John Stewart, Photographer.

John Stewart was a friend of Charlotte Bronte's publisher, George Smith. In the 1850s Stewart was a keen photographer and Smith arranged for him to visit Haworth Parsonage to photograph George Richmond's portrait of Charlotte.

John Stewart was not the commercial photographer of the same name operating in Scotland in the 1860s.

The Stewart family & Charlotte Bronte's publisher.

John Stewart's family were linked to Smith, Elder & Co. (Charlotte Bronte's publisher), in three different ways:

John Stewart and Alexander Elder Murray had been partners in Stewart & Murray, printers, London (1838-41). The printers did a great deal of work for Smith, Elder who acquired it in 1855.

John's brother, Patrick Stewart, was a partner in Smith, Elder & Co., but in 1848 it was discovered that he had been defrauding them. The sums involved were enormous, over £30,000, and the fraud nearly destroyed the publishers. Patrick Stewart continued to work for Smith, Elder & Co. for two years before moving to India where he committed suicide in 1852.

John's sister, Margaret Brodie Stewart married the famous astronomer and photographic pioneer, Sir John Hershel. Although Hershel wasn't involved in the running of the publishers he had large sums invested in it. Hershel' s book 'Astronomical Observations made at the Cape of Good Hope' was published in 1846 by Smith, Elder & Co., about the same time as they published Charlotte Bronte's 'Jane Eyre'. Herschel was sent one of the first copies of Charlotte's novel and he became one of the first Jane Eyre fans.

Edinburgh, London, Nantes & Pau.

John Stewart's family moved from Edinburgh to London, probably about 1830, and he formed a partnership with Alexander Elder Murray, creating Stewart & Murray, printers about 1838. 

John married Matilda Grahame, daughter of James Grahame (1790-1842) of Nantes, France in July, 1839 and amongst those who travelled there for the ceremony was his brother-in-law, John Herschel.

Stewart left the partnership in the printing company in 1841, moved to live in Nantes and then, about 1846, to Pau in the Midi Pyrenees. He spent time in France and England though his occupation is unknown.

In the 1850s, Stewart took up photography and joined a group of artists which became known as l'École de Pau. The photographers included Henri Victor RegnaultJean-Jacques Heilmann, Farnham Maxwell-Lyte, Louis Désiré Blanquart-Evrard & Pierre Langlumé.

More biographical information on the Luminous Lint website.

Stewart was a founder member of Pau Golf Club and there is a website (in French) with some information on him:
Pages 28-32, Pau Golf Club 1856 WHO'S WHO 1856-1962 Par Raphaël Rossoni - Edition Décembre 2015

There is a photograph of him on the Pau Golf Club website.

An article published in May 1856 describes a book, "The Photographic Album for the year 1856; being contributions from the members of the Photographic Club," a copy of which was presented to Queen Victoria and included John Stewart's portrait of Sir John Herschel. 1.

John Stewart, Arthur Nicholls & Elizabeth Gaskell.

In the winter of 1856-7 John Stewart was in England and Smith & Elder had a problem. This was a year after Charlotte Bronte's death and Elizabeth Gaskell was writing a biography which was to be published by them. She wanted the 'Richmond Portrait' of Charlotte copied as a photograph so an engraving could be made for the frontispiece.

Originally, Charlotte's widower, Arthur Nicholls refused permission but later relented under pressure from Gaskell's friend, the overbearing Sir James Kay-Shuttleworth. Gaskell was going to commission a Manchester photographer to do this but it seems Mr Nicholls didn't trust her. Instead, Nicholls arranged (through Smith, Elder & Co.) for John Stewart to carry out the work.

Elizabeth Gaskell.

In a letter (early Nov 1856) to George Smith, Elizabeth Gaskell writes:

“Mr Stewart is a first rate amateur photographer; gone out to Iceland by Danish Government’s request to take boiling springs and those sort of things,- has had to go and show his photographs to the Queen, as the ‘crackest’ things of the kind in the Kingdom, so I think he’ll do it well-& should he not take the view of house & village & moors beyond? I know a very good view (drawing) very characteristic."
The Letters of Mrs Gaskell (no.317)

For some unknown reason Stewart made two visits Haworth in 1856.2.

Even before the biography had been suggested Gaskell had wanted a photograph of the Richmond Portrait as a keepsake. She asked for one to be taken to include in her biography of Charlotte. Arthur Bell Nicholls initially refused but later relented.

When John Stewart visited Nicholls he was "under a solemn promise" to make just three copies; one was to go to the publishers to be engraved and the other two were to be returned to him.

1857 

Late January or early February 1857 Stewart made a third visit to Haworth, this time to take some views of Haworth Village, Church & Parsonage for Mrs Gaskell. These would be a selection of views which Gaskell could choose from to be used as an engraving for the frontispiece of the biography.

Haworth Parsonage viewed from the Church Tower c1857, possibly by John Stewart.

We believe that the photo at the Bronte Museum, of the Parsonage viewed from the Church Tower (above), is one of these. It is not known how many photos Stewart took but he sent three to Mrs Gaskell.

Mrs Gaskell wanted a photo to show the Parsonage and Church but was disappointed with the result because the Parsonage appeared too small (as in the above photo). Hardly the photographer's fault that the buildings are not closer together! On 4 February 1857, Gaskell forwarded the three photos to the publisher, George Smith:

"The views disappoint me a little; but he is very good to have taken so much pains about them. They give an idea of wildness and desolation; but not of height and steepness, & of the fine sweeping moors beyond. The Parsonage is that square house by itself to the\behind/left of the church-very faint in all owing to the distance."

The Letters of Mrs Gaskell (no.338)

In the end Gaskell decided not to use the landscape photographs and sent one of her own sketches to be engraved (above) for the frontispiece.  Artistic license allows the buildings to be larger and closer.

The photographic copy of the Richmond Portrait was used to create the engraving (above) enabling the public to see Charlotte Bronte for the first time.

Elizabeth Gaskell's biography The Life of Charlotte Brontë was published in March 1857.

 

Stewart sent a photograph of Richmond's portrait of Charlotte to Elizabeth Gaskell in November 1856. The following February he sent her three photos he had taken of Haworth. At some point after this he returned to his home in Pau, France.1.

In February 1857, on completion of the biography of Charlotte Bronte, Mrs Gaskell left Manchester to stay in rue du Bac, Paris, and visited Mary Clarke Mohl. She visited Mary at her famous literary salon on several other occasions over the years. 2.

John Stewart's photograph of his brother in law, John Hershel, was exhibited at the Manchester Art Treasures Exhibition in October 1857; this would have been a print on paper.

 

 

1. Illustrated London News - Saturday 03 May 1856, p.475 reports on the publication of The Photographic Album for the year 1856; being contributions from the members of the Photographic Club.

“The biographers describe in very enthusiastic language the beauties of a folio volume of fifty photographs by fifty different hands, and those of eminence, to which Mr. Whittingham, of Chiswick, has attached fifty pages of letterpress of corresponding beauty. The volume is a present to her Majesty, and is one of fifty-two copies of series of photographs made by the members of the Photographic Club—a newly-established club akin to the old Etching Club, and instituted to advance and record the progress of the art of photography.

This is their first volume, and most wonderfully does it exhibit the progress which photography has made in England during the past year. Each of the fifty members sends fifty-two impressions of what he considers to be his best photograph with a description of the process used in obtaining it. Fifty copies are distributed among the fifty; the fifty-first is offered to her Majesty, and the fifty-second presented to the British Museum.

Very wonderful, indeed, are some of the photographs this very beautiful volume. We would especially point out as perfect in their truth to nature and adherence to art Mr. Batson’s “Babbicombe Bay,” Mr. Henry Taylor’s “Lane Scene,” Mr. Llewellyn’s “Angler,” Mr. Bedford’s ‘‘Flowers,” Mr. Delamotte’s “Innocence,” Dr. Diamond’s “Interior of Hollyrood,” Mr. Henry Pollock’s Windsor Castle," Mr. Mackinlay’s “Bodiham Castle,” Mr. White’s “Garden Chair,” and Mr. John Stewart’s appropriate vignette to the volume —the portrait of Sir John Herschel.“

2. No mention of a photo of the Bronte sisters has been found in Gaskell's letters. Stewart sent a photograph of the Richmond portrait of Charlotte to Gaskell, received by 11 November 1856. He was kept waiting by Mr Nicholls on this first visit. For some unknown reason he returned to Haworth (before 6 Dec 1856). On a third visit he took photographs of Haworth village, Church & Parsonage; he sent three to Gaskell, received by 4 Feb 1857.

Elizabeth Gaskell, her two elder daughters & Catherine Winkworth visited Paris and then Rome.

The 'Bronte Sisters Photo' was amongst items purchased in the Paris region in the present century.