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

 

Vintage Venice Photogravures (1896)

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Photogravure, Basilica St. Mark,  Church Detail, Venice, Italy, 1896

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Photogravure, Basilica St. Mark Church, Venice, Italy, 1896 via

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Photogravure, Bronze Gate, Statues, Campanile, Venice, Italy, 1896 via

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 Photogravure of the courtyard fountain of Ducal Palace, Venice, Italy, 1896 via

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Photogravure, Palace Vendramin Calergi, Grand Canal, Cannaregio, Venice, 1896 via

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Photogravure, , Main Entrance Architecture, Venice, Italy, 1896 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

Eldon House (1895)

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Interior view of Eldon House, 1895 – note the abundance of bric-a-brac and elaborate Victorian furnishings. Eldon House was built in 1834 for John Harris, Treasurer of the London District, and occupied by his family – his wife Amelia and their eight children. It was first named Eldon Terrace, shortly thereafter changed to Eldon House – via lib.uwo.ca

Lillian Russell as Patience (1882)

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Patience is a comic opera in two acts with music by Arthur Sullivan and libretto by W. S. Gilbert. The opera is a satire on the aesthetic movement of the 1870s and ’80s in England and, more broadly, on fads, superficiality, vanity, hypocrisy and pretentiousness; it also satirizes romantic love, rural simplicity and military bluster. Photo: Lillian Russell as Patience at the Bijou Opera House in New York, 1882 via