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12201092263?profile=originalThis auction includes many photographs from the mid-19th century through to the mid-20th century, covering many parts of the globe. Of great rarity is a group of glass plate negatives of China by Thomas Child, which are the only known negatives by Child to survive and were made in Beijing in the 1870s and 1880s (lot 201).  We are also delighted to offer photographs from the collection of Sven Gahlin, including a number of important 19th century albums of Indian and Anglo-Indian subjects by Shepherd & Robertson, Samuel Bourne, Eugene Clutterbuck Impey and Sir Benjamin Simpson among others. The Gahlin collection also includes photographs by Thomas Annan (shown right), Herbert G. Ponting, Hill & Adamson, and early photographs of Canada by Frederick Dally (lot 168).


25. Annan. Old Closes and Streets of Glasgow. 1900

  1. Hill & Adamson. Afghans or Circassian armour
  2. James. Plans and photographs of Stonehenge, 1867


62. Constantinou.. Album of Athens, c.1860

  1. Terris. Marseille, c.1862
  2. Ponti. Venice, 1855


79. Dammann. Ethnological Photo gallery, c.1875


96. Bonfils. Palestine album, 1870s

  1. Album of Syria, Lebanon, Jordan and Athanes, 1870s-80s
  2. Bonfils. Egypt, 1870s
  3. Bonfils. Syria, 1870s
  4. Egypt, late C19th
  5. Frith. Sinai & Palestine, 1862
  6. Beck. Views of Athens, c.1864
  7. Holmes. North West Frontier photographs, 1920s-30s
  8. American Colony. Mammoth photo of the Dome of the Rock, c.1900
  9. Frith. Mammoth plate of Jerusalem, 1858
  10. Lebanon. Collection of albums, c.1920s
  11. Mecca & the Hajj
  12. The Egyptian Mahmal
  13. Mecca and the Mahmal
  14. Bonfils & others. Palestine, Constantinople, Lebanon etc.
  15. Persia. A collection of photographs, C19th and C20th
  16. Persian Gulf album of Bushehr, c.1909
  17. Portrait of Ibn Saud by Robert Richie c.1950
  18. Arabia photographs, 1917-18
  19. Album of Syria, c.1874
  20. Abdullah Freres. Constantinople, c.1865
  21. United Arab Emirates collection



  1. Hawaii, c. 1870s
  2. Frederick Dally. Album of British Columbia, 1867-70
  3. Bermuda collection, c.1870s
  4. Mexico album, c. 1896-1900


181. East Africa, 1904-09

  1. East Africa, c.1880s
  2. Comoros islands, 1885
  3. Morocco, 1910
  4. South Africa, Zulu War, c.1879



  1. Borneo, Brunei and Malaysia album, 1924-26
  2. Bourne. Album of India, c.1865-80
  3. Bourne. Album of India, 1870s
  4. Bourne. India photographs, c.1870s
  5. Andaman islands, c.1919-21
  6. Gastaldy. Cambodia, c.1930
  7. ?Ponting. Ceylon
  8. Thomas Child. Negatives of China, c.1870s-80s
  9. China photographs, c.1920s
  10. China photographs, c.1906
  11. China Magazine, 1868
  12. China Album, 1906
  13. Gsell. Cambodia, 1860s-70s
  14. Gsell. Indochina, 1860s-70s
  15. Gsell. Cambodia & Vietnam, c.1860s-70s
  16. Gsell. Vietnam, c.1870s80s
  17. Hong Kong panoramas
  18. Bourne & Shepherd etc. India & Ceylon
  19. Frith series. India
  20. Baudesson and others. India
  21. India, views around Calcutta
  22. Shepherd & Robertson. India
  23. India & Nepal. Album of maharajahs etc., c.1880s
  24. Clarke and others. Album of India, c.1859-60s
  25. India. Album including Sikh and British military groups, c.1862-72
  26. Impey. Album of photographs of India, c.1858-63
  27. Gastaldy. Indochina, c.1930
  28. Gastaldy. Indichina, c.1930
  29. Japan album, c.1890s
  30. Kashmir Album, c.1886-92
  31. Korea. Photographs by Felice Beato, c. 1871
  32. Korea stereoviews, 1904
  33. Sikkim and Tibet, 1885
  34. Panorama of Yekaterinburg, 1880s
  35. Sumutra and Indonesia, c.1890s
  36. Philippines, c.1890s
  37. Pont. India, c.1860s-70s
  38. Portuguese Timor. C.1902
  39. Salzwedel. Indonesia, c.1870s-90s
  40. Schulze. Indonesia and Thailand, c. 1870s-90s
  41. Shanghai album, c.1900
  42. Shanghai panorama
  43. Siamese portraits, 1860s-70s
  44. Skeen. Ceylon and Java, 1860s-80s
  45. Skeen. Ceylon, 1880s
  46. Simpson. India, 1860s
  47. Thomson. China, 1873
  48. Assmy. Yangtze River, 1906
  49. Ponting. Polar photos, 1910-13
  50. Ponting. Polar photos, 1910-13
  51. Antarctic Expedition photo, 1901

269. Ponting. The Tenements, c. 1913

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12201088284?profile=originalBonhams' auction of fine books and photographs includes, amongst other photography lots, a pair of albums 'Presented to the Rev. Robert Vaughan Pryce... by his father George Pryce, F.S.A. on his Birthday, December 15, 1866", containing

Also ncluded is a picture of Isambard Kingdom Brunel, flanked by his assistants Nicolas Tredwell and William Jacomb taken by Robert Howlett at  the launching of the Great Eastern in 1857. 


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12201089274?profile=originalThe photographs section at the V&A Museum have issued a newsletter following the launch of the Photography Centre.

We are delighted to be in touch with an update about the exciting activity that has been taking place at the V&A these past months.

 Phase One of the V&A Photography Centre is now open. To mark this occasion, HRH The Duchess of Cambridge undertook her first visit to the V&A as Royal Patron on 10 October, ahead of the Centre’s public opening on 12 October.

 More information about Phase One and the inaugural display in the Photography Centre, Collecting Photography: From Daguerreotype to Digital, can be found here:

More information about the ongoing Photography Centre FuturePlan project, including Phase Two, can be found here:

The opening of the Photography Centre kick-started a month-long Photography Spotlight at the museum. Highlights include:


Friday Late in collaboration with i-D

26 October, 18:30-22:00

More information can be found here:

Collecting Photography/Photography as Collecting

V&A Conference

16-17 November, 10:30-17:00

More information, including a draft programme, can be found here:

Further information about all the events taking place as part of the Photography Spotlight can be found here:

We hope many of you will be able to visit the Photography Centre soon and look forward to hearing your thoughts as we work towards Phase Two.

With best wishes,

V&A Photographs Section

Martin Barnes, Susanna Brown, Marta Weiss, Catherine Troiano, Rachael Chambers, Erika Lederman, Dan Cox, Marie-Kathrin Blanck and Lydia Caston.

Image: the new photography galleries on their first public open day.  

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12201088255?profile=originalDr Juliet Hacking is speaking at two upcoming events: 

Saturday 3rd November, afternoon

Workshop: An Insider’s Guide to Photography and the Art Market


Friday, 16 November 2018 – Saturday, 17 November 2018

Symposium: Collecting Photography/Photography as Collecting - V&A

Download the programme here:

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12201090699?profile=originalEarly French Masterworks from the Hyman Collection showcase rare, important works from the 1840s to 1850s by the first practitioners of negative-positive photography in France. This exceptional selection of 12 lots comprises 11 salt prints, of which three are accompanied by their unique paper negatives, and one albumen print. The 13 featured pioneer-photographers – Édouard Baldus, Hippolyte Bayard, Louis De Clercq, Alphonse Delaunay, John Beasley Greene, Louis-Adolphe Humbert de Molard, Firmin-Eugène Le Dien and Gustave Le Gray, Charles Nègre, Pierre-Émile-Joseph Pécarrère, Henri-Victor Regnault, Louis-Rémy Robert and Félix Teynard – all adopted the new medium of photography in France and contributed towards its technical and artistic advancement.

See the catalogue here:

Image: J B Greene

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12201095699?profile=originalOscar Gustaf Rejlander (1813-1875) was a Victorian artist whose innovations in both the production and conceptual aspects of photography have secured him a place within the history of the medium. Surprisingly there has never been a major examination of his career ….until now.

The Canadian Photography Institute of the National Gallery of Canada presents the first-ever retrospective of the life and work of the celebrated Swedish-born, British photographer.  Oscar G. Rejlander: Artist Photographer opened on October 19 at the National Gallery of Canada where it will be on view until February 3, 2019 before travelling to the J. Paul Getty Museum in Los Angeles. The exhibition features 140 of Rejlander’s photographs, paintings, drawings and prints.

Oscar Gustaf Rejlander began his career as a painter who took up photography in the early 1850s.  He is referred to as the “Father of Art Photography” in recognition of the path he paved for present day photo manipulation and experimentation. Rejlander often employed the technique of combination photography, where two or more negatives are combined to make a new, single image. The exhibition includes two of the four known surviving versions of his famously controversial composite photograph Two Ways of Life, or Hope in Repentance, produced in 1857 from more than 30 negatives. Rejlander is also praised for his collaboration with naturalist Charles Darwin and his influence on the work of British photographer Julia Margaret Cameron and author Lewis Carroll. Their portraits, along with those of other influential 19th-century notables, including poet Alfred Tennyson are featured in the show.

Oscar Gustaf Rejlander has a central place in the history of the medium. He was one of the first artists to show how photography could use allegory and narrative in the same way as more traditional arts such as painting and drawing,” said NGC Director and CEO Marc Mayer. “The National Gallery of Canada began acquiring photographs by Rejlander more than 35 years ago, and we are very happy to offer the public this overview of the work of this exceptional artist.

The exhibition opens with work created during Rejlander earliest years in England - from 1839 to 1853. The section includes some of his non-photographic work including a large scale drawing along with some of his first landscape photographs. The second section of the exhibition contains several of Rejlander’s self-portraits and portraits of his wife Mary. In the third section photographs of Rejlander’s staged scenes of everyday life are on view followed by a series of photographic studies that Rejlander intended to be used as “photographic sketches” by other artists. One section of the exhibition examines Rejlander’s most famous work Two Ways of Life while the final section presents some of Rejlander’s studies of facial expressions made for Charles Darwin in preparation for his book, The Expression of Emotion in Man and Animals published in 1872.

Rejlander’s photographs are highly relevant to artists who combine and rearrange images, not from glass negatives, but using digital tools,” said exhibition curator Lori Pauli, Curator of Photographs at the National Gallery of Canada. “Throughout this exhibition, I have tried to take a broader perspective of Rejlander’s contribution to the history of photography, before and after the creation of his most famous work known as Two Ways of Life. In Rejlander’s photographs we see a keen observer of human condition, whether he is showing us the comic side of everyday life or expressing compassion in his images of children.

Rejlander was among the favourite photographers of Queen Victoria and her husband Prince Albert and some of his earliest photographs have been loaned for the exhibition by the Royal Collection in Windsor. The Metropolitan Museum of Art in New York, the Victoria and Albert Museum in London, the National Gallery in Washington, the George Eastman Museum in Rochester, the Harry Ransom Center at the University of Texas, Austin, and the Moderna Museet in Stockholm, have also loaned works for the show along with several other lenders from private and public collections. The exhibition includes 14 works from the collection of the National Gallery of Canada.

Oscar G. Rejlander: Artist Photographer is presented with support from Scotiabank, a Founding Partner of the Canadian Photography Institute. The show travels to the J. Paul Getty Museum in Los Angeles, where it will be on view from March 12 until June 9, 2019.

Also opening October 19, 2018, in the space adjacent to the Oscar Rejlander exhibition, is PhotoLab 5: Althea Thauberger. The two-channel video installation by the Vancouver-based artist and filmmaker Althea Thauberger, coproduced by the Musée d’art contemporain de Montréal, Concordia University and the Canadian Photography Institute (CPI) of the National Gallery of Canada, was inspired by discoveries she made while visiting the archival collection of the National Film Board of Canada’s Still Photography Division, whose archives are now part of the CPI collection. The thousands of photographs in the archives were commissioned for print and other media over a 40-year period, yielding stories of life in Canada in the post-war era- from small-town scenes to major events- that define our national history. Thauberger’s video installation, titled L’arbre est dans ses feuilles, (The Tree Is in Its Leaves), interacts with images from the archives while telling an evocative story of its own. Audio for the 30 minute video is provided by poets Danica Evering, Natasha Kanapé Fontaine, Kama La Mackerel and Chloé Savoie-Bernard. The exhibition, which was organized by Andrea Kunard, the Associate Curator of the Canadian Photography Institute, is on display in the CPI Galleries until February 3, 2019.


The exhibition is accompanied by a 300-page hardcover catalogue containing 225 colour and black and white images. With essays by the exhibition curator, Lori Pauli, and collaborators. The English and French editions are available for a price of $40 onsite at the Boutique and online at

See more here:

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12201090673?profile=originalThere will be a London Stereoscopic Company 3D talk at the Courtauld Institute on 31 October. Titled The Poor Man's Courtauld Gallery it will examine how artists and stereo photographers explored the same themes with the advantages and limitations of their respective medium. 

Admission is free but needs to be booked.

‘The Poor Man’s Courtauld Gallery’: re-staging paintings for the Stereoscope.
Wednesday 31 October 2018
6:00 pm - 7:00 pm
Kenneth Clark Lecture Theatre, The Courtauld Institute of Art, Somerset House, Strand, London, WC2R 0RN

Details here: 

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12201087475?profile=originalOn 3 November 2018 New York Public Library, Stephen A. Schwarzman Building Celeste Auditorium, hosts the first international symposium dedicated to the pioneering photography of Anna Atkins (1799-1871). Scholars in the fields of photography, conservation, natural history, and rare books will discuss her photographic legacy.

The symposium is open to the public, details here:

The exhibition Blue Prints: the Pioneering Photographs of Anna Atkins opened on Friday 19th October at New York Public Library Stephen A. Schwarzman Building, featuring her ground breaking ten year project Photographs of British Algae, Cyanotype Impressions

More details here

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12201086678?profile=originalLauren Ashley-Irvine, Conservator of Photographs and Paper, at the Victoria and Albert Museum has published a blog describing how one of the fascicles from Talbot's Pencil of Nature (1844) was conserved and prepared for exhibition in the museum's new photography galleries. The publication is part of the Royal Photographic Society Collection now held at the V&A. 

Read the full blog here

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Daily Mirror Photographers and the Great War

12201085883?profile=originalAs the 100th anniversary of the Armistice is looming I am asking for help to contact any living relatives of former Daily Mirror photographers who served in WW1 or worked for the paper in the UK during the conflict. 

I am particular interested in Bernard, Thomas and Horace Grant  who had all covered conflicts around the world before the outbreak of the Great War.

Other photographers of interest are David McLellan, Ivor Castle, Ernest Brooks and William Rider Rider official photographer with the Canadians. William after the war joined the Mirror and became our chief picture editor during WWII 

These men served the Paper and their Country by recording the horrors of war only armed with their camera's. I would like to encourage the paper to recognise the service these men gave by telling their stories in their words.


Belgian soldiers resting after being pushed back by the advancing German Army. August 1914 - Bernard Grant 

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12201085875?profile=originalThe Great Exhibition of the Works of Industry of All Nations, held in London from May to Ocbober of 1851, was the genesis of the Victoria and Albert Museum. Published to accompany the opening of the V&A Photography Centre, this book makes extensive use of the V&A collections and archival material related to the 1851 Great Exhibition.

Photography and the 1851 Great Exhibition is the first comprehensive study of the seminal gathering of photographs and photographic equipment that marked the global launch of the form. It examines the role and impact of photography at the 1851 Great Exhibition and beyond, drawing together two decades of research to create a broader understanding of the step-change in image making and distribution represented by that event. With a Foreword by Tristram Hunt and an essay on photoscience by Nicholas Burnett.

While the Great Exhibition has received a variety of examinations, its role in exhibiting and furthering the cause and exploitation of photography and its impact on illustration, printing, publishing, and the arts has been largely underappreciated. More broadly, 1851 saw a massive change in information management: in the creation and dissemination of visually based graphic information characterized by images of the building, its contents and their display that collectively constituted the Great Exhibition. Photography played a critical role in this quantum leap.

The scale and scope of photography of the Great Exhibition is made evident through reproductions of images produced by a wide range of amateur and professional photographers who documented the Great Exhibition, some of which are the only known images of now lost works of art. Also shown and examined are prints produced by traditional reprographics and lithographs and the photographic originals from which they were derived.

The result of more than twenty years of research, this study is based on a number of contemporary sources including official publications, the archive of the Royal Commission for the Exhibition of 1851, the correspondence of William Henry Fox Talbot, letters, newspapers, books, and articles in serial and periodical publications, as well as the Reports by the Juries, from which all 154 photographic images are reproduced in these pages.

Anthony Hamber is an expert on 19th century photography and the illustrated book, the contribution of photography to other forms of illustration, and the application of photography to art publishing. His first monograph, A Higher Branch of the Art; Photographing the Fine Arts in England 1839-1880 (Gordon & Breach, 1996) is a fundamental source of information in its field.

Available in the UK and Ireland from the Victoria and Albert Museum.

Anthony Hamber
New Castle, Delaware and London: Oak Knoll Press and V&A Publishing, 2018.
8.75 x 12 inches
cloth, dust jacket
396 pages, with folding floor plan of the Crystal Palace in pocket at rear
ISBN: 9781584563716

Price: £65
Order online:

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Archive: Boots the Chemist

12201096300?profile=originalBoots Archive are delighted to announce the second phase release of the online catalogue of the Walgreens Boots Alliance archive collections. This digital resource, which launched in 2017 has been supported by the Wellcome Trust, through their Research Resources programme. The archive includes phootgraphy and material relating to Boots' involvement with amateur photography.

12201097276?profile=originalThe catalogue currently comprises around two fifths of the total archive holdings (c5,000 boxes) with over 27,000 entries and 4,500 digitised images.  Subsequent additions to the catalogue will be made on an annual basis over the next three years until the entire collection is incorporated.  The majority of the entries on the site relate to the Boots UK collection, and the material charts the development of the business into large scale manufacturing, product development, research and healthcare and beauty retailing. Information relating to product development, which includes employee training, formulations, packaging and merchandising records, is a particularly strong element within the collection. The holdings also include a large number of store and factory photographs and building plans.

In addition to the material relating to the history of Boots UK, other significant holdings also include the business records of Walgreens; Dollond and Aitchison; Optrex Ltd; Timothy Whites and Taylors Ltd; Unichem and E Moss Ltd.

The archive catalogue can be accessed here: 

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12201085490?profile=originalIn this lecture Deborah Ireland explores how the Royal Geographic Society's first instructor in photography, John Thompson, applied images to the science of geography, to guide and influence a new generation of travellers. Thomson had a career as a photographer in China and elsewhere in Asia and took the photographs for Street Life in London.

Royal Geographical Society (with IBG), 1 Kensington Gore, London, SW7 2AR15 October 2018
at 6.30pm. Ondaatje Theatre doors open at 5.30pm

See more here.

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12201088470?profile=originalThe first day open to the public was a busy one for the V&A Museum's new Photography Centre as the pictures here show. Phase one of the Photography Centre more than doubles the space dedicated to photography at the V&A, spanning four new galleries. It opens with the major display Collecting Photography: From Daguerreotype to Digital, beginning in the newly named The Bern and Ronny Schwartz Gallery (formerly Gallery 100). The show explores photography as a way of ‘collecting the world’, from the medium’s invention in the 19th century to the present day.

Drawn from the V&A and Royal Photographic Society collections of over 800,000 photographs, the display showcases some of the most exciting contemporary photography being created today. It also shows seminal prints by pioneers William Henry Fox Talbot, Julia Margaret Cameron and Roger Fenton, alongside negatives, camera equipment, photographic publications and original documents to tell a broader story about the history of international photography. In The Modern Media Gallery (formerly Gallery 99), a frequently changing selection of new acquisitions, a ‘Light Wall’ for displaying screen-based photography, and a ‘Dark Tent’ projection area complete the space.

12201089274?profile=originalTo mark the opening, the V&A has commissioned two internationally-renowned artists to produce major new works. German photographer Thomas Ruff, known for taking a critical and conceptual approach to photography, has created a monumental series inspired by Linnaeus Tripe’s 1850s paper negatives of India and Burma, held in the V&A’s collection. Digitally reinterpreting photographs made over 160 years ago, Ruff gives Tripe’s important and haunting images a new context, emphasising their hidden details and resurrecting them with spectacular new life. Alongside Thomas Ruff’s new series, American artist Penelope Umbrico has created 171 Clouds from the V&A Online Collection, 1630 - 1885, 2018, the first work to feature on the Light Wall. Umbrico works mostly with images she finds on the internet, presenting them in ways that reveal the fluidity of digital photography. For this video, she sifted through the V&A paintings collection online and extracted details of clouds. The work explores the transition from fleeting clouds to material paint, and then from digital code to physical screen.

Tristram Hunt, Director of the V&A, said: “I’m delighted to open the V&A’s new Photography Centre. The transfer of the historic Royal Photographic Society collection provided the catalyst for this dramatic reimagining of photography at the museum. Our collection – established by the V&A’s visionary first director Henry Cole - now seamlessly spans the entire history of photography, telling the story of the medium from the daguerreotype to the digital. Our new Photography Centre provides a world-class facility to re-establish photography as one of our defining collections. In an era when everyone’s iPhone makes them a photographer, the V&A’s Photography Centre explores and explains the medium in a compelling new way.

12201089463?profile=originalMartin Barnes, Senior Curator of Photographs at the V&A, said: “The new Photography Centre brings to life some of the V&A’s most beautiful original picture galleries and provides a permanent home for one of the finest and most inspiring collections of photography in the world. The spaces and facilities allow visitors to access, explore and enjoy photography in its many forms. The Photography Centre encompasses more than a new gallery space. Beyond its walls lies an associated programme of research, digitisation, learning activities, publications, exhibitions, access to items in stores, and collaborations with other UK and international partners. Photography is one of our most powerful forms of global communication, and I’m thrilled that we can contextualise the past and present of this powerful medium in new and exciting ways.

Visitors enter the new Photography Centre through a spectacular installation of over 150 cameras spanning 160 years. Nearby, an interactive camera handling station offers visitors an understanding of how photographers view the world through their equipment. Inside the gallery, focused sections look at a series of collections and collectors. This includes an important group of William Henry Fox Talbot’s cameras and prints; 1850s fine art photographs collected by Chauncey Hare Townshend, friend of Charles Dickens; Pictorialist photographer Alvin Langdon Coburn’s collection of photographs by his predecessors and contemporaries; and a selection of some of the most significant photojournalism of the 20th century collected by Magnum Photos’ UK agents, John and Judith Hillelson. A stereoscope viewer gives an immersive 3-D experience of Crystal Palace alongside some of the first photographs ever taken of Japan.

Over 600 objects made across Europe, the US, Africa, the Middle East and Asia have been brought together for Collecting Photography: From Daguerreotype to Digital. The display features images by early colour photography pioneers, Agnes Warburg, Helen Messinger Murdoch and Nickolas Muray, and recent acquisitions by Hiroshi Sugimoto, Cornelia Parker, Linda McCartney, Marco Breuer, Pierre Cordier and Mark Cohen. A ground-breaking botanical cyanotype by Anna Atkins, images by the world’s first female museum photographer, Isabel Agnes Cowper, and motion studies by Eadweard Muybridge, join photographs by some of the world’s most influential modern and contemporary photographers, including Eugène Atget, Man Ray, Bill Brandt, Walker Evans, Edward Steichen, Cindy Sherman and Martin Parr.

The Photography Centre also features the Dark Tent, a flexible multimedia projection and lecture space inspired by 19th-century photographers’ travelling darkrooms. Here, specially commissioned films revealing early photographic processes, including the daguerreotype, calotype and wet collodion process, are screened, along with a slideshow of rarely-seen magic lantern slides revealing the first attempts to reach the summit of Mount Everest in 1921 and 1922, among other photographic projections.

The opening of the V&A Photography Centre kick-starts a month-long Photography Spotlight across the V&A. Highlights include talks by leading photographers Mary McCartney, Rankin and Chris Levine; the premiere of the collaborative performance piece Last Evenings by artist Garry Fabian Miller and musician and composer Oliver Coates; a screening of Lisa Immordino Vreeland’s Love Cecil; and special performances, events, courses, workshops and a photography-themed Friday Late on 26 October.

Admission is free. 

See more here, including details of special events and a symposium:

Image below: © Will Pryce.jpg / above: © Michael Pritchard


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12201090082?profile=originalMake exquisite rich brown images using this 19th century print technique.  Lead by photographic artist Catriona Gray who specialises in alternative processes, this short, three-hour workshop, will show you all you need to make gorgeous and unique Van Dyke Brown prints.

You will learn how to coat your own photographic paper, and expose it to light using the photogram technique of placing objects directly onto the paper. There will also be the opportunity to make a photographic print from a digital negative (if you want to do this, please email your image in plenty of time before the workshop).

We encourage you to bring your own objects, leaves, flowers etc. along to the workshop, to make the images truly personal.

All materials included in the fee.

Darkroom London
Unit 10 Burmarsh Workshops

71 Marsden Street
London, NW5 3JA

See more and book for either workshop here

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12201087488?profile=originalAn image of Alice and the Fairies taken in 1917 by Elsie Wright, and one of the hoax photographs known as the Cottingley Fairies sold for £15,000 (plus 20% buyer's premium) at Dominic Winter auctions on 4 October. 

First in the series of five Cottingley Fairies photographs, a hoax that deceived a number of eminent figures, most notably Sir Arthur Conan Doyle. The story of the Cottingley Fairies began as a practical joke in Cottingley, near Bradford, West Yorkshire in 1917 and the fairies were actually drawings by Elsie, secured in the ground with hat pins. It was a secret the girls decided to keep until the 1980s to protect the public reputations of those who believed in the 'truth' of the images. Alice was probably the name given to Frances by Sir Arthur Conan Doyle (1859-1930) in an attempt to conceal the girls' identities when he published the photographs.

A second image Iris and the Gnome sold for £5400 (plus 20% buyer's premium).

See more here:

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Cavendish and Monde Laboratoires.

12201084090?profile=originalColleagues and friends who will have seen David Haynes notification drawing attention to the new addition of historical photographic images to the Cambridge digital Library, might be unaware of the threat hanging over the Cavendish and Monde Laboratories where scientific research and experiments took place over a period of nearly 100 years by James Clark-Maxwell, JJ Thomson, Rutherford and others. The breadth and significance of the research undertaken on this site is without parallel in the history of science and what took place there is fundamental to our life today and for all advances in industry worldwide.
To summaries its importance and the achievements of the institution is best described by Boris Jardine in the article he wrote for the Guardian:
"To understand why the Cavendish Lab is so important, we only need enumerate the purpose-built research and teaching laboratories in Britain that pre-date it: none. Neither Newton, Priestley nor Darwin could boast that kind of institutional support, which was first given in brick-and-mortar form in the 1870s – at the Cavendish Lab in Cambridge, the Clarendon Lab in Oxford, and William Thomson’s lab in Glasgow
"The Cavendish was designed and first headed up by Scottish mathematician, James Clerk Maxwell. Few people are qualified even to summarise the brilliance of Maxwell’s work, so I’ll leave that job to Albert Einstein, who said simply that ‘one scientific epoch ended and another began with James Clerk Maxwell’. What we can say with certainty is that in addition to his mathematical insights, Maxwell was a visionary planner of scientific work."

We all are familiar with the circumstances surrounding the taking of the first colour photograph by Thomas Sutton working in collaboration with and under instruction from James Clerk Maxwell. Maxwell was the first to discover and understand the essential difference between reflected and transmitted light in term of its colour content. In effect he discovered and defined the characteristics of RGB and CYMK which made possible the development of colour photography and colour printing. This was one of the myriad achievements of James Clerk-Maxwell.
See also:
Professor Malcolm Longair has announced the online launch of the first selection of 202 historic images from the Cavendish Laboratory, University of Cambridge. The photo archive is accommodated within the 'Cambridge Digital Library'.
Will all that we leave for future generations be what in effect will be a virtual archive, a ghostly echo of the activities which took place in the Cavendish and Monde Laboratories? I hope not.
Michael Gray  
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12201086085?profile=originalYesterday saw the dispersal of the Alfred Swaine Taylor family collection and archive at Lacy Scott & Knight auction house in Bury St Edmunds. BPH reported on the auction back in June and an earlier disposal which highlighted the importance of the material and acted as the catalyst for this final sale.

The auction was split in to three parts: science and medicine; photography, and personal effects. Swaine's importance as a medical man, in medical jurisprudence and, particularly, as a pioneer of forensic science garnered much pre-sale publicity, but he was equally important as an early practitioner of photography applying his scientific expertise to the nascent medium which he remained interested in until the 1870s. Representatives from the Science Museum, Royal College of Physicians and Royal Institution were in the saleroom and there was active participation online and on commission. 

12201087072?profile=originalThe photography material was lots 2124-2174 and consisted of three copies of his On the Art of Photogenic Drawing (1840), correspondence with Michael Faraday and others about this publication, family carte-de-visite albums and other portraits, and a small selection of photographic manufacturers' trade catalogues. Some of the highlights, with hammer prices, include: 

  • On the Art of Photogenic Drawing (1840), copy with author's notes £3,600; two other copies £3,400 and £2,600. 
  • Letter from Michael Faraday to Taylor complimenting him on his photographic art - £1,900
  • Family carte-de-visite album - £700
  • Manuscript notes on photography - £620
  • Two collodion negatives showing a skull and a skeleton - £620
  • British Journal Photographic Almanac 1862 - £620
  • J H Dallmeyer 1863 catalogue and others - £420
  • Mansell's Catalogue of Frith's Photo Pictures (1869) and others - £600

all prices are plus 20% buyer's premium and VAT. 

The complete online catalogue and sale results can be seen here


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12201096463?profile=originalThe book is a 'Now and Then' book which explores the 3D stereo archive of keen Scottish amateur photographer Andrew Milne who travelled Scotland with his Stereo Victo camera between 1902 and 1905.  Although an amateur, Andrew's image stand up well against many of the commercial images of Scotland made by more famous names.

There is a launch talk with 3D images on the 13 October at the Brye Theatre St Andrews as a part of the photography festival.  I will look forward to welcoming everyone who can attend.  FREE tickets for the talk are available to book online here: 

As it proved rather hard to encourage publishers to take on a book that includes a pair of stereo glasses, the book has been self-published and the first edition is limited to just 250 copies.

On a Hill Road can now be purchased in a number of ways including for UK customers from my website It can be purchased directly from me at events and will I hope be available through bookshops as a special order..

Many thanks to everyone who has supported the project which has taken over 10 years to complete.


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