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Preservation of modern photographic works of art in museum collections. The Dutch Foundation for the Conservation of Contemporary Art (SBMK), sixteen museums, the University of Amsterdam (UvA) and the Cultural Heritage Agency of The Netherlands (RCE) will join forces in a large-scale collaborative project titled ‘Project Collection Knowledge 2.0 / Photography’. The goal of this three year project is to sustainably preserve photographic works of art in Dutch collections for the future, and as such, to make them accessible to the general public. Applied research will be used to develop a method whereby collection managers, conservators and others charged with collection care learn to identify and monitor their 20th and 21st Century photographic collection and if necessary, carry out preventative conservation measures.

The project is a continuation of the successful pilot ‘Collection Knowledge 2.0/Pilot Plastics’ (2017-2019) that focused on the identification and conservation of various types of plastic, used in art and design objects. The project ‘Project Collection Knowledge 2.0 / Photography’ will run from October 1st 2020 until October 1st 2023 and is financially supported by the Gieskes-Strijbis Foundation, the Mondrian Fund, UvA, RCE and the Wertheimer Foundation, managed by the Prins Bernhard Culture Foundation. It is impossible to imagine collections of modern and contemporary art without photographic works. Museums are increasingly in need of expertise to preserve both analogue and digital (colour) photographs. Expertise on printing processes, finishing techniques, photographic paper and supports as well as correct terminology is often lacking within Dutch museums. What are the best ways to store and exhibit photographs whilst preserving them for the future? Identification ‘on the job’

In this collaborative project, lead by the SBMK and the UvA, partners will develop, share and implement practical knowledge to improve collection care, visibility and accessibility of photographic art works. Participating museum staff will learn ‘on the job’ about materials and techniques and how to identify photographic works in their own collection. During hands-on training surveying collections, research questions will be formulated and investigated, and in combination with existing national and international knowledge, a digital tool will be developed and tested that will help others world wide gain more insight into their modern photograph collections. As a result each of the 13 participating museum will have a sub-collection of surveyed, identified and well-registered photographic works. Key outcomes of the project will be the afore mentioned digital platform with information on the most common and/or problematic printing processes, finishing techniques, photographic papers and supports of both analogue and digital photography, as well as a physical set of reference material samples of many of the past and current photographic processes that are found in museum collections today.  

Implementing the knowledge gained
During the project, under the guidance of the UvA and the Cultural Heritage Laboratory of RCE, two young professionals will be trained to specialize in the preservation of photography. Research will be carried out by students from the Master Conservation and Restoration of Cultural Heritage at the UvA. Lectures and seminars to disseminate knowledge learned will be organised for the public. The digital platform will be freely available, in both Dutch and English, to anyone interested in the preservation of photographs. The outcomes of this project will be applicable to collections worldwide. The project concludes with a public symposium during which the outcomes and results will be presented.

Partners
The ‘Project Photography’ is coordinated by the SBMK together with the UvA. Thirteen organisations having a modern photography collection are partners; Amsterdam Museum, Museum Boijmans Van Beuningen, Bonnefanten, De Domijnen, Frans Hals Museum| De Hallen, Het Nieuwe Instituut, Huis Marseille, Kröller-Müller Museum, Kunstmuseum Den Haag / Fotomuseum Den Haag, Stichting Nationaal Museum van Wereldculturen, Stedelijk Museum Amsterdam, Rabo Artcollection and RCE-Artcollections. Advisory partners are Rijksmuseum, NICAS, National Archives en Nederlands Fotomuseum.

More about the SBMK:https://www.sbmk.nl/en/ ;

More about the MSc in Conservation and Restoration of Cultural Heritage: https://www.uva.nl/en/discipline/conservation-and-restoration/conservation-and-restoration.html

In October 2020 the Dutch Foundation for the Preservation of Contemporary Art (SBMK), the University of Amsterdam (UvA), sixteen museums, and the Cultural Heritage Agency of The Netherlands (RCE) joined forces in a three-year collaborative project titled ‘Project Collection Knowledge 2.0 - Photography’.

As a result of the Dutch Photography Project, we are very excited to be able to offer you the one time opportunity to purchase an extensive photographic sample set of modern and contemporary processes, some of which are now obsolete. Examples include: dye transfer, photo-linen, silver dye bleach, dye diffusion, toned silver gelatin developed-out, and also contemporary processes and techniques such as face-mounted, laminated chromogenic prints and dye sublimation on metal (ChromaLuxe®). Please see the following link for the complete list of samples included.

Sample Set & Online Tool
This unique sample set of reference materials serves as a material aid for the identification of modern and contemporary photographs. The set is the physical component of the digital tool for identification of photograph processes, supports and finishing techniques that will be developed during the duration of the Project Collection Knowledge 2.0 - Photography. The digital online tool will include process identification and extensive information about preservation issues surrounding modern and contemporary photographs. The online tool will be made available in English and Dutch and be similar in design to the Plastic Identification Tool that was developed in the  previous SBMK project.

The set can be used for educational and research purposes. Various national and international printing labs and photographers are responsible for the printing of the sample set that encompasses 43 selected papers of photographic processes and techniques to represent the materials found in photography collections. Due to a one-off substantial discount provided by the printing labs and photographer’s participating in the production of the sample set, it can be produced within the project for a special price. This discount reduces the cost by € 844,-. Download complete list of samples.

Costs
Interested parties pay € 1462.00 (excluding shipping and VAT costs). We can only guarantee the complete set with 43 samples for this price if we receive orders by 15 December 2020. Send an email to aanmelden@sbmk.nl

The latest issue of British Art Studies no. 18 has gone online and includes two papers of particular interest to BPH readers, from Sarah Parsons and Steve Edwards. 

Sarah Parsons, 'Women in Fur: Empire, Power, and Play in a Victorian Photography Album'. The craze for carte-de-visite portraits in the early 1860s established photography as an intensely social practice. As cartes were bought, gifted, traded, archived, and displayed, they captured and created social networks. This article asks what we can learn about the social language and networks of early photography by turning instead to amateur photography, specifically women’s amateur efforts.

Steve Edwards, 'Making a Case: Daguerreotypes'. This essay considers physical daguerreotype cases from the 1840s and 1850s alongside scholarly debate on case studies, or “thinking in cases”, and some recent physicalist claims about objects in cultural theory, particularly those associated with “new materialism”. 

British Art Studies is an opens source publication and the full papers can be read and downloaded from https://www.britishartstudies.ac.uk/issues/issue-index/issue-18

The Australian Centre for Photography once hosted Australia’s elite cohort of photographers. It can no longer afford to remain open. ‘ACP was part of the cultural fabric of Sydney and it welcomed everyone in’.

The official statement reads: The Australian Centre for Photography (ACP), Australia’s oldest and arguably most significant photography arts organisation announces it will go into hibernation from December 16 with a plan to restructure its vital contribution to the arts landscape in Australia.

Sydney, Australia: The Board of the Australian Centre for Photography (ACP), Australia’s oldest and arguably most significant photography arts organisation, has today announced it is moving the organisation into a period of hibernation to stem the risk of ongoing financial losses and protect the capital in an investment fund it considers vital to its long-term viability.

ACP Chairman, Michael Blomfield said: “While the decision we have made to move the organisation into a period of hibernation is a painful one, the Board believes that securing our long-term future in any form requires the protection of our capital now. In the face of massively reduced income in the COVID era, and the reality that our organisation will not receive any operational funding from federal or state funding bodies for the next three years as a minimum, it is clear that continuing to operate in our current form is a pathway to extinction.”

 Like most arts organisations – particularly in the current environment – the ACP is loss-making in the absence of public funding. By protecting its investment funds from further losses, the organisation will ensure it is able to find and fund a new form of existence. Extensive consultation will be undertaken with stakeholders with a view to finalising a pathway to a permanent presence by July 2021.

 Director and CEO, Pierre Arpin said: “The history of the ACP always was, and continues to be, of an organisation that put photography as an art form first and foremost. We have been able to achieve this thanks to the dedicated and passionate people involved in the organisation. This is an opportune time to think about what role the ACP can continue to play in supporting the place of photography and image making in our lives.”

 Operating since 1974, Sydney-based organisation, the ACP has been a vital part of the ecosystem of photography, having conducted thousands of training courses ranging from the basics of SLR photography right through to masterclasses and private tuition. Throughout its time it has been known for the quality of its tutors, many of whom have taught with the ACP over decades.

 The ACP has a proud history as an exhibitor and commissioner of Australian photographic artists, including works by Bill Henson, William Yang, Tracey Moffatt and Trent Parke, as well as the incredibly successful 2017 exhibition Under The Sun: Reimagining Max Dupain’s Sunbaker, that saw 15 Australian artists commissioned to create new work to respond to Dupain’s iconic work.

The organisation will cease its current form of operation on 16 December following the Photostart 2020 exhibition.

Photostart 2020 is a vibrant and diverse exhibition of lens-based practice, from architecture to fashion, studio work to street photography. The exhibition will also showcase the works of the ACP student community who completed photographic courses 2020. The opening night will include the announcement of the 7 Wentworth Selborne Award ($2,000) for the best overall photograph.  The exhibition, which also features current work by ACP tutors, runs from 3-16 December at the ACP Project Space Gallery in Darlinghurst.

The ACP is dedicated to supporting photographic artists in Australia and it intends to honour this legacy with the transition to a new way of operating. The restructure will place artists at the centre of its decision making to deliver positive opportunities for the new iteration of the ACP to be announced in 2021.

ACP Chairman, Michael Blomfield, says: “Calling a halt now allows us to protect the capital we have and undertake a period of consultation with stakeholders as to how we use that capital to create a permanent legacy for the organisation.”

Further information in this article 

see the ACP website here:  https://acp.org.au/

The Royal College of Veterinary Surgeons has digitised much of its collections and made them available to the public. Included are photographs and other material relevant to photographic history, including a series of letters from Francis Galton.

See: https://rcvsvethistory.org/

Image: Frederick Smith, Photographs of Smith's Laboratory at the Army Veterinary School, Aldershot

E. A. Hornel: From Camera to Canvas, a collaboration between the National Trust for Scotland and the City Art Centre, is the first major retrospective of Hornel's art for over 35 years. Featuring photographs and paintings from Broughton House in Kirkcudbright, this exhibition shows how photography was crucial to the development of Hornel's artistic technique. It examines his use of young, female models in Japan, Sri Lanka and Scotland, and demonstrates that he only became the painter he did thanks to the photographs he took and collected.

This extensive collection is housed at Broughton House in Kirkcudbright (Hornel's home 1901–33), which is cared for by the National Trust for Scotland. It includes c.1,700 photographs used by Hornel to create his paintings. He collected these from friends and contacts, purchased them commercially and took or posed them himself, both at home in Scotland and while travelling in Japan, Sri Lanka and Myanmar.

These photographs were crucial to the development of Hornel's artistic technique. E. A. Hornel: From Camera to Canvas shows that from 1890, the influence of photography can be seen in almost every facet of the artist’s painting. It provided him with access to people, places and networks. It helped him build a visual library from which he could refresh his memory and take inspiration. Hornel not only chose his subject matter based on his photographs, but copied figures, poses and imagery directly from photograph to painting.

The exploration of Hornel's photographic collection in From Camera to Canvas also reveals a more challenging hinterland to his paintings. While his photographs of Scottish girls (accompanied by their mothers and chaperoned by his sister, Elizabeth) are discomfiting to a modern eye, some of those he took of girls and young women in Sri Lanka and Japan appear intimate or intrusive.

E. A. Hornel: From Camera to Canvas
7 November 2020 - 14 March 2021, free entry, pre-booking essential 
See: https://www.edinburghmuseums.org.uk/whats-on/e-hornel-camera-canvas

Photokina, the world's largest and most important fair for the photographic trade and consumers is to end after seventy years. In an email to the trade the organisers state: 'it is an extremely difficult step for us to have to suspend implementation of photokina at the location in Cologne for the time being, in light of the continuing steep decline in the markets for imaging products and the increasingly heterogeneous needs of the different market segments.

After decades of shared history, this deep cut is a painful one indeed. Nonetheless, we must face the situation and the trend in the industry and take a clear, honest decision against continuing this event – a decision to which, unfortunately, we have no alternative'

Photokina was first held in 1950 in Cologne and acted as a biennial showcase for manufacturers, along with a supporting exhibition and cultural programme.  At its height major manufacturers such as Leica and Kodak would occupy a whole hall changes to the industry from the early 2000s saw a contraction in its size. 

The full statement can be read here: https://www.photokina.com/

A short history of Photokina can be found here: https://kwerfeldein.de/2012/09/05/die-geschichte-der-photokina/

 

Five unique Kinora reels - a form of early moving picture - have been digitised by the National Library of Scotland and made available online. The work started in 2009 and the reels show the fishing fleet and industry in the Scottish town of Wick in north-east Scotland from the early 1900s. Although the Kinora is best known for the published reels and viewers that were sold in Britain c1900-1915, it also offered a Kinora camera and service to make up amateur reels from c1908.  The Kinora history extends back to 1896 when it was patented by the Lumière brothers and it went through several iterations before it came to Britain. 

The NLS notes: In 1989 a Kinora Viewer together with a collection of reels was given to The Wick Society for display in the Wick Heritage Museum. The reels contained local scenes and events dating between 1897 - 1910 [sic]. It was originally believed that these reels formed part of The Johnston Collection, also preserved by the National Library of Scotland Moving Image Archive, however we now think that they could be the work of a contemporary local photographer John G. Humphrey.

The digitised reels can be seen here: https://movingimage.nls.uk/film/4627?search_term=wick&search_join_type=AND&search_fuzzy=yes

Read more about the history of the Kinora in Barry Anthony's The Kinora motion pictures for the home 1896-1914 (The Projection Box, 1996). 

We are pleased to announce that we have released a limited edition series of artist prints this winter for you to purchase! The print sale runs from today until Wednesday 9 December 2020 at 9pm GMT.

Drawing together a selection of photographers who have been an integral part of our programme in 2020 - Photoworks’ 25th anniversary year - the editions have been commissioned to celebrate this moment and further unpack the anniversary theme of Alternative Narratives.  

The artworks have been chosen by our team especially for this one off print sale and are by a broad range of artists:

• Ibrahim Azab
• Poloumi Basu
• Freddy Griffiths
• Alix Marie
• Silvia Rosi
• Ioanna Sakellaraki
• Guanyu Xu

The editions can be purchased for £120 (with a label signed by the artist) and 50% of the costs will go towards Photoworks, to continue creating opportunities across exhibitions, commissions and residencies for artists, and 50% will go back directly to the edition artist. Photoworks Friends get 20% off the price. The project will be supported by print partner Spectrum.

Take a look at our shop to browse the print sale here.

Image: © Ibrahim Azab, PW)_H3RE N0W)//_SINCE TH3N, 2020

Earlier this year we heard the sad news that the some of the collection of the great Irish collector of early photography, Sean Sexton, had been stolen. Some of the collection has been turning up, but a lot of it is still untraced. Here are photos of some of the main items which are missing.

I also have a Word document with 20 pages listing the stolen items, with many photos, which is too big to insert here. I am happy to send the list by email to any member here who supplies an email. If anyone here has details about any of the items, I am happy to have them sent along to Sean through the Gallery of Photography, Ireland where I am on the Board of Directors. We have in the past held exhibitions of items from Sean's collection, including some of the items which have been stolen.

Previously reported on BPH see: https://britishphotohistory.ning.com/profiles/blogs/stolen-historic-cameras-and-photographs-london-9-april-2100-2300

A print from an album likely to have been compiled by Roger Fenton is being offered by Chiswick Auctions online on 3 December. The anonymous portrait, by Fenton, comes from the notorious 'grey paper album'. The important album was disbound and each image was offered, and dispersed, individually, at auction between 1977 and 1984.

No record of the album and its sequencing was made at the time and it remains an example of commerce determining to break up an album to maximise value for the consignor.  Pages from the album are now scattered across the world, including at the Metropolitan Museum in New York and prints periodically appear at auction. 

The Chiswick auction also contains other early photographs, stereocards and cameras. 

The Fenton lot description can be seen here.

The sale whole auction here. 

My collection of Grubb Patent Aplanatic Lenses made in Dublin between the 1850s and the 1870s all have micro-engraving with a number at the very edge of the glass lens element to match the engraved or stamped number on the brass barrel of the lens. The purpose behind this is to indicate authenticity and avoid fakes.The writing (for that is what it is) is barely visible to the naked eye and even more difficult to photograph.

Below is a poor photo of the micro engraving on the lens element of Grubb Patent Aplanatic No 582 which reads 'Grubb Patent No 582'. No 582 is the lens in the front middle of the group photo of my Grubb lens which is also below. 

What I am wondering is whether other 19th Century lens manufacturers 'signed' their lenses in this fashion. I have read that Darlot lenses have some kind of signature, but all I have is a Darlot copy sold by Morley, which has no obvious sign of a signature. This seems to me more than just a copyright issue and it is just like a signature on a photograph or a painting to say 'this is my work'. I cannot avoid getting the image of a craftsman, in a dark workshop in the 1860s, writing or scratching this on a freshly made lens, using a magnifying glass to see. Comments are welcome.

The largest glass plate negatives produced in the nineteenth-century appear to have been made in Sydney, Australia, in 1875. They were made by the professional photographer Charles Bayliss with the help of a wealthy amateur photographer Bernhard Otto Holtermann, who also funded the project.

Only four of the colossal glass negatives produced by Bayliss and Holtermann have been identified and all of them were taken from Holtermann’s purpose-built camera in the tower of his mansion in North Sydney. Two were 160 x 96.5 cm (5.1 ft x 3.08 ft) and formed a panorama of Sydney Harbour from Garden Island to Millers Point.

The other two were 136 x 95 cm (4.4 x 3.1 feet) and were of the Harbour Lavender Bay and Fort Maccquarie and Berry's Bay and Goat Island. All four colossal negatives were acknowledged at the time as being the largest negatives made and appear to have remained so until 1900 when George R. Lawrence built his (4.5 x 8 ft) camera to photograph the Alton Limited locomotive.

Three of these negatives are currently held by the State Library of New South Wales. read the full post

Bristol's Arnolfini arts space is presenting two photography exhibitions as part of its Health and Well-being series, both come from the Hyman Collection. A picture of health presents a group of women photographers and Jo Spence: from fairy tales to phototherapy presents work held in the Collection. 

The first, brings together a group of contemporary women photographers featuring autobiographical perspectives and social commentaries on the wider society, that aims to de-stigmatise subjects around mental health and create an environment in which people can have open conversations about their wellbeing. A Picture of Health includes work by Heather Agyepong, Sonia Boyce, Eliza Hatch, Susan Hiller, Rose Finn-Kelcey, Anna Fox, Rosy Martin, Polly Penrose, Jo Spence, and Paloma Tendero.

Jo Spence is drawn from one of the most comprehensive collections of Jo Spence’s works in the world, From Fairy Tales to Phototherapy focuses on the intersection between arts, health and wellbeing, celebrating her work as a photo therapist in which she used photography as a medium to address personal trauma, reflecting on key moments in her past.

Both exhibitions run from 4 December 2020-28th / 21st February 2021 respective. Both are free but will require pre-booking so social distancing can be respected. 

See: https://arnolfini.org.uk/whatson/a-picture-of-health/ and https://arnolfini.org.uk/whatson/jo-spence/

Images:  Wish You Were Here 1. Le Cake Walk: Rob This England Heather Agyepong; Only When I Got to Fifty Did I Realise I was Cinderella, (03). Jo Spence in collaboration with Rosy Martin

Two daguerreotypes of Charles Dickens and his wife, Catherine, by the London photographer J. J. E. Mayall, are being offered at auction on 17 December 2020. Both are dated c.1853-55 and are estimated £50,000-70,000 and £10,000-20,000 respectively.

Dickens was regularly photographed by Mayall and he wrote about his experiences in his publication Household Words in 1853 (vol. vii, no. 156, 19 March 1853).

See: https://www.bonhams.com/auctions/26015/lot/40/?category=list

https://www.bonhams.com/auctions/26015/lot/41/?category=list

Sworder's London auction is offering a lot of London photographs by James Hedderly. The eight photographs are estimated at £1000.

JAMES HEDDERLY (1814-1885)
a collection of seven photographs of Chelsea before the building of the  Embankment in 1871-3; Old Battersea Bridge (as depicted by Whistler); Chelsea Old Church; Cheyne Walk near Chelsea Physic Garden; Monument to Sir Hans Sloane at Chelsea Old Church; Statue of Sir Hans Sloane by John Michael Rysbrack in Chelsea Physic Garden; Houses on Cheyne Walk at the junction of Beaufort Street and Battersea Bridge; Cheyne Walk before the building of the Embankment; largest 20.5 x 42cm, unframed; together with a further photograph by W Brown of the Inspection of the Main Drainage Works at Barking, July 14th 1862 (8)

This collection by the Chelsea born artist James Hedderly gives a fascinating insight to what Chelsea was like in the 1870s, before the building of the embankment which changed the landscape of London so fundamentally. Hedderly's work focused on the Chelsea area and he did much to document the construction of the embankment. It was a time when Chelsea was established as a major artistic centre and community in London based around places like Cheyne Walk, which in 1870 boasted Dante Gabriel Rossetti (no.16) and James Abbott McNeill Whistler (no.96) as residents.

Hedderly's work can be seen in the Kensington and Chelsea Archives and National Monuments Record. Photographs are also published in John Bignall, 'Chelsea seen from 1860 to 1980', London Studio B, 1978.

See more here.

On behalf of Mattie Boom and Hans Rooseboom, Curators of Photography, we would like to bring to your attention our current research opportunities within the Rijksmuseum Fellowship Programme – in particular the new Terra Foundation Fellowship in American Photography.

Currently, the team of Photography Curators of the Rijksmuseum is preparing a major exhibition of its collection of American photographs—from the birth of the medium in 1839 to the present—in a wider context. Candidates are invited to submit a research proposal that links to the themes that were chosen for the upcoming exhibition: American landscapes, portraits, the private use of photographs, the application of photography in advertisement, fashion, politics, (decorative) utensils, and a number of social themes – from the Civil War to the Civil Rights Movement and from poverty to the experience of wars in the Homeland, as well as the relation of photography to modern art (especially after World War II).

The deadline for applications is 17 January 2021. We are hopeful to continue this programme as planned for the next academic year, with fellowships commencing in September 2021.

Marije Spek & Barbara Tedder
Coordinator Academic Programmes
e: Fellowships@rijksmuseum.nl

 You can find all further details and eligibility requirements here:

https://www.rijksmuseum.nl/en/fellowships

https://www.rijksmuseum.nl/en/fellowships/terra-foundation-fellowship

If you have a spare £20,000 then one fascicle from William Henry Fox Talbot's The Pencil of Nature (1844-1846) - the first commercially published photographic book - can be yours. The fascicle is illustrated with two calotypes - including one view of Lacock Abbey, and one photogenic drawing of lace. Approximately forty complete or substantially complete copies survive. 

If you want to bid check out the lot here. 

UPDATE: The lot remained unsold with no bids, was re-offered and then withdrawn by the seller, suggesting a sale may have been done privately.  

The Icon Photographic Materials Group is delighted to announce that this year’s fourth Round Table discussion will take place online. We hope that a virtual format will allow more people to attend, nationally and internationally. 

As in previous years, the event will consist of a series of five-minute presentations followed by questions and discussion. As always, it is open to anyone with an interest in the care and preservation of photographic materials. 

We invite abstract submissions from conservators and non-conservators working in public institutions, private practice and education. Subjects could include (but are not limited to) treatment practices, preventive conservation, scientific research, education, outreach and funding. 

If you’d like to give a five-minute presentation, please send a titled abstract (c.100 words) with your name and affiliation to phmgicon@gmail.com by the 30th November. Presentations should include around five PowerPoint slides, which should be illustrative rather than textual. Please get in touch as soon as possible for further details or to discuss your idea. 

The Round Table event will be followed by a brief update from the group committee.

A Zoom link and programme for the event will be emailed to attendees closer to the date.

Registration is free. To register please follow this link to our Eventbrite page. A final version of the programme will be available by early December, but you can check our Eventbrite page for updates before then. We look forward to continuing the discussion for another year.

See: https://icon.org.uk/events/call-for-papers-virtual-round-table-discussion

I have recently launched a website about my grandmother, the photographer, Laelia Goehr. Laelia came from Berlin to the UK in 1932 having already been a refugee from Kiev to Berlin in 1921 at the age of 13.

She studied with Bill Brandt in the 1940s and had a successful career. She was published in Picture Post, Lilliput and the Jewish Chronicle to name but a few and published a number of books including Faces (Profiles of Dogs) with text by Vita Sackville-West which was republished in 2019, Musicians in Camera which featured many of leading musicians and composers of the day including Stravinsky, Benjamin Britten, William Walton, Pablo Casals, plus many more. Her photographs, Stravinsky Rehearses Stravinsky, taken in 1965 on his last visit to the UK, were exhibited around the world including Los Angeles, Vienna and the Victoria and Albert Museum, London.

She was the first photographer to be exhibited at the Ben Uri Gallery in London in the 1950s with a series of photographs from the newly founded state of Israel.

The website can be accessed at https://www.laeliagoehr.com/

Image: Laelia Goehr. Bill Brandt with his Kodak Wide-Angle Camera  (1945)