A Collection of Victorian Era Portraits by Lady Clementina Hawarden (1860s)

Clementina Maude, Viscountess Hawarden, née Clementina Elphinstone Fleeming (1822 – 1865), commonly known as Lady Clementina Hawarden, was a noted English portrait amateur photographer of the Victorian Era, producing over 800 photographs mostly of her adolescent daughter.

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A photograph of a young woman in a dancing costume, possibly Isabella Hawarden (b. 1846), taken by Clementina, Lady Hawarden, in about 1863 © The Board of Trustees of the Science Museum via

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A photograph of Isabella Grace Hawarden (b. 1846) taken by her mother, Clementina, Lady Hawarden, in about 1862 © The Board of Trustees of the Science Museum via

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Two women by window, one standing and one kneeling. A photograph of two young girls, probably Clementina (b. 1847) and Florence Hawarden (b. 1849), taken by Clementina, Lady Hawarden, in about 1860 © The Board of Trustees of the Science Museum via

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Portrait of ‘Clementina Maude’ by Lady Clementina Hawarden, albumen print, 1863, woman reading seated beside window © The Board of Trustees of the Science Museum via

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Woman on balcony. A photograph of Clementina Hawarden (b. 1847), taken by her mother, Viscountess Clementina Hawarden in about 1862 © The Board of Trustees of the Science Museum via

Amazing Victorian Photography by Julia Margaret Cameron

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The Gardener’s Daughter by Julia Margaret Cameron, 1867 via

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Magdalene Brookfield by Julia Margaret, 1865 via

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Mary Ann Hillier by Julia Margaret Cameron, 1873 via

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Lionel Tennyson with bow & arrow by Julia Margaret Cameron, 1863 via

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The Rosebud Garden of Girls by Julia Margaret Cameron, 1868 via

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Gretchen by Julia Margaret Cameron, 1870 via

 

A Collection of Victorian “Carte de Visites”

The carte de visite was a type of small photograph which was patented in Paris by photographer André Adolphe Eugène Disdéri in 1854.  It was a small, cheap portrait format which made photography available to the masses.

It was usually made of an albumen print, which was a thin paper photograph mounted on a thicker paper card.

The Carte de Visite was slow to gain widespread use until 1859, when Disdéri published Emperor Napoleon III’s photos in this format. This made the format an overnight success.

The new invention was so popular it was known as “cardomania”and it spread throughout Europe and then quickly to America and the rest of the world.

The immense popularity of these card photographs led to the publication and collection of photographs of prominent persons.

Each photograph was the size of a visiting card, and such photograph cards were traded among friends and visitors.

Albums for the collection and display of cards became a common fixture in Victorian parlors.

By the early 1870s, cartes de visite were supplanted by “cabinet cards,” which were also usually albumen prints, but larger, mounted on cardboard backs.

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Contemporary carte de visite, 1860s via

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Victorian carte de visite circa 1880s via

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One of the first cartes de visite of Queen Victoria taken by photographer John Jabez Edwin Mayall via

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Napoléon III and his wife Eugenie, cartes de visite by Disderi, circa 1865 via

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Carte de visite photograph of Ella Wesner, circa 1872, the most celebrated male impersonator of the Gilded Age Vaudeville circuit. via

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 1860s original/vintage albumen carte de visite of a lovely young California bride in her flowing white wedding dress taken by the pioneer daguerreotypist from San Francisco, William Shew via

Beautiful Victorian Portraits by Lady Clementina Hawarden

Lady Clementina Hawarden (1822 – 1865) was a noted portrait photographer of the Victorian Era.

She turned to photography in late 1857 or early 1858, whilst living on the estate of her husband’s family in Dundrum, Co. Tipperary, Ireland. A move to London in 1859 allowed her to set up a studio in her elegant home in South Kensington.

The furniture and characteristic decor of an upper-class London home was removed in order to create mise-en-scène images and theatrical poses within the first floor of her home – Hawarden’s characteristic portraits include her daughters Isabella Grace, Clementina, and Florence Elizabeth.

Hawarden produced albumen prints from wet-plate collodion negatives, a method commonly used at the time. Her work was widely acclaimed for its “artistic excellence”. Hawarden was considered an amateur photographer and while appreciated for her work, never became widely known as a photographer. Her photographic years were brief but prolific. Hawarden produced over eight hundred photographs from 1857-1864 before her sudden death. she died after suffering from pneumonia for one week, aged 42. It has been suggested that her immune system was weakened by constant contact with the photographic chemicals.

Her work is likened to Julia Margaret Cameron, another Victorian female photographer.

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A photograph that is possibly a self-portrait of Clementina, Lady Hawarden, taken in about 1862 via

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Isabella by Clementina, Lady Hawarden via

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Isabella by Lady Clementina Hawarden via

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Clementina reading while sitting at the window wearing some kind of fancy dress or theatrical costume, ca. 1862-63 by Lady Clementina Hawarden via

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Clementina, reading a book by Clementina, Lady Hawarden via

Jenny Lind CDV by Emilie Bieber (1860s)

Johanna Maria “Jenny” Lind (1820 – 1887) was a Swedish opera singer, often known as the “Swedish Nightingale”. One of the most highly regarded singers of the 19th century, she performed in soprano roles in opera in Sweden and across Europe, and undertook an extraordinarily popular concert tour of America beginning in 1850. She was a member of the Royal Swedish Academy of Music from 1840.

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Jenny Lind by Emilie Bieber albumen carte-de-visite, 1860s © National Portrait Gallery, London via

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Otto Moritz David Goldschmidt; Jenny Lind by Emilie Bieber albumen carte-de-visite, 1860s © National Portrait Gallery, London via