Seraphim and Cherubim
Photograph
1864 (photographed)
1864 (photographed)
| Artist/Maker | |
| Place of origin |
Julia Margaret Cameron's mentor and friend, the artist G.F. Watts wrote to Cameron, ‘Please do not send me valuable mounted copies … send me any … defective unmounted impressions, I shall be able to judge just as well & shall be just as much charmed with success & shall not feel that I am taking money from you.’ This is one of approximately 67 in the V&A's collection that was recently discovered to have belonged to him. Many are unique, which suggests that Cameron was not fully satisfied with them. Some may seem ‘defective’ but others are enhanced by their flaws. All of them contribute to our understanding of Cameron’s working process and the photographs that did meet her standards.
Object details
| Categories | |
| Object type | |
| Title | Seraphim and Cherubim (assigned by artist) |
| Materials and techniques | Albumen print from wet collodion glass negative |
| Brief description | Photograph by Julia Margaret Cameron, 'Seraphim and Cherubim' (sitters Elizabeth Keown, Alice Keown(?), Freddy Gould), albumen print, 1864 |
| Physical description | A photograph of three children (Elizabeth Keown, Alice Keown (?) and Freddy Gould) seated and draped in cloth. Elizabeth and Alice (?) are shown with clasped hands |
| Dimensions |
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| Style | |
| Marks and inscriptions | "Studies for painting" in ink in top left verso of mount. "Registered Photograph" in ink bottom left verso of mount |
| Credit line | Given by Mrs Margaret Southam, 1941 |
| Subjects depicted | |
| Summary | Julia Margaret Cameron's mentor and friend, the artist G.F. Watts wrote to Cameron, ‘Please do not send me valuable mounted copies … send me any … defective unmounted impressions, I shall be able to judge just as well & shall be just as much charmed with success & shall not feel that I am taking money from you.’ This is one of approximately 67 in the V&A's collection that was recently discovered to have belonged to him. Many are unique, which suggests that Cameron was not fully satisfied with them. Some may seem ‘defective’ but others are enhanced by their flaws. All of them contribute to our understanding of Cameron’s working process and the photographs that did meet her standards. |
| Bibliographic references |
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| Collection | |
| Accession number | 220-1969 |
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| Record created | July 1, 2009 |
| Record URL |
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