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Punch and Judy at Ilfracombe

Photograph
ca. 1895 (made)
Artist/Maker
Place of origin

In about 1890 it became possible to combine the gelatin dry-plate negative, which was fast and highly sensitive, with an inconspicuous device known as a 'detective' camera. This made possible a new type of candid snapshot. With his camera disguised as a leather box, Paul Martin--a wood engraver by training--made his photographs on London streets and while on holiday at the seaside. His negatives were the same size as this print and made on a platinum paper prized for its subtle tonal range. Martin's work demonstrates that by the end of the 19th century photography was no longer the preserve of aristocratic amateurs and professional studios. Anyone could now make snapshots of their life and surroundings. Martin was one of the last wood engravers and one of the first photojournalists.

Delve deeper

Discover more about this object
read "That's the way to do it!" A history of Punch & Judy Punch and Judy is the traditional puppet show featuring Mr. Punch and his wife Judy. An archetypical and controversial British figure with his origins in the charismatic 16th century Italian puppet Pulcinella, Mr Punch has been performing in the UK for over 350 years.

Object details

Category
Object type
TitlePunch and Judy at Ilfracombe (assigned by artist)
Materials and techniques
Platinum print
Brief description
Photograph 'Punch and Judy at Ilfracombe', ca. 1895 by Paul Martin (1864-1944).
Physical description
Black and white photograph of people watching a Punch and Judy show on the beach.
Dimensions
  • Album closed height: 15cm
  • Album closed width: 14cm
  • Album closed depth: 3cm
Subjects depicted
Summary
In about 1890 it became possible to combine the gelatin dry-plate negative, which was fast and highly sensitive, with an inconspicuous device known as a 'detective' camera. This made possible a new type of candid snapshot. With his camera disguised as a leather box, Paul Martin--a wood engraver by training--made his photographs on London streets and while on holiday at the seaside. His negatives were the same size as this print and made on a platinum paper prized for its subtle tonal range. Martin's work demonstrates that by the end of the 19th century photography was no longer the preserve of aristocratic amateurs and professional studios. Anyone could now make snapshots of their life and surroundings. Martin was one of the last wood engravers and one of the first photojournalists.
Bibliographic reference
Val Williams and Susan Bright, How we are: photographing Britain, from the 1840s to the present London: Tate Publishing, 2007. ISBN: 9781854377142.
Collection
Accession number
PH.1900-1980

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Record createdMarch 23, 2007
Record URL
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