In 1851, the UK census introduced terms like "imbecile," "lunatic," and "deaf and dumb" to classify disabilities, reflecting the negative views towards disabled individuals during the Victorian Era. Despite this, these terms help us identify and explore the lived experiences of disabled individuals during this time. One such person was James F. Truscott, a Deaf man who became a successful photographer in Coalbrookdale.
James Francis Truscott was born in St Austell, Cornwall in 1850 to William Truscott, a millwright, and Jane Truscott. James grew up with seven siblings and, along with two of these siblings, was identified as ‘deaf and dumb from birth’ on census records throughout his life. In the 19th century, Deaf individuals were often incorrectly seen as incapable of learning to speak due to their hearing impairment. As a result, they were referred to as "dumb," a term that would not be used today because it suggests a lack of intelligence and the inability to learn. In reality, James likely learnt sign language with his siblings from a young age, as did many other Deaf individuals in the Victorian era.
Many children born deaf in the 19th century faced serious barriers to education because schools specifically designed for deaf children were rare and not required by law until 1893. As a result, many Deaf children missed out on learning essential skills like reading, writing, and maths, leading to low-paying and low-skilled jobs in adulthood. James, on the other hand, was in the fortunate position of being born into a family that could afford to send him to a private institution for deaf children. When he was about 11 years old, James was sent to The West of England Institution for the Deaf and Dumb with his two siblings for an education.
Institutions like The West of England Institution for the Deaf and Dumb aimed to provide deaf children with an education that they could not have received attending a traditional school. These institutions made education accessible to deaf people by teaching standard educational subjects like literacy, numeracy and trade skills through sign language and visual cues. While it may seem obvious to us today, the belief that deaf individuals could learn was not a view that was commonly shared in the past. Many believed that deaf children could only imitate due to their impairment, and did not have the capacity to learn. Barriers restricting deaf individuals from learning were reinforced by the 1880 Milan conference that decided to ban sign language and to teach oralism, a method focused on teaching deaf individuals how to speak, rather than educational subjects, which set back the education of many deaf individuals.
Luckily, James’s time at the school predates this decision and he graduated in 1867 aged 16. He started working as a lithographic artist, a trade skill he likely acquired during his studies. By the age of 30, he had moved to London and was boarding with his brother in the home of a commercial clerk, a living condition suitable for a lower-middle class background. Here he worked for Waterlow and Son’s as a lithographic artist.
Lithographic tour poster advertising A Day Will Come, produced by Waterlow and Sons in 1893. This is typical of the work that Truscott would have produced on as a lithographic artist. ©Victoria and Albert Museum, London.
During the next decade, James moved to Coalbrookdale where he met his wife, Clara Rosalthe Evans, whom he married at Holy Trinity Church on April 10th 1890. Clara was a schoolmistress and together they had two children, neither of whom were born deaf. James's job provided him with a comfortable standard of living compared to many others in industrialized Coalbrookdale. In his free time, like many in the late 19th century, he enjoyed participating in popular community sports and leisure activities. He joined the cricket club where he was an active member and was even commissioned to photograph the club. James likely would have developed strategies to communicate with those who were unable to understand sign-language through visual cues and gestures.
A Carte de Visite of an unidentified man, photographed by James F. Truscott at his studio, c.1890s.
Evidence suggests that James ran his own studio in Coalbrookdale, where he practiced lithography and photography. Whilst he had practiced as a lithographic artist for many years, photography was a new aspect of his business. It’s unclear how or when James developed his photography skills, but it was a rapidly developing and increasingly popular technology in the late 19th century. James likely created albumen prints, a popular 19th-century photography method that used egg whites to make images on paper from negatives. This technique allowed him to produce "Carte de Visites," which were small, affordable photos often showing just a head-and-shoulders portrait. These photos were mounted on cards, making them popular for personal use.
The Coalbrookdale Company’s photographers diary detailing the day-to-day tasks required for a late 19th century photographer.
Whilst his main business as a photographic and lithographic artist was probably confined to personal photographic commissions, James’s business in Coalbrookdale was successful enough that during the 1890s he was commissioned by the Coalbrookdale Company to photograph the company’s managers and workforce.
Group portrait of Coalbrookdale Company foremen and managers taken June 1901 by James F. Truscott.
James’s success as an artist and businessman demonstrates that his life was not defined by his label ‘deaf and dumb from birth’. Despite societal barriers, James was able to enjoy a comfortable and fulfilling life that was typical of the time he lived in. He received a good education, pursued a skilled profession, established a family, and participated in the community. James’s experiences show that although he was likely to face challenges from the societal barriers placed before him, it did not limit his potential. Ultimately, James’s story reflects a life of normalcy that challenged the societal misconceptions of disabilities during his era.
This post has been written by Rachel Horton who has been volunteering with the Collections team at IGMT since July. She is currently completing a masters in Art Gallery and Museum Studies at the University of Manchester.
