1059
Penrose’s Annual. The next year Gamble in his edito-
rial emphasised that the annual’s primary object was
the exposition of British work. In 1898 it was subtitled
‘a review of the graphic arts’ which it retained until its
demise and Penrose’s Pictorial Annual was included on
the masthead for the fi rst time. The annual found a ready
market and the early volumes quickly sold out. During
the early 1900s it further expanded its pagination with
more illustrations and articles.
By the 1920s as photo-engraving techniques became
static the scope of the annual was expanded to include
articles on printing and after Gamble’s death in 1933
the new editor Richard B Fishenden further widened the
scope to include modern art and experiments in creative
colour photography. The annual failed to appear in 1914,
1917–19, 1941–48 and 1963. During its fi nal years,
publication was irregular and the last volume, number
74, appeared in 1982.
Michael Pritchard
Further Reading
Taylor, John, ‘A checklist of Penrose Articles 1895–1968.’ In
The Penrose Annual 1969. The International Review of the
Graphic Arts, edited byr Herbert Spencer, 253–292, London:
Lund Humphries, 1969..
Moran, James, Printing in the 20th Century: a Penrose Anthology,
London: Northwood Publications, 1974.
PERCY, JOHN (1817–1889)
English physician, photographer, and inventor
John Percy was born on March 23, 1817, and studied
medicine in Paris and Edinburgh where he qualifi ed as a
doctor in 1838. An early enthusiast for photography, he
is believed to have fi rst experimented with the medium
in 1844, using Talbot’s calotype process.
He later studied mineral sciences, was elected a
Fellow of the Royal Society in 1847, and took up a
teaching post (later Professor of Metallurgy) at the
newly opened Government School of Mines and Science
Applied to the Arts (now Imperial College) in London’s
Jermyn Street in 1851. There he was assisted by John
Spiller with whom he would subsequently take and
exhibit photographs using Archer’s collodion process.
Their joint work appeared, in the 1857 Photographic
Exchange Club album, and the 1857 exhibition of the
Photographic Society.
Amongst Professor Percy’s many scientifi c innova-
tions was a means of extracting silver from photographic
paper waste.
Surviving images point to him showing an early
interest in stereoscopy and the Wheatstone Refl ecting
Stereoscope, producing images for this instrument con-
temporaneously with Roger Fenton and others.
In the year of his death, 1889, he was awarded the
prestigious Albert Medal for, as the citation read ‘his
achievements in promoting the Arts, Manufactures and
Commerce, though the world wide infl uence which his
researches and writings have had upon the progress of
the science and practice of metallurgy.’
John HannavyPERIER, CHARLES-FORTUNAT-PAUL
CASIMIR (1812–1897)
French amateur photographer
Charles-Fortunat-Paul Casimir Perier was one of the
quintessential “gentleman amateurs” of early photog-
raphy. The son of Casimir Perier, Prime Minister of
France (1831–32), Perier helped manage the family’s
vast industrial and fi nancial interests, although his
avocation was in art collecting and connoisseurship. He
acquired important collections of Dutch and Barbizon
painting, and his taste for realism extended to the new
art of photography. While evidently not a member of the
earlier Société héliographique, Perier was a founding
member of the Société française de photographie, which
he served as vice-president. He photographed with paper
and collodion negatives, and participated in the inter-
national exhibitions of the 1850s, in which he showed
virtually all genre of subject matter, very little of which
is known today. His work is rarely discussed in the early
literature, perhaps in part because he was himself one of
the era’s few photography critics, writing lengthy and
sensitive reviews in the Bulletin de la Société française
de photographie. These articles also promoted Perier’s
own, sometimes polemical views, such as his argument
that photography must be accepted as a fi ne art, albeit of
secondary rank. Perier’s photographic activity declined
in the 1860s, as he turned more interest to writing on
the French Salon and art in general.
Laurie DahlbergPERINI, ANTONIO (1830–1879)
Italian photographer
Fortunato Antonio Perini was born at Treviso in 1830.
From the early 1850s he devoted himself to photography
and in 1853 he was given offi cial permission to practise
as a photographer by the Venetian government. In 1854
he started to collaborate with Carlo Ponti, who collected
and sold views of Venice by various photographers. In
1855 Perini showed an album of Venetian views at the
Exposition Universelle, Paris and in 1856 he presented
a similar album at the Universal Exhibition of Brus-
sels. He took photographs of the solar eclipse on 15th
March 1858. On 10th February 1859 he opened a shop