Bonhams auction of Fine Books and Manuscripts on 31 March 2021 includes a copy of Reports of the Juries (1851-52) which is illustrated with 154 calotypes. The set of four volumes in an edition of approximately 130. It is estimated at £15,000-20,000.
See more here: https://www.bonhams.com/auctions/26772/lot/8/
The sixth 'Photography on Screen' work by Street Level Photoworks for Regional Screen Scotland.
On October 31 2013 IRPA-KIK organises a conference on management and conservation of photographic collections. Many institutions (museums, libraries, archives, etc.) that have photographic collections are facing problems concerning their management: storage, inventory, digitalization, access, copyright issues, status and value attached to the collection
etc.
The conference offers professionals who are confronted with these problems an occasion to develop a practical and ethical framework for the conservation of photographic collections.
If you would like to present a paper on one of the diverse topics concerning this theme, you can send your proposal to IRPA-KIK before March 31 2013.
The principal language of the conference will be English, but papers in French will also be welcome.
More information: see conference website: http://org.kikirpa.be/coma2013/
This week's blog post from the Special Collections department of the University of St Andrews has some beautiful photogravures from Hill & Adamson and Julia Margaret Cameron, amongst others:
Applications are welcomed for two positions (PhD candidates) to become part of the research team of the project Associated Media of Austro-Hungarian Zoological Education (AMAZE) – Zoological wallcharts and glass lantern slides at the University of Vienna. The project is led by Assoz.-Prof. Alan S. Ross at the Department of Education and is funded by the Austrian Science Fund (fwf.ac.at).
AMAZE aims to establish visual and material studies as a central concern of the history of education. The usefulness of material sources for reconstructing the historical 'realities' of teaching, ie. the equipment, architecture and methods of teaching, has long been recognised, while their use for approaching epistemological and ideological questions was a marginal concern. Recent studies have shown that natural history education as a field in which objects and images were used to reinforce nationalist and imperialist as well as racist and specist ideologies in education.
However, multi-ethnic and multilingual states such as the Austro-Hungarian Empire have been largely ignored in the context of the propagation of nationalist and imperialist as well as racist and specist ideologies in education. The project aims to place the Habsburg Empire at the centre of visual politics during the nationalisation of education and the sciences in the late nineteenth century. The working hypothesis of the project is that visual and material culture was key to internal colonialism in the sciences of the Habsburg Empire.
The project will pioneer the exploitation of two types of serial media as sources for the history of education. The two collections originated in the former Institute of Zoology at the University of Vienna and are currently held at the Department of Evolutionary Biology. They depict images across the whole range of life-forms and were tied in to natural history teaching at the University of Vienna.
In their size and their documentation, these collections are unique in Europe:
The study of the Viennese collections advances the study of Habsburg imperial science both in terms of its relationship to other research centers in the empire as well as abroad. The exchange of educational media slides allows for the reconstruction of lop-sided relationships between center and periphery in the context of science and pedagogy.
Enquiries should be directed to the PI, Alan Ross: alan.ross@univie.ac.at
The lantern slide work stream which is likely to be of most interest to BPH readers is below:
The candidate will be in charge of the Work Package concerning the collection of approximately 8000 glas lantern slides produced between 1910 until 1970. Of these slides, approximately 1600 items (20%) were manufactured specifically for the collection.
The collection makes exceptionally clear the entanglement of older and newer media and the migration of visual topoi between them. On the one hand, it is possible to reconstruct in detail the sources for glass lantern slides. Photographers documented a large number of objects in the institute's collection of human and natural history specimens, producing, for instance, more than 200 photographs of skulls still extant at the Department of Evolutionary Biology. A considerable number of the Institute of Zoology's one-off wall charts were also reproduced as lantern slides. On the other hand, it is possible to reconstruct the international distribution of the glass lantern slides as well as their later role as source material for newer media. The detailed hand-written catalogue of these lantern slides also shows that lantern slides were exchanged with major research institutions abroad such as the American Museum of Natural History in New York. A considerable number of glass lantern slides have also been utilized in educational films. A large number of these have survived at the University of Vienna and are currently being examined and catalogued as part of a large project funded by the FWF.
What we expect:
The candidate will collaborate with the PI and the rest of the team as well as staff at the Department of Evolutionary Biology at the University of Vienna. The candidate will spend Year One of the project working through the collection of glas lantern slides at the Department of Evolutionary Biology and will collaborate with the staff of the department in documenting, digitizing and cataloguing the part of the collection that has not yet been digitized.
The candidate is expected to write a PhD thesis in the wider field of the research position and to publish preliminary results. The candidate is also required to attend fortnightly meetings with the PI and the other members of the team, to co-organize conferences and research meetings and to maintain the website of the project.
Preference will be given to graduates of history, the history of science, the history of art or educational science with a proven background in the history of the Habsburg Empire as well as some experience of working with visual and/ or material sources.
Very good language skills in German and English are required. Additionally, competence in a second language of the Habsburg Empire or the proven ability and willingness to acquire one during the project is expected.
What we offer:
- an international and lively environment.
- an inner-city research location.
- wide range of training possibilities.
- a fully equipped office space.
- 3-year contracts.
- a salary of 37.577 Euros per year.
How to apply:
Applications (titled SURNAME, Amaze, application 2024, glass slides) can be made in either English or German. They should be sent to the PI Alan Ross: alan.ross@univie.ac.at
The deadline is 15 May 2024.
The following material should be sent in a single PDF document:
1) A two-page letter of motivation. This letter should detail what skills and prior experience qualify you for the position. Outline how you think visual and material sources can help us understand the history of education and science and/ or the Habsburg Empire.
2) A CV, including a list of publications (if applicable).
3) A writing sample (for example an article or a comprehensive chapter of your MA thesis). The writing sample does not need to have been accepted by a publisher.
4) The name, email address and telephone number of at least two referees (do not send recommendation letters).
5) The certificate of your Masters degree.
Online interviews will take place at the end of May/ beginning of June 2024.
As part of the run up to the UK's National Gallery's bicentenary celebrations in 2024 it is running a series of blogs and other activities in its 199th year. As part of that it has published a blog titled 100 years of the Photographic Department: Part One which looks at how the department has operated and evolved over the past one hundred years.
Read it here: https://www.nationalgallery.org.uk/behind-the-scenes/100-years-of-the-photographic-department-part-one
The Royal Society has made available around 250,000 documents online, covering everything from climate observations, the history of colour, how to conduct electricity, and animals. Of particualar note to BPH readers is correspondence and images sent by William Henry Fox Talbot, Herschel, Claudet and others
You can access the online archive here. We have picked out some of the highlights:
Image: Unpublished paper, 'An account of some recent improvements in photography' by Henry Fox Talbot / ref number: AP/25/13 / date: 1841
How can photographs help us to understand the history of warfare? This afternoon of talks covers the origins of war photography and its early practices, exploring how the invention of the photographic camera in the nineteenth century forged new ways of seeing conflict and its human costs.
How did the photographic image begin to shape perceptions of war? What can photographic albums reveal about the experience of conflict? And what ethical issues are raised by the practice of taking photographs of violence for public consumption?
With a range of speakers, these talks consider the value of photographic archives for shedding light on global histories of warfare, seeking to expand popular conceptions of what a ‘war photograph’ looks like, as well as how we should think (and feel) about these images.
‘The Origins of War Photography’ coincides with the Photo Oxford Festival 2023, 'The Hidden Power of the Archive' (14 April-6 May), giving you the opportunity to visit other events and activities in Oxford.
The Origins of War Photography
Sat 29 Apr 2023, from 1300-1730
£55
University of Oxford, Rewley House, 1 Wellington Square, Oxford, OX1 2JA
Details and book: https://www.conted.ox.ac.uk/courses/the-origins-of-war-photography?code=O22P199ARJ#fees_container
The Library of Congress is now accepting applications for the 2023-2024 National Stereoscopic Association Research Fellowship. Please share the announcement with any colleagues you think might be interested.
National Stereoscopic Association Research Fellowship
The National Stereoscopic Association Research Fellowship is made possible by a gift from the National Stereoscopic Association (NSA) to support research within the Prints & Photographs Division holdings of stereoscopic photography and the unparalleled photographic history collections at the Library of Congress—including over 15 million photographs, rare publications, manuscript materials, historic newspapers, and extensive subscription database access.
Fellowships will be awarded annually to be used to cover travel to and from Washington, D.C., accommodations, and other research expenses to assist fellows in their ongoing scholarly research and writing projects on stereoscopic photography, or more broadly within the field of photographic history to the extent that research is connected in some manner to the Library's holdings on the format.
Eligibility and Guidelines
Graduate students, postdoctoral researchers, independent scholars, creators, and other researchers with a need for Fellowship support are encouraged to apply. Individuals who are not U.S. residents but who otherwise meet the above qualifications may apply and be considered for a Fellowship, contingent upon visa eligibility.
In the interest of increasing awareness and extending documentation of Library of Congress collections, Fellows are required to make use of the Library's collections, be in residence at the Library during the award period, and share information derived from their research through publication in Stereo World or on the Library's Picture This blog, a public lecture, presentation at the following National Stereoscopic Association Convention, or other event, either during their residency or within six months of completing their research at the Library. Each Fellow must also notify the selection committee if their work results in formal publication and provide a hard-copy or online access to the work.
To Apply
Information about applying for the fellowship is available at this link: https://www.loc.gov/rr/print/national_stereoscopic.html
Applications are due on February 28th, 2023. The Fellowship must be completed between September 1st, 2023 and August 31st, 2024.
Questions should be addressed to:
Micah Messenheimer (he/they)
Curator of Photography
Prints and Photographs Division
Library of Congress
Email: stereofellow@loc.gov
Phone: (202) 707-0591
Belfast based photographer Donovan Wylie will deliver an artist talk at the Martin Parr Foundation in Bristol on his creative practice, followed by a book signing. This talk will also be streamed live via Zoom. Donovan will address questions around process, touching on how conversations begin and evolve within the medium of photography, both conceptually and through methodology.
Talking through many of his projects – such as The Maze and Outposts – he will also discuss how processes develop (or do not develop!) and how one project leads into another.
Donovan Wylie talk and book signing
23 November 2021 at 1900 (GMT)
Gallery Ticket - £6 - Zoom Ticket - £3 / £5 / £10 (pay what you can)
See: https://www.martinparrfoundation.org/events/donovan-wylie-2/
Image: G40. S Armagh. From Project British Watchtowers 2005 © Donovan Wylie
An online event with Dr Jan Graffius, curator of collections at Stonyhurst College, who will be talking to Gilly Read FRPS about Roger Fenton and his photographs of Stonyhurst and the surrounding countryside.
Although Roger Fenton (1819-1869) is best known for his images of the Crimean War, he trained as a painter and photographed many varied subjects. He lived near Stonyhurst at Crimble Hall and took many landscape photographs around Stonyhurst as well as photographs of the College itself. Fenton was also the first secretary of the Photographic Society, now the Royal Photographic Society.
The talk is free and can be booked here: https://rps.org/stonyhurst
We are recruiting for a full time Curatorial Project Manager, a key role in our newly expanded curatorial and archive team of four.
You will provide the project management and logistical support necessary to develop and deliver our dynamic curatorial programme of exhibitions on and off site, publications, artist commissions, residencies, special projects & associated archive, collection and editions related activity.
You will also have the opportunity to make curatorial proposals for possible inclusion our programme.
Application deadline: Monday 9 July 2018 by 5pm.
Download the job pack and application form below. If you have any questions about the role or application process, please contact info@autograph-abp.co.uk or phone 020 7729 9200.
Read more here: http://autograph-abp.co.uk/news/curatorial-project-manager?mc_cid=e6e0483bcb&mc_eid=dee88b2478
Pete James, Curator of Photographic Collections at the Library of Birmingham will discuss how, over the last 148 years, Birmingham’s four libraries have been the subject of a wide range of projects by architectural, documentary and amateur photographers. The talk will explore some of the ways in which the libraries and their staff have been represented, recorded and celebrated, culminating in the Reference Works project.
The Library of Birmingham holds some 3.5 million items ranging from daguerreotypes to digital works by lead contemporary artists. In 2006 the collection was awarded Designated Status by the Museums, Libraries and Archives Council in recognition of its national and international importance.
The Library of Birmingham, Arts Council England and collaborative partners have created GRAIN, a hub and network of photography within the region. The combination of REFERENCE WORKS and GRAIN will make The Library of Birmingham a national and international centre for photography.
The event is the second in a series of Artists Talks linked to REFERENCE WORKS at the new Library of Birmingham.
Archival Sources - A talk by Pete James
Wednesday 16th October
6:00 - 8:00 pm
Admission Free
Meeting Room 4 - The Library of Birmingham, Centenary Square, Birmingham.
http://www.reference-works.com
Anne McNeill, Director, Impressions Gallery and Brian Liddy, Curator of Collections Access, National Media Museum will discuss the gallery's role in British photography and its connections with the museum's photographic archive. The Gallery has its own extensive - and important - photography archive which dates back to its founding in 1972.
The event will take place at Insight at the National Media Museum's Collections & Research Centre and will provide an opportunity to view original photographs from the museum’s collection.
This event is free, but please book in advance as places are limited on 01274 737843 or email: enquiries@impressions-gallery.com
After Archive Connections you are also welcome to attend the Directors Talk at Impressions Gallery at 3.30pm and view our 40th anniversary exhibitions Roads to Wigan Pier and The Way We Were.
Saturday 8 December 2012, 2.00pm to 3.00pm
See:http://www.impressions-gallery.com/events/event.php?id=221
Two post-doctoral Research Fellow positions are available at De Montfort University, Leicester, to work on the AHRC funded FuzzyPhoto project that is developing and testing computer-based “finding aids” for recommending potential matches between historical photographic exhibition catalogue records and images of photographs that appear in online collections. One will have a knowledge of the Semantic Web, metadata schemas and Web site development, the other will be responsible for investigating and trialling modern database engines and management systems. For further details see http://www.jobs.ac.uk/job/AFD578/research-fellow-semantic-web/ and http://www.jobs.ac.uk/job/AFD581/research-fellow-data-warehousing/
In 1853 an unprecedented exhibition of photography toured Britain. It came to Scotland and was celebrated as the product of a “union” with London. In the press, photography itself was positioned as an art historical descendent of alchemy, a perfect blend of art and science, mysticism and religion. Readers were asked to compare this new medium to other technological inventions magically transforming the world like the train and the telegraph, which enabled them to “travel by fire and speak by lightening.” As a consequence, the general public were impelled to view photography as a grand idea; something new and patriotic, as well as something that could link local communities in a national cause.
After discussing the potency of an exhibition as a site for distributing state enforced ideology in the nineteenth century, this lecture illustrates how the 1853 photographic exhibition stimulated the practice of photography at a local level. More specifically, it reveals how the organisers, all based in London and affiliated with the Royal Society of Arts, established a picturesque aesthetic for photography that was resolutely English. The message the exhibition sent to regions across Britain was that the gnarled oak, quiet village scene and babbling brook were the subjects of the best photographs in the Kingdom; and these were the sites locals should seek out in order to establish their professionalism. In doing this the travelling exhibition softly propagated a colonial vision of England’s role as educator and civiliser of clans and nations. It also reflected a commonly held belief that Britain was stronger as a united inclusive force, not one driven by the insular nationalism that had led other European nations into revolutions during the late 1840s.
Details of this talk by Antonia Laurence-Allen, PhD Candidate, School of Art History can be found here.
To coincide with its 40th anniversary, The Photographers' Gallery will stage a charity auction at Christie's South Kensington on Thursday 17 February 2011. Designed to raise the final portion of funds to transform its Ramillies Street Gallery, the event will comprise a Live and Silent Auction, offering nearly 70 lots. With estimates ranging from £600 to £10,000, this will be the perfect opportunity for collectors of photography to add to their collections, while supporting a new state-of-the-art photography gallery in London.
From Helmut Newton to Rineke Dijkstra, Sebastião Salgado to Corinne Day, the works on sale will reflect some of the extraordinary talents who have exhibited at the Gallery during its 40 year history. Many of the included artists, such as Lee Miller and Sally Mann, exhibited for the first time in the UK at The Photographers’ Gallery.
The works will be on public display at Christie’s South Kensington from Saturday 12 until Thursday 17 February 2011, culminating in the Live Auction of over 30 lots at 20.00, Thursday 17 February 2011. A series of free public talks by featured artists Simon Roberts, Rut Blees Luxemburg and Karen Knorr, as well as Gallery Curator Stefanie Braun, will be programmed during the viewing days.
All proceeds from the Auction will go towards the Gallery’s ongoing capital campaign to build a new photography gallery at Ramillies Street, just off Oxford Street, in the heart of London’s West End. The transformed Photographers’ Gallery will comprise three dedicated gallery floors, an education floor, improved Bookshop and Print Sales, and a street level Café/Bar area. Construction has already started on this impressive project with the Gallery due to open in Autumn 2011.
The press release can be found here: AuctionP.pdf.
Photo: Jeff Wall, After ‘Landscape Manual’ 1969/2003 © Jeff Wall.
