Blogs

The University of Oxford and the Bodleian Libraries have announced the endowment of the post of Bodley’s Librarian and Director of University Libraries, thanks to the generous philanthropic support of the Helen Hamlyn Trust. The trust has been a strong supporter of the Bodleian Libraries over many years, and this £4 million gift towards the post has also resulted in the release of £2 million in matched funding from the University. The endowment means that Bodley’s Librarian, the most senior position at the Bodleian Libraries, will from now on be known as Bodley’s Librarian and the Helen Hamlyn Director of the University Libraries. The funding will ensure the permanence of the role, and support the sustainability of the Bodleian into the future.

Richard Ovenden has held the role of Bodley’s Librarian since 2014. The libraries’ endowment – essential for the sustainability of the organisation – has tripled during Ovenden’s time at the head of the Bodleian. During his tenure Ovenden has championed photography, and led on adding photographers' archives to the Library's special collection, and he was behind the appointment of the Bern and Ronny Schwartz Curator of Photography. Amongst the Libraries' most significant acquisitions was securing the personal archive of William Henry Fox Talbot, which has heralded a period of major collecting in the field of photography. He has also suppported photography within the institution by encouraging exhibitons, conferences, events, and the award of an Honorary Fellowship to photographer Gary Fabian Miller (see left). 

More widely, under his leadership, the libraries have made transformational improvements to their buildings, especially the renovation of the Weston Library which was completed in 2015 – celebrating its tenth anniversary this year – the KB Chen China Centre Library, and the refurbished Radcliffe Science Library. Major acquisitions under his leadership include the only surviving copy of a ‘lost’ poem by the poet Shelley, the papers of John le Carré, the archive of the NGO Oxfam, and the Kohn Bach Manuscript. 

See: https://www.bodleian.ox.ac.uk/about/media/helen-hamlyn-trust-endowment

There's a really fascinating podcast interview with Sirkka-Liisa Konttinen on The Urbanaut just released on YouTube. Well worth having a look at.
https://youtu.be/uCAbzQcIqjo?si=N5DMY8JKC_WkDK9S

The British Film Institute is seeking a Curator and an Assistant Curator to join a team of archivists, a conservator and collections specialists in the BFI’s Special Collections team, working with one of the world’s most significant collections of photography and designs (posters, costume, production, animation), filmmakers’ paper archives, and special collections (scripts, pressbooks).  

Curator - closes 17 March 2025. Details here
Assistant Curator - closes 17 March 2025. Details here

Ever thought about studying history of photography at St Andrews? On Saturday April 5th, I'll be in St Andrews to meet anyone thinking of applying for the MLitt History of Photography program Those interested may wish to read the views of Sheila Masson, a former graduate of the program, available at https://alumni.wp.st-andrews.ac.uk/2023/12/22/from-mlitt-to-ncap/. And for further particulars on the program itself https://www.st-andrews.ac.uk/subjects/art-history/history-photography-mlitt/.

And to sign up for the Visiting Day on April 5th, please see https://www.st-andrews.ac.uk/study/meet-us/online/pg-online/pg/book/. Hope to see you there! Anyone otherwise interested but unable to make it in person is welcome to email me at lg321@st-andrews.ac.uk for the MLitt or other related study.

Best, Luke Gartlan

Image credit: Thomas Rodger, St Andrews, North Street, ca. 1860. Image courtesy of University of St Andrews Libraries and Museums.

For almost 50 years Flambards has been one of Cornwall’s most loved visitor attraction. It was a delight for all ages, but will be most firmly etched into the happy memories of many generations of Cornish children. But rising costs and falling visitor numbers forced its closure in November last year, and now its extraordinary contents will be auctioned. The auction will encompass all 50 astonishingly detailed shops in the Victorian Village, the similarly remarkable ‘Britain in the Blitz’ installation and the surrounding War Galleries, plus all the supporting historical displays, including the full size Concorde and the Avro Shackleton cockpit.

Of particular note to BPH is the inclusion of the photographer's shop front and contents. The shop front itself is being auctioned. The photographic contents include a studio camera, signage and studio furniture. 

The Flambards Sale
Lays Auctioneers
Penzance: 25-27 March 2025
See details here: https://www.davidlay.co.uk/auction/details/fl01-the-flambards-sale/?au=444

To mark what would have been photographer Mik Critchlow's 70th birthday on 7 March 2025, and two years since his passing, Woodhorn Museum in Northumberland has announced it will open a new gallery dedicated to the acclaimed photographer later this year. The Coal Town Collection will showcase more than 100 photographs from Critchlow’s Coal Town archive, which first went on display at Woodhorn Museum in November 2021. Chronicling the town and people of Ashington over four decades, ‘Coal Town’ provides a rare glimpse inside the town’s coalfield communities, and captures periods of major social, economic and political change in Northumberland. Critchlow personally selected each photograph from his archive for the original exhibition.

The Coal Town Collection will also feature personal items on loan from Critchlow’s family, including cameras he collected and used during his career, unseen photographs, and other personal ephemera that provide an insight into the man behind the camera.Mik's negatives and archive remains with his family. 

The new exhibition at Woodhorn Museum celebrates the legacy of Critchlow and his work, and the hugely important role he played in documenting the end of Northumberland’s mining history. Liz Ritson, Director of Programmes & Engagement at Woodhorn Museum, said: “With a career spanning almost 45 years, Mik’s work is one of the most important historical archives we have of the end of deep coal mining in Northumberland. It also captures the short and long-term impact of the industry’s closure on coalfield communities. His emotive and deeply personal photographs do more than capture a moment in time; they tell a story of the people and communities he was part of in the town of Ashington.

“Because of his close connections to the people he photographed, Mik was able to capture deeply personal moments in people’s lives. Throughout his career he sensitively documented moments of joy, sadness, and everyday life within the coalfield communities in Ashington. The new gallery celebrating his extraordinary body of work will give visitors to Woodhorn the opportunity to experience and enjoy his work, in Mik’s own words, “…back home where they all belong.”

Born and raised in Ashington, Mik Critchlow amassed an archive of over 50,000 pictures during his 44-year photography career. He began photographing the people and street life of his hometown in 1977 after seeing an exhibition by The Ashington Group (also known as the Pitmen Painters).

Part of a mining family, Mik often referred to coal as being ‘in our blood’. His family moved to Northumberland in the mid-1800s to work in the region’s coal mines. Mik’s grandfather worked at Woodhorn Colliery for 52 years, his father spent 45 years as a miner, and his two brothers also spent 25 years working underground. Mik died on his birthday  - 7 March 1955 -  aged 68 in Ashington, Northumberland.

Maureen Critchlow, Mik’s wife, said: “Mik saw the Coal Town exhibition as the culmination of his life’s work within the area. Even though he’d worked on many projects further afield, it was this one, spanning a period of over 40 years, that was most special to him. He had a deep understanding and empathy for the people who lived and worked in his home town.

“Mik had a longstanding association with Woodhorn Museum, having exhibited his work there many times over the years, and attending many a Miner’s Picnic day. The museum also holds a collection of his original exhibition prints from the 80s in its archive. He would have been honoured to have his work permanently housed in the museum to enable many more people to view it. It is fitting, therefore, for the anniversary of his 70th birthday to coincide with the announcement of the new Mik Critchlow gallery.”

Shona Brown, Mik’s daughter, added: “My Dad had an effortless ability to capture people’s emotions and personalities while simply going about their daily life. Quite often, when looking back on the mining era, it’s easy to automatically think of ‘the miners’ themselves, and not their families or the effects the devastating loss of the industry had on the wider community. The selected images were personally chosen by my Dad back in 2021, capturing community life over four decades and creating a breathtaking display. This permanent home of The Coal Town Collection will ensure not only that his legacy lives on, but also the memories and subjects in the images. It’s been a pleasure working closely with the talented team at Woodhorn Museum and I’m confident he would be delighted with the end result.”

Mik Critchlow’s work has also been exhibited and published by Side Gallery, Amber-Side Collection, Brunel University, Durham Art Gallery, Arts Council England, Northern Arts, British Journal of Photography, and Creative Camera. In 2019, his third solo book, Coal Town – which features a collection of images from the exhibition – was published.

Speaking about the Coal Town exhibition in 2021, Mik said: “For the past 44 years I have photographed the town, people and surrounding areas of Ashington, Northumberland, the town in which I was born, educated and still live. Ashington as a community owes its very existence to coal mining, and although the extraction of coal was the major dominant factor in their lives, miners and their families shared many interests. There was always a strong tradition of community life. People would often ask me, ‘Why are you photographing me? I’m not royalty’, and I would say, ‘you’re my royalty, you’re just as important’. I’ve always told people they’re important. I was photographing them for history really. After all these many years, I feel that I'm bringing these people back to life again, back home where they all belong." 

The Coal Town Collection will open at Woodhorn Museum in May 2025. The date will be announced shortly.

From 1 April 2025, North East Museums (formerly Tyne & Wear Archives & Museums) will manage Woodhorn Museum, Hexham Old Gaol and Morpeth Chantry Bagpipe Museum on behalf of Northumberland County Council.

For more information about Woodhorn Museum visit: www.museumsnorthumberland.org.uk.

Images: © Mik Critchlow. Top: Mining apprentices with winding wheel, Ashington Colliery, 1981; Below: Miners coming off shift, Ashington Colliery, 1981. 

The landmark British photo-magazine, Picture Post (1938-57), was launched in the era of the Spanish Civil War and the Popular Front. Conceived for Hulton Press by Stefan Lorant (a Hungarian editor exiled from Nazi Germany), Picture Post had a transnational staff and a global outlook. It was the leading British example of an international phenomenon – the birth of photojournalism and the photo-essay. The equivalent of Life in the US and Paris-Match in France, the magazine achieved circulation figures of 1.7 million.

Before the establishment of large television audiences, the photographs published in this general readership magazine offered audiences a shared perspective on the UK and its place in the world. Picture Post reported extensively on the Second World War as it unfolded across the globe, as well as documenting both the Cold War and the wars of decolonization after 1945. It helped popularise a progressive attitude to society and politics, shaping the debate about postwar reconstruction and the establishment of the welfare state. Yet, its coverage also reflected sexist and racist ideas of the era, as well as patronizing or critical perspectives on disadvantaged communities and young adults.

To mark the opening of a major exhibition about Picture Post at Amgueddfa Cymru - Museum Wales, we will be hosting a one-day public workshop that aims to bring together an international cohort of researchers, curators, archivists and librarians to discuss the development and impact of Picture Post.

We invite proposals for 15-minute papers or panels of 3 to 4 contributors. Please send a title, abstract (250 words) and short biography (150 words) to Tom Allbeson e: allbesont@cardiff.ac.uk.

We encourage contributors to engage with the multifaceted histories relating to the genesis, development and legacy of Picture Post. We are interested in a broad range of methodological approaches to the emergence of photojournalism and the photo-essay format pioneered by mid-century, general readership photo-magazines.

Picture Post (1938-57): Genesis, History & Legacy of a Photo-Magazine
One-day workshop, Cardiff, Friday, 13 June 2025

Deadline for CFP: Friday 14 March 2025
Programme announced: Friday 14 April 2025

Read the full call here (CFP - Picture Post Workshop, June 2025.pdf)

Organisers:
Dr Tom Allbeson, Reader in Media & Photographic History, Cardiff University, allbesont@cardiff.ac.uk
Dr Bronwen Colquhoun, Senior Curator of Photography, Amgueddfa Cymru - Museum Wales, bronwen.colquhoun@museumwales.ac.uk 
The event is co-hosted by the Tom Hopkinson Centre for Media History (School of Journalism, Media & Culture, Cardiff University) and Amgueddfa Cymru - Museum Wales. 

Do you have a broad knowledge of the history of photography and photographic technologies? Do you have the ability to research interesting stories in collections and then communicate this complex information to non-specialist audiences in an engaging way?

About us
The National Science and Media Museum holds internationally significant collections of photographic, film, television, sound and games technologies. In the photography and photographic collections alone, we care for millions of individual photographs and cameras, plus related technologies.

We are now recruiting for a Curator of Photography and Photographic Technology to join on a fixed-term, 12-month, maternity cover contract. This is a full-time role working 35 hours per week, based at the National Science and Media Museum in Bradford with hybrid working also available.

About the role
The Curator of Photography and Photographic Technology is a key role within the museum’s curatorial team, working with and championing our world class collections of photography and photographic technology.

You will work with colleagues to understand, care for and facilitate access to our collections. This includes improving collections information and catalogue records, appraising and progressing potential acquisitions and undertaking collections reviews.

You will facilitate access to collections by responding to enquiries, developing content for displays, online content or in-person talks and tours, and by hosting research visitors. There is also scope for you to identify and develop your own project or specialisms within the period of this role. This might respond to recent or emerging technologies such as digital photo manipulation or generative AI, or it might respond to historic materials already held in the collection.

About you
Joining us, you will have a broad knowledge of the history of photography, of historical and contemporary photographic technologies and of their relationship to the wider history of science and technology. You will have good oral and written communication skills with experience of communicating complex information to non-specialist audiences, for example in exhibitions, articles, blogs, outreach or teaching.

Crucially, you will have good research skills which will enable you to find interesting stories related to our collection. You will be able to build relationships with internal/external peers, subject specialists and organisations and you will have a good understanding of collections management and curatorial procedures.

Curator of Photography and Photographic Technology
Bradford: National Sicence and Media Museum
Fixed term (12 months), maternity cover
Closes: 26 March 2025
Details here

The Hong Kong History Centre, based at the University of Bristol,put out a call for donations of historic materials, especially photographs, to its ‘Hong Kong Collection’, which is held in the University of Bristol Library’s Special Collections.

Established in 2022, and building on the previous seven years of successful work of the Hong Kong History Project at Bristol, the University’s Hong Kong History Centre is the only such research centre in the world. The Centre supports research on the history of Hong Kong and its peoples and provides public engagement and outreach, with the aim of raising public awareness of the history of Hong Kong and its global connections. The Centre leadership team consists of co-directors Dr Vivian Kong and Professor Robert Bickers, and Research Director Professor Ray Yep.

The Hong Kong Collection preserves materials with significant research value to the study of Hong Kong History. The collection contains archival materials in a wide range of physical and digital formats and media, in both English and Chinese. No other institution in Great Britain has the collection of material relating to Hong Kong’s history as a strategic priority. The photographic collection stands out as a highlight, offering a visual narrative of the evolving landscape and lives in Hong Kong across different periods. Our goal is to make these photographs freely accessible online internationally.

The Centre is seeking offers of donations of original photographs (loose or in albums), negatives, post cards, or magic lantern slides. It is looking for material that is likely to be of significant interest to scholars and students seeking to understand the diverse histories of Hong Kong. These could be small collections, or large ones; they could be rich in records of momentous events, or institutions, or rich in evidence of family life and social history. We are happy to hear about all sorts of materials, such as family letters, diaries, unpublished memoirs etc.

Professor Bickers was the founder of the Historical Photographs of China project which has now concluded, although the website remains live. 

Read more here: https://www.hkhistory.net/hphk-call/

Image:  Denis H Hazell, View from Victoria Peak, looking East towards Mount Parker, Hong Kong, 1924. https://hpcbristol.net/visual/Bk09-06. Courtesy: Historical Photographs of China. 

NEUMEISTER Münchener Kunstauktionshaus, in Munich, is offering a very early Richard Beard daguerreotype at auction on 19-20 March 2025. The subject is Prince Ferdinand of Saxe-Coburg-Saalfeld, founder of the House of Saxe-Coburg-Koháry. The prince and his family were visiting Queen Victoria and Prince Albert Windsor in January/February 1842 and it is possible that the daguerreotype was made during the visit. The daguerreotype is estimated at 350-500 Euro.

The lot description reads: 
Richard Beard and employees
1801 East Stonehouse, Devon - 1885 Hampstead
Prince Ferdinand of Saxe-Coburg-Saalfeld, founder of the House of Saxe-Coburg-Koháry
Inscribed "Beard / Patented" on the inner metal frame. Daguerreotype. Image size: 5 x 3.8 cm. Set in a red leather case. Damaged.

Ferdinand was the second son of Duke Franz Friedrich Anton of Saxe-Coburg-Saalfeld (1750-1806) and Countess Auguste Reuß zu Ebersdorf (1757-1831). In 1816 he married Countess Maria Antonie Gabriele Koháry de Csábrág et Szitnya (1797 Budapest - 1862 Vienna), the heiress of the House of Koháry. The House of Saxe-Coburg-Koháry emerged from this marriage. The couple had four children, including Prince August (1818-1881), who would marry Princess Clémentine d'Orléans.

The daguerreotype technique was the first commercially usable photography process in the 19th century. It is named after the painter Louis Daguerre, who helped develop it. It was published in 1839. In England, Richard Beard became aware of the new technology and secured the patent for England and Wales. In 1841, he founded the first English photography studio. Most of the photographs taken in Beard's studio were taken by employees. In our case, the name of the metal frame also refers to this.

Provenance: Clémentine, née Princess of Orléans (1817-1907), to her son Tsar Ferdinand I of Bulgaria (1861-1948). Estate of Dr. Alexander Eugen, Duke of Württemberg (1933-2024).
Provenance: estate of Dr. Alexander Eugen, Duke of Württemberg (1933-2024).

March-Auction and Ducal Treasures – Noble Sale. From the House of Württemberg
19-20 March 2025
Lot 1243
See: https://www.neumeister.com/en/auctions/ducaltreasures/#c27751

I used Samuel Oglesby as an example of an itinerant photographer in a blog I wrote, here on BPH, in March 2023. I am currently writing his life story for inclusion in the PCCGB’s book to commemorate their 50^th Anniversary. I am fortunate to have assembled a collection of his cartes de visite from the 1860s onwards over the years.

I am now looking for assistance to try and ascertain whether any of his earlier output is known to exist, in any members’ or institutions’ collections. That would be daguerreotypes from his time in Australia (1849 – 1851) or daguerreotypes or prints produced as an itinerant photographer in England in the 1850s in East Anglia and the North East.

Any leads that you might be able to provided would be appreciated, and eagerly followed up. Thanks!

For our research for the photo exhibition 'Mad about the boy' we are looking for female photographers that photographed their husband/boyfriend (lover) nude.  'Mad about the boy' is about love, lust, intimacy and the relationship between woman (as photographer) and man. It is also about aging, vulnerability and caring for each other or simply about being in love. 'Mad about the boy' is providing us a realistic image of women on their lover, who in some cases is now an ex or deceased. 

Finding these images, however, turns out not to be so easy. Museum collections and image archives overflow with nude photos taken by male photographers of their wives/girlfriends. But why are so few images visible of female photographers who have immortalized their beloved naked? Is the male body not attractive? Do men prefer not to be photographed naked? Or are these photos hidden in boxes and hard drives because women think it will hurt their careers if they show these images?

The research we began in 2022 is still continuing. By now, spanning the period from 1915 to the present, we have found over 70 photographers from Asia, Europe and the United States. They form a wonderful, promising and growing base of “Mad about the boy”. It ranges from Imogen Cunningham who photographed her husband as a faun in 1915, to the very loving documentary work of Bertien van Manen. From very established names such as Sally Mann and Nan Goldin, to younger photographers such as Lina Scheynius courtships and Nagashima Yurie whose book 'Not Six' about her boyfriend was published.

Even though we have already found quite a few photos, there are still some “gaps”. We have only a few photos from the beginning of photography until approximately 2000, almost no photographers of color and a few outside Western Europe and the US.

If know any – please let us know.

e: madabouttheboyexpo@gmail.com

Marloes Heineke is a photographer, portfolio reviewer and photo editor at NRC and Parool.
https://www.instagram.com/marloeskafoto/

Dirk Kome is a photographer, researcher and exhibition maker.
www.dirkkome.nl

Attached photos are from the pre-publication of our research in the Dutch National Newspaper NRC. All credits are with the photographers. 

There are a number of new displays and exhibitions in Edinburgh. At the National Gallery a new display within the Scottish galleries looks at textiles and fashion through a small selection of calotypes (positives and negatives) of Hill and Adamson. They highlight the remarkable skill of pioneering photographers Hill and Adamson in using the process to showcase the fashions of the 1840s. They embraced the technical challenge of photographing the varied textiles and fashions of the day. Still experimenting with the calotype process, they successfully reveal the delicate pattern on a pair of lace gloves, the rough wool of tartans and tweeds and the sheen of silk.

At the Scottish National Portrait Gallery (SNPG), an exhibition celebrates forty years of collecting photography. There are highlights from Scotland's world-class collection of over 55,000 photographs. Find famous faces, gems of early Scottish photography and new acquisitions which push the boundaries of photography. Arranged thematically - Portraiture, Experimentation, Documentary - the displays bring historical photography and contemporary photography together to hint at the breadth of the collection. Side panels note the need for inclusivity and ask visitors to recommend contemporary photographers whose work should be included in the collection, the other reminds us of the archive and a new acquisition (see below). 

Just opened in the King's Gallery at the Palace of Holyroodhouse is Royal Portraits which was originally seen in London. In the balcony space and side gallery the exhibition feels smaller than that in London, but it focuses more directly on the photography with less contextual art. It's engaging, with work photography from Cecil Beaton to Leibowitz, and it shows how royalty has been pictured and used photography, and how they have been photographed has changed over the century.  

Stills gallery current student show is just about to end and a new exhibition from a Hayward touring show will be installed. The popular photobooth remains in situ.

The Annan Archive acquisition

The SNPG's 40th anniversary show teases visitors with a few objects from a very significant recent acquisition, the Annan Archive, This has recently been purchased from the Annan family, with the support of the Art Fund. The archive is extensive and covers both the family and the business of T & R Annan in which, of course, photography features strongly. One case in the exhibition, shows a sample of what is included with several of James Craig Annan's many exhibition medals, his notebook recording exhibition prints; an early ambrotype portrait of Thomas Annan, and his passport to Vienna where he met Karl Klič and negotiated the right to operate his printing process. These are just a very small sample of the entire archive.

During a recent visit, the Ben Harman and Louise Pearson, the photography curators, showed me an original collodion negative (one of a number) from Old Streets and Closes, Hill & Admson prints and negatives, D O Hill portrait sketches and examples of the firm's printing.

National Galleries Scotland and the Art Fund are due to make a formal announcement of the acquisition shortly, and the gallery will be appointing someone to work on the archive readying it for public access. It is very likely that an exhibition exploring the role the firm and the Annan family members played within photography, printing and within Scotland will be held in the future.

BPH will continue to follow work on the archive as it progresses. 

See: 
Hill & Adamson | Fashion & Textiles 1843–1848, until 8 June 2025
Celebrating 40 Years of Scotland’s Photography Collection, until 16 March 2025
Royal Portraits: A Century of Photography, until 7 September 2025
Stills - centre for photography

Photographs: Michael Pritchard

I have been looking at early calotypes by Robert Adamson (1821-1848), partner of D O Hill in Edinburgh from 1843) and I now think he and his brother Dr. John were using interesting techniques to 'record' buildings with corrected vertcals - rather than just photographing them. I am beginning to think he might be regarded in this respect as the first professional architectural photographer.

With the early cameras available to him he would not have been able to raise the lens panel (that development seems to have happened after 1850). So I think he was moving the calotpe negative around, inside a larger camera, in order to keep the verticals vertical and adjust the composition. The print below is from the Clarkson Stanfield album at the University of Texas: https://hrc.contentdm.oclc.org/digital/collection/p15878coll123   It was sold to the artist Clarkson Stanfield (1793–1867) before the 1st October 1845. 
As far as I know there is no negative for this image so I have inverted and flipped it. This is what would have appeared in the back of Adamson's camera (I am claiming this for Adamson alone as D O Hill is shown lying in the foreground - interestingly he was present in most of the calotypes taken in Greyfriar's Churchyard).

Using the vignetting I have indicated the covering power of the lens with the black circle. (This is of course a positive - in the negative the dark corners here would have been unexposed) You can see that Adamson moved the negative down in the camera back, in order to reduce the foreground and bring the castle into a better position, while keeping the verticals. Given that the image is 6¼ x 4½ he was probably using the camera used for 8½ x 6½ inch negatives (See Colin Ford in the introduction to An Early Victorian Album (New York, 1976) for a list of the sizes H&A used)

  I am working on other examples of this manipulation in Robert's work and some of them are quite remarkable.
I would welcome comments and/or corrections!

Joe

The National Galleries of Scotland have an exciting opportunity within our enthusiastic and dedicated Collection & Research team. We’re looking for a highly motivated and organised individual to assist colleagues in the Portraiture and Photography curatorial team with all aspects of curatorial work.

Do you have a strong interest in an art historical subject area related to the National Galleries of Scotland portrait and/or photography collections? Are you keen to develop your skills, knowledge and experience across a variety of curatorial activities? Do you have the ability to take the initiative together with proven experience of meeting deadlines? If so, we want to hear from you.

In this role you’ll assist with all aspects of curatorial work relating to the collection and programme associated with the Portraiture and Photography curatorial team. This will include assisting with the research, organisation, administration and delivery of exhibitions and collection displays; researching artworks in the collection and answering public enquiries. You’ll also facilitate access for visitors to view artworks not on display, support the acquisition programme and help to develop and create interpretation about the portrait and photography collections for our audiences. You’ll be guided and supported by the Portraiture and Photography curatorial team in carrying out the responsibilities of the role. 

Assistant Cuartor, Portraiture and Photography
Full-time and permanent
Sallary: £29,888-32,602, plus benefits
Hybrid/flexible working

Full details: https://ngs.ciphr-irecruit.com/Applicants/vacancy/296/Assistant-Curator-Portraiture-and-Photography
The closing date for applications is 12 noon on Monday, 10 March 2025.  

Lawrences Auctioneers is holding an auction of photographs as part of its sale of Books, Manuscripts & Photographs online on 7 March 2025. of particular note are prints from Martin Parr, Tessa Traegar, Peter Lavery and the late Brian Griffin. Historical prints include work from Madamae Yevonde, a topographical album and several lots of photographs from Pakistan and Nepal by Lt. Col R.B. Phayre MC, FWIPS.

Alongside these are several lots of journals and books, plus research files, from the late John L Wilson (see obituary here). These include publications (non-photographic) from William Henry Fox Talbot, a run of History of Photography and John's own meticulously researched PhD thesis The Photographically Illustrated Book 1840-1925: The Changing Response of the Line Artist and the Photographer to the Technical Developments in Photography, 2 Volumes, 1984-1987, and his The Literature of Photography 1839-1905 (unpublished). 

See more here

Image: lot 4070598. BRIAN GRIFFIN (BRITISH 1948-2024). Part of a a collection of fourteen photographs from the Work Series, 1986-87. 

In 1974 Thomas J. Cooper and Paul Hill, then photography lecturers at Trent Polytchnic, Nottingham set out on a four year long project that resulted in them interviewing probably the most influential photographers of the first part of the 20th century. The interviews were compiled into Dialogue with Photography and an ebook version has just been published https://amzn.eu/d/33MywJV .

The interviewees were, according to the New York Times, the 'movers and shakers of 20th century photography' and they were originally published in Camera (Lucerne). On seeing the interviews, editor Nancy Meiselas (sister of Susan) at Farrar, Straus & Giroux, New York signed up Hill & Cooper, and a year later FSG co-published the book with Thames & Hudson, London. Dewi Lewis then took on that role in the UK until last year. As all the interviewees are deceased, the book is unique, and there is nothing like it around today. In it one can read why Ansel Adams thought The Family of Man exhibition in 1956 took back photography as an art form 10 years, how photography never completely satisfied Henri Cartier-Bresson, that historian Helmut Gernsheim never paid more than £4 for any photograph in his stupendous collection; or about the effects World War Two had on George Rodger and, more surprisingly Cecil Beaton, together with anecdotes from Paul Strand about Alfred Stieglitz and Georgia O'Keeffe, Imogen Cunningham on Steichen, Brett Weston on his dad, Edward, and much more revealing photographic history - AND gossip....

How did the owners of the country house engage with photography in the 19th and early 20th centuries? Mainly using the example of the Pennymans from Ormesby Hall in Teesside, and with some examples from W W Winter Heritage Trust collection, Jonathan will explore how photographers were employed, photographs used in the house and photography became a hobby for many including the Pennymans.

Jonathan Wallis has worked in museums and heritage for over 30 years. He began his museum career as a conservator at the Ashmolean Museum in Oxford, later moving to a number of other museums before joining Derby Museums in 2001. After 17 years he left to work as a regional curator for the National Trust based in Yorkshire and the Northeast. Jonathan’s interests in collections are wide ranging – from British Bronze Age metalwork to Joseph Wright of Derby. His latest research explores the photographic history of a country house, Ormesby Hall, on the outskirts of Middlesbrough and Scarborough's Victorian photographic studios. He has been the Chair of the W W Winter Heritage Trust for the past seven years.

Bookings, by donation, will be shared between the W W Winter Heritage Trust and the Derbyshire Archaeological Society.

The W W Winter Lecture: Photography and the Country House
Jonathan Wallis
Online: 11 March 2025 at 1930-2100 (UTC)
By donation
Bookings here: https://www.eventbrite.co.uk/e/the-w-w-winter-lecture-photography-and-the-country-house-tickets-1077598228309?aff=oddtdtcreator

The Rijksmuseum in Amsterdam presents a one-day international symposium exploring the vital role of photojournalism and documentary photography in how we perceive our present, understand our past, and view the future. Future Memories brings together photographers, academics, and representatives from art and media institutions. Together, we will discuss the influence of conventions and tropes in visual culture, explore contemporary practices of photographers, curators and institutions, and examine how they perceive the evolving role of photography. The symposium is open to both professionals and the public.

The symposium can be followed physically in the Rijksmuseum and online. 

The price of the ticket includes full access to the Rijksmuseum, where you will have the opportunity to visit the exhibitions on display, including Carrie Mae Weems: Painting the Town, and American Photography. Refreshments and lunch will be provided.

Symposium: Future Memories | How Photography Shapes Our Understanding of the World
14 May 2025
Amsterdam, Rijksmuseum
Details, programe, and booking here