Albumen print photograph; 19th C, Hawarden C.; Clementina Maude, 5 Princes Gardens.

Sepia photograph of young woman (Clementina Maude)

5 Princes Gardens, interior: first floor, front: left window (net curtain): screen: floor-boards: Clementina, in fancy dress (eighteenth-century shepherdess style, with flowers in hair), seated, left hand in lap, right hand on breast. Orange section on window-frame. Reflection of Clementina in window. Visible through window: balustrade; houses east side of Princes Gardens.

Given by Lady Clementina Tottenham

From departmental notes

'Clementina, Lady Hawarden (Untitled) Photographic Study (or) Study from Life (D.632) c.1863-c.1864 5 Princes Gardens, interior: first floor, front: left window (net curtain): screen: floor-boards: Clementina, in fancy dress (eighteenth-century shepherdess style, with flowers in hair), seated, left hand in lap, right hand on breast. Orange section on window-frame. Reflection of Clementina in window. Visible through window: balustrade; houses east side of Princes Gardens. Inscription (verso): No. 10; Inscription (verso of mount): X614-10 242 x 255 mm PH 238-1947 Series 122 Literature: ed. Graham Ovenden, Clementina Lady Hawarden, 1974, p.35. Microfilm: 3.18.43 A Moment in Time: Scottish Contributions to Photography 1840-1920(travelling exhibition), Third Eye Centre, Glasgow, 1983. Among many contrasts between Lady Hawarden’s and Julia Margaret Cameron’s work is the way in which Lady Hawarden did not consistently present a picture plane parallel to the viewer, Mrs Cameron always did. This photograph is a good example of Lady Hawarden’s device of giving her photographs dramatic tension by placing the subject in a corner, at the centre of converging diagonal lines. Clementina’s 18th-century style fancy dress--possibly she is meant to be a shepherdess in the mode of Marie-Antoinette--nearly fills the frame. The texture of cloth, lace, net, wood, hair and skin are described through careful handling of the bright sunlight. The swirls in the upper left corner, possibly the result of uneven collodion coating, are a happy accident which provides a counterpoint to the other textures.'

238-1947