Balaklava from Guard's Hill, the Crimea
Photograph
1855 (made)
1855 (made)
| Artist/Maker | |
| Place of origin |
Albumen print from a wet collodion negative depicting Balaklava from Guard's Hill, the Crimea. A few men and white tents are visible in the forground, looking down into a valley containing a body of water and a number of ships on the far side in the distance. On the other side of the valley, fortifications are visible on top of a rocky hill.
Object details
| Categories | |
| Object type | |
| Title | Balaklava from Guard's Hill, the Crimea (generic title) |
| Materials and techniques | Albumen print from a wet collodion negative |
| Brief description | Photograph of Balaklava from Guard's Hill, the Crimea, by Roger Fenton. British, 1855. Part of the Chauncey Hare Townshed bequest. |
| Physical description | Albumen print from a wet collodion negative depicting Balaklava from Guard's Hill, the Crimea. A few men and white tents are visible in the forground, looking down into a valley containing a body of water and a number of ships on the far side in the distance. On the other side of the valley, fortifications are visible on top of a rocky hill. |
| Dimensions |
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| Gallery label | Photography Centre 2018-20:
Collection in Focus: Chauncy Hare Townshend (1798–1868)
Chauncy Hare Townshend was one of the few serious collectors of photography in the early years of its development. Apart from Prince Albert, he remains the only identifiable British private collector of early photographs on such a scale. He was an extremely wealthy art collector and connoisseur who moved in the highest social and literary circles – Charles Dickens even dedicated Great Expectations to him. Townshend bequeathed his large art collection, including paintings, furniture, gemstones, books and coins, as well as his photographs, to the South Kensington Museum (now the V&A) in 1868. His impressive photography collection ranged from images of political, military and contemporary events to a particularly striking group of French fine art photographs. Practising photographers tended to collect photographs, exchanging works as examples of style and process. But Townshend, who was not a photographer, recognised both photography’s documentary value, and even more so, its exciting new artistic capabilities.
4. George Newbold (active 1860s)
Tom Sayers, Champion of England
1860
Albumen print
Museum no. 64866 |
| Credit line | Townshend Bequest |
| Subject depicted | |
| Places depicted | |
| Bibliographic references |
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| Collection | |
| Accession number | 64854 |
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| Record created | July 1, 2009 |
| Record URL |
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