On Wednesday, 6 March Professor Ute Eskildsen, former Director and Head of Photography at Museum Folkwang, Essen, will explore the documentary aspects of the Krupp archive and trace how certain images were used and distributed. Close inspection of such photographs reveals that they are never simple documents of industrial interests alone.

Drawing on the rich industrial heritage of the Ruhr Valley, with its obvious parallels with the industrialisation of the south Wales valleys, this lecture forms part of a series accompanying a project by Amgueddfa Cymru – National Museum Wales to work on its rich and diverse historic photographic collections – a project made possible through a major gift from the Esmée Fairbairn Foundation.

Ute Eskildsen was until recently Acting Director and Head of Photography at the Museum Folkwang, Essen.See: http://www.goethe.de/kue/bku/kur/kur/ag/esk/enindex.htm

In partnership with the eCPR, at University of Wales Newport, the lecture series will reflect the exciting work that Amgueddfa Cymru is undertaking from 2012 to 2015.

For further partner details visit: www.newport.ac.uk/research/ResearchGroups/ecpr/Pages/eCPR.aspx

www.museumwales.ac.uk

Wednesday, 6 March 2013 at 5.45pm

The event is FREE but booking is essential as places are limited. To reserve your place, please email:
Historic.Photography@museumwales.ac.uk with your name and contact telephone number.

Image: Wheel tyres being moved by hand, Krupp Works Essen, 28. Oct. 1899. Courtesy of Historisches Archiv Krupp, Essen

Dr Anthony H Cooper writes...The British Geological Survey National Archive of Geological Photographs “GeoScenic” is online, but may not be a resource that members have come across. The collection includes over 50,000 photographs dating back to around 1850 with around 30,000 GeoScience images and 20,000 special collection images. They can be searched using subject browsing, or the advanced search that allows date ranges to be specified. There is also a map browser for geographically located images. Many of the geological photographs are records of the landscape and industry dating from the present back to the late 18^th Century.

It can be accessed at:

http://geoscenic.bgs.ac.uk/asset-bank/action/viewHome and images 1000 x 1000px may be downloaded without charge for non-commercial use. 

Of particular interest to British Photographic History are the special collections, many of which have been donated to the Survey and are listed below with the number of photographs in each shown in parentheses. Included among them are the collection of Survey staff photographs includes many notable geologists, amongst them: John Phillips, T.H.Huxley, Sir Robert Impey Muchision, Sir Archibold Geike and Henry Thomas De La Beche. The Leeds Cave Club collection charts early underground exploration while the Teale collection of photographs illustrate the Africa of the 1900-1930’s as encountered by some of the first geologists to survey those parts.

I highlight this collection to the membership and suggest that perhaps a link to the National Archive of Geological Photographs could be added to the quick resources listing.

Special collections:

•                Dr. R. Kidston Carboniferous fossil plants (3618)

•                H.W. Haywood, Leeds Cave Club (633)

•                British Science Association (BAAS) (6936)

•                Vesuvius - historical images (37)

•                Henry Mowbray Cadell archives (532)

•                1936 Royal Society expedition to Montserrat - The A.G. MacGregor archive (338)

•                W.J. Reynolds Collection (181)

•                Museum of Practical Geology, Jermyn Street, London. c1855 -1900. GSM.MG.E.5 (45)

•                Survey staff photographs. Geological Survey and Museum and Royal School of Mines, 1850-1910. IGS1.639 (138)

•                J.V. Stephens Italy collection taken during the Second World War (170)

•                Mount Etna eruption 1892 (9)

•                F.W. Harmer collection, East Anglia (45)

•                George Scott Johnstone collection - Scottish mountains (1893)

•                E.O. Teale photograph collection 1900s-1930s (mostly Africa) (421)

Image: W. Norrie, Ross of Mull (looking through Nun's Cave), 1890

The London Stereoscopic Company has launched the first set of facsimile French Diableries cards…..with more to come.  The scenes depicted in these Diableries were made in clay, on a table-top, with amazing skill, by a small bunch of gifted sculptors, and then photographed with a stereo camera. The resulting stereo pair of prints was made on thin albumen paper, and water-colours were applied - not to the front surface, as in the case of normal stereo cards - but to the back of the prints. The eyes of each skeleton were then pricked out with a sharp instrument, and small pieces of red gel, or blobs of reddened varnish, were applied to the back of the pricked holes. Behind this pair of prints was added a layer of tissue paper, which hid the 'works' to the rear surface of the view. The print and the backing tissue were then mounted together, sandwiched between two cardboard frames - each with twin cut-out 'windows' for the prints, and the whole was glued together to make a French Tissue stereo card.

The cards, called 'Diableries' (which translates roughly as 'Devilments') depict a whole imaginary underworld, populated by devils, satyrs and skeletons which are very much alive and, for the most part, having fun. The cards are works of art in themselves, and are known as FRENCH TISSUES, constructed in a special way to enable them to be viewed (in a stereoscope) illuminated from the front, for a normal 'day' appearance in monochrome, or illuminated from the back, transforming the view into a 'night' scene, in which hidden colours magically appear, and the eyes of the skeletons leap out in red, in a most macabre way!

These facsimile cards, loving restored and created by Brian May – where does he find the time? – are quite magical, even down to the glowing red eyes which glint menacingly in the light.

For further details and how to order the cards and accompanying “Owl” stereoscope, see the London Stereoscopic Company website http://www.londonstereo.com/index.html

The 24th International Congress of History of Science, Technology and Medicine (iCHSTM 2013), to be held in Manchester, UK from Sunday 21 to Sunday 28 July, contains a number of sessions dealing with photography and science within an historical context. Registration is now open. Go to <http://www.ichstm2013.com/registration/> and follow the link to open the registration form. Registration will be available at the early discounted rate until Sunday 14 April, and at a higher rate until Monday 1 July, which is the final deadline.

The first draft listing of of pre-arranged symposia, including individual abstracts for around 1100 papers, is now available and can be seen at http://www.ichstm2013.com/programme/guide/. 

The strand Visual Sciences includes: 

This talk seeks to probe and extend our current understanding of the relation between photography and ubiquity. One of the ways in which we understand this relation is through digitization and debates on new or digital media concerned with the proliferation of photography in public and private life. Another way is through the assimilation, if not of photography then of the photographic, in the discourses and practices of ubiquitous computing. Professor Kember will explore what is at stake in the shift from a sense that photography is everywhere to a sense that the photographic is ‘everyware’ (Greenfield), meaning, ‘ever more pervasive, ever harder to perceive’.

Sarah Kember is Professor of New Technologies of Communication, Goldsmiths, University of London. She works at the intersection of new media and feminist science and technology studies. Professor Kember co-edits the journal photographies and is the author (with Joanna Zylinska), most recently, of Life After New Media. Mediation as a Vital Process, (MIT Press, 2012).

The History of Photography research seminar series aims to be a discursive platform for the discussion and dissemination of current research on photography.  From art as photography and early photographic technology to ethnographic photographs and contemporary photography as art, the seminar welcomes contributions from researchers across the board, whether independent or affiliated with museums, galleries, archives, libraries or higher education, and endeavors to provide scholars with a challenging opportunity to present work in progress and test out new ideas.

The seminars usually take place once a term, on Wednesday evenings at 5.30pm in the Research Forum. The papers, and formal discussion, are followed by informal discussion and refreshments.

Further information here: http://www.courtauld.ac.uk/researchforum/TheCourtauldInstituteofArtHistoryofPhotographyseminar_SarahKember.shtml 

Open to all, free admission 

Charlotte Cotton who was heading the National Media Museum/Science Museum's Media Space project until her sudden departure in 2012 has been lined up to curate Positive View Foundation's second exhibition of 2013 which will be a celebration of 100 years of Vanity Fair magazine. It will be held at Somerset House in November.

http://www.positiveviewfoundation.org.uk/

Our ability to see and record live events from right across the world has shrunk the globe, making virtual neighbours of us all. It is a defining characteristic of our modern world. The final episode in the series reveals the fascinating stories that made such everyday miracles possible. It tells the story of the handful of extraordinary inventions and their inventors who tackled the complexities of chemistry and electronics and discovered how to capture and reproduce still and moving images.

Michael Mosley and academics Prof Mark Miodownik and Dr Cassie Newland tell the amazing story of three of the greatest and most transformative inventions of all time - photography, moving pictures and television.

The experts explain how these inventions came about by sparks of inventive genius and steady incremental improvements hammered out in workshops and studios. They separate myth from reality in the lives of the great inventors and celebrate some of the most remarkable stories in British history.

The programme includes filming at Lacock Abbey and Richard Cynan-Jones who made a calotype of host Michael Mosley. 

Broadcast on 14 February and available on the BBC iPlayer here. 

On October 31 2013 IRPA-KIK organises a conference on management and conservation of photographic collections. Many institutions (museums, libraries, archives, etc.) that have photographic collections are facing problems concerning their management: storage, inventory, digitalization, access, copyright issues, status and value attached to the collection 
etc.

The conference offers professionals who are confronted with these problems an occasion to develop a practical and ethical framework for the conservation of photographic collections.

If you would like to present a paper on one of the diverse topics concerning this theme, you can send your proposal to IRPA-KIK before March 31 2013.

Main colloquium topics

• Collections care and management
  • (Preventive) conservation
  • Risk management
  • Storage for photographic collections
• Access
  • Copyright
  • Digitization
  • Exhibition
• The status of the image
• Advocacy

Language

The principal language of the conference will be English, but papers in French will also be welcome.

More information: see conference website: http://org.kikirpa.be/coma2013/

An important collection of 37 albumen prints by Clemintina Maud, Lady Hawarden, a pair of pencil sketches of her and her husband, and 15 associated albumen prints (several possibly by Lady Hawarden), [c.1857-1864] will be sold at Bonhams on March 19 for an estimated £100,000-150,000.

The sale of this exceptional collection by one of the most important and influential Victorian fine art photographers is a rare event in this market. The images are derived from a single album, the vast majority not represented in the Victoria & Albert Museum's collection.

Born Clementina Elphinstone Fleeming in Dunbartonshire in 1822, she was the third of five children of a British father, Admiral Charles Elphinstone Fleeming (1774-1840), and a Spanish mother, Catalina Paulina Alessandro (1800-1880). In 1845 she married Cornwallis Maude, an Officer in the Life Guards. In 1856 Maude's father, Viscount Hawarden, died and his title, and considerable wealth, passed to Cornwallis.

The surviving photographs suggest that Clementina, now Lady Hawarden, began to take photographs on the Hawarden's Irish estate at Dundrum, Co. Tipperary, from late 1857. Many of these were taken with a stereoscopic camera, and the present collection contains several Dundrum images which are one of the pair that comprise a stereoscopic image.

In 1859 the family also acquired a new London home at 5 Princes Gardens (much of the square survives as built, but No. 5 has gone). From 1862 onwards Lady Hawarden used the entire first floor of the property as a studio, within which she kept a few props, many of which have come to be synonymous with her work: gossamer curtains, a free standing mirror, a small chest of drawers and the iconic 'empire star' wallpaper, as seen in several of these photographs. The superior aspect of the studio can also go some way to account for Hawarden's sophisticated, subtle and pioneering use of natural light in her images.

It was also here that Lady Hawarden focused upon taking photographs of her eldest daughters, Isabella Grace, Clementina, and Florence Elizabeth, whom she would often dress up in costume tableau. The girls were frequently shot - often in romantic and sensual poses - in pairs, or, if alone, with a mirror or with their back to the camera. Hawarden's photographic exploration of identity, otherness, the doppelgänger and female sexuality, as expressed in the vast majority of these photographs, was incredibly progressive when considered in relation to her contemporaries, most notably Julia Margaret Cameron. As Graham Ovenden comments in Clementina Lady Hawarden (1974), "Clementina Hawarden struck out into areas and depicted moods unknown to the art photographers of her age. Her vision of languidly tranquil ladies carefully dressed and posed in a symbolist light is at opposite poles from Mrs Cameron's images...her work...constitutes a unique document within nineteenth-century photography."

She exhibited, and won silver medals, in the 1863 and 1864 exhibitions of the Photographic Society, and was admired by both Oscar Rejlander, and Lewis Carroll who acquired five images which went into the Gernsheim Collection and are now in Texas. In 1865 Lady Hawarden died, and although her loss was regretted in the photographic journals, her work was soon forgotten.

In 1939 her granddaughter presented the V&A with 779 photographs, most of which had been roughly torn from their original albums with significant losses to corners. Proper examination, and appreciation of this gift, was delayed by World War Two, and it was not until the 1980s that detailed appraisal and catalogue of the V&A holdings. This comprises almost the entire body of Hawarden's surviving work apart from the five images now in Texas, and small groups or single images at Bradford, Musée d'Orsay and the Getty. The appearance of the present collection is totally unexpected, and represents a remarkable opportunity to obtain images (most of which appear not to be duplicated elsewhere) by a photographer whose work is otherwise unobtainable.

Like those in the V&A, most of the present images have been removed from an album, but, remarkably, with very little loss: only one image is missing a corner, making this collection all the more exceptional. Some smaller images are arranged on album leaves that are still intact (measuring 322 x 235mm). As distinct from the V&A's holdings, it is presumed that these images have been taken from an album which may have belonged to one of the sitters or their siblings. The most significant group in the present collection are all approximately 198 x 144mm. and tend to depict one figure in the first floor front room at 5 Princes Gardens. Curiously there are no images of this size in the V&A collection, but the presence of close variant images in a smaller format suggests that Lady Hawarden was using two cameras in the same session. The V&A collection has a variant pose of image number 5 (below), but in the smaller format [PH.457:564-1968].

Provenance: Purchased in the 1960s, and believed to have connections to the Saltmarshe family of Saltmarshe (East Riding).

At an event this morning to preview a selection of prints from the National Media Museum Photography Collection Ian Blatchford, Director of the Science Museum, confirmed a change to the previously announced opening exhibition and date for Media Space.

The public opening of Media Space will take place on Saturday, 21 September 2013 and the opening exhibition will be Tony Ray-Jones based on his archive held at the National Media Museum, Bradford. The show is being curated by Greg Hobson of the museum and the Magnum photographer Martin Parr.

Media Space is a joint project between the National Media Museum and the Science Museum. See: BPH passim. 

Michael G Wilson OBE, chair of the Science Museum Foundation, spoke about the development of Media Space over twenty-five years and how London was the ‘last major city to bring photography to the public’. He commented that the addition of ‘the Royal Photographic Society Collection made us a world class photography collection’. Wilson's own important role in realising the original National Media Museum 'London presence', now Media Space, was acknowledged warmly by Blatchford.  

The Media Space space on the third floor of the Science Museum in London is currently in the hands of the contractors as it undergoes refurbishment and works prior to the September opening.

In further National Media Museum news Michael Terwey has been appointed Head of Exhibitions and Collections, an important new role created as part of the museum restructuring. Terwey was previously acting Deputy Director and Head of Public Programme and, between 2010 and 2011, Exhibitions & Displays Manager at the museum. 

Images: Top: Michael G Wilson OBE (left) and Ian Blatchford (right). Lower: the Science Museum reception. © Michael Pritchard

For another view on Media Space from Francis Hodgson see: http://www.photomonitor.co.uk/2013/02/media-space-at-the-science-museum/

Ray Harryhausen is known to most of today’s filmmakers as the man who ‘made the impossible possible’. As the influential pioneer of dimensional stop-motion model animation, he helped to create a unique genre of fantasy films that remain a benchmark and inspiration. We are now seeking an equally imaginative, innovative and creative Collections Manager who will act as an advocate for the Collection and manage its acquisition, particularly during its transfer from private ownership into the public domain.

Working closely with the Head of Collections, Projects the Curator & Archivist of the Harryhausen Collection and the Trustees of the Harryhausen Foundation, you will play a major role in shaping the Collection’s management, interpretation and use. You will research, develop and deliver high quality content for a range of public outputs ,using innovative communication techniques. You will know how to engage and excite different audiences, possess a visitor-focused approach and a commitment to delivering world-class displays and events. You’ll develop solid relationships with experts and stakeholders, film and media professionals, academics and the public to ensure the on-going delivery of ideas and projects which help manage the Collection, and utilise it to its maximum potential, offering life-enhancing experiences to a wide range of visitors.

Of graduate calibre in a media-related subject, you will have strong curatorial skills with a critical awareness of film or a related subject area. You will also have demonstrable working experience of developing exhibitions, websites or events relating to film animation or an associated discipline; collections management expertise including handling and assessing 2D and 3D objects; the ability to catalogue work to the highest professional standards; and relevant research experience.

Part of the Science Museum Group of museums, the National Media Museum aims to engage, inspire and educate through comprehensive collections, innovative education programmes and a powerful yet sensitive approach to contemporary issues. Please note that this role will be based in London where you will be required to work at the home of the Harryhausen Collection’s owners; therefore sensitive interpersonal skills will be essential to your success.

Job Description:

Collections Manager, Ray Harryhausen Collection

National Media Museum, based: London

Salary: £22,970

Application Instructions:

For further information and to apply, please visit: www.sciencemuseum.org.uk/jobs

Closing date: 8th February

Read more about the collection and the museum's role here

Formally established in 2012, the History and Theory of Photography Research Centre is based in Birkbeck’s School of Arts, and is led by Professor Lynda Nead and Dr Patrizia Di Bello, supported by a steering committee. The Centre has links with museums in London, and supports teaching and research on photography in the School through the MA in History of Art with Photographyand MPhil-PhD supervision. The Centre aims to facilitate, exchange and showcase existing and new interdisciplinary research on the History and Theory of Photography at Birkbeck and in the wider photographic and academic community.

The following seminars are happening: 

 'Found Photographs'

A Work-In-Progress Seminar by Dr Stephen Clucas, 

4th of February, 6:00-7:30pm in the Keynes Library, 43 Gordon Square, London WC1H 0PD

Our Reading Group is discussing Vilém Flusser, Towards a Philosophy of Photography (London: Reaktion Books, 2000) 

on the 18th of February, 6.00-7:30pm in Room 112, 43 Gordon Square, London WC1H 0PD

(NB This short book can also be sampled on google-books)

Further dates for your diary:

11th March 2013, 6:00-7:30pm, Keynes Library, Lecture - Louise Purbrick, 'Traces of Nitrate' TBC

18th March 2013, 6:00-7:30pm, Room 112, Reading Group - text to be decided at the February Reading Group

Details of events on: http://www.bbk.ac.uk/arts/our-research/centres/photography

Join our mailing list at photoresearch@bbk.ac.uk

Bearnes are selling an early photograph album (lot 380) in a three-day sale across 29-31 January 2013 dating to the 1850s which includes a rare image of Roger Fenton taken by Eastham of Manchester. The lot is described as: Colonel Edmund Gilling Hallewell’s Photographic Album and is a mixed photographic album of the 1850s and 1860s, elephant folio, lacking front board and some leaves. Lots 381 and 382 are also photograph lots.

The relationship between Hallewell and Fenton is noted in lot 379 http://www.the-saleroom.com/en-gb/auction-catalogues/bearnes-hampton-and-littlewood/catalogue-id-2872698/lot-16615481 and a discussion here on the wider content: http://www.bhandl.co.uk/news/2012/12/10/roger-fenton-photographs-col-edmund-gilling-hallewell-auction.aspx

Notable images in lot 380 include: 

Colonel Hallewell DCMG, Malta, 1863. Portrait in full dress uniform. Titled in pencil below the image. Albumen print, 19.8 x 15.7cm (illustrated page 89).

Sir George Brown and a portion of the Light Division Staff, a nine-man group portrait in civilian attire. (A soldier since 1806, Brown commanded the Light Division throughout the Crimean War). Albumen print, 24 x 29.5cm. (illustrated opposite).

Bolton Abbey, the ruins of the cloister. An untitled large-scale salt print 26.5 x 37.5cm., from a paper negative (illustrated opposite).

Near Bolton Abbey, Yorks. Titled in pencil below the image. Salt print, 18 x 25.5cm.

The Strid, Bolton. Titled in pencil below the image. Salt print, 20.8 x 29cm.

At Bolton Abbey, a woodland scene. Titled in pencil below the image. Salt print, 24 x 19cm.

Gibraltar General view of town. Titled in pencil below the image. 2-plate panorama 20 x 45.5cm., Albumen prints.

At Bolton Abbey, Yorks. Titled in pencil below the image. Salt print, 26 x 36.5cm (illustrated opposite).

Bolton Abbey, Yorks, ruins of the priory. Titled in pencil below the image. Albumen print, 26.5 x 35.5cm. into rounded corners (illustrated opposite).

Road at the back of the Hall, Bolton. Titled in pencil below the image. Albumen print, 29 x 36 cm., into arched corners (illustrated opposite).

The album also contains over 120 other mainly albumen prints, but including a small number of salt prints (including further images of Bolton Abbey and its environs), varying sizes up to 30 x 24cm. Assorted images by amateur and commercial photographers, including Francis Bedford and James Robertson; subject matter being a variety of topographical, portrait and other subjects, (including Robertson: the Crimean war) and various locations in UK, Malta, Gibraltar and the Mediterranean.

In addition, approximately 200 cartes de visite of British and European royalty, family, topographical, army officers various, Crimean war generals, etc., and a rare image of a white- bearded Roger Fenton c.1865. For a variant of this portrait by John Eastham of Manchester see All the Mighty World, The Photographs of Roger Fenton 1852-1860, Yale University Press, 2004, p.30.

Estimate:

£4,000 - £6,000    This lot sold for £9400. 

See: http://www.the-saleroom.com/en-gb/auction-catalogues/bearnes-hampton-and-littlewood/catalogue-id-2872698/lot-16615482?searchitem=true

De Montfort University is seeking applicants for a fixed term maternity cover position, from 6 March 2013 – 5 July 2013 in Photographic History, for teaching on the MA Photographic History and Practice. The candidate will be responsible for teaching on Theory and Photography module and Research Methods in Photographic History as well as providing student support on dissertation writing through May and June. 

The MA Photographic History and Practice is an innovative, high-quality masters' programme with an international cohort. The candidate will be responsible to the Acting Programme Leader of the MA, and will contribute to all aspects of the MA, including grading, supervision, teaching, museum visits and programme management. The candidate will receive support from all members of the Photographic History research Centre (PHRC), and will contribute to PHRC activities like seminars and conferences.

The PHRC is a highly interdisciplinary research centre, with excellent links to national and international universities and cultural industry partners. A successful candidate will demonstrate the ability to work collaboratively as well as individually, promoting the field of photographic history.

De Montfort University, rated as one of the top ten creative universities in the UK, has a growing reputation as a world leader in photographic history. It works with a wide network of major museums, archives and libraries internationally. Its excellent research library in photography and photographic history supports both research and teaching and it hosts a growing number of digital resources for photographic history.

For information about the MA Photographic History and Practice, please contact Dr Kelley Wilder, MA Programme Leader: kwilder@dmu.ac.uk.

http://www.dmu.ac.uk/study/courses/postgraduate-courses/photographic-history-practice/photographic-history-and-practice-ma-pgdip.aspx

De Montfort University Faculty Of Art, Design And Humanities,School of Media and Communication

Full time, Temporary, fixed term maternity cover, 6 March 2013 – 5 July 2013

Grade G: Salary Range £35,244 -£44,607

Please quote reference: 7645

Closing Date: 03 February 2013

Interview Date: 15 February 2013

Along with the annually held Dutch workshops, the Fotorestauratie Atelier VOF is now offering Master Classes in Photograph Conservation taught in English. These workshops are meant for collection managers, registrars, conservators and all others interested in learning more about the identification and preservation of photographs. For a description of each workshop, please contact the FRA at fotorestauratie@me.com 

We will be happy to advise on accommodations and any other questions concerning your visit to Amsterdam to suit your needs.

Identification of 19th Century Photograph Processes

Date:    May 27, 28, 29, 30 & 31

Costs:  725,00 euro incl. Reader and Lunches

Identification of Modern Photograph Processes

Date:    June 3, 4 & 5

Costs:  475,00 euro incl. Reader and Lunches

Identification and preservation of Negatives

Date:     July 4 & 5

Costs:   375,00 euro incl. Reader and Lunches

Master Classes on Photograph Preservation and Salvage

Preservation of Photograph Collections

Date:    July 8, 9, 10, 11  & 12

Costs:  725,00 euro incl. Reader and Lunches

Preservation Issues Surrounding Contemporay Photography

Date:    August 19, 20, 21 & 22

Costs:  625,00 euro incl. Reader and Lunches

Conservation Mounting and Framing of Photographs

Date:    August 26, 27 & 28

Costs:  475,00 euro incl. Reader and Lunches

Salvage of Water-damaged Photographs

Date:    September 9, 10 & 11

Costs:  475,00 euro incl. Reader and Lunches

See: http://www.fotoconservering.nl/text.php?itemId=5133053#item5133053

The Lumière Autochrome. History, Technology and Preservation is a thoroughly illustrated guide to the history and technology of autochromes with a practical guide for storage & preservation. Louis Lumière is perhaps best known for his seminal role in the invention of cinema, but his most important contribution to the history of photography was the autochrome.

Engagingly written and marvelously illustrated with over 300 images book tells the fascinating story of the first industrially produced form of colour photography. Initial chapters present the Lumière family enterprise, set out the challenges posed by early colour photography, and recount the invention, rise, and eventual decline of the autochrome, which for the first four decades of the twentieth century was the most widely used form of commercial colour photography. The book then treats the technology of the autochrome, including the technical challenges of plate fabrication, described in step-by-step detail, and a thorough account of autochrome manufacture. A long final chapter provides in-depth recommendations concerning the preservation of these vulnerable objects, including proper storage and display guidelines. There are also engaging portfolios throughout the book showcasing autochrome photographs from around the world as part of an initiative founded by the French banker Albert Kahn, as well as engrossing testimonials by children of men who worked in the Lumière factories in the early twentieth century. The appendix includes transcriptions and facsimile reproductions from the Lumière notebooks as well as original patent documents.

Bertrand Lavédrine is director of the Centre de recherche sur la conservation des collections (CRCC) in Paris. He is the author of Photographs of the Past: Process and Preservation(Getty Publications, 2009) and A Guide to the Preventive Conservation of Photograph Collections (Getty Publications, 2003). Jean-Paul Gandolfo teaches at the École nationale supérieure Louis-Lumière near Paris.

• Paperback: 380 pages
• Publisher: J. Paul Getty Museum (1 February 2013)
• Language: English
• ISBN-10: 1606061259
• ISBN-13: 978-1606061251

Sotheby's auction of Fine Travel and Plate Books, A private collection includes a copy of Francis Frith's Egypt, Sinai, and Jerusalem: a series of twenty photographic views. London, [c.1858]. The copy is estimated at £100,000-150,000.  The catalogue will be available online at sothebys.com shortly.  

The lot description reads:

57

Frith, Francis. Egypt, Sinai, and Jerusalem: a series of twenty

photographic views... with descriptions by Mrs Poole and Reginald

Stuart Poole. London: James S. Virtue, [c.1858]

Large folio (738 x 530mm.), 20 mounted albumen prints (485 x

390mm., or the reverse), several signed and dated 1858 in the

negative, contemporary dark green half morocco, flat spine, gilt

edges, upper cover lettered in gilt, some scattered spotting, binding

slightly rubbed, some restoration to spine and corners

“The largest book with the biggest, unenlarged prints ever

published.” (Gernsheim). “Few publications in the history of

photography are its equal in either presentation or ambition. The

twenty photographs feature Egyptian subjects, with just a single

view of Jerusalem. Frith’s views of the Pyramids, in particular, are

ground breaking and became the works for which he is now best

known. The photographs are accompanied by texts written by

Sophia Poole and Reginald Stuart Poole (a mother-and-son team),

recognised writers on Egyptian history and customs” (Imagining

Paradise).

References: Gernsheim, Incunabula (London, 1984) 130; Röhricht

p.506; Hilmy I, p.249; Jacobson, K., Odalisques & Arabesques:

Orientalist Photography 1839-1925 (London, 2007, pp.88-89, 232-234);

Parr and Badger, The Photobook (London, 2007, vol.1, p.28); Foster,

Heiting and Stuhlman, Imagining Paradise (NY, 2007, p.63)

£ 100,000-150,000 € 124,000-186,000

Do you have any stereoviews that date from 1914? These are required for a 3D documentary film about the period and we are searching for stereoviews from 1914, either dated by protocols, archives or by scene/people/events on the photography. We are interested in all all scenes and/or subjects as long as they are stereo-photography from 1914.

We are interested in access to scans/photos of materials or access to them at their current location in order to do scans/photos ourselves. Any other form of guidance, interests, links or other clues that may lead to to locating stereo-photography dated as being shot in 1914 are most welcome.

The working title for the documentary is “1914” and relates to the Genesis of Modern Man’s Mind, being an adaptation of parts of Robert Musil’s “Man Without Qualities” with stereograms from 1914 and present day 3D film sequences.

Contact: Pelle Folmer

Telephone: +45 4085 6052

E-mail: pelle@coordinates.dk

Postal Adress: Magic Hour Films

Att. Pelle Folmer

Baldersgade 6
2200 Copenhagen N.
Denmark