Try crying prettier chapter 116

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“The Second Exhibition of the London Photographic Society.” PHOTOGRAPHIC AND FINE ART JOURNAL 8:2 (Feb. 1855): 62-63. [“London, January 12, 1855. To the Editor of the Photographic and Fine Art Journal: Dear Sir, — Knowing that the proceedings of the London Photographic Society are of interest to you, I send a short notice of their second annual Exhibition. Yesterday Prince Albert paid a visit to the Gallery, and this morning the members of the Society and their friends were invited to a private view. It will be at once admitted that this is the best exhibition of photographs we have yet had. The progress of the Art, though slow, is sure and steady, and we see many difficulties which were, once thought almost insurmountable, yielding to the care and increased knowledge of the operator. We are not a whit afraid that even in its ultimate success photography will ever interfere with the artist, any further than to stimulate him to a more truthful appreciation of nature. We know that the small fry of miniature painters have been nearly swept away by the daguerreotype and the photograph, but that is simply because, their art was so bad — Richmond and Thorburn, and Watts and Hayten drew as many heads year by year as ever they did, and although we can admit that a good photograph is better than a bad picture, we must allow that there is and ever must be an immeasurable distance — a broad gulf that can never be crossed — between the best photograph and the work of a true painter, An artist of great repute was by our side as we looked at one of Mr. Llewellyn’s photographs, appropriately called “Summers Evening.” “This is like summer,” said the artist; “the effect is as like many of his drawings as possible,” and in truth it is a most poetical little bit — certainly the nearest approach to a fine work of art. Mr. Llewellyn has many other subjects, nearly as good. He seems to delight in the picturesque, and chooses his subject with an artist’s eye. His instantaneous views are more wonderful than beautiful; but who does not look with interest at the ripple of the sea — the surf beating on the shore, the cloud-bank in the heaven, all pictured by this magic art, with a truth no mortal hand could ever imitate. Perhaps the most successful exhibitor — certainly the most prolific — is the Honorary Secretary of the Society, Mr. Roger Fenton. The fruits of his Tour in Yorkshire are for the most part exquisite. The “Valley of the Wharze,” is on the whole, the best landscape with distance that we are acquainted with, and shows how far the collodion process may be carried. The advocates of the paper negatives have always claimed a preference for their process in distant views, but this picture has certainly never been equalled. Mr. Fenton seems to have been very fortunate in the weather and the time of year during his stay at Rivaulx Abbey. The large picture of the Abbey taken from the north end is a singular, and at the same time a very beautiful example of what may be accomplished with the sun nearly in front of the camera. Several little road-side and cottage bits near Rivaulx are charming compositions and excellent photographs. Mr. Lake Price, the well-known artist, has contributed four pictures, which demand some attention. They are large and very imposing at first sight; one, the “Baron’s Welcome” is very like a drawing by Chattermole. The figures, clothed in armor, are ranged “dramatically” round a table, and there are plenty of ancient old weapons and quaint jugs to help make up the picture, but it will hardly bear examination. The attendants are more like stuffed figures than real men, and there is not an expression to be found in any one of their faces. This is precisely an illustration of our remark that a good photograph is immeasurably distant from a fine work of art. Mr. Lake Price’s “Retour de Chasse” is his best photograph, because it is his least ambitious — the dead game and the gold and silver are well grouped, and the effect is much more pleasing than in the semi-theatrical subjects. We hear that Mr. Price is almost a novice in photography, if so, we must compliment him on his ready proficiency in the art, but we cannot refrain from asking him to light his pictures from the side more than the direct top. Mr. B. Turner. — Six well-chosen and well photographed pictures, show this gentleman’s excellence both as an artist and a manipulator. There are no other Talbotypes in the room to equal his. We like the size and style of his pictures: they are hold and vigorous, yet not wanting in detail. Mr. Phillip Delamotte, the photographer to the Crystal Palace, exhibits his two large views of the interior of that immense structure. The picture of the completed Palace is perhaps the grandest work of photography yet accomplished in England. It is a wonder to see with what precision the details of every part are given. One recognizes the face of the policeman, and can tell the geraniums from the nasturtiums, and yet at the same time one sees the whole height and nearly the whole length of the building. Some of the views in the Alhambra and Renaissance Court are as beautiful as we could wish for. Mr. Delamotte has likewise been on a visit to the Yorkshire Abbey, and has brought home charming views. He as well as Mr. Cundall, who was with him, seems to have devoted his attention especially to the buildings, and we have consequently a series of pictures of Fountains Abbey, Rivaulx, Kirkeshall and Bolton, which are highly interesting, Mr. Delamotte’s Fountains Hall, Echo Rock, and interior of the choir of Rivaulx, are his best productions. Mr. Cundall’s are his interiors of the choir and chapter — exterior of the Refrectory at Fountains, and his interior of Rivaulx, There are likewise views of Hastings by Mr. Cundall that are very good. Mr. Bedford also exhibited many views from Yorkshire, bright and sparkling bits most of them, which we are only sorry to find so small. Mr. Bedford seems to be a most careful manipulator. We scarcely discover a flaw or a fault in any of his pictures, and he is equally successful in his views from nature and his copies of pictures and still life. Mr. Thurston Thompson has been commissioned by H. R. H. Prince Albert, to copy the drawings of Raffaelle in the Royal possession. The specimens exhibited show how well qualified Mr. Thompson is for the task he has undertaken. No one but a photographer would understand the great difficulty of copying the drawings the size of the original. The photographs are perfect, the lines are clear to the very edge, and the very best possible result has been attained by Mr. Thompson’s skill. By what other process could such perfection have been arrived at? The Rev. Mr. Kingley’s microscopic views of insects are excellently photographed, and will no doubt be attractive to naturalists. Mr. Taylor’s country pictures are extremely well chosen, and are both bright and effective. Several photographs by Mr. Sherlock are worth especial commendation — witness the “Boy peeling a turnip,” the “Girl’s head,” of an unusually large size, and “still life.” Mr. Robertson contributes some of his well known views of Constantinople; Mr. Hugh Owen some charming studies of trees and a few pictures from Spain, which hardly increase his reputation. Besson, freres send a few excellent pictures, views of Paris; Mr. Russell Ledgfield many capital bits of Cathedrals and country architecture, and Mr. George Barker several good groups and full length figures from life. In portraits Mr. Hesinah, as usual, bears the palm, but we see no great progress in this branch. Mr. Claudet, Mr. Kilburn, Mr. Elliott and Mr. Williams each contribute a stand of daguerreotype stereoscopic pictures, all of them in our mind, though wonderful, very much resembling Madame Tassand’s exhibition.”]

“Echoes of the Week, and the International Exhibition.” ILLUSTRATED LONDON NEWS 41:1164 (Sat., Sept. 13, 1862): 283. [“Those so well-abused One of the most admirable and interesting exhibitions now open in London is that of the photographic pictures taken by Mr. Francis Bedford during his tour in the East, on which, by command, he accompanied his Royal Highness the Prince of Wales, and which are now on view at the German Gallery in Old Bond-street. Panoramas, sketches, pictures, and photographs of the Holy Land are no novelties in this country, and are honourably connected with the names of Roberts, Bartlett, Bonomi, and others; but the circumstances under which Mr. Bedford’s tour was undertaken give additional interest to his collection of photographs. We may remark, en passant, that another artist of eminence, although in a widely-different style, is now occupying himself in Oriental fields. Mr. Buckstone, of the Haymarket, has commissioned the famous scene-painter, Mr. William Telbin, to proceed to the East to follow the scarcely-effaced footsteps of the Prince of Wales, for the purpose of making sketches illustrative of his Royal Highness’s tour in Syria and Palestine, which will be reproduced in a panorama for a grand spectacle founded on the Story of “Rasselas, Prince of Abyssinia.” Dr. Johnson will himself officiate as chorus, and, in his immortal snuff-coloured suit and bushy wig, deliver a sonorous commentary on the adventures of Rassolas, who, dramatically speaking, is to be taken in hand by Mr. William Brough.”]

King, W. W. “Neglected Art Studies for Photographers.” PHOTOGRAPHIC NEWS 13:545 (Feb. 12, 1869): 76-77. [“Read before the North London Photographic Association, Feb. 3rd.” “A few years ago I had the honour of reading a paper before you on the same subject as the present, and I then said that photographers had a tendency to run in grooves. I own that we have seen some improvement in this respect, and the tendency is not so general, although now there seems an attempt, with more or less success, to follow the style of M. Adam-Salomon’s matchless works, difficult as indeed the attempt is, without his perfect artistic knowledge, though I gladly admit that Mr. H. P. Robinson, in his portrait of Mr. Hain Friswell, treads closely on M. Salomon’s heels. The camera, as we all know, is a splendid copyist; some would make it as the painters’ brush, but this, from the nature of the instrument, it cannot be, and we deceive ourselves when we attempt to do too much with it. Very great advance has been made in architectural photography by Mr. Bedford, Mr. Frank Good, and Mr. W. J. Collings. The success of the first is, as might be expected, due to his love of the subject and thorough reverence for the past, in addition to his architectural and archaeological knowledge; and the others from following in the path he marked out. See the exquisite photograph of the west front of Lincoln Cathedral by him, and the very fine photographs of Canterbury, Durham, Salisbury, and other Cathedrals, which, by Mr. Collings’s kindness, I am enabled to place before you. The importance of this branch cannot be over-rated, for details are valuable to the architect, and full of interest to those who study the life and manners of our forefathers. If you look at the details of Salisbury Chapter House, you will see how the sculptor gave life, and even humour to his work, combined with greater knowledge of Holy Writ than we are accustomed to believe. The truth is, the worker loved his work, and thus it became a success, and not a mere lifeless study. These remarks refer to our cathedrals, which have received a large share of attention; but, excepting Mr. Bedford, who never allows an interesting country church to escape his notice, what shall we say of the small country churches, so numerous that we appreciate the words of Dr. J. H. Newman, who says: —

“At Home. At the Opening of the Bristol International Exhibition.” PHOTOGRAPHIC NEWS 24:1164 (Dec. 24, 1880): 613-615. [“Tom Hood once remarked that anybody could write like Shakespeare if he had a mind to, but that, unfortunately, the mind was generally lacking; and it might be said with equal truth that any Society could readily get together an exhibition as fine and complete as that now to be seen at Bristol, if it only had the Secretary to do it. For there cannot be a doubt that to Mr. H. A. H. Daniel, the Honorary Secretary of the Bristol and West of England Amateur Photographic Association, is due, in the main, the credit of having gathered together an Exhibition that ranks not only as one of the finest in this country, but in the whole world. When we mention that there are in the catalogue no less than 730 exhibits described, of which many are frames containing several prints, and that the gathering comprises not only the best pictures exhibited this year in London, but also for some years previously, we need not say another word to intimate the magnificence of the collection. The rooms in which the Exhibition is held — the galleries of the Fine Art Academy — are, moreover, worthy of the display they contain. A fine and spacious central hall contains the landscapes, interiors, out-door studies, &c., while other rooms on the right and left are devoted to portraiture, ceramics, transparencies, apparatus, &c. On Friday night these were well filled with a gay and brilliant company — the elite of Bristol and Clifton — to witness the opening ceremony, conducted by the Mayor of the city, in his crimson robe of office, assisted by other civic dignitaries. Colonel Biggs, who has recently been elected President of the Association, opened the proceedings by welcoming the company to the Exhibition, which he believed to be second to none previously held, and then the Mayor made his speech declaring the Exhibition open. The Mayor’s words were forcible and to the point. Both in palace and in cottage was photography welcome, he said; it was an art by which the rich and poor alike benefitted — so much so, indeed, that it had become a necessity. The photographic album was a household treasure, containing, as it did, the likenesses of living friends, and the shadows of dear ones who had passed away. Photography, too, gave us transcripts of the fairest scenes on earth, and reproduced the masterpieces of our great painters. Valuing photography for these and other reasons, the Mayor hailed with pleasure the efforts of those who had laboured to get together the Bristol Exhibition, which could not fail to have an influence in stimulating and perfecting art. The names of the judges appointed to make the medal awards are already known. They were: — Messrs. J. Jackson Curnock, W. H. Midwinter, Payne Jennings, W. Radcliffe, and Henry Whately. The decision of these gentlemen was made known at the opening ceremony, and we may at once mention the names of the happy few. The gold medal of the Association — the grand prize — is awarded to Mr. Augustus W. Wilson, for his well-known pictures, “The Seven Ages of Man.” The prints shown are enlargements in carbon, illustrating Shakespeare’s familiar lines, and depicting man from youth to old age. The work is an ambitious one, and Mr. Wilson deserves every credit for the pluck and perseverance he has shown in combating, and combating so successfully, with a subject beset with difficulty. That he has not secured victory on all points — the “Lover,” for example, is a weak, sallowfaced young man, with worn and weary features — was not to be expected; but the award of the gold medal will show that the judges appreciated Mr. Wilson’s efforts in a manner that cannot fail to be very flattering to him, since they stamp his work as that possessing “the highest degree of merit.” Eight silver medals in all were awarded. Mr. J. Gale secured one with his familiar picture, “ Brixham Trawlers another went to Mr. Harvey Barton, for his magnificent Bristol scenes; a third to Mr. Robert Faulkner, for his studies of child life; yet another to Mr. H. d. Mendelssohn, of Newcastle-upon-Tyne, for portrait studies; also a silver medal to Mr. H. P. Robinson, of Tunbridge Wells, for his fine picture “When the day’s work is done”; a silver medal to the Woodburytype Company, for their magnificent enlargements; a silver medal of progress to the Platinotype Company; and last, though not least, a silver medal to Mr. W. B. Woodbury, for his improved and simplified method of producing photo-relief prints. Thus, in all, eight medals ere given for work already familiar to our readers. The bronze medals awarded were fourteen in number. Mr. William Bedford and Captain Abney received them for landscapes, and so also did Mr. H. A. H. Daniel and the School of Military Engineering. Mr. J. M. Young, and M. B. Czechowsky, of Odessa, gained medals for portraiture. Mr. Adam Diston received an award for his genre pictures. Colonel Stnart Wortley for transparencies, Mr. G. Bare for an improved camera and changing box, Messrs. W. W. Rouch and Co. for a tourist camera of excellent design and workmanship, Mr. Geo. F. Williams for instantaneous pictures, and also Messrs. Hunter and Sands for similar productions; Mr. George Nesbit a bronze medal for the “Broken Jug,” and Mr. T. G. Whaite one for his drawingroom and beach pictures. Thus, with but one or two exeeptions, the medals were all awarded to exhibits that have already been seen elsewhere. One of the finest collections of pictures is that of Mr. Harvey Barton, a photographer of whom Bristol may well be proud. His magnificent work was duly appreciated this year at Pall Mall, but he shows here a yet more extensive series. An interior of “Berkeley Chapel,” among others, may be cited as a delightful picture, and to mention a second that cannot fail to secure universal admiration, there is No. 8, a masted craft with flapping sails coming into harbour, having all the qualities of an exquisite painting, and none of the shortcomings of photography. The fair city of Bristol (12) is represented by a marvellous photograph, 42 inches in length, the atmosphere so clear and bright that the handsome churches and spires for which Bristol is justly celebrated stand out with vivid distinctness. St. Mary Redclilfe and St. Stephen s, and a hundred and one other spires, may be counted in this fine picture. Mr. Harvey Barton also shows an excellent view of Bath, of the same dimensions. Next to Mr. Barton’s collection are some Brittany landscapes by Major K. Gordon; the quaint architecture of Guiugamp (25) receives excellent treatment at the hands of Major Gordon, who has also been successful in producing a good picture of Mont St. Michel (21). Mr. F. Trueman (44, &c.), sends some forest sketches from the neighbourhood of Balmoral and Braemar, pictures of deep-shadowed fir plantations that interpret w’ell the Scotch woodland, but would have been all the better if they had not been quite so dark. Of Mr. John Terras’ pictures, we prefer “Sleepers” (51b), mother and child asleep, hir. Edward Brightman, the Treasurer of the Association, is represented by several fine landscapes, some of which, unfortunately, are hung too high for inspection. East Lynn (54), with its tufts of ferns, its delicate undergrowth, silvery brooklet, and shadowy foliage, is our favourite. The Autotype Company forward some of Mr. Thomson’s magnificent China series, many of which were exhibited at Fall Mall this year. The pictures of the School of Military Engineering are also known; it is well represented here, the Glen (56), printed in platinotype, being one of the best pictures. Miss Aliles (57 and 611), one of the lady amateurs of Bristol, exhibits an excellent interior, and also a “pony tandem,” a picture exhibiting considerable tact and good taste. The Platinotype Company and Messrs. Hunter and Sands both show largely, but the pictures are mostly the same as those exhibited in Pall Slall this autumn. The same may be said of Mr. E. S. Baker and Mr. G. F. Williams. Mr. C. V. Shadbolt exhibits a series of train studies; we have the (71) L. C. D. R. cheap fast train, the S. E. R. Royal mail, the S. E. R. Continental mail express, the S. E. R. Whit Monday express, the S. E. R. ordinary express, Ac., &c.; but after close study of them all, we must frankly admit our inability to distinguish between a cheap fast, a royal mail, a continental, a Whit Monday, or an ordinary express. However, we are quite ready to take Mr. Bhadbolt’s word for the ‘‘cheap fast,” &c., and sincerely hope be may secure a large and appreciative public for his pictures. His series of landscapes, especially Stybarrow Crag, Ullswater (72), are much more to our taste. Mr. Matthew Whiting, who was absent this year from the Fall Mall Exhibition, also exhibits, among others, a very fine view of Stybarrow (78), together with some delightful peeps of the leafy country around Leatherhead. Mr. C. G. Cutchey is repnsented by “Studies in Epping Forest” (79), and a second frame of four pictures. Of Mr. Beetbam’s pictures, which consist of trausparencies and a frame of landscapes, we prefer “Tintern Abbey (83), a delightful view of the pile. Mr. Edwin Forehead’s “Old Cedar, St. Lawrence” (85), with its spreading branches and massive shadows, is oue of many good pictures. Mr. Andrew Pringle’s high-class work we recently referred to on the occasion of the Fall Mail Exhibition, as also that of Messrs. Marsh Bros., who are represented bv their famous swan studies, and other pictures of scarcely of less note. Mr. Baynham Jones has evidently not been idle lately; Lynmouth Harbour, with its picturesque sea wall and old fisher cottages (07), is a charming study; and another, “ Old Gateway and Rectory House,’, Eversham” (328), a quaint relic of bygone days, is well worthy of their author j Mr. Gale’s bijou series requires no further commendation on our part. Mr. W. G. Coote exhibits “Pembroke Castle” (110); the old boats in the foreground are composed and limned with much taste, and form a vigorous contrast to the grey old castle opposite. Colonel Biggs, the President of the Society, makes good his position by an excellent display of Indian views, some of them treated in most masterly fashion. “The Idol-car, Bunsunkuree” (113), is one of the boldest of the series, while the “Ruins of Berjapoor’’ (119) will also find many admirers. Messrs. Day and Son show many of the good pictures they have shown before, together with one or two novelties, if we mistake not. We now come to two names who have much to do with the success of the Exhibition, since they are those of gentlemen of high standing who have not previously exhibited this year. Bristol is, indeed, honoured by the magnificent collection of new pictures sent by Mr. William Bedford and Mr William England. What shall we say of “Guy’s Tower, Warwick Castle (126), of Mr. Bedford? The sunlit trees, the rich foliage, the deep shadows, and the stately grey tower, make up a picture indeed. The sharp lines of the castle, rising from the placid moat, peep out between two leafy masses. Sang Mrs. Hemans —