Based
on text from the original book: Shades of Light:
Photography and Australia 1839-1988
Gael Newton, 1988 Australian National Gallery
Chapter 5 Footnotes
return to Chapter 5 next chapter contents
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Studio
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
negatives for
sale (see Sydney Morning Herald, 31 January 1871). Townsend
Duryea lost 50,000 negatives in his studio fire in 1875. (See
R.J. Noye,
Early South Australian Photography (Saddleworth, South
Australia: privately published, 1968).
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Held
by the National Library of Australia, album no.717,
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Jocelyn
does not appear to have visited Australia. Her work is to
be the subject of a forthcoming article by Isobel
Crombie
in Photofile (Sydney).
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Held by the John Oxley Library, Brisbane, album APO 27.
See Tim Bonyhady, ch. 2 'An Aboriginal Arcadia', Images in
Opposition:
Australian Landscape Painting 18011890 (Melbourne: Oxford
University Press, 1986), for a discussion of these themes
in Australian
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
condition)
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
smaller copies.
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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.
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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.
Copies
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
War Memorial,
and
the existence of a copy photograph ofa slightly different
version suggests the existence of another banner.
Illustrated ch.6,
p.62.
-
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
in this
genre.
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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
but as
no prints survive, or were used by her in publications,
this seems
unlikely. See Vivienne Rae Ellis, Louisa Anne
Meredith: A Tigress in Exile (Sandy Bay, Tasmania: Blubberhead
Press,
1979), p,66.
-
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,
NyungarTradition:
Climpses
of Aborigines of South-Western Australia 1829-1914
(Perth: University of Western Australia Press, 1983), pp.47-51.
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Reproduced inME.A., p.165.
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See Robert Holden Photography in Colonial Australia, op.
cit,, for details of these productions.
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Held
by the Tasmanian Museum and Art Gallery. The Government commissioned
four photographers to cover
events.
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Reproduced
in Jack Cato, The Story of the Camera in Australia (Melbourne:
Georgian House, 1955), between pp.96
and 97.
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Reproduced
in Jack Pollard, Pictorial History of Australian Cricket (Melbourne:
J.M. Dent, A.B.C.,
1983), p.38.
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This
was one of the earliest photographs of a bushranger outside
personal
studio portraits. It is reproduced
in Fred
Lowry,
A Pictorial History of Bushranging
(Melbourne: Paul HamyIn, 1968),
pp.66-7.
-
See Robert Holden, Photography
in Colonial Australia, op. cit.,
for an ac19
count of the Kinder case and
other examples.
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Held
by the Mitchell Library, Sydney.
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Photohistorian
Keast Burke regarded a photograph
of the burnt-out Prince
of Wales Theatre
as one of the earliest 'press-pictures', and
it appears
in Jack Cato's Story
of the Camera in Australia
(Melbourne: Georgian
House, 1955). However, topical events were
being photographed
especially from the mid1850s on, for sale,
or for
use for images in
the illustrated papers.
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Album
held by the Parliamentary Library
of South Australia.
The
layout of a copy
in a private collection
suggests it
was possibly a
mock-up for a
publication. One
of these portraits is
reproduced
by David Moore
and Rodney Hall Australia:
Image
of a Nation, (Sydney:
Collins, 1985).
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Held
by the National Library
of Australia,
Canberra, and
reproduced in Patsy Adam Smith,
Victorian
and
Edwardian Melbourne
from Old
Photographs (Melbourne:
John Ferguson
1978), p.36.
-
See
M.E.A. references, and
pp.52, 58.
-
The
Intercolonial Exhibition
of 1866 was
one of the
earliest
to have generated
a portfolio
of original
photographs
of
the exhibits,
taken by
Ellis and Co.
of Melbourne.
Held by
the
Mitchell
library, State Library
of NSW, Sydney,
660 N. See
also
notes
31,39.
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Duryea
Bros. advertisement,
South Australian
Register,
15
September
1855. Robert
Hall
had
already
introduced collodiotypes
(see South
Australian
Register,
2 August
1854).
Hall made
several
trips to England
to
learn of
new
developments.
-
The
original
panorama
is
held by the
Mortlock
Library,
State
Library of
South
Australia, Adelaide.
A copy
of
Duryea's charmingly
informal
album
of the Prince
of
Wales' visit,
titled
Photographs
of
South Australia,
Sydney
and
Melbourne is held
in
the
Mitchell Library,
State
Library
of
NSW, Sydney,
D.126,
no.6.
These are the
earliest
commercial
albums
produced
in
South Australia.
-
Unsourced
reference, Jack Cato, The Story of the Camera in Australia,
op.cit.p. 3 1.
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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.
-
See
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.
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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
premises
in Spring Street, Sydney. Photographic work was
in full operation by 1879,
3
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Freeman
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.
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'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.
-
For
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.\
-
For
accounts of Merlin and Bayliss, see
Keast Burke, Gold and Silver, Photographs
of Australian Goldfields, From the Holtermann
Collection (Sydney: Heinemann, 1973).
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Sydney
Morning Herald, 21 September 1870, quoted M.E.A. p.62.
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See
Harry Gordon, Famous Australian Newspictures (Melbourne:
Macmillan, 1975), p.5.
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Lindt
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
press
contingent
- which gave full coverage to the Kelly Gang. Coverage
of the Kelly Gang in the Sketcher began as early as 23 November
1878
and 27 December 1879.
-
The
image was apparently first published in Julian Ashton's autobiography,
Now Came Still Evening
On (Sydney:
Angus and Robertson,
1941). Ashton claims the print was sent to him by Lindt,
c.1910, butthe damage evident on the negative and the
poor retouching
is not consistent with Lindt's perfectionism. For a
discussion of the photographic and graphic depiction of the
Kelly
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.
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Lindt's
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.
-
See
A Century ofjournalism: Sydney Morning Herald and its RecordofAustralian
Life 1831-1931.
(Sydney:
John Fairfax and
Sons, 1931), pp.678-9.
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