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an immense step forward. But the photographer must cease attempting to pose hands and make them pose themselves by giving them some congenial occupation . . The photographer who has met a man half a dozen times should know with absolute certainty what is the most characteristic pose and lighting for his face . . . I think it would be a most useful thing, even from the business point of view, if every photographer would resolve that for every negative made for profit there should be another made for love. The greatest good of the
Photographic Salon has been in showing that the best professional photographers could do some of the finest amateur work
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211:. With Burne-Jones, whom he met in the early seventies, and Watts, his collaboration —for it amounted to that—was particularly close. He photographed their work at different stages—the prints often suggesting modifications to the artists—and his collection of negatives must contain some interesting records of early states. Rossetti,
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The one thing needful for photographers, if they are ever to take a position as artists, is general culture, which includes the study of the work of artists of all other classes. If every photographer would make a real study, for two or three years, of the hands of his sitters, portraiture would take
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were other artists whose work was made familiar to the public through
Hollyer's reproductions. In workmanship he was extremely fastidious, giving personal attention to every stage of the process, so that the final result was not so much a photograph of a painting as a translation of its qualities
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Mr. Hollyer, in sheer good nature, ought to exhibit a failure now and then, if only to encourage critics. As it is, year by year, they have to ring changes on the most eulogistic adjectives, and feel all the time that they are not doing more than scant justice to memorable
258:
Hollyer also took studio portraits and specialised in interior and exterior photos of houses. For 30 years, he reserved
Mondays for portrait photography in his Pembroke Square studio. His sitters included the artists
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Hollyer's photographs of drawings were particularly successful; printed on high-quality paper, they were often mistaken for originals. One of the most popular was a study of three heads by Burne-Jones for
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343:(1870–1952) worked with his father and took over the studio when the elder Hollyer retired in 1913. Frederick Hollyer died 21 November 1933 at his eldest son's home in
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Hollyer did much to establish photography as a fine art. His work was widely acclaimed in his own day; in 1897, a critic in
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Today, Hollyer is remembered chiefly for his photographs of Burne-Jones, William Morris, and their circle.
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The
Earthly Paradise: Arts and Crafts by William Morris and his Circle in Canadian Collections
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known for his photographic reproductions of paintings and drawings, particularly those of the
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e may be said to have done as much for their popularity by reproducing their work as
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133:(1826–1919) also worked as engravers. Frederick Hollyer's first published works were
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process, admired for its permanence and great tonal range. Under the patronage of
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Works by
Frederick Hollyer in Birmingham Museums & Art Gallery's collection
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Frederick
Hollyer married Mary Anne Armstrong (1838–1913). Their eldest son
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The Linked Ring, The
Secession Movement in Photography in Britain, 1892–1910
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Lochnan, Katharine A., Douglas E. Schoenherr, and Carole Silver, editors,
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Notes on engraving of the
Hollyer Brothers, National Portrait Gallery
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in opposition to the
Photographic Society. He was a member of the
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89:(17 June 1838 – 21 November 1933) was an English photographer and
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Frederick
Hollyer Collection at the Victoria & Albert Museum
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686:"National Portrait Gallery "Engraving of the Hollyer Brothers""
117:(1797–1883), a line engraver, fine art publisher, collector of
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Pictures by Frederick Hollyer at the National Portrait Gallery
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Hollyer became interested in photography about 1860. He made
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207:, became a place of pilgrimage for everybody who was in the
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1865 and became a Fellow in 1895, but was also involved in
267:, G. F. Watts, and Burne-Jones; the writers John Ruskin,
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Pictures by Frederick Hollyer at the Hollyer Family site
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until 1853, when the post was abolished. His brothers
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Notes on Frederick Hollyer, National Portrait Gallery
442:Photogravure of portrait of Burne-Jones by his son
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42:
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505:Obituaries of Fredrick Hollyer, at Luminous-Lint
661:"National Portrait Gallery "Frederick Hollyer""
535:Biography of Frederick Hollyer at Luminous-Lint
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327:and became one of the Founder Members of the
16:English photographer and engraver (1838–1933)
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816:Edward Burne-Jones: Victorian Artist-Dreamer
229:Heads of Despight, Cruelty, and Dame Amoret,
37:Hollyer, platinotype self-portrait, c. 1890
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199:did with the pen. His modest premises in
157:prints, but his preferred medium was the
185:. Of his work with the Pre-Raphaelites,
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329:Professional Photographers' Association
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789:Art History Through the Camera's Lens
774:Art History Through the Camera's Lens
611:Art History Through the Camera's Lens
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555:Art History Through the Camera's Lens
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513:
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371:Burne-Jones and Morris families, 1874
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818:, Metropolitan Museum of Art, 1998,
645:The Concise Grove Dictionary of Art
1160:19th-century English photographers
894:19th-century English photographers
850:The Pre-Raphaelite Online Resource
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1059:William Eastman Palmer & Sons
641:"Answers.com "Frederick Hollyer""
319:, a society formed in to support
141:published by J. McQueen in 1869.
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113:Hollyer was the youngest son of
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485:Concise Grove Dictionary of Art
137:engravings of two paintings by
1155:British portrait photographers
675:Biography of Frederick Hollyer
383:Georgiana Burne-Jones, c. 1882
1:
909:William Makepeace Thackeray
904:William de Wiveleslie Abney
786:Roberts, Helene E. (1995).
127:Christopher Charles Hollyer
121:, and Deputy Sealer at the
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748:, Key Porter Books, 1993,
418:Burne-Jones's studio, 1887
313:Royal Photographic Society
235:, from a print by Hollyer.
95:Pre-Raphaelite Brotherhood
1170:Photographers from London
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846:25 September 2020 at the
647:. Oxford University Press
231:Burnes-Jones's study for
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1099:Francis Meadow Sutcliffe
939:Robert Jefferson Bingham
741:, London, Heinmann, 1979
341:Frederick Thomas Hollyer
220:into photographic terms.
1165:People from Pentonville
430:William Morris, c. 1887
1039:William Edward Kilburn
974:Philip Henry Delamotte
964:Julia Margaret Cameron
705:. W., F. Hollyer. 1904
681:. Accessed 2008-09-01.
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294:
247:
236:
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183:Dante Gabriel Rossetti
1019:Alfred Horsley Hinton
914:Sarah Angelina Acland
792:. Gordon and Breach.
487:, "Frederick Hollyer"
242:
227:
175:George Frederic Watts
1104:Constance Fox Talbot
1094:Jane Martha St. John
1074:Henry Peach Robinson
1054:Farnham Maxwell-Lyte
1049:Richard Cockle Lucas
772:Roberts, Helene E.:
277:Mrs Patrick Campbell
275:; and the actresses
1119:Henry Van der Weyde
1084:Alice Seeley Harris
776:, Routledge, 1995,
758:Parry, Linda, ed.,
609:Quoted in Roberts,
311:Hollyer joined the
273:George Bernard Shaw
253:The Masque of Cupid
233:The Masque of Cupid
145:Photographic career
814:Wildman, Stephen:
737:Harker, Margaret:
596:quoted in Harker,
521:Edward Burne-Jones
248:
237:
209:aesthetic movement
171:Edward Burne-Jones
131:Samuel Hollyer Jr.
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1024:Frederick Hollyer
999:Peter Wickens Fry
979:Elliott & Fry
954:Sarah Anne Bright
929:Alexander Bassano
924:William Bambridge
457:John Ruskin, 1894
167:Frederic Leighton
129:(1836–1874), and
123:Court of Chancery
87:Frederick Hollyer
84:
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25:Frederick Hollyer
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1109:Henry Fox Talbot
1089:Charles Shepherd
1064:William Pumphrey
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347:(then part of
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265:William Morris
179:Simeon Solomon
163:platinum print
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139:Edwin Landseer
115:Samuel Hollyer
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77:Known for
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989:Roger Fenton
815:
803:. Retrieved
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784:(excerpt at
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707:. Retrieved
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689:. Retrieved
664:. Retrieved
649:. Retrieved
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600:, p. 153-154
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351:), aged 95.
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321:pictorialism
310:
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261:Walter Crane
257:
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244:Walter Crane
232:
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213:Albert Moore
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119:watercolours
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63:(1933-11-21)
46:17 June 1838
18:
1150:1933 deaths
1145:1838 births
1124:Carl Vandyk
919:Anna Atkins
805:7 September
727:|work=
709:1 September
691:1 September
626:, p. 153-54
281:Ellen Terry
269:H. G. Wells
191:noted that
159:platinotype
80:Photography
50:Pentonville
1139:Categories
634:References
335:Later life
325:Solar Club
302:lamented:
299:The Studio
215:, and Sir
205:Kensington
729:ignored (
719:cite book
666:31 August
651:31 August
557:, p. 324.
553:Roberts,
519:Wildman,
406:, c. 1882
349:Berkshire
331:in 1901.
188:The Times
135:mezzotint
103:Edwardian
99:Victorian
71:, England
52:, England
844:Archived
622:Harker,
613:, p. 325
345:Blewbury
287:he said
105:London.
91:engraver
69:Blewbury
573:, p. 30
569:Parry,
358:Gallery
151:albumen
822:
796:
780:
766:
752:
444:Philip
402:, and
307:work."
271:, and
246:, 1886
197:Ruskin
181:, and
155:carbon
109:Family
463:Notes
820:ISBN
807:2008
794:ISBN
778:ISBN
764:ISBN
750:ISBN
731:help
711:2008
693:2008
668:2008
653:2008
279:and
153:and
101:and
58:Died
43:Born
677:at
161:or
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655:.
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