROVENANCE: Andre Jammes, 1984
OTHER PRINTS: RPS 2225
424
420
424
May [Prinsep]
October 1870
NMPFT 1939-113/13
Women
249
425
426
427
[May Prinsep]
[May Prinsep]
[October 1870]
JPGM 84.xp.259.28
[October 1870]
JPGM 84.XM.443.76
[October 1870]
RPS 2227/3
429
43
250
43i
425
I N S C R I P T I O N S : Recto mount in ink in
an unknown hand: From Life Registered
Photograph Copyright Julia Margaret
Cameron Freshwater Oct 1870 and in ink
by JMC at lower right corner: For Val
[Prinsep]; Colnaghi blindstamp
IMAGE: 35.4 x 28.1 cm (i315/i6 x u1/^ in.)
MOUNT: 58.3 x 46.1 cm (22 15 /i6 x iSYs in.)
PROVENANCE: Bruno Bischofberger, 1984
REPRODUCED: Cox 1996, p. 83
426
428
[May Prinsep]
[October 1870]; copyright October n, 1870
HRHRC 964:0037:0043
427
I N S C R I P T I O N S : Recto mount in ink in an
unknown hand: From Life Registered
Photograph copyright Julia Margaret
Cameron Oct i8jo and in pencil by JMC
below: May As Shakespeare's Isabel
IMAGE: 36.1 x 28.5 cm (14Vu, x nW in.)
MOUNT: 45.8 x 38 cm (18 x i415/i6 in.)
P R O V E N A N C E : Gift of Colonel Cameron, 1929
OTHER PRINTS: RPS 2227/1 (inscribed
by JMC: May), 2227/2 (inscribed
\>y]MC'. Alone), and 20570; HRHRC
964:0037:0040; NMAH 4161 B6
43
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph Copyright
Julia Margaret Cameron imperishable
carbon printing and in pencil below: "For
he will see them on tonight"
IMAGE: 29.5 x 23.6 cm (nVs x q1/* in.)
MOUNT: 34.3 x 27.5 cm (1^/2 x io13/i6 in.)
M E D I U M : Carbon
PROVENANCE: Unknown
43i
432
I N S C R I P T I O N S : Recto mount in ink by
JMC: From Life Registered photo copyright
Freshwater Oct 1870 Julia Margaret Cameron
and at lower right corner: 6 of these cabinets
IMAGE: 35.4 x 27.7 cm (i315/i6 x io 7 A in.)
MOUNT: 38.6 x 29 cm (i53/i6 x n7/i6 in.)
PROVENANCE: By descent within the family
of Maria and Mary Jackson; Mrs. Curie,
1959
OTHER PRINTS: RPS 2210/1 (inscribed by
JMC: Study No. 4] and RPS 2210/2
(inscribed by JMC: i6/[i6 shillings] /
Twilight]
REPRODUCED: Weaver 1984, p. 117
428
I N S C R I P T I O N S : Recto mount in pencil in an
unknown hand: May Prinsep
IMAGE: 34.8 x 27.4 cm (i3n/i6 x io3/4 in.)
MOUNT: 42.8 x 35 cm (i6 13 /i6 x 13^/1 in.)
P R O V E N A N C E : Helmut Gernsheim
OTHER PRINTS: AM; Paul F. Walter, 76:357
REPRODUCED: Gernsheim 1975, p. 169;
Weaver 1984, p. 53; Wolf 1998, pi. 25
432
[May Prinsep]
October 1870
NPG xi8oi2
429
I N S C R I P T I O N S : Recto mount in ink in an
unknown hand: From Life Registered
Photograph Copyright Julia Margaret
Cameron Freshwater Oct i8jo and in pencil
by JMC below: May I Study No 12 I This
series of 14 is not for sale I Orders will be
taken & it is requested I that it will be stated
in the Prints I If they are to be of the brown
tint or the grey, Colnaghi blindstamp
IMAGE: 34.7 x 27.9 cm (13 Vs x n in.)
MOUNT: 50.3 x 39.8 cm (1913/i6 x i5 n /i6 in.)
P R O V E N A N C E : Gift of Mrs. Beatrice Trench,
1929
REPRODUCED: Hopkinson 1986, p. 59
Women
251
252
433
434
435
[May Prinsep]
[May Prinsep]
[May Prinsep]
[October 1870]
V&A Ph 257-1982
October 1870
La Salle National Bank 68.8.3
437
438
439
[May Prinsep]
May [Prinsep]
[May Prinsep]
[October 1870]
RPS 2239/1
[18/4]
RPS 20578
433
438
434
436
[May Prinsep]
[October 1870]
JPGM 86.XM.636.5
440
[May Prinsep]
439
437
I N S C R I P T I O N S : Recto print in ink by JMC on
letter held by Prinsep: Freshwater Bay I
ofW, My dear Charlie, Do come with Julia to
LHH, JMC; recto mount in ink in an
unknown hand: From Life Registered
Photograph copyright i8jo Julia Margaret
Cameron I Freshwater and in ink by JMC
below: sent to Charlie Norman with love\
Colnaghi blindstamp
IMAGE: 35.5 x 28.1 cm (i3 is /i6 x nVu, in.)
MOUNT: 48.3 x 39.3 cm (19 x i5?/i6 in.)
P R O V E N A N C E : By descent within the Norman
family; Charles Isaacs, 1993
OTHER PRINTS: HRHRC 964:0037:0041 and
964:0037:0042; IUAM Miniature Album
75.38.14; private collection (cdv); RPS
2242/2-4 and 20571; TRC 5509
R E P R O D U C E D : Lukitsh 2001, p. 109
October 1874
RPS 2288/2
Women
253
441
The Stars in Her Hair Were Seven
Emily "Pinkie" Ritchie
May 1870
Present whereabouts unknown
443
[1870]
Present whereabouts unknown
JPGM 84.XM.443.50
445
446
[Hannah de Rothschild]
[September 1871]
Private collection, London
254
442
[1864-65]
HRHRC Thackeray Album 964:0312:0048
[1870]
447
441
446
442
I N S C R I P T I O N S : Recto mount in ink in
an unknown hand: E. M. R. I by
Mrs. Cameron 11870
IMAGE: 28 x 22.8 cm (n x 8 15 /i6 in.)
MOUNT: Unknown
P R O V E N A N C E : Sotheby's, Belgravia, March 21,
1975, lot 328; Harry H. Lunn, Jr.
R E P R O D U C E D : Bruson 1980, pi. 23
444
443
I N S C R I P T I O N S : Recto mount in ink in
an unknown hand: From Life Registered
Photograph Copyright Julia Margaret
Cameron Freshwater
IMAGE: 33.6 x 27.4 cm (13 A x zo'A in.)
MOUNT: 42.4 x 36 cm (i6 n /i6 x i43/u, in.)
P R O V E N A N C E : Samuel Wagstaff, Jr., 1984
OTHER P R I N T S : MM FM 1965 ooi 762
444
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph Copyright
Julia Margaret Cameron FreshWater may
[sic] 1870 and at lower left corner: No. 8;
Spooner blindstamp; verso mount wet
stamp at lower right corner: Ville de Paris I
Hauteville I House I Guernsey and in pencil
below: 22 [all within stamp]
IMAGE: 33.5 x 23.3 cm (13 Vu, x gYih in.)
MOUNT: 37.9 x 28.5 cm (i4 ls /H, x iiYi6 in.)
P R O V E N A N C E : Victor Hugo, by August 14,
1870
448
Farewell
Mary Ryan
[1865]
NMPFT Herschel Album 1984-5017/92
447
I N S C R I P T I O N S : Recto mount in ink by JMC:
A Wanderer I after the manner of Leonardo
IMAGE: 26.3 x 19.9 cm (ioYi6 x 7 1 Vi6 in.)
MOUNT: 35.2 x 25 cm (137A x g13/ in.)
PROVENANCE: Presented by Hester
Thackeray Fuller to the Gernsheim
Collection, October 21, 1953
448
INSCRIPTIONS: Recto mount in ink by JMC:
Farewell and in pencil in an unknown hand
above image: Alice Liddell?
IMAGE: 9.5 x n.6 cm (33/4 x 4%6 in.)
MOUNT: 33.7 x 30.2 cm (13'A x n7/8 in.)
P R O V E N A N C E : Sotheby's, Belgravia,
October 18, 1974, lot 34; NPG; NMPFT,
1983
OTHER PRINTS: BLUO Henry Taylor Album,
no. 62A; IUAM Miniature Album 75.38.16
(circle); Norman Family Miniature Album,
no. 39 (circle); private collection (cdv)
R E P R O D U C E D : Ford 1975, p. 115
NOTES: This picture is a detail of cat. no.
1098.
445
I N S C R I P T I O N S : Recto mount in pencil in an
unknown hand:/. M. Cameron
IMAGE: 34.3 x 26.7 cm (13 Vi x lo1/? in.)
MOUNT: 60.9 x 43.9 cm (2315/16 x 17 V4 in.)
PROVENANCE: Charlotte, Baroness Lionel
de Rothschild; by descent within the
Rothschild family
NOTES: The dating of this photograph is
based on a reference to Cameron in the
letters of Charlotte, Baroness Lionel de
Rothschild (Sept. 14, 1871 [The Rothschild
Archive, London, 000/84]).
Women
255
449
256
45
Study No. i
Mary Ryan
A Flower of Paradise
[1865-66]
AM L.77.5
[1865-66]
GEH 81:1125:0003
Mary Ryan
451
[Mary Ryan]
[1865-66]
MMA 69.607.2
453
454
455
[Mary Ryan]
Mary Ryan
[1865-66]
Mary Ryan
[1865-66]
RPS 2230
[1867]
NMPFT Herschel Album 1984-5017/78
449
452
[1866-68]
MoMA 329.68
45
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Julia Margaret Cameron and in
very faint pencil below: A Flower of
Paradise; Colnaghi blindstamp
IMAGE: 25.6 x 17.8 cm (ioYi6 x 7 in.)
MOUNT: 48.8 x 36.3 cm (i93/i6 x 14% in.)
PROVENANCE: A. E. Marshall, 1940; Gerald
Massay, 1981
OTHER PRINTS: Private collection, United
Kingdom
REPRODUCED: Lukitsh 1986, p. 22
45i
IMAGE: 33.1 x 24.7 cm (13 x 9 n /i6 in.)
MOUNT: 34.5 x 26.2 cm (i39/i6 x io5/i6 in.)
PROVENANCE: P. &D. Colnaghi &Co., Ltd.,
London, 1969
OTHER PRINTS: Private collection, United
Kingdom (arched top)
455
INSCRIPTIONS: Recto mount in ink by JMC:
The Wild Flower and at upper right corner:
?8
IMAGE: 27.5 x 23 cm (io13/i6 x gW in.)
MOUNT: 33.7 x 30 cm (13% x n13/i6 in.)
PROVENANCE: Sotheby's, Belgravia,
October 18, 1974, lot 34; NPG; NMPFT,
1983
OTHER PRINTS: IUAM Miniature Album
75.38.75; MFAH 86.128 (cabinet); RPS 2271;
UNMAM 72.484
REPRODUCED: Ford 1975, p. 101; Weaver 1984,
p. 73; Wolf 1998, pi. 22
456
INSCRIPTIONS: Recto mount in ink by JMC:
The Gardener's Daughter and at upper right
corner: 66
IMAGE: 29.2 x 23.4 cm (nV-z x 93/i6 in.)
MOUNT: 33.6 x 30.2 cm (i33/i6 x n7/g in.)
PROVENANCE: Sotheby's, Belgravia,
October 18, 1974, lot 34; NPG; NMPFT,
1983
452
456
454
IMAGE: 29.8 x 24.2 cm (u3/4 x qVi in.)
MOUNT: 47 x 34.3 cm (iSV-z x 13 V2 in.)
PROVENANCE: Gift of the artist to Lord and
Lady Elcho; by descent within the family
Women
257
258
457
458
459
[Isabel Somers-Cocks]
[Virginia Dalrymple]
[1864-66]
Present whereabouts unknown
April 3, 1866
WCP 8512664
[1868-70]
HRHRC 964:0037:0122
46i
462
463
[Virginia Dalrymple]
[Christina Spartali]
[Christina Spartali]
[1868-70]
HRHRC 964:0037:0071
[March 1868]
RPS 2252
[March 1868]
HRHRC 964:0037:0098
457
INSCRIPTIONS: Unknown
IMAGE: Unknown
MOUNT: Unknown
PROVENANCE: By descent within the Senior
family
458
460
Virginia [Dalrymple]
[1868-70]
LoC PH Cameron, no. 4 (B size)
463
INSCRIPTIONS: Colnaghi blindstamp
IMAGE: 36.3 x 26.6 cm (14 Vt x io7/i6 in.)
MOUNT: 54.5 x 42.5 cm (2i7/i6 x i63/4 in.)
PROVENANCE: Helmut Gernsheim
REPRODUCED: Sun and Shade 1891 (titled
A Dalmatian Maid)
464
INSCRIPTIONS: Recto mount lithographed
facsimile inscription by JMC: From
Life Copyright Julia Margaret Cameron
IMAGE: 12.9 x 9.7 cm (5 Vie x 313/i& in.)
MOUNT: 16.4 x 10.7 cm (67/i6 x 43/i6 in.)
MEDIUM: Cabinet card
PROVENANCE: Gift of Mrs. Curie, 1959
OTHER PRINTS: IUAM Miniature Album
75-38.9
459
INSCRIPTIONS: Colnaghi blindstamp
IMAGE: 33.2 x 25.6 cm (13 Vw x ioYi6 in.)
MOUNT: 52.7 x 42 cm (2o3/4 x i6l/2 in.)
PROVENANCE: Helmut Gernsheim
NOTES: The recent identification of the
subject in cat. nos. 459-61 occurred too late
to place the pictures in alphabetical order.
460
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Registered Photograph copyright
Juha Margaret Cameron I Virginia;
Colnaghi blindstamp
IMAGE: 31.7 x 24.3 cm (i27/i6 x 99/i6 in.)
MOUNT: 57.5 x 35.4 cm (22 5A x I315/i6 in.)
PROVENANCE: Robert Schoelkopf, 1973
OTHER PRINTS: HRHRC 964:0037:0029
(cdv)
461
IMAGE: 31.9 x 26 cm (i29/i6 x loVt in.)
MOUNT: 35.2 x 28.5 cm (i^7A x n3/i6 in.)
PROVENANCE: Helmut Gernsheim
REPRODUCED: Gernsheim 1948, pi. 33;
Gernsheim 1975, p. 134
462
4*4
[Christina Spartali]
[March 1868]
NPG xi8o5o
Women
259
260
465
466
467
[Marie Spartali]
Marie Spartali
September 1868
Private collection
[September 1868]
AIC 1998.289
Memory
Marie Spartali
469
47
471
Hypatia
Marie Spartali
[1868]
JPGM 84.XM.443.69
September 1868
VHM Ph 2607
465
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph Copyright
Julia Margaret Cameron Sep 1868 Freshwater
and at bottom of mount: For our dear
friend Mr. Darwin a gift from his affectn.
[ affectionate] y^/z'tf Margaret Cameron;
Colnaghi blindstamp
IMAGE: 30.7 x 24.4 cm (12 Vu, x 95/s in.)
MOUNT: 58 x 46.2 cm (2213/i6 x i83/i6 in.)
PROVENANCE: By descent within the Darwin
family; Sotheby's, New York, October 12,
2000, lot 42
466
468
[Marie Spartali]
[1868; printed 1880-90]
SLUC Mss. UT 5857 as no. 148, Photos 8, no. 12
469
Women
261
473
474
475
[Marie Spartali]
Marie Spartali
[1868]
Private collection, United Kingdom
477
478
479
Marie Spartali
[Marie Spartali]
[Marie Spartali]
[March 1868]
RPS 6786
March 1868
HRHRC 964:0037:0097
[1868]
BLUO Henry Taylor Album, no. 58
262
473
I N S C R I P T I O N S : Recto mount in pencil in an
unknown hand: La Donna at her Devotions
and in ink by JMC in index at rear of
album: La Donna at her Devotions (study
frm. Marie Spartali)
IMAGE: 25.4 x 20.4 cm (10 x 8 in.)
MOUNT: 46 x 31.6 cm (iSVs x i27/i6 in.)
PROVENANCE: Gift of Albert Boni, 1967
OTHER PRINTS: Norman Album, no. 39;
private collection (cdv); SLUC Mss. UT
5857 as no. 148, Photos 8, no. 5 (carbon;
reduced print)
REPRODUCED: Mozley 1974, cat. 10
476
[Marie Spartali]
[March 1868]
NMPFT 1999-5099
474
IMAGE: 18.3 x 14.4 cm (73/i6 x 5n/i6 in.)
MOUNT: 25 x 18.3 cm (913/i6 x 73/i6 in.)
MEDIUM: Carbon (reduced print)
PROVENANCE: William James Stillman;
gift of Michael S. Stillman, 1959
NOTES: This carbon print, made from a
reduced copy negative, was executed
without JMC's instructions after her death.
475
I N S C R I P T I O N S : Recto album page in ink by
JMC: Marie Spartali; recto mount
lithographed facsimile inscription by JMC:
From Life Copyright Julia Margaret Cameron
IMAGE: 7.6 x 5.5 cm (3 x 2Vs in.)
MOUNT: 10.1 x 5.6 cm (315/i6 x 23/i6 in.)
MEDIUM: Carte-de-visite
PROVENANCE: Gift of the artist to Julia
Norman; by descent within the Norman,
Pryor, and Curtis families
478
476
480
[Marie Spartali]
[1868]
HRHRC 964:0037:0047
477
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Julia Margaret Cameron and
in pencil below: Marie Spartali] Colnaghi
blindstamp
IMAGE: 34.4 x 26.7 cm (13%& x loVz in.)
MOUNT: 54.2 x 44 cm (2i5/i6 x i75/i6 in.)
PROVENANCE: Rev. Brooke Richard, 1909;
gift of Mr. Holcroft, 1932
OTHER PRINTS: SLUC Mss. UT 5857 as no.
148, Photos 8, no. 4 (carbon; reduced print)
Women
263
264
481
482
483
[Marie Spartali]
[Marie Spartali]
Marie Spartali
[1868]
JPGM 84.XM.443.7o
[1868]
JPGM 84.XM.349.2
[October 1870]
Private collection
485
486
487
[Marie Spartali]
[June 1867]
Present whereabouts unknown
[June 1867]
JPGM 2001.24
481
I N S C R I P T I O N S : Colnaghi blindstamp
IMAGE: 36.7 x 25.3 cm (i47/i6 x 915/i6 in.)
MOUNT: 58.1 x 46.3 cm (227s x iSVu, in.)
PROVENANCE: Sotheby's, Belgravia, March 27,
1981, lot 483; Samuel Wagstaff, Jr., 1984
OTHER PRINTS: MMA 69.607.7
482
INSCRIPTIONS: Colnaghi blindstamp;
verso mount in ink in an unknown hand:
Moore I Newport 11 of W and Portrait.
Mrs. J. M. Cameron and /. W. Moore
IMAGE: 36.2 x 26.6 cm (14V4 x io 7 /i6 in.)
MOUNT: 57.8 x 46 cm (22 3 A x iSYs in.)
PROVENANCE: Sotheby's, Belgravia, March 27,
1981, lot 482; Andre Jammes, 1984
REPRODUCED: Cox 1996, p. 81; Wolf 1998,
pi. 20
487
INSCRIPTIONS: Recto mount in ink in an
unknown hand: From Life June i86j Julia
Margaret Cameron No. 2 and in pencil by
JMC at lower right corner: No. 2; Colnaghi
blindstamp; verso mount in pencil in
an unknown hand at lower left corner:
Mr. Mont eagle
IMAGE: 23.9 x 18.5 cm (9% x jV* in.)
MOUNT: 38 x 28.3 cm (i415/i6 x nVs in.)
PROVENANCE: Gift of Robert Warren, 2001
488
483
484
[Marie Spartali]
October 1870
Present whereabouts unknown
488
Women
265
489
490
491
[June 1867]
Present whereabouts unknown
[June 1867]
Alex Novak, Vintage Works
[1866]
JPGM 84.XM.443.74
493
494
495
II Penseroso
Lady Adelaide Talbot
[Maud Tennyson]
266
[May 1865]
JPGM Overstone Album 84.xz.186.23
[1866-70]
NPG xi8o59
489
492
496
Sadness
494
I N S C R I P T I O N S : Recto mount in ink by JMC:
// Penseroso
IMAGE: 25.5 x 20 cm (10 x j7/% in.)
MOUNT: 34.3 x 27.6 cm (13 Vz x io7/s in.)
PROVENANCE: Sotheby's, Belgravia, June 26,
1975, lot 45; Daniel Wolf, 1984
OTHER PRINTS: Lindsay Album, no. 84;
V&A 45.146 (inscribed by JMC: Come
Pensive Nun devout and pure, sober, stedfast
and demure)
REPRODUCED: Weaver 1984, p. 79; Weaver
1986, p. 75
495
I N S C R I P T I O N S : Recto mount lithographed
facsimile inscription by JMC: From
Life Copyright Julia Margaret Cameron
IMAGE: 8.9 x 6.6 cm (3]/2 x 29/i6 in.)
MOUNT: 16.4 x 10.7 cm (67/i6 x 43/i& in.)
MEDIUM: Carte-de-visite
PROVENANCE: By descent within the family
of Maria and Mary Jackson; Mrs. Curie,
1959
496
493
I N S C R I P T I O N S : Recto mount in ink by JMC:
L.H.H. [Little Holland House] Lawn I
May 1865 I Lady Adelaide Talbot and at
upper left corner: 702
IMAGE: 26.3 x 21.8 cm (io5/i6 x 89/i& in.)
MOUNT: 33.8 x 28.4 cm (i35/i6 x n3/i6 in.)
P R O V E N A N C E : Sotheby's, Belgravia, June 26,
1975, lot 45; Daniel Wolf, 1984
OTHER PRINTS: Lindsay Album, no. 18;
private collection (cdv); TRC 5414; V&A
45.142
REPRODUCED: Weaver 1986, p. 95; Wolf 1998,
pi. 26
Ellen Terry
1864; copyright June 30, 1864
JPGM Overstone Album 84.xz.186.52
Women
267
497
[Sadness]
499
Medora
Ellen Terry
Ellen Terry
[1864-66]
Present whereabouts unknown
SGI
502
Afnne]. T[hackeray].
503
[Group]
[1868-70]
Present whereabouts unknown
[May 1870]
AIC 1963.606
268
498
[1868-72]
RPS 2163
497
5
A[nne]. Thackeray
[May 1870]
NPG P53
501
I N S C R I P T I O N S : Recto mount in ink in an
unknown hand: From Life registered photo
copyright May 1870 Julia Margaret Cameron
and in pencil by JMC below: A. T.;
Colnaghi blindstamp
IMAGE: 29.2 x 24 cm (nV-z x 97/i6 in.)
MOUNT: 49.8 x 43.6 cm (195A x 17% in.)
PROVENANCE: Gift of Mrs. James Ward
Thorne, 1963
502
I N S C R I P T I O N S : Unknown
IMAGE: 35.5 x 25.2 cm (i315/i6 x 915/i6 in.)
MOUNT: Unknown
PROVENANCE: Unknown
REPRODUCED: Ford I979C, p. 6
503
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph Copyright
Julia Margaret Cameron
IMAGE: 34.1 x 27.8 cm (i37/i6 x io15/i6 in.)
MOUNT: 47.9 x 37.6 cm (i87/s x i413/i6 in.)
PROVENANCE: Unknown
REPRODUCED: Weaver 1984, p. 36
504
I N S C R I P T I O N S : Recto mount in ink by JMC:
FreshWater 11865 I Minnie Thackeray and
at upper right corner: 98
IMAGE: 27.3 x 23.5 cm (io3/4 x glA in.)
MOUNT: 33.9 x 28.5 cm (i35/i6 x n3/i6 in.)
P R O V E N A N C E : Sotheby's, Belgravia, June 26,
1975, lot 45; Daniel Wolf, 1984
OTHER PRINTS: Lindsay Album, no. 30;
MMA 41.21.5; TRC 5413
REPRODUCED: Weaver 1986, p. 94; Cox 1996,
P-37
504
Minnie Thackeray
1865; copyright May 3, 1865
JPGM Overstone Album 84.xz.186.100
Women
269
505
506
[Mary Wedderburn]
507
June 1874
RPS 2292/1
June 1874
RPS 2832/1
Study of a Magdalen
Mary Wedderburn
509
5io
Rosalba
Cyllena Wilson
Cyllena [Wilson]
270
JULIA MARGARET
CAMERON
July 1874
Present whereabouts unknown
5"
505
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Registered Photograph Copyright
Julia Margaret Cameron Freshwater
June 1874
IMAGE: 34.2 x 26.8 cm (i37/i6 x io9/i6 in.)
MOUNT: 48.2 x 37.7 cm (i815/i6 x i413/i6 in.)
PROVENANCE: Unknown
OTHER PRINTS: IUAM Miniature Album
75.38.8
506
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Registered Photograph Copyright
Julia Margaret Cameron Freshwater
June 1874 and in pencil below: Portrait
of May [sic] Wedderburn
IMAGE: 35.2 x 27.3 cm (i37/s x io3/4 in.)
MOUNT: 48.1 x 37.6 cm (i815/i6 x i413/i6 in.)
P R O V E N A N C E : Gift of Mrs. Beatrice Trench,
1929
58
The Two Magnolias
Cyllena Wilson (?)
[1867]
Stan Kaplan
507
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph copyright
Julia Margaret Cameron Freshwater July 1874
I Study of a Magdalen; Colnaghi blindstamp
IMAGE: 35.6 x 27.3 cm (14 x io3/4 in.)
MOUNT: Unknown
PROVENANCE: Christie's, London, June 30,
1977, lot 320
508
I N S C R I P T I O N S : Recto mount in ink by JMC:
This copy is printed on a damaged sheet of
paper I The Two Magnolias and in pencil
below: This is a damaged piece of paper as you
will see I but the glass is perfect; verso mount
in pencil by JMC at center: / wish to know
Signors I opinion of figure if well I described
& if not wonderful I for a girl of 15 IMAGE: 33 x 25.4 cm (13 x 10 in.)
MOUNT: 43.5 x 34.3 cm (17Vs x 13 V2 in.)
PROVENANCE: Sotheby's, New York, April 28,
1999,lot 4
59
INSCRIPTIONS: Recto mount in ink by JMC:
From life Julia Margaret Cameron I Rosalba;
Colnaghi blindstamp
IMAGE: 35.4 x 27.9 cm (i315/i6 x n in.)
MOUNT: 55.6 x 45.2 cm (2i7/8 x i713/i6 in.)
PROVENANCE: Gabriel Cromer, 1939; gift of
Eastman Kodak Company, 1949
512
A Bacchante
Cyllena Wilson
5io
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Julia Margaret Cameron I Selina
[sic] and in pencil [possibly by Dante
Gabriel Rossetti] at lower right corner:
DGR; Colnaghi blindstamp
IMAGE: 31.6 x 26.1 cm (i27/i6 x ioy4 in.)
MOUNT: 50.8 x 41.7 cm (20 x i63/8 in.)
PROVENANCE: Dante Gabriel Rossetti; by
descent within the Rossetti family; Helmut
Gernsheim
NOTES: There are seven prints in the
HRHRC's collection that were presented
to Dante Gabriel Rossetti by JMC in 1867.
See references at cat. nos. 387, 509-10, 513,
876, 880, and 985.
5"
Women
271
5i3
Rachel
Cyllena Wilson
[1867]; copyright June 25, 1867
HRHRC 964:0037:0118
272
5H
[Rachel]
Cyllena Wilson
[1867]; copyright June 25, 1867
MFAB 1985.423
5i7
518
[Unknown Woman]
[Unknown Woman]
[1864]
BLUO Henry Taylor Album, no. 107
[1864-65]
TRC 5425
5i5
[Cyllena Wilson]
[1867-68]
Present whereabouts unknown
5i9
II Penseroso
Unknown woman
[1864-65]
V&A 45.143
5*3
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Julia Margaret Cameron I Rachel;
Colnaghi blindstamp; verso mount in
pencil by Helmut Gernsheim: One of seven
studies given by J. M. C. to Dante Gabriel
Rossetti
IMAGE: 34.8 x 24.5 cm (i3n/i6 x 9 5 A in.)
MOUNT: 53.6 x 41.5 cm (21 Vie x i65/i6 in.)
PROVENANCE: Dante Gabriel Rossetti; by
descent within the Rossetti family; Helmut
Gernsheim
OTHER PRINTS: NMPFT 1990-5036/11502;
private collection (cabinet)
REPRODUCED: Wolf 1998, pi. 36
NOTES: There are seven prints in the
HRHRC's collection that were presented
to Dante Gabriel Rossetti by JMC in 1867.
See references at cat. nos. 387, 509-10, 513,
876, 880, and 985.
5 i6
Vectis
Cyllena Wilson
[1868]; copyright August 3, 1868
RPS 2300
5J9
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Julia Margaret Cameron I I I
Penseroso and in an unknown hand at upper
left corner: Studies for Painting; Colnaghi
blindstamp
IMAGE: 25.1 x 20 cm (<)7A x y7/% in.)
MOUNT: 33 x 26.4 cm (13 x io3/8 in.)
PROVENANCE: Gift of the artist,
September 27, 1865
520
5i4
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Julia Margaret Cameron
IMAGE: 34.9 x 27.9 cm (i33/4 x n in.)
PROVENANCE: Mack Lee, 1985
OTHER PRINTS: IUAM Miniature Album
75.38.32; IWCC Miniature Album, no. 19;
private collection (cabinet); private
collection (cdv)
5i5
INSCRIPTIONS: Spooner blindstamp
IMAGE: 34.3 x 26.7 cm (13 Ya x to1/? in.)
MOUNT: Unknown
PROVENANCE: Christie's, London, January 23,
1975, lot 415
516
II Penseroso
Unknown woman
[1864-65]
V&A 45.145
Women
273
521
522
Boadicea
Unknown woman
[Unknown Woman]
[1864-66]
NPG xi8o26
274
[1864-66]
V&A Ph 248-1982
523
[Unknown Woman]
[1865]
TRC 5412
525
526
527
[Unknown Woman]
[Unknown Woman]
[Unknown Woman]
[1864-66]
BLUO Henry Taylor Album, no. 89
[1865-66]
RPS 2273
521
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Julia Margaret Cameron
and in pencil below: Boadicea; Colnaghi
blindstamp
IMAGE: 26.7 x 21 cm (zoVa x 8Y4 in.)
MOUNT: 38 x 28.6 cm (i415/i6 x n% in.)
PROVENANCE: Unknown
REPRODUCED: Weaver 1984, p. 127
522
524
[Unknown Woman]
[1865]
Private collection
524
INSCRIPTIONS: Recto mount in ink by JMC:
Julia Marg.; Colnaghi blindstamp
IMAGE: 24.9 x 19.5 cm (913/i6 x 7n/i6 in.)
MOUNT: Unknown
PROVENANCE: Sotheby's, Belgravia, March 21,
1975. lot 331
525
IMAGE: 27.9 x 22.8 cm (n x 815/16 in.)
MOUNT: 33.2 x 27.3 cm (13 Yi& x io3/4 in.)
PROVENANCE: Bequest of the Taylor family,
1930
526
[Unknown Woman]
[1866]
YUBL Gen. Mss. 340, Vol. 3, folder 28
Women
275
529
530
[Unknown Woman]
[Unknown Woman]
[1866-68]
MMA 69.607.10
[1866-70]
Ken and Jenny Jacobson
533
534
[Group]
[Unknown Woman]
The Peasant
March 1870
Present whereabouts unknown
Unknown woman
276
531
[Unknown Woman]
[1866-70]
Present whereabouts unknown
535
1868
JPGM 84.XM.4437I
529
I N S C R I P T I O N S : Colnaghi blindstamp
IMAGE: 33.9 x 25.8 cm (i35/i6 x loYs in.)
MOUNT: 54 x 37.7 cm (21^/4 x i413/i6 in.)
PROVENANCE: P. 5cD. Colnaghi StCo., Ltd.,
London, 1969
530
IMAGE: 8.7 x 5.9 cm (37/i6 x 25/i6 in.)
MOUNT: 10.1 x 6.4 cm (315/i6 x 2!/2 in.)
MEDIUM: Carte-de-visite
PROVENANCE: Unknown
OTHER PRINTS: Another print, from the
collection of Erich Sommer, sold at
Christie's, South Kensington, May 8, 1998,
lot 47.
532
[Group]
Unknown girl, unknown woman
[1866-70]
YUBL Gen. Mss. 340, Vol. 3, folder 10
53i
INSCRIPTIONS: Unknown
IMAGE: 35.6 x 25.4 cm (14 x 10 in.)
MOUNT: Unknown
PROVENANCE: Christie's, London, June 28,
1979, lot 206
535
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Registered Photograph Freshwater
copyright Julia Margaret Cameron 1868 I The
Peasant and in pencil below: Mrs. Freshfield
and in ink below at right: My gift and
in pencil in an unknown hand at lower left
corner: / keep this as a future gift I to Hal
Freshfield I Blanche Cornish April 1889;
Colnaghi blindstamp
IMAGE: 32.6 x 25.2 cm (i213/i6 x 915/i6 in.)
MOUNT: 56.5 x 38.5 cm (22 V4 x 15 Vs in.)
PROVENANCE: Samuel Wagstaff, Jr., 1984
536
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Copyright Julia Margaret Cameron
IMAGE: 32.8 x 25.2 cm (i27/s x 915/i6 in.)
MOUNT: 50 x 36 cm (i9n/i6 x i43/i6 in.)
PROVENANCE: Harrogate Public Library
532
536
[The Peasant]
Unknown woman
[1868]
MAG HA 1930
Women
277
537
278
538
539
The Sunflower
Unknown woman
A Sibyl
Unknown woman
[1866-70]
Private collection
May 1870
Present whereabouts unknown
MMA 69.607.11
54i
542
Oenone
Unknown woman
543
Unknown woman
Unknown woman
[1870]
HRHRC 96410037:0107
September 1870
WCP 8411003
[1870]
RPS 2306
Zoe
[1870]
[Zoe]
537
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph copyright
Julia Margaret Cameron and in pencil
below: The Sunflower; Colnaghi blindstamp
IMAGE: 35.1 x 24.3 cm (i313/i6 x 99/i6 in.)
MOUNT: 58.3 x 46.5 cm (2215/i6 x i85/i6 in.)
PROVENANCE: Unknown
NOTES: See cat. no. 53/a at the end of this
chapter.
538
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph Copyright
Julia Margaret Cameron May i8jo and
in pencil below: Study (No. i) of A Sibyl
IMAGE: 34.3 x 27.9 cm (13 Va x n in.)
MOUNT: Unknown
P R O V E N A N C E : Christie's, London, June 30,
1977, lot 317
539
540
[A Sibyl]
Unknown woman
[1870]
Private collection
542
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Registered photograph copyright
Julia Margaret Cameron Sept. i8jo I 7.oe;
Spooner blindstamp
IMAGE: 33.7 x 26.4 cm (13% x io3/s in.)
MOUNT: 38 x 28.5 cm (i415/i6 x n3/i6 in.)
PROVENANCE: Christie's, London,
October 25, 1984, lot 200
543
I N S C R I P T I O N S : Spooner blindstamp
IMAGE: 33.6 x 26.3 cm (i33/i6 x io5/i6 in.)
MOUNT: 38 x 28.5 cm (i415/i6 x n3/i6 in.)
PROVENANCE: Unknown
544
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Registered Photograph copyright
Julia Margaret Cameron i8jo and in pencil
below: Zenobia; Spooner blindstamp
IMAGE: 33.7 x 24.8 cm (13 V* x <)3A in.)
MOUNT: 37.8 x 28.3 cm (i47/s x nVs in.)
PROVENANCE: Unknown
540
I N S C R I P T I O N S : Recto mount in ink by an
unknown hand: From Life Registered
Photograph Copyright Julia Margaret
Cameron Freshwater, Colnaghi blindstamp
IMAGE: 35.5 x 28.2 cm (i315/i6 x nVie in.)
MOUNT: 58.3 x 46.2 cm (2215/i6 x i83/i6 in.)
PROVENANCE: Unknown
544
Zenobia
54i
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph Copyright
Julia Margaret Cameron I Oenone I By
Mrs. Cameron and in pencil at lower right
corner: beautiful brow'd Aenone [sic] I
See Tennyson
IMAGE: 35 x 25.7 cm (133A x zoYs in.)
MOUNT: 56.8 x 45 cm (223/s x iyn/\6 in.)
PROVENANCE: Helmut Gernsheim
OTHER PRINTS: RPS 2283; Sotheby's,
Belgravia, June 17, 1981, lot 433 (inscribed
by JMC: Presente a Monsieur Gustave
Dore avec les amities de Madame Cameron
[Presented to Mr. Gustave Dore with
the regards of Mrs. Cameron])
Unknown woman
1870
RPS 2261
Women
279
545
[Unknown Woman]
280
546
[Unknown Woman]
547
Rebecca
Unknown woman
[1870]
RPS 2262
[1870]
RPS 2285
549
550
55i
[Unknown Woman]
Amen
Unknown woman
Unknown woman
[1870]
[1870]
RPS 2305
[1870]
RPS 2303/1
[1868-72]
RPS 2698
545
INSCRIPTIONS: Spooner blindstamp
IMAGE: 33.9 x 25.3 cm (i35/i& x 915/i6 in.)
MOUNT: 38 x 28.5 cm (i415/i6 x n3/i6 in.)
PROVENANCE: Unknown
546
548
[Rebecca]
Unknown woman
[1870]
RPS 2304/1
547
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Registered Photograph copyright
Julia Margaret Cameron Freshwater and
in pencil below: Rebecca
IMAGE: 34.6 x 28.4 cm (13 Vs x n3/i6 in.)
MOUNT: 45.1 x 35.7 cm (i73/4 x 14Vu in.)
PROVENANCE: Unknown
OTHER PRINTS: MM FM 1972 ooi ooi; WCP
85:2160 (inscribed in ink by JMC: Haidie;
Spooner blindstamp)
55i
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Registered Photograph Copyright
Julia Margaret Cameron I Amen; partial
Colnaghi blindstamp
IMAGE: 26.7 x 21.4 cm (loV-z x 87/i6 in.)
MOUNT: 47.8 x 39 cm (i813/i6 x i55/i6 in.)
PROVENANCE: Gift of Mrs. Beatrice Trench,
1929
552
548
552
550
INSCRIPTIONS: Recto mount in ink in an
unknown hand: From Life Registered
Photograph Copyright Julia Margaret
Cameron Freshwater
IMAGE: Unknown
MOUNT: Unknown
PROVENANCE: Unknown
[Unknown Woman]
[1868-72]
RPS 2284
Women
281
553
554
555
[Unknown Woman]
[Unknown Woman]
[1868-72]
RPS 2216
[1868-72]
RPS 2264/1
A Study
Unknown woman
557
558
559
[Unknown Woman]
[Group]
Three unknown women
[Unknown Woman]
[1868-72]
RPS 2207
282
[1871-72]
Present whereabouts unknown
[1868-72]
RPS 2234/1
[1868-72]
RPS 2224
553
INSCRIPTIONS: Colnaghi blindstamp
IMAGE: 33 x 25.4 cm (13 x 10 in.)
MOUNT: 50.6 x 40.6 cm (i9 15 /i6 x 16 in.)
PROVENANCE: Gift of Mrs. Beatrice Trench,
1929
REPRODUCED: Weaver 1984, p. 117
560
554
I N S C R I P T I O N S : Partial Colnaghi blindstamp
IMAGE: 33 x 24.5 cm (13 x 95/s in.)
MOUNT: 48.8 x 40 cm (i93/i6 x i53/4 in.)
PROVENANCE: Gift of Mrs. Beatrice Trench,
1929
556
Despair
Unknown woman
[1868-72]
RPS 2217
555
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Registered Photograph Copyright
Julia Margaret Cameron IA Study, partial
Colnaghi blindstamp; verso mount RPS
label with title: Bitter Sweet
IMAGE: 32.3 x 25.8 cm (i2 n /i6 x ioYs in.)
MOUNT: 49.7 x 40.6 cm (i99/i6 x 16 in.)
PROVENANCE: Gift of Frederick Hollyer, 1931
OTHER PRINTS: RPS 2234/2 (inscribed by
JMC: "Bitter Sweet")
556
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph /Julia M.
Cameron / Despair \ partial Colnaghi
blindstamp
IMAGE: 26.8 x 13.7 cm (io9/i6 x 53/8 in.)
MOUNT: 49.4 x 40.7 cm (i97/i6 x 16 in.)
PROVENANCE: Gift of Frederick Hollyer, 1931
557
INSCRIPTIONS: Recto mount in ink in
an unknown hand: From Life Registered
Photograph Copyright Julia Margaret
Cameron; Colnaghi blindstamp
IMAGE: 32 x 23.9 cm (i29/i6 x 93/8 in.)
MOUNT: 51.2 x 38.8 cm (20 V* x 15 V4 in.)
PROVENANCE: Gift of Mrs. Beatrice Trench,
1929
560
[Unknown Woman]
[1868-72]
RPS 2220
558
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life registered photograph copyright
Julia Margaret Cameron; Colnaghi
blindstamp
IMAGE: 31.2 x 28.5 cm (12 Yt x n3/i6 in.)
MOUNT: Unknown
PROVENANCE: Sotheby's, Belgravia, March 25,
1983, lot 126
559
INSCRIPTIONS: Colnaghi blindstamp
IMAGE: 35.1 x 24.8 cm (i313/i6 x 93A in.)
MOUNT: 50.5 x 40.4 cm (197A x i57/8 in.)
PROVENANCE: Gift of Mrs. Beatrice Trench,
1929
Women 283
284
56i
562
[Unknown Woman]
[Unknown Woman]
[1868-72]
RPS 2270
[1868-72]
CCVA 1979.128
[1868-72]
RPS 2263
565
566
567
[Unknown Woman]
[Unknown Woman]
[Unknown Woman]
[1868-72]
V&A Ph 232-1957
[1868-72]
Private collection
[1868-72]
RPS 2307
5^3
[Unknown Woman]
561
[Unknown Woman]
[1868-72]
Private collection, United Kingdom
564
INSCRIPTIONS: Colnaghi blindstamp
IMAGE: 34.3 x 25.2 cm (131A x 915/i6 in.)
MOUNT: 59.4 x 45.2 cm (233/s x IJ^/K, in.)
PROVENANCE: Gift of the artist to Mary
Hillier; by descent within the Hillier family
to Muriel Campion-Lowe; sold at auction,
Shanklin, Isle of Wight (date unknown)
565
INSCRIPTIONS: Recto mount in ink in
an unknown hand: From Life Registered
Photograph copyright Julia Margaret
Cameron
IMAGE: 34.2 x 25.4 cm (rjVi x 10 in.)
MOUNT: 43 x 33.7 cm (i615/i6 x \^/\ in.)
PROVENANCE: Unknown
566
567
INSCRIPTIONS: Recto mount in ink in an
unknown hand: From Life Julia Margaret
Cameron
IMAGE: 34.5 x 26.6 cm (i39/i6 x io7/i6 in.)
MOUNT: 41.7 x 31.5 cm (i63/8 x i23/s in.)
PROVENANCE: Science Museum, London
568
[Unknown Woman]
[1868-72]
Present whereabouts unknown
568
INSCRIPTIONS: Unknown
IMAGE: Unknown
MOUNT: Unknown
PROVENANCE: Unknown
Women 285
569
[Unknown Woman]
57
571
[1868-70]
NMPFT 1939-113/7
[1868-72]
NPG xi8o49
HRHRC 964:0037:0009
573
574
575
Sun-Lit Memories
[Unknown Woman]
[Unknown Woman]
[1870-74]
RPS 2215
Unknown woman
July 1873
RPS 2228
286
[Unknown Woman]
[Unknown Woman]
[1873]
569
I N S C R I P T I O N S : Colnaghi blindstamp
IMAGE: 29.1 x 23.4 cm (n7/K, x gW in.)
MOUNT: 33.9 x 27.5 cm (13^/16 x io13/i6 in.)
P R O V E N A N C E : Gift of Mrs. Henry Perrin to
the Science Museum, London, 1939
OTHER PRINTS: NPG xi8o02 (cabinet)
57
I N S C R I P T I O N S : Recto mount lithographed
facsimile inscription by JMC: From
Life Copyright Julia Margaret Cameron
IMAGE: 14 x 9.9 cm (5!/2 x $7A in.)
MOUNT: 16.9 x 11.2 cm (6 5 A x 43/8 in.)
M E D I U M : Cabinet card
P R O V E N A N C E : Gift of Mrs. Curie, 1959
572
Unknown woman
July 1873
BRMA 1991.126
571
I N S C R I P T I O N S : Recto mount in pencil in an
unknown hand: Mrs Ewen Cameron and
wet stamp at lower center: GERNSHEIM
COLLECTION
IMAGE: 32.6 x 23.1 cm (i213/i6 x g1/ in.)
MOUNT: 43.8 x 33 cm (17'A x 13 in.)
PROVENANCE: Helmut Gernsheim
OTHER PRINTS: RPS 2211 (inscribed by JMC:
Expecting]
575
I N S C R I P T I O N S : Recto mount lithographed
facsimile inscription by JMC: From Life
Copyright Julia Margaret Cameron
IMAGE: 34.7 x 26 cm (13 Vs x io!/4 in.)
MOUNT: 50 x 40.2 cm (ig11/ x i513/i& in.)
PROVENANCE: Gift of Mrs. Beatrice Trench,
1929
576
572
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph copyright
Julia Margaret Cameron Fresh Water July 1873
and in pencil below: "Her Open Eyes Declare
the Truth"
IMAGE: 35.2 x 27.3 cm (i37A x io3/4 in.)
MOUNT: 55.2 x 46 cm (2i3/4 x iSYs in.)
PROVENANCE: Unknown
OTHER PRINTS: Private collection, United
Kingdom
573
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph Copyright
Julia Margaret Cameron Freshwater July i8yj
I Sun-Lit Memories; partial Colnaghi
blindstamp
IMAGE: 33.2 x 28 cm (13 Vio x n in.)
MOUNT: 50.4 x 40.4 cm (i913/i6 x 157A in.)
PROVENANCE: Unknown
OTHER PRINTS: MMA 69.607.4
REPRODUCED: Lukitsh 1986, p. 68
576
Gretchen
Unknown woman
[1870-74]
RPS 2204/1
574
I N S C R I P T I O N S : Recto print stamp at lower
right corner: Autotype Company; recto
mount in pencil in an unknown hand:
Julia Margaret Cameron
IMAGE: 31.9 x 24.3 cm (i2 y /i6 x 99/i6 in.)
MOUNT: 51.2 x 38.5 cm (20% x 15 Va in.)
MEDIUM: Carbon
P R O V E N A N C E : Unknown
OTHER PRINTS: RPS 2240/1-10 and 2240/12
(carbon)
Women 287
57
579
[Unknown Woman]
[Unknown Woman]
[1870-74]
Julia Margaret Cameron Trust 1998.3.2
1874
RPS 2685
[1874]
RPS 2250/1
581
582
[Unknown Woman]
274*
[Unknown Woman]
[1874]
RPS 2248
[1874]
RPS 2247
577
[Unknown Woman]
288
Lady Hood
[1870]
RPS 2241/2
577
I N S C R I P T I O N S : Colnaghi blindstamp
IMAGE: 33.4 x 26.7 cm (13 % x 10% in.)
MOUNT: 54 x 42.5 cm (21'A x 163/4 in.)
PROVENANCE: D. Hitchman, 1998
578
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph Copyright
Julia Margaret Cameron Freshwater 1874;
partial Colnaghi blindstamp
IMAGE: 32.5 x 27.5 cm (i213/i6 x lo'Vif. in.)
MOUNT: 48.8 x 39 cm (i 3 / x 15 W in.)
PROVENANCE: Unknown
579
INSCRIPTIONS: Partial Colnaghi blindstamp
IMAGE: 32.7 x 28.6 cm (i2 7 /s x n'A in.)
MOUNT: 48.5 x 39 cm (19 V x i55/i6 in.)
PROVENANCE: Unknown
580
58
[Unknown Woman]
[1874]
RPS 2229/2
274*
I N S C R I P T I O N S : Recto mount in ink by JMC
at lower left corner: i6/ [16 shillings] /
Lady Hood; Colnaghi blindstamp
IMAGE: 35.5 x 26.5 cm (i315/i6 x loVu, in.)
MOUNT: 58.4 x 46.4 cm (23 x iS'A in.)
PROVENANCE: Unknown
OTHER PRINTS: RPS 2241/1
537a
I N S C R I P T I O N S : Recto mount in ink by JMC:
537a
Lady Clara Ver de Ver
Unknown woman
1869
RPS 2251
Women
289
IV
Men
Cameron's death, some areas of her photographic work have not met with consistent
critical approval (see discussion in chapter 6). However,
her portraits of "famous men and fair women" (the phrase
was coined by the Bloomsbury author Virginia Woolf for
the title of her 1926 book of Cameron's photographs) 1
have never been out of favor. Woolf s coauthor, the art critic
Roger Fry, for instance, believed Cameron had "a wonderful perception of character as it is expressed in form" and
that her achievements far exceeded those of such eminent
portrait painters of her time as James Abbott McNeill
Whistler and George Frederic Watts.2 Helmut Gernsheim, the author of a key 1948 biography of Cameron,
found her portraits "infused with a dynamic power which
few photographers since have achieved."3
This chapter brings together in alphabetical order
virtually all of Cameron's individual male portraits
photographs of men portrayed as themselves rather than
as characters in literary, dramatic, or religious narratives.
There are 275 of these, nearly a quarter of Cameron's
known work. The earliest date from her first weeks as a
photographer in 1864 (two portraits each of her husband
and of her close friend Henry Taylor appear in chapter i,
cat. nos. 31-34), the latest from 1874.
Looking at the portraits themselves, two things about
them are immediately apparent. First, the majority show
only the sitter's head and shoulders, with the torso often
draped in dark cloth. Given the large format of Cameron's
prints, the heads appear almost life-sized, making them
virtually the first "close-ups" in photographic history (had
the French photographer Nadar made larger prints, he
291
eliminated. There are exceptions: full-length studies, pictures featuring costumes or backdrops, and images that
refer to dead notables (one photograph of Cameron's
husband shows him with a bust of John Milton [cat.
no. 594]; another, with a biography of his patron and hero,
Lord Macaulay [cat. no. 595]). There are omissions too,
such as Dante Gabriel Rossetti and Giuseppe Garibaldi,
whom even Cameron's apparently persuasive powers failed
to lure, and traditional misidentifications that have been
corrected (there are no known portraits of either the
explorer Richard Burton or the sculptor Thomas Woolner, for example).
Such exceptions aside, there remains an extraordinarily powerful series of close-up portraits, their effect
much enhanced by Cameron's virtuoso handling of light.
Illuminating these heroic heads from one side only highlights every detail, every valley, and every bump. In Cameron's lifetime there was an intense interest in human
physiognomy as an indicator of character, and the "science" of phrenologydeducing the power and range of
a person's mental abilities from the shape of the headwas
widely practiced and believed. Honor de Balzac, Charles
Baudelaire, Karl Marx, and even President Martin Van
Burn all submitted to having their characters read by
phrenologists. Queen Victoria had her children's heads
analyzed. With a book on phrenology outselling every
292
Men
293
294
Men
295
296
[Thomas] Carlyle
Men
297
298
The Astronomer
Henry Taylor
Men
299
3OO
[Unknown Man]
[Unknown Man]
Men
301
583
584
585
[Matthew Arnold]
Jacques Blumenthal
[1868]
Manfred Heiting MHC 1348
587
588
589
302
Robert Browning
583
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Julia Margaret Cameron
and in pencil below: Dr. Acland of Oxford;
partial Colnaghi blindstamp
IMAGE: 33.7 x 26.4 cm (13% x io3/8 in.)
MOUNT: 48.8 x 39.8 cm (i93/i6 x i5n/i6 in.)
PROVENANCE: Gift of A. L. Coburn, 1930
584
586
W[illiam]. H[enry]. Brookfield
[1864]; copyright June 30, 1864
NMPFT Herschel Album 1984-5017/17
585
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Julia Margaret Cameron I Jacques
Blumenthal
IMAGE: 28.7 x 23.3 cm (n5/i6 x c3/ in.)
MOUNT: 48.4 x 39.2 cm (19 Vio x i57/i& in.)
PROVENANCE: Helmut Gernsheim
REPRODUCED: Gernsheim 1975, p. 104
OTHER PRINTS: Private collection (cdv)
586
P-53
587
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Registered Photograph Copyright I
Your early Friend
IMAGE: Diam. 21.8 cm (89/i6 in.)
MOUNT: 34 x 26.2 cm (13 Vs x io5/i6 in.)
PROVENANCE: By descent within the
Tennyson family; Clark Collection, 1971
589
I N S C R I P T I O N S : Recto mount in ink by
JMC: Lawn Little Holland House May
1865 I Robert Browning and at upper left
corner: ci
IMAGE: 21.8 x 21.8 cm (89/i& x 89/i6 in.)
MOUNT: 33.9 x 29.1 cm (i35/i& x n7/i6 in.)
PROVENANCE: Sotheby's, Belgravia, June 26,
1975, lot 45; Daniel Wolf, 1984
OTHER PRINTS: AIC 49.876 and 49.875
(carbon); BLUO Henry Taylor Album,
nos. 36 and 55 (the latter signed by the
sitter and inscribed by JMC: Genuine
autograph IJ. M. Cameron); GEH
67:0008:0002 (platinum print by A. L.
Coburn); IUAM Miniature Album 75.38.43;
Lindsay Album, no. 43; MFAB 42.324
(carbon); Mia Album, no. 53; MMA
33.43.353 (carbon); NMPFT 1990-50367
11503; Norman Album, no. 55; Norman
Family Miniature Album, no. 7; NPG
xi8o64 (cabinet) and xi8o65 (cdv); private
collection (cdv); RPS 2052/1-4 (albumen
and carbon); TRC 5522 (carbon); WIL
(rectangle)
REPRODUCED: Ritchie and Cameron 1893,
pi. 9; Woolf and Fry 1926, pi. 5; Woolf
and Fry 1973, pi. 5; Ovenden 1975, pi. 41;
Weaver 1984, p. 102; Hopkinson 1986, p. 83;
Weaver 1986, p. 92; Mulligan et al. 1994,
p. 17
590
INSCRIPTIONS: Recto mount in ink by JMC:
Lawn Little Holland House 1865 I Robert
Browning and at upper right corner: 92
IMAGE: 25.5 x 21.8 cm (10 x 89/i6 in.)
MOUNT: 33.9 x 29.1 cm (i35/i6 x n 7 /i6 in.)
PROVENANCE: Sotheby's, Belgravia, June 26,
1975, lot 45; Daniel Wolf, 1984
OTHER PRINTS: HRHRC 964:0037:0008;
Lindsay Album, no. 49; private collection
(cdv); V&A 45.137
REPRODUCED: Gernsheim 1948, pi. 26;
Gernsheim 1975, p. 118; Weaver 1986, p. 92
588
590
Robert Browning
[May] 1865
JPGM Overstone Album 84.xz.186.93
Men
303
304
593
59l
592
[1864]
RPS 2033
1864
JPGM Overstone Album 84.xz.186.78
[1864]
MMA 41.21.1.1
595
596
597
[1864-65]
AIC 1998.286
[1865-67]
MMA 41.21.9
[1865-67]
HRHRC 964:0037:0011
591
I N S C R I P T I O N S : Recto mount signed in pencil
by the sitter: Mr. C. Hay Cameron
IMAGE: 18.6 x 14.6 cm (/Vio x 53/4 in.)
MOUNT: 33.8 x 28.6 cm (i35/i6 x nY4 in.)
PROVENANCE: Gift of A. L. Coburn, 1930
OTHER PRINTS: GEH Watts Album
71:0109:0013 (printed in reverse); Mia
Album, no. 14 (arched top)
REPRODUCED: Ovenden 1975, pi. 44;
Hopkinson 1986, p. 91; Mulligan et al.
1994, p. 52
592
594
596
594
I N S C R I P T I O N S : Recto mount in pencil in
an unknown hand: Mr. Cameron and in ink
at upper right corner of adjacent album
page: /oj
IMAGE: 25.3 x 20.8 cm (915/i6 x 8Yi6 in.)
MOUNT: 34.1 x 28.1 cm (y 7 / x nV6 in.)
PROVENANCE: Gift of the artist to Sir Coutts
Lindsay; by descent within the family
595
IMAGE: 28.5 x 22.5 cm (nYi6 x 87/s in.)
MOUNT: 44.1 x 35.3 cm (17 Ys x 13Ys in.)
PROVENANCE: Estate of Vanessa Bell, 1998
OTHER PRINTS: Getty Hulton Collection
PH 008 0005
598
Men
305
599
6oo
601
September 1871
WCP 9314857
603
604
605
November 8, 1867
MAG
November 1867
RPS 2014
306
JULIA MARGARET
CAMERON
599
I N S C R I P T I O N S : Recto mount in ink by
JMC: From Life Registered Photograph
copyright Julia Margaret Cameron
Freshwater Sept 1871 and in ink by
the sitter below: C. H. Cameron I
For George W. Norman I from his old friend
C. H. Cameron] Colnaghi blindstamp
IMAGE: 33 x 26 cm (13 x ioY4 in.)
MOUNT: 57.8 x 45 cm (223/4 x iju/\b in.)
PROVENANCE: By descent within the Norman
family; Charles Isaacs, 1993
OTHER PRINTS: WCP 85:2424 (carbon);
HRHRC 964:0037:0076 (carbon); MFAB
42.325 (carbon); MoMA 545.60 (carbon);
RPS 2032 (carbon); V&A Ph 33-1939
REPRODUCED: Woolf and Fry 1973, pi. 19;
Gernsheim 1975, p. 154; Lukitsh 1986, p. 59
600
002
604
INSCRIPTIONS: Recto mount in ink by
JMC: From Life Freshwater Nov 1867 Julia
Margaret Cameron / Charlie Hay Cameron
IMAGE: 34.5 x 26.7 cm (i39/i6 x loYa in.)
MOUNT: 41.3 x 35.3 cm (i6 ] /4 x 137/8 in.)
PROVENANCE: Gift of Mrs. Beatrice Trench,
1929
OTHER PRINTS: IWCC Miniature Album,
no. 38
REPRODUCED: Hinton 1992, p. 113
605
INSCRIPTIONS: Recto mount in ink by JMC
at upper right corner: 89 and in index
at rear of album: My son Eugene of the R.A.
IMAGE: 32.8 x 26.2 cm (i27/s x io5/i6 in.)
MOUNT: 33.7 x 30.3 cm (i3a/4 x n15/i6 in.)
PROVENANCE: Sotheby's, Belgravia,
October 18, 1974, lot 34; NPG; NMPFT,
1983
REPRODUCED: Ford 1975, p. 112
OTHER PRINTS: Private collection (cdv)
606
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Julia Margaret Cameron;
Colnaghi blindstamp
IMAGE: 29 x 26.4 cm (io7/i6 x io3/s in.)
MOUNT: Unknown
PROVENANCE: Sotheby's, Belgravia, June 26,
1975, lot 68; Howard Ricketts
602
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life October 28th 1867 Julia Margaret
Cameron and in blue pencil in an unknown
hand below: Uncle Charlie Hay Cameron;
Colnaghi blindstamp
IMAGE: 24.5 x 19.1 cm (<)5A x jl/2 in.)
MOUNT: 38 x 28.4 cm (i415/i6 x n3/i6 in.)
PROVENANCE: Charles Isaacs, 1998; Robert
Hershkowitz, 1999
606
603
[1867]
Men
307
308
607
608
609
[1865]
JPGM Overstone Album 84.xz.186.68
1865
JPGM Overstone Album 84.xz.186.79
[1865]
NMPFT Herschel Album 1984-5017/22
611
612
6i3
[1870-74]
Gary and Barbara Hansen
6io
607
611
608
612
609
6i3
INSCRIPTIONS: Recto mount lithographed
facsimile inscription by JMC: From Life
copyright Julia Margaret Cameron
IMAGE: 13.7 x 9.1 cm (53/s x 39/i6 in.)
MOUNT: 16.4 x 10.6 cm (67/i6 x 43/i& in.)
MEDIUM: Cabinet card
PROVENANCE: By descent within the family
of Maria and Mary Jackson; Mrs. Curie,
!959
OTHER PRINTS: NMPFT 1995-5035/10
(cabinet)
614
614
Men
309
310
6iS
616
617
[May 1864]
Paul F. Walter, 80:037
[1864]
Private collection, United Kingdom
(Lindsay Album, no. 139)
My beloved Son
Hardinge Hay Cameron
December 1871
AIC 1998.269
619
620
621
[1872-74]
Present whereabouts unknown
[1877]
JPGM 86.XM.636.10
JULIA MARGARET
CAMERON
[1864-65]
V&A 45.153
615
622
9
616
I N S C R I P T I O N S : Recto mount in ink by JMC:
Hardinge Hay Cameron and at upper right
corner: 139
IMAGE: 23.2 x 19.7 cm (Vs x y3A in.)
MOUNT: 34.1 x 28.1 cm (i37/i& x iiYio in.)
P R O V E N A N C E : Gift of the artist to Sir Coutts
Lindsay; by descent within the family
6i7
6i8
618
IMAGE: 26.7 x 21 cm (loY? x 8Yt in.)
MOUNT: 31 x 25.5 cm (i23/i6 x 10 in.)
P R O V E N A N C E : Hardinge Hay Cameron; by
descent within the Cameron and Macleod
families; Neville Hickman, 1986
619
I N S C R I P T I O N S : Unknown
IMAGE: 29.4 x 24.8 cm (nY x 9% in.)
MOUNT: Unknown
P R O V E N A N C E : Sotheby's, London,
October 29, 1982, lot 152
620
IMAGE: 24.5 x 19.5 cm (yVs x jn/\6 in.)
PROVENANCE: Hardinge Hay Cameron; by
descent within the Cameron and Macleod
families; Neville Hickman, 1986
621
622
Men
311
623
312
624
625
[1867-68]
[1870]
RPS 2013
RPS 2012
[1870]
JPGM 94.xM.3i-4
627
628
629
[Thomas] Carlyle
[Thomas Carlyle]
T[homas]. Carlyle
[1867]
Private collection, United Kingdom
623
627
630
Men
3^3
63i
632
[1867]
NMPFT Herschel Album 1984-5017/85
[1865]
RSA
635
636
637
May 1867
Present whereabouts unknown
314
JULIA MARGARET
CAMERON
633
63i
634
lago study from an Italian
Angelo Colarossi
[1867]; copyright July 4, 1867
NMPFT Herschel Album 1984-5017/69
635
INSCRIPTIONS: Recto mount in ink by JMC:
Connor of the Royal Artillery I Winner
of Prizes at the RA Games at Freshwater I
Oct. 1864 and in index at rear of album:
Prize Runner
IMAGE: 26.3 x 20 cm (ios/i6 x j7/% in.)
MOUNT: 33.7 x 30 cm (13 Y* x n13/i6 in.)
PROVENANCE: Sotheby's, Belgravia,
October 18, 1974, lot 34; NPG; NMPFT,
1983
REPRODUCED: Ford 1975, p. 53
636
637
INSCRIPTIONS: Recto mount in ink by JMC:
From Life May 1867 Julia Margaret Cameron
IMAGE: 33.5 x 24.3 cm (i33/i6 x 9%6 in.)
MOUNT: Unknown
PROVENANCE: Sotheby's, Belgravia, June 29,
1979, lot 206
638
638
634
INSCRIPTIONS: Recto mount in ink by JMC
at upper right corner: 69 and in index
at rear of album: lago study from an Italian
IMAGE: 33.4 x 24.8 cm (13 Ys x 93/4 in.)
MOUNT: 33.6 x 30 cm (133/i& x n13/i6 in.)
PROVENANCE: Sotheby's, Belgravia,
October 18, 1974, lot 34; NPG; NMPFT,
1983
REPRODUCED: Ford 1975, p. 92; Weaver 1984,
p. 25; Hopkinson 1986, p. 97
NOTES: The recent identification of this
subject occurred too late to place his
picture in alphabetical order.
Men
315
^39
640
641
[1867]
NMPFT 1995-5035/1
[1867]
NMPFT Herschel Album 1984-5017/88
643
644
645
[Charles Darwin]
Ch[arles]. Darwin
[1864-66]
Private collection, United Kingdom
(Lindsay Album, no. 94)
316
JULIA MARGARET
CAMERON
639
640
I N S C R I P T I O N S : Recto mount in ink by JMC
at upper right corner: 88 and in index
at rear of album: H. J. S. Cotton as King
Cophetua
IMAGE: 33.4 x 26.9 cm (13 V x io9/i6 in.)
MOUNT: 33.7 x 30.2 cm (13 Vi x nVs in.)
P R O V E N A N C E : Sotheby's, Belgravia,
October 18, 1974, lot 34; NPG; NMPFT,
1983
REPRODUCED: Ford 1975, p. in
642
641
[William Creedly]
[1864-66]
V&A Ph 360-1981
642
IMAGE: 29.8 x 16 cm (n3/4 x 6 5 /i6 in.)
P R O V E N A N C E : Undocumented gift, 1941,
found in museum vault, 1965
OTHER PRINTS: Lindsay Album, no. 94
643
I N S C R I P T I O N S : Recto mount in ink by JMC:
Wm. Creedly I ofEaliol [sic] College Oxford
and at upper right corner: 94
IMAGE: 26.4 x 20.5 cm (io3/s x 8Yi6 in.)
MOUNT: 34.1 x 28.1 cm (i37/i6 x nW in.)
P R O V E N A N C E : Gift of the artist to Sir Coutts
Lindsay; by descent within the family
645
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph Copy right
Julia Margaret Cameron FreshWater 1869
[sic] I Ch. Darwin
IMAGE: 28.5 x 22.6 cm (n3/i6 x 87/s in.)
MOUNT: 53.7 x 40.5 cm (21 V$ x I515/i6 in.)
PROVENANCE: Helmut Gernsheim
OTHER PRINTS: AIC 1949.881 (carbon)
and 1998.238 (printed in reverse); Down
House, Downe, Kent (two prints, one with
lithographed facsimile inscription in sitter's
hand: I like this photograph very much better
than any other which has been taken of me I
Ch. Darwin}; GEH 76:0020:0007
(carbon); HUHL 4M-275F (printed in
reverse); MoMA 121.52 (carbon); Norman
Album, no. 63 (inscribed by JMC: He says
"he likes this photograph better than any other
that has been taken of him*}', private
collection (cdv); private collection, United
Kingdom (inscribed by the sitter: / like this
photograph very much better than any other
which has been taken of me I Ch. Darwin];
RPS 2017/1-3 (printed in reverse) and 2397;
V&A Ph 14-1939; YUBL Gen. Mss. 340,
Vol. 3, folder i
REPRODUCED: Ritchie and Cameron 1893,
pi. 17 (reversed); Gernsheim 1948, pi. 15;
Woolf and Fry 1973, pi. 9 (reversed);
Gernsheim 1975, p. 124; Lukitsh 2001, p. 97
NOTES: Although this photograph was
dated 1869 by JMC, it was registered for
copyright on August 24, 1868.
646
I N S C R I P T I O N S : Recto mount label signed in
pencil by the sitter: Ch. Darwin
IMAGE: 33.2 x 25.7 cm (13 Vu x loYs in.)
MOUNT: 50.5 x 40.6 cm (197A x 16 in.)
P R O V E N A N C E : Virginia Woolf; Sotheby's,
Belgravia, March 8, 1974, lot 114
OTHER PRINTS: Private collection, United
States
REPRODUCED: Woolf and Fry 1926, pi. 9;
Weaver 1984, p. 103
644
646
Ch[arles]. Darwin
[1868-69]
NPGpS
Men
31?
318
647
648
649
Erasmus Darwin
[Erasmus Darwin]
[Horace Darwin]
[1868]
JPGM 87.XM.3.I
[1868]
[1868]
MoMA 324.92
651
652
[Aubrey de Ver]
Aubrey de Ver
653
[1864]
[Aubrey de Ver]
[1866-68]
MMA 69.607.8
647
652
648
[1864]
649
650
[Aubrey de Ver]
653
INSCRIPTIONS: Recto mount in ink by JMC
at lower right corner: 2 Cards and in pencil
in an unknown hand below: Aubrey de Ver;
Colnaghi blindstamp
IMAGE: 32.5 x 26.8 cm (i213/i6 x io9/i6 in.)
MOUNT: 54.1 x 39.4 cm (2i5/i6 x 1572 in.)
PROVENANCE: P. &-D. Colnaghi &Co., Ltd.,
London, 1969
OTHER PRINTS: Private collection (cdv);
TRC 5385 (cdv)
654
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Freshwater Sep. 1868 Registered
Photograph Copyright Julia Margaret
Cameron\ partial Colnaghi blindstamp
IMAGE: 30.5 x 26.5 cm (12 x io7/i6 in.)
MOUNT: 31.8 x 26.8 cm (12 Y2 x io9/i6 in.)
PROVENANCE: Sotheby's, Belgravia, March 21,
1980, lot 307; private collection; Sotheby's,
New York, October 3, 2001, lot 30
650
654
[Aubrey de Ver]
65i
I N S C R I P T I O N S : Recto mount in ink in an
unknown hand: Aubrey de Ver
IMAGE: 24.1 x 19.1 cm (9 Va x 7Va in.)
MOUNT: 33.2 x 26.8 cm (rjYio x ioYi6 in.)
PROVENANCE: Helmut Gernsheim
REPRODUCED: Gernsheim 1948, pi. 39
September 1868
Michael Mattis and Judith Hochberg
Men
319
320
655
656
657
[Aubrey de Ver]
Gustave Dor
[September 1868]
RPS 2065
[1864-70]
BLUO Henry Taylor Album, no. 105
659
660
Lord Elcho
661
Lord Elcho
E[dward]. Eyre
[1865]
CMA 1987.30
JULIA MARGARET
CAMERON
655
IMAGE: 28.8 x 24.1 cm (nVu, x qV2 in.)
PROVENANCE: Unknown
OTHER PRINTS: GEH 67:0088:0015-17
(platinum prints by A. L. Coburn); IUAM
Miniature Album 75.38.41; Noel and
Harriete Levine; TRC 5386 (cdv); V&A
Ph 32-1939
REPRODUCED: Lukitsh 1986, p. 79; Weaver
1986, p. 22
656
658
Richard Doyle
[1864]; copyright June 30, 1864
BLUO 17072 a.8, no. 125
660
INSCRIPTIONS: Recto mount in ink by JMC:
Julia Margaret Cameron and in pencil
below: Lord Elcho; Colnaghi blindstamp
IMAGE: 25.3 x 19.9 cm (915/i6 x 713/i6 in.)
MOUNT: 53 x 36.8 cm (20 7 A x 1472 in.)
PROVENANCE: Howard Ricketts, 1987
661
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Julia Margaret Cameron and
lithographed facsimile signature below:
E. Eyre
IMAGE: 32.6 x 25.7 cm (i213/i6 x 10% in.)
MOUNT: 52.6 x 41 cm (20 n /i6 x i6Vs in.)
PROVENANCE: Gift of Alden Scott Boyer,
1981
OTHER PRINTS: HRHRC 964:0037:0014;
RPS 2026; WCP 93:4920
REPRODUCED: Gernsheim 1948, pi. 12;
Gernsheim 1975, p. 97; Lukitsh 1986, p. 50;
Lukitsh 2001, p. 79
662
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Julia Margaret Cameron and
at lower right corner: /o/- [10 shillings];
Colnaghi blindstamp
IMAGE: 34.3 x 25.7 cm (13 Va x loVs in.)
MOUNT: 57.9 x 45.5 cm (2213/u, x ij7/?, in.)
PROVENANCE: Gift of the Eyre family, 1955
658
662
[Edward Eyre]
Men
321
603
322
664
665
May 1869
NPGSI 83.194
667
668
669
Colonel Franklin RA CB
[1866-72]
RPS 2075
[1864-70]
RPS 2066
[1871]
RPS 2004
JULIA MARGARET
CAMERON
[1864-70]
663
670
664
IMAGE: 24.2 x 19 cm (9 Va x j7/\h in.)
MOUNT: 29.5 x 22.6 cm (nVs x 87/s in.)
PROVENANCE: Unknown
665
666
666
IMAGE: 28.8 x 23.5 cm (n5/i6 x cV in.)
MOUNT: 44.1 x 35.3 cm (17 Ys x i37/s in.)
PROVENANCE: Estate of Vanessa Bell, 1998
667
I N S C R I P T I O N S : Colnaghi blindstamp
IMAGE: 31.6 x 25.8 cm (i2 7 /i6 x lo'A in.)
MOUNT: 51.8 x 38.1 cm (20 Vs x 15 in.)
PROVENANCE: Unknown
668
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph Freshwater
copyright Julia Margaret Cameron I Colonel
Franklin RA I CE; partial Colnaghi
blindstamp
IMAGE: 32.8 x 24.5 cm (127A x 95/g in.)
MOUNT: 47.2 x 39.4 cm (i89/i6 x 1572 in.)
P R O V E N A N C E : Unknown
669
670
Sir Alexander Grant
1871
RPS 2003/3
Men
323
67i
672
673
[Daniel Gurney]
Lord Hatherly
Lord Hatherly
March 1868
Present whereabouts unknown
1869
HRHRC 964:0037:0084
[1869]
Private collection, United Kingdom
675
676
77
324
JULIA MARGARET
CAMERON
The Astronomer
John Frederick William Herschel
[April 1867]; copyright April 9, 1867
RPS 2068
671
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph March 1868
Julia Margaret Cameron
IMAGE: 26 x 22.9 cm (iolA x 9 in.)
MOUNT: Unknown
P R O V E N A N C E : Christie's, South Kensington,
June 30, 1977, lot 313
672
74
673
I N S C R I P T I O N S : Recto album page in ink by
JMC: LordHatherley [sic] and recto mount
lithographed facsimile inscription by JMC:
From Life Copyright Julia Margaret Cameron
IMAGE: 8.8 x 5.8 cm (37/i6 x 2'A in.)
MOUNT: 10.2 x 6.4 cm (4 x 2]/i in.)
M E D I U M : Carte-de-visite
P R O V E N A N C E : Gift of the artist to Julia
Norman; by descent within the Norman,
Pryor, and Curtis families
674
678
[Andrew Hichens]
[1868-72]
RPS 2008
675
I N S C R I P T I O N S : Recto mount in ink in
an unknown hand: From Life registered
photograph copyright Julia Margaret Cameron
Freshwater Bay and in ink by JMC at lower
right corner: Likeness of the friend of34 years
of my life I Taken at his own residence
Collingwood in April i86j and signed
in ink by the sitter at lower center:
J. F. W. Herschel; Colnaghi blindstamp
IMAGE: 35.5 x 27.4 cm (i315/i6 x io3/4 in.)
MOUNT: 56.4 x 46.4 cm (22 3 /i6 x iS'A in.)
PROVENANCE: Andr Jammes, 1984
OTHER PRINTS: FAM 119.1976.418 (carbon);
FAMSF 1993.23 (carbon; printed by
Obernetter and inscribed by JMC:
Printed imperishable carbon process); GEH
67:0088:0009 (platinum print by A. L.
Coburn); IUAM Miniature Album 75.38.5;
IWCC Miniature Album, no. 7; MDO PHO
1983 231 (cabinet); MFAB 42.327 (carbon);
MHS 1943-45 (carbon); MMA L.1997.84.7
and 1981.1229.18 (carbon); MoMA 119.52;
NGC 21277; Norman Album, no. 3
(inscribed by JMC: The friend ofjj years of
my life. My great teacher in this art since he
used to correspond with me when in India and
sent to me all specimens of the advance of the
science); Norman Family Miniature Album,
nos. 2 and 5; NPG P2Oi; private collection
(cdv); RIJ RP-F-F80052; RPS 2069/1-8
(albumen and carbon); UCLA Aubrey
Ashworth Taylor Album, no. 9; WCP
84:0985
REPRODUCED: Boord 1890, pi. 2; Emerson
1891, p. 314; Ritchie and Cameron 1893,
pi. n; Stieglitz 1913, pi. 3; Woolf and Fry
1926, pi. i; Gernsheim 1948, pi. 51; Hill
1973, pi. 16; Woolf and Fry 1973, pi. i;
Gernsheim 1975, p. 121; Hopkinson 1986,
p. 69; Lukitsh 1986, p. 51; Cox 1996, p. 57;
Lukitsh 2001, p. 81
676
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life not Enlarged taken at his own
residence Collingwood I April i86j Julia
Margaret Cameron and lithographed
Continued on p. 327
Men 325
326
6;9
680
[Andrew Hichens]
[Joseph Hooker]
October 1874
GEH 81:1122:0005
683
684
685
[1865]
JULIA MARGARET
CAMERON
GEH 81:1125:0005
681
[1864]
NMPFT Herschel Album 1984-5017/23
677
682
678
I N S C R I P T I O N S : Partial Colnaghi blindstamp
IMAGE: 35 x 26.9 cm (i33/4 x io%6 in.)
MOUNT: 49.7 x 41 cm (i9 9 /i6 x 16 Ys in.)
P R O V E N A N C E : Gift of A. L. Coburn, 1930
682
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Julia Margaret Cameron I Tom
Hugh es M. P.
IMAGE: 27.6 x 21 cm (io7/s x 8Y4 in.)
MOUNT: 35.9 x 27.7 cm (14Vs x ioYs in.)
PROVENANCE: Gift of Miss Jeannie E.
Hughes, 1968
OTHER P R I N T S : MFAB 01001.1975
683
I N S C R I P T I O N S : Recto mount in ink by JMC:
Julia Margaret Cameron I Tom Hughes M.R
and in ink in an unknown hand below:
For Sara Thanksgiving for glasses; Colnaghi
blindstamp
IMAGE: 27.4 x 20.9 cm (io3/4 x 83/i6 in.)
MOUNT: 36.2 x 27.1 cm (141A x io n /i6 in.)
PROVENANCE: Unknown
OTHER PRINTS: GEH 81:1122:0001
684
I N S C R I P T I O N S : Recto mount in ink by JMC:
Julia Margaret Cameron I Tom Hughes M.R I
For the Signor; Colnaghi blindstamp
IMAGE: 24.8 x 19.5 cm (93/4 x 7% in.)
MOUNT: 38.1 x 28.5 cm (15 x nYi6 in.)
P R O V E N A N C E : Gerald Massey, 1940; gift of
Eastman Kodak Company, 1981
685
679
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph copyright
Julia Margaret Cameron Freshwater Oct. 74
IMAGE: 36.4 x 28.5 cm (i45/i6 x n3/i6 in.)
MOUNT: 45.3 x 37.1 cm (i713/i6 x 145A in.)
P R O V E N A N C E : Mrs. Byron Dexter, 1981
OTHER PRINTS: AIC 1998.253 and 1998.272;
private collection (cdv); RPS 2049/1-3
680
686
681
IMAGE: 25.6 x 21.5 cm (ioYi6 x 8 7 /i6 in.)
MOUNT: 34 x 28.4 cm (r^Ys x n3/i6 in.)
P R O V E N A N C E : Sotheby's, Belgravia, June 26,
1975, lot 45; Daniel Wolf, 1984
OTHER P R I N T S : FAM 40.1979 (inscribed by
JMC: George Howard, yth Earl of Carlisle);
Lindsay Album, no. 20
R E P R O D U C E D : Weaver 1986, p. 96
686
I N S C R I P T I O N S : Recto mount in ink by JMC:
1864 Hendon Lawn I Wm. Holman Hunt
and at upper right corner: 10
IMAGE: 22.9 x 17.8 cm ( 9 x 7 in.)
MOUNT: 33.9 x 29.1 cm feYio x nYi6 in.)
P R O V E N A N C E : Sotheby's, Belgravia, June 16,
1975, lot 45; Daniel Wolf, 1984
OTHER PRINTS: BLUO Henry Taylor Album,
no. 96; GEH 67:0088:0023 (platinum print
by A. L. Coburn); MDO PHO 1984 99
(rectangle); Mia Album, no. 39; NMPFT
Herschel Album 1984-5017/11 (rectangle;
inscribed by JMC: W. Holman Hunt I in his
Eastern dress]
REPRODUCED: Ovenden 1975, pi. 43;
Hopkinson 1986, p. 87; Weaver 1986, p. 72;
Mulligan et al. 1994, p. 30; Lukitsh 2001, p. 27
Men
327
68;
688
689
328
i84
JPGM Overstone Album 84.xz.186.77
691
692
693
[Joseph] Joachim
[1867-70]
NPG xi8oo9
[1868-72]
RPS 2015
March 1868
WCP85:2oi5
690
687
692
688
694
93
INSCRIPTIONS: Recto mount in ink by JMC:
From Life taken at the South Kensington
Museum March 1868 Julia Margaret
Cameron I Joachim; Colnaghi blindstamp
IMAGE: 32.7 x 26 cm (12 Ys x 10 Y in.)
MOUNT: 58.1 x 46.3 cm (227/s x i83/i6 in.)
PROVENANCE: Christie's, London, March 28,
1985, lot 204
OTHER PRINTS: BLUO Henry Taylor Album,
no. 59; Norman Family Miniature Album,
no. 16; private collection (cdv)
6
689
I N S C R I P T I O N S : Recto mount in ink by JMC:
John Jackson M.D. and at upper right
corner: 18
IMAGE: 19.8 x 15.5 cm (713/i6 x 6 Vu in.)
MOUNT: 33.7 x 30.2 cm (13 Y* x nYs in.)
P R O V E N A N C E : Sotheby's, Belgravia,
October 18, 1974, lot 34; NPG; NMPFT,
1983
REPRODUCED: Ford 1975, p. 41
690
[Joseph Joachim]
April 1868
MDO PHO 1985-7
Men
329
330
695
696
[1868]
RPS 2036/2
699
700
701
[1865]
WCP 87:3194
[1868]
HRHRC Thackeray Album 964:0312:0054
97
698
Professor [Benjamin] Jowett
695
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Registered Photograph Copyright
Julia Margaret Cameron and in pencil
below: Herr Joachim; Colnaghi blindstamp
IMAGE: 29.3 x 24.3 cm (nV-z x 99/i6 in.)
MOUNT: 47.6 x 33.9 cm (i83/4 x i35/i6 in.)
PROVENANCE: E. P. Goldschmidt &Co., 1941
OTHER PRINTS: AIC 1991.294 and 1949.882
(carbon); HRHRC 964:0037:0034 and
964:0037:0028 (cdv); IUAM Miniature
Album 75.38.36; MFAB 42.330 (cabinet);
MM FM 1965 ooi 764; Norman Album,
no. 10 (inscribed by JMC in index at rear
of album: Herr Joachim taken at South
Kensington Museum 1868); Norman Family
Miniature Album, no. 6; RPS 2036/1
and 2036/3; SMA 94:30:046 (cabinet);
Sotheby's, Belgravia, June 17, 1981, lot 436
(printed in reverse); UCLA Aubrey
Ashworth Taylor Album, no. 17
REPRODUCED: Stieglitz 1913, pi. 5; Woolf and
Fry 1926, pi. 7; Gernsheim 1948, pi. 27 and
p. 54; Woolf and Fry 1973, pi. 7; Gernsheim
1975, p. 122
699
697
702
696
698
7 02
1868
Private collection (Norman Album, no. 69)
Men
33 !
74
705
[Lord Lichfield]
Adolphus Liddell
October 1871
Lord Lichfield
[1867]
NMPFT Herschel Album 1084-^017/01
73
332
707
708
709
1865
JPGM Overstone Album 84.xz.i86.n
JULIA MARGARET
CAMERON
1865
73
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph copyright
Julia Margaret Cameron Freshwater
Oct/i8yi; Colnaghi blindstamp
IMAGE: 33.3 x 25.4 cm (13% x 10 in.)
MOUNT: 57.4 x 46.1 cm (22 Vu, x iSVs in.)
P R O V E N A N C E : Gift of the artist to Lord
Lichfield; by descent within the family
708
704
75
I N S C R I P T I O N S : Recto mount signed in pencil
by the sitter at lower right corner: Henry G.
Liddell; Colnaghi blindstamp
IMAGE: 25.5 x 20 cm (10 x j7/* in.)
MOUNT: 34.6 x 28.4 cm (13% x uVu, in.)
PROVENANCE: TRC; Sotheby's, Belgravia,
October 28, 1980, lot 212
OTHER PRINTS: BLUO Henry Taylor Album,
no. 79; IUAM Miniature Album 75.38.44;
NMPFT 1990-5036/11506; Norman Family
Miniature Album, no. 12; RPS 2031
709
706
710
[Frederick Locker-Lampson]
[1867]
NPG Pio2
Men
333
334
;ii
712
[Frederick Locker-Lampson]
[1867]
Present whereabouts unknown
7!5
716
717
[Lord Morley]
[1866-67]
NPG P286
[1868]
RPS 8175
JULIA MARGARET
CAMERON
713
711
To
I N S C R I P T I O N S : Unknown
IMAGE: Unknown
MOUNT: Unknown
PROVENANCE: Unknown
712
7J4
717
718
INSCRIPTIONS: Recto mount in pencil in an
unknown hand: Val Prinsep ?
IMAGE: 17.5 x 15.4 cm (67/8 x 6 Vu in.)
MOUNT: 29.6 x 24.3 cm (nVs x 99/i6 in.)
PROVENANCE: G. F. Watts; Christie, Manson
& Woods, London, July 2, 1971, lot 21;
Ronald Chapman; anonymous gift in
honor of Dr. Walter Clark, 1971
713
I N S C R I P T I O N S : Recto mount in ink by JMC:
L.H.H. [Little Holland House] lawn I
1865 I Colonel Lloyd Lindsay [sic] and at
upper right corner: 101
IMAGE: 27.4 x 20.9 cm (io3/4 x 83/i6 in.)
MOUNT: 33.8 x 28.4 cm (i35/i6 x iiVio in.)
PROVENANCE: Sotheby's, Belgravia, June 26,
1975, lot 45; Daniel Wolf, 1984
OTHER PRINTS: BLUO Henry Taylor Album,
no. 65; Lindsay Album, no. 23
REPRODUCED: Weaver 1986, pp. 27, 95
714
INSCRIPTIONS: Recto mount in ink by JMC:
Julia Margaret Cameron
IMAGE: 25.4 x 19.9 cm (10 x 713/i6 in.)
MOUNT: 34.1 x 27.2 cm (i37/i6 x io n /i6 in.)
PROVENANCE: Sotheby's, Belgravia, June 26,
1975, lot 45; Daniel Wolf, 1984
REPRODUCED: Wantage 1907, p. 48; Weaver
1986, p. 71
7i8
[1864]
GEH Watts Album 71:0109:0018
7*5
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Julia Margaret Cameron;
Colnaghi blindstamp
IMAGE: 32.5 x 26.1 cm (i2 13 /i6 x loY* in.)
MOUNT: 54.8 x 45.9 cm (2i 9 /i6 x 18 Yi6 in.)
PROVENANCE: Gift of the Monnington
family, 1984
Men
335
;i9
336
720
721
[1864]
GEH Watts Album 71:0109:0017
1865
JPGM Overstone Album 84.xz.186.54
[1865-66]
Present whereabouts unknown
723
724
725
[1866-70]
RPS 2011
[1874]
WCP 93:4858
[1867-70]
WCP 9314923
719
720
725
726
INSCRIPTIONS: Unknown
IMAGE: 37.8 x 30.2 cm (147A x n7/8 in.)
MOUNT: Unknown
PROVENANCE: John Beatty
721
722
726
[1867-70]
Present whereabouts unknown
Men
337
338
727
728
729
[1867-70]
Present whereabouts unknown
[1867-70]
Present whereabouts unknown
731
732
733
[Lord Overstone]
[1872-74]
AIC 1998.271
[1865]
BLUO Henry Taylor Album, no. 67
727
IMAGE: 29.8 x 25.4 cm (n3/4 x 10 in.)
MEDIUM: Glass negative
PROVENANCE: Christie's, London, May 10,
1991, lot 59
NOTES: This is one of only two negatives by
JMC to have survived, and the only small
plate.
728
INSCRIPTIONS: Unknown
IMAGE: 29.5 x 25.1 cm (nYs x 97/8 in.)
MOUNT: Unknown
PROVENANCE: Unknown
729
INSCRIPTIONS: Recto mount in pencil by
JMC: King Oude by right of birth
IMAGE: 25.5 x 19.8 cm (10 x 713/i6 in.)
MOUNT: 34 x 27.2 cm (rjYs x ion/i6 in.)
PROVENANCE: Bequest of the Taylor family,
1930
730
[Lord Overstone]
[1865]
Private collection, United Kingdom
(Lindsay Album, no. 61)
730
INSCRIPTIONS: Recto mount in pencil in an
unknown hand: Lord Overstone and in ink
at upper right corner: 61
IMAGE: 24.7 x 19.3 cm (9n/i6 x /Vie in.)
MOUNT: 34.1 x 28.1 cm (rjYio x uVu in.)
PROVENANCE: Gift of the artist to Sir Coutts
Lindsay; by descent within the family
733
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Freshwater June 1868 Julia
Margaret Cameron and on label signed in
ink by the sitter below: W. G. Pa/grave',
partial Colnaghi blindstamp
IMAGE: 34.8 x 26 cm (rjVi x loYt in.)
MOUNT: 39.4 x 31 cm (15 Y> x i23/i6 in.)
PROVENANCE: Arnold Crane, 1984
OTHER PRINTS: GEH 81:1129:0006; HRHRC
964:0037:0104; IUAM Miniature Album
75.38.59; MMA 41.21.28; Norman Album,
no. 15 (oval); NPG P279; private collection
(cdv); RPS 20553; YUBL Gen. Mss. 340,
Vol. 3, folder 21 (inscribed by JMC: the great
Arab Traveller]
REPRODUCED: Gernsheim 1948, pi. 18; Woolf
and Fry 1973, pi. 25; Gernsheim 1975,
p. 119; Lukitsh 1986, p. 60; Cox 1996, p. 75
734
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Julia Margaret Cameron I Clinton
Parry
IMAGE: 32.7 x 26.1 cm (12 Ys x 10 Y* in.)
MOUNT: 52.2 x 41.1 cm (20 Vu, x i63/i6 in.)
PROVENANCE: Helmut Gernsheim
REPRODUCED: Gernsheim 1975, p. in
731
732
INSCRIPTIONS: Recto mount lithographed
facsimile inscription by JMC: From Life
Copyright Julia Margaret Cameron
IMAGE: 34.6 x 26.2 cm (13 Ys x ioYi6 in.)
MOUNT: 44.1 x 35.3 cm (i73/s x 13 Ys in.)
PROVENANCE: Estate of Vanessa Bell, 1998
OTHER PRINTS: AIC 1998.239; RPS 2007/1-5
REPRODUCED: Woolf and Fry 1926, pi. 14;
Weaver 1986, p. 17
734
Clinton Parry
[1868]; copyright June 22, 1868
HRHRC 964:0037:0038
Men
339
735
340
736
737
[Arthur Prinsep]
[1868]
IUAM Miniature Album 75.38.94
739
740
741
[Valentine Prinsep]
[1865]
JPGM 84.XM.443.62
i860
NPG xi8oi3
[1864-66]
Private collection, United Kingdom
(Lindsay Album, no. 101)
735
IMAGE: 8.2 x 6 cm (3 Vis x 23/s in.)
MOUNT: 21.5 x 16.1 cm (87/i6 x 65/i6 in.)
MEDIUM: Reduced, cabinet-sized print
P R O V E N A N C E : Russ Anderson, 1975
OTHER PRINTS: Private collection, United
Kingdom (large-format print; inscribed
by JMC: From Life Registered Photograph
Copyright Julia Margaret Cameron /Arthur
Prinsep taken at South Kensington Museum]
736
738
737
I N S C R I P T I O N S : Recto mount signed in ink by
the sitter: H. T. Prinsep and indecipherable
Arabic or Far Eastern inscription
IMAGE: 25.2 x 19.5 cm (915/i6 x ju/\b in.)
MOUNT: 35.2 x 25 cm (137A x 9^/10 in.)
PROVENANCE: Presented by Hester
Thackeray Fuller to the Gernsheim
Collection, October 21, 1953
OTHER PRINTS: BLUO Henry Taylor Album,
no. 88; CCAC
740
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph copyright
Julia Margaret Cameron Freshwater 1866
and signed in ink by the sitter below:
H. T. Prinsep 1870; Colnaghi blindstamp
IMAGE: 36.3 x 28.3 cm (14Yi x iiYs in.)
MOUNT: 58.2 x 46.5 cm (22 7 /8 x i85/i6 in.)
PROVENANCE: Gift of Mrs. Curie, 1959
OTHER PRINTS: NPG xi8oi4; AM; Mia
Album, no. 57; MoMA 546.60; Norman
Album, no. 13; WCP 92:4774; YUBL
Gen. Mss. 340, Vol. 3, folder 20
REPRODUCED: Ovenden 1975, pi. 83; Weaver
1984, p. 112; Mulligan et al. 1994, p. 45
741
I N S C R I P T I O N S : Recto mount in pencil in an
unknown hand: Mr. Val Prinsep and at
upper right corner: 101
IMAGE: 24.7 x 19.8 cm (9 n /i 6 x 713/i6 in.)
MOUNT: 34.1 x 28.1 cm (i3?/i6 x u Yi6 in.)
PROVENANCE: Gift of the artist to Sir Coutts
Lindsay; by descent within the family
742
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Julia Margaret Cameron; verso
mount in an unknown hand: Thomas
Woolner
IMAGE: 35.3 x 26.3 cm (13 Ys x ios/i6 in.)
MOUNT: 37.1 x 28.7 cm (i45/s x iiVio in.)
PROVENANCE: Anonymous gift
738
742
[Valentine Prinsep]
[1867]; copyright June 14, 1867
HMADC Ph 967.96.3
Men
341
342
743
744
[Valentine Prinsep]
[Valentine Prinsep]
[Valentine Prinsep]
[1867]
WCP o 16953
September 1874
LCL, no. 10
[September 1874]
RPS 2093
747
748
749
[James Rogers]
[James Rogers]
[James Rogers]
November 1867
MMA 41.21.17
[November 1867]
Present whereabouts unknown
[1867]
Present whereabouts unknown
745
743
I N S C R I P T I O N S : Colnaghi blindstamp
IMAGE: 34.9 x 27.1 cm (i33/4 x io n /i6 in.)
MOUNT: 58.1 x 46.1 cm (22 7 A x iSVs in.)
PROVENANCE: Anton Lock; Christie's,
London, March 20, 1980, lot 315; Paul F.
Walter; Sotheby's, London, May 10, 2001,
lot 125
REPRODUCED: Lukitsh 1986, p. 50
744
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph Copy right
Julia Margaret Cameron Sep. i8j4\ verso
mount in pencil in an unknown hand:
Val Prinsep
IMAGE: 34 x 25.8 cm (13Vs x ioVs in.)
MOUNT: 36.8 x 28.6 cm (14Vi x iilA in.)
PROVENANCE: Unknown
OTHER PRINTS: RPS 2094
746
Hercules Robinson
[1866-70]
Private collection, United Kingdom
749
INSCRIPTIONS: Unknown
IMAGE: Unknown
MOUNT: Unknown
PROVENANCE: Unknown
750
INSCRIPTIONS: Unknown
IMAGE: Unknown
MOUNT: Unknown
PROVENANCE: Unknown
745
I N S C R I P T I O N S : Recto mount in pencil in
an unknown hand: Our Royal Cousin
(Val Prinsep RA) Mrs. Julia M. Cameron 1874
IMAGE: 34 x 25.4 cm (13 Vs x 10 in.)
MOUNT: 38.6 x 30.2 cm (15 Yi6 x n7/8 in.)
PROVENANCE: Gift of Mrs. Beatrice Trench,
1929
OTHER PRINTS: LCL, no. 9
REPRODUCED: Lukitsh 1986, p. 74
746
750
[James Rogers]
[1867]
Present whereabouts unknown
747
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Freshwater Nov i86j Julia
Margaret Cameron and in ink in an
unknown hand below: Charles Henry
Cameron I Bombay Civil Service; Colnaghi
blindstamp; verso mount in ink in an
unknown hand: Charles Henry Cameron I
Bombay Civil Service
IMAGE: 34.5 x 26.6 cm (i39/i6 x io 7 /i6 in.)
MOUNT: 54.2 x 38.5 cm (2i 5 /i6 x 15 V* in.)
P R O V E N A N C E : E. P. Goldschmidt &Co., 1941
748
I N S C R I P T I O N S : Unknown
IMAGE: Unknown
MOUNT: Unknown
P R O V E N A N C E : Unknown
Men
343
344
75l
752
753
[1864-65]
HRHRC Thackeray Album 964:0312:0040
755
756
757
James Spedding
James Spedding
RPS 2002
[1864]
751
I N S C R I P T I O N S : Recto mount in ink by JMC:
Little Holland House Lawn May 1865 I
Wm. Rossetti and at upper left corner: 5
IMAGE: 25.4 x 20 cm (10 x f/% in.)
MOUNT: 33.9 x 29.1 cm (i35/i6 x n7/i6 in.)
PROVENANCE: Sotheby's, Belgravia, June 26,
1975, lot 45; Daniel Wolf, 1984
OTHER PRINTS: GEH 81:1125:0004;
IUAM Miniature Album 75.38.61; Lindsay
Album, no. 80; Mia Album, no. 42; NPG
PI26; private collection (cdv); TRC 5555;
V&A 44-956
REPRODUCED: Ovenden 1975, pi. 71;
Hopkinson 1986, p. 89; Weaver 1986,
p. 71; Mulligan et al. 1994, p. 56; Lukitsh
2001, p. 43
752
754
[Walter Senior]
[1868]
MFAB 01000.1975
756
757
I N S C R I P T I O N S : Recto mount in pencil by
JMC: James Spedding
IMAGE: 25.3 x 20.4 cm (915/i6 x 8 in.)
MOUNT: 33.2 x 26.5 cm (13 Vi& x io7/i6 in.)
PROVENANCE: Gift of A. L. Coburn, 1930
OTHER PRINTS: BLUO Henry Taylor Album,
no. 62B (cdv); private collection (cdv);
TRC 5449 (cdv)
758
754
I N S C R I P T I O N S : Colnaghi blindstamp; verso
mount in an unknown hand: No. 45
Mr. Senior
IMAGE: 29.1 x 25 cm (n7/i6 x 913/i6 in.)
MOUNT: 39.1 x 29.5 cm (i53A x ns/8 in.)
PROVENANCE: Loan from Octavia Hughes,
1975
758
[Leslie Stephen]
1872
LCL, no. 14
755
INSCRIPTIONS: Recto mount in ink in an
unknown hand: From Life Registered
Photograph Copyright Julia Margaret
Cameron Freshwater and in ink by JMC
below: The Late Sir John Simeon (Bart)\
partial Colnaghi blindstamp
IMAGE: 30.3 x 24 cm (n15/i6 x 97/i6 in.)
MOUNT: 51.6 x 39 cm (2o5/i6 x i55/i6 in.)
PROVENANCE: Gift of A. L. Coburn, 1930
Men
345
759
760
761
[Leslie Stephen]
Henry Taylor
[1872]
Private collection, United Kingdom
1864
JPGM Overstone Album 84.xz.i86.no
[1864]
MMA 41.21.23
763
764
765
Henry Taylor
[Henry Taylor]
[Henry Taylor]
[1864]
April 1864
BLUO Henry Taylor Album, no. 20
[1864]
Michael Mattis and Judith Hochberg
(Mia Album, no. 121)
RPS 2041
346
759
I N S C R I P T I O N S : Recto mount in ink in an
unknown hand: From Life Julia Margaret
Cameron The Cameron Studio, 70 Mortimer
St. W
IMAGE: 35.2 x 26.8 cm (i37/s x ioYi6 in.)
MOUNT: 38.3 x 27.8 cm (15 Yi& x io15/i6 in.)
PROVENANCE: Henry Halford Vaughan;
by descent within the Vaughan family
REPRODUCED: Maitland 1908, p. 197
760
765
IMAGE: 23.5 x 19.8 cm (974 x 713/i6 in.)
MOUNT: 35.1 x 26.1 cm (i313/i6 x iolA in.)
PROVENANCE: Maria "Mia" Jackson; by
descent to Sotheby's, Belgravia, June 21,
1974, lot 27; private collection; present
owners, 1990
766
761
7 62
[Henry Taylor]
[1864]
GEH Watts Album 71:0109:0008
762
IMAGE: 29 x 22.1 cm (n7/i6 x 8 n /i6 in.)
MOUNT: 29.6 x 24.3 cm (nVs x 99/i6 in.)
PROVENANCE: G. F. Watts; Christie, Manson
&, Woods, London, July 2, 1971, lot 21;
Ronald Chapman; anonymous gift in
honor of Dr. Walter Clark, 1971
763
I N S C R I P T I O N S : Recto mount in ink by JMC:
Julia Margaret Cameron and signed in ink
by the sitter below: Henry Taylor
IMAGE: 25.3 x 20 cm (915/i& x 77A in.)
MOUNT: 31.5 x 25.1 cm (12 3A x 97/8 in.)
PROVENANCE: Gift of A. L. Coburn, 1930
764
766
Henry Taylor
[1864]
RPS 2043/1
Men
347
348
767
768
769
[Henry Taylor]
[Henry Taylor]
[Henry Taylor]
[1864-66]
RPS 2044
[1864]
TRC 5528
[1864]
Michael Mattis and Judith Hochberg
(Mia Album, no. 35)
771
772
[Henry Taylor]
773
[Henry Taylor]
[Henry Taylor]
[1864]
MMA 41.21.24
767
772
768
773
IMAGE: 24.2 x 19.2 cm (V^ x 79/i6 in.)
PROVENANCE: Unknown
774
IMAGE: 24.2 x 19.3 cm (1/^ x 79/i6 in.)
PROVENANCE: Unknown
77
Henry Taylor
1864
JPGM Overstone Album 84.xz.186.4
769
774
771
[Henry Taylor]
I N S C R I P T I O N S : Colnaghi blindstamp
IMAGE: 25.4 x 20.1 cm (10 x 77/s in.)
MOUNT: 45.3 x 33 cm (iju/^ x 13 in.)
PROVENANCE: E. P. Goldschmidt cCo., 1941
[1864]
V&A Ph 212-1969
Men
349
350
775
776
Henry Taylor
777
Henry Taylor
Henry Taylor
[1864]
MMA 41.21.25
779
780
781
Prospero
Henry Taylor
Study of Prospero
Henry Taylor
Henry Taylor
May 1865
JPGM Overstone Album 84.xz.186.32
[May 1865]
RPS 2046/3
June i, 1865
JPGM Overstone Album 84.xz.186.5
775
I N S C R I P T I O N S : Recto mount in ink by
JMC: Registered Photograph Julia Margaret
Cameron and signed in ink by the sitter
below: Henry Taylor and inscribed in pencil
by JMC at lower left corner: 7/6 [7 shillings
and sixpence]
IMAGE: 26.1 x 20.8 cm (10 Y* x 8Yi6 in.)
MOUNT: 42.3 x 33 cm (16 Ys x 13 in.)
P R O V E N A N C E : E. P. Goldschmidt & Co., 1941
776
778
Henry Taylor
[1865]
NMPFT 1990-5036/11515
782
Henry Taylor
[1865]
Private collection, United Kingdom
(Lindsay Album, no. in)
779
Men
351
352
73
784
785
Henry Taylor
[Henry Taylor]
[1865]
NMPFT Herschel Album 1984-5017/71
[1865]
V&A Ph 929-1913
787
788
789
[Henry Taylor]
[Henry Taylor]
[Henry Taylor]
JULIA MARGARET
CAMERON
786
[Henry Taylor]
October 10, 1867; copyright October 16, 18
NMPFT 1990-5036/11516
73
INSCRIPTIONS: Recto mount in ink by JMC:
Henry Taylor IA Portrait and at upper right
corner: ji
IMAGE: 25.5 x 20.1 cm (10 x f/% in.)
MOUNT: 33.6 x 30.2 cm (i33/i6 x n7/s in.)
PROVENANCE: Sotheby's, Belgravia,
October 18, 1974, lot 34; NPG; NMPFT,
787
1983
OTHER PRINTS: BLUO Henry Taylor Album,
no. 78; GEH 81:1129:0001; NGC 21280;
Norman Album, no. 18; Norman Family
Miniature Album, no. 17; NPG xi8o2i and
xi8o22; private collection (cabinet and
cdv); RPS 2042/1-3 (2042/2 [cabinet;
mounted and with Colnaghi blindstamp]);
TRC 5534; UCLAH 2000.31.1 (cdv;
mounted and with Colnaghi blindstamp);
V&A 2920-1925
REPRODUCED: Woolf and Fry 1926, pi. 12;
Woolf and Fry 1973, pi. 12; Ford 1975, p. 94;
Weaver 1984, p. 94; Hopkinson 1986, p. 77;
Weaver 1986, p. 56
784
789
786
790
Henry Taylor
[October 10, 1867]; copyright October 16, 1867
JPGM 84.XM.349.i
Men
353
791
354
792
793
[Frederick Temple]
[Alfred Tennyson]
A[lfred]. Tennyson
[1866-70]
RPS 23649
July 1864
NMPFT 1990-5036/11513
[1864]
GEH 81:1125:0001
795
796
A[lfred]. Tennyson
Alfred Tennyson
797
[August 1865]
GEH 81:1126:0001
JULIA MARGARET
CAMERON
[Alfred Tennyson]
791
796
792
794
A[lfred]. Tennyson
[1864]
GEH 81:1121:0032
793
INSCRIPTIONS: Recto mount in ink by JMC:
Registered Photograph Julia Margaret
Cameron I For the Signor and lithographed
facsimile signature below: A. Tennyson;
Colnaghi blindstamp
IMAGE: 27.9 x 22.3 cm (n x 83/4 in.)
MOUNT: 37.8 x 28.2 cm (i47/s x n1/ in.)
PROVENANCE: Gerald Massey, 1940; gift of
Eastman Kodak Company, 1981
OTHER PRINTS: Lindsay Album, no. 74;
RPS 2057; V&A 45.132
REPRODUCED: Weaver 1984, p. 101; Lukitsh
1986, p. 38
794
INSCRIPTIONS: Recto mount in ink by JMC:
Registered Photograph Julia Margaret
Cameron and lithographed facsimile
signature below: A. Tennyson
IMAGE: 27.8 x 22.8 cm (io15/i6 x 815/i6 in.)
MOUNT: 38 x 28.1 cm (i415/i6 x n1/ in.)
PROVENANCE: Gabriel Cromer, 1939; gift of
Eastman Kodak Company, 1949
OTHER PRINTS: BLUO Henry Taylor
Album, no. no; NMPFT Herschel Album
1984-5017/72
REPRODUCED: Ford 1975, pp. 72, 95;
Hopkinson 1986, p. 72
798
795
INSCRIPTIONS: Recto mount in ink by JMC:
Registered Photograph Julia Margaret
Cameron and lithographed facsimile
signature below: A. Tennyson; Colnaghi
blindstamp
IMAGE: 24.9 x 19.5 cm (913/i6 x 7n/i6 in.)
MOUNT: 36.9 x 28.3 cm (14Y2 x nVs in.)
PROVENANCE: Gabriel Cromer, 1939; gift of
Eastman Kodak Company, 1949
OTHER PRINTS: BLUO Henry Taylor Album,
no. 104; Lindsay Album, no. 78; NMPFT
1990-5036/11514; RPS 2054; V&A 45.133
(inscribed by JMC: August 1865)
797
Men
355
799
800
801
[Alfred Tennyson]
A[lfred]. Tennyson
[1866]
NMPFT Herschel Album 1984-5017/84
803
804
805
A[lfred]. Tennyson
A[lfred]. Tennyson
Alfred Tennyson
1867
GEH 81:1121:0038
[1867]
NPG P284
[1867]
BLUO Henry Taylor Album, no. 101
356
799
I N S C R I P T I O N S : Recto mount in ink by JMC:
Julia Margaret Cameron
IMAGE: 23.7 x 19.9 cm (gY x 7^/10 in.)
MOUNT: 46 x 36 cm (18 YR x i43/i6 in.)
PROVENANCE: By descent from Thomas
Pateshall Monnington, 1984
801
805
800
802
A[lfred]. Tennyson
[July 4, i860]
MMA 1997.382.36
804
802
806
I N S C R I P T I O N S : Unknown
IMAGE: 25.6 x 20 cm (10 Yi& x f/* in.)
MOUNT: Unknown
PROVENANCE: Sotheby's, Belgravia,
October 28, 1981, lot 382
803
806
[Alfred Tennyson]
[1867]
Present whereabouts unknown
Men
357
807
808
809
Alfred Tennyson
A[lfred]. Tennyson
[Alfred Tennyson]
June 3, 1869
RPS 2061
June 3, 1869
Present whereabouts unknown
811
812
813
[Frederick Tennyson]
[Horatio Tennyson]
[1864-66]
[1865]
TRC 5404
1867
TRC 5442
358
807
8io
A[lfred]. Tennyson
June 3,1869; copyright June 7, 1869; carbon print
copyright October 18, 1875
V&A Ph 932-1913
814
Horatio Tennyson
1868
Present whereabouts unknown
1913
OTHER PRINTS: V&A .2749-1990
(photogravure); AIC 1949.879 (carbon);
BNF 0.05963/5; GEH 81:1129:0005;
HRHRC 964:0037:0057; IUAM Miniature
Album 75.38.35; MFAB 42.337 (carbon);
MMA 66.633.2 and 49.55.319 (carbon);
NMPFT 1939-113/12; Norman Album, no. 6
(inscribed by JMC in index at rear of
album: Last Portrait of Alfred Tennyson
taken jrd June 1869); NPG ?9, PI24, and
xi8o54 (cabinet); RPS 2056/1; TRC 5378;
UCLA *98 Cameron (two loose prints, one
Men
359
360
8i5
816
817
[Lionel Tennyson]
[Lionel Tennyson]
[Lionel Tennyson]
[1874]
RPS 2053
[1874]
Present whereabouts unknown
819
820
821
[R. G. Thompson]
R. G. Thompson
[R. G. Thompson]
815
821
I N S C R I P T I O N S : Colnaghi blindstamp
IMAGE: 27.5 x 21.8 cm (io13/i6 x SYu, in.)
MOUNT: 37.9 x 28.5 cm (i415/i6 x nVi6 in.)
P R O V E N A N C E : Gift of the artist to the
Tennyson family; by descent within the
Tennyson and Prinsep families; Colonel
E. S. M. Prinsep, 1949
NOTES: This image was included in an album
titled "Photographs From The Life, 1866,"
which contains experimental work JMC
created with her larger camera.
816
I N S C R I P T I O N S : Partial Colnaghi blindstamp
IMAGE: 31.2 x 24.8 cm (12 } A x 9^/4 in.)
MOUNT: 48.1 x 35.8 cm (i8 15 /i<, x 14 Vu, in.)
P R O V E N A N C E : Gift of Mrs. Beatrice Trench,
1929
817
8i8
[Lionel Tennyson]
[1874]
Present whereabouts unknown
I N S C R I P T I O N S : Spooner blindstamp
IMAGE: 31.7 x 21.4 cm (i27/H, x 87/i6 in.)
MOUNT: Unknown
P R O V E N A N C E : Sotheby's, London,
October 29, 1980, lot 210
822
I N S C R I P T I O N S : Recto mount in ink by JMC:
Julia Margaret Cameron and signed in ink
by the sitter at lower right corner:
Anthony Trollope; Colnaghi blindstamp
IMAGE: 25.4 x 19.7 cm (10 x 7^/4 in.)
MOUNT: 38 x 28.9 cm (i415/i6 x uVs in.)
P R O V E N A N C E : Christie's, London,
October 28, 1982, lot 171
8i8
I N S C R I P T I O N S : Spooner blindstamp
IMAGE: 31.4 x 21.2 cm (12 Vs x 8 5 /i6 in.)
MOUNT: Unknown
P R O V E N A N C E : Sotheby's, Belgravia, June 27,
1980, lot 312
819
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life jrd July 1866 Julia Margaret
Cameron; Colnaghi blindstamp
IMAGE: 35.1 x 27.5 cm (13^/ih x lo'Vu, in.)
MOUNT: 52.4 x 43 cm (20V x i615/i6 in.)
P R O V E N A N C E : Gift of the artist to Sarah
Prinsep; purchased privately, 1955
820
822
Anthony Trollope
[October 1864]
NPG P2i 4
Men
3 6l
362
823
824
825
Anthony Trollope
October 1864
NMPFT Herschel Album 1984-5017/32
[1864-70]
NPG x 18079
827
828
829
[1865]
NPG Pi25
JULIA MARGARET
CAMERON
823
820
830
827
I N S C R I P T I O N S : Recto mount in ink by JMC:
FreshWater 1864 I G. F. Watts and at upper
right corner: 50
IMAGE: 25.4 x 20 cm (10 x j7/% in.)
MOUNT: 33.8 x 28.2 cm (i35/i6 x uVu in.)
PROVENANCE: Sotheby's, Belgravia, June 26,
1975, lot 45; Daniel Wolf, 1984
OTHER PRINTS: JPGM 84.XM.349.7; BLUO
Henry Taylor Album, no. 100; BNF
0.05963/3; GEH 81:1129:0007; HRHRC
Thackeray Album 964:0312:0016; Lindsay
Album, no. 33; NMPFT Herschel Album
1984-5017/8 and 1984-5017/38; NPG P2I5;
V&A Ph 17-1939
REPRODUCED: Ford 1975, p. 31; Gernsheim
1975, p. 123; Weaver 1986, pp. 19, 81
828
!939
OTHER PRINTS: GEH 67:0088:0004
(platinum print by A. L. Coburn);
JPGM 85.XM.I29.2; RPS 2024; TRC 5406
REPRODUCED: Weaver 1984, p. 114
830
Men
363
83i
832
833
[Herbert Wilson]
[Herbert Wilson]
364
835
836
[Unknown Man]
837
[Unknown Man]
[1864]
Michael Mattis and Judith Hochberg
(Mia Album, no. 10)
[1864]
Private collection, United Kingdom
(Lindsay Album, no. 104)
A Study
Unknown man
JULIA MARGARET
CAMERON
[1864-65]
V&A 45.161
831
834
832
[1866]
Gilman Paper Company
833
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph Copyright
Freshwater 1868 Julia Margaret Cameron
IMAGE: 33.7 x 26.5 cm (13% x io 7 /i6 in.)
MOUNT: Unknown
P R O V E N A N C E : Sotheby's, Belgravia,
October 24, 1975, lot 210
834
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Julia Margaret Cameron and
lithographed facsimile signature below:
Philip Stanhope Worsley
IMAGE: 30.4 x 25.1 cm (ii15/i6 x <j7/s in.)
MOUNT: 41.1 x 30.5 cm (i6Vi6 x 12 in.)
P R O V E N A N C E : Christie's, London, June 26,
1980,lot 456
OTHER P R I N T S : RPS 2010; YUBL Gen. Mss.
340, Vol. i, no. 33 (inscribed by JMC: This
Portrait not to be sold]
REPRODUCED: Lukitsh 2001, p. 53
835
IMAGE: 23.5 x 20.1 cm (qV* x y7A in.)
MOUNT: 35.1 x 26.1 cm (i313/i<> x loY in.)
P R O V E N A N C E : Maria "Mia" Jackson; by
descent to Sotheby's, Belgravia, June 21,
1974, lot 27; private collection; present
owners, 1990
REPRODUCED: Ovenden 1975, pi. 33
836
I N S C R I P T I O N S : Recto mount in ink by JMC
at upper right corner: 104
IMAGE: 25.2 x 19.4 cm ( 15 / x 75/s in.)
MOUNT: 34.1 x 28.1 cm (i37/i6 x iiVu, in.)
P R O V E N A N C E : Gift of the artist to Sir Coutts
Lindsay; by descent within the family
837
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Julia Margaret Cameron IA Study
IMAGE: 36.7 x 29 cm (i47/i6 x n7/u, in.)
MOUNT: 47.2 x 34 cm (i8 9 /i6 x 13 Vs in.)
P R O V E N A N C E : Gift of the artist,
September 27, 1865
OTHER P R I N T S : GEH 81:1121:0010 (Colnaghi
blindstamp)
R E P R O D U C E D : Lukitsh 1986, p. 70
838
1985
OTHER P R I N T S : BLUO Henry Taylor Album,
no. 69; IUAM Miniature Album 75.38.91;
Lindsay Album, no. 98; private collection
(cdv; inscribed by JMC: Mi/man late Dean
of St. Paul's); RPS 2070/1-2
NOTES: The recent identification of this
subject occurred too late to place his
picture in alphabetical order.
838
Men
365
366
839
840
841
[Unknown Man]
[Unknown Man]
[Unknown Man]
[1864-70]
IUAM Miniature Album 75.38.93
[1864-66]
AIC 1998.247
[1864-66]
V&A Ph 359-1981
843
844
845
[Unknown Man]
[Unknown Man]
[Unknown Man]
1868
Private collection, United Kingdom
[1868-72]
RPS 2051
[1868-72]
RPS 2035/2
JULIA MARGARET
CAMERON
839
IMAGE: 7.9 x 6 cm (yV* x 23/8 in.)
MOUNT: 21.5 x 16.1 cm (8 7 /i6 x 6 5 /i6 in.)
M E D I U M : Reduced, cabinet-sized print
P R O V E N A N C E : Russ Anderson, 1975
840
I N S C R I P T I O N S : Recto mount in ink by JMC:
Julia Margaret Cameron
IMAGE: 25 x 21 cm (9 13 /i6 x 8V4 in.)
MOUNT: 47.8 x 32.6 cm (i813/i6 x i213/i6 in.)
P R O V E N A N C E : Estate of Vanessa Bell, 1998
841
I N S C R I P T I O N S : Colnaghi blindstamp
IMAGE: 25.4 x 19.9 cm (10 x 713/16 in.)
MOUNT: 38 x 28.5 cm (i415/i6 x nVu, in.)
P R O V E N A N C E : Undocumented gift, 1941,
found in museum vault, 1965
842
842
[Unknown Man]
July 1867
Stephen White, Collection II
844
IMAGE: Diam. 27.8 cm (lo15/ in.)
MOUNT: 49.2 x 39.1 cm (19 Vs x rjYs in.)
P R O V E N A N C E : Gift of Colonel Cameron, 1939
845
I N S C R I P T I O N S : Partial Colnaghi blindstamp
IMAGE: 34.8 x 25.5 cm (i3 n /i6 x 10 in.)
MOUNT: 51 x 39 cm (20 Yi6 x 15 W in.)
P R O V E N A N C E : Gift of Colonel Cameron, 1939
OTHER P R I N T S : RPS 2035/1
846
846
[Unknown Man]
[1868-72]
RPS 2072
Men
367
368
847
848
849
[Unknown Man]
[Unknown Man]
[Unknown Man]
[1868-72]
RPS 2071
[1868-72]
JPGM 95.XM.54.2
[1868-72]
Present whereabouts unknown
851
852
853
[Unknown Man]
[Unknown Man]
[Unknown Man]
[1868-72]
RPS 2074/1
[1868]
RPS 2021
[1868-74]
AIC 1998.283
847
I N S C R I P T I O N S : Partial Colnaghi blindstamp
IMAGE: 34.6 x 24.7 cm (13SA x 9 n /i6 in.)
MOUNT: 50.2 x 38.5 cm (193A x 151A in.)
PROVENANCE: Unknown
848
I N S C R I P T I O N S : Recto mount in ink by JMC:
Total failure I grieve to say thro' working
at express rate I Not leaving time to drain my
plate. Grateful however to have sitter I
& hopingforfuture fairer sitting; Colnaghi
blindstamp
IMAGE: 33.9 x 26.7 cm (i35/i6 x ioV2 in.)
MOUNT: 57.9 x 45.5 cm (2213/i6 x ij7A in.)
PROVENANCE: By descent within the
Norman family; Charles Isaacs; Cinema
Consultants, Inc., 1995
854
INSCRIPTIONS: Recto mount in ink in an
unknown hand: From Life Registered
Photograph copyright Julia Margaret
Cameron and in ink below [possibly by
John Dudley Johnston, RPS Curator]: Man
in Eastern Costume; Colnaghi blindstamp
IMAGE: 34.6 x 25.8 cm (13 Vs x lo1/ in.)
MOUNT: 50.6 x 35.8 cm (i915/i6 x 14 Vu, in.)
PROVENANCE: Gift of A. L. Coburn, 1930
OTHER PRINTS: IUAM Miniature Album
75.38.66
849
850
[Unknown Man]
[1868-72]
NMPFT 1990-5036/2
854
[Unknown Man]
853
IMAGE: 31.2 x 21.8 cm (12V* x 8%6 in.)
MOUNT: 44.1 x 35.3 cm (i73/g x 137A in.)
PROVENANCE: Estate of Vanessa Bell, 1998
[1868-74]
RPS 2019
Men
369
37
55
856
[Unknown Man]
[Unknown Man]
[1868-74]
RPS 2073/1
[1868-74]
AIC 1998.255
J U L I A M A R G A R E TC A M E R O N
57
[Unknown Man]
[1868-74]
AIC 1998.270
855
I N S C R I P T I O N S : Partial Colnaghi blindstamp
IMAGE: 36 x 24.2 cm (i^/u x gVi in.)
MOUNT: 48.3 x 38.4 cm (19 x 15% in.)
PROVENANCE: Unknown
856
857
I N S C R I P T I O N S : Verso mount in ink in an
unknown hand at lower right corner: Garnett
Bell I Coll
IMAGE: 33.6 x 24.7 cm (13 Y x 9 n /i6 in.)
MOUNT: 44.2 x 35.4 cm (17 Ys x i315/i6 in.)
P R O V E N A N C E : Estate of Vanessa Bell, 1998
Men
371
Children
373
374
Prayer
Children
375
376
[Kate Keown]
[CharlotteNorman]
Children
377
378
[Laura Gurney]
Days at Freshwater
Children
379
380
858
859
860
[1864]
V&A Ph 241-1982
[1864]
HRHRC Thackeray Album 964:0312:0046
April 1864
JPGM Overstone Album 84.xz.186.75
862
863
864
1864
JPGM Overstone Album 84.xz.186.24
[1864]
V&A Ph 251-1982
[1864]
HRHRC Thackeray Album 964:0312:0032
858
863
859
86i
[Group]
Unknown girls
[1864-66]
IUAM Miniature Album 75.38.80
860
864
INSCRIPTIONS: Recto mount in ink by JMC:
The Infant Bridal
IMAGE: 25 x 19.8 cm (913/i6 x 713/i6 in.)
MOUNT: 35.2 x 25 cm (i37/s x 913/i& in.)
PROVENANCE: Presented by Hester
Thackeray Fuller to the Gernsheim
Collection, October 21, 1953
OTHER PRINTS: Lindsay Album, no. 77;
V&A 216-1969 (arched top)
865
861
865
1864
JPGM Overstone Album 84.xz.186.56
Children
381
382
866
867
868
Water Babies
Alice Keown, Elizabeth Keown
1864
JPGM Overstone Album 84.xz.186.34
1864
JPGM Overstone Album 84.xz.i86.in
1864
JPGM Overstone Album 84.xz.186.70
870
87i
872
[Group]
Freddy Gould, Elizabeth Keown
[1866]
JPGM 84.XM.443.13
[i860]
RPS 2140
[1866]
NMPFT 1990-5036/11505
866
871
867
1864
JPGM Overstone Album 84.xz.186.86
872
873
INSCRIPTIONS: Recto mount illegible pencil
inscription by JMC
IMAGE: Diam. 29 cm (n7/i6 in.)
MOUNT: 57.4 x 48.9 cm (229/i6 x igV* in.)
PROVENANCE: Gift of the artist to the
Tennyson family; by descent within
the Tennyson and Prinsep families;
Colonel E. S. M. Prinsep, 1949
869
INSCRIPTIONS: Recto mount in ink by JMC:
Freshwater 1864 I The bereaved Babes I The
Mother moved! and at lower right corner: 86
IMAGE: 14.3 x 19.6 cm (55A x 7n/i6 in.)
MOUNT: 33.9 x 29.1 cm (rjVio x n7/i6 in.)
PROVENANCE: Sotheby's, Belgravia, June 26,
1975, lot 45; Daniel Wolf, 1984
REPRODUCED: Weaver 1986, p. 91
NOTES: This picture is a detail of cat. no. 72.
870
873
[Group]
Children
383
384
874
875
876
[Freddy Gould]
[Kate Keown]
[Kate Keown]
[i860]
NMPFT 1990-5036/11510
[i860]
Gilman Paper Company
[i860]
HRHRC 964:0037:0116
8;8
879
Baby Blossom
Alice Keown
[i860]
Gary and Barbara Hansen
[1866]
NMAH 6313.0
880
[Freddy Gould]
[i860]
HRHRC 96410037:0119
874
877
[Alice Du Cane]
[1866]
V&A Ph 940-1913
881
[Freddy Gould]
1866
V&A Ph 939-1913
877
881
1 1
93
OTHER PRINTS: GEH 81:1124:0003 (circle);
HRHRC 964:0037:0066; IWCC Miniature
880
J
9i3
OTHER PRINTS: TRC 5433; YUBL Gen. Mss.
340, Vol. i, no. 12
REPRODUCED: Weaver 1984, p. 46
Children
385
882
883
884
[Freddy Gould]
Aspiration
Freddy Gould
Freddy Gould
[1866]
JPGM 84.XM.443.24
886
887
888
[1866]
YUBL Gen. Mss. 340, Vol. i, no. 14
386
[Group]
Laura Gurney
Laura Gurney
[November 1872]
Private collection, United Kingdom
[1872]
HRHRC 964:0037:0013
882
886
883
885
Not Sleepy
Laura Gurney, Rachel Gurney
November 1872
Present whereabouts unknown
884
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Julia Margaret Cameron I The
beauty of Holiness
IMAGE: Diam. 19.3 cm (7 9 /if> in.)
MOUNT: 27.2 x 25.9 cm (io n /u, x io3/i6 in.)
P R O V E N A N C E : Christie's, South Kensington,
October 28, 1982, lot 174; Samuel Wagstaff,
Jr., 1984
OTHER P R I N T S : GEH 81:1121:0004;
IUAM Miniature Album 75.38.18; IWCC
Miniature Album, no. 21; Norman Album,
no. 65; private collection (cdv); TRC 5432;
UCLA Aubrey Ashworth Taylor Album,
no. 50; VHM Ph 2614; WCP 94:5078
R E P R O D U C E D : Ovenden 1975, pi. 112; Bruson
1980, pi. 25; Lukitsh 1986, p. 63; Hinton
1992, p. 79; Mulligan et al. 1994, p. 38;
Hamilton 1996, pi. 10
887
I N S C R I P T I O N S : Recto mount in ink in an
unknown hand: From Life Registered
Photograph copyright Julia Margaret
Cameron Freshwater Oct 1872 and in pencil
by JMC below: Thy will be done and in
lower right corner: Year 1872; Colnaghi
blindstamp
IMAGE: 32.5 x 29 cm (i213/i6 x n 7 /i6 in.)
MOUNT: 58 x 45.9 cm (22 13 /i& x i8Vi6 in.)
P R O V E N A N C E : Gabriel Cromer, 1939; gift of
Eastman Kodak Company, 1949
OTHER PRINTS: RPS 2117/1-2
REPRODUCED: Lukitsh 1986, p. 23
888
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph Copyright
Julia Margaret Cameron I The Rising of the
New Year and in pencil below: The Rising of
the New Year.; Colnaghi blindstamp
IMAGE: Diam. 23.5 cm (glA in.)
MOUNT: 49.8 x 40.6 cm (i95A x 16 in.)
PROVENANCE: Helmut Gernsheim
OTHER PRINTS: NMAH 4161.62 (rectangle;
inscribed by JMC: On the Wings of
Morning); RPS 20575
REPRODUCED: Gernsheim 1975, p. 82
889
IMAGE: 32.7 x 24.3 cm (i27/s x 9 9 /i6 in.)
MOUNT: 43.3 x 31.6 cm (i/1/^ x i2 7 /i& in.)
P R O V E N A N C E : Virginia Woolf; Robert
Mapplethorpe; Sotheby's, New York,
May 24, 1982, lot 225; Samuel Wagstaff, Jr.,
1984
REPRODUCED: Hill 1973, pi. 18; Cox 1996,
p. 89; Wolf 1998, p. 19
885
889
[Laura Gurney]
[1872]
JPGM 84.XM.443.3
Children
387
890
891
892
[Rachel Gurney]
[Rachel Gurney]
[1872]
[1872]
Unknown boy
JPGM 84.XM.443.2
WCP 9615531
[1872]
RPS 2119/1
894
895
896
Infant Jupiter
[Unknown Child]
Unknown boy
[1872]
RPS 2123/4
[1872]
RPS 2115
388
JULIA MARGARET
CAMERON
890
896
891
IMAGE: 26.7 x 21.6 cm (10 Y> x 8 Y? in.)
PROVENANCE: Charles Isaacs, 1996
892
893
893
Unknown boy
[1872]
RPS 2182
897
1959
894
89;
[1872]
NPG xi8o27
Children
389
898
899
Cupid Reposing
Cupid Considering
November 1872
GEH 81:1121:0006
[1873]
HRHRC 964:0037:0124
[August] 1872
GEH 81:1121:0014
902
903
[Cupid]
390
900
904
[Group]
[1872]
RPS 2122/2
[1872]
JPGM 84.XM.443.4
November 1872
Present whereabouts unknown
JULIA MARGARET
CAMERON
898
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph copyright
Julia Margaret Cameron Freshwater Nove.
i8j2 and in pencil below: Cupid Reposing
and at lower right corner: 7/6 [7 shillings
and sixpence]; Colnaghi blindstamp
IMAGE: 34.7 x 29.1 cm (13 V* x n 7 /i6 in.)
MOUNT: 58.5 x 46.4 cm (23 x iS'A in.)
P R O V E N A N C E : Gabriel Cromer, 1939; gift of
Eastman Kodak Company, 1949
899
901
Cupid Considering
903
901
905
Children
391
906
[Philip Ray[,] Annie Lee & Enoch
Arden]
Jeannie Senior, two unknown boys
(possibly her brothers)
[1864-66]
BLUO Henry Taylor Album, no. 39
392
907
908
Annie Lee
Kate Keown
Henry Haman
910
9 II
[Group]
Henry Haman, unknown girl
912
[Group]
Henry Haman, unknown girl
[Unknown Girl]
[18/2]
JPGM 84.XM.443.47
[1872]
JPGM 84.XM.443.48
August 1869
Present whereabouts unknown
911
906
9
99
912
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Registered Photograph Copyright
Julia Margaret Cameron Aug 1869
IMAGE: Unknown
MOUNT: Unknown
PROVENANCE: Unknown
9i3
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Registered Photograph August 1869
Copyright Julia Margaret Cameron
IMAGE: 34.9 x 24.8 cm (1374 x 974 in.)
MOUNT: 46.4 x 36.5 cm (i87t x 14 7s in.)
PROVENANCE: Unknown
909
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Registered Photograph copy right
Julia Margaret Cameron Freshwater 1872
Aug.st and in pencil below: "This is my house
& this my little Wife" I See Enoch Arden and
in ink at lower right corner: For Charlie
Norman I Who admires my little Enoch',
Colnaghi blindstamp
IMAGE: 35.6 x 28 cm (14 x n in.)
MOUNT: 58.3 x 46.4 cm (22^/16 x iSTt in.)
PROVENANCE: By descent within the Norman
family; Sotheby's, Belgravia, June 24, 1983,
lot 106; Cinema Consultants, Inc., 1995
REPRODUCED: Cox 1996, p. 91
910
9*3
[Unknown Girl]
August 1869
Present whereabouts unknown
Children
393
394
914
9i5
916
[Unknown Girl]
[Unknown Girl]
[Unknown Girl]
[August 1869]
Quillan Collection
[1869]
Pamela Solomon
[1869]
Present whereabouts unknown
918
919
920
[Florence Anson]
[Florence Anson]
[Florence Anson]
[1868-69]
IUAM Miniature Album 75.38.57
1870
JULIA MARGARET
CAMERON
Lord Lichfield
914
920
9i5
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Registered Photograph Copyright
Julia Margaret Cameron; Colnaghi
blindstamp
IMAGE: 31.8 x 24.1 cm (12^/2 x g1/? in.)
MOUNT: 50.8 x 39.4 cm (20 x 1^/2 in.)
PROVENANCE: James Auction House,
Norwich, England, December 4, 1979,
lot 4587
921
I N S C R I P T I O N S : Spooner blindstamp
IMAGE: 34.8 x 26.6 cm (i3n/i6 x io7/i6 in.)
MOUNT: 38.7 x 28.3 cm (i$l/4 x n% in.)
PROVENANCE: A gift from the artist to Lord
Lichfield; by descent within the family
916
917
Rosamond Franklin
[1868-69]
Present whereabouts unknown
921
[Florence Anson]
[1870]
Lord Lichfield
Children
395
922
924
[Florence Anson]
923
[1869]
Private collection
August 1870
RPS 2144/2
Days at Freshwater
Claud Anson, Florence Anson, unknown
Anson boy
August 1870
Vernon Collection CAM-OOI
396
926
927
928
[William Bayley]
[Edmond Burrowes]
Beatrice Cameron
1872
GEH 81:1121:0008
9*5
[Days at Freshwater]
922
928
INSCRIPTIONS: Unknown
IMAGE: 34.2 x 27.1 cm (i37/i6 x ion/i6 in.)
MOUNT: 54.8 x 43 cm (2iYi6 x i615/i6 in.)
PROVENANCE: Eugene Hay Cameron;
by descent within the Cameron family;
Beatrice Trench
923
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph copyright
Julia Margaret Cameron Aug i8jo I Claud I
Lady Florence Anson; partial Colnaghi
blindstamp
IMAGE: 34.3 x 28.2 cm (13 Y> x nYi6 in.)
MOUNT: 46 x 37.9 cm (18 Ys x i415/i6 in.)
PROVENANCE: Gift of Mrs. Beatrice Trench,
1929
OTHER PRINTS: RPS 2144/4 (inscribed by
JMC: ,2 because negative has perished I
Never to be parted with this I glass is injured]
REPRODUCED: Weaver 1984, p. 47; Lukitsh
1986, p. 70
929
924
929
The darling of Freshwater
Children
397
930
93i
932
[Group]
Blanche Clogstoun, Mary Clogstoun,
Adeline Grace Clogstoun
[Group]
Blanche Clogstoun, Mary Clogstoun,
Adeline Grace Clogstoun
[1868-70]
Private collection, United Kingdom
[1868-70]
Present whereabouts unknown
934
935
936
[June 1872]
JPGM 8s.XM.457
398
June 1872
TRC 5368
1872
Private collection, United Kingdom
[June 1872]
NGA 1995.36.68
93
I N S C R I P T I O N S : Unknown
IMAGE: 35.2 x 25.9 cm (13 Ys x ioYi6 in.)
MOUNT: Unknown
P R O V E N A N C E : By descent within the SomersCocks family
OTHER PRINTS: Private collection, United
Kingdom (cabinet; inscribed verso mount
in an unknown hand: j Clogstouns I Picking
Hemp for I Crimean War]
931
I N S C R I P T I O N S : Unknown
IMAGE: 29.1 x 28 cm (irA, x n in.)
MOUNT: Unknown
PROVENANCE: Sotheby's, London, June 29,
1984, lot 196
933
932
I N S C R I P T I O N S : Recto mount in ink by JMC:
From the Life My cherished little Adeline
Freshwater Isle of Wight 1872; Colnaghi
blindstamp
IMAGE: 34.2 x 26.6 cm (rjYu, x ioYih in.)
MOUNT: 58.4 x 46.4 cm (23 x 18 Y+ in.)
P R O V E N A N C E : Erich Sommer
936
I N S C R I P T I O N S : Colnaghi blindstamp
IMAGE: 13.6 x 20.3 cm (5 Yu> x 8 in.)
MOUNT: 46.3 x 58.4 cm (i8Yu, x 23 in.)
P R O V E N A N C E : David and Mary Robinson,
1995
937
I N S C R I P T I O N S : Recto mount in ink by JMC:
FreshWater 11864 I Alice du [sic] Cane and
at upper right corner: 106
IMAGE: 26.6 x 21.4 cm (loYu, x SYu, in.)
MOUNT: 33.7 x 28.6 cm (13'A x nVt in.)
P R O V E N A N C E : Sotheby's, Belgravia, June 26,
1975, lot 45; Daniel Wolf, 1984
OTHER PRINTS: BLUO Henry Taylor Album,
no. 51; BNF 0.05963/15; Lindsay Album,
no. 13; NMPFT Herschel Album 19845017/16; TRC 5474
R E P R O D U C E D : Ford 1975, p. 39; Weaver 1986,
p. 96
933
I N S C R I P T I O N S : Recto mount in ink by JMC:
From death Registered Photograph Copyright
Julia Margaret Cameron Freshwater The hair
was quite gold I The sacred and lovely remains
of my little adopted child I Adeline Grace
Clogstoun died 8th June i8j2 aged 10 years
& 8 months', Colnaghi blindstamp
IMAGE: 24.2 x 34.8 cm (9 Y? x 13'Yu, in.)
MOUNT: 46.3 x 58.5 cm (iSYio x 23 in.)
PROVENANCE: By descent within the
Tennyson family; Clark Collection, 1965
934
I N S C R I P T I O N S : Colnaghi blindstamp
IMAGE: 21.5 x 34.5 cm (87/i6 x 13 Yi* in.)
MOUNT: 46.4 x 58.5 cm (18 ]A x 23 in.)
P R O V E N A N C E : Sotheby's, London,
October 26, 1984, lot 140; gift of Michael
and Jane Wilson, 1985
937
Alice Du Cane
1864; copyright December 12, 1864
JPGM Overstone Album 84.xz.186.109
935
I N S C R I P T I O N S : Recto print in ink by JMC
on the framed image: Her father's charge at
Madras for which he won the Victoria Cross;
recto mount in ink by JMC: From death
The lovely remains of my little Adeline died
June 8th i8j2 The hair quite gold; Colnaghi
blindstamp
IMAGE: 13.5 x 20.3 cm (5^6 x 8 in.)
MOUNT: 41.5 x 54.6 cm (16 Yu, x 21 Y> in.)
P R O V E N A N C E : By descent within the
Tennyson family; Clark Collection, 1965
OTHER P R I N T S : Sotheby's, New York,
May 24, 1982, lot 229 (present whereabouts
unknown)
Children
399
938
1864
JPGM Overstone Album 84.xz.i86.i8
942
400
939
943
940
May du Maurier
[1874]
JPGM 87.XM.63.3
944
Eric
Unknown boy
Eric
Unknown boy
[1866-70]
TAMA
[1866-70]
Private collection, United Kingdom
[1864-65]
NMPFT Herschel Album 1984-5017/42
938
Emily
Unknown girl
[1864-65]
Present whereabouts unknown
940
943
INSCRIPTIONS: Recto mount in ink by an
unknown hand: From Life Registered
Photograph copyright Julia Margaret
Cameron Freshwater and in ink by JMC
below: Eric, Colnaghi blindstamp
IMAGE: 35.8 x 27.5 cm (i^Vu x io13/i6 in.)
MOUNT: 58.4 x 46.2 cm (23 x i83/i6 in.)
PROVENANCE: Unknown
944
INSCRIPTIONS: Recto mount in ink by JMC:
Ernest and Maggie and at upper right
corner: 42
IMAGE: 23.7 x 20 cm (9s/i6 x 77/s in.)
MOUNT: 33.7 x 31.1 cm (i^lA x i2lA in.)
PROVENANCE: Sotheby's, Belgravia,
October 18, 1974, lot 34; NPG; NMPFT,
1983
REPRODUCED: Ford 1975, p. 65
945
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Registered Photograph Copyright
Julia Margaret Cameron Freshwater Aug
i8j2 I Florence
IMAGE: 35 x 27.7 cm (i33/4 x io 7 A in.)
MOUNT: 50.5 x 41.4 cm (i97/s x i65/i6 in.)
PROVENANCE: Helmut Gernsheim
OTHER PRINTS: Sotheby's, Belgravia,
March 27, 1981, lot 474 (circle)
941
945
Florence [Fisher]
August 1872
HRHRC 96410037:0015
Children
401
946
947
948
A Study
Florence Fisher
[Florence Fisher]
[Florence Fisher]
[1872]
Present whereabouts unknown
[1872]
HRHRC 964:0037:0081
95
951
952
First Ideas
Freddy Gould
[1872]
JPGM 84.XM.443.20
1864
JPGM Overstone Album 84.xz.i86.65
[1872]
RPS 2150/1
402
946
951
INSCRIPTIONS: Recto mount in ink by JMC:
FreshWater 1864 I The Recording Angel I
my especial joy and at upper right corner: 65
IMAGE: 25.4 x 19.9 cm (10 x 713/iA in.)
MOUNT: 33.9 x 29.1 cm (i35/i6 x n7/i6 in.)
PROVENANCE: Sotheby's, Belgravia, June 26,
1975, lot 45; Daniel Wolf, 1984
OTHER PRINTS: Lindsay Album, nos. 76
and 88
REPRODUCED: Weaver 1986, p. 85
948
949
953
95
INSCRIPTIONS: Recto mount label on
Japanese tissue paper in pencil by JMC:
Florence I after the manner I of the Old
Masters
IMAGE: 33.9 x 25.6 cm (i35/i6 x ioVi& in.)
MOUNT: 43.3 x 32.4 cm (i7%6 x i23/4 in.)
PROVENANCE: Virginia Woolf; Sotheby's,
Belgravia, June 21, 1974, lot 38; Samuel
Wagstaff, Jr., 1984
OTHER PRINTS: JPGM 84.XM.349.i6 (carbon);
GEH 81:ii2i:0007 and 67:0088:0003
(platinum print by A. L. Coburn); HRHRC
964:0037:0080 (lithographed facsimile
inscription: / wish / could paint such a
picture as thisG. F. Watts); MFAB 42.363
952
INSCRIPTIONS: Recto mount in ink by JMC:
FreshWater 1865 I First Ideas and at upper
right corner: 66
IMAGE: 24.8 x 19.9 cm (93/4 x 713/ie in.)
MOUNT: 33.9 x 29.1 cm (i35/i6 x n7/i6 in.)
PROVENANCE: Sotheby's, Belgravia, June 26,
1975, lot 45; Daniel Wolf, 1984
OTHER PRINTS: Lindsay Album, no. 106;
TRC 5473; V&A 45.157
REPRODUCED: Weaver 1986, p. 86
953
INSCRIPTIONS: Recto mount in ink by JMC:
FreshWater April 1865 [sic] I The Infant
Samuel and at upper right corner: 74
IMAGE: 24.7 x 20 cm (9 n /i6 x j7/% in.)
MOUNT: 33.9 x 29.1 cm (i3s/i6 x n7/i6 in.)
PROVENANCE: Sotheby's, Belgravia, June 26,
1975, lot 45; Daniel Wolf, 1984
OTHER PRINTS: GEH Watts Album
71 : 0109 : 0036; HRHRC Thackeray Album
964:0312:0038 (inscribed by JMC: The
Infant Samuel I "Speak Lord for thy Servant
heareth"); Lindsay Album, no. 55; Sotheby's,
London, October 26, 1984, lot 143 (inscribed
by JMC: Picture of good little Freddy for
Mrs. Gouldfrom Mrs. Cameron); TRC 5475 A
REPRODUCED: Weaver 1986, p. 88; Cox 1996,
P- 39
NOTES: Although this photograph was dated
1865 by JMC, a print of it was included
in the Watts Album, which was presented
to the painter on February 22, 1864.
Children
403
954
955
Prayer
Freddy Gould
Young Astyanax
[1865-66]
NMPFT Herschel Album 1984-5017/39
958
959
[Freddy Gould]
[1866]
JPGM 84.XM.443.27
Freddy Gould
[Freddy Gould]
[1866]
GEH 81:1121:0020
960
[Group]
[Group]
[1864-65]
TRC 5551
404
956
[1864-65]
TRC 5552
957
Love in Idleness
Freddy Gould
[1866]; copyright May 6, 1866
JPGM 84.XP.219.31
961
[Group]
Elizabeth Keown, Kate Keown, Freddy Gould
[1866-68]
RPS 20572
954
958
955
INSCRIPTIONS: Recto mount in ink by JMC
at upper right corner: 60 and in index at
rear of album: Young Astyanax
IMAGE: 31.4 x 24.9 cm (12 Ys x 9 13 /i& in.)
MOUNT: 32.1 x 30 cm (i25/s x n13/i6 in.)
PROVENANCE: Sotheby's, Belgravia,
October 18, 1974, lot 34; NPG;
NMPFT, 1983
OTHER PRINTS: IWCC Miniature Album,
no. 23 (circle); private collection (cdv);
YUBL Gen. Mss. 340, Vol. i, no. 21 (oval)
REPRODUCED: Ford 1975, p. 83; Hinton 1992,
p. 83
956
INSCRIPTIONS: Recto mount in ink in an
unknown hand: From Life not enlarged Julia
Margaret Cameron; Colnaghi blindstamp
IMAGE: 35.2 x 21.6 cm (137A x 8!/2 in.)
MOUNT: 58 x 46.3 cm (2213/i6 x i83/i6 in.)
PROVENANCE: Gabriel Cromer, 1939; gift of
Eastman Kodak Company, 1949
959
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Julia Margaret Cameron and
in blue crayon below: For Mr. Tennyson;
Colnaghi blindstamp
IMAGE: 27.5 x 21.8 cm (io13/i6 x 89/i& in.)
MOUNT: 38 x 28.5 cm (i415/i6 x n3/i6 in.)
PROVENANCE: By descent within the
Tennyson family; Clark Collection, 1965
OTHER PRINTS: IUAM Miniature Album
75.38.96 (circle)
960
957
INSCRIPTIONS: Recto mount in ink by JMC:
From Life not enlarged Julia Margaret
Cameron and in pencil below: Love in
Idleness and in ink in an unknown hand
below: The Adversary and in pencil by JMC
at lower center: For the Paris Exhibition and
at lower right corner: Study No. i of Love in
Idleness; Colnaghi blindstamp
IMAGE: 29.2 x 28.7 cm (nVa x n5/i6 in.)
MOUNT: 57.9 x 46 cm (2213/i6 x iSYs in.)
PROVENANCE: Daniel Wolf, 1984
OTHER PRINTS: BLUO Henry Taylor
Album, no. 43; GEH 81:1121:0017
(inscribed by JMC: For the Signor I from
JMC) and 81:1121:0001 (cabinet); IWCC
Miniature Album, no. 22; LCL, no. 7;
Mia Album, no. 36 (oval); NMAH 63160;
Norman Album, no. 24 (inscribed by
JMC: A fisherman's boy Freddy Gould I who
submitted to the torments of one hours I trial
of various postures & then I was still whilst I
counted three hundred! I with this perfect
serenity of countenance and temper]; private
collection (cdv)
REPRODUCED: Gernsheim 1975, p. 66;
Ovenden 1975, pi. 85; Weaver 1984, p. 43;
Lukitsh 1986, pp. 16, 19; Hinton 1992, p. 81;
Mulligan et al. 1994, p. 40
Children
405
962
963
964
November 1872
RPS 2149
[November 1872]
NMPFT 1990-5036/11508
[1872]
RPS 2139/2
966
967
968
Rachel Gurney
[1874]
JPGM 86.XM.636.4
406
[1868-72]
NMPFT 1995-5035/3
[1868-72]
AIC 1968.521
962
963
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph Copyright
Julia Margaret Cameron; Colnaghi
blindstamp
IMAGE: 28.5 x 22.5 cm (n3/i6 x 87/s in.)
MOUNT: 49.9 x 36.7 cm (19 Vs x i47/i6 in.)
PROVENANCE: Kodak Company Purchase,
1985
9^5
"Time Was"
Laura Gurney, Rachel Gurney
November 1872
HRHRC 96410037:0083
964
I N S C R I P T I O N S : Recto print stamp at lower
right corner: Autotype\ recto mount in
pencil in an unknown hand at lower left
corner: Julia Margaret Cameron
IMAGE: 33.9 x 26.8 cm (i35/i6 x io9/i6 in.)
MOUNT: 50.7 x 40.1 cm (i915/i6 x i^A in.)
MEDIUM: Carbon
PROVENANCE: Gift of Mrs. Beatrice Trench,
1929
REPRODUCED: Hopkinson 1986, p. 115
967
968
I N S C R I P T I O N S : Recto mount in ink in an
unknown hand: From Life Registered
Photograph copyright Julia Margaret
Cameron
IMAGE: 31.5 x 26.9 cm (i23/s x io9/i6 in.)
MOUNT: 43.1 x 38 cm (i615/i6 x i415/i6 in.)
PROVENANCE: Hamill and Barker, 1968
969
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph copyright
Julia Margaret Cameron and in pencil
below: The return from School; partial
Colnaghi blindstamp
IMAGE: 35.9 x 27.2 cm (14Vs x io n /i6 in.)
MOUNT: 48.7 x 37.8 cm (i93/i6 x 14 Vs in.)
PROVENANCE: Gift of Mrs. Beatrice Trench,
1929
OTHER PRINTS: Private collection, United
Kingdom
965
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph Copyright
Julia Margaret Cameron Freshwater
Nov. 18^2 I "Time Was" I Laura and Rachel
Gurney; Colnaghi blindstamp
IMAGE: 32.4 x 25.4 cm (i23/4 x 10 in.)
MOUNT: 55 x 45.6 cm (ziVs x iy^5/i6 in.)
P R O V E N A N C E : Helmut Gernsheim
966
969
Children
407
97
971
972
[Henry Holland]
[Lionel Holland]
Mabel [Hood]
[1868-72]
RPS 2124/1
[1868-72]
NMPFT 1939-113/9
[1866-67]
SLAM 130:1977
974
975
[Esme Howard]
976
[1864]
LCL, no. 17
[1869]
The Honourable Edmund Howard
408
97
IMAGE: 35.8 x 24.1 cm (14V x 9!/2 in.)
MOUNT: 50.4 x 40 cm (i913/i6 x i^A in.)
PROVENANCE: Unknown
OTHER P R I N T S : SAM 76.32
REPRODUCED: Lukitsh 1986, p. 72
971
I N S C R I P T I O N S : Recto mount in ink in an
unknown hand: From Life by Julia Margaret
Cameron; Colnaghi blindstamp
IMAGE: 33 x 26.5 cm (13 x io7/i6 in.)
MOUNT: 47 x 39.4 cm (18 Yz x 15 Y? in.)
PROVENANCE: Gift of Mrs. Henry Perrin to
the Science Museum, London, 1939
972
973
Esme Howard
1869
976
INSCRIPTIONS: Recto mount in ink by JMC:
FreshWater 1864 I The Infant Undine and
at upper right corner: 84
IMAGE: 27.1 x 20.9 cm (io n /i6 x 83/i6 in.)
MOUNT: 33.9 x 29.1 cm (i35/i6 x u7/i6 in.)
PROVENANCE: Sotheby's, Belgravia, June 26,
1975, lot 45; Daniel Wolf, 1984
OTHER PRINTS: BLUO Henry Taylor Album,
nos. 19 (oval) and 53; Lindsay Album,
no. 89
REPRODUCED: Weaver 1986, p. 90
977
973
INSCRIPTIONS: Unknown
IMAGE: 32.5 x 25 cm (i213/i6 x 913/i6 in.)
MOUNT: Unknown
PROVENANCE: Gift of the artist to George
Howard; by descent within the Howard
family
REPRODUCED: Weaver 1984, p. 45
975
The Anniversary
Elizabeth Keown
[1865]; copyright August 4, 1865
JPGM Overstone Album 84.xz.186.2
Children
409
9;8
979
980
Elizabeth Keown
Prayer
Elizabeth Keown
[1865]
JPGM Overstone Album 84.xz.i86.,
[1865]
GEH 81:1121:0009
I Promise
982
983
Grief
410
Circe
Kate Keown
Kate Keown
[1866]
Private collection (Norman Album, no. 71)
JULIA MARGARET
CAMERON
Elizabeth Keown
984
[Kate Keown]
May 17, 1866
GEH 81:1121:0019
981
978
982
979
INSCRIPTIONS: Recto mount in ink by JMC:
From Life not enlarged and in an unknown
hand: Freshwater Bay Isle of Wight Julia
Margaret Cameron and in pencil by JMC
below: Prayer; Colnaghi blindstamp
IMAGE: 34.7 x 27.8 cm (135A x iols/i6 in.)
MOUNT: 58.2 x 46.3 cm (22 7A x i83/i6 in.)
PROVENANCE: Gabriel Cromer, 1939; gift of
Eastman Kodak Company, 1949
REPRODUCED: Lukitsh 1986, p. 55
NOTES: A close variant of this picture, now
unknown, was registered for copyright on
July 21, 1865, with the title Innocence.
980
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph Copyright
Julia Margaret Cameron March 1870 I The
Village Pet I Little Lizzie Koewn \_sic\\
Colnaghi blindstamp
IMAGE: 33.2 x 28.1 cm (13 Yi6 x nVi6 in.)
MOUNT: 47.5 x 38.5 cm (i8n/i6 x 15 Vs in.)
PROVENANCE: Gift of H. S. Marfleet, 1930
OTHER PRINTS: NMPFT 1995-5035/15
(cabinet); NPG xi8o44 (cabinet)
REPRODUCED: Ford 1975, p. 19
981
985
Mignon
Kate Keown
983
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Julia Margaret Cameron I Circe I
"who knows not Circe I daughter of the Sun"
and in an unknown hand at upper left
corner: Studies for Painting; Colnaghi
blindstamp
IMAGE: 24.5 x 20.2 cm (95/s x 715/i6 in.)
MOUNT: 33.2 x 26.1 cm (13%6 x io!/4 in.)
PROVENANCE: Gift of the artist,
September 27, 1865
OTHER PRINTS: MMA 1990.1074.4
984
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Not enlarged Julia Margaret
Cameron I Taken after sunset I May ijth
'66; Colnaghi blindstamp
IMAGE: 36.6 x 27.8 cm (143A x io15/i6 in.)
MOUNT: 56.2 x 46.1 cm (22% x iSYs in.)
PROVENANCE: Gabriel Cromer, 1939; gift of
Eastman Kodak Company, 1949
REPRODUCED: Lukitsh 1986, p. 54
NOTES: A study of May Prinsep (cat. no. 398)
was made at the same sitting.
985
INSCRIPTIONS: Recto mount in ink by
JMC: From Life Julia Margaret Cameron I
Mignon; Colnaghi blindstamp; verso
mount in pencil by Helmut Gernsheim:
One of seven studies given by JMC to Dante
Gabriel Rossetti and wet stamp below:
GERNSHEIM COLLECTION
IMAGE: 35.3 x 26.2 cm (i37/s x ios/i6 in.)
MOUNT: 51.1 x 41.1 cm (20 Vs x i63/i6 in.)
PROVENANCE: Dante Gabriel Rossetti;
by descent within the Rossetti family;
Helmut Gernsheim
NOTES: There are seven prints in the
HRHRC's collection that were presented
to Dante Gabriel Rossetti by JMC in 1867.
See references at cat. nos. 387, 509-10, 513,
876, 880, and 985.
[1866-67]
HRHRC 96410037:0120
Children
411
986
987
988
[Kate Keown]
[Kate Keown]
March 1867
WCP 9314810
[1867-68]
RPS 2129
Kate Keown
990
991
992
The Snowdrop
[Adeline Norman]
September 1873
JPGM 84.XM.4437S
[1874]
RPS 2142
Kate Keown
[1870-72]
Present whereabouts unknown
412
o86
991
Jr., 1993
OTHER PRINTS: IUAM Miniature Album
75.38.47; private collection (cdv)
992
987
989
989
INSCRIPTIONS: Colnaghi blindstamp
IMAGE: 32.7 x 24.6 cm (i27/s x 9 n /i6 in.)
MOUNT: 37.7 x 28.3 cm (i413/i6 x nVs in.)
PROVENANCE: Robert Schoelkopf, 1973;
Samuel Wagstaff, Jr., 1984
OTHER P R I N T S : Paul F. Walter; WCP 93:4853
REPRODUCED: Hamilton 1996, pi. 5; Wolf
1998, pi. 23
990
[Adeline Norman]
[1874]
Children
413
994
[Adeline Norman]
[1874]
Present whereabouts unknown
414
995
[Charlotte Norman]
[1864]
GEH Watts Album 71:0109:0022
996
[Charlotte Norman]
[1864]
GEH Watts Album 71:0109:0021
998
999
IOOO
[Charlotte Norman]
[Charlotte Norman]
[Charlotte Norman]
[1864-66]
Present whereabouts unknown
[1865-68]
Present whereabouts unknown
[1866-67]
JPGM 94.xM.3i.i
994
I N S C R I P T I O N S : Unknown
IMAGE: Unknown
MOUNT: Unknown
PROVENANCE: By descent within the Norman
family; Erich Sommer
995
IMAGE: 20 x 15 cm (j7/% x 5 7 A in.)
MOUNT: 29.6 x 24.3 cm (nVs x 99/i6 in.)
PROVENANCE: G. F. Watts; Christie, Manson
& Woods, London, July 2, 1971, lot 21;
Ronald Chapman; anonymous gift in
honor of Dr. Walter Clark, 1971
IOOI
996
997
[Charlotte Norman]
[1864-66]
V&A Ph 356-1981
997
I N S C R I P T I O N S : Colnaghi blindstamp
IMAGE: 25.2 x 20 cm (915/i6 x f/% in.)
MOUNT: 38 x 28.6 cm (i415/i6 x iilA in.)
PROVENANCE: Undocumented gift, 1941,
found in museum vault, 1965
998
I N S C R I P T I O N S : Unknown
IMAGE: Unknown
MOUNT: Unknown
P R O V E N A N C E : Unknown
OTHER PRINTS: Private collection (cdv)
999
I N S C R I P T I O N S : Colnaghi blindstamp
IMAGE: 34.6 x 28 cm (13 Vs x n in.)
MOUNT: Unknown
PROVENANCE: Sotheby's, Belgravia, March 27,
1981, lot 475; Kenny Jacobson
IOOO
I N S C R I P T I O N S : Colnaghi blindstamp
IMAGE: 28.5 x 23 cm (n3/i6 x gV^ in.)
MOUNT: 44.5 x 38.1 cm (17V2 x 15 in.)
PROVENANCE: By descent within the Norman
family; Charles Isaacs; Cinema
Consultants, Inc., 1994
OTHER PRINTS: TRC 5477
IOOI
My Grandchildren
Charlotte Norman, George Norman, Jr.
April 1868
GEH 81:1124:0004
Children
415
416
1002
1003
1004
[1868]
GEH 81:1124:0002
[1868]
Present whereabouts unknown
1006
1007
1008
July 1874
JPGM 94.XM.3I.3
[July 1874]
AIC 1998.242
[1868]
GEH 81:1124:0001
[July 1874]
JPGM 94.XM.3I.5
IOO2
1007
1003
I N S C R I P T I O N S : Unknown
IMAGE: Unknown
MOUNT: Unknown
PROVENANCE: Unknown
NOTES: Cat. no. 1004 is a detail of this
picture.
1004
1005
1008
INSCRIPTIONS: Recto mount in ink by
JMC: From Life Registered Photograph copy
right Julia Margaret Cameron; Colnaghi
blindstamp; verso mount in pencil in
an unknown hand: Charles Lloyd Norman I
& bis daughter
IMAGE: Diam. 23.5 cm (glA in.)
MOUNT: 56 x 46.4 cm (22 Vu x iSV* in.)
PROVENANCE: By descent within the
Norman family; Charles Isaacs; Cinema
Consultants, Inc., 1994
REPRODUCED: Cox 1996, p. 94
1009
I N S C R I P T I O N S : Recto mount in ink by
JMC: From Life Registered Photograph copy
right Julia Margaret Cameron; Colnaghi
blindstamp
IMAGE: Diam. 27.5 cm (io13/i6 in.)
MOUNT: 56.5 x 46.2 cm (22 1 A x i83/i6 in.)
PROVENANCE: By descent within the
Norman family; Charles Isaacs; Cinema
Consultants, Inc., 1994
OTHER PRINTS: RPS 2126/1-2
REPRODUCED: Cox 1996, p. 95
1005
I N S C R I P T I O N S : Recto mount in pencil in
an unknown hand: /o% di16 xi^h;
verso mount in ink in an unknown hand:
George Cameron Norman I Archie Cameron
Norman I Charlotte I Adeline I Archie was
father of C. W. N.
IMAGE: Diam. 27.5 cm (io13/i6 in.)
MOUNT: 38.2 x 28 cm (15 x n in.)
PROVENANCE: By descent within the
Norman family; Charles Isaacs; Cinema
Consultants, Inc., 1994
OTHER PRINTS: RPS 2130
1006
1009
JPGM 94.xM.3i.2
Children
417
1010
ion
IOI2
[Margaret Norman]
[Margaret Norman]
Baby Tictet'
[1874]
JPGM 84.XM.443.37
[1874]
JPGM 84.XM.443.72
1014
1015
1016
[Adeline Somers-Cocks]
[1864]
JPGM 84.XP.2I9.I
[1867-68]
JPGM 84.XM.443.63
418
[1866]
1010
1015
I N S C R I P T I O N S : Colnaghi blindstamp
IMAGE: 31.2 x 25.1 cm (12 V* x 9 7 A in.)
MOUNT: 57.6 x 46.2 cm (22 n /i6 x i83/i6 in.)
PROVENANCE: Samuel Wagstaff, Jr., 1984
OTHER PRINTS: WCP 93:4852
ion
I N S C R I P T I O N S : Colnaghi blindstamp
IMAGE: 30.6 x 25.2 cm (i2Yi6 x 915/i6 in.)
MOUNT: 58.5 x 46.2 cm (23 x i83/i6 in.)
PROVENANCE: Erich Sommer, 1975; Samuel
Wagstaff, Jr., 1984
OTHER PRINTS: RPS 2134
ioi3
A Lovely Sketch
Stephen Powys
[18/3]
MMA 1990.1074.5
1012
I N S C R I P T I O N S : Recto mount in ink by JMC:
One year old infant shipwrecked once in
the Madras Surf / & again in the wreck
of the Colombo Steamer and in upper right
corner: 19 and in index at rear of album:
Baby 'Pictef
IMAGE: 17.2 x 14.8 cm (63/4 x 513/i6 in.)
MOUNT: 33.7 x 30.2 cm (13% x u7A in.)
PROVENANCE: Sotheby's, Belgravia,
October 18, 1974, lot 34; NPG; NMPFT,
1983
OTHER PRINTS: GEH Watts Album
71:0109:0009
REPRODUCED: Ford 1975, p. 42; Hopkinson
1986, p. 105; Lukitsh 1986, p. 10
P-77
1013
1017
[Isabel Somers-Cocks]
[1866]
JPGM 84.xp.2i9.2
Children
419
ioi8
1019
IO2O
[Cecelia Tennyson]
Priscilla
Cecelia Tennyson
Perhaps!
Cecelia Tennyson
[1871]
TRC 5393
RPS 2133
IO22
1023
1024
Cecy I A Study
Cecelia Tennyson
[Cecelia Tennyson]
[Cecelia Tennyson]
[1871-72]
Jack and Harriet Lazare, Montreal
[1871-72]
Present whereabouts unknown
1871
TRC 5393a
1871
TRC 5392
42O
JULIA MARGARET
CAMERON
[1871]
1018
1024
I N S C R I P T I O N S : Unknown
IMAGE: 30.5 x 24.2 cm (12 x 9^/2 in.)
MOUNT: Unknown
P R O V E N A N C E : Christie's, London, July 13,
1972, lot 67
1025
I N S C R I P T I O N S : Colnaghi blindstamp
IMAGE: 34.8 x 24.8 cm (i3n/i6 x 9^/4 in.)
MOUNT: 50 x 41.2 cm (i9 n /i6 x i6Vi6 in.)
P R O V E N A N C E : By descent within the
Tennyson family; Lincoln City Library,
1971
IO2O
IO2I
[Group]
Cecelia Tennyson, unknown boy
[1871]
CMP 87.33.127
I N S C R I P T I O N S : Colnaghi blindstamp
IMAGE: 31.8 x 25.9 cm (12 Vi x io3/i6 in.)
MOUNT: 38.1 x 27.9 cm (15 x n in.)
P R O V E N A N C E : Gift of Robert Harshorn
Shimshak, 1987
IO22
1023
1025
[St. Cecilia]
I N S C R I P T I O N S : Unknown
IMAGE: 29 x 24 cm (uVu, x 97/u, in.)
MOUNT: 48.9 x 44.5 cm (i91/4 x 17V2 in.)
P R O V E N A N C E : Christie's, New York,
October 4, 2001, lot 35
REPRODUCED: Lloyd 1976, lot 177
Cecelia Tennyson
[1871-72]
TRC 5394
Children
421
1026
1027
1028
[Lionel Tennyson]
[1864]
Private collection, United Kingdom
(Lindsay Album, no. 68)
1030
1031
1032
[Lionel Tennyson]
April 1869
TRC 5466
[April 1869]
UCLA Aubrey Ashworth Taylor Album, no.
422
1026
1032
1027
I N S C R I P T I O N S : Recto mount in ink by JMC:
FreshWater 1864 /Lionel Tennyson /youngest
Son of the Poet Laureate and at upper right
corner: 61
IMAGE: 24.4 x 19.9 cm (<)5A x 713/i6 in.)
MOUNT: 33.9 x 29.1 cm (i35/i6 x ii 7 /i& in.)
P R O V E N A N C E : Sotheby's, Belgravia, June 26,
1975, lot 45; Daniel Wolf, 1984
OTHER PRINTS: BLUO Henry Taylor Album,
no. 92
REPRODUCED: Weaver 1986, p. 84
1029
[Lionel Tennyson]
[1864]; copyright October 10, 1864
TRC 5457
1028
I N S C R I P T I O N S : Recto mount in pencil in an
unknown hand: Lionel Tennyson and in ink
at upper right corner: 68
IMAGE: 23.4 x 19.3 cm (93/i6 x 79/i6 in.)
MOUNT: 34.1 x 28.1 cm (i3?/i6 x nVie in.)
PROVENANCE: Gift of the artist to Sir Coutts
Lindsay; by descent within the family
1029
IMAGE: 23.5 x 20.5 cm (974 x 8 Vie in.)
MOUNT: 44.4 x 34.2 cm (i77/i6 x i37/i6 in.)
P R O V E N A N C E : By descent within the
Tennyson family; Clark Collection, 1965
OTHER PRINTS: BNF 0.05963/14
1033
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph Copyright
Julia Margaret Cameron Freshwater April
1869 and in ink and pencil below: Lionel
Tennyson I In the character of the Marquis de
St. Cast I in the play of Payable on Demand I
As acted at the Camerons Private Theatricals I
in aid of our Freshwater [Village Hospital]
for orphans and in ink at lower right edge:
For the dear aunt & uncle; Colnaghi
blindstamp
IMAGE: 33.5 x 27.8 cm (13 Vie x io15/i6 in.)
MOUNT: 46.7 x 40.3 cm (i83/s x i57/8 in.)
PROVENANCE: By descent within the
Tennyson family; Clark Collection, 1965
OTHER PRINTS: Norman Album, no. 62
1030
I N S C R I P T I O N S : Recto mount in ink by
JMC: Registered Photograph from Life Julia
Margaret Cameron
IMAGE: 26.5 x 20.8 cm (io 7 /i& x 83/i6 in.)
MOUNT: 50.5 x 34.3 cm (197A x 13 V2 in.)
P R O V E N A N C E : Unknown
REPRODUCED: Ford 1975, p. 49
OTHER P R I N T S : NMPFT Herschel Album
1984-5017/26 (inscribed by JMC: Lionel
Tennyson)
1031
IQ33
Children
423
424
1034
IQ35
1036
April 1869
TRC 5467
[April 1869]
TRC 5468
[April 1869]
RPS 20581
1038
1039
1040
Lionel Tennyson
[Lionel Tennyson]
[Lionel Tennyson]
[1869]
TRC 5460
[1869]
TRC 5461
[1869]
TRC 546ii
1034
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph Freshwater
April 1869 Julia Margaret Cameron;
Colnaghi blindstamp
IMAGE: 31.6 x 25.9 cm (i2 7 /i6 x loVu, in.)
MOUNT: 55.5 x 46.1 cm (21 LYu, x 18 Ys in.)
PROVENANCE: By descent within the
Tennyson family; Clark Collection, 1965
OTHER PRINTS: Private collection (cdv)
1035
IMAGE: 25.7 x 18.9 cm (lo'A x j1/^ in.)
MOUNT: 50.1 x 37.7 cm (ig11/^ x 14"/u, in.)
P R O V E N A N C E : By descent within the
Tennyson family; Clark Collection, 1965
OTHER PRINTS: IUAM Miniature Album
75.38.12; NPG x:8o55 (cabinet)
1036
1037
Lionel Tennyson
[1869]; copyright April 14, 1869
MMA 41.21.29
1040
1041
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph Freshwater
December 1868 Copyright Julia Margaret
Cameron; Colnaghi blindstamp; verso
mount in pencil [possibly by JMC]:
Tues or Weds I as others in size ok
IMAGE: 29.5 x 26.1 cm (nVs x 10 ] A in.)
MOUNT: 47.3 x 40.8 cm (i85/s x 16 Yi& in.)
PROVENANCE: By descent within the
Tennyson family; Lincoln City Library,
1971
1037
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Freshwater 66 Isle of Wight Julia
Margaret Cameron I Lionel Tennyson;
Colnaghi blindstamp
IMAGE: 30.4 x 24.5 cm (n'Yu, x g'Vs in.)
MOUNT: 47.5 x 34.8 cm (i8n/i6 x 13 Vu, in.)
P R O V E N A N C E : E. P. Goldschmidt &Co., 1941
OTHER PRINTS: IWCC Miniature Album,
no. 36; Norman Family Miniature Album,
no. 28; private collection (cdv); TRC 5459A
REPRODUCED: Gernsheim 1975, p. 108;
Hinton 1992, p. 109
1038
1039
1041
Children
425
1042
426
1043
1044
Margie Thackeray
[Margie Thackeray]
Margie Thackeray
[1866-69]
Private collection (Norman Album, no. 34)
[1866-69]
HRHRC 964:0037:0125
[1866-69]
Private collection (Norman Album, no. 26)
1046
1047
1048
[Margie Thackeray]
[Margie Thackeray]
[1872]
RPS 20569
[1872]
LM
1042
1047
1043
1045
1044
I N S C R I P T I O N S : Recto mount in pencil by
JMC: Margie Thackeray
IMAGE: Diam. 23.9 cm (gYs in.)
MOUNT: 45.9 x 31.4 cm (18 VK> x 12 Ys in.)
P R O V E N A N C E : Gift of the artist to Julia
and Charles Norman, September 9, 1869;
by descent within the Norman family
1045
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Registered Photograph copyright
Julia Margaret Cameron I Our Island Daisy;
Colnaghi blindstamp
IMAGE: 35.5 x 25.6 cm (13^/16 x ioYu, in.)
MOUNT: 58 x 45.5 cm (22'Yu, x 17Ys in.)
PROVENANCE: By descent within the Norman
family; Charles Isaacs, 1993
1048
I N S C R I P T I O N S : Recto mount in pencil in
an unknown hand [possibly by Helmut
Gernsheim]: Agnes Grace Weld I by
Mrs. Cameron
IMAGE: 22.3 x 17.2 cm (8Yt x 6Y* in.)
MOUNT: 35.4 x 30 cm (13^/15 x n/ in.)
P R O V E N A N C E : Lewis Carroll [Charles L.
Dodgson]
OTHER PRINTS: BMAG P82-73; private
collection, United Kingdom
NOTES: This image is incorporated in
Lewis Carroll's personal album (HRHRC
964:0016:0001-0053), which dates to
c. 1857-64. The album contains fifty-three
photographs, of which six are by Carroll.
By far the largest contributor of the other
images is Oscar Gustave Rejlander. There
are three works by JMC in the album:
cat. no. 7, a print of The red & white Roses
(see reference at cat. no. 981), and cat. no.
1048.
1049
I N S C R I P T I O N S : Colnaghi blindstamp
IMAGE: 31.9 x 25.4 cm (12 V x 10 in.)
MOUNT: 55.7 x 45.5 cm (21^/15 x 171/% in.)
P R O V E N A N C E : By descent within the
Tennyson family; Clark Collection, 1965
1046
I N S C R I P T I O N S : Recto mount ink stamp:
Royal Photographic Society I jj, Russell
Square /London W.C. /
IMAGE: 33.5 x 25.4 cm (13 Yu, x 10 in.)
MOUNT: 49 x 37.3 cm (19 V* x i4n/i6 in.)
P R O V E N A N C E : Unknown
OTHER P R I N T S : Private collection, United
States (inscribed by JMC: Easter 1872}
1049
Children
427
1051
IO 2
[Group]
Agnes Grace Weld, unknown girl
[Group]
Agnes Grace Weld, unknown girl
[Unknown Boy]
[1866-70]
HRHRC 964:0037:0068
[1866-70]
JPGM 84.XM.443.46
[1864]
Private collection, United Kingdom
(Lindsay Album, no. HIA)
1054
J055
1056
[Unknown Boy]
English Blossoms
Unknown girls
The child
Unknown boy
May 1873
MMA 1990.1074.6
[1873]
Present whereabouts unknown
IO
[1866-70]
Present whereabouts unknown
428
1050
1056
1051
I N S C R I P T I O N S : Verso mount in pencil in an
unknown hand: j
IMAGE: 7.6 x 5.6 cm (3 x 2Vih in.)
MOUNT: 10.1 x 6.4 cm (315/u> x 2% in.)
M E D I U M : Carte-de-visite
P R O V E N A N C E : Sotheby Parke Bernet,
New York, February 25, 1975, lot 95;
Samuel Wagstaff, Jr., 1984
1057
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph Copyright
Julia Margaret Cameron Sp. i8yj I And The
Face of the Child
IMAGE: 33.9 x 27.2 cm (i35/u> x io n /i6 in.)
MOUNT: Unknown
P R O V E N A N C E : Sotheby's, Belgravia,
October 29, 1980, lot 225
1052
1053
[Unknown Girl]
[1865-66]
V&A .2743-1990
1054
IMAGE: 31 x 24 cm (i23/i6 x 97/u, in.)
M O U N T : 55.9 x 43.1 cm (22 x i6l3/\6 in.)
P R O V E N A N C E : Sotheby's, Belgravia,
June 17, 1981, lot 427; Paul F. Walter,
81:272; Sotheby's, London, May 10, 2001,
lot 116
J055
I N S C R I P T I O N S : Recto mount in ink by
JMC: From Life Registered Photograph
copyright Julia Margaret Cameron
Freshwater May i8?j I English Blossoms;
Colnaghi blindstamp
IMAGE: 32.8 x 27.5 cm (12 7A x io13/u, in.)
MOUNT: 36.6 x 31.3 cm (14% x i25/u, in.)
P R O V E N A N C E : Bequest of James David Nelson
in memory of Samuel J. Wagstaff, Jr., 1990
OTHER PRINTS: HRHRC 964:0313:0002
(miniature edition of Idylls of the King and
Other Poems]; TRC 5445 (miniature edition
of Idylls of the King and Other Poems)
1057
Children
429
1058
IQ59
1060
[Unknown Girl]
[Unknown Girl]
[Unknown Girl]
1873
[1873]
MMA 69.607.1
[1870-74]
Present whereabouts unknown
MMA 69.607.13
1062
[Unknown Girl]
August 1874
RPS 2131
43
1058
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph Copyright,
Henry Herschel Hay Cameron, 1873;
Colnaghi blindstamp
IMAGE: 32.3 x 24.4 cm (12"A, x 95/8 in.)
MOUNT: 51.8 x 39 cm (20% x i55/i6 in.)
PROVENANCE: P. &D. Colnaghi ScCo., Ltd.,
London, 1969
NOTES: The inscription suggests that
H. H. H. Cameron was possibly the
author of this photograph.
1059
I N S C R I P T I O N S : Colnaghi blindstamp
IMAGE: 33.8 x 24.3 cm (13 VK. x 9%, in.)
MOUNT: 51.5 x 38.9 cm (20'A x i55/i6 in.)
P R O V E N A N C E : P. 8cD. Colnaghi &Co., Ltd.,
London, 1969
1060
io6i
[Unknown Girl]
[1870-74]
RPS 2265/1
1061
I N S C R I P T I O N S : Partial Colnaghi blindstamp
IMAGE: 34.4 x 27.2 cm (13%, x loVn, in.)
MOUNT: 50.5 x 40 cm (19 VK x 15'A in.)
P R O V E N A N C E : Gift of Mrs. Beatrice Trench,
1929
1062
I N S C R I P T I O N S : Recto mount in ink by
JMC: From Life Registered Photograph
Copyright Julia Margaret Cameron Aug 1874',
verso mount in ink in an unknown hand:
Little Bee
IMAGE: 26 x 23 cm (ic'A x gVu, in.)
MOUNT: 47.8 x 37.8 cm (iS'Yu, x i47/s in.)
PROVENANCE: Gift of Mrs. Beatrice Trench,
1929
Children
431
VI
Illustrations
response to Cameron's work since her lifetime, it is that her portraits are extraordinary artistic achievements but her groups and illustrations
are considerably inferior, even laughable. Reviewing an
exhibition ten years after her death, George Bernard Shaw,
at the time the art critic for the Star, wrote: "While the
portraits of Herschel, Tennyson and Carlyle beat hollow
anything I have ever seen, right on the same wall, and
virtually in the same frame, there are photographs of
children with no clothes on, or else the underclothes by
way of propriety, with palpably paper wings, most inartistically grouped and artlessly labelled as angels, saints or
fairies. No-one would imagine that the artist who produced the marvellous Carlyle would have produced such
childish trivialities."1 The assessment of Roger Fry, in
Victorian Photographs of Famous Men and Fair Women, the
book that marked the beginning of twentieth-century
interest in Cameron, was that "they must all be judged as
failures from an aesthetic viewpoint." 2 Curiously he
excepted [The Rosebud Garden of Girls] (cat. no. 1125) from
this wholesale damnation: "On the whole, how successful
a composition it is. It is, however, almost the only case of
a group which has come near to artistic success."3 It is
hard to say why he should favor this image above all her
other genre pictures.
The late-twentieth-century revival of interest in
Cameron's photography can certainly be traced to the publication of Helmut Gernsheim's 1948 monograph (republished in 1975), but his admiration for her work was also
confined to the portraits. His evaluation of her illustrations
was that they were "affected, ludicrous and amateurish,
433
434
Illustrations
435
436
The disappointment
Illustrations
437
438
JULIA MARGARET
CAMERON
Illustrations
439
440
JULIA MARGARET
CAMERON
Illustrations
441
1063
1064
1065
[Group]
[1864]
V&A Ph 242-1982
1067
[Confidence]
442
1069
[May 1864]
Present whereabouts unknown
CAMERON
[1864]
V&A 44.774
1068
JULIA MARGARET
1063
IMAGE: 25.7 x 21.5 cm (loYs x 87/i6 in.)
PROVENANCE: Unknown
1065
1070
1064
io66
Confidence
Mary Hillier, Mary Kellaway
May 1864
JPGM Overstone Album 84.xz.186.82
1069
1066
INSCRIPTIONS: Recto mount in ink by JMC:
Fresh Water May 1864 I Confidence and at
upper right corner: 82
IMAGE: 25 x 20 cm (913/i6 x 77A in.)
MOUNT: 33.9 x 29.1 cm (i35/i6 x u7/u in.)
PROVENANCE: Sotheby's, Belgravia, June 26,
1975, lot 45; Daniel Wolf, 1984
REPRODUCED: Weaver 1986, p. 90
1067
INSCRIPTIONS: Recto mount in ink by JMC:
Julia Margaret Cameron
IMAGE: 25.4 x 20.3 cm (10 x 8 in.)
MOUNT: Unknown
PROVENANCE: Christie's, South Kensington,
October 27, 1977, lot 348
1068
1070
Illustrations
443
1071
1072
1073
[Group]
Unknown girl, Kate Dore
The grandmother
Unknown girl, Sarah Groves
[1864-65]
V&A44.955
[1864-65]
TRC 5546
1865
JPGM Overstone Album 84.xz.186.95
I0
1076
[Group]
Alice Du Cane, unknown woman
1077
[Group]
Freddy Gould, Mary Hillier
[Group]
Elizabeth Keown, Mary Hillier, Freddy Gould
[1864-65]
V&A Ph 353-1981
[1864-66]
LCL, no. 5
[1864-66]
HRHRC 964:0037:0020
75
444
JULIA MARGARET
CAMERON
1071
1076
1072
The grandmother
Unknown girl, Sarah Groves
[1865]
NMPFT Herschel Album 1984-5017/33
1077
1074
[1864-65]
WCP 8410751
Illustrations
445
446
1079
1080
1081
[Group]
Unknown woman, Mary Ryan
[Yes or No ?]
Mary Kellaway, Mary Hillier
[1864-65]
RPS 2095
[1865]
Present whereabouts unknown
1083
1084
1085
Spring
Spring
[1865]
HRHRC 964:0037:0073
May 1865
JPGM Overstone Album 84.xz.186.42
1079
1085
1080
1086
I N S C R I P T I O N S : Unknown
IMAGE: 27.3 x 22.9 cm (io3/4 x 9 in.)
MOUNT: Unknown
P R O V E N A N C E : Christie's, London,
October 27, 1977, lot 349
1081
1082
The disappointment
Unknown woman, Mary Kellaway, Mary Ryan
May 1865
JPGM Overstone Album 84.xz.186.51
1082
I N S C R I P T I O N S : Recto mount in ink by JMC:
Lawn Little Holland House May 1865 I The
disappointment and at upper right corner: 52
IMAGE: 26.2 x 21.4 cm (io 5 /i6 x 8 7 /i6 in.)
MOUNT: 33.8 x 28.2 cm (i35/u, x ii1/ in.)
P R O V E N A N C E : Sotheby's, Belgravia, June 26,
1975, lot 45; Daniel Wolf, 1984
OTHER PRINTS: BLUO Henry Taylor Album,
no.103
R E P R O D U C E D : Weaver 1986, p. 82
1083
IMAGE: 25.2 x 19.3 cm (9 1 Vi6 x 79/i6 in.)
MOUNT: 39.6 x 31.5 cm (i59/i6 x 12 Vs in.)
P R O V E N A N C E : Helmut Gernsheim
OTHER P R I N T S : Lindsay Album, no. 51
(inscribed by JMC: The Apple of Concord I
Minnie Rob bins]
R E P R O D U C E D : Gernsheim 1948, pi. 29
1086
1084
Illustrations
447
io8;
1088
1089
[1865]
LoC PH Cameron, no. 3 (B size)
1091
1092
1093
[1865]
V&A Ph 941-1913
448
1090
1087
1091
The Dialogue
Mary Hillier, May Prinsep
1092
IMAGE: 27.4 x 22.1 cm (io3/4 x 8n/i6 in.)
MOUNT: 39.5 x 31.5 cm (i59/i6 x i23/s in.)
PROVENANCE: Helmut Gernsheim
REPRODUCED: Gernsheim 1948, pi. 48;
Gernsheim 1975, p. 31
1088
1093
1089
INSCRIPTIONS: Recto mount in ink by JMC:
Friar Laurence and Juliet and at upper right
corner: 61
IMAGE: 31.7 x 27.1 cm (i27/i6 x ion/i6 in.)
MOUNT: 33.5 x 30 cm (i33/i6 x n13/i6 in.)
PROVENANCE: Sotheby's, Belgravia,
October 18, 1974, lot 34; NPG; NMPFT,
1983
OTHER PRINTS: BLUO Henry Taylor
Album, no. 113; IUAM Miniature Album
75.38.54; IWCC Miniature Album, no. 27;
private collection (cdv); RPS 2101; Vernon
Collection CAM-OO4; YUBL Gen. Mss. 340,
Vol. i, no. 19, and Vol. 2, no. 5
REPRODUCED: Ford 1975, p. 84; Hopkinson
1986, p. 141; Hinton 1992, p. 91
1090
1094
1913
OTHER PRINTS: Private collection (cdv)
1094
INSCRIPTIONS: Recto mount in ink by
JMC: 25 and in index at rear of album:
The Dialogue
IMAGE: 32.1 x 28.4 cm (i25/s x uVie in.)
MOUNT: 33.6 x 33.3 cm (i33/i6 x 13 Ys in.)
PROVENANCE: Sotheby's, Belgravia,
October 18, 1974, lot 34; NPG; NMPFT,
1983
REPRODUCED: Ford 1975, p. 48
[1866]
NMPFT Herschel Album 1984-5017/25
Illustrations
449
I0
95
[1866]
NMPFT Herschel Album 1984-5017/54
1097
Summer days
May Day
1099
IIOO
IIOI
Mary Ryan
1866
HRHRC 96410037:0046
45
1096
1095
1099
1096
I N S C R I P T I O N S : Recto mount in ink by
JMC: From Life Julia Margaret Cameron I
Summer days
IMAGE: 35.2 x 27.2 cm (137A x io n /i6 in.)
MOUNT: 39.2 x 31.4 cm (i57/i6 x 12 3A in.)
P R O V E N A N C E : Gift of Alan S. Cole, April 19,
1913
1098
[May Day]
Mary Hillier, May Prinsep, Mary Ryan,
unknown child, unknown woman
[1866]
RPS 2190
1097
I N S C R I P T I O N S : Recto mount in ink by
JMC: From Life Julia Margaret Cameron I
May Day
IMAGE: 33.9 x 28.6 cm (13 W x ulA in.)
MOUNT: 38.5 x 33.8 cm (15% x i35/i6 in.)
P R O V E N A N C E : Gift of Alan S. Cole, April 19,
: :
93
IIOO
1098
IIO2
IIO2
Illustrations
451
1104
no3
[Minstrel Group]
[1866-68]
SMAG 1968.11-586
[1865]
Private collection, United Kingdom
1107
1108
452
[Minstrel Group]
JULIA MARGARET
CAMERON
Browning's Sordello
1105
The Affianced
Henry John Stedman Cotton, Mary Ryan
July 1867
NMPFT 1990-5035/4
1109
[Group]
[1867]
GEH 81:1121:0011
[1867]
JPGM 84.XM.443.7
1103
1108
I N S C R I P T I O N S : Colnaghi blindstamp
IMAGE: 24.1 x 20.3 cm (gV-z x 8 in.)
MOUNT: 46.4 x 35.9 cm (i8V4 x 14Vs in.)
PROVENANCE: Gift of Robert Schoelkopf,
1968
1104
INSCRIPTIONS: Recto mount lithographed
facsimile inscription by JMC: From life
copyright Julia Margaret Cameron
IMAGE: 7.7 x 5.6 cm (3 x 23/i& in.)
MOUNT: 10.1 x 6.4 cm (315/i6 x 2^/2 in.)
MEDIUM: Carte-de-visite
PROVENANCE: Gift of the artist to Julia
Norman; by descent within the Norman,
Pryor, and Curtis families
1105
no6
1109
1107
I N S C R I P T I O N S : Recto mount in ink by
JMC: Romeo and Juliet and at upper right
corner: 65
IMAGE: 28.9 x 23.3 cm (nVs x 93/i6 in.)
MOUNT: 33.7 x 30.1 cm (i^A x n13/i6 in.)
PROVENANCE: Sotheby's, Belgravia,
October 18, 1974, lot 34; NPG; NMPFT,
1983
REPRODUCED: Ford 1975, p. 88
IIIO
Illustrations
453
IIII
III2
1113
[Group]
Mrs. Keene, May Prinsep
[Group]
"Whiskers" Stubbs, Mary Hillier
[1866-70]
Private collection, New York
[1870-72]
Timothy Baum, New York
[1867]
NMPFT Herschel Album 1984-5017/52
1115
Spear or Spare
Captain Speedy (Basha Felika), Casa (Dejatch
Alamayou's attendant)
[July 1868]; copyright July 29, 1868
V&A Ph 19-1939
454
1116
1117
[July 1868]
Present whereabouts unknown
[July] 1868
RPS 2078
IIII
IH5
III2
1113
iii4
1114
1118
1116
I N S C R I P T I O N S : Unknown
IMAGE: Unknown
MOUNT: Unknown
PROVENANCE: Unknown
1117
Illustrations
455
III9
II2O
II2I
Dejatch Alamayou
July 1868
V&A Ph 24-1939
[July 1868]
Present whereabouts unknown
1123
1124
1125
456
1119
1124
II2O
1122
1123
1126
1125
INSCRIPTIONS: Recto mount in pencil
[possibly by JMC] on paper strip: Nelly
Christiana Mary and Ethel Fraser Tytler
IMAGE: 29.4 x 26.8 cm (n9/i6 x ioVi6 in.)
MOUNT: 54.3 x 39.5 cm (2i3/8 x i^/u in.)
PROVENANCE: Virginia Woolf; Sotheby's,
Belgravia, March 8, 1974, lot 127; Samuel
Wagstaff, Jr., 1984
OTHER PRINTS: BA c 5.Ros. 1868 (inscribed
by JMC: The Rosebud Garden of girls I Given
to W. Fields by Julia Margaret Cameron I in
memory of the not to be forgotten day of first
seeing); GEH 81:1122:0003; Norman
Album, no. 67 (inscribed by JMC: The
Rosebud garden ofgir/s); NPG xi8o7o (cdv);
private collection (cdv); RPS 20563; TRC
5526 (inscribed by JMC: The Rosebud garden
of girls I see Maud); UCLA Aubrey Ashworth Taylor Album, no. 27 (inscribed by
JMC in index at rear of album: The Rosebud
Garden ofGirls Portrait group of 4 sisters};
VHM Ph 2606
REPRODUCED: Emerson 1891, p. 312; Woolf
and Fry 1926, pi. 22; Woolf and Fry 1973,
pi. 22; Bruson 1980, pi. 17; Cox 1996, p. 73;
Wolf 1998, pi. 28; Lukitsh 2001, p. 95
1126
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Freshwater Bay Isle of Wight
copyright Julia Margaret Cameron I
The Three Sisters I Peace, Love and Faith
IMAGE: 32.7 x 23.6 cm (i27/s x 9 Y4 in.)
MOUNT: 49.2 x 38 cm (193/s x i415/i& in.)
PROVENANCE: Gift of Colonel Cameron, 1929
[June 1868]
RPS 2192/2
Illustrations
457
458
1127
1128
1129
August 1874
AIC 1998.268
[August 1874]
RPS 2193/1
1131
II 3 2
"33
[1870]
Present whereabouts unknown
[1869-70]
NPG xi8o<6
May 1870
Private collection, United Kingdom
1127
1131
I N S C R I P T I O N S : Unknown
IMAGE: Unknown
MOUNT: Unknown
P R O V E N A N C E : Laurence Elvin
1128
IMAGE: 33.5 x 27.9 cm (i33/i6 x u in.)
MOUNT: 45.5 x 37.5 cm (i77A x i^A in.)
P R O V E N A N C E : Unknown
OTHER P R I N T S : HRHRC 964:0037:0092
(carbon); MFAB 42.359 (carbon)
R E P R O D U C E D : Hopkinson 1986, p. 137
1129
II
3
The Kiss of Peace No. 2
Elizabeth Keown, Mary Hillier
[March 1870]
Present whereabouts unknown
"34
[May 1870]
VHM Ph 2611
1132
I N S C R I P T I O N S : Recto mount lithographed
facsimile inscription by JMC: From
Life Copyright Julia Margaret Cameron
IMAGE: 11.9 x 9.5 cm (4 n /i& x 33/4 in.)
MOUNT: 17 x 11.3 cm (6 n /i6 x 47/u, in.)
M E D I U M : Cabinet card
PROVENANCE: Acquired 1959
OTHER PRINTS: IUAM Miniature Album
75-38.4I
"33
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Registered Photograph copyright
Julia Margaret Cameron Freshwater i8jo
May I The Votive Offering I Study No. /;
Colnaghi blindstamp
IMAGE: 33.7 x 27.9 cm (13 Y x n in.)
MOUNT: 58.5 x 46.5 cm (23 x i85/i6 in.)
P R O V E N A N C E : Unknown
REPRODUCED: Turley 2001, pi. 41
"34
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph Copy right
Julia Margaret Cameron and at lower left
corner: 7; Spooner blindstamp; verso mount
wet stamp at lower right corner: Ville de
Paris I Hauteville I House I Guernsey
and in pencil below: 12 [all within stamp]
IMAGE: 33.4 x 26.2 cm (13 Ys x io5/i6 in.)
MOUNT: 37.9 x 28.4 cm (i415/i6 x n3/i6 in.)
P R O V E N A N C E : Victor Hugo, by August 14,
1870
1130
I N S C R I P T I O N S : Recto mount in ink in an
unknown hand: From Life Julia Margaret
Cameron March i8jo and in ink by JMC
below: The Kiss of Peace I No. 2; Colnaghi
blindstamp
IMAGE: Unknown
MOUNT: Unknown
PROVENANCE: Laurence Elvin
Illustrations
459
"35
1136
"37
[Group]
Mary Hillier, Kate Keown
A Study
Unknown boy, unknown woman, unknown boy
1870
IM 802.67
[April 1873]
JPGM 84.XM.443.5
April 1873
RPS 2162
"39
1140
1141
[Group]
Unknown woman, Lionel Tennyson (?)
[1870-72]
RPS 2087
[1865]
Present whereabouts unknown
460
"35
1138
The Bride of Abydos
Unknown woman, unknown man
[1870-72]
Present whereabouts unknown
1141
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life registered photograph copyright
Julia Margaret Cameron Fresh Water 1872 I
King Lear allotting his kingdom I to his three
daughters I "what shall Cordelia do I
Love and be silent"; Colnaghi blindstamp
IMAGE: 25.3 x 21.4 cm (915/i6 x 87/i6 in.)
MOUNT: 55.7 x 45.4 cm (2i is /i6 x ij7/% in.)
PROVENANCE: Gabriel Cromer, 1939; gift of
Eastman Kodak Company, 1949
OTHER PRINTS: GEH 67:0088:0006
(detail; platinum print by A. L. Coburn);
RPS 2096/1-10 (albumen and carbon) and
6096/4 (carbon)
REPRODUCED: Mozley 1974, cat. 43; Weaver
1984, p. 83
1142
IMAGE: 27.9 x 22.8 cm (n x 815/i6 in.)
MOUNT: 35.5 x 29.1 cm (i315/i6 x ii7/i6 in.)
PROVENANCE: Gift of H. S. Marfleet, 1931
OTHER PRINTS: YUAG 1972.75.1 (inscribed
by JMC: Queen Philippa interceding for the
Burghers of Calais)
REPRODUCED: Lukitsh 1986, p. 45
1138
1140
1142
Illustrations
461
462
"43
1144
[May 1874]
Present whereabouts unknown
1147
1148
H45
1149
Twilight
[Twilight]
Kate Keown
Kate Keown
[1874]
RPS 2113/1
[i874]
RPS 2214
JPGM 84.XM.443.8
JULIA MARGARET
CAMERON
[1874]
H43
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph Copyright
Julia Margaret Cameron Freshwater
May 18^4 I Queen Henrietta Telling Her
Children I of the coming fate of their Father
King Charles the First; verso mount in
pencil in an unknown hand at upper left
corner: From Charleston and at lower right
corner in ink: Garnett Bell Colin
IMAGE: 33.5 x 23.2 cm (13 Yi6 x gVs in.)
MOUNT: 44.1 x 35.3 cm (17 Ys x 13 Ys in.)
P R O V E N A N C E : Estate of Vanessa Bell, 1998
OTHER PRINTS: AIC 1968.223; BLUO Henry
Taylor Album, no. 85; IUAM Miniature
Album 75.38.34; VHM Ph 2613
R E P R O D U C E D : Lukitsh 1986, p. 22
1144
1146
1874
RPS 2555/3
1148
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph Copyright
Julia Margaret Cameron I Twilight
IMAGE: 35.5 x 20.3 cm (13^/16 x 8 in.)
MOUNT: 50 x 40.4 cm (i9 n /i6 x 157/s in.)
P R O V E N A N C E : Unknown
1149
I N S C R I P T I O N S : Colnaghi blindstamp
IMAGE: 35.1 x 19.3 cm (13^/16 x 79/i6 in.)
MOUNT: 54.1 x 45.5 cm (2iYi6 x iy7A in.)
PROVENANCE: Sotheby's, Belgravia, June 29,
1979, lot 200; Samuel Wagstaff, Jr., 1984
1150
I N S C R I P T I O N S : Colnaghi blindstamp
IMAGE: 30.5 x 16.2 cm (12 x 6Ys in.)
MOUNT: 37.7 x 24.5 cm (14^/16 x 9 Ys in.)
P R O V E N A N C E : Gift of Isabel Summerhayes,
1968
H45
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph Copyright
Julia Margaret Cameron Freshwater I
Isabel Bateman I in the character of
Queen Henrietta Maria
IMAGE: 35 x 25.8 cm (13Yt x 10% in.)
MOUNT: 44.2 x 35.3 cm (17 Ys x 13 Ys in.)
P R O V E N A N C E : Estate of Vanessa Bell, 1998
1146
1150
[Twilight]
1147
Kate Keown
[18/4]
RPS 2113/3
Illustrations
463
"51
1152
"53
[Group]
Mary Wedderburn, Alick Wedderburn
[June 1874]
RPS 2085
"55
1156
H37a
Musing
Two unknown women
[1873]
Private collection, United Kingdom
[May 1874]
Present whereabouts unknown
464
JULIA MARGARET
CAMERON
ii5i
1156
"54
"53
IMAGE: 26.8 x 21.5 cm (io9/i6 x 87/i6 in.)
MOUNT: 49.1 x 38.7 cm (i95/i6 x 15 V4 in.)
PROVENANCE: Unknown
"54
ii37a
INSCRIPTIONS: Recto mount in ink in an
unknown hand: From life registered
photograph copyright Julia Margaret Cameron
Freshwater 1873 and in pencil below by
JMC: Musing; Colnaghi blindstamp
IMAGE: 34.6 x 25.6 cm (135A x ioVi6 in.)
MOUNT: 59.2 x 44.9 cm (235/i& x ijn/\t, in.)
PROVENANCE: Gift of the artist to Mary
Hillier; by descent within the Hillier family
to Muriel Campion-Lowe; sold at auction,
Shanklin, Isle of Wight (date unknown)
"55
INSCRIPTIONS: Unknown
IMAGE: Unknown
MOUNT: Unknown
PROVENANCE: Unknown
Illustrations
465
VII
Idylls
longtime friend and neighbor Alfred Tennyson suggested that she make some illustrations for a new twelve-volume "People's," or Cabinet,
edition of his popular series of poems on Arthurian legends,
Idylls of the King. It was a significant invitation. Tennyson
was the most famous poet in the land, and Cameron had
every right to expect that such a public association with
him would bring her both financial gain and further validation of her artistic status. Over the next three months she
made multiple pictures in order to achieve twelve that
satisfied her demanding standards. 1 When the edition
appeared, however, only three were used, as woodcuts,
at a reduced size, and Cameron was deeply disappointed.
Again at Tennyson's suggestion, Cameron set to work
on two albums that would include her full-size prints;
these were also published by Henry S. King, who had
brought out the Cabinet edition. The first, ready for
Christmas 1874, included thirteen photographs, of which
twelve illustrated characters and situations from the Idylls.
Appropriate excerpts from the text, painstakingly written
out in Cameron's hand, were reproduced lithographically,
as was Tennyson's signature at the end of each piece of
text (see fig. 82). The frontispiece was the famous Cameron
portrait of Tennyson that he dubbed "The Dirty Monk"
(cat. no. 796).
The first volume did not achieve the commercial and
critical success Cameron had hoped for. Undeterred, she
brought out the second in May 1875. This broadened the
selection of poetry to include other popular Tennyson
poems, such as Maud, The Princess, and The May Queen.
467
FIG. 82
Mariana (CAT. NO. 1186), with text from Idylls of the King.
468
Idylls
469
470
[The Princess]
Idylls
471
"57
1158
Enid
Emily Peacock
Enid
Emily Peacock
[1874]
RPS 2236
1161
1162
472
59
I][
1163
Emily Peacock
Emily Peacock
[1874]
RPS 2295
1157
INSCRIPTIONS: Recto mount in ink in an
unknown hand: From Life Registered
Photograph Copy Right Julia Margaret
Cameron Fresh Water I. OfW. and in ink
by JMC below: Gareth and Lynette
IMAGE: 33.3 x 26.5 cm (13 Ys x io7/i6 in.)
MOUNT: 43.2 x 33.1 cm (17 x 13 in.)
PROVENANCE: Sotheby's, Belgravia, June 26,
1975, lot 49; Samuel Wagstaff, Jr., 1984
OTHER PRINTS: JPGM 84.XP.259.3 and
84.xo.732.2.2; HRHRC 964:0015:0002;
MMA 52.524.3.2; NPG xi8o33; RPS 2106
REPRODUCED: Ford 1975, p. 21; Bartram 1985,
p. 177
1158
n6o
[Enid]
Emily Peacock
[1874]
RPS 2237
"59
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Registered Photograph Copyright
Julia Margaret Cameron I Enid\ partial
Colnaghi blindstamp; verso mount in pencil
in an unknown hand: Enid Siver 1214
IMAGE: 32.4 x 25.5 cm (i23/4 x 10 in.)
MOUNT: 49.8 x 40.2 cm (19 Ys x 15^/16 in.)
PROVENANCE: Unknown
NOTES: Idylls variant, not included in bound
volumes.
1160
INSCRIPTIONS: Partial Colnaghi blindstamp
IMAGE: 34 x 25.7 cm (13 Ys x 10 Ys in.)
MOUNT: 49.2 x 39.2 cm (i93/s x i$7/i6 in.)
PROVENANCE: Unknown
NOTES: Idylls variant, not included in bound
volumes.
1161
1164
Vivien and Merlin
Agnes Mangles, Charles Hay Cameron
[1874]; copyright December 8, 1874
JPGM 84.X0.732.I.I.6
1162
INSCRIPTIONS: Recto mount in ink in an
unknown hand: From Life Registered
Photograph copyright Julia Margaret
Cameron Freshwater and in pencil by JMC
at lower left corner: i6/ [16 shillings];
Colnaghi blindstamp
IMAGE: 33 x 27 cm (13 x ioYs in.)
MOUNT: 58 x 46.2 cm (22^/16 x iSVie in.)
PROVENANCE: Unknown
NOTES: Idylls variant, not included in bound
volumes.
1163
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Registered Photograph copyright
Julia Margaret Cameron FreshWater Isle of
Wight I Vivien and Merlin
IMAGE: 31.7 x 27.7 cm (i27/i6 x 10 Ys in.)
MOUNT: 43.2 x 33.1 cm (17 x 13 in.)
PROVENANCE: Sotheby's, Belgravia, June 26,
1975, lot 49; Samuel Wagstaff, Jr., 1984
OTHER PRINTS: JPGM 84.xo.732.2.5;
FAM PI982.323; HRHRC 964:0015:0005
and 964:0311:0005; MMA 52.524.3.5;
NPG xi8o28
REPRODUCED: Hill 1973, pi. 20; Lukitsh 1986,
pp. 18, 95; Wolf 1998, p. 98; Lukitsh 2001,
p. 117
1164
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Registered Photograph copyright
Julia Margaret Cameron Fresh Water Isle
ofW.I Vivien and Merlin
IMAGE: 31 x 26.6 cm (i23/i6 x loYie in.)
MOUNT: 43.2 x 33.1 cm (17 x 13 in.)
PROVENANCE: Sotheby's, Belgravia, June 26,
1975, lot 49; Samuel Wagstaff, Jr., 1984
OTHER PRINTS: JPGM 84.XO.732.2.6; GEH
74:0087:0005; HRHRC 964:0015:0006
and 964:0313:0008 (miniature edition of
Idylls of the King and Other Poems'); MFAB
42.354 (carbon); MMA 52.524.3.7; RPS
2111/2 (carbon); V&A Ph 85-1970
REPRODUCED: Gernsheim 1975, p. 43; Lukitsh
1986, pp. 18, 95; Wolf 1998, p. 98
Idylls
473
1165
1166
1167
Elaine
May Prinsep
[Elaine]
May Prinsep
[1874]
RPS 2098
1169
1170
1171
474
JULIA
MARGARET
CAMERON
[1874]
DAM 79-71
1165
1169
1166
n68
1167
IMAGE: 33.3 x 25.1 cm (13 V& x g7A in.)
MOUNT: 47.7 x 39 cm (i83/4 x i55/i6 in.)
PROVENANCE: Gift of Mr. Marfleet, 1934
NOTES: Idylls variant, not included in bound
volumes.
1168
1172
[Guinevere]
Mrs. Hardinge
1170
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Registered Photograph copyright
Julia Margaret Cameron Freshwater I. ofW.
74 I The parting of Sir Lancelot and Queen
Guinevere" [sic]
IMAGE: 34.2 x 28.8 cm (i37/i6 x ns/i6 in.)
MOUNT: 43.2 x 33.1 cm (17 x 13 in.)
PROVENANCE: Christie's, London, July 24,
1975, lot 156; Samuel Wagstaff, Jr., 1984
OTHER PRINTS: JPGM 84.xo.732.1.1.10; GEH
74:0087:0009; HRHRC 964:0015:0010
and 964:0313:0014 (miniature edition of
Idylls of the King and Other Poems); MFAB
42.349 (carbon); MMA 52.524.3.10; RPS
2106/2; V&A Ph 89-1970
REPRODUCED: Hill 1973, p. 21; Gernsheim
:
975> P- I59> Weaver 1984, p. 78; Lukitsh
1986, p. 32; Cox 1996, p. 97; Hamilton 1996,
pi. 15; Wolf 1998, pi. 39
1171
IMAGE: 35 x 28.6 cm (133A x nV4 in.)
MOUNT: 57.1 x 44.4 cm (227/i6 x i7?/i6 in.)
PROVENANCE: Robert Miller Gallery, 1979
NOTES: Idylls variant, not included in bound
volumes.
1172
IMAGE: 12.1 x 9.5 cm (43/4 x 33A in.)
MOUNT: 23.6 x 20.2 cm (974 x 715/i6 in.)
MEDIUM: Reduced, cabinet-sized print
PROVENANCE: Helmut Gernsheim
OTHER PRINTS: TRC 5445 (miniature edition
of Idylls of the King and Other Poems)
NOTES: Idylls variant, not included in bound
volumes.
Idylls
475
"73
1174
"75
King Arthur
William Warder
1177
1178
"79
May i, 1875
HRHRC 964:0311:0003
1874
JPGM 84.X0.732.2.H
476
[May 1875]
TRC 5464
"73
1176
WCP 95:5330
1180
1176
Emily Peacock
1875; copyright May i, 1875
JPGM 84.xo.732.i.2.4
1178
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Registered Photograph copyright
Julia Margaret Cameron Freshwater May ist
1875 and in pencil below: "He thought of that
sharp look Mother, I gave him yesterday"
IMAGE: 35.9 x 28.5 cm (14% x n3/i6 in.)
MOUNT: 43.8 x 32 cm (ij1/* x 12 Vie in.)
PROVENANCE: Presented by Hester
Thackeray Fuller to the Gernsheim
Collection, October 21, 1953
OTHER PRINTS: TRC 5463
NOTES: Cat. no. 1177 is the study of Tennyson's
poem "New Year's Eve" that appears in
most copies of the second volume of the
Idylls. Cat. no. 1178 is included in a unique
copy of the Idylls, which combines plates
from both the first and second volumes.
This custom copy was presented by JMC
to Anne Thackeray.
1179
Idylls
477
n8i
[The Princess]
Miss Johnson, Miss Johnson, unknown woman,
Mary Hillier
1183
Unknown woman
Unknown woman
[18/5]
JPGM 84.xo.732.1.2.6
[1875]
HRHRC 964:0313:0021
1185
ii86
1187
Agnes Mangles
[i875]
JPGM 84.XO.1265.5
May Prinsep
[1875]
JPGM 84xo.1265.7
478
1182
Mariana
[1874-75]
JPGM 84.xo.732.i.2.8
Continued from p. 47 j
1180
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph Copyright
Julia Margaret Cameron FreshWater 75 / "So
now I think my time is nearI trust it is
I know I The blessed Music went that way
my soul will have to go"
IMAGE: 34.1 x 27.5 cm (i37/i6 x io13/i6 in.)
MOUNT: 43.1 x 33 cm (i6is/i6 x 13 in.)
PROVENANCE: Christie's, London, July 24,
1975, lot 157; Samuel Wagstaff, Jr., 1984
OTHER PRINTS: JPGM 84.XO.I265-4; GEH
76:0024:0004; HRHRC 964:0015:0017,
964:0311:0004, and 964:0313:0004
(miniature edition oildylls of the King and
Other Poems); TRC 5445 (miniature edition
of Idylls of the King and Other Poems)
1181
1184
1182
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered photograph copyright
Julia Margaret Cameron Freshwater I. ofW.I
"0 hark ! 0 hear ! How thin and clear I and
thinner clearerfurther going'
IMAGE: 34.3 x 28.2 cm (1^/2 x iiVi6 in.)
MOUNT: 43.1 x 33 cm (i615/i6 x 13 in.)
PROVENANCE: Christie's, London, July 24,
1975, lot 157; Samuel Wagstaff, Jr., 1984
OTHER PRINTS: JPGM 84.xo.1265.6; GEH
76:0024:0006; HRHRC 964:0015:0019
and 964:0311:0006; V&A Ph 40-1939
1183
1188
1184
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph Copyright
Julia Margaret Cameron
IMAGE: 30.3 x 24.3 cm (n15/i6 x 9%6 in.)
MOUNT: 50.7 x 40.4 cm (i915/i6 x i^7A in.)
PROVENANCE: Gift of Mrs. Beatrice Trench,
1929
NOTES: Idylls variant, not included in bound
volumes.
1185
INSCRIPTIONS: Recto mount in ink in an
unknown hand: From Life Registered
Photograph Copyright Julia Margaret
Cameron
IMAGE: 33.1 x 22.6 cm (13 x 87/s in.)
MOUNT: 43.1 x 33 cm (i615/i6 x 13 in.)
PROVENANCE: Arnold Crane, 1984
OTHER PRINTS: JPGM 84.xo.732.i.2.7
(inscribed by JMC: "Tears from the depth
of some divine despair I Rise in the heart, and
gather to the eyes"); HRHRC 964:0037:0044
(arched top) and 964:0015:0020; V&A
Ph 4I-I939
1186
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Registered Photograph Copy right
Julia Margaret Cameron I Mariana I "She
said I am aweary 11 would that I were dead"
IMAGE: 35.5 x 28 cm (i3is/i& x n in.)
MOUNT: 43.5 x 33 cm (17 Vs x 13 in.)
PROVENANCE: Christie's, London, July 24,
1975, lot 157; Samuel Wagstaff, Jr., 1984
OTHER PRINTS: JPGM 84.xo.i265.8; GEH
76:0024:0008; HRHRC 964:0015:0021,
964:0311:0007, and 964:0313:0020
(miniature edition of Idylls of the King
and Other Poems)] TRC 5445 (miniature
edition of Idylls of the King and Other
Poems); V&A Ph 42-1939
REPRODUCED: Wolf 1998, pi. n
1187
INSCRIPTIONS: Recto mount in pencil in an
unknown hand: 18
IMAGE: 28 x 22.8 cm (n x 815/i6 in.)
MOUNT: 33.7 x 24.7 cm (131A x 9 n /i6 in.)
PROVENANCE: By descent within the
Tennyson family; Pontin Collection, 1971
1188
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph Copy right
Julia Margaret Cameron I King Cophetua
and the Beggar Maid
IMAGE: 32.1 x 26.5 cm (i25/8 x io7/i6 in.)
MOUNT: 43.1 x 33 cm (i615/i6 x 13 in.)
PROVENANCE: Christie's, London, July 24,
1975, lot 157; Samuel Wagstaff, Jr., 1984
OTHER PRINTS: GEH 76:0024:0009;
HRHRC 964:0015:0022; V&A Ph 43-1939
REPRODUCED: Cox 1996, p. 99
Idylls
479
1189
1190
1191
[1875]
JPGM 84.XO.I265.9
[1875]
[1875]
JPGM 84.XO./32.I.2.IO
"93
480
1194
"95
Maud
Mary Hillier
[1875]; copyright May i, 1875
JPGM 84.xo.732.L2.i2
1189
1190
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life registered photograph copy right
Julia Margaret Cameron Freshwater I The
corpse of Elaine in the Palace of King Arthur I
And reverently they bore her into hall I But
Arthur spied the letter in her hand I Stoopt,
took, brake seal, and read it;
IMAGE: 34.1 x 27.5 cm (i37/i6 x io13/i6 in.)
MOUNT: 43.1 x 33 cm (i615/i6 x 13 in.)
P R O V E N A N C E : Sotheby's, Belgravia, June 26,
1975, lot 50
1192
Elaine
Unknown woman, Charles Hay Cameron
[18/5]
JPGM 84.XP.459.4
"93
INSCRIPTIONS: Recto mount in ink by JMC:
From Life Registered Photograph Copy right
Julia Margaret Cameron I "So like a shattered
Column lay the King'
IMAGE: 35 x 27.5 cm (133A x io13/i6 in.)
MOUNT: 43.1 x 33 cm (i615/i6 x 13 in.)
PROVENANCE: Christie's, London, July 24,
1975, lot 157; Samuel Wagstaff, Jr., 1984
OTHER PRINTS: GEH 76:0024:0012;
HRHRC 964:0015:0025, 964:0311:0012,
and 964:0313:0018 (miniature edition
of Idylls of the King and Other Poems};
MFAB 42.365 (carbon); RPS 2109; V&A
Ph 46-1939
REPRODUCED: Gernsheim 1975, p. 81;
Hopkinson 1986, p. 155; Lukitsh 1986,
p. 37; Lukitsh 2001, p. 119
1194
I N S C R I P T I O N S : Recto mount in ink in an
unknown hand: From Life Registered
Photograph copyright Julia Margaret
Cameron
IMAGE: 34 x 28.2 cm (133A x nYu, in.)
MOUNT: 43.1 x 33 cm (i615/i6 x 13 in.)
PROVENANCE: Arnold Crane, 1984
OTHER PRINTS: HRHRC 964:0313:0018
(miniature edition of Idylls of the King and
Other Poems); TRC 5445 (miniature edition
of Idylls of the King and Other Poems)
REPRODUCED: Wolf 1998, p. 15
1191
I N S C R I P T I O N S : Recto mount in ink by JMC:
Elaine / And Reverently they bore her into
Hall and in pencil below: Elaine before
the King
IMAGE: 34.5 x 28.5 cm (13%& x n3/i6 in.)
MOUNT: 43.1 x 33 cm (i615/i6 x 13 in.)
P R O V E N A N C E : Christie's, London, July 24,
1975, lot 157; Samuel Wagstaff, Jr., 1984
OTHER PRINTS: JPGM 84.xo.1265.11; GEH
76:0024:0010; HRHRC 964:0015:0024,
964:0311: ooio, and 964:0313:0012
(miniature edition of Idylls of the King
and Other Poems); VckA Ph 44-1939
REPRODUCED: Woolf and Fry 1973, pi. 32
1192
1196
[Maud]
Unknown woman
[1867-74]
RPS 2212
"95
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph Copy right
Julia Margaret Cameron FreshWater I
Maud I "There has fallen a splendid Tear" I
"From the Passionflower at the gate"
IMAGE: 32.9 x 27.1 cm (i215/i6 x io n /i6 in.)
MOUNT: 43.1 x 33 cm (i615/i6 x 13 in.)
PROVENANCE: Christie's, London, July 24,
1975, lot 157; Samuel Wagstaff, Jr., 1984
OTHER PRINTS: GEH 76:0024:0013;
HRHRC 964:0015:0026, 964:0311:0013,
and 964:0313:0019 (miniature edition of
Idylls of the King and Other Poems); MFAB
42.343 (carbon); MM FM 1972 ooi 004;
TRC 5445 (miniature edition of Idylls of the
King and Other Poems); V&A Ph 47-1939
REPRODUCED: Lukitsh 2001, p. 121
1196
Idylls
481
VIII
Ceylon
U L I A M A R G A R E T C A M E R O N WAS A
product of British colonialism. Her socioeconomic status was firmly established during her early years in British India. Her
husband, Charles, had a successful career in public service
there, serving on the Indian Law Commission, the Council
of India, and the Council of Education for Bengal. Before
retiring from his position as a civil servant and moving to
England in 1848, he invested heavily in a number of coffee
and rubber plantations in Ceylon, becoming one of the
largest landowners on the island.1 His love for Ceylon was
deeply felt, as his wife conveyed so expressively in a letter
to her good friend Sir John Herschel in 1860: "He is in
ecstasies ab[ou]t his waterfalls his mountains his streams
& his woods. . . . If he would only wean himself from his
reigning passion for his Ceylon properties that has held him
in sway 8c weakened his love for England for the last 20
years!"2 The Camerons' financial stability took a grave
knock in the late i86os and on through the 18705 when the
coffee crop was decimated by a fungal disease that virtually
destroyed the market for this highly prized commodity.
Because living expenses in Ceylon were far lower than
those in England, it made sense for the family to emigrate
there and join their sons, who managed the family plantations. In October 1875 the Camerons set sail from Portsmouth, their destination the fishing village of Kalutara
on the southwest coast of Ceylon.
In a letter written a year after her arrival, Cameron
reflected on the benefits of the new environment: "My
wonder for instance has been tamed but not my worship
The glorious beauty of the scenerythe primitive simplicity of the Inhabitants & the charms of the climate all
CAT. NO. 1218
483
484
[Girl, Ceylon]
Ceylon
485
486
[Group, Ceylon]
Ceylon
487
488
1197
1198
1199
[Marianne North]
[Marianne North]
[Marianne North]
V&A Ph 256-1982
[1877]
[1877]
RBG
[1877]
RBG
I2OI
1202
1203
[Woman, Ceylon]
[Woman, Ceylon]
[Woman, Ceylon]
[i875-79]
NOMA 73.226
[1875-79]
HRHRC 964:0037:0126
[1875-79]
NMPFT 1985-5108
1197
1199
I2OO
[Marianne North]
[1877]
1204
[Woman, Ceylon]
[1875-79]
RPS 2082
Ceylon
489
490
1205
1206
1207
[Woman, Ceylon]
[Woman, Ceylon]
[Girl, Ceylon]
[1875-79]
AIC 1970.840
[1875-79]
NMPFT 1985-5111
[1875-79]
NMPFT 1985-5109
I2O9
I2IO
I2II
[1875-79]
NMPFT 1985-5107
[1875-79]
NMPFT 1985-5106
[1875-79]
AIC 1970.839
I2O5
1206
IMAGE: 29.9 x 24.5 cm (n3/4 x 9 5 A in.)
MOUNT: 40.7 x 35.4 cm (16 x i315/i6 in.)
PROVENANCE: Nigel Henderson, 1983
1207
IMAGE: 25.2 x 18.8 cm (915/i6 x 73/s in.)
MOUNT: 45.6 x 35.5 cm (i715/i6 x i315/i6 in.)
PROVENANCE: Nigel Henderson, 1983
REPRODUCED: Raheem and Thome 2000,
P-34
1208
1208
[Girl, Ceylon]
[1875-79]
JPGM 86.XM.636.2
1209
IMAGE: 24.5 x 18.3 cm (9 5 A x 73/i6 in.)
MOUNT: 45.7 x 35.5 cm (18 x I315/i6 in.)
PROVENANCE: Nigel Henderson, 1983
OTHER P R I N T S : AIC 1970.841; MMA 69.607.3
I2IO
1212
Ceylon
491
1213
1214
1215
[Group, Ceylon]
[Group, Ceylon]
N75-79]
[1875-79]
HRHRC 964:0037:0127
[1875-79]
Matthew Marks Gallery
492
1217
1218
[Group, Ceylon]
[1878]
MMA 1972.692
[1875-79]
NMPFT 1985-5110
J U L I A M A R G A R E TC A M E R O N
1219
[Group, Ceylon]
[1875-79]
Present whereabouts unknown
1213
I N S C R I P T I O N S : Recto mount in ink
in an unknown hand [possibly by
M. A. F. Willis, compiler of the
scrapbook in which the photograph
appears]: Tamil Cooly women I by
Julia M. Cameron
IMAGE: 29.4 x 21.6 cm (n 9 /i6 x 8!/2 in.)
MOUNT: 35 x 24.2 cm (133A x gl/2 in.)
PROVENANCE: Christie's, London, March 28,
1985, lot 207
NOTES: The scrapbook in which this
print appears includes an image of Isabel
Bateman (cat. no. 174), photographs by
Scowen and Skeen, and watercolors, prints,
and ink sketches (see fig. 83). It is bound in
green morocco and measures 36.5 x 25.5 cm
(i43/8 x 10 in.).
1219
IMAGE: 20.3 x 15.2 cm ( 8 x 6 in.)
MOUNT: Unknown
PROVENANCE: Sotheby's, New York,
October 7, 1993, lot 27
1220
1214
I2l6
1215
I N S C R I P T I O N S : Verso mount in ink at lower
right corner: Garnett Bell Collection
IMAGE: 26.2 x 21.4 cm (ios/i6 x 87/i6 in.)
MOUNT: 40.5 x 35.3 cm (i515/i6 x 137/% in.)
P R O V E N A N C E : Garnett Bell; Robert
Schoelkopf, 1976; Paul F. Walter; Sotheby's,
London, May 10, 2001, lot 122
REPRODUCED: Lukitsh 1986, p. 75
1216
I N S C R I P T I O N S : Recto mount in ink by JMC:
From Life Registered Photograph Copyright
Julia Margaret Cameron Ceylon i8j8 IA
group of Kalutara peasants the girl being 12
years of age & the old man I saying he is her
Father & stating himself to be one hundred
years of age
IMAGE: 34.3 x 27.2 cm (13 V-z x ion/i6 in.)
MOUNT: 47.9 x 37 cm (i87/s x i49/i6 in.)
P R O V E N A N C E : Gift of A. L. Coburn, 1930
REPRODUCED: Gernsheim 1975, p. 83; Weaver
1984, p. 81; Lukitsh 2001, p. 123
1217
IMAGE: 27 x 19.9 cm (loVs x 713/i6 in.)
MOUNT: 45.6 x 35.5 cm (i715/i6 x I315/i6 in.)
P R O V E N A N C E : Robert Schoelkopf, 1972
I22O
1218
IMAGE: 28.7 x 22.5 cm (n 5 /i6 x 87/s in.)
MOUNT: 48.2 x 37.1 cm (i815/i6 x 145A in.)
P R O V E N A N C E : Nigel Henderson, 1983
R E P R O D U C E D : Lukitsh 2001, p. 125
Ceylon
493
494
1221
1222
[i875-79]
RPS 2080
[1875-79]
NMPFT 1990-5037
JULIA MARGARET
CAMERON
1221
1222
IMAGE: 18.6 x 24.1 cm (js/\b x gl/2 in.)
MOUNT: 35.5 x 45.5 cm (i315/i6 x i77/s in.)
PROVENANCE: Howard and Jane Ricketts, 1989
Ceylon
495
APPENDIX A
Copyright Registers
496
submitted during these five years, when more than 250 photographs were registered. As her output leveled off, Cameron returned to the practice of submitting these forms
(see fig. 85), which continued until October 18,1875, when
she applied for copyright protection for five Autotype
copies of famous menCharles Darwin, Joseph Joachim,
Alfred Tennyson, John Herschel, and George Frederic
Watts immediately before her departure for Ceylon.4
It is clear that from the outset of her career Cameron
insisted on the difference between her photographs and
the productions of professional photographers and their
studios. The decision to copyright her pictures was a sensible measure, designed to achieve the maximum financial
benefit from her work and to secure its reputation in the
marketplace. She was also very aware of the possibility that
her images could be pirated. In a letter to James Thomas
Fields, the Boston publisher and literary agent, Cameron
warned him to take particular care with her portraits of
Tennyson: "I have only one request to make of you which
is that you will not allow any one privately or publicly to
photograph from my copies and to reproduce impressions."5
Her studies of famous men carried the most market
potential, so protecting them through copyright was an
essential part of her promotional strategy. Tennyson and
Henry Taylor are, not surprisingly, the most recurrent names
in the registers. Of the female sitters, the names of Mary
Hillier and May Prinsep are the most prevalent, with
Prinsep's appearing mostly in single figure studies and
Hillier's in both single and multiple figure compositions.
The copyright registers present a tantalizingly incomplete picture of Cameron's output, because there are
many important subjects whose names are missing. Notable
male sitters whose portraits were never registered include
Anthony Trollope, Philip Stanhope Worsley, Sir Alexan-
FIG. 84 Copyright Registration, September 15, 1868. 20.1 x 31.4 cm (77s x izVs in.).
Photograph I of I "Miss Marie Spartali" 13/4 length one I hand raised, beads round I
waist, ivy leaves between I hands, hair flowing /No. 8 (unidentified image).
Public Record Office, Kew, England, Copy 1/14, f68o.
FIG. 85 Copyright Registration, August 5, 1872. 20.1 x 31.4 cm (j7/% x i23/s in.).
Photograph o f / a group of Holy Family I Portrait of Mary Hillier profile I
as Virgin I Freddy Gould I sf Rosie Prince as Holy Children (cat. no. 93).
Public Record Office, Kew, England, Copy 1/19, 211.
significant challenge for future generations of photohistorians will be to determine the whereabouts of these
missing images.
NOTES
Appendix A
497
APPENDIX B
Inscriptions, Stamps,
and the Business of Photography
JULIA MARGARET CAMERON'S PHOTOGRAPHS UNmistakably display the hallmarks of their creator, not only
in their distinctive imagery but also in the style and manner of their presentation. The artist put considerable
verve into the task of inscribing her pictures; her bold,
lively cursive is instantly recognizable. In addition to her own
name, the standard phrasing that appears on the majority of
her photographs includes "From Life," "Registered Photograph," "Copyright," and "Not Enlarged." Cameron
would either inscribe the mount entirely in ink (see fig.
86) or combine an ink inscription with a title written in
498
FIG. 86
FIG. 87
FIG. 88
FIG. 89
FIG. 90
Appendix B
499
FIG. 91
500
FIG. 92
FIG. 93
FIG. 94
Appendix B
501
APPENDIX C
Albums
IN THE
502
Herschel Album
To / Sir John Herschel /from his Friend / Julia Margaret Cameron / With a grateful/ memory of 2j years
/ of friendship /Freshwater Bay / Isle of Wight /
Nov. 26th 1864 / Sep. 8- 1867 completed &? restored
with renewed / devotedness of grateful friendship
The recipient of this album was Sir John Herschel, one
of Cameron's closest friends. Now disassembled, the volume was originally bound in carved oak covers measuring
35.5 x 32 cm (i315/i6 x i29/i6 in.). It contained ninety-four
photographs, approximately half of which date to 1864.
These occupied the first half of the album. When later
images were added to this section, they were consistently
mounted on the verso sides of the pages. These added
pictures and those that made up the remainder of the
album (largely in the back) date from 1865 to 1867. Most
of the photographs were accompanied by ink inscriptions
in Cameron's hand, and she compiled a list of titles at the
end of the volume. The Herschel Album included examples of some of Cameron's finest portraits, religious studies, and literary illustrations. The decision to dismantle
the album was made in 1986, when it was determined that
the warping of the wooden covers was causing undue
stress on the prints and their support pages. The album is
now stored in a secure clamshell case that preserves the
original sequence.
COLLECTION:
National Museum of Photography, Film & Television
REPRODUCED:
Ford 1975
Overstone Album
To /Lord Overstone /from his Friend/Julia Margaret Cameron /Fresh Water Bay / $Aug 1865/
Every thing in this book is from /the Life sf all these
Photographs / are printed as well as taken by J. M. C.
Originally bound in a wooden cover carved with a basrelief roundel of foliage, this album, now disassembled,
measured 35.3 x 30.1 cm (i37/s x n13/i6 in.) and contained
112 photographs. Cameron listed the works in a contents
page at the front of the album, dividing them into three
categories: Portraits, Madonna Groups, and Fancy Subjects for Pictorial Effect (see fig. i). Most of the prints
were accompanied by ink inscriptions in her hand. Included were some of the finest creations from the first
eighteen months of her career. The album was a gift to
Lord Overstone, a friend and financial supporter of the
Cameron family (see fig. 95). In 1985 the album was taken
Appendix C
503
Thackeray Album
Given to Anne Thackeray / by herfriend /Julia
Margaret Cameron / Portraits / and/ Photographic
Studies / allfrom life / by /Julia Margaret Cameron.
Freshwater Bay /Isle of Wight / Commenced year 1864
The dedication given above is embossed on the cover of this
album, which is bound in green morocco and measures
36.8 x 27.9 cm (14 Vi x ii in.). Presented to the writer Anne
Thackeray, eldest daughter of the novelist William Makepeace Thackeray, the volume contains sixty-one photographs, most of which were inscribed in ink by Cameron.
Thackeray probably received the gift in the spring or
summer of 1865. The majority of the images date to 1864
and 1865, but the album also includes several pictures that
were added later, presumably by the recipient, including
portraits of John Herschel, Henry Wadsworth Longfellow,
Alfred Tennyson, and Marie Spartali. On the first page of
the album Cameron added the following humorous inscription: "Fatal to Photographs / are Cups of tea and
Coffee / Candles & Lamps, / & Children's fingers !"
FIG. 95 Frontispiece from the Overstone Album.
This album, bound in a wooden cover carved with a basrelief roundel of foliage, measures 35.7 x 30.3 cm (14 Vie x
n15/i6 in.) and contains 142 photographs. It was presented
to Sir Coutts Lindsay, a family friend, painter, and future
founder of the Grosvenor Art Gallery. The largest of Cameron's presentation albums, it includes a high proportion of
religious and literary illustrations. Many of the images are
accompanied by titles in both ink and pencil by the photographer. While the precise date of the volume's compilation is unknown, it is likely that it was presented in 1865.
COLLECTION:
Private collection, United Kingdom
COLLECTION:
Yale University, Beinecke Library
Lindsay Album
For/'Sir Coutts Lindsay /Every Photograph in this
Book / is from the Life and is Printed as well as taken
by /Julia Margaret Cameron
504
COLLECTION:
Harry Ransom Humanities Research Center,
University of Texas at Austin
REPRODUCED:
Lukitsh i996b
COLLECTION:
Private collection, United Kingdom
COLLECTION:
University of California, Los Angeles
Appendix C
505
APPENDIX D
Collections
Photographs
OF ALL NINETEENTH-CENTURY
PHOTOGRAPHERS,
Julia Margaret Cameron is probably the most widely represented in public and private collections throughout the
world. In the United States alone, her pictures exist in no
less than 86 public institutions, as listed by Andrew Eskind
(ed.) in the third edition of International Photography:
George Eastman House Index to Photographers, Collections,
and Exhibitions (New York: G. K. Hall & Co., 1998). For
the purposes of this catalogue, information was gathered
from more than 125 public and private collections internationally, approximately 80 of which are represented by
works reproduced in this publication. This appendix summarizes the 12 collections that are essential for any serious
study of the artist and that supplied the majority of the
illustrations for this volume. They are described in alphabetical order, with, coincidentally, the first 6 being in the
United States and the remainder in the United Kingdom.
Art Institute of Chicago (AIC)
The Cameron holdings at the AIC consist of 117 photographs. The earliest group of works was acquired in 1949
from Georgia O'Keeffe, who presented as a gift 9 carbon
prints from the collection of Alfred Stieglitz. Successive
groups were added throughout the 19605 from various
sources, particularly the rare book dealers Hamill and
Barker. In 1998 the institution secured the major acquisition of 73 photographs from the estate of Vanessa Bell.
This important group includes the most significant and
diverse selection of studies of Julia Jackson (Bell's mother)
to be found anywhere.
506
of the King and Other Poems: Miniature Edition. The primary source for the HRHRC Cameron photographs was
Hester Thackeray Fuller, Thackeray's daughter, who
presented the Thackeray Album and a substantial group
of individual prints on October 21, 1953. The balance of
the collection was acquired in the 19408 by Helmut
Gernsheim, who sought out Cameron's descendants in
the United Kingdom and purchased works directly from
them. This energetic acquisition of material provided the
basis of his landmark 1948 monograph on the artist.
REPRODUCED:
Gernsheim 1948, Gernsheim 1975, Oliphant 1996
J. Paul Getty Museum (JPGM)
The JPGM's Cameron holdings contain 303 photographs
that were acquired over the past two decades from a variety of sources, including Samuel Wagstaff, Jr., Daniel
Wolf, Andre Jammes, Bruno Bischofberger, Michael
Wilson, and Cameron's descendants. This total includes
an album of 112 pictures presented by the artist to Lord
Overstone (see appendix C); 139 individual prints; and 52
images that form a double set of Cameron's two-volume
Illustrations to Tennyson s "Idylls of the King\ and Other
Poems.
REPRODUCED:
Weaver 1986, Cox 1996
Metropolitan Museum of Art (MMA)
The Cameron holdings at the MMA consist of 70 individual prints and 13 photographs in the first volume of
Illustrations to Tennyson's "Idylls of the King", and Other
Poems. Carbon prints from the collection of Alfred
Stieglitz were acquired in 1933 and 1949, while an important set of 28 pictures was acquired in 1941 from E. P.
Goldschmidt &Co., New York. Further groups of images
from various sources were added from 1955 through 1972.
In 1997 the MMA acquired a modest, but choice, selection
of photographs that was formerly part of the collection
of William Rubel.
Museum of Fine Arts, Boston (MFAB)
Of the 54 Cameron photographs at the MFAB, 43 are carbon prints, a grouping that represents the most significant holding of the artist's images in this medium. These
pictures were donated by Mrs. J. D. Cameron Bradley in
1942; the rest are from other sources.
Appendix D
507
508
U N I T E D STATES
FIG. 97
Appendix D
509
510
APPENDIX E
Sitters
A
Acland, Dr. Henry Wentworth
(1815-1900)
A lifelong friend of the critic and writer
John Ruskin, Acland studied medicine in
London and Edinburgh before becoming
Radcliffe Librarian and professor of medical
science at Oxford in 1851. He was the
university's Regius Professor of Medicine
from 1858 to 1894. His wife, Sarah, was the
sister of Henry Cotton (q.v.).
jects remain unidentified, the following brief biographies illustrate the wide range of individuals who passed
in front of her camera. Much of this information has been
derived from the Dictionary of National Biography.
B
Bateman, Isabel Emilie (1854-1934)
Bateman acted with Henry Irving throughout the 18705, appearing in his Charles /,
Richard III, and Hamlet (one critic called
her Ophelia "the sweetest and tenderest ever
seen"). She was managing the Lyceum
Theatre when Irving presented the plays of
Alfred Tennyson (q.v.) but left the stage
at the turn of the century to become a nun.
5"
Burrowes, Edmond
Unknown.
c
Cameron, Annie Chinery
(born about 1851)
The daughter of Dr. Edward Chinery from
Lymington, the nearest mainland port to
Freshwater, Annie married Ewen Wrottesley
Hay Cameron (q.v.) in 1869. Soon after their
wedding the couple left for Ceylon to run
Ewen's Rathoongodde Forest coffee estate.
512
Campbell, Eleanor
Unknown.
D
Dalrymple, Virginia (1850-1922)
Virginia was the second child of Cameron's
sister Sophia and her husband, John
Warrender Dalrymple, a Scot from a wellknown Anglo-Indian family.
Darwin, Charles Robert (1809-1882)
The great naturalist set sail for South America
in 1831, publishing his Zoology of the Voyage
of the Beagle in 1840. Encouraged by the
British geologist Charles Lyell, he wrote out
his theory of evolution in 1856 and three
years later published On the Origin of Species.
Darwin, Erasmus Alvey (1804-1881)
Charles Darwin's (q.v.) elder brother never
married and was something of an invalid.
A close friend of Thomas Carlyle (q.v.), his
main interests were art and literature.
According to the Biographical Register of
Christ's College, he was "Distinguished by a
great charm of manner and a strong sense
of humour."
Darwin, Horace (1851-1928)
The ninth of Charles Darwin's (q.v.) ten
children was a civil engineer. He established
the successful Cambridge Scientific Society,
was mayor of Cambridge, and was celebrated for his party trickstanding on a
chair and dropping a stream of treacle from
a spoon onto a saucer on the floor.
De Vere, Aubrey Thomas (1814-1902)
Like his father, an Irish baronet of the same
name, de Vere was a poet and dramatist.
He was also a critic and ecclesiastical writer.
He knew Henry Taylor and Alfred Tennyson (qq.v.) well and frequently visited
Farringford. His poetry was better known
in the United States than in Britain.
Dore, Gustave (1832-1883)
French artist and illustrator of Tennyson
(q.v.) as well as Balzac, Dante, Cervantes,
E
Eardley, Rev. Stenton (1823-1883)
Eardley was vicar of St. Stephen's, Birmingham, from 1849 until 1854 and then became
vicar of Emmanuel Church in Streatham,
Surrey. He was a friend of Alfred Tennyson
and Frederick Locker (qq.v.), with whom
he traveled through France and Switzerland
in June and July 1869.
Elcho, Lady (1823-1896)
Anne Frederica Charteris, the wife of Francis
Richard Charteris, Lord Elcho (q.v.),
was the second daughter of the first earl of
Lichfield. She married in 1843 and became
countess of Wemyss in 1883 when her
husband succeeded to his father's title.
Elcho, Lord (1818-1914)
Francis Richard Charteris, the tenth earl of
Wemyss and March, was styled Lord Elcho
from 1853 until 1883, when his father died.
Educated at Eton and Oxford, he was a
Conservative M.P. from 1841 to 1883, a
lord of the treasury, and a founder of the
National Rifle Association.
Eyre, Edward John (1815-1901)
Eyre immigrated to Australia in 1833 and
explored the interior, publishing his experiences in 1845. As governor of Jamaica
(1864-66), he introduced military law after
a native rebellion and confirmed sentences
of death on black rebels. Recalled to
England, he avoided legal attempts to bring
him to trial for murder.
Appendix E
513
F
Felika, Basha (see Speedy, Captain)
Fields, James Thomas (1817-1881)
A partner in the American publishing company Ticknor & Fields, which published
Maud and other works by Alfred Tennyson
(q.v.) in the United States.
Fisher, Arthur Alexander (1867-1902)
The second child of Herbert William and
Mary Louisa Fisher (qq.v.).
Fisher, Florence (1863-1920)
The eldest of eleven children of Herbert
William and Mary Louisa Fisher (qq.v.). On
a Freshwater holiday in 1872 Cameron posed
her in a set of "flower pictures" and as John
the Baptist. A talented violinist, she married
Frederick William Maitland, who was
Downing Professor of Law at Cambridge
University from 1888 to 1906.
Fisher, Herbert Albert Laurens
(1865-1940)
One of the eleven children of Herbert
William and Mary Louisa Fisher (qq.v.),
H. A. L. Fisher had a distinguished career in
education. Vice-chancellor of Sheffield University from 1912 to 1916, he then became
an M.P. and president of the board of
education. He was warden of New College,
Oxford, from 1925 until his death.
Fisher, Herbert William (born 1826)
Educated at Eton and Oxford, Fisher
became tutor to the prince of Wales and
later his keeper of the privy seal and private
secretary. He was called to the bar in 1855
and was vice-warden of the Stannaries of
Devon and Cornwall from 1870.
Fisher, Mary Louisa (1841-1916)
Born in Calcutta, the second of three
daughters of Maria Jackson (q.v.), Cameron's
youngest sister. Mary married Herbert
William Fisher (q.v.) in 1862, bringing
up their eleven children in the New Forest
market town of Brockenhurst, close
to Lymington and the Isle of Wight.
Fonblanque, Louise Beatrice de
(dates unknown)
Daughter of Albany de Fonblanque (18291924), in 1868 she married Francis W
Lowther. A renowned beauty, according to a
memoir her entrance at La Scala in Milan
"made a deep impression on the large Italian
audience and impulsively they all rose to
their feet and cheered the wondrous English
beauty."
5H
Franklin, Colonel RA CB
Unknown.
Franklin, Rosamond
Unknown.
Fraser-Tytler, Christiana Catherine
(died 1927)
Daughter of Charles Edward Fraser-Tytler,
a Scottish landowner and associate of Henry
Thoby Prinsep (q.v.), the husband of Cameron's sister Sarah. In 1871 Christiana married
Rev. Edward Thomas Liddell, canon of
Durham Cathedral.
H
Haman, Henry
Unknown.
Hawkins, Caroline
Unknown.
Herschel, Caroline "Carry" Emilia
Mary (1830 -1909)
John Herschel (q.v.) and his wife had nine
sons and three daughters, of whom Caroline
i
Isaacson, John Frederick (1801-1886)
After gaining his Cambridge B.A. in 1825,
Isaacson was a tutor at St. John's College
for five years before becoming a lecturer
at King's College (1829-39). He was rector
of All Saints Parish Church, Freshwater
(1839-86), and honorary canon of Winchester Cathedral (1874-86).
Appendix E
515
K
Keene, Mrs. (dates unknown)
The striking model for The Mountain Nymph
Sweet Liberty and other pictures was identified by Cameron as a Mrs. Keene. In her
Guests and Memories, Una Taylor refers to
"Mrs Keane, of beautiful features" as one of
Cameron's models. Keene, like Angelo
Colarossi (q.v.) appears to have been one
of Cameron's rare professional models;
she also sat for the Pre-Raphaelite painter
Sir Edward Burne-Jones.
516
JULIA MARGARET
CAMERON
L
Layard, Austen Henry (1817-1894)
Born into a family with considerable aristocratic connections, Liddell was headmaster
of Westminster School (1846-55), dean
of Christ Church, Oxford (1855-91), and
domestic chaplain to Prince Albert (1846 61). Liddell's Greek-English Lexicon (1843),
compiled with Robert Scott, is still in use
today, in revised form.
Lloyd, Minnie
Unknown.
Locker-Lampson, Frederick
(1821-1895)
Locker changed his surname after his second marriage. He worked for a time at
Somerset House and the admiralty, but his
private income allowed him to resign in
order to concentrate on writing volumes of
poetry and prose. His My Confidences was
published posthumously.
After taking holy orders in 1872, Monnington was a priest in the Church of England
for fifty years. When Cameron photographed him, he had been vicar of Downton across the Solent from the Isle of
Wightsince 1873. He became rural dean
and honorary canon of Carlisle in 1894.
M
Mangles, Agnes (about 1850-1906)
Daughter of Captain Mangles of Poyle Park,
Tongham, Surrey. In 1876 she married Sir
Arthur Wakefield Chapman, who was a partner in a Calcutta business and chairman of
the Surrey County Council from 1911 to 1917.
Miles, John Philip
Unknown.
N
Napier, General Robert Cornelis
(1810-1890)
Born in Ceylon, Napier was commissioned
into the Bengal engineers in 1826 and supervised a number of major engineering projects
in India. He was injured during the Indian
Mutiny and knighted for his part in this
conflict. Napier commanded the British
army in the Abyssinian war of 1867-68 and
was appointed commander-in-chief in India
in 1870.
Norman, Adeline (1864-1929)
Daughter of Julia and Charles Norman
(qq.v.).
Norman, Archibald (1862-1948)
Son of Julia and Charles Norman (qq.v.).
Norman, Charles Lloyd (1833-1889)
Son of George Warde Norman (q.v.) of
Bromley Common, Kent. In 1859 he married
Julia Hay Cameron, the Camerons' only
daughter. It was the Normans who gave
Cameron her first camera, at the end of 1863.
Norman, Charlotte (1859-1946)
Daughter of Julia and Charles Norman
(qq.v.), Charlotte married William Boyle,
brother of the first wife of Hallam Tennyson
o
King Oude (dates unknown)
Oude, a kingdom in northern India that
was annexed by the British in the early nineteenth century, was described in William
Henry Sleeman's book A Journey through the
Kingdom of Oude (1865). Cameron's portrait
of "King Oude by right of birth" was made
at Little Holland House, suggesting that
he was known to Sarah and Henry Thoby
Prinsep (q.v.).
Overstone, Lord (1796-1883)
Samuel Jones Loyd became a partner in his
father's bank, Jones, Loyd & Co. (later
amalgamated with the London & Westminster). The Bank Act of 1844 is substantially
based on his ideas. A passionate art collector,
he became a trustee of the National Gallery
in 1850. He was created Baron Overstone
the same year. Charles Dickens is said to
have used him as a model for the character
of Paul Dombey in Dombey and Son (1848).
Appendix E
517
p
Palgrave, William Gifford (1826-1888)
As a Jesuit missionary in Syria and Arabia,
Palgrave often disguised himself as a Syrian
doctor to visit forbidden parts of the area. He
published his Narrative of a Journey through
Central and Eastern Asia in 1865 and, after
severing connections with the Jesuits in 1867,
became a career diplomat.
Parry, W. C. Clinton (dates unknown)
Son of the architect Gambier Parry, Clinton
Parry was a friend of William Allingham,
who introduced him to Alfred Tennyson
(q.v.) and presumably Cameron when
he visited Freshwater with his family for
Christmas in 1867.
Peacock, Emily (born about 1855)
Emily and her sister Mary (q.v.) are believed
to have been either visitors of the Camerons
at Freshwater or possibly locals, although
no records of their names exist in the 1871
census for Freshwater.
Peacock, Mary (dates unknown)
Sister of Emily Peacock (q.v.).
Philpot, Annie Wilhemina (1857-1936)
Born in Walesby, Lincolnshire, Annie was
the daughter of Rev. William Benjamin
Philpot, a poet and friend of Alfred Tennyson (q.v.). When his wife died, Philpot
wrote a widely published elegiac poem and
arranged for Annie and her brother, Hamlet,
to be brought up in the family of his
brother-in-law, George Granville Bradley,
the father of Margaret Louisa "Daisy"
Bradley (q.v.).
Pictet, Georgina Anna Mary
(born 1861)
Daughter of Captain Francis Pictet (49th
Native Infantry) and Rose Prinsep Pictet,
Cameron's niece, Georgina survived the wreck
of the Peninsular &, Oriental Company's
SS Colombo, which ran aground in the Indian
Ocean on November 18, 1862.
The name Pinnock appears twice in outstanding bills in Cameron's papers (at the
Getty Research Institute, Los Angeles;
see appendix D), suggesting that there may
have been a laborer or merchant by this
name in Freshwater, and that this model
was related to him.
Read, Mr.
Unknown.
Ritchie, Anne Thackeray
(see Thackeray, Anne Isabella)
Ritchie, Emily "Pinkie"
(dates unknown)
Cousin of Anne Thackeray (q.v.) and later
her sister-in-law, when Anne married
sis
s
Sellwood, Henry (1782-1867)
Father of Emily Tennyson. Born in Berkshire, he moved to Horncastle, Lincolnshire,
where he worked as an attorney-at-law.
He was an influential member of the town
who also acted as a banker and helped
to establish the town's first National School.
T
Talbot, Lady Adelaide
(about 1849-1917)
Unknown.
Taylor, Daisy
Appendix E
519
Thompson, R. G.
Trench, Louise (dates unknown)
v
Vaughan, Henry Halford (1811-1895)
When he married Cameron's niece Adeline
Jackson (q.v.) in 1856, Vaughan was Regius
Professor of Modern History at Oxford.
He refused to live in Oxford, however, and
resigned in 1858. His successor described
Vaughan's life as "one of genius, mournfully,
almost tragically, thrown away."
Wilson, Herbert
Unknown.
Unknown.
520
APPENDIX F
Sources of Inspiration
JULIA MARGARET C A M E R O N D E R I V E D T H E I N S P I ration for many of her works from biblical, historical,
literary, and mythological sources widely known to the
A
Acting Grandmama
A reference to Alfred Tennyson's 1864 poem
The Grandmother.
[Alethea]
A Greek word meaning "true" or "faithful";
the Greek goddess of fruitfulness.
Amen
A Hebrew word meaning "certainly"; a ritual
exclamation to express assent or approval.
Balaustion
The story of a young girl who, with a group
of pro-Athenians, is refused shelter in
Syracuse until she has recited the Euripides
playA/cestis, was suggested by a passage in
Plutarch's Life ofNicias. Robert Browning's
version of the subject, Balaustions Adventure,
was published in 1871.
Beatrice
1599-
Boadicea
The title of an 1860 poem by Alfred Tennyson, which is based on Boadicea, the
"Warrior Queen" of the Iceni tribe in Britain
in the first century A.D.
Aurora
A Bacchante
A follower of Bacchus, the Roman god of
wine. Their wild, unrestrained behavior was
thought by the Victorians to represent the
521
Browning's Sordello
Refers to the title of Robert Browning's 1840
poem, which discusses the struggle between
politics and art. Sordello was an actual
thirteenth-century Italian troubadour.
Ceres
The Roman goddess of agriculture.
Circe
CAMERON
The Echo
In classical mythology, a nymph who could
only repeat the words of others, a punishment from the goddess Hera. Following
the loss of Narcissus, her beloved, the
nymph faded away until nothing but her
voice remained. Also the title of a poem
by Christina Rossetti (1854).
Egeria
An adviser to the Roman king Numa
Pompilius in the seventh century B.C.
Elaine
Daughters of Jerusalem
The Day-Spring
(Luke 1:78-79) Refers to part of a prophecy
regarding the coming of Christ: "Whereby
the dayspring from on high hath visited us,
to give light to them that sit in darkness and
in the shadow of death."
The Dialogue
There are several conversation poems to
which this could refer. The Dialogue by
James Howell (1594-1666) is about the
muses, chivalry, and art; The Dialogue by
John and Charles Wesley is about faith;
and The Dialogue of Life by John Burne
Lester Warren (1835-1895) is between
Cassandra and Aeneas.
Clio
Cassiopeia
JULIA MARGARET
Daphne
522
The Dream
The title alludes to John Milton's poem On
His Deceased Wife (about 1658), in which the
narrator dreams that she comes back to him:
"Methought I saw my late espoused saint /
Brought to me like Alcestis from the grave, /
Whom Jove's great son to her glad husband
gave, / Rescued from Death by force, though
pale and faint."
Enid
A character in Alfred Tennyson's Idylls of the
King (1859). She was married to Geraint, one
of Arthur's knights, who, believing her to be
faithless, forbade her to speak to him. However, her devotion to him throughout various
trials and dangers reassured him of her love.
F
The Finding of Moses
(Exodus 2:1-10) The daughter of the
Egyptian pharaoh finds Moses in a basket in
the reeds of the river, where his mother
has placed him in order to save him from
being killed.
Gretchen
G
The Gardener's Daughter
The title of an 1842 poem by Alfred
Tennyson. Cameron's picture illustrates the
lines: "Gown'd in pure white, that fitted to
the shape / Holding the bush, to fix it
The grandmother
[Guinevere]
leaning on the bridge beneath the hazeltree? / He thought of that sharp look,
mother, I gave him yesterday, / But I'm
to be Queen o' the May, mother, I'm to be
Queen o' the May."
Hosanna
A Hebrew word meaning "save us we
pray"; a ritual exclamation of praise and
supplication.
Hypatia
An Alexandrian Neoplatonist, known for
her beauty and oratory, who was murdered
by Christian zealots. Also the subject
of Charles Kingsley's novel Hypatia or New
Foes with an Old Face, serialized in Fraser's
Magazine from January 1852 to April 1853.
II Penseroso
The title of a 1632 poem by John Milton.
Appendix F
523
J
Jephthah &, his Daughter
(Judges 11:30-40) In return for being
granted victory in battle, the warrior Jephthah promised God to sacrifice the first
creature to come out of his house on
his return. He won the battle, but when he
returned home, it was his only child who
emerged to greet him.
K
[King Ahasuerus & Queen Esther
in Apocrypha]
(Esther 15:7 [Apocrypha]) Esther, the
queen, appears "in glorious apparel" to persuade King Ahasuerus (Artaxerxes) to
overturn his order to kill all the Jews in his
kingdom: "The queen fell down, and was
pale, and fainted, and bowed her head upon
the head of the maid that went with her."
King Arthur
The principal character in Alfred Tennyson's
Idylls of the King (1859), whose birth is
shrouded in mystery. He is reared by the
magician, Merlin, and receives his magic
sword, Excalibur, from the Lady of the
Lake. He marries Guinevere, but her
infidelity with Lancelot prompts him to
violent revolt, and he is mortally wounded.
Three maidens come in a barge to the
shore to carry him away as mysteriously as
he had arrived.
L
La Contadina
Italian for "peasant girl." The term was used
as the title for artworks that appeared in
several Royal Academy exhibitions (at least
one of which Cameron was known to have
visited), including La Contadina by L.
Walter (1859) and Contadina in Rome by
H. R. Robertson (1872).
La Madonna Adolorata/Aspettante/
della Pace/della Ricordanza/Esaltata/
Purissima/Riposata/Vigilante
Types of the Madonna illustrating her
virtues. Derived from fine-art depictions
from the Renaissance, particularly paintings,
these types were described and illustrated
in the writings of Anna Jameson.
Lady Clara Vere de Vere
The title of an 1832 poem by Alfred
Tennyson, in which a young man describes
his bitter experience of having a woman
refuse him because of his social class.
Lady Elcho as the Cumaean Sibyl
The Cumaean Sibyl, from the ancient city
of Cumae in southern Italy, was one of the
priestesses of Apollo.
The Lady of the Lake
A guardian figure who protects King Arthur
and takes various names in the different legends. In Thomas Malory's Le Morte d'Arthur
(1485) she presents him with Excalibur.
[Lancelot and Elaine]
(see Elaine "the Lily maid of Astolat")
Lilies and Pearls
The lily is a symbol of purity, particularly
associated with the Virgin Mary and the virgin saints, but also with the celestial Venus.
524
M
Madame Reine
A central character in Anne Thackeray
Ritchie's Village on the Cliff'(1867). Beautiful,
powerful, and capable, the Frenchwoman
Reine Chretien is the manager of a prosperous estate and has many admirers, a
contrast with the naive young English governess, the heroine of the novel.
Mariana
Maud
The title of an 1855 poem by Alfred Tennyson, in which a highborn young woman
gives her love to the humbly bred narrator.
Maud by Moonlight
(see Maud)
May Day
The first of May is a springtime holiday traditionally celebrated with garlands, dancing
around the Maypole, and choosing a May
queen.
May [Prinsep] As Shakespeare's Isabel
Refers to Isabella from William Shakespeare's Measure for Measure (1604-5), a
young noblewoman whose moral standards
are absolute. She either allows her condemned brother, Claudio, to die, or surrenders herself to Angelo, a cold, arrogant
nobleman. She is the epitome of virtue,
which she values more than life itself.
The May Queen
The title of an 1832 poem by Alfred Tennyson.
Melpomene
In Greek mythology, the muse of tragedy.
Mignon
A fairylike child rescued by Wilhelm in
Goethe's Wilhelm Meisfers Apprenticeship
(1795-96). From hopeless love for Wilhelm
and longing for her Italian home, she pines
away and dies.
The Minstrel Group
N
The Nativity
o
"O hark !O hear !["]
A line from Alfred Tennyson's 1847 poem
The Princess: "O hark, O hear! how thin and
clear, / And thinner, clearer, farther going! /
O sweet and far from cliff and scar / The
horns of Elfland faintly blowing!"
Oenone
p
The parting of Sir Lancelot
and Queen Guinevere
(see [Guinevere])
Prospero
Q.
Queen Henrietta Maria and Princess
Elizabeth Daughter of Charles the ist
[The Princess]
The title of an 1847 poem by Alfred
Tennyson.
R
Rachel
(Genesis) The wife of Jacob and mother of
Joseph and Benjamin, Rachel longed for
motherhood but then died in childbirth. The
Victorians regarded her as a tragic heroine.
Rebecca
Appendix F
525
St. Agnes
A Christian virgin martyr. Both John Keats
and Alfred Tennyson based poems on the
legend that on St. Agnes's Eve (January 21)
young girls may see their future husbands in
a dream.
Rosalba
S
The Salutation I after the manner
of Giotto
Sappho
Greek poetess from the seventh century B.C.
who lived on the isle of Lesbos and whose
526
Sister Spirits
Possibly the Three Fates, the goddesses
of classical mythology who preside over the
birth, life, and death of humans.
The Snowdrop
Title of an 1842 poem by Alfred Tennyson.
v
Vectis
The Roman name for the Isle of Wight.
A Vestal
In Greek mythology, the Vestals were virgin
priestesses in Vesta's temple, responsible for
keeping the eternal flame alight.
w
The Water Babies
Title of an 1863 book by Charles Kingsley,
in which Tom, a young chimney sweep, is
ashamed of being seen by Ellie, the squire's
daughter, in all his dirtiness and so throws
himself into a stream. Here his underwater
adventures begin.
Y
Young Astyanax
In the Iliad (Sir John Herschel's translation
of which was published in 1866), Astyanax
is the son of Hector.
z
Zenobia
Queen of Palmyra in the third century A.D.
who fought against Roman imperialism.
Zuleika
Appendix F
527
Selected References
THE
FOLLOWING
S O U R C E S RELATE
P R I M A R I L Y TO
i835
Cameron 1835
Cameron, Charles Hay. Two Essays. On
the Sublime and Beautiful, and On Duelling.
London: privately printed, 1835.
1847
Cameron 1847
Cameron, Julia Margaret, trans. Leonora.
London: Longman, Brown, Green, and
Longmans, 1847.
i853
Cameron 1853
Cameron, Charles Hay. An Address to Parliament on the Duties of Great Britain to India in
Respect of the Education of the Natives and
Their Official Employment. London: Longman,
Brown, Green, and Longmans, 1853.
1864
Athenaeum :864a
"Fine Art Gossip."Athenaeum, no. 1915
(July 16, 1864), p. 88.
Athenaeum 1864!)
"The Photographic Society." Athenaeum,
no. 1910 (June 4, 1864), pp. 779-80.
British Journal of Photography 1864
"Waifs and Strays: Out of Focus." British
Journal of Photography n (July 22, 1864),
p. 261. Writer disagrees with the critic in
Athenaeum i864a who praised Cameron's
work as creative.
528
1865
British Journal of Photography i865a
"Berlin Photographic Exhibition 1865." British Journal of Photography 12 (Aug. 4, 1865),
p. 408.
British Journal of Photography i865b
"The Photographic Society's Exhibition."
British Journal of Photography 12 (May 19,
1865), pp. 267-68.
British Journal of Photography i865c
"Photography at the Dublin Exhibition,
Third Notice." British Journal of Photography
12 (June 2, 1865), pp. 291-92.
1868
1866
British Journal of Photography 1866
"Soiree of the Photographic Society." British
Journal of Photography 13 (June 15, 1866),
pp. 285-86.
Intellectual Observer 1866
"Photography as a Fine Art." Intellectual
Observer 10 (Aug. 1866), pp. 19-22. Review
of Cameron's photographs on view at
Colnaghi's.
Patmore 1866
[Patmore, Coventry]. "Mrs. Cameron's Photographs." Macmillans Magazine 13 (Jan.
1866), pp. 230-31.
Photographic News 1866
"The Exhibition Soiree of the Photographic
Society." Photographic News 10 (June 15,
1866), pp. 278-79.
1867
Athenaeum 1867
"Fine Art Gossip" Athenaeum, no. 2069
(June 22, 1867), p. 827. Review of
Cameron's photographs on view at
Colnaghi's.
Illustrated London News i867a
"Fine Arts: Exhibition of the Photographic
Society." Illustrated London News 51 (Nov. 23,
1867), p. 574.
1869
Photographic Journal 1869
"The Groningen Awards and Montagna
Prizes." Photographic Journal 14 (Aug. 16,
1869), pp. 89-90.
Photographic News i86ga
"Photographic News Exhibition at Groningen." Photographic News 13 (Aug. 20, 1869),
p. 400.
1870
Art Journal 1870
"The Exhibition of the Photographic Society. " Art Journal, n.s., 9 (Dec. i, 1870), p. 376.
British Journal of Photography i87oa
"Correspondence: Photography Exhibition
in the Palais de /'Industrie." British Journal of
Photography 17 (June 17, 1870), pp. 284-85.
British Journal of Photography i87ob
"Correspondence: Portraiture at the Exhibition in the Palais de /'Industrie." British Journal of Photography 17 (July 15, 1870), p. 332.
British Journal of Photography 18700
"The Photographic Society's Exhibition
[First Notice]." British Journal of Photography
17 (Nov. n, 1870), pp. 528-29.
Photographic Journal 1870
"The Society's Annual Exhibition." Photographic Journal 15 (Nov. 8, 1870), pp. 33-34.
Photographic News i87oa
"The Exhibition of Photographs in Conduit
Street." Photographic News 14 (Nov. 18, 1870),
PP- 541-42.
Photographic News i87ob
"The Photographic Exhibition at Paris."
Photographic News 14 (July i, 1870), pp. 303-4.
Photographic News 18700
"Photographs at the Derby Fine Art Exhibition." Photographic News 14 (Oct. 28, 1870),
pp. sn-1871
Selected References
529
Times 1873
"Photographs." Times (London) (Dec. 20,
1873), p. 5.
1874
Stanley 1871
Stanley, A. P. "Science and Religion:
A Sermon Preached in Westminster Abbey,
on May 21, 1871, Being the Sunday Following
the Funeral of Sir John Herschel." Good
Words 12 (1871), pp. 453-59. Includes a woodcut portrait of Herschel after a photograph
by Cameron.
1872
British Journal of Photography i872a
"The International Exhibition." British
Journal of Photography 19 (Oct. 25, 1872),
pp. 505-6.
British Journal of Photography i872b
"The Photographs at the International
Exhibition." British Journal of Photography 19
(May 3, 1872), pp. 204-5.
Simpson 1872
Simpson, George Wharton. "Studies from
Life by Mrs. Cameron." Art Pictorial and
Industrial 3 (Feb. 1872), pp. 25-26.
1873
British Journal of Photography i873a
"The Crawshay Prizes." British Journal of
Photography 20 (Oct. 31, 1873), pp. 503-4.
British Journal of Photography i873b
"Exhibition of the Photographic Society
[Fourth Notice]." British Journal of Photography 20 (Nov. 14, 1873), pp. 540-41.
British Journal of Photography i873c
"Exhibition of the Photographic Society
[Second Notice]." British Journal of Photography 20 (Oct. 31, 1873), pp. 517-18.
British Journal of Photography i873d
"The Photographs at the International
Exhibition." British Journal of Photography 20
(May 9, 1873), p. 216.
British Journal of Photography 18736
"Photography at Vienna No. II
England." British Journal of Photography 20
(July 25, 1873), pp. 351-52Photographic Journal 1873
"Report of the Committee of Judges." Photographic Journal 16 (Nov. 13, 1873), pp. 6-7.
Photographic News 1873
"Photographs at the International Exhibition." Photographic News 18 (July n, 1873),
pp. 330-31.
530
1875
Anthony's Photographic Bulletin i875a
"From Across the Water."Anthony's Photographic Bulletin 6 (Apr. 1875), pp. 123-24.
Excerpt from a review in the London Times
of Cameron's photographs of Tennyson's
Idylls of the King.
Anthony's Photographic Bulletin i875b
"My Neighbors at the Seaside. - Mrs.
Cameron. "Anthony's Photographic Bulletin 6
(Oct. 1875), p. 311. Excerpt from "My Letter
in Leisure," originally published in the
Liverpool Journal.
Morning Post 1875
"Mrs. Cameron's New Photographs."
Morning Post (London) (Jan. n, 1875).
1876
British Journal of Photography i876a
"English Photographs at the Philadelphia
Exhibition." British Journal of Photography 23
(Sept. 22, 1876), pp. 453-54.
1877
Harper's Weekly 1877
"Lancelot and Guinevere." Harper's Weekly
(Sept. i, 1877), p. 682. Mentions engraving
after Cameron's photograph for Tennyson's
Idylls of the King on p. i with editorial comment; also discusses her work shown at the
Photographic Society of London in fall 1870
and at the Centennial Exhibition in Philadelphia in 1876.
Philadelphia Photographer 1877
"Photography Recognized as a Fine Art."
Philadelphia Photographer 14 (Oct. 1877),
pp. 298-300. Discusses photographs at the
1876 Centennial Exhibition in Philadelphia
and publishes some of the best examples,
including i by Cameron.
Ritchie 1877
Ritchie, Anne Thackeray. From an Island.
London: Smith, Elder and Co., 1877.
Wilson 1877
Wilson, Edward L. "Lancelot and Guinevere." Philadelphia Photographer 14 (Oct. 1877),
pp. 297-98. Includes the same engraving
originally published in Harper's Weekly 1877.
i879
Autotype Notes 1879
"Julia Margaret Cameron Obituary." Autotype Notes, no. ii (Apr. 21, 1879), pp. 41-42.
British Journal of Photography 1879
"The Late Mrs. Cameron." British Journal
of Photography 26 (Mar. 7, 1879), pp. 115-16.
Cameron's obituary.
Photographic Times 1879
"The Late Mrs. Cameron." Photographic
Times 9 (Apr. 1879), pp. 82-83. Taken
from British Journal of Photography 1879.
1880
Tennyson 1880
Tennyson, Alfred. A Dream of Fair Women.
Boston: James R. Osgood and Company,
1880. Includes an engraving after a photograph by Cameron, Helen of Troy (actually
A Study of the Cenci).
1881
Scribner's Monthly 1881
Scribner's Monthly 22 (May 1881): frontispiece. An engraved portrait of Carlyle after
a photograph by Cameron.
1885
i93
Holden 1885
Holden, Edward S. "The Three Herschels."
Century Magazine 30 (June 1885), pp. 178
85. Includes an engraved portrait of Sir John
Herschel after a photograph by Cameron.
Martin 1893
Martin, Edwin C. "Tennyson's Friendships."
McClure's Magazine 2 (Dec. 1893), PP- 54 ~
60. Includes 5 portraits by Cameron plus a
portrait of her by G. F. Watts.
Taylor 1885
Taylor, Henry. Autobiography of Henry Taylor.
2 vols. London: Longmans, Green, and Co.,
1885. Chapters 5, 6, and 14 of vol. 2 mention
Cameron.
1886
Photographic News 1886
"Reminiscences of Mrs. Cameron by a Lady
Amateur." Photographic News 30 (1886),
PP- 2-4-
1888
Archer i888a
Archer, Talbot. "A Famous Lady Photographer. "Anthony's Photographic Bulletin 19
(Sept. 22, 1888), pp. 563-66. A condensed
version of Archer i888b.
Archer i888b
Archer, Talbot. "A Famous Lady Photographer. " International Annual Anthony's
Photographic Bulletin (1888), pp. 3-5. Excerpts
from H. J. Jennings's A Biographical Sketch
of Lord Tennyson.
1890
Boord 1890
Boord, W. Arthur, ed. Mrs. Cameron. Sun
Artists, no. 5. London: Kegan Paul, Trench,
Triibner and Co., 1890. Includes 4 photographs by Cameron.
Cameron 1890
Cameron, Julia Margaret. "Annals from My
Glass House." Beacon 2 (July 1890), pp. 157
60. Reprint of Cameron's account of her
photographic career, plus encouragement for
visitors to go to H. H. H. Cameron's London studio to borrow original photographs.
1891
Emerson 1891
Emerson, P. H. "The Artistic Aspects of
Figure Photography." Magazine of Art 14
(Aug. 1891), pp. 310-16. Includes 3 illustrations by Cameron.
Sun and Shade 1891
Sun and Shade 3 (July 1891), photogravure
no. 4 (a study of Christina Spartali).
Studio 1893
"Photographic Portraiture: An Interview
with Mr. H. Hay Cameron." Studio: An Illustrated Magazine of Fine and Applied Art 2
(Dec. 1893), pp. 84-89.
Watts 1893 a
Watts, Theodore. "The Portraits of Lord
Tennyson." Magazine of Art 16 (Feb. 1893),
pp. 96-101. Includes photographs by Cameron.
Watts i893b
Watts, Theodore. "The Portraits of Lord
Tennyson." Magazine of Art 16 (Jan. 1893),
pp. 36-43. Includes photographs by Cameron.
1894
Symonds 1894
Symonds, Mrs. John Addington, ed. Recollections of a Happy Life: Being the Autobiography of Marianne North. 2 vols. New York:
Macmillan, 1894. Chapters 8 and 9 of vol. i
mention Cameron.
1897
Belloc 1897
Belloc, Marie A. "The Art of Photography:
Interview with Mr. H. Hay Herschel [sic]
Cameron." Woman at Home 43 (Apr. 1897),
pp. 581-89.
O'Connor i897a
O'Connor, V. C. Scott. "Mrs. Cameron,
Her Friends, and Her Photographs." Century
Magazine 55 (Nov. 1897), pp. 3-10.
O'Connor i897b
O'Connor, V. C. Scott. "Tennyson and
His Friends at Freshwater." Century Magazine 55 (Dec. 1897), pp. 240-68. Includes 2
engraved portraits of Tennyson after photographs by Cameron.
Tennyson 1897
Tennyson, Hallam. Alfred Lord Tennyson:
A Memoir by His Son. 2 vols. London:
Macmillan, 1897.
1898
Cary 1898
Cary, Elisabeth L. Tennyson: His Homes,
His Friends, and His Work. New York
and London: G. P. Putnam's Sons, 1898.
Outlook 1898
"A Year's Best Books." Outlook 60 (Dec. 3,
1898), pp. 811-24. Includes a portrait of
Tennyson by Cameron.
Photographic Times 1898
"Notes and News: A Famous Amateur
Photographer." Photographic Times 30
(Apr. 1898), p. 190. Excerpts from O'Connor
i897a.
1900
Fields 1900
Fields, James T. Yesterdays with Authors.
Boston: Houghton, Mifm'n and Company,
1900. Includes frontispiece portrait of
Fields by Cameron.
Wilson's Photographic Magazine 1900
"News and Notes." Wilsons Photographic
Magazine 37 (Apr. 1900), p. 175. Relates
when Cameron first met Henry Wadsworth
Longfellow.
1901
Wilson's Photographic Magazine 1901
"Studio Accessories." Wilson's Photographic
Magazine 38 (Aug. 1901), p. 295. Describes
Cameron's photographs as ideal portraiture
examples.
1903
Weld 1903
Weld, Agnes Grace. Glimpses of Tennyson
and Some of His Relations and Friends.
London: Williams and Norgate, 1903.
1904
Evans 1904
Evans, Frederick H. "Exhibition of Photographs by Julia Margaret Cameron, at 118,
Westbourne Grove, W." Amateur Photographer 40 (July 21, 1904), pp. 43~44-
Selected References
531
Meynell 1904
Meynell, Alice. Exhibition of Photographs by
Julia Margaret Cameron. London: The
Serendipity Gallery, 1904.
1905
Brookfield 1905
Brookfield, Charles, and Frances Brookfield.
Mrs. Brookfield and Her Circle. 2 vols.
New York: Chas. Scribner's Sons, 1905-6.
1906
Bayley 1906
Bayley, R. Child. The Complete Photographer.
London: Methuen and Co., 1906. Includes
i illustration by Cameron.
1907
Allingham and Radford 1907
Allingham, H., and D. Radford, eds. William
Allingham, A Diary. London: Macmillan, 1907.
1926
Stieglitz 1913
Stieglitz, Alfred, ed. Camera Work 41
(Jan. 1913), pp. 3-13, 41-42. Includes 5 tissue
photogravure portraits by Cameron plus a
statement about her in "Our Plates."
1915
1927
Coburn 1915
Coburn, Alvin Langdon. "The Old Masters
of Photography." Century Magazine 90
(Oct. 1915), pp. 909-20.
Johnston 1927
Johnston, J. Dudley. "Annals of My Glass
House by Julia Margaret Cameron." Photographic Journal 67 (July 1927), pp. 296-301.
Excerpts from Cameron's account of her
photographic career plus a photograph by her.
1916
Ritchie 1916
Ritchie, Lady A. I. T. "From Friend to
Friend. Mrs. Tennyson and Mrs. Cameron."
CornhillMagazine, n.s., 41 (July 1916),
pp. 21-43. Includes excerpts from letters
between the two women.
1919
Wantage 1907
Wantage, Harriet Sarah Loyd-Lindsay,
Baroness. Lord Wantage, U.C., K.C.B.:
A Memoir by His Wife. London: Smith,
Elder and Co., 1907.
Ritchie 1919
Ritchie, Anne Thackeray. From Friend to
Friend. Edited by Emily Ritchie. London:
John Murray, 1919.
1908
1921
Maitland 1908
Maitland, Frederic William. The Life and
Letters of Leslie Stephen. New York: G. P.
Putnam's Sons, 1908.
1909
Harris 1909
Harris, G. T. "The 'Little Gallery' at Brockenhurst (South-western) Station." British
Journal of Photography 56 (Oct. 29, 1909),
p. 850. Letter to the editor telling of an
exhibition by Julia Margaret Cameron and
H. H. H. Cameron.
Stephen 1921
Stephen, Julia Prinsep (Mrs. Leslie Stephen).
"Julia Margaret Cameron." In the Dictionary
of National Biography, edited by Sir Leslie
Stephen and Sir Sidney Lee, vol. 3. London:
Oxford University Press, 1921. Biographical
essay, written from "personal knowledge."
1923
Kuehn 1923
Kuehn, Heinrich. "Die optischen Mittel fur
malerische Photographic." Camera (Lucerne)
2 (Nov. 1923), p. 87.
1930
Hunt 1930
Hunt, Violet. " Stunners. "Artwork 6 (summer 1930), pp. 77-87. Essay on women
connected to the Pre-Raphaelite movement.
Includes 3 portraits of Mrs. William James
Stillman (nee Marie Spartali) by Cameron.
!933
Fuller 1933
Fuller, Hester Thackeray. Three Freshwater
Friends: Tennyson, Watts, and Mrs. Cameron.
Newport, Isle of Wight: The County Press,
1933*935
Jonquieres 1935
Jonquieres, Henri, ed. La Vieille Photographie
depuis Daguerrejusqu'a 1870. Paris: Henri
Lefebvre, 1935. Includes 2 illustrations by
Cameron.
1939
1911
1924
Harvard 1939
Harvard, Charles. "Margaret Cameron."
Lilliput 4 (Apr. 1939), pp. 360-68. General
essay on Cameron to coincide with V&A
exhibition.
Cotton 1911
Cotton, Sir Henry. Indian and Home
Memories. London: T. F. Unwin, 1911.
Ritchie 1924
Ritchie, Hester Thackeray, ed. Thackeray
and His Daughter: The Letters and Journals of
Anne Thackeray Ritchie. New York and London: Harper and Brothers, 1924. Cameron's
photography is mentioned in chapter 7.
Johnston 1939
Johnston, J. Dudley. "Pictorial Photography."
Photographic Journal 79 (Apr. 1939), pp. 179
202. Article commemorating the centenary
of the announcement of the discovery of
photography.
Taylor 1924
Taylor, Una. Guests and Memories. London:
Humphrey Milford, 1924.
1941
Tennyson 1911
Tennyson, Hallam, Lord, ed. Tennyson and
His Friends. London: Macmillan, 1911.
1912
Watts 1912
Watts, M. S. George Frederic Watts: The
Annals of an Artist's Life. 3 vols. New York:
Hodder and Stoughton, 1912.
532
1913
1925
Troubridge 1925
Troubridge, Lady Laura. Memories and
Reflections. London: Heinemann, 1925.
Strasser 1941
Strasser, Alex. Immortal Portraits: Being a
Gallery of Famous Photographs by David
Octavius Hill, Julia Margaret Cameron, Gaspard Felix Tournachon Nadar, Roger Fenton,
Adolphe Disderi and Others. Classics of
Photography, edited by A. Kraszna-Krausz.
London and New York: The Focal Press, 1941.
1942
Schwarz 1942
Schwarz, Heinrich. "Julia Margaret Cameron." In The Complete Photographer: A
Complete Guide to Amateur and Professional
Photography, edited by Willard D. Morgan,
vol. 2, pp. 593-95. New York: National
Educational Alliance, Inc., 1942.
Strasser 1942
Strasser, Alexander. Victorian Photography:
Being an Album of Yesterday's Camera-work by
William Henry Fox Talbot, David Octavius
Hill, Julia Margaret Cameron, Roger Fenton,
Frank M. Sutcliff and Others. Edited and
with an introduction by A. Kraszna-Krausz.
London: The Focal Press, 1942.
1944
Beaton 1944
Beaton, Cecil. British Photographers.
London: William Collins, 1944.
Includes 2 illustrations by Cameron.
1948
Gernsheim 1948
Gernsheim, Helmut. Julia Margaret
Cameron: Her Life and Photographic Work.
London: Fountain Press, 1948. See also
Gernsheim 1975.
1949
Stenger 1950
Stenger, Erich. Seigeszug der Photographic in
Kultur, Wissenschaft, Technik. Seebruck am
Chiemsee, Germany: Heering-Verlag, 1950.
Includes i illustration by Cameron.
1951
Gernsheim 1951
[Gernsheim, Helmut.] Masterpieces of
Victorian Photography, 1840 lyoofrom
The Gernsheim Collection. London: The Arts
Council of Great Britain, 1951. Includes
2 illustrations by Cameron.
1956
Image 1956
"Pictures from the Collection." Image 5
(June 1956), pp. 138-39. Includes a portrait
of William Michael Rossetti by Cameron.
Mendis 1956
Mendis, G. C., ed. The Colebrooke-Cameron
Papers: Documents on British Colonial Policy
Martinez 1958
Martinez, R. E. "The Feminine Touch in
Photography." Camera (Lucerne) 37
(Jan. 1958), pp. 3-5. Includes 4 illustrations
by Cameron.
Newhall and Newhall 1958
Newhall, Beaumont, and Nancy Newhall,
eds. Masters of Photography. New York:
George Braziller, Inc., 1958.
1964
Fuller 1964
Fuller, John. "Julia Margaret Cameron,
Victorian Photographer." Master's thesis,
Syracuse University, 1964.
1971
Barrow 1971
Barrow, Thomas E. "Talent." Image 14 (Dec.
1971), pp. 29-31. Information concerning
Cameron's photographs at George Eastman
House. Includes 3 illustrations by Cameron.
Mozley 1974
Mozley, Anita Ventura. Mrs. Camerons
Photographs from the Life. Palo Alto, Calif.:
Stanford University Museum of Art, 1974.
Exh. cat.
J
975
Creative Camera 1975
"Julia Margaret Cameron: Photographs for
the Nation." Creative Camera, no. 130 (Apr.
1975), pp. 136-39. Includes 4 illustrations by
Cameron.
Davis 1975
Davis, Douglas. "Mrs. Cameron's Special
Eye." Newsweek (Sept. i, 1975), pp. 70-71.
Ford 1975
Ford, Colin. The Cameron Collection: An
Album of Photographs by Julia Margaret Cameron Presented to Sir John Herschel. Wokingham, England: Van Nostrand Reinhold,
1975. Reproduces the contents of Cameron's
Herschel Album. A related booklet by
FordThe Herschel Album: An Album of Photographs by Julia Margaret Cameron Presented
to Sir John Herschelwas published for
the 1975 exhibition at the National Portrait
Gallery, London.
J973
Czach 1973
Czach, Marie. "Some Thoughts on Cameron's Ceylon Photographs."Afterimage i
(Sept. 1973), pp. 2-3.
Gernsheim 1975
Gernsheim, Helmut. Julia Margaret
Cameron: Her Life and Photographic Work.
Expanded edition of Gernsheim 1948.
Millerton, N.Y.: Aperture, 1975.
Hill 1973
Hill, Brian. Julia Margaret Cameron:
A Victorian Family Portrait. New York: St.
Martin's Press, 1973.
Gibbs-Smith 1975
Gibbs-Smith, Charles Harvard. "Mrs. Julia
Margaret Cameron, Victorian Photographer." In One Hundred Years of Photographic
History: Essays in Honor of Beaumont
Newhall, edited by Van Deren Coke,
pp. 69-76. Albuquerque: University of New
Mexico Press, 1975.
Millard 1973
Millard, Charles W. "Julia Margaret
Cameron and Tennyson's Idylls of the King"
Harvard Library Bulletin 21 (Apr. 1973),
pp. 187-201.
Woolf and Fry 1973
Woolf, Virginia, and Roger Fry. Victorian
Photographs of Famous Men and Fair Women.
Expanded and revised edition of Woolf and
Fry 1926, edited by Tristram Powell. Boston:
David R. Godine, 1973.
1974
Harker 1974
Harker, Margaret. "Photography's Great
Eccentric." Photographic Journal 114 (1974),
pp. 26-31. Includes 6 illustrations by
Cameron.
Howarth-Loomes 1974
Howarth-Loomes, B. E. C. Victorian Photography: An Introduction for Collectors and
Connoisseurs. New York: St. Martin's Press,
1974. Includes i illustration by Cameron.
Hopkins 1975
Hopkins, Harry. "Julia Cameron's Photography. " Illustrated London News 263 (Mar.
I975). PP- 54-57Lunn 1975
Lunn, Harry H., Jr. Julia Margaret Cameron:
An Album. Washington, D.C.: Lunn
Gallery/Graphics International, 1975.
Reproduces the contents of a possible album
of Cameron's reduced photographs.
Ovenden 1975
Ovenden, Graham, ed. A Victorian Album:
Julia Margaret Cameron and Her Circle. London: Seeker and Warburg, 1975. Reproduces
the contents of Cameron's Mia Album.
Stable and Turley 1975
Stable, L., and R. V Turley. Julia Margaret
Cameron: Exhibition of Photographs from
Selected References
533
Lloyd 1976
Lloyd, Valerie. Photography: The First Eighty
Years. London: P. 6c D. Colnaghi, 1976,
nos. 163-95, X97- Sales cat.
Scharf1976
Scharf, Aaron. Pioneers of Photography: An
Album of Pictures and Words. New York:
Harry N. Abrams, Inc., 1976.
Woolf 1976
Woolf, Virginia. Freshwater. Edited and
with a preface by Lucio P. Ruotolo. New York
and London: Harcourt Brace Jovanovich,
1976.
1979
Aspin 1979
Aspin, Roy. "Remembering Julia Margaret
Cameron." British Journal of Photography 126
(Jan. 26, 1979), pp. 77-79.
Blodgett 1979
Blodgett, Richard. Photographs: A Collectors
Guide. New York: Ballantine Books, 1979.
Includes a biographical sketch of Cameron
and i illustration by her.
Ford i979a
Ford, Colin. "Julia Margaret Cameron
Centenary." British Journal of Photography
126 (Jan. 26, 1979), pp. 72-76.
Ford i979b
Ford, Colin. "Julia Margaret Cameron:
Portraits." Creative Camera 177 (Mar. 1979),
pp. 90-97.
Ford I979C
Ford, Colin. "Rediscovering Mrs. Cameron
And Her First Photograph." Camera
(Lucerne) 58 (May 1979), pp. 4-35. Print
version of a talk broadcast by the BBC on
January 26, 1979, in honor of the centennial
of Cameron's death.
Mann 1979
Mann, Charles W. "The Poet's Pose." History of Photography 3 (Apr. 1979), pp. 125-27.
Includes a portrait of Henry Wadsworth
Longfellow by Cameron.
1980
Bruson 1980
Bruson, Jean-Marie. Hommage de Julia Margaret Cameron a Victor Hugo. Paris: Maison
de Victor Hugo, 1980. Exh. cat.
534
Newhall 1980
Newhall, Beaumont, ed. Photography: Essays
and Images. New York: Museum of Modern
Art, 1980.
Wheatcroft 1980
Wheatcroft, Andrew. The Tennyson Album:
A Biography in Original Photographs.
London: Routledge and Kegan Paul, 1980.
1981
Falconer 1981
Falconer, John. "Nineteenth Century Photography in Ceylon." Photographic Collector 2
(summer 1981), pp. 39-54.
Soulages 1981
Soulages, Fra^ois. "Le theatre photographique de Julia Margaret Cameron." Les
Cahiers de la Photographie 2 (1981), pp. 24-32.
Thomas 1981
Thomas, G. "Bogawantalawa, the Final
Resting Place of Julia Margaret Cameron."
History of Photography 5 (Apr. 1981), pp. 103
4. Shows photographs of the tombstones
of Cameron and her husband at a church in
Sri Lanka (Ceylon).
Wiegand 1981
Wiegand, Wilfried. "Die Portratkunst der
Julia Margaret Cameron." Neue Rundschau
91 (1981), pp. 197-202 (Cameron photographs), 203-8.
1982
Smaills 1982
Smaills, Helen. "A Gentleman's Exercise:
Ronald Leslie Melville, nth Earl of Leven,
and the Amateur Photographic Association."
Photographic Collector 3 (winter 1982),
pp. 262-93. Numerous references regarding
Cameron's influence on Melville plus several
illustrations by her.
Wollheim 1982-83
Wollheim, Peter. "Julia Margaret Cameron:
A Victorian Soul." Photo Communique 4
(winter 1982-83), pp. 12-17.
1983
Harker 1983
Harker, Margaret. Julia Margaret Cameron.
London: The Great Photographers, 1983.
Knight 1983
Knight, Hardwicke. "Anne Isabella Thackeray and Julia Margaret Cameron." History of
Photography 7 (July-Sept. 1983), pp. 247-48.
Williams 1983
Williams, Val. "Only Connecting: Julia
Margaret Cameron and Bloomsbury." Photographic Collector 4 (spring 1983), pp. 40-49.
Caslin 1984
Caslin, Jean. "Mrs. Cameron Takes No Note
of Time." Views: The Journal of Photography
in New England 5 (summer 1984), pp. 12-13.
Weaver 1984
Weaver, Mike./z//z# Margaret Cameron 1815i8jy. Boston: Little, Brown and Company,
1984. Exh. cat. Another version of this book
was published in 1984 by Southampton University, John Hansard Gallery, Southampton, England, in conjunction with Herbert
Press.
1985
Bartram 1985
Bartram, Michael. The Pre-Raphaelite
Camera: Aspects of Victorian Photography.
London: Weidenfeld and Nicolson, 1985.
Edwards 1985
Edwards, Owen. "Nostalgia's Nostalgia:
Julia Margaret Cameron and the Art of
Yearning." American Photographer 15 (Oct.
1985), pp. 20, 22. Review of a Cameron
exhibition at the International Center of
Photography.
Weaver and Miraglia 1985
Weaver, Mike, and Marina Miraglia. Julia
Margaret Cameron, i8i$-i8j(). Rome:
Mazzotta, 1985. Translated and expanded
version of Weaver 1984.
1986
Fagan-King 1986
Fagan-King, Julia. "Cameron, Watts,
Rossetti: The Influence of Photography on
Painting." History of Photography 10 (Jan.Mar. 1986), pp. 19-29.
Hopkinson 1986
Hopkinson, Amanda. Julia Margaret
Cameron. London: Virago Press, 1986.
Lehr 1986
Idylls of the King and Other Poems. New York:
Janet Lehr, Inc., 1986. Facsimile of Tennyson
and Cameron 1874-75.
Lukitsh 1986
Lukitsh, Joanne. Cameron: Her Work and
Career. Rochester, N.Y.: International
Museum of Photography at George Eastman
House, 1986. Exh. cat.
Mulligan 1986
Mulligan, Mary Therese. "Julia Margaret
Cameron and the Art of the Portrait: Portraits of Great Men and Beautiful Women."
Ph.D. diss., Michigan State University, 1986.
Wilson 1989
Wilson, A. N. Eminent Victorians. New
York: W. W. Norton and Company, 1989.
Weaver 1986
Weaver, Mike. Whisper of the Muse: The
Overstone Album and Other Photographs by
Julia Margaret Cameron. Malibu, Calif.:
J. Paul Getty Museum, 1986. Exh. cat.
Reproduces the contents of Cameron's
Overstone Album.
Howard 1990
Howard, Jeremy. Whisper of the Muse: The
World of Julia Margaret Cameron. London:
P. & D. Colnaghi, 1990. Sales cat.
1987
Lukitsh igS/a
Lukitsh, Joanne. "Julia Margaret Cameron's
Photographic Illustrations to Alfred Tennyson's 'The Idylls of the King.'" Arthurian
Literature 7 (1987), pp. 145-57.
Lukitsh i987b
Lukitsh, Joanne. "'To Secure for Photography
the Character and Uses of High Art': The
Photography of Julia Margaret Cameron,
1864-1879." Ph.D. diss., University of
Chicago, 1987.
Mrazkova 1987
Mrazkova, Daniela. Masters of Photography:
A Thematic History. Twickenham, England:
Hamlyn, 1987.
1988
Joseph 1988
Joseph, Gerhard. "Poetic and Photographic
Frames: Tennyson and Julia Margaret
Cameron." Tennyson Research Bulletin 5
(Nov. 1988), pp. 43-48.
Rule 1988
Rule, Amy. "The Photography of Julia
Margaret Cameron in America and Modern
Oblivion." Exposure 26 (spring 1988),
pp. 27-36.
Thomas igSSa
Thomas, G. "The Melange That Was Julia
Margaret Cameron." Photographic Journal 128
(July 1988), pp. 302-3.
Thomas i988b
Thomas, G. "That Oriental Streak in Julia
Margaret Cameron's Ancestry." History of
Photography 12 (Apr.-Jun. 1988), pp. 175-78.
Includes family tree and genealogy for the
Brunet family.
1989
Weaver 1989
Weaver, Mike. "Julia Margaret Cameron:
The Stamp of Divinity." In British Photography in the Nineteenth Century: The Fine Art
Tradition, edited by Mike Weaver, 151-61.
Cambridge: Cambridge University Press,
1989.
1990
1991
PhotoHistorian 1991
"Portraiture and Cameron's Women." PhotoHistorian, no. 92 (spring 1991), pp. 18-20.
Reprint of an article from Portfolio Magazine.
1992
Hinton 1992
Hinton, Brian. Immortal Faces: Julia Margaret Cameron on the Isle of Wight. Newport,
Isle of Wight: Isle of Wight County Press
and Isle of Wight County Council, 1992.
Lukitsh 1992
Lukitsh, Joanne. "Julia Margaret Cameron
and the 'Ennoblement' of Photographic Portraiture." In Victorian Scandals: Representations of Gender and Class, edited by Kristine
Ottesen Garrigan, pp. 207-32. Athens:
Ohio University Press, 1992.
Murphy 1992
Murphy, Nicola. "A Forgotten Face behind
the Camera." London Times (June 22, 1992).
Brief article on Cameron and the Cameron
Trust.
Relihan i992a
Relihan, Constance C. "Community, Narrativity, and Empowerment in Julia Margaret
Cameron's Photographic Reading of Shakespeare." Upstart Crow 12 (1992), pp. 41-59.
1994
Haworth-Booth 1994
Haworth-Booth, Mark. "Hidden Gems."
British Journal of Photography, no. 6974
(May 18, 1994), p. 15. Includes i illustration
by Cameron.
Mulligan et al. 1994
Mulligan, Therese, et al. For My Best Beloved
Sister Mia: An Album of Photographs by Julia
Margaret Cameron. Albuquerque: University
of New Mexico Art Museum, 1994. Exh.
cat. Reproduces the contents of Cameron's
Mia Album. Includes essays by April
Watson and Joanne Lukitsh, with an introduction by Eugenia Parry Janis.
Olsen 1994
Olsen, Victoria C. "Representing Culture:
Women and Cultural Politics in MidVictorian England." Ph.D. diss., Stanford
University, 1994. Includes chapters on
Cameron, Anna Jameson, and Elizabeth
Eastlake.
Wolf 1994
Wolf, Sylvia. Focus: Five Women Photographers. Morton Grove, 111.: Albert Whitman
and Company, 1994. Children's book.
*995
Cooley 1995
Cooley, Nicole. "Ideology and the Portrait:
Recovering the 'Silent Image of Woman' in
the Work of Julia Margaret Cameron."
Women's Studies 24 (Mar. 1995), pp. 369-84.
Janis 1995
Janis, Eugenia Parry. At the Still Point:
Photographs from The Manfred Heiting
Collection. Volume I, 1840-1916. Los Angeles
and Amsterdam: Cinubia, 1995. Includes
5 illustrations by Cameron.
Relihan i992b
Relihan, Constance C. "Vivien, Elaine and
the Model's Gaze: Cameron's Reading
of Idylls of the King." In Popular Arthurian
Traditions, edited by Sally K. Slocum, pp.
111-31. Bowling Green, Ohio: Popular, 1992.
Marien 1995
Marien, Mary Warren. "History's
U-Turns Can Be the Best Guide to Present,
Future." Christian Science Monitor (Apr. 27,
1995), p. B2. Includes review of Mulligan
et al. 1994.
Roberts 1992
Roberts, Pam. "Julia Margaret Cameron:
A Triumph over Criticism." In The Portrait
in Photography, edited by Graham Clarke,
pp. 47-70. London: Reaktion Books, 1992.
Mavor 1995
Mavor, Carol. Pleasures Taken: Performances
of Sexuality and Loss in Victorian Photographs.
Durham, N.C.: Duke University Press, 1995.
1993
Beloff 1993
Beloff, Halla. "Facing Julia Margaret
Cameron." History of Photography 17 (spring
1993), pp. 115-17.
Olsen 1995
Olsen, Victoria C. "Idylls of Real Life."
Victorian Poetry 33 (autumn-winter 1995),
pp. 371-89.
Shires 1995
Shires, Linda M. "Glass House Visionary:
Julia Margaret Cameron among the Writers."
Princeton University Library Chronicle 57
(autumn 1995), pp. 106-25.
Selected References
535
1996
Armstrong 1996
Armstrong, Carol. "Cupid's Pencil of Light:
Julia Margaret Cameron and the Maternalization of Photography." October 76 (spring
1996), pp. 114-41.
Cavagnaro 1996
Cavagnaro, Lori. "Julia Margaret Cameron:
Focusing on the Orient." Library Chronicle
of the University of Texas at Austin 26, no. 4
(1996), pp. 116-43.
Cox 1996
Cox, Julian. Julia Margaret Cameron: Photographs from the]. Paul Getty Museum. In
Focus, edited by Weston Naef. Los Angeles:
J. Paul Getty Museum, 1996.
Hamilton 1996
Hamilton, Violet. Annals of My Glass House:
Photographs by Julia Margaret Cameron. Seattle: University of Washington Press, 1996.
Exh. cat.
Lukitsh i996a
Lukitsh, Joanne. "'Simply Pictures of Peasants': Artistry, Authorship, and Ideology
in Julia Margaret Cameron's Photography in
Sri Lanka, 1875-1879." Yale Journal of Criticism 9 (fall 1996), pp. 283-308.
Lukitsh 19960
Lukitsh, Joanne. "The Thackeray Album:
Looking at Julia Margaret Cameron's Gift to
Her Friend Annie Thackeray." Library
Chronicle of the University of Texas at Austin
26, no. 4 (1996), pp. 32-61.
MacKay 1996
MacKay, Carol Hanbery. "'Soaring between
home and heaven': Julia Margaret Cameron's Visual Meditations on the Self."
Library Chronicle of the University of Texas at
Austin 26, no. 4 (1996), pp. 62-87.
Oliphant 1996
Oliphant, Dave, ed. Gendered Territory:
Photographs of Women by Julia Margaret
Cameron. Austin: Harry Ransom Humanities Research Center, University of Texas,
1996. Originally published as vol. 26, no. 4,
of the Library Chronicle of the University of
Texas at Austin, 1996.
Smith 1996
Smith, Lindsay. "Further Thoughts on 'The
Politics of Focus.'" Library Chronicle of the
University of Texas at Austin 26, no. 4 (1996),
pp. 12-31.
Straight and Threatt 1996
Straight, Lizabeth A., and Patricia A.
Threatt. "Julia Margaret Cameron: A Catalogue of Holdings at the Harry Ransom
Humanities Research Center." Library
Chronicle of the University of Texas at Austin
26, no. 4(1996), pp. 144-95-
536
Truss 1996
Truss, Lynne. Tennyson's Gift. London:
Hamish Hamilton, 1996. A comic novel set
in Freshwater in July 1864 featuring Cameron, Lewis Carroll, Alfred Tennyson, Ellen
Terry, and George Frederic Watts, among
others.
Boxer 1999
Boxer, Sarah. "Lifting the Veil From Beauties
Cloaked in Tragic Guise." New York Times
(Jan. 29, 1999), pp. 2, 33. Review of Cameron exhibition at the Museum of Modern
Art.
Wood 1996
Wood, R. Derek, ed. "Julia Margaret Cameron's Copyrighted Photographs." Unpublished booklet compiled from the records at
the Public Records Office, London, 1996.
Reid 1999
Reid, Panthea. "Virginia Woolf, Leslie
Stephen, Julia Margaret Cameron, and the
Prince of Abyssinia: An Inquiry into Certain
Colonialist Representations." Biography 22
(summer 1999), pp. 323~55-
Yamashiro 1996
Yamashiro, Jennifer Pearson. "Idylls in
Conflict: Victorian Representations of Gender in Julia Margaret Cameron's Illustrations
of Tennyson's 'Idylls of the King.'" Library
Chronicle of the University of Texas at Austin
26, no. 4 (1996), pp. 88-115.
Aleksiuk 2000
Aleksiuk, Natasha. "A Thousand Angles':
Photographic Irony in the Work of Julia
Margaret Cameron and Virginia Woolf."
Mosaic 33 (June 2000), pp. 125-42.
1997
Haworth-Booth 1997
Haworth-Booth, Mark. Photography:
An Independent Art. London: V & A
Publications, 1997. Photographs from the
Victoria and Albert Museum 1839-1996.
Kraus1997
Kraus, Hans P., Jr. Sun Pictures Catalogue 8:
The Rubel Collection. Text by Larry J. Schaaf.
New York: Hans P. Kraus, Jr., 1997.
Olsen 1997
Olsen, Victoria C. "Family Fictions: Virginia
Woolf and Julia Margaret Cameron." Virginia Woolf Miscellany 49 (spring 1997): p. 5.
1998
Lennie 1998
Lennie, Jonathan. "Photography." Times
(London) (Oct. 3, 1998). Review of Wolf
1998.
Rosen 1998
Rosen, Jeff. "Cameron's Photographic
Double Takes." In Orientalism Transposed:
The Impact of the Colonies on British Culture,
edited by Julie F. Codell and Dianne Sachko
Macleod, pp. 158-83. London: Ashgate,
1998.
Wolf 1998
Wolf, Sylvia. Julia Margaret Cameron's
Women. Chicago: Art Institute of Chicago,
1998. Exh. cat.
1999
Baker 1999
Baker, Kenneth. "Imperfectly Modern
Women; Ambiguities Connect Julia Margaret Cameron's Victorian Portraits with the
Present." San Francisco Chronicle (Aug. 25,
1999), p. EI. Review of Cameron exhibition
at the San Francisco Museum of Modern Art.
2OOO
Humphreys 2000
Humphreys, Helen. Afterimage. New York:
Henry Holt and Company, 2000. A novel
inspired by Cameron's life.
Przyblyski 2000
Przyblyski, Jeannene M. "Julia Margaret
Cameron's Women, Great Men, and
Others."Afterimage 29 (Mar./Apr. 2000),
PP- 7-9-
Cawthorne 2001
Cawthorne, Zelda. "In Her Own Image."
Herald Sun (Melbourne) (Dec. 3, 2001),
p. 92. Review of an exhibition of 60 photographs by Cameron at the National Gallery
of Victoria, Australia.
Hinton 2001
Hinton, Brian. Julia Margaret Cameron
1815-1879: Pioneer Victorian Photographer.
Freshwater, Isle of Wight: Julia Margaret
Cameron Trust, 2001.
Jones 2001
Jones, Jonathan. "Julia Margaret Cameron's
'J. F. W. Herschel' (1867)." Guardian (London)
(Jan. 27, 2001), p. 7.
Lukitsh 2001
Lukitsh, Joanne. Julia Margaret Cameron. 55.
London: Phaidon Press, 2001.
MacKay 2001
MacKay, Carol Hanbery. Creative Negativity: Four Victorian Exemplars of the Female
Quest. Stanford, Calif.: Stanford University
Press, 2001.
Mahoney 2001
Mahoney, Elisabeth. "Reviews: Art: I'm a
Stranger Here Myself." Guardian (London)
(May 31, 2001), p. 27. Review of a project by
Nicky Bird inspired by Cameron, using
relatives of the original sitters and retaking
photographs at the same sites.
Nunn 2001
Nunn, Pamela Gerish. "Aspirations in the
Henhouse." In Tracing Echoes, by Nicky
Bird, pp. 7-14. Leeds: Wild Pansy Press,
University of Leeds, 2001.
Turley 2001
Turley, Raymond V. Isle of Wight Photographers 1840-1940. Southampton, England:
Beaumont 2002
Beaumont, John. "Charles Hay Cameron
(1795-1880): Benthamite Jurist." Freshwater,
Isle of Wight: Julia Margaret Cameron
Research Group, 2002.
Orange 2002
Orange, Sir Hugh. "The Chevalier de 1'Etang (1757-1840) and His Descendants the
Patties." Revised, edited, and recast by John
Beaumont. Freshwater, Isle of Wight: Julia
Margaret Cameron Research Group, 2002.
Selected References
537
Selected Exhibitions
nologically. Information is provided, when known or applicable, in the following order: solo (S) or group (G)
exhibition; exhibition title; sponsoring institution; exhibition dates; number of exhibited Cameron photographs;
titles of the photographs as given in exhibition catalogues,
1864
(G) Photographic Society - Exhibition of
Photographs Tenth Year
Photographic Society of London
(May-August 1864)
5 Cameron photographs:
Holman Hunt, Esq., R.A.; Study from
Life; G. F. Watts, Esq.; Henry Taylor,
Author of Philip Von Artevelde; [Unidentified portrait]
See Athenaeum 18640, British Journal
of Photography 1864, Photographic Journal
i864a, and Photographic News 1864.
(G) Ninth Annual Exhibition of the Photographic Society of Scotland: 1864-1865
Photographic Society of Scotland, Edinburgh
(December 1864-March 1865)
23 Cameron photographs:
Peace (two versions); Alice; The Ladies
Adeline &, Isobel Sommers; Portrait of
G. F. Watts, Esq.; Portrait of Alfred
Tennyson, Esq.; Portrait of W Holman
Hunt, Esq. (two versions); Meekness;
Love; St. Agnes; Temperance; Gentleness;
Portrait of Henry Taylor (two versions);
Longsuffering; Hope; Joy; Portrait of
James Spedding; Portrait of Henry Halford Vaughan; Goodness; Faith; Patience
Cameron won an honorable mention for
her portraits.
See Photographic Journal i865b and Photographic News i865a.
538
1865
(S)
P. &, D. Colnaghi and Company, London
(July 1865)
28 Cameron photographs:
Henry Taylor; G. F. Watts (profile);
Sir Coutts Lindsay; Lady Elcho as a
'Dantesque Vision'; Lady Elcho as the
'Cumean Sybil'; Alfred Tennyson; Robert
Browning; Holman Hunt; J. Spedding;
Lady Adelaide Talbot; Light and Love;
La Madonna Aspettante; La Madonna
Adolorata; Contemplation; Charity; The
Shunamite Woman; Ruth; Double Star;
The Recording Angel; The Infant Samuel;
Paul and Virginia; Grace Through Love;
La Madonna Reposata; Blessing and
Blessed; La Madonna Ricordanza;
Yes or No; Maud by Moonlight; Sadness
See Illustrated London News :865b.
(S)
South Kensington Museum, London
(September-November 1865)
Unknown number of recently acquired
Cameron photographs displayed.
See Wall 1865.
(S)
French Gallery, Pall Mall, London
(November 1865)
Approximately 151 Cameron photographs:
1866
(G) Exhibition Soiree of the Photographic
Society of London
1867
(G) Paris Universal Exposition, 1867.
Group II. Agriculture and Industry. Class 9.
Photographic Prints and Equipment.
Palace of the Champs de Mars, Paris
(May-October 1867)
3 Cameron photographs:
Sir John Herschel; Henry Taylor;
Sir David Brewster
See Illustrated London News i867a and
Photographic News i867a and i867d.
1868
(S)
German Gallery, London
(January-February 1868)
Approximately 235 Cameron photographs:
Fancy Subjects
Selected Exhibitions
539
Browning; Robert Browning, with Genuine Autograph; Henry Taylor (Life Size);
Henry Taylor in Arab Dress; Henry
Taylor (First Series, 12 Various Views);
Carlyle (Life Size); Carlyle (Profile);
G. F. Watts, R.A., 3/4 Face; G. F Watts,
R.A., Profile; G. F Watts, R.A., with
Hat; Professor Jowett; James Spedding;
Late Gov. Eyre; H. T. Prinsep; Valentine
Prinsep; W. M. Rossetti; Sir John Herschel, Life Size; Sir John Herschel, with
Genuine Autograph; Sir John Herschel,
with Cap; Honble. Frank Charteris; Honble. G. Howard; Adolphus Liddell;
Anthony Trolloppe; Lionel Tennyson;
Harry Cotton; Dean of St. Paul's; Dean
of Christ Church (Liddell); Henry Halford Vaughan; Rev. F Paul; Lord Morley
and Rev. W Awdry; Sir Coutts Lindsay
(various); William Holman Hunt (in
Eastern Dress); Eugene Cameron, R.A.;
Charlie Hay Cameron (various); Charlie
Hay Cameron (Senior); Ewen Hay Cameron; Hardinge Hay Cameron; Henry
Herschel Hay Cameron; Mrs. Herbert
Fisher (various); Mrs. Herbert Duckworth; Lady Adelaide Talbot; Lady Elcho
(as Dantesque Vision); Miss Philippa
Wodehouse; Miss Cyllena Wilson
(Profile); Miss Kate du Bois; Miss May
Prinsep; Miss Frances Hopekirk; Miss
Christina Tytler; Col. And Honble.
Mrs. Lloyd Lindsay; Miss Minnie Thackeray; Miss Charlotte Norman; Miss
Maria Pears; Miss Alice du Cane; Miss
Gladstone; Miss Fanny St. John; Monsieur Jacques Blumenthal; Alfred Tennyson and His Two Sons; H. J. S. Cotton
as King Cophetua
Series of Twelve Life-Sized Heads of Fancy
Subjects
Freddy (Four Versions); Freddy, God
of Love; Katie, Eyes Down; Katie, Eyes
Flashing; Alice; Alice, Larger Than
Life; Lizzie, Hands Clasped; Beatrice,
Eyes Down; Beatrice, Eyes Open
[Handwritten Titles Cameron Added
to the Catalogue List]
Cyllena, a Study; Mary; Grief; La Madonna Purissima; Two Lilies, May and
a Lily; Juliet Alone; Mary Ryan; Irish
Mary; La Penserosa; The Maid of Athens;
The Infant Bridal; The Infant Samuel;
Daisy; Egeria; The Maid of Astolat;
Piety; My Treasure; May Day; The
Rosebud Garden of Girls; The Rosebud
Garden of Girls (other version); La
Madonna della Ricordanza; The Infant
St. John; Mary, a Study with Lily;
The Apple of Concord; The Appearance;
A. Tennyson [illeg.]; [illeg.] and Child;
Henry Taylor, 2 copies on small mounts;
Alfred Tennyson with his sons; Longfellow
full face; Longfellow, profile, genuine
written auto [graph]; Joachim, Two
540
JULIA MARGARET
CAMERON
(Summer 1871)
9 Cameron photographs:
Guardian Angel; Alfred Tennyson;
H. H. H. Cameron; C. Darwin; The
Echo; Sir John Herschel; Lady Florence
Anson; The Rosebud Garden of Girls;
Kiss of Peace
See British Journal of Photography i8/ia and
Photographic News 18710.
(G) Sixteenth Annual Exhibition of the
Photographic Society
Photographic Society of London, Conduit
Street Gallery
(November-December 1871)
Unknown number of Cameron photographs,
including i porcelain reproduction.
See British Journal of Photography i87ib,
Photographic Journal 1871, and Photographic
News i8/ia and 18710.
1872
(G) London International Exhibition
(April-September 1872)
5 Cameron photographs:
Two Angels at the Sepulchre; May Prinsep as Christabel (porcelain reproduction
in a carved box frame); Beatrice Cenci
(porcelain reproduction in a carved frame);
The Dream (porcelain reproduction);
Photograph from the Life
See British Journal of Photography :872a and
i872b.
1873
(G) International Exhibition, South
Kensington, England
(1873)
15 Cameron photographs ("large head
portraits").
See British Journal of Photography i873d
and Photographic News 1873.
(G) Un i versa! Exhib itio n, Gro up XII,
Graphic Arts and Industrial Drawing, Section j
Vienna Photographic Society
(July 1873)
5 Cameron photographs:
Herschel (see fig. 98); Ceres; Darwin
(two portraits); Venus Chiding Cupid
Cameron won a medal for "Good Taste" in
"Artistic Studies."
See British Journal of Photography 18736.
(G) Eighteenth Annual Exhibition of the
Photographic Society
Photographic Society of London
(October-November 1873)
5 Cameron photographs:
Sir Henry Taylor; The Stray Cupid;
Sir John Herschel; Judith; Gretchen
An unknown number of photographs by
Henry Herschel Hay Cameron were also
exhibited.
1889
(S)
Camera Gallery, 106 New Bond Street,
London
(April 1889)
Unknown number of Cameron photographs;
exhibition likely organized by Henry Herschel Hay Cameron. First publication of her
autobiographical Annals of My Glass House.
1890
1874
(G) Nineteenth Annual Exhibition
of the Photographic Society
Photographic Society of Great Britain,
Suffolk Street Gallery, Pall Mall,
London
(October-November 5, 1874)
4 Cameron photographs:
Kiss Me Mama; A Portrait of Lady Hood
and Her Daughter Mabel; Miss Isabel
Batemen as 'Urania'; Queen Henrietta
Marie with her Children
See British Journal of Photography i874a
and i874b.
1876
(G) Centennial Exhibition, Philadelphia
(May-September 1876)
Unknown number of Cameron photographs,
one of which won a medal.
See British Journal of Photography :876a,
Harper's Weekly 1877, and Philadelphia
Photographer 1877.
(G) Annual Exhibition of the Photographic
Society of Great Britain
Photographic Society of Great Britain,
London
(September-November 1876)
The Autotype Company displayed an
unknown number of carbon prints of Cameron's photographs on Arthurian subjects.
See British Journal of Photography i876b.
1894
(G) Premiere Exposition d'art photographique
Photo Club de Paris, Galleries George Petit
(January 10-30, 1894)
Unknown number of Cameron photographs;
an unknown number of photographs by
Henry Herschel Hay Cameron were also
exhibited.
1895
(G) Salon Photographique, Cerle Artistique
et Litteraire, Brussels
(1895)
Unknown number of Cameron
photographs; an unknown number of photographs by Henry Herschel Hay Cameron
were also exhibited.
1899
(S)
Photo Club, Vienna
Unknown number of Cameron photographs.
1904
(S) Exhibition of Photographs by Julia
Margaret Cameron
The Serendipity Gallery, 118, Westbourne
Grove, London
(June 23-July 31, 1904)
50 Cameron photographs.
See Evans 1904 and Meynell 1904.
1905
(G) Siebenten Austellung
Wiener Photo Club, Vienna
(April 15-May 21, 1905)
Unknown number of Cameron photographs.
Selected Exhibitions
541
1906
1933
1908
1909
(S)
1914
(G) Fifty-Ninth Annual Exhibition of the
Royal Photographic Society of Great Eritain
Royal Society of British Artists, Haymarket,
London
(August 1914)
6 Cameron photographs:
Sir John Herschel; Florence; Sir Joseph
Hooker; The Kiss of Peace; The Wild
Flowers; The Mountain Nymph Sweet
Liberty
1915
(G) Old Masters of Photography
Albright Art Gallery, Buffalo, New York
(January 20-February 28, 1915)
Unknown number of Cameron photographs.
See Coburn 1915.
1916
(G) Old Masters
Hammersmith House Photographic Society,
London
(October 1916)
Unknown number of Cameron photographs
(platinum prints made by Alvin Langdon
Coburn).
1927
(G) Photographs by Julia Margaret Cameron
Royal Photographic Society of Great Britain,
London
(July 4-August 12, 1927)
120 Cameron photographs.
542
JULIA MARGARET
CAMERON
(i933)
Unknown number of Cameron photographs.
1939
1942
(G) New Acquisitions: Photographs
Museum of Modern Art, New York
(January 13-February 15, 1942)
2 Cameron photographs:
Thomas Carlyle; Herschel
1943
(S) Photographs by Julia Margaret Cameron
Museum of Fine Arts, Boston
(January 13-March 12, 1943)
Unknown number of Cameron photographs,
likely drawn from a group of 43 works
donated by Mrs. J. D. Cameron Bradley in
1942.
1949
(G) Roots of Photography: Hill, Adamson,
Cameron
Museum of Modern Art, New York
(April 27-July 24, 1949)
31 Cameron photographs:
A. H. Layard; Henry Taylor; Mary
Mother; Herr Joachim; Henry Wadsworth
Longfellow; Christabel; The Kiss of
Peace; Miss Leslie Stephen; Rachel and
Laura; Maud; Alfred Lord Tennyson
(4 portraits); Sir J. F. W Herschel (4 portraits); Thomas Carlyle; Rosalba; Dora;
From Life; The Maid of Athens; The
Mountain Nymph - Sweet Liberty; Ellen
Terry at Age of 16; The Original Alice
of Wonderland, Alice Liddell; La Morte
d' Arthur; Rosebud Garden of Girls;
1951
(G) Masterpieces of Victorian Photography
Victoria and Albert Museum, London
(May i-October i, 1951)
Unknown number of Cameron photographs.
See Gernsheim 1951.
1960
(S) Julia Margaret Cameron
Limelight Gallery, New York
(December 16, 19 60-January 31, 1961)
Unknown number of Cameron photographs.
1964
(G) The Photographers Eye
Museum of Modern Art, New York
(May 27~August 23, 1964)
2 Cameron photographs:
Portrait of Thomas Carlyle; Casseopeia
(G) Some Nineteenth-Century Photographers
Allen R. Hite Art Institute, University of
Kentucky, Lexington
(1964)
Unknown number of Cameron photographs.
1967
(S) Julia Margaret Cameron
Robert Schoelkopf Gallery, New York
(November 28, i967~January 6, 1968)
45 Cameron photographs.
1968
(G) Victorias World: A Photographic
Portrait Drawn from the Gernsheim Collection
Austin Art Museum of the University
of Texas at Austin
(September 22-November 3, 1968)
6 Cameron photographs.
1971
(S) Julia Margaret Cameron
Leighton House, London
(March 8 -April 17, 1971)
84 Cameron photographs.
1972
(G) 'From Today Painting is Dead' The
Beginnings of Photography
Arts Council Tour/Victoria and Albert
Museum, London
(March 16 -May 14, 1972)
9 Cameron photographs:
Robert Browning; A. H. Layard; Alfred
Lord Tennyson, 1869; Alfred Lord
1978
(S) Julia Margaret Cameron
Thackrey & Robertson, San Francisco
(September i2-October 12, 1978)
40 Cameron photographs.
1979
(S) Julia Margaret Cameron: A Centennial
Exhibition
Newberger Museum, State University
of New York College at Purchase
(January 28 -March 18, 1979)
40 Cameron photographs.
(G) Cameron to Weston: Photographs from
the Collection
Art Institute of Chicago
(April 2 -June 10, 1979)
Unknown number of Cameron photographs.
1980
(G) Old and Modern Masters of Photography:
An Exhibition of Photographs Selected from the
Collection of the Victoria and Albert Museum
Arts Council Tour
(February 9, 1980-October 4, 1981)
3 Cameron photographs:
Sir John Herschel; The Dream (Miss
Mary Hillier); Sappho (Miss Mary
Hillier)
(S) Hommage de Julia Margaret Cameron a
Victor Hugo
Musee Victor Hugo, Paris
(November 6-December 31, 1980)
28 Cameron photographs.
See Bruson 1980.
1983
(1983)
i Cameron photograph:
Circe
1985
(S) Julia Margaret Cameron 1815-1879
Institute Nazionale per la Grafica, Rome
(April ii-May 17, 1985)
Approximately 140 Cameron photographs.
The exhibition was part of a tour organized
by the British Council, which also included
the Juan March Foundation, Madrid;
the Landesmuseum, Bonn; and the
Centre National de la Photographic, Paris.
See Weaver and Miraglia 1985.
(S) Julia Margaret Cameron in Context
International Center of Photography,
New York
(June 14-July 28, 1985)
Unknown number of Cameron photographs.
See Edwards 1985.
1984
(S) Julia Margaret Cameron in Context
Arts Council Tour/British Council Tour
(March-September 1984/September 1984June 1985)
18 Cameron photographs:
Hypatia; Lady Adelaide Talbot as
Nun; Goodness; Fervent in Prayer; The
Shadow of the Cross; Paul and Virginia;
The Return After Three Days; Spring;
Tennyson with Cap; The Five Wise
Virgins; Juliet and the Friar; Angel at the
Sepulchre; A Vestal; Sappho; Saint
Agnes, Eyes Open; Child's Head; Lady
Elcho as the Cumean Sibyl; Child's Head
(S) Photographs by Julia Margaret Cameron
Art Institute of Chicago
(May 5-July 8,1984)
Unknown number of Cameron photographs.
(G) The Golden Age of British Photography,
1839-1900
Victoria and Albert Museum, London
(June 6-August 19, 1984)
13 Cameron photographs:
loland and Floss; Whisper of the Muse
(G. F. Watts); Return After Three Days;
Portrait of Robert Browning; Henry
Herschel Hay Cameron; Portrait of Mary
Hillier; Julia Jackson; Woman in Costume
(possibly Julia Jackson); Portrait of the
Rt. Hon. Sir Austen Henry Layard;
Portrait of Alfred Lord Tennyson; May
Day; The Dream; Christabel (Portrait
of May Prinsep)
(S) Julia Margaret Cameron 1815-1879
Southampton University, John Hansard
Gallery, Southampton, England
(March 7~April 28, 1984)
1986
(S) Cameron: Her Work and Career
George Eastman House, Rochester,
New York
(April n-May 25, 1986)
121 Cameron photographs (including 10 platinum prints made by Alvin Langdon Coburn).
See Lukitsh 1986.
(S) Paolo Gioli: Hommage to Julia Margaret
Cameron
George Eastman House, Rochester,
New York
(May 6-June 15, 1986)
i photograph by Gioli after a photograph by
Cameron.
(S) Whisper of the Muse: The Work of Julia
Margaret Cameron
J. Paul Getty Museum, Malibu, California
(September 10-November 16,1986)
40 Cameron photographs, 2 books with
original Cameron photographs (Idylls
of the King, vols. i and 2), and 141 Cameron
photographs from the Lindsay Album.
See Weaver 1986.
(S) TheJ. Paul Getty Museum's Overstone
Album
Loyola Marymount University,
Laband Art Gallery, Los Angeles
(September i2-November 2, 1986)
in Cameron photographs from the
Overstone Album.
See Weaver 1986.
(G) Photographs from Special Collections,
University Research Library, UCLA
University of California, Los Angeles,
Wight Art Gallery
(September 23-November 2, 1986)
Selected Exhibitions
543
544
Title Index
A
Acting Grandmama (405)
Acting the Lily Maid of Astolat (1168)
[Adeline and Margaret Norman] (1009), 72
[Adeline Grace Clogstoun] (934), 70
[Adeline Grace Clogstoun] (936), 70-71
[Adeline Norman] (992)
[Adeline Norman] (993)
[Adeline Norman] (994)
[Adeline Somers-Cocks] (1016)
Adolphus Liddell (704)
Affianced, The (1105)
After Perugino 1 The Annunciation (113), 130
after the manner of Perugino (in), 130
Aged 94 Taken on the Anniversary of her
72d Wedding day (229)
[Agnes Grace Weld] (1048)
[Agnes Grace Weld] (1049)
[Alethea] (348), 175-76
[Alethea] (349), 175-76
Alfred Tennyson (796), 84, 467
Alfred Tennyson (805)
Alfred Tennyson (807), 84
A[lfred]. Tennyson (793)
A[lfred]. Tennyson (794)
A[lfred], Tennyson (795)
CAT. N O S .
1-34
35-168
169-582
583-857
858-1062
1063-156
1157-96
1197-222
9 8 > 374
A[nne]. Thackeray (500), 85, 175
A[nne]. T[hackeray]. (501), 175
[Anne Thackeray (?)] (502), 175
[Annie Chinery] (189), 85
[Annie Chinery] (190), 85
[Annie Chinery] (191), 85
[Annie Chinery Cameron] (194)
[Annie Chinery Cameron] (195)
[Annie Chinery Cameron] (197)
[Annie Chinery Cameron] (206)
[Annie Chinery Cameron] (207)
[Annie Chinery Cameron] (208)
[Annie Chinery Cameron] (209)
Annie Hill (235)
Annie Lee (907), 373
Annie Philpot (3), 7, 24, 51, 102, in, 373
Annie [Philpot] (i), 7, 24, 51, 75 (nn. 59, 61),
95. in, 113, 373
[Annie Philpot] (2), 7, 24, 51, 102, in, 373
545
B
Baby Blossom (878), 64-65, 374
Baby Tictet' (1012)
Bacchante, A (512)
Balaustion (202)
[Balaustion] (203)
[Bathsheba Brought to King David] (166),
3, 76 (n. 74), 139
Beatrice (406), 34, 374 (n. 3)
Beatrice (407), 34
Beatrice (408), 34, 86
Beatrice Cameron (928)
beauty of Holiness, The (884), 64-65, 374
bereaved Babes, The (869)
[Blanche Vere Guest] (230)
Blessing and Blessed (56)
Boadicea (521)
Boaz and Ruth (163)
Bride of Abydos, The (1138)
Browning's Sordello (1108), 434
c
[Call I Follow, I Follow. Let Me Die] (257)
[Captain Speedy (Basha Felika)] (1116), 26,
434
[Caroline Emilia Mary Herschel] (231), 78
(n. 135)
Carry Herschel (232), 78 (n. 135)
Cassiopeia (339), 3
[Cecelia Tennyson] (1018)
[Cecelia Tennyson] (1023)
[Cecelia Tennyson] (1024)
Cecy 1 A Study (1022)
Ceres (350), 175-76
[Charles and Margaret Norman] (1008), 72,
374
Ch[arles]. Darwin (645), 26, 55, 78 (n. 139)
Ch[arles]. Darwin (646), 26, 78 (n. 139)
[Charles Darwin] (644), 26, 78 (n. 139)
546
D
Daisy (5), 103, in, 114, 373
[Daisy Taylor (?)] (897), 98, 374
[Daniel Gurney] (671)
Daphne (389)
d'Apres Nature (84)
darling of Freshwater, The (929)
Daughters of Jerusalem (142)
[Daughters of Jerusalem] (144)
[Daughters of Jerusalem] (145), 54~55
[Daughters of Jerusalem and Child] (143), 54
[Day Dream, The] (261)
Days at Freshwater (924), 379
[Days at Freshwater] (925)
Day-Spring, The (129), 130
Dean [Henry George] Liddell (706)
Dean of St. Paul's (838)
Decidedly Pre-Raphaelite (141)
Dedication, The (185), 85
Dejatch Alamayou (1121), 26, 78, (n. 150), 434
Dejatch Alamayou & Basha Felika 1
King Theodore's Son 6c Captain Speedy
(1114), 26, 40, 78 (n. 150), 434
[Dejatch Alamayou & Basha Felika 1
King Theodore's Son & Captain Speedy]
(1118), 26, 78 (n. 150), 434
Dejatch Alamayou &, Basha Felika 1
King Theodore's Son &, Captn Speedy
(1117), 26, 78 (n. 150), 434
Dejatch Alamayou 6c Basha Felika 1
King Theodore's Son [&,] Captn Speedy
(1119), 26, 78 (nn. 140, 150), 434, 500
Dejatch Alamayou 1 King Theodore's Son
(1120), 26, 78 (n. 150), 434
Dejatch Alamayou 1 King Theodore's Son
(1122), 26, 78 (n. 150), 434
[Dejatch Alamayou 1 King Theodore's Son]
(1123), 26, 78 (n. 150), 434
Despair (556)
Devotion (128), 130
Devotion (158), 68, 130
Dialogue, The (1094), 433
disappointment, The (1082), 436
Double Star, The (860), 68
Dr. [Henry] Acland of Oxford (583)
Dream, The (258), 30, 48
E
Echo, The (181), 85, 183
[Echo, The] (183), 182
[Edmond Burrowes] (927), 373
E[dward]. Eyre (661), 67
[Edward Eyre] (662), 67
Egeria (402)
[Egeria] (379)
Elaine (1166)
Elaine (1192)
[Elaine] (1167)
Elaine before the King (1191)
Elaine "the Lily maid of Astolat" (1165)
Eleanor Campbell (180)
[Eleanor Locker] (366)
[Ella Norman] (370)
Emily (941)
[Emily Peacock] (372), 76 (n. 87), 92 (n. 26)
[Emily Peacock] (373)
[Emily Peacock] (377)
[Emily Peacock] (378)
[Emily Peacock] (381)
[Emily Peacock] (383)
[Emily Peacock] (384)
[Emily "Pinkie" Ritchie] (442)
[Emily "Pinkie" Ritchie] (443)
[Emily "Pinkie" Ritchie] (444)
[Emma and May Du Maurier] (213), 31
[Emma, May, and George Du Maurier]
(215), 31
English Blossoms (1055)
Enid (354), 175-76
Enid (1158)
Enid (1159)
[Enid] (1160)
Erasmus Darwin (647), 26
[Erasmus Darwin] (648), 26
Eric (942)
Eric (943)
Ernest and Maggie (944)
Esme Howard (973), 85
[Esme Howard] (974)
[Eugene Hay Cameron] (606)
Ewen Wrottesley Hay Cameron (608), 88
Ewen Wrottesley Hay Cameron (609)
Ewen [Wrottesley Hay Cameron] (607)
[Ewen Wrottesley Hay Cameron] (610)
[Ewen Wrottesley Hay Cameron] (611), 78
(n. 152)
[Ewen Wrottesley Hay Cameron] (612)
[Ewen Wrottesley Hay Cameron] (613), 85
F
Faith (43), 8, 57~59> 129-30
[Fanny St. John] (491)
Farewell (448)
Finding of Moses, The (58)
First Born, The (133)
First Ideas (952)
Fisherman's Farewell, The (1151), 441
[Fisherman's Farewell, The] (1152)
five foolish Virgins, The (123)
five Wise Virgins, The (122)
[Florence Anson] (918), 374
[Florence Anson] (919)
[Florence Anson] (920)
[Florence Anson] (921)
[Florence Anson] (922)
Florence [Fisher] (945)
[Florence Fisher] (947)
[Florence Fisher] (948)
Florence [Fisher] 1 after the manner of the
Old Masters (950)
G
Gardener's Daughter, The (456), 179
Gareth and Lynette (1157)
[Gathering of Natives, Ceylon, A] (1221)
[General Robert Cornelis Napier] (717)
Gentleness (41), 8, 57-59, 129-30
[George and May Du Maurier] (214), 31
G[eorge]. F[rederic]. Watts (826), 61, 85, 87
G[eorge]. F[rederic]. Watts (827)
G[eorge]. F[rederic]. Watts (828), 85
[George Frederick Watts] (829)
[George Howard, 9th Earl of Carlisle] (681)
[George, Jr., Archie, Charlotte, and Adeline
Norman] (1005)
[George Norman, Jr.] (1004)
[George Warde Norman] (725), 48-49
[George Warde Norman] (726)
[George Warde Norman] (727), 74 (n. 43)
[George Warde Norman] (728)
[Girl, Ceylon] (1207)
[Girl, Ceylon] (1208), 485
God of Love, The (879), 64-65, 374
[Good Night] (70)
Goodness (42), 8, 57-59, 129-30
Grace thro' Love (57)
grandmother, The (1073), ix
grandmother, The (1074)
Gretchen (576)
Grief (982), 85
[Group] (4)
[Group] (14)
[Group] (19)
[Group] (26)
[Group] (71)
[Group] (106), 130
[Group] (107), 130
[Group] (108), 130
[Group] (121)
[Group] (204), 85
[Group] (205)
[Group] (322)
[Group] (323)
[Group] (357)
[Group] (503), 175
[Group] (532)
[Group] (533)
[Group] (558)
[Group] (861)
[Group] (871)
[Group] (873)
[Group] (886), 374
[Group] (904), 374
[Group] (910), 373
[Group] (911), 373
[Group] (930)
[Group] (931)
[Group] (959), 85
[Group] (960)
[Group] (961)
[Group] (1021)
[Group] (1050)
[Group] (1051)
[Group] (1063)
[Group] (1072)
[Group] (1075)
[Group] (1076)
[Group] (1077)
[Group] (1080)
[Group] (1109)
[Group] (1112)
[Group] (1113)
[Group] (1135)
[Group] (1139), 10
[Group] (1153)
Group, A (124)
[Group, Ceylon] (1214)
[Group, Ceylon] (1215)
[Group, Ceylon] (1218), 482, 487
[Group, Ceylon] (1219)
group of Kalutara peasants, A (1216), 486
[group of Kalutara peasants, A] (1217)
[Group of Peddlers, Ceylon] (1220), 484
Guardian Angel, The (186), 85
[Guardian Angel, The] (187), 85
[Guardian Angel, The] (188)
[Guinevere] (1172)
Gustave Dore (656)
H
Hallam Tennyson (28), 102
[Hallam Tennyson] (29)
[Hannah de Rothschild] (445)
Hardinge Hay Cameron (614), 50
Hardinge Hay Cameron (616)
[Hardinge Hay Cameron] (615)
[Hardinge Hay Cameron] (618)
[Hardinge Hay Cameron] (619)
[Hardinge Hay Cameron] (620)
[Hatty Campbell] (184), 85
"Have we not heard the Bridegroom is so
sweet !["] (1127)
Title Index
547
548
i
I Promise (978)
I see a hand you cannot see (382)
lago study from an Italian (634), 296
11 Penseroso (494)
11 Penseroso (519)
11 Penseroso (520)
Infant Bridal, The (862), 30, 68, 98, 373
Infant Bridal, The (864), 30, 68, 98, 373
[Infant Bridal, The] (863), 30, 68, 98, 373
Infant Jupiter (894), 374
Infant Jupiter, The (892), 374
[Infant Jupiter, The] (893), 374
Infant Samuel, The (953), 68
Infant Undine, The (976)
[lolande and Floss] (1065), 434
Irish Immigrant, The (453)
Isabel &. Adeline Somers My Sister
Virginia's Children (1015)
Isabel Bateman (176)
[Isabel Bateman] (170)
[Isabel Bateman] (171)
[Isabel Bateman] (172)
[Isabel Bateman] (173)
[Isabel Bateman] (174)
[Isabel Bateman] (175)
[Isabel Bateman] (177)
Isabel Bateman in the character of
Queen Henrietta Maria (1145), 175
[Isabel Somers-Cocks] (458)
[Isabel Somers-Cocks] (1017)
J
Jacques Blumenthal (585)
[James Rogers] (747)
[James Rogers] (748)
[James Rogers] (749)
[James Rogers] (750)
James Spedding (756)
James Spedding (757)
[James Thomas Fields] (663)
[Jane Elizabeth Senior] (457)
Jephthah & his Daughter (168)
J[ohn]. Frederick]. W[illiam]. Herschel
(674), 66, 85, 88, 175, 540-41
J[ohn]. Frederick]. W[illiam]. Herschel
(675), 66, 85, 88, 175
J[ohn]. Frederick]. W[illiam]. Herschel
(676), 66, 175
John Jackson M.D. (689)
[John Jackson M.D.] (690)
[John Jackson M.D.] (691)
John Philip Miles (991)
Jfohn]. Strachan Bridges R.A. (760)
[Joseph Hooker] (680)
[Joseph] Joachim (693), 83, 85
[Joseph Joachim] (694)
Joy (211)
[Joy] (36), 8,57-59, 129-30
[Julia and Charles Norman] (12), 75 (n. 63)
[Julia and Charles Norman] (13)
Julia Herschel (233)
Julia Herschel (234)
[Julia Jackson] (279)
[Julia Jackson] (280)
[Julia Jackson] (281)
[Julia Jackson] (283), 75 (n. 64)
[Julia Jackson] (284)
[Julia Jackson] (285), 75 (n. 64)
[Julia Jackson] (286), 75 (n. 64)
[Julia Jackson] (287), 75 (n. 64)
[Julia Jackson] (288), 75 (n. 64)
[Julia Jackson] (289), 75 (n. 64)
[Julia Jackson] (290)
[Julia Jackson] (291)
[Julia Jackson] (292)
[Julia Jackson] (293)
[Julia Jackson] (294)
[Julia Jackson] (296)
[Julia Jackson] (297), 55
[Julia Jackson] (298), 85
[Julia Jackson] (299)
[Julia Jackson] (300)
[Julia Jackson] (301)
[Julia Jackson] (303), 55, 103
[Julia Jackson] (305), 55, 103
[Julia Jackson] (307), 55, 103
[Julia Jackson] (309), 103
[Julia Jackson] (311), 67, 103, 175
[Julia Jackson] (312), 103, 175
[Julia Jackson] (313), 103, 175
[Julia Jackson] (314), 103, 175
Julia Jackson now Mrs Herbert Duckworth
(295)
K
[Kate Keown] (7)
[Kate Keown] (875), 64-65, 374
[Kate Keown] (876), 64-65, 374
[Kate Keown] (984), 65
[Kate Keown] (986), 85, 376
[Kate Keown] (987)
Katey Keown & her Father (8), 51, 75 (n. 63),
"5
[King Ahasuerus & Queen Esther in
Apocrypha] (167), 74 (n. 49)
King Arthur (1174)
King Cophetua and the Beggar Maid
(1188), 469
[King Cophetua and the Beggar Maid] (1187)
[King Cophetua and the Beggar Maid] (1189)
King Lear allotting his kingdom to his three
daughters (1141)
King Oude by right of birth (729)
Kiss of Peace, The (1129), 8, 77 (n. 103)
[Kiss of Peace, The] (1131)
[Kiss of Peace, The] (1132)
Kiss of Peace No. 2, The (1130)
L
La
La
La
La
Contadina (403)
Donna at her Devotions (473), 85
Madonna (102)
Madonna Adolorata 1 Patient in
Tribulation (48)
La Madonna Aspettante 1 Yet a little while
(50), 86
La Madonna della Pace 1 Perfect in Peace (53)
La Madonna della Ricordanza 1 Kept in the
heart (49)
La Madonna Esaltata 1 Fervent in prayer (54)
La Madonna Purissima (105)
La Madonna Riposata 1 Resting in Hope
(51), 86
La Madonna Riposata 1 Resting in Hope (52)
La Madonna Vigilante (55), 86
La Santa Maria (104)
Lady Adelaide Talbot (492)
Lady Adelaide Talbot (493)
Lady Clara Vere de Vere (337), 3, 175
Lady Clara Vere de Vere (537a)
[Lady Clara Vere de Vere] (338), 3, 175
Lady Elcho 1 A Dantesque Vision (219)
[Lady Elcho 1 A Dantesque Vision] (218)
Lady Elcho as a Cumaean Sibyl (216)
Lady Elcho as the Cumaean Sibyl (217)
Lady Hood (274%)
[Lady Hood] (273)
[Lady Hood] (274)
Lady Hood & her Children (275)
Lady of the Lake, The (260)
[Lancelot and Guinevere] (1171)
Late Sir John Simeon, The (755)
Laura and Rachel [Gurney] (962)
[Laura and Rachel Gurney] (963)
(713)
M
Mabel [Hood] (972)
[Mabel Lowell] (368)
[Mabel Lowell] (369)
Madame Reine (422)
[Madonna] (103)
[Madonna and Child] (16)
[Madonna and Child] (75)
[Madonna and Child] (76)
[Madonna and Child] (78)
[Madonna and Child] (136)
[Madonna and Child] (137)
[Madonna and Two Children] (17)
[Madonna and Two Children] (18), 52, 116
[Madonna and Two Children] (59)
[Madonna and Two Children] (60)
[Madonna and Two Children] (65)
[Madonna and Two Children] (66)
[Madonna and Two Children] (67)
[Madonna and Two Children] (68)
[Madonna and Two Children] (69)
[Madonna and Two Children] (72)
[Madonna and Two Children] (81)
Magdalene [Brookfield] (178)
Magdalene [Brookfield] (179), 178
[Marchioness of Lothian] (367)
[Margaret Norman] (1010), 72
[Margaret Norman] (ion), 72
Margie Thackeray (1042), 85
Margie Thackeray (1044)
[Margie Thackeray], (1043), 85, 374
[Margie Thackeray], (1046)
[Margie Thackeray], (1047)
[Maria "Mia" Jackson] (334)
Mariana (1186), 468
[Marianne North] (1197), 483
[Marianne North] (1198), 483
[Marianne North] (1199), 483
[Marianne North] (1200), 9, 483
Marie Spartali (466), 85
Marie Spartali (477), 85
Marie Spartali (483)
[Marie Spartali] (465)
[Marie Spartali] (472), 85
[Marie Spartali] (474), 85
[Marie Spartali] (475), 85, 88
[Marie Spartali] (476), 85, 88
[Marie Spartali] (478), 85
[Marie Spartali] (479)
[Marie Spartali] (480), 85
[Marie Spartali] (481)
[Marie Spartali] (482)
[Marie Spartali] (484)
[Marie Spartali] (485), 85
Title Index
549
550
ds)
Musing (ii3/a)
My "beggar-maid" now 15! (27), 102, 112
My beloved Son (617)
My cherished little Adeline [Grace
Clogstoun] (932)
My Ewen's Bride (192), 78 (n. 152), 499-500
My Ewen's Bride of the i8th of
November 1869 (193), 78 (n. 152), 85
My Favourite Picture of all my works
My niece Julia [Jackson] (302), 85, 87,
103, 180
my grand child aged 2 years 6c 3 months
(yo)
N
Nativity, The (90)
[Neapolitan, The] (404), 92 (n. 43)
[New Year's Eve] (1179)
Not Sleepy (885), 374
0
"O hark !O hear !["] (1182)
["O hark ! O hear !["]] (1183)
["O hark ! O hear !["]] (1184)
Oenone (541)
Ophelia (212)
Ophelia (387)
Ophelia Study No. 2 (388)
Our Island Daisy (1045)
p
parting of Sir Lancelot and Queen
Guinevere, The (1170), 9, 466
"Passing of King Arthur, The" (1175)
("55)
Prayer (954), 375
Prayer (979)
Prayer and Praise (130), 129, 135
[Princess, The] (1181), 470
Priscilla (1019)
Professor [Benjamin] Jowett (698), vi
[Professor Benjamin Jowett] (699)
Prospero (779), 102
Prospero and Miranda (1093), 74 (n. 37)
[Prospero and Miranda] (1092)
Psyche (249)
Q.
Queen Henrietta Maria and Princess
Elizabeth Daughter of Charles the ist
(1144)
Queen Henrietta Telling Her Children
of the coming fate of their Father King
Charles the First (1143)
[Queen Philippa interceding for the
Burghers of Calais] (1142), 439
R
R. G. Thompson (820)
[R. G. Thompson] (819)
[R. G. Thompson] (821)
Rachel (513)
[Rachel] (514)
[Rachel and Laura Gurney] (964)
[Rachel Gurney] (890), 374
[Rachel Gurney] (891), 374
Rebecca (547)
[Rebecca] (548)
Rebecca at the Well (199)
Recording Angel, The (951)
red & white Roses, The (981), 85
Repose (38), 8, 57-59, 129-30
Return after 3 days, The (148), 137
return from School, The (969)
s
sacred and lovely remains of my little
adopted child Adeline Grace Clogstoun,
The (933), 70
Sadness (496), 175
[Sadness] (497)
Salutation, The (117), 59
[Salutation, The] (118), 59
Salutation, The 1 after the manner of Giotto
(n6), 59
Sappho (253), 74 (n. 49)
[Sappho] (252)
[Sappho] (254)
2 d ' Version of Study after the Elgin Marbles
(mi), 28, 84
2 d ' Version The Dialogue (1095), 433
Seraphim and Cherubim (865)
Shadow of the Cross, The (157), 68, 130
She walks in Beauty (333)
Shepherds Keeping Watch By Night (131)
[Shepherds Keeping Watch By Night] (132)
Shunammite Woman and her dead Son, The
d35), 58
Sibyl, A (539)
[Sibyl, A] (540)
sibyl after the manner of Michelangelo, A
Us)
T
Teachings from the Elgin Marbles (mo),
28, 84
["Tears from the depth of some divine
despair["]] (1185)
Tell me not sweet I am unkinde (1078),
434-35
Tell me not sweet, I am unkinde (1079), 434
Title Index
55i
u
Une Sainte Famille (93)
Une Sainte Famille (95)
[Unknown Boy] (1052)
[Unknown Boy] (1054)
[Unknown Child] (895), 98, 374
[Unknown Girl] (912), 374
[Unknown Girl] (913), 374
[Unknown Girl] (914), 374
[Unknown Girl] (915), 374
[Unknown Girl] (916), 374
[Unknown Girl] (1053)
[Unknown Girl] (1058)
[Unknown Girl] (1059)
[Unknown Girl] (1060)
[Unknown Girl] (1061)
[Unknown Girl] (1062)
[Unknown Man] (835)
[Unknown Man] (836)
[Unknown Man] (839)
[Unknown Man] (840)
[Unknown Man] (841)
[Unknown Man] (842), 300
[Unknown Man] (843)
[Unknown Man] (844)
[Unknown Man] (845)
[Unknown Man] (846)
[Unknown Man] (847)
[Unknown Man] (848), 74 (n. 42), 301
552
V
[Valentine Prinsep] (741)
[Valentine Prinsep] (742)
[Valentine Prinsep] (743)
[Valentine Prinsep] (744)
[Valentine Prinsep] (745)
Vectis (516), 185
Venus Chiding Cupid and Removing His
Wings (903), 374
Vestal, A (245)
Vestal, A (246)
[Vestal, The] (182), 85
w
[Walter Senior] (754)
Wanderer, A 1 after the manner of Leonardo
(447)
Water Babies (867), 76 (n. 73), 372-73
Water Babies, The (866), 373
Water Babies again (868), 373
[Whisper of the Muse, The] (1087), ix
Whisper of the Muse, The 1 Portrait of
Gfeorge]. F[rederic]. Watts (1086),
viii-ix, 61, 438
Wild Flower, The (455), 86-87
[William Bayley] (926), 373
[William Creedly] (642)
W[illia]m. Creedly of Balliol College
Oxford (643)
Wfilliam]. E[dward]. Hfartpole]. Lecky
(702)
[William Edward Hartpole Lecky] (701)
W[illiam]. G[ifford]. Palgrave (733)
W[illiam], H[enry]. Brookfield (586)
[William Henry Brookfield] (587)
W[illia]m Holman Hunt (687), 85
W[illia]m. Holman Hunt (686)
W[illiam]. Holman Hunt (685)
W[illia]m. M[ichael]. Rossetti (752)
W[illia]m. [Michael] Rossetti (751), 74
(n.37)
[Woman, Ceylon]
[Woman, Ceylon]
[Woman, Ceylon]
[Woman, Ceylon]
[Woman, Ceylon]
[Woman, Ceylon]
(1201)
(1202), 484
(1203)
(1204)
(1205)
(1206)
Y
[Yes or No ?] (1081)
Young Astyanax (955), 85
Young [Oscar] Browning (588)
[Young Woman, Ceylon] (1209)
[Young Woman, Ceylon] (1210)
z
Zenobia (544)
Zoe (542)
[Zoe] (543)
Zoe 1 Maid of Athens (392)
Zuleika (201)
[Zuleika] (200)
General Index
Catalogue numbers are in bold. Page numbers followed by the letter t indicate tables.
Italicized page numbers indicate figures.
A
Aberdare, Lord, 62
Acland, Sir Henry (583), 25, 511
Advent (Rossetti), 31
Alamayou, Dejatch, prince of Abyssinia
(1114, 1117-23), 26, ^o, 78 (n. 150), 434,
5> 5n
Albert, prince consort of Britain, 44
albumen paper, 51, 75 (n. 63), 107
albums, 502-5; Cameron's assembly of,
86-88, 95-104, 502; family, 83, 89;
of Idylls illustrations, 90, 90^, 467-68;
miniature, 86-88, 87^, 89^; not compiled by Cameron, 89, 89/5 reduced
prints in, 81. See also specific albums
Alderson, Mary Catherine (186, 1078-79), 511
Aldworth (West Surrey), 22
Alice in Wonderland (^j) , 32
Allegory of Motherhood (Rejlander), 57,57
UAllegro (Milton), 30, 64
Allingham, William, 25-26; on Alamayou,
434; on Cameron, 27, 433; on Swinburne,
31; on Taylor, 25, 28; Tennyson and, 25
Alma-Tadema, Lawrence, 433
ambrotypes, 74 (n. 34)
The Angel in the House (Patmore), 55-56, 76
(n. 87)
Angenaard, Miss, 32, 89^
Angenaard Album, 89 1
Anglicanism, 56
Annals of the Artists of Spain (Stirling), 89
Annals of My Glass House (Cameron), 27,
48, 95, 103, in, 130
Annunciation (Burne-Jones), 67
Anson, Claud (923-25), 511
Anson, Lady Florence (918-25, 1129), 511
Arnold, Matthew (584), 34, 511
art: photographic reproductions of, 83, 496;
vs. science, photography as, 44
Arundel Society, 59, 77 (n. 104), 84, 91 (n. 19)
Athenaeum, 65, 66
autographs, on photographs, 66-67, 7^
(n. 140), 500
Autotype Company, 92 (n. 30), 500-501
B
Balzac, Honore de, 292
Bancroft, Sir Squire, 33, 39 (n. 160)
Bateman, Isabel (170-77, 1143-45), 175, 511
Baudelaire, Charles, 292
Bayley, William (926), 373, 511
Beauty, pursuit of, 19, 175
Becket (Tennyson), 34, 35
Bell, Quentin, 14
Bernardin de Saint-Pierre, Jacques-Henri,
51-52
Blake, William, 30
Blanchard, Valentine, 48
blindstamps, 499-500,500, 501
Blumenthal, Jacques (585), 511
book illustrations, 89-90, 467-68
Box and Cox (Morton), 32, 33
Bradley, Edith, 32, 33
Bradley, George Granville, 30, 32, 34, in
Bradley, Margaret Louisa "Daisy" (5, 1069),
i"> 373> 5n
The Briary (Freshwater), 28
British Museum: Cameron's works in,
58-59, 76 (n. 102), 129; Elgin Marbles
in, 28, 61, 84; photographic reproductions in, 83
Brookfield, Magdalene (178-79), 511
Brookfield, William (586-87), 56, 511
Browning, Oscar (588), 511
Browning, Robert (589-90): biography of,
512; illustrations of writings of, 434;
at Little Holland House, 18, 24; photographs of, 24, 25
Burger, Gottfried August, 29, 29
Burne-Jones, Edward, 18, 67
Burns, Robert, 30
Burrowes, Edmond (927), 373, 512
Burton, Richard, 292
c
cabinet cards: by Cameron, 81, 84-85, 88;
introduction of, 82-83
camera(s): Cameron's first, 24, 45, 95, 101;
carte-de-visite, 84; Dallmeyer, 63; sliding-box, 48
Cameron, Annie Chinery (189-209, 376),
78 (n. 152), 85, 176, 497, 512
Cameron, Archibald (149-61), 68, 87, 130, 512
Cameron, Aubrey, 68
Cameron, Beatrice (928), 69, 512
Cameron, Charles Hay (husband) (33-34,
591-99, 1141, 1163-64, 1190-92): biography of, 512; in Cape Town, 14, 42; career
of, 14-15, 483; in Ceylon, 22, 24, 483;
Ellis' portrait of, 75; health of, 15, 18, 38
(n. 33); illegitimate son of, 15, 16; marriage of, 14-15, 42; photographs of, jo,
85, 88, in, 291, 292, 468; utilitarianism
of, 56; writings of, 29, 53
Cameron, Charles Hay (son) (600-604):
biography of, 512; in Ceylon, 35; copying
by, 84; in Freshwater, 22; photographs
of, 6, 42, 43, 97
Cameron, Donald Hay (929), 512
Cameron, Eugene Hay (605-6): biography
of, 512; in Ceylon, 22; in England,
15-16; photographs of, 85
Cameron, Ewen Wrottesley Hay (607-13,
1142, 1187): biography of, 512; in Ceylon,
22, 35; photographs of, 78 (n. 152), 85,
oo
o
oo, ncjo
553
554
65,83
Colebrooke, William, 14
Coleridge, Samuel Taylor, 30
collodion, 4748, 112
Colnaghi, Dominic, 499
Colnaghi, Paul, 499
Colnaghi gallery: Cameron's relationship
with, 90, 499500; 1865 exhibition at,
26, 499; prices at, 54~55> 499
colonialism, 67, 483
color, 55-56
commercial photography, 44, 82 83
composite printing, 54
Connors, Patrick (635), 512
Copyright Act of 1862, 92 (n. 32), 496
copyrights, 66, 67, 496-97, 497
Cotton, Albert Louis, 86, 87^, 92 (n. 36)
Cotton, Henry John Stedman (636-41,
1105-8), 90, 512-13
Cotton Album, 86, 87^, 92 (n. 36)
Council of Education for Bengal, 15
Coxhead, Mr. (1169), 513
Crashaw, Richard, 30
Creedly, William (642-43), 513
criticism, on Cameron's photography, i, 52,
54,58,75-76 (n. 69)
The Cup (Tennyson), 34
D
Dabbs, Miss, 33
Daguerre, Louis Jacques Mande, 42
Dallmeyer, John Henry, 63
Dalrymple, John Warrender, 17
Dalrymple, Sophia Pattle, 17
Dalrymple, Virginia (459-61), 513
Dance, Charles, 33
Darwin, Charles (644-46): biography of,
513; in Freshwater, 26-27; Longfellow
and, 26, 30; On the Origin of Species, 56;
E
Eardley, Stenton (626), 513
Eastnor, Viscount, 17
Elcho, Lady (216-19), 513
Elcho, Lord (659-60), 25, 59, 77 (n. 105), 513
Elgin Marbles, 28, 61, 84
Eliot, George, 18, 434
Elliott, John Joseph, 83
Ellis, Eden Upton, 15
Emerson, P. H., 74 (n. 37)
Endymion (Keats), 72
enlargement, 84, 91 (n. 20)
An Essay on the Sublime and Beautiful
(Cameron), 53
Etang, Therese de 1', 12
exhibitions, 53844; at Colnaghi gallery
(1865), 26, 499; Dublin International
(1865), 58; at French Gallery (1865),
74 (n. 34); at German Gallery (1868), 2,
56, 67; at Leighton House (1971), i;
London International (1872), 74 (n. 34);
at National Portrait Gallery (1975), 2;
at Photographic Society of Scotland
F
The Farmhouse at Feldhausen (Herschel), 14
Farringford House (Freshwater), 22, 22, 24,
28,30
Feldhausen Claremont (Cape Town), 14, 14
Felika, Basha. See Speedy, Tristram
Fenton, Roger, 83, 499
Fields, James Thomas (663), 84, 496, 499, 514
The First Whisper of Love (Watts), 61-62, 62
Fisher, Arthur Alexander (324-25), 514
Fisher, Florence (322-23, 945-50), 514
Fisher, Herbert Albert Laurens (322-23), 514
Fisher, Herbert William (325, 664-67), 514
Fisher, Mary (220-23), 514
Fitzpatrick, Kathleen, 17
Fonblanque, Louise Beatrice de (224-27),
83, 5H
Franklin, Colonel (668), 514
Franklin, Rosamond (917), 514
Fraser-Tytler, Christiana (228, 1124-26), 514
Fraser-Tytler, Ethel (1124-26), 514
Fraser-Tytler, Mary (1124-25), 514
Fraser-Tytler, Nelly (1124-26), 514
Freshwater, 21-33; Camerons in, 21-33, 44;
literary discussions at, 2930; music in,
32; photographs taken at, 24 28;
Tennysons in, n, 21-23, 22, 26-27, 44;
theater in, 32-34; visitors to, n, 22 23,
2628, 42
Freshwater (Woolf ), n
Fry, Clarence .,83
Fry, Roger, i, 5, 291, 433
Fuller, Hester Thackeray, 27
G
Garibaldi, Guiseppe, 25, 292
Garing, "Di" (Vivian), 89, 89^
Garing Album, 89, 89, 89^
gender roles, Victorian, 57, 7172, 79 (n. 172)
George III, king of Britain, 13
German Gallery, 1868 exhibition at, 2, 3,
56,67
Gernsheim, Helmut, i, 2, 291, 433
Gilbert, W. S., 32
Giotto di Bondone, 59, 59, 77 (n. 104)
Gladstone, W. E., 18
Gosse, Sir Edmund, 23
Gould, Freddy (20-23, 38, 50, 56-57, 67, 7678, 82, 91-95, 134, 148, 862-65, 870-74,
879-84, 951-61, 1076-77, 1096-97): biography of, 514; photographs of, 64, 68,
85> II2 > 373
Gozzoli, Benozzo, 65
Grant, Sir Alexander (669-70), 496-97, 514
Granville, Lord, 25
Gray, Thomas, 30
Grove, George, 32
Groves, Sarah (229, 1073-74), 514
Guest, Blanche Vere (230), 514
Gurney, Daniel (671), 514
Gurney, Laura (885-89, 904, 962-65), 373, 514
Gurney, Rachel (885-86, 890-91, 904, 96266, 1143), 373, 514
H
Halle, Charles, 18
Haman, Henry (908, 910-11), 514
Hardinge, Lord Henry, 15
Hardinge, Mrs. (1170, 1172-73, 1190-91,
"93-94), 5J4
Harold (Tennyson), 35
Harry Ransom Humanities Research
Center, 506-7
Hatherly, Lord (672-73), 514
Hawkins, Caroline (1068-69), 5T4
Helping Hands (play), 32 33, jj
Henry, Isabella Somerset, Lady, 17
Henry Irving as Becket (Cameron), 35, 35
Her Tears (Crashaw), 30
Herbert, Louisa, 39 (n. 159)
hero worship, 66
Herschel, Caroline Emilia Mary (231-32),
5*4 -15
Herschel, Sir John (674-77), 13; album for,
1-2, 433, 503; biography of, 515; on
Cameron's style, 64; in Cape Town, 14,
14', career of, 1314; friendship with
Camerons, 14, 15; introduction to photography by, 14, 42; at Little Holland
House, 18; photographs of, 66, 85, 87,
88, 98, 175, 496, 500; on potassiumcyanide fixer, 74 (n. 39)
Herschel, Julia (233-34), 15, 515
Herschel, Margaret, 42
Herschel, Sir William, 13
Herschel Album, 1-2, 433, 503
Hiawatha (Longfellow), 30
Hichens, Andrew (678-79, 1157), 31, 515
Hichens, May. See Prinsep, May
Hill, Annie (235), 515
Hillier, Mary (17-18, 26, 35-54, 56-69, 75, 77,
79-84, 91-95, 97-101, 104-9, 5-25> I27~
29, 134, 136-48, 154-58, 160, 166, 236-72,
903-4, 1064-67, 1070-71, 1076-77, 1081,
1084-85, 1089-91, 1094-95, 1097-98,
iiio-ii, 1113, 1127-32, 1135, 1154-56, 1169,
1181, 1193-95): biography of, 515; photographs of, 4, 28, 50, 50, 52, 57-60,
57-60, 66, 68, 75 (n. 57), 111-12, 130, 176,
496; Watts on, 4
The History of Our Lord as Exemplified in
Works of Art (Jameson), 56-57, 68, 373
Holland, Caroline, 19
Holland, Henry (967-70), 515
Holland, Henry Edward Fox, Lord, 18, 19,
61
Holland, Lionel (967-69, 971), 515
Hood, Lady (273-75), 515
Hood, Mabel (275, 902, 972), 515
i
Id on Parle Francais (Williams), 33
Idylls of the King (Tennyson), 27, 35, 83, 90,
467-68
Illustrated London News, 46
illustrations: for books, 89 90, 467-68; of
literature, 43334
Illustrations by Julia Margaret Cameron of
Alfred Tennysons Idylls of the King and
Other Poems: Miniature Edition, 90, 90^
India, Cameron in, 12-16
Indian Law Commission, 14-15
Indian Penal Code, 15
The Infant Bridal (de Vere), 30, 68
inscriptions, 107, 112, 498, 498-99, 499
International Exhibition (1862), 44
Irish & Isle of Wight peasants (Rejlander),
702, 102-3
Irvine, Mrs., 19
Irving, Sir Henry, 21, 34~35> J5> X75
Isaacson, J. (688), 56, 515
Isle of Wight. See Freshwater
J
Jackson, John (689-91), 515
Jackson, Maria (Mia) Pattle (334): album
for, 45, 96, 961, 101, 101, 702, 103, 105
(n. 7), 502-3; biography of, 515;
on Cameron, 71; Thackeray and, 13
Jackson Duckworth, Julia (14, 279-323, 32633): biography of, 515; on Cameron's
poetry, 28-29; marriage of, 67; photographs of, 4, 55, 67-68, 75 (n. 64), 85,
86, 86-87, /02, 103, 175
Jamaica, 67
James, Henry, 18
James, Lord Justice (692), 497, 515
James, Mary Jacqueline (278), 515
Jameson, Anna, 5657, 68, 12930, /jo, 373
JMC to GFW Album, 96, 96^, 702, 103,
70J, 104
General Index
555
K
Keats, John, 29, 30, 72
Keene, Mrs. (335-42, 1112), 175, 516
Kellaway, Mary (70-74, 116-25, 13^~40, 14248, 167, 1063, 1066-67, 1081-82), 59, 60,
in-12, 516
Keown, Alice (6, 18, 35, 39, 40-45* 49> 55>
59-66, 68-69, 7I~72 79"~8i, 83-84, 88-90,
134, 138-40, 146-47, 858-60, 865-69, 878,
975, 1084-85, 1173), 57, 112, 373, 516
Keown, Elizabeth (4, 17-18, 20- 23, 35, 37,
39, 41, 43'45> 48, 59-fo, 65-70, 72-75, 79,
81, 86-87, IQ6-8, no, 113-14, 130-32, 14647, 858-60, 862-73, 961, 976-81, 1070-71,
1077, 1084-87, 1096, 1099, 1101-2, 113031, 1133): biography of, 516; photographs
of, 57, 64, 85, 112, 373
Keown, Kate (7-8, 875-76, 907, 961, 981-90,
1086-87, I097> I0 99> 1101-4, 1135, 114650): biography of, 516; photographs of,
34, 51, 64, 65, 65, 85, 112, 373
Keown, Percy (19, 46-47, 51-54, 70-71, 88-90,
126-33, J35-37> J43> 145-46, 162), 373, 516
Keown, Thomas, (8), 516
Kingsley, Charles, 373
Knight, Edmund (1154-55), 516
L
Landseer, Edwin, 433
Lansdowne, Henry Petty- Fitzmaurice,
Lord, 17, 96^, 97
Lansdowne Album, 96^, 97-98
Layard, Sir Austen Henry (700), 77 (n.
104), 89, 89, 516
Layard, Lady Enid (343), 89, 89, 516
Lear, Edward, 21, 26
Lecky, William Edward Hartpole (701-2),
516
556
M
Macaulay, Lord, 14-15
Maclise, Daniel, 29, 29, 467
Macmillans Magazine, 29, 35, 39 (n. 131), 55, 66
Macready, William, 34
MacTier Album, 105 (n. 8)
Madonna. See Mary
Mangles, Agnes (1163-64, 1186), 517
Marlowe, Christopher, 29
Marx, Karl, 292
Mary, Mother of Christ, 50, 50, 52, 59, 59,
68, 112, 130
Maud (Tennyson), 22
Mayall, John Jabez Edwin, 82, 82, 83
Mayhew, Henry, 71
men, Cameron's photographs of, 24 26,
66-67, 85> i75> 291-92, 496
Metropolitan Museum of Art, 507
Mia Album, 96, 96^, 101, 101, 102, 103, 105
(n. 7), 502-3
Miles, John Philip (991), 517
Mill, John Stuart, 67
Milman, Henry Hart (838), 517
Milton, John, 29, 30, 64
Miss Hood (Silvy), 83
Mitchell, John, 500
Monnington, Thomas Pateshall (715), 517
Montague, Emmeline, 34
Morley, Lord (716), 517
Morris, William, 26
Morton, John Maddison, 32
Mundy, Nellie, 86
Mundy Album, 86, 87^, 92 (n. 36)
Murray Album, 87, 87*
N
Nadar, 291
Napier, Robert Cornelis (717), 517
o
0 Mistress Mine (Sullivan), 32
O'Connor, V. C. Scott, 37
The Old Curiosity Shop (Dickens), 70
Old Kensington (Ritchie), 19
On Heroes, Hero-Worship and the Heroic in
History (Carlyle), 66
On His Deceased Wife (Milton), 30
On the Origin of Species (Darwin), 56
On a Portrait (Cameron), 29, 35
On Receiving a Copy of Arthur dough's
Poems at FreshWater Bay (Cameron), 31
Oude, King (729), 517
Overstone, Lord (730-32), 25, 59, 77 (n.
105), 496, 517
Overstone Album, 2, 2, 103, 5034, 50^
The Oxford Book of English Verse, 30
Oxford University, 25
p
Palgrave, William Gifford (733), 518
paper, albumen, 51, 75 (n. 63), 107
Parry, Clinton (734), 518
Patmore, Coventry, 55-56, 66, 76 (n. 87)
Patti, Adelina, 18
Pattle, Adeline. See Clogstoun, Adeline
Pattle, Adeline 1'Etang, 12, 16
Philpot, Hamlet, in
Philpot, William Benjamin, 24, 30-31
18, 61
Prinsep, Valentine (741-45): biography of,
518; Cole and, 24; Du Maurier and, 18;
photographs of, 98, 98
prints: carbon, 92 (n. 30), 500-501; composite, 54; copying of, 83-84; from
others' negatives, 1013; production
technique for, 47; reduced-format,
83-86, 91; reversal of negative for, 55;
small-format, 81-91
Punch (magazine), 31
Q.
Queen Mary (Tennyson), 34-35
Queen Victoria (Mayall), 82, 82
R
Raphael, 57, 60, 60, 65, 130
Read, Mr. (1170), 518
reduced-format prints, 83-86, 91
Rejlander, Oscar Gustave: Cameron photographed by, 7, 45, 45; Cameron's collaboration with, 102-3, ^024; Cameron's prints of negatives of, 101, 101-3;
in Freshwater, 44; mother-and-child
photos by, 57, 57; photographic style of,
34, 44-45; sketches by, 76 (n. 81); Taylor
photographed by, yy-ioi, 101-2;
Tennysons photographed by, 22
religious photographs, 56-60, 85-86, 129-30
Reni, Guido, 57
reproductions, photographic, of art, 83, 496
Ritchie, Anne Thackeray (500-3): album
for, 468, 504; biography of, 520; on
Cameron's correspondence, 12; on Cameron's personality, 13, 41; on Cameron's
work habits, 4; on cartes-de-visite, 44;
Cole and, 24; on Farringford, 22; on
finances of Camerons, 15; in Freshwater,
23, 27; on Irving, 35; at Little Holland
House, 19; Old Kensington, 19; on Pattle
sisters, 19; photographs of, 85, 175, 497,
500
Ritchie, Emily "Pinkie" (441-44, 1133-34), 518
Robbins, Minnie (1083), 518
Robinson, Henry Peach, 34
Robinson, Hercules (746), 518
Robson, Frederick, 33
Rogers, James (747-50), 518
Ross, Horatio, 63, 63
Ross, Justine Henriette, 6j
Rossetti, Christina: Advent, 31; illustrations
of writings of, 434; at Little Holland
House, 21, 24; photographs of, 5, 24, 31,
:
75
s
St. Cecilia Altarpiece (Raphael), 60, 60
The Salutation (Giotto), 59
Scott, Sir Walter, 30
Self-Help (Smiles), 71
Sellwood, Henry (753), 518
Senior, Jane (457, 905-6), 12, 499, 519
Senior, Walter (754), 4, 519
Sesame and Lilies (Ruskin), 79 (n. 172)
Shakespeare, William, 29, 30, 434
Shaw, George Bernard, 433
Shelley, Percy Bysshe, 30, 34
signatures, on photographs, 66, 67, 78
(n. 140), 500
Signor 1857 Album, 96-98, 96^, 97, 104 (n. 5)
Silvy, Camille-Leon-Luis, 82, 83, 83
Simeon, Sir John (755), 32, 499, 519
Sir John Herschel (Pickersgill), ij
The Sisters (Watts), 20, 20
sketches, 54, 76 (n. 81)
Smiles, Samuel, 71
SN 1859 Album, 96^, pp, /oo, 101
The Snowman (play), 32
Somers, Lord, 17
Somers-Cocks, Adeline (1015-16), 519
Somers-Cocks, Isabel (458, 1015, 1017), 519
Somers-Cocks, Virginia Pattle: marriage
of, 17; Thackeray and, 13; on Watts, 18;
Watts' painting of, 77
Somers-Cocks Album, 96, 96^, 101, /o/, 103
South Africa, 14, 42
South Kensington Museum: 1865 exhibition at, 25; murals for, 24; photographic
reproductions of art in, 83
Southey, Reginald, 42, 104 (n. 5)
Southey, Robert, 42
Spartali, Christina (462-64), 519
Spartali, Marie (465-85), 85, 88, 88, 176, 497,
5*9
Spedding, James (756-57), 34, 519
Speedy, Tristram (1114-19), 26, 40, 434, 519
Spencer Stanhope, John Roddam, 18, 21
Spooner, William, 90, 500
Spring-Rice O'Brien, Mary (486-90), 519
Sri Lanka. See Ceylon
St. John, Fanny (491), 519
Stair, Lord, 17
stamps, 499-500, 500, 501
The Statesman (Taylor), 16
Stephen, Caroline, 23
Stephen, Leslie (758-59), 519
Stirling, William, 89
Stoker, Bram, 35
Stone, Frank, ij
General Index
557
T
Talbot, Lady Adelaide (492-94), 519
Talbot, William Henry Fox, 17, 42, 89
Taylor, Aubrey Ashworth, album for, 505, 505
Taylor, Daisy (896-901, 903-4, 1143-44,
54-56), 5J9
Taylor, Sir Henry (31-32, 164-67, 761-90,
1089-93, 1140): album for, 505; biography of, 519; on Cameron's extremism,
26; on Cameron's novel, 31; on Ceylon,
36; on Dimbola Lodge, 22; in Freshwater, 27-28; friendship with Camerons,
16-17; on Garibaldi and Tennyson, 25;
illustrations of writings of, 434; in London, 16-17; Philip van Artevelde, 16, 34;
photographs of, 4, 16, 34, 85, 87, 90, 96,
97, <?<?-/o/, loi 2, 104, in, 112, 291;
Watts' drawing of, 95, 95
Taylor, Tom: at Little Holland House, 19;
plays adapted by, 33, 39 (n. 160)
Taylor, Una, 12, 19
Taylor Album, 505
Temple, Frederick (791), 519
Tennyson, Alfred (792-810): Allingham
and, 25; biography of, 519; Darwin and,
26-27; fame of, n; in Freshwater, n,
21-23, 22, 26-28, 44; friendship with
Camerons, 16-17; Idylls of the King, 27,
35, 83, 90, 467-68; in literary discussions, 29; at Little Holland House, 18;
in London, 16 17; photographs of, 42,
84, 85, 88, 96, 97, 291, 496, 500; plays by,
34-35; on poetry, 29, 30-31; poetry of,
373, 434; Southey and, 42; Tithonus,
65-66; The Window, 32
Tennyson, Cecelia (1018-25), 519
Tennyson, Charles (811), 468, 519
Tennyson, Emily: on Cameron's generosity,
26; fame and, n; in Freshwater, n,
21-23, 22, 44; friendship with
Camerons, 16-17; m London, 16-17;
photographs of, 26
Tennyson, Frederick (812), 520
Tennyson, Hallam (28-29, 798-99, 1026):
biography of, 520; in Freshwater, 22, 32,
44; photographs of, 22, 22
558
u
utilitarianism, 56
V
Van Buren, Martin, 292
Vaughan, Henry Halford (825), 520
Victoria, queen of Britain, 44, 82, &, 97,
292, 434
Victoria and Albert Museum, 508
Victorian Photographs of Famous Men and
Fair Women (Woolf and Fry), i, 291, 433
Virginia Somers (Watts), ij
w
Wagstaff, Samuel, Jr., 5 (n. 7)
Ward, Louisa, 28
Y
Yeames, William F, 46
Photography Credits
77
559
560
fig. 24
Private collection, London
cat. no. 445
Private collection, New York
cat. no. iii2
Private collections, United Kingdom
cat. nos. 73, 77, 83, 86, 109, 131, 142, 147,
163, 238, 240, 245, 588, 594 (also reproduced as fig. 25), 616, 643, 708, 730,
741, 782, 836, 927, 973, 1028, 1052,
1069-70
cat. nos. 112, 154, 454
cat. nos. 371, 418, 475, 628, 673, 746, 1104
(also reproduced as fig. 55), figs. 5, 17,
61-62, 69-70
cat. nos. 419, 638, 843
cat. no. 564
cat. nos. 759, 943
cat. no. 886
cat. nos. 930, 932
cat. no. 1133
cat. no. ii37a
cat. no. 1200
figs. 65-68
% 79
Public Record Office, Kew, England: figs.
QA _ Q C
04
05
Museum:
Photographs
128 pages
61 color illustrations
In Focus Series
The titles in this series average 144 pages and
feature approximately 5 0 photographs from the
Lszl Moholy-Nagy
Man Ra\
August Sander
Alfred Stieg/itz
William Henry Fox Talbot
Doris Ulmann
Carleton Watkins
Front
jacket:
C A T . N O . 8 i ) 0 [ R a c h e l G u m e y ] ( d e t a i l)
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CAT. NOS. 674-77 J[ohn. FfrederickJ. Wplliam].
Herschcl ^674-76) and The Astronomer (677)
Gettv
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