Abstract: Genre/Subject Matter:This full-length standing studio portrait of a woman is intended to demonstrate an ethnic, occupational and class ‘type’, in this case that of a Somali ‘stick-gatherer’. Although Frederick Mercer Hunter provides no description for stick-gatherers, the woman’s ragged clothing and pose may have been intended to demonstrate that she is what Hunter describes on p. 33 as a ‘low-born Somali or [negro] (Jarbarti)’who undertakes ‘scavengers’ work’.The woman, posed in a studio with rocks about her feet and carrying a long walking stick, appears bent over under the weight of the bundle of sticks she is carrying. A twisted rope binds the sticks together and forms a harness about her upper torso. The woman is blind or has an eye condition which has clouded her retinas.Inscriptions:In pencil, upper left corner adjacent to print: ‘12’Physical description: Dimensions:87 x 55 mm [portrait]Format:1 albumen print pasted to backing paper and mounted between pp. 130-31Materials:Silver printing-out paper, albumen printCondition:The print is unevenly hand-cut, with one surface adhesion of card in the upper left corner along the left-hand edge. Dark spotting and streaking throughout the upper half of the image originate in the printing process.Foliation:‘12’Process:Albumen print
Abstract: Genre/Subject Matter:This photograph gives a general view of the settlement at Steamer Point, seen from the neighbouring hillside, with the government coaling station on the foreshore and the peninsula of Little Aden visible on the horizon beyond.The crescent of one to three storey buildings in the middleground was named after H. R. H. the Prince of Wales – according to Frederick Mercer Hunter, ‘in memory of his visit to the settlement in November 1875’ (p. 9). Hunter goes on to describe the facilities and features of this part of the settlement, including two hotels, a police station and the ‘residences of a few consuls’. Along the shoreline just left of the centre of the image, several horse and carriages are visible.To the far right of the image, the landing pier can be seen. Mercer describes this as ‘covered in by a cast-iron shed, with corrugated roof, where six twelve-pounder guns are placed for saluting purposes’. By dating the erection of the shed to 1876, Hunter establishes the likely date of this image as 1876 or later. Two large ships, at least one a three-master, can be seen at anchor. In the centre background of the image a further three-master can be seen beyond the farthest bluff.Inscriptions:In pencil, upper left corner adjacent to print: ‘11’Physical description: Dimensions:167 x 228 mm [landscape]Format:1 albumen print pasted to backing paper and mounted, folded between pp. 98-99Materials:Silver printing-out paper, albumen printCondition:The print is unevenly hand-cut. There is significant toning at all edges, extending inwards. Some spot toning extends even further towards the central fold.A stain 1.5 cm from upper and 2.5 cm from right is likely caused by pencil.Foliation:‘11’Process:Albumen print
Abstract: Genre/Subject Matter:This photograph shows an urban topographical scene in the capital of Lahej, about 30 miles (45 km) from Aden, which is referred to here as Al-Hautah (also: al Hota, al Hawtah) but is probably the town known today as Lahej/Lahij.Despite being surrounded by desert ‘to within three or four miles’ of the town, in this volume Frederick Mercer Hunter describes the town itself as being surrounded by cultivation, in particular of ‘red and white jowarî, sesame, vegetables, grass, and a little cotton’ as well as ‘date-palms, and badâm or wild almond trees’ (p. 155). So fertile was the landscape around the town, that the British bought some land near it in order to grow vegetables for the garrison at Aden (p. 68).As recently as 1872–73, the Ottoman Turks had made their presence felt in Lahej: according to Hunter, the eldest brother of the Sultan, Abdullah bin Mohsin, had ‘intrigued with the Turks, and invited them to occupy their fortified house at Al-Hautah’. In response, the Government of India decided to occupy the Lahej territory to ‘support the Lahej Sultan’. The stand-off lasted until the end of the year, when the Ottoman troops withdrew. The fortified house in question is the structure visible in the background on the left of the image.An excavated area and tumble-down walls take up most of the foreground, while a number of several-storeyed, crenellated structures occupy the horizon behind low-brick-walled enclosures. In the right lower corner of the image bricks can be seen stacked in a sequence of chevrons alongside some flat slabs, forming a rectangular paved area.In the middle-ground, toward the left of the image in the right foreground, are a donkey and five laden camels. Two figures stand on raised ground alongside the camel furthest to the right; the figure on the right appears to be wearing white, European-style clothing.Physical description: Dimensions:170 x 231 mm [portrait]Format:1 albumen print pasted to backing paper and mounted, folded, between pp. 166–167Materials:Silver printing-out paper, albumen printCondition:The print is unevenly hand-cut. There is significant toning at all edges, extending inwards towards the central fold. Some tracing marks are evident along the left-hand and lower edge.Some dark spot staining originating in the printing phase are evident throughout.Foliation:No folio number noted. [15]Process:Albumen print
Abstract: Genre/Subject Matter:This full-length seated studio portrait of a young Somali woman is intended to demonstrate an ethnic or class ‘type’. In particular, this image is intended to illustrate the habits of dress as described previously by Frederick Mercer Hunter (p. 45). Hunter describes these as follows:‘The women wear a single garment like that of the men, but it is put on differently, being fastened round the waist like a petticoat, with a number of folds behind; one end is then brought up across the left or right shoulder, and a lappet is left, which can be brought over the head like a hood. The breeze is apt to discompose this drapery, and girls before marriage wear a piece of string round the waist to prevent the upper portion of their robe from becoming indecorous. Married women are not so particular. The petticoat portion is open in front, and very frequently the leg is exposed far above the knee.’Elsewhere, on page 62, Hunter describes the ‘ornaments’ worn by Somalis, however, those descriptions do not accurately reflect what is worn by the woman in this photograph, except inasmuch as she wears what are perhaps ‘Zanud’ armlets above the elbow. Her earrings are hooped and appear to be of metal, while her necklace(s) consists of three strands of varying sized beads, which may be amber, coral, metal or some other natural bead. The shortest necklace with the smallest beads is close about her neck, the next is made of evenly sized large beads also close about her neck, while the longest necklace is made of unevenly sized beads of various materials. All three strands may be suspended from her hooped earrings. She wears a turban-like twisted fabric about her head which conceals her hair entirely.Although less overtly erotic in character, the woman is posed with one ankle exposed and seated on a patterned carpet in a fashion similar to erotic Orientalist genre paintings.Inscriptions:In pencil, upper left corner adjacent to print: ‘9’Physical description: Dimensions:89 x 61 mm [portrait]Format:1 albumen print pasted to backing paper and mounted between pp. 50-51Materials:Silver printing-out paper, albumen printCondition:The print is unevenly hand-cut, with one long crease from 1.5cm along upper edge to 5.5cm along right edge. There are a series of minor surface losses from 1.3cm to 4.3cm from lower edge along left-hand edge. A small number of dark spatter marks on the left-hand side of the image originate in printing.Foliation:‘9’Process:Albumen print
Abstract: Genre/Subject Matter:This photograph shows the Residency bungalow at Aden in the left-hand background. The buildings on the right are likely to be the 'mess-house' or 'quarters of the officers of the Royal Artillery' (p. 9), all of which were situated adjacent to the Residency on a bluff overlooking the sea at Ras Tarshyne, on the westernmost boundary of the Steamer Point peninsula.A boat at anchor is just visible in the bay behind the Residency.Two cannon are situated to the right of centre of the empty plain, which takes up most of the middleground, while an empty horse and carriage and barrel stand to the right in the middleground.Inscriptions:In pencil, upper right corner adjacent to print: ‘1’.Physical description: Dimensions:166 x 233 mmFormat:1 albumen print pasted to backing paper as mounted, folding frontispieceMaterials:Silver printing-out paper, albumen printCondition:The print is unevenly hand-cut. There is significant toning at edges, particularly, lower and left and right-hand, as well as along the central fold.Some tracing marks are evident along lower edge from left and a pen mark 3.5 cm from upper on right-hand edge is post-printing.Foliation:‘1’Process:Albumen print
Abstract: Genre/Subject Matter:This full-length standing studio portrait of a Somali man is intended to demonstrate an ethnic or class ‘type’. In particular, this image is intended to illustrate the habits of dress as described previously by Frederick Mercer Hunter (p. 45). Hunter describes these as follows:‘The men wear a single white garment (tobe) of cotton , about thirty inches wide and three to four yards long, which is simply folded round the body, an end being brought occasionally over the head or the shoulder. This cloth is not secured in any way, being retained in its place by the wearer’s hands, and accordingly presents the appearance of always being about to fall off, as it occasionally does, shocking the modesty of beholders […] The head is kept bare, except among the more wealthy, and when not shaved or covered with curly locks, or resembling a mop, is plastered tightly all over with a mixture of white earth or lime […] Many Somalis dress like Arabs, Indians, and even Europeans.’The man stands in a contrapposto pose: in his right hand he is holding a long walking stick, which is partially concealed by his draping robe. Although the man is clearly photographed in a studio setting with a backdrop, at least four rocks and stones have been placed about his feet – perhaps to lend an air of authenticity to his ethnic dress.Inscriptions:In pencil, upper left corner adjacent to print: ‘8’Physical description: Dimensions:92 x 60 mm [portrait]Format:1 albumen print pasted to backing paper and mounted between pp. 50-51Materials:Silver printing-out paper, albumen printCondition:The print is unevenly hand-cut but in good condition, with some surface loss 3cm from right and 4cm from lower edge.Foliation:‘8’Process:Albumen print
Abstract: Genre/Subject Matter:This three-quarter length seated studio portrait of a young woman is intended to demonstrate an ethnic or class ‘type’, in this case that of a ‘half-caste’ woman. She wears a simple dye-patterned garment and a polka-dot shawl, which covers her head and right shoulder. Beneath her shawl appears to be another, more close-fitting piece of material, which may be a silk kerchief intended to conceal her hair.Inscriptions:In pencil, upper left corner adjacent to print: ‘5’Physical description: Dimensions:92 x 95 mm [portrait]Format:1 albumen print pasted to backing paper and mounted between pp. 34-35Materials:Silver printing-out paper, albumen printCondition:The print is unevenly hand-cut, with some light ink splatter-marks on the left-hand side in particular.Foliation:‘5’Process:Albumen print
Abstract: Genre/Subject Matter:This photograph depicts the Tawila Tanks, also known as the ‘Cisterns of Tawila’, which are located at the head of the Tawila valley, southwest of the Crater district of Aden.Although their precise historical origin is unknown, the system of tanks is certainly ancient and was designed to collect rainwater and divert run-off away from the settlement below. The British commenced a restoration in 1856 which radically changed the function of the tanks. This is described on pp. 11-12 of the volume.The planting of trees and creation of gardens evident in the centre of this image is mentioned in the text on p. 12.Inscriptions:In pencil, upper right corner adjacent to print: ‘3’Physical description: Dimensions:215 x 174 mm [portrait]Format:1 albumen print pasted to backing paper as mounted, folded between pp. 12-13Materials:Silver printing-out paper, albumen printCondition:The print is unevenly hand-cut. There is significant toning at all edges, extending inwards towards the central fold.Some tracing marks are evident along all edges. Spot staining originating in the printing phase are evident in the upper left corner along the left-hand edge.Foliation:‘3’Process:Albumen print
Abstract: Genre/Subject Matter:This full-length standing studio portrait of an Arab youth is intended to demonstrate an ethnic or class ‘type’, in this case that of a ‘coolie’ or manual labourer of Asian descent. Though no visual indication of the boy’s occupation is evident, he is described as a ‘coal coolie’. A description of 'coal and cargo coolies' is provided on p. 35 of the volume. Enumerating at least nine-hundred men across the two categories, Frederick Mercer Hunter describes the occupation of 'coal coolies' thus:'The number of persons at a port like Aden required to unload fuel vessels and to coal steamers is of course great; but the supply seems equal to the demand. [...] The coaling of steamers is carried out by gangs of Arabs, and sometimes Somalis, who work under headmen in the employ of the Company to which the vessel may belong or may be consigned; these men work cheerfully day or night, and they can put on board fifty to sixty tons per hour. Forty men can coal a steamer at the rate of thirty tons an hour. [...] The wages earned by the above classes varies from eight annas to one rupee per diem. All the above Coolies pay a yearly license-tax of 4 annas per head.'In addition, a brief description in the volume of Aden’s contemporary ‘labouring class’ refers in particular to ‘single men’ of a very low income who come to work manually for a time in Aden (p. 40).The boy is barefoot, wears an armlet on his right arm (perhaps one of those described by Mercer, p. 60:
tafiat,
hadud,
farud, or
zarud), a form of turban-like twisted fabric about his hair, which may be a
doosmal(p. 43) and a striped, tasselled cloth about his waist, which may be what Mercer describes as a
maawizheld together by a
maajiz(p. 44). He is leaning on a photographer’s prop.Inscriptions:In pencil, upper left corner adjacent to print: ‘4’Physical description: Dimensions:87 x 55 mm [portrait]Format:1 albumen print pasted to backing paper and mounted between pp. 34-35Materials:Silver printing-out paper, albumen printCondition:The print is unevenly hand-cut, with some light staining on the print; otherwise good condition.Foliation:‘4’Process:Albumen print
Abstract: Genre/Subject Matter:This photograph shows a scene from urban life in Aden, namely a municipal rubbish cart. The labourer who collects the rubbish is posed with the camel-drawn cart. Frederick Mercer Hunter mentions the establishment and administration of such rubbish collections in the context of the imposition, soon after occupation of Aden, of a tax or levy specifically for the purpose: ‘Gradually it became necessary to impose certain small taxes for the improvement of the town, such as sweeping and watering cess […].’ (p. 132)Inscriptions:In pencil, upper left corner adjacent to print: ‘10’Physical description: Dimensions:58 x 91mm [landscape]Format:1 albumen print pasted to backing paper and mounted between pp. 70-71Materials:Silver printing-out paper, albumen printCondition:The print is unevenly hand-cut but in good condition, with one surface adhesion of card
c.1cm from lower left corner along edge. Some minor dark spotting from upper centre to upper right-hand corner originate in the printing process.Foliation:‘10’Process:Albumen print
Abstract: Genre/Subject Matter:This full-length standing studio portrait of an Arab man is intended to demonstrate an ethnic or class ‘type’. In particular, this image is intended to illustrate the habits of dress as described by Frederick Mercer Hunter in the preceding pages (pp. 43-44). Hunter describes these as follows:‘The Arabs of Aden have adopted the dress of the people inhabiting the Lahej district. This consists, in the male sex,
Firstly, of a turban (doosmal) of Surat manufacture […]
Secondly.—A loose jacket (shaiah), reaching to the hips, made of white or dyed cotton […]
Thirdly.—A sort of kilt (maawiz) made of cotton, with a white coloured border […]
Fourthly.—Over the left shoulder is hung a sort of scarf (radîf), made of cotton […]
Fifthly.—Sandals (madâs) [...].’The man in this image is leaning on a stick in his left hand and appears to have markings, perhaps tattoos, on his calves: one immediately above his right ankle, one below his left knee.Inscriptions:In pencil, upper right corner adjacent to print: ‘6’Physical description: Dimensions:92 x 57 mm [portrait]Format:1 albumen print pasted to backing paper and mounted between pp. 44-45Materials:Silver printing-out paper, albumen printCondition:The print is unevenly hand-cut but in good condition, with some minute stains in the upper left corner.Foliation:‘6’Process:Albumen print
Abstract: Genre/Subject Matter:This oval-shaped head and shoulders portrait of a young girl is intended to demonstrate an ethnic ‘type’, in this case a Somali girl. The Somali population at Aden are extensively described by Frederick Mercer Hunter throughout the
Account.The girl’s hair is braided from the roots in tiny braids, which give way to curls above her shoulders. She wears a close-fitting necklace of pale, evenly-coloured beads. Very little can be seen of her clothing save that her lapel appears to be torn.Inscriptions:In pencil, upper left corner adjacent to print: ‘13’Physical description: Dimensions:92 x 59 mm [portrait]Format:1 albumen print pasted to backing paper and mounted between pp. 130-31Materials:Silver printing-out paper, albumen printCondition:The print is unevenly hand-cut, with one black surface adhesion upper left corner along the upper edge. Some light spotting throughout the image originate in the printing process.Foliation:‘13’Process:Albumen print