Columbia (Bniberottp intljeCttpoflrwIork LIBRARY THE GIFT OF EDWARD and CLARENCE EPSTEAN THE WALKER ENGRAVING COMPANY 1932 ‘ ‘ Per varios casus , per tot discrimina rerum tendimus in Latium ” _ _____ BStek A CATALOGUE OF AN EXHIBITION OF decent H>pec(mms of Photography EXHIBITED AT THE HOUSE OF THE SOCIETY OF ARTS, 18 JOHN STREET ADELPHI, IN DECEMBER, 1852. LONDON; PRINTED BY CHARLES WHITTINGHAM FOR THE SOCIETY. . Price Sixpence, At&CCC UL NOTE. An i : ■ i i. i o this Catalogue is being prepared, and will be given in a Second Edition. - - • • ' --* '■ • • " -. ,10 dlk . . : '-v. '.{ v"\ l V jfjrvIT ;' r , / .:■* 05 - c 5/1 . A CATALOGUE 2Df an <£rIhi»tton of Eecent Specimens of Pfjotograpfrg. Abbreviations. W. Pap .—Waxed Paper. Alb. Gl .—Albumenized Glass. Alb. Pa .—Albumined Paper. Collod.— Collodion. No. Subject Photographer Process Exhibitor 1 Hampden, a Statue, by Foley . H. Owen Paper The Royal 2 Embroidered Saddle Cloth 99 99 Commissioners 3 Richard Coeur de Lion, by Marochetti M. Ferrier Alb. Gl. 4 Hawk and Heron, by Hancock H. Owen Paper >7 5 Hunter and Panther, by Jericho M. Ferrier Alb. Gl. 6 Fire Grates, by Hoole, Robson &Hoole 99 99 7 Column of Cornish Granite //. Owen Paper 99 8 Embroidered Saddle, from Tunis 9 » 99 99 9 Cupid, a Statue, by Jennings . M. Ferrier Alb. Gl. 99 10 Castings of Animals, by Aubanel R. J. Bingham Paper 99 11 Glycera, a Statue, by Wyatt M. Ferrier Alb. Gl. 99 12 Lion in Love, a Statue, by Geefs II. Owen Paper 99 13 Mediaeval Tomb, by Myers 99 99 99 14 Camel Gun, India .... 99 9y 99 15 Silver Centre Piece, by Wagner 99 99 99 16 Porcelain Jars, from Sevres 99 99 99 17 Flaxman, a Statue, by Watson M. Ferrier Alb. Gl. V 9 18 Bronze Lion, by Miller R. J. Bingham Paper 99 19 Phryne, a Statue, by Pradier . M. Ferrier Alb. Gl. 99 20 Arethusa, a Statue, by Thrupp . 99 99 6 CATALOGUE OF AN EXHIBITION OF No. Subject 21 Mediaeval Fire-Place, by Myers 22 Great Exhibition, from Transept 23 Buffalo Carriage, from India . 24 Cotton Machinery, by Hibbert, & Co. 25 Libussa, a Bronze, by Miller . 26 Youth Resting, and Nymph Preparing for Bath, by Baily 27 Jars, Hookah, &c., from India . 28 Ivory Casket, by Matifat 29 Porcelain, from Sevres «30 Metal-work Lamps, &c., by Winfield 31 Dog protecting a Child, by Lechesne 32 Part of Pedestal to Monument of Frederic William III. . 33 Youth at Stream, a Statue, by Foley 34 Naval Models, &c., from India 35 A Bather, a Statue 36 Cupid, Eve, and Girl at Prayers, Statues, by Macdowell . 37 Musical Instruments, by Sax . 38 Large Anchor, Brown, Lennox, & Co. 39 Porcelain Vases, from China . 40 Clock Case, carved in Wood 41 Medallion Portraits of the Royal Family, by Wyon 42 Agricultural Implements, by Hornsby and Sons. 43 George I. of Bohemia, by Miller 44 Chain Armour and Sword, from India 44#Panel from the Alhambra 45 Design for Fountain, by Andre 46 Ino and Bacchus, a Statue, by Foley 47 Embroidered Saddle, from India 48 Clocks, Chandeliers, and Bronzes, by Matifat ..... 49 David, a Statue, by Fraccaroli Photographer Process Exhibitor H . Owen Paper The Royal yy yy Commissioners yy yy yy R. J. Bingham yy yy M. Ferrier Alb. Gl. yy yy yy yy H. Oiven Paper yy yy ” yy yy yy < yy R. J. Bingham yy yy M. Ferrier Alb. Gl. yy R. JBingham Paper yy M. Ferrier Alb. Gl. yy H. Given Paper yy M. Ferrier Alb. Gl. yy yy yy yy yy yy yy H. Owen Paper 55 yy yy yy M. Ferrier Aib. Gl. yy yy yy yy yy yy yy yy yy yy H . Owen Paper yy yy yy yy R. J. Bingham yy yy M. Ferrier Alb. Gl. yy H. Owen Paper yy R . J . Bingham yy yy M. Ferrier Alb. Gl. yy RECENT SPECIMENS OF PHOTOGRAPHY. No. Subject 50 Shield, in Damascene Steel, by Fal- loise. 51 Greek Slave, a Statue, by Power 52 Large Blocks of Coal 53 Brass Lectern, by Hardman & Co. . 54 55 Carvings in Oak, by Geerts 56 The Amazon, in Zinc, by Kiss . 57 Ivory Throne, from India 58 Department for Egypt, Turkey, and Greece ..... 59 Lord Falkland, a Statue, by J. Bell 60 Agricultural Implements, from Egypt 61 Eve, a Statue, by Van der Ven 62 Porcelain and Parian, by Minton 63 Child Caressing his Defender, a Group, by Lechesne 64 Agricultural Implements, by Crosskill 65 Group of Amazons, by Engel . 66 View of Eastern Nave 67 Cholera, a Statue, by Etex 68 Folding Doors, Veneered with Mala¬ chite, by Demidoff 69 Window at Tunis, a Plaster Cast 70 Model House for Families, by H.R.H. Prince Albert .... 71 Iconic Statue, by Macdonald . 72 Embroidered Saddle, from India 73 Great Exhibition Transept 74 Porch of Addingley Church 75 Chartres Cathedral 76 Great Exhibition Interior 77 Landscape, Worcestershire 78 Chartres Cathedral 79 Gateway at Tewkesbury . 80 Cathedral of St. Etienne . Photographer Process M. Ferrier Alb. Gl. tt H. Owen R . J . Bingham tt Paper tt M. Ferrier Alb. Gl. tt H. Owen tt Paper tt tt tt tt tt M. Ferrier Alb.Gl. R. J . Bingham Paper M. Ferrier Alb. Gl. tt tt tt tt t> tt tt >t tt H. Owen tt Paper M. Ferrier Alb. Gl. tt H. Owen A. L. Cocke tt Paper tt R . C. Galton tt E . Pecquerel A . Cocke R. C. Galton W. Pap. Paper tt E. Pecquerel R. Fenton W. Pap. tt P. W. Fry tt Exhibitor Royal Commissioners tt ft tt tt tt tt tt ft tt tt >t tt tt tt tt tt tt tt tt tt tt Mr. Cocke Mr. Galton Mr. Little Mr. Cocke Mr. Galton Mr. Little Mr. Fenton Mr. Fry 8 CATALOGUE OF AN EXHIBITION OF No. Subject 81 A Scotch Burn .... 82 Harvest Scene .... 83 Aylesford, Kent .... 84 Canterbury Cathedral Gateway 85 Cathedral of St. Trophimus at Arles 86 Great Exhibition, Taking down girder 87 Stream in a Wood . 88 Ferry, near Bath .... 89 Scotch Burn . 90 Great Exhibition Interior 91 Southam Cottage Porch 92 Highgate Cemetery 93 Swansea ...... 94 Cloister of St. Trophimus at Arles . 95 Group of Peasants .... 96 Crimble House .... 97 Cathedral at Bourges 98 City of Vienna .... 99 City of Vienna .... 100 Croxton Abbey . . . . 101 Portrait of a Gentleman 102 Portrait of a Gentleman . 103 Street at Tewkesbury . 104 The Mumbles, near Swansea . 105 Roman Theatre at Arles 106 Ibsamboul . 107 Eltham Palace . 108 Roman Theatre, Arles . 109 Kalabscheh, : 110 Mill Stream . . . . . 111 Cathedral at Bourges 112 Forest Scene . . . . 113 Sleeping Dog . 114 Greek Slave .... 115 Water Mill . 116 Cottage in Berkshire Photographer Process Exhibitor A. L. Cocke Paper Mr. Cocke H. Owen 99 Mr. Owen A . L . Cocke 99 Mr. Cocke I. Sanford W. Pap. Mr. Sanford P. W. Fry Paper Mr. Fry P. H. Delamotte Collod. Mr. Delamotte A . Z. Cocke Paper Mr. Cocke H. Owen 99 Mr. Owen A. L. Cocke 99 Mr. Cocke v> 99 99 R . Fenton W. Pap. Mr. Fenton yr 99 99 A. Rosling Paper Mr. Rosling E. Pecquerel W. Pap. Mr. Little W. P. Sherlock Paper Mr. Sherlock R. Fenton W. Pap. Mr. Fenton E. Pecquerel 99 Mr. Little P. Pretsch Paper Messrs. Ross >9 99 99 P. H. Delamotte Collod. Mr. Delamotte P. Horne 99 Horne and Co. 99 99 99 R. Fenton W. Pap. Mr. Fenton A . Rosling Paper Mr. Rosling E. Pecquerel W. Pap. Mr. Little M . Du Camp Paper Mr. Gambart A . Rosling 99 Mr. Rosling E . Pecquerel W. Pap. Mr. Little M. Du Camp Paper Mr. Gambart G . Shaw 99 Mr. Cundall E . Pecquerel W. Pap. Mr. Little W. P. Sherlock Paper Mr. Sherlock P. Dudgeon Collod. Mr. Dudgeon T. M. Goodeve Alb. Pa. Mr. Goodeve W. P . Sherlock Paper Mr. Sherlock 99 99 Mr. Anthony RECENT SPECIMENS OF PHOTOGRAPHY. 9 No. Subject 117 The Louvre . 118 View of the Second Cataract in N ubia 119 Baalbec . 120 Rustic Bridge .... 121 Venus and Cupid .... 122 Portrait. 123 Pollard Willows . 124 Philce. 125 Welsh Glen. 126 Cathedral at Bourges 127 Ibsamboul ..... 128 Southwark Bridge .... 129 Cathedral at Chartres . 130 Charlton, near Cheltenham . 131 Swansea . 132 The Old Oak .... 133 Copy of an Engraving after Turner 134 135 Kremlin, Moscow .... 136 A Haystack ..... 137 138 Southam House .... 139 Portraits of Ladies 140 Interior of Redcliffe Church . 141 142 Ventnor, the Beach 143 Ventnor, the Cliff .... 144 Black Gang Chine 145 Steep Hill, Isle of Wight 146 Clifden, Bonchurch 147 The Rocks, Jersey 148 Clifden, Bonchurch 149 Portrait of a Gentleman 150 Cheltenham, St. Mary’s Church 151 Portrait of a Gentleman 152 Old Barn, Jersey .... Photographer Process Exhibitor jF. Martens Alb. Gl. Mr. H. Cole M. Du Camp Paper Messrs. Gambart 99 99 99 G . Shaw 99 Mr. Cundall T. M. Goodeve Alb. Pa. Mr. Goodeve P. W. Fry Collod. Mr. Fry W. P. Sherlock Paper Mr. Sherlock M . Du Camp 99 Mr. Gambart G. Shaw 99 Mr. Cundall E . Pecquerel W. Pap. Mr. Little M. Du Camp Paper Messrs. Gambart A. Rosling 99 Mr. Rosling E. Pecquerel W. Pap. Mr. Little R. Fenton 99 Mr. Fenton A . Rosling Paper Mr. Rosling W. P. Sherlock 99 Mr. Sherlock F. W. Berger Collod. Mr. Berger R . Fenton W. Pap. Mr. Fenton H. F . Talbot Paper Mr. Talbot B . Jones Paper Mr. Jones G . Barker Collod. Mr. Barker H . Ouen Paper Mr. Owen Sir W. Newton Paper Sir W. Newton 99 99 99 99 99 99 99 99 99 J . Wilks Collod. Mr. Wilks G. Barker Paper Mr. Barker J. Wilks Collod. Mr. Wilks J . W. Berger » Mr. Berger R. Fenton W. Pap. Mr. Fenton G. Barker Collod. Mr. Barker 99 Paper 99 c 10 CATALOGUE OF AN EXHIBITION OF No. Subject 153 Copy of an Engraving, after Wilkie 154 Cupid and Psyche 155 Portrait of a Gentleman 156 157 Lucius Verus, from a Bust 158 Column at Tintern with Ivy . 159 Mount Orgneil Castle, Jersey 160 Portrait of a Gentleman 161 A Family Group . 162 The Stable Door . . . 163 The Beehive. ] 64 Portrait of a Lady 165 Gloucester Cathedral Porch . 166 Croxton Abbey, Boy in the Arch . 167 A Water Mill . 168 A Family Group . 169 Types of Insanity . 170 A Portrait. 171 Portrait of a Gentleman 174 The New Houses of Parliament 175 The Church Oak . 176 Lichfield Cathedral 177 Scene in the Pyrenees . 178 A Group . 179 Old Farm House, Worcestershire . 180 Scene in the Pyrenees . 181 The Broken Cart-wheel . 182 Lyn Hall, North Devon . 183 The Laocoon 184 Toilet Service (Duchess of Parma) 185 Scene at Sydenham 186 An Old Cottage . 187 Old Farm House, Worcestershire . 188 Queen’s College, Oxford Photographer Process Exhibitor J. W. Berger Collod. Mr. Berger TM. Ooodeve Alb. Pa. Mr. Goodeve Collod. 99 P. Pretsch Paper Mr. J. Bagster R. Fenton W. Pap. Mr. Fenton G. Barker 99 Mr. Barker V Collod. 99 99 99 99 H. F. Talbot Paper Mr. Talbot P. H. Delamotte Collod. Mr. Delamotte G. Barker » Mr. Barker R. Fenton W. Pap. Mr. Fenton P. H. Delamotte Collod. Mr. Delamotte R. J. Bingham Paper Mr. Bingham J. W. Berger Collod. Mr. Berger Dr. Diamond » Dr. Diamond Lady A. Nevill 99 Lady A. Nevill G. Weddell 99 Mr. Weddell W. J. Meates 99 Mr. Meates G. Weddell 99 Mr. Weddell P. Pretsch Paper Mr. J. Bagster B. B. Turner 99 Mr. Turner B. Jones Paper Mr. Jones J. Stewart Paper Mr. Stewart F. W. Berger Collod. Mr. Berger B. B. Turner Paper Mr. Turner J. Stewart 99 Mr. Stewart R. J. Bingham 99 Mr. Bingham B. B. Turner 99 Mr. Turner II. F. Talbot 99 Mr. Talbot Le Gray Alb. Gl. Mr. Delamotte P. H. Delamotte Collod. 99 R. J. Bingham Paper Mr. Bingham B. B. Turner 99 Mr. Turner H. F. Talbot 99 Mr. Talbot RECENT SPECIMENS OF PHOTOGRAPHY. 11 No. Subject Photographer Process Exhibitor 189 A Group . . F. W. Berger Collod. Mr. Berger 190 Scotch Firs . .... B. B. Turner Paper Mr. Turner 191 Scene in the Pyrenees J. Stewart >9 Mr. Stewart 192 A Railway Station P. Pretsch 99 Mr. Bagster 193 A Photographic Truth . B. B. Turner 99 Mr. Turner 194 Scene in the Pyrenees . J'. Stewart 99 Mr. Stewart 195 Ratcliffe Library .... B. Jones 99 Mr. Jones 196 A Group ..... F. W. Berger Collod. Mr. Berger 197 Types of Insanity .... Dr. Diamond 99 Dr. Diamond 198 Portrait of a Gentleman G. Weddell 99 Mr. Weddell 199 „ „ • J. Spencer 99 Mr. Spencer 200 yy yy • G. Weddell 99 Mr. Weddell 201 Copy of an Engraving, after E. H. Wehne ..... J. Spencer 99 Mr. Spencer 202 Portrait of a Lady G. Barker 99 Mr. Barker 203 A Farm Yard . . R. Fenton W. Pap. Mr. Fenton 204 Croxton Abbey, General View P. H . Delamotte Collod. Mr. Delamotte 205 The Spring . . . R. J . Bingham Paper 99 206 Portrait of a Gentleman G. Barker Collod. Mr. Barker 207 „ „ • • >> 99 208 Gate of King’s College, Cambridge. H. F. Talbot Paper Mr. Talbot 209 Croxton Abbey .... P. H. Delamotte Collod. Mr. Delamotte 210 Niobe, a Bust .... P. Pretsch Paper Mr. J. Bagster 211 Dead Stag, Zoological Gardens R . Fenton W. Pap. Mr. Fenton 212 Tintern Abbey, South Transept 99 99 99 213 Still Life . G. Barker Collod. Mr. Barker 214 My Pipe ..... F. W. Berger 99 Mr. Berger 215 Portrait of a Gentleman T '. M. Goodeve 99 Mr. Goodeve 216 Victory, a Statue .... 99 Alb. Pa. 99 217 Portrait of a Gentleman J. W. Berger Collod. Mr. Berger 218 St. Mary’s, Cheltenham R. Fenton W. Pap. Mr. Fenton 219 Haddon Hall . G. Barker Collod. Mr. Barker 220 Four Views in the Isle of Wight Sir W. Newton Paper Sir W. Newton 221 Undercliff, Bonchurch .... j . wiiks Collod. Mr. Wilks 222 Ladies Rock, Jersey . . . . . G. Barker Paper Mr. Barker 223 Interior of Redcliff Church . . . FI. Owen » Mr. Owen 12 CATALOGUE OF AN EXHIBITION OF No. Subject 224 225 Cloisters, Bristol Cathedral . 226 Portrait of a Gentlemen 227 Portskewit ..... 228 Fruit Piece ..... 229 Portrait of a Lady 230 A Cottage in Jersey 230 # Old Building at Tivoli 231 Gloucester Cathedral 232 The Lion in Love 232 # Portrait of a Child 233 The Works in Progress at the Crys¬ tal Palace at Sydenham 234 The Grounds at Sydenham 235 FourViews at SirT.Wilson’s, Searles, Sussex ..... 236 Six Specimens of Tones of Printing 237 Isle de Barbes, near Lyons . 238 Taking down the Great Exhibition 239 Part of Tintern Abbey . 240 Eve, a Statue, by Van der Ven 241 Cottages in Jersey . . 241 ^Doorway at Haddon Hall 242 Fishermen and Boat 243 Orton Church .... 243*Part of Mount Orgueil Castle 244 Cottage Industry 245 Windmill near Arundel 246 Quadrangle of Arundel Castle 247 The Shed Door .... 248 Specimens from the Museum at Marlboro’ House 249 Statues from the Great Exhibition . 250 Notre Dame de Poitiers 251 Portrait of P. Fry, Esq. 252 Specimens of Portraits . 253 Trunk of a Tree Photographer Process Exhibitor H. Owen Paper Mr. Owen F. W. Berger Collod. Mr. Berger R. Fenton W. Pap. Mr. Fenton H. F. Talbot Paper Mr. Talbot F. W. Berger Collod. Mr. Berger R. J. Bingham Paper Mr. Delamotte G . Barker 79 Mr. Barker R. Fenton W. Pap. Mr. Fenton T. M. Goodeve Alb. Pa. Mr. Goodeve J . Cundall Collod. Mr. Cundall P. H. Delamotte Collod. Mr. Delamotte 77 97 Sir W. Newton Paper Sir W. Newton — Hennah Collod. Delatouche&Co. M. Ferrier Alb. Gl. Mr. Delamotte P. H . Delamotte Collod. 77 R. Fenton W. Pap. Mr. Fenton T . M. Goodeve Alb. Pa. Mr. Goodeve R. J . Bingham Paper Mr. Delamotte G. Barker Collod. Mr. Barker S. Buckle Paper Mr. Buckle » 77 G. Barker Collod. Mr. Barker W. P. Sherlock Paper Mr. Anthony S. Buckle 77 Mr. Buckle 77 99 97 W. P. Sherlock 77 Mr. Anthony P . H. Delamotte Collod. Mr. Delamotte G . Barker 77 Mr. Barker W. Pap. Mr. Little F, W. Berger Collod. Mr. Berger — Henneman 77 Henneman & Co. W. P. Sherlock Paper Mr. Anthony RECENT SPECIMENS OF PHOTOGRAPHY. 13 No. Subject Photographer Process Exhibitor 254 Part of the Cellini Shield deposited in Marlboro’ House by Her Majesty P. HjDelamotte Collod. Mr. Delamotte 255 Seven copies of Engravings, &c. G. Barker 99 Mr. Barker 256 The Sluice Gate .... W. P. Sherlock Paper Mr. Anthony 257 Door of Peterboro’ Cathedral S . Buckle y> Mr. Buckle 258 The Lock ..... » 99 99 259 260 The Coliseum at Rome . Eugene Constant Collod. Mr. Anthony 261 Taking down the Transept, Great Exhibition, Hyde Park. P. H . Delamotte 99 Mr. Delamotte 262 Snow Scene at Cheltenham . B . Jones Paper Mr. Jones 263 Street Scene at Bristol . H. Owen 99 Mr. Owen 264 Pond Lane, Bonchurch *S'. Buckle 9> Mr. Buckle 265 Smacks at Shoreham 99 99 266 267 Venice ..... E. Constant Collod. Mr. Anthony 268 Arch of Vespasian, Rome 99 99 99 269 Peterborough Cathedral S . Buckle Paper Mr. Buckle 270 Larva of Insect .... P. Pretsch 99 Mr. J. Bagster 271 View at Rome .... E. Constant Collod. Mr. Anthony 272 Forum at Rome .... 99 99 273 Street in Peterborough . S. Buckle Paper Mr. Buckle 274 Sluice at Orton .... 99 99 275 276 Montpellier Promenade, Cheltenham B . Jones Paper Mr. Jones 277 In Bristol. H. Owen 99 Mr. Owen 278 The Ponte Rotto, Rome E . Constant Collod. Mr. Anthony 279 Still Life. JP. H . Delamotte 99 Mr. Delamotte 280 Redcliffe Church, Bristol H. Owen Paper Mr. Owen 281 Stocks, Prestbury, near Cheltenham B . Jones 99 Mr. Jones 282 Charlton . B. Fenton W. Pap. Mr. Fenton 283 Portrait ..... F. W . Berger Collod. Mr. Berger 284 Palmiero Domus .... M. Du Camp Paper Mr. Gambart 285 Forum, Rome .... _E. Pecquerel W. Pap. Mr. Little 286 Porch of a Church at Toulouse » Mr. Balliere 287 Fontainbleau . . . 5 » 99 288 Mansion at Venice W. Pap. Mr. 0. Jones 14 CATALOGUE OF AN EXHIBITION OF No. Subject Photographer Process Exhibitor 289 French Chateau .... yy Mr. Balliere 290 View in Berne Lodoisck yy yy 291 Bas Relief from the Arc de Triomphe yy yy 292 View at Rome F, Flecheron yy yy 293 The Magdalene at Paris yy yy 294 Mansion at Venice y> Mr. O. Jones 295 Bridge of Cahors .... yy Mr. Balliere 296 Temple of Denderah M. Du Camp Paper. Messrs. Gambart 297 Court of the Palace of the Doges at Venice ..... F. Pecquerel W. Pap. Mr. Little 298 Bridge in the Pyrenees . Paper. Mr. Balliere [On the Tables.] 299 Assembly House, Kentish Town G. Weddell Collod. Mr. Weddell 300 Portrait of a Gentleman T. M . Goodeve yy Mr. Goodeve 301 Forest Scene .... G . Shaw Paper Mr. Anthony 302 Rustic Figures .... S. Buchle yy Mr. Buckle 303 Scotch Firs overthrown . A. L. Cocke yy Mr. Cocke 304 Umberslade Park .... A . Rosling yy Mr. Rosling 305 Portrait of a Gentleman F. Horne yy Horne and Co. 306 Landernau ..... yy Mr. 307 Old Well Walk .... R . Fenton W. Pap. Mr. Fenton 308 Swansea ..... A . Rosling Collod. Mr. Rosling 309 River-side. A. L. Cocke Paper Mr. Cocke 310 Temple of Diana at Nismes . P. Fry yy Mr. Fry 311 Still Life . .... W. P. Sherlock yy Mr. Sherlock 312 Valley of Vaucleuse P. Fry yy Mr. Fry 313 A Landscape P. H. Delamotte Collod. Mr. Delamotte 314 Deodora Pine .... A . Rosling Paper Mr. Rosling 315 Park Scene . .... P. Dudgeon Collod. Mr. Dudgeon 316 „ ..... yy yy yy 317 Mumble^ near Swansea . . . A. Rosling Paper Mr. Rosling 318 River Scene . . ... S. Buckle yy Mr. Buckle 319 Royal Crescent, Cheltenham . R . Fenton W. Pap. Mr. Fenton 320 Portrait of a Gentleman F. Horne Collod. Horne and Co. 321 Ibsamboul ..... M. Du Camp Paper Messrs. Gambart 322 Waterfall, at Virginian Water A. Rosling yy Mr. Rosling 323 Swansea ..... A . Rosling Paper Mr. Rosling RECENT SPECIMENS OF PHOTOGRAPHY. 15 No. Subject 324 Charlton. 325 Portrait of a Lady 326 Paper Mill. 327 Portrait of a Gentleman 328 Scene at Sydenham 329 Battle Abbey . 330 Yorkshire Farm House . 331 St. Mark’s Church, Albert Road 332 Tintern Abbey . 333 Portrait of P. H. Delamotte, Esq. . 334 Kieff, Russia . 335 Portrait of a Gentleman 336 Hemel Hempstead 337 The Forum, Rome 338 Jerusalem . 339 View of Great Exhibition, Interior 340 Suspension Bridge, Shoreham 341 Hammersmith Bridge 342 The Nile . . . 343 Rustic Scene . 344 Staines Bridge . 345 Boy Asleep . 346 Windsor Forest . 347 Portrait of a Gentleman 348 Corner Hall . 349 Tintern Abbey . 350 An Old Cart . . . 351 Swansea 352 Welsh Scene . 353 Portrait of a Gentleman 354 Tewkesbury . . 355 Castle of Pau . 356 Portrait of a Gentleman 357 Palm Trees. 358 Portrait of a Gentleman 359 Cheltenham . 360 Cathedral at Tours Photographer Process Exhibitor R. Fenton W. Pap. Mr. Fenton —Reeves Collod. Mr. Reeves S. Buckle Paper Mr. Buckle P. Dudgeon Collod. Mr. Dudgeon P. H. Delamotte 99 Mr. Delamotte S. Buckle Paper Mr. Buckle A , Rosling 99 Mr. Rosling R. Fenton W. Pap. Mr. Fenton J. S. Archer Collod. Mr. Archer F. Horne 99 Home and Co. R. Fenton W. Pap. Mr. Fenton F. Horne Collod. Horne and Co. A . Rosling Paper Mr. Rosling M. Flecheron W. Pap; Mr. Anthony M. Du Camp Paper Messrs. Gambart P. H . Delamotte Collod. Mr. Delamotte S, Buckle Paper Mr. Buckle R . Fenton W. Pap; Mr. Fenton M. Du Camp Paper Messrs. Gambart —Reeves 99 Mr. Reeves A . Rosling 99 Mr. Anthony W. P. Sherlock y) 99 R . Fenton W. Pap. Mr. Fenton F' Horne Collod. Horne and Co. A' Rosling Paper Mr. Rosling F. S' Archer Collod. Mr. Archer E . Delamotte 99 Mr.E. Delamotte A. Rosling Paper Mr. Rosling F' S' Archer Collod. Mr. Archer F. Horne 99 Horne and Co. R' Fenton W. Pap. Mr. Fenton P' Fry Paper Mr. Fry F, Horne Collod. Messrs. Horne M, Du Camp Paper Messrs. Gambart F. Horne Collod. Messrs. Horne R' Fenton W. Pap. Mr. Fenton P' Fry Paper Mr. Fry 16 RECENT SPECIMENS OF PHOTOGRAPHY. No. Subject 361 View near Lyons . 362 Yorkshire Scene 363 The Veiled Vestal 364 Cheltenham . 365 St. Saviour’s Church, Moscow 366 Addingham . 367 Spring Blossom 368 Isle de Barbes, near Lyons 369 Railway Viaduct . 370 Cheltenham . 371 Portrait of a Gentleman 372 River Scene .... 373 Portrait of a Gentleman 374 Hampden, a Statue, by J. Bell 375 Lighthouse .... 376 View near Lyons . 377 Statue of George III. 378 Zephyr and Aurora 379 Portrait of E. Delamotte, Esq. 380 Portrait of a Gentleman 381 Cheltenham Park . 382 Fisherman mending Net 383 Portrait of a Child 384 Portraits of Children 385 Montpellier, Cheltenham 386 Burnham Beeches 387 Portrait of a Gentleman 388 Peterborough 389 Florence .... 390 Triumphal Arch at Rome 391 Portrait of a Gentleman 392 Godfrey de Bouillon 393 Study of a Plough 394 Thorpe Park 395 The Great Exhibition Interior 396 A Brook 397 Vine Leaves . . Photographer Process Exhibitor M. Ferrier Alb. Gl. Mr, Cundall A . llosling Paper Mr. Rosling M. Ferrier Alb. Gl. Mr. Cundall R. Fenton W. Pap. U Mr. Fenton ,, A . Rolling Paper yy Mr. Rosling R. Fenton W. Pap. Mr. Fenton M. Ferrier Alb. Gl. Mr. Cundall R . C. Galt on Paper yy R, Fenton W. Pap. Mr. Fenton F. Home Collod. Horne and Co. S. Buckle Paper Mr. Buckle F, Home Collod. Horne and Co. T. M, Goodeve Alb. Pa. Mr. Goodeve S. Buckle Paper Mr. Buckle M. Ferrier Alb. Gl. Mr. Cundall A . Rosling Paper Mr. Rosling M. Ferrier Alb. Gl. Mr. Cundall F, Horne Collod. (c Horne and Co. yy R . Fenton W. Pap. yy Mr. Fenton W. P. Sherlock Paper Mr. Anthony Contencin Collod. Contencin & Co. W, P. Sherlock Paper Mr. Anthony R . Fenton W. Pap. Mr. Fenton T, M. Goodeve Alb. Pa. Mr. Goodeve W. P. Sherlock Paper Mr. Sherlock S. Buckle yy Mr. Buckle M, Piot W. Pap. M. Claudet E. Constant Collod. Mr. Anthony W, P. Sherlock Paper Mr. Sherlock T . M. Goodeve Alb. Pa. Mr. Goodeve W. P. Sherlock Paper Mr. Anthony S, Buckle • yy Mr. Buckle T. M. Goodeve Alb. Pa. Mr. Goodeve A. L. Cocke Paper Mr. Cocke P. FI, Delamotte Collod. Mr. Delamotte NOTES. The following Communications have been received by the Secretary . Photographic Landscapes on Paper. Allow me to request your insertion in the Athenaeum of the annexed communication, on the subject of Photography, in the form of a letter to myself from my brother-in-law, Mr. John Stewart, resident at Pau ;—who has been singularly successful in his application of that art to the depiction of natural scenery,—and whose representations of the superb com¬ binations of rock, mountain, forest, and water which abound in the picturesque region of the Pyrenees are among the most exquisite in their finish, and artistic in their general effect, of any specimens of that art which I have yet seen.—The extreme simplicity of the process employed by him for the preparation of the paper, its uniformity, and the certainty attained in the production of its results, seem to render it well worthy of being generally known to travellers. It need hardly be mentioned that the ‘air-pump’ employed may be one of so simple a construction as to add very little to either the weight, bulk, or expense of the apparatus required for the practice of this art. The obtaining of a very perfect vacuum, for the imbibition of the paper, being a matter of little moment, — a single barrel (worked by a cross handle by direct pull and push), furnished with a flexible connecting-pipe, and con¬ structed so as to be capable of being clamped on the edge of a table, would satisfy every con¬ dition.—I remain, &c. J. F. W. Herschel. My dear Herschel,—Thanks to the valuable indications of Prof. Regnault, of the In¬ stitute I have been enabled to produce, what appear to me, most satisfactory results in Pho¬ tographic Landscapes on Paper. In this remote corner (so deficient also in resources for experiment) I feel that I am but very partially acquainted with the results obtained and the progress making in the great centres, Paris and London ; but I think that, in detailing the simple process and manipulation I now adopt, indications of some value, and suggestive of c 18 NOTES. further improvement to fellow-labourers in the art may be found ; and if you are of the same opinion, you will perhaps facilitate the communication of these details to our photographers at home. The following observations are confined to negative paper processes, divisible into two the wet and the dry. The solutions I employ for both these processes are identical, and are as follows:— Solution of iodide of potassium, of the strength of 5 parts of iodide to 100 of pure water. Solution of aceto-nitrate of silver, in the following proportions: 15 parts of nitrate of silver; *20 of glacial acetic acid ; 150 of distilled water. Solution of gallic acid, for developing, a saturated solution. Solution of hyposulphite of soda; of the strength of one part hypo, of soda to from 6 to 8 parts water. —The solutions employed are thus reduced to their simplest possible expression, for it will be observed that in iodizing I employ neither rice-water, sugar of milk, fluorine, cyanure, nor free iodide, &c. &c.; but a simple solution of iodide of potassium (the strength of this solution is a question of considerable importance, not yet, I think, sufficiently investigated). For both the wet and the dry processes I iodize my paper as follows In a tray contain¬ ing the above solution I plunge, one by one, as many sheets of paper (twenty, thirty, fifty, be.) as are likely to be required for some time. 1 his is done in two or three minutes. 1 then roll up loosely the whole bundle of sheets, while in the bath ; and picking up the roll by the ends, drop it into a cylindrical glass vessel with a foot to it, and pour the solution therein, enough to cover the roll completely (in case it should float up above the surface of the solution, a little piece of glass may be pushed down to rest across the roll of paper and prevent its rising). The vessel with the roll of paper is placed under the receiver of an air- pump and the air exhausted ; this is accomplished in a very few minutes, and the paper may then be left five or six minutes in the vacuum. Should the glass be too high (the paper being in large sheets) to be inserted under a pneumatic pump receiver, a stiff lid lined with India-rubber, with a valve in the centre communicating by a tube with a common direct- action air-pump may be employed with equal success. After the paper is thus soaked in vacuo it is removed, and the roll dropped back into the tray with the solution, and then sheet by sheet picked off and hung up to dry, when, as with all other iodized paper, it will keep for an indefinite time. I cannot say that I fully understand the rationale of the action of the air-pump, but several valuable advantages are obtained by its use:—1st. The paper is thoroughly iodized, and with an equality throughout that no amount of soaking procures, for no two sheets of paper are alike, or even one, perfect throughout in texture; and air bulbs are impossible. 2nd. The operation is accomplished in a quarter of an hour, which generally employs one, two, or more hours. 3rd. To this do I chiefly attribute the fact that my paper is never solarized even in the brightest sun ; and that it will bear whatever amount of exposure is necessary for the deepest and most impenetrable shadows in the view, without injury to the bright lights. 19 NOTES. Wet Process* —To begin with the wet process. Having prepared the above solution of aceto-nitrate of silver, float a sheet of the iodized paper upon the surface of this sensitive bath, leaving it there for about ten minutes. During this interval, having placed the glass or slate of your slider quite level, dip a sheet of thick clean white printing (unsized) paper in water, and lay it on the glass or slate as a wet lining to receive the sensitive sheet. An expert manipulator may then, removing the sensitive sheet from the bath, extend it (sensi¬ tive side uppermost) on this wet paper lining, without allowing any air globules to inter¬ vene.— But it is difficult, and a very simple and most effectual mode of avoiding air globules, particularly in handling very large sheets, is as follows. — Pour a thin layer of water (just sufficient not to flow over the sides) upon the lining paper, after you have extended it on your glass or slate, and then lay down your sensitive paper gently and by degrees, and float¬ ing as it were on this layer of water ; and when extended, taking the glass and papers be¬ tween the finger and thumb, by an upper corner, to prevent their slipping, tilt it gently to allow the interposed water to flow off by the bottom, which will leave the two sheets of paper adhering perfectly and closely, without the slightest chance of air-bubbles ; it may then be left for a minute or two, standing upright in the same position, to allow every drop of water to escape ; so that when laid flat again or placed in the slider none may return back and stain the paper. Of course, the sensitive side of the sheet is thus left exposed to the un¬ interrupted action of the lens, no protecting plate of glass being interposed, and even in this dry and warm climate I find the humidity and the attendant sensitiveness fully presei ved for a couple of hours. To develope views thus taken, the ordinary saturated solution of gallic acid is em¬ ployed, never requiring the addition of nitrate of silver ; thus preserving the perfect puiity and varied modulation of the tints. The fixing is accomplished as usual with hyposulphite of soda, and the negative finally waxed. Dry Process .—In preparing sheets for use when dry for travelling, &c., I have discarded the use of previously waxed paper,—thus getting rid of a troublesome operation, and pro ceed as follows.—Taking a sheet of my iodized paper, in place of floating it (as for the wet process) on the sensitive bath, I plunge it fairly into the bath, where it is left to soak for five or six minutes — then removing it wash it for about twenty minutes, in a bath or even two, of distilled water to remove the excess of nitrate of silver, and then hang it up to dry (in lieu of drying it with blotting paper).—Paper thus prepared possesses a greater degree of sensi¬ tiveness than waxed paper, and preserves its sensitiveness, not so long as waxed paper, but sufficiently long for all practical purposes, say thirty hours, and even more. The English manufactured paper is far superior for this purpose to the French. To develope these views, a few drops of the solution of nitrate of silver are required in the gallic acid bath. They are then finally fixed and waxed as usual. These processes appear to me to be reduced to nearly as great a degree of simplicity as possible. I am never troubled with stains or spots, and there is a regularity and certainty in the results that are very satisfactory. You will have observed, too, how perfectly the aerial perspective and gradation of tints are preserved — as also how well the deepest shadows are 20 NOTES. penetrated and developed—speaking, in fact, as they do to the eye itself in nature. In ex¬ posing for landscape, I throw aside all consideration of the bright lights, and limit the time with reference entirely to the dark and feebly-lighted parts of the view; with a 3^-inch lens, the time of exposure has thus varied from ten minutes to an hour and a half, and the action appears to me never to have ceased. The influence of the air-pump in this appears to me very sensible, and deserving of fur¬ ther examination and extension. I purpose not only iodizing, but rendering the paper sen¬ sitive with the action of the air-pump, by perhaps suspending the sheet after immersion in the nitrate bath under the receiver of the air-pump for a few minutes, before exposure in the camera, or by some other manoeuvre having the same object in view. I should add, that I have chiefly employed Canson’s French paper in iodizing with the aid of the pump. Few of the English manufactured papers are sufficiently tenacious in their sizing to resist the action of the pump, but they may easily be made so ; and were, in short, the English paper, so far superior in quality to the French, only better sized, that is with glue less easily soluble, even though more impure , there is scarcely any limit to the beauty of the views that might be produced. There are more minor details that might be given; but I fear repeating many a “ twice- told tale,” acquainted so little as I am with what is doing; — the preceding, however, may have some interest, and whatever is of value is entirely due to our friend M. Regnault, ever so generously ready as well as able to aid and encourage one’s efforts. John Stewart. Collodion Process. I send you three frames, containing four Calotypes each. Negatives , on paper prepared with iodide of silver, 20 grains to one ounce of distilled water. Excited for the camera (weak) containing about two grains of nitrate of silver to one ounce of water. Exposure to the objects from 5 to 15 minutes, according to the subject and weather. Waxed afterwards. Positives , on negative paper, containing from 7 to 10 grains of iodide of silver, to one ounce of distilled water. Brought but in the same manner as the negatives, with a saturated solution of gallic acid, and finished with 5 grains of aceto-nitrate to one ounce of water. Excited with 5 grains of aceto-nitrate to one ounce of water—and exposed to the light in a frame 5 seconds to half a minute, according to the light, and transparency of the negative. Sir W. J. Newton. NOTES. 21 L How to clean the Glass Plate .—Take a piece of thin plate glass, the size of the frame, wash it in water containing a small quantity of nitric acid , or water containing a small quantity of ammonia and tripoli mixed—afterwards taking care that the glass is well washed or rinsed in clean water;—wipe it dry, and polish it with a clean leather. 2. To coat the Plate with Collodion.— Hold the glass by one corner, or, if large, place it in a frame,* and pour on the collodion, which will readily diffuse itself all over. Imme¬ diately pour the liquid off again into the bottle from one corner, and by bringing the hand which holds the glass plate down a little, the liquid will run to the edge; and, by drawing the mouth of the bottle along the edge of the plate the collodion will run into an even sur¬ face. Very little practice will soon enable the operator to obtain a most perfect coating. The plate is now ready for the bath. Take nitrate of silver 33 grains to the ounce of distilled water, then filter it. The dipper must be raised out of the bath, and the plate gently lodged upon the edge at the end. The plate must then be immersed in the bath, letting it remain there for half a minute. By raising it out gently it will be seen that the surface will have a greasy appearance, and the time for removing it out of the bath to the slide, for the camera will be known as soon as the greasy appearance disappears from the plate. It is well to raise the plate two or three times from the bath, that the ether may evaporate. The plate should in this wet state be placed in the slide, and put into the camera. The time of exposure must entirely depend upon the light upon the object about to be taken, and the size of the diaphram used, with the lens; for views or portraits, from one to ten seconds, and in dull weather from one minute to a minute and a half. After exposing the plate in the camera, it must be taken from the slide and placed, col¬ lodion side upwards, upon a levelling stand. 3. To develope the Picture .—Pyro-gallic acid 3 grains, glacial acetic acid I drachm, distilled water 1 ounce. Take a sufficient quantity of the above solution, pour it quickly over the plate, frequently moving the solution by blowing gently upon the plate. A few r drops of the nitrate of silver solution from the bath, added to the developing solution, just before applying it to the plate, in dull or cold weather, will greatly assist the bringing out of the picture. A little practice will soon show how long each subject will require; after this pour on the plate a gentle stream of water; then add a saturated solution of hyposulphite of soda, which will, in a few seconds, dissolve the undecomposed iodide, and fix the picture; then allow a stream of water to flow all over the plate, so as to entirely get rid of the hypo¬ sulphite of soda ; the picture is then finished. By applying the plate to a gentle heat, it will soon dry, when it will be fit for varnishing; the picture is then ready for printing from in the ordinary way. Philip H. De la Motte. The frames are manufactured by Messrs. Hone and Co. 22 NOTES. The collodion I have used is that which is generally employed, being iodized with iodide of silver, until it becomes sufficiently sensitive; and was made in the form pointed out by Dr. Diamond, in his excellent instructions on Photography, published in the “ Notes and Queries.” I have always selected what may be termed an overcast day for taking portraits, as I consider that light reflected from a grayish sky, is that which is best adapted not only for the ease and comfort of the sitter, but for producing a calm, round, and well defined image, free from any strong and disagreeable shadows. Such light as I have described tends very often to give a stereoscopic effect to the whole figure. With regard to the back ground I give the preference to a curtain of a silver gray color. During the Autumn my attention had been directed for some time to produce a uniform tone in Positive pictures, and one which would be equally luminous by candle light as by day-light. I succeeded at last in obtaining this, and found that by developing the picture with one drachm of protonitrate of iron > freshly made in the form advised by Dr. Diamond in the ‘Notes and Queries,” and six drops of the pyrogallic solution, I obtained the desired object. I may mention that this result is not confined to any one particular collodion. I found that the brilliancy was much enhanced by covering the picture, after being well washed and when perfectly dry, with the chloroform and amber varnish, which has exactly the same effect as copal varnish upon an oil painting, giving greater tone and depth to the lights and shades. The black varnish being added afterwards, produces a softened tint, and does not throw out the picture too abruptly, or tend in any w r ay to decrease the luminous tone, which is so much to be desired. Edward Kater. The specimens of Photography on Glass sent by me to your Exhibition, are the result of a long course of experiments into which I was led, by observing when developing the latent image in the collodion with protonitrate of iron, how closely it approached the tone of a daguerreotype produced with iodine in too great an excess, and which led me to hope that we might obtain photographs with the brilliancy and detail of daguerreotypes, without their mirror-like surface. As I did not preserve the pictures obtained in these experiments, it would be impossible for me to state the various results of tone, half-tints, and intensity produced by very slight differences in the manner of operating; such as the length of time the ether is allowed to evaporate before the collodion is poured on the plate; the plate being warm or cold; or the atmosphere containing more or less moisture. These all, as in the daguerreotype and calotype, produce peculiar results in the collodion process. The length of time the plate is left in the bath of nitrate of silver also makes a great difference, not only in the sensitive¬ ness of the plate, but also in the tone of the picture. I do not find the greasy appearance of the plate when in the nitrate of silver bath, indicates truly its sensitiveness. This seems to depend more upon the period of time it remains in the bath, and upon the collodion having arrive'- at a proper state previous to it*' being exposed to "its action. This peculiar state, again, depends upon the condition ot the atmosphere, dampness always tending to retard the process. The solution of nitrate of silver used is 25 grains to the oz. of water. I do not find a stronger solution has any advantage, and in many cases a weaker one does better. This, however, depends entirely upon the kind of collodion used, as every slight modification in this article produces very curious and often quite unexpected results. There is yet much to be done in this way, and I am still devoting all my spare time to experimenting upon it. No defects at present existing, seem incapable of a remedy by some one or other of the count¬ less combinations yet untried in the preparation of collodion in combination with the salts of silver; and every lover of the art must be led to the conclusion, as I have been, that as in such a short time this process has led to such beautiful results, already equalling, if not sur¬ passing, the choicest specimens of the much older calotype or daguerreotype, — there is nothing now wanting, not even colour itself, which patient and persevering experiment may not succeed in producing. Much difficulty is experienced in the use of collodion for positive pictures, on account of its want of adhesion to the surface of the glass, and its being so easily broken by the wash- ings to which it must be subjected. The collodion generally used for negatives is much too thick for fine positives. All now depends upon nicety of manipulation, but I have every reason to believe that we shall soon be able to produce a material at once firm and delicate. The surface of collodion properly prepared has a high degree of sensibility, and pictures can be taken with an amount of light that would be quite insufficient for the daguerreotype or the paper process. This is, I think, shown by my pictures, all the best of which were taken during the gloomy weather of the present month, and yet show no want of a proper brilliancy in the lights and depth in the shadows. Another great advantage which the glass process has over the daguerreotype is, that the pictures are non-inverted without the application of any mirror to the camera, which must of course cause an indistinctness and loss of light, and require a longer time of sitting. The two sides of a glass picture being exactly alike, the glass side may be turned uppermost as in my pictures Nos. 3 and 14, when the picture will of course be not inverted, as may be seen by observing that the gentleman is about to move a piece, of course with his right hand. The picture, too, being on the under surface of the glass, requires no frame or second glass over it, but may be preserved by merely covering the back and edges with paper. The plate, when taken from the camera and dried, has a beautiful pearly lustre, shown in No. 19, which is a picture of a white plaster cast, with no after preparation. It is the col- , lodion in its natural state. This process seems very applicable to the representation of sculpture and has reliefs. No. 18 is a copy of the same cast, simply varnished as in all the other pictures. No. 20 is the same, less sensitively prepared, and longer exposed to the action of light. These three medallions show the remarkable modifications that collodion is capable of. 24 NOTES. i\o. 17 is one of my first endeavours to produce portraits by the u * prcdcnitrate e~r iron. By this process the pictures are always deficient in half-tints. No. 16 is another early attempt, but developed with sulphate of iron, with various pro¬ portions of which I have produced all my subsequent pictures. In No. 3, a pale lilac dress became overdone by the amount of light necessary to bring out the darker parts. In No. 10, a satin dress of an equally sensitive colour, bright blue, is brought out with great depth and brilliancy, by a proper supply of light to the other parts of the figure. No. 14 shows the minuteness and delicacy produced by admitting little light to the camera, and reducing the time of its action, while Nos. 1, 5, 7, and 11 have a good tone with great distinctness and effect. In Nos. 12 and 13, different expressions are caught with a perfection which leaves little to be desired; and in No. 14, I would direct attention to the delicacy of outline, and the discrimination of material in the articles delineated. In No. 15 are represented some objects of Natural History so minutely, as to seem capable of an extensive and useful application. Thomas Sims. For portraits from life I use iodized collodion, excited by solution of nitrate of silver about 50 grains to the ounce of distilled water, with one or two drops of nitric acid,— developed by protosulphate of iron, about 40 grains to the ounce, with ten to twenty drops of nitric acid to the four ounces of the solution. On the back is patent jet, which dries in two or three minutes, and poured on in the same manner as the collodion. W. C. Meates, Esq. -