Exhibition: ‘Hermann Landshoff: A Retrospective Photographs 1930-1970’ at the Münchner Stadtmuseum

Exhibition dates: 29th November 2013 – 21st April 2014

 

Hermann Landshoff (American-German, 1905-1986) 'The Bicyclers' Published in 'Junior Bazaar' August 1946

 

Hermann Landshoff (American-German, 1905-1986)
The Bicyclers
Published in Junior Bazaar August 1946

 

 

Another artist who was lucky to escape Europe in the first years of the Second World War. I would like to see the whole exhibition. At the moment I can’t make a judgement on his work for I have not seen enough of it, but on the evidence of the images presented in this posting, I am not entirely convinced. However, the photograph of Lauren Bacall in 1945 is ravishing…

Marcus


Many thankx to the Münchner Stadtmuseum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Hermann Landshoff (American-German, 1905-1986) 'Max Ernst at Peggy Guggenheim’s home, New York, fall 1942' 1942

 

Hermann Landshoff (American-German, 1905-1986)
Max Ernst at Peggy Guggenheim’s home, New York, fall 1942
1942
Gelatin silver print
Münchner Stadtmuseum Photography Collection

 

Hermann Landshoff (American-German, 1905-1986) 'Photographer Irving Penn' 1948

 

Hermann Landshoff (American-German, 1905-1986)
Photographer Irving Penn
1948
Gelatin silver print
Münchner Stadtmuseum Photography Collection

 

Hermann Landshoff (American-German, 1905-1986) 'Children in a Spanish village' 1957

 

Hermann Landshoff (American-German, 1905-1986)
Children in a Spanish village
1957
Gelatin silver print
Münchner Stadtmuseum Photography Collection

 

Hermann Landshoff (American-German, 1905-1986) 'Model Cora Hemmet on the Grand Versailles Staircase' 1934-1938

 

Hermann Landshoff (American-German, 1905-1986)
Model Cora Hemmet on the Grand Versailles Staircase
1934-1938
Gelatin silver print
Münchner Stadtmuseum Photography Collection

 

 

In the spring of 2012, the Münchner Stadtmuseum’s Photography Collection received a sensational addition to its archives. The complete artistic estate of German-American photographer Hermann Landshoff (1905-1986), featuring 3,600 original prints from between 1927 to 1970, were generously donated to the museum on behalf of the family by Andreas Landshoff.

Landshoff grew up in Munich-Solln as the son of a well-to-do Jewish family that was very much involved in the city’s art, literature and music scenes. His father, Ludwig Landshoff, was an internationally acclaimed musicologist and composer who was director and head of Munich’s Bach Society from 1917 to 1928. His mother, Philippine Wiesengrund, was a singer with the Royal Court Opera, while his sister Ruth Landshoff, better known by her married name of Vollmer, would become one of the founders of the conceptual art movement in the United States. In addition, writers such as Thomas Mann, Christian Morgenstern, Joachim Ringelnatz, Rainer Maria Rilke, Karl Wolfskehl and Franziska zu Reventlow were frequent visitors to his parents’ home. Another family member, the author Ruth Landshoff-Yorck, was the muse of Otto Umbehr and Paul Citroen and ran an art salon in Berlin that had a reputation as one of the most exciting meeting places for avant-garde artists in the whole of the Weimar Republic.

Other more distant relations of the family included important figures from the world of publishing such as Samuel Fischer, the founder of the S. Fischer Verlag publishing house, and Fritz H. Landshoff, who, from 1933, ran the Querido publishing house in Amsterdam which would become the most important forum for German exile literature, publishing novels by authors including Heinrich Mann, Klaus Mann, Hermann Kesten, Joseph Roth, Alfred Döblin, Lion Feuchtwanger, Anna Seghers, Ernst Toller and Arnold Zweig.

Even in his early years, Hermann Landshoff attracted attention with his cartoons and a photo reportage on Albert Einstein that was published in the Münchner Illustrierte Zeitung magazine. After training at Munich’s Kunstgewerbeschule (School of Arts and Crafts), he became a member of the circle of well-known typographer and book illustrator Fritz Helmuth Ehmcke. It was here that Landshoff met the Nuremberg illustrator Richard Lindner alongside whom he would subsequently work as part of the creative team at the Knorr & Hirth publishing house. When the Nazis seized power in 1933, Landshoff was forced to emigrate, initially settling in Paris where he worked as a fashion photographer. Between 1936 and 1939, his images were published in the popular Femina magazine and in the French edition of Vogue. He was then forced to flee France and, after an eventful journey spanning 1940 and 1941, he eventually pitched up in New York. Landshoff soon became one of the most fascinating fashion photographers to collaborate with legendary art director Alexey Brodovitch for fashion magazines such as Harper’s Bazaar, Junior Bazaar and latterly also Mademoiselle. He developed his own style as a fashion photographer, portraying the models in life-like everyday situations. American fashion photographer Richard Avedon considered himself to have been profoundly inspired by Landshoff, even being moved to claim that ‘I owe everything to Landshoff’.

There is little doubt that Hermann Landshoff is one of the last great unsung heroes in (the history of) 20th century photography. Having been quite wrongly consigned to oblivion for all these years, the time has now come for him to be rediscovered. His multi-layered works show us various sides to the age in which he lived and the lives of artists who had settled in the United States having been exiled from Europe. The exhibition offers the first chance to see Landshoff’s portraits of European artists such as Max Ernst, Richard Lindner, Leonora Carrington or Frederick Kiessler who found a new artistic home in New York under the auspices of art collector Peggy Guggenheim. It also features a number of stunning group and individual portraits of members of the New York surrealist community centred around André Breton and Marcel Duchamp.

Finally, we also have Hermann Landshoff to thank for a unique cycle of around 70 portraits of different photographers that he created between 1942 and 1960. These striking images feature old masters like Walker Evans, Paul Strand, Alfred Stieglitz, Ansel Adams, Berenice Abbott, Margaret Bourke-White, Alfred Eisenstaedt, Andreas Feininger or WeeGee alongside young, up-and-coming photographers still at the start of their careers, such as Robert Frank, Irving Penn and Richard Avedon. This pantheon of eminent photographers occupies a unique place in the history of the medium.

Other collections of images tackle the urban architecture and people of New York, focusing particularly on those on the fringes of society. The exhibition also includes several portraits of prominent physicists such as Albert Einstein as well as some of the Los Alamos scientists such as Robert Oppenheimer and his cousin Rolf Landshoff involved in building the world’s first nuclear bomb. The exhibition will show a selection of more than 250 of Landshoff’s fascinating photographs for the first time, with subjects drawn from across the entire spectrum of his work, from fashion to portraits and architecture.

Press release from the Münchner Stadtmuseum website

 

Hermann Landshoff (American-German, 1905-1986) 'Tennis balls' with models Wanda Delafield and Peggy Lloyd c. 1945

 

Hermann Landshoff (American-German, 1905-1986)
Tennis balls with models Wanda Delafield and Peggy Lloyd
c. 1945
Gelatin silver print
Münchner Stadtmuseum Photography Collection

 

Hermann Landshoff (American-German, 1905-1986) 'Model Beth Wilson at Rip Van Winkle Bridge spanning the Hudson River, New York 1946' 1946

 

Hermann Landshoff (American-German, 1905-1986)
Model Beth Wilson at Rip Van Winkle Bridge spanning the Hudson River, New York 1946
1946
Gelatin silver print
Münchner Stadtmuseum Photography Collection

 

Hermann Landshoff (American-German, 1905-1986) 'Self-portrait, New York' c. 1942

 

Hermann Landshoff (American-German, 1905-1986)
Self-portrait, New York
c. 1942
Gelatin silver print
Münchner Stadtmuseum Photography Collection

 

Hermann Landshoff (American-German, 1905-1986) 'Actress Lauren Bacall, New York, 1945' 1945

 

Hermann Landshoff (American-German, 1905-1986)
Actress Lauren Bacall, New York, 1945
1945
Gelatin silver print
Münchner Stadtmuseum Photography Collection

 

Hermann Landshoff (American-German, 1905-1986) 'On the roof of Saks Fifth Avenue Building, New York, 1942' 1942

 

Hermann Landshoff (American-German, 1905-1986)
On the roof of Saks Fifth Avenue Building, New York, 1942
1942
Gelatin silver print
Münchner Stadtmuseum Photography Collection

 

 

Münchner Stadtmuseum
St. Jakobs Platz 1
80331 München
Phone: +49-(0)89-233-22370

Opening hours:
Tuesday – Sunday 10am – 6pm
Closed on Mondays

Münchner Stadtmuseum website

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Exhibition and book launch preview: ‘In the Folds of Hills’ by Kristian Laemmle-Ruff at The Field Institute, Melbourne

Exhibition dates: 1st – 8th May 2014

Exhibition opening and book launch: Thursday 1st May, 6 – 8.30 pm

To be opened by Robert McFarlane
Stories by Charlotte Laemmle

 

Kristian Laemmle-Ruff (Australian) 'In the Folds of Hills' book cover 2014

 

Kristian Laemmle-Ruff (Australian)
In the Folds of Hills book cover
2014

 

 

One of my favourite contemporary Australian photographers has a new book and exhibition!

Hopefully a review to follow but having seen a digital copy of the book, the sensitivity of the work feels admirable… unrecalled stories and photographs of people’s lives and the environments in which they live.

The book retails for $60 AUD and will be available in selected book stores nationally. It is being published by Pearce Press and includes a foreword by former prime minister Malcolm Fraser and an essay by Robert McFarlane.

Marcus


Many thankx to Kristian Laemmle-Ruff for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Kristian Laemmle-Ruff (Australian) 'Barn in the Mist' 2014

 

Kristian Laemmle-Ruff (Australian)
Barn in the Mist
2014

 

Foreword

In the Folds of Hills depicts a life in the secluded valleys around Lima, a little over 100 kms from Melbourne, Victoria. Kristian Laemmle-Ruff not only has great technical control of his craft, but translates this skill into truly artistic photographs.

His images of ordinary objects from everyday life invite the viewer to slow down and contemplate. These photos create a narrative that offers us insight into the way these people live.

The portfolio focuses on individuals who have lived most, if not all their lives in this area. They would all be hard-working and modest in their possessions. Their individual characters shine through the photographs with a rugged determination and strength.

In the Folds of Hills will come to have historic significance because it captures aspects of Australian rural life, which in many parts of this country are fast disappearing.

Rt Hon Malcolm Fraser AC CH

 

Kristian Laemmle-Ruff (Australian) 'Lima East Valley' 2014

 

Kristian Laemmle-Ruff (Australian)
Lima East Valley
2014

 

Kristian Laemmle-Ruff (Australian) 'Ralph Pearce' 2014

 

Kristian Laemmle-Ruff (Australian)
Ralph Pearce
2014

 

Photographer’s Note

This project began with a curiosity to discover something that is quietly going unnoticed. As our cities grow and society increasingly relies on technological advances, there remain those older generations whose lives are still rooted in a past era: the early to mid 20th century. This was an era where small-scale labor-intensive livelihoods could thrive. In the face of changing needs and corporate competition these kinds of livelihoods, such as the family-owned farm, are disappearing.

Susan Sontag wrote in her book On Photography that “a beautiful subject can be the object of rueful feelings because it has aged or decayed or no longer exists … Photography is a twilight art.” This photo-series also lingers in some kind of twilight zone and has a sense of urgency; indeed one person has passed away since being photographed.

I first intended to capture day-to-day life and work in these secluded rural valleys. With subject matter so steeped in romanticism, I felt a need to explore beyond the ‘countryside’ clichés and idealisation common in the attitudes of city people. After meeting the subjects and gaining their trust, I sensed personal stories that needed to be told. To my surprise these stories were told not so much in the words spoken, but rather in the person’s material surrounds. Domestic interiors scattered with objects became allegories for human experience. These environments were full of memory.

It wasn’t uncommon for someone to still live in the house they were born in. An empty chair, a leaning barn, a clock ticking on the wall: these once mundane objects became potent symbols of their owner’s past, their hopes and their reality. Some objects suggested loss and melancholia, others embodied feelings of pride and even humour.

In the Folds of Hills is an exploration of the wisdom and rich humanity found in the characters living and working on this land. In celebrating and acknowledging them and their stories, the photo-narratives also offer a somewhat poetic insight into their inner worlds.

Kristian Laemmle-Ruff

 

Kristian Laemmle-Ruff (Australian) 'On Mother's Bed' 2014

 

Kristian Laemmle-Ruff (Australian)
On Mother’s Bed
2014

 

Kristian Laemmle-Ruff (Australian) 'Old Flowers' 2014

 

Kristian Laemmle-Ruff (Australian)
Old Flowers
2014

 

Ralph Pearce

Ralph’s knowledge and understanding of this part of the world is humbling. Rainfall patterns, geography and vegetation are things that matter to Ralph. He invites us to climb into his ute and drives to a stand of fabled Lima stringybarks. Few now exist in the valley. Our gentle giant is very much at home amongst the tall timbers that have been his livelihood for so many years.

“I still love mucking about in the bush,” chuckles Ralph with a twinkle in his eye. He shows us his tools, most importantly his axes, and carefully describes their variations and uses. The sheds back at the homestead hold a treasury of farming history and Ralph proudly shows us the old dairy, his shearing shed and a faithful companion, a Honda 110 motorbike. The land continues to give Ralph what he needs. His vegetable patch is impressive and the old gnarled fruit trees bear their gifts seasonally. Once a fortnight Ralph drives to Benalla for groceries and a chat. Every second Tuesday evening he travels to the nearby Moorngag Hall for a round of cards with friends from the district. Charlie Jensen, his childhood mate, collects him.

When next we visit Ralph he shows us around the rest of his house. His mother was clearly a significant influence. She died in 1985 aged ninety-eight and was blind for the last nine years of her life. Ralph cared for her. Her suitcase, packed for hospital, still sits in her room. Little has changed in the house since she died.

ABC Radio keeps Ralph informed. And informed he is. Television has never made an appearance in this house. Ralph speaks to us with the wisdom of someone who has seen many fashions and many politicians come and go. One cannot help but be touched by the simplicity and integrity of this man’s life. Ralph is a quiet gentleman, unassuming, self-reliant and comfortable within his skin.

Extract from stories by Charlotte Laemmle from the book In the Folds of Hills

 

Kristian Laemmle-Ruff (Australian) 'Ralph's oven' 2014

 

Kristian Laemmle-Ruff (Australian)
Ralph’s oven
2014

 

 

The Field Institute at The Compound Interest (Centre for the Applied Arts)
15-25 Keele Street, Collingwood, Victoria

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Exhibition: ‘James Turrell: A Retrospective’ at The Los Angeles County Museum of Art (LACMA)

Exhibition dates: 26th May 2013 – 6th April 2014

 

Many thankx to LACMA for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

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James Turrell (American, b. 1943)
Breathing Light
2013
LED light into space
Dimensions cariable
Los Angeles County Museum of Art, purchased with funds provided by Kayne Griffin Corcoran and the Kayne Foundation
© James Turell
Photos: © Florian Holzherr

 

James Turrell (American, b. 1943) 'Bridget's Bardo' 2009

 

James Turrell (American, b. 1943) 'Raemar Pink White' 1969

 

James Turrell (American, b. 1943) 'Key Lime' 1994

 

James Turrell (American, b. 1943) 'Light Reignfall' 2011

 

'James Turrell: A Retrospective' installation view at LACMA 2014

 

 

The Los Angeles County Museum of Art (LACMA) presents James Turrell: A Retrospective, the first major U.S. survey of Los Angeles-native James Turrell since 1985. The exhibition features approximately fifty works tracing five decades of the artist’s career. In addition to early light projections, holograms, and an entire section devoted to his masterwork-in-progress, the Roden Crater project, the exhibition features numerous immersive light installations that address our perception and how we see. LACMA’s retrospective is complemented by concurrent, independently curated exhibitions at the Museum of Fine Arts, Houston (MFAH) (June 9 – September 22, 2013); and the Solomon R. Guggenheim Museum, New York (June 21 – September 25, 2013). Additional Turrell exhibitions on view this year include the Academy Art Museum, Easton (April 20 – July 7, 2013); and Villa Panza, Varese, Italy (October 24, 2013 – May 4, 2014).

“The theme of light has preoccupied artists for centuries,” says Michael Govan, CEO and Wallis Annenberg Director of LACMA and exhibition co-curator. “No one, however, has so fully considered the ‘thing-ness’ of light itself – as well as how the experience of light reflects the wondrous and complex nature of human perception – as James Turrell has for nearly five decades.” Christine Y. Kim, exhibition co-curator and Associate Curator of Contemporary Art at LACMA adds, “There is nothing quite like the experience of a Turrell work, which is truly about and for the viewer and his or her perception. Perception is the medium for Turrell, as his work provokes viewers to see themselves see.”

Turrell’s revolutionary use of light in art makes for an experience that is both physical and optical – requiring visitors to spend anywhere from five to twenty minutes with one artwork, often alone in a gallery or with a limited number of fellow viewers.

Exhibition overview

In the mid-1960s, James Turrell was inspired by a beam of light from a slide projector while sitting in the darkened room of an undergraduate art history class at Pomona College. The sight provoked a question: what if light wasn’t the tool that enabled people to see something else but rather became the thing people look at? Thus began an inquiry that has led to a vast, prolific career.

James Turrell: A Retrospective comprises works that range in scale from an intimate watercolour made in 1969 to a 5,000-square-foot “Ganzfeld” installation – designed to entirely eliminate the viewer’s depth perception – offering visitors multiple entry points into Turrell’s practice. Evident in the array of works is the artist’s interest in perception, psychology, religion, astronomy, meditation, and science. The exhibition also draws connections between the artist’s light installations, architectural projects, and his famous masterwork-in progress at Roden Crater, in the high desert of Arizona. James Turrell: A Retrospective presents the most expansive installation of Roden Crater works shown to date, presented in the form of models, drawings, photographs, holograms, and other documents from the 1980s through the present.

Exhibition Organisation

The work of James Turrell requires a vast amount of exhibition space. James Turrell: A Retrospective presents nearly fifty works exhibited in 33,000 square feet populating two venues across LACMA’s campus: the 2nd floor of the Broad Contemporary Art Museum (BCAM) and the east galleries of the Lynda and Stewart Resnick Exhibition Pavilion (Resnick Pavilion). BCAM’s east galleries begin with works that Turrell completed at his Mendota Studio in Santa Monica from the mid-1960s to the early 1970s, followed by a succession of full-room installations that feature projections, holograms, a “Shallow Space” – a large room designed to challenge a viewer’s depth perception – and a “Cross Corner Projection,” in which light is projected in a way that suggests weight and mass. A subsequent gallery contains information and media highlighting a selection of site-specific projects and commissions around the world. BCAM’s west wing is populated with a “Magnatron” work – consisting of an aperture in the shape of an old television screen – followed by three full-scale installations: Key Lime, a “Wedgework” in which the illusion of walls are created through light and architecture; a “Wide Glass,” a type of work that adds a temporal element to Turrell’s light-based installations; and St. Elmo’s Breath, a “Space Division Construction,” which appears to be a flat surface but upon closer inspection reveals itself to be light emitted from a seemingly bottomless cavity in the wall.

Upon entering the Resnick Pavilion, visitors first encounter work that resulted from Turrell’s collaboration with artist Robert Irwin and Dr. Ed Wortz as part of the Art and Technology program at LACMA in 1969, namely a “Perceptual Cell” called Light Reignfall; Dark Matters, a “Dark Space” that presents a seemingly blacked-out room with only a minimally perceivable trace of light; and Breathing Light, a “Ganzfeld.” The Resnick Pavilion also holds an expansive gallery dedicated to the Roden Crater project, including large-scale mixed media drawings and a model contoured with actual cinder from the crater, as well as other models for autonomous spaces.

Press release from the LACMA website

 

James Turrell (American, b. 1943) 'Roden Crater Model (Large Overall Site)' 1987

 

James Turrell (American, b. 1943) 'Roden Crater Model (Large Overall Site)' 1987

 

James Turrell (American, b. 1943) 'Roden Crater Project, view toward northeast' 1987

 

James Turrell (American, b. 1943) 'Twilight Epiphany' 2012

 

James Turrell (American, b. 1943) 'Twilight Epiphany' 2012

 

James Turrell (American, b. 1943) 'Twilight Epiphany' 2012

 

James Turrell (American, b. 1943) 'Afrum (White)' 1966

 

James Turrell (American, b. 1943) 'Raethro II (Blue)' 1971

 

James Turrell (American, b. 1943) 'Bullwinkle' 2001

 

James Turrell in front of Roden Crater Project at sunset, October 2001

 

 

Los Angeles County Museum of Art (LACMA)
5905 Wilshire Boulevard (at Fairfax Avenue)
Los Angeles, CA, 90036
Phone: 323 857-6000

Opening Hours:
Monday, Tuesday, Thursday: 11am – 6pm
Friday: 11am – 8pm
Saturday, Sunday: 10am – 7pm
Closed Wednesday

LACMA website

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Photographic archive: ‘The Gibson archive’ at the Royal Museums Greenwich (RMG)

March 2014

 

The Gibsons of Scilly. 'The Aksai' 1875

 

The Gibsons of Scilly
The Aksai
1875

 

2 November 1875 – steamer Aksai (Russia) sailed into White Island, St Martin’s in thick fog while bound for Odessa from Cardiff with coal. The captain and crew of thirty-nine were saved by the Lady of the Isles. Citation: Larn, Richard (1992). Shipwrecks of the Isles of Scilly. Nairn: Thomas & Lochar.

 

 

“Other men have taken fine shipwreck photographs, but nowhere else in the world can one family have produced such a consistently high and poetic standard of work.”


John Fowles

 

“This is the greatest archive of the drama and mechanics of shipwreck we will ever see – a thousand images stretching over 130 years, of such power, insight and nostalgia that even the most passive observer cannot fail to feel the excitement or pathos of the events they depict.”


Rex Cowan

 

 

Dear readers, this gem of a posting will have to last you all of this week as it took such a long time to research, clean the images and assemble the post. I hope you enjoy the fruits of my labour.

These are superb photographs obtained in the most trying of conditions, forming an artistic practice that spans generations and epochs.

As the text below notes, “At the very forefront of early photojournalism, John Gibson and his descendants were determined to be first on the scene when these shipwrecks struck. Each and every wreck had its own story to tell with unfolding drama, heroics, tragedies and triumphs to be photographed and recorded – the news of which the Gibsons would disseminate to the British mainland and beyond.”

This is the most glorious archive of shipwreck photographs that the world has even known and this posting brings together the largest selection of these photographs available on the Internet at the moment, in one place. I have to send a big thank you to the Press Office of the Royal Museums Greenwich (RMG) for sending me all these photographs and allowing me to post them on Art Blart. Unfortunately, because they had just been purchased from the auction house Sotheby’s, there was no information about each image, just the title of the ship. So I have spent hours researching the ships in this posting and cleaning up the scans that were sent to me, some of which were in a poor state. All the text comes from the Internet and if I have forgotten to credit someone I apologise in advance. I have included detailed close-ups of certain images to emphasise the drama, the calamity and the presence and inherent curiosity of onlookers.

The hours spent researching has all be worthwhile because the photographs are magnificent. Atmospheric, ghostly, tinged with loss, tragedy, heroism and the “presence” of these (mostly) sailing ships, these photographs are both memorials and romantic photographic ruins to the age of steam and sail. My favourite has to be the ghostly Flying Dutchman-esque The Glenbervie (1902, below), but for tragedy and poignancy you can’t go past the recumbent body of The Jeanne Gougy (1962, below), framed so beautifully by the artist in the horizontal, by just seen rocks.

But how can you pick just one or two? Each photograph has its own mystery, its own fiction, for as Susan Sontag observes, “Photographs, which cannot themselves explain anything, are inexhaustible invitations to deduction, speculation and fantasy.” In the case of these photographs we can only speculate as to the specific circumstances that led to the occurrence of each wreck (decisions made, or not), the set of circumstances and actions which are evidenced by the time freeze of these photographs, one end product of the performative act. Although they deny interconnectedness and continuity in the actual (conferring on each moment the character of a mystery), they enable interconnectedness and continuity in the imagination of the viewer for we can vividly imagine being on these ships as they are wrecked at sea.

What was interesting with this posting is that the images did not come with captions, just the name of the ship. My imagination was left free to roam, to scour the image for clues, to make up stories about what had happened until I did the research and the text based, “real” story emerged – the words becoming a means by which the viewer can decode the photographic evidence before them. Even though they were rushed to newspapers and magazines to impart news of the accident, I still prefer the fantasy of the image over the informational addendum, for this is what gives these images their power. Here, technology and the mistakes of man yield to the power of nature and you can only imagine how it would have been.

While the back story may add context of time, place, loss and heroism it is the beautiful isolation of these wrecked ships of the sea and their paradoxical nestling close in to the bosom of the earth, holding them fast, that will forever provide intimate fascination.

Dr Marcus Bunyan


Many thankx to the Royal Museums Greenwich (RMG) for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

The Gibsons of Scilly. 'The Bay of Panama' 1891

 

The Gibsons of Scilly
The Bay of Panama
1891

 

SV Bay of Panama (British): The sailing ship was wrecked under Nare Head, near St Keverne, Cornwall, United Kingdom, during a great blizzard. The ship carried jute from Calcutta; 18 of those on board died but 19 were saved. Noall, C. (1969?) Cornish Shipwrecks Illustrated. Truro: Tor Mark Press; p. 15

Barque, built in 1883, 4 masts (equipped with floors and lower deck beams of iron. The forecastle was 37 ft long and the poop 54 ft. Rigged with double top- and top gallant sails and royal sails)

Built by the Belfast shipping firm of Hartland and Wolff in 1883, the Bay of Panama was described by everyone who saw her as probably the finest sailing ship afloat. With her steel hull, and four square-rigged masts, she was a very fast and beautiful ship of 2282 tons. But strength and good looks are no guarantee, and during March 1891 the Bay of Panama met up with the worst blizzard Cornwall had suffered for over two hundred years. It was to prove no contest. Because of her speed, the Bay of Panama was used on the Calcutta run, and on November 18th 1890 she left that port bound for Dundee loaded with a cargo of 13000 bales of jute.

For four months she sailed swiftly towards England until one morning during the early part of March 1891, she approached the Cornish coast in rapidly deteriorating weather. The Captain knew all about the dangers of a lee shore, but because of the bad visibility he was uncertain as to his exact position. He could see that the weather was unlikely to get any better, and he even thought that there might be some snow. After weighing up all the risks he decided to heave to, take some depth soundings, and generally take stock of his position. It was a decision that was to cost him his ship, and his life. Only a few hours later, in the early afternoon, a blizzard, the worst for over two centuries, swept into the West Country and engulfed the Bay of Panama.

Bay of Panama
Posted on July 4, 2007 Peter Mitchell

 

The Gibsons of Scilly. 'SS Blue Jacket' 1898

 

The Gibsons of Scilly
SS Blue Jacket
1898

 

SS Blue Jacket (United Kingdom) November 1898: She was unaccountably wrecked on a clear night a few yards from the Longships lighthouse, Lands End, Cornwall. The crew were saved by the Sennen lifeboat. Noall, C. (1969?) Cornish Shipwrecks Illustrated. Truro: Tor Mark Press; p. 21.

Stuck fast – and surely a classic example of the expression – on the 
Longships lighthouse rocks off Land’s End, December 9th, 1898. This 
tramp was in ballast from Plymouth to Cardiff. The captain went below 
to his cabin – and his wife – at 9.30 p.m., leaving the mate on watch. 
He was woken near midnight by a tremendous crash, and came on deck 
to find his listing ship brilliantly illuminated by the lighthouse only a few yards away. Captain, wife and crew took to their boats and were picked 
up by the Sennen lifeboat. How the mate managed to play moth to this
 gigantic candle – the weather was poor, but provided at least two miles’ 
visibility – has remained a mystery. The Blue Jacket sat perched in this
 ludicrous position for over a year.

John Fowles. Shipwreck. 1975

 

The Gibsons of Scilly. 'The Minnehaha' 1874

 

The Gibsons of Scilly
The Minnehaha
1874

 

The Gibsons of Scilly. 'The Minnehaha' 1874

 

The Gibsons of Scilly
The Minnehaha
1874

 

The Minnehaha was shipwrecked in 1874 as it travelled from Peru to Dublin. It was carrying guano to be used as fertiliser and struck Peninnis Head rocks when the captain lost his way. The ship sank so quickly that some men were drowned in their berths, ten died in total including the captain.

On 18 January 1874, while travelling from Callao, Peru to Dublin, the 845-ton four-masted barque Minnehaha carrying guano was wrecked off Peninnis Head, St Mary’s, Isles of Scilly. Her pilot mistook the St Agnes light for the Wolf Rock and thought they were passing between the Isles of Scilly and the Wolf. Shortly after she struck a rock off Peninnis Head  and the vessel sunk at once with some of the crew being drowned in their berths. Those on deck climbed into the rigging, and as the tide rose the ship was driven closer to land, and some managed to climb onto the shore over the jib boom. The master, pilot and eight crew drowned.

 

The Gibsons of Scilly. 'The Mohegan'
 1898

 

The Gibsons of Scilly
The Mohegan

1898

 

The Mohegan struck the Manacles, October 14th, 1898. One of the most dreaded of all reefs, 
the Manacles (from the Cornish ‘maen eglos’, rocks of the church, a reference 
to the landmark of St Keverne’s tower) stand east of the Lizard promontory, 
in a perfect position to catch shipping on the way into Falmouth – and before 
Marconi ‘Falmouth for orders’ (as to final North European destination) was
 the commonest of all instructions to masters abroad. But the Mohegan was
 outward bound, and hers is one of the most mysterious of all Victorian sea-disasters.
 She was a luxury liner on only her second voyage, from Tilbury to New York.
 Somewhere off Plymouth a wrong course was given. A number of people on shore 
realised the ship was sailing full speed (13 knots) for catastrophe; a coastguard
 even fired a warning rocket, but it came too late. The great ship struck just as 
the passengers were sitting down to dinner. She sank in less than ten minutes,
 and 106 people were drowned, including the captain and every single deck officer,
 so we shall never know how the extraordinary mistake, in good visibility, was made.
 The captain’s body was washed up headless in Caernarvon Bay three months later.
 Most of the dead were buried in a mass grave at St. Keverne.

John Fowles. Shipwreck. 1975

 

The Gibsons of Scilly. 'MV Poleire' 1970

 

The Gibsons of Scilly
MV Poleire
1970

 

The MV Poleire was a Cypriot motor vessel of some 2300 tons. In April 1970 she was on a voyage from Ireland to Gdynia in Poland carrying a cargo of zinc ore when she struck the Little Kettle Rock, which lies just north west of Tresco. There was a thick fog when she struck, and although less than a mile from the Round Island light house, her master failed to hear the fog signal. The sea was flat calm so all the crew managed to get off safely. Within a week the Poleire broke in two and sank.

MV Poleire
Posted on July 4, 2007 Peter Mitchell

 

The Gibsons of Scilly. 'The Jeanne Gougy' 1962

 

The Gibsons of Scilly
The Jeanne Gougy
1962

 

The Jeanne Gougy, a French fishing trawler (built 1948) ran aground on the 3rd November 1962. Several crew were rescued by Sergeant Eric Smith from a Whirlwind Mk 10 helicopter when he was winched down to the wheelhouse despite it being submerged by breaking waves. He was awarded a George Medal for his rescues.

“The dramatic but tragic shipwreck in which eleven men died and the rescue of the rest of the crew of the Jean Gougy, occurred on November 3rd 1962. The French trawler out of Dieppe, was bound for the fishing grounds of the southern Irish coast when it went aground on the north side of Lands End. At 05.20h, the Sennen Coxswain was contacted by the coastguard who informed him of the trawler’s situation. The firing of the maroons at Sennen Cove awoke two young Royal Marines from their deep sleep, bivouacking as they were, on the flat concrete platform that then existed not far from the lifeboat station at Sennen Cove. The reserve lifeboat on temporary duty at the station was launched as the two marines slowly dozed off back to sleep.

The lifeboat took approximately one hour to reach the scene at Lands End. A parachute flare was fired and the trawler could be seen lying on her side on rocks at the foot of the cliff. A very heavy swell prevailed after the storm. It was impossible for the lifeboat to get any closer than a hundred yards. An L.S.A team at the top of the cliff had fired several lines over the trawler, but the crew could not secure them as the trawler was completely submerged by the heavy swell. Several men were washed out of the wheelhouse. At 8.15h a helicopter from Chivener arrived and, together with the lifeboat, carried out a search of the area. The lifeboat found two seamen and the helicopter one. They were all dead. At 9.00h the helicopter left for Penzance to land a body and to then refuel at Culdrose Naval Air Base near Helston.

“I had awoken with a start at the explosions around me, mistakenly in my stupor believing it was already bonfire night, which of course was two days away. I went back to sleep. Waking sometime later my climbing partner and I packed our equipment and proceeded to walk from Sennen Cove where we had been climbing the previous day, over to Lands End for another days climbing. As we approached Lands End, we noticed people standing on the northern headland. On arriving at approximately midday, we walked over to the zawn beneath us, into which a policeman was peering. There on it’s side was a trawler and looking up at us and waving were many trapped people in the wheelhouse.

Turning to the policeman I said “If my mate and I rope down this side of the zawn (there is a tidal platform, a ledge there), we can set up a belay station, throw our other rope in through the broken wheelhouse window and one by one pull those guys to the cliff below us” (the tide was going out). “Go away” was his curt reply. And so we walked away. In the next four hours, eight more fisherman lost their lives. The outcome could have been so very different.”

As there appeared to be no one left alive on the Jean Gougy the lifeboat had made for Newlyn to land two bodies, it being impossible to return to Sennen Cove due to the tide. At noon however a woman watching from the top of the cliff top saw a man’s hand waving inside the wheelhouse and heard him calling. The coastguards fired a line over the trawler and a man, clinging to the edge of the wheelhouse as the vessel was now completely on her side, struggled to grasp it. He was prevented by heavy waves. Eventually he secured the line and was hauled to safety in the breeches buoy. Three others being rescued afterwards by the same means. The helicopter, on being recalled, hovered over the ship and lowered a crewman who saved two more seamen. These six had survived by breathing trapped air in pockets at the wheelhouse and forecastle. On learning of these developments, the Penlee lifeboat Soloman Browne launched at 12.45h and arrived three-quarters of an hour later. The Sennen lifeboat also returned to the scene at 15.45h. With the helicopter they again searched the area but with no success. It was later learned that the trawler carried a crew of 18, 11 of whom lost their lives, including the skipper.

Sergeant E.C. Smith of the R.A.F who was lowered to the trawler to save the two injured men received the George Medal and also the Silver Medal of the Societe Nationale des Hospitaliers Sauveteurs Bretons. The stirring events connected with this shipwreck, which received extensive press and television coverage, provided an excellent illustration for the public of the manner of work the three principle sea rescue services provided in this country, and of the cooperation existing between them.”

Millenium Moments – The Jean Gougy – A personal recollection by Dennis Morrod on the guidinglight.org.uk website [Online] Cited 25/02/2014. No longer available online.

 

The Gibsons of Scilly. 'Jeune Hortense' 1888

 

The Gibsons of Scilly
Jeune Hortense
1888

 

The French brigantine Jeune Hortense was swept on to the beach when she came into Mount’s Bay to land the body of a Fowey man who had died in France. The schooner wrecked at Long Rock, Cornwall. The Penzance lifeboat, having been brought by carriage to the beach near Marazion, rescued four crew.

Stranded near St Michael’s Mount, May lyth, 1888. The foreground
 carriage is for the Penzance lifeboat

 

The Gibsons of Scilly. 'The Mildred' 1912

 

The Gibsons of Scilly
The Mildred
1912

 

The Mildred was traveling from Newport to London when it got stuck in dense fog and hit rocks at Gurnards Head at midnight on the 6th April 1912. Captain Larcombe and his crew of two Irishmen, one Welshman and a Mexican rowed into St. Ives as their ship was destroyed by the waves.

“The British barquentine Mildred, Newport for London with basic slag, struck under Gurnards Head at midnight on the 6th April 1912, whilst in dense fog. She swung broadside and was pounding heavily when Captain Larcombe, the mate, two Irishmen, one Welshman and a Mexican from Vera Cruz rowed into St. Ives at 6am. They later returned in a pilot gig but the Mildred was already going to pieces. The Mildred, Cornish built and owned, was launched in 1889.”

 

The Gibsons of Scilly. 'SS Tripolitania' 1912

 

The Gibsons of Scilly
SS Tripolitania
1912

 

SS Tripolitania Italian cargo ship (built 1897) ran aground on the 26th December 1912. Driven ashore in a Westerly gale, she beached and attempts were made to refloat her over the coming months on a spring tide. This was unsuccessful and she was eventually scrapped.

“Boxing Day 1912 was remembered by the advent of a south westerly gale, the full force of which was experienced at the Loe Bar, the stretch of shingle and sand separating the Loe Pool from the sea near Porthleven. This Italian Steamer Tripolitania was 2,297 tons. She became firmly embedded and despite strenuous efforts to release her from this perilous position, she was broken up and shipped as scrap from local Porthleven. It has been stated that about £8,000 had been expended on trying to save her. Many tons of sand and shingle were removed in an attempt to free the Tripolitania in the Loe Bar Sands and a great expense was incurred to try and salvage the ship. Tugs stood by for the attempt on the full tide on the morrow, but a storm arose during the night and embedded the vessel even firmer than before. After this incident hopes for refloating her were abandoned and she was broken up for scrap iron. One man was drowned and his body was never recovered.”

Anon. “Tripolitania,” on the Helston History website Nd

 

 

Royal Museums Greenwich (RMG) today acquired a world renowned and nationally significant collection of photographic and archive material. The Gibson archive presents one of the most graphic and emotive depictions of shipwrecks, lifesaving and its aftermath produced in the nineteenth and twentieth centuries. The material was acquired at the Sotheby’s Travel, Atlases, Maps and Natural History Sale.

The archive of dramatic and often haunting images, assembled over 125 years (1872 to 1997) by four generations of the Gibson family, records over 200 wrecks – the ships, heroic rescues, survivors, burials and salvage scenes – off the treacherous coastline of Cornwall and the Isles of Scilly. The acquisition of this collection comprising of over 1360 glass and film negatives, complements the Museum’s existing, extensive historic photography collection, and creates an unprecedented opportunity for the Museum to further examine and explore the story of life at sea and the dangers experienced by seafarers through research, education and display projects.

John Gibson (1827-1920) founded the family photographic business in the 1860s and took his first photograph of a wreck in 1869. He apprenticed his two sons Alexander (1857-1944) and Herbert (1861-1937), who perfected the art of photographing wrecks, creating perhaps some of the most remarkable and evocative images of misadventure at sea. Among the items included in the collection is the ledger the Gibson brothers kept when taking the photographs, which contains records of the telegraph messages sent from Scilly and is full of human stories of disaster, courage and survival. Having secured the archive RMG will initially conserve, research and digitize the collection, leading to a number of exhibitions to tour regional museums and galleries, especially those in the South West of England.

Lord Sterling of Plaistow, Chairman of the Royal Museums Greenwich, said: “The acquisition of this remarkable archive will enable us to create a series of exhibitions that will travel across the country, starting with the South West. I am very pleased that the National Maritime Museum has been able to secure this wonderful collection for the nation, and I know that the Gibson family are delighted that their family archive will remain and be displayed in this country.”

Items acquired today at auction:

~ 585 Glass plate negatives (214: 12 x 10 in: 8 x 6 in) housed in 16 original wooden boxes and one cardboard box
~ 407 Glass plate copy negatives (6½ x 4¾ in) in 4 cardboard boxes
~ 179 Glass plate negatives (4¼ x 3¼ in)
~ 198 film negatives (5 x 4 in) in three boxes
~ 335 cut film negatives (various sizes) and 39 (35mm) film negatives
~ 97 original photographs of shipwrecks (silver prints, 12 x 10 in)
~ Manuscript ledger by Alexander and Herbert Gibson on the shipwrecks of Cornwall and the Isles of Scilly
~ A collection of books by John Fowles, John Arlott, John Le Carré, and Rex Cowan on the Gibsons of Scilly, together with newspaper and magazine articles


Text from the Royal Museums Greenwich (RMG) website

 

Founder John Gibson bought his first camera 150 years ago

 

Founder John Gibson bought his first camera 150 years ago

 

Alexander Gibson was invited by his father John into the business in 1865

 

Alexander Gibson was invited by his father John into the business in 1865

 

Herbert Gibson was taken on by his father as an apprentice and went on to run the business

 

Apprentice: Herbert Gibson was taken on by his father as an apprentice and went on to run the business

 

James Gibson took over the business after the death of his father Herbert

 

James Gibson took over the business after the death of his father Herbert

 

Frank Gibson spent time learning about new technology and techniques to help advance the family business

 

Frank Gibson spent time learning about new technology and techniques to help advance the family business

 

 

“The Gibson family originated from the Isle of Scilly and have 300 years of family history. John Gibson acquired his first camera whilst abroad around 150 years ago when photography was still mainly reserved for the wealthiest members of society. He had to go to sea from a young age to supplement the income from a small shop on St Mary’s run by his widowed mother. Making ends meet on St Mary’s was a constant struggle and he learned to use the camera and set up a photography studio in Penzance.

Around 1866 he returned to St Mary’s with his family and he was assisted in his photography by his sons Alexander and Herbert in the studio shed in the back garden of their home. Both Herbert and Alexander learned the art of photography at their father’s knee and Alexander was to become one of the most remarkable characters in Scilly. He had a passion for archaeology, architecture and folk history. He took endless pictures of ruins, prehistoric remains, and artefacts not just in Scilly but all over Cornwall.

Herbert by contrast was a quiet man, a competent photographer and a sound businessman. There can be no doubt that without his steadying influence, the business aspect of their photography might not have survived Alexander’s more flamboyant approach. Frank spent some time working for photographers in Cornwall learning about new technology. But Frank returned to Scilly in 1957 and worked in partnership with his father for two years.

After this time it was apparent that they could not work together and James retired to Cornwall and sold the business to Frank. Under Frank’s stewardship the business expanded. He produced postcards and sold souvenirs to supplement the photography, and opened another shop. Scilly is always in the news and there is always demand for pictures by the press.

James Gibson was, in fact, the most qualified of all the photographers. He was an Associate of the Royal Photographic Society and won various medals and awards through his lifetime. He was an adventurous photojournalist as well as a jobbing photographer. Today, the family runs a souvenir shop which sells books and postcards and they are currently digitising 150 years of photographs.”

 

“The family’s famous shipwreck photography began in 1869, on the historic occasion of the arrival of the first Telegraph on the Isles of Scilly. At a time when it could take a week for word to reach the mainland from the islands, the Telegraph transformed the pace at which news could travel. At the forefront of early photojournalism, John became the islands’ local news correspondent, and Alexander the telegraphist – and it is little surprise that the shipwrecks were often major news.

On the occasion of the wreck of the 3500-ton German steamer, Schiller in 1876 when over 300 people died, the two worked together for days – John preparing newspaper reports, and Alexander transmitting them across the world, until he collapsed with exhaustion. Although they often worked in the harshest conditions, travelling with hand carts to reach the shipwrecks – scrambling over treacherous coastline with a portable dark room, carrying glass plates and heavy equipment – they produced some of the most arresting and emotive photographic works of the nineteenth and twentieth centuries.”

Text from Wills Robinson. “Gibson family’s photos chart a century of Cornish shipwrecks,” on the Mail Online website 21/10/2013

 

James Gibson at work

 

James Gibson at work

 

The Gibsons of Scilly. 'SS City of Cardiff' 1912

 

The Gibsons of Scilly
SS City of Cardiff
1912

 

21 March – City of Cardiff (United Kingdom) wrecked at Nanjizal, two miles south of Land’s End. The Sennen Life-Saving Apparatus Team took the crew off by breeches buoy. Citation: Corin, J.; Farr, G. (1983). Penlee Lifeboat. Penzance: Penlee & Penzance Branch of the Royal National Lifeboat Institution. p. 120.

The steamer City of Cardiff pictured trapped on rocks with steam still coming out of the chimney, it was washed ashore by a strong gale in March 1912 at Nanjizel. The Captain, his wife and son, and the crew were all rescued but the vessel was left a total wreck. British ship built 1906, the City of Cardiff was en route from Le Havre, France, to Wales in 1912 when it was wrecked in Mill Bay near Land’s End. All of the crew were rescued.

 

The Gibsons of Scilly. 'SS City of Cardiff' 1912

 

The Gibsons of Scilly
SS City of Cardiff
1912

 

The Gibsons of Scilly. 'SS City of Cardiff' 1912

 

The Gibsons of Scilly
SS City of Cardiff
1912

 

The Gibsons of Scilly. 'SS City of Cardiff' (detail) 1912

 

The Gibsons of Scilly
SS City of Cardiff
1912

 

The Gibsons of Scilly. 'SS City of Cardiff' 1912 (detail)

 

The Gibsons of Scilly
SS City of Cardiff (detail)
1912

 

The Gibsons of Scilly. 'Brinkburn' 1898

 

The Gibsons of Scilly
Brinkburn
1898

 

“The steamer Brinkburn, belonging to Messrs. Harris and Dixon, of London, from Galverton for Havre, with cotton, ran ashore on the Maiden Bower, Isles of Scilly, on Thursday at midnight during dense fog. The crew of 30 took to their lifeboats and landed in safety. The Brinkburn is a total wreck.” 15/12/1898

Bales of cotton were hauled onto the quayside at Hugh Town, St Mary’s from the wrecked cargo steamer Brinkburn in December 1898. It was travelling from Galveston, USA, to Le Havre when it grounded on the Maiden Bower rocks. The salvage ship Hyaena is alongside the pier on the left. The crew abandoned the ship and were guided to Bryher by islanders. The ship was submerged at high water and cotton was salvaged and landed at St Mary’s over several months.

 

The Gibsons of Scilly. 'SS Schiller' 1875

 

The Gibsons of Scilly
SS Schiller
1875

 

SS Schiller was a 3,421 ton German ocean liner, one of the largest vessels of her time. Launched in 1873 she plied her trade across the Atlantic Ocean, carrying passengers between New York and Hamburg for the German Transatlantic Steam Navigation Line. She became notorious on 7 May 1875, when while operating on her normal route she hit the Retarrier Ledges in the Isles of Scilly, causing her to sink with the loss of most of her crew and passengers, totalling 335 fatalities.

Captain Thomas needed to slow due to poor visibility in thick sea fog as she entered the English Channel, and was able to calculate that his ship was in the region of the Isles of Scilly, and thus within range of the Bishop Rock lighthouse which would provide him with information about his position. To facilitate finding the islands and the reefs which surround them, volunteers from the passengers were brought on deck to try to find the light. These lookouts unfortunately failed to see the light, which they were expecting on the starboard quarter, when in fact it was well to port (nautical). This meant that the Schiller was sailing straight between the islands on the inside of the lighthouse, leaving the ship heading towards the Retarrier Ledges.

The Schiller grounded on the reef at 10pm, sustained significant damage, but not enough in itself to sink the large ship. The captain attempted to reverse off the rocks, pulling the ship free but exposing it to the heavy seas which were brewing, which flung the liner onto the rocks by its broadside three times, stoving in the hull and making the ship list dangerously as the lights died and pandemonium broke out on deck as passengers fought to get into the lifeboats.

It was at these boats that the real disaster began, as several were not seaworthy due to poor maintenance and others were destroyed, crushed by the ship’s funnels which fell amongst the panicked passengers. The captain attempted to restore order with his pistol and sword, but as he did so, the only two serviceable lifeboats were launched, carrying 27 people, far less than their full capacity. These boats eventually made it to shore, carrying 26 men and one woman.

On board the ship the situation only became worse, as breakers washed completely over the wreck. All the women and children on board, over 50 people, were hurried into the deck house to escape the worst of the storm. It was there that the greatest tragedy happened, when before the eyes of the horrified crew and male passengers, a huge wave ripped off the deck house roof and swept the occupants into the sea, killing all inside. The wreck continued to be pounded all night, and gradually those remaining on board were swept away or died from exposure to cold seas, wind and resulting hypothermia, until the morning light brought rescue for a handful of survivors.

The recognised manner of signalling disaster at sea was by the firing of minute guns, carried on all ships for signalling purposes. Unfortunately, it had become the custom in the islands to fire a minute gun as your ship passed safely through the area, and so the firing of the Schiller’s guns failed to produce hoped for rescue. Such an operation at night and in the dark would have been near impossible anyway with such high seas, and thus it was not until the first light that rescue craft began arriving.

St Agnes pilot gig, the O and M, was summoned to investigate multiple cannon shots. Her crew discovered the mast of the sinking Schiller. The O and M rowed to pick up five survivors before returning to St Agnes for assistance. Steamers and ferries from as far away as Newlyn, Cornwall, assisted the rescue operation.

Of her original 254 passengers and 118 crew, there were 37 survivors. The death toll, 335, made the disaster one of the worst in British history.

Text from the Wikipedia website

 

 

“An exceptional collection of shipwreck photographs taken by four generations of the Gibson family was bought at a Sotheby’s auction yesterday by the Royal Museums Greenwich (RMG) for £122,500 ($195,645) including buyer’s premium. The archive contains more than 1,100 glass plate negatives, more than 500 film negatives and 97 original print photographs of shipwrecks off the coasts of Cornwall and the Isles of Scilly. They make the perfect complement to the RMG’s pre-existing collection of historic maritime photography.

For 125 years, starting with patriarch John Gibson, a seaman who became a professional photographer in 1860, the Gibson family braved shoals, waves and sand to capture haunting scenes of shredded ships, dramatic rescues, cargo salvage and burials of people who fell victim to the treacherous coastal waters of southwest England. John’s sons Herbert and Alexander joined the business in 1865 and their talents would come to define the Gibson archive and its exceptional high quality. The first wreck they photographed was in 1869 when the telegraph had just arrived on the Isles of Scilly.

These were not simple point and shoot operations. It was dangerous, highly physical labour. On the occasion of the wreck of the 3500-ton German steamer, Schiller, in 1876 when over 300 people died, the two brothers worked together for days – [Herbert] preparing newspaper reports, and Alexander transmitting them across the world, until he collapsed with exhaustion. Although they were working in difficult conditions, travelling with a cart or boat to reach the shipwrecks – and scrambling over rocky crags and sand dunes with a portable dark room, carrying fragile glass plates and heavy equipment – they produced some of the most arresting and emotive photographic images of shipwrecks produced in the nineteenth and twentieth centuries.

They were pioneers. This was at a time when most photography was still firmly wedded to the studio portrait. The equipment was so bulky and fragile that climbing over crags hauling not just the camera and plates but a freaking dark room would be inconceivable to most people. That the Gibsons pulled it off is amazing in and of itself; that they also created images of such beauty and emotional resonance makes the archive little short of miraculous.

The Gibson family business is still going strong on the Isles of Scilly, although they’ve added souvenir and wholesale postcard sales to the professional photography. Sandra Gibson, John’s great-great granddaughter, runs it now with her husband Pete. The family decided it was time to sell the archive rather than let it continue to languish in boxes.”

Author John Le Carré, who used some Gibson photographs in his books, visited the business, then run by Frank, Sandra’s father, in 1997. I love his description of the archive:

“We are standing in an Aladdin’s cave where the Gibson treasure is stored, and Frank is its keeper. It is half shed, half amateur laboratory, a litter of cluttered shelves, ancient equipment, boxes, printer’s blocks and books. Many hundreds of plates and thousands of photographs are still waiting an inventory. Most have never seen the light of day. Any agent, publisher or accountant would go into free fall at the very sight of them.”

Now that National Maritime Museum has the pictures, we can all go into free fall at the very sight of them, and the family can be sure it will be archived properly and shared with the world. The museum plans to use the archive to study the dangers of the seafaring life and to display this invaluable record as widely as possible.”

Press release from the Royal Museums Greenwich (RMG)

 

The Gibsons of Scilly. 'River Lune' 1879

 

The Gibsons of Scilly
River Lune
1879

 

River Lune struck in fog and at night just south of Annet (Scillies), July 27th, 1879 – the same day as the Maipu. The master later blamed a faulty
 chronometer, since he had believed himself fifteen miles to the west.
 The ship heeled and sunk aft in the first ten minutes. The crew took 
to their boats, but returned in daylight to collect their belongings. 
This barque was only eleven years old. She broke up soon afterwards.

John Fowles. Shipwreck. 1975

 

The Gibsons of Scilly. 'The Punta' 1955

 

The Gibsons of Scilly
The Punta
1955

 

The Gibsons of Scilly. 'SV Seine' 1900

 

The Gibsons of Scilly
SV Seine
1900

 

The Gibsons of Scilly. 'SV Seine' 1900 (detail)

 

The Gibsons of Scilly
SV Seine (detail)
1900

 

The French ship, the barque SV Seine (built in 1899) was on her way to Falmouth with a cargo of nitrate when she ran into a gale off Scilly on Decermber 28, 1900. She ran ashore in Perran Bay, Perranporth, Cornwall, but thankfully all crew members were rescued with Captain Guimper reported as the last man to leave the ship before she was broken up in the next flood tide.

Ran ashore in Perran Bay (Perranporth), December 28th, 1900. This beautiful ship was a French ‘bounty clipper’ – so called because a government subsidy to French ship-owners allowed them to build for elegance rather than more mundane qualities. The crew got off in heavy seas. By dawn the next day she was dismasted and on her beam-ends, and broke up on the next flood-tide. Two weeks later the hulk of this celebrated barque was bought for only £42.

 

The Gibsons of Scilly. 'SV Albert Wilhelm' 1886

 

The Gibsons of Scilly
SV Albert Wilhelm
1886

 

SV Albert Wilhelm 1886, a German brig was lost 16 October 1886 Lelant.
The Albert Wilhelm, Lelant, 1886, a 202 ton German Brig travelling from the Isle of Man to Fowey.

 

The Gibsons of Scilly. 'MV Cita' 1997

 

The Gibsons of Scilly
MV Cita
1997

 

The German owned 300ft merchant vessel the Cita, sunk after it pierced its hull and ran aground in gale-force winds en route from Southampton to Belfast in March 1997. The mainly Polish crew of the stricken vessel were rescued a few hours after the incident by the RNLI and the wreck remained on the rock ledge for several days before slipping off into deeper water.

On 26 March 1997, the 300-ft merchant vessel MV Cita pierced its hull when running aground on rocks off the south coast of the Isles of Scilly in gale-force winds en route from Southampton to Belfast. The incident happened just after 3 am when the German-owned, Antiguan-registered 3,000 tonne vessel hit Newfoundland Point, St Mary’s. The mainly Polish crew of the stricken vessel were rescued a few hours after the incident by St Mary’s Lifeboat, RNLB Robert Edgar with the support of a H-3 Sea King rescue helicopter from RNAS Culdrose. They sailed to the UK mainland on board the Scillonian III later that afternoon. Many containers were washed up on the rocks and beaches of the Isles of Scilly, and many were found in the Celtic Sea, travelling as far as Cornwall.

Text from the Wikipedia website

 

The Gibsons of Scilly. 'The Glenbervie' 1902

 

The Gibsons of Scilly
The Glenbervie
1902

 

The Glenbervie, which was carrying a consignment of pianos and high quality spirits crashed into rocks Lowland Point near Coverack, Cornwall, in January 1902 after losing her way in bad weather. The British owned barque was laden with 600 barrels of whisky, 400 barrels of brandy and barrels of rum. All 16 crewmen were saved by lifeboat.

The Glenbervie, The Lizard, 1902, travelling from the Thames to West Africa spirits and pianos. Struck on the Manacles and went aground near Lowland Point, December 1901. The crew were saved in heavy seas by the Coverack lifeboat. The old wreckers must have groaned in their uneasy graves when they heard that this cargo was officially salvaged, since it contained over a thousand cases and barrels of spirits. There was also a valuable consignment of grand pianos on board, which were all ruined. The Glenbervie was launched in 1866; she was first a tea-clipper, then had many years in the Canada trade. She normally made three trips a year, between the thawing and the freezing of the St Lawrence, on this latter run.

 

The Gibsons of Scilly. 'SV Granite State / Slate' 1895

 

The Gibsons of Scilly
SV Granite State / Slate
1895

 

American three-masted sailing ship built in 1877 ran aground near Porthcurno 4th November 1895.

On 3rd November 1895 this American sailing ship arrived in Falmouth with a cargo of wheat from the River Plate. Given orders to discharge in Swansea she sailed on the 4th November and whilst attempting to round Lands End, struck the Lee Ore rock of the Runnel Stone. Taken in tow by the Cardiff tug Elliot and Jeffrey she was beached in the shallows of Porthcurno. She rapidly settled, and when the wheat began to swell and the hatches burst under the pressure, she was abandoned. She broke up soon afterwards in a winter gale.

Struck on the Runnel Stone, three miles south-east of Land’s End, November 4, 1895. This fine Yankee windjammer was making for Swansea from Falmouth. A navigation error by the mate seems to have been the cause of disaster. She was hauled off by a tug, but had to be towed to the nearest sandy bay, Porthcurno. She settled rapidly, and when the cargo of wheat began to swell the crew took to boats. The Granite Slate was soon afterwards destroyed completely by a gale.

 

The Gibsons of Scilly. 'SV Granite State / Slate' 1895 (detail)

 

The Gibsons of Scilly
SV Granite State / Slate (detail)
1895

 

The Gibsons of Scilly. 'Hansy' 1911

 

The Gibsons of Scilly
Hansy
1911
Glass negative
Gibson’s of Scilly Shipwreck Collection

 

Wreck of the Norwegian full-rigger Hansy, Housel Bay, The Lizard, Cornwall, November 1911.

3 November – 1497 ton sailing ship Hansy (Norway) of Fredrikstad was wrecked at Housel Bay on the eastern side of the Lizard. Three men were saved by the Lizard lifeboat (Royal National Lifeboat Institution) and the rest along with the Captain’s family were taken off by rocket apparatus. She was bound for Sydney with building material and her cargo of steel and timber was washed up for weeks afterwards and used in many of the local cottages. One in Church Cove now bears her name. (Wikipedia)

“Wrecked in Housel Bay near the Lizard Point, November 13th, 1911. 
Sailing from Sweden to Melbourne with timber and pig-iron, she missed stays 
while trying to come about in a gale. The crew were brought ashore by 
breeches-buoy. Two days later a salvage party boarded – to find a pair of
 goats lying happily in a seaman’s bunk. Local fishermen did a thriving trade 
in timber for weeks afterwards; and the iron pigs are fished up for ballast 
to this day. The Scottish-built Hansy (formerly Aberfoyle) had had an 
unhappy history. In 1890 the bulk of the crew jumped ship in Australia,
 after a bad voyage out – only to be returned on board following a fortnight 
in jail. Jail must have been more agreeable, for eight men jumped ship again 
at the next port of call. In 1896 a steamer found the Aberfoyle drifting helplessly
 off Tasmania. The captain had been swept overboard, the first mate had
 committed suicide by leaping into the sea and the rest had given up hope.
 Similar stories of low morale – and often of insane bitterness between
 officers and crew – are manifold.”

John Fowles. Shipwreck. 1975

 

The Gibsons of Scilly. 'Voorspoed' 1901

 

The Gibsons of Scilly
Voorspoed
1901
Glass negative
Gibson’s of Scilly Shipwreck Collection

 

Horses and carts and a big crowd surround the Dutch three-masted schooner Voorspoed which ran aground in heavy weather on Perranporth Beach in March 1901. It was on passage from Cardiff to Bahia, Brazil, heavily laden with coal and machinery. The rocket brigade rescued the seven crew and one cabin boy. The captain was reluctant to leave but did so eventually. The cargo was salvaged during the afternoon although the captain thought it was more like looting. He is reputed to have said: ‘I have been wrecked in different parts of the globe, even in the Fiji Islands, but never among such savages as those of Perranporth.’ The ship was refloated on the next tide.

 

The Gibsons of Scilly. 'Hampton' 1909

 

The Gibsons of Scilly
Hampton
1909
Glass negative
Gibson’s of Scilly Shipwreck Collection

 

Steam cargo ship Plympton ran aground at Lethegus Rocks, off St Agnes, Isles of Scilly, in foggy weather in August 1909. Islanders in seven gigs are salvaging cargo. The ship, on passage from Rosario to Falmouth with a cargo of maize, slipped off the rocks and rolled over onto its port side and two islanders were drowned.

The 2869-ton steamer Plympton was  built by Furness Withy in West Hartlepool. The single-screw ship was powered by three-cylinder triple-expansion engines with two boilers giving her 256hp. She was 314ft long with a beam of 40ft.

She was captained by Alexander Stewart with a crew of 24 and one passenger when she called at Falmouth from Rosario, Argentina. There she received orders to take her cargo of 4100 tons of maize in bags on to Dublin and discharge it there.

At midnight on 13 August, 1909, she ran into dense fog that lasted throughout the following day. Stewart knew he was in trouble. The lead was used at short intervals and the siren sounded almost continuously. From 4am on 14 August, Captain Stewart set up a listening watch, with all hands on deck striving to hear the Bishop Rock foghorn. They still hadn’t heard it when the Plympton ran on to Lethegus Reef, filled with water and was abandoned. The crew and passengers landed safely on St Agnes.

Once the islanders were satisfied that all were safe, they set about the ancient Scilly practice of stripping the wreck, which they found hard aground by the bow. However, while they worked the Plympton rose with the flood tide and, without warning, capsized and sank. Two men who were below were drowned.

Anonymous. “The Hathor & The Plympton (Wrecks),” on the Wikimapia website [Online] Cited 21/10/2022

 

The Gibsons of Scilly. 'King Cadwallon' July 22, 1906

 

The Gibsons of Scilly
King Cadwallon
July 22, 1906
Glass negative
Gibson’s of Scilly Shipwreck Collection

 

On the foggy morning of July 22, 1906, King Cadwallon struck rocks off the coast of St Martin’s Island. A photographer from the Gibson family boarded a rowboat to get this image before the ship sank completely beneath the waves.

 

The Gibsons of Scilly. 'SS Archangelos' 1929

 

The Gibsons of Scilly
SS Archangelos
1929
Glass negative
Gibson’s of Scilly Shipwreck Collection

 

A port bow view of the stranded cargo ship Archangelos (built 1918) with tugs in attendance and people watching from the shore.

The Greek cargo, Archangelos, owned by Livanos, ran aground in heavy fog at Coverack on April 22nd, 1929. Many attempts were made in vain to tow her off the rocks. Eventually they succeeded and the vessel was repaired and became the SS K. Sadikoglu.

 

The Gibsons of Scilly. 'Maurice Bernard' 1921

 

The Gibsons of Scilly
Maurice Bernard
1921
Glass negative
Gibson’s of Scilly Shipwreck Collection

 

A starboard bow view from the beach of the French general cargo vessel Maurice Bernard (1921) aground, with crowds watching the rescue of a man suspended from the wire leading from the ship to the shore. On passage Le Havre to Barry in ballast, went aground during a south-west gale. Later refloated with the aid of tugs.

 

The Gibsons of Scilly. 'Jebba' 1907

 

The Gibsons of Scilly
Jebba
1907
Glass negative
Gibson’s of Scilly Shipwreck Collection

 

The Jebba, seen from the cliffs of Bolt Tail, near Hope Cove, Devon, was on its way from Nigeria and the Gold Coast when it ran aground in thick fog in March, 1907. Lines stretch from the ship to the cliffs where the Breeches Buoy system was used to rescue 155 passengers and crew, at least one chimpanzee and three monkeys.

Built originally as the Albertville in 1896 by Sir Robert Dixon and Company, she was later taken over by the Elder Dempster line and renamed the Jebba. 302 feet long and 3813 tons gross, the Jebba was homeward bound from Sierra Leone carrying a cargo of rubber, ivory and fresh fruit worth over ?00,000. Besides this cargo she was also carrying 155 passengers and crew, and the Royal Mail.

In the early hours of 18 March 1907 the Jebba overshot the Eddystone in dense fog and ran aground under the steep cliffs at Whitchurch, just a few yards away from Bolt Tail. The ship immediately started to take in water, and after sending up distress rockets, the Captain ordered all the boiler fires to be doused to prevent the risk of an explosion. Being broadside onto the rocks, waves soon started breaking over the liner’s decks, but instead of the usual panic, the passengers and crew remained exceptionally calm, and all went dutifully to their lifeboat stations to await the Captains orders. Very quickly the Hope Cove lifeboat, which was literally around the corner, came upon the scene and because it could not get into the comparatively sheltered water between the Jebba and the shore, it was considered too dangerous to attempt to take people off from the weather side as it would mean cragging all 155 people through the rough seas. However, with the aid of a rocket apparatus and the extraordinary bravery of two local men all the passengers and crew were eventually saved.

In order to get the rescue started, Issac Jarvis and John Argeat climbed down the treacherous 200 foot cliffs in complete darkness to set up a bosun’s chair, with which they rescued over a hundred persons. So impressed was everybody by their selfless bravery that King Edward VII personally approved that the men be awarded the Board of Trade Bronze Medal. They were also awarded the Liverpool Shipwreck and Humane Society Silver Medal…

Soon after the rescue the Jebba filled with water, and although most of the cargo was eventually salvaged, it was obvious that the liner was a complete write off. Once again Bolt Tail had claimed another victim.

Peter Mitchell. “The Wreck of the Jebba,” on the Submerged website Nd [Online] Cited 22/10/2022

 

The Gibsons of Scilly. 'Horsa' 1893

 

The Gibsons of Scilly
Horsa
1893
Glass negative
Gibson’s of Scilly Shipwreck Collection

 

Three-masted cargo ship Horsa ran aground in Bread and Cheese Cove (Loop Hole), St Martin’s in April 1893. Two RNLI lifeboats are alongside the ship with rowing gigs, transferring people to or from the ship which was on passage from New Zealand with a cargo of tinned meat, wool and grain and picked up a pilot off Round Island, Scilly. The ship was towed out of the cove by the packet steamer Lyonesse but it rolled over and the crew were rescued before Horsa sank.

An elevated starboard bow view of the three-masted cargo ship Horsa (1860) aground in Bread and Cheese Cove (Loop Hole), St. Martin’s, Isle of Scilly. The tide has dropped enough for the waterline of the ship to be exposed and water can be seen being pumped out. The RNLI lifeboat (possibly the Henry Dundas or James & Caroline) is off the starboard side under oar. Four rowing gigs are alongside the hull. People are standing on the upper deck leaning over the bulwarks. The photographer was standing on the cliffs above the cove looking northeast towards St. Martin’s Head and the red and white striped 17th Century day marker on the headland.

The Horsa (built 1860) was on passage from New Zealand with a cargo of tinned meat, wool and grain and picked up a pilot off Round Island, Scilly. According to the report in the newspaper after the Board of Inquiry, the pilot allowed the ship to stand on port tack too long before deciding that they would not pass Hard Lewis Rocks. The attempt to tack northward failed as the light winds and the tide caused the ship to miss her stays (i.e. could not get the bow through the wind quick enough). The ship was run aground in Bread and Cheese Cove to save it and the crew [Liverpool Mercury, 27 April 1893]. The ship was towed out of the cove by the packet steamer Lyonesse and eventually the captain sailed Horsa after three tow lines snapped. The ship rolled over and sank in the early hours of 5 April 1893. The Lyonesse rescued the remaining crew before Horsa sank.

Text from the Royal Museums Greenwich website

 

The Gibsons of Scilly. 'Renwick' 1903

 

The Gibsons of Scilly
Renwick
1903
Glass negative
Gibson’s of Scilly Shipwreck Collection

 

NB. The shutter speed must have been between a quarter and a half a second to get the movement of the people on the beach.

 

In February 1903, the Renwick was in ballast when it was dragged onto Castle Beach in Falmouth Bay during a south-westerly gale. A month later the ship was floated off and towed into Falmouth Harbour and later was sold after temporary repairs.

An elevated starboard bow view of the cargo steamer Renwick (1890) stranded on Castle Beach in Falmouth Bay. A large number of people are on the beach and rocks off the ship’s starboard side as the tide is out. The rudder has broken away from the stern post at the bottom. The photographer was standing near Cliff Road looking across the wreck to the southeast towards Pendennis Castle and Pendennis Point in the background.

On 26 February 1903, the Renwick was in ballast when it dragged ashore on Castle Beach in Falmouth Bay during a south-westerly gale. On 11 March 1903 the ship was floated off and towed into Falmouth Harbour [Dundee Courier, 12 March 1903]. The ship later was sold and after temporary repairs was taken to Cardiff to be repaired in Mount Stuart Dry Dock, arriving on Monday 6 April 1903 [Western Mail, 7 April 1903].

Text from the Royal Museums Greenwich website

 

The Gibsons of Scilly. 'Busby' 1894

 

The Gibsons of Scilly
Busby
1894
Glass negative
Gibson’s of Scilly Shipwreck Collection

 

Busby left Newport on its maiden voyage for Civita Vecchia on June 22, 1894 with a cargo of 4,600 tons of coal and 26 crew. It ran aground two days later in thick fog at Pendeen Cove.

A port quarter view of the general cargo steamer Busby (1894) aground with a slight list to starboard in Pendeen Cove (near Portheras Cove). The photographer was standing on the cliffs above Pendeen Cove looking north-west towards The Wra or Three Stone Oar rocks in the background. A man dressed in white with his back to the camera is standing on the rocky shoreline holding a line that is attached to a pulley block on the guardrail of the Busby. A small rowing boat is tied alongside the ship near a rope ladder.

Busby left Newport on its maiden voyage for Civita Vecchia on 22 June with a cargo of 4,600 tons of coal and 26 crew. It ran aground on 24 June 1894 in thick fog. However, after the cargo was removed, and pumps installed the ship was refloated, only to founder under tow on 16 July 1894.

Text from the Royal Museums Greenwich website

 

The Gibsons of Scilly. 'Ravonia' 1911

 

The Gibsons of Scilly
Ravonia
1911
Glass negative
Gibson’s of Scilly Shipwreck Collection

 

Sightseers turn out to see the three-masted schooner Ravonia aground off St Ives Head in 1908. She was later re-floated and towed to Liverpool for repairs

A port side view, fine of the port bow, of the steel screw three-masted collier Ravonia (1908) stranded on shore near St Ives Head. A number of men and children are around the bows of the ship. The tide is out, so water is washing around the stern to the funnel area of the hull only. The Ravonia was stranded near St Ives Head on 1 July 1911. The master was found to be responsible for steaming too close to land in foggy weather and not using the lead [The Times report, 17 July 1911].

Text from the Royal Museums Greenwich website

 

The Gibsons of Scilly. 'Cviet' 1884

 

The Gibsons of Scilly
Cviet
1884
Glass negative
Gibson’s of Scilly Shipwreck Collection

 

A large group gathers to see Austrian wooden sailing barque Cviet, aground on Porthleven beach in January 1884. The vessel was bound from St Domingo to Falmouth with a cargo of about 600 tons of logwood when it was caught in hurricane force winds. Rocket lines were fired to reach the crew, but eventually a fisherman swam through the surf and threw a line. The captain and one of the crew were washed overboard and drowned. The rest of the crew were saved.

An elevated starboard quarter view of the Austrian wooden sailing barque Cviet (1870) aground on Porthleven beach listing to port. The tide is out and the waves are breaking lower down on the beach. The top masts are missing and the rigging is a mess. A large group of people are off the starboard side on the beach close to the stern and quarter, many looking at the camera. Part of the Porthleven pier is in the background.

The Cviet was bound from St. Domingo to Falmouth for orders with a cargo of about 600 tons of logwood. On 26 January 1884 the ship was caught in hurricane force winds that blew most of her sails. Cviet was driven ashore on Porthleven beach broadside to the waves. Rocket lines were fired to reach the crew, but eventually a fisherman swam through the surf and threw a line. The captain and one of the crew were washed overboard and drowned. The rest of the crew were saved. The rigging was taken down on 27 January at low water and the salvage operations continued under the direction of the Receiver of Wreck. [Royal Cornwall Gazette, 1 February 1884]

Text from the Royal Museums Greenwich website

 

 

Royal Museums Greenwich (RMG)

The National Maritime MuseumQueen’s HouseRoyal Observatory and Cutty Sark are normally open 10.00-17.00 seven days a week.

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Exhibition: ‘Hans Gedda’ at the Nationalmuseum at Konstakademien, Stockholm

Exhibition dates: 5th December 2013 – 30th March 2014

 

Hans Gedda (Swedish, b. 1942) 'Unknown man' c. 1995

 

Hans Gedda (Swedish, b. 1942)
Unknown man
c. 1995
Cecilia Heisser/Nationalmuseum
© Hans Gedda

 

 

A photographer who I previously have known very little about….

Excellent portraits, with strong use of close up, chiaroscuro and diagonal, horizontal and vertical elements within the picture frame. The camera is usually positioned on the same level or just below the proponent – never shooting down on the person – which gives the portraits a monumental feel. The tight cropping and framing of the face by hands and arms is magnificent (for example, the hands and arms of Sara Lidman, 1967 below; and the hand resting under the chin of Hans Alfredson, Reprint 2012 below), as is the positioning of the body within the picture frame, Self Portrait as The White Clown (Reprint 2012, below). The attitude of the body, as in the portrait of photographer Rolf Winquist (Reprint 2012, below), adds an element of psychological enquiry into the presence that the artist evokes from his sitters.

Dr Marcus Bunyan


Many thankx to the Nationalmuseum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger view of the image.

 

 

Hans Gedda (Swedish, b. 1942) 'Carl XVI Gustaf, King of Sweden' 1996

 

Hans Gedda (Swedish, b. 1942)
Carl XVI Gustaf, King of Sweden
1996
Nationalmuseum, Swedish National Portrait Gallery
Hans Thorwid/Nationalmuseum
© Hans Gedda

 

Hans Gedda (Swedish, b. 1942) 'Niklas Ek, dancer, actor' Reprint 2012

 

Hans Gedda (Swedish, b. 1942)
Niklas Ek, dancer, actor
Nd, reprint 2012
Gelatin silver print
60.5 x 50.5cm
Nationalmuseum, Swedish National Portrait Gallery
Erik Cornelius/Nationalmuseum
© Hans Gedda

 

Niklas Ek, born 1943, is a Swedish premiere dancer. He is the son of actor Anders Ek and choreographer Birgit Cullberg and brother of the director Mats Ek and actor Malin Ek. He has been active in the Cullberg Ballet and the Royal Opera.

 

Hans Gedda (Swedish, b. 1942) 'Angela Davis' c. 1972

 

Hans Gedda (Swedish, b. 1942)
Angela Davis
c. 1972
Cecilia Heisser/Nationalmuseum
© Hans Gedda

 

Angela Yvonne Davis (born January 26, 1944) is an American political activist, scholar, and author. She emerged as a nationally prominent counterculture activist and radical in the 1960s, as a leader of the Communist Party USA, and had close relations with the Black Panther Party through her involvement in the Civil Rights Movement despite never being an official member of the party. Prisoner rights have been among her continuing interests; she is the founder of Critical Resistance, an organisation working to abolish the prison-industrial complex. She is a retired professor with the History of Consciousness Department at the University of California, Santa Cruz, and is the former director of the university’s Feminist Studies department.

Her research interests are in feminism, African-American studies, critical theory, Marxism, popular music, social consciousness, and the philosophy and history of punishment and prisons. Her membership in the Communist Party led to Ronald Reagan’s request in 1969 to have her barred from teaching at any university in the State of California. She was tried and acquitted of suspected involvement in the Soledad brothers’ August 1970 abduction and murder of Judge Harold Haley in Marin County, California. She was twice a candidate for Vice President on the Communist Party USA ticket during the 1980s.

Text from the Wikipedia website

 

Hans Gedda (Swedish, b. 1942) 'Tomas Tranströmer' 2006

 

Hans Gedda (Swedish, b. 1942)
Tomas Tranströmer
2006
Nationalmuseum, Swedish National Portrait Gallery
Erik Cornelius/Nationalmuseum
© Hans Gedda

 

Tomas Gösta Tranströmer (born 15 April 1931) is a Swedish poet, psychologist and translator. His poems capture the long Swedish winters, the rhythm of the seasons and the palpable, atmospheric beauty of nature. Tranströmer’s work is also characterised by a sense of mystery and wonder underlying the routine of everyday life, a quality which often gives his poems a religious dimension. Indeed, he has been described as a Christian poet.

Tranströmer is acclaimed as one of the most important Scandinavian writers since the Second World War. Critics have praised his poetry for its accessibility, even in translation.His poetry has been translated into over 60 languages. He is the recipient of the 1990 Neustadt International Prize for Literature and the 2011 Nobel Prize in Literature.

Text from the Wikipedia website

 

Hans Gedda (Swedish, b. 1942) 'Fantini, clown' Nd

 

Hans Gedda (Swedish, b. 1942)
Fantini, clown
Nd
Cecilia Heisser/Nationalmuseum
© Hans Gedda

 

Hans Gedda (Swedish, b. 1942) 'Nelson Mandela' 1990

 

Hans Gedda (Swedish, b. 1942)
Nelson Mandela
1990
Cecilia Heisser/Nationalmuseum
© Hans Gedda

 

Hans Gedda (Swedish, b. 1942) 'Tove Jansson' 1967

 

Hans Gedda (Swedish, b. 1942)
Tove Jansson
1967
Cecilia Heisser/Nationalmuseum
© Hans Gedda

 

Tove Marika Jansson (Finland; 9 August 1914 – 27 June 2001) was a Swedish-speaking Finnish novelist, painter, illustrator and comic strip author. For her contribution as a children’s writer she received the Hans Christian Andersen Medal in 1966. Brought up by artistic parents, Jansson studied art from 1930 to 1938 in Stockholm, Helsinki and then Paris. Her first solo art exhibition was in 1943.

At the same time, she was writing short stories and articles for publication, as well as creating the graphics for book covers and other purposes. She continued to work as an artist for the rest of her life, alongside her writing. Jansson is best known as the author of the Moomin books for children. The first such book, The Moomins and the Great Flood, appeared in 1945, though it was the next two books, Comet in Moominland and Finn Family Moomintroll, published in 1946 and 1948 respectively, that brought her fame. Starting with the semi-autobiographical Bildhuggarens dotter (Sculptor’s Daughter) in 1968, she wrote six novels and five books of short stories for adults.

Text from the Wikipedia website

 

Hans Gedda (Swedish, b. 1942) 'Evert Taube, author, singer, artist' Reprint 2012

 

Hans Gedda (Swedish, b. 1942)
Evert Taube, author, singer, artist
Reprint 2012
Gelatin silver print
60.5 x 50.5cm
Nationalmuseum, Swedish National Portrait Gallery
Erik Cornelius/Nationalmuseum
© Hans Gedda

 

Evert Taube (1890-1976) was a Swedish author, artist, composer and singer. He is widely regarded as one of Sweden’s most respected musicians and the foremost troubadour of the Swedish ballad tradition in the 20th century.

 

 

“On 5 December, an exhibition on the life and work of photographer Hans Gedda will open at Nationalmuseum. Close to 140 works will be on show in this retrospective covering the period from the 1950s to the present day. Gedda’s celebrated portraits of Angela Davis, Andy Warhol and Nelson Mandela will appear alongside famous Swedes such as Olof Palme, Birgit Nilsson and Jonas Gardell.

Hans Gedda (born 1942) has long been recognised as one of Sweden;s most notable photographers. The coming retrospective will feature some 140 works: a mix of portraits, still lifes and semi-documentary images. The sliding scale on which the various genres are classified invites questions such as what constitutes a portrait, and what makes it different from other motifs. The featured works will cover Gedda’s long and productive artistic career from the 1950s to date.

Hans Gedda displayed a precocious talent for photography, making his artistic debut while still a teenager. The exhibition will therefore include several early works never previously exhibited. It will then trace Gedda’s ongoing development, from his student days with Teddy Aarni in Eskilstuna through the period he spent as assistant to Rolf Winquist at Ateljé Uggla. Gedda’s breakthrough came in 1967 with his portraits of Sara Lidman and Tove Jansson. As one of the dominant components of Gedda’s oeuvre, portraits will make up a major part of the exhibition. Visitors will encounter well-known images of Angela Davis, Andy Warhol, Nelson Mandela and famous Swedes such as Olof Palme, Birgit Nilsson and Jonas Gardell. In these portrayals, time and space are non-existent; everything is pared down. Examples of closeness and distance alike can be seen. One of the most innovative works is a portrait of King Carl XVI Gustaf.

Gedda has worked as a commercial photographer all his life, frequently changing perspectives and using the same models in his artistic projects. His pictures of older men with colourful personalities were created in parallel with jeans advertisements. Another example is Gedda’s circus images, commissioned by Cirkus Scott, which mix portrait photography with semi-documentary photojournalism. Since these are among the most fascinating of Gedda’s works, separate sections will be dedicated to them. As far as self-portraits are concerned, Gedda has employed a variety of motifs as reflections of himself. He has appeared both as a white clown and as a still life in the form of scrap metal parts. In this way, he continues to experiment to this day with a sliding scale covering a number of genres such as portraiture, nature studies and still life…

To coincide with the exhibition, a lavishly illustrated catalogue will be published in Swedish and English. It will contain two essays by Magnus Olausson and Eva-Lena Karlsson, the exhibition curators, which will draw extensively on numerous conversations with Gedda.

The exhibition will open on 5 December 2013 in Nationalmuseum’s temporary venue at Konstakademien, Fredsgatan 12, Stockholm, and will run until 30 March 2014.

Press release from the Nationalmuseum website

 

Hans Gedda (Swedish, b. 1942) 'Addi, the White-Face Clown' c. 1967

 

Hans Gedda (Swedish, b. 1942)
Addi, the White-Face Clown
c. 1967
Cecilia Heisser/Nationalmuseum
© Hans Gedda

 

Hans Gedda (Swedish, b. 1942) 'Andy Warhol' 1976

 

Hans Gedda (Swedish, b. 1942)
Andy Warhol
1976
Cecilia Heisser/Nationalmuseum
© Hans Gedda

 

Hans Gedda (Swedish, b. 1942) 'Cornelis Vreeswijk' 1984

 

Hans Gedda (Swedish, b. 1942)
Cornelis Vreeswijk
1984
Nationalmuseum, Swedish National Portrait Gallery
Cecilia Heisser/Nationalmuseum
© Hans Gedda

 

Cornelis Vreeswijk (8 August 1937 – 12 November 1987) was a singer-songwriter, poet and actor born in IJmuiden in the Netherlands. He emigrated to Sweden with his parents in 1949 at the age of twelve. He was educated as a social worker and hoped to become a journalist, but became increasingly involved in music, performing at events for students. His idiosyncratic humour and social engagement is still gaining him new fans. Cornelis Vreeswijk is often considered as one of the most influential and successful troubadours in Sweden. In 2010 a Swedish drama film, called Cornelis, was made about his life. It was directed by Amir Chamdin.

 

Hans Gedda (Swedish, b. 1942) 'Still Life' Nd

 

Hans Gedda (Swedish, b. 1942)
Still Life
Nd
Cecilia Heisser/Nationalmuseum
© Hans Gedda

 

Hans Gedda (Swedish, b. 1942) 'Jonas Gardell' c. 1992

 

Hans Gedda (Swedish, b. 1942)
Jonas Gardell
c. 1992
Cecilia Heisser/Nationalmuseum
© Hans Gedda

 

Jonas Gardell (born 2 November 1963 in Enebyberg, Stockholm County), is a Swedish novelist, playwright, screenwriter and comedian. He is the brother of religion scholar Mattias Gardell. He is well known for his books and plays in all of Scandinavia and has also published in Norway, Denmark, Finland, and Iceland.

 

Hans Gedda (Swedish, b. 1942) 'Man with a Cigarette and Stick' 1995-1997

 

Hans Gedda (Swedish, b. 1942)
Man with a Cigarette and Stick
1995-1997
Cecilia Heisser/Nationalmuseum
© Hans Gedda

 

Hans Gedda (Swedish, b. 1942) 'Ove Ekberg' 1955

 

Hans Gedda (Swedish, b. 1942)
Ove Ekberg
1955
Cecilia Heisser/Nationalmuseum
© Hans Gedda

 

Hans Gedda (Swedish, b. 1942) 'Sara Lidman' 1967

 

Hans Gedda (Swedish, b. 1942)
Sara Lidman
1967
Cecilia Heisser/Nationalmuseum
© Hans Gedda

 

Sara Lidman (30 December 1923 – 17 June 2004) was a Swedish writer. Born in the village Missenträsk in the northern parts of Skellefteå Municipality, Lidman was raised in the Västerbotten region of northern Sweden. She studied at the University of Uppsala where her studies were interrupted by her receiving tuberculosis. She achieved her first great success with the novel Tjärdalen (The Tar Still). In this novel and in Hjortronlandet she depicts themes like alienation and loneliness. In this and her following three novels, she described the difficult conditions for poor farmers in the northern Swedish province Västerbotten during the nineteenth century.

Her innovative style was influenced by dialects and biblical language. In connection with her first four novels, she wrote a number of texts with strong political content. She engaged in protest against the Vietnam War (including traveling to North Vietnam and participating in the Russell Tribunal) and apartheid in South Africa. She also supported the miners strikes in North Sweden and was active in the Communist movement and after that in the environmentalist movement. After 1977, she wrote seven additional novels that dealt with the colonisation of northern Sweden.

Text from the Wikipedia website

 

Hans Gedda (Swedish, b. 1942) 'Rolf Winquist, photographer' Reprint 2012

 

Hans Gedda (Swedish, b. 1942)
Rolf Winquist, photographer
Reprint 2012
Gelatin silver print
60.5 x 50.5cm
Nationalmuseum, Swedish National Portrait Gallery
Cecilia Heisser/Nationalmuseum
© Hans Gedda

 

The photographer Rolf Winquist (Swedish, 1910-68) was for many years the head of Ateljé Uggla, a popular studio in Stockholm. Known chiefly for its portraits, the showcase studio on Kungsgatan attracted professionals and amateurs alike. Generations of aspiring young photographers sought out Winquist. He did not provide formal instruction, preferring to give his students the opportunity to acquire knowledge and skills through practical tasks. Winquist’s artistic roots were in the pictorialism movement of the early 20th century, which sought to elevate the status of photography and gain recognition as an art form. However, Winquist did not stop there, but went on to produce experimental works of a surrealist nature as well as street photography.

Text from the Nationalmuseum website [Online] Cited 24/03/2014 no longer available online.

 

Hans Gedda (Swedish, b. 1942) 'Hans Alfredson, author, actor, entertainer, film director' Reprint 2012

 

Hans Gedda (Swedish, b. 1942)
Hans Alfredson, author, actor, entertainer, film director
Reprint 2012
Gelatin silver print
60.5 x 50.5cm
Nationalmuseum, Swedish National Portrait Gallery
Cecilia Heisser/Nationalmuseum
© Hans Gedda

 

Hans Folke “Hasse” Alfredson (1931-2017) was a Swedish actor, film director, writer and comedian. He was born in Malmö, Sweden. He was known for his collaboration with Tage Danielsson (the two of them often referred to as Hasseåtage). His most celebrated contribution to their brand of humorist humanism was his ability to extemporise wildly absurd comic situations, for example in the so-called Lindeman dialogues. At the 11th Guldbagge Awards, he won the Best Director award for his 1975 film Egg! Egg! A Hardboiled Story. His 1981 film The Simple-Minded Murder was entered into the 32nd Berlin International Film Festival. He also wrote a string of books, some intensely comic in a Monty Python style, some equally intensely tragic, some a mixture of the two.

Text from the Wikipedia website

 

Hans Gedda (Swedish, b. 1942) 'Self Portrait as The White Clown' Reprint 2012

 

Hans Gedda (Swedish, b. 1942)
Self Portrait as The White Clown
Reprint 2012
Gelatin silver print
60.5 x 50.5cm
Nationalmuseum, Swedish National Portrait Gallery
Cecilia Heisser/Nationalmuseum
© Hans Gedda

 

Hans Gedda (Swedish, b. 1942) 'Margaretha Krook' 1971

 

Hans Gedda (Swedish, b. 1942)
Margaretha Krook
1971
Nationalmuseum, Swedish National Portrait Gallery
Cecilia Heisser/Nationalmuseum
© Hans Gedda

 

Margaretha Krook (15 October 1925 – 7 May 2001) was a Swedish stage and film actress. She won the Eugene O’Neill Award in 1974. In 1976, she won the Guldbagge Award for Best Actress for the film Release the Prisoners to Spring.

 

Hans Gedda (Swedish, b. 1942) 'Max von Sydow' c. 1973

 

Hans Gedda (Swedish, b. 1942)
Max von Sydow
c. 1973
Cecilia Heisser/Nationalmuseum
© Hans Gedda

 

Hans Gedda (Swedish, b. 1942) 'Max von Sydow' 1993

 

Hans Gedda (Swedish, b. 1942)
Max von Sydow
1993
© Hans Gedda

 

Hans Gedda (Swedish, b. 1942) 'Ernst Hugo Järegård, Shakespeare/actor' 1993

 

Hans Gedda (Swedish, b. 1942)
Ernst Hugo Järegård, Shakespeare/actor
1993
© Hans Gedda

 

From 1962 Ernst Hugo Järegård was an actor in Sweden’s prominent Royal Dramatic Theatre, where he came to perform a number of much celebrated parts: his eccentric Hitler in Schweik in the Second World War by Bertolt Brecht (1963), Estragon in the legendary 1966 Dramaten-staging of Samuel Beckett’s Waiting for Godot, Thersites in Shakespeare’s Troilus and Cressida 1967, Orgon in Molière’s Tartuffe 1971, Hjalmar Ekdahl in Ingmar Bergman’s 1972 production of Ibsen’s The Wild Duck, Nero in Jean Racine’s Britannicus (1974), a spot-on portrayal of August Strindberg in play Tribadernas natt (The Night of the Tribades) by Per Olov Enquist, the title role in Richard III by Shakespeare (1980) and the extremely creepy – and slightly perverted – boss Sven in VD (“CEO”) by Stig Larsson in 1985, among others…

Järegård gained international attention when he took on the role of Doctor Helmer in Lars von Trier’s highly acclaimed mini-series Riget and Riget II (aka The Kingdom I & II). He also appeared in von Trier’s Europa. He participated in about 20 movies and 40 TV productions: aside from the Riget-series; some of his greatest roles are in the Skånska mord-series, in the 1975 Hasseåtage comedy Släpp fångarne loss, det är vår! (Release the Prisoners to Spring), in the 1962 cult movie Raggargänget, in Kådisbellan (aka The Slingshot) in 1993 and as the pompous old drag queen Ragnar Rönn in the teleplay Cheek to Cheek (written and directed by Jonas Gardell), 1997. Also in 1997 he appeared in CHOCK as the series’ host and presented each episode. Usually he would make elaborate philosophical and mystical statements regarding the plot of each episode.

For his acting work, he was awarded with the Thalia prize (1967) and the Eugene O’Neill Award (1975), two of Sweden’s finest and most prestigious theatre awards.

Text from the Wikipedia website

 

Hans Gedda (Swedish, b. 1942) 'Self Portrait (with Cap)' 1974

 

Hans Gedda (Swedish, b. 1942)
Self Portrait (with Cap)
1974
Nationalmuseum, Swedish National Portrait Gallery
Cecilia Heisser/Nationalmuseum
© Hans Gedda

 

 

Nationalmuseum at Konstakademien
Konstakademien, Fredsgatan 12
Stockholm

Opening hours:
Monday Closed
Tuesday, Wednesday, Friday 11 – 17
Thursday 11 – 20
Saturday – Sunday 10 – 17

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Exhibition: ‘Manzanar: The Wartime Photographs Of Ansel Adams’ at the Jundt Art Gallery, Gonzaga University, Spokane, WA

Exhibition dates: 4th January – 29th March 2014

 

Ansel Adams (American, 1902-1984) 'Birds on wire, evening, Manzanar Relocation Center' 1943

 

Ansel Adams (American, 1902-1984)
Birds on wire, evening, Manzanar Relocation Center
1943
Silver gelatin print

 

 

Just a small celebration = this is the 900th posting on Art Blart since it started…

I sifted through all the photographs of the “war relocation center” (euphemism for concentration camp) named Manzanar that Ansel Adams took – over 220 photographs on the Library of Congress website – to bring you these, the best of the bunch. Adams wasn’t a particularly good documentary photographer and it was a struggle to come up with these images, but sprinkled in with the prosaic are some absolutely stunning landscape and still life images.

What is noteworthy however, is Adams moral stance towards the unlawful incarceration of Japanese Americans, something that went against everything American citizenship is supposed to stand for. In 1944 he published a book called Born Free and Equal which protests the treatment of these American citizens. Through photography and text he showed how they suffered under a great injustice – by portraying “Japanese American internees as loyal Americans going about their lives like regular citizens, not as dangerous aliens.”

As curator Robert Flynn Johnson notes, “Adams saved his harshest attack on their unjust imprisonment for the language of his book… In the text Adams struggled with the argument that the incarceration of these citizens was not just but justified by military necessity. However, he rejected that argument, clearly and forcefully articulating his opposition to the internment. The book was not well received. Adams was called a “Jap lover” and copies of the book were burned. To fully understand the “profiles in Courage” stand Ansel Adams took by publishing Born Free and Equal while the war was still raging, one must understand the emotionally volatile nature of those times in which it was published. Adams’s strong convictions are fully apparent when one reads his forceful words while viewing his beautiful photographic imagery…”

Can you imagine what courage it must have taken to publish a book in the middle of the Second World War – with all that was going on with America and the war in the Pacific against Japan – titled Born Free and Equal, a book that lays bare the hypocrisy of democracy as only contingent on those in power. This man and his supporters have my utmost admiration. In Australia it’s a pity – no, it’s shameful – that those elected people on both sides of major politics do not possess similar fortitude. The guts to stand up for justice and freedom against the evils of incarceration and oppression when they see it staring them in the face.

Dr Marcus Bunyan

PS. What is also interesting is how Adams laid out this work for exhibition in the camp itself. The size of the prints, how they are displayed both vertically and horizontally, and how they move up and down and are not hung ‘on the line’ – plus the artefacts they are also displayed with. Fascinating stuff.


These photographs were sourced from the Prints & Photographs Online Catalog of the Library of Congress. The online archive contains all of Ansel Adams photographs of Manzanar War Relocation Center to download in high resolution, with no known restrictions on publication. Please note: publication of these images in the posting does NOT mean that these images are in the exhibition.

 

Ansel Adams (American, 1902-1984) 'C.T. Hibino, artist, Manzanar Relocation Center' 1943

 

Ansel Adams (American, 1902-1984)
C.T. Hibino, artist, Manzanar Relocation Center
1943
Silver gelatin print

 

Ansel Adams (American, 1902-1984) 'Frank Hirosama [i.e., Hirosawa] in laboratory, Manzanar Relocation Center' 1943

 

Ansel Adams (American, 1902-1984)
Frank Hirosama [i.e., Hirosawa] in laboratory, Manzanar Relocation Center
1943
Silver gelatin print

 

 

Foreword to Born Free and Equal

“Moved by the human story unfolding in the encirclement of desert and mountains, and by the wish to identify my photography in some creative way with the tragic momentum of the times, I came to Manzanar with my cameras in the fall of 1943. For many years, I have photographed the Sierra Nevada, striving to reveal by the clear statement of the lens those qualities of the natural scene which claim the emotional and spiritual response of the people. In these years of strain and sorrow, the grandeur, beauty, and quietness of the mountains are more important to us than ever before. I have tried to record the influence of the tremendous landscape of Inyo on the life and spirit of thousands of people living by force of circumstance in the Relocation Center of Manzanar. …

I believe that the acrid splendour of the desert, ringed with towering mountains, has strengthened the spirit of the people of Manzanar. I do not say all are conscious of this influence, but I am sure most have responded, in one way or another, to the resonances of their environment. From the harsh soil they have extracted fine crops; they have made gardens glow in the firebreaks and between the barracks. Out of the jostling, dusty confusion of the first bleak days in raw barracks they have modulated to a democratic internal society and a praiseworthy personal adjustment to conditions beyond their control. The huge vistas and the stern realities of sun and wind and space symbolise the immensity and opportunity of America – perhaps a vital reassurance following the experience of enforced exodus. …

I trust the content and message of this book will suggest that the broad concepts of American citizenship, and of liberal, democratic life the world over, must be protected in the prosecution of the war, and sustained in the building of the peace to come.”

Ansel Adams, Foreword to Born Free and Equal, 1944

 

Library of Congress text

Well-known fine art and landscape photographer, Ansel Adams, took on several war-related assignments. When offering the Manzanar photos to the Library in 1965, Adams wrote in an accompanying letter, “The purpose of my work was to show how these people, suffering under a great injustice … had overcome the sense of defeat and dispair [sic] by building for themselves a vital community in an arid (but magnificent) environment.”

Summary: Photographs document the lives of Japanese Americans interned during World War II at the Manzanar Relocation Center, in Inyo County, California. There are numerous close-up and occupational portraits of individuals, including Roy Takeno, editor of the Manzanar Free Press, and photographer Tōyō Miyatake. Group portraits include families, women and children. Other photographs show people posed in their living quarters and engaged in indoor daily life such as shopping, religious services, health care, and education; more informal views portray outdoor agricultural scenes and sports and leisure activities. Landscape views feature the background mountains and desert as well as camp facilities and buildings.

Text from the Library of Congress website

 

Ansel Adams (American, 1902-1984) 'Manzanar street scene, spring, Manzanar Relocation Center' 1943

 

Ansel Adams (American, 1902-1984)
Manzanar street scene, spring, Manzanar Relocation Center
1943
Silver gelatin print

 

Ansel Adams (American, 1902-1984) 'Benji Iguchi driving tractor in field, Manzanar Relocation Center' 1943

 

Ansel Adams (American, 1902-1984)
Benji Iguchi driving tractor in field, Manzanar Relocation Center
1943
Silver gelatin print

 

 

“… that all Japanese, whether citizens or not, be placed in inland concentration camps. As justification for this, I submit that if an American born Japanese, who is a citizen, is really patriotic and wishes to make his contribution to the safety and welfare of this country, right here is his opportunity to do so, namely, by permitting himself to be placed in a concentration camp, he would be making his sacrifice. … Millions of other native-born citizens are willing to lay down their lives, which is a far greater sacrifice, of course, than being placed in a concentration camp.”


Secretary of War Henry Stinson, January 16, 1942

 

 

The Jundt Art Museum will display Manzanar: The Wartime Photographs of Ansel Adams in the Jundt Galleries Jan. 4 through March 29. The exhibition features 50 of the renowned photographer’s images of the Japanese-American relocation camp in Manzanar, Calif. during World War II. The photographs are included in the controversial book Born Free and Equal, which protests the treatment of these American citizens. The book was published in 1944 while the war was in progress. Also included in the exhibition are various photographs, documents and other works of art that further contextualise the images. Robert Flynn Johnson, curator emeritus for the Achenbach Foundation for Graphic Arts at the Fine Arts Museums of San Francisco, curated the exhibition.

Born in San Francisco, Adams was a visionary in nature photography and wilderness preservation. He has become an environmental folk hero for his work in conservation as well as a symbol of the American West, particularly for his photographs of Yosemite National Park. Adams’ Manzanar work is a departure from his signature style of landscape photography. Most of the Manzanar photographs are portraits, views of daily life, agricultural scenes, and sports and leisure activities. The Ansel Adams photographs taken between 1943-1944 are prints made from the original negatives in the Library of Congress. They were previously exhibited in the exhibition, Born Free and Equal: An Exhibition of Ansel Adams Photographs, organised by the Fresno Metropolitan Museum of Art, History and Science in 1984.

Robert Flynn Johnson, Curator Emeritus, Achenbach Foundation for Graphic Arts, Fine Arts Museums of San Francisco, in his essay for the exhibition writes, “This exhibition recounts one of the darkest moments in the history of the United States, one that the distinguished author John hersey referred to as ‘a mistake of terrifyingly horrible proportions.’ It is a story of ignorance and prejudice, but also a story of perseverance and nobility. What happened should never be forgotten so that it should never happen again.” Johnson continues, “This is not only an art exhibition, a history lesson, or a study in race relations; it is all three. My hope is that it educates us about an unfortunate moment in our country’s history that must be better understood. It also should serve as a warning as to what can occur when emotion and fear overwhelm clarity and courage.”

Also included in the exhibition is a first edition copy of Adams’s 1944 book, Born Free and Equal; a vintage gelatin silver print by Adams titled A Photograph of Yosemite, c. 1938; three reproductions of Dorothea Lange photographing Japanese-Americans being evacuated; a watercolour painting of a camp by an internee; an original 1942 poster of the Civilian Exclusion Order that announced that Japanese-Americans were to be rounded up for imprisonment; seven original magazine covers and a poster that documents the virulent anti-Japanese attitudes present at the time; a watercolour by Henry Minakata of one of the Relocation Camps; and three original drawings by the famous artist Chiura Obata, who was imprisoned in the Topaz Camp. The exhibition, which will tour museums in the United States over the next few years, was organised by Photographic Traveling Exhibitions of Los Angeles.”

Press release from the Jundt Art Gallery website

 

Ansel Adams (American, 1902-1984) 'Manzanar from guard tower, summer heat, view SW, Manzanar Relocation Center' 1943

 

Ansel Adams (American, 1902-1984)
Manzanar from guard tower, summer heat, view SW, Manzanar Relocation Center
1943
Silver gelatin print

 

Ansel Adams (American, 1902-1984) 'Manzanar from Guard Tower, view west (Sierra Nevada in background), Manzanar Relocation Center' 1943

 

Ansel Adams (American, 1902-1984)
Manzanar from Guard Tower, view west (Sierra Nevada in background), Manzanar Relocation Center
1943
Silver gelatin print

 

 

The first morning in Manzanar when I woke up and saw what Manzanar looked like, I just cried. And then I saw the high Sierra mountain, just like my native country’s mountain, and I just cried, that’s all.” Haruko Niwa, interned at Manzanar from 1942 until 1945.

Ten war relocation centres were built in remote deserts, plains, and swamps of seven states; Arkansas, Arizona, California, Colorado, Idaho, Utah, and Wyoming. Manzanar, located in the Owens Valley of California between the Sierra Nevada on the west and the Inyo mountains on the east, was typical in many ways of the 10 camps. About two-thirds of all Japanese Americans interned at Manzanar were American citizens by birth. The remainder were aliens, many of whom had lived in the United States for decades, but who, by law, were denied citizenship.

The first Japanese Americans to arrive at Manzanar, in March 1942, were men and women who volunteered to help build the camp. On June 1 the War Relocation Authority (WRA) took over operation of Manzanar from the U.S. Army. The 500-acre housing section was surrounded by barbed wire and eight guard towers with searchlights and patrolled by military police. Outside the fence, military police housing, a reservoir, a sewage treatment plant, and agricultural fields occupied the remaining 5,500 acres. By September 1942 more than 10,000 Japanese Americans were crowded into 504 barracks organised into 36 blocks. There was little or no privacy in the barracks – and not much outside. The 200 to 400 people living in each block, consisting of 14 barracks each divided into four rooms, shared men’s and women’s toilets and showers, a laundry room, and a mess hall. Any combination of eight individuals was allotted a 20-by-25-foot room. An oil stove, a single hanging light bulb, cots, blankets, and mattresses filled with straw were the only furnishings provided.

Coming from Los Angeles and other communities in California and Washington, Manzanar’s internees were unaccustomed to the harsh desert environment. Summer temperatures soared as high as 110ºF. In winter, temperatures frequently plunged below freezing. Throughout the year strong winds swept through the valley, often blanketing the camp with dust and sand. Internees covered knotholes in the floors with tin can lids, but dust continued to blow in between the floorboards until linoleum was installed in late 1942…

Two thirds of the Japanese Americans interned at Manzanar were under the age of 18. 541 babies were born at Manzanar. A total of 11,070 Japanese Americans were processed through Manzanar. From a peak of 10,046 in September 1942, the population dwindled to 6,000 by 1944. The last few hundred internees left in November 1945, three months after the war ended. Many of them had spent three-and-a-half years at Manzanar.

Anon. “Japanese Americans at Manzanar,” on the Manzanar National Historic Site (U. S. National Park Service) website [Online] Cited 08/03/2014

 

Ansel Adams (American, 1902-1984) 'Manzanar street scene, clouds, Manzanar Relocation Center' 1943

 

Ansel Adams (American, 1902-1984)
Manzanar street scene, clouds, Manzanar Relocation Center
1943
Silver gelatin print

 

Ansel Adams (American, 1902-1984) 'Manzanar street scene, winter, Manzanar Relocation Center' 1943

 

Ansel Adams (American, 1902-1984)
Manzanar street scene, winter, Manzanar Relocation Center
1943
Silver gelatin print

 

Ansel Adams (American, 1902-1984) 'View south from Manzanar to Alabama Hills, Manzanar Relocation Center' 1943

 

Ansel Adams (American, 1902-1984)
View south from Manzanar to Alabama Hills, Manzanar Relocation Center
1943
Silver gelatin print

 

Ansel Adams (American, 1902-1984) 'View SW over Manzanar, dust storm, Manzanar Relocation Center' 1943

 

Ansel Adams (American, 1902-1984)
View SW over Manzanar, dust storm, Manzanar Relocation Center
1943
Silver gelatin print

 

 

This exhibition recounts one of the darkest moments in the history of the United States, one that the distinguished author John Hersey referred to as “a mistake of terrifyingly horrible proportions.”1 It is a story of ignorance and prejudice, but it is also a story of perseverance and nobility. What happened should never be forgotten so that it should never happen again.

Background

In the aftermath of the Japanese surprise attack on Pearl Harbor and the subsequent declaration of war by the United States, a wave of fear and paranoia swept the western United States and the Hawaiian Islands. Anxiety over possible invasion by Japanese forces or sabotage by fifth columnist Japanese and Japanese Americans living amongst the general American population overrode common sense in Government circles. Despite the protestations of Attorney General Francis Biddle, Interior Secretary Harold Ickes, and even F.B.I. Director J. Edgar Hoover.

President Franklin Delano Roosevelt, in the most unfortunate act of an otherwise admirable presidency, allowed public opinion and biased, racist attitudes of elements within the U.S. Army to induce him into issuing on February 19, 1942, Executive Order 9066: the forced evacuation of persons of Japanese ancestry from the West Coast. This evacuation was done despite the fact that the F.B.I. had, within three days of Pearl Harbor, rounded up and arrested 857 Germans, 147 Italians, and 1,291 Japanese (367 in Hawaii and 924 on the mainland) for subversive activities. The government did not inter Germans, Italians, nor, with few exceptions, Japanese residing in Hawaii. Instead they rounded up Japanese and Japanese Americans residing in the western United States. In the end, these individuals were interred in ten camps spread over underpopulated areas of the West and in Arkansas in the Midwest…

The act of rounding up civilians and imprisoning them in camps had occurred in earlier centuries. The term “concentration camp” was first used to describe the actions of the British against the Boers during the Second Boer War (1899-1902), but today it is indistinguishable from the horrors of the extermination camps perpetrated by the Nazis against Jews, Russians, and other victims of the Reich in World War II. American authorities euphemistically labeled the Japanese internments as “war relocation centers,” but given the harsh conditions Japanese Americans suffered, a more appropriate term might be war relocation “camps.”

Mine Okubo describes the conditions: “The camps represented a prison: no freedom, no privacy, no America. Internment camps were also guarded by U.S. military personnel and had a barbed wire perimeter.”2

Manzanar

The brilliant social activist photographer Dorothea Lange (1895-1965) was hired by the U.S. government in the spring of 1942 to document this forced relocation. Her assignment included the camp at Manzanar, located in the remote Owens Valley in the northern reaches of Death Valley, California. However, when her photographs were submitted, they were viewed with alarm for showing the government in a bad light; the decision was made to impound (censor) her images until the end of the war.

It was only in 1943 that Ralph Merritt, the enlightened second director at Manzanar, invited his old friend Ansel Adams to come and photograph there. By that time, the internees had settled into their lives there coping as best they could. In 1942 a confrontation with camp guards had led to shots being fired, resulting in the deaths of two internees and the wounding of nine. There were no further incidents. Some historians have criticised Adams’s photographs, comparing them to the more politicised imagery of Lange. Linda Gordon wrote,

“Ansel Adams photographed at Manzanar a year after Lange did, producing work that, by contrast, reveals much about Lange’s perspective. He tried to walk a cramped line, opposing anti-Asian racism, but avoiding identification with the opposition to the internment. Adams’s pictures, primarily portraits – surprisingly for a landscape photographer – emphasised the internees’ stoic, polite, even cheerful making the best of it. His subjects were almost exclusively happy, smiling. His goal was to establish the internees as unthreatening, Americanised, open – scrutable rather than inscrutable. By making mainly individual portraits, he masked collective racial discrimination. The resultant hiding of the internment’s violation of human rights was not an unintended consequence of this goal, but an expression of Adams’s patriotism.”3

There is no question that Lange was the stronger documentary photographer. However, Adams was working out of his comfort zone as a landscape photographer and his point was not to use his images to indict the authorities. Instead, he wished to portray the Japanese American internees as loyal Americans going about their lives like regular citizens, not as dangerous aliens. Adams saved his harshest attack on their unjust imprisonment for the language of his book, Born Free and Equal, published the following year, 1944.

In the text Adams struggled with the argument that the incarceration of these citizens was not just but justified by military necessity. However, he rejected that argument, clearly and forcefully articulating his opposition to the internment. The book was not well received. Adams was called a “Jap lover” and copies of the book were burned. To fully understand the “profiles in Courage” stand Ansel Adams took by publishing Born Free and Equal while the war was still raging, one must understand the emotionally volatile nature of those times in which it was published. Adams’s strong convictions are fully apparent when one reads his forceful words while viewing his beautiful photographic imagery…

Conclusion

This is not only an art exhibition, a history lesson, or a study in race relations; it is all three. My hope is that it educates us about an unfortunate moment in our country’s history that must be better understood and should serve as a warning against allowing emotion, prejudice and fear to overwhelm clarity and courage. Harold L. Ickes, the Secretary of the Interior, in his 1944 foreword to Born Free and Equal sums up the essence of this human drama,

“It has long been my belief that the greatness of America has arisen in large part out of the diversity of her peoples. Before the war, peoples of Japanese ancestry were a small but valuable element in our population. Their record of law-abiding, industrious citizenship was surpassed by no other group. Their contributions to the arts, agriculture, and science were indisputable evidence that the majority of them believed in America and were growing with America.

Then war came with the nation of their parental origin. The ensuing two and a half years have brought heartaches to many in our population. Among the causalities of war has been America’s Japanese minority. It is my hope that the wounds which it has received in the great uprooting will heal. It is my prayer that other Americans will fully realise that to condone the whittling away of the rights of any one minority group is to pave the way for us all to lose the guarantees of the Constitution.”4

Robert Flynn Johnson
Curator Emeritus
Achenbach Foundation for Graphic Arts, Fine Arts Museums of San Francisco

 

1/ John Hersey, “A Mistake of Terrifically Horrible proportions,” in Manzanar, by John Armor and Peter Wright (New York Times Books, 1988)
2/ Sara Ann McGill, “Internment of Japanese Americans,” accessed May 3, 2010. No longer available online
3/ Linda Gordon and Gary Y. Okihiro, ed., Impounded: Dorothea Lange and the Censored Images of Japanese American Internment (New York: W. W. Norton and Co., 2006), 34
4/ Ansel Adams, Born Free and Equal: The Story of Loyal Japanese-Americans (New York: U.S. Camera, 1944), 7

 

Ansel Adams (American, 1902-1984) 'Pictures and mementoes on phonograph top - Yonemitsu home, Manzanar Relocation Center' 1943

 

Ansel Adams (American, 1902-1984)
Pictures and mementoes on phonograph top – Yonemitsu home, Manzanar Relocation Center
1943
Silver gelatin print

 

Ansel Adams (American, 1902-1984) 'Roy Takeno's desk, Manzanar Relocation Center' 1943

 

Ansel Adams (American, 1902-1984)
Roy Takeno’s desk, Manzanar Relocation Center
1943
Silver gelatin print

 

Ansel Adams (American, 1902-1984) 'Manzanar museum (Ansel Adams exhibit), Manzanar Relocation Center' 1943

 

Ansel Adams (American, 1902-1984)
Manzanar museum (Ansel Adams exhibit), Manzanar Relocation Center
1943
Silver gelatin print

 

Ansel Adams (American, 1902-1984) 'Line crew at work in Manzanar, Manzanar Relocation Center' 1943

 

Ansel Adams (American, 1902-1984)
Line crew at work in Manzanar, Manzanar Relocation Center
1943
Silver gelatin print

 

 

Jundt Art Gallery
502 East Boone Avenue
Spokane, WA 99258-0001
This is the main address for Gonzaga University

Opening hours:
Monday – Saturday 10am – 4pm

Jundt Art Gallery website

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Exhibition and book launch preview: ‘THE RENNIE ELLIS SHOW’ and ‘Decadent 1980-2000’ at Monash Gallery of Art, Wheelers Hill, Melbourne

Exhibition dates: 3rd April – 8th June 2014
Exhibition and book launch: 3-5 pm Saturday 5th April 2014

 

Rennie Ellis (Australian, 1940-2003) 'Fully equipped, Albert Park Beach' c.1981

 

Rennie Ellis (Australian, 1940-2003)
Fully equipped, Albert Park Beach
c.1981, printed later
Digital colour print
© Rennie Ellis Photographic Archive

 

 

I saw a digital preview of the new book Rennie Ellis – Decadent 1980-2000, shown to me by the delightful Director of the Rennie Ellis Photographic Archive, Manuela Furci – and I must say I was mighty impressed… it was absolutely, colourfully, outrageously FAB !

My god Rennie Ellis was a fantastic artist, what an eye, and what a sense of humour he imparts in his work. And in colour this time. The exhibition draws work from BOTH books – Decade 1970-1980 and Decadent 1980-2000. The colour images in the posting are from the Decadent book and are also in the exhibition. Do come along to the opening and book launch… it will be a solid gold event!

Marcus


Many thankx to Manuel Furci and the Rennie Ellis Archive for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

“Without my photography life would be boring. Photography adds an extra dimension to my life. Somehow it confirms my place in the world”


Rennie Ellis

 

 

Rennie Ellis (Australian, 1940-2003) 'Berlin Party, Inflation Melbourne' c. 1981

 

Rennie Ellis (Australian, 1940-2003)
Berlin Party, Inflation, Melbourne
c. 1981, printed later
Digital colour print
© Rennie Ellis Photographic Archive

 

Rennie Ellis book covers

 

Rennie Ellis Decade 1970-1980 and Decadent 1980-2000

 

 

The photographer Rennie Ellis (1940-2003) is a key figure in Australian visual culture. Ellis is best remembered for his effervescent observations of Australian life during the 1970s-90s, including his now iconic book Life is a beach. Although invariably inflected with his own personality and wit, the thousands of social documentary photographs taken by Ellis during this period now form an important historical record.

The Rennie Ellis Show highlights some of the defining images of Australian life from the 1970s and ’80s. This is the period of Gough Whitlam and Malcolm Fraser, Paul Keating and Bob Hawke; AC/DC and punk rock; cheap petrol and coconut oil; Hare Krishnas and Hookers and Deviant balls.

This exhibition of over 100 photographs provides a personal account of what Ellis termed ‘a great period of change’. Photographs explore the cultures and subcultures of the period, and provide a strong sense of a place that now seems worlds away, a world free of risk, of affordable inner city housing, of social protest, of disco and pub rock, of youth and exuberance.

Text from the MGA website

 

Rennie Ellis (Australian, 1940-2003) 'Dining Out, Inflation' 1980

 

Rennie Ellis (Australian, 1940-2003)
Dining Out, Inflation
1980, printed later
Selenium-toned silver gelatin print
© Rennie Ellis Photographic Archive

 

Rennie Ellis (Australian, 1940-2003) 'At the Pub, Brisbane' 1982

 

Rennie Ellis (Australian, 1940-2003)
At the Pub, Brisbane
1982, printed later
Selenium-toned silver gelatin print
© Rennie Ellis Photographic Archive

 

Exhibition and book launch preview: 'THE RENNIE ELLIS SHOW' and 'Decadent 1980-2000'

 

 

Rennie Ellis Photographic Archive website


Rennie Ellis Photographic Archive
Level 1 / 26 Acland Street
St Kilda 3182
Victoria, Australia
Phone: +61 3 9525 3862
E: info@RennieEllis.com.au

Rennie Ellis Photographic Archive website


Monash Gallery of Art
860 Ferntree Gully Road, Wheelers Hill
Victoria 3150 Australia
Phone: + 61 3 8544 0500

Opening hours:
Tue – Fri: 10am – 5pm
Sat – Sun: 10pm – 4pm
Mon/public holidays: closed

Monash Gallery of Art website

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Review: ‘Wildcards: Bill Henson shuffles the deck’ at Monash Gallery of Art, Wheelers Hill, Melbourne

Exhibition dates: 1st February – 30th March 2014

Warning: Aboriginal and Torres Strait Islander viewers should be aware that the following posting may contain images of deceased persons.

 

Installation photograph of 'Wildcards: Bill Henson shuffles the deck' at the Monash Gallery of Art

Installation photograph of 'Wildcards: Bill Henson shuffles the deck' at the Monash Gallery of Art

 

Installation photographs of Wildcards: Bill Henson shuffles the deck at the Monash Gallery of Art
Photos: Marcus Bunyan

1/ stygian gloom
2/large grouping of 14 works by Wesley Stacey

 

Unknown photographer. 'Untitled' c. 1900

 

Unknown photographer
Untitled
c. 1900
Cyanotype print
Monash Gallery of Art, City of Monash Collection
Acquired 2012

 

 

vapid [vap-id]
adjective
lacking or having lost life, sharpness, or flavour

Origin:
1650-60;  Latin vapidus;  akin to va·por [vey-per]
noun
a visible exhalation, as fog, mist, steam, smoke diffused through or suspended in the air; particles of drugs that can be inhaled as a therapeutic agent

 

 

This is an unexceptional exhibition, one that lacks jouissance in the sense of a transgressive kind of enjoyment, an investigation of the subject that gives pleasure in taking you to unexpected places. At times I felt like a somnambulist walking around this exhibition of photographs from the Monash Gallery of Art collection curated by Bill Henson, pitched into stygian darkness and listening to somewhat monotonous music. It was a not too invidious an exercise but it left me with a VAPID feeling, as though I had inhaled some soporific drug: the motion of the journey apparently not confined by a story, but in reality that story is Henson’s mainly black and white self-portrait. The photographs on the wall, while solid enough, seemed to lack sparkle. There were a couple of knockout prints (such as David Moore’s Himalaya at dusk, Sydney, 1950 below; the Untitled cyanotype c. 1900, above; and Mark Hinderaker’s delicate portrait of Fiona Hall, 1984 below) and some real bombs (the large Norman Lindsay photographs, modern reproductions printed many times their original size were particularly nauseous). And one has to ask: were the images chosen for how they were balanced on the wall or were they chosen for content?

Henson states that there was no concept or agenda when picking the 88 photographs for this exhibition, simply his INTENSITY of feeling and intuition, his intuitive response to the images when he first saw them – to allow “their aesthetics to determine their presence… our whole bodies to experience these photographs – objects as pictures as photographs.”1 Henson responded as much as possible to the thing which then becomes an iconography (which appeals to his eye) as he asks himself, why is one brush stroke compelling, and not another? The viewer can then go on a journey in which MEANING comes from FEELING, and SENSATIONS are the primary stuff of life.

One of Henson’s preoccupations, “is an interest in the photograph as an object, in the physical presence of the print or whatever kind of technology is being used to make it.”2 He would like us to acknowledge the presence and aura (Walter Benjamin) of the photograph as we stand in front of it, responding with our whole bodies to the experience, not just our eyes. He wants us to have an intensity of feeling towards these works, responding to their presence and how he has hung the works in the exhibition. “There are no themes but rather images that appeal to the eye and, indeed, the whole body. Because photographs are first and foremost objects, their size, shape grouping and texture are as important as the images they’re recording.”3

Henson insists that there was no preconceived conceptual framework for picking these particular photographs but this is being disingenuous. Henson was invited to select images from the MGA collection with the specific idea of holding an exhibition, so this is the conceptual jumping off point; he then selected the images intuitively only to then group and arrange then intuitively/conceptually – by thinking long and hard about how these images would be grouped and hung on the wall of the gallery. I would like to believe that Henson was thinking about MUSIC when he hung this exhibition, not photography. Listen to Henson talk about the pairing of Leonie Reisberg’s Portrait of Peggy Silinski, Tasmania (c. 1976, below) and Beverley Veasey’s Study of a Calf, Bos taurus (2006, below) in this video, and you will get the idea about how he perceives these photographs relate to each other, how they transcend time and space.

This is one of the key elements of the exhibition: how Henson pushes and pulls at time and space itself through the placing of images of different eras together. The other two key elements are how the music rises and falls through the shape of the photographs themselves; and how the figures within the images are pulled towards or pushed away from you. With regard to the rise and fall, Henson manipulates the viewer through the embodiedness of both horizontal and vertical photographs, reminding me of a Japanese artist using a calligraphy brush (see the second installation image above, where the photographs move from the vertical to the square and then onto panoramic landscape). In relation to the content of the images, there seems to be a preoccupation (a story, a theme?) running through the exhibition with the body being consumed by the landscape or the body being isolated from the landscape but with the threat of being consumed by it. Evidence of this can be seen in Wesley Stacey’s Willie near Mallacoota (1979, below) where the body almost melts into the landscape and David Moore’s Newcastle steelworks (1963, below) where the kids on the bicycles are trying to escape the encroaching doom that hovers behind them.

One of the key images in the exhibition for me also reinforces this theme – a tiny Untitled Cyanotype (c. 1900, above) in which two Victorian children are perched on a bank near a stream with the bush beyond – but there are too many of this ilk to mention here: either the figures are pulled towards the front of the frame or pushed back into the encroaching danger, as though Henson is interrogating, evidencing un / occupied space. Overall, there is an element of control and lyrical balance in how he has grouped and hung these works together, the dark hue of the gallery walls allowing the photographs to exist as objects for themselves. Henson puts things next to each other in sequences and series to, allegedly, promote UNEXPECTED conversations and connections through a series of GESTURES.

As Henson notes,

“Maybe it’s the fact that the photographs have the ability to suggest some other thing and that’s what draws you in – that’s that feeling, the thing that slips away from thought. These are really the same things that apply to our meetings with any work of art, whether it’s a piece of music or a sculpture or anything else. There’s something compelling, there’s something there that sort of animates your speculative capacity, causes you to wonder. Other times, or most of the time, that’s not the case. Certainly most of the time that’s not the case with photography.”4

.
For me, there was little WONDER in this exhibition, something that you would go ‘oh, wow’ at, some way of looking at the world that is interesting and insightful and fractures the plaisir of cultural enjoyment and identity. While the photographs may have been chosen intuitively and then hung intuitively/conceptually, I simply got very little FEELING, no ICE/FIRE  (as Minor White would say) – no frisson between his pairings, groupings and arrangements. It was all so predictable, so ho-hum. Everything I expected Henson to do… he did!

There were few unexpected gestures, no startling insight into the human and photographic condition. If as he says, “Everything comes to you through your whole body, not just through your eyes and ears,”5 and that photographs are first and foremost objects, their size, shape, grouping and texture as important as the images they’re recording THEN I wanted to be moved, I wanted to feel, to be immersed in a sensate world not a visible exhalation (of thought?), a vapor that this exhibition is. Henson might have painted an open-ended self-portrait but this does not make for a very engaging experience for the viewer. In this case, the sharing of a story has not meant the sharing of an emotion.

Dr Marcus Bunyan

 

1/ Interview with Bill Henson by Toby Fehily posted 01 Feb 2014 on the Art Guide Australia website [Online] Cited 18/02/2014. No longer available online

2/ Ibid.,

3/ Fiona Gruber. “Review of Wildcards, Bill Henson Shuffles the Deck” on the Guardian website, Wednesday 12 February 2014 [Online] Cited 16/03/2014

4/ Fehily op. cit.,

5/ Fehily op. cit.,


Many thankx to the Monash Gallery of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

 

MGA Collection: Bill Henson on Leonie Reisberg and Beverley Veasey

Bill Henson talks about the photographs of Leonie Reisberg and Beverley Veasey from the MGA Collection in WILDCARDS: BILL HENSON SHUFFLES THE DECK, Monash Gallery of Art, 1 February to 30 March 2014.

 

John Eaton (born United Kingdom 1881; arrived Australia 1889; died 1967) 'Sheep in clearing' c. 1920s

 

John Eaton (born United Kingdom 1881; arrived Australia 1889; died 1967)
Sheep in clearing
c. 1920s
Gelatin silver print
15.6 x 23.8cm
Monash Gallery of Art, City of Monash Collection
Donated by Janice Hinderaker through the Australian Government’s Cultural Gifts Program 2003

 

Fred Kruger (born Germany 1831; arrived Australia 1860; died 1888) 'Queen Mary and King Billy outside their mia mia' c. 1880

 

Fred Kruger (born Germany 1831; arrived Australia 1860; died 1888)
Queen Mary and King Billy outside their mia mia
c. 1880
Albumen print
13.4 x 20.8cm
Monash Gallery of Art, City of Monash Collection acquired 2012

 

David Moore (Australia 1927-2003) 'Himalaya at dusk, Sydney' 1950

 

David Moore (Australia 1927-2003)
Himalaya at dusk, Sydney
1950
Gelatin silver print, printed 2005
24.5 x 34.25cm
Monash Gallery of Art, City of Monash Collection donated by the Estate of David Moore 2006
Courtesy of the Estate of David Moore (Sydney)

 

Wesley Stacey (Australia, b. 1941) 'Willie near Mallacoota' 1979

 

Wesley Stacey (Australia, b. 1941)
Willie near Mallacoota
1979
From the series Koorie set
Gelatin silver print
Monash Gallery of Art, City of Monash Collection
Donated through the Australian Government’s Cultural Gifts Program by Christine Godden 2011

Published under fair use for the purpose of art criticism

 

David Moore (Australia, 1927-2003) 'Newcastle steelworks' 1963

 

David Moore (Australia, 1927-2003)
Newcastle steelworks
1963
Gelatin silver print
Monash Gallery of Art, City of Monash Collection
Acquired 1981

Published under fair use for the purpose of art criticism

 

One of those preoccupations is an interest in the photograph as an object, in the physical presence of the print or whatever kind of technology is being used to make it. Part of the reason for that is that photography, more than any other medium, suffers from a mistake or misunderstanding people have when they’ve seen a reproduction in a magazine or online: they think they’re seeing the original. A certain amount of photography is made with its ultimate intention being to be seen in a magazine or online, but most photography, historically, ended up in its final form as a print – a cyanotype, or a tin type or a daguerreotype or whatever it might be.”

Interview with Bill Henson by Toby Fehily posted 01 Feb 2014 on the Art Guide Australia website [Online] Cited 18/02/2014. Used under fair use for the purpose of art criticism. No longer available online.

 

Leonie Reisberg (Australia, b. 1955) 'Portrait of Peggy Silinski, Tasmania' c. 1976

 

Leonie Reisberg (Australia, b. 1955)
Portrait of Peggy Silinski, Tasmania
c. 1976
Gelatin silver print
Monash Gallery of Art, City of Monash Collection
Donated by Janice Hinderaker through the Australian Government’s Cultural Gifts Program 2003

 

Beverley Veasey (Australia, b. 1968) 'Study of a Calf, Bos taurus' 2006

 

Beverley Veasey (Australia, b. 1968)
Study of a Calf, Bos taurus
2006
Chromogenic print
Monash Gallery of Art, City of Monash Collection
Acquired 2006

 

I think when you look through any collection, you’re often struck by the kind of pointlessness and banality of photography. It doesn’t matter which museum in the world you look at. It’s like, “is there any need for this thing to exist at all?”. It probably comes back to the capacity of the object, the image to suggest things, the suggestive potential rather than the prescriptive, which is a given in photography of course, the evidential authority of the medium preceding any individual reading we have of particular pictures. Maybe it’s the fact that the photographs have the ability to suggest some other thing and that’s what draws you in – that’s that feeling, the thing that slips away from thought. These are really the same things that apply to our meetings with any work of art, whether it’s a piece of music or a sculpture or anything else. There’s something compelling, there’s something there that sort of animates your speculative capacity, causes you to wonder. Other times, or most of the time, that’s not the case. Certainly most of the time that’s not the case with photography.

Interview with Bill Henson by Toby Fehily posted 01 Feb 2014 on the Art Guide Australia website [Online] Cited 18/02/2014. Used under fair use for the purpose of art criticism. No longer available online.

 

Axel Poigant (born United Kingdom 1906; arrived Australia 1926; died 1986) 'Jack and his family on the Canning Stock Route' 1942

 

Axel Poigant (born United Kingdom 1906; arrived Australia 1926; died 1986)
Jack and his family on the Canning Stock Route
1942
Gelatin silver print, printed 1986
Monash Gallery of Art, City of Monash Collection
Acquired 1991

 

Tim Johson (Australia, b. 1947) 'Light performances' 1971-72

 

Tim Johson (Australia, b. 1947)
Light performances
1971-1972
Gelatin silver print
Monash Gallery of Art, City of Monash Collection
Acquired 2011

 

Cherine Fahd (Australia, b. 1974) 'Alicia' 2003

 

Cherine Fahd (Australia, b. 1974)
Alicia
2003
From the series A woman runs
Gelatin silver print
Monash Gallery of Art, City of Monash Collection
Donated through the Australian Government’s Cultural Gifts Program 2011

 

Wesley Stacey (Australia, b. 1941) 'Untitled' 1973

 

Wesley Stacey (Australia, b. 1941)
Untitled
1973
From the series Friends
Gelatin silver print
Monash Gallery of Art, City of Monash Collection
Donated by Bill Bowness 2013

 

That was one of the things that interested me and continues to interest me about photography: how these things inhabit the world as objects. And indeed we read them not just with our eyes but with how our whole bodies read and encounter and negotiate these objects, which happen to be photographs. And that’s very much a thing that interests me in the way that I work. I feel sometimes that I only happen to make photographs myself and that it’s a means to an end… So there’s a sense in which I’m interested in these objects that happen to be photographs and the way that they inhabit the same space that our bodies inhabit. Everything comes to you through your whole body, not just through your eyes and ears – it’s a vast amount of information. Watching something get bigger as you draw closer to it, not just matters of proximity, but texture or the way objects sit in a space when they’re lit a certain way – all of this is very interesting to me, always has been.”

Interview with Bill Henson by Toby Fehily posted 01 Feb 2014 on the Art Guide Australia website [Online] Cited 18/02/2014. Used under fair use for the purpose of art criticism. No longer available online.

 

Mark Hinderaker (born United States of America 1946; arrived Australia 1970; died 2004) 'Fiona Hall' 1984

 

Mark Hinderaker (born United States of America 1946; arrived Australia 1970; died 2004)
Fiona Hall
1984
Gelatin silver print
Monash Gallery of Art, City of Monash Collection
Donated by Janice Hinderaker through the Australian Government’s Cultural Gifts Program 2003

 

Lionel Lindsay (Australia 1874-1961) 'Norman Lindsay and Rose Soady, Bond Street studio' c. 1909

 

Lionel Lindsay (Australia 1874-1961)
Norman Lindsay and Rose Soady, Bond Street studio
c. 1909
Gelatin silver print, printed 2000
Monash Gallery of Art, City of Monash Collection
Donated by Katherine Littlewood 2000

 

Mark Strizic (born Germany 1928; arrived Australia 1950; died 2012) 'BHP steel mill, Port Kembla, 1959'

 

Mark Strizic (born Germany 1928; arrived Australia 1950; died 2012)
BHP steel mill, Port Kembla, 1959
1959
Gelatin silver print, printed 1999
Monash Gallery of Art, City of Monash Collection
Donated by the Bowness Family through the Australian Government’s Cultural Gifts Program 2008

 

 

Monash Gallery of Art
860 Ferntree Gully Road, Wheelers Hill
Victoria 3150 Australia
Phone: + 61 3 8544 0500

Opening hours:
Tue – Fri: 10am – 5pm
Sat – Sun: 10pm – 4pm
Mon/public holidays: closed

Monash Gallery of Art website

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Exhibition preview: ‘Out of the closets, into the streets: gay liberation photography 1971-73’ at Edmund Pearce Gallery, Melbourne

Exhibition dates: Tuesday 22nd July – Saturday 26th July, 2014

Opening: Tuesday 22nd July 6-8pm
Nite Art: Wednesday 23rd July until 11pm
Artists represented: Philip Potter, John Storey, John Englart, Barbara Creed, Ponch Hawkes, Rennie Ellis

Curated by Dr Marcus Bunyan and Nicholas Henderson

 

Rennie Ellis (Australian, 1940-2003 'Confrontation, Gay Pride Week Picnic, Botanical Gardens 1973' 1973, printed later

 

Rennie Ellis (Australian, 1940-2003)
Confrontation, Gay Pride Week Picnic, Botanical Gardens 1973
1973, printed 2014
Silver gelatin photograph
© Rennie Ellis

 

 

Five days, that’s all you’ve got! Just five days to see this fabulous exhibition, so make a note of it now in your diaries…

The exhibition Out of the closets, into the streets: gay liberation photography 1971-73 pictures the very beginning of the gay liberation movement in Australia through the work of Philip Potter, John Storey, John Englart, Barbara Creed, Ponch Hawkes and Rennie Ellis. The exhibition examines for the first time images from the period as works of art as much as social documents. The title of the exhibition is a slogan from the period.

As gay people found their voice in the early 1970s artists, often at the very beginning of their careers, were there to capture meetings in lounge rooms, consciousness raising groups and street protests. The liberation movement meant ‘being there’, putting your body on the line. “It was a key feature of the new left that this embodied politics couldn’t stop in the streets: that is, the public arena as conventionally understood. ‘Being there’ politically also applied to households, classrooms, sexual relations, workplaces and the natural environment.”1

Curated by Dr Marcus Bunyan and Nicholas Henderson and with a catalogue essay by Professor Dennis Altman, the show is a stimulating experience for those who want to be inspired by the history and art of the early gay liberation movement in Australia.

The exhibition coincides with AIDS 2014: 20th International AIDS Conference (20-25 July 2014) and Nite Art which occurs on the Wednesday night (23rd July 2014). The exhibition will travel to Sydney to coincide with the 14th Australia’s Homosexual Histories Conference in November at a venue yet to be confirmed.

Dr Marcus Bunyan

 

1/ Connell, Raewyn. “Ours is in colour: the new left of the 1960s,” in Carolyn D’Cruz and Mark Pendleton (eds.,). After Homosexual: The Legacies of Gay Liberation. Perth: UWA Publishing, 2013, p. 43.

Many thankx to all the artists for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Phillip Potter (Australian) 'Queens' 1971

 

Phillip Potter (Australian)
Queens
1971, printed 2014
Digital C type print on Kodak Endura Matte
© Phillip Potter

 

From a series of photographs of the very first gay rights demonstration which attracts 70 people outside NSW Liberal Party headquarters in support of the pre-selection of Tom Hughes against a right wing challenge following his support for homosexual law reform.

 

Unknown artist. 'Cricket is homosexual' Melbourne, c. 1971 - 1973

 

Unknown artist
Cricket is homosexual!
Melbourne, c. 1971-1973, printed 2014
Giclee print on Hahnemuhle william turner 310gsm
© Australian Lesbian and Gay Archives

 

Barbara Creed (Australian, b. 1943) 'Stills from a Super 8mm film of a Women’s Liberation march' Melbourne, 1973

 

Barbara Creed (Australian, b. 1943)
Stills from a Super 8mm film of a Women’s Liberation march
Melbourne, 1973, printed 2014
Still from a Super 8mm film
Digital C type print on Kodak Endura Matte
© Barbara Creed

 

Still from a super 8mm movie of a Women’s Liberation march, Melbourne, 1973.

 

Barbara Creed (Australian, b. 1943) 'Stills from a Super 8mm film of a Women’s Liberation march' Melbourne, 1973

 

Barbara Creed (Australian, b. 1943)
Stills from a Super 8mm film of a Women’s Liberation march
Melbourne, 1973, printed 2014
Still from a Super 8mm film
Digital C type print on Kodak Endura Matte
© Barbara Creed

 

Still from a super 8mm movie of a Women’s Liberation march, Melbourne, 1973.

 

John Storey (Australian, 1950-2019) 'I am a Lesbian and Beautiful' 1971, printed 2014

 

John Storey (Australian, 1950-2019)
I am a Lesbian and Beautiful
1971, printed 2014
Digital C type print on Kodak Endura Matte
© John Storey

 

From a series of photographs of the very first gay rights demonstration which attracts 70 people outside NSW Liberal Party headquarters in support of the pre-selection of Tom Hughes against a right wing challenge following his support for homosexual law reform.

 

Phillip Potter (Australian) 'Policeman reading 'Camp Ink' magazine' 1971

 

Phillip Potter (Australian)
Policeman reading ‘Camp Ink’ magazine
1971, printed 2014
Digital C type print on Kodak Endura Matte
© Phillip Potter

 

From a series of photographs of the very first gay rights demonstration which attracts 70 people outside NSW Liberal Party headquarters in support of the pre-selection of Tom Hughes against a right wing challenge following his support for homosexual law reform.

 

Sponsored by

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For photographic services in Australia, Art Blart highly recommends CPL Digital (03) 8376 8376 cpldigital.com.au

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Dr Marcus Bunyan and the best cultural archive in Australia sponsor this event artblart.com

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AQUA actively collects and preserves lesbian and gay material from across Australia
queerarchives.org.au

Supported by

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Rennie Ellis is an award winning photographer and writer (03) 9525 3862 www.rennieellis.com.au

 

 

AIDS 2014: 20th International AIDS Conference
20 July – 25 July 2014
Melbourne, Australia

Edmund Pearce Gallery

This gallery has now closed.

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Exhibition: ‘See the Light – Photography, Perception, Cognition: The Marjorie and Leonard Vernon Collection’ at The Los Angeles County Museum of Art (LACMA)

Exhibition dates: 27th October 2013 – 23rd March 2014

 

William Henry Fox Talbot (England, 1800-1877) 'Articles of China' c. 1844

 

William Henry Fox Talbot (English, 1800-1877)
Articles of China
c. 1844
Calotype
5 3/8 x 7 1/8 in. (13.65 x 18.1cm)
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation, acquired from Carol Vernon and Robert Turbin

 

 

It is a real joy to bring these beautiful images to you!

Frederick H. Evans A Sea Of Steps – Wells Cathedral (England, 1903, below) is one of my favourite photographs of all time, up there in my top 20 or so. But you wouldn’t knock back any of these for your collection, especially Imogen Cunningham’s Magnolia Blossom (1925, below) and Edward Steichen’s Three Pears & An Apple (1921, below).

Marcus


Many thankx to The Los Angeles County Museum of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Linnaeus Tripe (England, 1822-1902) 'The Elliot Marbles, Central Museum, Madras' India, 1858

 

Linnaeus Tripe (English, 1822-1902)
The Elliot Marbles, Central Museum, Madras
India, 1858
Albumen photograph
10 1/2 × 13 in. (26.67 × 33.02cm)
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation, acquired from Carol Vernon and Robert Turbin

 

Carl Christian Heinrich Kühn (Germany, active Austria, 1866-1944) 'Still Life' c. 1905

 

Carl Christian Heinrich Kühn (Germany, active Austria, 1866-1944)
Still Life
c. 1905
Bromoil print
8 1/4 × 11 1/2 in. (20.96 × 29.21cm)
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation, acquired from Carol Vernon and Robert Turbin
© Estate of Heinrich Kühn

 

Imogen Cunningham (United States, 1883-1976) 'Magnolia Blossom' 1925

 

Imogen Cunningham (United States, 1883-1976)
Magnolia Blossom
1925
Gelatin silver print
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation, acquired from Carol Vernon and Robert Turbin
© 1925, 2013 Imogen Cunningham Trust

 

Charles Harbutt (United States, New Jersey, Camden, born 1935) 'Triptych' 1978, printed 1978

 

Charles Harbutt (United States, New Jersey, Camden, born 1935)
Triptych
1978, printed 1978
Gelatin silver prints
8 x 12″
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation, acquired from Carol Vernon and Robert Turbin
© Charles Harbutt. All rights reserved, Courtesy Peter Fetterman Gallery

 

 

The Los Angeles County Museum of Art (LACMA) presents See the Light – Photography, Perception, Cognition: The Marjorie and Leonard Vernon Collection, an exhibition celebrating an extraordinary collection and exploring parallels between photography and the science of vision. Since the invention of photography in the late 1830s, the medium has evolved in relation to theories about vision, perception, and cognition. The exhibition takes a historical perspective, identifying correlations between photography and the science of vision during four chronological periods. See the Light is comprised of 220 works by more than 150 artists, including Ansel Adams, Julia Margaret Cameron, Imogen Cunningham, William Henry Fox Talbot, Edward Steichen, Edward Weston, Minor White, and many more.

The exhibition draws entirely from the Marjorie and Leonard Vernon Collection, a key collection within LACMA’s Wallis Annenberg Photography Department. Acquired in 2008, the collection represents the diversity of photographic processes from the medium’s invention in 1839 to the 21st century. See the Light is accompanied by a free mobile-phone multimedia tour featured on mobile.lacma.org with commentary by the Vernons’ daughter, Carol Vernon; curator Britt Salvesen; artist James Welling; expert in computational vision Pietro Perona; and others. A 208-page catalogue, published by LACMA and DelMonico Books / Prestel, includes an essay by Britt Salvesen with contributions from Todd Cronan, Antonio Damasio, Alan Gilchrist, Pietro Perona, Barbara Maria Stafford, and James Welling. A new web page features excerpts from LACMA’s Vernon Oral History Project, an ongoing series of interviews with prominent artists, curators, dealers, and scholars who worked closely with the Vernons.

“Photography is often approached from either the artistic or the technological point of view, but these two aspects of the medium have been intertwined since its invention,” said Britt Salvesen, Department Head and Curator of the Wallis Annenberg Photography Department. “As a scientific instrument, the camera operates as an infallible eye, augmenting physiological vision, and as an artist’s tool, it channels the imagination, recording creative vision. The Marjorie and Leonard Vernon Collection offers unparalleled scope to the spirit of both science and art.”

The Marjorie and Leonard Vernon Collection

Through a groundbreaking gift from Wallis Annenberg and the Annenberg Foundation, and with the support of Carol Vernon and Robert Turbin, LACMA acquired the Marjorie and Leonard Vernon Collection in 2008. Comprising of more than 3,600 prints by almost 700 artists, the Marjorie and Leonard Vernon Collection at LACMA constitutes one of the finest collections of photography spanning the 19th and 20th centuries. LACMA’s acquisition of this collection makes it possible for the museum to represent photography’s breadth in the context of its encyclopaedic collections.

Marjorie and Leonard Vernon were avid collectors in the Los Angeles and Southern California communities. The Vernons built their collection beginning around 1975, cultivating a group of works with global significance, with a special emphasis on West Coast photography of the early and mid-20th century. The collection grew over the years to include works by international photographers, with the earliest photographs dating from the 1840s and the latest to 2001.

Exhibition organisation

See the Light is organised thematically and traces the trajectory of advanced research on cognition and perception in relation to the art of photography. Four approaches within photography are identified: descriptive naturalism, subjective naturalism, experimental modernism, and romantic modernism.

Descriptive naturalism: Early advocates of photography (from the 1840s through around 1880) were eager to recruit the authority of science without sacrificing the romance of art. The notion that the camera could make a pure transcription of nature, undistorted by human error, took hold at precisely the moment with research in physiological optics revealed the complexities of the human visual system. The depiction of far-off landscapes was one of photography’s key functions in its descriptive naturalist phase, as in Carleton Watkins’s commanding views of the American West, which recorded the natural splendour of the landscape and its settlement.

Subjective naturalism: In the late 19th century, experimental psychology, a newly defined scientific discipline, addressed the progression of sensation into interpretation. At the same time, champions of artistic photography introduced the possibilities of expression, ambiguous form, and abstraction into a medium previously valued for its descriptive functions. Heinrich Kühn’s mastery of painterly techniques, for example, led to the creation of photographs on par with paintings or charcoal drawings. Ultimately Kühn’s photographs depict dreams or memories as much as physical reality.

Experimental Modernism: After World War I, photography became a key tool for avant-garde artists determined to deploy technology in a positive rather than destructive manner, thus restoring balance within the individual psyche and within society at large. The abstract works of György Kepes, influenced by Gestalt psychology, represent a European version of this tendency, which he and other emigrés brought to the United States. A later heir to this tradition is Barbara Kasten, who uses photography to explore key interests including transparency, colour, light, and structure.

Romantic Modernism: Inspired by nature, romantic modernism isolated moments of direct personal contact with the world, and explored the specific capabilities of photography. Despite an apparent divergence of art and science following World War II, photography was a site of connection. Ansel Adams believed in the artist’s unique vision, while also advocating technical precision to realise it. Concurrently, scientists were focusing on contrast perception, the neurological mechanisms by which we distinguish objects and make sense of spatial arrangements. Scientists and photographers alike had to understand the visual system and its responses to black and white.”

Press release from the LACMA website

 

Edward Steichen (Luxembourg, active United States, 1879-1973) 'Three Pears & An Apple' 1921, printed 1921

 

Edward Steichen (Luxembourg, active United States, 1879-1973)
Three Pears & An Apple
1921, printed 1921
Gelatin silver print
9 5/8 × 7 1/2 in. (24.45 × 19.05cm)
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation and promised gift of Carol Vernon and Robert Turbin
© The Estate of Edward Steichen

 

William Henry Fox Talbot (England, 1800-1877) 'Lace' 1841

 

William Henry Fox Talbot (England, 1800-1877)
Lace
1841
Calotype
7 1/2 × 9 1/4 in. (19.05 × 23.5cm)
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation and promised gift of Carol Vernon and Robert Turbin

 

Andrew Young (England, active 1870-1879) 'Plane at Aberdour, in Old Avenue' Scotland, late 1870s

 

Andrew Young (English, active 1870-1879)
Plane at Aberdour, in Old Avenue
Scotland, late 1870s
Woodbury type
9 1/8 × 7 3/8 in. (23.18 × 18.73cm)
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation, acquired from Carol Vernon and Robert Turbin

 

Frederick H. Evans (England, 1853-1943) 'A Sea Of Steps - Wells Cathedral' England, 1903

 

Frederick H. Evans (English, 1853-1943)
A Sea Of Steps – Wells Cathedral
England, 1903
Platinum print
9 x 7 1/4 in. (22.86 x 18.44cm)
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation and Carol Vernon and Robert Turbin
© Frederick H. Evans, courtesy Janet B. Stenner

 

Jaroslav Rössler (Bohemia, Havlíčkův Brod, 1902-1990) 'Still Life with Small Bowl' Czechoslovakia (now Czech Republic), 1923

 

Jaroslav Rössler (Bohemia, Havlíčkův Brod, 1902-1990)
Still Life with Small Bowl
Czechoslovakia (now Czech Republic), 1923
Gelatin silver print
8 7/8 × 9 3/8 in. (22.54 × 23.81cm)
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation and promised gift of Carol Vernon and Robert Turbin

 

György Kepes (Hungary, active United States, 1906-2001) 'Balance' 1942, printed 1942

 

György Kepes (Hungary, active United States, 1906-2001)
Balance
1942, printed 1942
Gelatin Silver Print
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation, acquired from Carol Vernon and Robert Turbin
© The György Kepes Estate

 

 

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Phone: 323 857-6000

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