The Art Union of London, established in 1836, encouraged artists by promoting an annual sale of art to their subscribers. Liverpool and Manchester soon founded their own Art Unions and, in 1839, publicly active Norwich residents formed the Norfolk and Norwich Art-Union. Its committee members were Thomas Lound, the President, (artist and brewer), John Barwell (artist and wine merchant), George Sothern (artist and ?public house owner), Henry Ninham (artist and printmaker), Charles Muskett (bookseller and publisher), John H. Druery (author and artist), William Freeman, Jun. (artist, framer and printseller) and Robert Leman (artist and insurance agent).  During its first year members held an exhibition at their gallery in the Bazaar, St. Andrews, Broad Street [at the junction of Bridewell Alley and, what is now, St. Andrews Street]. The Art Journal review did not offer much praise; ‘…We cannot doubt that the next experiment in Norwich will be far more successful…’ and the committee was offered encouragement to continue with its efforts.

Photography had been announced publicly early in 1839 and although word of this breakthrough process spread rapidly it’s no surprise that photographs were not included in this first Norwich show. In France, Louis Daguerre revealed how to make unique, high-resolution photographic images on silver-plated copper sheet and, in England, Henry Talbot divulged how to make reproducible optical images on paper. The search for such processes had been going on for many years in the western world and these two, known as the Daguerreotype and the Photogenic Drawing respectively, were subject to English patents.

However, in 1840, the Norwich Mechanics Institution, otherwise the Society for the Promotion of Useful Knowledge under the presidency of John Barwell, held an exhibition¹, again at the Bazaar, to show ‘Works of Art, Specimens of Natural History, Antiquities, Manufactures, Machinery and Models and Paintings, Sculpture, Engravings, &c, &c., … on the plan of Adelaide and Polytechnic Galleries in London, and similar Exhibitions in other large Towns.’ This is believed to be the first time when photographs were exhibited in the county and the catalogue lists:

No.	Exhibit	Exhibitor
102	Camera obscura	Mr. R. Gooch
150	Daguerreotype view in Rome	Mrs. Opie
151	Ditto view of Regent Street	London Polytechnic Institution
152	Daguerreotype view, a studio	London Polytechnic Institution
153	Ditto Windsor castle	Ditto
154	Ditto	Ditto
155	Ditto Lord Barham's house	Ditto
156, 157	Specimen of engraving from a Daguerreotype plate	Ditto
157b	Seven Photogenic Drawings	[Exhibitor not identified]

Mr. R. Gooch was an optical instrument maker (including camera obscuras) and later lived with his daughter Mrs. Susannah Smith, artist and photographer, at Cherry Cottage, Lakenham.

Mrs. Opie was Amelia Opie (née Alderson, widow of the artist, John Opie, R.A.) a close friend of Miss Anna Gurney who had been in Rome in April 1840, and it seems possible that the exhibited Daguerreotype originated from her².

The Royal Polytechnic Institution (also known as the London Polytechnic Institution or the Regent Street Polytechnic) opened in Regent Street, London, in 1838 and from 1839 gave demonstrations of photography. It is not known who persuaded the Institution to loan the other Daguerreotypes for the exhibition.

Mrs. Louise Barwell, wife of John Barwell, published³ ‘A Companion to the Norwich Polytechnic Exhibition’ in which she devoted half a page to a self-taught artisan.

‘A camera obscura has just been added to the amusements of this Exhibition, made by Mr. Gooch, of Norwich, whose history affords an evidence of self education. He was the son of a husbandman, and all the instruction he obtained, was received at his mother’s knee, being little more than his prayers and the letters of the alphabet. At nine years of age he went into household service; he then served in a country blacksmith’s shop, and subsequently learned the business of a whitesmith [tinsmith], at Lowestoft. He taught himself to read; and getting a man to set him a few copies, he learned to write without other aid. At this time he was drawn for the militia, and not being able to pay for a substitute he served for many years: and on receiving his discharge, settled in Norwich as a whitesmith. The science of optics attracted his attention, and he pursued it as a matter of recreation and amusement. Having possessed himself of the principles by means of books, he proceeded to practice, and constructed a very fine reflecting telescope and several astronomical machines; one amongst others which exhibits the whole planetary system, will be placed in this Exhibition as soon as the Committee can find it a situation. There are other persons in Norwich, who, self-instructed, have evinced practical ability in the sciences of astronomy and optics. Mr. Mason, a neighbour of Mr. Gooch, has also devoted time and talent to these sciences. The details of his history are not before me, but it is gratifying to find the artisans and operatives of our city engaged in these elevating pursuits.’

So, by the end of 1840, Norwich citizens had been exposed both to cameras and photographs. As local photographers emerged in the mid 1840s, it is curious that it was more than a decade before photographs were included in Norfolk catalogued exhibitions.

In 1852 there were two photographic exhibits at the Third Exhibition of the Norfolk and Norwich Association for the Promotion of the Fine Arts at the Artists' Room, Exchange Street, Norwich.

No.	Exhibit	Exhibitor
165	Daguerreotypes	Mrs. Smith
166	Photograph, Collodium [sic] Process	J. Howes

Mrs. Smith, was Susannah Smith, who advertised her business as both as an artist and photographer offering “Daguerreotype or Sun Pictures”.  The 1851 Census lists her as living in Lakenham with her father, Mr. R. Gooch , who made camera obscuras.

J. Howes is believed to be James Howes, a Norwich letterpress and copper-plate printer, and bookbinder, working at Back of the Inns and employing three men. Later he became an active member of the Norwich Photographic Society.

In 1853, work by Smith and Howes appeared again in the Fourth Exhibition of the Norfolk and Norwich Association for the Promotion of the Fine Arts held at the Gallery of the Government School of Design, St Andrew's, Broad Street.

No.	Exhibit	Exhibitor
151	Daguerreotype	Mrs. Smith
152	Case of Ditto	Mrs. Smith
153	Daguerreotype	Mrs. Smith
154	Collodion Picture - at Heigham	J. Howes
155	Copy of a Print - Labour	J. Howes
156	Copy of a Print - Portrait	J. Howes
157	Copy of a Print - Heigham	J. Howes

Photographs were exhibited in the 1855 exhibition of the Norfolk and Norwich Association for the Promotion of the Fine Arts at the Exhibition Rooms, Broad Street, St. Andrews, Norwich.

No.	Exhibit	Exhibitor
363-366	Each listed as 'Photograph'	G. R. Fitt
367	Lane Scene, at Caister Castle, from Collodion negative	R. Harmer
368	On the Wye, from Paper negative	R. Harmer
369	Copy of Print, from Collodion negative	R. Harmer
370	On the Wye, from Paper negative	R. Harmer
371	Caister Castle West, from Paper negative	R. Harmer
372	On the River Wye, from Paper negative	R. Harmer
373	South View, Caister Castle, from Collodion negative	R. Harmer
374	Ethelbert Gateway	G. R. Fitt
375	Copy of Print, from Collodion negative	R. Harmer
376	View in Farm Yard, from wax paper negative	R. Harmer
377	Copy of a Print, The Scoffers, from Collodion negative	R. Harmer
378	Four Photographs	W. Boswell Jnr.

G. R. Fitt was George Fitt, an artist and a photographer, who worked prolifically with his cameras in Norfolk during 1854 and 1855. He was a founder member of the Norwich Photographic Society, an honorary member of the Liverpool Photographic Society and very influential in both.

R. Harmer was Henry R. Harmer, a solicitor working on South Quay, Great Yarmouth, who exhibited his photographs nationally.

W. Boswell Jnr. was William Boswell Jnr., a carver, guilder and photographer working in partnership with his father in Norwich. He later acquired the William Freeman framing and photographic business in London Street, Norwich. 

In 1856 the Great Yarmouth Institute Re-Union Catalogue listed

No.	Exhibit	Exhibitor
56	Fifteen photographs	H. R. Harmer
109	Stereoscope and six views of the Exposition Universelle, Paris	[Exhibitor not identified]
110	Seven Photographic portraits	T. Ayers
308	Photographs	[Exhibitor not identified]
309	Stereoscope, twelve slides of Sydenham Palace	[Exhibitor not identified]
319	Photographs	H. R. Harmer
321	Photographs	[Exhibitor not identified]
406	Three photographs from Bombay	C J Palmer

T. Ayers was Thomas Ayers, a clock maker and photographer working in Great Yarmouth.

It seems likely that C. J. Palmer was Charles John Palmer, F.S.A., a solicitor, married and resident at South Quay, Great Yarmouth. He wrote a major historical work, ‘The Perlustrations of Great Yarmouth’ and was also a member of the Norwich and Norfolk Archaeological Society. Palmer and Harmer both worked as solicitors on South Quay in Yarmouth.

Photographs were included in the vast 1851 Great Exhibition held in London and it’s notable that Henry Harmer of Yarmouth contributed four photographs. Soon after, interest grew in promoting photography as a discrete subject and this led to the formation of the Photographic Society of London in 1853. In June 1854 the Norwich Photographic Society was founded and by 1856 it was ready to display the talents of its members and those of photographers from other regions, including overseas. 

The 1856, the Fine Arts’ Association acknowledged the coming of age of the Norwich Photographic Society as the catalogue cover reads ‘Exhibition of the Norfolk and Norwich Fine Arts’ Association; and the Photographic Society; at the Exhibition Rooms, Broad Street, St. Andrews, Norwich.’  This major show ran from 17th November 1856 to 14th February 1857 and photographic exhibits were added or changed during this period as both a variant catalogue and newspaper notices reveal.

A notice⁴ from the Norwich Mercury reads:

‘The Photographic Society bring to the Exhibition a store of novelty and beauty, which will astonish as well as delight all. Nothing can be more exquisite, nor more perfect than these works of almost a second nature. The time will come when science renders it her rival by imparting colour - a power which will, in some degree be regretted, as it may lead, to a certain extent, to crush the exercise of painting, by the superiority of these reflections of nature herself.’

At a Society meeting on 6th March 1857, Mr. Pulley, an Honorary Secretary, reported the success of the show, which had enjoyed favourable notices in the local press. He said some 50 photographers exhibited about 550 pictures, of which 450 were for sale. The ratios of negative processes⁵ were: Collodion – three-fifths, Wax-paper – one-fifth plus, Calotype one-fifth minus. Half of the exhibitors were resident members and, with one exception, exhibited strictly as amateurs.  The show was seen by some 3900 paying visitors and picture sales realised nearly £90.

The catalogue identifies work by Society members and some of their outline biographies may be found elsewhere on this website. 

Abbreviations: n/s – not stated: Wax – waxed paper: Coll. – Collodion: Cal – calotype.

No.	Exhibit	Photographer	Negative
333	1. Cossey Hall printed ten years ago	J. Blowers	n/s
	2. Chimneys ditto     printed ten years ago	J. Blowers	n/s
	3. Cossey Cottage printed ten years ago	J. Blowers	n/s
	4. At Halesworth printed ten years ago	J. Blowers	n/s
81	N. Runton Church Chancel	W. J. J. Bolding	Wax
202	Gateway,Castle Rising	W. J. J. Bolding	Wax
340	South-west Tower, Castleacre Priory	W. J. J. Bolding	Wax
341	West Door       ditto	W. J. J. Bolding	Wax
154	Sackville College, East Grinstead	J. Cundall	Coll.
194	Rocks at Jersey	Jos. Cundall	Coll.
210	Porch, East Grinstead  J. Cundall	Coll.
217	Wishing Well	J. Cundall	Coll.
238	“Some pleasing page”	J. Cundall	Coll.
252	Sproughton Lock	J. Cundall	Coll
73	Portraits of the Insane	Dr. Diamond	Coll.
74	Ditto	Dr. Diamond	Coll.
75	Fac-similies of Engravings	Dr. Diamond
	1		Coll.
	2		Cal.
135	Game, &c.	Dr. Diamond	Coll.
155	155 Portrait of Dr. Diamond	Dr. Diamond	Coll.
190	Celtic Cranium, from a Tumulus	Dr. Diamond	Cal.
199	Great seal of the Order of the Garter	Dr. Diamond	Coll.
220	The Toad rock, Tunbridge Wells	Dr. Diamond	Coll.
224	Ludlow Castle	Dr. Diamond	Coll.
245	Mental Disease	Dr. Diamond	Coll.
316	Copy of a Print by Albert Durer	Dr. Diamond	Coll.
4	3 Erpingham Gate	T. D. Eaton	Cal.
344	Venus	T. D. Eaton	Cal.
1	West Door, Hollyrood Abbey	G. R. Fitt	Wax
197	Holyrood Chapel	G. R. Fitt	Wax
206	Holyrood Chapel	G. R. Fitt	Wax
219	St. Stephen’s Church, Norwich	G. R. Fitt	Wax
221	Arthur’s Seat, Edinburgh	G. R. Fitt	Wax
223	Corstophine Church, near Edinbugh	G. R. Fitt	Wax
225	Lane Scene, Strumpshaw	G. R. Fitt	Wax
227	Norwich Cathedral	G. R. Fitt	Wax
253	Mousehold Heath, Norwich	G. R. Fitt	Wax
254	Norwich Cathedral	G. R. Fitt	Wax
255	Dalmeny Church	G. R. Fitt	Wax
40	Beccles Church	W. B. Francis	Wax
64	Beccles Church	W. B. Francis	Wax
137	Portrait	W. Freeman, Jun.	Coll.
137A	Portrait	W. Freeman, Jun.	Coll.
352	Portraits	W. Freeman, Jun.	Coll.
	1. Untouched
	2. Sepia
	3. Tinted
	4. Highly finished
158	Portraits	Jas. Howes	Coll.
162	Portraits	Jas. Howes	Coll.
208	Attention, a Portrait	Jas. Howes	Coll.
335	Dead Game	Jas. Howes	Coll.
336	Great Yarmouth Charters	Jas. Howes	Coll.
[338	Hare’s Foot Fern	Jas. Howes	[Nature printed]
192	1. Ely Cathedral	T. Lound	Wax
	2. Bromholme Priory	T. Lound	Wax
213	1. Ely Cathedral	T. Lound	Wax
	2. Fish Market, Norwich	T. Lound	Wax
334	Bromholme Priory	T. Lound	Wax
319	South Porch, Aylsham Church	Jacob Middleton	Wax
[216	Etching, Albert Durer	H. Pulley	[Printed]
98	St. Mary’s Church, Bury St. Edmunds	W. Ralfs	Wax
203	Abbey Ruins, Bury St. Edmund’s	W. Ralfs	Wax
7	Bishopgate Bridge, Norwich	Dr. Ranking	Wax
9	Cloisters,Norwich Cathedral	Dr. Ranking	Wax
21	Sandling’s Ferry, Norwich	Dr. Ranking	Wax
77	On the Norwich River	Dr. Ranking	Wax
103	Gateway, Castle Rising	Dr. Ranking	Wax
123	Norwich, from the Railway Bridge	Dr. Ranking	Wax
130	Cossey Hall	Dr. Ranking	Wax
139	The Dolphin, Heigham	Dr. Ranking	Wax
	(formerly the residence of Bishop Hall)
161	Porch, Elmham Church	Dr. Ranking	Wax
220	The Toad Rock, Tunbridge Wells	Dr. Ranking	Cal.
228	Rustic Bridge, Cossey	Dr. Ranking	Wax
229	Abbey Gate, Bury St. Edmunds	Dr. Ranking	Wax
233	The Quay, Wells, Norfolk	Dr. Ranking	Wax
351	Portraits	E. D. Rogers	Coll
27	Portrait (coloured)	J. R. Sawyer	Coll.
30	Cathedral, Norwich	J. R. Sawyer	Wax
32	Grammar School, Norwich	J. R. Sawyer	Wax
35	Cathedral, Norwich	J. R. Sawyer	Wax
37	Portrait (coloured)	J. R. Sawyer	Coll.
152	Foundry Bridge	J. R. Sawyer	Wax
181	Portrait (crayon)	J. R. Sawyer	Coll.
188	Portrait	J. R. Sawyer	Coll.
256	Four Portraits, coloured	J. R. Sawyer	Coll.
315	Portrait, coloured in Oils	J. R. Sawyer	Coll.
318	Portrait, coloured	J. R. Sawyer	Coll.
4	Carrow Staithe	J. Stewart	Wax
15	In Bracondale Nursery	J. Stewart	Coll.
20	Peace and war, after Landseer	J. Stewart	Coll.
42	Carrow Bridge	J. Stewart	Coll.
62	L’Allegro, after Frost	J. Stewart	Coll.
82	Sabrina, after Frost	J. Stewart	Coll.
99	Bylaugh Hall, N. Approach	J. Stewart	Coll.
145	St. Lukes Chapel	J. Stewart	Wax
187	Wellington Statue	J. Stewart	Wax
198	Nelson Monument, Norwich	J. Stewart	Wax
234	Bylaugh Hall, Norfolk	J. Stewart	Wax
240	Carrow Gardens, Norwich	J. Stewart	Wax
331	“Coming of Age,” after Frith	J. Stewart	Coll.
337	Cottage at Bracondale	J. Stewart  1. Coll. 2.	Wax
2	Bury St. Edmund’s	W. A. Todd	Wax
76	The Abbey Ruins, Bury St. Edmund’s	W. A. Todd	Wax
93	Norman Tower, Bury St. Edmund’s	W. A. Todd	Wax
218	Farmyard	W. A. Todd	Coll.
317	Portraits	W. A. Todd	Coll.
330	Bishop’s Bridge, Norwich	W. A. Todd	Wax
22	North Creek Abbey	Mrs. Taylor	Cal.
65	Burnham Rectory	Mrs. Taylor	Cal.

It is possible that Mrs. Taylor, although not a Society member, was a Norfolk resident.

Notices of the exhibition were published in the Norfolk News⁶ and specific mention was made of exhibits by many local photographers.

‘…portraits, of which many fine specimens will be found. The most striking and curious are the famous portraits of the “Insane,” by Dr. Diamond, who is an hon. member of the Norwich Photographic Society. There is also a very pleasing portrait of the Doctor, taken by himself and exhibited by the President. “There are also some small portraits by
Mr. W.A. Todd, a member of the society, which leave nothing to be desired.
Mr.Wm. Freeman, jun., Mr. Sawyer, and Mr. Rogers all exhibit portraits done in the style with which Mr. Sarony⁷ has made the Norwich public familiar. Most of them are striking in point of likeness and artistic in arrangement, but being more or less painted over with body color, they can hardly claim to be criticised as photographs. This opens the question as to whether the union of painting with photography be desirable…

‘… The oldest of our local amateurs, Mr. Blowers of Cossey, sends four pictures in one frame. They have now been printed more than ten years, without showing any signs of deterioration, and are worthy to be placed side by side with similar productions of the present day. There are two pictures of “Trees laden with Snow,” [not listed in the catalogue] which were done since the room opened, by Mr. J. Stewart. …These snow scenes are as beautiful as they are unique. Mr. Stewart has at least one other picture printed from glass, “In Bracondale Nursery,” which, like the great French Picture of Paris, was made in two parts subsequently joined together. His companion to it, “Carrow Bridge,” from waxed paper, is nearly as sharp in definition and equally fine as a landscape. Mr. W. A. Todd has a capital picture of a “Farm Yard,” from glass, and Mr. James Howes exhibits a copy of some ancient records, which in point of sharpness would not disgrace Dr. Diamond himself. With these, and possibly a few other exceptions, the Norwich amateurs have chiefly exhibited works done from waxed paper negatives. Dr. Ranking has many specimens by this process, which display alike artistic and photographic skill. Take for example the “Rustic Bridge, Cossey,” the “Porch, Earlham Church,” [not in the catalogue] and the “Norwich, from the Railway Bridge.” Mr. W. J. J. Bolding’s pictures, exhibited by Mr. Harrod, are perhaps the finest proofs we have seen from waxed paper, on account of the unusual transparency of the shadows. Mr. Lound’s “Fish Market,” though not so good a photograph as others which have been done by the same hand, is so excellent as a picture that it cannot be viewed without pleasure. Mr. G.R. Fitt, to whose instruction and example the society was much indebted in its infancy, and whose skill in all the processes is universally acknowledged, has some interesting waxed paper views of Edinburgh and its vicinity. “The West Doorway, Holyrood Abbey,” Holyrood Chapel,” and “Arthur’s Seat, Edinburgh,” “Corstophine Church,”&c. Mr. W. Ralfs has also some pleasing “Ruins” from Bury St. Edmund’s, done by the same process. The officers of the society have also contributed, more or less, to enrich the collection. … There is another calotype in the room which has rather more transparency, from the circumstance of it being printed on albumenised paper. … We mean the magnificent “Cetic cranium, from a Tumulus,” produced by Dr. Diamond and exhibited by Mr. Harrod.’

Other exhibitors included luminaries such as Bisson Frères, Frederick Scott Archer, Roger Fenton, Benjamin Bracknell Turner, Gustav Le Gray and Francis Bedford. Although only a few foreign pictures were exhibited, Ken Jacobson’s admirable research⁸ reveals the extraordinary circumstances that saw the first showing of Gustav Le Gray’s masterpiece ‘The Brig’ at this Norwich exhibition. It was exhibited by one of the honorary secretaries, Henry Pulley, and although the catalogue lists Le Gray’s exhibit No. 164 as ‘Clouds and Sea’ it was, in fact ‘The Brig.’ A reviewer for the Norfolk News wrote: ‘However painful it may be to our national vanity, we must at once admit that the new picture by Gustav Le Gray, is not only the finest in the room, but the grandest effort we ever saw in photography.’

Norfolk Photographers exhibiting work, up to 1860, outside of Norfolk⁹.

In the period 1851 to 1858 three photographers, Fitt, Harmer and Sisson, sometime residents in Norfolk, are noteworthy for exhibiting their work beyond county limits. The Rev. Joseph Sisson, who published ‘The Turpentine-Waxed Paper Process’ in 1858, curiously, did not exhibit in Norfolk. Harmer exhibited in more locations and used a wider variety of processes than the others.

In the following list the negative process is stated where known.

1851	London, Great Exhibition	Henry Harmer
		Four “sun” pictures of various subjects
1852	London, Society of Arts	Thomas Eaton
		Erpingham Gateway, Norwich	[Paper]
1853	Aberdeen Mechanics’ Institution	J. Stewart
		Stereoscopic Group, taken from Life, by an amateur.
1854	Dundee, Royal Infirmary Fund	Joseph Sisson, Rev.
		Edingthorpe Church, Norfolk
1854	London, Photographic Society	Henry Harmer
		Three portraits	[Collodion]
		Fishing boats, Yarmouth Harbour	[Wax-paper]
		Caister Castle, Norfolk	[Talbotype]
		Castle Acre, Norfolk	[Calotype]
		Forest near Caister, Norfolk	[Talbotype]
		West Front, Castle Acre, Norfolk	[Iodised paper]
		West Front, Crowland Abbey	[Talbotype]
		Old Shed	[Wax-paper]
		Country Seat	[Wax-paper]
		Trees, and Caister Castle in the Distance	[Talbotype]
		Burgh Castle, Suffolk	[Talbotype]
		Trees and Water	[Wax-paper]
		Dutch Boats, Yarmouth Harbour	[Wax-paper]
		Joseph Sisson, Rev.
		Edingthorpe Church, Norfolk	[Collodion]
		Portrait
		Tithe Barn, Edingthorpe, Norfolk	[Collodion positive]
		Portrait
		Portraits and Tithe Barn, Edingthorpe, Norfolk	[Collodion]
		Ruins of Boxton Abbey, Norfolk	[Collodion on Glass]
1854	Society of Arts, 2nd Tour, 1st Set	Henry Harmer
		Fishing Smacks in Yarmouth Harbour	[Paper]
		West Front, Crowland Abbey	[Paper]
		Caister Castle, Norfolk	[Wax paper]
1854	Society of Arts, 2nd Tour, 2nd Set	Henry Harmer
		Old Shed	[Paper]
		Study of Boats	[Paper]
		View near Hoddeston, Herts.	[Paper]
1855	London, Photographic Society	Henry Harmer
		South-west view, Caister Castle	[Collodion]
		Farm Buildings	[Talbotype]
		Lane Scene	[Collodion]
1855/6	Society of Arts, 3rd Tour, 1st Set	Henry Harmer
		Fishing Smacks in Yarmouth Harbour	[Paper]
		West Front, Crowland Abbey	[Paper]
1855/6	Society of Arts, 3rd Tour, 2nd Set	Henry Harmer
		Fishing Smacks in Yarmouth Harbour	[Paper]
		West Front, Crowland Abbey	[Paper]
1856	Edinburgh, Photographic Society of Scotland	George Fitt
		Haymarket, Norwich	[Waxed paper]
		At Earlham, Norfolk	[Waxed paper]
		Holyrood Palace	Waxed paper]
		Porch of Grammar School	[Collodion]
		Bishop Bridge, Norwich	[Waxed paper]
		Bishop Bridge, Norwich	[Waxed paper]
1856	London, Photographic Society	Henry Harmer
		Pass of Llanberis, North Wales	[Collodion]
		Pass of Llanberis looking towards Dolbadam	[Collodion]
		Pont Gyfing, Wales	[Collodion]
		Upper fall of Connaut Maur, North Wales	[Collodion]
1857	Manchester, Art Treasures	Henry Harmer
		Copy of an engraving
		Copy of engravings
1858	London, Architectural Photographic Association (1)	Joseph Sisson, Rev.
		View of Lausanne
		View near Lausanne
		Church near Lausanne

Sources and Notes

1. Exhibition catalogues consulted throughout (also, see 9 below) are in the archive of the Norwich Castle Museum.
2. I acknowledge the kind support of Ann Farrant in sharing this information with me during research for her biography of Amelia Opie.
3. Mrs. Barwell. A Companion to the Norwich Polytechnic Exhibition. Printed by Bacon, Kinnebrook, and Bacon, Mercury Office, Norwich: 1840.
4. Norwich Mercury, 19th November 1856.
5. The listing of the negative processes reflected the Society’s objectives that included ‘…the discussion of different photographic processes …’ A great deal of process experimentation took place in the early years of photography when fading, aesthetic appeal and the search for colour images were key issues.
6. Norfolk News, 1856 and 1857. Notices of the exhibition were published on 6th, 13th and 20th December 1856 and 3rd January 1857.
7. Oliver Sarony, at that time an itinerant photographer, had a studio ‘Opposite Jolly’s Coach Manufactury’ and show rooms at 42 London Street, Norwich. Later in Scarborough, he established one of the finest and most successful studios in the land.
8. Jacobson, Ken. ‘The Lovely Sea-View … Which all London is now Wondering at’. Ken & Jenny Jacobson: Petches Bridge, 2001.
9. Taylor, Roger. Photographs Exhibited in Britain 1839-1865. Ottawa: National Galley of Canada, 2002.