Later Victorian Portraits Catalogue
Julia Margaret Cameron (1815-1879), Pioneer photographer
By other artistsback to top
Oil on canvas by Jean-Francois Garneray, whole-length, in group with parents and siblings; untraced. Repr. Hill 1973, pl.4.
undated but early
Ink sketch by James Prinsep, whole-length; coll. Sven Gahlin. Repr. Cox & Ford 2003, p.16.
Pencil drawing, 180 x110mm, by George Frederic Watts, head only, half-profile to left; priv. coll. Exh. The Whisper of the Muse, P.&D. Colnaghi, London, 1990 (58). Repr. Hill 1973, pl.7; and Howard 1990, no.58.
Oil on canvas by George Frederic Watts; see NPG 5046.
Tempera? painting by George Frederic Watts, as figure representing ‘Hindustan’, fresco in dining-room at Little Holland House; destroyed.
Photographsback to top
Photograph by unidentified photographer, with sons Charles and Henry; see NPG P148.
Albumen prints by unidentified photographer, three known poses:
(a) 68 x 57mm, three-quarter-length, standing before oak tree, profile to right looking at watchcase in left hand; priv. coll. Repr. Cox & Ford 2003, fig.17.
(b) 102 x 78mm, whole-length, lowered profile to left, seated in conservatory reading to her daughter Julia; coll. Meir Beck. Repr. Olsen 2003, no.7.
In both (a) and (b) the sitter wears same costume.
(c) 102 x 78mm, whole-length, seated before oak tree, with sons Charles and Henry; coll. Stephen White. Repr. Cox & Ford 2003, fig.3. Here, the sitter’s sleeves are dissimilar to those in preceding images, but the setting resembles (a). No one’s dress is as in NPG P148.
Albumen print, 183 x 113mm, possibly by Charles Somers Cocks, 3rd Earl Somers, three-quarter-length, standing, right hand touching locket, left holding book; NPG x18000. Repr. Gernsheim 1975, frontispiece (where dated c.1860); and Gould 2004, fig.28 (where dated c.1862).
Carte-de-visite by Robert Faulkner, Bayswater, whole-length, profile to left, standing in garden reading book; colls NPG x128762; and priv. coll. Robert Faulkner’s studio in Bayswater opened in 1863; as the image looks earlier, it may have been re-photographed by him from a now unlocated original.
Albumen prints by Oscar Gustave Rejlander taken at sitter’s home on Isle of Wight, three known poses:
(a) 155 x 110mm, whole-length, profile to right, seated playing piano, seen through doorway; coll. Michael Mattis and Judith Hochberg. Repr. Cox & Ford 2003, fig.31.
(b) 160 x 115mm, whole-length, seated in garden, profile to right looking down at book; priv. coll. Repr. Cox & Ford 2003, fig.5.
(c) whole-length, profile to right, standing in group outside door receiving mail; coll. Michael Mattis and Judith Hochberg. Repr. Olsen 2003, fig.14.
Carte-de-visite by James Brading; whole-length profile to right, standing with left hand on shoulder of son Henry Herschel Cameron, standing to right; Gernsheim Coll., U. of Texas at Austin (964:0038:0001).
Photograph by unidentified photographer; see NPG P880.
Photographs by Henry Herschel Cameron, two known poses:
(a) see NPG P696.
(b) carbon print, 250 x 215mm, inscr. with sitter’s name, half-length, half-profile to left, seated, left arm and hand across body, right hand half-visible, wearing same shawl and scarf, latter draped on head rather than shoulders; V&A, London, E.1217-2000 (transferred from BM).
A slightly cropped albumen cabinet card, 149 x 98mm, version of (b) printed by William Louis Henry Skeen, Colombo, one print inscribed by the sitter ‘Photograph from life taken by my youngest son Henry Herschel Hay Cameron / taken 1874 / To my cherished son Hardinge / with the love and blessing / of his mother / Julia Margaret Cameron / March 10th 1877’; colls NPG x128761; and Wilson Centre for Photography, London. Repr. Melville 2003, following p.50 (where dated to 1870).
Doubtful photographback to top
Photograph by unidentified photographer, half-length, profile to right, left hand to collar; coll. Sean Sexton. Ref. NPG RN 36116. Though said to be a self portrait, the definition is too soft to assess either sitter or photographer.
Dr Jan Marsh