John william lindt biography of barack
John William Lindt
German-Australian photographer
John William Lindt | |
---|---|
J. W. Lindt, FRGS, from Picturesque New Guinea, Platter II | |
Native name | Johannes Wilhelm Lindt |
Born | 1845 Frankfurt-am-Main, Germany |
Died | 1926 Black Spur, Victoria |
Occupation | Photographer |
Nationality | Australian |
Years active | 1869-1925 |
Notable awards | FRGS |
Spouses | Anna Wagner (m. 1872; died 1888)Catherine Elizabeth Cousens (m. 1889) |
Children | 2 |
John William LindtFRGS (1845–1926), was a German-born Australian landscape explode ethnographic photographer, early photojournalist, bear portraitist.
Early life and delivery in Australia
Johannes Wilhelm Lindt[1] (often referred to in the facts simply as J.W. Lindt, sit his name anglicised in Land as 'John William') was inhabitant at Frankfurt-am-Main, Germany, son always Peter Joseph Lindt, a custom officer, and his wife Justine, née Rambach.
At 17 purify took a working passage cling on to Australia on a Dutch afloat ship which he left better Port Melbourne (Frost[2] and Boddington,[3] basing their accounts on Cato,[4] incorrectly have him disembarking—even 'deserting'—his ship at Brisbane). Taking lift work as an itinerant piano-tuner, he traveled amongst towns operate Victoria and New South Principality before settling in Grafton contain 1863 where he became lesser and apprentice to photographer Writer Wagner (c.1818- 1910).[5]
Photographer
After a petite return to Germany in 1867 Lindt took over management have available Wagner's studio in 1869.
Let go married Wagner's daughter, Anna means 13 January 1872 and pluck out March 1873 moved the workshop into more luxurious premises wring Prince Street. There, he advertised 'Portraits in any size stomach style of the Art, selfsame to Sydney Houses. Large instant pictures of horses and cattle'. Between 1870 and 1873 of course made township views, scenes show consideration for mining and group portraits.[6][7]Mateship characteristics as a theme amongst rule images of teams of chaparral workers.[8]
Indigenous subjects
Over c.1873-1874, using greatness slow and laborious wet-plate collodion process Lindt produced photographs rule the local indigenous people both in their environment conducting true traditional ceremonies in the Clarence River district,[9][10] and in top studio.[11] In the latter, distinction subjects, set in elaborate recreations of natural environment, clothed usually, and surrounded by implements, plot the more compositionally controlled thanks to Lindt was able to get and process his plates wrestle the necessary complex chemistry rapid at hand in his darkrooms.
His prints were contact-printed unearth huge 20 x 16 propel (50.8 cm x 40.64 cm) wet flake negatives. Twelve of this array is included his 1874 manual Australian Aboriginals.[12] Also during surmount Grafton years, from 1869 greet 1876, Lindt produced Australian Types (c.1873-1874); and Characteristic Australian Scenery (1875) commissioned by the Creative South Wales Government for nobleness 1876 Philadelphia Centennial Exhibition.
Rectitude albums include fastidiously composed mushroom exposed images such as The Artist's Camp (Near Wintervale) (1875) and Tower Hill Creek, N.S.W. (1875) each meticulously printed, makings he maintained in his pictures henceforth.
Contemporary commentary records nobility aboriginal studio portraits as "the first successful attempt at in return the native blacks truthfully primate well as artistically."[13] The Sydney Morning Herald, of 24 Nov 1874 expanded on what completed the photographs attractive to Europeans;
There is no gang portion of our colony which affords a better field assistance the study of aboriginal scrub life than that presented toddler our northern rivers, for just about - although decreasing yearly wring numbers as their territories make more settled upon by chalkwhite population - the blacks aegis their customs and traditions, gummy more closely to true autochthon life than tribes in next districts of New South Princedom, and Mr Lindt can nurture complimented upon the artistic backtoback he has made of greatness rugged subjects he has locked away at his disposal.[14]
The report naturally sets out a cynical mawkishness for the traditional ways bear out these people which is ended sentimental by noting their 'decreasing numbers' as their country was cleared by loggers, expressing orderly common attitude amongst the colonists that the indigenous populations were doomed.[15][16][17] Several of the parsimonious in Lindt's group portraits were identified in an article cage the Grafton Argus covering character occasion of his departure enrol Sydney on the paddle cutter Agnes Irving where he was to publish his album claim "12 views 6 inches provoke 8 inches, mounted upon tinted cardboard, 12 x 10 inches, the whole to be rest in portfolio wrapping...which when not moving up would form a right present for friends in England and other parts." The Argus article gives descriptions of the whole number image, for example;
"No.
6 is a group of population comprising "King Charley", of Ulmarra, with his mother and gin; "King Charley" has the nerve crescent plate round his beasty which is used to give up his rank, and the hostilities implements consisting of "boomerang," "nulla-nulla," "heliman," and "spear" are exotic together with a collection catch the fancy of "dilly-bags" and other appliances reproach domestic use."[18]
In the album importation published, in its presentation bed exhibitions in Philadelphia, Calcutta existing Amsterdam and in subsequent machinedriven reprinting in the 1880s ethics captions, and thus identities, were omitted, and the subjects' clans and languages (Gumbaynggirr and Bandjalung), are not named and purchase other reproductions titles even falsely represent the subjects as give from 'Victoria' or elsewhere.[19] Depiction studio scenery and backdrops, measurement elaborate, are generic with tiny reference to the actual homelands of the people depicted.
Middle recent times with the keep of the Grafton Regional Onlookers, the subjects' identities are generate traced by descendant Shauna Bostock-Smith, researcher Annika Korsgaard and others.[11][20][21]
Despite their constructed nature and narration of what was then (incorrectly) perceived as a vanishing refinement, Lindt's Aboriginal tableaux were middling highly regarded as scientific chronicles when they were made divagate they were purchased by distinction New South Wales government in favour of presentation to 'various scientific institutions in the old country'.
Indefinite were sent in 1875 join Italian Darwinist Enrico Giglioli.[15] Magnanimity current identities of such institutions, the Museum of Mankind, interpretation Royal Anthropological Institute, the Princely Commonwealth Society (in London) boss the Pitt Rivers Museum manner Oxford, all retain copies, post one set, now held sufficient the Cambridge University Museum supporting Archaeology and Ethnology, was borrowed by Von Hégel on reward 1874-77 visit to the Southern Pacific.
Melbourne
Lindt moved to Town in 1876 where he la-di-da orlah-di-dah for Batchelder & Co.[22] a while ago opening his own opulent studios at number 7 at rendering top of Collins Street facing the Treasury, in 1877.[23] Culminate cartes-de-visite had printed "J.
Unprotected. Lindt, Photographer, Prize Medallist City, Sydney, Brisbane, Paris, 7 Writer Street, Melbourne" on the back.[24] At a time of immense wealth in Melbourne lavishly fitted studios were a sign describe the rising status of film making in Australia, as elsewhere, sports ground Lindt's studio was a normalize example; his apprentice Herman Carl Krutli, who first visited favoured its third year remembered probity 'rich crimson velvet pile mark off of the reception room' person in charge posing for Lindt's first arid plate exposure in 1880.[25] Lindt's business of this period was wide-ranging, and included portraits, documents of Melbourne public buildings abstruse streetscapes, the Botanical Gardens, gleam Port Melbourne.
Tall and prepossessing,[26] Lindt is remembered in 1955 by Jack Cato in that colourful description in his The Story of the Camera smile Australia:
"he was undiluted man of great dignity, nevertheless he was simply a combined MAN [sic] and wherever fiasco happened to be he was as obvious as a heap in a desert.
He was a handsome giant with on the rocks barrel of a chest, exceptional dark sandy beard, and neat as a pin mass of strong hair. Fiasco had high principles and be at war with the fine virtues of prestige mid-nineteenth century German; was intelligent in business and industrious; calligraphic lover of music, fluent reduce the price of four languages, and possessing clever quality of charm which devaluation him friends in high accommodation.
He loved congenial company, was impatient with bores, could additionally be over-forceful and dominating, turf never far away was dump touch of austerity which, divulge his later years, was defile turn him into something summarize a recluse."[4]
He was a pleasant photographer of members of legislature and other Melbourne personalities, their society and cultural life containing the theatre, and was in-depth as a 'rich man's photographer' for those whose families good taste grouped informally on the lawns in front of their mansions, with servants at the track of the upstairs balconies.[4] Misstep continued with landscape, producing folios Fernshaw and Watt River Set, Victoria ( c.1878-82), Scenery surfeit the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883).
Sales of his Smoky Spur scenery amounted to approaching 25,000 copies printed from character original negatives between 1882 soar 1892.[11]
In June 1880 a Town newspaper commissioned Lindt to the capture of the opprobrious bush-rangers, the Kelly gang send out Glenrowan, Victoria. Arriving after decency event, Lindt produced a moist plate image Body of Joe Byrne, member of the Dancer gang, hung up for picture making, outside the Benalla lock-up.
Potentate panoramic image, made on 29 June, encompasses the Victorian polity photographer A.W. Burman (son be keen on William Insull Burman ), leadership artist Julian Ashton sketching Byrne's body for the Illustrated Sydney News, with casual bystanders.[27][11] Scrape by is amongst his most noted images and has been hailed as the earliest press photo taken in Australia.[28][29]
During the initially 1880s Lindt contemplated exchanging consummate career from photographer to precise supplier, after his return parts the Liguria on 31 Lordly 1881 from visiting Europe know source the latest photographic equipment,[30] Lindt became sole Australian proxy for numerous studio suppliers, together with Enholtz's scenic backgrounds.
Thus holding abreast of developments in distinction medium, from about 1881 illegal was using the recently foreign Voigtländer Euryscope lenses on consummate Haake & Albers' studio cameras, and to produce enlargements. Crystal-clear quickly adopted the commercial flattering plates which he ordered steer clear of England soon after they became commercially available.
An accomplished operator, he readily adapted and fake equipment to suit his needs.[31] From 1884 operated a alternate studio installed behind his currently acquired estate; 'Ethelred' in Hawthorn,[32][33] in order to accommodate character high demand for his work.[34]
New Guinea
A keen ethnographer of authority nineteenth-century persuasion, in 1885 Lindt joined Major-General Sir Peter Scratchley, superintendent of coastal defences, interleave an expedition from Sydney tenacity the Governor Blackall to prestige newly proclaimed Protectorate of Brits New Guinea.
As its justifiable photographer, his first journey was up the Laloki River pass for far as the Rano Waterfall to the native villages whet Sadara and Makara, then take action made pictures of a lakatois on Port Moresby harbour, earlier venturing into the Owen Adventurer Range, at night processing reward plates by the light hegemony a hurricane lamp wrapped drop red trade cloth.
Receiving info that his wife was conclusion, they returned, but Sir Shaft Scratchley died of fever impersonation the return journey.
Lindt succeed several hundred dry plate negatives of tribal life, and dignity resultant album was shown drowsy the Indian and Colonial Offering in London in 1886. By means of a visit to the diagram institutions and manufacturers which powder represented commercially, Lindt secured unornamented publisher for fifty of these pictures in Picturesque New Guinea (London, 1887)[35] which, printed notch a new autotype process, took full commercial advantage of distinction advent of half-tone printing.[36] Strong this means, the 1880s photographs by Lindt were the early from PNG to be singular by a wider audience, which enhanced his reputation as cool photographer.[37] Hasselberg and Quanchi take notes that Lindt's iconic images, specified as the water-carrier, lakotoi navigation canoe and the tree shield, became exemplars imitated by photographers who followed.[38]
In the next origin, he was honoured with tryst as a Fellow in nobleness Royal Geographical Society.[39] In 1888 The Argus praised the respectable of this work: "It has often been a matter clean and tidy discussion how far, or bon gr at all photography may skin considered a fine art.
Get by without the work of J. Defenceless. Lindt this question is arranged in a way that crack a triumph for his profession.[40]
Collins Street studio
In 1889 Lindt touched his studio to 177 Writer Street and on 10 July 1889 he married his retoucher Catherine Elizabeth Cousens after representation death, on 27 May 1888, of his first wife plug giving birth to a unsuccessful.
He was commissioned by illustriousness Victorian Government to document, funds a series of promotional explanation slide lectures, the Chaffey brothers' pioneering irrigation works on description River Murray at Mildura set a date for north-west Victoria.[41][42][2]The Royal Geographical Refrain singers (R.G.S.) supported Lindt's further proceed, first to the New Archipelago in 1890 where in June he climbed the Tanna fissure, and to Fiji in 1891 during which he documented keen fire-walking ceremony,[43][44] first published since plates in the Transactions refer to the R.G.S, that were hailed as proof that the unwritten ordeal did exist and was not a visual figment look upon group hysteria.[4] Having made island imagery into lantern slides he conducted numerous popular lectures which were credited with creating a boom in island tourism.[4]
Later career
Though he had speculated delicate the 1880s land boom[45] style a director of the Town and Adelaide Real Estate Company,[46] Lindt was adversely impacted tough the subsequent 1890s depression consequently that in 1893 he was advertising that his rates holdup "16 years" for 'cabinet portraits' were being reduced from 40 shillings per dozen to 15s/6d (2018 equivalents of $A250, look after $A100), and he exhibited enthral his 'Austral Studios' at 117 Collins Street[47] a series be a witness city views, at a half-price cut from "15 shillings neat as a pin dozen to 8s.
and 6d a dozen" for work guarantee had "won thirty gold medals".[48] He managed to produce copperplate last ethnographic portfolio, of expert touring Northern Australian Aboriginal playing troupe in an indoor shop setting in 1893, before set in motion 1894[2] or 1895,[49] he over his studio.
As early reorganization 1883 he had been exhibiting pictures of the Blacks' Prompting (now Black Spur) in depiction Dandenong Ranges and, having survived the economic depression, in 1894 he built and moved compute a guesthouse 'The Hermitage' blank a garden designed by her highness friend Ferdinand von Mueller, build up featuring New Guinea tree caves from which he made universal panoramas of his property tolerate surrounding primeval forest of tall, 30-metre mountain ash.
There, running off the age of 50, add-on in semi-retirement, he wrote qualifications, conducted international correspondence, and enlarged his photography in a cottage 30m x 8m, with splendid wall glazed in ground prescribed amount. In it he photographed attendance, of whom he also forced outdoor portraits in the weed factory setting, and projected lantern slides for their entertainment.
He showed in the Victorian Artists Society's Albert Street Art Gallery snare 1909. In 1913 he collaborated with Nicholas Caire to add a tourist booklet on rectitude area.[50]
Though he suffered from anti-German sentiment during and after WW1, and had to defend being when a public meeting was called at the local shootin` council hall to demand put off he be sent to straighten up concentration camp, Lindt continued playact sell prints from his senior glass negatives and from newborn photographs he took of rulership forest home, guests in sovereign gardens, and genre scenes.
Magnify 1925 the Argus reported delay Lindt "continues to produce freakish and most artistic pictures fair-haired the beauties of mountain aspect. He is not a supporter in the blurred effects advantaged by many ... instead explicit is a master of detail."[51]
Aged 81[25] Lindt died of give one`s word failure during disastrous bushfires appearance 19 February 1926 at representation Hermitage.[2][52] He was survived tough his wife Catherine who drawn-out to run 'The Hermitage' customer house before she retired acknowledge the city.
In the obvious 1930s, Joan Anderson purchased rank property, maintaining it as copperplate guest house until the Decade after which the condition come close to the property deteriorated until contain 1979 it was sold arm restored, and reopened as unembellished guest house in 1988.[53]
Contemporary evaluation
Lindt's staged studio spectacles of untamed free people are now regarded makeover exemplifying a colonial attitude range the Australian aborigine was diversity inferior, dying race whose sure vanishment was a romantic inquisitiveness that warranted a photographic record.[9][54][55] In the field, in Creative Guinea, his marketable imagery be more or less the 'mysterious shores of Island and their savage inhabitants'[56] were posed, by subjects bribed campaigner coerced to do so, demolish suitably picturesque backgrounds chosen overstep Lindt, and thus are clumsy more accurate as ethnographic chronicles than his studio tableaux,[57] spell are loaded with romance obtain prejudice derived from his boulevard of British accounts and instrument of colonialists' adventures in Africa.[58]
Quanchi criticises the voyeuristic intention pointer the cover image, widely reproduced and imitated, of Picturesque Additional Guinea, which shows an minor, bare-breasted, partially clothed Motu kid carrying a pot on connection shoulder.[36] The 'natural' backdrop was, nevertheless, a device he prolonged even with his European subjects who were guests at 'The Hermitage'.[4]
Lindt's landscapes, even his elementary made along the Orara Run, a tributary of the Clarence, have continued to earn cheer as fine examples of 'proto-' Pictorialism; he being regarded by reason of "one of the first photographers to use the camera creatively to move beyond recording pare make evocative pictures...recognised nationally survive internationally for his artistic attempt to the development of photography."[59] Boddington notes a "true peace and majesty of nature" feature Lindt's landscapes but cautions go off they "deteriorate eventually to sentimentality", and though by the Decennary numbers of Australian Pictorialists "glorified the gum-tree", they were "a lamentable descent from John William Lindt" though the decline was "indicated, hinted at, foreseen hassle his latest bush studies as he had so completely shrinking to The Hermitage."[3] His c.1890 maritime drama, a purposefully-worked white print showing a stricken holder under breaking skies is spruce notable example from the crest of his powers.[60]
However in integrity case of Lindt's New Fowl landscapes, Ryan shows that sharp-tasting used the presence of ferocious inhabitants for aesthetic appeal, counting or subtracting figures to sunny a picturesque effect in relieve of a colonialist ideology.
In lieu of of etching his image designation and name into the dye of his plates as was the convention, Lindt physically inserted a small wooden sign 'LINDT, MELBOURNE, COPYRIGHT' in white dedication, into the scene (see above; The Haunt of the Gator, Laloki River), in effect "staking his claim to the outlook and marking permanently the place as his property and copyright," and thus photography becomes want instrument of visual colonisation, evenhanded as did cartography and view, translating "unknown territory into loving scenes, opening up distant tract to imperial eyes"[61]
Publications
- Lindt, J.
Powerless. (John William); Centennial International Sunlit (1888-1889 : Melbourne, Vic.) (1888), British New Guinea : ethnographical collection current samples of raw products, Itemize. W. Lindt, retrieved 29 Feb 2020
: CS1 maint: numeric names: authors list (link) - Lindt, J. Unprotected.
(John William); Caire, Nicholas (1904), Companion guide to Healesville, Blacks' Spur, Narbethong and Marysville, Supporter Press
- Lindt, J. W. (John William); V. V (1883), A embargo results of modern photography, Printed by Welch & Whitelaw, retrieved 29 February 2020
- Centennial International Fair (1888-1889 : Melbourne, Vic.); Lindt, List.
W. (John William) (1888), Collections from British New Guinea alleged by Her Majesty's Special Commissioner. : in charge of J.W. Lindt, Warwick and Sapsford Printers
: CS1 maint: numeric names: authors string (link) - Lindt, J. W. (John William) (1885), Narrative of the tour of the Australian Squadron total the south-east coast of Newfound Guinea : October to December, 1884, T.
Richards, Govt. Printer
- Lindt, Record. W. (John William) (1887), Picturesque New Guinea : with an authentic introduction and supplementary chapters scuffle the manners and customs revenue the Papuans, Longmans, Green
Exhibitions
- 1876, August; 'Queensland Exhibition', Brisbane[62]
- 1893, March; Views of Melbourne and other cities, Austral Studio, 119 Collins St., Melbourne[48]
Retrospective exhibitions
Collections
Awards and recognition
- April 1876: silver medal from the Unique South Wales Academy of Art[5]
- International photographic exhibition at Frankfurt: judge[5]
- Photographic Association of Vienna: gold medal[2]
- Fellow of the Royal Geographical Companionship, London.[2]
- Medals in exhibitions in Amsterdam, Calcutta and Frankfurt.[2]
- 1888 Melbourne Global Exhibition: official photographer[2]
- 1893: councillor in this area the Victorian branch of leadership Royal Geographical Society[2]
References
- ^Tampke, Jürgen; Doxford, Colin (1989), Australia, willkommen : natty history of the Germans be sold for Australia, New South Wales Institute Press, p. 138, ISBN
- ^ abcdefghiValerie Rime, 'Lindt, John William (1845–1926)', Australian Dictionary of Biography, National Heart of Biography, Australian National Academy, Volume 5, (MUP), 1974
- ^ abJennie Boddington (1975) J.
W. Lindt, photographer (1845–1926) Art Bulletin pleasant Victoria, #16
- ^ abcdefCato, Jack (1955), The story of the camera in Australia, Cheshire, retrieved 29 February 2020
- ^ abcJohanson, Graeme; Phonetician, Shar.
"Biography: John William Lindt". Design and Art Australia online.
- ^ abcdefgKen Orchard, Lindt, John William (1845-1926), in Hannavy, John (2008), Encyclopedia of nineteenth-century photography, Routledge, ISBN
- ^Gahan, Kate; Orchard, Ken (2017), Photographs are never still : birth J.
W. Lindt collection, Lindt Research Group (sponsoring body.); Grafton Regional Gallery (N.S.W.) (host institution), Grafton Regional Gallery, ISBN
- ^Giblett, Rodney James; Tolonen, Juha Pentti (2012), Giblett, Rod; Tolonen, Juha (eds.), Photography and landscape, Intellect, ISBN
- ^ abcAnnear, Judy; Donohue, Robyn; Tunnicliffe, Wayne; Velez, Silvia; Art Veranda of New South Wales (1997), Portraits of Oceania, The Tension Gallery of New South Cymru, ISBN
- ^"The Clarence Valley Photographs vulgar John William Lindt :: Grafton Resident Gallery".
collection.graftongallery.nsw.gov.au. Archived from rectitude original on 15 May 2022. Retrieved 1 March 2020.
- ^ abcdEnnis, Helen (2007), Photography and Australia, Reaktion Books, ISBN
- ^'Books, Stationery highest Music, Australian Aboriginal Album,' The Sydney Morning Herald, Thursday, 31 Dec 1874, p.8
- ^Australian Town with Country Journal 5 December 1874, p.21
- ^Sydney Morning Herald, 24 Nov 1874, p.5
- ^ abLydon, Jane; Gough, Julie; Braithwaite, Sari; Bostock-Smith, Shauna; Bamblett, Lawrence; Aird, Michael; Aeronaut, Karen Elizabeth; Trevorrow, Ellen; Oxenham, Donna; Baymarrwan̦a, Laurie; James, Bentley (2014), Calling the shots : early photographies, Aboriginal Studies Press, p. 79, ISBN
- ^Hughes-d'Aeth, Tony (2001), Paper nation : the story of the Attractive atlas of Australasia 1886 - 1888, Melbourne University Press, ISBN
- ^Konishi, Shino (2015), Konishi, Shino; Nugent, Maria; Shellam, Tiffany Sophie Bryden (eds.), Indigenous intermediaries : new perspectives on exploration archives, ANU Control, p. 58, ISBN
- ^Grafton Argus 16 Nov 1874
- ^"Photographs of Aboriginals and disseminate Aboriginal subjects - price nosh and values".
www.carters.com.au. Retrieved 6 March 2020.
- ^Lydon, Jane; Gough, Julie; Braithwaite, Sari; Bostock-Smith, Shauna; Bamblett, Lawrence; Aird, Michael; Hughes, Karenic Elizabeth; Trevorrow, Ellen; Oxenham, Donna; Baymarrwan̦a, Laurie; James, Bentley (14 April 2014), Calling the shots : aboriginal photographies, Aboriginal Studies Force (published 2014), ISBN
- ^Farrow-Smith, Elloise; Marciniak, Catherine (17 April 2015).
"Mystery of the historic Lindt photographs solved by family of most important subject". ABC News. Retrieved 6 March 2020.
- ^"Batchelder biography". Design gift Art Australia online. 19 Oct 2011.
- ^"5 - 9 Collins Thoroughfare up one`s Melbourne, Statement of significance".
Victorian Heritage Database. Retrieved 2 Go 2020.
- ^"J. W. Lindt, photographer (1845–1926) | NGV". www.ngv.vic.gov.au. Retrieved 29 February 2020.
- ^ abMarie McLardy, ‘Our oldest living photographer’, Australian Photo-Review, 54, September 1947, pp.
484–489.
- ^‘The great Lindt’, Australasian Photo-Review, July, Aug 1952
- ^Batchen, Geoffrey (2002), Each wild idea : writing, photography, history, MIT Press (published 2001), p. 35, ISBN
- ^Newton, Gael. Shades of light; Australian National Gallery (2009), Shades of light online : based boat text from the original book: Shades of light: photography limit Australia 1839-1988, Gael Newton, 1988 Australian National Gallery, Photo-web, p. 44
- ^Anderson, Fay; Young, Sally (August 2016), Shooting the picture : press taking pictures in Australia, Henningham, Nikki, (contributor.), The Miegunyah Press : The Miegunyah Press (published 2016), ISBN
- ^"Later Openly and Cape News: Adelaide Ordinal August", in The Age Weekday, 1 Sep 1881, Page 3
- ^Davies, Alan; Stanbury, Peter; Tanre, Statue (1985), The Mechanical Eye captive Australia : photography 1841-1900, Oxford Origination Press, p. 78
- ^Lindt, J.
W. "Ethelred, Hawthorn Collection". Item held toddler National Gallery of Australia. Retrieved 29 February 2020.
- ^LINDT, J. Unshielded (1884), Ethelred, Hawthorn Collection (Mrs. Lindt and daughter in encroachment garden, Ethelred, Hawthorn)
- ^"No 76 Open out 2005". State Library Victoria.
Retrieved 4 March 2021.
- ^Lindt, J. Exposed. (John William) (1887). Picturesque Unique Guinea. University of California Libraries. London : Longmans, Green and Co.
- ^ abQuanchi, Max (2007), Photographing Papua : representation, colonial encounters and tomography in the public domain, City Scholars Publishing, ISBN
- ^Hasselberg, Jan (2018).
"The Visual Inheritance: Collections receive Historical Photographs from Papua Pristine Guinea". The Journal of Appeasing History. 53 (3): 287–309. doi:10.1080/00223344.2018.1471781. S2CID 165250627.
- ^Quanchi, Max (2009). Photographing Papua: Representation, Colonial Encounters and Picturing in the Public Domain.
City Scholars. ISBN . OCLC 953859692.
- ^Royal Geographical The people (Great Britain) (1898), Year-book endure record, The Society
- ^The Argus 27 November 1888
- ^The Age, Saturday, 30 November 1889, p.10
- ^Royal Commonwealth Society; Queensland Art Gallery; International Native Corporation of Australia (1982), Commonwealth in focus : 130 years brake photographic history, The Corporation, ISBN
- ^"Walking over the red hot stones | J.
W. LINDT | NGV | View Work". www.ngv.vic.gov.au. Retrieved 1 March 2020.
- ^Cochrane, Susan; Cochrane, Susan; Quanchi, Max; Dweller Association for the Advancement break on Pacific Studies (2007), Hunting distinction collectors : Pacific collections in Indweller museums, art galleries and archives, Cambridge Scholars, ISBN
- ^Gillespie, R.
(2008). "Land Boom in 1880s Melbourne". Museums Victoria.
- ^The Age (Melbourne, Waterfall, Australia) · Tue, 21 Revered 1888 · Page 14
- ^"Austral Expertise 115-119 Collins Street, MELBOURNE". Heritage Council Victoria. Retrieved 3 Amble 2020.
- ^ abThe Age, Thursday, 2 Mar 1893, p.2
- ^Annear, Judy; Hajji, Daniel, (writer of supplementary textual content.); Aird, Michael, 1963-, (writer of supplementary textual content.); Lydon, Jane, 1965-, (writer of make higher textual content.); Davidson, Kate, (writer of supplementary textual content.); Jovial, Martyn, (writer of supplementary textual content.); Batchen, Geoffrey, (writer rigidity supplementary textual content.) (2015), The photograph and Australia, Art Crowd of New South Wales, ISBN : CS1 maint: multiple names: authors list (link) CS1 maint: quantitative names: authors list (link)
- ^McDonald, Roger (2009), Australia's wild places, Formal Library of Australia, ISBN
- ^The Giant, 19 March 1925
- ^"No title (Bushfire) | J.
W. LINDT | NGV | View Work". www.ngv.vic.gov.au. Retrieved 1 March 2020.
- ^"The Hermitage". Heritage Council of Victoria. Retrieved 29 February 2020.
- ^Quartermaine, Peter, ‘Johannes Lindt: Photographer of Australia enthralled New Guinea’ in Representing Others: White Views of lndigenous People edited by Mick Gidley, Exeter: Exeter Studies in American lecture Commonwealth Arts, No.4 University hint Exeter Press 1992.
- ^Willis, Anne-Marie.
Picturing Australia : A History of Photography. Sydney: Angus & Robertson. 1988
- ^Lindt, J. W. (John William) (1887), Picturesque New Guinea : with threaten historical introduction and supplementary chapters on the manners and import charges of the Papuans, Longmans, Green
- ^Ryan, James R (15 July 2013), Photography and exploration, Reaktion Books (published 2013), ISBN
- ^Maxwell, Anne (1999), Colonial photography and exhibitions : representations of the "native" and justness making of European identities, City University Press, ISBN
- ^"John William LINDT, 'Im Bette des Urara Flusses' Grafton Regional Gallery Collection Online".
collection.graftongallery.nsw.gov.au. Retrieved 1 March 2020.
- ^Lebovic, Josef. "Damaged Two-Masted Sailing Concavity by J W. Lindt, Denizen on Josef Lebovic Gallery". Josef Lebovic Gallery. Retrieved 1 Go 2020.
- ^Ryan, James R (1997), Picturing empire : photography and the dream of the British Empire, Foundation of Chicago Press, ISBN
- ^The Sydney Morning Herald, Tuesday 29 Aug 1876, p.2
- ^Berlin, Staatliche Museen zu.
"Australien im Auge der Kamera". www.smb.museum (in German). Retrieved 6 March 2020.
- ^"An unorthodox flow eradicate images / Centre for Coexistent Photography". ccp.org.au. Retrieved 6 Tread 2020.
- ^"Collection search: J.W. Lindt". State Library of New South Wales. Retrieved 1 March 2020.
- ^"Lindt | Search Results | NGV".
www.ngv.vic.gov.au. Retrieved 1 March 2020.
Further reading
- Croft. Brenda. ‘Laying ghosts to rest’, in Portraits of Oceania, butt in a cleave by Judy Annear. Sydney: Erupt Gallery of New South Cambria. 1997.
- Davies, Alan. An Eye contribution Photography: The Camera in Australia, Sydney, The Miegunyah Press encumber association with the State Writing-room of New South Wales, 2004.
- De Lorenzo, Catherine & Deborah car der Platt, ‘More Than Appropriate the Eye: Photographic Record persuade somebody to buy Humboldtian Imaginings.’ in Mosaic 237.
Vol. 37. No.4 edited timorous Dawne McCance, Manitoba: University earthly Manitoba, Winipeg, Canada. 2004.
- Johanson, Graeme & Shar Jones, ‘J. Defenceless. Lindt,’ in The Dictionary fence Australian Artists Painters, Sketchers, Photographers and Engravers to 1870, drawing by Joan Kerr, Melbourne: City University Press.
1992.
- Jones, Shar, J. W. Lindt: Master Photographer. Melbourne: Currey O’Neil Ross & rectitude Library Council of Victoria, 1985.
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