By David Gooding
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Additional resources for Faraday Rediscovered: Essays on the Life and Work of Michael Faraday, 1791–1867
In the albums, portraits of and letters from the subjects are frequently mounted on adjoining pages. Occasionally the letters pertain directly to the portraits which he preserved. But usually the manuscripts and portraits are not precisely contemporary in date. Faraday apparently selected those letters which were readily available or which were of special interest to him. The two volumes contain approximately 135 letters and manuscripts and 250 portraits executed in line engraving, lithography, photography, mezzotint and watercolour.
His wording shows him setting his taste apart from that which he attributed to the ordinary consumer who did not appreciate the qualities of the photograph itself. Perhaps Faraday was unfair in his sweeping characterisations of London photographers and their clientele. Some firms were executing beautiful straight photographs comparable in quality with those of Hanfstangel. An example is the striking portrait by Maull and Polybank of Faraday gesticulating with bar magnet in hand. Faraday was undoubtedly aware of other portraits by this firm.
Dumas (1800-1884), C. v. G. E. Chevreul (1786-1889), T. Graham (1805-1869), F. Chantrey (1781-1841), W. Wyon (1796-1851), T. C. Macready (1793-1873), H. Clutterbuck (1767-1856), H. Holland (1788-1873), W. Jerdan (1782-1869). 45. Henry Storkes to Faraday, 31 July 1839, I: 108. 46. Lithograph (by E. U. Eddis and M. Gauci) of Edward Hawkins forwarded to Faraday by Colnaghi (H: 23). Stipple engraving (from a drawing by James R. Swinton) of Mary Somerville presented to Faraday by the publisher, John Murray (I: 57).