I am looking to find the photographer of this image, a British cdv labeled 'The Widow's Mite'. It reminds me of Rejlander's genre scenes, but I have been unsuccessful in finding anything about it. No back mark. I have blurred out the seller's watermark here.
Much obliged for any information.
David
This talk presents new research looking at the relation between camera and cycle technologies in late Victorian Britain. Despite the challenges of carrying heavy and fragile glass-plate cameras on likewise heavy and laborious to ride machines, in this period combining cycling and photography was felt so close that contemporary commentators could write of ‘cyclo-photographers’.
A reason for this popularity was the confluence of new ways of moving and seeing that the engagement with these two modern cultural technologies had made possible, and that photographers embraced as a condition of being modern. This influenced profoundly the development of camera technology and its uses from the late nineteenth century.
As the talk shows, this was because cycling enabled a new experience of visualisation as individual expression that, in turn, shaped how cyclo-photographers thought of camera practices and what they expected of camera technology.
A Cultural History of Combined Technologies: Photographing and Cycling in Late Victorian Britain
Dr Sara Dominici
School of Humanities, University of Westminster
14 November 2018, 2:00 - 3:30pm
Royal College of Art, Battersea, Gorvy Lecture Theatre
Image: Cover of The Cyclist’s special annual issue for 1887
© From the Cycling Photographica Collection of Lorne Shields, Toronto (ON) Canada
BPH member Ben Lewis is trying to find more details about this photograph and the London photographer William E Gray who worked independently and was also associated with the company of Henry Dixon and Son Ltd which absorbed his business in 1931.
The photograph was taken for the Cook Collection around 1902-7. It has a number "Photo Gray 28992"
Four years ago Ellen Nolan inherited a suitcase. Inside was an archive of hundreds of images and documents belonging to her Great Aunt, Nita Harvey, an English actress on the brink of Hollywood success in the 1930s. In 1933 Nita was discovered through a beauty contest, summoned to Hollywood and signed to Paramount studios. She was prepared for performing by her mother, who constantly photographed her. Ellen has been working with the archive to create a dialogue between the performativity of the domestic portraits of Nita taken by her mother and family, and the professional industry images taken by Paramount Studio photographers. This paper will discuss the role of clothes in Nita’s life and career, and their function in the archive.
Ellen Nolan is an artist and Senior Lecturer in Photography and Fashion Photography at the University for the Creative Arts, Rochester. She was previously a photography lecturer at the London College of Fashion. Her research focuses on aspects of representation and performativity in commercial and domestic family photography. It considers the use of photography as a means of exploring the act of representation as a meditation on photography and image performance. Ellen worked as a successful fashion and portrait photographer and regular contributor over a 15-year period to magazines, including British Vogue, i-D, Purple and The Sunday Telegraph. She has shot major fashion advertising campaigns for Dries Van Noten, Levis, Nike and Eley Kishimoto. She also directed pop videos and shot album covers for Beth Orton, amongst other international artists. She continues to work for and collaborate with British fashion designer Margaret Howell. Her work has been exhibited internationally, including at The Photographers Gallery, Arles Festival and The National Portrait Gallery in London, where her work is part of their National Collection.
Courtauld Institute of Art
Friday, 9 November // 12.30-13.30
NITA HARVEY'S ARCHIVE
The Role of Clothes in the Life and Career of an English Actress (c.1930)
Organised by Dr Rebecca Arnold (The Courtauld Institute of Art)
Free and open to all
RESEARCH FORUM SEMINAR ROOM
CLICK HERE FOR MORE INFORMATION
FREE AND OPEN TO ALL
Newly qualified PhDs in photographic history may be interested in two Early Career Academic Fellow (ECAF) positions at De Montfort University. The position will ultimately lead to tenure in 2020. DMU is home to the Photographic History Research Centre and runs a MA history of photography programme.
See more here.
I returned to my one local antique store this week and traded some images I had for scores of English stereoviews. One is easy to identify in terms of place as its written on the back in copperplate "Royal York Crescent, Clifton. Bristol." I wonder if this view attached could be by William Harvey Barton, who was active in the 1860s.
The other view I attached is of a group of women and children with cows. It was in a box of cards marked USA but there is no evidence at all on the card to indicate that it is in fact North American or English.
Any ideas pleas?.
I bought more Francis Bedford views, some by Stirling photographer Alexander Crow(e) , some by Ladmore and Son and others by William Spreat, and a couple by Way & Sons (incredible labels!)
Mysteries also are a couple on yellow card stock with mauve backs and white label "The Thames. Nos. 44,60,63" No idea who the photographer may have been.. the labels remind me of George Washington Wilson..
