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You can search through the full text of this book on the web at ittp//books.google.com4ayia eter Byer The Complete PhotograJulia Margaret Cameron eee aera Julian Cox and Colin Ford eee eee emg es Cee A eee neta ee eee was going to do next, nor did any one else.” This eee eee er ee eee eas Po erect ee ee ed height of the Victorian era, Cameron was anything but Sea ee ee eae ee ce es Charles Darwin, Thomas Carlyle, and others— eee eee Pee eee ee ees eee eae orate a complete catalogue of Cameron's photographs, there is information on her life and times, eee eee eee et sitters, and sources of inspiration. Also provided are ae omen kc held both in her SS ee eee ee eee? Julian Cox is Assistant Curator of Photographs at the J. Paul Getty Museum. Cree ee eee eS) Nita ee oe eee! Cee eee ec een Galleries of Wales. easy en eee rere ens ea ta eee ae ee Ce en a ese en ae4 ft fon te yuwe ecia, bert of ties Case , Mth alt Gretiliate. for the Lacy haattibee fasture bnew, Leenddy While ter Reseclli freee 2 te fr Elin . Hoty archferrmaen, Weck ls too Hay ~ gue Lilo of Wes! 5 4p) ©Julia Margaret Cameron The Complete Photographs Julian Cox and Colin Ford swith contributions by Joanne Lukitsh and Philippa Wright ‘The J. Paul Getty Museum, Los Angeles in association with The National Museum of Photography, Film & Television, Bradford, England©2003 J. Paul Getty Trust Getty Publications 100 Getty Center Drive Suite 500 Los Angeles, CA go049-168s swonegertyeda Christopher Hudson, Publisher Matk Greenberg, Editor in Chit An Lucke, Managing Editor Gregory A. Dobie and David Featherstone, Bitar: Jelrey Cohen, Designer Stacy Miyagawa, Production Coordinator Christopher Allen Foster and Ellen R, Rosenbery, Photagraphers ‘Michael Hargraves, Research Asocate G&S Typeserters, Inc, Austin, Teas, Typesetting Ani Graiche Amileare Pizzi, Sp.A., Milan, lly, Printing Frontispiece Norman Album (see appendix C) Tie page ear. NO. 126 The Thre Sisers| Peace, Love and Faith (deri) Libeary of Congress (Cataloging-n- Publication Data Cox, Julian, Julia Margaret Cameron : the complete photographs /by Julian Cox and Calin Ford ; with contributions by Joanne Lukitsh and Philip Wright pcm, Tncludes bibliographical references and indets. 198n o-89236-681-8 (hardcover) 1. Photography, Artistic. 2. Cameron, ‘Julia Margaret Pate, 1815-879. 3.J. Paul ‘Gety Museum —Photograph cllectons. 4 Photograph collections Cafornia — Los Angeles. 1. Cameron Julia Margaret Patt, 115-1879. 11 For, Colin, 1934— TL Lukiteh, Joanne. 1. Weight, Philippa, V Tit 1n652.069, 2003 70'92—dext roox01369) daiizedsy Google ‘6 4 3 95 106 108 129 175 291 496 498 502 506 su sar 528 538 sas 553 559 Contents Foreword Deborah Gribbon Preface Weston Naef Acknowledgments Julian Cox and Colin Ford Introduction Julian Cox and Colin Ford Chronology Geniuses, Poets, and Painters: The World of Julia Margaret Cameron COLIN FORD “To...startle the eye with wonder & delight”: ‘The Photographs of Julia Margaret Cameron JULIAN COX Little Pictures: Julia Margaret Cameron and Small-Format Photography Before 1864: Julia Margaret Cameron's Early Work in Photography JOANNE LUKITSH. CATALOGUE Note to the Reader Collection Abbreviations 1. Beginnings 373 un. Religion 43 m, Women 467 v, Men 483 Appendix A: Copyright Registers v. Children vi. Iustrations vit Tdylls vin. Ceylon Appendix B: Inscriptions, Stamps, and the Business of Photography Appendix C: Albums Appendix D: Collections Appendix E: Sitters Appendix F: Sources of Inspiration Selected References Selected Exhibitions Title Index General Index Photography CreditsForeword ULIA MARGARET CAMERON WAS ONE of the greatest nineteenth-century artists in any medium. This volume records and celebrates her remarkable fervor for what she called the “divine art of photography.” It is the first publication to reproduce the entire corpus of the more than twelve hundred photographs she created. The as- sembled works are a testament to her pioneering achieve ment, revealing not only vivid flashes of brilliance in individual images but also a sustained dedication to the art and activity of picture making over a career that spanned fourteen years. The value of such a publication lies inthe juxtaposition ofthe familiar, canonical portraits of Cameron's most trusted and habitual subjects with dozens of lesser-known portraits and genre pictures, the majority of which have never been exhibited or repro- duced. Even specialists familiar with her work will find new photographs and information published here. With Cameron's oeuvre available in one place for the frst time, this volume provides abundant opportunities for fresh understandings of the work. ‘The catalogue raisonné is, of course, one of the es- sential tools of art-historical scholarship, since it fulfills the basic function of recording and analyzing an artist's entire production. It is an endeavor that requires of its authors enormous resources of perseverance, skill, time, and travel in a process of discovery that commonly takes years, sometimes even a lifetime, This kind of enterprise is a labor of love, presenting a challenge met only by the most committed individuals. Over the past several years the principal authors of this volume—Julian Cox, assis- tant curator of photographs atthe J. Paul Getty Museum, cat. No. 698 Professor [Benjamin] Jowett (detail) and Colin Ford, founding head of the National Museum of Photography, Film & Television, Bradford, England — have undertaken the task of locating, cataloguing, and interpreting this major body of work. The seeds of the collaboration were sown in the spring of 1995, when Ford was visiting Los Angeles and met with Cox, who had just completed the manuscript for a monograph on Cameron in the Getty Museum's In Focus series and was prepar- ing an exhibition of her work from the permanent collec- tion. The two joined forces to complete the research on Cameron and her circle that Ford had begun more than twenty-five years earlier. Weston Naef, curator of photographs, believed the special resources of the Getty Museum were well matched to_a project of this scope and provided the leadership and support necessary to bring it to fruition. To him I offer ry sincere thanks and appreciation. On this journey the authors were joined in partnership by the National Mu- seum of Photography, Film & Television and its head, Amanda Nevill, who committed the resources of that in- stitution and the talents ofits staff, most notably Philippa ‘Wright, to the project over a number of years. To them, and to the many others who helped assemble this book, Tam deeply grateful. Above all, I thank and congratulate Julian Cox and Colin Ford for sharing their study of Cameron's “divine art.” Denoran Grisson Director, The J. Paul Getty Museum Vice President, The J. Paul Getty TrustPreface N Sepremper 1986 THE J. Paut Getty Museum installed, in freshly ap- pointed 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: Waisper 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 au thored 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 ts photography collection came from Cam- cron 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 ac~ companied in the picture by Elizabeth and Kate Keown in the role of muses, the name given by the Grecks 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 photographie plate. Genius can be described as an extraordinary capac- ity for imaginative creation by a person with native intel- lectual power of an exalted type. It is not to be frivolously accorded to artists in any medium of expression, but itis certainly appropriate for Cameron. She was not a passive mirror reflecting the ideas of others, but was among the originators of a new attitude to form and content that the ciight chapters of this book make fully comprehensible for the first time. Cameron was perceived by her contempo- raries as having innate creative powers. As early as 1865, an unsigned article in the July 15 issue of the Mlustrated London News (see selected references) characterized her as a unique innovator: “Without any help or instruction whatever, this lady has succeeded in entirely opening a field for photography that remained almost a ferra incog- nita, ... It appears to us equally indisputable that a large proportion afford a pleasure differing not only in degree, but wholly in kind, from that to be derived from ordinary photographs.” While inspiration is an essential prerequisite for good art, ideas must be translated into action, and itis easy to underestimate the amount of time and money required in the mid-nineteenth century to create single photograph. Te took hours, not minutes, in an era when every glass plate had to be prepared from scratch just before the expo- sure and developed immediately afer. And itis estimated that each albumen print made from a negative required up to two hours for exposing, washing, toning, drying, and ‘mounting. A hundred Cameron photographs therefore represent hundreds of hours of work, all done by hand and without the assistance of the laborsaving machines and chemicals that are modern inventions. In addition to her labor, there were significant out-of-pocket expenses for the raw materials, including silver and gold. Cameron did the work herself and often indicated this in writing below her prints. Perhaps to speed up the process, she sometimes took shortcuts and broke the rules of good technical practice with abandon. Despite proclaiming heringenuity, the same Ilustrated London News writer called some of her work “failures, calculated to injure the lady's reputation and retard the reception of her principles.” In 1986 Cameron's photograph The Whisper of the Muse was understood chiefly through the context in which it came to the Getty Museum, asa picture that Cameron had positioned between pages containing The grandmother (cat. no. 1073) and a portrait of Sir Coutts Lindsay (cat. no. 709). They had been gathered, along with ro9 other photographs dating from her first two years, and bound into an album she presented to Lord Overstone, her chief financial patron, in August 1865. One of ten such volumes Cameron created for presentation to people important to her, this album is peculiar in the specifies of its sequenc~ ing. The artist gives no clue as to why The Whisper of the Muse is positioned between The grandmother, made at Freshwater, Isle of Wight, and the portrait of Lindsay, another of her foremost supporters, which was taken on the lawn of Little Holland House in London. This book analytically positions Cameron's photo- graphs in the context of works related by style, composi~ tion, and date of creation. We therefore find The Whisper of the Muse positioned adjacent to a variant study of the same subject housed in the Victoria and Albert Museum, London (cat. no. 1087). In the London print we see ‘Watts’ head turned to his lef, toward the giel who comes close to his cheek as though literally to whisper in his ear The positions of his hands and the violin are also differ- cnt. In placing the two reproductions side by side for the first time, we are given insight into Cameron's method of working with her models, but we must imagine how she directed the scene to achieve her expressive ends. The two pictures are quite different in what they communicate ‘The Getty version is the more integrated composition and is striking for the manner in which Cameron created a classic pyramid of forms. The London version, however, even though it is unbalanced, better expresses the idea of a whisper as stated in the title. We see clearly how the photographer was obliged to sacrifice one objective in order to achieve another. Additionally, we learn from the catalogue entry that just one other print of the Getty ‘Museum's version of the subject is known to survive, in an album presented to Henry Taylor. We can deduce that Cameron favored the more unconventional composition, because she made at least five more prints from that neg- ative, The position allocated to The Whisper ofthe Muse in this book effectively places the picture in its larger context among illustrations of other literary and mythological sub jects to which itis stylistically and conceptually related. ‘When seen with other pictures ereated under the influ ence of the written word, it allows us to better appreciate the ambition of Cameron's reach. ‘Through its commitment to collecting, conserving, exhibiting, and publishing the more than three hundred Cameron prints in its collection, the Getty Museum has endeavored to see her placed high in the pantheon of photographers. We were inspised in this pursuit by two people in particular: Samuel Wagstaff, Jr., and Daniel Wolf, individuals whose taste and commitment helped shape our holdings of Cameron photographs. To them, and to the authors of this publication, Julian Cox and Colin Ford, and their associates, Joanne Lukitsh and Philippa Wright, we owe a large debt. Weston Narr Curator of Photographs, The J. Paul Getty Museum PrefaceAcknowledgments ROM ITS INCEPTION, THIS STUDY of Julia Margaret Cameron's photo- graphs has benefited from the expertise, generosity, goodwill, patience, and support of many indi- viduals and institutions. A curatorial team dispersed over ‘two continents and three cities has worked for several years to gather, analyze, and interpret this major body of work. ‘While each of us has drawn on many of the same resources, visited many of the same collections (sometimes repeat- edly), and consulted many of the same professional col- leagues, we have also developed our own networks of support. It is no small task in these few pages to acknow!- edge, on behalf of the authors, the wonderful and diverse forms of assistance for which we are grateful and without which this publication would be much diminished, ‘The home base for gathering and sorting the photo- graphs and information contained in this book has been the Department of Photographs at the J. Paul Getty ‘Museum. Weston Naef, curator, whose commitment to the study of Cameron's art is passionate and long- standing, lent his experienced eye, sound guidance, and enthusiastic support to the successful completion of this volume. To him we offer our most sincere thanks. Michael ‘Hargraves, research associate, was largely responsible for compiling the data included in the chronology, selected exhibitions, and selected references sections. In doing so, he spent innumerable hours tracking down obscure bibli- ‘graphic sources. His well-honed skills, never-say-die attitude, and ready wit provided much-needed encourage~ ‘ment during the busiest spells in the preparation and pro- duction ofthis text. The entire staf ofthe department has, for several years, been accommodating and tolerant of the authors’ demands on their time. Gordon Baldwin, Judith Keller, Mika Gee Conway, Anne Lyden, Marisa Nuc- cio, and Joanna Sullivan have all facilitated our work in a multitude of ways, ranging from the ready contribution of expertise to the graceful acceptance of additional respon- sibilities so that the Cameron work might proceed. All have contributed in vital ways and are acknowledged with heartfelt thanks. Former employees of the department who also deserve our gratitude for providing assistance during their tenures are Marcia Lowry, Sarah Sullivan, and Tracy Shields. Over the years we have also been helped immea- surably by departmental volunteers, and our thanks go to Elaine Vogel and Ann Sheen Magee for their generosity, ‘goodwill, and humor. Marc Harnly, head of paper con~ servation, and Ernie Mack, assistant conservator, carried ‘out numerous expert treatments on the Getty Museum photographs included in this volume. Their patience, pro- ficiency, and keen aesthetic eye ensured the best presenta tion possible for the work. Lynne Kaneshiro ably assisted them throughout. We are grateful to them all. Dusan Stulik, senior scientist at the Getty Conservation Insti- tute, conducted X-ray fluorescent analysis on a selection of prints in the Getty Museum collection, which helped us learn more about Cameron's technique and procedure. No project can be completed in a large institution, without the collaboration and involvement of its key members, We are particularly grateful for the support of Deborah Gribbon, director, whose vision and appreciation for photography allowed this project to become a signi- ficant priority for the Getty Museum. Such ambitious, time-consuming, and labor-intensive books are rarely undertaken by museums in this day and age, but Christo- pher Hudson, publisher, ensured that the costs and com- plexities of this one would not be an impediment to its successful completion. We are grateful for his tenacity and persistence. The publication was nurtured by the careful attention of Mark Greenberg, editor in chief, and in the latter stages by Ann Lucke, managing editor. The hand-some design of this volume, so well matched to the beauty and power of Cameron's photographs, is the work of Jeffrey Cohen. With sensitivity and aplomb, he applied his considerable skills to the challenging demands of this publication, and his dedication to translating Cameron's spirit and aesthetic is evident on every page. He was guided throughout by Deenie Yudell, design manager, whose judgment and flair proved invaluable. We have had the good fortune to work with two fine editors, whose valiant efforts we acknowledge here. Greg Dobie’s role in this complex undertaking far exceeded the typical requirements of an editor. He shouldered the responsibility for establishing consistency and accuracy throughout this volume and made significant editorial contributions to the catalogue entries and the entire back matter. His irrepressible vitality and impish wit, com- bined with editorial prowess ofthe first sank, rendered his contribution indispensable. David Featherstone likewise worked diligently and effectively to help establish consis~ tency among the various authorial voices and give shape and balance to the text. We are extremely grateful to them both. Under the able direction of Karen Schmidt, produe- tion manager, Stacy Miyagawa, production coordinator, brought her experienced eye and judicious judgment to the artful construction of this book. Handling a diverse array of photographic materials from more than seventy- five collections, she has been able to achieve the very highest standards of reproduction. She also demonstrated tremendous ingenuity in keeping this multifaceted proj- ect on schedule, The photo services staff of the Getty Museum went to extraordinary lengths to produce trans parencies and prints of the highest order. Our thanks go to Christopher Foster, Ellen Rosenbery, Jack Ross, and the late Charles Passela, Rebecca Vera-Martinez lent her first- rate printing skills to a variety of materials and produced consistently outstanding results. Excellent administrative support was provided by Amy Fisk and Susanne Winter- hawk, to whom we express our sincere thanks. In the department of digital imaging, Nehemiah Chus, Gary Hughes, and Michael! Smith, under the expert guidance of Carol Hernandez, worked wonders in the seanning and ‘manipulation of selected image materials used in this publication, We would also like to thank Brenda Smith for her consistently good-natured and helpful response t0 our many requests for this work. In the department of information systems, Jainine Mays and Brenda Podemski deserve our great appreciation for their craft and inno- vation in designing and maintaining the database used to gather and analyze the information that forms the heart of each entry in the catalogue section. Catherine Hess, associate curator of sculpture and works of art, provided useful insights on possible sources for Cameron's life-size portraits of 1866 and 1867, The staff of the Getty Research Institute provided essential and sustained support over our several years of research. Mark Henderson and Beth Guynn cheerfully accommodated our many requests to consult materials in the special collections department. In circulation, we would like to thank Judy Edwards, Jay Gam, Ross Garcia, and Amelia Wong, all of whom helped track down bibliographic references and secure rare pub- lications available only through interlibrary loan. ‘The National Museum of Photography, Film & Television, Bradford, England, has been the Getty Museum's principal institutional partner in this cata- logue, and the authors are deeply grateful to Amanda Nevill, head of the museum, for enthusiastically support- ing the project and making it possible for members of her staff to work on it. From the outset, Mary Murphy, head of collections, labored tirelessly to define the terms of the Acknowledgmentscollaboration and to provide practical and logistical sup- port. We are especially indebted to Rob Cox, head of stu- dios, 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 far~ from-ideal conditions. Colin Harding, curator, photo- graphic technology, supported the authors with his expertise on historical processes and photographic tech- nology. Sincere thanks are also offered to the following colleagues at Bradford who contributed valuable assis- tance, 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 photo- graphs at the National Museum of Photography, Film & Television, deserves our sincere appreciation for her dedication and skill in cataloguing and organizing infor- mation 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’ earliest experi- ences with photography. During the process of gathering and organizing the information contained in this catalogue, those institu- tions endowed with important holdings of Cameron pho tographs 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 facili tating large photographic orders, answering last-minute e-mail inquiries, and verifying inscriptions, stamps, and other miscellaneous details, they made substantial contri- butions of their time, expertise, and facilites in support JULIA MARGARET CAMERON of our goals. The following individuals deserve our most sincere thanks: at the Art Institute of Chicago, David Travis, Kristin Merrill, Lisa D'Acquisto, Douglas Sever son, Sarah Guernsey, and Nicole Finzer; at the Harry Ransom Humanities Research Center at the University of Texas at Austin, David Coleman, Roy Flukinger, Linda Briscoe, and Chris Hamberlin; at the International ‘Museum of Photography and Film at George Eastman House, Rochester, New York, Therese Mulligan, David Wooters, Joseph Struble, Janice Madhu, and Barbara Galasso; at the Metropolitan Museum of Art, New York, ‘Malcolm Daniel, Jeff Rosenheim, Douglas Eklund, Nora Kennedy, and Julie Zeftel; at the Museum of Fine Arts, Boston, Anne Havinga and Christopher Atkins; at the National Portrait Gallery, London, Terrence Pepper, Clare Freestone, Susan Bright, and Bernard Horrocks; at the Royal Photographic Society, Bath, England, Barry Lane, Pamela Roberts, Samantha Johnson, and Sarah Bentley; at the Tennyson Research Centre, Lincoln, England, Sue Gates and Marilyn Law; at the Victoria and Albert Museum, London, Mark Haworth-Booth, Martin Bames, Charlotte Cotton, Alison Hadfield, Christopher ‘Marsden, and Rachel Lloyd. Many other institutions and professionals have hosted cour cataloguing visits and fielded our questions, offering welcome encouragement and friendly advice along the way, We acknowledge the valuable contributions of the following individuals who, at the time they assisted us, were at the following institutions: at the Allen Memorial Ast Museum, Oberlin College, Ohio, Lucille Stigers at the Art Gallery of New South Wales, Australia, Judy Annear; at the Ashmolean Museum, Oxford, Colin Harrison and Julian Brookes; at the Ball State University ‘Maseum of Art, Muncie, Indiana, Alain Joyaux; at the Beinecke Library, Yale University, New Haven, Con- necticut, Vincent Giroud; at the Biblioth@que Nationale de France, Paris, Sylvie Aubenas; at the Birmingham Public Library, England, Peter James; at the Boca Raton ‘Museum of Art, Florida, Wendy Blazier; at the Bodleian Library, University of Oxford, Colin Harris, Susan Har- tis, and Vivien Bradley; atthe Boston Athenaeum, Sally Pierce; at the California Museum of Photography, Uni- versity of California, Riverside, Steve Thomas; at the Centro Cultural Arte Contemporineo, Mexico City, Victoria Blasco; at the Chrysler Museum of Art, Norfolk, Virginia, Brooks Johnson; at the Clark Art Institute, Williamstown, Massachusetts, James Ganz and Lisa Dorin; at the Cleveland Museum of Art, Tom Hinson and Mary Lineberger; at the Corcoran Gallery of Art, Washington, D.C., Mary Jo Aagerstoun; at the Cour-tauld Institute of Art, London, Jane Cunningham and ‘Melanie Blake; at the Davis Museum and Cultural Cen- ter, Wellesley College, Massachusetts, Lisa McDermott and Sandra Hachey; at the Delaware Art Museum, Wilm- ington, Matt Kubnert; at the Detroit Institute of Arts, Nancy Barr; at the Edinburgh University Library, Rich- ard Ovenden; at the Eton College Library, Michael Meredith and Linda Fowler at the Fine Arts Museums of San Francisco, Robert Flynn Johnson and Karin Brewer; at the Fogg Art Museum, Harvard University, Cam- bridge, Massachusetts, Deborah Martin Kao; at the Gilman Paper Company, New York, Pierre Apraxine and Maria Umali; at the Grand Rapids Art Museum, Michi- gan, Steven A. Ferris; at Haverford College, Pennsyl- vania, Ann W. Upton; at the High Museum of Act, Atlanta, Thomas Southall; at the Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, Rebecca Fawcett; at the Houghton Library, Harvard University, Cambridge, Massachusetts, Julie Melby; at the Hulton Getty Picture Library, London, David Allison, Sarah McDonald, and Leonard Hanson; at the Indiana Univer- sity Art Museum, Bloomington, Nan Esseck Brewer and Kathy Taylor, at the Isle of Wight County Council, Rich- ard Smout; atthe La Salle National Bank, Chicago, Scott Dietrich; at Lehigh University, Pennsylvania, Patricia Kendianis; at the Library of Congress, Washington, D.C., Verna Curtis; at the Liverpool Central Library, England, Avril Brodey and ‘Tim Parrott; at the Longtfel- low National Historic Site, Cambridge, Massachusetts, Jim Shea and Anita Israel; at the Maison de Vietor Hugo, aris, Sophie Grossiord; at the Mercer Art Gallery, Har- rogate, England, Mary Kershaw and Karen Southworth; at the Milwaukee Art Museum, Terrence L. Marvel; at the Minneapolis Institute of Arts, Christian Peterson; at the Moderna Museet, Stockholm, Leif Wigh; at the ‘Musée d’Orsay, Paris, Quentin Bajac; at the Museum of Fine Arts, Houston, Anne Wilkes Tucker; at the Museum of Fine Arts, St. Petersburg, Florida, Jennifer Hardin; at the Museum of Modern Art, New York, Peter Galassi, Sarah Hermanson, and Rachel Crognale; at the ‘Museum of Photographic Arts, San Diego, Arthur Oll- man and Barbara Pope; at the Muscum of the History of Science, Oxford, Giles Hudson; at the National Gallery of Art, Washington, D.C., April Watson and Janet Bly- berg; at the National Gallery of Australia, Canberra, Anne O'Heihr; at the National Gallery of Canada, Ottawa, Hazel Mackenzie and Raven Amiro; at the National Gallery of Victoria, Australia, Isobel Crombie; at the National Museum of American History, Wash- ington, D.C., Shannon Perich; at the National Portrait Gallery, Washington, D.C., Heather Egan; at the New Orleans Museum of Act, Steve Maklansky and Jennifer Ickes; at the Palmer Museum of Act, University Park, Pennsylvania, Beverly Balger; at the Philadelphia Mu- seum of Art, Katherine Ware and Stacy Bomento; at the Photographic Society of Ireland, Dublin, Thomas O'Fla- herty; at the Rhode Island School of Design, Providence, Claude L. Elliott; at the Rijksmuseum, Amsterdam, Mattie Boom; at the Rothschild Archive, London, Victor Gray and Melanie Aspey; at the Royal Archives, Wind- sor Castle, Frances Dimond and Helen Gray; at the Royal Botanic Gardens, Kew, England, Marilyn Ward; at the Royal Society of Arts, London, Christopher Denvis; at the Saint Louis Art Museum, Francesea Consagra and Pat Woods; at the San Francisco Museum of Modern At, Sandra Phillips, Douglas R. Nickel, and Tom Sempere; at the Schaffer Library, Union College, Sche- nectady, New York, Betty Allen and Ellen Fladger; at the Seattle Art Museum, Susan Bartlett; at the Sheldon ‘Memorial Art Gallery, University of Nebraska, Lincoln, Karen Merritt and Karen Williams; at the Smith College Museum of Art, Northampton, Massachusetts, Anne Sievers and Michael Goodison; at the Snite Museum of Art, University of Notre Dame, Indiana, Stephen Mori arty and Morna O'Neill at the Stanford University Iris 8 B. Gerald Cantor Center for Visual Arts, California, Betsy Fryberger and Alicja Egbert; at the Tel Aviv ‘Museum of Art, Nissan Perrez; at the ‘Tokyo Metropoli- tan Museum of Photography, Fuminori Yokoe; at the ‘Toledo Museum of Art, Ohio, Karen Serota; at the Uni- versity of California, Los Angeles, Charles E. Young Research Library, Department of Special Collections, Octavio Olvera; at the University of California, Los Angeles, Hammer Museum, Carolyn Peter; at the Uni- versity of lowa Museum of Art, lowa City, Jeff Martin; at the University of Leiden, the Netherlands, Dr. I. Lei- jerzapf and Joke Pronk; at the University of Louisville, Kentucky, James C. Anderson; at the University of Mary- land, Baltimore County, John L. Beck; at the University of Michigan Museum of Art, Ann Arbor, Lori A. Mott; at the University of New Mexico, Albuquerque, Kathleen Stewart Howe; at the University of Vermont, Robert Hull Fleming Museum, Burlington, Darcy Coates; at the Vas- sar College Frances Lehman Loeb Art Center, Pough- keepsie, New York, Rebecca E. Lawton; at the Virginia ‘Museum of Fine Arts, Richmond, Ashley Kistler at the Visual Studies Workshop, Rochester, New York, William Johnson; at the Williams College Museum of Art, Wil liamstown, Massachusetts, Rachel U. Tassone; at the Worcester Art Museum, Massachusetts, Stephen B. AcknowledgmentsJareckie; at the Yale University Art Gallery, New Haven, Connecticut, Lisa Hodermarsky. Private collectors have aided this project immes- surably by granting access to works in their collections and by supplying information and photogeaphs. Michael and Jane Wilson deserve special thanks for permitting us extensive access to their extraordinary holdings. Violet Hamilton, their curator, accommodated our numerous requests with magnanimity and was equally generous in sharing with us her extensive knowledge of Cameron's life and art, We also very gratefully acknowledge the assistance provided by the following collectors: Michael Blasgen, Maggie Campbell, Carla Emil and Bruce Silver stein, Adam Fuss, Sven Gablin, Gary and Barbara Hansen, Manfred and Hanna Heiting, Stan Kaplan, Jack and Harriet Lazare, Jan Leonard and Jerry Peil, Noel and Harriette Levine, Ezra Mack, Michael Mattis and Judith Hochberg, Jay McDonald, Howard and Jane Ricketts, Julia Roberts, William Rubel, Michael Sachs, Paul and Prentice Sack, Richard and Ellen Sandor, Robert Harshorn Shimshak, Pamela Solomon, Howard Stein, Leonard Vernon, Paul F. Walter, Robert Warren, Maggie ‘Weston, and Stephen and Mus White. Itis appropriate here to also recognize four independent photographers, Ger ‘emy Butler, Chan Chao, Ali Elsi, and Antonia Reeve, who documented Cameron works in private collections, ‘We have gained important information about Cam- ron photographs from many dealers. They have encour aged our endeavor by offering access to Cameron prints in their possession and sharing information about prints cither circulating in the market or held in private hands, Our gratitude is offered to the following individuals: Timothy Baum, New York; Jane Corkin, Toronto; Evelyn Daitz, New York; Gary Edwards, Washington, D.C. Jeffrey Fraenkel and Frish Brandt, San Francisco; G. Ray Hawkins, Los Angeles; Robert Hershkowitz, Sussex, England; Charles Isaacs, Malvern, Pennsylvania; Ken and Jenny Jacobson, Essex, England; Robert Koch, San Fran- isco; Hans P. Kraus, Je., and his assistants Russell Isaacs and Jennifer Parkinson, New York; Craig Keull, Los ‘Angeles; Janet Lehr, New York; Stephen Loewentheil, Bal- timore; Lee Marks, Shelbyville, Indiana; Matthew Marks, New York; Lawrence Miller and his gallery director, Vicky Harris, New York; Alex Novak, Chalfont, Penn- sylvania; and Jill Quasha, New York. We have similarly received valuable information and assistance from experts at the auction houses. We ‘would like to express our sincere thanks to the following individuals: Denise Bethel, Christopher Mahoney, and Kate Smolenski, Sotheby's, New York; Amanda Doenit2, JULIA MARGARET CAMERON Christie's, San Francisco; Philippe Garner and Juliet Hacking, Sotheby's, London; Daile Kaplan and Lucy von Brachel, Swann's Galleries, New York; Lisa Newlin, Christie's, New York; and Lindsey Stewart, consultant to Christie's, London, Juliet Hacking at Sotheby's, London, deserves special mention for her numerous helpful and timely responses to requests for information and photo- graphic materials. Her knowledge of mid-nineteenth century photography and expertise on the oeuvre of David Wilkie Wynfield proved invaluable to the authors, ‘One of the most rewarding and lasting pleasures of our whole enterprise has been the opportunity to meet descendants of Julia Margaret Cameron, her family, friends, and sitters. They have made us welcome, shared their knowledge of and pride in their ancestors, and gen~ erously granted us access to their photographs and fam- ily papers. It is no exaggeration to say that we now count many of the following as friends, and we are deeply grate~ ful for the extraordinary range and depth of what they have been able to add to our knowledge and understand- ing of their nineteenth-century forebears. We hope that they will all regard the realization of this volume as some recompense forall the trouble we have given them. Inevi- tably, this list runs the risk of missing someone in one of the many families, but we arc extremely indebted to them all: Lucilla van der Bogaerde; Ewen Cameron; Muriel Campion-Lowe; the earl of Crawford and Balcar- res; Julia Emsden; Angelica Garett; Sir Hew Hamilton- Dalrymple; James Hervey-Bathurst and his archivist at Eastnor Castle, Douglas Silvanus-Davies; Anne Hewat; the Honourable Edmund Howard; Mr. and Mrs. R. P. Laurie; Lord Lichfield; Peter and Margaret McManus; Mr.and Mrs. Kevin Molony; Mr. and Mrs. Stephen Norman; Sybil Prior; the countess of Rosebery; Eliza beth Stordy; John Vaughan; Lady Delicia Wallace, Tom Luckock, and Maurice Curtis; and Lord and Lady Wemyss. There are several individuals who have assisted us in a variety of ways by sharing research and. providing information, and in the process they have stimulated our thinking as we worked on this book. Particular recogni- tion must be given to the following individuals, who were especially generous with their time and expertise. Stephen Berkman, photographer and educator, and Mark Oster ‘man, photographic process historian in the advanced res- idency program at the George Eastman House, Rochester, provided abundant technical information on Cameron's ‘working methods, including step-by-step demonstrations of the wet-collodion process. Their extensive knowledge of nineteenth-century photographic practice deepenedour understanding of and appreciation for the virtuosity of Cameron’ technical approach. Abby Freedman, writer and filmmaker, shared several invaluable insights from her many years of research on Cameron's life and art. Vie~ toria C, Olsen, independent scholar, willingly offered information and resources pertaining to her forthcoming biography of Cameron, which promises to be indispens~ able. Roger Taylor, independent scholar, provided access to his encyclopedic library of nineteenth-century books and periodicals, Not only did he supply numerous valu- able leads for our research, his tough-minded, exacting scholarship proved him to be the ideal sounding board for many aspects of this project. His friendship and support were absolutely invaluable. Sylvia Wolf, Sondra Gilman Curator of Photography at the Whitney Museum of American Art, inspired us with the exceptional quality of her 1998 exhibition and publication, Julia Margaret Cam- cron Women, and was graceful and generous in sharing information and knowledge gained from that important project. So, too, were Brian Hinton, archivist and secre- tary to the Julia Margaret Cameron Trust, John Beau- ‘mont, and the late John Feakins, who have done such valuable and pioneering work for the trust’s research group. Pam Roberts, curator of the Royal Photographic Society collection for most of the period during which this catalogue was being prepared (before the collection ‘was transferred to the National Museum of Photography, Film & Television), gave frely of her deep understanding. and knowledge of Cameron's work and made it possible for us to pay repeated visits to the world’s largest collec tion of Cameron prints at a time when it can only have caused her considerable personal inconvenience. Richard ‘Mangan, of the Mander & Mitchenson Theatre Collec- tion, London, was enormously helpful in answering ques- tions about nineteenth-century theater history. Jonathan Miller shared his extensive knowledge of phrenology. We would also like to thank the following individuals for sharing with us important information and lending their support to our endeavors: Loretta Ayeroff, Malcolm Baker, Nicky Bird, Thomas and Elinor Burnside, Chris- topher Craft, Carole Darnault, ill Finsten, Frits Gierst- berg, Veronica Franklin Gould, Michael Hall, Robert Henning, Vic Kettle, Gerald F. Kurtz, Olivia Lahs- Gonzalez, Jonathan Leiter, Stephanie Lipscomb, Carol Hanbery MacKay, Steven Manford, Joss Marsh, Laura Muir, Mr. and Mrs, Richard Ormond, Phillip Prodger, Ismeth Raheem, Panthea Reid, Leland Rice and Susan Ehrens, Mary Sampson, Larry J. Schaaf, Dale Stultz, Raymond V. Turley, Edward Wakeling, and Mike Weaver. Many friends not directly associated with this proj- ect provided inspiration, support, and respite that proved. essential to its completion. Their presence in our lives lifted our spirits and provided the lighter moments so necessary to sustaining the years of work on this book: Vicki Balfour, David and Paddy Cox, Paul Cremin, Stephanie Du Tan, Susanne Flesche, Andrew Fullalove, Susannah Gambin, Kelly George, Ed Goldstein, E: Ingham, John and Laura Lewis, Siobhan Liddell, Mitch Longley, Sigrun Lyne, Maia Mari-Suenik, Tulis McCall, Owen McGovern, Paul Quinn, Marion Shaw, Pancham Singh, Matthew Sinha, Gill and Scott Thomas, David ‘Trahan, Lynne Truss, Dafydd Tudor, Didier Turcinovic, Dyfed Williams, and Bryan Wright. Finally, we would like to thank our immediate families for their constant support and understanding through the lengthy gestation of this project. They often made personal sacrifices in order to accommodate and advance our work. To Sue, ‘Tom, Daphne, and Maya, our grateful love and profound thanks. Jouan Cox anp Coun Foro AcknowledgmentsIntroduction N A VIBRANT CAREER THAT FLOUR- ished for little more than a decade, Julia Margaret Cameron created a body of ‘work that stands among the finest achievements of the photographic art. What distinguishes her from other privileged men and women who took up the medium in its early years are the single-minded intensity and idealism that she brought to the craft. Armed with an iron will and irrepressible zeal, Cameron excelled in an art form in which it was virtually impossible for Victorian women to achieve recognition. Largely self-taught, she made photographs that were intended to transcend appear- ances and speak directly to the human spirit. Her pictures were bold in scale and revolutionary in design, and they made an ambitious claim for photography. The 1,225 pho- tographs in the catalogue section of this book reveal the breadth of her expression in a creative odyssey that began in 1864 on the Isle of Wight, off the southern coast of England, and ended with her death in 1879 in the hills of western Ceylon.! ‘Cameron's accomplishment has generated a body of literature and commentary awarded few other photog- zaphers of the nineteenth century and has inspired sue~ cessive generations of writers and historians. Beginning with Virginia Woolf and Roger Fry's 1926 publication Victorian Photographs of Famous Men and Fair Women? and progressing to Helmut Gernsheim’s 1948 mono- graph, Cameron's portraits in particular have been sin- gled out as deserving serious critical attention. Fry was so impressed by Cameron's work and the implications that it held for the potential of photography as an artform that he concluded his essay in Victorian Photographs thus: car. No. 307 [May Prinsep] (detail) “One day we may hope that the National Portrait Gallery will be deprived of so large a part of its grant that it will tum to fostering the art of photography and will rely on. its results for its records instead of buying acres of canvas at great expense by fashionable practitioners in paint.”* ‘A year after Woolf and Fry's book was published, the Royal Photographic Society in London mounted an exhibition of 120 Cameron photographs (see selected exhibitions). More than forty years of quietude in Cam- exon scholarship elapsed until 1971, when the British photographer and filmmaker Tristram Powell installed an exhibition of 84 Cameron photographs at Leighton House in London’ that was associated with his revised and en- larged edition of Victorian Photographs (1973); he also directed a television film about the photographer for the BBC. All this attention reawakened a widespread interest in Cameron's work. In 1974 the descendants of Sir John Herschel, one of Cameron's most eminent friends and sitters, decided to sell the exceptional album of 94 photographs that she had presented to him on November 26,1864, and that had been in the Herschel family for a century.* When the album sold at auction to an American for a then record price of £32,000, the event generated the world’s first campaign by an art museum to enlist public support to purchase his- torie photographs and retain a nation’s heritage within its borders. The cost of its acquisition was raised, and the album—one of Cameron’ finest—was secured for the tional Portrait Gallery. The effort to purchase the Herschel Album was supported by more than four thou- sand institutions, corporations, and individuals, and the album became the first work of photographic art to bedenied an export license by Britains Reviewing Commit- tee on the Export of Works of Art.’ When the National ‘Museum of Photography, Film & Television, Bradford, ‘was founded in 1983, the Herschel Album was transferred gratis to that institution. Ifthe 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, Tbe Herschel Album, and an accompanying book, The Cameron Collecion.* 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 ocuvre by Mike Weaver,’ Joanne Lukitsh,!® and Sylvia Wolf" have considerably deepened our understanding of Cam~ eron’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 oceurred with- out knowledge of the complete body of work. Our pur- pose in this catalogue has been to assemble and present the full scope of her photographie 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 pho- tographs 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 ofthe essential facts of her life. Perhaps this publication can best be under- stood 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 tax- ‘onomy of this catalogue. In the album she presented to Lord Overstone (see appendix C), she prepared a hand- ‘written contents page in which she listed the photographs in three distinct categories: Portraits, Madonna Groups, and Fancy Subjects for Pictorial Effect (fg. 1). 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 wwas arranged under the headings Fancy Subjects (with @ subcategory of Groups), Portraits, and Series of Twelve Life-Sized Heads of Fancy Subjects (fig. 2)."” Together, these categories account for a considerable percentage of JULIA MARGARET CAMERON | ZBeaun coe 1g. 1 List of Contents, Overstone Album, August 5, 1865 [Abr lea, 54 = 29.2 em (35% » sn) J. Paul Getty Museurn, Los Angeles. Cameron's total production, and they have guided the structure ofthis book. In order to accommodate the com- plete oeuvre, we have organized it into eight chapters that are driven by both subject and a sensitivity to Cameron's chronology. Each chapter is preceded by a text that intro- duces the subject, illuminates its relevance in Cameron's art, and outlines the organizational principles that apply to the sequence of the pictures that follow. Each photograph is accompanied by a cataloguing entry, with information pertaining to the particulars of the print reproduced and, where applicable, the locations ‘of other surviving examples. The aim has been to produce entries that are not only informative individually but also ‘meaningful collectively in what they reveal about Camer- con's practice. This information was assembled over sev- eral years by the two principal authors and with the invaluable assistance of Philippa Wright, while she con- ducted her own research on Cameron's small-format pho- tographs. As one of the most written-about artists in the history of photography, Cameron has also been one of the most assiduously collected, by individuals and public institutions as well as by foundations and corporations Every attempt has been made to locate Cameron photo- _graphs in these collections.16.2 Mrs. Camerons Photographs, Priced Catalogue, 1868, Pamphlet, 2-3 4u6 em (7. 16%in). National Museum of Photography, Film 8 Television, Bradford. Examining and identifying the works themselves ‘was imperative, and where possible the authors have en- deavored to do so. The research process involved visiting and obtaining information from more than one hundred collections, mostly dispersed between the United King- dom and the United States, but also in France, Germany, the Netherlands, Sweden, Israel, Japan, and Australia (see collection abbreviations and appendix D). More than 90 percent of the photographs in this volume were examined and catalogued in person by the principal authors and Wright. Meeting with museum colleagues, dealers, and individual collectors and owners, of course, yielded many benefits beyond what we could learn about the photo- ‘graphs themselves. Of the private collectors contacted, slightly more than two-thirds responded, although some declined to share information, In instances where we could not gain access to pictures that were required for the pub- lication, additional attempts were made through dealers and curators to locate other collectors and sources of pho- tographs. In the case of prints sold through auction houses {primarily in London and New York) for which no other examples have been found, it as not always been possible to establish the identity of the present owners or current whereabouts of the objects. Reproductions of these works have been taken from the relevant auction catalogues and are accompanied by information from those catalogue entries and the wording ‘present whereabouts unknown.” ‘The photographs are presented in an ordered scheme that we hope establishes a platform for future scholarship and interpretation. Works are sequenced as far as possible in chronological order. When a special relationship exists between photographs that were perhaps made at different times, they have been grouped together. Every effort has been made to place in reasonable proximity images that are overtly or implicitly related, thereby demonstrating a hypothetical working process. It is hoped that this, approach serves to clarify certain hitherto obscure or unknown relationships between individual pictures. The arresting, unpublished study of (Bathsheba Brought to King David] (cat. no. 166), for example, provides some explanation for Cameron's unusual manipulation of the negative (cat. no. 164) and trimming of the print (cat.no. 165) in her study of Henry Taylor as King David. Like- wise, the evocative portraits of Mrs. Keene as The Moun~ tain Nymph Sweet Liberty (cat. no. 335) and Cassiopeia (cat. no. 339) are surrounded by three additional studies of the model (cat. nos. 33638) that vivify the context of the ‘making of the two pictures and deepen our understanding of Cameron's achievement in them. In most cases the task of sequencing was not dif- ficult since Cameron worked in distinct series; a quick survey of any chapter reveals the serial nature of her pro- duction. The capacity to work in this manner is intrinsic to the medium of photography—the most practical way Introduction 3 st2eaoy GOOQIC Ccfor a photographer to revise or develop composition is to make another one. As a consequence, editing is funda~ mental to the photographers art and often entails making fine distinctions between one picture and another. Evalu- ating success or failure ater the fact, by either the artist or the audience, is part of this process. The evidence in this catalogue suggests that Cameron was engaged in this self- evaluation to a degree uncommon among her peers. If for zo other reason, this is why the compilation of a complete catalogue of all her works seems an essential prerequi- site for a proper understanding of her achievements. ‘The catalogue includes numerous images that Cam- cron may have judged as experiments or disappointments, based on the fact that the works exist in just one or two examples, but the fact that she did not destroy them admits them into her oeuvre. Her willingness to engage in the artist's eternal dialogue of sucess versus failure has resulted in an extraordinary gift to posterity. In the assembled sequences, the transformation of the creative process into a recognizable artistic theme is repeatedly. evident. A fascinating dialogue emerges between the unknown Cameron, represented by a multitude of works that sometimes include disparate pictorial non sequiturs, and the frequently published and exhibited pictures that have hitherto prescribed the basis of critical opinion. Most readers looking at the photographs contained in this cat~ alogue will be struck by the tenacity of Cameron's process and the persistence with which she approached—and revisited—her subject matter. By instinct, and in prac tice, she never made the same picture twice. Cameron was not a dabbling, hit-and-miss amateur but a dedicated, serious, and professionally minded artist who worked all hours to achieve success."? From an 186s letter written to Walter Senior by Anne Thackeray Ritchie, we know that “Mrs, Cameron sits up till two o'clock in the morning. ‘over her soaking photographs.” Even though, like many artists in history, she failed to produce enough income to rmect all her expenses, it was not through any lack of ded- ication or hard work. Despite the obvious frustration, Cameron remained philosophical about her lack of finan cial suecess: “If one believes as I do in the doctrine of compensation one soon accepts the evidence that God gives the material things of this world to some & the spir- itual & intellectual riches to others & that the combina~ tion of gifts is very uncommon."** Cameron's repeated investigation of a favored sub- ject borders on the obsessive, asin, for instance, her more than fifty single-figure studies of her niece and godchild, Julia Jackson (cat. nos. 279-333), her thirty-two portraits of the poet and playwright Henry Taylor (cat. nos. 31~32, JULIA MARGARET CAMERON 76190), and her many variations on the Madonna and child (cat. nos. 35-95). Viewed as a whole, the value of these sequences, showing the artist’ sustained investiga~ tion of a theme or sitter, is that they are infinitely reveal- ing of both the subject and the photographer, and they invite our reappraisal of the relationship between them. ‘As Cameron once remarked, “the history of the human face isa book we don't tire of ifwe can get its grand truths & learn them by heart.”'* She was a formidably single minded artist, prepared to explore and probe a subject in search of the elusive grand truths and by repetition demand that her audience pay attention. Responding to one of the many studies of her domestic servant Mary Hillier (cat, nos. 235-72), George Frederic Watts com- ‘mented on Cameron's propensity for working in this way: “you have had that view of head & identical expression over & over again, for the purposes of sale repetition will not do.""” As Watts rightly intimated, Cameron's singu- lar picture-making strategies and creative methods did not always endear her work to the picture-buying publi ‘The eight chapters that compose the catalogue sec- tion of this book are followed by six appendices that con- tain important contextual and supporting information. These appendices are as follows: A. Description of Cameron's practice of registering her photographs for copyright at Stationers’ Hall, London B._ Breakdown of the inscriptions and stamps that appear on Cameron's photographs, and a discussion of her business practices C. Description of ten presentation albums ‘Cameron prepared in the years 186369 D. Summary of the principal collections of Cameron photographs and personal corre~ spondence E. Biographical sketches of sitters F, Listing of biblical, historical, literary, and mythological sources for Cameron's narrative pictures ‘These are followed by a compilation of selected refer~ ‘ences, organized chronologically; an enumeration of solo and group exhibitions; an index of picture ind a general index. ‘We believe that the long list of scholars who have written about Cameron's work in the century and a quar- ter since she died will continue to grow and that her work is unlikely ever to be ignored agai after her death and in the decades immediately following i it was for a period‘World War Il. It is our fervent wish that future authors, students, and lovers of art photography will benefit from the collation of prints and evidence that we have presented here. The catalogue is, of course, incomplete. Right up 10 publication date, hitherto unknown prints continued to come to light, and this process of discovery is likely to continue. Cameron was generous in giving away her pho- tographs to public figures, family, friends, and servants. Some received what were clearly lesser prints that she perhaps could not quite bring herself to discard. Other prints—usually of the most successful images—were purchased from galleries and exhibitions. Since some of the owners had no obvious link with the artist, these are pethaps the most difficult to trace. Although we are fairly confident that we have recorded all the prints in public institutions, there are most certainly others remaining in private hands. We hope that the results of our work will prompt the discovery of more images, such as, for exam- ple, Cameron's portrait of the eminent Victorian poet Christina Rossetti. There is documentation that it was made, but no print has been located.’ Cameron is also known to have registered for copyright a significant num~ ber of images for which the prints no longer exist or have proved impossible to locate (see appendix A). The authors hope that a healthy percentage of these pictures will subsequently be identified. Readers of the catalogue who can fill any of these gaps are urged to contact the authors at the Getty Museum. This catalogue represents a suramation of what we know about Julia Margaret Cameron at the beginning of the twenty-first century, atthe end of three decades of close attention to her work by scholars and curators. Who can say how much more will emerge over the next three decades? But, as Roger Fry correctly prophesied three- {quarters of a century ago, "Mrs. Cameron's photographs already bid fair to outlive most of the works of the artists ‘who were her contemporaries.” Jutran Cox axp Coun Forp + For Cameron biography, ee Amanda Hopkinson, Juli Mar srt Canaron (London: Vigo Press), Thebes scsion of her insets Ceylon appersin amet Rae and Perey Colin Thome Images of Britt Cylon: Ninctenth Centry Phngropy of Si Lanta (Colombo, Sei Lana: privately printed, 2000), and Lov Caraga, “Jala Maracet Cameron: Focsng onthe Orient Libry Cronieo {he Univer of Tea dtin 2,0. 4 (996, pp. 16-43-Se ao Joanne Liki, “Simply Pictures of Peasants: Aris, Authorship and Ideology in Jia Margaret Carneros Photography in Sit Lan, bys 19. Vale Journal of Crim o (ll 1998), pp 265-308, and G. Thomas, “Bogawantalawa, the Final Resting Pace of Julia Margaret, Cameron," Hiory of Photography § (Ape. 198), pp. 105-4 2 Vigginia Woolf and Roger Fry, Vicorian Pbergraph of Fame ‘Men and Far Women (London: Hoguah Pres, 1926) 5. Helmut Gernsheim, Julia Margaret Cameron: Her Life and Photegrapic Work (London: Fountain Pest, 1948). 4 Woolf and Fry, Victoria Photographs, 1 5 The exhibition, installed in the home buile fr the eminent \Vietorian artist Lord Leighton, was reviewed in the Bvening Standard (London) (Mar. 17,1970 p37 6. The alburm was sold at Sothehy’, Belgravia, Oct. 8, 974 lor 3 7. Samuel Wagstaff, Je, purchased the album at auction and sought its export to the United States, The campaign t save the al= bun for the British nation was reported in both the mainsream and photographic pres. See the Sunday Time (London) (Jan, 979% the Daily Telegraph (London) (Feb. 24,1973 and Amateur Photographer (an 15,1975). 75-78. 8. Colin Ford, The Herchel Album: An Album of Phtographs by Jia Margaret Cameron Presented to Sir Joba Herel (exh. booklet), and ‘The Cameron Calleton: An Album of Photograph by Julia Margaret Cam= «ron Presented oS Job Herel (Wokingham, England: Van Nostrand Reinhold 1973) A press release describing the acquisition of the Her- schel Album by the National Portrait Gallery was issved on May 1, 1975, signed bythe director, Dr. Jobn Hayes, 9, See especially Mike Weaver, Julia Margaret Cameron 1815~ 1879 (Boston: Little, Brown and Company, 1984), and Wiper of che ‘Muse: The Overstone Album and Otber Photographs by Jia Margaret, Cameron (Maliba, Calif}. Pal Getty Museum, 1986). to, See especially Joanne Lukitsh, Cameron: Her Workad Career (Rochester, NY: International Museum of Phorogeaphy at George astenan House, 1986); “The Thackeray Album: Looking at Julia Mar- garet Cameron Gift to Her Piend Annie Thackeray" Library Chon ise of the Univesity of Tess at Austin 26, wo. 4 (6996) pp $2~ 68; and Jilia Margaret Cameron, 5 (London: Phaidon Press, 2001) si, Spvia Wolf, Julia Margort Cameron Women (Chicago: Art Institute of Chicago, 1998) 12, See Wolf, Camcront Homen, pp. 208-18, where the author provides an excellent analysis of Cameron pricing strucare and mar- sting states 13. See Wolf, Cameron’ omen, p. 16, in which the author eefers to the ceneus reports of Morand 71 that elect no change in Camer: cos professional status, eve after er reputation asa photographer was well established. Cameron was listed as “wife” with no occupation _iven under the heading “profession.” 14, Hester Thackeray Ritchie, ed Thaceray and His Dangher ‘The Leters and Journals of Anne Thackeray Ritebie (Nev York and Lon- don: Harper and Brothers, 934) p38 1s. Cameron to Miss Osborne, June 20, 1875 (Act Institute of Chicago, 196.484). 16. Cameron to Samuel Gray Ward, June 16,1869 (Houghton Libeary, Harvard Universiey,BMS Am 146576) 1. George Frederie Watts t0 Cameron, date unknown (Heinz Archive and Library, National Poreait Galley, London, Wates MS, Colleton) 18. Pord, Heckel Album, p. x. Inscribed in Camerons hand on the lid of one of her negative boxes was"No. 24 Christina Rostet pro- file.” The present whereabouts ofthis negative box is unknown, 19, Woolf and Fey, Viterin Photographs, p25 IntroductionChronology 1815, Jolin Margaret Patle the fourth child ‘of James and Adeline de !Etang Pattle, is bom on June 11 at Garden Reach, Calcutta, India, Her of the East India Company; her mother, the daughter of French royalists ther is an offical 1818-34 Along with her mother and siblings, makes repeated trips to Europe, eceiv~ ing most of her education in France while staying with her maternal grand- mother, Therése de PEtang, at Versailles. Returns to Calcutta in 1836 ‘While convalescing from an illness at the Cape of Good Hope, South Africa, meets the astronomer and photochem- istry pioneer Sir John Herschel, Also becomes acquainted with Charles Hay Cameron, a distinguished liberal re Former. His essay On she Sublime and Beautiful explores many of the issues +, Unknown Photographer. Jali Margret Comeron that are later to become fundamental and Her Sons Chart ond Henry about 98. Series ‘Alouren ping 102 "78 em (4 3% in) ‘Stephen Whit, Colleton I 138 ‘Weds Charles Cameron in Caleuta 1839-1846 fering from the Irish porto famine ‘The marriage produces six children: Becomes leading hostess in Calcutta Her husband becomes president of the Julia Hay, Eugene Hay, Bwen Wrottes- by organizing the social functions of the Calcutta Council of Education and in- Iey Hay, Hardinge Hay, Charles Hay, _governor-general, Lord Hardinge, ‘vests heavily in coffe and rubber plan- and Henry Herschel Hay Cameron afier whom she names her fourth child. tations in Ceylon. Herschel corresponds (fig. 9). Active in philanthropic work; helps with her about the latest discoveries in rise £14,000 toward relief of those suf photography.847 ‘Translates Gottfried August Bangers romantic ballad Leonor (173), which i published in London wit lustations by Daniel Macls. 1848 Charles Cameron retires, and the family leaves India and settles in Tunbridge Wels, Kent, 1850 “The Camerons move to East Sheen, London, tobe near the playweight and civil servant Henry Taylor and his wife, Alice, but gravitate coward Lite Holland Hovse, the London home of Cameron sister Sarah Prinsep, which is one ofthe citys leading artistic salons. [About this time, the artist in residence at Little Holland House, George Feed~ ceric Watts, begins work on a painting of Cameron (fig 4), which is now in the National Portrait Galley, London, 16. 4 Henry Herschel Hay Cameron (Bricsh, 1852-191) Portrait of Julia Margret Cameron by G.F Mates (about 1850-59), 1890. Plasma prin, 33. 18.9 em (x 7%oin.).J. Paul Getty Museum, Los Angeles, 86.00.67. ria. 5 Orcar Gustave Relander (British, b. Sweden, 15-879) Julia Margret Cameron, 863, Albumen print, 16» as em (ha aia). Private colletin, United Kingdom. 1853 Charles Cameron publishes an open letter on the admission of Indians to the Indian army and civil service, i Ad dress to Parliament om the Duties of Great Britain to India in Respect of the Edu- ‘ation ofthe Natives and Their Official Employment. 1857-59 ‘The Camerons move to Ashburton Cottage, Putney Heath, London, where they take Mary Ryan into their home. Cameron is recorded a¢ a member of the Arundel Society, founded in 1848 by Austen Henry Layard, Jon Ruskin, and others to educate and improve public raste in art. 1859-60 White her husband is in Ceylon with their two eldest sons surveying the familys coffee and rubber plantations, (Cameron travels to Freshwater, on the Isle of Wight, to see Alfed Ten- fyson and his family at their new home, Farringford. She buys two cottages on the adjacent property and names one of them Dimbola, after one of her family’s Ceylon estates. 1863 Charles Cameron again visits Ceylon. Oscar Gustave Rejlander visits Fresh- water and photographs at Dimbola (fg. s). In July, Cameron presents an album of photographs, which includes several pictures by Rejlander, o her sister Mia. In December, 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 eaeier 1864, Ac the end of January records her “first portrit 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bition and sale and registers her work intensively on close-up portnit heads 1870 2 the British Copyright Office at with this new equipment. In May exhibits in the annual exhib Stationeré Hall, London. Becomes a tion ofthe French Photographic Society member ofthe Photographic Societies 1867 in Pars and the Midland Counties of London and Scotland, Displays Presents seven photographs to the Exhibition of Art and Industial Prod- work atthe annual exhibition in Lon- Pre-Raphaelite painter Dante Gabriel ucts at Derby, England. In August don, which she will continue to do Rossetti, Exhibits at the Universal presents a group of her photographs to almost every year (ee selected exhibi- Exposition, Pars where she is awarded Vicor Hugo. tions). Exhibits in Scotland and wins an honorable mention for “artistic an honorable mention phogranby” 1871 Displays work in the London Inter~ 1865, 1868 national Exhibition in the summer. In January presents a series of nine Rents German Gallery, London, fora Gives a group of her photographs photographs, The Fruits the Spirit large solo exhibition and continues to George Eliot. nly ew photographs (see cat. nos. 35-36, 38-38, 41-45, 45~ ro generate sales of er prints through _are regtered for copyright. 46), to the British Museum, Exhibits Colnaghi and a second London agent, in London, Berlin and a the Inter- Wiliam Spooner. Receives payment 872 national Eskittion in Dublin Shes fom Charles Dain for he porta’ y-axis in he Landon ee eed of him. International Exhibition. Creates a an honorable mention in Dublin, but ae other judges and erie the photo- 8g ae graphic press dismiss her work for is Exhibits in Groningen, Netherlands, technical deficiencies and unconven~ Bi : i where she is awarded a bronze medal 1873 tional style, Presents an album of pho- a in the portraits eategory. Creates Exhibits at the Universal Exhibition, See eee Tee ‘The Kis of Peace (Sig. 6), which she Vienna, where she is awarded a medal earner a considers her greatest work, for “Good Taste” in her “Artistic ‘exhibition that includes many of the ‘most important works from the frst eighteen months of her career. Enters into an agreement that specifies that Colnaghi will be her principal pub- lisher. In August presents an album of photographs to her friend and patron Lord Overstone. On August r0 receives £22.48.4d. in payment for eighty pho- tographs purchased by the South Kensington Museum (now the Victoria and Albert Museum), her first sale 0 a museum, On September 27 presents a8 a gift tothe institution a group of thirty-four mounted photographs. In November holds another solo exhi~ bition, in the rooms above the French Gallery, Pall Mall, London 1866 Wins a silver medal and certificate ‘of honor a the Hartley Institution, Southampton. Purchases a larger cam cera 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 of £/8, Begins to work 1g. 6 Julia Margaret Cameron. The Kis of Peace, 169, ‘Albumen pint on eabinet card, 134 * 98cm (5/5740... Paul Getty Museum, Los Angles, 8.xa.443.28 (ee eat no. 139) JULIA MARGARET CAMERON16.7 Unknown Photographer. Hardnge Hay Cameron (ei) athe Back Familys Henfld Eat, Lindol, Cele, Bebruty 187) Albumen print, 22.9» 18cm (9 7% in) Collection of Gary and Barbara Hansen Studies." Daughter dies in childbirth in October. Exhibits a large group of prints in a solo show at 9, Conduit Street, Hanover Square, London. Only two works are registered for copyrights ‘Cameron concentrates on picture sales of existing photographs, especially portraits and allegories 1874 Writes Annals of My Glast Howse, a0 unfinished account of her photographic career, not published until 889, At the request of Tennyson, makes photo- _graphic illustrations for his Lays ofthe King. Disappointed atthe reduced size and quality of the woodcuts made after her photographs, she publishes her ‘own limited edition with thirteen full sized plates in December. 1875, Tn May completes a second volume of illustrations to additional Tennyson poems, Also issues a thir edition, based on the ro earlier edi- tions. Instructs the Autotype Company, London, to produce new negatives from seventy of er choice images; all prints are made by the permanent carbon pro- cess, In October the Camerons leave Freshwater and immigrate to Ceylon to be closer to their sons (fg. 7). They live near Kalutara, on the southwest coast ofthe island, Cameron continues to photogeaph from time to time; her subjects are the domestic help and plan tation workers. 1876 In February, Cameron's poem On «a Portrait is published in Macmillan Magazine. Carbon prints of her Arthurian subjects are shown in Sep~ tember atthe annual exhibition of the Photographic Society of Great Britain, She is awarded a medal at che Centen- nial Exhibition in Philadelphia. 16. 8 [Marianne North] (ca. No. 1300) 1877 In January the painter and naturalist Marianne North visits the Camerons (Gig. 8). The Parting of Sir Lancelot and Queen Guinevere (eat. no, 1170) is reproduced as a wood engraving on the cover of the September 1 issue of Harpers Weekly. 1878 ‘The Camerons make a short visit to England in May. 1879 (On January 26 Cameron dies after a short illness atthe family’s Glencairn ‘bungalow, in the Dikoya Valley, Ceylon. Her husband dies th following year. They are buried on the grounds of St. Mary's Church at Bogawantalawa, near Glencaien ChronologyCOLIN FORD Geniuses, Poets, and Painters: The World of Julia Margaret Cameron ‘Twenty earnest youths from Clerkenwell are in the shrubbery; six American professors are in the summer house; the bathroom is occupied by the Ladies Poetry Circle from Ohio.! HESE FICTIONAL WORDS, PUT INTO the mouth of the leading poet of the Vic- torian age, Alfred Tennyson, are intended to be comic, coming as they do from a 1923 one-act farce portraying life in Freshwater—a seaside village on the Isle of Wight—a half-century earlier. During that pe- riod, the 1860s and 1870s, Tennyson and his friend Julia Margaret Cameron lived next door to each other. The play, Freshwater, was written by Cameron's great-nieve, the famous Bloomsbury author Virginia Woolf, whose affectionately satirical words convey a surprising truth. As Queen Victorias 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 & 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."? 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 Fresbwater, 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 car. wo. 1139 [Group] (detail) ‘Terry, later a celebrated Victorian actress. Cameron's own personality was theatrically larger than life, and many who knew her felt that she was always giving a kind of perfor- mance. Her art was also to develop theatrical elements; toward the end of her fourteen productive years as a pho- tographer, each of her compositions would in itself be- come a dramatic, if not melodramatic, event. Cameron lived and worked in a period of consider- able achievement in British visual and written culture, yet the number of practicing artists was small enough that most of them knew each other well. Victorian England ‘was tiny country, with a population of only about twenty million. Tens of thousands more English citizens did not live in their home country but had gone to be professional administrators, teachers, lawyers, and doctors in the many colonies of the still-growing British Empire. Since edu- cation was only available to those who could afford it, the number of educated, cultivated people living in Britain was, by today’s standards, unimaginably small. Many of this elite lived in London, and even though this had been Europe's largest city since the late seventeenth century, most were acquainted with each other. On this sophisticated and high-achieving stage, Cameron played a leading role. Given her unusually col- orful dress and lifestyle, few who encountered her forgot the experience, and fortunately for posterity, many wroteabout it. This essay, which is intended to set the social and cultural scene within which Cameron made the ex- traordinary works listed and illustrated in this catalogue, uses many of these individuals’ words. As Brian Hill notes in his entertaining and informative book about Cameron and her cirele,* no descriptions written more than a cen tury after an event can paint so vivid a picture as those of actual eyewitnesses. These descriptions shed considerable light on Cameron's almost obsessive interest in her work as well as on how she chose her subjects, where she found her models, and the dedicated application that lay behind her most successful results. Seeing her failures and suc~ ‘cesses and familiar and unfamiliar images alongside each other in this publication lays bare the roots of Cameron's art and helps us to understand it better than ever before, Surprisingly, the witness whose testimony cannot bbe quoted so often is Cameron herself. She was, by all, accounts, a prolific correspondent, as her friend Anne ‘Thackeray Ritchie recorded: ‘Mes Cameron’ correspondence never ceased ~ however interesting her visitors were and whatever the attractions ‘of the moment might be, She would si at her desk until, the last moment ofthe dispatch, Then, when the post- ‘man had hurried off, she would send the gardener run- ning after him with some packet labelled “immediate.” Soon after, the gardener’s boy would follow pursuing the gardener with an important postscript, and, finally, can remember the donkey being harnessed and driven galloping all the way to Yarmouth, arriving as the post bags were being closed.S Una Taylor, daughter of Cameron’ close friend Sir Henry ‘Taylor, thought that “Of her daily letters ~ her journal intime~by her own desire, none are extant. They, with all their vivid sympathies and graphic delineations of passing events and persons, are commemorated only in the in- junction to consign them to oblivion.”¢ They were not all destroyed, of course; the surprising number that survive are detailed in appendix D. This is still a small percentage of the thousands of letters Cameron wrote, however, and they are sometimes difficult to decipher (see fig. 97). Like ‘many other Victorians, she scribbled on seraps of paper, crossed out words and sentences, and wrote lines at right angles on top of others. ‘The flavor of Cameron's writing, and something of her character and mental processes, can be gleaned from the entirely unpunctuated opening of one of her surviving letters, written to her friend Jane Senior on June 29, 1865: JULIA MARGARET CAMERON Each day & every day all day Thave made sundry strong vows to write again to your good Brother Hast- ings & also to you ~ but the steam of Time has been so swollen by all sorts of accessory floods & rivulets & deippings from all sources that literally I have been delayed with much work & seemed to neglect those of whom I thought perpetually I wor't address brother Hastings thzo’ you T will only say bere that T gratefully feel als loving kindness & shall write to him & tell him how it is chat Australia has been given up ~ Bornbay given up ~ 8 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 destiny is an anxious thought & until that thought takes shape & form he isa vietim I think At present he has gone to the Bay to see the erowds who on this Coronation day flock to this side ofthe Island for in the Isle of Wight this isa general holiday every shop shut and every one abroad ~ 7 India that ... benighted land ‘lia Margaret and her six sisters, their dark complex- ions and flashing eyes inherited from their mother's Tndian geeat-grandmother, were born in India, most in Calcutta. Julia, the fourth of ten children, was born on June 11, 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 Patt, belonged to a family that, although it could trace its lin~ ‘eage 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 VE tang). 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 Pattles’ ten children, only one was a boy, also named James; he and two of the girls died as infants.’ The seven surviving sisters, ike 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," thus spent much of their childhood with their maternal grand- mother, Thérése de 'Etang, in Paris and Versailles. It16. 9 Frank Stone (British, 18001859) Wiliam Makepeace ‘Poackeray,sbout #39. Oil on canvas, 6 » 50.8 cm (2g » 20 in). National Portzst Gallery, London, 4310, was there that Julia encountered the first of the many members of the Victorian world of art and culture who ‘were to play such an important role in her life. William Makepezce Thackeray (fig. 9), the cele brated writer and journalist, was also born in India. He spent much of his younger life in Paris, where in 1832 he ‘was introduced to the Pattle women, for whom he coined the collective noun Pattledom, He became so fond of one daughter, Maria—known in the family as Mia but re- ferred to by Thackeray, at least in writing, as Theodo- sia!2—that in 1833 he seriously considered proposing to her. But he believed it would be wrong to marry without an annual income of a least £700, which he did not have, and when Maria and Julia returned to India in 1834, his hopes, ifhe still had any, were dashed. Later (particularly after the institutionalization of Isabella, the woman he did marry), Thackeray seems to have renewed his interest in those Pattle daughters who were still single—first Sarah, then Louisa, and most ofall Virginia, OF the latter he wrote, “When she comes into rte. ro. Henry Wiliam Pickergill (British, «7821875 Sir Join Herschel, about 183s, Pencil drawing with color, 533 25.4 €m (x 0 in). National Portut Gallery London, 186 the room, itis like a beautiful air of Mozart breaking upon you; when she passes through a ball-room, every- body turns and asks who is that Princess, that fairy lady.” He ultimately realized that “She never cared 2/sd for me." Unsurprisingly perhaps, he seems never to have been attracted to Julia, who, even asa teenager and young, woman, was probably the plainest and most eccentric of the sisters. Years later his daughter Anne told him how Cameron had accompanied a friend to the railway sta- tion, carrying a cup of tea and stirring it as she walked along. “My father, who had known her first as a girl in Paris, laughed and said: ‘She is quite unchanged."!5 Cameron was soon to meet someone as famous in the world of science as Thackeray was in the world of let- ters. Sir John Herschel (fig.10) had enjoyed such a brilliant Cambridge career that he was elected a fellow of the Royal Society while still a student. After the death of his father, Sir William (who was King George III's private astronomer and discoverer of the planet Uranus and who is buried in Westminster Abbey next to Sir Isaac New Ford 34 16.11 Sis John Herschel Bits, 1792 “The Farmbonse at Feldbansen, Jay 834 (Came usd shot 198% 30.7 €m (7a Yan) South African National Library, Cape Town, ton), John continued his father’s work and was himself knighted in 1831, before turing forty. Having completed Sir William's astronomical survey of the Northern Hemi- sphere and published the results,!® he decided to go to South Africa to implement his father’s other unfulfilled ambition, an astronomical map of the skies of the South em Hemisphere. In 1833 John built an observatory close to Table Mountain, near Cape Town, and over the next four years discovered no less than 202 pairs of nebulae in Orion, observed the return of Halley's Comet, and made measurements of solar activity and radiation.”” It was in Cape Town that the Herschels and the attles met each other. The Pattles, like many Europeans living and working in India, convalesced from illnesses in South Africa. Julia, who was caring for her sister Sarah and Sarah's first son, Henry, traveled there late in 1836, and she too soon became friendly with the Herschels; there isa record of her dining at their home, Feldhausen, Claremont (fg. 12), the following October. Ten years later she reminded Sir John how much he and Lady Herschel had helped and supported her: “There is not a sweeter feeling in the soul I think than that of gratitude and I never can tell you how I cherish the remembrance of those friends who brightened my solitary life and cheered my time of trial when I was sick & desolate at the Cape ‘& amongst them your dear wife.”** Herschel was to play a significant role in Julia’ life, being, for instance, the frst to tell her about the invention JULIA MARGARET CAMERON of photography early in 1839. Years later she wrote that “From my carliest girlhood I had loved and honoured him. ... Twas then residing in Caleutta, and scientific discoveries sent to that then benighted land were water to the parched lips of the starved, to say nothing of the blessing of friendship so faithfully evinced.” But in ‘Cape Town she soon met someone else who was to mean ‘even more to her. Charles Hay Cameron (fig. 12), twenty years her senior, was also in South Africa to recuperate, probably from the malarial fever that struck so many Europeans during the Indian monsoon season and had been particularly bad in 1836. For him, as for so many, this led to periodic bouts of kidney trouble and diarrhea that afflicted him for the rest of his life. ‘The seven Patte sisters all made good marriages, six to suecessful British men in India and one to an English carl, As their descendant Quentin Bell slyly put it, they all had “a certain awareness of social possibilities." Julia ‘was no exception, for Charles Cameron would certainly have been considered an excellent catch, In 1830 he and Colonel William Colebrooke had been commissioned to ‘write an official report on the judicial establishments and procedures of Ceylon; it was published two years later.” Returning to England from that assignment, Cameron vwas appointed to commissions of enquiry into chari- ties and the poor laws. In 1834 he successfully applied to become the first English member of the Indian Law ‘Commission (established in 1833), where he helped Lord16.12. Eden Upton Ells (British 812-1901) Charles Hay Cameron, 1836. Drawing, dimensions unknown. Ewen Cameron Collection, Macaulay write the new Indian Penal Code. He also served on the Council of Education for Bengal and later became its president. Charles and Julia were married in Caleutta in 1838. “Although he had never been married before, Charles had fathered a son, born twelve years earlier to a woman whose name is still unknown. Julia’s closeness to the Herschels, who had returned to London by then, is shown by the fact that John Herschel became godfather to the Camerons’ first child and only girl, also named Julia, born in December 1838. Indeed, the Herschels called their own second daughter, born in 1842, Julia, ‘There was nothing remotely unusual in the urge to marry well. It was difficult, and not altogether respect able, for middle- and upper-class women in the nineteenth century to earn a living. They had little or no access to higher education and were not permitted to work in the professions. Naturally, even the most prosperous parents encouraged their daughters to marry for money and higher social status. As wives, their main duties were to bear and bring up children and to manage their household and servants, Some, however, were beginning to complain: “Why have women passion, intellect, moral activity ~ these three ~ and a place in society where no one of the three can be exercised?” asked Florence Nightingale in her 1852 essay Cassandra? Julia Margaret’s marriage to someone so well placed certainly ensured that she was not confined to her home, despite giving birth to six children; within a few years she and her husband were at the pinnacle of Anglo-Indian society. Charles sueceeded Lord Macaulay in 1843 as the only member of the ruling Supreme Council of India who ‘was not an employee of the East India Company. A year later, the new governor, Sir Henry (later Lord) Hardinge, took up his duties in Calcutta, leaving his wife in England. Julia became virtually the official hostess at Government House. As such, she would have been known to anyone who was anyone in India; residents and visitors alike would all have considered her a very important person. ‘The reason the Camerons gave up their very suc~ cessfull Calcutta lives after only five years is not clear, although Julia later described India as “that... benighted land” because it was so far from England and English cul- ture, It is not quite true to say that Charles retired, since he later made a bid to become governor of Ceylon, but because of his malarial complications he was to be a semi- invalid for much of the rest of his life. Perhaps he hoped that he could live off the income from his coffee planta- tions in Ceylon. Years later Ritchie certainly believed that “Mr. Cameron had amassed a considerable fortune while in India, which he had invested in coffee estates in Cey- ton."2*In fact, the Camerons were to be short of money to a greater or lesser extent for the rest of their lives. ‘Today, Ceylon is called Sri Lanka, and its major crop is tea, which has been grown on the island since 1849. But coffee was introduced during the Dutch occupation of the {sland in the seventeenth century; the British, who ruled Ceylon from 1795 to 1948, made coffee a major crop. By the time a map of Ceylon's 169 coffee plantations was published in 1859, one estate in and around Dimbula (also spelled Dimbola and Dimboola) in the Dikoya Valley was called Cameron's Land. Itwas the first of the estates that Cameron hoped would earn enough income to enable him to live with his family in England. He later added to his holdings. The Coffee Planters Directory of 1872 showed that he had acquired another large estate, Rathoongodde, consisting of no less than 2,000 acres, 225 of which were under cultivation Another possible factor contributing to the Cam- cerons’ decision to return to England was that they simply missed their two eldest children, Julia and Eugene, who Ford daiizedsy Google ‘ 56 1g. 13. [Henry Taylor (oar. 0. 762) 16.14. Samuel Laurence (British, 1812-1884). Alfred Tennyson, bout siyo. Oil on canvas, 68» 57.8em (26% 22% in) ‘National Portrait Gallery, London, 2460 JULIA MARGARET CAMERON ‘were staying with their three unmarried Cameron aunts in Worthing. Julia’s parents had both died in 1845, and some of her sisters were already back in Britain; the fam- ily focus was shifting from India to England, Coinciden- tally, Charles’ illegitimate son was posted to India in February, and Charles may have seen this as a potential source of embarrassment. For some or all of these reasons, the Camerons returned to London in 1848, and after stay~ ing for two months in Lord Lennox’s house in Chesham Place, Belgrave Square, in London's Mayfair district, they settled at Ephraim Common in Tunbridge Wells, Kent. London All the women were graceful, and all the men were gifted. I ‘Tunbridge Wells the Camerons found themselves neighbors to another Victorian celebrity, Sir Henry Taylor (fig. 3). In addition to being a respected senior Even though Cameron was wholly devoted to her family, occasionally the unremitting nature of her ambi- tions raised eyebrows among her relatives. She was capable of unexpected and surprising actions that caused conflict between her roles as mother and artist. In r873, for exam ple, Cameron's daughter died at age thirty-four. Already a mother of six like her own mother, Julia Norman suffered the same fate as countless women of the period and died in childbirth.” The unlikely proximity of Julias death to the timing of a major Cameron solo exhibition in 1873, provoked the ire of her sister Mia, who on November 17, 1873, wrote from Saxonbury to her daughter Julia Jackson: am indeed distressed to hear of Aunt Julia’ exhibition 1 sh{oulld never of course heard of it —until Herbert [Fisher] wrote to me abfoultitthe day before yest{erday]. Tean not understand her doing such a thing at such 4 time—She is evidently bent upon carrying it out & therefore has not mentioned it to any of us for she knows what we must fel. It grieves me so I can scarcely ‘bear to mention it. It was very good of you to write ‘& remonstrate, Ihave not yet—8I know it will be no ‘good when I do. Had I known when she contemplated it T might have prevented it but who could have sup- ‘posed that now she w[oul]d have caried out such a scheme. What poor Charlie wll fel it is easy to under- stand, It will of course alienate not only his sympathy ‘bu that of many others. ‘This episode illustrates just how deteemined Cameron was to maintain her status in the world of at and bolster sales of her photographs.” For someone of Cameron's background and class, the social conventions surrounding mourning were such that it was considered quite an extraordinary action for her to have pursued such a pub- lic postion forherselfso soon afterher daughter's death." Despite the controversy within the family the exhibition received a laudatory review in the Time If Giotto leaving his lillies and burning skies, Raphael with his locks flowing beneath his little velvet caps, Velasquez in chivalrous dignity, shoe ribands, and curled ‘moustachios; Sit Anthony [Van Dyck] in his big lace collar, and Sir Joshua [Reynolds] in his shoe-buckles were suddenly to find themselves walking up Conduit street and turning in at the door of Mrs. Cameron's Gallery, one can imagine them less strangers than might have been expected, looking round quietly, not feeling much displaced nor very far from home.” Cox nn Cameron was a recognized artist with a reputation to uphold and plainly sought the acclamation that this lifetime retrospective exhibition could bestow upon her. Although she never referred to herself as a professional artist, she was proceeding in precisely such a manner, de- livering her work as anticipated and fully engaging in the public and commercial spheres as any professional artist ‘would have done.:”* ‘Throughout her career Cameron negotiated the con- flicting demands of her role as a wife and mother and her aspirations as an artist. When they coexisted harmoni- ously, the results were sometimes remarkable, as in the clegiac series of portraits she made of the Norman family in the summer of 1874 (cat. nos. 1006-11). The photo- graphs were probably made as a memorial to Julia Nor- ‘man. Cameron’ grief percolates through the tender and cathartic pictures. Central to the series is a group por- trait that shows two of the Norman girls, Adeline and ‘Margaret, huddled around their father (cat. no. 1006). The composition has been organized to emphasize the unity of the family and the strength of its bond in the face of bereavement. The daughters protectively envelop their father, reach out to embrace each other, and, in a mannered gesture probably suggested by Cameron, cup his heart in their hands. The girls are fulfilling what was considered to be their natural role as supportive daugh- ters, ministering to their father's needs, carrying forward the memory of their deceased mother, and becoming in the process litle mothers. Cameron’ inscription on this print, “This copy especially for my beloved Charlie Nor- rman,” confirms the intimate and offertory nature of the work and the affection that she held for her son-in-law, who, of course, provided her with the gift of her first cam era in December 1863 and enthusiastically supported her photographie enterprise. 1 one of his many pronouncements on the nobility of labor, Thomas Carlyle remarked, “Laborare est Orare, Work is Worship.’ Older than all preached Gospels is this unpreached, inarticulate, but ineradicable, forever- ‘enduring Gospel: Work, and therein have wellbeing.” Photography as Cameron practiced it was a form of rig- ‘orous personal worship, almost an enactment of faith, She never shied away from the laborious physical and ‘mental demands that her methods necessitated, under- standing that a committed, imaginative attention to the nuances of process and manipulation was her chosen pathway toward the high ground of art. Despite the renown of her work, Cameron's style was never appropri~ JULIA MARGARET CAMERON ated or adopted by other photographers in her lifetime. It ‘was too urgently experimentalist and antiperfectionist to inspire imitation. This fierce independence of vision, sus- tained through some fourteen years of practice as a pho- tographer, is a significant yardstick by which her work should be measured. The sheer volume of her production, the range of her subject matter, and the tenacity of her self-promotion were all extraordinary for the time. While CCameror’s goals for her art were vividly conceived and her vision consistently lively and independent, the work was never realized according to a fixed plan, Consequently, her ocuvre consists of a modest number of pictures of real genius—what one might call the peaks of her achieve ment—and a significant percentage tainted by flaws and idiosyncrasies, which necessarily represent the valleys of her creative output. However, itis in the quiet depths of the valleys, home to many of her most audacious bursts of creativity that the essence of Cameron's art lies. The vac~ illating quality of her results was a natural by-product of her high ambition and the fearless risk-taking approach ofan artist constantly skating near the outer limits of ac~ ceptable photographic technique. Cameron was prepared to do with the medium what had not been done before. A statement John Keats made recounting the genesis of his epic poem Endymion (1818) describes a creative philos- cophy that fittingly evokes Cameron's approach to her life and art: eaped headlong into the Sea, and thereby have ‘become better acquainted withthe Soundings, che quicksands, & the rocks, than if [had stayed upon the seen shore Twas never aa of fulur: for I would sooner fail than rot be among the greatest® and took tea 8 comfortable advice. t. Anne Thackerty Ritchie, From Friend to Friend e. Ely Ritchie (London: John Marcy, 199) P30 2 Sys Wo and Mike Weaver both provide weil sketches of Cameron early years and hee beginnings in photography: See Sys Wola Margeet Cameron Women (Chicago: At Inte of Chi- «ago, 1998), pp. 23-5, and Mike Weave, Julia Margaret Cameron 145-18pg (Boston: Lite, Brown and Company, 184), pp 4~ 3. Cameron to John Heschel, Dec. 31864 ein Archive and Library, Naonal Pore Gallery, London. Reprinted in fs in Colin For, The Cameron Collation: An Album of Photograph by Jia “Margoret Cameron Presented oS Jon Heche (Wokingham, England: ‘Van Nostrand Reinhold 2975), pp- 40. 4 Mike Weaver, Wher of the Me: The Overstone Alum and Other Pitgraphs by Jue Margees Cameron (Malibu, Cali. Pal Getty Museum, 986), pp 15-3"5, Thi, pp. 64~67. See also an excerpt From one such lester (Gg. 97). Foran excelent analysis of Cameron promotional and com- ‘mercial ambitions, we Wolf, omeroni Home, pp. 208-18. (6 Alistof he examples that Herachel sent Cameron ispeeserved in the Hay Ransom Humanities Research Center (HRHRC) a the Univenityof Teas at Austin, J. FW. Herchel Collection, Fle No. Wosbo, The document is dated August 2s 4, and lt wenty-four ealphite a fing agent dissolve any lingering light-sensitive salts on paper or film after expo- sure provided eal support tht allowed forthe implementation of| the negative posve system of photography a weal know today. See Lary J Schaal, Hench Talon, ond he Invention of Photography (New Haven, Conn: Yale University Pres, 1992), pp. 49-5. 7. Cameron to John Herschel, Feb. 26, 1864 (The Royal Society, London, Herschel Correspondence (hereafter. } 5:59) 8. Roger Taylor and Edward Wakeling, Lent Carol, Photos ‘her (Bineton, NJ: Princeton Univesity Press, 2003), pp 13-14 9 Thi, pp. 47a to. Wiliam Holman Hunt to Cameron, Now 2,139 (Rosen bach Museum and Library, Phildelphiay No” fis/-13t2/asa). Lam snot grateful t Victoria Olsen, who hat an extensive knowledge of| Camecon' biography, for sharing this reference and others with me tu, Cameron talted Govied August Burgers Leonee in stay. See Helmut Gerosheim, Julia Margret Cameron: Her Life and Photogroplic Work (Millerton, N.Y: Aperture, 1975), pps i845. She sls wrote a novel hat was never published 12, See Wiliam Darth, Carer de Visite in Ninetenth-Contary Photograply (Getysburg, Penn: W. C. Darrah 98) Foran extensive ‘exon did however, include seven glass positives (ambrotypes). At the London International Exhibition of 172 she exhibited porceltn epro~ acim, Camera p 7. 42, See Cameron inscription underneath a portait of an un: known man (cat.no. 8) ‘3: A second, smaller negative ofthe subject was sold in the sume locat Christi’, London, May ro, 199, lot (eat. no. 727). ts res ent location ie unknown, ‘4 Lam very grateful to Stephen Berkman, an artist schooled in the wer-collodion process, who examined this negative with me and ‘made many help observations about Cameron technique 4g: Cameron had been clected a member at the June 1, 1864, meeting ofthe Photographic Society of London, held at King’s College, London, See Poteraphic Journal 9 (June 1,164), ps. 46. Photographic News 35 (May 1, 1860), 238. The consensus of opinion ofthe Photographic Society members present was thatthe type of damage seen in Cameron negatives suggested she was using a brand of varnish called Sochnee. 47- See Mark Haworth-Booth, PBstagraphy: dr Independent Are (London: V & A Publications, 1997), pp. 86-88. The letter fom Camn- eon to Cole was written on June 1,186, and is inthe National Art Libeary, Victoria and Albert Museum, Cole Correspondence, Bo & 48. Phatographic News 13 (May 14, 1869), p. 238. Contemporary ‘wet-collodion ass Mark and France Scully Orterman have expeti= enced this problem and believe that it occurs when there is incomplete washing of the hypo from the plate. Hypo attracts moistre, and this moisture can lead to cracks 49. Cameron nevertheless did sometimes print from cracked of ‘otherwise-damaged negatives, for example, her studies of Sappbo (ct, no. 353), [King Abaierus and Queen Either in Apcrypba (at. no. 67), and Christal (cat. no, 398). She made mention of Blanchard and the subject of difclties with her negatives in an 1870 leter to Herschel: “nearly broke my heart over the loss ofthe life sized head of you—that insidious honeycomb tracery produced when varnish... (8 film) crack appeased allover the glass & blisters froze 8 the whole head vanishedMy most pritual& glorious head called Christabe such also... Mr. Blanchard taught me how oprnt rom those gases tha ad sufeed” (Cameron to Job Herschel, Feb. 6 fy [ns.n.7) 0. By her own estimate, Cameron belived that she had pro- duced “four hundred lasses" by the summer of 865, Figure she quotes inaleterto ane Senior June a 1865 (insight Research Centre, National Museum of Photography, Film & Television, Bradford). Half thie umber, 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 fom records on deposit atthe Prblic Record Ofice, Kew, England, ‘st. Rudolf Kingsake, A Pliary fhe Photographic Lens (London: ‘Academic Pres, 980), pp. 35-38. See also Ford, Cameron, p17; Wolf, Cameron Women, . 25, nd Brian Coe, Camers, From Degurreaypes to instant Pictures (New York: Croen Publishers, 1978), pp 189-98. 5% Julia Margret Cameron, mali of My Gan Howe, written in 1874 and fist published atthe time ofthe Cameron exhibition at che (Camera Gallery, London (April 16), and subsequendy in Beacon 2 (Galy 890), pp. 157-60, and Photographic Journal 67 (July 1937), pp. 196-ot.The orginal manuscript i in the cllestion ofthe Royal Pho- Aographic Society, Bath, England. Reprinted in fall in Gernsheim, Cameron, pp 1608s; Beaumont Newhall, ed, PBotograpy: Essays and nages (New York: Museum of Modern Ar, 960). pp 34~39; Weaver, Cameron, pp 84-57; and Violet Hamilton, Annals of My Glass Howe: Photographs by Jia Margaret Cameron (Seattle: University of Washing ton Press 196), pp. 116 5. Set Katherine Di Gili, Natural Variations: Potaraphy by Colonel Start Wory (San Marino, Cait: Huntington Library, 1994). 4, Photographic Journal 38 (Oct 1 863, pp- 365-68 5, Joral of the Phregrophic Soe January 153), pp 65-67 Reprinted in Newhall, Patgrapy, pp. 79-80. 46 John Ruskin, arguably the most influential Victorian art critic, was inily «fervent admicer of photography, but by the 1603 be had condemned its mechanistic nature, believing that the photo- ‘graphic image trivialized the grandeur of nature In an il-tempered letter to Cameron (Feb. 23, 1868 [Wilson Centre for Photography, ‘London, 94-973) he reached As for photography, you have only taken it up so eagely becatse you have not known what Watts ought ong ago te have explained to you that it has nothing in common with art, which i essentially Human Design and the record ofa human Imagination, And if you could se the ‘beauty of Nature hertelf more deeply than you do, you would not chink you had wisely represented her by put fing her in stage actudes, and drawing her out of focus ‘7. Cameron poted Hiller so often inthe sole of the Virgin that cighbors in Freshorater began to cll her “Mary Madonna.” Cameron ematked of Hillier, “The very unusual atributes of her character and complexion of her mind fT may clit, deserve mention in due time, and are the wonder of those whore lif is Blended with ours a intimate fiends ofthe house." (See Cameron, Anal.) 58 Cameron to John Herschel, De, 5,864 (Heine Archive and Library, National Porat Gallery, London, Herschel collection), Re~ printed in Ford, Cameron, pp. 140-41 59. Cameron, dale, See also Colin Ford, "Rediscovering Mrs Cameron—And Her Fist Photograph,” Camera (Luceene) 38 (May 1979) pp.-4~15. The phrase "ry very frst sucess in Photography" isin scribed on the mount of the print of Annie inthe Getty Museum’ cok lection (et no.) similar phrae ie found in alter to Annie’ father (Gg. 79). The declarative wording suggests that Cameron considered thisto be the est photograph that adequately fled her expectations Go. The best discussion ofthis buen i oe found in Lukish, Cameron, pp. 19-13 61. The version included inthe Overstone Album (cat.no 1 is later print, probably dating fom the surnmer 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, Tam indebted to Mark Osterman, an expert in wet-callodion and other historical processes, forthe time that he spent studying this alburn with me during my September 2000 vst othe George Eastman House, I hope hie observations and explications of Cameron’ tch- nique are adequately represented in thie text. 63, Atleast vee prints i dhe Warts Album (cat nos. 12 and 79 and GEH 71:0109:0035, which isa duplicate print of the image repro pany, leading French supplier of arst papers that branched out into the production of pre-albumenized photographic papers in the 18s. ‘These prints beara simp with the marking "BFK Rives Nas which stands for Blanchet, Frézeset Kleber, who ran the Rives rill t Ise, France. A fourth shet (cat, no. 8) beats an 1862 watermark. Cameron likely bought the paper from the Marion company, which was the principal distributor of Rives paperin London. For further information ‘on Rives, sce Capole Darnaul, Rives, le memaire de papi (Grenoble, France: Presses Universitaires de Grenoble, 000), pp. 117-34. 4. Several ealy portests of Julia Jackson (cat, nos 283, 85-89) inthe collection of the Art astitate of Chicago exhibit similar qualities to some of the Watts Album prints. Cameron wrote at length to Her sche about technical problems (Mar, 1864 [ns.485:18) 1 get nto difclties& cant see my way out of them the lm comes off my plate in certain weathers. The plate isnot equally covered with film & should repeat itself on the side ofthe glass as I take i ou of the bath tho T know ‘of no cause nthe bath to sratch ia it seems seetched [A prine beautflly printed often turns geen. I suppose it is the hyposulphite of soda that causes ths. 65. Cameron's unflagging energy ws intesrupted largely by il heals, chieBy bronchitis, which was usually brought on by excessive exposure to the Fumes of the ether and porasium cyanide used in the \wet-olldion proces. Inaletterto Herschel (Sept, 1867 [88.55.167)) she wrote: 1 never before this attack have known what i was to have ‘oo successive das of lassitude—Now I have been for seven weeks almost welea— feeling like an idle weed— yet having heart sting with sliciude & love for my fiends & remembering how often the dearest of them have warned me not to over exert mel 0 continuously. 66, All surviving prints made from this negative have the same markings inthe boy’ feet. 67. Cameron to John Herschel, Feb 26,1854 (25.55.59). 68. George Frederie Watts to Cameron, 1865 (no exact date) (Heine Archive and Library, National Portat Gallery, London, Watts MS. Collection) (69, Photographic News (June 2,863), p. 295. Cameron fiercest critics were the professional studio portatets, whore work wasincreat- ingly inuental in exhibitions of photographic societies arose the country, especially after 862. The Photographic Newr was regarded a8 Cox 7576 the rade weekly for this branch ofthe profession, hence it crits stance toward Cameron, Fora thorough acount of the cited ecep- tion of mero’ photographs, sce Pam Roberts, "Julia Margret Cam ‘ron: A Triumph over Citic” in The Porras in Photography, {Graham Clark (London: Reation Books, 1992), pp 47-70 7. Cameron, Anas 7 Newhall, Phetgraphy, po. 72. IfCameron ha signed the plat on the Finy side ofthe gs, ber signature wold have printed in revere. She could void this ever salbyinsted signing the backof the plat, The seipisblrryandindis- tinct because the eight-inch ticknes ofthe plate caused it to drop out of foes daring printing 7. There isan almortidenticl treatment ofthe lower portion of the negative in Hater Rabi. 0.857 74. See, for example, Henry Taylor | Stady of King Dovid (ca 0.6), where Cameron scratched the colldion fom the uppet eft and igh potions ofthe plate, removing the figure of Mary Hie, who isa Taylors side in (Barbs Brough > King Devi) (a. 166) 75. Chale Hay Cameron, Too Esa. On he Sublime and Bea ‘fi and On Ducting (London: pevately printed, 188, pp 49-0. Copies of his manescripe exit at he British Library: Bodleian Library, Oxford; Harvard University Libary and the Naina Library of adi, CCalcuta. My analysis hore owes much to she wating of Carl Mavor. See the chapter “To Make Macy: Jia Margaret Camerors Photo- sraphs of Altered Madonnas”in er Peatres Tater: Peformance Sesuatiy ad Lin Victorian Phtgrsphs(Dusham, NC Dake Uni- erty Press, 1999) pp. 43-70 7. Cameron to Sir Edward Ryan, De. 8 74 (Gilman Paper Company). See alo Gernseim, Cameron. 4 17. Phtgaphic News 4 (Oct 38, 172), p. This isan exact, from a review nthe Dery and Cheer Reorter on the Deby Fie Art Exhibiion, n which Cameron photographs wer incided. 18, Bhtgraphi Now (Jn 861), 19. Pace, Potgrapbic Manipulation, pt 8. A notable exception may be her sing with George Warde [Norma (ee note 4) whee two sizeof natives were employed. 81, Phargraphic New 10 June 1868), . 279, The Phograpic [Neus probably saw Cameron sketches at being intended for artists rather than as Snished works of at. Rejlnder slo made setches ot seals, many of them concerned wi cxpresion, that were intended a sid to artists and avs notes for is own compositions, Se Spencer, Rejlnder, 9p. 109-39 ‘a, Photographic Jornal 9 (Apr. 1939), p. 8 45, The publication of Camerons photographs by Clnaghi was sored in “Fine Art Gosip” ibenacim, no 9 (Jy 25,164), “The reference tothe reduced price of her pins for att mentioned in a June 39,185, leter fiom Cameron to Jane Senior (National Muscun of Photography, im & Television, Badd): “I hae along time ago no a shor sme ago tld Calnagi tha a ait were to have his fascination for say prints at half price.” Cameron’ willingness to discount her photo- graphs is surprising given the remarks she made in this leter regarding ber financial woes (se fg. 97). Be. Sylvia Wolf (Cameron Women, pp. 7075) was the frst to ‘comment on Camerorls propensity for reverse printing. See her excel> lent analysis of specific portraits of Julia Jackson thar weee printed in thi way 85, Photographic News 15 (Dec. 187), p 572 Ina review of Cam- cons photographs inthe 172 exhibition of the Photogeaphie Society of Londoa, the writer remarked, "In some of them the effect reminds us of JULIA MARGARET CAMERON ‘Rembrandt’ pictuces and they only sem to want the Bush of colour to make them perfect.” 46. Cameron to Henry Cole, Apr. 72868 (National Ar Library Victoria and Albere Museum, Cole Correspondence, Box 8). See alo Haworth-Booth, Photaraphy. pp. 8688. 47. The Angel in be House was published in fous pars from s856 to 1862 and went through numerous editions during the second half of the nineteenth century. The poem presented 2 neat-imposible ideal for women to live up to, They were characterized a fil, wulnerabl, and retiring and yet expected to be domestic guaedian angels protecting sen from the harshness ofthe outside word. Cameron illustrated the poem in a picture that she may have crated in collaboration with hee son in 873 (at. no. 372) 38, Moemillans Magazine 13 (Jan 1866), pp. 30-3. 45, I would like to thank Dusan Stull ofthe Getty Conserva- tion Insitute for undertaking X-ray orescence spectroscopy (XRF) on eight photographs inthe Getty Museum collection (eat. no. 543+ “3,469,614 637, $57, 1014) to determine the composition of Camer- tons toners. All ofthe photographs chosen were gold-toned, but cer- tainly not wniformly i terms ofthe concentration of gold or the pro cessing time, It was alo determined tht the paper bate and mounting materials were different in each example, suggesting the overall incon= sistency of Camerons methods, 90. Woll, Cameron Women, p. 25. Camerois inscription on a study of May Pinsep (at no. 429) offered a choice of brown oF gray print ot Tid pp a4 92. See A.N. Wilson, God Funeral Bivgrapy of Faith and eubs in Western Civttzaton (New York: Ballantine, 995) p. §5~77 95. Weaver, Wiper ofthe Muse, pp. 33-37 4: Thi 9 See Benjamin Jowett, College Sermons (London:Joha Murra, 1893), which reprints examples of his Oxford sermons, inclding sites such a “Difficulties of futh and thie solution," 183-55, pp 1-255 “The prospect of C1 judgement of us and our own,” 1868, pp. 295-308. See also Wilson, Gadi Funeral, pp. 19-25 496. Anna Jameson, The History of Our Lord ax Exemplifed in Works of rt (London: Longman, Green, Longman, Roberts and Green, 869 vol. 1.9 497. Weaver, Cameron, ps, 98. Anna meson, pend ofthe Madonna ar Represented in the Fine Arts (Londo: Hutchinson 8¢ Co, 864. 99. Phatgraphic Journal (June 1,164). 65 For more exten- sive discussion of Rejlanders work inthis vein, see Spencer, Render, p.s9-107. 100. Carol Aemstrong, “Cupid's Peni of Ligh: Julia Margaret Cameron and the Materalzation of Photography.” Oxaber 6 sping 1998), pp 44-48. sot, Phongraphic News 9 (Jn 6, 1863) m4 102, The acquisitions register ofthe Department of Prints and Drawings reords the gift shaving been made on Thursday 186, Allnine photograph cited by tle and are accompanied by he ‘wef description “Being che Frits ofthe Sprit Mlustrated from Life.” ‘According tothe entry, the photographs were originally mounted together na snge fame. They have subsequently ben remounted and the frame has not survived (Book of Presets, Central Archives ofthe British Museum). All nine photographs were eransfrred to the Victo- fi and Albert Museum in December 2000 inianity” Nov. 26, st, pp. 5979: and “Gods1g, This tendency finds its mature expression in Camerons composition for The Kis of Peace (cat.no. 1129), which i widely ee ‘garded as one of er finest works 104. Cameron was for many yearsa member ofthe Arundel Soci= xy, an organization founded in 1848 by John Ruskin, Austen Henry Layard (cat-no. 700), and others that was dedicated tothe reproduction of paintings by Giotto and other Tealian artists forthe education and Jimprovement of public rastein at, Ruskin wrote an article forthe soci- xy "Giotto and His Works in Padua: Being An Explanatory Notice of the Series of Woodsuts Executed for the Arundel Society After the Frescoes in the Arena Chapel” (London: The Arundel Society, 154). His analysis of The Salutation was included (pp. 75-76). Layard was ‘ery active inthe society, prodacing articles on Perino (36), Nell (857), Pineriehio (88), Sanzo (189), Ghislandaio (1860), Masaccio (¢868), Masolno (1868), and Filippo Lippi (68) 195, Londe Overstone and Elho were art collectors ofthe high- cst standing. Ovestone was atustee ofthe National Gallery; he served 35 commissioner forthe Crystal Palace Exhibition of 18st and as a vice-chairman of the general council of the Manchester Are Treasures Exhibition of 857, Hiscolletion of ld masters inched works by Rem- brandt, Rusdae, Steen, Perugino, Reni, Murillo, Hooch, and Claude See Weaver, Whisper ofthe Muse, pp. 15-2. Lord Echo was an avid calleeor of works by the Venetian school, and hs collection contained paintings by Tintoretto, Pontormo, Titian, and Giorgione, In syo 8 group of approximately seventy works from his collection was sent on loan tothe South Kensington Museum and put on display that autumn, See Art farnal 3.9 Oct. t 1970) P 304 106, Te was not uncommon for Cameron to ignore the gender specifics ofa sory if she had models available whom she believed could eet the requirements of the narative, She di this sucessfully with ‘Mary Hillier in Tbe Angel at the Tomb (ct. nos. 264~67)—the ange! in the sriptuce i a man—and with Florence Fisher in Study of Se. Jo the Baptist (cat. no. 949) roy. Cameron considered the picture a succes, She included ie among 2 group of thirty-four prints chat was presented ata gift to the South Kensington Museum on September 27,165, and incompo- rated it in the handsome album that she presented to Sit Coutts Lind say that same year 108, A vatiety of inscriptions on Cameron's photographs (see, for ‘example, ext. no, S08) suggest the extent of her congress with Watts ‘concerning the progress of her art. Some of these prints were made as {ifs for im, bur others were cold toa knowing audience through her primary agen, P. 8D. Colnaghi 109. George Frederic Watts co Cameron, 186s (a0 exact date) (Heine Archive and Library, National Portrait Gallery, London, Watts ‘MS, Colleton). nao, The best source on Wate’ life and work is Wilfrid Blunt, Englands Michelangelo, a Biography of George Frederic Watts (London Hamish Hamilton, 197). See also John Gage and Chris Mullen, G. F Wats, A Nineteenth Cencury Phenomenon (London: Whitechapel Art Gatery, 197 rat, M.S. Wats, Gorge Frederic Mates Dhe Annals of An Anti Life (New York: iodder and Stoughton, 191), vol, pp: 298-9 tus, Cameron made many photographs at Little Holland House Inthe Overstone Album she includes the initials “LLH.H.” under some mages to indicate chat the pictares were made there 15, See Ann Lenard, "Nineteenth Century European Paintings in the Collection ofthe Sunts Barbara Museum of Art (Ph.D. diss, University of California, Santa Barbara, 192), pp. 60-67 114, Algernon Graves, A Century of Loan Exhibitions 189-1902 (London: A. Graves, 915-1), pp. 1618, 1624 15, Iam indebted to Jill Finsten and Robert Hearing of the Santa Basbara Muscum of At for sharing valuable information about this panting and Watts’ working methods, 1u6, See G. F Wats: The Hall of Fame, Portrait of His Fomour Contemporaries (London: Nacional Portrait Gallery, 197) 117, Geonge Frederic Watts to Miss Courtenay, Dee. 26 159 (Gerry Reseasch Institute, Special Collections, No. 470362. In the same leter Watts adds, “Ifyou went into my Studio you would have seen the commencement ofa gallery there I am forming for myself &e bhequeath ro the National Portrait Galley, an fering to posterity" 18, See Paul Buslow, “The Imagined Hero as Incarnate Sign: ‘Thomas Caiyle and the Mythology of the ‘National Porat in Veto rian Britain," Ar Hitory 17, m0. 42998) Pp. 17-45 19, See Carol Willoughby, “Search for Permanence in Materials and Methods of G. F. Wats (1857-1904) in Das. Jabrbundet und ste Restarierang (Munich: Calwey,:9), pp. 203-16. Watts worked in thre principal sizes for his Hall of Fime poreits: Head Siz, 36 ax inches; Three Quarter Length 30 25 inches and Kitet Size 36 as inches. sno. Watts, George Predei Mats, 9.14 12s, Wolf, Cameroni Homen,p. 5, and Kinglake, History of tbe Lens, pp. 59-62 12a, See Christopher Titterington, Phcegraphs by Horatio Ros, 1801~1886 (New Haven, Conn.: Yale Center for British Art, 199) 123. Marsh and Nunn, Pre-Raphacite Women Artists, 9.27. 12. John Herschel to Cameron, Sept. 21866 (Insight Research Centre, National Museum of Photography, Film & Television, Brad ford). Reprinted in Ford, Cameron, p12 135, Cameron to John Herschel, Feb 8 866 (98.08 516), 126, Cameron to Henry Cole, Feb. 22, 1866 (National Art Library, Victoria and Albert Museum, Cole Correspondence, Box 8) See also Haworth-Booth, Photoprphy,p tay, Aébenacum, 20, 2103 (Feb. 1, 1868), p26 Signi ples of the work of Luca Della Robbia, Devierio da Setignano, and Francesco di Simone, which Cameron may have seen, were in the collection of the South Kensington Museum by 1865. See Jon Pope- Hennessy, Cataigue of align Sculpture in the Vistria and Albert Muscume (London: Her Majesty's Stationery Office, 1964), vol. 5, PP. 64-86, 102-4, 126 138, Both inscriptions indicat that the pictures were taken after sunset on May 3. 129, Alfted Tennyson, The Works of fed Lord Tennyson (Lon: on: Macmillan, 1883), pp. 9697. 130. This inscription appears benesth a print of the image in the Norman Album "51. This inscription appears on the mount of a print in the ‘George Eastman House collection, Rochester, New York 12. Macmillans Magazine 13 (Jan. 1866), pp. 30-31 133. Cameron to Samuel Gray Ward, June 1, 1869 (Houghton Library, Harvard University, BMS Amy 1465 [76 Wad was a paton ofthe arts and one of the founders ofthe Metropolian Museum of Ar He helped to support Thomas Caryle as well as William J Silman, the American printer and photographer who marred Mare Sparai, ‘one of Camerons models. Camerons daughter visited Ward while he ‘was living, fora time, in Rome. My thanks to Anne Havinga for shat- ing tis reference Cox daiizedsy Google ‘ 77 154. Cameron had wanted to photograph Herschel sooner In March 1864 she wrote to him, “T wish you were here—that T might photograph you" (Cameron ro John Herschel, Mar. 864 [as 135. Maria Herschel to Agnes Grieg, Apr. 12, 1867 (Bodleian Library, Oxford, Somerville Papers, Dep e398: msrP-16, Herschel Grieg Correspondence} hope that she [Cameron] may be more han repaid by the sale ofthese Portraits at Colnghis for the immense cost at which she brought her whole apparatus all he way from Freshwater to Collingwood for the sole purpose of taking Si John’ Portrait. He has promised her (most lady) never t sit for any other Photographer ‘Cameron also photographed Hersshels daughter Caroline during the visite Collingwood (ct. nos. 31-32). 136. Cameron, Aaa ayy. Ibid. 158. Cameron to John Herschel, Ape 20, 1867 (as.s.166). la ns.ns.s.s70, Cameron refers to Herschels portait as a “National “Treasure” 139. Cameron porate of Charles Dacia, made inthe summer ‘of 1868, area cate in point. Correspondence from Cameron to Darwin reveals that he rented a Freshwater cottage fiom the Camerons that summer. The tone ofthe lester is very busneslike, Cameron closing ‘one with the words, "PS, Our tenants bring ther on plates 8 Linen.” ‘Although the primary basis of their acquaintance was practical and ‘commercial, Cameron was sucessful in persuading Darwin to sit for het. See Cambridge University, Darwin Papers, oan r6ua:8 and 9. 1 ‘would lke to thank Phillip Prodger, who generously shared his esearch ‘on Darwins interest in photography and these patculars of Darwin's relationship with Cameron, See also Francis Darwin, Th Lifand Let~ fers of Charles Darwin (New York: D. Appleton, 91), vol. 2.283. 140. Cameron to John Herschel, Mar. 3, 1868 (n8.n8.5.168). ‘Cameron writes sending you Blank mounts & trusting to your good ness to sig them when yeu can ..The Photograph of you isto my idea * ka lore (40 P20 C0 £\ ee ff ’ a * ea “EC all . ee Lim A AL eee 4A 4 . y ~“PHILIPPA WRIGHT Little Pictures: Julia Margaret Cameron and Small-Format Photography EARLY ALL OF THE PHOTOHISTORI~ ans who have written about Julia Marga- ret Cameron have neglected to consider her small-format photographs. These works, however, provide a fascinating contrast to the monumental life- size pictures on which Cameron's reputation as an artist rests.2 This catalogue surveying Cameron's full ocuvre 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 com- ‘mercial market for small-format photographs, Cameron produced reduced versions of her bigger works as con- ventional cartes-de-visite and cabinet cards and released them primatily 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 gal- leries 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 engage~ ment with aspeets 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 pro- vide valuable evidence about images that survive only as a reduced print since no large print has been found. For Julia Hay Norman Miniature Album (sce table 1) 16.55 [Minstrel Greup] (ca. No. 104) ‘example, a version of [Minstrel Greup] (fig. $5) given by ‘Cameron in an album to her daughter, Julia, on May 1 1869, exists only in this small format.?8 +16. 56 John Jabez Edwin Mayall (American, active United Kingdom, s810~tg0!). Queen Victoria, March 1, 86. Hand-colored alburnen carte-de-vist, image: 9 58 m (3% % 2% in); mount: 10.3 633 em (4Y%n = 3% in) National Museum of Photography Film & Television, Bradford, 90-5036 (Kodak prin collection) Cartomania then Cameron took up photography in 1863, the carte-de-visite phenomenon, which was popularly known as cartomania, had already peaked. The carte-de~ visite had been patented by André-Adolphe-Eugéne Disdéri in Paris on November 27, 1854.* By the time Emperor Napoleon III sat for his carte-de-visite portrait at Disdéri’s studio in 1859, cartomania had begun, and by the early 18608 the carte-de-visite had reached London, By the mid-1860s the shop windows of the high street ‘were filled with these miniature portraits. The eraze con- tributed greatly to raising the public's awareness of por trait photography. ‘The carte-de-visite—an albumen print mounted on a commercially produced card usually measuring 4% by JULIA MARGARET CAMERON 2'/ inches—had several significant advantages. The cam- cera was designed to combine several separate exposures on a single negative so that cartes-de-visite could be mass produced relatively easily. This made the product compar atively cheap, which enabled the middle class to acquire not only portraits but also photographs of works of art and architecture.* During the cartomania of the 1860s zillions of cartes-de-visite were produced, and the phe~ nomenon took on an international favor. In London, for example, the American John Jabez Edwin Mayall and the Frenchman Camille-Léon-Luis Silvy* operated success- fal 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 mass- produced cartes-de-visite of celebrities, and a vibrant in- dustry developed with startling rapidity to meet the huge demand.” A photographer who obtained a portrait of a well-known sitter along with permission to sell it asa carte hhad 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 en- dorsed the carte-de-visite format served only to increase its popularity.* ‘Typically the subject’s face assumed minute propor- tions 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 ‘ish to remember, In any average carte you see the lege 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... [eis his face, his eyes, his mouth, which interpret his rind to yours, and live in your memory’? In 1866 commercial portraiture received a boost with the introduction of the cabinet format.!® The cabinet card, introduced by F. R. Window, was an albumen print con a card usually measuring 6 x 4% inches. It was hoped the larger size would offset a perceived decline in the demand for photographic portraits: “The Cabinet photo- graph was aimed as a natural extension of the mania thathad characterized the carte-de-visite. Although it became a popular format in Europe and North America from the late 1860s, it was less of a commercial success in England and never rivaled the popularity of the carte.""” Another element of popular culture that drove the market for photography was the practice, beginning in the 18508, of compiling family albums. While there are ‘many variants of what we think of as the typical Victorian photograph album, most contained cartes-de-visite and/ or cabinet-size portraits, either mounted or unmounted, of family members and friends, together with collectible images of celebrities and reproductions of works of art. People acquired and exchanged cartes-de-visite to com- pile their albums, and this did much to support the pho- tographic trade? ‘A primary characteristic of both carte-de-visite and cabinet photographs was their use of formulaic poses and backdrops. In the 1860s photographers in large studios such as those of Mayall, John Joseph Elliott and Clar- ence E. Fry, and Silvy usually portrayed their siters full length," leaning against a balustrade or pillar, perhaps ‘16. 57 Camille Siyy (French, ative United Kingdom, 18347190. ‘Mis Hood, 185, Albumen cart-de-visite, image: 8.6 x 54cm (sfx a%in); mount 95 x 6.4 em (3% 2% ind, J. Paul Getty Museum, Los Angele, 84.xD.57.2093 with a hat and a walking stick or similar prop, in front of a beautiful landscape or standing alongside an ornate desk or chair (fg. 57) Cameron's Small-Format Photographs Sux fon by the popularity of small photographic prints, Cameron circulated approximately one-fifth of her large-format portrait and genre photographs in re- duced formats, either mounted as cartes or cabinet cards or presented in miniature albums to friends and family members. Her use of reduced prints culminated in book illustrations, such as those included in miniature editions of The Léylls of the King and Other Poems. Cameron emn- braced the scale of traditional carte images, but she not adopt the pictorial style associated with them. Her small-format prints were not intended to mirror the work of commercial photographers. In the late 18605, when Cameron was trying to «establish her reputation and promote her work, the South Kensington Museum began a program to make photo- sraphic reproductions of original artifacts, whereby “ad- rmirable substitutes were produced with perfect security to the originals.”!® Roger Fenton had initiated this practice atthe British Museum, where in 1854 he was appointed of- ficial photographer. Sir Henry Cole (cat. no. 633) direc- tor ofthe South Kensington Museum, echoed this practice beginning in 1864, To reproduce artifacts “by photography.” the museum set up a photographic studio."” Cameron enjoyed a good relationship with Cole, and he allowed her to use one of the rooms in the museum asa studio for portrait sessions. She took several of her portraits there, including those of Miss Louise Beatrice de Fonblangue (cat. nos. 224-26; cat. no. 226, now in the Victoria and Albert Museum, is inscribed “From Life taken at the South Kensington Muscum March 1868 Julia Margaret Cam- ron"). Other subjects she photographed there included Joseph Joachim (cat. no. 693) and, of course, Cole, who had purchased a number of her photogeaphs in 1865. She later donated another set of prints to the muscum as a gift (see chronology). The photographic copying being carried out in the museum may have influenced Cameron and led her to produce reduced versions of her own work. It would be clearly evident to her how reproductions could be used to promote awareness of artworks to a huge potential market. Cameron was, above all, determined to promote herself as an artist, but even though she was well aware of the ‘commercial aspects of the photography and art markets, Wright 838 financial gain was not her primary consideration."* Her ‘main concern was the production of fine works of art. Another affiliation that may have influenced Cam- «ron to begin making reduced versions of her photographs ‘was her membership in the Arundel Society, which pub- lished copies of works of art and reproductions of sculp- ture.!? Along with illustrating poems and other literary works, depicting the subjects of works of art became one of ‘Cameron's photographie concerns. The society, for example, hhad made reproductions of the sculptures contained in the Elgin Marbles, and Cameron subsequently chose this subject for two of her prints—Teachings from the Elgin ‘Marbles (cat. no. 1110), which she had reduced, and 24 Version of Study after the Elgin Marbles (cat. no. 11). ‘The term reduced format is appropriate for Cameron's small prints because one of the things that set her apart from commercial portrait studios was the nature of het equipment. Professional photographers would typically have a number of cameras of different sizes or use a rmultiple-back camera that could accept plates producing variety of negative sizes. They also owned cameras built for specific purposes, such as the multiple-Iens cameras used for cartes-de-visite. In addition, the possibility of enlarging a standard-size negative greatly benefited pro- fessional photographers because they could use a single negative to produce copies of any size. Although this pro~ cedure would become the basis of modern photography, any form of enlargement was still uncommon in the 1860s, Nevertheless, Cameron noted on many of her prints that they were “From Life, Not Enlarged.” ‘We know that Cameron favored two sizes of large- format glass plates to produce her monumental photo- graphs" but it is not known, unfortunately, how she reduced those images. Itis unlikely that she made the small prints herself22 Although she claimed she received no assistance making her photographs,” she hinted in a letter to the Boston publisher James Thomas Fields (cat. no. 663) that she did not have the time to produce reduced images: ‘The enclosed will show you I could not learn the exact date of your friends’ departure —if it were delayed a few days I could yee send the reduced copies of Mr. Fields’ portrait which I have had taken from my Big Photo ‘on purpose for you. I do not myself use up my time in reducing, only in large originals. Inall likelihood Cameron had someone else carry out this work for her. The copying could have been done by her sons. A letter to Hardinge Hay Cameron suggests that JULIA MARGARET CAMERON Charlie Hay Cameron pethaps performed this task for her Since her youngest son, Henry Herschel Hay Cam- cron, later became a photographer, it is possible that he first learned the fundamentals of the medium by taking on copying and reduction tasks for his mother. We know that he did print some of his mother's large prints and signed them according to her usual manner. In 1886 he established the Henry Herschel Hay Cameron Studio, where prints were presented on HH. H. Cameron and “The Cameron Studio mounts.2” Cameron's reduced prints were most likely made by someone who had the appropriate commercial equipment a carte-de-visite or cabinet camera, for example—to photograph her large-scale prints. The copy negatives from those cameras would be used to produce the small prints. ‘The carte-de-visite camera, which produced a negative of multiple images of the original, would have been a partic ularly efficient copying device since one printing fom the plate could then be cut into numerous identical prints. Although a surprisingly large range of Cameron's work was reproduced in small format, itis interesting that no more than half a dozen reduced prints appear to have been made of any single large image. She could easily have had hundreds of each subject printed from these nega- tives, but the minimal number of known prints confirms that it was not her intention to mass-produce cartes de-visite and cabinets for commercial sale.?* tis important to stress that Cameron's small-format prints are distinguished from those made by her commer cial contemporaries in other ways. Unlike photographers such as Mayall and Silvy, she did not use the carte-de- visite merely to disseminate the likeness of a famous sit- ter. She was not interested in the cult of personality that fueled the cartomania craze. Her choice of subjects to be reproduced as cartes appears to have been based on her favorite and most popular images. Although some of them, such as her portraits of Alfted Tennyson (see cat. nos. 796, 804, 807, 810), could be seen to meet more commercial criteria, their relative scarcity suggests that mass-producing them was not a significant concern. Inaddition to producing portraits of famous celebri- ties, commercial photographers used the carte-de-visite and the cabinet card formats to sell pictures of newsworthy events and reproductions of works of art. Cameron was interested in the potential of both formats for the latter purpose, primarily to spread awareness of her own larger works of art.2° Cameron's cartes and cabinet cards look very differ~ ent than conventional ones, and they also have a very dif16.58 Julia Margaret Cameron. Hypara, 868. Albumen cabinet card, image: 122 « Bg em (4% % 3% in): mount 16.4 x 10.5 em (6'/a3 4 Yain.). National Museum of Photography, Film & Television, Bradford, 1995-50556 (se eat. no. 469). ferent feel than the reduced prints she mounted directly in her miniature albums. The images mounted as cartes vary in dimensions; the cards always have a thick litho ‘graphed gold border and also vary in size. The majority have a lithographed facsimile inscription, “From Life Copyright Julia Margaret Cameron," as shown in Hypatia (fg. 58)."' No photographic studio stamp ever appears.2? ‘The small prints Cameron mounted as cartes-de- visite and cabinet cards were distributed through the commercial art market. She was acutely aware of the potential both formats had as a vehicle for introducing her large fine-art works to the public and clearly under stood their function. The small prints were not works of artin their own right but objects for study that could gen- crate sales of her large prints. Subjects of the Reduced-Format Photographs he subjects from her large prints that Cameron selected to reproduce as reduced prints are varied. Portraits of famous men form a significant proportion.”* ‘These include such favorites as Tennyson, John Herschel (cat. nos. 674-75), George Frederic Watts (cat. nos. 826, 828), and ‘Thomas Carlyle (cat. nos. 628~29). Among the numerous well-known men are also the artist William Holman Hunt (cat. no. 687); the musician Joseph Joachim, with and without his violin (cat. nos. 693, 695-96); and the poet and essayist Sir Henry Taylor (see cat. nos. 769, 717» 78, 783, 789-90). OF the male members of Cam- eron’s family, there are portraits of her sons Ewen (cat. no. 613) and Eugene (cat. no. 605) and her husband, Charles (cat. no. 597). Ewen is seated, suggesting a studio setting. Without exception, the pictures of men are redue- tions of three-quarter-length portraits or life-size heads. Only Joachim and Tennyson hold objects that suggest their profession. These small three-quarter-length por- traits are in keeping with those produced by professional photographers at the time, although they display none of the conventional backdrops and props. ‘Cameron photographed only a few women who were known primarily through their professional status—the author Anne Thackeray (cat. no. 500) and the painter Marie Spartali (cat. nos, 466~67, 469, 471-78, 480, 485). There are other, nonreduced, images of Thackeray and many of Spartali, who was the artists’ model to the Pre~ Raphaelite Brotherhood, She also became popular model for Cameron, who photographed her both in portraits and in genre subjects like The Imperial Eleanore (cat. no. 471) and Hypatia (cat. no. 469). Other portraits of women include several variant poses of Annie Chinery (cat. nos. 189-93, 198, 204), who became Ewen Cameron's wife. One of these (see cat. no. 193) is a carte-de-visite of her in her wedding dress. There are also a number of prints of Hatty Campbell (cat. nos. 181-82, 184-87) and Julia Jackson, later Mrs. Herbert Duckworth (cat. nos. 298, 302, 304, 316). Children feature heavily among Cameron's reduced subjects. These prints were probably made specifically for the albums she compiled for family and friends. Children ‘of a number of her friends appear in portrait and genre subjects. These include Esme Howard (cat. no. 973), Kate Keown (cat. nos, 981-82, 986), Elizabeth Keown (cat. nos. 977, 980-81), Margie Thackeray (cat. nos. 1042-43), and Freddy Gould (eat. nos. 955,957,959) Cameron was a devout woman, and her religious subjects are among the most beautiful of her works. Many Wright 8586 of them were produced as reduced prints. This category includes fine-art subjects, such as the Madonna, that print sellers were offering on the commercial market. These dealers, like Cameron, used reduced-format photographs to promote sales of large prints. Cameron's reduced prints with the Madonna as subject include Mary Mother (cat. no, 101), La Madonna Vigilante (cat. no. 5), La Madonna Riposata (cat. no. s1), and La Madonna Aspettante (cat.no. 50). Her images that depict works of art, classical sub- jects, poetry, and literary works, such as study —after the ‘manner of Francia (cat. no. 110), Beatrice (cat. no. 408), and Resalba (cat. no. 509), compose another major aspect ‘of Cameron's reduced subjects Despite this variety of subject matter, which pre- sumably would have appealed to a broad range of cus tomer interests, there are no references to any successful sales of her small-format photographs. Nevertheless, many found a place in the albums that so many Victorian fami~ lies assembled with pictures from a variety of sources. Portable Galleries gain adapting an element of popular culture, Cam- eron found that a second use for her small-format photographs was to mount collections of them in min- iature albums. She lovingly assembled these portable galleries, which followed in style such beautiful, person- alized, large-scale presentation albums as the Overstone and Herschel Albums, as gifts for her family and friends. ‘They encapsulate her, ina sense; they are an expression of herself. They were not intended to promote the sale of her larger works, but were personal gifts to be kept and trea~ sured by the recipients. Cameron placed a high priority on the kind of expression of friendship and love that a gift of her work would have represented. Cameron's giving of these albums reflected her natu- ral generosity. Indeed, if she had difficulty making a fi- nancial profit from her photographs, it may well be because of this benevolence. In the first few years of her carcer she gave away hundreds of her photographs, many in the large presentation albums. She also gave single prints to sitters as a thank-you for posing for her and to individuals, such as the writer William Michael Rossetti (cat. nos. 751-52), who Cameron hoped could advance her reputation and «gain recognition for her within cultural and artistic circles. Cameron is known to have made nine portable gal- leries (see table 1) They are bound in either leather or cloth and usually have a variation of the title Miniaeure Edition of Mrs. Cameronis Photographs from the Life em: bossed in gold lettering, Unlike the large albums, she did JULIA MARGARET CAMERON not sign the pages, although sometimes she captioned the prints. There is usually a dedication and a personal note to the recipient on the frontispiece. She personalized each miniature album by including a small photograph of her~ self, either a reproduction of the 1850 painting by G. F. Watts (fig. 16) or a photographic portrait by H. H. H. Cameron. The specific contents of each album vary depending upon the recipient, but the subject matter is broadly simi- lar. In five of the albums—those given to the Norman family, Nellie Mundy, Albert Louis Cotton, and Har~ linge Hay Cameron (two)—the reduced photographs are mounted directly onto the album pages. The albumen prints, commonly between the standard carte-de-visite and cabinet dimensions, are often trimmed to miscella- neous sizes, in keeping with Cameron's variable approach to cropping her large prints ‘The miniature albums provide an opportunity to understand how Cameron conceptualized her work and her reduced photographs. The second of the albums she gave her son Hardinge Hay is the most comprehensive of her portable galleries and the most significant. It contains images that reflect the breadth of ten year's work—r0r subjects ranging from men of mark to gente studies and children. The album’s layout at first appears to be hap- hazard, with images placed in no apparent order. Cam- exon seems to have made no distinction between famous men and fair women, family portraits, tableaux vivants, or gente studies, and none of the prints are captioned, For example, My Niece Julia [Jackson] (see cat. n0. 304) 116.59 Julia Margaret Cameron. My Nia Julia [Jokon] and The Witd Flower. Albumen pris, images: 7.7 6. em (3 x 27a in.) and 75 «6.2m (a"% x 2% im. page 653» a7 mm (6% 8% im). Hardinge Hay Cameron Album (2), Indiana University Art Museum, Bloomington, 75.38 (UAM Miniature Album).‘TABLE 1 Miniature Albums Compiled by Cameron NORMAN FAMILY MINIATURE ALBUM, aLeum (2) «4 eeduced albumen prints 1 Miniature Eaton f Mrs Cameron: Photograph From Lifes embossed on the cover: about 1870-74 + Private collection, United Kingdom HARDINGE HAY CAMERON. + sot reduced albumen prints + Inseribed by Cameron: “A Board of Ship companion / for my beloved son / Hardinge Hay Cameron / fom his ‘Mother / Dee x84": Miniature Biton of Mrs Cameron Photograph Fram the ANONYMOUS ALBUM (r) + qa ctrtes-de-visite ands cabinet card + Miniature Edition of Mrs Cameron Photographs from th Lifes embed on the cover: st70e + Sold at Christies, London, March 16, 1978, lot 3p; present wher wakowa Lifes embossed on the cover NELLIE MUNDY ALBUM + Indiana Univenity Art Museum, Bloor ington, 7538 (IUAM Miniature Album) + 4 reduced albumen prints; photographs ‘captioned by Cameron + Inscribed by Cameron: "Nelle Mandy / ‘with much love / fom / Julia Margares ‘Cameson / May 234° about 870-74 + Ine of Wight County Council Archives, Newport, Isle of Wight (IWC Mini ature Album) ALBERT LOUIS COTTON ALBUM + 6 reduced albumen prints + Inscribed by Cotton: “Photographs / by / Julia Margaret Cameron, Freshester 186" about 1870-74 + Private collection, United Kingdom HARDINGE HAY CAMERON acauM (1) + nna care-de-isite-sze albumen prints + Inserbed by Cameron: “Hardinge Hay Cameron / from his mother / Jia Margaret Cameron / ath Match 1869 / Colombo Ceylon’; Miniature Eitin of ‘Mrs Cameron Photegrapht is embossed fon the cover Sold at Christies, London, March 10, 197. lo ag; present whereabouts walinown cabinet cards) JULIA HAY NORMAN MINIATURE, + 144 photographs (155 mounted as cates= 3% in). Mis Album (Michael Maris and Judith Hochberg Collection) 9596 tase 1 Early Albums SIGNOR 1857 ALBUM + 22 photographs at one end, 10 atthe other end, and 16 looee pres, including portais of members of the Cameron. family, studies of Julia and Adeline Jackson and Valentine Prinsep, and reproductions of paintings and drawings by George Frederic Watts + "Signor 187" embossed on the cover + Private collection, United Kingdom (on consignment at Sotheby, London) Norma the cover + Private collection, United Kingdom ‘+ a albumen pints, including photographs of Alfed Tenayson, Henry Taylor, John Herschel, a Thomas Woolner medalion ‘of Thomas Carlyle and the Cameron family and photographie reproductions of George Frederic Watts portsit dwwings Taylor and his painting The Sizer (8505), each pine insribed by Cameron + Tnsribed by Cameron to Lord Lansdowne on February 7.1859, cover + Burland Countess of Shelburne, Bowood _* Private collection, United Kingdom . House, England MIA ALBUM (see also appendix C) SN 1859 ALBUM + 325 prints, including cartes-de-visite of members ofthe royal family, ports of Aled Tennyson, Lionel Teanyson, and Hney Taylor the study Irth & Ide of Wight peasants iseibed by Cameron, and photographs of members ofthe snd Cameron families + Owned by Sibella Normaa, Charles [Normans mother “is” i embossed on JULIA HAY NORMAN ALBUM +187 prins, manly pocaits of members ‘of the Camezon and Norman families, but also of Alfred Tennyson and Henry + Inscribed by Cameron to Julia Hay Norman on December 5,863; initials “JIN” pare of design in metal on the + Tascrbed by Cameron to Mara “Mia Jackson on July 7,863, + Michael Matis and Judith Hochberg Collection SOMERS-COCKS ALBUM + 20 photographs, 2 loose prints, and later txtensive additions of carte-de-visite album pages and cates-de-visite; manly portts ofthe Cameron family but also stodies of Kate Dore Julia Jackson, and Henry Taylor + Inscribed by Cameron to Virginia Somest-Cocks on Christmas Eve 863 + Private colletion, United Kingdom Jac To GFW ALBUM + x6 photographs and one cabinet card + Inscribed in an unknown hand (formerly collection of Ronald Chapman, by descent From George Frederic Watt); citea 1860-63 Department of Prints and Photographs, Library of Congres, Washington, D.C, Lor sors + sar albumen print, including photo- _raphic reproductions of paintings, sculptures, and drawings and 63 photo- _raphs by Cameron dating from 864 169 usually not identified unless through the name and address of a commercial studio; when the volumes feature inscriptions, these refer to the sitter or setting. As the albums were personal gifts, the selection of images and the kinds of inscriptions vary, but there are also important similarities among them that tell much about Cameron's carly activities in photography. The albums can generally be dated to two periods: 1857-59 and 1860 ~63.° Typically albums in each period have more images in common with one another than with albums in the other group. However, there are also sig nificant continuities between the two time frames, For ex~ ample, Watts owned volumes produced during both periods (the Signor 1857 and JMC to GFW Albums). He was also the recipient in February 1864 of Cameron's first major compilation of her pictures—the Watts Album (see appendix C)—a gift that can now be recognized as part of a long-standing common interest. Cameron clearly JULIA MARGARET CAMERON considered him an important viewer of photographs. Likewise, sitters are common to albums of both periods, oceasionally in portraits taken at different times. While the effort to record growing children was predictable {although hardly common to portrait photography in this cera), there are also current portraits of Cameron's close friends Alfred Tennyson and Henry Taylor. The women owners of albums were members of Cameron's family: her daughter, Julia Hay Norman, and sisters Maria “Mia” Jackson and Virginia Somers-Cocks. The album she gave Mia is unique for the elaborate orga- nization of its contents, The format combines numerous images collected in the earlier volumes with Cameron's work in photography from 1864 and after, yet it effectively distinguishes between Cameron’ artistic pictures and the other prints, corresponding with her emphasis on the importance of the events of early 1864 to her artPhotographic Portraits in Albums esse atari Pot graphic activities represented by two albums from the late 1850s, the Signor 1857 and Lansdowne Albums. twas the dower house of Holland House, the estate of Henry Edward Fox, Lord Holland, whom Watts had known since the early 1840s. Cameron's sister Sarah Prinsep and her husband, Thoby, leased Little Holland House from the Hollands, an arrangement facilitated by Watts’ friend~ ship with both families.* The painter, known affection- ately as “Signor,” lived and had his studio at Little Holland. House, where he was one of the attractions of Sarah Prin- sep’s weekly salons. If Watts received the Signor 1857 Album fora specific occasion that year (possibly his fortieth birth- day), this is not known, nor is it known who assembled, it and added photographs taken after 1857 to its pages.’ In 1859 Cameron presented an elaborate, beautifully assembled album of photographs to Lord Holland’ cousin, Henry Petty-Fitzmaurice, Lord Lansdowne. He ‘was a prominent government figure, nearing the end of along and influential career as a member of the House of Lords, cabinet minister, and adviser to Queen Victoria. At Bowood House he reassembled a major collection of painting and sculpture that had been built by his father and was a patron of literature and the visual arts.* Watts hhad painted two frescoes at the Lansdowne estate in 1857; it is possible that he performed as an intermediary between Cameron and Lansdowne, as he had previously done be- tween the Prinseps and Hollands. ‘The Signor 1857 and Lansdowne Albums have spe- cific images in common, including photographic repro- ductions of Watts’ portrait drawings and variants from a single photographic session featuring Cameron's sons. ‘The similarities in contents imply a common context, but it is not known if Cameron had photographs taken to give to Lansdowne; if she arranged to have the photographs taken, then decided to give them to Watts and present an album to Lansdowne; or if another scenario led to the im- ages and albums. Cameron and her children are the most numerous subjects in the Signor 1857 Album, followed by Cameron' sisters, their children, and photographic copies of Watts's drawings of the Pattle family and their friends. Like the Signor 1857 Album, the photographs in the Lans- downe Album are all portraits, all identified by Cameron’ inscriptions. Half of the images are of Cameron's three younger children, Sarah Prinsep’s sons, and Mia Jackson’ daughters. The remaining pictures are of the Pattle sis ters—typically in portraits by Watts—and the distin- guished men of their circle: Taylor, Tennyson, Thoby 16. 65 Unknown Photographer Henry Hertel Hay Cameron and Charles Cameron, about 18 Albumen print 1.4 «144 em (7% 5% in) Signor 857 Album (Private collection, United Kingdom) rc. 66 Unknown Photographer. Henry Hershel Hay Cameron, sb 88. Albumen prin, 198» 1 em (7% » 5% in). Signor 17 Album (Privat collection, United Kingdo Lukitsh 978 16. 67 Unknown Photographer. Henry Hence! Hay Cameron 854 “Albumen pring, 1.4 x 13.6. (4% x 5% in.). Signor i857 Album (Peivate collection, United Kingdom), Prinsep, John Herschel, and others. Cameron inscribed fone photograph in the Lansdowne Album “From Life Aged 1 Hardinge Hay Cameron, your grateful litle pro- tégé—Ewen Hay Cameron Aged 14.” It is possible that Lansdowne was contributing to the expenses of Har- dinge’s education. Cameron's presentation of the album to Lansdowne may have been an expression of her grati~ tude as well as an opportunity to present another son as deserving of support, for there are three photographs— more than of any other sitter—of Henry Herschel Hay Cameron, seven years old in 1859 “The images in the Lansdowne Album present mem- bers of the next generation in the company of distin- guished men and beautiful Pattle women. The Signor 1857 Album features fewer pictures of distinguished men and more of the Pattle family. The lighting and settings in both sets of photographs are informal, possibly indicating that they were taken on the grounds of Little Holland House or another home, not the studio of a commercial photographer. The Signor 1857 Album contains a well- known portrait of Cameron posed as a writer and mother, JULIA MARGARET CAMERON rio, 68 Unknown Photographer. Vad Prinsep Posed in Fancy Dress, about 1838 Albumen print 43 = sr em (3% 4% in). Signor 187 Album (Private collection, United Kingdom). 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. 6566). 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 (Gee cat, nos. 862-64, 895-901). While the identity of the creator of these photo- ‘graphs is unknown, the pictures point to Cameron's famil- iarity with the role of performing before a camera. She could have had a hand in directing her sons in their dif- ferent 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, 2 photograph of young Val Prinsep (fig. 68), whose con- templative 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.Me heat : ch net nn Nia wt ae free pedis (Besse a Coe foves 116, 69 Oscar Gustave Rjlander (British, b, Sweden, 1815~ Henry Taylor, 863. Albumen prit, with insriptions by Julia Margaset Cameron, «8 13.5 em (7's $% in) SSN 1869 Album (Privat colletion, United Kingdom). Lukitsh 991c. 70 Oscar Gustave Rejlander (British, b. Sweden, 815-187). Henry Taylor, 862. Albumen print, with inscriptions by Julia Margaet Cameron, 37.3 » 136m (6% 5% in) SN #859 Album (Private collection, United Kingdom) 100 JULIA MARGARET CAMERON“Photographs of my own printing” [irssender 9: Cameron ins an abun of pho tographs to her daughter “Julia Hay Norman with the love of her Mother Julia Margaret Cameron (Dec. 5" 1862{)]. Freshwater Bay.” The gift of a camera a year later by Julia and Charles Norman may be considered, in part, as a reply to Cameron's presentation of this volume. The two albums Cameron gave to her sisters in 1863 mark her transition to artistic photography. She inscribed one to ‘Mia Jackson on July 7, 1863. The Mia Album includes sixty-three pictures by Cameron inserted after its presen- tation, with an unusual format that sets off her artistic photographs from the others included within.’ The Somers-Cocks Album is inscribed “For my beloved Sis- ter Virginia (Photographs of my own printing) with every fond Xmas wish from Julia Margaret Cameron Xmas Eve 1863.” With the exception of an 1864 picture of Julia Jackson later inserted into the album, the images in this volume are not examples of Cameron's own artistic work, When photographs in the Somers-Cocks Album are ‘compared to those in the Mia Album made from the same negatives, the significance of Cameron's parenthetical qualification about her own printing becomes evident Printsin the Somers-Cocks Album are consistently darker im tonality than prints of the same negative in the Mia Album. Given Cameron's inscription in the Somers- ‘Cocks Album that she printed its photographs, the darker results could be the product of her experimentation with, different effects in printing.* ‘A more significant contrast, however, is found in Cameron's approach to a portrait of Taylor, who was photographed by Oscar Gustave Rejlander in 1862. Her familiarity with and regard for this portrait session are evident in inscriptions she made to photographs (figs. 69-70) in an album owned by Sibella Norman, Julia Norman's mother-in-law.’ The portrait of Taylor in the Somers-Cocks Album (fig. 71) is evidence that Cameron ‘was not only printing photographic negatives before she obtained a camera but that she printed them in a way that anticipated her own artistic approach. The copy is bigger than a version of the image in the Mia Album (fig. 72). Both are contact prints, however, from the same negative, as they share identical surface abrasions and details. The Somers-Cocks version is proportionally larger because it was taken from a copy negative, one that was bigger and that omitted details from the edge of the portrait to con- centrate on the subjects face and figure. Given Cameron's engagement with photographic printing by the early 1860s, it is likely that she would have explored working rie. 71 Oscar Gustave Rejlander (British, b, Sweden, #15~1873). Henry Tyler, 962. Albumen print made by Julie Margaret Cameron in 1863) from a copy negative, 265 + 1g. (107%. « 8% in). Somers-Cocks Album (Private collection, United Kingdom). 1g. 72 Oscar Gustave Rejlander (Britis, b, Sweden 1813-1873). Henry Taylor, 162. Albumen pint, 18.5 35.7¢m (7/5 5n.). Mia Album (Michael Matis and Judith Hochberg Collection). Lukitsh116.73 Oscar Gustave Rejlander (British, b, Sweden, 113-1873), possibly in collaboration with Julis Margaret Cameron, Trish & lie of Wight peorants, about 163, Albumen print 1.2 x 6.2 cm (4! x 6% in). Mia Album (Michael Mattis and Judith Hochberg Collection). 10.74 Oscar Gustave Rejlander (British, b. Sweden, 13-1879), posiblyin collaboration wth Julia Margaret Cameron. Jia Jcson, 1860. Albumen print, 223% 1.4 em (8% 7m). IMC to GEW Album (Department of Pins and Photographs, Library of Congress, Washington, D.C., Lot 13072), 102 JULIA MARGARET CAMERON ‘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 let 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 cones of his har, face, and beard (darker tones around his face and beard are signs of some uneven mask= ing). Cameron's version of Rejlander’s image results in a portrait of Taylor that anticipates the numerous images she would later make ofthis sitter, who became one of her ‘most photographed models (see cat. nos. 761-90). The idea that Cameron explored her own photo- graphic 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 gen- erally 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 albums 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 ini- tial, innovative work with the camera lens no longer appears as an idiosyneratic activity, but one that devel- oped 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 Rej- lander’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 mark- ing them and retaining traces of process and mistakes for their pictorial possibilities. Cameron's experimentation in the Watts Album photographs with variant eroppings 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 Cam- cron also worked with Rejlander in taking photographs, Irish & Isle of Wight peasants, for example (fg. 73)!" Two of the models for this picture, Mary Ryan (cat. nos. 446~ 36) and Kate Dore (cat. nos. 210-12), were soon to appearin Cameron’ artistic images. Iris & Lileof Wight peasants is an example of an outcome not uncommon to collabora tion: the image conveys neither Rejlander’s artistry in composition nor Cameron's own expressive use of light and space. The Mia, Somers-Cocks, and JMC to GFW ‘Albums include other images dating to the early 1860 that were possibly made in collaboration, and several dis- play a more imaginative use of camera position that might suggest Cameron’ greater role in their production. The Jow camera angle in the photograph of young Julia Jack- son (fig. 74) anticipates the imposing quality that her face and profile would take in Cameron’ artistic photographs (ce cat. nos. 302-14), while the close perspective in the photograph of Cameron's granddaughter Charlotte No ‘man (fig. 5) resembles that in such early pictures as Daisy (cat. no. 5). Cameron's ‘My printing offerms” (Big. 76) and her imaginative adaptation of a Rejlander negative of Kate Dore (fg. 77) into a photograph that combines a photo- ‘gram and the Dore image (fig. 78) are further examples of carly experiments with expressive effects that could be obtained from printing. As Cameron's first report of her artistic photography, in a letter to Herschel in February 1864, began with a recollection of learning from him of pho- tography “in its Infant Life of Talbotype & Daguerreo- type,” the associations of photograms of plants with photogenic drawings by Talbot and others would not have been lost on her. Yet, Cameron’ artistic photography soon began to grow beyond its own infant life. The redundant phrasing she used in her 1865 inscription to the Overstone Album, “Every thing in this book is from the Life & all these Photographs are printed as well as taken by J. M. C." (see fig. 95) insists upon the connection between taking nega- tives and printing them, as if she were distancing herself from her earlier activity of printing another's negatives. In the Annals, written nearly a decade later, Cameron hap- pily gave a retrospective account of her accomplishments in which the camera lens (“it has become to me as living thing, with voice and memory and creative vigour”) ® was her chief means of making artistic photographs. Cameron’ art developed the more she worked with a camera. She delved into the optical effects of her lens, ‘using depth of field to render suggestive forms as well as the tactlity of hair, cloth, and skin. She refined her use of scale and pictorial space, soon obtaining a larger-format camera to achieve more imposing effects, especially in her life-size images of heads. In tandem with these steps, she perfected an expressive use of light that ranged well beyond the rendering of detail in both the dark and light He. 75 Oscar Gustave Rejlander (British, b. Sweden, 165-1879), possibly in collaborstion with Julia Margaret Cameron Ccharote Norman, about 863. Albumen print, 22.3% 1g cm (0 7% 30.) JMC w GEW Album (Department of Prints and Photographs, Library of Congress ‘Washington, D.C. Lot 3073), 1g. 76 Julia Margaret Cameson. My printing of frm: shout 863, Albumen pri, 1.2% 14.7 em (7% §7 in) Hans P. Kraus, Je, Te. Lukitsh 103104 16. 77 Oscar Gustave Rejlander (British, b. Sweden, 183-1879), possibly in collaboration with Julia Margaret Cameron Kate Dore, about 862. Albumen print 223 «8.4 em (874% 7% in) "IMC to GEW Album (Department of Prints and Photographs, Libeary of Congress, Washington, D.C, Lot s3078), tones of he print ofthe portrait of Taylor. Standing behind a camera, she made negatives in a process that now oc curred in time in a relationship between photographer and model, Cameron’ artistic photography, represented in its full range and extent in the pages ofthis catalogue, moved well beyond its origins. Stories of beginnings, like this one, are always inseparable from an understanding of the events that follow them. Cameron's artistic work emerged from photographic activities that are finally measured by the ‘extent to which she redefined and made them her own. 1. The author would like to thank Julian Cox, Abby Freedman, Violet Hamilton, David Harts, Anne Havings, Patricia Johnston, and Roger Taylor fr ther advice with the research and writing ofthis cy JULIA MARGARET CAMERON 1g. 78 Oscar Gustave Relander (British, b. Sweden, 1:5~1875), in collaboration with Julia Margaret Cameron. Kate Dore swith Photogram Frame of Fern, about 863. ‘Albumen print 193 245 cm (7% > 5% in) Victoria and Atbert Museum, Ph. 25-198 2. For related discussions ste the essays by Joanne Lukitsh and ‘April Watson in Thereve Mallgan eta, For My Bas Beloved Sister ‘Mia: dn Alum of Phtogaphs by Jia Margoet Cancron (Albuquerque University of New Mexico Art Muscum, 1999), and Joanne Lakitsh, “The Thackeray Album: Looking a Julia Margaret Camerons Gift 0 Her Fiend Annie Thacker" Library Chrome ofthe University of (0998), pp- 32-6 4. These dates reflect the years when albums were presented to their recipients. However, images and inscriptions were added later to pages apparently lft blank for this purpose. 4 Caroline Dakers, The Holland Park Circe: Avis and Vicerian Sacety (New Haven, Conn. Yale Univesity Pest, 1999), p. 33 and chapter, 5. The Signor 857 Album contains «photograph of Henry and Chases Cameron taken by Reginald Southey on a visit to the Isle of ‘Wight in April 5. Sout infuence on Lewis Cartels photography and is now known to have Tena at Austin 26, as discussed by Roger Taylor, had a major met Cameron at atime when she was becoming interested in the medium (Roger Taylor and Edward Wakeling, Lewis Grrl, Photogra= pho The Printon University Library Albums (Princeton, NJ: Prince=ton University Press, 2002). I would like to thank Roger Taylor for making this book available to me in advance of its publication and Eadward Wakeling for hie discussion of photographs attributed ¢o Carroll 6, The Dictionary of National Bigraphy, sth rev. 5% "Petty= Fitzmaurice, Henry” 7. Mulligan etal, For My Bet Beloved Sister Mia, pp 2 ‘ough now disassembled, the Mia Album aso 1 double-faced book (one sequence of prints was acranged on pages starting atthe front of the albums, while another sequence began atthe Dackof the album, rotated 180 depres from its standard orientation). Ft. is aot known who devised this arrangement, which served the practical purpose of using both sides of al the pages and allowed fortwo distinct, ‘continuous series of images. Grahasn Ovenden, ed, Vidrian Album Iulia Margaret Cameron and Her Cirle (Londo: Secker and Wasbueg, 1973), reprint al f the images in the Mia Album but does not repre~ sent its original structure and arrangement. 18, Mike Weaver refers to the MacTier Album (ina private col- lection, present whereabouts unknown), which has a photograph of Julia Jckson in profile next toate (fg 74) withthe Cameron iscrip- tion “from Life yar 6o printed by me J. M.C." (Mike Weaver, "Julia ‘Margaret Cameron: The Stamp of Divinity,” in Britis Photograpy in ‘be Ninatentb Century: The Fine drt Tradition, 8. Mike Weaver (Cam bridge: Cambridge University Press, 1989], p14): The inscription is additional evidence of Cameron's printing of a negative made by another photogsapher. ‘9. Cameron inscribed the more acensible frontal view of che poet (fg. 65) with his "Poescal Works" and the more impersonal and idesl- jo. Al nally structured a8 ized profile image (i, 7) with his “Prose Work” reectig her keen ‘interes in interpreting photographic ports. to. Roger Taylor quotes an entry in Levis Carcolls diay describing visit to Wate studio a Lie Holland Howse in the m= sme of, when the painter showed Calla urge photograph (g- ative) by Mrs. Cameron of Ms. Watt in Choosing” Warts and Carell werooking ata copy neguve by Cameron of Cloning (19) Wate famous cite 869 painting of Ellen Tey, to whom be was then marie (Taylor and Wakeling, Lewis Cort.) sn Mulligan tal, For My Bos Bele Sser Mia, pp 20-2 “Iris 8 Ile of Wight peasants” is Cameconsinscrigtion 9 print of this photograph in the SN xgp Album, Pint ofthe image ae alsin cluded inthe Mia and Somer-Cocks Albums, but without any insrp- tions by Carnron. The image as been known at Te Tre Grav since its pubieation in Ovenden, Visor Albu, p73 22, Cameron ofa Heschel, Feb, 36,186 (The Royal Soity, London, Herschel Conespondene, 330-8) 13, Julia Margaret Cameron, nal of My Glas Howe, 174 The ‘original manoscrp ini the collection ofthe Royl Photographic Soci 3, Bath, England Rpsoted ia ulin Helmut Graseim, lia Mar- aret Cameron: blr Life and Photographic Work (Millerton, NX Aperture, 1979). pp. 80-85; Beaumont Newhall, ed, Pbngraphy: say and Images (NewYork: Museu of Modern Art 1980), pp 14~ 59: Mike Weave, Julia Mergoret Cameron rs-ritg (Boston: Lit, Brown and Company 1984, p57: and Violet Harton, Anal of My Glass Howse: Phtgrapb by Jala Margaret Caron (Seat: Us ‘est of Washington Pres, 996), pp. 1-46 Lukitsh daiizedsy Google ‘ 105106 CATALOGUE Note to the Reader THE CATALOGUE SECTION PRESENTS 1,222 OF JULIA Margaret Cameron's photographs (plus three late addi- tions), organized into eight chapters. The individual chap- ter 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 Cam- cron 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 num- ber, title(s), sitter(s), date, and collection from which the picture comes. The secondary data, which is found to the tight 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 ofthe image, details about where the image has been reproduced, and additional notes. Fields are omitted when no relevant information applies. The following sec- tions provide detailed information about each field. Title(s) Unbracketed titles are those inscribed by Cameron, usu- ally on the mount to which the photograph is attached but sometimes in album indexes. Sitters’ signatures or fac~ simile signatures occasionally determine titles. Brackets around or within titles indicate that they have been as- signed 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 Cam- cron, the authors have avoided assigning descriptive titles or applying those provided by earlier scholars. Instead, the preference has been for the use of straightforward, taxo- nomic phrasing, such as [Group], (Two Women, Ceylon}, and (Unknown Girl] Sitter(s) ‘When the identity ofthe sitter(s) is known, and this infor- mation does not appear in the title, it is included in this field. In instances where the identity ofa siter is uncer- tain, a question mark in parentheses has been added after the name. When a photograph includes two or more sit- ters, 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 list ing 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 con- flicting 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 copy- righted 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~viations); the names of private collections run in full Accession numbers are provided when available. Ifthe pho- tograph is included in a presentation album, the name of the album is indicated. Owners who have requested anonymity are listed as “private collection,” and other particularities of wording reflect ther stipulations. This rubric also applies in the Provenance field. See appendix C for summaries of ten albums Cameron assembled between 1863 and 1869 and appendix D for descriptions of the major collections of ‘Cameron photographs and letters and manuscripts. Inscriptions ‘Most of Cameron's photographs are mounted on boards and are accompanied by inscriptions and stamps (for ex- amples, see appendix B). Recto and verso inscriptions are noted, and itis clearly stated whether or not they appear to be in Cameron's hand. Here the abbreviation JMC stands for the artists name. Recto inscriptions are typically located directly underneath the image, while verso in- scriptions are usually in the center or lower quadrants of the mount. Recto inscriptions always precede mention of stamps or labels. legible 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 ofa 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 comers 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. 8 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. 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 albu- ‘men 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. Medium All works are albumen prints contact printed from wet- collodion negatives, unless otherwise noted. The Medium field appears only when the photograph is not an albumen print. Carbon prints ofa particulary 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. Ifthe image survives only as a small-format photograph, most commonly a cabinet card or carte-de-visite, this information is noted 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, 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 repro- duced image have not been listed. This applies particu- larly 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 in- cluded 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 defini- tive listing of where the image has been reproduced but rather pertain to the most significant monographs and exhibition catalogues relating to Cameron’ 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 mini~ ‘mum so as to keep individual entries from becoming. unduly cumbersome. Occasionally, specific issues are clar- iffed in this field. Note to the Reader 107Arc AM AMAM BA BLUO BMAG BNF BRMA cal ccac ceva MA cp DAM DIA pMce FAM FAMSF GEH 108 Collection Abbreviations ‘Ar Institute of Chicago ‘Ashmolean Museum Allen Memorial Art Museum, (Oberlin College Boston Athenaeum Bodleian Library, University of Oxford Birmingham Museum and ‘An Gallery Bibliotheque nationale de Prince Boca Raton Museum of Art (Cla Art Insite ‘Centro Cultural Are ‘Contemporinco Iris and B. Gerald Cantor Center for Visual Aes, Stanford University Cleveland Museum of Art California Museum of Photography Delaware Art Museum Detroit Institute of Arts Davis Museum and Cultural Center Fogg Art Museum Fine Arts Museums of San Francisco George Eastman House, International Museums of Photography and Film Chicago, tinois Oxford, England Obert, Ohio Boston, Massachusetts Oxford, England Birmingham, England Pars, France Boca Raton, Florida Williamstown, Massachusers Meico City, Mexico Palo Alto, California Cleveland, Ohio Riverside, California Wiloington, Delaware Detroit, Michigan Watiesey, Massachusetts Cambridge, Massachuseets San Franciso, California Rochester, New Yor. HMA HMADC HRHRC HUHL 1AM iwee Jom Leb. IM Lot Ww MAG MAM Mpo MFAB MFAH MHS. MIA MM MMA ‘MoMA High Museum of Art Hood Museum of Art, Dartmouth College Harry Ransom Humanities Research Center, University of Texas at Austin Harvard Univesity Houghton Library Israel Museum Indiana University Art Museum, Ine of Wight County Council J Paul Getty Museum Liverpool Central Library Luton Museum Library of Congress Lehigh University Mercer Art Gallery Milwaukee Art Museum Musée fOnay Museum of Fine Arts, Boston Museum of F 1 Arts, Houston Museum ofthe History of Science Minneapolis Institute of Arts Moderna Muscet Metropolitan Muscum of Art Museum of Modern Are Atlanta, Georgia Hasoves, New Hampshire ‘Austin, Texas Cambridge, Massachusetts Jerusalem, Tere] Bloomington, Indiana ale of Wight, England Los Angeles, Cali Liverpool, England Luton, England Washington, DC. Bethlehem, Penneyvania Harcogate, England Milwaukee, Wisconsin Pars, France Boston, Massachusetts Houston, Teas Oxfoed, England Minnespotis, Minneros Stockholm, Sweden New York, New York New York, New YorkMoPA Museum of Photographic Arts San Diego, California SMAG _— Sheldon Memorial Art Gallery, Lincoln, Nebraska NGA National Gallery of Ar Washington, D.C. Semel NGC National Gallery ofCanada Ottawa, Canada TAMA Tel Avie Mascur of Act con NMAH National Museum of Washington, D.C. TRAM Tokyo Fu Ar Mascum ‘Tokyo Japon [American History TMA Toledo Museum of Ar Toledo, Ohio NMPET National Museum of Bradford, England TRC Tennyson Research Centre Lincoln, England Photography, Film & Television UCLA University of California, Los Angles, NOMA New Orleans Museum of Art New Orleans, Los Angeles California Louisiane UCLAH UCLA Hammer Museum Los Angeles, NPG National Porat Gallery London, England Calforia NPGSI Nations! Posie Gallery, Washington, D.C. UIMA University of Towa Iowa City, ows Smithsonian Instcation Museum of Ar PMA Philadelphia Museum of At__Philaelphia, UMMA Univessey of Michigan ‘Ann Arbor, Michigan Pennayivania Museum of Ar PSU Palmer Museums of Art, Univesity Park, UNMAM Universey of New Mexico Albuquerque, Pennsyvania State University. Pennsylvania ‘Act Museum New Mesico RBG Royal Botanie Gardens Kew, England 8A Victoria and Albert Museum London, England RY Rijkemuseum Amsterdam, VHM Victor Hugo Museum Pass, France the Netherlands (Maison de Victor Hugo) RISD Rhode Island School of Design Providence, VSW Visual Stadies Workshop Rochester, New York ee ee WAM Worcester Act Museum Worcester, RPS Royal Photographie Society Bath, England. Masachusets RSA Royal Society of Arts London, England WCP Wilton Centre for Photography London, England SAM Seattle Art Museum Seattle, Washington WIL Welleome Insinute Library London, England SCMA Smith College Museum of Art Northampton, YUAG Yale University Art Gallery New Haven, Mavsachasert Connecticut SLAM Saint Louis Art Museum St.Louis, Missouri YUBL Yale University, Beinecke Library New Haven, SLUC Schafer Library, Union College Schenectady, ea Nev York SMA Srite Museum of Ar, [Notre Dame, Indiana University of Notre Dame Collection Abbreviations 109 daiizedsy Google ‘Beginnings ULIA MARGARET CAMERON ENTERED the world of photography atthe age of forty- ight and in a career of fourteen short years earned an indelible place in the history ofthe medium. Following the gift ofa camera from her daughter, Julia, and son-in-law, Charles Norman, in December 1863, Cameron began making photographs immediately. Her first steps were guided not so much by scientific knowledge and artistic training as by sheer will and force of ambition. In the retrospective written account of her career, Annals of ‘My Glass House, Cameron described her frst days working in photography as a fitful process of trial and error: “Many and many a week in the year 64 I worked fruitless, but not hopelessly... . 1 began with no knowledge of the art. I did ‘not know where to place my dark box, how to focus my sit~ ter, and my frst picture I effaced to my consternation by rubbing my hand over the filmy side of the glass.”* The images assembled in this chapter show the struggles and successes of this embryonic phase of her practice. While Cameron's earliest results could be hit or miss, they were always innovative and daring. In the works created in these first weeks of 1864, Cameron's principal artistic concerns announced them- selves. Her technique was grand and gestured; her subject matter, drawn mainly from life literature, and religion. ‘There are portraits of children; intimate studies of family members, especially the Normans, donors of her first camera; studies of the Madonna and child and related religious subjects; illustrations from literature; and indi- vidual portraits of men and women. Her husband, Charles ‘Cameron, and good friend Henry Taylor were among her first male sitters. The sequence of photographs in this, cat. No. 23 Paul and Virginia (detail) chapter shows her testing a new vocabulary, striving to deliver the equivalent of perfect sentences. On February 22, 1864, Cameron presented an album of thirty-nine photographs to her friend and mentor, the painter George Frederic Watts, the most comprehensive {grouping of her earliest pictures to be assembled in such a manner. Most of the images that compose this chapter are works that were included in the Watts Album. Cam- ‘eon inscribed the modest bound volume with the phrase “To The Signor to whose generosity I owe the choicest fruits of his Immortal genius. I offer these my first suc- cesses in my mortal but yet divine ! art of Photography.”? “The album begins, as does this catalogue, with a study of Annie Philpor (see cat. nos. 1-3), a picture that Cam- cron described as her “very first success in Photography.” Philpot had been left motherless in 1858 and was sent along with her younger brother, Hamlet, to live with Dean George Granville Bradley and his wife in Marlborough? ‘The Bradleys were close friends of Alfred Tennyson and regular vistors to Freshwater. It was during one such visit that Cameron made the gi’ picture, which she described in a letter attached to a print she presented as a gift to the childs father (Fg. 79): “My first perfect / success in the / complete Photograph / owing greatly to the / docility & sweetness / of my best & fairest / little sitter. /This Pho- tograph was / taken by me at 1 PM / Friday Jan. 29". Printed / Toned - fixed and / framed all by me / & given as it now is by / 8 pm this same day / Jan. 29° 1864.” ‘Cameron was ever resourceful and took advantage of those close at hand as subjects for her art. In addition to Philpot, Dean Bradley's own daughter, Daisy (cat. no. 5), was another early sitter. Mary Hillier and Mary Kellaway,16.79 Julia Margaret Cameron. Annie Philpot anda Later ‘0 Hey Father, January 29,1854 Albumen jt and letter mounted on album Be, image: 15 «11 em (5% x 4% in) moun 20.4 25.4.0m (6% 10.) Private collection, Urited Kingdom. two of Cameron's domestic servants, frequently modeled for her; Hillier in particular recurs in the role of the Vir~ gin Mary, a subject that Cameron explored obsessively in the first eighteen months of her career (see chapter 2). Freddy Gould (son of a Freshwater fisherman) and the Keown girls, Kate, Elizabeth, and Alice (daughters of a military officer stationed on the island), were employed jons of religious and literary themes. repeatedly in illustr Cameron initially struggled with the wet-collodion process, as the homespun quality of her prints testifes.* ‘At times their trimming appears hurried and awkward as well. The unsteady finishing that characterizes her earli= est experiments has been preserved in the reproductions that appear in this chapter. In spite of the sometimes imperfect results, it was Cameron's intention to suggest her artistic aptitude by paying close attention to the man- ner of her works’ presentation. She further added her imprimatur by inscribing the mounts in her bold cursive, often identifying the subjects and providing clues as to her narrative intentions. Learning how to pose and light her models was sometimes a process of trial and error. In the early profile of Henry Taylor (cat. no. 31) for example, Cameron mis- JULIA MARGARET CAMERON judged her lighting of his bust, illuminating the hair and beard from the side but leaving the facial features murky and ill defined. The bold, compressed space of her close up study of Mary Ryan in My “beggar-maid" now 15! (cat. no. 27) offers a prescient gesture of the direction that Cameron's powerful, individuated portraits of women were to take, a subject that preoccupied her for the dura- tion of her photographic earcer (see chapter 3) and has since received important scholarly attention.> se For fall citations of sources listed in author-date style, see selected references 1, Julia Margaret Cameron, Anal: of My Glas Howse, 1874. The original manuscript isin the collection of the Royal Photographic Society, Bath, England. Reprinted in fll in Geensheim 1975, pp. 180 85; Newhall 198, pp. «34-9 Weaver t984, pp 194-37: and Hamilton 1996, pp. 16. 2 See appendix C fora summary ofthe Wats Album and Cam- oni full iseription 4 Ford 19796 p23 1 See Cox essay and Lukitsh 1986, pp. 10-13, § See Woolf and Fey 1926, Lukitsh 1986, and Wolf 1998car. No.1 Annie [Philpot] Beginnings 133car. No.8 Katey Keown © her Father Beginnings usscar. No. 18 [Madonna and Two Children] 116 JULIA MARGARET CAMERON.car. No, 21 [Paul and Virginia] daiizedsy Google ‘u8 ‘Annie [Phipot] January 1864; copyright June 30,1864 JPGM Overstone Album 84.2. :86.69 s Daisy Margacct Loviss “Daisy” Bradley 854] NMPFT Herschel Albarn 1984-souy/s7 JULIA MARGARET CAMERON, [Annie Philpot) (1864 GEH Watts Album 71:0109:0001 6 Loulou Keown | The Sisters Alice Keown [1864] GEH Watts Album 72:010920006 a Annie Philpot lo864) GEH Watts Album 71:0109:0002 7 [Kate Keown] (864) HRHRC 964:0016:0045[Group] Elizabeth Keown, Annie Philpt, unknoven gic [nts] Private collection Katey Keown & her Father Kate Keowa, Thomas Keovn (2864) GEH Watts Album 71:0109:0005 rnserterrons: Recto mount in ink by JMC: “Annie 1 My very fist sees in Photography 1 January 16g a0 at vpper sight comer: by ince: 19143 6m (7x9 in.) MOUNT: 33.9 29.16 (37% in.) PROVENANCE: Sotheby’, Belgravia, June 26, 1975 lot 45; Daniel Wolf, 984 formes paints: BLUO Henry Taylor Album, no. 28; GEH Watts Album 7:or09:0001~ 12003 (arched tops); HRHRC Thackeray Album 96420312:0043 (inscribed by JMC: Annie My fit races / Jan 1864) ad 964:0037:0103; Lindsay Album, no. 10 (arched top; inscribed by JMC: dni / My fst / Photography /n an 1864), "Mia Album, no. 1; NMPFT Herschel Albuen 1984-50729 (inscribed by JMC: Annie’ My it aces —/ 1859 private colletion, United Kingdom (oval; RPS 2143 (iserbed by JMC: Arnie /My ise sues fa 8); VBCA Ph 214-1969 and Ph 215-1969 epnopuceD: Gernsheim 1948 pl. Ford 1975p. 54; Gemnsheim 17s, p. 87; Ovenden 1975 pl 97; Hopkinson 1986, p. 107; Lukish 1986, p. 9: Weaver 1986, p86; Cox 198, pis Lukitsh 2008, p17 sence: 16-7 % 145 cm (67x 5% im) MOUNT: 29.5 «343 cm (1% 9 rwovenance: G. F. Watt; Chris ‘& Woods, London, July 2, 197 lot a; Ronald Chapman; snonymous gift in honor of Dr. Walter Clank, 19 ores: See ‘regarding other prints and sources where ‘the image hasbeen reproduced 0.1 for information 3 anseaiprions: Recto mount in ink by JMC: Annie Philpt (sie) Mace! 193 14 0m (7% 57530.) MOUNT: 29.6 243 om (1% x 9% in) Paovenance: G. F. Watt; Christie, Manson ‘& Woods, London, July 2197 lot a5 Ronald Chapman; snonymous gift in honor of Dr. Walter Clark, ¢7t Noms: See eat no. for information ‘regarding other prints and sources where ‘the image has been reproduced rescnterions: Recto mount in an unknown hand: A. W.P (Annie Wilhemina Philpor] aor: #85 «35 em (745% in.) oun: Unknown Provexsance: By descent within the Philpot family s tscatertows: Recto mount in ink by JMC: ‘Deigy and a upper right corner: 27) mace: 17.9% 14.9 cm (7% 5% in) Mount $3.7» 30.8 em (33/-%30% in) Provenance: Sothebys, Belgravia, ‘October 38, 974, lot 34: NPG, NMPFT, rots rues raiwrs: BLUO Henry Taylor Album, no. 66; GEH Watts Album 71:0109:0003 (arched top); Mis Album, no. 2; MMA zpxopuceD: Ford 1975p 0; Ovenden 1975, pl 24; Hopkinson 1986, p. 09; Muligan eral. 199473 ‘ rscnterioxs: Recto mount in ink by JMC: Leu Kuh [i] | Te Sisters Mace: 13.3235 em (4a 4% in) MOUNT: 29.6 «243 38.2 em (54124 in) Provenance: Sotheby's, Belgravia, june 26, 1975 lot 45; Daniel Wolf 984 ‘onHER paints: Lindsay Album, no 14; MPAB Hughes family loan; RPS as/1-2; VBA 44.763 and 44782 nerkonvceD: Weaver 186, p. 78 * insertions: Recto mount in nk by UIMC: Frsbiter 865 La Madonna alata! Fervent in prayer and at upper Fight comer 54 rmeaces 245% 19.9 em (9% 7%) moun: 5438.3 cm (15% 1074 in) PRoveNANct: Sotheby’, Belgravia, June 26, 197; lor 45; Daniel Wolf, 984 lovwen privrs: HRHRC Thackeray Album 964:0312:0039; Lindsay Album, no. 38; Veh 44.754 ad 4473 ernopucen: Weaver 1984 p35; Weaver 1986, 9.78 ss :NseaiPios: Recto mount in ink by JMC: FresbWater 15g / La Madonna Vigilante and at upper right comer: 18 mace! 355520 em (10 7%in) sown: 339 x a9 em (3/4 30% in.) PROVENANCE: Sotheby's, Belgravia, June 26, 1075 lot 45; Daniel Wolf, 1984 lonwer paints: HRHRC Thackeray Album 964:032:0024 and 964:0037:006243, IWC Miniature Album, no. 28 Gnsribed hy JMC: La Madonna Vigilante! Washing bony); Lindsay Album, no. 5; Norman Album, no. 45; private collection (ev ‘TRC 5498; YUBL Gen. Mss. 340, Vol. rernopuce: Weaver 1986, p. 74; Hinton 199% B98 6 rnscrrPrions: Recto mount in ink by JMC: FrasbWatr 1 / Blessing and Blesed rience: 2530.1 em (9% x 7% in) oterr: 34 ab cm (91) PROVENANCE: Sotheby5, Belgravia, June 26, 1975 lot 4; Daniel Wolf, 984 lornen paints: HRHRC 964:0037:0032 and 496420037: 008; Lindsay Album, no. 365 Min Arbur, no. 43; NMPPT Herschel Album 198¢-o17/0 (ectangle; inscribed bby IMC: La Beara; TRC 5398 (inerbed bby JMC: Divine Love); VBA 44.749 and 144.765; YUBL Gen. Mes. 340, Vl. 0 6 Gnscribed by JMC: La Beate), and Vol. 3, Folder 2 (inscribed by JMC: Divine Love) ernopvexD: Gernsheim 948, pl. Ford 975, p. 73; Gersheim 1975, 1335 ‘Ovenden 197, pl. 7; Hopkinson 1986, 1.245 Weaver 1986, p. 78; Mulligan eta. 194 pea so InseaiPtions: Recto mount in ink by JMC: FreshWer 1s Grace tr’ Love mace: 24.8 19.60 (977% in) sour: 34283 em (3 Yo" in) provenance: Sotheby's Belgravia, June 26, 1975 lot 4; Daniel Wall, 984 rues pxinrs: Lindsay Album, no. 24; RPS 2178; V&A 44 70 and 44750; YUBL. Gen. Mes. 340, Vol. folder 2g inscribed by IMC: La Beate /Bleving and Blened) azpxopucen: Weaver 198, p. 30; Weaver 1986, pp. 28,75 8 tnscrierzows: Recto mount in ink by IMC: Registered Photograph Julia Margaret, ‘Cameron and in pencil below: The Finding of Mote snd in pencil at lower left commer /-Asshilings] mace: 30,3 «145 6m (8 5M%in) sour: Unknown provenance: Sotheby's Belgravia, April 198, lot 28, Religion 145,146 ” [Madonna and Two Children] Elizabeth Keown, Mary Hillier, Alice Keown In864) YUBL Gen, Mss. 34, Vol. 5 folder 25 6 ‘The Sphinx Madonna Mother & Child ‘Alice Keown, Mary Hillier [e864] Present whereabouts unknown, JULIA MARGARET CAMERON 60 [Madonna and Two Children} Alice Keown, Mary Hiller, Elizabeth Keown [o864) Present whereabouts unknown ‘The Sphinx Madonna Alice Keown, Mary Hillier (864) Michael Matis and Judith Hochberg (Mia Album, no 4) 6 Heaven Elizabeth Keown, Mary Hillier, Alice Keown (864) NMPET Herschel Albus 1984-s027/36 6 [Madonna and Two Children} Elizabeth Keown, Mary Hillier, Alice Keown (864) NGA 1995.36.67oo Contemplation Blizabeth Keown, Mary Hillier, Alice Keown [1864] JPGM Overstone Albus 8.x2.186.28 66 [Madonna and Two Children] Elizabeth Keown, Mary Hillis, Alice Keown L864) GEN Srntat:0036 » rnsert#Tions: Reeto mount in ink by IMC: Registered Photograph Julia Margaret Cameron nent: 2563 30.2 0m (10M « 7%) mount: 352343 m (3% 35740.) Provenance: Gift ofthe arte tothe “Tennyson family by descent within the Tennyton and Prinsep families; Colonel E.S.M. Prinsep, 1949 orien Paints: GEH 670088: 018 (platinum pene by A. L. Coburn); HRHRC 964:0037:0006 (oval) 60 Intact: 26.7% 203 em (10%% 8 in.) our: Unknown 1ROVENANCE: Sotheby’, New York, May 7, 1985, lot 195 sscaterionss Recto mount in ink by JMC ‘Hlncen and upp ight corner: 6 aneaca: 245 339.6em (924 7%uin) out: 337303 em (5/4. 18% in) Pkovenance: Sotheby's, Belgravia, ‘October 1974 Jot 3: NPG: NMPET, 1983 orien rains: BLUO Henry Tylor Album, 0.45 Lindssy Album, no. 143 snrnopucen: For 97, p59 6 nsenterions: Recto mount i ink by JMC: Contemplation ace: 337 4195 em (onan) MOUNT ya 8. em (15240 1 cin) PRovENANce: Sotheby', Belgravia, june 26, 1975 lot 45; Daniel Wolf, 984 ‘orien eniwre: Lindsay Album, no. 345 MMA quar (Colaaghi blindstamp) nernopverD: Weaver 198, p76 6 rwscrterrons: Recto mount in pencil by IMC: The Spine Madonna Mother Child and in ink below: Brom Life Julia Margaret, Cameron / 10/6 [io shillings and sxpence] abe printed to order rence: 24% 82 can (9x 7%in) mount: Unknown PRovENANCE: Sotheby's, Belgravia, June 28, ro78, lor 342 6 rnsoniptions: Recto mount in ink by MC: “Ista Margaret Cameron and in pencil below: The Spine Madonna mace! 34.2 *29 cm (924% 7% in) MOUNT: 35.1% 261 6m (15% 107450.) ‘provenance: Maris “Mia” Jackson; by escent to Sotheby's Belgravia, June 21, 1974 lot 37; private collection; present owners, 190 nerxopucen: Ovenden 1975, pl. an; Mulligan ta. t9945 Pa7 6 twsertprtows: Colnaghiblindstamp AcE: 26.5% 2 em (10% Bain) MOUNT: 53 362 em (20% 14/in.) Provenawce: David and Mary Robinson, 1095 6 rnscezPrtons: Recto mount in ink by JMC: “Telia Margaret Cameron and in pencil at lower lft corer: 70/ {to shillings CColnaghiblindstamp eaoe: 35.3 214 €m ("a 8% in) MOUNT: 483379 em (18743 24"% in) provenance: Gabriel Cromer, 9395 gift of Eastman Kodak Company 949 nernopuce: Lukith 986, p. 42 Religion “7148 i or [Madonna and Two Children] Freddy Gould, Elizabeth Keown, Mary Hillier [i864] GEH Wate Album 7:0109:0057 [Group] Alice Keowa, Mary Kellaway, Percy Keown [i866] V&A Ph sse-98t JULIA MARGARET CAMERON o [Madonna and Two Children} Alice Keown, Mary Hillier, Elizabeth Keown [s864) V&cA Ph 540-1981 n [Madonna and Two Children] Elizabeth Keown, Mary Kellaway, Alice Keown Lites) VBA Ph 345-98 € 6 [Madonna and Two Children} Alice Keown, Mary Hillis, Elizabeth Keown (864) V&A Ph jers981 n A Spanish Picture Elinabeth Keown, Mary Kellaway (e864) Private collection, United Kingdom (Lindsay Album, no 70)70 {Good Night] Elizabeth Keown, Mary Kellaway, Perey Keown (e864) MoMA 38.68 ‘The Mother Wing Elizabeth Keown, Mary Kellaway La864) HRHRC Thackeray Album 964:0312:0043 o nenee: 25.7 38.2 em (04% 8% in.) Moun 29.6 243 cm (1/4 9% in.) PaoveNawer: G. F. Watts Christe, Manson '& Woods, London uly 2,197 ot 2 Ronald Chapman; snonymou gift in honor of Dr, Walter Clark, 1971 “ mace: 25:2%39,7 6m (9M%a x 7% in) rRoveNaNet: Undocumented gif 1948 found in maseum vault, 1965 6 sntace: 26 «38 em (9% 7% in) provesance: Undocumented gif 94, found in rauseum vault, 1965 orien raiwrs: V8A Ph 354-198 po AcE: 36,7 «21.6 em (014 x87 in.) MOUNT: 60.9 x 0.8 em (33% 30 in.) Provenance: Robert Schoelkopf, New Yorks sift of Shirley C. Burden, 1968 ovure rnins: Lindsay Album, no. 141 (arched tos inseribed by JMC: Good Nigh) ” tance: 253x197 m (9x 7%in) Provenance: Undocumented gift, 94, found in museum vault, 19655 2 neage: 33.719 8 em (9% 7% in) Mount: 24% 306m (94% 7/4 in.) Provenance: Undocumented gif 942 found in museum val, 1965 ores: Cato, 86g isa det of this picture B inscnietrons: Recto mount in ink by "IMC: Sponih Pctre and at upper sight sonnet 70 Intact: 23.3198 om (9x 7% in) moun 34% 38 em (30% 387% in.) PaoveNawer: Gift ofthe artist to Sir Coutts Lindsay; by descent within the family ” tnseaterions: Reeto mount in ink by IMC: The Mother Wing raat: 246 «20 em (9"%ax 7h in) oun: 35. %35 em (374% 9% in) uovenance: Presented by Hester ‘Thackeray Fler othe Gernsheim Collection, October 21953 Religion 149150 By [Madonna and Child] Elizabeth Keown, Mary Hillier (1864-65) V&A Ph 338-198 9 Trust lizabeth Keown, Alice Keown, Mary Hillier 1865 JPGM Overstone Album 8432186107 JULIA MARGARET CAMERON ~ * [Madonna and Child] Freddy Gould, unknown woman (864-65) VBA Ph 339-198 fo [Trust] ‘Alice Keown, Mary Hillier Ls] V&A Ph 348-198 7 Aspiration Freddy Gould, Mary Hillier (496465) Private collection, United Kingdom (Lindsay Album, no. 125) © [Madonna and Two Children] Elizabeth Keown, Alice Keows, Mary Hillier [863] Present whereabouts unknown[Madonna and Child] Freddy Gould, unknown woman 2864] VBA Ph 334-1981 ‘Mother and Child Freddy Gould, Mary Hillier (186465) JPGM Overstone Album 84.x2.186.85 s rnsenserioNs: Colaaghi bladstamp IMAGE: 3y1 20 em (9/77 in.) MOUNT: 40.3 ¥29.1€m (57 1/8.) PRovENaNce: Undocumented gf, 194 Found in moseum vast, 1965 1% rnsentprians: Colnagh blindstamp MAGE! 1833133 6m (We 7s i.) MOUNT 8% a8 em 151 Yuin.) PaoveNance: Undocumented gif 194% found in museum valk, 2965 7 Inseaiprions: Recto mount in ink by JMC: Aspiration and at upper right corner 135 mace: 24.6 19.4 6m (9% x 7% in.) srounvr: 34 abt em (tye x 1% i.) PRovENANce: Gift ofthe artist Sie Couets Lindsay; by descent within che farily n ace: 353 19.9 em (9 %aex 7% in) Provenance: Undocumented gif 94t, found in museum val, 1965 ” snseerert0Ns: Recto mount in ink by MC: FrasbWater S186; / Tras and ac upper sight sooner 195 ace: 26.2 219 cm (10% 8% in.) Moun 33.9% 283 em (15% 10% in) PRovENANCE: Sotheby', Belgravia, June 26, 1975 lot 45; Daniel Wolf, 1984 loriten eniwrs: Lindsay Album, 00.35 nernooucen: Weaver 1986, p. 96 ores: Cat, no 6 ex det of is pita. to Henoe: 1914.8 mm (7% 5a.) PROVENANCE: Undocumented git 94, found in museum vl, 1955 ores: This picture sa detail of ext 0.79. a rnsontetrons: Unknown, Mace: 254% 20.3 em (10 x8 in.) mount: Unknowe PROVENANCE: Sotheby Parke Bernet, New ‘York, March 2, 1975 lot 8¢ & rsenierrons: Recto mount in ink by "IMC: Mother and Child and ae upp right corner Ineact: 245 % 18.9 em (9% 7% in) MOUNT: 33.9 39.16m (374% in.) PROVENANCE: Sotheby's, Belgravia, June 26, 1975 lot 4; Daniel Wolf, 984, epRoDucED: Weaver 198, p. 90 Religion 151 a, Google ‘152 % Lucia Alice Keowen, Mary Hillice [1864-65] Private collection, United Kingdom (Lindsay Album, 00.137) % [The Mariner's Wife] Elizabeth Keowa, unknown woman (2864-651 V&A Ph 333-981 JULIA MARGARET CAMERON, % 85 Apres Nature Aurora Mary Hillier Alice Keown, Unknown gid, Kate Dore (864-651 1864 copyright January 1, 1865 BNF v.03965/648 39911 JPGM Overstone Album t.x2.86.%5 8 ‘The Holy Family Percy Keown, Cyllena Wilson, Alice Keown Percy Keown, Cyllena Wilson, Alice Keown, L867] [867] NMPFT Herschel Album 1984-s017/57 NMPFT Herschel Album 1984-s017/386 ‘The Mariner's Wife Elizabeth Keown, unknown woman [864-63] Private collection, United Kingdom (Lindsay Album, no. 140) %° ‘The Nativity Perey Keown, Cyllena Wilson, ‘Alice Keown [e867] Present whereabouts unknown % insertions: Reeto mount in nk by IMC: vie and at upper right comer: 77 Inenot: 243% 203 cm (9% Bin) MOUNT: 54 28.cem (ne Ya i.) PROYENANCE: Gift of the artist to Sir Coutts Lindsay; by descent within the family orien pairs: BNF o.09963/t5; RPS 2308 (rele) % nseaietions: Resto print inthe negative by TIMC at lower center: From Life JMC and ecto mount in ink: Reiceredpbotgraph Iulia Margaret Cameron 1d prs Nature IMAGE: 26.2% 1 em (10% 830.) Mount 3383283 em (5a in) provewancs: Gif of Vanessa Bell, Novern~ ber ay, 1945, lonwen rains: Sotheby’s, Belgravia, October 29,1980 lot 239 (printed i reverse) 5 snsentprions: Reeto mount in nk by JMC: ‘FrehWter 18641 Aurora and 3 upper tight comer 5 MACE! 354% 39.9 em (0% 7"iin.) MOUNT: 55.9% 39.1 €m (1)%u 07% »rovenance: Sotheby's, Belgravia, 197, lot 45; Daniel Wolf 1984 rue rRints: BLUO Henry Tylor Album, 0.45 epropucen: Weaver t986, p. 90 6 nseaiprions: Recto mount i inkeby JMC: ‘Te Mariners Wife and at upper right samacE: 253 19.8 em (9Miex 7% in) MOUNT: $4281 em (43% x10a i.) PRovENance: Gift ofthe artist to Sie Couts Lindsay; by descent within the fly % mace: 255 19.9 em (tox 7%e in) Provenance: Undocumented gif 941, found in museum vaul, 1955 #8 tsemtertows: Recto mount ink by IMC: The Holy Family and a upper right commen 57 smeace: 273229 em (0x9 in) Moun: 33.6% 30 em (33% "ein Provenance: Sotheby's, Belgravia, (Oceober 38, 2974 lot 3; NPG; NMPFT, 198 ernopuceD: Ford 1975p. 0; Wolf 1998, phap 89 semiprioNs: Recto mount in ink by IMC: “The Holy Family eter study) an a upp right comer 52 mace: ye 26. mn (42% x 10% in.) count 33. «30cm (3% 18% in) Provewance: Sotheby's, Belgravia, (October i, 1974 lot; NPG: NMPF, 1983 sePRoouce: Ford 1975. $t % snsenuerions: Recto mount in ink by JMC: From Life Jlia Margaret Cameron and in pencil below: he Nativity, Colnaghi bindstamp mace: 313 %27.9 em (13% x in) oun: Unknown Provenance: Sotheby's, Belgravia, December 4, 1973, lot 54 Religion 153154 A Study of the Holy Family Rosie Pince, Mary Hiller, Freddy Gould L872] Present whereabouts unknown, 9s Une Sainte Famille Rosie Prince, Mary Hille, Freddy Gould August 3, 872 ‘Alex Novak, Vintage Worke JULIA MARGARET CAMERON 9 [A Holy Family] Unknown girl, Mary Hillier, Freddy Gould 973] JPGM 84.x01.443.9 % [May Prinsep] (1864~ 66] V&A Ph 357-198 io % Une Sainte Famille Rosie Prince, Mary Hillier, Freddy Gould August 73; copyright Augut 1872 JPGM 84.x01.433-73 ” [Mary Hitter] [186466] MMA gianao A Study of Holy Family Rosie Prince, Mary Hillier, Freddy Gould [Auguse 1872} RPS arse 8 [Mary Hillier] [1864-66] V&A Ph 546-198 Insertions Recto mount in nk by JMC: From Lif Reitred Photograph copyright Iulia Margaret Cameron A Séudy of the Holy Family Inenet: 54.2% 263 cm (357% 10% in) MOUNT: 46% 38.9 em (186157 in) ProveNance: P 8D. Colnaghi 8 Co., Ld, London, October 27~December 1976, lot nePnopuceD: Lloyd 197, lotr o nscmiprions: Resto mount in ik in an unkown and: Hy Family nace: 333% 26.9 em (19 «20 MOUNT: 43> 3t5 em (16% 12750.) PRovENaNct: Virginia Woolf Sotheby's, Belgravia, March 8, 1974 lot ra, Samuel WagseallJe 98 %% rsentprions: Reeto mount in ink by JMC: From Life Registered Photograph copyright Ista Margaret Cameron Preston Aig 182 / Une Seine Faille Déieé a Monsieur Gasve Dard (A holy taily dedicated to ‘Mr. Gustave Dorel; Colnaghi blindstamp mace: 334% 265 cm (5/43 07% i.) MOUNT 555% 448 cm (207 37% in) provenance: Samuel Wagstafl, Je, 1984 snscnierions Recto mount in ink by JMC: From Life Regitered Photograph copyright Isla Margaret Cameron A Study of “Holy Family, Colnagh blindstamp IMAGE! 34:0%283 em (13% «1% i.) MOUNT 46.6 38.9 cm (18% 15%) Provenance: Unknown nupnopuceD: Weaver 1984p. 35 %s rvscaseriows: Recto mount in ink by JMC: From Life Registered Photograph Copyright Isla Margaret Cameron Fresher dg. 3rd 1873 / Une Sainte Famille! dedie a Gustave Dore J grup price le lendemain de ite {A holy family / dedicated to Gustave Dore / group taken the morning aftr his arrival; Colmaghi blindstamp sack: 3438283 cm (5"% 1% in) MOUNT: $8.4 464 €m (25 «18% in) provenance: Christie's, London, October 25,1984 lor 201 6 inseRiPri0ns: Colnaghi blindstamp snuace: 336 «18 em (9/4 7% in) MOUNT: 57.8 38.9 em (i474 1h in.) Provenance: Undocumented gif, 94%, found in museum val, 2965 7 rnseniprions: Reeto mount in penil in {an unknown hand sbove image: 2f Mery Hiller, Colnaghi blindstam IMAGE! 19.7% 1458 em (77 57% i.) MOUNT 456% 32.9 cm (7% 318 ain) proveancs: E,P. Goldschmidt 8 Co. 1942 * Mace: 355198 em (10*7"%e in.) provenance: Undocumented gif, 042, found in museum vault, 1955 ores: Cat. no 976 tighter cropping of this image. Religion 155” Mary Madonna Mary Hillier 1854; copyright October 10,1864 JPGM Overstone Album 84.x2 386.76 193 [Madonna] Julia Norman @) March 868, WEP g3:4931 156 JULIA MARGARET CAMERON [Mary Hillier] (866) Present whereabouts unknown La Santa Maria Mary Hillier May 1868 HRHRC 964:0037:0018, Mary Mother Macy Hillier [ss67] GEH s1:124:0006 105 La Madonna Purissima Mary Hillier 1868 HRHRC 964:0037:0087LaMadonna Voknown woman {o867] GEE fr:mat:0023 106 [Group] Maty Hier, Ezabeth Keown (1865—66) JPGM 84.x01443.65 ” snvsemierions: Recto mount in ink by JMC: FresbWaer actual size Life 1864 ! Mary ‘Madonna and a upper rghe commer 76 ntact: 36,7» 20.8 cm (G0! 87 in) MOUNT: 33.9 29.1 m (4% 317i.) provenanct: Sotheby's, Belgravia, Jane 26, tops lot 4 Daniet Wolf, 1984 lormEn paints: Lindsay Album, no. 137 azeropucen: Weaver 2986, p. 88; Cox 1996, Peas snscaiprions: Recto mount in ikin an ‘unknown hand: From Life et enlarged Julia Morgeret Cameron and in peel by JMC below: Fir te Signor snace: Diam. 26.2 cm (10% in) oun: Unknown PRovENANCE: Gift ofthe artist to GF G.M. Findhys ansenterions: Recto mount in ink by JMC: From Life Registered Photograph copyright Jolia Margaret Cameron ! Mary Mother, Colnaghi blinds mace: 322% 26.6 6m (tx 10% in) oun 55.85 45m (ata 37% in) Provewance: Bruel Associates, New York, 1961 orwer rainrs: AM (oval; JUAM Miniature ‘Album 75.38.33 IWCC Miniature Album, no. 1; MFAB 42.355 (carbon; NMPFT 9g0"so36/ust; Norman Album, no. 255 [NPG xtdogt (cabinet), PMA 68-36-1, private collection (dv); RPS ats 20554, and 23648; UCLA Aubrey Ashworth Taylor Album, no. s: VM Ph 2596 erRooucen: Woolf and Fry 1936, pl. 18; Woolf and Fey 2975, pl. Gernsheim 1975 173 Broson 1980, pl 75 Weaver 1984, 134; Hopkinson 1986, p21; Lukitsh 1986, p. a; Hinton 1992, p. 67, Wolf 998, pl. 44 Lukitsh 200, p. 91 nseaiprions: Recto mount in ink in an ‘unknown hands From Life Reicered Phatgraph Copyright Julia Margaret, Cameron Fresster and in pencil by JMC below: La Madonna; Colnaghi blindstamp AcE: 33.1264 m (15107 MUN: 57.9 46.3 cm (28% 418%) provenance: Gabriel Cromer, 19395 gift of Eastman Kodak Company, 1949 orien rains: Christies, London, june 30, 197, lox 3 inserbed by JMC: My gio Mr Alf in token of endeip that ‘wil nt fade th’ rated i Sunlight during ‘pleasant sunny wees at Sunnyride, ua ‘Margaree Cameron; Sothebys, Belgravia, December 4 1973 lor 66 (insribed by JMC: Mery, te Sister of Martha and facsimile ineription: One f the bet / C.F Hats) ernooueeD: Laukitsh 1986, p35 193 rsent#tows: Recto mount in ink by JMC: ‘From Life Mar 868 Julia Margaret Cameron MACE: 34.4263 em (15% x 20%im) MOUNT: 4033 34 0m (1574 12% in.) PROVENANCE: RPS, on loan fom the Norman fuily; Evich Sommer; Chases Tease, 1995, ‘eepRopvced: Woolf and Fry 1975, p39 Wolf 1998, pl. 31; Lukitsh 2005, p. 93 insertions: Recto mount in ink by IMC From Life Preater May 868 Julia ‘Margaret Comeron and in penil below: La Santa Marie; Colnaghi blindstamp enor: 5226.5 m (12% 10% in) MOUNT: 5.3 x 4.9 6m (20% x 16% in) PROVENANCE: Helmut Gernsheien 5 rsenrPTtons: Recto moune in ink by JMC: Fram Lift rebate 1868 Julia Margaret, Cameron and in pencil below: La Madonna Parisime; Colnagh blindstamp ancack: 339 4275 em (57 10%ain) Moun 52543 cm (20164 in.) srovenance: Helmut Gernsheim 106 nace: 327% 272 em (422430 MOUNT! 42.6 <3r5 em (16702 ‘provenanc: Virginix Woof, Sotheby’s Belgravia, ne 2, 1974, ot 4a; Same Wager, Je 984 orwer prints: Eastnor Castle arexonucen: Cor 1996 p85 Religion 157158 7 [Group] Mary Hillier, Elizabeth Keown La65~66) RDS 20st ae Soe mY 4 after the manner of Perugino Mary Ryan (1865-66) [NMPFT Herschel Albarn 1984-50748 JULIA MARGARET CAMERON [Group] Mary Hillier, Elisabeth Keown [1865-66], RPS 2166 [The Annunciation} ‘Mary Ryan [1865~66] Private collection, United Kingdom 109 (Mary Hillier] [165-661 Pirate collection, United Kingdom "3 ‘After Perugino | The Annunciation ‘Mary Ryan, Elizabeth Keown [1865-66] RPS ais,‘A study—after the manner of Francia Mary Ryan, Elizabeth Keown, 1865-66) NMPPT Herechel Abum 1984-s017/st m4 [The Annunciation] Mary Ryan, Elizabeth Keown (:865~66) Michae! Matis and Judith Hochberg (Mia Album, no, 103) 7 rnsonterrows: Recto mount ink star Royal PhotgraphicSeciety Is, Russell Spare | London WC. WAGE: 32.6 «278 em (12"%a 20% in) Mount: 492373 em (94 Provenance: Unknown x14) 18 naoks 52.7 38 em (22% 218 MOUNT: 36.7% 32 Mm (47% 12% in) Provewance: Unknown reropucen: Weaver 1984, p. 16; Weaver 1986, p33 109 maoK: 33.3% 36.4 em 154% 10% i) rovewance: Henry Halford Vaughan; by descent within the Vaughan femily twscriptows: Recto mount in ink by JMC: ‘A ttudy—after the manner of Francia and at upper sight corner: 52 wage: 30.5251 em (3% 9% in.) mounts 33.330. em (33% 11% ein) Provenance: Sotheby's, Belgravi, (Oceober 8, 974 Jot 3; NPG; NMP, 1983 loriten paiwrs: NMPET 199s-5035/6 (ds), RPS 2165 (arched top); UNMAM 73.509 (inscribed by JMC: The Firion) erKooucen: Ford 1975, p74; Weaver 1984, p28 Lakitsh 1985, p. 26 tnsontertons: Recto mount in ink by JMC: after the manner of Pragine and at vpper fight corner 48 AGE: 30.815 em (Bn in.) MOUNT: 35.7% 30.3 em (54318755) PROVENANCE: Sotheby', Belgravia October 28, 1974 lot: NPG; NMPFT, 0} nernoucen: Ford 1975, p. 7; Wolf 1998, plas Iotaoe: 20.8 «357 cm (875m) MOUNT: 472343 er (852157 in) PROVENANCE: Gift ofthe att to Lord and Lady Eleho; by descent within the family 3 twsert#rows: Recto mount in ink by JMC: From Life Julia Margaret Cameron | After Penugine and ia pencil: The Anmucaton; Calnaghi blindstamp ruace: 33.9% 266.em (3 ex 10% in.) MOUNT: 50.4 386m (to 14% in.) RoveNanct: Gift of Mrs. Beatrice Trench, 1929 lorser pairs: MMA 1990.3074.5; NMPFT 990-s0y6/us2 (cabinet) Norman Album, no. 36; Paul and Prentice Sack Age: $0.6 36.5 (1% 0% in.) oun 352 36m (3% 10% in) Provenance: Mata "Mia" Jackson; by descent to Sotheby’, Belgravia, June 21, 7s lot 37 private collection; present owner 990 nernopuceD: Ovenden 1975 pl. 39; Mulligan eral. 1994 7-48 Religion 159160 ns [The Annunciation] Unknown woman, Mary Hillier (1865-66) Present wheresbouts unknown 1 ‘The three Marys, ‘Mary Kellaway, Mary Ryan, Mary Hillier 64; copyright December 12, 864 JEGM Overstone Album 84.x34186.208 JULIA MARGARET CAMERON 6 ‘The Salutation | after the manner of Giotto ‘Mary Kellaway, Mary Hillier [s864) HRHRC Thackeray Album 964:032:005¢ [The three Marys] Mary Hillier, Mary Kellaway, Mary Ryan (864) VBA Ph jas-i98t ny ‘The Salutation ‘Mary Kellaway, Mary Hillier 1864 JPGM Overstone Album 84.x2.186.59 [Group] ‘Mary Ryan, Mary Hiller, Mary Kellaway (864) V&A Ph 544snt [The Salutation] Macy Hillier, Mary Kellaway [i864] V&A Ph 347-1981 ‘The five Wise Virgins Mary Hille, Mary Ryan, Kate Dore, Mary Kellaway, unknown woman 1864; copyright December #2, 1864 JPGM Overstone Album 84.42.386.40 insertions: Unknown ‘ntact: Unknown oun: Unknown Provenance: Unknoven né tnsenierrons: Recto mount in nk by JMC: The Salutation | after te manne of Geto race: 351x194 6m (9x 7% in) Moun 35.235 em (33%4%9"% in) PaoveNance: Presented by Hester "Thackeray Faller to the Gernshein Collection, October 2955, ‘ornen paiwrs: GEH Warts Album 71:0109:0038; Lindsay Album, no. 102 (inscribed by JMC: afer tbe manner of Govt 68 Francia) “7 rnigonietrons: Recto mount in ink by IMC: FresbWater 186g} The Salutation and at upper right comer: 60 nent: 2.636178 em (8Y: 7 in) oun 33.9 9.2 6m (83% «07%ein.) Provenance: Sotheby’, Belgravia, June 26, ops fot a; Daniel Wolf, 1984 epKoDuceD: Weaver 1986, p. Bg: Cox 1996, pas a Inenon: 25.5% 19.9 6m (197%) Provenance: Undocumented gif 04 ound in museum vault, 1965 nernonucen: Wolf 998, p 6 19 rnscaierions: Recto mount in ink by JMC: Fresher | rig / The three Mary and 3 ‘upper right corner 70g asact: 37% 26 em (10% 8% in) MOUNT: 33.9 283 em (9% 1a) PROVENANCE: Sotheby5, Belgravia, June 26, 1975 lot 4; Daniel Wolf, 984 lonwen raiwrs: GEH s::t131:0035; HRHRC "Thackeray Album 96470312:00%0 and .964:0037:00324; Lindsay Album, no. 17 nernopuce: Weaver 986, pp. 36, 98 mack: 26.2 20.6 em (948% in.) provenance: Undocumented gif, 948, ound in museum vault, 1965 mace: 25% 20.3 em (9% in) provenance: Undocumented gif, gat, ound in museum val, 1965 rnseniprions: Recto mount in ink by JMC: Proshuater 186g / The five Wise Virgins and st upper left corner 39 Mace: 354% 20 em (107% in.) sour 3432853 em (3% in) Provenance: Sotheby', Belgravia, June 26, 1975, lot 45; Daniel Wolf, 984 orien pxintrs: GEH si:tars00a9; HRHRC “Thackeray Album 964:0312:0036 and .964:0037:0063; Lindsay Album, no. 86; VBA 44.759 and 44.78 arpnopucen: Weaver 198, p. 73; Lukisk 1985, p. 38; Weaver i986, p. 795 Cox 996, pa Religion 161162 3 ‘The five foolish Virgins Uaksown woman, Mary Hillier, Mary Ryan, Mary Kellaway, unknovtn woman 164; copyright December 12, 864 JPGM Overstone Album 84.2 386.41 27 Light and Love Percy Keown, Mary Hillice June 865 JPM Overstone Album 84.2.186.5 JULIA MARGARET CAMERON AGroup Mary Hille, Mary Kellaway 864 JPGM Overstone Album %4.x2.186.88 Devotion Percy Keown, Mary Hillier (2863) TRC sso7 Bs St Cecilia | after the manner of Raphael Unknown maa, Mary Kellaway, Mary Hillier, Mary Ryan [:864~65) VBA 45.55 ‘The Day-Spring Perey Keown, Mary Hillier [86] copyig Juy 7, 865 GBH ssraro03416 ‘The Vision of Infant Samuel Perey Keown [n863) JPGM Overstone Albu 84.x2.186 87 10 Prayer and Praise Elizabeth Keown, Mary Ryan, unkown man, Percy Keown 1865; copyright Jay 18 1865 JPGM Overstone Album 84.2.286.9¢ twscateriows: Recto mount in ink by JMC: Freshwater 185g | The five folic Virgins and at upper right comes: 40 MAGE: 248 19.9 6m (9x 7"% in) MOUNT 338338. em (%ax Yin.) PRovENANce: Sotheby's, Belgravia, june 26, 1975, lot 4; Daniel Wolf, 1984 OnE PRINTS: JPGM 84.00.443.495 BLUO Henry Taylor Alburn, no. 70; GEH Srsa:0030; HRHRC Thackeray Album 94:0312:00%7; Lindsay Album, 90.87, ‘TRC sai; VERA 44.760 and 44.779; YUBL Gen. Mss. 340, Vol. tno. 20 aepronucen: Weaver 1986, 7 pay 5 Cox 1996, tnvscmterions: Recto mount in ink by JMC: Frabliter 188g / 4 Group 30 at upper right corner: amancns 29.7% 13cm (72% 4" sour: 339339. em (5% PRovENANCE: Sotheby's, Belgravia, June 26 1975 lo 4s; Daniel Wol, 1984 sevnoouceo: Weaver 1986, 9.9 as ansentrions: Resto mon in ink by MC: Regitred Photograph Julia Margaret, Cameron 1 St Cecelia vie] after tbe manner of Rapbal, Science and Art Library Blndstamp above image vasa: 35.439 em (10% 7/in) MOUNT: 38.8% 29.5 em (i187 in) Provenance: Gift ofthe att, September 27,1865 nner pains: Lindsay Album, no. 63; YUBL Gen, Mss. 340, Vol. 20.32 rsenterrows: Recto mount in ink by JMC: Julia Margaret Cameron The Vision of Tnfane Samuel, Spooner blindstamp aoe: 2453 213 em (9x Bin) MOUNT 343 37-4 em (537107 in) PROVENANCE: Sotheby', Belgravia, June 26, 1975 lot 45; Daniel Wolf, 984 lovin punts: BLUO Henry Taylor Album, 0.33 roDuec: Weaver 198, p.9¢ 7 tnsentertons: Recto sou in ink by JMC: Bresbuater June 1s | Light and Love and a upper lle comer: 1s rmeace: 353 224 em (9% x 87% in) MOUNT: 33.939. em (3 Yas 217% 50.) Provenance: Sotheby's, Belgravia, June 26, 1076 lot 45; Daiel Wolf, 984 ‘orien pairs: JPCM 84.00.4432; Lindsay Album, 0. 69; TRC 5478; V8CA Ph ay 198, WCP 96:5530 (arched top) erropucrn: Lukish 986, p. 64; Weaver 1086, 73 tnsent#rrons: Recto mount in ink by IMC Registered Phtegrah lia Margaret, Cameron! Devotion; Colnaghi bindstamp rence: 29:8 «25.6 em (x1 %x 10 in) MOUNT: 425% 325 €m (16/312"%ain.) PROVENANCE: Tennyson family; Clark Collection, 1965 ‘omer rains: Lindsay Album, 20 97 29 insertions: Reto mount in ink by JMC: Iulia Margaret Cameron Regitred ‘Phetograph / The Day-Spring enon: 39 255 €m (U7 970) MOUNT: 33.9» 34m (15% 1 Zin) PaoveNaner: Gabriel Cromer, 9595 ‘if of Eastman Kodak Company, 1949 ‘orien paints: GEH 67:0088:0005 (platinum print by AL. Coburn); Lindsay Album, 10.95, ePRopucED: Lukitsh 1986 p24; Wolf 1998, pla 490 rnsenirrrons: Recto mount in ink by JMC: FresbWater is Prayer and Prive snd at upper right comer: 90 Iaenoe: 28.1227 em (11% 8% in) own 33.9% 39.16m (9 ex 1% in) Paovenance: Sotheby’, Belgravia, June 26, 97s lot a; Daniel Wolf, 1984 lortien pairs: Lindsay Album, no. 54 nernapucr: Weaver 1986, pp. 3 92 Religion 163164 a1 Shepherds Keeping Watch By Night Percy Keown, Elizabeth Keown, Mary Ryan (1865-66) Private collection, United Kingdom (Lindsay Album, no, 34) 5 ‘The Shunammite Woman and her dead Son Percy Keown, Mary Ryan 1865; copyright July 17, 865 JPGM Oserstone Albi 84.x7.186.62 JULIA MARGARET CAMERON 1 [Shepherds Keeping Watch By Night] Pesey Keown, Elizabeth Keown, Mary Ryan [1865-66] V6 Ph 337-198 16 [Madonna and Child] Mary Hillier, Perey Keown June 1866 HRHRC 964:0037:0017 3 ‘The First Born Mary Ryan, Perey Keown April 186s; copyright April z, 1865 JPGM Overstone Album 84.x2386.17 7 [Madonna and Child) Mary Hillier, Perey Keown i366) YUBL Gen. Ms. 540, Vol 1,10. 29lla 4 A Christmas Carol Kate Keown (?), Mary Hiller, unknown man, Freddy Gould May 865, JPGM Overstone Album 84.%2.186.75 ne Hosanna Mary Kellaway, Mary Ryan, Mary Hillier, Alice Keown May 3865; copyright July 08, 2865 JPGM Overstone Album 84.x2.186.8¢ o rnesontertons: Recto mount in pencil by IMC: Shepherds Kespng Wath By Night and Jnink at uppec tight corner. 34 ace! 26.6 x ar em (107s 8% in) our: 94% abs em (437% ovewance: Gift ofthe artist to Sie Courts Lindsay by descent within the family oy aces 39 227 6m (ar 8% im) Provexance: Undocumented gif 94h, found in museum val, 1965 oy tnsemteriows: Recto mount in ink by JMC: FresbWater pil 1865! Tbe First Born and at upper right corner: 15 nace: 24:8 19.5 em (9/7 oun: 33.9% 29. (13 Y% 07% in.) PROVENANCE: Sotheby's, Belgravia, June 26, 1975 lot 4s; Daniel Wolf, 1984 rnin paints: HRHRC Thackeray Album 964:0312:0032 and 964:0037:0064; Lindsay Album, no. 198 WCP 9733501 sernonucen: Weaver 1986, p. 73 in) 4 rssenteriows: Recto mount in ink by JMC: FresbWater May 2865 /A Christmas Carol and st upper left comer: 23 mace: 26.4 214 0m (10% «87% in.) sown: 33.9% 39. em (3 Yn tin.) PROVENANCE: Sotheby's, Belgravia, June 26 1075 lot 45; Daiel Wolf, 984 ernopucen: Weaver 1986, . 87 as inset rion: Recto mount in ink by JMC: FresbWacr 1865! The Shunamite(s] Woman and ber dead Son and at upper left comer: 6 neaok: 272 384 6m (0! 8% in) mount: 33.9 % 39.16 (3 %n 17% in.) PROVENANCE: Sotheby's, Belgravia, June 26, 1996 lot 45; Daniel Wolf, 1984 ‘ornen pnts: Lindsay Album, nos: V&A Ph ssss98t nernopvcn: Weaver 1986, p. $5 96 rnsonterons: Recto mount in ink by JMC: From Lift June 1866 Jali Margaret Cameron Ince: 329% 275 €m (2% 10"%in) [MOUNT 36.7386 em (tga 1/3) Provenance: Helmut Gernsheim ‘THER Paints: Private collection (ed), ‘YUBL Gen. Mss. 340, Vol 1, 0.17 nepnopuceo: Gernsheim 198, p20; Woolf and Fry 1973 pl abs Germsheim 1975, p66 8 Image: 37.4% 287 6m (10% 87a.) MOUNT S74 98.9 cm (38%19%in) Provenance: Giftof the ats othe “Tennyson family by descent within the Tennyson and Prinsep families; Colonel E.8.M. Prnsep, 199 ores: This image was included in an album titled "Photographs From The Life, 186," Which contains experimental work JMC ‘eated with her larger camera. ns insentevons: Recto mount in ink by JMC: FresbWscer May 1865 / Hocanna and 3¢ upper left corner. fr suace: 28.2% 22.9 €m (11a gin) MOUNT: 33.9% 29.162 (nein) PROVENANCE: Sotheby's, Belgravia June 26, 1095 lot 45; Daniel Wolf, 1984 orien pairs: Lindsay Album, a, 9; V&A Ph aga-ig8s; WCP 016961 rernopucen: Weaver 1985, p. 89 Religion 165166 9 [Hosanna] Mary Kellaway, Mary Ryan, Mary Hil, Alice Keown [1863] V&A Ph 243-2082 [Hosanna] Mary Kellaway, Mary Ryan, Mary Hillier, Alice Keown [1863] VBA Ph ags-298 Decidedly Pre-Raphaelite ‘Mary Hillier, unknown woman, Mary Ryan (286465) GEH fr:utst:0055 a [Daughters of Jerusalem and Child] Mary Kellaway, unknown woman, ‘Mary Filler, Percy Keown 863] VBA Ph 536198 JULIA MARGARET CAMERON [Daughters of Jerusalem] Mary Hillier unknown woman, Mary Kellaway (186s) MMA qtataa us [Daughters of Jerusalem] Mary ities, unknowa woman, Mary Kellaway, Percy Keown [80s] GER 72:0026:0001Daughters of Jerusalem Mary Kellaway, unknown woman, Mary Hillier (1863); copyright July 18, 1865 Private collection, United Kingdom (Cindsay Album, no. 93) 46 Sister Spirits Mary Kellaway, Mary Hillier unknown ‘woman, Elizabeth Keown, Alice Keown, Perey Keown [1865] copyright July 18 865 GEN frsts2:0038 09 Inenee: 29.2 «22.4. (174 8M%cin) Provenance: Unknown rneaoe: 29.3% 2.6m (44x87 in.) Provenance: Unknown rnsonteTrons: Recto mount in ink by JMC: Decidedly Pre-Raphaclee [i] ntact: 28.9 «246m (184% 9% in) MOUNT: 347% 355 em (13% 10 in) Provenance: Gabriel Cromer, 19395 {fof Eastman Kodak Company, 1949 nernooucrn: Lukitsh 1986, p.45 insenterrons: Recto mount in pencil by IMC: Daughters ofrualem and in ink at ‘upper right comer: a3 Inenoe: 20726 em (8% 10%.) MowNT: 34.1281 em (13/5 07% n.) Paovenavce: Gift ofthe ats to Sir Courts Lindsay, by descent within the faily 3 IneAGR: 545 3¢36.2 em (65% 107%.) MOUNT: 357% 266m (44m 10% in.) PROVENANCE: Undocumented gif 194% found in moseum vault, 19655 Mace: 2833797 em (7a 10% in.) Moun: 29.9 37.6 m (17. 14"% i.) PaoveNance: E. B. Goldschmidt & Co. 1942 4s rnseaietions: Reeto mount in ink in an unkown hand: The oration saain) rage: 248% 28.7 em (9 oun: 26. 35.4m (20/3 15% in.) ‘rovenancr: Sotheby's, Belgravia, December 21974 lt 374 epnopuceD: Lukish 986, p. 27 anscmieriows: Recto mount in ink by JMC: “Julia Margaret Cameron and in pencil ‘below: iter Spirits; Colnaghi blindstamp Mace: 36 26.6 em (1a s0% in.) MOUNT: 50.5% 378 em (1974140) Provenance: Gabriel Cromer, 1939; gift of Eastman Kodak Company, 949 orien pninrs: Lindsay Album, no. $5 ‘VBA Ph 349-1981 arexopuce: Lukitsh 1986, p. 44 Religion 167168 uy Lilies and Pearls Mary Hillier, Elizabeth Keown, Mary Ryan, Alice Keown, Mary Kellaway (186465) Private collection, United Kingdom (Lindsay Albus, no. 7) is My Grand child Eugene's Boy Archie aged 2 years 8 3 months born at Barbados ‘May 23rd 1863 Archibald Cameron [as6sh copyright Augusta, 1865 V&A Ph 319-1969 JULIA MARGARET CAMERON 8 ‘The Return after 3 days ‘Mary Kellaway, Mary Hillir, Freddy Gould, Mary Ryan [nth copyright July 7, 865 NMPFT Herschel Album 1984-50 Pa My Grand Child aged 2 years & 3 months Archibald Cameron [ats] VicA os 9 ‘My grandchild Eugene's boy Archie aged 2 years & 3 months Archibald Cameson 86]; copyright August 17, 1865 VeeA 45.150 ‘My grandchild Archie Cemeron Eugene’. boy aged 2 years & 3 months born at Barbados Archibald Cameron 86s]; copyright August 7, 865 JPGM 84x?.219.30150 sy grand child aged 2 years & 3 months Archibald Cameron 869] VEA 45.149 14 [Mary Hillier] [865] Private collection, United Kingdom “7 insentprions: Recto mount in pencil by IMC: Lifes and Pears and in ink a oper Fight comer 57 wae: 301% 36.5 6m (8% 10%.) own: 54381 em (43% 0%.) Provenance: Gift ofthe arte o Sir Courts Lindsay; by descent within the fly 8 rnsent#rone: Recto mount in nk by JMC at upper sight comer: 5 and in index a ear of album: The Return afer 3 days aeace: 3038 «25.2 cm (124% 9% in) MOUNT: 337% 302. (9x07 ia) PROVENANCE: Sotheby’, Belgravia, October #8, 1974 lo 34; NPG; NMPFT, 1983 orien paints: BLUO Henry Taylor Albus, no. 29: GEH 8i:131:0027 (insetbed by JMC: Witt Ye Now That your Father dnd T sought Thee Sorrewing) Lindsay Album, no. 96 (immed toa pointed arch): V8cA 44.960, 44.964, and 44.950 (fourth figure at Fight cropped out); WP 85:2339 epkopvctD: Ford 175, p. 78 Weaver 1984, p34: Hopkinson 1986, p. 2; Lush 2986, P. 26; Hamilton :996, pl. 9; Wolf 198, plas snseaierions: Recto mount in ink by IMC: [My grandsbld Eugene’ bey Archie aged 2 years 4 months Jala Margare Cameron and in an unknown hand at upper let ‘sormer Studies or Painting; Colnaghi blindstamp Mace: 22.5% 29cm (Wx Wa 0.) MOUNT: 265 «53.7 €m (107% 7.) PROVENANCE: Gift of the artist, September 27,1865 orien paints: GEH Sr121:000%; Lindsay Album, no. 118 (inscribed by JMC: Aslepin my dining rom Frebaater Bay Iileop Wight) 10 insceterions: Recto mount in ink by IMC: From Life my grand cil aged 2 years |j mont Julia Margaret Cameron and in an “unknown hand at upper lft comer: Studio for Pointing: Colnaghi Dindstamp mince 21737 0m (87 1074.) sour: 26.7% 357 em (ro¥s 354 in) Provewance: Gif ofthe artist ‘September 27,1855 ovate prints: TRC 5544 Insertions: Reeto mount in ink by JMC: My Grand bid Eugenes Bay Archi aged 2 yrare & y mont born at Barbader ‘May ar 2865 ula Margaret Cameron; Colnaghi blindstamp rnexor: 22.9% 2.1m (9 MOUNT! 28.5% 384 em (0% provenance: Unknow ein) sin) 132 InscutPTions: Recto mount in ink by JMC: (My Grand Child aged» years 3 monthr Archibald Cameron Julia Margres Cameron fand in an unknown hand at upper lft ‘cornet Seis for Painting XXIV; Colaaghi blindstamp Mace: 20.6 25.6 em (8% x10" MOUNT: 267% 33 6m (f0% x Provenance: Gift ofthe ats, September 27,1855 lornes pains: Lindsay Album, no, 308; GEH si:121:0003 8 nsemterions: Recto mount in ink by JMC: ‘My grandebild Archie Cameron Exgenct boy aged 2 years G3 months bern at Barbades and at lower lft comer; Colna blindstamp nace: 2126.7 em (8% 10% in) MOUNT: 38.1% 285 em (15 «10% in.) Provewance: Daniel Wolf, 984 covwer pninrs: Lindsay Album, n0. 130 (inscribed by JMC: Berm a Barbados 234 ‘May 1863—aged 2 years 3 months VBA 4sast eexonucen: Hopkinson 186, 33 14 tsertertons: Recto mount in pencil in an tunknoven hand: Mary of Bebany aod: 22.7% 26.4 .0m (he 10% In.) MOUNT: 47343 em (85.15% in) Provewavce: Gift of the artis to Lond and Lady Eleho; by descent within the family Religion 1691 156 My grandchild Archie aged 2 years & My Grandchild aged a years & 3 months The Shadow of the Cross 3 months Archibald Cameron, Mary Hillier Archibald Cameron, Mary Hillier Archibald Cameron, Mary Hillier te) a [e869] HRHRC 964:0037:0023 VBA 45.60 GEH t1:tat:00ee 59 60 161 My grandchild & my chef d'oeuvre {My Grandchild aged 2 years 8 3 months] My Grand Child Archie son of Archibald Cameron Achibald Cameron, Mary Hier Eugene Cameron R.A. {ns9) a Archibald Cameron GEH Bi:1133:0008 HRHRC 964:0037:0033, (e869) VBA 45362 170 JULIA MARGARET CAMERON5 rnesenterions: Recto mount in ink by JMC: “Jlia Margaret Cameron My grondebild “Antic aged 2 years 3 month For Signor, Colnaghi blindstamp neace: 30.9 238 em (Bi 9% in) OUNT 28.6» 38 em (tax 24"% in) Provenance: Gabriel Comer, 19395 ‘Bit of Eastman Kodak Company, 1949 orien prints: BLUO Heney Taylor Aum, 10. 49 neropucr: Lukith 986, ps4 16 tnsent#rrons: Recto mount in ink by JMC: = From Life My Grandsbild aged 2 years 5 month Jala Margaret Cameron / For Hay (Camron; Colnaghi bindstamp taeaoe: 20.5% 22.3 em (8% 8% in) a oun: 26.5% 325 6m (10/%12"% in) Paovenaner: Helmut Germsheim ‘orien paints: Mia Album, no. 55: NGC 21286 (circle); RPS 216/+ (circle) st ePnopuce: Gernsheim 1948, pl. 2 Gernsheim 975, 9.138 Ovenden 975, Devotion ‘Archibald Cameron, Mary Hillier pl. 895 Weaver i984 p 3t4 Mulgan eta. "994, (2863) VBA 4ss56 ‘7 rscrzrrions: Recto mount in ink by JMC: From Lift gust 1965 Julia Margaret CComeron and in pencil below: The Shadows ofthe Cross National Aet Library stamp shove imige Iataers 27.15 365 6m (10% 14% in) Moun: §348 438m (13/4 17% in.) provenance: Gift ofthe ans, September 27,1865 nernoouceD: Weaver 1984, p. 3; Weaver 1986, p. 3: Lukish 2005p. 37 Po anserierions: Recto mount in nk by IMC: From Life my grande! oed 2 years & 4 montis ula Margert Cameron! Devotion and in an unknown hand a upper lee corner: Studies for Punting XXIV ad rovaor: 228 »27.9 cm (8% = in) unr: 36.» 3. em (to%4% 38%) Povenance: Gift of the artis, September 27,1865 lorwen pairs’ GBH fr:mt:o00r, TUAM ‘Miniature Album 7538.65,]°6M 84208443. inserbed by MC: Devotion) and 8exa.443.29 (cabinet); Norman 16 ‘Album, no. 75; RPS 2596 sernooueeD: Weaver 984 p36 Lokitsh ‘The Lily and the Lamb Seer es Pk 1986, pp. 44-15 Lukis 200% p35 (i863) CMA t99t307 9 twseni#rows: Recto mount in ink by JMC: My grandcbild & my hf Cece Jaa Margoret Comer |For Sigaar age 3 yrs Gj mons; Colmaghblindstamp Age: 15.4 35.6 2m (69m) MOUNT: 286 38.2 em (e¥0«15 in.) Provenawer: Gabriel Cromer gift of Easernan Kodak Company, 949 conven paints: IUAM Miniature Album 7.38200; private collection (e) rpropuceD: Lukitsh 1986, p.3s 16 Mace: 28% 36.5 em (rex 474i.) provenance: Helmut Gemnshein OTHER PRINTS: VBCA 45:59 rpnopuceD: Gernsheim 3948 pl. 2; Gernsheim 975, p38 v6r svseniprions: Recto mount in ink by JMC: From Life. My Grand Child Archie sn of Eugene Cameron RA. /aged3 years sont! Julia Margaret Cameron ‘Colnaghi blindstamp Mace: 12.1% 36.8 em (47201470) MOUNT: 18.1% 38.6 em (7% 15% In.) brovenanct: Gift ofthe artist September 27,1865 rues paints: BLUO Henry Taylor Album, 0. 46 6 snscnteriows: Recto mount i inkeby JMC: egitered | The Lily and he Lamb mage: 1h x26 em (7¥ax 10% in.) Moun: 25.9 355 €m (t07% x 13°% in) Provenance: Gift of Janet Lehr in honor of ‘Bvan H. Turner, 199t Religion wei 183 Boaz and Ruth Unknown man, unknown woman 1864-65) Private collection, United Kingdom (Lindsay Album, no. 81) 67 [King Ahasuerus & Queen Esther im Apocrypha] Henry Taylor, Mary Ryan, Mary Kellaway [n86s] copyright November 1s, 1865 JPGM fxm. 349.10 JULIA MARGARET CAMERON 64 5 Henry Taylor | Study of King David Study of King David (1865-66) Henry Taylor NMPPT Herschel Album 194-sor/70 (2865-66) Robert Harshorn Shimshale 168 Jephthah & his Daughter ‘Unknown man, unknown woman (3868-72), RDS 2088166 {Bathsheba Brought to King David] Henry Taylor, Mary Hillier 1865—66) “Michael Matis and Judith Hochberg 5 nseetPrioNs: Recto mount in ink by JMC: Baz and Rush and a upper right comer 81 macr: 347 #186 6m 9" 7% im) seount: 34. 38. em (65 1% in.) Provesance: Gift ofthe artist to Sie Coute Lindsay; by descent within che faily 64 tnscateriows; Recto mount in ink by IMC: Henry Taylor! Study of King David and at ‘upper right corner 70. snack: 273% 225 em (10% B%in) in} MOUNT: 33.730 em (3% 1 provewance: Sotheby's, Belgravia, ‘October 18, 1974 lot 34; NPG; NMPFT, 1983 orien pRiNts: BLUO Henry Taylor Album, nos. 6 and to; HRHRC 964:0037:0052; IWCC Miniature Album, no. 7; Norman Album, no. 6; privat collection (ed) RPS s1o/4~5; UCLA Aubrey Ashworth “Taylor Album, 90.38 sevkopucrD: Ford 1975, p93; Weaver 984, 109; Hinton 2998, p72 is tsentPrtons: Recto mount i ink by JMC: ‘rom Lif ula Margoret Cameron | Study of King David n4Agk: 26 «20. (1014 774m.) MOUNT: 44.6347 €m (7%ex 7 im) PRovENANCE: Margaretta Mitchell, 1986 166 tnsent#rtows: Colaaghiblindstamp Inuace: 283% 337 em (0 9% in) MOUNT 47.6% 3.2 cm (8.32416 m.) proveNawet: Alex Novak, Vintage Works, Charles Isaacs, 1999 lover raunts: RPS 2112/3 (inscribed by JMC: Barbbebe Brough to King Dovid, 242 €m (27% 9% in) Moun: 4625.6 6m (8% 313 Zain) PROVENANCE: Gift of Albert Bon, 1967 ‘orien pairs: IUAM Miniature Album 7538.78: peat colletion (ed) 5 twtenrrront: Recto mauntin pniin en known han: nie Cameo tae: a.m etm) mown do bcm (ie aon) provenance: Gift Albert Bony 967 rove ravers Mia Albano, NMPFT sss (bined) saynopuet: Oven 5 pL wt Mace: 32.4 245m (127% 9%in) oun: 46 <3 em (18% 137 im) PROVENANCE: Gift of Albert Boni, 1967 OTHER PainTs: Mia Album, nos. 45 and 495 private collection (cd) nernopuce: Ovenden 1975, pl. 37,80; ‘Malligan eta. 94, p22 wa rivscatpions: Reeto mount in ink by JMC: From Lift reptered photograph copyright Isla Margaret Cameron Noo 18th 1869 / "My Essen Bride = (God gift tows) and at lower right corner Wits mac love (Fo the smother ef many sce daughters) Tend sis record of the cherie cil-wife married ‘my Ewen i 18th year, Colaghi blindstamp race: 31.224 em (2% 97% in) MOUNT! 481% 43 em (18% x 16%.) provenance: Ande James, 084 lorwen paints: AIC 1998357 (inscription boy JMC states thatthe subject was marred [November 8, 869, and cht the pictre isdated November 5,869); AM; HRHRC .964:0037:0074 (inseibed by IMC: Dora) and 964:0037:0004 (cabinet); VAM. Miniature Album 75.38.48; Mia Album, 1. 48; NPG xa806s (cabinet) and 38066 (ede; PMA pr-g-no (carbons RPS 2209/1—2, 20384, and 259/t~4; UCLA [Aubrey Ashworth Taylor Album, no. 124 arenonucen: Gesnsheim 194, pl. ‘Ovenden 197, pl. 4; Mallgan eal. 1994 pa Weaver 1984, p 3; Cox 1996, 7.7 Wal 998, pl. 30 Women gt12 95 194 195 ‘My Ewen's Bride of the 8th of [Annie Chinery Cameron) [Annie Chinery Cameron) November 1869 {1869} 1865-70) Annie Chinery Cameron "Thecnas Welter Vuarara9e 1869 ‘Michael Mattis and Judith Hochberg (Mia Album, no. 46) 7 co 99 [Annie Chinery Cameron} Violet Rebecca atthe Well {1860-70} Aanie Chinery Cameron Aanie Chinery Cameron AIC 998.243, [1869-70] 869-70] RPS 2238/2 RPS 2031 JULIA MARGARET CAMERON19 twscnteriows: Recto mount in ink by JMC: ‘My Essen Bride ofthe 18th of November 1853 mace: grr az. gem (2%x 8% in.) MOUNT 35.1% 261 cm (15% x 10% 0.) Provenance: Masia “Mia” Jackson; by escent to Sotheby's, Belgravia, June 28, 1974 lo 27; private collection; present owners, 1990 loruen eminrs: IUAM Minituce Album 7538495 NMPFT 1995-5055/3 RPS 29/1 Gnscribed by IMC: The Bride) and 2019/2 (arched top inssibed by JMC: Dora as he Bride) epronucen: Ovenden 1975, p15 Weaver 198, p. 77; Hopkinson 198, p. 175 ‘Maligan etal. 1996, p- 4; Wolf 998, p. 70 tnesenteriows: Recto mount ia ink in an unknown hand a lower right: Mor. Een Comeron tiace: 30.8 25.4.0m (210 in) 6 sont 35 «395 em (137% 1% in) {[St. Cecitia] provenance: Janet Lehr, In., 2008 ‘Annie Chinery Cameron serxopucen: Lehr 1986p 701 [1869-70] 195 HREIRC 964:0037:0075, insenierions: Recto mount in penciin an ‘unknown hand: mnie: Cameron Daughter in aw; Colnaghi blindstamp MAGE: 34:6 x 344 cm (13% 9% i.) oun: $8.4 46.3 om (23x18 Yain) PRovENANCE: Nevinson Bequest, 1990 196 inscezPrions: Recto mount ink by IMC: From Life Registered Photograph Copyright Julia Margaret Cameron 1 Mr, Essen Hay ‘Cameron and in pencil in an unknown hand below: Se Cee [re] and in ink by IMC at lower right corner: given te Philip ‘Norman (brother of Charles Nocman} ‘by Mrs. Cameren 1873. ug; Coloaghi blindstamp aoe: 3334.6 em (15 9Me in.) MOUNT: 53.2 gu em (20"% > 16% im) PaoveNanee: Helmut Gernsheim ovnne paints: RPS 23648 7 twvsent#rtons: Recto mount in ink by JMC: From Life Registered Phtegraph Copyright Jilia Margaret Cameron laos: 354% 35.40m (5 UN: 4483353 6m [Zuleika] Provenance: Brat of Vanessa Bell, 1998 Annie Chinery Cameron ben) HRHRC 964:0037:0010 98 twsenterrons: Recto mount in faded ink by MC: From Life Repsterad Photograph sapyrght Julia Margaret Cameron snd in pencil below: Vil; patil Colnaphi bMindstamp OMAGH: 35.6% 26.5 cm (15% 10%.) MOUNT: 46.1% 363 em (18% 14% in) Paovenance: Gift of HS, Marflee, 193 ‘oniten Paints: RPS 2338/3~4 (carbon); TAM Minature Album 7538.6; MPAB 42.344 (carbon); NMPFT 1939-156; TRC 384 9 rsorterrons: Recto mount in ink by JMC: rom Life Reitered Photograph Copyright Inia Margaret Cameron Fresboater 1 Rebecca atthe Wall renee: 353259 em (15743 10% in) MOUNT: 48.4% 38.2 em (ton 15 in) provenance: Unknown tsenterrons: Recto mount in pencil in an unkown hand: lie Margaret Cameron «.18y2 1 Rachel at he Well Annie Cameron) carbon print Inenoe: 52.5% 24:6 cm (129% in) oun: 487 39;3€m (19% 57m) mepiust: Carbon Paovenance: Helmut Gernsheisn lorwen raiwrs: AIC 1998.22 inseribed bby IMC: Zukita) Lord Lichfield inscribed by JMC: Mr. Ewen Hay Cameron | at Zaeiba RES 233/45 (carbon); VELA Ph 23-1939 (nsribed by JMC: Zaita | Mrs. Bsn Hay Cameron) wit nernonucen: Weaver 1984, p. 127 Women 193194 Zuleika Annie Chinery Cameron October 12 JPGM 84.x01.49352 205 [Group] Unknown boy, Annie Chinery Cameron (3870-721 SMA 9430.083, JULIA MARGARET CAMERON Balaustion Annie Chinery Cameron October 1874 AIC 998.351 206 [Annie Chinery Cameron] [1870-72] RPS 2356 203 [Balaustion} Annie Chinery Cameron [October i871) RPS 2260 207 [Annie Chinery Cameron] July 3873 Paul and Prentice Sack{Group] ‘Unknown gel, Annie Chinery Cameron, known boy [870-72 MDO po 1984-19 208 la (uty 873] RPS 2343, je Chinery Cameror rnsentertows: Recto mount in ink by JMC: rom Life Regicered Photograph Copyright Julia Margaret Camarom Oct 8p Zale CColnaghi blindstamp oeAoE: 33.9 «26.7 em (15% 10% in.) MOUNT: 46.1% 38.6 em (18/415 % in.) PRovENANce: Samuel Wagsta J, 1984 (OTHER Paints: AIC 1998.50; RPS 2352 rwsenterrons: Recto mount in ink by IMC From Life Regiered Photograph Copyright Isla Margaret Cameron —Frethsater Ost ir | Balsucion ener: 327 263 em (12% 10% 0.) MOUNT! 4431353 em (177x354) paovenance: Estae of Vanessa Bell, 998 295 rsonteriows: Recto mount lithographed facsimile inaription by JMC: Frm life capyright Julia Margaret Cameron mack: 33.5365 em (45% 197% i.) Moun 50% 38.¢m (19/4% 4% in.) provewance: Unknown Ack: 9.28.9 em (3% 3% in.) sepium: Reduced, abinetsized print Provenance: Harty H. Lunn, Jes gift ofthe Society of Friends of the Musée Ory, 1984 ores: This is a reduced prin from a larger ‘orginal negative, which doesnot suriv 205, rnsentertons: Recto mount in ink an unknown hand: Mrs, Ewen Hay Cameron Ince: 15.3 10.8 em (64% in.) over 1.713: em (6% 5% im) PROVENANCE: Harry H. Lun Jes gift of Janos Scholes, 1994 206 IMAGE! 285% a8 em (a MOUNT: 49 39.2 em (9 provenance: Gift of A. L. Coburn, 1930 207 nseaspri0Ns: Recto mount in ink by JMC: From Life Reistered Photograph copyright Julia Margret Cameron Frhoatr aly 13 ‘and at lower rghe corner: Fr our Duy [Cameron's daughter, Julia]; Colnaghi blindstamp: verso mount in pencils Ep and s/s rmuaes: $2.4 27.8em (12% 107% in) MOUNT: 456% 38 cm (r7"%nx 14%.) Provenance: Thackiey & Robertson, 19785 Jan Leona Tey Tne New York, 2002 ann Jerry Peis Hans P. Kraus, aot roenok: 35.9285 m (41% in) MOUNT: 48.9385 em (29151) PROVENANCE: Gift of Mrs, Beatrice Trench, 039 Women 195196 [Annie Chinery Cameron] laty3-78) WCP 38:3547 Suspense Kate Dore 1864; copyright October 10,1854 JPGM Overstone Album 84.X2.186.58 Joy Kate Dore 1865 JPGM Overstone Album 84.x2.185.5 23 [Emma and May Du Maurier] Lusya] RPS as8 JULIA MARGARET CAMERON a [George and May Du Mausier] (s874] RPS 2001 3 [Emma, May, and George Du Maurier] los74] RPS 2159Ophetia Kate Dore (4864-66) Present whereabouts unknown a6 Lady Elcho as a Cumaean Sibyl 165; copysight July 18, 865 JPGM Overstone Album 84.x2.186.89 209 rnsenterrons: Recto mount i inkin an unknown hand: Mr. Ewen Cameron HAGE: 4430.9 em 15% 8%) Moun 34x 40cm (43"/0 x17 in) PROVENANCE: Sotheby's, London, October 39,198, lot 15; Mack Lee, 1988 insertions: Recto mount in ink by JMC: FresbWater Kate Doe 1864 J Suspene and a upper right comer: 59 sence: 25.4 20 em (10 7% in) Mount: 338 282 em (7x 1Ye in) PRovENANCt: Sotheby's, Belgravia, June 26, ropsylot 45: Daniel Walf, 984 lornen paivrs: HRHRC Thackeray Albus y6azosz:o0n4; Lindsay Album, 20. 67: IMM 13965 001768; NMPPT Herachel Alum 198¢-5017/35 nepnopuceD: Ford 197s . 8; Weaver 1986, Pte snscmtprions: Recto mount in ink by IMC: ‘FrshWater Kate Dore 1865 ey and at ‘upper right comer 74 Mace: 248 «19.6 em (9% x 7%e in) oun: 33.9% 39.1 6m (43% 307/sin.) PRovENANct: Sotheby's, Belgravia, June 26, tops lot 4; Daniel Wolf, 1985 OvHeR rains: VBA 44663 and 44781 epnopuceD: Weaver 1986, p73 ons: Reto mount in ink by JMC: Ophelia / Julia Margaret Cameron; Colnaghi blindstamp Mace: 352 1938 em (9!%nx 7 Ye in) oun: Unknown provenance: Sotheby's, London, October 29,198, lot 233 25 snseatertows: Partial Colnaghi blindstamp, suack: 333 x36. em (43% 10% in.) Mount: 49.8 x30.2.6m (9/157 in.) Provenance: Gift of Me. Beatrice Trench, 1929 tnserterrone: Recto mount in pencilin an ‘unknown hand: Gai Maurier © cil, partial Colnaghi blindstamp G8: 34:6 «2658 em (3% 10% in) MOUNT 46 34 em (18Y-% 12% in) Pnovexance: Gift of A. L. Coburn, 1930 repRooucen: Weaver 198, p. 84 as rnsenierons: Partial Colnaghiblindstamp DEAGE: 343% 28.9 cm (195 10%.) ous so 408 cm (19% x 167%.) PaoveNawce: Gift of Mrs. Beatrice Trench, a6 rasertprions: Recto mount in ink by JMC: Little Holland Howse Lavon 1865 / Lady Elbo I a1 a Cumean Sybil ic] and at ‘upper left comer: Mace: 268 22. 6m (0% 8% in.) MOUNT: 55.9% 39.8 em (13% 27% in.) PROYENANCE: Sotheby5, Belgravia, June 26, 1975 lo 4s; Daniel Wolf, 1984 loraen raiwrs: Lindsay Album, 20.4 RPS 2035 nernopuce: Weaver 1986, p.9t Women 197[Mary Fisher] {ot6sh copyright June 30,1654 AIC 1998-274 {Louise Beatrice de Fonblanque] (868) Present whereabouts unknown ™ tsemiprions: Recto mount in ink by JMC: From Life Jala Margaret Cameron! Lady Ee | a tbe Cumcan Sybil (ic) and lower lfc corner: 5/[ shillings) nant: 25.2 30.4 €m (g%ex 77 in) ous: 54. #36 cm (9% 0% in) PROYENAWcE: Gift of the at September 27, 16s epnopuceD: Weaver 1984p. 95; Wolf 998, P67 Igor: 27.3 x2355€m (10% 8% in) vaoveNanet: Unknown 29 1nsemrerioNs; Reeto mount in ink by IMC: Losn of Lite Holland House May 1865! Lady Elbe A Danterue Vision and upper lef commer 1p mace: 25:8 2.6 em (10x 8% in) MOUNT: 33.9 38.3 em (3/107 .) PRovENANCE: Sotheby's, Belgravia June 26, 1975 lo 4s; Daniel Wolf, 1985 orien pnisrs: BLUO Henry Taylor Album, 10.75; Lindsay Albarn, 20.34 epropucen: Weaver 1986, 7 par Cox 1996, race: 35 0.3 6m (9% 7%e in) MOUNT: 44:36. 6m 071370) rovewanct: Estate of Vance Bel, 1998 orien rainrs: BLUO Henry Taylor Album, ‘no. $6: GEH Watts Album 70109-0025 (rectangle); Mia Album, no. 1 (arched tops PMA 68-36-35 TRC ssp serRooucen: Ovenden 1975, pl. x5 Muligan tal. 19945 7-53 tsenterrons: Recto mount in ink by JMC: rom Life Julia Margaret Cameron renae: 34.7% 27 em (35% 20% in) MOUNT 44335. em (477335 % in) paoveNance: Hamill ind Barker, 1968 ‘ornen Paints: HRHRC 96430037:0026 (cd; RPS 2144 nance: 33.46% a5 cm (9% 9% in) MOUNT: 44.3353 6m (17% x15.) rnovenawe: Aenold Crane, 98 lOTHen Pains: NPG xifots and xi8o83, RPS 2349/1~5; WCP 904343 nernopucen: Gernsheim 1948, pl. 5: Gernsheim 975, p. 130; Wolf 1998, pl 8 a rscrtrrions: Colnaghi Blindstamp; verso ‘mount in pencil ia an unkaown hand: Mary Fiber 867 Mace! 26,5 «19.2 em (10% 7% in) oun: 383 38.3 em (ta tein.) PwoveNawer: Estate of Vanessa Bell. 1998 a rnseaterions: Colnaghi blindstamp rneaor: 33 «265 em (23 «107% in) oun: Unknown PROVENANCE: Sotheby’, Belgravia, March 27, 198 Lo 479 Women 199Louise Beatrice de Fonblanque (863) Present whereabouts unknown 26 Miss Louise Beatrice de Fonblanque March 1868; copyright March 3,188 V&A Ph 28-1939 [Louise Beatrice de Fonblanque] March 1868; copyright March 3, 1868 VHM Ph 2609 29 Aged 94 Taken on the Anniversary of her 72d Wedding day Sarah Groves (486s); copyright August 41865 JPGM Overstone Album 34.x2.16.63 JULIA MARGARET CAMERON 230 [Blanche Vere Guest] [October 864] BLUO Henry Taylor Album, no. 5 a {Caroline Emilia Mary Herschel} L867] copyighe Apri 9,867 JPA 843496[Christiana Fraser-Tytler] (1864-65) VBA Ph3sri98 a Carry Herschel Caroline Emilia Mary Herschel Lo86zk: copyright April 9 867 NMPPT Herschel Album 1984-5017/64 2s snesentertoNs: Recto mount in pencil by IMC: Louie Beatie de Fonblangues Colnaghi blindstmp since: 3406265 6m 157% «10% im) own: Unknown PRovENANCE: Sotheby's, Belgravia, December 4, 1973 lot 67 26 tnsentertons: Recto mount in ink by JMC: ram Life ten atthe Suth Kensington Museum March 88 alia Margaret Cameron 1 Min Leute Beatrice de Fonblangue "aeaoe: 33355 em (13x10 in) MouNT: 40.7332 em (6x15 in.) noveNance: Gift of Me. Perrin, 1939 ‘oriten paints: FAMSF 192.138 NMPFT 9394/5; VHM Ph 26:0 repnooverD: Bruson sof pl. 21 oy insertions: Recto movnt in ink by JMC: From Life March 168 Julia Margaret ‘Cameron snd at lower lef commer 17 e809 ‘mount wet stamp at center: Ville de Paris Havteville | Hens 1 Guernicy and in pencil below: 2 [all within stamp] ttn: 34.5 265 em 13% x 107% in) MOUNT: $7.9 #385 em (4% 170.) PaoveNance: Vitor Hugo, by August 4, 1870 nepnopuce: Bruson 1980, pl. 20 rsserterons: Recto mount in ink by IMC: Fram Life ua Margaret Cameron Colnaghi bindstamp tae: 26.4% 22. €m (10%% 8% in) oun 3825 38cm (5 asin) Provenance: Undocumented gif, 194% ound in museum vault, 1965 lorwen rnisrs: YUBL Gen, Mss. 340, Vol. 0.34 29 ivsceterions; Recto mount in ink by JMC: “Aged 9g | Taken on te Anivesary Jf oy pad Welding dey, Colnaghs blinds IMAce: 24.8 19.5 em (9¥/% 7"%a im.) MOUNT: 33.9% 294 6m (13% 1% i.) >provenancs: Sothey', Belgravia, June 36, ops lot 4; Daniel Wolf, 1084 lonnm rnusrs: Lindsay Album, no. 66; Via 44.957 neenopucen: Weaver 1986 p. 85 a0 rnaack: 35.5 20.9 cm (to x8 oun: 3427.3 €m (1374 10% in) PaoveNance: Bequest of the Taylor Fai 1930 ornen raiwrs: Private collection, United Kingdom (inscribed by JMC: Registered Photograph Prerboater Ort. 15 / For Blanche ftom ber iond ula Margaret Cameron) ar nseaiPTions: Recto mount in ink by JMC: From Lift Jali Margaret Cameron a in pencil in an unknown hand a lower right corer: Hon. Mr. Gordon / taken at Callngsond, Colnaghi blindstamp nace: 18.34 13.3 0m (751 MOUNT: 382% 285 em (45 «187% i.) PROVENANCE: André Jammes, 1984 lorwen paints: BLUO Henry Taylor Album, 0.58 Co rnscaseriows: Recto moust in ink by IMC: Carry Herel and st upper right corer: sand in index at rae of slum: Your Carry mace: 8304 em (7% 4% in) ant: 33:7 30.2. (39% 117i) provenance: Sothey', Belgravia, ‘October 18, 1974 lot: NPG; NMPFT, 1983 eexooucen: Ford 1975, p87 Womena ry Julia Herschel Julia Herschel [e86sl; copyrigh July 18, 865 L863) JPGM Overstone Album 84.86.46 JPGM Oveestone Album 84.x2.186.98 a a8 [Mary Hillier} [Mary Hi [1864~65) (1864-65) V&A Ph j4s-t98t Private collection, United Kingdom (Lindsay Album, no. 13) JULIA MARGARET CAMERON as Annie Hill 1864 JPGM Overstone Album 84.x2.186.101 39 [Mary Hillier] (1864-65), Present whereabouts unknowna6 St. Agnes Mary Hillier [3864] NMPFT 1995-soss/ie 240 Maud by Moonlight Mary Hillier (1864-65) Private collection, United Kingdom (Lindsay Albu, no. 73) Insertions: Recto mount in ink by JMC: Isla Margaret Cameron | Jabia Here Sand in pencil in an unknown hand: now Mrz MeClear| IMtaor: 25.6 1 em (10% «8% in.) oun: 34> 28cm (13x 0 in) Provewance: Sotheby's, Belgravia, June 26, 1975 lot as; Daniel Wolf, 1984 OTHER PRINTS: JPGM 84.06.3495: Lindsay Album, no. 92; MMA g1ar6 aepxopucen: Weaver 1986, p. 2 24 snescniprrows: Recto mount in inkby JMC: Jia Herel; Colaaghi blindstamp inod: 36.2 «19.5 em (tone 7a in) ‘Mount: 33.9% 9.8m (3% 10% in.) PROVENANCE: Sotheby's, Belgravia, June 26, 1095 lot 45; Daiel Wolf, 984 orien paints: MMA 41.86 ePRopucen: Weaver 1986, p. 94 35 tnsenterons: Recto mount in ink by JMC: FresbWatr | 186g! Annie Hill and a upper Fight corner 99 IMAGE: 26,9 20.9 €m (10% x8 MOUNT: 3428.4 cm (1% 1h PRoveNaNet: Sotheby's, Belgravia, June 26, 197s lot 4; Daniel Wolf, 984, former raiwrs: Lindsay Album, no 48 nernopuceD: Weaver 1985, p. 94 a6 Inseiiprions: Recto mount in ink by IMC: Julia Margaret Cameron / Se nes and in pencil at lower right commer 10/ shillings; Colaagh bindstamp IMAGE: 333 x 18.4.€m (9x 7%in) MOUNT: 47.8% 36.2 cm (18/5 1474.) rnovenanet: Kodak Company Puschare, 198s orien rains: Lindsay Album, no. 65, RPS 255 (aeched top) nerxooverD: Wall 998, p. 61 Eo inscetrrtows: Colnaghi blindstamp meack: 35.439,7 em (to «7% in) ouner: 395 39 om (5% 307%.) Provenance: Undocumented gif 94, found in museum vault, 1965 28 nese: 25.2 19.9 em (9% ovo: 3428 em (ty 74x 18% i.) PRovenaner: Gift ofthe ats o Sic Coutts Lindsay; by descent within the family 29 awsemipriows: Recto mount in ink by JMC: “Julia Margaret Cameron Colnaghi blindstamp mace: 25.4%19:7 em (to «7m saver: Unksown Provenance: Swann Galleries, New York, April 27, 1999, Tot 9 tsomtetrons: Recto mount in ink by JMC: Maud by Moonlight lia Margaret Cameron and in pens below overwritten i ink by G.F Wass very lovely GFW enee: 2458 419.6 em (9243 71 MOUNT: 34.5 28..em (37x 1 PRovENawee: Gift of the arist to Sir Coutts Lindsay; by descent within the family Women 203204 [Maud by Moonlight] [1864-65] V&A Ph 33981 45 A Vestal Mary Hiller (aR64~ 65) Private collection, United Kingdom (Lindsay Album, no. 59) JULIA MARGARET CAMERON St. Agnes Mary Hillier 164; copyright November 4, 1864 JPGM Overstone Album 8.x2.86.50 246 AVestal Mary Hillier (1364-65) VeA 44.951 3 St. Agnes ‘Mary Hillier 1864: copyright November 4, 1864, JPGM Overstone Album 84.2. 186.33 The Lily of the Valley Mary Hillier 4864-65) VBA 4stHope Mary Hillier 1864; copyright December 12,1864 JPGM Orerstone Album 8432186 80 at ‘The flower Girl ‘Mary Hillier {186s}; copyright July 21,1865 JPGM Overstone Albuen 84-x2.186.105 WAGr: 24:72 19-4 6m "ex 7% in.) Provenance: Undocumented gif 94 found in museum val, 1985 rnsontertons: Recto mount in ink by JMC: FresbWater 18641 St. Agnes and at upper right corner: sr muAgE: 355199 6m (to «7% in) MoDNT 338383 em (Yn n/n.) PROVENANCE: Sotheby's, Belgravia, June 26, 1975 lot 45; Daniel Wolf, 984 lonstee Paints: AIC 1998.260; HRHRC "Thackeray Album 964:0312:0037; Lindsay Album, no. a3 NMPFT Herschel Album ro84sorr/a7, VEGA 4.7 and 44.772 YUBL Gea. Mss. 40, Vol. 2, 20.9 ernopuceD: Ford 175. 60; Weaver 1986, . ts; Hamilton 1996, pl-7 28 rnsonterrons: Recto mount in ink by JMC: FresbWatr 18g! St gnes smanae: 255 x 20 em (ro x74 in) eoUNT: 34% 28. (3/0107 In) PnoveNance: Sotheby's, Belgravia, June 26, 1998 lot 4 Daniel Wolf, 1984 ‘orien pains: HRHRC Thackeray Albarn 640312100495 Lindsty Album, no. 1315 NMPET Herschel Album 1984-50175 VA 44.751 nernoouceD: Ford 1s. 36; Weaver 1984, rah; Weaver 1986, p77 :nseniptions: Recto mount in ink by JMC: Fresher 186g] Hope and at upper sight commer: Bo 33.7 20.9 0m (97 BY in) MOUNT: 33.939.1€m (3% 11%e im) "ROYENANCE: Sotheby's, Belgravia, June 26, 1975 lot 4 Daniel Wolf, 984 arpnopucen: Weaver i986, p89 as snvscaiprions: Recto mount in pencil by IMC: 4 Fetal and in ink a upper right ‘comet 59; Colnaghi Blindstamp smack! 34.6549. 6m (9% 7% in) oUNT: 54> 38. cm (037%: 1.) provewancr: Gift ofthe artist Sie Couts Lindsay; by desent within the family lorwen rains: LI tr 83,2010; private «allection, United Kingdom; PSU 969.003 a6 rsentertons: Reeto mount in ink by JMC: Julia Margaret Cameron 1A Veta National ‘Are Libraty stamp above image; Colaaghi blinds taeaoe: 21.1% 19.5 em (87%. 7% in) MOUNT: 38286 em (14% in.) PnovENANce: Purchased fiom the ats, Jane 7, 865 orien prints: V&CA 4496s; BLUO Henry ‘Taylor Album, 20.83 nernonvce: Weaver 184, p12 a7 tnsemprions: Recto mount i ink by JMC: From Life Julia Margaret Cameron / The Lily of the Valey andi an unknown hand at upper left corner: Studies for Painting: Colnaghi blindstmp Mace: 333: 206m (9% x77.) MOUNT! 35.7 36.6 6m (35/2 107% i.) PROYENANCE: Gift of the artist, September 27,1865 ovven paints: Lindsay Album, no, 136 28 swscaseriows: Recto mount in ink by JMC: ‘Te ser Girl and at upper sight corner re: partial Colnaghi blindstamp IMAGE: 24.919 em (9% 7% im) oun: 336% 36.4 em (33% 10% in.) ProvENanct: Sotheby's, Belgravi 1975 lo 4s; Daniel Woll, 1984 forwen pasts: JPGM 84.26.445-45 BLUO Henry Taylor Album, no, 24; NMPPT Herschel Album 19843017/47 (ovals, private collection (o)s UCLA Aubrey Ashworth Taylor Album, a0. 4 (ovals WEP 89:39 (oval) azpnopucen: Ford 1975, p70; Hopkinson 1986, p. 295 Weaver 986, p. 95 Women 205206 Peyche Mary Hillier [1864-65] GEH Sr:tat:ooar 253 Sappho ‘Mary Hillier [486s]; copyright November 2865 MMA 199738339 JULIA MARGARET CAMERON ep » # 350 [Mary Hillier) [1864-6] Pretent whereabouts unknown 54 [Sappho] Mary Hillier [1865] JPGM 84.x0.46359 a (Mary Hillier} (1864-66) LCL, no. 4 25 Clio Mary Hillier May 866 RPS 2399a [Sappho] Mary Hillier [:86sh copyright May 1, 1865 V&A 44.753 a a6 [Mary Hillier] (2866) Present whereabouts unknown 9 inscrtertons: Reeto mount in ink by JMC: From Life not enlarged Julia Margaret {Cameron and in pen below: Pace and in ink orth Signor I fm JCS, Colnaghi blindstimp oanok: 33.3246 em (15% 9"%in) own: 57.9 x 46cm (28% x 18% in) PaoveNance: Gabriel Cromer, 1939; gift of| Eastman Kodak Company, 1949 50 inscrterons: Unknown, Inenor: 33.5 1g em (9% 7% in) moun: Unknown Provenance: Christie's, London, March 20, 1980, lot 326 a nents 35.5285 cm (15% 28% im) Mount 45> 33m (77"e x13 in) Provenance: Unknown ernopUcrD: Weaver 1984 p.37 2 ivsenirrrons: Reeto mount in pencil in an ‘unknown hand: Sappho ened: 26.0313 em (10% 8% in) MOUNT: 388 39.5 scribed by IMC: Maud), JUAM Miniature ‘Album 7538.79; WCC Miniature Albus, no. 1s JPGM 8420.45. (inscribed by JMC: Adriane); MFAB 1987499 (nseribed bby IMC: Adriana); Norman Album no. 20 ‘Gnscrbed by JMC: Adriana) peivate collection (eds); VLA Ph 943-913 Gnscribed by JMC: Adriana); YUBL Gen. Mss. 340, Volt no. 26 (inseribed by IMC: Gio) rpxopueen: Weaver 1984 p. 125 Hinton 199% 59 236 nsentrtions: Recto mount in ink by JMC: rom Lifergiterd photograph Julio. ‘Margaret Cameron MAGE! 33.9% 25.6 cm (15% 10%a ia) oun: Unknown Provewance: Acthur Lister Women 207208 257 38 [Call Follow, I Follow. Let Me Die] The Dream Mary Hillier oie ane 1869; copyright March 6, 1869, L867; printed 170-73] April 1869 VHIM Ph asoo JPGM 84xm.349353 WEP 975656 Pa a 6 (The Day Dream] [Mary Hille] (Mary Hiller] Mary Hillis 1866] [1869-70] real YUBL Gen, Mss. 40, Vo 3 folder 27 NMPPT 1y90-sos/nia NPG ato JULIA MARGARET CAMERON260 The Lady of the Lake Mary Hillier [1869] VHM Ph aso 264 "The Angel atthe Tomb Mary Hi [n870}; copyright April 6,70 JPGM 84.01.4456 257 rwsemiprions: Recto mount label a lower ight comer 20; verso mount in pencil in san unknown hand: Call Folin 1 Foo Let MeDie Hace: 35.6 270m (44% 20 oUNT $5.6 45.6 em (21% 7 sroiume: Carbon. Provenance: Andeé James, 984 ones rains: HRHRC 964:0037:0105, (carbon); MFAB 42-352 (carbons PMA. 7-5-6 (carbon); RPS asi (carbon; inserbed by JMC: Gull I Fallow, {Fallow Let Me Die) and 23/2 (catboa); VBA. Ph s-1939 (carbon) ievkopucen: Gernsheim 975, p. 165 Weaver 198, p. 63; Weaver 1986 p. 46 Wolf i998, pl. 1; Lukish 200, p. 89 in) in) 28 rnserterrons: Recto mouat ia ink by JMC: From Life Registered Photograph copyright Jhlia Margaret Cameron Fresbsater “April 1969 1 The Dream and in pencil below: £7 nepatve injured and lithographed facsimile ineription below: uit divine / GF Watts; Colnaghi bindstamp raeack: 30.5% 24cm (129% in) MOUNT: $8.2 46.2 6m (2374.18) PaoveNawce: Rubel Collection; Hans P Kes, Je 1997 ‘oruen Paints: AM; HRHRC '964:0037:0024; IUAM Miniature Album 753863; MEAB 42350 (carbon); Mia ‘Albuen, no. 0; NMAH 4u61.25; NMPFT 1929-324; Norman Albin, no. inscribed by MC: Phe Dream ! Seu for Mary Hillier | Me tought Lats my late ponied ‘sant; pivae collection (ed RDS ai83/ 17 (albumen and carbon) and 23650; V&A Phosr-9 nernopuceD: Boot i890, pl 4; Emerson 8a . sts Gernsheim 194, p50; Ford tops. 231 Geroshelm rps, p 1; Ovenden 197s pl. 3; Weaver 1984, p. 6o; Hopkinson 1986, p. as; Weaver 1986, p. 40; Mulgan cexal. 994, p- 44; Wolf 1998, p35 Lakioh 200% p 105, nsenterions: Recto mount in ink by MC From Life Regitred Photograph Frehoater 1869 Julia Margaret Cameron and at lower lefe comer: No.0 mace: 25 19.9 em (9% 7% in) MOUNT 57.9% 28.4 6m (14"Zi< 1% in) brovenance: Vitor Hugo, hy August 4, ‘70 ovwen pains: RPS sii eexopucen: Bruton 980, p10 60 ansemtertons: Recto mount in ink by JMC: From Lif Registered Photograph Copy right lia Margaret Cameron an in ersed pencil: The Ledyof he Late and in ink at Tower lefe comer: No. rr; verso mount wet stamp at lower right commer Vile de Pais! Hauteville House 1 Gerniry and in pencil ‘below: 10 [all within stp] Inwaoe: 25.3 + 30.1 em (9% 7%) MOUNT: 38.1% 28.4 em (15x17 .) provexance: Vielor Hugo, by August 4, 870 ‘oniten raiwrs: Private collection (cds) ePKopvexD: Bruson 1980, pl. 9 26 insenterions: Recto mount lthographed facsimile inscription by IMC: From Life ‘epyright Julia Margaret Cameron verso mount in pencil in an unknown hand ‘Mary Hiler and wet starap at lower center: Preented by Mrs. Carle nace: 1.59.4 €m (9% 5a in) MOUNT: 16.4 10,7 €m (6%x 47 in) eprust: Cabinet card Provence: Presented by Mr. Cue, 1959 ae ansenterions: Recto mount in ik in an unknown hand: From Life Reitered Photograph Copyright alia Margaret Cameron Fredrater;Colnaghi blindstamp mace: 345% 20 0m (92h 774in.) MOUNT: 37.8285 em (14 410% im) PROVENANCE: Gift ofthe ats tothe ‘Tennyson family, by descent within the ‘Tennyson and Prins families; Colonel E.S.M, Prnsep, 949 263 rsentertows: Recto mount lithographed facsimile inseription by JMC: From Life Copyright Julia Margort Cameron MAGE: 1.6 «9 em (47% 3% in.) MOUNT: 17% 113 cm (69% 4.) Meprum: Cabinet card Provexance: Kodak Company Purchase, 108s 64 insertions Recto mount in nk by JMC: rom Life Reitred Photograph Copyright alia Margaret Cameron Frechsater 169 The Angel atthe Tom Colnaghi blindstsmp mance 34.5% 253 (0) %ex 9% in) MOUNT: $446. em (351184 in.) PROVENANCE: Sotheby's, Belgravia, June 2, x74 lt 3a; Samuel Wagataf, Je 108 ‘ormes pairs: JPCM 84.x0.43.58 (ascribed by JMC: 170); AIC 1998.96; FAMSF 1985 100.0 (reduced, cabinet- Continued on p.21¢ Women 209as {The Angel at the Tomb] Mary Hier 187 VE Ph a6or 269 Mary [Hillier] 3 RPS as60 JULIA MARGARET CAMERON 266 2 [The Angel ar the Tomb] [The Angel at the Tomb] ‘Mary Hiller Macy Hillier L870] [ss70) RPS 2290 RPS aape/t, 270 m [Mary Hillier] [Mary Hillier] spl (sr) RPS 33647 RPS 223268 ‘The Angel at the Sepulchre Mary Hille {1869-70} HRHRC 964:0037:0089 a [Mary Hillier] Los) CCVA to76.140 Continued from p. 209 sized print GEH 81:2124:0009 (inscribed by JMC: Gad glory smote ber on he face for Me Wade rent by bis end mater ‘wit lowe / (a corenton of prtual nartly Hight playing over the bad sn nyt ightning flash of lr) HRURC (95400572035; MFAB 42.35 (carbon) MM rie 2965 201 765: NMPFT 1939-15 IPS 2389/im12 and 230; V&A 62749-1990 (photogravure); VM Ph 2600 sepnopucen: Brason 980, pln; Weaver vp $9; Lukish 1986, p 2; Weaver 1986, p. 47; Cox 1996, p. 79; Hamilton 1996, plat; Wolf 998 pl. a; Lukitsh 2000, P.t05 ores: Although this prin was dated 1869 by JMC, most others are dated so, 26s nseateri0Ns: Recto mount in ink by JMC: From Lif Reitered Photograph Copy right Jilia Margaret Cameron Fredroater tye Colnaghi blindstamp: vers mount wee stamp at lower right corner: Fille de Paris / Hauteville House | Guernsey and in peneit below 2 [ll within stamp and in ik in an unknown hand above stamp: Mary don Hier as The Angel atthe Tomb 190 wack: 323% 24 em (12% 9% in) MOUNT: 3828. cm (14% 1% im.) Provenance: Vitor Hugo, by August 4, 170 ‘and a lower lef commer No 6 seeovuer: Brason i980, p12 66 nseatertons: Recto mount in ink in an tanknovn hand: Prom Lift Regitoed Phrtograph copyright Julia Margaret Camron and in ink by JMC 3 lower left corner 16/ [6 shillings] AcE: 33.6% 24.7 em (7% 9%e im) MOUNT: 58.3% 46.2 em (22°78 Yori.) Pxovexance: Gift ut Mes. Beatrice Trench, 1929 q rwscatertows: Colnighi blindstamp raaek: 343357 m (15% 40% in.) oun: 493% 38 em (ty? 34% in) Paovenance: Unknown ‘ores rniwts: Private collection eds) 268 tsentertows: Recto mount in ink by JMC: From Life Registered Photograph copsright Jia Margaret Cameron Prater! The “Angela the Seplere J comparison picture te “The Angel ofthe Tomb" a gift to WB Rawocley / fom Julia Margaret Cameron tnd lithograph facsimile inscription st lower sight corner: very beeuifl/ none dtter C.F Wats, Colnaghi blinds race: 3653 % 27. em (igs 10% i.) MOUNT $4 46. em (95 «18% in) Povenanecr: Helmut Geensheim loruter pairs: AIC 1998.85; CAT 1999.1 (inscsibed by JMC: a compensation given to Amy Lack by Mrz. Cameron with br love tnd lithographed facsimile inscription: very Peawtifd I none better! G. F Mit), EAM. “Miniature Album 7.8% RPS 280; VBA Ph o36-rot5; WCP B4:0986 serkoovern: Gemsheim 948 pl. Gernsheim 197, p. 131 Weaver 1 Weaver 1986, p. 4s Wolf 1998, plat wy tnsenterrons: Recto mount in ink by JMC: From life Registered Photograph Copyright Fresbsater 157 | Mary ad i ink in childlike hand: Henry Hertbe Flay ‘Cameron; patal Colnagh Bindstamp Hace: 365% 273 em (14/4 «10% ia.) MOUNT: 48.6% 39.4 em (49/4574 i.) novenance: Unknown ‘orien pains: RPS 2308 70 rnsenterrans: Recto mount in ink in a unknown hand: Mrs. Cameron’ made! aeaoe: 52.4% 26,5 cm (12/4 10% in.) Mount: 54.2378 €m (at 147m) Provenance: Unknoven loruer paints: HRHRC 964:0037:0093 >” insentertons: Recto mount in peril in aa unknown hand: Misr Pipa Mr. ula Cameron 1 rneaons sp 281 em (eg icin.) Mount: 47.4% 366.m (8% «1474 in.) ProveNavet: Gift of Ms, Beatrice Trench, 939 nernoovcen: Weaver 198, S$ m rwsonte rons: Recto mount in ink by JMC: Iilia Margaret Cameron I Fram Life Reistered Phlograph Yount: 35.7 25.5 em (tao 9% im) mount: 444355 6m (77 15% in.) PROVENANCE: Thackrey & Roberton, April 7.1976 Women aEe [Lady Hood] Lisz0] RPS sas/t 7 [Miss Huth] (April s868] HRHIRC Thackeray Album 964:0312:0056 JULIA MARGARET CAMERON m4 5 [Lady Hood] Lady Hood & her Children i Mabel Hood, Lady Hood, unknown ge RPS az22/t Las68-72} RPS n/t os » Mary Jacqueline James alia Jackson} October 14,3870 (54) Present wheresbout unkown AIC 1998.87a6 [Miss Huth] April 868 Pretent whereabouts unknown, ao Julia Jackson) (864) V&A Ph 208-1969 Pa rnsent tows: Partial Colnaghiblindstimp, nen: 35.3% 27.3 6m (197% 10% in.) Moun: 482% 378 em (18% 14% in) Provenance: Gift of Mes. Beatrice Trench, 1939 Conve pains: RPS a233/3-5 a4 InsonterioNs: Partial Colnaghi blindstmp menor: 28 238 em (11x97 in.) MOUNT: 46.5% 34:16m (18 197i.) PROVENANCE: Unknown Corner Pairs: RPS 2322/2 Noms: See eat, no 74a tthe end ofthis chapter, which is another piture ofthe subject made atthe same sting. 4s rmescazpTions: Resto mount in ink in an unknown hand: From Life Regitered Photograph Copyright Julia Margaret (Cameron and in pencil by JMC below: Lady Hed © ber Children mace. 35.2% 278 em (332% 10"% in.) MOUNT: 47.7375 €m (18% 14% in) ‘kovewance: Gift of Mr. Beatrice Trench, 129 svsentertows: Recto mount in ink by JMC: ‘From Life Fredhoater April 1868 Julia ‘Margaret Cameron; Colnaghi blindstarmp mace: 337354 m (7 %x 10 in) Mount: Unknown bkovenance: Christe’, London, March 26, 1983 lot 187 7 rwsertertows: Recto mount in pencil ia an unknown hand (posibly by Helmut Gernsheiml: Mis us race: 30.8% 35.6.m (349% in.) owner: 35.235 cm (337% 9°% in) Paovexance: Presented by Hester ‘Thackeray Fuller to the Gernsheim Collection, October 21953 a inseatrions: Recto mount in ink by MC: From Lif Registered Photograph Copyright Lilia Margret Camarom Frboater Oc 4th 1870 / Mary Jacquie James, Colnaghi blindstamp raat: 35 263 em (33% 10% in) mown: Unkaowa PROVENANCE: Sotheby's London, November 18, 1977, lot 282 ” ixseniertons: Colnaghi bindstamp raenoe: 17.2127 6m (6% x5 in) MOUNT: 36.4 26.2 cm (13% x 10%.) Provenawer: Este of Vanesta Bell, 998 fo tscaie tions: Colnaghi blindstamp Imeack: 245319 em (974% 7a.) MOUNT: 38.1% 285 cm (i5*10%5 i.) »rovenance: Unknown loriten Pants: V&cA Ph 23-1969 (arched top); AIC 1998275 and 998.207; Mia Album, no. 30 epnopuiceD: Woolf and Fry 1926, pl 1 ‘Ovenden 197, pl. 84; Mulligan et al. 2994, PP. 20,36 Women 2x32 a a [Julia Jackson] AStudy (Julia Jackson] (864) aa (e864) JPGM 840.2199 (864) AIC to8.a MMA grata 285 286 287 {Julia Jackson) [ula Jackson] Uolia Jackson] (6) 1864] [e864] AIC 998.94 AIC 98.77 AIC t998.as2 214 JULIA MARGARET CAMERON284 [Julia Jackson] 11864) RPS 2310 388 Uulia Jackson) [nt64) AIC 1998.95 renee: 24: 19.em (915% 7% 0.) MOUNT: 453 #244 €m (3749745) provenaver: Danicl Walf, 1984 lormer PRINTS: AIC 1970.87 (oval) and 998.292 (oval); HRHRC Thackeray Alburn 164203120013 (val; Mia Album, no. 35 (oval) epnopverD: Ovenden 1975, pl ae rsenterrons Reeto mount in ink by JMC: A Study 1 Not forsale and at lower left IMAGE: 2.82176 em (BY%ex 6%.) our: 34% 28 em (i)! in) PaoveNance: E. P. Goldschmidt 8 Co. 1942 loriten Paints: AIC 1998-3005 Lindsay Alben no. 8 (inscribed by JMC: Study of dn Antique, NMPFT Herschel Albu 1084-so17/4 Gnseribed by JMC: Stay after the manner ofan Antique! From Life) nernonvceD: Ford 1975, p47 33 Mace: 24.2 19.3. (95 7%ecin) MOUNT: 325% 35-70 (183 10% in) ‘provenance: Estate of Vance Bel, 1998 24 insertions: Colnaghiblindstamp MAGE! 352 20.1 (97% in) oun: 48% 33.2 6m (8/4233% in) PRovENANce: Science Museu, London ‘orHER paints: Mia Album, nos. 3 and 39 rexopucen: Ovenden 1975, pl: 6,74 Hopkinson 1986, p.s; Mulligan etl 1904, Ps 285 IMAGE: 23.9 «1.6 em (94 7%) MOUNT: 34% 26.2 em (19 10% in) PaoveNance: Estate of Vanessa Bell, 198 orien Paints: Mia Album, 90.7 nepnoouceD: Ovenden 197s, pl. 7 Mulligan etal i994 pt 286 :Nsentpions: Recto mount in ink by JMC: From Life Reptered Photograph Copyright Ista Margaret Cameron Fresbsater 1 Like sulptare In bono nt to dtr for the ‘rly beloved motor nace: 245%19.7 em (9% 7% in) MOUNT: 44:1% 353 em (701370) provenanct: Estate of Vanesa Bel, 1998 foruen Paints: Mia Albom, no 3 (oval Paul F Walter, 7235 nernopuck: Ovenden 1975 pl. 8 ores: Cat. nos. 86—87 were made From the same negative, In this print Cameron silhouctted the image 27 nsearrtions: Colnaghi blindstamp Mace: 22.1% 17.46% (8x 6% in) MOUNT: 38 285 cm (ogc 10% im) PaoveNance: Estate of Vanessa Bell, 998 raeaoe: 24 38:7.€m (97% «7 %rin) oUNT: 3326 em (1 10" in) ‘rovenance: Estate of Vanessa Bell, 998 Women 2x5a6 289 Julia Jackson} 86a AIC 198.249 a3 [Julia Jackson] [i869 Present whereabouts unknown JULIA MARGARET CAMERON 290 ast Julia Jackson] [Julia Jackson] (i864) L864) JPGM 84.x01. 443-44 AIC 1998.298 294 295 Uulia Jackson] Julia Jackson now Mrs Herbert 1864 Duckworth HRHRC Thackersy Album g64:03ta:00n 864] NMPFT Herschel Album 1984-5017/5289 rnsgcrterions: Recto mount in ink by JMC: From Life Regitered Photograph Copyright Julia Margaret Cameron aniace: 24.8 19. 6m (9% 7% in) MOUNT: 4435.3 em (07239745) PRovENANet: Este of Vanessa Bell 998 290 anseniprions: Vero mount in pencil in ‘am unknown hand: Adetne Vaughan / ee ackion? J Julia Margaret Cameron! 30 RE $200 aiace: 232 788m (9a 7%sin.) aeoun 36.9263 em (4 Ye 10% in.) PROVENANCE: Surnuel Wagstall, J 1984 orn paints: AIC 1970836; Mia ‘Album, no. 1; NMPPT Herschel Album 1984-sor/at azpxopucen: Ford 197s, . 54: Ovenden 1975 ph 36 oo a mace: 20.8 17.9 cm (8% 77a.) [Julia Jackson] provenance: Estate of Vanesa Bell, 1998 ran ‘owes: This print ie from the same negative as cat no. 290, but the bust ofthe sitter AIC geo fastoencaroutand mounted ontop af another, unidentified, photograph a twscaterows: Recto mount in ink by JMC: rom liferegiered photograph copyright Jalia Margaret Cameron aces a5 18.3 cm (9% 7% i.) Moun 44% 354m (17% 13"%e in) Provenance: Hamill and Barker, 1968 loriter Paints: AIC 1998.296; HRHRC ‘Thackeray Album 964:0312:0009; Mia Album, no. 17 (oval) eval. 1994; p35; Wolf 998, ps2 293 rvserterrons: Unknown, MAGE! 35711938 em (10% .¢7"%ein) moun: Unknown PROVENANCE: Philips, Toronto, October 4, wom bs a 7. Ince: 39 xt em 27% im) wa oun ago mem (09% in) Provenance: Presented by Hester ‘Thackeray Faller to the Gernsheim a6 Collection, October 2, 1953 Julia Jackson) orien paints: AIC 1998.78 (cele an ‘Mia Album, no. 5 ce azexopucen: Ovenden 1975 pl 6 nernopuce: Ovenden 1975 l. 4; Muligan 295 tnseaterions: Recto mount in ink by JMC ‘Julia Jackin / nes Mr Herbert Duckworth ‘and at upper sight corer: 5 and in index at tear of album: My nist Julia Maga: 35.120, 6m (97 Bin.) aunt: 33.3333 6m (9% 12% i.) Provenance: Sotheby's, Belgravia, October, 1974 Jot 3 NPG; NMPFT, 1983 corner pairs: AIC 19703833 (oval) and 99840 (sectangle) BLUO Henty Taylor Album, 0. 30; GEH 67:0088:0008, (platinum prin by A. L. Coburn) serkoovceD: Ford 197s, p. 28; Lakitsh 1986, pe 296 tnscatrrions Colnagh blindstamp tntacr: a4.4x pcm (9x iin) MOUNT 379 385 em (4% « Diin) rrovenawect: Ent of Vanesss Bel 998 ‘oven enue Mia Album, nos. 94nd 2 nerrooverD: Ovenden 975, ple Women a7218 297 a8 [Julia Jackson} [Julia Jackson] [Julia Jackson] [e864] {1864}; copyright June 30,1864 [864] AIC 1998.263, WCP 96:5408 Michael Mattis and Judith Hochberg (Miz Album, 20.6) ser sor 03 Unlia Jackson] ‘My Favourite Picture of all my works [Julia Jackson} (07) My niece Julia [Jackson] (67 JPGM Se04435 April 67 AIC 1968-237 NMPPT Herschel Album :984-s017/67 JULIA MARGARET CAMERONAIC 1968.23, 304 My Niece Julia [Jackson] L867] NMPET Herschel Album 1984-so17/68 297 rusenterrows: Recto mount in inkin an ‘unkanown hand: Prom Life Registered Photograph Copyright Julia Margaret ruace: 233x088 cm (9x7 in.) MOUNE: 4453356 6m (7% 14 in) Provenance: Exit of Vanessa Bell, 198 lorwen Pairs: Mia Album, no 25 (printed in revere) nePnopvcro: Wolf 998, pl. ss 298 ‘oeAok: 35.7 20 em (10 4% 7% in) PROVENANCE: Sotheby's, Belgravia, May 2, 1996 lot 76 lornen Prins: AIC 1970.38; BLUO Henry ‘Taylor Album, 00.99; HRHRC Thackeray Album 964:0312:0006; IUAM Miniature Alum 753839; Mia ATbum, no. 2% private collection (abinet) nepoptcro: Ovenden 1975, pl. of “Mulligan eta. 994, p37: WolT 198, ps4 299 enon: 255 20.16m (10 «7/5 i.) MOUNT: $5236.16 (3 Provenance: Mara "Mi Tackson; by descent to Sotheby's, Belgravia, June 2 1974s lot 27; private collection; present owners, 1990 aeenopuceo: Ovenden 195, pl. 40: Mulligan eta. 1996, p50 300 insentertons: Colnaghiblindstamp Ineaoe: 25.823 em (10% 8% in.) MOUNT! 44.1% 353 €m (704137450) Provenance: Haaill and Baker, 1968 ‘ormen rains: NMPFT Herschel Album 98-s017/9 epnapvce: Ford 197s, p. $2 rnsentrrions: Colnaghi bindstamp; verso ‘mount in pencil in an unknown hand: Original photograph of Bernice Julia Jackon ens InaACE: 26.6 22 cm (10% «BY in.) MOUNT! 44.5 356m (73013%e in.) raoyeNawee: Hamill and Barker, Samuel Wagstall, Je 198 orien Paints: AIC 1998.299 jen rnsenterrons: Recto mount in ink by {IMC: From Life taken at Soxonbury 1 ‘My Favourite Picture fall my works I My rice ula | Apri 67 and a per ight comer 6 Mace: 38% 22.6 m (8 87.) MOUNT: 33.6% 30.2 em {15% 174i.) provewaxcn: Sotheby's, Belgravia, ‘October 18, 1974 lot 34: NPG; NMPFT, 1985 oven rainrs: AIC 1970833 and 19912357, (oval); AM; BNF 1.059630 308-1; Gary and Barbara Hansen Gerbed hy IMC: For my oun Treaure | of our non Treasure}; HRHRC Thackeray Albu ‘964:0312:0064; IUAM Miniature Albus 75385 WCC Miniature Album, no. 50: JPM 84.x¥.44557; Norman Family ‘Miniaraze Album, no. 23; private clletion (de); UCLA Aubrey Ashworth Taylor Album, no. 20 erKopuceD: Ford 1975p. go: Weaver 1984, 1-48; Lait 1986, p. 495 Hinton sop, 1-97; Wolf 1998, ps5; Lukitsh 200, p. 7 ses rwscatetions: Colnaghi blindstamp mace: 374 x 28 em (104% 8% in) MOUNT: 44:5 35.66m (7% 14 0.) PwoveNanets Hamill nd Barker, 968 orien rainrs: AIC 1998295; NGC 21276 (printed in sevese); NMPFT Herschel Album 1984-01768 (printed in revere) sepnopuceD: Modey 1974, cat. 13 Ford 1975, 1. 9t; Wolf 998, p. 72 and pl. 57 304 rsearerions: Recto mount in ink by JMC: [My Nie Julia and at uppes ight corner: 65, and in index at rear of abun: ala fl face mace: 3533 30.1 em (oie 7% in) Mount: 336% 30.3 cm 150x174 in.) Provenance: Sotheby's, Belgravia, ‘October it 974 ot 54; NPG, NMPFT 1985 OneR PRINTS: AIC 19682375 GEHL St24:0007; TUAM Ministre Albarn 7538.74; WCC Miniature Album, no. 40 private collection (ed); Veron Collection eano05 aepropucen: Mosley 2974 eat 25 Ford 975, at: Hinton 199, p. 106; Wolf 1998, p. 7 fand ps Laktsh 2008, 73 Women 21955 [Julia Jackson} 867) JPGM Saaacrgteg 309 [Julia Jackson] (867) AIC 1998301 JULIA MARGARET CAMERON 306 ser Mrs Herbert Duckworth [Julia Jackson] (367) (867 NPG xitous MMA 1996.99:2 0 a Mrs. Herbert Duckworth Unlia Jackson] {s867) copyright April 2, 1867 JPGM 8445.28 Js copyright April ta, 1867 JPGM ox308 Stella | study of Mrs. Herbert Duckworth L867] HRHRC 964:0037:0153 a Lutia Jackson] tot67] AIC 1968.34 395 rnscerrrrons: Colaaghi Blindstamp; verso ‘mount in pencil in an unknown hand at upper lft comer: fli Jatin 1857 nance: 27.6% 219 can (10 4x 8% in) MOUNT: 44% 353 6m (7/5215 im) Provenance: Armold Crane, 198 orien Paints: V&A Ph 361-981 nernonucen: Wolf 998, p. 72 ores: Cat no. 3058 print original negative at 0. j06 i several of this. Cat no. 307 is a reversal of eat. no. 306; cat no, 308 isa reversal of eat no. 307 om the insentertons: Recto mount in inka an unknown hand: Prom Life Rgitored Phetograph Copyright ula Margoret (Cameron and in ink by JMC below: Mre Herbert Duckcorth | Given tothe Reed. G Pothroe / by Julia Margaret Cameron | Pressater Bay 1 Aug tha Dpener: 29.24 23.8em (9% in.) MOUNT: 46.5% 36.2 cm (187 14% i.) PaoveNance: Royal Historical Society, s9g2 nernonucen: Wolf 998, p72 307 Intact: 27.4% 20.6 em (10% « 84 i.) proveance: By descent within the family ‘of Vanessa Bell Sotheby’s, Belgravia, May 13,1994 lot 8; Weston Gallery, 1996 orien rains: AIC 1998.88; BLUO Henry “Taylor Album, no. 2; Norman Album, no. 3 inserbed by JMC: La Sent aia In this prin cbc paper at Bee red the las ie price) aepnopiceo: Wolf 1998, p.73 and pl 59 08 anscaterions: Recto mount in ink by IMC: From Life Regitered Photograph copyright Julia Margaret Cameron! Stella ad at lower left corner: / study of Mr, Herbert Duckworth; Colnaghi blindstamp Mage: 29.2 02258 em (175 8%) MOUNT 5.5% 46 em (21°%u3 184 i.) provenance: Helmut Geenshcim orien prints: CCVA 719s; VM Ph as93 epxopucen: Motley 1974 cat. 20; Gerasheim 1975, . 74; Bruson 1980, pl 5 Wolf 998, p73, !nsemierions: Vero prin n pencil n an unknown hand: 22 rasa: 24853938 em (9% 7% in.) provenance: Estate of Vancea Bell, 1998 agpropucen: Wolf 1998, feonsispiece nsemiprions: Recto mount label on Japanese tissue paper in pencil by JMC ‘Mrs Herbert Duchsrth since: 339 © 248.m (970% 9% in) MOUNT: 43.3% 3.4m (rpc t2 in) eoveNance: Haery H. Luan, Je, 19735 Samuel Wagstalf Jr. 2984 orien rainrs: HRHRC 964:0037:0035 INMPFT Herschel Album 1984-50790, Vernon Callscton eax-o33, neraopuce: Geensheim 1948 pl. 3 Ford 1975 155 Gernsheim 1975, p. 991 Cox 1996: 60 ivsenterions: Resto mount in ink by JMC From ie regicred photograph copyright Julia Margaret Cameron; pasta Colnagh blindstamp sseace: 34.2% 26. 6m (97/704 in) MOUNT 49.4 40-4 cm (19 ZX 5% in) provewance: By descent within the Norman family, Erich Sommer; Sean Thackrey, Joseph Monsen; Charles Issacs, 194 oven raiwrs: BLUO Henry Taylor Album, ‘0. 7 BNF n.0s963/tofa 306 305, DIA. +7397 (cabinet); GEH 1129:0003 (eetange); Gilman Paper Compa HRHRC Thackersy Albums 96630 and 9642003710101; MFAB 42.334 Carbon); NMPFT Herschel Albusn19845017/79 (ectangle) and 1s5-7/; Norman Albu, tno 723 NPG ni8or; PMA 1980-4-; private collection (eds RPS a:3/t~7(albmen tnd carbon; oval and rectangle); VA Ph 206-1969 and 89.1994 (photogravure); VHM Ph as92 sevxopuceD: Woolf and Fry r926, pl 6; Gernsheim 198, pl. 6; Hill:973, pl. 2; Woolf and Fey 2973, pl. 6; Ford 975, pp. 30,108; Gernsheim 1975, . 149; Bruton 19, pl 5; Weaver 1984p. 4 Hopkinson 1986, p. 45 Lukitsh 1986, p. 49; Cox 1996, . 59; Wolf 1998, pl. 6; Lukitsh 2001, p. 69 Py raaoH: 33.836. cm 45% 107% i) oun 44x 355 ¢m 7% 374 in) Provenance: Hamill and Barker, 1968 rerkooticeD: Woolf and Fry 1926 pl 5 Woolf and Fry 197, pl. Women aan33. a as [Julia Jackson} [Julia Jackson] [Mrs. Herbert Duckworth] L867] [n867) Bp Private collection (Courtesy of JGS, Ine.) NGA 1995.36.66 TEAM. 37 x6 39) [Mrs. Herbert Duckworth] (Mrs, Herbert Duckworth] [Mrs. Herbert Duckworth] August sir sp sp] AIC 1998.35, AIC 1998.6 JPGM 84.236443.60 JULIA MARGARET CAMERON38 mace: 337% 358 em (1%x 10% in) rovewanct: Sotheby's, London, May 15 194 lot 81; Robert Hershkowiz nernopuceD: Jonquieres 193, p19 ee rvscrterrons: Colnagh Blindstamp Mace: 353% 37-16 (13710) MOUNT! 54.245 6m 38% 1p" in) ‘rovenance: David and Mary Robinson, 1995 nxenooucen: Wolf 1998, pl. 60 35 ansemiprions: Recto mount in inkkby JMC: From Life Regitered Photograph copyright Jala Margaret Cameron Fresbusater 833; Colnaghi bindstmmp ace: 342» 265 om 5% 107% im) oUNT $44 38:6 6m (317157 im) ‘rovesance: Christies London, March 24, 198s lot 26; Stephen White, Collection I, 1990 x6 [Mrs, Herbert Duckworth] isp} JPGM 84 x00443.45 36 aoe: 358% 52 €m (ry in) MOUNT: 40.7% 3.8 em (t6 «12% in) Provenance: Samuel Wagstaf, Je, 1984 lorues rains: JPGM 86.x01636, (carbon) AIC 1970834 and #998 302 (cet) MDO no 1990-105 MFAB 42-35 (etbon)s [NPG xis (cabinet; distributed by HLH. 1H. Cameron Studio, 7, Mortimer Steet, London); RPS ayia/im2 (rectangle) Sotheby's, Belgravia, March 21, 980 lot 5t¢ (inscribed by JMC: The Strike oroar of Immortal Bes TRC sas (octane, inscribed by MC: Study & A Portrait / My ou cherished Neca God Child | Jala Duckcorth Ia sidow at 29); V&A Ph {y-1959(eabon); WCP 8421560 (rectangle) serKoDuceo: Gemsheim 1975p. So; Weaver 1084, ps Cox 1996, p 6; Hamilton 1996, pl a; Wolfrog8, pl 62; Lukitsh 2001, p.m 7 rnsentertons: Recto mount in ink by MC: rom Life Registered Photograph Copyright Iilia Margaret Cameron, Sasonbur. “Auguit 18 nenct: 33.2% 2476m (5 9% in) MOUNT: 442353 €m (7/137 in) Provenance: Estate of Vanesta Bell, 198 po [Mrs. Herbert Duckworth] bsp} Present whereabouts unknown a8 tnsentertoNs: Recto mount in ink by JMC: ‘From Life Reitered Photograph Savonbury, Bp cH 35.4% 245 em (4% 9% in.) MOUNT 46 437.8 em (184% 147458.) brovenance: Estate of Vanessa Bell, 198 lorwes paints: AIC 2968.38, et Mace: 349 25.2 6m (4 own 44.2% 5.4 em (7x ProveXance: Hamill and Barker, Samuel Wagstaf, Je, 98 OTHER puINTS: AIC 1968.16 and 198.257 po nsertetows: Unknown uaok: 32323 em (12% 874i.) oun: Unknown Provenance: Sotheby's, Belgravia, Oceober 28,198, lo 384 Women 233224 ya [Mrs. Herbert Duckworth] bsp} NPG xuor9 ws [Herbert William Fisher and Arthur Alexander Fisher] [usa] PG xs8004 JULIA MARGARET CAMERON ae [Group] Flocence Fisher, Jlia Duckwort George Duckworth, Herbert Fis August 1872] MEAB 1985339 a6 (Mrs. Herbert Duckworth and Gerald Duckworth] bsp] AIC 1998.54 Py [Group] lorence Fisher, Julia Duckworth, George Duckworth, Herbert Fisher Aust 173 TMA 530 Po [Mrs. Herbert Duckworth and Gerald Duckworth] August 72 NPG xao17me [Arthur Alexander Fisher] (ar) NPG xitoos we [Mrs, Herbert Duckworth] bea] AIC 1968.22 Inseni#rions: Vintage mount fagment inscribed in ink by JMC and applied to modern mount: Prom Life Regitered Photograph copyright Jia Margaret, ay IMAce: 356% 27 em (tq «20% i.) MOUNT: 44.1353 em (7x10) Paovenance: Hamill and Barker, 968 OTHER PRINTS: AIC 1998.65; RPS 218 Cameron mace: 30 24.7 €m (7% * 9a.) Provenance: Unknown serkopvcr: Weaver 198, p50 ya resenterions: Recto mountin inkin an tunknoven hand: fli with Plorence Fiber, George, and Herbert Faber, Colnaghi biindstamp mace: 3582955 €m (ya 1% in) MOUNT: $8.1% 47cm (227 «18% in.) provenance: Ken Jacobson, 1985 orien PRINTS: AIC 1968.28; RPS 2167 feerKopvceD: Woolf and Fry 1975p. 30; Hopkinson 1986, p. 6 Fo insertions: Recto mount in nk by JMC: From Life Reictred Photograph Copyright Jelia Margaret Cameron Frechsater dug 18 1 Sasonbury/ For my beloved Gadi Colnaghi blindstamp nace: 34:2 26.7 6m 157% 201% in) MOUNT: 571 46 em (23% 18! i.) Provenance: By descent within the Bell aily gift of Edward Deurnmond Libbey. 1985 oy ace: 178 «7.6m (75) ProveNance: Giftof Mrs. Cute 1959 ¥s ace: 29.9 13cm (aro 5 in) ProveNanet: Gift of Mr. Cure, 959 36 Ineaor: 20.153 om (77% 6in) own: 443383 cm (17533 in) Provenaner: Estat of Vanessa Bell, 198 “7 tnscnterons: Recto mount in ink by JMC: rom Life Reisered Botograp® Copyright Selia Margaret Cameron ug 72 Iniace: 30.4 21.6 cm (0% x 8 in) Moun 412365 6m (16% «5% in) PROVENANCE: Gift of Mes. Cute, 1959 forer pRivrs: AIC 1968.27 and 1998279 (rectangle) rePnopuceD: Weaver 1984p. 49 Women 25226 9 (Mss. Herbert Duckworth] September i874 AIC 1998.280 ne [Mes, Herbert Duckworth] [September sty] AIC 1970-835 aH [Mrs Herbert Duckworth} [September 174] AIC 1998-276 Py ‘She walks in Beauty Jlia Duckworth September i874 AIC 1968.202| JULIA MARGARET CAMERON (Maria “Mia” Jackson} 74) AIC 998.245 us ‘The Mountain Nymph Sweet Liberty Mrs. Keene June 2866] copyright Janes, 1866 JPGM 84.01349.07ae [Mrs. Herbert Duckworth] September npg JPGM 84.3044356 36 ‘The Mountain Nymph Mat. Keene i866] PMA 6-27 #9 IseatprioNs: Recto mount in ink by JMC: From Life Registered Photograph Copyright Julia Margares Cameron Fred Sep 7¢ mAGE: 35835 5em (4% 10 in) MOUNT 44:3383 em (735% in) Provenance: Estate of Vanessa Bell, 1998 x0 nenoe: 35.2 35.8 cm (157439 Yn) MOUNT: 44.0353 cm (i738) ProveNawee: Hamill and Barker, 970 ‘OTHER Pairs: AIC 2968.220; WCP 8421558 a MACE: 35.7 26:7 em (tae x 10% i.) MoUNT 44353 em (34 13/4in) provenance: Eetate of Vanesa Bll 1998 OTHER PRINTS: CMA 194.165 a inscrtertons: Recto mouat in nk by JMC: Brom Life Registered Photograph Copyright Isla Margaret Cameron Prechsaer Sep. 74 ‘erso mount in pencil in a unknown hand at lower lft comer: SHENG & ntaces 353 27-4 6m (857109 in) MOUNT: 44:2 «354m (17% 1%) rPaovENaNce: Samuel Wagetal, J 98 orien Prints: AIC r9p8.aga; HIMA 76.03 a rnscetprions: Recto mount in ink by JMC: From life reitred Photograph Copyright Ilia Margaret Cameron Presbter Sep. 74 and in penel below: Se walt in Beaty tence: 35.7 27.1 em (e/a 10"% in) Mounts 443% 353 em (177% 13% in.) vRoveNaNee: Hamill and Barker, 968 OTHER PRINTS: AIC 1998.26 EPRopuceD: Wolf 998 pl. 63 uu IMAGE! 35.5336 em (4%% gin.) Moun: 44326353 em 724215 % in) provenance: Estate of Vanesa Bell 1998 as rscrterions: Recto mount in ink by JMC: rom life not enlarged Jali Margaret Cameron! The Meunisin Nymph Sweet Liberty, Colnaghiblindstamp; verso mount in pencil in an unknown hand: very Jf print of Mrs. Cameron photo | gen ux by erp IMAGE: 36 «28.1 €m (44% 10%.) MOUNT 524 x 424 cm (20% 16% in.) Provenance: Andeé Jammes, 1084 onier prints: GEH 81:1127:0008 and 67:0088:0007 (platinum prin by ALL. Coburn); HRHRC 9640057018, TUAM Minature Album 75 38.10; 1WCC Miniature Album, 20.24 (oval); MFAB 42352 (eazbon}; MM ra 1964 001 on MMA rats inscribed by IMC: June 1856), NGA 1997-975 NMPFT Herschel ‘Album 1984-5017/83; Norman Album, no. a Ginserbed by JMC in index a rar of album: The Mountain Nymph Mrs Keene) NPG xstosr (cabinet); private collection (dv; RPS a325/=19 (albumen and carbon); ‘TRC sss; UCLA Aubsey Ashworth Taylor Album, 90. 6; VBA 2733-1990 (photogravuze); WCP 934937 (eounded commer) ‘ePRooucen: Gernsheim i948 pl. 1; Ford 19754. 105: Geensheim 17s, asp; Weaver 198, 9.133; Hopkinson 1986, . 495 Laktsh 1986, p. So; Hinton 1992, p 855 Cox 1996, 1-5; Wolf 998, pl. Lukitsh 200, ps5 wo :nscaiptioNs: Recto mount i ink by JMC: From Life Registered Photograph Copyright Jslia Margaret Cameron and in pene below: The Meuntain Nymph race: 39.2 23cm (11/5 8% in) MOUNT 45830388 cm (8 15% in.) Provenance: Unknown Women 27228 a Lady Clara Vere de Vere Mrs. Keene (2866); copyright June 25, 1866 HRHRC 964:0037:0062 uw IMrs. Keene] (196568) BLUO Heney Taylor Album, 20. 56 JULIA MARGARET CAMERON at (Lady Clara Vere de Vere] Mrs. Keene (866) RPS 23g ue IMrs. Keene] [1886-701 TRC sy28 wo Cassiopeia Mrs. Keene (2866); copyright June 38,1866 MMA 199738237 us Mes. Enid Layard March 1869, RPS aas5/2a ingcrterions: Recto mount in ink by IMC: From Life Julia Margaret Cameron! Lady (Clare Vere de Vere ain pencil at lower left corner: 5/[5 shillings]; Coloaghi blindstimp Iataor: 287% 233 em (Yiox 9% in) MOUNT: 3828.7 em (14"%ux 12% in.) rRovENANce: Helmut Gernsheim loren paines: WAM 9774 a8 anseniptions: Resto mount in ink in an ‘unknown hand: Brom Life Reicered Photograph Copyright Julia Margaret Comeron Frodater; Clnaghi blindstamp mace: 27.4% 22.4€m (107 8") count §0.439.76m (39% 35% in.) Provenanct: Gift of Mrs. Beatrice Teeach, anpnoouce: Weaver 1984, ps2 a9 inseaterions: Recto mount in ink by JMC “Julia Margret Cameron (parialy effaced] ‘and in pencil belowe Casipe [i] mace: 34:9 374 6m (9/3107 in.) MOUNT 44> 373 €m (7x 40.) PRovENANCE: Sotheby's, Belgravia, June 29, 1979, lot 208 Sean Thacksey, Rubel Collection; Hans P. Kraus, J. 1997 lonnen prints: NMPFT 1955-713, private collection saerxoouceD: Woolf snd Fry 195, pl a7, Werver 198 pon Ho [Mrs. Keene] [:866); copyrighe June, 1866 YUBL Gen. Ms. 340, Volt, 20.6 40 saeH: 36.2 «2846 cm (eg 0/4.) oun s7.2 4837 em (227% 19% in.) PaoveNance: Gift ofthe ants to the ‘Tennyson family; by descent within the “Tennyson and Prinsep families; Colonel E.S.M. Prnsep, 949 ores: This image was included in an album titled "Photographs From The Life 1866." which contains experimental work JMC created with her large camera, Po rnscnierrons: Recto mount in pencil by JMC: The Sbunamits Som ‘néace: 27.8% a9 em (10% x Yin) MOUNT: 33.9 24.2 em (ry /inx g's in) Provenance: Bequest ofthe Taylor family, 930 Py ores: This print mounted om top [Alice Liddett} ‘of another print that MC ted Tbe Shana So (grbabl from hese agus] negative as eat no. 15, The Sbunamize toh Woman and her desd Sen) we anscasprions: Recto mount in pencil, ‘probably by IMC, a lower right corn: 67 (6 shillings) Mach: 28.8 «33.3 cm (nx 9a.) MOUNT 582% 383m (151m) ‘rovewanct: By decent within the ‘Tennyson family; Pontin Collection, 1971 as rescntertows: Recto mount in ink by JMC: From Lif Regiered Photograph copyright Julia Margaret Cameron Fresher March 1869 and im pencil below: Mrz. Bid “Layard; Colnaghi Bindstanp act: 30.6% 34.8 em (129% in) oun 49:9 40.7 em lig? 16 in.) PRovENANCE: Gift of A. L. Cobur, 1930 onus pains: Pivate collection (ed) V&A Ph 448-1013 (rectangle) Ms rnseeierions: Recto mount ia inkiin an tanknoven hand: From Life Regitered Phtograph Copyright ula Margaret Cameron Frebroater Aug 18; patil Colnaghi blindstamp IMAGE: 34.4265 €m (15% 107i.) MOUNT: 484% 392 6m (i935 45.) PRovENANce: Gift of Mis. Beatrice Trench, 1929 ‘OTHER Paints: RPS 2380/2 Women 229330 as [Alice Liddet!] {August 73) RPS 279 39 [Alethea] Alice Liddell {sy printed 672-40] MEAB 43342 JULIA MARGARET CAMERON ws Pomona Alice Liddell tt] RPS s386/¢ a0 Ceres Alice Liddet September 1872 Present whereabouts unknown “7 [Pomona] Alice Liddell September i872 MMA 63545, st St. Agnes Alice Liddell [September 182]; copyright November 9, 1872 RPS aig8/sa [Atethea] Alice Liddell [ssp copyright November 9, 873 JPGM 84.x0.443.08 as [St. Agnes] Alice Liddell September i872 Present whereabouts unknown Hs Insomtevons: Recto mount in ink in an unknown hind: From Life Regitered Photograph Copyright alia Margaret Cameron Freier dg rp3; partial Colnaghi blindstamp riwaee: Diam. 258m (9% in.) MOUNT: 484% 39cm (9x 15% in.) Provenance: Gift of Mrs. Beatrice Trench, 1929 a6 tissont# tons: Recto mount i ink by JMC: rom Life Regicered Photograph Copyright Jalia Margaret Cameron 1 Pomona; paral CColnaghi blindstimp tance: 46 x 276m (74% 10% in.) MOUNT: 50.4% 30.3 6m (19"%ex 157 i.) PROVENANCE: Gift of Frederick Hollyer, 295 ePRoouceo: Weaver t984 . 135 Wolf 998, pl. 8; Luktsh 200%, p23 ua tnesentertows: Recto mount in ink by JMC: From Life Registered Phtograph copsight lia Margaret Cameron Frshoater Sept ‘hy; Colnaghi blindstarnp LMmACE: 363% 26.3 em (4 %x 10% in) owner: 49.8% 37. em (i914 i) Provenance: Emily Driscol, 965, ernonvcen: Gernsheim 1975 p. i 38 twscrterons: Verso mount in il in an ‘unknown hand: Garnet Bell Coll wage: 325 23.7 €m (12"%mx 9% im) oun: 44.3% 35-4 €m (17% 13") Provenance: Garnett Beli; Scot Eliott 1974; Samuel Wagstaff, Je 1084 ‘orien prints: AM; AMAM 81242385 RHC 964:0037:0036 (carbon); NGC 208s; NPG ator: RPS 287/¢—4 (carbons TRC s370; WCP 975637 (inscribed by JMC: Althea and very beautiful, GF San) sepnoovcrD: Gernsheim 975 p. so: Hopkinson 196, p. 61; Wolf 1998, pl. 9 a8 rsert#rtons: Recto mount in pencil an unknown hand: Alerhea JM. C rect print at lower lef conner, etched into negative, 134 and at upper left comer: serie IeACe: 35.9% 26.1 em (47 10% in.) MOUNT: 57% 46. em (227 «187s in.) sepium Carbon Provenaner: Gift of Mrs. D. Cameron Bradley, June 9, 2942 ores: Cat no. 349 is 2 carbon print _gencrted from a copy negative of ct. no. 348 ase insenterrons: Recto mount in ink by JMC: rom Life registered photograph copyright Ielia Margaret Cameron Presser Sep. 12 / Carer; Colnaghi blindstamp InUnGe: 35.8535. om (24a 9% in) owt: Unknown RovENanck: Sotheby's, Belgravia, October 38, 1974 lt 61 a tnsertertons: Recto mount in ink in an unknows hand: From Life Registered Phetograp copyright Juli Margaret (Cameron Frater Ot ry2 and below in ink by JMC: St. Ager partial Colnaghi blindstamp peace: 5422.6 em (19! 8% in) MOUNT: 495% 383 cm (19% 157% in) Provenance: Unknown ‘orvten Paints: RPS 2198/3 (inscribed by IMC: St. Agnes / Sty No.1) a tnserierions: Recto mount in ink by JMC From if registered phtograph copyright Julio Margaret Cameron Sep. yz; Colaaghi blindsamp rence: 34.2% 23.2. cm (ay/ax 9m.) moun: Unknown PaoveNance: Sotheby October, rors lo 6 Belgravia, Women 231232 as Ist. Agnes} Alice Lidell {September ss] MFAB 43531 37 [Group] Two unknown women, Lorin Liddell August 8p HRHRC 9642003720121 JULIA MARGARET CAMERON. 34 Enid Alice Lidell [873] DMCC 198439 a8 {The Sisters] Buith Liddelt, Lorina Liddell August rt HRHRC 964:0037:0070 as [Lorina Liddell] ‘The Sisters ith Liddel, Lorina Liddell be RS ais356 {Lorina Liddell] 870] MoPA s6cogrsou8 360 [The Liddell Sisters) Lorin Liddell, Edith Liddell, Alice Liddell September i872 RPS 2188 22 tnscaterrons: Recto mount in pencil in an ‘unknown hand: Miss Liddle JMC suace: 343% 25-2 6m (4x97 in.) MOONE: 575 46.8 em (22703187 in.) PRovENaNce: Gift of Mrs. D. Cameron Bradley, June 9 1942 loriten emir: RPS 2396/17 at rnsent#rions: Recto mount in nk by JMC: From life Registered Photograph copyright Jilin Margaret Cameron I Enid tniace: 26:7 22.2 em (10% 87 in) MOUNT: 42.9 343 em (167 15% in) Provenance: Gift of Elna Kahn Shulot (Class of 933), 1984 35 txseniertons: Recto mountin ink in an unknown hand: From Life alia Margaret Cameron; Colnaghi bindstamp act: 35.4% 24.7 em (5% <9" im) MOUNT: 46.8 ¥ 34.6 cm (187/15 in) PaoveNance: Sotheby's, Belgravia, June 17 198 lor 45 private collection; Swat Galleries, New York, April 27,1999, ot x0 336 1nsemrions: Resto mount in ik in an ‘unknown hand From ife Registered Phatograph copyright Julia Margaret Cameron rio; Colnaghi blindsarnp Iacaee: 315% 248 em (Ye 9m) MOUNT: 455 ¥ 35.6 m (7 x14 in) rovesancn: Gift of Senley B. Burns, 986 a7 tnvscaieTions: Recto mount in ink by IMC: From Life Registered Pholopraph copyright Julia Margret Cameron Freshwater “Augut 837, Colnaghi blindstamp nace: 36 27.8 em (14 %ext0"% in) MOUNT 54.2% 43.7 6m (21/417 Yin) rRoveNance: Helmut Geensheie ast ansemierions: Recto mount in ink by JMC: From Life Registered Photograph Copyright Julia Margret Cameron Freoater ug 1878 since: 35.2 2433 cm (137% 9% i.) oun: 47% 36.4 cm (185 «147% i.) Provewance: Helmut Gernsheim a9 tnsemt#rans: Recto mount in ink in an unksown hand: Pom Life Registered Phatograph Copyright Julia Margaret ‘Cameron and in pencil by JMC below: ‘The Snterss partial Colnaghi blindstmmp roenor: 345 251m (9% x 97 im) provenance: Unknown 360 inseniprions: Recto mount in inkin an ‘unknown hind: Brom Life Regitred Photograph Cepyrighs Julia Margaret Cameron and in ink by JMC: Frevhvater Sepzember 182; partial Colnaghi Blindstamp act: 34:2 28. em (Ze MOUNT: 48.738 em (1% provenance: Unknown Yuin) ia.) Women 233 wea, GOORTe ‘234 son Alice (Liddet!] [september 173] Leonard/Peil Collection, courtesy of Hans P. Kraus, Je, Ine, New York 65 Minnie Lloyd 865 Private collection (Norman Albus, no. 74) JULIA MARGARET CAMERON a ‘The Sisters | Edith [Liddell] & Alice (Liddell) Ls] RPS 2186 366 [Bleanor Locker] July 2869 HRHRC 964:0037:0037, 36 Lorina, Edith and Alice Liddell August 72 Private collection, United Kingdom 27 [Marchioness of Lothian] [864-66 Privace collection, United Kingdom364 [Lorina, Edith and Alice Liddell] [August 1872] RPS 2189 368 [Mabel Lowell] May 27,169 SCMA 1986:44-2 on insemtetrans: Recto mount in ink by JMC: From Life Regitered Photograph copyright Tilia Margaret Cameron | Als, Colagh ‘blindstamps verso mount in pencil: Wars dotnet: 28.4 10.7 em (aie 4c.) MOUNT: 38.5% 465 €m (3 18 icin) PaoveNanet: Daniel Wall, 1977 so tvseniptions: Resto mount in inkeby IMC: From Life Regitered Photograph Copyright Jslia Margaret Cameron an in pencil ‘below: The Sitrs/ Edith © Air pari Colnaghi bindstamp Inane: 53.420 em (452% 774 in) oun 498% 39.3 cm 193157 im.) provewance: Unknown 3 ssemierions: Recto mount in ink by JMC ‘From Life Freiboaer August 12 Julia Margaret Cameron | Lavine, Edith and Alice Lids; Colnagh Blindstarp aces 35.1% 285 cm (35% 1 Un $8.4 46.2 cm (33 18% in.) provewance: Gift ofthe artist to Henry ‘Halford Vaughan; by descent within the Vaughan family ) 364 tscRieriows: Recto mount in inkin an lanknovn hand: From Life Ried Photograph Copyright Julia Margaret Cameron Frabrater dug 1872 uAge: 30.1% 27.4 cm (11% 10% in.) MOUNT: 45x 7.1 em (7a 147 im.) rovenaner: Unknown ws rnseatPrions: Recto mount pencil by JMC: Minnie Lig andin an unknowa band below: Now Mrs. Crelik and in ink hy JMC in index at rear of abun: Minnie Lloyd 1867 tack: 9133.7 em (12/9 MOUNT: 459 x 14m (8 PROVENANCE: Gift ofthe artist to Julia and Charles Norman, September 9, 869; by descent within the Norman ferily orien paivrs: Private collection (cd) TRC (ede) 366 Ivsonterrons: Recto mount in ink by JMC; rom Life Regitered Photograph Copyright Juda Margaret Cameron July 1869 IniAGE: 30.424 em 10°Fo x 9% im) Moun 334 26 m (4 x10" in) rRovENANcE: Presented by Hester "Thackersy Faller to the Geensheim Collection, February 933 a tvscaterions: Recto mount in pencil in an ‘unknown hind above iage: Merctioncu of Letbian and in ink by an unknown hand below image: fy [afletionately] yours / illegible] nace: 20 «28.8 om (727% in.) rower: 33.7 «a8 cm (3/1 /in) Provenance: By descent within the Somer Cocks family 368 inseeterions: Recto mount in ink by IMC: From Lif filegible) May 278 865 capyright Julia Margaret Cameron, Colaghi bindstamp MAGE: 30.2% 243 €m (are 97.) sowie 556 46.3 em (21/4238 in) Provenance: Gift of Mes. Priscila Cunningham in memory of Esther Lowell Burnett Cunningham, 1958 ernopcen: Lukitsh 986 p. 57 Women 235236 369) [Mabel Lowell] May 27, 1869 SCMA 1986:44-1 70 [Ella Norman] 2 RPS 2246 m Julia Norman and son George 868-70) Private collection, United Kingdom on [Emily Peacock] 73] RPS 2366/1 JULIA MARGARET CAMERON a The Sisters Mary Peacock, Emily Peacock Le) WCP 954854 ws [The Sisters] Enily Peacock, Mary Peacock Laps] RPS sosm [Emily Peacock] sp) JPGM 84.301349.17 6 (Three King’s Daughters Fair] Mary Peacock, Emily Peacock, Annie Chinery Cameron (May 273), RPS aig 69 tsentrrons: Recto mount in ink by JMC: From liferegitered photograph coppright Julio Margaret Cameron May 30h 185g taenoe: $0.2 «243 cm (07 97% in) Moun: 49.6. 413 cm (916% in.) PaoveNance: Gift of Mis. Priscila Cunningham in memory of Esther Lowel Burnett Cunningham, 1958 nepnopuceD: Lukitsh 986 p 6 70 Insentprions: Recto mount in iki an ‘unknown hand From Life Reizeed Photograph Easter of 8p opyrigh Jul ‘Margaret Cameron Prater; ptial Colnaghi blindstamp Mace: 338% 268 em (Ya xt0% in) MOUNT! 52.5 38:8 em (207% 157i) PaovrNawet: Gift of Mrs, Beatrice Trench, 939 am rsentertons: Recto album page in ink ‘by IMC: Julia Norman and ion George and recio mount ithographed facile inseription by JMC: From Life Copyright Jala Margaret Camron swing: 7.45 6 cm (2% 2% in) Moun: 10% 6.4m (3% %2%s in) sepivas: Cartede-visie Provewancn: Gift ofthe ants tJulia "Norman; hy descent within the Norman, Pryor, and Curtis families a rescrteriows: Recto mount label a ower right corner 3p verso mount in pencil in an ‘unknown hand: ngelin tb Howse nace: 345% 25 sem (9% 0 in) oun: 5:6 456 em (ar ax 7"%ein) sepia: Carbon PROVENANCE: Andeé Jamanes, 1984 ‘miter paints: LCL, no 3 (inscribed by IMC: From Life Registered Photograph ‘opyrght Henry Hershel Hay Cameron Frethoater May 187 For Coventry Parmore MAB 42-348 (carbon); MM 41972 001 202 (carbon); RPS 267/1—5 {albumen and earbon); V&A 2309%1997 (carbon) nernooucea: Weaver 198, p. 119; Wolf 1998, pl a 1nsentertons: Partial Colnaghi blindstimp Iaeaoe: 358 «27.7 em (4 Yin x10"% in) MOUNT: 485 x 38.8 m (19/35) n.) PnoveNawer: Giftof A. L. Coburn, 1930 am rnigenterions: Reto mount in ink by MC: From Life RegitredPhotagraph copyright Iida Margaret Cameron Prcboatr | The Sisters and at lower right commer: For Charlie ‘Norman with Mother: love rata: 3653283 em (4% 9% in) MOUNT: 58.5% 45.7 em (3% 1843.) provenance: By descent within the Norman family; Charles Isaacs, 1995, epropticeD: Woolf and Fry 1973 pts ws ce: 35.7273 6m (14% 30%.) MOUNT: Sut 38:2.m (20% 15.) Provenance: Unknown ww sce 34:28 em (5s im) oun: 487375 €m 19 /a 140.) Provexance: Unknown OTHER PRINTS: RPS a87/s~3 (the ase inerbed by JMC: May 875! Tree Kingh Doughers Pair and the stanzas fom 1 poet Below: AB! say he young oe / ly aunty O ny beat vay 1 11 my ove my own J Se roe A eye the recond oe / Fly assay O my beat away 11 think th day’ equ So suet; Ab! says the eldest one/ iy away O my bear away I think the day's degun So set nernopucen: Weaver 19, p. 72; Hopkinson 1985, pons Women 237238 am [Emily Peacock] L874] VBA Ph 06-1959 a [Emily Peacock] losy4) RPS 2396 w (Bgerial Emily Peacock lata] VBA Ph 34-1939 se [Emily Peacock] 74 RDS 2393, JULIA MARGARET CAMERON 38 see a hand you cannot see Emily Peacock los7a) JPGM 8.x 44322 3 [Emily Peacock] [u84 printed 18740] BPGM 84.0349.5,380 Aurora Goddess of the Morning | Study of Emily Peacock (866-68) JPGM 34.x0.462.2 a [Emily Peacock] lusy4] RPS 238s oO mcr: 383% 304 om (510% MUN: 398 342 cm (15x15 7 in) povewanct: Giftof Mr. Perrin, 1939 neeropuce: Gernsheim 1975, 200 a nsenierions: Recto mount in pene in an unknown hand: Seudy; partial Colnaghi bindstamp ace: 383% 50.5 cm (asain) MOUNT 4955 39.9. (19/6 15% in) provenance: Unknown 39 inseaterions: Recto mount pencil in an ‘unknown hand Egeria sack: 382 30 em (5% 11m) MOUNT! 44.3333 em (17/6 1%in) Provenance: Gift of Mis. Pettn, 1939 OTHER PRINTS: MFAB 42.333 (carbon): MMA 1973502. RPS 2394/ inssibed by]MC: Eger and 2p) and 2294/2-5 (albumen and carbon) neraoouceD: Gerashcim 194 pl. Gernsheim 97s p. na; Wolf 198, ps 380 rseRterrows: Recto mount libel in pencil bby MC: Aurora / Gods ofthe Morning ! Study of Emily Prvoek ntact: 34225 em (337% 9% in) ouNT: 545394 (21/157 in.) PRovENAnce: Virginia Woolf, Sotheby’, Belgravia, Masch 8, 974, lor 2; Samuel Wagstat, Jr 198 ‘vite pris: RPS 2269/1~2 and 20577 Be insertions: Recto mount in ink by JMC: rom Life Reitred Photograph Copyright Jolia Margaret Cameron BresbWater 184, patil Colnaghi blindstamp rnenee: 35.3 «26.2 em (743 10% in) MOUNT: 495% 38.9 cm (19/4157 8.) PRovENaNet: Unknown neropvcr: Wolf 998, pl. a7 ah insentrrrons: Recto mount in pencil by JMC: sea band you cannot eich ‘eckons me aicay /T bear a eee you cannes bear! Which fondly soir tay! MAGE! 34.2 22.1 6m (15% 8"%ein.) MOUNT: 545 388 mn (21/15 50.) PROYENANCY: Virginia Woolf Sotheby's, ‘elgravia, March 8, 974 lot 12, Samuel Wagstll Je 98 orHER PRiNTs: JPGM 843x".359.295 RPS soot ” tsentertows: Recto mount label at lower ight corner 16, verso mount in pene in an tanknovn hand: Opbei aoe: 35.3377 €m (1475 «1074 im) MOUNT: 5:6 = 456 em (3174 17% in) sepiust Carbon PROVENANCE: André James, 1084 ‘orien eniwrs: RPS 2353/1~4 (albumen and carbon) serKopiiceD: Gemsheim 1975p. 9x: Wenver 1084, p56: Weaver 198, p. 41; Wol 1998, ps0) a twsenterrons: Colnaghi Bindstamp race: 35.2% 283 em (74x 1 in) MOUNTS sax 385 em (204% 35%4in.) PROVENANC: Gift of Mes, Bestrice Trench, 1939 Women 239240 385 IB (285455) RPS aisy ary Pinnock] 38 Daphne Mary Pinnock [1866-68] HRHRC 964:0037:0%10 JULIA MARGARET CAMERON 386 ‘The Passion Flower at the Gate | Maud Mary Pinnock (1866); copyright November 22, 866 MPAB 1901550 0 [Mrs, John Hungerford Pollen] (1864-70), Present whereabouts unknown Ophelia Mary Pinnock [8671 copyright July 4,867 HRHRC 964:0057:0081 ar [May Prinsep] (1864-66) VBA Ph 307 1960388 Ophelia Study No. 2 Mary Pinnock [o867h copyright July 4 867 GEH Si:nat:oor ae Zoe | Maid of Athens May Prinsep s66) MMA 1997382398 385 ixsentrrtons: Recto mount in ink by JMC: “Julia Margaret Cameron; Colnaghi blindstamp nant: 25.3 19.8 cm (9% 7%ein) MOUNT: 38.7% 29.6 em (15% 0% in) PaoveNawee: Unknown 386 tnserterrons: Recto mount in ink by IMC: From Life ne enlarged Registered Phtngraph Jalia Margaret Camron 1 The Pasion ‘lewer atthe Gate | Maud ruaoR: 286 «27.1 em (ax10" MOUNT: 3:8 34m (04761 PROVENANCE: Mack Lee, 998 ‘orien pairs: CCAC; IUAM Miniature Album 7538.8; Nowman Album, 10.49 INPG i806 (cabinet) RPS 20356 ernopuceD: Ford 175.19: Wolf 1998, pas “) hind) ” rnsentertans: Recto mount in ink by JMC: From Life Jtia Margaret Cameron! Optlia ‘ned in pencil below: For Dante Gabriel Rosetti with my bet remembrances ali Margaret Cameron Colnagh Bindstamp verso mount in pencil by Helmut Gernsheim: Detroit 363 / One of oem statis given by JMC to Dante Gabriel Reet raeaoe: 3527.8 em (15/10 MOUNT 565% 44.4 em (22/09 17s in.) RovENaNee: Dante Gabriel Rosset: by ‘descent within the Rosset family; Helmut Gernshcim oven rains: AM nernopvcrD: Gernsheim 1975, p. 10; Wolf 1998, pl 16; Lukitsh 200 . 63 ores: There are seven prints in the HRHRCS collection that were presented rel Rosset by JMC in 867 See references a eat. nos. 38,509 51,976,880, and 985 in) to Dante sa inscntertons: Recto mount in ink by IMC: From life alia Margaret Cameron 1 Ophelia Study No.2 roance: 3327.1 6m (43 <10"% in.) MOUNT: 57.9% 45.6 em (22% 17 Mui.) PROVENANCE: Gabriel Cromer, 19395 gf of stroan Kodak Company, 949 nernopuceD: Lukish 1986, p33; Wolf 998, lis 9 rscrtrrrons Resto mount in ink by JMC: From Life Julia Margaret Cameron / Daphne and in pencil by Fllmut Gernsheim below: (Cylon Wilon) ace: 35.7 27.6m (14x 10% in) MOUNT 38.8337. em (9% 10% in.) provenance: Helmut Gernsheim orwer prints: AM serxopucen: Gernsheim i948, pl. 4 Gerasheim rps, . 13; Weaver 198s, p12; Wot 1998, pl. 7 390 tsoRtertows: Recto mount in ink in an tunknoven hand: Mir J. Pollen mace: 316.175 cm (8% 67h in) oun: Unknow PRovenanct: Sotheby's, New York, October 7.1993 lot 24 aw ace: 277% 219 em (107x874) provewance: Unknown THER pains: AIC 196328 (ectangle: inscribed in an unknown hand ‘he Nespolitans TRC s436 (rectangle) epxooucen: Mosley 1974 ct. « a rssentertons: Recto mount in ink by IMC: ‘From Lifenot enlarged Julia Margret Cameron! Zoe | Maid of Athens and io pencil blow For Exibtion; Coloaghi blindstamp suace: 30.1% 245 em (u%ex 9%) MOUNT: 57.7 46-2 em (22% x 187% 0.) provenance: G. E. Wats; Sochey', Belgravia, Je 2, 1978, lot 347; Sean ‘Thackey, Rubel Collection; Hans P. Kraus, Je, 1997 onnee paints: MMA 412i; GEH {67:0088:0030(pltinum pint by ALL, Cobuen)s V&cA Ph 252-1983 aeraopucen: Kraus 1997, ps3; Wolf 998, pls Women 2ar242 9 so [May Prinsep] [May Prinsep] 866 Mach 186 Private eoleetion Present whereabouts unknown wr sos [May Prinsep] [May Prinsep] [3866 copyright March 3, 866 May 7 1866} IPG ers OFH Br sar0059 JULIA MARGARET CAMERON a5 [Head of St. John] May Prinsep March 1866 VBA Ph 938-1953 399 Confidence May Prinsep June 1866 TAMA396 Christabel May Prise (1866); copyright March 25,2865 V&A Ph 946-1953, All her paths are peace May Prisep. June 166 HRHRC 964:0037:0072 ws rsemserions: Recto mount in ink by IMC From Lift no enlarged Julia Margret Cameron snd in pencil a lower lef corner: For the Signor, Colnaghi blindstamp Iatace: 28.6 23.4 em (11/4% 9 Yuin.) MOUNT: $84 46.3 cm (22"% 187% 0.) PaoveNance: Unknown a rscatprions: Reto mount in ink by JMC: From Life not enlarged March 86 Freshwater lof W Julia Margaret Cameron fand in pencil at lower left comer: het much moved; Colaagh Bindstamp nent: 57.239 em (i420 .) MOUNT? 575% 4b cm (29% 18%) provenance: Unknown ws nseaierions: Recto mount in ink by JMC: ‘Foam Life ot enlarged March 1885 alia ‘Mergeret Camerea saan 357 285 em (24a Yinin) MOUNT: 3989385 em (15a 12% In.) PnoveNawee: Gift of Alan S. Cole, Apel 9, 3 orien prints: AM 1.77.4; HRHRC .964:00370079;JPGM 84.x¥44338 Gnacribed by JMC: Head of St Jobn); YUBL Gen. Mss. 340, Vol. tno. 2 (insribed by IMC: Head oft Jobn) azenopucen: Wolf 1998, pl. ss 396 anscaierions: Recto mount in ink by JMC: ‘Fram Lif Julia Margaret Cameron and in pencil below: Crinabel amino: 339% 276 0m 157% 207% in) SOUNT 37.8 3.6m (1474. 127%iin.) provenance: Gift of Alaa S. Cole, April19, GEH 67:0088:co19 (platinum print by AL. Coburn); HRHRC Thackeray Album (964:9912:0098 snd 964005720114; TAM. Miniature Album 75:83; WCC Miniature ‘Album, no. 39; MEAB 198.21; MMA 14.21.26, Norman Album, no. 235 [NPG nao (eabinet); private eallection (de); RISD 78.098 RPS 2351-18 (albumen and carbon); UCLA Aubrey Ashworth Taylor Albu, no. 3; YUBL Gen. Mss. 340, Vol 1 n0.7 nepnonuceD: Woolf and Fey 1975 pl. 37 Hinton 1992, p. us; Wolf 998, pl. 3 a7 scaierzows: Recto mount in ink by IMC: Prom Life Julia Margaret Cameron; Colnaghi blindstmp swqoE: 28.22 em (ie BA in) MOUNT: 38.3375 €m (15Ma% 10% in.) novenanck: Unknown corner prints: TRC 5383 inevRoouceD: Weaver 19, p47 08 tseRtertows: Recto mount in ink by IMC From Life Julia Margaret Cameron |For ‘the Signor / fiom JMC 1 taken after sunset 7pm May 17; Colnagh blindstamp Wek: 34 8. em (157% 20.) own: 57.4 46.rem (22% 38% in) Provenance: Gabriel Cromer, 939; gift of Bastman Kodak Company, 949 rernopucrn: Lukitsh 986, p. 3 Lakitsh 2001p. 61 ores: A study of Kate Keown (at no 984) was made a the same siting 599 tnsent¥rons: Recto mount in ink by JMC: rom life June 1865 Jala Margaret Cameron and in pencil below: Confdenr; Clnaghi blindstamp ence: 35.3275 em (a MOUNT: 464349 €m (1 Provenance: Private collection, Pasi loriten pairs: NGC anak private colletion (edy) tnsent#rone: Recto moust in ink by JMC: From Life June 966 Jala Margeret Cameron tnd in penil below: Al er pathy are poe, Colnaghi blindstamp taeaoe: 36.2 x 27.4 m (19743 10% i.) oti sox acm (9/5 16% in) Provenance: Helmut Geraseim ‘epRoDuceD: Gernsheim i948 pl. 26 Gernsheim 975, p. 6 Women ™3244 ‘Melpomene May Prinsep June 1866 SW 86:004, Acting Grandmama May Prineep [i866] NMPET Herschel Album s-soi/a9 JULIA MARGARET CAMERON sor Egeria May Prinsep Jil 5, 1866 HRHRC 964:0037:0115 406 Beatrice May Prinsep 1866; copyright March 25,1856 JPGM 4300.45.36 403 La Contadina May Prineep (1966) JPGM 84.x01549.8 +“ Beatrice May Prinsep [866] MMA 69.6079[The Neapolitan] May Prinsep {3866} VBA Ph 249-1982 498 Beatrice May Prisep March 1866; copyright March 25, 1866 VéeA Ph gu4-c983 ser rserierions: Reeto mount in ink by JMC: From Lift June 966 Julia Margaret Cameron and in red pencil below: Meomene Colnaghi blindstamp IMAGE: 34.9 37 €m (15 Yo 10% in) MOUNT: 54.9% 46cm (atx 18% in) PRoYENANCE: Sotheby’, Belgravia, October 29,198, lot 22; Richard Link, 198 or nseniprions: Recto mount in ik by JMC: Fram Lift yd July 1866 Jia Margaret, Cameron / geri Coloaghi blindstamp roan: 55% 274 em (1370 in.) MOUNT: 5:93 43.6 6m (21% 437% in) Provenance: Helinat Gernsheion srpnopuceD: Gernsheim 1975.17 13 tnscmrprions: Recto mount in ink by JMC; From Lif Julia Margaret Cameron ‘La Contadine vetea mount in penit in sn unknown hand: Zo Herschel rom Mrz Cameron Ioan: 5482 37.6 cm (35a 107i.) MOUNT: 39 x28. em (15% x 1% ia) Provenance: André Jamies, 1984 orien prints: IUAM Miniaure Albuen 7538.73: NMPET Herschel Albus 1984- 501787 and 1955/1; Norman Album, n0. 75 NPG xaBo46 (cabinet; private collection (cd); YUBL Gen. Mss. 340, Vo. 220.1 rexovucen: Ford 1975, p10; Weaver 1984, 9.73; Wolf 998, 3 44 Mace: 305 «260m (12 10% in) Provenance: Unknown ‘orien pains: V&A Ph 250-198; IUAM ‘Miniature Album 7538.73, 1WCC Miniature Album, no. 13; NMPET Herschel Album i98e 5017/63 (inscribed by JMC: The Neapolitan; private collection (iv) nrpnoDuceD: Ford 975 p. 86; Hinton 1992, Pa 495 rvscaierions: Recto mount in ink by JMC: “Asting Grandmama and a upper right ‘corner 49; patil Colnaghi blindstamp mace: 74x 218 em (20 /ex BY in) MOUNT: 35.428, em (14x 11%in) provenancs: Sotheby's, Belgravia, (October 18 2974, lot 34; NPG; NMPFT, 985 ‘orMeR pRinrs: BLUO Henry Taylor Album, no 34; 1UAM Miniature Album 7538.85, Norman Album, nos. nd $25, private collection (ede; VHM Ph 2595 nepropucen: Ford 1975, p 725 Bruson 1980, she 406 rsentprions: Recto mount in ink by JMC: From Life Registered Photograph Copyright Isla Margaret Cameron Fresbaater 166! ‘Beavce,Colnagh blindstamp IMAGE! 33.8% 26 cm (19%. 10%.) MOUNT 58.4% 46.3 cm (33x 18% in.) RovEnance: Sotheby's, London, June 2 1974 lot 30; Samuel Wagstall J 1984 orien paints: GEH 81:ti24:0008; MMA, 19010742 (arched top inscribed by JMC: forthe Signor fom JMC No.9 of eres of ‘ie sized beads); NMPFT Herschel Albu 1984-50178; Norman Album, no. 2 privat collection (dy): RPS 2302 and 2056; V&A Ph o4s-19ts; VM Ph 2594, YUBL Gen, Mss. 340, Vl. 1, no. and Vol 3 folder 8 arexopucen: Woolf and Fry 1973, pl 404 ord 1975, 9.106; Geroseion 17s, p. 129 Bruson 198, pl 5; Weaver 2984 . 543 Hopkinson 198, p. 5; Luktsh 1986 p. 2 Weaver 198, p. 43; Cox 1996, 8.55; Wolf 1998, pl 24; Lakh 200% p. 57 sor Isemiprions: Recto mount in ink by JMC: From Life not enlarged Julia Margaret Cameron | Beatrice, Coloaghi blindstamp MACE: 3638 «29 €m (140x107 in) srouner: 52.7 39.4m (207% 15% in.) provenance: P-& D. Colnaghi & Co, Lid, London, 1969 48 rivscaterions: Recto mount in ink by MC. From Life Freshwater March 886 Julia ‘Margaret Cameron and in pencil below: Beatrice ace: 35.3 28. cm (15742 10% in.) MOUNT 41.3348 cm (161415 Zu.) provenance: Gift of Alan S. Cole, Apsl 9, 98 ‘orutnn prints: HRARC 964:0037:0045: JPGM 84.x01.443.34 (cabinets MAM 1986.40; privat collection (cd); UCLA Aubrey Ashworth Tayloe Album, 0.45 YUBL Gen, Mas 340, Vol. i, 90.4 aerxoouern: Wolf 998, p38 Women 25409 40 a IA Study of the Cenci] A Study of the Cenci A Study of the Cenci | Study No.3 May Prinsep May Prinsep May Prinsep [870] bspel ctaber 1870 NMPPT 1939-13/5 AIC 1964.306 resent whereabouts unknown % “4 4s May Prinsep May Prinsep [May Prinsep] (1868) [us] [1868-69] JPGM 84.x01.49359 MMA quant RPS 2203, 246 JULIA MARGARET CAMERONa IA Study of the Cenei] May Prinsep 1870 VBA Ph jon939 “6 May Prinsep. [868-69] IWCE Miniature Album, n0.9 Insentetions: Resto print stamp at lower right comer: dagoyp; versa mount in pencil in an wnknoven hand: Beatrice Cone 18h (Mis May Prine) (Auttype carbon print) since: 31.2237 em (2% x 9¥% i.) Moun: 48.7 x 42.2 em (19 Yn x16%in) seepiurs: Carbon PwoveNance: Presented tothe Science ‘Museum, London, by Mrs. Heney Pein, 939 loner Pairs: AM (carbon); BLUO Henry ‘Taylor Album, no. 87; RPS 2301/2~4 (the last inscribed by IMC: September 870), 2832, and 20973, VBA £2750-1990 (photogravure) eeaopucen: Weaver i984. 55; Wolf 1998, pss Insenipri0Ns: Recto mount in ink by JMC: From Lift Rgitred Photograph copyright Isla Margaret Cameron 1A Sty of the (Cen IMAGE! 224 17.66 Moun 37.9% 28.2 em (24 ‘»rovewanen: Baad Weil, 2964 ‘otwen pRinrs: MPAB 42.346 (carbon); TRC ss42 6% in) in) a 1nseaiprions: Recto mount in ink by JMC: Fram Life Registered Photograph Copyright Julia Margret Cameron Preheat Oct 1870 A Study ofthe Con Study No.3 mace: 358373 2m (44X30 in) oun: Unknosen PaoveNancr: Sotheby's, Belgavi, March 21, 198, Lor 36 sscaierions: Recto mount in ink by IMC: ‘From Life Registered Photograph copyright Iida Margaret Cameron Presser 10 rasa: 53.3 27m (15% «10% i.) MOUNT 41.6. 545 em (167 15% in) PaovENanct: Gift of Mrs, Pern, 699 3 snsemierions: Recto mount in ink by JMC: From Life Presser Julia Margaret Cameron | May Prinep Mace: 26.5 «216 em (10% 8% 0.) MOUNT: 43% 375m (6!%e x 14710) PROVENANCE: Sotheby's, London, December 4, 1973, oe 65; Samuel Wagstaf, 1984 lotvien paints: Norman Family Ministre ‘Album, ao. 25; private collection (ed) xrnopuce: Wolf 1998, pl. 38 Insenierions: Recto mount ink an ‘unknown hand: Brom Lift Julia Margare Cameron and in peril by IMC below: May Prinep, Colnaghi blindstamp Mace: 3204205 (0/x BY im) MOUNT 543 36.2. em (21% 14%) provenance: EP. Goldschmidt 8 Co. 1942 as rscaieriows: Recto mount in ik in an unknown hand: Frm Lift Jala Margaret Cameron and in peril below: Miss May Prinap and in ink by IMC a¢ lower let commer 3/6 [3 shillings and sinpence) Colnaghi blindsarp mance: t4.82¢10.3 em (6/4 In) oun: 293% 23 em (1749 in) stepivae: Reduce, cabinetsized print Provewance: Unknown source, 934 ores rants: IWCC Miniatue Album, ‘no. 10 peivate election (cabinet, ‘mounted and with Colnaghi blindstamp) erroouceD: Hinton 1993.5? 46 nsenterions: Recto mount in nk by JMC: ‘May Primsp minor: 145320 m (5% 5%.) rout 19.§% 24cm (7% 5% in.) seenivn: Reduced, ebinet sized print provenance: Unknown ‘nner pains: Private collection, United Kingdom arexopucen: Hinton 1998 55 Women 247as “7 ae “0 [May Prinsep] May Prinsep [May Prinsep] [e868~60] [1868 ~69) (1868-65) Present whereabouts known Private collection, United Kingdom Private collection, United Kingdom Maa [May Prinsep ()] Madame Reine [May Prinsep] {1869-70] May Feinsep {Dctober #79}: opyright Octabee 1, «879 NMPFT t93o-3/¢ Joly 69 JPGM Sym. 34909 RPS 2368 JULIA MARGARET CAMERON,[May Prinsep] [1869] RPS 2354/5 May [Prinsep] October 870 NMPFT 1939-15 /15 "7 43 twseateriows: Unknown rnsentertons: Recto mount in ink in ‘muace: Unknown an unknown hand: From Life Repcerd oun: Unknown Phetograph Copyright ula Margaret sepiva: Reduced, cabinet-sized print Cameron Fresbooter Otro; Colnaghi ProveNance: Unknown blindsamp onus prints: Private collstion fd) IneAGE: 365% 36 em (14 10% i.) MOUNT: 484% 42cm (19% 16% in.) 4 PaoveNance: André Jamies, 1984 rnsenterions: Reco album page in pencil OTHER PRunvTS: RPS 2225 by MC: May Prinep ounce: 74x58 em (20% ain) os moons 10.6.4 ("%= 27h in) inseniPrionss Recto mount in ink by JMC eptust: Carte-de-visite From Life Registered horgraph copyright novenancr: Gift ofthe art Julia Julia Margaret Cameron, Prete "Norman; by descent within the Norman, (eto and in pent Below: May ? Payor, and Curis fais Seu No 16; 16; May Prins aftereards ‘Mr Hitebens; Colnagh Binds + Dace eabacm uteri) MACE: 149 x99 6m Gx gin MOUNT 3.7 4450 (2% i epiunis Redeced abine-sied print the Science Museum, London 1939 PRoveNanet: Gift ofthe ate to Albert [Louis Corton; by descent within the Cotton and McManus fies nscaterions Partial Colnaghi blindstamp IMAGE! 31832546 em (310% in) MOUNT: 49-4 355 m (19 #15 % in) ovENaNct: Gift of Mrs, Beatrice Trench, 939 orien prints: RPS 2asq/t~2 anscmierions: Recto mount in iin an ‘unknown hind: From Lif Reitered Photograph Copyright Julia Mergaret CComoron Predator, Colnaghi blindstamps ‘verso mount in pencil in an unknown hand: (capo (Mi May Pinups) mace, yr «25.2 em (12a 9%e in) oun: 49:8 «39.3 cm (9% 157%.) Provenance: Gift of Mrs, Henry Perrin to the Science Museum, London, 1939 rserterions: Recto mount in ink by JMC: rom Life Reitred Photograph copsight Jala Margaret Cameron Freshwater ‘July 1869 and in pencil below: Madame Reine and at lower right corer: Se Vilage tn the Clif and in pencil by G. F, Watt Tite that very much / 6. B Watts tnegoas 3336.8 em (43 10%.) MOUNT: 421. 37.1 €m (167 0147.) PRoveNanet Gift of Frederick Holly, 193 nernopvcen: Lukith 986, p. 20 Women 249,250 “8s [May Prinsep] [October 3870] JPGM 34.x7.259.28, “9 May [Prinsep] Seudy No 12 {Ocrobe 180]; copyright October, s70 IS 2336 JULIA MARGARET CAMERON 6 [May Prinsep] [October #870] JPGN 64391.445.76 40 “For he will see them on tonight" May Prinsep [October 1870] RPS 2338/2 “7 May [Prinsep] As Shakespeare's Isabel [October 1870) RPS 2247/3 a [For he will see them on tonight] {October 1870]; copyright October 1,870 HIREIRC 964:0037:0039a [May Prinsep] [October 1870}; copyright October 1, 1870 HIRHRC 964:0037:0043, o [May Prinsep] Ocrober 70 NPG xators es twserterrons: Recto mount in ink in ‘an unkaown hand: From Life Registered Photograph Copyright uta Margeret Cameron Frwater Ott 1p and i ink by IMC at lower eight corer: For Tal [Psinseph; Colnaghi blindstamp Inwnce: 35.4 8.6m (9% ett in) MOUNT: $8.3 46.tem (2% 38% im) paovenance: Bruno Bischofberger, 198 ernonuceD: Cox 199, p. §3 6 rvscnteTrons: Recto mount in ink by JMC: From Life Regitered Photograph Copyright Jala Margaret Cameron Frechsstr, Colnagh blindstamp sact: 34:62¢39.3 em (35/4 0% in) MOUNT 55.2% 45cm (21% x47 i.) ‘provenance: Sotheby's, Belgravia, December 41975 lt 395 Sarmel Wagstalf, Fe2984 orien paints: IUAM Miniature Album 753867 “7 tnscateriows: Recto mount in ik in an ‘unknown hind: From Lif Registered Photograph copyright ula Margarce (Cameron Ort ri and in pens by JMC below: May ds Shatepearet Tabs! MACE: 36.1% 28.5 em (14% 17% i.) MOUNT 45.8% 38 em (18x 14"% in.) Provewance: Gift of Colonel Cameron, 1929 ‘OTHER Prints: RPS 2237/ (inscribed by JMC: May), 27/2 (nsribed by JMC: Alon), and 20570; HRHRC 196420037: 0040; NMAH 61 86 rwserierrows: Recto mount in pencil in an unknown hand: May Prnucp ence: 348% 27-4 cm 15" 10% 58.) MOUNT: 428% 356m (6% 535% in) Provenance: Helmut Gernsheim lorwer pairs: AM; Paul F Walter, 76:357 nernopucen: Geansheim 1975, p. 169, Weaver 108, ps Wolf 998 plas “9 InsemteTrons: Recto mount in ink in an unknown hand: roo Life Regitred Photograph Copyright ula Margaret Cameron Fresbeter Ort rio and i pene bby JMC below: May Srudy No 2 / Ts series frie nt for eal | Onder willbe taken & iis reueited | that i wll be stated inthe Print If they arto Be ofthe brxon tint or the rey, Clnaghi blindstamp IMAGE: 54.7 27:9 em (45% «1 n.) MOUNT: $03 3958 em (t9%%15"%e in) PROVENANCE: Gift of Ms. Beatrice Trench, 939 nepnopuceD: Hopkinson 1986, p.59 “0 rxscntetrons: Recto mount in ink by JMC From Life Regitered Photograph Copyright Ista Margaret Cameron imperishable ‘carbo printing and in pel below: "For ‘eile them on tonight” inact: 39.5 «23.60m (8% 9% in) MOUNT: 343275 cm (15% 10%ein) seepruse: Caron provenance: Unknown a riescateriows: Recto aunt i ink in tan unknown hand: From Life Registered Photograph Copyright ala Margaret Cameron Frbwoter Oct 1870 race: eas em (809% i) Moun 367% 28.5 m (14/10 7% i.) provenance: Helmut Gecnsheim over paints: Private cllestion (3) erkoouce: Gersheim 1948, pl. 3 Gernsheim 1975, p. 140; WolF 998, p46 a inserterrons: Recto mount in ink by IMC: From Life Reicered phat copyright Fretbsater Oct 18 alia Margaret Cameron and at lower right corner: 6f ths cabinets, enok: 35.4637, em (5! 107 in) oun: 386.39 em (15% 17%.) Provenance: By descent within the family of Mara and Mary Jackson; Mrs. Cle, 1959 orien pairs: RPS 2zi0/ (insribed by [JIMC: Stdy No, g) and RPS 2210/3 (inscribed by JMC: 16/(t shillings) / Teiligh) nernooven: Weaver 198, 7 Women ast252 on [May Prinsep] [October 1870] V&A Ph 257-982 a [May Prinsep] October 1870 [a Salle National Bask 68.8.5 os [May Prinsep] [October ste; copyright October a 1870 MMA 69.507. “7 [May Prinsep] [October 870 copyright October i, 1870 WEP 95856 JULIA MARGARET CAMERON at May [Prinsep] [October e870} RPS 2339/1 “9 [May Prinsep] Lesa) RPS 2057806 [May Prinsep] [October 1870} JPM 86.301.536.5 [May Prinsep] October 74 RPS 2388/3 oo ace: 349 «7.6m (3 MOUNT: 3.9 438.8 em (15! 11% in.) Provenance: Unknown s1o%in) oO rngonterons: Recto mount in ink by JMC: rom Life Reitered Photograph Copyright Iilia Margaret Cameron Frecbsater Ot 1870; Colnaghi blindstamp nea: 35.2% 35.9 em (9/0 10 Yin) MOUNT: $8.4 46.4 cm (33 18%.) PROVENANCE: Robert Schoelkopf 1968 as rvscaiprions: Recto mount in ik in an unknown hand: From Life Rgitred Photograph Copyright Julia Margaret Cameron Frecoater Ostoer ria | May Colnaghi Blindstamp ntact: 34 <2756m (43/4 20"% in.) MOUNT: 55.3 «38cm (21+ 14"/s i.) provenance: P.& D. Colnaghi & Co, Ltd, London, 1969 epropuces Lakitsh 1986, p. 69 86 nace: 314% 2.4m (12+ 8%ein) provenance: Hardinge Hay Cameron; by ‘descent within the Cameron and Macleod families; Nevile Hickman, 1986 tien prints: BA 5.4. Primatro (inscribed by JMC: Our May); HRLIRC (964:0057:0043; JUAM Miniature Album 75.38.15; MFAB 43341 (carbon; RPS aga/im¢ (atbon) rexonucen: Wolf i998, p. 40 “7 rnesentertows: Reco print i ink by JMC on letter held by Prinsep: Precoater Bay 1 of W. My dear Chari, Do come with aia to LLHHL, JMC; recto mount in iain an tanknovn hand: Brom Life Reitered Photograph copyright rip Julia Margaret Cameron! Petbuater and in nk by JMC below sent fo Charlie Norman with oes Colnaghi blindstamp neat 35.5 381 om (25h een) moun 483% 393 6m (t9 157% in.) provenance: By descent within the Norman family, Charles Isaacs, 2995, lorutee pairs: HRHRC 964:0037:0041 and 196420037: 0043; JUAM Miniarure Album 75.3814; pivate collection (ed); RPS 22ya/am4 and 2057; TRC 5509 ernopucen: Lukish 2001, p. 109 at Insertions: Recto mount in ink in an unkown hand: From Life Registered Photograph Copyright Julia Margaret Cameron Fresbuater Oct io and in pened by JMC below: May, Colnaghi bindstamp sac: 34.9 27.8 em (9/0 10"% in) oust: 49.5% 40: 6m (9/0457 in.) provenance: Aequized 929 “9 nseaiprioNs: Recto mount ik stamp: Royal Photographic Society 35, Rutell Spare London WoC. Mack: 277% 20.7¢m (107% 8% in) oun: 49 373 em (19% 14% in) Provenance: Unknown tnsentertows: Recto mouse in ink by IMC; ‘From Life Registered Photograph Copyright Julia Margaret Cameron Presbsatr Ot 18pg ick: 342 35.9 6m (45% 10% in.) sourer: 47.7 35.7 em (87% 14% in) Provenance: Unknown ‘orem paiwTs: RPS 2388/5~6 (carbon) NGC 21382; Jobe Vaughan Women 253254 “ ‘The Stars in Her Hair Were Seven Emily "Pinkie" Ritchie May Present whereabouts unknown 45 [Hannah de Rothschild] [September sf] Priteealetion, London JULIA MARGARET CAMERON [Emily “Pinkie” Ritchie] (ss70] Present whereabouts unknown “s So early in the morning. Mary Ryan (1864-65) HRHRC Thackeray Album 964:0312:0048, “8 [Emily “Pinkie” Ritchie] Losp0] JPGM 64.20.464350 ar A Wanderer | after the manner of Leonardo Mary Ryan {1864~63] HRHRC Thackeray Album 96420312:0030[Emily “Pinkie” Ritchie] May t70 VHM Ph 26: Farewell Mary Ryan (18651 NMPFT Herschel Album 198450:7/92 tnsent#tons: Recto mount in ink by MC: From Life Regicered Photograph copyright Ihlia Margaret Cameron May 870 and in pencil below: The Sarin Her lair Were Sever; Colnaghi blindstamp sneak: 35.5 266m (15 moun: Unknown PROVENANCE: Sotheby', Belgravia, Apel 2, 1995, lot so: Chrisie, London, October 37, 977 ot 343 rsentPrtons: Recto mount a ink ‘an unknown hand EM. . by Mia. Cameron 11870 penoe: 2832.8 em (18x 8% in) Mout: Unknown PROVENANCH: Sotheby's Belgravia, March 35, 1975 lot 38; Harry H. Lunn, J nernopucr: Broson 1980, p33 rusentenions Recto mount in ink in an unknown hands From Life Reiseed Photograph Copyright ula Margoret Cameron Fresca Incnoe: 33.6% 27.4 em (15% 107i) Moun 42.4% 36 em (26% 14% im) Provenance: Samuel Wagsaf, Je 1984 orien Pains: MM rm 1965 09% 762 sscaiptions: Recto mount in in by JMC: From Life Rgitered Photograph Copyright Isla Margaret Cameron Fresher may [eel 2fpo and at lower lee comer: No.8 Spooner blindstamp; verso mouat wet stamp at lower sight corner: Vile de Paris 7 Houtvile Howe! Guerncy ann perl ‘below: 23 [all within stamp} maces 335233 em (3/9 aim) MOUNT: 37.9 28.5 6m (1420/8) PaoveNance: Vietor Hugo, by August 4, ttre us snsenierions: Recto mount in pencil in an ‘unknown hand: JM. Cameron mince: 3453267 cm (19/10 in) SoUNT 60.9% 43.9 ce (23°%% 27%4in) provewance: Charlotte, Baroness Lionel de Rothschilds by descent within the Rothschild family ores: The dating ofthis photograph is based ona reference to Cameron in the letters of Charlotte, Baroness Lionel de Rothschild (Sept. 14 871 [The Rothschild Archive, London, 000/84]) we rneseni#rtons: Recto mount in ink by JMC: ‘Socarly in the morning tnace: Diam, 19.3 em (7% in) over: 35.225 em (13/4 9"%«in) PROVENANCE: Presented by Hester “Thackeray Faller to the Gernsheim Collection, October 3935, loruen paints: Private collection, United Kingdom “7 rwsemt¥ rons: Recto mount in ink by JMC: A Wanderer | after the manner of Leonardo Iaeaot:2633%39.9 cm (0% 7% in) out: 352% 35.em PaoveNance: Presented by Hester “Thackeray Fuller to the Germs Collection, October 3,935 sax 9% in) “as rnseetPrions Recto mount in ink by JMC: ‘Farewell and in pene in an unknown hand above image: Alice Lidell? rneact: 95% 12.6 6m (9/4 4% in) mount: 33.7 30.2 (3/2417 in) Provenance: Sotheby's, Belgravia, ‘October 8, 1974 lot 34; NPG; NMPFT, 985 ‘OtHeR painrs: BLUO Henry Taylor Album, no, 624; IUAM Miniature Album 75.38.16 (cicle); Norman Family Miniature Album, no. 39 (circle private collection (ed) nepnopuen: Ford 3975, p15 ors: This picture is detail of ct. no 1068 Women 255256 “9 Study No.2 Mary Ryan (1865-66), Mums A Flower of Paradise Mary Ryan [1865-66] GEH se:15:0005, “ [Mary Ryan] (u865—66) MMA 69.6072 4s. ‘The Irish Immigrant Mary Ryan {1865~66) RPS 2250 JULIA MARGARET CAMERON 44 [Mary Ryan] 1865~66] Private collection, United Kingdom 4 ‘The Wild Flower Mary Ryan [867] NMPPT Herschel Album 1984-50178ry [Mary Ryan @)] (1866-68) ‘MoMA 329.68 «6 ‘The Gardener's Daughter Mary Ryan {ot6n copyright Jay 10,1867 [NMPFT Herschel Album 98-1766 we sscnieriows: Recto mount in ink by IMC: ‘From Life Julia Margret Cameron Stady ‘No.1 Colnaghi blindstamp ace: 29-7 24.6m (11"%e 9% in) MOUNT: 3543383 em (3x UK in.) RovENAnce: Gilt ofthe artist 0G. F ‘Wats by descent from Mary Fraer-Tytler Wats tothe present owner; on loan to the Ashmolean Museum, 1977 onus pnints: Private collection (ody Snserbed by JMC: Lady Clara Vere de ire) 450 inseatpriows: Recto mount in ink by JMC: From Life Jlia Margaret Cameron and in very fint pencil below Bower of Paradie, Colnaghi bindstamp smeAcE:35.650378 em (10% 75.) ODN: 48.8% 36.3 em (29 Ya 14 i.) PROVENANCE: A. E, Marshall 1940; Gerald Massy, 98 ‘oriten pniwrs: Private collection, United Kingdom ernoucen: Lukit 186, p22 ast race: 93.1247 em (4x 9"%e i.) MOUNT: 54.526. em (1% 10% in.) rovenanr: PD. Colnaghi & Co, Led, London, 1969 ‘otitnn paints: Private collection, United ‘Kingdom (arched top) = tscnterons: Colnaghi blindstamp eaoe: 33.5379 em (3% jn.) MOUNT: 38.246. em (3374318 Yuin) ProveNanet: Robert Schoclkopf gift of Shirley C, Burden, 1968 “3 inseriPrrons: Recto mount in ink by JMC: From Life Regitered Photograph Copyright Jia Margaret Cameron and in enc Ielow: The Iih Immigrant acne: 52.2 36.2 em (12 MOUNT: 49% 39m (19/0167 0.) PaoveNance: Gift of Me. Beatrice Trench, 29 orien pairs: IUAM Miniature Album 753838 (Gree) nernopvcrD: Lukitsh 1986, p. 7 10% in) “ rauaee: 29:8 24.2.m (a¥cg%in) MOUNT: 47343 €m (819% In.) noveNawce: Gift of the ats to Lord and ady Elcho; by descent within the family 4s tnscazerions: Recto mount in ink by JMC: ‘The Wild Flser and at wpper right commer # mace: 275333 m (10"%4 9% in) Mount: 35730 6m (3% 28% in.) PRoveNaNee: Sotheby's, Belgravia (October i, 1974 Jot 34; NPG; NMPFT, 1983 ovien emits: IUAM Miniature Album 75.3878 MFAH 6.138 (bined; RPS 2373, UNMAM 72.484 serKopucen: Ford 175.104; Weaver 1984 7x Wolf 199, pl 456 tnsentetons: Recto mount in ink by JMC: The Gardeners Daughter ad at upper ight taek: 39.2 «25.4 6m (114% 9%.) MOUNT: 33.6 30.2 em (iy %ex 17% in.) Provenance: Sotheby's, Belgravia, October a, 1974 lot 345 NPG; NMPFT, 1983 ‘OTHER Paiwrs: RPS 2184 erRopvcro: Ford 1975p. 89; Hopkinson 1986, p.s: Wolf 998, pl. 17 Women a7“7 wt “9 [Jane Elizabeth Senior] [Isabel Somers-Cocks] [Virginia Dalrymple] (1864~65] Apri 3, 1866 (9868-70) Present whereabouts unknown WEP 8522654 HRHRC 964:0037:0122 a oa 63 [Virginia Dalrymple] [Christina Spartali] [Christina Sparta] {s868-70} [March 1868] (March 1858] HRHRC 964:0037:0071 RPS 2352 HRHRC 964:0037:0098 JULIA MARGARET CAMERONVirginia [Dalrymple] [1868-70] LoC rit Cameron, no. 4 (size) ay [Christina Spartali] [March 1868) NPG nitoso “7 rwscrteriows: Unknown, tuace: Unknown owner: Unknown provenance: By descent within the Senior family tiesent#rtows: Recto mount i ink by JMC: rom Life April gr 1866 Julia Margaret Cameron; Coloaghi bindstamp tack: 348% 266m (15 MOUNT: sa = 428 em (20% x 16% in) Provenance: Sotheby's Belgravia, November 1, 985, lot 72 lores paste: WCC Miniature Album, 20.3 inscribed by JMC: label Somer Gacks), TRC 426 reeroovcrD: Hinton 199% p.t07 49 tnsentettons: Colnaghi blindstamp nea: 33.2356 em (ex 10% in) MOUNT: 527 43cm (20% «16% in.) Provenance: Helmut Gemehei ores: The recent identification ofthe subject eat. nos. 439-61 occured too late to place the pictues in alphabetical order a6 tnsonterrons: Recto mount in ink by JMC: From Life Regitered Photograph copyright Julia Margaret Cameron! Virginie: CColnaghi blindstamp ounce: 31.7243 em (12%.x 9% in.) MOUNT: 575% 36-4 em (22% 15%.) PRovENawet: Robert Schoelkopf 1975 ‘orien paints: HRHRC 964:0097:0029 (ea) 461 enor: 31.9 x26 em movie: 353% 285 cm (3/4 11% in.) Paovenawce: Helmut Gernsheim nernopuceD: Gernsheim i948 pl. 3 Gernsheim 1975 9-34 insertions: Recto mount in pencil by JMC at lower lef corner 20/8 [ro shilings Colnaghi lindstamp and soxpencel partial 1aence: 343% 247 em (15/4 9% in) MOUNT: 49 385 em (9/% 1574 in.) ProveNawee: Unknown lorven rains: Carla Emil and Rich Silverstein (inscribed by JMC: Frm Life ‘March 1858) 6 tnsonterons: Colaaghi blindstamp Ineaee: 363% 26.6. (4% 10% in.) MOUNT: 54.5 4425 Em (207/167 i.) Provenance: Helmut Gernshein yueeD: Sun and Shade 1891 (ited ‘A Dalmatian Mei 464 rngcnteTions: Recto mount lthographed facsimile insripsion by JMC: From Life Copyright ula Margaret Cameron rata: 1.99.7 em (5a 3% im) MOUNT: 164107 6m (67s 4%) eptunt: Cabinet card PROVENANCE: Gift of Mes. Cule, 1959 omnes pairs; 1UAM Miniature Album 7389 Women 259260 65 [Marie Sparta] September 1868 Private collection +69 Hypatia Marie Spartli (e86s] JPGM S4208443.69 JULIA MARGARET CAMERON 466 ‘Marie Spartali {September 868] AIC 1998.289 The Spirit of the Vine Marie Sparel 1868; copyright September 5, 1868 UCLA Aubrey Ashworth Taslor Album, 20. 49 “7 Memory ‘Marie Spartalt Seprember 868 VHM Ph 2607 Marie Sparta as The Imperial Eleanore (48681; copyright Sepeember ts, 1868 Private collection (Norman Album, 80 32)Marie Spartali as Memory [September 16] Private collection (Norman Album, no. 49) [Marie Spartali) (1868; printed 1880-90) SLUC Mss or s857 48 no. 148, Photos 65 insenterions: Recto mount in ink by JMC: From Life Registered Photograph Copyright Iulia Margaret Cameron Sop 1888 Precwater fand at bottom of mount: For our dear fiend Me. Darwin a gift fom bis afer [affectionate] Julia Margaret Cameron; Colnaghi blindsesmp mace: 30.7244 6m (12% 9%) MOUNT: 48 46.3 em (22"%n x 18% in.) paovawance: By descent within the Darwin family Sotheby's, New York, October 12, 2000, lot 486 twsentertows: Recto mount in ink by JMC From Life Registered Phtograph Copyright lia Margaret Cameron Mare Spartal and a lower right commer: 4 Xmas gf for ‘har Herbert frm Auntie Julia aeace: 312% 235 €m (12% % 9% in.) opnT: 352 «27.9 m (3/0 in.) provenance: Estate of Vanesa Bell 1998 orien pairs: JPGM 84.x0144335 inet); NPG xi (abines) o tsert#rrons: Recto mount in ink by JMC: From Life Frater Sep 168 Regiored Photograph Copy righ alia Margare Cameron and in Faint pencil below: Memory and in ink at lower IeF commer verso. mount wet stp a lower right commer Ville de Pars | Haateile 1 Houe! Guernsy and in peril below: 1 [all within stamp] twat: 50.5% 2.4m (12 * 9% in) Mount: 38.1% 29.2 em (15.1% in) Paovenawee: Vitor Hugo, by Aut 4, ‘OTHER Pairs: CMA 197452 (inseribed by JMC: Mnemosyne) SLUC Mss. ut $857 25 no. 148, Photos 8, no. 9 (carbon; reduced ePnopuceD: Gernsheim 948 p95 Gernsheirn 1975p. 161 ss tnscateriows: Reeto mount in pencil by IMC: Marie Sparta as Memory mace: 375 2.6 em (0"%ax Bn) MOUNT: 45.9% 524 em (18% 33% in) provenance: Gift ofthe artist Julia and Charles Norman, September 9, 18695, by descent within the Norman fail 69 nsenierioNs: Recto mount in ink by JMC: ‘From Life Registered Photograph Copyright Julia Margaret Cameron 867 Lis} Hypatia ‘and below oar the gli now injured & perfet copes are are Lad in pencil {possibly by Dante Gabriel Rossetti in lower right comer: DG. R; Colaaghi blindstamp MOUNT: 58.3 «46.2 em (22" Paovewance: Dante Gabriel Rowett by descent within the Rost fail Sotheby's, Belgravia, October 24,397 foe 216; Samuel Wagstaf, Je. 2984 orwes exinrs: HRHRC Thackeray Album 954:0312:0060 and 9642003720048; JUAM Miniature Album 7538.6; MDO eto 15-216; NMPFT 1995-5036 cabinet), Norman Album, no. 3: private collection (ede) SLUC Mss, ur s857 280.48, Photos 8, no 10 (carbon; reduced prints UCLA Aubrey Ashworth Taylor Alburn, no. 24; V8CA mgrr963; WCP 3229 ePnoouceD: Geeasheim 948, pl. 9; GGernsheim 975, rss Weave 98, 119; Wolf 998, pl. 34 “0 rscrtPrtons: Tn ink by JMC in index at rear ‘of album: Tbe Sprit of the Vine study frm Marie Sparta 1858 nenek: 35.3178 em (9% 7 i) own: 462316 cm (8302/0 Paovenawce: Gift of Albers Bon, 1967 lornen paints; Norman Album, 10.57 rnseatptions: Recto mount in pencil by IMC: Mari Spartali ay The Iperial react: 27.4% 456m (10%%8% in.) MOUNT: 45.9% 314m (Bux 12% 0.) PROVENANCE: Gift of the artist to Julia and ‘Charles Norman, September 9, 18695 by escent within the Norman fly orien pairs: IUAM Miniature Alburn 1538.63; JPGM 84 x0443. (cabinet); private colletion (edv SLUC Ms. vt 5857 a8 no. 148, Photos 8, no. 1 (carbons techaced print); UCLA Aubrey Ashworth ‘ayloe Album, no. 9 (printed fom cracked negative; inscribed by JMC in Sndex at rae of album: Moria Spartl at “mperial Eleanor”) m mace: 19.8 asm ("ex sin) MOUNT: 35.18.3 cm (9% 7% in.) stzpioae: Carbon (reduced prin) provenance: William James Stillman; tilt of Michael S. Silman 1959 ores: This carbon print, made fom 3 reduced copy negative, was executed without JMC’ instructions afer her deat, Women 261262 ” a La Donna at her Devotions [Marie Sparta] Marie Spartlt (1868; printed 18801900] [u868}; copyright September rs, 1868 SLUC Mss. ur $857 a8 no, 148, Photos 8, no. 6 UCLA Aubrey Ashworth Taylor Album, a0. 4 a ” Marie Spartali [Marie Spartali (March 168] March 1868 RPS ora RHRC 964:0037:0057 JULIA MARGARET CAMERON as Maxie Spartali [o868) Private collection, United Kingdom ” [Marie Spartali} (868) BLUO Henry Taylor Album, no. 8ws [Marie Sparta] [March 1865] NMPFT 1999-4099 sto [Marie Sparcali] 868) HRHRC 964:0037:0047 mn ingcnterions: Recto mount in pencil in an ‘unknown hand: Le Donna at her Devotions and in ink by MC in index at rear of. bur: La Donna at ber Devotions (tudy frm, Marie Sparta) since: 35.4% 20.4 cm (t0 8 in) MOUNT: 4 jt em (18h 12/0.) PROVENANCE: Gift of Albert Bon, 1967 orien prints: Norman Album, no. 395 private collection (ed); SLUC Mss. oF $857 90.48, Photos 8, no. § (arboos reduced print) epropucen: Morley 1974 cat. 10 oy IMAGE: #83144 0m (7% 5 Yin.) Mounts 35% 383 6m (9% 7% in) stgpium: Carbon (reduced print) provenance: William James Stillman sift of Michael S. Stillman, x99 ores: This carbon print, made from reduced copy negative, wat executed without JMC’ instructions after her death, as :nsemiprioNs: Recto album page in ink by IMC: Marie Sparta ecto mount lithographed ficrimile inscription by JMC Fram Life Copyright Julia Margaret Cameron IMAce: 7.5 5§ em Gx 348) oun tt «546.0 (5% 3 Yin) serpin: Cartede-visite Provenance: Gift ofthe artist to Julia. Norman; by descent within the Norman, Pryor, and Curis failes a6 ansemieriows: Recto mount lithographed facsimile inscription by MIC: From Life Copyright Julia Mergaret Cameron Mace: 85% 5.6 em (ex 2% in) MOUNT: 101 6.4 6m (3"%4x 2% in) sepiom: Carte-de-visite ‘rovewance: Erich Sommer; Christies, London, May 719994 oe 83 orien rains: Private collection (eds); SLUC Mss. vr 585726 no. 148, Photos 8, ‘no. 8 (carbon; reduced pri) ” tscRierions: Recto mount in ink by JMC: ‘From Lif Julia Margaret Cameron and in pencil below: Marie Sparta; Colnaghi blindstamp IMAGE: 34.4% 2637 (9%aex 1044 in) MOUNT 542% 4 em (31/0 17% in) Provenance: Rew. Brooke Richard, 190g: gilt of Mr. Holerot, 932 orien pninis: SLUC Mis. ur $57 a8 148, Photos| no, 4 (carbon reduced prin) -” rmescaietions; Reeto mount in ink by IMC: From Life March 1868 Julia Margaret ‘Cameron and in pene in an unknown hand. below: Mari Sparta; Colnaghi Blndstamp tata: 543 36.4 6m (4555 104m.) oun: $3.3 428 cm (ar 167% in) provewance: Helmut Gesnsheim orwen exints; NMPET 19-74; SLUC Mss. ur 5857 mo 48, Photos 8, n0.7 (carbon; reduced print) arexoucen: Gemsheim 2975, po14t 9 Mace: 36.2235 em (ug 9% in.) MoUNT: 37.3245 cm (14"%ex 9% 0.) provenance: Bequest ofthe Tayor family, sso Mace: 33.235 em (157% 9% in) provenance: Helmut Gerasheim otnen pairs: JPGM 84.6.44335, (cabiner); NPG xa8osr(abinet private collection (ed); UCLA Aubrey Ashworth ‘Taylor Album, 90.21 neenopucen; Gernsheim sp. 16; Gernsheim 1975, . 139; Wolf 998, pl. 16 Women264. [Marie Spartali] (863) JPCM 8420.45370 as [Marie Spartali] (1870; printed 1880-1900] SLUC Ms. wr $857 a5 no. 148 Photos 8, no. 13 JULIA MARGARET CAMERON ee “ [Marie Spartai] Marie Spartali (ase) [October 1870) JPGM 4.x01549.2 Private collection 486 a [Mary Spring-Rice O'Brien] [Mary Spring-Rice O'Brien] Lune 1867) [June 1367} Present whereabouts unknown JPGM 2001.24a8 [Marie Spartali] October 870 Present whereabouts unkown 8 [Mary Spring-Rice O'Brien] [June 1867) Charles Isacs we tnscate tows: Colmaghi blindtamp raner: 36:7% 25.3 em (t4/n x 9% in) MOUNT: $81 46.30m (327187 in) PRovENANce: Sotheby's, Belgeavia, March 27, oft, lot, Samuel Wagatall J 1984 ‘orig pairs: MMA 69.6077 a insertions: Colaagh blindstamp; ‘verso mount in ink in an unknown hand Moore | Newport! Tof W and Portrait Mrz,J-M. Cameron and J-W-Meore suace: 36a 26.6 em (1475 10% in.) oun: sx 46 em (227 18% in) RoveNaner: Sotheby's, Belgravia, March 27, 198 lot 482; Ande Jammes, 984 neropucen: Cox 1996 . 81; Wolf 1998, ple o inseni#tions: Recto mount in inkiin an unknown hand: From Life Regitered Photograph Copyright Julia Margaret Cameron Fresater Ort. 180 and in ink by JMC below: Mare Sparta; Clnaghi blindstamp aeaek: 33.3 ¥ 35.9 em (15% 10 in) Mount: 465% 373 em (87% 44% in) provenance: Sotheby's, New York, May 1994 or 84 :senierions: Recto mount in ink by IMC: From life regiered phtrgraph Copyright Freshsatr Ot 1890 raeaee: 53536 em (10% in) mous: Unknown vrovenance: Christies, London, [November 9, 198, ot 408 8s nace: 12.8 10.66m (5% 4% in.) MOUNT: 3518.3 cm (9% «7% in) pias: Cashon (reduced pein) provenance: William James Stillman; sift of Michael S.Seilman,r959 sores: This carbon print, made from a redaced copy negative, was executed ‘without JMC: insertions after her death a6 tnscaterioNs: Colnaghi blindstamp tance: 325% 376m (84% 65am) srounst: Unksown provenance: Sotheby's, Belgravia, June 26, 109510074 ornien pairs: Sotheby’, London, May 6, 1999 ots (inserbed by JMC: From Life Jane 186 Julia Margaret Cameron n.1) “7 tnsenterrows: Recto mouat in ink in an unknown hand: Prom Life une 867 Jia Margaret Cameron No 2 and i pencil by JMC at lower right comer Na 35 Colnaghi ‘Mindstamp; vero mount in pene in an unknown hand at lower left comer ‘Mr Monteogle race: 23.9 18 sem (997% in) oun 385283 cm (4"%4s28% in) PROVENANCE: Gift of Robert Warren, 2008 ass rascrterions: Resto mount in ink in an unknown hand: From Lif Julia Margaret Cameron; Clnaghi blindstamp tacaon: 25.8 18.4 em (97 «7%sin) ou: 378 284m (440187 in) PROVENANCE: Sotheby5, Belgeavia, May 6, 1999 fot 51 Women 265266 49 [Mary Spring-Rice O'Brien} (Jun Present whereabouts unknown 490 ao [Mary Spring-Rice O'Brien] [Fanny St.John] Lone 865 {866} Alex Novak, Vintage Works JPGM 8400.43.74 a9 Lady Adelaide Talbot ‘May 1865; copyright July 18,1865 JPGM Overstone Alum 84 x2.186.104 JULIA MARGARET CAMERON 498 495 1 Penseroso [Maud Tennyson] Lady Adelaide Talbot eT [May 18651 NPG xitos9 JPGM Overstone Album 84.2286.a Lady Adelaide Talbot [May] 1965, JPGM Overstone Album 84.x2.386.99 96 Sadness Ellen Terry 1854; copyright June 30, 864 JPGM Overstone Album 84x2.86.52 89 snscaiprions: Recto mount in nk by JMC: From Life Jlia Mergoret Cameron, Colnaghi Blindstamp mace: 346 «8.6 6m (9% 7% in) oun: Unknoven Provenance: Christie's, London, January 23, ‘975 lt a8 90 insenuptios: Recto mount in iin an ‘unknown hand: Brom Life Jia Margaret Cameron; Clnaghi Bindstrnp smeace: 338 18.2 em (947% in) MOUNT 37.6338. em (toe 4 in) ‘provenance: William Schasfer, 992 on INsentpTioNs: Recto mount in ink by IMC: From ie no enlarged Julia Mergaret ‘Cameron; Colnaghi Blindstarap Mace: 34% 265 cm (15% 19% in) sour $8.5 «46.4 cm (25x 18% in.) provewance: George Rishart, Wagstl,Je 984 onwen pxinrs: Christe’, London, ctaber 35, 198g ot 205 (inscribed by IMC: This copy not to Be parted wit8)s MDO. PH 19858 a tnsentrions: Recto mount in inkkby JMC: Freboter Little H.H. (Holland House] Lawn 185 / Lady Adelaide Talbot and at Upper left commer 97 mace: 29-7 245m (10 'ex 9% in) srouner: 33.9 % 384 cm (35% 107%) PROVENANCE: Sotheby's, Belgravia, June 26, 1075 lot 45; Daniel Wolf, 98 ‘omiten enivrs: Lindsay Albus, no. 8; VBA 44.954 evopvcey: Weaver 1986, p. 94 93 tsorterions: Recto mount in ink by JMC: L4H. [Lite Holland House) Lawn / ‘May 865 Lady dolide Talbot and at ‘upper ef commer 703 neace: 26,3 218 em (10% 8% in) oun 338 28.4 em (ein) PROVENANCE: Sotheby', Belgravia, June 26, 1975 lot 45; Daniel Wolf, 1984 ‘ores painrs: Lindsay Album, no. 28; privat colleton (ev); TRC sang; V&A asta nernopucen: Weaver 1986, p. 95; Wolf 1998, phaé 496 tnesenteriows: Recto mount i ink by JMC: 1 Penervo mace 355320 em (10% 7%) sours 343% 37.6 em (t3!8% 107% in) Provenance: Sotheby's Belgravia, June 26, 1095, lot 45; Dasiel Wolf, 2084 nnn pxints: Lindsay Album, 20.845 VBA 4s.46 inscribed by JMC: Come Peasive Nun devet and pure sober, sedfast and demure) sepnonucen: Weaver 198, p. 79; Weaver 1986, p.75 5 nseRtPrions: Recto mount lithographed facsimile insertion by IMC: From Life Copyright Julia Margaret Cameron tmaacr: 8.9 66 em 3% 2% in) MOUNT: 16.43 107m (Ying pia Carte-de-visite PROVENANCE: By descent within che fail of Maria and Mary Jackson; Mrs. Cale, 1959 6) 496 insertions Recto mount in ink by JMC: resbWacer inside cottage 18641 Sadness at upper right comer 5 signed in reverse in the negative at lower lef Jule Margoet Cameron renee: 33:75 em (8% 6% in) MOUNT 358 383 om (9 Yn tt¥a in.) PRovENANCe: Sotheby's, Belgravia, June 26, 1975 lot 45: Daniel Wolf, 984 loriien eniwrs: Lindsay Album, a0. 7 (rectangle) epnooverD: Woolf and Fry 1975, pl 26; ‘Weaver 1986 p 825 Cox 1996, p15; Wolf ‘998, p71 Women 2677 wt 49 {Sadness} ‘The South West Wind Medora Ellen ‘Terry Ellen Terry Ellen Terry [1864; printed 18700] 1864 copyright June 30,1854 (286466) JPGM 86.40.6364 JPGM Overstone Album 8442.86.55 resent whereabouts unknown sor son se Anne). TIhackeray]. [Anne Thackeray (2)] [Group] (May po) ree Unknown girl Anne Thackeray, unknown gal AIC 1963 606 Present whereabouts unknown [n868—ya RPS 2165 268 JULIA MARGARET CAMERONse Alnne]. Thackeray (May 170}, NPG ess seu Minnie Thackeray 1865; copyright May 3, 1865 JPGM. Overstone Album 84.x2.18.100 7 mace: Diam. ager (9% in.) MOUNT: jax 3u9 em ((2%4x 12% in) snoive: Cxbon provenance: Hardinge Hay Cameron; ‘Adeline Cameron; Mrs. Thomas of Orgreave Hall; Neville Hickman, 1986 vues pRinrs: MMA 4945328: RPS 236 azexopucen: Stieglitz 193, pl. §; Gerasheim 1948, play; Hill 973, pl 1; Gernsheim 1975. 137%; Hopkinson 1986, p15; Cox 1996, p. mt ores. Attached tothe mount of the ‘photograph san unrelated note written by the subject rach poor ile floor fr yo ut they ar at leat ree! —and 17 sent them ofc tomate wishes for you! Dappines os ever Ellen Terry a8 tWescrtPrtows: Recto mount in ink by JMC: Crome Place Baleony, Keningtom 364 1 ‘Dh South st Wind ! study fr. te rane) and at upper right comer: s¢ mace: Diam. s0.4em (Bin) Moun: 33.727. em (x1 in) Provenance: Sotheby's, Belgravia, June 26, 1095 lot 45; Daniel Wolf, 98 orien rxinrs: BLUO Henty Taylor ‘Album, 90.6; HRHRC Thackeray Album (964203120038 (oval); Lindsay Album, sho 1205 MMA 43.2039 (rectangle; inscribed by JMC: Thow suondering wind I ob stay ob tay) nernopucro: Weaver 1986, p. $2 ores: This photograph was most likely taken atthe home of John Everet Milas, 7 Cromwell Plie, London. 499 twscRtetons: Recto mountin pencil by IMC: JMC / Medora sadogs 34-219 em (9% 7%ein) oun: Unknown PRovENANCE: Sotheby', Belgravia, August 1 1, ot 322 seo tsentetons: Recto mount i ink signed by the stor. Tbaceray ener: jo.2 «3.2 em (x97 in) MOUNT: 3533375 €m (131% 30°% 50.) PROVENANCE: Gilt of Mes. E. Norman- Butler, 1976 ‘orien Pauw: NPG xifo47 (cabinet) and 8673 (ed); BNF .05963/2; Christe’ London, June 3, 1977, lot 36 (inscribed by JMC A litle gif of large gratitude to Mrs, Praser-Tyter fiom Julia Margaret Cameron and May 1890); HRERC 964:0037:0109; NMPPT 1995-035/8 (eabine) ‘epnoDvceo: Ritchie and Cameron 1895 ‘play Ford 195, p 1 Gernsheim 1975, pans sor rnvscnieriows: Recto mount in ink in an ‘unknown hand: From Life retered photo capyright May 870 Julia Margret Cameron and in pencil by JMC below. Ts Colnaghi biindsarap mace: 29.224 m (145% 97 in) sownin: 498% 43.6. (9/4 «27% 0.) Provenance: Gift of Ms. Jrnes Ward ‘Thome, 1963, son nsceiPrtons: Unknown aor: 35.5 25.2 cm (5% own Unknown Provenance: Unknown nerxonucen: Ford 19796, p.6 Min) so rsentrrrons: Recto mount in ink by JMC: From Life Registered Photograph Copyright Julia Margaret Cameron mance 361% 278 em (357 10"%ui0.) MoDNT: 47.9% 57.6 em (38/4 14% in) Provenance: Unknown Iepnopivce: Weaver 184, p36 soe insertions: Recto mount in ink by JMC: FrecbWater Iris Minnie Thackeray and at upper right corer: 98 renee: 27.3 235em (10%% 9% in.) MOUNT: 33.9 285 em (15 %u ein) PROVENANCE: Sotheby's, Belgravia, June 36, 1975 lot 4; Daniel Wolf, 984 lovee rauwrs: Lindsay Album, 2.30; MMA nats, TRC sais rernopuceD: Weaver 1986, p.g4; Cox 1996, pa Women 269270 ses [Mary Wedderburn} 506 Portrait of Mary Wedderburn June i874 RPS 2833/5 Study of a Magdalen Mary Wedderburn Sly 76 Present whereabouts unknown 509 Rosalba Cyllena Wilson e867] copyright June 25, 1867 GEH tr:us1:0005 JULIA MARGARET CAMERON so Cyllena [Wilson] [:867I; copyright June 25, 2867 HRARC 964:0037:0065, su ‘The Morning Star Cyllena Wilson June 20, 1867 RPS roy38sot The Two Magnolias Cyllena Wilson (0867) Stan Kaplan sa ABacchante yllena Wilson June 20,1867 TPGM 84.x01.443.40 ss snsentertows: Recto mount in ink by IMC: From Life Registered Photograph Copyright Jilia Margaret Cameron Frebatr neg IMAGE! 34-2265 em (157% 10% in.) souNT: 482377 em 8% x provenance: Unknown onwes paints: IUAM Miniature Albotn 73288 in) 506 InscrtPrions: Recto mount in ink by JMC: Brom Life Regitred Photograph Copyright Julia Margaret Cameron Fresher “Jee ving an i pencil below: Portrait ‘of May (e| Wedderburn sence: 35.2273 em (37% 310% in) Moun 481 37.6. (18%ax 14% in.) PROVENANCE: Gift of Mes, Beatrice Trench, 1929 ser :nseateriows: Recto mount in ink by JMC; From Life Registered Photograph copyright Jala Margaret Cameron Freshwater July 1p 1 Study ofa Magdalen; Colnagh blindstarp ace: 3563273 em (x10 % in.) oun: Unknown novENANce: Christies, London, Jane 30, ro77 lot 520 sot raseerPrtons: Recto mount in ink by MC: This copys printed oma damaged ibe of paper / The Tes Magnolias and in pencil below: Tai. damaged pite of pp et yo ‘wil sce but the gars i perfec, verso mount in pencil by MC at center: eshte brews Signor | pinion of figure if ll descibad 8 ifnat wonder for agi of ts tack: 33x 254 6m (3 20 In) MOUNT: 435 343 6m (7/4 134 in) PROVENANCE: Sotheby's, New York, Apri 28, 1999 lot « 09 sscetertons: Recto mount in ink by IMC; rom life Jala Margaret Cameron | Rosalba Colnaghi blindstamp raence: 3543379 em (45% in) aounTr 55.6345. em (31/4 9% in) Provewanct: Gabriel Cromer, 193% gi of Eastman Kodak Company, 949 orien rainrs: HRHRC 964:00)7:017 (presented to Dante Gabriel Rossetti) TUAM Miniacute Album 753856; WCC Miniature Album, no. 19; MFAB 42340 (carbon); Norman Album, no. 4 Gnseribed by IMC: Study ofa girl of 15 fom te Life nat enlarged); pivate collection (eds), RPS zatlt~7 (carbon); UNMAM 76.94; V&A 2751999 (photogravice) nevooucen: Gernsheim 975, p. 1095 Lalkish 1986, p. 3: Hinton 1998, p75 Wolf 998, pl. so InscatPrions: Recto mount in ink by JMC: From Lif Julia Margaret Cameron / Stina {sie} and in penil [possibly by Dante Gabriel Rossetti) a lower right corner: GR; Colnagh blindstamp Inenee: 316336. cm (12x 10% in) MOUNT: 50.8% 437 em (20.16% in.) PRovENaNce: Dante Gabriel Rosetti by descent within the Rosetti faily Helmut Gerasheim ores: There ace seven prints in the HRHRC% collection that were presented to Dante Gabriel Rosset by IMC in 867, See references at et. 908.387, 50910, 5, 876,880, and 98s. su nscaiPrions: Recto mount in ink by MC: From Lift PrabMater Bay June 2008 1867 Jala Margaret Cameron ad in pencil below: The Morning Star Colnaghi blindstamp ence: 54.9 «26: 6m 97x 10% in) oun 555 425 em (2174 16% in) rrovenaner: Unknown orwer rainrs: IUAM Miniature Album 733837 on rnserzPTions: Reto mount in ink by JMC: From ifeJune sot, 18 Julia Margaret Cameron and in pencil below: Baschente sand at lower left comer: For the Signor fom Julia Margaret Cameron; Colnaghi ‘lindstemp mack: 323 26.5 em (12% 107i.) MOUNT? sq 46a cm 25 18% in.) Provenance: Sarnuel Wagstaff J 1984 OTHER Pairs: HRERC 964:0037/0069 (oval) private collection cd); RPS 2378 (ol) rpronucen: Hopkinson 1986, p. 395 Cox 10996, p- 6; Wolf 998, pl 37, Women — aysaa 3 Rachel Cyllena Wilson (1867); copysight June a, 1867 HRHRC 964:0037:0n8 ou [Rachel] Cyllena Wilson {1867 copright Jun 5, 1867 MAB 1985-435 5 [Cyllena Wilson] {86768} Present whereabouts unknown om [Unknown Woman] [n864) BLUO Henry Taylor Album, no. 107 JULIA MARGARET CAMERON sf {Unknown Woman] 354-65] TRC se35 3 I1Penseroso Unknown woman (1864 ~65) VBA 45436 Vectis Cyllena Wilson (1868); copyright August 3, 2868, RPS 2300 seo U1 Penseroso Unknown woman 864-65) VocA as.i4s 8 insertions: Recto motnt in ink by JMC From Life Julia Margaret Cameron | Rachels CColnaghi blindstampr verso moat in pencil by Helmut Geensheim: On of even dies given by JM. C. to Dante Gabtil Raut Iaenot: 54.8% 245 em (35% gin) mount: 6 425 em (ath «6% in.) provenance: Dante Gabriel Rosset by descent within the Rosset family; Helmut Gernsheim orien paivers: NMPPT 1999°3036/15035 privat collection (cabinet) aeexopucen: Wolf 1998, pl. 36 ores: There are seven prints in the HRHRC's collection that were presented to Dante Gabriel Rossetti by JMC in x86. See references 2 cat 0.37, 509-10, 13, 876, Bio, and 08. ou rivscaseriows: Recto mount in inkeby JMC: From Life julia Margaret Cameron Mace: 34:9 27.9 em (9% |n) provenance: Mack Lee, 1985 orien paints: IUAM Miniature Alburn 75.3835 IWCC Miniatae Album, no 195 private collection (abinet; private collection (eds) 3s nsemiPT10Ns: Spooner blindstamp IMAGE! 34.3% 267 em (1375 10!4in.) Mount: Unknown kovesance: Christe’, London, January 3, 1975, lot 4, x6 tsseateriows: Recto mount in ink by JMC: ‘From Life Registered Photograph Vets le of Wight Jul Margeret Cameron IMAGE: 35.15 26.6 em (3x 10a.) MOUNT 39.8% 3n5 em 05% 12% in.) provewance: Gift of A. L. Coburn, 1930 aeexopucen: Weaver 1984, p24 sr AGE: 359% 20.16m (10% x7" in.) sour: 343 29.9 em (oe 0% in) provenance: Bequest ofthe Taylor fly, 8 mace: a5: 30 em (97% 7% in) Mount: 33333 em (3x 9% in) ‘rovewancs: By descent within the ‘Tenayson family; Pontin Collection, 1971 3 tsemtertows: Recto mount in ink by JMC: From Life Julia Mergaret Cameron it ‘Penteroio and in an unkown hand a upper left corner: Sadi for Painting, Colaagh blindstamp uaee: 35120 em (977i) MOUNT: 33«26.4m (5% 10%in) Provenance: Gift of the ate, September 27,1855 30 tsert#rows: Recto mount in ink by JMC: From Life Jlia Margaret Cameron / 1! enero ad in an snknown hand 3¢ upper left commer Studie for Painting, Clnaghi blindstamp seace: 25.2% 20.1 em (9"%ex 7% in) MOUNT: 33.5% 265 em (15% 107%.) PROVENANCE: Gift of the artist, September 27,165 Women 273274 se se Boadicea [Unknown Woman] Unknown woman ee (186466) V&cA Ps 248-1982 NPG 228026 as 36 [Unknown Woman] [Unknown Woman] (186466) [1864~ 66; printed c. 10] BLUO Henry Taylor Album, no. 83 GEH 6y:0088:00u2 JULIA MARGARET CAMERON ss [Unknown Woman] [ot63] TRC gata 27 [Unknown Woman] Li865~66) PS 2375[Unknown Woman} [ates] Private collection 38 [Unknown Woman} [i866] YUBL Gen. Mss. 340, Vo. 3 folder 38 ou rnscrtprions: Recto mount in ink by JMC: From Lif Julia Mergaret Cameron and in pencil below: Bose; Colnaghi blindstamp suace: 26.7% 2 em (108% in) MOUNT: 3828.6 em (eo 14 in) Provenance: Unknown evnopucen: Weaver 18, 137 sea rneace: 25.9% 201 em (to MOUNT: 358 245 em (14 Provenance: Unknown x7hin) x o%hin) cy race: 247% 39-46 ("ex 7% in.) DMODNT: 3323.3 €m (139% in.) PROVENANCE: By descent within the “Tennyson family; Pontin Collection, 197. oy rnsonterrons: Recto mount in ink by JMC: “Julia Merg ;Colnaghi blindstamp salace: 24.9 9.5 cm (9% 7"%cin) mount: Unknown Provenance: Sotheby's Belgravia, March 2, 1975, lot 33 ss rence: 27.9% 22.8 cm (ar 8%.) MOUNT: 33.2273 cm (1 «10% 0.) Pnovenance: Bequest ofthe Taylor family 1930 36 react: 27x 20.8 m (0% «8a in.) ovr: jo 226 6m (22/4387 in) beprut: Platinum print from a copy ‘negative by A. L. Coburn oveNanct: Gift of AL. Coburn, July1967 7 insertions Recto mount a ink by JMC: rom Life Regicered Photograph Copyright Jia Margaret Cameron; paral Colnagh blindstamp ruact: 373% a2 em (10% 8% in) oun: 50.3% 38.3 em (9315 in.) Provenance: Unknown ss rneace: Diam. 235 cm (9%in) MOUNT: 37.9283 em (44% "4in.) Provenanet: Gift ofthe ats to the ‘Tennyson fuily; by descent within che ‘Tennyson and Prinsep families; Colonel, B.S. M. Prinsep, 949 Women 275276 9 0 [Unknown Woman] [Unknown Woman] [i865~ 68] [1866-70] MMA 69,607.10 Ken and Jenny Jacobson si [Unknown Woman] (865-70) Present whereabouts unknown sa oe [Group] [Unknown Woman] Unknown gi unknown woman, unknown il March yo (3866-70) Present whereabouts unknowe TUAM Miniature Album 7538.84 JULIA MARGARET CAMERON 35 ‘The Peasant Unknown worman 1868 JPGM 84.300.443.71sa [Group] Unknown gt unknown woman [1866-70] YUBL Gen. Mes. 540, Vol. folder 0 6 [The Peasant] Unknown woman (86s) MAG na 1930 39 nscereri0ns: Colnaghi blindstamp IMAGE! 33.9% 258 cm (15% 10" in.) MOUNT 54 37.76m (70% 14"%« in) Provenance: P.8D. Colnighi & Co, Ltd, London, 1969 sso IMAGE: 875.9 em (Ya a%e in) [MOUNT 10.15 6.4 em (3% 2" 3m) potunt: Carte-de-visite provewance: Unknoven loruer paints: Another print, fro the calletion of Bich Sommer, soldat (Christie's, South Kensington, May 8, 1998 lot a7 st rnsent#tows: Unknown nace: 356% 35.§ em (e420) sovirr: Unknowa ProveNance: Christies, London, June 28, 1979, lot 308 sm tnscntertons: Recto mount in ink by JMC: Forour Nancy | fom ber loving | Auntie Lilia and in pencil below: ¢ dozen of tere dock mownts; wer mous in ink by JMC A loan | fer one alone pence: 35.9 x15. em (073 5%.) MOUNT 37.9 398 em (143 7% in.) ProveNanee: Gift ofthe ate othe “Tennyson family by descent within the “Tennyson and Prnsep families; Colonel B.S.M. Priniep, 949 a ace: 67% 5.6¢m (2%% 2%) oun: 25% 16. cm (870 6% in) ProveNawee: Russ Anderson, 1975 ow Inscrtrtons: Recto mount in ink by JMC ‘rom Life Registered Photograph Copyright Julia Margaret Cameron Mart 8703 Colnaghi blindstamp rane: 248% 19.7 em (9! mous: Unknown Provenance: Christie, London, June 30, 1977 lot 35 pain) 3s tnsemteriows: Recto mount in ink by JMC: ‘From Life Regicered Photograph Preivuater epyright Juha Margaret Cameron 18681 The Peaont and in pencil below: Mr. Prstfield and in ink below a ight: My gf and jn pencil in an unknown hand a lower left onmer [hyp this aa future gift! Hal Fratfeld 1 Blanche Cornish April 1885, Colnaghi blindstamp nace: j2.6 252 em (12% 9% in) MOUNT: 5.5 38.5 em (22% «15% in) Provenance: Samuel Wagsta, Jr 1985 536 rwsentetons: Recto mount in ink by JMC: From Life Copyright Julia Margret Cameron rowaoe: 52824353 om (7A 9a.) MOUNT: 50 36 em ("Vix 14% i.) Provenance: Hazrogate Public Library Women 27278 sr ‘The Sunflower Vaknown woman, Ln866~70] Private collection se Oenone Unknown woman, Lot70} HIRHRC 964:0037:0107 JULIA MARGARET CAMERON 8 ‘Study (No. 1) ofA Sibyl Uaknows woman May 1870 Present whereabouts unknown se Zoe ‘Unknown woman September sf70 WEP 8421005, 9 ASibyl Unknown woman 870) MMA 69,607.38 [Zoe] Unknown woman 870) RPS 2306so [A Sibyl ‘Unknown woman (e870) Private collection se Zenobia Unknown women x70 RPS 2361 37 tnvscrterrows: Recto mount in ink by JMC: From Life Registered Photograph copyright Jilia Margaret Cameron andi pencil below: The Sunflower, Colnaghi blindstamp renee: 35.1% 243 em (15% 9% in) MOUNT 38.3465 em (22% 18% in.) Provenance: Unknown ores: See cat.no 37 at the end ofthis chapter. sf rvsonterrons: Recto mount in ink by JMC: From Life Reitered Photograph Copyright Iilia Margaret Cameron May 1870 and in pencil below: Study (Ne 1) of Sibyl pence: 543337. em (5% 9) moun: Unknown PROVENANCE: Christies, London, June 30, 977 lot 37 39 Insemiprions: Resto mount in ink in ‘an unknown hand: Prom Life Rgitered ‘Photograph Capyright Julia Margaret, Cameron and i fai peal by JMC below: Sidy Colnaghi blindstamp nace: 3515373 6m 19% 320%in) MOUNT: 52.9% 383 em (20"%e% 15% in.) mrovesancn: B&D. Colnaghi & Co, Ltd, London, 1969 40 tnscateriows: Recto mount in ink by an ‘unknown hund: From Lif Reitered Phoograp Copyright Julia Margaret. Cameron Frater; Colnaghiblindstamp IMAGE! 355 28.2 6m (9% 1%.) MOUNT: 5.3 46.2 cm (22% x 8% in.) provenance: Unknown se rsecaterions: Recto mount in nk by MC: ‘From Life Regsred Photograph Copyright Isla Margaret Cameron 1 Oonne/ By ‘Min. Cameron andin pei at lower sight corner: eeu brow Aeon i)! See Tennyion snigce: yn 357m (540%) MOUNT: 568% 4gem (14 17"%ein) Provenance: Helmut Gershsin ‘ovina raunrs: RPS 283 othe’ Belgas, June 17, 9 lot 435 Gari by IMC: Proenta Monier Gusteve ar eve lait de Madame Cameron [resented to Me Gustave Dore with the rears of Mr. Cameron) se tisertetons: Recto mount in ink by JMC: From Life Registered photograph copyright Jala Margaret Cameron Sep. 870 Ze; Spooner blindsamp menses 337% 26.4 0m (154 10% in) MOUNT: 38 285 em (04% 25m) Provenance: Christies, London, ‘October 2,984, lt 200, 8. rnsentrrions: Spooner bindstamp IMAGE: 33.6 x 26.3 €m 15% = 10% in) MOUNT: 38385 em (tq t1%in) provenance: Unknown se 1nseniprions: Recto mount in ink by JMC: From Life Registered Photograph copyright Jala Margret Cameron sya and in pencil ‘below: Zenabia Spooner Bindstamp IMAGE: 33.7% 248 cm (154% 97% in) Mounts 37.8383 cm (4242 12% in) Provenance: Unknown Women 279 daiizedsy Google ‘ato ss [Unknown Woman} 8701 RDS 2362 9 Herodias The Mother of Salome Unknown woman lis70) RPS 2305 JULIA MARGARET CAMERON 6 [Unknown Woman] bs70) RPS 2085 50 [Unknown Woman} Lus70] resent whereabouts unknown 7 Rebecea Unknown woman L870), RPS as03/+ ss Amen Unknown women [u808—7a] RPS 26588 [Rebecca] Unknowa worsen (ogz0] RPS s304/t ssa [Unknown Woman] [868-2] RPS 2284 ss inscatersows: Spooner blindstamp Ineaek: 53.9% 353 om (1575 9% in) MOUNT 38385 em (4% 1% in) provenance: Unknown 6 rnseniprions: Spooner blindstamp Mace: 343% 264m (320% in.) MOUNT! 37.8% 28.4 em (i474 x 0% i.) provewancs: Unknown azprooucen: Weaver 1984, 127 se sentsioNs: Recto mount i ink by JMC: From Lif Registered Photograph copyright Julia Margaret Cameron Pretrwater ad in pencil belowe Rebeca Mae: 346 «38.4 em (943 28% in) owner: 452 357m (47743 24% in.) Provenance: Unknown ‘omutze paints: MM ss 1972 001 oot; WCP 85:26 (nsribed in ink by JMC: Maite, Spooner blindstamp) oe Ineaoe: 3427-7 6m 157% 2074 in) mouw7: sBax 460m (2274 18% in.) Provenaver: Gift of Mes. Beatrice Trench, 29 OTHER PRINTS: RPS 2304/2, 2504/54 (carbon), and 20585; MAB 42.345 (carbon) nepnoovceo: Weaver 1984p. 36 9 Insenit10ns: Resto mount in ink by JMC: Prom Life Ropisteed Photograph copyright India Margaret Cameron Fresbster! “Herodias | The Mother of Salome in ‘eneil at lower left commer: 6/ [6 shillings] CColnaghi Bindstamp MACE! 34.6% 269 em (9% x 10% in.) MOUNT: $8.3 46:7 em (22"%4 318% in.) provenance: Unknown (OTHER PRINTS: RPS 20566; HRHRC g64:0037:015, sso riescntertows: Recto mount in ink in an ‘unknown hind: From Lif Reitered Photograph Copyright alia Margaret Cameron Prabeater sacs: Unknown Mount: Unknowa, Provenance: Unknown ss Inseaiprions: Recto mount in ink by JMC: From Life Registered Photograph Copyright Ista Margaret Cameron! Amen; parti Colnaghi blindstimp ace: 36.7214 em (10% 8% in) MOUNT: 478% 39 em (18% 15% in) provenance: Giftof Mrs. Bestrice Trench, 1939 sa rnsenteions: Partial Colnaghibindstamp WAGE: 317% 24.7 em 127%» 9% in.) MOUNT: 49 x 388 em (094 5%in) PROVENANCE: Gift of Mss. Beatrice Trench, 1939 Women 281282 ss [Unknown Woman] (n808=72) RPS 2306 597 [Unknown Woman] (868-72 RPS 2307 JULIA MARGARET CAMERON 54 [Unknown Woman] [uto8—7a] RPS 2364/1 . G EXAN ss [Group] Thee unknown women (871-72), Present whereabouts unknown He | ah A Study Unknown woman Lus68-7a] RPS 2534/1 9 [Unknown Woman} {868-73} RPS 334ss Despair Unknown woonan 86t—ya} RPS 2337 360 [Unknown Woman} ss twscaierions: Colnaghi blindstmp mace: 3325.4. (10 in) srowrer 50.6 40.6 m (19% 36 in) Provenance: Gift of Mes. Beatrice Trench, 1029 epnovucen: Weaver 1984 p87 Ey snseRtertons: Pastil Colnaghi blindstimp ruace: 33245 cm (13% 9% in) MOUNT: 48.8% 40 em (19% 235.) PRoveNaNee: Gift of Mrs. Beatrice Trench, 1929 ss rnserterions: Recto mount in ink by JMC: From Life Reictered Photograph Copyright Jia Margaret Cameron 1 Study pasta ‘Colnaghi blindstamp; verso mount RPS label with wiles Bitzer Suet AGE: 323258 em (12% 0% in) MOUNT: 49:7 40.6 cm (19% ¥ 16 in) PROVENANCE: Gift af Frederick Heller, 193 ‘orien Paints: RPS 2334/3 (inscribed by JMC: "Bitter Sweet") 56 rnsent#tons: Recto mount in nk by JMC: From Life Regiered Photograph Julia M. Coneron! Despair, partial Colnaghi blinds Iatnee: 263835 70m (10% 5% in.) MOUNT: 49-4 40:7 (197 16.) rovenance: Gift of Prodetick Helier, 193 30 rvscaterions: Recto mount in ink in ‘an unknown hand: Prom Life Regitered Photograph Copyright Julia Margaret Cameron; Colnaghi Bindstamp rntace: 3253.9 em (275. 9% in) MOUNT: 5.2 38.8 cm (20% 415%) provewance: Gift of Mrs, Bessie Trench, 1939 ss rnseniptions: Recto mount in ink by JMC: ‘Prom Liferegitred photograph copyright Isla Margaret Cameron; Colnaght ‘lindstamp race: 312285 em (12% 1% in.) mous: Unknown Provenance: Sotheby's, Belgravia, Match 35, 1985, Jo 126 559 nscarer10Ns: Colnaghi Blindstamp MAGE! 35.1524. em (3%ax gin.) Maun: 50. 40.4 em (1974 357%.) Provenance: Gift of Mrs, Beatrice Trench, so reacns 33.233 6 em (eye 9% in.) moun: 50.4% 405 em (9% 15": in) Provenance: Gift of Mr, Beatrice Trench, 29 Women 283284 [Unknown Woman] [868-72] RPS 2270 so 6 {Unknown Woman} [Unknown Woman] (o868~y2] (i86t—ya] COVA 1979.28 RPS 226), ss [Unknown Woman} (o868—y2] V&A Ph 232-1957, JULIA MARGARET CAMERON 66 co [Unknown Woman] [Unknown Woman] (assy) (aa6t—pa] Private collestion RPS 23076 [Unknown Woman} (1868-72) Private collection, United Kingdom soa [Unknown Woman] [s86—ya} Present whereabouts unknown sor tnscniPrrows: Partial Colnaghi blindstimp, mens 348¢27.5€m (4"%4 10% in) Mount: sox 407m (19% 16 in.) Provenance: Unknown ‘orien paints: RU} RP-7-¥17644 so rserrPrtons: Reeto mount in nk by JMC: From Life Reitered Photograph copyright Inlia Margaret Cameron; Colagh ‘blinds nent: 3526 em (1974310% in) MOUNT: 575% 45 em (22562 17°% in.) ‘provenance: Daniel Wolf, November 14 979 ss Mace! 354% 35cm (9% x 9% in) MOUNT: 50:7 387 €m (i916) PROVENANCE: Gift of Mrs. Beatsice Trench, 19 soe rnscrtPrions: Colnagh blindstamp MAGE: 34:3% 252 em (15/2%.9"% in) MOUNT: 5.4 45.2 cm (23% 17% im) Provewance: Gift ofthe artist to Mary Hillier by descene within the Hillier family to Muriel Campion-Lowe; sold suction, ‘Shanklin, Ile of Wight (date unknown) 565 nsemierions: Recto mount in ink in ‘an unknown hand: From Life Registered Photograph copyright Jala Margare Cameron smace: 342% 5.4m (197010 in) MOUNT 43% 33.7 €m (65% 433% in) provewance: Unknown 566 twsenteriows: Colnighi blindstamp ruqok: 319.2 em (12% 7% in). Mount: 46> 375 em (8% 14% in) Provenance: Unknown so tnsenierrons: Recto mount in ink in an ‘unknown hand: Prom Life alia Margaret Cameron meno: 345% 36.6 cm (157% 10%e im) MOUNT: 427 «15 em (16% Ain.) OVENANGE: Science Museum, London sot rsentPions: Unknown rntace: Unknown oun: Unknown Provenance: Unknown Women 285286 69 [Unknown Woman] (1868-po] NMPFT 1939-1857 570 [Unknown Woman] (i868-y2] NPG xitoas m [Unknown Woman} [i873] HRHRC 964:0037:0009 on Sun-Lit Memories Unknown woman July 875 RPS 2238 JULIA MARGARET CAMERON [Unknown Woman] [u8p0~ya printed 1870~0) RPS 2240/1 os [Unknown Woman] (1870-74) RPS 2315m “Her Open Eyes Declare the Truth” ‘Unknown woman July 373 BRMA 1991326 so Gretchen Unknown woman 870-741 RPS 2204/t s69 inscarpr10%s: Colnaghi blindstamp sence: 39.1% 33.4 6m ain 9 Yin) oun: 339% 375 6m (9% 10"% in) PRoveNaNct: Gift of Mes, Henry Perrin to the Science Museum, London, 1939 ‘oriten priwrs: NPG xio6a (cabinet) so nsertertows: Recto mount lithographed facsimile ineription by JMC: From Life Copyright lia Margaret Cameron rmuaoe: 14 9.9 erm (34 in) Moun 169% 102 em (6%% 4% in) epiuse: Cabinet card ProveNance: Gift of Mes. Cue, 959 m Inseniptions: Recto mount in pencil in an ‘unknown hands Mrs Ewen Camron and ‘wet stamp at lower center: GERNSHEIM COLLECTION IMAGE: 32:6 33.1 em (12% 9%e im) scour: 43.8 33m (7/013 .) ‘provenance: Helmut Gecnsheim lorwen rains: RPS 221 (inscribed by JMC: Expecting) sm InseaiPrioNs: Recto mount in ink by JMC: From Life Registered Photograph copyright Isla Margaret Cameron Frese July 83 and in pencil blows “Her Open Eyes Dslare the Trait” mace: 36.373 em (975 10% in) Moun: $5.2.» 46-em (21% 18% in) provenance: Unknown ‘orien pniwrs: Private collection, United Kingdom ee rnsertPrrons: Recto mount in ink by JMC: From Life Registered Photograph Copyright Jelia Mrgaret Cameron FrshsatrJly 183 1 Sun-Lit Memories, patil Colnaghi blindstsmp near: 33.838 om (9x18 i) MOUNT 50.4% 40-4 €m (1973 15% im) Provenance: Unknoven loruen Paints: MMA 69.6074 ePKopucrD: Lulkitsh 986, p68 m4 tnvscaiptions: Reet print stamp at lower Fight corner uotype Company: ecto ‘mount in pencil in an unknown hand: Julia Margaret Cameron Iniaok: 51.9 2453 em (12% gain) MOUNT: 5.2 38. em (20%%35% in.) Mepiunt: Carbon rovewance: Unknown OTHER PRINTS: RPS 22qo/t-t0 and ago/iz (carbon) ss rsenteriows: Recto mount ithographed facsimile inscription by JMC: Prom Life Copyright uta Margaret Cameron rmact: 34.7% 266m (a7 10% in) MOUNT: 50x 402 em (9% 15% in) Provenance: Gift of Mis. Beatrice Trench, 939 6 rnsentProns: Recto mount in ink by JMC: Bram Life ReiteredPBotograph Copyright Julia Margaret Cameron | Gretchen | ‘Margaret see Faust; partial Colnaghi blindsaimp IMAGE! 34.9 26. cm (15/104 in) MOUNT 49-4 36.1€m (19/14 in) provenance: Gift of Frederick Hoyer, 193 orwen Paints: MPAB 42.355 (carbon): (MM rat 1972 00t 005; V&A Ph 30-19695 WEP 8420914 (carbon) rrxopucen: Weaver 1984p. 5 Luktsh 1986, p23 Women 287, daiizedsy Google ‘288 7 [Unknown Woman] (870-74) Julia Margaret Cameron Trust 1998.32 se [Unknown Woman] i874) RPS 2348 JULIA MARGARET CAMERON sf [Unknown Woman} 7 RPS 268s cD [Unknown Woman] 13874) RPS 2247 9 [Unknown Woman] los74) PS 2350/1 Lady Hood 870) RPS 2241/27 twscrt#rows: Colnaghi blindstamp rence: 33.4. 257 em (15 10% i.) MUN 54435 em (2175169 in.) novenavee: D. Hitchman, 1998 8 rsentrrons: Recto mount in ink by JMC: rom Life Registered Phtograph Copyright Lilia Margaret Cameron Friboater tg, partial Colnagh indstamp nance: 5255275 6m 2" wind) MOUNT: 48.8 39 em (t97%a> 15% in) Provenance: Unknown ” rxsentertons: Patil Colnaghi blindstmp Intact: 52.7 286 cm (21 n.) MOUNT: 48539 em (9/35 Yin) Provenance: Unknown sto raeaoe: 344 25:7 em (19% 10% in) aa MOUNT: 47-3 x 38.8 cm (18% * 15° in.) [Unknown Woman] provevancrs Uknown [x87] Peay so tnsenterows: Partial Colnaghi blindstimp. MAGE: 3154243 €m (12% 9% MOUNT: 503387 €m (9! 1 Provenance: Unknown ste rwsentertons: Colnaghiblindstamp rntace: 528% 35.9 em (12/5 107% in.) Moun: 30.3% 387 em (19? 15% in) provenaner: Unknown Pm rxsentrrrons: Recto mount in ink by JMC at lower left commer 16/ [16 shilings]/ Lady Hoa; Coloaghi bindstamp ence: 35.52 265 em (13% «10% im) MOUNT: $8.4 45.4 cm (3318 in) PaoveNance: Unknown orien pairs: RPS s34t/t si rnscetptions: Recto mount in ink by JMC: From Life RepceredPhteraph copy right ila Margot Camron Prebroater 6p! Lady Clara Vere de Vere and tweet so comer: 6/16 shillings; Colnaghi Lady Clara Vere de Vere Minds tneace: 353 27.8 em (17% 30"% im) MOUNT $63 «461 em (22"/ 18%.) 1869 PROVENANCE: Gift of Mr. Beatrice Tench, RPS 2a cS Unknown woman Women 289IV Men N THE 125 YEARS stNcE JULIA MARGARET Cameron's death, some areas of her photo- graphic 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)" have never been out of favor. Woolf's coauthor, the at critic Roger Fry, for instance, believed Cameron had “a wonder- ful 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? Helmut Gerns- hheim, the author of a key 1948 biography of Cameron, found her portraits “infused with a dynamic power which few photographers since have achieved.”? ‘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 t, 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 car. no. 595 [Charles Hay Cameron] (detail) might have had the prior claim). Second, they often employ a raking light from one side ofthe face, making the close-up effect even more dramatic and revealing. ‘The identities of the sitters in this chapter, only twenty of whom remain unknown, make another fact immediately obvious. An impressively large percentage of them are celebrated men of science, letters, and the church, Like her contemporary Lewis Carroll, best known as an author of children’s books but also as a prolific, not to say obsessive, photographer, Cameron assiduously sought out well-known people to pose before her camera. While Carroll found many sitters through his connections with, (Oxford University, Cameron's cultural heroes were largely to be found in the worlds of Little Holland House and Freshwater. The magnet that attracted such eminent per- sonages to the former was its resident artist, Watts; at the latter, itwas the poet laureate, Alfred Tennyson. Although the two come almost at the end of this chapter, they are in many ways Cameron's most important sitters. Their only rival—even though his reputation has not survived to the present day—is Henry Taylor, author and senior civil servant, whom Cameron portrayed more often than any other man (thirty times in this chapter, in addition to the many studies of him found elsewhere in the catalogue in the guise of biblical, Shakespearean, and other literary characters). In photographing these eminent men, Cameron's avowed intention was “recording faithfully the greatness ‘ofthe inner as well asthe features of the outer man."* This is surely why she so often opted to portray them in close- up, wrapped in dark drapery, with anything that might divert attention from their heads and faces ruthlessly 29292 382 em (tq 22% in) PRovEWANce: Gift of Geofirey Bill, 988 rer swscatPrios: Recto mount in ink by JMC: Lawn of Little Holland Howe 1865 / Sir Coutts Lindsay and at upper left magne 354% 203m (4071 Mount: 35.9 29.1 m (5% provenance: Sotheby's, Belgravia, June 36, 1975 lot 4s; Daniel Wolf, 1984 coviien pmines: IUAM Miniature Album 75.38.31 NPG rss; private collection (eds); in) 70 UCLA "98 Cameron; VBA 45.30 [Frederick Locker-Lampton] evxopucen: Weaver r986, p72 i869) NPG Pros 708 Insenierions: Recto movnt in pencil by 'YMC: Sir Coutts Linday and in ink at upper right corner 19 nace: 34.6195 6m (9x 7"%ain) oun: 34381 em (13 %0% 1% in.) Provenance: Gift ofthe artist to Sir Coutts Lindsay by descent within the fuily orien prints: BLUO Henry Taylor Album, 0. 65 tieseRtertoms: Recto mount in ink by IMC HH. [Little Holland House] Lawn 18 Sir Cutts Linduay aod: 36.75 2.7 cm 20308 in) owner: 33.9 % 9.1m (979187 in) PROVENANCE: Sotheby's, Belgravia, June 26, 1095, lot 45; Daniel Wolf, 198, rerRoovcr: Weaver 1985, p. 95 no renee: 24.6 «19.5 em (9x 7% i.) brovenanee: Thackrey & Robertson, 1978 onitee paints: Norman Family Minstore Album, no. 14 Men 3334 t (869) Present whereabouts unknown, sderick Locker-Lampson] 7s [Thomas Pateshall Monnington} 1866-67) NPG JULIA MARGARET CAMERON mm m Henry Wladsworth]. Longfellow [Lt Colonel [Robert James] {st68;copyigh July 23, 1868 Loyd-Lindsay HRHRC 964:0057:0096 2865; copyright July 8,186 JPGM Ovecstone Albian 84.x2.286205 76 [Lord Morley] sneral Robert Cornelis Napier] [1863 copyrigh April 20, 1865, (868) HRHRC Thackeray Album 964:0313:0055 RPS 8x75™ Lt. Colonel Robert James Loyd-Lindsay and Harsiet Sarah Loyd-Lindsay] (o36s] JPGM Overstone Album 84.%2.86,7 78 [Charles Lloyd [i864] GEH Watts Album 71:0109:0018, m txscatertows: Unknown tuace: Unknown Mount: Unknown Provenance: Unknown me tsenterions: Recto mount in ink by JMC: ‘From Life Freibater registered Photograph ‘epyright Jia Margaret Cameron and Tithographed facsimile signature below Henry W. Longfellow; Colnaghi blindstamp uae: 3535.5 em (33/10 in.) Moun: $3.5 40.3 cm (21% 15% in.) provenance: Helmut Gernsheim ‘orites paiwrs: AIC 1949.80 (carbon) AM; GEH 8:2398:0001,76:0020:0008 (carbon), and 67:0088-000: (platinum print by AL. Cobues); MFAB 42.332 (carbon); Norman Alburn, no § Gnsribed bby JMC in index rear of album: Long flow taken a Fresboater 1868}, RPS 2050 (cabon); UCLA Aubrey Ashworth Taylor Album, no. 8 serkoouce: Ritchie and Cameron 193, ph 185 Woolf and Fry 1926, pl 5 Gerasheim 198, pl. 43; Woolf and Fry 27s pl; Gemsheim 1975, 9.120; Weaver 198, p. 105; Hopkinson 1986, iy Lukitsh 1986, p98 m tnsenterrons: Recto mount in ink by JMC: LHL. [Little Holland House] een / 1865! Colonel Lloyd Lindsay [ve] and at Upper Fight corner: ror mace: 374% 20.9 cm (10% Yin) MOUNT 338 38g em (15% 17% i.) PRov=NANCE: Sotheby's, Belgravia, June 26, 1996 lot 45; Daiel Wolf, 984 ‘omen paints: BLUO Henry Taylor Album, no. 65; Lindsay Album, no. 33 nevKopucey: Weaver 1985, pp 27.95 nm insertions Recto mount in ink by JMC: Jilia Margaret Cameron sok: 354 39.9 6m (0% 7" MOUNTS 3427.2 cm 15% 10%) Provenance: Sotheby’, Belgravia, June 26 1975 lot 45; Daniel Wolf, 984 revaouceD: Wantage 1907, p- 48 Weaver 1985, 71 int ns Insontetons: Recto mount in ink by JMC: From Life Julia Margaret Cameron; Colnaghi biindsamp taenor: 3a x 26.1 (12"%0% 10% in) MOUNT: 548 45.9 em (21%. 38% in) PROVENANCH: Gift ofthe Monnington Family, 98 76 tnesentertons: Recto mount in ink by IMC: “dik unt Sara ebo tis ike and in pencil in an unknown hand below: Lord Mork race: 25.4% 19.9 cm (10% 7% In) over: 45.235 em (634% 9% in) PaoveNawce: Presented by Hester “Thackeray Fuller to the Gernsheim Collection, October 241935, ™ rnsentPrtons: Recto mount in ink in an unknown hands From Life 1868s ‘Margaret Cameron and in ble pencil below: General Napier, Colnaghi blindstamp rieace: 33353 0m (15% 974m.) over 2.3 «42.6 cm (207% 16% in.) Paovenanee: Unknown 78 txsontertons: Recto mount in peril in an ‘unknown hand: Vel Prmep ? menor: 175 354 €m (67x 6% in) oun: 29.6% 243 cm (ar/ex 9% im) Paovenawce: G. F. Watts Christie, Manson ‘& Woods, London, July 2,197 lot 205 Ronald Chapman; snoaymous gift in honor of Dr. Walter Clan, 1971 Men 335336 m9 ne [Charles Lloyd Norman] Ctharles]. L{loyd. Norman (864) 1865 GEH Watts Album 7:0109:0017 JPGM Overstone Alum 842238654 m [Charles Lloyd Norman] 865-66) Present whereabouts unknown m m4 [Charles Lloyd Norman} [Charles Lloyd Norman] (:866~yo] sl RPS sont WC? 95-48 JULIA MARGARET CAMERON Ps {George Warde Norman} [1867-70] WEP 9324995,79 twseRtertows: Recto print watermark BFK ‘Rives Ngs at lower lft corner MAGE: 20.6 15.461 (8/4 6 in.) oun 29.6243 em (1% x 97a) provenance: G. F, Watts; Christie, Manson ‘8 Woods, London, July 197% lot 5 Ronald Chapman; anonymows gift n honor of Dr. Walter Clark, 971 nerxoouceD: Lakith 1986, p. 9 tsertertons: Recto mount in ink by JMC: Littl Hello Hee 1865 /C.L. Neran and at upper left comer: 5 nok: 36. 36 em (10/486 i.) oun: 337 *27.9.m (3x in.) PRovENANce: Sotheby's, Belgravia, June 26, 1975 lot 45; Daniel Wolf, 984 seropuce: Weaver 1986, p. 85 m rnsertrvions: Recto mount in ink by IMC: ma From Life Regiered Photograph copyright Charles}. L{loyd]. Norman Isla Margaret Cameron ‘cace: Unknown {4866-701 moun: Unknown FAMSF 1985.33, rnovenance: By descent within the Norman fai ns tsentertons: Recto mount in ink by JMC: From Life Jia Margaret Cameron ad in pencil below: C.L. Norman Colnaghi blindstamp 1NeAGE: 325% 26,5 em (2% 10%.) owns 57.9 6 em (28% 184 in.) provenance: Christe, London, June 27, 1978, lot 355 Thackeey & Roberton, 1989 a rxson tons Partial Colnaghi blindstamp neace: 329% 253 em (1%ox 9% in) Mouser: 476% 355 cm (8/015"% in) provenavce: Unknown ™ Ingonterrons: Recto mount in ink by JMC: rom Life Regitered Photograph copyright Iulia Margaret Cameron anda lower tight omer: Fir dearest Mr dd Mrz. Norman! ‘with my lve: Clnaghi Bindstamp denots 3336.3 em (5 30% i) MOUNT! s7-4 44.9 6m (23% 17 Yin) Provenawr: By descent within the Norman Charles Teas, 993 [George Warde Norman] OTHER PaINTS: AIC 1998.62 (circle) {1867-70} Present whereabouts unknown ne fail ps HAGE: 38 305 em (5 12) apiusi: Glas negative PROVENANCE: Christie's, London, May 10, 199 ot so Nor: This sone of only two negaives by JMC to have survived, and the only large plat, ns insenterions: Unknown Mace: 378% 302. (44x in) our: Unkaown PROVENANCE: Jo Beatty Men338 ™ [George Warde Norman] (s6--70} Prsent whaenboesenznwn pe [Lord Overstone] (186s; printed 187080]; copyright July 18,1865 JPGM 95.01.5435 JULIA MARGARET CAMERON ns [George Warde Norman] 1867-70) Present whereabouts unknoven mm [Lord Overstone ()] bips-ral AIC 1998.27 no King Oude by right of birth ‘Vaknown ean (286s) BLUO Henry Taylor Album, a0. 67 1 William]. Gfifford]. Palgrave June 1868; copyright June #7, 1868 JPGM Syot44.5ne [Lord Overstone] [s863) Private collection, United Kingdom (Lindsay Albums, no 6), we Clinton Parry (803); copyright June 22,1868 HRHRC 964003730038 my Iadaod: 298% 25.4 em (W310 in) soi: Glas negative PRovENanct: Christies, London, May 10, 199% lot 59 NorES! This is one of only two negatives by JMC to have survived, and che only small plate ns tsscaterioNs: Unknown Mace: 39.5 351m (27497 in) mous: Unknown provesance: Unknown ns 1nsenterions: Recto mount in pencil by UMC: King Oude by right of birth Mace: 3553198 om (10%7°% i.) oun: 3437.2 cm 1574 10% im) Pnovenance: Bequest of the Taylor family wo ne inscnteriows: Recto mount in pencil in an ‘unknown hand: Lord Overitone and i ik st upper right comer: 6r nace: 24:7% 193 6m (9% 7%sim.) oun: 341 abt cm (63% ui.) provenance: Gift ofthe artist to Sie Coutts Lindsay by descent within the farily ™ mace: 2.4242 6m (8% 9% in) MOUNT: 49:8 «$8.1 em (19% 227450.) epiust: Carbon Provenance: By descent within the "Norman family Charles Isaacs; Cinema Consultants, In. 2995 lonwer pains: Lindsay Album, 10.3% RPS 2062 (curbon)s WCP 93:4860 aeexonucen: Gernsheim 1975. 98 Lukitsh 1986, p25; Cox 1996, p49 ™ nsenierions: Recto mount ithographed facsiile inscription by IMC: From Life Copyright Julia Margaret Cameron Mace! 34:65 26.3 om (13% 10%/ in) oun? 443355 om (715/40) mrovewance: Estate of Vance Bell 1998 loTHER pains: AIC 1998.39; RPS z007/r~5 aeexonucen: Woolf nd Fry 1926 pl 45 ‘Weaver 1985, 17 m nseetertons: Recto mount in ink by JMC: rom Life Fresbster June 1868 Julia ‘Margaret Cameron snd on label signed in ink bythe sitter below: 1 G.Palgoes partial Colnaghi blindstamp. uAce: 348% 26cm (35% 10a.) MOUNT: 59.4% 3 em (157% 12% in) Provenance: Amold Crane, 198% lorites Pais: GEH 81:1129:0006; HRHRC 964:0037:0104; IUAM Miniature Album 753849; MMA 4.38; Norman Albu, to. 1 (oval); NPG raps private collection (ede RPS 2055 YUBL Gen. Mss. 340, Vol. folder (inscribed by JMC: egret Arab Traveller) nernoouceD: Gesnsheim 948, pl. 8; Woolf and Fry 973, pl 35; Gersheim i975, 9 Lakish 986, p. 60; Cox 1996, p75, ae Insentertons: Recto mount in ink by JMC: From Life Julia Margaret Cameron | Clinton Perry neace: 32.736. om (27% 40/in) Mount: 52.2% 42rem (20% x 16%) Provenance: Helmut Gernsheitn ernopuceD: Geenshein 1975p tt Men 339[Arthur Prinsep] [Henry Thoby Prinsep] (63; coprigh May 9, 665 IUAM Miniature Albums 75.38.06 HRHRC Thackeray Alburn 964:0312:0019 [Henry Thoby Prinsep] Henry]. Tlhoby]. Prinsep JPM 84.300.453.62 JULIA MARGARET CAMERON a H[enry]. Tihobyl. Prinsep [186s] copyright May 19, 1865 HRHRC Thackeray Album 964:0312:0007 m1 [Valentine Prinsep] (1864-66) Private collection, United Kingdom (Lindsay Album, no. 200)ps IMAGE! 8.26 em (573% in) Mount: 215 x 16.1m (8x 6% in.) srniune Reduced, cbinet-sined print PaoveNance: Ruts Anderson 975 lorwen Paints: Private collection, United Kingdom (large-format prin; inscribed by IMC: From Life Registered Photograph Copyright Julia Margaret Cameron | Arthur Printep taken at South Kemington Museum) ne Insentrrions: Recto mount in pene ia an unknown hand: Uncle Toby mace: 253% 19,7 m (9% 7% in) oun: 3. 5 em (134% 9%) rwoveNance: Presented by Hester ‘Thackeray Faller the Gernsheim Collection, October 21 1955 orien raints: BLUO Henry Taylor Album, ‘po 9% Lindsay Album, 00,336 9 ns Insenierions: Recto mount signed in ink by [Henry Thoby Prinsep] the ster: FL. 7: Pinup and indecipherable eee Arabic of Fae Eastern inscription {u863] Mack: 35239. m (90x 7%.) Present whereabouts unknown mouwrs spa asem tiyheoeind bpnovenanct: Presented by Hester ‘Thackeray Fle o the Gernsheim Collection, October 352955 rues prints: BLUO Henry Taylor Album, 0. 88; CCAC nt tsentertows: Reeto mount in ink by JMC: From Life mace: Unknown mount: Unknown Provenance: Unknown ne tserteriows: Recto mount in pencil in tanknoven hand: Val Prinzep reac: 35 20.5 cm (9"7/n Bain.) MOUNT 43.534 em (17% «12% in) Provenance: Virginia Woof; Sotheby's Belgeavia, March 8, 2974 lot; Sarl Wagstalt Jr 1984 ‘omits pninrs: HRHRC Thackeray Album 964:03t2:0003; Mia Album, no. 95 RPS 20550 ernopucen: Gerasheien 195, p78 ‘Ovenden 17s, pl. 6 m2 [Valentine Prinsep] (867) copyright June x 867 HMADC Ph 967.963 790 insert #rtons: Recto mount in ink by JMC: From Life Regitred Photograph copyright Ilia Margaret Cameron Presser 1855 ‘and signed in ink bythe ster below: HT. Prinep sy; Colnaghi blindstamp neat: 36.3% 38.3 em (ego n.) ovr sh. 46s em (23% 18% in) PaoveNawet: Gift of Mrs, Cute, 959 lovvien Paiwrs: NPG xorg, AM; Mi ‘Album, no. 7; MoMA 546.60; Norman ‘Album, no. 5; WCP 92:4774: YUBL Gen. Mss. 49, Vo. , folder 20 nernopuceo: Ovenden 197s, pl 83; Weaver 1984, ps; Mulgan eta 1904, pas Pa Iusentertans: Recto mount in peril in an ‘unknown hand: Mr. Sal Prinup and at upper right eooner or rneace: 24.7% 1938 em (9"%nx 7% in) MOUNT: 34.28. em (157% i.) provenance: Gif ofthe artist Sie Couts Lindsay; by descent within the family me Ingerterions: Recto mount in ink by JMC: From Lif alia Margaret Cameron; ser mount in an unknown hand: Thoms Meoner MAGE! 36.3% 36.3 em (3/4 10% im) oun 57.1 28.7 cm (045 1 Ycin) provenance: Anonymous gift Men 340 daiizedsy Google ‘ms m4 ms [Vatentine Prinsep] [Valentine Prinsep] [Vatentne Prinsep] {a6)] September 4 [September] WCP or6955 LCL, no 10 RPS 2093 oe ne 70 [James Rogers] [James Rogers] [James Rogers} November iy [November 86] (67) MMA grassy Present whereabouts unknown Present whereabouts unknown 342, JULIA MARGARET CAMERONHercules Robinson [1866-70] Peivate collection, United Kingdom 750 Lames Rogers} 867) Present whereabouts unknown 7 tscRtertows: Colnaghi blindstamp mace: 34.9 «376m (15!4% 10% in.) Moun: $8.5 46.em (23/814 in) Pnovexance: Anton Lock, Christie's, London, March 20 198 lor 35; Paul F Walter Sotheby’, London, May 10, 290% lors sonueen: Lukitsh 1986 p50 m4 twsorierrons: Recto mount in ink by JMC: rom Life Registered Photograph Copy right Jolia Margaret Cameron Sep. 18743 vero ‘mount in pencil in an unknown hand Wat Prin anak: 34258 em (3044 in) MOUNT 368% 38.6 cm (4/2874) Provexance: Unknown loriten Pairs: RPS 2095 18 bscrteTrons: Recto mount in pencil in an unknown hand: Our Royal Cou (a Prinip RA) Mr Julia M. Cameron ting ence: 34254 em (43/10 in) MOUNT: 38.6 3.3m (150% 11% in) PROVENANCE: Gift of Mrs, Beatrice Trench, 939 corner privrs: LCL, 90.9 nepnopiiceD: Lukith 986, p. 74 m6 rnsentetions: Rect album page in ink by IMC: Hercules Rebinion and resto mount Tithogeaphed fcsileinseription by JMC: Fram Life Copyright Julia Margaret Cameron Mace: 8.6 x 56 em (37632 % in) MOUNT: 10x 6.4m (% 2750.) seeniom: Cartede-visie ‘rovesance: Gift ofthe artist to Julia "Norms by descent within the Noeman, Pryor, and Curtis flies m7 tnsentertows: Recto mount in ink by JMC: From Life Freibuater Neo 1867 Jia ‘Margartt Cameron and i ink in a tanknown hand below: Chaves Henry Cameron! Bombay Civil Service, Colnaghi blindstamp; verso mount in ink in an tanknoven hand: Chaves Henry Cameron Bombay Civil Sorvie neact: 365% 26.6 em (19% 70% in) own: 54.2% 385 em (8%i0%15% in) rnovenance: EP. Goldschmidt 8 Co. 940 8 rysertertons: Unknown, smaace: Unknown mount: Unknown Provenance: Unknown 9 insentertows: Unknown trace: Unknown oun: Unknowa Provenance: Unknown 150 anseairrions: Unknown eae: Unknown moun: Unknown Provenance: Unknown Men 343ca rs 183 WFillialm. [Michael] Rossetti Wiillia}m. Mlichael]. Rossetti ‘Mr. Sellwood Mrs. Tennyson's Father May 1855; copyright July 18,1865 [May] 1865; copyright July 18, 1865, 8646s) JPGM Overstone Album 84.32.1866 JPGM Overstone Alba 84.%2.186.04 HRHRC Thackery Album 964:03t2:0040 185 736 197 ‘The Late Sit John Simeon James Spedding James Spedding {4870}; copyright June 8, 870 18643 copyright May 30,1864 [see] RPS 2008 JPGM Overstone Album 84.42.1868 RPS 2008 344 «JULIA MARGARET CAMERON14 [Walter Senior] (e368) MPAB orooo.1975 18 [Leslie Stephen} ap LCL, 90.4 a rsort#Trons: Recto mount in ink by JMC: Little Helland Hesse Lawn May 18651 Wim. Rewett and at upper left connee: 5 mace: 254% 20cm (107% in) mount 33.9 % 39.1 (9 17 in.) PROVENANCE: Sotheby's, Belgravia, June 26, 1975 lot 4; Daniel Wolf, 984 orien pairs: GEH fi:125:0004 TUAM Miniature Album 7 38:68; Lindsay Album, no. fos Mia ATbum, no. 4x; NPG 26; private collection (ed); TRC 55; VBA 44-056 nernopuceD: Ovenden 19s, pl. 75 Hopkinson 1986, p. 89; Weaver 19 . 7: Mulligan et wl. 9944p 6; Lukish 2008 peas ma Isentprions: Recto movnt in ink by JMC: Lawn LH. (Little Holland House) 5 / Wn. M, Reset and at upper left commer: 93 IMAGE! 24.5 19-6 cm (9% 7a) MOUNT: 33.9% 9. 6m (3% % 1%ain.) PROVENANCE: Sotheby's, Belgravia, June 26, 1975 lot 4 Daniel Wolf, 984 orien privrs: GEH fe:1atsooyy Lindsay ‘Albuen no. 38 RPS 2050 (arched top) TRC 3556 nepnopuceD: Luktsh 1986 p 43; Weaver 1986, p93 183 tnseaterions: Recto mount in ink by JMC: ‘Mr Setwood [sc] Mrs. Tenyons Farber mace: 25.4% 19-7 em (107% in) srourvr: 35.235 cm (43% 9% in) provenance: Presented by Hester “Thackeray Fuller to the Geenshien Collection, October at, 1953 orien paints: BLUO Henry Taylor Album, 18 inscriprtons: Colnaghi blindstamp; verso ‘mount in an unknown hand: No. 45 Mr Senior LAGE: 29. 35 em (7% 9% in) MOUNT: 39.295 6m (15% x 1/4 in.) Provenance: Loan from Octavia Hughes, 75 1 rysert#ttons: Recto mount in ink in an unknown hand: From Lif Regitored Phetograph Copyright ula Margeret Cameron Fresher and in eke by JMC Delow: TBe Lat Sir Jb Simeon (Bar partial Colnaghi blindstamp IMAGE: 30.324 m0 (2% 97% MOUNT: $639 em (207% 15% in.) PaovENaNce: Gift of A. L, Cobuen 930 136 tsomierions: Recto mount in ink by JMC: Waisuntde 186g, Hendon lawn | James Spedding and at upper right corner: 6 rawace: 23.3 17.9 6m (9¥x7/ in.) MOUNT: 33.9% 29.1 €m (13% 17% i.) PROVENANCE: Sotheby's, Belgravia, June 26, 1975 lot 45: Daniel Wolf, 1984 orien paints: HRHRC Thackeray Album '964:0312:0036; LCL, no. x6 (val, Lindsay Album, no. 168 (ectangle); Mia Album, 10.38 (val MM 1965 00 768, NMPFT Herschel Album eo8q-sor/t0 (ectange); Norman Family Miniature ‘Album, no 9; privat collection (ds), TRC 54494 (ede) arexopucen: Ford 1975.38; Gernsheim 1975. ray: Ovenden 1975 pl. 35 Weaver 198, p. 103; Weaver 1986, p. 72 1 tvseaterioNs: Recto mount in pencil by IMC: James Spedding since: 353% 20.4 6m (9%ax Bin) MOUNT 35.2365 cm (13% 307% in) srovewance: Giftof A. L, Coburn 3930 lorwen PRints: BLUO Henry Tayi Album, ‘0. 620 (dv) private collection (ed); TRC s44o (dv) 78 tsorterrons: Recto mount in ink by IMC: From Life Reged Photog (Copy right fala Margaret Cameron Frethoatr Easter of 879 and in pencil inan unknown hand below: Date of Devonbie (Lend Hartington); Colaaghi blindstamp menee: 35.4352 em (3% 9% MOUNT: $2.3 «395 em (20% 15% Provenance: Unknown a) ind Men