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A BIBLIOGRAPHY OF DAVID OCTAVIUS HILL & ROBERT ADAMSON
Compiled by Simon Manfield,
2002
I. Articles
II. Books Illustrated by D. O. Hill
III. Books
I. Articles
Miller, Hugh. ‘The Two Prints’, The Witness , 24 June 1843.
Miller, Hugh. ‘The Calotype’, The Witness, 12 July 1843.
Anon. ‘The Free Church of Scotland Private View’, The Liverpool Mercury, 6 September 1844.
____. ‘The Calotype Art’, The Liverpool Standard, 28 September 1844.
Eastlake, Lady (Elizabeth Rigby). Review of books on modern German painting, Quarterly Review, Vol. 78, March, 1846, pp. 332-48.
Brown, John. Review of the Royal Scottish Academy exhibition, The Witness, 22 April 1846.
Brown, John. Review of volumes 1 and 2 of John Ruskin’s Modern Painters, North British Review, Vol. 6, 1847, pp. 401-30.
Brewster, Sir David. ‘Photography’, North British Review, Vol. 14, 1847, pp. 465-504.
Anon. ‘Fine Art Gossip’, Athenaeum, No. 1017, 24 April 1847, p. 440.
____. (probably Samuel Carter Hall), Biographical note on David Octavius Hill, The Art Journal, New series, Vol. 2, October, 1850, p. 309.
Brewster, Sir David. ‘President’s address’ and ‘Transactions regarding the recent improvements in photography’, Report of the Twentieth Meeting of the British Association for the Advancement of Science, London, 1851, pp. xxii-xliv and p. 6.
Anon. ‘Photography in Scotland’, The Art Journal, April, 1854, p. 100.
Hunt, Robert. ‘On the Fading of Photographic Pictures’, The Art Journal, New series, Vol. 1, 1855, pp. 210-11.
Adamson, John. ‘Photography’, Chambers’s Information for the People, Edited by William and Robert Chambers, Vol. 2, Edinburgh and London, 1857, pp. 777-85.
Eastlake, Lady (Elizabeth Rigby). ‘Photography’, first published in Quarterly Review, 1857; republished in Photography: Essays and Images, edited by Beaumont Newhall, London: 1981, pp. 81-95.
Brown, John. Review of the Photographic Society of Scotland’s exhibition, The Edinburgh News, 26 December 1857.
Davidson, Thomas. ‘The Solar Camera’, Letter to the Editor, The Photographic Journal, Vol. 6, 1859, p. 264.
Anon. ‘Manchester Photographic Exhibition’, The Photographic News, Vol. V, No. 158, 13 September 1861.
Brown, John. ‘Mr. Hill’s Calotypes’, The Scotsman, 10 February 1862.
Taylor, J. T. " ‘Notes’, Harmonious and Discordant, On Various Subjects: Who Should Get the Medal?", British Journal Of Photography, 9, No. 163, 1 April 1862, p. 129.
Anon . British Journal of Photography, (1863): pp. 56-57.
____. ‘The Disruption - The Signing of the Deed of Demission. A Picture by D. O. Hill’, The Scotsman, 24 May 1866.
____. ‘The Late Mr Alexander Hill’, The Edinburgh Evening Courant, 18 June 1866.
____. ‘Minor Topics of the Month: The Disruption of the Church of Scotland’, The Art Journal, June 1867, p. 158.
Hall, Samuel Carter. Review of the Royal Scottish Academy exhibition, The Art Journal, Vol. 13, April, 1868, p. 65.
Tunny, James Good. ‘Early Reminiscences of Photography’, The British Journal of Photography, Vol. 16, 12 November 1869, pp. 545-546.
Dafforne, James. ‘David Octavius Hill’, The Art Journal, New series, Vol. 8, (1869): pp. 317-18 and Vol. 9, 1870, p. 203.
Anon. ‘Death of Mr D. O. Hill, R.S.A.’, The Scotsman, 17 May 1870.
____. ‘Death of Mr D. O. Hill, R.S.A.’ The Edinburgh Evening Courant, 18 May 1870.
Armstrong, Walter. ‘Scottish Painters: D. O. Hill’, Portfolio 18, 1887, p. 135.
Anon. British Journal of Photography, 28 November 1890, p. 761.
Tooley, Sarah A. ‘A Famous Lady Sculptor. An Interview with Mrs. D. O. Hill’, The Young Woman, No. 35, August 1895, pp. 361-367.
Surface, Matthew. ‘Melrose and Sir David Brewster’, The Practical Photographer, Vol. VII, No. 80, August, 1896, pp. 201-204.
Anon. ‘Pioneers in Photography’, Chambers’s Journal, 1902/1903, pp. 254-56.
Gifford, William. ‘The Patons of Dunfermline’, Dunfermline Press, 25 July 1903.
Annan, James Craig. ‘David Octavius Hill, R.S.A. – 1802-1870’, Camera Work, No. 11, July 1905, pp. 17-21.
Inglis, Francis Caird. ‘D. O. Hill, R.S.A. and His Work’, Edinburgh Photographic Society, 19, No. 258, June 1909, p. 75.
Sharp, Mrs William. ‘D. O. Hill, R.S.A.’, Camera Work, No. 25, October 1909, pp. 17-19.
Sharp, Mrs. William. ‘D. O. Hill, R.S.A.’, Camera Work, No. 37, 1912, p. 48.
Inglis, Francis Caird, F.S.A. ‘D. O. Hill, R.S.A., and His Work’, Photographic Journal of America, 52, No.1, January 1915, pp. 3-6, 17-24.
Anon. Century Magazine, Vol. 90, October 1915, pp. 909-20.
____. ‘Camera Notes: Scottish Calotype Portraits’, Scottish Country Life, July 1916, pp. 308-309.
____. ‘Death of an Edinburgh W.S.’, The Scotsman, 8 February 1917.
____. ‘The late D. O. Hill, R.S.A. Edinburgh’ , The Professional Photographer, February 1918.
Anon. Architectural Review . Vol. LVIII, July-December 1925, p. 166.
Cursiter, Stanley, ‘D. O. Hill, Famous Calotypes’, The Scotsman, 28 November 1928.
Anon. ‘D. O. Hill, R.S.A.’, The Scotsman, 4 December 1928.
____. Photographische Korrespondenz, 1928, pp. 281-83.
Johnston, J. Dudley, Hon. F.R.P.S.,‘From Headquarters’, The Camera, September 1929, pp. 57-59.
Anon. ‘The Raeburn of the Camera: Hill’s Photographs of the ‘Forties’, The Illustrated London News, 13 December 1930.
MacGillivray, Pittendrigh, R.S.A., ‘The Art of Photography’, The Photographic Journal, Vol. LXX, 1930, pp. 2-10.
Downie, R. Angus, ‘Pioneer of the Camera: David Octavius Hill and His Calotypes, The Scotsman, February 1931.
Strand, Paul, ‘A Picture Book for Elders’, The Saturday Review of Literature, No. 8, 12 December 1931, p. 372.
Rosenfield, Paul, ‘The Old Master of Photography’, New Republic, 69, No. 892, 6 January 1932, pp. 214-15.
Shand, P. Morton, ‘D. O. Hill: Master Photographer’, The Modern Scot, 5, 1935, pp. 220-26.
Freund, Gisele, ‘David Octavius Hill’, Verve, No. 5-6, July – October, 1939, pp. 151-53.
Wight, G. W, ‘Early Photographic History in Edinburgh’, Edinburgh Journal, Vol. XIV, - Part III, April 1940, pp. 142, 143, 144.
Wight, G. W, ‘Early Photographic History in Edinburgh: III – D. O. Hill, R.S.A.’, Edinburgh Journal, Vol. XV – Part I, October 1940, pp. 32-43.
Wight, G. W, ‘Early Photographic History in Edinburgh: V – Edinburgh Photographic Society’, Edinburgh Journal, Vol. XV – Part II, January 1941, p. 83.
Anon. ‘Calotypist Hill; One-man exhibition at Manhattan’s Museum of Modern Art’, Time, 38, 22 September 1941, pp. 65-66.
Schwarz, Heinrich, ‘David Octavius Hill’, The Complete Photographer, Issue 31, 20 July 1942, pp. 1974-78.
Schwarz, Heinrich, ‘Calotypes by D. O. Hill & R. Adamson’, Museum Notes (Museum of Art, Rhode Island School of Design), Vol. 2, No. 8, December 1944.
Anon. ‘Centenary of Inauguration of the Scott Monument’, The Scotsman, 15 August 1946.
Dougan, Robert O, ‘Pioneers of the Portrait’, Scottish Field, February 1947, pp. 28-29.
Anon. ‘Note’ (Exhibition review: ‘Hill & Adamson, J. M. Cameron’, Museum of Modern Art, NY.), American Photography, 43, No. 7, July 1949, p. 464.
Anon. ‘Scott Monument Contrasts: Press Reception’, The Scotsman, 26 August 1949.
MacKenzie, Alastair C, ‘Fishers of Newhaven’, Scotlands Magazine, December 1951, pp. 24-28.
Anon. ‘David O. Hill, Glasgow Exhibition’, The Scotsman, 12 May 1953.
____. ‘Photographic Works by David Octavius Hill – Collection on View at University’, The Glasgow Herald, 10 May 1954.
Gernsheim, Helmut and Alison Gernsheim, ‘David Octavius Hill (1802-1870) and Robert Adamson (1821-1848)’, Graphic Arts Focal Point, No. 2, June 1956, pp. 14-17.
Anon. ‘Camera Pioneer’, New York Times Magazine, 19 January 1958, p. 36.
____. ‘Index to Resources: David O. Hill & Robert Adamson’, Image. 7, No. 5, May 1958, pp. 118-119.
____. ‘Index to Resources: Calotype Positives by Hill & Adamson’, Image . 7, No. 6, June 1958, pp. 142-143.
Schwarz, Heinrich, ‘An Exhibition of Victorian Calotypes’, Victorian Studies, June 1958, pp. 354-56.
Schwarz, Heinrich, ‘Shorter Notes: William Etty’s ‘Self-Portrait’ in the London National Portrait Gallery’, Art Quarterly, Winter 1958, pp. 391-96.
Mayor, A. Hyatt, ‘The First Victorian Photographer’, Metropolitan Museum of Art Bulletin, December 1958, pp. 113-19.
Gray, John G, ‘D. O. Hill - A Pioneer of Photography’, The South Side Story, c. 1962, pp. 31-32.
Maximilian, Fried, ‘Zur Geschichte der Photographie: ein Porträt von Robert Adamson’, Kamera und Schule , No. 3, 1963, pp. 88-89.
Dunbar, Alexander, ‘The Work of David Octavius Hill, R.S.A.’, Photographic Journal, 104, No. 3, March 1964, pp. 53-63.
Fraser, Fiona and Donald Fraser, ‘D. O. Hill – Photographer of the Disruption’, Scotlands Magazine , August 1967, pp. 29-30.
Michaelson, Katherine, ‘Newhaven Fishwives’ Costume’, Costume Society of Scotland, Bulletin 5, 1970, pp. 7-22.
Schwarz, Heinrich, ‘Hill-Adamson Calotypes’, The Scottish Art Review, 12, No. 4, 1-5, 1970, p. 33.
Oliver, George A, ‘Artist With A Camera’, The Scots Magazine, April 1970, pp. 25-32.
Hughes, George, ‘Genius or Opportunist?’, Amateur Photographer, 9 June 1971, pp. 6-11.
Anon. ‘A Centenary Exhibition of the Work of David Octavius Hill 1802 – 1870 and Robert Adamson 1821 – 1848, sponsored by the Scottish Arts Council, Edinburgh 2 – 31 May 1970’, Photographic Journal, 110, No. 7, July 1970, pp. 262-65.
____. ‘David Octavius Hill and Robert Adamson’, Creative Camera, No. 74, August 1970, pp. 241-48.
Jones, T. Herbert, ‘David Octavius Hill (1802-70) and Robert Adamson (1821-1848): Centenary Exhibition’, Journal of the Royal Society of Arts, 118, No. 5171, October 1970, pp. 720-21.
Neve, Christopher, ‘Serendipity and a Mass Portrait: The Calotypes of Hill and Adamson’, Country Life, 150, No. 3865, 8 July 1971, pp. 104-105.
Roberts, K, ‘David Octavius Hill and Robert Adamson, National Portrait Gallery’, Burlington Magazine, 113, No. 821, August 1971, pp. 483, 485.
Gernsheim, Helmut, ‘The David Octavius Hill Memorial Lecture, delivered at Edinburgh University on 9 May 1970’, Creative Camera, September 1971, pp. 300-305.
Schwarz, Heinrich, ‘The Calotypes of D. O. Hill and Robert Adamson – Some Contemporary Judgements’, Apollo. 95, No. 120, February 1972, pp. 123-28.
Anon. ‘Old photos may fetch £30,000’, The Scotsman, 29 November 1972.
Anon. ‘Comment’ and ‘Hard-up R. A. sells early photographs’, Art & Antiques Weekly, 9 December 1972.
Anon. ‘Why we need a photographic archive’, Sunday Times, 10 December 1972.
____. ‘Row stops sale of historic photographs’, Sunday Times, 10 December 1972.
____. ‘Fortune in plate’, The Scotsman, 12 December 1972.
____. Photo News Weekly, 20 December 1972, pp. 1-2.
____. Art & Antiques Weekly, 23 December 1972.
____. ‘Photographic archive ‘vital’’, Sunday Times, 24 December 1972.
____. Photo News Weekly, 27 December 1972, pp. 1 and 6.
____. ‘Historic photographs’, Sunday Times , 31 December 1972.
____. ‘The ones that nearly got away’, Sunday Times Magazine, December, 1972.
____. ‘Comment’ and ‘Those Calotypes – All’s Well…’, Art & Antiques Weekly , Vol. 8, No. 12, 6 January 1973.
Strong, Roy and Colin Ford, ‘The Hill/Adamson albums: a selection from the early Victorian photographs acquired by the National Portrait Gallery in January 1973’, Sunday Times Magazine, 1973.
Anon. ‘Academy making photo decision’, Sunday Times, 7 January 1973.
____. ‘A national gallery of photographs?’, The Times, 12 January 1973.
____. ‘Photographs saved by a gift of £32,000’, The Times, 12 January 1973.
____. ‘£32,178 gift saves historic photos’, Financial Times, 12 January 1973.
____. ‘Gallery to get photographs’, The Scotsman, 12 January 1973.
____. ‘Historic photographs: £32,000 for ‘rotting paper’’, Sunday Times, 14 January 1973.
____. ‘£32,000 Gift Saves Pictures’, Photo News Weekly, 24 January 1973.
____. ‘Print Prices Climb’, Photo News Weekly, 16 May 1973.
____.‘Snapped up’, Sunday Times, 28 January 1973.
Edwards, R, ‘Masterpieces of Photography?’, Apollo, 101, No. 155, January 1975, pp. 66-67.
Anon. ‘D. O. Hill and Robert Adamson: the New Haven Pictures June 1845’, Creative Camera, No. 135, September 1975, pp. 306-13.
Badger, Gerry, ‘Light of Other Days – Dr Thomas Keith at ‘Stills’ Gallery, Edinburgh’, The British Journal of Photography, No. 19, 13 May 1977, pp. 399, 401.
Smith, Donald B, ‘The Transatlantic Courtship of the Reverend Peter Jones’, The Beaver, 1977, pp. 4-14.
Hannavy, John. ‘Thomas Keith at Iona’, History of Photography, Vol. 2, No. 1, January, 1978), pp. 29, 30, 31, 32.
Smith, Graham. ‘Hill & Adamson: St Andrews, Burnside and the Rock and Spindle’, The Print Collector’s Newsletter, Vol. X, No. 2, May-June 1979, pp. 45-48.
Anon. ‘Historic photographs auctioned for £7000’, The Scotsman, 20 September 1979.
Bruce, David. ‘The Importance of Early Scottish Photography’, The Scottish Review: Arts and Environment 23, 1981, pp. 19-27.
Jones, S.K. ‘Engineer in Camera’, R.P.S. Historical Group Newsletter, No. 53, 1981, 2-3; No. 54, 1981, pp. 2-3.
Smith, Graham. ‘Hill & Adamson at St. Andrews: the Fishergate Calotypes’, The Print Collector’s Newsletter, 12, 1981, pp. 33-37.
Stevenson, Sara. ‘David Octavius Hill without Robert Adamson: the reputation of their Calotypes after 1848’, The Photographic Collector, Vol. 2, No. 3, 1981, pp. 14-24.
Anon. ‘A rare look at the city as it grew…’, Evening News, 17 August 1981.
____. ‘University to sell prints’, The Scotsman, 3 June 1982.
____. ‘Cash crisis forces university to sell collection’, Glasgow Herald, 3 June 1982.
____. ‘Scots pioneers who made and photographed history’, Glasgow Herald, 4 June 1982.
____. ‘Bid to halt sale of university’s Hill collection’, Glasgow Herald, 4 June 1982.
____.‘Reluctant ‘yes’ to sale of photographs’, Glasgow Herald, 27 September 1982.
Schaaf, Larry. ‘Henry Collen and the Treaty of Nanking’, History of Photography, Vol. 6, No. 4, October, 1982, pp. 357-58.
Smith, Graham. ‘The First American Calotypes?’ History of Photography, Vol. 6, No. 4, October, 1982, p. 349.
Smith, Graham. ‘An Early Calotype of Blackfriars Chapel in St Andrews’, Bulletin: Museums of Art and Archaeology, University of Michigan, No. 5, 1982-1983, pp. 35-41.
Budge, Adrian. ‘Yorkshire and Photography – The Early Years’, The Photographic Collector, Vol. 4, No. 1, 1983, pp. 11-14.
Devenyi, Denes. ‘The Photographer’s Eye – Art and Craft’, Photo Life, January 1983, pp. 12, 13 & 32.
Coppens, Jan. ‘Oeuvre – Catalogues van Hill en Adamson’, Foto, 4 April 1983, pp. 22-24
Morrison-Low, A. D. ‘Dr John Adamson and Robert Adamson: An Early Partnership in Scottish Photography’, The Photographic Collector, Vol. 2, Autumn 1983, pp. 198-214.
Schaaf, Larry. ‘Addenda to Henry Collen and the Treaty of Nanking’, History of Photography, Vol. 7, No. 2, April-June, 1983, pp. 164, 165.
Smith, Graham. ‘ "Edinburgh Ale" by David Hill and Robert Adamson’, Source-notes in the History of Art , Vol. II, No. 3, 1983, pp. 14-16.
Smith, Graham. ‘ "Calotype Views of St Andrews" by David Octavius Hill and Robert Adamson’, History of Photography, Vol. 7, 1983, pp. 207-36.
Stevenson, Sara. ‘Cold Buckets of Ignorant Criticism: Qualified Success in the Partnership of David Octavius Hill and Robert Adamson’, The Photographic Collector, Vol. 4, No. 3, 1983, pp. 336-47.
Weaver, Mike. ‘The Hard and Soft in British Photography’, The Photographic Collector, Vol. 4, No. 2, 1983, p. 197.
Wolk, Linda. ‘Calotype Portraits of Elizabeth Rigby by David Octavius Hill and Robert Adamson’, History of Photography, No. 7, 1983, pp. 167-81.
Buchanan, William. ‘The "most versatile and artistic" James Craig Annan’, The Photographic Collector, Vol. 5, No. 1, 1984, pp. 71-72, 75.
Harker, Professor Margaret. ‘From Mansion to Close: Thomas Annan, Master Photographer’, The Photographic Collector, Vol. 5, No. 1, 1984, pp. 81, 83.
Smith, Donald B. ‘Historic Peace-Pipe’, The Beaver, 1984, pp. 4-8.
Smith, Graham. ‘A Group of Early Scottish Calotypes’, The Princeton University Library Chronicle, Vol. XLVI, No. 1, 1984, pp. 81-94.
Smith, Graham. ‘A Calotype view of Trinity College Edinburgh…’ Burlington Magazine, No. 126, 1984, pp. 781-82.
Anon. ‘Robert Adamson, Scottish (1821-1848)’, Paper and Light, 1984, pp. 97-99.
____. ‘David Octavius Hill, Scottish (1802-1870), Robert Adamson, Scottish (1821-1848)’, Paper and Light, 1984, pp. 100-108.
Burnett, John. ‘Day Return to Newhaven’, Scottish Photography Bulletin, Spring, 1986, pp. 28-29.
Errington, Lindsay. ‘Chiaroscuro in the Calotype’, Scottish Photography Bulletin, Autumn, 1986, pp. 4-7.
Harley, Ralph L Jr. ‘The Partnership Motive of D. O. Hill and Robert Adamson’, History of Photography, Vol. 10, No. 4, Oct-Dec 1986, pp. 303-311.
Smith, Graham. ‘David Octavius Hill, David Roberts, and J. M. W. Turner’s Wreck of a Transport Ship’, The J.Paul Getty Museum Journal, No. 14, 1986, pp. 153-56.
Lester, Pete. ‘Hill and Adamson’, Photography, September 1987, pp. 30-31.
Smith, Graham. ‘William Henry Fox Talbot’s Calotype Views of Loch Katrine’, Bulletin of the University of Michigan Museums of Art and Archaeology, Vol. 7, 1987, pp. 49-77.
Harley, R. L. Jr, and J. L. Harley. ‘The "Tartan Album" by John and Robert Adamson’, History of Photography , Vol. 12, 1988, pp. 295-316.
Morrison-Low, A. D. ‘Sir David Brewster and Photography’, Review of Scottish Culture, Vol. 4, 1988, pp. 63-73.
Buchanan, William. ‘State of the Art, Glasgow, 1855’, History of Photography, Vol. 13, No. 2, April- June 1989, p. 166.
Macmillan, Duncan. ‘ "Born Like Minerva": D. O. Hill and the Origins of Photography’ in British Photography in the Nineteenth Century: The Fine Tradition, Edited by Mike Weaver, Cambridge, 1989, pp. 25-36.
Stevenson, Sara. ‘Brief Encounter’, Scottish Photography Bulletin, No. 1, 1989, pp. 23-26.
Stevenson, Sara. ‘ "The Tartan Album" ’, History of Photography, Vol. 13, 1989, pp. 267-68.
Thorp, Monica. ‘Hill and Adamson without Adamson? The Ballochmyle Calotypes’, Scottish Photography Bulletin, No. 2, 1989, pp. 25-29.
Harley, Ralph. ‘An Early Picture Narrative by D. O. Hill and Robert Adamson’, Shadow and Substance: Essays in the History of Photography in honor of Heinz K. Henisch, Edited by Kathleen Collins, Michigan, 1990, pp. 23-27.
Harley Jnr, Ralph L. ‘A Relative Chronology of 135 Newhaven Fisherfolk Photographs by D. O. Hill and Robert Adamson’, Rewriting Photographic History, Edited by Michael Hallett, Birmingham, 1990, pp. 11-18.
Morrison-Low, A. D. ‘Photography in Edinburgh in 1839: the Royal Society of Arts, Andrew Fyfe and Mungo Ponton’, Scottish Photography Bulletin, No. 2, 1990, pp. 26-35.
Smith, Graham. ‘James David Forbes and the Early History of Photography’, Shadow and Substance. Essays on the History of Photography in Honor of Heinz K. Henisch, Edited by Kathleen Collins, Michigan, 1990, pp. 9-11.
Smith, Graham. ‘A St Andrews Ghost Story’, History of Photography, Vol. 14, No. 1, 1990, p. 76.
Stevenson, Sara. ‘Recent Discoveries in Early Scottish Photography’, Technology and Art: The Birth and Early Years of Photography, Edited by Michael Pritchard, Bath, 1990, pp. 33-38.
Stevenson, Sara. ‘David Octavius Hill, Friendship and Art’, Scottish Photography Bulletin, No. 2, 1990, pp. 54-57.
Naef, Weston. ‘Persistent Themes – Notable Photography Acquisitions 1985-1990’, History of Photography, Vol. 15, No. 4, Winter, 1991, p. 269.
Spira, S. F. ‘Leaves from a Journal; Elevated Prose’, History of Photography, 15, 1991, pp. 23-25.
Stevenson, Sara. ‘David Octavius Hill and the Use of Photography as an Aid to Painting’, History of Photography, Vol. 15, No. 1, 1991, pp. 47-59.
Stevenson, Sara. ‘The Calotype Photographs of David Octavius Hill and Robert Adamson in the Detroit Institute of Arts’, Bulletin of the Detroit Institute of Arts, 66, No. 4, 1991, pp. 31-41.
Heilbrun, F. ‘Hill and Adamson, the 1st Photographic Reporting, 1843–1945’, Revue du Louvre, La Revue des Musees de France, Vol. 42, No. 4, 1992, pp. 103-104.
McKenzie, Ray. ‘Thomas Annan and the Scottish Landscape: Among the Gray Edifices’, History of Photography, Vol. 16, No. 1, Spring, 1992, p. 40.
Morrison-Low, A. D. ‘Dr John Adamson and Thomas Rodger: Amateur and Professional Photography in Nineteenth-century St Andrews’, Photography 1900: The Edinburgh Symposium , Edinburgh, 1992, pp. 18-37.
Nakanishi, B. ‘A Symphony Re-examined – An Unpublished Study of Whistler ‘Portrait of Mrs Frances Leyland’’, Art Institute of Chicago Museum Studies, Vol. 18, No. 2, 1992, p. 156.
Stevenson, Sara. ‘The Rev David Thomas Ker Drummond 1806-1877’, Scottish Photography Bulletin, No. 2, 1992, p. 4.
Bate, David. ‘Photography and the Colonial Vision’, Third Text, No. 22, Spring, 1993, pp. 81-91.
Gasser, Martin. ‘A Masterpiece: Heinrich Schwarz’s Book on David Octavius Hill’, Image, Vol. 36, Nos. 1-2, 1993, pp. 33-53.
Jacobs, C. ‘Playing Jane Campion, the ‘Piano’’, Modern Language Notes, Vol. 109, No. 5, 1994, pp. 757-785.
Stevenson, Sara. ‘Edinburgh Ale and the Morning After’, Scottish Photography Bulletin, No. 2, 1994, pp. 7-8.
Williams, David. ‘one little room …. an everywhere’, Scottish Photography Bulletin, No. 2, 1994, p. 14.
Macdonald, Murdo. ‘Wood Notes Wild: A Tale of Claude’, Essays in the Poetry and Art of Ian Hamilton Finlay, edited by Alec Finlay, Edinburgh, 1995, pp. 124-30.
Buchanan, William. ‘Snapshot of a Curator of Photography: Sara Stevenson’, Studies in Photography , 1996, pp. 6-7.
Cook, Helen. ‘The Land of Burns’, The Scots Magazine, 1996, pp. 48-53.
Fraser, A. ‘A Publishing-House and its Readers, 1841-1880, the Murrays and the Miltons’, Papers of the Bibliographical Society of America, Vol. 90, No. 1, 1996, pp. 4-47.
Stevenson, Sara. ‘Drawing the Crowd: An approach to democracy in the Calotypes of D. O. Hill and Robert Adamson’, Scotlands Magazine, 3.2.1996, pp. 73-85.
Anon. ‘Partnership bore fruitful images’, The Herald, 2 October 1996.
____. ‘Hill-Adamson pictures up for sale in New York’, The Scotsman, 2 October 1996.
Bannon, A. ‘Coburn as Collector’, Image, Vol. 41, Nos. 1-2, 1998, pp. 16-17.
Koltun, Lilly. ‘Regalia of Conversion: The Hill and Adamson Portraits of the Reverend Peter Jones or Kahkewaquonaby’, Studies in Photography, 1998, pp. 9-11.
Mertins, D. ‘Walter Benjamin: Glimpses of the Unconscious – New Architecture and New Optics’, History of Photography, Vol. 22, No. 2, 1998, pp. 116-26.
Morrison-Low, A. D. ‘Robert Adamson 1821-1848’, Studies in Photography, 1998, pp. 2-4.
Schaaf, Larry J. ‘Henry Talbot’s first exhibition in Scotland’, Studies in Photography, 1998, pp. 25, 26, 27.
Anon. ‘The Pictures Are as Rembrandt’s But Improved’, The Metropolitan Museum of Art Bulletin, Vol. LVI, No. 4, Spring 1999, pp. 12-23.
____. ‘A nation exposed’, The Scotsman, May 24, 1999.
Stevenson, Sara. ‘Calton Hill’, Studies in Photography, 1999-2000, pp. 26-28.
Forbes, Duncan. ‘Private advantage and public feeling: the struggle for academic legitimacy in Edinburgh in the 1820s’, Art and the Academy in the Nineteenth Century, Manchester, 2000, pp. 86-101.
Anon. ‘Genius exposed’, The Sunday Times, 24 December 2000.
____. ‘Mystery of Scots lady behind lens’, The Sunday Times, 24 December 2000.
Miller, Phil. ‘Hill masterpiece painted by wife’, The Sunday Times, 13 May 2001, p. 16.
Cox, Roger. ‘In focus – the camera pioneers’, The Scotsman, 17 May 2001.
Ross, Shan. ‘Festival will focus on work of photographic pioneer’, The Herald, 17 May 2001.
Rudden, Liam. Partners in times live on’, Evening News, 17 May 2001.
Folco, John di. ‘St Andrews Preservation Trust Photographic Collection’, History of Photography, Vol. 25, No. 2, Summer 2001, pp. 155-159.
Lyden, Anne. ‘St Andrews Material in the Collections of the J. Paul Getty Museum’, History of Photography, Vol. 25, No. 2, Summer 2001, pp. 169, 172-175.
Morrison-Low, A. D. ‘Brewster, Talbot and the Adamsons: The Arrival of Photography in St Andrews’, History of Photography, Vol. 25, No. 2, Summer 2001, pp. 131-33, 137-39.
Smith, Graham. ‘John Adamson, Sanitary Reform and the St Andrews Fishing Community’, History of Photography, Vol. 25, No. 2, Summer 2001, pp. 182-84, 187.
Macmillan, Duncan. ‘Snap decision’. business a. m ., 7 January 2002, pp. 28-29.
Robertson, Lynne. ‘Museum plans to focus on photo pioneers’, The Herald, 5 April 2002.
Smith, Graham. ‘Editorial’, History of Photography, Vol. 26. No. 1, Spring 2002, pp. 2-3.
II. Books Illustrated by D. O. Hill
Hill, D. O. Sketches of Scenery in Perthshire Drawn from Nature and on Stone, Perth: Thomas Hill, 1821.
Anon. Views of the Opening of the Glasgow and Garnkirk Railway; by D. O. Hill … Also, an Account of That and Other Railways in Lanarkshire, Drawn up by George Buchanan, Edinburgh: A. Hill, 1832.
Hogg, James. Tales and Sketches by the Ettrick Shepherd James Hogg; Including … several pieces not before printed, with … engravings … by D. O. Hill. Glasgow: Blackie and Sons, 1837, 6 Vols.
Hill, D. O. The Land of Burns, A series of landscapes and portraits, illustrative of the life and writings of the Scottish poet. The landscapes from paintings made expressly for the work, by D. O. Hill, Esq., R. S. A. The literary department by Professor Wilson … and Robert Chambers Esq. Two volumes. Glasgow, Edinburgh and London: Blackie and Sons, 1846.
________. Illustrations of the Principles of Toleration in Scotland, Lithographs by D. O. Hill, James Drummond and Andrew MacLure . No place or date, probably 1846.
________. Sir William Allan, The Art Journal, Vol. 11, 1849, pp. 108-9.
Ballantyne, James. The Life of David Roberts R.A. Edinburgh: Adam & Charles Black, 1866. 1 calotype portrait.
III. Books
Dibdin, Thomas Frognall. A Bibliographical Tour in the North Counties of England and Scotland, London, 1838.
Hogg, James. The Poetical Works of the Ettrick Shepherd with an autobiography; and illustrative engravings chiefly from original drawings by D. O. Hill, Five volumes, Glasgow, Edinburgh and London, 1838.
Carus, Dr Carl Gustav (Translator). The King of Saxony’s Journey through England and Scotland in the year 1844, London: S. C. Davidson 1846, pp. 336-7.
A Series of Calotype Views of St. Andrews; Published by D. O. Hill and R. Adamson, at their Calotype Studio, Calton stairs, Edinburgh, 1846, Edinburgh: Hill & Adamson, 1846.
One Hundred Calotype Sketches; by D. O. Hill… and R. Adamson (To the Right Hon. James Wilson on his departure for India, 1859) An Album of Photographs. Edinburgh: Hill & Adamson, 1848.
Various authors. Exhibition of the Works of Industry of All Nations, 1851, Reports of the Juries, London, 1852.
Lawson, John Parker. Scotland Delineated, A Series of Views, Vol. 2, London, 1854.
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‘Euphranor’ (J. B. Manson). Contemporary Scottish Art. A Series of Pen and Ink Sketches Drawn from the Exhibition of 1864. Edinburgh, 1864.
The Disruption of the Church of Scotland: An Historical Painting Representing the Signing of the Deed of Demission by the Ministers of the First General Assembly of the Free Church. Painted by D. O. Hill, R. S. A. Secretary of the Royal Scottish Academy of Painting, Sculpture and Architecture, one of the Commissioners of the Honorable Board of Trustees for Manufactures in Scotland, etc. etc., Edinburgh: Schenck and M’Farlane, 1866.
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Anon. Catalogue of Photographs by David Octavius Hill and Dr. Thomas Keith, Edinburgh: Saltire Society, 1954.
____. Catalogue of an Exhibition of the Works of David Octavius Hill R.S.A. in the Hunterian Museum, Glasgow: University of Glasgow, Hunterian Museum, 1954.
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____. La Photographie des origines au debut, Geneva: Nicholas Rauch, June 1969.
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Anon. Portraits und Situationen, fotografiert von David Octavius Hill/Robert Adamson, August Sander, Jean-Philippe Charbonnier, Tony Ray-Jones, Leverkusen: Stadt Museum, 1976.
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Harley, Ralph Leroy, Jr. The Cultural and Aesthetic Significance of the Newhaven Fisherfolk Photographs by D. O. Hill and Robert Adamson, University of New Mexico, PhD, 1984.
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Clarke, T. N., A. D. Morrison-Low and A. D. C. Simpson. Brass and Glass. Scientific Instrument Making Workshops in Scotland as Illustrated by Instruments from the Arthur Frank Collection at The Royal Museum of Scotland, Edinburgh, 1989.
Greenough, Sara et al. On the Art of Fixing a Shadow: One Hundred and Fifty Years of Photography, Washington: National Gallery of Art, 1989, pp. 17, 20.
Hambourg, Maria Morris with an essay by Christopher Phillips. The New Vision: Photography between the World Wars, Ford Motor Company Collection at the Metropolitan Museum of Art, New York: Metropolitan Museum of Art/Harry N.Abrams, Inc, 1989, pp. 68, 275 nn.10-11, 283-84 n.212, n.216.
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National Galleries of Scotland, 1992.
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Smailes, Helen. Kenneth MacLeay 1802-1878, Edinburgh: National Galleries of Scotland, 1992, pp. 6, 10, 11, 13 and 16.
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Hitchon, Gil and Pat. Sam Bough R. S. A: The Rivers of Bohemia, Lewes, 1998.
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Lyden, Anne M. In Focus: Hill and Adamson, Photographs from the J. Paul Getty Museum, With the text of a colloquium between David Featherstone, Anne M. Lyden, A. D. Morrison-Low, Weston Naef, Jonathan Reff, Sara Stevenson and Michael Wilson, Los Angeles, 1999.
Sobieszek, Robert A. Ghost in the Shell: Photography and the Human Soul, 1850-2000, London: MIT Press, 1999, p. 101.
Dewitz, Bodo von, Sara Stevenson, Larry Schaaf, Enno Kaufhold, Andreas Kase and Erich vom Endt. David Octavius Hill und Robert Adamson: Von den Anfängen der künstlerischen Photographie in 19. Jahrhundert, Cologne: Museum Ludwig, Agfa Photo-Historama, 2000.
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Barnes, Martin. Benjamin Brecknell Turner – Rural England through a Victorian Lens, London: V & A Publications, 2001, p. 63.
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Stevenson, Sara. The Personal Art of David Octavius Hill, London: Yale University Press, 2002.
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