The collection of Jeff Carter;
Private collection, Sydney

Only a handful of these vintage 1960s surfing
images by the artist survive.

The Cazneaux family estate

Note: Joan Blundell was one of Cazneaux’s five daughters.

This rare vintage photograph of body-surfing from the 1920s is one of the earliest depictions of Australian lads taking to the waves. It is easy to forget that it wasn’t until the 1960s that Australians who didn’t live near the beach were more familiar with  public swimming pools and certainly less confident and accomplished swimmers than they are today.

“Many visitors (to the beach) contented themselves with paddling, but enough braved the surf in ignorance to keep the life-savers busy and elevate them to the status of bronzed gods”.

Jill White, Dupain’s Beaches, Chapter & Verse, 2000, p. 92.

The Cazneaux family estate

Note: Mount Bogong Victoria rises more than 1,600 metres (5,200 ft), thus making it one of the highest peaks in Australia not only in terms of its elevation above sea level, but also in terms of actual base-to-summit

prominence.

As a leading pictorial photographic artist in the early decades of the 20th century, Cazneaux was revered for his abilities at capturing light and atmosphere in his monumental Australian landscapes.

The 1920s and 1930s were highly productive times for the artist. He produced a series of portraits of well-known artists, musicians, and actors and many books including Canberra, Australia’s Federal Capital (1928), Sydney Surfing (1929), The Bridge Book (1930), The Sydney Book (1931), Frensham Book (1934), and the jubilee number of the B.H.P. Review (1935).

Josef Lebovic Gallery, Sydney;

Private collection, Sydney

The collection of Kerry Dundas;
Private collection, Sydney

In 1972 he was appointed photographer at the Art
Gallery of New South Wales. Throughout the course of
his career hewas afforded the opportunity tophotograph
many contemporary artists from the second half of the
20th century; this vintage image of artist Brett Whiteley
shows the iconic Australian artist alongside one of his
major abstractions from the early 1960s.

Kerry Dundas, son of artist Douglas Dundas, gained an interest in photography as a student at Sydney Grammar. After leaving school he worked for various studios, including Max Dupain’s in the 1950s. In the 1960s Dundas worked in the UK as a photojournalist, drawn to subjects of social upheaval such as the Notting Hill Gate riots.

He returned to Sydney in 1967, and published a book of photographs of New Guinea subjects in 1969. In 1972 he was appointed photographer at the Art Gallery of New South Wales. Throughout the course of his career he was afforded the opportunity to photograph many contemporary artists from the second half of the 20th century.

Gentle images of the Australian landscape, such as Blue Gum Forest, Grose Valley, capture the atmospheric effects of evocative, cinematic light. Dupain believed that Australia should pursue its own modern culture of photography, rejecting outdated ideas about style and content. He wanted his country to preserve its rich cultural heritage through pictures, while incorporating new techniques and approaches to imaging.

This historic photo shows the the Cahill Expressway only a handful of years after its completion in 1958. This photograph was taken before the construction of the now demolished Goldfield’s house. This landmark building would later be erected to the far right and was completed in 1966. Note also the AMP building on the far left which was finished in 1962. It is from this history of Sydney’s harbour skyline that we know this image was taken between 1962 and 1966; an intriguing glimpse into the city’s architectural past.

“Dupain’s people photographs of the 1930s and 1940s, taken on Sydney’s most popular beaches, Bondi and Manly, show Australians in the prime of their relationship with their beaches. Money was tight and the beach was free, a relaxing sense of propriety was allowing more freedom in dress and conduct, work hours were accommodating and electronic entertainment hadn’t begun to keep youth indoors. It was an environment rich with possibilities for Dupain, at ease on the beach both as an attractive athlete and a photographer nurturing an inner voice which, he wrote, would spontaneously ‘call out …. and behold, there [the picture] is’.

In a time when the outback dominated intellectual concepts of Australian identity, Dupain was photographing a beach mythology far more real to most Australians than the wide dry spaces of the inland. Few Australians lack light infused memories of a beach and long lost hours spent between cool, turbulent water and warm, quiet sand.”

Jill White, Dupain’s Beaches, Chapter & Verse, 2000, p. 74  

The photograph illustrated on the previous page Manly  [Surf Boat from Shark Tower] was taken from the top of this soaring look-out point. The Shark Tower was demolished in subsequent years.

Stamp verso reads “Max Dupain & Associates Pty Ltd, Unit 13, Valetta Building, Campbell Street, Artarmon, 2064, Australia.”

Carol Jerrems’ Actor Judy Morris Smoking on the set of “In
Search Of Anna” has become an icon of later 20th century
portrait photography. Known for elegantly bringing
together performed, documentary and autobiographical
image-making, Jerrems was a woman both for and of her
times.

Her seminal body of work documents the revolutionary
spirit of sub-cultures including those of indigenous
Australians, disaffected youth, and the emergent
feminist movement of Melbourne in the 1970s. Jerrems’
photographic output has been compared to that of
internationally known Americans Larry Clark–of a
slightly older generation–and Nan Goldin, as well as
fellow Australian William Yang.

Atlas Gallery, London

From 1955 to 1965 while working for ‘Vogue’, Klein chose to photograph his models out in the streets. The contemporary norm for the time was to photograph fashion models in a controlled studio environment,so Klein’s work helped pioneer the idea of street photography for fashion shoots. The present work,exhibited at a one man show at the flagship fashion store ‘Jaeger’ in London in 1960,is one of his most recognisable images.It shows the models Simone and Nina on a pedestrian crossing,the lines of their elegant dresses complimenting the ‘Zebra’ painted markings of the street surface below. While posed, it captures a whimsical moment in time. Nina has passed Simone and while her path is intercepted by a speeding Vespa she takes the opportunity to, rather wryly, check her rivals couture. It would appear that in this instance Klein supported the adage that women do indeed dress for women!

The David Moore estate

“David Moore was Australia’s most renowned and widely travelled documentary photographer. He began working as a photographer in 1947 in the commercial advertising studio of Russell Roberts. Between 1948 and 1951 he assisted Max Dupain, and began to develop his own approach to the documentary style, walking the streets of depressed inner-city suburbs of Sydney taking still photographs. Moore’s ‘Redfern interior’ 1949 was included in Edward Steichen’s ‘Family of Man’ exhibition, which toured internationally from 1955. Moore was one of two Australians to be included in the exhibition. In 1951 Moore turned down the offer of partnership with Dupain and moved to London to work for international picture magazines including the Observer, the New York Times, Time-Life, Look, and Sports Illustrated. From 1958 he travelled the world for the New York agency, Black Star, working for Time-Life books, National Geographic and corporate and industrial clients. His international assignments took him to Asia, America, Antarctica and Africa until the 1980s. Moore’s photographs are held in Australian and international collections including the Museum of Modern Art, New York; Bibliothèque Nationale de France, Paris, and the Smithsonian, Washington, DC.”

Excerpt taken from the Art Gallery of New South Wales website.

The David Moore Estate;

Private collection, Sydney

The David Moore estate

This exceptionally rare small proof image is one of only a few vintage prints created by David Moore before the negative was damaged. No further were made. One notes a variation in this image when compared to that which is illustrated opposite. It is taken probably within moments of the more recongisable work which does not contain the motor bike rider in the foreground.

Caption reads “Early morning traffic on the Sydney Bridge.” Another example held in AGNSW.

The collection of Lewis Morely;
Private collection, Sydney

Includes:
(1) Christine Keeler Seated with Chair, 1963, printed 2011,
C-type photograph printed on Fuji Crystal Archive Flex paper,
edition 48/150, signed in ink in lower margin, 30.5 x 40.6cm
(2) Lewis Morley: I To Eye, T&G Publishing, Sydney, 2011.
Hardcover book with dust jacket, 400 pages with over 270
duotoned and colour photographs; 8.1 x 47 x 36.4cm (box).
(3) Eight-page booklet entitled Lewis Morley: The Hidden
Nude with text by Lewis Morley.

This image is considered to be Sievers most iconic work. Few industrial photos of this type in Australia share its hero quality.

“Sievers has written in regard to his work for Vickers Ruwolt that: ‘I carried out some of my best work in the sixties. Here I was in my element: the honesty and skill of the workers combined with the functional design of the machines stimulated me greatly and that attraction was never to leave me.’ He had found the massive gears lying on the factory floor and thought it would be good to try ‘to create a symbolic photograph of Australia’s engineering manufacturing skills to show the world outside that Australia was not merely a continent of raw materials.’ The photograph is entirely constructed and the engineer was added to give a sense of scale. Despite his abiding interest in the role of the worker in industry, people began to disappear from Sievers’s work or to be substantially reduced in scale. To some extent this reflected the increasing automation of factories but it also harks back to Sievers’s early exposure in Europe to modernism and new objectivity. Sievers was amused that ‘Gears for mining industry at Vickers Ruwolt, Burnley, Melbourne’ could be seen to relate to early modernist cinema such as the 1927 film ‘Metropolis’ but the monumental machinery beautifully posed within the dark factory and the dynamic figure of the engineer creates an image which relates more to that era than to the formalism of the 1950s and 1960s.”

Art Gallery of New South Wales Photography Collection Handbook, 2007

This image was taken from the mast of a ship on Sydney Harbour. Vaniman had intended that his panoramas be exhibited in public buildings as massive enlargements, but today they survive as extremely rare and detailed platinum contact prints. He spent over a year photographing Australia and New Zealand on behalf of the Oceanic Steamship Company creating promotional images for the company.

Beginning in 1903, Vaniman spent over a year photographing Sydney and the surrounding areas. It was during this time that he created his best known work, the panorama of Sydney, shot from a hot air balloon he had specially imported from the United States. Vaniman is best known for his images of Hawaii, Australia, and New Zealand.