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3367

Title
St Helen, Bishopsgate

Description
Interior view of St Helen, Bishopsgate

Date of execution
c1870

Section
London Metropolitan Archives

Collection
Main Print Collection

Artist
Strudwick, William

Medium
photo-mechanical process

Support
paper

Longest dimension
30cms

Shortest dimension
23cms

Catalogue No
q6010778

London picture map location
Exact

Subjects

City of London, London Borough of

City of London, Metropolitan Borough of

furniture & fittings

St Helen, Bishopsgate (City of London EC3)

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https://www.theengineer.co.uk/late-great-engineers-joseph-bazalgette/

https://www.theengineer.co.uk/london-sewers-bazalgette/

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https://historicengland.org.uk/images-books/photos/results/?searchType=HE+Archive&search=Parent%3A110463386&page=1

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Albert Embankment Proposed Plan, Lambeth

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Albert Embankment Proposed Plan, Lambeth

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Plan for Albert Embankment, Lambeth dated 1862-63, showing the proposed line of construction requiring the demolition of streets and industries. Scan of negative.Ref: NG 808 https://boroughphotos.org/lambeth/albert-embankment-proposed-plan-lambeth/

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Illustrated London News

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Port of Paris on JSTOR  by albert Demangeon and published in 1920

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Beneath the Surface May 2015 exhibition @ Somerset House as part of Photo London

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Beneath the Surface May 2015 exhibition @ Somerset House as part of Photo London

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senior curator Martin Barnes

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Mr Charles Woolley, F.R.G.S. (Fellow of the Royal Geographic Society) was a member of the Lambeth Council from 1900 to 1912. Seen here as an Alderman, he donated his extensive collection of pottery and photographs to Lambeth Council in 1915, hoping that it would form the nucleus of a museum for Lambeth.Photograph by Lang Sims.Ref: LP112 - IV88/4/2/13

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Construction of the Albert Embankment and the frontage for St Thomas's Hospital at Stangate End, Lambeth. The steps in the foreground lead down to the water's edge at the foot of Westminster Bridge. In the distance is Lambeth Palace and old Lambeth Bridge. The houses on the left were noted as still standing in 1914. Photograph by William Strudwick, presented to the Council by Charles Woolley, April 1915. Ref: S3196/ 8

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Lambeth waterfront with Lambeth Bridge on the left and the river frontage of buildings in Lower Fore Street, photographed just as the timber shuttering had commenced for the construction of the Albert Embankment. The large house adjacent to Doulton's was Diamond Hall, former home of the Bishop of Hereford, and the chimney behind that of Janeway's Pottery. The Ship Tavern is occupied by Wentzell, boat builders of renown, as was Edward Wyld's on the right, which was also the boat house for Westminster Boys' School. The large tower faintly seen on the left was the 'Crow's Nest', a lookout platform Hodge's Distillery Fire Station. Photographed using the 'wet plate' method by William Strudwick (1834-1910). Ref: S3196/ 25

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Looking across the Thames from Westminster to Lambeth Palace, St. Mary's church and Lambeth Pier. The Iron & Citizen Steamboat Company's passenger boat the 'Dahlia', is berthed at the pier. The riverside building on the right is Waterman's House, part of a charitable trust set up to benefit Lambeth's Watermen. In the 18th century the charity was administered from Lambeth Palace and a newspaper of 1768 recorded, 'Near 300 poor Watermen, Fishermen, &c. in the Parish of Lambeth, were relieved with 5s. 3d. each, by his Grace the Archbishop of Canterbury'. The building here was demolished during the construction of Albert Embankment. Photograph by William Strudwick

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View showing the premises of Searle & Sons, boat builders, Wilcocke's Assembly Rooms and Thomas Hawkes, clock maker and jeweller. The Royal State Barge, Admiral Nelson's Barge and the Barge of Napoleon III, were all kept here at Searle's boathouse. This area is now occupied by St. Thomas's Hospital and Palace Road was renamed Lambeth Palace Road. Photograph by William Strudwick.Ref: S3196/ 7

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showing various factory and manufacturing premises. On the far right is Alfred Hunt's bone merchant warehouse and to the left can be seen a purpose-built whiting storehouse, 'which when stored, looked like a dovecote or pigeon house with the birds roosting'.Photographed by William Strudwick (1834-1910), who recalled: 'I found a good number of subjects in old Lambeth....in this work I was assisted very much by a large dark tent or house on wheels (a home-made one). It had a boarded floor and carried all the working plant, and was large enough for me to stand upright in, with ample elbow room...this tent was drawn by a man, and on arriving at a given point, I could have a plate ready in ten minute'.Ref: S 3196/69

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https://collections.vam.ac.uk/item/O1248349/st-pauls-london-photograph-strudwick-william/

From Photo London review, Blog, 25 May 2015
https://www.redeye.org.uk/opinion/photo-london-review
"Strudwick, who was a storekeeper at the V&A, worked by candlelight in a makeshift darkroom under some stairs in a warehouse. His photos capture medieval London before wholesale demolition, and were bought by the museum thanks to Henry Cole himself. But Strudwick died a pauper, and the photos were spread around various boxes in the V&A archive; only recently was the collection bought back together.

From PhotoLondon
19th Century Photographers and Allied Trades in London: 1841-1901 Alphabetical Listing.
https://www.photolondon.org.uk/#/details?id=1255

Strudwick, William
Born 1834. Died 18/07/1910.

Biography
Strudwick, William Born in Edgware Road, Paddington 1834. Md Julia (1833 - 1906).
STUDIO: Wardrobe Chambers, Queen Victoria Street, City of London 1880 - 1881.
1861: photographic store keeper living at 2 Bolton Terrace, Lambeth. 1871: draughtsman & outdoor photographer living at 4 Albany Villas, Thurlow Park Road, Tulse Hill, West Norwood.
1881: drawing artist living as above.
1891: artist in drawing & sculpture living at 12 Kestrel Avenue, Herne Hill, Lambeth.
1901: artist & writer living at 44 Kestrel Avenue, Herne Hill, Lambeth. Also architect. Storekeeper at South Kensington Museum 1860, at 1d per hour. Photographed Lambeth riverside area before the building of the Embankment in the 1860s. Photo taken for London series of Society for Preserving Relics of Old London. Wrote doggerel poetry published as broadsheets, in 1890s. Admitted as pauper inmate to Croydon Workhouse May 1910. Died in the Workhouse Infirmary July 18 1910. Bd in Croydon Cemetery. COLLECTIONS: Lambeth Archives - 76 prints acquired 1910, by the Lambeth Board of Guardians, via Alderman Charles Woolley. Catalogue issued 1915 (covering all of Woolley's bequest); Victoria & Albert Museum; Guildhall Library; National Monuments Record; St Paul's Cathedral Collection; Peter Jackson Collection (private); Museum of London. BIBLIOGRAPHY: The art of photographic etching. London, the author, 1860. Gernsheim, Incunabula 846; An essay on the Irish Church question ... London, (1868); Photography in the "Sixties". IN Process Yearbook Vol 2 1896 - 1897 pp 78 - 82, illus. LITERATURE: Philip Norman. Demolitions since 1862. IN London Topographical Record Vol 2 1903 pp 36 - 41, illus; Metropolitan Borough of Lambeth. Catalogue of the photographs, views, pottery, etc comprised in the Charles Woolley Collection. London, (1915) pp 1 - 12; David Webb. William Strudwick. A photographer reclaimed. IN London Topographical News - letter No 53 2001 pp 5 - 7, illus.

Occupations

Photographic Store Keeper

Draughtsman and Outdoor Photographer

Drawing Artist

Artist

Writer

Photographer

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Victoria and Albert Museum: Explore the Collections

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Photograph
ca. 1865 (photographed)

On display at V&A South Kensington

Prints & Drawings Study Room, level F

Strudwick was born in London in 1834 on Edgware Road and lived in Lambeth and West Dulwich. He acted as a photographic storekeeper at the Victoria and Albert Museum, but also worked as a draftsman, architect, and sculptor and wrote comic poetry. Henry Cole, the founder founding director of the V&A, encouraged the purchase of Strudwick's series of photographs titled Old London: Views by W. Strudwick. The series is around 50 in total and was purchased from the photographer in 1869. It documents the old cityscape, including the East End's medieval coaching inns prior to their demolition to make way for the railways, and the riverside shortly before the construction of the Embankment. His views from the river banks show the traffic of steam and sail boats, barges and working warehouses. His street scenes are populated by tradesmen paused in their activities unloading barrels from horse- drawn carts and groups of Dickensian urchins staring at the camera. Strudwick's project echoes other similar survey initiatives at this time which recognized photography as the quintessential medium to save from oblivion what was about to disappear. In 1910, Lambeth Archives acquired a set of Strudwick's photographs, the same year they he was admitted as a pauper to Croydon workhouse where he died.

Object Type

Additional Title

Old London: Views by W. Strudwick (series title)

Materials and Techniques

Brief Description

London Photographs; Lambeth Riverside

Gallery Label

Object history

Purchased by Henry Cole from the photographer

Association

Summary

Strudwick was born in London in 1834 on Edgware Road and lived in Lambeth and West Dulwich. He acted as a photographic storekeeper at the Victoria and Albert Museum, but also worked as a draftsman, architect, and sculptor and wrote comic poetry. Henry Cole, the founder founding director of the V&A, encouraged the purchase of Strudwick's series of photographs titled Old London: Views by W. Strudwick. The series is around 50 in total and was purchased from the photographer in 1869. It documents the old cityscape, including the East End's medieval coaching inns prior to their demolition to make way for the railways, and the riverside shortly before the construction of the Embankment. His views from the river banks show the traffic of steam and sail boats, barges and working warehouses. His street scenes are populated by tradesmen paused in their activities unloading barrels from horse- drawn carts and groups of Dickensian urchins staring at the camera. Strudwick's project echoes other similar survey initiatives at this time which recognized photography as the quintessential medium to save from oblivion what was about to disappear. In 1910, Lambeth Archives acquired a set of Strudwick's photographs, the same year they he was admitted as a pauper to Croydon workhouse where he died.

Bibliographic Reference

Strudwick, Willliam, "Photography in the 'Sixties'" (1896), in: Process Yearbook, Vol. 2 1896 - 1897 pp. 78 - 82 Photo London catalogue, teNeues (2015), pp. 197-199 Martin Barnes, 'What lies Beneath', in: Financial Times Weekend Magazine, May 2015, pp.4-8

Collection

Accession Number

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Lambeth Riverside | strudwick, william | V&A Explore The Collections

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Photographca. 1865 (photographed) On display at V&A South Kensington Prints & Drawings Study Room, level F Strudwick was born in London in 1834 on Edgware Road and lived in Lambeth and West Dulwich. He acted as a photographic storekeeper at the Victoria and Albert Museum, but also worked as a draftsman, architect, and sculptor and wrote comic poetry.

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alternative processes

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The albumen print was invented in 1850 and was the most common type of print for the next 40 years. It produced a clearer image than its predecessor, the salted paper print. An albumen print was made by coating paper with a layer of egg white and salt to create a smooth surface. The paper was then coated with a layer of silver nitrate. The salt and silver nitrate combined to form light sensitive silver salts. This double coated paper could then be placed in contact with a negative and exposed to the sun to produce a print.

Autochromes were the first really practicable colour photographs and were made by a process patented in 1904. An autochrome was a coloured, transparent image on glass, similar to a slide. The colour came from a layer of translucent granules of potato starch, each dyed red, blue or green to create a coloured mosaic on the glass plate. During exposure, light travelled through these granules to reach a light sensitive layer below; red granules would only allow red light to travel through, and so on. The light sensitive layer was therefore selectively exposed by colour. When the autochrome was held up to the light, the coloured granules were viewed in combination with the black and white image behind to create a colour photograph.

A c-type print, usually made from a colour negative, is a colour print in which the print material has at least three emulsion layers of light sensitive silver salts. Each layer is sensitised to a different primary colour - either red, blue or green - and so records different information about the colour make-up of the image. During printing, chemicals are added that form dyes of the appropriate colour in the emulsion layers. It is the most common type of colour photograph.

William Henry Fox Talbot patented the Calotype process in 1841. It is the direct ancestor of modern photography because it used a negative permitting multiple positive prints to be made from the negative and development of the latent image. The negative was a sheet of high quality writing paper which had been made light-sensitive with chemicals. Because the image was contained in the fabric of the paper rather than on a surface coating, the paper fibres tended to show through in the prints making them mottled and relatively 'sketchy'.

Carbon printing was introduced from 1864. A sheet of paper was coated with a layer of light-sensitive gelatin which contained a permanent pigment (often carbon). It was then exposed to daylight under a negative. Carbon prints have a matt finish and can be produced in a variety of colours, ranging from rich sepia tones to cooler shades of grey and blue. Because of their resistance to fading they were much used in the 1870s and 1880s for book illustration and commercial editions of photographs.

Chemigrams are made by directly manipulating the surface of photographic paper, often with varnishes or oils and photographic chemicals. They are produced in full light and rely on the maker's skill in harnessing chance for creative effect. Documented experiments are often an important part of the process.

Collage (from the French 'coller' - to stick) involves combining fragments of different materials, which are not necessarily photographic. There is normally no attempt to conceal the edges of the pieces and the artist might add pencil, pen or brush work onto the surface. Montage (from the French 'monter' - to mount) involves combining diverse photographic images to produce a new work. This is often achieved by rephotographing the mounted elements or by multiple exposures.

Cliché-verreis a photograph made from a hand-drawn negative. The design is either drawn or painted on to a sheet of glass, or, alternatively, scratched on to a piece of glass that has been made opaque by being painted over or blackened with smoke. The sheet of glass is then placed on a sheet of sensitized paper and exposed to light. The blackened area of the glass acts as a stencil, creating an image on the paper below only where light was able to pass through the glass.

A sheet of glass hand-coated with a thin film of collodion (guncotton dissolved in ether). This contains potassium iodide and is sensitised on location with silver nitrate. For maximum sensitivity, the plate had to be exposed while still wet and developed immediately. Introduced in 1851 by F. Scott Archer, the process gave a high resolution of detail. Dry collodion negatives, introduced later, were made by covering the collodion with a layer of albumen or gelatin.

Discover more about the wet collodion process.

The collotype process was used between about 1870 and 1920. A glass plate was coated with sensitised gelatin and exposed under a negative. Light passed through the negative would harden the gelatin on the glass plate. The unexposed gelatin would absorb the water when washed and the exposed gelatin would repel it. The washed glass plate would be coated with ink, adhering to the exposed gelatin and printed onto fine paper.

The cyanotype process for making prints was invented by Sir John Herschel in 1842 and came from his discovery of the light sensitivity of iron salts. A sheet of paper was brushed with iron salt solutions and dried in the dark. The object to be reproduced - a plant specimen, a drawing or a negative - was then placed on the sheet in direct sunlight. After about 15 minutes a white impression of the subject formed on a blue background. The paper was then washed in water where oxidation produced the brilliant blue - or cyan - that gave the process its name.

The invention of the daguerreotype process was announced by the Frenchman Louis Daguerre in 1839 and was widely acclaimed. The image produced had a startling clarity and made the daguerreotype hugely popular as a medium for portraiture until the middle of the 1850's. To create a daguerreotype, a silver plated sheet was given a light sensitive surface coating of iodine vapour. After a long exposure in the camera, the image was developed over heated mercury and fixed in a solution of common salt. As the image lies on the surface of a highly polished plate, it is best seen from an angle to minimise reflections.

Discover more about the daguerreotype process.

Digital images are created using a gridded mosaic of light sensitive picture elements, called pixels, embedded on a computer chip. The pixels emit electrical signals in proportion to the amount of light they receive and these signals are converted to numbers and then stored electromagnetically - in a computer or on a disc, for example. Digital images can be manipulated and altered by computer and regenerated in many ways: on computer or television screens, on film, printed or projected. The technology for producing digital images is evolving rapidly with new possibilities constantly emerging.

Dye destruction prints are made using print material which has at least three emulsion layers, each one sensitised to a different primary colour - red, blue or green - and each one containing a dye related to that colour. During exposure to a colour transparency, each layer records different information about the colour make-up of the image. During printing, the dyes are destroyed or preserved to form a full colour image in which the three emulsion layers are perceived as one. Dye destruction prints are characterised by vibrant colour. The process used to be called Cibachrome: it is now known as Ilfochrome.

Dye transfer prints are prized for their rich colours and relative permanence. A dye transfer print is produced from three separate negatives made by photographing the original negative through red, green and blue filters. A mould is made from each of the three negatives which are transfered to a gelatin coated paper to produce a full colour image.

Gelatin silver prints are the most usual means of making black and white prints from negatives. They are papers coated with a layer of gelatin which contains light sensitive silver salts. They were developed in the 1870's and by 1895 had generally replaced albumen prints because they were more stable, did not turn yellow and were simpler to produce. Gelatin silver prints remain the standard black and white print type.

This type of printing, popular in the early twentieth century, allowed a high degree of control and artistic manipulation. The paper is brushed with a coating of gum arabic, water, pigment and potassium (or ammonium) bichromate, and usually exposed in contact with a negative. Brushing or washing the surface could dissolve areas of the coating hardened more or less by exposure, thus changing contrast and adding effects reminiscent of drawing or painting

Joseph Nicéphore Niépce invented this process in which he first coated a pewter plate with light-sensitive Bitumen of Judea (asphaltum). Taking an existing engraving on paper, he waxed it to make it translucent and placed it on the plate in the sun. Its rays hardened the bitumen under the light areas of the image. The plate was washed with a solvent, which removed the unexposed areas, and etched in acid. It was then ready for inking and printing. Recent technical analysis of the Niépce plates in the Victoria and Albert Museum has revealed the use of another light-solidified material, which resembles the resin obtained when heating lavender oil, and a range of levels of etching and hand-tooling over the plates. Niépce also experimented with the plates inside a camera, producing the earliest known surviving photograph made in a camera, View from the Window at Le Gras (1826 or 1827).

A variation of the photogram. In a luminogram, light falling directly on the paper forms the image. Objects placed between the light and the paper (but not touching the paper) will filter or block the light, depending on whether they are transparent or opaque.

Commercial photocopying was introduced by the Xerox company in 1959. Most current photocopiers rely on xerography technology, a dry process using electrostatic charges on a light-sensitive photoreceptor to first attract and then transfer toner powder onto paper in the form of an image. Heat, pressure or a combination of both is then used to fuse the toner onto the paper.

Photogenic drawing was William Henry Fox Talbot's name for the results of his first cameraless photographic process which he announced in 1839. In its simplest form a smooth high quality sheet of writing paper was immersed in a solution of table salt and then dried. Talbot brushed the paper with a solution of silver nitrate. This combined with the salt to produce silver chloride which is light sensitive. Small objects such as leaves and lace could then be placed on the paper and exposed to sunlight. This produced a light image of the object against a dark background; in other words, a negative image.

A photogram is a photograph made without a camera or a lens by placing an object or objects on top of a piece of paper or film coated with light-sensitive materials and then exposing the paper or film to light. Where the object covers the paper, the paper remains unexposed and light in tone: where it does not cover, the paper darkens. If the object is translucent, midtones appear. After exposure the paper is developed and fixed.

Photographic and photoglyphic engraving
These are methods of photographically producing copper or steel printing plates that can then be used in a conventional press. The first was patented by William Henry Fox Talbot in 1852, and the second by him in 1858. At first, a copper or steel plate was coated with a gelatin solution made light-sensitive with potassium bichromate. The object to be depicted, such as a leaf or piece of fabric, was placed on top. Exposure to daylight hardened the areas not covered by the object. The unhardened areas were then washed off and the plate etched in acid. With etching complete, the gelatin was removed and the plate could then be printed. The addition of screens or other graining allowed Talbot to devise his second process, which had a much wider tonal range. A glass photographic positive was put over the sensitized plate and used to make the image. Nature made the faithful original photographic drawing, but, in the final prints, carbon-based ink relied on nothing light-sensitive and preserved the original image for posterity. This was the direct forerunner of the photogravure process.

Photogravure is a process for reproducing a photograph in large editions. It uses gelatin to transfer the image from a black and white negative to a copper printing plate. The gelatin carries the image because it hardens in proportion to its exposure to light. Areas of the gelatin not exposed stay soft and can be dissolved away in water. What remains is a gelatin version of the image which is then pressed onto a copper plate. The plate is placed in an acid bath. Where the gelatin is thick, the acid eats the metal away slowly, where the gelatin is thin or absent, the acid eats faster. Consequently, the plate is etched to different depths according to the tones of the original image. When inked for printing, the varying depths hold different amounts of ink.

This form of digital print is made via an inkjet printer. As a form of art reproduction, inkjet prints became more widely available in the 1980s, when digital printer technology improved and printers became less expensive. The first inkjet prints were created with Iris printers, developed by Iris Graphics, Inc., and are therefore sometimes known as Iris prints. High-quality versions are sometimes termed giclée prints. Some types of digital inkjet printing use pigments rather than ink or dyes. Pigment particles embed into the receiving paper and are therefore more permanent.

The process for making platinum prints was invented in 1873 by William Willis. The process depends on the light sensitivity of iron salts to create an image. Chemical reactions exploited during developing, however, dissolve out the iron salts and replace them with platinum. Platinum prints were popular until the 1920's when the price of platinum rose so steeply that they became too expensive. They were valued for their great range of subtle tonal variations, usually silvery greys, and their permanence. Recently platinum prints have enjoyed a revival for fine art photography.

An instant film, giving an almost immediate positive print.

Radiography is the imaging technique using X-rays that pass through an object and are captured directly behind it on photographic film, or, more recently, on digital sensors. The first X-ray images were made in Germany by Wilhelm Röntgen in late 1895.

Salt prints were the earliest positive prints and were invented by William Henry Fox Talbot in 1840, as a direct development from his earlier photogenic drawing process. A salt print was made by soaking a sheet of paper in salt solution and then coating one side with silver nitrate. This produced light sensitive silver chloride in the paper. After drying, the paper was put directly beneath a negative, under a sheet of glass, and exposed to sunlight for up to two hours. Salt prints were made until about 1860 having been gradually replaced by the albumen print which gave a clearer image although the process was sometimes revised later.

Scannergram (scanography)
The process of directly capturing digitized images of objects uses a flatbed 'photo' scanner. Commercial flatbed colour scanners were intended to copy paper documents, but they became increasingly available and affordable in the 1990s and led to experimentation by artists. The scanner's limited depth of field means that three-dimensional objects placed on it only appear in focus about 12 mm from the surface, yet the image resolution is comparatively high compared with standard digital camera capture.

The Woodburytype was a form of photomechanical reproduction of a photograph patented in 1864 by Walter Bentley Woodbury. Despite the painstaking care required, it remained popular until about 1900 because of the very high quality of the final image. This image was formed in pigmented gelatin rather than ink, with thicker or thinner areas of gelatin giving darker or lighter tone. The result was a reproduced image that was very true to the original and highly luminous.

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The albumen print was invented in 1850 and was the most common type of print for the next 40 years. It produced a clearer image than its predecessor, the salted paper print. An albumen print was made by coating paper with a layer of egg white and salt to create a smooth surface.

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87441

TitleDistillers Arms public house on Albert Embankment

DescriptionFront elevation of the Distillers Arms, Albert Embankment, Lambeth. Public house featuring wrought iron fixtures and a large advertisement for Combe Stout. Surrounding elevations also in view, residential properties to the left fronted by metal railings. Preceding pavement and roadway in view with horse-drawn carriage, indistinct. Area is considerably altered, buildings pictured are no longer extant.ÿ

Date of execution1900

SectionLondon Metropolitan Archives

CollectionLCC Photograph Library

Mediumphotograph

Catalogue NoSC_PHL_01_237_919

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313845

Title College Street

Description College Street: General view showing high tide in College Street, and Belvedere Road

Date of execution1850

Section London Metropolitan Archives

Collection Metropolitan Prints Collection

Publisher Historic Times

Medium wood engraving

Longest dimension15cms

Shortest dimension13cms

Catalogue No SC_PZ_LA_01_200

Accession No Lambeth E 25548

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London Met Archive: 27833

Title General views of London

Description Key to bird's-eye view of London, showing the River Thames, from Lambeth.

Date of execution 9 February 1861

Section London Metropolitan Archives

Collection Main Print Collection

Artist Sulman, T.

Engraver Loudan, Robert

Publisher Illustrated London News, The
For panorama see Record No: 27802.

Medium wood engraving

Support paper

Longest dimension 56cms

Picture type panorama

Catalogue No p7494838

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1830s old palace of westminster burns down.  

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1830s old palace of westminster burns down.  

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1837 work started on the new palace of westminster in the gothic revival style with aims to match in with westminster abbey next door. 1858 Big Ben. £2m2000 cost
Fed Dibnah's Buikding of Britain - Victorian Splendour 6/6. shown BBC4 24 Nov

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Bell's New Weekly Messenger - Sunday 06 January 1850, p3

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Ceremony opening of Victoria Embankment 

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Ceremony opening of Victoria Embankment 

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14th July 1870

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A watercolour by James Lawson Stewart (1829 -1911) annotated 'Part of Fore Street, Lambeth, looking East'. The premises on the left could possibly be that of Robert George Seaborn, Bone Merchant. This area adjacent to the Thames was demolished and replaced with the Albert Embankment in the early 1860s. Stewart painted views of the streets and buildings of the cities where he lived, drawing from life or after earlier prints and drawings, and these watercolours were given to his landlord in lieu of rent. The scene depicted here is almost certainly taken from an earlier photograph of c.1865 by William Strudwick.Ref: 2010/18

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View north along the foreshore towards Lambeth Bridge after the construction of Albert Embankment. The resting barges are being unloaded by horse and cart into the free dock, near Broad Street (now Black Prince Road) and accessed through the bridged arches. Charles Woolley noted in 1915, ' The highly ornamental bronze lamp stands, and the lions' heads, which were designed to carry chains for life-saving purposes at high water, were designed by Mr. Charles Henry Mabey, the sculptor, of Vauxhall Bridge Road'. The cost to erect and maintain the lighting was disputed by the L.C.C. and the Lambeth Vestry, however the responsibility was taken by the former. Photographed by William Strudwick (1834-1910), who also worked as an architect, artist and writer. He lived for much of his life in Lambeth, but died in the Infirmary at Croydon Workhouse and was buried in the Paupers' Cemetery.Ref: S3196/ 56

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Lambeth. Riverside road between Lambeth and Vauxhall constructed in 1866–70 after the embanking of the river, so named in honour of Prince Albert/

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Registered design for an inverted block to form the base of sewers, from Messrs Doulton & Co.Ref: The Builder Vol.10, No.488, 12th June 1852

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A watercolour by James Lawson Stewart (1829 -1911) annotated 'A bit of Fore Street Lambeth looking N'. The walkway across Lower Fore Street linked the pottery works of J.Stiff to the river access on the left. This area adjacent to the Thames was demolished and replaced with Albert Embankment in the early 1860s. Stewart painted views of the streets and buildings of the cities where he lived, drawing from life or after earlier prints and drawings, and these watercolours were given to his landlord in lieu of rent. The scene depicted here is almost certainly taken from an earlier photograph of c.1865 by William Strudwick.Ref: 2010/18

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A view east of the boat builders' yards and barges lining the Thames foreshore near Stangate, Lambeth. Searle's boatyard on the left was probably the most notable in Lambeth at this time. Adjoining are premises belonging to Allen and to the right, North. The bargehouses were also used by royalty and City livery companies to house their ceremonial barges. Digitally enhanced oil painting by R. Pembury, dated 1853.Ref: 530123

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Children adjacent to somewhat dilapidated buildings in Fore Street, Lambeth. A lithograph drawn 'from nature' by G.F.Phillips and printed by C. Motte.Ref: LBL/DAS/RL/1/2/1 p.18

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DOULTON CO. DOCK, DOULTON POTTERIES, LAMBETH

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DOULTON CO. DOCK, DOULTON POTTERIES, LAMBETH

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Doulton Potteries were the largest concern in the industry in Lambeth by the late 1800s. They had their own dock on the Lambeth side of the Thames to deal with their growing international export market, particularly their stoneware conduits, drainage pipes, electrical, plumbing and sanitaryware goods, which won them acclaim and awards from places like Cape Town, Melbourne and Calcutta to name but a few. Photograph in 'The Royal Doulton Potteries' published by the Doulton Head Office in Lambeth.Ref: 12/369/p.63. Artist unknown.

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Current affairsDeath of Prince Albert, from typhoid fever. Queen Victoria goes into a long period of mourning, withdrawing from public duties, and becomes known by the satirical title 'Widow of Windsor'.

Art and scienceMrs Beeton's

Book of Household Management is published by her husband Sidney, who successfully maintained the Beeton brand after his wife's early death seven years later. The highly popular book, containing recipes and advice for housekeeping, appealed to the Victorian belief that a woman's role was managing the home.
Morris, Marshall, Faulkner and Company is founded, marking the start of the arts and crafts movement.

InternationalThe American civil war begins after the Confederate army attacks Union forces at Fort Sumter in April. The Confederates, comprised of eleven southern states who seceded from the Union over the right to independence on issues such as abolition, are presided over by Jefferson Davis, formerly senator of Mississippi. Although the Union had early successes, the Confederates' victory at Bull Run sets the Union up for a long, four-year war.

https://www.npg.org.uk/collections/search/portrait/mw149956/Camille-Silvy?set=81%3BCamille+Silvy+Collection%2C+Album+5+%28Vol+5%29&displayNo=40&search=ap&rNo=6

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https://www.npg.org.uk/collections/search/portrait-list.php?set=81&displayNo=40

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A cobblestone alley way off Upper Fore Street, Lambeth, with J. Stiff's pottery in the distance. A view showing factories and warehouses, with a loaded cart at a warehouse entrance. Ref: S3196/ 73

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THE OLD WINDMILL TAVERN, HIGH STREET, LAMBETH

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THE OLD WINDMILL TAVERN, HIGH STREET, LAMBETH

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The Old Windmill Tavern and part of High Street, Lambeth. The public house was rebuilt c.1880 and is still in use as a pub today (2012) Ref: S3196/ 35

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UPPER FORE STREET, LAMBETH, HUNT’S, SOAP WORKS

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UPPER FORE STREET, LAMBETH, HUNT’S, SOAP WORKS

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Old Court, Upper Fore Street, Lambeth, later replaced by the Albert Embankment. This view shows workmen outside Alfred Hunt, Soap Manufacturer. HeRef: S3196/ 70

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View of then then embankment showing the old dry dock in Stangate, Lambeth. This site is now occupied by St. Thomas's Hospital. Photograph by William Strudwick.Ref: S3196/ 11

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THAMES FORESHORE, LAMBETH, SMITH’S POTTERY

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THAMES FORESHORE, LAMBETH, SMITH’S POTTERY

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'This is the riverside back view of Smith's Pottery, and shows the conditions of factory life, half a century ago. The men worked largely in the open air, and the boys, as shown, of eleven and twelve years of age were freely employed. This was afterwards largely rectified by Lord Shaftesbury and other philanthropists' - Charles Woolley quote, 1915. Smith's were drain pipe and chimney pot manufacturers of Princes Street, Lambeth. Ref: S 3196/75

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THAMES FORESHORE, LAMBETH, CANN’S WHITING WORKS

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THAMES FORESHORE, LAMBETH, CANN’S WHITING WORKS

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A view of James Cann's Whiting works from the Thames foreshore, where washed and crushed chalk was used to make whiting for painting houses. The adjacent building with the loading gantry belonged to the Lambeth Flour Mills, situated at the rear of the Upper Fore Street and Princes Street. This area was soon to be demolished and replaced by the Albert Embankment. This photograph was taken by William Strudwick (1834-1910) using the 'wet plate' method in a home-made portable studio.Ref: S3196/ 33?

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THAMES FORESHORE, LAMBETH, CANN’S WHITING WORKS

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THAMES FORESHORE, LAMBETH, CANN’S WHITING WORKS

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Thames foreshore view of James Cann's Whiting works, where washed and crushed chalk was used to make whiting for painting houses. Workers seen loading a barge outside the warehouse in Upper Fore Street, adjacent to Lambeth Flour Mills. This area was soon to be replaced by the Albert Embankment. Photographed using the 'wet plate' method by William Strudwick (1834-1910).Ref: S3196/ 33

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The old Lambeth Bridge looking east from the Westminster side. The bridge, built at a cost of Â£30,000 by the engineer Peter W. Barlow, was then the cheapest bridge across the Thames and the largest of its kind in Britain. It opened on 10th November 1862, but was demolished having been restricted to pedestrians by 1910 due to it's poor condition. It was replaced by the present bridge, which was constructed 1929-32 and designed by Sir Reginald Blomfield. The site was previously that of the old Horse Ferry and, according to legend, where St Peter crossed to consecrate the first Abbey at Westminster. The view here across the Thames is from Millbank. This photograph, dated 27th April 1866, was taken by William Strudwick (1834-1910) using the 'wet plate' method in a home-made portable studio.Ref: S3196/ 52

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JENNING’S SANITARY WORKS, STANGATE, LAMBETH

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JENNING’S SANITARY WORKS, STANGATE, LAMBETH

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Interior view of Tap testing department at the Jennings' sanitary works, Stangate Street, Lambeth. The building was originally Christie's Glass Works and was burnt out during Jennings' occupation. Photograph by William Strudwick.Ref: S3196/ 12

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View looking towards Lambeth Palace before the Albert Embankment was constructed, with timber logs being stored for boat builders along the foreshore adjacent to Bishop's Walk. A paddle steamer and sailing barge are moored on the shore awaiting use. Photograph by William Strudwick - taken from the original glass 'wet plate' by Charles Woolley.Ref: S3196/ 15

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The Lambeth foreshore adjacent to Bishop's Walk, showing the premises of Nash & Miller, barge builders and Renshaw's, late Roberts. This site is now occupied by St.Thomas's Hospital. Mr Nash lived and died in Lambeth Road. Photograph taken by William Strudwick (1834-1910) using the 'wet plate' method in a home-made portable studio.Ref: S3196/ 17

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View of Lambeth foreshore adjacent to Bishop's Walk, showing barge building premises of Nash & Miller and to the right are the premises of Renshaw, boat builder, formerly Roberts.  Ref: S3196/ 16

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Construction of the Albert Embankment on the Lambeth Reach foreshore, looking north towards St Mary's and Lambeth Bridge. Photograph by William Strudwick.Ref: S3196/ 29

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Construction of the Albert Embankment looking north to Lambeth Bridge, showing work in progress, after demolition of premises along the foreshore in Lower Fore Street. The rebuilding on the right is probably part of the Doutlon Pottery works. Photograph by William Strudwick.Ref: S3196/ 8?

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A photograph recording the soon to be lost view of Lambeth's foreshore adjacent Lambeth Palace with Lambeth Pier in the foreground. Also in the background, the piling has just commenced for the construction of Albert Embankment. Charles Woolley in 1915 remarked of this picture: 'The tree life, and the picturesque busy foreshore, and also the narrowing down of Bishop's Walk, are here shown to great advantage. It is a beautiful and exact picture of a very comprehensive scene.' Photographed using the 'wet plate' method by William Strudwick (1834-1910) and dated 10th February 1866.Ref: S3196/ 36

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William Strudwick: Prince’s Street, Lambeth, c.1865

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William Strudwick: Prince’s Street, Lambeth, c.1865

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URBAN LANDSCAPE PHOTOGRAPHY IN LONDON – THE EARLY YEARS

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URBAN LANDSCAPE PHOTOGRAPHY IN LONDON – THE EARLY YEARS

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"The final photographer of Victorian London’s urban landscape I want to draw attention to is Willam Strudwick. Like Dixon, Strudwick photographed both the old before it disappeared and the new whilst in the process of being created. Not a great deal is known about him (though interestingly, he is recorded as being a Photographic Store Keeper at the South Kensington Museum in 1860), but his distinctive style means that surviving examples of his work can usually be attributed with a fair degree of confidence.

There is a copy of a letter to Strudwick, dated 1868, from Henry Cole, the then Director of the South Kensington Museum, in which he lists the photographs he wished to purchase from the photographer for the museum’s collection. This includes a wide variety of subjects all over London, but perhaps the most significant body of work by Strudwick is a large group of pictures taken in Lambeth shortly before the building of the Albert Embankment in 1866-9.

A set of 76 prints was acquired by Lambeth Archives in 1910, the same year that Strudwick was admitted as a pauper to the Croydon workhouse. So, even in those days there was precious little money to be made from taking urban landscape photographs!

Mike Seaborne
January 2005
http://www.urbanlandscape.org.uk/essays/earlylondon3.htm

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Letter by Strudwick explaining the tent darkroom process

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Letter by Strudwick explaining the tent darkroom process

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http://earlyphotographers.blogspot.com/2011/04/william-strudwick.html

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One of a series of views of Lambeth's Thames foreshore before the Albert Embankment was built. The Doulton Potteries, can be seen on the left, with G.Tatum, H.Hawes and R.Bain, boat builders in the centre, Lambeth Rice Mills and James Stiff, drainpipe manufacturers on their right. The 1915 Woolley Collection catalogue entry states: 'a foreshore containing many and varied industries, which have since lapsed or moved from Lambeth. It was an animated and picturesque scene formerly'. Photographed using the 'wet plate' method by William Strudwick (1834-1910).Ref: S3196/ 27

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In the picture above, I was surprised to see Harry Clasper’s name in Fore Street, Lambeth. Clasper, who was born in 1812 and died in 1870, was a Tyneside professional rower and boat builder. He was an innovative boat designer who developed the racing shell and the use of outriggers. On Clasper, Wikipedia writes: ‘With a variety of crewmembers, [Clasper] won the Champion Fours at the Thames Regatta more than six times. His crewmembers included his eldest son, John Hawks Clasper and Robert Chambers, later to be World Sculling Champion. His last victory was in 1859, when he was 47 years old’.

Clasper, who measured only 5 ft 8 in (1.73 m) tall and weighed only 130 lbs, was a champion sculler on the Tyne and in Scotland, but was he was never successful as a sculler on the Thames. In 1867, when he was 55, he competed in his last sculling race, on the Tyne.  https://heartheboatsing.com/2016/09/24/book-liquid-history-the-thames-through-time/

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With the building of the Albert Embankment starting in 1866, three centuries of boat building was swept away in less than three years.

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R Bain, Boatbuilder, Fore Street, Lambeth, London, c1861. Artist: William Strudwick.  Ref: S3196/ 34
Heritage Image Partnership Ltd / Alamy Stock Photo
Robert Bain, mast, oar, scull and pump maker, was in Upper Fore Street, Lambeth. Presumably, in an attempt to attract Brotherly Business, he has faint Masonic symbols painted either side of his name.  https://heartheboatsing.com/2016/08/03/borne-by-liquid-history-part-ii/

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The name is recorded in 1062 as Lambehitha, meaning 'landing place for lambs', and in 1255 as Lambeth. The name refers to a harbour where lambs were either shipped from or to. It is formed from the Old English 'lamb' and 'hythe.

South Lambeth is recorded as Sutlamehethe in 1241 and North Lambeth is recorded in 1319 as North Lamhuth. The marshland in the area, known as Lambeth Marshe, was drained in the 18th century but is remembered in the Lower Marsh street name. Sometime after the opening of Waterloo railway station in 1848 the locality around the station and Lower Marsh became known as Waterloo.

Lambeth Palace is located opposite the Palace of Westminster. The two were linked by a horse ferry across the Thames.

Until the mid-18th Century the north of Lambeth was marshland, crossed by a number of roads raised against floods.

With the opening of Westminster Bridge in 1750, followed by the Blackfriars Bridge and Vauxhall Bridge, a number of major thoroughfares were developed through Lambeth, such as Westminster Bridge Road, Kennington Road and Camberwell New Road.

In William Blake's epic Milton a Poem, the poet John Milton leaves Heaven and travels to Lambeth, in the form of a falling comet, and enters Blake's foot. This allows Blake to treat the ordinary world as perceived by the five senses as a sandal formed of "precious stones and gold" that he can now wear. Blake ties the sandal and, guided by Los, walks with it into the City of Art, inspired by the spirit of poetic creativity. The poem was written between 1804 and 1810.

Licence: Creative Commons Attribution-ShareAlike Licence

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The name is recorded in 1062 as Lambehitha, meaning 'landing place for lambs', and in 1255 as Lambeth. The name refers to a harbour where lambs were either shipped from or to. It is formed from the Old English 'lamb' and 'hythe.

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Looking down Lower Fore Street, Lambeth, to the railings which mark access to the free dock. Green's Pottery kiln is to be seen in the background, with housing and the premises of R.Bain, the boatbuilders, on the left. This area was soon to be replaced by Albert Embankment. Reprint from an original 'wet plate' by William Strudwick (although printed the wrong way around).Ref: S 3196/66

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View looking along a court in Lower Fore Street, Lambeth, later replaced by Albert Embankment. A covered bridge across the street connects the extensive pottery works of J. Stiff with access to the river foreshore to the right. Charles Woolley describes the area in 1915, 'The scenes in all these Courts when palls of almost impenetrable black and yellow fog prevailed freely during spring, summer, autumn and winter, in the days prior to smoke abatment, were desolate in the extreme, and the were, all of them, most unsanitary, and, properly speaking, quite unfit for human habitation. It is notorious that fever and ailment were always rife in them. There were no active sanitary authorities then, and the population suffered accordingly'. Photographed using the 'wet plate' method by William Strudwick (1834-1910).Ref: S 3196/74

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THAMES FORESHORE, UPPER FORE STREET, LAMBETH

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THAMES FORESHORE, UPPER FORE STREET, LAMBETH

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Rear of properties fronting the Thames at Upper Fore Street, Lambeth. Ref: S 3196/18

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PLAGUE HOUSES, KENNINGTON ROAD, KENNINGTON

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PLAGUE HOUSES, KENNINGTON ROAD, KENNINGTON

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The 'Old Plague Houses', Kennington Road, across the street facing the north side of the Vestry Hall (Old Town Hall). So called because they were used as a mortuary for victims of the Great Plague when they were half completed. They were demolished in the late 19th century. The end house is the premises of Stockbridge, Tailor, and adjacent that of H. Daintree - 'Shive, Turner and Spile Manufacturer'. This photograph was taken by William Strudwick (1834-1910) using the 'wet plate' method in a home-made portable studio.Ref: S3196/ 4

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YORK WHARF, LAMBETH: FISHERMEN AND RESIDENTS

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YORK WHARF, LAMBETH: FISHERMEN AND RESIDENTS

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A riverside court called York Wharf, off Upper Fore Street, Lambeth, 'with members of its resident fishing population in their home scene'. The area was cleared for the construction of Albert Embankment and recorded here by William Strudwick (1834-1910). He recalled: 'I found a good number of subjects in old Lambeth....in this work I was assisted very much by a large dark tent or house on wheels (a home-made one). It had a boarded floor and carried all the working plant, and was large enough for me to stand upright in, with ample elbow room...this tent was drawn by a man, and on arriving at a given point, I could have a plate ready in ten minutes'. Strudwick also worked as an architect, artist and writer. He lived for much of his life in Lambeth, but died in the Infirmary at Croydon Workhouse and was buried in the Paupers' Cemetery.Ref: S3196/ 72

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UPPER FORE STREET, LAMBETH, GUY FAWKE’S HOUSE

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UPPER FORE STREET, LAMBETH, GUY FAWKE’S HOUSE

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View of a building known as 'Guy Fawke's house' on Upper Fore Street, Lambeth ('used as combustible storage') which was demolished for the construction of Albert Embankment. Photograph by William Strudwick.Ref: S3196/ 20

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Houses and premises in Church Street (later Lambeth Road), facing St Mary's church. The building 'To Let' above the shops was known as Teetotal Hall, or Bunyan's Hall, and used as a Sunday school and as a working men's club - the archway beneath leads to Old Swan Yard. The top-hatted figure by the lamp post is Mr T.F. Leaver of the mast, oar and skull making family, then situated in the High Street. NPhotograph taken using the 'wet plate' method by William Strudwick (1834-1910). Ref: S 3196/40

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View of Crowleys Alton Ale Wharf from Broad Street (now Black Prince Road), Lambeth, with Princes Street and Upper Fore Street on the left. To the right by the Thames foreshore in Lower Fore Street, is the refuse sorting shed where men, women and children picked over and sieved the waste. This area was later replaced by the Albert Embankment. Photograph taken using the 'wet plate' method by William Strudwick (1834-1910).Ref: S 3196/23

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later renamed Victoria Embankment