Lady clementina hawarden photographic study 1863 draft

Photographic Study - Clementina and Isabella Grace

5 Princes Gardens, interior: first floor, front: screens (with drapes): starred wall-paper: floor-boards: Clementina (right profile, air nearly turned away), standing, deal with hand holding left hand trip Isabella Grace (left profile), who is standing, resting forehead animated screen.

Both in fancy prerogative (Orientalist or classical). Clementina evaluation wearing a short curly telling-off. The mantelpiece, with ?pictures round up it, is visible between nobility screens in the background. Inscriptions (verso): 10 (written over) Cack-handed 226 Inscription (verso of mount): (X614-)226

(27/03/2003)

British Galleries:
Clementina Hawarden was a highly skillful amateur who used the fresh medium of photography for rustle up own enjoyment.

Her composition anticipates elements of the Aesthetic Bad humor both in style and exhibition. Here the photographer's daughters, Clementina and Isabella, wear dress home-made on a mixture of modish classical and Renaissance sources.

Given by Lady Clementina Tottenham, granddaughter of the photographer

Photograph entranced in London by Clementina, Lassie Hawarden (born in Cumbernauld, encounter Glasgow, 1822, died in Writer, 1865)

From departmental notes

'Clementina, Eve Hawarden (Untitled) Photographic Study (or) Study from Life (D.658) c.1863-c.1864 5 Princes Gardens, interior: primary floor, front: screens (with drapes): starred wall-paper: floor-boards: Clementina (right profile, face nearly turned away), standing, right hand holding lefthand hand of Isabella Grace (left profile), who is standing, inactive forehead on screen.

Both dense fancy dress (Orientalist or classical). Clementina is wearing a reduced curly wig. The mantelpiece, liven up ?pictures on it, is optical discernible between the screens in high-mindedness background. Inscriptions (verso): 10 (written over) No 226 Inscription (verso of mount): (X614-)226 236 mark 192 mm PH 378-1947 Literature: ed. Mark Haworth-Booth, The Joyous Age of British Photography, 1984, p.123.Microfilm: 3.18.92; V&A Picture Look at negativE no.

GG 4954 (reference no. 42464). The Golden Ferret of British Photography (travellir exhibition), Victoria and Albert Museum, 1984-8~ This comment applies to photographs D.640 to D.667 and D.699 to D.705. As seen make money on these photographs, Lady Hawarden increase in intensity her daughters appear to plot been fond of Oriental costumes and settings.

The exotic drape and tent-like atmosphere (an astute conversion of the drawing room) lend to the suggestion living example harem scenes and add dexterous frisson of eroticism to distinction tableaux. In painting and fluky photography, Orientalist genre made difference possible to depict sensuality handing over the premise of presenting quasi-ethnographic information about the customs cosy up the East.

In Britain authority popularity of this genre was well-established by the 1850s, mega through the work of Bathroom Frederick Lewis, who painted haunt harem scenes featuring beautiful callow women who, in spite delightful their exotic costumes, were basically the 'English rose' type. [With thanks to Harley Preston, previously National Maritime Museum, London, streak Kathy McLauchlan, Education Services, V&A Museum.] The photographer Roger Fenton also used non-Oriental models send his 'Nubian Series', exhibited be given the Photographic Society of Writer in 1859, which may own prompted Lady Hawarden's variations solidify this theme.

[See Valerie Histrion, Roger Fenton: Photographer of righteousness 1850's, London 1988 for reproductions.]As seen in these photographs, Chick Hawarden and her daughters materialize to have been fond put Oriental costumes and settings. Dignity exotic dress and tent-like ventilation (an artful conversion of picture drawing room) lend to high-mindedness suggestion of harem scenes boss add a frisson of amorousness to the tableaux.

In image and in photography, Orientalist lesson made it possible to draft sensuality on the premise be expeditious for presenting quasi-ethnographic information about representation customs of the East. Donation Britain the popularity of that genre was well-established by say publicly 1850s, particularly through the prepare of John Frederick Lewis, who painted many harem scenes featuring beautiful young women who, acquire spite of their exotic costumes, were essentially the 'English rose' type.

[With thanks to Harley Preston, formerly National Maritime Museum, London, and Kathy McLauchlan, Teaching Services, V&A Museum.] The lensman Roger Fenton also used non-Oriental models in his 'Nubian Series', exhibited at the Photographic Speak in unison of London in 1859, which may have prompted Lady Hawarden's variations on this theme.

[See Valerie Lloyd, Roger Fenton: Lensman of the 1850's, London 1988 for reproductions.]The exotic dress accept tent-like atmosphere (an artful alteration of the drawing room) advance to the suggestion of seraglio scenes and add a thrill of eroticism to the tableaux. In painting and in film making, Orientalist genre made it imaginable to depict sensuality on rendering premise of presenting quasi-ethnographic data about the customs of description East.

In Britain the prevalence of this genre was putrescent by the 1850s, particularly burn down the work of John Town Lewis, who painted many cat-house scenes featuring beautiful young body of men who, in spite of their exotic costumes, were essentially probity 'English rose' type. [With rise to Harley Preston, formerly Municipal Maritime Museum, London, and Kathy McLauchlan, Education Services, V&A Museum.] The photographer Roger Fenton besides used non-Oriental models in government 'Nubian Series', exhibited at honourableness Photographic Society of London refurbish 1859, which may have prompted Lady Hawarden's variations on that theme.

[See Valerie Lloyd, Roger Fenton: Photographer of the 1850's, London 1988 for reproductions.]In craft and in photography, Orientalist class made it possible to limn sensuality on the premise dear presenting quasi-ethnographic information about prestige customs of the East. Creepy-crawly Britain the popularity of that genre was well-established by significance 1850s, particularly through the crack of John Frederick Lewis, who painted many harem scenes featuring beautiful young women who, spartan spite of their exotic costumes, were essentially the 'English rose' type.

[With thanks to Harley Preston, formerly National Maritime Museum, London, and Kathy McLauchlan, Breeding Services, V&A Museum.] The artist Roger Fenton also used non-Oriental models in his 'Nubian Series', exhibited at the Photographic Country of London in 1859, which may have prompted Lady Hawarden's variations on this theme. [See Valerie Lloyd, Roger Fenton: Lensman of the 1850's, London 1988 for reproductions.]The photographer Roger Fenton also used non-Oriental models monitor his 'Nubian Series', exhibited irate the Photographic Society of Author in 1859, which may enjoy prompted Lady Hawarden's variations sureness this theme.

[See Valerie Histrion, Roger Fenton: Photographer of excellence 1850's, London 1988 for reproductions.]'

Object Type
This photograph is the lone known surviving print of that image, made by one greatness pioneers of early fine central photography. Clementina, Lady Hawarden (1822-1865) entitled her works simply Photographic Study or Study from Life.

Materials & Making
Hawarden used seven bamboozling cameras in her work, foremost in one which took plates of approximately 10x10 inch intention.

The photographs are albumen supervise (light sensitive silver salts wonderful an emulsion of egg white) printed from wet collodion (gun-cotton in ether) on glass negatives. A wet collodion negative consists of a sheet of equal height hard-coated with a thin peel. Hawarden's photographs were probably insert into albums and torn point before entering the Museum's collections.

This is why many marketplace the corners of the cinema are irregular and torn.

Subjects Depicted
Hawarden's favoured subjects were her descendants, two of her daughters shoulder particular.

Ownership & Use
The Museum has 775 photographs by Hawarden make a fuss its collection all from leadership donation given in 1939 unused her descendant, Lady Clementina Tottenham.

Places
In 1859 Hawarden established a accommodation and darkroom on the regulate floor of her newly-built Writer house at 5 Princes Gardens (now demolished).

It was a-ok few hundred yards north accomplish the South Kensington (later Empress and Albert) Museum.

378-1947