View allAll Photos Tagged AutoTyping
Maker: J. A. Spencer (1826-1878)
Born: UK
Active: UK
Medium: albumen print
Size: 1 1/2 in x 3 in
Location:
Object No. 2020.279g
Shelf: J-15
Publication: M Digby Wyatt, Notices of sculpture in ivory,
consisting of a lecture on the history, methods, and chief productions of the art, delivered at the first annual general meeting of the Arundel society, on the 29th June, 1855, and a catalogue of specimens of ancient ivory-carvings in various collections, (casts of which are sold by the society in classes exemplifying the principal schools and periods) by Edmund Oldfield. With nine photographic illustrations, by J. A. Spencer.,Offices of the Arundel Society,, London, 1856, pg 16
Other Collections:
Notes: J. A. Spencer was the UKs largest manufacturer of albumenized paper. When Swan's carbon process was introduced he became one of the partners in the Autotype Company which changed its name in 1873 to Spencer, Sawyer and Bird. He died in 1878
This book was the first official use of photography in a publication by The Arundel Society. The photographs were used to illustrate a published version of a lecture given by Wyatt at the annual general meeting in 1855
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: John Alexander Spencer (1826-1878)
Born: UK
Active: UK
Medium: albumen print
Size: 5 5/8 in x 5 in
Location:
Object No. 2020.279i
Shelf: J-15
Publication: M Digby Wyatt, Notices of sculpture in ivory,
consisting of a lecture on the history, methods, and chief productions of the art, delivered at the first annual general meeting of the Arundel society, on the 29th June, 1855, and a catalogue of specimens of ancient ivory-carvings in various collections, (casts of which are sold by the society in classes exemplifying the principal schools and periods) by Edmund Oldfield. With nine photographic illustrations, by J. A. Spencer.,Offices of the Arundel Society,, London, 1856, pg 42
Stephen Bann, Art and the Early Photographic Album, National Gallery of Art, Washington, D.C.., 2011, pg 17
Other Collections: NGA
Notes: J. A. Spencer was the UKs largest manufacturer of albumenized paper. When Swan's carbon process was introduced he became one of the partners in the Autotype Company which changed its name in 1873 to Spencer, Sawyer and Bird. He died in 1878
This book was the first official use of photography in a publication by The Arundel Society. The photographs were used to illustrate a published version of a lecture given by Wyatt at the annual general meeting in 1855
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: J. A. Spencer (1826-1878)
Born: UK
Active: UK
Medium: albumen print
Size: 2 1/2 in x 6 3/4 in
Location:
Object No. 2020.279h
Shelf: J-15
Publication: M Digby Wyatt, Notices of sculpture in ivory,
consisting of a lecture on the history, methods, and chief productions of the art, delivered at the first annual general meeting of the Arundel society, on the 29th June, 1855, and a catalogue of specimens of ancient ivory-carvings in various collections, (casts of which are sold by the society in classes exemplifying the principal schools and periods) by Edmund Oldfield. With nine photographic illustrations, by J. A. Spencer.,Offices of the Arundel Society,, London, 1856, pg 34
Other Collections:
Notes: J. A. Spencer was the UKs largest manufacturer of albumenized paper. When Swan's carbon process was introduced he became one of the partners in the Autotype Company which changed its name in 1873 to Spencer, Sawyer and Bird. He died in 1878
This book was the first official use of photography in a publication by The Arundel Society. The photographs were used to illustrate a published version of a lecture given by Wyatt at the annual general meeting in 1855
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Carbon print photograph by unknown photographer. A striking close cropped portrait of a man with dark hair, a full moustache and side whiskers. Only his head and shoulders are visible which show him wearing a jacket, shirt and tie. From album belonging to Fanny Pickard, who lived in north-east of England. Dougan 108 Item 43.
Maker: J. A. Spencer (1826-1878)
Born: UK
Active: UK
Medium: albumen print
Size: 4 1/4 in x 4 1/2 in
Location:
Object No. 2020.279j
Shelf: J-15
Publication: M Digby Wyatt, Notices of sculpture in ivory,
consisting of a lecture on the history, methods, and chief productions of the art, delivered at the first annual general meeting of the Arundel society, on the 29th June, 1855, and a catalogue of specimens of ancient ivory-carvings in various collections, (casts of which are sold by the society in classes exemplifying the principal schools and periods) by Edmund Oldfield. With nine photographic illustrations, by J. A. Spencer.,Offices of the Arundel Society,, London, 1856, pg 46
Other Collections:
Notes: J. A. Spencer was the UKs largest manufacturer of albumenized paper. When Swan's carbon process was introduced he became one of the partners in the Autotype Company which changed its name in 1873 to Spencer, Sawyer and Bird. He died in 1878
This book was the first official use of photography in a publication by The Arundel Society. The photographs were used to illustrate a published version of a lecture given by Wyatt at the annual general meeting in 1855
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: Nicholas and Curths
Born: UK
Active: India
Medium: autotype
Size: 4 in x 5 3/8 in
Location:
Object No. 2017.058i
Shelf: PHO-1873
Publication: Marshall, William E., and G U. Pope. A Phrenologist Amongst the Todas, Or, the Study of a Primitive Tribe in South India: History, Character, Customs, Religion, Infanticide, Polyandry, Language. London: Longmans, Green and Co., 1873. pg 147
Other Collections:
Provenance:
Notes: From a “phrenological enquiry into the nature the barbarous races”. Of the 26 illustrations, 14 are from life and most if not all were taken by the well-known firm of Bourne & Shepherd as well as by Simla and Nicholas and Curths of Madras. They are interesting as they combine the exotic appeal of the primitive Indians with the careful vision of the recording scientist and anthropologist. “A particularly effective illustration of how photography could serve the needs of phrenology and physiognomy as applied to racial types” (Beauty of Another Order, p. 129) and a beautiful and classic example of the Autotype Company's use of the recently invented collotype ("Permanent illustrations by the Autotype Process” - Rye patent) and the application of improved photo-mechanical technique in scientific applications. (Hanson 1873:6)
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker:
Born: France
Active: France
Medium: engraving
Size: 2.25 " x 4 "
Location: France
Object No. 2011.203
Shelf: B-1
Publication:
Other Collections:
Notes: Alphonse Louis Poitevin (Conflans-sur-Anille, 1819 – Conflans-sur-Anille, 1882) was a French chemist, photographer and civil engineer who discovered the light–sensitive properties of bichromated gelatin and invented both the photolithography and collotype processes. He has been described as "one of the great unheralded figures in photography". In the 1850s he discovered that gelatin in combination with either potassium or ammonium bichromate hardens in proportion to the amount of light that falls on it. This discovery, significant for its capacity to facilitate the mass production of photographs, was later used by numerous figures such as Josef Albert, Joseph Wilson Swan, Paul Pretsch and Charles Nègre to develop subsequent photographic printing processes such as heliogravure, photogravure, collotype, autotype and carbon print. (Source: Wikiwand)
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: J. A. Spencer (1826-1878)
Born: UK
Active: UK
Medium: albumen print
Size: 2 in x 3 3/4 in
Location:
Object No. 2020.279f
Shelf: J-15
Publication: M Digby Wyatt, Notices of sculpture in ivory,
consisting of a lecture on the history, methods, and chief productions of the art, delivered at the first annual general meeting of the Arundel society, on the 29th June, 1855, and a catalogue of specimens of ancient ivory-carvings in various collections, (casts of which are sold by the society in classes exemplifying the principal schools and periods) by Edmund Oldfield. With nine photographic illustrations, by J. A. Spencer.,Offices of the Arundel Society,, London, 1856, pg 14
Other Collections:
Notes: J. A. Spencer was the UKs largest manufacturer of albumenized paper. When Swan's carbon process was introduced he became one of the partners in the Autotype Company which changed its name in 1873 to Spencer, Sawyer and Bird. He died in 1878
This book was the first official use of photography in a publication by The Arundel Society. The photographs were used to illustrate a published version of a lecture given by Wyatt at the annual general meeting in 1855
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: Nicholas and Curths
Born: UK
Active: India
Medium: autotype
Size: 4 in x 5 1/2 in
Location:
Object No. 2017.058g
Shelf: PHO-1873
Publication: Marshall, William E., and G U. Pope. A Phrenologist Amongst the Todas, Or, the Study of a Primitive Tribe in South India: History, Character, Customs, Religion, Infanticide, Polyandry, Language. London: Longmans, Green and Co., 1873. pg 139
Other Collections:
Provenance:
Notes: From a “phrenological enquiry into the nature the barbarous races”. Of the 26 illustrations, 14 are from life and most if not all were taken by the well-known firm of Bourne & Shepherd as well as by Simla and Nicholas and Curths of Madras. They are interesting as they combine the exotic appeal of the primitive Indians with the careful vision of the recording scientist and anthropologist. “A particularly effective illustration of how photography could serve the needs of phrenology and physiognomy as applied to racial types” (Beauty of Another Order, p. 129) and a beautiful and classic example of the Autotype Company's use of the recently invented collotype ("Permanent illustrations by the Autotype Process” - Rye patent) and the application of improved photo-mechanical technique in scientific applications. (Hanson 1873:6)
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
This Journal (Malumat) from 5 August 1895 (issue 8 page 165) reports on Imperial Yacht (Sultani). (photo taken by Abdullah Brothers) shows the upstairs hall on the Sultani Yacht which is designed to its autotype Angerer Arts House in Vienna. In this article, the yacht is poetically portrayed. Image credit: National Library of Turkey.
Maker: Nicholas and Curths
Born: UK
Active: India
Medium: autotype
Size: 2 7/8" x 7 1/8"
Location: India
Object No. 2017.058c
Shelf: PHO-1873
Publication: Marshall, William E., and G U. Pope. A Phrenologist Amongst the Todas, Or, the Study of a Primitive Tribe in South India: History, Character, Customs, Religion, Infanticide, Polyandry, Language. London: Longmans, Green and Co., 1873.
Mattie Boom and Hans Rooseboom, New Realities, Rijsmuseum, Amsterdam, 2017, fig 199
Other Collections:
Provenance:
Notes: From a “phrenological enquiry into the nature the barbarous races”. Of the 26 illustrations, 14 are from life and most if not all were taken by the well-known firm of Bourne & Shepherd as well as by Simla and Nicholas and Curths of Madras. They are interesting as they combine the exotic appeal of the primitive Indians with the careful vision of the recording scientist and anthropologist. “A particularly effective illustration of how photography could serve the needs of phrenology and physiognomy as applied to racial types” (Beauty of Another Order, p. 129) and a beautiful and classic example of the Autotype Company's use of the recently invented collotype ("Permanent illustrations by the Autotype Process” - Rye patent) and the application of improved photo-mechanical technique in scientific applications. (Hanson 1873:6)
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
The Northgate was demolished to allow free flow of traffic in the 19th century. Autotype print used as a calendar. copy owned by AR
Maker: Alphonse Poitevin (1819-1882)
Born: France
Active: France
Medium: document
Size: 7 in x 10.5 in
Location: UK
Object No. 2010.241f
Shelf: B-1
Publication:
Other Collections:
Notes: Alphonse Louis Poitevin (Conflans-sur-Anille, 1819 – Conflans-sur-Anille, 1882) was a French chemist, photographer and civil engineer who discovered the light–sensitive properties of bichromated gelatin and invented both the photolithography and collotype processes. He has been described as "one of the great unheralded figures in photography". In the 1850s he discovered that gelatin in combination with either potassium or ammonium bichromate hardens in proportion to the amount of light that falls on it. This discovery, significant for its capacity to facilitate the mass production of photographs, was later used by numerous figures such as Josef Albert, Joseph Wilson Swan, Paul Pretsch and Charles Nègre to develop subsequent photographic printing processes such as heliogravure, photogravure, collotype, autotype and carbon print.
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: Heinrich Kuehn (German / Active in Austria, 1866 - 1944)
Title: Hans Kuehn [The Photographer's Son, Hans]
Date: 1909
Medium: Color Autotype (Gravure of an autochrome?)
Maker: Stephen Thompson
Born: UK
Active: UK
Medium: woodburytype
Size: 6 1/8 in. x 8 1/8 in
Location:
Object No. 2025.153p
Shelf: M-26
Publication: Stephen Thompson, Masterpieces of Antique Art, Griffiths & Farran, London, 1878
Other Collections:
Provenance: Lavallin's Rare Books
Rank:
Notes: After Roger Fenton’s acrimonious separation from the British Museum, that institution relied on a number of photographers. Thompson was the most important of these, carrying out a number of projects for the museum in the 1860s and 1870s. In the end, however, the museum refused to make a permanent appointment for a photographer. That was not the first of Thompson’s problems. In the early 1850s he was the partner of William Wagstaff in the London studio of Wagstaff & Thompson. Wagstaff brought suit against him in 1856, trying to reclaim the 200 pounds he had paid for instruction. He had locked Thompson out of the studio and had hidden the cameras to hold for ransom, but Thompson broke in and retrieved them. The judge wisely ruled that, whereas the partnership should be dissolved, Wagstaff could not collect his tuition. Thompson’s lot improved after this incident. He received an award in the 1862 International Exhibition for his landscapes, architectural subjects, and reproductions of art. He later did contract work for the Autotype Company. (source: Luminous Lint)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: Stephen Thompson
Born: UK
Active: UK
Medium: woodburytype
Size: 6 3/16 in x 8 1/16 in
Location:
Object No. 2025.153j
Shelf: M-26
Publication: Stephen Thompson, Masterpieces of Antique Art, Griffiths & Farran, London, 1878
Other Collections:
Provenance: Lavallin's Rare Books
Rank:
Notes: After Roger Fenton’s acrimonious separation from the British Museum, that institution relied on a number of photographers. Thompson was the most important of these, carrying out a number of projects for the museum in the 1860s and 1870s. In the end, however, the museum refused to make a permanent appointment for a photographer. That was not the first of Thompson’s problems. In the early 1850s he was the partner of William Wagstaff in the London studio of Wagstaff & Thompson. Wagstaff brought suit against him in 1856, trying to reclaim the 200 pounds he had paid for instruction. He had locked Thompson out of the studio and had hidden the cameras to hold for ransom, but Thompson broke in and retrieved them. The judge wisely ruled that, whereas the partnership should be dissolved, Wagstaff could not collect his tuition. Thompson’s lot improved after this incident. He received an award in the 1862 International Exhibition for his landscapes, architectural subjects, and reproductions of art. He later did contract work for the Autotype Company. (source: Luminous Lint)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: Stephen Thompson
Born: UK
Active: UK
Medium: woodburytype
Size: 7 15/16 in x 5 1/2 in
Location:
Object No. 2025.153g
Shelf: M-26
Publication: Stephen Thompson, Masterpieces of Antique Art, Griffiths & Farran, London, 1878
Other Collections:
Provenance: Lavallin's Rare Books
Rank:
Notes: After Roger Fenton’s acrimonious separation from the British Museum, that institution relied on a number of photographers. Thompson was the most important of these, carrying out a number of projects for the museum in the 1860s and 1870s. In the end, however, the museum refused to make a permanent appointment for a photographer. That was not the first of Thompson’s problems. In the early 1850s he was the partner of William Wagstaff in the London studio of Wagstaff & Thompson. Wagstaff brought suit against him in 1856, trying to reclaim the 200 pounds he had paid for instruction. He had locked Thompson out of the studio and had hidden the cameras to hold for ransom, but Thompson broke in and retrieved them. The judge wisely ruled that, whereas the partnership should be dissolved, Wagstaff could not collect his tuition. Thompson’s lot improved after this incident. He received an award in the 1862 International Exhibition for his landscapes, architectural subjects, and reproductions of art. He later did contract work for the Autotype Company. (source: Luminous Lint)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: Stephen Thompson
Born: UK
Active: UK
Medium: woodburytype
Size: 6 1/8 in x 8 1/8 in
Location:
Object No. 2025.153s
Shelf: M-26
Publication: Stephen Thompson, Masterpieces of Antique Art, Griffiths & Farran, London, 1878
Other Collections:
Provenance: Lavallin's Rare Books
Rank:
Notes: After Roger Fenton’s acrimonious separation from the British Museum, that institution relied on a number of photographers. Thompson was the most important of these, carrying out a number of projects for the museum in the 1860s and 1870s. In the end, however, the museum refused to make a permanent appointment for a photographer. That was not the first of Thompson’s problems. In the early 1850s he was the partner of William Wagstaff in the London studio of Wagstaff & Thompson. Wagstaff brought suit against him in 1856, trying to reclaim the 200 pounds he had paid for instruction. He had locked Thompson out of the studio and had hidden the cameras to hold for ransom, but Thompson broke in and retrieved them. The judge wisely ruled that, whereas the partnership should be dissolved, Wagstaff could not collect his tuition. Thompson’s lot improved after this incident. He received an award in the 1862 International Exhibition for his landscapes, architectural subjects, and reproductions of art. He later did contract work for the Autotype Company. (source: Luminous Lint)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: Stephen Thompson
Born: UK
Active: UK
Medium: woodburytype
Size: 6 3/16 x 8 1/8 in
Location:
Object No. 2025.153i
Shelf: M-26
Publication: Stephen Thompson, Masterpieces of Antique Art, Griffiths & Farran, London, 1878
Other Collections:
Provenance: Lavallin's Rare Books
Rank:
Notes: After Roger Fenton’s acrimonious separation from the British Museum, that institution relied on a number of photographers. Thompson was the most important of these, carrying out a number of projects for the museum in the 1860s and 1870s. In the end, however, the museum refused to make a permanent appointment for a photographer. That was not the first of Thompson’s problems. In the early 1850s he was the partner of William Wagstaff in the London studio of Wagstaff & Thompson. Wagstaff brought suit against him in 1856, trying to reclaim the 200 pounds he had paid for instruction. He had locked Thompson out of the studio and had hidden the cameras to hold for ransom, but Thompson broke in and retrieved them. The judge wisely ruled that, whereas the partnership should be dissolved, Wagstaff could not collect his tuition. Thompson’s lot improved after this incident. He received an award in the 1862 International Exhibition for his landscapes, architectural subjects, and reproductions of art. He later did contract work for the Autotype Company. (source: Luminous Lint)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: Stephen Thompson
Born: UK
Active: UK
Medium: woodburytype
Size: 6 3/16 x 8 1/8 in
Location:
Object No. 2025.153b
Shelf: M-26
Publication: Stephen Thompson, Masterpieces of Antique Art, Griffiths & Farran, London, 1878
Other Collections:
Provenance: Lavallin's Rare Books
Rank:
Notes: After Roger Fenton’s acrimonious separation from the British Museum, that institution relied on a number of photographers. Thompson was the most important of these, carrying out a number of projects for the museum in the 1860s and 1870s. In the end, however, the museum refused to make a permanent appointment for a photographer. That was not the first of Thompson’s problems. In the early 1850s he was the partner of William Wagstaff in the London studio of Wagstaff & Thompson. Wagstaff brought suit against him in 1856, trying to reclaim the 200 pounds he had paid for instruction. He had locked Thompson out of the studio and had hidden the cameras to hold for ransom, but Thompson broke in and retrieved them. The judge wisely ruled that, whereas the partnership should be dissolved, Wagstaff could not collect his tuition. Thompson’s lot improved after this incident. He received an award in the 1862 International Exhibition for his landscapes, architectural subjects, and reproductions of art. He later did contract work for the Autotype Company. (source: Luminous Lint)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: Stephen Thompson
Born: UK
Active: UK
Medium: woodburytype
Size: 8 1/8 in x 6 3/16 in
Location:
Object No. 2025.153d
Shelf: M-26
Publication: Stephen Thompson, Masterpieces of Antique Art, Griffiths & Farran, London, 1878
Other Collections:
Provenance: Lavallin's Rare Books
Rank:
Notes: After Roger Fenton’s acrimonious separation from the British Museum, that institution relied on a number of photographers. Thompson was the most important of these, carrying out a number of projects for the museum in the 1860s and 1870s. In the end, however, the museum refused to make a permanent appointment for a photographer. That was not the first of Thompson’s problems. In the early 1850s he was the partner of William Wagstaff in the London studio of Wagstaff & Thompson. Wagstaff brought suit against him in 1856, trying to reclaim the 200 pounds he had paid for instruction. He had locked Thompson out of the studio and had hidden the cameras to hold for ransom, but Thompson broke in and retrieved them. The judge wisely ruled that, whereas the partnership should be dissolved, Wagstaff could not collect his tuition. Thompson’s lot improved after this incident. He received an award in the 1862 International Exhibition for his landscapes, architectural subjects, and reproductions of art. He later did contract work for the Autotype Company. (source: Luminous Lint)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: Stephen Thompson
Born: UK
Active: UK
Medium: woodburytype
Size: 7 15/16 in x 5 1/2 in
Location:
Object No. 2025.153f
Shelf:
Publication: Stephen Thompson, Masterpieces of Antique Art, Griffiths & Farran, London, 1878
Other Collections:
Provenance: Lavallin's Rare Books
Rank: M-26
Notes: After Roger Fenton’s acrimonious separation from the British Museum, that institution relied on a number of photographers. Thompson was the most important of these, carrying out a number of projects for the museum in the 1860s and 1870s. In the end, however, the museum refused to make a permanent appointment for a photographer. That was not the first of Thompson’s problems. In the early 1850s he was the partner of William Wagstaff in the London studio of Wagstaff & Thompson. Wagstaff brought suit against him in 1856, trying to reclaim the 200 pounds he had paid for instruction. He had locked Thompson out of the studio and had hidden the cameras to hold for ransom, but Thompson broke in and retrieved them. The judge wisely ruled that, whereas the partnership should be dissolved, Wagstaff could not collect his tuition. Thompson’s lot improved after this incident. He received an award in the 1862 International Exhibition for his landscapes, architectural subjects, and reproductions of art. He later did contract work for the Autotype Company. (source: Luminous Lint)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: Stephen Thompson
Born: UK
Active: UK
Medium: woodburytype
Size: 5 7/8 in x 7 n7/8 in
Location:
Object No. 2025.153r
Shelf: M-26
Publication: Stephen Thompson, Masterpieces of Antique Art, Griffiths & Farran, London, 1878
Other Collections:
Provenance: Lavallin's Rare Books
Rank:
Notes: After Roger Fenton’s acrimonious separation from the British Museum, that institution relied on a number of photographers. Thompson was the most important of these, carrying out a number of projects for the museum in the 1860s and 1870s. In the end, however, the museum refused to make a permanent appointment for a photographer. That was not the first of Thompson’s problems. In the early 1850s he was the partner of William Wagstaff in the London studio of Wagstaff & Thompson. Wagstaff brought suit against him in 1856, trying to reclaim the 200 pounds he had paid for instruction. He had locked Thompson out of the studio and had hidden the cameras to hold for ransom, but Thompson broke in and retrieved them. The judge wisely ruled that, whereas the partnership should be dissolved, Wagstaff could not collect his tuition. Thompson’s lot improved after this incident. He received an award in the 1862 International Exhibition for his landscapes, architectural subjects, and reproductions of art. He later did contract work for the Autotype Company. (source: Luminous Lint)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: Stephen Thompson
Born: UK
Active: UK
Medium: woodburytype
Size: 6 3/16 in x 8 in
Location:
Object No. 2025.153v
Shelf: M-26
Publication: Stephen Thompson, Masterpieces of Antique Art, Griffiths & Farran, London, 1878
Other Collections:
Provenance: Lavallin's Rare Books
Rank:
Notes: After Roger Fenton’s acrimonious separation from the British Museum, that institution relied on a number of photographers. Thompson was the most important of these, carrying out a number of projects for the museum in the 1860s and 1870s. In the end, however, the museum refused to make a permanent appointment for a photographer. That was not the first of Thompson’s problems. In the early 1850s he was the partner of William Wagstaff in the London studio of Wagstaff & Thompson. Wagstaff brought suit against him in 1856, trying to reclaim the 200 pounds he had paid for instruction. He had locked Thompson out of the studio and had hidden the cameras to hold for ransom, but Thompson broke in and retrieved them. The judge wisely ruled that, whereas the partnership should be dissolved, Wagstaff could not collect his tuition. Thompson’s lot improved after this incident. He received an award in the 1862 International Exhibition for his landscapes, architectural subjects, and reproductions of art. He later did contract work for the Autotype Company. (source: Luminous Lint)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: Stephen Thompson
Born: UK
Active: UK
Medium: woodburytype
Size: 6 1/8 in x 8 1/4 in
Location:
Object No. 2025.153l
Shelf: M-26
Publication: Stephen Thompson, Masterpieces of Antique Art, Griffiths & Farran, London, 1878
Other Collections:
Provenance: Lavallin's Rare Books
Rank:
Notes: After Roger Fenton’s acrimonious separation from the British Museum, that institution relied on a number of photographers. Thompson was the most important of these, carrying out a number of projects for the museum in the 1860s and 1870s. In the end, however, the museum refused to make a permanent appointment for a photographer. That was not the first of Thompson’s problems. In the early 1850s he was the partner of William Wagstaff in the London studio of Wagstaff & Thompson. Wagstaff brought suit against him in 1856, trying to reclaim the 200 pounds he had paid for instruction. He had locked Thompson out of the studio and had hidden the cameras to hold for ransom, but Thompson broke in and retrieved them. The judge wisely ruled that, whereas the partnership should be dissolved, Wagstaff could not collect his tuition. Thompson’s lot improved after this incident. He received an award in the 1862 International Exhibition for his landscapes, architectural subjects, and reproductions of art. He later did contract work for the Autotype Company. (source: Luminous Lint)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: Stephen Thompson
Born: UK
Active: UK
Medium: woodburytype
Size: 6 in x 7 15/16 in
Location:
Object No. 2025.153q
Shelf: M-26
Publication: Stephen Thompson, Masterpieces of Antique Art, Griffiths & Farran, London, 1878
Other Collections:
Provenance: Lavallin's Rare Books
Rank:
Notes: After Roger Fenton’s acrimonious separation from the British Museum, that institution relied on a number of photographers. Thompson was the most important of these, carrying out a number of projects for the museum in the 1860s and 1870s. In the end, however, the museum refused to make a permanent appointment for a photographer. That was not the first of Thompson’s problems. In the early 1850s he was the partner of William Wagstaff in the London studio of Wagstaff & Thompson. Wagstaff brought suit against him in 1856, trying to reclaim the 200 pounds he had paid for instruction. He had locked Thompson out of the studio and had hidden the cameras to hold for ransom, but Thompson broke in and retrieved them. The judge wisely ruled that, whereas the partnership should be dissolved, Wagstaff could not collect his tuition. Thompson’s lot improved after this incident. He received an award in the 1862 International Exhibition for his landscapes, architectural subjects, and reproductions of art. He later did contract work for the Autotype Company. (source: Luminous Lint)
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Maker: Stephen Thompson
Born: UK
Active: UK
Medium: woodburytype
Size: 5 7/8 in x 7 7/8 in
Location:
Object No. 2025.153n
Shelf: M-26
Publication: Stephen Thompson, Masterpieces of Antique Art, Griffiths & Farran, London, 1878
Other Collections:
Provenance: Lavallin's Rare Books
Rank:
Notes: After Roger Fenton’s acrimonious separation from the British Museum, that institution relied on a number of photographers. Thompson was the most important of these, carrying out a number of projects for the museum in the 1860s and 1870s. In the end, however, the museum refused to make a permanent appointment for a photographer. That was not the first of Thompson’s problems. In the early 1850s he was the partner of William Wagstaff in the London studio of Wagstaff & Thompson. Wagstaff brought suit against him in 1856, trying to reclaim the 200 pounds he had paid for instruction. He had locked Thompson out of the studio and had hidden the cameras to hold for ransom, but Thompson broke in and retrieved them. The judge wisely ruled that, whereas the partnership should be dissolved, Wagstaff could not collect his tuition. Thompson’s lot improved after this incident. He received an award in the 1862 International Exhibition for his landscapes, architectural subjects, and reproductions of art. He later did contract work for the Autotype Company. (source: Luminous Lint)
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For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: Stephen Thompson
Born: UK
Active: UK
Medium: woodburytype
Size: 6 3/16 in x 8 3/16 in
Location:
Object No. 2025.153o
Shelf: M-26
Publication: Stephen Thompson, Masterpieces of Antique Art, Griffiths & Farran, London, 1878
Other Collections:
Provenance: Lavallin's Rare Books
Rank:
Notes: After Roger Fenton’s acrimonious separation from the British Museum, that institution relied on a number of photographers. Thompson was the most important of these, carrying out a number of projects for the museum in the 1860s and 1870s. In the end, however, the museum refused to make a permanent appointment for a photographer. That was not the first of Thompson’s problems. In the early 1850s he was the partner of William Wagstaff in the London studio of Wagstaff & Thompson. Wagstaff brought suit against him in 1856, trying to reclaim the 200 pounds he had paid for instruction. He had locked Thompson out of the studio and had hidden the cameras to hold for ransom, but Thompson broke in and retrieved them. The judge wisely ruled that, whereas the partnership should be dissolved, Wagstaff could not collect his tuition. Thompson’s lot improved after this incident. He received an award in the 1862 International Exhibition for his landscapes, architectural subjects, and reproductions of art. He later did contract work for the Autotype Company. (source: Luminous Lint)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: Stephen Thompson
Born: UK
Active: UK
Medium: woodburytype
Size: 6 1/8 in x 8 1/8 in
Location:
Object No. 2025.153h
Shelf: M-26
Publication: Stephen Thompson, Masterpieces of Antique Art, Griffiths & Farran, London, 1878
Other Collections:
Provenance: Lavallin's Rare Books
Rank:
Notes: After Roger Fenton’s acrimonious separation from the British Museum, that institution relied on a number of photographers. Thompson was the most important of these, carrying out a number of projects for the museum in the 1860s and 1870s. In the end, however, the museum refused to make a permanent appointment for a photographer. That was not the first of Thompson’s problems. In the early 1850s he was the partner of William Wagstaff in the London studio of Wagstaff & Thompson. Wagstaff brought suit against him in 1856, trying to reclaim the 200 pounds he had paid for instruction. He had locked Thompson out of the studio and had hidden the cameras to hold for ransom, but Thompson broke in and retrieved them. The judge wisely ruled that, whereas the partnership should be dissolved, Wagstaff could not collect his tuition. Thompson’s lot improved after this incident. He received an award in the 1862 International Exhibition for his landscapes, architectural subjects, and reproductions of art. He later did contract work for the Autotype Company. (source: Luminous Lint)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: Stephen Thompson
Born: UK
Active: UK
Medium: woodburytype
Size: 6 1/8 in x 8 1/8 in
Location:
Object No. 2025.153k
Shelf: M-26
Publication: Stephen Thompson, Masterpieces of Antique Art, Griffiths & Farran, London, 1878
Other Collections:
Provenance: Lavallin's Rare Books
Rank:
Notes: After Roger Fenton’s acrimonious separation from the British Museum, that institution relied on a number of photographers. Thompson was the most important of these, carrying out a number of projects for the museum in the 1860s and 1870s. In the end, however, the museum refused to make a permanent appointment for a photographer. That was not the first of Thompson’s problems. In the early 1850s he was the partner of William Wagstaff in the London studio of Wagstaff & Thompson. Wagstaff brought suit against him in 1856, trying to reclaim the 200 pounds he had paid for instruction. He had locked Thompson out of the studio and had hidden the cameras to hold for ransom, but Thompson broke in and retrieved them. The judge wisely ruled that, whereas the partnership should be dissolved, Wagstaff could not collect his tuition. Thompson’s lot improved after this incident. He received an award in the 1862 International Exhibition for his landscapes, architectural subjects, and reproductions of art. He later did contract work for the Autotype Company. (source: Luminous Lint)
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Probably Amy Moore (1873-1950)
Daughter of Joseph Moore and Sophia Dawber.
Source: The album of Sarah Susan Copeman (1854-1925).
Studio: F. Beales, 31 High Street, Corner of West Street, Boston.
Frederick Beales was born in 1848 in Hepworth, Suffolk. He announced his arrival as a Photographer in Boston in June 1869 (Boston Guardian) and set up a studio in Trinity Street. In 1875 he moved to 31 High Street and continued at this address until at least 1894. He was retired by the time of the 1901 Census and died in Boston in 1923.
In 1877 he purchased the Patent Processes of the Autotype Company and exclusive right to them in Boston. (Boston Guardian 10 March 1877). This process was known as Chromotype, so the reference to it on this card helps to date the picture.
The child looks about 7 years old so date circa 1880, which fits with the Chromotype.
Maker: Stephen Thompson
Born: UK
Active: UK
Medium: woodburytype
Size: 6 3/16 in x 8 1/8 in
Location:
Object No. 2025.153y
Shelf: M-26
Publication: Stephen Thompson, Masterpieces of Antique Art, Griffiths & Farran, London, 1878
Other Collections:
Provenance: Lavallin's Rare Books
Rank:
Notes: After Roger Fenton’s acrimonious separation from the British Museum, that institution relied on a number of photographers. Thompson was the most important of these, carrying out a number of projects for the museum in the 1860s and 1870s. In the end, however, the museum refused to make a permanent appointment for a photographer. That was not the first of Thompson’s problems. In the early 1850s he was the partner of William Wagstaff in the London studio of Wagstaff & Thompson. Wagstaff brought suit against him in 1856, trying to reclaim the 200 pounds he had paid for instruction. He had locked Thompson out of the studio and had hidden the cameras to hold for ransom, but Thompson broke in and retrieved them. The judge wisely ruled that, whereas the partnership should be dissolved, Wagstaff could not collect his tuition. Thompson’s lot improved after this incident. He received an award in the 1862 International Exhibition for his landscapes, architectural subjects, and reproductions of art. He later did contract work for the Autotype Company. (source: Luminous Lint)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: Stephen Thompson
Born: UK
Active: UK
Medium: woodburytype
Size: 6 in x 7 7/8 in
Location:
Object No. 2025.153m
Shelf: M-26
Publication: Stephen Thompson, Masterpieces of Antique Art, Griffiths & Farran, London, 1878
Other Collections:
Provenance: Lavallin's Rare Books
Rank:
Notes: After Roger Fenton’s acrimonious separation from the British Museum, that institution relied on a number of photographers. Thompson was the most important of these, carrying out a number of projects for the museum in the 1860s and 1870s. In the end, however, the museum refused to make a permanent appointment for a photographer. That was not the first of Thompson’s problems. In the early 1850s he was the partner of William Wagstaff in the London studio of Wagstaff & Thompson. Wagstaff brought suit against him in 1856, trying to reclaim the 200 pounds he had paid for instruction. He had locked Thompson out of the studio and had hidden the cameras to hold for ransom, but Thompson broke in and retrieved them. The judge wisely ruled that, whereas the partnership should be dissolved, Wagstaff could not collect his tuition. Thompson’s lot improved after this incident. He received an award in the 1862 International Exhibition for his landscapes, architectural subjects, and reproductions of art. He later did contract work for the Autotype Company. (source: Luminous Lint)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: J.R. Sawyer
Born: UK
Active: UK
Medium: book
Size: 5 1/2 in x 7 in
Location:
Object No. 2025.240
Shelf: J-24
Publication: London. The Autotype Company., 1887
Other Collections:
Provenance: Sappho Books
Rank: 59
Notes: Contains 2 sepia coloured plates (one fold-out). Also has a Price LIst of Tissues and Materials for the production of permanent photographs (19pp.)
The Autotype Fine Art Company began life in 1868 as the Autotype Printing and Publishing Company, with a factory in Brixton and ofi ces at 5 Haymarket in Lon- don. From its inception to the present day the company has been involved in a variety of methods of producing images and imaging materials. For almost a hundred years, however, it was best known for its exploitation of Joseph Wilson Swans Carbon Process, a method of producing prints in permanent pigments. During the next few years, the company underwent a period of rapid expansion and diversification. In 1871 a photo-collographic printing department was added to the Ealing factory under the management of J.R.M. Sawyer and W.S. Bird. It also acquired the expertise of J.A. Spencer by amalgamating with his independent carbon printing business. Other rival concerns were acquired in similar fashion, A further reorganisation took place in 1873 when Spencer, Sawyer and Bird, purchased all patents, property and stock to form a new firm, Spencer, Sawyer, Bird and Co. The Autotype Fine Art Company continued as a separate concern dealing with the fine art business until the end of 1875 when it was purchased by Spencer, Sawyer, Bird and Co. The new joint concern now became simply The Autotype Company.
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: Stephen Thompson
Born: UK
Active: UK
Medium: woodburytype
Size: 6 3/16 in x 8 1/8 in
Location:
Object No. 2025.153x
Shelf: M-26
Publication: Stephen Thompson, Masterpieces of Antique Art, Griffiths & Farran, London, 1878
Other Collections:
Provenance: Lavallin's Rare Books
Rank:
Notes: After Roger Fenton’s acrimonious separation from the British Museum, that institution relied on a number of photographers. Thompson was the most important of these, carrying out a number of projects for the museum in the 1860s and 1870s. In the end, however, the museum refused to make a permanent appointment for a photographer. That was not the first of Thompson’s problems. In the early 1850s he was the partner of William Wagstaff in the London studio of Wagstaff & Thompson. Wagstaff brought suit against him in 1856, trying to reclaim the 200 pounds he had paid for instruction. He had locked Thompson out of the studio and had hidden the cameras to hold for ransom, but Thompson broke in and retrieved them. The judge wisely ruled that, whereas the partnership should be dissolved, Wagstaff could not collect his tuition. Thompson’s lot improved after this incident. He received an award in the 1862 International Exhibition for his landscapes, architectural subjects, and reproductions of art. He later did contract work for the Autotype Company. (source: Luminous Lint)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: Stephen Thompson
Born: UK
Active: UK
Medium: woodburytype
Size: 5 15/16 in x 8 15/16
Location:
Object No. 2025.153t
Shelf: M-26
Publication: Stephen Thompson, Masterpieces of Antique Art, Griffiths & Farran, London, 1878
Other Collections:
Provenance: Lavallin's Rare Books
Rank:
Notes: After Roger Fenton’s acrimonious separation from the British Museum, that institution relied on a number of photographers. Thompson was the most important of these, carrying out a number of projects for the museum in the 1860s and 1870s. In the end, however, the museum refused to make a permanent appointment for a photographer. That was not the first of Thompson’s problems. In the early 1850s he was the partner of William Wagstaff in the London studio of Wagstaff & Thompson. Wagstaff brought suit against him in 1856, trying to reclaim the 200 pounds he had paid for instruction. He had locked Thompson out of the studio and had hidden the cameras to hold for ransom, but Thompson broke in and retrieved them. The judge wisely ruled that, whereas the partnership should be dissolved, Wagstaff could not collect his tuition. Thompson’s lot improved after this incident. He received an award in the 1862 International Exhibition for his landscapes, architectural subjects, and reproductions of art. He later did contract work for the Autotype Company. (source: Luminous Lint)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: Stephen Thompson
Born: UK
Active: UK
Medium: woodburytype
Size: 8 1/8 in x 6 3/16 in
Location:
Object No. 2025.153w
Shelf: M-26
Publication: Stephen Thompson, Masterpieces of Antique Art, Griffiths & Farran, London, 1878
Other Collections:
Provenance: Lavallin's Rare Books
Rank:
Notes: After Roger Fenton’s acrimonious separation from the British Museum, that institution relied on a number of photographers. Thompson was the most important of these, carrying out a number of projects for the museum in the 1860s and 1870s. In the end, however, the museum refused to make a permanent appointment for a photographer. That was not the first of Thompson’s problems. In the early 1850s he was the partner of William Wagstaff in the London studio of Wagstaff & Thompson. Wagstaff brought suit against him in 1856, trying to reclaim the 200 pounds he had paid for instruction. He had locked Thompson out of the studio and had hidden the cameras to hold for ransom, but Thompson broke in and retrieved them. The judge wisely ruled that, whereas the partnership should be dissolved, Wagstaff could not collect his tuition. Thompson’s lot improved after this incident. He received an award in the 1862 International Exhibition for his landscapes, architectural subjects, and reproductions of art. He later did contract work for the Autotype Company. (source: Luminous Lint)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: Stephen Thompson
Born: UK
Active: UK
Medium: woodburytype
Size: 6 3/16 in x 8 1/4 in
Location:
Object No. 2025.153u
Shelf: M-26
Publication: Stephen Thompson, Masterpieces of Antique Art, Griffiths & Farran, London, 1878
Other Collections:
Provenance: Lavallin's Rare Books
Rank:
Notes: After Roger Fenton’s acrimonious separation from the British Museum, that institution relied on a number of photographers. Thompson was the most important of these, carrying out a number of projects for the museum in the 1860s and 1870s. In the end, however, the museum refused to make a permanent appointment for a photographer. That was not the first of Thompson’s problems. In the early 1850s he was the partner of William Wagstaff in the London studio of Wagstaff & Thompson. Wagstaff brought suit against him in 1856, trying to reclaim the 200 pounds he had paid for instruction. He had locked Thompson out of the studio and had hidden the cameras to hold for ransom, but Thompson broke in and retrieved them. The judge wisely ruled that, whereas the partnership should be dissolved, Wagstaff could not collect his tuition. Thompson’s lot improved after this incident. He received an award in the 1862 International Exhibition for his landscapes, architectural subjects, and reproductions of art. He later did contract work for the Autotype Company. (source: Luminous Lint)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: Stephen Thompson
Born: UK
Active: UK
Medium: woodburytype
Size: 6 1/8 in x 8 in
Location:
Object No. 2025.153z
Shelf: M-26
Publication: Stephen Thompson, Masterpieces of Antique Art, Griffiths & Farran, London, 1878
Other Collections:
Provenance: Lavallin's Rare Books
Rank:
Notes: After Roger Fenton’s acrimonious separation from the British Museum, that institution relied on a number of photographers. Thompson was the most important of these, carrying out a number of projects for the museum in the 1860s and 1870s. In the end, however, the museum refused to make a permanent appointment for a photographer. That was not the first of Thompson’s problems. In the early 1850s he was the partner of William Wagstaff in the London studio of Wagstaff & Thompson. Wagstaff brought suit against him in 1856, trying to reclaim the 200 pounds he had paid for instruction. He had locked Thompson out of the studio and had hidden the cameras to hold for ransom, but Thompson broke in and retrieved them. The judge wisely ruled that, whereas the partnership should be dissolved, Wagstaff could not collect his tuition. Thompson’s lot improved after this incident. He received an award in the 1862 International Exhibition for his landscapes, architectural subjects, and reproductions of art. He later did contract work for the Autotype Company. (source: Luminous Lint)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE