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"Autotype Company
founded 1868
Venice, Santa Maria della Salute, 1893
Pigment print
26.3 x 36 cm"
So reads the description in the exhibition catalogue.
Seen at Vienna's "Albertina Modern" Gallery in the current exhibition "True Colors" (sic).
Jupiter-12 35mm f:2.8 (in Kiev/Contax mount)
Sony a7C
The Jupiter-12 is a clone of the Carl Zeiss Jena Biogon 35mm f:2.8. It's an extraordinary little lens with a surprisingly large rear element that extends far into the camera - almost to the film plane/sensor. Vignetting and distortion (pin-cushion) are far less than one might expect. I've corrected the the distortion for presentation of the image, but have hesitated to do to much brightening, as I wished to convey the dim lighting of the exhibition and the tonal range of the original.
Ka Kalo Creek, Papua New Guinea, 1885, by John William Lindt, carbon print/autotype printed c 1893,
In 1885 Grafton-based photographer JW Lindt visited Australia’s newly acquired Protectorate of New Guinea and took this photo at Kalo Creek in the Kapa Kapa district. Reproduced as an autotype in his 1887 book Picturesque New Guinea, it was also part of a series of large exhibition prints Lindt made in the 1890s. This photo is a contender for the largest vintage print in the Library’s collection. Lindt’s signature is in the lower right-hand corner.
PXD 1492/no. 1
Maker: Heinrich Kuehn (German / Active in Austria, 1866 - 1944)
Title: Still Life
Date: 1908
Medium: Color autotype (Gravure of an autochrome?)
Maker: Ernest Edwards (1837-1903) and Kidd
Born: UK
Active: UK
Medium: carbon print
Size: 4 1/4 in x 7 5/8 in
Location:
Object No. 2021.073c
Shelf: ART-1870
Publication: Specimens of the drawings of ten masters, from the Royal collection at Windsor castle.
Michelangelo. Perugino. Raphael. Julio Romano. Leonardo da Vinci. Giorgino. Paul Veronese. Poussin. Albert D"urer. Holbein. Descriptive text by B.B. Woodward, Macmillan and Co, London, 1870, pg 46
Other Collections:
Notes: Printed in carbon by Edwards and Kidd under license of the Autotype Company, Limited. Ernest Edwards was an owner of the photographic studio and printers Edwards and Kidd at 22 Henrietta Street, Covent Garden, London
To view our archive organized by themes and subjects, visitOUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: Julia Margaret Cameron (1815-1879)
Born: India
Active: UK
Medium: photogravure
Size: 6" x 6"
Location: UK
Object No. 2010.562
Shelf: A-7
Publication: Camera Work Vol 41
Camera Work: The Complete Illustrations 1903-1917, Alfred Stieglitz, Taschen, 1997, pg 687
Julia Margaret Cameron, Helmut Gernsheim, The Fountain Press, London, 1948, pl 49
Gernsheim, Helmut: Creative Photography, Aesthetic Trends 1839 To Modern Times, Bonanza Books, NY, 1962, pl 53
Naef, Weston, The Collection of Alfred Stieglitz, Viking Press, New York, 1978, pg 293, no. 108
Bossert and Guttmann, Aus der frühzeit der photographie, 1840-70, Societats-Verlag, Frankfurt am Main, 1930, pl 28
Camera Work, A Pictorial Guide, Dover, 1978, pg
Other Collections: Musee d'Orsay
Provenance: Andrew Smith Gallery
Rank: 457
Notes: Dame Alice Ellen Terry, GBE (27 February 1847 – 21 July 1928), known professionally as Ellen Terry, was an English actress who became the leading Shakespearean actress in Britain. Photographed at Little Holland House, age 17 by Julia Margaret Cameron. The five photogravures published in Camera Work of Cameron's work were printed by The Autotype Fine Arts Company, a London publishing house that held some of her original 10" x 12" glass plate negatives.
Born in Calcutta, India to a British family, Julia Margaret Cameron (1815-1879) became well connected to Victorian intellectual society after her family returned to England in 1848. She started as an amateur photographer in 1863 at the age of 48 and over the next ten years produced some of the most extraordinary portraits and genre pictures of the time, using her friends and servants as models. During this period she produced over 3,000 large format wet collodion negatives. She moved back to Ceylon in 1875 and produced only a few photographs before her death in 1879.
For information about reproducing this image, visit: THE PHOTO HISTORY TIMELINE COLLECTION
Photographer: Ottomar Anschuetz.
Anschütz (1846 in Lissa/Leszno – 1907 in Berlin) was a photographer and a pioneer of phototechnology. He was the first photographer to publish photographs in a magazine. In 1884 he published photographs of the Kaisermanöver at Homburg. The first autotypes of momentary photographs, the ancestors of press photography.
This is a scan of an albumen print from 1884. Note the blindstamp at the lower right.
Maker: Lerebours et Secretan
Born: France
Active: France
Medium: autotype
Size: 14 in x 5 in
Location:
Object No. 2016.182b
Shelf: HIST-1905
Publication: Josef Maria Eder, Geschichte der Photographie, Third edition, Verlag von Wilhelm Knapp, Halle, 1905, see pg 233
Other Collections:
Notes: The autotype is a photographic and chemical reproduction process developed by Georg Meisenbach in Munich around 1880 for the production of clichés as a printing form for letterpress printing. After letterpress printing was replaced by offset printing, autotypes are rarely used today.
This print was made by Eder from the original daguerreotype and bound into the back of his 1905 history of photography volume.
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For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
This is a Francis Frith & Co photograph reproduced in the autotype process. The process was developed by Georg Meisenbach in Munich and it enabled photographs to be reproduced in books and newspapers by breaking up the photograph into horizontal and vertical lines. The subject of the photograph is Lambeth Palace taken from Lambeth suspension bridge and a paddle steamer about to arrive at Lambeth Pier. The steamer is in the livery of the River Thames Steamboat Company and dates from the late 1880s, originally it was built for the London & Westminster Steamboat Company in the 1840s or early 1850s at Blackwall or Deptford and was used on a non-stop service from Old Swan Pier to a Pier at the southern end of Westminster Bridge near to where County Hall stands today. It is one of a fleet of “Double Enders”, that is, with two bows and two rudders. All the boats were named after flowers, they were: - Azalea, Bluebell, Rose, Dahlia, London Pride, Sunflower, Lotus and Camelia. Unfortunately, the name of this boat is not visible on the photograph. All the boats were withdrawn form service by the early 1890s except for Lotus which continued operating with other companies until 1909.
Maker: Alphonse Poitevin (1822-1912)
Born: France
Active: France
Medium: pencil rubbing from a lithophane relief
Size: 2 13/16 in x 3 1/2 in
Location:
Object No. 2021.771
Shelf: B-1
Publication: Louis Alphonse Poitevin, Daniel Blau/Hirmer, Munich, 2021, pg 50
Jacques Delanoe, Les Pionniers de la Photographie, Terre de Brume Editions, Rennes, 1996, pg 28
Other Collections:
Notes: Alphonse Louis Poitevin (Conflans-sur-Anille, 1819 – Conflans-sur-Anille, 1882) was a French chemist, photographer and civil engineer who discovered the light–sensitive properties of bichromated gelatin and invented both the photolithography and collotype processes. He has been described as "one of the great unheralded figures in photography". In the 1850s he discovered that gelatin in combination with either potassium or ammonium bichromate hardens in proportion to the amount of light that falls on it. This discovery, significant for its capacity to facilitate the mass production of photographs, was later used by numerous figures such as Josef Albert, Joseph Wilson Swan, Paul Pretsch and Charles Nègre to develop subsequent photographic printing processes such as heliogravure, photogravure, collotype, autotype and carbon print. (Source: Wikiwand)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: Julia Margaret Cameron (1815-1879)
Born: India
Active: UK
Medium: photogravure
Size: 8" x 6 1/4"
Location: UK
Object No. 2015.833
Shelf: A-14
Publication: Camera Work XLI, 1913
Camera Work, The Complete Illustrations 1903-1917, Taschen, 1997 pg 686
Camera Work, A Pictorial Guide, Dover, 1978, pg
Other Collections:
Provenance: Doyle Auctioneers, Rare Books, Autographs & Photographs, November 23, 2015, lot 678
Rank: 200
Notes: taken from a photograph made on April 3, 1868 by Cameron of Herr Joseph Joachim. The five photogravures published in Camera Work of Cameron's work were printed by The Autotype Fine Arts Company, a London publishing house that held some of her original 10" x 12" glass plate negatives.
Born in Calcutta, India to a British family, Julia Margaret Cameron (1815-1879) became well connected to Victorian intellectual society after her family returned to England in 1848. She started as an amateur photographer in 1863 at the age of 48 and over the next ten years produced some of the most extraordinary portraits and genre pictures of the time, using her friends and servants as models. During this period she produced over 3,000 large format wet collodion negatives. She moved back to Ceylon in 1875 and produced only a few photographs before her death in 1879.
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Tree House, Koiari Village, New Guinea
John William Lindt, 1885
In 1885, photographer John William Lindt (1845-1926) accompanied Sir Peter Scratchley's expedition to the newly-proclaimed Protectorate of British New Guinea. In 1887 he published fifty photographs from the expedition in Picturesque New Guinea. With an historical introduction and supplementary chapters on the manners and customs of the Papuans; accompanied with fifty full-page autotype illustrations from negatives of portraits from life and groups and landscaped from nature.
The expedition, led by Scratchley, then High Commissioner for the Protectorate, set out in 1885, one year after Britain annexed the territory. Lindt described his excitement at joining the crew of the Governor Blackall moored in Sydney on July 15 in the opening pages of this book. He had wanted to visit the island of New Guinea since first sighting it on the horizon during a visit to the Torres Strait in 1868. On arrival in Port Moresby, Lindt immediately sought opportunities to take photographs. His photographic work was facilitated for him by the Commissioner and the resident missionaries (William George Lawes (1839-1907) had established the London Missionary Society in New Guinea since 1874). An excursion inland was undertaken, guided by a government officer and utilising the horses belonging to the mission. On this expedition Lindt bumped into several Koiari hunters, who, having made camp to cook and eat kangaroo, invited Lindt to eat with them. An invitation to visit their village followed.
Lindt took up the invitation, and visited the village of Sadara Makara, which included twenty houses, which he commented looked newly constructed. Four of these were set up high in the tree tops. On the next day, the villagers posed for him. "They stood in groups, took the proper attitudes, and even posed picturesquely, as conscious that they were being immortalized in picture". Through an interpreter, Lindt asked that they ascend into the tree houses, and a group promptly went up: "as if defending their garrison against the attack of a hostile tribe, they ran up the ladders with ... ease ... donned their war coronets and masks, and in full war-paint, armed with shields and spears, went through all the evolutions of Papua defensive fighting" (Picturesque New Guinea page 44).
Source:
artsandculture.google.com/asset/tree-house-koiari-village...
Maker: Ernest Edwards (1837-1903) and Kidd
Born: UK
Active: UK
Medium: carbon print
Size: 4 7/8 in x 7 5/8 in
Location:
Object No. 2021.073b
Shelf: ART-1870
Publication: Specimens of the drawings of ten masters, from the Royal collection at Windsor castle.
Michelangelo. Perugino. Raphael. Julio Romano. Leonardo da Vinci. Giorgino. Paul Veronese. Poussin. Albert D"urer. Holbein. Descriptive text by B.B. Woodward, Macmillan and Co, London, 1870, pg 46
Other Collections:
Notes: Printed in carbon by Edwards and Kidd under license of the Autotype Company, Limited. Ernest Edwards was an owner of the photographic studio and printers Edwards and Kidd at 22 Henrietta Street, Covent Garden, London
To view our archive organized by themes and subjects, visitOUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Late Victorian CDV by William Green of Berwick-on-Tweed. I think that Mr Green would have been pleased with how well the "Permanent pigments" of his "Patent Autotype process" have stood up over the intervening century and a bit.
Maker:
Born: France
Active: France
Medium: photolithograph - Berthaud process
Size: 2 in x 3 1/8 in
Location: France
Object No. 2017.012
Shelf: B-1
Publication: Alphonse Poitevin and Leon Vidal - Traite des Impressions Photographiques, Gauthier-Villars Paris 2ème éd., 1883, frontipiece
Other Collections:
Provenance:
Notes: Alphonse Louis Poitevin (Conflans-sur-Anille, 1819 – Conflans-sur-Anille, 1882) was a French chemist, photographer and civil engineer who discovered the light–sensitive properties of bichromated gelatin and invented both the photolithography and collotype processes. He has been described as "one of the great unheralded figures in photography". In the 1850s he discovered that gelatin in combination with either potassium or ammonium bichromate hardens in proportion to the amount of light that falls on it. This discovery, significant for its capacity to facilitate the mass production of photographs, was later used by numerous figures such as Josef Albert, Joseph Wilson Swan, Paul Pretsch and Charles Nègre to develop subsequent photographic printing processes such as heliogravure, photogravure, collotype, autotype and carbon print. (Source: Wikiwand)
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Photographer: Ottomar Anschuetz.
Anschütz (1846 in Lissa/Leszno – 1907 in Berlin) was a photographer and a pioneer of phototechnology. He was the first photographer to publish photographs in a magazine. In 1884 he published photographs of the Kaisermanöver at Homburg. The first autotypes of momentary photographs, the ancestors of press photography.
This is a scan of an albumen (or carbon) print from 1884. Note the blindstamp at the lower right.
Maker: Edward Dossetter (1842-1919)
Born: UK
Active: UK
Medium: autotype
Size: 5 1/4 in x 9 in
Location:
Object No. 2020.294b
Shelf: ART-1875
Publication: Frank Rede Fowke, The Bayeux Tapestry Reproduced in Autotype Plates under the sanction of the Science and Art Department of the Committee Council on Education, The Arundel Society, London, 1875
Other Collections:
Provenance:
Notes: The Bayeux Tapestry is an embroidered strip of linen over 65 metres long that dates from around the 11th century. The embroidery depicts events leading up to the Battle of Hastings and the Norman Conquest of England in 1066. The South Kensington Museum began thinking about making a photographic copy of the Bayeux Tapestry in 1869 (to add to their collection of replicas of famous art works). As a result of careful diplomatic negotiations, Joseph Cundall, the Victorian photographer, was given permission to photograph the entire Bayeux Tapestry in situ in 1872 for the Science and Art Department. Cundall arranged it through his company, and commissioned a photographer called Edward Dossetter to do the work. Dossetter went to Normandy between September and December of 1872 and made over 180 glass negatives, detailing each section of the tapestry. After completing this project Dossetter moved to British Columbia where he was the official photographer on the Canadian Indian Commission inspection tour in 1881, and then later, back in England was employed by The British Museum 1894-9 to make photographs of early prints.
For more information on these photographs, visit: PHOTOGRAPHING BAYREUX
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Maker: Nicholas and Curths
Born: UK
Active: India
Medium: autotype
Size: 3 7/8 in x 5 in
Location:
Object No. 2017.058l
Shelf: PHO-1873
Publication: Marshall, William E., and G U. Pope. A Phrenologist Amongst the Todas, Or, the Study of a Primitive Tribe in South India: History, Character, Customs, Religion, Infanticide, Polyandry, Language. London: Longmans, Green and Co., 1873. pg 215
Other Collections:
Provenance:
Notes: From a “phrenological enquiry into the nature the barbarous races”. Of the 26 illustrations, 14 are from life and most if not all were taken by the well-known firm of Bourne & Shepherd as well as by Simla and Nicholas and Curths of Madras. They are interesting as they combine the exotic appeal of the primitive Indians with the careful vision of the recording scientist and anthropologist. “A particularly effective illustration of how photography could serve the needs of phrenology and physiognomy as applied to racial types” (Beauty of Another Order, p. 129) and a beautiful and classic example of the Autotype Company's use of the recently invented collotype ("Permanent illustrations by the Autotype Process” - Rye patent) and the application of improved photo-mechanical technique in scientific applications. (Hanson 1873:6)
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Maker: Ernest Edwards (1837-1903) and Kidd
Born: UK
Active: UK
Medium: carbon print
Size: 5 1/8 in x 7 3/4 in
Location:
Object No. 2021.073e
Shelf: ART-1870
Publication: Specimens of the drawings of ten masters, from the Royal collection at Windsor castle.
Michelangelo. Perugino. Raphael. Julio Romano. Leonardo da Vinci. Giorgino. Paul Veronese. Poussin. Albert D"urer. Holbein. Descriptive text by B.B. Woodward, Macmillan and Co, London, 1870, pg 46
Other Collections:
Notes: Printed in carbon by Edwards and Kidd under license of the Autotype Company, Limited. Ernest Edwards was an owner of the photographic studio and printers Edwards and Kidd at 22 Henrietta Street, Covent Garden, London
To view our archive organized by themes and subjects, visitOUR COLLECTIONS
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Maker: Alphonse Poitevin (1819-1882)
Born: France
Active: France
Medium: print back
Size: 5 in x 3-5/8 in
Location:
Object No. 2017.052b
Shelf: B-1
Publication: Prestige de la Photographie, No 2, Editions e.p.a.,
Boulogne, 1977, pg 18 (earlier version)
Other Collections:
Provenence:
Notes: With the date and place (2 Aout, 1860, Paris) and chemical formula on the verso of the negative in ink in Poitevin's hand, along with his signature. Examples of Poitevin's early experiments are quite rare outside of the French institutions.
Alphonse Louis Poitevin (Conflans-sur-Anille, 1819 – Conflans-sur-Anille, 1882) was a French chemist, photographer and civil engineer who discovered the light–sensitive properties of bichromated gelatin and invented both the photolithography and collotype processes. He has been described as "one of the great unheralded figures in photography". In the 1850s he discovered that gelatin in combination with either potassium or ammonium bichromate hardens in proportion to the amount of light that falls on it. This discovery, significant for its capacity to facilitate the mass production of photographs, was later used by numerous figures such as Josef Albert, Joseph Wilson Swan, Paul Pretsch and Charles Nègre to develop subsequent photographic printing processes such as heliogravure, photogravure, collotype, autotype and carbon print. (Source: Wikiwand)
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker:
Born:
Active: UK
Medium: silver bromide print
Size: 3 1/2 in x 5 in
Location:
Object No: 2019.210a
Shelf: C-59
Publication: Nettel Carmerawerk, Sontheim am Neckar and Neue Photographische Gesellschaft (NPG), Berlin-Steglitz, 1913
Other Collections:
Provenance: Foto-Antiquariat Joachim Fahl
Rank: 110
Notes: This portrait of the Scottish photographic inventor Mungo Ponton is notable because of Ponton’s contributions to the history of Photography. It is a copy of a photogravure first published in the British Year-Book of Photography and Photographic News Almanac for 1882, which was the first publication of a Klic process photogravure in England. The following remembrance of Ponton appeared in The British Journal of Photography nine months after his death: “Mungo Ponton was born at Balgreen, near Edinburgh, in the year 1801. He was educated for the legal profession, and, in due course, became a writer to the signet. He was one of the founders of the National Bank of Scotland, and it was in his office that the plans were matured for the establishment of that institution. He held the office of legal adviser to the bank, and subsequently that of secretary. The strain of the double duties thus imposed on him proved too much for his strength and a serious attack of illness compelled him to retire from active life while yet comparatively a young man. Since that time he continued more or loss of an invalid, but his intensely-active mind found congenial occupation in scientific and literary pursuits. He discovered the peculiar effect of light on gelatine when treated with the bichromate of potash, which was afterwards practically applied in the autotype process. Indeed, it is upon the sensitiveness of this salt to light, under certain conditions, that all the processes of permanent printing of the present day are based; and this discovery of his consequently marks the commencement of an era in photography, and renders his name as closely connected with the history of that art as are those of Niepce, Daguerre, and Talbot. It was in 1839—the very year in which the wonderful process of Daguerre was announced to the world—that Mungo Ponton called attention to bichromate of potash as a photographic agent, and described a process—the foundation of every subsequent permanent printing process—whereby, through that agent, durable impressions on paper might be produced. This discovery, which had been first announced to the Scottish Society of Arts on the 29th May, 1839, was given to the world in the Edinburgh New Philosophical Journal, vol. xxvii., 1839, under the title—Notice of a Cheap and Simple. Method of Preparing Paper for Photographic Drawing. He was the first who employed the photographic method for registering automatically the fluctuations in thermometers and other instruments, and for this invention he received also the silver medal of the same (the Scottish Society of Arts) society in 1845.” Mr. Ponton also experimented, we are informed, at a very early date in the production of enamel pictures, using plates of unbaked porcelain. In this branch of photography he secured a fair amount of success, and may be considered the founder of enamel photography.” Writing later in his History of Photography in 1905, and coincidentally or not paying lasting and permanent tribute to Ponton’s accomplishments via the groundbreaking photogravure process perfected by Karl Klič (1841-1926) was Josef Maria Eder. Eder contacted Klič in Vienna a scant two years after his photogravure process was revealed in 1879 in order to secure what would turn out to be the very first published example of his process in England on behalf of London’s Yearbook of Photography for 1882: “The English journals published Klič’s invention in 1881. The editor of the Photographic News and of the Yearbook of Photography, London, Captain Baden-Pritchard, requested this author to order from Klič a heliogravure of Mungo Ponton’s portrait and 2,000 impressions from it. This work appeared as an insert to the Yearbook for 1882 with the credit line, “Heliogravure by Klič, Vienna.” This was Klič’s debut in England, and it made the craftsmen there acquainted with his work.” Earlier, in the same volume, Eder explains the significance of Klič’s photogravure process: “The zenith of heliogravure by the etching method for beauty of results, as well as for sureness and rapidity of production, was reached by the painter and newspaper artist Karl Klič, at Vienna, who combined the pigment transfer process on grained copper plates with the etching process, and thus outstripped his predecessors. Klič is the creator of modern photogravure with aquatint grain on copper plates by means of the transfer of a pigment image and etching in iron chloride baths of various strengths, in which he etched the half-tone picture to different graduated depths.” Making note of the photograph itself, unattributed but which may have been taken by Klič in the last decade of Ponton’s life, editor Henry Baden-Pritchard or another author wrote the following in London’s Yearbook of Photography for 1882: “We ought to say a word about our portrait of Mungo-Ponton, an Englishman who may well be termed the discoverer of permanent photographic printing, for he it was who proposed, in 1839, the employment of bichromate in photography. Klic’s is an etching process upon copper, an imprint from a carbon diapositive being secured upon that metal. The mode of preparing the copper is a secret, but we may mention that the process is so quick, that within four or five days an engraved plate may be produced of considerable dimensions. Of the quality of the printing our readers can judge for themselves. Suffice it to say, the process is an inexpensive one, and that during the past year alone, no less than three hundred photo-engravings were produced. (source: Photoseed)
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A Small Part of The Duke and Duchess Manchester priceless Art Collection
Van Dyck — Portrait of Lord George Goring and Henry, Earl of Holland, and child, in carved gilt gadroon frame, 51in. by 59in.
25
Tintoretto — Christ in the House at Emmaus, at supper, carved gilt leaf-pattern frame, 50in. by 96in.
26
Veronese — Christ in the House of Pharisees, inscribed "Fecit D Covi Magnu Levi, A.D. MDLLXXIII, Lucæ Cap V. Die XX Apl.," 52in. by 92in., carved gilt frame
27
Kneller School — Portrait of Anne, daughter of Sir Christopher Yelverton, Bt., married Robert, Earl of Manchester, and secondly, Chas., Earl of Halifax, carved gilt leaf-pattern frame, 82in. by 44in.
28
Van Somer — Full-length portrait of Sir Henry Sidney, wearing lace-trimmed cloak, holding sword, 90in. by 56in., in carved gilt acorn-pattern frame
29
Canaletto — Venetian canal scene, showing Grand Square and St. Mark’s, and landing of Chas., Earl of Manchester, carved gilt gadroon frame, 54in. by 104in. (Exhibited Art Treasures Exhibition, 1857)
30
Snyders — Still Life, boar’s head, lobster, etc., on table, carved gilt frame, 36in. by 55in.
31
Rubens — Descent from the Cross, plain gilt frame, 52in. by 38in.
32
Mary Beale (1632-1697) [Pupil of Sir Peter Lely] — Half-length portrait of Elizabeth Pelham, married Ed. Montague, seated, wearing blue cloak, signed and dated 1683, moulded gilt frame, 50in. by 40in.
33
Dobson — A portrait of Lord Mandeville (son of 2ndEarl) as a youth, brown flowing hair, wearing lace collar and cuffs, landscape background, carved gilt frame, 44in. by 34in.
34
Mor — Portrait, "Sir Ed. Montague of Boughton, Kt., Chief Justice, Exor. of King Henry VIII., anno. 1556," panel, 44in. by 33in. (Exhibited National Portrait Exhibition, 1866)
35
Lely — Portrait, "Lady Anne, Daughter of Robt. Montague, Earl of Manchester, married James, Earl of Suffolk," three-quarter length, seated, wearing blue cloak, carved gilt leaf-pattern frame, 48in. by 38in.
36
Hudson — A portrait, half-length, of Ann Montague, daughter of Duke of Manchester, married Lord Torrington, wearing pale green dress, with blue ribbon, carved gilt frame, 50in. by 40in.
37
Van Dyck — Half-length portrait of Dorothy Sydney, Countess of Sunderland, wearing pearl necklace and head-dress, brown satin dress, carved gilt frame, 48in. by 38in.
38
Van Dyck — Half-length portrait of Lady Ann Carr, daughter of Robert, Earl of Somerset, married to William, 1st Duke of Bedford, wearing pearl earrings and necklet, crimson dress, carved gilt frame, 44in. by 34in.
39
Van Dyck — A half-length portrait of James Godfrey, husband of Arabella Churchill, sister of John, Duke of Marlborough, brown flowing hair, lace collar and cuffs, dark green coat, carved gilt frame, 44in. by 36in.
40
Baptiste — Flowerpiece, black frame, 32in. by 36in.
41
Mytens — A half-length portrait of Sir Ed. Montague, seated, wearing slashed sleeves, and Order of Bath, carved gilt gadroon frame, 46in. by 36in.
42
Le Nain — The Poor Artist’s Studio, 44in. by 38in.
43
Ribera — Bearded man reading book, carved gilt frame, 38in. by 28in.
44
Mytens — A portrait of Sir Hy. Montague, 1st Earl of Manchester, three-quarter length, wearing lace ruff and cuffs, dark coat, holding a letter, latticed mahogany panel, carved gilt frame, 44in. by 32in. (Exhibited National Portrait Exhibition, 1866)
45
Sir A. More (after) — A three-quarter length portrait, " Sir Ed. Montague, of Boughton, Knight, Chief Justice, and Exor. to Henry VIII., anno 1556," carved gilt frame, panel, 44in. by 31in.
46
Early Italian School — The Crucifixion, panel, 45in. by 35in.
47
Mynx, Rome, 1758 — A full-length portrait of George, Duke of Manchester, in period dress, standing by a table on which is a map of the Mediterranean, 96in. by 68in., carved gilt frame
48
Jansen — A full-length portrait of Lady Ann Rich, Viscountess Mandeville, married 2nd Earl, in embroidered cream satin dress, plaiting hair by a table covered in lace, carved gilt acorn-pattern frame, 87in. by 54in.
49
Sir Peter Lely — A full-length portrait of Edward, 2nd Earl of Manchester, holding staff and wearing Order of Garter, brown flowing hair, carved gilt acorn-pattern frame, 93in. by 57in.
50
Zoffany — A full-length portrait of Queen Charlotte, wearing cream robes, left hand resting on a table on which is ermine cloak and crown, carved gilt frame, with crown pediment, 93in. by 57in.
51
Kneller — Full-length portrait, "Charles, Duke and Earl of Manchester, son of Robert, Earl of Manchester," standing by a table on which is a coronet, carved gilt floral and leaf frame, 93in. by 57in.
52
Jansen — A portrait of Sir Henry Montague, 1st Earl of Manchester, holding staff, in crimson and ermine robe, full-length, with curtain background, carved gilt acorn-pattern frame, 93in. by 57in.
53
Van Dyck — A half-length portrait, "Lord Kimbolton, Gentleman of the Parliament Force of Charles I," wearing breast-plate and sword, holding staff, carved gilt frame, surmounted by helmet, and with military trophies in high relief, 49in. by 39in.
54
Desanges — Portrait of Louise, Duchess of Manchester, wife of 7th Duke, full-length, wearing jewelled cream dress, pearl necklace and green cloak, 66in. by 38in.
55
Desanges — Portrait of George, 6th Duke of Manchester, in frock coat, 66in. by 38in.
56
Desanges, about 1850 — A portrait of The Duchess of Manchester, married 6th Duke, wearing green satin dress, trimmed lace, arched top, 66in. by 38in.
57
Carlo Lotti — The Good Samaritan with two attendant figures, carved gilt frame, 45in. by 66in.
58
Dutch School, 16th Century — Portrait of a Statesman seated in chair, wearing lace trimmed cap and ruff, carved gilt frame, 50in. by 39in.
59
Early Dutch School — Landscape, with figures boar hunting, with dogs, 2 windmills to left, mountains and buildings to right, 32in. by 60in.
60
Kneller — Portrait of George, Earl of Halifax, three-quarter length, with powdered hair and ermine cloak, carved and moulded frame, 46in. by 34in.
61
Jansen — Portrait of Sir Henry Montague, Earl of Manchester, Lord Privy Seal, etc., oval, carved gilt frame, 72in. by 422in.
62
Larguilliere School — Portrait of Duke of Montague, three-quarter length, wearing armour and holding staff, powdered hair, 46in. by 36in.
63
Mid-Victorian School — Portrait of a lady seated, wearing green dress and holding posy of flowers, landscape background, 49in. by 39in.
64
Swinton — A portrait of Millicent, Countess Manchester, wife of 6th Duke, in black dress, seated at a table with hands crossed, 50in. by 39in.
65
Kneller School — Portrait of Edward Montague, brown flowing hair, wearing breast-plate and red cloth, landscape background, 50in. by 41in.
66
J. Duvall — A horse in stable, "Doncaster," 28in. by 37in.
67
English School — A portrait of a Lawyer, three-quarter length, powdered wig, holding a sealed document, 48in. by 38in.
68
Lely — A portrait of a nobleman wearing lace scarf, brown flowing hair, brown dress, curtain background, 46in. by 37in.
69
Wissing — A portrait of Brig.-Gen. Montague when a child, wearing plumed hat and holding bow, unframed, 50in. by 40in.
70
Riley — A portrait of a statesman with chain necklet, lawn collar and cuffs, flowing hair, curtain background, 47in. by 38in.
71
Murray — Portrait of William, Duke of Manchester, three-quarter length, powdered hair, wearing ermine trimmed red dress and order, carved and moulded frame, 46in. by 34in.
72
Larguilliere School — A portrait of a child holding a torch, as cupid, gesso frame, 36in. by 29in.
73
Jansen — Portrait of lady seated in a chair, brown hat, wearing wide linen and lace collar and cuffs, green satin dress, 42in. by 32in.
74
A. Bierstadt — Woody landscape, with pine trees, pool, and equestrian figure, 39in. by 30in.
75
Gladstone Eyre — Portrait of a bearded gentleman, wearing blue tie, grey hair, oval, 32in. by 24in.
76
Victorian School — A male portrait, full-length, in Shakespearean costume, 36in. by 28in.
77
Jansen — A portrait of Edward, Baron Montague, bearded, wearing muslin ruff, and order, three-quarter length, inscribed "A.E. 39,"2 and armorial crest, and date 1607, braced panel, unframed, 45in. by 35in.
78
Jansen — Portrait of Sir William Montague, wearing lace ruff and cuffs, in crimson cloak, panel, 45in. by 32in.
79
Jansen — Portrait of a Statesman of the Commonwealth, laced jacket, with lace collar and cuffs, holding staff, unframed, 42in. by 34in.
80
Baptiste — Flowerpiece, 37in. by 44in.
81
Baptiste — Vase of flowers, on a pedestal, 37in. by 30in.
See Illustration Plat No.1
82
Baptiste — Vase of flowers, 32in. by 37in.
83
Jansen — Portrait of Henry, 1st Earl of Manchester, in lace trimmed cap, lace ruff and cuffs, carved gilt frame, 32in. by 24in.
84
English School, 17th Centry — Portrait of Cecil, Earl of Salisbury, in Elizabethan costume, holding pendant in left hand and baton in right hand, panel, unframed, 31in. by 224in.
85
Flemish School — Bust portrait of an elderly man, wearing ruff and cloth hat, panel, unframed, 23in. by 18in.
86
Ruysch — The Annunciation, and The Holy Family with attendant figures and floral borders, painted in ovals, carved gilt frames, a pair, 43in. by 36in.
87
Guido (after) — The Magdalen, three-quarter length, carved gilt frame, 39in. by 32in.
88
Early Italian School — Angels, in landscape, carved laurel wreath frame, 28in. by 37in.
89
Jansen — Portrait of Sir Charles Montague in armour, left hand resting on sword, armorial crests to the top corners, 38in. by 28in.
90
Opie, 1787 — Portrait of Mrs. Hannah More, white hair, green dress with white collar, carved gilt frame, 30in. by 224in.
Exhibited National Portrait Exhibition 1868
91
Mary Beale — A portrait of Princess Sophia of Hanover, half-length, painted in an oval, panel, 29in. by 23in.
92
Flemish School, 16th Century — Portrait of Le Comte Bloudoff, with seal at back, carved gilt frame, 28in. by 19in.
93
Pickersgill — Portrait of Millicent, wife of 6th Duke of Manchester, in green dress, wearing bracelet, seated, 30in. by 25in.
94
Hudson — Portrait of George Montague, son of Brig.-Gen. Edward Montague wearing ruff and green coat, half-length, carved gilt acanthus frame, 30in. by 25in.
95
C. Doyster, 1872 (after Rembrandt).- Rembrandt’s self portrait, 24in. by 20in.
96
Cornelius Johnson, 1671 — Portrait of a lady with slashed sleeves, wearing pearl necklace, painted in an oval, signed and dated, carved gilt frame, 29in. by 24in.
97
Ramsay — Portrait of young lady, half-length, in low dress, wearing jewelled necklace, high lace collar, painted in an oval, 229in. by 23in.
98
P. Gade, 1945 — Portrait of Gaston de Foix, wearing breast-plate, a youth with hand on his shoulder, panel, 30in. by 23in., initialled P.G., and dated
99
W. Beechey — Half-length portrait of Lord Frederick Montague, wearing brown coat and linen ruff, brown flowing hair, 25in. by 20in
100
Saunders — Portrait of William, 5th Duke of Manchester, wearing green jacket, linen jabot, curtain background, 25in. by 20in.
101
Jansen — Portrait of Francis St. John, son of Oliver St. John, wearing dark coat, embroidered, with lawn collar, brown flowing hair, oval, 27in. by 22in.
102
Jansen — Bust portrait of King James 1., painted in an oval, profile left, carved gilt frame, 28in. by 23in.
103
Raeburn — Portrait of Alexander, 4th Duke of Gordon, in military uniform, half-length, 36in. by 28in.
Exhibited National Portrait Exhibition 1868
104
Gilbert Stuart — Portrait of Gen. Boyd, wearing dark coat and linen jabot, half-length, panel, oval, 28in. by 23in.
105
Molinaer — Landscape, with river, cottages and figures, an inn to the left, and the companion picture, River view, with avenue of trees, figures, etc., panels, 24in. by 40in., a pair
106
Jordaens — Bust portrait of a bearded man, wearing dark coat and linen collar, right hand across chest, panel, 222in. by 17in.
107
Ricci — A Roman triumph, with Consul and numerous figures, carved gilt frame, 24in. by 16in.
108
Barrocio — Hagar and Ishmael in garden, carved acanthus frame, 20in. by 16in.
109
Rottenhamer (1564-1606) — St. Katherine and St. Agnes, painted within oval floral borders, 25in. by 20in., pierced and carved gilt frames, a pair
110
Carlo Dolci — Ecce Homo, panel, 20in. by 16in., in Florentine carved gilt frame
111
Early Italian School — A half-length portrait of a cleric wearing dark cloak and linen collar and apron, curtain background, on copper, 18in. by 12in., carved gilt frame
112
Flemish School, 16th Century — Portrait of Catherine Russell, Lady Brooke, wearing dark head-dress, with linen collar and posy of flowers, panel, 15in. by 11in.
113
Kneller — Portrait, full-length, of Anne, Countess of Suffolk, daughter of Robert, Earl of Manchester, 16in. by 11in.
114
Ferrato — Madonna and Child, panel, 20in. by 15in., carved gilt frame
115
Russell — Portrait of Lady Kingston, with curled hair, in white bodice, wearing pearl earrings and necklace, panel, 15in. by 12in., carved gilt frame
116
Russell — Bust portraits of Charles I. and Queen Henrietta Maria, panels, 14in. by 12in., in carved gilt frames
117
Russell — Bust portrait of Algernon Percy, Earl of Northumberland, Lord High Admiral, 1640, panel, 15in. by 12in., carved gilt frame
118
Russell — Bust portrait of Henry, Earl of Holland, wearing breast-plate and sash, panel, 15in. by 12in., carved gilt frame
119
Russell — Bust portrait of a gentleman, brown flowing hair, lawn collar, panel, 15in. by 12in., carved gilt frame
120
Buck — Portrait of a gentleman and child, in landscape, stream at distance, water-colour drawing, 18in. by 13in., glazed
121
Ed. Hopley, 1851 — A wood nymph reclining, oval, in landscape, 6in. by 9in., glazed
122
Bernadino Luini — A sibyl, bust portrait, panel, 14in. by 12in.
123
Van Dyck School — Portrait of group of two ladies, one in red dress, and one in cream dress, panel, 8in. by 9_in., carved gilt frame
124
Sir Thos. Lawrence — Portrait study of Duchess of Manchester, head and shoulders, coloured chalks, 16in. by 10in.
125
John Sargent, R.A. — Portrait of a lady, head and shoulders, charcoal drawing, 24in. by 18in.
126
English School, 18th Century — Bust portrait of a man in armour, brown hair, panel, 28in. by 24in.
127
Pickersgill — Portrait of a young lady, holding book, lace collar, curled hair, 29in. by 24in.
128
Henry Bambrick — Copy of a portrait of "Col. William Southwell, 1676," 30in. by 24in.
129
Shayer — Figures and horses in landscape, with dead game, 24in. by 41in.
130
C. Doyster, 1872, after Soldi — A Venetian lady, 39in. by 30in.
131
A painting — Christ on the Cross, another, A Country Mansion, and another, panel, Male portrait in Tudor Costume 3
132
English School — Portrait of a man with brown flowing hair and linen collar, 30in. by 24in., and another, Susanah and the Elders, 50in. by 40in.
133
Lely School — Portrait of lady in green dress, holding veil, 30in. by 25in.
134
G. Jekyll, 1865 — "Jehu," a chariot driver, with two horses, 28in. by 22in.
135
J. Swinton, 1852 — Portrait of Viscountess Mandeville, Louise, wife of the 7th Duke of Manchester, crayon, oval, 30in. by 25in.
136
Thirty small etchings after Millais, Hook, etc., in two frames, glazed
Exhibited International Exhibition, 1862 — The Etching Club
137
L. Desanges, 1872 — Two young ladies (Louise, Duchess of Manchester and Lady Mary Montague), a study in crayon, 29in. by 24in.
138
English School, 18th Century — Half-length portrait of gentleman with powdered hair, wearing jabot and embroidered coat, 30in. by 24in.
139
Flemish School, 18th Century — Landscapes, with cattle, figures and huntsmen, in white frames, a pair, 28in. by 44in.
140
Jansen — Portrait of a middle-aged lady in white-brimmed hat and Elizabethan dress, holding a book, 29in. by 24in.
141
Lely School — Portrait of a lady, half-length, 34in. by 26in., and another painting of a bearded man in dark coat, 31in. by 26in.
142
Wissing — Portrait of a young man, half-length, wearing brown cloak and lace jabot, oval, 228in. by 23in.
143
Kneller School — Portrait of a gentleman with powdered hair, light coat and cravat, painted in an oval, 30in. by 24in.
144
Ramsay — Portrait of Mary, daughter of Sir John Bernard, in decolette blue dress trimmed ermine, painted in an oval, 30in. by 24in.
145
English School, 18th Century — Bust portrait of an officer wearing armour, 30in. by 24in., and another of an elderly man wearing ruff and dark coat, 30in. by 24in.
146
English School — Half-length portrait of Oliver St. John, wearing cloth cap and brown coat, 35in. by 26in.
147
Pickersgill — Half-length portrait of George, 6thDuke of Manchester, in red cloak, 30in. by 25in.
148
Walker — Half-length portrait of a gentleman wearing green cloak and tasselled linen collar, carved gilt frame, 30in. by 24in.
149
Mary Beale — Bust portrait of a nobleman of the time of James II., with brown flowing hair and lace jabot, painted in an oval, carved gilt frame, 30in. by 24in.
150
Guido School — Magdalen, Florentine gilt frame, 27in. by 22in.
151
Italian School — A sibyl, Florentine gilt frame, 25in. by 19in.
152
Richards — Half-length portrait of a young lady in green dress, painted in an oval, 28in. by 24in.
153
Mary Beale (1632-1697) (Pupil of Sir Peter Lely) — Half-length portrait of Dodington, Countess of Manchester, wife of 1st Duke, brown dress with white sleeves, carved gilt frame, 30in. by 24in.
154
Unknown — Half-length portrait of a young lady in embroidered dress and red cloak, oval, 35in. by 27in.
155
Russell — Portrait of a young lady, half-length, wearing brown and white dress, holding a rose, 28in. by 24in.
156
W. Wissing (1656-1687) — Portrait of Bishop Burnett in Commonwealth dress, oval, 26in. by 23in.
157
Mierevelt — Bust portrait of Gustavus Adolphus, King of Sweden, with pointed beard, lace collar, 26in. by 22in.
158
A painting — A Tyrolese view, with lake, bridge and church, the latter set with clock in box case, striking on three gongs, 23in. by 28in.
159
Titian — A Doge of Venice, 48in. by 38in., in carved gilt frame
160
Fried Kaulbach, Kimbolton Castle, 1859 — A portrait, full-length of Louisa, Duchess of Manchester, in red velvet dress, wearing pearl necklace, 92in. by 58in.
161
L. W. Desanges — Portrait of Louise, Duchess of Manchester, wife of 7th Duke, full-length, hands resting on a chair, carved gilt frame, 94in. by 58in.
162
A pair of oleographs — Full-length portrait, labelled "Ol. Cromwell," as a young soldier in armour, and the companion portrait, Charles I., in armour, 86in. by 52in.
163
A pastel portrait of a girl wearing white dress and blue sash, petting a dog, 29in. by 23in., in carved frame, glazed
164
Professor W. B. Richmond, A.R.A. — Portrait of a lady wearing pink-lined blue cloak, convex mirror background, 30in. by 24in., carved gilt frame
165
Canaletto — The Grand Canal Venice, showing the State Barge, with innumerable gondolas, figures and buildings, unframed, 35in. by 54in.
See Illustration Plat No. 2
166
Hudson — A portrait of Sir John Hartopp, grandfather of Lady Bernard, seated in a chair, powdered flowing hair, brown coat, white scarf, 36in. by 28in.
167
Soldi — A three quarter-length portrait of William, 2nd Duke of Manchester, wearing crimson and ermine cloak, left hand resting on sword, right hand on hip, carved gilt frame, 50in. by 40in.
168
Sir Peter Lely — A portrait of a nobleman with brown flowing hair, dark coat, with linen collar and cuffs, half-length, holding staff and key, carved gilt frame, 50in. by 40in.
169
Sir Godfrey Kneller — A portrait of Ann, Countess of Manchester, wearing brown dress and ermine trimmed cloak, a coronet on a table, carved gilt frame, 50in. by 40in.
170
Mytens — A portrait of Sir Wm. Roper, three quarter-length, holding sword and gloves, inscribed "Anno. Dom. 1610, Spes. Mea in Deo," lattice braced mahogany panel, 44in. by 34in.
Exhibited National Portrait Exhibition, 1866
171
Sir Peter Lely — Portrait of Edward, 2nd Earl of Manchester, brown flowing hair, in blue and cream cloak with sash, holding staff, 50in. by 40in.
Exhibited Art Treasures Exhibition, 1857
172
Andrea Soldi, 1741 — Portrait of Harriett Dunch, wife of Robt. Montague, seated, holding child, carved gilt acanthus frame, 50in. by 40in.
173
Bassano — Elevation of the Host, a High Priest, with figures kneeling in the Temple, carved gilt frame, 58in. by 42in.
174
Fiammingo — The Deluge, carved gilt frame, 35in. by 47in.
175
L. Desanges, 1851 — a three-quarter-length portrait of Lady Olivia Montague, Countess of Tankerville, seated, holding a fan, 50in. by 34in.
176
Corregio School ("Caraggio, Testa Gallery, Bologna") — Christ scourged, carved gilt frame, 53in. by 42in.
177
T. B. Oudrey — Fox with pheasant, signed and dated, carved leaf-pattern frame in bold relief, 36in. by 54in.
178
Kneller — Boy in landscape, with dog, castle background, black and gilt frame, 54in. by 42in.
179
Soldi — Portrait of William, 2nd Duke of Manchester, three-quarter-length, carved gilt frame, 50in. by 40in.
180
Titian — Holy Family, carved gilt frame, 39in. by 46in.
181
Bassano — Portrait of a bearded man, with linen cravat, holding a book, carved gilt gadroon frame, 44in. by 34in.
Exhibited Art Treasures Exhibition, 1857
182
Riley — Portrait of Robert, 4th Lord Brook, holding sword, and petting a dog, carved gilt frame, 50in. by 40in.
183
Titian — Portrait of Francis, 1st Grand Duke of Tuscany, and his Secretary, one writing with a quill pen, the other holding a deed, inscribed "Grand Duke and Machiavel," carved gilt gadroon frame, 42in. by 46in.
184
Lely - Portrait of Charles, 4th Earl of Manchester, seated, wearing jabot, brown cloak and linen sleeves, carved gilt frame, 50in. by 40in.
Exhibited Belfast Library Art Loan Exhibition, 1888
185
Hudson — Portrait, inscribed "Lady Oxenden, daughter of Edmund Dunch, married to Sir Geo. Oxenden, Bart.," and the companion picture, "Sir Geo. Oxenden, Comisr. Treasury," carved gilt frames, 50ins by 40in., a pair
186
Sir Peter Lely — Portrait of "Elizabeth, daughter of Earl of Southampton, married to Jocelin, last Earl of Northumberland, and afterwards to Ralph, Lord Montague," carved gilt frame, 50in. by 40in.
187
Soldi — Portrait of "Isabella, daughter of John, Duke of Montague, married to William, 2nd Duke of Manchester," seated in landscape as Diana, carved gilt frame, 50in. by 40in.
188
Hudson — Portrait of "Robert, 3rd Duke and Earl of Manchester, 2nd son of Charles, Duke and Earl of Manchester," carved gilt frame, 50in. by 40in.
189
English School, circa 1600 — Portrait of "Sir John Popham, Kt., Lord Chiefe Iustice of England and of her MAtis. Most Honorable Prive Covnsell," panel, with crest, 44in. by 34in.
(He was Lord Chief Justice in 1592 in which year he was knighted. He presided at the Trials of Guy Fawkes and Sir Walter Raleigh)
190
John Burton — Portrait of a young officer in scarlet tunic, wearing an Order, half-length, 36in. by 28in.
191
John Burton, 1849 — Portrait of a young gentleman wearing linen collar and plum-coloured cloak, 36in. by 28in.
192
Hudson — Portrait, "Harriett, daughter of Edmund Dunch, married to Robt., Duke of Manchester," seated, wearing green dress, left arm resting on table, carved gilt frame, 50in. by 40in.
193
Kneller — Portrait, "Ann Montague, married to James Howard, Earl of Suffolk," wearing brown dress, right arm resting on a vase, carved frame, 50in. by 40in.
194
Ribera — A Hermit (an elderly beared man in brown cloak), octagonal, carved gilt frame, 34in. by 29in.
195
W. C. Knell, 1859 — Coast scene, Dover, with sailing and rowing boats, rough sea, 28in. by 44in.
196
Jansen — Portrait, "Wm. Montague, Lord of the Manor of Oakley, son of Sir Ed. Montague, ÆTATIS SVA, 88, 1619," 45in. by 34in.
197
Thos. Heaphy — "Proserpine in the Garden of Enna," 11in. diameter
198
Henry Tidey — 1861 — "Dar Thula," a woman with shield and a soldier with lance, water-colour drawing, glazed, 51in. by 30in.
199
Ten engravings, etc., various, including the Sistine Madonna, etc.
200
A set of four engravings by T. Cook, after Hogarth, "Canvassing for votes," "The Polling," "The Election entertainment," and "The Chairing"
201
Eight large engravings, etc. (six in oak frames, two in gilt frames)
202
Ten similar, various
203
Twelve similar, including photographs
204
Victorian School — A portrait of an officer in dark cloak, holding helmet, and the companion portrait of a lady in cream satin dress, oval, a pair, 22in. by 17in.
205
English School — A portrait of Queen Elizabeth, panel, 222in. by 17in., and a painting, Children of Charles I., 14in. by 16in.
206
A set of Hogarth engravings (1735), "Marriage à la Mode," in oak frames, glazed (14)
207
W. Brocas, 1843 and 1845 — Three water-colour drawings, Interiors, with figures, and a sketchbook by the same, 1843
207a
J. W. Whymper, 1884 — Landscape, with castle ruins and figures, water-colour drawing
208
D. Macdonald, 1847 — Five portraits, various, crayons, framed and glazed
209
A large sepia etching, quay scene, and four other etchings, etc., various
210
Five paintings of Horses, unframed
211
H. Duvell — Four paintings of horses and cattle, in gilt frames
212
Eug. Doveria, ’48 — Tyrolese peasants, a pair, water-colour drawings, touched up with white
213
G., 1872 — A military review; another, Castle and grounds; and another, Seapiece, with boat, water-colour drawings (3)
214
F. de Prades — An officer on horseback; an arched painting, Terrace figures; and another, "Portrait of a gentleman in Victorian dress" (3)
215
G. Morland, 1794 — A pigsty with figure at door, 10in. by 12in., signed and dated
216
English School, 17th Century — The Music Lesson, Youth and Maid by Spinet, panel, 12in. by 15in.
217
A pair of water-colour drawings, Italian lake scenes, and two others, Coast scenes
218
Victorian School — Portrait of Susan, wife of 5thDuke of Manchester, in landscape, wearing pink dress and flowered h at, 18in. by 14in.
219
Dutch School, 16th Century — Bust portrait of a bearded man, with lace ruff and crimson cloak, panel, 19in. by 17in.
220
English School — River view, with sailing boats and figures, unframed, 13in. by 18in.
221
Matthew Thornicraft — Derwent Water, and Grange in Borrowdale, Cumberland, a pair, 18in. by 24in.
222
Three old sepia drawings, Roman triumphs, and another, coloured, Procession in Rome, much faded
223
Italian School — Two paintings in painted wall frames, Coast scene, with dog in foreground, and Landscape, with figures, and four others, Coat of Arms, a Landscape, Cupids at play, and Male portrait (6)
224
Twenty-four engravings, prints, etc., various, framed
225
Twenty-four ditto
226
Twenty-four ditto (mostly personal photographs)
227
Dutch School — A village scene, with church and cavalry, black painted carved frame, 29in. by 22in.
228
A painting, a dog, another, a hare, another, Castle and grounds with two horses, and another, Forest scene with two stags4
229
Six drawings, Studies of young ladies, and a water-colour ditto
230
Twenty-four photographs, etc., various, framed
231
M. Morley — Pride and Impudence, after Landseer; another, Dying Gaul, charcoal drawings
232
Four pairs of stipple sepia prints, Cupid, Psyche, etc., after Bartolozzi, and a pair of ditto in colour
233
An engraving, Village Politicians, after Wilkie, another, Cathedral and lock, by Lucas, after Constable, and two others, Dover and Hastings, after Turner
234
Ten portrait engravings, Louis XV. and Charles I., etc., framed
235
L. Dashwood, 1764 — Portrait of a young lady, half-length, in blue and white wrap, pastel
236
A pastel — A portrait of Elizabeth, 4th Duchess of Manchester, profile right, reading a book, carved gilt frame, glazed
237
A pastel portrait of a child with dog, oval, carved gilt frame
238
A similar portrait of a young lady in pale blue and white dress, half-length, in carved gilt frame
239
A small oval pastel portrait, Lady Anna Maria Montague, and an oblong pastel portrait, Viscount Mandeville, son of George, Duke of Manchester
240
Victorian School — Portrait of elderly lady in black dress, seated, reading a book, 72in. by 44in.
241
Four gilt picture frames and two easels
242
A Russian Ikon, 9in. by 7in., in moulded pearwood frame
Fitted in Dining Room
243
Lucatelli — Bay scene, with buildings, figures and boats (inset to wall over door), 322in. by 78in.
Fitted in Entrance Hall
244
Pelegrini — The Children of Charles, 1st Duke of Manchester (inset to panelling over fireplace), in carved pine frame, 101in. by 79in.
245
Lucatelli — Landscapes, with figures, in carved pine frames, approx. 32in. by 78in. (inset to panelling as overdoors), a set of four
JUST A FEW OF THE BOOKS OF THE MANCHESTER COLLECTION AT KIMBOLTON FAMILY CASTLE.
KIMBOLTON Castle Books.
BOOKS
LOT
248Fergusson (J.), Tree and Serpent Worship in India, London, 1868, cloth (1); Enfield (W.), History of Philosophy, London, 1791, tooled calf (2); Dibdin (Rev. T.), Bibliographical Decameron, London, 1817, tooled calf (3); Kinglake (A.), Invasion of Crimea,cloth (6) 12
249Carr, Dialogues of Lucian, London, 1774, calf (5); various, old calf (23)
28
250Journal of Microscopical Science, 1860-1868 (9); Monthly Microscopical Journal, 1869-1877 (17), tooled calf 26
251Prescott (W.), Ferninand and Isabella, London, 1842, cloth (3); Prescott (W.), History and Conquest of Mexico, London, 1844, cloth (3); Tytler (P.), History of Scotland, Edinburgh, 1845, cloth (5); Heeran, Historical Researches, cloth (3); others, cloth (8) 22
252Various, cloth 22
253Various, cloth 30
254Biographical Dictionary, London, 1761, half calf (11); Gibbons’ Roman Empire, London, 1838, half cloth (8) 19
255Samuelson (J.), Popular Science, London, 1862, half calf 15
256Dyce (Rev. A.), Shakespeare, London, 1864, cloth (8); Carlyle (T.), History of Frederick the Great, 1858, cloth (16); Dennistoun (J.), Memoirs, Dukes of Urbino, 1851, cloth (3) 27
257Ross, Cornwallis Correspondence, cloth (3), Life of Peel (2), Life of Wilberforce (3), Life of Castlereagh (3), Life of George IV. (2), Life of Cellini (2), various (10), cloth 25
258Woodstock or The Cavalier, Edinburgh, 1826 (3); various, old calf and half calf (27) 30
259Hallam (H.), Literature of Europe, London, 1847, calf (3); various in old calf (21) 24
260Various, cloth 30
261Bancroft (H.), Native Races of the Pacific, 1875, cloth 5
262Livius (T.), History of Rome, London, 1797, calf (6); Langhorne’s Plutarch’s Lives, 1770, calf (6); Melmoths, Cicero, etc., London, 1785 (7)
19
263Journal of the Agricultural Society, 1842-1876, half calf 37
264Riverius (L.), Practice of Phyfick, London, 1678 (1); History of Edward II., 2-colour title and engraved frontispiece, London, 1680 (1); Pyne (W.), Microcosm, litho plates, London, 1803 (1); various, old calf (13) 22
265Smith (A.), Wealth of Nations, London, 1791, calf (3); Sheridan, Works, 1821, half calf (2); Moliere, Works, Paris, 1804, calf (6); various, old calf (13) 24
266Theatre de Corneille, 1795, calf (of 12) (11); Contes Moreaux, calf (3); various (18) 32
267Various, mostly old calf 34
269Fabriche di Venezia, Venice, 1815, half calf, folio (2); Wilkins’ Magna Graicia, Cambridge, 1807, folio (1); and others, folio (4) 7
270Punch, cloth, 1860, etc. 37
271Various, old calf, and odd volumes 30
272Duke of Wellington’s Dispatches, cloth (8); various (40) 48
273Thoyras (De R.), History of England, 1728, calf (6); Ulster Journal of Archaeology, half calf (9); others (15) 30
274Monumenti Etruschi, half calf (9); various (21) 30
275Lodge’s Portraits, 1823, cloth (7); Riddell (R.), History of Mountains, 1807, calf (3); Newton (T.) — Milton (2) 12
276Scriptorum Veterum, Romae, about 1850, half calf 10
277Jackson (J.), Antiquities, London, 17522, calf (3); various (27) 30
278Lavater (J.), Physiognomy, 1810, calf (5); Rural Economy (7) 12
279Histoire Naturelle, Paris, 1760, calf (16); Ditto, de Pline, Paris, 1771, calf (6) 22
280Ptolémée, Works in Greek and French, Paris, 1813, calf (7); various, tooled calf (35) 42
281O’Donovan (J.), Annals of Ireland, cloth, 1848 (5); Dyce (Rev. A.), Shakespeare, 1857, cloth (6); Froude, History of England, cloth (12) 23
282A Victorian album containing large number of scrapwork pictures, photographs and water-colours, with enamel crest, "Louise M" 1
283The Book of Knowledge, cloth (20); Cassell’s History of the British People (7) 27
284Various in French, half morocco 21
285Novels, etc., various 50
286A similar lot 50
287Würtz, Constantinople, Paris, 1819, engraved plates (1); Priolo (P.), Illustrations from Ossian’s Poems, 1873 (1); Pine (J.), Processions and Ceremonies of Knights, in French and English, two-colour title, London, 1730 (1); Histoire Pittoresque L’Equitation, Paris, N.D., folio (1) 4
288Lievre (E.), Works of Art in England, folio, engraved plates (of 500 copies), half calf (1); Waring (J.), Ceramic Art, 1874 (1); Picart (B.), Collection of Prints of celebrated painters, in sepia (1); Alhambra, coloured plates, folio (1); Halicarnassus, ditto (1) 5
289Two portfolios of Vanity Fair Cartoons; a portfolio of etchings, Musée National D’Amsterdam 3
290Simpson (W.), India, Ancient and Modern, with many chromolithographs, London, 1867, folio 2
291Tableaux, Statues de Galerie de Florence, with many engraved plates, Paris, 1789, folio, half morocco 4
292Somerard, Arts au Moyen Age, with many plates illuminated and in colour, folio, half morocco 2
293The Deserted Village of Oliver Goldsmith, illustrated by the Etching Club, London, 1841 (1); ditto, Shakespeare, 1853 (1); Dawson (A.), Life of Henry Dawson, with photogravure plates, London, 1891 (1); Stoddard (G.), Madeira, litho plates (1) 4
294Turner (D.), Antiquities of Normandy, London, 1822 (1); Tavoli e Prospetti, sul Bonificamento, Firenze, 1838 (1); Raffaelle Gallery, with 22 autotype plates, London, 1871 (1); Atlas with coloured maps, 1861 (22); Oeuvre de Holbein, engraved plates, Basle, 1780 (1) 6
295Hon. W. Hamilton, Collection of Etruscan, Greek and Roman Antiquities, with many engravings and plates in colour, Naples, 1766 (1); Campagnes de Napoleon, engraved plates, Paris, 1806, folio (1) 2
296Ruins of Balbee, engraved plates, folio, London, 1757 (1); Lebrun (J.), Galerie des Peintres Flamand, Paris, 1792 (2); and others (2) 5
297A portfolio of engravings, photographs of sculpture, etc., various 1
298Plates to Siborne’s Waterloo Campaign, with coloured maps, folio (1); and a portfolio of etchings, after Bonnington, Linnell, etc. (1) 2
300C. Julii Caesaris, "Quae Extant, Tabulis," engraved plates, folio, calf, Londini, 1710 (1); Polymetis, Ancient Artists, engraved plates, calf, London, 1747 (1); various (26) 28
301A portfolio containing Victorian water-colour drawings and sketches of Seville, Cadiz, figures etc. (about 60)
302Engravings by A. Carden, after cartoons of Raphael, folio 2
303A large portfolio of engravings, after Rubens, Snyders, Murillo, etc., including old maps of France, etc., partly in colour, describing the campaigns of 1813, etc. 1
304A roller map on linen, Cambridgeshire and district, a similar map, South Pacific coast, a similar map of Canada, and a similar map of Canadian railroads
305Eight old maps, unmounted, including mail roads of Cumberland, Fortifications at Long Island, Quebec, etc.
306
Maker: Nicholas and Curths
Born: UK
Active: India
Medium: autotype
Size: 3 7/8 in x 4 3/4 in
Location:
Object No. 2017.058m
Shelf: PHO-1873
Publication: Marshall, William E., and G U. Pope. A Phrenologist Amongst the Todas, Or, the Study of a Primitive Tribe in South India: History, Character, Customs, Religion, Infanticide, Polyandry, Language. London: Longmans, Green and Co., 1873. pg 215
Other Collections:
Provenance:
Notes: From a “phrenological enquiry into the nature the barbarous races”. Of the 26 illustrations, 14 are from life and most if not all were taken by the well-known firm of Bourne & Shepherd as well as by Simla and Nicholas and Curths of Madras. They are interesting as they combine the exotic appeal of the primitive Indians with the careful vision of the recording scientist and anthropologist. “A particularly effective illustration of how photography could serve the needs of phrenology and physiognomy as applied to racial types” (Beauty of Another Order, p. 129) and a beautiful and classic example of the Autotype Company's use of the recently invented collotype ("Permanent illustrations by the Autotype Process” - Rye patent) and the application of improved photo-mechanical technique in scientific applications. (Hanson 1873:6)
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Maker: Ernest Edwards (1837-1903) and Kidd
Born: UK
Active: UK
Medium: carbon print
Size:
Location:
Object No. 2021.073n
Shelf: ART-1870
Publication: Specimens of the drawings of ten masters, from the Royal collection at Windsor castle.
Michelangelo. Perugino. Raphael. Julio Romano. Leonardo da Vinci. Giorgino. Paul Veronese. Poussin. Albert D"urer. Holbein. Descriptive text by B.B. Woodward, Macmillan and Co, London, 1870, pg 46
Other Collections:
Notes: Printed in carbon by Edwards and Kidd under license of the Autotype Company, Limited. Ernest Edwards was an owner of the photographic studio and printers Edwards and Kidd at 22 Henrietta Street, Covent Garden, London
To view our archive organized by themes and subjects, visitOUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: Peter Henry Emerson (1856-1936)
Born: Cuba
Active: UK
Medium: photogravure
Size: 8 3/8 in x 11 1/4 in
Location: UK
Object No. 2012.737
Shelf: A-13
Publication: Pictures of East Anglian Life, London: Sampson Low, Marston, Searle and Rivington 1888 pl XIV
Haworth-Booth, Mark,The Golden Age of British Photography 1839-1900, New York, Aperture, 1984p.159
The Broadland Photographers, Wesum Books, Norwich, 1978
McWilliams, Neil, ed. & Sekules, Veronica, ed. --Life and Landscape: P.H. Emerson, Art & Photography in East Anglia, 1885-1900.-- Norwich, England: Sainsbury Centre for Visual Arts, 1986. p. 113
A New Art - Photography in the 19th Century, Collection of the Rijksmuseum, Amsterdam,1996, fig 34
Taylor, John, A Dream of England, Manchester University Press, Manchester, 1994, pl 5
Turner and Wood, PH Emerson, Photographer of Norfolk, David R. Godine, Boston, 1974, pl 52
Other Collections: Victoria and Albert Museum, GEH, LaSalle National Bank
Provenance: Bloomsbury Auctions, London, auction No. 35764, December 2, 2010, Lot 7
Rank: 176
Notes: Emerson spent much time in his field trips on the Broads observing and interviewing the locals, recording dialect, native customs and folklore. --Pictures of East Anglian Life-- is a rather quirky anthropological study of Norfolk and Suffolk peasantry illustrated with photographs. ... Some of the material for the volume he gathered already while on his trip in 1885 with Goodall... He spent three months on the Broads again in the summer of 1886 and finished the manuscript in July 1887. He stated in the preface: 'I have endeavoured in the plates to express sympathetically various phases of peasant and fisherfolk life...' The photographs are some of the most obviously documentary of all of his work; they are less contrived than the genre scenes..., yet the emphasis on poetry and sentiment is quite evident. The plates were reproduced in photogravure by the Autotype Company, the Typo Engraving Company and Messrs Walker & Boutall. (GEH)
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Maker: Alphonse Poitevin (1819-1882)
Born: France
Active: France
Medium: photolithograph - Poitevin process
Size: 5 in x 3-5/8 in
Location:
Object No. 2017.052
Shelf: B-1
Publication: Prestige de la Photographie, No 2, Editions e.p.a.,
Boulogne, 1977, pg 18 (earlier version)
Other Collections:
Provenence: Vintage Works
Rank: 1300
Notes: With the date and place (2 Aout, 1860, Paris) and chemical formula on the verso of the negative in ink in Poitevin's hand, along with his signature. Examples of Poitevin's early experiments are quite rare outside of the French institutions.
Alphonse Louis Poitevin (Conflans-sur-Anille, 1819 – Conflans-sur-Anille, 1882) was a French chemist, photographer and civil engineer who discovered the light–sensitive properties of bichromated gelatin and invented both the photolithography and collotype processes. He has been described as "one of the great unheralded figures in photography". In the 1850s he discovered that gelatin in combination with either potassium or ammonium bichromate hardens in proportion to the amount of light that falls on it. This discovery, significant for its capacity to facilitate the mass production of photographs, was later used by numerous figures such as Josef Albert, Joseph Wilson Swan, Paul Pretsch and Charles Nègre to develop subsequent photographic printing processes such as heliogravure, photogravure, collotype, autotype and carbon print. (Source: Wikiwand)
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For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
A carbon print (autotype) CDV by Barton (of London?) - its eBay provenance indicates that this lady may have been French
Maker: Stephen Thompson (1830 - 1892)
Born: UK
Active: UK
Medium: Woodburytype
Size: 6.25 in x 4.75 in
Location: Switzerland
Object No. 2011.013
Shelf: C-10
Publication: Walter Woodbury, Treasure Spots of the World, London, Ward, Lock, and Tyler, 1875
Hannavy, John, Great Photographic Journeys, Dewi Lewis Publishing, 2007, pg 36
Other Collections:
Notes: from Treasure Spots of the World produced by Walter Woodbury to demonstrate the quality of reproduction from his new process. See Imagining Paradise, George Eastman House, Rochester, NY, 2007, pg 104 for more information.
In the 1861 exhibition of the Photographic Society in London, Thompson showed mostly collodion but also four waxed-paper architectural views. That same year he displayed similar subjects in the Architectural Photographic Association exhibition, and while the processes were not specified, it seems likely that at least some of them were from paper negatives as well. After Roger Fenton’s acrimonious separation from the British Museum, that institution relied on a number of photographers. Thompson was the most important of these, carrying out a number of projects for the museum in the 1860s and 1870s. In the end, however, the museum refused to make a permanent appointment for a photographer. That was not the first of Thompson’s problems. In the early 1850s he was the partner of William Wagstaff in the London studio of Wagstaff & Thompson. Wagstaff brought suit against him in 1856, trying to reclaim the 200 pounds he had paid for instruction. He had locked Thompson out of the studio and had hidden the cameras to hold for ransom, but Thompson broke in and retrieved them. The judge wisely ruled that, whereas the partnership should be dissolved, Wagstaff could not collect his tuition. Thompson’s lot improved after this incident. He received an award in the 1862 International Exhibition for his landscapes, architectural subjects, and reproductions of art. He later did contract work for the Autotype Company. (source: Luminous Lint)
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For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: Nicholas and Curths
Born: UK
Active: India
Medium: autotype
Size: 3 3/8 in x 6 in
Location:
Object No. 2017.058h
Shelf: PHO-1873
Publication: Marshall, William E., and G U. Pope. A Phrenologist Amongst the Todas, Or, the Study of a Primitive Tribe in South India: History, Character, Customs, Religion, Infanticide, Polyandry, Language. London: Longmans, Green and Co., 1873. pg 143
Other Collections:
Provenance:
Notes: From a “phrenological enquiry into the nature the barbarous races”. Of the 26 illustrations, 14 are from life and most if not all were taken by the well-known firm of Bourne & Shepherd as well as by Simla and Nicholas and Curths of Madras. They are interesting as they combine the exotic appeal of the primitive Indians with the careful vision of the recording scientist and anthropologist. “A particularly effective illustration of how photography could serve the needs of phrenology and physiognomy as applied to racial types” (Beauty of Another Order, p. 129) and a beautiful and classic example of the Autotype Company's use of the recently invented collotype ("Permanent illustrations by the Autotype Process” - Rye patent) and the application of improved photo-mechanical technique in scientific applications. (Hanson 1873:6)
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: Stephen Thompson (1830 - 1892)
Born: UK
Active: UK
Medium: albumen print
Size: 3 1/4" x 3 1/4
Location: UK
Object No. 2013.628l
Shelf: PHO-1864
Publication: William Howitt, Ruined Abbeys and Castles of Great Britain and Ireland, Alfred W. Bennett, Bishopgate Without, 1864, pg 70
Other Collections:
Notes: In the 1861 exhibition of the Photographic Society in London, Thompson showed mostly collodion but also four waxed-paper architectural views. That same year he displayed similar subjects in the Architectural Photographic Association exhibition, and while the processes were not specified, it seems likely that at least some of them were from paper negatives as well. After Roger Fenton’s acrimonious separation from the British Museum, that institution relied on a number of photographers. Thompson was the most important of these, carrying out a number of projects for the museum in the 1860s and 1870s. In the end, however, the museum refused to make a permanent appointment for a photographer. That was not the first of Thompson’s problems. In the early 1850s he was the partner of William Wagstaff in the London studio of Wagstaff & Thompson. Wagstaff brought suit against him in 1856, trying to reclaim the 200 pounds he had paid for instruction. He had locked Thompson out of the studio and had hidden the cameras to hold for ransom, but Thompson broke in and retrieved them. The judge wisely ruled that, whereas the partnership should be dissolved, Wagstaff could not collect his tuition. Thompson’s lot improved after this incident. He received an award in the 1862 International Exhibition for his landscapes, architectural subjects, and reproductions of art. He later did contract work for the Autotype Company. (source: Luminous Lint)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker:
Born: France
Active: France
Medium: stamp
Size:
Location: France
Object No. 2017.012c
Shelf: B-1
Publication: Alphonse Poitevin and Leon Vidal - Traite des Impressions Photographiques, Gauthier-Villars Paris 2ème éd., 1883, frontipiece
Other Collections:
Provenance:
Notes: Alphonse Louis Poitevin (Conflans-sur-Anille, 1819 – Conflans-sur-Anille, 1882) was a French chemist, photographer and civil engineer who discovered the light–sensitive properties of bichromated gelatin and invented both the photolithography and collotype processes. He has been described as "one of the great unheralded figures in photography". In the 1850s he discovered that gelatin in combination with either potassium or ammonium bichromate hardens in proportion to the amount of light that falls on it. This discovery, significant for its capacity to facilitate the mass production of photographs, was later used by numerous figures such as Josef Albert, Joseph Wilson Swan, Paul Pretsch and Charles Nègre to develop subsequent photographic printing processes such as heliogravure, photogravure, collotype, autotype and carbon print. (Source: Wikiwand)
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: Stephen Thompson (1830 - 1892)
Born: UK
Active: UK
Medium: albumen print
Size: 3" x 3"
Location: UK
Object No. 2013.628c
Shelf: PHO-1864
Publication: William Howitt, Ruined Abbeys and Castles of Great Britain and Ireland, Alfred W. Bennett, Bishopgate Without, 1864, pg 92
Other Collections:
Notes: In the 1861 exhibition of the Photographic Society in London, Thompson showed mostly collodion but also four waxed-paper architectural views. That same year he displayed similar subjects in the Architectural Photographic Association exhibition, and while the processes were not specified, it seems likely that at least some of them were from paper negatives as well. After Roger Fenton’s acrimonious separation from the British Museum, that institution relied on a number of photographers. Thompson was the most important of these, carrying out a number of projects for the museum in the 1860s and 1870s. In the end, however, the museum refused to make a permanent appointment for a photographer. That was not the first of Thompson’s problems. In the early 1850s he was the partner of William Wagstaff in the London studio of Wagstaff & Thompson. Wagstaff brought suit against him in 1856, trying to reclaim the 200 pounds he had paid for instruction. He had locked Thompson out of the studio and had hidden the cameras to hold for ransom, but Thompson broke in and retrieved them. The judge wisely ruled that, whereas the partnership should be dissolved, Wagstaff could not collect his tuition. Thompson’s lot improved after this incident. He received an award in the 1862 International Exhibition for his landscapes, architectural subjects, and reproductions of art. He later did contract work for the Autotype Company. (source: Luminous Lint)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
KIMBOLTON Castle Books.
BOOKS
LOT
248Fergusson (J.), Tree and Serpent Worship in India, London, 1868, cloth (1); Enfield (W.), History of Philosophy, London, 1791, tooled calf (2); Dibdin (Rev. T.), Bibliographical Decameron, London, 1817, tooled calf (3); Kinglake (A.), Invasion of Crimea,cloth (6) 12
249Carr, Dialogues of Lucian, London, 1774, calf (5); various, old calf (23)
28
250Journal of Microscopical Science, 1860-1868 (9); Monthly Microscopical Journal, 1869-1877 (17), tooled calf 26
251Prescott (W.), Ferninand and Isabella, London, 1842, cloth (3); Prescott (W.), History and Conquest of Mexico, London, 1844, cloth (3); Tytler (P.), History of Scotland, Edinburgh, 1845, cloth (5); Heeran, Historical Researches, cloth (3); others, cloth (8) 22
252Various, cloth 22
253Various, cloth 30
254Biographical Dictionary, London, 1761, half calf (11); Gibbons’ Roman Empire, London, 1838, half cloth (8) 19
255Samuelson (J.), Popular Science, London, 1862, half calf 15
256Dyce (Rev. A.), Shakespeare, London, 1864, cloth (8); Carlyle (T.), History of Frederick the Great, 1858, cloth (16); Dennistoun (J.), Memoirs, Dukes of Urbino, 1851, cloth (3) 27
257Ross, Cornwallis Correspondence, cloth (3), Life of Peel (2), Life of Wilberforce (3), Life of Castlereagh (3), Life of George IV. (2), Life of Cellini (2), various (10), cloth 25
258Woodstock or The Cavalier, Edinburgh, 1826 (3); various, old calf and half calf (27) 30
259Hallam (H.), Literature of Europe, London, 1847, calf (3); various in old calf (21) 24
260Various, cloth 30
261Bancroft (H.), Native Races of the Pacific, 1875, cloth 5
262Livius (T.), History of Rome, London, 1797, calf (6); Langhorne’s Plutarch’s Lives, 1770, calf (6); Melmoths, Cicero, etc., London, 1785 (7)
19
263Journal of the Agricultural Society, 1842-1876, half calf 37
264Riverius (L.), Practice of Phyfick, London, 1678 (1); History of Edward II., 2-colour title and engraved frontispiece, London, 1680 (1); Pyne (W.), Microcosm, litho plates, London, 1803 (1); various, old calf (13) 22
265Smith (A.), Wealth of Nations, London, 1791, calf (3); Sheridan, Works, 1821, half calf (2); Moliere, Works, Paris, 1804, calf (6); various, old calf (13) 24
266Theatre de Corneille, 1795, calf (of 12) (11); Contes Moreaux, calf (3); various (18) 32
267Various, mostly old calf 34
269Fabriche di Venezia, Venice, 1815, half calf, folio (2); Wilkins’ Magna Graicia, Cambridge, 1807, folio (1); and others, folio (4) 7
270Punch, cloth, 1860, etc. 37
271Various, old calf, and odd volumes 30
272Duke of Wellington’s Dispatches, cloth (8); various (40) 48
273Thoyras (De R.), History of England, 1728, calf (6); Ulster Journal of Archaeology, half calf (9); others (15) 30
274Monumenti Etruschi, half calf (9); various (21) 30
275Lodge’s Portraits, 1823, cloth (7); Riddell (R.), History of Mountains, 1807, calf (3); Newton (T.) — Milton (2) 12
276Scriptorum Veterum, Romae, about 1850, half calf 10
277Jackson (J.), Antiquities, London, 17522, calf (3); various (27) 30
278Lavater (J.), Physiognomy, 1810, calf (5); Rural Economy (7) 12
279Histoire Naturelle, Paris, 1760, calf (16); Ditto, de Pline, Paris, 1771, calf (6) 22
280Ptolémée, Works in Greek and French, Paris, 1813, calf (7); various, tooled calf (35) 42
281O’Donovan (J.), Annals of Ireland, cloth, 1848 (5); Dyce (Rev. A.), Shakespeare, 1857, cloth (6); Froude, History of England, cloth (12) 23
282A Victorian album containing large number of scrapwork pictures, photographs and water-colours, with enamel crest, "Louise M" 1
283The Book of Knowledge, cloth (20); Cassell’s History of the British People (7) 27
284Various in French, half morocco 21
285Novels, etc., various 50
286A similar lot 50
287Würtz, Constantinople, Paris, 1819, engraved plates (1); Priolo (P.), Illustrations from Ossian’s Poems, 1873 (1); Pine (J.), Processions and Ceremonies of Knights, in French and English, two-colour title, London, 1730 (1); Histoire Pittoresque L’Equitation, Paris, N.D., folio (1) 4
288Lievre (E.), Works of Art in England, folio, engraved plates (of 500 copies), half calf (1); Waring (J.), Ceramic Art, 1874 (1); Picart (B.), Collection of Prints of celebrated painters, in sepia (1); Alhambra, coloured plates, folio (1); Halicarnassus, ditto (1) 5
289Two portfolios of Vanity Fair Cartoons; a portfolio of etchings, Musée National D’Amsterdam 3
290Simpson (W.), India, Ancient and Modern, with many chromolithographs, London, 1867, folio 2
291Tableaux, Statues de Galerie de Florence, with many engraved plates, Paris, 1789, folio, half morocco 4
292Somerard, Arts au Moyen Age, with many plates illuminated and in colour, folio, half morocco 2
293The Deserted Village of Oliver Goldsmith, illustrated by the Etching Club, London, 1841 (1); ditto, Shakespeare, 1853 (1); Dawson (A.), Life of Henry Dawson, with photogravure plates, London, 1891 (1); Stoddard (G.), Madeira, litho plates (1) 4
294Turner (D.), Antiquities of Normandy, London, 1822 (1); Tavoli e Prospetti, sul Bonificamento, Firenze, 1838 (1); Raffaelle Gallery, with 22 autotype plates, London, 1871 (1); Atlas with coloured maps, 1861 (22); Oeuvre de Holbein, engraved plates, Basle, 1780 (1) 6
295Hon. W. Hamilton, Collection of Etruscan, Greek and Roman Antiquities, with many engravings and plates in colour, Naples, 1766 (1); Campagnes de Napoleon, engraved plates, Paris, 1806, folio (1) 2
296Ruins of Balbee, engraved plates, folio, London, 1757 (1); Lebrun (J.), Galerie des Peintres Flamand, Paris, 1792 (2); and others (2) 5
297A portfolio of engravings, photographs of sculpture, etc., various 1
298Plates to Siborne’s Waterloo Campaign, with coloured maps, folio (1); and a portfolio of etchings, after Bonnington, Linnell, etc. (1) 2
300C. Julii Caesaris, "Quae Extant, Tabulis," engraved plates, folio, calf, Londini, 1710 (1); Polymetis, Ancient Artists, engraved plates, calf, London, 1747 (1); various (26) 28
301A portfolio containing Victorian water-colour drawings and sketches of Seville, Cadiz, figures etc. (about 60)
302Engravings by A. Carden, after cartoons of Raphael, folio 2
303A large portfolio of engravings, after Rubens, Snyders, Murillo, etc., including old maps of France, etc., partly in colour, describing the campaigns of 1813, etc. 1
304A roller map on linen, Cambridgeshire and district, a similar map, South Pacific coast, a similar map of Canada, and a similar map of Canadian railroads
305Eight old maps, unmounted, including mail roads of Cumberland, Fortifications at Long Island, Quebec, etc.
306
Maker: Stephen Thompson (1830 - 1892)
Born: UK
Active: UK
Medium: albumen print
Size: 3 7/8" x 6 1/4"
Location: UK
Object No. 2013.628e
Shelf: PHO-1864
Publication: William Howitt, Ruined Abbeys and Castles of Great Britain and Ireland, Alfred W. Bennett, Bishopgate Without, 1864, frontispiece
Other Collections:
Notes: In the 1861 exhibition of the Photographic Society in London, Thompson showed mostly collodion but also four waxed-paper architectural views. That same year he displayed similar subjects in the Architectural Photographic Association exhibition, and while the processes were not specified, it seems likely that at least some of them were from paper negatives as well. After Roger Fenton’s acrimonious separation from the British Museum, that institution relied on a number of photographers. Thompson was the most important of these, carrying out a number of projects for the museum in the 1860s and 1870s. In the end, however, the museum refused to make a permanent appointment for a photographer. That was not the first of Thompson’s problems. In the early 1850s he was the partner of William Wagstaff in the London studio of Wagstaff & Thompson. Wagstaff brought suit against him in 1856, trying to reclaim the 200 pounds he had paid for instruction. He had locked Thompson out of the studio and had hidden the cameras to hold for ransom, but Thompson broke in and retrieved them. The judge wisely ruled that, whereas the partnership should be dissolved, Wagstaff could not collect his tuition. Thompson’s lot improved after this incident. He received an award in the 1862 International Exhibition for his landscapes, architectural subjects, and reproductions of art. He later did contract work for the Autotype Company. (source: Luminous Lint)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: Frank Rede Fowke
Born: UK
Active: UK
Medium: book
Size: 9 1/2 in x 11 1/2 in
Location:
Object No. 2020.294
Shelf: ART-1875
Publication: Frank Rede Fowke, The Bayeux Tapestry Reproduced in Autotype Plates under the sanction of the Science and Art Department of the Committee Council on Education, The Arundel Society, London, 1875
Other Collections:
Provenance: Culpepper Books
Rank: 141
Notes: The Bayeux Tapestry is an embroidered strip of linen over 65 metres long that dates from around the 11th century. The embroidery depicts events leading up to the Battle of Hastings and the Norman Conquest of England in 1066. The South Kensington Museum began thinking about making a photographic copy of the Bayeux Tapestry in 1869 (to add to their collection of replicas of famous art works). As a result of careful diplomatic negotiations, Joseph Cundall, the Victorian photographer, was given permission to photograph the entire Bayeux Tapestry in situ in 1872 for the Science and Art Department. Cundall arranged it through his company, and commissioned a photographer called Edward Dossetter to do the work. Dossetter went to Normandy between September and December of 1872 and made over 180 glass negatives, detailing each section of the tapestry.
For more information on this publication, visit: PHOTOGRAPHING BAYREUX
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Maker:
Born:
Active: UK
Medium: print back
Size: 3 1/2 in x 5 in
Location:
Object No: 2019.210b
Shelf: C-59
Publication: Nettel Carmerawerk, Sontheim am Neckar and Neue Photographische Gesellschaft (NPG), Berlin-Steglitz, 1913
Other Collections:
Provenance: Foto-Antiquariat Joachim Fahl
Rank:
Notes: This portrait of the Scottish photographic inventor Mungo Ponton is notable because of Ponton’s contributions to the history of Photography. It is a copy of a photogravure first published in the British Year-Book of Photography and Photographic News Almanac for 1882, which was the first publication of a Klic process photogravure in England. The following remembrance of Ponton appeared in The British Journal of Photography nine months after his death: “Mungo Ponton was born at Balgreen, near Edinburgh, in the year 1801. He was educated for the legal profession, and, in due course, became a writer to the signet. He was one of the founders of the National Bank of Scotland, and it was in his office that the plans were matured for the establishment of that institution. He held the office of legal adviser to the bank, and subsequently that of secretary. The strain of the double duties thus imposed on him proved too much for his strength and a serious attack of illness compelled him to retire from active life while yet comparatively a young man. Since that time he continued more or loss of an invalid, but his intensely-active mind found congenial occupation in scientific and literary pursuits. He discovered the peculiar effect of light on gelatine when treated with the bichromate of potash, which was afterwards practically applied in the autotype process. Indeed, it is upon the sensitiveness of this salt to light, under certain conditions, that all the processes of permanent printing of the present day are based; and this discovery of his consequently marks the commencement of an era in photography, and renders his name as closely connected with the history of that art as are those of Niepce, Daguerre, and Talbot. It was in 1839—the very year in which the wonderful process of Daguerre was announced to the world—that Mungo Ponton called attention to bichromate of potash as a photographic agent, and described a process—the foundation of every subsequent permanent printing process—whereby, through that agent, durable impressions on paper might be produced. This discovery, which had been first announced to the Scottish Society of Arts on the 29th May, 1839, was given to the world in the Edinburgh New Philosophical Journal, vol. xxvii., 1839, under the title—Notice of a Cheap and Simple. Method of Preparing Paper for Photographic Drawing. He was the first who employed the photographic method for registering automatically the fluctuations in thermometers and other instruments, and for this invention he received also the silver medal of the same (the Scottish Society of Arts) society in 1845.” Mr. Ponton also experimented, we are informed, at a very early date in the production of enamel pictures, using plates of unbaked porcelain. In this branch of photography he secured a fair amount of success, and may be considered the founder of enamel photography.” Writing later in his History of Photography in 1905, and coincidentally or not paying lasting and permanent tribute to Ponton’s accomplishments via the groundbreaking photogravure process perfected by Karl Klič (1841-1926) was Josef Maria Eder. Eder contacted Klič in Vienna a scant two years after his photogravure process was revealed in 1879 in order to secure what would turn out to be the very first published example of his process in England on behalf of London’s Yearbook of Photography for 1882: “The English journals published Klič’s invention in 1881. The editor of the Photographic News and of the Yearbook of Photography, London, Captain Baden-Pritchard, requested this author to order from Klič a heliogravure of Mungo Ponton’s portrait and 2,000 impressions from it. This work appeared as an insert to the Yearbook for 1882 with the credit line, “Heliogravure by Klič, Vienna.” This was Klič’s debut in England, and it made the craftsmen there acquainted with his work.” Earlier, in the same volume, Eder explains the significance of Klič’s photogravure process: “The zenith of heliogravure by the etching method for beauty of results, as well as for sureness and rapidity of production, was reached by the painter and newspaper artist Karl Klič, at Vienna, who combined the pigment transfer process on grained copper plates with the etching process, and thus outstripped his predecessors. Klič is the creator of modern photogravure with aquatint grain on copper plates by means of the transfer of a pigment image and etching in iron chloride baths of various strengths, in which he etched the half-tone picture to different graduated depths.” Making note of the photograph itself, unattributed but which may have been taken by Klič in the last decade of Ponton’s life, editor Henry Baden-Pritchard or another author wrote the following in London’s Yearbook of Photography for 1882: “We ought to say a word about our portrait of Mungo-Ponton, an Englishman who may well be termed the discoverer of permanent photographic printing, for he it was who proposed, in 1839, the employment of bichromate in photography. Klic’s is an etching process upon copper, an imprint from a carbon diapositive being secured upon that metal. The mode of preparing the copper is a secret, but we may mention that the process is so quick, that within four or five days an engraved plate may be produced of considerable dimensions. Of the quality of the printing our readers can judge for themselves. Suffice it to say, the process is an inexpensive one, and that during the past year alone, no less than three hundred photo-engravings were produced. (source: Photoseed)
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Maker: Stephen Thompson (1830 - 1892)
Born: UK
Active: UK
Medium: albumen print
Size: 3 1/4" x 3 1/2"
Location: UK
Object No. 2013.628g
Shelf: PHO-1864
Publication: William Howitt, Ruined Abbeys and Castles of Great Britain and Ireland, Alfred W. Bennett, Bishopgate Without, 1864, pg 26
Other Collections:
Notes: In the 1861 exhibition of the Photographic Society in London, Thompson showed mostly collodion but also four waxed-paper architectural views. That same year he displayed similar subjects in the Architectural Photographic Association exhibition, and while the processes were not specified, it seems likely that at least some of them were from paper negatives as well. After Roger Fenton’s acrimonious separation from the British Museum, that institution relied on a number of photographers. Thompson was the most important of these, carrying out a number of projects for the museum in the 1860s and 1870s. In the end, however, the museum refused to make a permanent appointment for a photographer. That was not the first of Thompson’s problems. In the early 1850s he was the partner of William Wagstaff in the London studio of Wagstaff & Thompson. Wagstaff brought suit against him in 1856, trying to reclaim the 200 pounds he had paid for instruction. He had locked Thompson out of the studio and had hidden the cameras to hold for ransom, but Thompson broke in and retrieved them. The judge wisely ruled that, whereas the partnership should be dissolved, Wagstaff could not collect his tuition. Thompson’s lot improved after this incident. He received an award in the 1862 International Exhibition for his landscapes, architectural subjects, and reproductions of art. He later did contract work for the Autotype Company. (source: Luminous Lint)
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For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Photo crome halftone print, colored autotype, this is an antique chromolithographic.
You can download this photo and use it as you like, in any size. Free photo, taken in the 1880's.
Maker: Ernest Edwards (1837-1903) and Kidd
Born: UK
Active: UK
Medium: carbon print
Size: 4 3/4 in x 7 in
Location:
Object No. 2021.073m
Shelf: ART-1870
Publication: Specimens of the drawings of ten masters, from the Royal collection at Windsor castle.
Michelangelo. Perugino. Raphael. Julio Romano. Leonardo da Vinci. Giorgino. Paul Veronese. Poussin. Albert D"urer. Holbein. Descriptive text by B.B. Woodward, Macmillan and Co, London, 1870, pg 46
Other Collections:
Notes: Printed in carbon by Edwards and Kidd under license of the Autotype Company, Limited. Ernest Edwards was an owner of the photographic studio and printers Edwards and Kidd at 22 Henrietta Street, Covent Garden, London
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For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: Marcel-Gustave Laverdet (1816-1886)
Born: France
Active: France
Medium: photolithograph - Poitevin process
Size: 11.4 in x 10.8 in
Location:
Object No. 2013.626
Shelf: B-1
Publication: Choix de Terres Cuites Antiques du Cabinet de M. le Vicomte Hte de Janze, Photographiees par M. Laverdet et Reportees sur Pierre Lithographique par M. Poitevin, Imprimerie de Firmin Didot Freres, Fils, et Cie, Paris, 1857, pl 34
Other Collections: Museum of Fine Arts, Boston, Bibliotheque national de France, Paris, Rijksmuseum, Amsterdam
University of Cologne Archaeological Institute
Notes: Alphonse Louis Poitevin (Conflans-sur-Anille, 1819 – Conflans-sur-Anille, 1882) was a French chemist, photographer and civil engineer who discovered the light–sensitive properties of bichromated gelatin and invented both the photolithography and collotype processes. He has been described as "one of the great unheralded figures in photography". In the 1850s he discovered that gelatin in combination with either potassium or ammonium bichromate hardens in proportion to the amount of light that falls on it. This discovery, significant for its capacity to facilitate the mass production of photographs, was later used by numerous figures such as Josef Albert, Joseph Wilson Swan, Paul Pretsch and Charles Nègre to develop subsequent photographic printing processes such as heliogravure, photogravure, collotype, autotype and carbon print. (Source: Wikiwand)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: Stephen Thompson (1830 - 1892)
Born: UK
Active: UK
Medium: albumen print
Size: 3" x 3"
Location: UK
Object No. 2013.628k
Shelf: PHO-1864
Publication: William Howitt, Ruined Abbeys and Castles of Great Britain and Ireland, Alfred W. Bennett, Bishopgate Without, 1864, pg 62
Other Collections:
Notes: In the 1861 exhibition of the Photographic Society in London, Thompson showed mostly collodion but also four waxed-paper architectural views. That same year he displayed similar subjects in the Architectural Photographic Association exhibition, and while the processes were not specified, it seems likely that at least some of them were from paper negatives as well. After Roger Fenton’s acrimonious separation from the British Museum, that institution relied on a number of photographers. Thompson was the most important of these, carrying out a number of projects for the museum in the 1860s and 1870s. In the end, however, the museum refused to make a permanent appointment for a photographer. That was not the first of Thompson’s problems. In the early 1850s he was the partner of William Wagstaff in the London studio of Wagstaff & Thompson. Wagstaff brought suit against him in 1856, trying to reclaim the 200 pounds he had paid for instruction. He had locked Thompson out of the studio and had hidden the cameras to hold for ransom, but Thompson broke in and retrieved them. The judge wisely ruled that, whereas the partnership should be dissolved, Wagstaff could not collect his tuition. Thompson’s lot improved after this incident. He received an award in the 1862 International Exhibition for his landscapes, architectural subjects, and reproductions of art. He later did contract work for the Autotype Company. (source: Luminous Lint)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: Stephen Thompson (1830 - 1892)
Born: UK
Active: UK
Medium: albumen print
Size: 2 5/8" x 3 1/8"
Location: UK
Object No. 2013.628u
Shelf: PHO-1864
Publication: William Howitt, Ruined Abbeys and Castles of Great Britain and Ireland, Alfred W. Bennett, Bishopgate Without, 1864, pg 172
Other Collections:
Notes: In the 1861 exhibition of the Photographic Society in London, Thompson showed mostly collodion but also four waxed-paper architectural views. That same year he displayed similar subjects in the Architectural Photographic Association exhibition, and while the processes were not specified, it seems likely that at least some of them were from paper negatives as well. After Roger Fenton’s acrimonious separation from the British Museum, that institution relied on a number of photographers. Thompson was the most important of these, carrying out a number of projects for the museum in the 1860s and 1870s. In the end, however, the museum refused to make a permanent appointment for a photographer. That was not the first of Thompson’s problems. In the early 1850s he was the partner of William Wagstaff in the London studio of Wagstaff & Thompson. Wagstaff brought suit against him in 1856, trying to reclaim the 200 pounds he had paid for instruction. He had locked Thompson out of the studio and had hidden the cameras to hold for ransom, but Thompson broke in and retrieved them. The judge wisely ruled that, whereas the partnership should be dissolved, Wagstaff could not collect his tuition. Thompson’s lot improved after this incident. He received an award in the 1862 International Exhibition for his landscapes, architectural subjects, and reproductions of art. He later did contract work for the Autotype Company. (source: Luminous Lint)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: Stephen Thompson (1830 - 1892)
Born: UK
Active: UK
Medium: albumen print
Size: 3 1/4" x 3 1/2"
Location: UK
Object No. 2013.628n
Shelf: PHO-1864
Publication: William Howitt, Ruined Abbeys and Castles of Great Britain and Ireland, Alfred W. Bennett, Bishopgate Without, 1864, pg 96
Other Collections:
Notes: In the 1861 exhibition of the Photographic Society in London, Thompson showed mostly collodion but also four waxed-paper architectural views. That same year he displayed similar subjects in the Architectural Photographic Association exhibition, and while the processes were not specified, it seems likely that at least some of them were from paper negatives as well. After Roger Fenton’s acrimonious separation from the British Museum, that institution relied on a number of photographers. Thompson was the most important of these, carrying out a number of projects for the museum in the 1860s and 1870s. In the end, however, the museum refused to make a permanent appointment for a photographer. That was not the first of Thompson’s problems. In the early 1850s he was the partner of William Wagstaff in the London studio of Wagstaff & Thompson. Wagstaff brought suit against him in 1856, trying to reclaim the 200 pounds he had paid for instruction. He had locked Thompson out of the studio and had hidden the cameras to hold for ransom, but Thompson broke in and retrieved them. The judge wisely ruled that, whereas the partnership should be dissolved, Wagstaff could not collect his tuition. Thompson’s lot improved after this incident. He received an award in the 1862 International Exhibition for his landscapes, architectural subjects, and reproductions of art. He later did contract work for the Autotype Company. (source: Luminous Lint)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Membrane switches are simply a part of electronic equipment, and are often regarded as user interfaces or human-machine interfaces, making it easier for operators to input communications and commands to operate electronic equipment, making users more convenient. Membrane switch can also be called membrane panel. Membrane keypad or membrane keyboard is an electrical switch that can make the circuit turn on or off by changing the key pressure. Generally composed of Polyester, Lexan, Polycarbonate, adhesive, snap dome, connector, conductive inks, carbon ink or copper flex circuit.
Membrane Switches List
Membrane Keypad
PRODUCTS
Membrane Keypad
1. EMI/RFI; 2. IP65; 3. Good price; 4. Rim Embossed; 5. Male connector; 6. Velvet material
READ MORE
Membrane Switch Panel
PRODUCTS
Membrane Switch Panel
1. Digital printing; 2. IP54; 3. Female Connector; 4. Embossed; 5. Matt material
READ MORE
Metal Dome Switch
PRODUCTS
Metal Dome Switch
1. Good tactile feedback; 2. High life style; 3. ZIF connector; 4. EL as backlit
READ MORE
Tactile & Non-Tactile Membrane Switches
PRODUCTS
Tactile & Non-Tactile Membrane Switches
1. Good tactile feedback; 2. High life style; 3. ZIF connector; 4. Screen printing; 5. Gloss window
READ MORE
PCB Membrane Switch
PRODUCTS
PCB Membrane Switch
1. Low Resistance; 2. High Conductivity; 3. Plating options can be tin-lead, nickel, or gold
READ MORE
FPC Membrane Switch
PRODUCTS
FPC Membrane Switch
1. Low Resistance; 2. High Conductivity; 3. Plating options can be tin-lead, nickel, or gold; 4. Zif connector; 5. LGF structure
READ MORE
The Structure:
membrane switch structure
What can Niceone-tech could do?
Niceone-tech customized membrane switches for different customers are widely used in various industries, empower exceptional product design for other man-machine interface solutions.
Membrane switch constantly updates and upgrades its technology, and its durability is gradually improved. Because of its superior performance and affordable price. As a reliable human-machine interface, it is increasingly favored by home, office and industrial applications.
Niceone-tech strictly customizes products in accordance with ISO9001-2015, and invests a lot of money every year to develop the technology of the membrane switch to improve the added value of products such as performance, life and function. Our membrane switches are exported in large quantities to European and American countries with stable quality and affordable prices. Niceone-tech understands the standards of European and American countries, so the products are always able to meet and exceed customer expectations.
What are the functions and advantages of membrane switches?
The reason why the membrane switch is widely used is because of some very superior performances. It can fulfill various requirements of users, from industrial equipment to medical equipment.
Moisture-proof performance: Because the membrane switch uses a good pressure-sensitive adhesive layer and the stable performance of Polyester, Lexan, Polycarbonate one of the materials together. Membrane switch can be designed to meet NEMA 4 and IP 67, some products can even reach IP68.
Thin: First, it is not easy to be invaded by dust, and secondly, it reduces the space of the product.
Easy to clean: Membrane switches are easier to clean the surface than other mechanical keyboards.
Cost-effective: Compared with touch keyboard and silicone rubber keyboard, membrane switch cost will be more affordable.
Graphic interface: The topmost panel of the membrane switch can be the most conventional screen printing or digital printing. Niceone-tech can design the product to achieve the best visual effect. At the same time display the company logo and key functions on the panel
Protection by design- through the design of membrane switches can achieve antibacterial, anti-ultraviolet and other effects.
Why use the membrane keypad made by Niceone-tech?
Niceone-tech can customize products that are perfect and best suited to customer requirements according to customer needs. In order to let you know how the best and most suitable membrane switch is produced, we must talk about its structure:
1. Overlay-Polyester is usually the first choice for membrane switch panel materials, because its life will be a little longer than Polycarbonate. If it is simply a panel instead of a membrane switch, Lexan and Polyester are also good choices. Overlay is the most intuitive form of human-machine interface. Niceone-tech will screen print or digital print on the back of the material, and they can also be used in combination. Special requirements such as mirror silver effect are also feasible.
2. Overlay adhesive-As the first layer of adhesive paper under the panel, Acrylic adhesive is usually used, generally the thickness is between 0.125-0.225mm. If it is LGF membrane switch (to LGF membrane switch) structure, the thickness sometimes reaches 0.64mm.
3. Top Circuit Layer (Dome retainer): This layer usually has three functions: 1. As the Dome Retainer, it ensures that the Snap dome of the circuit layer will not form shrapnel movement due to triggering and closing, resulting in circuit failure and circuit wear. 2. Use 0.1-0.125mm Polyester printing conductive ink, carbon oil and UV ink as the upper line. This layer structure can also be convex to make tactile feedback better. 3. Can be used as ESD shielding layer.
4. Circuit Spacer (switch spacer): Both upper and lower lines are printed with conductive ink, usually thicker tape is used to separate the upper and lower lines to avoid direct conduction of the membrane switch. If the upper circuit is only used as a fixed layer, then the general thickness of Overlay adhesive + Top Circuit Layer + Lower Circuit Layer should be greater than 0.4mm, otherwise the panel will squeeze the shrapnel to make the feel worse. Unless the panel is convex, the four-layer structure is less than 0.4mm.
5. Lower Circuit Layer: The thickness of this layer circuit is usually 0.1-0.188mm. It can be printed with ink, carbon oil and UV ink. LEDs can also be installed. Some membrane switch panels will choose copper flex or Printing circuit Board as the circuit. Compared with Polyester, their performance will be more stable. More often applied to the medical and military industries. If it is copper flex or Printing circuit Board as a line, Niceone-tech can even install a variety of components on the line.
6. Rear Adhesive: There are many choices, but the most commonly used are 3M200MP series or 3M300LSE. According to the different products of membrane switch lamination, Niceone-tech will recommend 3M300LSE if it needs higher viscosity.
7. Rigid Support Layer: This layer structure is generally used as the last layer of the membrane switch, which can make the structure of the membrane switch component more complete. Usually the choice of materials are AL, FR4, PC or steel. If AL is selected, nuts or feet may sometimes be added to the back of the product.
Electrical performance
Working Voltage
≤50V(DC)
Working Current
≤100mA
Contact Resistance
0.5~10Ω
Insulation Resistance
≥100MΩ(100V/DC)
Basic Withstand voltage
2kV(DC)
Loop resistance
≤50Ω, ≤150Ω, ≤350Ω
Button Lifetime
>0.5-1.0 million times
Button Stroke
0.1-1.5mm
Button Feed BackTime
≤6ms
Tail Folding
No limit
Working Temperature
-20℃~+70℃
Stock Environment
-40℃~+85℃, Sealed
What special features can Niceone-tech membrane switches provide?
Backlighting Membrane Switch with Side-LEDs
Many working environments and machines will be used in low light or dark conditions. At this time, the customer asked us if we could solve this problem. At this time we will recommend the use of membrane switches with internal lighting. Choose EL film as the light guide plate, Fiber Optics, and the newer Light guide film (LGF) structure. Niceone-tech recommends LGF, which uses side LEDs and light guide panels to make the product have lower loss and longer life relative to EL membrane switch. Also available in different colors.
The thickness of the LGF membrane switch provided by Niceone-tech can even be 0.8mm. The brightness of buttons and logos is not only uniform and long-lasting, but more importantly, we can also make them illuminate each button individually. Sometimes you can also use two-color or RGB three-color lights to enter
One step makes the product more beautiful.
*If the customer wants the product to be more novel and beautiful, then we can sometimes use Epoxy in combination with the keys. Makes it an Epoxy LGF membrane switch
If you are interested in Backlit Membrane Switch, please feel free to contact Niceone-tech, we will send samples as soon as possible.
There are three other types of illuminating membrane switches below.
Fiber Optics
Fiber optic membrane switches are also a good choice for backlighting. The optical fiber material is very thin and can be used as a fixed layer of the membrane switch. At the same time, tactile feedback is better without adding a touch point. Life expectancy is up to 50,000 to 100,000 hours. The main light source is from LEDs
Through the optical fiber transmission in the membrane switch needs to light up. And can be larger than the surface-mounted LED backlight area. Click Fiber Optics membrane switch for more information.
Electroluminescent (EL)
EL backlight is driven by high frequency and low power. EL is very thin, it is a substitute for traditional lighting technology, and is widely used in various electronic accessories. The life of EL backlight products mainly depends on the driving voltage, frequency, temperature and humidity. But most EL membrane switches can reach a life of 4000 hours or more. The brightness of the EL membrane switch will attenuate linearly from the initial power-on. This is also an unavoidable disadvantage relative to other backlight membrane switch panels.
The EL backlit membrane switch provided by Niceone-tech will not cause heat, electricity and EMI problems. Mainly EL is more often a "cold" lighting medium.
LEDs
A common Light Emitting Diodes membrane switch with relatively low cost. Since this technology membrane switch cannot meet the lighting of a large area, it is mostly used for indication purposes. It is a relatively old technology. But the service life is long and deep customers love it.
Common design：
*Graphic overlays digitally and/or screen printed on the backside. The effect can be customized according to your requirements including glass, metal, wood, and stone. If the panel is in a more severe environment, we can even use hardened glass and stainless steel as the panel material. It is very important to choose Overlay printing according to requirements.
*The window needs raw materials to be transparent, frosted, transparent or colored. The window of the membrane switch is different, and the choice of materials is also very different. When the window is large, and it is required to clearly see the bottom LCD or touch screen. EBG series is a good choice, the material is scratch resistant. If it is just a panel, then PC or Lexan overlay is also feasible
*Selective textures and UV hard-coat surface finishes
*Tactile or non tactile, snap dome or non snap dome.
*Pillow rim-embossed membrane switch panels
*Optically clear adhesive(OCA)，Liquid Optically Clear Adhesive，Air Gap
*EMI/RFI shielding
*Rigid support backers such as aluminum and FR4 with PEM mounting fasteners
*Standard connectors such as CJT, Nicomatic and molex, etc.
Niceone-tech's custom-designed membrane switches and membrane switch keypads. Membrane switches are used in many industries. Niceone-tech summarizes several best membrane switch industries:
1. Medical Equipment and laboratories are the major markets. Niceone-tech provides customized membrane switches with complex requirements for many European and American manufacturers. In the medical environment, based on the standard membrane keypad, the materials sometimes have antibacterial effects and easy cleaning characteristics. At the same time Niceone-tech applies backlit and glue technology to the membrane switch. It can even be produced using digital printing.
2. Industrial Controls Because industrial equipment is more demanding moisture resistance and UV resistance, so the product's waterproof requirements and UV resistance performance requirements are relatively high. The choice of materials can refer to the membrane switch design guide, I believe that the materials compiled by Niceone-tech can help you.
3. Health & Fitness Equipment Because it is often corroded by sweat, salt and moisture, the material must be resistant to corrosion. Membrane switches are often used in treadmills. Using membrane switches to optimize performance and control is very important for fitness personnel.
What industry are you in?
Contact Niceone-tech today, or visit our Product Gallery for high-performance inventory and customized membrane switches for your unique applications. If you have any questions, please contact info@niceone-tech.com.
What can Niceone-tech do?
Niceone-tech customized membrane switches are sold all over the world for different industries such as medical, industrial control, military, etc. Every contact with the membrane switch products will be convinced by its stability, touch, and beautiful appearance. For example, the membrane switch used outdoors for a long time, the product must have the ability to resist ultraviolet rays. In extreme environments, then the choice of materials also needs to choose a better 3M or Nitto adhesive, and the panel material Niceone-tech recommends Autotype. Making the appropriate design and materials according to the actual situation is one of the necessary conditions for a switch type membrane to satisfy customers.
Niceone-tech is a professional custom membrane switch manufacturer in China and believes in the professionalism of our team to customize a variety of membrane switches that satisfy customers. Over the past few years, Niceone-tech has gradually combined backlighting technology with the combination of silicone buttons and membrane switches to produce products one after another that are unexpected in the market.
Membrane Switches FAQs
Q:What Is The Storage Temperature Of The Membrane Switch?
-20℃ -80℃
Q:What Is The Operating Temperature Of The Membrane Switch?
-20℃ -80℃
Q:What Is The Life Of The Membrane Switch?
More than 1,000,000 actuations
Q:What Is The Driving Load Of The Membrane Switch?
Non-tactile: 70g - 285g, Tactile: +100g to 600g
Q:EMI/RFI
Available
Maker: Stephen Thompson (1830 - 1892)
Born: UK
Active: UK
Medium: albumen print
Size: 2 5/8" x 3 1/8"
Location: UK
Object No. 2013.628v
Shelf: PHO-1864
Publication: William Howitt, Ruined Abbeys and Castles of Great Britain and Ireland, Alfred W. Bennett, Bishopgate Without, 1864, pg 173
Other Collections:
Notes: In the 1861 exhibition of the Photographic Society in London, Thompson showed mostly collodion but also four waxed-paper architectural views. That same year he displayed similar subjects in the Architectural Photographic Association exhibition, and while the processes were not specified, it seems likely that at least some of them were from paper negatives as well. After Roger Fenton’s acrimonious separation from the British Museum, that institution relied on a number of photographers. Thompson was the most important of these, carrying out a number of projects for the museum in the 1860s and 1870s. In the end, however, the museum refused to make a permanent appointment for a photographer. That was not the first of Thompson’s problems. In the early 1850s he was the partner of William Wagstaff in the London studio of Wagstaff & Thompson. Wagstaff brought suit against him in 1856, trying to reclaim the 200 pounds he had paid for instruction. He had locked Thompson out of the studio and had hidden the cameras to hold for ransom, but Thompson broke in and retrieved them. The judge wisely ruled that, whereas the partnership should be dissolved, Wagstaff could not collect his tuition. Thompson’s lot improved after this incident. He received an award in the 1862 International Exhibition for his landscapes, architectural subjects, and reproductions of art. He later did contract work for the Autotype Company. (source: Luminous Lint)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: Stephen Thompson (1830 - 1892)
Born: UK
Active: UK
Medium: woodburytype
Size: 5 in x 7 in
Location: Switzerland
Object No: 2019.104
Shelf: C-10
Publication: Walter Woodbury, Treasure Spots of the World, London, Ward, Lock, and Tyler, 1875
Other Collections:
Provenance: snapchot1
Rank: 15
Notes: from 'Treasure Spots of the World' produced by Walter Woodbury himself in 1875 as a demonstration of the excellent quality of reproduction that could be achieved by his process.
In the 1861 exhibition of the Photographic Society in London, Thompson showed mostly collodion but also four waxed-paper architectural views. That same year he displayed similar subjects in the Architectural Photographic Association exhibition, and while the processes were not specified, it seems likely that at least some of them were from paper negatives as well. After Roger Fenton’s acrimonious separation from the British Museum, that institution relied on a number of photographers. Thompson was the most important of these, carrying out a number of projects for the museum in the 1860s and 1870s. In the end, however, the museum refused to make a permanent appointment for a photographer. That was not the first of Thompson’s problems. In the early 1850s he was the partner of William Wagstaff in the London studio of Wagstaff & Thompson. Wagstaff brought suit against him in 1856, trying to reclaim the 200 pounds he had paid for instruction. He had locked Thompson out of the studio and had hidden the cameras to hold for ransom, but Thompson broke in and retrieved them. The judge wisely ruled that, whereas the partnership should be dissolved, Wagstaff could not collect his tuition. Thompson’s lot improved after this incident. He received an award in the 1862 International Exhibition for his landscapes, architectural subjects, and reproductions of art. He later did contract work for the Autotype Company. (source: Luminous Lint)
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Maker: J. A. Spencer (1826-1878)
Born: UK
Active: UK
Medium: albumen print
Size: 5 3/4 in x 7 1/4 in
Location:
Object No. 2020.279c
Shelf: J-15
Publication: M Digby Wyatt, Notices of sculpture in ivory,
consisting of a lecture on the history, methods, and chief productions of the art, delivered at the first annual general meeting of the Arundel society, on the 29th June, 1855, and a catalogue of specimens of ancient ivory-carvings in various collections, (casts of which are sold by the society in classes exemplifying the principal schools and periods) by Edmund Oldfield. With nine photographic illustrations, by J. A. Spencer.,Offices of the Arundel Society,, London, 1856, frontispiece
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Notes: J. A. Spencer was the UKs largest manufacturer of albumenized paper. When Swan's carbon process was introduced he became one of the partners in the Autotype Company which changed its name in 1873 to Spencer, Sawyer and Bird. He died in 1878
This book was the first official use of photography in a publication by The Arundel Society. The photographs were used to illustrate a published version of a lecture given by Wyatt at the annual general meeting in 1855
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For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE