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'No. 245' written below title.

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213 x 160 mm. A studio photograph of three stone heads carved in mixed Oriental-Cypriot style.

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209 x 156 mm. A studio photograph of three stone heads carved in mixed Oriental-Cypriot style.

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213 x 160 mm. A studio photograph of two stone heads carved in mixed Oriental-Cypriot style.

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213 x 161 mm. A studio photograph of two stone heads carved in mixed Oriental-Cypriot style.

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163 x 212 mm. A studio photograph of a woman holding a sprig of leaves, broken at the waist, and carved in a mixed Oriental style.

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159 x 204 mm. A studio photograph of three statues carved in a mixed Oriental style.

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164 x 214 mm. A studio photograph of two figures, carved in a mixed Oriental style.

Scope and Contents This broad heading has been used to cover a substantial collection of loose prints, dating chiefly from the period 1960-1982, but including a few of earlier date. The majority come from the files of the RCS journal known successfully as ‘United Empire,’ ‘Commonwealth Journal,’ and ‘Commonwealth,’ in which some were published, but there are also items obtained for inclusion in the exhibition ‘Commonwealth in Focus’ in 1982 and these are indicated by CIF and the catalogue number in the...

Scope and Contents 84 x 115 mm. Woodburytype. A view showing two Cypriot women in skirts in the European style: 'Nowadays, the attire of Cypriote women is frequently so simple as to suggest its being designed for comfort and convenience rather than for aesthetic display. There could, for instance, be nothing more simple or modest than the costumes shown in the accompanying plate. The one worn by the figure in the background is probably a relic of some severe pre-Turkish period, while the other is purely...

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Quarter-plate (landscape format).

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206 x 149 mm. A view showing the ruins of the monastery at Cape Gata, situated on the promontory south of Limassol. The peninsula gains its name from the monastery of St Nicholas of the Cats, the cloisters being a refuge for strays.

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186 x 239 mm. View showing memorial statuary of a reclining figure surrounded by angels, a lion and a figure of the Virgin Mary in the Church of St Francis at Assisi. It has not been possible to trace Hecuba Lusignan in geneological tables of the Lusignan line (Hill 1948, pp. 1156-1158).

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Half-plate (landscape format). About five miles from Morphon. The port of Karavastasi and Pomos point in the distance. Turkish hawkers in the foreground.

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Quarter-plate (landscape format). Threshing floors behind. Geunyelli was noted formerly as a village of robbers. Stones without any inscriptions whatever.

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Quarter-plate (landscape format). Practically all wheat grown in Cyprus is bearded. [Children with the women].

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Quarter-plate (landscape format). Practically all wheat grown in Cyprus is bearded. [Children with the women].

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89 x 110 mm. Woodburytype. A half-length portrait of a seated man from the village of Prodromos: 'The villagers are a robust race, as may be gathered from the two following photographs, the first of which represents one of the chief people of the place, a man who deserves to be rendered famous for the kind manner in which he welcomes the stranger that may enter within his gates' (Thomson 1879, vol.2, p.36). This man acted as Thomson's guide to the summit of Mount Troodos.

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84 x 107 mm. Woodburytype. A posed portrait of a man from Prodromos: 'Another Highlander figures in the second plate - a tall, bony man of a most obligingly good-natured disposition. He, however, looked a bold, determined character, whose massive hands and muscular frame would stand him in good stead in carrying out any resolve for good or evil' (Thomson 1879, vol.2, p.36).

Scope and Contents 90 x 110 mm. Woodburytype. A view showing a Cypriot sitting on a mule: 'Mules for the photographer possess a most peculiar charm, arising from the perfect immobility of their repose when once they have come to a halting-place ... The owner of the donkeys here represented had brought a load of brushwood to town one evening, and, after disposing of it for fuel, was making his way homeward when the camera was brought to bear upon him. Just at the moment when the picture was being taken,...

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Quarter-plate (landscape format). Under an old olive tree.

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Background research notes by Taylour on the topic of ancient pottery in Cyrprus, titled 'Interim Report on the Iron Age Deposit Myrtou, Cyprus (Seasons 1950/51, dated 12 Jan 1952'. Includes notes in another hand, possibly that of Joan du Plat Taylor. 2 letters from 'Joan', dated with day and month but not year, discuss the catloguing and typologies of Cyprus pottery held in a collection at Oxford.

Scope and Contents 171 x 113 mm. Woodburytype. A view showing a group of Cypriot men in various attitudes. A carefully composed group which illustrates Thomson's perfectionist approach to his craft: 'The accompanying group was taken in front of the ancient Cathedral (now a mosque) of St Sophia. A friendly-disposed crowd of spectators had gathered round the mosque to witness the process of photographing the exterior of the building, and while the pious moslems held themselves aloof, a large number of...

Scope and Contents 182 x 119 mm. Autotype. A view looking over the town from the outer ramparts, with palms and small houses in the foreground and minarets on the horizon: 'Nicosia may be seen to greatest advantage from the summit of its wall. In the distance rises a forest of tapering minarets, that contrast well with graceful palms, and with the undulating lines of foliage that mark the sites of the gardens of the metropolis. The atmosphere, obscured by a heat-haze, imparts a soft, but indescribable,...

Scope and Contents 180 x 117 mm. Autotype. A view looking between clumps of palm trees towards minarets in the distance: 'These heavenward-pointing spires of a crushed and heavy laden race vie with Nature in adorning the scene ... The photograph affords a most attractive glimpse of the capital, which here appears to be a perfect garden of cultivation. The picture faithfully represents a portion of the outskirts of the town, but many quarters are to be found in which desolation reigns supreme' (Thomson...