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12200977484?profile=originalSotheby's have produced a special catalogue for The Val Prinsep album compiled by Julia Margaret Cameron. A PDF copy can be had by clicking here. The auction takes place on 10 December 2013. 

UPDATE: The Prinsep album sold for £242,000 (including buyer's premium) against an estimate of £250,000-£250,000). 

The sale also includes the earliest recorded surviving glass negative of one of the Liddell sisters by Lewis Carroll: and a fine platinum print of W.B. Yeats by Alice Boughton, signed by both the photographer and sitter.

UPDATE: Both lots were unsold. 

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12200983052?profile=originalLeonard Joel auctions in Australia is to auction the Parekh Collection of International Photographs on 15 December 2013. The collection of Dinesh Parekh covers photography from the 1840s to the modern period including such names as Le Seq, Fenton, Cameron, Cartier-Bresson, Halsman, Kertesz, Penn and many others. 

Dr Dinesh Parekh is a retired psychologist, born in 1939.  He grew up in Rajhisthan, India and earned his medical degree from SMS Medical College Jaipur in 1962. He later obtained a diploma in psychological medicine in 1967 and a doctorate in psychiatry in 1970. He became a fellow of the ANZ College of Psychiatry in 1976 and was a World Health Organisation research psychiatrist for 3 years. He had private practices in Resevoir, Sunshine and Thornbury until he retired in 2011.
Dr Parekh has been collecting photographs for most of his adult life. His interest in photography developed as a teenager and he began collecting in earnest after qualifying as a doctor. The first photographs he acquired were of 10 of the most beautiful women in the world including examples by renowned photographer Yousuf Karsh.

His passion for collecting continued for more than 40 years over which time he has amassed more than 10,000 paintings, lithographs, chromolithographs, albumen photographs and silver gelatin photographs from 1840s-2000s.

Dr Dinesh's international photograph collection comprises around 700 works and is a Who's Who of 90 of the world's best known photographers from the 19th century to the present day.  The earliest example in the sale is a remarkable 1842 salt print from a calotype negative, The Hungerford Suspension Bridge by William Henry Fox Talbot, the British  photography pioneer and inventor of the calotype process. Other highlights include a signed silver gelatin print of the iconic Woman of the Night by Hungarian photographer Brassai (Gyula Hasz) and a silver gelatin portrait of the artist Miro by Armenian-Canadian photographer Yousuf Karsh. Several examples by American photographer Brett Weston, (son of Edward Weston) are also featured, most notably Nude Underwater, signed and dated 1979.

The catalogue is available online here.

Image: Henri Cartier-Bresson, The Dance, circa 1964, est AU$600-800. 


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12200927099?profile=originalMedia Space is an arts-led gallery in the Science Museum, whiched opened in September 2013. It is a collaboration between the Science Museum and the National Media Museum. It is our platform for photography, art and science. It will be unique in London as an experimental inter-disciplinary programme that re-examines traditional divisions and identifies new relationships between the arts and the sciences

Media Space will bring together photographers, artists, curators, the creative industries and key subject-matter-experts to draw on and interrogate the photography, science, art and technology collections of the National Media Museum and the Science Museum.  It will create a unique inter-disciplinary programme of world-class exhibitions and events.

To support the Media Space programme, the Museum is seeking a skilled and imaginative Learning Programmes Co-ordinator to work with HE and FE students and their tutors to create an engaging and inspiring collaborative learning offer.

LPC-MS/13 - Learning Programmes Co-ordinator (Media Space)

Posted: 26/11/2013 14:13
Start Date: Not Available
Salary: £14,700 per annum actual pay (£24,500 FTE)
Location: Science Museum - London
Level: Learning
Deadline: 08/12/2013 23:59
Hours: 21.6
Benefits: Enterprises benefits including BUPA and pension
Job Type: Part Time - Fixed Term

Media Space Learning Programmes Co-ordinator
23 month part-time (3 days a week) fixed term contract

Interviews are likely to be held week 16 December 2013

Application details

When you apply you will be asked to upload a covering statement in Microsoft Word format. You are advised to prepare this document in advanced of making your application online.  Please also ensure that you have also uploaded your CV as a separate document which you can do when you create an account or login.

In your covering statement please state why you feel you are suitable for this role detailing how you meet the skills, knowledge and relevant qualifications section of the specification. Please focus only on the experience you consider to be most relevant to this role.

Information for Internal Applicants 

The post is offered on SCMG Enterprises terms, but employees currently on Museum terms may apply, and remain on Museum terms, subject to conditions to be discussed at time of offer.

This position will be offered as a secondment. Your department must be willing to release you and hold your post open for your return, and you are advised to check that this is possible before you apply.

SMG Job Description

Job Details
Job Title: Learning Programmes Co-ordinator (Media Space)
Department: Learning
Reports to: Head of Learning Research & Projects
Location: Science Museum, London

Purpose of the post

To co-ordinate and manage the Media Space creative learning offer for HE and FE students.

To recruit artists to develop and deliver sessions as part of the creative learning offer.

To work with the wider Media Space team in joint programming activity.

To identify and build relationships with key organisations, institutions who you will work with to develop and implement the creative learning programme for Media Space. 

Line Management and Budget Responsibility

Directly line manages: 0
Indirectly line manages: 0
Contractors/freelancers: 1-3 varying over the course of the project.

Key Deliverables/Accountabilities

  1. To develop and deliver the HE and FE offer for Media Space working with universities and colleges to create an engaging learning programme of collaborative projects and events for adults.
  2. A costed plan for the resources necessary for the successful delivery of the creative learning programme over next 5 years, including existing Museum staff time and volunteers.
  3. A 2 year action plan for the delivery of the HE programme.
  4. To co-ordinate evaluations of the HE programme.
  5.  To develop a strong network, internally and externally, that increases the Museum’s knowledge of other sector-leading practice in the field of creative learning & programming for adults and initiates partnerships through which the future programme can be delivered.
  6. To identify ways of working with HE and FE sector that can be implemented at the National Media Museum, Bradford, as well as in London.
  7. To work with Learning colleagues at National Media Museum, Bradford to develop their HE and FE offer.
  8. To take care of personal health and safety and that of others and report any health and safety concerns.  Ensure proactive compliance with NMSI H&S Policies, including risk assessments and implementing safe systems of work.


  • Ability to work under pressure and to tight deadlines.
  • Anticipate/recognise changes in circumstances and able to respond quickly and effectively.
  • Outcome-focussed.
  •  Professional, with proven ability to work on own and with a broad range of people especially external partners. 
  • Able to effectively create buy-in for work being conducted, good communication with different team members.
  • Able to work on own and as part of a multi-disciplinary team.

Skills, Knowledge and Relevant Qualifications

  • Experience of devising and managing engaging creative learning programmes for adult audiences.
  • Knowledge of creative learning programming by major cultural organisations.
  • A practical understanding of the principles of audience development, gained through professional work i.e. formulating plans, identifying objectives, engaging with target audiences.
  • Experience of developing and managing partnerships.
  • Project management experience.
  • Excellent communication skills, verbal and written (contributing to strategic documents; articles for publication; talks).
  • Understanding of how visitors learn in Museums and other free choice environments.
  • Understanding of audiences: their wants, needs, expectations.
  • Managing budgets.
  • Relevant degree or experience desirable
  • To be able to work evenings and weekends if necessary

Working Relationships and Contacts


  • With the Science Museum Head of Media Space and Arts Programme and National Media Museum Curator of Photographs to ensure that that the creative learning programme fits with the overarching ethos of Media Space.
  • With the Head of Media Space and Arts Programme and Head of Learning Research and Projects to ensure the high quality delivery of HE/FE creative Learning programmes, on time and on budget.
  • With the Head of Media Space and Arts Programme and Head of Learning Research & Projects to ensure planned programme can be resourced.
  •  With Head of Learning Research & Projects to ensure learning input matches learning business plan and philosophy.
  • With Head of Media Space and Arts Programme to secure staff resource for activities.
  • Working with Public Programmes re cross-over events and joined up working e.g. planned learning projects with potential public outputs.
  • With web team and new media team to develop any digital activities and manage Learning’s Media Space presence on the web.
  • With Finance/Management Accounts to ensure effective use of resources.
  • With Learning Support Team and Marketing and Press teams to ensure they are informed of Media Space learning offer and that marketing opportunities are pursued as and where necessary.
  • With Learning Support Office to ensure they have the correct bookings information e.g. info about new exhibitions; timings of curator tours etc.
  • With National Media Museum Learning colleagues to develop their HE and FE creative learning offer


  • To contribute to regular updates and reports to the gallery funders and other stakeholders.
  • With target audience and organisations/institutions that represent and engage them (e.g. independent adults; FE & HE sector).
  • To work with other major institutions that attract independent adult visitors, to explore potential collaboration.
  • To maintain relationships with existing HE partners and build new HE partners.
  • With external contractors/artists to deliver specified materials/workshops/ learning products.

Scope for impact

Media Space will be central to the strategy to grow the adult audience at the Science Museum and shape the perception of the Museum for these audiences.

Extending Science Museum reach and profile in engaging adults in a creative learning programme

This role is to develop a programme for a new audience – the HE and FE audience. In doing, the post-holder will be developing ways of working that we will then share with the National Media Museum, Bradford

Please note:
This job description is not exhaustive and amendments and additions may be required in line with future changes in policy, regulation or organisational requirements, it will be reviewed on a regular basis.

This role is subject to a Disclosure Scotland basic criminal record check.

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12200972458?profile=originalA new book by David Bruce tells the true story of John Henry Greatrex (1827-76), photographer, thief, convict, actor, grocer, bankrupt, preacher, adulterer, absconder and counterfeiter, who had a colourfully disreputable life, despite his entirely respectable Victorian family background.

His dubious career took him from England to Australia, Scotland and America – only for him to be arrested by an extraordinarily clever Glasgow detective, for printing his own money. 

The book is formally launched on 29 November at the Scottish Arts Club. 

David Bruce is a former Director of the Scottish Film Council and the Edinburgh International Film Festival. A historian of film and photography, he is the author of The Sun Pictures – the Hill-Adamson Calotypes; Edinburgh Past and Present (with Maurice Lindsay); and Scotland – the Movie and has contributed widely to other publications. He is a Fellow of the Royal Photographic Society and convenor of the Scottish Society for the History of Photography.

His interest in Greatrex was triggered by a lecture given by Dr Sara Stevenson, then Senior Curator of Photography in the National Galleries of Scotland, who made reference to a Glasgow photographer who had resorted to 'printing his own money’. The resulting hunt for Greatrex lead to fascinating revelations not only about a colourful criminal career but about Victorian photography and forgery, crime and punishment, in England, Scotland, Australia and the USA.

The book costs £9.99 and is available from the publisher, Renaissance Press by clicking here: or from booksellers. 

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12200978075?profile=originalAchievers will be among those honoured at the University of Derby's annual Awards Ceremonies taking place on 15-17 January 2014. The University will honour people who've risen to the heights of their profession and will join more than 4,000 students graduating in degree, postgraduate and other higher education courses. Amongst those to be recognised is Emeritus Professor Roger Taylor, the UK's most respected photographic historian. 

Roger Taylor becomes an Honorary Doctor of Fine Art - Author of numerous books, exhibitions, and web databases, Roger is known internationally as a historian of mid-19th century British photography. For almost 60 years photography has been the centre of his working life; as a practitioner, teacher, curator and academic. His career began as apprentice to a leading Manchester commercial and industrial photographer, changing direction after a full-time course (1965-7) at Derby College of Art (later to become part of the University of Derby). After 18 years' teaching at Sheffield Polytechnic, Roger was appointed the National Museum of Photography's Senior Curator of Photography. From 1995 he entered his career's most productive phase, as an independent curator creating exhibitions for leading American museums.


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Early photography in Ceylon / Sri Lanka

12200981465?profile=originalLandscapes of Sri Lanka - Early Photography in Ceylon. From the mid-19th century on, Ceylon, now known as Sri Lanka, was an exotic destination that many a world traveller yearned to visit.

Starting in the 1860s, a number of photographic studios established themselves on the island, producing artistically ambitious photographs for an illustrious clientele. Among the most famous photographers from this era were William Louis Henry Skeen, Charles Thomas Scowen, as well as the Hamburg-born photographer Alfred William Amandus Plate, whose studio in the late 19th century expanded into a large-scale commercial enterprise that tried to satisfy the public's hunger for postcard images. The images produced by these photographers played a crucial role in spreading, to the far corners of the British Empire and beyond, the myth of Ceylon as an Arcadia-like tropical island.

Now, to coincide with the 60th anniversary of diplomatic ties between Sri Lanka and Germany, the Museum für Asiatische Kunst is showing an exquisite selection of extremely rare landscape photographs from and of Ceylon. The vintage prints presented in the exhibition not only depict Arcadian landscapes, wildly romantic waterfalls, and exotic beaches but also the encroachment of civilization in the natural landscape, be it through extensive plantations or through settlement, whereby we witness the magnitude of the changes that were wrought to the 'island of dreams' even in the 19th century.

A richly illustrated, bilingual catalogue (English/German) has been released to accompany to the exhibition:
Raffael Dedo Gadebusch (ed.): Landscapes of Sri Lanka - Early Photography in Ceylon / Frühe Fotografie in Ceylon, Museum für Asiatische Kunst, Staatliche Museen zu Berlin, Berlin 2013, ISBN 978-3-88609-745-6.

Curator: Raffael Dedo Gadebusch
Assistant curator: Karoline Höppner

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Leica camera sets a new digital record

12200980869?profile=originalA Leica digital camera custom-made by Jonathan (Jony) Ive the British-born Vice President of Design at Apple Inc and Marc Newson for the (RED) Auction 2013. The camera was an edition of 01/01 and sold for a record price of USD 1,805,000 - a world auction record price for a digital camera. A prototype UR Leica made US$2.8 million in 2012.

The sale shows the importance of a designer's name,the association with the world's most valuable brand, Apple; and the longevity of Leica as a collectible. 


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12200975282?profile=originalThe Photo Museum Province of Antwerp (FotoMuseum Provincie Antwerpen - FoMu) has recently given the kick off for a photographic heritage project “DAGUERREOBASE “ that is supported by the European Commission. The project’s ambitious goal is to collect over 25.000 images from all over Europe and their descriptions of European-style historical daguerreotypes and related literature in one common aggregator database/knowledge bank: DAGUERREOBASE.

Download the project leaflet DAG_Leaflet_FINAL.pdf

The Daguerreobase project will make an important contribution to Europeana, since a selection of the content of the Daguerreobase, will be visible in, the portal and digital library for European Cultural Heritage of the European Union. This project is partially funded under the ICT Policy Support Programme (ICT PSP) as part of the competitiveness and Innovation Framework Programme by the European Community.

The daguerreotype was the first commercially successful photographic process (1839-1860). It is a direct positive made in the camera on a silvered copper plate. European-style daguerreotypes are scarce and collections are scattered around in several European institutional and private collections . Daguerreobase is an existing database, originated by the Dutch Photo Museum (Stichting Nederlands Fotomuseum), that will be renewed.

The renewed daguerreobase aims not only to aggregate and to centralize the information about these collections, it will also make this information open to researchers and professionals but also to the general public as an educational platform. Private owners and public institutions will be invited to share their treasures in a secured digital environment.

To achieve this ambitious goal a consortium of 18 European partners from 13 different countries has been established. These partners are photography collecting institutes and private conservators specialised in photography. Partners will agree on the development of a standard of description and provide data for the Daguerreobase. This will result in a user friendly website with a unique amount information regarding the European-style daguerreotypes and related object and literature. In the final months a Europeana Virtual Daguerreotype Exhibition will be programmed.

The FoMu is project coordinator and the other consortium partners are: Stichting Nederlands Fotomuseum (NL), Museum Conservation Services (UK), Ville de Paris (FR), Stadt Köln (DE), Landshauptstadt Dresden (DE), Ministère de la Culture (LU), Insititut for Papierrestaurierung Schloss Schonbrunn Mag. Markus Klaszund Mitgesellschafter – IPR (AT), Suomen Valokuvataiteen Museon Saatio Stiftelsen – Stiftelesen for Finlands Fotografiska Museum Foundation Finnish Museum of Photography SVM FMP (FI), Nasjionalbiblioteket (NO), Universitetet i Bergen (NO), Picturae bv (NL), e-David (BE), Ortelee Marinus Jan*MJ Ortelee/Fotojournalist MOCED (NL), SMP Di Petrillo Sandra Maria (IT), Narodni Technicke Muzeum (CZ), Universitat Politecnica de Valencia, (ES), Det Kongelige Bibliotek, Nationalbibliotek og Kobenhavns Universitetsbibliotek (DK).

The project will run from November 1st, 2012 till the end of April 2015.

For further information, or pictures please contact: Isabelle Willems FotoMuseum Provincie Antwerpen +32-(0)3-242 93 23

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12200975893?profile=originalMarc Boulay writes...Here is a blog/article written about our Photographic Books Collection which may be of interest. It was written by Liz Shannon one of our Photographic History PhD graduates who was contracted to work with us over the summer on this material.

It provides a personal overview of the collection at St Andrews. 

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I am very interested in tracing any surviving photographs of George Love, visual representations of the exterior or interior of his shop in 81 Bunhill Row, any stock catalogues of prints and paintings for sale that Love published,  or any information about his surviving business records, including stock books.  I am also looking for historic photographs of Bunhill Row prior to WWII, ideally from the Victorian period. I have consulted all the standard archives and local history centres and have not been able to find any of the above.  I am also looking for the descendants of George Love  and his son William Francis Love in order to learn more about the family's Victorian business in case they may have  information or family papers they would be willing to share.

Please contact Julia Dudkiewicz, PhD Candidate, Central Saint Martins, E:, M: 079 22 00 77 53.

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12200975253?profile=originalLOS ANGELES—Queen Victoria’s devotion to photography will be on display in A Royal Passion: Queen Victoria and Photography, February 4–June 8, 2014 at the J. Paul Getty Museum, Getty Center. With important loans held in the Royal Collection, generously lent by Her Majesty The Queen, shown alongside masterpieces from the Getty Museum, the exhibition displays rare daguerreotypes, private portraits of the royal family, and a selection of prints by early masters such as William Henry Fox Talbot, Roger Fenton, and Julia Margaret Cameron.

At the age of 18, Queen Victoria (1819–1901) ascended the throne of Great Britain and Ireland and was about to turn 20 when the invention of photography was announced—first in Paris, then in London—at the beginning of 1839. The queen and her husband Prince Albert fully embraced the new medium early on, and by 1842 the royal family was collecting photographs. Through their patronage and support, they contributed to the dialogue on photography and were integral to its rise in popularity.

“As the first British monarch to have her life fully recorded by the camera, Victoria’s image became synonymous with an entire age,” explains Timothy Potts, director of the J. Paul Getty Museum. “Now, 175 years later, we take this opportunity to celebrate both the anniversary of photography and the queen’s relationship with it, through a rich collection of images that portray both the evolution of the medium and the monarchy.”


Birth of Photography and Royal Patronage


Queen Victoria and Prince Albert took an interest in photography in the 1840s, which is remarkable given its limited application and dissemination at the time. The first royal photographic portrait—of Albert—was made by William Constable in 1842. While Victoria enjoyed seeing Albert photographed, she was initially apprehensive about being photographed herself. A pair of key images in the exhibition feature Victoria with her children in 1852, sitting for photographer William Edward Kilburn. In the first portrait, the long exposure time created an image in which Victoria’s eyes were closed. Writing in her diary entry for that day, she described her image as “horrid.”  She disliked the portrait so much that she scratched the daguerreotype to remove her face. However two days later the queen repeated the exercise and sat before Kilburn’s camera again, only this time she chose to sit in profile wearing a large brimmed bonnet to hide her face.

For many people, the first opportunity of viewing an actual photograph took place in 1851 at the Great Exhibition of the Industry of Works of All Nations, which opened in London at an event presided over by Queen Victoria and Prince Albert.  Among its 13,000 exhibits were 700 photographs housed in a massive iron and glass structure in Hyde Park. The Crystal Palace, as it was known, was documented in a series of daguerreotypes by John Jabez Edwin Mayall. The royal family would continue to support similar displays of photography that took place during the 1850s; in addition, they became patrons of the Photographic Society of London.  Queen Victoria’s interest in the medium was effectively a royal seal of approval and her interest facilitated its growing popularity.

During her reign, a number of conflicts were also captured on camera, including the Crimean War and Sepoy Rebellion. The camera, although unable to record live battle, was able to record the before and after effects of conflict, and its images revealed both the tedium and horrors of war in these far off lands. Roger Fenton’s Valley of the Shadow of Death (1855) shows a stretch of land that was frequently attacked by the Russian Army, strewn with cannonballs. Formal military portraits, such as William Edward Kilburn’s Portrait of Lt. Robert Horsely Cockerell (1854) took on a memorial quality for families who lost loved ones.

As the application of photography developed through the course of the 19th century, so too did the medium itself. Many photographic innovations and experimentations occurred, particularly in the first thirty years. From early daguerreotypes and paper negatives, to the popular carte de visite and stereoscopic photography, the latter a technique that gave photographs the illusion of depth through binocular vision, the exhibition surveys these many innovations and accomplishments. Visitors will be able to look through reproductions of stereoscopic devices in the exhibition.


Private Photographs of the Royal Family


Victoria and Albert shared their passion for photography, not only in exchanging gifts at birthdays and Christmas, but in collecting, organizing, and mounting the family portraits in albums, and would frequently spend evenings working together on assembling these volumes. Victoria would often bring albums and small framed portraits of her family along on her travels. The Getty will display a custom-made bracelet she wore that features photographs of her grandchildren.

“As the medium of photography evolved over the years, so did Victoria’s photographic image: she was the camera-shy young mother before she became an internationally recognizable sovereign,” explains Anne Lyden, curator of the exhibition.

In a rare glimpse of these private photographs, the exhibition includes scenes of young royals at play and images in which the royal family appears informal and almost middle-class in their appearance. In an 1854 portrait by Roger Fenton, the casual attire of the queen is disarming. She is wrapped in a tartan shawl and surrounded by four of her children (she would bear nine children in the span of seventeen years). This is not the image of a bejewelled monarch reigning over her empire, but an intimate view of family life. A pair of scissors and a key visible on the chain on her chatelaine suggests practicality and hints at routine household rituals.  


Public Photographs, Public Mourning, and State Portraits


Public photographs of the royal family were incredibly popular—the majority of the population would never see a royal in person, and photographs offered a connection to nobility.  However, it was not until 1860 that such photographs were available to the public, when John Jabez Edwin Mayall made the first photograph of the queen available for purchase. The event coincided with the rise in popularity of cartes de visite, thin paper photographs mounted on a thick paper card, which, given their small size, were popular for trading and were easily transported. Within days of Mayall’s portrait being issued, over 60,000 orders had been placed, as people were eager to have a glimpse into the private life of the sovereign. Interest in the royal family extended to views of their various royal residences, such as Buckingham Palace, Windsor Castle, Balmoral Castle, and Osborne House, which will also be included in the exhibition.

When Albert died suddenly on December 14, 1861, Victoria became a widow at the age of 42 and was in deep mourning for the rest of her life. While she retreated from public life, photographs of her as the bereaved wife were widely available, becoming in effect the queen’s public presence. While the tableau of a grieving widow remained prevalent for the remainder of Victoria’s reign, in the 1870s and 1880s she sat for a number of extremely popular state portraits that preserved her powerful position as monarch. The exhibition includes portraits taken by W. & D. Downey and Gunn & Stewart on the occasion of her Diamond Jubilee in 1897, as well as other portraits in which she is seen in full regal attire, complete with royal jewels and crown.


A Royal Passion: Queen Victoria and Photography, is on view February 4–June 8, 2014 at the J. Paul Getty Museum, Getty Center. The exhibition was curated by Anne Lyden, international photography curator at the National Galleries of Scotland and former associate curator of photographs at the J. Paul Getty Museum. Getty Publications will issue the accompanying book A Royal Passion: Queen Victoria and Photography by Anne Lyden. Concurrently on view in the Center for Photographs is Hiroshi Sugimoto: Past Tense, which includes Sugimoto’s wax figure portrait of Queen Victoria. A full list of related events is to be announced. 

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12200943683?profile=originalThis two-day conference taking place 20-21 June 2014 - will explore how collectivities of photography such as camera clubs, photographic societies, commercial photographic studios, and other groups of practitioners produced knowledge about world phenomena, about local and historical events, new technologies, visual practices and techniques, as well as about photographic history itself. In recent years scholars have begun to explore the ways in which photographs have been set in motion since the early nineteenth century in a range of circumstances, both social and cultural. Foregrounding detailed information about some of the main social conditions that enmeshed the use of photography within complex networks of institutional authorities, these accounts have shown how photographic practices and meanings were created jointly, by powerful groups of professionals and organisations. While such studies have clarified that the apparatus of photography and its various functions developed through institutional negotiations with sociocultural and economic forces, systematic interrogations of more prosaic, private exchanges that influenced the development and emergence of photographic enterprises are sparse.

Dominant histories of photography, with their attention on individual photographers have poignantly concealed much of the interpersonal, cross-cultural and collaborative relationships that have been at the core of the development of photographic technologies and processes, photographic images and objects, knowledge and education, as well as of the making of the hegemonic history of photography itself. This two-day conference aims to invite further interrogation of private interactions between camera users, image makers, designers of photographic equipment, writers, publishers and curators. It encourages contemplation of the impact that such exchanges might have had on the expansion of photography within the private and public, the social and political, as well as the professional and amateur terrains. Throughout the conference, we will strive to reconstruct forgotten links between histories of photography that have become isolated, as well as reestablish overlooked connections between individual subjects whose encounters, friendships, collaborations and animosities led to significant practical or theoretical photographic activities.

The conference organisers welcome proposals for papers exploring any period in photographic history, in particular from the period 1890-1970. Topics may include the popularisation of cameras, photographic technologies and processes and its impact on shared photographic conventions; photographic education, publications, exhibitions and world fairs as sites in which sociocultural and visual values are exchanged and negotiated; as well as the making of scientific or popular knowledge through photography. However, we also welcome papers on other related topics.


Abstracts should be sent via email to Dr Gil Pasternak by Sunday, 26th of January 2014. Submissions should be of 300 words in Microsoft Word or PDF format, and include your name, title, email address, academic position and affiliation. Successful applications will be allotted 25 minutes to present their papers. Scholars, academics, and postgraduate students are all encouraged to apply. Applicants must propose new and original empirical research that draws on interaction with primary sources.

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12200979884?profile=original12 November 2013 – Royal Museums Greenwich (RMG) today acquired a world renowned and nationally significant collection of photographic and archive material. The Gibson archive presents one of the most graphic and emotive depictions of shipwrecks, lifesaving and its aftermath produced in the nineteenth and twentieth centuries. The material was acquired at the Sotheby's Travel, Atlases, Maps and Natural History Sale.

The archive of dramatic and often haunting images, assembled over 125 years (1872 to 1997) by four generations of the Gibson family, records over 200 wrecks - the ships, heroic rescues, survivors, burials and salvage scenes - off the treacherous coastline of Cornwall and the Isles of Scilly.

The acquisition of this collection comprising of over 1360 glass and film negatives, complements the Museum’s existing, extensive historic photography collection, and creates an unprecedented opportunity for the Museum to further examine and explore the story of life at sea and the dangers experienced by seafarers through research, education and display projects.

John Gibson (1827 – 1920) founded the family photographic business in the 1860s and took his first photograph of a wreck in 1869. He apprenticed his two sons Alexander (1857 – 1944) and Herbert (1861 – 1937), who perfected the art of photographing wrecks, creating perhaps some of the most remarkable and evocative images of misadventure at sea. Among the items included in the collection is the ledger the Gibson brothers kept when taking the photographs, which contains records of the telegraph messages sent from Scilly and is full of human stories of disaster, courage and survival.

Having secured the archive RMG will initially conserve, research and digitize the collection, leading to a number of exhibitions to tour regional museums and galleries, especially those in the South West of England.

Lord Sterling of Plaistow, Chairman of the Royal Museums Greenwich, said:

“The acquisition of this remarkable archive will enable us to create a series of exhibitions that will travel across the country, starting with the South West. I am very pleased that the National Maritime Museum has been able to secure this wonderful collection for the nation, and I know that the Gibson family are delighted that their family archive will remain and be displayed in this country”.

The newly acquired material was purchased by the Museum for £122,500 (the estimated sale price was £100,000 - £150,000).

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NMeM redefines its mission

The National Media Museum, Bradford, has redefined its mission statement following the events of the summer which saw it being a candidate for closure before being reprieved. The museum's stated mission is to: explore the science, technology and art of the still and moving image and its impact on our lives

The statement is simple, clear and easy to understand and encapsulates its objectives removing some of the unnecessary baggage that had been added to its remit in recent years.  

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12200974266?profile=originalGeorge Eastman House announced today the appointment of Lisa Hostetler, PhD, as Curator-in-Charge of its Department of Photography. She will assume this role prior to year-end. 

Hostetler brings almost 20 years of academic and museum experience to her new position with George Eastman House. She is currently the McEvoy Family Curator for Photography at the Smithsonian American Art Museum in Washington, D.C.

Hostetler was previously curator of photographs at the Milwaukee Art Museum for seven years. Color Rush: 75 Years of Color Photography in America, her final exhibition and book project in Milwaukee, included 22 photographs from the George Eastman House collection. During her tenure at the museum, she also organized several other exhibitions, including Taryn Simon: Photographs and Texts, which toured internationally; Street Seen: The Psychological Gesture in American Photography, 1940–1959Unmasked & Anonymous: Shimon & Lindemann Consider PortraiturePhotographs from the End of the EarthIn Living Color: Photographs by Saul Leiter; andThe American West 1871–1874: Photographs from the American Geographical Society Library.

“I met with many talented curators during our search process, but from its inception I considered Dr. Hostetler to be the leading candidate for this important position,” said Bruce Barnes, the Ron and Donna Fielding Director at George Eastman House. “I had spent time with her on several occasions while she was at the Milwaukee Art Museum and was extraordinarily impressed with her knowledge of the history of photography and sharp eye for contemporary art. Her Color Rush exhibition was perhaps the most beautiful photography survey I have seen, and her early career retrospective of the works of Taryn Simon was a stunning revelation.”

“I am honored to take the role of leading George Eastman House’s photography department into the future,” said Hostetler. “The museum’s collections are among the best in the world, and offer tremendous opportunities for scholarship, touring exhibitions, and online access. I am eager to make the most of the historic collection and share the institution’s renewed commitment to building its holdings of works by contemporary artists.”

Hostetler was co-author (with Katherine Bussard) of Color Rush: American Color Photography from Stieglitz to Sherman, author of Street Seen: The Psychological Gesture in American Photography, 1940–1959, and contributor to Animals Are Outside Today; Unmasked & Anonymous: Shimon & Lindemann Consider PortraitureLouis Faurer, edited by Anne Tucker; and Reflections in a Glass Eye: Works from the International Center of Photography Collection.

From 2001 to 2005, Hostetler was a research associate in the department of photographs at the Metropolitan Museum of Art, where she curated exhibitions on August Sander, Charles Sheeler’s contemporaries, and selections from the Gilman Paper Company Collection. She was registrar at the Howard Greenberg Gallery in New York City from 1999 to 2001.

Hostetler received a bachelor’s degree in art history, magna cum laude and Phi Beta Kappa, from New York University and earned both a master’s degree and a doctorate in the history of art from Princeton University, where she studied under Professor Peter C. Bunnell and wrote her dissertation on the photographs of Louis Faurer. She has taught at New York University, Princeton University, and the University of Wisconsin–Milwaukee.

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12200927099?profile=originalThe National Media Museum is seeking a dynamic, creative and results-driven communications specialist to fulfil our (part time) Senior Marketing Executive job share role. As Senior Marketing Executive you will make a significant contribution to the realisation of our ambition of becoming the best Museum Group in the world. You will work with the Communications Manager and the Senior Marketing Executive to develop strategy, which has innovation and visitor insight right at its heart. You’ll lead, devise and deliver multiple integrated communications campaigns that have a strong digital bias, which when combined with traditional activity will exceed targets whilst enhancing the reputation of the Museum.

Working alongside your job share partner you will have shared line management responsibility for the Marketing Executive. We’re looking for a talented, highly motivated communications specialist with a proven track record for delivery, to fulfil the Senior Marketing Executive job share role. You will be required to work 15 hours per week, Wednesday to Friday.

The National Media Museum is part of the Science Museum Group (SMG) which is devoted to the history and contemporary practice of science, medicine, technology, industry and media. Incorporating the Science Museum, the National Railway Museum, the National Media Museum and the Museum of Science and Industry, we are a unique family of museums offering truly unique career opportunities.

Closing Date: 25 November 2013
Interviews: week commencing 9 December 2013.


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Auction: Leica Cameras

12200972499?profile=originalBonhams' auction of Leica and Classic Cameras on 22 November in Hong Kong includes two very rare Leica Luxus models, one of which is accompanied by the even rare Luxus carrying case. 

Following the huge success of the inaugural auction of Leica cameras held by Bonhams Hong Kong in November 2012 where a world record of HK$7,460,000 was achieved for a Leica Luxus I, The Leica and Classic Camera Auction will be held on 22 November at 6 pm at the Island Ballroom of the Island Shangri-La Hotel.

Leading the sale of this highly collectable commodity are again cameras made in very limited numbers. In addition to the legendary Leica Luxus, cameras from other top marques such as Nikon, Canon and Hasselblad will tempt aficionados. Highlights of the 83-lot sale include:

An extraordinarily rare Leica Luxus II, 1932
No. 88840. with 50mm f/3.5 Elmar lens, faux lizard skin body covering and gold plated fittings, and Leica Luxus crocodile camera case with brass fastening clip


According to Leitz factory records, only four Leica Luxus IIs were made with serial numbers: 88840, 94573, 97313 and 98248. The whereabouts of the other three examples is currently unknown. 

Although the crocodile ever-ready case appears in various advertisements for Leica Luxus, this is the first example ever to come to light. The British owner of this camera was a keen amateur photographer who acquired this Leica soon after World War II and used it for many years.

The ledgendry Leica Luxus I, 1930
No. 37260 with 50mm f3.5 Elmar lens, faux lizard skin body covering and gold plated fittings 

The Leica Luxus cameras were produced on special order only in very limited numbers - just 95 of them - between 1929 and 1930 and it is not know for certain how many have survived.

A Leica IIIf Black Swedish army body, 1956
A series of 100 Kaltefest ("winterized") Leica IIIf were produced in 1956 for the Swedish Army for arctic operations. 

A Leica MP Hermes Edition, 2003
The "Edition Hermès" is a special edition of 500 silver-chrome LEICA MP cameras covered with exquisite Barenia calfskin supplied by the famed Parisian high-fashion house Hermès.

A 'Jesse Owens' Leica R4 presentation camera set, 1986
600 sets were issued in 1986 to commemorate the golden jubilee of Jesse Owens' achievements at the 1936 Olympic Games.

For more information please contact
Mabel Au-Yeung
+852 9038 8939


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