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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

The imminent move of the city’s photographic archive to a new purpose-built facility provides a unique opportunity to reflect on the complex interrelationship between photography, the archive and the city. It is with this in mind, and informed by debates about the changing nature of photography in the digital age, that Birmingham City University and Birmingham Central Library are collaborating to present a series of free, public conversations with some of the world’s leading photographers, curators, historians and theorists of photography to share their ideas and experiences of working with photography and the archive in order to situate local debates in a global context.

Monday 25th June 2012, 6.00pm 
Library Theatre, off Chamberlain Square, Birmingham, B3 3HQ 
The Shadow of a Dark Horse in Low Light – Adam Broomberg and Oliver Chanarin 

This talk will focus on the artists’ practice of working with and responding to historical photographs and collections. Broomberg and Chanarin explore the task of the artist to disturb the ordered categories of the archive, uncovering hidden gestures and narratives and reactivating cultural memory.

Adam Broomberg and Oliver Chanarin are artists living and working in London. Their latest book War Primer 2 is published by MACK (2011). They teach at the School of Visual Arts in New York, are Visiting Fellows at the University of the Arts London and will be running a semester at ZHdK in Zurich this autumn.

Thursday 28th June 2012, 6.00pm 
Library Theatre, off Chamberlain Square, Birmingham, B3 3HQ 
On Becoming the Magnum Archive – Alison Nordström

The talk will examine the transition of the Magnum ‘picture library’ from its original status as a collec.on of images and a tool for doing business to a photographic ‘archive’ housed at the University of Texas. In doing so it tracks the parallel shift in thinking about photography that has taken place over recent decades, accompanied by the digital turn.

Alison Nordstrom is Curator of Photographs, George Eastman House, Museum of Photography and Film, Rochester, New York. She has curated over 100 exhibitions of photography including major surveys of landscape, portraiture, travel photographs and journalism.

Joining Alison to discuss the issues raised in her talk will be Nick Galvin, former Archive Director, Magnum Photos, London

This series is organised by the Birmingham Photography and Archive Research Group, BIAD, Birmingham City University in conjunction with the photography archives at Birmingham Central Library. Further talks in the series are planned for Autumn 2012.

A Victorian album  showing local people, ranging from the local barber to policeman, dressed in their Sunday best, and local scenes in Bala and Llanuwchllyn around the 1860s will be up for auction. Found in a lady's attic in Shropshire, the images are marked as taken by a local photographer - Edward Williams - although some of the prints note he was based in Bala, whilst others state his studio was in Llanrwst.

The album will be auctioned off at Mullock's Ltd in Church Stretton, Shropshire, on 28 June, with an estimate of around £500. Details can be found here.

I have just produced a small monograph on the life of John Edward Saché; one of the more important photographers working in 19th century India.  From the mid-1860s through until his death in 1882, he operated a variety of studios, in towns across northern India, and in that time, produced well over 1000 fine topographical views, architectural and portrait studies. 

This booklet documents his life and work; illustrated with a range of newly discovered portraits of him, pictures of his studios, and personal photographs of his wife and family; as well as an extensive catalogue of over 500 of  his published topographical photographs. Full details are available on my web site:

http://web.me.com/hughashleyrayner/pagodatreepress.com/John_Saché.html

The National Media Museum, Bradford, has appointed Jo Quinton-Tulloch as its Head of Museum. Jo Quinton-Tulloch is currently the Head of Exhibitions at the Science Museum in London. She will take up her post in Bradford in September 2012. Jo has worked in museums for 18 years and has a wealth of experience in establishing successful exhibitions and programmes at the Science Museum, and also at the National Maritime Museum Cornwall, in Falmouth.

Making the announcement, Heather Mayfield, Deputy Director of the Science Museum, said: “I am delighted that Jo has agreed to take on this role, in London and Falmouth she has led the delivery of world class exhibitions and programmes working with audiences, artists and curators. I look forward to seeing her using the National Media Museum collections in new and exciting ways.”

Jo will focus on building on the National Media Museum’s cultural programme and reputation, ensuring future success by maximising the impact of its vibrant exhibitions, events and activities. Her priority will be to ensure optimum public access to the National Collections held and cared for in Bradford, through the Museum’s displays, digital delivery and research.

In addition she will work with the Science Museum and National Media Museum to deliver the upcoming £4 million Media Space project. The Media Space will see the two institutions join forces to launch a major new permanent gallery in the Science Museum alongside a unique shared exhibition programme in Spring 2013.

Jo said: “I’m delighted to have the opportunity to work with such a significant collection and build on the existing programme to further establish the National Media Museum as an important cultural destination, locally and nationally. It’s a very exciting time to be part of the Museum and I’m looking forward to joining the team in September.”

The Head of Museum appointment has been made after Colin Philpott stepped down as Director of the National Media Museum following a senior level restructure of the parent organisation in December 2011.

Jo Quinton-Tulloch Biography

Jo Quinton-Tulloch has been Head of Exhibitions and Programmes at the Science Museum since 2004. During this time she has been responsible delivering exhibitions from small temporary shows such as Penicillin, to an up-grade of the Space gallery, through to the multi-million pound, award winningAtmosphere permanent gallery and associated climate changing programme.

Jo manages the innovative Art Programme which delivers artists’ projects in the Science Museum, including artist residencies and temporary exhibitions. She also oversees the programme of ‘Live Science’ activities which allow the public to meet scientists and take part in experiments on gallery, and the contemporary science team who deliver up-to-date news and programmes across many platforms.

Jo’s career in museums started when she joined the Science Museum as a part-time Explainer in 1994 while completing a Masters in Science Communication at Imperial College. During this time she was also a lecturer and joint course organiser for the Museum module of the MSc in Science Communication, Imperial College, and the Diploma in Science Communication, Birkbeck College.

She has worked at the Boston Museum of Science, USA, and between 2000 – 2004 she left the Science Museum to set up a brand new institution – the National Maritime Museum Cornwall. Jo was responsible for the development and delivery of all galleries at the National Maritime Museum Cornwall, and also established a framework for the collections management, documentation and restoration programmes, as well as managing the delivery of the Education, Special Exhibition and Lecture Theatre programmes.

Jo completed the Museum Leadership Programme at the University of East Anglia in 2001 and is about to attend the Museum Leadership Course run by the Getty Foundation in USA.

Bonhams Oxford is offering part of the photography collection of Harry Wills who died in 2011 aged 90. Wills was born and raised in Birmingham and was one of the earliest collectors of photographs and photographic equipment in Britain. He was a founder member of The Royal Photographic Society's Historical Group in 1972 and part of the first generation of British collectors and photographic historians. Pete James paid generous tribute to Wills in his obituary published in the April 2012 RPS Journal.

Although the provenance of the material in the material is not given by Bonhams the lots includes much of early British and Birmingham photographic interest as well as some of Wills' own photography (shown right). The photographs include material from W H F Talbot, Samuel Smith, Harold White, an extensive collection of topographic albums, cartes de visite and ambrotypes as well as early and rare photographically illustrated books.

The sale begins at 10.30am on 26 June and is on view from 23-26 June. 

For more information about the lots see: https://www.bonhams.com/auctions/20138/

The fate of the rest of Wills' extensive photography collection and his equipment  collection has not been disclosed.