Frederick Christian Palmer

In 1913 Marcel Duchamp used Palmer's 1910 photograph of the illuminated Grand Pier Pavilion as found object art in his Note 78, part of his Green Box artwork.

[5] She was a "photographic artist", which could mean that she tinted or drew on prints from glass negatives or somehow enhanced daguerreotypes, and it was probably her influence which brought the profession of photography into the family.

[14] [nb 4] Although photographic film was available,[15] it is probable that Fred C. Palmer used large−format glass negatives and that the postcards and portraits were direct prints from these, because of their fine detail.

From 1903 to 1922 he was working as a photographer and picture-frame maker in Herne Bay,[16] at 21 High Street from 1903 to 1905 (where Kent Kebab is, as of 2011), and at Telford Villa, 6 Tower Parade from 1907 to 1922.

[20][21] He had a small shop or kiosk called The Art Gallery on the sea front, separate from the studio, where he sold postcards and portrait prints.

[nb 8] During World War I there are no written records of Fred C. Palmer, but he did produce postcards of war-wounded Belgians recuperating in Canterbury and Herne Bay, of a possible 1914 recruitment rally and of soldiers larking about.

[24][25] Palmer's 1910 photograph of the illuminated Grand Pier Pavilion was incorporated as found object art in an artwork by Marcel Duchamp following the latter's visit to Herne Bay in 1913.

[26][27][28] Duchamp cut out Palmer's photo from a leaflet and attached it to Note 78 in The Green Box describing his plans for a work called The Large Glass (1915–1923).

Reid had retired to Hampton-on-Sea, a settlement which was fast sinking into the Thames Estuary prompting the old man to make attempts at publicity and to demand assistance from the council.

It was apparently produced in response to the contemporary eagerness of aficionados to collect and examine (with a hand lens) the detailed prints made from large glass negatives.

The signature of such a postcard is the inclusion of tableaux signifying the fleeting moment, and in this example it is the running boy about to go out of frame on the left,[nb 12] and the policeman checking his watch in the foreground.

The positions of the actors would be held still for the camera at a prearranged moment, which may have been announced by the chiming of the clock tower out of frame to the right,[nb 13] or a call from the man on the right of the stage.