354
Salon and Picturesque Photography in Cuba, 1860–1920: The
Ramiro Fernández Collection. Museum of Arts and Sciences,
Daytona Beach, Florida, c. 1988.
Sarmiento Ramirez, Ismael, “La Vida Cotidiana de los Ejercitos
Español y Libertador, a Través de la Fotografi a Cubana de la
Guerra (1868–1998), http://www.ucm.es/info/cecal/encuentr/
areas/historia/3h/sarmiento.
Valle Valdés, Rufi no, Jorge Oller y Ramón Cabrales, “Primer
Daguerreotipo Cubano.”Cubafoto: Revista del Fondo Cubano
de la Imágen Fotográfi ca.
Zwick, Jim, “Stereoscopic Visions of War and Empire,” http://
http://www.boondocksnet.com/stereo/stereointro.html.
CUCCIONI, TOMMASO (1790–1864)
Italian, photographer, printmaker, publisher
Prior to taking up photography in the early 1850s, Tom-
maso Cuccioni trained as an artist engraver, working
fi rst with the government engraving offi ce (1830–35)
and then operating his own business engraving and
selling vedute from his shop in central Rome. He began
photographing the subjects of his engravings—views
of Roman antiquities such as The Temple of Vesta,
The Baths of Caraclla, The Column of Trajan, views
of the forum, and the banks of the Tiber—which he
offered for sale alongside traditional engraved views.
The large format of his photographic prints established
an equivalence with engraved views by approximating
the dimensions of the engravings, a strategy employed
by another Roman photographer, Robert MacPherson.
He submitted his photographs to international exhibi-
tions including the Paris Exposition of 1855, as well
as London, Edinburgh, and Dublin. His work garnered
favorable notice for the size, composition, and technical
merit. After his death in Rome in 1864, the Cuccioni
fi rm continued to produce photographic views and to
reprint his negatives. In the 1880s, the fi rm offered a
number of his negatives as photomechanical prints in
very large format (1 meter x 1/3 meter).
Kathleen Howe
CUNDALL, JOSEPH (1818–1895)
English painter, photographer, and publisher
Joseph Cundall fi rst exhibited at the 1852 exhibition at
the Society of Arts, London. From 1853-1858, he was
an exhibitor under his own name. Thereafter, his work
was successively illustrated under the names of the
partnerships ‘Cundall & Howlett,’ ‘Cundall, Howlett
& Co.,’ ‘Cundall, Howlett & Downes,’ ‘Cundall &
Downes,’ and ‘Cundall, Downes & Co.’ He was both a
photographer and a publisher.
Cundall trained as a painter, and experimented with
the calotype in the 1840s, joining Robert Hunt, Hugh
Diamond and others in the early grouping often referred
to today as the ‘Calotype Club.’
Robert Howlett joined Cundall in 1855, one of their
fi rst projects being the publication of Crimean Heroes a
portfolio of animated studio portraits of heavily armed
soldiers before embarking for war.
Cundall published many books outside photography.
His 1845 Booke of Christmas Carols, was the fi rst in a
series of ‘illuminated gift books’ based on mediaeval
illuminated manuscripts. The Photographic Primer
(1854) was published through his ‘Photographic Insti-
tute,’ while the second edition (1856) was published by
Sampson Low & Son. Several other illustrated books
were published by the Photographic Institute, some
with Cundall’s own photographs, others with images
co-credited to Cundall and Delamotte.
Delamotte’s Photographic Views of the Progress
of the Crystal Palace (1855) was also published by
Cundall.
John Hannavy
See Also: Hunt, Robert; Diamond, Hugh; Howlett,
Robert; and Delamotte, Philip Henry.
CUNDELL, GEORGE SMITH (1798–1882),
AND BROTHERS
The Cundell family came from the port of Leith,
near Edinburgh in Scotland
There were four Cundell brothers: George Smith
Cundell (1798–1882), a photographer scientist and
politician and the author of a treatise on the Calotype
process published in 1844. Joseph Cundell (1802–?)
was a photographer. Henry Cundell (1810–1886)
was a landscape painter and photographer. Charles
Edward Cundell (1805–1880) was a painter. Three
of the brothers, George, Charles and Henry, moved
to work in London though Joseph, who remained in
Leith, visited his brothers and took a number of photo-
graphs of London, including a view of Hampton Court
in around 1847.
Members of the Cundell family appear in several
photos taken by the amateur photographer John Muir
Wood (1805–1892) who played a key role in the social
interchange of photographs and the sharing of knowl-
edge on processes and techniques. Some twenty pho-
tographs by the Cundell brothers were in the collection
of John Muir Wood.
The Cundell brothers played a signifi cant role in the
link between photography in Scotland and in England
during the 1840s.
An album of 100 Salt paper photographs taken by
George Smith Cundell between 1842 and 1847 is in the
Harry Ransom Humanities Research Centre, University
of Texas at Austin.
Anthony Hamber
CUBA
