Blogs

The Ransom Center has appointed Jessica S. McDonald, a curator of photography at the San Francisco Museum of Modern Art, as its new chief curator of photography. McDonald begins her position at the Ransom Center in September.

As the Nancy Inman and Marlene Nathan Meyerson Curator of Photography, McDonald will oversee a collection that spans from the world’s earliest-known photograph to prints from some of the great masters of the twenty-first century. The Center’s photography holdings include the Helmut and Alison Gernsheim collection, a seminal collection of the history of photography and one of the world’s premier sources for the study and appreciation of photography.

In addition to the history of photography, the Ransom Center’s photography collection focuses on photojournalism and documentary photography, with holdings of more than 5 million prints and negatives, supplemented by books, manuscripts, journals, and memorabilia of photographers.

“McDonald’s broad experiences —  from teaching to curatorial — confirmed that she can lead our photography department, build the collection, support research, and plan exhibitions,” said Ransom Center Director Thomas F. Staley. “The possibilities under her guidance are exciting.”

McDonald’s professional experience includes affiliations with the San Francisco Museum of Modern Art, the Visual Studies Workshop and George Eastman House International Museum of Photography and Film. In 2011, McDonald received an Ansel Adams Research Fellowship from the Center for Creative Photography.

McDonald recently curated the exhibition Photography in Mexico: Selected Works from the Collections of SFMOMA and Daniel Greenberg and Susan Steinhauserand edited the anthology Nathan Lyons: Selected Essays, Lectures, and Interviews, which University of Texas Press published in June.

Image: Jessica S. McDonald. © Caren Alpert Photography.

Along with a group of other keenly interested visitors we were treated to a feast of wonderful Fox Talbot and Calotype treasures (Including access to the fantastic Hill and Adamson Album).

On the train in to London in the morning I typed Fox Talbot into my Kindle store search engine and was delighted to find the text of the Pencil of Nature can be downloaded as a free edition.  Having just read Talbots narrative in which he looks forward in places far sightedly to the possibilities that photography would offer in the future, I had the privilege to hold a copy of the book in my hands only a few hours later!  Amazing. 

Many Thanks John for both your excellent presentation and the chance to see these treasures first hand.

London Festival of Photography

http://www.lfph.org/

The Royal Collection is advertising for two new positions within the photograph collection: a Cataloguer (2 year contract), and a paid Curatorial Intern position (9 months). Details are currently live on the British Monarchy website, and can be accessed via this link: http://www.royalcollection.org.uk/about/working-for-us

The closing date for applications for both positions flexible.

Cataloguer

Location

Windsor Castle

Grade

24

Starting Salary

c. £19,436 per annum, plus benefits

Hours of work

35

Contract Type

Fixed-term

Position start date

10 Sep 2012

Position end date

9 Sep 2014

Curatorial Intern

Location

Windsor Castle

Starting Salary

£12,500.00 pro rata

Contract Type

Fixed-term

Position start date

8 Oct 2012

Position end date

6 Jul 2013

Greetings all. I have recently acquired the attached photograph. The image, removed from an album containing other images from Britain c. 1855, is mounted on thin paper and appears to be a salt print -- possibly from a paper negative. Unfortunately there are no notations identifying location, date, or maker. Any help identifying this photograph will be greatly appreciated. 

This very interesting image turned up in a provincial general auction today. Does anyone have any thoughts on date, participants or the cameras?

Hello all

I am hoping there might be images of the Tasmanian section of the  1862 International Exhibition in London that anyone could direct me to web-link-wise, or otherwise. I am further hoping to be able to see/identify the busts and subjects of photographs that were listed as exhibited - a long shot I know !

Also I would really appreciate help to find/obtain a listing of all the Tasmanian exhibits/exhibitors, because I have only found a partial list to date.

thanks very much for any help

Julie

Originally published in 1858, the world's largest photo book was sold at auction this week for £337,250 from its original estimate of  £50,000 – £70,000. The book is made up of 20, un-enlarged prints of Egypt, Sinai and Jerusalem taken by Frith during a trip Frith took to the Middle East in 1856 using the wet collodion process. Each measure a colossal 30in x 21in.

Details can be found here and here: 

70^•

• An excellent copy of Frith's mammoth masterpiece with images measuring 490 x 390mm. "This is the largest book with the biggest, unenlarged prints ever published" (Gernsheim)

Consisting of 6,000 photographs, 56 cameras and 100 rare books owned by Pinhole Resource LLC, this collection has been keenly vied by Eastman House, the Harry Ransom Center at UT Austin, the Center for Creative Photography in Phoenix, and a number of other world institutions.

But it has finally found a home in the Palace of the Governors Photo Archives at the New Mexico History Museum. The acquisition is a big step for the Palace Archives, which is looking to move away from strictly historical photography. At the moment, it is accessible only to those who want to look at it for academic and professional purposes, but more than 906 of the images also have been digitized and can be searched by visiting http://econtent.unm.edu/cdm4/indexpg.php and clicking on "Browse Pinhole Resource Collection."

The museum plans to host an exhibit of the photographs in April 2014, which will be titled Poetics of Light, to coincide with World Pinhole Day, last celebrated on 29th April. Further details can be found on this news report here.

Photo: Digital imaging specialist Mark Scharen shows New Mexico History Museum marketing manager Kate Nelson a pinhole camera that the museum has acquired as part of the largest collection of pinhole photography in the world. The homemade prototype zone plate camera is among dozens donated to the Palace of the Governors Photo Archives by the nonprofit Pinhole Resource LLC. - Natalie Guillén/The New Mexican

The British Library has secured the Dillwyn Llewelyn/Story-Maskelyne photographic archive which was offered to any United Kingdom institution under the government’s acceptance in lieu scheme.

The Dillwyn Llewelyn/Story-Maskelyne photographic archive is a significant addition to the Library’s collection and enhances and supports the 2006 donation of Talbot material by Petronella and Janet Burnett-Brown and other members of the Talbot Family Trust. The British Library has further enhanced its position as the leading centre for material relating to Talbot and his circle of early photographers.

The Dillwyn Llewelyn/Story-Maskelyne photographic archive, approx 164 early photographic prints in 5 photograph albums (including W.H. Fox Talbot, High Street Oxford), 50 glass negatives, the memoirs and journals of Thereza Story-Maskelyne in 10 volumes (the memoirs including a further 52 early photographs), photographic research papers of Nevil Story-Maskelyne in 2 portfolios, and related albums and papers.

John Dillwyn Llewelyn (1810-1882) initiated his first photographic experiments -- prompted by news of the activities of William Henry Fox Talbot (a cousin by marriage) -- at his house at Penlle’r-gaer (usually spelled Penllergare by the family), near Swansea, in February 1839, and daguerreotypes of his family and house survive from as early as the following year. He claimed (in a letter to Fox Talbot) to have been familiar with all the known photographic processes, and in 1856 announced his own innovation, the oxymel process, ‘a mixture of honey and vinegar, whereby the collodion plates of the period could be prepared some time before use and developed when the photographer returned home’ (ODNB). He was on the first council of the London Photographic Society, and was awarded a silver medal of honour at the Paris Universal Exhibition of 1855 for his instantaneous photographs.

The photograph albums in the archive not only provide an important, family collection of some of Dillwyn Llewelyn’s best-known images, but also demonstrate the extent to which the whole Dillwyn Llewelyn family and its wider offshoots participated in the experiments, either as subjects or as photographers: amongst the identified images are photographs by his sister, Mary Dillwyn, his son-in-law, the mineralogist Nevil Story-Maskelyne (grandson of the astronomer royal, whose photographs often depict the family house at Basset Down, Wiltshire), and at least three of his children.

Dillwyn Llewelyn’s daughter, Thereza Story-Maskelyne, was closely involved with his photographic activities, and was also an active amateur astronomer – both activities highly unusual for a woman of the period; she combined both fields in the pioneering telescopic photographs of the moon which she took with her father in the mid-1850s. Thereza’s memoirs and journals in the present archive are a rich source of information on her scientific career, and include not only an important series of photographic prints, but also her own watercolours of comets and other phenomena from the 1850s onwards.

The acquisition builds on an important earlier gift to the British Library of the work of Nevil Story-Maskelyne (1823-1911), which included paper negatives, salted paper and albumen prints, collodion on mica negatives and research papers on early photography. The additional material now acquired – which includes a series of Story-Maskelyne’s wet collodion negatives, as well as prints and other papers – brings together the largest surviving archive of the work of an important- if undeservedly little-known - photographer. The journals of his wife Thereza contain many references to the photographic practises of the Llewelyn and Story-Maskelyne families and will form a rich primary resource for the study of this formative period of British photography.

Images: from top:

1. Portrait (self-portrait?) of Nevil Story-Maskelyne, late 1840s (reproduction from the original calotype negative.
   
   
2. John Dillwyn Llewelyn, Thereza Llewelyn and dickies, mid-1850s (salted paper print).
   
   
3. John Dillwyn Llewelyn, Gipsies – Palmistry, mid-1850s (albumenised salted paper print
   
   
4. John Dullwyn Llewelyn, Costume of Glamorganshire, mid-1850s (albumenised salted paper print).
   
   

Courtesy: John Falconer / British Library

Dawn of Japanese photography[II]. Tokyo 2011. Soft Cover 21 x 30 cm. 89 pages. with 30 images of which 20 are photographs. A series of articles, the lead article:'Photography and the Prusian Expedition to Japan 1860-1861', both in English and Japanese [pages 22 to 66]. Pages 3 to 22 photography pages. Pages 66 to 89 2 smaller articles only in Japanese.

The British Library has secured the Dillwyn Llewelyn/Storey-Maskelyne photographic archive which was offered to any United Kingdom institution under the government’s acceptance in lieu scheme which enables taxpayers to transfer important works of art and other heritage objects into public ownership while paying Inheritance Tax, or one of its earlier forms. The taxpayer is given the full open market value of the item, which is then allocated to a public museum, archive or library.

The Dillwyn Llewelyn/Storey-Maskelyne photographic archive is a significant addition to the Library’s collection and enhances and supports the 2006 donation of Talbot material by Petronella and Janet Burnett-Brown and other members of the Talbot Family Trust. The British Library has further enhanced its position as the leading centre for material relating to Talbot and his circle of early photographers.

The Dillwyn Llewelyn/Storey-Maskelyne photographic archive, approx 164 early photographic prints in 5 photograph albums (including W.H. Fox Talbot, High Street Oxford), 50 glass negatives, the memoirs and journals of Thereza Story-Maskelyne in 10 volumes (the memoirs including a further 52 early photographs), photographic research papers of Nevil Story-Maskelyne in 2 portfolios, and related albums and papers.

John Dillwyn Llewelyn (1810-1882) initiated his first photographic experiments -- prompted by news of the activities of William Henry Fox Talbot (a cousin by marriage) -- at his house at Penlle’r-gaer (usually spelled Penllergare by the family), near Swansea, in February 1839, and daguerreotypes of his family and house survive from as early as the following year. He claimed (in a letter to Fox Talbot) to have been familiar with all the known photographic processes, and in 1856 announced his own innovation, the oxymel process, ‘a mixture of honey and vinegar, whereby the collodion plates of the period could be prepared some time before use and developed when the photographer returned home’ (ODNB). He was on the first council of the London Photographic Society, and was awarded a silver medal of honour at the Paris Universal Exhibition of 1855 for his instantaneous photographs.

The photograph albums and negatives in the archive not only provide an important, family collection of some of Dillwyn Llewelyn’s best-known images, but also demonstrate the extent to which the whole Dillwyn Llewelyn family and its wider offshoots participated in the experiments,

either as subjects or as photographers: amongst the identified images are photographs by his sister, Mary Dillwyn, his son-in-law, the mineralogist Nevil Story-Maskelyne (grandson of the astronomer royal, whose photographs often depict the family house at Basset Down, Wiltshire), and at least three of his children.

Dillwyn Llewelyn’s daughter, Thereza Story-Maskelyne, was closely involved with his photographic activities, and was also an active amateur astronomer – both activities highly unusual for a woman of the period; she combined both fields in the pioneering telescopic photographs of the moon which she took with her father in the mid-1850s. Thereza’s memoirs and journals in the present archive are a rich source of information on her scientific career, and include not only an important series of photographic prints, but also her own watercolours of comets and other phenomena from the 1850s onwards.

No wish or condition as to the permanent allocation of the photographic material had been expressed by the offerors.

This year's Photomonth, thanks to the jubilee, will be unique in many respects! As every year, many eminent authors and specialists have been invited to co-operate with the Festival, and the Photomonth in Krakow programme will include dozens of exhibitions and events. The exhibitions will be presented in parallel in the Krakow’s best exhibition halls and public areas, and the events (meetings, workshops, projections, lectures, and urban games) will be an integral part of them. Photomonth in Krakow’s entire programme is absolutely pulsing with the keyword of this year's Festival: JOIN US! Join us, celebrate our birthday, celebrate photography!

Photomonth in Krakow’s 10th birthday will be graced by magnificent exhibitions by unquestioned stars of both older and contemporary world photography. This year's MAIN PROGRAM includes exhibitions by Alexander Rodchenko, Jerzy Lewczyński, Sally Mann, Sergey Bratkov, and photographs of celebrities from the collection of Cezary Pieczyński.

http://www.photomonth.com/index.php/en/page/1/aktualnosci.html

Alfred Maudslay, Photography and the Mimetic Technologies of Archaeology: A Study in Method, Process and Effect / Photographic History Research Centre, De Montfort University, Leicester/ British Museum, London. An AHRC-funded Collaborative Doctoral Award studentship, starting October 2012,  covering stipend and tuition fee costs is offered within the Photographic History Research Centre (PHRC) in the Faculty of Art, Design and Humanities in collaboration with the British Museum.

The project addresses the practices of photography in relation to the task of documentation and recording in the field of Maya archaeology in the late 19th Century. Its focus is a series of 1513 photographs made by Alfred Maudslay in Mexico and Guatemala for thirteen years between 1881 and 1894, notably at Copán, Palenque, and Yaxchilán. The project will explore the ways in which Maudslay used photography to constitute the qualities of archaeological objectivity and observation, in the production of 'evidence' and archaeological knowledge. It will also explore how the established truth values of this mimetic technology were employed to fuel the burgeoning public interest in ancient archaeological sites and civilisations, establishing a broader visual rhetoric for the 'uncovering' of the Maya past. The project will also explore the methodological implications for a ‘photographic history’ approach to collections and institutions.

The focus will be on the British Museum’s outstanding collection of negatives, casts and paper squeezes made by Maudslay. The PhD studentship will be based at DMU’s  Photographic History Research Centre  (PHRC) within the Faculty of Art Design and Humanities. PHRC undertakes innovative research on photography and its practices from the early nineteenth century to the present day, and over a wide range of social and cultural processes, networks of photographic knowledge, science and technology, aesthetic, evidential and informational values and institutional practices.

Supervision will be available from Professor Elizabeth Edwards (DMU) and key members of British Museum staff who have active interests in photography, history, archaeology and collections history.  The studentship will be based at DMU Leicester, with extended London-based periods of study at the British Museum and related archives.  PHRC is a dynamic and growing research community. The successful candidate will be expected to contribute to the development of this community and that at the British Museum.

Candidates might come from a range of possible disciplines: archaeology (not necessarily Meso-American), art history, history of photography, science and technology studies, visual anthropology, and visual culture studies. A reading knowledge of Spanish would be an advantage.

For a more detailed description of the PHRC please visit our web site or contact Professor Edwards (eedwards@dmu.ac.uk) who will be happy to discuss the studentship further.

This research opportunity builds on DMU’s excellent past achievements and is looking forward to REF2014 and beyond. It will develop both the university’s and the British Museum’s research capacity into new and evolving areas of study, enhancing DMU’s national and international research partnerships.

Applications are invited from UK or eligible EU/overseas students  (see http://www.ahrc.ac.uk/FundingOpportunities/Documents/GuidetoStudentFunding.pdf Annex A) with a good first degree (First, 2:1 or equivalent) and MA in a relevant subject. The CDA scholarship is available for three years full-time study starting October 2012, providing a bursary for both maintenance  (currently c. £13,500) and fees.

To receive an application pack, please contact the Faculty Research Office via email at ADHresearch&innovation@dmu.ac.uk.  Completed applications should be returned together with a full CV, two supporting references, a statement explaining your interest in the project, and an example of your written work of c.3000 words.

Please quote ref: AHRC/CDA/PHRC12

CLOSING DATE: June 25^th 2012. Interview date: July 2^nd 2012

National Photography Month  2012 is the UK's first nationwide month long celebration of photography. The Photo Marketing Association and Photo Imaging Council are behind this new initiative to help the public understand and appreciate the importance of photogaphy as a medium to 'capture and keep' their treasured memories and life's most important moments.

Backed by companies and organisations across the photographic world including National Geographic and the Royal Photography Society, June 2012 will be month-long celebration of the excitement and value of photography. Leading photographers and other high-profile figures will join the campaign to highlight the intense personal importance of photography - why it's a unique and vital part of human culture and family histories.

Novices and keen photographers alike will be invited to take part in activities and events across the UK where they will be encouraged to develop the skills to capture and preserve our personal histories for future generations.

Details can be found here.

Yep - just as you thought it was safe, here comes another one .....

The Belfast Telegraph has been reporting the news of Northern Ireland and recording the lives of the people who have lived there for more than a century, amassing a picture archive that is unmatched in its beauty and its breadth.  You can view/buy them at this site here, or if you're on the cheap, like me, you can buy their print edition from Monday 11 to Friday 15 June, whereby free photo supplements showing pictures of the decades that shaped Northern Ireland will be given away!

Media Space, delivered collaboratively by the Science Museum, London and the National Media Museum, Bradford, is the Science Museum’s new space for adults, opening in Spring 2013. It will present an engaging series of exhibitions, accompanied by a creative learning programme.

Media Space will allow audiences to explore old and new media across all technologies, their artistic and scientific outputs and implications, within a specially developed experimental gallery.

To support the development of this project, the museum is seeking a skilled and imaginative Audience and Programme Developer. 

9 month full-time fixed term contract. Freelance arrangements may also be considered.

Closing date Midnight Sunday 24 June  2012.  Interviews will be held at the Science Museum during week of 2nd July 2012.

Salary: £21,000 - £23,000 per annum pro rata

Purpose of the job

By conducting research into the needs, wants and expectations of the target audience, and building relationships with key organisations, institutions and individuals that reflect and engage them, you will develop and implement the creative learning programme for the first three seasons in Media Space.

The creative learning programme will focus particularly on engaging FE/HE students and their course leaders.

Key Deliverables/Accountabilities

1. An audience development strategy, based on evidence-based research, with which to build the FE/HE & culturally active independent adult audience, detailing the needs, wants and expectations of the target audience and the purposeful partnerships that form a route to this audience. This plan will be derived from face-to-face research, sectoral intelligence and desk-based findings
2. A fully-costed creative learning programme in support of the vision for Media Space, for the first three seasons, which would include main gallery exhibitions and studio/workshop displays, that has been shaped by the audience research conducted and delivers to the audience development strategy
3. Input into the decisions about the physical space and logistics in order to ensure that the spaces work for the audiences.
4. A costed plan for the resources necessary for the successful delivery of the creative learning programme over next 5 years, including existing Museum staff time and volunteers.
5. Develop a strong network, internally and externally, that increases the Museum’s knowledge of other sector-leading practice in the field of creative learning & programming for adults and initiates partnerships through which the future programme can be delivered.
6. To take care of personal health and safety and that of others and report any health and safety concerns.  Ensure proactive compliance with SMG H&S Policies, including risk assessments and implementing safe systems of work

Behaviours

• Ability to work under pressure and to tight deadlines
• Anticipate/recognise changes in circumstances and able to respond quickly and effectively.
• Outcome-focussed
• Professional, with proven ability to work on own and with a broad range of people especially external partners. 
• Able to effectively create buy-in for work being conducted, good communication with different team members.
• Able to work on own and as part of a multi-disciplinary team

Skills, Knowledge and Relevant Qualifications

• Experience of devising engaging creative learning programmes for adult audiences
• Knowledge of creative learning programming by major cultural organisations
• A practical understanding of the principles of audience development, gained through professional work i.e. formulating plans, identifying objectives, engaging with target audiences.
• Excellent communication skills, verbal and written
• Proven ability to devise and implement evaluation and research strategies
• Knowledge of policy and research in the fields of audience engagement; participation; museums & galleries; FE & HE; creative industries
• Understanding of how visitors learn in Museums and other free choice environments
• Understanding of audiences: their wants, needs, expectations

Working Relationships and Contacts

Internal

• With the Science Museum Head of Arts Projects and National Media Museum Curator of Photographs to ensure that that the creative learning programme fits with the overarching creative ethos of Media Space
• With the Project Leader and Head of Learning Resources & Outreach (line manager) to ensure planned programme can be resourced
• With the Head of Audience Research & Advocacy to ensure that the research strategy is robust and the resultant programme is suitable for target audience; and to ensure that learning is embedded in all aspects of the project
• With Head of Learning Resources & Outreach and Head of Audience Research & Advocacy to ensure learning input matches learning business plan and philosophy
• With the Project Leader to ensure high quality delivery on brief, on time and on budget
• With Project Leader to secure staff resource for activities
• With the project team and wider museum to share intelligence about targeted audience groups
• With web team and new media team to develop any digital activities
• With Marketing to develop a marketing strategy for the space
• With Finance/Management Accounts – to ensure effective use of resources
• With Learning Support Team Leader to agree logistics for group bookings

External

• To contribute to regular updates and reports to the gallery funders and other stakeholders
• With target audience and organisations/institutions that represent and engage them (e.g. independent adults; FE & HE sector; )
• To work with other major institutions that attract independent adult visitors, to explore potential collaboration
• With external contractors to deliver specified materials/workshops/learning products

Line Management and Budget Responsibility

Directly line manages: 0

Indirectly line manages: 0

Contractors/freelancers: 1-3 varying over the course of the project.

Scope for impact

• Media Space will be central to the strategy to grow the adult audience at the Science Museum and shape the perception of the Museum for these audiences
• Extending Science Museum reach and profile in engaging adults in a creative learning programme

Please note:

• This job description is not exhaustive and amendments and additions may be required in line with future changes in policy, regulation or organisational requirements, it will be reviewed on a regular basis.

A new photo archive, run by both the National Museum and the National Library of Wales, is now available online. This bilingual site, which has a collection of over 38,000 items, shows how the high streets in Wales looked before they came to be dominated by national chain stores.

Organisers of the collection are hoping people in villages, towns and cities across Wales will upload content to help reflect the social changes on the nation’s high streets. You can view the archive here.

Do any of you recognize this unknown British stereophotographer who did a 200-card series up the Nile c.1868-1870?  I call him the "Canary" photographer because of the yellow mounts, but they have no publisher or backlabel.  High quality with interesting legends, so might be someone significant.  It has been suggested that it is Francis Wentham, who accompanied Frith on his first Nile trip, but these are a tad too late.  Any suggestions greatly appreciated. Here is a full card and blowup of some Europeans seen in other images. 

Several years ago I came into possession of two tin trunks that were found in the attic of an old house in my hometown of Sarnia, ON.  One trunk was full of correspondence and the other was full of glass and film negatives.  After much reading and additional research, I was able to identify the photographer as being Royal Naval Commander Arthur FitzGerald Cochrane (1888-1967), the son of William Edward Cochrane (1858-1929) and Evelyn (1858-1908). 

William Cochrane was a part-owner of a cattle ranch near Calgary, Alberta, Canada and the Cochranes spent their time between Britain and Canada, where Arthur was born.  Arthur received his early education at Ashdown House, then continued at The Limes, where he trained as a cadet.  The majority of the negatives I have cover his time as a cadet.  He was quite a prolific photographer and in most cases, my scans could be better.

Here are a few examples:

Chiswick Auctions has a copy of Coburn's New York with a forward by H G Wells coming up on 12 June.  The detailed description is here: COBURN, Alvin Langdon (1882-1966, photographer). New York ... With a Foreword by H. G. Wells. London: Duckworth & Co., and New York: Brentano's, [1909]. Folio (408 x 308mm). Half title, 20 photogravure plates by Alvin Langdon Coburn, mounted on thick grey paper (some light spotting to text leaves, but photogravures unaffected). Original calf-backed grey paper boards, the upper cover lettered in gilt (some fading to gilt lettering, dampstain at corner, joints splitting, extremities rubbed), grey dust-jacket lettered in black (torn with some loss to backstrip). "The photogravures in this volume are from plates prepared by the artist, and printed under his personal supervision" (printed note beneath the List of Plates). "Posterity will owe much to Mr. Coburn, so that I hesitate to call the series of studies he has made of the beauty of contemporary cities the chief thing for which his memory will be honoured; but certainly his record of urban effects will be a greatly valued legacy" (from H. G. Wells' Foreword). The subjects of the photogravures are as folows: 1. The Metropolitan Tower. 2. Brooklyn Bridge, from a Roof-Top. 3. The Battery. 4. Williamsburg Bridge. 5. The Holland House. 6. Broadway at Night. 7. Brooklyn Bridge, from the River. 8. The Flat-Iron. 9. The Water Front. 10. The Singer Building, Noon. 11. The Ferry. 12. The Tunnel-Builders. 13. The Knickerbocker Trust Company. 14. The Chinese Quarter. 15. The Unfinished Bridge. 16. The Singer Building, Twilight. 17. The Stock Exchange. 18. Fifth Avenue, from The Regis. 19. The Sky-Line. 20. The Park Row Building. Truthful Lens 36.  Estimate: 5000-8000

For more information contact: http://www.chiswickauctions.co.uk/catalogues/as120612/page7.html