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Photography and archival custody 1868–1871 / 1981

John Thomson’s Hong Kong photographs

John Thomson travelled through China between 1868 and 1872, photographing streets, landscapes and people for audiences who would usually encounter them in print. Working with wet-collodion glass negatives meant carrying fragile equipment and preparing plates near the place of exposure. The tea-house view comes from Hong Kong during those journeys. Its later history is almost another journey: the negatives entered Henry Wellcome’s collection in 1921, and a contact print was made in 1981. The scene, the glass negative and the later sheet of photographic paper each have their own date.

Chinese tea-house, Hong Kong. Photograph by John Thomson, 1868/1871. · John Thomson, photographer · Original negative assigned 1868–1871View the full image ↗
Chinese tea-house, Hong Kong. Photograph by John Thomson, 1868/1871.John Thomson, photographer · Original negative assigned 1868–1871

A closer look: Artifact: inspect the image

A tea house was part of the everyday social and commercial life of a busy port. Thomson’s photograph preserves details of a particular place, but its framing also reflects his choices as a visiting photographer. His glass negative was a working object from which later positive images could be made.

Chinese tea-house, Hong Kong. Photograph, 1981, from a negative by John Thomson, 1868/1871. · John Thomson, original negative; later contact print made in 1981; supplied digital image credited to Wellcome Collection · Contact print: 1981; original negative: 1868–1871View the full image ↗
Chinese tea-house, Hong Kong. Photograph, 1981, from a negative by John Thomson, 1868/1871.John Thomson, original negative; later contact print made in 1981; supplied digital image credited to Wellcome Collection · Contact print: 1981; original negative: 1868–1871

A closer look: Artifact: the later positive print

This contact print was made in 1981 from a much older negative. Printing allowed Thomson’s view to circulate again without a second visit to the tea house. It also shows why the history of a photograph includes darkroom work and later collecting, as well as the moment before the camera.

The history behind it

The documented reconstruction

The dates can coexist because they describe different stages: a Hong Kong exposure and glass negative assigned 1868–1871, followed by a contact print made in 1981. The shared negative-number reference and subject description connect the artifacts more firmly than visual resemblance alone. Their physical formats and tonal appearance also differ: the glass negative contains adjacent views, while the supplied later print presents a positive view of the verandah. Neither implies that the scene was newly photographed in 1981 or that the men were then alive. Acquisition in 1921 and a publication reference in 2009 are further events in custody and reception, rather than substitute exposure dates.

Reading the source

A catalog can attach valid dates to more than one physical stage of an image. Here a historical wet-collodion negative, its later acquisition and a twentieth-century contact print belong to a connected history. The shared negative-number reference is useful evidence for that connection. The later print date should not be made to overwrite the earlier camera exposure.

Questions for further research

The distinction also changes what can be inferred about people and places. A print made in 1981 can preserve a nineteenth-century veranda without proving that the building or its subjects remained unchanged until then. Collection and publication cities likewise do not relocate the original scene. Each date and place should stay attached to the documentary act it actually describes.

If this caught your interest

A few things to read next

Books for a longer visit, and a few good places to start online. These are ordinary links, with no affiliate commission.

On the bookshelf

  1. Illustrations of China and Its People

    John Thomson

    Thomson’s published photographs and commentary: read his text critically alongside the pictures.

  2. John Thomson, Life and Photographs

    Stephen White

    Places the China photographs within the photographer’s wider working life.

  3. Siam & China Through the Lens of John Thomson

    Betty Yao and Narisa Chakrabongse, editors

    A modern selection that follows Thomson’s photography across Siam and China.

Read online

Where the pictures come from

The original records and their individual rights statements are below. The pictures have not been generated or altered for the game.

Chinese tea-house, Hong Kong. Photograph by John Thomson, 1868/1871.

Wellcome Collection · Original negative assigned 1868–1871

Public Domain Mark — free of known copyright restrictions.

Original archive record · Rights statement

Chinese tea-house, Hong Kong. Photograph, 1981, from a negative by John Thomson, 1868/1871.

Wellcome Collection. John Thomson, Chinese tea-house, Hong Kong, negative 1868–1871; contact print 1981. CC BY 4.0. Image proportionally resized and JPEG-compressed. · Contact print: 1981; original negative: 1868–1871

Wellcome Collection — Creative Commons Attribution 4.0 International (CC BY 4.0); commercial reuse permitted with attribution.

Original archive record · Rights statement

An original editorial digest of the cited catalog facts; not a second historic eyewitness document.

Wellcome Collection · Editorial digest reviewed 2026-11-01

Original Data Barnacle wording summarizing factual catalog data; underlying artifact rights are stated on the image.

Original archive record · Rights statement

History notes and reading lists prepared for Then & Found with AI assistance. The source institutions and authors are not sponsors or endorsers. Suggest a correction or another source

Other records to explore

Read their stories, or try the cases before opening their explanations.

Vertical colored photomechanical print mounted on a pale sheet. A seated person works beside a large upright loom with hanging warp threads and a patterned blanket. Another small figure is nearby. No legible place name, personal name, age, price or exposure date appears within the depicted scene.

Craft and representation · 1901

Navajo weaving and the trade in printed views

Navajo weaving has a history of skilled work, changing materials and designs, and relationships with markets far beyond the loom. During the nineteenth century, textiles made for clothing and trade also found growing markets among outside buyers. This printed view, published in Detroit in 1901, brought a weaver’s image into another commercial circuit: inexpensive pictures sold to a distant public. The person at the loom remains unnamed in the record. Reading textile histories alongside the image helps restore attention to the knowledge and decisions involved in making the cloth.

3 books to explore · 2 records

Black-and-white waterfront photograph. Repeated stacks of tightly bound rectangular bales fill the foreground; people, carts, masts and vessels occupy the distance. No legible shipping manifest or complete list of destinations is visible.

Trade and labor · 1880–1897

Cotton on the New Orleans levee

Bales of cotton filled the New Orleans waterfront in the late nineteenth century, waiting in the space where river transport met ocean trade. Compressing cotton into bales made a bulky crop easier to store, count and ship. The levee worked as a place of exchange as well as a barrier against the Mississippi. The photograph belongs to the decades after slavery’s abolition, but the trade had grown within an economy built on enslaved labor. Following cotton beyond the waterfront connects this crowded scene with farms, warehouses, textile mills and distant buyers.

3 books to explore · 2 records

Color print of a crowded market on a broad waterfront pier. Boats occupy the water behind it, buildings line the harbor, and people and goods cluster along the quay. The image contains applied-looking warm colors, but the visual appearance alone does not identify the printing process.

Markets and media · 1890–1900

Bergen’s fish market in photochrom color

Bergen’s harbor market joined fishing, local farming and town life in one busy place. By the late nineteenth century, the waterfront was also being sold to travelers as a colorful view of Norway. This print was made by the photochrom process: a photographic image became the basis for a color print produced with lithographic stones. The result could look remarkably like a color photograph before modern color photography became ordinary. The scene therefore belongs to two histories at once, the daily work of the market and the commercial trade in picturesque views.

3 books to explore · 2 records

Examine the evidence

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