Author Archive for Iwona Hetherington

Boy and Water Buffalo

This is yet another image from the collection of hand coloured lantern slides donated to the Museum in 1978 by the Australia – China Society.

According to The Continuum Encyclopedia of Animal Symbolism in World Art by Hope B. Werness, scenes of young boys riding water buffalos, as depicted in the above image, have been very popular throughout Chinese art history. The juxtaposition of a young vulnerable child and a physically powerful animal were to symbolise docile nature of buffalos and ease with which they can be made obedient, even by a child. The water buffalo and ox also symbolise spring, the season in which farmers return to the fields with their buffalo drawn ploughs.

Photographer unknown
No known copyright restrictions

One Armed Bandits

Poker machines are very much in the news at the moment with the controversy surrounding the proposal for ‘pre-commitment technology’ in Australia. This image is from the time when poker machines were mechanical (rather than electronic) and required the user to pull the handle in order to spin the wheels. This image was published in ‘Sydney, A Book of Photographs’ by David Mist in 1969 and carried the caption:

Over forty million dollars are spent on club entertainment in Australia every year. A major attraction in most clubs is the poker machine – referred to as “the one-armed bandit”. The multi-million dollar St George Leagues Club is the largest in the southern hemisphere which provides a complex of facilities for up to four thousand people.

St George Leagues Club was the first ‘superclub’ in Australia and opened 1963. It set the standard of providing an opulent environment for food, entertainment and sporting facilities which has become the hallmark of clubs in Australia. As can be seen from the nick-name ‘one-armed bandit’ Australians have always felt somewhat suspicious of these machines.

Photograph © David Mist, Powerhouse Museum collection 96/44/1-5/4/132/2
Post by Lynne McNairn, Registration

May your cup be always full

May the New Year flow smoothily [sic]
May no mists gather over Thee

reads “The Seasons Greetings’ card by Kerry and Co from the Museum’s Tyrrell Collection.

Photo of the Day wishes you all the very best in 2012.

Tyrrell Collection 5/1284-1895
No known copyright restrictions

Shoes, Christmas balls and tinsel

Merry Christmas from Photo of the Day!

This perfectly framed advertising shot of Italian platform sandals with Christmas decorations in the background was taken by Bruno Benini in 1973 for the opening of Raymond Castles shoe store and is one of many shoe and accessory photographs from the Bruno Benini photographic archive.

Hazel Benini, Bruno’s wife and creative partner, recalls in her memoir:

Shoes were a vital part of our fashion photography. Whatever prop we used it had to be small and in close proximity to the shoes. (..) Apart from using a glamorous model holding a shoe close to her head, we have photographed them on miniature planes, trucks and boats, with kittens and puppies, with Christmas balls and sparklers, with cocktail glasses and ice-cream sundaes

(p.34)

Ref:
Creating the look: Benini and fashion photography, Powerhouse Publishing, 2010
Photography by Bruno Benini
Powerhouse Museum Collection, 2009/43/1-3/5
© Estate of Bruno Benini

Charlotte Rolfe

We have chosen these two photographs from the archive of Dahl and Geoffrey Collings for this post. They were included on Christmas cards sent to the Collings’ by their friends Wilfrid (Bill) and Phoebe Rolfe and feature the Rolfe’s daughter Charlotte. The first was taken in 1946 and shows Charlotte at the age of two and three quarter lighting candles above the fireplace in their home in Effingham, Surrey, England. We think this photograph beautifully captures the wonder of Christmas for a small child. The second photograph was on the cover of the Rolfe’s 1949 Christmas card and shows Charlotte now aged five hugging her cat.

Wilfrid Rolfe (1909 – 2004) and Geoffrey Collings first met through the advertising industry in London in the mid 1930s when both were working for American based agencies: Rolfe as a copy writer for Lord and Thomas and Collings as the Art Director for Erwin, Wasey and Company. They became great friends as did their wives Phoebe and Dahl although they only saw one another irregularly after the Collings’ left England in 1938 so their relationship was primarily maintained via correspondence especially though Christmas cards and letters. One exception was World War II when Wilfrid Rolfe was stationed with the Royal Navy in Australia in during 1944 and 1945 and spent Christmas 1944 with Dahl and Geoffrey Collings and their family as well as with their friends Chips and Quentin Rafferty at Church Point. He returned to England in October 1945.

Like many of us at this time of year Wilfrid Rolfe would sit down and type a letter to his friends reviewing what had taken place over the past year, for example proudly telling the Collings’ about the children and later grand children, providing them with news about mutual friends of times long past including the film producer Vivian Cox, reflecting on changes within the advertising industry (“as changed as the 40 year old cricket bat that’s had three new blades and two new handles”), and informing them of his latest writing projects. No doubt Dahl and Geoffrey Collings sent similar letters and cards to the Wilfrid and Phoebe Rolfe but alas we do not have copies of their correspondence.

Wilfrid Rolfe retired from full time work in the advertising industry in 1966 after spending most of his career as head of copy at what had become Masius Wynne-Williams. He then embarked on a second career as a travel writer, initially writing articles for the British Travel Association and a series of ‘motor tour guides’ for Charles Letts and Company’s on various regions of southern England. He was then commissioned to write glossy coffee table books full of colour photographs on Britain under the titles The Love of Britain (1976), The Love of London (1978) and Glorious Britain (1986). As he joked in a Christmas letter to Dahl and Geoffrey Collings The Love of Britain “is a lush piece of nostalgia specially designed to accentuate the tear-ducts of exiles from these islands” but in his Christmas letter the following year he wrote “My love of Britain is very real and in spite of everything we find this country has very much to offer (see my book! Advt.)” The Love of Britain proved to be very successful selling at least 150,000 copies with editions in English, French, German and Dutch.

The last item we have from the Wilfrid and Phoebe Rolfe to Geoffrey Collings is dated 1995. Wilfrid Rolfe died in 2004 aged 94 while Phoebe Rolfe died on Christmas Eve 2007 in her 99th year.

Post by Paul Wilson, Archivist
Photographs 2007/30/1-29/21 and 2007/30/1-29/38 Powerhouse Museum collection
No known copyright restrictions

Underwater

This in part underwater shot was taken three years ago by our photographer Jean-Francois Lanzarone at the iconic North Sydney pool located right under the Sydney Harbour Bridge.

Jean-Francois hired an underwater camera for the day to get images he needed for the immersive experience he was producing for the exhibition Modern Times: the untold story of modernism in Australia (on display at the Museum from August 2008 to February 2009).

The esthetics, architecture, communal and educational values of modern pools were some of the themes featured in the exhibition and the associated publication.

Photography by Jean-Francois Lanzarone
© Powerhouse Museum

Fowler Pottery Exhibit at the All-Australian Exhibition, Melbourne 1934

This is one of 64 photographs from the Museum collection related to the R. Fowler Ltd. Potteries established in 1837 by Irish immigrant Enoch Fowler (1807-1879) and still operating today as one of Australia’s leading bathroom products company.

This particular picture was taken at the Centenary All-Australian Exhibition held in Melbourne in 1934 and subsequently appeared in ‘The Clay Products Journal of Australia’ on the 1st of February 1935 with the following comment:

The firm had three hundred square feet of exhibition space, in which they showed a model bathroom, a representative exhibit of fireclay and earthenware sanitary fittings, also household crockery, pottery ware etc. A potter’s wheel in operation also attracted attention from the thousands of local and overseas visitors who attended the exhibition (…). Apart from general the public, many architects and builders visited the exhibit and commented favourably on the production

(p.15).

Photographer unknown
No known copyright restrictions

Lillie Langtry

This image of the British actress Lillie Langtry (1853 -1929) is an interesting example of Doulton’s photographic ware. Although it looks like a framed photograph, it is in fact a one – piece ceramic plaque. The actress’ portrait was transferred onto porcelain surface using a technique developed by the Doulton’s artistic director John Slater and patented by the company in 1889. In his patent application Slater described the process:

“Improvements in decorating china and the like by means of which paintings and designs are printed on a photographic plate to obtain a negative, and from the negative a gelatine printing surface produced, from which the design can then be printed on transfer paper in any of the colours commonly employed for china painting” (p.70)

Photographic ware was popular in the beginning of the 20th century as commemorative items or souvenirs depicting famous personalities. The Museum has also in its collection a Doulton plaque with a portrait of the American actress and singer Edna May (1878 – 1948) which was produced using the same technique.

References: Margaret Betteridge, Royal Doulton Exhibition 1979, Museum of Applied Arts and Sciences, Sydney 1979.

Royal Garden Party

This beautiful chiffon hat decorated with silk roses is called `Royal Garden Party’ and belongs to Mr John’s `Coronation of Spring and Summer’ collection from 1953.

Mr John (a.k.a. John P. John) of New York was probably the greatest milliner of his time, famous for his beautiful hats and an extravagant lifestyle. He created hats for stars in movie classics such as Gone With the Wind by Victor Fleming, Shanghai Express by Josef von Sternberg, Death in Venice by Luchino Visconti, Gentlemen Prefer Blondes by Howard Hawks, also theatre productions, advertisements, magazines and a long list of the rich and famous.

During his over fifty year long career, Mr John was widely admired and honoured with the highest prizes – he was the first milliner to receive the prestigious Neiman-Marcus Award. The obituary published on June 29th 1993 by The New York Times described him “as famous in the world of hats as Christian Dior was in the realm of haute couture”. Strangely enough, whilst the Dior’s name became a household word, Mr John, known once an “Emperor of Fashion”, disappeared into obscurity.

Powerhouse Museum has in its collection approximately 200 prints featuring models wearing hats made by Mr John.

Photographer unknown
Powerhouse Museum Collection: A9467-11/17/2

‘Kugellager’ by Adolf Lazi, Germany, 1938

This photograph was taken in 1938 by Adolf Lazi (1884-1955), a commercial German photographer from Stuttgart associated with the Neue Sachlichkeit (new objectivity, new realism) movement.

Concrete pipes, turbines, iron bars and other ‘unaesthetic’ objects, removed from their everyday context and shown in a new dramatic way were often chosen as subjects for the new realism photography. The above close-up of a ball and roller bearing on a mirrored surface is a good example of Neue Sachlichkeit aesthetics.

In keeping with the new realism principles, Lazi emphasized the need for analytical approach and technical precision in photographic work. Sharp focus and clean lines were endorsed and favoured over the vagueness and “artistic blur”. “A hair must remain a hair” reads a quote from Lazi Archiv, the website dedicated to his work. This type of photography found its direct application in advertising and is still widely practiced today.

Adolf Lazi died in 1955, but The Lazi Academy is still operating under the management of his son Adolf Ingo Lazi.

For the Powerhouse Museum Adolf Lazi’s work is also significant due to its link to the Hedda Morrison collection. Hedda was a volunteer in Lazi’s studio in Stuttgart from September 1931 to August 1932.

Photography by Adolf Lazi
Not known copyright restrictions