PROUT (VICTOR ALBERT) The Thames from London to Oxford in Forty Photographs. First [-Second] Series in 1 vol., FIRST EDITION, Virtue and Company, [1862]
Lot 40
PROUT (VICTOR ALBERT)
The Thames from London to Oxford in Forty Photographs. First [-Second] Series in 1 vol., FIRST EDITION, Virtue and Company, [1862]
Sold for £16,250 (US$ 22,002) inc. premium

Lot Details
PROUT (VICTOR ALBERT) The Thames from London to Oxford in Forty Photographs. First [-Second] Series in 1 vol., FIRST EDITION, Virtue and Company, [1862] PROUT (VICTOR ALBERT) The Thames from London to Oxford in Forty Photographs. First [-Second] Series in 1 vol., FIRST EDITION, Virtue and Company, [1862]
[PROUT (VICTOR ALBERT)]
The Thames from London to Oxford in Forty Photographs. First [-Second] Series in 1 vol., FIRST EDITION, letterpress title and list of contents to each part, 40 albumen prints from wet plate collodion negatives (images 105 x 283mm.), each mounted on card (recto only) with printed caption pasted in lower left corner, loose as issued in publisher's gate-fold morocco-backed cloth portfolio, gilt lettered on upper cover, soiled [Gernsheim, Incunabula 414; Parr & Badger, The Photobook, vol. 1, p.67], folio (300 x 385mm.), Virtue and Company, [1862]

Footnotes

  • RARE COMPLETE COPY OF THE FIRST EDITION OF PROUT'S PIONEERING PANORAMIC PHOTOGRAPHS OF THE THAMES. Victor Prout (1835-1877) was photographing along the river from 1857 onwards, having devised a darkroom-punt (which appears in several of the photographs) on which to work. Prout used a camera "that would produce wide-vision images using a lens that swung round and 'scanned' progressive sections of the picture plane... [and] what is much more important is how good they are as pictures... Thanks to the incessant horizontality of its banks, a river is an ideal subject for the panoramic photograph, yet although the picture form is there 'naturally' so to speak, Prout still had to make the best of it. And it can be concluded that he did, usually managing to find a vertical element just where he needed to counteract the ruthless horizontal" (Parr and Badger, Photobook). No doubt influenced by his father, a landscape artist who had presented his views of Australia as dramatic dioramas in the 1850s, Prout succeeded in his Thames photographs in showing images "beyond mere topographical grace; they look like a sequential narrative. As viewers, we want to be moving upstream with the artist" (Francis Hodgson, A Near Approach to Greatness: Meet Victor Albert Prout, 2013).
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