46
photogravures, was published in 1900 in two versions.
One version, 100 copies, Old Closes and Streets A Series
of Photogravures1868–1899, was published by Annan
for the Corporation. The other version, 150 copies, The
Old Closes & Streets of Glasgow, published by Macle-
hose were the only copies for sale. For the photogravure
editions James sharpened the images.
Annan’s landscapes, once highly regarded should
be highly regarded again. In 1860 The British Journal
of Photography found his “Loch Ranza” the best work
at the Photographic Society of Scotland. In 1861 at
the British Association in Manchester, “Aberfoyle”
gained by common consent “the blue ribbon of merit.”
In January 1863 a review of the Photographic Society
exhibition in London commented that Annan whose fi ne
landscapes were little known in London, “from this time
forth ... must take rank amongst our fi rst-class artists.”
In January 1865 The Photographic News noted Annan’s
“deep poetic feeling,” which is certainly evident in ‘The
Last Stooks of Harvest” and “Ferns” whose fronds are
set against a carpet of tiny leaves. These two prints, 16
inches by 13, cost 7 shillings and sixpence each. In April
that year Annan’s “Dumbarton Castle” earned a silver
medal from the Photographic Society of Scotland.
Annan was also a fine portraitist. His posse of
Glasgow University Professors who appear in Memo-
rials of the Old College of Glasgow, Maclehose 1871,
are splendidly understated. Some handle a volume in
the best manner of Hill and Adamson. Annan’s most
powerful portrait was taken in 1864 when the missionary
and explorer David Livingstone was visiting his family
who lived next door. Livingstone, anguish and suffering
clearly visible on his face, sits at a table on which his
consular cap is placed. Livingstone was then a hero. An-
nan created his sombre icon. Annan also photographed
Livingstone’s fi ve year old daughter looking up at the
strange man whom she had just met for the fi rst time.
T. & R. Annan’s cartes-de-visite were mainly of
Free Church ministers but also included the “Rev. Dr
Krummacher, author of Elijah the Tishbite, Berlin,”
two M.P.s, three artists, and from the Pacifi c ‘Williamu,
Chief Tanna Islands.” They and ‘Dr Livinsgtone, African
Traveller” cost a shilling each.
Collections of Annan’s work are in Glasgow Uni-
versity Library, the Mitchell Library, Glasgow and the
Scottish National Portrait Gallery.
William Buchanan
Biography
Annan was born on 15 July 1830 in Fife. His “Dairsie
Church” is a scene from his childhood. Under the bridge
fl ows the River Eden. A laid led off to Lydox Mill, the
family’s corn and fl ax spinning mill. In the church yard
lie his mother Agnes Bell and his father John Annan,
Master Miller. In 1845 he left for Cupar to begin an ap-
prenticeship in lithography and engraving. In 1849 he
moved to Glasgow to work for a lithographic company.
In 1855 he established a photography business though
where he learned photography is not known. Two years
later he moved into the fi rst of several premises along
Sauchiehall Street. Annan married Mary Young Craig
on 27 July 1860. They had seven children of whom
John and James (fi rst and second children) worked for
the fi rm. In 1864 he established a home, Talbot Cot-
tage, and works at 15 Burnbank Road, Hamilton. In
1857 he moved to Lenzie to set up a carbon printing
factory. Annan died at his home, Glenbank, Lenzie, on
14 December 1887. Two years later the fi rm became
“Photographers and Photographic Engravers to Her
Majesty at Glasgow.”See also: Hill, David Octavius, and Robert Adamson;
Annan, James Craig; Riis, Jacob August; and Royal
Photographic Society.Further Reading
Fisher, A. L., ‘Thomas Annan’s Old Closes and Streets of
Glasgow,’ Scottish Photography Bulletin, Spring 1987, 4–8;
‘A Catalogue of the Images’ (Part 1), Autumn 1987, 3–13; ‘A
Catalogue of the Images (Part 2), Spring 1988, 17–27.
Harker, Margaret, ‘Annans of Glasgow’ in The British Jour-
nal of Photography, vol. 120, no. 5908, 12 October 1973,
932–935, and concluded in vol. 120, no. 5909, 19 October
1973, 966–969.
Harker, Margaret, ‘From Mansion to Close: Thomas Annan,
Master Photographer’ in The Photographic Collector, vol. 5
no.1, n.d. [1984], 81–95.
Lawson, Julie, ‘The Problem of Poverty and the Picturesque:
Thomas Annan’s Old Closes and Sreets of Glasgow in Scot-
tish Photography Bulletin, no. 2, 1990, 40–46.
McCarroll, James, Glasgow Victoriana: Classic Photographs by
Thomas Annan, Ayr: Fort, 1999.
McKenzie, Ray, ‘A Love Affair with Loch Katrine: Problems
of Representation in Early Scottish Landscape’ in Scottish
Photography Bulletin, no. 1, 1900, 3–12.
McKenzie, Ray, ‘Thomas Annan and the Scottish Landscape:
Among the Gray Edifi ces’ in History of Photography, vol.
16, no. 1, Spring 1992, 40–49.
Mozley, Anita Ventura, Thomas Annan; Photographs of the
Old Closes and Streets of Glasgow 1868/1877, New York:
Dover, 1977.
Stevenson, Sara, Thomas Annan 1829–1887, Edinburgh: National
Galleries of Scotland, 1990.ANSCHÜTZ, OTTOMAR (1846–1907)
German photographer and moving picture pioneer
History has not been kind to Ottomar Anschütz, a lead-
ing photographer of the later 19th century whose career
was “almost forgotten,” in the contemporary words of
one critic, by the mid-1920s. Although he contributed
many important technical improvements to photographic