Antonia Laurence-Allen PhD thesis Vol. 1

290 Pages·2012·1.69 MB·English

CLASS, CONSUMPTION AND CURRENCY:
COMMERCIAL PHOTOGRAPHY IN MID-VICTORIAN
SCOTLAND
Antonia Laurence-Allen
A Thesis Submitted for the Degree of PhD
at the
University of St Andrews
2012
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Class, Consumption and Currency:

Commercial Photography in Mid-Victorian Scotland

Antonia Laurence-Allen

A Thesis Submitted for the Degree of PhD
at the
University of St Andrews

2012
“Class, Consumption and Currency:
Commercial Photography in Mid-Victorian Scotland”

By Antonia Laurence-Allen

A thesis submitted for the degree of
Doctor of Philosophy
January 2012
University of St Andrews

Volume I of II:

Text
I, Antonia Laurence-Allen, hereby certify that this thesis, which is approximately 75,000
words in length, has been written by me, that it is the record of work carried out by me
and that it has not been submitted in any previous application for a higher degree.
I was admitted as a candidate for the degree of PhD in the History of Photography in
September, 2008. The higher study, for which this is a record, was carried out in the
University of St Andrews between 2008 and 2011.
Date Signature of candidate

I hereby certify that the candidate has fulfilled the conditions of the Resolution and
Regulations appropriate for the degree of PhD in the History of Photography in the
University of St Andrews and that the candidate is qualified to submit this thesis in
application for that degree.
Date Signature of supervisor

In submitting this thesis to the University of St Andrews I understand that I am
giving permission for it to be made available for use in accordance with the regulations
of the University Library for the time being in force, subject to any copyright vested in
the work not being affected thereby. I also understand that the title and the abstract
will be published, and that a copy of the work may be made and supplied to any bona
fide library or research worker, that my thesis will be electronically accessible for personal
or research use unless exempt by award of an embargo as requested below, and that the
library has the right to migrate my thesis into new electronic forms as required to ensure
continued access to the thesis. I have obtained any third­party copyright permissions that
may be required in order to allow such access and migration, or have requested the
appropriate embargo below.

The following is an agreed request by candidate and supervisor regarding the electronic
publication of this thesis: Embargo on both printed and electronic copies for the same fixed
period of 2 years and permanent embargo of the electronic images on the following
grounds: publication would preclude future publication; copyright issues.
Date Signature of candidate
Signature of supervisor
Table of Contents

Table of Contents i
Abstract ii
Acknowledgements iii
List of Illustrations* iv
Introduction 1
Section One: Setting the Scene 21
Chapter 1: Exhibitions Frame the Scene 22
Chapter 2: Photographers Travel onto the Scene 64
Section Two: Case Studies 110
Chapter 3: Dundee Old and New 112
Chapter 4: Lanarkshire’s Principal Places 156
Chapter 5: Aberdeen Citizens 190
Conclusion 231
Bibliography 246
Unpublished Sources 247
Published Books 249
Pre-1900 Journal and Newspaper Articles 261
Post-1900 Journal and Newspaper Articles 268
Web Pages 271
*NB: Images are in a separate volume.

i
Abstract

This thesis examines a thirty year span in the history of Scottish photography,
focusing on the rise of the commercial studio from 1851 to assess how images were
produced and consumed by the middle class in the mid-Victorian period.

Using extensive archival material and a range of theoretical approaches, the
research explores how photography was displayed, circulated, exploited and discussed in
Scotland during its nascent years as a commodity. In doing so, it is unlike previous
studies on Scottish photography that have not attended to the history of the medium as it
is seen through exhibitions or the national journals, but instead have concentrated on
explicating how an individual photographer or singular set of images are evidence of
excellence in the field. While this thesis pays close attention to individual projects and
studios, it does so to illuminate how photography functioned as a material object that
equally shaped and was shaped by ideological constructs peculiar to mid-Victorian life in
Scotland. It does not highlight particular photographers or works in order to elevate their
standing in the history of photography but, rather, to show how they can be used as
examples of a class phenomenon and provide an analytical frame for elucidating the
cultural impact of commercial photography.

Therefore, while the first two chapters provide a panoramic view of how
photography was introduced to the Scottish middle class and how commercial
photographers initially visualized Scotland, the second section is comprised of three
‘case studies’ that show how the subject of the city, the landscape and the portrait were
turned into objects of cultural consumption. This allows for a re-appraisal of photographs
produced in Scotland during this era to suggest the impact of photography’s products and
processes was as vital as its visual content.

ii
Acknowledgements

First and foremost, I wish to express utmost thanks to the many librarians in local
institutions across Scotland for their help accessing archival data. Their interest in my
work and willingness to provide their time has made an indelible mark on this project.
My thanks also extends to my supervisor Tom Normand, whose faith in my abilities has
driven me forward, and to the faculty at the School of Art History at University of St
Andrews, whose support helped me acquire the funding and resources that have allowed
me to enjoy this research and writing. Finally, deep gratitude is proffered to my closest
friends and relatives, who have read and reviewed my writing, listened to my thoughts
and ideas and inspired me. Thank you.

iii
List of Illustrations

Section One – Setting the Scene

Chapter One: Exhibitions Frame the Scene
1. Roger Fenton. Pittville Spa, Cheltenham, 1852. Salted paper print. George Eastman
House, Rochester, NY.
2. Philip Henry Delamotte. Kenilworth Castle, c. 1852. Albumen print from collodion
negative. Swansea Museum and Library, Swansea, UK.
3. Sir William J. Newton. Burnham Beeches, c. 1850. Calotype. Royal Photographic
Society, London, UK.
4. James Valentine. George William Fox Kinnaird of Rossie, 1863. Carte de visite.
National Portrait Gallery, London, UK.
5. John Dillwyn Llewelyn. Sea Shore, South Wales c. 1853. Calotype. Swansea
Museum and Library, Swansea, UK.
6. John Dillwyn Llewelyn. Inside Rock Cave, Dunraven, c. 1853. Salted paper print.
George Eastman House, Rochester, NY.
7. Philip Henry Delamotte. Brinkburn Priory, c. 1853. Albumen print from collodion
negative. Swansea Museum and Library, Swansea, UK.
8. James Ross and John Thomson. Edinburgh from the Castle, c. 1850. Albumen
print. National Galleries of Scotland, Edinburgh, UK.
9. George Washington Wilson. Brig O’Balgownie, c. 1853. Modern print from
collodion negative. University of Aberdeen Special Collections, Aberdeen, UK.
10. George Washington Wilson. Bridge of Don, c. 1854. Modern print from collodion
negative. University of Aberdeen Special Collections, Aberdeen, UK.
11. George Washington Wilson. A Weeping Birch above Braemar, c. 1855. Modern
print from collodion negative. University of Aberdeen Special Collections,
Aberdeen, UK.
12. George Washington Wilson. Fall of the Garrvalt, Braemar, c.1855. Modern print
from collodion negative. University of Aberdeen Special Collections, Aberdeen,
UK.
13. Roger Fenton. Rosyln Chapel, 1856. Salted paper print. Victoria and Albert
Museum, London, UK.
iv
14. Horatio Ross. The Scottish Highlands, 1850-59. Albumen print. Image from
website “ArtNet.”
15. Horatio Ross. Dead Stag, c. 1856. Salted paper print. Metropolitan Museum of Art,
New York, NY.
16. George Washington Wilson. Rubislaw Granite Quarries, c. 1855. Modern print
from collodion negative. University of Aberdeen Special Collections, Aberdeen,
UK.
17. Frederick Scott Archer. Kenilworth Castle, c. 1854. Albumen print from collodion
negative. Image from website “the scream online.”
18. James Good Tunny. Edinburgh from Calton Hill, c. 1854. Albumen print from
collodion negative. Edinburgh City Libraries Museums and Galleries, Edinburgh,
UK.
19. Thomas Rodger. A Caricature (Thomas Rodger [Snr.] and Eduard Remenyi), 1855.
Paper print. University of St Andrews Library Special Collections, St Andrews,
UK.
20. George Berwick and Thomas Annan. Glasgow Observatory, c. 1854-5. Albumen
print from collodion negative. University of Glasgow, Department of Astrophysics,
Glasgow, UK.
21. George Washington Wilson. Aberdeen Citizens, Portrait Group One, 1857. Photo
montage paper print. Aberdeen Museums and Galleries, Aberdeen, UK.
22. James Valentine. Self Portrait, c. 1855. Carte de visite. University of St Andrews
Special Collections, St Andrews, UK.

Chapter Two: Photographers Travel onto the Scene.
1. David Octavius Hill and Robert Adamson. St Andrews, North Street, Fishergate,
Women and Children Baiting the Line, c. 1845. Calotype. National Galleries of
Scotland, Edinburgh, UK.
2. George Washington Wilson. Lower Fall of Foyers, c.1860. Modern print from
collodion negative. University of Aberdeen Special Collections, Aberdeen, UK.
3. George Washington Wilson. Staffa inside Fingal’s Cave, c.1860 Modern print from
collodion negative. University of Aberdeen Special Collections, Aberdeen, UK.
4. John Cramb. Jerusalem from the Road to Bethany, no. 1. From the album
Jerusalem in 1860: A Series of Photographic Views, 1860. Albumen print. National
Library of Scotland, Edinburgh, UK.
5. Horatio Ross. Stag Hunting [Ned and Colin Ross with Hunt Trophy], c. 1857.
Albumen print. Metropolitan Museum of Art, New York, NY.
v
Section Two – Case Studies

Chapter Three: Dundee Old and New
1. Dundee Old and New, 1880. Cover of the leather-bound album. Dundee City
Archives, Dundee, UK.
2. Thomas Rodger. Portrait of James Valentine, c. 1854. Carte de visite. University of
St Andrews Special Collections, St Andrews, UK.
3. James Valentine (attributed). Frank Henderson, c. 1870s. Frontispiece for Dundee
Old and New. Paper print. Dundee City Archives, Dundee, UK.
4. James Valentine. Loch Katrine; the Path by the Loch, c. 1860s. Albumen print
from collodion negative. University of St Andrews Special Collections, St
Andrews, UK.
5. George Washington Wilson. The Silver Strand. Loch Katrine, first photographed c.
1858. Modern print from collodion negative. University of Aberdeen Special
Collections, Aberdeen, UK.
6. James Valentine. Holyrood from Calton Hill, c. 1874. Albumen print from
collodion negative. University of St Andrews Special Collections, St Andrews,
UK.
7. James Valentine. God Hath Made of One Blood All Nations of Men. Anti-Slavery
Envelope for Eli Burrit’s Universal Brotherhood Campaign, c. 1851. Engraving.
University of St Andrews Special Collections, St Andrews, UK.
8. James Valentine. Arbitration for the Freedom of Commerce and Universal
Brotherhood. Eli Burrit Campaign Envelope, c. 1851. Engraving. University of St
Andrews Special Collections, St Andrews, UK.
9. James Valentine. 23 High Street Portrait Studios, c. 1858. Printed Advertisement.
University of St Andrews Special Collections, St Andrews, UK.
10. James Valentine. Dundee from the Law, c. 1871. From Dundee Old and New.
Albumen print from collodion negative. Dundee City Archives, Dundee, UK.
11. James Valentine. Baxter’s Dens Works, 1867. Albumen print from collodion
negative. University of Dundee Archives, Dundee, UK.
12. James Valentine. Baxter’s Dens Works, 1867. Albumen print from collodion
negative. University of Dundee Archives, Dundee, UK.
13. James Valentine. The Royal Infirmary, c. 1871. From Dundee Old and New.
Albumen print from collodion negative. Dundee City Archives, Dundee, UK.
14. James Valentine. The Albert Institute, c. 1871. From Dundee Old and New.
Albumen print from collodion negative. Dundee City Archives, Dundee, UK.
vi