Marble bust of the Emperor Nerva

Laffon’s photograph was made using the albumen print process, common in mid-19th-century photographic reproduction. The image captures fine surface textures of the marble with clarity, using controlled lighting to emphasize form and depth. The composition is straightforward, centered and unadorned, reflecting its utilitarian function within the museum’s educational program rather than any aesthetic ambition.

The photograph was purchased by the V&A in 1864 through Monsieur E. Cappe, an agent acting on behalf of the museum. It originated from Laffon’s series documenting objects from the Campana Collection at the Musée Napoléon III in Paris. These images were among the first photographs acquired by the V&A specifically for scholarly use, and Laffon’s contribution marked one of the earliest institutional recognitions of a female photographer’s work in Britain.

At the time, the V&A was pioneering the use of photography as an educational resource, supplementing casts and drawings. Under Henry Cole’s leadership, the museum sought to build a comprehensive visual archive accessible to artists and designers. Laffon’s photographs were part of a broader international network of image exchange, linking British institutions with continental collections and practitioners, including women whose roles were rarely acknowledged.

Laffon’s work contributed to the institutionalization of photography as a tool for art historical study. Her photographs, though once overlooked, represent an early example of professional female involvement in museum documentation. The acquisition of her images helped establish the V&A’s photographic collection as a vital resource, laying groundwork for future scholarly use of photographic archives in art education.