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Ever come across Edward Scott? He is listed in the 1861 census as one of the (many) servants in the Hawardens’ London household. His role is listed as “Photographic Attendant.” His age is given as 19 and his birthplace as Ireland.

Any idea who he was? I assume that he would have gone to work (and live) with Hawarden on the recommendation of an associate in the Photographic Society. Perhaps he went on to work in a studio after her death in early 1865.

Another point: I wonder how many amateur photographers had “photographic attendants” on household staff? 

Thoughts, info, comments all welcome!

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12201068099?profile=originalGlass plate negatives are found in many collections in museums, libraries and archives. This half day event is aimed at heritage professionals or anyone with responsibility for these collections, who are looking to undertake projects with these materials for the first time. The event will offer introductions into the history of the format, its care and conservation, and will present case studies which demonstrate approaches to digitisation, cataloguing, outreach and interpretation. As such It will also be accessible and open to students and other practitioners.

The event runs is on Thurs 17 May 2018 from 14.00 to 17.30 approx. It will followed by networking event from 17.30-18.30.

Doors open at 13:50. 
Coffee & tea will be provided.

The Main Lecture Theatre (A)
London College of Communication
Elephant & Castle
London SE1 6SB

This Free event is a collaboration between The UAL Photography and the Archive Research Centre (PARC), The Past on Glass Project at Sutton Archives, The Edward Reeves Archive Project and The Photographic Collections Network. 

Details of the Symposium and how to apply for tickets (Free) can be found here: 

https://www.photocollections.org.uk/events/reflections-glass-plate-photography-and-archive-centre-symposium

Many thanks,

Kath Shawcross, Past on Glass Digitisation Project12201068876?profile=original

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12201067473?profile=originalBeaford Arts has secured funding from the Heritage Lottery Fund to carry out a major conservation and digitisation exercise that will curate and publish online around 10,000 unseen images that together illustrate the late 20th Century social history of rural north Devon. It is seeking a freelance curator for the project.

The Curator will take overall responsibility for the successful development and delivery of a major exhibition in the Burton at Bideford during May and June 2019. S/he will oversee the selection, interpretation and display of a varied body of project content including but not limited to: black and white photographs from the James Ravilious and Roger Deakins collections, at least 80 Oral History recordings, film of various strands of project activity, a wealth of multimedia responses from children at 6 primary schools, the work of 6 artists in residence, responses from the project journals of around 25 volunteers, memories recorded at 20 reminiscence workshops in north Devon, and digital contributions made via our online archive www.beaford.org

Find out more and apply here: http://www.beaford-arts.org.uk/index.php?id=31&tx_ttnews%5Btt_news%5D=728&cHash=29d5cb456af09554d10b8bb54d87a245

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12201071482?profile=originalThe Martin Parr Foundation was formed in 2014. The aim of the Foundation is to support and promote photography from the British Isles and with this it:: 

  • Preserves the archive and legacy of Martin Parr, one of the most significant documentary photographers of post war Britain
  • Holds a growing collection of works by selected British and Irish photographers as well as images taken in the British Isles by international photographers.
  • Houses an expanding library of British and Irish photographic books.

The Foundation comprises a studio, gallery, library and archive centre. The gallery shows work related to British photography as well as images by Martin Parr and is open to the public on a regular basis. There is a facility to book group visits and individual research sessions. There is a programme of public talks, educational events, book signings, and seminars, all related to photography in a wider sense.

The Head of Membership and Fundraising will have three key responsibilities

  • to establish and promote a membership scheme.
  • to fundraise for projects including, but not limited to, photographic commissions, publishing, archiving and expanding the collection
  • to oversee visits to view the collections.

Candidates must be able to work from the Martin Parr Foundation in Bristol and also be available to work some additional evenings and weekends as necessary.

Please email a cover letter and CV to jenni@martinparrfoundation.org

Closing date: 27 April 2018

See: https://www.martinparrfoundation.org/jobs/

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12201080259?profile=originalThe first London exhibition devoted to the Scottish photographer John Thomson (1837-1921) and his photography in Asia will be shown from 12 April-22 June 2018 at the Brunei Gallery, SOAS. Thomson’s photography of China, Siam (Thailand) and Cambodia was widely praised by his peers and continues to enthuse new audiences today. The images are from newly discovered negatives held at the Wellcome Library, London.

John Thomson (1837–1921) was a Scottish photographer and writer who set off for Asia in 1862. Over the next ten years he undertook numerous journeys photographing countries including Siam, Cambodia and various provinces of China. Photographs from these journeys form one of the most extensive records of any region taken in the nineteenth century. The range, depth and aesthetic quality of John Thomson’s vision mark him out as one of the most important travel photographers.

12201080498?profile=originalDr Michael Pritchard, Chief Executive of The Royal Photographic Society and photo-historian commented: “John Thomson is a key figure in nineteenth-century travel and documentary photography and this exhibition, which is long overdue, finally gives proper recognition to his career and stunning imagery

Thomson travelled East as a professional photographer only two decades after the invention of photography. Working with the wet collodion process he travelled with cumbersome crates, glass negatives, a portable dark room, as well as highly flammable and poisonous chemicals. It took sheer perseverance and energy, through difficult terrain, to document regions where previously unseen by westerners. It is particularly remarkable that Thomson was able to make photographs of such beauty and sensitivity.

Thomson developed a method to photograph in tropical conditions which he subsequently taught to generations of young travel photographers at the Royal Geographical Society. During an era when his contemporaries were taking portraits in which their subjects looked stilted and wooden, Thomson captured the individuality and humanity of the diverse people of Asia, whether royalty or street vendor.

In Siam, Thomson was able to photograph King Mongkut Rama IV, his royal family and entourage, together with royal ceremonies such as the tonsurate ceremony and the presentation of the Lenten robes. Thomson’s panoramic views of the Chao Phraya River, temples and monks, dancers and musicians, are a unique historical treasure. In Cambodia, Thomson was the first photographer to visit Angkor Wat to record, what is now, one of the most important sites of ancient architecture in the world.

12201080891?profile=originalBetween 1868 and 1872, Thomson made extensive trips to Beijing, Fujian and Guangdong travelling down both the Yangtse and the Min Rivers. In China, Thomson captured a wide variety of subjects from landscapes to people, architecture, domestic and street scenes. As a foreigner, Thomson’s ability to gain access to photograph women was particularly remarkable.

Whether photographing the rich and famous or people in the streets going about their business, Thomson’s desire was to present a faithful account of the people of Asia. This body of work established him as a pioneer of photojournalism and one of the most influential photographers of his time.

His collection of 700 glass plates travelled back with Thomson to Britain in 1872 and since 1921 has been housed and expertly preserved at the Wellcome Library, London. These 150 year old glass negatives are in excellent condition allowing this exhibition to showcase very large, in some cases life-size, prints.

Exhibition 

13 April-23 June 2018
Brunei Gallery, SOAS, University of London, Thornhaugh Street, Russell Square London WC1H 0XG
Admission Free
www.JohnThomsonExhibition.org
Facebook: www.facebook.com/johnthomsonlens
Twitter: @johnthomsonlens
Blog: www.johnthomsonexhibition.org/blog

Blog: www.johnthomsonexhibition.org/blog

About the Exhibition Co-curators
Betty Yao MBE - She discovered the John Thomson glass negatives at the Wellcome Library and embarked upon a world-wide exhibition tour. She has decades of experience promoting the appreciation and understanding Asian culture. Previous posts include Programme Director of Asia House and COO of Phoenix CNE satellite and cable television channel.

Narisa Chakrabongse is Founder and CEO of River Books and Founder of Bangkok Edge, a contemporary cultural festival in Bangkok.

Images (from top): John Thomson, Siamese Youth, Manchu Bride, Chiropodist 

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12201078472?profile=originalThe Martin Parr Foundation is presenting a programme of events, over the course of two days, celebrating and exploring British photography from the 1970s. The world premier of Do Not Bend: The Photographic Life of Bill Jay, produced and directed by Grant Scott and Tim Pellatt will take place on the 20th and on the 21st a seminar will look at British photography in the 1970s and will include John Myers, Marketa Luscacova in conversation with Ken Grant, Peter Mitchell, Sirkka-Liisa Konttinen and David Hurn in conversation with Martin Parr.

British Photography from the 1970S
Film Premiere & Seminar Day
Martin Parr Foundation, Bristol, UK
20 Apr to 21 Apr 2018
Further details and limited tickets available here: https://www.martinparrfoundation.org/events/british-photography-from-the-1970s/

There will be further screenings of the film, including London, see: http://www.donotbendfilm.com/

Image: Mr. Jackson, 1974 © John Myers

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Job: Archive Manager, Autograph ABP

12201074065?profile=originalAutograph is looking for a Full Time Archive Manager to help it undertake a programme of work to catalogue and care for its unique photographic collection as well as assess the potential to achieve accreditation.

The archive contains digital and analogue assets dating from the 1860s to current day and includes work commissioned by us from significant contemporary artists and photographers. We are looking for someone with strong technical and practical project management experience of managing and caring for  culturally significant archive assets.

Autograph ABP is highly committed to achieving an inclusive workforce to carry forward our mission to address human rights social justice, identity and representation through photography. 

Deadline for applications: Friday 4 May 2018 by 5pm. Download the job pack and application form at autograph-abp.co.uk/news/vacancy-archive-manager

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12201078657?profile=originalCambrdige University Special Collections has six textbooks published between 1910 and 1914. In October 1907 it hired the British artist Alfred Hugh Fisher to journey around the British empire on behalf of the Colonial Office Visual Instruction Committee (COVIC). He was hired to take photographs and make paintings in order to create a visual record of the people, landscapes and geography of the vast empire. From these images COVIC produced a series of illustrated lantern slide lectures and textbooks which were to be presented as geography lessons to schoolchildren.

The textbooks were accompanied by sets of lantern slides (no less than 350 per book) and the university would like to locate sets of the original slides.

Read more here: https://specialcollections-blog.lib.cam.ac.uk/?p=16032#comment-33577

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12201072892?profile=originalThe final resting place of the photographer John Thomson (1837-1921) who photographed in China and Asia in the 1860s and 1870s has been recently located and is the subject of a project to restore it. Located in Streatham cemetery, south London, the badly eroded headstone has fallen over and is lying flat on the ground with the inscription barely legible.

Scottish photographer, John Thomson, was one of the first to extensively document the Far East between 1862-1872.  He photographed in China, Thailand and Cambodia, publishing his images in a series of books. In association with Adolphe Smith, he produced the seminal book Street Life in London (1876-77), a visual and written survey of the people of London.

Thomson was a member of the Photographic Society (later the Royal Photographic Society) from 1879, and a Fellow of the Royal Geographical Society, where he instructed many of the great Victorian explorers and expeditions in photography.

His photographs provide a rich and lasting visual record of the Far East and closer to home. It is fitting that his grave is restore to renew memorial to a remarkable man and his work.

A new exhibition of Thomson's photography China and Siam Through the Lens of John Thomson has opened at the Brunei Gallery, SOAS, London and is on view until 23 June 2018. 

Please donate to renovate John Thomson’s grave: www.justgiving.com/crowdfunding/johnthomsongravestone

Image courtesy of Terry Bennett. 

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Returning the 1888 Chapman camera to use

12201069085?profile=originalRestoration has been kept to the minimum needed to make the camera light-proof and usable: all the interventions are reversible. Rather than fit new bellows, leaks have been repaired with removable strips of gaffer tape (inside the bellows) and splits in the dark slides have been repaired with wax fillers.

Originally, the camera had no shutter: the exposure was made by removing and then replacing the lens cap. A Packard shutter has been made to fit in front of the lens (in a mounting attached by three nylon screws each time the camera is set up and removed after use). The Packard shutter, invented toward the end of the nineteenth century, operated by a rubber bulb that allows the photographer to judge time exposures down to about 1/10 second, with a pin setting for 1/25 second.

An antique wooden surveyor’s tripod has been converted to take the camera, with a 300 mm diameter oak table to support the camera’s baseboard. The female thread on the baseboard’s brass bush does not conform to any known standard but the diameter and pitch are within the tolerances of a modern M8 metric bolt.

After carrying out camera tests with paper negatives, we have adopted an Agfa CP-G green-light-sensitive X-ray film, rated at 64 ASA following strip tests to determine first tone above film base and fog. We have chosen this film because it is economically available in large sheets; it can be loaded and processed under red safelight; and the spectral sensitivity gives very interesting results. It is worth noting that nineteenth-century photographic emulsions were insensitive to red light. 

Like all ultra large format medical X-ray film, Agfa CP-G has a layer of emulsion on both sides of the carrier, which makes it tricky to develop without an industrial installation. We have however evolved a dish development process, using a highly diluted Rodinal developer, that gives good results.

Processed negatives are scanned to make 16-bit B&W digital master files at a resolution suitable for printing at up to four diameters enlargement. The master files are adjusted, corrected and spotted in Lightroom and Photoshop before prints are made on Hahnemühle Matt Fine Art Photo Rag, 308 gsm, using Epson UltraChrome HD archival pigment inks.

12201069889?profile=original

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As part of my research on the photographer Adolf Morath I came across the (German born?) photographer Charlotte Marx who was his assistant during the 1950s and 1960s. According to the archival files she joined the Royal Photographic Society in 1963 and gained her Associate the same year.

Apart from this, I have pratically no information on her life, her education and her work as a photographer. I am thankful for any information on Charlotte Marx or any assistants who worked with Adolf Morath.

Thank you!

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12201065694?profile=originalA major new digitisation programme announced by Royal Collection Trust will transform understanding of Prince Albert's role in national life and his profound influence on Victorian society. The Prince Albert Digitisation Project is supported by Sir Hugh and Lady Stevenson in honour of the late Dame Anne Griffiths DCVO, former Librarian and Archivist to His Royal Highness The Duke of Edinburgh, and by the Royal Commission for the Exhibition of 1851. 

The Prince Albert Digitisation Project will include the significant body of early photography collected and commissioned by Prince Albert, more than 10,000 photographs dating from 1842-1861. 

Both Prince Albert and Queen Victoria were enthusiastic supporters of the new medium of photography and in 1853 became patrons of the recently established Photographic Society. For Albert photography perfectly combined his love of art, science and technology.  He regularly attended Photographic Society meetings, supported the Society's research, visited exhibitions and purchased works. 

His collection is diverse and extensive, containing examples by many pioneering 19th-century photographers, including Roger Fenton, Oscar Gustav Rejlander, Dr Hugh Welch Diamond, George Washington Wilson and Charles Thurston Thompson. Fittingly the earliest photographs in the Royal Collection are of Prince Albert, including the daguerreotype of 1842 by William Constable, the earliest surviving photograph of a member of the royal family. From the early 1850s, Albert commissioned photographs to document life in the royal household, family gatherings and visits from important guests. These include by Dr Ernst Becker, the Prince’s librarian and private secretary, who introduced darkrooms at Windsor Castle and Buckingham Palace, and became an accomplished photographer. The Prince also collected photography to record national and international events, such as The Chartist Meeting on Kennington Common by William Kilburn, 1848 and The Royal and Imperial Visit to the Crystal Palace by Negretti & Zambra, 1855.

Prince Albert also recognised the power of photography as an educational tool.  In 1853 he commissioned the Raphael Collection, a study collection of over 5,000 prints and photographs of almost every work then regarded as being by or after the Renaissance master.  The images were mounted on large folio sheets, placed in 49 portfolios and housed in a custom-made cabinet in the Print Room at Windsor Castle, where they remain today as an early example of an art-historical illustrative survey.

The announcement of the project can be read on the Royal Collection Trust’s website and further news will be shared with BPH in due course.

Image Caption: Prince Albert by William Kilburn, 1848, hand-coloured daguerreotype

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12201079462?profile=originalThe Katz International Photography Award (KIPA) is an independent and privately funded non-profit initiative. It was conceived and created in 2018 by Ms. Atalia Katz representing the Katz Family (Israel) whose many of its members engage in creative activity.

Ms. Katz is an active and prolific photographer. Most of her work focuses on social and humanistic causes. Her social involvement inspired her to envision the creation of the KIPA award. She is motivated by her commitment to the medium of photography and the recognition that images are the most effective means of conveying strong and convincing messages that would cultivate a better understanding of our societies towards improving the condition of humankind.

The mission and objective of the Katz International Photography Award (KIPA) is to support creative photography and encourage photographers in the advancement of their career. The award is intended for artists in the field of creative photography who demonstrate professional accomplishment and serious artistic commitment and​ seeks to stimulate creative inquiry and to encourage innovative modes of thinking and imaging.

As an international commitment KIPA is open to promising photographers or artists using photography, regardless of nationality, religion or gender. A jury of five internationally recognized experts in the fields of art and photography will evaluate the submissions and elect the winner.

The winner will be awarded a prize of $ 10,000 either for a completed project or preferably towards the completion of an ongoing endeavor. The prize can be used towards financing expenses that will help in the completion of the project or towards an exhibition or a publication. In addition, the winner will beneficiate from curatorial advice and assistance for a period of twelve months by Dr. Nissan N. Perez. The second runner-up will receive curatorial advice for six months and the third will one for three months.

The Award is administered by Ms. Atalia Katz, founder and permanent president, Dr. Nissan N. Perez, and in collaboration with PHOTO IS:RAEL (The International Photography Festival). For additional information, details, timeline and applications please visit the award’s website at: www.katzphotoaward.org

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12201076083?profile=originalThis portrait (below) shows Captain Alexander Leslie-Melville (1831-57), known as Lord Balgonie. He was the eldest son of the 8th Earl of Leven, a Scottish peer. Lord Balgonie served in the Grenadier Guards during the war, and died only a couple of years after returning to Britain. At the time, his death was attributed to the hardships of the war. Fenton has photographed him standing in front of a sheet, which serves as a make-shift studio and he looks unkempt and shaken, as if he has recently stepped off the battlefield. In recent years, this photograph has been described as the first photographic portrait of shell-shock. From the collection of the Prince of Wales, later King Edward VII.

Fenton's photographs are most successful when he has a personal connection to the subject matter, whether it be portrait or landscape. In other words, when he is not constructing or documenting as representation, but attempting to capture the spirit of person/place.

In portraiture, this personal connection can be seen in the photographs, 'Lord Balgonie' (1855), 'Fitzroy James Henry Somerset, Baron Raglan' (1788-1855) (4 Jun 1855), 'Omar Pacha' (1806-1871) (1855) and 'General James Bucknall Estcourt' (1802-1855) (1855), a man deep in thought or, perhaps, melancholy. These are psychological portraits that attempt to get under the skin of the sitter, not mere representations for use as a template for painting. ...

Roger Fenton (1819-69) 'Lord Balgonie' 1855

Roger Fenton (1819-69)
Lord Balgonie
1855
Albumen print
17.7 x 11.7 cm (image)
Royal Collection Trust / © Her Majesty Queen Elizabeth II 2017 RCIN 2500273

...

With regard to his landscapes of the Crimea the same feelings can be observed. One is the representational urge, the other the artistic. The first problem is the barrenness of the landscape and what to do with the inevitable horizon line. When photographing people in the landscape Fenton makes use of low depth of field either pulling the figures towards the front of the image ('Sir John Miller Adye (1819-1900)' 1855, and 'General Scarlett and Colonel Low Apr 1855') or the mid-distance (such as 'Captain and Mrs Duberly Apr 1855' and 'Colonel Doherty and the Officers of the 13th Light Dragoons 1855') whilst allowing the horizon line to float in the distance, either placed through the figures or floating above them. This low depth of field allows the horizon line to soften and the solid space around the figures to become ambiguous and fluid. It also allows the light in this vast expanse of country to do its duty, to illuminate the isolation of these figures "in the field." A similar technique was used by Edward S. Curtis when photographing the Native American Indians against the vastness of country - low depth of field, letting the light and composition do the work as subject is located - or vanishes - into the landscape. ...

Taken a mere 15 years after the birth year of practical photography, Fenton's "subtle and poetic interpretations" still resonate today. That he captured such acclaimed images using a heavy land camera, the photographs taken sometimes under fire, the glass plates prepared and developed in a 'travelling darkroom' - his horse drawn photographic van - make Fenton's achievement all the more remarkable. The shadow of war that he captured, the presence of the men, women and landscapes of that time and place, are made alive to us today.

Note this:

There is the date a photograph is made, and the date it is viewed. There is something about the different way a photograph exists in time, different from the date a poem is written and the date it is read, different from the date a painting is finished and the date it is viewed.

And then:

Photographs remind us
of people, passing
They distill an essence
which
in turn
Instills in us
memory of time, place, spirit

Dr Marcus Bunyan

APOLOGIES I GOT THIS COMPLETELY WRONG - THE EXHIBITION STARTS 9 NOVEMBER 2018! AT LEAST IT IS UP THERE...

READ THE FULL REVIEW AND SEE THE IMAGES AT https://wp.me/pn2J2-9Ie

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Resource: Virginia Woolf photo albums

12201076253?profile=originalApologies if this has been posted before. I've just come across Harvard Library's high-resolution scanning of all of Virginia Woolf's photo albums, covering her life during the years 1890 to the late 1940s (continued by Leonard after her death in 1941). Many famous faces here, including her mother Julia Jackson (frequent model for her great aunt Julia Margaret Cameron), father Leslie Stephen (compiler of the first DNB), E.M. Forster, T.S. Eliot, J.M. Keynes, Lytton Strachey, her sister Vanessa Bell and nephews Julian and Quentin Bell, and many others, including a childhood collection of cartes-de-visites. The scans (of the album pages themselves, not cropped to the individual photographs) are of excellent quality, and the interface easy to use. There are six albums, for which the direct links are as follows:

http://nrs.harvard.edu/urn-3:FHCL.HOUGH:4458847
http://nrs.harvard.edu/urn-3:FHCL.HOUGH:4394409
http://nrs.harvard.edu/urn-3:FHCL.HOUGH:4394410
http://nrs.harvard.edu/urn-3:FHCL.HOUGH:4395032
http://nrs.harvard.edu/urn-3:FHCL.HOUGH:4395033
http://nrs.harvard.edu/urn-3:FHCL.HOUGH:4420078

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12200943683?profile=originalThe next Cultures of Photography seminar in conjunction with the Photographic History Research Centre takes place at De Montfort University, Leicester, on 9 April 2018 from 1700-1830. 

In a paper titled: For ‘the interchange of thought and experience among photographers’. The role of the photographic society in British photography Michael Pritchard will discuss some of his recent research looking at the role of the photographic society in nineteenth century Britain.

Cultures of Photography Seminars
Spring Term 2018| 9 April l Clephan Building 2.02b l 5.00-6:30pm
Open to all
@PHRC_DeMontfort
facebook.com/PhotographicResearch

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12201075652?profile=originalFor the past seven years, photographer Tif Hunter has nursed an interest in ‘tintypes’. These are handmade, one-off images which use a 19th century technique, developed in the early days of photography. First invented in the 1850s, tintypes were particularly popular during the Civil War in late 19th century America.

Messums Wiltshire is offering the unique experience of having a tin-type portrait taken by Tif in our 13th century barn. There are only twelve opportunities, across the course of two days for this to happen! Tin-types are original in ways that photographs from the 20th and 21st century simply are not. There are no negatives to print from and no other ways of creating identical multiple images. When Tif creates his beautiful prints he does so through using digital scanning and printing techniques. Tin-types, produced literally on a single tin sheet cannot be modified in anyway. Tif joins a whole host of makers such as the ceramicist and painter Makoto Kagoshima who have created one-off pieces of art in our medieval barn.

A tintype is a photograph with warm monochromatic tones on a thin sheet of metal. Tintypes, (or wetplates as they are also known) involve a cocktail of chemicals and must be prepared moments before the image is taken and developed and fixed immediately after. Each one-off tintype has a beautiful surface of marks and smears resulting from the chemistry involved. The final image is grainless with exquisitely smooth tones.

This photographic experience will be complemented by a pop-up exhibition – Mirror Mirror – Tif’s original tin-types and prints in the Long Gallery spanning the genres of still life and portraiture. This will be the prologue for our larger Image show on from 15 September – 21 October 2018 across both of our exhibition spaces. Image is a two-fold exhibition showcasing a diverse range of contemporary and historical photographers, with a focus on portraiture, encompassing Surrealism, fashion, celebrity and visual humour. This show will feature some of the most respected names in the industry such as Peter Beard, Andy Warhol, Man Ray, Mick Rock, Guy Bourdin and Neal Slavin. Upcoming and established women artists featured in our medieval barn will include Anna Fox, Alison Goldfrapp, Polly Penrose, Maisie Cousins and Juno Calypso.

Hunter’s pioneering work with tintype portraiture, combined with 21st century lighting techniques, has led to many commissions including those from The Jerwood Foundation and retailer Toast. Tif has worked for an international range of clients for over twenty years. His commercial work has been featured in Lurzer's Archive 200 Best Ad Photographers Worldwide. Hunter’s clients include British Airways, Sony and The Guardian. His personal work has been exhibited and sold at the Michael Hoppen Gallery. Tif Hunter lives and works in an 1850s saddlery workshop in Bermondsey, London.

Mirror Mirror
Private view & talk 16 May 2018
Portrait Experience 19-20 May 2018
See: https://messumswiltshire.com/mirror-mirror/

Messums Wiltshire

Place Farm, Court St, Tisbury, 
Salisbury, Wiltshire, SP3 6LW

E: info@messumswiltshire.com
T: 01747 445042

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12201071265?profile=originalRochester, NY will draw hundreds of people April 20th-22nd to celebrate the past and present of photography at the RIT Photo History Photo Future Conference. 

The three- day conference includes presentations from academics, individual researchers and hobbyists alike. Topics to be covered range from photogravure, paper and chemicals, education, historical cameras and research projects (full program can be viewed here: https://www.rit.edu/twc/photohistoryconference/program ). The conference will be followed by an antiquarian photography sale on Sunday where conferees will be able to browse and purchase antique photography books, equipment,and ephemera. 

Registration is still open at: https://www.rit.edu/twc/photohistoryconference/register . This conference is sponsored by the Rochester Institute of Technology Library and the RIT Press publishing enterprise.

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DMU secures £500,000 grant from JPICH

12201078658?profile=originalDr Gil Pasternak of De Montfort University Leicester (DMU) has secured a grant of over £500,000 for a project DigiCONFLICT exploring the role of digital media in defining cultural heritage. Pasternak, Senior Research Fellow in Photographic History, will lead the research consortium consisting of a team of researchers from DMU, the Institute of Art of the Polish Academy of Sciences and Linköping University in Sweden.

The grant was awarded by the Joint Programming Initiative on Cultural Heritage (JPICH), which is part of the European Commission, and fits with the European Union’s Year of Cultural Heritage taking place during 2018.

The project will run between 2018 and 2021 to explore how national and ethnic communities around the world have used digital heritage to define and preserve their cultural assets and sense of morality.

With their research mainly considering case studies from Sweden, Israel and Poland, the three partner institutions will focus on oral history, multimedia museums and photography as the most commonly used media employed in digital heritage.

12200977088?profile=originalThey will also commission other scholars, curators, archivists, digitisation officers and librarians from around the world to write related essays to give the project a bigger spread of data. “We will be looking into the realities that have been established around digitisation and digitalisation practices,” Dr Pasternak explained. “Digital heritage has largely become a lynchpin of educational and ideological efforts. As such it allows us to explore how established nations, culturally diverse societies and ethnic minorities transform around its making and dissemination.

“We will be looking at what happens to historical narratives, moral values and national and personal identities when politicians, policymakers, third-sector professionals and community members come together to turn tangible and intangible cultural products into digital data.

Originally from Israel, now British, and of Jewish and Polish heritage, Dr Pasternak feels the subject matter of the project is of significance to individuals and societies alike. But he also believes that the current global interest in the impact of politics on national and personal identities makes this the perfect time to embark on this project.

He said: “At the moment we are living in a time when it is plainly visible how culture and cultural differences have become key political benefits as well as challenges in many countries. We will be looking into the way that majority and minority communities turn to digital heritage in order to claim and reshape spaces, histories and various social rights. Digital heritage is a medium that confronts the past and the present with each other, so our research will have both historical and contemporary value.

Background

DigiCONFLICT will explore the impact of digital heritage on contemporary engagements with the past in specific national frameworks in Poland, Sweden and Israel. Focusing on oral history, photography and multimedia museums as some of the most common media used to digitalize cultural heritage, the project responds to the Call’s ‘Critical Engagements with Digital Heritage’ trajectory, endeavoring to challenge widespread claims about the universality and democratizing abilities of digital heritage. Even though digital heritage maintains the potential to increase cohesion across nations and social groups, it is equally used to cement elite power structures, define what counts as cultural heritage, and determine whose cultural heritage is worthy of preservation. While acknowledging the role digital heritage plays in shaping and distributing cultural heritage, the project’s point of departure is that digital heritage cannot be considered in separation from historical, cultural and national contexts.

The project has three main aims:

  1. to explore how national politics affect digital definitions of cultural heritage
  2. to investigate who creates and engages with digital heritage, and how, and
  3. to study how the scope and value of cultural heritage are being negotiated and reformulated in a
    digital context.

The consortium will elaborate innovative research approaches to digital heritage through analysis of policy documents related to the case studies, to understand how specific institutions, governments and communities define, mark, and share cultural heritage. To achieve its aims, the consortium will employ interviews with professionals and members of communities who participate in the digitalization of cultural heritage. It will study what parameters affect the creation of digital heritage products, inquire what is gained and lost when cultural heritage becomes digital, and explore who the main beneficiaries are. Findings will mainly be disseminated via scholarly and mainstream publications, workshops, and a dedicated interactive website. 

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12201067879?profile=originalThe ‘Jubilee’ Collection amassed by one of the first specialist antique photographica dealers and collectors in London, the late Beryl Vosburgh will go under the hammer at Special Auction Services in Newbury on Thursday, 3 May and is expected to realise in excess of £30,000.

The auction comprises items from Jubilee Photographica, Beryl's shop as well as those from her own 40-year collection. It comprises a multitude of fine images, including works by Julia Margaret Cameron, William Fox Talbot – one of the founders of modern photography, Angus McBean and Cecil Beaton, theatrical images, Hattie Jacques’ collection of postcards of Gaiety Girls, Daguerreotypes, ambrotypes, photographic jewellery, stereoscopic images, photograph albums and topographical images from around the world. However, the core is several thousand cartes de visite, which are of huge social interest as precursors to photographic postcards, are expected to be very popular amongst collectors. In a time of formal manners and growing interest in photography, it was in Paris in 1857 that the photographer André Disdéri (see images) promoted the idea of putting a small albumen photographic print on a visiting card and Nadar, also in Paris, soon followed suit (see images). Studios opened in major cities around the world and the exchange of cartes became a craze; soon most towns of any size in wealthier countries housed studios. The collection focuses strongly on the glorious early years up to the mid-1860s, exemplified by the London-based Frenchman Camille Silvy (see images), whose cartes show unrivalled crispness, depth of tone and compositional skill. The majority of the images show individuals sitting or standing – sometimes in discomfort owing to the length of exposure – in studios, but Beryl’s attention means that she collected enchanting family groups, children with toys and dolls, cartes taken outside, views around the world, sitters in British India and other parts of the Empire, as well as circus attractions, famous politicians and royalty.

12201068659?profile=originalOne carte from around 1860 shows the popular comic actor Edward Sothern sporting huge side whiskers as the amiable but foolish aristocrat Lord Dundreary in the British play ‘Our American Cousin’ by Tom Taylor. It was from this that the bushy sideburns were give the name ‘Dundreary whiskers’ and the image reflects the changing times, with Victorians being depicted in a less refined and stuffy way. Another depicts a young man photographed in India with dark hair and a beard who lost an arm, probably in the Indian Mutiny of 1857. Lot estimates range from £50 to £80 upwards, making history affordable.

Hugo Marsh, Director at Special Auction Services says: “This really is a fascinating collection and a real reflection of social history. Beryl made her career out of buying and selling but it was her passion more than a job; she also took very special care sorting her cartes de visite into categories thus indicating her dedication to defining and presenting the past in the best possible way. We have not seen a collection this large since the 1990s and we anticipate the lots being very popular with collectors in the UK as well as worldwide.

The catalogue will be published here shortly

BPH published an obituary of Beryl Vosburgh here

About Beryl Vosburgh

Jubilee Photographica started life as a general antique stall in Camden Passage market in the mid-1960s. Beryl and her best friend Judy Moraes used to fill their toddlers’ pushchairs with antiques and wheel stock from their Islington homes to Camden Passage each week. There was such a high demand for their carefully selected dolls, lace, china, ephemera and photographica that the pushchairs' suspension couldn't take it anymore and they decided to get a permanent shop to sell their wares.

As she confessed she preferred spending time with the camera and photograph collectors to the doll people, so Jubilee focused on selling photographica and soon became an institution. It was one of the very first places in London where you could buy Daguerrotypes, ambrotypes, union cases, cartes de visite, cabinet cards, topographical prints, famous photographers, albums, stereo cards and viewers, old cameras and lenses, photographic jewellery, magic lanterns and slides all under one roof and in some volume. It was the go-to destination for those interested in the history of photography mostly due to Beryl's great eye and knowledge, but also because of her reasonable prices and friendly welcome. Collectors would be waiting outside the shop before it opened and were still there with a pile of images on their laps at closing time. Beryl couldn't help offering discounts to anyone she liked or thought needed encouraging in their collecting.

She was notorious for her own unique categorisation, especially of the cartes in her shop with sections for: "Photographers Who've Changed Addresses", "Nice Hats", "Pretty Crinolines" and even "Why Did They Go To The Photographers?"

A variety of well-known personalities discovered Jubilee and crossed her threshold including Terence Donovan, Derek Jarman, Dustin Hoffman and even Michael Jackson!

Beryl was a regular at every specialist photographica auction and event. Her list of clients grew to become a ‘Who's Who’ of leading lights in the photography world from prominent collectors such as Michael G Wilson and Brian May to institutions such as the Kodak Museum and the National Portrait Gallery.

 As well as being a well-respected dealer and passionate collector, Beryl was an actress and Radio and TV presenter. She trained at RADA in the 1950s where she met Dick Vosburgh (1929-2007), the writer, lyricist, actor and broadcaster. They married in 1953 and had six children. After graduating from RADA Beryl was snapped up by the BBC for their radio series: "The Younger Generation Under 21 Parade" which she starred in for two years gaining celebrity status at the time. She went onto appear in many radio and TV shows including "Mrs Dale's Diaries"; the 1961 film: "A Little Of What She Fancied"; the Associated Rediffusion series "No Hiding Place"; and in the aptly named "Jubilee" gala at the Theatre Royal Drury Lane.

In 1965 she became one of the regular presenters of the popular BBC children's programme Play School.

 Beryl was also a professional photographer. She supported her husband Dick's successful career often assisting him when he had plays on Broadway, on tour and in the West End and looking after the children when Dick was heavily involved in a project. As a result her acting career was often put on hold but photography became something she could do to bridge the gap and she never went anywhere without her camera. Her work primarily focused on London street photography in the early 1970s and she went onto photograph numerous theatrical productions and take headshots and Spotlight pictures of countless leading actors and actresses. She took photos for Millers Antique guides and was a regular at Rencontres d’Arles and Bièvres Internationale.

 Furthering her passion for photography Beryl wrote articles for many magazines on collecting photographica and taking pictures; she was a founding member of the Royal Photographic Society Historical Group and the Magic Lantern Society. She often lent items from her own collection to be reproduced in books relating to the history of photography.

 In the 1980s she acquired the late Hattie Jacques' collection of Grandpas' Lovelies and regularly gave lectures on these Edwardian music hall beauties (such as Zena and Phyllis Dare, Marie Studholme and Gladys Cooper). She also lectured on other specialisms including Islington photographers, interesting backs of cartes and rare magic lantern slides. She travelled the World buying and selling images and regularly had stalls at photo fairs in London, France and New York. She had a huge amount of like-minded friends in far flung places who often wrote to her asking her to look out for their specialist subject matters.

Jubilee finally closed in 2002 after over 30 years of trading when rising rents and business rates made it hard to make a profit and Beryl felt the need to slow down. Testament to the relationships forged over the years she sent out a note to clients and friends saying: "Beryl is retiring from Jubilee Photographica on 23rd March 2002. There will be sherry and crisps and Kleenex available. Goodbye and I love you all!"

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