189
ings, while in a deluxe edition these were replaced by
the same number of albumen prints, from photographs
taken by the author. He was, at the time, Keeper of the
Ashmolean Museum in Oxford, and author of several
books on geology.
Francis Frith’s partwork Egypt and Palestine photo-
graphed and described by Francis Frith was originally
published in portfolio form (London: James Virtue,
1858) but in 1859 was republished as two books, with
a third volume published in the following year. The
extensive text in both the partwork and the books offers
a defi nitive and fi rst-hand account of Frith’s travels to
Egypt and the Holy Land in 1857.
1858 also saw the publication of Stereoscopic Views
in North Wales photographed by Roger Fenton (London:
Lovell Reeve)—containing twenty-one stereoscopic
views and an accompanying descriptive text—one
of several collaborations between Fenton and Reeve
which continued into the 1860s. 1858 also saw the pub-
lication by Reeve of Charles Piazzi Smyth’s Teneriffe,
an Astronomer’s Experiment at 452 pp. with twenty
stereographs, and Narrative of a Walking Tour in Brit-
tany with text by Reeve and John Jephson, containing a
stereo frontispiece and accompanied by a boxed set of
ninety stereocards. Reeve’s periodical The Stereoscopic
Magazine was already well established, offering three
stereo views and accompanying text per issue.
Seven illustrated books containing photographs of
India by Captain Linnaeus Tripe appeared in the same
year, published by the Madras Presidency.
Little more than a hundred English language publica-
tions appeared between 1850 and 1859. As the 1850s
drew to a close, and the price of albumen prints reduced,
the number of photographically illustrated books as we
would recognise them today started to increase. That
number was increased considerably during the follow-
ing decade.
John Hannavy
See Also: Fenton, Roger; Delamotte, Philip; Owen,
Hugh; Rosling, Alfred; Robertson, James; Bedford,
Francis; Diamond, Hugh Welch; Howlett, Robert;
Llewellyn, John Dillwyn; Price, William Lake;
Leon, Moyse & Levy, Issac, Ferrier, Claude-Marie,
and Charles Soulier; Henneman, Nikolaas; Talbot,
William Henry Fox; Colnaghi, Paul and Dominic;
Agnew. Thomas; Caldesi and Montecchi; Frith,
Francis; Reeve, Lovell Augustus; Smyth, Charles
Piazzi; and Tripe, Linnaeus
Further Reading
Gernsheim, Helmut, The Incunabula of British Photographic
Literature, 1839–1875. London and Berkeley: Scholar Press,
1984.
Henisch Heinz K., and Henisch, Bridget A., The Photographic
Experience 1839–1914. University Park: The Pennsylvania
State University Press, 1994.
Johnson, William S., Nineteenth Century Photography, An An-
notated Bibliography, 1839–1879. London: Mansell, 1990.
Matthews, Oliver “Early Book Illustration, the First Fifty Years”
in The British Journal of Photography, August 11th 1978.
Schaaf, Larry, and Hans P Kraus Jnr, Sun Gardens, Victorian
Photograms by Anna Atkins. New York: Aperture, 1985.
Stark, Amy E., “Lovell Augustus Reeve (1814–1865) Publisher
and patron of the Stereograph” in History of Photography
Vol 5, no. 1, 1981.
Wakeman, Geoffrey Victorian Book Illustration, The Technical
Revolution. Newton Abbot: David & Charles, 1973.BOOKS ILLUSTRATED WITH
PHOTOGRAPHS: 1860s
The 1860s is considered as a ‘Golden Age’ in printmak-
ing—particularly in Great Britain—and a plethora of
reprographic processes were available. In 1859 William
John Stannard listed no less than 156 in his privately
published Art Exemplar. Photographically illustrated
publications formed part of this great expansion in il-
lustration during this decade.
Technological and economic aspects were infl uential
in the rise during the 1860s of books and other publica-
tions illustrated by photographic processes. The 1860s
saw an economic boom period and commercial photog-
raphy benefi ted accordingly. Books became cheaper to
manufacture through both new printing technologies
and the economies of scale enabled by the increasing
disposable income of the burgeoning middle class. A
transition took place whereby photographically illus-
trated books moved from being the domain of the very
rich to a wider and more diverse audience.
As a result of these conditions, it is likely that ten
times the number of photographically illustrated titles
were published during the 1860s than had during the
1850s. However, the scale, scope and signifi cance of
the 19th century application of photography to the il-
lustration of books and other publications containing
printed text largely awaits discovery and interpretation.
Nevertheless, it is clear that the publishers of Great Brit-
ain, Germany and France were the leaders in producing
books illustrated by photography.
The physical form of photographic illustration de-
veloped in the 1850s was continued in the following
decade. Photographic prints were pasted onto one side
of separate sheets of paper of heavier stock than the text
pages, and these were inserted amongst the signatures.
Frequently these folios were unpaginated though they
might include letterpress captions and credits. There
are few examples of photographically illustrated books
in which photographs had been pasted into specifi cally
created blank spaces on text pages, thus pointing to full
integration of photographic image and text. One such
title was William and Mary Howitt’s Ruined Abbeys andBOOKS ILLUSTRATED WITH PHOTOGRAPHS: 1860s