Photographs, Museums, Collections

Elizabeth Edwards is Research Professor of Photographic History and Director of the Photographic History Research Centre, De Montfort University, Leicester, UK. Christopher Morton is Curator of Photograph and Manuscript Collections at the Pitt Rivers Museum, Oxford, UK and Lecturer in Visual and Material Anthropology at the Institute of Social and Cultural Anthropology, University of Oxford, UK.

List of Plates and Figures
Notes on Contributors

Preface

1. Between Art and Information: Introduction, Elizabeth Edwards (De Montfort University, Leicester, UK) and Christopher Morton (Pitt Rivers Museum, Oxford, UK)

PART I BECOMING COLLECTIONS
2. Multiple Collections and Fluid Meanings: Alfred Maudslay’s Archaeological Photographs at the British Museum, Duncan Shields (De Montfort University, Leicester, UK)
3. Self Assembled: Isabella Stewart Gardner’s Photographic Albums and the Development of her Museum, 1902-1924, Casey Riley (Boston University, USA)
4. ‘An Invitation to Visit Windermere’: Moments of Departure and Return in the Biography of the Bryan Heseltine Collection, Darren Newbury (University of Brighton, UK)
5. Private to Public: the David MacGregor Maritime Photographic Collection, Eleni Papavasileiou (SS Great Britain Trust, UK)

PART II SCIENTIFIC DOCUMENTS
6. Collecting Portraiture, Exhibiting Race: Augustus Pitt-Rivers’s Photographs at the South Kensington Museum, Christopher Morton (Pitt Rivers Museum, Oxford, UK)
7. Collecting Photographs, Constructing Disciplines: the Rationality and Rhetoric of Photography at the Museum of Economic Botany, Caroline Cornish (Royal Holloway, UK)
8. Photographs as Scientific and Social Objects in the Correspondence of Charles Darwin, Geoff Belknap (University of Leicester) and Sophie Defrance (University of Cambridge)

PART III SHAPED IN HISTORY
9. Revolutionary photographs: the Museo de la Revolución, Havana, Cuba, Kristine Juncker (De Montfort University, Leicester, UK)
10. Photography in Jersey under German Occupation: the 1940 ‘Order Concerning Open-air Photography’ and Photography at the Société Jersiaise Museum, Gareth Syvret (De Montfort University, Leicester, UK)
11. From Them to Us: Changing Meanings of Photographs of Mäori at Te Papa, Athol Mc Credie (Museum of New Zealand Te Papa Tongarewa)

PART IV CURATORIAL PRACTICES
12. Unwrapping the Layers: Translating Photograph Albums into an Exhibition Context, Ulrike Bessel (DASA Working World Exhibition in Dortmund, Germany)
13. To Collect and Preserve Negatives: the Eli Lotar Collection at the Centre Georges Pompidou, Damarice Amao (Paris Sorbonne, France)
14. Looking for Bolton in the Worktown Archive, Caroline Edge (Bolton Museum/University, UK)

Index