[Sculptures of the Medici Venus and Pomona, Venus, Esmeralda, and the Mourners]

Art Historical Context

In the mid-19th century, photographer Philip Henry Delam captured the timeless beauty of classical and Renaissance sculptures in this intimate set of albumen silver prints, created around 1859 from glass negatives. Each diminutive image, measuring just 7.9 x 8.1 cm, depicts renowned works like the graceful Medici Venus—a Hellenistic masterpiece of the nude female form—the mythological Pomona, additional Venus figures, the lively Esmeralda ( evoking a dynamic equestrian scene), and the poignant Mourners from medieval tomb sculpture. These tiny photographs, now part of the Met's Gilman Collection, served as portable souvenirs, allowing Victorian collectors to own glimpses of grand artifacts often displayed in exhibitions like London's Crystal Palace. Delamotte's use of the albumen process marked a pinnacle of early photography, yielding sharp, richly toned images with fine detail that rivaled engravings. Glass negatives enabled precise reproduction of textures—from the Venus's smooth marble curves to the Mourners' expressive drapery—bridging ancient art with modern technology. This series highlights photography's emerging role in art documentation, preserving sculptures vulnerable to time or relocation. Culturally, these prints reflect Victorian fascination with classical nudes and heroic forms, blending pagan mythology (Venus, Pomona) with Gothic pathos (Mourners). They invite us to ponder how 19th-century viewers encountered antiquity through such accessible lenses, making high art feel intimately close.

About the Artist

Philip Henry Delamotte · 1820–1889

Delamotte was primarily an illustrator, but he also offered his services to artists as a photographer and photography teacher. His most famous students were Queen Victoria and Prince Albert. British photographer.