The status of photographs in the history of museum collections is a complex one. From its very beginnings the double capacity of photography - as a tool for making a visual record on the one hand and an aesthetic form in its own right on the other - has created tensions about its place in the hierarchy of museum objects. While major collections of 'art' photography have grown in status and visibility, photographs not designated 'art' are often invisible in museums. Yet almost every museum has photographs as part of its ecosystem, gathered as information, corroboration or documentation, shaping the understanding of other classes of objects, and many of these collections remain uncatalogued and their significance unrecognised. This volume presents a series of case studies on the historical collecting and usage of photographs in museums. Using critically informed empirical investigation, it explores substantive and historiographical questions such as what is the historical patterning in the way photographs have been produced, collected and retained by museums? How do categories of the aesthetic and evidential shape the history of collecting photographs? What has been the work of photographs in museums? What does an understanding of photograph collections add to our understanding of collections history more broadly? What are the methodological demands of research on photograph collections? The case studies cover a wide range of museums and collection types, from art galleries to maritime museums, national collections to local history museums, and international perspectives including Cuba, France, Germany, New Zealand, South Africa and the UK. Together they offer a fascinating insight into both the history of collections and collecting, and into the practices and poetics of archives across a range of disciplines, including the history of science, museum studies, archaeology and anthropology.

The Maritime Information Guide provides a list of UK libraries, record offices, archives, museums, institutions, associations and other bodies that have, or can make available, information on maritime matters. Titles are listed in alphabetical order by the name by which users are most likely to look up. This is the fourth volume, produced in 2004, following the previous editions in 1973, 1983, and 1993.

A resource for the photographic conservator, conservation scientist, curator, as well as professional collector, this volume synthesizes both the masses of research that has been completed to date and the international standards that have been established on the subject.

Captain Henry Gillespie (1857–1937), of Portland, Maine, went to sea as a young man of 17, serving as “able-bodied seaman” on a New Bedford whaler. Over the next 47 years he would advance to deck officer, then master of sailing and steam ships. He was commissioned as an officer in the US Navy during World War I, commanding vessels operating in the war zone. Following the war, he returned to merchant marine service until his retirement in 1921. Maritime historian Michael Jay Mjelde has chronicled the colorful life and career of this “down-east” man of the sea, mining available first-person accounts, interviews with family members, government records, and maritime archives on both coasts. The result is a narrative in clear, highly engaging prose that puts readers on the tilting decks and noisy wharfs frequented by Gillespie. Through Mjelde’s retelling of a remarkable life, the age of clipper ships, the Cape Horn trade, and oceangoing steamers comes into vivid relief, affording a richly embossed assessment of Captain Gillespie’s life and times. From Whaler to Clipper Ship adds a layer of full-bodied context to our understanding of this pivotal era in American maritime history. The wealth of detail will appeal to scholars, students, and maritime history enthusiasts.