Posts Tagged ‘documentary photography

05
Jun
20

Text: ‘Prospect/us, protect us: plague and resumption in fin de siècle Sydney’ on John Degotardi Jr.’s ‘The Plague Albums’, Sydney, 1900

June 2020

Views taken during Cleansing Operations, Quarantine Area, Sydney, 1900, under the supervision of Mr George McCredie, F.I.A., N.S.W. photographed by John Degotardi Jr. also known as The Plague Albums.

6 albums containing 379 photoprints

 

John Degotardi Jr. (Australian, 1860-1937) '264. Professional Ratcatchers' 1900

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
264. Professional Ratcatchers
1900
From Vol. IV of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

 

Abstract

This text examines the photographs of John Degotardi Jr., photographer for the New South Wales Department of Public Works, who produced 6 photographic albums containing 379 photoprints of the plague in The Rocks, Sydney, 1900, also known as The Plague Albums.

It proposes alternate interpretations of the photographs, readings that both confirm the original purpose for their existence on the one hand, and subvert that purpose, and their formal legacy, on the other. In so doing we can begin to understand what an incredibly sophisticated photographer John Degotardi Jr. was, and how he deserves much more recognition than has been accorded him at present in the history of Australian photography.

 

Keywords

John Degotardi Jr., The Plague Albums, Sydney, Australia, bubonic plague, plague in Sydney, photography, art, urban landscape, the Prospect, prospectus, infection, rats, disease, plague, resumption, slum, community, The Rocks, Millers Point, Sydney Harbour Bridge.

Download Prospect/us, protect us (1.6Mb pdf)

 

 

Prospect/us, protect us: plague and resumption in fin de siècle Sydney

On John Degotardi Jr.’s The Plague Albums, Sydney, 1900

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During this time of pestilence, I came across several online articles about the outbreak of bubonic plague that occurred in Sydney in 1900 (in particular “Purging Pestilence – Plague!”1), the infection more virulent – don’t you love that word – in the harbour side slums around Darling Harbour, Millers Point and The Rocks but covering “the whole of the quarantine area, which stretched from Millers Point east to George Street, along Argyle, Upper Fort, and Essex Streets thence south to Chippendale, covering the area between Darling Harbour and Kent Streets, west to Cowper Street, Glebe, along City Road to the area bounded by Abercrombie, Ivy, Cleveland Streets, and the railway. The area east from George Street enclosed by Riley, Liverpool, Elizabeth and Goulburn Streets; Gipps, Campbell and George Streets were also quarantined, as were certain areas in Woolloomooloo, Paddington, Redfern and Manly.”2

Under the supervision of architect and consulting engineer Mr George McCredie, who was appointed by the Government to take charge of all quarantine activities in the Sydney area, work began on March 23, 1900 to cleanse the infected areas, and through compulsory purchase, or resumption (Australian law: the action, on the part of the Crown or other authority, of reassuming possession of lands, rights, etc., previously granted to another), to demolish slum properties. The buildings selected for demolition because of the health risks they supposedly raised, were recorded by photography,3 through the auspices of John Degotardi Jr., photographer for the New South Wales Department of Public Works, who produced 6 photographic albums containing 379 photoprints of the plague in The Rocks, Sydney, 1900, also known as The Plague Albums.

Degotardi Jr.’s photographs, commissioned as result of the outbreak, “are largely of buildings requiring to be demolished, and include the interior and exterior of houses, stores, warehouses and wharves, and surrounding streets, lanes and yards, thus providing a fairly clear indication of the state of the city during and immediately after the plague.” They document property and living conditions before, during and after the outbreak of plague. “George McCredie noted in a letter to Sir William Lyne that ‘Where it was found necessary to pull down premises or destroy outbuildings photographs were taken of them before their demolition, and in order to prepare in case of future litigation, each inspector was instructed to take careful notes of any property that might be destroyed.'”4

Probably taken on a large format glass plate camera (although no details are given), the resultant album photographs, now scanned, are available at high resolution (600dpi) and 130Mb file size images on the New South Wales State Archives and Records website copyright free, in the public domain. While it is admirable to have these photographs online, the scans have been left in their original condition, as is an archives want, in order to protect the presumed integrity of the original artefact. In other words, over 100 years after the taking of the photograph, this is the current physical state of the object and this is how the images should be seen today. You can see a couple of iterations of the original scans below, replete with their sickly yellow hue, which does not allow the viewer to really appreciate the scene, the photograph as a complete composition, or the skill of the photographer when observing and capturing the urban terrain. This is not how these photographs would have appeared when originally produced and their deterioration is akin to a layer of yellowing varnish that obscures the colours and details of some Old Master painting, which has discoloured with age. Conservators do not leave this layer of yellow in place, they remove it. The same can be said of discoloured photographs.

In this case, I spent many hours restoring these photographs to their pristine condition, removing colour and dust spots, so that I may study the scene intimately, zooming into the image (because of their high quality) to observe everyday nuances of Sydney life in 1900. In so doing we can begin to understand what an incredibly sophisticated photographer John Degotardi Jr. was, and how he deserves much more recognition than has been accorded him at present in the history of Australian photography. Let us set the stage, then, for the taking of these photographs.

We note that for the photographer this was a job, working as he did for the New South Wales Department of Public Works. He was to document the quarantine area to provide a clear indication of the state of the city during and immediately after the plague, those photographs of interiors and exteriors, of buildings and boundaries (streets) – things that “exist to insure order and security and continuity and to give citizens a visible status”5 – also needed in case of future litigation (presumably by aggrieved landowners) after they were compulsorily purchased. Here we begin to understand that the aesthetic of urban landscape photography is always contextual and political. In his photographs Degotardi Jr. maps out the boundaries of his, the governments, and the camera’s authority – one’s position (and that of his all seeing, ambivalent ‘mechanical eye’), “not just a matter of where one stands, but that it is more comprehensively spatial, social and economic.”6

Often in these photographs (not necessarily in this posting, but more generally in the images found online), Degotardi Jr.’s camera occupies and draws on “the seventeenth century device of the ‘prospect’, an oblique landscape viewpoint located between ground and aerial perspectives… The viewpoint of the prospect hovers in mid air between the aerial image and the landscape view, oblique to the terrain it is depicting. It provides an order that would otherwise be illegible to the grounded eye.”7 In other words, Degotardi Jr. positions his camera to best bring order to the urban chaos, picturing through the ritual of taking photographs, a surveyed and regulated order (both economic and legislative) that determines the urban grid – in this case, of the quarantine areas / remediated areas, dis-ease areas / proposed redevelopment, business areas – in some of the oldest suburbs of Sydney. Following Goldswain’s commentary on the photographs of John Joseph Dwyer and his mapping of the gold mining city of Kalgoorlie in Western Australia, we might concur that, “It is not unreasonable to suggest that Dwyer’s [Degotardi Jr.’s] camera is literally prospecting, combining both senses of the word, mapping the city and its suburbs to find an economic potential in its ordered state…”8

In his “views”, Degotardi Jr.’s camera often portrays people (in)congruously in doorways or on streets, used to document scale or to bare witness to their surroundings. People, mainly men, go about their work often demolishing buildings or cleaning rubbish in the streets, stopping as the photograph is taken, or deliberately posed by the photographer. In some images the photographer sets up a scene that has no logic at all. For example, the photograph of Nos. 223, 225 Sussex Street (below) evidence a shoeless lad, a group of young men, a painter, and two firemen who hold a deflated fire hose which leads out of shot in one direction and terminates under the eves of a row of shops in the other direction, seemingly connected to nothing. Their surroundings are declamatory and, for today’s reader, insightful. In a building erected by P.R. Larkin in 1866, the row of shops includes a “Johnny All Sorts” – a business that bought and sold all sorts of things. To the right of the group are pasted billboards, much as today, two of which advertise a plague remedy and disinfectant soap (sound familiar in 2020?):

Avoid the
PLAGUE!
Purchase at Once!!
Prof. VON ELSEBERG’S
‘KALTHA’
Just Arrived

Notice to householders
BLACK DEATH
or Bubonic Plague
SANITOL
Disinfectant soap
3d Double tablets 3d

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In other photographs, men stand in doorways, hidden in the shadows (No. 20 Upton Street). Many are images of workers, homeowners, citizens and families who live a hand to mouth existence. The intimacy of these photographs portrays, betrays, the place where societies rejects are housed, the setting (the place or type of surroundings where something is positioned or where an event takes place) of human lives; the “setting”, or settling, of human lives, as in the solidification of space and place, the environment of existence. As a group of photographs the series is an extraordinary social document of poverty and squalor, of the desperation of people just getting by.

To the photographer, and to the people and buildings he was photographing, the familiar serves as a point of departure. Firstly, Degotardi Jr. documents what was there – this diseased land, a landscape not only as a composition of spaces but also a composition of a web of boundaries. Secondly, he photographs to map out what was to be “resumed” through the Resumption Act 1900, the city “fathers” using the outbreak of bubonic plague as a convenient excuse to compulsorily purchase land in the loosely defined quarantine area, offering the residents compensation “estimated without reference to any alteration in the value of such land arising from any purchase or any appropriation or resumption for any purpose mentioned in this Act or the establishing of any public works on any land the subject of any such purchase, appropriation, or resumption.” These albums, then, become a prospectus, a prospect/us, an authentic record of the terms, the conditions and the contexts for the reformist attitude in the minds of these city fathers: not to protect us (the populace) but to prospect us, using land resumption as the tool to get rid of the old and bring in the new. The plan was to demolish the existing structures and rebuild to a grand design.

Factored into the design of the Resumption Plans was the need to keep Dawes Point free for the construction of a possible bridge across the harbour. “While public health was a convenient excuse for resumptions, the need for a harbour bridge may also have motivated the authorities.”9

“Plans were underway even at these early stages and a good 23 years before construction of the bridge commenced. Even at the turn of the nineteenth century, it was clear that there would need to be a widened thoroughfare to accommodate traffic entering and exiting the bridge, and many buildings would need to be sacrificed to achieve this. The bubonic plague outbreak offered the ideal opportunity to highlight the inadequacies in a lot of buildings, and the chance to condemn the area as slum, whose only chance of redemption was through mass demolition.”10

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But as an article by Gillian McNally in The Daily Telegraph insightfully observes, “
The reshaping of the city … provided a convenient “public health” excuse for resumption of private property. The NSW Government took back ownership of virtually the entire headland from Circular Quay to Darling Harbour and demolished hundreds of slum houses and businesses in what are now prime real estate precincts such as George St, Sussex St, Kent St and Martin Place. There was little attempt to define a slum area and there was no recognition of the rights of tenants as resumptions took out a house here, a street there and great swathes of properties in some suburbs to improve crooked roads and thoroughfares.”11

If we define a landscape as an environment modified by the permanent presence of a group of people,12 then what these photographs do, in one sense, is document the death throes of the communities that created this urban landscape. As J.B. Jackson notes, “No group sets out to create a landscape, of course. What it sets out to do is to create a community, and the landscape as its visible manifestation is simply the by-product of people working and living, sometimes coming together, sometimes staying apart, but always recognising their interdependence.”13

But, as Denis Cosgrove observes, the concept of landscape (and thus of community) is always powerful and political.

“Landscape was a ‘way of seeing’ that was bourgeois, individualist and related to the exercise of power over space. The basic theory and technique of the landscape way of seeing was linear perspective … and is closely related by [Alberti] to social class and spatial hierarchy. It employs the same geometry as merchant trading and accounting, navigation, land survey, mapping and artillery. Perspective is first applied in the city and then to a country subjugated to urban control and viewed as landscape. … The visual power given by the landscape way of seeing complements the real power humans exert over land as property.”14

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The photographs in these albums, then, evidence the real power of the city fathers over land as property, their property and not that of the citizens or the communities that had grown up in these unregulated buildings and shantytowns. They, the city fathers, ordered these pictures into existence. The landscape thus portrayed, is “a way of seeing, a composition and structuring of the world so that it may be appropriated by a detached, individual spectator to whom an illusion of order and control is offered through the composition of space according to the certainties of geometry.”15 Residents, armed with lime, carbolic acid and sulfuric acid, were then enlisted to cleanse, disinfect and even burn and demolish their own houses in infected areas.16

But in another and far more important sense, what these photographs document are the lives of ordinary people, people who form a community of souls, for whom a sense of community was of vital, life giving importance. The photographs record their existence as traces and energies from the past that impinge on our consciousness in the present. Here are the ratcatchers, modest men with their traps and cages, bowties and pipes, all adorned bar one in the obligatory hat; here are two Chinese gentlemen surrounded by squalor and chopped wood, one sitting on a pile of rocks, both portrayed with a touching dignity; here in a rubble strewn Wexford street men resignedly sit on the ground or stare pensively at the camera, pondering we know not what, while on the other side of the street children stare inquisitively at the camera; and there smoke arises from amongst the demolished Exeter Place as labourers, persons doing unskilled manual work for wages, dance a ballet of destruction amongst the rubble. Children on a veranda, pails in a dirt back yard, chickens, and children, roaming free… and a rock tied on a piece of string guards the entrance to a door.

Pails and tins and rocks and wood and chickens and children and rats and butchers and dirt and sugar… and a rock tied on a piece of string, like the great pendulum of time, marking all their existences. And yet… and yet, what that most excellent photographer John Degotardi Jr. does (in this second sense), is not just to record as instructed, their quarantine, their dispossession – but through his photographs, he empathises with the people, with their community of existence. While his photographs are not sentimental about humankind, traces of humanity are ever-present in his pictures. Unlike the Parisian Eugène Atget, who established a beneficial “distance between man and his environment” here, Degotardi Jr. engages in a conversation with the people and the city. And in so doing, in so immersing himself in (t)his project, he lifts his photographs out of the ordinary, out of (t)his world.

As Jon Kabat-Zinn has so eloquently observed,

“Effortless activity happens at moments in dance and in sports at the highest levels of performance; when it does, it takes everybody’s breath away. But it also happens in every area of human activity, from painting to car repair to parenting. Years of practice and experience combine on some occasions, giving rise to a new capacity to let execution unfold beyond technique, beyond exertion, beyond thinking. Action then becomes a pure expression of art, of being, of letting go of all doing – a merging of mind and body in motion.”17

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It would seem to me that this is the great achievement of a Department of Public Works photographer who was hired to do a job: that he transcended his subject matter by letting execution unfold beyond technique, by immersing himself in the derivation of composition, perspective, light and form, place and context, feeling and emotion. So while these photographs in the obvious obey the command of the city fathers, of the planners, of patriarchy and the capital of industry, in the immersive and subversive they undermine the prospectus that first proposed them. Unable to protect the people, to protect us, from the demolition of community (to the benefit of commerce hidden under the “public health” excuse), John Degotardi Jr. leaves, through his photographs, a lasting legacy of lives that matter, not bureaucracy that doesn’t. He imagines streets and buildings and lives, pictured for eternity through the psychogeography of the city. And if we think of the long queues of unemployed in our current pandemic, here are also lives that matter – the lives of the dead and the destitute, each one a valuable, sentient, human being.

Dr Marcus Bunyan

Word count: 2,809

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Please click on the photographs for a larger version of the image. Many thanks to the brains trust on the Lost Sydney Facebook web page for helping in my research in locating exact positions of some of the photographs and the location of the resumption maps online. Apologies if I have got anything incorrect. All photographs are in the public domain. More photographs can be found on the State Library of New South Wales website, New South Wales State Archives and Records website and the John Degotardi Flickr stream.

 

Footnotes

  1. Anonymous. “Purging Pestilence – Plague!” on the New South Wales State Archives and Records website [Online] Cited 25 May 2020
  2. NRS-12487 | Photographs taken during cleansing operations in quarantine areas, Sydney. Text from the State Archives of New South Wales website [Online] Cited 11/04/2020.
  3. Alan Davies. “Photography in Australia,” in Celebrating 100 years of the Mitchell Library. Sydney: State Library of NSW, 2000. p. 86.
  4. Footnote 1. NSW Parliamentary Debates, 1900, vol. CIII, p. 111 quoted in Max Kelly. Plague Sydney. Marrickville, NSW: Doak Press, 1981 in NRS-12487 | Photographs taken during cleansing operations in quarantine areas, Sydney. Text from the State Archives of New South Wales website [Online] Cited 11/04/2020.
  5. J.B. Jackson. Discovering the Vernacular Landscape. New Haven: Yale University Press, 1984, p. 12.
  6. Philip Goldswain. “Surveying the Field, Picturing the Grid: John Joseph Dwyer’s Urban and Industrial Landscapes,” in Phillip Goldswain and William Taylor (eds.,). An Everyday Transience: The Urban Imaginary of Goldfields Photographer John Joseph Dwyer. UWA Publishing, 2010, p. 65-66.
  7. Ibid., p. 63.
  8. Ibid., p. 66.
  9. Anonymous. “Purging Pestilence – Plague!” on the State Archives of New South Wales website (archived) [Online] Cited 10 April 2020.
  10. Anonymous. “Bubonic Plague outbreak in Sydney in the 1900s helps Politicians to clear the way for transport progress & landmark,” on The Digger website 13th August 2016 [Online] Cited 10/40/2020.
  11. Gillian McNally. “Bubonic plague Sydney: How a city survived the black death in 1900,” in The Daily Telegraph September 3, 2015 [Online] Cited 16 May 2020.
  12. J.B. Jackson. Discovering the Vernacular Landscape. New Haven: Yale University Press, 1984, p. 12.
  13. Ibid.,
  14. Abstract in Denis Cosgrove. “Prospect, Perspective and the Evolution of the Landscape Idea,” in Transactions of the Institute of British Geographers, Vol. 10, No. 1, 1985, pp. 45-62.
  15. Ibid., p. 55.
  16. McNally, op.cit.,
  17. Jon Kabat-Zinn. Wherever You Go There You Are. New York: Hachette Books, 1994, p. 44.

 

 

 

The political landscape

“I am enumerating some of the simplest and most visible elements in what can be called the political landscape: the landscape which evolved partly out of experience, partly from design, to meet some of the needs of men and women in their political [ie. social] guise. The political elements I have in mind are such things as walls and boundaries and highways and monuments and public places; these have a definite role to play in the landscape. They exist to insure order and security and continuity and to give citizens a visible status. They serve to remind us of our rights and obligations and of our history.”

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J.B. Jackson. ‘Discovering the Vernacular Landscape’. Yale University Press, New Haven, 1984, p. 12.

 

Boundaries

“The most basic political element in any landscape is the boundary. Politically speaking what matters first is the formation of a community of responsible citizens, a well-defined territory composed of small holdings and a number of public spaces; so the first step toward organizing space is the defining of that territory, after which we divide it for the individual members. Boundaries, therefore, unmistakable, permanent, inviolate boundaries, are essential.”

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J.B. Jackson. ‘Discovering the Vernacular Landscape’. Yale University Press, New Haven, 1984, p. 13.

 

“If we return to the notion that photography is an extension of pre-existing pictorial conventions, then it could be argued that the common feature of all the preceding images is the photographer’s reliance on the ‘prospect’ as the compositional device. The viewpoint of the prospect hovers in mid air between the aerial image and the landscape view, oblique to the terrain it is depicting. It provides an order that would otherwise be illegible to the grounded eye. John Macarthur suggests that the difference between the grounded landscape views and the prospect was not simply that different kinds of views required different kinds of representations. For theorists of the picturesque, a prospect was kind of view that could not be a picture.16 Macarthur distinguishes between the prospect and the landscape view as the difference between the cadastral [(of a map or survey) showing the extent, value, and ownership of land, especially for taxation] and the pictorial. Geographer Denis Cosgrove argues that the prospect was first used to ‘denote a view outward, a looking forward in time as well as space’ and that by the end of the sixteenth century it carried the ‘sense of an extensive or commanding sight or view, a view of the landscape as affected by one’s position.’17. The inference is that ‘one’s position’ is not just a matter of where one stands, but that it is more comprehensively spatial, social and economic. Cosgrove’s analysis of the prospect suggests an economic imperative behind its use and he cites its importance in Tudor England, where in combination with the ‘Malicious craft’ of surveying, it reflected a command over developed and commercially run farming estates of Tudor enclosures and the new landowners of monastic estates.18 Cosgrove notes the emergence of the verb ‘to prospect’ in the nineteenth century as a result of the speculative activities of gold mining.19.

It is not unreasonable to suggest that Dwyer’s camera is literally prospecting, combining both senses of the word, mapping the city and its suburbs to find an economic potential in its ordered state… Dwyer produces what could be considered Cosgrove’s spatial, chronological and commercial narrative compressed into the frame of the photograph…”

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Philip Goldswain. “Surveying the Field, Picturing the Grid: John Joseph Dwyer’s Urban and Industrial Landscapes,” in Phillip Goldswain and William Taylor (eds.,). ‘An Everyday Transience: The Urban Imaginary of Goldfields Photographer John Joseph Dwyer’. UWA Publishing, 2010, p. 65-66.

16. J. Macarthur. ‘The Picturesque: Architecture, Disgust and Other Irregularities’. Routledge, London, 2007, p. 190.
17. ‘Oxford English Dictionary’ as cited by D. Cosgrove, “Prospect, Perspective and the Evolution of the landscape Idea”, in ‘Transactions of the Institute of British Geographers’, New Series, Vol. 10, No. 1, 1985, p. 55.
18. Cosgrove, “Prospect,” p. 55.
19. Ibid., p. 61, note 64.

 

 

The Bubonic Plague hit Sydney in January 1900. Spreading from the waterfront, the rats carried the plague throughout the city. Within eight months 303 cases were reported and 103 people were dead.

When bubonic plague struck Sydney in 1900, George McCredie (1859-1903) was appointed by the Government to take charge of all quarantine activities in the Sydney area, beginning work on March 23, 1900. At the time of his appointment, McCredie was an architect and consulting engineer with offices in the Mutual Life of New York Building in Martin Place. McCredie’s appointment was much criticised in Parliament, though it was agreed later that his work was successful.

The infected areas, and buildings selected for demolition because of the health risks they supposedly raised, were recorded by photography. Most of the buildings demolished were considered slum buildings. John Degotardi Junior (1860-1937) worked at the NSW Government Printing Office and was photographer with the NSW Department of Public Works from 6 January 1897-1919.

 

Darling Harbour Wharves Resumption Act 1900 No 10

Mode of estimating compensation

The amount of compensation in respect of any land resumed, as mentioned in sections two and three of this Act, shall be estimated without reference to any alteration in the value of such land arising from any purchase or any appropriation or resumption for any purpose mentioned in this Act or the establishing of any public works on any land the subject of any such purchase, appropriation, or resumption.

Provided also that the amount of compensation in respect of any land so resumed shall be estimated without reference to any alteration in the value of such land arising from any proclamation declaring any place comprising such land to be a station for the performance of quarantine within the meaning of the Quarantine Act 1897, or arising from any things done in pursuance of any such proclamation.

 

 

Cover of from Vol. IV of 'Views taken during Cleansing Operations, Quarantine Area, Sydney, 1900, Vol. IV / under the supervision of Mr George McCredie, F.I.A., N.S.W.'

 

Cover of from Vol. IV of Views taken during Cleansing Operations, Quarantine Area, Sydney, 1900, Vol. IV / under the supervision of Mr George McCredie, F.I.A., N.S.W.
1900
66 silver gelatin photoprints
28 x 49 cm
6 albums containing 379 photoprints also known as The Plague Albums
Mitchell Library, State Library of New South Wales 413017
Public domain

 

Index of from Vol. IV of 'Views taken during Cleansing Operations, Quarantine Area, Sydney, 1900, Vol. IV / under the supervision of Mr George McCredie, F.I.A., N.S.W.'

 

Index from Vol. IV of Views taken during Cleansing Operations, Quarantine Area, Sydney, 1900, Vol. IV / under the supervision of Mr George McCredie, F.I.A., N.S.W. including number 264 Professional Ratcatchers (above)
1900
66 silver gelatin photoprints
28 x 49 cm
6 albums containing 379 photoprints also known as The Plague Albums
Mitchell Library, State Library of New South Wales 413017
Public domain

 

John Degotardi Jr. (Australian, 1860-1937) '8. Sussex Street, looking South from Margaret Street' 1900

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
8. Sussex Street, looking South from Margaret Street
1900
From Vol. I of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

Intersection of Margaret Street and Sussex Street looking south, with the Edinburgh Arms Hotel at the end of the first block on the left

 

John Degotardi Jr. (Australian, 1860-1937) NSW Department of Public Works photographer 'John Degotardi Jr. (Australian, 1860-1937) '8. Sussex Street, looking South from Margaret Street' 1900Sussex Street, looking South from Margaret Street' 1900

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
8. Sussex Street, looking South from Margaret Street (original scan)
1900
From Vol. I of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

Margaret Street and Sussex Street, Sydney

 

Intersection of Margaret Street and Sussex Street looking south, with the Edinburgh Arms Hotel at the end of the first block on the left

 

John Degotardi Jr. (Australian, 1860-1937) '8. Sussex Street, looking South from Margaret Street' 1900 (detail)

John Degotardi Jr. (Australian, 1860-1937) '8. Sussex Street, looking South from Margaret Street' 1900 (detail)

John Degotardi Jr. (Australian, 1860-1937) '8. Sussex Street, looking South from Margaret Street' 1900 (detail)

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
8. Sussex Street, looking South from Margaret Street (details)
1900
From Vol. I of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas     , Sydney
Public domain

 

John Degotardi Jr. (Australian, 1860-1937) '15. No. 27 Sussex Street, Barangaroo, Sydney' 1900

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
15. No. 27 Sussex Street, Barangaroo (rear of)
1900
From Vol. I of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

 

John Degotardi Jr. (Australian, 1860-1937) '16. No. 11 Margaret Street' 1900

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
16. No. 11 Margaret Street, Barangaroo
1900
From Vol. I of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

Views 28 and 29 are diametrically opposite views of the same scene on Kent Street, Sydney

John Degotardi Jr. (Australian, 1860-1937) NSW Department of Public Works photographer '28. Cleansing the streets (Kent St. looking south across Margaret St. Union Hotel at 206 Kent St., Lazarus Rosenfeld at 208 Kent Street and Imperial Manufacturing Co. at 210-212 Kent St.)' 1900

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
28. Cleansing the streets (Kent St. looking south across Margaret St. Union Hotel at 206 Kent St., Lazarus Rosenfeld at 208 Kent Street and Imperial Manufacturing Co. at 210-212 Kent St.) (original scan)
1900
From Vol. I of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

John Degotardi Jr. (Australian, 1860-1937) '28. Cleansing the streets' 1900

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
28. Cleansing the streets (Kent St. looking north across Margaret St., Sydney to 202 & 204 Kent Street)
1900
From Vol. IV of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

This view is of St Phillip’s Anglican church in the distance, standing on Kent St. looking north across Margaret St., Sydney

John Degotardi Jr. (Australian, 1860-1937) '28. Cleansing the streets' 1900 (detail)

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
28. Cleansing the streets (Kent St. looking north across Margaret St., Sydney to 202 & 204 Kent Street) (detail)
1900
From Vol. I of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

John Degotardi Jr. (Australian, 1860-1937) '29. Cleansing the streets' 1900

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
29. Cleansing the streets (Kent St. looking south across Margaret St. Union Hotel at 206 Kent St., Lazarus Rosenfeld at 208 Kent Street and Imperial Manufacturing Co. at 210-212 Kent St.)
1900
From Vol. I of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

 

Views 28 and 29 are diametrically opposite views of the same scene on Kent Street, Sydney. Notice the angle of the fire appliance wheels in both photographs. The fire appliance is a 1891 Shand Mason Steamer. The Union Hotel is at 206 Kent St., Lazarus Rosenfeld is at 208 Kent Street and the Imperial Manufacturing Co. is at 210-212 Kent St.

 

Kent Street, Sydney map

 

Kent Street, Sydney map showing the position from which both of the above photographs were taken (in red), and the position of the Union Hotel on the corner of Kent Street and Margaret Street, with St Phillip’s Anglican church in the distance.

 

John Degotardi Jr. (Australian, 1860-1937) '69. Nos. 223, 225 Sussex Street, Sydney' 1900

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
69. Nos. 223, 225 Sussex Street
1900
From Vol. II of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

 

John Degotardi Jr. (Australian, 1860-1937) '69. Nos. 223, 225 Sussex Street, Sydney' 1900 (detail)

John Degotardi Jr. (Australian, 1860-1937) '69. Nos. 223, 225 Sussex Street, Sydney' 1900 (detail)

John Degotardi Jr. (Australian, 1860-1937) '69. Nos. 223, 225 Sussex Street, Sydney' 1900 (detail)

John Degotardi Jr. (Australian, 1860-1937) '69. Nos. 223, 225 Sussex Street, Sydney' 1900 (detail)

John Degotardi Jr. (Australian, 1860-1937) '69. Nos. 223, 225 Sussex Street, Sydney' 1900 (detail)

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
69. Nos. 223, 225 Sussex Street, Sydney (details)
1900
From Vol. II of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

 

The details of Nos. 223, 225 Sussex Street show a shoeless lad, a group of young men, a painter, and two firemen holding a firehouse… that leads nowhere. Behind, in a building erected by P.R. Larkin in 1866, is a row of shops which includes a “Johnny All Sorts” – a business that bought and sold all sorts of things. To the right of the group are pasted billboards, much as today, two of which advertise a plague remedy and disinfectant soap (sound familiar in 2020?):

Avoid the
PLAGUE!
Purchase at Once!!
Prof. VON ELSEBERG’S
‘KALTHA’
Just Arrived

Notice to householders
BLACK DEATH
or Bubonic Plague
SANITOL
Disinfectant soap
3d Double tablets 3d

 

 

“The Destruction of Rats,” in The Sydney Morning Herald (NSW: 1842-1954) Mon 24 Feb 1902 Page 8 from the Trove website mentioning the steamer Octopus (see below) and Sussex Street (above)

 

John Degotardi Jr. (Australian, 1860-1937) '70. [Octopus] Cleansing the Wharves' 1900

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
70. [Octopus] Cleansing the Wharves
1900
From Vol. II of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

 

Housing and other buildings

The photos were taken by Mr. John Degotardi, Jr., photographer from the Department of Public Works and depict the state of the houses, ‘slum’ buildings and streets at the time of the outbreak – interior and exterior of houses, stores, warehouses and wharves, and lanes and yards – and the cleansing and disinfecting operations which followed.

The photos provide a fairly clear indication of the state of the city during and immediately after the plague.

 

Streetscapes

Quarantine areas were established. These stretched from Millers Point east to George Street, along Argyle, Upper Fort, and Essex Streets then south to Chippendale, covering the area between Darling Harbour and Kent Streets, west to Cowper Street, Glebe, along City Road to the area bounded by Abercrombie, Ivy, Cleveland Streets, and the railway. The area east from George Street enclosed by Riley, Liverpool, Elizabeth and Goulburn Streets, Gipps, Campbell and George Streets were also quarantined, as were certain areas in Woolloomooloo, Paddington, Redfern and Manly.

 

Cleansing

Cleansing and disinfecting operations in the quarantine areas lasted from 24 March – 17 July and included the demolition of ‘slum’ buildings. Local residents were employed to undertake the cleansing, disinfecting, burning and demolition of the infected areas, including their own homes. Shovels, brooms, mattocks, hoses, buckets, and watering cans, were tools used to clear, clean, lime wash and disinfect. Not only buildings and dwellings were subjected to the cleansing operations but also wharves and docks were cleared of silt and sewerage.

Cleansing agents used during the cleansing operations included: solid disinfectant (chloride of lime); liquid disinfectant (carbolic water: miscible carbolic, 3/4 pint water, 1 gallon); sulphuric acid water (sulphuric acid, 1/2 pint water, 1 gallon); carbolic lime white (miscible carbolic 1/2 pint to the gallon).

Rat catchers were employed and the rats burned in a special rat incinerator. Over 44,000 rats were officially killed in the cleansing operations.

 

Sydney Harbour Trust

In 1901 the Sydney Harbour Trust resumed hundreds of properties in The Rocks and Millers Point. While public health was a convenient excuse for resumptions,1 the need for a harbour bridge may also have motivated the authorities. Green Bans in the 1970s on the redevelopment of The Rocks helped preserve this historic area which is now a major tourist attraction. The Rocks area has been under the control of the Sydney Cove Redevelopment Authority since 1970 and the Sydney Harbour Foreshore Authority since 1999.

Anonymous. “Purging Pestilence – Plague!” on the State Archives of New South Wales website (archived) [Online] Cited 10 April 2020

 

  1. The dawn of a new century combined with the Federation of the Australian states to form the Commonwealth of Australia brought a new sense of expectancy, hope and vision for the future to the towns, cites and rural areas of Australia. The outbreak of the Bubonic plague in The Rocks area of Sydney in 1900 was just the catalyst needed to engender a reformist attitude in the minds of the city fathers. Land resumption was the tool used by the city council to get rid of the old and bring in the new. Large sections of The Rocks and Surry Hills were razed and rebuilt. The commercial waterfront areas of Darling Harbour were resumed en masse and redeveloped to better handle the vast amount of goods now passing through the port of Sydney, the existing facilities having become totally inadequate.
    Anonymous. “The History of Sydney: Federation Sydney 1902-1917,” on the Visit Sydney Australia website [Online] Cited 10/04/2020
    See also Darling Harbour Resumption Maps, 1900-1902 on the NSW State Archives website (archived) [Online] Cited 10/04/2020

 

John Degotardi Jr. (Australian, 1860-1937) '80. No. 50 Wexford Street (rear), Chinese bedroom' 1900

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
80. No. 50 Wexford Street (rear), Chinese bedroom
1900
From Vol. II of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

 

Wexford Street crops up repeatedly in the Cleansing photos … it was roughly where Wentworth Avenue now is. The whole area was demolished in slum clearance schemes and rebuilt. (Thank you beachcomber australia for the information)

 

John Degotardi Jr. (Australian, 1860-1937) '82. Wexford Street' 1900

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
82. Wexford Street
1900
From Vol. II of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

Wexford Street, before it was cleared for the construction of Wentworth Avenue.

 

John Degotardi Jr. (Australian, 1860-1937) '95. Rear of No. 16 Exeter Place' 1900

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
95. Rear of No. 16 Exeter Place
1900
From Vol. II of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

John Degotardi Jr. (Australian, 1860-1937) '97. Rubbish tip in Campbell Street' 1900

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
97. Rubbish tip in Campbell Street
1900
From Vol. II of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

John Degotardi Jr. (Australian, 1860-1937) '97. Rubbish tip in Campbell Street' 1900 (detail)

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
97. Rubbish tip in Campbell Street (detail)
1900
From Vol. II of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

John Degotardi Jr. (Australian, 1860-1937) '105. Exeter Place demolished' 1900

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
105. Exeter Place demolished
1900
From Vol. II of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

John Degotardi Jr. (Australian, 1860-1937) '105. Exeter Place demolished' 1900 (detail)

John Degotardi Jr. (Australian, 1860-1937) '105. Exeter Place demolished' 1900 (detail)

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
105. Exeter Place demolished (details)
1900
From Vol. II of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

 

NRS-12487 | Photographs taken during cleansing operations in quarantine areas, Sydney

These are photographs of quarantine areas in Sydney, following the outbreak of bubonic plague in 1900. The photographs were commissioned as result of the outbreak. Mr. George McCredie was in charge of cleansing and disinfecting operations in the quarantine areas. He commenced work on 23 March 1900. He was one of 28 temporary sanitary inspectors appointed by the Board of Health in conjunction with the Department of Public Works which was made responsible for the cleansing operations.

George McCredie noted in a letter to Sir William Lyne that ‘Where it was found necessary to pull down premises or destroy outbuildings photographs were taken of them before their demolition, and in order to prepare in case of future litigation, each inspector was instructed to take careful notes of any property that might be destroyed.'(1)

The photographs were taken by Mr. John Degotardi, Jr., photographer from the Department of Public Works. The photographs are largely of buildings requiring to be demolished, and include the interior and exterior of houses, stores, warehouses and wharves, and surrounding streets, lanes and yards, thus providing a fairly clear indication of the state of the city during and immediately after the plague.

The views cover the whole of the quarantine area, which stretched from Millers Point east to George Street, along Argyle, Upper Fort, and Essex Streets thence south to Chippendale, covering the area between Darling Harbour and Kent Streets, west to Cowper Street, Glebe, along City Road to the area bounded by Abercrombie, Ivy, Cleveland Streets, and the railway. The area east from George Street enclosed by Riley, Liverpool, Elizabeth and Goulburn Streets; Gipps, Campbell and George Streets were also quarantined, as were certain areas in Woolloomooloo, Paddington, Redfern and Manly.

They provide a visual report of the conditions in the area at the turn of the century. The bubonic plague was epidemic from 19 January to 9 August 1900. 303 people were stricken and 103 people died.

The President of the Board of Health and Chief Medical Advisor, Dr. John Ashburton Thompson, investigated the spread of the disease. In the 1890s it was recognised that there was a connection between rats and the plague. In 1900 the Department of Health believed the first defence against the disease was the extermination of rats. They employed 3000 men at the height of the epidemic to catch and kill rats.

The Government cleansed large areas of the city. Contacts with the disease were isolated, actual cases hospitalised and people living in the infected areas were inoculated. By carefully plotting reported cases on large scale maps the course of the plague was traced and it became evident that rats preceded outbreaks of the disease.

Each volume is labelled: ‘Views taken during cleansing operations, quarantine areas, Sydney, 1900, under supervision of Mr. George McCredie, F.I.A., N.S.W.’ There is a numerical list of photographs [labelled as ‘index’] inside the front cover of each volume. The volumes are incomplete, volume VI lacking almost half the views listed in the ‘index’, the great majority of which are of the Manly area. Sundry pages are also missing from all but volume IV.

Text from the State Archives of New South Wales website [Online] Cited 11/04/2020

Endnote

(1) NSW Parliamentary Debates, 1900, vol. CIII, p.111 quoted in Max Kelly, Plague Sydney, Marrickville, NSW, Doak Press, 1981.

 

 

John Degotardi Jr. (Australian, 1860-1937) '154. No. 1 Victoria Place' 1900

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
154. No. 1 Victoria Place
1900
From Vol. III of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

John Degotardi Jr. (Australian, 1860-1937) '154. No. 1 Victoria Place' 1900 (detail)

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
154. No. 1 Victoria Place (detail)
1900
From Vol. III of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

John Degotardi Jr. (Australian, 1860-1937) '177. Nos. 1, 3, 5 Blackburn Street' 1900

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
177. Nos. 1, 3, 5 Blackburn Street
1900
From Vol. III of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

 

Amazed to find that this terrace (1, 3, and 5 Blackburn Street) survived the slum clearance and road widening in this area of Surry Hills. The houses are STILL THERE albeit much altered. See Google Maps Street View – goo.gl/maps/nLFbY – (Thank you beachcomber australia for the information)

 

John Degotardi Jr. (Australian, 1860-1937) '179. Clearing the rubbish at Smith’s Wharf' 1900

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
179. Clearing the rubbish at Smith’s Wharf
1900
From Vol. III of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

 

“Smith’s Wharf” was on the western edge of Millers Point – we are looking south up Darling Harbour. The wharf was redeveloped shortly after and was then known as “Dalgety’s Wharf”. The amazing thing is that John Degotardi Jnr the photographer managed to make a routine photo of a barge clearing rubbish from a wharf into an interesting study in composition, perspectives, light and shapes. (Thank you beachcomber australia for the information)

I couldn’t have put it better about the photographer – he certainly knew his stuff!

 

Plan E of the Darling Harbour Resumptions

 

Plan E of the Darling Harbour Resumptions noting the position of Smith’s Wharf

 

John Degotardi Jr. (Australian, 1860-1937) '179. Clearing the rubbish at Smith’s Wharf' 1900 (detail)

John Degotardi Jr. (Australian, 1860-1937) '179. Clearing the rubbish at Smith’s Wharf' 1900 (detail)

John Degotardi Jr. (Australian, 1860-1937) '179. Clearing the rubbish at Smith’s Wharf' 1900 (detail)

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
179. Clearing the rubbish at Smith’s Wharf (details)
1900
From Vol. III of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

John Degotardi Jr. (Australian, 1860-1937) '211. No. 20 Upton Street' 1900

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
211. No. 20 Upton Street
1900
From Vol. IV of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

John Degotardi Jr. (Australian, 1860-1937) '211. No. 20 Upton Street' 1900 (detail)

John Degotardi Jr. (Australian, 1860-1937) '211. No. 20 Upton Street' 1900 (detail)

John Degotardi Jr. (Australian, 1860-1937) '211. No. 20 Upton Street' 1900 (detail)

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
211. No. 20 Upton Street (details)
1900
From Vol. IV of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

 

La Peste (The Plague)

Albert Camus

What does plague mean for humanity – in his philosophy… we are all, unbeknownst to us, already living through a plague. That is, a widespread, silent invisible disease that may kill any of us at any time and destroy the lives we assumed were solid [death].

The actual historical incidents we call plagues are merely concentrations of a universal precondition, they are dramatic instances of a perpetual rule: that we are vulnerable to being randomly exterminated, by a bacillus, an accident or the actions of our fellow humans. Our exposure to plague is at the heart of Camus’s view that our lives are fundamentally on the edge of what he termed ‘the absurd’.

For Camus, when it comes to dying, there is no progress in history, there is no escape from our frailty; being alive always was and will always remain an emergency, as one might put it, truly an inescapable ‘underlying condition’.

Plague or no plague, there is always – as it were – the plague, if what we mean by this is a susceptibility to sudden death, an event that can render our lives instantaneously meaningless. 

Life is a hospice, never a hospital.

Camus writes: ‘Pestilence is so common, there have been as many plagues in the world as there have been wars, yet plagues and wars always find people equally unprepared.’

In one of the most central lines of the book, Camus writes: ‘This whole thing is not about heroism. It’s about decency. It may seem a ridiculous idea, but the only way to fight the plague is with decency.’

In the words of one of his characters, Camus knew, as we do not, that ‘everyone has inside it himself this plague, because no one in the world, no one, can ever be immune.’

Anonymous. “Camus and The Plague,” on the School of Life website [Online] Cited 16/05/2020

 

 

 

Albert Camus – The Plague

There is no more important book to understand our times than Albert Camus’s The Plague, a novel about a virus that spreads uncontrollably from animals to humans and ends up destroying half the population of a representative modern town. Camus speaks to us now not because he was a magical seer, but because he correctly sized up human nature. As he wrote: ‘Everyone has inside it himself this plague, because no one in the world, no one, can ever be immune.’

 

John Degotardi Jr. (Australian, 1860-1937) '224. No. 841 George Street (kitchen)' 1900

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
224. No. 841 George Street (kitchen)
1900
From Vol. IV of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

841 George Street was on the site of the TAFE Marcus Clarke Building (1910).

 

John Degotardi Jr. (Australian, 1860-1937) '224. No. 841 George Street (kitchen)' 1900 (detail)

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
224. No. 841 George Street (kitchen) (detail)
1900
From Vol. IV of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

John Degotardi Jr. (Australian, 1860-1937) '227. Newtown Garbage Tip and Punt, Blackwattle Bay' 1900

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
227. Newtown Garbage Tip and Punt, Blackwattle Bay
1900
From Vol. IV of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

 

John Degotardi Jr. (Australian, 1860-1937) '236. Johnstone's Lane' 1900

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
236. Johnstone’s Lane
1900
From Vol. IV of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

John Degotardi Jr. (Australian, 1860-1937) '239. No. 36 Owen Street (rear)' 1900

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
239. No. 36 Owen Street (rear)
1900
From Vol. IV of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

John Degotardi Jr. (Australian, 1860-1937) '239. No. 36 Owen Street (rear)' 1900 (detail)

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
239. No. 36 Owen Street (rear) (detail)
1900
From Vol. IV of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

John Degotardi Jr. (Australian, 1860-1937) '244. Sutton Forest Butchery, No. 761 George Street' 1900

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
244. Sutton Forest Butchery, No. 761 George Street
1900
From Vol. IV of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

 

A Sydney butcher’s, 1900. Taken by Mr. John Degotardi, Jr., photographer from the Department of Public Works, the images depict the state of the houses and ‘slum’ buildings at the time of the outbreak and the cleansing and disinfecting operations which followed. Sutton Forest Butchery, No.761 George Street, Sydney Dated: c. 17/07/1900

 

 

Bubonic Plague outbreak in Sydney in the 1900s helps Politicians to clear the way for transport progress & landmark

By the end of August 1900, the outbreak had concluded, and whilst there was only a reported 103 deaths (significantly low when compared to mortality rates from other infectious diseases of the time), the effect that it had on the reputation of The Rocks and Millers Point, as well as its inhabitants, was damaging. The state resumption and its demolition programs left behind a series of questions regarding the motives behind the government’s orchestration of this movement.

The geographical structure of The Rocks, as well as Sydney’s unique historical beginnings as a penal colony credited the often rugged housing conditions. Eleven decades of unregulated building development, as well as uneven and irregular land surfaces meant that often housing was unstructured and haphazardly built. Dwellings sprouted from rocks and other buildings in an “oyster-like” fashion, and the practice of “land sweating” (the construction of multiple structures on one piece of land) was commonplace. The City of Sydney Improvement Act of 1879 highlighted these issues and encouraged demolition of any existing substandard housing.

This set the precedent for the destruction programs that were to follow after the bubonic plague outbreak.

 

Health Board Acts

On the afternoon of 20th January 1900, van-driver Arthur Payne, a resident of 10 Ferry Lane, The Rocks, became Sydney’s first reported victim of bubonic plague. This was somewhat unremarkably in itself, the arrival of the plague had been duly anticipated by authorities for months prior as it raced through Hong Kong and New Caledonia. What was notably, however, was the wave of public panic that the outbreak prompted, and how it was responsible for community disruption and mass demolition of one of Sydney’s oldest precincts, The Rocks and Millers Point. The outbreak bred panic and brought emphasised authoritative attention to the living conditions of the area, and much time and effort was devoted to surveying conditions and proposing subsequent remedies of improvement. State resumption of the precinct followed swiftly after the outbreak, coming into effect on 3rd May 1900, and forced quarantining of the site swiftly followed, with areas surrounding the wharves being sectioned off, and mass disinfection and demolition processes commencing soon thereafter.

Over the next decade, more than 3,800 properties were inspected, hundreds were pulled down, and hundreds of families and individuals were dispossessed.

 

Land Resumption

Another motivating factor for the resumption of the area was to lay the groundwork of the proposed bridge link between Sydney city and the North Shore. Plans were underway even at these early stages and a good 23 years before construction of the bridge commenced. Even at the turn of the nineteenth century, it was clear that there would need to be a widened thoroughfare to accommodate traffic entering and exiting the bridge, and many buildings would need to be sacrificed to achieve this. The bubonic plague outbreak offered the ideal opportunity to highlight the inadequacies in a lot of buildings, and the chance to condemn the area as slum, whose only chance of redemption was through mass demolition.

 

The middle class mentality and its effect on The Rocks inhabitants

From the 1860s to the early 1900s the middle and upper classes began deserting the area and relocating to the suburbs, divorcing themselves physically from the working and lower classes, who tended to remain in the city and close to the waterfront areas and their place of employment.

Naturally as a point of import and export, and a site that saw a high exchange of people, livestock and products on a global level, the harbour foreshore was more susceptible to the outbreak of disease.

When bubonic plague erupted along the waterfront precinct, the area became heavily associated with disease and unsanitary conditions, and consequently its inhabitants were assumed to be unwashed and living in a state of constant filth. This has helped to create an historical consensus that waterside housing and urban living conditions were universally appalling.

The middle and upper classes were able to dissociate themselves with the presence of the plague, given their geographical distance from the harbour foreshore and the point of outbreak.

The resulting effect was a longstanding assumption that The Rocks was in such dire state that there was no alternative option but for mass slum clearance. Whilst there is no doubt that many properties were definitely substandard, and many families lived in abject poverty and poor conditions, not all the buildings that were demolished were of such a shocking standard, and many were in fact still of a solid and serviceable condition.

Following the plague outbreak the NSW Government carried out cleansing and disinfecting operations on the waterfront, and quarantined the residential suburbs of The Rocks and Millers Point. Under the Darling Harbour Resumption Act 1900, the newly created Sydney Harbour Trust oversaw the compulsory resumption of wharves, houses, shops, laneways and pubs in these harbour-side suburbs. The plan was to demolish the existing structures and rebuild to a grand design. The need to keep Dawes Point free for the construction of a possible bridge across the harbour was factored into the design.

Between 1900 and 1910, wharfage was acquired and demolished, along with buildings associated with the Dawes Point Battery. The c. 1870 public bathhouse on the west of Dawes Point was demolished in c. 1910. Works by the Public Works Department and Sydney Harbour Trust, under the presidency of R R P Hickson, included Pier 1 on the bathhouse site (1910-14), Hickson Road and the widening of Lower Fort Street (1906-22), and the four Walsh Bay finger wharves (1912-21).

Works by the Housing Board in The Rocks were also part of the resumption and rebuilding program, and included the realignment of George and Cumberland Streets and the construction of an associated retaining wall between 1913 and 1916. A fountain and garden, and public toilet facilities completed the structure, built in 1916-20.

These works also anticipated the construction of the approaches for the Sydney Harbour Bridge.

Anonymous. “Bubonic Plague outbreak in Sydney in the 1900s helps Politicians to clear the way for transport progress & landmark,” on The Digger website 13th August 2016 [Online] Cited 10/40/2020

 

John Degotardi Jr. (Australian, 1860-1937) '266. Rat Incinerator' 1900

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
266. Rat Incinerator
1900
From Vol. V of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

John Degotardi Jr. (Australian, 1860-1937) '266. Rat Incinerator' 1900 (detail)

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
266. Rat Incinerator (detail)
1900
From Vol. V of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

Lewis Hine. 'Powerhouse mechanic working on steam pump' 1920

 

Lewis Hine (American, 1874-1940)
Powerhouse mechanic working on steam pump
1920
Gelatin silver print

 

John Degotardi Jr. (Australian, 1860-1937) '275. Rear of 129 Gloucester Street' 1900

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
275. Rear of 129 Gloucester Street
1900
From Vol. V of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

John Degotardi Jr. (Australian, 1860-1937) '275. Rear of 129 Gloucester Street' 1900 (detail)

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
275. Rear of 129 Gloucester Street (detail)
1900
From Vol. V of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

115 Gloucester Street looking down towards 129 Gloucester Street

 

115 Gloucester Street looking down towards 129 Gloucester Street

 

John Degotardi Jr. (Australian, 1860-1937) '289. From 207 Elizabeth Street' 1900

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
289. From 207 Elizabeth Street
1900
From Vol. V of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

St George’s Presbyterian church steeple, Castlereagh Street on the far right.

 

John Degotardi Jr. (Australian, 1860-1937) '289. From 207 Elizabeth Street' 1900 (detail)

John Degotardi Jr. (Australian, 1860-1937) '289. From 207 Elizabeth Street' 1900 (detail)

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
289. From 207 Elizabeth Street (detail)
1900
From Vol. V of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

John Degotardi Jr. (Australian, 1860-1937) '290. No. 7 West Street off Oxford Street (rear)' 1900

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
290. No. 7 West Street off Oxford Street (rear)
1900
From Vol. V of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

John Degotardi Jr. (Australian, 1860-1937) '290. No. 7 West Street off Oxford Street (rear)' 1900 (detail)

John Degotardi Jr. (Australian, 1860-1937) '290. No. 7 West Street off Oxford Street (rear)' 1900 (detail)

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
290. No. 7 West Street off Oxford Street (rear) (details)
1900
From Vol. V of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

No. 7 West Street (on the left) looking up towards Oxford Street, Surry Hills

 

No. 7 West Street (on the left) looking up towards Oxford Street, Surry Hills

 

John Degotardi Jr. (Australian, 1860-1937) '309. Rear of No. 12 Robinson Lane' 1900

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
309. Rear of No. 12 Robinson Lane
1900
From Vol. V of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

John Degotardi Jr. (Australian, 1860-1937) '309. Rear of No. 12 Robinson Lane' 1900 (detail)

John Degotardi Jr. (Australian, 1860-1937) '309. Rear of No. 12 Robinson Lane' 1900 (detail)

 

John Degotardi Jr. (Australian, 1860-1937)
NSW Department of Public Works photographer
309. Rear of no. 12 Robinson Lane (details)
1900
From Vol. V of Views taken during cleansing operations. Quarantine areas, Sydney, 1900
Gelatin silver print
New South Wales State Archives & Records NRS-12487 Photographs taken during cleansing operations in quarantine areas, Sydney
Public domain

 

John Degotardi jr pay card

 

9 – 7-11491 John Degotardi jr PWD card 001
NRS 12535 Staff record cards, c. 1890-1953 [Department of (Secretary of) Public Works]; [7/11491]

 

 

What strikes me about this card is the pay drop he took to become a photographer for Public Works and the fact that it took him 10 years to get back to where he was on the salary scale. A dedicated craftsman. (Thank you to ArchivesOutside for the information)

 

John Degotardi jr pay card

 

9 – 7-11491 John Degotardi jr PWD card 002
NRS 12535 Staff record cards, c. 1890-1953 [Department of (Secretary of) Public Works]; [7/11491]

 

James Cantlie. 'How To Recognise, Prevent and Treat Plague' 1900

James Cantlie. 'How To Recognise, Prevent and Treat Plague' 1900 p. 5

James Cantlie. 'How To Recognise, Prevent and Treat Plague' 1900 p. 8

 

James Cantlie
How To Recognise, Prevent and Treat Plague (Title page, p. 5, p. 8)
1900
Cassell and Company, Limited

 

 

New South Wales State Archives website

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22
May
20

Photobook: E. O. Hoppé. ‘Picturesque Great Britain: Its Architecture and Landscape’ 1926 Part 1

May 2020

Publisher: Ernst Wasmuth A.G. / Berlin
With an Introduction by Charles F. G. Masterman

 

 

E. O. Hoppé (British, born Germany 1878-1972) 'Picturesque Great Britain: Its Architecture and Landscape cover' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
Publisher Ernst Wasmuth A.G. / Berlin
Picturesque Great Britain: Its Architecture and Landscape cover
1926
304 photoprints

 

 

E. O. Hoppé

Now there’s a name to conjure with!

I found this book in a charity shop, for $5. I couldn’t believe my luck. Here is a book, published in 1926, by one of the most underrated and oft forgotten of the great master photographers of the early twentieth century. It contains 304 photoprints of his journey around Great Britain – “picturesque” photographs – with all the implications that this name brings forth, with its link to Pictorialist photography.

Except, some of these photographs are far from “picturesque” ((of a place or building) visually attractive, especially in a quaint or charming way.) In fact, for the time, they can be seen as downright modern in their composition. Hoppé’s construction of the pictorial frame is exquisite. A wonderful sense of balance and proportion, use of chiaroscuro, low depth of field, geometric form, and a shear sense of space pervade these images. His use of near / far is a joy to behold, as he holds the foreground while drawing the viewers gaze into the distance, to an attendant bridge or dome of St Paul’s cathedral.

In this, the first of a four-part posting, what also strikes one is the rich tonality of these photogravure-like photoprints, with their dark, inky shadows and the sfumato blending of mid tones and highlights. Just look at Plate 33, Hoppé’s photograph of Stonehenge (below) and be swept away by this masters voice. In this photograph, as in many of the photographs, there is an almost abstract quality to them coupled with a wistful romanticism for time and place, for the history of the country he is photographing. Just imagine, hiring a car (or possibly a van) and travelling through a summer around Great Britain taking many many photographs, before whittling them down to the final 300 or so. Did he develop the film in the back of the van after each days shooting, before piling into bed at the local hotel? I don’t know, but I want to go on that road journey!

Being British, these photographs have a great pull and nostalgia for me. I love the British countryside and miss it dearly. What particularly strikes me about them is the absence of people and cars in the photographs, and how archaic and ancient this land seems. Despite being the head of the British Empire, despite being the leader of the Industrial Revolution (pictured throughout the book with pictures of Manchester and the Northern industrial cities), you cannot imagine that this country, a mere 14 years after these photographs were taken, would be on its knees after the withdrawal from Dunkirk, facing invasion from the Nazis… and yet, somehow, hold out, and eventually win the Second World War with the help of Russia and America.

These photographs portray Great Britain as an almost medieval country complete with castle and moat, cathedral and henge, fog descending over the Thames, horse and plough tilling the fields with nere a tractor in sight. People in one’s and two’s tramp the deserted streets, while thatched cottages silently await the rushing conflagration. How Great Britain, pictured here in all its beauty and serenity, survived the coming Armageddon – can perhaps be seen in these photographs very essence, their sense of history and place, of steadfastness and Britishness.

Dr Marcus Bunyan

.
Please click on the photographs for a larger version of the image. These photographs are published under fair use conditions for educational purposes only.

 

This magnificent set of pictures displays, with all the art of genius both in selection and technical skill, the beauty of the British Isles. I know of no similar collection which could give alike to the foreigner who wonders what England is like, to the Englishman who has wandered from his native land into all the great dominions of the world, and to the man who has remained behind, that particular sense of pleasure mingled with pain which all beauty excites, and excites especially a passionate love in the vision of home.

This is an introduction to pictures of the landscapes and the works of man; these latter ennobled by the associations of time, and in some cases by time’s decay. They open vistas through which one may gaze at the history of England for a thousand years.

Charles F. G. Masterman

 

 

E. O. Hoppé (British, born Germany 1878-1972) 'Picturesque Great Britain: Its Architecture and Landscape cover' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
Publisher Ernst Wasmuth A.G. / Berlin
Picturesque Great Britain: Its Architecture and Landscape title page
1926
304 photoprints

 

 

Emil Otto Hoppé (14 April 1878 – 9 December 1972) was a German-born British portrait, travel, and topographic photographer active between 1907 and 1945. Born to a wealthy family in Munich, he moved to London in 1900 to train as a financier, but took up photography and rapidly achieved great success.

He was the only son of a prominent banker, and was educated in the finest schools of Munich, Paris and Vienna. Upon leaving school he served apprenticeships in German banks for ten years, before accepting a position with the Shanghai Banking Corporation. He never arrived in China. The first leg of his journey took him to England where he met an old school friend. Hoppé married his old school friend’s sister, Marion Bliersbach, and stayed in London. While working for the Deutsche Bank, he became increasingly enamored with photography, and, in 1907, jettisoned his commercial career and opened a portrait studio. Within a few years, E.O. Hoppé was the undisputed leader of pictorial portraiture in Europe. To say that someone has a “household name” has become a cliché, yet in Hoppé’s case the phrase is apt. Rarely in the history of the medium has a photographer been so famous in his own lifetime among the general public. He was as famous as his sitters. It is difficult to think of a prominent name in the fields of politics, art, literature, and the theatre who did not pose for his camera.”

Although Hoppé was one of the most important photographic artists of his era and highly celebrated in his time, in 1954, at the age of 76, he sold his body of photographic work to a commercial London picture archive, the Mansell Collection. In the collection, the work was filed by subject in with millions of other stock pictures and no longer accessible by author. Almost all of Hoppé’s photographic work – that which gained him the reputation as Britain’s most influential international photographer between 1907 and 1939 – was accidentally obscured from photo-historians and from photo-history itself. It remained in the collection for over thirty years after Hoppé’s death, and was not fully accessible to the public until the collection closed down and was acquired by new owners in the United States.

In 1994 photographic art curator Graham Howe retrieved Hoppé’s photographic work from the picture library and rejoined it with the Hoppé family archive of photographs and biographical documents. This was the first time since 1954 that the complete E.O. Hoppé Collection was gathered together. Many years were spent in cataloguing, conservation, and research of the recovered work.

Text from the Wikipedia website

 

E. O. Hoppé (British, born Germany 1878-1972) 'London's River' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
1: London’s River
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'St. Paul’s Cathedral from the Bankside, London' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
2: St. Paul’s Cathedral from the Bankside, London
1926

 

 E. O. Hoppé (British, born Germany 1878-1972) 'The Tower of London' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
3: The Tower of London
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'London Bridge, London' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
4: London Bridge, London
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Thames at Blackfriars, London' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
5: The Thames at Blackfriars, London
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Whitehall, London' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
9: Whitehall, London
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Westminster from the St James' Park, London' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
10: Westminster from the St James’ Park, London
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Hyde Park Corner, London' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
11: Hyde Park Corner, London
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Kensington Gardens, London' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
12: Kensington Gardens, London
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Henley Bridge, Surrey' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
13: Henley Bridge, Surrey
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'High Street, Guildford, Surrey' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
14: High Street, Guildford, Surrey
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Burford, Dorking, Surrey' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
15: Burford, Dorking, Surrey
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Shere, Surrey' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
17: Shere, Surrey
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Sutton Place, Surrey' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
18: Sutton Place, Surrey
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'High Street in Mayfield, Sussex' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
19: High Street in Mayfield, Sussex
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Seaford Cliffs, Sussex' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
22: Seaford Cliffs, Sussex
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Downs at Seaford, Sussex' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
23: The Downs at Seaford, Sussex
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Battlements, Arundel Castle, Sussex' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
24: Battlements, Arundel Castle, Sussex
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Entrance to Keep, Arundel Castle, Sussex' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
25: Entrance to Keep, Arundel Castle, Sussex
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Arundel Castle, Sussex' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
26: Arundel Castle, Sussex
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Old Tilting Court, Arundel Castle, Sussex' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
27: The Old Tilting Court, Arundel Castle, Sussex
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Horsham Church, Sussex' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
28: Horsham Church, Sussex
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Old Houses Horsham, Sussex' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
29: Old Houses Horsham, Sussex
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Cave Lingfield, Surrey' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
30: The Cave Lingfield, Surrey
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Deanery Close, Winchester, Hampshire' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
31: The Deanery Close, Winchester, Hampshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Atlantic from Bournemouth Cliffs' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
32: The Atlantic from Bournemouth Cliffs
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Stonehenge, Salisbury Plain' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
33: Stonehenge, Salisbury Plain
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Ploughing, Hampshire' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
34: Ploughing, Hampshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Athelhampton, Dorchester, Dorsetshire' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
36: Athelhampton, Dorchester, Dorsetshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'St Peters Church, Dorchester, Dorsetshire' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
40: St Peters Church, Dorchester, Dorsetshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'High Street, In Lyme Regis, Dorsetshire' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
41: High Street, In Lyme Regis, Dorsetshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Needles, Isle of Wight' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
43: The Needles, Isle of Wight
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Landslide, Luccombe Common, Ventnor, Isle of Wight' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
44: Landslide, Luccombe Common, Ventnor, Isle of Wight
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Torquay, from Marine Drive, Devonshire' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
45: Torquay, from Marine Drive, Devonshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Coast at Salcombe, Devon' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
47: Coast at Salcombe, Devon
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Exeter Cathedral, Devonshire' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
49: Exeter Cathedral, Devonshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Exeter Cathedral, Devonshire' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
50: Exeter Cathedral, Devonshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Porlock, Somerset' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
55: Porlock, Somerset
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Fingle Bridge, Dartmoor, Devonshire' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
57: Fingle Bridge, Dartmoor, Devonshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Ancient Tomb, Bovey Tracey, Devonshire' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
60: Ancient Tomb, Bovey Tracey, Devonshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Ashburnham, Devonshire' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
61: Ashburnham, Devonshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Blackawton, Devonshire' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
62: Blackawton, Devonshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Bolt Tail, Devonshire' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
63: Bolt Tail, Devonshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Quai, Clovelly, Devonshire' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
64: The Quai, Clovelly, Devonshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'High Street in Clovelly, Devonshire' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
65: High Street in Clovelly, Devonshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Cliffs near Ilfracombe, Devonshire' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
66: The Cliffs near Ilfracombe, Devonshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Harbour, Ilfracombe, Devonshire' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
67: The Harbour, Ilfracombe, Devonshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Merriefield Church, Devonport, Devonshire' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
68: Merriefield Church, Devonport, Devonshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Dartmouth, Devonshire' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
70: Dartmouth, Devonshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Coast at Fowey, Cornwall' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
71: Coast at Fowey, Cornwall
1926

 

 

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30
Apr
20

Photographs: ‘T. Schneider & Sons (1847-1921): A Portfolio of hand tinted Stereo Daguerrotypes’ c. 1860

April 2020

 

T. SCHNEIDER & SONS (1847-1921) A Portfolio of hand tinted Stereo Daguerrotypes c. 1860

 

T. Schneider & Sons (German, 1847-1921)
Untitled (interiors of Bavarian and Russian Palaces)
c. 1860
Hand tinted Stereo Daguerrotype

 

 

How rare, how exquisite.

Just look at the light and especially the perspective of these photographs. Probably due to the focal length of the lens which compacts space (like a zoom lens today), it seems as though we can see forever, to infinity, in these images.

The scale of relationship between things in the foreground and background is absolutely pleasing.

Just imagine looking at them as stereoscopes, and visualise the 3D effect in your minds eye, and how that would affect your senses.

They sold today at auction. How I wish I’d had £21000 to buy them!

Dr Marcus Bunyan

.
Please click on the photographs for a larger version of the image.

 

T. SCHNEIDER & SONS (1847-1921) A Portfolio of hand tinted Stereo Daguerrotypes c. 1860, 10 examples, plate size, 88mm x 116mm, Mounted under a gilt brass mat, embossed in the lower margin ‘STEREOSCOP VON T. SCHNEIDER UND SOEHNE’, the portfolio housed in contemporary maker’s fitted wooden Daguerreotype box, illustrating the interiors of Bavarian and Russian Palaces. (88mm x 116mm)

Sold on the Invaluable website for £21000 April 30th 2020

 

 

T. SCHNEIDER & SONS (1847-1921) A Portfolio of hand tinted Stereo Daguerrotypes c. 1860

 

 

T. Schneider & Sons (German, 1847-1921)
Untitled (interiors of Bavarian and Russian Palaces)
c. 1860
Hand tinted Stereo Daguerrotype

 

T. SCHNEIDER & SONS (1847-1921) A Portfolio of hand tinted Stereo Daguerrotypes c. 1860

 

T. Schneider & Sons (German, 1847-1921)
Untitled (interiors of Bavarian and Russian Palaces)
c. 1860
Hand tinted Stereo Daguerrotype

 

T. SCHNEIDER & SONS (1847-1921) A Portfolio of hand tinted Stereo Daguerrotypes c. 1860

 

T. Schneider & Sons (German, 1847-1921)
Untitled (interiors of Bavarian and Russian Palaces)
c. 1860
Hand tinted Stereo Daguerrotype

 

T. SCHNEIDER & SONS (1847-1921) A Portfolio of hand tinted Stereo Daguerrotypes c. 1860

 

T. Schneider & Sons (German, 1847-1921)
Untitled (interiors of Bavarian and Russian Palaces)
c. 1860
Hand tinted Stereo Daguerrotype

 

T. SCHNEIDER & SONS (1847-1921) A Portfolio of hand tinted Stereo Daguerrotypes c. 1860

 

T. SCHNEIDER & SONS (1847-1921) A Portfolio of hand tinted Stereo Daguerrotypes c. 1860

 

T. SCHNEIDER & SONS (1847-1921) A Portfolio of hand tinted Stereo Daguerrotypes c. 1860

 

T. Schneider & Sons (German, 1847-1921)
Untitled (interiors of Bavarian and Russian Palaces)
c. 1860
Hand tinted Stereo Daguerrotype

 

T. SCHNEIDER & SONS (1847-1921) A Portfolio of hand tinted Stereo Daguerrotypes c. 1860

 

T. Schneider & Sons (German, 1847-1921)
Untitled (interiors of Bavarian and Russian Palaces)
c. 1860
Hand tinted Stereo Daguerrotype

 

T. SCHNEIDER & SONS (1847-1921) A Portfolio of hand tinted Stereo Daguerrotypes c. 1860

 

T. Schneider & Sons (German, 1847-1921)
Untitled (interiors of Bavarian and Russian Palaces)
c. 1860
Hand tinted Stereo Daguerrotype

 

T. SCHNEIDER & SONS (1847-1921) A Portfolio of hand tinted Stereo Daguerrotypes c. 1860

 

T. Schneider & Sons (German, 1847-1921)
Untitled (interiors of Bavarian and Russian Palaces)
c. 1860
Hand tinted Stereo Daguerrotype

 

T. SCHNEIDER & SONS (1847-1921) A Portfolio of hand tinted Stereo Daguerrotypes c. 1860

 

T. Schneider & Sons (German, 1847-1921)
Untitled (interiors of Bavarian and Russian Palaces)
c. 1860
Hand tinted Stereo Daguerrotype

 

 

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30
Mar
20

Photographs: ‘Australia 1946-1947’ Part 2 March 2020

March 2020

 

Unknown photographer (Australian) 'Untitled (Flinders Street railway station)' 1946-47

 

Unknown photographer (Australian)
Untitled (Flinders Street railway station)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

 

Another mountain of work scanning and cleaning 50 of these 2 1/4″ square (6 x 6 cm) medium format black and white negatives which come from the collection of my friend Nick Henderson. In Part 2 of the posting the family travel to Melbourne, Colac and Tasmania. The photographs of postwar Melbourne are fascinating. There are also pictures of mining works, a speedcar racer, picnic, pub, dogs, ballerinas, actors, children and some stunning, Frank Hurley-esque photographs of Sydney Harbour Bridge.

The photographs seem as though from another world. The Pacific Highway in North Sydney is almost deserted of traffic. A fascinating set of four photographs are Road accident, hay truck, Albion Park, New South Wales. In the first photograph from a distance we observe that a hay truck has lost its load, possibly after rounding the corner from left at too fast a speed, the intersection marked in the road by a small metal bollard. Small children inspect the underside of the truck while a boy on a bike rides to join them. What strikes one is the openness of the scene, the lack of other cars, and the spareness of the landscape, with only the “milk bar” with the Peters ice cream sign showing any sign of commerce. In the second image the photographer has moved around to the front side of the truck which tilts at a crazy angle. Two forty-gallon oil drums, possibly from the truck, have been placed upright on the road while bales of hay little the bitumen. In the background a petrol station advertises PLUME, Mobiloil, and Atlantic tyres(?) and on the right we can make out the Albion Park Hotel and the intersection around which the truck came.

In the third image which again shows the underside of the truck men have joined the scene, talking to presumably the shirtless truck driver in peaked cap, sheepishly standing among the twisted axles and staring at the camera. To the left two shoeless boys observe the scene. In the last photograph of the front of the truck we see kids sitting on the hay bails posing for the camera, while at far right the shirtless truck driver may be in conversation with others. What a glorious sequence of Walker Evans type social documentary photography… a brief context, an accident, a shooting star in the timeline of the galaxy.

My two favourite photographs in the posting: the almost solarised image of the Convict-built church at Port Arthur convict colony ruins; but more especially Number 42 tram going to Mont Albert. This photograph should become a classic in the annals of Australian photography. In one dynamic image the photographer has captured the hustle and bustle of postwar Melbourne – the women striding purposefully towards us, the Silver Top taxi cresting the rise at speed, the number 42 tram to Mont Albert kicking up dust from the tracks, the shadows, the gothic buildings, the towers behind and the vanishing point. A superlative image.

Hopefully there will be part 3 of this series when I get chance to scan some more negatives. In the meantime you can view Part 1 and these images. Enjoy!

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.

 

 

Unknown photographer (Australian) 'Untitled (Y.M.C.A, City Road, South Melbourne)' 1946-47

 

Unknown photographer (Australian)
Untitled (Y.M.C.A, City Road, South Melbourne)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Collins Street, Melbourne)' 1946-47

 

Unknown photographer (Australian)
Untitled (Collins Street, Melbourne looking west from just above the Swanston Street intersection, Town Hall on the right, and then the Manchester Unity building across Swanston Street, probably taken from in front of the Regent Theatre)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Looking at Flinders Street railway station on Elizabeth Street, Melbourne)' 1946-47

 

Unknown photographer (Australian)
Untitled (Looking at Flinders Street railway station on Elizabeth Street, Melbourne)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Centreway Building on Collins Street, 259-263 Collins Street)' 1946-47

 

Unknown photographer (Australian)
Untitled (Centreway Building on Collins Street, 259-263 Collins Street)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Melbourne street)' 1946-47

 

Unknown photographer (Australian)
Untitled (Melbourne street)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (A. C. Goode House at 389-399 Collins)' 1946-47

 

Unknown photographer (Australian)
Untitled (A. C. Goode House at 389-399 Collins) (the Gothic building at right)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Russell Street taken from near Collins Street)' 1946-47

 

Unknown photographer (Australian)
Untitled (Russell Street taken from near Collins Street)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

 

Russell Street with police radio tower viewed from Collins street. American 1930’s car’s that where popular then, Dodge, Chevy, Lincoln & Fords! Yellow cab at left, and the cars are facing the same way both sides of the road. The Holden Motor Company built Buick, Chevy & Pontiac from “CKD” kits from the USA. Parking in the middle of the road (so we are not seeing the other side of the road).

 

Unknown photographer (Australian) 'Untitled (Exhibition Street, looking from Collins Street, down past Flinders Lane)' 1946-47

 

Unknown photographer (Australian)
Untitled (Exhibition Street, looking from Collins Street, down past Flinders Lane)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Collins Street looking up towards Old Treasury Building)' 1946-47

 

Unknown photographer (Australian)
Untitled (Collins Street looking up towards Old Treasury Building)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Number 42 tram going to Mont Albert)' 1946-47

 

Unknown photographer (Australian)
Untitled (Number 42 tram going to Mont Albert)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

 

Photograph taken where – Collins and Swanston Street? The lady is walking towards or just beyond the Melbourne Town Hall, the tram is on the other side of the road going the opposite way towards Mont Albert. In the centre background is the APA Tower and in front of it is the Mutual Life and Citizens Assurance Co (MLC) building. In the far distance is the Federal Hotel and Coffee Palace. Silver Top Pontiac Taxi (1937) slippery leather seats! Front bench seats with full length grab bar too hold on when cornering! (centre of image).

Many thankx to James Nolen for help identifying this image.

 

Unknown photographer (Australian) 'Untitled (St Paul's Cathedral, Melbourne looking from Flinders Street Railway Station)' 1946-47

 

Unknown photographer (Australian)
Untitled (St Paul’s Cathedral, Melbourne looking from Flinders Street railway station)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Princes Bridge, Melbourne on the Yarra River with Flinders Street Railway Station to the right)' 1946-47

 

Unknown photographer (Australian)
Untitled (Princes Bridge, Melbourne on the Yarra River with Flinders Street railway station to the right)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Seagulls, rowing sheds on the Yarra River, Melbourne)' 1946-47

 

Unknown photographer (Australian)
Untitled (Seagulls, rowing sheds on the Yarra River, Melbourne)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Bill Edwards speedcar, Victoria)' 1946-47

 

Unknown photographer (Australian)
Untitled (Bill Edwards speedcar, Victoria)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Bill Edwards speedcar, Victoria)' 1946-47

 

Unknown photographer (Australian)
Untitled (Bill Edwards speedcar, Victoria)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Union Club Hotel, Colac)' 1946-47

 

Unknown photographer (Australian)
Untitled (Union Club Hotel, Colac)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

 

Union Club Hotel, Colac 2010

 

Union Club Hotel, Colac
2010
Wikimedia Commons
Creative Commons Attribution-Share Alike 3.0 Unported

 

Unknown photographer (Australian) 'Untitled (Picnic, family and car)' 1946-47

 

Unknown photographer (Australian)
Untitled (Picnic, family and car)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Two women and two girls)' 1946-47z

 

Unknown photographer (Australian)
Untitled (Two women and two girls)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Girl)' 1946-47

 

Unknown photographer (Australian)
Untitled (Girl)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Girl)' 1946-47

 

Unknown photographer (Australian)
Untitled (Girl)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Two lads and two children)' 1946-47

 

Unknown photographer (Australian)
Untitled (Two lads and two children)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Three dogs)' 1946-47

 

Unknown photographer (Australian)
Untitled (Three dogs)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Port Arthur ruins, Tasmania)' 1946-47

 

Unknown photographer (Australian)
Untitled (Port Arthur convict colony ruins, Tasmania)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Port Arthur convict colony ruins, Tasmania)' 1946-47

 

Unknown photographer (Australian)
Untitled (Port Arthur convict colony ruins, Tasmania)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Port Arthur convict colony ruins, Tasmania)' 1946-47

 

Unknown photographer (Australian)
Untitled (Port Arthur convict colony ruins, Tasmania)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Convict-built church at Port Arthur convict colony ruins, Tasmania)' 1946-47

 

Unknown photographer (Australian)
Untitled (Convict-built church at Port Arthur convict colony ruins, Tasmania)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Pirates Bay Lookout, Tasmania)' 1946-47

 

Unknown photographer (Australian)
Untitled (Pirates Bay Lookout, Tasmania)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

 

One of the Tasman Peninsula’s finest coastal lookouts is actually on the Forestier Peninsula, high on the hillsides above the Tesselated Pavement. Pirates Bay Lookout gives panoramic views down the east coast of Tasmania Peninsula and overs spectacular vistas towards Cape Hauy and Cape Pillar, which are both visible on a clear day. The lookout is on Pirates Bay Drive, the turnoff to the left off Tasman Highway being around 2 km before reaching Eaglehawk Neck when approaching from Dunalley. The lookout can also be accessed from Eaglehawk Neck. Simply take the Scenic drive past the Lufra Hotel.

Text from the Our Tasmania website [Online] Cited 29/03/2020

 

 

Pirates Bay Lookout, Tasmania 2009

 

Pirates Bay Lookout, Tasmania
2009
Wikimedia Commons
Creative Commons Attribution-Share Alike 2.0 Generic

 

Unknown photographer (Australian) 'Untitled (Men and shark)' 1946-47

 

Unknown photographer (Australian)
Untitled (Men and shark) (location unknown)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Mining landscape)' 1946-47

 

Unknown photographer (Australian)
Untitled (Mining landscape) (location unknown)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Mining landscape)' 1946-47

 

Unknown photographer (Australian)
Untitled (Mining landscape) (location unknown)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Mining landscape)' 1946-47

 

Unknown photographer (Australian)
Untitled (Mining landscape) (location unknown)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Three dogs)' 1946-47

 

Unknown photographer (Australian)
Untitled (Three dogs)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Two dogs)' 1946-47

 

Unknown photographer (Australian)
Untitled (Two dogs)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Smiling girl with pigtails)' 1946-47

 

Unknown photographer (Australian)
Untitled (Smiling girl with pigtails)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Two ballerinas)' 1946-47

 

Unknown photographer (Australian)
Untitled (Two ballerinas)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Man and ballerina)' 1946-47

 

Unknown photographer (Australian)
Untitled (Man and ballerina)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Women in gown)' 1946-47

 

Unknown photographer (Australian)
Untitled (Women in gown)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Three girls)' 1946-47

 

Unknown photographer (Australian)
Untitled (Three girls)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Two women, a man and a dog)' 1946-47

 

Unknown photographer (Australian)
Untitled (Two women, a man and a dog)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Road accident, hay truck, Albion Park, New South Wales)' 1946-47

 

Unknown photographer (Australian)
Untitled (Road accident, hay truck, Albion Park, New South Wales)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Road accident, hay truck, Albion Park, New South Wales)' 1946-47

 

Unknown photographer (Australian)
Untitled (Road accident, hay truck, Albion Park, New South Wales)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Road accident, hay truck, Albion Park, New South Wales)' 1946-47

 

Unknown photographer (Australian)
Untitled (Road accident, hay truck, Albion Park, New South Wales)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Road accident, hay truck, Albion Park, New South Wales)' 1946-47

 

Unknown photographer (Australian)
Untitled (Road accident, hay truck, Albion Park, New South Wales)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

 

Unknown photographer (Australian) 'Untitled (Bridgeview Motors, 267 Pacific Highway, North Sydney with Sydney Harbour Bridge in the background)' 1946-47

 

Unknown photographer (Australian)
Untitled (Bridgeview Motors, 267 Pacific Highway, North Sydney with Sydney Harbour Bridge in the background)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Lavender street, Lavender Bay looking towards the Sydney Harbour Bridge)' 1946-47

 

Unknown photographer (Australian)
Untitled (Lavender street, Lavender Bay looking towards the Sydney Harbour Bridge)
1946-47
Medium format negative
Collection of Nicholas Henderson

Unknown photographer (Australian) 'Untitled (Dawes Point ferry, under the Sydney Harbour Bridge looking to Fort Denison)' 1946-47

 

Unknown photographer (Australian)
Untitled (Dawes Point ferry, under the Sydney Harbour Bridge looking to Fort Denison)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Sydney Harbour Bridge, south looking north showing the North Sydney Olympic Pool in the background left)' 1946-47

 

Unknown photographer (Australian)
Untitled (Sydney Harbour Bridge, south looking north showing the North Sydney Olympic Pool in the background left)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

 

The North Sydney Olympic Pool is a swimming and exercise complex located adjacent to Sydney Harbour at Milsons Point in North Sydney between the Sydney Harbour Bridge and Luna Park. Designed by architects Rudder & Grout in the Inter-War Free Classical style with art deco-style decorations, the Olympic-sized outdoor pool was built on part of the Dorman Long workshops site following the completion of the Harbour Bridge. The pool opened 4 April 1936 and hosted the swimming and diving events for the 1938 Empire Games.

Text from the Wikipedia website

 

Unknown photographer (Australian) 'Untitled (Sydney Harbour Bridge, north looking south showing DC current power station stack to the left)' 1946-47

 

Unknown photographer (Australian)
Untitled (Sydney Harbour Bridge, north looking south showing DC current power station stack to the left)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Under the Sydney Harbour Bridge, north looking south showing DC current power station stack to the left)' 1946-47

 

Unknown photographer (Australian)
Untitled (Under the Sydney Harbour Bridge, north looking south showing DC current power station stack to the left)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

 

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29
Nov
19

Exhibition: ‘Helga Paris, Photographer’ at the Akademie der Künste, Berlin

Exhibition dates: 8th November 2019 – 12th January 2020

Curator: Inka Schube

 

 

Helga Paris (German, born Poland, 1938) 'Prerow' 1960s

 

Helga Paris (German, born Poland, 1938)
Prerow
1960s
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

 

A couple of years ago I was in Paris, searching for French peasant work clothes of the 1950s in the trendy secondhand shops of the Marais. It took me forever but I eventually found one blue shirt that fitted me… only one. Battered, patched up, but still present after all these years – hard wearing, practical, and tough. But also soft and pliable like a second skin, with its own look and feel, its own distinctive aesthetic. I knew what I wanted, I found it… or it found me. A treasure.

The same could be said of the photographs of Helga Paris. Her photographs picture the tough, hard existence of life in postwar East Germany but there is a fond affection for subject matter in the cameras engagement. Paris approaches her subjects, whether city or people, with directness but it is also a dialogue between the artist and her subjects which “give the viewer an insight into a moment of the everyday lives of an East German resident.”

“Paris opened herself to the worker’s world she found in Prenzlauer Berg, and often took photographs in the immediate surroundings – of friends and neighbours, the area’s old and run-down streets, and the melancholic vitality of the regulars in Berlin’s bars and cafés. The people in her photographs look deeply rooted, as if they had moved to the area with the intention of never going away.”

Misty cobbled corners, people in bars, in clubs, at work, on the street. Much as Ara Güler did for Istanbul (in a more romantic way), Paris captures the essence of an ecosystem, the culture and survival that was the living, behind the Iron Curtain. There is melancholy aplenty, the brooding streets with swooping pigeons and ubiquitous Trabant, all dark in their small sulkiness. There are beautiful boys with Anarchy stencilled on their jumper desiring liberated life, and reflective women deep in their own thoughts. Naira! Naira! Smoking a fag, with drunk-eyed pictures of a child on dirty wall, behind. Oh Naira, of what were you thinking! What brought you to this place?

There is sullenness, compassion, bohemians, students and countercultural intellectuals all pictured with her probing mind. If you could say that a subject finds an artist then this is that aphorism in full technicolor. Engaged and engaging, these essential images stand the test of time – as relevant now in an era of neo-liberal fascism as they ever were in the past.

Dr Marcus Bunyan

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

 

 

Helga Paris (German, born Poland, 1938) 'No title' 1974 From the series 'Müllfahrer' (Garbage Drivers)

 

Helga Paris (German, born Poland, 1938)
No title
1974
From the series Müllfahrer (Garbage Drivers)
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'Selbst im Spiegel' (Self-Portrait in the Mirror) 1971

 

Helga Paris (German, born Poland, 1938)
Selbst im Spiegel (Self-Portrait in the Mirror)
1971
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'No title' 1975 From the series 'Berliner Kneipen' (Berlin Pubs)

 

Helga Paris (German, born Poland, 1938)
No title
1975
From the series Berliner Kneipen (Berlin Pubs)
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'Hund, Immanuelkirchstr 1970s' (Berlin 1974-1982)

 

Helga Paris (German, born Poland, 1938)
Hund, Immanuelkirchstr. (Dog, Immanuelkirchstrasse)
1970s
From Berlin 1974-1982
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'Winsstraße mit Taube' (Winsstrasse with Pigeon) 1970s

 

Helga Paris (German, born Poland, 1938)
Winsstraße mit Taube (Winsstrasse with Pigeon)
1970s
From Berlin 1974-1982
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'Marienburger Strasse' 1970s (Berlin 1974-1982)

 

Helga Paris (German, born Poland, 1938)
Marienburger Strasse
1970s
From Berlin 1974-1982
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'Jugendweihe René Köstner' (Berlin 1974-1982) WEB

 

Helga Paris (German, born Poland, 1938)
Jugendweihe René Köstner
1970s
From Berlin 1974-1982
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'Meteln (Christa and Gerhard Wolf)' 1977

 

Helga Paris (German, born Poland, 1938)
Meteln (Christa and Gerhard Wolf)
1977
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

 

Helga Paris (born in 1938 in Goleniów, Poland) occupies an outstanding position in German photography. Her oeuvre exhibits the poetry of a Henri Cartier-Bresson as well as the austerity of an August Sander or Renger-Patzsch. Paris, who has lived in Prenzlauer Berg in Berlin since 1966, has chronicled the long history of postwar East Germany. For more than three decades she has directed her gentle yet precise gaze toward the people who live it. Her photographs tell of the melancholy vitality of East Berlin corner pubs and the poetic tristesse of the old streetcars of the seventies. We encounter garbage truck drivers, stubbornly furious or calm teenagers, and proud female textile mill workers. We travel through Georgia and Siebenbürgen, and meander through the central German industrial city of Halle, a “diva in gray.” But these photographs also tell of the end of the postwar era, of the search for images of childhood and their retrieval. (Text from the catalogue to the exhibition)

 

Helga Paris : Fotografie from arts-news on Vimeo

 

 

Fotografie is a retrospective look at the work of German photographer, Helga Paris. Exhibiting a collection of photos taken in East Germany in the postwar period, Paris’s work is considered to be one of the most revealing and compassionate bodies of work reflecting life in Germany at that time. Going beyond a simple ‘social study’, Paris’s technique was simply to engage with her subjects, rather than take on the role of the distant street photographer. In making this connection, the result has been a collection of photos that give the viewer an insight into a moment of the everyday lives of an East German resident.

Starting in the 60s, Helga Paris took an interest in photography and began teaching herself the basics. Paris came from a fashion and art background, but it was her interest in the everyday lives of the East Berlin people, during the postwar period that made her want to capture that on film. (Text from the Vimeo website)

 

Helga Paris (German, born Poland, 1938) 'Club' 1981

 

Helga Paris (German, born Poland, 1938)
Club
1981
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'Berliner Kneipen' From the series 'Berlin' 1974-1982

 

Helga Paris (German, born Poland, 1938)
Berliner Kneipen (Berlin pubs)
From the series Berlin 1974-1982
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

 

Since 1966 Helga Paris has lived in Berlin’s Prenzlauer Berg, a traditionally working class district that in the DDR days had become a refuge for bohemians, students and countercultural intellectuals, condoned by the authorities. Here she became a chronicler of post-war East Germany. Paris opened herself to the worker’s world she found in Prenzlauer Berg, and often took photographs in the immediate surroundings – of friends and neighbours, the area’s old and run-down streets, and the melancholic vitality of the regulars in Berlin’s bars and cafés. The people in her photographs look deeply rooted, as if they had moved to the area with the intention of never going away. Their faces express both their exhaustion and their lust for life.

 

Helga Paris (German, born Poland, 1938) 'Sven' 1981-82 From the series 'Berliner Jugendliche' (Berlin Youth)

 

Helga Paris (German, born Poland, 1938)
Sven
1981-82
From the series Berliner Jugendliche (Berlin Youth)
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'Pauer' From the series 'Berlin Youth'

 

Helga Paris (German, born Poland, 1938)
Pauer
From the series Berlin Youth
1981-1982
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'Ramona' 1982

 

Helga Paris (German, born Poland, 1938)
Ramona
1982
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'Ramona, Kollwitzstrasse' 1982

 

Helga Paris (German, born Poland, 1938)
Ramona, Kollwitzstrasse
1982
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'Naira' 1982 From the series 'Georgien' (Georgia)

 

Helga Paris (German, born Poland, 1938)
Naira
1982
From the series Georgien (Georgia)
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'No title' 1983-1985 From the series 'Houses and Faces, Halle' 1983-1985

 

Helga Paris (German, born Poland, 1938)
No title
1983-1985
From the series Häuser und Gesichter, Halle / Houses and Faces, Halle 1983-1985
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'Grosse Klausstrasse Flutgasse' (Häuser und Gesichter Halle 1983-1985)

 

Helga Paris (German, born Poland, 1938)
Grosse Klausstrasse Flutgasse
1983-1985
From the series Häuser und Gesichter, Halle / Houses and Faces, Halle 1983-1985
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'Zwei Frauen' (Häuser und Gesichter Halle 1983-1985)

 

Helga Paris (German, born Poland, 1938)
Zwei Frauen (Two Women)
1983-1985
From the series Häuser und Gesichter, Halle / Houses and Faces, Halle 1983-1985
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'No title' 1983-1985 From the series 'Houses and Faces, Halle'

 

Helga Paris (German, born Poland, 1938)
No title
1983-1985
From the series Houses and Faces, Halle 1983-1985
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

 

From 8 November 2019 to 12 January 2020 at its exhibition halls at Pariser Platz, the Akademie der Künste will present the photographic work of Helga Paris from 1968 to 2011. Featuring 275 works, including many individual images and series that are to be shown for the first time, this will be her most comprehensive exhibition to date and the first retrospective of the artist in her home city of Berlin in 25 years. Excerpts from the extensive Leipzig, Hauptbahnhof (1981), Moskau (1991/92) and Mein Alex (2011) series will be seen for the first time, among others.

In addition to the photographer’s special ability to make ever-changing compressed contemporary history tangible in her images and series over the course of decades, it is her tender, graceful and heavily nuanced black-and-white modulations expressing social empathy that make her work unmistakable.

Helga Paris was born in 1938 in Gollnow, Pomerania (today Polish town of Goleniów), and grew up in Zossen near Berlin. She began her work as a self-taught photographer in the 1960s. She became one of the key chroniclers of life in East Berlin with images of her neighbourhood in the Berlin district of Prenzlauer Berg, pictures of pub-goers, sanitation workers, the women from the VEB Treffmodelle clothing factory, artists, punks, children from Hellersdorf and passers-by from Alexanderplatz. Helga Paris also took photographs in Transylvania (1980), Georgia (1982) and the city of Halle (1983-1985), where she produced her Diva in Grau series that was banned from being shown until 1989/90, as well as in Volgograd (1990), New York (1995) and Poland (1996/97), among others. Helga Paris has been a member of the Film and Media Art Section of the Akademie der Künste since 1996.

The curator of the exhibition is art historian Inka Schube, who has worked with Helga Paris on numerous occasions. Filmmaker Helke Misselwitz will present an installation involving interviews with Helga Paris on the topics of origin, the changing city and her work as a photographer in East Germany and up into the early 21st century.

On the occasion of the exhibition, the Spector Books publishing house, Leipzig has released the photography book Helga Paris. Leipzig Hauptbahnhof, 1981.

An exhibition by the Akademie der Künste in cooperation with the ifa (Institut für Auslandsbeziehungen), with the kind support of the Alfried Krupp von Bohlen und Halbach-Stiftung that allowed the living legacy to be indexed and new prints of three previously unpublished series to be made, as well as the DEFA-Foundation.

Press release from the Akademie der Künste website [Online] Cited 11/11/2019

 

Helga Paris (Polish, b. 1938) 'Self-portraits' 1981-1989

 

Helga Paris (German, born Poland, 1938)
Self-portraits
1981-1989
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'Frauen im Bekleidungswerk Treff-Modelle' 1984

 

Helga Paris (German, born Poland, 1938)
Frauen im Bekleidungswerk Treff-Modelle
1984
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'Frauen im Bekleidungswerk Treff-Modelle' 1984

 

Helga Paris (German, born Poland, 1938)
Frauen im Bekleidungswerk Treff-Modelle
1984
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

 

In the early 1980s the DDR’s Gesellschaft für Fotografie im Kulturbund gave professional photographers commissions that allowed them to work on projects of their own choosing. These commissions not only gave photographers financial security, but also opened doors to places where, under normal circumstances, only media loyal to the regime had been allowed to work. Helga Paris chose to photograph a clothing factory, Treff-Modelle VEB in Berlin, where she herself had had some work experience during her fashion design studies. There she portrayed the factory’s female workers, eliciting a wide variety of subtle reactions from them: from self-confident and open to confrontational and defensive.

 

Helga Paris (German, born Poland, 1938) 'Frauen im Bekleidungswerk Treff-Modelle' 1984

 

Helga Paris (German, born Poland, 1938)
No title
1984
Gelatin silver print
From the series Frauen im Bekleidungswerk VEB Treffmodelle Berlin (Women at the Clothing factory VEB Treffmodelle Berlin)
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

 

With around 275 photographs from the period of 1968 till 2011 – including numerous single frames and series shown for the first time – the exhibition of Helga Paris at the Akademie der Künste on Pariser Platz is the photographer’s most comprehensive to date. It is the first retrospective of Paris’ work in her home city of Berlin in 25 years.

Having lived in Berlin’s Prenzlauer Berg district since 1966, Helga Paris (born 1938) began taking photos of people in her neighbourhood in the early 1970s. She found her photographic motifs in flats, pubs, break rooms and factory halls, or on the streets and in train stations. With a background in modernist painting, theatre and poetry as well as early Soviet, Italian and French cinema, the autodidact photographer has spent the last four and a half decades developing an extensive oeuvre of delicate, nuanced black-and-white photography.

But she is not only a chronicler of Prenzlauer Berg. Helga Paris also has taken photos in Halle, Leipzig, Transylvania, Georgia, Moscow, Volgograd and New York. There, as in her local neighbourhood, she constantly explores how it feels “to be in history”, and how the respective circumstances are reflected at the most private level. Helga Paris’s imagery has a particular poetic approachability, in part because it forgoes all ideological interpretations; her gaze suggests profound solidarity.

For the exhibition, the director Helke Misselwitz has designed a documentary film triptych, in which she makes it possible to experience how the life and work of Helga Paris are both interwoven and interdependent. Misselwitz traces a wide arc from the photographer’s childhood to the present; from Prenzlauer Berg to sites around the world; and from Paris’ close-ups to her farsighted vision.

Text from the Akademie der Künste website [Online] Cited 11/11/2019

 

Helga Paris (German, born Poland, 1938) 'Sohn des Architekten Melnikow' 1991/92

 

Helga Paris (German, born Poland, 1938)
Sohn des Architekten Melnikow (Son of the architect Melnikov)
1991-92
From the series Moskau 1991-92
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'No title' 1991/92 From the series 'Moscow' 1991-92

 

Helga Paris (German, born Poland, 1938)
No title
1991-92
From the series Moscow 1991-92
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

 

As a result of the Cold War, the remarkable oeuvre of the German photographer Helga Paris (1938) was long almost unknown west of the Iron Curtain. While Paris enjoyed widespread popularity in East Germany, her photographs rarely reached a public in the West. Although her work, with its quite intimate glimpses of daily life in East Germany, is strongly linked to the course of her own life, its expressiveness is universal. The empathy of her gaze makes it easy for us to imagine ourselves in the people and places she photographed.

 

Resilience

On one hand Helga Paris’ photographs are about life in the German Democratic Republic (DDR), where the Second World War and the country’s communist regime brought restriction, loss, destruction and decline in their wake. On the other they show the gaze of a photographer who had been born in Pommeren (now in Poland), who grew up close to postwar Berlin, and who faced the world with resilience, curiosity and compassion. In 1966 Paris moved for good to Prenzlauer Berg in East Berlin, a traditionally working-class district that had become a refuge for bohemians, students and countercultural intellectuals, closely watched but condoned by the authorities. Here she became a chronicler of postwar East Germany. She often worked in the immediate surroundings – taking photographs of friends and neighbours, on the street, and in bars and cafés.

 

Hidden tensions

Although in the 1970s and 1980s Helga Paris also photographed in Romania, Poland and Georgia, the accent in the Huis Marseille exhibition is on East Germany before and after the Wende (1989-90). She created the series Berliner Jugendliche (Berlin Youth) in 1980-81, when her own children were teenagers, portraying youngsters who believed in an alternative way of life and who went to the concerts given by independent bands – a sort of East German variant of the Western punk scene. Their anarchic lifestyle did not go unnoticed by the regime, and many of those she portrayed also spent some time in prison. Paris subtly but revealingly captures the hidden tensions of the time in the teenagers’ postures, gestures, and facial expressions. She elicited a similar scale of reactions in the workers she photographed for the series Frauen im Bekleidungswerk VEB Treffmodelle Berlin (Women at the textile factory VEB Models, 1984): from self-confident and open to confrontational and defensive.

 

Run-down

In the same period Helga Paris documented the decline of the old city centre of Halle, interspersing photos of the city’s long-neglected buildings and streets with portraits of its residents – who only allowed themselves to be photographed if they had a say in how their portraits were taken. The impoverishment of Halle was only partly the result of the faltering East German economy; the government was also deliberately allowing the historic centre of Halle and other East German cities to become rundown in order to compel their populations to move into modern flats on urban peripheries. The exhibition Häuser und Gesichter: Halle 1983-85 was banned by the regime in 1987; it was 1990 before the people of Halle could see the photographs for themselves.

Helga Paris was born Helga Steffens in 1938 in Gollnow, Pommeren, now known as Goleniów in Poland. At the end of the war she fled with her family to Zossen, her father’s native city. She first came into contact with photography through an aunt who worked in a photographic laboratory. Between 1956 and 1960 she studied fashion design at the Fachschule für Bekleidung in Berlin. There she met the artist Ronald Paris, to whom she was married between 1961 and 1974, and with whom she had two children.

Via the Arbeiter- und Studententheater in Berlin, for which she made costumes, Paris came into contact with the later documentary maker Peter Voigt, who encouraged her to take more photographs. To improve her techniques, from 1967 to 1968 she worked in the Deutsche Werbeund Anzeigengesellschaft DEWAG photographic laboratory. She took many photographs in the theatre, such as productions of the Volksbühne, as her husband was also its set designer. In later years she would say that this experience had given her a solid foundation for her attitude to space as a street photographer.

Paris’s work was first exhibited in 1978, in the Hochschule für Bildende Künste in Dresden. In 1996 she became a member of the Akademie der Künste in Berlin. Her self-portraits were a great success at the Kunst in der DDR exhibition in the Neue Nationalgalerie in Berlin (2003), and in 2004 Helga Paris was awarded the prestigious Hannah-Höch-Preis for a lifetime of achievement in the arts.

Press release from Huis Marseille for the exhibition Helga Paris / East Germany 1974-1998 Cited 26/11/2019

 

Helga Paris (German, born Poland, 1938) 'Erinnerung an Z' (Memory of Z) 1994

 

Helga Paris (German, born Poland, 1938)
Erinnerung an Z (Memory of Z)
1994
Gelatin silver print
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'No title' 1998 From the series 'Hellersdorf'

 

Helga Paris (German, born Poland, 1938)
No title
1998
Gelatin silver print
From the series Hellersdorf
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'Hellersdorf #2' 1998

 

Helga Paris (German, born Poland, 1938)
Hellersdorf #2
1998
Gelatin silver print
From the series Hellersdorf
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'Hellersdorf #7' 1998

 

Helga Paris (German, born Poland, 1938)
Hellersdorf #7
1998
Gelatin silver print
From the series Hellersdorf
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

Helga Paris (German, born Poland, 1938) 'Hellersdorf #8' 1998

 

Helga Paris (German, born Poland, 1938)
Hellersdorf #8
1998
Gelatin silver print
From the series Hellersdorf
Photo: © Helga Paris
Source: ifa (Institut für Auslandsbeziehungen)

 

 

Akademie der Künste
Pariser Platz 4
10117 Berlin
Phone: +49 (0)30 200 57-1000

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19
Oct
19

Exhibition: ‘Once. Again. Photographs in Series’ at the J. Paul Getty Museum, Getty Center, Los Angeles

Exhibition dates: 9th July – 10th November 2019

Curator: Mazie Harris

 

 

Alfred Stieglitz (American, 1864-1946) 'Georgia O'Keeffe: A Portrait' 1918

 

Alfred Stieglitz (American, 1864-1946)
Georgia O’Keeffe: A Portrait
1918
Gelatin silver print
Image: 11.4 × 8.6 cm (4 1/2 × 3 3/8 in.)
The J. Paul Getty Museum, Los Angeles

 

 

Some fabulous photographs in series in this posting, which document transformations in landscapes or intimate portraits of people at different times in their lives… and some challenging ones as well. My favourite photographs in series are not represented: Duane Michals narrative fairytales; Cindy Sherman’s Untitled Film Stills; and Nicholas Nixon’s The Brown Sisters.

Dr Marcus Bunyan

.
Many thanks to the J. Paul Getty Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

Photographers often record change through images in series, registering transformations in the world around them. Artists featured in the exhibition photographed faces and places over minutes, months, or years. Historical and contemporary photographs prompt reflection on the ways the passage of time impacts how we see people and spaces.

 

 

Alfred Stieglitz (American, 1864-1946) 'Georgia O'Keeffe: A Portrait' 1923

 

Alfred Stieglitz (American, 1864-1946)
Georgia O’Keeffe: A Portrait
1923
Gelatin silver print
Image: 8.9 × 11.7 cm (3 1/2 × 4 5/8 in.)
The J. Paul Getty Museum, Los Angeles

 

Alfred Stieglitz (American, 1864-1946) 'Georgia O'Keeffe: A Portrait' 1933

 

Alfred Stieglitz (American, 1864-1946)
Georgia O’Keeffe: A Portrait
1933
Gelatin silver print
Image: 8.9 × 11.4 cm (3 1/2 × 4 1/2 in.)
The J. Paul Getty Museum, Los Angeles

 

 

Artists have long used cameras to record change, documenting transformations in landscapes or intimate portraits of people at different times in their lives. Once. Again. Photographs in Series, on view July 9-November 10, 2019 at the J. Paul Getty Museum, Getty Center, features historical and contemporary artists who have revisited people and places to make extended photographic series, prompting reflection on the impact of the passage of time – on photographers as well as their subjects.

The exhibition, drawn primarily from the collection of the Getty Museum, takes its cue from artist Gordon Parks’ trips to Brazil over several decades to document the life of Flávio da Silva. Parks’ photographs are on view in Gordon Parks: The Flávio Story, installed in the adjacent galleries of the Center for Photographs.

Photographing friends and family is a familiar pastime for many, and the exhibition includes the work of several artists who made masterful portraits of loved ones over the course of many years. Alfred Stieglitz photographed artist Georgia O’Keeffe frequently during their tumultuous 30 year relationship, and the photographs on view expose shifts in their rapport as well as changes in Stieglitz’s photographic style over time. Series by Harry Callahan of his wife Eleanor, Paul Strand of his wife, artist Rebecca Salsbury, and Julia Margaret Cameron of her niece Julia Jackson similarly offer fascinating reflections on the changes in relationships over time.

The exhibition also includes compelling contemporary portraits, including photojournalist Seamus Murphy’s record of the physical and emotional toll inflicted upon a family living in Afghanistan under rule of the Taliban, and Donna Ferrato’s documentation of a woman who fled an abusive relationship. Both series register the struggles as well as triumphs.

A number of artists in the exhibition document seasonal and man-made changes in the landscape. In a 1953 series by William A. Garnett, aerial photography is used to capture a walnut grove before and after the trees were felled to make way for a housing development. The startling perspective of Garnett’s images came to play an important role in the burgeoning environmental movement. Richard Misrach used his move to a new home in the hills above Berkeley, California, as an opportunity to take hundreds of photographs of the astonishing range of colours and atmospheric conditions surrounding the Golden Gate Bridge at sunset each evening. Several of his richly saturated sunset images are featured in the exhibition. Works by Roni Horn, Jem Southam, and Josef Sudek also trace changes in the natural world, to both political and poetic effect.

Transformations in the built environment also reveal the profound effects of the passage of time. LaToya Ruby Frazier documented the painful process of clearing the rooms of her family home in a series of self-portraits in which she cloaked herself in the familiar belongings of her loved ones. In order to spotlight socioeconomic changes in American neighbourhoods, Camilo José Vergara photographed the dramatic transformation of a single Harlem storefront over 40 years, as it changed hands, changed facades, and split into two establishments. Other artists in the exhibition, including John Divola and William Christenberry, chronicle the disintegration of architecture over time, creating evocative meditations on deterioration.

“‘Once again’ is a phrase repeated in a poem by William Wordsworth,” says Mazie Harris, assistant curator of photographs at the Getty Museum and curator of the exhibition. “He was fascinated by the powerful feeling that arises when revisiting a familiar place. He’s experiencing his surroundings in real time and yet is constantly aware of his memories of being there before. The photographers in this exhibition conjure that same sensation. They offer us the opportunity to see people and places afresh, even as we track the powerful changes wrought by time.”

Once. Again. Photographs in Series, is on view July 9-November 10, 2019 at the J. Paul Getty Museum, Getty Center. The exhibition is curated by Mazie Harris, assistant curator of photographs at the Getty Museum.

Press release from the J. Paul Getty Museum website [Online] Cited 11/08/2019

 

Josef Sudek (Czech, 1896-1976) 'The Window of My Studio' 1940-54

 

Josef Sudek (Czech, 1896-1976)
The Window of My Studio
1940-54
Gelatin silver print
Image: 22.1 × 14.1 cm (8 11/16 × 5 9/16 in.)
The J. Paul Getty Museum, Los Angeles
© I&G Fárová Heirs

 

Josef Sudek (Czech, 1896-1976) 'The Window of My Studio' 1940-54

 

Josef Sudek (Czech, 1896-1976)
The Window of My Studio
1940-54
Gelatin silver print
Image: 17.1 × 10.3 cm (6 3/4 × 4 1/16 in.)
The J. Paul Getty Museum, Los Angeles
© I&G Fárová Heirs

 

Josef Sudek (Czech, 1896-1976) 'The Window of My Studio' 1940-54

 

Josef Sudek (Czech, 1896-1976)
The Window of My Studio
1940-54
Gelatin silver print
Image: 23.5 × 16.5 cm (9 1/4 × 6 1/2 in.)
The J. Paul Getty Museum, Los Angeles
© I&G Fárová Heirs

 

William A. Garnett (American, 1916-2006) 'Walnut Grove Standing' March 21, 1953

 

William A. Garnett (American, 1916-2006)
Walnut Grove Standing
March 21, 1953
Gelatin silver print
Image: 34.3 × 26.7 cm (13 1/2 × 10 1/2 in.)
The J. Paul Getty Museum, Los Angeles
© Estate of William A. Garnett

 

William A. Garnett (American, 1916-2006) 'Walnut Grove Bulldozed' March 21, 1953

 

William A. Garnett (American, 1916-2006)
Walnut Grove Bulldozed
March 21, 1953
Gelatin silver print
Image: 26.5 × 34.3 cm (10 7/16 × 13 1/2 in.)
The J. Paul Getty Museum, Los Angeles
© Estate of William A. Garnett

 

William A. Garnett (American, 1916-2006) 'Walnut Grove Uprooted by Bulldozers' March 22, 1953

 

William A. Garnett (American, 1916-2006)
Walnut Grove Uprooted by Bulldozers
March 22, 1953
Gelatin silver print
Image (trimmed to mount): 34.1 × 26.5 cm (13 7/16 × 10 7/16 in.)
The J. Paul Getty Museum, Los Angeles
© Estate of William A. Garnett

 

Milton Rogovin (American, 1909-2011) 'Michael and Pam' 1973

 

Milton Rogovin (American, 1909-2011)
Michael and Pam
1973
Gelatin silver print
Image: 17.9 × 17.4 cm (7 1/16 × 6 7/8 in.)
The J. Paul Getty Museum, Los Angeles
© Milton Rogovin

 

Milton Rogovin (American, 1909-2011) 'Michael and Pam' 1973

 

Milton Rogovin (American, 1909-2011)
Michael and Pam
1973
Gelatin silver print
Image: 17.9 × 17.4 cm (7 1/16 × 6 7/8 in.)
The J. Paul Getty Museum, Los Angeles
© Milton Rogovin

 

Milton Rogovin (American, 1909-2011) 'Michael and Pam' 1973

 

Milton Rogovin (American, 1909-2011)
Michael and Pam
1973
Gelatin silver print
Image: 17.9 × 17.4 cm (7 1/16 × 6 7/8 in.)
The J. Paul Getty Museum, Los Angeles
© Milton Rogovin

 

Milton Rogovin (American, 1909-2011) 'Yvonne and Daughter Sonya' 1974

 

Milton Rogovin (American, 1909-2011)
Yvonne and Daughter Sonya
1974
Gelatin silver print
Image: 18 × 17.3 cm (7 1/16 × 6 13/16 in.)
The J. Paul Getty Museum, Los Angeles
© Milton Rogovin

 

Milton Rogovin (American, 1909-2011) 'Yvonne and Daughter Sonya' 1974

 

Milton Rogovin (American, 1909-2011)
Yvonne and Daughter Sonya
1974
Gelatin silver print
Image: 17.2 × 17.2 cm (6 3/4 × 6 3/4 in.)
The J. Paul Getty Museum, Los Angeles
© Milton Rogovin

 

Milton Rogovin (American, 1909-2011) 'Yvonne and Daughter Sonya' 1974

 

Milton Rogovin (American, 1909-2011)
Yvonne and Daughter Sonya
1974
Gelatin silver print
Image: 18.1 × 16.8 cm (7 1/8 × 6 5/8 in.)
The J. Paul Getty Museum, Los Angeles
© Milton Rogovin

 

John Divola (American, born 1949) 'Zuma' 1977

 

John Divola (American, born 1949)
Zuma
1977
Chromogenic print
Image: 24.7 × 30.4 cm (9 3/4 × 11 15/16 in.)
The J. Paul Getty Museum, Los Angeles
Gift of the Wilson Centre for Photography
© John Divola

 

John Divola (American, born 1949) 'Zuma' 1977

 

John Divola (American, born 1949)
Zuma
1977
Chromogenic print
Image: 24.8 × 30.6 cm (9 3/4 × 12 1/16 in.)
The J. Paul Getty Museum, Los Angeles
Gift of the Wilson Centre for Photography
© John Divola

 

John Divola (American, born 1949) 'Zuma' 1977

 

John Divola (American, born 1949)
Zuma
1977
Chromogenic print
Image: 24.7 × 30.5 cm (9 3/4 × 12 in.)
The J. Paul Getty Museum, Los Angeles
Gift of the Wilson Centre for Photography
© John Divola

 

John Divola (American, born 1949) 'Zuma' 1977

 

John Divola (American, born 1949)
Zuma
1977
Chromogenic print
Image: 24.8 × 30.6 cm (9 3/4 × 12 1/16 in.)
The J. Paul Getty Museum, Los Angeles
Gift of the Wilson Centre for Photography
© John Divola

 

Camilo José Vergara (American, born Chile, 1944) '65 East 125th Street, Harlem' December 1977

 

Camilo José Vergara (American, born Chile, 1944)
65 East 125th Street, Harlem
December 1977
Chromogenic print
Image: 38.7 × 58.4 cm (15 1/4 × 23 in.)
The J. Paul Getty Museum, Los Angeles
Gift of Bruce Berman and Lea Russo
© Camilo José Vergara

 

Camilo José Vergara (American, born Chile, 1944) '65 East 125th Street, Harlem' October 1980

 

Camilo José Vergara (American, born Chile, 1944)
65 East 125th Street, Harlem
October 1980
Chromogenic print
Image: 37.8 × 58.5 cm (14 7/8 × 23 1/16 in.)
The J. Paul Getty Museum, Los Angeles
Gift of Bruce Berman and Lea Russo
© Camilo José Vergara

 

Camilo José Vergara (American, born Chile, 1944) '65 East 125th Street, Harlem' October 1981

 

Camilo José Vergara (American, born Chile, 1944)
65 East 125th Street, Harlem
October 1981
Chromogenic print
Image: 38.7 × 58.4 cm (15 1/4 × 23 in.)
The J. Paul Getty Museum, Los Angeles
Gift of Bruce Berman and Lea Russo
© Camilo José Vergara

 

Seamus Murphy (Irish, born 1959) 'Kabul: November 1994' 1994, print 2015

 

Seamus Murphy (Irish, born 1959)
Kabul: November 1994
1994, print 2015
Gelatin silver print
Image: 22.6 × 34.2 cm (8 7/8 × 13 7/16 in.)
The J. Paul Getty Museum, Los Angeles
Gift of David Knaus
© Seamus Murphy

 

Seamus Murphy (Irish, born 1959) 'Ba Deli Family, Kabul: November 1996' 1996, print 2015

 

Seamus Murphy (Irish, born 1959)
Ba Deli Family, Kabul: November 1996
1996, print 2015
Gelatin silver print
Image: 22.4 × 34.5 cm (8 13/16 × 13 9/16 in.)
The J. Paul Getty Museum, Los Angeles
Gift of David Knaus
© Seamus Murphy

 

Seamus Murphy (Irish, born 1959) 'Gulbahar, Kapisa Province: June 2003' 2003, print 2015

 

Seamus Murphy (Irish, born 1959)
Gulbahar, Kapisa Province: June 2003
2003, print 2015
Gelatin silver print
Image: 34.6 × 22.6 cm (13 5/8 × 8 7/8 in.)
The J. Paul Getty Museum, Los Angeles
Gift of David Knaus
© Seamus Murphy

 

Seamus Murphy (Irish, born 1959) 'Gulbahar, Kapisa Province: May 2009' 2009, print 2015

 

Seamus Murphy (Irish, born 1959)
Gulbahar, Kapisa Province: May 2009
2009, print 2015
Gelatin silver print
Image: 22.5 × 34.4 cm (8 7/8 × 13 9/16 in.)
The J. Paul Getty Museum, Los Angeles
Gift of David Knaus
© Seamus Murphy

 

Seamus Murphy (Irish, born 1959) 'Kabul: July 2010' 2010, print 2015

 

Seamus Murphy (Irish, born 1959)
Kabul: July 2010
2010, print 2015
Gelatin silver print
Image: 22.6 × 34.7 cm (8 7/8 × 13 11/16 in.)
The J. Paul Getty Museum, Los Angeles
Gift of David Knaus
© Seamus Murphy

 

Seamus Murphy (Irish, born 1959) 'Kabul: July 2010' 2010, print 2015

 

Seamus Murphy (Irish, born 1959)
Kabul: July 2010
2010, print 2015
Gelatin silver print
Image: 22.6 × 34.7 cm (8 7/8 × 13 11/16 in.)
The J. Paul Getty Museum, Los Angeles
Gift of David Knaus
© Seamus Murphy

 

Richard Misrach (American, born 1949) '10.29.97, 4:35 PM' 1997, print 1999

 

Richard Misrach (American, born 1949)
10.29.97, 4:35 PM
1997, print 1999
Chromogenic print
Image: 45.8 × 59 cm (18 1/16 × 23 1/4 in.)
The J. Paul Getty Museum, Los Angeles
Gift of Daniel Greenberg and Susan Steinhauser
© Richard Misrach, courtesy Fraenkel Gallery, San Francisco, Pace/ MacGill Gallery, New York and Marc Selwyn Fine Art, Los Angeles

 

Richard Misrach (American, born 1949) '2.21.98, 4:45 PM' 1998, print 2016

 

Richard Misrach (American, born 1949)
2.21.98, 4:45 PM
1998, print 2016
Chromogenic prin
Image: 152.4 × 188 cm (60 × 74 in.)
The J. Paul Getty Museum, Los Angeles
Gift of Sharyn and Bruce Charnas
© Richard Misrach, courtesy Fraenkel Gallery, San Francisco, Pace/MacGill Gallery, New York and Marc Selwyn Fine Art, Los Angeles

 

Richard Misrach (American, born 1949) '2.16.98, 5:20 PM' 1998, print 1999

 

Richard Misrach (American, born 1949)
2.16.98, 5:20 PM
1998, print 1999
Chromogenic print
Image: 46.2 × 58.9 cm (18 3/16 × 23 3/16 in.)
The J. Paul Getty Museum, Los Angeles
Gift of Daniel Greenberg and Susan Steinhauser
© Richard Misrach, courtesy Fraenkel Gallery, San Francisco, Pace/ MacGill Gallery, New York and Marc Selwyn Fine Art, Los Angeles

 

Richard Misrach (American, born 1949) '10.31.98, 5:22 PM' 1998, print 1999

 

Richard Misrach (American, born 1949)
10.31.98, 5:22 PM
1998, print 1999
Chromogenic print
Image: 46.3 × 58.9 cm (18 1/4 × 23 3/16 in.)
The J. Paul Getty Museum, Los Angeles
Gift of Daniel Greenberg and Susan Steinhauser
© Richard Misrach, courtesy Fraenkel Gallery, San Francisco, Pace/ MacGill Gallery, New York and Marc Selwyn Fine Art, Los Angeles

 

LaToya Ruby Frazier (American, born 1982) Four photographs 2010

 

LaToya Ruby Frazier (American, born 1982)
Clockwise from top left: Wrapped in Gramps’ Blanket, 2010; In Grandma Ruby’s Velour Bottoms, 2010; Covered in Gramps’ Blanket, 2010; In Gramps’ Pajamas, 2010
Gelatin silver prints
Image (each): 43.5 × 58.4 cm (17 1/8 × 23 in.)
The J. Paul Getty Museum, Los Angeles
Purchased with funds provided by the Photographs Council
© LaToya Ruby Frazier

 

Jem Southam (British, born 1950) 'December 1996'

 

Jem Southam (British, born 1950)
December 1996
1996
Chromogenic print
68.6 × 85.7 cm (27 × 33 3/4 in.)
Gift of The Michael G. and C. Jane Wilson 2007 Trust
© Jem Southam

 

Jem Southam (British, born 1950) 'March 1998'

 

Jem Southam (British, born 1950)
March 1998
1998
Chromogenic print
68.6 × 85.7 cm (27 × 33 3/4 in.)
Gift of The Michael G. and C. Jane Wilson 2007 Trust
© Jem Southam

 

Jem Southam (British, born 1950) 'January 2000'

 

Jem Southam (British, born 1950)
January 2000
2000
Chromogenic print
68.6 × 85.7 cm (27 × 33 3/4 in.)
Gift of The Michael G. and C. Jane Wilson 2007 Trust
© Jem Southam

 

Donna Ferrato (American, born 1949) 'Sarah Augusta' 2012

 

Donna Ferrato (American, born 1949)
Sarah Augusta
2012
Pigment print
28.6 × 50.8 cm (11 1/4 × 20 in.)
Gift of The Kevin & Delia Willsey Collection
© Donna Ferrato

 

'Donna Ferrato (American, born 1949) Sarah Augusta Learning Self Defense' 2013

 

Donna Ferrato (American, born 1949)
Sarah Augusta Learning Self Defense
2013
Pigment print
33.9 × 50.9 cm (13 3/8 × 20 1/16 in.)
Gift of The Kevin & Delia Willsey Collection
© Donna Ferrato

 

Donna Ferrato (American, born 1949) 'Sarah after a Court Hearing' 2014

 

Donna Ferrato (American, born 1949)
Sarah after a Court Hearing
2014
Pigment print
33.9 × 50.8 cm (13 3/8 × 20 in.)
Gift of The Kevin & Delia Willsey Collection
© Donna Ferrato

 

Donna Ferrato (American, born 1949) 'Sarah and a member of B.A.C.A. discussing a strategy to protect the boys' 2014

 

Donna Ferrato (American, born 1949)
Sarah and a member of B.A.C.A. discussing a strategy to protect the boys
2014
Pigment print
33.9 × 50.8 cm (13 3/8 × 20 in.)
Gift of The Kevin & Delia Willsey Collection
© Donna Ferrato

 

Donna Ferrato (American, born 1949) 'Sarah' 2013

 

Donna Ferrato (American, born 1949)
Sarah
2013
Pigment print
50.8 cm x 33.9 (20 in. x 13 3/8)
Gift of The Kevin & Delia Willsey Collection
© Donna Ferrato

 

 

The J. Paul Getty Museum
1200 Getty Center Drive
Los Angeles, California 90049

Opening hours:
Tues – Friday 10 am – 5.30 pm
Saturday 10 am – 9 pm
Sunday 10 am – 5.30 pm
Monday closed

The J. Paul Getty Museum website

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10
Sep
19

Vale Robert Frank ‘The American’

September 2019

 

Robert Frank Americans 1 'Parade - Hoboken, New Jersey' 1955

 

Robert Frank (American-Swiss, 1924-2019)
Parade – Hoboken, New Jersey
1955

 

 

The flags will be all askew.
The jukeboxes will be playing.
And the light will never falter from his incandescent images.

Vale.

 

Robert Frank. 'Bar, New York City' 1955-56

 

Robert Frank (American-Swiss, 1924-2019)
Bar, New York City
1955-56

 

 

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Sleep/Wound’ 1995-96


Marcus Bunyan black and white archive: 'Sleep/Wound' 1995-96 *PLEASE NOTE THIS POSTING CONTAINS PHOTOGRAPHS OF MALE NUDITY - IF YOU DO NOT LIKE PLEASE DO NOT LOOK, FAIR WARNING HAS BEEN GIVEN*

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