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Macartney, H. (2005)
Publisher: Scottish Society for the History of Photography
Languages: English
Types: Article
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    • 2 For critical opinion ofVel,izquez and Murillo in mid-ninetcenth-century Britain, see Hilary Macartney, 'Sir William Stirling Maxwell y el gUStO por Murillo en Grall Bretana y los Estados Unidos en la segullda mitad del siglo XlX', in EI am espanolfi,era de Espana, XI Jornadas de Atte (Madrid, 2003), pp.557-68; and AJlan Braham, EI Greco to Goya: The Taste/or Spanish Paintings in Britain and Ireland (London, 1981), esp. pp. 27--44.
    • 3 Museo del Prado, Madrid, cat. nos. 1172-1174.
    • 4 Museo del Ptado, Madrid, car. no. 1J97.
    • 5 For the Mutillo painting, see Diego Angulo Iniguez, Murillo. Su vidLl, su arte, su obra, vol. 2 (Madrid, J981), no. 86. For thl' SNPG calotypes and negative, see Sara Stevenson, David Octavius Hill and Robert Adamson: Catalogue ofcheir ealorypes (Edinburgh, 1981): [as Meninas AIU 9, twO calorypes (HA 4448), Sc. Elizabeth ART 10, one calorype (HA 4449), Juana Pacheco ART II, one negative (HA 4450), Surrender ofBredd ART 12-14,92 calorypes from three differellt negatives (HA 4453-55), 'the Spinners ART 15, one calotype (HA 3 J55).
    • GGlasgow University Library, Special Colkctions, HA 0519.
    • 7 For Hill and Adamson's photography of paintings, see Sara Stevenson, The Personal Art ofDO. Hill (New Haven, 2002), p. 85. On early photography of fine art, see Anthony J Hamber, :4 Higher Branch ~fche Art:· Photographing the Fine Art> in England, 1839-1880 (Amsterdam, 1996).
    • 8 The prints afrer Velazquez were listed by Srirling in his 'CaraJogue of Prints aftet Works of Velazquez', which was published at the end of his monograph on the arrise William Stirling, Velazquez and his Works (London, 1855); references here are ro the English-Spanish edition, Veltizquez (Madrid, 1999), (hereafter Stirling, Veltizquez): no. 33 Surrender ofBreda. no. 35 Las Hilanderas, no. 37 Las Meninas, no. 159 juana Pacheco. Prints aftet bOth Velazquez and Murillo were listed in Stirling's Essay towards a Catalogue ofPrints eng>llved from the Works of Diego. Velazquez (end Bartolome Esteban Murillo (London, 1873): Las Hilanderas, p. 9, Surrender of Breda, p. 9, Las Menirtas, p. 10,juana Pacheco, p. 37, St Elizabeth, p. III. For recent discussion of printS aftet Velazque:z., see Juan arrcte, 'Catalogue of Prints after Works of Velazquez by Stirling at 1855', in Stirling, Veltizquez, pp. 355-65; and Jose Manuel Matilla (ed.), Veltizquez en blanco y negro (Mad tid, 2000). See also Enriqueta Harris, 'Velazquez and Murillo in Nineteenth-Centuty Btitain: An Approach through Ptints', joumal ofthe Warburg al1d Courtauld fnstitwes, vol. 50, 1987, pp. 148-59.
    • 9 William Stirling, Al1naL, ofthe Artists ofSpain (hereaftet Annals), 3 vols. (London, 1848). References are ro the second edition of the Annals, in The Wforl" ofSir William Stirling-Maxwell, Baronet (heteafter WOrks) ed.
    • Roberr Guy (London, 1891), vols [-[V. For Stirling's importance as an hisrorian of Spanish arr, see Macatrney, 'Sir William Stirling Maxwell: Scholar of Spanish Art', £Spacio, Tiempo y Forma, Setie VII, Hisrotia del Arre, vol. 12, 1999, pp. 287-316; Enriquera Hatris, 'Sir William Stirling-Maxwell and the Hisrory of Spanish Arr', Apollo, vol. LXX1X, no. 23, 1964, pp. 73-77. For his biography, see Macarrney, 'Maxwell, Sir William Stirling', Oxftrd Dictionary ofNational Biography, Oxfotd, 2004.
    • 10The volume ofTalborype illusrrations ro the Annals is dated 1847 but was not finished till 1848. For the number of copies and theit citculation, see Hilary Macarrney, 'William Stirling and the Talborypes Volume of the Annals ofthe Artists ofSpain', History ofPhotography, forrhcoming 2006.
    • 22 Stirling and his friend Charles Morse were using phorographs as arthisrorical rools, mosr commonly ro record and track down prints, from the 1850s onwards.
    • 23 See Sara Stevenson, op. cit. (note 7), p. 82; John Sweetman, 'John Frederick Lewis and the Royal Scorrish Academy I: The Spanish Connection', Burlington Magazine, vol. CXLVII, no. 1226, May 2005, pp. 310-15; and Twenty-Sixth Annual Report ofthe Council ofthe Royal Scottish Academy of Painting, Sculpture, and Architecture (Edinburgh, 1853). pp.
    • 11-14. I am very gtarefuI ro Joanna Soden of the Royal Scorrish Academy for providing information on Lewis's copies.
    • 24 Minures of the Council of rhe Royal Scorrish ACldemy, 17 May 1853.
    • 25 Stevenson, op. cit. (note 7), pp. 84-85.
    • 26 See John Ward and Sara Stevenson, op.cit. (note 11), p. 164.
    • 27 See Sara Stevenson, Facing the Light: The Photography of Hill & Adm>l.
    • 28 I am very grareful ro Professor Larry Schaaf for suggestions abou[ [he white SPOtS (personal communicarion 9 June 2005). These may have been caused by air bubbles. or by little black specks in the negative due ro iton or other localised chemical COntamination. The problem was nor mentioned by Henneman or Talbot, and rerouching was not favoured by Talbot. See Larry Schaaf, 'TalbOt and Hill and Adamson', History of Photography, vol. 27, no. I, 2003, pp. 17-23, for the different approach of Hill and Talbor to rerouching.
    • 29 For Henneman's bill for Talborypes supplied in 1847-48, sec Macartney, in History of Photography, forthcoming 2006.
    • 30 National Museum of Photography, Film and Television (NMPFT), Bradford, 1937-337111-14.
    • 31 Stirling paid for mOSt Or all of rhe ptinting cosrs of the publisher, John Olliver, London.
    • 32 The Talborypes volume includes photographs by Henneman of some small original artworks in the collecrion of the Hispanophile Richard Ford, whom Stirling visired for the lirsr rime in late 1846 or early 1847.
    • 33 Fot Henneman's account, see Macartney, in History of Photography, forthcoming 2006. For his Iwer [0 Talbot, see Fox TalbOt Collecrion, NMPFT, Bradford, 1937-4950, qUOted in V F Snow and D B Thomas, 'The Talborype Esrablishment ar Reading - 1844 ro 1847', Photographic journal, vol. 106, no. 2, 1966, p. 62. For a rranscription, see www. fox ralbot.a [[5.gl a. ac. ukJco rrespl05936.
    • 34 The facr that Srirling produced anOther experimental volume, Examples ofthe Engraved Portraiture ofthe Sixteenth Century, in 1872, COntaining reproductions of engravings by various phorographic and phoro-mechanical processes, by practitioners in London, Edinburgh, Glasgow and Norwich, with the aim of 'recording the State of the am by which prints were reproduced in 1870,71, and 72' adds weight ro rhis suggestion. See Sir William Stirling Maxwell. &les ofthe Ellgmved Portraiture ofthe Sixteenth Century, 25 copies privately printed, London and Edinburgh 1872. p.v.
    • 35 For Hill's proposed porrfolio of 100 calorypes, see Stevenson, in Ward and Stevenson, op.cit. (note II), pp. 38-40; and Hamber, 01'. cit. (norc 7), pp 191, 337-38.
    • 36 See Hamber, op.cit. (note 7), pp. 337-38.
    • 37 Hill's quotation from Eastlake is significant, as Eastlake's letter and others praising the ca.lorypes are missing. I am gra[eful ro Sara Stevenson for drawing my arrention ro this point.
    • 38 Maxwells of Pollok Papers, on deposit at Glasgow Ciry Archives, T-PM Box 130. [ am grateful ro the Maxwell Macdonald family for permission ro publish these lerrers.
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