Photographs by Frith are included the following pre-Felton albums/collections:
Fenton, Bedford & others Cathedrals and Abbeys in England and Scotland {1860} SLV [PH]
Frith Syria & Palestine {1860} SLV [PH]
Frith Ancient Egypt {c.1870} SLV [PH]
Frith Modern Egypt {c.1870} SLV [PH]
Frith, Robertson & Beato Photographs of Palestine & Egypt {1860} SLV [PH]
Skeen & others Pompei {sic} and Paris {c.1888} SLV [PH]

Frith took his meticulously detailed photographs of Baalbek and other sites with very large cameras, using the “collodion process” (for remarks on this technique, see also comments on Samuel Bourne under Bourne & Shepherd).

He made several photographic trips to the Middle East, the first of them to Egypt in 1856. His photos of Egypt and Palestine were published in London in 1858; and he then published a selection of them in an edition of the Bible in 1862.

Several of the albums listed were early purchases from the Architectural Photographic Association, London, while others were donated to Melbourne by Edward Thompson, later chief librarian at the British Museum (see linked donor entry, for further details).


Among the many references to Frith, of particular relevance to the albums listed here are Jakubowicz, “True Portraiture” (2018), comparing Melbourne’s photos with the slightly earlier engravings of the same subject-matter after David Roberts: see Haghe after Roberts The Holy Land, Syria, Idumea, Arabia, Egypt & Nubia {by 1860} SLV [PR]; and Douglas Nickel, Francis Frith in Egypt and Palestine: a Victorian Photographer Abroad, Princeton UP, 2004 (including a useful Appendix, pp.177-79, with a complete list of the negative nos.and plate titles for Frith’s Egyptian and Palestinian photos) 

For Frith, see also Joanna Talbot, Francis Frith, Macdonald, 1985 (in series Masters of Photography); AKL45 (2005), pp.292-93 (with further references); Hannavy 19C Photography (2008), {check}; and Guadagnini Photography: the Origins (2010), esp.pp.106-7 (biography by Francesco Zanot), and Guadagnini’s essay “The Journeys of Photography” (esp.pp.112 and 126)