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Report Case Study 25 Case 13, 2014-15: The Rejlander Album Expert adviser’s statement Reviewing Committee Secretary’s note: Please note that any illustrations referred to have not been reproduced on the Arts Council England Website EXECUTIVE SUMMARY An album containing seventy portrait and figurative albumen print photographs by Oscar Rejlander, taken between c.1856 and 1866. The prints are mounted on gilt-edged card leaves in an album with gilt and tooled black morocco bindings. Sitters include Rejlander himself, his wife, Mary, Sir Henry Taylor, Hallam Tennyson (son of Lord Alfred Tennyson), John and Minnie Constable and other, so-far unidentified, subjects. Oscar Gustav Rejlander (1813-1875), sometimes known as ‘The Father of Art Photography’, was born in Sweden and studied art in Rome, settling in England in the 1840s. He lived in Lincoln and later Wolverhampton, working as an artist and portrait miniaturist. He took an active interest in photography, seeing its potential for assisting artists and in 1853 attended lessons in the London studio of Nicolaas Henneman. This inspired him to develop his own techniques experimenting with portraiture, although it is his pioneering work in combination printing - combining several negatives to form one image - that brought him wider renown. In 1856 Rejlander became a member of the Photographic Society (later the Royal Photographic Society). He wrote extensively for photographic journals and his work was frequently shown in exhibitions. In 1862 Rejlander moved to London where he built a photographic studio designed to make the best use of natural light for his subjects. During his work he came into contact with other prominent contemporary photographers, including Julia Margaret Cameron, Charles Lutwidge Dodgson (aka Lewis Carroll), Clementina, Lady Hawarden and Charles Darwin. In the early 1870s he worked with Darwin to provide photographic illustrations for his treatise on The Expression of the Emotions in Man and Animals. The album was part of the estate of Surgeon Commander Herbert Ackland Browning RN (died 1955) and thence by descent to the vendor. Commander Browning was related to Dr Marsters Kendal of Kings Lynne, honorary surgeon to the Prince of Wales, later King Edward VII. A pencil annotation in the album suggests it may have been bought directly from the photographer: 'Rejlander had refused to sell this copy (the only one obtained from the negative taken) at any price: but the offer of £2.2.0 for the Swedish poor was too much for his nerves and I obtained it DEO GRATIAS'. A further annotation inside the front cover reads: 'This album has the honour of being submitted in 1866 to HRH The Prince of Wales by Colonel Teesdale. (Teesdale was equerry to the Prince of Wales, a position which he held for thirty-two years). Oscar Rejlander was a hugely significant and influential figure in the history of photography. This rare album contains an exceptional selection of his work. In my opinion it clearly meets two of the Waverly Criteria. It is of outstanding aesthetic importance and also of outstanding significance for the study of the history of photography and for our wider understanding of nineteenth century art. DETAILED CASE Oscar Rejlander (1813-1875) was one of the most important and significant photographers of the nineteenth century and a pioneer of art photography. Rejlander’s choice of photographic subject matter was clearly influenced by his training as a painter and the works of art he had studied as a young man. He favoured sentimental genre studies, narrative tableaux and portraits with a strong theatrical or emotional element. Rejlander was convinced that photographs could not only be a useful tool for artists but also an art form in their own right and he aspired to raise photography to the status of Art. Rejlander also pioneered the painstaking technique of combination printing – combining several different negatives to create a single final image. His most famous work, the allegorical The Two Ways of Life, was created using this technique. A figure of international significance, examples of Rejlander’s work are held by, amongst others, The Harry Ransom Humanities Research Centre at the University of Texas, Austin, George Eastman House, Rochester, New York and the J. Paul Getty Museum, Los Angeles. In Britain, small collections of Rejlander’s photographs are held by the Victoria and Albert Museum, the National Portrait Gallery and the Royal Collection – Prince Albert was a great admirer of Rejlander’s work. However, by far the largest and most significant body of Rejlander’s work in Britain is in the Royal Photographic Society (RPS) Collection at the National Media Museum. The RPS Collection contains approximately 140 photographs by Rejlander, together with approximately 60 collodion glass negatives. These were acquired from Rejlander’s widow at the end of the nineteenth century. Examples of some of the prints in this album can be found in other UK collections. For example, Trying to Catch a Fly and The Fly is Caught (pages 52 and 53) can be found in the Royal Collection. However, whilst a few of the prints in this album are well-known and other examples are held in UK public collections, the majority are previously unknown studies. Similarly, whilst a few of the sitters have been identified as prominent figures from the world of art and literature, further research is required to try to identify the remainder. In the RPS collection at the National Media Museum I have identified examples of just six photographs which are also included in the album (pages 9, 38, 39, 52, 64 and 65). Interestingly, two of these prints, The Flycatcher (page 52) and I Pray (page 38) have been printed in reverse. The RPS Collection also holds the collodion negative used for the study on page 45 – The Top o’ the Mornin’ to Ye’. The head of photographs at the National Portrait Gallery, has undertaken extensive research into Rejlander. In his opinion: ‘The recently auctioned album does not overlap with our collections at all…I have been working on Rejlander for years and I can tell you that a number of the images in that album are unique, at least in terms of what is now known. The two very intense portraits of Rejlander himself, for example, are completely unknown to science and would alone justify their preservation for the nation.’ Rejlander’s photographs and his promotion of photography as Art had both an immediate and a long-term influence, making him one of the most significant figures in nineteenth century photography. His championing of genre photography led to it becoming a significant theme by the mid-1860s. Moreover, in his production of ‘pictorial’ studies, demonstrating a willingness to alter reality through technical innovation, he was a precursor of the Pictorialist movement in photography that was to become the dominant aesthetic later in the nineteenth century. In conclusion, this album is of outstanding aesthetic importance and also of outstanding significance for the study of the history of photography and for our wider understanding of nineteenth century art. Further Reading: Oscar Gustave Rejlander, Exhibition catalogue, Moderna Museet, Stockholm, 1998. Stephanie Spencer, O.G.Rejlander: Photography as Art, Michigan, UMI Research Press, 1985. Link to online gallery of the album: http://issuu.com/jammdesign/docs/m104027_album__2_?e=1975639/909803 6 .
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