Came across this in a national paper (and feeling patriotic) and thought might be useful to share the insights of the curator's thoughts behind the NPG exhibition "The Queen: Art and Image" as reported here.
The exhibition details can be found here.
The Photographers' Gallery in London re-opens to the public today after a major refurbishment and rebuilding programme. Speaking to BPH at the launch yesterday Brett Rogers, Director, said that the refurbishment has exceeded her expectations.
The building has been extended and the first major exhibition over two floors is Burtynsky's Oil which runs to 1 July. The new space does full justice to the large format colour prints.
An extended print room, bookshop and cafe add to the venue and the latter seems set to to become a great meeting place for photographers.
I am seeking any information on Basil Green a London photographer in Manchester st W 1951-1954 who took a portrait of Australian writer Patrick White. I am wondering if he might be the same as the very hip Basil Green the founder of 'Vince' Menswear in the late 1950s.
Gael Newton
Life Online,at the National Media Museum, Bradford, is designed by NRNDesign The gallery is designed to explore the social, technological and cultural impact of the Internet. This permanent gallery traces the history of the Internet, looking at how it has changed people's lives and tracking the latest trends online.
The gallery covers two spaces within the National Media Museum; a permanent exhibition on the ground floor and a changing temporary exhibition space on level 7.
The permanent exhibition tracks the history of the Internet, from the first experimental messages to the rise of modern social networking. A range of interactives explore the story of the Internet, whilst a timeline of objects showcases the evolution of Internet and computing technology.
The Media Space benefit auction held at Christie's last night realised £370,200. After a reception and short speeches from Ian Blatchford, director of the Science Museum and Michael G Wilson OBE the auctioneer, Philippe Garner of Christie's, knocked down sixty lots. The money raised will be used to support the National Media Museum's new space at London's Science Museum which is scheduled to open in March 2013 (see: http://britishphotohistory.ning.com/profiles/blogs/media-space-the-first-view-of-the-space)
The highest price was achieved by Mark Cohen's True Color, 2008 at £60,000, followed by Luc Delahaye's 132nd Ordinary Meeting of the Conference at £24,000 and Irving Penn's portrait of Cecil Beaton at £20,000. A calotype by W H F Talbot realised £15,000.
The full results can be found here: http://tinyurl.com/8xfdajl
Photo: Michael Pritchard
The next London Photograph Fair takes place this Sunday May 20th. Preview now online at www.photofair.co.uk
I am travelling from Australia to London in July to do some research on my Great grandfather's company which produced halftone photograph's for pubishing in newspapers, journals and books during the 1890's. The name of the photographic process was called Electro-phototypy, the name of the company was Sutton's Process Syndicate Limited and the company was run out of 4 Tokenhouse Buildings London and they had a premesis just around he corner from Fleet St (address unknown). I am wanting to see what I can find out at the St Brides Library but I am not familiar with which books or records to search in. If anyone has experience in looking in these sort of records at the library and can help me with which items/records or books might be helpful or if anyone with some experience at looking at records at the library could spare a day to assist me I would be very grateful. If anyone can assistance me in anyway please contact me.
Also if anyone knows where the records for the testing of the makers of lantern/camera lenses at the Kew Observatory in the 1890's are located and if they are available online could you please let me know.
Regards Lorayne
Well, if you have one lurking in the attic, then you're in luck! (I'm still looking for that Chinese vase, though ....)
This is because another record has been broken at an auction held recently on 12th May 2012 by WestLicht Photographica Auction. Its latest record sale was set by a Leica Null-Serie prototype (also known by the name 0-Series), which sold for the pricely sum of €2.16 million ($2.78 million).
The Leica 0-Series was a prototype launched in 1923 of which only 25 examples were made. It preceded the first ever commercial 35mm model, produced two years later by Leica. Today only twelve cameras from this particular series are known to exist, which explains this new record.
The camera was conservatively valued between €600,000-800,000, since the same model was snapped up at WestLicht’s for the sum of €1.32 million a year previously. Unlike in 2011, however, where the successful bidder was Asian, the new record figure was paid by a European collector. Details can be found here.
Before the Leica, the previous record in this field had been set by an 1839 daguerreotype signed by its inventor, Jacques Daguerre. The piece sold for €732,000 - a bargain price now, comparatively!
Roger Burrows' regional Victorian home is filled with more than 700 cameras ranging from the 1800s until the 1970s. Beginning with some of the earliest cameras such as a Victorian brass and mahogany Thornton Pickard and a drop-plate box camera, his collection ends at some of the earliest digital cameras.
You can listen listen to Roger's passion from pocket cameras used in the First World War and Cecil Beaton's love of the twin-lens reflex Rolleiflex to the family Box Brownie camera on the link here.
Auction house Christie’s is working with the Science Museum and the National Media Museum, Bradford, to present a benefit sale of Photographs 1840s to the Present which will be sold on the evening of Wednesday 16 May to raise funds for the new MEDIA SPACE that will open at the Science Museum in London in Spring 2013. The group offered comprises 61 remarkable images which span works by the photographic icons of the 19th and 20thcentury, through to leading contemporary names. The auction is expected to realise in excess of £300,000. Christie’s Photographs sale will also take place on the 16 May, in the afternoon, please click here for the separate press release.
The auction is by invitation only but bidding will be accepted via the internet and on commission. The e-catalogue is available here: http://tinyurl.com/cczybjh
Philippe Garner, Christie’s International Head of Photographs: “Christies is proud to be entrusted with this important benefit sale to which so many artists, gallerists, dealers and collectors have donated wonderful works. MEDIA SPACE is an inspiring new suite of galleries and performance spaces for independent thinkers, practitioners, pioneers of technology, writers, agenda setters, and young creative professionals on the design spectrum. It is an investment not only in the capital’s rich cultural offerings but also a further safeguard of photographic history – this will be a remarkable venue for exhibitions which draw on national collections, as well as providing a focused centre for the study of creative media.”
Ian Blatchford, the Science Museum Director: MEDIA SPACE will be a landmark over the next decade, combining the world-class collections of the National Media Museum with the exceptional and iconic space of the Science Museum.”
The most valuable individual work of the auction is print 5, from the sold-out edition of 5, of132nd Ordinary Meeting of the Conference by Luc Delahaye, the recipient of many prestigious awards who has exhibited widely, most recently at Tate Modern in 2011 (estimate: £20,000-30,000, illustrated left). Having worked for many years for the photographic collective Magnum, Delahaye’s large-format photographs explore new ways of representing socio-political events, incidents and situations, specifically from Iraq, Afghanistan and Palestine.
Dating to circa 1846, the earliest work is Bust of Paatroclus by William Henry Fox Talbot the photographic pioneer who invented the calotype negative-positive print process, through which the present work is created (estimate: £10,000-15,000). A further rare 19thcentury work is General Sir James Simpson, circa 1855, by Roger Fenton (estimate: £1,500-2,000).
Leading the 20th century works is a celebrated image by Irving Penn of his fellow artistCecil Beaton, which conveys Penn’s respect for the photographer whom he considered ‘an acute reporter of his time and milieu’ (estimate: £15,000-20,000). Another important work, in excellent condition, is Ten Photographs: 1923-1932, a portfolio by Rudolf Koppitz; (estimate: £8,000-12,000).
20TH CENTURY
Further 20th century highlights include, from left to right: Portugal, 1976, by Josef Koudelka (estimate: £10,000-15,000); Untitled (Ship it on the Frisco), from ‘Los Alamos’, 1965-1974 and Untitled, from ‘Southern Suite’, 1981, both by William Eggleston (each with an estimate of £8,000-12,000); Le corps robot descending stairs, Monte Carlo, 1995, by Helmut Newton (estimate: £6,000-8,000) and Henri Matisse, Vence, France, 1944, by Henri Cartier-Bresson (estimate: £6,000-8,000).
CONTEMPORARY
The rich array of contemporary works span, from left to right: Anna, Red Fragment, 2012by Richard Learoyd (estimate: £15,000-20,000); Battersea Power Station, 1997, by Jonathan Anderson and Edwin Low (estimate: £10,000-15,000) and The Wailing Wall, Jerusalem, Mini Israel, Latrun, Israel 2007 by Taryn Simon (estimate: £7,000-9,000) toTeenage boy in Vondelpark, Amsterdam, The Netherlands, May 2, 2006 by Rineke Dijkstra (estimate: £15,000-20,000).
View Old Master painting through a new lens with London's National Gallery's first major exhibition of photography co-curated by Christopher Riopelle, National Gallery Curator for Post-1800 Painting, and Hope Kingsley from the Wilson Centre for Photography. Opening on 31 October 2012 the exhibition explores work by early photographers from the mid-19th century and the most exciting contemporary artists working with photography, alongside historical painting. It takes a provocative look at how photographers use fine art traditions, including Old Master painting, to explore and justify the possibilities of their art.
Work by leading photographers, such as Martin Parr, Craigie Horsfield, Sam Taylor-Wood, Richard Billingham, Julia Margaret Cameron and Gustave Le Gray will be on display beside key works from the National Gallery collection.
Paintings and early and contemporary photographs are presented together according to traditional genres such as portraiture, still life, nudes and landscape, highlighting the universality of the themes and influences across all the works, both past and present.
Drawing attention to one particular and rich strand of photography’s history – that of the influence and inspiration of historical painting – the exhibition features major early works by the greatest British and French photographers alongside work by an international array of contemporary artists. It includes new photography and video specially commissioned for the exhibition and on public display for the first time, plus works rarely seen in the UK.
Exceptionally, three ‘interventions’ of contemporary photographs by Richard Billingham, Craigie Horsfield and Richard Learoyd will be displayed within the Gallery’s collection, juxtaposed with great 19th-century paintings by
Constable, Degas and
Ingres .
The show includes almost 90 photographs alongside selected paintings from the National Gallery’s collection. Key photographs will come from the collection of the Wilson Centre for Photography, with loans from Tate, the Victoria and Albert Museum, the National Media Museum in Bradford, Fundació La Caixa in Spain, and direct from the photographers themselves.
There is an interview view Colin Wiggins here: http://www.guardian.co.uk/artanddesign/2012/may/13/photography-painting-national-gallery-exhibition and more at the National Gallery's website here: http://www.nationalgallery.org.uk/whats-on/exhibitions/seduced-by-art-photography-past-and-present
Image: Thomas Gainsborough’s Mr and Mrs Andrews (c1750), which will be juxtaposed with work by Martin Parr from 1991. Photograph: © National Gallery, London
For most of the last 10 years I've been working on a book about a Scottish amateur photographer by the name of Andrew Milne who was my great great uncle. The story and Andrews work may interest readers on this forum.
As I'm now able to claim some reasonable progress and can begin plan for completing my first draft I've created a mini-website that introduces Andrew, his pictures and the story of my progress on the book.
For a period of perhaps two of three years around 1902 Andrew was a madly keen amateur who took his photography seriously enough to enter competition. With access to the railway through his job, he took his camera from one end of Scotland to the other.
I've now visited almost every location Andrew set up his camera on a tour that has given me great insights into the way he worked.
If you'd like to keep informed about the project please visit and sign up at www.onahillroad.com
Photographs are probably the most ubiquitous and far-reaching records of the colonial past. They trace the experiences of a vast range of people touched by European colonial expansion and domination, both colonised and colonisers.How is this record understood in public histories? What is its role in the way contemporary European cultures configure their pasts for the benefit of their futures?
This new website explores the different ways in which photographs of the colonial past have been used by museums, as spaces of public history, to communicate and interpret the colonial past in a postcolonial and multicultural Europe. Intended for curators, heritage managers, teachers an students, this resources has been built in response to the concerns of curators, debates about difficult histories in museums, the role of photographs in the museum space, and especially, key questions about the representation of the colonial past in museums as vectors of public history. The resource offers a unique comparative character that is the result of a collaborative research project, funded by HERA (Humanities in the European Research Area), in the United Kingdom, The Netherlands and Norway, all of which have very different colonial histories and postcolonial engagements.
A century-old collection of photographs of India has been discovered in the RCAHMS archive. The rare and fragile glass plate negatives, which date back to around 1912, show life on the subcontinent at the high point of the British Raj.
The 178 negatives were found in a shoebox for a pair of grey, size 9,Peter Lord slip-on shoes, and were stored in their original five-by-eight-inch plate boxes, wrapped in copies of The Statesman newspaper dating from 1914. Founded in 1875, The Statesman is one of India’s largest circulation English language newspapers, and is still published today.
Highlights from the imagery include celebrations for the visit of King George V and Queen Mary to Calcutta in 1912 – the only visit by a British monarch to India as Emperor of the subcontinent – with the city’s buildings lit up at night in tribute; ships arriving at the Chandpal Ghat, the main landing place for visitors to Calcutta along the Hooghly river; pilgrims gathered for a religious festival on the Maidan, the large urban park at the centre of Calcutta; and merchants selling their wares outside the eleventh century Jagganath Hindu temple in Orissa.
RCAHMS architectural historian Clare Sorensen said, "We don't know for sure how the negatives came to be in our collection. We receive archive material from countless different sources, from architectural practices to generous donations from the public, and sometimes take large amounts of material in at once, and often documentation for historical deposits does not exist.
"Over time all this new material will be inspected and catalogued as part of our collection and then made available to the public. It's fantastic that a small shoe-box contained such a treasure-trove of photographic imagery, but in some ways it's not unsual. Our experience as an archive has shown us that some of the most interesting discoveries can be made in the most unlikely of places."
Research by RCAHMS is ongoing into the identity of the photographer and the origins of the collection. Anyone with further information should contact clare.sorensen@rcahms.gov.uk. As the negatives were still wrapped in newspapers from 1914, it is possible that they were transported back to Britain from India at this time, and have remained unopened until now.
All 178 negatives have now been digitised, and a selection of the best images are in an online gallery.
Senior Photography Conservator, International Media Museum, Qatar Museums Authority, Doha, Qatar. The IMM possesses one of the most outstanding and valuable photographic collections in the region and one that ranks with major collections through the world. The photographs are of exceptional quality and span from the 19th century to present. The collection includes photographs from early daguerreotypes through albums and photography - illustrated books to contemporary colour photographs and photographic advertising poster. Also IMM possesses a collection of films and photographic and film technology as well as a significant rare book collection.
The IMM is seeking a suitably qualified and experienced candidate to work full-time in collaboration with the Head Photography Conservator on the long term preservation and restoration planning of the collections.
Job Responsibilities
In conjunction with the head conservator, identifies problems and suggests appropriate approach based on established treatment standards. Proposes and carries out treatments and repairs to photography materials with minimal supervision and in accordance with accepted standards for conservation practice. Designs and makes complex, custom-fit enclosures for fragile materials bearing in mind the unique needs of those formats and their chemical interactions with the materials available for construction. Selects and uses appropriate specialized tools and equipment for the treatment task; this includes but is not limited to matt cutter machine, ultrasonic welder, suction table; may also perform maintenance on this equipment.
Examines materials through a set of visual techniques and as appropriate, using specialized equipment such as stereoscopes and X-ray fluorescence spectroscopy. Assists in the preparation of photography materials for exhibition. Assists with disaster recovery operations, following standard recovery procedures.
Required Education and Experience:
Bachelor Degree in Photograph or Paper Conservation from a recognized art conservation training program or equivalent and 5 years of related work experience in the examination and treatment of photographic works.
Required Skills and Abilities
Well developed practical skills are essential and the ability to carry out complex treatments with limited supervision. A broad knowledge of materials and methods used in the photographic technology is essential, as well as communication and organization skills. Computer skills including experience in word processing and databases is essential.
Enquiries related to this positionshould be directed to: Maria Matta, Head Photography Conservator, International Media Museum (IMM), Qatar Museums Authority, Doha, Qatar. Tel: +974 44525881 or email: mmatta@qma.org.qa
Please note that the required languages used in Doha are in English or Arabic.
To view the publication now, please click the link below: http://tinyurl.com/clo8odx If a PDF is better for your computer then please let me know. For hard copies also please order one through email.
Bob Lansdale and Louise Freyburger are trying to research this image. They writes...We know the name of Regiment – the 53rd (Shropshire) Regiment of Foot, stationed in London, Ontario, CANADA at the time of the Fenian Raids (1866-1870). The tintype was found in a letter in a staircase when they demolished an old barracks. It made the newspapers when found in 1947. The mystery is why it was never mailed. The letter was from “No 354 John Banks C Company 53rd Regt” addressed to his "sister" “Mrs [Charles] Rayner/Pantile House/Barling near Rochford/Essex/England,” dated August 24, 1867.
We wonder if there are duplicates of this image which can offer further information. Can anyone add to our information about the Regiment and the people? If so, I would be delighted to hear from you regarding my research of this lost tintype that the soldier's sister never got to see. Its for an article in Photographica Canadiana, the journal of the Photograhic Historical Society of Canada (PHSC).
With just under one month to go before the London Festival of Photography opens the programme is now available. In addition a wonderful range of exhibitions there are two events of particular note. On 21 June John Falconer, Lead Curator at the British Library will be talking on Henry Fox Talbot (see: http://www.lfph.org/diary/henry-fox-talbot-intimate-talk-by-john-falconer) and on 24 June 'Professor' Mervyn Heard will be demonstrating the magic lantern (see: http://www.lfph.org/diary/the-secret-life-of-the-magic-lantern-the-exotic-the-erotic-and-the-bizarre) As both events are likely to be popular BPH readers are advised to book early.
Full details of the Festival can be found here: http://www.lfph.org
Middlesex University is seeking a Professor or Reader in the Practice or History and Theory of Photography. Our vision for the future is clear: to be internationally outstanding in teaching, research and knowledge transfer. We are proud of our research achievements and are looking for over 50 Professors and Readers, alongside Senior Lecturers and Lecturers to further strengthen research across the University.
To be appointed, you will need to be an outstanding researcher for your stage of career, ambitious for yourself, enthusiastic about collaboration, keen to ensure that your research makes an impact beyond academia, and committed to helping us achieve our vision. In addition to welcoming applications from outstanding individual researchers, we would also welcome approaches from established research teams.
The advertised post is full time unless otherwise stated.
School of Art and Design
With roots in the Hornsey College of Art, we have been enriching the creative, cultural and intellectual life of London and beyond for over 130 years. The School has thriving teaching and research and strong industry links in animation, fine art, fashion, graphic design, illustration, interior architecture and photography.
Our vision is to develop world-class research and teaching, underpinned by enviable links with the creative industries. The School is based in our £80m Grove building, providing unmatched facilities for art and design education and research.
For an informal discussion please contact Dr Maggie Butt, Deputy Dean M.Butt@mdx.ac.uk
Professor or Reader, in the Practice or History and Theory of Photography - A&D_7
An application form, job description and directions on how to apply for these posts are available by clicking 'Apply Online' here: http://www.jobs.ac.uk/job/AEJ755/professor-or-reader-in-the-practice-or-history-and-theory-of-photography-aandd_7/.
The National Media Museum has recently revamped its blog giving it a fresh new look and feel, which you can check out here.
