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advertisement cited by Chris Long in his Index to Photographers
Working in Tasmania 1840-1940(ms. held by Long) entry
on Clifford. By 1871 Charles Pickering in Sydney had 20,000
sale (see Sydney Morning Herald, 31 January 1871). Townsend
Duryea lost 50,000 negatives in his studio fire in 1875. (See
Early South Australian Photography (Saddleworth, South
Australia: privately published, 1968).
by the National Library of Australia, album no.717,
does not appear to have visited Australia. Her work is to
be the subject of a forthcoming article by Isobel
in Photofile (Sydney).
Held by the John Oxley Library, Brisbane, album APO 27.
See Tim Bonyhady, ch. 2 'An Aboriginal Arcadia', Images in
Australian Landscape Painting 18011890 (Melbourne: Oxford
University Press, 1986), for a discussion of these themes
colonial landscape painting. George H. Verney (w. 1860s)
aide-de-camp to the Governor in Brisbane, made photographs
with witty captions
and some elaborate posing in the late 1860s but did not add
elaborate painted decoration. An album of his work (in poor
is held by the National Library of Australia, Canberra.
Held by the La Trobe Collection, State Library of Victoria
and measuring 137.2 by 118 centimetres. Chuck also sold
Held by the Mortlock Library. The 'men of South Australia'
were pioneers who had arrived in the colony between 1835
and 1841. Jones also made a mosaic of their wives.
Held at the Adelaide Town Hall in the Mayor's office.
K.S. Inglis, The Rehearsal: Australians at War in the Sudan
1885 (Sydney: Rigby, 1985), p. 144, notes that Boake
made the group portrait soon after the return of the Contingent.
were sold by the hundreds and the work exhibited
in the Colonial
and Indian Exhibition of 1886. A giant version on
a canvas banner was recently rediscovered at the Australian
the existence of a copy photograph ofa slightly different
version suggests the existence of another banner.
Robert Holden's bibliography, Photography in Colonial Australia:
The Mechanical Eye and the Illustrated Book (Sydney:
Hordern House, in publication), lists some two hundred works
Published in the Tasmanian Herald, 1866. Meredith had
used photographs as the basis for illustrations
in her earlier book,
Over the Straits: A Visit to Victoria (London:
Chapman Hall, 1861). She evidently experimented with photography
no prints survive, or were used by her in publications,
unlikely. See Vivienne Rae Ellis, Louisa Anne
Meredith: A Tigress in Exile (Sandy Bay, Tasmania: Blubberhead
Information from New Norcia Mission. The Mission's large
photographic Archive has been copied by the
Battye Library. For images in the series, see Lois Tilbrook,
of Aborigines of South-Western Australia 1829-1914
(Perth: University of Western Australia Press, 1983), pp.47-51.
Reproduced inME.A., p.165.
See Robert Holden Photography in Colonial Australia, op.
cit,, for details of these productions.
by the Tasmanian Museum and Art Gallery. The Government commissioned
four photographers to cover
in Jack Cato, The Story of the Camera in Australia (Melbourne:
Georgian House, 1955), between pp.96
in Jack Pollard, Pictorial History of Australian Cricket (Melbourne:
J.M. Dent, A.B.C.,
was one of the earliest photographs of a bushranger outside
studio portraits. It is reproduced
A Pictorial History of Bushranging
(Melbourne: Paul HamyIn, 1968),
See Robert Holden, Photography
in Colonial Australia, op. cit.,
for an ac19
count of the Kinder case and
by the Mitchell Library, Sydney.
Keast Burke regarded a photograph
of the burnt-out Prince
of Wales Theatre
as one of the earliest 'press-pictures', and
in Jack Cato's Story
of the Camera in Australia
House, 1955). However, topical events were
especially from the mid1850s on, for sale,
use for images in
the illustrated papers.
held by the Parliamentary Library
of South Australia.
layout of a copy
in a private collection
was possibly a
mock-up for a
of these portraits is
by David Moore
and Rodney Hall Australia:
of a Nation, (Sydney:
by the National Library
reproduced in Patsy Adam Smith,
M.E.A. references, and
of 1866 was
one of the
to have generated
Ellis and Co.
library, State Library
of NSW, Sydney,
660 N. See
trips to England
held by the
of the Prince
Melbourne is held
These are the
reference, Jack Cato, The Story of the Camera in Australia,
op.cit.p. 3 1.
Held by the Latrobe Library, State Library of Victoria, Melbourne.
Held by the National Library of Australia, Canberra. no. 58736,
in 8 panels from photographs, c. 1836.
especially albums no. 217 and 219 held by the National Library
of Australia, Canberra. Nettleton's reputation
has suffered as a result of white spotting on images, caused
it seems by the
gilt lettering spread over the images during pressing
onto lettered cards.
The Mitchell Library holds the original and subsequent albums
of Pickering's views for the London exhibition.
The photography gallery at the Office was introduced in 1870
(following the establishment of the Photolithographic
branch in 1868) and accommodated in extensions to the office
in Spring Street, Sydney. Photographic work was
in full operation by 1879,
has been overlooked in photohistories. He inherited the role
of Adelaide's leading studio photographer
in the 1870s and was an energetic showman and experimenter
with all new processes
and trends. A file of his press clippings is
held by the Art Gallery of South Australia, Adelaide.
'A Wanderer among the Photographic Views at the Intercolonial
Exhibition', Australia Monthly (1866-67): pp.360-5.
'Sol' also wrote articles for the spiritualist magazine,
Harbinger of Light.
Merlin's other names and details of his prior career as a
showman and puppeteer,
see Richard Bradshaw, 'The Merlin of
the South', Australasian Drama Studies
(October 1985): pp.93-130.\
accounts of Merlin and Bayliss, see
Keast Burke, Gold and Silver, Photographs
of Australian Goldfields, From the Holtermann
Collection (Sydney: Heinemann, 1973).
Morning Herald, 21 September 1870, quoted M.E.A. p.62.
Harry Gordon, Famous Australian Newspictures (Melbourne:
Macmillan, 1975), p.5.
was a long- established photographer by 1880. His career
is detailed in ch. 6. He was not on the first night train,
as reported in the Australasian Sketcher, Queensland edn,
vol.6, no. 10 1, 14 August 1880, but arrived with the second
- which gave full coverage to the Kelly Gang. Coverage
of the Kelly Gang in the Sketcher began as early as 23 November
and 27 December 1879.
image was apparently first published in Julian Ashton's autobiography,
Now Came Still Evening
Angus and Robertson,
1941). Ashton claims the print was sent to him by Lindt,
c.1910, butthe damage evident on the negative and the
is not consistent with Lindt's perfectionism. For a
discussion of the photographic and graphic depiction of the
gang's last stand, see Nigel Lendon, 'Ashton, Roberts
and Bayliss: Some
Relationships between Illustration, Painting and Photography
in the late Nineteenth Century', in Terry Smith and
Anthony Bradley, eds. Australian Art and Architecture: Essays
Presented to Bernard
Smith (Melbourne: Oxford University Press), pp.74-6.
assistant Hermann Kruth recalled the taking of the Kelly
Gang photographs as a wet plate. See M.E.A.,
p.76 and the
A.P.-R. September, 1947.
A Century ofjournalism: Sydney Morning Herald and its RecordofAustralian
John Fairfax and
Sons, 1931), pp.678-9.
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