Recently, I was honored that Grant Kemp, of restoringyourpast.co.uk and a truly remarkable artist, chose two of my daguerreotypes to colorize. The results were utterly revitalizing, as can be seen from the comparison below.
Grant says of himself, “Trained as a Graphic Designer, I have a Bachelor of Arts Honours Degree in Graphic Design. During my long graphics and print career, I have used design, image software and scanners from every leading supplier including the highest resolution drum scanners. I bring all of my industry experience to the Restoring Your Past service. Graphic design, image scanning, newspaper/magazine production, web, litho, and digital printing experience means I can offer a graphics service that’s based on having dealt with just about every sort of image destined for any type of output.”
Enjoy these samples of his work and if you have old family photographs to restore or colorize, a better digital artist than Kemp is unlikely to be found.
In the second half of the 19th Century, at the height of the Victorian Age, the union of photography and the supernatural spawned strange and enthralling results.
By Beverly Wilgus and Ann Longmore-Etheridge
Early in the practice of the photography, ghostlike images appeared on daguerreotypes, ambrotypes, and tintypes. The explanation for them was not supernatural: Because of the need for long exposures, in some cases of more than a minute, anything that moved whilst the camera lens was open went either unrecorded or appeared transparent in the final product. In 1856, Sir David Brewster (1781-1868), an important figure in photography’s evolution, described in his book The Stereoscope: Its History, Theory, and Construction the method by which amusing extras could be created in photographs. Brewster advised that sitters should be posed and after the majority of the plate exposure was finished, a new person should move into the scene and stay for the final seconds. This would result in a “spirit” presence.
Whilst Brewster clearly promoted this method for what it was—a trick—others with an interest in the expanding religion of Spiritualism saw ghost images as proof of life after death. It should be noted that the Victorians were not the only folk taken in by the callow exploitation of technology they did not fully understand.
“This great comet has fled from the gaze of man, and thirty generations of astronomers will pass away before it will submit itself to human scrutiny.” —H.A. Howe
This piece from my collection is an antique English, 9-carat gold comet mourning pin. It is beautifully made, with a hand-chased stylized tail, black enamel embellishment, and a glittering foiled paste stone in silver settings, clearly displaying a black spot to simulate the open culet of a diamond.
The unusual shape of the brooch commemorates the return of Halley’s Comet in 1835. Although this piece neither contains a loved one’s hair nor bears an inscription, the use of black enamel almost certainly associates it with loss during the comet pass year.
Halley’s Comet is named after English astronomer Edmond Halley, who studied previous sightings and correctly predicted its 1758 apparition. The comet returns every 75 years, with its last apparition in 1986 and its next to come in 2061. I will be 98, if I live to see it.
The first report of the comet is from its pass above China in 467 B.C. (Centuries later, during another apparition, the Chinese would call it by the beautifully evocative name, “Broom Star.”) The British Museum, London, holds other documentation in the form of cuneiform tablets describing the comet’s appearance over Babylonia in late September, 164 B.C.
In the aftermath of Katherine Parr’s passing, Lady Elizabeth Tyrwhitt, one of her closest friends, recalled, “Two days afore the death of the Queen, at my coming to her in the morning, she asked me where I had been so long, and said unto me, she did fear such things in herself, that she was sure she could not live. Whereunto I answered, as I thought, that I saw no likelihood of death in her. She then having my Lord Admiral by the hand, and divers others standing by, spake these words, partly, as I took it, [in delirium], ‘My Lady Tyrwhitt, I am not well handled, for those that be about me careth not for me, but standeth laughing at my grief, and the more good I will to them, the less good they will to me.’”
This English carte de visite (CDV) is one of the most popular in my collection, if Flickr views and Pinterest re-pins equate to evidence, that is. It shows a young British widow—identifiable as such by the white ruching on her black bonnet—squatting in the background, having just propelled her black-clad daughter toward the photographer. The widow stares forward forlornly, her hand over her mouth, indicating without words her shock and concern for their future. It is a candid, painfully honest pose, and one rarely seen in types of images. She is no “Hidden Mother,” but a vital element of a tableau meant to convey the message, “This is his orphan.”
The reverse stamp on the CDV reads “T. Bennett, Photographer, 46 Foregate Street and Church Street, Malvern.” According to research conducted by the creator of Photographers of Great Britain and Ireland, 1840-1940, Thomas Bennett “opened his first studio in Worcester in 1856. At different times, he operated at five studios in Worcester and three in Malvern under his own name and the business continued under the name of Bennett & Son and Bennett & Sons until at least 1916.”
“The 1861 census records the [Bennett] family living at his shop at 46 Foregate, Worcester, where he is described as a Lay Clerk (of the church) and photographer. His firm Thomas Bennett and Son is thought to have been established about 1856. His branch in Great Malvern was possibly the second photographic studio” in that town—this information gleaned from the Malvern Records Office. Bennett threw open the doors of his Malvern studio in 1868 and the CDV of mother and daughter could not have been taken long afterward.