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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>Preston and Poole Penzance&#13;
Between 1860 - 1866 Robert Preston used two separate series of imprints. One series relates to RH Preston and the other to 'Preston and Poole ' in partnership at Penzance and Truro. Before 1866 any imprint featured above the monogram or legend, The Plume and Coronet of the Prince of Wales.</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>Woman seated on velvet chair</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 Royal visit in 1865 Captured the photograph of RM Ballantyne the famous novelist in 1868. </text>
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                <text>1858 - 1869</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>Woman seated with man standing alongside</text>
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                <text>Thomas W Polkinhorne Penzance&#13;
Born in Penzance about 1813. In 1861 described himself as an artist.In 1864 in addition to the photographic business was a commission and emigration agent for Liverpool London and Albert Medical Insurance.&#13;
No listing for him after 1873</text>
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                <text>1861 -1873</text>
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                <text>Morrab Library</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>Serena Wadham&#13;
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                <text>Woman selling dolls clothes in Chapel Market, Islington</text>
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                <text>Title written on the back of the print by Serena Wadham in English, and in another hand the title written in French.&#13;
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            <description>An entity primarily responsible for making the resource</description>
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                <text>1968-1975</text>
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                <text>Silver Bromide Print</text>
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                <text>Chapel Street Market, Islington, London</text>
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        <name>Women's working life</name>
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                  <text>Two family photograph albums related to the Armstrong family.&#13;
The larger album is embossed with the initials E.E.A..  The smaller album has a dedication on the first page which reads "Agnes from E.A.A. 1883".  This album has an embossed spine and is fastened with a metal clasp.&#13;
"E.A.A"  Edmund Archibald Armstrong (1859-1925) was the youngest son of the Rev. John Armstrong (1810-1862) of Dinder, Somerset, and Mary Ann Scobell (1817-1900) who inherited Nancalverne, Penzance in 1883.&#13;
"Agnes" Agnes Margaretta Armstrong (1861-1914), youngest sister of Edmund.&#13;
&#13;
Some of the painted illustrations on the small album pages are signed with a very small cipher EA. </text>
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                <text>Woman siting in a cane  chair in a garden</text>
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                <text>Morrab library</text>
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          <name>Damaged?</name>
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                <text>Woman sitting</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Woman sitting, hedge in background.</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>AE Julian</text>
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                <text>St Ives Archive</text>
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                <text>Morrab Library</text>
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                <text>Morrab Library</text>
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            <name>Format</name>
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                <text>Other Glass Negative</text>
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        <name>1871-1890</name>
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        <name>1891-1910</name>
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        <name>Personal life</name>
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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>Woman sitting at a table with basket and umbrella,</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Woman sitting at a table with basket and umbrella.</text>
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                <text>T.H .Collensa Hayle.</text>
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                <text>Morrab Library</text>
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            <name>Rights</name>
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                <text>Morrab Library</text>
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                <text>PC 004</text>
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        <name>Peop</name>
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              <description>An account of the resource</description>
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                  <text>Family photos taken throughout Barbara's  childhood and teenage years.  The collection includes photos of her mother Marjorie, nee Stevens and other family members.  Reggie Richards, of Richards Photographers, features in many of these family photos.  In the 1960s Marjorie changed her surname by deed poll to Richards.&#13;
&#13;
Barbara, who was deaf,  was born in Penzance  on 18th February  1936 to Marjorie and Wilfred Beckerleg.   She attended St. Gertrude's School.  Her mother raised her after her father left.&#13;
&#13;
Barbara married David Thomas and had a son.  She died on 16th May 1995 at St. Julia's Hospice, Hayle.</text>
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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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                <elementText elementTextId="189856">
                  <text>Morrab Library</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Woman sitting by a wall</text>
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            <name>Description</name>
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                <text>Woman in a polka dot dress, sitting by a wall</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
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                <text>Morrab Library&#13;
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            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>Flimsy Negative - Quarter</text>
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            <description>An unambiguous reference to the resource within a given context</description>
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            <element elementId="50">
              <name>Title</name>
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                  <text>Miscellaneous Glass Negatives and Lantern Slides</text>
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            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
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                  <text>The photo Archive has acquired a large number of glass negatives and lantern slides from various donations. The topics range from those with local interest to others with interesting topics such as sets of lantern slides of botanical specimens and a wonderful collection of slides of Tresco.</text>
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                  <text>Morrab Library</text>
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                <elementText elementTextId="160044">
                  <text>Morrab Library unless otherwise stated</text>
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                  <text>Glass negatives and positives</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Woman sitting in garden holding black cat</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>
            <elementTextContainer>
              <elementText elementTextId="166833">
                <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>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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              <elementText elementTextId="166835">
                <text>MG.075</text>
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            <name>Description</name>
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                <text>Middle aged woman, dressed in suit</text>
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              <name>Title</name>
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                  <text>Richards Collection</text>
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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>Period Costume</name>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Woman sitting in garden on ornate bench</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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            <name>Coverage</name>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>The same garden appears to have been used in at least five scenes. Identical ornate bench and wooden fence for climbing plants</text>
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                <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>Quarter Plate Glass Negative</text>
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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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  <item itemId="19344" public="1" featured="0">
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                  <text>Morrab Library</text>
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              <description>A name given to the resource</description>
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                  <text>Alfred Edmund Julian Collection</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>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Woman sitting in the garden holding young baby</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Woman sitting in the garden holding young baby</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>AE Julian</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>St Ives Archive</text>
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            <name>Publisher</name>
            <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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            <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>
            <description>An unambiguous reference to the resource within a given context</description>
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        <name>1911-1930</name>
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        <name>Domestic and family life</name>
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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 photo Archive has acquired a large number of glass negatives and lantern slides from various donations. The topics range from those with local interest to others with interesting topics such as sets of lantern slides of botanical specimens and a wonderful collection of slides of Tresco.</text>
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              <name>Publisher</name>
              <description>An entity responsible for making the resource available</description>
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              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
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                <elementText elementTextId="160044">
                  <text>Morrab Library unless otherwise stated</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>Glass negatives and positives</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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        <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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            <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>Woman wearing summer dress, in front of stone wall</text>
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            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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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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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>MG.200</text>
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  <item itemId="19584" public="1" featured="0">
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              <name>Title</name>
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              <name>Description</name>
              <description>An account of the resource</description>
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                <elementText elementTextId="94467">
                  <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>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Woman sitting on stone steps</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Woman posing on stone steps, wearing very full dark skirt and high heeled shoes</text>
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            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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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="171053">
                <text>Morrab library</text>
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            <name>Format</name>
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                <text>Flimsy Negative - Other</text>
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        <name>1951-1970</name>
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  <item itemId="17625" public="1" featured="0">
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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>Physical Dimensions</name>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Woman sitting on Velvet Chesterfield</text>
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            <description>An account of the resource</description>
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                <text>Woman sitting on Velvet Chesterfield</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>C Truscott Truro and Falmouth Baptised 18/04/1820&#13;
Brother Walter&#13;
Charles trained in London and became a member of the Oxford and Cambridge Photographic association. In 1855 he returned to Cornwall and considered a summertime branch on the sea front  in Penzance. In January 1863 a mighty storm in Mounts Bay entirely destroyed the studio.&#13;
After this he continued in partnership with his brother Walter in Falmouth thus becoming Truscott Bros.</text>
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            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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                <text>Morrab Library</text>
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            <name>Date</name>
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                <text>1863 - 1876</text>
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                <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>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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                <text>PC 25</text>
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        <name>Peop</name>
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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>St Ives Archive</text>
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        <name>Portrait</name>
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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>
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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>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>PC 181</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>C Truscott Truro and Falmouth Baptised 18/04/1820&#13;
Brother Walter&#13;
Charles trained in London and became a member of the Oxford and Cambridge Photographic association. In 1855 he returned to Cornwall and considered a summertime branch on the sea front  in Penzance. In January 1863 a mighty storm in Mounts Bay entirely destroyed the studio.&#13;
After this he continued in partnership with his brother Walter in Falmouth thus becoming Truscott Bros.</text>
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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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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>Print</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 26</text>
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        <name>Peop</name>
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        <src>https://photoarchive.morrablibrary.org.uk/files/original/Pye_Collection/17948/PC_062.tif</src>
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          <name>Dublin Core</name>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Pye Collection</text>
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              <name>Description</name>
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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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        <element elementId="10">
          <name>Physical Dimensions</name>
          <description>The actual physical size of the original image</description>
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              <text>4 x 2.5</text>
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        <name>Dublin Core</name>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="157443">
                <text>Woman standing by Rustic fence with flowers and umbrella.</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="157444">
                <text>Woman standing by Rustic fence with flowers and umbrella.</text>
              </elementText>
            </elementTextContainer>
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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
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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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            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="157446">
                <text>Morrab Library</text>
              </elementText>
            </elementTextContainer>
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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>
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                <text>1870 - 1910</text>
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            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="157448">
                <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="157449">
                <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="157450">
                <text>PC 062</text>
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        </elementContainer>
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    </elementSetContainer>
    <tagContainer>
      <tag tagId="2287">
        <name>Peop</name>
      </tag>
      <tag tagId="2442">
        <name>Personal life</name>
      </tag>
      <tag tagId="744">
        <name>Portrait</name>
      </tag>
    </tagContainer>
  </item>
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