118 Ten Australian
Photographs - Folio One, 1935-1997
A
collection of ten compelling images by ten of Australia's prominent
and important photographers covering six decades of photography.
This folio shows an engaging diversity of style and classic examples
of each photographer's work. The folio was launched in 2001 in
a limited edition of ten sets. The combined current retail price
of the ten images would be $44,000. The folio has increased in
value since first released.
The folio $39,000
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(a) Greg Barrett (Australian, b.1943)
Vicki Attard, Flashdance, 1995/2001. Silver gelatin photograph,
signed in ink in lower margin, signed, titled and dated (twice)
in pencil verso, 33.9 x 27.7cm.
Vicki
Attard joined the Australian Ballet School in 1982, and went
on to become principal artist with the Australian Ballet for
many years. Greg Barrett, one of the most sought-after fashion
photographers of the late 1970s, has since explored other subjects,
including short films. Since 1984, Barrett has photographed Australia's
premier dance companies, using few props and costumes. He draws
on his relationship with each dancer to push the expressive boundaries
of the human body. The results of this artistic collaboration
are photographs of extraordinary beauty, spontaneity and wit.
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(b) Olive Cotton (Australian, 1911-2003)
Teacup Ballet, 1935/2000. Silver gelatin photograph, signed in
pencil by Cotton's daughter Sally McInerney in authentication
stamp verso, 25.4 x 19.6cm.
In
1929, at the age of 18, Olive Cotton became a member of the Sydney
Camera Club and the Photographic Society of New South Wales.
After graduating from Sydney University with a BA in 1934, she
joined Max Dupain's studio and after a brief marriage from 1939
to 1941 they separated. Cotton ran Dupain's studio while he was
in service during WWII. In 1946 she married Ross McInerney and
moved to Cowra, where she continued to photograph the landscape
and run her own studio. In the early 1980s she began to print
from the many negatives amassed over the years (continuing until
the studio closed mid 1990s). Olive is now recognised as a major
contributor to Australian photography.
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(c) Brett Hilder (Australian, b.1946)
Indian Rug (New Mexico), 1997/2001. Toned silver gelatin photograph,
signed in ink in lower margin, dated (twice) and initialled in
pencil verso, 20.2 x 15.3cm.
Born
in Sydney, Hilder has always been attracted to the exotic: the
1959 Brazilian classic, Black Orpheus, was the first film that
influenced him. In 1969 he set up his own studio and became one
of the most innovative fashion photographers of the time, working
in Paris and Sydney. He took portraits of prominent identities
and actors with the Sydney Theatre Company. Recently his photography
has shifted more towards a romantic theme, suggesting the viewer
has happened upon a scene in a film.
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(d) Jon Lewis (Australian, b.1950)
Adagio Dancers, Bondi, 1984/2000. Silver gelatin photograph,
signed, titled and dated (twice) in pencil verso, 24.5 x 30.8cm.
Jon Lewis commenced his Bondi Beach photographic series in 1984.
This
collection was exhibited in Paris and went on tour from 1989
to 1993. He photographed two hundred Australians for Portrait
of a Nation exhibition at the Mitchell Library in Sydney in 1992.
In 2000, he documented the effect of the East Timor conflict
on the local people. Lewis brings to his projects a sense of
time and place, and celebrates the individual.
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(e) Graham McCarter (Australian, b.1940)
Opal Miner's Wife, 1974/2001. Silver gelatin photograph, signed
in ink in lower margin, titled and dated (twice) in ink verso,
21.9 x 21.9cm.
McCarter
has worked as freelance photographer in England and Australia,
mainly in advertising and editorial work. He has had several
exhibitions in the UK, Australia and America. His subjects have
included slum kids in Glasgow, Liverpool and London, working
men in the CSR sugar factory, and opal and coal miners and their
families. In more recent times McCarter has undertaken a project
on Dylan Thomas. He gives dignity to his subjects, ignoring the
prosaic and clichéd.
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(f) Robert McFarlane (Australian, b.1942)
Bea Nude, 1978/2000. Silver gelatin photograph, titled "B.
Nude", dated (twice) and signed in pencil with photographer's
stamp verso, 21.4 x 14.3cm.
McFarlane
has worked as a freelance photojournalist for The Times, London,
as well as other major newspapers and magazines. He has been
a stills photographer for numerous Australian films. In the theatrical
world he has photographed some of Australia's best-known performers.
He has also been the Sydney Morning Herald's photography critic
for many years. McFarlane photographs with the eye of a photojournalist,
but with an aesthetic warmth and sense of intimacy with his subjects.
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g) David Moore (Australian, 1927-2003)
Sisters Of Charity, Washington DC, 1956/2000. Silver gelatin
photograph, signed in ink in lower margin, titled, dated (twice)
and signed in pencil verso, 35.4 x 22.9cm.
Moore
joined Max Dupain's studio in 1948, where he photographed industrial
subjects, architecture, advertising set-ups and concert artists.
Outside the studio, Moore concentrated on social history, strongly
influenced by the documentary movement. He went to London in
1951 and began his photo-journalistic career for international
picture magazines during their "grand era". After his
return to Australia in 1958 he continued to work, travelling
the world, for his New York agency, Black Star. His mastery in
capturing moments of stillness gives Moore's photographs of people
as well as natural and built landscapes a deep resonance.
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(h) David Potts (Australian, b.1926)
The Rabbit Trapper, Dorrigo, 1947/2000. Silver gelatin photograph,
photographer's stamp, titled, dated (twice) and signed in ink
verso, 30.3 x 20cm.
Potts
worked for leading commercial art photography studios, Russell
Roberts, Laurence Le Guay and John Nisbett. He became interested
in documentary photography, accompanying David Moore on excursions
around Sydney and its environs in the late 1940s. From 1950-1955
Potts worked as a photojournalist in London, executing assignments
for leading journals such as The Observer. He participated in
the Six Photographers exhibition in Sydney, and continued work
in his own studio until 1965. In recent years he has begun exhibiting
again. Potts' photographs record the connection between people
and their environment with a strength that comes from his long
experience.
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(i) Roger Scott
(Aus., b.1944)
Queenscliff, Sydney, 1975/2000. Seleniumtoned silver gelatin
photograph, titled, dated and signed in pencil verso, 20.2 x
30.3cm.
Scott
began his career as a printer at Leicagraph, Sydney. Following
travel in Europe, he set up his business in 1978 as a documentary
photographer and specialist printer of black and white work.
After several group exhibitions, he held his first solo exhibition
in 1978. Roger's photographs reflect the everyday life of people
around him, with a quirky affection for what he sees.
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(j) Wolfgang Sievers (Australian, 1913-2007)
Gears for Mining Industry, 1967/2000. Silver gelatin photograph,
signed and dated (twice) in pencil verso, 27.1 x 21.2cm. Slight
scuffing to surface.
Born
in Berlin, Sievers attended the Contempora School for Applied
Arts. The school adhered to the Bauhaus principle that fine and
applied arts should be united. After a period spent in Portugal
he immigrated to Australia in 1938. Specialising first in architectural
photography, and later in industrial photography. In 2000 Sievers
was the subject of a major retrospective exhibition held in Portugal
at Arquivo Fotografico Municipal de Lisboa. His dramatic images
show the balance of the relationship between worker and machine.
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