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Harrison, W.J., “Proposal for a National Photographic Record
and Survey,” Photographic News, 8th July 1892, 443–5;
29th July 1892, 484–6; 5th August 1892, 449; 12th August
1892, 515–17.
James, Peter, “Evolution of the Photographic Record and Survey
Movement, c. 1890–1910,” History of Photography, July–Sep-
tember 1988, 205–218.
James, Peter, “A Century of Survey Photography,” The Local
Historian, vol. 20, no. 4, November 1990, 166–72.
James, Peter, William Jerome Harrison, Sir Benjamin Stone
and the Photographic Record and Survey Movement, unpub-
lished MA dissertation, School of History of Art, Design &
Contextual Studies, Birmingham Institute of Art & Design,
Birmingham Polytechnic, May 1989.
Jay, Bill, “A forgotten Victorian,” British Journal of Photography,
9th January 1987.
HARROLD, SERGEANT JOHN (ACTIVE
1860s–1890s)
A member of the Royal Engineers, Harrold was in
charge of the photographic section (10th Company),
during the Abyssinian Campaign of 1867–68, in which
British forces invaded Ethiopia to free European hos-
tages taken prisoner by King Theodore. The resulting
photographs represent the fi rst occasion in which the
work of the Royal Engineers’ photographic school was
put into practice in the course of a military campaign.
This documentary record of the progress of the cam-
paign produced a series of some 60 images, from which
albums were later produced, and for which Harrold
received the commendation from the The Photographic
Journal (May 16, 1868) as ‘the right man in the right
place, as combining within himself the qualities of a
skilful photographer and the power of accommodating
himself to any circumstances.’ These ‘pictorial views,’
however, were considered of lesser importance from a
military point of view than the more than 15,000 prints
of maps produced during the campaign by Harrold and
his fi ve assistants. Harrold’s subsequent career was
spent in India. In 1873 he joined the Survey of India in
Calcutta as a photographer and in the following year
assisted James Waterhouse in the taking of a series of
100 photographs at Roorki of the Transit of Venus. He
remained with the survey department until his retire-
ment in 1898.
John Falconer
HARTMANN, SADAKICHI (1867–1944)
Critic, poet, and lecturer
As a perceptive observer, and talented writer and
critic, Sadakichi Hartmann contributed much to an
emerging Modernism in the United States at the end
of the nineteenth century and early twentieth century.
In particular, Hartmann played an important role in the
history of photography.
Carl Sadakichi Hartmann was born on the island of
Deshima in Nagasaki Harbor, Japan in 1867 to a Japa-
nese woman, Osada, and a German government offi cial,
Carl Herman Oscar Hartmann. His mother died several
months later.
Motherless, Sadakichi and his brother Tanu were sent
to be raised by his paternal grandmother and uncle in
the upper middle class society of Hamburg, Germany.
At age fi fteen young Sadakichi was sent off to the naval
academy, but quickly ran away, and was subsequently
sent to live with relatives in the United States in Phila-
delphia.
Two years later Hartmann left his puritanical rela-
tives, and obtained work at a lithographer’s shop design-
ing tombstones, while reading avidly at the Mercantile
Library in Philadelphia in his free time. By 1884 Hart-
mann was devoting full time to his studies supported
by an allowance from his grandmother.
In that same year, Hartmann met Walt Whitman, who
was to become a major infl uence on Hartmann’s writing.
The older poet and sensitive young man initially admired
each other. Whitman saw Hartmann’s mixed heritage
and experience in Europe as an advantage in present-
ing new perspectives on American culture. Hartmann
recorded his visits with Walt Whitman in a small book,
Conversations with Walt Whitman” (1895).
Following eight months of apprenticeship at the
Royal Theater in Munich, Germany, in 1885 and visits
to various German artists’ studios, Harmann returned
to the United States once again. By the late 1880s he
began writing art criticism in Boston. Continuing to
travel abroad, his articles from Europe were published
in Boston papers.
In Boston, Hartmann attempted to produce an Ibsen
play, which failed, sending Hartmann to New York,
spending several unsuccessful years there during which
he became increasingly depressed. In 1889 he wrote his
controversial erotic play, Christ, which was burned in
Boston when copies were distributed. The young author
spent Christmas of 1893 in the Boston Charles Street
jail for having published obscene literature.
In 1891 he attempted suicide. His hospital nurse,
Elizabeth Blanche Walsh, was to become his wife.
Recovering enough to write again, Hartmann met
S.S. McClure, who sent him to Paris on assignment for
the McClure Syndicate. There Hartmann met the Sym-
bolist poet, Stéphane Mallarmé, and other Symbolists.
Hartmann’s own writing was to become informed by the
Symbolist aesthetic with its poetic capacity to suggest
another reality, a world that prized dreams, mystery,
intuition, and innuendo.
In 1893 Hartmann launched his own magazine the Art
Critic visiting over seven hundred and fi fty studios in
New York, Boston, and Philadelphia to get subscriptions.
But the magazine failed after three issues. By the late