Kathleen Davidson teaches art history at the University of Sydney. Her recent publications include ‘Colonial Science and Photographic Portraits’ in Judy Annear (ed.), The Photograph and Australia (AGNSW Press, 2015); ‘Connecting the Senses: Natural History and the British Museum in the Stereoscopic Magazine’, 19: Interdisciplinary Studies in the Long Nineteenth Century (2014); ‘Speculative Viewing: Victorians’ Encounters with Coral Reefs’ in Grace Moore and Michelle Smith (eds.), Victorian Environments (Palgrave Macmillan, forthcoming); and ‘Photography and the Triumph of Science in European Vision and the South Pacific’ in Jaynie Anderson and Christopher Marshall (eds.), The Multiple Legacies of Bernard Smith (Power Publications & AGNSW Press, 2016). Previously, she was Curator of International Photography at the National Gallery of Australia.

• Table of ContentsList of IllustrationsAcknowledgementsIntroductionRethinking the Role of Photography in Victorian Natural HistoryEmerging Sites of Production: A Comparative ApproachFormative Visions of EmpireExchanging Views of EmpireFrom ‘Immutable Mobiles’ to ‘Boundary Objects’Making and Moving ImagesPeripatetic Objects of Empire and Collections at the PeripheryNavigating the Archive Chapter 1 – Paper Museums: Photography and Natural History at the British MuseumFrom Institutional Priorities to Imperial InterestsA Virtual Inventory of Specimens: Circulating New Knowledge and Filling in the GapsPrivate Operators and EntrepreneursChapter 2 – Museum Traffic: Naturalist Correspondents and the Advent of Photography in the Colonial MuseumFrom German Settler to Cosmopolitan Scholar: Colonial Masculinity and the Rise of the Self-made ManNaturalist Correspondents, Photography and the Reframing of Natural HistoryExpeditionary Photography and the ‘New Traveller’s Tales’Chapter 3 – The Rhetoric of Exemplarity: Portraiture and the Naturalist as CelebrityGentleman Amateurs and Professional Bodies: The Social Formation of Victorian ScienceThe Naturalist RefashionedChapter 4 – Nature as Spectacle: Encountering the Moa from Christchurch to Madras via London and ParisThe Origin of the Natural History Collections at the Canterbury MuseumA New Era of the Museum Begins: The Debate over Order versus SpectaclePortraits and the Press: The Colonial Naturalist as PublicistConclusionBibliographyIndex

Kathleen Davidson teaches art history at the University of Sydney. Her recent publications include ‘Colonial Science and Photographic Portraits’ in Judy Annear (ed.), The Photograph and Australia (AGNSW Press, 2015); ‘Connecting the Senses: Natural History and the British Museum in the Stereoscopic Magazine’, 19: Interdisciplinary Studies in the Long Nineteenth Century (2014); ‘Speculative Viewing: Victorians’ Encounters with Coral Reefs’ in Grace Moore and Michelle Smith (eds.), Victorian Environments (Palgrave Macmillan, forthcoming); and ‘Photography and the Triumph of Science in European Vision and the South Pacific’ in Jaynie Anderson and Christopher Marshall (eds.), The Multiple Legacies of Bernard Smith (Power Publications & AGNSW Press, 2016). Previously, she was Curator of International Photography at the National Gallery of Australia.

• Table of ContentsList of IllustrationsAcknowledgementsIntroductionRethinking the Role of Photography in Victorian Natural HistoryEmerging Sites of Production: A Comparative ApproachFormative Visions of EmpireExchanging Views of EmpireFrom ‘Immutable Mobiles’ to ‘Boundary Objects’Making and Moving ImagesPeripatetic Objects of Empire and Collections at the PeripheryNavigating the Archive Chapter 1 – Paper Museums: Photography and Natural History at the British MuseumFrom Institutional Priorities to Imperial InterestsA Virtual Inventory of Specimens: Circulating New Knowledge and Filling in the GapsPrivate Operators and EntrepreneursChapter 2 – Museum Traffic: Naturalist Correspondents and the Advent of Photography in the Colonial MuseumFrom German Settler to Cosmopolitan Scholar: Colonial Masculinity and the Rise of the Self-made ManNaturalist Correspondents, Photography and the Reframing of Natural HistoryExpeditionary Photography and the ‘New Traveller’s Tales’Chapter 3 – The Rhetoric of Exemplarity: Portraiture and the Naturalist as CelebrityGentleman Amateurs and Professional Bodies: The Social Formation of Victorian ScienceThe Naturalist RefashionedChapter 4 – Nature as Spectacle: Encountering the Moa from Christchurch to Madras via London and ParisThe Origin of the Natural History Collections at the Canterbury MuseumA New Era of the Museum Begins: The Debate over Order versus SpectaclePortraits and the Press: The Colonial Naturalist as PublicistConclusionBibliographyIndex