992
Louis-Antonin became a member of the Société
française de photographie in 1884 and joined the Cham-
bre syndicale de la photographie in 1886, followed by
Etienne in 1902. The brothers were awarded prizes in
several exhibitions, including the Expositions Univer-
selle, Paris of 1889 and that of 1900, for views, often of
considerable technical achievement, that were produced
using a Moëssard panoramic camera. Their negatives
of paintings exhibited in the annual Paris Salon were
published in phototypogravure, creating lithograph-like
images that were probably seen as more faithful to the
original works.
In view of these accomplishments, the French gov-
ernment in 1898 awarded Neurdein Frères a concession
to manage the photographic archives of the Service
des Monuments historiques. This responsibility, which
continued until World War I, involved maintaining the
collection and printing and selling photographs from
existing negatives by many artists. The fi rm also re-
corded additional historic monuments, particularly in
Corsica, adding a thousand glass plate negatives that
still exist in the archives. These activities left less time
for the fi rm’s other work, and early in the new century it
merged with the Lévy fi rm as “Lévy et Neurdein réunis,
44, rue Letellier, Paris,” operating under that designation
into the 1920s.
Albumin prints, frequently large, by Neurdein Frères
are found in many souvenir albums put together by Brit-
ish and American tourists to record their travels on the
Continent. Such works preserve an architectural heritage
that often has been altered or lost. The fi rm’s popular
views of Paris and of the Exposition Universelle of 1900
were issued in albums of mounted albumin prints and
published in photogravure, often following a fi xed order
of subjects. Through these images, as well as their pan-
oramic cityscapes and their controversial fi gure studies
from the North African colonies, Neurdein Frères made
a signifi cant contribution to the photographic record of
their time.
Donald Rosenthal
See also: Architecture; Orientalism; Woodburytype,
Woodburygravure; Galerie Contemporaine (1876–
1884); Nadar (Gaspard-Félix Tournachon); Marey,
Etienne Jules; Alinari, Fratelli; Société française de
photographie; and Expositions Universelle, Paris
(1854, 1855, 1867, etc.).
Further Reading
Alloula, Malek, The Colonial Harem, Minneapolis: University
of Minnesota Press, 1986.
Auer, Michèle, and Michel Auer, “Neurdein.” In Encyclopédie
internationale des photographes de 1839 à nos jours, Her-
mance, Switzerland: Camera Obscura, 1985.
Khemir, Mounira, “ND Photographe.” In L’Orientalisme:
L’Orient des photographes au XIXe siècle, Paris: Centre
National de la Photographie, 1994.
Mathews, Oliver, Early Photographs and Early Photographers,
London: Reedminster Publications, 1973.
Neurdein Frères, Extrait des collections photographiques de
Neurdein Frères: peintures et sculptures des musées na-
tionaux: peintures et sculptures diverses, Paris: Neurdein
Frères, 1895.
Neurdein Frères, Le panorama salon d’après les clichés pho-
tographiques de Neurdein frères, Paris: Ludovic Baschet,
1895.
Neurdein Frères, Catalogue des collections de sujets édités dans
le format carte postale par Neurdein frères, Paris: Neurdein,
1900.
Neurdein Frères, and Maurice Baschet, Le panorama: exposition
universelle,1900...avec les photographies de Neurdein frères
et Maurice Baschet, Paris: Ludovic Baschet, 1900.
Sebbar, Leïla, and Jean-Michel Belorgey, Femmes d’Afrique
du Nord: Cartes postales (1885–1930), Saint-Pourçain-sur-
Sioule [Auvergne]: Bleu autour, 2002.NEVILL, LADY CAROLINE EMILY
(1829–1887); AUGUSTA, LADY
HENRIETTA (1830–1912); AND
FRANCES, LADY ISABEL MARY
(1831–1915)
The 1852 exhibition at the Society of Arts in London
included A Portrait by Lady Augusta Nevill, together
with Portrait of a Lady by her sister Lady Isabel. With
their sister Lady Caroline, they were the daughters of
William Nevill, 4th Earl of Abergavenny.
‘The Ladies Nevill’ contributed two collections of
work entitled Portraits and Groups and Portrait Groups
to the 1854 exhibition of the Photographic Society of
London, of which they were all members. All their im-
ages exhibited in 1852 and 1854 were described as by
the collodion process.
These appear to be the only two occasions the ladies
exhibited their work in major exhibitions, preferring
instead to circulate images through the Photographic
Exchange Club.
The Photographic Exchange Club album for 1855
contains two images by Lady Augusta, of the family
home, Allington Castle in Kent, one by Lady Caroline,
of Malling Abbey, and one titled Allington, Kent by
L.F.C.Nevill whose identity cannot be confi rmed. All
are by le Gray’s Waxed Paper process.
Two years later, the 1857 album included Birling,
Kent by Lady Caroline, and two views of Eridge, East
Sussex by Lady Augusta Mostyn. Lady Augusta married
the Hon. Thomas Lloyd-Mostyn in 1855.
There are no records of their involvement with pho-
tography after 1857.
John Hannavy