1363
logical study. The fi ndings of scholarly, scientifi c, and
government sponsored enterprises as well fostered a
demand from the mid-century on for illustrated accounts
of these activities in the popular journals. Overall, the
quest for new knowledge verifi able through the agency
of photography, among other systems of recording, has
been characterized as a “compulsive visibility” (Marien,
2002, 79)—a double quest for knowledge, one related
to an ideology of power, the other to a democratic ide-
alism that attempted to bring cultural enlightenment to
those accorded a place within the domains of western
economies.
Gary D. Sampson
See also: Royal Engineers; Mission héliographique;
Le Gray, Gustave; Le Seq, Henri; Delaroche, Paul;
Baldus, Édouard; Blanquart-Evrard, Louis-Désiré;
Marville, Charles; Royal Geographical Society;
Watkins, Carleton Eugene; and Pictorialism.
Further Reading
Boyer, M. Christine, “La Mission Héliographique: Architecture
Photography, Collective Memory and the Patrimony of France
1851,” in Picturing Place: Photography and the Geographi-
cal Imagination, edited by Schwartz, Joan M., and James R.
Ryan, London and New York: I.B. Tauris, 2003.
Daniel, Malcolm, The Photographs of Édouard Baldus, New
York: The Metropolitan Museum of Art, and Montreal: Ca-
nadian Centre for Architecture, 1994.
Edwards, Elizabeth (ed.), Anthropology and Photography, 1860–
1920 , New Haven and London: Yale University Press, 1992.
Egerton, Philip Henry, Journal of a Photographic Trip through
Spiti, to the Frontier of Chinese Thibet, with Photographic
Illustrations, London: Cundall, Downes and Co., 1864.
Frizot, Michel, ed. A New History of Photography, Köln: Köne-
mann, 1998.
Howe, Katherine, “Mapping a Sacred Geography: Photographic
Surveys by the Royal Engineers in the Holy Land, 1864–68,”
in Picturing Place: Photography and the Geographical
Imagination, edited by Schwartz, Joan M., and James R. Ryan,
London and New York: I.B. Tauris, 2003.
Jammes, André, and Eugenia Parry Janis, The Art of French Calo-
type: with Critical Dictionary of Photographers, 1845–1870,
Princeton, N.J.: Princeton University Press, 1983.
Kelsey, Robert, “Viewing the Archive: Timothy O’Sullivan’s
Photographs for the Wheeler Survey, 1871–74,” in Art Bul-
letin, vol. 85 no. 4 (December 2003): 702–23.
Marien, Mary Warner, Photography: A Cultural History, New
York: Harry N. Abrams, 2002.
Pinney, Christopher, and Nicolas Peterson (eds.), Photography’s
Other Histories, Durham: Duke University Press, 2003.
Ryan, James R. Picturing Empire: Photography and the Visual-
ization of the British Empire, Chicago: University of Chicago
Press, 1997.
Sandweiss, Martha. Print the Legend: Photography and the
American West, New Haven and London: Yale University
Press, 2002.
Trachtenberg, Alan. Reading American Photographs: Images
as History, Mathew Brady to Walker Evans, New York: Hill
and Wang, 1989.
SUTCLIFFE, FRANK MEADOW
(1853–1941)
British photographer
Frank Meadow Sutcliffe was born at Headingly on
October 6, 1853, the son of Thomas and Sarah Loren-
tia Sutcliffe. He was the oldest of eight children. As a
child Frank slept in his father’s studio surrounded by
painting equipment, plaster busts of classical sculpture,
and a printing press. Thomas Sutcliffe was an artist
working in oils and watercolors. He was also an etcher,
lithographer and amateur photographer although none
of his images appear to have survived. To encourage his
children Thomas painted a diorama in one end of his
studio complete with lighting and sound effects.
One of Frank’s fi rst creative works was achieved on
the printing press. It was an etching of two ships used
to create a letterhead for himself. The design survives
in a letter Frank wrote to his brother Horace in 1869.
He also worked as printer of his father’s small books of
stories written under the pseudonym of Jossy Hullarts.
He was also the occasional illustrator of these stories.
He had this to say about his childhood:
I spent much of my childhood running up and down nar-
row lanes only wide enough for one carriage...The boy
who has lived the country life and whose eyes and ears
are open to every movement in hedge or bank or tree, is
much more likely to have his eyes and ears around him
than one who has lived among tram cars and smoke.
When not out of doors my childhood was spent with
tiles and bricks. This I believe was a capital education,
give a child a heap of squares and triangles, and let him
puzzle with them till he makes a picture or at least an
ornamental design. He will not be at a loss to know how
to place a group of fi gures afterward. (Frank Meadow
Sutcliffe. “Factors in My Success.” The Photogram, April
1902, 107)
In 1865, at age 14, Frank was apprenticed as a clerk
at the offi ces of Tetley Brewery on Hunslett Lane in
Leeds. He lasted eighteen months as an apprentice. This
apprenticeship was during a period of his father’s ill-
ness. While recuperating from his own experience with
the city Sutcliffe discovered Lake Price’s A Manual of
Photographic Manipulation published in 1858 on the
family bookshelf. His fi rst camera was a 24x18 that he
modifi ed to an 8.5x6.5 with a 24” lens. It was John Wil-
liam Ramsden, a portrait photographer and founder of
the Leeds Photographic Society who introduced him to
the learned photographic journals whose articles covered
the latest in scientifi c and technical matters relating to
photography. His early work included portraits and
still life studies. He also attempted an image of birds in
fl ight before the use of stop motion photography was
common knowledge.