{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O1100852"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O1100852/"}},"images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2018KT1542/full/!100,100/0/default.jpg","_iiif_image":"https://framemark.vam.ac.uk/collections/2018KT1542/","_alt_iiif_image":[],"imageResolution":"high","_images_meta":[{"assetRef":"2018KT1542","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false}]},"see_also":{"_iiif_pres":"https://iiif.vam.ac.uk/collections/O1100852/manifest.json","_alt_iiif_pres":[]}},"record":{"systemNumber":"O1100852","accessionNumber":"64854","objectType":"Photograph","titles":[{"title":"Balaklava from Guard's Hill, the Crimea","type":"generic title"}],"summaryDescription":"","physicalDescription":"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. ","artistMakerPerson":[{"name":{"text":"Roger Fenton","id":"A7250"},"association":{"text":"photographer","id":"x43821"},"note":""}],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[{"text":"paper","id":"x30308"}],"techniques":[{"text":"wet collodion","id":"AAT133299"},{"text":"albumen","id":"AAT133274"},{"text":"","id":""},{"text":"photography","id":"AAT54225"}],"materialsAndTechniques":"Albumen print from a wet collodion negative","categories":[{"text":"Photographs","id":"THES48910"},{"text":"War","id":"THES257202"},{"text":"Military","id":"THES250701"}],"styles":[],"collectionCode":{"text":"PDP","id":"THES48595"},"images":["2018KT1542"],"imageResolution":"high","galleryLocations":[{"current":{"text":"LVLC","id":"THES49171"},"free":"","case":"COS","shelf":"SH2","box":""}],"partTypes":[[{"text":"photograph","id":"AAT46300"}]],"contentWarnings":[{"apprise":"","note":""}],"placesOfOrigin":[{"place":{"text":"Crimea","id":"x37916"},"association":{"text":"photographed","id":"x30151"},"note":""}],"productionDates":[{"date":{"text":"1855","earliest":"1855-01-01","latest":"1855-12-31"},"association":{"text":"made","id":"x28654"},"note":""}],"associatedObjects":[],"creditLine":"Townshend Bequest","dimensions":[{"dimension":"Height","value":"280","unit":"mm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""},{"dimension":"Width","value":"345","unit":"mm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""}],"dimensionsNote":"Dimensions taken from Brian Coe &amp; Mark Haworth-Booth, <u>A Guide to Early Photographic Printing Processes</u>.  London: The Victoria and Albert Museum in association with Hurtwood Press, 1983.","marksAndInscriptions":[],"objectHistory":"","historicalContext":"","briefDescription":"Photograph of Balaklava from Guard's Hill, the Crimea, by Roger Fenton.  British, 1855.  Part of the Chauncey Hare Townshed bequest. ","bibliographicReferences":[{"reference":{"text":"","id":""},"details":"","free":"Coe, Brian &amp; Haworth-Booth, Mark.  <u>A Guide to Early Photographic Printing Processes.</u> London: The  Victoria and Albert Museum in association with Hurtwood Press, 1983."},{"reference":{"text":"","id":""},"details":"","free":"Taken from Photographs Register"}],"production":"","productionType":{"text":"","id":""},"contentDescription":"","contentPlaces":[{"text":"Balaklava","id":"x43258"},{"text":"Crimea","id":"x37916"}],"associatedPlaces":[],"contentPerson":[],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[{"text":"Crimean War","id":"V304"}],"associatedEvents":[],"contentOthers":[],"contentConcepts":[],"contentLiteraryRefs":[],"galleryLabels":[{"text":"<b>Photography Centre 2018-20:</b>\r\n\r\n\r\n\r\nCollection in Focus: Chauncy Hare Townshend (1798–1868)\r\n\r\nChauncy 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.\r\n\r\n4. George Newbold (active 1860s)\r\nTom Sayers, Champion of England\r\n1860\r\nAlbumen print\r\nMuseum no. 64866","date":{"text":"","earliest":null,"latest":null}}],"partNumbers":["64854"],"accessionNumberNum":"64854","accessionNumberPrefix":"","accessionYear":null,"otherNumbers":[],"copyNumber":"","aspects":["WHOLE"],"assets":[],"recordModificationDate":"2025-12-15","recordCreationDate":"2009-07-01","availableToBook":false}}