William Eastman Palmer & Sons
| William Eastman Palmer & Sons | |
|---|---|
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| Základní údaje | |
| Adresa sídla | Devon, Spojené království |
| Některá data mohou pocházet z datové položky. | |
William Eastman Palmer & Sons (William Eastman Palmer a Synové) byl název rodinné fotografické firmy, která byla založena v Devonu v šedesátých letech 19. století Williamem Eastmanem Palmerem a jeho manželkou Marií Louisou rozenou Ealesovou. Od roku 1881 se pět synů začalo od firmy oddělovat a pokračovali ve své fotografické kariéře samostatně. V roce 2011 byla poslední známou zaznamenanou fotografií této firmy fotografie z roku 1935 ze Swindonu.
William Eastman Palmer
Matka Williama Eastmana Palmera byla Christian Branton Eastman Lewisová[1] a jeho otec Henry Palmer byl obuvníkem.[2] Vzali se v Okehamptonu v Devonu v roce 1826. Jejich syn W. E. Palmer se narodil v Devonu kolem roku 1828, v roce 1841 mu bylo 13 let a žil se svou rodinou na West Street v Okehamptonu.[3] Svůj dospělý život začal jako kapelník královského námořnictva. Dne 13. března 1860 si vzal Marii Louisu Eales[4] a žili na Jamese Street ve Stoke Damerelu,[5] Byla „umělecká fotografka “ ("photographic artist"), což mohlo znamenat, že zkrášlovala a retušovala skleněné negativy, nebo že sama vystudovala fotografii. Mohl to být její vliv, který přinesl do rodiny fotografické poslání. "Eastman" v jejím příjmení může naznačovat spojitost s rodinou amerického fotografa George Eastmana, ale nebyl pro to nalezen žádný důkaz. William E. Palmer se stal fotografem v polovině šedesátých let 19. století a do 9. ledna 1866 byl fotografem, který pracoval na Union Street čp. 31, East Stonehouse, Plymouth.[6]
Do roku 1871 sídlili na ulici Frances Street čp. 13 v St Andrew's v Plymouthu.[7] W. E. Palmer měl se svou ženou třináct dětí včetně sedmi synů, z nichž nejméně pět bylo vyučenými fotografy. Albany Edward Palmer byl vystudovaný pojišťovací úředník. Dudley Sidney Montague Palmer, nejmladší ze 13 dětí Williama a Marie, se přestěhoval do Perthu v západní Austrálii, kde založil úspěšnou fotografickou firmu v Piccadilly Arcade, která prosperovala ve 30., 40. a 50. letech 20. století.[8][9] William Eastman Palmer zemřel v roce 1896, ve věku 67 let ve východním Barnetu.[10] V roce 1891 sídlil rodinný podnik v Hopetown Villa, Leicester Road, East Barnet.[11]
Palmerova první fotografie
V roce 2011 byla nejstarší známou fotografií Williama Eastmana Palmera stereoskopie datovaných od z roku 1860 do 1879. Na první (zde) je výhled z Lynn Cliff Summerhouse Lynton v Devonu. Na druhé (zde) je pohled na údolí skal v Lyntonu. Na třetí (zde) je pohled na Ilfracombe. Jsou provedeny v sépiovém tónu s pololesklou povrchovou úpravou.
John Eastman Palmer starší
John Eastman Palmer se narodil kolem roku 1830 v Devonu; byl bratrem Williama Eastmana Palmera a v roce 1841 žil se svou rodinou na West Street v Okehamptonu.[3] Své fotografie podepisoval jako John E. Palmer nebo J.E. Palmer. Roku 2011 byly známy tři fotografie carte de visite J.E. Palmera, které byly pořízeny od 60. do 80. let 19. století, kdy působil na Union Street čp. 58 ve Stonehouse, Plymouth. Na jedné fotografii je starší ovdovělá dáma v černých šatech z roku 1860 (zde znázorněno), dítě ve věku asi tří let (zde) a vousatý třicetiletý muž (viz foto vpravo). Zadní strana těchto carte de visite (zde) uvádí, že v roce 1865 získal medaili první třídy od společnosti Royal Cornwall Polytechnic Society. Na zadní straně jedné fotografické vizitky je uvedeno, že v roce 1872 mu byla udělena Královská (Royal) patentová doložka. Pravděpodobně zemřel v roce 1911 ve věku 83 let v Newton Abbot.[12]
Synové Palmerovi
William George Palmer
William George byl nejstarším synem, který se učil jako fotograf.
John Eastman Palmer mladší
Podepisoval své fotografie J.E. Palmer.
Frederick Christian Palmer
Byl třetím synem známým jako Fred C. Palmer. Ve svých patnácti letech v roce 1881 začal v East Barnet studovat fotografii.[13] V roce 1891, když mu bylo 25 let, stále žil doma v East Barnetu.[11] Pracoval ve studiích v Herne Bay od roku 1903 do roku 1922 a ve Swindonu od roku 1922 do roku 1936 nebo roku 1937. Fotografoval všechny veřejné události v Herne Bay před rokem 1914, portrétoval výstředního Edmunda Reida, někdejšího šéfa divize H Metropolitní policie, který vyšetřoval vraždy ve Whitechapelu, kde řádil sériový vrah známý jako Jack Rozparovač. V roce 1913 použil jeho fotografii osvětleného pavilonu Grand Pier z roku 1910 Marcel Duchamp jako nalezené umění ve své Poznámce 78, která byla součástí jeho uměleckého díla Green Box. Ve 20. letech a na počátku 30. let převzal studio Williama Hoopera na Cromwell Street ve Swindonu, ve kterém i nadále vyráběl pohlednice, fotografoval prominenty a pracoval na volné noze pro místní noviny a radu. Ačkoli byl v té době již k dispozici fotografický film,[14] používal Fred C. Palmer velkoformátové skleněné negativy a pohlednice a portréty tiskl přímo z nich kontaktními kopiemi – mohly tak vyniknout jemné detaily.
Fred C. Palmer působil jako volný fotograf pro zpravodajské noviny Herne Bay Press,[15] kde pracoval ze studia Tower Studio v Tower Parade on the Sea Front a kde také pořizoval portréty.[16][17] Vlastnil malý obchůdek (či kiosek) zvaný The Art Gallery (Umělecká galerie) ležící na břehu moře mimo jeho ateliér, kde prodával poštovní pohlednice a portréty[18] Vyráběl pohlednice významných míst a událostí ve městě, jako například velké otevírání pavilónu Herna Baye Piera Grand Pier Pavilion lordem Mayorem dne 3. srpna 1910, nebo slavnostní otevírání haly krále Eduarda VII.[19] princeznou Beatrix dne 13. července 1913. U fotografií v tisku a na rubové straně pohlednic bylo jeho jméno obvykle uváděno jako Fred C. Palmer.
Roku 2011 bylo známo více než jeho 70 fotografií a pohlednic. Nejstarší známá (zde) je fotografická vizitka zobrazující dvě dívky v Herne Bay a datována 1903-1905; nejstaršími známými pohledy (zde) jsou tónované fotografie Minster-in-Thanet, pořízené v letech 1903-1904. Poslední známá (zde) je pohlednice Longcotu v Oxfordshire, s poštovním razítkem z roku 1935.
Ernest Charles Palmer
Podepisoval své fotografie E.C. Palmer.
Henry Reginald Palmer
Podepisoval své fotografie H.R. Palmer.
Galerie
W.E. Palmer: kolorovaná fotografická pohlednice, fotografováno 1860-1870, ale tiskla se i po smrti autora
J.E. Palmer: Mladá žena v hedvábných šatech, 1865 - 1872
Fred C. Palmer: Západ slunce na Herne Bay, Kent, 1910–1916, fotografie pravděpodobně pořízená z okna jeho studia s využitím filtrů zdůrazňující mraky; sluneční paprsky byly zvýrazněny kresbou na skleněný negativ
Fred C. Palmer: Osvětlený pavilón Grand Pier, 1910: snímek po roce 1913 použil Marcel Duchamp jako nalezené umění
Fred C. Palmer: Policista Edmund Reid, vyšetřovatel vražd Jacka Rozparovače, 1912
Fred C. Palmer: Rough sea, Herne Bay, 1913
Fred C. Palmer: Dvě dívky, jeho nejstarší známá fotografická vizitka, 1903-1905;
Fred C. Palmer: Jollity Boys, 1903-1912
Odkazy
Reference
V tomto článku byl použit překlad textu z článku William Eastman Palmer & Sons na anglické Wikipedii.
- ↑ Narozena v roce 1806 v Devonu, ovdověla roku 1851 (viz sčítání lidu 1851) a zemřela roku 1866, ve věku 60 let v East Stonehouse.
- ↑ Narozen 1806 (viz sčítání lidu 1841).
- ↑ a b Sčítání lidu 1841; HO/107/233/8 West Street, Okehampton, Devon.
- ↑ Devon Family History Society [online]. [cit. 2010-03-30]. Dostupné v archivu pořízeném dne 2016-08-23. (anglicky)
- ↑ sčítání lidu 1861.
- ↑ Osvědčení o narození Frederika Christiana Palmera, 9. ledna 1866, East Stonehouse, Devon.
- ↑ Sčítání lidu 1871.
- ↑ Photographers of Great Britain and Ireland 1840–1940 [online]. 2010 [cit. 2010-03-19]. Dostupné online. (anglicky)
- ↑ 1901 census online [online]. 2010 [cit. 2010-03-19]. Dostupné online. (anglicky)
- ↑ Death cert: Mar 1896, Palmer William Eastman, 67, Barnet, 3a/136
- ↑ a b Sčítání lidu 1891.
- ↑ Death cert. Sep 1911, Palmer John E, 83, Newton Abbot, 5b/176
- ↑ Sčítání lidu 1881.
- ↑ Scott's Photographica Collection [online]. 2001 [cit. 2010-03-20]. Dostupné online. (anglicky)
- ↑ Herne Bay Press was taken over by Kentish Gazette, which is now owned by Kent Messenger.
- ↑ 1915–1916 Blue Book directory at Herne Bay Library.
- ↑ The National Archives [online]. National Archives, after 2000 [cit. 2010-03-07]. Dostupné online. (anglicky)
- ↑ Information from the Mount fishing family of Herne Bay, whose ancestors were photographed by Fred C. Palmer
- ↑ Dnes známé jako King's Hall
Externí odkazy
Obrázky, zvuky či videa k tématu William Eastman Palmer & Sons na Wikimedia Commons
Média použitá na této stránce
1860s stereoview picture which has the original label on the back: "The Valley of Rocks. Lynton N. Devon. Photographed and published by W. Palmer". This is near Lynton in Devon, England; a village in a gorge. The photographer ran the family firm William Eastman Palmer & Sons in the Plymouth area in the 1860s and 1870s.
Postcard photo of a group of entertainers - the Jollity Boys - at Herne Bay, Kent, England, dated 1903-1912. They are listed in pencil on the back as Mr A. Vernon, Mr C. Howard, Mr W. Gancy/Ganey, Mr M. Ewing, Mr S. Barton, Mr H. William, Mr A. Grace. The photographer was Fred C. Palmer of Tower Studio, Herne Bay, Kent (1866-1941).
- Points of interest
- When Palmer took group photographs, he usually took care to identify one of the subjects and make sure that he took a very good portrait of that person, even if the other subjects were uncooperative or unable to pose attractively. But these are self-aware entertainers and this has facilitated seven satisfactory portraits, showing the character of each.
- They are wearing boaters, signifying summer entertainment.
Border
The remaining border of this image is important for researchers of this photographer. Some photographers trimmed their images more than others, and Palmer has a reputation for producing smaller postcards than other early 20th century UK photographers. He took his own photos, developed them in-house onto postcard-backed photographic paper and trimmed them himself. It is worth adding that during hand-developing the border is actively masked with equipment which both crops the picture and causes the white frame or border to appear on the paper. This frame is part of the design and is one of the reasons why the quality of Palmer's work is so interesting, and why there is an article and category for him on English Wiki. Researchers need to see exactly where the edge of the postcard is. in the case of this picture, there is no white frame on the paper, but it is important to see exactly where the edge of the postcard is, to see how Palmer has cropped it. The cropping is part of the composition. Thank you for taking the time to read this.
Experimental print for postcard of Edmund Reid at Hampton-on-Sea, Herne Bay, Kent, England in 1912. Reid had retired in 1898, having been head of CID in the Metropolitan police, and his most famous case was the Whitechapel murders in 1888. He moved to Hampton-on-Sea which was lost to sea erosion by 1916. He died in 1917.
This is understood to be a scan of an original exposure of the original damaged negative by Fred C. Palmer, so it would be inappropriate to attempt to correct this image. It is one of at least three 1912 experiments at exposure and composition of this negative by the photographer, and this one has been provided by Herne Bay Records Society, which possesses the originals
Border
The remaining border of this image is important for researchers of this photographer. Some photographers trimmed their images more than others, and Palmer has a reputation for producing smaller postcards than other early 20th century UK photographers. He took his own photos, developed them in-house onto postcard-backed photographic paper and trimmed them himself. This is one of the reasons why the quality of his work is so interesting, and why there is an article and category for him on English Wiki. Researchers need to see exactly where the edge of the postcard is. Thank you for taking the time to read this.Reverse of 1865-1900 carte de visite photo of bearded man by John Eastman Palmer, of 58 Union Street, Stonehouse, Plymouth, Devon, England. This card was found in the United States in well-preserved condition in 2011, suggesting perhaps that the photograph could represent someone who emigrated to the US in the 19th century. The photograph section is embossed so that it protrudes like a watch glass; the embossing can be seen in reverse on the back of the card.
Carte de visite photo of young bearded man by John Eastman Palmer, of 58 Union Street, Stonehouse, Plymouth, Devon, England. The reverse of the card indicates that the photo was taken after 1872. The oval photograph is on raised paper in the shape of a watch glass.
1865-1872 carte de visite photo of a young woman in silk dress by John Eastman Palmer, of 58 Union Street, Stonehouse, Plymouth, Devon, England. The back of the card gives the photographer's 1865 award, but not his 1872 award, hence the above dating. This card was found in the United States in well-preserved condition in 2011, suggesting perhaps that the photograph could represent someone who emigrated to the US in the 19th century.
- Points of interest
- She has a cord and dog clip from neck to waist - possibly a key chain.
- Her dress appears to be silk and velvet - possibly hired.
- Her eyes are very light-coloured, compared with her very dark hair.
Postcard photo of sunset over Herne Bay Pier, postmarked 1913. The trolley can be seen between two shelters on Herne Bay's 3rd pier, and three sailing boats are behind the pier. The photographer was Fred C. Palmer of Tower Studio, Herne Bay, Kent, who is believed to have died 1936-1939.
Border
The remaining border of this image is important for researchers of this photographer. Some photographers trimmed their images more than others, and Palmer has a reputation for producing smaller postcards than other early 20th century UK photographers. He took his own photos, developed them in-house onto postcard-backed photographic paper and trimmed them himself. It is worth adding that during hand-developing the border is actively masked with equipment which both crops the picture and causes the white frame or border to appear on the paper. This frame is part of the design and is one of the reasons why the quality of Palmer's work is so interesting, and why there is an article and category for him on English Wiki. Researchers need to see exactly where the edge of the postcard is. Thank you for taking the time to read this.
1905 tinted photo postcard of the stocks at Linton, by William Eastman Palmer, who later moved to Barnet. The photographer ran the family firm William Eastman Palmer & Sons in the Plymouth area in the 1860s and 1870s.
Carte de visite photo of two girls at Herne Bay, Kent, England. The photographer's address, 21 High Street, dates the photo to 1903-1905. The photographer was Fred C. Palmer who later moved to Tower Studio, Herne Bay, Kent, and to 6 Cromwell Street, Swindon ca.1920-1936. He is believed to have died 1936-1939.
Border
The remaining border of this image is important for researchers of this photographer. Some photographers trimmed their images more than others. He took his own photos, developed them in-house onto photographic paper and trimmed them himself, to fit the required amount of white card on the mount. The proportion of white border is part of the composition. The cropping is part of the design and is one of the reasons why the quality of Palmer's work is so interesting, and why there is an article and category for him on English Wiki. Researchers need to see exactly where the edge of card is. Thank you for taking the time to read this.
Postcard photo of rough sea at Herne Bay, Kent England, postmarked 1913. The photographer was Fred C. Palmer of Tower Studio, Herne Bay, Kent, who is believed to have died 1936-1939. This postcard was sent by Palmer to the Reverend W. Hitchcock of Fordwich Vicarage near Canterbury, on 5 May 1913, and Palmer has signed the back. See File:Fred C Palmer 018.jpg for an image of the back of the card.
Border
The remaining border of this image is important for researchers of this photographer. Some photographers trimmed their images more than others, and Palmer has a reputation for producing smaller postcards than other early 20th century UK photographers. He took his own photos, developed them in-house onto postcard-backed photographic paper and trimmed them himself. It is worth adding that during hand-developing the border is actively masked with equipment which both crops the picture and causes the white frame or border to appear on the paper. This frame is part of the design and is one of the reasons why the quality of Palmer's work is so interesting, and why there is an article and category for him on English Wiki. Researchers need to see exactly where the edge of the postcard is. Thank you for taking the time to read this.Postcard of Longcot, Vale of White Horse, England, showing the parish church. The stone urns on the tower were removed in the 1970s for safety.
The photographer was Fred C. Palmer of Tower Studio, Herne Bay, Kent ca. 1905-20, and of 6 Cromwell Street, Swindon ca. 1920-1936. He is believed to have died 1936-39. The postcard is postmarked 1935, so the photo may have been taken close to the end of his career.
This print has darkened with age, but it would be inappropriate to adjust the brightness because detail, e.g. clouds in the sky, would be lost.
Postcard of the Grand Pier Pavilion, Herne Bay, Kent illuminated on the night of its grand opening by the Lord Mayor of London on 3 August 1910. Original photograph by Fred C. Palmer also appeared in the defunct newspaper Herne Bay Press, August 1910. The Grand Pier Pavilion burned down in 1970. The photographer was Fred C. Palmer of Tower Studio, Herne Bay, Kent, who is believed to have died 1936-1939.
- Points of interest
- A copy of this photograph was used by Paul Matisse in an artwork, having obtained the photograph from his stepfather Marcel Duchamp who visited Herne Bay in 1913.
- The camera position appears to be on top of the old theatre building at the pier entrance. The theatre burned down in 1928.
- If you zoom into the picture, the head and shoulders of a lady can be seen through the cafe window on the ground floor at the left-hand corner of the pavilion. At maximum resolution, some of the larger words are almost legible on the show-bills or advertisements by the main door.