the clayton (byron) family in england

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The Clayton (Byron) Family in EnglandBernard V. Heathcote & Pauline F. HeathcotePublished online: 01 Oct 2013.

To cite this article: Bernard V. Heathcote & Pauline F. Heathcote (1985) The Clayton (Byron) Family in England, History ofPhotography, 9:1, 57-73, DOI: 10.1080/03087298.1985.10442255

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THE CLAYTON (BYRON) FAMILY IN ENGLAND by Bernard V. and Pauline F. Heathcote

M any students of photographic history will be familiar with a series of photographs of New York

portraying a wide variety of scenes in that city during several decades from c.1890 onwards. These images, now deposited in the Museum of the City of New York and known as the Byron Collection, were taken by Joseph Byron and his son, Percy Claude Byron, together with their staff and associates. This large collection of prints and negatives is an irreplaceable treasury which is also highly valued by local historians and sociologists, for the diversity of the firm was truly remarkable. Its subjects include, for instance, architectural studies, society weddings, street views, apartment interiors, tenement backyards, theatrical productions and fashionable department stores.

In 1958, Grace M. Mayer, who was at that time Curator of Prints at the Museum, introduced the collection to a wider audience by publishing a selection of over 200 of these photographs in a fascinating volume entitled Once Upon a City: New Yorkfrom 1890 to 1910. 1 In his Foreword to the book, Edward Steichen commented:

If the word objective has any meaning in relation to photography here it is. There is no pretense or artifice, no willful accent or suppression. Composition is based on including everything within the camera's angle and photographing so that everything is plainly visible. These photographs are objective because the places, the things and the people photographed have a chance to speak for themselves without interference.

. . . There is here also a valuable lesson for today's photographers, for these prints that were once regarded by some as senseless and trite have become a visual slice of Americana that without the Byrons would have been lost and without the Museum of the City of New York might so easily have been overlooked.

More recently, other authors have drawn attention to some of the specialities of the Byron studio such as theatre

HISTORY OF PHOTOGRAPHY, VOLUME 9, NUMBER 1, jANUARY-MARCH 1985

photography2 and the meticulous recording of domestic interiors. 3

Joseph Byron, the founder of this very successful commercial enterprise, emigrated from England in September 18884 and opened a studio at 1260 Broadway, New York. During the ensuing years the company's high quality work acquired a well-deserved reputation in both Europe and the United States. But apart from one or two brief references in the aforementioned publications, there has hitherto been very little known about either Byron's personal background or photographic career prior to his arrival in the United States. Prompted by this gap in our knowledge, a closer examination of his family (Figure 1) and their studios (Table 1) in England has now been undertaken.

JAMES CLAYTON

The story commences in the Borough of Nottingham, where the first major fact to emerge is that initially the family used and were known by their original surname of Clayton. The patriarchal head was James Clayton (Figure 1 [ 11] ) , the son of Joseph and Eleanor, who on 14th February 1820 married Ann Soar5 daughter of George and Sophia (see The Clayton (Byron) Family Tree). James was a basket-maker6 who had been taught the centuriesold craft by his father, and over the years he became a respected local tradesman. Reminiscences which have lived on within the family4•7 have upheld the oral tradition that James founded a photographic business in Nottingham in 1844. However, we have to date not discovered any documentary evidence to authenticate this belief. The evolution of portrait photography in Nottingham has been the subject of a previous contribution to this journal;8 in that paper, the inhibitory effects of the patent restrictions on the daguerreotype process, combined with the depressed state of the local hosiery and lace industries, have been cited as the main reasons for the faltering development of what

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Figure 1a. Percy Claude Byron: 'A photograph of a composite drawing depicting the Exchange Building, Market Place, StMary's Church and the Castle, ·Nottingham in the 1860s- 70s on which is superimposed portraits of some members of the Clayton (Byron) and Lewin families. The stem of the vine originates from the entrance to James Byron Clayton's photographic studio at Ram Yard, Long Row' (1899). Bromide print, 32 2 x 267 mm. (Local Studies Library, Nottinghamshire County Library.)

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NOTTINGHAM

LEICESTER

LONDON

Footnotes

The Clayton (Byron) Family in England

Figure lb. 1. Joseph (Byron) Clayton. 2. Julia Clayton (nee Lewin). 3. Maud Mary Byron Clayton. 4. Percy Claude Byron Clayton. 5. Florence Mabel Byron Clayton. 6. Ernest Sidney Byron Clayton. 7. Georgina Byron Clayton. 8. Louis Philippe Byron Clayton. 9. James Byron Clayton. 10. Mary Clayton (nee Taylor). 11. James Clayton. 12. Ann Clayton (nee Soar). 13. Sarah Taylor. 14. Francis Braithwaite Lewin. 15. Lydia Rhoda Lewin (nee Holland). 16. Mrs. Lewin. 17.Mrs. Holland.

Table 1. BYRON AND CLAYTON STUDIOS

STUDIO NAME • PROPRIETOR(S) ADDRESS

Byron, James James Byron Clayton Ram Yard b, Long Row East ' Byron & Son James Byron Clayton & Ram Yard, Long Row East

Joseph (Byron) Clayton Byron, Joseph Joseph (Byron) Clayton Ram Yard, Long Row East Byron, Joseph Joseph (Byron) Clayton 2 Bottle Lane, Bridlesmith Gate Byron, Joseph Joseph (Byron) Clayton 1 Smithy Row Clayton, Walter Walter Clayton 8 Greyhound Street, Long Row East Clayton, Walter Walter Clayton 5 Albert Street Clayton, Ann (Mrs.) Ann Clayton & 6 Greyhound Street, Long Row East

Walter Clayton Clayton & Clayson Walter Clayton & 42 Greyhound Street, Long Row East

David Clayson Clayton, Walter Walter Clayton 6 Greyhound Street, Long Row East Clayton, Walter Walter Clayton 11 Yz Exchange Walk Byron & Clayton Joseph (Byron) Clayton & 4 London Road & 24 Gallowtree Gate

Walter Clayton Clayton, Walter Walter Clayton 4 London Road Clayton, Walter Walter Clayton Portland House, Saxe Coburg Street,

London Road Byron & Sons James Byron Clayton & 21 Blackfriars Road, W.

Joseph (Byron) Clayton Clayton, Walter Walter Clayton Address unknown

a As defined in the local trade directories and/or advertisements of the period. b Originally at No. 4, but by at least 1864, at No. 25. c Adjacent to the Market Place. d See text.

DATES

1857- 70 1870-77

1877- 81 1879- 86 1886-88 1856- 62 1862-70 1863- 70

1864-65

1870- 79 1878- 80 1873- 75

1875- 85 1885- 92

c.1872 d

1872- 79 d

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Figure 2. Walter Clayton: 'Portrait of an unknown lady' (15th November 1858). Collodion positive on glass, 70 x 56 mm. (From the Collection of Keith and Usha Taylor.)

was essentially a luxury trade. The only professional photographic activity in the area which it has been possible to corroborate during the period 1841 to 1853 was that undertaken at Bromley House by Messrs Barber, Popowitz, Kaim, Booker and Davis. Nevertheless, it should be observed that in 1846, and more especially in 184 7, 9

notices appeared in the local press seeking information which would lead to the detection and conviction of 'certain parties' who were suspected of infringing the patent. From this it may be inferred that the then resident proprietor of the Bromley House studio, George Popowitz, had reason to believe that someone in the town was taking portraits unlawfully. Could this have beenJames Clayton? Was he perhaps offering to take portraits of certain customers who visited his basket-making workrooms? It is known that he was artistically inclined, having some years previously, albeit for a short period, forsaken basket-making to work as a portrait-painter. 10

JAMES BYRON CLAYTON AND WALTER CLAYTON

Although there still exists this element of doubt as to whether or not James practised as a photographic artist, two of his sons, James Byron and Walter, later became well-known photographers. Initially, both of them were

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correct Likeness TAKEN AT ....

CLAYTON~g:-" c • \

f'otBgtap~it t,f 1dltt'1, ----8, :9REl?fPtrND STREET,

LeliG JIOWti ... OGHA.B li''R.nV 1!:! TiPW A 'R.n~

Figure 3. Detail of the label affixed to the back of the collodion positive on glass depicted in Figure 2.

basket-makers, and this poses the intriguing question why did they forsake the security of an established trade to embrace the uncertain fortunes of a completely new profession? In the mid-nineteenth century, basket-makers were to be found in most large towns in England, creating a wide range of products to meet the demands of the domestic, agricultural and industrial markets. There is no obvious reason to suggest that the brothers could not have continued to find employment in that traditional craft, which was both labour intensive and unlikely to be greatly affected by advances in technology. It seems highly probable, however, that they had inherited an artistic trait from their father and this, combined with their practical abilities, proved to be the impetus for the redirection of their careers.

In later years, they each made a number of declarations, either in newspaper advertisements or on the reverse of their cartes-de-visite, regarding the date when their businesses were founded: James Byron claimed 1851 and 1852, whilst Walter claimed 1851, 11 1853 and 1854. But it is essential that these statements should be interpreted carefully, for in reality they almost certainly do not refer to the year in which a photographic studio was opened but instead relate to the time when they became independent of their father in terms of commercial viability as basketmakers.

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Figure 5. James Byron Clayton: 'Portrait of an unknown gentleman' (c. 1860). Collodion positive on glass, 78 x 65 mm. (Private Collection.)

HISTORY OF PHOTOGRAPHY. VOLUME 9, NUMBER 1, jANUARY-MARCH 1985


Figure 4. Walter Clayton: 'A Family Group, left to right: Mary, Emma, Henry and Fanny Johnson, taken at Cleethorpes' (24th September 1862). Collodion positive on glass, 130 x 94 mm. (From the Collection of Keith and Usha Taylor.)

Figure 6. Detail on the case containing the collodion positive on glass depicted in Figure 5.

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lwiiSS"' CLAYTON & CLAYSOtt

'<•NTH \l'r !'~'\Tlc:R:'i &:

A-Rc SiS lN flriOTOGRA.PHY . . • ' / r_p,;t. /u u /ld ·..7'~· .

lrtaft7Aa·m

Figure 7. Detail on a carte-de-visite from the studio of Clayton &

Clayson (c.1864). 104 x 64 mm. (Private Collection.)

On the basis of available evidence, it would appear that it was Walter Clayton who was the first of the brothers to become a photographic artist in Nottingham. By the end of February 185612 he had opened a portrait gallery at 8 Greyhound Street, Long Row, where 'correct likenesses' could be obtained for the modest sum of one shilling and upwards (Figures 2 and 3). He occupied this studio, which was located next door to his father's basket-making workrooms, for the next six and a half years. During this time he gradually acquired a respectable clientele to whom he offered the choice of a variety of sizes and style of portrait which could be finished in either oil or watercolours, and mounted in cases or frames. Additionally, he supplied miniatures encased in brooches and, as a departure from portraiture, sold what he described as 'microscopic views'. Somewhat surprisingly, he was also the owner of a pork butchery business, but this curious mixture of occupations

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Figure 8. Detail on a carte-de-visite from the studio of Walter Clayton (c.1871 ). 103 x 63 mm. (Private Collection.)

was of a short-lived duration. 13 In August 1862, he moved into the studio previously occupied by Arthur B. Steel at 5 Albert Street. 14 These premises, to which he had made extensive alterations, were advantageously placed to attract custom from passers-by, being situated in the busy area adjacent to the town Post Office. During the summer months, he also visited the Lincolnshire coastal resort of Cleethorpes, for on the back of an extant collodion positive on glass (Figure 4) there is a manuscript note which reads 'Taken at Clayton's, Cleethorpes, September 24 1862'.

In the meanwhile, James Byron Clayton (Figure 1 [9]) had begun to operate as a photographer, and in order to make a clear demarcation between his own and his brother's studio he adopted the principle of trading under his baptismal second name. As the name of Byron was, for professional purposes, retained by his son Joseph and has subsequently become very well-known, it is natural to

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--------------------~

~;\O.fDs>

'(IQ!taltex QJ(a):}hnt. )

MAGNET STUDIO,

4.LONDON ROAD

:~~EXCESTER, ( .•

Figure 9. Detail on a carte-de-visite from the studio of Walter Clayton (c. 1880). 103 x 63 mm. (Private Collection.)

enquire from whence it originated. James and Ann had called their first male child James Barker Clayton in order to perpetuate his paternal grandmother's maiden name, but to date no genealogical source has been traced for the name of 'Byron'.

There is, however, one possible explanation to consider, and that is that they baptized their second son in memory of the famous Romantic poet, George Gordon Noel, 6th Lord Byron (1788-1824). Lord Byron, it may be recalled, had as a result of his observations of the prevailing economic conditions in Nottinghamshire, achieved fame in England by his maiden speech in the House of Lords in 1812, when he championed the cause of the stockingframe breakers, believing them to be victims of an unjust industrial and social system. After his death at Missolonghi in Greece, where he had been prominently associated with that country's epic struggle for independence, the poet's

HISTORY OF PHOTOGRAPHY, VOLUME 9, NUMBER 1, jANUARY-MARCH_!J!J.5 _

The Clayton (Byron) Family zn England

,!. HYHfL'i & ~0~~

Ph,,h,~tn+vhrrt. RAM UflP MARKET ~lACE

O.(l'iT!:'>Hl!"\~1

!!o. -AT

Figure 10. Detail on a carte-de-visite from the studio of]. Byron & Sons (c.18 72). 106 x 63 mm. (Private Collection.)

remains were brought back to England, and before interment they were placed on public view in Nottingham in July 1824. This melancholy event attracted immense crowds and generated great interest in the town. The inn where the lying-in-state took place was but a few yards from James Clayton's residence, and it is not unreasonable to suppose that he was amongst the multitude of townsfolk who paid their last respects to the literary genius, former county landowner and aristocratic supporter of the working classes. If this assumption is correct, and James Clayton was so moved and inspired by the occasion that he gave his next male offspring the name of 'Byron', it is of interest to reflect that by this action his son joined the ranks of a number of British photographers who have borne the name of a 'Folk Hero' . 15

In the early spring of 1845, at the age of 18, James Byron Clayton married Mary, daughter of John and Sarah

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Figure 11. James Byron Clayton: 'Portrait of Joseph (Byron) Clayton' (c. 1875). Carte-devisite, 95 x 57 mm. (Courtesy of Grace Byron Murtaugh.)

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'"$sTAB LISI'f~O Qumer of •Century. ~EW STUDIO,

BYRON BUII .. DINOS,

BRIOLE$MJTH GAtE.

Figure 12. James Byron Clayton: 'Portrait of Julia Clayton (nee Lewin)' (c.1875). Carte-de-visite, 96 x 58 mm. (Courtesy of Grace Byron Murtaugh.)

Figure 13. Detail on a carte-de-visite from the studio of]. Byron (1882). 103 x 63 mm. (Private Collection.)


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Figure 14. Detail on a carte-de-visite depicting the Exchange Building and the location of the Byron studio in Smithy Row, Nottingham (c. 1886). 103 x 63 mm. (Private Collection.)

Taylor. 16 When his two sons were born, William on 10th November 1845, 17 and Joseph on 22nd January 1847, 18

he was working as a basket-maker. Ten years later, he opened a photographic gallery in Ram Yard, Long Row, Nottingham, succeeding John Frederick Davis who had previously had a branch studio at that address. From the outset, James Byron undertook a diversity of commissions which included copying engravings and family paintings, and photographing public buildings, shop fronts, landscapes, etc. His main source of income was however, portraiture (Figures 5 and 6). In addition to producing collodion positives on glass in a number of sizes and finishes, he sold photographs printed on to lightweight Niellograph paper. This was a currently popular and fashionable style which especially appealed to those who wished to enclose copies of their portraits when writing to friends overseas. In order to attract the patronage of those who, for reasons of infirmity or personal inclination, did not wish to visit his premises, James Byron was also willing to take likenesses at customers' private residences.

He was assisted in his daily business routine by his wife, Mary 19 (Figure 1 [10)). One can only guess at the extent of her involvement, but in all probability she would have been responsible for the reception area and have paid particular attention to lady sitters, for the presence of a female member of staff was considered by many photographers to be an important desideratum in the management of a studio. 20•21 ·22 From time to time, the services of

HISTORY OF PHOTOGRAPHY, VOLUME 9, NUMBER 1, jANUARY-MARCH 1985

the firm were publicized in the local press, and in one such instance the virtues of a Byron likeness were even extolled in verse, 23 although it must be admitted that the literary merits of this promotion did not approach the standard of the studio's distinguished namesake!

ONWARD! FORWARD! UPWARD! Forward ever! backward, never Still must be our duty: England's greatness is her skill, 'Tis her hope and beauty. Science throws her glorious gifts To the friends we cherish, By giving them a likeness true, Time's breath can never perish. A likeness! not as oft we see, A shameful daub - a blunder; But radiant with the light of art, A truly matchless wonder! Behold! BYRON produces them. The height of true perfection! Those all-but-speaking shades of art, The praise of all inspection! Try BYRON's Likenesses, the best; And test yourselves the story; And see the matchless grace and skill Which makes artistic glory!

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Figure 15. Samuel Kirk: 'The Clayton (Byron) Family shortly bifore their emigration to the United States of America, lift to

right: Percy, Joseph, Georgina, Maud, Florence, Louis and Julia' (1887). Bromide print, 111 x 156 mm (Courtesy of Grace Byron Murtaugh.)

Figure 16. Unknown photographer: 'Mr & Mrs George Caldwell and Mr & Mrs Joseph Byron at the Duke of Portland's Garden Party at Welbeck Abbey, Nottinghamshire' (1899). Bromide print, 192 x 242 mm. (Local Studies Library, Nottinghamshire County Library.)

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OTHER CLAYTON STUDIOS

Whilst discussing the parallel development of the two Clayton brothers' studios, it should be noted that the name of a third member of the family, that of their mother Ann (Figure 1 [12] ), also appeared as a photographer in the local trade directories. Following the death of her husband, James, on 11th July 1863, she assumed his role as head of the basket-making business, and in addition turned towards photography to supplement her income. It seems highly probable, however, that the title 'Ann Clayton, Photographic Artist', was a purely theoretical one. Nominally, she was Nottingham's second lady photographer, 24 but there are a number of reasons to suggest that she relied upon her son, Walter, to manage the studio, which was housed in the same building as her basket-making workrooms, at 6 Greyhound Street, Long Row. The close bond which existed between them is confirmed by the knowledge that, after the death of his first wife, Walter and his children took up residence with his mother. To date, we are not aware of the existence of any photograph bearing the appellation 'Ann Clayton', although cartes-de-visite do exist which were issued by 'Messrs. Clayton', and this description almost certainly refers to mother and son.

For a short while in the mid-1860s, Walter was involved with another studio in Greyhound Street, at No. 42, which traded under the name of Clayton & Clayson. This firm's cartes-de-visite proudly bore the insignia of the Robin Hood Rifle Volunteer Corps, whose motto 'Evocatus Paratus' (ready when wanted) provided them with an appropriate trading slogan (Figure 7). Walter's partner was David Clayson (1827- 65), who had been a photographer in the town since 1854, 25 but their association was unfortunately cut short by Clayson's sudden death at the age of 38. 26 Walter Clayton vacated the Albert Street gallery early in 1870,27 and then assumed overall control of the family studio in Greyhound Street. At this time, he charged 3s. 6d., per dozen for cartes-de-visite (Figure 8), and this very competitive local price enabled him to accommodate the demands of a continually expanding market. 28 He continued to advertise his business in Nottingham until the late summer of 1879;29 during the ensuing year, his branch establishment at Exchange Walk, which he referred to as a 'Photographic Palace', 30 was taken over by the multiple firm of Brown, Barnes & Bell who had also succeeded to the Greyhound Street premises.

Some years previously, in March 1873, 31 Walter Clayton with his nephew Joseph (son of James Byron Clayton), opened the Magnet Studio at 4 London Road, Leicester. The arrival of the firm, styled Byron & Clayton, could not have gone unnoticed amongst the resident professionals in that town, for they immediately embarked upon an aggressive price-cutting campaign. After being in business for Jess than three months, they were able to declare confidently that 'For a long series of years, and up to the last few weeks, the price for cartes-de-visite in Leicester has been 12s. Od., per dozen' _32 Not surprisingly, their policy of charging 5s. Od., per dozen

HISTORY OF PHOTOGRAPHY. VOLUME 9, NUMBER l, jANUARY·MARCH 1985


Figure 17. joseph Byron: 'Borough High Street, London, decorated for the occasion of the Coronation of Edward VII' (24th june 1902). Bromide print, 163 x 112 mm. (Local Studies Library, Nottinghamshire County Library.)

apparently met with instant success. One feature of their establishment, to which they drew particular attention, was that the studio could be reached by one short flight of stairs; an arrangement that was especially attractive to invalids and elderly persons. Additionally, they made every effort to ensure that intending sitters would be pleased with their portraits, and offered helpful advice:

Never come in a hurry or a flurry. If you are pushed for time your picture will present a worn and wearied expression, which you will not like, and which will compel you to take the time for another sitting. Arrange matters at your office, or shop, or at home, so that you can take it perfectly easy during the operations of awaiting your turn and the making of your picture. If you do this, the likeness will be calm, peaceful, and true to you, and you will feel repaid for your tranquility. Ladies who have shopping and an engagement with the photographer on the same day should be careful to attend to the latter first. 33

Hints to mothers were also given: ... arrangements for the babies should be made so as not to interfere with their daily sleep, as they

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look and feel so much better and sweeter after a nap. The morning is also best for them and a clear day, because the light works more quickly. 34

Later in 1873, Byron & Clayton purchased the business of D' Aubigny Hatch at Leicester and, after refitting the rooms, opened a second studio at 24 Gallowtree Gate on 29th September. 35 However, the partnership between Walter and his nephew was short-lived, for by January 187536 the Gallowtree Gate premises had been acquired by William Mobbs, and Walter became the sole proprietor at 4 London Road (Figure 9). Ten years later, he transferred to Portland House, Saxe Coburg Street, where he remained until 1892, when failing health caused by a heart complaint, compelled him to retire from business life and he moved to Bayswater, LondonY The following year, accompanied by his second wife and his son, an army lieutenant on leave from India, he went on holiday to Babbacombe in South Devon. This vacation ended tragically, for on Thursday, 1st June 1893, when he was spending the afternoon at nearby Little Oddicombe Beach, Walter Clayton got into difficulties whilst bathing and was accidentally drowned. 38

In a number of advertisements by both the Byron and Clayton studios, reference was made to the existence of a London establishment. More specifically, on the reverse

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Figure 18. Joseph Byron: 'Parliament Street, London, decorated for the occasion of the Coronation of Edward VII' (24th june 1902). Bromide print, 158 x 113 mm. (Local Studies Library, Nottinghamshire County Library.)

of a carte-de-visite, an address was given as 21 Blackfriars Road (Figure 10), but it is almost certain that this gallery was maintained for only a very short period, as a detailed examination of contemporary source material has failed to confirm its presence. 39 Nevertheless, for some years the family persisted in referring to their metropolitan connection, no doubt believing that this would enhance their reputation with provincial customers.

JOSEPH(BYRON)CLAYTON

The original Byron studio was located in Ram Yard, Nottingham; initially at No. 4, although it later became incorporated into larger premises at No. 25. The yard was situated within a complex of buildings next to the popular Ram Hotel, pedestrian access being by a passageway off Long Row which formed one side of the busy Market Place. This photographic establishment flourished for over 20 years, during which time Joseph Clayton's involvement with his father's business received public acknowledgement from about 1870, when the firm was renamed 'Byron & Son'. 40 The year 187 5 held a mixture of grief and happiness for James Byron; during the summer his wife, Mary, died and on 16th November his son, Joseph (Figure 11 ), married Julia Lewin (Figure 12) at the Parish Church


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The Clayton (Byron) Family zn England

Figure 19. Joseph Byron: 'Leicester Square, London, decorated for the occasion of the Coronation of Edward VII' (24th june 1902). Bromide print, 164 x 116 mm. (Local Studies Library, Nottinghamshire County Library.)

of St. Mary, Nottingham. 41 Almost immediately following these two events, James Byron's active association with the business began to decline, perhaps due to ill-health or else because of a disagreement between father and son. He later left Nottingham and went to live in Chester, in which place he died on 21st December 1880. At the time of his death he was still described as a photographer, 42 although it seems most likely that, rather than owning his own business, he had been employed by a photographic firm in that city.


By 1877 Joseph had assumed responsibility at Ram Yard, and in so doing, continued the practice of trading under the adopted name of Byron. 43 By this time, the firm's images had become well-known to many townspeople, and indeed, Joseph took great pride in proclaiming that 'Byron's portraits (were) as familiar in the mouths of the people as Household Words'. 44 The property at Ram Yard was retained until early in 1881;45

in view of the fact that latterly prospective sitters were encouraged to join 'Byron's Portrait Clubs' 46 (a scheme

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Figure 20. Joseph Byron: 'The Organ Grinder' (1902). Bromide print, 120 x 168 mm. (Local Studies Library, Nottinghamshire County Library.)

whereby payments were made on a regular instalment basis), ·and that tintypes could be bought for the remarkably low price of nine for 7 Y2 d., 47 it is clear that the gallery was then meeting the requirements of a lower-class mass market.

In the meanwhile, Joseph had opened a new studio at the corner of Bottle Lane and Bridlesmith Gate in premises that were soon to become known as 'Byron Buildings'. This self-confident approach was accompanied by a desire to appeal to a more discriminating clientele. Visitors to the town's annual Goose Fair in the autumn of 1879 were invited to call and sit for a 'Promenade Portrait' 48 (8 V4 in. x 4 in.), whilst clients who still preferred the traditional

format of the carte-de-visite (Figure 13), were no doubt delighted to discover that their portraits were presented to them in attractive embossed cardboard containers. It is of interest to note that Joseph and his family lived at Byron Buildings, 49 and it would be about this time that his wife, Julia, first became acquainted with the problems associated with the routine management of a photographic business. This experience was to prove invaluable to her at a later date, for when the Byrons settled in New York, she

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ultimately became the supervisor of the company's printing department.

Joseph was one of a number of professional and amateur enthusiasts present at a meeting held on 18th April 1884 which was convened for the purpose of forming a new Photographic Society in the town. 50 He became a committee member of this Society - which was initially known as the Nottinghamshire Photographic Association - but his active involvement with the administrative affairs of that organization did not extend beyond the inaugural year. It is also known that he had a personal friendship with two of his competitors, namely, Samuel Kirk and George Caldwell. 51 The three men were of a similar age, and each of them was noted for the vitality and progressive nature of his business.

During the winter of 1885- 86, Joseph moved to 1 Smithy Row, 52 where his studio occupied the first floor above a provision merchant's shop. An illustration depicting the exterior of the premises was printed on the reverse of a number of the firm's cabinet photographs and cartes-de-visite (Figure 14). Apart from being an example of imaginative advertising, the drawing also serves as an


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THE CLAYTON (BYRON) FAMILY TREE

Joseph Clayton Eleanor Barker George Soar Sophia Cox

JAMES CLAYTON - ANN SOAR 1802- 1863 1798- 1873

Ann b.1820

James Barker b.1821

Emma b.1824

William Henry b.1828

JAMES BYRON CLAYTON Mary Taylor 1826- 1880 1825- 1875

Jane b.1831

(1) WALTER CLAYTON Sarah Anne Tomlinson 1833- 1893 1839- 1867

Lewis W. b.1865

(2)

= Jeanette Annie Wrixon b.1850

Ernest Tomlinson b.1867

William 1845- 1858

JOSEPH (BYRON) CLAYTON = Julia Lewin 1847-1923 1854- 1932

Maud Mary Byron 1876- 1959

Percy Claude Byron 1878- 1959

Florence Mabel Byron 1880- 1952

interesting topographical record of part of the area surrounding the Market Place, and merits close examination. There were approximately 30 other studios in existence in Nottingham and its suburbs in the 1880s, and the Byron gallery with its byword 'High Class Work at Moderate Prices' must have enjoyed reasonable success. Joseph was, however, an ambitious man, undeterred by hard work and the prospect of a challenge, who was anxious to provide a secure future for his young family (Figure 15); this appears to have been the motivation for his momentous decison to emigrate to the United States of America. He left Nottingham in 1888 and sailed to New York accompanied by his wife and eldest daugher; 12 months later, he was joined by the remaining children and their grandmother, Lydia Rhoda Lewin.

For some years, during the summer months, the Byrons made a number of return visits to England, and on one occasion, in company with George Caldwell and his wife, they attended a garden party at the Duke of Portland's estate at Welbeck Abbey in Nottinghamshire (Figure 16). Another holiday was spent in London in June 1902; this visit was timed to coincide with the celebrations which were scheduled to take place to mark the coronation of King Edward VII and, naturally, Joseph took the opportunity to photograph some of the official decorations. 53

Undeniably, these images (Figures 17, 18 and 19), because of their historic content, have acquired an intrinsic value


Ernest Sidney Byron 1881- 1883

Georgina Byron 1883- 1963

Louis Philippe Byron 1886- 1941

over the years. But perhaps it is the scene depicting the organ grinder in an unfashionable London side street in that coronation year (Figure 20) which is a more appropriate example of Joseph Byron's skill in the faithful recording of his surroundings. For it is a reminder of his candid, direct approach with the camera which, through the legacy of the Byron Collection in New York, has ensured that his name will long be remembered in the annals of photographic history •

ACKNOWLEDGEMENTS

We would like to thank the staff of the Local Studies Library, Nottinghamshire County Library, and in particular Miss Dorothy J. Ritchie, for the co-operation which we have received during the course of our research. We are indebted to Miss Grace M. Mayer, The Museum of Modern Art, New York for providing copy photographs used in Figures 11, 12 and 15, and for kindly introducing us to present-day members of the Byron family. Also, we would like to extend our thanks to Mrs Grace Byron Murtaugh (Joseph's grand-daughter) for helpful correspondence, and to Keith and Usha Taylor for supplying photographs of their collodion positives depicted in Figures 2, 3, and 4. We would also like to thank Mr Malcolm Parry for the artwork used in the preparation of Figure lb.

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REFERENCES AND NOTES 1. Grace M. Mayer, Once Upon a City: New Yorkfrom 1890 to

1910, Macmillan, New York (1958). 2. S. Appelbaum, The New York Stage: Famous Productions in

Photographs, Dover Publications Inc., New York (1976). 3. C. Lancaster, New York Interiors at the tum rifthe Century, Dover

Publications Inc., New York (1976). 4. P. C. Byron, Correspondence with Grace M. Mayer,

Curator of Prints at the Museum of the City of New York (20th February 1956).

5. Marriage Register of the Parish Church of Radford, Nottingham (14th February 1820), p.129.

6. Baptism Register of the Parish Church of St Mary, Nottingham (3rd September 1820), entry no. 731. This refers to the baptism of his first child, Ann, at which time, his occupation was given as basket-maker.

7. New York Times (11th June 1959), p. 33.c. 8. Pauline F. Heathcote, The First Ten Years of the

Daguerreotype in Nottingham, History of Photography, Vol. 2 (October 1978), p.315.

9. Nottingham Mercury (2nd April 1847), p.1.a. 10. Baptism Register of the Parish Church of Radford,

Nottingham (25th May 1828), entry no. 626. This refers to the baptism of his fifth child, William Henry, at which time, his occupation was given as portrait-painter.

11. It should be noted, however, that this claim is not substantiated by the 1851 Census Return for Greyhound Street, Nottingham (H.0.107 /2131/£.13) as Walter Clayton is described therein as a basket-maker, aged 17, living with his parents.

12. Nottingham Review (29th February 1856), p.5.b. 13. Directory of Nottingham, E. S. Drake & Co., Sheffield (1860),

p.41. 14. Nottingham Review (29th August 1862), p.5.a. Walter Clayton

actually announced that he had taken over the photographic business of the late John Baume, but in so doing, he appears to have deliberately ignored the existence of Baume's successors at 5 Albert Street.

15. For example, Horatio Nelson Harrop (1829- 92) of Manchester and George Washington Wilson (1823- 93) of Aberdeen.

16. Marriage Register of the Parish Church of Greasley, N ottinghamshire (14th April1845), entry no. 260. Mary Taylor was the daughter of a coal miner, and was, at the time of her marriage, illiterate.

17. Register of Births in Nottingham, Sub-district of Park (10th November 1845), entry no. 183.

18. Register of Births in Nottingham, Sub-district of Sherwood (22ndJanuary 1847), entry no. 418. It has been previously incorrectly recorded that Joseph was born in 1844 (see References 1 and 2).

19. Nottingham Illustrated Magazine & Monthly Advertiser, Vol. 1 (November 1861).

20. The Ti= (9th April1846), p.l.e. Antoine F. J. Claudet stated that 'a private room has been fitted-up particularly for ladies, who can avail themselves of the attendance and attention of a respectable female'.

21. Sheffield Times (4th November 1854), p. 1. f. John Firth advertised that 'Mrs Firth will be in attendance on the ladies as usual'.

22. Nottingham Review (20th March 1863), p.5.b. Alonzo G. Grant announced that 'the wives of two of the operators are engaged to attend upon ladies'.

23. Nottingham Illustrated Magazine & Monthly Advertiser, Vol. 1 (February 1861).

24. At the time ofthe 1861 Census Return for 9 Hazards Yard,

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Nottingham (R.G.9/2453/f.39) Ellen Averill was described as a 'photographic artiste'. She had recently succeeded to the studio established by her father, so becoming the first lady photographer in the town.

25. Nottingham Review (14th April 1854), p.l.b.

26. Nottingham & Midland Counties Daily Express (25th July 1865), p.4.e. David Clayson was a part-time member of the Robin Hood Rifle Volunteer Corps; he tragically died on 24th July 1865 some days after 'rupturing a blood vessel' whilst on parade duty.

27. Nottingham Daily Guardian (9th April 1870), p.4.d. 28. Nottingham Journal (1st October 1870), p.l.f. 29. Nottingham & Midland Counties Daily Express (7th August 1879),

p.2.c. 30. The Owl, Vol. 3 (lOth May 1878), p.l. 31. Leicester journal (14th March 1873), p.5.b. 32. Leicester Chronicle (31st May 1873), p.4.b. 33. Leicester Chronicle (19th July 1873), p.6.e. 34. Leicester Chronicle (26th July 1873), p.6.b. 35. Leicester Chronicle (27th September 1873), p.6.f. 36 Leicester Chronicle (23rd January 1875), p.9.f. 37. Directory of London, Kelly & Co. Ltd., London (1893), p.624. 38. Torquay Directory & South Devon journal (7th June 1893), p.6.e. 39. The address quoted was 21 Blackfriars Road, W., but it

should be noted that no such road existed in West London. The only Blackfriars Road in the metropolis was in the South Eastern district, and from the late 1850s until1863, no. 21 was occupied by pastrycooks, and then, for at least 20 years, William James Smith used these premises as a lamp warehouse.

40. On the reverse of their cartes-de-visite, and in local trade directories, the firm is consistently described as 'J. Byron & Son', but on one occasion (see Figure 10) reference is made to ' & Sons'; it is believed that this is a printing error, for Joseph's only brother, William, died on 12th October 1858.

41. Marriage Register of the Parish Church of St Mary, Nottingham (16th November 1875), p.160. Julia was the daughter of the late Francis Braithwaite Lewin, a licensed victualler.

42. Letters of Administration of the personal estate of James Byron Clayton (photographer), late of 2 Crook Street, Chester who died at the Chester Lunatic Asylum, were on 13th January 1881, granted to his son Joseph. ,

43. At birth, he was registered as Joseph Clayton (see Reference 18), but later, for business purposes, he assumed the name of Byron (his father's second baptismal name). In fact, on some official documents he incorrectly described himself as Joseph Byron Clayton. However, his six children were each registered with the additional forename of Byron. After emigrating to the United States, the surname Clayton appears to have been relinquished, and the family were recognised by the name Byron.

44. Nottingham & Midland Counties Daily Express (2nd April1879), p.7.b.

45. The last recorded reference in respect of Joseph's business address at 25 Ram Yard appeared in the Letters of Administration appertaining to his father's estate, dated 13th January 1881.

46. The Midland jackdaw, Vol. 1 (28th March 1879), p.l.b. 47. Nottingham & Midland Counties Daily Express (16th June 1880),

p.4.c. 48. Nottingham & Midland Counties Daily Express (7th October

1879), p.2.c.

49. 1881 Census Return for 2 Bottle Lane, Nottingham (R.G.l1/3361/f.16).

HISTORY OF PHOTOGRAPHY, VOLUME 9, NUMBER I, jANUARY-MARCH 1985

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50. Nottingham Daily Guardian (21st April 1884), p.8.a. 51. P. C. Byron, Correspondence with F. C. Tighe, City

Librarian, Nottingham (8th April 1959). 52. In October 1885 he was still living in Bottle Lane (Register

of Persons Entitled to Vote in the Parliamentary Borough of Nottingham, Polling District of St Mary's Ward). By February 1886 he had moved to a new home address where


The Clayton (Byron) Family tn England

his youngest son, Louis Philippe Byron Clayton, was born (Register of Births in Nottingham, Sub-district of Radford (5th February 1886), entry No. 163).

53. In the event, the Coronation, which had been due to take place on 26th June 1902, was postponed because Edward was suffering from appendicitis and had to undergo an emergency operation.

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the clayton (byron) family in england

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