George Tinworth: an Artist in Terracotta Miranda F Goodby

eorge Tinworth, Doulton's premier artist at the Lambeth stud ios between 1867 and 1913, Gdevoted his life to large sca le religious and memorial sculptures . Today he is better kn own for his small humorous animal figures and vase designs - but this wa s not always the case. At th e height of his career in the 1870s and '80s, George Ti nworths work wa s bought by royalty and major museums in Great Britain and North America; he was receiving commissions from important churches and other institutions for sculptural work and he was popular with both the public and the critics. He wa s described by John Forbes Robinson as, 'Rembrandt in clay and unquestionably th e most original modeller that England has yet produced'.' Ed mund Gosse called him, 'a painter in terra cotta? and likened him to Ghiberti, while John Ruskin described his work as, 'full of fire and zealous faculty' ..1 He won several medals during his tim e at the Royal Academ y of Art and later, when working at Doulton 's, hi s sculptures for the grea t national and internat ional exhibiti on s were regularly singled out for praise and pri zes. In 1878 he was made a member of the French Academie des Beaux Art s, and in 1893 Lambeth Parish C ou ncil named a s treet in hi s honour.' By the time of his death in 1913, critical taste Figure 1 George Tintoorth il1 his studio uiorking 011 the had ch anged. Tinwor th's obituary in The Times model for the Shakespeare Monumel1t tneuer described him as 'a craftsman' and said of his work, erected). Tinuiortli's bust of Sir Hellry Doulion 'there is a kind of primitive sim plicity in some of m il beseen to the left. (Photograph c1906.) his groups which makes them at least amusing',' while another writer alluded, rather patronizingly, hi s day who could sca rcely restrain their to 'his peculiar plac e in popular affection' ." astonish me nt that a labouring man cou ld create Such swings in critical ju d gemen t are works of art. It must be admitted, however, that commonplace for those whose careers, li ke Tinworth's child hood could not have been less Tinworth's, cover nearly half a century. Happ ily, he likely to hav e produced an artist without a great retained his popular appeal and an exhibition of his determination and steadfastness on his part. work held just bef ore his d eath attracted g reat Georg e Tinworth w as born in 1843 a t crowds, as similar exhibitions had done during the Wal worth, London, the eldest so n of a previous 30 years. Yet, despite his popularity and wheelwright. Tinworth's father was not a su ccess his prodigious output, which was probably greater and took to drink, plungin g the family into sev ere than any of his contemporaries, and the wide ran ge financial distress and debt. On at least one occasion of his public commissions, he is not today seen as the bailiff's men were sent in to di strain on th e part of the nineteenth century movem ents in family's possessions. With such an exa mple before sculpture, but rather as a craftsman potter who him, it was not surprising that George Tinworth created sculptural ceramics in terracotta. became a teetotaller. Hi s mother, however, was a Eve n in hi s o w n lifetime he was seen as d eeply reli gi ous woman who attempted to rais e so m e t h ing of an outsider, not because of the her three child ren and ed uc a te them as best s he medium of his art but because of his ori gins and could under the circumst ances. A lmost the only early training in the slums of South London. This reading matter in the house was the Bible - this seemed to be a never-ending source of wonder to w as before the days of Free Public Lending the affluent middle-class writers and the critics of Libraries - and Tinworth gained a deep knowledge

15 Journal of the Tiles & Architectural Ceramics Society Vol3 1990 and love of the Scriptures, which he was to express pipes, for which demand had massively increased in his sculptures. It was also his mother who as the causes of disease and the principles of stimulated and fostered Ti n wort hs leanings sanitation had been discovered. The firm was now towards art, buying him a slate on which he was on a sound financial footing and could afford to able to sketch, and later she helped him to pay his branch out into experimental wares, including art school fees. garden statuary, urns, architectural ceramics, and At 14, Tinworth was sketching, modelling and so forth. John Sparkes had been a great advocate of carving in wood and the opinion of friends and such a move and proposed Tinworth's name to neighbours was that he should go to the art school, Henry Doulton, son of the proprietor. In Tinworth's recently set up in Lambeth, for training." At the own words: time this was not possible as his father was I went to see Mr Henry Doulton at his pottery and violently opposed to his son's artistic leanings. it was settled that I should come to work for them­ However, Tinworth used to spend what time he but I kept on the wheelwright's shop some time, could at wood-carving when his father was out of not knowing whether I should stay at Doulton's, At first I was put to touching up water filters the wheelwright's workshop, posting one of his that had lately come out of the mould... But when I brothers to act as lookout and let him know when won the silver medal at the Life School at the Royal their father was approaching. Sometimes his father Academy, Mr Sparkes said 'Now Tinworth, they caught him and boxed his ears or destroyed the must shorten your hours!' So after this I went from carving. nine in the morning until five, and I modelled some heads of Greek coins. " In 1861, at the age of 18, Tinworth felt that he There was some talk of recommending me to could no longer continue without training and he some other pottery down in Staffordshire" but Mr entered the Lambeth School of Art. He took with Sparkes said he did not want me to leave London... him a small bust of Handel, carved in sandstone, as Things began to prosper with me . Doulton's went an example of his work. It was a piece he was to into the garden work...and there was going to be an Exhibition at Kensington in 1869, so I put m y keep for the rest of his life and indeed it was in his shoulder to the wheel and we made all manner of studio when he died. Its present location is things for it in pottery, among other things a easeful unknown. In order to pay the class fees he was of art pottery which took the fancy of the public sometimes forced to pawn his overcoat, and and was afterwards known as Doulton Ware . For obtaining materials for his modelling class was a this exhibition I also modelled a fountain in terracotta designed by Mr Sparkes." problem. A contemporary account says that he first obtained his clay from a trench which workmen The fountain mentioned by Tinworth was were digging for a drainage pipe," and he was to among the first of his large pieces for Doulton write later: which were later to form his chief output. The I used to do many clay sketches for the Lambeth fountain was given by Doultons to Kennington Art School at home, early in the morning. I had to Park, London, where it remained until the mid­ break them up again after the y had been seen at the 1970s, when it was damaged by vandals and the school. I used to do same with my life studies at the broken pieces thrown away. Royal Academy. I wanted the clay and could not A considerable part of Tinworth's non­ afford to buy more." commissioned reliefs and sculptures were In 1864 he was accepted into the Royal produced in response to the exhibitions abounding Academy Schools, whose classes were held in the during the century. These ranged from the great middle of the day, and was forced to tell his father international and national exhibitions, forerunners who, for three years, had remained in ignorance of of today's trade fairs, to strictly fine art exhibitions his son's studies. His father gave permission for held at the Royal Academy and other galleries. him to attend, and every morning after this he Many of Tinworth's large works were, however, would rise early, work in his father's shop, go to the commissioned, with a constant demand from Royal Academy until 1pm, and then walk back to churches and other institutions. work. On lecture nights he did the journey twice The mid-Victorian period was one of religious each day. At this time the Royal Academy was in reform, revival and fervour. It saw the emergence Trafalgar Square, a journey of more than three of the High Church Oxford Movement, the miles in each direction from his house. Tractarians, and the Pu seyites, with their In 1866, Tinworth's father died and for a little intellectual appeal on the one hand and, on the while he struggled to make a living from the other, the rise 'o f the great non-conformist wheelwright's shop, until approached by John preachers, such as Moody, Sankey, and Charles Sparkes, headmaster of the Lambeth School of Art Spurgeon, with their popular addresses and and a life-long friend of his, with the proposal that sermons. Spurgeon regularly addressed crowds of he should go to work at the pottery of Doulton & over 10,000. Co. Up to this time, Doultori's. the largest of a Ti n worth. with a fervent dissenting cluster of salt-glaze potteries in Lambeth, had been background and his orthodox artistic training, was engaged almost solely in the prod uction of peculiarly suited to produce religious works of art utilitarian wares, principally sewer and drainage appropriate to the Low Church and non-conformist

16 George Tinworth: an Artist in Terracotta

feelings of the period. His relief sculptures became and employer, Sir Henry Doultori" (Figure 1). In increasingly popular as new churches were built in addition, he produced a number of memorial the cities and old churches were refurbished to suit sculptures to philanthropists such as Lord modern doctrines. Tinworth, as a strict non­ Shaftesbury, Charles Spurgeon and Samuel Morley, conformist, was slightly suspicious of the leanings of Morley College fame. of some of his clients and once remarked to Charles Tinworth's output was prodigious. In 1894 he Spurgeon, who was sitting for Tinworth for his estimated that in the 27 years he had been at portrait, that if he ever saw anyone bowing to the Doulton's, he had produced at least 500 panels of figures he had made he would never make another. 'important size'," not including smaller panels and To this, Spurgeon replied, 'If I were a baker and sketches, in addition to his portraits and fountains. anyone choked himself with a piece of my bread I As well as his sculptural works, and, indeed, as should still go on making bread'." a relaxation, Tinworth decorated vases thrown for Tinworth received his first major religious him, and modelled small figures and groups of frogs commission, via the architect G E Street, in 1876. and mice, all carrying out actions which Tinworth This was for a reredos in terracotta for the High observed around himself. These small sculptures are Altar of York Minster, depicting the Crucifixion. so lively and comical that they are today far more This survives today, having been painted over to eagerly sought after than his costly and laborious represent carved wood and moved to the east wall panels to which he devoted his life. of St Stephen's Chapel. In the same year, Tinworth Tinworth continued to produce his Biblical modelled a terracotta lunette for the newly-built sculptures well into this century, in a style virtually Doulton offices in Lambeth, showing Sir Henry unchanged over a period of 45 years but, by the end Doulton surrounded by Tinworth himself, Hannah of his life, fashionable and critical taste had changed. Barlow, Frank Butler and other artists from the The religious revival of the late nineteenth century Doulton studios. This, too, survives and may be was dying away in the face of agnosticism and seen over the entrance of the now-deserted atheism, which made the simple devotion of buildings at the junction of Lambeth High Street Tinworth's sculptures seem hopelessly old­ and Black Prince Road, in London." fashioned, especially when compared to such artists Tinworth obtained other commissions from as Epstein or even Alfred Gilbert (of Eros fame). Street two years later for 28 semi-circular terracotta Tinworth's large-scale and expensive architectural panels for the Guards Chapel in Birdcage Walk, sculptures were almost entirely unsaleable. but at London, illustrating scenes from the Old and New Doulton's he was perfectly free to work as he chose Testaments. These were destroyed by a bomb with the company taking no orders for panels unless during World War II, and only the salt-glaze Tinworth had first agreed to accept the commission. preparatory sketches survive. The two By the end of the first decade of the twentieth commissions from Street, however, established century, with the decline in commissions, it was Tinworth as an artist whose genius lay in religious estimated that Doulton's were losing £10,000 per sculpture, and for the remainder of his life he was annum on Tinworth's studio. IS producing altar-pieces and other sculpture for Sir Henry Doulton had not gone into art churches in Britain, Europe, North America and pottery from drainpipes to make a profit. Instead, it Australia. was a venture which brought prestige and glamour Edmund Gosse, Tinworth's first biographer, to a company whose main association (and profit) said of him: was with drainage and sewage pipes. The presence Mr Tinworth is...the only artist who has continued of Tinworth and the Art Studio brought all sorts of to express in his art the actual religious sentiment distinguished visitors to the works - British and of the lower middle-class in England... His vision is foreign royalty, clergy, politicians, literary and neither classical, nor Italian, nor conventional; it is purely that of the average English evangelical... He artistic lions - and it made the name of Doulton a is frankly engaged in telling in his own realistic household word across the world. way a story to edification. His compositions have Towards the end of his life, Tinworth became J the same sort of merit, as discourses, which we find increasingly isolated and subject to depression. His in the best of Mr Spurgeon's sermons. We should friend and patron, Sir Henry Doulton. was dead; his never have expected to find in English sculpture a return to the spirit which animated Bunyon, but we wife was an invalid and was eventually to die in an cannot fail to recognise that spirit in these Biblical asylum for the insane; he had outlived many of his terracottas.': friends and colleagues and he found it hard to It was this quality which made Tinworth's accept the fact that his large sculptures no longer sculptures so popular and acceptable for public sold. Even in his heyday he had thought it unjust commissions that, while painters such as Leighton and Millais During the 1860s, '70s and '80s, Tinworth received thousands of pounds for one painting, the continued to exhibit at the Royal Academy and most that one of his own panels, The Road to Calvary, elsewhere, submitting not only religious subjects but had ever made was 500 guineas. 19 also realistic sculptures and portrait busts of many In the years following his death, Tinworth was of his leading contemporaries, including his patron virtually forgotten. Many of his public

17 Journal of the Tiles & Arch itectur al Cera mics Socie ty Vol 3 1990

commissions were destroyed. Some, especially a r ti cles fo r COll l1 t ry Life.20 In the la st 30 years, th ose in Lo n d o n a n d o th e r large ci ties, w ere n ineteenth ce n tu ry religious and memorial damaged irreparably in World War II, notably the sculp ture has grad ually come back int o favour and Guards C ha pel and Morley College lunettes, but is being see n as a serious su bjec t of study. In the others were d eliberately removed in the light of th is revival of interest, the work of George moderniz a t i o n s o f the 1950s and '60s when Ti n w o r t h is o nce more rece iv ing critical 'Victoria n' was a term of abuse. appreciation and he is now becoming recogni zed as However, a g rea t number do survive, a s ignifican t figure in nineteenth century British especially in church es, including so me previously scu lp tu re. thought to have been lost. The g rea t salt-glaze There are severa l ex a m p les of Ti n w orth's fountain, d esigned for the 1878 Paris Exhibition is w ork in Stoke-on-Trent churche s (see Appendix), one exa m p le . It w as discovered in pi eces in a a nd elsewhere in North Staffor dshire. Co nsi dering garden in S ussex and reconstructed fo r the th e number of potteries in St oke-on-Trent, the Victoria & Albert Museum's Doulton Exhibition in appeara nce of a London ceram ic artist's work in the 1976. It is in the form of a cone standing wi thin a area could be see n as 'bri ng ing coals to Newcastle'. ba sin and modelled w ith scenes fro m the Bible, all However, Doulton's links with the city date from of them related to wate r, and s ta nd s just over th e late 1870s when th ey purchased th e Burslern se ven feet high. factory of Pinder, Bourne & Co, no w their Nile Ironically, it was during the Fes tival of Britain, Stree t headquarters. Th ere wa s much opposition to 1951, that monument to modernism, that the start Doulton's move into Staffordshire from es tablished of Tinw orths rehabilitation was signalled when po ttery manufacturers, and it is likel y that at least some of his anima l figures and va se d esigns were so me of the pa nels were given by the com pany to exhibited a t County Ha ll , London. Initially, churches in th e area in ord e r to propitiate local appreciati on was confined to his va ses and anima l feeling. groups, but in 1960 Charles Handley-Read wrote Tinworth h imself did not see his panels in fa v ourably of Ti n wo r t hs relief panels and their settings: he never vis ited Stoke-on-Trent, bu t lamented the recent destruction of the 17-feet high re maine d d evot ed to Doulton's in Lambeth until m emorial to Professor H enry Fawcett, in hi s the day of his death on 10 Sep tember 1913.

Appendix: Tinworth's work in Stoke-on-Trent

Tinworth h imself may h ave resisted co m ing to Stoke-on-Trent, but several churches in the city possess panels by him, covering the w ho le period of his career.

Figu re 2 Th e Garden of Ge thse ma ne. Trentham blue and biblical texts inscribed around the edge of the panel. Methodist Chu rch, 1873, 12x6in. Brown salt­ A sketch for the large terracotla panel of the same subject glazed stoneware with details picked out in cobalt exhibited at the Royal Academy in 1874.

18 George Tinworth: an Artist in Terracotta

Edinburgh. These small salt-gl a zed pan el s are d el ightful, altho ugh m easuring only 12x6in they a re fu ll of d et a il and mo veme nt w ithou t being crow d ed or fussy, unlike some of Tinworth's later w orks. Th e restricted colours and freedom of the mod elling give a grea t d eal of charm to the pa ne ls reinforced by the lively deta ils of some o f th e figures: for exa mple, the centurion in The Descent From The Cross panel w ho holds his comp anions' h elmets a nd looks a nx io usly u p w ards (bo tto m right of panel), or the priest in Ccthsemene w ho has been attacked by Peter and holds his hand to his head in pain (second figure from the right). Around the edge of eac h panel a re insc ribed, in Tinw orth's handwri ting, approp riate biblical tex ts w hic h a re su ch a feature of his smaller panels.

St Mary and All Saints In th e p arish church of St Ma ry and A ll Sai n ts, Trentham, is a terracotta panel of The Ann ointing at Bethany, d esigned in 1885, which was erec ted in 1915 as a memorial to Cro ma rtie, Fo urth Duke of S u th e rl a n d, by the g ra tefu l in h a bi ta n ts of Trentham. It is set into the south wall of the church w ithi n a glazed frame. A large pa nel (55x24 in) in terracotta wi th details picked ou t in cream, it is far more statuesque a nd unemotional th an some of Tin worth's other large panels and does not draw the specta tor into the story as d oes the sa lt-glazed trip tych in the nearby Methodist Churc h.

North Staffordsh ire Royal Infirmary T he c ha pel o f th e N o r th S ta ffo rdsh ire Royal In firmary, Ha rtsh ill, has another large te rracotta panel, measu ring approximately 66x25in (Figu re 4). Thi s is also se t within a glazed fra me and depicts The Overthrow of Pharaoh and His Host in the Red Sea, and dates fro m 1892. Less static than the pa nel in St Mary and All Saints, it shows panicking men and Figure 3 The Descen t From The Cross. Trenthum Method ist Church, 1873, 12x6ill. Brown salt­ horses ab out to be overw he lme d by a hu ge w ave glazed stoneware with details picked out in cobalt whic h fills the background, and in w hich birds and blue and biblical texts inscribed around the edge fish can be seen inter mingled, w hile Pharaoh in the of the panel. A sketch for the large terri/cotta pane! foreground attempts to reassert control over his army. of the same sl/bj ect exhibited at the Royal Acadcnut in 1874. A/I interesting detail in this pallel is tile splitting of the cross-bars of the cross St Mark's Chu rch by the soldiers; according to Tiiuoorth his father Tinw orth's maste rpiece in Sto k e-an -Tre n t is always made him split old wood to remove the undoubted ly the huge terracotta triptych in nails for re-Llse. St Mark's C h u rch, Sh e lton . This consists o f Th e Crucifixion, dating from 1896, flanked by The Visit of the Wise Men and The Visit of the Shepherds, Trentham Methodist Church which were add ed in 1902 (Figures 5 & 6). The th ree earliest Tin w orth panels a re in th e Th e central panel of The Crucifixion measures entrance hall of Trentha m Methodis t C h urch, 60x 120i n a nd w eighs 1.25 tonnes. Its in stallati on founded 1883 (Figures 2 & 3). The pa nels date from was a p art of Hie ren ova tions carried ou t to the 1873 a nd are in brown sa lt-glazed stonew are w ith chur ch which were started in 1895. The panel itself details picked ou t in cobalt blue. They d epict The was unveiled in 1897 as a part of Queen Victoria's Card en of Cet hsemene, The Foot of The Cross a nd Diamond Ju bilee celeb ra tions of th at year. This The Descent From The Cross and ar e sket ches for the massive pan el, in which the fig ures ar e abo u t th ree­ larg er terracotta panel s o f the sa m e subjects q uar te rs lif e-size, is beautifully com posed a nd ex hi b ite d at th e Roy al Academy in 1874, a nd modelled . The gro uping of St James and the three purchased by th e Museum of Science a nd A r t, Ma ry s is a va ria tion o f th a t used a t Tr entham

19 Journal of the Tiles & Architectural Ceramics Society Vol 3 1990

M etho d ist C h urch in 1873 (a bove) a nd Yor k Minst er in 1876, but more full y worked out. Th is group is balanced by that of Roman so ldie rs and St Joseph of Aramathea, while Christ rises above . The flankin g panels of The Visit of the Wise Men and The Visit of the Shepherds are considerably smaller than The Cruciiixion, but at 84x36in are still large. They were erected to form a triptych in 1902, possibl y to conunemorate Edward Vlll's coronation and, although part of Tinworth's later output, when dem and for his large panels had fallen off considerably, they show the vigo ur of his best work. The depth of plan e is great; seve ra l figures are almost free-standing, and the vari ety of expression and emotion in the panels is co n tras ted well bet ween the eagerness of th e shepherds, pressin g for ward accom pa nied by their animals, and the stately progress of the wise men with their retinues and dignity. The inscribed titles point out this contrast: They Came With Haste and The Wise Men Opening TheirTreasures. The whole rered os cer tain ly repays a close scru tiny. Its size and complexity make it unu sual, as does the fact that it remains in the original setting for which it was designed, unlike so many of Tinworth's panels. As a bonus to the visitor, there is a small low­ relief terracotta pan el in the Lad y Cha pel, The Holy Figure 4 (above) The Overthrow of Pha roa h an d his Family in Egypt, dated 1899, also by Tinworth. Host in th e Red Sea (detail). Nor th Staffordshire Royal Infirmary Chapel, Hartshil/ Figure 5 (bel ow) The Wise Men Open ing The ir 1892, 66x25in. Terracotta. Treasures (de tail) . St Mark's Church, Shelton, 1902, 84x36ill. Tcrracott«. Part of the right-hand panel of The Visit of the Wise Men. III the: lower right-hand cO rller is Timoo rths distinctive CT monogram.

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20 Georg e Tinworth: an Artist in Tcrracotta

Figure 6 (left) They Came Wi th Haste (d e tail) . St Mark 's Chu rch, Shelton , 1902 . 84x 36i n. Termcotta. Part of the left-hand patu'! of The Visit of the Shepherds.

11 It is po ssib le th at it w as Mi nt on's who w anted Tinworth to join them , as they had a policy d ur ing the 1870s of em ploying, either on the staff or as freelance, lead ing ar tists and sculptors .

12 Unpublished manuscript au tobiography.

13 Story told by Tinworth in a lecture reported in the South London Press, nd , bu t c1911.

14 Visitors to South Londo n, may, by a lighting at Vau xhall Underground Station, easil y wal k to a number of places connected with Tinworth. Just off Kennington Lan e is St Os wald's Plac e, site of Lambeth Art School. Returni ng to th e Albert Em ba nk m e n t, on e passes Tin worth Stree t and th e si te of th e Doulton offices in Lambeth High Street an d , crossing Lam beth Road, St Mary's Parish Ch urch wh ich con tains three pa nels . Thes e are the re ma ins of a re redos, d amaged by bombin g, depicting The Cruciiixion, w hich was pr esented by Sir Henr y Dault on as a me mo rial to his w ife and to hi s fa the r. T here are al so tw o sma ll memorial pan el s o f Christ amollg the Doctors an d Christ Blessing the Little Notes and references Children. St Mar y's Parish Church is now the Museum of Garden History. 1 J F Robertson 0 0 11 110 11 Ware and Lambeth Faience, London, 1076. 15 E W Gosse op. cit.

2 E W Gosse Cataloouc of a Collection of Works ill 16 Now in the Sir He nry Daulton Gall ery at Doulton's Tcrracotut liY George Til/w orth , Th e Fine Art Society, factory, Nile Stree t, Burslem, Stoke-on-Trent. London , 1R85. 17 Record ed by Walter Fa ir ha ll in h is u n published 3 .I Rus kin Am dclI1Y otcs, London, 1875. memoirs and quoted in D Eyles, The Daulton LalJ1l",th Wares, Hutchinson, London, 1975. 4 Tinworth Street, El l , formerly Glouces ter Street. IR ibid . ::; 'O b itu a ry : Mr C e o rge Tin wor t h' , The Tillles, 12 Sep tem ber 1913. 19 Exhibited at the Royal Acad em y in l R80 and sold to F W Bond, ere cted in Truro athcdral in 1902 as ,1 than ks 6 M H Spi elman n British Sculpture and Sculptors of offering for the safe return from the Boer War of his two "TlJliny, Cassell & Co., London, 1901. so ns.

7 Lambeth Art School was se t up in 1854 by the future 20 C Handley-Read 'Tinw ort h 's Wo rk for Doulto ri', Canon G regory. In 1861 it m oved into purpose-b u ilt parts 1&1 1, Countru Life, 1&15 Sep tember 1960. p re mises under t h ae g is of th e head m as ter, John Sparkes, who was later to become the p rincip al of the Central Govern ment Art Schoo l, a t Sou th Kensi ng ton , now the Royal College of Art.

8 'An Evan gelist in Clay - The Bible as in terpreted by Acknowledgments George Tinworth ', The Sill/day Magazine, nd . c1905 Many thanks to Dav id Barker for tak ing the ph otogra phs for Figu res 2-6, to the Revd D Mar sh for information 9 Un pu blished manuscript au tobiog raphy. about the Trentham Parish Church pa nel an d the Revd G Wh itty for in form ation abou t the Shel ton pa nel s an d 10 ibid . permission to use photographs of them .

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