Bas-relief of Cupids with garlands in terra cotta

The photograph was produced using 19th-century photographic processes, likely albumen print, which allowed for fine detail and tonal range. The composition is carefully framed to emphasize the relief’s form and surface texture, minimizing distractions. Lighting was controlled to highlight sculptural depth, reflecting the museum’s emphasis on accuracy over artistic interpretation.

In 1864, the V&A acquired 500 photographs from Louise Laffon’s series documenting the Campana Collection in Paris. Laffon, among the earliest female members of Le Société Française de la Photographie, worked under commission. The images were purchased through Monsieur E. Cappe, an agent facilitating the transfer of cultural materials. These photographs entered the museum’s collection as part of its broader effort to build a visual archive of European decorative arts.

During the mid-19th century, museums increasingly relied on photography to expand access to objects beyond physical display. The V&A’s initiative aligned with broader educational reforms, positioning photography as a scientific and pedagogical medium. Female photographers like Laffon and Isabel Agnes Cowper were instrumental in this system, though their contributions were often unacknowledged in public records of the time.

The acquisition of Laffon’s photographs established a precedent for the systematic documentation of decorative arts through photographic reproduction. These images remain part of the V&A’s archival holdings, offering insight into 19th-century museological practices and the role of women in early photographic documentation. Their continued preservation underscores the museum’s foundational commitment to visual education.