1 portrait on display in Room 28: wallcase at the National Portrait Gallery
by Rupert Potter
albumen carte-de-visite, September 1871
2 1/2 in. x 1 3/4 in. (64 mm x 44 mm) image size
Given by Rupert Potter, 1872
Click on the links below to find out more:
Sitterback to top
- John Bright (1811-1889), Statesman and orator. Sitter associated with 94 portraits.
Artistback to top
- Rupert Potter (1832-1914), Barrister and photographer; father of Beatrix Potter. Artist associated with 29 portraits, Sitter in 2 portraits.
This portraitback to top
A rare example of one of Potter's photographs published as a carte-de-visite, the most popular format for commercially produced photographs from the 1860s until the 1890s. Potter registered several photographs of Bright for copyright, revealing his intention to publish them and some aspiration towards professional photography, supported by the appearance of a selection in the illustrated press. Potter presented this photograph to the National Portrait Gallery on 21 December 1872, and it was signed on the reverse by Bright during a visit to the Gallery on 11 March 1873. It is one of the first photographs to have entered the Gallery's Collection.
Linked displays and exhibitionsback to top
- The World of Rupert Potter: Photographs of Beatrix, Millais and friends (13 May 2014 - 16 November 2014)
Events of 1871back to top
Current affairsGladstone's first ministry continues with its programme of reform, with an overhaul of the civil service which is opened to public examination. The University Test Acts allow non-members of the Church of England to hold posts at the Universities of Oxford and Cambridge. The Trade Union Act granted full legal status to trade union organisations, although the Criminal Law Amendment Act banned picketing.
The first FA Cup competition is held.
Art and scienceThe Penny Farthing, the first efficient bicycle, is invented by British engineer, James Starley.
The artist James Whistler paints a portrait of his mother, calling the nearly monochromatic portrait Arrangement in Grey and Black. Although now one of Whistler's most recognisable paintings, it was nearly rejected by the Royal Academy at first.