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PAPERBACK. 1st edition. 233pp, octavo. cover wear/soiling, tight binding, clean throughout, Very Good-.
Verlag: LIGHTNING SOURCE INC, 2016
ISBN 10: 1359037071ISBN 13: 9781359037077
Anbieter: moluna, Greven, Deutschland
Buch
Gebunden. Zustand: New. KlappentextThis work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original w.
Erscheinungsdatum: 1884
Anbieter: Maggs Bros. Ltd ABA, ILAB, PBFA, BA, London, Vereinigtes Königreich
Title-page printed in gold, 50 silver gelatin photographs measuring 210 by 163mm, captioned in ms. & mounted on stiff card leaves within plain gilt frames, some tissue-guards remain. 4to album. Publisher's green morocco over bevelled boards, spine gilt, broad gilt panel to covers, triple-rules and scrolling foliate roll tool, title lettered in gilt to upper board, gilt roll tool turn-ins, gilt edges. Ownership inscription on front pastedown. Slightly rubbed, card leaves a little cockled with some consequent smutting to margins, short closed tear into caption of ?Sheep Shearers? but the views themselves excellently preserved with good tone, contrast and definition. 25 leaves. Adelaide, Samuel White Sweet, before Everything about this luxurious album is a testament to the craft and care of Samuel Sweet (1825-1886), ?the colony?s foremost documentary photographer of the 1870s? (ADB). Presented to ?Mrs V. L. Wilkins, Petersburg, Virginia USA, from her affectionate son Robert. Adelaide, South Australia - 19th February 1884.? It was a lavish and, given its fine condition, a much-cherished gift. Samuel Sweet?s career in the Royal Navy brought him, via the China Station, to Australia in about 1864. He was already an accomplished photographer by this stage and practised professionally in South Brisbane. He combined the two careers for the next six years, establishing studios in Rushcutter?s Bay in June 1866, and at the end of that year in Adelaide with William Gibson (a short-lived partnership). He submitted examples of his work to several exhibitions, including the Society of Arts in 1867. He exhibited the photographs he took in the Northern Territory from the four trips he made there between July, 1869 and September, 1870 on the Gulmare. However, the loss of the ship and the Wallaroo in 1872, compelled him to abandon life at sea and start life as a full-time professional photographer focusing on city views and landscapes, both of which are evident here. His reputation advanced quickly, aided by the invention of a waxing process, which gave his photographs a finish similar to that of varnish on an oil painting. ADB also notes that ?in the early 1880s he was one of the first to use the new dry-plate process.? Sweet continued to travel, to Tasmania and, importantly, twice to Port Macleay (Raukkan, or the Ancient Way). It was on his first trip in 1878 that he took the photograph that appears as the frontispiece of George Taplin?s book on the Narrinyeri. According to a report in the Southern Argus (18 July 1878), he ?also photographed the largest number of natives I saw taken together, there are between 50 and 60 in the group.? He returned to the mission at Port Macleay in November 1880 ?and this time received a request from the Ngarrindjeri themselves for portraits: Frederick Taplin had written to Sweet saying that the Aboriginal people at the mission ?would go in for having their pictures made?? (Robinson). This album provides not only a comprehensive overview of late nineteenth-century Adelaide, but includes the high spots of Sweet?s career. It begins with Adelaide?s landmark institutions: banks, hospitals, main streets, then botanic gardens, lakes and industry such as shipping, water supply, mining and sheep (these last are particularly good). The scope then broadens to include suburban Glenelg, then to Mintaro, Bungaree, and deep into the South Australian interior at Beltana, and Farina. There are also three images from his time at the Point McLeay mission with George Taplin in late 1880. These photographs of the Ngarrindjeri people include a fine image of a group outside a wurley or Aboriginal hut; a mother in possum skin cloak with her child slung on her back; and a powerful portrait of an Aboriginal man similarly dressed, clasping a waddy or fighting club, decorated malcarra or parrying shield. Sweet?s photographs weren?t limited to his own productions. They appear in a number of different works including Mabel and Jean Smith?s An Australian Birthday Book (Adelaide, 1883), George Taplin?s The Folklore, Manners, Customs and Languages of the South Australian Aborigines (Adelaide, 1879) and William Wyatt?s Monograph of certain crustacea . (Adelaide, 1883). While numerous examples of individual prints are located in Australian libraries, Sweet?s albums are very rare indeed. This album was produced towards the end of his lifetime, none of the plates here have his blindstamp, and those that do are generally agreed to have been issued after his death when his wife continued the studio for another six years. We locate one other example of Captain Sweet?s Views of South Australia at NLA, with 100 images, though those are slightly smaller - 200 by 150mm compared to our 210 by 163mm. We also find three examples of Sweet?s Album of Adelaide, its Suburbs and Botanic Gardens at the University of Adelaide, SLNSW and NLA. A copy of Sweet?s South Australia. Views in Adelaide, Suburbs and Country Districts sold at auction in 2016. A full list of images is available on request. Ellis, H., Intersections: Photography, History and the National Library of Australia (Canberra, 2004) p.75; Holden, R., Photography in Colonial Australia . (Sydney, 1988), b 101, 105 & 129; Robinson, Julie, ed., A century in focus: South Australian photography 1840s-1940s (Adelaide, 2007), p.292. .
Anbieter: Michael Treloar Booksellers ANZAAB/ILAB, Adelaide, SA, Australien
Fotografie
An albumen paper photograph (158 × 208 mm) mounted on card (a little tanned); in excellent condition. The photographer's credit and reference number ('Sweet | Adelaide | 526') is scratched in the negative. The photograph was taken from on top of the Kent Town Brewery, looking west along Rundle Street across the parklands, taking in all to the right (north) as far as the old Royal Adelaide Hospital and the dome of the Palm House in the Adelaide Botanic Gardens. Captain Samuel White Sweet (1825-1886), was a sea captain, surveyor and photographer: after he was censured when his ship ran aground in 1875, he 'retired from the sea, opened a photographic studio in Adelaide and concentrated on landscapes. With his horse-drawn dark room he travelled through South Australia taking hundreds of skilful pictures of the outback, stations and homesteads. The colony's foremost documentary photographer of the 1870s, in the early 1880s he was one of the first to use the new dry-plate process' ('Australian Dictionary of Biography').
Anbieter: Michael Treloar Booksellers ANZAAB/ILAB, Adelaide, SA, Australien
Fotografie
An albumen paper photograph (159 × 205 mm); tiny quarter-round indentations to the bottom corners (a legacy of having been tipped in on a mount at some stage); slight fading around the edges; now unmounted and in excellent condition. The photograph shows the eastern side of a fairly quiet King William Street; the clockless tower of the Town Hall has a prominent position to the right of the image. Captain Samuel White Sweet (1825-1886), was a sea captain, surveyor and photographer: after he was censured when his ship ran aground in 1875, he 'retired from the sea, opened a photographic studio in Adelaide and concentrated on landscapes. With his horse-drawn dark room he travelled through South Australia taking hundreds of skilful pictures of the outback, stations and homesteads. The colony's foremost documentary photographer of the 1870s, in the early 1880s he was one of the first to use the new dry-plate process' ('Australian Dictionary of Biography').
Anbieter: Michael Treloar Booksellers ANZAAB/ILAB, Adelaide, SA, Australien
Fotografie
Albumen paper photographs (each approximately 157 × 207 mm); the road scene has been printed from a broken negative, and a hairline crack and small fingerprint are visible in the central portion of the sky; the top margin of the mount on this side has some spots of residual glue, and the bottom edge of the mount on the other side has a few trifling surface chips; overall, the condition is excellent. The photographer's credit and reference number ('Sweet | Adelaide | 335') is scratched in the negative of the City Bridge (the second bridge built over the Torrens at that spot, in 1877). Oarsmen in four boats in the foreground have clearly paused for the event, as have the numerous pedestrians on the bridge. The second photograph shows Adelaide's twin towers - the Town Hall and the GPO - in the distance, but the most prominent features of the scene are the tall eucalypts lining the road, and the cart-horses drinking at a shaded trough. Captain Samuel White Sweet (1825-1886), was a sea captain, surveyor and photographer: after he was censured when his ship ran aground in 1875, he 'retired from the sea, opened a photographic studio in Adelaide and concentrated on landscapes. With his horse-drawn dark room he travelled through South Australia taking hundreds of skilful pictures of the outback, stations and homesteads. The colony's foremost documentary photographer of the 1870s, in the early 1880s he was one of the first to use the new dry-plate process' ('Australian Dictionary of Biography').
Albumen paper photographs (each approximately 157 × 207 mm), in fine condition; the mount has a few trifling blemishes. The Bank of South Australia building still stands on King William Street, Adelaide. The photographer's credit and reference number ('Sweet | Adelaide | 92') is scratched in the negative. The imposing hospital buildings, now demolished, are photographed from an elevated vantage point (probably the roof of the Botanic Hotel across North Terrace), and the wide-angled view shows a sparsely-developed city now lost to history. The reference to Sweet was painted out in the original negative before this print was made, suggesting it may be a posthumous print. Captain Samuel White Sweet (1825-1886), was a sea captain, surveyor and photographer: after he was censured when his ship ran aground in 1875, he 'retired from the sea, opened a photographic studio in Adelaide and concentrated on landscapes. With his horse-drawn dark room he travelled through South Australia taking hundreds of skilful pictures of the outback, stations and homesteads. The colony's foremost documentary photographer of the 1870s, in the early 1880s he was one of the first to use the new dry-plate process' ('Australian Dictionary of Biography').
Albumen paper photographs (each approximately 157 × 207 mm), in fine condition; the mount has a few trifling blemishes. The first photograph appears to be taken from the top of the (old) Treasury Building, looking south-west across the square at the imposing Supreme Court building, still extant. The second photograph is a panoramic view of the city skyline, centred on the towers of the Town Hall and the GPO; a tall chimney on the riverbank, pouring out black smoke, stands visually between them. Captain Samuel White Sweet (1825-1886), was a sea captain, surveyor and photographer: after he was censured when his ship ran aground in 1875, he 'retired from the sea, opened a photographic studio in Adelaide and concentrated on landscapes. With his horse-drawn dark room he travelled through South Australia taking hundreds of skilful pictures of the outback, stations and homesteads. The colony's foremost documentary photographer of the 1870s, in the early 1880s he was one of the first to use the new dry-plate process' ('Australian Dictionary of Biography').
George Taplin (1831-1879), missionary and teacher, began his work with the Ngarrindjeri in April 1859; the 'site he chose for a settlement on the shores of Lake Alexandrina was a traditional camping ground called Raukkan (The Ancient Way), known to Europeans as Point McLeay. Keenly interested in Ngarrindjeri culture and society, he learned their language, used it in preaching, and translated and published Bible tracts. He published invaluable anthropological studies which were much superior to contemporary work on South Australian Aboriginals. Despite his sympathy with the people and their traditions, Taplin adhered to the contemporary view that Christianity and Europeanization should be adopted and Ngarrindjeri civilization abandoned; as a result he assisted in undermining their government and social structure, further weakened traditional discipline and morale within the confederacy and provoked strong opposition from conservative tribal members. But they had been dispossessed and persecuted before his arrival, and by helping them become literate and numerate and to acquire trades he enabled them to survive and flourish briefly in European society. Today hundreds of their descendants remain in various districts of Australia; their durability can largely be attributed to Taplin. He was a compassionate Christian and a courageous fighter. Exhausted, he died of heart disease at Raukkan on 24 June 1879, survived by his wife and six children. He was buried in the village cemetery' ('Australian Dictionary of Biography'). The photograph (163 × 220 mm) shows the newly-installed headstone, which was 'Erected By The Aborigines'. It is on the original mount, captioned along the bottom margin 'S.W. Sweet, Photo., Flinders Street, Adelaide'. The acidic mount is discoloured, lightly stained and unevenly trimmed; the top right-hand corner is broken away, taking with it a small triangular piece of the photograph (approximately 10 × 45 mm of the sky); the sepia-toned print is a little speckled (confined mainly to the left and right margins), but overall it is a very arresting image. The only example recorded in Trove, in the State Library of SA, appears to be of better quality, but it is not for sale, and more importantly, the photographer is not identified. This significant fact may now be added to the record. Captain Samuel White Sweet (1825-1886), was a sea captain, surveyor and photographer: after he was censured when his ship ran aground in 1875, he 'retired from the sea, opened a photographic studio in Adelaide and concentrated on landscapes. With his horse-drawn dark room he travelled through South Australia taking hundreds of skilful pictures of the outback, stations and homesteads. The colony's foremost documentary photographer of the 1870s, in the early 1880s he was one of the first to use the new dry-plate process' ('Australian Dictionary of Biography').
Verlag: McGraw-Hill, New York, 1969
Anbieter: Antiquariat Silvanus - Inhaber Johannes Schaefer, Ahrbrück, Deutschland
Buch
cond Edition,. 380 S. mit zahlreichen Figuren, Sprache: Englisch Gewicht in Gramm: 700 Groß 8°, Bibliotheks-Exemplar (ordnungsgemäß entwidmet) mit Rückenschild, Stempel auf Titel, Einband in selbstklebende transparente Schutzfolie eingeschlagen, insgesamt gutes und innen sauberes Exemplar,
Anbieter: Douglas Stewart Fine Books, Armadale, VIC, Australien
Albumen print photograph, 160 x 223 mm, with 'Sweet, Adelaide' in manuscript in negative at bottom edge left of centre; laid down on its original mount of thickish card, captioned 'Arcade' in red ink below the image; the tones are a little dark (to be expected) but the image contains a wealth of detail such as store-fronts and signage, and shopkeepers and patrons, among whom, half way down the arcade on the left, is almost certainly the building's caretaker Francis Cluney in his distinctive top hat and smart white coat; the print is in fine condition, as is the mount. The Adelaide Arcade was opened on 12 December 1885, and this view is one of several that Sweet took around this time of the building's magnificent interior. The arcade had electric lighting - one of the first Adelaide buildings to do so.
Anbieter: Douglas Stewart Fine Books, Armadale, VIC, Australien
Albumen print photograph, 170 x 210 mm, mounted on a contemporary album page of thick card, inscribed in negative at lower left Sweet Adelaide 455, a very strong print in excellent condition with rich tonal range, small section of loss to surface of the paper at right edge. The National Library of Australia's copy of this, one of Captain Sweet's best known photographs of Aborigines, is captioned 'Blacks whurlie'. Although the NLA dates their copy to 1870, the photograph was in fact one of a highly successful series of portraits of Ngarrindjeri people Captain Sweet took in and around the Point McLeay mission late in 1880: Sweet's number scratched into the negative shows it is from the same sequence of photographs as the celebrated individual portraits of a man in a possum skin cloak and a woman in a possum skin cloak carrying her baby. (See the short essay by Philip Jones in A century in focus : South Australian photography 1840s-1940s, edited by Julie Robinson and Maria Zagala, Adelaide : Art Gallery of South Australia, 2007, p 116).
Verlag: Carey, Page & Co., Printers ('Published under the Author's own immediate Supervision'), Adelaide, 1885
Anbieter: Michael Treloar Booksellers ANZAAB/ILAB, Adelaide, SA, Australien
Erstausgabe
Hardcover. Zustand: Very Good. First Edition. Adelaide, Carey, Page & Co., Printers ('Published under the Author's own immediate Supervision'), 1885. Octavo, viii, 288, [24] (local advertisements) pages plus 17 lithographs (a frontispiece view after J.M. Skipper, 15 individual portrait illustrations, and one plate containing three portraits) and 2 mounted albumen paper portrait photographs. Mid-brown stippled cloth lettered and decorated in gilt on the spine; cloth a little marked and lightly worn at the corner tips; spine sunned; inner hinges cracked but firm; endpapers offset, with the leading half of the rear flyleaf neatly excised; name-stamp or signature on four early pages (with an old price in ink on the flyleaf and initial blank); a very good copy (internally excellent). The photographs are of Captain Samuel White Sweet (130 × 71 mm, presumably a self-portrait), and George Loyau (98 × 58 mm, credited in the negative to George & Walton: he is facing the camera, with his head turned a little to the left). This is another variant (see Holden 71) of an item usually found with the author's photograph only (and to further complicate matters, the latter occurs in at least three variant forms as well!). In our experience, this issue with the portrait of Samuel Sweet is most uncommon. Captain Samuel White Sweet (1825-1886, sea captain, surveyor and photographer) took command in January 1869 'of the two-masted schooner "Gulnare", which was later bought by the South Australian government for the Northern Territory survey expedition'. Between February 1869 and April 1872, he made five trips to the Northern Territory. 'In September [1870] in Darwin he photographed the official party at the ceremonial planting of the first pole of the overland telegraph; he also took pictures of the township, the men at work and forest scenery.' He spent the next three years as a master mariner based in Adelaide until 11 May 1875, when 'his ship the "Wallaroo", with his wife aboard, ran aground in a gale on Office Beach, Wallaroo. An inquiry attributed it to Sweet's error of judgment, and he was censured. He retired from the sea, opened a photographic studio in Adelaide and concentrated on landscapes. With his horse-drawn dark room he travelled through South Australia taking hundreds of skilful pictures of the outback, stations and homesteads. The colony's foremost documentary photographer of the 1870s, in the early 1880s he was one of the first to use the new dry-plate process' ('Australian Dictionary of Biography').
Verlag: Wiley & Sons, Incorporated, John, 2011
ISBN 10: 0470405481ISBN 13: 9780470405482
Anbieter: Better World Books, Mishawaka, IN, USA
Buch
Zustand: Very Good. Used book that is in excellent condition. May show signs of wear or have minor defects.
Verlag: San Francisco: Law, King & Law, 1884
Anbieter: Books From California, Simi Valley, CA, USA
Hardcover. Zustand: Very Good. Illustrated cloth cover shows minor wear, tear, rubbing, edgewear, and soiling. Decorative endpapers and marbled edges. Illustrated frontis portraits of the 5 primary authors. Pages are lightly tanned and mostly clean.