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Photography in the Diaries of Lady Pauline Trevelyan Larry J

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Photography in the Diaries of Lady Pauline Trevelyan Larry J This article was downloaded by: [informa internal users] On: 24 March 2011 Access details: Access Details: [subscription number 755239602] Publisher Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37- 41 Mortimer Street, London W1T 3JH, UK History of Photography Publication details, including instructions for authors and subscription information: http://www.informaworld.com/smpp/title~content=t714595773 'Splendid Calotypes' and 'Hideous Men': Photography in the Diaries of Lady Pauline Trevelyan Larry J. Schaaf Online publication date: 29 October 2010 To cite this Article Schaaf, Larry J.(2010) ''Splendid Calotypes' and 'Hideous Men': Photography in the Diaries of Lady Pauline Trevelyan', History of Photography, 34: 4, 326 — 341 To link to this Article: DOI: 10.1080/03087298.2010.513280 URL: http://dx.doi.org/10.1080/03087298.2010.513280 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.informaworld.com/terms-and-conditions-of-access.pdf This article may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. An early version of this paper was presented at a 2007 symposium celebrating Professor Graham Smith’s tenure at the University of St Andrews; Literature & Photography: New Perspectives was organised by Alexander Marr and Julian Luxford. The majority of Pauline Trevelyan’s diaries are in Department of ‘Splendid Calotypes’ and ‘Hideous Special Collections, the Kenneth Spencer Research Library, the University of Kansas, Lawrence. This research was started under a Men’: Photography in the Diaries of National Endowment for the Humanities Travel to Collections Grant and its Lady Pauline Trevelyan continuation was made possible by a further travel grant from the Spencer Library; former librarianAlexandraMasonprovidedearly encouragement and comment. Sir Walter’s Larry J. Schaaf dairies are in Special Collections, the Robinson Library, University of Newcastle, where I was greatly assisted by the late Dr Lesley Gordon. I would like to thank these institutions for their assistance and permission to publish. Mr Robin Dower, the family’s representative, The diaries of Lady Pauline Trevelyan (1816–1866) provide an unusual and insight- generously granted permission to publish on ful perspective on the first years of photography. Her wealthy and scientifically behalf of the Trustees of the Trevelyan Family minded husband was a friend of William Henry Fox Talbot. Pauline herself was Papers at the Robinson Library, Newcastle highly intelligent, highly independent, a close friend of Sir David Brewster and John University. Family members Raleigh Trevelyan Ruskin, and interested in many aspects of science and art. Her diaries record not and John Wolseley kindly provided additional only her own photographic experiences, both in taking and in collecting photo- information. John Batchelor, Ken Jacobson graphs, but also commenting on other photographers – some well known, some and Andy Szegedy-Maszak made helpful previously unheard of. suggestions. I would also like to thank Hugh Dixon and Lloyd Langley of the National Trust Keywords: Lady Pauline Trevelyan, nee Jermyn (1816–1866), Sir Walter Calverley for their enthusiastic hosting and assistance at WallingtonHouse.In2007,KeithDavis Trevelyan (1797–1879), William Henry Fox Talbot (1800–1877), John Ruskin invited me to give a different version of this (1819–1900), David Reid (1805–1863), David Octavius Hill (1802–1870), Robert paper as the annual Atha Lecture at the Adamson (1821–1848), Dr John Adamson (1809–1870), Sir David Brewster Nelson-Akins Museum in Kansas City. (1781–1868), Allan Maconochie (1806–1885), Sir Thomas Phillipps (1792–1872), 1 – Quoted in Vernon Heath, Vernon Heath’s Recollections, London: Cassell & Company William Sherlock (1813–1889), William Bell Scott (1811–1890), Pre-Raphaelites, 1892, 49. photogenic drawing, calotype, daguerreotype, Great Exhibition, Wallington House 2 – John Werge, The Evolution of Photography, with a Chronological Record of Discoveries, Inventions, Etc., Contributions to Photographic Literature, and Personal Reminiscences Extending over Forty Years, Downloaded By: [informa internal users] At: 03:52 24 March 2011 On 25 January 1839, William Henry Fox Talbot revealed his new art to the world in a hurriedly arranged London exhibition at the Royal Institution. Michael Faraday London: Piper & Carter 1890; and Vernon Heath, Vernon Heath’s Recollections, introduced Talbot’s photogenic drawings with a prescient observation, ‘What man London: Cassell & Company 1892. may hereafter do, now that Dame Nature has become his drawing mistress, it is 3 – James Ross, ‘A Few Extracts from a impossible to predict’.1 Although Lady Pauline Trevelyan (1816–1866) Photographer’s Old Ledger’, communicated (figures 1 and 2) was not in attendance, this day was her twenty-third birthday. to the Edinburgh Photographic Society, British Journal of Photography,20:667(14 Six years later, after closely following the first steps of photography, she received a February 1873), 75–7. Ross, of the pioneering birthday present of a calotype camera from her husband, himself a childhood Edinburgh firm of Ross & Thomson, stated as friend of Talbot. his goal the aim ‘to give our younger members Within the multitudinous intersections between literature and photography lie some idea regarding the state of photography in our city about the period many of them autobiographical accounts by photographers. All too often these are brief reminis- were being dandled in their mother’s arms’. cences drawn up late in life, heavily reliant on memories mellowed by time, some- The authenticity of this account stems from times prompted by an octogenarian addressing a photographic society or the fact that Ross read selections from his occasionally incorporated into an obituary. A few, such as John Werge’s 1890 contemporary ledgers, starting with purchasing calotypes in 1847 through to an Evolution of Photography and Vernon Heath’s 1892 Recollections, extend into book 1858 purchase of flowers and leaves ‘for the 2 length, carrying all the prides and pitfalls of Victorian autobiography. They are purpose of being photographed and printed fascinating to read, but 1890s perspectives on events of the 1840s are bound to be as a border to vignette portraits’. The financial coloured by selective memory. Some retrospective accounts are better grounded in records were supplemented by Ross’s own recollections, fresh at the time. Sadly, this was documentation. Although tantalisingly short, one of the best is James Ross’s ‘Extracts the only publication of this information, and 3 from a Photographer’s Old Ledger’, published in 1873. the ledgers are not known to have survived. History of Photography, Volume 34, Number 4, November 2010 ISSN 0308-7298 # 2010 Taylor & Francis Photography in the Diaries of Lady Pauline Trevelyan Another class of photographic literature is the contemporaneous account writ- ten solely for personal purposes. Not anticipating a future audience, these can be fresh and frank reflections of the perceptions of the author at the time, uncoloured by subsequent events and knowledge. In general, these journals tend to be mostly technical, resulting from the personal research record kept by many of the inventors and innovators in photography. Talbot’s notebooks are a good example, yielding a 4 – Two of these are reproduced in facsimile nuanced sense of the complexity and sometimes delightfully random nature of the 4 in Larry J. Schaaf, Records of the Dawn of human imagination. In the end, one of the rarest forms of such accounts is the Photography: Talbot’s Notebooks P & Q, personal diary kept by an observer and/or practitioner of photography. When such Cambridge: Cambridge University Press an account emanates from the mind of an astute observer, these diaries can provide 1996. 5 – A biography of Pauline (first Paulina, nee an entirely different perspective on photographic events and people we feel we know Jermyn) Trevelyan is included in the Oxford so well. They are especially valuable in providing a sense of context, for matters Dictionary of National Biography. The most photographic are likely to constitute only a tiny percentage of the full content. recent and complete examination of her is by The present summary is extracted from the diaries of Lady Trevelyan.5 John Batchelor, Lady Trevelyan and the Pre- Raphaelite Brotherhood, London: Chatto & Voluminous and wide-ranging, they span the period from events on the eve of 6 Windus 2006. Earlier works include Virginia photography’s 1839 public introduction through to her early death in 1866. Surtees, Reflections of a Friendship: John Pauline’s diaries are closely written and not always easy to read. In fact, her friend Ruskin’s Letters to Pauline Trevelyan, 1848– John Ruskin singled out her scratchings in
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