652
of William Harris in Jerome K. Jerome’s Three Men in
a Boat (1889) was based on Hentschel.
Hentschel died on Thursday 9th January, 1930.
Anthony J. Hamber
HEPWORTH, THOMAS CRADOCK
(1835–1905)
English lecturer and writer, specialist in the optical
slide lantern
Fellow of the Chemical Society. Lectured at the Royal
Polytechnic, London in the 1870s. Later, as an itinerant
lantern lecturer, his subjects included “A Trap to Catch a
Sunbeam” (photography) and “The Rontgen Rays.” He
promoted electric illuminants for slide projection. His
articles included ‘The Evolution of the Magic Lantern,’
in Chambers’s Journal, 1897–8. T.C. Hepworth’s books
included: Photography for Amateurs: a non-technical
manual for the use of all (1884); Evening Work for
Amateur Photographers (1890), and two manuals on
projection: The Magic Lantern and its Management
(1885), and The Book of the Lantern (1888). The latter
contained instructions for photographic lantern slide
making with both wet and dry plates, coloring photo-
graphic transparencies for projection, and “The Hand
Camera as an Aid to Lantern Work.” T.C. Hepworth’s
son Cecil Milton Hepworth, also a lanternist, started in
the motion picture business in the 1890s and became
an important early fi lm producer.
Stephen Herbert
HERING, HENRY & CO. (1814–1893)
Henry Hering was born in St Marylebone, London in
1814, and at an early age was apprenticed to his family’s
bookselling, publishing and bookbinding business in St
Marylebone. He was admitted as a partner in1836, after
the retirement of James Hering, and in 1843 went into
partnership with Henry Remington as booksellers and
print sellers at 153 Regent Street, Westminster, mov-
ing to 137 Regent Street in 1844. The partnership was
dissolved in 1856, when Hering decided to switch the
business wholly to photography.
An advertisement in the Athenaeum at the time of
the studio opening, July 12 1856, notes Portraits taken
by the collodion process, of all dimensions, from the
brooch size to 12 in by 10 in ... Paintings and draw-
ings copied ... out-door photography. Engineers’ and
builders’ works in progress “Impressions taken from
photographers’ own negatives, either on albumenized
or plain paper, or by the Ammonia Nitrate or Sel d’Or
process ... Coloured photographs by the best artists ...
Extensive variety of photographs—Views of Sebastopol
and the Crimea, by Robertson.” Landscapes in France
... Views of the churches and colleges of Oxford and
Cambridge, Isle of Wight ... Photographs by the most
eminent English artists.
Hering’s confi dence and success in the studio is
evident in a further Athenaeum advertisement January
8 1859.
From its long-existing artistic pre-eminence, this
establishment offers unique advantages to the nobil-
ity and gentry who are desirous of having portraits
taken, or oil or water-coloured paintings and drawings
copied.
By the early 1860s, Hering was acting as London
agent for several prestigious foreign studios, including
Alinari, Beato and Bisson Freres.
Hering exhibited at the International Exhibition of
1862 in London, and received an honorary award for
artistic excellence in Class XIV (No. 3094). In 1856,
he issued part 1 of Henry Taylor’ “Photographic memo-
randa,” which was favorably reviewed in the Art Journal
December 1856 but which did not progress further. In
June 1864, Hering started publication of a serial entitled
“The Studio,” in monthly parts at 1 guinea each. It ran
to 5 parts, each part featuring 4 photographs of eminent
contemporary painters in the style of Old Masters. Part 1
included Phillip, Calderon, Faed and Watson. The series
was apparently unsuccessful, and ended abruptly; at the
same time, Hering disposed of his print business.
In 1863, Hering was involved in a copyright law
suit, over photographs of Lord & Lady Canning, taken
by an Indian photographer and illegally copyrighted
by Hering without permission. In his defense, Hering
claimed that he was the offi cial agent for Beato, but
that over 400 views in India & China had been pirated
and sold illegally.
It is a considerable irony that Hering’s main claim to
lasting fame in the annals of photographic history de-
rives from photographs not even attributed to him during
his lifetime. In the early 1850s, a series of photographic
studies of mental patients at the Bethlem Hospital, then
situated in South London, were taken at the instance
of Dr Hugh Welch Diamond (q.v), himself resident
superintendent of the Female Department of the Surrey
County Lunatic Asylum. Over fi fty of these whole-plate
images were made, probably for the private collection
of the Medical Superintendent at Bethlem, Sir Charles
Hood. There were no case notes, but a series of wood
engravings from the photographs were issued in 1858 to
accompany articles by Dr John Connolly in the Medi-
cal Times & Gazette. These engravings were credited
as “from photographs by Dr Diamond,” and were still
so listed in references almost down to the present day.
In the 1970s, when the whole history of early medical
photography was being re-examined, it was noticed that
most of the mounts from the surviving photographs in
the Bethlem archives were in fact credited as “Hering