Blogs

The amateur photography of Rupert Potter, father of the celebrated children’s book author and illustrator, Beatrix Potter, will be explored in a new display opening at the National Portrait Gallery to celebrate the centenary of his death. As well as two new acquisitions showing Beatrix Potter on holiday with her father, The World of Rupert Potter: Photographs of Beatrix, Millais and Friends will display portraits taken by Rupert Potter of close family friends, showing the circles within which he socialised and the influence this had on his daughter’s life and work.

A professional lawyer and a keen photographer in his personal time, Rupert Potter (1832–1914) took many carefully posed portraits, particularly during the Potters’ lengthy summer holidays in the Lake District and Scotland, which show his impressive technical skill and aesthetic ability. He was a member of the Photographic Society, later the Royal Photographic Society from 1867 until 1912. As a result of his particular interest in portrait photography and, through his friendship with the painter Sir John Everett Millais, Potter began taking photographs of Millais’ sitters and paintings. Millais rated Potter's photographs so highly that he often used them to assist his working process, such as for his ‘Rosebery’ portrait of William E Gladstone, the second of his four paintings of the Prime Minister.

Beatrix Potter’s journals from the 1880s and 1890s vividly reveal the influence of her exposure to the art world and the life of a working artist before becoming one herself. She later used photography to aid her work, learning with one of her father’s old cameras. With their mutual interests in art and photography, father and daughter enjoyed a close relationship and despite their closeness being tested in later years,

Rupert was a significant influence in Beatrix's development as an artist and writer. Large numbers of Potter’s photographs survive in several collections, with the earliest dating to the 1860s. The World of Rupert Potter: Photographs of Beatrix, Millais and Friends will feature a carefully selected range of Potter’s photographs from the National Portrait Gallery’s extensive collection of his works, some of which were directly donated to the Gallery by Potter during his lifetime. A larger set of 186 photographs relating to his work for Millais was given to the Gallery by Jack Edward Ladeveze, currently Trustee of the Enid Linder Foundation, in 1993.

Two new acquisitions will be on display for the first time, which show Beatrix Potter on family holidays at two different points in her life. The first of these was taken in 1894, with her father and brother, before she became a published author. The Potter family enjoyed frequent holidays in Scotland and the Lake District, which provided the siblings with the opportunity to explore the surrounding countryside and indulge their interest in animals and natural history, and inspired the illustrated children's books for which Beatrix became famous. The second new acquisition was taken in the Lake District in 1906, by which point Beatrix had published eight books, and shows her with the Potters’ family friend, Hardwicke Rawnsley. Rawnsley encouraged Beatrix in her literary ambitions, and as co-founder of the National Trust, his conservationist views deeply influenced Beatrix, which led to her future contributions to the Trust.

Other portraits on display will include photographs of the painter Sir John Everett Millais in his studio with unfinished paintings as well as portraits of sitters used by Millais for his paintings, including his daughter Effie and statesman John Bright. Constantia Nicolaides, Photographs Cataloguer, National Portrait Gallery, says: ‘Rupert Potter was taking photographs at a time when the medium was still very technically demanding, so that the proliferation of his images to be found in various collections today is astounding. Meanwhile, his subjects are of great historical interest, and we are thrilled to add these two self-portraits, also showing his talented daughter Beatrix, to our existing collection of his photographs of distinguished Victorian figures at leisure, and his work for Millais. This display will provide an opportunity to see fine examples of these.'

Images: 

Top: Sir John Everett Millais, 1st Bt in his studio at 2 Palace Gate, Kensington by Rupert Potter, July 1886 © National Portrait Gallery, London

Above: Rupert Potter, Beatrix Potter and Bertram Potter in Lennel, Coldstream by Rupert Potter, 1894 © National Portrait Gallery, London

For further information, please visit www.npg.org.uk and http://www.npg.org.uk/whatson/display/2014/the-world-of-rupert-potter-photographs-of-beatrix-millais-and-friends.php

The World of Rupert Potter: Photographs of Beatrix, Millais and Friends, Room 28, 13 May-16 November 2014, at the National Portrait Gallery, London. Admission Free

A rare - probably unique - British travelling photography studio, previously used by the photographers John and  Walter Pouncy of Dorchester from the 1860s is to be offered at auction on 4 and 5 August 2022. It is estimated at £8,000-12,000.

The studio was made for the Pouncy firm and travelled the county. Pulled by horses it offered a studio with glass roof, small waiting area, entry and exit doors and steps, and darkroom. It still retains original fittings for holding background rolls.

The studio is believed to be the only British example in existence. After it was sold by the Pouncy firm it was remained in use by a succession of photographers and was located in Swanage for many years. The current owner, also a photographer, purchased the studio and hoped to find a permanent home for it, while allowing it to travel and retaining its original and to continue to function as a studio. It is complete but needs some restoration and conservation work.  The studio is well documented with the original plans surviving.

John Pouncy is best known for his work uniting lithography with photography met which culminated in his publication in Dorsetshire Photographically Illustrated (1857) – the first English publication ever to feature photo lithographic illustrations.

Michael Pritchard writes: "I had the privilege of seeing the studio in the summer of 2021 and meeting its current owner. It is a remarkable survival. Entering felt like stepping back 130 years. Although the current owner's hope of restoring and retaining it as a travelling studio were not able to be realised, it has been lovingly looked after. It deserves a new home where it can be preserved and shown, ideally in Dorset, and be used as a studio, telling its remarkable story and that of the Pouncy business and nineteenth century photography."  

The auction is being held at Charterhouse, The Long Street Salerooms, Sherborne Dorset although the studio remains onsite at Wareham from where it will need to be collected. Pending the oublication of the catalogue museums and prospective buyers should contact Charterhouse Auctions at The Long Street Salerooms, Sherborne. T:  01935 812277 or e:  info@charterhouse-auction.com 

More information on the Pouncy studio can be seen here: https://www.opcdorset.org/fordingtondorset/Files2/JohnPouncy1818-1894.html

See: https://charterhouse-antiques.com/as-pretty-as-a-picture and a short film here: https://youtu.be/qX8nHuxHmts

The lot can be seen here: https://www.the-saleroom.com/en-gb/auction-catalogues/charterhouse-auctions/catalogue-id-cav10357/lot-71d1acab-5e68-4010-87f2-aee0011a89e4

Main photographs: © Michael Pritchard, 2021.  Historic photograph courtesy of Charterhouse Auctions

On the retirement of Professor Elizabeth Edwards, applications are invited for the full-time, permanent post of Professor of Photographic History, based within the School of Humanities.

The successful candidate will be appointed as the Director of the Photographic History Research Centre which was established in 2010 and is already widely acknowledged as a world-leading centre for the interdisciplinary study of the history of photography in all its aspects. He or she will also be expected to contribute to the broader development of History and of Photography as subjects at De Montfort.

Applicants should have an international scholarly and/or curatorial reputation in one or more fields of photographic history, an outstanding publication record, and be able to demonstrate experience of research leadership and funding development.

Closing date 18 September 2015 / Interviews: mid-October 2015

See the full specification and job description here

"Sleeping beauty"

When I am dead and in my grave
And all my bones are rotten.
When this you see remember me Lest I should be forgotten.”

This is the first posting on Art Blart on the phenomenon of postmortem photography for exhibitions on this subject are few and far between.

Any photograph is a “little death” which “refers to the concept of “la petite mort” or “the little death,” a French idiom and euphemism for the momentary loss of consciousness or breath, often associated with orgasm, but also used to describe the act of freezing a moment in time through photography. This concept suggests that photography, by capturing a specific moment, essentially stops time and thus, in a way, creates a small, contained death of that moment.” (Google AI Overview)

All photographs (and especially postmortem photography where the deceased are memorialised through images) can be seen as “memento mori”, a Latin phrase meaning “remember you must die,” reminding us that of the impermanence of life – for photographs “capture a moment in time, forever preserving a fleeting instant and highlighting the passage of time and the inevitability of death.” (Google AI Overview)

As Susan Sontag observed, “All photographs are memento mori. To take a photograph is to participate in another person’s (or thing’s) mortality, vulnerability, mutability.” (On Photography)

Victorians were faced with the vicissitudes of fortune, and death at any age was a common occurrence due to illness with no antibiotics available to treat the many lethal diseases. They became stoic in the face of the impermanence of life, stoic in the face of death and through photography, sought to record into permanence the likenesses of the departed (the beloved), so that they could remember and honour them. Photographs thus became symbols of mortality which encouraged reflection on the meaning and fleetingness of life…

But unlike a photographic self-portrait, where a human looks at their image (in which they are dead) which reminds them about their physical death in the future, an anterior future of which death is the stake (and the prick of discovery of this equivalence)1 - in postmortem photography the little death and the actual death are as one for the anterior future can never be viewed by the subject of the photograph (they are dead), a separation only revived in the heart and mind of another.

Through postmortem photography the deceased live in an interstitial space, forever brought back to life in the eyes of the viewer as we reawaken and reactivate their spirit in the world. I was once here and I am again. Remember me.

Thus the euphemism “sleeping” is appropriate (sleeping beauty awakened once more with a kiss), as the viewer transcends time bringing past dead back into living world – where past, present and future coalesce into single point in time – their death and our death connected through the gaze and the knowledge of our discontinuity. Eons contracted into an eternal moment.2

In this expanded-specific moment in time, through an awareness of our own dis/continuity, what we are doing is talking about something that is remarkable. We are moving towards a language that defines the human condition…

Dr Marcus Bunyan

‘Remember Me. Postmortems from the M. G. Jacob Collection’ and
‘Through Light. The First 20 Years of Photography in the Photo Library Collections’ at Biblioteca Panizzi, Reggio Emilia, Italy

24th April – 5th July, 2025

SEE THE FULL POSTING AT https://wp.me/pn2J2-v6N

1/ Roland Barthes, Camera Lucida (La Chambre claire), Section 39, 1980
2/ Marcus Bunyan. "This is not my favourite photograph," part of What makes a great photograph? at the Centre for Contemporary Photography (CCP), Fitzroy, Wednesday 5th December 2012 [Online] Cited 27/06/2025

Many thankx to the Biblioteca Panizzi and Michael G. Jacob for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

Main image:

Unknown photographer (American)
A sleeping man (detail)
c. 1846
Daguerreotype
Title given by the collector

Unknown photographer (American)
A sleeping girl
c. 1846
Daguerreotype
Title given by the collector

Earlier this year we heard the sad news that the some of the collection of the great Irish collector of early photography, Sean Sexton, had been stolen. Some of the collection has been turning up, but a lot of it is still untraced. Here are photos of some of the main items which are missing.

I also have a Word document with 20 pages listing the stolen items, with many photos, which is too big to insert here. I am happy to send the list by email to any member here who supplies an email. If anyone here has details about any of the items, I am happy to have them sent along to Sean through the Gallery of Photography, Ireland where I am on the Board of Directors. We have in the past held exhibitions of items from Sean's collection, including some of the items which have been stolen.

Previously reported on BPH see: https://britishphotohistory.ning.com/profiles/blogs/stolen-historic-cameras-and-photographs-london-9-april-2100-2300

According to the Yorkshire Film Archive, the magic lantern manufacturer, Riley Brothers, operated out of 55 & 57 Godwin Street, Bradford. They produced a machine called the Kineoptoscope in 1896 using a design patented by Cecil Wray.  This was advertised at the time in The Era as, 'Steady as Lumière's. No breakdowns. Most portable and the most perfect known'.  This was modified into the Kineoptoscope camera in June 1897, and it may be this which is being used in this film. The Riley Brothers put on the first cinema performance in Bradford at the People’s Palace on 6th April 1896, now the site of the National Media Museum.

Hundred of images of old Ireland and the globe-trotting adventures of affluent West Cork Methodists are among the subjects in an extraordinary collection of 19th century photography recently discovered in a house clearance. This also includes an important late 19th century magic lantern made by The Riley Bros of Bradford.

With an estimate of €1,500-€2,500, details of tomorrow's auction in Cork can be found here.

I absolutely adore these Peter Mitchell 1970s colour photographs made from Hasselblad two and a quarter square negatives. There is something so …. well, British about them.

The wit, the humour (pigeons sitting outside the racing pigeon shop), the stiff upper lip, the carry on regardless, the working class pantomime of life and death – the public commission flats where people formed caring communities that were destroyed through redevelopment – the integrity of an existence that has largely come and gone pictured with warmth and empathy.

The people, growing up during the Second World War the privations of which lasted well into the 1950s, now during a period of change in the 1970s standing behind the fish ‘n chip counter wondering where their lives had gone and how they had got there, but still with that British sense of spirit and grit.

Peter Mitchell, “a chaser of a disappearing world” pictures these “goners” – buildings, people (and a way of life) near the end of existence soon to be demolished – in an almost painterly manner.

His use of colour, perspective and form is very fine. Witness, the flow of the photograph ‘Edna, George & Pat, H.E. Greenwood Butcher, Waterloo Road, Leeds, 1977’ (below) as, in the shot, the camera allows the eye to pan from one vanishing point at left to the other at right, with the patchwork of colours and panels of the building creating an almost Mondrian-like texture – blue to black to beige to white sign to pale blue to yellow to green to pale green, surmounted by the dark blue of the threatening sky highlighting the jagged form of the building. Superb.

My favourite photograph in the posting is The Chair, Priestly House Interior, Quarry Hill Flats, Leeds, 1978 (below). This photograph is from what I believe to be Mitchell’s strongest body of work on the demolition of the Quarry Hill Flats in Leeds. ‘One of those doomed deserts was Quarry Hill flats, irresistible both as a symbol of the fate of all architecture and of the great clock in the heavens signalling everybody’s life span’ (Peter Mitchell quoted on The Guardian website)

A drab, beige, wallpapered room with double aspect window, an art deco chair with mirror reflecting nothing, an electrical socket, a ceiling light sprouting malignant plant and trapped in the window panes, little birds fluttering against their capture, trapped forever inside an abandoned flat, this abandoned life.

Yes, there’s a sense of nostalgia and melancholy in these photographs but their restrained, formal, representation of life does much to ennoble the people and buildings contained within them which, through osmosis, ennobles the mind of the viewer.

As I myself sense the great clock in the heavens signalling my life span, the pleasure and comfort I get from feeling the spirit of Peter Mitchell’s photographs is immeasurable.

Dr Marcus Bunyan

 Main Image: 

Peter Mitchell (British, b. 1943)
Edna, George & Pat, H.E. Greenwood Butcher, Waterloo Road, Leeds, 1977
1977
C-print
© Peter Mitchell

Peter Mitchell (British, b. 1943)
The Chair, Priestly House Interior, Quarry Hill Flats, Leeds, 1978
1978
C-print
© Peter Mitchell

SEE THE FULL POSTING AT https://artblart.com/2025/06/13/exhibition-peter-mitchell-nothing-lasts-forever-at-the-photographers-gallery-london/

Located in New Delhi, the Alkazi Foundation of the Arts (AFA) building is built on 3 levels dedicated to the preservation of its vast collection of vintage photographic prints to serve the purpose of scholarship and research. Its current research topics include 'Photography and the Revolt of 1857', 'Painted Photographs', 'The Durbars of 1877, 1903, 1911' etc. It also recently held an exhibition of images taken by Sir John Marshall between 1902 and 1928. Some of the highlights of its Collection include photos by John Nicholas Tressider and Samuel Bourne.

If any of the above is of interest to your own photographic research, you can find out more of the Foundation here. 

Photo: Bourne and Shepherd, Begum of Bhopal at the 1911 Durbar, 1911 by The Alkazi Collection of Photography.

Showcasing works from the 19th and 20th centuries, Bloom..away explores the different ways in which photographers have chosen to document plants with their cameras. The exhibition is the first from the Sarah Wheeler Gallery. 

Two large format cyanotypes of ferns - the blueprint process used to such good effect by Anna Atkins - will be displayed alongside images by masters of the medium including Charles Jones, Karl Blossfeldt, Man Ray, Adolf de Meyer, Heinrich Kuhn and Albert Renger-Patzsch.

Whilst works from the 19th century such as those by Adolph Braun and Charles Aubry emulate the tradition of botanical illustration and pictorialism, Blossfeldt, Renger-Patzsch and Jones celebrate the unique mechanical nature of the camera by creating strikingly modern images of plants, in a clear, apparently objective matter - making them prime examples of the German New Objectivity movement.

Opening to the public on 10 June  Bloom...away - an exhibition of early botanical photography from 1850s to 1960s will run until June 19th at The Studio, 73 Glebe Place, London, SW3 5JB with a fully illustrated catalogue. The exhibition is open Monday to Friday, 10am - 6pm and by appointment over the weekend.

Bloom...away. An exhibition of early botanical photography from 1850s to 1960s

10th June - 19th June 2019
The Studio, 73 Glebe Place, London, SW3 5JB

For further information please contact: Sarah at Sarah Wheeler Gallery, t: 07932 735829

e: sarah@sarahwheelergallery.com

Image: Charles Jones (1866-1959), Hyacinth, Single Red, c.1900. Gold-toned gelatin silver print on printing out paper.

Research into the origins of London News Agency Photos Ltd (founded 1908) has revealed an unexpected development. A recently obtained stereocard dated to 1910 advertises the company as "stereoscopic photographers." I have written a Pressphotoman blogpost about this. 

Are British Photographic History blog members aware of other examples of LNA Photos Ltd stereocards?

Read the blog here: Read here 

Photo credit: "Blue coated Prussians. The Battle of Malplaquet 1709."

When English Heritage launched Your Stonehenge: 150 Years of Personal Photos, an 1875 photo of the Routh family’s day out was the oldest family photo contributed to the exhibition. The charity issued a challenge for people to sort through their old photos and find an even earlier image.

Among the pictures sent in was a stereocard from the early 1860s, discovered in the collection of Queen guitarist Dr Brian May. The stereocard was discovered by curator Rebecca Sharpe as she worked through the digitisation of some 100,000 stereographs. Further research by her and her co-curator Dr Denis Pellerin have added to our knowledge of the photographer, Henry Brooks, of Salisbury.

Brooks was a commercial studio photographer and the card is believed to show his wife, Caroline, daughter, Caroline Jane, and son, Frank, in the early 1860s. The card was sold through his shop and this example eventually found its way in to May's collection. 

English Heritage is now searching for descendants of Henry Brooks and his family - presumably with a view to recreating the scene some 140 years later.  If you think Brooks may a forebear of your family tree, please contact EH at YourStonehenge@english-heritage.org.uk

Rebecca has blogged about the research process and you can read a detailed biography of Brooks based on her and Pellerin's research here: https://stereoscopy.blog/2021/08/03/oldest-family-photograph-of-stonehenge-found-in-the-collection-of-dr-brian-may-to-go-on-public-display-in-3-d/ Both parts of the stereocard can also be seen.  

There are, of course, earlier photographs  of Stonehenge, such a Sedgfield's views of 1857 but these do not fit the definition of family photographs. Unless you know better... 

Dr Brian May has what is believed to be world’s largest collection of over 100,000 in his archive This is now in a charity, The Brian May Archive of Stereoscopy,.to ensure this important resource stays together for future historians. 

See: https://www.english-heritage.org.uk/visit/places/stonehenge/things-to-do/exhibitions/yourstonehenge/

Image: Henry Brooks, Stonehenge with family members, one-half of a stereo pair, c.1860s. Courtesy: Brian May Archive of Stereoscopy. 

At an event this morning to preview a selection of prints from the National Media Museum Photography Collection Ian Blatchford, Director of the Science Museum, confirmed a change to the previously announced opening exhibition and date for Media Space.

The public opening of Media Space will take place on Saturday, 21 September 2013 and the opening exhibition will be Tony Ray-Jones based on his archive held at the National Media Museum, Bradford. The show is being curated by Greg Hobson of the museum and the Magnum photographer Martin Parr.

Media Space is a joint project between the National Media Museum and the Science Museum. See: BPH passim. 

Michael G Wilson OBE, chair of the Science Museum Foundation, spoke about the development of Media Space over twenty-five years and how London was the ‘last major city to bring photography to the public’. He commented that the addition of ‘the Royal Photographic Society Collection made us a world class photography collection’. Wilson's own important role in realising the original National Media Museum 'London presence', now Media Space, was acknowledged warmly by Blatchford.  

The Media Space space on the third floor of the Science Museum in London is currently in the hands of the contractors as it undergoes refurbishment and works prior to the September opening.

In further National Media Museum news Michael Terwey has been appointed Head of Exhibitions and Collections, an important new role created as part of the museum restructuring. Terwey was previously acting Deputy Director and Head of Public Programme and, between 2010 and 2011, Exhibitions & Displays Manager at the museum. 

Images: Top: Michael G Wilson OBE (left) and Ian Blatchford (right). Lower: the Science Museum reception. © Michael Pritchard

For another view on Media Space from Francis Hodgson see: http://www.photomonitor.co.uk/2013/02/media-space-at-the-science-museum/

The world’s first filmed kiss has been resurrected for Valentine’s Day after laying unrecognised in photography books for more than a century. The images of two unclothed women kissing were created by pioneering Kingston photographer Eadweard Muybridge between 1872 and 1885 using a bank of still cameras firing in sequence.

The eight-frame sequence predates the 1896 film The Kiss, showing an actor and actress re-enact the final scene from The Widow Jones, which was selected for preservation by the United States Library of Congress in 1999. American artist and academic David Gordon compiled the frames – first published as plate 444 in Muybridge’s book Animal Locomotion – into a digital loop to bring the kiss to life once more.  Mr Gordon, who teaches in Beverly, Massachusetts, is creating a short film called Victorian Dream from Muybridge’s photos, and hopes to visit and lecture in Kingston.

The film will be unveiled on muybridge.org on Monday, February 14. You can read the full news article here.

The National Stereoscopic Association's 46th convention 3D-Con is going virtual in 2020. There is a two-part session on the history of stereoscopic photography taking place between 0730-1130 (Pacific Time) which is 1530-1930 (BST) on Friday, 14 August 2020.

The public is welcome to join for a morning of scholarship from an international group of historians and registration is free at the link here: http://www.3d-con.com/registration.php

BPH has learnt that Philip L Condax, former Curator of Technology at George Eastman House, died on Monday, 21 April 2014. Phil Condax was born on 24 May 1934, the son of Louis M Condax (1897-1961) and Constance W. Condax. Louis invented a dye-transfer colour process which was commercialised by Eastman Kodak Co in 1945. 

Phil joined the then International Museum of Photography at George Eastman House under Director Beaumont Newhall in 1971, where he curated the Technology Collections starting as 'Assistant Curator, Equipment Archive'. When the Philadelphia-based American Museum of Photography became available after the death of its founder, Louis Walton Sipley, Phil was involved with the then Director and other staff members in securing it for GEH where it filled important gaps. 

Two highlights from his career include the 1980-1981 exhibition Selections from the Spira Collection: An Exhibition at George Eastman House - the first time GEH had held such an exhibition from outside of its own collections; and the 1984 joint IMP/GEH and JCII exhibition The Evolution of the Japanese Camera which showed in Rochester, NY, and Tokyo. He was also in post when the new Mees Gallery - it has since been replaced - was opened in 1992. He attended Photokina regularly where he was able to source material for the GEH collections. 

When Czechoslovakia was firmly behind the Iron Curtain, Phil managed to visit regularly. There were suggestions that during his military service and afterwards he was working for the CIA. He came to know Jan Sudek and bought many important prints for the museum and for his own personal collection.

Condax, along with other senior curators, was made redundant in 1994, in his case over a dispute with the Director, a fact over which he continued to remain bitter. After GEH Phil undertook some museum and photo-history consultancy work, in particular he developed and curated the photographic collection of the Museum of Imagery Technology operated by Chulalongkorn University, Bangkok, Thailand. He co-authored The Photographic Flash: A Concise Illustrated History with Pierre Bron (of Bron Elektronik AG) in 1998.

Jonathan Spira commented: 'I am deeply saddened by the death of Phil Condax, a close family friend.  Not only did he help popularize photography's history but he helped lead the George Eastman House during a very tumultuous period.'

I met Condax several times at his Rochester home and despite a difficult relationship with a demanding father he was a great enthusiast for the work that his father had undertaken on colour. He maintained an extensive archive of his father's work. An example showing Louis Condax with an example of the dye transfer process, from Phil's personal archive is shown left.

He had an affection for Britain and he travelled extensively, particularly to South East Asia. 

Dr Michael Pritchard

• Revisions made 6/5/2014. 

Bearnes are selling an early photograph album (lot 380) in a three-day sale across 29-31 January 2013 dating to the 1850s which includes a rare image of Roger Fenton taken by Eastham of Manchester. The lot is described as: Colonel Edmund Gilling Hallewell’s Photographic Album and is a mixed photographic album of the 1850s and 1860s, elephant folio, lacking front board and some leaves. Lots 381 and 382 are also photograph lots.

The relationship between Hallewell and Fenton is noted in lot 379 http://www.the-saleroom.com/en-gb/auction-catalogues/bearnes-hampton-and-littlewood/catalogue-id-2872698/lot-16615481 and a discussion here on the wider content: http://www.bhandl.co.uk/news/2012/12/10/roger-fenton-photographs-col-edmund-gilling-hallewell-auction.aspx

Notable images in lot 380 include: 

Colonel Hallewell DCMG, Malta, 1863. Portrait in full dress uniform. Titled in pencil below the image. Albumen print, 19.8 x 15.7cm (illustrated page 89).

Sir George Brown and a portion of the Light Division Staff, a nine-man group portrait in civilian attire. (A soldier since 1806, Brown commanded the Light Division throughout the Crimean War). Albumen print, 24 x 29.5cm. (illustrated opposite).

Bolton Abbey, the ruins of the cloister. An untitled large-scale salt print 26.5 x 37.5cm., from a paper negative (illustrated opposite).

Near Bolton Abbey, Yorks. Titled in pencil below the image. Salt print, 18 x 25.5cm.

The Strid, Bolton. Titled in pencil below the image. Salt print, 20.8 x 29cm.

At Bolton Abbey, a woodland scene. Titled in pencil below the image. Salt print, 24 x 19cm.

Gibraltar General view of town. Titled in pencil below the image. 2-plate panorama 20 x 45.5cm., Albumen prints.

At Bolton Abbey, Yorks. Titled in pencil below the image. Salt print, 26 x 36.5cm (illustrated opposite).

Bolton Abbey, Yorks, ruins of the priory. Titled in pencil below the image. Albumen print, 26.5 x 35.5cm. into rounded corners (illustrated opposite).

Road at the back of the Hall, Bolton. Titled in pencil below the image. Albumen print, 29 x 36 cm., into arched corners (illustrated opposite).

The album also contains over 120 other mainly albumen prints, but including a small number of salt prints (including further images of Bolton Abbey and its environs), varying sizes up to 30 x 24cm. Assorted images by amateur and commercial photographers, including Francis Bedford and James Robertson; subject matter being a variety of topographical, portrait and other subjects, (including Robertson: the Crimean war) and various locations in UK, Malta, Gibraltar and the Mediterranean.

In addition, approximately 200 cartes de visite of British and European royalty, family, topographical, army officers various, Crimean war generals, etc., and a rare image of a white- bearded Roger Fenton c.1865. For a variant of this portrait by John Eastham of Manchester see All the Mighty World, The Photographs of Roger Fenton 1852-1860, Yale University Press, 2004, p.30.

Estimate:

£4,000 - £6,000    This lot sold for £9400. 

See: http://www.the-saleroom.com/en-gb/auction-catalogues/bearnes-hampton-and-littlewood/catalogue-id-2872698/lot-16615482?searchitem=true