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Driffield throughout the period of their important
research into the understanding of the relationships
between sensitivity, exposure and development.
Of signifi cance is an article published in Photography
in 1890, disputing several assertions made by H&D in
their 1890 paper. This led to a heated debate with Drif-
fi eld, culminating in a rift between the two men, and
the publication in The Photographic Journal of Jones’s
paper ‘Density ratios as affected by development,’ which
sought to disprove a central canon of H&D’s work.
An Introduction to the Science & Practice of Pho-
tography by Henry Chapman Jones was published by
Iliffe & Sons in 1888, and had reach a third edition by
1900.
John Hannavy
JUHL, ERNST (1850–1915)
Collector and curator
Ernst Wilhelm Juhl, born on December 10, 1850, one
of fi ve children, in Hamburg, Germany was to have
a signifi cant infl uence as collector and supporter of
experiments in photography in the late nineteenth and
early twentieth centuries. Juhl attended high school in
Hamburg and then went on to study engineering at the
Technische Hochschule in Hannover. A sketchbook
with technical drawings from those student years is in
the collection of the Hamburg Museum für Kunst and
Gewerbe.
Following his studies, Juhl returned to Hamburg
and tried without too much success to found two com-
panies. With independent income, however, Juhl was
able to marry Johanna Julie Auguste Jacoby, (Henny),
the grandniece of the composer Richard Wagner. The
couple had three children, a son Ernst Carl, and two
daughters, Hertha and Isle.
Being well-educated, Juhl spoke several languages,
enjoyed traveling and entertaining a variety of people
at his home. A number of artists came to gatherings at
the Juhl home, and Juhl began collecting paintings and
drawings from Hamburg artists who were experimenting
in modernist styles. Among those works he collected
early were those of Ernst Eitner and Arthur Illies.
From the late 1890s onward, Juhl expanded his per-
sonal library to include a number of valuable art books
catalogues, and portfolios. Of particular interest was a
1903 portfolio, “Heliogravuren nach Gummidrucken
von Mitgliedern der Gesellschaft.” Unfortunately many
of Juhl’s books and graphic works were destroyed during
World War II when a bomb hit Juhl’s son’s house.
Through Juhl’s infl uence and interests, Hamburg
became one of the most important cities in Europe to
foster the growth and development of photography. It
is ironic that Juhl took very few photographs himself,
but felt the medium to be a powerful and signifi cant
one for the nineteenth and twentieth centuries. He
promoted the founding of the “Amateurphotographen-
Vereins” and then the “Gesellschaft zur Förderung der
Amateur-Photographie” (Society for the Promotion of
the Art Photography).
From 1893 to 1903 with the Society for the Promo-
tion of Art Photography, Juhl organized ten internation-
al-photographic exhibitions at the Hamburg Kunsthalle.
These exhibits honored photography as an art, and had a
strong infl uence on the photography of the Art Nouveau
or Jugendstil period.
In 1903 the tenth, and last Annual International
Exhibition of Art Photography at the Hamburg Kunst-
halle, made Hamburg a focal point for experiments in
Jugendstil photography. Juhl, as President of the Art
Association and the Society for the Promotion of Art
Photography, invited amateur and professional pho-
tographers from throughout the globe. Among them
was the well-known professional photographer Nicola
Perscheid from Leipzig. (Perscheid moved to Berlin
in 1965.) Perscheid exhibited two large-scale allegori-
cal wall images, entitled “Mower” and “Shepherd,” as
well as eight portraits.The large scale portraits are still
preserved in Dresden.) Among the portraits were those
such as Portraits of His Majesty the Emperor in Hunt-
ing Dress, H.M. King George of Saxony and Professor
Max Klinger. (Max Klinger had recently completed the
large-scale sculpture of a Zeus-like Beethoven for the
opening of the Vienna Secession building in 1902.)
Not only did Juhl help organize significant art
and photographic exhibitions, but he also served as
a juror or commissioner for various exhibits in other
major European cities: in Amsterdam (1895), Haarlem
(1896), Berlin (1896), Oxford (1901), Turin (1902),
Lille (1903), and Dresden (1909). He was also made
an honorable member at a number of the new emerging
photography clubs that sponsored photography as a valid
art from—i.e., The Photo Club of Paris, the Camera Club
of Vienna, and the Belgian Photography Association.
Further, Juhl, as a well respected Hamburg citizen,
was able to encourage museums and private individuals
to collect contemporary photography. Juhl also exerted
infl uence by writing various articles on the new photog-
raphy and serving as art director of the Photographische
Rundschau, a position which he had to give up in 1902,
because he had so enthusiastically supported the new
Impressionist work of the young photographer, Edward
Steichen, whose photographs had begun to look much
like paintings. For some, who expected, and wished
photography to retain its documentary status, Juhl’s
attitude and support for such experiments, was inap-
propriate and unacceptable.
Juhl’s artist judgment, however, was largely respected
and in 1908 he was commissioned to direct the organiza-