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12201080259?profile=originalThe first London exhibition devoted to the Scottish photographer John Thomson (1837-1921) and his photography in Asia will be shown from 12 April-22 June 2018 at the Brunei Gallery, SOAS. Thomson’s photography of China, Siam (Thailand) and Cambodia was widely praised by his peers and continues to enthuse new audiences today. The images are from newly discovered negatives held at the Wellcome Library, London.

John Thomson (1837–1921) was a Scottish photographer and writer who set off for Asia in 1862. Over the next ten years he undertook numerous journeys photographing countries including Siam, Cambodia and various provinces of China. Photographs from these journeys form one of the most extensive records of any region taken in the nineteenth century. The range, depth and aesthetic quality of John Thomson’s vision mark him out as one of the most important travel photographers.

12201080498?profile=originalDr Michael Pritchard, Chief Executive of The Royal Photographic Society and photo-historian commented: “John Thomson is a key figure in nineteenth-century travel and documentary photography and this exhibition, which is long overdue, finally gives proper recognition to his career and stunning imagery

Thomson travelled East as a professional photographer only two decades after the invention of photography. Working with the wet collodion process he travelled with cumbersome crates, glass negatives, a portable dark room, as well as highly flammable and poisonous chemicals. It took sheer perseverance and energy, through difficult terrain, to document regions where previously unseen by westerners. It is particularly remarkable that Thomson was able to make photographs of such beauty and sensitivity.

Thomson developed a method to photograph in tropical conditions which he subsequently taught to generations of young travel photographers at the Royal Geographical Society. During an era when his contemporaries were taking portraits in which their subjects looked stilted and wooden, Thomson captured the individuality and humanity of the diverse people of Asia, whether royalty or street vendor.

In Siam, Thomson was able to photograph King Mongkut Rama IV, his royal family and entourage, together with royal ceremonies such as the tonsurate ceremony and the presentation of the Lenten robes. Thomson’s panoramic views of the Chao Phraya River, temples and monks, dancers and musicians, are a unique historical treasure. In Cambodia, Thomson was the first photographer to visit Angkor Wat to record, what is now, one of the most important sites of ancient architecture in the world.

12201080891?profile=originalBetween 1868 and 1872, Thomson made extensive trips to Beijing, Fujian and Guangdong travelling down both the Yangtse and the Min Rivers. In China, Thomson captured a wide variety of subjects from landscapes to people, architecture, domestic and street scenes. As a foreigner, Thomson’s ability to gain access to photograph women was particularly remarkable.

Whether photographing the rich and famous or people in the streets going about their business, Thomson’s desire was to present a faithful account of the people of Asia. This body of work established him as a pioneer of photojournalism and one of the most influential photographers of his time.

His collection of 700 glass plates travelled back with Thomson to Britain in 1872 and since 1921 has been housed and expertly preserved at the Wellcome Library, London. These 150 year old glass negatives are in excellent condition allowing this exhibition to showcase very large, in some cases life-size, prints.


13 April-23 June 2018
Brunei Gallery, SOAS, University of London, Thornhaugh Street, Russell Square London WC1H 0XG
Admission Free
Twitter: @johnthomsonlens


About the Exhibition Co-curators
Betty Yao MBE - She discovered the John Thomson glass negatives at the Wellcome Library and embarked upon a world-wide exhibition tour. She has decades of experience promoting the appreciation and understanding Asian culture. Previous posts include Programme Director of Asia House and COO of Phoenix CNE satellite and cable television channel.

Narisa Chakrabongse is Founder and CEO of River Books and Founder of Bangkok Edge, a contemporary cultural festival in Bangkok.

Images (from top): John Thomson, Siamese Youth, Manchu Bride, Chiropodist 

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12201071690?profile=originalWhile stocks last, John Hannavy is offering a limited number of copies of his 2015 book The Victorian Photographs of Dr. Thomas Keith and John Forbes White to BPH readers at half the published price.

To order a copy at £10 + P&P (instead of the listed £20 + P&P), contact quoting ‘BPH1855’.  Currently the cost of 2nd class postage to the UK, with the book in a sturdy jiffy bag, will be £3. Postage outside the UK will be added at cost.

Originally published in 2015 in a limited edition of 500 copies you can read more about the content here:

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12201066681?profile=originalExplore London after dark in a new, evocative photography exhibition at the Museum of London, opening in 2018.

Fusing portraiture, documentary, conceptual photography and film, London Nights will reveal the city after dark through photographs ranging from the late 19th century to the present day. Drawing from the Museum's extensive collection and loaned works, 50 artists, including Alvin Langdon Coburn, Bill Brandt, Rut Blees Luxemburg and Nick Turpin, will be represented through over 200 works.

London Nights will take visitors on a dramatic, nocturnal study of the capital. From the unexplored to the imagined, from Soho to Sydenham, see stunning images of a city illuminated by limited natural and artificial light. Uncover the more threatening side of night-time London, and see how Londoners work, rest and play when the sun goes down in one of the biggest metropolises in the world.

If you are visiting as a group of 10 or more, please book your visit in advance using the group booking form. Groups receive discounted exhibition tickets and can also book an introductory tour with the exhibition curator. Visit the group visits page for more information.

See more here:

Image; George Davison Reid

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12201079688?profile=originalJohn Hannavy's collection of Victorian photography and photographic ephemera is being put up for auction in the spring. The collection comprises, amongst other things, the largest collection of thermoplastic Union Cases in the UK – including many by John Smith, the only known British union case manufacturer – hundreds of cased and framed inages from the 1840s to the 1860s, a collection of Roger Fenton's Crimean War images (below), some of Francis Frith's views of the Nile Valley, and a rare Julia Margaret Cameron print titled ‘ ove’ with provenance back to Cameron’s daughter.

12201080079?profile=originalHannavy has been collecting 19th and early 20th century photographca for over forty years. As well as providing illustrations for several of his books, the collection served as a teaching aid in his academic career at the University of Bolton, where he was Professor in Photography and Photographic History. The collection is being sold as his interests have moved to industrial archaeology and heritage.  

Amongst the early daguerreotypes which will be included in the sale is a pair of very rare framed portraits by Berlin photographer Gustave Oehme – the one illustrated here (above, right) is identified as Louise Brause, the other is of her sister. Oehme is believed to have been taught the process by Daguerre himself. Daguerreotypes by Kilburn, Mayall, Claudet, and others, and a rare stereo daguerreotype showing the interior of the Great Hall of the 1855 Exposition Universelle in Paris are also to be sold. 

 Many of the items to be included in the auction are illustrated in John’s 2005 book Case Histories – the Presentation of the Victorian Photographic Portrait, published by the Antique Collectors’ Club.

 The sale will be held at Dominic Winter Auctioneers in Cirencester on 9 March 2018. More information will be available from the auctioneers in due course:

Image: Roger Fenton, Chasseurs d'Afrique. 

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Job: Lecturer in Photograph Conservation

12201066476?profile=originalThe Faculty of Humanities at the University of Amsetrdam provides education and conducts research within a strong international framework and in a large number of disciplines in the field of language, history, and culture. Located in the heart of Amsterdam, the Faculty maintains close ties with cultural institutions in the capital city and beyond.

Based within the Faculty of Humanities, the four-year Graduate Programme in Conservation and Restoration of Cultural Heritage is the sole programme for conservation in the Netherlands. It offers a two-year Master in Conservation Studies in one of nine conservation specializations. The master programme is followed by a two-year Post-master phase that leads to the qualification of conservator.

The faculty invites applications for the part-time position of Lecturer in Photograph Conservation to teach master and post-master students photograph conservation.

Job description

The successful candidate will collaborate with the Programme’s current lecturer in photograph conservation and will build upon and teach theory and practical coursework in photograph preservation and conservation, history of photography, and materials and techniques in photography. He/she will also teach an introduction to photograph conservation in the BA minor programme as well as photograph identification and preservation to students in related fields of conservation such as book and paper conservation and contemporary art conservation. The candidate will supervise photograph conservation treatment and research projects and provide mentoring and advice to the students during their 4 years of study.

The photograph conservation lecturer will actively participate in the activities of the department, including:

  • coordination of and lecturing in the object-based hands-on classes in photograph conservation;
  • organization of and coordination of the guest lecturers involved in the programme;
  • supervision and mentoring of the research and hands-on projects in photograph conservation;
  • up-keeping and maintaining the photograph conservation laboratory and the photography documentation studio;
  • building client relations in regards to internships and acquisition of photographs for student hands-on sessions and research;
  • serving on department and university committees, participating in department and university events, and advancing the department's public outreach initiatives.


  • MA degree or higher in photograph conservation, which may include certificates from internationally recognized academic conservation programs;
  • evidence of ability and commitment to teaching photograph conservation at the graduate level;
  • advanced experience and skills in the conservation of photographic materials of all kinds;
  • evidence of scholarly work such as published research and lectures on relevant conservation issues at (international) conferences;
  • fluency in English (oral and written);
  • well-developed communication skills; evidence of ability to work co-operatively and collegially within an interdisciplinary work environment;
  • the ambition to learn Dutch.

Further information

For further information candidates may contact:


The appointment is for a period of 3 years, for 19 to 25 hours per week. The gross monthly salary will range from €2,588 (scale 10) to €4,757 (scale 11) per month, based on a full-time appointment (38 hours per week). The Collective Labour Agreement for Dutch Universities is applicable.

Job application

You may send a letter of application, including a detailed curriculum vitae and two names of referees, to Prof. Maarten van Bommel, Professor of Conservation Science via Please state  job vacancy number 17-657 in the subject field. #LI-DNP

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12201076458?profile=originalHello fellow British Photo History Members,  A very Happy Holidays and New Years to you all! I am seeking information about how to 'float' an albumen photograph off of it's mount. Here I have an early English of French photograph, 22 x 17cm, showing a great old tree, with a few young people, bottom left.

I think that it is either a varnished salt print, or an 1850s albumen print, as it has just a very slight sheen. It is mounted on a heavy page from an album, the reverse looks like it previously held CDVs. My idea is that there may be information on the back of the photo, so I want to remove it from the mount. I have successfully floated albumen prints from their mounts by soaking them for several hours in warm water, but am unsure about how to proceed after this.12201076901?profile=original12201076665?profile=original

Before I undertake this method on this photo, I would like to hear members experiences/ ideas about how to properly dry, press, and remount photos like these.

Any information would be appreciated.

Best wishes,

David McGreevy

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12201073696?profile=originalThe American Institute for Conservation of Historic and Artistic Works has at last published the volume I mentioned in an earlier blog: Platinum and Palladium Photographs: Technical History, Connoisseurship, and Preservation, edited by Constance McCabe, with 46 contributing authors. You can find some details and a detailed list of contents here:
This text is primarily directed at a readership of photohistorians, collectors, curators and conservators of photographs, as can be seen from the Contents, but there is also a significant amount of new science - primarily the analysis of precious Pt/Pd photographs by a range of modern spectroscopic techniques by museum scientists in the USA. This volume is also obtainable from the National Gallery of Art in Washington DC:
The NGA has been the hub of our research endeavours over the last seven years, under the direction of the Head of Photograph Conservation, Constance McCabe, and it hosted an International Symposium and Workshop in 2014, of which the present volume is an extended account of the Proceedings, with much additional material and superb illustrations.
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12201072659?profile=originalTony Richards has recently written on his blog about a little known resource, The Strines Journal, compilied by Joel Wainwright and John M. Gregory, 1852-1856.

The monthly journal, produced in manuscript as a single copy only, records events in Strines and Marple, and wider occurrences, with articles on scientific, industrial and literary subjects. It is illustrated with watercolours, pen-and-ink drawings, and photographs. Joseph Sidebotham contributed drawings, photographs, and articles. Through him the editors were introduced to James Nasmyth, who contributed an article on the Moon, and there were several other notable contributors.

There are five bound volumes in total, plus an extraordinary issue on the occasion of Joel Wainwright’s marriage in May 1856. These volumes are now in the Rylands Collection at The John Rylands Library, University of Manchester.

Read Tony's full blog posting here and see links to the fully digitised five volumes. 

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12201078473?profile=originalThe Photographic Collections Network is a new organisation established to save and share the UK’s visual photographic history. Arts Council England has generously supported the PCN as a Subject Specialist Network.

The steering group includes The Victoria & Albert Museum, The Royal Photographic Society, Photography and the Archive Research Centre and the National Science + Media Museum. The website and individual membership were successfully launched in November 2017.

The PCN is now soliciting individual member and recruiting founding supporters. Find out more and join on the werbsite. See more at:

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12201077697?profile=originalIn my final months as Chair of the Royal Photographic Society’s Historical Group – I am pleased to share two events that we have arranged which may be of great interest. 

The first event on Tuesday 23 January 2018, is the

Inaugural lecture  of the Colin Ford Lecture Series celebrating significant photographers and collections.

'André Kertész - The Real Biography?’ given by Robert Gurbo.

Robert Gurbo is the Curator of the André Kertész Estate in New York and has promised a fascinating first-hand perspective on Andre Kertész, celebrating his life and work.

The venue is the Royal Philatelic Society, 41 Devonshire Place, London, United Kingdom
W1G 6JY - 18:00 - 20:00

Places can be booked online at

Image copyright and courtesy of the Estate of André Kertész ©2017 All Rights Reserved.

The second event is the

Historical Group’s Afternoon Lectures at the V&A

Saturday 14 April 13:30 - 15:30, V&A Seminar Room 5, Victoria and Albert Museum, London, SW7 2RL

The afternoon comprises a series of fascinating lectures ranging from the recently exhibited to those yet to be.

Sophie Gordon Head of Photographs, Royal Collection Trust will speak on the latest exhibition from the Royal Collection - Shadows of War: Roger Fenton's Photographs of the Crimea, 1855

Dr Ed Bylina will present his perspective on ‘Early Photography in the Medical Profession’

Betty Yao and Deborah Ireland will be speaking on John Thomson’s photography in London and the Tropics

Places can be booked online at

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12201070257?profile=originalJust after last week’s weekly BPH blog reminder email had been sent out Lacy Scott and Knight (LSK), an auction house based in Bury St Edmunds, made contact to let me know that there were four lots of photographic interest coming up for auction on Saturday, 9 December. A quick look suggested they were important early material relating to Alfred Swaine Taylor (AST) (right). Their provenance of Thorne Court, an estate in Bury St Edmonds, confirmed this. Alfred Swaine Taylor's only daughter Edith, married Fred Methold, of Thorne Court, near Bury St Edmunds, and moved there in 1865. The information was duly posted on Wednesday.

One lot included some particularly valuable images, two Mayall stereo daguerreotypes, which I advised LSK that should be described in more detail, although they did appear in the catalogue pictures. More images were supplied to me.  The outcome of the auction was that the four lots sold considerably in excess of their estimates and totalled some £13,950 (£17,298, including 20% buyer’s premium and VAT). My own bids which had been left online, as I was attending the French early paper negatives conference in Paris, were exceeded very easily.  The buyer at this stage is unknown but had an agent bidding in the room on the day.

12201070491?profile=originalThere is more to the story. A lot sold the previous week in a general sale at LSK also came from Thorne Court. In some ways it was even more interesting than the four on Saturday. It was listed as ‘A large quantity of unframed pictures and prints, to include; etchings, engravings, photographs, monochrome copies etc’. It contained a series of some thirty photographic images, both negatives and positives, camera views and copies of engravings. Many of these were initialled ‘C.T.’, which is very likely to be Caroline Taylor, AST’s wife (left). One other item in the lot was initialled ‘A.S.T.’ suggesting the respective initials indicated ownership or authorship. The earliest photographic image was captioned ‘King's College Chapel, Cambridge, 26 July, 1839’ another was a photogenic drawing of a plant, dated August 1839 (below, left).  One image (below, right) shows a photograph of an engraving cut in to three, with two annotated 12201071261?profile=originalas ‘restored’ which is discussed in John Werge’s The Evolution of Photography (1890). Werge clearly knew AST and described him (p.106) as ‘a man of remarkable energy and versatility’. Other images included Calotype views of Paris dated 1850 and, again, initialled ‘C.T.’and an image also reproduced as figure 2 in Alt’s paper.

12201071100?profile=originalSo, the lot included a series of very early images made within eight months from Talbot’s announcement of his photogenic drawing process in January 1839. It may also include work by one of the first women photographers, certainly the first outside of Talbot’s immediate circle, if the initials indicated authorship. Although the condition of many of the images was poor the lot sold for £4700 (£5828, including 20% buyer’s premium and VAT).

Taylor was discussed in two articles in History of Photography by Stephen White (July-Sept, 1987) and Laurence Alt (Winter, 1992) and AST has an entry in Taylor, Impressed by Light (Yale, 2007).


Lot descriptions from LSK

3457 (9 December 2017). *A pair of Victorian daguerreotype portraits of ladies, in gilt surrounds, housed in later velvet lined bakelite case in the form of a book, 5.5 x 5cm; together with various other Victorian daguerreotypes, mostly in fitted leather cases with hand-written annotations (12) Condition Report / Extra Information Two stereoscopic daguerreotypes - both labelled verso for Mayall's and of Edith C Taylor, both grubby otherwise good. Pair of small bakelite cased portraits - good. Daguerreotype of Edith Taylor with Emily, with numerous white spots on plate, otherwise good, annotated verso. two matching portraits of women, both corroding around all sides, one worse than the other. The last three framed portraits all good.

3456 (9 December 2017). *A Victorian hand-coloured daguerreotype three-quarter length portrait of a seated gentleman, in fitted J.C. Barrable Photographer red leather case, with hand-written label verso 'Alfred Swayne Taylor' and dated 1859, 12 x 9.5cm; together with four other Victorian portrait daguerreotypes, each in fitted leather cases with hand-written annotations (5)Note: Dr Alfred Swaine Taylor has been considered as the 'father of British forensic medicine' and was an important early pioneer of photography. Condition Report / Extra Information Daguerreotype of Swaine Taylor - numerous spots to glass plate, fine scratch lower left, otherwise good. Daguerreotype of Edith Taylor and her mother, 1847, some dust under glass case, otherwise appears excellent. Three remaining portraits - each with some losses.All annotated verso.

3455 (9 December 2017). *A Victorian hand-coloured daguerreotype three-quarter length portrait of a lady, in fitted leather case, with hand-written annotation 'Mrs Harris, aunt of D.A.S. Taylor, died 1863', together with a lock of her hair, the case with J.C. Barrable Photography, 24 Regent Street label, 12 x 9.5cm; together with four other Victorian hand-coloured daguerreotypes, each in fitted leather cases with hand-written annotations (5) Condition Report / Extra Information All slightly grubby. Hand-coloured. With some fading. Otherwise good.

3454 (9 December 2017). *A Victorian daguerreotype three-quarter portrait of a young girl, in fitted leather case, with hand-written annotation 'Edith C Taylor, aged 3 years, taken by Mayall, 1847', 7.5 x 6cm; together with various other Victorian daguerreotypes, ambrotypes, and over-painted photographic portraits, each in fitted leather cases, many with hand-written and dated annotations (7)Note: Edith Taylor was the daughter of Dr Alfred Swaine Taylor, who has been considered as the 'father of British forensic medicine' and was an important early pioneer of photography. Condition Report / Extra Information The largest with significant mould residue all over.Both 'cabinet portraits' are overpainted, with some fading, otherwise good.Miss Larisa (elderly woman) in very good condition.Family group with losses to edges and some crazing in several areas.Edith Taylor aged 3 - daguerreotype, some minor spots to spots, otherwise good.Small oval female portrait on glass - very good.Small oval male portrait on glass - very good.

1061 (2 December 2017). *A large quantity of unframed pictures and prints, to include; etchings, engravings, photographs, monochrome copies etc



With thanks to Darran Green for detailed lot information.

Photographs: Lacy Scott and Knight and Darran Green.

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12201076276?profile=originalPhotographic collections are found in libraries, archives and museums all over the world. Their sensitivity to environmental conditions, and the speed with which images can deteriorate present special challenges. This one day training session is led by Susie Clark, accredited photographic conservator. It is aimed at those with responsibility for the care of photographic collections regardless of institutional context. The day provides an introduction to understanding and identifying photographic processes and their vulnerability, information on common conservation problems and solutions, and the preservation measures that can be taken to prolong the life and accessibility of photographic collections. Contact with real examples of different photographic processes is an important feature of this training session which is therefore limited to only 16 places.

At the end of the day participants will be able to: identify historic photographic processes explain how damage is caused implement appropriate preservation measures commission conservation work.

See more and book here:

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12201075495?profile=originalThis webinar series, funded by The National Endowment for the Humanities, is free and open for all to attend. The first three webinars will discuss the various materials and technologies of photographic prints. The next two will teach a methodology and controlled vocabulary for process identification, as well as a demo of how to use Graphics Atlas. The last one will include an overview of collections care for prints and photographs including proper storage, handling and display methods, and guidelines for the storage environment. Watching the webinars as a series is encouraged but not required.

Recordings of the webinars will be made available if you cannot attend.

A Methodology for Process Identification, Part 1 December 13, 2017, 2:00-3:00pm EST Process identification can be overwhelming and daunting.  IPI has developed several tools in order to make this task easier.  This includes a step-by-step methodology and a controlled vocabulary specific to photograph characteristics for identification. This webinar will present the methodology and controlled vocabulary.

Register Here


A Methodology for Process Identification, Part 2 January 10, 2018, 2:00-3:00pm EST This webinar will showcase IPI's web resource,>. It will highlight the new process identification pages launched in December 2016 as well as the new filtered search and controlled vocabulary. IPI staff will demonstrate how these new features can be used toward accurate process ID.

Register Here:


Using Identification to Improve Collection Preservation and Access February 14, 2018, 2:00-3:00pm EST The webinar series will culminate with a discussion of preservation and access for photographic collections. This presentation will draw from recent research to include an overview of collections care for prints and photographs, such as proper storage, handling and display methods, and guidelines for a preservation storage environment.

Register here:

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12201073679?profile=originalFrancis Hodgson's erudite, frequently opinionated and wide-ranging photography blog Writing about Photography carries a fascinating survey of Noel Pemberton Billing and the Compass camera. Although much of the history of the camera, P-B's other inventions and involvement with right-wind politics is known to some of us, they bear repeating. 

Take a look here:

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12201073293?profile=originalPhotographs are found in large numbers in many institutions. These include museums, art galleries, libraries, universities, businesses and newspapers. They are also found in the collections of private individuals. They are a valuable historic, artistic and scientific resource made from many diverse materials and it is easy to damage them by inappropriate conservation and care. Led by Susie Clark, this course will describe the processes and photographic materials which have been commonly used and how to recognise them. It will also examine the problems caused by different processes and the appropriate methods and materials for their conservation and care. The course will include the opportunity to look at practical examples of processes and deterioration. The roles of the environment, biological deterioration, health and safety, storage and handling will also be covered. 

Susie Clark, ACR is an accredited paper and photographic conservator with many years of experience. She was formerly the conservator for a collection of approximately 20 million photographs at the BBC Hulton Picture Library (now Getty Images). Since 1990, she has been a freelance paper and photograph conservator and consultant, working throughout Britain and abroad on public and private collections. She has been the conservator for the Collaborative Research Project between the National Media Museum and the Getty Conservation Institute (USA) looking at the characteristics of different photographic processes.

See more and book here:

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12201066873?profile=originalA group of four lots of daguerreotypes, cased images and two stereo-daguerreotypes showing the family of Dr Alfred Swaine Taylor and Taylor himself are being offered at auction on Saturday, 9 December by Lacy Scott & Knight LLP in Bury St Edmunds. The lots were consigned as part of a large estate from Thorne Court, just outside of Bury St Edmunds, the former home of Taylor's daughter.

12201067480?profile=originalAlfred Swaine Taylor Hon MD St And MRCS LSA FRCP FRS (1806-1880) was pioneer of photography who wrote the 1840  On the Art of Photogenic Drawing. He was a doctor and is described as the ‘father of British forensic medicine'. The five mixed lots, which include 1840s and 1850s portraits of Dr Taylor (by J C Barrable and Antoine Claudet), and a portrait of Taylor’s daughter Edith, aged 3, by Mayall taken in 1847. 

Details can be found here and online bidding is available:

The summary lot descriptions are; 


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12201068885?profile=originalA premiere screening of the new documentary exploring the life of Britain's great photographers... Fay Godwin HonFRPS is perhaps best known for her captivating portrayal of the British landscape and collaborations with major writers such as Ted Hughes. Her archive is held at the British Library. 

Don’t Fence Me In – Fay Godwin’s Photographic Journey provides an entire career retrospective, made with the intense cooperation of Fay Godwin and filming from 2001 until 2005, which turned out to be the last five years of her life.

From first taking family snaps, then documenting Camden social services, soon followed by a remarkable sequence of literary portraits, Fay Godwin moved into landscape photography for a series of walkers' books which evolved into the photographic collaborations with Hughes and others. Then followed a series of substantial volumes which provided a conspectus of British landscape, culminating in the polemical 'Our Forbidden Land', made when she was elected President of the Ramblers Association and documenting much that is wrong with the way the landscape is managed.

Godwin was appointed Photographer in Residence at Bradford's National Media Museum and worked in colour for the first time, documenting the city's dazzling multicultural landscape. Godwin’s work gradually moved from the macro to the micro as she became increasingly obsessed with details of gardens and plants close to home, often seen through glass, gauze and netting. Whilst for much of Godwin's career she used a black and white chemical darkroom, latterly she eagerly embraced digital colour technology with the same enthusiasm and eye for detail.

The film is structured through her appearance on Desert Island Discs and around three major retrospective shows of her work, first at London’s Barbican Centre, then the Sainsbury Centre at the University of East Anglia and finally at Scottish National Portrait Gallery Edinburgh.

Introduced by Filmmaker Charles Mapleston and Colin Ford CBE, Founding Head, National Museum of Photography, Film and Television.

A Malachite Production 2017 - 70 mins

British Library
9 January 2018
Thu 11 Jan 2018, 19:00 - 20:30

Book here:

A DVD of the film will be available after the screening or to order. See:

Image: Single Stone, Ring of Broga 1979. From ACGB series. Photograph by Fay Godwin

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12201065883?profile=originalHello, I am looking for information about this carbon print of Hill and Adams's Redding the Line. I understand that these carbon prints were made around 1916 by Jessie Brown Bertram. Would any member know where I can find more information about Bertram? Where these made to be sold commercially? Did she print other photographer's images?

Thanks in advance,

David McGreevy


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12201065081?profile=originalOriginally developed over 300 years ago, and widely used until the mid-twentieth century, magic lanterns were a spectacular tool of science. From Augustan coffeehouses and university lecture theatres to school classrooms and factory floors, magic lanterns were used to inform, educate and entertain.

In the final lecture of our series, members of the museum team will put some magic into the history and philosophy of science as they explore the history of magic lanterns and our museum collection. Laura, Paul, Polina and Mike will examine how these instruments worked, how they were used in communicating science to a variety of audiences, how they (and Yorkshire!) played a part in the growth of social campaigning and the birth of modern cinema, and how objects like these can be used to uncover and publicise histories that other sources can’t.

Please join us to celebrate the culmination of our two-year series. As usual, the lecture is open to all – for all backgrounds and ages with no prior knowledge assumed – and will be recorded and made available for download after the event. Tea & coffee will be served beforehand from 6:15, and after the lecture there will be a chance to see just what can be done with magic lanterns and slides over a celebratory drink!

You can register for the event for free at

'History & Philosophy of Science in 20 Objects', hosted by the Museum of History of Science, Technology and Medicine at the University of Leeds. Tuesday 5 December at 6:30pm in the Rupert Beckett Lecture Theatre.

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