Lady Hawarden, 'Clementina Maude, 5 Princes Gardens', photograph.

Sepia photograph, mounted on green card, of a young woman standing beside a mirror

Given by Lady Clementina Tottenham 1939

From departmental notes

'Clementina, Lady Hawarden (Untitled) Photographic Study (or) Study from Life (D.561) c.1862-c.1863 5 Princes Gardens, interior: first floor, front: left window (net curtains drawn back): starred wall-paper: floor-boards: Clementina, in her underclothes, standing, leaning right on cheval-glass (which reflects her), left hand behind waist, right hand on cheval-glass frame. Negligee, blouse or peignoir hanging on left candleholder of glass. Visible through window: balustrade. Block of wood on floor on right. Inscription (verso): No 10. Inscription (verso of mount): (X614-)10 231 x 203 mm PH 250-1947 Literature: Oliver Matthews, Early Photographs and Early Photographers, 1984, p.125, fig.123. Microfilm: 3.19.83; National Art Slide Library c 92.095; V&A Picture Library negative no. GA 346 (reference no. 19032 (photograph described as ' a no 417'». Literature: Oliver Matthews, Early Photographs and Early Photographers, 1984, p.125, fig.123. Microfilm: 3.19.83; National Art Slide Library c 92.095; V&A Picture Library negative no. GA 346 (reference no. 19032 (photograph described as ' a no 417'». As Lady Hawarden's entries are listed in the Photographic Society of London exhibition catalogues of 1863 and 1864 simply as 'Photographic Studies' and 'Studies from Life', it is no longer possible to determine precisely which of her photographs were exhibited. A contemporary review offers a clue: '[In Lady Hawarden's photographs] there are figures brought close to the window of a room into which pours broad sunlight [...]. In some cases a portion of the window, balcony, and objects beyond is included, and these have sufficient detail to be compatible with atmosphere and distance.' [The Photographic News, 7:99 (1863).] These terms could describe many of Lady Hawarden's photographs. It seem likely that visitors to the Photographic Society exhibitions were aware that the young women in Lady Hawarden's photographs were her daughters. Could this photograph--which shows the Hon. Clementina Maude in a state of undress--have been exhibited? Perhaps. In June 1864, when Lady Hawarden publicly sold some of her photographs to benefit the Female School of Art, a photograph [now in the Gernsheim Collection, University of Texas at Austin] showing her daughter Isabella Grace in a peignoir was bought by Lewis Carroll, who had admired her work in the Photographic Society exhibition. Much speculation has centred on Carroll's penchant for photographing children and young girls, sometimes semi-clothed. Whatever conclusion is now drawn, it seems that at the time most of the parents involved were not unduly concerned. As recorded in his manuscript diaries [British Museum, Add. 54343], Carroll's efforts to become better acquainted with the Maude children were stymied by circumstance. He fared much better wtih Julia Margaret Cameron's family and friends, though initially Carroll prefferred Lady Hawarden's work to that of Mrs. Cameron. It seem likely that visitors to the Photographic Society exhibitions were aware that the young women in Lady Hawarden's photographs were her daughters. Could this photograph--which shows the Hon. Clementina Maude in a state of undress--have been exhibited? Perhaps. In June 1864, when Lady Hawarden publicly sold some of her photographs to benefit the Female School of Art, a photograph [now in the Gernsheim Collection, University of Texas at Austin] showing her daughter Isabella Grace in a peignoir was bought by Lewis Carroll, who had admired her work in the Photographic Society exhibition. Much speculation has centred on Carroll's penchant for photographing children and young girls, sometimes semi-clothed. Whatever conclusion is now drawn, it seems that at the time most of the parents involved were not unduly concerned. As recorded in his manuscript diaries [British Museum, Add. 54343], Carroll's efforts to become better acquainted with the Maude children were stymied by circumstance. He fared much better wtih Julia Margaret Cameron's family and friends, though initially Carroll prefferred Lady Hawarden's work to that of Mrs. Cameron.'

Reason For Production: Exhibition
Reason For Production: Retail

Clementina, the photographer’s daughter, poses beside a mirror in her underclothes. Her pose is stabilised by one foot wedged against the wainscoting, and the other against a foot of the mirror. The mirror illuminates her torso and face, offering a different view of her head. Another garment hangs from the mirror, which suggests a narrative in which dressing will take place. It also balances the composition. It was probably not considered improper at the time to exhibit such photographs, at the annual exhibitions of the Photographic Society of London.

250-1947