Abstract
The prints, negatives and albums in the British School at Rome's Thomas Ashby Photographic Archive are a rich assortment of materials created by Ashby and his colleagues, such as Agnes and Dora Bulwer. The archive was the natural and spontaneous product of Ashby's personal and working life and it was not until after his death that it was transferred into the public institutional domain. This article investigates the original intention of Ashby's archive, its transfer from a private to public context, and its subsequent evolution and reception. Building on the work of previous BSR staff and scholars, the article looks at Ashby's archive from a fresh perspective, emphasizing the need to consider the archive's original non-public authorial intent, its polyphonic elements, and the diachronic nature of its formation and reception from Ashby's time to the present. Given that images within photographic archives are now regularly viewed as digital objects, this is a timely discussion of the nature of private photographic archives that have been moved into the public domain. It is now more important than ever that archives like Ashby's are acknowledged as entities with detailed and complex histories, and that these histories are taken into account when viewing the individual photographs within the archive.
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