868
appears never to have made a camera image, but did
much of his printing, to an extent that Henry Talbot
asked if she needed help from Nicholas Henneman.
In the 1860s, Llewelyn joined the Amateur Photo-
graphic Association, contributing to their exchange al-
bums and becoming a member of council. He abandoned
making images around the end of the 1850s possibly
due to life-long asthma. In January 1854 he had been
very ill, most likely due, so his mother-in-law Lady
Mary wrote to Henry Talbot, to inhaling poisonous
photographic chemicals.
In 1859 local militia were organised to repel a possi-
ble French invasion. Llewelyn captained the Penllergare
5th Corps. The same year he appears in a photograph,
including Roger Fenton, titled Volunteers at Hythe.
In the late 1870s the Llewelyns moved to London and
he died at Atherton Grange, Wimbledon, on 24 August
- He is buried next to Emma in the churchyard of
his church at Penllergaer.
Richard Morris
See also: Wheatstone, Charles; Faraday, Michael;
Gutch, John Wheeley Gough; Talbot, William Henry
Fox; Jones, Calvert Richard; Claudet, Antoine-
François-Jean; Delamotte, Philip Henry; Collodion;
Calotype and Talbotype; Laroche, Martin; and
Victoria, Queen and Albert, Prince Consort.
Further Reading
Gower Journal XLVIII. 1997. “John Dillwyn Llewelyn and the
Electric Boat,” Gower Society, ISBN 0 902767 17 8 [copy
in NLW].
Arnold, H J P., William Henry Fox Talbot—Pioneer of Photogra-
phy and Man of Science, Hutchinson Benham London 1977,
ISBN 0 09 129600 5.
Barnier, John (ed.), Coming Into Focus, Chronicle Books, San
Francisco, 2000. ISBN 0 8118 1894 2 [pbk] Calotype nega-
tives. 17–25.
Hoskings, Eric, Owl, Pelham Books 1982, UK ISBN 07202
- Illustration of Owl at Clifton Zoo, JDL 1854.Eric
Hoskings.
Morris, Richard, ‘The Daguerreotype and John Dillwyn Llewe-
lyn,’ in The Daguerrean Annual, Pittsburgh: Daguerrean
Society, 1997.
Photohistorian, RPS Historical Group, Bath. ISSN 0956 1455.
No. 99 Winter 1992. The Oxymel Process of John Dillwyn
Llewelyn Part 1.
——, ISSN 0956 1455, Part 2, No. 100, Spring 1993.
——, ISSN 0956 1455, No. 109, October 1995. The Forgotten
Negatives of John Dillwyn Llewelyn.
Titterington, Christopher, The V&A Album, The Associates of the
V&A1985. ISBN 0 948107 16 2 Llewelyn and Instantaneity,
138–145,
Jeffrey, Ian, Photography—A Concise History. UK: Thames &
Hudson. 1981. ISBN 0 500 18187 X
John Dillwyn Llewelyn, 1810–1882, The First Photographer in
Wales, Welsh Arts Council 1980. ISBN 0 905171 60 8.
Journal of the Photographic Society of London—Volume 1,
London: Taylor & Francis, 1854. Facsimile edition Royal
Photographic Society 1976. Article on the Calotype process
by John Dillwyn Llewelyn.
Scharf, Aaron. Pioneers of Photography, London: BBC Publica-
tions, 1975.
Sunpictures Catalogue 2. Llewelyn, Maskelyne, Talbot. New York:
Hans Kraus Jr., Undated.
The Golden Age of Photography 1839–1900. Edited Mark
Haworth-Booth. Aperture in association with the Victoria &
Albert Museum, 1984. ISBN 0 905209 67 2.
Introduction to Photography and Time. Special issue of Aperture,
NY, No. 158, Winter 2000, 2–11, ISBN 0 89381 898 4.LOCKEY, FRANCIS (1796–1869)
English
Francis Lockey was born at Reading, Berkshire England,
in 1796 studied at Cambridge and became a priest in- He became vicar of Swainswick, a small village
outside Bath in 1836, where he lived with his wife Su-
sanna and daughter Emma.
Lockey used the daguerreotype process but is chiefl y
known for using calotype and waxed paper negatives
well into the late 1850’s. Lockey documented the
Medieval, Georgian and early Victorian buildings of
Bath and surrounding towns and villages. His pictures
show largely deserted locations, never, or only acci-
dentally, having fi gures in the composition. This was
partly caused by the long exposures required with his
large-format paper negatives, his negative list (private
collection, UK) gives exposure times between three and
fi fteen minutes. Lockey also produced many large-for-
mat stereo views (most negatives were 11 × 9 inches)
for use in a Wheatstone viewer.
Many of his studies were made with the help of his
coachman Henry Burrough, often using the roof of his
carriage as a platform to record churches and other
historic buildings. Lockey was very dedicated to his
craft, being well into his late fi fties when making his
architectural views. As well as photographing in the
Bath area Lockey travelled to south and west Wales
and made many studies of ruined castles, abbeys and
priories in and around Swansea.
Later Lockey used the wet-collodion process to make
portrait studies but unfortunately these glass negatives
were destroyed. Many of his paper negatives, however,
survive in museums in Bristol, Bath, and Wales.
Ian Sumner
LOECHERER, ALOIS (1815–1862)
German photographer and studio owner
To his contemporaries, Alois Loecherer was the most
well known as a distinctive portraitist of the better half
of Munich’s society in the 1850s. From 1845 he used
Talbot’s process and opened his fi rst studio in 1848 in