HAWARDEN (CLEMENTINA MAUDE, Viscountess) An important collection comprising 37 albumen prints by Lady Hawarden, a pair of pencil sketches of Clementina Hawarden and her husband, and 15 associated albumen prints (several possibly by Lady Hawarden)
Lot 107
HAWARDEN (CLEMENTINA MAUDE, Viscountess) An excptional archive comprising 37 albumen prints by Lady Hawarden, a pair of pencil sketches of Clementina Hawarden and her husband, and 15 associated albumen prints, [c.1857-1864]
Sold for £115,250 (US$ 193,530) inc. premium
Lot Details
HAWARDEN (CLEMENTINA MAUDE, Viscountess)
An archive comprising 37 albumen prints by Lady Hawarden, a pair of pencil sketches of Clementina Hawarden and her husband, and 15 associated albumen prints (several possibly by Lady Hawarden) [c.1857-1864]

Footnotes

  • AN EXCEPTIONAL ARCHIVE OF IMAGES, MANY PREVIOUSLY UNRECORDED, BY ONE OF THE MOST INFLUENTIAL AND ILLUSIVE PIONEERS OF FINE ART PHOTOGRAPHY. Clementina Hawarden is often spoken of in the same breath as Julia Margaret Cameron, but unlike the latter, Clementina Hawarden's photographs have rarely come onto the market. The majority of the images in this archive are not represented in the Victoria & Albert Museum's collection.

    Clementina Elphinstone Fleeming was born in Dunbartonshire in 1822, the third of five children of a British father, Admiral Charles Elphinstone Fleeming (1774-1840), and a Spanish mother, Catalina Paulina Alessandro (1800-1880). In 1845 she married Cornwallis Maude, an Officer in the Life Guards. When Maude's father, Viscount Hawarden, died in 1856, his title, and considerable wealth, passed to Cornwallis.

    The surviving photographs suggest that Clementina, now Lady Hawarden, began to take photographs on the Hawarden's Irish estate at Dundrum, Co. Tipperary, from late 1857. Many of these were taken with a stereoscopic camera, and the present archive contains several Dundrum photographs which form one half of a stereoscopic image.

    In 1859 the family also acquired a new London home at 5 Princes Gardens (much of the square survives as built, but No. 5 has gone). From 1862 onwards, Lady Hawarden turned the entire first floor of the property into her photographic studio. Here she kept some of the props which came to be synonymous with her work: gossamer curtains, a freestanding mirror, a small chest of drawers and the iconic 'empire star' wallpaper, as seen in several of these photographs. The superior aspect of the studio no doubt encouraged Lady Hawarden's sophisticated, subtle and pioneering use of natural light.

    It was also in this studio that Lady Hawarden began to concentrate on photographing her eldest daughters, Isabella Grace, Clementina, and Florence Elizabeth, whom she would often dress up in costume tableaux. The girls were frequently shot - often in romantic and sensual poses - in pairs, or, if alone, in front of a mirror or with their back to the camera. Hawarden's photographic exploration of identity, otherness, the doppelgänger and female sexuality, as expressed in the vast majority of these photographs, was incredibly progressive in comparison with her contemporaries, most notably Julia Margaret Cameron. As Graham Ovenden comments in Clementina Lady Hawarden (1974), she "struck out into areas and depicted moods unknown to the art photographers of her age. Her vision of languidly tranquil ladies carefully dressed and posed in a symbolist light is at opposite poles from Mrs Cameron's images... her work... constitutes a unique document within nineteenth-century photography".

    She exhibited, and won silver medals, in the 1863 and 1864 exhibitions of the Photographic Society, and was admired by both Oscar Rejlander and Lewis Carroll, who purchased five images which went into the Gernsheim Collection and are now in Texas. In 1865 Lady Hawarden died, and although her loss was regretted in the photographic journals, her work was soon forgotten.

    In 1939 her granddaughter presented the V&A with 779 photographs, most of which had been roughly torn from their original albums with significant losses to corners. Proper examination and appreciation of this gift was delayed by World War Two, and it was not until the 1980s that Mark Haworth-Booth offered Virginia Dodier the opportunity to make a detailed appraisal and catalogue of the V&A holdings. These holdings constitute almost the entire body of Hawarden's surviving work, apart from the five images now in Texas, and small groups or single images at Bradford, the Musée d'Orsay and the Getty. The appearance of the present collection is totally unexpected, and represents a remarkable opportunity to acquire a series of images (most of which appear not to be duplicated elsewhere) by a photographer whose work is otherwise unobtainable.

    Like those in the V&A, most of the present images have been removed from an album, but, remarkably, with very little loss: only one image is missing a corner, making this collection all the more exceptional. Some smaller images are arranged on album leaves that are still intact (the images measuring 322 x 235mm). As distinct from the V&A's holdings, it is presumed that these images are from an album which belonged to one of the sitters or their siblings. The most significant group in the present collection measure approximately 198 x 144mm. and mostly depict one figure in the first floor front room at 5 Princes Gardens. Curiously there are no images of this size in the V&A collection, but the presence of close variant images in a smaller format suggests that Lady Hawarden was using two cameras in the same session. The V&A collection has a variant pose of image number 5 (below), but in the smaller format [PH.457:564-1968].

    Provenance: purchased by the present owner in the early 1970s, almost certainly at the sale of the contents of Saltmarshe Hall in East Yorkshire.

    The portrait images are ordered here by size. Most have "Lady Hawarden" inscribed in pencil on the verso, often with a number. The identity of the sitter or sitters is also noted. Numbers 1-34 relate to the lives of the Hawardens at their London house, 5 Princes Gate. Numbers 35-39 relate to Dundrum and Co. Tipperary.

    1. Isabella Grace Maude, seated with her sister Elphinstone Agnes (born 1857 and known as "Eppie" (or "Eppy") standing beside her, to the left an French-style side-table with a basket of ribbons or dried flowers, laid on leaf now trimmed to image size with the lower margin extended to retain an identifying caption in ink, the number '13' on verso [c.1864]
    222 x 204mm.

    2. Clementina Maude wearing a full dark skirt (seemingly lengthened by the addition of a wide strip to the original hem, with the plumed tricorn hat, seated at a gothic-style desk on which rests a fan, a cushion and other small objects, the sitter identified in pencil on verso of image with the number '9' [ c.1862]
    188 x 144mm.

    3. Florence Maude wearing the full dark skirt described above, seated (right-profile) at the gothic-style desk on which are arranged the objects also described above, laid on leaf now trimmed to image size, the sitter identified in pencil on the verso with number '4' [c.1862]
    198 x 144mm.

    4. Isabella Grace Maude, standing with a besom in front of a looking glass with the gothic-style desk tucked behind, laid on leaf now trimmed to image size with the lower margin extended to retain an identifying caption in ink, the sitter also identified on the verso with number '11' [c.1862]
    198 x 145mm.

    5. Isabella Grace Maude, an alternative pose to that above [cf. V&A PH.457:564-1968 for a smaller format variant], the gothic-style desk no longer visible, the sitter identified in pencil on the verso of image with number '10' [c.1862]
    198 x 144mm.

    6. Clementina Maude, wearing the full dark skirt and a paisley shawl, facing away from the camera as if examining one of the draws in the cabinet resting on the mantelpiece, laid on leaf now trimmed to image size, photograph of a nineteenth-century Italian painting pasted on verso, the sitter identified in pencil on the verso with number '8' [c.1862]
    197 x 144mm.

    7. Isabella Grace Maude, wearing a bonnet and shawl with black lace standing next to the fireplace with the edge of the looking glass just visible, laid on leaf now trimmed to image size, the sitter identified in pencil on the verso with number '7' [c.1862]
    192 x 143mm.

    8. Cornwallis Maude, Viscount Hawarden, standing by the fireplace and holding a camera, and with a print of a portrait of the anatomist William Hunter on an easel to left, a portion of the original mounting leaf at foot of image remaining with Lord Hawarden named in ink, also named as the sitter in pencil on the verso with number '1', [c.1862]
    152 x 147mm.

    9. Clementina Maude wearing of-the-shoulder gown, seated (left-profile) and reading a book, the sitter identified in pencil on the verso, lower left corner trimmed away [c.1862]
    174 x 150mm.

    10. Isabella Grace Maude standing by a window, wearing a black lace shawl over a white (or light) dress, mounting leaf trimmed to image, the sitter identified on the verso with number '14', [c.1862]
    114 x 96mm.

    11. Isabella Grace Maude facing away from the camera as to go through an open door, clutching a shawl and wearing a hat, her silhouette shadow on the wall, mounting leaf trimmed to image, the sitter identified on the verso with number '17', [c.1862]
    112 x 90mm.

    12. Florence and Clementina Maude seated together in the corner of a room with a large drape behind, mounting leaf with the sitters identified in ink below the image, [c.1862]
    98 x 80mm.

    13. Isabella Grace Maude on the balcony, wearing a white dress with dark bodice and sash, a headdress with flowers, and appearing to be holding a manuscript in her left hand [see also V&A PH.457:405-1968], mounting leaf trimmed to image, inscribed on the verso with number '18', [c.1862]
    110 x 85mm.

    14. Clementina Maude, kneeling in a dark dress in front of a window, and with her arm resting on the gothic-style desk, mounting leaf trimmed to image, the sitter identified on the verso with number '15', [c.1862]
    114 x 96mm.

    15. Two girls, Elphinstone Agnes 'Eppy' sitting and facing the camera, the other with her back to the camera, on the balcony, just outside the window, mounting leaf trimmed to image, inscribed on the verso with number '22' , [c.1862]
    101 x 76mm.

    16. Florence Maude, kneeling and looking out of a window with one hand up to the pane, the balustrade visible, a chair to the right of the casement, mounting leaf trimmed to image, inscribed on the verso with caption 'Sun worshipper', [c.1862]
    93 x 79mm.

    17. One of the daughters on the balcony, clutching a skipping rope in her left hand and looking onto the adjoining balcony, mounting leaf trimmed to image, inscribed on the verso with number '9', [c.1862]
    96 x 76mm.

    18. Two near-identical sisters standing in the corner of the balcony, with matching bonnets, mounting leaf trimmed to image, inscribed on the verso with number '21', [c.1862]
    98 x 78mm.

    19. Admiral James E. Katon (stepfather), standing with his hand resting on the gothic-style desk, laid on leaf now trimmed to image size with the lower margin extended to retain an identifying caption in ink, the sitter also identified on the verso with number '30' [c. 1862]
    57 x 90mm.

    20. Mrs. Katon (Lady Hawarden's mother), seated at the gothic-style desk in which stands the same small vase of flowers also visible in her husband's portrait, mounting leaf trimmed to image, inscribed on the verso with number '29', [c.1862]
    88 x 58mm.

    21. Cornwallis Maude, Viscount Hawarden, standing with his left hand holding the back of a chair and right hand in his trouser pocket, the gothic-style desk on the left hand side, mounting leaf trimmed to image, the sitter identified in pencil on the verso with number '7' [c.1862]
    87 x 57mm.

    22. Portrait of a small terrier seated on a chair on the balcony [cf. V&A PH.457: 367-1968], mounting leaf trimmed to image, the sitter identified in pencil on the verso with number '29', [c.1862]
    89 x 57mm.

    23. Small head and shoulders portrait of 'Eppy' Maude, wearing a dark dress with a short white collar, mounted on an album leaf with other oval portraits and numbered '32' in pencil [c.1862]
    25 x 18mm.

    24. Small head and shoulders portrait of 'Eppy' Maude, wearing a dark dress with a short white collar, mounted on an album leaf with other oval portraits and numbered '34' in pencil [c.1862]
    26 x 20mm.

    25. Small head and shoulders portrait of Isabella Grace Maude, wearing a bonnet that appears to be decorated with multiple small flowers (as in the very famous image of Clementina and her on the balcony), mounted on an album leaf with other oval portraits and numbered '33' in pencil [c.1862]
    26 x 19mm.

    26. Small head and shoulders portrait of the Hawarden's son Cornwallis Maude (left-profile), mounted on an album leaf with other oval portraits and numbered '36', the mount annotated in pencil "Killed Majuba Hill 1881", [c.1862]
    26 x 19mm.

    27. Small head and shoulders portrait, probably of Clementina Maude (left-profile), and wearing the tricorn hat with plume, mounted on an album leaf with other oval portraits and numbered '37', [c.1862]
    26 x 18mm.

    28. A close-up portrait of Isabella Grace and Clementina, mounted on an album leaf with other oval portraits and numbered '35', [c.1862]
    72 x 60mm

    29. Small head and shoulders portrait of Eppy Maude (right-profile), looking unco-operative and wearing a hat with an ostentatious plume, mounted on a fragment of an album leaf, the sitter identified in ink, and again in pencil on the verso with number '31', [c.1862]
    33 x 26mm.

    30. Oval portrait of Henry Brougham Loch, later Ist Baron Loch (cousin), seated (left-profile), mounted on an album leaf with other portraits and numbered '38', image of Irish Abbey on verso, [c.1862]
    53 x 40mm.

    31. Oval portrait of Isabella Grace Maude, seated holding a book and apparently asleep [cf. V&A. PH.457:268-1968], mounted on an album leaf with other portraits and numbered '39', image of Irish Abbey on verso, [c.1862]
    54 x 42mm.

    32. Oval portrait of Isabella Grace Maude, standing and facing the camera with hat and dark cape, mounted on an album leaf with other portraits and numbered '41', image of Irish Abbey on verso, [c.1862]
    53 x 41mm.

    33. Oval portrait of two of the girls (one older), mounted on an album leaf with other portraits and numbered '40', image of Irish Abbey on verso, [c.1862]
    53 x 41mm.

    34. One of the older girls standing under a tree on a lawn, most probably in Princes Gate gardens, mounting leaf trimmed to image, inscribed on the verso with number '23', [c.1862]
    105 x 80mm.

    35. Lord Hawarden standing in doorway with walking stick and and springer spaniel begging, Togge House, Dundrum, Co. Tipperary [cf.V&A PH.457:299-1968
    ], mounted on an album leaf with other portraits and numbered '40', image of Irish Abbey on verso, [c.1858-1861]
    117 x 88mm.

    36. The Maude girls on a path with an ivy-clad dead tree to right, overlooking the Dundrum limestone quarry [cf. V&A], mounting leaf trimmed to image, inscribed on the verso with number '25', [c.1860]
    123 x 99mm.

    37. View of the ivy-clad tree with a winch (laden with heavy stones) in the foreground, on a path overlooking the Dundrum limestone quarry, mounting leaf trimmed to image, inscribed on the verso with number '25', [c.1860]
    116 x 94mm.

    38. A group of fifteen estate workers, each holding an axe or other implement connected with forestry, standing in front of felled wood, [c.1860]
    220 x 272mm.

    39. View of the ruins of an abbey (thought to be Hore Abbey, Co. Tipperary), laid on album leaf with ascription to Lady Hawarden in pencil on the mount, portraits on verso, [c.1860]
    211 x 280mm.

    40. A bronze of a young girl in a studio with, what appears to be, a stop watch, mounting leaf trimmed to image, inscribed on the verso with number '16', [c.1860]
    140 x 97mm.

    41. Photograph of a Durer's celebrated print "Ritter, Tod und Teufel", ascribed to Lady Hawarden on the mount, pencil portraits on verso, [n.d.]
    243 x 186mm.

    42. A group of seven images depicting statuary at an exhibition, arranged on one album leaf, with dubious ascription to Lady Hawarden added in pencil [n.d.]
    each approximately 70 x 75mm.

    43. View of a house behind a low hedge, in the foreground a seated man with a child standing behind, mounted on the verso of the foregoing leaf and ascribed in pencil to Lady Hawarden, [n.d.]
    75 x 70mm

    44. A head and shoulders portrait of a smiling child in a hat, on a carte-de-visite mount of Dr. Wallich, Trevor House, 2 Warwick Gardens, on verso ascribed to Lady Hawarden and with a tentative identification of the sitter as 'Eppy'
    93 x 57mm

    45. A cut-out head and shoulders portrait of a man in a chequered suit with bow tie, identified on the mount as Lord Hawarden and ascribed to Lady Hawarden
    53 x 50mm.

    46. Lady Hawarden, portrait (left-profile), standing and looking up, with plaited hair, the sitter identified in pencil on the verso [c.1863]
    90 x 58mm.

    47. A pair of heads in pencil, identified on the mount (in differing hands) as Clementina Maude (ie. Lady Hawarden) and Viscount Hawarden, on one leaf
    each approximately 130 x 160mm.
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    Specialist - Books, Maps, Manuscripts and Historical Photographs
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