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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)
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Plakat der Internationalen Hygiene-Ausstellung Dresden 1911/Poster of the International Hygiene Exhibition, Dresden 1911
Autotype
...absolute. The theater of noise is proof of our potential. The circulation of autotypes. The golden talisman underfoot is phenomenon approaching. And, in the history of now, all ethos are designed.
Studio portrait of an unknown woman by photographer F.A. Wilkinson of Byram Arcade, Huddersfield.
The reverse notes that "Enlargements made and finished in Autotype, Oil, Water Colours or Crayons" were available.
Maker: Stephen Thompson (1830 - 1892)
Born: UK
Active: UK
Medium: albumen print
Size: 3 1/2 in x 7 in
Location:
Object No. 2024.048
Shelf: E-19
Publication: Christopher Simon Sykes, Country House Camera, Bramley Books, London, 1980, pg 48
Other Collections:
Provenance:
Rank: 108
Notes: In the 1861 exhibition of the Photographic Society in London, Thompson showed mostly collodion but also four waxed-paper architectural views. That same year he displayed similar subjects in the Architectural Photographic Association exhibition, and while the processes were not specified, it seems likely that at least some of them were from paper negatives as well. 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
Studio portrait of an unknown woman by photographer F.A. Wilkinson of Byram Arcade, Huddersfield.
The reverse notes that "Enlargements made and finished in Autotype, Oil, Water Colours or Crayons" were available.
antes que o verão acabe e outro fashion rio se aproxime, taí as versões da assinatura dessa coleção.
ela se originou da necessidade de criar uma marca com formas geométricas simples, de acordo com o grafismo utilizado em todo material gráfico.
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visitem,
Maker: Stephen Thompson (1830 - 1892)
Born: UK
Active: UK
Medium: albumen print
Size: 3 1/2 in x 7 in
Location:
Object No. 2024.047
Shelf: E-19
Publication: Christopher Simon Sykes, Country House Camera, Bramley Books, London, 1980, pg 49 (variant)
Other Collections:
Provenance:
Rank: 108
Notes: In the 1861 exhibition of the Photographic Society in London, Thompson showed mostly collodion but also four waxed-paper architectural views. That same year he displayed similar subjects in the Architectural Photographic Association exhibition, and while the processes were not specified, it seems likely that at least some of them were from paper negatives as well. 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
Forget All Your Passwords with KeePassXC. See how to install it. Create the database, groups and password entries. Configure autotype and window associations. Launch URLs you want to log into and sign in without knowing passwords. youtu.be/33SCtxwIDZs
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.
Image from 'Some Account of the Great Buildings of London: historical and descriptive ... With thirteen autotype illustrations by F. York', 000864302
Author: D'ANVERS, N. pseud. [i.e. Nancy R. E. Meugens, afterwards Bell.]
Page: 17
Year: 1879
Place: London
Publisher: Marcus Ward & Co.
Following the link above will take you to the British Library's integrated catalogue. You will be able to download a PDF of the book this image is taken from, as well as view the pages up close with the 'itemViewer'. Click on the 'related items' to search for the electronic version of this work.
Maker: Stephen Thompson
Born: UK
Active: UK
Medium: book
Size: 11 in x 13 1/2 in
Location:
Object No. 2025.153
Shelf: M-26
Publication: Stephen Thompson, Masterpieces of Antique Art, Griffiths & Farran, London, 1878
Other Collections:
Provenance: Lavallin's Rare Books
Rank: 158
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
A member of the Bromoil Circle Of GB for 22 years. I now work in the Rawlins oil transfer process this image shows me pulling a transfer on an original Autotype Transfer press made in the 1920's for both oil and bromoil.
Image from 'A Phrenologist amongst the Todas; or the study of a primitive tribe in South India history, character, customs, religion, infanticide, polyandry, language ... illustrations by the autotype process', 002395755
Author: MARSHALL, William Elliot.
Page: 203
Year: 1873
Place: London
Publisher:
Following the link above will take you to the British Library's integrated catalogue. You will be able to download a PDF of the book this image is taken from, as well as view the pages up close with the 'itemViewer'. Click on the 'related items' to search for the electronic version of this work.
Maker:
Born: Austria
Active: Austria
Medium: autotype
Size: 5 in x 4 1/4 in
Location:
Object No. 2023-1109s
Shelf: PER-1890
Publication: Photographische Korrespondenz., Deutsche Gesellschaft für Photographie, v. 27, No 352-362, 1890
Other Collections:
Provenance:
Notes: Since the early 1850s the development of photography was documented and supported by magazines in France, England and Austria, the USA and Germany. None of these early magazines were as relevant as Photographische Correspondenz, particularly in German speaking regions. Founded in 1864, and edited by Ludwig Schrank as a periodical from practitioners for practitioners, with an emphasis on composition and the various genres of photography, including the practical aspects of photography as a fine art. Containing photogravures by Klic, Riffarth, Blechinger,Paulussen, Johannes Bayer, J Löwy, and Wilhelm Cronenberg, the content of the periodical surveyed photo-technical and photochemical innovations, provided guidance for professional photographers, and examined new fine print methods as well as scientific, economic and esthetic aspects of photography. High-quality prints dominated its pages, using established reproduction processes that were economically beneficial. The majority of these fine prints were provided by Vienna studios and J. Albert, C. Aubel, K. Klietsch, Ch. Reutlinger, and L. Rutherfurd. (Source: photogravure.com)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE