This remarkably realistic image of Watnall Hall's Colonel Lancelot Rolleston (looking rather Heathcliff-like) originally dates from 1837. It was subsequently copied and printed by Nottingham's earliest pioneer of photography and high-resolution mezzotint printing, Alfred Barber. One of the copies was recently acquired by the British Museum due to its artistic and technological prowess.
Rolleston's image was originally painted in 1837 by Alfred Barber's father Thomas Barber, a renowned Nottingham portrait and landscape artist. Mr. Leonard Jacks in his 1881 book "Great Houses of Nottinghamshire" reports seeing the painting at Watnall Hall...
"In the dining room, hanging over the mantelpiece, is a portrait of the late Colonel Rolleston (Sherwood Foresters), who, from 1837 to 1849, was one of the representatives of the southern division of the county in the House of Commons, and for some years chairman of the Nottinghamshire Quarter Sessions. This portrait was presented to Mr. Rolleston by a constituency, which was attached to him by ties, other than those represented by Parliamentary duties and electoral requirements, and it is said to be a true and faithful likeness."
The original painting's whereabouts are (as yet) unknown but investigations are underway.
Photography comes to Nottingham
Alfred Barber took Nottingham's first photograph in his new studio on September 29th 1841 in the attic of Bromley House² on Angel Row. At great cost he bought the licence to produce an early type of photograph, the daguerreotype, which had been invented two years previously by Louis Daguerre in France.
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| Alfred Barber's Bromley House attic Nottingham's first photography studio opened 1841 |
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| Alfred Barber, Nottingham's first photographer. Taken in April 1849 |
No expense was spared by Barber on his new enterprise. The attic roof at Bromley House had to be modified by adding a revolving roof light... "The roof he has had taken off at considerable expense, and a circular wooden roof substituted, in which a window is formed with the glass coloured a light blue. The most singular feature of this roof is, however, its being capable of revolving with the sun, by means of cog wheels and machinery, which have been erected for the purpose. This is intended for the allowing of a change of light being obtained, if found necessary."
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| London's Polytechnic Institute had a similar roof light modification⁴ |
The new photography phenomenon was wildly popular in America... "where in the late 1850s hundreds of daguerreotypists vied for clients. The most successful artists built lavish portrait studios on the upper floors of buildings on and just off Broadway, and in other major American cities from Boston to San Francisco."
Commercial life as a daguerreotypist was not so successful for Alfred in his lavish Bromley House attic. Unfortunately, the "unerring fidelity" that he'd boasted about had its drawbacks too... "the ability of the daguerreotype to faithfully reproduce the Human Face Divine - and its imperfections - was not universally welcomed." A downturn in the Nottingham lace trade did not encourage potential customers either. After a court action initiated by the Daguerreotype patent owner for non-payment of licence fees, the studio was forced to close at the beginning of 1843. This did not stop the irrepressible Alfred Barber though, he was determined to continue, as his biography attests...
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| Alfred Barber's advert in the Nottingham Review 25th Feb 1842 |
In April 1843, he travelled down to the Channel Islands, where Beard's patent restrictions did not apply. After a period working as a daguerreotype artist in St. Peter Port, Guernsey, and St. Helier in Jersey, from 1846 Alfred Barber operated in the southern counties of England. In 1846, Alfred Barber joined forces with John Frederick Goddard (1797-1866), who had been allowed by Beard to operate photographic portrait studios in Hampshire.
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| Barber's licence for Bromley House |
In 1852 moved to Reading, and had a brief stay in Oxford in 1854; in the of 1855 finally settled in Bristol, where for the first five years he was in partnership with George Marks. Continued as a photographer until 1867 when he became a jeweller. He died in Bristol on 8th March 1884, eleven days short of his 76th birthday."
Barber prints Colonel Rolleston as a Mezzotint
Alfred Barber also specialised in making printed copies of pictures and paintings², using a sophisticated engraving technique called mezzotint. The long-winded mezzotint process requires reproducing the picture on a roughened copper plate using polishing or "burnishing" tools to draw the image. The roughening process alone can take days depending on the size of the coper sheet¹. However, the result is an exquisitely detailed image with subtle tones of light and shade.
So, in 1838 the second incarnation of Colonel Rolleston's portrait was printed by Alfred Barber from an engraving made by renowned mezzotint artist Thomas Hodgetts. Hodgetts exhibited regularly at the Royal Academy between 1801 and 1824. This print of Colonel Rolleston is a particularly fine example of a Hodgetts mezzotint and was acquired by the British Museum in 2010.
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| 1838 - highly-detailed mezzotint of Colonel Lancelot Rolleston MP. The original portrait was done to celebrate his status as South Nottinghamshire's new MP. |
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Adding Colour to the Colonel
Mezzotinting produces a monochrome print so to colourise it I used modern day AI colourising software. The software uses each subtle shade of grey to infer a colour tone. The rich shades of the mezzotint provide a perfect base for a successful colourisation.
Hopefully we have recreated Thomas Barber's original painting of the Colonel but until the original is rediscovered we will have to wait...
The first photograph of Nottingham
Taken two years before Colonel Rolleston's death, the picture below from 1860 (possibly a daguerreotype) is generally acknowledged to be the very first taken of Nottingham still in existence. The building on the left still exists, the original Nottingham railway station on Carrington Street opposite the new station.
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| Above - c.1860 - Nottingham, Carrington Street crossing & Queen's Bridge over the Tinkers Leen. One of the first photographs² of Nottingham taken c.2 years before Col. Rolleston's death. The old Nottingham Station (far left with flat roof) and level crossing gates. Below - Same location today with Nottingham Station on right |
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| 1843 or 1850 - Daguerreotype of another local legend, Ada Lovelace, Lord Byron's daughter and pioneering computer programmer |
During Colonel Rolleston's lifetime great change came to the city - the canals, the railways, the industrial revolution and, as we've seen, photography. The country's population doubled and Great Britain under Queen Victoria came to rule a quarter of the planet. His own life was to be a series of triumphant highs and tragic lows which you can read about in his biography article here...
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Notes and Sources
British Museum print of Rolleston https://www.britishmuseum.org/collection/image/1075132001
Alfred Barber picture from a private collection. The irrepressible Alfred Barber's bio...
From Photo history of Sussex...
"Alfred Barber was born in Nottingham on 19th March 1808, the son of Mary and Thomas Barber junior (1771-1843), a Nottinghamshire portrait painter. A printer, bookseller and stationer by trade, Alfred Barber married Eliza Gill, the daughter of John and Mary Gill, on 23rd August 1831.
In 1841, Alfred Barber entered into negotiations with Richard Beard (1801-1885), a patent speculator who owned the patent rights to the daguerreotype process in England. Richard Beard had opened the first photographic portrait studio in the British Isles in London's Regent Street on 23rd March 1841 and from June 1841 he began to sell daguerreotype licences to those persons interested in establishing photographic portrait studios in the provinces. Richard Beard agreed to issue a daguerreotype licence to Alfred Barber to practise in Nottingham for the sum of £1,200 (pounds sterling). To operate in the city of Nottingham, Alfred Barber was expected to pay Beard a down payment of £450, a first instalment of £50, followed by three separate quarterly instalments of £240.
Alfred Barber opened his Photographic Portrait Institution in the attic rooms of Bromley House (which housed Nottingham's Subscription Library) on Saturday, 2nd October 1841. Unfortunately for Barber, around this time Nottingham was experiencing a recession in the lace and hosiery trades and therefore his photographic studio attracted only a small number of customers. Between 7th September 1842 and 10th January 1843, Alfred Barber only took 53 portraits. Barber struggled to keep up his payments to Richard Beard, who took legal action against the Nottinghamshire photographer, who was forced to close his photographic portrait studio in January 1843.
Alfred Barber travelled down to the Channel Islands, where Beard's patent restrictions did not apply. After a period working as a daguerreotype artist in St. Peter Port, Guernsey, and St. Helier in Jersey, from 1846 Alfred Barber operated in the southern counties of England. In 1846, Alfred Barber joined forces with John Frederick Goddard (1797-1866), who had been allowed by Beard to operate photographic portrait studios in Hampshire. By May 1846, Alfred Barber was taking daguerreotype portraits in Winchester and early in 1847, he and Goddard established a daguerreotype studio in Southampton. The details of Alfred Barber's career suggests that he could have been the mysterious "A. B." who was offering for sale a daguerreotype licence covering Chichester, Bognor and four other places in West Sussex because he had taken "a larger business in another county" (Alfred Barber operated a daguerreotype portrait studio in Winchester between 1846 and 1852). Alfred Barber eventually settled in Bristol, where he died on 8th March 1884, eleven days short of his 76th birthday."
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BARBER Alfred Born: Nottingham 19 March 1808, son of Thomas (portrait painter) and Mary. Married: Eliza Gill 23 August 1831. Died: Totterdown 8 March 1884. Formerly a bookseller, printer and stationer, he established Nottingham's first daguerreotype studio on 2 October 1841. It was not a financial success and after a court action initiated by Beard, the studio closed at the beginning of 1843. [after he lost to Beard who imposed an injunction for no-payment of licence fees and revoked his photography licence] In April of that year, commenced business in St. Peter Port, Guernsey [not subject to Beard's UK patent/licencing] and then visited St. Helier, Jersey. Made several return visits to the Channel Islands during the next three years. In May 1846, initially in conjunction with John F. Goddard, opened a studio at Winchester, and at Southampton early in 1847 . Also paid short visits to Basingstoke in 1848 and Reading in 1850.
In 1852 moved to Reading, and had a brief stay in Oxford in 1854; in the of 1855 finally settled in Bristol, where for the first five years he was in partnership with George Marks. Continued as a photographer until 1867 when he became a jeweller.
In 1852 moved to Reading, and had a brief stay in Oxford in 1854; in the of 1855 finally settled in Bristol, where for the first five years he was in partnership with George Marks. Continued as a photographer until 1867 when he became a jeweller.
Thomas Barber paintings³
Rolleston, Lancelot Esq MP Engraving by Thomas Hodgetts from painting by Thomas Barber (1900 Catalogue no.33) Painted in 1837 (Nottm Jnl)...see No. 33 in catalogue of 1900 Nottingham exhibition, engraving published 1838 by Alfred Barber, lent by James Ward. However no.220 in 1899 catalogue is sitter of same name engraved after painting by H.Barber (sic, H) lent by Mechanics Instn.
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| Daguerreotype of Louis Daguerre in 1844 |
Hodgetts engravings https://www.npg.org.uk/collections/search/person?LinkID=mp57268&wPage=1
Mezzotints in America https://www.metmuseum.org/essays/the-daguerreian-era-and-early-american-photography-on-paper-1839-1860
1 - Video of the mezzotint process https://www.youtube.com/watch?v=jikAwCcc0uI
Description https://en.wikipedia.org/wiki/Mezzotint
"The first ten years of the daguerreotype in Nottingham" by Pauline F. Heathcote
Alfred Barber - One aspect of his business was to publish engravings of his father's portraits of the landed gentry and other local worthies, and a number of these engravings bearing his name, as publisher, are housed in the Permanent Collection of Nottingham Castle Museum and Art Gallery.
2 - Bromley House - When did photography arrive in Nottingham? 1841 - Nottingham's Bromley House library was the location for the Midland's first studio... "In 1839, Frenchman Louis Daguerre presented to the world his exciting new invention, the daguerreotype, a means of producing a permanent image using a camera obscura. Nottingham businessman Alfred Barber saw great potential in this invention and just two years later he set up a photographic studio in the attics of Bromley House – the first in the Midlands. The roof was altered so that a revolving skylight containing blue glass could be fitted, which bathed sitters in a light that one customer described as ‘snapdragon blue’. He also purchased, at great expense, a licence to produce daguerreotypes together with the materials required. The first photograph taken in the Bromley House Studio was in September 1841. https://bromleyhouse.org/our-photographic-history/
Historically, there is an important sequel relating to that early Nottingham enterprise, for the attic rooms at Bromley House remained in virtually continuous use as professional photographic premises until the mid-1950's; indeed, the last occupant clearly recalls that the revolving roof mechanism was not dismantled until 1936. Furthermore, the building still survives under the private ownership of the Bromley House Library; built in 1752 for the banker, Sir George Smith, it is a splendid example of a Georgian town residence.
3 - List of Thomas Barber paintings - incl. the Rolleston one and details of the engraving
Thomas Barber portrait painter 7 - draft list of pictures
Draft list of pictures believed to be by Thomas Barber of Nottingham and Derby c.1771-1843
(NB Williams' Thesis lists additional pictures, to be noted)
(Consider also some attributed to "Henry Barber" (of Derby).
Main List (see bottom for “transparencies” shown in 1814)
Adams, Rev Henry Leonard (1798-) [perhaps a Congretational Minister at Newark] Said to be signed and dated 1838. Internet. Sale of items from Rockbeare Manor, 2015.
Agony in the Garden (1815-1816) Oil on board? Nottingham, St Peter’s Church, ceiling of west entrance porch beneath tower ..... originally behind altar…. Said to be covering East end window (Dearden, 1834).... Article by Peter Hoare cited above. Notice in the church seen October 2020 and signed Peter Hoare 1998 states the painting was moved from the chancel to the porch wall in the mid c19 and to the ceiling in 1936, adding that Barber painted it over a c.1715 painting (of the Last Supper) by Edward Dovey of Bridlesmith Gate which was commissioned by Dr Alvery Dodsley.
Alliott, Rev. R (long-serving minister at Castle-gate Independent) (or his son of same name). Nottm Review 27 Nov.1835 reports that a print is about to be made of an excellent likeness of the Rev. R. Alliott, painted by Mr Barber.
Almond, Rev Robert White Oil on canvas, 89 x 104 cms per 2017 list Nottingham, Bromley House Library. “Portrait in Oils” - Russell, 1916 p.70 not identifying artist. Notes (by Priestland?) attributing the picture to Sir Thomas Lawrence. In 2017 list said to be “”Sir T. Lawrence (style of)” and was then in Ellen Harrington Room. Still there in 2020 when taken down as room being redecorated. EMB was able to see the painting 8 October 2020 by the kindness of Library staff. Nothing notable on the back except written in chalk "Bromley 12.11.23" (or could just be 73). Almond was born in 1785.
Almond, Rev Robert White Oil presumably on canvas. Nottingham, St Peter’s Church / Bromley House records. 1998 Article by Peter Hoare seen in church porch October 2020 states that picture hung then in north aisle.
Anson, Anna Margaret, Countess of Rosebery Oil? Shugborough. Art UK / National Trust collections database .... see next below....
Anson, Anne Margaret [nee Coke], Viscountess Anson Oil? Shugborough. Art UK / National Trust collections database....... see next above.... see Coke.
Anson, General Sir George Oil? Shugborough. National Trust collections database
Anson, General Sir William Oil? Shugborough. Art UK / National Trust collections database
Anson, Sir William mezzotint by John Young after Thomas Barber NPG D7066
Arkwright Family Members (see Wigram) No less than 21 Arkwright and related families portraits in the sitting-room at Willersley Castle, listed by Glover & Noble, The Peak Guide (1845), p.120. Presumably same pictures referred to by Plant, 2016.
Arkwright, Sir Richard (artist not indentified. Only included in this list because picture was at Bromley House). Nottingham, Bromley House c.1827, but had “disappeared” by 1916. Russell, 1916, Hist of the NSL, pp.5-6
Atherstone, Hugh & his wife (she unnamed) (said to be by Beeby, a pupil of Barber) Oil? Property of Mr Mitford-Barberton c.1930 (in South Africa) (his book Barbers of the Peak)
Attenburrow, John MRCS (Surgeon to the General Hospital nr Nottm from 1781 (1900 exhibition notes)) Oil original. Also Engraving from painting by Thomas Barber Nottm Journal 23 Aug 1833 mentions that Mr Barber is now engaged on a portrait of Mr Attenburrow, commissioned by subscription and no doubt for the General Hospital Charity…..1893:- Oil portrait lent to 1893 exhibition by the Council of the Nottm General Hospital (Notts Guardian 25/2/1893)…... 1900:- No. 35 in catalogue, engraving by M.Gauci from T. Barber painting, published 1833 by Alfred Barber, lent by George Fellows, JP
Baillie, Matthew [a doctor, see Abigail Gawthern's diary] Oil? Royal College of Physicians London. Art UK
Baillie, Sophia Oil? Royal College of Physicians London. Art UK
Balguy, John, of Duffield Park, Recorder of Derby Mezzotint 1828-1829 by William Say after Thomas Barber NPG D7486 / Plant 2016
Draft list of pictures believed to be by Thomas Barber of Nottingham and Derby c.1771-1843
(NB Williams' Thesis lists additional pictures, to be noted)
(Consider also some attributed to "Henry Barber" (of Derby).
Main List (see bottom for “transparencies” shown in 1814)
Adams, Rev Henry Leonard (1798-) [perhaps a Congretational Minister at Newark] Said to be signed and dated 1838. Internet. Sale of items from Rockbeare Manor, 2015.
Agony in the Garden (1815-1816) Oil on board? Nottingham, St Peter’s Church, ceiling of west entrance porch beneath tower ..... originally behind altar…. Said to be covering East end window (Dearden, 1834).... Article by Peter Hoare cited above. Notice in the church seen October 2020 and signed Peter Hoare 1998 states the painting was moved from the chancel to the porch wall in the mid c19 and to the ceiling in 1936, adding that Barber painted it over a c.1715 painting (of the Last Supper) by Edward Dovey of Bridlesmith Gate which was commissioned by Dr Alvery Dodsley.
Alliott, Rev. R (long-serving minister at Castle-gate Independent) (or his son of same name). Nottm Review 27 Nov.1835 reports that a print is about to be made of an excellent likeness of the Rev. R. Alliott, painted by Mr Barber.
Almond, Rev Robert White Oil on canvas, 89 x 104 cms per 2017 list Nottingham, Bromley House Library. “Portrait in Oils” - Russell, 1916 p.70 not identifying artist. Notes (by Priestland?) attributing the picture to Sir Thomas Lawrence. In 2017 list said to be “”Sir T. Lawrence (style of)” and was then in Ellen Harrington Room. Still there in 2020 when taken down as room being redecorated. EMB was able to see the painting 8 October 2020 by the kindness of Library staff. Nothing notable on the back except written in chalk "Bromley 12.11.23" (or could just be 73). Almond was born in 1785.
Almond, Rev Robert White Oil presumably on canvas. Nottingham, St Peter’s Church / Bromley House records. 1998 Article by Peter Hoare seen in church porch October 2020 states that picture hung then in north aisle.
Anson, Anna Margaret, Countess of Rosebery Oil? Shugborough. Art UK / National Trust collections database .... see next below....
Anson, Anne Margaret [nee Coke], Viscountess Anson Oil? Shugborough. Art UK / National Trust collections database....... see next above.... see Coke.
Anson, General Sir George Oil? Shugborough. National Trust collections database
Anson, General Sir William Oil? Shugborough. Art UK / National Trust collections database
Anson, Sir William mezzotint by John Young after Thomas Barber NPG D7066
Arkwright Family Members (see Wigram) No less than 21 Arkwright and related families portraits in the sitting-room at Willersley Castle, listed by Glover & Noble, The Peak Guide (1845), p.120. Presumably same pictures referred to by Plant, 2016.
Arkwright, Sir Richard (artist not indentified. Only included in this list because picture was at Bromley House). Nottingham, Bromley House c.1827, but had “disappeared” by 1916. Russell, 1916, Hist of the NSL, pp.5-6
Atherstone, Hugh & his wife (she unnamed) (said to be by Beeby, a pupil of Barber) Oil? Property of Mr Mitford-Barberton c.1930 (in South Africa) (his book Barbers of the Peak)
Attenburrow, John MRCS (Surgeon to the General Hospital nr Nottm from 1781 (1900 exhibition notes)) Oil original. Also Engraving from painting by Thomas Barber Nottm Journal 23 Aug 1833 mentions that Mr Barber is now engaged on a portrait of Mr Attenburrow, commissioned by subscription and no doubt for the General Hospital Charity…..1893:- Oil portrait lent to 1893 exhibition by the Council of the Nottm General Hospital (Notts Guardian 25/2/1893)…... 1900:- No. 35 in catalogue, engraving by M.Gauci from T. Barber painting, published 1833 by Alfred Barber, lent by George Fellows, JP
Baillie, Matthew [a doctor, see Abigail Gawthern's diary] Oil? Royal College of Physicians London. Art UK
Baillie, Sophia Oil? Royal College of Physicians London. Art UK
Balguy, John, of Duffield Park, Recorder of Derby Mezzotint 1828-1829 by William Say after Thomas Barber NPG D7486 / Plant 2016
Barber Family Pictures Nottingham – Pictures said divided after his death between his sons. Mitford Barberton, p. 28..... see several illustrations in that book.
Barber, Alfred Illustrated in Mitford Barberton, after p.36. Alfred is bearded and middle-aged, this much more likely a photograph than a painting by his father.
Barber, Hugh & his wife Anna née Hoare Illustrated in Mitford Barberton, about p.40. Reproductions are not very clear. Separate paintings both said to be by Thomas Barber.
Barber, Joseph (the son) Illustrated in Mitford Barberton, about p.28. Illustration is poor but subject seems of full age and is bearded. Perhaps a photograph.
Barber, Miss Anne (“his daughter”) (i.e. Alfred's sister) Exhibited in 1893 (Notts Guardian 25/2/1893). Illustrated in Mitford Barberton, after p.36. Oval. This painting must show her shortly before her death, see main notes. Can only be assumed to be same picture.
Barber, Mrs Thomas (understood to be his first wife) Illustrated in Mitford Barberton, about p.18
Barber, Rev Henry & his wife Hannah née Atherstone Illustrated in Mitford Barberton, about p.30 Presumably thiese are nos. 129 and 130 exhibited in 1893, then lent by Miss A [Amenia] Barber (NEP 28/2/93)
Barber, Thomas (self portrait) (another) Sold at Market Harborough in 2013 according to Plant, 2016
Barber, Thomas (self portrait) (another) (query) Nottingham, Bromley House Library?? Query this information. No such picture known at BH. Likely to have been confused with the one at Castle Museum
Barber, Thomas (self portrait) 1841 Nottingham Castle Museum. Art UK
Barber, Tom (the son) Illustrated in Mitford Barberton, about p.28. Poor illustration, but clearly a painting.
Bateman Family Members Plant 2016
Bateman, the Misses (impliedly by Barber) (two children) Exhibited as no. 101 in 1893 (NEP 28/2/93)
Bateman,Thomas Osborne, & Hugh (1816) of Hartington & Derby. Subjects were children of Richard Bateman of ?Hartington Oil? Hartington/Derby. Later said sold in Los Angeles. Plant 2016. Artnet, dating picture 1818
Beaumont, Mrs Charlotte, wife of Rev Thomas, of East Bridgford (d.1830) Oil on canvas Family ownership / personal knowledge. See notes to picture of her husband.
Beaumont, Rev Thomas, of East Bridgford, Notts (d.1835) Oil on canvas Family ownership / personal knowledge. Tradition that picture is by Barber though has been more recently stated by valuers both as “English School” and “in style of Thomas Lawrence.”
Becher, Rev J T (John Thomas Becher -c.1835) Oil on canvas "Becher family ownership until 1970. Exhibited in 1893 as no.132 lent by Mr John Becher (NEP 28/2/93). Given to Southwell Minster by Mrs Mary Beaumont (nee Becher) and Miss Joan Becher in 1970 and more recently lent by the Minster to National Trust - Workhouse Southwell, Notts. Personal knowledge. Art UK. Nottm Journal 24 Feb.1893
Birch, Joseph Esq (artist not indentified. Only included in this list because picture was at Bromley House). A Joseph Birch represented Nottm in Parliament 1802-3 and 1818-30. He was or had been a Liverpool merchant and had interests in the West Indies. He does not appear to have been a member of NSL. Priestland says Birch gave the portrait of himself to NSL in 1822. Nottingham, Bromley House c.1827, but “disappeared” by c.1916. Russell, 1916, Hist of the NSL, pp.5-6. NPG engraving of Birch does not mention Barber (NPG 31790-1).
Bolton, Selina (nee Hayne). Daughter of Richard Hayne of Nottm. Her dates query 1768-1851 wife of Samuel Bolton of Pelham St / Thurland Hall Oil on canvas Internet, Sold in 2012 at Crewkerne
Boothby, Cecil Brooke Hardwick Hall.Art UK
Bradley, Mr George of Old Lenton. And a portrait of Mrs Bradley Exhibited in 1893 (Notts Guardian 25/2/1893).
Brown, John (Said in 1893 to be father of Mr T.H. Brown of the Moot Hal) (or father of Mr John Henry Brown, a magistrate) Nottingham 1893 exhibition. Nottm Journal 24 Feb.1893 (Notts Guardian 25/2/1893).
Burnside, Catherine, of Gedling Hall (1795-1870) Sold at Christies in 2010 (Christies online).
Byron, Lord (artist not indentified. Only included in this list because picture was at Bromley House) Nottingham, Bromley House. Russell, 1916, Hist of the NSL, pp.5-6, p.69. Query if still there
Cavendish, Charles Compton, 1st Lord Chesham Hardwick Hall. Art UK. National Trust collections database
Cavendish, Lady Harriet, Countess Granville Hardwick Hall. Art UK. National Trust collections database
Chapman, William Nottingham Castle Museum. Art UK
Charlton, Robert and Samuel, twin sons of Colonel Charlton, of Chilwell Hall Exhibited in 1893 (Notts Guardian 25/2/1893).
Chawner, Dr Rupert. Possibly Rupert Heyne Chawner or another RC, both doctors c.1806 (Williams Williams states this portrait can now only be traced in print form.
Chouler, Mr, “one of his lordship's agents.” [see also Mr Slight] Oil? Entrance Hall, Wollaton, c.1850 (Rambles round Nottingham).
Coke, Daniel Parker Esq., MP (c.1745-1825) (Query if one single picture) Williams refers to Barber's portraits of Coke & Desbrow being at the Repository of Arts in St James's St (cites Nottm.Jnl 16 Dec.09). This must mean Moseley & Tunnicliffe in St.James's St in Nottm. Oil? And engraving Nottingham, Bromley House c.1827, “disappeared” by c.1916. Russell, 1916, Hist of the NSL, pp.5-6 / Calke Abbey / National Trust collections database. No.78 of 1900 Catalogue was an engraving by Thomas Gauguin from a picture of this subject by Barber, lent by Mr J.C. Warren
Coke, Mrs Not known. Inland Revenue Register conditionally exempt works. Wright & Gordon, British & Irish Paintings in Public Collections. See Anson?
Coke, [Thomas] ……... (1) his wife Jane Dutton (2) his daughter Anne [later Mrs Thomas Anson, see there] (3) his daughter Elizabeth Coke of Norfolk (1753-1842) – biography by Susanna Wade Martins. See Anson?
Coldham, George Esq (artist not indentified. Only included in this list because picture was at Bromley House). Sitter was Town Clerk of Nottm, alias as Frigid Thighs in pamphlet about election of Coke versus...... Said in 1899 catalogue to be mezzotint by C.Turner after portrait by William Artaud Nottingham, Bromley House. Lent by the Library to the 1899 exhibition, Cat.no.215, but said there to be the property of the Corporation. Russell, 1916, Hist of the NSL, pp.5-6. For an engraving from a painting by William Artaud of George Coldham (Town Clerk of Nottm 1790-1815) see 1899/1900 exhibition catalogue, no.46, there lent by George Fellows
Cooper, Edward (?Rev) Mezzotint 1819 by William Say after Thomas Barber NPG D1548 & 11347
Curzon, Francis, Mary & Alfred Kedleston Hall / W & G / Art UK / National Trust collections database
Denman, Lord (same subject as next?) (assuming one original picture)...Art UK dates picture circa 1831-3….(artist not indentified. Only included in this list because picture was at Bromley House). Oil Nottingham, Bromley House, said given by Jonathan Dunn in 1822..mentioned as there c.1827 but had “disappeared” by c.1916 / Nottingham Castle Museum… Russell, 1916, Hist of the NSL, pp.5-6 / NPG D1738 / W & G / Plant 2016 / Art UK
Denman, Thomas Esq 1767-1843, later First Baron Denman Mezzotint 1832 or later by Thomas Hodgetts, after Thomas Barber The portrait was commissioned for the Corporation in 1832 (see notes); it then in early 1833 paid Mr Barber £20 for frames for the portraits of Lord Holland and Sir Thomas Denman (Nottm Bor Recs). An engraving after a painting of Denman by Barber was exhibited in 1900 (Catalogue no. 135, lent by Bernard Wilcockson; and see also no.12, which was an engraving of the same, lent by the Mechanics Institution)
Desbrowe, Edward (catalogued 1810 as Desbrowe, Lt Col, MP, Vice Chamberlain to The Queen). See Coke. Sometimes spelled Disbrowe. Must have been painted c.1809. Oil? 1810 at Academy. Stipple engraving by Thomas Gauguin after Thomas Barber Exhibited RA 1810. Magazine of Art in 1893 did not know where this portrait then was.N PG D35192
Dunn, Jonathan Oil? Nottingham Castle Museum / W & G / Art UK
Elliott, Colonel (Elliott, Colonel John Stanford 1787-18..) (artist may or may not be Barber). Sitter said in 1899 catalogue to be Lt-Col of Nottm Volunteer Infantry 1798-1808. I think he lived at Stanford House, Castle-gate. Oil, 25 x 28 cm (details in 2017 list, where artist is said to be T. Barber sr with no expression of uncertainty) Nottingham, Bromley House Library, by 1827.Bromley House records. Russell, 1916, p.70 says by Barber senior. 1899 Exhibition Catalogue no.189. 1900 Exhibition Catalogue no. 168. Small oil painting on panel, lent by Bromley House to the 1899 and 1900 exhibitions catalogued 1899 no.189 and 1900 no.168 [check], Artist Unknown. Said to be In Neville Hoskins Room, 2007; still there, 2017…. still tere I think in 2020 ?to right of fireplace and very small like a miniature??
Elliott, Colonel John (d.1823) About 30 x 25 ins Internet. Presumably another version of this picture said to have descended via Burnside family and offered for sale at Fulbeck, Lincs., in 2002
Fox, The Hon Charles James Hardwick Hall / Art UK
Garnett, Mrs Mary, [Housekeeper per W&G] Oil? Kedleston Hall. W & G / Art UK / National Trust collections database. Art UK says “In the Marble Hall”
General Officer Exhibited RA 1816
Gentleman Exhibited RA 1811
Gentleman Exhibited RA 1816
Gilbert, Rev. Joseph [1899 catalogue no.31 notes 1779-1852 Friar Lane chapel built for him c.1828] Stipple engraving drawn by J.Gilbert Esq. Mr Barber has an engraving in hand (NJ 15 Nov. 1833). Nottingham 1899 catalogue no. 31, lent by Mr F.W.Dobson. Compare Joseph / Josiah Gilbert.
Gilbert, Rev. Josiah (said in 1893 to be first minister of Friar-lane Chapel) Nottingham 1893 exhibition. Nottm Journal 24 Feb.1893. Compare Joseph / Josiah Gilbert.
Gordon, Lady Caroline, Lady Chesham. Art UK dates circa 1814 Hardwick Hall. W & G / Art UK / National Trust collections database
Granville, John mezzzotint by William Say after Thomas Barber NPG D15090
Granville, Mrs mezzzotint by William Say after Thomas Barber NPG D15091
Grey-haired Man Nottingham Castle Museum. W & G. Former query if the Grey haired man is Jonathan Dunn
Hall, Samuel (1820-29) Science Museum London. Art UK
Harrison, G, Esquire Exhibited RA 1813
Harrison, Mr Exhibited RA 1815
Harrison, Sir George mezzotint by Charles Turner, after Thomas Barber Published 11 Nov. 1816. NPG D35526
Hawkesley, T., Esq (artist not indentified. Only included in this list because picture was at Bromley House). Nottingham, Bromley House. Russell, 1916, Hist of the NSL, pp.5-6. 1900 Catalogue no.115 is an engraving of this sitter (who d.1802) by John Raphael Smith 1752-1812; lent by BH Library; notes there say that TH was a chemist & druggist at Long Row, Nottm., and family Mon in St.Nicholas's church
Higgins, Sambrooke [a clergyman in Staffordshire?] mezzotint by John Young after Thomas Barber NPG D35764
Hoare, Miss Elizabeth (1826) (wife of John Rawson Walker) (is this said to be by Thomas Barber Junior)?? Oil? Nottingham, City Museums. Art UK / Godfrey & Walker, Homes & Haunts of Henry Kirke White p.56n). G&W implies this is by Barber senior. Indeed Barber jr died in 1824. Exhibited in 1893 (Notts Guardian 25/2/1893).
Holland, Lord [the Venerable Recorder of Nottm] [Henry Richard Vassall Fox 1773-1840] See Thomas Denman. The portrait of Lord Holland was apparently commissioned at the same time as that of Denman, in 1832.
Hope, Charles Stead (The Rev) (?Vicar of St Alkmunds) (and ?Mayor of Derby) Mezzotint 1820 by William Say after Thomas Barber NPG D35968 and 35969 and 35970 / Plant 2016
Hudson, Mr John, formerly headmaster of Derby Grammar School Exhibited in 1893 (Notts Guardian 25/2/1893).
Hutchinson, Colonel (artist not indentified. Only included in this list because picture was at Bromley House). Nottingham, Bromley House, c.1827, “disappeared” by c.1916. Russell, 1916, Hist of the NSL, pp.5-6.
Innes, William mezzotint 1830s-1840s by Robert Moore Hodgetts after Thomas Barber NPG D36449
Jackson, John stipple engraving by Thomas Woolnoth, after Thomas Barber NPG D34352 and 36468
Jephson, Dr [of Leamington Spa] Painted in 1840, see papers. Alfred Barber in 1841 was selling a 15 x 18 in engraving by Wagstaff from “a large picture recently painted by” his father. [John Jephson was the name of an architect involved with The Park in the early 1820s]
Lady Exhibited RA 1811
Lady Exhibited RA 1817
Lady, a portrait of, by the late T. Barber Exhibitied no.118 Nottingham Society of Artists 1846 (Nottm. Review 21 Aug.1846)
Langton, Cardinal Oil? A copy of a picture in the Bodleian, done for P.Barry Barry Esq.. Barber finished this in 1836. (Nottm Review 14 Oct. 1836).
LaTrobe, C T (recte C. I). (Rev Christian Ignatius LaTrobe 1758-1836) Oil? And engraving[s] derived therefrom Exhibited RA 1829. Not in Art UK. Wikipedia has an image of subject wearing spectacles and with an organ in background, stating mezzotint by Samuel Bellin, after Thomas Barber. NPG D3745 & 15298. Copy at Calke Abbey [of engraving] (Nat. Trust collections)
Leigh, Rev Clement Rector of Newcastle-under- Lyme Portrait by Barber mentioned in Nottm Journal 6 Nov. 1835
Barber, Alfred Illustrated in Mitford Barberton, after p.36. Alfred is bearded and middle-aged, this much more likely a photograph than a painting by his father.
Barber, Hugh & his wife Anna née Hoare Illustrated in Mitford Barberton, about p.40. Reproductions are not very clear. Separate paintings both said to be by Thomas Barber.
Barber, Joseph (the son) Illustrated in Mitford Barberton, about p.28. Illustration is poor but subject seems of full age and is bearded. Perhaps a photograph.
Barber, Miss Anne (“his daughter”) (i.e. Alfred's sister) Exhibited in 1893 (Notts Guardian 25/2/1893). Illustrated in Mitford Barberton, after p.36. Oval. This painting must show her shortly before her death, see main notes. Can only be assumed to be same picture.
Barber, Mrs Thomas (understood to be his first wife) Illustrated in Mitford Barberton, about p.18
Barber, Rev Henry & his wife Hannah née Atherstone Illustrated in Mitford Barberton, about p.30 Presumably thiese are nos. 129 and 130 exhibited in 1893, then lent by Miss A [Amenia] Barber (NEP 28/2/93)
Barber, Thomas (self portrait) (another) Sold at Market Harborough in 2013 according to Plant, 2016
Barber, Thomas (self portrait) (another) (query) Nottingham, Bromley House Library?? Query this information. No such picture known at BH. Likely to have been confused with the one at Castle Museum
Barber, Thomas (self portrait) 1841 Nottingham Castle Museum. Art UK
Barber, Tom (the son) Illustrated in Mitford Barberton, about p.28. Poor illustration, but clearly a painting.
Bateman Family Members Plant 2016
Bateman, the Misses (impliedly by Barber) (two children) Exhibited as no. 101 in 1893 (NEP 28/2/93)
Bateman,Thomas Osborne, & Hugh (1816) of Hartington & Derby. Subjects were children of Richard Bateman of ?Hartington Oil? Hartington/Derby. Later said sold in Los Angeles. Plant 2016. Artnet, dating picture 1818
Beaumont, Mrs Charlotte, wife of Rev Thomas, of East Bridgford (d.1830) Oil on canvas Family ownership / personal knowledge. See notes to picture of her husband.
Beaumont, Rev Thomas, of East Bridgford, Notts (d.1835) Oil on canvas Family ownership / personal knowledge. Tradition that picture is by Barber though has been more recently stated by valuers both as “English School” and “in style of Thomas Lawrence.”
Becher, Rev J T (John Thomas Becher -c.1835) Oil on canvas "Becher family ownership until 1970. Exhibited in 1893 as no.132 lent by Mr John Becher (NEP 28/2/93). Given to Southwell Minster by Mrs Mary Beaumont (nee Becher) and Miss Joan Becher in 1970 and more recently lent by the Minster to National Trust - Workhouse Southwell, Notts. Personal knowledge. Art UK. Nottm Journal 24 Feb.1893
Birch, Joseph Esq (artist not indentified. Only included in this list because picture was at Bromley House). A Joseph Birch represented Nottm in Parliament 1802-3 and 1818-30. He was or had been a Liverpool merchant and had interests in the West Indies. He does not appear to have been a member of NSL. Priestland says Birch gave the portrait of himself to NSL in 1822. Nottingham, Bromley House c.1827, but “disappeared” by c.1916. Russell, 1916, Hist of the NSL, pp.5-6. NPG engraving of Birch does not mention Barber (NPG 31790-1).
Bolton, Selina (nee Hayne). Daughter of Richard Hayne of Nottm. Her dates query 1768-1851 wife of Samuel Bolton of Pelham St / Thurland Hall Oil on canvas Internet, Sold in 2012 at Crewkerne
Boothby, Cecil Brooke Hardwick Hall.Art UK
Bradley, Mr George of Old Lenton. And a portrait of Mrs Bradley Exhibited in 1893 (Notts Guardian 25/2/1893).
Brown, John (Said in 1893 to be father of Mr T.H. Brown of the Moot Hal) (or father of Mr John Henry Brown, a magistrate) Nottingham 1893 exhibition. Nottm Journal 24 Feb.1893 (Notts Guardian 25/2/1893).
Burnside, Catherine, of Gedling Hall (1795-1870) Sold at Christies in 2010 (Christies online).
Byron, Lord (artist not indentified. Only included in this list because picture was at Bromley House) Nottingham, Bromley House. Russell, 1916, Hist of the NSL, pp.5-6, p.69. Query if still there
Cavendish, Charles Compton, 1st Lord Chesham Hardwick Hall. Art UK. National Trust collections database
Cavendish, Lady Harriet, Countess Granville Hardwick Hall. Art UK. National Trust collections database
Chapman, William Nottingham Castle Museum. Art UK
Charlton, Robert and Samuel, twin sons of Colonel Charlton, of Chilwell Hall Exhibited in 1893 (Notts Guardian 25/2/1893).
Chawner, Dr Rupert. Possibly Rupert Heyne Chawner or another RC, both doctors c.1806 (Williams Williams states this portrait can now only be traced in print form.
Chouler, Mr, “one of his lordship's agents.” [see also Mr Slight] Oil? Entrance Hall, Wollaton, c.1850 (Rambles round Nottingham).
Coke, Daniel Parker Esq., MP (c.1745-1825) (Query if one single picture) Williams refers to Barber's portraits of Coke & Desbrow being at the Repository of Arts in St James's St (cites Nottm.Jnl 16 Dec.09). This must mean Moseley & Tunnicliffe in St.James's St in Nottm. Oil? And engraving Nottingham, Bromley House c.1827, “disappeared” by c.1916. Russell, 1916, Hist of the NSL, pp.5-6 / Calke Abbey / National Trust collections database. No.78 of 1900 Catalogue was an engraving by Thomas Gauguin from a picture of this subject by Barber, lent by Mr J.C. Warren
Coke, Mrs Not known. Inland Revenue Register conditionally exempt works. Wright & Gordon, British & Irish Paintings in Public Collections. See Anson?
Coke, [Thomas] ……... (1) his wife Jane Dutton (2) his daughter Anne [later Mrs Thomas Anson, see there] (3) his daughter Elizabeth Coke of Norfolk (1753-1842) – biography by Susanna Wade Martins. See Anson?
Coldham, George Esq (artist not indentified. Only included in this list because picture was at Bromley House). Sitter was Town Clerk of Nottm, alias as Frigid Thighs in pamphlet about election of Coke versus...... Said in 1899 catalogue to be mezzotint by C.Turner after portrait by William Artaud Nottingham, Bromley House. Lent by the Library to the 1899 exhibition, Cat.no.215, but said there to be the property of the Corporation. Russell, 1916, Hist of the NSL, pp.5-6. For an engraving from a painting by William Artaud of George Coldham (Town Clerk of Nottm 1790-1815) see 1899/1900 exhibition catalogue, no.46, there lent by George Fellows
Cooper, Edward (?Rev) Mezzotint 1819 by William Say after Thomas Barber NPG D1548 & 11347
Curzon, Francis, Mary & Alfred Kedleston Hall / W & G / Art UK / National Trust collections database
Denman, Lord (same subject as next?) (assuming one original picture)...Art UK dates picture circa 1831-3….(artist not indentified. Only included in this list because picture was at Bromley House). Oil Nottingham, Bromley House, said given by Jonathan Dunn in 1822..mentioned as there c.1827 but had “disappeared” by c.1916 / Nottingham Castle Museum… Russell, 1916, Hist of the NSL, pp.5-6 / NPG D1738 / W & G / Plant 2016 / Art UK
Denman, Thomas Esq 1767-1843, later First Baron Denman Mezzotint 1832 or later by Thomas Hodgetts, after Thomas Barber The portrait was commissioned for the Corporation in 1832 (see notes); it then in early 1833 paid Mr Barber £20 for frames for the portraits of Lord Holland and Sir Thomas Denman (Nottm Bor Recs). An engraving after a painting of Denman by Barber was exhibited in 1900 (Catalogue no. 135, lent by Bernard Wilcockson; and see also no.12, which was an engraving of the same, lent by the Mechanics Institution)
Desbrowe, Edward (catalogued 1810 as Desbrowe, Lt Col, MP, Vice Chamberlain to The Queen). See Coke. Sometimes spelled Disbrowe. Must have been painted c.1809. Oil? 1810 at Academy. Stipple engraving by Thomas Gauguin after Thomas Barber Exhibited RA 1810. Magazine of Art in 1893 did not know where this portrait then was.N PG D35192
Dunn, Jonathan Oil? Nottingham Castle Museum / W & G / Art UK
Elliott, Colonel (Elliott, Colonel John Stanford 1787-18..) (artist may or may not be Barber). Sitter said in 1899 catalogue to be Lt-Col of Nottm Volunteer Infantry 1798-1808. I think he lived at Stanford House, Castle-gate. Oil, 25 x 28 cm (details in 2017 list, where artist is said to be T. Barber sr with no expression of uncertainty) Nottingham, Bromley House Library, by 1827.Bromley House records. Russell, 1916, p.70 says by Barber senior. 1899 Exhibition Catalogue no.189. 1900 Exhibition Catalogue no. 168. Small oil painting on panel, lent by Bromley House to the 1899 and 1900 exhibitions catalogued 1899 no.189 and 1900 no.168 [check], Artist Unknown. Said to be In Neville Hoskins Room, 2007; still there, 2017…. still tere I think in 2020 ?to right of fireplace and very small like a miniature??
Elliott, Colonel John (d.1823) About 30 x 25 ins Internet. Presumably another version of this picture said to have descended via Burnside family and offered for sale at Fulbeck, Lincs., in 2002
Fox, The Hon Charles James Hardwick Hall / Art UK
Garnett, Mrs Mary, [Housekeeper per W&G] Oil? Kedleston Hall. W & G / Art UK / National Trust collections database. Art UK says “In the Marble Hall”
General Officer Exhibited RA 1816
Gentleman Exhibited RA 1811
Gentleman Exhibited RA 1816
Gilbert, Rev. Joseph [1899 catalogue no.31 notes 1779-1852 Friar Lane chapel built for him c.1828] Stipple engraving drawn by J.Gilbert Esq. Mr Barber has an engraving in hand (NJ 15 Nov. 1833). Nottingham 1899 catalogue no. 31, lent by Mr F.W.Dobson. Compare Joseph / Josiah Gilbert.
Gilbert, Rev. Josiah (said in 1893 to be first minister of Friar-lane Chapel) Nottingham 1893 exhibition. Nottm Journal 24 Feb.1893. Compare Joseph / Josiah Gilbert.
Gordon, Lady Caroline, Lady Chesham. Art UK dates circa 1814 Hardwick Hall. W & G / Art UK / National Trust collections database
Granville, John mezzzotint by William Say after Thomas Barber NPG D15090
Granville, Mrs mezzzotint by William Say after Thomas Barber NPG D15091
Grey-haired Man Nottingham Castle Museum. W & G. Former query if the Grey haired man is Jonathan Dunn
Hall, Samuel (1820-29) Science Museum London. Art UK
Harrison, G, Esquire Exhibited RA 1813
Harrison, Mr Exhibited RA 1815
Harrison, Sir George mezzotint by Charles Turner, after Thomas Barber Published 11 Nov. 1816. NPG D35526
Hawkesley, T., Esq (artist not indentified. Only included in this list because picture was at Bromley House). Nottingham, Bromley House. Russell, 1916, Hist of the NSL, pp.5-6. 1900 Catalogue no.115 is an engraving of this sitter (who d.1802) by John Raphael Smith 1752-1812; lent by BH Library; notes there say that TH was a chemist & druggist at Long Row, Nottm., and family Mon in St.Nicholas's church
Higgins, Sambrooke [a clergyman in Staffordshire?] mezzotint by John Young after Thomas Barber NPG D35764
Hoare, Miss Elizabeth (1826) (wife of John Rawson Walker) (is this said to be by Thomas Barber Junior)?? Oil? Nottingham, City Museums. Art UK / Godfrey & Walker, Homes & Haunts of Henry Kirke White p.56n). G&W implies this is by Barber senior. Indeed Barber jr died in 1824. Exhibited in 1893 (Notts Guardian 25/2/1893).
Holland, Lord [the Venerable Recorder of Nottm] [Henry Richard Vassall Fox 1773-1840] See Thomas Denman. The portrait of Lord Holland was apparently commissioned at the same time as that of Denman, in 1832.
Hope, Charles Stead (The Rev) (?Vicar of St Alkmunds) (and ?Mayor of Derby) Mezzotint 1820 by William Say after Thomas Barber NPG D35968 and 35969 and 35970 / Plant 2016
Hudson, Mr John, formerly headmaster of Derby Grammar School Exhibited in 1893 (Notts Guardian 25/2/1893).
Hutchinson, Colonel (artist not indentified. Only included in this list because picture was at Bromley House). Nottingham, Bromley House, c.1827, “disappeared” by c.1916. Russell, 1916, Hist of the NSL, pp.5-6.
Innes, William mezzotint 1830s-1840s by Robert Moore Hodgetts after Thomas Barber NPG D36449
Jackson, John stipple engraving by Thomas Woolnoth, after Thomas Barber NPG D34352 and 36468
Jephson, Dr [of Leamington Spa] Painted in 1840, see papers. Alfred Barber in 1841 was selling a 15 x 18 in engraving by Wagstaff from “a large picture recently painted by” his father. [John Jephson was the name of an architect involved with The Park in the early 1820s]
Lady Exhibited RA 1811
Lady Exhibited RA 1817
Lady, a portrait of, by the late T. Barber Exhibitied no.118 Nottingham Society of Artists 1846 (Nottm. Review 21 Aug.1846)
Langton, Cardinal Oil? A copy of a picture in the Bodleian, done for P.Barry Barry Esq.. Barber finished this in 1836. (Nottm Review 14 Oct. 1836).
LaTrobe, C T (recte C. I). (Rev Christian Ignatius LaTrobe 1758-1836) Oil? And engraving[s] derived therefrom Exhibited RA 1829. Not in Art UK. Wikipedia has an image of subject wearing spectacles and with an organ in background, stating mezzotint by Samuel Bellin, after Thomas Barber. NPG D3745 & 15298. Copy at Calke Abbey [of engraving] (Nat. Trust collections)
Leigh, Rev Clement Rector of Newcastle-under- Lyme Portrait by Barber mentioned in Nottm Journal 6 Nov. 1835
London, Clarence Terrace, Regent's Park. For this and other townscapes, landscapes, consider the “other” Thomas Barber. See main text. Engraving of drawing Wimpole, Cambridgeshire. National Trust collections database. Here the engraving is positively attributed to Barber of Nottingham, and the drawing to T.H.Shepherd. Query. This image is in Shepherd, 1827, as are others. There is no indication in that work as to whether this engraver Thomas Barber was, or was not, Barber of Nottingham..
London, Finsbury Chapel Engraving of drawing T.H. Shepherd, Metropolitan Improvements (1827). Here the picture is marked as drawn by.Shepherd and engraved by Thomas Barber (Nottingham etc not mentioned)
Love, David, Ballad writer 1750-1827 Nottingham Castle Museum. Art UK. No.67 in the 1900 exhibition catalogue is a picture of David Love 1750-1827, artist not stated…. Also a miniature in same exhibition no. 153…. and a bust, no.206
Lowe, Mary Anne Drury (Mrs Holden) Inland Revenue Register conditionally exempt works. W & G. See notes Nottm Univ MSS/Special collections.
Lowe, Robert (said in 1893 to be High Sheriff in 1802 and grandfather to the late Lord Sherbrooke). Nottingham 1893 exhibition. Nottm Journal 24 Feb.1893 (Notts Guardian 25/2/1893).
Manson, Alexander (Nottingham based Scottish physician). 1899 catalogue states M.D., F.R.S.,and that he was born at Nottm 1774, practised there, and died at Darley Dale, 1840. Subscriber to NSL from 1823-1842. Lithograph, 1835 by Maxim Gauci, published by Alfred Barber, after Thomas Barber (from NPG?) Nottm Journal 24 April 1835 – Mr Barber's proposal to publish the portrait of Dr Manson.… NPG D38214. The engraving was included in the 1900 Nottm exhibition, lent by Mr James Ward, catalogue no.24. An engraving said by Alfred Barber after painting by Thomas Barber was exhibitied in 1899 no. 221, lent by the Mechanics Instn.
Mayo, Benjamin [The Old General] Oil? Nottingham Castle Museum W & G. Art UK. See notes on Barber as at March 1832.
Middleton, Sixth Lord Oil? Rambles round Nottingham
Middleton, Seventh Lord Oil? Rambles round Nottingham
Montgomery, George Oil? Sheffield Graves & Mappin Art Gallery. W & G/Art UK [query this as could not find]
Montgomery, James [poet, writer, editor. Scottish, trained at Fulneck] Oil? See Williams p.252. Exhibited in 1893 (Notts Guardian 25/2/1893). Referred to in John Holland, Memoirs ….. James Montgomery, vol. 4 (1855), p.75, as being paid by Mr Barber “a respectable artist from Derby” who visited Sheffield in 1824.
Moravian Bishops and Leading Ministers - “all” of them – Query Mitford Barberton, p. 19
Murray, Joe, servant to the 5th & 6th Lords Byron Oil? Newstead Abbey (City of Nottingham). W & G
Musters, John George (said in 1893 to be son of “Byron's Mary”….) Oil? Nottingham 1893 exhibition, no.120. Nottm Journal 24 Feb.1893 (NEP 28/2/93)
Nottingham Castle Nottm Review 26 Oct. 1832 reported that Alfred Barber is publishing a lithographic print of a view of Nottm Castle by [his father]; it includes a distant view of the houses in the park, and has figures and cattle in the foreground.
Nottingham - View across Nottingham Park with Lenton Priory in distance Nottingham Castle Museum. W & G / Art UK
Nottingham – a view Watercolour about 18 x 12 ins Internet. Offered at Lewes in 2007
Nottingham – a mill or manufactory on fire Drawing – to be engraved Nov. 1802. Blackner, Nottingham (1815) p.248.
Nottingham – a South View of Nottingham, by T.Barber, 1808 Medium not stated in 1899 catalogue. Exhibited 1899 no. 238 lent by Mr & Mrs Percy Cropper…. [?and again 1900 no.238, lent by Mr & Mrs Percy Cropper….check].
Nottingham – The Cow Drinks – Nottingham Park. Nottingham Castle Museum. W & G / Art UK
Nottingham – The Trent at Wilford. Nottingham Castle Museum. W & G / Art UK. A note that this picture is at Bromley House is wrong?
Oakeley, Sir Charles [Governor of Madras] Mezzotint by Samuel William Reynolds after Thomas Barber 1816 NPG D39341
Oakley, Octavius [himself a painter?] Plant 2016
Pelham-Clinton, Lady Caroline Augusta (d.1898) and Lady Henrietta (d.1860) online myartprints
Radford, John, of Smalley Hall (1809) Plant 2016
Rancliffe, George, second Lord. (of Bunney) [MP for Nottingham] 1900 Catalogue gives sitter's dates 1785-1850 Engraved by Thomas Goff Lupton after painting by Thomas Barber and proof pub by Alfred Barber 1838 (1900 cat) Catalogue 1900 exhibition no. 16. Lent by Mr George Fellows. Nottm Review 21 July 1837 gives notice offering copies of an engraving of the original portrait of Lord R. “just painted by Mr T.Barber” and for sale at his son Alfred Barber's, Printer, Park-street.
Rancliffe, Lord (of Bunney Park) MP for Nottm 1812-20 and 1826-30 (1899 catalogue). 1900 catalogue suggests this is Thomas Boothby Parkyns, created Lord R 1795 in the Irish Peerage, whose died 1800. Engraved by T Lupton after painting by Thomas Barber 1899 Catalogue no. 218 lent by Mechanics Instn. I found an illustration online. Query if this is by Barber, it would be before 1800 so a very early picture and to me as a non-expert looks quite different from his later works.
Reichel, Samuel [dates 1787-1857] [member of Moravian church and brother of C.F.Reichel who ran the school at Fulneck] National Trust have a portrait of him at A La Ronde which might perhaps be by Barber.
London, Finsbury Chapel Engraving of drawing T.H. Shepherd, Metropolitan Improvements (1827). Here the picture is marked as drawn by.Shepherd and engraved by Thomas Barber (Nottingham etc not mentioned)
Love, David, Ballad writer 1750-1827 Nottingham Castle Museum. Art UK. No.67 in the 1900 exhibition catalogue is a picture of David Love 1750-1827, artist not stated…. Also a miniature in same exhibition no. 153…. and a bust, no.206
Lowe, Mary Anne Drury (Mrs Holden) Inland Revenue Register conditionally exempt works. W & G. See notes Nottm Univ MSS/Special collections.
Lowe, Robert (said in 1893 to be High Sheriff in 1802 and grandfather to the late Lord Sherbrooke). Nottingham 1893 exhibition. Nottm Journal 24 Feb.1893 (Notts Guardian 25/2/1893).
Manson, Alexander (Nottingham based Scottish physician). 1899 catalogue states M.D., F.R.S.,and that he was born at Nottm 1774, practised there, and died at Darley Dale, 1840. Subscriber to NSL from 1823-1842. Lithograph, 1835 by Maxim Gauci, published by Alfred Barber, after Thomas Barber (from NPG?) Nottm Journal 24 April 1835 – Mr Barber's proposal to publish the portrait of Dr Manson.… NPG D38214. The engraving was included in the 1900 Nottm exhibition, lent by Mr James Ward, catalogue no.24. An engraving said by Alfred Barber after painting by Thomas Barber was exhibitied in 1899 no. 221, lent by the Mechanics Instn.
Mayo, Benjamin [The Old General] Oil? Nottingham Castle Museum W & G. Art UK. See notes on Barber as at March 1832.
Middleton, Sixth Lord Oil? Rambles round Nottingham
Middleton, Seventh Lord Oil? Rambles round Nottingham
Montgomery, George Oil? Sheffield Graves & Mappin Art Gallery. W & G/Art UK [query this as could not find]
Montgomery, James [poet, writer, editor. Scottish, trained at Fulneck] Oil? See Williams p.252. Exhibited in 1893 (Notts Guardian 25/2/1893). Referred to in John Holland, Memoirs ….. James Montgomery, vol. 4 (1855), p.75, as being paid by Mr Barber “a respectable artist from Derby” who visited Sheffield in 1824.
Moravian Bishops and Leading Ministers - “all” of them – Query Mitford Barberton, p. 19
Murray, Joe, servant to the 5th & 6th Lords Byron Oil? Newstead Abbey (City of Nottingham). W & G
Musters, John George (said in 1893 to be son of “Byron's Mary”….) Oil? Nottingham 1893 exhibition, no.120. Nottm Journal 24 Feb.1893 (NEP 28/2/93)
Nottingham Castle Nottm Review 26 Oct. 1832 reported that Alfred Barber is publishing a lithographic print of a view of Nottm Castle by [his father]; it includes a distant view of the houses in the park, and has figures and cattle in the foreground.
Nottingham - View across Nottingham Park with Lenton Priory in distance Nottingham Castle Museum. W & G / Art UK
Nottingham – a view Watercolour about 18 x 12 ins Internet. Offered at Lewes in 2007
Nottingham – a mill or manufactory on fire Drawing – to be engraved Nov. 1802. Blackner, Nottingham (1815) p.248.
Nottingham – a South View of Nottingham, by T.Barber, 1808 Medium not stated in 1899 catalogue. Exhibited 1899 no. 238 lent by Mr & Mrs Percy Cropper…. [?and again 1900 no.238, lent by Mr & Mrs Percy Cropper….check].
Nottingham – The Cow Drinks – Nottingham Park. Nottingham Castle Museum. W & G / Art UK
Nottingham – The Trent at Wilford. Nottingham Castle Museum. W & G / Art UK. A note that this picture is at Bromley House is wrong?
Oakeley, Sir Charles [Governor of Madras] Mezzotint by Samuel William Reynolds after Thomas Barber 1816 NPG D39341
Oakley, Octavius [himself a painter?] Plant 2016
Pelham-Clinton, Lady Caroline Augusta (d.1898) and Lady Henrietta (d.1860) online myartprints
Radford, John, of Smalley Hall (1809) Plant 2016
Rancliffe, George, second Lord. (of Bunney) [MP for Nottingham] 1900 Catalogue gives sitter's dates 1785-1850 Engraved by Thomas Goff Lupton after painting by Thomas Barber and proof pub by Alfred Barber 1838 (1900 cat) Catalogue 1900 exhibition no. 16. Lent by Mr George Fellows. Nottm Review 21 July 1837 gives notice offering copies of an engraving of the original portrait of Lord R. “just painted by Mr T.Barber” and for sale at his son Alfred Barber's, Printer, Park-street.
Rancliffe, Lord (of Bunney Park) MP for Nottm 1812-20 and 1826-30 (1899 catalogue). 1900 catalogue suggests this is Thomas Boothby Parkyns, created Lord R 1795 in the Irish Peerage, whose died 1800. Engraved by T Lupton after painting by Thomas Barber 1899 Catalogue no. 218 lent by Mechanics Instn. I found an illustration online. Query if this is by Barber, it would be before 1800 so a very early picture and to me as a non-expert looks quite different from his later works.
Reichel, Samuel [dates 1787-1857] [member of Moravian church and brother of C.F.Reichel who ran the school at Fulneck] National Trust have a portrait of him at A La Ronde which might perhaps be by Barber.
Rolleston, Lancelot Esq MP Engraving by Thomas Hodgetts from painting by Thomas Barber (1900 Catalogue no.33) Painted in 1837 (Nottm Jnl)...see No. 33 in catalogue of 1900 Nottingham exhibition, engraving published 1838 by Alfred Barber, lent by James Ward. However no.220 in 1899 catalogue is sitter of same name engraved after painting by H.Barber (sic, H) lent by Mechanics Instn.
Sanday, Mrs W. of Holme Pierrepont (implied to be by Barber) Exhibited in 1893, lent by Mr William Sanday (NEP 28/2/93)
Sawle, Mrs Dorothy Prideaux; and two children Charles & Mary Oil on canvas. Said to be signed. Cowan's Auctions (online). Query.
Scarlett, Master. Exhibited RA 1817
Sherbrooke, Mr William, of Oxton Exhibited in 1893 (Notts Guardian 25/2/1893).
Skeffington, Master (Lumley St George). Query An engraving from a miniature by “Barber” is said to have been mentioned in Jan. 1805 in the “Monthly Mirror” (see Ward & Roberts' Romney Catalogue)
Siddons, Mrs [Sarah, noted actress] [well known to Thomas Lawrence] Oil? Exhibited RA 1819. Magazine of Art in 1893 did not know where this portrait then was.
Sims, John, former governor of Derby Gaol Oil? Derby Museum and Art Gallery. W & G
Sims, Mrs, wife of John Oil? Derby Museum and Art Gallery. W & G
Sleath, Rev William Boultbee, c.1763-1843 Headmaster of Repton mezzotint by Charles Turner, after Thomas Barber Plant 2016 / NPG D41724
Slight, Mr., “one of his lordship's agents.” [see also Mr Chouler] Oil? Entrance Hall, Wollaton, c.1850 (Rambles round Nottingham).
Smelt, Cornelius, Lt Gov of The Isle of Man (d.1832) [brother of Rev William Smelt, of Gedling] Oil? c.1826 Manx Museum, Art UK. NB Art UK also lists pictures by Henry Barber at Manx Museum
Smith, Henry, son of Samuel [this is Henry Smith 1794-1874 of Wilford etc] Oil? Exhibited in 1893 (Notts Guardian 25/2/1893).
Smith, John, Esq (artist not indentified. Only included in this list because picture was at Bromley House). There was a JS 1767-1842 who was a son of Abel Smith 2 I think. Oil? Nottingham, Bromley House, c.1827, “disappeared” by c.1916. Russell, 1916, Hist of the NSL, pp.5-6
Smith, Lady Lucy (nee Melville) (wife of Henry)… her surname was Leslie-Melville and her dates were ????-1865 Oil? Exhibited 1893 (Notts Guardian 25/2/1893).
Smith, Rev Richard Oil? Hardwick Hall. W & G / Art UK / National Trust collections database
Smith, Samuel (MP for Leicester in 1770) (picture is not stated to be by Barber, perhaps by J Rawson Walker)…. This SS is (check this) a son of Abel 2, brother John, and father of Henry Smith of Wilford amongst others. Oil? Exhibited in 1893 lent by Mr Abel Smith who also sent other portraits (NEP 28/2/93) (Notts Guardian 25/2/1893).
Sneyd, Rev Lewis c.1788-1858 (painted c.1810) [??Warden of All Souls' College) Oil? Hardwick Hall. W & G / Art UK / National Trust collections database
Staunton Hall, north view of [by] Thomas Barber, mentioned on Notts History website.From Alfred Parker, Notts Magazine, 1933.
Stevenson, Thomas (there was a printer / engraver of this name in Nottm., 185) Oil? Nottingham Castle Museum. W & G / Art UK
Storer, Dr John (ca 1820) (reposing his hand on a skull). Thiis was by Thomas Barber Junior Oil? Nottingham, Bromley House (until 1908 or later) / Said to be on the staircase, a full-length life-size portrat (Russell, 1916, NSL p.4, p.35). Believed to have been stolen (undated article by Terry Fry in Thoroton Society Newsletter). A miniature of Dr Storer three quarter length was exhibited in 1900 no.152
Stretton, Colonel Sempronius (1816 – then “Major Stretton”) Oil? Exhibited RA 1816. Plant 2016
Tallents, Mrs., wife of W.E.Tallents of Newark Oil? Exhibited in 1893 (Notts Guardian 25/2/1893).
Tallents, William Edward Esq (1829 painting). ?Solicitor and land agent, Newark. mezzotint by Thomas Goff Lupton, 1829 x 1838, after Thomas Barber Apparently painted in 1838, see papers. 1900 exhibition catalogue no.125 / NPG D40810 & 40811
The Sisters Oil? Exhibited RA 1824
Thornhill, Colonel William, of Stanton Oil? Plant 2016
Two Young Ladies Oil? Exhibited RA 1823
Victoria, Queen. See 8 June 1838 Nottm Review and NJ 15 June and other papers re a transparency by and donated by Barber to be displayed at the exchange
Victoria, Queen [“Her Majesty”] Nottm Review 17 Jan. 1845 contains mention of a full length portrait of Her Majesty by the late T.Barber Esq., restored “by the pencil of Mr Bretland,” then at The Exchange.
Unidentified Lady (see unidentified gentleman) Priestand's notes state this picture was in Thoroton Room (date not obvious). Said notes don't mention the gentleman. Now on stairs with gentleman. An earlier assumption that they are a pair may not be warranted!
Unidentified Gentleman and Lady (Query artist) (two portraits)… both would seem early mid c19 maybe by Barber. Nottingham, Bromley House, staircase… Not identified (2017 notes)... Seen on wall and discussed with Nicola Rae …. (still there in 2020)
Wakefield, Captain Edward (in civilian costume) Oil? Exhibited in 1893 (Notts Guardian 25/2/1893).
Wakefield, Samuel 1800-1870 Oil? Exhibited in 1893. Lent by Miss Wakefield (NEP 28/2/93)
Walker, John Rawson (1822) By Thomas Barber Junior Oil? Nottingham Castle Museum. Art UK
Walker, Rev George [c.1734-1807] c.1805 (artist not indentified. Only included in this list because picture was at Bromley House). Dissenting Minister in Nottingham. High Pavement chapel. Slavery abolitionist. Portrait not thought to be by Barber. Oil? Nottingham, Bromley House, c.1827, “disappeared” by c.1916. Russell, 1916, Hist of the NSL, pp.5-6. But see no.74 of the 1900 exhibition catalogue, an engraving from a picture of Rev Mr Walker by Richard Bonington
Wayne, William Henry Esq Oil on canvas Edinburgh, Georgian House, Charlotte Square. W & G / Art UK
Wellington, Marquis of. Drawing, 1812 Nottingham Journal 19 Sep.1812. A drawing by Mr Barber, exhibited in Doncaster. Mr Brydone intends having a plate engraved. 3 Oct.1812 this is the head taken by Mr Barber from a copy portrait by Bartolozzi brought from Lisbon by a Nottingham resident…. Perhaps another picture referred as “the Marquis” is mentioned in May 1827 as just finished (letter from Hugh to Henry Barber, M-B p.35)...... NB Sir Thomas Lawrence himself painted at least one portrait of Wellington and this was very widely copied.
Wellington, Head from Portrait by Bartolozzi/Perigrini Engraving? Engraving 1814 report
Wells, Richard of Nottm 1791-1839 Oil An oil on canvas attributed to Barber was exhibited in 1900, see no. 212 of catalogue, lent by James Ward.
White, Henry Kirke (notes not included in this table) (with this exception) Oil on canvas, 36 x 39 cms Neville Hoskins Room at BH (per 2017 list, attributed to T Barber senior with no expression of uncertainty). Said in 2017 list to have been owned by the Rev. Samuel Maddock and presented to the Library in Nov. 1822 by Neville White, brother of the poet.
White, Mr G.M. (said in 1893 to be father of Dr G.B. White) Oil, presumably Nottingham 1893 exhibition. Nottm Journal 24 Feb.1893
Wigram, Anne Lady (c,1818) [daughter of Richard Arkwright of Cromford) Oil, presumably selling antiques site. See Arkwright.
Wigram, Sir James 1793-1866 Oil, presumably selling antiques site
Wild, Rev. John (said in 1893 to be formerly minister of the old Independent Chapel in St.James's-street). Oil, presumably Nottingham 1893 exhibition. Nottm Journal 24 Feb.1893
Wilkins, George, the Venerable, Archdeacon, Vicar of St.Mary's, and later Archdeacon of Nottm. Died at Southwell, 1885 This picture is mentioned in papers 1835 as being now done. Proof engraving in mezzotint by Henry Dawe from painting by Thomas Barber, published by Alfred Barber it seems No. 9 in 1900 Exhibition Catalogue. Lent by St.Mary's Church, Nottm
Williams, Henry mezzotint by Samuel William Reynolds after Thomas Barber NPG D4794
Willoughby, Sir Nesbit Josiah (Captain, RN)… indeed, later Admiral (1777-1849) engraving by William Greatbach, 1837, after Thomas Barber NPG D11236. The portrait, showing him with patch over his left eye, said to be by “Barbour” of Nottingham, hung at Wollaton Hall (see article by Lady Middleton in Thoroton Trans 1905 vol. 9, where there is an illustration of the picture)
Wilson, Rev. Edward, minister of the Chapel of Odd Rode for about 30 years Handsome portrait of him by Mr Barber of Nottingham, mentioned Derbyshire Courier 22 June 1829
Woodhouse, John Cappel mezzotint by Henry / Samuel Cousins 1834 after Thomas Barber NPG D36286
Wright, John (said in 1893 to be grandfather of Mr Thomas Wright, surgeon). Said to be one of the first surgeons of the hospital. Oil, presumably Nottingham 1893 exhibition. (Nottm Journal 24 Feb.1893) (Notts Guardian 25/2/1893).
Wright, John Smith Esq c.1774-1848. 1899 catalogue says John Smith-Wright 1771-1843 a founder and President of Nott, Mechanics' Instn. Drawn on stone by M.Gauci from a painting by Thomas Barber Painted 1839 or 1840 (papers). Nottm Review 24 Jan. 1840 mentions this picture, as an oil painting which Alfred Barber proposes having lithographed. No. 223 of 1899 Catalogue, lent by the Mechanics' Instn. No 85 of 1900 catalogue likewise
Wright, Mrs Ichabod, wife of the late Mr Ichabod Wright of Mapperley Hall Oil, presumably Exhibited in 1893 (Notts Guardian 25/2/1893).
Notes
78 Barber works were said to exhibited in 1893, that was said to be 77 oils and one water-colour (Notts Guardian)
A catalogue might be contained in “The Artist” magazine for about 1893.
List of Transparencies by Barber shown on Nottingham houses in summer 1814
A child playing with the British Lion, and the Goddess of Peace Transparency by “Mr Barber” Nottingham, Smithy-row, Mr Thurman’s. eg Nottm Gazette… 10 June 1814
Angel treading under foot Pride and Discord Transparency by “Mr Barber” Nottingham, Bridlesmith-gate, Mr Gelstharp's or Gelstrap. eg Nottm Gazette… 10 June 1814
Boney carried by an Eagle to Elba Transparency by “Mr Barber” Nottingham, Market-place, Mr Roe’s. eg Nottm Gazette… 10 June 1814
Britannia crowning the bust of Mr Pitt.., Transparency by “Mr Barber” Nottingham, Hollow-stone, Rev Mr Hutchinson’s. eg Nottm Gazette… 10 June 1814
Buonaparte at the edge of a precipice “The Downfall of Tyranny” Transparency by “Mr Barber” Nottingham, Bank, Samuel Smith Esq. eg Nottm Gazette… 10 June 1814
Fame, Peace, Harmony Transparency by “Mr Barber” Nottingham, Middle-pavement, Mr Brydone. eg Nottm Gazette… 10 June 1814
King of England etc Transparency by “Mr Barber” Nottingham, Stoney-st., Mrs Tempest’s. eg Nottm Gazette… 10 June 1814
Mercury Introducing Britannia…. Transparency by “Mr Barber” Nottingham, High-pavement, Mr Barratt’s, June 1814. eg Nottm Gazette… 10 June 1814
Peace sitting on a cloud pointing at France Transparency by “Mr Barber” Nottingham, Standard-hill, Mr Barber’s. eg Nottm Gazette… 10 June 1814
Subject not stated Transparency by “Mr Barber” Nottingham, King’s Place, Stoney Street, Mr John Pearson's. eg Nottm Gazette… 10 June 1814
The Angel taking the Crown from Buonaparte Transparency by “Mr Barber” Nottingham, Brewhouse Yard, Mr Atherstone’s. eg Nottm Gazette… 10 June 1814. eg Nottm Gazette… 10 June 1814
Unlading of ships: Peace, Ships, Colonies and Commerce Transparency by “Mr Barber” Nottingham, Smithy-row, Mr Bradley’s. eg Nottm Gazette… 10 June 1814
Wellington Transparency by “Mr Barber” Nottingham, High-pavement, Mr John Nixon's. eg Nottm Gazette… 10 June 1814
E. M. Beaumont October 2020 (draft only)
PLEASE NOTE; this list may be / have been revised / added to.
4 - The attic roof light at the London Polytechnic and the photo taking technique...
A FAITHFUL LIKENESS. THE FIRST PHOTOGRAPHIC PORTRAIT. STUDIOS IN THE BRITISH ISLES. 1841 to 1855
"The visitor is introduced into an apartment lighted from above, and having a flat roof of blue glass, which subdues the glare of the sun's rays without materially diminishing their luminous intensity; the livid paleness of complexion visible in the faces of the persons assembled, and the effect on the eye from the sudden change in the hue of light, cause a strange sensation, which after a while is agreeable.
The individual to be limned is seated in a raised chair, the face towards the sun, the head being steadied by resting against a forceps-like framework; and opposite, on a level with the eye, is an open square box containing a reflector which presents the image of the sitter upside down; in this box is placed the silvered plate covered with a thin pellicle of iodine, on which the rays of light act; and the sitter is invited to ''call up a look" of pleasurable animation, which has scarcely time to relapse into dullness when the operator announces that the picture is completed.
Before the visitors have ceased wondering at the magical celerity of the process, the light-formed image has been fixed by chemical means, and the sitter enjoys the satisfaction of looking at his physiognomy reflected as in a darkened diminishing-glass: neat frames of various patterns being at hand, a person may walk away within five minutes from the time of entering the blue chamber, with an effigy that no miniature painter could rival in unflattering truth of character, or approach in force of effect and delicacy of execution, after repeated sittings and with laborious skill"
An Early Daguerreotype Portrait Studio (1842)
a. A daguerreotype studio was often situated at the very top of a building, which had a glass roof to let in as much light as possible.
b. The subject sat on a posing chair placed on a raised platform, which could be rotated to face the light. The sitter's head is held still by a clamp (x).
The stages of making a daguerreotype portrait
1. An assistant polishes a silver-coated copper plate with a long buffer until the surface is highly reflective (y). c. The highly polished plate is then taken into the darkroom, where it is sensitized with chemicals ( e.g. chloride of iodine, chloride of bromine ).
2. The operator places the sensitized plate into a camera placed on a high shelf (z). When the sitter is ready the operator removes the camera cover and times the required exposure with a watch. [ In this illustration, the operator is using Wolcott's Mirror Camera, which was fitted with a curved mirror instead of a lens ].
3. The exposed plate is returned to the darkroom where the photographic image on the silvered plate is "brought out" with the fumes from heated mercury (d). The photographic image is "fixed" by bathing the plate in hyposulphate of soda. The photographic plate with the daguerreotype image is then washed in distilled water (e) and dried.
4. Finally, the finished daguerreotype portrait is covered by a sheet of protective glass and is either mounted in a decorative frame or presented in a leather-bound case and offered to the customer for close inspection. Early daguerreotype portraits were very small and to appreciate the fine detail these customers are using a magnifying glass.
a. A daguerreotype studio was often situated at the very top of a building, which had a glass roof to let in as much light as possible.
b. The subject sat on a posing chair placed on a raised platform, which could be rotated to face the light. The sitter's head is held still by a clamp (x).
The stages of making a daguerreotype portrait
1. An assistant polishes a silver-coated copper plate with a long buffer until the surface is highly reflective (y). c. The highly polished plate is then taken into the darkroom, where it is sensitized with chemicals ( e.g. chloride of iodine, chloride of bromine ).
2. The operator places the sensitized plate into a camera placed on a high shelf (z). When the sitter is ready the operator removes the camera cover and times the required exposure with a watch. [ In this illustration, the operator is using Wolcott's Mirror Camera, which was fitted with a curved mirror instead of a lens ].
3. The exposed plate is returned to the darkroom where the photographic image on the silvered plate is "brought out" with the fumes from heated mercury (d). The photographic image is "fixed" by bathing the plate in hyposulphate of soda. The photographic plate with the daguerreotype image is then washed in distilled water (e) and dried.
4. Finally, the finished daguerreotype portrait is covered by a sheet of protective glass and is either mounted in a decorative frame or presented in a leather-bound case and offered to the customer for close inspection. Early daguerreotype portraits were very small and to appreciate the fine detail these customers are using a magnifying glass.
https://www.photohistory-sussex.co.uk/dagprocess.htm
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Nottingham’s first photographer and his help recreating the lost painting of Colonel Rolleston…
184 years ago today, on Sept 29th 1841, the irrepressible Alfred Barber, pioneer photographer of Nottingham, took the town's first photograph in his new studio in the attic of Bromley House on Angel Row. It was one of the very first specialist photography studios outside of London. Barber had, at great expense, converted the attic and bought the rights to the revolutionary new “daguerreotype” method of picture making that heralded the dawn of the art of photography.
He'd previously been a printer specialising in mezzotints, high resolution monochrome copies of his father’s paintings. His father was Thomas Barber, a renowned Nottingham portrait and landscape artist. In 1837 Thomas had painted Colonel Lancelot Rolleston, the portrait hanging for many years above the mantelpiece in the dining room of Watnall Hall but the original colour painting is now missing.
I've tried to recreate the painting with the help of Alfred’s hi-res mezzotint and some modern AI colourising software. The software uses each subtle shade of grey to infer a colour tone. The rich shades of the mezzotint provide a perfect base for a successful colourisation. Hopefully we have come close to recreating Thomas Barber's original painting of the Colonel but until the original is rediscovered we will have to wait...
To read more about Alfred, his studio and his never-say-die attitude to the photography business click here for the main article at the “Tales From Watnall Hall” website…
https://watnallhall.blogspot.com/2025/09/colonel-rolleston-and-nottinghams-first.html
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