Posted in 1860s Men's Costume, tagged 1860s Cork, Bowler Hats, Carte-de-visite format, Carte-de-visite portrait, Cork Photographers, County Cork, Hand-coloured Photographs, Hand-tinted Photographs, Irish Photography, Male Fashions 19th Century, Mallow, Men’s Victorian Hairstyles, Tintypes, Vernacular Photography, Victorian Men's Costume on June 1, 2015|
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By the late 1850s, according to Priscilla Harris Dalrymple’s Victorian Costume in Early Photographs, it ‘was becoming fashionable to close only the top button of the coat,’ whilst trousers remained creaseless and without turn-ups. These trends were certainly adopted by this young man who had his photograph taken in the little-known studio of I.J. Rice in the town of Mallow, County Cork, ca. 1860. This image may well be the only surviving evidence of Rice’s output. The card’s straight-edges and plain stamp indicate that it is an early example of the carte-de-visite process.
I love the nonchalance of the man’s pose and even though the image has been damaged and marked over the years it is still possible to make out his distinctive attire and striking hairstyle. His lacquered hair is parted on both sides and piled up high in the middle. His watch fob, bow tie and pinky ring have been crudely highlighted with green ink. His bowler or derby hat rests on the ornate studio chair which contrasts with the plain backdrop.
This image and indeed his pose bear an uncanny resemblance to another photograph from my collection. The portrait below originated in an Irish-American album and is an example of the tintype process which was favoured in the United States. Although separated by thousands of miles, both men are dressed in a very similar manner.
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This beautiful carte-de-visite was produced by Callaghan, 45 South Mall, Cork ca. 1870. The photographer first appears in the 1867 General Directory of Cork published by Henry & Coghlan. He is listed again in Slater’s Directory for 1870, in Fulton’s City Directory for 1871 and Guy’s Directory for 1875. Indeed, the directories are confusing in that some years he is listed as Timothy or T.J. O’Callaghan and in others as Callaghan without the ‘O’.
I was delighted to come across a reference to the photographer in the Journal of the Cork Historical and Archaeological Society from 1936. The title of the article Timothy O’Callaghan, a Cork lithographer, who printed the prayer book in Irish written by Pól Ó Longán promised much, however, when I called it up in the National Library of Ireland it was only a small note asking the readers if they knew anything about O’Callaghan!
I love hand-coloured photographs and wonder if this one was painted in the studio or at home by an amateur? During this period, hand-tinting photographs was a popular hobby and tips were given in women’s magazines and journals. In 1871 the Queen’s Institute for the Training and Employment of Educated Women in Molesworth Street, Dublin offered instruction in the hand-tinting of photographs. This course was taken up by young ‘gentlewomen’ hoping to secure a job with one of the many photographers in the city. I like the fact that the painter has highlighted, in blue, only the small detail of the ribbon tying the girl’s hair.
The young girl is wearing a loose-fitting paletot jacket piped with braid. The dropped shoulder sleeves are loose and the collar is in a Mandarian style. The three-buttoned jacket is worn with a wide skirt made from a rough woollen material. The painted backdrop depicts a terrace looking out on a typical pastoral scene. The studio accessories include a lustre wear vase and a small book which is held by the girl as a prop.
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Posted in 19th century Cork, tagged 1860s Cork, Carte de Visite Portraits, Children's Costume, Cork, Cork Photographers, Crinolines, Found Photographs, Irish Photography, Irish Studio Photography, Patrick Street Cork, Stevens Photographers Cork, Vernacular Photography on February 15, 2012|
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The little girl on the pedestal was named Elizabeth Angelina Anna Stopford and she was born in Dublin in 1868. Her family subsequently moved to Cork where she was photographed with her crinoline-wearing mother, Lucy Rebecca Stopford (née Binney). Thanks to the online availability of Dublin church records, I was able to track down her baptism details.
The Stopfords were a military family and they resided at Eglantine, Mallow. The inscription on the back of the carte-de-visite shows that the photograph was taken in July 1869 and sent ‘to dear Willie with Lucy’s love.’
Unfortunately, Elizabeth died at the age of 22 in 1890. Other than these scant facts I know little about her life. A pretty extensive trawl through the national newspapers has revealed no death notice nor memorial. This was often the case with unmarried daughters or aunts especially if they had no property to bequeath. Perhaps, her passing was marked in the local newspapers?
The studio of Stevens is little known and doesn’t appear in Eddie Chandler’s Photography in Ireland : the Nineteenth Century. I love the mention of access through Francis Guy’s Stationery Hall. From a perusal of the city’s street directories it looks like George F. Stevens’ business as a short-lived one, appearing in only one of the volumes made available through Cork City Library’s website: Slater’s National Commercial Directory of Ireland for 1870.
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