Secure the Shadow

Wednesday, January 11, 2012

Victorian Albums

The Army and Navy Album.

Made in Germany with illustrations by R. Caton Woodville

From Wikipedia, the free encyclopedia

Richard Caton Woodville (The Second) (January 7, 1856–August 17, 1927) was an English artist and illustrator, who is best known for being one of the most prolific and effective painters of battle scenes in the late nineteenth, and early twentieth centuries.
The son of American Richard Caton Woodville (The First), who was also a talented artist, Woodville studied at the Dusseldorf School under the great Prussian military artist Wilhelm Camphausen, and then Eduard von Gebhardt, before briefly studying in Russia and then Paris under Gerome. Woodville spend most of his career working for the Illustrated London News where he quickly developed a reputation as a talented reporter and writer, but was also published in Cornhill Magazine, Strand Magazine, and The Tatler.
Richard Caton Woodville first experienced battle first-hand when he was sent by the Illustrated London News to report upon the Russo-Turkish War (1877–1878), and then again in the 1882 Anglo-Egyptian War where he made numerous sketches, and also obtained photographs of the trenches at Tel-e-Kebir for his friend and co-artist Alphonse-Marie-Adolphe de Neuville whom had been commissioned to paint a scene of the battle.
In 1879 Woodville's Before Leuthen, Dec 3rd, 1757 was exhibited in the Royal Academy. It proved popular, and afterwards he began to regularly be exhibited in Burlington House, where 21 of his battle paintings were eventually shown. His most popular works there were ones that dealt with contemporary wars, such as the Second Anglo-Afghan War, Candahar [sic], and Maiwand, Saving the Guns (Walker Art Gallery), the Zulu War, and the First Boer War. His works from Egypt were exhibited at the Fine Art Society in 1883, where his painting The Moonlight Charge at Kassassin proved very popular. The following year he exhibited by Royal Command another painting he had done of the war in Egypt, entitled The Guards at Tel-e-Kebir (Royal Collection).
He continued to paint scenes of battle, and few battles or wars that Great Britain fought during his life were not touched upon by him, including the Second Boer War, and World War I. Despite his precocious talent for capturing the dramatic moments of contemporary battles, Woodville also enjoyed recreating historical scenes in both oil, and watercolour. The Illustrated London News commissioned him to complete a commemorative special series recreating the most famous British Battles of history. He depicted The Charge of the Light Brigade (Royal Collection, Madrid) and The Charge of the 21st Lancers at Omdurman (Walker Art Gallery), Battle of Blenheim, Battle of Badajos and several Battle of Waterloo pictures.
During World War I, Woodville was compelled to return to the depiction of current events, and three of his Great War works were displayed in the Royal Academy. These were The 2nd Batt. Manchester Regiment taking six guns at dawn near St. Quentin, Entry of the 5th Lancers into Mons, and Halloween, 1914: Stand of the London Scottish on Messines Ridge (London Scottish Museum Trust) exhibited in the year of his death, 1927.
During his lifetime Woodville enjoyed great popularity and was probably considered the best artist of his genre. He wrote and well as painted, and was often the subject of magazine and journal articles. He had a deep passion for the British Army and had even joined the Royal Berkshire Yeomanry Cavalry in 1879, staying with them until 1914 when he joined the National Reserve as a Captain.
Richard Caton Woodville is still exhibited in the National Army Museum, the Tate, Walker Art Gallery, and the Royal Academy.

Album - Craufurd

An album illustrated by K. Craufurd and published by M. & Co., London.

Katherine Y. Craufurd Jan-Mar 1866 St Geo. Han. Square 1a 314 and 314a

1240. Katharine Yseuk Craufurd - International Genealogical Index
Gender: Female Birth: 11 FEB 1866 Auchinames, Renfrew, Scotland

Webb's Auctions
CatDesc:
Photography & Postcards
Price:

$150.00
book_auction:
Bethunes@Webb's Rare Books

Photograph Album: A Victorian photograph album with illustrated leaves a la Kate Greenaway, featuring studio portraits by various photographers including G G Lange of Darmstadt and Mrs Cobb of Napier & Hastings. 1886. 23 x 29.5cm. 20 card leaves. Padded leather decorative binding, initialed in gilt 'AFF' (Annie Florence Fraser). AEG. Lacking spine, part clasp only. Leaves & tissues foxed, images generally clear. NZ photographers represented include Bartlett (Auckland); Burton Bros (Dunedin); Wrigglesworth & Binns, and Conolly & Herrmann (Wellington); Mrs Cobb (Napier & Hastings); Eden George, C M Manning, Standish & Preece, and George Walton (Christchurch). The Fraser family from Dublin sent portraits to NZ, as did friends and family in Settle (UK), Boulogne, and Hong Kong (1). One portrait inscribed verso 'J H Tarleton 54th regiment'. The 12 colour illustrated leaves by artist K Crawford (sic), each featuring a classical quotation. An image of an older woman with a resigned air, exquisitely dressed in furs, is inserted in the page that bears the printed inscription 'Mine own familiar friend' (photographer Robinson, Dublin). The concentration of Christchurch photographers suggests that the Fraser family had connections to that city. Photographs of note are Mrs Cobb's portrait of a young girl (aged 6 to 8ish) with musical instrument, which precedes an 1874 family portrait of the Frasers of Darmstadt: 6 girls, 1 boy, and mother(?). 50 images, cabinet to carte de visite. Binding FA, contents G. [50].
is biddable:

Album - Blenheim

An album of photographs mainly from Blenheim and Nelson photographers.
None of the persons photographed are named.

above: four carte de visites by unnamed photographers.

above: top left and right, carte de visites by William H. Macey, Blenheim, bottom left, carte de visite by E. Darby, Nelson, bottom right carte de visite by William H. Macey, Blenheim.

above: top left and right, carte de visites by an unnamed photographer, bottom left, carte de visite by Tyree, Nelson, bottom right, carte de visite by Stevens, Artist Photographer, 70 Patrick Street, Cork, Ireland.

above: top left and right, carte de visites by William H. Macey, Blenheim, bottom left, carte de visite by W. E. Brown, Nelson Academy of Photographic Art, Hardy Street, Nelson, inscribed "March 1874 aged nine months", number 3095 E., bottom right, carte de visite by James Chinn, Grove Road, Blenheim.

above: top left and right, carte de visites by J. Bragge, Portrait and Landscape Photographer, Wellington, New Zealand,
bottom left, carte de visite by A. J. Stratford, Blenheim, bottom right, carte de visite by William H. Macey, Blenheim.

Album

Crystoleum Painting

ALL ABOUT CRYSTOLEUM PAINTING.

There are three processes in crystoleum painting — fixing, preparing, and painting— by which anybody without artistic knowledge is enabled to produce life-like pictures which are wonderfully effective, and which have all the delicate tints we see in ivory paintings.

The method is as follows: You have two convex glasses, the small oval or square size -will do for a small portrait, and it is best for beginners to try a small vignette first. When buying your glasses, see there is no flaw in them, and before them thoroughly rub with chamois leather to take off finger-marks.

Now for the first process called fixing. Take an unmounted photograph (which ought to be as strongly shaded as possible), and choose a pair of glasses, sold especially for this purpose, of the nearest size, the photograph to be just a trifle smaller than the glass. Put the photograph in water for a minute, then take it out and press it softly between blotting paper, at the same time leaving it damp. Now with the fixing mixture, sold for the purpose, cover all over the inside (concave side) of the glass, and also over the photograph. Then lay the right side of the photograph towards the glass, putting it on without pressure, and over it a good strong smooth paper of the same size, and begin to rub it with a short broad knife, round which you have smoothly folded a cotton handkerchief, working from the middle towards the rim, proceeding all round, and gradually reaching the border. Be careful to rub everywhere thoroughly, so as to leave no particle of the mixture whatever between glass and photograph. Should the photograph get dry before you have finished, or should you see any shiny little spots (being mixture) on the right side when finished, dip it in hot water and continue rubbing.

We will now suppose the photograph is dry and ready for the second process, or preparing, and for this you fill a saucer of sweet oil and lay the photograph in it. See that it is completely covered; leave it for a week or ten days in the oil, until it becomes transparent; then take it out and dry the oil off it with a linen handkerchief, and proceed to paint.

In the third process the eyes, linen, face, lace, and all jewellery are painted on the first glass— that is, on the back of the photograph, which has been, as described, gummed, or rather starched on the glass. The eyes are the most difficult to do. You hold the glass up to the light, the back of the photograph being towards you, gently touch the eyeballs with the point of your brush, which must be a very fine one. When buying your brush wet it between your lips, so as to see if it comes to a fine point.

For the eyes, oil colours are used.
Blue: Use ultramarine blue, and a small quantity of ivory black.
Grey: Ultramarine blue, Vandyke brown, and silver white; mix together in suitable quantities.
Black: Use ivory black.
Brown: Use Vandyke brown.

After painting the iris, paint in the rest of the eye with white, with the very faintest tinge of Naples yellow in it. Everything that is painted on the first glass is to be clone with thin colour, and the brush to be worked with as dry as possible. Everything on the second glass has to be in as thick a colour as possible.

For blue, carmine and black (which are very thin colours), add, according to the required shade, one that is thick (for this purpose white will prove the most useful.) Some teachers put the lips on the first glass, and it is the easiest method in the end; the colours for flesh, that is, first lips, then complexion.

Lips. — Carmine or vermillion are mixed to the proper tint; colour with silver white. Paint the lips carefully, holding the glass on which the photo is so as to be perfectly exact ; it looks very bad if the least infringement is made on any other part. Always paint the enamels in a good light, and be sure the photograph is perfectly transparent before you take it out of the oil.
Flesh. — Use vermillion, silver white, and Naples yellow; mix to a good colour. For children use carmine instead of vermillion: for dark complexions deepen with Vandyke brown. Before jointing the complexion, you must have all that is to be on the first glass painted — eyes, lips, linen; paint linen with silver white, also lace.
Jewellery: paint gold with Naples yellow, silver with silver white mixed with ivory black. Let this be perfectly dry, then take some strips of gummed paper and gum the other glass, which has also been carefully rubbed with chamois leather to the first glass, the front of the second glass going to the back of the photograph.

Now, after having secured both glasses, so that all air is excluded, turn the back of the glass, and paint the flesh on every part where it is seen; be very careful not to go, say, beyond the face to the background.

After having finished the complexion, go on with the hair as follows: —

Blonde. — Chrome yellow and burnt sienna.
Brown. — Vandyke brown and Naples yellow.
Black. — Ivory black, silver white and ultramarine blue.

Paint carefully, always turning the front of the glass to see the effect of each stroke of the brush. If any thing should go wrong in the painting, a little rectified spirits of turpentine will take the paint out, but in using it care must be taken not to let one colour run into another. The dress is painted on the second glass also; but be certain that the two glasses are gummed closely together, as they will shift about if loosely gummed.

Gentleman's clothes are done also on the second glass, also whiskers or moustache. After the second glass, which, of course, is gummed to the first, is quite, dry, cut a piece of cardboard slightly larger; indeed, it may be better to cut it the same size as the glass, but make sure it is no less. Take some more gummed paper and gum the cardboard firmly on the back of the two glasses which are gummed together. Be exceedingly careful to exclude all air, as it will spoil the enamel. Lay it by in some cool place for twelve hours, and then you will find the enamel completed. All colours should be put on very bright on the second glass, as it comes out refined and delicate on the front, having to be seen through the double glasses.
Observer, Volume 7, Issue 345, 18 July 1885, Page 4

Ceramic Enamel Photography

Nelson King Cherrill
Star , Issue 2856, 8 June 1877, Page 2
THE GOVERNOR'S VISIT. (Marquis of Normanby)
Opening of the New Museum Buildings
... Under the supervision of Mr N. K. Cherrill, photography ranked next in order, his display being a particularly interesting one. The Woodbury process of mechanical printing, and the art of ceramic enamel photography, with the accompanying specimens in various shapes being especially commented upon. Mr Cherrill also showed a very fine collection of cameras and the various lenses in use.

Note: Cherrill arrived in New Zealand on 25 July 1876 from England so this probably was a process he practiced in England.

The Star, Issue 3508, 9 July 1879, Page 3
Of ceramic enamel photographs, there are 16 specimens, such as would be suitable for use in brooches, lockets, &c. They represent one of the most interesting processes possible. The sitter is photographed in the ordinary way, but instead of printing on to sensitised paper, the picture is prepared as a film of collodion on glass. This film is then carefully floated off in water, and as carefully floated on to a tablet of white porcelain. These tablets are constructed in a manner similar to the dial plate of a watch, a porcelain surface being deposited on a plate of copper, moulded to the desired degree of convexity. The tablet, with the collodion film floated on to it, is placed for a few moments in a muffle furnace at a high temperature, and in this rapid process the collodion is consumed, and the carbon base of the picture is firmly deposited on the porcelain. When the tablet has cooled a milky looking wash of enamelling is passed over its surface, and it is returned to the furnace, this time to be subjected to a heat sufficiently intense to melt the enamelling, and produce a permanent glaze over the already permanent carbon picture. The process is a very tedious and troublesome one, the slightest inattention resulting in discoloration of the photograph. The great advantage of the ceramic picture is that both the photograph and the substances on which it is printed are absolutely imperishable.

Star , Issue 3824, 19 July 1880, Page 4
... Mr Cherrill also exhibits some of the beautiful carbon photographs on porcelain, and various other kinds, together with some choice examples of the after work on photographs in chalk, water colour, or oil. Photographic portraits, some of them exquisitively finished, are shown by Mr Schourup, and examples of portraits in oil on photographic backgrounds are contributed by Mr Cambridge and Mr T. Satchell...

The other Christchurch photographer doing enamel photography was Niels Peter Schourup .

This advert was from The Star newspaper Issue 3863, 3 September 1880, Page 2

COLOMBO STREET
PHOTOGRAPHIC ESTABLISHMENT.
P. Schourup
Invites Public attention to his new carbon

Photographs on china and opal.

These pictures are absolutely permanent.

Specimens on view at the Studio, Colombo

street, opposite E. Reece.

Mr. P. Schourup, photographer, of Colombo street, took an excellent likeness of His Excellency the Governor, during the recent visit of the latter here. Happening to pass by Mr. Schourup's establishment the other day, I closely examined the specimens in his window of his new style of photography (the name of which has slipped my memory), and I am by no means sure that I admire it, excellent as the productions are, so far as the photography goes. Young ladies smiling on you from the centre of elaborate china plates may be all very well, indeed one can imagine that the vision of a lovely face slowly emerging from the depths of one's soup might not be altogether unpleasant, and might furnish food for the mind while the body was receiving its nourishment; but the sight of the Hon. Mr. Rolleston, looking preternaturally solemn (and hideous) on a good-sized vase, is quite another thing, oh!

New Zealand Tablet, Volume XI, Issue 32, 7 December 1883, Page 19

Schourup continued with this form of photography until at least 1886 -

The Star, Issue 5996, 13 August 1886, Page 3
There was a good attendance last night at the Industrial Arts Conversazione. An excellent concert was given for the entertainment of the visitors ... Additions continue to be made to the exhibits, among the most noticeable being some fine carbon photographs on porcelain, the work of Mr P. Schourup, and a number of very good photographs taken by Messrs Donovan and Meers...

some other references

Nelson Evening Mail, Volume XVII, Issue 23, 28 January 1882, Page 2

Some excellent photographs in porcelain which have come out very clearly are now on view at the American Ferro Photo gallery where they are attracting a good deal of attention.