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POLLOCK, ARTHUR JULIUS
(1835–1890), HENRY ALEXANDER
RADCLYFFE (1826–1889), AND SIR
JONATHAN FREDERICK (1783–1870)
English
Baron Pollock was Lord Chief Baron of the Exchequer
and succeeded Sir Charles Eastlake as second president
of the Photographic Society from 1855 to 1869. Sir
Frederick insisted that photography should be called
a practical science rather than an art and we have him
to thank for suggesting that the society should form a
permanent collection. He married twice and had a very
large family. Henry was the eleventh child from his fi rst
marriage, Julius was the thirteenth^ and the fi rst son of
his second marriage. Like their father, both sons were
members of the Photographic Society of London.
Henry was educated at Trinity College, Cambridge
and became Master of the Supreme Court of Judicature.
He published ‘Directions for Obtaining Positive Photo-
graphs upon Albuminized Paper’ in the Society’s Journal
in1853 and a glycerine process for dry-collodion plates
in 1856. As well as conventional half-plate prints he
produced stereo images and there are thirteen examples
in the Getty Collection.
Both brothers photographed at the family home Hat-
ton, west of London and in North Devon. The half-broth-
ers were obviously close and in 1860 Henry married
Amelia Bailey from Lynton in North Devon and Julius
married her sister Ellen a year later.
Julius was educated at Kings College, London, and
trained as a physician. He made photographic studies of
people with deformities and an album of his work is in
the collection of the Royal College of Medicine.
Ian Sumner
PONTI, CARLO (c. 1822–1893)
Optician and photographerCarlo Ponti, optician and photographer, was born in
Sagno in the Canton Ticino around 1822–1824. As an
adult he moved to Paris, where he worked in the Cauch-
oix studio for about fi ve years. He then moved to Venice
for good in 1852 and opened a little optician’s shop in
piazza San Marco 52. His high quality products soon
made him famous throughout the Veneto province, and
for many years he had sole rights on some of them. He
began to expand in many directions, working as an opti-
cian, or creating and built instruments for astronomy
and physics and photographic lenses (especially for
panoramic shots). He sold his own creations, as well
as those of other companies; and was a photographer,
editor and distributor of photographic prints, both his
own and others. Thus he was a versatile personality,
informed and attentive to scientifi c innovations, the
demands of the market and progress in know-how in
the fi eld of photography. He enlarged his store, and
his clientele and sales grew. He became famous, and
obtained various forms of recognition: on 30 May
1854 he was awarded a silver medal for photographic
equipment, lenses in particular, at the Esposizione
Industriale Veneta (industrial exhibit for the Veneto
province). In the same year he started to photograph
Venice with a systematic thoroughness, and in 1855
he already had a catalogue of 160 photographic views
of Venetian architecture (Guida fotografi ca illustrata
della città di Venezia), each with a historical and aes-
thetical caption. An introductory text goes through the
evolution of Venetian architecture. Ponti presented the
work at the Universal Exhibition in Paris in 1855 as a
photographic history of the various architectural styles
typical of the city, and he won a prize for it. His multi-
farious career made it necessary for him to collaborate
with different people, like Francesco Maria Zinelli and
Giuseppe Beniamino Coen. He also worked with the
most important photographers in Venice, like Carlo
Naya (1816–1882), Domenico Bresolin (1813–1899),
and Antonio Fortunato Perini (1830–1879). Domenico
Bresolin, painter and photographer, studied at the Ac-
cademia di Belle Arti in Venice. Ever since the 1850s,
he had concentrated his efforts in the calotype process,
doing important views of the monuments of Venice.
His photographic prints, which he also did as albumen
prints, are among the best in the period in terms of their
defi nition and the quality of the printing. In 1864 he
obtained the chair in landscape at the Accademia (the
position had formerly been held by Francesco Bagnara),
and stopped taking photographs. In that year, Bresolin
handed over his studio and archive to Carlo Ponti, who
then distributed the other photographer’s images with
the “Ponti” stamp, thus creating quite a few attribution