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                  <text>The Angove Collection consists of over 3000 photographic prints. Collected by Dick Angove (1917-1992), a prolific writer on all aspects of Cornish life, the collection covers industrial archaeology, farming, fishing, railways, and rural life. He was an avid collector of old photographs, as well as producing his own.&lt;br /&gt;&lt;br /&gt;Richard Angove himself is pictured in the following photos, taken at Cable &amp;amp; Wireless in Porthcurno: &lt;a href="http://library.morrab.lan/omeka/items/show/8323"&gt;Comm 4.002&lt;/a&gt;, &lt;a href="http://library.morrab.lan/omeka/items/show/8327"&gt;Comm 4.003&lt;/a&gt;, &lt;a href="http://library.morrab.lan/omeka/items/show/8334"&gt;Comm 4.005&lt;/a&gt;, &lt;a href="http://library.morrab.lan/omeka/items/show/8397"&gt;Comm 6.009&lt;/a&gt;, &lt;a href="http://library.morrab.lan/omeka/items/show/8365"&gt;Comm 8.012&lt;/a&gt; and &lt;a href="http://library.morrab.lan/omeka/items/show/8395"&gt;Comm 8.032&lt;/a&gt;.&lt;br /&gt;&lt;br /&gt;</text>
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                <text>The 5,077-ton tanker, Ponus, which was laden with crude oil, went ashore on November 3rd 1916.  She caught fire during the wreck and was alight for almost three days. &#13;
&#13;
At the time, a number of so-called tankers were either converted cargo ships/ had been built on the lines of a conventional cargo-carrying ship, with accommodation and bridge amidships. &#13;
&#13;
The 405ft-long Ponus was just a 'tanker' and had been built in 1902 by Russels of Port Glasgow, where she was launched as the Kennebec. She arrived at Falmouth at 7pm on November 2nd from Trinidad and as no pilot was available she was anchored three-quarters of a mile off-shore.&#13;
&#13;
During the night the wind increased almost to gale force and though a second anchor was dropped it fouled the first and the Ponus dragged ashore on the spit of rock between Swanpool and Gyllyngvase. &#13;
&#13;
Blasts on her siren and distress rockets roused most of Falmouth and hundreds flocked to the beach to watch the tug Victor trying to tow the Falmouth lifeboat round Pendennis to the rescue. But heavy seas forced them to turn back and at 10 am Captain Collins, master of the Ponus, risked lowering two of the ships boats, both of which managed to reach the shore. The master himself and the rest of the crew were rescued by the lifeboat on a second attempt.&#13;
&#13;
An hour later a thin trickle of smoke was seen to be rising from the ship and quickly became a thick plume. The onlookers were first amused, then alarmed to see a man appear on deck wearing nothing but a small vest. Soon discovering that he was the only man left on board., he assembled a primitive raft, threw it overboard and jumped in after it. Raft and man were swept under the stem and pinned against it and only a timely rescue by a dinghy which put off from the beach saved the life of the man in the vest. &#13;
&#13;
By evening, the entire midship section of the Ponus was ablaze and when the funnel collapsed the entire sky was lit by flames. At 5:30 am on November 4th a terrific explosion sent burning oil pouring out over the sea to spread along the beach in an unbroken line. Further explosions occurred as the day wore on and soon the fire had become a very real hazard to property on shore. A boat from the Ponus, somehow full of blazing oil, broke adrift and floated down to Pendennis, spreading the fire. By 7pm the ship's sides were glowing red-hot and the rising tide caused the sea around the wreck to boil and spit. The fire burnt all that night and all the next day, finally dying down on November 6th. &#13;
&#13;
Yet despite its severity the ship remained on the rocks, its structure virtually intact. For two years until November 1918, when a large section of the stern was cut away and taken into Falmouth docks for scrapping. The remainder was demolished by successive salvage firms and gales, but a great deal of her iron plating remains in the shallows. On some charts of the wreck of the Ponus is still marked, with the inscription "being demolished 1923."&#13;
&#13;
Description from Richard Larn and Clive Carter, Cornish Shipwrecks: The South Coast (Newton Abbot: David &amp; Charles, 1971), p.67-68.</text>
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                <text>The 5,077-ton tanker, Ponus, which was laden with crude oil, went ashore on November 3rd 1916.  She caught fire during the wreck and was alight for almost three days. &#13;
&#13;
At the time, a number of so-called tankers were either converted cargo ships/ had been built on the lines of a conventional cargo-carrying ship, with accommodation and bridge amidships. &#13;
&#13;
The 405ft-long Ponus was just a 'tanker' and had been built in 1902 by Russels of Port Glasgow, where she was launched as the Kennebec. She arrived at Falmouth at 7pm on November 2nd from Trinidad and as no pilot was available she was anchored three-quarters of a mile off-shore.&#13;
&#13;
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&#13;
Blasts on her siren and distress rockets roused most of Falmouth and hundreds flocked to the beach to watch the tug Victor trying to tow the Falmouth lifeboat round Pendennis to the rescue. But heavy seas forced them to turn back and at 10 am Captain Collins, master of the Ponus, risked lowering two of the ships boats, both of which managed to reach the shore. The master himself and the rest of the crew were rescued by the lifeboat on a second attempt.&#13;
&#13;
An hour later a thin trickle of smoke was seen to be rising from the ship and quickly became a thick plume. The onlookers were first amused, then alarmed to see a man appear on deck wearing nothing but a small vest. Soon discovering that he was the only man left on board., he assembled a primitive raft, threw it overboard and jumped in after it. Raft and man were swept under the stem and pinned against it and only a timely rescue by a dinghy which put off from the beach saved the life of the man in the vest. &#13;
&#13;
By evening, the entire midship section of the Ponus was ablaze and when the funnel collapsed the entire sky was lit by flames. At 5:30 am on November 4th a terrific explosion sent burning oil pouring out over the sea to spread along the beach in an unbroken line. Further explosions occurred as the day wore on and soon the fire had become a very real hazard to property on shore. A boat from the Ponus, somehow full of blazing oil, broke adrift and floated down to Pendennis, spreading the fire. By 7pm the ship's sides were glowing red-hot and the rising tide caused the sea around the wreck to boil and spit. The fire burnt all that night and all the next day, finally dying down on November 6th. &#13;
&#13;
Yet despite its severity the ship remained on the rocks, its structure virtually intact. For two years until November 1918, when a large section of the stern was cut away and taken into Falmouth docks for scrapping. The remainder was demolished by successive salvage firms and gales, but a great deal of her iron plating remains in the shallows. On some charts of the wreck of the Ponus is still marked, with the inscription "being demolished 1923."&#13;
&#13;
Description from Richard Larn and Clive Carter, Cornish Shipwrecks: The South Coast (Newton Abbot: David &amp; Charles, 1971), p.67-68.</text>
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                  <text>The surname comes from the farm of Trevaskis standing close by Gwinear parish.&#13;
W.J. Trevaskis was in a geographically-constrained way a successful local photographer. Evidence exists of a carte de visit taken in 1863 although he was first listed as a photographer in 1883. The business was run from the Leedstown house now called 'An Gernyk'. From 1889 Trevaskis had a branch studio at Nettles Hill in Helston. Carte de visit imprints of the later 1870s or the 1880s announce that he was at Leedstown on Mondays, Thursdays, and Saturdays; Porthleven, Tuesdays and Wednesdays; Breage on Fridays.&#13;
Business continued into the early years of the 20th Century - it is not known when Mr Trevaskis died. The business was revived by his daughter Miss Polly Trevaskis who was listed as a photographer at Leedstown up to the start of the last war.</text>
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                  <text>The collection came from the Zennor Wayside Museum which was housed at the old mill in Zennor. It was privately run and when the owners retired the photograph were gifted to the Morrab Library. </text>
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                  <text>The following is taken from the Wayside Folk Museum Website: &#13;
The natural features of land and sea ensured that the area around to Zennor was remote and inaccessible until around the start of the 19th century. Only pack animals and sledges brought goods to this part of Cornwall, as there were no roads. Such isolation helped to preserve both ancient implements and customs. Towards the middle of the 20th century, Colonel Freddie Hirst began collecting relics peculiar to Zennor which eventually became exhibits in the Wayside Museum. Today there are more than five thousand items in the collection, exhibited in sixteen different display areas. These include an extensive collection of photographs and detailed information about people who have lived in the area. Exhibits include waterwheels from the Cornish mining industry, a cobble's shop with an exhibition on the history of the museum, and an 18th century kitchen. There is also a mill building, containing original machinery and millstones, a collection of early agricultural implements and a blacksmith's forge. In addition there are lots of domestic implements, many of which can be handled to demonstrate their original use. Within the complex is a tea garden, gift shop and a children's museum with a quiz trail and certificate for children who participate. Zennor is situated on the coast road to Land's End, four miles west of St Ives. The museum is open daily between April and October each year.</text>
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                <text>Negative</text>
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                <text>ZWM 329</text>
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                <text>Zennor</text>
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              <name>Title</name>
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                  <text>Zennor Wayside Museum</text>
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                  <text>Everyday life in rural Zennor</text>
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              <name>Description</name>
              <description>An account of the resource</description>
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                  <text>The collection came from the Zennor Wayside Museum which was housed at the old mill in Zennor. It was privately run and when the owners retired the photograph were gifted to the Morrab Library. </text>
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                  <text>The following is taken from the Wayside Folk Museum Website: &#13;
The natural features of land and sea ensured that the area around to Zennor was remote and inaccessible until around the start of the 19th century. Only pack animals and sledges brought goods to this part of Cornwall, as there were no roads. Such isolation helped to preserve both ancient implements and customs. Towards the middle of the 20th century, Colonel Freddie Hirst began collecting relics peculiar to Zennor which eventually became exhibits in the Wayside Museum. Today there are more than five thousand items in the collection, exhibited in sixteen different display areas. These include an extensive collection of photographs and detailed information about people who have lived in the area. Exhibits include waterwheels from the Cornish mining industry, a cobble's shop with an exhibition on the history of the museum, and an 18th century kitchen. There is also a mill building, containing original machinery and millstones, a collection of early agricultural implements and a blacksmith's forge. In addition there are lots of domestic implements, many of which can be handled to demonstrate their original use. Within the complex is a tea garden, gift shop and a children's museum with a quiz trail and certificate for children who participate. Zennor is situated on the coast road to Land's End, four miles west of St Ives. The museum is open daily between April and October each year.</text>
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                  <text>Morrab Library</text>
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              <name>Date</name>
              <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <elementText elementTextId="147822">
                  <text>2015</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="147823">
                  <text>Morrab Library</text>
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              <name>Format</name>
              <description>The file format, physical medium, or dimensions of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="147824">
                  <text>Photographic prints</text>
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      <name>Still Image</name>
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          <name>Physical Dimensions</name>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Pony and Cart</text>
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            <description>An account of the resource</description>
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                <text>Pony and cart standing outside House</text>
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            <name>Publisher</name>
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                <text>Morrab Library</text>
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              <elementText elementTextId="153925">
                <text>Morrab Library</text>
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            <name>Format</name>
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            <name>Identifier</name>
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                <text>ZWM 330</text>
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                  <text>The surname comes from the farm of Trevaskis standing close by Gwinear parish.&#13;
W.J. Trevaskis was in a geographically-constrained way a successful local photographer. Evidence exists of a carte de visit taken in 1863 although he was first listed as a photographer in 1883. The business was run from the Leedstown house now called 'An Gernyk'. From 1889 Trevaskis had a branch studio at Nettles Hill in Helston. Carte de visit imprints of the later 1870s or the 1880s announce that he was at Leedstown on Mondays, Thursdays, and Saturdays; Porthleven, Tuesdays and Wednesdays; Breage on Fridays.&#13;
Business continued into the early years of the 20th Century - it is not known when Mr Trevaskis died. The business was revived by his daughter Miss Polly Trevaskis who was listed as a photographer at Leedstown up to the start of the last war.</text>
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          <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>Image has faded with time 10% of left side is totally obscured</text>
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              <text>8.5 x 6.25</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Pony and Cart</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Smart gentleman sitting in a two wheeled cart which is pulled by a pony.</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Trevaskis</text>
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            <description>An entity responsible for making the resource available</description>
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                <text>Morrab Library</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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                <text>Morrab Library</text>
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                <text>Quarter 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>TJ .56</text>
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  <item itemId="23952" public="1" featured="0">
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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>Pony and Trap with Mrs Hooper and Miss Rowe.</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Pony and Trap with Mrs Hooper and Miss Rowe.</text>
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            <name>Publisher</name>
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                <text>Morrab Library</text>
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                <text>Morrab Library</text>
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                <text>Print</text>
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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>Photographs  which have come from multiple sources. They include a huge variety of photos of subjects which appear elsewhere. </text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Pony driven mill</text>
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            <description>An unambiguous reference to the resource within a given context</description>
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                <text>M.2214</text>
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                  <text>Photographs  which have come from multiple sources. They include a huge variety of photos of subjects which appear elsewhere. </text>
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                <text>Miscellaneous</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Pool and Son, Wine Merchant. Mates Illustrated Penzance (Corporation Official Guide)</text>
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                <text>Morrab Library</text>
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                <text>1902-7</text>
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            <description>Information about rights held in and over the resource</description>
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              <elementText elementTextId="17833">
                <text>© Morrab Library</text>
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                <text>Left the White Lion Inn and right now an estate agents, located in the Green Market, Penzance</text>
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                <text>LIGHT 18OF 134</text>
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                <text>Poor photo of Eddystone lighthouse top cut off    1935</text>
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                <text>Anno</text>
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                <text>Plymouth</text>
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                <text>Note base of earlier tower alongside</text>
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                <text>UPTON TOWNAS HAYLE</text>
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          <name>Damaged?</name>
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                <text>Upton Towans Hayle</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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                  <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;
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