Directory of Early Photographers in Suffolk - C
CADE, Alfred Henry
The 1873 entry suggests that Alfred set up briefly in business on his own, but most of the early part of his career was spent working in the studio of his father, Robert Cade (below). See also separate studio note.
This must be Alfred Henry Cade, above.
Heathcote places Robert Cade at Orwell Place from March 1855, describing him as a watch and clockmaker, jeweller and silversmith who became interested in photography in the early 1850s. On a carte mount dating from the 1870s is printed ‘established 1852’. Cade began as a photographer of mansions and estates, but set up a glasshouse at his premises in 1855 to take collodion portraits and, in the same year, made a portrait of Frederick Scott Archer, the inventor of the process. David Gobbitt suggests that the Cornhill studio and the Westgate studio were one and the same. See also the biography of Cade on Ron Cosens' website and a separate studio note.
CADE & White
Successors to Robert Cade, above. A Cade & White carte mount of the, perhaps, early or mid 70s, has the address: Cornhill, Ipswich. This is believed to be the Westgate Street studio. See studio note.
CANN, Porter &
Itinerants who (according to Heathcote) took a studio at 14 Cornhill, Bury, from May to August 1854. They also practised at an unknown address in Newmarket during August 1854.
CHAPMAN, Rogers &
The studio is referred to as having recently opened in an advertisement in 'The Norfolk News', 6th June 1857. The partners had evidently given it up by 28th February 1860, when it was damaged in a hurricane and referred to, in a subsequent 'Ipswich Journal' report, as 'the photographic studio, late of Messrs Rogers and Chapman'.
See also Chinnery.
See also Chinery.
He is presumably the 'J Hosea Chisnall, photographic artist' who married Emma Grice at Long Melford on 11th July 1873. See also Chiswell.
See also the suspiciously similar Chisnall.
CLARKE, Alan Verso
Son of Benjamin Clarke of Bungay (below). The 1911 census shows him, aged 18, working as an assistant in his father's studio. Paul Godfrey reports that he became a photographer with the Royal Flying Corps during the First World War, that he later took over the family business, continuing into the 1930s, and that he subsequently became a photographer for the 'Kettering Telegraph'.
This may represent a briefly held additional studio of Benjamin Clarke, below.
Paul Godfrey reports that, after the First World War, the Earsham Street business was taken over by Benjamin's son, Alan Verso Clarke. See also Benjamin Clarke of Harleston, above.
CLARKE, Charles C
The dates and address suggest he is the ‘& Son’ of John Charles Clarke and Son, below. Brudenell is spelt ‘Brundell’ in A1916.
CLARKE, John Charles
Brudenell is spelt ‘Brundenell’ in KS1879. See also John Charles Clarke & Son, below.
CLARKE, John Charles, & Son
Brudenell is spelt ‘Brundenell’ in KS1892. See also Charles C Clarke and John Charles Clarke, above.
CLARKE, John Palmer
The son of John William Clarke, below. David Gobbitt reports that when he married Mary Emma Taylor at Drinkstone, on 3rd October 1889, the service was conducted not by the incumbent, but by the groom's brother, Arthur Edward Clarke, who was the curate of Sawley, in Derbyshire. Clarke was present at the Photographic Convention of the United Kingdom, 1897.
Jarman recounts that John Palmer Clarke moved to Cambridge in 1903, when the firm’s negative stock passed to H I Jarman. For a few years before the move, Clarke seems to have maintained studios in both towns. For his later history, see the Cambridge Directory.
CLARKE, John William
The father of John Palmer Clarke, above. He began working under his own name at Angel Hill in the second half of 1867, when the partnership of Clarke and Wallace (see below) came to an end. A carte from, probably, the 1880s gives the address ‘7 Abbey Hill, opposite Abbey Gate’. Jarman says that the firm also had premises in King's Road, Bury. These are shown in a photograph dating from the early 1870s, where a yard formed an open-air studio for equestrian pictures. David Gobbitt has found a sale notice in the 'Bury and Norwich Post', 1st December 1874, announcing the auction of a 'garden, stable and photographic studio of Mr J W Clarke' in Cemetery Road. (Cemetery Road was actually renamed King's Road, so it seems likely that Jarman has inadvertently used the later road name.)
In addition to their work as portrait photographers, the Clarkes were very active in the field of topographical photography, and their views contribute significantly to the surviving record of the Bury area.
Clarke's obituary in ‘The Bury & Norwich Post’, 21st February 1893, reports that he died in Ipswich on 14th February, aged 70, having retired (initially to Felixstowe) ‘a few years ago’. During his career he photographed the Prince of Wales and ‘many other illustrious personages’. ‘Although life-long a staunch Conservative, he took no active part in politics, or in public life, but in private life his geniality made him numerous friends.’
CLARKE & Wallace
Clarke was John William Clarke, above. Malster mentions that they had a studio at 28 Angel Hill, Bury St Edmunds, in May 1866. Two advertisements in the 'Bury and Norwich Post', found by David Gobbitt, give precise later dates. The partnership was still functioning on 18th July 1867. By 3rd December1867, however, Clarke was operating under just his own name at 28 Angel Hill, but was identifying his business in a sub-heading as 'Late Clarke and Wallace'.
Cobb's advertisement in HS1864 boasts of ‘the largest studio and the best arrangement of light in the Eastern Counties’. For twelve ‘album portraits’ he charged 10/6d. A mount from the early 1860s, with no more precise address than ‘Ipswich’, bears the Masonic square and compass symbols.
Advertising in the 'Ipswich Journal', 31st March 1866, he announced his purchase of 'Sarony's Patent Posing Apparatus'', describing it as a great improvement on the 'horrid headrest'. His KS1869 entry is out of date. He gave up photography, sold his business to William Vick (q.v.), and moved to London at the end of 1868. (See also separate studio note.)
David Gobbitt points out that Cobb exhibited a large frame of carte de visite portraits, and won a silver medal for 'excellence in photography', at the Needham Market Fine Art and Industrial Exhibition of 1867. The fact that no gold medals were awarded that year gave him licence, in his subsequent 'Ipswich Journal' advertisement, to refer to his award as 'A First-Class Prize Medal'.
Mentioned in a 'Bury and Norwich Post' court report, 13th May 1862. He was a photographer of Brentgovel Street, Bury St Edmunds, employed by George Fenton, and was charged with assaulting a fellow-photographer, William Matthews, in an altercation over damage to a borrowed lens. ('He seized me by the collar, and, with his fist bent, threatened to send my teeth down my throat.')
CONYERS, Henry James
See also Ambrose Copsey.
Additional information from local historian Lyn Boothman: Copsey was born 1831/2 in Glemsford, Suffolk, and married in the Bury St Edmunds district in 1855. By 1857 he was working as a cabinet maker in Long Melford. The 1861 census finds him in Long Melford as a photographic artist with four children. A fifth child was baptised there later that year. Copsey was also a painter, and more biographical and career information about him can be found on Tony Copsey's 'Suffolk Painters' website.
See also Copey.
CORK, Charles S
CORNABY, James G
CORNABY, James S
COSSER, George Whitfield, & Co
The 4 Westgate Street studio was formerly the premises of successive Cade (q.v.) photographers. George Whitfield Cosser also operated for many years in Colchester, Essex, and briefly had a studio at King's Lynn, Norfolk (KN1912). Linda King draws attention to a further studio in Bath, mentioned on a mount dating from about 1912. According to a 1908 copyright registration with Stationers' Hall, Cosser also had a studio in Devizes, Wiltshire, where the manager was Horace Edmonds.
See also Whitfield.
Wife of James Court, below. Jayne Greenacre draws attention to the fact that, in the 1871 Southwold census, it is Eliza who is described as a photographer, while James is referred to as a watchmaker. In the 1881 census, the widowed Eliza is entered as both watchmaker and photographer. Her niece married Eugene Arthur Finch (q.v.).
Described as ‘watchmaker & photographer’ in 1868 and 1873.
COUSINS, G S
CRACKNELL, M P
Itinerant operating in Bungay. He advertised in 'The Norfolk News', 29th January 1853, and announced that he could stay only a few days longer. He also worked in King's Lynn as part of the Worts and Crews partnership, for which see the Norfolk directory.
CUBITT, Charles Edward
CUNDALL, Downes & Co
This partnership, formed in 1858, was one of a number set up by Joseph Cundall under the auspices of the Photographic Institution, which he established in London in 1852. (Another of his partnerships – formed c1855 – was with Robert Howlett, who made the famous portrait of Isambard Kingdom Brunel on the deck of the Great Eastern.)
An advertisement - found by David Gobbett in the 'Bury and Norwich Post', 3rd December 1867 - mentions their Diamond Cameo Portraits (a briefly popular format, for which a licence had to be purchased) and their 'Clergy Portrait Series, which is now assuming a very complete form'.
Born in Ipswich, a printer by trade and later a publisher & photographer, Cundall was (according to Dimond & Taylor) a founder member of the Photographic Society of London, and an indefatigable arranger of exhibitions and promoter of other photographers. He died in 1895.
CUTHBERT & Co
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