ABSTRACT
From chatelaines to whale blubber, ice making machines to stained glass, this six-volume collection will be of interest to the scholar, student or general reader alike - anyone who has an urge to learn more about Victorian things. The set brings together a range of primary sources on Victorian material culture and discusses the most significant developments in material history from across the nineteenth century. The collection will demonstrate the significance of objects in the everyday lives of the Victorians and addresses important questions about how we classify and categorise nineteenth-century things. This volume on ‘Victorian Arts’ will include sources on painting sculpture, book illustration, photography and the much-neglected area of Victorian stained glass.
TABLE OF CONTENTS
part 1|93 pages
Paintings
part 1.1|22 pages
Artists' materials
chapter 2|1 pages
Winsor and Newton's Catalogue of Colours and Materials for Watercolour Painting, Pencil, Chalk, Architectural Drawing
(London: Winsor and Newton, 1882), p. 20
chapter 3|6 pages
William Holman Hunt, ‘The Present System of Obtaining Materials in Use by Artist Painters, as Compared with that of the Old Masters’
Journal of the Society of Arts (23 April 1880), pp. 485, 492–493, 496, 497–498
chapter 4|2 pages
V. Surtees (Ed.), Diary of Ford Madox Brown
(New Haven and London: Yale University Press, 1981) pp. 4–5, 21, 34, 44, 76
chapter 5|1 pages
William Holman Hunt, The Finding of the Saviour in the Temple (1854–60)
Birmingham Museum and Art Gallery, Presented by Sir John T. Middlemore Bt., 1896
chapter 6|1 pages
F. G. Stephens, William Holman Hunt and his Works: A Memoir of the Artist's Life, with Description of his Pictures
(London: James Nisbet and Co., 1860), pp. 78–79
chapter 7|4 pages
P. G. Hamerton, ‘Picture Frames’
Thoughts about art (London: Macmillan and Co., 1873), pp. 368–373
part 1.2|31 pages
Colour
chapter 8|3 pages
‘Notabilia of the International Exhibition: Artists’ Colours’
Art Journal, 1 July 1862, p. 162
chapter 9|13 pages
George Field, Chromatography: Or, A Treatise on Colours and Pigments, and of their Powers in Painting, &C
(London: Charles Tilt, 1835), pp. ix–xiv, 4–7, 12, 19, 83, 104, 112, 155–159, 161–163
chapter 10|3 pages
A. H. Church, The Chemistry of Paints and Painting
(London: Seeley and Co., 1890), pp. 136–138, 192–194, 209
chapter 11|4 pages
Dinabandhu Mitra, Introduction, Author's Preface, and ‘Persons of the Drama’
Nil Darpan, or the Indigo Planting Mirror, a Drama. Translated from the Bengali by A Native (Calcutta: C. H. Manuel, 1861), pp. 39–41
chapter 12|2 pages
T. N. Mukharji, ‘Piuri, or Indian Yellow’
Journal of the Society of Arts (23 November 1883), pp. 16–17
part 1.3|19 pages
Medium
chapter 13|2 pages
John Ruskin, ‘The Elements of Drawing’
The Works of John Ruskin, Vol. 15 (Cambridge: Cambridge University Press, 2010), pp. 157–159
chapter 14|1 pages
Frontispiece to Theodore Henry Fielding, Ackermann's Manual of Colours, Used in the Different Branches of Water-Colour Painting
(London, 1844), The Bodleian Libraries, University of Oxford
chapter 15|2 pages
Theodore Henry Fielding, ‘Introduction’, Ackermann's Manual of Colours, Used in the Different Branches of Water-Colour Painting
(London: R. Ackermann, 1844), pp. 3–6
chapter 16|1 pages
‘Winsor and Newton's Moist Water Colours in Porcelain Pans’
Winsor and Newton's Catalogue of Colours and Materials for Watercolour paintings, pencil, chalk, architectural drawing &c &c (London: Winsor and Newton, 1882), p. 11
chapter 17|1 pages
Frances Anne Hopkins, Encampment of Voyageurs (1870), Watercolour
Library and Archives Canada/Peter Winkworth Collection of Canadiana at the National Archives of Canada/e000835916
chapter 18|2 pages
Mary Merrifield, The Art of Fresco Painting as Practised by the Old Italian and Spanish Masters with a Preliminary Enquiry into the Nature of the Colours Used in Fresco Painting with Observations and Notes
(London: Charles Gilpin, 1846), pp. iii–iv, vi–vii
chapter 20|1 pages
Marianne Stokes, Candlemas Day, 1901
Tempera on wood, 416 × 340 mm, Tate. Presented by the Trustees of the Chantrey Bequest, 1977
part 1.4|17 pages
Conservation
chapter 21|2 pages
Henry Merritt, Art Criticism and Romance
Vol. 1 (London: C. Keegan Paul & Co., 1879), pp. 80, 133–134
chapter 22|6 pages
Richard Redgrave and Samuel Redgrave, A Century of Painters of the English School; With Critical Notices of their Works, And an Account of the Progress of Art in England
(London: Smith, Elder and Co., 1866), Vol. 2, selections from pp. 588–609
chapter 23|2 pages
Instructions from John Herbert for Unpacking and Displaying the Painting The Descent of Moses
Letter, 1878, Public Records Office of Victoria, 4363/p/unit 9
chapter 24|1 pages
Illustrated Instructions from John Herbert for Unpacking and Displaying the Painting The Descent of Moses
Letter, 1878, Public Records Office of Victoria, 4363/p/unit 9
part 2|86 pages
Sculpture
part 2.1|28 pages
Materials and making
chapter 26|3 pages
Anna Jameson, A Handbook to the Courts of Modern Sculpture
(London: Bradbury and Evans, 1854), pp. 3–5
chapter 27|1 pages
Edmund Gosse, ‘Sculpture at the Royal Academy’
Saturday review of politics, literature, science and art, 69:1809 (28 June 1890), p. 794
chapter 28|1 pages
Fred Miller, ‘George Frampton, A. R. A., Art Worker’
Art Journal (November 1897), pp. 321, 323–324
chapter 29|3 pages
Edwin Roscoe Mullins, A Primer of Sculpture
(London: Cassell and Co., 1890), pp. 62–64, 70–72, 74–75
chapter 30|2 pages
Marion Spielmann, British Sculpture and Sculptors of Today
(London: Cassell and Co., 1901), pp. 5–6
chapter 33|1 pages
‘Melting the Metal for the Bronze Sphinx to be Placed on the Thames Embankment’
Illustrated London News, 16 April 1881, p. 373
chapter 34|4 pages
Harriet Hosmer, ‘The Process of Sculpture’
Atlantic Monthly (December 1864), pp. 734–737
chapter 35|1 pages
Harriet Hosmer and Her Assistants, C. 1861
Harriet Goodhue Hosmer Papers, Folder: HGH, [c. 1860], Schlesinger Library, Radcliffe Institute, Harvard University
chapter 36|3 pages
M. D. Wyatt, Fine Art. A Sketch of its History, Theory, Practice, and Application to Industry. Being a Course of Lectures Delivered at Cambridge in 1870
(London: Macmillan and Co., 1870), pp. 180–182
part 2.2|24 pages
Social meanings
chapter 37|1 pages
Alinari Brothers, Photograph of Marble Quarry at Carrara, Italy, C. 1860s
Hiram Powers papers, 1819–1953, Box 11, Folder 9, Archives of American Art, Smithsonian Institution
chapter 38|2 pages
Nathaniel Hawthorne, The Marble Faun (1860)
(Oxford: Oxford University Press, 2002), selections from Chapter 15, ‘An Aesthetic Company’, pp. 104–106
chapter 39|1 pages
‘Notabilia of the International Exhibition: Tinted Sculpture’
Art Journal, 1 July 1862, pp. 161–162
chapter 40|3 pages
‘Art and Artists: Mr Cordier's Ethnographical Sculpture’
Critic, 9 February 1861, p. 190
chapter 41|1 pages
‘Ancient and Modern Sculpture’
London Review and Weekly Journal of Politics, Literature, Art, and Society, 4:103 (1862), p. 567
chapter 42|1 pages
‘The Art-Show at the Great Exhibition’
Dublin University Magazine, 60:356 (1862), pp. 141–142
chapter 43|2 pages
Henry Weekes, Lectures on Art Delivered at the Royal Academy London
(London: Bickers and Son, 1880), pp. 171–172
chapter 44|1 pages
George Frampton, R.A., Lamia, 1899–1900
Ivory, bronze, opals, glass, 61 × 55.3 cm, © Royal Academy of Arts, London; photographer: Paul Highnam
chapter 45|2 pages
Marion Spielmann, British Sculpture and Sculptors of Today
(London: Cassell and Co., 1901), pp. 11–12
chapter 46|4 pages
Alfred Maskell, Ivories
(London: Methuen and Co., 1905), pp. 498–499, 504, 515–517, 521–522
part 2.3|32 pages
Replication
chapter 47|7 pages
Harriet Martineau, ‘The Magic Troughs at Birmingham’
Household Words, 4:83 (25 October 1851), pp. 113–117
chapter 48|1 pages
Centennial Photographic Company, Elkington & Co.'s Exhibit, Main Building, Philadelphia Centennial Exhibition, 1876, Silver Albumen Print; 33 × 41 Cm
Image Courtesy of the Free Library of Philadelphia, Print and Picture Collection
chapter 49|1 pages
Centennial Photographic Company, Interior View of Elkington & Co.'s Exhibit, Main Building, Philadelphia Centennial Exhibition, 1876, Silver Albumen Print; 21 × 26 Cm
Image Courtesy of the Free Library of Philadelphia, Print and Picture Collection
chapter 50|2 pages
David Brewster, ‘Application of the Stereoscope to Sculpture, Architecture and Engineering’
The Stereoscope; its History, Theory, and Construction, with its Application to the Fine and Useful Arts and to Education (London: John Murray, 1856), pp. 183–185
chapter 51|1 pages
C. Bierstadt, Publisher, 1043 Una and the Lion
Date unknown (1882–1903), stereograph card; 17.5 × 8.5 cm, Author's Collection
chapter 52|5 pages
‘The Corridor of Statuary-Porcelain at Alderman Copeland's, New Bond St’
Art Journal, 1 November 1859, pp. 347–348
chapter 53|4 pages
‘Ghosts at South Kensington’
Saturday Review of Politics, Literature, Science and Art, 29 March 1879, pp. 391–392
chapter 54|1 pages
Charles Shepherd, View of Molders Working in the Courtyard of the Quwwat Al-Islam [Might of Islam] Mosque with the Colonnade in the Background, Quwwat Al-Islam Mosque Complex, Delhi, India
Published 1872. Image used according to the V&A's terms and conditions © Victoria and Albert Museum, London
chapter 55|2 pages
H. H. Cole, The Architecture of Ancient Delhi. Especially the Buildings Around the Kutb Minar
(London: Arundel Society, 1872), pp. 5–7
chapter 56|2 pages
‘Small Bronzes’
Saturday Review of Politics, Literature, Science and Art, 31 May 1890, p. 672
part 3|79 pages
Stained Glass
part 3.1|11 pages
Materials and techniques
chapter 57|4 pages
C. Winston, An Inquiry into the Difference of Style Observable in Ancient Glass Paintings, Especially in England; With Hints on Glass Painting
Vol. I (Oxford: John Henry Parker, 1847), pp. 2–7
part 3.2|22 pages
Architectural contexts
chapter 59|10 pages
G. E. Street, ‘On Glass Painting’
The Ecclesiologist, 10 (1852), pp. 237–247 [selected extracts from a Paper read at 13th Anniversary of the Ecclesiological Society, 9 June 1852]
chapter 60|5 pages
‘Stained Glass as an Accessory to Domestic Architecture’
Chamber's Journal (1884, June 7), pp. 359–361
chapter 61|3 pages
J. W. Mackail, Life of William Morris
(London, New York and Bombay: Longmans, Green & Co., 1899), Vol. 2, pp. 37–40
part 3.3|11 pages
Style and taste
part 3.4|31 pages
Tools and artistic labour
chapter 65|14 pages
H. A. Kennedy, ‘An Art not Generally Understood’ [Selected Extracts]
Contemporary Review, 55 (1889, March), pp. 427–442
chapter 66|2 pages
J. W. Mackail, Life of William Morris
(London, New York and Bombay: Longmans, Green & Co., 1899), Vol. 2, pp. 41–42
chapter 67|3 pages
C. Whall, ‘Of Colour’, The Artistic Crafts Series of Technical Handbooks: Stained Glass Work
(London: John Hogg, 1905), pp. 205–207, 209–211
chapter 68|8 pages
E. F. Suffling, ‘The Colours and Brushes used in Glass Painting’
A Treatise on the Art of Glass Painting (London: Scott, Greenwood & Co., 1902), pp. 81–93
part 4|142 pages
Art of the book
part 4.1|27 pages
Book illustration: opinion pieces and debates
chapter 70|2 pages
Letter from Charles Lamb to Samuel Rogers
Sir Thomas Noun Talford (ed.) The Complete Works of Charles Lamb containing his letters, essays, poems, etc. with a sketch of his life (Philadelphia: William T. Amies, 1879), pp. 291–292
chapter 71|3 pages
John Murray, ‘Illustrated Books’
Quarterly Review, June 1844, pp. 168–172 [selections]
chapter 72|1 pages
William Wordsworth, ‘Illustrated Books and Newspapers’
The Poetical Works of William Wordsworth D.C.L., Volume VI (London: Edward Moxon, 1846), p. 212
chapter 74|2 pages
George du Maurier, ‘The Illustrating of Books’
Magazine of Art, January 1890, pp. 349–350
chapter 75|4 pages
William Morris, ‘The Woodcuts of Gothic Books’, Address to the Applied Art Section of the Society of Arts in London
Journal of the Society of Arts (40), 12th February 1892, pp. 254–257 [selection]
chapter 76|1 pages
Walter Crane, ‘The Decoration and Illustration of Books’
The Journal of the Society of Arts (Vol. 37), November 1, 1889, pp. 887–898, p. 895
chapter 77|3 pages
Henry Blackburn, ‘The Art of Book and Newspaper Illustration: The Illustrator of Today’
The Journal of the Society of Arts (Vol. 42), December 29, 1893, pp. 93–99 [selections]
chapter 78|2 pages
Gleeson White, English Illustration, ‘The Sixties, 1855–70’
(London: Archibald Constable and Co. Ltd., 1897), pp. 1–4 [selections]
part 4.2|29 pages
Author-illustrator-engraver relations
chapter 79|4 pages
Correspondence between George Eliot and Frederick Leighton
Mrs Russell Barrington, The Life, Letters and Work of Frederic Baron Leighton, Vol. 2, pp. 96–99
chapter 80|2 pages
George Birkbeck Hill (Ed.), Letters of Dante Gabriel Rossetti to Willingham Allingham
(London: Fisher and Unwin, 1897), Saturday March 18th 1855, pp. 108–109
chapter 82|2 pages
Joseph Pennell, Modern Illustration
(London: George Bell & Sons, 1895), pp. xvii–xxi [selections]
chapter 83|3 pages
Henry Blackburn, ‘The Art of Book and Newspaper Illustration’, Lecture 3 (Dec 11 1893)
Journal of the Society of Arts, Vol. 11, January 12 1894, pp. 121–123
chapter 84|9 pages
P. G. Hamerton, ‘Book Illustration’
The Portfolio: an artistic periodical, Jan 1888, pp. 17–21
part 4.3|30 pages
Engraving
chapter 85|3 pages
Thomas Bewick, A Memoir of Thomas Bewick, Written by Himself
(London: Longman, Green, Longman and Roberts, 1862), pp. 237–341
chapter 86|2 pages
Henry Cole, ‘Modern Wood Engraving’
London and Westminster Review, 31:2, August 1838, pp. 265–278 (pp. 268–269)
chapter 87|2 pages
John Ruskin, ‘Definition of The Art of Engraving’
Ariadne Florentina: six lectures on wood and metal engraving: given before the University of Oxford in Michaelmas term, 1872 (Orpington: George Allen, 1873), pp. 7–11 [selections]
chapter 88|3 pages
M. R. James, ‘The Mezzotint’
The Ghost Stories of an Antiquary (London: Edward Arnold, 1905), Second impression, pp. 57–65 [selections]
chapter 89|1 pages
‘Wood Engraving’
Elisha Noyce, The Boys Book Of Industrial Information (London: Ward and Lock, 1863), p. 134
chapter 90|1 pages
International Exhibition 1862: Official Catalogue of the Fine Art Department
(London: Truscott, Son, & Simmons, 1862), p. 103
chapter 91|9 pages
Charles Dickens, ‘Engraved on Steel’
All the Year Round, October 27 1866, pp. 372–376
chapter 92|3 pages
Charles Booth, Life and Labour of the People in London
(Second series: Industry) (London: Macmillan and Co., 1903), pp. 109–113
part 4.4|20 pages
Bookbinding
chapter 93|4 pages
‘A Day at a Bookbinders’
The Penny Magazine for the diffusion of useful knowledge, September supplement, 1842, pp. 377–384 (377–378)
chapter 95|2 pages
‘Bookbinding as a Decorative Art’
The British Bookmaker, January 1892 (Vol. 5), pp. 158–9
chapter 98|3 pages
‘Zaehnsdorf's New Bindery’
The British Bookmaker, November 1890 (Vol. 4), pp. 12–16 (14–15)
part 4.5|32 pages
Book art as a profession for women
chapter 99|4 pages
E. P. Burton, ‘A Few Hints to Women Adopting Wood Engraving as a Profession’
Englishwoman's Review: A Journal of Woman's Work, October 15th 1881, pp. 440–449 (440–444)
chapter 100|3 pages
Charlotte Yonge, The Clever Woman of the Family
(London and Cambridge: MacMillan and Co., 1865), pp. 45–48
chapter 102|3 pages
Jean Ingelow, Off the Skelligs
(Boston: Roberts Brothers, 1872), pp. 469–476 [selections]
chapter 104|2 pages
Richard Taylor, ‘Wood-Engraving as an Employment for Girls’
The Girl's Own Paper, Saturday, September 25, 1886, pp. 822–827 (823)
chapter 105|3 pages
‘What to do With our Daughters’
Hearth and Home (London, England), Thursday, June 18, 1891, p. 146
chapter 107|1 pages
‘On Female Labour in the Central Districts’
The Bookbinder, Volume 1 (1887–88), p. 167
chapter 108|3 pages
Emily Hill, ‘Artistic Book Binding’
The Woman's Signal, March 17 1898, pp. 166–167
chapter 109|2 pages
George Elliot Anstruther, The Bindings of Tomorrow: A Record of The Work of the Guild of women Binders and the Hampstead Bindery
(London: Printed for the Guild of Women Binders, 1902), pp. vii–viii, x
part 5|157 pages
Photography
part 5.1|39 pages
Inventions and techniques
chapter 110|2 pages
Report of Henry Fox Talbot's Lecture ‘Some Account of the Art of Photogenic Drawing or the Process by Which Natural Objects May be Made to Delineate Themselves Without the Aid of The Artist's Pencil’
Read January 31st 1839 and report printed in Abstracts of the Papers Printed in the Philosophical Transactions of the Royal Society of London, pp. 120–121
chapter 111|2 pages
Henry Fox Talbot, ‘Introductory Remarks’
The Pencil of Nature (London: Longman, Brown, Green and Longmans, 1844), pp. 1–2
chapter 113|5 pages
Elizabeth Sheridan Carey, ‘Lines Written on Seeing a Daguerreotype Portrait of a Lady’
Illustrated London News, August 19 1843, p. 125
chapter 114|5 pages
George Cruikshank, ‘Photographic Phenomena, or the New School of Portrait Painting’
George Cruikshank's Omnibus (London: Tilt and Bogue, 1842, pp. 29–32)
chapter 115|3 pages
Frederick Scott Archer, ‘On the Use of Collodion in Photography’
The Chemist, March 1851, pp. 257–258
chapter 116|1 pages
‘Dreadful Collodion Explosion in Paris’
Pall Mall Gazette, September 12 1892, p. 5
chapter 117|1 pages
Advertisement for W.W. Rouch and Co
From the Photographic News Almanac or the Yearbook of Photography for 1863, p. x
chapter 119|1 pages
The Imperial Dry Plate Co., ‘Imperial Plates Pilot the Way’
Photography, June 5th 1909, p. 19
chapter 120|2 pages
‘The Genesis of the Word Imperial’
The Imperial Handbook, (London: The Imperial dry Plate Company, 1916), p. 21
chapter 121|1 pages
‘Optical Wonder of the Age’
Peter Parley's Annual: a Christmas and New Year's present for young people, n.d., p. 12
chapter 122|3 pages
‘The Birmingham Mutoscope Company, Ltd.’
The Birmingham Pictorial and Dart, March 11, 1898, p. 5
chapter 124|1 pages
Cuthbert Bede, ‘Photography Processes’
Photographic Pleasures: popularly portrayed with pen and pencil (London: Thomas McLean, 1855), p. 29
part 5.2|18 pages
Materials and equipment
chapter 125|1 pages
Cuthbert Bede, ‘Photographic Fancies’, ‘Applying the Black Varnish’
Photographic Pleasures: popularly portrayed with pen and pencil (London: Thomas McLean, 1855), p. 37
chapter 126|2 pages
‘India-Rubber and its Degree of Solubility’, in ‘Photography – in and Out of the Studio’
Photographic News, April 6 1877, p. 167
chapter 127|2 pages
‘Travellers and Dry Plate Photography’, in ‘Photography – in and Out of the Studio’
Photographic News, March 15 1879, p. 121
chapter 128|3 pages
‘Photography and Warfare’, in ‘Photography – in and Out of the Studio’
Photographic News, September 12 1879, p. 433
chapter 129|1 pages
‘The Poisonous Properties of Bichromate of Potash’, in ‘Photography – in and Out of the Studio’
Photographic News, January 10 1879, p. 13
part 5.3|34 pages
Photography in relation to the other arts
chapter 132|1 pages
John Ruskin, Letters to his Father from Venice (7th October 1845) and to William Henry Harrison from Vevay (August 12th 1846)
Modern Painters, in The Works of John Ruskin, eds. E. T. Cook and Alexander Wedderburn (London: George Allen, 1903), p. 210
chapter 133|4 pages
‘The Art of Photography’
Photographic Art Journal (Vol. 1), January 1851, pp. 1–3
chapter 134|2 pages
Cuthbert Bede, ‘Photography in an Artistic Light’
Photographic Pleasures: popularly portrayed with pen and pencil (London: Thomas McLean, 1855), pp. 32–34
chapter 135|4 pages
‘Photography as a Fine Art’
The Illustrated Magazine of Art, Vol. 3, No. 13 (1854), p. 1
chapter 137|1 pages
International Exhibition 1862, Official Catalogue of the Industrial Department
(Third ed.) (London: Truscott, Son and Simmons, 1862), p. viii
chapter 138|2 pages
The Photographic Journal, April 15 1861
(Journal of the Photographic Society of London), April 15 1861, pp. 149–150
chapter 139|7 pages
The Photographic Journal, May 15 1861
(Journal of the Photographic Society of London), May 15 1861, pp. 171–174
chapter 140|5 pages
Peter Henry Emerson, ‘Photography, not Art’
Naturalistic Photography for Students of the Art (London: Dawbarn & Ward, 1899), pp. 53–63
part 5.4|27 pages
Women and photography
chapter 141|4 pages
‘Photography as an Employment for Women’
The Englishwoman's Review, July 01, 1867, pp. 219–223
chapter 142|1 pages
‘Photography at Home’, ‘The Experiences of a Lady Amateur – No. 1’
Funny Folks: A Weekly Budget of Funny Notes, Funny Pictures and Funny Stories, March 28, 1885, p. 99
chapter 143|1 pages
‘Photography at Home’, ‘The Experiences of a Lady Amateur – No. 2’
Funny Folks: A Weekly Budget of Funny Notes, Funny Pictures and Funny Stories, April 4 1885, p. 107
chapter 144|1 pages
‘Photography at Home’, ‘The Experiences of a Lady Amateur – No. 3’
Funny Folks: A Weekly Budget of Funny Notes, Funny Pictures and Funny Stories, April 18, 1885, p. 123
chapter 145|1 pages
‘Photography at Home’, ‘The Experiences of a Lady Amateur – No. 4’
Funny Folks: A Weekly Budget of Funny Notes, Funny Pictures and Funny Stories, April 25, 1885, p. 131
chapter 146|1 pages
‘Social Fads of the Day’, ‘The Lady Amateur’
Funny Folks: A Weekly Budget of Funny Notes, Funny Pictures and Funny Stories, 6th Feb 1892, p. 41
chapter 147|3 pages
Adeline Anning, ‘A Profession for Women: Photography’
The Woman's Signal, March 07, 1895, p. 149
chapter 148|3 pages
Ruth Young, ‘Photography as a Profession for Women’
Atalanta, April 1, 1898, p. 407
chapter 149|5 pages
Amy Levy, The Romance of a Shop (London 1888)
First American edition (Boston: Cupples and Herd), 1889, pp. 2–13
part 5.5|14 pages
Photography as a hobby
chapter 151|3 pages
Alfred C. Harmsworth, ‘How to Take a Photograph’
Young Folks Paper, May 01, 1886, p. 278
chapter 153|1 pages
Advertisement for Marion's Amateur Photography
The County Gentleman: A Sporting Gazette and Agricultural Journal, January 29, 1887, p. 154
chapter 154|1 pages
Advertisement, ‘Free Lessons in Photography’
The County Gentleman: A Sporting Gazette and Agricultural Journal, December 19, 1885, p. 1626
part 5.6|21 pages
The new photography
chapter 157|4 pages
‘The New Photography: Will it Stop Vivisection?’
The Woman's Signal, February 13, 1896, pp. 97–98
chapter 159|1 pages
‘The New Photography’, Judy, or the London Serio-Comic Journal
Judy, or the London Serio-Comic Journal, 26 Feb. 1896, p. 410
chapter 160|1 pages
‘The New Photography And The Lost Missionary Who Went On A Visit Into The Interior’
Judy, or the London Serio-Comic Journal, March 25 1896, p. 462
chapter 162|1 pages
‘Awful Possibilities of the New Photography’
Illustrated Chips, 25 Apr. 1896, p. 4
chapter 163|1 pages
‘The New Photography’, Illustrated Chips, 25 July 1896, P. 1
Illustrated Chips, 25 July 1896, p. 1
chapter 164|1 pages
‘The New Photography’, Illustrated Chips, 4 Apr. 1896, P. 1
Illustrated Chips, 4 Apr. 1896, p. 1
chapter 165|4 pages
‘The New Photography’, Illustrated Chips, 19 Dec. 1896, P. 7
Illustrated Chips, 19 Dec. 1896, p. 7
