Here’s another terrific example of the prosaic CDV portrait raised to a higher level by a Victorian photography studio. A girl sits in profile in front of a “fireplace” with her feet crossed and holding her hat in her hands, gazing slightly downward with the hint of a smile on her lips. With its painted backdrop, the centering of the figure, the “tumble” of fabric behind the chair as a balance to the composition, and the air of quiet reverie, this image brings to mind the type of art photography being done at the time in England by Henry Peach Robinson, William Lake Price and others. Backmark of “Lock & Whitfield, London & Brighton”. Written on verso in black ink is; “Emily / February 26th, 1866”.
Full length studio portrait CDV of Lord Elcho (Francis Charteris, 10th Earl of Wemyss, 1818-1914), wearing the uniform of the London Scottish Regiment, of which he was commander. Backmark of “The London Stereoscopic and Photographic Co.”, but photo credited on mount recto to Lake Price. William Lake Price (1810-1896) was a true proponent and practitioner of the “photographer as artist” movement in Victorian England. There are any number of standard CDV images of Lord Elcho, but here the subject is relaxed and pensive, his sword cradled in his arm, and his gaze directed away from the viewer as he stands amidst scattered rocks and vegetation, in front of a dramatic painted backdrop of mountain crags and a turbulent, cloud-filled sky. It took someone such as Lake Price to take the standard CDV image and make it into something so special. Photo circa 1865.
Studio portrait CDV of a girl wearing a bow in her hair, a locket, and striped stockings with her hand on a basket. Backmark of “Robt. H. Preston, Penzance (England)”. Written on verso in a period hand is; “Leny(?) Aged 8 and half”. Photo circa 1875.
Full length studio portrait carte de visite of a woman. Backmark of ”Forster & Haskoll, 30 Westmoreland St. (Dublin)”. Photo circa 1875.
Studio carte de visite portrait of a young man. Front and backmark of “Nelson & Marshall, Dublin.” Note the text at bottom verso. “This or any other portrait enlarged to order and painted in oil or water colours.” Many studios had on their staff a resident artist or artists (depending on the studio size) who were employed with the task of hand coloring a photograph using different mediums. Some examples were lightly tinted, others were so thoroughly painted over that it takes a very practiced eye to “see” the photograph underneath. Whatever the final outcome, this “hand painted portrait” was far cheaper than sitting for an artist who would produce a work on canvas. Photo circa 1880.
Very unusual outdoor carte de visite portrait of an English housekeeper. She stands, before a large door, in her dress, matching jacket and bonnet, holding a ledger book in one hand, and with two large keys suspended from chains, prominently displayed on the front of her skirt. Studio and backmark of “Brading & Co., Newport, Isle of Wight”. Photo circa 1875.
Pair of studio CDV portraits of two prosperous looking couples. Studio and backmark of first image is “Vandyke & Brown, Liverpool”. Backmark of second image is “Mrs. Robinson, Photographer, Ashton Under Lyne”. Photos circa 1875.
Three-quarter studio carte de visite portrait of English poet and novelist Jean Ingelow (1820-1897), posing with book-in-hand. Front and backmarks of “Elliott & Fry, London”. This is a finely arranged pose by one of the master portrait photography studios of its time, whose core business was the photographing of social, artistic, scientific and political luminaries of Victorian England. Photo circa 1870.
Very rare carte de visite portrait of Edward Hyndman Beckles (1816-1902), Bishop of Sierra Leone. He was appointed to be ordained in the post by Queen Victoria on January 5, 1860. Backmark of “Maull & Polyblank, London”. Photo circa 1860.
This is a particularly fine example of a studio carte-de-visite with beautiful use of light. Backmark of “Alder, Cheltenham”. Photo circa 1875.
Pair of studio carte-de-visite portraits of two men. Backmark to left image of “J. Oman, Newark”, and backmark to right image of “G. Drabble, Portland”. Photos circa 1880.
Studio cdv portrait of three siblings. The older boy stands, with cap in hand, gazing downward. The younger boy stands with his hand on his sister’s shoulder gazing away from the camera with a very wistful look on his face. And the girl sits with her ankles primly crossed, an open book resting on her lap, and gazing directly at the camera with the hint of a smile on her face. This image is a very charming evocation of the bonds of childhood. Backmark of “Hawke, Stonehouse (Devon, UK)”. Photo circa 1870.
This example here is from the “London School of Photography, 23 Poultry, E.C.” Photo circa 1880.
The photography studios of the United Kingdom had a “look” that was distinct from their counterparts in the United States. It was a certain formality of pose that was different from the more casually placed Americans, and above all it was how they employed the light. Though not every studio excelled of course, many of them were so adept at using natural light that they rendered their portraits the feel, if not the actual look, of a painting. This was understandable for an industry that was continually arguing for it’s place among the arts as well as the sciences. The above example is from the studio of “Mackie and Swann, Sheffield and Great Yarmouth”.
Two carte de visite studio portraits of Victoria and Albert’s youngest children. On the left is Prince Leopold, Duke of Albany (1853-1884) eighth child and fourth son. He had haemophilia which led to his death at age 30. On the right is Princess Beatrice (1857-1944) ninth and youngest child. Married Prince Henry of Battenberg in 1885. The current reigning king of Spain, Juan Carlos, is her great-grandson. Studio marks of “Hill & Saunders, London”.
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