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Julia Margaret Cameron's home on the Isle of Wight, photographed by Alvin Langdon Coburn, c. 1913.
Cameron lived at Dimbola Lodge between 1860 and 1875, and the majority of her photographic work was done here. When these photographs were taken, the property does not seem to have changed much in the 40 years since Cameron lived here, and the ivy that covers the walls was planted by Cameron herself. Alvin Langdon Coburn was also a distinguished photographer who admired Cameron's work.
Two boys of Julia Margaret Cameron, by an Unknown Photographer, c. 1857.
These charming photographs of Cameron's sons are part of an album complied by Lewis Carroll. Though Carroll was the owner of the photographs, I do not believe he was the photographer. Based on the date, the boys would have to be Cameron's youngest sons, Charlie and Henry.
Left to right: Algernon Charles Swinburne, Dante Gabriel Rossetti, Fanny Cornforth and William Michael Rossetti, at Tudor House, Chelsea, c. 1863
Queen Victoria's children at Balmoral Castle, photographed by Roger Fenton, 1856.
Princess Helena and Princess Louise, Prince Alfred, and Victoria, Princess Royal and Princess Alice.
Julia Margaret Cameron and her son, Henry Herschel Hay Cameron, circa 1867.
Henry, Cameron's youngest son, followed in his mother's footsteps and became a professional photographer.
Aubrey Beardsley's illustrations to Alexander Pope's The Rape of the Lock, 1896.
The Billet-doux ~ The Morning Dream ~ The Toilette ~ The Baron's Prayer ~ The Barge ~ The Rape of the Lock ~ The Cave of Spleen ~ The Battle of the Beaux and Belles ~ The New Star
Lady Ottoline
Princess Louise, one of Queen Victoria's daughters, photographed by John Jabez Edwin Mayall, 1863.
Queen Victoria's children photographed by Roger Fenton in Tableaux of the Seasons, 1854.
Princess Alice is portraying spring, Victoria, Princess Royal and Prince Arthur are portraying summer, Prince Alfred is portraying Autumn, and Princess Louise and Albert, Prince of Wales, are portraying winter. The last tableau shows all the seasons assembled and presided over by Princess Helena as the Spirit Empress.
A hand-colored carte-de-visite of Charles Dickens, 1860s.
Three versions of Frayeur (or "Fright"), photographed by Pierre Louis Pierson, c. 1860.
These photographs depict the Comtesse de Castiglione, an Italian noblewoman who became notorious figure in 1860s Paris, posing for a scene in which she flees from a fire in a ballroom. They not only show a desire to colorize photographs as early as the 1860s, but also illustrate the active role the Countess played in her collaborations with Pierre-Louis Pierson. Coloration in early photography was also a simple way to alter the appearance of the model, and the Countess's features and expression are considerable softened in the final photograph.
The first image is an albumen print from the glass negative taken by Pierre-Louis Pierson. The second is a salted paper print with color added by the Countess herself, and it even includes handwritten instructions for the rest of the coloration on the back. The third, another salted paper print, was colored by a professional artist.
Julia Margaret Cameron's photographs of her niece, Virginia Dalrymple, 1868-1870. Virginia was the daughter of Cameron's youngest sister, Sophia.
Marie Spartali Stillman photographed by Julia Margaret Cameron, 1868.
A pair of hand painted photographs of the Comtesse of Castiglione, photographed by Pierre-Louis Pierson and painted by an unknown hand. The child in the second photograph is her son, Giorgio.
Lady Ottoline Morrell photographed by Cecil Beaton, 1927.
Lady Ottoline Morrell, 1929.
Julia Margaret Cameron and Her Watchcase, Unknown Photographer, circa 1858.
