Sepia Saturday 170: The Gamekeeper

I trust that Sepia Saturday readers will forgive my contribution this week having little in common with the photo prompt, except in the sense of two men loitering around a doorway. Actually there's not even a doorway in my photograph, although the sharp-eyed will note that there used to be one.

This cabinet portrait is the first photograph in an album given to me several years ago by Jack Armstrong, which is the subject of an ongoing (albeit not very recent) series of Photo-Sleuth articles devoted to documenting, researching and conserving old photograph albums:

• Researching an album from Cleveland, Ohio - Introduction
• Researching an album: (1) A digital photographic and scanned record
• Researching an album: (2) Documenting the album and photographs

Unidentified men outside house
Cabinet card by unknown photographer
Image © and collection of Brett Payne (Jack Armstrong Album)
The cabinet mount is glossy green card with no printed indication of the photographer or the location, which is unfortunate. Based on a geographical analysis conducted of the contents of the album - due to appear as the next article in the series mentioned above, in due course - and careful scrutiny of the building's brickwork style by fellow Sepian Nigel Aspdin, it seems likely that it was taken somewhere in the English Midlands, probably in north-east Staffordshire or southern Derbyshire.


Both men stand with their left hands on their hips and are wearing trousers, jacket, waistcoat and flat caps, superficially very similar, but on closer examination a number of differences are apparent setting them well apart. On the left, the slightly older, moustachioed man has a nicely cut jacket with matching waistcoat, a cravate and what appears to be a pair of check Tweed trousers (perhaps even the Prince of Wales check, commissioned first by Edward VII). His shoes are highly polished, his flat cap (possibly also made of Tweed) sits at a slight angle and he carries a cane in his right hand.


The more hirsute man on the right, however, has a thicker jacket and waistcoat to protect from him from the elements, and with plenty of pockets, well-worn, faded and creased working trousers tucked into calf-length gaiters, which in turn cover the upper parts of a pair of clean, but slightly duller working boots with thick soles. His flat cap, like the rest of his clothes, is unpatterned and rather utitlitarian, covering his hair and with the peak horizontally set above his eyes. His only concession to flair is a spotted cravate, just visible beneath a roughly trimmed beard.


Gamekeepers and dogs at Wemmergill, undated, probably c1900s
Image © Freda Longstaff and courtesy of Lunedale Heritage Image Archive
It occurred to me that the man on the left was probably a landowner, while the other, probably his employee, is most likely a gamekeeper. A dog - possibly a spaniel, although I'm no expert on breeds - the one accessory that a gamekeeper could not do without, sits patiently at his feet. Searching for images of Victorian and Edwardian gamekeepers on the net produced a brace of similar examples, including the group above, complete with a very similar breed of dog, but I remembered that I have another in my collection of images contributed to the archive for Derbyshire Photographers.


Unidentified gamekeeper
Carte de visite by Thomas Roberts of Albert Street, Derby
Image © and courtesy of John Bradley
This full length portrait from the early 1860s is almost certainly of a gamekeeper with his shotgun, sadly without a spaniel, but wearing similar working clothing except for a flat cap, replaced by a fairly low-crowned, practical top hat. His gaiters are almost identical to those worn by our putative gamekeeper in the first image. Unfortunately the subject this one is likewise not identified, leaving us to assume that he was employed on an estate somewhere near Derby.

Thomas Roberts, Derby's first resident photographer, operated studios in Victoria Street, Oakes' Yard, St James' Lane and Albert Street from 1843 intermittently until 1876. His studio was situated in Albert Street in the latter part of this period, from c.1862 onwards, giving us an earliest date for the portrait.


Unidentified subject with gun and dog, c.1865-1867
Carte de visite by Disdéri & Co, 70-72 Brook Street, Hanover Square W.
Finally I include an image that I've had on file for a while, having found it on eBay (although it was too pricey for me to consider purchasing). The carte de visite was produced by, and presumably taken at, the Westminster branch studio of renowned photographer Disdéri, who operated from this particular address (70,71,72 Brook Street) for a relatively short period of three years, providing a narrow date range for the portrait. Disdéri is credited with the introduction, in 1854, and later popularisation of the carte de visite format.

The young man pictured sitting rather unceremoniously on an what appears to be an upturned tub or half-barrel has all the trappings of a gamekeeper, including stout shoes, shoulder patches, a double-barrelled shotgun and a dutiful dog at his feet.


H.R.H. Albert Edward, Prince of Wales
(Left) Detail from portrait by Abdullah Freres, Constantinople, c1868
(Right) Carte de visite portrait by Sergei Levitsky, c1870
Images © The Royal Collection and The Di Rocco Wieler Private Collection
His face looked to me rather familiar, and I wondered if he was a young Albert Edward, Prince of Wales, later to become King Edward VII. Certainly he looks very similar to these two portraits of him taken in the late 1860s.


Carte de visite portraits of H.R.H. Prince Alfred, Duke of Edinburgh
by (Top) James Russell & Sons, Chichester, 1866 (Lower left) S.B. Barnard, Cape Town, August 1867 (Lower right) Johnstone, O'Shannessy & Co., Melbourne, 1867-1868
Images © and courtesy of the National Portrait Gallery
However, while searching for images of the young Prince in the right time frame (1865-1867) I came across several of his younger brother, Prince Alfred, from May 1866 the Duke of Edinburgh and later the Duke of Saxe-Coburg and Gotha. During the period in question he was serving as a Captain in the Royal Navy, in command of the frigate HMS Galatea, and sailed on a voyage around the world from January 1867 until June 1871, interrupted by a trip back to England after a failed assassination attempt in Sydney, Australia.

The National Portrait Gallery has a number of portraits of Prince Alfred, including the four above taken in various studios from 1866 to 1868. It is these portraits that have convinced me that the Disderi CDV is indeed of Prince Alfred, not really masquerading as a gamekeeper, but ready to go out for a spot of pheasant shooting.

To end this addition to my intermittent series of Victorian portraits depicting occupations, I'll leave you with a description of an encounter with a gamekeeper and his dog.

She was watching a brown spaniel that had run out of a side-path, and was looking towards them with a lifted nose, making a soft fluffy bark. A man with a gun strode swiftly, softly out after the dog, facing their way as if about to attack them; then stopped instead, saluted, and was turning downhill. It was only the new game-keeper, but he had frightened Connie, he seemed to emerge with such a swift menace ... He was a man in dark green velveteens and gaiters ... the old style, with a red face and red moustache and distant eyes. He was going quickly downhill. 'Mellors!' called Clifford.

D.H. Lawrence, Lady Chatterley's Lover

References

Archival Gamekeepers, from Archival Clothing.

Andre Adolphe Eugene Disderi (1819-1889), from the photoLondon database.

Hirsch, Robert (2009) The Carte de Visite and the Photo Album (Chapter 4.5), in Seizing the Light: A Social History of Photography, Second edition, McGraw-Hill, reproduced on Luminous Lint.

Biography of and Photographs by Disdéri on Luminous Lint.

Cartes de Visite as Celebrity Portraits

Earlier this week I posted a portrait of Derby clergyman Roseingrave Macklin, taken at the studio of James Brennen in 1862. This carte de visite was from a family photograph album belonginging to fellow photo-sleuth Nigel Aspdin, but Reverend Macklin was not, as far as Nigel is aware, even a distant relative. So what, one might ask, is his portrait doing in an album which probably belonged to Nigel's great-grandmother Mary Ann Aspdin née Dyche (c1833-1913)?


A clue to answering this question lies in the collection of carte de visite and cabinet portraits held by the Derby Local Studies Library. In October 2007 I was kindly permitted to scan a selection of these for reproduction on my Derbyshire Photographers web site. One of those that I scanned is an almost exact copy of Nigel's portrait by Brennen and, in fact, is how I was able to identify the subject, since it is annotated on the reverse. Dated 1862, it was probably taken shortly before Macklin's retirement due to ill health early in 1863.


Macklin appears to have visited another Derby studio - that of E.N. Charles - probably in late 1863, not long after his retirement. Instead of being attired in his clercial vestments, he is pictured leaning on a pedestal, perhaps admiring the large campana-shaped vase, in the style produced by the Royal Crown Derby China Works in the late 18th and early 19th Centuries.


Although by far the majority of the portraits in Nigel's album are unidentified, it is clear that there are more subjects who are not family members. For example, two later portraits depict men wearing what appear to be mayoral chains, and there is at least one other clergyman. Nigel suspects that a good proportion of the photographs are of acquaintances of the album's presumed owner Mary Ann Aspdin or her husband Richard Wilkinson Aspdin (1822-1885).


Carte de visite portrait of Napoleon III
by Disdéri
The carte de visite was not simply a standard card size. In 1854, Paris daguerreotypist André Adolphe Disdéri patented a method by which four, six, or even eight photographs could be exposed on a single glass plate, making the process of printing a great deal easier, and therefore cheaper. The popularised card mount size of 2½ x 4 inches was roughly the same as a visiting card, hence the name. A story of Emperor Napoleon III stopping at Disderi's studio to have his portrait taken en route to fight the Austrians in May 1859 is probably apocryphal, but it was around that time that the format started to become much more popular.


Morning Post (London, England), 7 March 1860
Although often referred to only in fairly general terms in the photohistory texts that I have read, I get the impression that the establishment of the carte de visite as a standard photographic portrait for the ordinary person happened slightly after cdv portraits of well known people had become collectable items. From advertisements placed in newspapers, it is clear that English studios began offering portraits in the carte de visite format at least as early as March 1860, when Mayer Brothers of Regent Street, London referred to it as "this new style."


Morning Post (London, England), 11 August 1860
The craze for carte de visites, both as collectibles and as a cheap method of portraiture, was given a substantial boost by royal patronage, Queen Victoria herself owning dozens of albums. Clearly those who would consider purchasing a hundred copies of a portrait of themselves, must have been expecting some considerable demand for said likenesses amongst their acquaintances.


The Derby Mercury, 16 July 1862
Although The Derby Mercury newspaper reveals no advertisements for cartes de visite as early as these, it is clear from several dated examples that Derby was not long behind the larger centres in adopting the new format for personal portraits. Nor do they appear to have been reticent about indulging in the new craze. In July 1862 stationer T.A. Johnson of 33 Victoria Street announced the recent arrival "from the leading English, German and French Houses, a very large assortment of the newest and most elegant Carte de Visite Albums."


The Derby Mercury, 12 November 1862
In November that year, E. Clulow and Son of 36 Victoria Street advertised a stock of carte de visite albums for sale, to hold 20, 30 or 50 portraits, and in December J.A. Rowbottom of Iron Gate offered "carte de visite albums and portraits in great variety."


The Derby Mercury, 28 January 1863
The first to advertise actual carte de visite portrait sittings in The Derby Mercury was the new Derby branch of the Leicester photographic firm John Burton and Sons, with a studio above Clulow's bookshop. As well as a hefty list of notable patrons including, supposedly, His Royal Highness the Late Prince Consort, "their carte de visite portraits, of which they have already taken many thousands, are universally admired ..."


A detailed analysis of early photographers operating in Derby shows that there were already seven resident practitioners at the advent of the carte de visite but, within a couple of years of its appearance, this number had doubled. Obviously portrait sittings were in great demand.

The fashion for collecting albums full of photographs of royalty and the famous is reported to have been on the wane by the late 1860s. Albums compiled in the 1870s and 1880s that I have seen are indeed characterised by a somewhat lower celebrity content, and the nature of newspaper advertisements by stationers and photographers tends to reflect that trend. They are still present to some degree in some albums, even those dating as late as the 1900s, but I suspect many have been culled to satisfy the demands of collectors in more recent years.

References

Coe, Brian (1976) The Birth of Photography: The story of the formative years 1800-1900, London: Spring Books, 144p.

Pols, Robert (2002) Family Photographs, 1860-1945: A Guide to Researching, Dating and Contextualising Family Photographs, Surrey, England: Public Record Office, 166p.

Rosenblum, Naomi (1981) A World History of Photography, New York: Abbeville Press, 671p.