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12201183654?profile=originalDo you have any stereo cards of scenes in or around Newbury (Berkshire, UK)? This is a request for your help with some research I'm doing.

Below is a nice example of a card by the professional Newbury Photographer E T Brooks. It was probably one of a short series of cards produced for sale to tourists. I would imagine it dates from the 1870s. This card shows the surprisingly little changed scene of the canal swing bridge in West Mills.  If you view in 3D there are a charming row of very small children arrayed across the bridge. 

Do you have any stereo cards of Newbury?  If so I would love to hear from you and see the cards.  Both Professional and Amateur images are of interest. Thank you!

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12201192653?profile=originalThe nature, form, and impact of the book changed dramatically with the introduction of photography, altering the way books would be made, would appear, and would help transform the communication of ideas in visual form. In parallel to this phenomenon, the ability of the photograph to reach its widest audience would entail an essential partnership with the form of the book. The nomenclature of photography remains tied to the book: we think of the photographic “print” and of “printing” a photograph, even in an era where digital imagery dominates. 

Alongside these intertwined histories is the current phenomenon of the “photobook,” with a great resurgence and flowering of studies on photobooks, and of contemporary photography’s increased creative engagement with the format of the book through dealers, fairs, specialized auction sales, and publications, and through a wealth of practice. 

This course is designed to explore the history of the photographic book since Anna Atkins’s Photographs of British Algae was first privately circulated in 1843. It will be comprised of six two-hour sessions delivered online, based on the collections of Oxford’s Bodleian Library and delivered by Richard Ovenden. 

The five sessions will emphasise the physical form of the photographic book, an element neglected by most of the recent studies of the genre. It aims, therefore, to bring together the twin disciplines of the history of the book and the history of photography. Classes will be structured around the examination of exemplar cases—and will examine these case studies through paying close attention to the materiality of the books: paper, printing techniques, and design, as well as distribution, sales, and prices. Many of the examples will be illuminated through supporting archival evidence.

I-45v. The Photographic Book since 1843
Richard Ovenden
Course Length: 12 hours

Course Week: 5–10 June 2022
Format: online only
Fee: $800

See details here: https://rarebookschool.org/courses/illustration/i45v/

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12201191480?profile=originalJust finished a Photogravure on Copperplate (Heliogravure) work with three steroscopic photogravures. The work is based on some data found on the epistolar relationship between Charles Wheatstone and William Henry Fox Talbot about stereoscopy and photogravure.

More details in a post of my blog: https://carlesmitja.net/2021/12/07/xix%c2%b7xxi-project/?fbclid=IwAR35evLf-TR_vyNFzyNT4jN2EnCpjD_E-BiWqEJO6ulCnpZ_chCp6xb4po4

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12201185079?profile=originalThe latest addition to my collection is this Howard Grubb aluminium Aplanatic 12x10 lens made in Dublin, probably in the late 1890s. This was probably one of the earliest aluminium lenses made by Grubb. Were there aluminium lenses from other manufacturers before this time? Aluminium was lighter than brass, but was then new as a refined product for manufacturing and very expensive to produce.

The lens has a diaphragm aperture, shown below at f22.

The lens has an aperture scale showing f11.3, 16, 22, 32, 45 and 64. F 11.3 was used in the Royal Photographic Society aperture scale which was introduced between 1895 and 1902. Any information about the date of introduction of the RPS scale might help to date the lens. I have access to a works notebook which provides finish dates for various Grubb lenses made in Dublin, but it ends before this serial number.

This might point to a specialised application which could have been for astronomical, scientific, industrial or military purposes. Meteorological use has also been suggested as the orange would enhance cloud formations. The Grubb works had also produced astronomical instruments for many years before this lens was made and was also getting involved in the manufacture of military optics around this time.

There is no sign of the signature on the edge of the lens which was there in the time of Howard's father, Thomas Grubb. This was mentioned in a previous blog post. 

All helpful suggestions would be gratefully received.

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Finally, the real mystery. The lens itself is orange coated, just like an orange filter for enhancing contrast.

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David Wise

12201183077?profile=originalYou may be interested in an article I have just published in Litro on the Hartlepool photographer David Wise - he is a figure who deserves greater recognition.

I first came across the photographs of David Wise in the Independent Magazine (24 March 1990) where they illustrated an article about drinking in Hartlepool pubs. The black and white pictures were raw and honest – brutally so – but they also depicted moments of great tenderness: a man looking at his crying girlfriend unable to comfort her, a drunken kiss, a last desperate hug before kicking out time...

Read the full article here:

https://www.litromagazine.com/every-saturday-litro-magazine-publishes-essays-that-reach-far-beneath-the-surface/hard-beauty-the-photographs-of-david-wise/

David

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12201180465?profile=originalThe history of photography in the 19th century has been constructed according to its creators, techniques and geographical origin, and there are still many possible ways of looking at its significance. Among them is that of the photography of civil engineering, the nature of which is explained within the historical, political, economic, cultural and technological context of the 19th century. The layout through this book forms the map that defines and introduces us to these images, from which to continue exploring meanings in such exciting areas as landscape, the development of technology and the aesthetics of these images that were born in the technical field of engineers but which, in reality, it is their collaboration with photographers that makes them a representation of the real change in nineteenth-century society towards the progress that will affect its ways of moving, relating and living.

Imágenes del progreso.pdf

Index

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12201181672?profile=originalThis event will focus on photographic archives and histories of empire. Three speakers will present short interventions (10 minutes) on the challenges and opportunities of working with such material today. The speakers will address methodological, ethical, and cultural considerations, offering case sy reflections on the changing research landscape for histories of empire in the archive.

Speakers:
Helen Mavin, Head of Photographs at Imperial War Museum;
Maria Creech, PhD student at Cardiff University’s School of Journalism, Media and Culture; AHRC Collaborative Doctoral Award Student in partnership with the Imperial War Museum;
Tom Allbeson, Lecturer in Cultural History at Cardiff University’s School of Journalism, Media and Culture.

Chair:
Claire Gorrara, Dean for Research and Innovation for Cardiff University’s College of Arts, Humanities and Social Sciences and Professor of French Studies at the School of Modern Languages.

Rethinking Histories of Empire: Visual Cultures in/or the Archive
Wednesday, 8 December 2021, 14:00-15:00
Free information and book here: https://www.cardiff.ac.uk/events/view/2584682-rethinking-histories-of-empire-visual-cultures-inor-the-archive

An online roundtable event as part of the Global Language-based Area Studies research theme at the School of Modern Languages.

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12201182466?profile=originalAtelier Éditions has announced announce the release of Nudism in a Cold Climate: The Visual Culture of Naturists in Mid-20th Century Britain by Annebella Pollen, available in the UK/Europe at the end of November, 2021 and the USA/Rest of World early January, 2022.

Annebella Pollen’s richly illustrated study examines the idiosyncratic phenomenon of social nudism, or naturism, in 20th-century Britain, a place known for its lack of sunshine and conservative attitudes to sex. By bringing naturists’ own words and images to light, Nudism in a Cold Climate tells this little-known but fascinating history for the first time.

From the 1930s, thousands of people appeared nude in books and magazines associated with the nudist movement, drawing attention to the cause, attracting public curiosity and inciting moral panics. Naturist nude photography offers a fascinating lens on moral, legal and aesthetic shifts over a century of dramatic social change, including national beliefs about sex and gender, ethnicity and class, pleasure and power.

Nudism in a Cold Climate offers readers a fascinating glimpse behind British veils of propriety and a unique view inside an enduring experimental culture that sought to radically challenge, liberate and ultimately transform conventional attitudes to bodies and their representations.

Details here: 

Nudism in a Cold Climate: The Visual Culture of Naturists in mid-20th Century Britain
Annebella Pollen
272 pages including over 100 archival photographs
Printed sustainably in Belgium
ISBN # 978-1-7336220-6-6

See: http://atelier-editions.com/store/nudism-in-a-cold-climate-by-annebella-pollen

Read The Guardian review here: https://www.theguardian.com/artanddesign/2021/dec/03/from-utopian-dreams-to-soho-sleaze-the-naked-history-of-british-nudism

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12201180061?profile=originalAs part of the British Society for the History of Mathematics meeting being held at the University of Warwick on 11 December Deborah Kent will give a paper “Fit for making a decent observation”? Photography and the British eclipse expedition of 1871. 

The abstract reads: 
Nineteenth-century mathematical innovations revolutionized eclipse prediction to allow ample time for organising viewing expeditions. From the 1850s onwards, developing technologies of photography and spectroscopy offered new tools to train on open questions about the size of the universe and the chemical composition of the corona. After opportunities to observe eclipse totality in India in 1868, in North America in 1869, and in Spain in 1870, hopes ran high for additional insights in 1871. The utility of photography was particularly under scrutiny in anticipation of a much rarer Transit of Venus in 1874. The work of British observing parties in 1871 not only confirmed and extended prior results, but also gained some notoriety for an indigenous Indian astronomer and solidified the significance of photography as a research tool.

Details and registration here: https://www.bshm.ac.uk/events/christmas-meeting

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12201190660?profile=originalBorn in England in 1958 I emigrated to Australia in 1986. I started taking photographs at the age of 17 before formal studies began in Australia at the age of 30. My photography is as much European as it is Australian and my archive contains many photographs of England, France and Europe.

In 2021, I celebrate 30 years of art practice with the creation of a new website (https://marcusbunyan.com), the first to contain all my bodies of work since 1991 (note: more bodies of work still have to be added between 1996-1999).

My first solo exhibition was in a hair dressing salon in High Street, Prahran, Melbourne in 1991, during my second year of a Bachelor of Arts (Fine Art Photography) at RMIT University (formerly Phillip Institute out in Bundoora). Titled 'Of Magic, Music and Myth' it featured black and white medium format photographs of the derelict Regent Theatre and the old Victorian Railway's Newport Workshops.

The concerns that I had at the time in my art making have remained with me to this day: that is, an investigation into the boundaries between identity, space and environment. Music and "spirit" have always been an abiding influence – the intrinsic music of the world and the spirit of objects, nature, people and the cosmos ... in a continuing exploration of spaces and places, using found images and digital and film cameras to record glances, meditations and movement through different environments.

30 years after I started I hope I have learnt a lot about image making ... and a lot about myself. I also hope the early bodies of my work are still as valid now as they were when I made them. In the 30 years since I became an artist my concerns have remained constant but as well, my sense of exploration and joy at being creative remains undimmed and an abiding passion.

Now, with ego integrated and the marching of the years I just make art for myself, yes, but the best reason to make art is ... for love and for the cosmos. For I believe any energy that we give out to the great beyond is recognised by spirit. Success is fleeting but making art gives energy to creation. We all return to the great beyond, eventually.

Each photograph in this posting links to a different body of work on my new website. Please click on the photographs to see the work.

Dr Marcus Bunyan

 

SEE THE FULL POSTING AT https://wp.me/pn2J2-igh

 

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Marcus Bunyan (Australian born England, b. 1958)
An English fair
1993
Gelatin silver print

 

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Marcus Bunyan (Australian born England, b. 1958)
An English fair
1993
Gelatin silver print

 

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Marcus Bunyan (Australian born England, b. 1958)
Manchester Mardi Gras
1993
Silver gelatin print

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12201141484?profile=originalThe annual Kraszna-Krausz Book Awards celebrate excellence in photography and moving image publishing. They recognise individuals who have made an outstanding or original contribution to the literature of, or concerning the art and practice of, photography or the moving image. Two winning titles are selected: one in the field of photography and one in the field of the moving image. The author/s or editor/s of each winning book receive a £5,000 cash prize.

Submissions are welcome from publishers, authors, collectives and individuals self-publishing their work. There is no entry fee.

  • Books must be published between 1 January and 31 December 2021
  • Books must be published, distributed or available to buy (including online) in the UK

Further details, terms and conditions, and the entry form for the 2022 Awards can be downloaded here.

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12201194267?profile=originalA conference based upon the research project “Forms and Formats of Photography’s Institutionalisation” at the Institute for Advanced Study in the Humanities Essen (KWI), will take place on Thursday and Friday, 23/24 June 2022, organised by Anja Schürmann (KWI Essen) and Kathrin Yacavone (University of Cologne). A call for papers has been issued below: 

The term ‘institutionalisation’ refers to a process in and through which things, people, actions, and relationships are typified, standardised, and thereby fixed for a longer period; in the process the appearance, reception and interpretation of the physical objects which are part of institutions are shaped and defined. In the context of the current debate surrounding the foundation and possible functions of a Federal German Photography Institute, the conference is dedicated to the historical, political, sociological, aesthetic and photo-historical discourses on the institutionalisation of photography as a medium, a cultural and social practice, as well as an art form, document and technology. The forms and formats, as well as the traditions and practices, of the classification, collection, exhibition, conservation, archiving and sale of photographic images will be examined from various cultural-critical perspectives and taking into account diverse methodological approaches, both theoretical and practical.

The starting point is not primarily individual images, monographic groups of works, modes (portrait, landscape, etc.) or genres (art photography, advertising and scientific photography), but rather the question of how various practices in dealing with photography as an art and medium have (co-)shaped these categories and to what extent they are subject to historical and cultural value shifts and changes that are tied to issues of institutionalisation (without being completely absorbed by them). The temporal and geographical focus of the conference will be Germany since 1945, while comparative perspectives, drawing international comparisons between different (European) countries, are equally welcome.

  • To discuss these and related issues during the two-day conference, we are inviting proposals for contributions from the perspectives of photographic history and theory, cultural and media studies, art history, history and sociology, as well as from specialists in the institutional curation, collection and archiving of photography. We are seeking contributions in the forms of case studies on specific collections and their history of institutionalisation as well as broader cultural-historical and systematic overviews of the topic. Contributions may address the following specific questions and themes, but are not limited to them:
  • Which initiatives on an individual (Gernsheim, Krauss, Honnef, Eskildsen et al.), collaborative (DGPh, Deutscher Fotorat), private (e.g. photokina, Deutsche Börse Photography Foundation) and national level have attempted to institutionalise photography (e.g., as an art form)? And how and why did they succeed or fail?
  • To what extent did the legitimisation of photography as fine art (in the 1970s) affect the evaluation of other types of photography (e.g. documentary, photojournalistic, amateur and advertising photography) in such initiatives
  • How do public, private, commercial or philanthropic galleries, or even private collections compare to established museums in their treatment of photography? Are collection criteria adopted when, for example, a private collection moves to a public museum or archive? What happens to photographic estates when they enter the art market (e.g. Ronkholz/VAN HAM)?
  • What role does digitisation play in recent initiatives and what influence does it have on institutional issues involving existing collections and archives of photography?
  • To what extent does the materiality of photography (analogue/digital, photo albums or photo books) affect its institutionalisation? Or: to what extent do digital images renew, shift or update the logics and principles of analogue collections?
  • How can the tensions between (implicit or explicit) institutional criteria for collecting photography and the multifaceted ways in which the medium is used in our everyday lives be analysed?
  • How did the practices of classifying, collecting and archiving photography differ in East and West Germany? And how were these differences negotiated after the reunification?
  • What influence do art academies and institutions providing practical photographic training have on the institutionalisation of photography, more broadly?
  • To what extent are networks and photojournalistic societies and agencies, or festivals and pop-up activities, complementary or contrary to the established institutions of photography?
  • Which cultural-political frameworks and policies promote or prevent grass-roots initiatives to establish photography as a medium in its own right, and what role does digitisation play in this context?
  • From an international and comparative perspective, how does the historical and current situation in Germany compare to other (European) countries with respect to these dynamics? and finally:
  • what is the relationship between photographic historiography and/or the theory of photography, and the forms and formats of the institutionalisation of photography?

We invite proposals (in English or German) for 20-minute presentations. Abstracts of approximately 400 words, including a short biography (of max. 100 words) should be submitted by Monday 10 January 2022 by e-mail to fototagung2022@gmail.com. Any queries should also be directed to the conference organizers using this address. Notification of acceptance will be sent out by the end of January 2022.

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12201189901?profile=originalFour Corners seeks a Curatorial and Archive Coordinator to join our team. This is an exciting opportunity to work on Four Corners' public exhibition and archive programmes. Four Corners is a centre for film and photographic arts, based in East London for over 40 years. Our Gallery and Archive programmes engage audiences with issues emerging from radical histories, and stories from the margins that might not otherwise be told. We recognise that access to the arts is not always equal, and we aim to change that by championing creative expression and new voices through skills, mentoring and production opportunities.

Four Corners is a registered charity. We are a team of twelve part-time staff, and we work closely with volunteers, freelancers and partners in visual arts, film and TV, archives, community and higher education to deliver our programmes.

Background to this post
This post is part-funded through Four Corners' Hidden Histories project, which is supported by the National Lottery Heritage Fund. Four Corners Archive comprises the film and photographic heritage of Four Corners, Half Moon Photography Workshop and Camerawork magazine, 1972 to 1987. The collection and online archive offer a rich source of material on working lives, protest, feminism and the lived experience of communities. The project aims to develop Four Corners Archive as an active site for community-engaged practice, research and public programmes that explore radical and untold social histories.

We are seeking applicants with a background and expertise in archives, museums or galleries working within fields of photography, curation, visual arts or related sectors.

The post is offered on an 18-month contract from January 2022 to June 2023 in the first instance.

See more here: https://fourcornersfilm.co.uk/work-with-us

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12201188684?profile=originalIn Our Own Image: Photography in Ireland 1839 to the Present presents the first comprehensive historical and critical survey of photography from across the island of Ireland. This landmark centenary exhibition charts how the medium has both reflected and shaped Irish cultural identity, from the work of the earliest photographic pioneers up to the emergence of a recognisably modern state. Throughout the period of intense change that characterised Ireland in the late 19th and into the mid-20th century, we see how photography served as a mirror for shifting experiences of what it meant to be Irish. More than that, it also defined the way we saw ourselves, creating an image of life on the island of Ireland that still forms part of our identity today.

This landmark season of exhibitions, online programmes, installations, events and education programmes launches in November 2021 and continues until November 2022.

It is curated by Gallery of Photography Ireland with the Office of Public Works, Dublin Castle.

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Exhibition dates
29 November 2021 - May 2022
Book a free tour

On show at The Printworks, Dublin Castle
29 November 2021 – 6 February 2022

Gallery information
OPENING HOURS

Wednesday - Saturday 11am - 5.45pm

Sunday & Monday closed.

Tuesday by appointment

Closed for bank holidays and public holidays

DUBLIN CASTLE OPENING HOURS
Monday - Sunday 11am - 5.45pm
ADMISSION IS FREE 

See: https://www.galleryofphotography.ie/in-our-own-image

Image: top: Aftermath of the 1916 Uprising in Dublin, showing the General Post Office (GPO); lower: Ambrotype of unknown woman c 1860. Shackleton Family Collection.

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12201193081?profile=originalThe Centre has for over 40 years responded to the needs of fellow professionals offering a programme of courses and workshops on aspects of the preservation and conservation of historic photographs. The Centre will offer a limited programme in the Spring of 2022.

From November 2021 in conjunction with Conserve Photography Ltd, we are now also offering online teaching courses. The first course we are releasing focuses in detail on the Degradation of Photographic Materials. To see the course video and find out more details visit www.conservephotography.comwww.conservephotography.com

The Centre's career and professional development courses offer conservators and other heritage professionals specialist training in this challenging field; enabling them to hone their practical skills and upgrade their knowledge of current developments and techniques. Course tutors are Ian L. Moor and Angela H. Moor who communicate their knowledge, expertise and passion in such a way as to bring alive the history and diversity of photography whilst still fully addressing the 21st Century problems of preserving and conserving this evocative and transient medium. Their approach cannot fail to stimulate participants to a deeper understanding of, and professional growth in this demanding discipline.

For more details please visit our web site www.cpc-moor.comwww.cpc-moor.com12201193081?profile=original

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12201178289?profile=originalFabrica gallery, in partnership with Spectrum Photographic, Loupe Magazine and Photo Fringe are pleased to announce that a new photographic image highlighting the current turmoil in Afghanistan by Rick Findler has been chosen for the In Between Gallery. This work will sit in Fabrica’s large window space, which shows contemporary photography in the heart of Brighton’s busy shopping streets for all who pass by, from 20 December 2021 until Spring 2022.

The work is named Lost Connection I Afghanistan and was taken in Afghanistan in Spring 2021. All throughout Bamyan Province (a picturesque mountainous region of Afghanistan 80 miles west of Kabul) thousands of unconnected and unfinished electricity pylons stretch for miles, and have done so for more than two years. The pylons remain standing, unused and unemployed, symbolic of the corruption afflicting the electricity sector, the feeling of an abandoned population and their disillusionment toward the governing authorities. I wondered if you might like to run this work as Rick's best shot? I can share more images from the series if helpful and one plus some more info is included below for now. All the very best, Nicola Award winning photojournalist chosen to have work exhibited in new outdoor exhibition in central Brighton Fabrica gallery, in partnership with Spectrum Photographic, Loupe Magazine and Photo Fringe are pleased to announce that a new photographic image highlighting the current turmoil in Afghanistan by Rick Findler has been chosen for the In Between Gallery.

This work will sit in Fabrica’s large window space, which shows contemporary photography in the heart of Brighton’s busy shopping streets for all who pass by, from 20 December 2021. The work is named Lost Connection I Afghanistan and was taken in Afghanistan in Spring 2021. All throughout Bamyan Province (a picturesque mountainous region of Afghanistan 80 miles west of Kabul) thousands of unconnected and unfinished electricity pylons stretch for miles, and have done so for more than two years. Just 35% of Afghanistan's population has access to electricity, with the electricity sector fraught with tales of corruption. The pylons remain standing, unused and unemployed, symbolic of the corruption afflicting the electricity sector, the feeling of an abandoned population and their disillusionment toward the governing authorities. As the west turns it's back on Afghanistan, it is the people stuck in the middle which are affected the most. They feel abandoned - abandoned by both their government as well as the global powers that once protected them.12201179063?profile=original

These pylons, which once held so much promise for so many people, symbolise a nation forgotten by everyone. An esteemed panel (Liz Whitehead, Fabrica, Claire Wearn, Photo Fringe, Hazel Watts, Spectrum, Cairo Clarke, curator and writer, Luke Archer, Loupe Magazine and Ibrahim Azab, artist and curator) unanimously decided on Findler as the overall winner of a recent call out for a work for the space. The image will be displayed from 20 December 2021 to April 2022.

This image is one of seven from the series and has not been displayed to the public before now, giving Brighton audiences the first chance to see this work.

Liz Whitehead, Director, Fabrica, said, “As the host of the In Between Gallery the opportunity it affords is to put photography onto the street at Christmas. This photograph keeps Afghanistan in the public imagination”

Claire Wearn, Director, Photo Fringe said, “Photo Fringe aims to develop new ways of seeing together. Rick's powerful photo challenges typical imagery of Afghanistan and gives a haunting insight into current conditions in need of global attention. Luke Archer, of Loupe Magazine said, “Rick’s image stands apart from the rolling news coverage of Afghanistan. Instead his carefully composed landscape encapsulates the enormity and complexity of the issues that have plagued Afghanistan’s recent history. It is an image that needs to be shown 

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12201188059?profile=originalChiswick Auctions will feature some very interesting 19th-century photography in its upcoming 19th & 20th Century Photographs sale, kicking off with 50 cased images, and then moving into early paper photographs, including a rare and early salt paper calotype photograph dating from 1858 of eminent female photographer Julia Margaret-Cameron.

The 19th & 20th Century Fine Photographs sale will be one of our broadest yet in terms of 19th Century Photography on offer, including pieces from key figures of the pre-Raphaelite movement.

The image Mrs Cameron & Julie was a self-portrait taken at Little Holland House, 1858, of Julia Margaret-Cameron and her daughter – the person who famously originally gave her a camera in 1863, given with the words “It may amuse you, Mother, to try to photograph during your solitude at Freshwater.” It has an estimate of £4,000 – 6,000.

“This image has not appeared on the auction market for nearly 40 years, and interest and understanding of Cameron’s body of work has grown immeasurably since then,” said Head of Photography, Austin Farahar.

“The offering of this calotype photograph in our 1 December auction presents a unique opportunity to acquire a truly important piece of the story of one of the foremost female photographers of the 19th century.”

Alongside this, the sale will also include portraits taken by Margaret-Cameron, including Déjatch Alámayou / King Theodore's Son, 1868 – of the son of Tewodros (Theodore) II, emperor of Ethiopia.

Also included is her 1865 portrait of Henry Taylor - who was a poet, essayist, and civil servant. The estimates for these two lots are £500 – £700 and £400 – £600 respectively.

The Sale also features the Mac Corquodale family photograph album with a rare portrait of Alice & Edith Liddell, and two other photographs taken by Lewis Carroll (lot 140 & lot 152)

Across the rest of the auction, there are some truly remarkable examples of 19th-century photography in a variety of formats, documenting fascinating moments of history, from Britain’s colonial past to the phenomenon of early American so-called ‘freak shows’ to early mixed-race relationships.

One lot includes an early Ambrotype portrait of the Carolina twins, Millie & Christie Mckoy, who were sold into P.T. Barnham’s famed American Museum in New York. After being abducted and taken to England, they were later reunited with their mother and freed under the Emancipation Act of 1863.

Another includes a collection of a collection of photographs documenting the Anti-plague Medical Campaign in India in 1897, including family portraits, group pictures, portraits of workers and street views.

There is also a collection of 10 photographs of Suffragette protests from 1910, from a selection of press agencies of the time, including the “Topical” press agency, London News Agency Photo and World Graphic Press.

In total, the sale features works from over 170 photographers and studios - including 19th-century names such as John Jabez Edwin Mayall, Antoine François Jean Claudet, and Francis Frith, and 20th-century photographers Melvin Sokolsky, Norman Parkinson and Andre de Dienes - spanning topics from street photography to dance to the military. A wide range of photographic techniques are also showcased across the lots, including magic lantern slides, silver gelatin prints, and wet plate negatives.

19th & 20th Century Photographs, Wednesday 1 December, 2:30pm

For further information on the auction, please contact Head of Department, Austin Farahar austin.farahar@chiswickauctions.co.uk and find viewing times below: 

Viewings at our South Kensington Showroom

Thurs 18 Nov, 10am to 5pm
Fri 19 Nov, 10am to 5pm
Mon 22 Nov, 10am to 5pm
Tue 23 Nov, 10am to 5pm
Wed 24 Nov, 10am to 5pm
Thurs 25 Nov, 10am to 5pm
Fri 26 Nov, 10am to 5pm
Mon 29 Nov, 10am to 5pm

19th & 20th Century Fine Photographs, Wednesday 1 December, 2:30pm

View the catalogue online here.

 

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12201182076?profile=originalAntonella Russo provides an incisive examination of Neorealist photography, delineates its periodization, traces its instances and its progressive popularization and subsequent co-optation that occurred with the advent of the industrialization of photographic magazines. This volume examines the ethno(photo)graphic missions of Ernesto De Martino in the deep South of Italy, the key role played by the Neorealist writer and painter Carlo Levi as "ambassador of international photography", and the journeys of David Seymour, Henry Cartier Bresson, and Paul Strand in Neorealist Italy. The text includes an account the formation and proliferation of Italian photographic associations and their role in institutionalizing and promoting Italian photography, their link to British and other European photographic societies, and the subsequent decline of Neorealism. It also considers the inception of non-objective photography that thrived soon after the war, in concurrence with the circulation of Neorealism, thus debunking the myth identifying all Italian postwar photography with the Neorealist image.

This book will be particularly useful for scholars and students in the history and theory of photography, and Italian history.

https://www.routledge.com/Italian-Neorealist-Photography-Its-Legacy-and-Aftermath/Russo/p/book/9781350162259

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12201187066?profile=originalThe V&A has released the first in a series of films about photography processes based on its collection. The first deals with the the autochrome and is presented by curator Catlin Langford. Invented by the Lumière brothers in 1907, the Autochrome revolutionised photography. Bringing soft, natural colour into images for the first time, this technique made photographs the most realistic that they had ever been.

Find out about the careful handling of these delicate, light sensitive plates, how the photography process works, and see collection highlights from photographers such as John Cimon Warburg and Helen Messinger Murdoch.

See: https://www.youtube.com/watch?v=VKINhG0g3kk&t=180s

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12201186272?profile=originalAuction house Reeman Dansie will offer an exceptional archive of photographs, ephemera and related artefacts from the studio of mid-20th century high-society photographer Pamela Chandler (1928-1993).  Pamela Chandler's position as a leading London based photographer of this vintage era led to commissions from Royalty, stars of stage and screen and literary figures, including becoming the photographer of choice for the publicly evasive J. R. R. Tolkien, she has the distinction of being the first female photographer to produce an official portrait of a Prime Minister when she photographed Harold Macmillan.

This extensive archive comprises a lifetime’s work, together with related letters and memorabilia from her glitterati subjects, many of the images are to be offered together with copyright passing to the successful bidders. The collection will be sold on 1 December 2021

12201186688?profile=originalPamela worked briefly as a film extra at various studios including Pinewood, Denham and Elstree, before a chance meeting led her to secure an photographic apprenticeship at the Landseer Photographic Studio in the heart of the West End. After only six months, Max Andrews, a magician friend of Pamela’s father, contacted her and explained that he had taken premises for a magic shop which also included a photographic studio and that he required a photographer, so Pamela went into partnership with Max at his South Molton Street premises. Max concentrated on running the magic shop, leaving Pamela free rein to run the photographic studio. In these early days, she did all the photography and printing herself which gave her a solid bedrock for her career. After a year or so Max disappeared and Pamela was forced to wind up the business,

Pamela joined the Royal Photographic Society in 1949.  At the RPS she met the then curator and subsequent President, J. Dudley Johnston. He was impressed by her work and enthusiasm, and she was commissioned to take his official portrait for use by the RPS, they became friends and corresponded right up until his death. In 1951, Pamela found new studio premises at 33 Beauchamp Place, Knightsbridge, and this was to be her base for the principle part of her photographic career.

The catalogue will be available in print and online shortly.

See more here: https://www.reemandansie.com/news-item/the-pamela-chandler-1928-1993-collection/?pc=42

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