The photograph reproduced above is held by many to be a photo of Williamson. It was found, along with another old photograph of a lady, under floorboards in Williamson's house by Samuel Jones when he took over the house early this century. During his investigation of the Williamson story for the Lancashire & Cheshire Historic Society, Charles Hand borrowed the photos and claimed that the photograph was definitely of Williamson, that it was taken by Williamson's wife, Elizabeth, and that following her death an emotional Williamson stored the photos in a secret chamber under one of the floors of his house.

However, any photo of Williamson obviously needed to be taken before 1840, the year he died. Pre-1840, photography was a novelty practised by pioneers such as Daguerre, Fox Talbot and Bayard who considered the new invention to be a discovery of nature’s capacity to record itself. Therefore, most early photographs were of carefully composed natural scenes - trees, cottages in the countryside and so on. The very first photographs called for exposure times of 30 minutes or more and so were very inconvenient for portrait sitters. It was only in the early 1840s that portraits became more common and even then, they tended to be only of the most eminent citizens. Hand addresses this issue in his writings but his counter-defence, to maintain his claim that the photo is of Williamson, is very weak

As for the appearance of the sitter in this photograph, a friend at the costume department at Manchester University examined the image and told us that the pipe and coat are both correct for the 1830s, but that the hat would normally have been worn by a labourer and not a rich man. Also, we learned that a gentleman of the time would have worn knee-height boots with breeches, rather than the short, roughly-laced boots in the photograph. The attire is clearly not a gentleman’s but then Williamson is reported to have dressed quite scruffily, certainly not as well as he could have afforded to, so we cannot dismiss the Williamson connection on this factor alone.

Perhaps the most telling technique is to look closely at the faces in the known or reputed pictures of Williamson. If the facial close-up above is compared with the equivalent view from the 'half-seas over' portrait, they appear not to show the same man. The colour painting shows an owlish face with a rather pinched mouth with thin upper lip and wide eyes. The subject above has eyes which are narrower and closer together; the lips are thicker and the chin shorter.

As ever, it is difficult to prove one way or the other, but we are unconvinced that the photo is of Williamson. However, it does portray an image which suits the written descriptions of a large, portly man who often dressed scruffily and, as such, will probably always be associated with him.