Posts Tagged ‘black and white photography

18
Jul
21

Exhibition: ‘Mary Ellen Mark: Girlhood’ at the National Museum of Women in the Arts, Washington

Exhibition dates: 3rd March – 8th August 2021

 

Mary Ellen Mark (American, 1940-2015) 'Tashara and Tanesha Reese, Twins Days Festival, Twinsburg, Ohio' 1998 (printed later)

 

Mary Ellen Mark (American, 1940-2015)
Tashara and Tanesha Reese, Twins Days Festival, Twinsburg, Ohio
1998 (printed later)
Gelatin silver print
20 x 24 in.
National Museum of Women in the Arts, Gift of Robert and Kathi Steinke; Photo by Lee Stalsworth
© Mary Ellen Mark / The Mary Ellen Mark Foundation

 

 

I have always liked Mary Ellen Mark’s work.

Photographing subjects living outside of mainstream society, there is something of the spirit of Diane Arbus present in her photographs (see Tashara and Tanesha Reese, Twins Days Festival, Twinsburg, Ohio 1998, above) but pushed further, photographed with more sensitivity and compassion for subject matter.

As a photographer Mark blends into the background leaving her subjects to speak for themselves. Intimate moments, abandoned youths, institutionalised patients and child prostitutes are all documented with a sensitive eye. She does not judge.

Her work is not about developing novels ways of representation. As an artist it is not always about being “fashionable” or “contemporary” or coming up with new ways to represent things. With her subjects comfortable in her presence and before her lens, she records what she sees. She lets her subjects tell their own stories.

Sumeja Tulic states that the photograph Falkland Road, Mumbai, India (1978, below) “leaves one uncomfortable at the sight of girls and women performing their sexuality before her lens.” I don’t feel uncomfortable, do you?

I understand the circumstances of the photograph, I feel sadness that this is happening, I feel anger that this girl has to sell her body to men to survive. I feel the injustice of the world. I want there to be fairness and equity in the world not men controlling women… and I feel the empathy of the photographer towards her subject.

“I don’t like to photograph children as children,” Mark said. “I like to see them as adults, as who they really are. I’m always looking for the side of who they might become.”

Through her vision we might be able to access some of the many paths that life may take: from teen runaway to sex worker, to drug addict, to mother of ten.

Unbounded steps on the precious path of life.

Dr Marcus Bunyan

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

 

 

Mary Ellen Mark (American, 1940-2015) 'Emine Dressed Up for Republic Day. Trabzon, Turkey' Nd

 

Mary Ellen Mark (American, 1940-2015)
Emine Dressed Up for Republic Day. Trabzon, Turkey
Nd
© Mary Ellen Mark/The Mary Ellen Mark Foundation

 

 

In 1965, Mark was awarded a Fulbright Scholarship to photograph in Turkey. She took this portrait in the courtyard of Emine’s home. Mark gave minimal direction, encouraging the girl to pose herself. With a hand on her hip, Emine mimics an older teen, but her unbuckled, dirt-stained shoes and hair loosening from its bow reveal markers of childhood. Calling this “the first strong photograph I made,” Mark captured a young girl’s eagerness to grow up.

 

Mary Ellen Mark (American, 1940-2015) 'Women and Children in a Doorway, Mexico' 1965

 

Mary Ellen Mark (American, 1940-2015)
Women and Children in a Doorway, Mexico
1965
Vintage gelatin silver print
11 x 14 in.
National Museum of Women in the Arts, Gift of Jill and Jeffrey Stern
© Mary Ellen Mark / The Mary Ellen Mark Foundation
Photo by Lee Stalsworth

 

Mary Ellen Mark (American, 1940-2015) 'Laurie in the Bathtub, Ward 81, Oregon State Hospital, Salem, Oregon' 1976 (printed later)

 

Mary Ellen Mark (American, 1940-2015)
Laurie in the Bathtub, Ward 81, Oregon State Hospital, Salem, Oregon
1976 (printed later)
Gelatin silver print
20 x 24 in.
National Museum of Women in the Arts, Gift of Susan and Earl Cohen
© Mary Ellen Mark / The Mary Ellen Mark Foundation
Photo by Lee Stalsworth

 

 

In 1975, Mark visited the hospital in which Milos Forman’s film One Flew Over the Cuckoo’s Next (1975) was being shot, on assignment for The Pennsylvania Gazette. The living conditions inside Women’s Ward 81 greatly affected Mark, and she returned a year later, living inside the facility for 36 days. During this time, she made a body of work about the institutionalised patients. The exhibition includes one of these photographs: a girl, Laurie, submerged in a bathtub [featured image]. Her hair rests on the bathtub’s rim, and her eyes gaze out at Mark. The photograph excludes the institutional surroundings, transforming the frame into a scene of deceptive domesticity.

Text from Sumeja Tulic. “Mary Ellen Mark’s distinct depictions of girlhood reflect the diverse realities of that word,” on the 1854 website March 2021 [Online] Cited 03/04/2021.

 

Mark approached her subjects with sensitivity and compassion. While photographing on the set of the film One Flew Over the Cuckoo’s Nest (1975), shot at the Oregon State Hospital, Mark encountered young women living in a high-security ward for patients considered dangerous to themselves or others. Interested in getting to know the residents, Mark gained temporary permission to live in an adjacent ward. Laurie’s open expression in this portrait reveals little of the institutional environment, as Mark strove to capture the women’s inner selves beyond their diagnoses.

 

Mary Ellen Mark (American, 1940-2015) 'Girl Jumping over a Wall, Central Park. New York City' Nd

 

Mary Ellen Mark (American, 1940-2015)
Girl Jumping over a Wall, Central Park. New York City
Nd
© Mary Ellen Mark / The Mary Ellen Mark Foundation

 

Mary Ellen Mark (American, 1940-2015) 'Falkland Road, Mumbai, India' 1978

 

Mary Ellen Mark (American, 1940-2015)
Falkland Road, Mumbai, India
1978
Dye transfer print
20 x 24 in.
National Museum of Women in the Arts, Gift of Jean Rossall
© Mary Ellen Mark / The Mary Ellen Mark Foundation

 

 

Mark was not always successful in challenging stereotypes or developing novel ways of representation. An image depicting a woman applying lipstick to the lips of a girl sitting on a bed in a dimly-lit room is a jarring example of this. There is synchronicity between the unbuttoned buttons on the girl’s dress and her slightly open mouth. Mark’s caption states that she made the photograph in a brothel, where villagers brought the girl after her husband left her. The image is part of Falkland Road (1981), a book about sex workers in Bombay, India. Although Mark invested deeply in making the series, the work leaves one uncomfortable at the sight of girls and women performing their sexuality before her lens.

Text from Sumeja Tulic. “Mary Ellen Mark’s distinct depictions of girlhood reflect the diverse realities of that word,” on the 1854 website March 2021 [Online] Cited 03/04/2021.

 

Mark spent three months photographing the brothels that line Falkland Road in Mumbai, India. Though she typically worked in black and white, for this project she used colour film. The vibrant saturation of the jewel-toned walls, curtains, and clothing heightens the intensity of this somber scene in which a teenage sex worker is made up for a client. Mark portrayed each of her subjects with dignity and empathy. Her photographs called international attention to the injustices faced by these overlooked young women.

 

Mary Ellen Mark (American, 1940-2015) 'Jeanette and Victor, Brooklyn, New York' 1979 (printed later)

 

Mary Ellen Mark (American, 1940-2015)
Jeanette and Victor, Brooklyn, New York
1979 (printed later)
Gelatin silver print
16 x 20 in.
National Museum of Women in the Arts, Gift of Shaun Lucas
© Mary Ellen Mark / The Mary Ellen Mark Foundation
Photo by Lee Stalsworth

 

 

This portrait of Jeanette and her boyfriend, Victor, captures the tenderness of young love. Mark met fifteen-year-old Jeanette when she was five months pregnant. Several times a week for the remainder of the teen’s pregnancy, Mark visited and photographed the couple and their families in Brooklyn, eventually documenting the birth of their daughter. “Photographing Jeanette was a great learning experience for me,” Mark said. “I learned that you can capture more intimate moments by blending into the background.”

 

Mary Ellen Mark (American, 1940-2015) 'Runaway Girls on Pike Street, Seattle, Washington' 1983

 

Mary Ellen Mark (American, 1940-2015)
Runaway Girls on Pike Street, Seattle, Washington
1983
Vintage gelatin silver print
16 x 20 in.
National Museum of Women in the Arts, Gift of Robert and Kathi Steinke
© Mary Ellen Mark / The Mary Ellen Mark Foundation

 

 

In 1983, Mark traveled to Seattle to document runaway and abandoned youths living on the streets for Life magazine. That assignment became the basis for Streetwise, a photographic series and film documenting the challenges, complexities, and occasional joys in the lives of these children and teenagers. Many of the youths Mark photographed in Seattle fled violent homes or were forced to the streets by poverty. In this image, two girls rest against a graffitied wall on Pike Street, a popular gathering place for the city’s homeless youth.

 

 

An icon of modern photography, Mary Ellen Mark (American, 1940-2015) created compassionate and candid portraits of subjects living outside of mainstream society. From street children in Seattle to circus performers in India, Mark captured the lives and stories of individuals with empathy, humour, and candour. Through the lens of her camera, she cut through social and societal barriers to champion overlooked communities in the United States, India, Mexico, the former Soviet Union, and other countries.

Mary Ellen Mark: Girlhood examines Mark’s depictions of girls and young women living in a variety of circumstances around the globe. While Mark photographed people from all walks of life, she was particularly interested in children. “I don’t like to photograph children as children,” Mark said. “I like to see them as adults, as who they really are. I’m always looking for the side of who they might become.”

Made possible by a recent donation from the Photography Buyers Syndicate of more than 160 Mary Ellen Mark works, this presentation includes approximately 30 photographs that span the artist’s 50-year career – from her earliest work in Turkey in the 1960s to images taken on Polaroid film in the early 2000s. Mary Ellen Mark: Girlhood highlights some of the artist’s best-known series, including “Prom,” “Streetwise,” and “Twins,” offering viewers an intriguing glimpse into the artist’s wondrous and uncanny vision of girlhood.

Text from the National Museum of Women in the Arts website

 

Mary Ellen Mark (American, 1940-2015) 'Classroom, Kiev, Ukraine' 1987 (printed later)

 

Mary Ellen Mark (American, 1940-2015)
Classroom, Kiev, Ukraine
1987 (printed later)
Gelatin silver print
16 x 20 in.
National Museum of Women in the Arts, Gift of Robert and Kathi Steinke
© Mary Ellen Mark / The Mary Ellen Mark Foundation

 

Mary Ellen Mark (American, 1940-2015) 'Lakeisha, South Dallas' 1988 (printed later)

 

Mary Ellen Mark (American, 1940-2015)
Lakeisha, South Dallas
1988 (printed later)
Gelatin silver print
20 x 16 in.
National Museum of Women in the Arts, Gift of Robert and Kathi Steinke
© Mary Ellen Mark / The Mary Ellen Mark Foundation
Photo by Lee Stalsworth

 

Mary Ellen Mark (American, 1940-2015) 'Child Acrobat with Two Children in Peacock Costumes, Great Royal Circus, Himmatnagar, India' 1989 (printed later)

 

Mary Ellen Mark (American, 1940-2015)
Child Acrobat with Two Children in Peacock Costumes, Great Royal Circus, Himmatnagar, India
1989 (printed later)
Gelatin silver print
16 x 20 in.
National Museum of Women in the Arts, Gift of Jill and Jeffrey Stern
© Mary Ellen Mark / The Mary Ellen Mark Foundation

 

 

In 1968, during her first visit to India, Mark encountered the Indian circus. Her photographs of the events hint at strange and wondrous sights – including this fantastically costumed trio – but focus on the performers in their down time. Mark said, “I wanted to document the lives of the people when they weren’t performing… If I had photographed from the audience’s point of view, I would have just been a spectator.”

 

Mary Ellen Mark (American, 1940-2015) 'Batman and Little Barbies at the Toys "R" Us Holiday Parade, New York' 2002 (printed later)

 

Mary Ellen Mark (American, 1940-2015)
Batman and Little Barbies at the Toys “R” Us Holiday Parade, New York
2002 (printed later)
Gelatin silver print
20 x 16 in.
National Museum of Women in the Arts, Gift of Susan and Earl Cohen
© Mary Ellen Mark / The Mary Ellen Mark Foundation
Photo by Lee Stalsworth

 

Mary Ellen Mark (American, 1940-2015) 'Idesha and Mikayla Preston, 8 Years Old, Idesha Older by 10 Minutes, Twinsburg, Ohio' 2002

 

Mary Ellen Mark (American, 1940-2015)
Idesha and Mikayla Preston, 8 Years Old, Idesha Older by 10 Minutes, Twinsburg, Ohio
2002
Polaroid, 28 ¼ x 22 in.
National Museum of Women in the Arts, Gift of Susan and Earl Cohen
© Mary Ellen Mark / The Mary Ellen Mark Foundation

 

Mary Ellen Mark (American, 1940-2015) 'Ursula Phillips and Gregg Whitlock Jr., Malcolm X Shabazz Prom' 2006

 

Mary Ellen Mark (American, 1940-2015)
Ursula Phillips and Gregg Whitlock Jr., Malcolm X Shabazz Prom
2006
Polaroid
28 1/4 x 22 in.
National Museum of Women in the Arts, Gift of Frieder K. Hofmann
© Mary Ellen Mark / The Mary Ellen Mark Foundation

 

Mary Ellen Mark (American, 1940-2015) 'Lucas Nathan and Grace Bush-Vineberg, Palisades Charter High School Prom, Los Angeles, California' 2008

 

Mary Ellen Mark (American, 1940-2015)
Lucas Nathan and Grace Bush-Vineberg, Palisades Charter High School Prom, Los Angeles, California
2008
Polaroid
28 1/4 x 22 in.
National Museum of Women in the Arts, Gift of Robert and Kathi Steinke
© Mary Ellen Mark / The Mary Ellen Mark Foundation

 

 

From 2006 to 2009, Mark traveled the United States documenting high school proms. A rite of passage for American teens, the prom symbolises an impending transition to adulthood. Mark’s subjects exhibit a range of reactions; some pose seriously with their dates, while others affect more playful mannerisms. Mark used a six-foot-high, 240-pound Polaroid 20 x 24 Land Camera for these portraits. As with the smaller, more familiar Polaroid instant cameras, each shot produces just one unique print with no negative.

 

Mary Ellen Mark (American, 1940-2015) 'J'Lisa Looks Through the Blinds, Streetwise Revisited' Nd

 

Mary Ellen Mark (American, 1940-2015)
J’Lisa Looks Through the Blinds, Streetwise Revisited
Nd
© Mary Ellen Mark / The Mary Ellen Mark Foundation

 

 

The exhibition also includes one photograph, which Mark took the year before her death. In J’Lisa Looks Through the Blinds (2014), a child gazes through broken window blinds. The subject is the daughter of Erin Blackwell, better known as, Tiny. Mark first photographed Tiny in 1983 while working on her most influential body of work, Streetwise. When Mark met Tiny, she was a teen sex worker. By the end of Mark’s life, Tiny was a mother of 10 children and a recovered drug addict. Streetwise also became a film in 1984, documenting runaway children living on the streets of Seattle.

Text from Sumeja Tulic. “Mary Ellen Mark’s distinct depictions of girlhood reflect the diverse realities of that word,” on the 1854 website March 2021 [Online] Cited 03/04/2021.

 

Mark often took personal interest in those she met and photographed, and in some instances she formed lasting connections with her subjects. Mark’s involvement with Erin Blackwell (nicknamed “Tiny”) began in 1983 while filming the Streetwise (1984) documentary, when the girl was just thirteen. Over the next thirty-two years, Mark documented Tiny’s transition from teen runaway to sex worker, to drug addict, to mother of ten. In this image, Tiny’s daughter J’Lisa peers out of a window, her expression brimming with anticipation and skepticism.

 

 

National Museum of Women in the Arts
1250 New York Ave., NW
Washington, DC 20005

Opening hours:
Exhibition hours
Monday – Saturday 10am – 5pm
Sunday 12 – 5pm

National Museum of Women in the Arts website

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04
Jul
21

Photo album: John “Jack” Riverstone Faviell (1892-1960), 1922-1933 Part 1

July 2021

Warning: Aboriginal and Torres Strait Islander readers should be aware that this posting contains images and names of people who may have since passed away.

 

 

John "Jack" Riverstone Faviell (1892-1960), 1922-1933 photo album front cover

 

John “Jack” Riverstone Faviell 1922-1933 photo album front cover

 

 

Discovered in an op shop (charity shop in America), this is the most historically important and exciting Australian photo album that I have ever found!

Belonging to John “Jack” Riverston Faviell, a senior New South Wales public accountant and featuring his photographs, the album ranges across the spectrum of Australian life and culture from the East to the West of the continent in the years 1922-1933. A list of locations and topics can be seen below.

I will undertake a fuller analysis of the album Part 2 of the posting, which will contain unknown photographs of the opening of the Sydney Harbour Bridge.

In this posting there are some important photographs of “Aboriginal Types, along the Trans-Australian Railway” and “Australian Desert Blacks.” The Indigenous Australians had come to trade boomerangs and spears in return for money and clothing. According to the excellent book Bitter Fruit: Australian photographs to 1963 by Michael Graham-Stewart and Francis McWhannell, after the completion of the continental railway in 1917,

“The Railway provided a source of income for Aboriginal people, much to the ire of the Chief Protector  of Aborigines in Western Australia, A. O. Neville, to whom the slightest hint of autonomy was anathema. There was some begging (Neville was convinced that children were being ‘bred’ for the purpose), but also a system of charging for photographs. Boomerang and spear demonstrations were given, and artefacts were souvenired.

The most important stop on the line was Ooldea. This was situated six kilometres south of Ooldea Soak, one of the few places in the region with permanent water. The site had long been of great ceremonial and social significance for Aboriginal people, a fact attested by the profusion of stone artefacts in the area… It was a junction of migratory routes, a centre for exchange, and a refuge in times of drought.”1

.
As Episode 1 of the series ‘Australia in Colour’ states of similar home movie images, “these photographs offer an unfiltered glimpse into a world seldom seen.”2

Other fascinating images in this posting include the grave of bushranger John Dunn; the Macquarie Watchtower in La Perouse; the goldfields and mines of Kalgoorlie and “Boulder City” in Western Australia; the oldest inhabitant of Geraldton, W.A.; Fremantle prison; and pearling in Shark’s Bay, W.A. including two photographs – one of the dilapidated “White’s Cemetery” with single cross and bones and the other a “Grave in the Niggers Cemetery” with nothing but a mound of earth and some dead branches. Other photographs offer casual racism as a matter of course in their titles.

Dr Marcus Bunyan

 

Footnotes

  1. Michael Graham-Stewart and Francis McWhannell. Bitter Fruit: Australian photographs to 1963. Michael Graham-Stewart, 2017, p. 66.
  2. Episode 1 Season 1: “Outpost Of Empire”: This episode charts the story of the nation from 1897 to 1929 as agriculture transforms the land. ‘Australia in Colour’ is the history of Australia told via a unique collection of cinematic moments brought to life for the first time in stunning colour. It tells the story of how Australia came to be the nation it is today. Narrated by Hugo Weaving, it’s a reflection on our nation’s character, its attitudes, its politics, and its struggle to value its Indigenous and multicultural past. ‘Australia in Colour’ gives us a chance to relive history from a fresh perspective.

.
Grateful thankx to Douglas Stewart Fine Books for their research help with this photo album. Please click on the photographs for a larger version of the image.

 

 

“Biscuits and cake and fruit were thrown to them from the train windows, while their boomerangs and native weapons, and their importance in the landscape as subjects for photography, brought many a shilling and sixpence for them to spend.”

.
Daisy Bates, The Passing of the Aborigines quoted in Bitter Fruit: Australian photographs to 1963.1

 

“John “Jack” Riverston Faviell, was a senior NSW public accountant. Originally from Colinroobie, near Narrandera in NSW, he married Melanie Audrey Pickburn (daughter of Judge Pickburn) in a society wedding at St James’ Church, Sydney, in February 1925. He built no. 20 Yarranabbe Rd, Darling Point as their first married home but he divorced Audrey in October 1930. He would later remarry in 1934, as would Audrey.”

.
Jon Dickson. Douglas Stewart Fine Books

 

Locations

  • Blue Mountains, NSW (1922)
  • Leura Falls, NSW (1922)
  • Weeping Rock, Wentworth Falls, NSW (1922)
  • Tarana Picnic Races, NSW (1922)
  • Doona, Breeza, NSW (1922)
  • Avoca, NSW (1922)
  • Newcastle Races, NSW (1923)
  • Belmont / Belmont Regatta, NSW (1923)
  • Hawkesbury, NSW (1923)
  • Frenches Forest, NSW (1923)
  • “Foxlow” Station, Bungedore, NSW (1923)
  • Sydney, NSW (Customs House, National Art Gallery, Mitchell Library, Darlinghurst Courthouse) (1923)
  • Muswellbrook Picnic Races, NSW (1923)
  • Maitland / Maitland Cup Meeting, NSW (1923)
  • Breeza, NSW (1923)
  • Wiseman’s Ferry, NSW (1923)
  • Moss Vale / Sutton Forest Church, NSW (1923)
  • Frensham, NSW (1923)
  • La Perouse, NSW (Historical Society Excursion) (1923)
  • Old Customs Watch Tower, La Perouse (1923)
  • The Old Illawarra Road, NSW (1923)
  • Yarcowie, SA (1923)
  • Trans-Australian Railway (Port Augusta to Kalgoorlie) (1923)
  • Karonie, WA (1923)
  • Kalgoorlie, WA (1923)
  • Boulder City, WA (1923)
  • Fremantle, WA (1923)
  • Geraldton, WA (1923)
  • Shark’s Bay, WA (1923)
  • Henry Freycinet Estuary, WA (1923)
  • Tamala Station, WA (1923)
  • Perth, WA (1923)
  • Adelaide, SA (Torrens River) (1923)
  • “Redbank,” Scone, NSW (1924)
  • Muswellbrook Picnic Races, NSW (1924)
  • “Craigieburn,” Bowral, NSW (1924)
  • The Dudley Cup at Kensington, NSW (1924)
  • Camden Grammar School, NSW (1924)
  • Liverpool Church, NSW (1924)
  • Landsdowne Bridge, NSW (1924)
  • Jenolan Caves, NSW (1924)
  • Avon Dam, NSW (1924)
  • Herald Office, Pitt Street, NSW (1924)
  • Camping, Cronulla, NSW (1925)
  • Roseville, NSW (1926)
  • Whale Beach, NSW (1927)
  • Visit of the Duke and Duchess of York, Macquarie Street, NSW (1927)
  • 20, Yarranabbe Rd., Darling Point, NSW (1926)
  • Canberra, ACT (1927)
  • Jenolan Caves, NSW (Lady Dorothy Hope-Morley) (1927)
  • Ellen’s Isle, Loch Katrine, Scotland (1925)
  • Sydney Harbour Bridge, NSW (1931-32)
  • “Springfield,” Byng, Near Orange, NSW (1932)
  • Lucknow, near Orange, NSW (1933)
  • Hawkesbury, NSW (1933)
  • Bathurst, NSW (1933)
  • “Millambri, ” Canowindra, NSW (1933)
  • Melbourne, VIC (1933)

 

Topics

  • Men
  • Pastoralism and grazing
  • Horses / country horse racing
  • Sheep and shearing
  • Cows
  • Mill / logging
  • Pine plantation
  • Bush
  • Bores and dams
  • Cathedral / churches
  • Tennis
  • Golf
  • Cars (Ford, Pan-American, Essex, Oldsmobile, early Hupmobile, Chrysler 70)
  • Buses
  • Bank, post office
  • Pastoral Play
  • Monuments
  • Rock carvings
  • Houses
  • Cemetery / tombstones
  • John Dunn, executed 1866
  • South Australian Railways / locomotives
  • S.A. constable and Adelaide cop
  • Indigenous Australians (Aboriginal types, along the Trans-Australian Railway)
  • Australian Desert Blacks
  • Gold mine / gold panning
  • Mining (Boulder and Perseverance Mines)
  • Convict gaol
  • Oldest inhabitant (Henry Desmond)
  • Hotels
  • Beach and sea, surf girls
  • Mother of pearl
  • Dates
  • Afghan / camels
  • Yachting, sailing / boats
  • Guano
  • Fred Adams, Boss-Pearler
  • Stations and station hands
  • Rowing
  • Dredging
  • Polo
  • Rugby
  • Caves
  • Guns
  • Nobility and royalty
  • Camping, picnics
  • Tennis
  • House building / old houses
  • Parliament House
  • Prime Ministers residence
  • Bridges and bridge building
  • Federal and state governors
  • The world’s first auto-gyro plane (1909-1912)
  • The Southern Cross
  • Pioneers
  • Mounted police
  • First house in Byng
  • Rabbiting
  • Glamour
  • Social status / socialite
  • Family
  • Women and children
  • Sydney Harbour Bridge opening
  • Carillon (bells)
  • Myers and Bourke Street, Melbourne

 

 

"Blue Mountains, N.S.W," January 1922 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Blue Mountains, N.S.W,” January, 1922 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"Blue Mountains, N.S.W," January 1922 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Blue Mountains, N.S.W,” January, 1922 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"Blue Mountains, N.S.W," January 1922 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Blue Mountains, N.S.W,” January, 1922 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

 

Blue Mountains

The Blue Mountains are a mountainous region and a mountain range located in New South Wales, Australia. The region borders on Sydney’s metropolitan area, its foothills starting about 50 kilometres (31 mi) west of centre of the state capital, close to the major suburb of Penrith. The public’s understanding of the extent of the Blue Mountains is varied, as it forms only part of an extensive mountainous area associated with the Great Dividing Range. Officially the Blue Mountains region is bounded by the Nepean and Hawkesbury rivers in the east, the Coxs River and Lake Burragorang to the west and south, and the Wolgan and Colo rivers to the north. Geologically, it is situated in the central parts of the Sydney Basin. …

The Blue Mountains have been inhabited for millennia by the Gundungurra people, now represented by the Gundungurra Tribal Council Aboriginal Corporation based in Katoomba, and, in the lower Blue Mountains, by the Darug people, now represented by the Darug Tribal Aboriginal Corporation…

Examples of Aboriginal habitation can be found in many places. In the Red Hands Cave, a rock shelter near Glenbrook, the walls contain hand stencils from adults and children. On the southern side of Queen Elizabeth Drive, at Wentworth Falls, a rocky knoll has a large number of grinding grooves created by rubbing stone implements on the rock to shape and sharpen them. There are also carved images of animal tracks and an occupation cave. The site is known as Kings Tableland Aboriginal Site and dates back 22,000 years.

Text from the Wikipedia website

You’ll find the locality of Kanimbla Valley in New South Wales about 90km west-northwest of Sydney. At about 677m above sea level, Kanimbla Valley is one of the higher localities in New South Wales.

 

"Tarana Picnic Races," January 1922 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Tarana Picnic Races,” January, 1922 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

Tarana

Tarana is a small town in the Central West of New South Wales, Australia in the City of Lithgow.

 

"Doona, Breeza," October 1922 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Doona, Breeza,” October, 1922 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

 

J. Pickering – John Pickering, grazier of Breeza, Upper Hunter Valley, killed by a log he was loading onto a wagon in February 1924.
B.B. Capper – Capper family of Rossmer Homestead at Breeza, Upper Hunter Valley.
Doona Station and Breeza Station owned by the Clift family.

Information from Douglas Stewart Fine Books

 

"Doona, Breeza," October 1922 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Doona, Breeza,” October, 1922 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

 

Breeza

Breeza is a small village located about 45 kilometres south east of Gunnedah on the Kamilaroi Highway. The aboriginal name for Breeza means “one hill”.

The village overlooks the rich fertile Liverpool Plains and this diverse farming area produces many and varied crops throughout the year. When in season, the fields of sunflowers, sorghum, canola, wheat and cotton provide a picturesque vista across the sweeping plains.

Breeza was settled in 1848 by Andrew Lang. Old folk say that Bushranger Ben Hall was born at Breeza, he was in fact born near Maitland, but his father, Ben Hall Snr worked on Breeza Station at one time. A mural ‘Ben Hall’s Wall’ stands in the heart of Breeza to commemorate Ben Hall’s final years set against “those wild colonial days” of yesteryear.

Text from the australias.guide website [Online] Cited 18/10/2019

 

"Avoca," Xmas, 1922 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Avoca,” Xmas, 1922 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

 

Avoca Beach

Avoca Beach is a coastal suburb of the Central Coast region of New South Wales, Australia, about 95 kilometres (59 mi) north of Sydney. Avoca Beach is primarily a residential suburb but also a popular tourist destination. Terrigal is a major coastal suburb of the Central Coast region of New South Wales, Australia, located 12 kilometres (7 mi) east of Gosford on the Pacific Ocean. (Text from the Wikipedia website)

 

"Newcastle Races," New Year, 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Newcastle Races,” New Year, 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

 

Located in the heart of Newcastle on the picturesque Hunter Coast only two hours drive north of Sydney is Newcastle Racecourse. In operation for over 100 years, the Newcastle Racecourse is the largest provincial club in NSW.

 

"Belmont," New Year, 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Belmont,” New Year, 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

Belmont, on Lake Macquarie near Newcastle, NSW.

 

"Saddington's Ford," New Year, 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Saddington’s Ford,” New Year, 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"Belmont," 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Belmont,” 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

 

John C Reid and Mark C Reid

The Reid brothers John C Reid and Mark C Reid were nephews of Sir George Houstoun Reid, 4th Prime Minister of Australia and former Premier of New South Wales prior to Federation. On Friday 14 January, 1898 the Reid boys were at the train station to welcome their uncle the Premier to Newcastle.

Roger Steel, Historian, Belmont

 

O.E. Friend (died 1942)

O.E. Friend was a very wealthy man and was Director of the Commercial Banking Company of Sydney with a keen interest in pastoral pursuits, investments, etc., Perhaps Faviell worked for Friend or was a close confidante, which would explain all the shots of pastoral locations (Friend’s interests).

Information from Douglas Stewart Fine Books

 

Obituary

MR. O. E. FRIEND DIES IN SYDNEY

Mr O. E. Friend, 60, died today. He was a director of the Permanent Trustee Company, the Commercial Banking Company of Sydney, Pitt, Son, and Badgery, the United Insurance, and Howard Smith companies, and several other business organisations. Mr. Friend was keenly interested in pastoral pursuits. He was chairman of directors of Retreat Station Ltd., Queensland, and was formerly president of the Royal Historical Society.

The Courier-Mail, Brisbane, Qld., Tue 26 May, 1942, Page 4 on the Trove website [Online] Cited 05/11/2019

 

"Belmont Regatta," 1.1.23 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Belmont Regatta,” 1.1.23 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

 

Belmont Regatta

I am researching the local history of Belmont, NSW and in particular the history of the Belmont Sailing Club. The Belmont Sailing Club was formed at a meeting on 13th May 1922 and it held its first race on 7th October 1922.

Whilst an annual regatta had been held on Belmont Bay for some decades, the Belmont Regatta held on 1st January 1923 is the first run under the auspices of the newly formed Belmont Sailing Club. The photo in the album would be the earliest photograph of 16ft skiffs sailing on Belmont Bay.

Interestingly, John C. Reid, living in Weeroona on the shores of Lake Macquarie was the sailing club’s first patron, having been involved previously with the Belmont regattas as well as the regattas held on Newcastle Harbour. He was also a benefactor providing trophies for the club and had a high profile having formerly been the Mayor of Newcastle and the French Consul for Newcastle, there to assist French sailors. He played a significant role following the wreck of the ship Adolphe (1904, see below) in Newcastle Harbour. His younger brother Mark Christian Reid was the sailing club’s first President. Both of these men lived truly amazing lives.

Is there any possibility of getting a high resolution scan of a few of these photographs?  In particular the photo of the 1923 Belmont Regatta is priceless.

The skiffs in the club then used numbers on their sails instead of ensigns like other 16ft skiff clubs. Its hard to see, but it looks like the leading skiff has the number one on the sail, making it the skiff named ‘Clift’ (No numbers are visible on the sails just splotches – Marcus). That name Clift is significant in Belmont as you can see from your photo album. The Clifts were wealthy graziers from Breeza who would holiday at Belmont in their 17 room home.

Roger Steel, Historian, Belmont

Email to Marcus Bunyan 07/07/2021

 

'Adolphe' as photographed on 30 September 1904

 

This slide depicts the wreck of the Adolphe as photographed on 30 September 1904. You can also see the mast of the shipwreck Regent Murray in this photo.
University of Newcastle Library’s Cultural Collections

 

 

Adolphe

The Adolphe was a sailing ship that was wrecked at the mouth of the Hunter River in New South Wales, Australia, in 1904. The ship is now the most prominent of several wrecks on what is now the Stockton breakwall, which protects Newcastle harbour. The rescue of the ship’s crew has gone down in local maritime history as one of the most remarkable in local waters.

On 30 September 1904, the Adolphe was being towed through the entrance of Newcastle harbour by the tugs Hero and Victoria after an 85-day voyage in ballast from Antwerp under the command of Captain Lucas. Heavy seas prevented the tugs from holding her, and after the tug hawser parted she was swept first on to the wreck of the Colonist, then battered by waves that forced her on top of other submerged wrecks on what was then called the Oyster Bank. The lifeboat hurried to the scene and within two hours all 32 of the crew had been taken off. The northern breakwater of the entrance to the port of Newcastle was extended after the loss of the Adolphe. The French consul made an official visit to Newcastle to recognise the efforts of the lifeboat crew.

Text from the Wikipedia website

 

"Fun at The Lake," 17/19 February, 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Fun at The Lake,” 17/19 February, 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"O.E.F. (O.E. Friend) & B.B.C. (Basil Cappers)," 17/19 February, 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“O.E.F. (O.E. Friend) & B.B.C. (Basil Cappers),” 17/19 February, 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"The Basil Cappers' departure for England," 9 March, 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“The Basil Cappers’ departure for England,” 9 March, 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"Untitled," 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Untitled,” 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"Pan-American, 6666," 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Pan-American, 6666,” 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"The Hawkesbury from the train," 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“The Hawkesbury from the train,” 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"Foxlow," 3/5 March, 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Foxlow,” 3/5 March, 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"Foxlow," March, 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Foxlow,” March, 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"Foxlow," 3/5 March, 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Foxlow,” 3/5 March, 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"Foxlow Station, Bungendore," 3/5 March, 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Foxlow Station, Bungendore,” 3/5 March, 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"Foxlow," 3/5 March, 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Foxlow,” 3/5 March, 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

 

Foxlow

Bungendore property “Foxlow” has more than 7500 hectares of land. It was purchased by F.B.S Falkiner (the son of F.S. Falkiner) in 1920.

Before the Falkiner family ownership, “Foxlow” had been in the hands of the Osborne family, and previously the Rutledge family; they had a short ownership of two years after purchasing it from John Hosking, in the 1860s. Hosking himself was the first mayor of Sydney, and had given the property its name, after his wife, Martha Foxlow Terry.

Mr Falkiner said “Foxlow” was one of the first farms to be taken up in the Molonglo Valley.

The property was profiled in The Land‘s country homes series in 1976, which detailed the property’s history extending back to an original grant in 1839 to Thomas Wood.

It is not known exactly when Hosking himself purchased the property, but his ownership lasted until 1868 when it was purchased by Thomas Rutledge, and then later George Osborne, who had owned the property for 50 years before the Falkiner family ownership.

Nick Heydon. “Historic ‘Foxlow’ offering,” on The Land website 26 April 2014 [Online] Cited 28/10/2019

Foxlow sold for $15 million in 2015.

 

"Mr Friend examining the old bell," March, 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Mr Friend examining the old bell,” March, 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"Sydney," 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Sydney,” 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"Customs House," Sydney, 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Customs House,” Sydney, 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

 

Customs House, Sydney

Customs House, Sydney is a heritage-listed museum space, visitor attraction, commercial building and performance space located in the Circular Quay area at 45 Alfred Street, in the Sydney central business district, in the City of Sydney local government area of New South Wales, Australia. The building served as a customs house prior to Federation and then as the head office of New South Wales operations of the Government of Australia agency Department of Trade and Customs (and its successors) until 1988. The customs function relocated to a new site in 1990. The initial designs were by Mortimer Lewis and it was built during 1845 by under the administration of Governor Sir George Gipps.

Text from the Wikipedia website

 

"National Art Gallery," Sydney, 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“National Art Gallery,” Sydney, 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"Upper Hunter Amateur Race Club Meeting... (Muswellbrook Picnic Races)" 15/16 May, 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Upper Hunter Amateur Race Club Meeting… (Muswellbrook Picnic Races)” 15/16 May, 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

 

Muswellbrook

Muswellbrook is a town in the Upper Hunter Region of New South Wales, Australia, about 243 km (151 mi) north of Sydney and 127 km (79 mi) north-west of Newcastle. Geologically, Muswellbrook is situated in the northern parts of the Sydney basin, bordering the New England region. The area is predominantly known for coal mining and horse breeding, but has also developed a reputation for gourmet food and wine production.

Text from the Wikipedia website

 

"Upper Hunter Amateur Race Club Meeting... (Muswellbrook Picnic Races)" 15/16 May, 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Upper Hunter Amateur Race Club Meeting… (Muswellbrook Picnic Races)” 15/16 May, 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"The Button's Essex," May, 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“The Button’s Essex,” May, 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"Muswellbrook Picnic Races," 15/16 May, 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Muswellbrook Picnic Races,” 15/16 May, 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"Muswellbrook Picnic Races," 15/16 May, 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Muswellbrook Picnic Races,” 15/16 May, 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"Belmont," 23/25 June, 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Belmont,” 23/25 June, 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

Belmont Soldier's Memorial Hall and Belmont School of Arts

 

Three women standing in front of Belmont Soldier’s Memorial Hall (middle) and Belmont School of Arts (right) in John “Jack” Riverstone Faviell 1922-1933 photo album

 

 

Belmont Soldier’s Memorial Hall and Belmont School of Arts

My interest in the photo of the women in front of the Belmont Soldier’s Memorial Hall (opened 1921) (above) is also in the hope of seeing what is written on the building beside it (it says Belmont Literary Institute – more commonly known as the Belmont School of Arts, opened 1914). If it is the School of Arts, this suggests the building may have been moved at some stage. I’m very curious as I believed the School of Arts was close by in an adjoining street.

Roger Steel, Historian, Belmont

 

Belmont

Belmont is a suburb in the Hunter Region of New South Wales, Australia, located 20 kilometres (12 mi) from Newcastle’s central business district on the eastern side of Lake Macquarie and is part of the City of Lake Macquarie. Belmont is situated on a sandy peninsula formed by the Tasman Sea on the east and Lake Macquarie.

 

""Weroona", Belmont," 23/25 June, 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“”Weroona”, Belmont,” 23/25 June, 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

3 women at Weeroona

 

3 women at Weeroona in John “Jack” Riverstone Faviell 1922-1933 photo album

 

 

Weeroona and the Reid’s

If we look carefully at the photograph of the 3 women at Weeroona with the lake in the back ground (above), you can see the old stone ferry jetty. It was in a state of disrepair in 1923 and Mark C Reid, having been a former Alderman on Newcastle Council and a very prominent business man, was lobbying Lake Macquarie Shire Council to have the jetty repaired. Note this jetty became the club house of Lake Macquarie Yacht Club in the early 1930’s, built at the end of the pier, and still in the same location to this day. I’ve attached an old postcard (below) which shows a view of the yacht club from the Weeroona boatshed.

Some of the information from the Wikipedia page is not correct (below). John C Reid didn’t live in Weeroona during his retirement as he died relatively young and Mark C Reid took over his brother’s position as manager of John Reid Limited and as French Consul following his brother’s unexpected death. The Crippled Children’s Association did purchase Weeroona in about 1950 following Mark C Reid’s death however based on my memory, Weeroona would have been demolished much later than 1979.

Roger Steel, Historian, Belmont

 

John Christian Reid

John Christian Reid, JP (1873 – 20 March 1932) was a New South Wales businessman, yachtsman and alderman, who served several terms as Mayor of Newcastle… In retirement, Reid lived with his family at his residence, “Weroona”, in Belmont, which later became the holiday home for the NSW Crippled Children’s Association and was demolished in 1979.

Text from the Wikipedia website

 

The Reid's water-front, Lake Macquarie

 

The Reid’s water-front, Lake Macquarie in John “Jack” Riverstone Faviell 1922-1933 photo album

 

Belmont, Near Newcastle

 

Belmont, Near Newcastle
1950s?
Postcard
Colour lithograph

 

"Maitland," 25 August, 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Maitland,” 25 August, 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

 

Maitland

Maitland is a city in the Lower Hunter Valley of New South Wales, Australia and the seat of Maitland City Council, situated on the Hunter River approximately 166 kilometres (103 mi) by road north of Sydney and 35 km (22 mi) north-west of Newcastle. It is on the New England Highway about 17 km (11 mi) from its start at Hexham.

 

"Dr Kennedy's house, East Maitland," August, 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Dr Kennedy’s house, East Maitland,” August, 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"Maitland Cup Meeting," Spring, 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Maitland Cup Meeting,” Spring, 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"Finish of The Cup," Spring, 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Finish of The Cup,” Spring, 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"Breeza (Doona Cyprus Pine Venture)," 13th September, 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Breeza (Doona Cyprus Pine Venture),” 13th September, 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

""Karua" household," September, 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“”Karua” household,” September, 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"Breeza," 13th September, 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Breeza,” 13th September, 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

 

John Pickering was killed by a log, 1924. Cyprus Pine venture was an investment project that Friend and Faviell were working on with Pickering and Capper?

Information from Douglas Stewart Fine Books

 

Breeza

Breeza is a locality in New South Wales, Australia. It is about 43 kilometres south of Gunnedah, in the Liverpool Plains agricultural region. The area around Breeza in particular is called the “Breeza Plains”. The name “Breeza” may be derived from an Aboriginal word meaning “one hill”.

 

"The team in the bush," Breeza, September 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“The team in the bush,” Breeza, September 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"Breeza," 13th September, 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Breeza,” 13th September, 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"Wiseman's Ferry," 25 November, 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Wiseman’s Ferry,” 25 November, 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

 

Wisemans Ferry

Wisemans Ferry is a town in the state of New South Wales, Australia, located 75 kilometres north north-west of the Sydney central business district in the local government areas of Hornsby Shire, The Hills Shire, City of Hawkesbury and Central Coast Council. The town is a tourist spot with picnic and barbecue facilities. As well as a rich convict and colonial heritage in the area, the Dharug National Park and Yengo National Park are close by.

The town was originally called Lower Portland Headland, but the name was eventually changed to Wisemans Ferry, named after Solomon Wiseman, a former convict (1778-1838), who received a land grant in the area from Governor Macquarie in 1817. Wiseman established a ferry service on the Hawkesbury River in 1827 for the transport of produce and provisions to the convicts building the Great North Road and was known to many as King of the Hawkesbury.

Text from the Wikipedia website

 

"Moss Vale," 8/9 December, 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Moss Vale,” 8/9 December, 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

 

Moss Vale

Moss Vale is a town in the Southern Highlands of New South Wales, Australia, in the Wingecarribee Shire. At the 2016 census, it has a population of 8,579 and is sited on the Illawarra Highway, which connects to Wollongong and the Illawarra coast via Macquarie Pass.

 

"Frensham Pastoral Play," 8th December 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Frensham Pastoral Play,” 8th December 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

 

Frensham School

Frensham School is an independent non-denominational comprehensive single-sex early learning, primary, and secondary day and boarding school for girls, located at Mittagong, south of Sydney, in the Southern Highlands region of New South Wales, Australia.

 

"La Perouse (Historical Society Excursion)," 17 November, 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“La Perouse (Historical Society Excursion),” 17 November, 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

 

Captain J. H. Watson, Royal Historical Society

O.E. Friend was President of the Royal Historical Society. Faviell was evidently also a member and visited La Perouse on a RHS excursion, with O.E. Friend. Friend disappears from the album after this time. Did Friend and Faviell part ways?

Information from Douglas Stewart Fine Books

 

La Perouse

La Perouse is a suburb in south-eastern Sydney, in the state of New South Wales, Australia. The suburb of La Perouse is located about 14 kilometres southeast of the Sydney central business district, in the City of Randwick.

 

"La Perouse (Historical Society Excursion)," 17 November, 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“La Perouse (Historical Society Excursion),” 17 November, 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"John Dunn. Executed, 19.3.1866," 17 November, 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“John Dunn. Executed, 19.3.1866,” 17 November, 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

 

John Dunn

John Dunn (14 December 1846 – 19 March 1866) was an Australian bushranger. He was born at Murrumburrah near Yass in New South Wales. He was 19 years old when he was hanged in Darlinghurst Gaol. He was buried in the former Devonshire Street Cemetery in Sydney.

 

"Old Customs Watch Tower, La Perouse," 17 November, 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Old Customs Watch Tower, La Perouse,” 17 November, 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

 

Macquarie Watchtower

The Macquarie Watchtower is the earliest known surviving, sandstone tower building in Australia, the oldest surviving building on Botany Bay, and has long been recognised as a picturesque landmark on the headland, particularly popular for wedding photographs. The c. 1820 Macquarie Watchtower is thought to have been commissioned by Governor Macquarie. Not only is it the oldest surviving watchtower in Australia but it is the only known tower specifically constructed for colonial border protection and the prevention of smuggling.

 

"The old Illawarra Road," in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“The old Illawarra Road,” 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"Vera Capper and the children," in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Vera Capper and the children,” 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"South Australian Railways," in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“South Australian Railways,” 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

 

South Australian Railways

South Australian Railways (SAR) was the statutory corporation through which the Government of South Australia built and operated railways in South Australia from 1854 until March 1978, when its non-urban railways were incorporated into Australian National, and its Adelaide urban lines were transferred to the State Transport Authority.

 

"Terowie to Pt. Augusta, 120 ml," c. 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Terowie to Pt. Augusta, 120 ml.,” 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"S.A. Constable," 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“S.A. Constable,” 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"Trans-Australian Railway (Port August to Kalgoorlie, 1051 miles)," 1923 John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Trans-Australian Railway (Port August to Kalgoorlie, 1051 miles),” 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

 

Trans-Australian Railway

The Trans-Australian Railway crosses the Nullarbor Plain of Australia from Port Augusta in South Australia to Kalgoorlie in Western Australia. It includes a 478-kilometre (297 mi) stretch of dead-straight track, the world’s longest, between the 797 km (495 mi) post west of Ooldea and the 1,275 km (792 mi) post west of Loongana.

The line forms an important freight route between Western Australia and the eastern states. Currently two passenger services also use the line, the Indian Pacific for its entire length and The Ghan between Port Augusta and Tarcoola. Earlier passenger services on the route were known as the Great Western Express.

Text from the Wikipedia website

 

"Aboriginal Types, along the Trans-Australian Railway," 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Aboriginal Types, along the Trans-Australian Railway,” 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"At Ooldea, S.A." 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“At Ooldea, S.A.,” 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"At Barton, S.A.," 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“At Barton, S.A.,” 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"Ooldea," 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Ooldea,” 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

 

Ooldea

Ooldea is a tiny settlement in South Australia. It is on the eastern edge of the Nullarbor Plain, 863 km (536 mi) west of Port Augusta on the Trans-Australian Railway. Ooldea is 143 km (89 mi) from the bitumen Eyre Highway.

 

"At Ooldea," 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“At Ooldea,” 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"Australian Desert Blacks," 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Australian Desert Blacks,” 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"Untitled," 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Untitled,” 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"Kalgoorlie," 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Kalgoorlie,” 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

 

Kalgoorlie-Boulder

Kalgoorlie-Boulder, known colloquially as just Kalgoorlie, is a city in the Goldfields-Esperance region of Western Australia, located 595 km (370 mi) east-northeast of Perth at the end of the Great Eastern Highway. The city was founded in 1889 by the amalgamation of the towns of Kalgoorlie and Boulder, which developed in 1893 during the Coolgardie gold rush, on Western Australia’s “Golden Mile”. It is also the ultimate destination of the Goldfields Water Supply Scheme and the Golden Pipeline Heritage Trail.

Text from the Wikipedia website

 

"Where gold was first found, by Hannan. 15 Jan., 1893," 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Where gold was first found, by Hannan. 15 Jan., 1893,” 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"Boulder City," 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Boulder City,” 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

 

Boulder

Boulder is a suburb in the Western Australian Goldfields 595 kilometres (370 mi) east of Perth and bordering onto the town of Kalgoorlie in the Eastern Goldfields region.

 

"Perseverence Mine," 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Perseverence Mine,” 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

 

Perseverance Gold Mine, Golden Mile Mines, Kalgoorlie-Boulder, Kalgoorlie-Boulder Shire, Western Australia, Australia

The lease was spoken as the richest 24 acre block on the Golden Mile in 1901. Ten shafts were on the lease, but the two most important was Main Shaft (700feet 1901) in the centre of the block accessing the Perseverance Lode, and No6 Shaft (600 feet 1901) near the southern boundary on the Consols Lode. Measurements are in imperial in keeping with the historic references. Lake View Consols was to its north, South Kalgurli to its south, Associated to its east, and Great Boulder Proprietary to its west.

The general manager of the mine was Ralph Nicholls who arrived in July 1899, about three years after the mine opened. He was in for a torrid time later. A new mill was constructed shortly after to process the sulphide ore, while remaining oxidised ore was taken to Hannan’s Public Crushing Company, which the mine owned. All ore was processed at a new mill constructed on the lease in 1910.

Around 1900 a series of scandals hit the Golden Mile mines. From 1896-1900 they had mined incredibly rich ore loads, but as these became exhausted, lower (but still very profitable) gold grades became the norm. Several of the mines had over estimated the potential gold which could be extracted, leading to wild fluctuations in share prices. Employees of the companies were accused of what we would now call insider trading of shares they owned.

Around 1903, the Boulder Perseverance Mine was the latest to be caught in the scandal. The outcry finally forced the Government’s hand which launched a Royal Commission. Delivering its report in 1904, it was scathing of the company.

Text from “Perseverance Gold Mine (Boulder Perseverance Mine),” on the mindat.org website [Online] Cited 29/10/2019

 

"Boulder Mine," 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Boulder Mine,” 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

 

Great Boulder Gold Mine, Golden Mile Mines, Kalgoorlie-Boulder, Kalgoorlie-Boulder Shire, Western Australia, Australia

The Great Boulder Mine was the first large scale mine on the Golden Mile, and considered the largest and richest on the field.

The town of Boulder (as in Kalgoorlie-Boulder) was named after the mine.

Visitors to the underground workings in the early part of the Twentieth Century wrote in amazement at seeing ore shoots loaded with fine grained gold. One writer wrote the battery was barely keeping up with gold being processed from the access tunnels, let alone the ore shoots. In 1929 the mine had extracted the most gold of any location in Western Australia. In 1940 it was noted as the second largest producer to that point in Australia.

The discovery of gold at Hannans, just north of the Golden Mile, led to the greatest gold-rush in Australia’s history. After only a couple of years of frenzied activity, by thousands of individual miners, the alluvial gold had been exhausted.

British speculators successfully floated the Great Boulder and Lakeview Mines in 1895 to access the rich underground reefs. The Great Boulder Gold Mines Limited was formed at this time, until it ceased as a company in 1972. …

Between 1895-1931 over four million tonnes of ore was processed for almost the same amount in ounces of gold. Dividends amounted to 3524% of the initial capital invested. The company had produced 15 million pounds of gold monetary wise, and 7.5 million pounds in profits.

Text from “Great Boulder Gold Mine,” on the mindat.org website [Online] Cited 29/10/2019

 

"Fremantle," 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Fremantle,” 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"Interior Courtyard, Old Gaol," Fremantle, 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Interior Courtyard, Old Gaol,” Fremantle, 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

 

Fremantle Prison

Fremantle Prison, sometimes referred to as Fremantle Gaol or Fremantle Jail, is a former Australian prison and World Heritage Site in Fremantle, Western Australia. The six-hectare (15-acre) site includes the prison cellblocks, gatehouse, perimeter walls, cottages, and tunnels. It was initially used for convicts transported from Britain, but was transferred to the colonial government in 1886 for use for locally-sentenced prisoners. Royal Commissions were held in 1898 and 1911, and instigated some reform to the prison system, but significant changes did not begin until the 1960s.

Text from the Wikipedia website

 

"Geraldton, W.A.," in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Geraldton, W.A.,” in John “Jack” Riverstone Faviell 1922-1933 photo album

 

 

Geraldton

Geraldton is a coastal city in the Mid West region of the Australian state of Western Australia, 424 kilometres (263 mi) north of the state capital, Perth.

 

"Oldest Inhabitant (Henry Desmond.)," Geraldton, W.A. 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Oldest Inhabitant (Henry Desmond.),” Geraldton, W.A. 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"Shark's Bay, W.A.," 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Shark’s Bay, W.A.,” 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

 

Pearling interests? Investments? in Western Australia (Information from Douglas Stewart Fine Books)

 

Shark Bay

Shark Bay is a World Heritage Site in the Gascoyne region of Western Australia. The 23,000-square-kilometre (8,900 sq mi) area is located approximately 800 kilometres (500 mi) north of Perth, on the westernmost point of the Australian continent.

 

"The only street (Entirely paved of Mother of Pearl)," 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“The only street (Entirely paved of Mother of Pearl),” 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"Shark's Bay," 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Shark’s Bay,” 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"White's Cemetery," 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“White’s Cemetery,” Shark’s Bay, 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"Grave in Nigger's Cemetery," Shark's Bay, 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Grave in Nigger’s Cemetery,” Shark’s Bay, 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"Shark's Bay," 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Shark’s Bay,” 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

 

Gin

Gin is the term for an Aboriginal woman. It is racist, the derogatory saying most people would be familiar with is “looks like a gin’s camp”, meaning they think the place is dirty/untidy.

 

"Shark's Bay," 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“Shark’s Bay,” 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

"All Mother-of-Pearl," 1923 in John "Jack" Riverstone Faviell 1922-1933 photo album

 

“All Mother-of-Pearl,” 1923 in John “Jack” Riverstone Faviell 1922-1933 photo album

 

 

Douglas Stewart Fine Books
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Australia
Phone: +61 3 9066 0200
info@douglasstewart.com.au

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29
May
21

Photographs: ‘The “Green Ticket” roundup – first roundup of Jews in France during World War II’, Memorial de la Shoah, Paris

May 2021

 

Harry Croner (German, 1903-1992) 'Untitled [Japy Gymnasium: the arrested men are parked in the stands upstairs]' May 14, 1941

 

Harry Croner (German, 1903-1992)
Untitled [Japy Gymnasium: the arrested men are parked in the stands upstairs]
May 14, 1941

 

 

Japy Gymnasium: the arrested men are parked in the stands upstairs. The centre of the gymnasium is emptied. Only police officers circulate. The first stage of the roundup has already taken place: the summoned Jews have entered the mousetrap. We see for the first time the interior of Japy and the hundreds of Jewish men crowded together.

 

 

Death, duplicity and dishonour

Recently discovered at a Normandy flea market, these photographs by German photographer Harry Croner are taken from 5 contact sheets of 35mm negatives (probably taken on a Leica or similar). These documentary photographs are efficient, well seen, silent and in light of subsequent events… eloquent and emotional. They depict the first roundup of French Jews in Paris on May 14, 1941 at the Japy Gymnasium and a day later at the internment camps into which they were placed.

Lured to several places across the city in a pre-planned trap, Jews were “summoned to town halls across the city for what was billed as routine registration. Instead, the 3,747 men who showed up were arrested by the French authorities… As far as the Japy gymnasium is concerned, 1,061 Jews are summoned at 7.00 am; 800 respond to the summons. When they arrive, they are checked and detained inside the gymnasium. The person accompanying them is asked to go to their home and return with a suitcase containing their personal belongings.”

Today, we know that these images are probably the last photographs of these men alive that were ever taken. They were held in the internment camps for a year before being deported to the Auschwitz-Birkenau death camp. A year later during the “during the Vel’ d’Hiv’ Roundup of July 16 and 17, 1942, it is the families’ turn to be arrested and detained in these same camps before their deportation to the Auschwitz-Birkenau camp”

In collusion with and at the behest of their Nazi overlords, this was not the French government’s finest hour.

The roundup – overseen by the Germans, supervised by government officials (through the General Commissariat for Jewish Affairs, created by the Vichy State in March 1941 and run by fascist and anti-Semite Louis Darquier de Pellepoix, Commissioner-General for Jewish Affairs), enforced by the French police – was undertaken with alacrity, complicity and a ruthless efficiency.

.
The ironic aspect of these photographs is that Harry Croner, the German Army photographer, was soon after kicked out of the German Army after it was discovered that his father was Jewish. “In 1940 Croner was drafted and came to the Western Front as a war correspondent, but was then dismissed as “unfit for military service” because of his Jewish father. Back in Berlin, he worked in his shop for a while. In 1944, Croner was sent to a labour camp and in March 1945 was taken prisoner by the Americans, from which he was not released until April 1946.” So Croner ended up in the very place, a concentration camp, which he depicted so efficiently a few years earlier.

The head of the museum’s photography department Lior Lalieu-Smadja has wondered whether this knowledge of his Jewish father made Croner capture these Jewish men in a more humane light than other propaganda photographs of the same event. In an emotional sense I would say “yes” to this question, but in a technical sense, I do not think so. I don’t think the knowledge of his heritage would have influenced the aesthetic and pictorial construction of the images. In the photographs we can observe a wonderful balance within the picture frame – the use of strong intersectional points, the use of diagonals (the angle of the buses in Arrested men leave the gymnasium by bus for Austerlitz station), the use of near to far, the massing of bodies in crowd scenes, the use of flash, evidence of the decisive moment (Arrested men leave the gymnasium by bus for Austerlitz station) as the gendarme and the man turn to look at the camera coupled with the attitude of the man’s leg as he kisses his partner goodbye, and the use of the punctum in the image… the couple sitting on the stairs at top right in Inside the Japy Gymnasium, Paris XI, place of arrest of foreign Jews on May 14, 1941; the boy with his hands in his pockets in Japy gymnasium: some men still arrive carrying their summons; and the women staring out of the window of the Boutique à Louer at far right in Arrested men leave the gymnasium by bus for Austerlitz station, reminiscent of the ghostly faces of men pictured by Eugène Atget staring out of the windows of Parisian bars and cafés.

But above all these are now, today, emotional photographs, ultimately a memorialisation of the soon to be dead, photographs of people that we know are soon to be dead. They are gut wrenching in their simplicity, heart wrenching in their emotional power – the anguish of the women, that last kiss, the stoicism and calm of the men – as we trace the journey of the condemned. We can literally follow the route of one unknown man (see the first three images below) to his known fate.

A final thought enters my head… would Croner have still been in the German Army for the rest of the war, part of the Nazi war machine, if it was not discovered that his father was Jewish? Would he have hidden that fact in order to survive while at the same time serving the fascists even as they killed his own kind? The paradox of this seemingly absurd and contradictory proposition, might have been undeniable.

Dr Marcus Bunyan

.
All photographs digitally cleaned and balanced by Dr Marcus Bunyan. Many thankx to the Memorial de la Shoah for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

5 contact sheets were recently discovered by the Shoah Memorial, retracing photo after photo of the fate of the Jews summoned by the “green ticket round-up”, the context of the raid, the German and French sponsors and especially the families excluded until now from the known propaganda photos of this roundup. While the press echoed it at the time, the official images were intended to be dehumanising and humiliating for these foreign Jews. The emotion and the dismay of these families, shown in these photos, are a rare illustration of the Shoah in France.

 

 

“Pure evil operates tidily, silently and seems so stylish.”

.
Jane Silberman

 

“The French gendarmes had licence to slap, beat, kick, whip, or insult any prisoner who broke the [Drancy] camp rules, but since these rules were never published it meant that they could ill-treat whomever they wanted whenever they wanted – and, with one or two honourable exceptions, this is just what they did. In 1942, when there were female and male prisoners in the camp, the French commandant of the camp, Marcelin Vieux, was seen whipping a woman for being too slow to move away from the middle of the yard. Another inmate remembered Vieux punching inmates and beating them with his truncheon. He also vividly recalled his two violently anti-Semitic French subordinates, who never went on patrol without their truncheons at the ready. Dr. Falkenstein, another prisoner, saw one of these men hit a four-year-old girl so hard that he knocked her unconscious.”

.
David Drake. ‘Paris at War: 1939-1944’. Harvard University Press, 2015, p. 209.

 

 

Harry Croner (German, 1903-1992) 'Untitled [Japy Gymnasium: the arrested men peer outside the upper windows of the gymnasium]' May 14, 1941 (detail)

 

Harry Croner (German, 1903-1992)
Untitled [Japy Gymnasium: the arrested men peer outside the upper windows of the gymnasium] (detail)
May 14, 1941

 

Harry Croner (German, 1903-1992) 'Untitled [Men boarding a train at Austerlitz station for the Loiret camps]' May 14, 1941 (detail)

 

Harry Croner (German, 1903-1992)
Untitled [Men boarding a train at Austerlitz station for the Loiret camps] (detail)
May 14, 1941

 

Harry Croner (German, 1903-1992) 'Untitled [Theodor Dannecker oversees the transfer of the rounded up Jews to the Austerlitz station]' May 14, 1941 (detail)

 

Harry Croner (German, 1903-1992)
Untitled [Theodor Dannecker oversees the transfer of the rounded up Jews to the Austerlitz station] (detail)
May 14, 1941

 

 

Never-before-seen photos going on display in Paris this week shine a light on a dark moment in France’s role in rounding up Jews to send to Nazi death camps during World War II. The “green ticket round-up” was first carried out in Paris on May 14 and 15, 1941, with more than 6,000 foreign-born Jews summoned to town halls across the city for what was billed as routine registration. Instead, the 3,747 men who showed up were arrested by the French authorities and shipped to camps south of Paris. Thousands more were rounded up in the following months.

They were held there for a year before being deported to the Auschwitz death camp.

By chance, a stash of 98 photos from the first green ticket round-up, taken by a German soldier on propaganda duty, were recently discovered by the Memorial de la Shoah, the Holocaust Museum of Paris.

Most were taken at the Japy sports hall in the city’s 11th arrondissement, where close to 1,000 were arrested, and where the photos are being put on display from Friday, exactly 80 years on. One shows SS officer Theodor Dannecker, who was in charge of implementing the “Final Solution” in France, alongside French police commissioner Francois Bard in the hall. Others show couples embracing outside, unaware that they would never see each other again.

“These photos are important because we see the opposite of Nazi propaganda that tried to depict these people as sub-human ‘parasites’,” said Lior Lalieu-Smadja, who heads the museum’s photography department. Was that a deliberate move by the photographer? “One has to wonder,” said Lalieu-Smadja, not least because the photographer was identified as Harry Croner, who was soon after kicked out of the German army after it was discovered that his father was Jewish.

The photos were bought years ago by an antiques dealer in Normandy who had found them at a flea market. He pulled them out of storage recently and contacted the museum, who informed him they were the only known pictures from the infamous round-up. Little else is known about the photos’ journey.

“The only thing we know for certain is that once they were taken, they were sent directly to Berlin. The photographer himself could not keep them, which makes this discovery even more incredible,” said Lalieu-Smadja.

Press release from the Memorial de la Shoah website

 

Harry Croner (German, 1903-1992) 'Untitled [Inside the Japy Gymnasium, Paris XI, place of arrest of foreign Jews on May 14, 1941]' May 14, 1941

 

Harry Croner (German, 1903-1992)
Untitled [Inside the Japy Gymnasium, Paris XI, place of arrest of foreign Jews on May 14, 1941]
May 14, 1941

 

 

A German delegation with SS Theodor Dannecker, responsible for Jewish affairs in France, and French led by the prefect of police François Bard, comes to inspect the operation.

 

Harry Croner (German, 1903-1992) 'Untitled [Japy gymnasium: relatives, often wives and their children, are asked to separate from the summoned men]' May 14, 1941

 

Harry Croner (German, 1903-1992)
Untitled [Japy gymnasium: relatives, often wives and their children, are asked to separate from the summoned men]
May 14, 1941

 

 

Japy gymnasium: relatives, often wives and their children, are asked to separate from the summoned men. They are asked to come back with some things for 2 to 3 days. The reasons given are the same: “examination of the situation”.

 

Harry Croner (German, 1903-1992) 'Untitled [Japy gymnasium: relatives, often wives and their children, are asked to separate from the summoned men]' May 14, 1941 (detail)

 

Harry Croner (German, 1903-1992)
Untitled [Japy gymnasium: relatives, often wives and their children, are asked to separate from the summoned men] (detail)
May 14, 1941

 

Harry Croner (German, 1903-1992) 'Untitled [Japy gymnasium: some men still arrive carrying their summons]' May 14, 1941

 

Harry Croner (German, 1903-1992)
Untitled [Japy gymnasium: some men still arrive carrying their summons]
May 14, 1941

 

 

Japy gymnasium: some men still arrive carrying their summons and are received by the police who guard the entrance to the gymnasium. Women with children arrive with suitcases and packages. The following scenes show them standing in line and waiting their turn to hand over the suitcases.

 

Harry Croner (German, 1903-1992) 'Untitled [Japy gymnasium: some men still arrive carrying their summons]' May 14, 1941 (detail)

 

Harry Croner (German, 1903-1992)
Untitled [Japy gymnasium: some men still arrive carrying their summons] (detail)
May 14, 1941

 

Harry Croner (German, 1903-1992) 'Untitled [Japy gymnasium: families waiting to hand over the suitcases to their loved ones]' May 14, 1941

 

Harry Croner (German, 1903-1992)
Untitled [Japy gymnasium: families waiting to hand over the suitcases to their loved ones]
May 14, 1941

 

 

Green Ticket roundup: The Shoah Memorial discovers a previously unpublished photo-reportage

The Shoah Memorial announces the recent acquisition of five contact sheets, totalling 98 photographs. This as yet unreleased photo-reportage accurately details every step of the first mass arrest of Jews in Paris by the French police forces on the orders of the German authorities 80 years ago, on May 14, 1941.

 

The discovery in detail

The Shoah Memorial has purchased five contact sheets – documenting the location of the roundup known as the “Green Ticket” on May 14, 1941 – from two specialised collectors. The contact sheets acquired by the Memorial, numbered 182 to 187 (contact sheet 185 is missing), represent 98 photographs. The photographer’s five rolls of film provide a reality that differs greatly from the photos released by the collaborationist press alone. For the first time, the location of the arrests as well as the protagonists of the roundup are captured from multiple angles. Dehumanised until then by propaganda and even completely erased from reportages, the families of the detainees are shown during their emotional farewells, before the very eyes of onlookers and neighbours. The most important element of this discovery, which is indispensable to history and to the duty of remembrance, allows us to follow the trajectory of these rounded-up men, from their arrival at the Japy gymnasium – the site of the trap, in Paris – up to their internment in the camps of the Loiret.

 

What the photographs reveal

The 98 photographs printed on contact sheets give a chronological, step-by-step run-down of the roundup.

  1. The first images show the protagonists of the roundup engaged in a discussion inside the Japy gymnasium. The two German and French sponsors are perfectly recognisable:
    – Théodor Dannecker (1913-1945), who represents Eichmann in France and heads Section IV J of the Gestapo, in charge of Jewish affairs
    – Admiral François Bard (1889-1944), the recently appointed Prefect of the Paris Police
  2. The Japy photo series: the arrested men are confined to the upper floor bleachers. The first stage of the roundup has already taken place: the Jews who have been summoned have entered the trap. These as yet unreleased photos show the interior of Japy and the hundreds of Jewish men crowded together, as well as those accompanying them, often their wives
  3. The exterior of Japy: men are still arriving carrying their summons and are received by the police officers at the entrance to the gymnasium. They bid farewell to their families while a line of women and children is formed. They wait to hand over clothes to their loved ones
  4. The neighbourhood is closed off. Neighbours are at their windows. Families are pushed to the back of the street and wait to hear from their loved one. They have anguished faces. The police blocks the street, then evacuates it
  5. Men of all ages who have been arrested come out one by one, watched over by police officers and carrying their belongings, board buses parked just outside the gymnasium, rue Japy
  6. The arrival at the Paris-Austerlitz railway station through the rear entrance to the station
  7. At Pithiviers, a previously unpublished view of the black hangar – of which there were no images until now – during the internment of the Jews, which will subsequently serve as the registration centre for the Vel’ d’Hiv’ detainees and for deportations

 

The “Green Ticket” roundup: first roundup of Jews in France during World War II

The “Green Ticket” Roundup is the first mass arrest of Jews in Paris, and it takes place on Wednesday May 14, 1941. These unsuspecting men, mainly foreigners from Eastern Europe are summoned on Wednesday morning by the Police Prefecture with a “green ticket” for a “status review” and asked to be accompanied by a relative or friend.

The men, most of them family men who were army volunteers at the beginning of the war and therefore fought for France, expect a verification of their status. Fleeing antisemitism and persecutions in their countries of origin – Poland, USSR, Romania, Czechoslovakia – and believing that they will find refuge in the land of freedom, they are arrested chiefly because they are Jewish and foreigners.

Several assembly points are indicated on the “green tickets”: the Caserne Napoléon (in the 4th arrondissement), the Caserne des Minimes (in the 3rd arrondissement), 52 rue Edouard Pailleron (in the 19th arrondissement), 33 rue de la Grange-aux-belles (in the 10th arrondissement) and the Japy gymnasium (in the 11th arrondissement) as well as other centres in the arrondissement police stations and Paris suburbs.

As far as the Japy gymnasium is concerned, 1,061 Jews are summoned at 7.00 am; 800 respond to the summons. When they arrive, they are checked and detained inside the gymnasium. The person accompanying them is asked to go to their home and return with a suitcase containing their personal belongings.

After that, the 3,700 arrested Jews are taken to the Paris-Austerlitz railway station in special buses, under the supervision of French police officers, and interned in the Pithiviers and Beaune-la-Rolande camps (in the Loiret). They spend more than a year there before being deported directly to the Auschwitz-Birkenau camp by Convoy #4 on June 25, 1942, #5 on June 28, 1942 and #6 on July 17, 1942. During the Vel’ d’Hiv’ Roundup of July 16 and 17, 1942, it is the families’ turn to be arrested and detained in these same camps before their deportation to the Auschwitz-Birkenau camp between July and September 1942.

 

Propoganda photographs

As of the Armistice on June 25, 1940, the press is muzzled in France by the German occupier, and press photography is placed under censorship control. The Propaganda Kompanie (PK), set up within the Wehrmacht, is made up of photographers, cameramen, radio and press reporters, who are equipped with high-performance photographic material. This unit, under the direct control of Germany’s Minister of Propaganda, Joseph Goebbels, is in charge of documenting the historic dimension of the military effort and producing propaganda reports for foreign countries, for the press and for domestic agencies.

 

The Shoah Memorial

The Shoah Memorial, Europe’s largest archives center dedicated to the history of the Shoah, is a place of remembrance, of education and of transmission on the history of the genocide of the Jews during World War II in Europe. Today it incorporates five sites: the Shoah Memorial in Paris and the Shoah Memorial in Drancy, the Lieu de mémoire du Chambon-sur-Lignon (Haute-Loire), the CERCIL Musée – Mémorial des Enfants du Vel d’Hiv (Loiret), and the Centre culturel Jules Isaac de Clermont-Ferrand (Puy-de-Dôme).

Opened to the public on January 27, 2005 in the historic Marais district, the Paris site provides multiple spaces and an awareness program catering to all audiences: a permanent exhibition on the Holocaust and the history of the Jews in France during World War II; a temporary exhibition space; an auditorium programming screenings and symposia; The Wall of Names on which the names of 76,000 Jewish men, women and children deported from France between 1942 and 1944 as part of the “Final Solution” are engraved; the documentation center (50 million archive materials and 1,500 sound archives, 350,000 photographs, 3,900 drawings and objects, 12,000 posters and postcards, 30,000 cinema documents, 14,500 movie titles including 2,500 testimonials, and 80,000 books) and its reading room; educational spaces where children’s workshops and activities for classrooms and teachers take place; a specialty bookstore.

Better understanding the history of the Holocaust is also aimed at preventing the return of hatred and all forms of intolerance today. The Memorial has also been working for more than a decade on education programs focusing on other genocides of the 20th century, such as the genocide of the Tutsis in Rwanda, or the Armenian genocide.

Press release from the Shoah Memorial

 

Harry Croner (German, 1903-1992) 'Untitled [Japy Gymnasium: the arrested men peer outside the upper windows of the gymnasium]' May 14, 1941

 

Harry Croner (German, 1903-1992)
Untitled [Japy Gymnasium: men arrested awaiting their fate in the mousetrap that the Japy gymnasium has become]
May 14, 1941

 

Harry Croner (German, 1903-1992) 'Untitled [Japy Gymnasium: men arrested awaiting their fate in the mousetrap that the Japy gymnasium has become]' May 14, 1941 (detail)

 

Harry Croner (German, 1903-1992)
Untitled [Japy Gymnasium: men arrested awaiting their fate in the mousetrap that the Japy gymnasium has become] (detail)
May 14, 1941

 

Harry Croner (German, 1903-1992) 'Untitled [The inhabitants of the district discover the fate of their now captive neighbours]' May 14, 1941

 

Harry Croner (German, 1903-1992)
Untitled [The inhabitants of the district discover the fate of their now captive neighbours]
May 14, 1941

 

 

The inhabitants of the district discover the fate of their now captive neighbours and the unusual emotion that reigns around the Japy gymnasium.

 

Harry Croner (German, 1903-1992) 'Untitled [The inhabitants of the district discover the fate of their now captive neighbours]' May 14, 1941 (detail)

 

Harry Croner (German, 1903-1992)
Untitled [The inhabitants of the district discover the fate of their now captive neighbours] (detail)
May 14, 1941

 

 

Harry Croner (German, 1903-1992)

West Berlin stage: Harry Croner’s photographs from four decades

For 40 years, press photographer Harry Croner (German, 1903-1992) accompanied life in Halbstadt with his camera: the reconstruction and creation of new landmarks, large and small events, celebrities from culture and politics, especially what happened on the city’s stages. His acquaintance with many artists living and visiting Berlin made it possible for him to take impressive snapshots and portraits. Croner’s photographic work, which is being presented for the first time with this selection, is the chronicle of an era and at the same time an homage to a small island of world politics, which was above all one thing, the big stage for culture.

 

Late career as a photographer

Harry Croner was born on March 16, 1903 in Berlin. From 1920 to 1922 he completed a commercial apprenticeship, worked for various automobile companies as an advertising manager and finally as a travel representative for Bayerische Motorenwerke. When he set up his own photo business in Berlin-Wilmersdorf in 1933, he probably already had a career as a photographer in mind. In addition to selling cameras and accessories, he also took portraits. In 1940 Croner was drafted and came to the Western Front as a war correspondent, but was then dismissed as “unfit for military service” because of his Jewish father. Back in Berlin, he worked in his shop for a while. In 1944, Croner was sent to a labour camp and in March 1945 was taken prisoner by the Americans, from which he was not released until April 1946.

 

The estate

With the support of the Prussian Sea Trade Foundation, the extensive archive (around 100,000 black and white photographs and over 1.3 million negatives) was acquired in February 1989. A representative part of the estate was digitised in 2013, supported by the Digitalization Service of the State of Berlin. Around 8,000 photos are already accessible online.

Text from the Stiftung Stadtmuseum Berlin website [Online] Cited 20/05/2021 translated from the German by Google Translate

 

Harry Croner (German, 1903-1992) 'Untitled [Arrested men leave the gymnasium by bus for Austerlitz station]' May 14, 1941

 

Harry Croner (German, 1903-1992)
Untitled [Arrested men leave the gymnasium by bus for Austerlitz station]
May 14, 1941

 

 

After a few hours, the men left the scene under police custody and had to board requisitioned buses for transfer to the Austerlitz station.

 

Harry Croner (German, 1903-1992) 'Untitled [Arrested men leave the gymnasium by bus for Austerlitz station]' May 14, 1941

 

Harry Croner (German, 1903-1992)
Untitled [Arrested men leave the gymnasium by bus for Austerlitz station]
May 14, 1941

 

Harry Croner (German, 1903-1992) 'Untitled [Arrested men leave the gymnasium by bus for Austerlitz station]' May 14, 1941 (detail)

 

Harry Croner (German, 1903-1992)
Untitled [Arrested men leave the gymnasium by bus for Austerlitz station] (detail)
May 14, 1941

 

Harry Croner (German, 1903-1992) 'Untitled [Arrested men leave the gymnasium by bus for Austerlitz station]' May 14, 1941

 

Harry Croner (German, 1903-1992)
Untitled [Arrested men leave the gymnasium by bus for Austerlitz station]
May 14, 1941

 

Harry Croner (German, 1903-1992) 'Untitled [Arrested men leave the gymnasium by bus for Austerlitz station]' May 14, 1941 (detail)

 

Harry Croner (German, 1903-1992)
Untitled [Arrested men leave the gymnasium by bus for Austerlitz station] (detail)
May 14, 1941

 

Harry Croner (German, 1903-1992) 'Untitled [Men boarding a train at Austerlitz station for the Loiret camps]' May 14, 1941

 

Harry Croner (German, 1903-1992)
Untitled [Men boarding a train at Austerlitz station for the Loiret camps]
May 14, 1941

 

Harry Croner (German, 1903-1992) 'Untitled [Men boarding a train at Austerlitz station for the Loiret camps]' May 14, 1941 (detail)

 

Harry Croner (German, 1903-1992)
Untitled [Men boarding a train at Austerlitz station for the Loiret camps] (detail)
May 14, 1941

 

 

The 3,710 men arrested in Paris at the various summons were transferred to the Austerlitz station to be interned in the Pithiviers and Beaune-la-Rolande camps. Four convoys of passenger wagons are formed, two convoys with 2140 men to the camp of Beaune-la-Rolande and two convoys with 1570 men to that of Pithiviers. These convoys arrive on the afternoon of May 14.

 

Harry Croner (German, 1903-1992) 'Untitled [Theodor Dannecker oversees the transfer of the rounded up Jews to the Austerlitz station]' May 14, 1941

 

Harry Croner (German, 1903-1992)
Untitled [Theodor Dannecker oversees the transfer of the rounded up Jews to the Austerlitz station]
May 14, 1941

 

 

Theodor Dannecker oversees the transfer of the rounded up Jews to the Austerlitz station. His presence in the photos in this roundup shows that he followed and supervised the entire roundup.

 

 

Theodor Dannecker (German, 1913-1945)

Theodor Dannecker (German, 27 March 1913 – 10 December 1945) was an SS-captain (Hauptsturmführer), and an associate of Adolf Eichmann. As a specialist on Nazi anti-Jewish policies (Judenberater), he was one of those who orchestrated the Final Solution in several countries during the World War II genocide of European Jews in what became known as the Holocaust … In December 1945, Dannecker was arrested by the United States Army, and, on 10 December, he committed suicide in Bad Tölz. …

From September 1940 until July 1942, Dannecker was leader of the Judenreferat at the SD office in Paris, where he ordered and oversaw round ups by French Police. More than 13,000 Jews were deported to Auschwitz concentration camp where most died in the Final Solution. …

Dannecker developed under Eichmann into one of the SS’s most ruthless and experienced experts on the “Jewish Question”, and his involvement in the genocide of European Jewry was one of primary responsibility. A passage from a 1942 report by Dannecker illustrates how the “Jewish Question” was handled in France:

“Subject: Points for the discussion with the French State Secretary for Police, Bousquet… The recent operation for arresting stateless Jews in Paris has yielded only about 8,000 adults and about 4,000 children. But trains for the deportation of 40,000 Jews, for the moment, have been put in readiness by the Reich Ministry of Transport. Since the deportation of the children is not possible for the time being, the number of Jews ready for removal is quite insufficient. A further Jewish operation must therefore be started immediately. For this purpose Jews of Belgian and Dutch nationality may be taken into consideration, in addition to the former German, Austrian, Czech, Polish and Russian Jews who have so far been considered as being stateless. It must be expected, however, that this category will not yield sufficient numbers, and thus the French have no choice but to include those Jews who were naturalised in France after 1927, or even after 1919.”1

Text from the Wikipedia website

  1. “Eichmann trial – The District Court Sessions”. Nizkor Project. 9 May 1961. Retrieved 23 December 2013

 

Harry Croner (German, 1903-1992) 'Untitled [Theodor Dannecker oversees the transfer of the rounded up Jews to the Austerlitz station]' May 14, 1941 (detail)

 

Harry Croner (German, 1903-1992)
Untitled [Theodor Dannecker oversees the transfer of the rounded up Jews to the Austerlitz station] (detail)
May 14, 1941

 

Harry Croner (German, 1903-1992) 'Untitled [Theodor Dannecker oversees the transfer of the rounded up Jews to the Austerlitz station]' May 14, 1941 (detail)

 

Harry Croner (German, 1903-1992)
Untitled [Theodor Dannecker oversees the transfer of the rounded up Jews to the Austerlitz station] (detail)
May 14, 1941

 

Harry Croner (German, 1903-1992) 'Untitled [The photos were taken the day after the raid at the Pithiviers and Beaune-la Rolande camps]' May 15, 1941

 

Harry Croner (German, 1903-1992)
Untitled [The photos were taken the day after the raid at the Pithiviers and Beaune-la Rolande camps]
May 15, 1941

 

 

The photos were taken the day after the raid at the Pithiviers and Beaune-la Rolande camps. The men had to settle in cold and unsanitary barracks under construction. The straw that will serve as mattresses in the bedsteads is still outside the barracks.

 

Harry Croner (German, 1903-1992) 'Untitled [The day after the raid, the men arrested at the Pithiviers camp]' May 15, 1941

 

Harry Croner (German, 1903-1992)
Untitled [The day after the raid, the men arrested at the Pithiviers camp]
May 15, 1941

 

Harry Croner (German, 1903-1992) 'Untitled [The day after the raid, the men arrested at the Pithiviers camp]' May 15, 1941 (detail)

 

Harry Croner (German, 1903-1992)
Untitled [The day after the raid, the men arrested at the Pithiviers camp] (detail)
May 15, 1941

 

Harry Croner (German, 1903-1992) 'Untitled [Green Ticket Roundup, the next day at the Pithiviers camp. The black hut can be seen where the Vel d'Hiv raids will be recorded in 1942]' May 15, 1941

 

Harry Croner (German, 1903-1992)
Untitled [Green Ticket Roundup, the next day at the Pithiviers camp. The black hut can be seen where the Vel d’Hiv raids will be recorded in 1942]
May 15, 1941

 

Harry Croner (German, 1903-1992) 'Untitled [The day after the roundup of the Billet Vert, a French gendarme posted on a watchtower in the Beaune-la-Rolande camp]' May 15, 1941

 

Harry Croner (German, 1903-1992)
Untitled [The day after the roundup of the Billet Vert, a French gendarme posted on a watchtower in the Beaune-la-Rolande camp]
May 15, 1941

 

 

The gendarme to the left of the photo, posted in a watchtower, monitoring the Beaune-la-Rolande camp, is the emblematic photo from the film Nuit et Brouillard, censored when it was released in 1955.

 

 

Nuit Et Brouillard
Alain Resnais
1955

 

 

Memorial de la Shoah
17, rue Geoffroy l’Asnier
75004 Paris
Phone: + 33 (0)1 42 77 44 72

Opening hours:
Sunday – Friday 10am – 6pm

Memorial de la Shoah website

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26
Feb
21

Marcus Bunyan black and white archive: ‘Orphans and small groups’ 1994-96 Part 1

February 2021

 

Marcus Bunyan. 'Bamboo' 1994-1996

 

Marcus Bunyan (Australian, b. 1958)
Tall Bamboo
1994-1996
Gelatin silver print

 

 

I am scanning my negatives made during the years 1991-1997 to preserve them in the form of an online archive as a process of active memory, so that the images are not lost forever. These photographs were images of my life and imagination at the time of their making, the ideas I was thinking about and the people and things that surrounded me.

All images © Marcus Bunyan. Please click the photographs for a larger version of the image. Please remember these are just straight scans of the prints, all full frame, no cropping !

Marcus

Photographs are available from this series for purchase. As a guide, a vintage 8″ x 10″ silver gelatin print costs $700 plus tracked and insured shipping. For more information please see my store web page.

 

 

Marcus Bunyan. 'Baby, Oslo' 1994-1996

 

Marcus Bunyan (Australian, b. 1958)
Baby, Oslo
1994-1996
Gelatin silver print

 

Marcus Bunyan. 'Baby, Oslo' 1994-1996

 

Marcus Bunyan (Australian, b. 1958)
Baby, Oslo
1994-1996
Gelatin silver print

 

Marcus Bunyan. 'Baby, Oslo' 1994-1996

 

Marcus Bunyan (Australian, b. 1958)
Baby, Oslo
1994-1996
Gelatin silver print

 

Marcus Bunyan. 'Baby, Oslo' 1994-1996

 

Marcus Bunyan (Australian, b. 1958)
Baby, Oslo
1994-1996
Gelatin silver print

 

Marcus Bunyan. 'Barrows' 1994-1996

 

Marcus Bunyan (Australian, b. 1958)
Barrows
1994-1996
Gelatin silver print

 

Marcus Bunyan. 'Barrows' 1994-1996

 

Marcus Bunyan (Australian, b. 1958)
Barrows
1994-1996
Gelatin silver print

 

Marcus Bunyan. 'Bellows' 1994-1996

 

Marcus Bunyan (Australian, b. 1958)
Bellows
1994-1996
Gelatin silver print

 

Marcus Bunyan. 'Bonsai' 1994-1996

 

Marcus Bunyan (Australian, b. 1958)
Bonsai
1994-96
Gelatin silver print

 

Marcus Bunyan. 'Bricks and cups' 1994-1996

 

Marcus Bunyan (Australian, b. 1958)
Bricks and cups
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Cabbage' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Cabbage
1994-96
Gelatin silver print

 

 

Children and flowers

 

Marcus Bunyan (Australian, b. 1958) 'Children and flowers I' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Children and flowers I
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Children and flowers II' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Children and flowers II
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Children and flowers III' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Children and flowers III
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Children and flowers IIII' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Children and flowers IIII
1994-96
Gelatin silver print

 

Corrugations

 

Marcus Bunyan (Australian, b. 1958) 'Corrugations I' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Corrugations I
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Corrugations II' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Corrugations II
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Corrugations III' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Corrugations III
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Corrugations IIII' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Corrugations IIII
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Crazy paving' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Crazy paving
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Marguerite Daisy I' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Marguerite Daisy I
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Marguerite Daisy II' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Marguerite Daisy II
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Doll face I' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Doll face I
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Doll face II' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Doll face II
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Drainpipe I' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Drainpipe I
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Drainpipe II' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Drainpipe II
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Face I (William Klein)' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Face I (William Klein)
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Face II (William Klein)' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Face II (William Klein)
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Gate I' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Gate I
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Gate II' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Gate II
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Chalice I' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Chalice I
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Chalice II' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Chalice II
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Chalice III' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Chalice III
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Cracked' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Cracked
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Gumnuts' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Gumnuts
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Hat I' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Hat I
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Hat II' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Hat II
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Helicopter, flag pole and sun' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Helicopter, flag pole and sun
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'If?' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
If?
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Jubilee Street, Melbourne' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Jubilee Street, Melbourne
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Kids horse I' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Kids horse I
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Kids horse II' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Kids horse II
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Monster' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Monster
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Marquetry' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Marquetry
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Saint Gregory I' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Saint Gregory I
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Saint Gregory II' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Saint Gregory II
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Saint Gregory III' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Saint Gregory III
1994-96
Gelatin silver print

 

Melbourne gay pride 1994

 

Marcus Bunyan (Australian, b. 1958) 'Melbourne gay pride' 1994

 

Marcus Bunyan (Australian, b. 1958)
Melbourne gay pride
1994
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Body painting, Melbourne gay pride' 1994

 

Marcus Bunyan (Australian, b. 1958)
Body painting, Melbourne gay pride
1994
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Body painting, Melbourne gay pride' 1994

 

Marcus Bunyan (Australian, b. 1958)
Body painting, Melbourne gay pride
1994
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Body painting, Melbourne gay pride' 1994

 

Marcus Bunyan (Australian, b. 1958)
Body painting, Melbourne gay pride
1994
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Body painting, Melbourne gay pride' 1994

 

Marcus Bunyan (Australian, b. 1958)
Body painting, Melbourne gay pride
1994
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'James Dean, Melbourne gay pride' 1994

 

Marcus Bunyan (Australian, b. 1958)
James Dean, Melbourne gay pride
1994
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Banquet table, Melbourne gay pride' 1994

 

Marcus Bunyan (Australian, b. 1958)
Banquet table, Melbourne gay pride
1994
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Eagle brand, Melbourne gay pride' 1994

 

Marcus Bunyan (Australian, b. 1958)
Eagle brand, Melbourne gay pride
1994
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Pentagram, Melbourne gay pride' 1994

 

Marcus Bunyan (Australian, b. 1958)
Pentagram, Melbourne gay pride
1994
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Love, Melbourne gay pride' 1994

 

Marcus Bunyan (Australian, b. 1958)
Love, Melbourne gay pride
1994
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Dragons wing, Melbourne gay pride' 1994

 

Marcus Bunyan (Australian, b. 1958)
Dragons wing, Melbourne gay pride
1994
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Rose Kennedy, Melbourne gay pride' 1994

 

Marcus Bunyan (Australian, b. 1958)
Rose Kennedy, Melbourne gay pride
1994
Gelatin silver print

 

 

Marcus Bunyan (Australian, b. 1958)
Om, Melbourne gay pride
1994
Gelatin silver print

 

 

Marcus Bunyan website

Marcus Bunyan black and white archive

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06
Dec
20

Photographs: Max Dupain (Australian, 1911-1992) Part 2

December 2020

 

Max Dupain (Seven Yachts in the Bay) Nd

 

Max Dupain (Australian, 1911-1992)
(Seven Yachts in the Bay)
Nd
Gelatin silver print
29 x 37cm (11.4 x 14.6 in.)

 

 

A second tranche of photographs from the Australian photographer Max Dupain. This means that Art Blart has one of the largest groups of his work online with larger images.

In this posting I have grouped the images through ships and boats; surf and beach; nudes / montage / surrealism; city and Harbour Bridge; dance and abstraction; portraits and Pictorialism – finishing with two stunning bromoil landscapes.

View Max Dupain photographs Part 1

Dr Marcus Bunyan

.
All images are used under fair use conditions for the purpose of educational research. Please click on the photographs for a larger version of the image.

 

 

Max Dupain. 'Hero Towing Pamir to Sydney Heads' c. 1940s

 

Max Dupain (Australian, 1911-1992)
Hero Towing Pamir to Sydney Heads
c. 1940s
Gelatin silver print
41 x 39.5cm

 

 

Pamir was a four-masted barque built for the German shipping company F. Laeisz. One of their famous Flying P-Liners, she was the last commercial sailing ship to round Cape Horn, in 1949. By 1957, she had been outmoded by modern bulk carriers and could not operate at a profit. Her shipping consortium’s inability to finance much-needed repairs or to recruit sufficient sail-trained officers caused severe technical difficulties. On 21 September 1957, she was caught in Hurricane Carrie and sank off the Azores, with only six survivors rescued after an extensive search.

Text from the Wikipedia website

 

A model of Pamir, a four-masted barque

 

A model of Pamir, a four-masted barque that was one of the famous Flying P-Liner sailing ships of the German shipping company F. Laeisz

 

Max Dupain. 'Rigging Sails' Nd

 

Max Dupain (Australian, 1911-1992)
Rigging Sails
Nd
Gelatin silver print
25.5 x 25cm

 

Max Dupain. 'Life at the Spit' Nd

 

Max Dupain (Australian, 1911-1992)
Life at the Spit
Nd
Gelatin silver print
23.5 x 22 cm

 

Max Dupain (Aerial of Waters Edge) 1930s

 

Max Dupain (Australian, 1911-1992)
(Aerial of Waters Edge)
1930s
Gelatin silver print
26 x 24cm

 

Max Dupain (Aerial View of Manly Beach) 1938

 

Max Dupain (Australian, 1911-1992)
(Aerial View of Manly Beach)
1938
Gelatin silver print
23 x 31cm

 

Max Dupain (Life Guards Marching with Reel) Nd

 

Max Dupain (Australian, 1911-1992)
(Life Guards Marching with Reel)
Nd
Gelatin silver print
34.5 x 30cm

 

Max Dupain (Sunbaking by the Wall) Nd

 

Max Dupain (Australian, 1911-1992)
(Sunbaking by the Wall)
Nd
Gelatin silver print
30.5 x 32cm

 

Max Dupain (Surfboard, Umbrella and Crowds) Nd

 

Max Dupain (Australian, 1911-1992)
(Surfboard, Umbrella and Crowds)
Nd
Gelatin silver print
29 x 25.5cm

 

Max Dupain. 'Stiff Nor'Easter' 1940s

 

Max Dupain (Australian, 1911-1992)
Stiff Nor’Easter
1940s
Gelatin silver print
38 x 40.5cm

 

Max Dupain. 'Beach Watchers, Bondi' 1940s

 

Max Dupain (Australian, 1911-1992)
Beach Watchers, Bondi
1940s
Gelatin silver print
28.5 x 25.5cm

 

 

Max Dupain (Australian, 1911-1992)
Surf Race Start
1947
Gelatin silver print
36 x 37cm

 

Dupain. 'Picnicker Leaving the Beach' Nd

 

Max Dupain (Australian, 1911-1992)
Picnicker Leaving the Beach
Nd
Gelatin silver print
30 x 34.5cm

 

Dupain. 'Beach Play' 1937

 

Max Dupain (Australian, 1911-1992)
Beach Play
1937
Gelatin silver print
30.5 x 36cm

 

Max Dupain (Nude Figures) 1930s

 

Max Dupain (Australian, 1911-1992)
(Nude Figures)
1930s
Gelatin silver print
24 x 20cm

 

 

Max Dupain (Australian, 1911-1992)
(Nude in Shadow on the Sand)
1937
Gelatin silver print
35.5 x 30cm

 

Max Dupain (Nude Montage) 1930s

 

Max Dupain (Australian, 1911-1992)
(Nude Montage)
1930s
Gelatin silver print
34.5 x 33 cm

 

 

Max Dupain (Australian, 1911-1992)
(Standing Nude on Sand)
1930s
Gelatin silver print
39 x 33.5cm

 

Max Dupain (Nude Sunbaker) 1939

 

Max Dupain (Australian, 1911-1992)
(Nude Sunbaker)
1939
Gelatin silver print
35 x 46.5cm

 

Max Dupain (Rhythmic Form) 1935

 

Max Dupain (Australian, 1911-1992)
(Rhythmic Form)
1935
Gelatin silver print

 

 

Max Dupain (Australian, 1911-1992)
Debussy Quartet in G
1937
Gelatin silver print
30.5 x 23.5cm

 

Max Dupain (Solarised Nude and Rays of Light) 1935

 

Max Dupain (Australian, 1911-1992)
(Solarised Nude and Rays of Light)
1935
Gelatin silver print
12.5 x 9.5cm

 

Max Dupain (Nude and Pole) 1934

 

Max Dupain (Australian, 1911-1992)
(Nude and Pole)
1934
Gelatin silver print
45.5 x 36cm

 

Max Dupain. 'Little Nude' 1938

 

Max Dupain (Australian, 1911-1992)
Little Nude
1938
Gelatin silver print
41 x 31cm

 

Max Dupain. 'Spontaneous Composition' 1935

 

Max Dupain (Australian, 1911-1992)
Spontaneous Composition
1935
Gelatin silver print
38 x 41cm

 

Max Dupain (Moira in the Mirror) 1931

 

Max Dupain (Australian, 1911-1992)
(Moira in the Mirror)
1931
Gelatin silver print
25.5 x 28cm

 

Max Dupain (Elizabeth Street, Melbourne) Nd

 

Max Dupain (Australian, 1911-1992)
(Elizabeth Street, Melbourne)
Nd
Gelatin silver print
40.5 x 39cm

 

Max Dupain (Angel Statue, 392 Bus and Terraces) Nd

 

Max Dupain (Australian, 1911-1992)
(Angel Statue, 392 Bus and Terraces)
Nd
Gelatin silver print
28 x 38cm

 

Max Dupain (Australian Hotel, The Rocks) Nd

 

Max Dupain (Australian, 1911-1992)
(Australian Hotel, The Rocks)
Nd
Gelatin silver print
31 x 38cm

 

Max Dupain (Hickson Road) Nd

 

Max Dupain (Australian, 1911-1992)
(Hickson Road)
Nd
Gelatin silver print
39 x 50.5cm

 

Max Dupain. 'Darling Harbour from Studio Window' 1940s

 

Max Dupain (Australian, 1911-1992)
Darling Harbour from Studio Window
1940s
Gelatin silver print
32 x 45cm

 

Max Dupain. 'Brooms for Sale' 1950

 

Max Dupain (Australian, 1911-1992)
Brooms for Sale
1950
Gelatin silver print
31.5 x 44.5cm

 

Max Dupain. 'George Street Silhouette' 1940

 

Max Dupain (Australian, 1911-1992)
George Street Silhouette
1940
Gelatin silver print
30.5 x 29.5cm

 

Max Dupain. 'Central Station, Sydney' 1939

 

Max Dupain (Australian, 1911-1992)
Central Station, Sydney
1939
Gelatin silver print
40 x 39cm

 

Max Dupain. 'Collins Street, Melbourne' 1946

 

Max Dupain (Australian, 1911-1992)
Collins Street, Melbourne
1946
Gelatin silver print
42 x 39.5cm

 

Max Dupain. 'Morning, Kings Cross Ice Wagon' Nd

 

Max Dupain (Australian, 1911-1992)
Morning, Kings Cross Ice Wagon
Nd
Gelatin silver print
45 x 40.5cm

 

Max Dupain. 'Parking, Macquarie Street' 1930s

 

Max Dupain (Australian, 1911-1992)
Parking, Macquarie Street
1930s
Gelatin silver print
39 x 48.5cm

 

Max Dupain. 'Suburban Terraces' Nd

 

Max Dupain (Australian, 1911-1992)
Suburban Terraces
Nd
Gelatin silver print
28 x 38cm

 

Max Dupain. 'Hobart Siesta' 1947

 

Max Dupain (Australian, 1911-1992)
Hobart Siesta
1947
Gelatin silver print
38.5 x 38cm

 

Max Dupain. 'Diver, Northbridge Baths' Nd

 

Max Dupain (Australian, 1911-1992)
Diver, Northbridge Baths
Nd
Gelatin silver print
23 x 18.5cm

 

Max Dupain (Milson's Point) Nd

 

Max Dupain (Australian, 1911-1992)
(Milson’s Point)
Nd
Gelatin silver print
30.5 x 32.5cm

 

Max Dupain (Harbour Bridge at Dusk) Nd

 

Max Dupain (Australian, 1911-1992)
(Harbour Bridge at Dusk)
Nd
Gelatin silver print
31 x 28.5cm

 

Max Dupain. 'Sydney from South Pylon' 1938

 

Max Dupain (Australian, 1911-1992)
Sydney from South Pylon
1938
Gelatin silver print
38 x 50.5cm

 

Max Dupain (Harbour Bridge Closed at Night) 1946

 

Max Dupain (Australian, 1911-1992)
(Harbour Bridge Closed at Night)
1946
Gelatin silver print
18 x 24cm

 

Max Dupain (Harbour Bridge with Traffic, Buses and Policeman) 1940-50s

 

Max Dupain (Australian, 1911-1992)
(Harbour Bridge with Traffic, Buses and Policeman)
1940-50s
Gelatin silver print
17.5 x 24cm

 

Max Dupain. 'Observatory Hill, Looking North to the Sydney Harbour Bridge' 1940

 

Max Dupain (Australian, 1911-1992)
Observatory Hill, Looking North to the Sydney Harbour Bridge
1940
Gelatin silver print
40.5 x 40 cm

 

Max Dupain (Four Graces) Nd

 

Max Dupain (Australian, 1911-1992)
(Four Graces)
Nd
Gelatin silver print
37 x 48cm

 

Max Dupain (Four Graces) Nd

 

Max Dupain (Australian, 1911-1992)
(Four Graces)
Nd
Gelatin silver print
24 x 30.5 cm

 

Max Dupain. 'Design – Suburbia' 1933

 

Max Dupain (Australian, 1911-1992)
Design – Suburbia
1933
Gelatin silver print
29.5 x 23cm

 

Max Dupain. 'Design in Barred Light' Nd

 

Max Dupain (Australian, 1911-1992)
Design in Barred Light
Nd
Gelatin silver print
25 x 18.5cm

 

Max Dupain (Timelapse Nude Figure) Nd

 

Max Dupain (Australian, 1911-1992)
(Timelapse Nude Figure)
Nd
Gelatin silver print
23.5 x 29.5cm

 

Max Dupain (Nude Figure and Light) 1930s

 

Max Dupain (Australian, 1911-1992)
(Nude Figure and Light)
1930s
Gelatin silver print
30.5 x 36cm

 

Max Dupain (Portrait and Shadows) Nd

 

Max Dupain (Australian, 1911-1992)
(Portrait and Shadows)
Nd
Gelatin silver print
50 x 40cm

 

Max Dupain. 'Domestic Poem, Douglas Stewart' Nd

 

Max Dupain (Australian, 1911-1992)
Domestic Poem, Douglas Stewart
Nd
Gelatin silver print
27 x 26cm

 

Max Dupain. 'Jean' 1936-37

 

Max Dupain (Australian, 1911-1992)
Jean
1936-37
Gelatin silver print
37 x 31cm

 

Max Dupain. 'Tired Soldier in Queensland Train' 1943

 

Max Dupain (Australian, 1911-1992)
Tired Soldier in Queensland Train
1943
Gelatin silver print
45 x 40.5cm

 

Max Dupain. 'Hostel Breakfast' Nd

 

Max Dupain (Australian, 1911-1992)
Hostel Breakfast
Nd
Gelatin silver print
31 x 41cm

 

Max Dupain (Three Men at Work) 1940s

 

Max Dupain (Australian, 1911-1992)
(Three Men at Work)
1940s
Gelatin silver print
52 x 49cm

 

Max Dupain. 'Waiting for the Queen' 1954

 

Max Dupain (Australian, 1911-1992)
Waiting for the Queen
1954
Gelatin silver print
38.5 x 39.5cm

 

Max Dupain (Waiting for the Queen) Nd

 

Max Dupain (Australian, 1911-1992)
(Waiting for the Queen)
Nd
Gelatin silver print
24.5 x 24cm

 

Max Dupain. 'Enter The Queen' 1954

 

Max Dupain (Australian, 1911-1992)
Enter The Queen
1954
Gelatin silver print
50 x 50cm

 

Max Dupain. 'Gloucester Landscape' 1951

 

Max Dupain (Australian, 1911-1992)
Gloucester Landscape
1951
Gelatin silver print
40.5 x 50.5cm

 

Max Dupain. 'Sundown, Mona Vale Marshes' 1932

 

Max Dupain (Australian, 1911-1992)
Sundown, Mona Vale Marshes
1932
18.5 x 24cm

 

Max Dupain. 'The Flight of the Spectres' 1932

 

Max Dupain (Australian, 1911-1992)
The Flight of the Spectres
1932
Bromoil
27.5 x 29cm

 

 

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09
Oct
20

Exhibition: ‘Robert Frank – Memories’ at the Fotostiftung Schweiz, Winterthur, Zürich

Exhibition dates: 12th September 2020 – 10th January 2021

 

Robert Frank (Swiss, 1924-2019) 'White Tower, New York' 1948

 

Robert Frank (Swiss, 1924-2019)
White Tower, New York
1948
Gelatin silver print
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York

 

 

An interesting selection of media images, including some early Swiss and American photographs, which are rarely seen.

Frank’s perceptiveness of human beings and their context of being and becoming is incredible. Look at the faces in Landsgemeinde, Hundwil (1949, below), Paris (1952, below) and the attitude of the bodies, surmounted by the sun (top left), in London (1951, below).

“It is important to see what is invisible to others.”

Dr Marcus Bunyan

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

 

 

The recently deceased Robert Frank is widely regarded as one of the most important photographers of our time. His book The Americans, first published in Paris in 1958 and then in New York the following year, is quite possibly the most influential photo book of the 20th century. As a kind of photographic road movie, it sketches a gloomy social portrait that served as a wake-up call to all of America at the time. And his personal style, alternating between documentary and subjective expression, radically changed post-war photography. But The Americans wasn’t merely a spontaneous stroke of genius. Frank’s early works already feature back stories and side plots that are closely connected to the themes and images of his legendary book. The Fotostiftung Schweiz holds a collection of lesser-known works – many of which were donated by the artist – which illustrate the consolidation of Frank’s subjective style. In addition to essays from Switzerland and Europe, it also includes works from early 1950s America that are on par with the well-known classics, but remained unpublished for editorial reasons. At the heart of the exhibition Robert Frank – Memories is the narrative force of Frank’s visual language, which developed in opposition to all conventions and only received international recognition when Frank had already abandoned photography and turned to the medium of film.

The exhibition is accompanied by a presentation of the books that publisher Gerhard Steidl produced with Robert Frank over a period of more than 15 years.

 

 

Robert Frank (Swiss, 1924-2019) 'New York City' 1948

 

Robert Frank (Swiss, 1924-2019)
New York City
1948
Gelatin silver print
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York

 

Robert Frank (Swiss, 1924-2019) 'Landsgemeinde, Hundwil' 1949

 

Robert Frank (Swiss, 1924-2019)
Landsgemeinde, Hundwil
1949
Gelatin silver print
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York

 

Robert Frank (Swiss, 1924-2019) 'Landsgemeinde, Hundwil' 1949

 

Robert Frank (Swiss, 1924-2019)
Landsgemeinde, Hundwil
1949
Gelatin silver print
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York

 

Robert Frank (Swiss, 1924-2019) 'Landsgemeinde, Hundwil' 1949 (detail)

 

Robert Frank (Swiss, 1924-2019)
Landsgemeinde, Hundwil (detail)
1949
Gelatin silver print
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York

 

Robert Frank (Swiss, 1924-2019) 'Landsgemeinde, Hundwil' 1949 (detail)

 

Robert Frank (Swiss, 1924-2019)
Landsgemeinde, Hundwil (detail)
1949
Gelatin silver print
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York

 

Robert Frank (Swiss, 1924-2019) 'London' 1951

 

Robert Frank (Swiss, 1924-2019)
London
1951
Gelatin silver print
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York

 

Robert Frank (Swiss, 1924-2019) 'Paris' 1952

 

Robert Frank (Swiss, 1924-2019)
Paris
1952
Gelatin silver print
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York

 

Robert Frank (Swiss, 1924-2019) 'New York City' early 1950s

 

Robert Frank (Swiss, 1924-2019)
New York City
early 1950s
Gelatin silver print
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York

 

 

Robert Frank, who was born in Zurich in 1924 and died last year in Canada, is widely regarded as one of the most important photographers of our time. Over the course of decades, he has expanded the boundaries of photography and explored its narrative potential like no other. Robert Frank travelled thousands of miles between the American East and West Coasts in the mid-1950s, going through nearly 700 films in the process. A selection of 83 black-and-white images from this blend of diary, sombre social portrait and photographic road movie would leave its mark on generations of photographers to come. The photobook The Americans was first published in Paris, followed by the US in 1959 – with an introduction by Beat writer Jack Kerouac, no less. Off-kilter compositions, cut-off figures and blurred motion marked a new photographic style teetering between documentation and narration that would have a profound impact on postwar photography.

It is quite possibly the single most influential book in the history of photography; however, rather than being a spontaneous stroke of genius, Frank had worked on his subjective visual language for years. Many of his photographs from Switzerland, Europe and South America, as well as his rarely shown works from the USA in the early 1950s, are on a par with the famous classics from The Americans. The photographer’s early work, which remained unpublished for editorial reasons and is therefore little known to this day, reveals connections to those iconic pictures that still define our image of America, even today.

At the heart of the exhibition Robert Frank – Memories is the narrative force of Robert Frank’s visual language, which developed in opposition to all conventions and only received international recognition after Frank had already abandoned photography and turned to the medium of film. The exhibition mainly features vintage silver gelatin prints from the collection of the Fotostiftung Schweiz, which either come from the former collection of Robert Frank’s long-time friend Werner Zryd (now owned by the Swiss Confederation) or were donated to the Fotostiftung Schweiz by the artist himself. They are complemented by a number of loans from the Fotomuseum Winterthur. A presentation of the books and films that publisher Gerhard Steidl released with Robert Frank over a period of more than 15 years accompanies the exhibition (in the corridor leading to the library and in the seminar room).

 

Early Work

In March 1947, Robert Frank arrived in New York following an adventurous journey on a cargo ship. The young, ambitious photographer had found Switzerland too stifling and he hoped to gain new freedom in America liberated from social and family obligations. The photographer carried a 6×6 Rolleiflex and a small spiral-bound book of 40 photographs taken during his apprentice years from 1941 to 1946. This portfolio included landscapes, portraits, personal photojournalistic works, and meticulously executed still lifes, all of which reveal that the 22-year old was a highly skilled photographer. It is therefore unsurprising that influential Harper’s Bazaar art director Alexey Brodovitch swiftly hired Frank as an assistant photographer after seeing his portfolio and first test photos.

In the magazine’s in-house photo studio, Frank photographed fashion industry products from clinical shots of women’s shoes and every imaginable accessory to laboriously staged fashion shoots and occasionally even photojournalistic assignments offering a little more freedom. Frank was successful and rose through the ranks, but quickly realised that this industry cared only about money, an attitude to which he couldn’t reconcile himself. Only a few months later, he quit his job in order to be able to work wholly free of constraints. He traveled to Peru and Bolivia the following year and often used his 35 mm Leica. Later he recalled: “I was making a kind of diary. I was very free with the camera. I didn’t think of what would be the correct thing to do; I did what I felt good doing. I was like an action painter.”

Frank returned to Europe in spring 1949. He photographed the yearly cantonal assembly in the Swiss canton of Appenzell Ausserrhoden, during which citizens (exclusively men back then) voted by a show of hands. However, he was unsuccessful in placing this story with a major periodical, even though he circulated the images via the acclaimed agency Magnum. Evidently, Frank had focused too little on the actual events. He was more interested in the bystanders’ stances than in the pomp of government officials wearing tailcoats and top hats. His photographs of this assembly prefigure the penetrating and critical gaze he would later level on America’s societal and political landscape. Here as there, his was an outsider’s subjective and inward looking perspective.

 

Black White and Things

In late 1949, the international magazine Camera published a first selection of Robert Frank’s work. The accompanying text described him as a photographer who loved “truth and unvarnished reality”, as someone “whose thirst for experience compelled him to get out and capture life with his camera”. Indeed, Frank worked chiefly in Paris, London, and Spain between 1949 and 1953, frequently traveling between Europe and the US. He reported on a bullfighter in Spain and observed life in London’s financial district. In Paris he took pictures of objects – mostly chairs and flowers – photographs he assembled in an album dedicated to his future wife. In subsequent years, he shook off any sentimental tendencies.

Frank continued his attempts to publish both smaller and more substantial stories and photo essays in glossy magazines such as Life, but with limited success. His reportage on Welsh coal miner Ben James, which appeared in U.S. Camera 1955 annual, was a rare exception. But Frank found himself less and less able to reconcile himself with the conventional view of photography as a universal language accessible to all. Instead, he increasingly distanced himself from print media’s expectations and developed a strong aversion to what he once termed stereotypical “Life stories”, “those goddamned stories with a beginning and an end”.

In autumn 1952, Frank created Black White and Things with his Zurich-based friend Werner Zryd. This handmade book comprising 34 photographs was an attempt to counter these expectations with something new: an intuitively ordered series of photos with neither text nor linear narrative structure, introduced simply by Saint-Exupéry’s famed lines from The Little Prince: “It is only with the heart that one can see rightly; what is essential is invisible to the eye.” Accordingly, Black White and Things is a kind of three-part visual poem: “Black” evokes death, materialism, loneliness, and anonymity; “White” evokes home, love, religion, and camaraderie; and “Things” engages with diametrical oppositions such as friendship and cruelty, and affection and solitude. The order and pairing of the images sparks thoughts, associations, and feelings. Yet Frank’s evocative arrangement is intentionally ambiguous and open: “Something must be left for the onlooker, he must have something to see. It is not all said for him.”

 

America, America

After a further trip to New York – which he assured his mother would be his last – Robert Frank applied for a Guggenheim fellowship in October 1954. His project proposal was for an “observation and record of what one naturalised American finds to see in the United States that signifies the kind of civilisation born here and spreading elsewhere”. The result was to be a book, for which he had already won support from Arnold Kübler, the long-standing editor of the Zurich-based culture magazine Du, and Robert Delpire, a young publisher in Paris. Thanks to help from Alexey Brodovitch, Walker Evans, Edward Steichen and others, Frank was the first European photographer to be awarded this generous fellowship. The award made it possible for him to set off on his now-legendary road trips across the US in spring 1955.

Over almost two years, Frank took more than 20,000 photographs on his travels. He made roughly 1,000 work prints in the autumn and winter of 1956-57, which he pinned to the walls and laid on the floor of his apartment. At the time his home was East Village, New York, where artists including Alfred Leslie and Willem de Kooning also lived. Over many months Frank made countless passes through his photographs, eliminating those images he was unsure of and focusing on specific themes. He constantly rearranged the selection that was gradually coming together until he had a first mocked-up book with just under 90 images and the provisional title America, America. Frank took this book with him when he traveled to Europe in summer 1957, showing it to Delpire and his Swiss photographer friend Gotthard Schuh.

Over the years, the America photographs not included in his final selection disappeared into archives and collections or even got lost altogether. Only recently has it been possible to ascertain that many of the rejected and unpublished photographs were of the same caliber as the 83 book images Frank and Delpire agreed on. Frank’s contact sheets show that these photos were often taken directly before or after the images that have become icons of photographic history. Rather than putting forth a single message, Frank’s dark take on 1950s America contains impressive variations, facets, and excursuses that made a powerful impression on many, including his early supporter, Schuh. Schuh wrote to his young friend: “I don’t know America, but your photographs frighten me because in them you show, with visionary alertness, things that affect us all.”

 

The Americans

Following the first French edition of Les Américains, Robert Frank’s book was published as The Americans in New York in 1959. The English edition dropped the cover illustration and the selection of texts on America (which Delpire had insisted on over Frank’s protests), and added an introduction by Jack Kerouac. Frank had much in common with the Beat poets, though he only met them after his Guggenheim-funded travels. Like Kerouac’s main character in On the Road, Frank crisscrossed the country with apparent aimlessness, working spontaneously. Moreover, his work shares a stylistic consonance with Beat literature: Frank had abandoned all technical conventions and photographed intuitively instead. Many of his photographs are underexposed and grainy; they frame a scene and omit key details; their horizons are slanting and the lighting is often murky. Frank’s focus was the everyday, the fleeting, and the marginal. People are shown turning away from the camera, and his landscapes are desolate and bleak, “really more like Russia”, as Frank once remarked to Kerouac. He flouted the rules he had learned during his early training as a photographer in Switzerland in order to be as true as possible to his subjective experience and to capture unvarnished reality.

Kerouac’s introduction begins with the words: “That crazy feeling in America when the sun is hot on the streets and music comes out of the jukeboxes or from a nearby funeral, that’s what Robert Frank has captured in tremendous photographs taken as he traveled on the road around practically forty-eight states in an old used car (on Guggenheim Fellowship) and with the agility, mystery, genius, sadness and strange secrecy of a shadow photographed scenes that have never been seen before on film …” The Americans is a long, poetic image arc with cross-references, digressions, and associations, but also mental leaps and ambiguities, which provoked many critics. Although most acknowledged that Frank’s photographs were highly powerful, they read his take on Americans as a malicious attack on the country. Frank, a Jewish foreigner, was resented for picking up on the racism, hollow patriotism, commodified cheer, and political corruption lurking behind the façade of American society. Even before his groundbreaking book was published, Robert Frank wrote: “Above all, I know that life for a photographer cannot be a matter of indifference. Opinion often consists of a kind of criticism. But criticism can come out of love. It is important to see what is invisible to others.”

Martin Gasser, Curator

 

Robert Frank (Swiss, 1924-2019) "Los Angeles" 1955

 

Robert Frank (Swiss, 1924-2019)
“Los Angeles”
1955
Gelatin silver print
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York

 

Robert Frank (Swiss, 1924-2019) 'City fathers – Hoboken, New Jersey' 1955

 

Robert Frank (Swiss, 1924-2019)
City fathers – Hoboken, New Jersey
1955
Gelatin silver print
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York

 

Robert Frank (Swiss, 1924-2019) 'Bus-Stop, Detroit' 1955

 

Robert Frank (Swiss, 1924-2019)
Bus-Stop, Detroit
1955
Gelatin silver print
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York

 

Robert Frank (Swiss, 1924-2019) 'Bar – Gallup, New Mexico' 1955

 

Robert Frank (Swiss, 1924-2019)
Bar – Gallup, New Mexico
1955
Gelatin silver print
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York

 

Robert Frank (Swiss, 1924-2019) 'Charity Ball – New York' 1954

 

Robert Frank (Swiss, 1924-2019)
Charity Ball – New York
1954
© Andrea Frank Foundation; courtesy Pace / MacGill Gallery, New York
Collection of the Swiss Photo Foundation

 

Müller + Hess, Wendelin Hess and Jesse Wyss, Basel / Zurich

 

Müller + Hess, Wendelin Hess and Jesse Wyss, Basel / Zurich

 

 

Fotostiftung Schweiz
Grüzenstrasse 45
CH-8400 Winterthur (Zürich)
Phone: +41 52 234 10 30

Opening hours:
Tuesday – Sunday 11am – 6pm
Wednesday 11am – 8pm
Closed on Mondays

Fotostiftung Schweiz website

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28
Aug
20

Photographs: ‘Early French aviator glass slides’ c. 1913-14

August 2020

 

Unknown photographer. 'Untitled [Early French aviators]' c. 1913-14 (detail)

 

Unknown photographer (French)
Untitled [Early French aviators] (detail)
c. 1913-14
Glass plate

 

 

Those daring young men in their war machines

I have always been fascinated with flight, and aeroplanes. When I was seventeen, I tried to enrol in the RAF as a fighter pilot, hence my own interest in the subject artistically over the last 10 years.

These fabulous and rare French large format glass slides were for sale on Ebay many moons ago, illustrated as negative images only. They fetched an enormous sum of money, far beyond the humble means I had at my disposal to purchase them. But I kept the negative jpg images, inverted them into positives, and I have cleaned them up as best I can. Not the best outcome, not the best quality, but better than nothing … and it means that other people can get to see them.

Taken in 1913, or possibly in 1914 the first year of the Great War – there are no guns present on the bomber, but this is not unusual for the early part of the war as can be seen in the photograph of Captain Maurice Happe in his bomber of 1915 below – I have spent a long time researching the make of the bomber and, with the help of the knowledgeable Jacques Crouille (thank you!), ascertaining the period uniforms that the men are wearing. The photographs seem to have been shot in one sitting, for the images contain the same wooden sheds, picket fence, and two bomber aircraft (one with wire wheels, one with solid wheels) of the “pusher” type, possibly a Farman MF.11 Shorthorn bomber. This means that the propellor is at the back of the aircraft pushing the plane along, instead of being placed in the front.

What I find fascinating are the attitudes of the men toward the camera, and the wonderful details present in the images. With their nonchalantly relaxed pose, arm on wing, clad in thick, buttoned flight suits trimmed at leg and neck with real fur to keep them warm up in the beyond, these daring young men stare straight at the camera. Their early leather helmets or “bone domes”, used in motor-racing and adopted by pilots as head protection, rest on the wing beside them. Some wear thick bezelled, large crowned aviation (a term coined in 1863) watches, which in the Great War were to be used to make coordinated attacks possible at a precise moment. As the men pose in front of their aircraft, what is also notable is the fragility of the machine: lashings of wood and canvas, wire wheels, and a huge amount of wire bracing, so much so it seems that the pilots are caught in a spiders web of the stuff as they stand there staring down the camera.

It must be winter, for snow and mud is on the ground, caking their short boots, knee length boots, and the wheels of the bombers. With slicked down hair, sometimes parted in the middle, sometimes paired with a moustache, the men’s waists are cinched with thick belts, their hands sheathed in leather gloves. Or. Clutching their gloves in bare hands. One handsome young man – possibly a mechanic wearing the dark blue uniform of the Chasseurs Alpins, his large beret carrying the yellow (daffodil) hunting horn insignia – is encased in the wonderfully titled “bandes molletières” (or puttees in English terminology), attire more regularly seen on infantry troops, and wears a ring on the fifth finger of his right hand. What is most amusing is the small doll attached to the front of bomber in the first photograph in the posting, like a carved figurehead on the bow of a ship (see above). A good luck charm?

These men would have needed it. Because of their slow speed (106km/h), bombers were particularly susceptible to German fighters (over 160km/h) and ground fire. No parachutes were issued to the crews of Allied “heavier-than-air” aircraft in World War 1, since it was thought that if a pilot had a parachute he would jump from the plane when hit rather than trying to save the aircraft (Wikipedia). The average life expectancy of a British Royal Flying Corp (RFC) pilot was just 18 airborne hours.

Dr Marcus Bunyan

.
These photographs are used under “fair use” conditions for the purpose of research and education. Please click on the photographs for a larger version of the image.

 

Unknown photographer. 'Untitled [Early French aviators]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviators]
c. 1913-14
Glass plate

 

Captain Maurice Happe, rear seat, commander of French squadron MF 29, seated in his Farman MF.11 Shorthorn bomber with a Captain Berthaut

 

Unknown photographer
Captain Maurice Happe, rear seat, commander of French squadron MF 29, seated in his Farman MF.11 Shorthorn bomber with a Captain Berthaut. The plane bears the insignia of the first unit, a Croix de Guerre
c. 1915
Gelatin silver print
Library of Congress

 

Italian Army Photographers 1915-1918. 'World War 1 - Italian Army: Second Battle of the Isonzo - Farman MF.11 Shorthorn light bomber of the Italian air force' between 18 July - 3 August 1915

 

Italian Army Photographers 1915-1918
World War 1 – Italian Army: Second Battle of the Isonzo – Farman MF.11 Shorthorn light bomber of the Italian air force
between 18 July – 3 August 1915
Gelatin silver print
Italian Army Historic Photogallery
CC By 2.5

 

 

Farman MF.11 Shorthorn bomber

The Maurice Farman MF.11 Shorthorn is a French aircraft developed before World War I by the Farman Aviation Works. It was used as a reconnaissance and light bomber during the early part of World War I, later being relegated to training duties. …

A pusher configuration unequal-span biplane like the earlier Farman MF.7, the MF.11 differed in lacking the forward-mounted elevator, the replacement of the biplane horizontal tail surfaces with a single surface with a pair of rudders mounted above it, and the mounting of the nacelle containing crew and engine in the gap between the two wings. The aircraft was also fitted with a machine gun for the observer, whose position was changed from the rear seat to the front in order to give a clear field of fire. …

The MF.11 served in both the British and French air services on the Western Front in the early stages of the war. As a light bomber it flew the first bombing raid of the war when on 21 December 1914 an MF.11 of the Royal Naval Air Service attacked German artillery positions around Ostend, Belgium.

The MF.11 was withdrawn from front-line service on the Western Front in 1915, but continued to be used by the French in Macedonia and the Middle East, while the British also used it in the Dardanelles, and Africa. The Australian Flying Corps (AFC), provided with the MF.11 by the British Indian Army, operated it during the Mesopotamian campaign of 1915-16.

Text from the Wikipedia website

 

 

Farman MF 11, photo reconaissance

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator]
c. 1913-14
Glass plate

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator]
c. 1913-14
Glass plate

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator] (details)
c. 1913-14
Glass plate

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator] (detail)
c. 1913-14
Glass plate

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator] (details)
c. 1913-14
Glass plate

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator]
c. 1913-14
Glass plate

 

 

The winged badge worn on the vaseure, probably blue, indicates that this man is WW1 French aviation. French pilots wore kepi. This is not the case here. This man wore a beret with a badge, a horn, from the “Chasseurs Alpins”. At least in the beginning, a member of French aviation wore equipment from their first assignment. Here, probably Chasseurs Alpins. He’s not a pilot nor an officer, maybe a mechanic? Chasseurs Alpins were, and still are, elite mountain troops based in The Alps.

Jacques Crouille

 

Chasseur

Chasseur, a French term for “hunter”, is the designation given to certain regiments of French and Belgian light infantry (chasseurs à pied) or light cavalry (chasseurs à cheval) to denote troops trained for rapid action.

 

Chasseurs Alpins

The Chasseurs Alpins (English: Alpine Hunters) are the elite mountain infantry of the French Army. They are trained to operate in mountainous terrain and in urban warfare. …

France created its own mountain corps in the late 19th century in order to oppose any Italian invasion through the Alps. In 1859-70 Italy became unified, forming a powerful state. The French army saw this geopolitical change as a potential threat to their Alpine border, especially as the Italian army was already creating troops specialised in mountain warfare (the Alpini). On December 24, 1888, the first troupes de montagne (“mountain troops”) corps were created from 12 of the 31 existing Chasseurs à pied (“Hunters on Foot'”/”Foot Rifles'”) battalions.

Initially these units were named bataillons alpins de chasseurs à pied (“Alpine Battalions of Hunters on Foot”/”Alpine Foot Rifle Battalions”). Later this was shortened to bataillons de chasseurs alpins (“Battalions of Alpine Hunters”). From their establishment the chasseurs Alpins wore a plain and practical uniform designed to be suitable for mountain service. This comprised a loose-fitting dark blue jacket and blue-grey breeches, together with a large beret carrying the yellow (daffodil) hunting horn insignia of the Chasseur branch. They are believed to have been the first regular military unit to have worn this form of headdress.

Text from the Wikipedia website

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator] (details)
c. 1913-14
Glass plate

 

 

Bandes molletières

The bottom photograph shows his “bandes molletières” (literally “bandages”, in English leggings or more usually puttees).

Bandes molletières is a ribbon of cloth that encloses the calves from the ankle to the knee, and which was worn by the military. It protects the leg and replaces high boots, avoiding the entry of dirt or mud when crawling, without aggravating the shortage of leather, the main raw material necessary for the manufacture of boots.

They are fast to set up (30 seconds for cross-mounting with a little training) and, when properly adjusted, their compression effect allows men to withstand long periods of standing. Nevertheless, they become sodden with water in wet ground and when it rains.

 

Puttees

Puttee, also spelled puttie, is the name, adapted from the Hindi paṭṭī, bandage (Skt. paṭṭa, strip of cloth), for a covering for the lower part of the leg from the ankle to the knee, alternatively known as: legwraps, leg bindings, winingas, or wickelbander. They consist of a long narrow piece of cloth wound tightly, and spirally round the leg, and serving to provide both support and protection. They were worn by both mounted and dismounted soldiers, generally taking the place of the leather or cloth gaiter.

Text from the Wikipedia website

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator] (details)
c. 1913-14
Glass plate

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator]
c. 1913-14

 

 

The winged badge worn on the vaseure, probably sand colour, says that this man is WW1 French aviation. He may be an observer / gunner as he is wearing a kepi, but not a good one. He has no wings on the collar, so he’s not an officer. The gloves and the watch may indicate he is member of the flight crew. Observer? Gunner? It’s hard to be precise as the French air force was at its beginning and uniforms came from different army corps. Aviation at that time was part of the Land Force.

Jacques Crouille

 

Kepi

The kepi is a cap with a flat circular top and a peak, or visor. Etymologically, the term is a loanword of the French képi, itself a re-spelled version of the Alemannic Käppi: a diminutive form of Kappe, meaning “cap”. In Europe, this headgear is most commonly associated with French military and police uniforms, though versions of it were widely worn by other armies during the late 19th and early 20th centuries.

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator] (details)
c. 1913-14
Glass plate

 

Kepi, French Air Service, Kiffin Rockwell, Lafayette Escadrille

 

Kepi, French Air Service, Kiffin Rockwell, Lafayette Escadrille

 

 

This kepi is an example of the type worn by Foreign Legion in the French Army during the First World War. This kepi was worn by Kiffin Rockwell in the French Air Service. It was not unusual for individuals that transferred to the air service to continue to use the uniform of their original service branch.

Kiffin Rockwell flew with the Lafayette Escadrille during World War I. Kiffin and his brother Paul went to France in August 1914 and joined the French Foreign Legion. Kiffin entered combat in the winter of 1915 and was severely wounded at Neuville-Saint-Vaast later that May. Following a lengthy convalescence, Kiffin obtained a transfer to the French Air Service and was one of the original members of the Escadrille Lafayette, a squadron of American pilots flying for France. Rockwell shot down his first of four German aircraft on May 18, 1916, in Alsace. On September 23, 1916, he was shot down over Verdun and buried at Luxiul. For his services to France, Rockwell was awarded the Medaille Miliataire and the Croix de Guerre with two palms.

Text and image from the National Air and Space Museum website [Online] Cited 12/03/2019

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator] (details)
c. 1913-14
Glass plate

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator]
c. 1913-14
Glass plate

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French?)
Untitled [Early French aviator]
c. 1913-14
Glass plate

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator] (detail)
c. 1913-14
Glass plate

 

German pilot helmet of World War I. Dated to 1910s

 

German pilot helmet of World War I
Dated to 1910s
Hat size 57
Made of Leather, wool, cotton/linen and metal
Height: 150 mm (5.9 in); Width: 210 mm (8.2 in); Depth: 225 mm (8.8 in)
Hamburg Museum
CC3.0

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator]
c. 1913-14
Glass plate

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator] (details)
c. 1913-14
Glass plate

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator] (details)
c. 1913-14
Glass plate

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator]
c. 1913-14
Glass plate

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator] (details)
c. 1913-14
Glass plate

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator]
c. 1913-14
Glass plate

 

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

Unknown photographer. 'Untitled [Early French aviator]' c. 1913-14

 

Unknown photographer (French)
Untitled [Early French aviator] (details)
c. 1913-14
Glass plate

 

 

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07
Mar
20

European photographic research tour exhibition: ‘Benjamin Katz Berlin Havelhöhe, 1960/61’ at Museum Ludwig, Cologne

Exhibition dates: 7th June – 22nd September 2019

Visited September 2019 posted March 2020

Cu­ra­tor: Bar­bara En­gel­bach

 

 

Photograph from the exhibition 'Benjamin Katz Berlin Havelhöhe, 1960/61' (installation view)

 

Benjamin Katz (Belgian, b. 1939)
Untitled
1960-1961
From the series Ber­lin Havel­höhe (1960/1961)
Gelatin silver print

 

 

The eye of the law guards

I saw this TERRIFIC exhibition at Museum Ludwig while I was on my European photography research trip. None of the photographs are available online, so I am grateful that I took some iPhone installation images while I was there.

Tight, focused social documentary images that have real presence and power. They feel cooly and directly observed, essential, gritty, a unique take on an in/hospitable institution and the people in it. The word Havelhöhe translates to “hospital”. Katz was there for 18 months for the treatment of tuberculosis.

I admire the light, subject matter and the photographer’s point of view, his frontal and demanding perspective.

Dr Marcus Bunyan

.
All iPhone installation images taken by Marcus Bunyan. Please click n the photographs for a larger version of the image.

 

 

Installation view of the exhibition 'Benjamin Katz Berlin Havelhöhe, 1960/61' at the Museum Ludwig, Cologne

Installation view of the exhibition 'Benjamin Katz Berlin Havelhöhe, 1960/61' at the Museum Ludwig, Cologne

 

Installation views of the exhibition Benjamin Katz Berlin Havelhöhe, 1960/61 at the Museum Ludwig, Cologne

 

 

Ben­jamin Katz became known in the 1980s as a fixture of the art scene in West Germany. He took portraits of artists such as Ge­org Baselitz, James Lee Byars, A.R. Penck, Cindy Sh­er­man, and Rose­marie Trock­el, pho­to­graphed the bustling art scene at openings, and doc­u­ment­ed the cre­a­tion of major ex­hi­bi­tions such as West­kunst in Cologne in 1981, doc­u­men­ta 7 in Kas­sel in 1982, and von hi­er aus in Düs­sel­dorf in 1984.

On the oc­ca­sion of the eightieth birthday of Benjamin Katz (born on June 14, 1939, in An­tw­erp, Bel­gi­um), the Mu­se­um Lud­wig will present his series of photographs Ber­lin Havel­höhe (1960/1961), which has never before been shown in its en­tire­ty. The series was re­cent­ly acquired di­rect­ly from the artist’s archive. Even before Katz de­vot­ed himself pro­fes­sio­n­al­ly to pho­tog­ra­phy, he captured his sur­round­ings in 1960 and 1961 during an eighteen-month stay at the Havel­höhe hospital. Suf­fer­ing from tu­ber­cu­lo­sis, he spent his time there as a patient and pho­to­graphed ev­ery­day life: his fellow patients, the hos­pi­tal staff, the buildings built during the Nazi era as an air force academy, and the sur­round­ing area. The pho­to­graphs rep­re­sent a socio-historical as well as an artistic and per­so­noal doc­u­ment, since they record Katz’s be­gin­n­ings as a photographer. Ber­lin Havel­höhe also ex­em­pli­fies the image of the artist as a young man.

Di­rec­tor Yil­maz Dziewior: “The Mu­se­um Lud­wig has a large col­lec­tion of Katz’s por­traits of artists span­n­ing sev­er­al de­cades. It al­so in­cludes his ex­ten­sive docu­men­ta­tion of the 1981 ex­hi­bi­tion West­kunst as well as pho­to­graphs from the in­s­tal­la­tion of many ex­hi­bi­tions. I am all the more de­light­ed that we were able to ac­quire Ber­lin Havel­höhe, a sig­ni­f­i­cant ear­ly se­ries by Katz. We would like ex­press our warmest thanks for his trust and for shar­ing his me­m­ories with us.”

The en­tire se­ries will be shown in the form of for­ty-one pho­to­graphs print­ed in three dif­fer­ent sizes and 318 vin­tage prints mount­ed on A4 pa­per. On the first floor, as part of the per­ma­nent col­lec­tion, the Mu­se­um Lud­wig will al­so pre­sent Katz’s well-known por­traits of artists, which he took dur­ing his stu­dio vis­its begin­n­ing in the 1980s, in­clud­ing Ge­org Baselitz, A.R. Penck, Ger­hard Richter, and Rose­marie Trock­el.

Ben­jamin Katz: Ber­lin Havel­höhe, 1960/1961 is the sixth pre­sen­ta­tion in the pho­tog­ra­phy room, which since 2017 has fea­tured chang­ing se­lec­tions of the approx­i­mate­ly 70,000 works from the Mu­se­um Lud­wig pho­tog­ra­phy col­lec­tion. The pho­tog­ra­phy room is lo­cat­ed in the per­ma­nent col­lec­tion on the se­cond floor.

Text from the gallery website [Online] Cited 04/03/2020

 

Installation view of the exhibition 'Benjamin Katz Berlin Havelhöhe, 1960/61' at the Museum Ludwig, Cologne

 

Installation view of the exhibition Benjamin Katz Berlin Havelhöhe, 1960/61 at the Museum Ludwig, Cologne

 

Photograph from the exhibition 'Benjamin Katz Berlin Havelhöhe, 1960/61' (installation view)

 

Benjamin Katz (Belgian, b. 1939)
Untitled
1960-1961
From the series Ber­lin Havel­höhe (1960/1961)
Gelatin silver print

 

Photograph from the exhibition 'Benjamin Katz Berlin Havelhöhe, 1960/61' (installation view)

 

Benjamin Katz (Belgian, b. 1939)
Untitled
1960-1961
From the series Ber­lin Havel­höhe (1960/1961)
Gelatin silver print

 

Installation view of the exhibition 'Benjamin Katz Berlin Havelhöhe, 1960/61' at the Museum Ludwig, Cologne

 

Installation view of the exhibition Benjamin Katz Berlin Havelhöhe, 1960/61 at the Museum Ludwig, Cologne

 

Photograph from the exhibition 'Benjamin Katz Berlin Havelhöhe, 1960/61' (installation view)

 

Benjamin Katz (Belgian, b. 1939)
Untitled
1960-1961
From the series Ber­lin Havel­höhe (1960/1961)
Gelatin silver print

 

Photograph from the exhibition 'Benjamin Katz Berlin Havelhöhe, 1960/61' (installation view)

 

Benjamin Katz (Belgian, b. 1939)
Untitled
1960-1961
From the series Ber­lin Havel­höhe (1960/1961)
Gelatin silver print

 

Photograph from the exhibition 'Benjamin Katz Berlin Havelhöhe, 1960/61' (installation view)

 

Benjamin Katz (Belgian, b. 1939)
Untitled
1960-1961
From the series Ber­lin Havel­höhe (1960/1961)
Gelatin silver print

 

Installation view of the exhibition 'Benjamin Katz Berlin Havelhöhe, 1960/61' at the Museum Ludwig, Cologne

 

Installation view of the exhibition Benjamin Katz Berlin Havelhöhe, 1960/61 at the Museum Ludwig, Cologne

 

Photograph from the exhibition 'Benjamin Katz Berlin Havelhöhe, 1960/61' (installation view)

 

Benjamin Katz (Belgian, b. 1939)
Untitled
1960-1961
From the series Ber­lin Havel­höhe (1960/1961)
Gelatin silver print

 

Photograph from the exhibition 'Benjamin Katz Berlin Havelhöhe, 1960/61' (installation view)

 

Benjamin Katz (Belgian, b. 1939)
Untitled
1960-1961
From the series Ber­lin Havel­höhe (1960/1961)
Gelatin silver print

 

Installation view of the exhibition 'Benjamin Katz Berlin Havelhöhe, 1960/61' at the Museum Ludwig, Cologne

 

Photograph from the exhibition 'Benjamin Katz Berlin Havelhöhe, 1960/61' (installation view)

 

Benjamin Katz (Belgian, b. 1939)
Untitled
1960-1961
From the series Ber­lin Havel­höhe (1960/1961)
Gelatin silver print

 

Photograph from the exhibition 'Benjamin Katz Berlin Havelhöhe, 1960/61' (installation view)

 

Benjamin Katz (Belgian, b. 1939)
Untitled
1960-1961
From the series Ber­lin Havel­höhe (1960/1961)
Gelatin silver print

 

Installation view of the exhibition 'Benjamin Katz Berlin Havelhöhe, 1960/61' at the Museum Ludwig, Cologne

 

Installation view of the exhibition Benjamin Katz Berlin Havelhöhe, 1960/61 at the Museum Ludwig, Cologne

 

Photograph from the exhibition 'Benjamin Katz Berlin Havelhöhe, 1960/61' (installation view)

 

Benjamin Katz (Belgian, b. 1939)
Untitled
1960-1961
From the series Ber­lin Havel­höhe (1960/1961)
Gelatin silver print

 

Photograph from the exhibition 'Benjamin Katz Berlin Havelhöhe, 1960/61' (installation view)

 

Benjamin Katz (Belgian, b. 1939)
Untitled
1960-1961
From the series Ber­lin Havel­höhe (1960/1961)
Gelatin silver print

 

Photograph from the exhibition 'Benjamin Katz Berlin Havelhöhe, 1960/61' (installation view)

 

Benjamin Katz (Belgian, b. 1939)
Untitled
1960-1961
From the series Ber­lin Havel­höhe (1960/1961)
Gelatin silver print

 

Photograph from the exhibition 'Benjamin Katz Berlin Havelhöhe, 1960/61' (installation view)

 

Benjamin Katz (Belgian, b. 1939)
Untitled
1960-1961
From the series Ber­lin Havel­höhe (1960/1961)
Gelatin silver print

 

Photograph from the exhibition 'Benjamin Katz Berlin Havelhöhe, 1960/61' (installation view)

 

Benjamin Katz (Belgian, b. 1939)
Untitled
1960-1961
From the series Ber­lin Havel­höhe (1960/1961)
Gelatin silver print

 

Photograph from the exhibition 'Benjamin Katz Berlin Havelhöhe, 1960/61' (installation view)

 

Benjamin Katz (Belgian, b. 1939)
Untitled
1960-1961
From the series Ber­lin Havel­höhe (1960/1961)
Gelatin silver print

 

Photograph from the exhibition 'Benjamin Katz Berlin Havelhöhe, 1960/61' (installation view)

 

Benjamin Katz (Belgian, b. 1939)
Untitled
1960-1961
From the series Ber­lin Havel­höhe (1960/1961)
Gelatin silver print

 

Some of the text translates as: ‘The English finder’ (bottom left) and ‘The eye of the law guards’ (centre)

 

Photograph from the exhibition 'Benjamin Katz Berlin Havelhöhe, 1960/61' (installation view)

 

Benjamin Katz (Belgian, b. 1939)
Untitled
1960-1961
From the series Ber­lin Havel­höhe (1960/1961)
Gelatin silver print

 

Photograph from the exhibition 'Benjamin Katz Berlin Havelhöhe, 1960/61' (installation view)

 

Benjamin Katz (Belgian, b. 1939)
Untitled
1960-1961
From the series Ber­lin Havel­höhe (1960/1961)
Gelatin silver print

 

Installation view of the exhibition 'Benjamin Katz Berlin Havelhöhe, 1960/61' at the Museum Ludwig, Cologne

 

Installation view of the exhibition Benjamin Katz Berlin Havelhöhe, 1960/61 at the Museum Ludwig, Cologne

 

Photograph from the exhibition 'Benjamin Katz Berlin Havelhöhe, 1960/61' (installation view)

 

Benjamin Katz (Belgian, b. 1939)
Untitled
1960-1961
From the series Ber­lin Havel­höhe (1960/1961)
Gelatin silver print

 

Photograph from the exhibition 'Benjamin Katz Berlin Havelhöhe, 1960/61' (installation view)

 

Benjamin Katz (Belgian, b. 1939)
Untitled
1960-1961
From the series Ber­lin Havel­höhe (1960/1961)
Gelatin silver print

 

Photograph from the exhibition 'Benjamin Katz Berlin Havelhöhe, 1960/61' (installation view)

 

Benjamin Katz (Belgian, b. 1939)
Untitled
1960-1961
From the series Ber­lin Havel­höhe (1960/1961)
Gelatin silver print

 

Photograph from the exhibition 'Benjamin Katz Berlin Havelhöhe, 1960/61' (installation view)

 

Benjamin Katz (Belgian, b. 1939)
Untitled
1960-1961
From the series Ber­lin Havel­höhe (1960/1961)
Gelatin silver print

 

Photograph from the exhibition 'Benjamin Katz Berlin Havelhöhe, 1960/61' (installation view)

 

Benjamin Katz (Belgian, b. 1939)
Untitled
1960-1961
From the series Ber­lin Havel­höhe (1960/1961)
Gelatin silver print

 

 

Museum Ludwig
Heinrich-Böll-Platz, 50667 Köln, Germany

Opening hours:
Tues­­day through Sun­­day: 10 am – 6 pm

Museum Ludwig website

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01
Mar
20

Photographs: ‘Australia 1946-1947’ Part 1 March 2020

March 2020

 

Unknown photographer (Australian) 'Untitled (girl on porch)' 1946-47

 

Unknown photographer (Australian)
Untitled (girl on porch)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

 

One of the great joys about compiling this archive is the ability to rescue unloved and unknown images. To give them a voice in the contemporary world.

These 2 1/4″ square (6 x 6 cm) medium format black and white negatives come from the collection of my friend Nick Henderson. There is no marking on any of the negatives, leading me to believe that the film numbers were on the backing paper of the 120 film roll. The negatives are housed in paper packets adorned with a logo and words ‘APS Developing and Printing Service’ – perhaps Australian Photographic Services? Each packet contains basic title information for some of the photographs. Looking at the photographs and their perspective on the world, it would seem that the camera is a waist view camera, in other words the photographer was looking down into the viewfinder, the camera not held at eye level. The camera could possibly have been a Voigtländer or similar camera (see below). The quality of the negatives is reasonable, with some fall off in terms of sharpness occurring at the edge of the image. The photographs can be dated to 1946-1947 due to the February 1947 expiry Victorian registration label on the Chevrolet (thank you Simon Barnfield for spotting this!), are taken by an unknown photographer (probably male)… photographs of life in Sydney, his family and their travels around Australia. This is the first tranche of photographs with roughly the same number to come in the second part of the posting.

What makes these photographs particularly interesting is:

  1. the breadth of subject matter taken just after the Second World War and the fact that they are medium format
  2. the relaxed nature and beauty of the photographs of the children, and the light!
  3. the unknown images of places such as Bondi Beach and historical monuments, such as that of the forlorn The Dog on the Tuckerbox
  4. the photographs of the motor sport activity of hillclimbing, unfortunately no place known but its has been suggested it could be the 90-years-old Maldon hill climb at Mt Tarrengower because of the box-ironbark (and the fact that there are photographs of Maldon in the collection).

.
Variously we have country towns, theatrical groups, sailing, boating, churches, Sydney ferries, a trip to Maldon in Victoria for the Maldon Show, family picnics, cars and caravans, houses and horse riding, churches and children, and the oh so cute dogs in their own car boxes. So Australian. The photographs really give an extensive insight into suburban life in Australia just after the privations of the Second World War… and the photographer had a good eye. That is what is most important – that they knew how to take a good photograph.

Talking to my friend James McArdle who writes the oh so excellent On this Date in Photography website (essential reading!), he was unaware of the time it takes to prepare images for these postings. It has literally taken me hours and hours of hard work to scan these negatives and then digitally clean and balance them. All to give them a new lease of life in the world, to preserve their captured memories and histories. I hope you can appreciate all the hard work and admire the images I have revealed.

Dr Marcus Bunyan

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

 

 

APS (Australian Photographic Services?) Developing and Printing Service 'Film packets and negatives' 1946-47

APS (Australian Photographic Services?) Developing and Printing Service 'Film packets and negatives' 1946-47

 

APS (Australian Photographic Services?) Developing and Printing Service
Film packets and negatives
1946-47
Negatives: 2 1/4″ square (6 x 6 cm)
Packet (closed): 3 7/8 x 3 1/4″ (10 cm x 8 cm)
Collection of Nicholas Henderson

 

Voigtländer Brillant 1930s

 

Voigtländer Billiant
1930s
Photograph by Rama, Wikimedia Commons, Cc-by-sa-2.0-fr

 

 

The Voigtländer Brillant is a range of pseudo-TLR cameras, and later true TLR cameras, taking 6 × 6 cm exposures on 120 film, made by Voigtländer from 1932. Famed Hungarian-Dutch photographer Eva Besnyö used a Brillant for her early work.

 

Unknown photographer (Australian) 'Untitled (Circular Quay, Sydney)' 1946-47

 

Unknown photographer (Australian)
Untitled (Circular Quay, Sydney)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Karrabee ferry, Sydney, leaving High St Wharf, Kurraba in the background)' 1946-47

 

Unknown photographer (Australian)
Untitled (Karrabee ferry, Sydney, leaving High St Wharf, Kurraba in the background)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

 

Karingal and Karrabee ferry

Karingal and Karrabee were built by Morrison & Sinclair, Balmain for Sydney Ferries Limited, being launched in 1913. They were the smallest of the round-ended K-class Sydney ferries, and could carry 608 and 653 passengers respectively.

They were near identical sister ferries operated by Sydney Ferries Limited and its NSW State Government operated successors on Sydney Harbour from 1913 until 1984. Wooden ferries built at the time of Sydney Ferries’ rapid early twentieth century, they were the smallest of the round-end “K-class ferries”.

The ferries were built as coal-fired steamer and were converted to diesel in the 1930s – the first Sydney Harbour ferries to be so converted. Unlike many early twentieth century Sydney Ferries, they survived the opening of the Sydney Harbour Bridge in the 1930s, and the State Government takeover in 1951.

Karrabee sank at Circular Quay after taking on water during the Great Ferry Race in 1984 – an incident that received extensive media coverage – and did not return to service. Karingal, and the other three remaining old wooden ferries, were taken out of service shortly after Karrabee’s sinking. In service for 71 years, they were among the longest-serving ferries on Sydney Harbour.

“Karingal” and “Karrabee” are Australian Aboriginal words meaning ‘happy home’ and ‘cockatoo’ respectively.

Text from the Wikipedia website [Online] Cited 12/12/2019

 

Unknown photographer (Australian) 'Untitled (Bondi Beach, Sydney)' 1946-47

 

Unknown photographer (Australian)
Untitled (Bondi Beach, Sydney)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Bondi Beach, Sydney)' 1946-47

 

Unknown photographer (Australian)
Untitled (Bondi Beach, Sydney)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Bondi Beach, Sydney)' 1946-47

 

Unknown photographer (Australian)
Untitled (Bondi Beach, Sydney)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (The Dog on the Tuckerbox)' 1946-47

 

Unknown photographer (Australian)
Untitled (The Dog on the Tuckerbox)
Gundagai, 1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (The Dog on the Tuckerbox)' 1946-47

 

Unknown photographer (Australian)
Untitled (The Dog on the Tuckerbox)
Gundagai, 1946-47
Medium format negative
Collection of Nicholas Henderson

 

 

The Dog on the Tuckerbox

The Dog on the Tuckerbox is an Australian historical monument and tourist attraction, located at Snake Gully, approximately five miles (eight kilometres) from Gundagai, New South Wales as described in the song of the same name.

The inspiration for the statue has been traced to a doggerel poem, “Bullocky Bill”, published anonymously by “Bowyang Yorke” in 1857 (other references have 1880 in the Gundagai Times, however confirmation of either is hard to find), which humorously describes a series of misfortunes faced by a bullock driver, culminating in his dog either sitting on or spoiling the food in his tucker-box (an Australian colloquialism for a box that holds food, similar to a lunchbox, but larger). …

A dog monument was first erected at a site nine miles from Gundagai in 1926. Gundagai stonemason Frank Rusconi suggested a memorial using the legend of the Dog on the Tuckerbox in 1928; and in 1932 the proposal was taken up by the community…

The Back to Gundagai Committee chose the Five Mile camping site rather than the Nine Mile Peg as a location for the monument on the basis that it was more convenient to the Hume Highway and closer to the town, thereby more beneficial to tourism.

A nationwide competition was held to obtain the most suitable inscription for the monument. The chosen inscription on the base of the monument was written by Brian Fitzpatrick of Sydney. The inscription says:

“Earth’s self upholds this monument
To conquerors who won her when
Wooing was dangerous, and now
Are gathered unto her again.”

The dog section of the monument was modelled by Rusconi and cast at ‘Oliver’s Foundry’ in Sydney. Rusconi also sculpted its base.

The Dog on the Tuckerbox monument was erected in 1932 as part of ‘Back to Gundagai’ week, and a large crowd “gathered to her again” to witness the unveiling by Prime Minister Joseph Lyons on 28 November 1932. It was planned to donate money placed in the wishing well at the base of the monument to the Gundagai District Hospital. A souvenir shop was also opened nearby. Copyright on the monument was vested in the Gundagai Hospital, who for many years received a useful income from receipt of royalties from firms using the iconic image.

Text from the Wikipedia website [Online] Cited 12/12/2019

 

Unknown photographer (Australian) 'Untitled (hillclimb, possibly at Maldon, Victoria)' 1946-47

 

Unknown photographer (Australian)
Untitled (hillclimb, possibly at Maldon, Victoria)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (hillclimb, possibly at Maldon, Victoria)' (detail) 1946-47

 

Unknown photographer (Australian)
Untitled (hillclimb, possibly at Maldon, Victoria) (detail)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (hillclimb, possibly at Maldon, Victoria)' 1946-47

 

Unknown photographer (Australian)
Untitled (hillclimb, possibly at Maldon, Victoria)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

 

Unknown location, possibly the 90-years-old Maldon hill climb at Mt Tarrengower because of the box-ironbark (and the fact that there are photographs of Maldon in the collection).

 

Unknown photographer (Australian) 'Untitled (hillclimb, possibly at Maldon, Victoria)' (detail) 1946-47

 

Unknown photographer (Australian)
Untitled (hillclimb, possibly at Maldon, Victoria) (detail)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (hillclimb, possibly at Maldon, Victoria)' 1946-47

 

Unknown photographer (Australian)
Untitled (hillclimb, possibly at Maldon, Victoria)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (hillclimb, possibly at Maldon, Victoria)' (detail) 1946-47

 

Unknown photographer (Australian)
Untitled (hillclimb, possibly at Maldon, Victoria) (detail)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (boat)' 1946-47

 

Unknown photographer (Australian)
Untitled (boat)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (boat at sea)' 1946-47

 

Unknown photographer (Australian)
Untitled (boat at sea)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (child on porch)' 1946-47

 

Unknown photographer (Australian)
Untitled (child on porch)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (boy outside house)' 1946-47

 

Unknown photographer (Australian)
Untitled (boy outside house)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (boy smiling)' 1946-47

 

Unknown photographer (Australian)
Untitled (boy smiling)
1946-47
Medium format negative
Collection of Nicholas Henderson