Sepia Saturday 288: The Changing Face of a Market Town

This week's Sepia Saturday theme image of a buther's shopfront is a reminder, if we ever needed one, of now much our townscapes have changed in the last century, and by that I'm referring not just to the buildings themselves but also the nature of the window displays and manner of presenting wares to the public. Attractive as they are to the modern tourist, most of the quaint old historic villages that one sees regularly in guide books and on the television bear little resemblance to how they looked in Victorian times. There are some exceptions, however, and some time fellow Sepian Nigel Aspdin has kindly dropped whatever he was doing, hopped on the bus at a moments notice, and spent a rainy morning in Ashbourne (Derbyshire) taking some "now" photos for me.


Green Man Hotel. Ashbourne. W.4286
Lithographic print of photograph by unknown photographer
Published by Louis B. Twells, Ashbourne, probably c.1885-1895
Image © and collection of Brett Payne
Consider this image of the Green Man and Black's Head Royal Hotel in the medieval market town of Ashbourne in the Derbyshire Dales, which was published by photographer Louis B. Twells, probably in the mid-1880s to early 1890s. A crowd of onlookers has assembled in the archway of the inn's carriage entrance, either to provide a send off for the distinguished looking family departing in the horse-drawn carriage, or at the photographer's bidding to provide some life in his scene. Plenty of human interest there certainly is in this well constructed and executed view, with a gaggle of children lurking on the street corner, a couple of erstwhile shoppers walking down the pavment at far left, perhaps having just visited Henry Hood & Son's tailors and gentleman's outfitters shop next door to the Green Man.


Green Man Hotel, St John Street, Ashbourne, 13 July 2015
Image © and courtesy of Nigel Aspdin
Mrs. Fanny Wallis was proprietress of the Green Man and Black's Head Commercial and Family Hotel, Posting House & Inland Revenue Office (to quote its full title as given in trade directories of the time) in St John Street, Ashbourne from the death of her husband Robert Wallis in 1871 until her own death in 1898. Little appears to have been done to the exterior since then, and the outfitter's next door is somewhat surprisingly still selling clothing. They have, however, cleaned up the horse droppings on the road.


Market Square. Ashbourne. W.4285
Lithographic print of photograph by unknown photographer
Published by Louis B. Twells, Ashbourne, probably c.1885-1895
Image © and collection of Brett Payne
Nigel's great-grandfather William Barnes had an ironmonger's shop fronting onto Market Place, and used the full extent of the open area to display his wares, presumably by arrangement with the authorities to avoid a fine for obstructing the pavement. His sign in the middle of the square is just visible near the right hand edge of this scene, partly obscuring the shop front of George Hill & Company, boot and shoe manufacturers. The building to the left of this was occupied by the Conservative Club (John Rowland, secretary). The only other sign clearly legible, and reading only "Bradley," is affixed to a building at middle left, actually situated on St John Street. This was, according to the 1891 edition of Kelly's Trade Directory, Edwin Sylvester Bradley, chemist and druggist. The directory also provides the following:

A handsome monument and fountain was erected in the market place in 1873, by public subscription, in memory of the late Francis Wright esq. of Osmaston Manor, for his valuable services to the town and neighbourhood.

Market Square, Ashbourne, 13 July 2015
Image © and courtesy of Nigel Aspdin
The monument is still there, although by now somewhat darker than the surroundings, and William Barnes' agricultural implements have been replaced, inveitably, by motor vehicles. Otherwise, the general outline of buildings and skyline remain almost completely unchanged, although I did notice that the top spike is missing from a finial on a building facade at the far left, perhaps knocked off by an over-exuberant spectator or player during one of Ashbourne's annual Royal Shrovetide Tuesday Football games. The then Prince of Wales (future Kind Edward VIII) received a bloody nose during the 1928 match.


Market Square, Ashbourne, 13 July 2015
Image © and courtesy of Nigel Aspdin
William Barnes' shop front is not visible in the lithographic view, but can be seen in Nigel's recent photo, now occupied by the Lighthouse charity shop and Spar and looking rather sad, in my view.


Church Street. Ashbourne. W.2669
Lithographic print of photograph by unknown photographer
Published by Louis B. Twells, Ashbourne, probably c.1885-1895
Image © and collection of Brett Payne
In this view of Church Street, which becomes St John Street further down in the vicinity of The Green Man, the streetscape is full of people standing chatting outside shops and, in the case of several blurred figures, walking along the pavement. I've been unable to decipher the name of the shop outside which the three young men are loitering at left, but the shop window looks to be full of bottles. On the right hand side of the street, the wrought iron sign for the White Hart Hotel (Mrs Elizabeth Burton, proprietor) is just visible, although the writing not legible.


Church Street, Ashbourne, 13 July 2015
Image © and courtesy of Nigel Aspdin
The modern day bunting-bedecked view shows the bottle shop at left to be occupied by Fidler Taylor, estate agents, valuers, surveyors and auctioneers; the bottles have gone. There is no longer and parking for vehicles at the kerb, whether horse-drawn or motorised, but there are roughly the same number of pedestrians and the White Hart Hotel now offers Sky Sports Live - I shan't be going in there any time soon.


Grammar School. Ashbourne. W.4284
Lithographic print of photograph by unknown photographer
Published by Louis B. Twells, Ashbourne, probably c.1885-1895
Image © and collection of Brett Payne
Ashbourne's Queen Elizabeth Grammar School looked somewhat dilapidated, perhaps even slightly ghostly, in the late nineteenth century. It was already three hundred years old, and within a couple of decades the teaching programme had moved to a new location on Green Road.


Old Grammar School, Church Street, Ashbourne, 13 July 2015
Image © and courtesy of Nigel Aspdin
The Old Grammar School building has been patched up a little in the ensuing 125 years or so, currently being used as private dwellings, and I notice that it has a "For Sale" sign hanging outside.


Ashbourne Church & Grammar School. 9892. G.W.W.
Lithographic print of photograph by unknown photographer
Published by George Washington Wilson, probably c.1885-1895
Image © and collection of Brett Payne
Diagonally opposite the Old Grammar School on Church Street is the gateway to the Parish Church of St Oswald:

The church of St. Oswald, King and Martyr ... dedicated in 1241 ... is a cruciform building, consisting of chancel, clerestoried nave, south aisle, transept, north and south porches and a central tower, with lofty octagonal spire, 212 feet in height, ribbed with ball flower ornaments and pierced with twenty dormer lights in five tiers of four each; this spire, a work of great beauty and remarkable lightness, is called the "Pride of the Peak," and was restored in 1873.

Ashbourne Church. 3918. G.W.W.
Lithographic print of photograph by unknown photographer
Published by George Washington Wilson, probably c.1885-1895
Image © and collection of Brett Payne
A slightly less obstructed and more rural view of the same church but from over the fields to the south was published by the Scottish publisher G.W. Wilson.


Ashbourne Church from the South, 13 July 2015
Image © and courtesy of Nigel Aspdin

Ashbourne Hall. 20,907. G.W.W.
Lithographic print of photograph by unknown photographer
Published by George Washington Wilson, probably c.1885-1895
Image © and collection of Brett Payne
Ashbourne Hall was originally built "somewhat in the style of a French chateau and has still some traces of antiquity."


Ashbourne Hall, 13 July 2015
Image © and courtesy of Nigel Aspdin
The outlying buildings of Ashbourne have not fared so well, this one appearing to have suffered from partial decapitation.


A.R. Bentley, Groceries & Provisions, Ashbourne shop front, 13 July 2015
Image © and courtesy of Nigel Aspdin
Unfortunately I don't have any old photographs of Ashbourne's shopfronts to share with you, but I will include a couple that Nigel took the other day to give you an idea of how it feels to shop in Ashbourne today. Bentley's corner shop probably retains much of the flavour, and perhaps little of the charm, that it had when it first opened in 1973.


Vacant premises, Ashbourne shop front, 13 July 2015
Image © and courtesy of Nigel Aspdin
We have few clues as to what this tenant offered for sale. All I can say now is that they've moved on, hopefully to greener pastures.


Ashbourne shop front, 13 July 2015
Image © and courtesy of Nigel Aspdin
This purveyor of "Home Cooked Meats" and "English & Continental Cheeses" advertising in the windows of perhaps mostly an authentic shop front caters to a boutique market which doesn't appear to be in abundance on this overcast, showery day,


Nigel's, Top Quality Butcher, Ashbourne shop front, 13 July 2015
Image © and courtesy of Nigel Aspdin
Nigel (not my friend Nigel, but another one) may have top quality meat for sale, but I think he needs to brush up on his window dressing skills. A couple of plastic models of a beef and a dairy cow aren't enough to replace the lavish display that his predecessors might have had a century earlier.


J. Morgan's butcher's shop, Broad St, Waterford, Ireland, 25 Feb 1916
Image courtesy of National Library of Ireland's Flickr Commons Collection

Road distance marker, Ashbourne, 13 July 2015
Image © and courtesy of Nigel Aspdin
And if you're interested in where Ashbourne is, I can tell you exactly: 139 miles from London, 45 miles from Manchester, and 13 miles from Derby. Whether you're headed to London, Manchester or Timbuktu, please take a moment to stop off and visit the other Saturday Sepians on the way.

Sepia Saturday 183: A Return Trip to Dovedale

This week's Sepia Saturday photo of a group of intrepid adventurers posing at the entrance to a limestone cave system in New South Wales gives me an opportunity to make a return visit to Dovedale in the English Peak District, which I have featured a couple of years ago: Donkey Rides at Dovedale and The Compleat Angler, a Derbyshire Fishing Trip.


Views of Ashbourne and Dove Dale
Published by Louis B. Twells, Ashbourne
This time I can use a couple of more recent acquisitions, purchased for very modest sums on eBay. The first, a large envelope made of green paper with a shiny, faux crocodile skin finish and gold print, contains 32 black-and-white and blue-tinted lithographic prints, each measuring approximately 205 x 151mm (8" x 6"). The title on the envelope simply states, "Views of Ashbourne and Dove Dale" - which indeed they are - published by Louis B. Twells of Ashbourne.

Louis Bosworth Twells (1829-1885) settled in Ashbourne (Derbyshire) around 1855, and over the next three decades conducted a variety of trades: hair cutter/dresser, perfumer, jeweller, silversmith, watch maker, importer of general fancy goods, sponges, &c., and proprietor of "large show rooms for glass, china, and earthenware." I have seen a single example of a carte de visite portrait which he also "published." There is no direct evidence that he took any photographs himself, but he may well have done. After his death in 1885 his widow and son, also named Louis B. Twells, continued to operate the business until 1903.


View from the Doveholes, Dovedale (Ref. W. 1424)
Original photograph publ. by James Valentine & Co.
Lithographic print publ. by Louis B. Twells, Ashbourne
This view of Dovedale from the mouth of the limestone cave known as Dove Holes is one of 16 prints of excellent quality which don't carry the name of either photographer or publisher. A detailed examination of the prints reveals artefacts suggesting that they were reproduced from carefully retouched photographic prints.


After some deliberation I've decided that the text so carefully pencilled out in this image included a negative number and the original publisher's initials:

1424 JV + Co. Ltd

in the characteristic cursive script used by famous postcard publisher James Valentine & Co. of Dundee. However, I've yet to find an example of the original photograph published by Valentine.


Thorpe Cloud, Dovedale (Ref. 3921)
Original photograph publ. by George Washington Wilson
A second group of 16 prints show similar landscapes. Although of slightly poorer reproduction quality, these views are still very professionally composed, and are annotated with the initials "G.W.W." This indicates that they were originally published by George Washington Wilson & Co. of Aberdeen, another Scottish photographer who became one of the largest publishers of photographic prints in the world, rivalling the business of Valentine and Sons.


In Dovedale Looking Up Entrance to Dale, (Ref. 3923)
Glass plate negative 220 x 170mm by G.W. Wilson & Co. of Aberdeen
Image © and courtesy of University of Aberdeen Library, Special Collections and Museums
The University of Aberdeen Library has an enormous collection of 45,000 of George Washington Wilson's glass plate negatives, the original photographs taken between 1853 and 1908, with digitized images online. There are 488 views of Derbyshire alone and the web site is well worth a visit. I wasn't able to find the same view, but I did find a similar one, with a negative number (3923) suggesting that it was probably taken on the same occasion.


Views of Ashbourne and Dovedale
Images © and collection of Brett Payne
The remaining views from the Ashbourne & Dovedale collection can be seen in this slideshow created with Picasa. It's difficult to know now if all 32 of the prints were originally sold in this wallet, or whether the G.W. Wilson prints were added later by a previous owner. However, from what I can tell, they appear to have been taken over roughly a decade from the mid-1880s through to the mid-1890s. Photographs mounted on glossy card of the particular shade of dark green used for the envelope were very popular in the 1890s, and I suspect that Louis Twells Junior was selling this collection at this time.


Unidentified group at Twelve Apostles' Rock, Dovedale, c.1900-1910
Lantern slide (83 x 83mm) by unknown photographer
Images © and collection of Brett Payne
My other purchase was a small group of lantern slides, almost certainly taken by an amateur, two of which depict an outdoor excursion by a small group of young men and women. Although not annotated, the view above is identifiable as the River Dove in the vicinity of Twelve Apostles' Rock, also shown in one of the prints by G.W. Wilson in the slideshow above.


Unidentified group, probably at Dovedale, c.1900-1910
Lantern slide (83 x 83mm) by unknown photographer
Images © and collection of Brett Payne
A second image shows three men and four women seated on a hillside, judging by the nature of the scree, probably the lower slopes of Thorpe Cloud or one of the adjacent hills flanking the entrance to Dovedale. If, as seems likely, the group consisted of four young couples, a fourth man is probably taking the photograph. One of the other slides in this small collection is dated 1906, and the clothing fashions of the women in the photo suggest that these are from a similar time period.


Magic Lantern Projector
Image © and courtesy of the Tauranga Heritage Collection
The second half of the nineteenth century saw a huge expansion in the number of people taking trips to the seaside and day excursions into the country. Pictorial mementos available to the everyday tourist included scenic images in the form of stereoscopic cards, carte de visites and unmounted prints published by both local firms and by larger enterprises such as Valentines and G.W. Wilson.

During the 1890s and early twentieth century advances in camera design and technology made them considerably cheaper and more portable. As a result, excursionists were able to create their own mementos as they enjoyed their holiday. These lantern slides were most likely produced by direct printing on thin glass slides from original glass-plate negatives, and would have been displayed with a magic lantern projector similar to that shown above.

References

Postcard Publishers, Printers, and Distributors of Note by the Metropolitan Postcard Club of New York City.

The George Washington Wilson and Co. Photographic Collection, University of Aberdeen Photographic Archive.

George Washington Wilson Collection online.

Military uniforms in Victorian and Edwardian Derbyshire

Over the years, in the course of accumulating images for my study of Derbyshire photographers, I've come across a number of portraits of men wearing military uniforms. Such uniforms present a valuable aid in the dating of photographs, itself an important tool in the identification of the subject of a portrait, but my lack of knowledge of this topic resulted in my leaving many of the pre-Great War era images in the "too hard" basket.

My early efforts at identifying uniforms of regular Derbyshire regiments and militia units made it obvious that I first needed a better understanding of how they were made up, and therefore of their history. I was given a great deal of help in my efforts by several kind members of the Victorian Wars Forum, a group devoted the study of British Military Campaigns from 1837 to 1902.

I must point out that I don't claim to be any kind of expert, and this article should in no way be regarded as authoritative. I've merely compiled the information from a number of different sources and, while I hope I've not made too many errors, I'm happy to receive suggestions for improvement, amendment, corrections, etc.


Derbyshire's Infantry Regiments, Rifle Volunteers, Militia & Territorial Forces, 1741-1909
The chart above (GIF/PDF) is a provisional and simplified view that I've compiled to show the evolution of the various infantry regiments, rifle volunteers, militia and territorial units in Derbyshire and Nottinghamshire through Victorian and Edward eras, till just before the Great War. I should perhaps also explain that I've included Nottinghamshire as the military history of two counties has been, and still is, inextricably linked, as will become clear.


Officer, 45th Regiment of Foot, 1811
The first regular infantry regiments associated with the counties of Derbyshire and Nottinghamshire in the early 19th century were the 95th (Derbyshire) Regiment and the 45th (1st Nottinghamshire) Regiment, formed in 1823 and 1741 respectively. Although they are hardly likely to be found in photographic portraits, by way of an introduction I've included an artistic representation of the typical uniform from the Napoleonic era above.

By the early to mid-1850s, when photographic portraiture became available to the general public, as opposed to to the wealthier classes, through the introduction of the collodion positive, there were two regular regiments of foot and three militia regiments in existence, as follows:
- 45th (1st Nottinghamshire) Regiment
- 95th (Derbyshire) Regiment
- 1st Derby Militia
- 2nd Derby Militia (Chatsworth Rifles)
- 59th Nottinghamshire Regt of Militia (Royal Sherwood Foresters)

Unfortunately I don't have any photographs of uniformed soldiers from these units, but some may be seen in the collection of the Sherwood Foresters Museum.


Unidentified Senior NCO or Instructor
6th (High Peak/Buxton) Corps, Derbyshire Rifle Volunteers
Carte de visite by William Housley of Bakewell, c.1869-1870
Starting in 1859 a series of Rifle Volunteers Corps were formed throughout the two counties, as part of a much wider Volunteer Force, "a citizen army of part-time rifle, artillery and engineer corps, created as a popular movement." The senior non-commissioned officer in the above portrait is wearing the full dress uniform of the Derbyshire Rifle Volunteers, including 1868 pattern scarlet tunics with white facings which identified them as volunteers. The Bakewell man (above) also wears a cap more correctly described as a shako, with a regimental pattern white worsted ball (pom pom) and badge consisting of a French buglehorn surrounding the number 6.


Unidentified Rifleman
5th (Derby Artisan) Corps, Derbyshire Rifle Volunteers
Carte de visite by John Roberts of Derby, c.1869-1870
Image © & courtesy of Michael Jones
The Derby rifleman has a similar tunic, accompanied by a black patent leather cross belt with a pouch at the back and silver fittings comprising regimental badge on the front, whistle and chain and a bugle horn on the pouch, typically worn by Rifle Volunteers. The silver fittings have, however, been erroneously hand coloured gold. The cuff loop is of Trefoil type and indicates an 'other rank', as the cuff adornment of officers was always more elaborate to make the superior rank abundantly clear. His trousers are a very dark grey (virtually black) 'oxford mixture' with a 1/4-inch red seam down the outside of the leg. Instead of a shako, he is wearing his 'undress' pillbox cap - the Rifle Corps were the generally the only infantry unit to wear the pillbox cap - with a simple number badge (no horn). His rifle is either the 3-band 1853 Enfield or possibly the Snider Enfield 'conversion' which was phased in from 1866.


Lt. William Bemrose (1831-1908), Capt. John F. Thirlby (1839-1928) & Lt. Henry Monkhouse (1837-1905)
5th (Derby Artisan) Corps, Derbyshire Rifle Volunteers
Cabinet card by Richard Keene of Derby, August 1874
Image © & courtesy of Derby Local Studies Library
The next two portraits, a cabinet card and a carte de visite taken in the mid-1870s, show officers in full dress uniform. They are from the 1st Administrative Battalion of the Derbyshire Rifle Volunteers, which in 1880 became the 1st Derbyshire Rifle Volunteer Corps. Bemrose, Thirlby and Monkhouse are officers of Field Rank, as marked by the elaborate cuff lacing.


Lt. Edwin Pratt (1836-1913)
19th (Elvaston) Corps, Derbyshire Rifle Volunteers
Carte de visite by Clement Rogers of Derby, c.1874-1875
Image © & courtesy of Derby Local Studies Library
Edwin Pratt served with the 19th (Elvaston) Corps.


Major George H. Gascoyne (1842-1916)
5th (Derby Artisan) Corps, 1st Derbyshire Rifle Volunteers
Carte de visite by J.W. Price of Derby, November 1880
Image © & courtesy of Derby Local Studies Library
George Gascoyne was a major in, and later colonel and commanding officer of, the 1st Derbyshire Rifles. This portrait shows him as Commanding Officer of the 5th (Derby Artisan) Corps, shortly before its amalgamation into the 12 Companies of the 1st Volunteer Battalion, The Sherwood Foresters (Derbyshire Regiment)
. The 1855 (modified in 1860) forage cap which he wears was replaced from the mid 1870s on, but continued to be used in parallel until as late as 1880. It has a horizontal leather peak and the "5 inside French buglehorn" badge.


Unidentified Major
1st Derbyshire Rifle Volunteer Corps
Carte de visite by J.W. Price of Derby, c. late 1870s
Image © & collection of Brett Payne
Both Gascoyne and the unidentified major in the portrait above are wearing a dark blue "frogged" Military Patrol Jacket (not worn by other ranks) of 1868, a garment that was required by an officer in addition to his full dress tunic and often worn both in the field and in barracks.


Soldier identified only as "Bonzo," probably G Company (Belper)
1st Vol. Battalion of the Sherwood Foresters (Derbys. Regt.)
Carte de visite by Jacob Schmidt of Belper, c.1884-1888
Image © & courtesy of Cynthia Maddock
This soldier is wearing the tunic of a man in a volunteer battalion of an infantry regiment, as evidenced by the Austrian knots on his sleeves, a snake buckle belt and a glengarry cap.


Unidentified soldier, probably A Company (Chesterfield)
2nd Vol. Battalion
 The Sherwood Foresters (Derbys. Regt.)
Cabinet card by H. Brawn of Chesterfield, c. 1899-1901
This soldier's white collar and cuffs (together known as "facings") indicate that he is from an English/Welsh county regiment, while the Austrian knots on his sleeves tell us that he is a "volunteer". He is wearing a 5-button frock rather than a 7-button full dress tunic, the former being of inferior material, cut more loosely and unlined. It was intended to be used in barracks as a working uniform, and due to cost-cutting measures it was eventually the only uniform issued to volunteers. He is dressed in Review Order (helmet and bayonet) and carrying the swagger cane or stick used when out of barracks in "walking out dress". The swagger cane or stick was carried by all other ranks at that time and was part of attempts to improve the soldiers view of himself and perception of him by wider society.

The blue cloth "Home Service Helmet" was introduced as a replacement for the shako in 1878 by most British line infantry, artillery and engineers, and worn until 1902, when it was replaced as part of the khaki service dress.


L/Cpl Thomas Charles Ison (1884-1938)
5th (Territorial Force) Battalion, The Sherwood Foresters
Real photo postcard by H.P. Hansen of Ashbourne, c. 1911-1913
Image © & collection of Brett Payne
Lance Corporal Ison is clutching a forage cap with peak, first issued in 1906, and has white facings and scarlet piped white shoulder straps on his 7-button full dress tunic, which with only minor alteration was worn until 1914 by the 5th Battalion Sherwood Foresters.

Both the organisational chart and the series of images are incomplete, but they will serve as an introduction to military uniforms used by Derbyshire units, and will hopefully prompt further contributions of images to fill in the gaps. I am most grateful to Victorian Wars Forum members Frogsmile, grumpy, Old Stubborn, Patrick, Isandlwana, Peter and crimea1854, who all contributed to an informative and in-depth discussion of the above images. If you are interested in further details of clothing and insignia, I suggest you browse that discussion and the many others on the forum.

For other military-themed images this week visit Sepia Saturday, where I believe the regular contributers will do their best to oblige.

References

The Victorian Wars Forum

Rifle Brigade (Prince Consort's Own), Wikipedia & Wikimedia Commons

Beckett, I.F.W. (1982) Riflemen form: a study of the Rifle Volunteer Movement, 1859-1908, Ogilby Trusts, 368p.

Hay, G.J. (1987) The Constitutional Force, reprint of 1908 original by Ray Westlake Military Books.

Kelly (1881) Directory of Derbyshire.

Schick, I.T. (1978) Battledress: The Uniforms of the World's Great Armies 1700 to the present, illustrated by Wilhelm von Halen, London: Artus Books, 256p.

Wright, C.N. (1874) Directory of South Derbyshire, Derby: Bemrose & Sons.

Sepia Saturday 146: Model ships as studio props

The nautical theme of the Sepia Saturday image prompt this week reminds me that I have long intended to do a series of articles featuring items commonly used as studio props and accessories. Maritime studio settings were common, and not restricted to coastally located towns. They were encouraged by the long-lived fashion for sailor suits lasting well into the 20th Century, and often featured appropriately painted backdrops, life-sized boats, coils of rope, lifebelts, mastheads, etc.

I have a few featuring models of sailing ships and toy boats in my collection which give a fair idea of the range used by Victorian and Edwardian studio photographers.


Two unidentified young men & model of sailing ship
Carte de visite by Abderame's Crescent Studio of Bristol, c.1875-80
This carte de visite is one that I have featured previously, and I suspect that the fine model of a two-masted brig was intended to provide a nautical flavour rather than as a toy for the amusement of children for the duration of the portrait sitting. The portrait came from an album which belonged to a family who emigrated from England to Australia and New Zealand, so perhaps these young men were readying themselves for a life abroad or on the ocean wave.

The New Bedford Whaling Museum has a fine example featuring a Captain Howland admiring a magnificant model of what is presumably his own sailing ship.


Unidentified child with model of yacht
Cabinet card by W.W. Winter of Derby, c.1890-91
An annotation pecilled on the reverse of Winter's card mount suggests that this boy in a smart sailor suit might be Charles Richard Mapp (1887-1955), whose father Richard William Mapp (originally from Derby) was the station master at Woodville Railway Station in 1891.


Unidentified child and model of yacht
Cabinet card by J.L. Hart of Ashbourne, c.1894-98
This pond yacht lies momentarily unattended on the seat of the wicker chair - perhaps its owner is concentrating on balance rather than the promise of a play at the boating pond after the studio visit?


Unidentified young child with model of sailing ship
Cabinet card by C.S. Swift of Derby, c.1903-06
Swift's elaborate studio furniture didn't have much to do with sailing, but he was able to captivate this child shortly after the turn of the century with a model of perhaps a three-masted barque.


Flickr user oldsailro has an entire collection devoted to model boats, a good proportion of which are late 19th and early 20th Century studio portraits, illustrating the huge popularity of pond yachting as a pastime for children at that time.

For more photographs of a nautical flavour head over to Sepia Saturday.

The Crystoleum: Bringing the Art of Photo Colourisation into the Home

Crystoleum sounds like the name of a Victorian fairground attraction, an entrance for which you might expect to see between Strange and Wilson's Aetherscope and the helter skelter. In fact it was another of the many photographic formats which appeared in the 1880s and 1890s and enjoyed a period of popularity which lasted until the Great War.


Edith and Maud Barnes of Ashbourne, c.1883-1885
Cabinet card portrait by Alfred Cox & Co., Nottingham
Image © and courtesy of Nigel Aspdin
This is a standard cabinet portrait, showing Edith and Maud Barnes dressed for a stroll in the noon day sun, complete with fake boulders and a landscape backdrop to complete the outdoors scene. Although they lived in Ashbourne, Derbyshire, where their father William Barnes was an ironmonger, it appears the family visited Nottingham frequently, because several of their photographic portraits were taken at the studio of Alfred W. Cox & Co. Edith was born in mid-1877, Maud roughly two years later, which places this portrait sitting around 1883-1885.


"Bamboo and Fan" card design by Trapp & Münch, Berlin
Cabinet card by Alfred Cox & Co., Tavistock Chambers, Market Place, Nottingham
Turning over the cabinet card reveals a design printed on the reverse which is very similar to "Bamboo and Fan" from Marion of Paris, described by Vaughan (2003) as introduced in 1884, although this particular example is by Trapp & Münch of Berlin.


The card stock used is of a medium intensity grey colour and has the appearance of having been made from recycled pulp in which the darker fibres are still visible, as shown above, of a type which became more commonly used in the mid-to late 1880s.


Edith and Maud Barnes of Ashbourne, c.1883-1885
Colourised cabinet card portrait by Alfred Cox & Co., Nottingham
Image © and courtesy of Nigel Aspdin
A second cabinet portrait, taken from the same negative, is likely to have been produced on the same occasion. The card mount is identical - albeit this one has not been trimmed at the base - but it shows signs of having been hand coloured. Although somewhat faded, the yellow in the hair, pink cheeks and dresses, brownish fur and red hat bands and cloth are still visible. The studio did, after all, bill themselves as "Photographers Miniature & Portrait Painters," and had offered "portraits in oil or crayon" from at least the early 1870s.


Edith and Maud Barnes of Ashbourne, c.1883-1885
Crystoleum portrait on glass
Photograph by Alfred Cox & Co., Nottingham
Image © and courtesy of Nigel Aspdin
The third in this series of similar portraits, while appearing in this image to be somewhat similar, bar the different colouring, is quite another format altogether. Closer examination of the original shows it to have been printed on the back of a slightly convex rectangular piece of fully translucent glass, roughly the same size as the original cabinet card.


Recycled carboard backing of crystoleum portrait
This is backed with a piece of card, apparently reused from an unwanted cardboard-backed print of an engraving, possibly of some European city. (Full marks to the first reader who can tell me what city it is, although it's not likely to have much relevance to this post).


Colourised back of crystoleum portrait
Carefully separating the cardboard from the glass, the owner (not myself) revealed a rather surprising picture, appearing similar to the efforts of a young child in a "paint-by-numbers" book. It was obvious, though, that the colours of this crude picture on the concave side of the glass matched perfectly those visible through the convex side and were, in fact, directly responsible for the not altogether displeasing colourised portrait.


Section of Crystoleum (Jones, 1911)
This portrait is a crystoleum, a format distinct from the crystalotype, an albumen-on-glass process patented by the American John Adams Whipple in 1850, used first for negatives and later for positives. The clearest description I have found of the process involved in producing a crystoleum portrait is by "P.R.S." in Cassell's Cyclopedia of Photography (Jones, 1911), which includes the following brief summary:

A is the front glass, on which a photograph B is pasted face downwards. When dry the photograph is made transparent, and delicate details coloured with ordinary oil colours, but the broad masses of colour are not put on. Another glass D, of the same size and shape as A, as put at the back, but is prevented from touching the photograph by means of strips of paper H, which leave a small space at C. On the back E of the second glass are painted the broad masses of colour. The whole is backed up with a piece of flat cardboard or other backing G, leaving a space F. When viewed from the front the coloyrs are seen through the transparent photograph and the whole has the appearance of a delicately painted picture on glass.

Disassembled crystoleum portrait (Whitman et al, 2007)
Whitman et al (2007) show a disassembled crystoleum portrait (above) and describe the process:

The Crystoleum process was popular from the 1880’s until the 1910’s, and was usually a albumen print face-mounted to convex glass with gum or paste. The paper is then rubbed away with sandpaper until the emulsion layer is exposed. What was left of the paper was made translucent, if needed, with a dry oil, wax or varnish. The fine details were then painted on the back of the photograph, a second piece of convex glass that has been broadly coloured is layered behind the image glass, and the package is bound with a paper backing.

Crystoleum portrait of unidentified young girl, undated
Chromo-Photographie, Jules Delarue, Genève
Image © and courtesy of Nordiska museet/The Nordic Museum
This crystoleum portrait of a young Swiss girl from the Nordic Museum, also usefully disassembled, has the same components, and the web site provides an image showing the back of the front glass with the "fine details" (below).


Crystoleum portrait, back of front glass and front of second glass
The first mention of the crystoleum that I have been able to find in the British newspapers is an advertisement in The Morning Post in June 1882 offering "Lessons given in this new and easily acquired Art of Painting in Oils. Proficiency guaranteed or money will be returned," in Oxford Street, London. This suggests to me that, provided one had an albumen print with which to work and the materials, which could readily be had at the local chemist, no great artistic skills were required to transform the photograph into a work of art.


Crystoleum portrait, back of second glass and front of backing card
Indeed by July 1885 the process was being described in full for readers of The Observer (Anon, 1885). It took another decade for it to reach such far flung parts of the Empire as New Zealand, but in August 1896 residents of Dunedin were regaled with details of how to participate in the delights of the "crystoleum craze" by an enthusiastic contributer to the Otago Witness (Anon, 1896).


Crystoleum portrait, unidentified place and photographer, undated
Image © and courtesy of Länsmuseet Gävleborg/Gävleborg County Museum
As shown by this scene of a country estate, perhaps somewhere in Sweden, the crystoleum process was not limited to portraits, and could be used to very good effect on landscape photographs.

The portrait of Edith and Maud Barnes was taken in the early to mid-1880s, which roughly equates to the period when the crystoleum started to become popular, transforming into something of a do-it-yourself style process. The Barnes crystoleum may of course have been created some time after the original cabinet cards, but it is interesting to speculate whether it was done by the Nottingham studio of Alfred Cox, or perhaps by a member of the Barnes family. Either is conceivable, and we are unlikely to ever know for sure, unless the reused engraving print can be identified as coming from the Barnes household.

If you have a crystoleum in your own collection, I'd be interested in hearing from you and seeing some images, particularly if the subjects are members your own family. Although it appears to have been very popular in late Victorian and Edwardian times, many examples won't have survived and they may not be very common.

References

Anon (1885) All About Crystoleum Painting, Observer, Volume 7, Issue 345, 18 July 1885, Page 4, Courtesy of Early Canterbury Photographers.

Anon (1896) A Lesson in Crystoleum Painting (by Cigarette), Otago Witness, 27 August 1896, p.42, Courtesy of Papers Past.

Anon (2009) Victorian Crystoleums - How they were made, Arthaul.com

Jones, B.E. (1974) Crystoleums, in Cassell's Cyclopedia of Photography, Ayer Publishing (Reprint of the 1911 Edition by Cassell, London), p. 154-155.

Vaughan, Roger (2003) Dating CDV photographs from the designs on the back: The 1880s Page Two, Victorian and Edwardian Photographs - Roger Vaughan Personal Collection.

Whitman, K., Osterman, M. & Chen, J.-J. (2007) The History and Conservation of Glass Supported Photographs, George Eastman House, Advanced Residency Program in Photograph Conservation, p. 36.