| Names: | Other: Capt. Edmund Gilling Maynard (uncertain)
Other: Mr. Maynard
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| | Active: | Crimea |
Preparing biographies
Writing in 1896, R. Child Bayley pointed out that as the art of photography matured, “an increasing interest
manifests itself in the memorials and relics of the earlier stages of its career.” He was especially interested in the calotypes in the collection of the Royal Photographic Society, noting that “of this beautiful process there are many specimens extant.” After outlining the collection, which ranged from Talbot to Angelo Corelli Collard Bere, Bayley singled out in particular “some prints by the process of scenes in the neighbourhood of the Crimea by Mr. Maynard.” These prints still survive: apparently dating from the 1850s, the views either were taken in the field under the stress of war or were, perhaps, simply the beginning efforts of an amateur. Bayley identified a Mr. Maynard as the photographer, but in a later account they were listed as having been donated by “Maynard Esq.” Assuming that Maynard was indeed the photographer, the only logical candidate would be Capt. Edmund Gilling Maynard of the 88th Regiment, who was in the Crimea at the time, had already expressed an interest in the history and topography of the region, and was recovering from wounds and therefore had time on his hands. Moreover, he would not have had far to look for either supplies or tutelage in the art, for Maynard was the brother-in-law of Roger Fenton.
Roger Taylor & Larry J. Schaaf Impressed by Light: British Photographs from Paper Negatives, 1840-1860 (Metropolitan Museum of Art, New York, 2007)
This biography is courtesy and copyright of the Metropolitan Museum of Art and is included here with permission.
Date last updated: 4 Nov 2012.
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