With the invention of photography in 1839, the portrait became democratic.

Before that, only the seriously wealthy could afford to commission a painter or sculptor to record their facial features and portraits came in one solitary specimen. 

A rare portrait of an unidentified woman university graduate, c. 1920.

A woman in long evening gown, by Chretien, 1920s.

All that changed radically with the camera and a light-sensitised emulsion, first on paper, then on glass plates and, finally, on celluloid. Portraiture became relatively cheap, accessible to most, and the portrait could henceforth be replicated in an indefinite number of copies.

In Malta, professional portrait studios metastasised. From the pioneer Leandro Preziosi, who led the way, to dozens of others, mostly in Valletta, Floriana, the Three Cities, Ħamrun and Sliema.

Family portrait of a grandfather with his three grandchildren, c. 1930, by Joseph Cassar of Ħamrun.

Noteworthy were Horatio Agius, Salvatore Lorenzo Cassar, Richard Ellis, Chretien, John Ciancio, Joseph Cassar of Ħamrun, Anthony Serracino, Hammet and many others, most with their own distinctive style, their specialisation and their props. 

Why is this macho winner of the 20-mile Services race in the 1910s wearing a ladies lace top? Photo: Salvatore Lorenzo Cassar

A young girl in carnival costume, delicately hand-coloured and dated 1931 by Richard Ellis.

Portrait of a lady in the 1930s signed by Ugo, Giuseppe Calì’s son.

"The maestro of portraiture, who, in my view, outshone the others remained the Valletta Grand Studio, run by Francesco Tabone, who employed valiant camera artists, like Ugo, Giuseppe Calì’s son"

Professional women portrait photographers also appear in Malta in the 19th century but they are all foreigners and short-lasting.

The maestro of portraiture, who, in my view, outshone the others remained the Valletta Grand Studio, run by Francesco Tabone, who employed valiant camera artists, like Ugo, Giuseppe Calì’s son.

I am limiting myself to early 20th-century portraiture. Out of a huge production, I have selected a few unusual, sometimes quirky, portrayals of humanity – people with strange pets, those wanting others to know what their obsession was, like  trans­vestites, early female graduates (great rarity), hand-coloured black and white portraits, children in funny costumes or with toys, anything not run-of-the-mill.

When digital photography took over, most of the older conventions collapsed.

The selfie ensured that narcissism would henceforth reign unchallenged.

A superb rendering of a mother with twins, c. 1930, by the Grand Studio.