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Help needed - cottingley fairy photos

Hi everyone,
I was directed to this group to see if anyone might be able to help or guide me.
My late father was a keen follower of the Cottingley Fairies story, and among his things, I have found four glass plate photographs. While my father certainly had the means to purchase original plates, I honestly do not know if these are genuine period pieces or if he created them himself as a project.
I am looking for advice on how to go about getting them authenticated and appraised. Does anyone here have experience with historic photographic plates, or could you recommend a specialist, museum, or auction house I should contact?
Any guidance would be greatly appreciated!
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In celebration of International Women’s Day 2027,  we invite scholars, practitioners, and enthusiasts to submit abstracts for participation as speakers, or panelists in a free, online, global, 24-hour online, free symposium dedicated to celebrating the contributions of women to the medium of photography from photography’s announcement in 1839 to contemporary practitioners in 2024. This unique event aims to highlight the diverse and impactful work of women and female-identifying photographers, and those working with photography, across all cultures and time zones.

We seek 18-minute papers and/or proposed 45-60-minute panel discussions that explore a broad range of topics related to women’s contributions to photography. These may include but are not limited to:

  • Historical and contemporary profiles of influential and under-appreciated women photographers.
  • The impact of gender on photographic practice and representation.
  • The role of women in shaping the photographic medium or its exhibition.
  • Cross-cultural perspectives on women’s contributions to photography.
  • Challenges and achievements of women photographers in various global contexts.
  • Where does the project of increasing visibility stand now, and where should it go next?

Our goal is to foster a rich, international dialogue that underscores the significant yet often overlooked achievements of women in the field and discusses/plans the next steps to achieving a greater presence for them. Presentations will be pre-recorded to ensure uniform sound quality and to free speakers to respond to questions during their talks/panels. The conference follows on previous editions in 2025 and 2026, which offered a truly global exchange of ideas.

To participate:
Please submit a 300-word abstract outlining your proposed paper by 15 October 2026.
Abstracts should be submitted to Google Forms here: https://forms.gle/EfLxvb7kTaP9XmYa8. The submission form will ask for the name for all speakers, affiliation/s (if applicable), time zone of anticipated residence on International Women’s Day, and a brief (150-word) biography. Selected papers will be notified by 1 November 2026, and detailed guidelines for presentations/recordings will be provided.

We encourage contributions from diverse perspectives and regions to create a comprehensive and inclusive representation of women in photography.

Join us in celebrating the vibrant and transformative work of women photographers worldwide!

Convenors: Kris Belden-Adams, PhD, Associate Professor of Art History, Texas A&M University; Dr. Gretchen Gasterland-Gustafsson, Professor, Minneapolis College of Art & Design; Damon Stanek, Lecturer, Minneapolis College of Art & Design

Call For Papers: Women in Photography: A free 24-Hour Online Conference-a-thon Celebrating International Women’s Day, March 6, 2027
Call for papers - closes 15 October 2026
Notification of acceptance - 1 November 2026
Conference-a-thon - 6 March 2027, starting at 12:01 UTC (International Date Line)

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31272121065?profile=RESIZE_400xAntiquarianAuctions is offering a copy of Samuel Palmer Chapman's Stolen Minutes with the Muses, printed for private circulation, in 1877. The book is illustrated with a tipped-in albumen portrait of the author by his son. What makes this book of particular interest, other than the fact only three other copies have been traced, is that Samual Chapman was a professional phootgrapher in Swansea from 1860 and his son, Henry Alfred Chapman, also joined the business.

The book includes a poem titled Photography, an epigram ‘Sent to a Young Lady with my Carte [i.e. cdv], which she had requested to have' and an advertisement in which the author runs down the portrait work of an unnamed photographic rival whilst praising the work of ‘Chapman and Co.’  who ‘felt they well could depend / That merit would meet his reward in the end'. 

31272121255?profile=RESIZE_400xSamuel Palmer CHAPMAN (1809-1895, poet & photographer). Stolen Minutes with the Muses. Poems. [No place, but Swansea, or Bristol?]: ‘Printed for Private Circulation’, 1877. Octavo. Pp. [iii-]iv-xviii; [1-]4-266 + a small format errata slip facing p. [3]. Mounted photographic portrait frontispiece of the author by his son, Henry Alfred Chapman.

Provenance: author’s presentation copy given to a relative (the ‘ghost’ of the inscription on the removed free endpaper can be read [in part] on the back of the frontispiece ‘Presented by the Author to his / ….. Chapman…/ … / … 1877’).

It is estimated at $250-350, with a reserve at $100. 

Details: https://antiquarianauctions.com/bids/stolen-minutes-with-the-muses-poems

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London's V&A Museum has acquired a self-portrait of Maria ‘Mia’ Jackson (1818-1892), née Pattle; 1818–92), one of six sisters of Julia Margaret Cameron. It was purchased from descendants of Julia along with a second ambrotype of a South Asian women. The collodion positive on glass, or ambrotype, is dated to c.1858 and offers the tantalising suggestion that photography amongst the Pattle sisters was not confined only to Julia. As V&A curator Marta Weiss notes the self-portrait 'also invites broader reconsideration of artistic exchange within an exceptionally creative family.' The portrait places the camera centre stage with Mia off to one side, with a male figure next to the camera. All are reflected in an arch-topped dressing table mirror.  

The purchase of Mia's portrait, along with that of the South Asian woman, was funded by the V&A Americas Foundation through the generosity of Michael G. and C. Jane Wilson. 

The portrait and its wider significance is discussed in an article by V&A curator Marta Weiss in the current issue of the Burlington Magazine.

Read more here: Marta Weiss, 'Through the looking glass: a self-portrait by Mia Jackson, Julia Margaret Cameron’s sister', The Burlington Magazine, October 2026, Vol. 168 / No. 1483. Available to read open access.

The photograph is recorded on the V&A's online collection here: https://collections.vam.ac.uk/item/O1810666/self-portrait-by-maria-mia-photograph-maria-jackson/ and the South Asian woman here

Image: Self-portrait, by Mia Jackson. c.1858. Collodion positive on glass, 9.4 by 7.9 cm. Victoria and Albert Museum, London.

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31271775266?profile=RESIZE_400xMeet The Photographers' Gallery team in this eight-week course which looks at what it means to present and explore photography today. How does a public gallery, dedicated to photography and related media, make sure it meets the interests and needs of 21st century audiences? Expect honest presentations and conversations about exhibiting photography, learning programmes, audience development, marketing and, importantly, securing the funds to make it all happen.
 
Behind the Scenes: How The Photographers' Gallery works
28 January 2027 - 25 March 2027, eight sessions of 3 hours 
London: The Photographers' Gallery
Cost: £240 / £220 members & concessions
Book: https://thephotographersgallery.ticketsolve.com/ticketbooth/shows/1173694139/events/428904897
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Photography, from Fox Talbot to the 21st century, is the theme of the first part of Dominic Winter’s auction on Wednesday 7 October.

A highlight is a partially completed photograph album that comes by descent from the family of Mary Ryan. Found begging with her mother at Putney, Julia Margaret Cameron took young Mary into her Freshwater household, where she went on to become one of Cameron’s most photographed muses. The album features three known photographs by Cameron – Annie Philpot (‘my first success’), a portrait of Henry Taylor and a tableau of ‘The May Queen’, featuring Mary Ryan. There are two further photographs attributed to Cameron, the first the face of a young man believed to be Charlie Hay Cameron, the other more speculatively attributed to Cameron, showing Mary Ryan in a gown, (the same one she is seen wearing in the Romeo and Juliet photographs, with her fiancé/husband Sir Henry Cotton in 1867), in an intimate and relaxed pose with another unidentified young woman.

A personal album of Frederick Hollyer provides another sale highpoint. Containing 106 platinum print portraits of notable people of the day, c. 1870s/1890s, the sitters include William Morris, May Morris, Aubrey Beardsley, Edward Burne-Jones, Ellen Terry, Thomas Hardy, George Frederic Watts, Beatrice and Sidney Webb, J. M. Barrie, Walter Crane, Andrew Lang, Jean Sibelius, and many others. The album with Hollyer’s name and addressed stamped to the upper cover comes by descent from the family of his much younger second wife Eleanor Hollyer.

 Other notable photography lots include a rare group of four rare dilute albumen prints of British royalty by Leonida Caldesi, 1857, an assisted self-portrait of Lewis Carroll, 1875, an archive of 120 photographs showing the construction of the Forth Bridge, 1884-1886, and a group of 6 wood-framed dry-plate collodion glass lantern slides by brothers James and Robert Mudd of Manchester, c. 1857-1861. From the 20th century is a group of photographs relating to the Palestine Emergency of 1947, and an album of 101 platinum prints of Moscow and environs, from the early 1900s.

The photography theme continues with the Andrew Farmer North Devon Collection, the largest such collection in private hands. Andrew was a noted collector of North Devon imagery for over 40 years, with a particular interest in Lynton and Lynmouth. Across the 57 lots are tens of thousands of images, comprising photographs, stereoviews, postcards, watercolours, drawings and prints. Prized above all is a rare personal album by early West Country photographer John Wheeley Gough Gutch, containing 25 lightly albumenised salt prints of Lynmouth, from July & August 1856.

The second half of the 288-lot sale comprises postcards, posters, autographs, documents and related paper ephemera.

Digital catalogues in various formats are available on the website www.dominicwinter.co.uk.
Public viewing daily on Monday/Tuesday 5/6 October, 9.30-5.30, and day of sale from 9am; all other times by appointment.
For further information and enquiries please contact Chris Albury chris@dominicwinter.co.uk | 01285 860006
Dominic Winter Auctioneers, Mallard House, Broadway Lane, South Cerney, Cirencester, Gloucestershire GL7 5UQ

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Publication: Source no. 122 / Summer 2026

31269346866?profile=RESIZE_400xThe latest Source magazine has arrived. Of particular note for BPH, John Duncan writes that aerial images of Ireland are to be digitised. The Royal Irish Academy has secured funding to digitise 1567 prints and negatives from Cambridge University's Collection of Aerial Photographs made in Ireland between 1951 and 1973. The full collection will be released and made available by May 2027. 

Elsewhere Richard West interviews the historian Edward Madigan regarding the IWM project to collect material relating to the British experience of the Irish War of Independence. Julia Sauter reports that Photo Museum Ireland has secured full museum accreditation. It is the first institution in Ireland dedicated to comtemporary photography to do so. 

See Source here: https://www.source.ie/index.php

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31269288696?profile=RESIZE_400xLiverpool's Open Eye Gallery is seeking a permanent curator. Open Eye Gallery’s curator will embrace co-authorship as an approach to their practice. We are looking for someone who can work effectively with our arts, academic, community and other partners to create, share and champion photography. 

They will lead our programme of cultural exchange, forming relationships with emerging and established artists and photography sector partners to shape the landscape of photography, and be at the cutting edge of research and discussion. They will also contribute to our partnerships with universities.

This varied, hands-on role provides opportunities to explore and experiment with curation and co-curation models. It also provides the chance to shape the next generation of practitioners, and the role of photography within people’s lives for the years to come. 

2027 is our 50th anniversary, providing our new curator with the opportunity to work with multiple photography sector leaders and key partners in an exciting year for the organisation.

Reporting to the Executive Director, the Curator will hold responsibility for the overall management of the exhibitions programme, including administration and delivery, and the line management of the Programme Assistants. The Curator will also work with technicians to oversee the safe installation of exhibitions, and the correct handling and condition-checking of artworks. Contributing to fundraising, partnership development and budget management, the curator will work closely with other members of the team to ensure the smooth running of the gallery and its programme.

We are looking for an ambitious, creative, energetic team player with the ability to work flexibly and concurrently on various projects. The successful candidate will have a minimum of 3 years’ experience in organising and delivering exhibitions with a proven record of excellence, and an understanding of the needs and perspectives of a diverse range of audiences.

Details and information back here: https://openeye.org.uk/work-with-us-curator/

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Seminars: PHRC Autumn Term / Online, 2026-27

The Photographic History Research Centre, Leicester, is pleased to announce the second year of its Research Seminars in Photographic Cultures and Heritage, a free, online series of talks and discussions exploring photography’s intersections with politics, technology, culture, and heritage. Building on the first year of the series, the seminars continue to explore the rich and evolving field of photographic cultures and heritage, bringing together researchers, practitioners, and third-sector professionals to examine photography as a cultural artefact, historical record, and dynamic form of communication.

With a focus on critical methodologies, material practices, and diverse global perspectives, the series engages with themes including archival ethics, Indigenous and everyday photography, technological change, memory and identity, and the politics of visual representation, dissemination, and perception.

We are pleased to present four talks as part of the Semester One 2026/27 programme:

8 October 2026, 5.30pm – Dr Carolin Görgen (Sorbonne Université / HDEA / Institut Universitaire de France), “The California Camera Club: Collective Visions in the Making of the American West”.

19 November 2026, 5.30pm – Dr Véra Léon (CY Paris University, France), “Feminisms of Paper: Photography and Feminist Movements of the 1970s–80s”.

19 November 2026, 6.30pm – PHRC’s Visiting Scholar Showcase: PhD Candidate Valéria Bláha (Masaryk University in Brno, Czech Republic), “Photographic Archive as Anticipatory System: Making Heritage for Alternative Futures”.

3 December 2026, 5.30pm – Dr Hanin Hannouch (Weltmuseum Wien, Austria), “Housing Privileges: Tassilo Adam’s Autochrome of the Bosscha Residence in Indonesia circa 1920”.

The seminars will be held online via Microsoft Teams and are free of charge.
Details and link for each event to book: https://photographichistory.wordpress.com/2026/09/24/research-seminars-in-photographic-cultures-and-heritage-semester-one-2026-27/

Image credit: Tassilo Adam, Study of a European Residence, ca. 1921, Autochrome, 13 × 18 cm. Weltmuseum Wien © KHM-Museumsverband.

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Display practices have increasingly embraced public engagement and archival afterlives, foregrounding the politics of lived spaces: who gains access, which voices are heard, and why. Participation, spectatorship, screen cultures and mass media have played fluctuating, and at times contradictory, roles in shaping these dynamics. Our digital traces, both intentional and beyond our control, have compelled artists to confront a fractured yet expanding common ground of contemporary discourse.

 

This talk examines the Alkazi Foundation's image-oriented projects, as well as allied curatorial ventures that interrogate the stakes of autonomy and freedom at this moment of catalysing public movements, particularly in relation to the Indian subcontinent. If the constriction of (artistic or any other) voice inevitably precedes future silencing, what cultural mandates do the images we share and circulate carry? What symbolic or social weight must they bear?

Rahaab Allana is Curator and Publisher at the Alkazi Foundation for the Arts, New Delhi, Fellow of the Royal Asiatic Society (UK), and was honorary Research Associate in the Department of Visual Anthropology at University College London. A leading voice in South Asian photography and visual culture, he has curated exhibitions, commissioned publications and delivered talks internationally. Founder of ASAP | art, a pioneering platform for South Asian visual practitioners, Allana has edited critical volumes Unframed (HarperCollins India/Alkazi Foundation, 2023) and Another Lens (Tulika Books/West Heavens, 2024) on lens-based practices and image histories. He was recently awarded Officer of the Order of Arts and Letters by the Government of France.

CREAM Presents Rahaab Allana
The Unpredictable Commons
Autonomy and Exhibitionary Practice | The Alkazi Foundation
Thursday, 8 October, 6–7:30pm

Fyvie Hall, University of Westminster, 309 Regent Street W1B 2HW
Click here to book a place

Image: Rada Akbar, ‘Between Expired Places’, 2025, Installation view from Displacement, Serendipity Arts Festival 2025, Goa. Photograph: Philippe Calia and Sunil Thakkar

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Impressions Gallery, Bradford is recruiting a new new Director to replace Anne McNeill who stepped back from the role after twenty-six years earlier this year. Reporting to the Board of Trustees, the Director will provide strategic and creative leadership for the organisation, working closely with our experienced team and partners to deliver an ambitious programme, strengthen our long-term sustainability and ensure excellence across our work. 

Established in York in 1972 Impressions has championed photography for more than fifty years, commissioning and presenting significant new work, supporting emerging practitioners, highlighting underrepresented voices, and helping bring photography to wider audiences.

We are seeking a leader who values this history while looking to the future, and with a genuine belief in the role photography can play in creating opportunities and positive social change.

As we develop plans for our next home and explore new ways to present photography, support talent, and connect with audiences, the next Director will have a rare opportunity to shape what Impressions becomes in the years ahead.

For more information about the role and how to apply, please download our Recruitment Pack.

The salary for this role is £43,000 to £46,000 p.a., dependent on experience.
Closing date: Thursday 22 October 2026 at 12pm, midday.
First stage interviews will take place online during w/c 2 November 2026.
For candidates taken through to the second stage, in-person interviews will be held in Bradford on Tuesday 17 November 2026.

Image: Faye Hatton / Impressions Gallery

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The launch of the Ethics of Medical Photography Toolkit will take place online on 16 October. The tool designed to support the ethical decision-making of people using historical medical photographs, as broadly understood. At the heart of this toolkit is the idea that engaging with ethical considerations will enrich our scholarship and practice.  

This toolkit is for everyone who encounters historical medical photographs in any capacity, including any researcher or visitor to archives and museums, as well as the wide range of GLAM (Galleries, Libraries, Museums and Archives) professionals who care for and provide access to medical photography collections. 

Join us for an afternoon discussing the toolkit, how to use it, and what's next for The Ethics of Medical Photography Network. The multidisciplinary network brings together historians, ethicists, archivists, heritage scholars, artists, photographers, social scientists, and the public, with the Wellcome Collection as project partner, to generate theoretical and practical resources to research, curate, and disseminate historical medical photographs in an ethical way. To balance the ethical needs of heritage institutions, researchers and the public, this network will move beyond the looking/ not looking dilemma [Moeller, 2009] to ask:

  • how does our understanding of the ethics of medical photography, and of medical photography itself, change when we focus on race, disability, gender, class and age rather than consent, privacy and anonymity?
  • how can we widen access to early medical photographs while respecting the dignity of both historical subjects and present viewers?

This network and the activities it organises have been funded by an AHRC Research Networking Award.

You can join the Network mailing list here and Check out our website 

Please complete this form to register your attendance at this seminar. We will use your email address to send you the seminar's link the day before the seminar.
https://lnkd.in/epFYkkh8

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Congratulations!

Congratulations to Dr Michael Pritchard and British Photography History for its milestone year and significant contribution to our discipline. The numbers (first page) speak for themselves for the hunger felt by the community for solid work and excellent editing (even for those of us who speak a different language). May you continue for a very long time. Iiiii

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31267728058?profile=RESIZE_400xThe next Bloomsbury Photograph Fair will take place on 11 October running alongside the Bloomsbury Book Fair. This fair is always very popular and attracts lots of exhibitors and interest.

Bloomsbury Photograph Fair
Holiday Inn, Coram Street, London, WC1N 1HT
Website here
If you would like to exhibit at the fair get in touch with the organisers to secure your stand as places are limited.
Email: info@etcfairs.com

 

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31267713876?profile=RESIZE_400x31267714276?profile=RESIZE_400xEarly British cameras rarely come to auction these days but Churchill Auctioneers of Thame are to offer a very rare Powell's Binocular stereoscopic camera in its auction on 5 and 6 October 2026.

I was invited to have a look at the cameras (shown in my pictures here). The Powell sterescopic camera was the subject of a registered design of 27 December 1858 which describes the single lens model. The Binocular model probably came along soon afterwards. It was made by Horne & Thornwaite of London. Both models were available for dry collodion (as in this case) or for wet-collodion. The example at auction is lacking lenses, but is otherwise complete with focusing back, four double dark slides, tripod screw, and one supplmentary close (portrait lens). A single lens model from the Cyril Permutt collection was sold in 1988 and a Binouclar model in the late 1970s.

The Churchill auction catalogue is due to go live shortly. 

Both models were illustrated and described in several photographic manuals from c.1860 (below) and in H&T's catalogue (right) from the same year. 

See:  https://churchillauctions.co.uk/auction/october-5th-6th-two-day-sale/

Images: (top and left): Powell cameras to be offered at auction; (right): Horne & Thornthwaite’s catalogue in Robert W Hall’s The Fothergill Dry Process in Photography, London, Piper Stephenson and Spence, 1861; (below): the two models of Powell camera illustrated in W H Thornthwaite's A Guide to Photography, London, Horne & Thornthwaite, 1860. 

 

 

 

31267714488?profile=RESIZE_710x

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31267712498?profile=RESIZE_400xThis talk explores how Black presence has been represented in Korean and Japanese photographic cultures from the mid-twentieth century onward. The Korean War and the Second World War brought large numbers of U.S. military personnel - including Black American soldiers - into both countries. Their arrival shaped not only social interactions on the ground but also the ways Blackness was visually framed and understood in East Asia, particularly in relation to mixed-race children born to Asian mothers and Black GIs.

Photographers in Korea and Japan turned their cameras toward the daily lives of these Black military communities, producing images that intersected with broader shifts in geopolitics and cultural perception. At the same time, international photography competitions that flourished in the 1960s introduced African subjects to East Asian audiences. One striking example is a widely circulated Japanese photography magazine that featured on its cover an arresting portrait of a Mucubal woman from Angola - submitted by a Portuguese amateur photographer. This visual influx unfolded alongside the significant deployment of Black American soldiers to the Vietnam War.

Taken together, these postwar photographic encounters reveal how portrayals of Black culture in Asia were entangled with the legacies of colonialism and the pressures of the Cold War. These forces both enabled and constrained possibilities for Afro-Asian solidarity, leaving a complex visual record that continues to shape contemporary understandings of race, identity, and transnational encounter in the region.

We also invite you to explore the rest of this year’s series which includes exciting research from leading thinkers Anne Strachan Cross & Matthew Fox-Amato, Vindhya Buthpitiya, Leigh Raiford, Zahid R. Chaudhary and Tiffany Fairey. Explore season two, view recordings, and register for all events here.

By/For: Photography & Democracy is a collaborative partnership between three photographic historians, Dr. Tom Allbeson, Dr. Colleen O’Reilly, and Helen Trompeteler. Our collective investigates photography’s assumed democratic credentials as an art form and a medium of mass communication. We believe a historical perspective on the complex relationship between photography and democracy is critical to understanding how the medium and related visual technologies can address the social and political issues of our time.

By/For: Photography & Democracy: War, Movement, and the Camera: Black Lives in Korean and Japanese Photography
Friday, 2 October 2026 at 13.00 (Eastern Time) / 1800 (BST).
Dr Jeehey Kim (Associate Professor of Art History, University of Arizona)
Learn more and register here.

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In August 1976, workers at the Grunwick Film Processing Factories in the London Borough of Brent went on strike due to unfair working conditions. A month later, on the 1st of October 1976, 400 people marched from Cobbold Road to Chapter Road in support of the Grunwick Strike. This mass act of solidarity signalled that the strike was beginning to become a monumental movement in Trade Union and Labour History. The picketing was so significant that by the end of October 1976, the police attempted to limit the picketers to only six at the factory gates.

Join our Special Collections team online as we take a deep dive into the Grunwick Strike archival material held in the Trades Union Congress Library Collections at London Metropolitan University.

The team will each present ONE selected item from the collections and explain their reasons for choosing it. Materials include photographs, posters, press cuttings, and strike bulletins that tell the stories of picketing, police violence, and community solidarity. These primary sources show the united strength of the South Asian and Black workforce, and what it meant to walk out of your job and stand up for your rights in such a visible and dangerous way.

The Grunwick Strike: Solidarity in the Archives
Thursday, 1 October 2026, 1300-1400
Online
See more and register here

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