32 Anthony Browell (Australian, b.1945)
Brett Whiteley, Bonython Gallery [Sydney], 1970/1971. Vintage
silver gelatin photograph, signed and dated in pencil verso,
44 x 37cm. Minor handling crinkles to margins.
Browell began his thirty year career as an editorial photographer
working for The Times newspaper in London. His work is held in
major Australian institutions including the National Portrait
Gallery, National Maritime Museum and The Royal Australian Institute
33 Keast Burke (Australian, 1896-1974)
Post & Rail, c1930s. Vintage silver gelatin photograph, titled
and initialled "K.B." in pencil on original backing
below image, and annotated in pencil on backing verso, 25.3 x
20cm. Tipped to original backing.
reads "Everything is a subject for the enthusiastic amateur."
Provenance: Keast Burke estate. Burke was a distinguished photographic
historian credited as the re-discoverer of the Holtermann collection
of 19th century photography. He was editor of Kodak's Australasian
Photo- Review later becoming the first Australian editor of Australian
Photography (1961-69). As photographic consultant to the National
Library of Australia from 1964 he contributed greatly to the
preservation of Australian historic photography.
34 Jeff Carter (Australian, b.1928)
Byron Bay, 1965. Vintage silver gelatin photograph, photographer's
copyright label, titled, dated and signed in pencil verso, 19.7
x 30.2cm. Minor stains and chips to margins.
began taking photographs
while still at high school in Victoria. He set out travelling
around Australia with his camera and cumbersome 'portable' typewriter
in 1946, and made a living selling his stories and photographs
to a wide range of Australian and international newspapers and
magazines. He supplemented his income with itinerant work as
a drover, fruit picker, road worker and mill hand, getting to
know the people who would be the subjects of his photographs
for the next 50 years and more. The early years of his career
filled him with admiration for the people making their livings
in some of the toughest environments in Australia. His approach
of living and working with his subjects for a period of time,
often coming back to visit year after year, has resulted in an
extraordinary record of Australian life." (Extract from
National Library of Australia website).
35 Harold Cazneaux (Aus., 1878-1953)
Fishing At Waverley, 1904. Vintage carbon print, postcard format,
titled and signed in ink on image lower right, 8.9 x 13.9cm.
Minor crease to upper left corner.
in Edwards, Sunlight and Shadow: The Lifework of Harold Cazneaux,
1996, p27. This is one of the earliest Cazneaux photographs.
Photographic paper of this size came in a preprinted postcard
format during the early part of the 20th century and was used
by Cazneaux because it was so accessible.
36 Harold Cazneaux (Aus., 1878-1953)
Old Horse Punt "Warrane", c1912. Vintage silver gelatin
photograph, titled in pencil by Cazneaux and annotated in ink
and pencil in another hand verso, 24.6 x 30.2cm. Minor surface
crack to lower centre of image, pinholes, slight crease and trim
marks to margins.
include "Might be better for reproduction than bromoil."
Illustrated in Cazneaux: Photographs by Harold Cazneaux, 1878-1953,
NLA, 1978, p19. This was the ferry for horse-drawn vehicles which
ran between Circular Quay and Milsons Point, North Sydney before
the harbour bridge was built.
37 Harold Cazneaux (Australian, 1878-1953)
Passing Storm, 1916. Vintage silver gelatin photograph, signed
and dated in pencil on backing below image, 29.5 x 23cm. Minor
retouching to image. Laid down on original backing.
three of Cazneaux's daughters (Beryl, Jean and Rainbow) at Wentworth
Falls, Blue Mountains. Illustrated in Valerie Hill, The Cazneaux
Women, 2000, p55.
38 Harold Cazneaux (Australian, 1878- 1953)
Life Class, c1920s. Vintage silver gelatin photograph, titled
and signed in pencil on backing below image, titled, signed and
annotated in pencil on backing verso, 25 x 24.6cm. Slight retouching
to centre of image. Tipped to original backing.
includes "Harold Cazneaux, Roseville, New South Wales, Australia."
Illustrated in Harold Cazneaux, Artist in Photography, AGNSW,
2008, p57. Probably taken at the Julian Ashton School, The Rocks,
39 Harold Cazneaux (Australian, 1878-1953)
Punch And Judy, c1920s. Vintage silver gelatin photograph, titled
and signed in pencil on backing below image, annotated in pencil
on backing verso, 32.4 x 25cm. Minor dents to centre and retouching
to right portion of image. Tipped to original backing.
reads "Barmera [Sth Australia]. Class 9. H. Cazneaux, 24
Dudley Drive, Roseville, NSW." The National Library of Australia
holds a major collection of work by Cazneaux.
40 Harold Cazneaux (Australian, 1878- 1953)
Spirit of Endurance, 1937/c1941. Toned silver gelatin photograph,
titled and signed in pencil by Cazneaux on image lower left,
publishing annotations in pencil in an unknown hand verso, 27.1
x 30.7cm. Minor stains to image upper left, old mount burn.
reversed image held in National Gallery of Australia collection.
Illustrated in Dupain, Cazneaux, 1978, p75. Cazneaux sometimes
used both sides of this negative when printing. One of his iconic