343
was Felix. A studio in Dar es Salaam in Tanganyika
(Tanzania today) was opened a few years later, possibly
operated by Felix.
The initial partnership between the two brothers
lasted little over a decade, before J. B. Coutinho entered
into partnership with A C Gomes & Sons c.1890. Gomes
had opened his fi rst studio in Aden before 1869, moving
to Zanzibar in the early 1870s, establishing what was
probably the fi rst studio on the island. That arrangement
was dissolved on 31st July 1897, when the Countinho
Brothers started trading together once again.
Their photographs of life in fi n-de-siecle Zanzibar
were sold singly and in albums, and form an important
visual account of the period. When the photographic
picture postcard started to gain popularity in the 1890s,
Coutinho Brothers cards were produced in great num-
bers, showing tribal characters and cultures, local fi sh-
ermen and traders, and the architecture of Zanzibar, all
clearly aimed at a tourist market.
At some point c.1905, the brothers went their separate
ways, Felix moving to Mombasa in Kenya, and opening
a photographic company there, once again producing
tourist images and postcards, but this time trading as
Coutinho & Sons.
John Hannavy
COX, JAMES (1849–1901)
Scottish painter and photographer
Particularly noted for his realist depiction of the fi sherfolk
of Auchmithie and West Haven, Carnoustie, on the east
coast of Angus, Scotland. While they are in the tradition of
Hill and Adamson’s calotypes of Newhaven of the 1840s,
(and pay homage to the importance of the French painter
Jules Bastien-Lepage 1848–1884), Cox’s naturalist ap-
proach forgoes sentimentality and the transference of
the aesthetics of painting, rather he displays the Scottish
characteristic of directness. Cox was contemporary with
the emergence of the 19th Century Scottish realist paint-
ers, such as The Glasgow Boys (1875–1895), themselves
infl uenced by such stark photographs of the hard life of
the working class, particularly the fi shing and farming
communities. Born Dundee 1849, the eldest of 7 chil-
dren of George Cox, one of the millionaire Jute barons
of Dundee, James Cox took up painting then changed to
photography and was active c. 1870s–1880s. Founder
member and chair of the Dundee and East Scotland Pho-
tographic Association, Cox was particularly interested in
process and technique, using albumen, gelatine, carbon
and platinum processes, the latter he seems to have pre-
ferred. His portraits of fellow artists and his photographs
in the current fashion for costume and frivolous fancy
dress sit awkwardly with the expressions of poverty and
exhaustion of his fi sherfolk images. There are four albums
in the Scottish National Portrait Gallery’s collection dated
between 1879–1888.
Alistair CrawfordCRADDOCK AND CO., JAMES
(active 1860s–1890s)
Little is known of the antecedents or background of
James Craddock, who maintained a successful and
prolifi c studio in Simla from around 1864–90. He is
known to have been one of the photographers involved
in recording the durbar held at Ambala in 1869 between
the Viceroy Lord Mayo and the Amir of Afghanistan,
but is best known for the wide range of topographical
and architectural subjects from all over Northern In-
dia, produced for the European market. In addition to
his photographic studio, Craddock also had business
interests in banking, building and printing and appears
to have lived in retirement in Simla until at least 1896.
His son George Craddock (c. 1859–1934) continued
the business, with studios at Simla, Kasauli and Lahore.
From about 1890 he appears to have concentrated his
activities on Lahore, where he died at the age of 75 and
is buried in the Roman Catholic Cathedral.
John FalconerCRAVEN, WILLIAM (1809–1866)
English
William Craven 2nd Earl of Craven was born on 18th
July 1809 and became the Second Earl of Craven on
the death of his father in 1825. He was educated at
Eton College and Oxford University and in 1835 mar-
ried Lady Emily Grimston, the second daughter of the
1st Earl of Verulam. They went on to have a family of
nine children.
Craven was a wealthy landowner known to be keen on
country pursuits as well as an accomplished craftsman.
He took up photography in the early 1850’s, making
studies on his estate at Ashdown in Berkshire. Ashdown
provided Craven with plenty of photographic subject
matter and he made many studies on the estate, along
with portraits of his young family. He also produced
an unique series of high-contrast images of the ornate,
geometric parterre that graced the garden of Ashdown
House. Craven’s photographic output was virtually un-
known until a large body of his work came to auction
in 2000 and 2001 when his large studies of trees, some
in the snow, family portraits, garden views and the im-
pressive “Craven Memorial Album,” containing almost
100 images, were seen by historians for the fi rst time.
Craven’s personal collection included many studies by
fellow photographers including Gustave Le Gray, Roger
Fenton and Frederick Scott Archer.