Photograph Albums Research Articles

The photograph album of Harry Sholto Searle Parker

The photograph album of Harry Sholto Searle Parker

An album of the governors-general of India

Abstract Albums of the sketches of public characters fascinated the Victorians, and one often comes across titles such as The Portrait Gallery of the Female Nobility, The Celebrated Women of All Countries, Portraits of the Principal Characters in the Waverltry Novels, or The Shakespeare Gallery in publishers' catalogues.1 Thus, for instance, Emily Eden, sister of Lord Auckland, Governor-General of India from 1836-42, who spent the years of her brother's tenure with him in India, published her Portraits of the People and Princes of India in 1844. In 1851 Lithographic Sketches of the Public Characters of Calcutta, 1838-50 appeared in Calcutta. The sketches were by Colesworthy Grant and the book was reprinted in 1853. Then came photography, and with it photographic albums: ‘The photographic album was a Victorian household article, a means of whiling away the time with boring visitors.’22

Albums of War: On Reading Civil War Photographs

Drawing on contemporary theories of representation and signification, Alan Trachtenberg considers the crucial role of photography in constructing historical narratives. Trachtenberg focuses on the Civil War as the first American crisis to fully avail itself of “historicism-by-photography,” the creation of a palpable sense of reality in recollections of the past through photographic evidence. In particular, photographic albums that simulated historical archives, designed for the intimate conditions of home viewing, are examined for the extent to which they provide, through the judicious combination of image and text, a structured discourse about the events and meaning of the war. Challenging the commonplace belief in the incontrovertible reality, and thus reliability, of the photograph, Trachtenberg argues that both the meaning and the documentary value of the photograph can be called into question. The Civil War photographic album emerges as a purposeful narrative construction of which the most compelling truth is affirmation of the camera’s presence as a witness to the past and thus of its privileged status as authorized purveyor of historical knowledge.

Neither Officers nor Gentlemen

Pushed, pulled and nudged by coal-burning tugs throwing out clouds of black, bitter smoke, my very first ship, loaded to her marks with Australian wool, frozen lamb and beef, lumbered into Liverpool's Canada Dock. It was a damp, chill early-morning in January, 1956, and my first trip as an apprentice merchant ship's deck officer had almost ended. This rather old memory does not surface very often but that arrival and a great deal more welled into my consciousness with the stunning discovery that lying now on shelves in the National Maritime Museum's annexe in the old Woolwich Arsenal are pieces of my own history. Excited and incredulous, I recently flicked through an album of group photographs of ship's officers deposited by the New Zealand Shipping Company and it did not take long to find myself with my old shipmates from that trip on the Durham that began in Falmouth in the summer of 1955. A full circle had been turned and I was studying myself, my own experience, as history. The New Zealand Shipping Company had been a subsidiary of the P&O group since the First World War but was operated as an independent company until the late 1960s. The NZS was one of those prideful and paternalist companies which at some time early in the 20th century decided to take 'voyage photographs' and had never subsequently thought to question the habit. Every ship, on departure for Australia or New Zealand, mustered its officers in front of a camera. That this material was kept and is now in a national museum will seem apposite to those of us brought up in the elitist traditions of those elegant and superbly

The Stravinsky Nachlass: A Provisional Checklist of Music Manuscripts

Nearly twelve years after the death of Igor Stravinsky, most of the musical manuscripts and documentary materials in his personal collection remained in the composer's Fifth Avenue apartment in New York. Legal and financial disagreements among parties to Stravinsky's estate had prevented final disposition of his Nachlass. Shortly before the future of the collection was finally settled, the materials were deposited in the Music Division of The New York Public Library for a period of just over five months. During that time many scholars from this continent and Europe had their first opportunity to study these documents. In June of 1983, Stravinsky's musical estate was finally purchased by the Paul Sacher Foundation of Basel, Switzerland, but before that time, while the materials were at The New York Public Library, a thorough inventory was made of the collection as it then existed. That inventory and the present author's experience in compiling it form the basis for the following survey. The collection consists of 223 music manuscript items for 98 works by Stravinsky (including five recomposed from works of Pergolesi et al., Chaikovski, and Gesualdo), eight arrangements of works by Bach, Chaikovski, Musorgski, and Sibelius (as well as the Star-Spangled Banner and the Song of the Volga Boatmen), a realization of a canon by Schoenberg, and two manuscript copies by Stravinsky-one of Webern's arrangement of the Ricercar a 6 from Bach's Musical Offering and one of sixteen Georgian folk songs (with text in the Georgian alphabet). In addition to the holograph music manuscripts, the collection contains archives consisting of manuscript letters and librettos, typescripts, photographs, programs, clippings, royalty statements, posters, and drawings housed in 116 document file boxes, together with facsimiles of Stravinsky's holographs, orchestra parts, published scores, awards, honorary degrees, scrapbooks, and photograph albums stored separately from the file box series. After a brief history of the collection, this article will attempt to describe the music manuscripts in some de-

A ‘Photographic’ book on the Indian Mutiny

Abstract Though in the mid 19th century elephant-folios and oblong-quartos of engravings and lithographs, depicting everything from ornithological curiosities to exotic scenery, were still very much in fashion and demand, the newly-discovered art of photography was slowly making inroads into the preserve of the engravers. By the 1860s, many London publishers had issued a number of books carrying actual photographs as illustrations, to cater for a new generation of collectors. It was a time when photographic albums carried the same novelty and charm which the aquatint folios did in the 1780s1.

Helpful Hints for Beginning Teachers of Aborigines

The first problem that beginning teachers will face on ‘day one’ in the classroom is a communication barrier. Teachers fresh from universities and colleges of advanced education will find that the language they are using is too sophisticated for their students. Therefore they must be conscious of the need to simplify their own language while simultaneously improving the vocabulary of their students. The beginning teacher will also find that the majority of students use non-standard English. It should be noted, however, that the use of non-standard English is not a sign of backwardness. Peer pressure not to appear ‘flash’ is a strong factor in Aborigines maintaining their speech patterns.Once the young teacher ‘gets his ear in’ he or she will find communication becomes easier. To speed this process I suggest that for the first few weeks the teacher spends a considerable amount of time listening to his or her students. Drama games such as ‘biographies’ and class debates on various topics are useful. It is also important that during this period the beginning teacher be honest and forthright about his or her own background. I found my Year 8 class extremely interested in my family and their background. A family photograph album is a good resource to stimulate class discussion. The students should be encouraged to bring in their family’s photographs. (Children from particularly impoverished backgrounds can be offered the use of a camera if they don’t have any family photographs.) These photographs can lead to the development of environmental readers for remedial readers.

The Temple Town of Conjeevaram, and Henry Dixon

Abstract An album of photographs by Major Henry Dixon, 22nd MNI1, published in 1868, has recently been found in the Connemara Library, Madras.

Adolph Braun: A 19th century career in photography

Abstract If Adolphe Braun were to return to earth today, little in photographic scene would surprise him. Almost everything he visualized and struggled to achieve has become not only possible but widespread. Photography for commerce and industry which he championed is now so common as not to require mentioning. The photographic albums that were his special concern are now called portfolios and also have become commonplace, while the picturesque views he pioneered are everywhere on printed card and page. And where would thc study of art history be without his pioneering efforts to make art objects available to a wide audience through photograp1iy1 I wish to thank the following persons for assistance in researching Braun material in France in 1973: Audrée and Pierre Braun; Jean-Claude Lemagny, Director, and Bernard Marbot, Curator, Département des Estampes et de la Photographie, Bibliothèque Nationale, Paris; Michel Quétin, Archives Nationale, Paris; Mme Roger, Société Française de Photographie, Paris; Jean Michel Tuchschertr, former Director, Musée de l'Impression sur Étoffes, Mulhouse; Christian Wilsdorf, Director, Services d'Archives du Haut-Rhin, Colmar. For permission to use the photographs at the Colmar archives I am indebted to Stanislas Boyer formerly of Çtablis sements Braun et Cie, Paris. My thanks to Madeline Fidell-Beaufort, American College, Paris, for assistance from afar. Translations from French are by the author unless otherwise noted. , 2?

The critics criticized

Review| October 01 1979 The critics criticized Light Readings by A.D. Coleman Oxford University Press/283 pp./$14.95 (hb)Photography & Fascination by Max Kozloff Addison House/209 pp./$25.00 (hb) James Kaufmann James Kaufmann James Kaufmann has an essay on family photograph albums forthcoming in The American Scholar. He recently finished teaching a course on that subject in the Elderhostel program (for people over 60 years old) at the University of lowa. Search for other works by this author on: This Site PubMed Google Scholar Afterimage (1979) 7 (3): 15. https://doi.org/10.1525/aft.1979.7.3.15 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation James Kaufmann; The critics criticized. Afterimage 1 October 1979; 7 (3): 15. doi: https://doi.org/10.1525/aft.1979.7.3.15 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu nav search search input Search input auto suggest search filter All ContentAfterimage Search This content is only available via PDF. © 1979 by The Regents of the University of California1979 Article PDF first page preview Close Modal You do not currently have access to this content.

Albums as archives

Abstract It is clear enough that the history of photography is intimately linked to the changing cultural and social climates of the 19th and 20th centuries. From this it follows that the revolutionary difference between the new image form and previous techniques of picture making cannot be properly understood in terms of art-aesthetic concepts alone. Nor does a traditional art-historical analysis offer the necessary insights; that is more easily gained through an interdisciplinary approach to the medium. In this connection one might recall that the studies of H. and A. Gernsheim were originally provoked by Alison Gernsheim's needs for the dating of photographic documents relating to the history of fashion. Appropriately, the author of the present book is likewise a fashion and social historian. Her supporting material formed the core of an exhibition in Munich two years ago, under the title ‘Photographic Albums, 1858-1918’. The catalogue of that exhibition was sold out long ago. Its theme was in every wa...

Conversaziones, 1970

Conservaziones were held this year on 7 May and 25 June. At the first conversazione twenty-one exhibits and two films were shown. On the second occasion the Society was honoured by the presence of Her Majesty Queen Elizabeth the Queen Mother who was greeted by the Lord and Lady Mayoress of Westminster and welcomed by the President and Lady Blackett. Officers, members of Council, Professor W. D. M. Paton and their wives were presented to Her Majesty in the Entrance Hall and then the President invited Professor Paton, Chairman of the Soiree Committee, to conduct Her Majesty on an inspection of the exhibits. As a memento of the occasion a bound album of photographs taken on the Royal Society/ Royal Geographical Society expedition to Brazil was presented to Her Majesty.

Pictures from Yosemite's Past: Galen Clark's Photograph Album

Pictures from Yosemite's Past: Galen Clark's Photograph Album

Sir John Marshall and Gandhāra Art

As the Director of the Archaeological Survey of India for more than thirty years, at a time when new finds of Gandhāra art were constantly pouring in, as the excavator of Taxila, as an excavator in Gandhāra itself, Sir John Marshall has had a unique opportunity of building up first-hand knowledge of Gandhāra art. That his views on this great subject should be made known was most desirable, and the Department of Archaeology in Pakistan is to be thanked for having undertaken to publish this volume.The illustration is abundant and, nearly all of it, excellent. It consists of 152 photographs, of sufficient size (in happy contrast with most of the pictures in Foucher’s Art grécobouddhique, and in some of Sir John Marshall’s own publications, Taxila included), carefully selected and arranged in order to exemplify the development of .‘the Early School’, as seen by Sir John. Many a piece is here properly reproduced for the first time. As a compendium of good pictures the volume will be most useful.But the book is far more than just an album of well-chosen photographs, with commentary. As the subtitle says, it is a story. This story is told in twelve chapters. An introduction (Chapter 1) deals with the beginnings of Buddhism in India, and with the problem of how Buddhism fared under the Greek princes of the North-West during the second century B.C.… Among the myriads of Buddhist monuments that are preserved there is not one that can be referred with certainty to Greek authorship in that period (p. 4). Chapter 2 is about the Early Indian school of Art. Then come three chapters on the origins: Chapter 3, The Beginning of Gandhāra art: the Šaka period; Chapter 4, The Renaissance of Hellenistic art under the Parthians and its eflect on Gandhāra art; Chapter 5, Childhood of Gandhāra art. To Adolescence two chapters are devoted (Chapters 6 and 7), to Maturity four: Chapter 8 deals with the Period of Maturity in general; Chapter 9 with the Early Maturity period; the two following ones deal with the Later Maturity period, Chapter 10 with the reliefs, and Chapter 11 is about images and decorative carvings. Chapter 12 gives the conclusions.

Revision of the Atcherley Modus Operandi System

An old officer in the police service once said, is a clew to every crime. Finding the clew proves that you are working, and not playing in your chosen profession. There is a clew to every crime. The most important and easiest to get, though more often overlooked than found. That clew is the method employed by the criminal in securing his ill-gotten loot. Experienced investigators are alive to the fact that professional criminals are specialists and seldom deviate from their individual methods of attack. Accordingly, they narrow the scope of their investigation, and consider only the criminals likely to commit the kind of offense which has been assigned them for investigation, and some investigators are often able to fix responsibility for the crime in a comparatively short time, due to their knowledge of individual methods of criminal operations. It must be remembered, however, that the ability to bring their case to, a successful termination in the manner described is limited to experienced investigators. The young and inexperienced officer, after tireless effort looking for some bit of evidence that will help him to unravel the problem before him, usually concludes his reports with the stereotyped form Unable to find any clew. Identification experts, in their efforts to satisfy the demands of officers for information concerning specialists in various crimes as well as to reduce their search for previous records of prisoners, evolved the plan of keeping separate photograph albums in which are kept special types of criminals, such a bunko-men, pickpockets, safe-crackers, holdup men, check-men and burglars. In some of the identification bureaus these photographs are found divided in albums according to the hair-color, eye-color, height and age. No orderly system of classifying the professional criminal's methods of operation was used in any police department in this country or in England until the Modus Operandi System devised by Major L. W. Atcherley, N. V. 0. West Riding of Yorkshire Constabulary, was adopted by some of the English police organizations. Major Atcherley's system is growing in popularity, and no self-respecting

Book Review Album of Photographs . Issued by the South Indian Branch of the British Medical Association. London: John Bale, Sons & Danielsson. 1911.

Book Review Album of Photographs . Issued by the South Indian Branch of the British Medical Association. London: John Bale, Sons & Danielsson. 1911.

A Visit to Finsen's Institute.

Chicago, Dec. 30, 1901. To the Editor: —Copenhagen is proud of its famous citizen. The kingdom of Denmark has contributed a sum of money sufficient to erect quite an imposing structure to house the Institute. The Institute is located in a fashionable quarter of the city. The site was chosen on account of its seclusion. The residents strongly objected, but without avail, as it was decided that the unfortunate lupus patients needed such an environment of retirement and refinement in order to while away the long weeks of treatment. The attendants are polite and are more than anxious to explain the operation of the remedial agent. They claim to cure 90 per cent, of all cases. To prove this they show you a large album of photographs of patients on entering and leaving the Institute. The transfiguration truly borders upon the marvelous. The once repulsive features are changed into those

Unconscious Bias in Walking

THE following little experiment seems to show that if the majority of people are, as Mr. Darwin argues, left-legged, they would circle to the left in a mist, as Mr. Larden says they do. I would call myself normal, my left leg being the stronger. That is to say, like the majority, I jump from the left, rest my weight standing on the left (a glance at a photograph album shows this to be normal) and generally cross my right over my left whilst sitting. Having put myself in a dark empty room, I could not satisfy myself as to which way I circled, there not being space enough, but when I artificially lamed myself by putting a few tin tacks in my slipper, I circled strongly in the direction of the sound foot. From what had been said in NATURE on the subject at the time, I expected the for-the-time-being longer and stronger limb to circle round the other. The fact seems to be that there is a bias towards the stronger, most-leant-upon limb, irrespective of length. It is worth noting that, if the object causing pain be placed under the inside of, say, the right foot only, the experimenter will lean on the outside of that foot and circle to the right.