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                  <text>This collection comprises of the family photos of Carlene Edith Harry, who was born in Essex in 1937.&#13;
She was the only child of Edith Sarah Harry (nee Tuck, 1911-1974) and Charles Clifford Harry (known as Clifford, 1904-1997)&#13;
Carlene's father was born in Carnyorth and she was immensely proud of her Cornish heritage and keenly interested in all aspects of local history and culture.&#13;
Her working life was spent at the Bank of England. When she eventually moved back to Cornwall she first lived in Truro before finally returning to Pendeen, where she immersed herself in the local community, being an active member of her church, the W.I. and several local history groups.&#13;
Morrab Library holds the publications of the Penwith Local History Group: 'Growing Up in West Cornwall', 'West Cornwall in the Twentieth Century', and 'Homes and households in west Cornwall'. All of these include articles written by Carlene, taken from her father's memories of Carnyorth and other related material.&#13;
Her second cousin was Raymond Harry who, under the pseudonym Jack Penhale, wrote 'The Mine Under the Sea', based on his experience working at Levant Mine as a 14 year old during the 1st World war. He was there at the time of the Levant Mine Disaster.&#13;
On her death in August 2020, Carlene left generous bequests to 7 local charities, confirming again her love of Cornwall and West Penwith in particular.</text>
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                <text>Elderly gentleman</text>
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                <text>Note on back "Distant relation, I think on Bolitho side"</text>
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                <text>Carlene Harry</text>
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                <text>Morrab Library</text>
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                  <text>Lamorna Birch Family Photos</text>
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                  <text>A small collection of photos from the family of Samuel John 'Lamorna' Birch. 1869-1955, the founder of the colony of artists and writers  who lived and worked in and around the Lamorna Valley near Penzance, Cornwall. &#13;
He was born near Liverpool in 1869 and adopted the additional name of Lamorna after 1896.&#13;
He was married to Houghton Emily Vivian and they had two daughters, Elizabeth Lamorna (known as Mornie) and Joan Houghton.&#13;
The collection shows Lamorna with well known public figures; of himself at work;  and many of his wife and children.&#13;
Included are snapshots of many of his friends at social events.&#13;
An excellent biography of him was written by Austin Wormleighton , 'A Painter Laureate, Lamorna Birch and his cicle'. Published by Sanson &amp; Company. 1995.&#13;
These photographs were donated by Judith Kerr, widow of Adam, grandson of Lamorna Birch.</text>
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                <text>Elderly Gentleman</text>
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                <text>Elderly Gentleman</text>
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              <text>Yes</text>
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          <name>Condition</name>
          <description>Record observations about the condition or conservation of the item, e.g. any damage (e.g. cracked, broken or chipped glass negative).</description>
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              <text>Blurred photo, cropped from a larger print</text>
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            <description>A name given to the resource</description>
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                <text>Elderly Henry Kitchen, fisherman with his fiddle, much photographed and painted. Newlyn, 1903-1905</text>
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                <text>Henry Kitched appears on many postcards, etc. Appears in the Newlyn School Forbes' painting 'The Lighthouse'.&#13;
Played the fiddle and led a small musical group at Boase Street Primitive Methodist Chapel about 1905.</text>
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                <text>1903-1905</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>Morrab Library</text>
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                <text>Newlyn</text>
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                  <text>Stanley Opie Archaeology</text>
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                  <text>The Stanley Opie Archaeology collection (1001 quarter plate glass negatives) covers archaeological sites and excavations from the 1920s to 1950s. It covers hillforts, megaliths, ancient villages, artefacts, excavations such as the Roman villa at Magor near Redruth, and Cornish cultural events such as the first Cornish Gorsedh at Boscawen-ûn in 1928.&lt;br /&gt;&lt;br /&gt;In 1935 Stanley entered a News Chronicle competition called "Britain 1935". A copy of his entry form was found attached to the back of a small print, listing his address, camera model and film type. He lived at Barncoose, Redruth, Cornwall, and used an Ensign Cameo No. 2 camera with Imperial Eclipse plates.&lt;br /&gt;&lt;br /&gt;The glass negatives were cleaned, repackaged and digitised thanks to funding from &lt;a href="http://www.cornwallheritagetrust.org"&gt;Cornwall Heritage Trust&lt;/a&gt;.</text>
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          <name>Acknowledgements</name>
          <description>Funding acknowledgements where appropriate.</description>
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              <text>Digitisation and conservation of the original glass negative was kindly supported by &lt;a href="http://www.cornwallheritagetrust.org/"&gt;Cornwall Heritage Trust&lt;/a&gt;.</text>
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                <text>Family Photographs</text>
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                <text>Elderly lady sitting at a table, possibly carving</text>
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                  <text>The Stanley Opie Archaeology collection (1001 quarter plate glass negatives) covers archaeological sites and excavations from the 1920s to 1950s. It covers hillforts, megaliths, ancient villages, artefacts, excavations such as the Roman villa at Magor near Redruth, and Cornish cultural events such as the first Cornish Gorsedh at Boscawen-ûn in 1928.&lt;br /&gt;&lt;br /&gt;In 1935 Stanley entered a News Chronicle competition called "Britain 1935". A copy of his entry form was found attached to the back of a small print, listing his address, camera model and film type. He lived at Barncoose, Redruth, Cornwall, and used an Ensign Cameo No. 2 camera with Imperial Eclipse plates.&lt;br /&gt;&lt;br /&gt;The glass negatives were cleaned, repackaged and digitised thanks to funding from &lt;a href="http://www.cornwallheritagetrust.org"&gt;Cornwall Heritage Trust&lt;/a&gt;.</text>
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              <text>Digitisation and conservation of the original glass negative was kindly supported by &lt;a href="http://www.cornwallheritagetrust.org/"&gt;Cornwall Heritage Trust&lt;/a&gt;.</text>
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                <text>Elderly lady sitting at a table, possibly carving</text>
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            <description>Information about rights held in and over the resource</description>
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            <name>Creator</name>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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              <description>A name given to the resource</description>
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            <description>A name given to the resource</description>
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                <text>Elderly Man</text>
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                <text>Elderly well dressed man in black</text>
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            <name>Creator</name>
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            <name>Date</name>
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                <text>1875-1910</text>
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            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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                <text>St Ives Archive</text>
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              <elementText elementTextId="170948">
                <text>Morrab Library</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>Other Glass Negative</text>
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            <name>Identifier</name>
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        <name>1891-1910</name>
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        <name>Personal life</name>
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        <name>Portrait</name>
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                  <text>The Richards Collection represents the work of one Penzance family of professional photographers over several generations - from the early 1850s until the late 1970s. It consists of several thousand negatives, glass plates and prints, covering everything intrinsic to Cornish life from fishing to flower picking and graphic views of shipwrecks as well as portraits of the people of Penzance and surrounding areas. &#13;
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Elderly man</text>
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            <name>Description</name>
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                <text>Photograph of an unknown elderly man</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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                <text>Richards</text>
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            <name>Publisher</name>
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                <text>Morrab Library</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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              <elementText elementTextId="174857">
                <text>Morrab Library</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="174858">
                <text>Half Plate Glass Negative</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                  <text>Stanley Opie Archaeology</text>
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              <name>Subject</name>
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                  <text>Archaeology</text>
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              <name>Description</name>
              <description>An account of the resource</description>
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                <elementText elementTextId="31838">
                  <text>The Stanley Opie Archaeology collection (1001 quarter plate glass negatives) covers archaeological sites and excavations from the 1920s to 1950s. It covers hillforts, megaliths, ancient villages, artefacts, excavations such as the Roman villa at Magor near Redruth, and Cornish cultural events such as the first Cornish Gorsedh at Boscawen-ûn in 1928.&lt;br /&gt;&lt;br /&gt;In 1935 Stanley entered a News Chronicle competition called "Britain 1935". A copy of his entry form was found attached to the back of a small print, listing his address, camera model and film type. He lived at Barncoose, Redruth, Cornwall, and used an Ensign Cameo No. 2 camera with Imperial Eclipse plates.&lt;br /&gt;&lt;br /&gt;The glass negatives were cleaned, repackaged and digitised thanks to funding from &lt;a href="http://www.cornwallheritagetrust.org"&gt;Cornwall Heritage Trust&lt;/a&gt;.</text>
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              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
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      <name>Still Image</name>
      <description>A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.</description>
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        <element elementId="63">
          <name>Acknowledgements</name>
          <description>Funding acknowledgements where appropriate.</description>
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              <text>Digitisation and conservation of the original glass negative was kindly supported by &lt;a href="http://www.cornwallheritagetrust.org/"&gt;Cornwall Heritage Trust&lt;/a&gt;.</text>
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              <text>http://192.168.0.2/omeka/plugins/Dropbox/files/O.422.tif</text>
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          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
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              <elementText elementTextId="35566">
                <text>Family Photographs</text>
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                <text>Archaeology</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Elderly man and young woman in the garden. </text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Elderly man and young woman in the garden. </text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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              <elementText elementTextId="35572">
                <text>Morrab Library</text>
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                <text>Stanley Opie</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>O.422</text>
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  <item itemId="9283" public="1" featured="0">
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              <name>Title</name>
              <description>A name given to the resource</description>
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              <name>Description</name>
              <description>An account of the resource</description>
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                  <text>The Richards Collection represents the work of one Penzance family of professional photographers over several generations - from the early 1850s until the late 1970s. It consists of several thousand negatives, glass plates and prints, covering everything intrinsic to Cornish life from fishing to flower picking and graphic views of shipwrecks as well as portraits of the people of Penzance and surrounding areas. &#13;
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      <name>Still Image</name>
      <description>A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.</description>
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        <element elementId="55">
          <name>Period Costume</name>
          <description>Does the photograph contain a notable example of period costume?</description>
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              <text>N</text>
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          <name>Damaged?</name>
          <description>Is the item damaged? Select Yes or No then describe in the "Condition" field.</description>
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              <text>No</text>
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          <name>Physical Dimensions</name>
          <description>The actual physical size of the original image</description>
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              <text>121mm W x 174mm H</text>
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        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="65643">
                <text>PEOP 21HF 197</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="65644">
                <text>Elderly man seated reading at carved table</text>
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          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>Individuals</text>
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                <text>Victorian</text>
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          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="65648">
                <text>1885</text>
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          <element elementId="38">
            <name>Coverage</name>
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                <text>Unknown</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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                <text>Richards</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="146642">
                <text>Print</text>
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  <item itemId="17748" public="1" featured="0">
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              <name>Title</name>
              <description>A name given to the resource</description>
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            <element elementId="41">
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              <description>An account of the resource</description>
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                  <text>The collection consists of 422 photos which were donated by the St Just in Rosalind and St Mawes Heritage Group. The collection consists of images of people and views from a number of photographers who were working in Cornwall from the mid 19th Century.&#13;
It seems that almost every town in Cornwall had one or more photographers working in studios. Brooks, Beringer, Burrow, Collenso, Gibson and Preston are just some of those.&#13;
Many won awards for their work and won medals awarded by the Cornwall Polytechnic Society which opened in Falmouth in 1833.&#13;
Carte-de-visite became very popular after 1854, often used as calling cards containing the photographic mount, there are many examples of this type.&#13;
It is apparent that people turned up in their "Sunday Best" to be photographed , it is interesting to note the fashion changes over time from the Victorian era to the Edwardian.&#13;
All the while changes were taking place with the photographic process, from plate and gradually to film and negative and the digital process that we have today.&#13;
This collection is a very interesting record of the work of the Victorian photographer.</text>
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      <name>Still Image</name>
      <description>A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.</description>
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          <name>Damaged?</name>
          <description>Is the item damaged? Select Yes or No then describe in the "Condition" field.</description>
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        <element elementId="60">
          <name>Condition</name>
          <description>Record observations about the condition or conservation of the item, e.g. any damage (e.g. cracked, broken or chipped glass negative).</description>
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            <elementText elementTextId="155671">
              <text>Image is very faded</text>
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        <element elementId="10">
          <name>Physical Dimensions</name>
          <description>The actual physical size of the original image</description>
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              <text>3.5 x 2.25</text>
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            <description>A name given to the resource</description>
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                <text>Elderly man seated with two younger women standing, possibly mother and daughter.</text>
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                <text>Elderly man seated with two younger women standing, possibly mother and daughter.</text>
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                  <text>The collection consists of 422 photos which were donated by the St Just in Rosalind and St Mawes Heritage Group. The collection consists of images of people and views from a number of photographers who were working in Cornwall from the mid 19th Century.&#13;
It seems that almost every town in Cornwall had one or more photographers working in studios. Brooks, Beringer, Burrow, Collenso, Gibson and Preston are just some of those.&#13;
Many won awards for their work and won medals awarded by the Cornwall Polytechnic Society which opened in Falmouth in 1833.&#13;
Carte-de-visite became very popular after 1854, often used as calling cards containing the photographic mount, there are many examples of this type.&#13;
It is apparent that people turned up in their "Sunday Best" to be photographed , it is interesting to note the fashion changes over time from the Victorian era to the Edwardian.&#13;
All the while changes were taking place with the photographic process, from plate and gradually to film and negative and the digital process that we have today.&#13;
This collection is a very interesting record of the work of the Victorian photographer.</text>
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                <text>Elderly man sitting in Whicker chair in large gardens</text>
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                <text>Elderly man sitting in Whicker chair in large gardens</text>
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                <text>J.H. Coath Liskeard &amp; St Austell ???</text>
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                <text>1925</text>
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                <text>Morrab Library</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>PC 94</text>
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                  <text>Pye Collection</text>
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              <name>Description</name>
              <description>An account of the resource</description>
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                  <text>The collection consists of 422 photos which were donated by the St Just in Rosalind and St Mawes Heritage Group. The collection consists of images of people and views from a number of photographers who were working in Cornwall from the mid 19th Century.&#13;
It seems that almost every town in Cornwall had one or more photographers working in studios. Brooks, Beringer, Burrow, Collenso, Gibson and Preston are just some of those.&#13;
Many won awards for their work and won medals awarded by the Cornwall Polytechnic Society which opened in Falmouth in 1833.&#13;
Carte-de-visite became very popular after 1854, often used as calling cards containing the photographic mount, there are many examples of this type.&#13;
It is apparent that people turned up in their "Sunday Best" to be photographed , it is interesting to note the fashion changes over time from the Victorian era to the Edwardian.&#13;
All the while changes were taking place with the photographic process, from plate and gradually to film and negative and the digital process that we have today.&#13;
This collection is a very interesting record of the work of the Victorian photographer.</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Elderly man sitting on soft chair. Heavy Beard</text>
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            <name>Description</name>
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                <text>Elderly man sitting on soft chair. Heavy Beard.</text>
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                <text>James Moody set up shop in Redruth about 1859 at No 67 Fore Street. The site is now the central post office. For nearly 30 years the Moody imprint is to be found on carte and cabinet imprints, output almost entirely likenesses with the occasional street scene in and around Redruth.&#13;
He opened a branch in Penzance for his son John in the latter part of the 1860's. One of his daughters Fanny became famous as a singer and toured overseas.</text>
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                <text>Morrab Library</text>
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            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>1860 - 1890</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="156129">
                <text>Morrab Library</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="156130">
                <text>Print</text>
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          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>PC 124</text>
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    <tagContainer>
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        <name>Peop</name>
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  <item itemId="18477" public="1" featured="0">
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              <description>An account of the resource</description>
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                  <text>This collection comprises of the family photos of Carlene Edith Harry, who was born in Essex in 1937.&#13;
She was the only child of Edith Sarah Harry (nee Tuck, 1911-1974) and Charles Clifford Harry (known as Clifford, 1904-1997)&#13;
Carlene's father was born in Carnyorth and she was immensely proud of her Cornish heritage and keenly interested in all aspects of local history and culture.&#13;
Her working life was spent at the Bank of England. When she eventually moved back to Cornwall she first lived in Truro before finally returning to Pendeen, where she immersed herself in the local community, being an active member of her church, the W.I. and several local history groups.&#13;
Morrab Library holds the publications of the Penwith Local History Group: 'Growing Up in West Cornwall', 'West Cornwall in the Twentieth Century', and 'Homes and households in west Cornwall'. All of these include articles written by Carlene, taken from her father's memories of Carnyorth and other related material.&#13;
Her second cousin was Raymond Harry who, under the pseudonym Jack Penhale, wrote 'The Mine Under the Sea', based on his experience working at Levant Mine as a 14 year old during the 1st World war. He was there at the time of the Levant Mine Disaster.&#13;
On her death in August 2020, Carlene left generous bequests to 7 local charities, confirming again her love of Cornwall and West Penwith in particular.</text>
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      <name>Still Image</name>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Elderly man standing, lady seated.</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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                <text>On the back "distant relatives"</text>
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                <text>Photographer: J. Moody, Penzance.</text>
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                <text>Carlene Harry</text>
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                <text>Morrab Library</text>
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            <description>The file format, physical medium, or dimensions of the resource</description>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>H.176</text>
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                  <text>Pye Collection</text>
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              <name>Description</name>
              <description>An account of the resource</description>
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                  <text>The collection consists of 422 photos which were donated by the St Just in Rosalind and St Mawes Heritage Group. The collection consists of images of people and views from a number of photographers who were working in Cornwall from the mid 19th Century.&#13;
It seems that almost every town in Cornwall had one or more photographers working in studios. Brooks, Beringer, Burrow, Collenso, Gibson and Preston are just some of those.&#13;
Many won awards for their work and won medals awarded by the Cornwall Polytechnic Society which opened in Falmouth in 1833.&#13;
Carte-de-visite became very popular after 1854, often used as calling cards containing the photographic mount, there are many examples of this type.&#13;
It is apparent that people turned up in their "Sunday Best" to be photographed , it is interesting to note the fashion changes over time from the Victorian era to the Edwardian.&#13;
All the while changes were taking place with the photographic process, from plate and gradually to film and negative and the digital process that we have today.&#13;
This collection is a very interesting record of the work of the Victorian photographer.</text>
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      <name>Still Image</name>
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          <name>Physical Dimensions</name>
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              <text>4 x 2.5</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Elderly Man with Full Beard.</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Elderly Man with Full Beard.</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>John Gibson - Scilly and Penzance.&#13;
Born in 1827 in the Aran Islands came to Scilly in 1840. Times were hard and moved to Penzance in 1860 and apprenticed to Robert Preston. Moved back to Scilly 1865-1870. Started photography with 2 sons specialising in dramatic shipwrecks, natural phenomena and the antiquities both of Scilly and West Cornwall. Standards were high. As business was good, another shop was opened on the promenade at Penzance in 1877. In 1879 moved to 10 Market Jew Street Penzance. John Gibson remained on and his sons moved between Scilly and Penzance. In 1910Gibson retired aged 83 and died in 1920 at St Buryan. The sons and grandsons continued and in 1925v the famous guide book was produced. The sons continued in business until 1958. It is thought that John Gibson must have been making plate photographs well before 1870. An outstanding photographer.</text>
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            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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              <elementText elementTextId="157464">
                <text>Morrab Library</text>
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                <text>1870 - 1910</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="157466">
                <text>Morrab Library</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="157467">
                <text>Print</text>
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          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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              <elementText elementTextId="157468">
                <text>PC 064</text>
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    <tagContainer>
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        <name>Peop</name>
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  <item itemId="17966" public="1" featured="0">
    <fileContainer>
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It seems that almost every town in Cornwall had one or more photographers working in studios. Brooks, Beringer, Burrow, Collenso, Gibson and Preston are just some of those.&#13;
Many won awards for their work and won medals awarded by the Cornwall Polytechnic Society which opened in Falmouth in 1833.&#13;
Carte-de-visite became very popular after 1854, often used as calling cards containing the photographic mount, there are many examples of this type.&#13;
It is apparent that people turned up in their "Sunday Best" to be photographed , it is interesting to note the fashion changes over time from the Victorian era to the Edwardian.&#13;
All the while changes were taking place with the photographic process, from plate and gradually to film and negative and the digital process that we have today.&#13;
This collection is a very interesting record of the work of the Victorian photographer.</text>
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It seems that almost every town in Cornwall had one or more photographers working in studios. Brooks, Beringer, Burrow, Collenso, Gibson and Preston are just some of those.&#13;
Many won awards for their work and won medals awarded by the Cornwall Polytechnic Society which opened in Falmouth in 1833.&#13;
Carte-de-visite became very popular after 1854, often used as calling cards containing the photographic mount, there are many examples of this type.&#13;
It is apparent that people turned up in their "Sunday Best" to be photographed , it is interesting to note the fashion changes over time from the Victorian era to the Edwardian.&#13;
All the while changes were taking place with the photographic process, from plate and gradually to film and negative and the digital process that we have today.&#13;
This collection is a very interesting record of the work of the Victorian photographer.</text>
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                <text>Edwin Trembath       St Just&#13;
Portrait, Group and Architectural photographer. Active from about 1858 - 1869 in the St Just area. Used Royal Coat of Arms after 1865 royal visit.Captured the photograph of RM Ballantyne the famous novelist in 1868. </text>
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                  <text>The collection consists of 422 photos which were donated by the St Just in Rosalind and St Mawes Heritage Group. The collection consists of images of people and views from a number of photographers who were working in Cornwall from the mid 19th Century.&#13;
It seems that almost every town in Cornwall had one or more photographers working in studios. Brooks, Beringer, Burrow, Collenso, Gibson and Preston are just some of those.&#13;
Many won awards for their work and won medals awarded by the Cornwall Polytechnic Society which opened in Falmouth in 1833.&#13;
Carte-de-visite became very popular after 1854, often used as calling cards containing the photographic mount, there are many examples of this type.&#13;
It is apparent that people turned up in their "Sunday Best" to be photographed , it is interesting to note the fashion changes over time from the Victorian era to the Edwardian.&#13;
All the while changes were taking place with the photographic process, from plate and gradually to film and negative and the digital process that we have today.&#13;
This collection is a very interesting record of the work of the Victorian photographer.</text>
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                <text>Elderly man, balding with full beard</text>
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                <text>W.M. Harrison who was an experienced photographer, worked at Falmouth in the 1880s where he established a studio at 40 Church Street, opposite the Polytechnic Hall. By c. 1885 he had already submitted photographs to a number of photographic expositions, gaining medals at seven of them, in England, France and Austria.</text>
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                  <text>The collection consists of 422 photos which were donated by the St Just in Rosalind and St Mawes Heritage Group. The collection consists of images of people and views from a number of photographers who were working in Cornwall from the mid 19th Century.&#13;
It seems that almost every town in Cornwall had one or more photographers working in studios. Brooks, Beringer, Burrow, Collenso, Gibson and Preston are just some of those.&#13;
Many won awards for their work and won medals awarded by the Cornwall Polytechnic Society which opened in Falmouth in 1833.&#13;
Carte-de-visite became very popular after 1854, often used as calling cards containing the photographic mount, there are many examples of this type.&#13;
It is apparent that people turned up in their "Sunday Best" to be photographed , it is interesting to note the fashion changes over time from the Victorian era to the Edwardian.&#13;
All the while changes were taking place with the photographic process, from plate and gradually to film and negative and the digital process that we have today.&#13;
This collection is a very interesting record of the work of the Victorian photographer.</text>
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                <text>Major and Darker Church Street Camborne, also at Falmouth, Redruth and Penzance.&#13;
Took over the premises of William Piper after Piper's death in 1890</text>
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                  <text>&lt;p&gt;Serena Wadham (1930-2006) was a photojournalist who was based in Islington from the late 1960s until 1987, when she retired to Cornwall, spending her final years at Middle Georgia Farm, Nancledra, near St Ives. After her death her family presented a substantial collection of her negatives, contact sheets and prints, plus some press material and correspondence, to the Morrab Library in Penzance. In May 2008 an exhibition was held at the Library, curated by Robin Lenman, who has also compiled this catalogue. The bulk of the collection relates to Serena Wadham's activities in and around London. But the rest comprises Cornish themes such as early journalistic assignments, the landscape, neighbours and farming around Nancledra, and a 1990s campaign against the redevelopment of Hayle. The photographic prints have been subdivided into subject categories and are mostly stored in &lt;strong&gt;A4-format box files&lt;/strong&gt;, numbered 1-18; negatives and contact prints (mostly in flat cardboard boxes, individually numbered), albums and some miscellaneous material, including larger-format items, are contained in &lt;strong&gt;large archival boxes&lt;/strong&gt;, numbered I-VIII. The selection of c. 80 exhibition pictures, with mounts and captions, is held separately in an &lt;strong&gt;archival portfolio&lt;/strong&gt;.&lt;/p&gt;
&lt;p&gt;Although some prints and contact sheets are captioned with information about subjects and people photographed, SW rarely included dates. However, she assiduously numbered negatives, contact sheets and some prints, and a selection of numbers have been given in the attached chronology.&lt;/p&gt;</text>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="154910">
                <text>Elderly woman pushing a pram full of washing.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="154911">
                <text>Serena photographed women, famous, at work and play and generally going about their business.  These photographs are taken around the streets of Islington where Serena lived. A snapshot of the lives of women in the 1970s.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="154912">
                <text>Serena Wadham</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="154913">
                <text>1970-1980</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="154914">
                <text>Silver Bromide Print</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="154915">
                <text>Photograph</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="154916">
                <text>SWA.334&#13;
also 334.A duplicate</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="38">
            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
            <elementTextContainer>
              <elementText elementTextId="154917">
                <text>Islington London</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
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    </elementSetContainer>
  </item>
  <item itemId="17947" public="1" featured="0">
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      <file fileId="12409">
        <src>http://photoarchive.morrablibrary.org.uk/files/original/Pye_Collection/17947/PC_061.tif</src>
        <authentication>d3f14b739bfc5e6f9d12a1346935d82b</authentication>
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    <collection collectionId="31">
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          <name>Dublin Core</name>
          <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="154269">
                  <text>Pye Collection</text>
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              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="154300">
                  <text>The collection consists of 422 photos which were donated by the St Just in Rosalind and St Mawes Heritage Group. The collection consists of images of people and views from a number of photographers who were working in Cornwall from the mid 19th Century.&#13;
It seems that almost every town in Cornwall had one or more photographers working in studios. Brooks, Beringer, Burrow, Collenso, Gibson and Preston are just some of those.&#13;
Many won awards for their work and won medals awarded by the Cornwall Polytechnic Society which opened in Falmouth in 1833.&#13;
Carte-de-visite became very popular after 1854, often used as calling cards containing the photographic mount, there are many examples of this type.&#13;
It is apparent that people turned up in their "Sunday Best" to be photographed , it is interesting to note the fashion changes over time from the Victorian era to the Edwardian.&#13;
All the while changes were taking place with the photographic process, from plate and gradually to film and negative and the digital process that we have today.&#13;
This collection is a very interesting record of the work of the Victorian photographer.</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
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      <name>Still Image</name>
      <description>A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.</description>
      <elementContainer>
        <element elementId="10">
          <name>Physical Dimensions</name>
          <description>The actual physical size of the original image</description>
          <elementTextContainer>
            <elementText elementTextId="157442">
              <text>4 x 2.5</text>
            </elementText>
          </elementTextContainer>
        </element>
      </elementContainer>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="157434">
                <text>Elderly Woman sitting at small table holding a book.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="157435">
                <text>Elderly Woman sitting at small table holding a book.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="157436">
                <text>John Gibson - Scilly and Penzance.&#13;
Born in 1827 in the Aran Islands came to Scilly in 1840. Times were hard and moved to Penzance in 1860 and apprenticed to Robert Preston. Moved back to Scilly 1865-1870. Started photography with 2 sons specialising in dramatic shipwrecks, natural phenomena and the antiquities both of Scilly and West Cornwall. Standards were high. As business was good, another shop was opened on the promenade at Penzance in 1877. In 1879 moved to 10 Market Jew Street Penzance. John Gibson remained on and his sons moved between Scilly and Penzance. In 1910Gibson retired aged 83 and died in 1920 at St Buryan. The sons and grandsons continued and in 1925v the famous guide book was produced. The sons continued in business until 1958. It is thought that John Gibson must have been making plate photographs well before 1870. An outstanding photographer.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="157437">
                <text>Morrab Library</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="157438">
                <text>1870 - 1910</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="157439">
                <text>Morrab Library</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="157440">
                <text>Print</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="157441">
                <text>PC 061</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
    <tagContainer>
      <tag tagId="2287">
        <name>Peop</name>
      </tag>
    </tagContainer>
  </item>
</itemContainer>
