783
where he gained a fi rst class degree in mathematics in
- In 1829 he took holy orders to take up positions
as a rector in Wales. He abandoned his ecclesiastical
profession at the time of his fi rst marriage in 1837 to
Anne Harriet who bore their only child. Jones became
a skilled draughtsman and painter in watercolour and
oils. In 1839 he learned of the calotype process through
Fox Talbot’s correspondence with his relatives who were
friends and neighbours of Jones in South Wales. Be-
tween 1840 and 1841 he also learned the daguerreotype
process. However, Jones extensively used the calotype
on his travels from 1841 to 1845 photographing locally
in Wales and other parts of Britain and in Italy, France,
Belgium and Malta. He corresponded regularly with
Talbot who sold Jones’s prints through his Reading Es-
tablishment. Jones took ownership of the family estates
after his father’s death in 1847 and became involved in
business and local affairs largely to the exclusion of
photography. He also took up a household in Brussels
where his wife died in 1856. He is not known to have
made any photographs after that time. Jones’s second
marriage was to Portia Jane Smith in 1858. They had
two daughters. Thereafter, the family lived at Bath with
frequent visits to the continent. Jones’s fi rst daughter
died on 29 June 1877 shortly before her father who died
at Lansdown Crescent, Bath on 7 November 1877. He
was buried in Swansea at St. Mary’s church.
Collections
National Museum of Photography Film and Television,
Bradford.
National Maritime Museum.
National Library of Wales.
V&A.
See also: Bayard, Hippolyte; Llewelyn, John
Dillwyn; and Talbot, William Henry Fox.
Further Reading
Buckman, Rollin, with an introduction by John Ward, The pho-
tographic work of Calvert Richard Jones, London: Science
Museum (Great Britain). H.M.S.O, 1990.
Bishop, William, “Calvert the Calotypist,” The British Journal
of Photography, 1 August 1991, 10–11.
Cox, Julian, “Photography in South Wales 1840–60: This beau-
tiful art,” in History of Photography, vol.15, Autumn 1991,
160–70.
Lassam, Robert E. and Gray, Michael, The Romantic era:
Reverendo Calvert Richard Jones 1804–1877, Reverendo
George Wilson Bridges 1788-1863 William Robert Baker
di Bayfordbury 1810–1896: il lavoro di tre fotografi inglesi
svolto in Italia nel 1846–1860, usando il procedimento per
Calotipia(Talbotipia), Florence: Museo di Storia della Foto-
grafi a Fratelli Alinari, 1988.
Meical Jones, Iwan, “Calvert Richard Jones: The earlier work,”
History of Photography, vol. 15, Autumn 1991, 174–9.
Painting, David. Swansea’s place in the history of photography,
Swansea: Royal Institution of South Wales, 1982.
Smith, Graham. “Calvert Jones in Florence,” History of Photog-
raphy, vol. 20, spring 1996, 4–41.JONES, GEORGE FOWLER (1819–1905)
English photographer and architect
Being both an architect and a photographer is not un-
common but Fowler Jones remains exceptional and he
notably encompasses every process from paper, glass
and nitrate between the 1840s and 1900.
Born in Aberdeen and trained under William Wilkins
and Sydney Smirke he practised in York from 1846: his
views of the city were among the fi rst but he continued
another 50 years [using the ceroline paper negative
process] frequently revisiting Scotland.
2100 well documented negatives at the National Me-
dia Museum cover domestic and ecclesiastic structures
across northern England, Scotland and Ireland. His ama-
teur eye is professionally informed by an architectural
vision so his work is distinctive compared with com-
mercial, picturesque or quick progress work. He unusu-
ally includes new as well as old buildings with singular
well documented devotion—yet his only exhibition
was posthumous. Neither did he publish yet his son did
produce a series of drawings of York clearly deriving
from photographic originals. Architectural commissions
and views in Ireland prove he was active there as early
as 1845 so his travels need investigation.
English Victorian architect-photographers usually
fall into the amateur or dilettante categories and by the
1870s most architects utilized professional architectural
photographers like Bedford Lemere so Fowler Jones
stands outside the norm.
Ian LeithJONES, HENRY CHAPMAN (1854–1932)
English chemist and author
The scientist Henry Chapman Jones was engaged in
wide-ranging studies concerned with the chemistry of
photography, and for many years was a regular contribu-
tor of informed scientifi c opinion on the emerging study
of the workings of the photographic process.
He was born in London and later studied at the Royal
School of Mines. In 1879, he was elected a Fellow of
the Royal College of Chemistry.
Amongst his many contributions to the photographic
press was a memorial lecture delivered to the Royal
Photographic Society in 1920 on the work of Sir Wil-
liam de Wiveleslie Abney, whom he had known during
his lifetime.
He was in regular correspondence with Hurter and