Monthly Archive for January, 2010

Page 2 of 4

National Art Gallery, Sydney, N.S.W.

Henry King, (1855-1923) was a successful Sydney photographer best known for his view and portrait work. He won several international medals, including a bronze at the Chicago exhibition of 1893. Early in the twentieth century he was commissioned by the Art Gallery of New South Wales, (then known as the National Art Gallery of New South Wales) to photograph its major works. In this image gives a sense of depth by framing archways within archways and using the natural light to display the works to their best advantage.

The editor of the 1904 issue of the Australasian Photographic Review wrote of Henry King:

Mr King is a photographer of the old and new schools combined and stands high in the esteem of his craft. By amateurs he is regarded as a true and valued friend. Long before the advent of the dryplate and T.P. shutters Mr King was a student of what was termed “The black art”. In after years his name as a photographer became a household word.

The Powerhouse Museum Tyrrell collection includes 1,334 photographs by Henry King.

Photography by Henry King, Sydney, Australia, c. 1880-1900
No known copyright restrictions
Post by Kathy Hackett, Photo Librarian

Wool Arch

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On 1 January Sydney celebrated Australia becoming a Federation by hosting a grand procession through its streets. The Federation ‘Wool Arch’ was set up close to the wool stores at the intersection of Bridge and Loftus streets in Sydney. Mr. H. E. Ross, a member of the rural electorate of Narrabri, provided the original design. The wool alone was to cost 7000 pounds but costs and fears of the whole structure collapsing under the weight of the wool if it got wet, led to a new design. Walter Vernon was given the task of producing the final arch which consisted of brushed wool threaded through chicken wire and supported on a wooden frame.

No known copyright restrictions
Post by Geoff Barker, Assistant Curator

Holiday shack

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Museum photographer Andrew Frolows took this photo in 1995 while photographing a holiday shack at Broulee on the South coast of NSW. Built in the 1920s for a Goulburn doctor and his family, the shack was one of dozens of fibro structures Andrew photographed for the book The fibro frontier: a different history of Australian architecture, published in 1997. As well as Sydney, the shoots involved trips up and down the coast, the central West and other rural areas.

The interior walls of this holiday house had been painted by generations of family members with evocative results.

Photography by Andrew Frolows
© All rights reserved
Post by Charles Pickett, Curator

NSW south-western slopes

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This beautiful photo of the NSW south-western slopes region was taken by Jean-Francois Lanzarone from the back of a ute in the very early morning. It looks serene…but the reality was hilarious. David Marsh, a farmer and terribly obliging host, had torn around his paddocks in response to Jean-Francois’ directions from the back through the open window. Fading dawn light added to the pressure to position the ute, Jean-Francois’ mobile studio, in just the right place. We laughed so much! The day resulted in wonderful photos for the Museum’s EcoLogic exhibition and a warm and lasting friendship with David and his family. It was a really rewarding assignment.

Photography by Jean-Francois Lanzarone
License: Creative Commons Attribution-Noncommercial-No Derivative Works 2.0
Post by Sandra McEwen, Principal Curator

An outrageous photo

Potts Outrage

Photographer David Potts worked in London during the 1950s and his photos were used by Life, Vogue, The Observer and elsewhere. Back in Sydney, Potts took a series of photos for an exhibition and book titled Australian Outrage: the decay of a visual environment. Curated by architect Don Gazzard, Australian Outrage reprised the arguments of Outrage, staged in London a few years earlier.

This 1964 photo of a used car yard by the Princes Highway, Arncliffe was typical, depicting the urban and aesthetic consequences of modern life in general, and the motor car in particular. The Powerhouse purchased the photo in 1995 for its Cars & culture exhibition and book. The Art Gallery of NSW is currently displaying the work of David Potts and other Australian photographers of the post-war years.

Photography by David Potts
© All rights reserved
Post by Charles Pickett, Curator

A camping trip

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This photograph of a group of ten men who appear to be on a camping trip is another image from the Phillips collection that includes some signature playful elements. The numerals inscribed on the underside of a cooking pan attached to the top of the tent tell us that the year is 1902. This information enabled the dating of another photograph in which the group of men, all wearing the same clothes, take part in a staged fencing scene. Two of the men in this image are holding sticks similar to those used in the fencing photograph.

Displayed prominently in the foreground is an empty can of ‘O.K.’ brand white cling peaches, the significance of which remains a mystery. The presence of hand made signs and quirky props seem to indicate that some of the photographs in this collection were produced for the amusement of family and friends rather than for a wider audience.

No known copyright restrictions
Post by Kathy Hackett, Photo Librarian

Australian grass trees

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The inclusion of a human figure in the landscape to convey the idea of grand scale in the world of nature was a convention often used in nineteenth century painting and photography. A photographer from the studio of Kerry & Co composed this image to create a visual comparison between impressive height of the Xanthorrhoea resinifera, or grass tree, with the man standing on the left.

Xanthorrhoea resinifera is a species unique to Australia. The trees grow slowly and can take many years to attain their full height. They are hardy plants able withstand drought and regenerate after bushfires.

They were not, however, at this point in history, safe from the incursions of overly enthusiastic photographers. The stem of the flower spike held by the man in this photograph has been lopped from the tree next to him and the axe that was used is just visible on the ground behind.

This photograph is part of the Museum’s Tyrrell collection of historical photographs.

Photograph by Kerry & Co. Tyrrell collection.
No known copyright restrictions
Post by Kathy Hackett, Photo Librarian

Portrait of a young woman

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In this beautiful portrait the photographer has utilised natural light and shallow depth of field to draw the viewer’s attention to the subject. Fine details of the tulle flowers and feathers on the woman’s hat are all clearly defined whereas the dark leaves and brick wall in the background recede into soft focus.

The photographer has also paid careful attention to the tonal elements in the composition, balancing the large area of dark in the background with the pale flower in the woman’s hat while her dark gloves serve to break up the large area of her white dress. A vase of slightly wilted flowers on the table gives the image a charming informal touch.

This photograph is part of a collection acquired from the estate of Raymond W. Phillips, a descendent of Arthur J. Phillips, a late nineteenth century Sydney assayer and gold refiner. The same woman appears in other, less formal, photographs in this collection and it is possible that she may have been a member of the family or a friend.

No known copyright restrictions
Post by Kathy Hackett, Photo Librarian

Swearing in Pavilion

Situated in Centennial Park, the ‘Swearing in Pavilion’ was the final destination of the procession. It was here that the Governor, Lord Hopetoun, made the proclamation declaring Australia’s Commonwealth. The pavilion itself was unusual in that the plaster was unpainted to keep its pure white finish and highlighted its Corinthian pilasters in the otherwise denuded landscape of Centennial Park. The Governor’s speech was followed by the singing of ‘Federated Australia’ by a choir of public school children 10,000 strong.

No known copyright restrictions
Post by Geoff Barker, Assistant Curator

Night shot of Loco 3830

This atmospheric night shot shows the restoration of Loco 3830 at Eveleigh Railway workshops back in 1997. The following extract is from our database:

Locomotive 3830 represents the epitome of steam locomotive development in New South Wales. It was the last of the 38 class locomotives to be built and the last passenger locomotive to be designed and built by the New South Wales Government Railways in 1949.

With their capacity for sustained high speed, acceleration and hill climbing abilities the 38 class locomotives hauled the heaviest air-conditioned express services single-handed over some of the State’s steepest grades. Their range and reliability meant that this class could work trains the entire distance from Sydney to the break-of-gauge at Albury without an engine change.

The 38 class saw the last period of popular rail travel prior to the use of the domestic airlines and the increased popularity of the family car. They proved their worth by holding off the diesel invasion for over a decade and were gradually relegated to goods train operation but withdrawn from service during the 1960s and early 1970s.

Photography by Scott Donkin
License: Creative Commons Attribution-Noncommercial-No Derivative Works 2.0