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His final years were marked by poor health and financial difficulties, and his literary work was met with relative neglect. Furthermore, his oppositional tendencies against the stern conventionality of the patriarchal, militaristic Wilhelminian educational system, which stood in contrast to his artistic inclinations and his free thought, earned him the status of a rebel among his teachers. He sent a copy to the prominent critic and philosopher Fritz Mauthner who returned it a few days later. In May he moved to Freiburg im Breisgau to continue his studies, concentrating on neurology and psychiatry.

He began his dissertation "Disturbances of memory in Korsakoff's Psychosis " in the winter semester of — at the Freiburg psychiatric clinic. His dissertation, completed in April , was published that year by Berlin's Klett Verlag.

Berlin Alexanderplatz by Alfred Döblin -- A Buddy Read with Dennis @ "Intellectual Reads"

On 15 October he took up a position at the Berlin psychiatric clinic in Buch where he worked as an assistant doctor for nearly two years. He then transferred to the city hospital "Am Urban," where he dedicated himself to internal medicine with a renewed interest.

While working in Buch he met Friede Kunke, a year-old nurse from a Protestant background with whom he became romantically involved. Despite sharing in the widespread early enthusiasm for the war among German intellectuals, he soon developed a pacifist disposition. The immediate postwar period was a turbulent time for him—his financial situation was dire, and the death of his sister Meta on 12 March as the result of an injury sustained during skirmishes between the Spartacists and nationalist troops in Berlin showed how volatile the situation in Germany was in the aftermath of the November Revolution.

In February , he met the year-old photographer Charlotte "Yolla" Niclas; the close romantic relationship between the two was to last many years, despite their age difference. This changed with the October publication of his novel Berlin Alexanderplatz which earned him national and global fame. During this time he busied himself with lectures, readings, and the effort to contribute to a collective intellectual response to the growing power of the National Socialists.

He acquired French nationality in October Roosevelt at the White House, and saw his old Berlin acquaintance Ernst Toller again, who was suffering from severe depression and killed himself shortly thereafter. In , aged 62, he was again uprooted by the German invasion of France, and spent weeks in a refugee camp in Mende. That spring had brought the good news that Klaus was alive and in Switzerland after a period working for the French resistance, and the grim tidings that Wolfgang was dead, having committed suicide five years earlier. Becher to settle in East Berlin. Through the intervention of Theodor Heuss and Joachim Tiburtius, he was able to receive more money from the Berlin office in charge of compensating victims of Nazi persecution; this, and a literary prize from the Mainz Academy in the sum of 10, DM helped finance his growing medical expenses.

Erna took her life on 15 September and was buried next to Alfred. His futile and increasingly delusional countermeasures culminate in the fortification and quixotic defense of his family's garden house in suburban Reinickendorf. Following the dissipation of this endeavor, he suffers a breakdown and finally flees the country, eloping aboard a steamship bound for America that is powered by the steam turbines of his victorious competitor.

In its stringent refusal of a tragic tone, the book earned the praise of a young Bertolt Brecht. Berge Meere und Giganten Mountains Seas and Giants presciently invokes such topics as urbanization, the alienation from nature, ecological devastation, mechanization, the dehumanization of the modern world, as well as mass migration, globalization, totalitarianism, fanaticism, terrorism, state surveillance, genetic engineering, synthetic food, the breeding of humans, biochemical warfare, and others.

Manas Part 1 tells the story of a war-hero suddenly struck with an existential realisation of Death. He demands to be taken to Shiva's Field of the Dead in the high Himalaya to commune with Souls on their way to dissolution. Having imbibed several dreadful life stories he falls unconscious, and his body is invaded by three demons who plan to use it to go down to the human world. Manas' guardian, Puto, attempting to drive out the demons, inadvertently kills the body, and Manas's soul wafts back onto the Field.

Puto conveys the body back to Udaipur, then returns to the mountains to fight the demons. In Part 2, Savitri, Manas' wife, refuses to believe her husband is dead, and makes her arduous way up into the mountains to find him. Shiva becomes aware of her presence on his Field, and makes contact across their different dimensions. Savitri is able to couple with Manas' soul, and he is reborn into his body.

In Part 3, the reborn Manas rejoices in his physicality, but does not understand where he fits into the world. He comes upon Puto fighting the three demons, captures them, and is carried by them back down into the world.

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A village priest declares that Manas and the demons make up a single new terrible being: likely meaning a human no longer innocent but equipped with Id, Ego and Superego. When Manas destroys a temple, Shiva comes down to subdue him, but Manas' Ego calls out to the natural world, and Shiva has to release him, transforming the demons into sleek winged panthers on which Manas rides to connect Souls longing to return with humans tired of life.

This powerful and sometimes puzzling story is told in a vigorous, direct and dramatic language, with constantly shifting moods and voices. Published in , its innovative use of literary montage as well as its panoramic portrayal of a modern metropolis have earned it a place among the key works of literary modernism. Berlin Alexanderplatz tells the story of Franz Biberkopf, who as the novel opens has just been released from prison for killing his lover. Although he seeks to become respectable, he is quickly drawn into a struggle "with something that comes from without, that is unpredictable and looks like a destiny.

It has been filmed twice, once in the Berlin-Alexanderplatz , directed by Phil Jutzi and starring Heinrich George as Biberkopf, and then again in Rainer Werner Fassbinder 's part television film. In a poll of noted writers from around the world, Berlin Alexanderplatz was named among the top books of all time. Fermanagh, Enniskillen, N. She entered the work in Ireland in??. Down, N. They had 4 sons between and Isobel was born September 10, in Newtownards, Co. Ireland and died November 11, in Belfast, Antrim, N. Married George Hopps on September 26, After he died in , she married Thomas Davison and moved to Toronto in Antrim, N.

Ire land. They lived most of their lives in Indianapolis, Indiana. She died at the age of 94 on December 2, Is buried near her sister Harriettt. Her husband died in WW2 and she died on July 20, in England. Down, Ireland.

Alfred Döblin - Wikipedia

James inherited his father's farm. Died May, Click here for Daniel Magowan's Family Tree on ancestry. Other Statements by Alfred Magowan. There are no additional quotes in Patricia Roberts' books. All sects upbraided us for preaching works when they preached grace. They said we were working our way to heaven instead of depending on the merits of Christ. They said we did not believe the blood of the Son of God was sufficient to atone for sin. Magowan in letter written about Many of us were moved to go forth against the giant of Mammonistic Christendom.

We forsook all we had. We emptied ourselves of all worldly ambition to have, to be, to hold, to accumulate, to climb, to shine, and to rule over our fellow men. We were uncompromising towards Christendom's institutions and establishments because they were as much a part of the world as its commerce, its finance and other dyed-in-the-wool institutions.

We were so zealous that no arguments against us could have made the slightest effect. Minds were unalterable and irrevocably made up. The need seemed so great. It was a chance to live heroically in an age afflicted with dullness. We despised clericalism and fought against it. We broke idols. We were fanatical and attacked the building of cathedrals alongside the slums. We carried the war into the enemies' hands and spoke ill of the church and the clergy.

We believed that we were the last hope of the world and that ours was an honest-hearted revolt. We set out to form a brotherhood where all would be equal. We wanted to break from all tradition and become a people neither Catholic nor Protestant, with no regulations, no authority, no machinery or human control, to be free to serve God and make people free like ourselves. We put all worldly ambition behind us, none of this world's satisfactions or regards held an attraction, we had no theology to propound, no congregations to please, we saw ourselves as workers but not bosses.

Magowan letter to E.

Cooney, November 9, --incorrect source--quote is not found in this letter. Magowan letter to George--possibly George Walker, September 28, Irvine saying that the home was the original God-ordained institution: the roof under which we should be born; from which we should be married; and from which at the last we should be buried. The early disciples met behind locked and bolted doors for fear of the Jews we are told.

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  7. They met secretly not by choice but by the necessity of the persecution situation that everywhere confronted them. They were driven underground in Rome, and had their meetings in what are called catacombs there. There were reasons for it in the early days-which we could not give in our time. The building of a house of worship would have been an invitation to have it destroyed-persecution of the followers of Jesus being almost the air that the world breathed at that time.

    Homes were safer, and people could slip, into them one by one without being observed. Alfred Magowan, R. Irwin and Edward Cooney travelled to Jerusalem to visit him in Irwin from Enniskillen recalled the following incidents: "He showed us over some of the places he had been lodging in for the past twenty years and he was living under very good circumstances. At that time he was lodging with an ordained minister of the Presbyterian Church. We went away for several days to Nazareth and on our return to Jerusalem he had quite a mail to collect which I had the privilege of picking up for him.

    I would say there were between fifty and sixty letters, and as he opened them I witnessed that there was money in most of them. Magowan commented that Irvine "had many friends, especially in California, who made sure that he never lacked anything. When he had more than his needs required he used the surplus with a free hand. I heard that he once sent one hundred pounds to the poor people of Kilsyth his home town.

    Irwin, A Magowan, by Doug Parker. But should preachers starve? I am prepared to say that it was a dreadful thing to make preachers the exception to the universal law of work and wages Magowan personal communication to Doug Parker, December 6, I was later excommunicated but the excommunicators would hardly call themselves that.

    But I was only one and have heard the testimony of many. I watched the "judge advocate" as he pronounced the death sentence, for that is what it was to Gus Halb. I saw the sweat break out on him as the full meaning of the thing came home to him. He never spoke a word and when he felt himself dismissed he turned and walked out of the room like a man in a dream Magowan personal interview by Doug Parker and personal communication, November, Figure Detail from Figure , above.

    Seaman stereoviews of London — a particular puzzle. It has however proved difficult to attribute some of these with certainty to Seaman. Also note that the photographs are mounted as two separate left and right images rather than the usual Seaman style of a single print with a black dividing line down the middle. Were it not for the printed attribution this would not immediately be identified as a Seaman stereoview.

    Trips to London from Chesterfield would have been an easy train journey and no doubt the enterprising Mr Seaman would sometimes have had business to conduct in the capital. Other Seaman style London stereoviews A number of other stereoviews of London are found which have a strong resemblance to typical Seaman commercial views.

    The cards shown at Figure and Figure for example both have typical Seaman beige mounts, and are titled and numbered in the negative in a format Seaman certainly used. These cards also share that typical Seaman sense of the photographer getting very close to the action and deliberately including figures that are walking purposefully towards the camera. Indeed these cards of which Figure and Figure are only two of several examples look more typical of Seaman.

    Sadly none of the London views encountered have handwritten titles and so the study using forensic handwriting analysis was not able to test them. The Budds collection In early the author purchased at auction a collection of stereoviews. Of these more than are undoubtedly by Seaman, while the rest were views taken by the original owner of the collection, Mr H Budds of Nottingham. How Mr Budds came to acquire the largest single Seaman stereoview collection ever encountered is not clear.

    He was certainly an amateur stereo photographer himself but he worked not as a photographer but as an officer of the Great Northern Railway and he appears to have had no connection with the PCUK. The collection includes some 20 or more superb street scenes of London. This seems to add a further small weight of evidence to Seaman being the author of a significant series of London views.

    Figure A stereoview now attributed to Alfred Seaman. From the Budd collection. See for example Figure Several of these views are found in both standard Seaman commercial view format and Fine Art Photographers format. Figure is an interesting example. Compare Figure with the almost identical image in Figure on a standard Seaman mount. The views are very slightly different — the mounted and dismounted Lifeguard troopers are the same, but the pedestrians have moved on.

    Despite bearing the same negative number these two views were taken a few minutes apart, with the photographer almost certainly Alfred Seaman intent on producing two negatives — perhaps with the intention of selling one on to The Fine Art Photographers Company. Probable Seaman view on Fine Art Photographers mount. Fine art Photographers Publishing Company. Compare to Figure Another possible Seaman image on a Fine Art Photographers mount. Beyond these views which have a strong claim to be attributed to Seaman are several other groups of cards that have some similarity to Seaman views.

    Some scenes have been found in both formats. Conclusions on the London views In the light of this evidence what can we say about London views by Seaman and Sons? However in nearly 20 years of collecting only one of these has been seen, suggesting that the use of this mount was very short lived, or was perhaps only a pilot edition. Many other London views exist that are almost certainly by Seaman. They have a coherent series of negative numbers running from the s to the s.

    Forensic handwriting analysis on this group was not possible as they have printed titles. We can be sure that Alfred Seaman did take some stereoscopic photographs in London, as he attended the Photographic Convention in London, took part in their photographic excursions around the capital and subsequently won a medal for his stereoviews of London street scenes and London Zoo.

    Seaman stereoviews produced by other publishers. One important aspect of the Victorian photographic trade was the sale of negatives between photographers and publishers. National and international publishers, seeking to provide extensive coverage of a region or country would purchase negatives, and the right to print from them, from local photographers.

    This was true for both stereoscopic and flat photography. Alfred Seaman sold a number of his negatives to other commercial publishers, most notably to the Fine Art Photographers Publishing Company. Singley, became one of the most prolific stereo-publishers by the early years of the 20 th century. Thousands of titles and millions of cards were produced. Negatives were purchased from regional photographers and printed on to Fine-Art card stock. These cards are normally grey with brown lettering and titles in the negative. Fine-Art Photographers Publishing Company cards are indeed very fine photographs and usually produced to a high standard.

    They published the work of such masters as T. Figure Bowness from the Pier Windermere. Published by the London Stereoscopic Company from Seaman negative no Graves operated from to Figure Keswick Hotel. Fortescue Mann Fortescue Mann was an active British publisher of views from to , based in Paddington, London. HHS Little seems to be known about this London based publisher and at one time I considered whether or not it might have some link with the Seaman family, however no family members had the initials HHS.

    It is possible of course that Alfred Seaman collaborated with other photographers to produce work under the HHS imprint and the initials could come from the names of the three principals. American publishers seem to have been particularly adept at this trade. It was easy to buy a stereocard, photograph it, and then print views from the copy negative.

    Copy views are usually of inferior quality but are nevertheless an interesting aspect of the photography trade. Figure Torquay England. Unknown publisher under the series title European and American Views, copy of an Alfred Seaman stereoview. Seaman stereoviews sold by other dealers A distinction needs to be made between Seaman views that were published by another company and those Seaman views that were simply sold by another company.

    When a publisher such as The Fine-Art Photographers Publishing Company bought from Seaman, they purchased negatives or copy negatives made by Seaman from which they then printed their own photographs and mounted them on their own mounts. In contrast Seaman supplied many dealers and shops with his own stereoviews, which had been printed and mounted in the Seaman studio.

    These dealers and shops however would often stamp their own details on the back of the view in order to promote their business. Such stamps on the back of stereoviews should not be taken to mean that the photograph was produced by that company or store, only that they sold it. It is interesting to note the number of opticians who retailed stereoviews. Opticians and chemists were closely involved in the development of photography from the s onwards. Opticians through their knowledge of lenses for cameras and viewers and chemists for their skills in the processes involved in developing and fixing photographs.

    Most of these opticians would probably have sold stereocards alongside their stock of stereo viewers. Even today retail chemists are often involved in the photographic processing trade. Here we see further evidence of the interesting links Alfred Seaman made with a range of other photographic entrepreneurs of the day. It seems likely the two men were well acquainted as they appear standing next to each other in the group photograph of the PCUK meeting in Dublin When were the stereoscopic photographs taken?

    Having set out the evidence for Alfred Seaman as the author of these stereoscopic views, the question remains as to when he was active as a stereo photographer. If we can assume that the negative numbering of the views is very roughly chronological, then we have some clues as to dating. The main series of views of Matlock Bath runs from negative number 63 to With the help of local historian Doreen Buxton it is possible to consider dating clues in these pictures.

    In views 65 and 81 for example, we can see the iron girder footbridge across the Derwent. We also see the roof of the skating rink, which closed in and was demolished some time after that. So a timeframe for these early pictures in the sequence is probably between and Figure Detail from stereoview neg. If we turn to higher numbered views we again have some clues. See Error: Reference source not found. The Seaman series of the Glasgow International Exhibition runs in numbers from to and we know these were photographed in Taken together these clues suggest that Alfred was probably taking stereoviews at least from the late s until the early part of the s.

    This timeframe is a further modest hint that his interest in stereo photography may have been kindled through the Photographic Convention of the United Kingdom, which was formed in Here he met and learned from some of the finest stereo photographers of the day, including William England and Richard Keene. The practicalities of creating stereoviews Photographing and manufacturing stereoviews posed some additional challenges for the Victorian and Edwardian photographer. Firstly there was the need to carry around a second single lens camera if it was intended to take non-stereo photographs on the same trip.

    Some cameras allowed the photographer to take either stereo or mono photographs but this often involved changing lens boards and plate holders and was itself complicated. This probably explains why we have very good stereo coverage by Alfred of some of the PCUK meetings — Glasgow, Dublin and London for example but no known stereo photos from other conventions we know Alfred attended — Hereford, Oxford, Cambridge, Great Yarmouth.

    Once the photographer had taken a stereoscopic photograph the glass plate needed to be developed. Alfred would have used dry plates — which were simpler and more robust than their messy and less reliable wet-plate forerunners. On a local trip Alfred would have taken his exposed dry plates home to develop that evening. On a trip to the PCUK conventions, where he took many of his photographs, the conference organizers made darkrooms available for members — either in a hired building or by arrangement with local professional photographers.

    The photographer would then have a developed glass negative of their scene. At this point they would need to decide whether or not to print from the negative or to create copy- negatives to work from. By creating copy negatives Alfred would have ensured that the fragile original could be safely stored away and not risk it being broken by a clumsy assistant. His other technique to ensure that valuable views were not lost was to take several versions of the same scene.

    Alfred Seaman stereoscopic photographer When seen side by side we can notice that people or vehicles have moved on between the different shots. Next the negative would need to be printed and developed.


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    Here again the stereo photo poses some additional challenges. Without this, after printing the left image would sit on the right side of the print and visa versa. The traditional way to achieve this to cut up the print in to a left and a right photo and physically move them across to the correct side when gluing them to the mount. Alfred, however, used an alternative technique. This meant that negatives could be simply printed off to create a single print in which left and right were in the correct position and the whole rectangular print could be pasted on the mount. This removed the risk of separate left and right images being mis-mounted — a surprisingly frequent occurrence in stereo prints.

    The process left a small gap between left and right images on the printing negative. When used to create a print this small vertical gap, which on the negative is plain glass, is printed out as a black line between the prints see for example Figure On most Seaman stereos a small white negative number is seen in the bottom right corner of the photograph. This was written, usually with a special negative numbering paint, on the plain glass side of the negative — that is, the side that did not have the photographic emulsion on.

    This meant that when the photographer came to re-number a negative the old number could be scratched off without damaging the negative photograph on the other side. Re-numbering of negatives was a common practice. As the collection grew it became necessary to order and re-order the numbering system. These titles appear as small white printed letters in the bottom right hand corner, usually accompanied by a number that equates to the negative number. The black ink of the printed title on the negative appears as an unexposed, therefore white, title on the final print see for example Figure 75, left.

    Conventions carried out on this model have for many years been popular amongst photographers of the United States. Trail Taylor, J. Briginshaw, Alexander Tate and Andrew Pringle. Here were 46 of the most distinguished Victorian photographers and in among this illustrious group is Alfred Seaman, 42 years old at the time and looking comfortably at home in this company. Barrow Keene. At this first meeting Alfred was elected on to the Council of the PCUK and was re-elected in that capacity every year until his death. Alfred clearly became a great favourite at the Convention and is often mentioned by name in contemporary accounts.

    A light hearted report in the BJP describes the first outing in where Richard Keene and Alfred took the party on a tour of Haddon:. On the way we met a Peacock -not a bird you know, but a house 3. Some of the enthusiasts stayed to take it outside; others entered to take something else in the interior. When we got to Haddon, we found there hadn't been explicit enough arrangements about the keys. So we divided into two sections; the first might be termed the Keene party, whilst we were left in charge of a seaman, who took us in tow and piloted us over the place with great success.

    Here, there, and everywhere, in the building and all around the grounds, could be seen the tripod legs, like skeletons with concertina heads, every man busy blowing his own bellows and doing his level best. At the Convention however Alfred came in to contact with some of the finest stereographers of the age. William England in particular was pre-eminent in the field. He had been the principal photographer of the hugely successful London Stereoscopic Company and had been sent by them in to bring back the first stereoscopic pictures of Canada and America.

    In the LSC paid 3, guineas for the exclusive rights to photograph the International Exhibition in South Kensington and William England and his team produced a series of fine stereoviews of the event. For those readers not familiar with the locality — The Peacock is a famous public house near Haddon Hall.

    Keene worked with another Derby man, John Warwick, to produce a highly regarded early series of views of Derbyshire and the Midlands counties. A number of the technical lectures described the process of stereoscopic photography, so Alfred would have had opportunity through these to develop his skill. The pattern of the Convention week soon developed in to comfortable predictability. Members arrived and registered and on the first evening there would be a formal opening dinner.

    Then the outgoing President of the Convention would introduce the incoming President who in turn would make a speech. The post of President was usually given to a member of high social standing — typically one of the wealthy amateurs rather than a working studio photographer. For instance when the event returned for its second visit to Derby in Mr Herbert Strutt, wealthy scion of a rich millowning family, was elected President, even though he admitted that he had only a passing skill as a photographer and had never previously been involved with the PCUK.

    What he did have to offer however, was the ability,. Alfred Seaman and the Photographic Convention essential to the post, to host a large lavish party for the members. In his case Mr Strutt arranged for the members to be transported by train from Derby to his Belper mansion, where they were treated to a lavish garden party with free food, drink and an orchestra. Each day the organizing committee would arrange a series of photographic outings. The members would be taken by train or a convoy of carriages to all the local beauty spots and stately homes, where they photographed away to their hearts content.

    Lunch on an outing was taken at a local hotel, or a picnic was arranged. The balance of the evening programme, between social and photographic matters was a constant source of debate among the members. Several suggested that the evening lectures and talks should be abandoned altogether, in favour of more lighthearted activities. Bothamley, in an effusive way, eulogised the new President, Mr. Herbert Strutt, and the illustrious family from which he has sprung.

    Rodgers, of Perth, then spoke so that he couldn't be heard, and afterwards produced what appeared to be an infernal machine. It proved, however, to be harmless, and merely contained an carat gold Maltese cross which only a Convention President wears. Strutt though rose gracefully and it was stuck on him, and the honour was so enthusiastically received by the admiring and envying audience that he subsided quietly into his chair, and blushed the blush of a maiden.

    There was only one smoke-room, and not nearly enough chairs in it, so we sat on one another's knees, on the table, the window-sills and the floor. There were no matches, and foraging parties were instituted. Convention members can do without chairs, but they cannot do without matches. Per con. Members lived in one until the waiters knew them, then they went to the other, subsequently returning to the first one as strangers. The writer did it himself, and was poorly the next day.

    by Richard Whittaker, Oct 28, 2016

    The only regret heard was that there was no whisky on draught. He knows it. Any one who expects to get there a pictorial picture out of a hundred photographic pictures is a ——knows not what he is let in for. As a just judgment the train in the evening was threequarters of an hour late, which gave a thunderstorm a chance, and some of the members got very wet, and returned to Derby to go to bed.

    There was no meeting in the evening. Good job! With Japanese pluck he, undismayed, went to the President's garden-party, and, following the example immediately set, found himself in the refreshment-tent, and had tea and sweet things. Shortly after he found another tent, much cooler than the first one, and claret cup and champagne cup in it. He had them.

    The band played, and a bugle called as per programme. The bugle called the Convention group together—see photograph, the back row, with two feet on two chairs. A well-known Conventioner pulled himself up into position by them, and, hoisting a hand-camera, essayed to snap the Convention snapper. At the critical moment he dropped the camera, and whether he reappeared with it in time to be included in the group or not the photograph will show. Alfred Seaman and the Photographic Convention Wednesday. Waiters attentive and numerous, but no matches, not even when they were asked for.

    A few of the speeches were good and short, some rather turgid and long. The President spoke well, so did Mr. Humphries and Mr. Salmon who replied for "The Press," notwithstanding that he divided his brief speech into three heads. Humphries had a congenial subject, the toast of "The Ladies," to which Mrs. Snowden Ward responded and was received and accompanied with plaudits.

    Bridge and Mr. William Crooke contributed to the musical portion of the evening. The former was warmly encored, and the President perforce departed from his rule and allowed it. The second song was very pretty. Bridge brought it out perfectly, and must have been a sad dog in his prime. Crowther, the local hon.

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    The writer was poorly again the next day. Thursday Hardwick. Photography inside the Hall was not allowed. To add to the disappointment Mr. Seaman, of Chesterfield, discovered in some occult way that the housekeeper had orders, which she had misread, to allow the members of the Convention to photograph interiorally. The glad news was spread about at once, but as the members were then about to pack up for the return journey it only made them wilder, and the usual urbane glee did not spontaneously illumine the remaining hours of that day. Clifton to do it for him. He did it and showed a grasp and lantern-slides of his subject.

    The grasp was better than the slides from a pictorial point of view, the latter lacking in artistic lighting, but still good enough to illustrate the technical points of the subject. Collier Green followed with an exhibition of slides by members of the Derby Photographic Society, together with some effectively coloured slides of flowers brought by visitors from Cape Town. One member exposed fifteen plates in Haddon, and how he did it in such a crowd the writer can't imagine.

    Perhaps he snapshotted for the ''Daily Mail" competition. There was a large audience at the Mechanics' Institute at 8. Snowden Ward made an excellent speech. His subject was "Figures in Landscape. He showed many lantern-slides, the best of them— and two were artistically good—having been made by beginners.

    Some slides sent from Perth followed, several of which were of a very high degree of merit, but were spoilt by white lettering on them of the title of the subject and an index number. This meeting over, Mr. Snowden Ward, feeling more dry than usual, was conducted by a friend to the bar of the local Slater, at which he was received with cheers by Conventioners already there and had something to drink, with ice in it, and was poorly the next day. Some members who weren't in a hurry to go home went to Wingfield Manor, a fortified domestic hall possessing cannon balls left in it by Oliver Cromwell.

    Final—The local members of the Convention are feeling sore. Our character has been impugned. The writer, together with other local members, was given a Convention badge, ornamented with wings of white ribbon. This, it was explained, was that. Alfred Seaman and the Photographic Convention people would know him when they saw him, and if they wanted anything would ask him for it.

    His personal friends, however, have cut him, believing the white ribbon to mean that he has joined the Derby Vigilance and Purity Association. On his complaining of this to the local secretary, Mr. Alfred appears to have used the opportunities afforded by the PCUK outings to build up his catalogue of stereoviews for sale. The stereoview of Wells Cathedral shown in Figure for example, taken during the Convention in Bath, reveals on closer examination to show a group of PCUK members in the foreground, themselves preparing to photograph the cathedral.

    Similar occurrences led to much good humoured complaining within the society, with members reporting that they could not take a decent picture of a. A still from a 'kinematograph' moving picture taken as members boarded a Clyde steamer for an excursion. The Yarmouth film no longer appears to exist but stills from it, which appeared in the photographic press at the time, survive. However by great good fortune the author located a print of the Glasgow film in the Scottish National Film Archive. The author was able to identify the film for the Archive, as well as several of the participants who can be named by reference to the key of the convention group photograph.

    Alfred and his third wife Martha are seen clearly as they walk past the cameraman. Alfred attended every meeting of the PCUK from its inception in until and a report in the BJP noted that he was one of only two members to have such an unbroken attendance. The Final Years In Alfred had been a novice professional opening his first small photographic studio outside Chesterfield. Twenty years later, as the Victorian era ended and the Edwardian age began, he was a rich and successful businessman with a chain of family-run studios across the country.

    His rise had been dramatic and must attest to great skill, energy and business acumen. This was not an easy time for professional photographers, with too many studios often competing for trade and the steady rise of personal amateur photography. He was a Fellow of the Royal Photographic Society.

    He lived in a fine house, drove an expensive French car, spent each summer with his well-to-do contemporaries at the Convention and his cherished granddaughter went to a smart boarding school. Alfred the young Norfolk bricklayer, son of a humble brickmaker, had become a prominent Chesterfield businessman. At home they mixed with other wealthy middle class entrepreneurs like TP Wood, Mayor of Chesterfield and Alfred was active in respectable organisations such as the Freemasons, the Horticultural Society and the Bowls Club.

    The last dated photograph of Alfred, standing on a tree stump to secure a better vantage point from which to photograph, Hereford Convention Elected every year to the Council he was clearly well respected in the organisation 5. His antics are regularly recorded in accounts of the Convention in the photographic press. From these we have a picture of a genial character, at ease with people from all social classes and able to enjoy himself in company. He and his wife also earned the distinction of being the first identifiable Chesterfield couple to be filmed in a moving picture — one that, remarkably, survives to this day.

    Martha died in and in about Alfred sold up his main Chesterfield studios and moved to live in Sheffield at 14 Carter Knowle Road. Here he was looked after by his daughter Bertha with the help of two housemaids — Lucy and Lizzie Featman. It is not clear if he still retained a role in the Sheffield branches or if he retired completely.

    From what we can make of his character it is hard to imagine him willingly giving up all involvement in the business he had built from scratch. Sadly his health began to deteriorate. For the first time ever he failed to attend the Convention in and he spent most of confined to his house. He died of heart failure at his home on July 6 th at the age of He had been a firm supporter of the convention ever since its foundation in and the news of his death, which was received at the convention dinner this year, was a shock to many of those present.

    All that remains is a written note of its inscription and location. Appendix 1: Life dates and careers of Alfred, his children and brother. Brickmaker, living as a lodger in Shereford Road Hempton with the Meek family. Second premises in Market Hall, Corporation Street opened. Ilkeston Studio opened. Appendices Age: 57 Residence Sheffield, Yorkshire.

    Moved from Chesterfield to 61, Wostenholme Road, Sheffield. Source: AS obit. Albert returned to Chesterfield to run the studio prior his father's death. The Brighton studio reportedly went in to liquidation and was taken over by E Van Trolga who had several London studios. Photographer, living with his 3 brothers Age: 23 Residence: Hucknall, Nottinghamshire. Photographer and picture frame maker working at home. Mary Maud may herself have later run a studio in Exeter in In turn his son Christopher took over the running of the studio which was still operating under the Seaman name in Appendices Bertha Maria Seaman 9th child, only daughter known in the family as Cissy, being the only sister of 9 brothers!

    Birth Chesterfield Derbys. Age: 98 Death, Poole, Dorset. Appendices Ernest Douglas Seaman 10th child, 9th son June. Appendices 73 74 77 77 78 81 82 83 84 85 87 Appendices Appendices a Appendices A Appendices A A Leeds Langsdale Bridge Traveling through the.. Alfred Seaman self portrait. Bibliography Bedding, T. British Journal of Photography, March 10th : ppp.