All Posts (28)

Sort by

12200983878?profile=originalGeorge Eastman House, Rochester, NY, has made changes to The Richard and Ronay Menschel Library - one of the world's greatest libraries dealing with photography and film. Long-standing librarian and curator Rachel Stuhlman has been made redundant after nearly thirty-years and she is is now Emeritus Librarian and Curator of Rare Books. There has been no wider reorganisation or other staff losses at GEH. 

The change is part of a broader vision for the library at GEH over seen by Museum Director Bruce Barnes, Ph.D. In future the library will be managed by an experienced research librarian, who will focus on developing GEH's research resources and on the cataloguing and digitization of its world-class collection of books and manuscripts related to photography and cinema.

Barnes told BPH: 'We believe that this approach will better serve our institution’s curatorial and scholarly missions, as well as our commitment to enabling research by curators and scholars from around the world.' He added: 'Over the years, our collection of rare books, manuscripts, and artists’ books have played an important role in our institution, but we have rarely presented exhibitions in which the objects from our library collection are central.  As we have built the curatorial and research staffs of our photography and moving image departments, it has become increasingly important that our library support these departments as effectively as possible'.  A 2007 book Imagining Paradise showcased some of the treasures of the library. 

The new librarian will report to Dr. Lisa Hostetler, Curator-in-Charge of our Department of Photography, with the aim of ensuring that a curatorial vision continues to guide the library and to facilitate closer coordination between the library and GEH's photography department.  The library will also continue to support other curatorial departments, as well as visiting researchers.

The move is part of Barnes' broader vision for GEH to digitise the collections and to explore the existing collections for hidden treasures as it embarks on boosting its endowment from $35m to the $100m that will make it viable and allow it to be more proactive in its public programmes. Eastman House also added at the time of his appointment that it expected Barnes to create 'more worldwide traveling exhibitions and an enhanced virtual museum online.'  Click here for more about Barnes and his plans, and click here for comment. 

The library - one of the most important in the world for photography and film and is described by GEH as having 'the breadth and depth of coverage of all aspects in the history, aesthetics, and technology of photography' unmatched by any other, and  'it is only with a collection such as the Menschel Library’s that scholars can obtain a broad overview of the international development of photography while investigating special problems'.


Read more…

12200984086?profile=originalLawrences of Crewkerne is to offer an important Felice Beato album on 31 January 2014. The album contains 68 albumen prints of China and Japan, including views of North Peiho Fort, the Emperor's Palace and the Summer Palace, Peking, Hong Kong, Yedo and Yokohama, the first leaf signed in margin (vertically), 'No. 20 F. Beato', and a further ownership inscription, 'Capt. Dew, R.N. 1863' on endpaper, the majority of prints captioned in pencil on the mount, the majority mounted one per page, some damp-staining to upper margin, rarely affecting prints,contemporary soft boards of Japanese cloth, worn, 47 x 37 cm approx., c.1863-4. It is estimated at £50,000-70,000

UPDATE: The album sold for £145,000. 

Provenance: Purchased from the photographer by Capt Roderick Dew, R.N. in 1863-64, thence by descent.

Footnote: Captain Roderick Dew, R.N., (2 July 1823-24 March 1869) is regarded as one of the great heroes of the Second Opium War. 

The catalogue entry is available here:

If you wish to examine this lot, viewing will be available at The Japanese Gallery, 66 Kensington Church Street, London W8 4BY on the 20th and 21st January 2014 between 10.00am and 5.00pm. Please ring Lawrences for further details. 

12200984657?profile=originalThe catalogue description notes: 

Albums by Felice Beato that contain prints of both China and Japan are very rare. This example offers 23 views of China and 34 views of Japan, including 11 folding panoramas (inc. Hong Kong harbour, the aftermath of battle at the North Taku Fort, views of Yokohama, Yedo, etc.), 8 further prints of drawings by C. Wirgman and 3 portrait studies that include a PORTRAIT OF THE PURCHASER, CAPT. RODERICK DEW.

Felice Beato moved to Japan in 1863, placing this album among the very first his studio produced there. It seems likely that the purchaser, Capt. Roderick Dew, selected the prints personally, as they would seem to reflect his own military interests. In later albums, Beato preferred to select the content himself.

The prints comprise:

  • i) Representatives of the United States of America, England and France, (titled L-R: [Gustave Duchese, Prince de] Bellacourt, Capt Roderick Dew, Col. James, Col. Hooper, Col. [Edward St.John] Neale, U.S. Minister), 167 x 144 mm;
  • ii) Yokohama (folding six print panorama), 1675 x 247mm;
  • iii) Gan Kiro, Yokohama, 291 x 229 mm;
  • iv) Canal, Yokohama, 298 x 223 mm;
  • v) Guard House, Yokohama, 293 x 242 mm;
  • vi) Opposite Yokohama, 290 x 244 mm;
  • vii) Beutin ?Sainia, Yokohama, 280 x 222 mm;
  • viii) Beutin ?Saina, Yokohama, 280 x 225 mm, torn with slight loss;
  • ix) The Bluff, Yokohama, 275 x 230 mm;
  • x) Glimpse of Fujiyama, 273 x 226 mm;
  • xi) Dai Butsu, Yokohama, 289 x 227 mm;
  • xii) Dai Butsu, Yokohama, 289 x 227 mm ;
  • xiii) Ball given by Netherlands Consul... Yokohama, September [...] 1863, copy of drawing by C. Wirgman, 272 x 190 mm;
  • xiv) Attack on Richardson, September 13th 1862, copy of a drawing by C. Wirgman, 257 x 196 mm;
  • xv) Invasion of Japan, Ye Grand Army a landing... March '64, copy of a drawing by C. Wirgman, 278 x 183 mm;
  • xvi) Kawasaki Temple, (folding two print panorama), 532 x 219 mm;
  • xvii) Kawasaki Temple, 290 x 242 mm;
  • xviii) Panorama of Yeddo from Atago-Yama, (folding five print panorama), 1395 x 207 mm;
  • xix) Palace of Arima, Yedo (folding three print panorama), 830 x 175 mm;
  • xx) The Tycoons Palace, Yedo, (folding two print panorama), 546 x 217 mm;
  • xxi) Etai Bashi, Yedo, (folding three print panorama), 818 x 210 mm;
  • xxii) Entrance to the British Legation, Yedo, 277 x 229 mm;
  • xxiii) British Legation, Yedo, 270 x 215 mm;
  • xxiv) Spot where the sentries were murdered, British Legation, Yedo, 267 x 217 mm;
  • xxv) American Legation, Yedo, 289 x 227 mm;
  • xxvi) The Scene of the Murder of Major Baldwin... Kamakura Temple, (folding two print panorama), 453 x 286 mm, slight staining to upper edge;
  • xxvii) American Legation, Yedo, 287 x 237 mm;
  • xxviii) Dutch Legation, Yedo, 277 x 231 mm;
  • xxix) Palace of Howokawa, 278 x 222 mm;
  • xxx) Japanese Garden, Yedo, 278 x 230 mm;
  • xxxi) Atago-Yama, Yedo, 286 x 230 mm;
  • xxxii) Garden of Miyazaki on the Tokaido, 280 x 200 mm;
  • xxxiii) Akabane, Yedo, 280 x 230 mm;
  • xxxiv) Yakunins House, Yedo, 255 x 225 mm;
  • xxxv) Japanese Garden, Yedo, 282 x 233 mm;
  • xxxvi) Japanese girls, 250 x 168 mm, irregularly cropped;
  • xxxvii) Josses, Yedo, 261 x 229 mm;
  • xxxviii) Delenda est..., copy of a drawing by C. Wirgman, 266 x 202 mm;
  • xxxix) Theatricals on board the 'Perseus', 1863, copy of a drawing by C. Wirgman, 252 x 156 mm;
  • xl) Anglo-Chinese Contingent, Ningbo, 1864, Sept, 203 x 130 mm;
  • xli) As above, 237 x 141 mm;
  • xlii) Granite Obalisque 70 feet high in Memoriam Capture of Ningbo, May 10 1862, 188 x 237 mm;
  • xliii) ?Valubins, Paris, 1863, copy of a drawing by C. Wirgman, 266 x 180 mm;
  • xliv) London, 1863, copy of a drawing by C. Wirgman, 263 x 198 mm;
  • xlv) Sketch in Hong Kong, copy of a drawing by C. Wirgman, 254 x 178 mm;
  • xlvi) Spinning yarns on board the 'Bengal', 1863, copy of a drawing by C. Wirgman, 243 x 177 mm;
  • xlvii) Panorama of Hong Kong, (folding six print panorama), 1723 x 216 mm;
  • xlviii) Pehtang Fort, 292 x 256 mm;
  • xlix) Interior Pehtang Fort, (folding two print panorama), 584 x 241 mm;
  • l) North Fort, Peiho, 300 x 254 mm;
  • li) Abbatis North Fort, Peiho, 304 x 257 mm;
  • lii) Angle of North Fort, Peiho, 302 x 255 mm;
  • liii) Portraits of dead men. Interior of North Fort, Peiho, 291 x 245 mm, creased along one edge; liv) Portraits of dead men. Interior of North Fort, Peiho, 307 x 259 mm;
  • lv) Portraits of dead men, Peiho Fort Interior, 303 x 256 mm ; lvi) Exterior of North Fort, Peiho, 300 x 249 mm;
  • lvii) Interior of North Fort, Peiho, (folding four print panorama), 1175 x 231 mm;
  • lviii) [Studio portrait of General Lord Clyde, Lt. General Sir Hope Grant and Lt. General Sir W. Mansfield], 148 x 171 mm;
  • lix) [Studio portrait of Lt. General Sir Hope Grant] (loose), 146 x 174 mm;
  • lx) Cavalier of North Fort, (folding two print panorama), 590 x 245 mm;
  • lxi) Second Fort, Peiko, 305 x 257 mm;
  • lxii) Chinese wooden ?yuns, Peiho, 293 x 260 mm;
  • lxiii) Bridge Palu chian on which Brabazon was killed near Pekin, 305 x 261 mm;
  • lxiv) Cemetery near Pekin, 306 x 245 mm;
  • lxv) Pagoda near Tungchan, 285 x 229 mm, creased in upper left corner;
  • lxvi) Emperor's Palace, Pekin, 307 x 251 mm;
  • lxvii) Summer Palace, Pekin, 303 x 250 mm, creased on left, upper right corner with slight loss;
  • lxviii) Near Pekin, 305 x 257 mm.

12200985057?profile=originalIn May 1859, as part of a naval force under the Command of Sir James Hope, Dew participated in an attack on the North Taku Fort as Commander of HMS Nimrod. In a personal letter to an unknown recipient - apparently written from within the Peiho Fort - he describes the engagement, ‘At 10am yesterday we attacked the forts. Cormorant led on in splendid style for the North Forts & had almost passed the forts when the whole Chinese line of batteries opened - we weighed our anchor to advance into position amid a fearful hail of balls, all as luck would have it passing over … after the anchor was up we had to steam some distance before our guns would bear & then 6 shells plumped right into the Southern forts & exploded…’. He goes on to describe the destruction of the forts in some detail, ‘…I saw the poor devils carried out in a fearful state - many naked and quite black - the same in the forts I have not time to describe … the huge brass guns tumbled about + dented laying in a chaotic state amongst the debris of the earth works the dying and the dead…’ (ALS written Friday May 21 [1859], 5’ inside Pieho. Private collection).

In September 1859 Dew was appointed Captain of HMS Encounter. In 1862 Admiral Sir James Hope instructed Dew to proceed to Ningbo, now occupied by Taiping rebels who posed a threat to the Qing Dynasty and to British trade. After the failure of negotiations, Dew led a coalition of Chinese Imperial Troops, British and French forces in an attack on Ningbo. Running ladders against the ramparts, the first attempt was aborted due to a fierce enemy response. When a second attempt was made with the ladders, ‘…Kennedy, the first on his, was shot through the lungs; David Davis, who was foremost on the next, was shot through the head as, revolver in mouth, he topped the wall; and so Captain Dew himself was the first to gain a position on the rampart, which was soon passed by the greater part of his force…’. Subsequent to the success of this action, Captain Dew pushed forward to secure a large part of the surrounding region. Writing to Lucy Amphlett, he describes the scene, ‘Since we took Ningbo I have had one or two little brushes with them, + I firmly believe I have saved the lives + properties of some 100000 men women + children. Black smoke up country told us that the Rebels were at their old games. I went up the river in one of our gunboats … for ten miles the banks were one huge well-cultivated garden studded with villages. Suddenly on turning a corner of the river we came upon some 5000 rebels plundering + murdering … a few rounds of grape + shell sent the Army scampering up the hills + the people returned to their houses which in another ten minutes would have been burnt…’ (ALS from the Encounter May 27/62, Ningbo. Private collection).

After a successful series of actions that restored Imperial rule to the area, around April 1863 Dew and the HMS Encounter left for Yokohama, Japan. He was stationed there protecting British interests until early in 1864, when he left for Plymouth. It seems likely that he met Felice Beato during this period and compiled the present album as a record of his military service in China and Japan.

For his actions in the liberation of Ningbo - described at the time as ‘by far the best thing of the kind done either in China or elsewhere since the peace of 1815’ - Capt. Dew was recommended for the Victoria Cross and was awarded the Companion of the Order of Bath. In March 1865 he also received a Gold Medal of Merit from the Emperor of China, ‘…for his bravery and vigour when in command of the Imperial Troops, and those of England and France, at the capture of Ningbo, and the subsequent recovery from the Tai-Pings of the entire province of Che Kiang…’ He died in Lisbon on March 24th 1869, while in Command of HMS Northumberland

Read more…

12200984898?profile=originalFirst Person Plural is a symposium to be held at the Science Museum on Saturday 1 March. The event is being presented in collaboration with Film and Video Umbrella and is one of a number of events linked to Media Space's Only in England.

Curated and introduced by Steven Bode, Director of Film and Video Umbrella, the symposium looks back on the influential legacy of Tony Ray-Jones, whilst also looking ahead to the future. When Ray-Jones was taking the iconic photographs that made his name in the late 1960s, he did so to chronicle and celebrate the particular eccentricities and social rituals of the English, which he feared were at risk of disappearing.  In the increasingly globalised world of the early 21st century, are there equivalent expressions of cultural identity, or equally idiosyncratic social rituals and behaviours that modern life seems to be passing by - and who are the contemporary artists and photographers recording them? In the age of the ‘selfie’ and social media, might it be the figure of the photographer, as observer and recorder of social change, that is becoming passé, destined to be replaced by a new type of collective ‘portrait’ formed from the aggregation and analysis of big data?

Confirmed speakers include the artists Natasha Caruana, Adam Broomberg, Oliver Chanarin, Julie Henry and Lucy Kimbell, theorist and critic Sean Cubitt and writer, lecturer and curator Julian Stallabrass.

Date: Saturday 1 March 2014

Time: 11am - 5.30pm (Only in England viewing 9.30 – 10.45am)


Image credit: Adam Broomberg and Oliver Chanarin, The Brothers Non-Collaborative Portraiture, 2013 © Adam Broomberg and Oliver Chanarin

Read more…

A Sapper in Flanders book now on sale at £7.50

12200984687?profile=originalThe Sapper book is going well and getting a lot of press. BBC, Telegraph, Hereford and Daily Mail so far. This should be of interest to both historians, railway buffs and photographers. The pictures were taken on a Kodak box Brownie no 2 likely to have been on 101 or 106 size film giving negatives of 3 1/4 inch square; an unusual size as most images were rectangular. Hubert Ottaway seems to have had a good eye and technique as most of the images were well exposed and reasonably sharp; some achievement with 1/30 sec at f 14.

You can obtain the book from me at and it can be paid for via Paypal.

Will be interested to hear your comments.

Regards Jack Tait

Read more…

Carte de Visite delamination

I'd be very interested to hear from anyone who has had experience of restoring the backing cards to Cartes de Visite.

I have a Victorian family album, just given to me, containing some 80 or so CdV's, all or most of which have delaminated, (as as the album, page by page), and the photo paper stock has also come away from the CdV card. This means that I can attempt to repair the cards, let them totally dry, them re-stick the photo to them.

My problem is that I've no idea what adhesive to use, although I suspect a watered down paste, something like the old Gloy brand, might do, but need to be sure it won't adversely affect the photo when that is re-attached. I'd propose to use a large flower press to keep the card flat while drying.

I would normally attempt this, but they are family photos, and really would like to preserve them intact if at all possible.

Any help out there please.

Read more…

12200982682?profile=originalIn 1839, just two years after Victoria became queen of Great Britain and Ireland, the medium of photography was announced to the world. This exhibition explores the relationship between the new art and the young queen, whose passion for collecting photographs began in the 1840s and whose photographic image became synonymous with an entire age. With important loans from The Royal Collection 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.

The exhibition is being held at The Getty Centre, Los Angeles from 4th Feb to 8th June 2014. Details can be found here.

Read more…

12200981893?profile=originalJanuary 2014 – Save Photo Limited have discovered what may be the earliest surviving original images of Winston Churchill. They were discovered in the Hills and Saunders Harrow Collection, which they were contracted to digitise, conserve and catalogue for the private owner. The collection was found in poor condition in the dairy barn of a farm outside Cirencester in 2012. The private owner and Save Photo rescued the collection and relocated it to a secure and climate controlled storage at Save Photo’s headquarters in Warwickshire. Save Photo are carefully cleaning, cataloguing, storing and digitising the images for future digital consumers to enjoy.

For over 90 years, between 1860 and 1970, Hills and Saunders, photographers by Royal Appointment, captured memorable images of Harrow schoolboys, their families and the beautiful surrounds of this prestigious institution. This collection, of over 90,000 glass plate negatives, is possibly the largest surviving archive of its kind in the world. The Collection includes every member of staff, pupil and sporting team from Harrow School between 1860 and 1965. Glass plates rarely survive due to their fragile nature and other top public schools are known to have sold off or disposed of their plates.

Lizzie Davies, Save Photo’s archivist, discovered the seven images of Winston Churchill whilst she was matching individual pupils to the photographic plates using the original photographers’ ledgers and documentation.

Seven plates have been discovered that show Winston Churchill aged between 13 and 17, during his four years at Harrow School as part of The Head Master’s House between 1889 and 1892, under House Master Reverend Welldon. Six are from The Head Master’s House ‘Welldon’ group photographs and one photograph features him in the Harrow School Rifle Corp. In The Head Master’s House group photographs Winston Churchill is depicted through his years alternating between unhappiness and contentedness, reflecting the statesman’s varied attitude towards his school years - though he didn’t excel at school, he revisited Harrow many times. One can see his schoolboy maturation during his years at Harrow, moving from the front to the back row. He can also be seen dressed in military garb with the rifle Corp, having joined very early on. One can see a keen alertness in his expression pointing towards his illustrious military career ahead. 

12200982467?profile=originalPeter Boswell, Managing Director of Save Photo comments ‘Save Photo Limited has been very privileged to work with such a unique collection of historical significance. Our team have been working on an intensive programme of conservation and archiving. We have been lovingly inspecting each photographic plate to ensure it is carefully cleaned, recorded and stored in high quality archival sleeves. With the First World War centenary events beginning this year, I am delighted that we have been able to add these amazing lost images to the portfolio of known Churchill images’.

The Winston Churchill plates that form part of the Hills and Saunders Harrow Collection will be offered for sale at auction later this year, details to be announced by the Private Owner in due course.


Read more…
Proposals are invited for the forthcoming conference The Business of War Photography: Producing and Consuming Images of Conflict, presented in association with the Centre for Arts and Visual Culture at Durham University, in partnership with DLI Museum and Durham Art Gallery and Impressions Gallery. The conference will take place from 31 July to 1 August 2014. 

This in-depth two day conference will examine the ways in which issues of supply and demand have shaped the field of war photography. The event is held to coincide with Impressions Gallery's touring exhibition The Home Front by Melanie Friend at DLI Museum and Art Gallery.

We are now inviting proposals from speakers to present papers that address war photography as the result of pragmatic transactions concerning business, militarism and consumption.

The full Call for Papers with further details of the theme of the conference can be downloaded here. 

Please submit your proposal  of 300 words with a brief biographical note or 1-page CV  by email to by 1 March 2014.

For further information or enquiries, please contact the co-convenors, Dr Tom Allbeson and Pippa Oldfield, Head of Programme at Impressions Gallery and Doctoral Fellow at Durham University, via email at

Read more…

Kingston-upon-Thames in the nude!

12200976279?profile=originalArtistic images of women posing nude for legendary photography pioneer Eadweard Muybridge could soon become a familiar sight along Kingston’s riverside.

The company behind the new Riverside Kingston restaurant development, next to Kingston Bridge, has announced bold plans to commemorate one of the town’s most famous sons by emblazoning its building with stills from his Human Figures in Motion project, carried out in the mid 1880s.

The oversized black and white photographs would greet visitors coming into town from Richmond over Kingston Bridge, as well as those travelling along the Thames.

You can read the rest of the article here.

Read more…

Illuminating Lacock Abbey

12200984276?profile=originalA key event in the birth of photography is being celebrated with illuminations at the place depicted in one of the first photographic negatives. The lights are part of the second Illuminating Lacock Abbey light festival by the National Trust and marks a year celebrating Fox Talbot's achievements.

Kristine Heuser, from the National Trust,said the theme of the display was "The Window" to celebrate the window at Lacock Abbey depicted in Fox Talbot's photographic negative. The medieval cloisters, the driveway and the exterior of Lacock Abbey will be transformed with colour and light.

Illuminating Lacock Abbey runs from 16:00 to 19:00 GMT every evening until 9 February. You can read more here and here.

Photo taken from BBC website.

Read more…

12200975500?profile=originalThe Science Museum is seeking a highly-motivated, enthusiastic and experienced Paper or Photographic conservator to provide conservation support in the development and delivery of exhibitions in our new Media Space Gallery. 

Media Space is an exciting new exhibition space in the Science Museum. It will showcase the National Photography Collection held by the National Media Museum in Bradford through a series of major exhibitions. A collaboration between the Science Museum and the National Media Museum, Media Space will also invite photographers, artists and the creative industries to respond to the wider collections of the Science Museum Group to explore visual media, technology and
science. The first of the major photographic exhibitions opened in September 2013; “Only in England with photographs by Martin Parr and Tony Ray-Jones.

Using your demonstrable experience in conservation of paper items and your excellent communication skills you will be working with the conservator at the National Media Museum to conserve and mount, condition report, pack and unpack, install and decant exhibitions in the 500m² gallery space. There will be two major exhibitions per year, one being installed in April and one in September.

This part time fixed term role will be for approximately 50 days per year (depending on salary) with work centred around the install and decant dates. These dates will be discussed in detail during the interview. Some travel to the National Media Museum will be required. You will need to be aware of hazard management procedures associated with historical objects and have a good knowledge of Health and Safety, including safe use of chemicals for lab safety and collections management.

Working days: This part time role is for approximately 50 days per year centred on the installation and decants dates of the exhibition. The exact dates where you will be required to work will be available in advance and peak times will be September and April.


Read more…

I am researching four platinum prints that I believe to be by Reginald W. Craigie. Information on Craigie is sparse on the internet, aside from his connection with the Linked Ring and the Salon I don't know much more about him. This is intriguing because I have identified two of the portraits - one is definitely James McNeill Whistler and the other is Augustus St. Gaudens. I would be grateful for any suggestions. I hope to travel to England later this year to conduct further research.

Read more…

New photos on Web Site

Yes, this is a self-serving message but possibly of some interest to members of this site. We have long been distracted by various projects, particularly on a book about John Ruskin’s daguerreotypes, but have just added more than 160 new photographs to our web site. We hope there will be images to provoke study and possibly delight even for those among you who are unlikely to purchase. Furthermore, the site has useful information for collectors and researchers of 19th century photography: links to other web sites; advice to collectors; a bibliography; a suggested system for describing the condition of photographic prints and a glossary of printing processes.

Ken Jacobson

Read more…

RPS Journal 1853-2012 digitised

12200976660?profile=originalAs reported here previously The Royal Photographic Society has digitised the Photographic Journal / RPS Journal from 1853 to 2012 and made it available free of charge to the public. It is now accessible through the RPS website at

BPH understands that other Society publications including The Year's Photography and published membership lists from 1853-1949 may be made available in a similar way in the future, subject to funding. 

Enquiries by email to:

Read more…

Beato's take on 19th century Burma

12200979867?profile=originalA new photography exhibit in Rangoon is offering a glimpse of what Burma was like in the 19th century.

Hosted by the Italian Embassy and the Yangon Heritage Trust, a local NGO dedicated to preserving Rangoon’s heritage, the exhibit is showcasing nearly 50 photographs that shed light on architectural styles from over a century ago, as well local fashions, the daily life of various ethnic groups, and the people who lived and worked at royal palaces around the country.

The images were taken by three foreigners who owned photography studios in Burma in the mid- to late 19th century. Most were taken by Italian-British photographer Felice Beato, who owned a studio in Mandalay in 1887 and took a wide array of portraits of people from that era.

The photographs will be displayed until Feb. 28 in the lobby of the Yangon Heritage Trust on Pansodan Street in Rangoon. Details can be found here.

Read more…

12200980886?profile=originalPhotography has become the most direct medium for people across the world to understand China since its introduction of photography to the country in the mid-nineteenth century. Owing to the special political circumstances, Hong Kong then became a natural stopover for foreign photographers on their way to the Mainland. These photographers took many pictures on the early development of Hong Kong, while some of them even established studios in Hong Kong specializing in taking portraits and selling scenery pictures of South China. These pictures are all invaluable research materials for studying the history of modern China and the history of photography in China.

The Hong Kong Museum of History has established a sizable collection comprising a great variety of historical artefacts. Among them, the old photo collection with 14,000 prints and other related items is the most significant hoard of the museum. The exhibitions on old photos staged over the past decades were all very well received.

In mid-2012, Moonchu Foundation agreed to loan about 10,000 old photos of China (including those taken in Hong Kong) recently purchased in the United Kingdom together with batches of valuable old China photos acquired through auctions to the Hong Kong Museum of History for exhibition and research purposes. The collection of Monnchu Foundation captures precious historical scenes, covering streets and everyday life, leisure and commercial activities of the city, vividly illustrating the social development of Hong Kong from the mid-nineteenth to the early twentieth century. With this offer, we embarked on the organisation of a mega photo exhibition. In collaboration with the Technological and Higher Education Institute of Hong Kong (THEI), the exhibition will employ advanced technology and creative skills for producing a series of multimedia programmes, in which the scenes of old Hong Kong will be reconstructed through utilizing the old photos offered by Moonchu Foundation and the museum's old photo collection. It will surely give visitors an extraordinary experience of travelling back in time and visiting some scenic spots in old Hong Kong.

Admission is free, and the exhibition runs until 21st April 2014. Details can be found here.

Read more…

Publication: A Royal Passion

12200980475?profile=originalBPH is very excited to have received a copy of A Royal Passion. Queen Victoria and Photography by Anne Lyden and contributions from Sophie Gordon and Jennifer Green-Lewis. The book accompanies the Getty's exhibition of the same name which opens on 4 February at the J Paul Getty Museum, Los Angeles. Watch out for a review shortly. 

Los Angeles - After the so-called "Royal Mania" following Prince William and Kate Middleton's wedding, it's hard to open a newspaper or browse the internet without catching a glimpse of the British royal family. Their photographs saturate the international news cycle, fostering a sense of intimacy between the royals and their subjects and powerfully shaping perceptions of the Windsors around the world. But the ubiquity of royal photographs is not a new trend, and it has powerful roots that trace back to the birth of photography and Queen Victoria.

In January 1839, photography was announced to the world. Two years prior, a young Queen Victoria ascended to the throne of Great Britain and Ireland. These two events, while seemingly unrelated, marked the beginnings of a relationship that continued throughout the nineteenth century and helped construct the image of an
entire age.

A Royal Passion (Getty Publications, $50.00, hardcover) explores the connections between photography and the monarchy through Victoria's embrace of the new medium and her portrayal through the lens. Together with Prince Albert, her beloved husband, the Queen amassed one of the earliest collections of photographs, including works by renowned photographers such as Roger Fenton, Gustave Le Gray, and Julia Margaret Cameron. Victoria was also the first British monarch to have her life recorded by the camera: images of her as wife, mother, widow, and empress proliferated around the world at a time when the British Empire spanned the globe.

Including more than 150 color images-several rarely seen before-drawn from the Royal Collection and the J. Paul Getty Museum, this volume accompanies an exhibition of the same name, on view at the J. Paul Getty Museum from February 4 to June 20, 2014.

The Authors Anne M. Lyden is International Photography Curator at the National Galleries of Scotland, Edinburgh, and former associate curator in the Department of Photographs at the J. Paul Getty Museum, Los Angeles. She is curator of the exhibition A Royal Passion: Queen Victoria and Photography and has written about nineteenth-century photography, including The Photographs of Frederick Evans (Getty Publications, 201 0) and Railroad Vision: Photography, Travel, and Perception (Getty Publications, 2003). Sophie Gordon is senior curator of photographs at the Royal Collection, Windsor. Jennifer Green-lewis is associate professor of English literature at George Washington University, Washington, D.C.

Publication Information:
A Royal Passion. Queen Victoria and Photography
Edited by Anne M Lyden
With contributions by Sophie Gordon and Jennifer Green-Lewis
The J. Paul Getty Museum
232 pages, 9 1/2 x 11 1/2 inches
120 color and 43 b/w illustration, 1 map
ISBN 978-1-60606-155-8, hardcover
$50 / £36
Publication Date: February 4, 2014

Read more…

12200983265?profile=originalWellcome Images has announced that over 100,000 high resolution images including manuscripts, paintings, etchings, early photography and advertisements are now freely available through Wellcome ImagesOut of copyright images are being released under the Creative Commons Attribution (CC-BY) licence.

This means that they can be used for commercial or personal purposes, with an acknowledgement of the original source (Wellcome Library, London). All of the images from the Wellcomes historical collections can be used free of charge.

The images can be downloaded in high-resolution directly from the Wellcome Images website for users to freely copy, distribute, edit, manipulate, and build upon as they wish, for personal or commercial use. The images range from ancient medical manuscripts to etchings by artists such as Vincent Van Goghand Francisco Goya.

From a photography perspective the images includes Muybridge, John Thomson, Beato and others. But one word of advice... don't use the 'technique' preset term for 'photography' as most of the photography images appear to have been categorised by process, so use: daguerreotype, collodion and albumen to find photography images.   

The earliest item is an Egyptian prescription on papyrus, and treasures include exquisite medieval illuminated manuscripts and anatomical drawings, from delicate 16th century fugitive sheets, whose hinged paper flaps reveal hidden viscera to Paolo Mascagni’s vibrantly coloured etching of an ‘exploded’ torso.

Other treasures include a beautiful Persian horoscope for the 15th-century prince Iskandar, sharply sketched satires by RowlandsonGillray and Cruikshank, as well as photography from  Eadweard Muybridge’s studies of motion. John Thomson’s remarkable nineteenth century portraits from his travels in China can be downloaded, as well a newly added series of photographs of hysteric and epileptic patients at the famousSalpêtrière Hospital

Simon Chaplin, Head of the Wellcome Library, says “Together the collection amounts to a dizzying visual record of centuries of human culture, and our attempts to understand our bodies, minds and health through art and observation. As a strong supporter of open access, we want to make sure these images can be used and enjoyed by anyone without restriction.”

Read more…

12200979086?profile=originalWhat are the issues raised by the commissioning of new works by a photographic archive? How do these new works alter or activate the existing archival collections; how do they alter understandings of the archive? And what are the considerations for a photographer/artist making work specifically to enter the archive?

The Library of Birmingham Photographic Archive holds over 3.5 million items, ranging from daguerreotypes at the dawn of the medium to works by contemporary practitioners. The most recent additions to the archive are the works produced through Reference Works, Birmingham’s largest photography commission to date. The project saw four artists - Michael Collins, Brian Griffin, Andrew Lacon and Stuart Whipps - commissioned to respond creatively to the move and transition from the 1970s Central Library to the new Library of Birmingham, opened in September 2013.

Using Reference Works as a starting point, this symposium will consider archival commissioning in a broader context, from the perspective of the archivist, the historian, the curator, the photographer, the artist and the art writer. Speakers include Reference Works artists Professor Brian Griffin, Andrew Lacon and Stuart Whipps; Curator and Head of Photographs at the Library of Birmingham Pete James; Creative director, photo historian and lecturer Anne Braybon; Professor of Philosophy and Director, Centre for Fine Art Research, BIAD, BCU Professor Johnny Golding; photographer and Professor of Photography at the University of Brighton Professor Mark Power and artist, critic and art historian Dr Lucy Soutter. Further speakers will be announced shortly.

Building the archive: the Reference Works photography project in context

Friday 28th February 2014

9:30 am – 5:30 pm
Library of Birmingham

Early Bird Until Friday 31st January
Full Price £25
Concession £20

Full Price £30
Concession £25

Read more…

Blog Topics by Tags

Monthly Archives