Early Norfolk Photographs
1840 - 1860
Photographs in Norfolk Exhibitions, 1840-1860.

The Art Union of London, established in 1836, encouraged artists by promoting an annual sale of art to their subscribers. Liverpool and Manchester soon founded their own Art Unions and, in 1839, publicly active Norwich residents formed the Norfolk and Norwich Art-Union. Its committee members were Thomas Lound, the President, (artist and brewer), John Barwell (artist and wine merchant), George Sothern (artist and ?public house owner), Henry Ninham (artist and printmaker), Charles Muskett (bookseller and publisher), John H. Druery (author and artist), William Freeman, Jun. (artist, framer and printseller) and Robert Leman (artist and insurance agent).  During its first year members held an exhibition at their gallery in the Bazaar, St. Andrews, Broad Street [at the junction of Bridewell Alley and, what is now, St. Andrews Street]. The Art Journal review did not offer much praise; ‘…We cannot doubt that the next experiment in Norwich will be far more successful…’ andthe committee was offered encouragement to continue with its efforts.

Photography had been announced publicly early in 1839 and although word of this breakthrough process spread rapidly it’s no surprise that photographs were not included in this first Norwich show. In France, Louis Daguerre revealed how to make unique, high-resolution photographic images on silver-plated copper sheet and, in England, Henry Talbot divulged how to make reproducible optical images on paper. The search for such processes had been going on for many years in the western world and these two, known as the Daguerreotype and the Photogenic Drawing respectively, were subject to English patents.

However, in 1840, the Norwich Mechanics Institution, otherwise the Society for the Promotion of Useful Knowledge under the presidency of John Barwell, held an exhibition1, again at the Bazaar, to show ‘Works of Art, Specimens of Natural History, Antiquities, Manufactures, Machinery and Models and Paintings, Sculpture, Engravings, &c, &c., … on the plan of Adelaide and Polytechnic Galleries in London, and similar Exhibitions in other large Towns.’ This is believed to be the first time when photographs were exhibited in the county and the catalogue lists:

No.  Exhibit   Exhibitor
102 Camera obscura Mr. R. Gooch
150 Daguerreotype view in Rome Mrs. Opie
151 Ditto view of Regent Street London Polytechnic Institution
152 Daguerreotype view, a studio London Polytechnic Institution
153 Ditto Windsor castle Ditto
154 Ditto Ditto
155 Ditto Lord Barham's house Ditto
156, 157   Specimen of engraving from a Daguerreotype plate Ditto
157b Seven Photogenic Drawings        [Exhibitor not identified] 

Mr. R. Gooch was an optical instrument maker (including camera obscuras) and later lived with his daughter Mrs. Susannah Smith, artist and photographer, at Cherry Cottage, Lakenham.

Mrs. Opie was Amelia Opie (née Alderson, widow of the artist, John Opie, R.A.) a close friend of Miss Anna Gurney who had been in Rome in April 1840, and it seems possible that the exhibited Daguerreotype originated from her2.
The Royal Polytechnic Institution (also known as the London Polytechnic Institution or the Regent Street Polytechnic) opened in Regent Street, London, in 1838 and from 1839 gave demonstrations of photography. It is not known who persuaded the Institution to loan the other Daguerreotypes for the exhibition.

Mrs. Louise Barwell, wife of John Barwell, published3 ‘A Companion to the Norwich Polytechnic Exhibition’ in which she devoted half a page to a self-taught artisan.

A camera obscura has just been added to the amusements of this Exhibition, made by Mr. Gooch, of Norwich, whose history affords an evidence of self education. He was the son of a husbandman, and all the instruction he obtained, was received at his mother’s knee, being little more than his prayers and the letters of the alphabet. At nine years of age he went into household service; he then served in a country blacksmith’s shop, and subsequently learned the business of a whitesmith [tinsmith], at Lowestoft. He taught himself to read; and getting a man to set him a few copies, he learned to write without other aid. At this time he was drawn for the militia, and not being able to pay for a substitute he served for many years: and on receiving his discharge, settled in Norwich as a whitesmith. The science of optics attracted his attention, and he pursued it as a matter of recreation and amusement. Having possessed himself of the principles by means of books, he proceeded to practice, and constructed a very fine reflecting telescope and several astronomical machines; one amongst others which exhibits the whole planetary system, will be placed in this Exhibition as soon as the Committee can find it a situation. There are other persons in Norwich, who, self-instructed, have evinced practical ability in the sciences of astronomy and optics. Mr. Mason, a neighbour of Mr. Gooch, has also devoted time and talent to these sciences. The details of his history are not before me, but it is gratifying to find the artisans and operatives of our city engaged in these elevating pursuits.’

So, by the end of 1840, Norwich citizens had been exposed both to cameras and photographs. As local photographers emerged in the mid 1840s, it is curious that it was more than a decade before photographs were included in Norfolk catalogued exhibitions.

In 1852 there were two photographic exhibits at the Third Exhibition of the Norfolk and Norwich Association for the Promotion of the Fine Arts at the Artists' Room, Exchange Street, Norwich.

No.  Exhibit   Exhibitor
165 Daguerreotypes  Mrs. Smith
166 Photograph, Collodium [sic] Process  J. Howes

Mrs. Smith, was Susannah Smith, who advertised her business as both as an artist and photographer offering “Daguerreotype or Sun Pictures”.  The 1851 Census lists her as living in Lakenham with her father, Mr. R. Gooch , who made camera obscuras.

J. Howes is believed to be James Howes, a Norwich letterpress and copper-plate printer, and bookbinder, working at Back of the Inns and employing three men. Later he became an active member of the Norwich Photographic Society.

In 1853, work by Smith and Howes appeared again in the Fourth Exhibition of the Norfolk and Norwich Association for the Promotion of the Fine Arts held at the Gallery of the Government School of Design, St Andrew's, Broad Street.

No.  Exhibit   Exhibitor
151 Daguerreotype Mrs. Smith
152 Case of Ditto Mrs. Smith
153 Daguerreotype Mrs. Smith
154 Collodion Picture - at Heigham J. Howes
155 Copy of a Print - Labour J. Howes
156 Copy of a Print - Portrait  J. Howes
157 Copy of a Print - Heigham J. Howes

Photographs were exhibited in the 1855 exhibition of the Norfolk and Norwich Association for the Promotion of the Fine Arts at the Exhibition Rooms, Broad Street,
St. Andrews, Norwich.

No.  Exhibit   Exhibitor
363-366  Each listed as 'Photograph' G. R. Fitt
367 Lane Scene, at Caister Castle, from Collodion negative R. Harmer
368 On the Wye, from Paper negative R. Harmer
369 Copy of Print, from Collodion negative R. Harmer
370 On the Wye, from Paper negative R. Harmer
371 Caister Castle West, from Paper negative R. Harmer
372 On the River Wye, from Paper negative R. Harmer
373 South View, Caister Castle, from Collodion negative R. Harmer
374 Ethelbert Gateway G. R. Fitt
375 Copy of Print, from Collodion negative R. Harmer
376 View in Farm Yard, from wax paper negative R. Harmer
377 Copy of a Print, The Scoffers, from Collodion negative R. Harmer
378 Four Photographs W. Boswell Jnr.

G. R. Fitt was George Fitt, an artist and a photographer, who worked prolifically with his cameras in Norfolk during 1854 and 1855. He was a founder member of the Norwich Photographic Society, an honorary member of the Liverpool Photographic Society and very influential in both.

R. Harmer was Henry R. Harmer, a solicitor working on South Quay, Great Yarmouth, who exhibited his photographs nationally.

W. Boswell Jnr. was William Boswell Jnr., a carver, guilder and photographer working in partnership with his father in Norwich. He later acquired the William Freeman framing and photographic business in London Street, Norwich. 

In 1856 the Great Yarmouth Institute Re-Union Catalogue listed

No.  Exhibit   Exhibitor
56 Fifteen photographs  H. R. Harmer
109 Stereoscope and six views of the Exposition Universelle, Paris  [Exhibitor not identified]
110 Seven Photographic portraits T. Ayers
308 Photographs  [Exhibitor not identified]
309 Stereoscope, twelve slides of Sydenham Palace [Exhibitor not identified]
319 Photographs H. R. Harmer
321 Photographs [Exhibitor not identified]
406 Three photographs from Bombay C J Palmer
T. Ayers was Thomas Ayers, a clock maker and photographer working in Great Yarmouth.

It seems likely that C. J. Palmer was Charles John Palmer, F.S.A., a solicitor, married and resident at South Quay, Great Yarmouth. He wrote a major historical work, ‘The Perlustrations of Great Yarmouth’ and was also a member of the Norwich and Norfolk Archaeological Society. Palmer and Harmer both worked as solicitors on South Quay in Yarmouth.

Photographs were included in the vast 1851 Great Exhibition held in London and it’s notable that Henry Harmer of Yarmouth contributed four photographs. Soon after, interest grew in promoting photography as a discrete subject and this led to the formation of the Photographic Society of London in 1853. In June 1854 the Norwich Photographic Society was founded and by 1856 it was ready to display the talents of its members and those of photographers from other regions, including overseas. 

The 1856, the Fine Arts’ Association acknowledged the coming of age of the Norwich Photographic Society as the catalogue cover reads ‘Exhibition of the Norfolk and Norwich Fine Arts’ Association; and the Photographic Society; at the Exhibition Rooms, Broad Street, St. Andrews, Norwich.’  This major show ran from 17th November 1856 to 14th February 1857 and photographic exhibits were added or changed during this period as both a variant catalogue and newspaper notices reveal.

A notice4 from the Norwich Mercury reads:

‘The Photographic Society bring to the Exhibition a store of novelty and beauty, which will astonish as well as delight all. Nothing can be more exquisite, nor more perfect than these works of almost a second nature. The time will come when science renders it her rival by imparting colour - a power which will, in some degree be regretted, as it may lead, to a certain extent, to crush the exercise of painting, by the superiority of these reflections of nature herself.’

At a Society meeting on 6th March 1857, Mr. Pulley, an Honorary Secretary, reported the success of the show, which had enjoyed favourable notices in the local press. He said some 50 photographers exhibited about 550 pictures, of which 450 were for sale. The ratios of negative processes5 were: Collodion – three-fifths, Wax-paper – one-fifth plus, Calotype one-fifth minus. Half of the exhibitors were resident members and, with one exception, exhibited strictly as amateurs.  The show was seen by some 3900 paying visitors and picture sales realised nearly £90.

The catalogue identifies work by Society members and some of their outline biographies may be found elsewhere on this website. 

Abbreviations: n/s – not stated: Wax – waxed paper: Coll. – Collodion: Cal – calotype.

No.   Exhibit  Photographer Negative
333   1. Cossey Hall printed ten years ago  J. Blowers  n/s
    2. Chimneys ditto     printed ten years ago J. Blowers n/s
    3. Cossey Cottage printed ten years ago J. Blowers  n/s
    4. At Halesworth printed ten years ago J. Blowers  n/s
81   N. Runton Church Chancel W. J. J. Bolding Wax
202   Gateway,Castle Rising W. J. J. Bolding Wax
340   South-west Tower, Castleacre Priory W. J. J. Bolding Wax
341   West Door       ditto W. J. J. Bolding Wax
154   Sackville College, East Grinstead J. Cundall Coll.
194   Rocks at Jersey Jos. Cundall Coll.
210   Porch, East Grinstead  J. Cundall Coll.  
217   Wishing Well J. Cundall Coll.
238   “Some pleasing page” J. Cundall Coll.
252   Sproughton Lock J. Cundall Coll
73   Portraits of the Insane Dr. Diamond Coll.
74   Ditto Dr. Diamond Coll.
75   Fac-similies of Engravings Dr. Diamond   
    1   Coll.
    2   Cal.
135   Game, &c. Dr. Diamond  Coll.
155   155 Portrait of Dr. Diamond Dr. Diamond Coll.
190   Celtic Cranium, from a Tumulus Dr. Diamond  Cal.
199   Great seal of the Order of the Garter Dr. Diamond  Coll.
220   The Toad rock, Tunbridge Wells Dr. Diamond Coll.
224   Ludlow Castle Dr. Diamond Coll.
245   Mental Disease Dr. Diamond Coll.
316   Copy of a Print by Albert Durer Dr. Diamond  Coll.
4   3 Erpingham Gate T. D. Eaton Cal.
344   Venus  T. D. Eaton Cal.
1   West Door, Hollyrood Abbey G. R. Fitt Wax
197   Holyrood Chapel G. R. Fitt Wax
206   Holyrood Chapel G. R. Fitt Wax
219   St. Stephen’s Church, Norwich G. R. Fitt Wax
221   Arthur’s Seat, Edinburgh G. R. Fitt Wax
223   Corstophine Church, near Edinbugh G. R. Fitt Wax
225   Lane Scene, Strumpshaw G. R. Fitt Wax
227   Norwich Cathedral G. R. Fitt Wax
253   Mousehold Heath, Norwich G. R. Fitt Wax
254   Norwich Cathedral G. R. Fitt Wax
255   Dalmeny Church G. R. Fitt Wax
40   Beccles Church W. B. Francis Wax
64   Beccles Church W. B. Francis Wax
137   Portrait W. Freeman, Jun. Coll.
137A   Portrait W. Freeman, Jun. Coll.
352   Portraits W. Freeman, Jun. Coll.
1. Untouched    
2. Sepia    
3. Tinted    
4. Highly finished    
158   Portraits Jas. Howes Coll.
162   Portraits Jas. Howes Coll.
208   Attention, a Portrait  Jas. Howes Coll.
335   Dead Game Jas. Howes Coll.
336    Great Yarmouth Charters Jas. Howes Coll.
[338   Hare’s Foot Fern  Jas. Howes      Nature printed]
192   1. Ely Cathedral T. Lound Wax
    2. Bromholme Priory T. Lound Wax
213   1. Ely Cathedral T. Lound Wax
    2. Fish Market, Norwich T. Lound Wax
334   Bromholme Priory T. Lound Wax
319   South Porch, Aylsham Church Jacob Middleton Wax
[216   Etching, Albert Durer  H. Pulley           Printed]
98   St. Mary’s Church, Bury St. Edmunds W. Ralfs Wax
203   Abbey Ruins, Bury St. Edmund’s W. Ralfs Wax
7   Bishopgate Bridge, Norwich Dr. Ranking Wax
9   Cloisters,Norwich Cathedral Dr. Ranking Wax
21   Sandling’s Ferry, Norwich Dr. Ranking Wax
77   On the Norwich River Dr. Ranking Wax
103   Gateway, Castle Rising Dr. Ranking Wax
123   Norwich, from the Railway Bridge Dr. Ranking Wax
130   Cossey Hall  Dr. Ranking Wax
139   The Dolphin, Heigham Dr. Ranking Wax
    (formerly the residence of Bishop Hall)    
161   Porch, Elmham Church Dr. Ranking Wax
220   The Toad Rock, Tunbridge Wells Dr. Ranking Cal.
228   Rustic Bridge, Cossey Dr. Ranking Wax
229     Abbey Gate, Bury St. Edmunds Dr. Ranking Wax
233   The Quay, Wells, Norfolk Dr. Ranking Wax
351   Portraits E. D. Rogers Coll
27   Portrait (coloured) J. R. Sawyer Coll.
30   Cathedral, Norwich J. R. Sawyer Wax
32   Grammar School, Norwich J. R. Sawyer Wax
35   Cathedral, Norwich J. R. Sawyer Wax
37   Portrait (coloured) J. R. Sawyer Coll.
152   Foundry Bridge J. R. Sawyer Wax
181   Portrait (crayon) J. R. Sawyer Coll.
188   Portrait J. R. Sawyer Coll.
256   Four Portraits, coloured J. R. Sawyer Coll.
315   Portrait, coloured in Oils J. R. Sawyer Coll.
318   Portrait, coloured  J. R. Sawyer Coll.
4   Carrow Staithe J. Stewart Wax
15   In Bracondale Nursery J. Stewart Coll.
20   Peace and war, after Landseer J. Stewart Coll.
42   Carrow Bridge J. Stewart Coll.
62   L’Allegro, after Frost  J. Stewart Coll.
82   Sabrina, after Frost J. Stewart Coll.
99   Bylaugh Hall, N. Approach J. Stewart Coll.
145   St. Lukes Chapel J. Stewart Wax
187   Wellington Statue J. Stewart Wax
198   Nelson Monument, Norwich J. Stewart Wax
234   Bylaugh Hall, Norfolk J. Stewart Wax
240   Carrow Gardens, Norwich  J. Stewart Wax
331   “Coming of Age,” after Frith J. Stewart Coll.
337   Cottage at Bracondale J. Stewart  1. Coll. 2. Wax
2   Bury St. Edmund’s  W. A. Todd Wax
76   The Abbey Ruins, Bury St. Edmund’s W. A. Todd Wax
93   Norman Tower, Bury St. Edmund’s W. A. Todd Wax
218   Farmyard W. A. Todd Coll.
317   Portraits W. A. Todd Coll.
330   Bishop’s Bridge, Norwich  W. A. Todd  Wax
22   North Creek Abbey Mrs. Taylor Cal.
65   Burnham Rectory Mrs. Taylor Cal.

It is possible that Mrs. Taylor, although not a Society member, was a Norfolk resident.

Notices of the exhibition were published in the Norfolk News6 and specific mention was made of exhibits by many local photographers.

‘…portraits, of which many fine specimens will be found. The most striking and curious are the famous portraits of the “Insane,” by Dr. Diamond, who is an hon. member of the Norwich Photographic Society. There is also a very pleasing portrait of the Doctor, taken by himself and exhibited by the President. “There are also some small portraits by
Mr. W.A. Todd, a member of the society, which leave nothing to be desired.
Mr.Wm. Freeman, jun., Mr. Sawyer, and Mr. Rogers all exhibit portraits done in the style with which Mr. Sarony7 has made the Norwich public familiar. Most of them are striking in point of likeness and artistic in arrangement, but being more or less painted over with body color, they can hardly claim to be criticised as photographs. This opens the question as to whether the union of painting with photography be desirable…

‘… The oldest of our local amateurs, Mr. Blowers of Cossey, sends four pictures in one frame. They have now been printed more than ten years, without showing any signs of deterioration, and are worthy to be placed side by side with similar productions of the present day. There are two pictures of “Trees laden with Snow,” [not listed in the catalogue] which were done since the room opened, by Mr. J. Stewart. …These snow scenes are as beautiful as they are unique. Mr. Stewart has at least one other picture printed from glass, “In Bracondale Nursery,” which, like the great French Picture of Paris, was made in two parts subsequently joined together. His companion to it, “Carrow Bridge,” from waxed paper, is nearly as sharp in definition and equally fine as a landscape. Mr. W. A. Todd has a capital picture of a “Farm Yard,” from glass, and Mr. James Howes exhibits a copy of some ancient records, which in point of sharpness would not disgrace Dr. Diamond himself. With these, and possibly a few other exceptions, the Norwich amateurs have chiefly exhibited works done from waxed paper negatives. Dr. Ranking has many specimens by this process, which display alike artistic and photographic skill. Take for example the “Rustic Bridge, Cossey,” the “Porch, Earlham Church,” [not in the catalogue] and the “Norwich, from the Railway Bridge.” Mr. W. J. J. Bolding’s pictures, exhibited by Mr. Harrod, are perhaps the finest proofs we have seen from waxed paper, on account of the unusual transparency of the shadows. Mr. Lound’s “Fish Market,” though not so good a photograph as others which have been done by the same hand, is so excellent as a picture that it cannot be viewed without pleasure. Mr. G.R. Fitt, to whose instruction and example the society was much indebted in its infancy, and whose skill in all the processes is universally acknowledged, has some interesting waxed paper views of Edinburgh and its vicinity. “The West Doorway, Holyrood Abbey,” Holyrood Chapel,” and “Arthur’s Seat, Edinburgh,” “Corstophine Church,”&c. Mr. W. Ralfs has also some pleasing “Ruins” from Bury St. Edmund’s, done by the same process. The officers of the society have also contributed, more or less, to enrich the collection. … There is another calotype in the room which has rather more transparency, from the circumstance of it being printed on albumenised paper. … We mean the magnificent “Cetic cranium, from a Tumulus,” produced by Dr. Diamond and exhibited by Mr. Harrod.’

Other exhibitors included luminaries such as Bisson Frères, Frederick Scott Archer, Roger Fenton, Benjamin Bracknell Turner, Gustav Le Gray and Francis Bedford. Although only a few foreign pictures were exhibited, Ken Jacobson’s admirable research8 reveals the extraordinary circumstances that saw the first showing of Gustav Le Gray’s masterpiece ‘The Brig’ at this Norwich exhibition. It was exhibited by one of the honorary secretaries, Henry Pulley, and although the catalogue lists Le Gray’s exhibit No. 164 as ‘Clouds and Sea’ it was, in fact ‘The Brig.’ A reviewer for the Norfolk News wrote: ‘However painful it may be to our national vanity, we must at once admit that the new picture by Gustav Le Gray, is not only the finest in the room, but the grandest effort we ever saw in photography.’

Norfolk Photographers exhibiting work, up to 1860, outside of Norfolk9.

In the period 1851 to 1858 three photographers, Fitt, Harmer and Sisson, sometime residents in Norfolk, are noteworthy for exhibiting their work beyond county limits. The Rev. Joseph Sisson, who published ‘The Turpentine-Waxed Paper Process’ in 1858, curiously, did not exhibit in Norfolk. Harmer exhibited in more locations and used a wider variety of processes than the others.

In the following list the negative process is stated where known.

1851 London, Great Exhibition Henry Harmer  
      Four “sun” pictures of various subjects  
1852 London, Society of Arts Thomas Eaton  
      Erpingham Gateway, Norwich    [Paper]
1853 Aberdeen Mechanics’ Institution J. Stewart  
      Stereoscopic Group, taken from Life, by an amateur.  
1854 Dundee, Royal Infirmary Fund Joseph Sisson, Rev.  
     Edingthorpe Church, Norfolk   
1854 London, Photographic Society Henry Harmer  
    Three portraits [Collodion]
    Fishing boats, Yarmouth Harbour  [Wax-paper]
    Caister Castle, Norfolk                     [Talbotype]
    Castle Acre, Norfolk   [Calotype]
    Forest near Caister, Norfolk  [Talbotype]
    West Front, Castle Acre, Norfolk    [Iodised paper]
    West Front, Crowland Abbey  [Talbotype]
    Old Shed  [Wax-paper]
    Country Seat  [Wax-paper]
    Trees, and Caister Castle in the Distance  [Talbotype]
    Burgh Castle, Suffolk  [Talbotype]
    Trees and Water   [Wax-paper]
    Dutch Boats, Yarmouth Harbour  [Wax-paper]
    Joseph Sisson, Rev.  
    Edingthorpe Church, Norfolk   [Collodion]
    Tithe Barn, Edingthorpe, Norfolk  [Collodion positive]
    Portraits and Tithe Barn, Edingthorpe, Norfolk  [Collodion]
    Ruins of Boxton Abbey, Norfolk [Collodion on Glass]
1854 Society of Arts, 2nd Tour, 1st Set Henry Harmer  
      Fishing Smacks in Yarmouth Harbour [Paper]
    West Front, Crowland Abbey [Paper]
    Caister Castle, Norfolk                                [Wax paper]
1854 Society of Arts, 2nd Tour, 2nd Set Henry Harmer  
    Old Shed   [Paper]
    Study of Boats  [Paper]
    View near Hoddeston, Herts.   [Paper]
1855 London, Photographic Society Henry Harmer  
    South-west view, Caister Castle [Collodion]
    Farm Buildings   [Talbotype]
    Lane Scene  [Collodion]
1855/6 Society of Arts, 3rd Tour, 1st  Set Henry Harmer  
    Fishing Smacks in Yarmouth Harbour        [Paper]
    West Front, Crowland Abbey   [Paper]
1855/6  Society of Arts, 3rd Tour, 2nd  Set  Henry Harmer  
    Fishing Smacks in Yarmouth Harbour   [Paper]
    West Front, Crowland Abbey  [Paper]
1856 Edinburgh, Photographic Society of Scotland George Fitt  
    Haymarket, Norwich     [Waxed paper]
    At Earlham, Norfolk   [Waxed paper]
    Holyrood Palace                                      [Waxed paper]
    Porch of Grammar School                           [Collodion]
    Bishop Bridge, Norwich                          [Waxed paper]
    Bishop Bridge, Norwich                          [Waxed paper]
1856 London, Photographic Society Henry Harmer  
    Pass of Llanberis, North Wales  [Collodion]
    Pass of Llanberis looking towards Dolbadam  [Collodion]
     Pont Gyfing, Wales [Collodion]
      Upper fall of Connaut Maur, North Wales [Collodion]
1857 Manchester, Art Treasures Henry Harmer  
    Copy of an engraving  
    Copy of engravings  
1858 London, Architectural Photographic Association (1) Joseph Sisson, Rev.  
    View of Lausanne  
    View near Lausanne  
    Church near Lausanne  

Sources and Notes

  1. Exhibition catalogues consulted throughout (also, see 9 below) are in the archive of the Norwich Castle Museum.
  2. I acknowledge the kind support of Ann Farrant in sharing this information with me during research for her biography of Amelia Opie.
  3. Mrs. Barwell. A Companion to the Norwich Polytechnic Exhibition. Printed by Bacon,
    Kinnebrook, and Bacon, Mercury Office, Norwich: 1840.
  4. Norwich Mercury, 19th November 1856.
  5. The listing of the negative processes reflected the Society’s objectives that included ‘…the discussion of different photographic processes … A great deal of process experimentation took place in the early years of photography when fading, aesthetic appeal and the search for colour images were key issues.
  6. Norfolk News, 1856 and 1857. Notices of the exhibition were published on 6th, 13th
    and 20th December 1856 and 3rd January 1857.
  7. Oliver Sarony, at that time an itinerant photographer, had a studio ‘Opposite Jolly’s Coach Manufactury’ and show rooms at 42 London Street, Norwich. Later in Scarborough, he established one of the finest and most successful studios in the land.
  8. Jacobson, Ken. ‘The Lovely Sea-View … Which all London is now Wondering at’.
    Ken & Jenny Jacobson: Petches Bridge, 2001.
  9. Taylor, Roger. Photographs Exhibited in Britain 1839-1865. Ottawa: National Galley
    of Canada, 2002.

Members not showing

Charles Morse
H Geldart
H Harrod


Society of Arts - Societies Joined
Norfolk & Norwich Literary Institution
Norfolk & Norwich Young Men’s Institute

Great Yarmouth & Southtown Young Man’s Institute

Great Yarmouth Parochial Library & Museum

King’s Lynn ? Find entry

Touring Exhibition - Yarmouth April 28 – May 9 1854

Info from Norma
# J H Druery exhibited [water/oil?] in the Norwich Art-Union Exhibition, 1839
Lot 57             Daybreak at Inver Ferry, Scotland
Lot 340           Trowse Bridge


Acknowledged masters included Bisson Frères, Frederick Scott Archer, Roger Fenton, Benjamin Bracknell Turner, Gustav Le Gray [exhibit 164 listed as Clouds and Sea] and Francis Bedford.

Notices of the 1856 Show.

‘…portraits, of which many fine specimens will be found. The most striking and curious are the famous portraits of the “Insane,” by Dr. Diamond, who is an hon. member of the Norwich Photographic Society. There is also a very pleasing portrait of the Doctor, taken by himself and exhibited by the President [Thomas Eaton]. There are also some small portraits by Mr. W. A. Todd, a member of the society, which leave nothing to be desired. Mr. Wm. Freeman, jun., Mr. Sawyer and Mr. Rogers all exhibit portraits done in the style with which Mr. Sarony [Oliver Sarony, at that time a peripatetic photographer] has made the Norwich public familiar.’