The Ransom Center’s photography collection contains more than 100 photographs attributed to distinguished nineteenth-century photographer O. G. Rejlander. One print is a portrait of Olivia Bennet, The Countess of Tankerville. Researcher Lori Pauli visited the Ransom Center to study the portrait, and she reflected on the possible intersection of the lives of photographer and subject in a story which originally appeared in the Fall 2014 Random Edition newsletter.
The Harry Ransom Center’s renowned photography collection includes the only known print of a portrait of Olivia Bennet, The Countess of Tankerville, by distinguished nineteenth-century photographer Oscar Gustave Rejlander. This portrait is among more than 100 photographs attributed to Rejlander (British, b. Sweden, 1813?–1875) in the Ransom Center’s photography collection. Most are spread among four albums: one that formerly belonged to the British painter William Lake Price (1810–1896); another previously owned by British artist Cecil Gordon Lawson (1851–1882); a third known as the “Riglander” album; and the last an album compiled by writer Charles L. Dodgson (1832–1898), more famously known as Lewis Carroll. There are also ten loose prints attributed to Rejlander in the collection.
Photographer Abelardo Morell, whose work is featured in the Alice’s Adventures in Wonderland exhibition, delivers the Amon Carter lecture on Thursday, March 26, at 7 p.m. at the Ransom Center.
Morell’s work has been collected and shown at institutions including the Museum of Modern Art, the Whitney Museum of American Art, the Metropolitan Museum of Art, and the Victoria & Albert Museum.
Five prints from Morell’s series Alice in Wonderland are on view in the Ransom Center’s current exhibition, Alice’s Adventures in Wonderland. Morell says of this series, “When I began to make photographs illustrating this book by Lewis Carroll I had in mind that books themselves should form the architecture and landscape where the story takes place.”
The program is free and open to the public, but donations are welcome. Seating is first-come, first-served, and doors open at 6:30 p.m.
Students at The University of Texas have the opportunity to enhance their studies with the Ransom Center’s collections. Andrea Gustavson, PhD candidate in American Studies at The University of Texas at Austin, designed an entire class around the Ransom Center’s collections, and she writes about how the primary source materials enhanced the learning experience for her undergraduate students.
On Tuesday, March 10, at 4p.m., Roy Flukinger, Senior Research Curator of Photography, speaks about the photography of Charles Lutwidge Dodgson—better known to the world as Lewis Carroll. Flukinger will discuss Dodgson’s pursuit of photography and his recognition as one of the most accomplished amateur photographers of the Victorian Era. The program, presented in conjunction with the Ransom Center’s current exhibition Alice’s Adventures in Wonderland, is free and open to the public. Seating is first-come, first-served, and doors open at 3:30 p.m.
In July of 1865, Charles Lutwidge Dodgson returned home from a visit to the family of Rev. Conyngham Ellis, the Rector of Cranbourne. In a letter quickly posted to the eldest Ellis daughter, Dymphna, Dodgson asked for help with a bit of unfinished business. He wrote,
Of course I left something behind—always do: this time it was my album of photographs (and autographs). And we also forgot to get your names written in it. So will you please turn 2 or 3 pages on after ‘Mary Millais,’ and then sign your name in the same place in the page as she did, only about half an inch lower down, and then get Mary, Bertha, and Kate to do the same thing in the 3 following pages. And then will you send it by train to Croft Rectory, Darlington. Thank you—much obliged.
Dymphna followed Dodgson’s instructions and returned the album, which Dodgson titled Photographs Vol. III. One hundred and fifty years later, it is one of five Dodgson albums held in the photography collection at the Harry Ransom Center.
Dodgson carried his albums with him on visits to friends and family, using them not only to show off his photographic work, but also to help him persuade parents and their children to pose for him. The letter to Dymphna Ellis reveals Dodgson’s method of collecting signatures on blank leaves of albums when he made the portraits. He then packed away the albums and negatives and returned to his darkroom to make the albumen prints, pasting them to the appropriate album pages. Photographs Vol. III contains more than a dozen pages bearing a signature but no mounted photograph, suggesting that the photographer did not always secure a final portrait that met his expectations.
Dodgson’s albums offer crucial information about his working process but also provide a tangible record of his artistry. Like his diaries, they also reinforce the record of his travels and his interactions with numerous acquaintances throughout Victorian Britain. And, perhaps most critically, they subtly provide us with a deeper and more richly nuanced portrait of the man himself.