Philip Stanhope Worsley thumbnail 1
Image of Gallery in South Kensington
Not currently on display at the V&A
On short term loan out for exhibition

Philip Stanhope Worsley

Photograph
1866 (photographed)
Artist/Maker
Place of origin

A photograph of the head of a bearded man, with eyes directed at viewer.


Object details

Categories
Object type
TitlePhilip Stanhope Worsley (assigned by artist)
Materials and techniques
albumen print from wet collodion on glass negative
Brief description
Photograph by Julia Margaret Cameron, 'Philip Stanhope Worsley', albumen print, 1866
Physical description
A photograph of the head of a bearded man, with eyes directed at viewer.
Dimensions
  • Mount height: 610mm
  • Mount width: 508mm
  • Image height: 333mm
  • Image width: 262mm
Style
Gallery label
Photography Centre 2018-20: Collection in Focus: Alvin Langdon Coburn (1882–1966) The British-American photographer Alvin Langdon Coburn enjoyed success on both sides of the Atlantic. Active in the early 20th century, he gained recognition from a young age as a talented photographer. His style ranged from the painterly softness of Pictorialism to the unusual vantage points and abstraction of Modernism. As well as being a practising photographer, Coburn was an avid collector. In 1930 he donated over 600 photographs to the Royal Photographic Society. The gift included examples of Coburn’s own work alongside that of his contemporaries, many of whom are now considered to be the most influential of their generation. Coburn also collected historic photographs, and was among the first in his time to rediscover and appreciate the work of 19th-century masters like Julia Margaret Cameron and Hill and Adamson. 11. Julia Margaret Cameron (1815–79) Philip Stanhope Worsley 1866 Albumen print Museum no. RPS.1273-2017
Credit line
The Royal Photographic Society Collection at the V&A, acquired with the generous assistance of the National Lottery Heritage Fund and Art Fund.
Object history
Julia Margaret Cameron (1815–79) was one of the most important and innovative photographers of the 19th century. Her photographs were rule-breaking: purposely out of focus, and often including scratches, smudges and other traces of the artist’s process. Best known for her powerful portraits, she also posed her sitters – friends, family and servants – as characters from biblical, historical or allegorical stories.

Born in Calcutta on 11 June 1815, the fourth of seven sisters, her father was an East India Company official and her mother descended from French aristocracy. Educated mainly in France, Cameron returned to India in 1834.

In 1842, the British astronomer Sir John Herschel (1792 – 1871) introduced Cameron to photography, sending her examples of the new invention. They had met in 1836 while Cameron was convalescing from an illness in the Cape of Good Hope, South Africa. He remained a life-long friend and correspondent on technical photographic matters. That same year she met Charles Hay Cameron (1795–1880), 20 years her senior, a reformer of Indian law and education. They married in Calcutta in 1838 and she became a prominent hostess in colonial society. A decade later, the Camerons moved to England. By then they had four children; two more were born in England. Several of Cameron’s sisters were already living there, and had established literary, artistic and social connections. The Camerons eventually settled in Freshwater, on the Isle of Wight.

At the age of 48 Cameron received a camera as a gift from her daughter and son-in-law. It was accompanied by the words, ‘It may amuse you, Mother, to try to photograph during your solitude at Freshwater.’ Cameron had compiled albums and even printed photographs before, but her work as a photographer now began in earnest.

The Camerons lived at Freshwater until 1875, when they moved to Ceylon (now Sri Lanka) where Charles Cameron had purchased coffee and rubber plantations, managed under difficult agricultural and financial conditions by three of their sons. Cameron continued her photographic practice at her new home yet her output decreased significantly and only a small body of photographs from this time remains. After moving to Ceylon the Camerons made only one more visit to England in May 1878. Julia Margaret Cameron died after a brief illness in Ceylon in 1879.

Cameron’s relationship with the Victoria and Albert Museum dates to the earliest years of her photographic career. The first museum exhibition of Cameron's work was held in 1865 at the South Kensington Museum, London (now the V&A). The South Kensington Museum was not only the sole museum to exhibit Cameron’s work in her lifetime, but also the institution that collected her photographs most extensively in her day. In 1868 the Museum gave Cameron the use of two rooms as a portrait studio, perhaps qualifying her as its first artist-in-residence. Today the V&A’s Cameron collection includes photographs acquired directly from the artist, collected later from various sources and letters from Cameron to Sir Henry Cole (1808–82), the Museum’s founding director and an early supporter of photography.

This photograph is part of the Royal Photographic Society Collection at the V&A which also includes fragments of Cameron's original autobiographical manuscript for Annals of My Glass House.
Subjects depicted
Associated object
PROV.1117-2017 (RPS Group record)
Bibliographic reference
Ford, Colin and Cox, Julian. Julia Margaret Cameron: The Complete Photographs. London: Thames and Hudson, 2003. Cat. no. 834, p. 365.
Other numbers
  • XRP114B - RPS collection - V&A identifier
  • 2010 - Royal Photographic Society number
  • 2003-5001/2/25589 - Science Museum Group accession number
Collection
Accession number
RPS.1273-2017

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Record createdFebruary 26, 2018
Record URL
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