1085
The cost of membership was 10 shillings per annum
to cover expenses. John Richard Major was secretary
and treasurer. Every member sent him the requested
number of copies of the same un-mounted image and
he compiled and posted out a complete set of differ-
ent prints to each of them. In some cases the recipient
incorporated these prints into their own albums (Pol-
lock album, Arnold Crane Collection, Getty), others
mounted them on individually in a portfolio (Eaton
Collection, Norfolk Record Offi ce). Only two sets of
bound exchange clubs prints are known to exist. They
are the 1855 and 1857 Exchange Club albums of Lady
Augusta Mostyn, which have printed title and content
pages (IMP/GEH), and of Henry Peach Robinson
(RPS/NmeN).
The photographic exchange operated by the Photo-
graphic Society Club produced a typographically printed
album with pasted-in photographs in a limited edition of
about 50. The Chiswick Press imprint and typographic
design suggests that Joseph Cundall, publisher and club
member was actively involved. As well as a printed title
and photographer’s name, each print was accompanied
by technical details, such as lens aperture and exposure
time, and a page of poetry or prose. Benjamin Breck-
nell Turner was the fi rst secretary of the Photographic
Society Club exchange, nominally, he was succeeded
by Philip Henry Delamotte. Forty-four photographers
contributed to the 1855 album and thirty-nine to the
1857 album.
The contributors to one or both albums were J. An-
thony, A. Batson, F. Bedford, Sir J. Coghill Bart., C.
Conway Jr., J. Cundall, F.E. Currey, H. W. Diamond,
P.H. Delamotte, R. Fenton, J.J. Forester, G.B. Gething
J. J. Heilman, T.H. Hennah, F. Horne, R. Howlett, A
Kerr, Rev. J. Knight, J.D. Llewlyn, R.W.S. Lutwidge,
Mary E. Lynn, Rev F S Marshall, Count de Montizion,
T.G. Mackinlay, J.R.Major, J.R. Major D.D., J.L.
Mansell, W.W. Nichol, Lord O’Fitzgerald, Dr Percy,
Lieut Petley, W.C. Plunkett, A.J. Pollock, H. Pollock,
L. Price, O.G. Rejlander, G. Shadbolt, J.Stewart, G
Stokes, W.J. Thoms, H. Taylor, A. Rosling, B.B. Turner,
W.E.Vivian, H. White. Operational details and costs are
yet to emerge, but remaining copies of the album were
available at 10 Gns (£10 10s).
The two early photographic exchange clubs set na-
tional standards for the production of photographs and
they established image types for the rest of the nineteenth
century. Both these exchange clubs ceased to operate
after 1858. With the commercialisation of photography,
many of the fi rst generation of practitioners stopped
photographing. One group, including Delamotte, Fen-
ton and Lake Price proposed a commercial exchange,
the Photographic Association (Ltd), with shareholders
and management salaries. Some became members of
other exchanges, Shadbolt become Vice-President of
the North London Photographic Association, and, in
particular, several joined the Amateur Photographic
Association, which was to become the main mechanism
for the exchange of photographs during the 1860s.
Carolyn Bloore
See also: Fenton, Roger; Fry, Peter Wickens; and
Diamond, Hugh.Further Reading
Bloore, C. and Seiberling G., A Vision Exchanged, London,
V&A, 1985.
Photographic Album for 1855 and Photographic Album for
1857 , IMP/GEH, RPS/NmeN. Among other collections
holding copies of these albums are: Gernsheim Collection,
Humanities Research Centre, University of Texas at Austin;
Ottawa, National Gallery of Canada; Santa Monica, J. Paul
Getty Museum.
Photographic Exchange Club albums,1855 and 1857, Interna-
tional Museum of Photography at George Eastman House;
Royal Photographic Society Collection at the National Mu-
seum for Photography, Film and Television.
Seiberling, G., with Bloore, C., Amateurs, Photography and the
Mid-Victorain Imagination, Chicago 1986.PHOTOGRAPHIC JEWELRY
Jewelry that contains an image rather than a stone com-
bines decoration (jewelry) with function (an image of
a loved one). Photographs began replacing cameos and
miniatures beginning with daguerreotypes. The photo-
graphic method dictated the style of the jewelry. Da-
guerreotypes required a glass covering and appeared in
traditional jewelry such as rings, pendants, lockets, and
bracelets. Tintypes took a decorative form as suspender
clasps and belt buckles. The history of photographic
jewelry spans from the daguerreotype to the present.
Worn by men, women, and children photographic
jewelry lent itself to a variety of settings depending
on sex and age. Women generally selected pins, lock-
ets, rings, bracelets, and even coat buttons including
matched sets of bracelets, earrings, and necklaces. Men
favored keywinds (used to wind watches), watch fobs,
rings, cuff links, stick pins, and coat buttons.
Before the late nineteenth century, all of these pieces
were custom-made for specifi c clients with unique
images. Individuals interested in owning one could
purchase it directly from a photographic studio or have
a jeweler insert the picture into a setting. It took skill
to create the item so that the image was not damaged
when set into the piece. Jewelers created specially made
pieces, using precious metals and marketed them to af-
fl uent clients. Costume jewelry settings made of brass
also existed. With the advent of mail order catalogs in the
late nineteenth century customers could choose photo
garter buckles, belt buckles, charms and buttons to show
off paper prints or tintypes usually covered with a piece