Lot Essay
Although only the basic elements of Reid's biography are known he has become recognised in recent years as one of the great documenters of London's visual history. He was born in Sunderland, one of thirteen children of Robert and Anna Mary Reid. The family business seems to have combined shipbuilding and brewing and Robert Reid established a business as a wine and spirit merchant. George contributed photographs to a cousin's family history, published in 1914, but there is no indication of how his interest in photography originated. Mike Seaborne records that he studied photography with a professional, Benjamin Scott, in Carlisle around 1900. It seems likely that George had an independent income and was therefore able to devote considerable time to his personal interests of history and photography. He is recorded as having been a member of the Newcastle Society of Antiquaries between 1904 and 1909.
From the journals included in this archive it seems that Reid was in London as early as circa 1910, as he refers, with some considerable bitterness, to confidence tricksters involved in share-dealing around this time. He spent at least part of the period during the 1914-18 war in Dublin, and seems to have returned to London after that. His death certificate records that he died of broncho-pneumonia and "exhaustion from mania". It seems likely that Reid was intending, before he died, to publish his London views and accompanying text, and it is apparent that he worked intensely over a relatively short period in order to produce such a comprehensive visual survey of his chosen areas.
The photographs in this archive provide an extraordinary social and architectural documentation of London during a period of relative calm, after which much of the architectural character of the city changed beyond recognition. In particular, his series of views taken along the banks of the Thames record industry and leisure activities which were soon to disappear from this area. Such was Reid's passion for his photographic work that he customised a folding cart in order to provide both a means of carrying his equipment as well as a high tripod and step-ladder from which he could successfully photograph crowded streets. Photographs of this equipment as well as a portrait of Reid survive in this collection.
There are also exteriors and interiors of historically or architecturally important buildings, copies of works of art including paintings and sculpture, busy street scenes and photographs such as many of his riverside scenes which ostensibly document a location but also show something of the everyday activities of those who either lived or worked there. It is evident from the images themselves that Reid was equally skilled in each of these different areas, and more importantly, that he had a finely-tuned aesthetic sense as well as his recorder's tenacity.
From the journals included in this archive it seems that Reid was in London as early as circa 1910, as he refers, with some considerable bitterness, to confidence tricksters involved in share-dealing around this time. He spent at least part of the period during the 1914-18 war in Dublin, and seems to have returned to London after that. His death certificate records that he died of broncho-pneumonia and "exhaustion from mania". It seems likely that Reid was intending, before he died, to publish his London views and accompanying text, and it is apparent that he worked intensely over a relatively short period in order to produce such a comprehensive visual survey of his chosen areas.
The photographs in this archive provide an extraordinary social and architectural documentation of London during a period of relative calm, after which much of the architectural character of the city changed beyond recognition. In particular, his series of views taken along the banks of the Thames record industry and leisure activities which were soon to disappear from this area. Such was Reid's passion for his photographic work that he customised a folding cart in order to provide both a means of carrying his equipment as well as a high tripod and step-ladder from which he could successfully photograph crowded streets. Photographs of this equipment as well as a portrait of Reid survive in this collection.
There are also exteriors and interiors of historically or architecturally important buildings, copies of works of art including paintings and sculpture, busy street scenes and photographs such as many of his riverside scenes which ostensibly document a location but also show something of the everyday activities of those who either lived or worked there. It is evident from the images themselves that Reid was equally skilled in each of these different areas, and more importantly, that he had a finely-tuned aesthetic sense as well as his recorder's tenacity.