'Mush-Fakers' and Ginger-Beer Makers
Photograph
1877-1878 (made)
1877-1878 (made)
| Artist/Maker | |
| Place of origin |
Object Type
The photographer John Thomson (1837-1921) used the 'Woodburytype' process patented in 1864 for the images in Street Life in London, including this photograph. This was a type of photomechanical reproduction using pigmented gelatin, usually of a rich purple-brown colour. The process was complicated but remained popular until about 1900 because of the high quality and permanence of the finished images.
Social Class
In the streets of Naples, Italy, children were sometimes bought like slaves from their parents. The parents were promised that the child would be trained in music and returned in two years with the earnings from their work as street musicians. Few children returned, and many were housed in crowded conditions in poorly kept rooms hired for the purpose. However, the boy with the harp shown here had come to England to join his family. In two years he had learned to speak English fluently. He was described by the neighbourhood in which he played as charming and modest.
Real or Posed?
The people in the pictures were arranged or posed by Thomson to form interesting compositions. However, the results were often naturalistic because the subjects and surroundings were always authentic.
The photographer John Thomson (1837-1921) used the 'Woodburytype' process patented in 1864 for the images in Street Life in London, including this photograph. This was a type of photomechanical reproduction using pigmented gelatin, usually of a rich purple-brown colour. The process was complicated but remained popular until about 1900 because of the high quality and permanence of the finished images.
Social Class
In the streets of Naples, Italy, children were sometimes bought like slaves from their parents. The parents were promised that the child would be trained in music and returned in two years with the earnings from their work as street musicians. Few children returned, and many were housed in crowded conditions in poorly kept rooms hired for the purpose. However, the boy with the harp shown here had come to England to join his family. In two years he had learned to speak English fluently. He was described by the neighbourhood in which he played as charming and modest.
Real or Posed?
The people in the pictures were arranged or posed by Thomson to form interesting compositions. However, the results were often naturalistic because the subjects and surroundings were always authentic.
Object details
| Categories | |
| Object type | |
| Titles |
|
| Materials and techniques | Woodburytype |
| Brief description | 19thC; Thomson, John. 'Mush Fakers', Street Life of London |
| Physical description | Photograph |
| Dimensions |
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| Gallery label |
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| Credit line | Given by Mrs D. Crisp |
| Object history | Taken in London by John Thomson (born in Edinburgh, 1837, died in London, 1921) |
| Summary | Object Type The photographer John Thomson (1837-1921) used the 'Woodburytype' process patented in 1864 for the images in Street Life in London, including this photograph. This was a type of photomechanical reproduction using pigmented gelatin, usually of a rich purple-brown colour. The process was complicated but remained popular until about 1900 because of the high quality and permanence of the finished images. Social Class In the streets of Naples, Italy, children were sometimes bought like slaves from their parents. The parents were promised that the child would be trained in music and returned in two years with the earnings from their work as street musicians. Few children returned, and many were housed in crowded conditions in poorly kept rooms hired for the purpose. However, the boy with the harp shown here had come to England to join his family. In two years he had learned to speak English fluently. He was described by the neighbourhood in which he played as charming and modest. Real or Posed? The people in the pictures were arranged or posed by Thomson to form interesting compositions. However, the results were often naturalistic because the subjects and surroundings were always authentic. |
| Collection | |
| Accession number | PH.342-1982 |
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| Record created | October 10, 2006 |
| Record URL |
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