Travels with a Camera: The Prince of Wales, Photography and the Mobile Court
The relationship between the British royal family and photography is a long and sometimes difficult one. It began shortly after the discovery of the medium in the late 1830s and continues to evolve today alongside rapidly changing technology and new methods for disseminating and storing photographic images. The importance of the photographic portrait was recognized at an early stage in this relationship, but attempts to control the messages within the images have not been an unalloyed success, leading to a mistrust of the medium that became all too apparent in the twentieth century.
KeywordsEurope Syria Turkey Hunt Pyramid
Unable to display preview. Download preview PDF.
- 9.John Plunkett (2003), Queen Victoria First Media Monarch, Oxford, 144–98.Google Scholar
- 12.Colleen Skidmore (1998), ‘“All that is interesting in the Canadas”: William Notman’s Maple Box Portfolio of Stereoscopic Views, 1860’, Journal of Canadian Studies 32 /4, 69–90.Google Scholar
- 15.Sophie Gordon (2012), Cairo to Constantinople: Francis Bedford’s Photographs of the Middle East, London.Google Scholar
- 17.German Gallery (1862), Mr. Bedford’s Photographic Pictures Taken during the Tour in the East, London.Google Scholar
- 29.Ruth Brimacombe (2007), ‘Imperial Avatars: Art, India, and the Prince of Wales in 1875–6’, PhD thesis, University of Melbourne.Google Scholar
- 30.Delia Miller (1995), The Victorian Watercolours and Drawings in the Collection of Her Majesty The Queen, London, 410, 805.Google Scholar
- 33.Xavier Guégan (2015), ‘Transmissible Sites: Monuments, Memorials and their Visibility on the Metropole and Periphery’, in: Dominik Geppert and Frank Lorenz Müller (eds) (2015), Sites of Imperial Memory: Commemorating Colonial Rule in the 19th and 20th centuries, Manchester, 21–38.Google Scholar
- 36.J.E. Crawford Munro (1884), Patents, Designs and Trade Marks Act 1883, London, section 106, 138–39.Google Scholar