Unravelling the politics of framing: The Clonbrock photographic collection

This interdisciplinary Irish Studies research examines the Clonbrock Photographic Collection (CPC) housed at the National Library of Ireland’s photographic archive. Of the CPC’s 3,000 images, 2,149 have been digitised. This collection spans the turbulent period of Irish history from the 1860s to the 1930s. This collection is the largest of the four early Irish photograph collections in the NLI. It is comprised of glass plate negatives, photograph albums and lantern slides. These form the collection of the Dillon family of Clonbrock, County Galway and the Crofton family of nearby Mote Park. Each was Protestant, Southern Unionist, loyal to the British Empire, and with a shared interest in photography. In examining the collection, the salient question in exploring each image is frequently not just about “what is in the frame?” but also “what is left out?”. The CPC is a historically valuable visual contribution to Ireland’s cultural heritage. Its images are important aides and additions to facilitate a more nuanced understanding of the complexity and duality of Irish life from the distinct vantage point of an Anglo-Irish landlord family. An empirical study of the photograph collection and estate papers has shown that politics surrounds the practice of photography, whether through national pride or the expression of self, as well as familial and socio-economic Anglo-Irish identity in Ireland of this period. Frequently exhibiting visual politics, the photographers associated with the CPC, often used photography to foster and demonstrate a connection with family, friends, and those in and around the estate at Clonbrock. As argued here, they used their photographs to uphold their status as Anglo-Irish progressive, modern, improving resident landlords while remaining deeply attached to the British Empire. The CPC images further illustrate the philanthropic and community engagement of the women and men of the Clonbrock family, illustrating the sense of duty and service of which they were conscious in their roles. Many scholars consider Augusta Caroline Dillon (née Crofton), who became Lady Clonbrock in 1893, the principal photographer connected to the CPC. This research supports this argument and highlights the significant impact of her life’s work, showing her to be an important, although under-researched, figure in Irish history.

Publisher

University of Galway

Rights

Attribution-NonCommercial-NoDerivatives 4.0 International

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Collections

University of Galway Theses (PhD Theses)