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Registration is open for a 24-hour long conference-a-thon to celebrate International Women's Day (IWD) on 8 March 2025. The event will feature the work of over sixty photography scholars, practitioners, and enthusiasts in a free, online, global, 24-hour symposium dedicated to celebrating the contributions of women to the medium of photography from photography’s announcement in 1839 to contemporary practitioners in 2024. This unique event aims to highlight the diverse and impactful work of women and female-identifying photographers, and those working with photography, across many different cultures and time zones.
The conference-a-thon had been put together by scholars Dr Rose Teanby from the UK and Dr Kris Belden-Adams of University of Mississippi. It features speakers from across the globe including New Zealand and Australia, Asia, Europe and the UK, Canada, North and South America, following IWD as it moves through the Earth's time zones. All time zones enter International Women’s Day, 8 March, from 0800-1100 (UTC).
Split into three sections, the 15-minute papers, plus two longer keynotes, look at different themes and techniques through the lens of women from photography's announcement in 1839, others focus on individual women photographers from the C19th, C20th and C21st centuries, soem take a geographical approach, and other papers provide an opportunity to hear from contemporary women photographers, artists and practitioners. The keynotes are being delivered by South African/UK-based photographer Jillian Edelstein who will discuss her own practice and what photography means to her; and Dr. Katherine Manthorne who will discuss Civil War era New Yorkers.
All the speakers will be recorded and the rceordings will be made available to registrants only, allowing them to catch up with any talks that they might miss.
The programme, paper abstracts and speaker biographies are all available to review.
Take a look at the full programme and register here: https://egrove.olemiss.edu/womenofphotography/2025/
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/
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."
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
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
Launched on World Stereoscopic Day, this lavishly illustrated book shows the unique skills of a gifted, amateur pioneer of 3D photographer, Reginald Grove. A country doctor in the early twentieth century. Grove was a gifted amateur stereographer.
In addition to being a member of the United Stereoscopic Society, Reginald was elected in 1925 as President of The Stereoscopic Society and served in this role for 23 years until his death in 1948. He was elected a member of the Royal Photographic Society. He was a regular exhibitor at their annual exhibitions in the years up to the Second World War and became well known for the quality and composition of his work, particularly of his character studies of country folk, most of whom were his patients. Examples of his photography are now held in the George Eastman Museum, Rochester, New York, the J. Paul Getty Museum, Los Angeles, and the Victoria and Albert Museum in London.
Peter Flower, is a grandson of Reginald Grove. He read modern history at King’s College, London University and was elected an Associate of Kings College (AKC). He has written a 3-volume biography on Reginald Grove.
Viewing the stereo images with a simple, hand held, modern 3D viewer will bring Reginald’s work to life; the Lite OWL is an inexpensive viewer which can be bought online from the London Stereoscopic Company Ltd: https://shop.londonstereo.com/lsc-owl-viewer.html
The Enduring Photographic Legacy of Reginald Grove. A gift amateur stereoscopic photographer
Peter Flower
Brown Dog Books, 2025
£24.99 (free P+P if ordered direct from the publisher)
See: https://www.browndogbooks.uk/products/the-enduring-photographic-legacy-of-reginald-grove-peter-flower
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
The renowned 19th-century French photographer, Charles Marville, has remained a mystery for so long partly because documents that would shed light on his biography were thought to have disappeared in a fire that consumed Paris' city hall in 1870. The whereabouts of others were simply unknown. However, new research by exhibition curator Sarah Kennel and independent researcher Daniel Catan has uncovered a wealth of documents that have been critical in reconstructing Marville's personal and professional biography.
Both Kennel and Catan have made astounding discoveries in Parisian archives that have provided the basis for a completely new history of Marville. The most important revelation is his given name: Charles-François Bossu. Born into an established Parisian family in 1813 (and not 1816, as previously thought), the young Bossu adopted the pseudonym Marville just as he was embarking on a career as an illustrator and painter in the early 1830s. Although he continued to be known as Marville until his death in Paris on June 1, 1879, (two facts also just uncovered), he never formally changed his name and therefore many of the legal documents pertaining to his life have gone unnoticed for decades.
The first exhibition in the United States and the very first scholarly catalogue on Marville will present recently discovered, groundbreaking scholarship informing his art, including his identity, background, and family life. On view at the National Gallery of Art, Washington, from October 1, 2012 through January 6, 2013, Charles Marville, 1813–1879 will include some 100 photographs that represent the artist's entire career, from his city scenes and landscape and architectural studies of Europe in the early 1850s to his compelling photographs of Paris and its environs in the late 1870s. The exhibition is organized by the National Gallery of Art, Washington.
Photo: Rue de Constantine, Paris; Charles Marville c1865 (Metropolitan Museum of Art )
Dissatisfied with the poor definition and contrast of the Calotype andthe long exposures needed, Scott Archer invented the new process in1848 and published his process in 'The Chemist' in March 1851. Thisenabled photographers to combine the fine detail of the Daguerreotypewith the ability to print multiple paper copies like the Calotype. Thissingle achievement, which preceded the modern gelatin emulsion, greatlyincreased the accessibility of photography for the general public andchanged photography forever.
The ceremony is by invitation only. Please contact Quinn Jacobson(quinn@studioQ.com) or Carl Radford (carl@carls-gallery.co.uk) for moreinformation.
The Nicéphore Niépce museum in Chalon-sur-Saône is looking for a new director. With a collection of 3 million photographs, prints, negatives, contact sheets, historic cameras etc., the Nicéphore Niépce museum is one of the first museums in the history of photography in France. Created in 1972, it holds the Musée de France label and was directed by Paul Jay and François Cheval. See more here
Explore the story of the 19th century Derry photographer, James Glass. The exhibition includes some of his portrait images and his iconic images of Gweedore County Donegal, in the ‘Glass Album’.
Glass is often remembered for a unique series of photographs of the Gweedore and Cloughaneely areas, taken in the late nineteenth century.These photographs which have not been on display since they were first taken, are connected to the famous 1889 “Land War” trial of Fr McFadden and some of his parishioners following the killing of District Inspector Martin in Gweedore, Co. Donegal.
It is believed that James Glass was commissioned by the defence to take a series photographs depicting tenant life in Gweedore. These photographs subsequently became known as the Glass Album. This was the first use of photographs as evidence in an Irish court. There are two known copies of the Album – one in the collections of the National Museums of Northern Ireland, the other, belonging to a private collection, which on display for the first time in this exhibition,
The exhibition will be launched on Thursday at the Tower Museum at 7pm and will be open to the public until October 26. Admission is free. Further details can be found here and here and here too.
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.
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.
Photographs by legendary photographer Harry Hammond celebrating the birth of British rock are part of a new exhibition now on show. Hammond, who died aged 88, in 2009, was the first great photographer of British rock’n’roll, chronicling the first decade of that music, up to and including the emergence of the Beatles and the Rolling Stones.
For nearly two decades starting in the late 1940s, Hammond captured the definitive images of virtually every leading British musician, as well as many of the visiting American artists. From Tommy Steele to the Beatles, Shirley Bassey to Dusty Springfield, he captured the emergence of British rock 'n' rollers. First circulated through the New Musical Express, his work set the standard for pop photography for following generations.
Entitled "Halfway to Paradise: The Birth of British Rock Photography" , the exhibition comprises over 100 of Hammond's photographs which takes visitors back to the birth of British rock. It includes a great soundtrack and interactives which explore the music, musicians and fashions of the time. It has been drawn from the from the V&A Theatre and Performance collections.
If you want to get rockin', details of the exhibition can be found here. And an obituary of Hammond can also be read here and here.
Photo: Image of The ???? (what's this group called again?) by Harry Hammond (copyright).
Youth of Yesterday is an exhibition featuring photographs taken of young people in Bethnal Green from the 1970s by photographer Philip Cunningham. In the mid-1970s Philip was a youth worker at Oxford House while studying art at Ravensbourne College of Art. While a student, Philip became interested in photography and Oxford House had a fully equipped dark room and was home to Tower Hamlets Arts Group. Philip took hundreds of photographs of local people at a time when Bethnal Green was seeing great change. These photographs capture daily life, friendship, streets, and youth culture in the late 1970s.
In this talk Philip will be showcasing and discussing more of his images about the East End and the stories behind them. This talk accompanies the exhibition... YOUTH OF YESTERDAY, 22 September - 17 December at Oxford House
Photographing the East End: Philip Cunningham In Conversation
25 November 2021
1830-1930 (GMT), live event, free
Oxford House in Bethnal Green
Derbyshire Street
London, E2 6HG
See more and book here
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.
The University of St Andrews has an outstanding collection of books, archives and photography, accumulated throughout the six hundred years since the University’s foundation. The collection is especially rich in the History of Science, Theology and Church History, Literary Studies and Photography. In addition to a substantial collection of incunabula and early printed books, the library has a significant eighteenth-century collection dating from its period as a Copyright Library (1710-1836). The archives also include an exceptional collection of 15th -16th century materials relating to Fife and to the University and city of St Andrews.
What is a University of St Andrews Library Visiting Scholarship?
Visiting Scholarships are an opportunity for applicants external to the University of St Andrews to research a topic in the Library’s Special Collections. The scholarships are open to all interested researchers, whether or not affiliated to a university, and at whatever level. This Scholarship gives the applicant the opportunity to visit the University of St Andrews and experience first-hand the Library’s unique collections which offer research potential across an exceptionally broad array of disciplines.
Assessment of applications
All applications are assessed by a panel of academics and Library staff.
Successful candidates will be in receipt of
- Financial support up to a maximum of £1,500 to cover travel and accommodation, but not subsistence, during the Scholarship
- Accommodation in a University hall of residence. The cost of this will be paid directly by the University, which will also make all necessary arrangements for residency.
- A warm welcome to Special Collections and invitations to take part in its activities, e.g. seminars and workshops
- Curatorial support during the Scholarship
- Reading Room provision
- Sponsored email account
- Scholarships can be taken at a mutually agreed time between 1 July and 31 August 2018.
- Scholarships will last for a period of between two and eight weeks.
Essential Criteria
All activity must be based strongly on the Special Collections of the University of St Andrews Library. Of particular interest to BPH readers will be the outstanding photography collections and a list of the key collections can be found here; https://www.st-andrews.ac.uk/imu/imu.php?request=browse&browsetype=about
Visiting Research Scholar Application Process
Further details can be found here: https://www.st-andrews.ac.uk/library/specialcollections/researchandenquiries/visitingscholars/
The London-based Alkazi Foundation for the Arts in collaboration with the National Museum and Archaeological Survey of India will be presenting the exhibition: Imaging the Isle Across: Vintage Photography from Ceylon (see poster here: India.jpg). The exhibition will be inaugurated on Saturday, 26 September 2015 at 5pm at the National Museum Auditorium. The exhibition is a partner event of the Delhi Photo Festival, 2015.
The history of photography in South Asia is a story of itinerant practitioners, seeking to expand the eye of the lens by exposure to the farthest corners of the world. Though Ceylon came under British rule only in 1815, it followed the maritime expansion of the Portuguese, the Dutch, Danes and the French – the first of which identified it in their sea-charts as Zeilon, from which the modern name Ceylon was derived and maintained till 1972. Featuring vintage photographs drawn primarily from the Alkazi Collection of Photography, this exhibition takes its viewers through a mapping of sites as well as visual tropes and themes emerging from early photography via diverse mediums of production such as albums, illustrated books and postcards. These traces remain foundational in generating a imagistic canon that etched the life of a swiftly transforming country, as did the coming of a modern, pictorial language instituted by Lionel Wendt, the art photographer and patron.
We are extendedly grateful to the contributions and support of the University of Cambridge, Centre of South Asian Studies; the India-Sri Lanka Foundation, Ismeth Raheem, Annamaria Motrescu-Mayes, Dominic Sansoni and Anoli Perera.
