643
its distinctive architectural details and grey wallpaper
with gold stars, into a suite of photographic studios and
using her children as models. Isabella Grace, Clemen-
tina and Florence Elizabeth appear most frequently in
Hawarden’s “Photographic Studies” and “Studies from
Life,” which she produced between 1859 and 1864 and
exhibited at the Photographic Society of London begin-
ning in 1863. It may have been one of these daughters, or
Hawarden herself, who painstakingly pasted almost 800
of these photographs into the albums from which they
were torn when bequeathed to the Victoria and Albert
Museum by a member of the family in 1939, account-
ing for their irregular shapes, curled edges and scarred
surfaces. Although the Victoria and Albert Museum is
the primary repository for Hawarden’s photographs, the
National Museum of Photography, Film and Television,
the J. Paul Getty Museum, and the Musee d’Orsay in
Paris also own pieces.
Despite their physical state, which has been greatly
ameliorated by conservation efforts, the romantic pho-
tographs made at 5 Princes Gate maintain their aesthetic
and psychological power due to their well-balanced
compositions, suggestive coming of age narratives and
imaginative variations on a single theme. In the “Stud-
ies from Life,” Hawarden’s daughters are depicted in a
variety of repeated tableaux often dressed in costume,
interacting with such evocative props as mirrors and
orientalist cabinets and playing theatricalized feminine
roles. The fi gures are often pushed into corners and
draped over one another creating a close, claustrophobic
and intimate atmosphere that offers the viewer a rare
glimpse into the inner lives of upper class Victorian
girls and women confi ned to the domestic sphere by
their gender and class.
Hawarden exhibited a selection of “Studies from
Life” at the Photographic Society of London in 1863,
where she was awarded a silver medal for the best con-
tribution by an amateur and was elected to be a member
of the society, with Oscar Rejlander perhaps serving as
her sponsor, the same year. She showed her work at this
venue again in 1864 and won another silver medal for
composition. The only arena in which she sold her work
was for charity at the Grand Fete and Bazaar... in Aid
of the Building Fund of the Female School of Art which
was held between June 23 and 25, 1864. Lewis Carroll
bought fi ve of Hawarden’s photographs at this time.
Hawarden died suddenly of pneumonia early in 1865
and was eulogized by Rejlander in the British Journal
of Photography, who believed that in her work “she
aimed at elegant and, if possible, idealized truth.” Her
work was shown posthumously at the Dublin Interna-
tional Exhibition in 1865 and not only infl uenced such
contemporaries as Lewis Carroll, but such celebrated
contemporary photographers as Sally Mann.
Kimberly Rhodes
Biography
Viscountess Clementina Elphinstone Hawarden (nee
Fleeming) was born at Cumbernauld, her family’s estate
near Glasgow, Scotland on June 1, 1822. Her father
Charles Elphinstone Fleeming was an Admiral in the
Royal British Navy who married Hawarden’s mother
Catalina Paulina Alessandro, originally of Cádiz, Spain
in 1816. After Admiral Fleeming’s death in 1841 the
family traveled to Italy and in 1842 settled in London.
Hawarden married Cornwallis Maude, later 4th Viscount
Hawarden, in 1845 and had ten children with him. Her
photographic career began in 1857 at the Hawarden’s
Irish estate and continued until her untimely death in
London in 1865. Her work was shown and won awards
in 1863 and 1864 at the Photographic Society of Lon-
don and exhibited posthumously at the 1865 Dublin
International Exhibition.
See also: Robinson, Henry Peach; Dodgson, Charles
Lutwidge; and Cameron Julia Margaret.Further Reading
Armstrong, Carol, “From Clementina to Käsebier: The Pho-
tographic Attainment of the ‘Lady Amateur’,” October 91
(Winter 2000), 101–139.
Barlow, Helen Grace, Truth and Subjectivity: Explorations in
Identity and the Real in the Photographic Work of Clemen-
tina Hawarden (1822–65), Samuel Butler (1835–1902), and
Their Contemporaries, Ph.D. dissertation, University of Kent,
Canterbury, 1994.
Dodier, Virginia, Clementina, Lady Hawarden: Studies from Life
1857–1864, New York: Aperture, 1999.
Haworth-Booth, Mark, Photography: An Independent Art: Pho-
tographs from the Victoria and Albert Museum, 1839–1996,
London: Victoria and Albert Museum with Princeton Uni-
versity Press, 1998.
Mavor, Carol, Becoming: The Photographs of Clementina, Vis-
coutness Hawarden, Durham: Duke University Press, 1999.
Ovenden, Graham, Clementina Lady Hawarden, London: Acad-
emy Editions, 1974.
Sieberling, Grace, Amateurs, Photography, and the Mid-Victo-
rian Imagination, Chicago and London: The University of
Chicago Press, 1986.HAYNES, FRANK JAY (1853–1921)
American photographer
Frank Jay Haynes was born on October 28, 1853 in
Saline, Michigan. He learned photography between
1874–1876 from two Wisconsin photographers, S.C.
Graham (Beaver Dam) and “Doctor” William H. Lock-
wood (Ripon). Haynes was a prolifi c, visionary photog-
rapher who documented the settlement of the American
West by railroad development and displacement of
the Native population. He photographed over vast
distances as the Northern Pacifi c Railroad’s (NPRR)
photographer (1876–1905), traveling as far as Alaska