{
"data": {
"id": 153656,
"accession_number": "1987.18",
"share_license_status": "CC0",
"tombstone": "Newhaven Fishwives, Jeanie Wilson and Annie Linton, 1845. David Octavius Hill (British, 1802\u20131870), and Robert Adamson (British, 1821\u20131848). Salted paper print from calotype negative; image: 29.5 x 14.4 cm (11 5/8 x 5 11/16 in.); matted: 45.7 x 35.6 cm (18 x 14 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund, 1987.18",
"current_location": null,
"title": "Newhaven Fishwives, Jeanie Wilson and Annie Linton",
"creation_date": "1845",
"creation_date_earliest": 1845,
"creation_date_latest": 1845,
"artists_tags": [
"male"
],
"culture": [
"England, 19th century"
],
"technique": "salted paper print from calotype negative",
"support_materials": [],
"department": "Photography",
"collection": "PH - British 19th Century",
"type": "Photograph",
"measurements": "Image: 29.5 x 14.4 cm (11 5/8 x 5 11/16 in.); Matted: 45.7 x 35.6 cm (18 x 14 in.)",
"dimensions": {
"image": {
"height": 0.295,
"height_inch": 11,
"height_inch_fraction": 0.625,
"width": 0.144,
"width_inch": 5,
"width_inch_fraction": 0.6875
},
"matted": {
"height": 0.457,
"height_inch": 18,
"height_inch_fraction": 0.0,
"width": 0.356,
"width_inch": 14,
"width_inch_fraction": 0.0
}
},
"state_of_the_work": null,
"edition_of_the_work": null,
"copyright": null,
"inscriptions": [
{
"inscription": "Written in pencil on recto: \"H / 3 / 99\"; \"Jeannie [sic] Wilson (on left)\"",
"inscription_translation": null,
"inscription_remark": null,
"sortorder": null
}
],
"exhibitions": {
"current": [
{
"id": 310231,
"title": "The Year in Review for 1987",
"description": "The Year in Review for 1987. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 24-April 17, 1988).",
"opening_date": "1988-02-24T05:00:00"
},
{
"id": 286506,
"title": "Cheating Death: Portrait Photography\u2019s First Half Century",
"description": "Cheating Death: Portrait Photography\u2019s First Half Century. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 22, 2016-February 5, 2017).",
"opening_date": "2016-10-22T04:00:00"
}
],
"legacy": [
{
"description": "Michaelson, Katherine. A Centenary Exhibition of the Work of David Octavius Hill, 1802-1870, and Robert Adamson, 1821-1848 (Edinburgh: Scottish Arts Council, 1970). Exhibition catalogue no. 252, p. 73.",
"opening_date": "1970-01-01T00:00:00"
},
{
"description": "Edinburgh, Scottish National Portrait Gallery, Nov. 21, 1991-Jan. 18, 1992: \"Hill and Adamson's The Fishermen and Women of Firth of Forth.\" Exhibition catalogue Plate 36.",
"opening_date": "1991-11-21T00:00:00"
}
]
},
"provenance": [
{
"description": "David Octavius Hill",
"citations": [],
"footnotes": null,
"date": null,
"sortorder": null
},
{
"description": "Royal Scottish Academy, Edinburgh",
"citations": [],
"footnotes": null,
"date": null,
"sortorder": null
},
{
"description": "David Octavius Hill; Royal Scottish Academy, Edinburgh",
"citations": [],
"footnotes": null,
"date": null,
"sortorder": null
}
],
"find_spot": null,
"related_works": [],
"former_accession_numbers": [],
"did_you_know": null,
"early_education_description": null,
"artlens_description": null,
"description": "Hill and Adamson\u2019s four-year collaboration yielded around 3,000 photographs, including portraits of members of the middle and upper classes and, in what may be the first social documentary project, of the working class. Included in their survey of contemporary life were numerous portraits of the fishermen\u2019s wives in the villages around Edinburgh. The women, garbed in distinctive striped skirts and aprons, cleaned their husbands\u2019 catch, then carried it in wicker baskets to the city where they offered it for sale. They were reported to be hard bargainers. Hill and Adamson respectfully recorded not only their likenesses but also their names.",
"external_resources": {
"wikidata": [
"https://www.wikidata.org/wiki/Q79939687"
],
"internet_archive": [
"https://archive.org/details/clevelandart-1987.18-newhaven-fishwives-j"
]
},
"citations": [
{
"citation": "Turner, Evan H. \"The Year in Review for 1987.\" The Bulletin of the Cleveland Museum of Art 75, no. 2 (1988): 30-71.",
"page_number": "p. 67, no. 63",
"url": "www.jstor.org/stable/25160017"
},
{
"citation": "Cleveland Museum of Art, Tom E Hinson. Catalogue of Photography. Cleveland, OH: Cleveland Museum of Art, 1996.",
"page_number": "Reproduced: P. 195",
"url": ""
}
],
"url": "https://clevelandart.org/art/1987.18",
"images": {
"annotation": null,
"web": {
"url": "https://openaccess-cdn.clevelandart.org/1987.18/1987.18_web.jpg",
"width": "655",
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"filename": "1987.18_web.jpg"
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"print": {
"url": "https://openaccess-cdn.clevelandart.org/1987.18/1987.18_print.jpg",
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"alternate_images": [],
"creditline": "Andrew R. and Martha Holden Jennings Fund",
"image_credit": null,
"sketchfab_id": null,
"sketchfab_url": null,
"gallery_donor_text": null,
"athena_id": 153656,
"creators": [
{
"id": 156,
"description": "David Octavius Hill (British, 1802\u20131870)",
"extent": null,
"qualifier": null,
"role": "artist",
"biography": "David Octavius Hill British, b. Scotland, 1802-1870; and Robert Adamson British, b. Scotland, 1821-1848\r\n\r\nBrought together out of necessity, David Octavius Hill and Robert Adamson proved to be collaborators whose work was as inspired as its impact has been long lasting. Hill was born in Perth to a family in the printing and publishing business. Trained as a painter, an occupation pursued throughout his life, Hill also was an illustrator and lithographer. His earliest work, Sketches of Scenery in Perthshire Drawn from Nature and on Stone (1821), published before he was 20, was one of the first in Britain to employ the new medium of lithography. In 1829 he helped found the Royal Scottish Academy, serving as secretary from 1830-70.\r\n\tHill turned to photography as an aid for a large group portrait of the 474 ministers who formed the new Free Church of Scotland. Noting the difficulties of such a monumental task, photographic pioneer Sir David Brewster, an associate of William Henry Fox Talbot, introduced Hill to Robert Adamson (born in Brunswick). Trained as an engineer, Adamson had learned the technique of photography from his brother John, whom Brewster had taught. The portraits necessary for Hill's work were the beginning of their collaboration, the two working in Adamson's Edinburgh studio in 1843. Hill is generally thought to be the artistic mind behind their images, while Adamson served as the technician responsible for the camera. This opinion among scholars, however, is shifting toward greater recognition of Adamson's artistic skill.\r\n\tAfter Adamson's early death in 1848, Hill stopped working entirely for 10 years before continuing in collaboration with A. McGlashan of Glasgow at a considerably diminished level. The portraits by Hill and Adamson are known for their painterly, Old Master quality and exceptional use of light and shadow. Other images include architecture, landscape, and a series on the small fishing village of Newhaven. T.W.F.",
"name_in_original_language": null,
"birth_year": "1802",
"death_year": "1870",
"use_in_caption": true,
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"weight": 1
},
{
"id": 159,
"description": "Robert Adamson (British, 1821\u20131848)",
"extent": null,
"qualifier": "and",
"role": "artist",
"biography": "David Octavius Hill British, b. Scotland, 1802-1870; and Robert Adamson British, b. Scotland, 1821-1848\r\n\r\nBrought together out of necessity, David Octavius Hill and Robert Adamson proved to be collaborators whose work was as inspired as its impact has been long lasting. Hill was born in Perth to a family in the printing and publishing business. Trained as a painter, an occupation pursued throughout his life, Hill also was an illustrator and lithographer. His earliest work, Sketches of Scenery in Perthshire Drawn from Nature and on Stone (1821), published before he was 20, was one of the first in Britain to employ the new medium of lithography. In 1829 he helped found the Royal Scottish Academy, serving as secretary from 1830-70.\r\n\tHill turned to photography as an aid for a large group portrait of the 474 ministers who formed the new Free Church of Scotland. Noting the difficulties of such a monumental task, photographic pioneer Sir David Brewster, an associate of William Henry Fox Talbot, introduced Hill to Robert Adamson (born in Brunswick). Trained as an engineer, Adamson had learned the technique of photography from his brother John, whom Brewster had taught. The portraits necessary for Hill's work were the beginning of their collaboration, the two working in Adamson's Edinburgh studio in 1843. Hill is generally thought to be the artistic mind behind their images, while Adamson served as the technician responsible for the camera. This opinion among scholars, however, is shifting toward greater recognition of Adamson's artistic skill.\r\n\tAfter Adamson's early death in 1848, Hill stopped working entirely for 10 years before continuing in collaboration with A. McGlashan of Glasgow at a considerably diminished level. The portraits by Hill and Adamson are known for their painterly, Old Master quality and exceptional use of light and shadow. Other images include architecture, landscape, and a series on the small fishing village of Newhaven. T.W.F.",
"name_in_original_language": null,
"birth_year": "1821",
"death_year": "1848",
"use_in_caption": true,
"include_extent": false,
"weight": 2
}
],
"legal_status": "accessioned",
"accession_date": "1987-03-16T00:00:00",
"sortable_date": 1845,
"date_added_to_oa": null,
"date_text": "1845",
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"on_loan": false,
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"record_type": "object",
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"has_conservation_images": false,
"cover_accession_number": null,
"is_nazi_era_provenance": false,
"impression": null,
"alternate_titles": [],
"is_highlight": false,
"updated_at": "2026-08-03 14:21:34.438000"
}
}