Bas-relief Virgin and Child in enamelled earthenware by Luca della Robbia

The photograph was produced using early photographic processes, likely albumen or salt print, capturing fine textures of the glazed terracotta relief. The composition is straightforward, emphasizing clarity over aesthetic flourish. Lighting was carefully controlled to reveal the subtle modeling of the figures and the luminous quality of the enamel, aligning with the museum’s goal of precise visual documentation.

In 1864, the V&A acquired 500 photographs from Louise Laffon’s series documenting the Campana Collection in Paris. Laffon, one of the earliest female members of the French Photographic Society, was commissioned through agent E. Cappe. These images, including the della Robbia relief, entered the museum’s collection as part of a broader effort to build a visual archive of European decorative arts.

During the mid-19th century, museums increasingly turned to photography to overcome the limitations of hand-drawn copies and plaster casts. The V&A’s initiative reflected a wider shift in art education, where reproducible images allowed broader access to objects otherwise confined to elite collections. Female photographers like Laffon and Cowper were instrumental in this system, though their contributions were often unacknowledged in public records.

The photographs acquired from Laffon remain part of the V&A’s historical archive, illustrating early institutional strategies for visual education. Their preservation underscores the role of photography in shaping modern museum practices—prioritizing accuracy, accessibility, and systematic documentation over artistic expression. These images continue to support scholarly research into Renaissance sculpture and 19th-century photographic history.