188
Johnson, William S., Nineteenth Century Photography, An An-
notated Bibliography, 1839–1879. London: Mansell, 1990.
Schaaf, Larry, The Photographic Art of William Henry Fox Talbot.
Princeton: Princeton University Press, 2001.
Schaaf, Larry, and Hans P. Kraus Jnr., Sun Gardens, Victorian
Photograms by Anna Atkins. New York: Aperture, 1985.
BOOKS ILLUSTRATED WITH
PHOTOGRAPHS: 1850s
As with the 1840s, many of the photographically il-
lustrated publications of the 1850s were little more
than portfolios of captioned photographs. In that era,
publishers do not seem to have made the clear distinc-
tion that would be made today. As most were made
available in signifi cant and sometimes substantial edi-
tions, and were advertised and sold to the public, they
were accepted as publications, and publishers did not
differentiate between those with texts and those with
captions. Thus the majority of publications by Joseph
Cundall’s London publishing house are seen today as
albums. Titles included The Photographic Album edited
by David Bogue and published each year from 1852
to 1854, containing albumen prints by Roger Fenton,
Philip Delamotte, Hugh Owen, Alfred Rosling and oth-
ers. He also published James Robertson’s Photographic
Views of Constantinople (1853) and Photographic
Views of the Antiquities of Athens, Corinth, Aegina
etc (1854). London publisher Charles Whittingham
published a similar volume from the members of the
Photographic Club in 1857, featuring the same photog-
raphers together with Francis Bedford, Hugh Diamond,
Robert Howlett, John Dillwyn Llewellyn, William Lake
Price and others.
A considerable number of books containing a single
tipped-in photograph were also published—perhaps
more to promote sales rather than using photography to
expand and develop the ideas within the text. Amongst
these, and also published by Cundall, was Philip
Delamotte’s textbook The Practice of Photography: A
Manual for Students and Amateurs. Each of the three
editions, published in 1853, 1854 and 1855, had a dif-
ferent albumen print tipped in as a frontispiece. David
Frederick Markham’s A History of the Markham Family
(London: J. B. Nichols, 1854) had a single photographic
copy of a painting as a frontispiece, while John Collis
Warren’s Remarks on Some Fossil Impressions in the
Sandstone Rocks of the Connecticut River (Boston:
Ticknor and Fields, 1854) included a salt print. Hugh
Miller’s The Testimony of the Rocks, or Geology and its
bearings on the Two Theologies, Natural and Revealed
(Edinburgh: Shepherd and Elliot, 1857) included a
portrait of Miller himself by J. G. Tunny, the Edinburgh
portrait photographer.
Amongst those books to make signifi cant use of
photography, were Hugh Owen’s and Claude-Marie’s.
Ferrier’s illustrations (printed in France) for the Great
Exhibition of the Works of Industry of All Nations.
Reports of the Juries on the Subjects in the 20 Classes
into which the Exhibition was Divided (London: Spicer
Brothers, 1853) ranks as one of the earliest. Within
the four volumes, of which an edition of one hundred
and fi fteen copies was prepared, one hundred and fi fty
fi ve photographic illustrations were used. Owen used
post-waxed calotype negatives, while Ferrier took his
photographs on albumenised glass plates. Of the edition,
fi fteen copies were reportedly given to William Henry
Fox Talbot in return for his permission to proceed with
the project, as he had patented the idea of publishing
photographically illustrated books.
Photographic dealers Harvey and Reynolds of Leeds
published their Catalogue of Photographic Apparatus
illustrated by Photographs of Such in 1855, the earliest
recorded use of photography in a sales catalogue, but
few details of it survive.
Roger Fenton’s photographs of the Codex Alexand-
rinus in the British Museum were used in Photographic
Facsimiles of the Epistles of St. Clement of Rome, made
from the unique copy preserved in the Codex Alexandri-
nus with a foreword by Sir F. Madden (London: British
Museum, 1856), the earliest recorded photographi-
cally illustrated museum publication. Sir John Charles
Robinson’s Catalogue of the Soulage Collection, Be-
ing a descriptive Inventory of a Collection of Works of
Art, formerly in the possession of M. Jules Soulages of
Toulouse, now exhibited to the public at the Museum of
Ornamental Art, Marlborough House, December 1856
(London: Chapman and Hall/Marlborough House, 1856)
is the earliest known photographically illustrated exhi-
bition catalogue in the English language. Ten tipped in
albumen prints were included. Three years later P. & D.
Colnaghi in London, and Thomas Agnew in Manchester
published the fi ve-volume Photographs of the Gems of
the Art Treasures Exhibition, 1857, Ancient and Modern
Series with fi fty illustrations in each volume by Caldesi
and Montecchi, and Robert Howlett, later combined into
two volumes with a total of two hundred photographic
illustrations. No text was included, but each photograph
was captioned.
During the decade, however, the emergence of the
true photographically illustrated book can be chronicled
alongside a growing number of published albums and
portfolios of photographs.
Rivers, Mountains and Sea-coast of Yorkshire with
essays on the climate, scenery, and ancient inhabitants
of the county by John Philips (Oxford: probably self-
published, 1854) may well be the fi rst book in which
tipped in photographic prints were offered as an alter-
native to the more conventional engraved illustrations.
The ordinary edition was illustrated by thirty-six engrav-BOOKS ILLUSTRATED WITH PHOTOGRAPHS: 1840s