Julia Margaret Cameron

2 albumen prints, comprising Santa Julia (Mrs. Herbert Duckworth) and Christabel (May Prinsep), the first mounted, annotated 'No. 1' in ink on the mount and with '942' in ink on the reverse; the second arch-topped, on a gilt-ruled Colnaghi mount, signed, titled, and annotated 'from life' in ink and with the Colnaghi blindstamp on the mount, 1866 and 1867 (2)

Santa Julia:  Martin Gordon, Inc., New York, 8 November 1977, Lot 603

Julian Cox and Colin Ford, Julia Margaret Cameron: The Complete Photographs (The J. Paul Getty Museum, 2003), 302 and 396

Colin Ford, The Cameron Collection: An Album of Photographs by Julia Margaret Cameron Presented to Sir John Herschel (The National Portrait Gallery, London, 1975), pl. 67, pg. 90

Sylvia Wolf, et al, Julia Margaret Cameron's Women (The Art Institute of Chicago, 1998, pls. 21 and 56

Mike Weaver, Julia Margaret Cameron, 1915-1879 (John Hansard Gallery, The University, Southampton, 1984), I.37, p. 48

Julia Margaret Cameron: An Album (Lunn Gallery/Graphics International Ltd., 1975), pl. 45

Santa Julia - Grading this albumen print on a scale of 1 to 10--a 10 being an albumen print with deep brown dark tones and highlights that retain all of their original detail--this print rates a 7. The edges of the photograph have faded somewhat, particularly at the left. The highlights are warm. When examined in raking light, the surface of the print is coated unevenly. It is mounted on age-darkened and faintly soiled card that has some foxing present, both on the front and back. The reverse of the card is abraded along the right edge, as if removed from an album. There are small tissue and paper tape remnants at the top edge on the reverse, likely from a prior hingeing. Christabel - Grading this albumen print on a scale of 1 to 10--a 10 being an albumen print with deep brown dark tones and highlights that retain all of their original detail--this print rates a 6 or 7. While the edges of the photograph do not appear faded, the highlights have yellowed and the darks are unevenly muted. The following are visible when the print is examined closely: several small adhesions and deposits, some likely original retouching; scattered tiny matte areas, likely foxing; and a few superficial surface scratches that do not break the emulsion. In raking light, a long, faint graphite deposit is visible in the central portion of the image. The mount is soiled, age-darkened, and the corners are bumped. The upper left mount corner is sharply creased, not affecting the image On the reverse of the mount, there are typed credit and provenance labels. The provenance label reads as follows: 'From the Property of Mrs. Edward Thomas by whom they were inherited partly from her sister Mrs. Harding[e] Hay Cameron, daughter-in-law of the artist, and partly through her aunts, the Misses King from their uncle, General Colin Mackenzie, the artist's brother-in-law. Purchased by Prof. Harry Bober of New York at the Sotheby's Sale, London, Aug. 1, 1950.' Age-darkening, soiling, rust-colored discoloration, and foxing are visible on the reverse of the mount.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.