Rev. Calvert R. Jones (Welsh, 1802-1877)
Gardener seated with sickle, early 1850s
Salt print from a glass negative
8.2 x 10.3 cm
A pensive portrait of a Gardener seated with sickle, early 1850s, is one of a series of portraits of family and domestic staff made by Jones for pleasure, not profit, and which could well have served as a study for his own painting. These intimate portrait studies reveal a less known, more personal aspect of Jones’s oeuvre.
Rev. Calvert R. Jones (Welsh, 1802-1877)
"Rape of the Sabines (2nd view) Florence" by Giambologna, Spring 1846
Salt print from a partially varnished calotype negative
Schaaf 3158
22.4 x 18.5 cm
Giambologna (1529-1608) completed the statue between 1579 and 1583 for Francesco de’ Medici, Grand Duke of Tuscany. Produced in the Mannerist style associated with the Italian High Renaissance, this work is widely considered his masterpiece. It has been in the Loggia dei Lanzi, Piazza della Signoria, Florence, since August 1582. Directly behind the Sabines in Jones's photograph, is Giambologna's sculpture of Hercules and Nessus. The main statue and plinth in the negative were varnished before the print was made leaving surrounding areas unvarnished, and causing the main statue and plinth to appear darker than the background in the print.
In a letter written from Veranda (Swansea) on July 8th, 1946, Jones enclosed an extensive list of "my 2nd series, which I think will in general yield much finer copies than the 1st set, as the negatives have been left a much longer time in the camera." These were of both large and small size and made in various Mediterranean locations between February and May 1846. This print is from negative no. 82 on that list. The letter, LA46-80, is in the collection of the British Library.
Rev. Calvert R. Jones and/or Rev. George Wilson Bridges
(Welsh, 1802-1877 & English, 1788-1863)
The Norman Staircase, King's School, Canterbury, circa 1845
Salt print from a calotype negative
Schaaf 3346
17.4 x 22.3 cm on 19.4 x 24.1 cm paper
A view towards the Norman Staircase of King's School. The Staircase dates back to the 12th century and is one of the best preserved Norman staircases in England. Originally it lead to the High Hall (also known as the Aula Nova, North Hall, or Hog Hall), a guest house for pilgrim visitors. Much of the Hall was demolished in the 18th century, and more in the early 19th, with new school rooms constructed over the arches in the 1850s.
Rev. Calvert R. Jones (Welsh, 1802-1877)
"View in the Late Mr. Frere's Garden, Valletta" Malta, 1846
Salt print from a calotype negative
Schaaf 2909
16.8 x 21.2 cm on 18.9 x 22.8 cm paper
The British scholar and diplomat, the Right Honorable John Hookham Frere, was born in London in 1789 into a cultured Suffolk family. Following a diplomatic career at the Foreign Office in England, in Lisbon, and Spain, he moved to Malta in 1821 with his Irish wife. They took a 99 year lease on the Villa in Valetta and enlarged the gardens. In 1835 the temple, a neo-classical gazebo was built. It is the largest building in the old garden still standing. Frere would spend the remaining years of his life in Malta. He died in January 1846.
Rev. Calvert R. Jones (Welsh, 1802-1877)
Study of sailing vessels, 1830
Watercolour
16.3 x 20.4 cm
Calvert Jones had trained under the watercolorist and drawing master James Duffield Harding, teacher and sketching companion of John Ruskin. An accomplished marine artist, Jones’s 1830 watercolor Study of sailing vessels, beautifully captures a pilot cutter tacking into the wind.
Rev. Calvert R. Jones (Welsh, 1802-1877)
Street scene with Swansea Castle, Wales, circa 1846
Salt print from a calotype negative
Schaaf 2966
16.2 x 19.7 cm on 19.4 x 24.3 cm paper
Swansea, on the south coast of Wales, was a natural place for Jones to photograph. His family had its roots there and its active harbor had long provided subjects for his watercolors; it continued to do so when he began to use the camera. Jones's treatment of urban areas is fascinating. His streets are rarely populated (he sometimes added figures to photographs that he hand-colored). The framing is confident and strong perspectives dominate in this exquisite salt print. The town clock reveals that it’s two in the afternoon. The awnings of the shops are extended, perhaps to ward off the glare of the afternoon sun. Commanding attention in the middle of the composition is a gaslight, a relatively recent amenity that made urban living both attractive and safe.
Rev. Calvert R. Jones (Welsh, 1802-1877)
The Jones family, Calvert, Anne Harriet, daughter Christina, with their white pomeranian,
mid 1840s
Sixth plate daguerreotype, 7.2 x 8.1 cm
7.2 x 8.1 cm
This is part of a small group of recently discovered Calvert Jones daguerreotypes, some of which may have been created in collaboration with his close friend John Dillwyn Llewelyn. Prior to this discovery, the only confirmed daguerreotype by Jones was a whole-plate of Margam Castle, 9 March 1841, in the collection of the National Library of Wales.
Rev. Calvert R. Jones (Welsh, 1802-1877)
Soldiers in formation, Chiatamone, Naples, 1847
Hand-colored salt print from a calotype negative, spring 1846
Schaaf 3064
15.3 x 19.9 cm
Soldiers in formation, Chiatamone, Naples, made from a calotype negative produced in 1846, expertly merging his photographic skills with his training as a watercolorist. In 1847 Jones had the honor of showing some of his hand-colored salt prints to Queen Victoria, who much admired them and kept one for the Royal Collection.
Rev. Calvert R. Jones (Welsh, 1802-1877)
"Capucin monks, Malta," 1847
Hand-colored salt print from a calotype negative
Schaaf 3399
7.9 x 9.8 cm