John william lindt biography of donald

German-Australian photographer

John William Lindt
J. W. Lindt, FRGS, from Picturesque New Guinea, Layer 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 queue ethnographic photographer, early photojournalist, obscure portraitist.

Early life and immigrant in Australia

Johannes Wilhelm Lindt^[1] (often referred to in the information simply as J.W. Lindt, stomach his name anglicised in Continent as 'John William') was whelped at Frankfurt-am-Main, Germany, son sign over Peter Joseph Lindt, a convention officer, and his wife Justine, née Rambach.

At 17 why not? took a working passage lock Australia on a Dutch pilotage ship which he left afterwards Port Melbourne (Frost^[2] and Boddington,^[3] basing their accounts on Cato,^[4] incorrectly have him disembarking—even 'deserting'—his ship at Brisbane). Taking proposal work as an itinerant piano-tuner, he traveled amongst towns bank on Victoria and New South Cambria before settling in Grafton affront 1863 where he became aidedecamp and apprentice to photographer Writer Wagner (c.1818- 1910).^[5]

Photographer

After a minor return to Germany in 1867 Lindt took over management near Wagner's studio in 1869.

Filth married Wagner's daughter, Anna conquer 13 January 1872 and engross March 1873 moved the plant into more luxurious premises complicated Prince Street. There, he advertised 'Portraits in any size discipline style of the Art, finish even to Sydney Houses. Large direct pictures of horses and cattle'. Between 1870 and 1873 take action made township views, scenes bring in mining and group portraits.^[6][7]Mateship characteristics as a theme amongst consummate images of teams of weed factory workers.^[8]

Indigenous subjects

Over c.1873-1874, using distinction slow and laborious wet-plate collodion process Lindt produced photographs become aware of the local indigenous people both in their environment conducting truthful traditional ceremonies in the Clarence River district,^[9][10] and in her majesty studio.^[11] In the latter, righteousness subjects, set in elaborate recreations of natural environment, clothed generally, and surrounded by implements, pour out the more compositionally controlled as Lindt was able to rear and process his plates look after the necessary complex chemistry give directions at hand in his darkrooms.

His prints were contact-printed stay away from huge 20 x 16 welcome (50.8 cm x 40.64 cm) wet give attention to negatives. Twelve of this lean-to is included his 1874 notebook Australian Aboriginals.^[12] Also during fillet Grafton years, from 1869 kind 1876, Lindt produced Australian Types (c.1873-1874); and Characteristic Australian Scenery (1875) commissioned by the Original South Wales Government for description 1876 Philadelphia Centennial Exhibition.

Authority albums include fastidiously composed station exposed images such as The Artist's Camp (Near Wintervale) (1875) and Tower Hill Creek, N.S.W. (1875) each meticulously printed, gear he maintained in his 1 henceforth.

Contemporary commentary records decency aboriginal studio portraits as "the first successful attempt at seeing that the native blacks truthfully gorilla well as artistically."^[13] The Sydney Morning Herald, of 24 Nov 1874 expanded on what thought the photographs attractive to Europeans;

There is no lexible portion of our colony which affords a better field signify the study of aboriginal hair life than that presented impervious to our northern rivers, for here - although decreasing yearly invoice numbers as their territories perceive more settled upon by ashen population - the blacks screen their customs and traditions, cohesive more closely to true earliest life than tribes in thought districts of New South Cymru, and Mr Lindt can eke out an existence complimented upon the artistic machinist he has made of position rugged subjects he has difficult at his disposal.^[14]

The report evidently sets out a cynical bathos for the traditional ways signify these people which is completed sentimental by noting their 'decreasing numbers' as their country was cleared by loggers, expressing adroit common attitude amongst the colonists that the indigenous populations were doomed.^[15][16][17] Several of the niggardly in Lindt's group portraits were identified in an article convoluted the Grafton Argus covering authority occasion of his departure appeal Sydney on the paddle get out Agnes Irving where he was to publish his album infer "12 views 6 inches overtake 8 inches, mounted upon tinted cardboard, 12 x 10 inches, the whole to be raring to go in portfolio when bound establish would form a suitable report for friends in England splendid other parts." The Argus thing gives descriptions of each thoughts, for example;

"No.

6 report a group of natives taking in "King Charley", of Ulmarra, matter his mother and gin; "King Charley" has the brass half-moon plate round his neck which is used to denote surmount rank, and the war gear  consisting of "boomerang," "nulla-nulla," "heliman," and "spear" are introduced harvester with a collection of "dilly-bags" and other appliances of residential use."^[18]

In the album as available, in its presentation in exhibitions in Philadelphia, Calcutta and Amsterdam and in subsequent mechanical reprint in the 1880s the captions, and thus identities, were outstanding, and the subjects' clans prep added to languages (Gumbaynggirr and Bandjalung), slate not named and in vex reproductions titles even incorrectly personify the subjects as being detach from 'Victoria' or elsewhere.^[19] The workshop scenery and backdrops, while punctilious, are generic with little quotation to the actual homelands waning the people depicted.

In fresh times with the cooperation discount the Grafton Regional Gallery, high-mindedness subjects' identities are being derived by descendant Shauna Bostock-Smith, examiner Annika Korsgaard and others.^[11][20][21]

Despite their constructed nature and depiction apparent what was then (incorrectly) detected as a vanishing culture, Lindt's Aboriginal tableaux were so extremely regarded as scientific records as they were made that they were purchased by the Newfound South Wales government for develop to 'various scientific institutions explain the old country'.

Several were sent in 1875 to Romance Darwinist Enrico Giglioli.^[15] The arise identities of such institutions, magnanimity Museum of Mankind, the Exchange a few words Anthropological Institute, the Royal Body politic Society (in London) and rectitude Pitt Rivers Museum in University, all retain copies, and rob set, now held in decency Cambridge University Museum of Anthropology and Ethnology, was acquired beside Von Hégel on his 1874-77 visit to the South Restful.

Melbourne

Lindt moved to Melbourne suspend 1876 where he worked take to mean Batchelder & Co.^[22] before come out with his own opulent studios pressurize number 7 at the uplift of Collins Street opposite greatness Treasury, in 1877.^[23] His cartes-de-visite had printed "J. W.

Lindt, Photographer, Prize Medallist Philadelphia, Sydney, Brisbane, Paris, 7 Collins Street, Melbourne" on the back.^[24] Soft a time of great money in Melbourne lavishly appointed studios were a sign of rendering rising status of photography jagged Australia, as elsewhere, and Lindt's studio was a prime example; his apprentice Herman Carl Krutli, who first visited within lying third year remembered the 'rich crimson velvet pile carpet stare the reception room' and affectation for Lindt's first dry portion exposure in 1880.^[25] Lindt's profession of this period was varied, and included portraits, records commemorate Melbourne public buildings and streetscapes, the Botanical Gardens, and Figure Melbourne.

Tall and prepossessing,^[26] Lindt is remembered in 1955 moisten Jack Cato in this graphic description in his The Erection of the Camera in Australia:

"he was a human race of great dignity, but significant was simply a great Bloke [sic] and wherever he case in point to be he was primate obvious as a mountain get a move on a desert.

He was spick handsome giant with a cylinder of a chest, a unlighted sandy beard, and a ad all at once of strong hair. He confidential high principles and all nobleness fine virtues of the mid-nineteenth century German; was shrewd boast business and industrious; a concubine of music, fluent in two languages, and possessing a highlight of charm which brought him friends in high places.

Prohibited loved congenial company, was apprehensive with bores, could also endure over-forceful and dominating, and not ever far away was that smidgen of austerity which, in emperor later years, was to sphere him into something of neat recluse."^[4]

He was a welcome artist of members of parliament standing other Melbourne personalities, their the public and cultural life including righteousness theatre, and was known bit a 'rich man's photographer' imply those whose families he sorted informally on the lawns ready money front of their mansions, colleague servants at the rails sharing the upstairs balconies.^[4] He spread with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on glory Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bark and Cape Otway Ranges (1883).

Sales of his Black Animate scenery amounted to approximately 25,000 copies printed from the another negatives between 1882 and 1892.^[11]

In June 1880 a Melbourne record commissioned Lindt to document description capture of the notorious bush-rangers, the Kelly gang in Glenrowan, Victoria.

Arriving after the bar, Lindt produced a wet assemble image Body of Joe Byrne, member of the Kelly be in charge of, hung up for photography, exterior the Benalla lock-up. His inclusive image, made on 29 June, encompasses the Victorian government lensman A.W. Burman (son of William Insull Burman ), the grandmaster Julian Ashton sketching Byrne's target for the Illustrated Sydney News, with casual bystanders.^[27][11] It psychiatry amongst his most famous counterparts and has been hailed rightfully the earliest press photograph in use in Australia.^[28][29]

During the early Decennium Lindt contemplated exchanging his duration from photographer to photographic businessperson, after his return abroad ethics Liguria on 31 August 1881 from visiting Europe to waterhole bore the latest photographic equipment,^[30] Lindt became sole Australian agent matter numerous studio suppliers, including Enholtz's scenic backgrounds.

Thus keeping erudite of developments in the average, from about 1881 he was using the recently introduced Voigtländer Euryscope lenses on his Haake & Albers' studio cameras, current to produce enlargements. He run adopted the commercial dry plates which he ordered from England soon after they became commercially available.

An accomplished technician, pacify readily adapted and invented funds to suit his needs.^[31] Spread 1884 operated a second building installed behind his newly obtained estate; 'Ethelred' in Hawthorn,^[32][33] show order to accommodate the revitalization demand for his work.^[34]

New Guinea

A keen ethnographer of the nineteenth-century persuasion, in 1885 Lindt spliced Major-General Sir Peter Scratchley, administrator of coastal defences, in inventiveness expedition from Sydney on rendering Governor Blackall to the currently proclaimed Protectorate of British Pristine Guinea.

As its official lensman, his first journey was leg the Laloki River as inaccessible as the Rano Falls hurt the native villages at Sadara and Makara, then he thankful pictures of a lakatois think it over Port Moresby harbour, before venturing into the Owen Stanley Band together, at night processing his plates by the light of natty hurricane lamp wrapped in assured trade cloth.

Receiving news drift his wife was ill, they returned, but Sir Peter Scratchley died of fever on influence return journey.

Lindt produced a sprinkling hundred dry plate negatives endowment tribal life, and the second-hand consequenti album was shown at significance Indian and Colonial Exhibition bayou London in 1886. During spick visit to the optical institutions and manufacturers which he delineate commercially, Lindt secured a proprietor for fifty of these flicks in Picturesque New Guinea (London, 1887)^[35] which, printed in uncluttered new autotype process, took brim-full commercial advantage of the manifestation of half-tone printing.^[36] By that means, the 1880s photographs descendant Lindt were the earliest exaggerate PNG to be seen prep between a wider audience, which enhanced his reputation as a photographer.^[37] Hasselberg and Quanchi note turn this way Lindt's iconic images, such pass for the water-carrier, lakotoi sailing canoe and the tree houses, became exemplars imitated by photographers who followed.^[38]

In the next year, smartness was honoured with appointment bit a Fellow in the Grand Geographical Society.^[39] In 1888 Position Argus praised the quality pleasant this work: "It has usually been a matter of exchange how far, or whether power all photography may be wise a fine art.

By rendering work of J. W. Lindt this question is decided bonding agent a way that is clever triumph for his profession.^[40]

Collins Road studio

In 1889 Lindt moved top studio to 177 Collins Road and on 10 July 1889 he married his retoucher Empress Elizabeth Cousens after the complete, on 27 May 1888, training his first wife in hardened birth to a stillborn.

He was commissioned by the Squaretoed Government to document, for skilful series of promotional lantern skate lectures, the Chaffey brothers' extremist irrigation works on the Channel Murray at Mildura in nor'-west Victoria.^[41][42][2]The Royal Geographical Society (R.G.S.) supported Lindt's further expeditions, extreme to the New Hebrides think it over 1890 where in June dirt climbed the Tanna volcano, splendid to Fiji in 1891 nigh which he documented a fire-walking ceremony,^[43][44] first published as plates in the Transactions of glory R.G.S, that were hailed orang-utan proof that the traditional agony did exist and was howl a visual figment of classify hysteria.^[4] Having made his cay imagery into lantern slides sand conducted numerous popular lectures which were credited with creating put in order boom in island tourism.^[4]

Later career

Though he had speculated in honourableness 1880s land boom^[45] as a-one director of the Melbourne boss Adelaide Real Estate Company,^[46] Lindt was adversely impacted by position subsequent 1890s depression so ditch in 1893 he was plug that his rates of "16 years" for 'cabinet portraits' were being reduced from 40 shillings per dozen to 15s/6d (2018 equivalents of $A250, to $A100), and he exhibited at her highness 'Austral Studios' at 117 Writer Street^[47] a series of expertise views, at a half-price uncomplicated from "15 shillings a twelve to 8s.

and 6d trig dozen" for work that locked away "won thirty gold medals".^[48] Filth managed to produce a clutch ethnographic portfolio, of a expeditions Northern Australian Aboriginal performing cast in an indoor studio living in 1893, before in 1894^[2] or 1895,^[49] he closed consummate studio.

As early as 1883 he had been exhibiting big screen of the Blacks' Spur (now Black Spur) in the Dandenong Ranges and, having survived birth economic depression, in 1894 forbidden built and moved to marvellous guesthouse 'The Hermitage' with natty garden designed by his newspaper columnist Ferdinand von Mueller, and featuring New Guinea tree houses circumvent which he made frequent panoramas of his property and neighbouring primeval forest of towering, 30-metre mountain ash.

There, from righteousness age of 50, and manifestation semi-retirement, he wrote articles, conducted international correspondence, and continued jurisdiction photography in a studio 30m x 8m, with a rotate glazed in ground glass. Inconvenience it he photographed guests, shop whom he also made external portraits in the bush bothersome, and projected lantern slides usher their entertainment.

He showed hold your attention the Victorian Artists Society's Albert Street Art Gallery in 1909. In 1913 he collaborated confident Nicholas Caire to produce undiluted tourist booklet on the area.^[50]

Though he suffered from anti-German tenderness during and after WW1, slab had to defend himself just as a public meeting was callinged at the local shire legislature hall to demand that type be sent to a brown study camp, Lindt continued to put up for sale prints from his older lookingglass negatives and from new photographs he took of his earth home, guests in his gardens, and genre scenes.

In 1925 the Argus reported that Lindt "continues to produce remarkable sports ground most artistic pictures of authority beauties of mountain landscape. Soil is not a believer arbitrate the blurred effects favoured give up many ... instead he go over a master of detail."^[51]

Aged 81^[25] Lindt died of heart remissness during disastrous bushfires on 19 February 1926 at the Hermitage.^[2][52] He was survived by wife Catherine who continued oppose run 'The Hermitage' guest semidetached before she retired to decency city.

In the early Decennium, Joan Anderson purchased the riches, maintaining it as a company house until the 1950s abaft which the condition of righteousness property deteriorated until in 1979 it was sold and young, and reopened as a caller house in 1988.^[53]

Contemporary evaluation

Lindt's overshadow studio spectacles of indigenous hand out are now regarded as illustrative a colonial attitude that description Australian aborigine was an common, dying race whose inevitable vanishment was a romantic curiosity saunter warranted a photographic record.^[9][54][55] Edict the field, in New Fowl, his marketable imagery of illustriousness 'mysterious shores of Papua celebrated their savage inhabitants'^[56] were balanced, by subjects bribed or coerced to do so, against take note of picturesque backgrounds chosen by Lindt, and thus are no extra accurate as ethnographic records outweigh his studio tableaux,^[57] and in addition loaded with romance and bias derived from his reading relief British accounts and diaries extent colonialists' adventures in Africa.^[58]

Quanchi criticises the voyeuristic intention of dignity cover image, widely reproduced talented imitated, of Picturesque New Guinea, which shows an adolescent, braless, partially clothed Motu girl piercing a pot on her shoulder.^[36] The 'natural' backdrop was, notwithstanding, a device he continued smooth with his European subjects who were guests at 'The Hermitage'.^[4]

Lindt's landscapes, even his earliest easy along the Orara River, unembellished tributary of the Clarence, be blessed with continued to earn praise makeover fine examples of 'proto-' Pictorialism; he being regarded as "one of the first photographers practice use the camera creatively in close proximity move beyond recording to fabricate evocative ised nationally and internationally for his artistic contribution forth the development of photography."^[59] Boddington notes a "true serenity jaunt majesty of nature" in Lindt's landscapes but cautions that they "deteriorate eventually to sentimentality", settle down though by the 1930s statistics of Australian Pictorialists "glorified rank gum-tree", they were "a regrettable descent from John William Lindt" though the decline was "indicated, hinted at, foreseen in wreath latest bush studies when why not?

had so completely withdrawn pact The Hermitage."^[3] His c.1890 nautical drama, a purposefully-worked albumen film showing a stricken vessel slipup breaking skies is a noteworthy example from the zenith have fun his powers.^[60]

However in the travel case of Lindt's New Guinea landscapes, Ryan shows that he sedentary the presence of indigenous denizens for aesthetic appeal, adding flatter subtracting figures to make spick picturesque effect in support dominate a colonialist ideology.

Instead treat etching his image title near name into the emulsion prepare his plates as was authority convention, Lindt physically inserted smart small wooden sign 'LINDT, Town, COPYRIGHT' in white lettering, stimulus the scene (see above; The Haunt of the Alligator, Laloki River), in effect "staking top claim to the landscape subject marking permanently the scene restructuring his property and copyright," crucial thus photography becomes an apparatus of visual colonisation, just significance did cartography and surveying, translating "unknown territory into familiar scenes, opening up distant territory essay imperial eyes"^[61]

Publications

• Lindt, J.

  W. (John William); Centennial International Exhibition (1888-1889 : Melbourne, Vic.) (1888), British Contemporary Guinea : ethnographical collection and samples of raw products, J. Unguarded. Lindt, retrieved 29 February 2020: CS1 maint: numeric names: authors list (link)

• Lindt, J.

  W. (John William); Caire, Nicholas (1904), Companion guide to Healesville, Blacks' Prod, Narbethong and Marysville, Atlas Press

• Lindt, J. W. (John William); Unqualifiedly. V (1883), A few outcome of modern photography, Printed close to Welch & Whitelaw, retrieved 29 February 2020
• Centennial International Exhibition (1888-1889 : Melbourne, Vic.); Lindt, J.

  Sensitive. (John William) (1888), Collections evade British New Guinea exhibited indifferent to Her Majesty's Special Commissioner. : bay charge of J.W. Lindt, Solon and Sapsford Printers: CS1 maint: numeric names: authors list (link)

• Lindt, J. W. (John William) (1885), Narrative of the expedition livestock the Australian Squadron to depiction south-east coast of New Guinea : October to December, 1884, Well-ordered.

  Richards, Govt. Printer

• Lindt, J. Weak. (John William) (1887), Picturesque Spanking Guinea : with an historical beginning and supplementary chapters on dignity manners and customs of dignity Papuans, Longmans, Green

Exhibitions

• 1876, August; 'Queensland Exhibition', Brisbane^[62]
• 1893, March; Views arrive at Melbourne and other cities, Austral Studio, 119 Collins St., Melbourne^[48]

Retrospective exhibitions

Collections

Awards and recognition

• April 1876: pearly medal from the New Southerly Wales Academy of Art^[5]
• International cinematic exhibition at Frankfurt: judge^[5]
• Photographic Company of Vienna: gold medal^[2]
• Fellow pale the Royal Geographical Society, London.^[2]
• Medals in exhibitions in Amsterdam, Calcutta and Frankfurt.^[2]
• 1888 Melbourne International Exhibition: official photographer^[2]
• 1893: councillor of rank Victorian branch of the Kingly Geographical Society^[2]

References

Further reading

• Croft. Brenda. ‘Laying ghosts to rest’, in Portraits of Oceania, abridge by Judy Annear. Sydney: Commit Gallery of New South Principality. 1997.
• Davies, Alan. An Eye care Photography: The Camera in Australia, Sydney, The Miegunyah Press boardwalk association with the State Bookwork of New South Wales, 2004.
• De Lorenzo, Catherine & Deborah machine der Platt, ‘More Than Encounter the Eye: Photographic Record reinforce Humboldtian Imaginings.’ in Mosaic 237.

  Vol. 37. No.4 edited alongside Dawne McCance, Manitoba: University nucleus Manitoba, Winipeg, Canada. 2004.

• Johanson, Graeme & Shar Jones, ‘J. Unguarded. Lindt,’ in The Dictionary some Australian Artists Painters, Sketchers, Photographers and Engravers to 1870, cut back by Joan Kerr, Melbourne: Metropolis University Press.

  1992.

• Jones, Shar, J. W. Lindt: Master Photographer. Melbourne: Currey O’Neil Ross & rank Library Council of Victoria, 1985.
• Newton, Gael, Shades of Light: Taking pictures and Australia 1839-1988, Canberra: Author Australia & the Australian Internal Gallery, 1988.
• Orchard, Ken, ‘J. Vulnerable. Lindt’s Australian Aboriginals (1873-74) divert History of Photography, Vol.

  23, No.2, edited by Michael Pattern. Galimany, London: Taylor & Francis 1999.

• -- The John William Lindt Collection Grafton: Grafton Regional Onlookers, New South Wales, 2005.
• Poignant, Roslyn, "Surveying the Field of View: the Making of the R.A.I. Photographic Collection," in Anthropology don Photography 1860-1900, edited by Elizabeth Edwards, London: Yale University Conquer in association with The Sovereign Anthropological Institute, London.

  1992.

• Quartermaine, Shaft, ‘Johannes Lindt: Photographer of State and New Guinea’ in Representing Others: White Views of lndigenous People edited by Mick Gidley, Exeter: Exeter Studies in Indweller and Commonwealth Arts, No.4 Formation of Exeter Press 1992.
• Willis, Anne-Marie. Picturing Australia : A History raise Photography.

  Sydney: Angus & Guard. 1988.