J D Ll, ca. 1850s. Source: LlGC ~ NLW (Llyfrgell Genedlaethol Cymru/National Library of Wales) on Flickr.

Image is of John Dillwyn Llewelyn. Possibly a self portrait, a similar pose exists.

Man with llama. Source: LlGC ~ NLW (Llyfrgell Genedlaethol Cymru/National Library of Wales) on Flickr. John Dillwyn Llewelyn.

Nodyn/Note: Other title: ‘The Llama with his keeper’ Clifton Zoo, 17 March 1854.

Thereza Dillwyn Llewelyn. Source: LlGC ~ NLW (Llyfrgell Genedlaethol Cymru/National Library of Wales) on Flickr.

John Dillwyn Llewelyn, ca. 1850s.

Nodyn/Note: Other title: ‘Thereza and the Dickies’

John Dillwyn Llewelyn, Piscator, No. 2, 1856. Albumen silver print. Source: The Elisha Whittelsey Collection, Metropolitan Museum of Art.

Thereza Dillwyn Llewelyn. Source: LlGC ~ NLW (Llyfrgell Genedlaethol Cymru/National Library of Wales) on Flickr.

John Dillwyn Llewelyn, ca. 1850s.

This is the right hand side of a negative taken on Thereza’s stereo camera. The left hand image has a different pose. Single lens stereo camera by Murray & Heath, 46 Piccadilly, London is held in the National Museums and Galleries of Wales archive.

John Talbot Dillwyn Llewelyn carrying a gun. Source: LlGC ~ NLW (Llyfrgell Genedlaethol Cymru/National Library of Wales) on Flickr.

John Dillwyn Llewelyn, 1854.

Boy in sailor suit. John Dillwyn Llewelyn, ca. 1850s. Source: LlGC ~ NLW (Llyfrgell Genedlaethol Cymru/National Library of Wales) on Flickr.

Nodyn/Note: This is probably Kenneth Howard, later Howard-Bury DL, JP. (born 1845). There are several other images of him wearing identical clothes, dated 1854/5.

From The Metropolitan Museum of Art (www.metmuseum.org):

Artist: John Dillwyn Llewelyn (Welsh, 1810–1882)

Title: The Wigwam, a Canadian Scene at Penllergare

Date: ca. 1855

Medium: Albumen silver print from glass negative

Dimensions: Image: 18.5 x 22.1 cm (7 5/16 x 8 11/16 in.) Mount: 22.1 x 36.9 cm (8 11/16 x 14 1/2 in.)

Credit Line: Gilman Collection, Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 2005

Accession Number: 2005.100.573

Classification: Photographs

Description: Within a week of Talbot’s public presentation of the “photogenic drawing” process in February 1839, Llewelyn experimented with the new “drawing” technique. He owed his early introduction to the medium to his wife, Emma Thomasina Talbot, first cousin of the inventor. This curious view shows a rustic, split-log wigwam and a Canadian birch bark canoe-odd stuff to be found in Victorian-era Wales. The photograph comes from a rare group of prints belonging to Llewelyn’s daughter, Emma Charlotte. It is one of many that the photographer made at Penllergare, his idyllic country estate in Glamorgan, South Wales. Further research will be required to determine if the canoe was exported by Canada for its presentation at the Great Exhibition of 1851 in London-and acquired thereafter by Llewelyn-or imported directly from North America by the amateur photographer for use at Penllergare. The canoe demonstrates the refined boatmaking skills of the native peoples of maritime Canada; the wigwam, and the photograph itself, pure Welsh invention.

From The Metropolitan Museum of Art (www.metmuseum.org):

Artist: John Dillwyn Llewelyn (Welsh, 1810–1882)

Descriptive Title: [Thereza Dillwyn Llewelyn with Her Microscope]

Date: ca. 1854

Medium: Salted paper print from glass negative

Dimensions: 23.5 x 18.7 cm (9 1/4 x 7 3/8 in. )

Credit Line: Robert O. Dougan Collection, Gift of Warner Communications Inc., 1981

Accession Number: 1981.1229.5

Classification: Photographs

Description: The border of Llewelyn’s image is a photogram of ferns, a clever variation on the decorative borders of lace, cut paper, or ink and watercolor that embellished many nineteenth-century albums. In the central vignette we see the photographer’s daughter Thereza (1834-1926), with her books, botanical specimens, and scientific apparatus.

John Dillwyn Llewelyn, Duck (1854). Source: National Media Museum (Llyfrgell Genedlaethol Cymru/National Library of Wales) on Flickr.

In the 1850s the length of exposure time prevented pin-sharp photographs of wildlife that couldn’t be counted on to stay still. John Dillwyn Llewelyn’s ingenious solution was to pose stuffed birds & animals in appropriate natural settings. This duck at the base of a tree is quite convincing, if slightly glassy-eyed.

John Dillwyn Llewelyn, Haymaking at Penlle’r-gaer (ca. 1850s). Source: LlGC ~ NLW (Llyfrgell Genedlaethol Cymru/National Library of Wales) on Flickr.

Probably taken at Penllergare as it has the same characters as in similar photographs taken by John Dillwyn Llewelyn and Thereza.

John Dillwyn Llewelyn, Thereza Dillwyn Llewelyn wearing a Bernese (Swiss) Peasant dress, ca. 1850s. Source: LlGC ~ NLW (Llyfrgell Genedlaethol Cymru/National Library of Wales) on Flickr.

The dress, (now in Swansea Museum) was bought by her mother, Emma Thomasina Dillwyn Llewelyn (nee Talbot) on her honeymoon in 1833.

John Dillwyn Llewelyn, Otter (1852) by National Media Museum on Flickr:

In the 1850s long exposure times prevented pin-sharp photographs of wildlife that couldn’t be counted on to stay still. John Dillwyn Llewelyn’s ingenious solution was to pose stuffed birds & animals in appropriate natural surroundings. This otter bares its teeth in a quite unotterlike way, as if startled by the photographer.

Our schoolchildren. Source: LlGC ~ NLW (Llyfrgell Genedlaethol Cymru/National Library of Wales) on Flickr.

John Dillwyn Llewelyn, 1856.

Mr and Mrs Iltide Thomas. Source: LlGC ~ NLW (Llyfrgell Genedlaethol Cymru/National Library of Wales) on Flickr.

John Dillwyn Llewelyn, ca. 1850s.