250:
730:; he being regarded as "one of the first photographers to use the camera creatively to move beyond recording to make evocative pictures...recognised nationally and internationally for his artistic contribution to the development of photography." Boddington notes a "true serenity and majesty of nature" in Lindt's landscapes but cautions that they "deteriorate eventually to sentimentality", and though by the 1930s numbers of Australian Pictorialists "glorified the gum-tree", they were "a lamentable descent from John William Lindt" though the decline was "indicated, hinted at, foreseen in his latest bush studies when he had so completely withdrawn to The Hermitage." His c.1890 maritime drama, a purposefully-worked albumen print showing a stricken vessel under breaking skies is a notable example from the zenith of his powers.
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412:"he was a man of great dignity, but he was simply a great MAN and wherever he happened to be he was as obvious as a mountain in a desert. He was a handsome giant with a barrel of a chest, a dark sandy beard, and a mass of strong hair. He had high principles and all the fine virtues of the mid-nineteenth century German; was shrewd in business and industrious; a lover of music, fluent in four languages, and possessing a quality of charm which brought him friends in high places. He loved congenial company, was impatient with bores, could also be over-forceful and dominating, and never far away was that touch of austerity which, in his later years, was to turn him into something of a recluse."
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343:), are not named and in other reproductions titles even incorrectly represent the subjects as being from 'Victoria' or elsewhere. The studio scenery and backdrops, while elaborate, are generic with little reference to the actual homelands of the people depicted. In recent times with the cooperation of the Grafton Regional Gallery, the subjects' identities are being traced by descendant Shauna Bostock-Smith, researcher Annika Korsgaard and others.
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330:"No. 6 is a group of natives comprising "King Charley", of Ulmarra, with his mother and gin; "King Charley" has the brass crescent plate round his neck which is used to denote his rank, and the war implements consisting of "boomerang," "nulla-nulla," "heliman," and "spear" are introduced together with a collection of "dilly-bags" and other appliances of domestic use."
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a prime example; his apprentice Herman Carl Krutli, who first visited within its third year remembered the 'rich crimson velvet pile carpet of the reception room' and posing for Lindt's first dry plate exposure in 1880. Lindt's business of this period was wide-ranging, and included portraits, records of
Melbourne public buildings and streetscapes, the
738:), in effect "staking his claim to the landscape and marking permanently the scene as his property and copyright," and thus photography becomes an instrument of visual colonisation, just as did cartography and surveying, translating "unknown territory into familiar scenes, opening up distant territory to imperial eyes"
565:
In the next year, he was honoured with appointment as a Fellow in the Royal
Geographical Society. In 1888 The Argus praised the quality of this work: "It has often been a matter of discussion how far, or whether at all photography may be considered a fine art. By the work of J. W. Lindt this question
391:
had printed "J. W. Lindt, Photographer, Prize
Medallist Philadelphia, Sydney, Brisbane, Paris, 7 Collins Street, Melbourne" on the back. At a time of great wealth in Melbourne lavishly appointed studios were a sign of the rising status of photography in Australia, as elsewhere, and Lindt's studio was
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However in the case of Lindt's New Guinea landscapes, Ryan shows that he used the presence of indigenous inhabitants for aesthetic appeal, adding or subtracting figures to make a picturesque effect in support of a colonialist ideology. Instead of etching his image title and name into the emulsion of
703:
Lindt's staged studio spectacles of indigenous people are now regarded as exemplifying a colonial attitude that the
Australian aborigine was an inferior, dying race whose inevitable vanishment was a romantic curiosity that warranted a photographic record. In the field, in New Guinea, his marketable
481:
Euryscope lenses on his Haake & Albers' studio cameras, and to produce enlargements. He quickly adopted the commercial dry plates which he ordered from
England soon after they became commercially available. An accomplished technician, he readily adapted and invented equipment to suit his needs.
310:
The report clearly sets out a cynical nostalgia for the traditional ways of these people which is made sentimental by noting their 'decreasing numbers' as their country was cleared by loggers, expressing a common attitude amongst the colonists that the indigenous populations were doomed. Several of
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Aged 81 Lindt died of heart failure during disastrous bushfires on 19 February 1926 at the
Hermitage. He was survived by his wife Catherine who continued to run 'The Hermitage' guest house before she retired to the city. In the early 1930s, Joan Anderson purchased the property, maintaining it as a
622:
so that in 1893 he was advertising 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 his 'Austral
Studios' at 117 Collins Street a series of city views, at a half-price cut from
545:
Lindt produced several hundred dry plate negatives of tribal life, and the resultant album was shown at the Indian and
Colonial Exhibition in London in 1886. During a visit to the optical institutions and manufacturers which he represented commercially, Lindt secured a publisher for fifty of these
416:
He was a welcome photographer of members of parliament and other
Melbourne personalities, their society and cultural life including the theatre, and was known as a 'rich man's photographer' for those whose families he grouped informally on the lawns in front of their mansions, with servants at the
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district, and in his studio. In the latter, the subjects, set in elaborate recreations of natural environment, clothed traditionally, and surrounded by implements, are the more compositionally controlled because Lindt was able to prepare and process his plates with the necessary complex chemistry
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There is no settled portion of our colony which affords a better field for the study of aboriginal bush life than that presented by our northern rivers, for there - although decreasing yearly in numbers as their territories become more settled upon by white population - the blacks preserve their
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After a brief return to
Germany in 1867 Lindt took over management of Wagner's studio in 1869. He married Wagner's daughter, Anna on 13 January 1872 and in March 1873 moved the studio into more luxurious premises in Prince Street. There, he advertised 'Portraits in any size and style of the Art,
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on 31 August 1881 from visiting Europe to source the latest photographic equipment, Lindt became sole Australian agent for numerous studio suppliers, including Enholtz's scenic backgrounds. Thus keeping abreast of developments in the medium, from about 1881 he was using the recently introduced
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Despite their constructed nature and depiction of what was then (incorrectly) perceived as a vanishing culture, Lindt's Aboriginal tableaux were so highly regarded as scientific records when they were made that they were purchased by the New South Wales government for presentation to 'various
2008:
Annear, Judy; Palmer, Daniel, (writer of supplementary textual content.); Aird, Michael, 1963-, (writer of supplementary textual content.); Lydon, Jane, 1965-, (writer of supplementary textual content.); Davidson, Kate, (writer of supplementary textual content.); Jolly, Martyn, (writer of
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where he was to publish his album of "12 views 6 inches by 8 inches, mounted upon tinted cardboard, 12 x 10 inches, the whole to be arranged in portfolio wrapping...which when bound up would form a suitable present for friends in England and other parts." The
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In the album as published, in its presentation in exhibitions in Philadelphia, Calcutta and Amsterdam and in subsequent mechanical reprinting in the 1880s the captions, and thus identities, were omitted, and the subjects' clans and languages
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customs and traditions, adhering more closely to true aboriginal life than tribes in other districts of New South Wales, and Mr Lindt can be complimented upon the artistic use he has made of the rugged subjects he has had at his disposal.
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reported that Lindt "continues to produce remarkable and most artistic pictures of the beauties of mountain landscape. He is not a believer in the blurred effects favoured by many ... instead he is a master of detail."
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Lydon, Jane; Gough, Julie; Braithwaite, Sari; Bostock-Smith, Shauna; Bamblett, Lawrence; Aird, Michael; Hughes, Karen Elizabeth; Trevorrow, Ellen; Oxenham, Donna; Baymarrwan̦a, Laurie; James, Bentley (14 April 2014),
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imagery of the 'mysterious shores of Papua and their savage inhabitants' were posed, by subjects bribed or coerced to do so, against suitably picturesque backgrounds chosen by Lindt, and thus are no more accurate as
32:
606:, first published as plates in the Transactions of the R.G.S, that were hailed as proof that the traditional ordeal did exist and was not a visual figment of group hysteria. Having made his island imagery into
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In 1889 Lindt moved his studio to 177 Collins Street and on 10 July 1889 he married his retoucher Catherine Elizabeth Cousens after the death, on 27 May 1888, of his first wife in giving birth to a stillborn.
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Lydon, Jane; Gough, Julie; Braithwaite, Sari; Bostock-Smith, Shauna; Bamblett, Lawrence; Aird, Michael; Hughes, Karen Elizabeth; Trevorrow, Ellen; Oxenham, Donna; Baymarrwan̦a, Laurie; James, Bentley (2014),
368:
356:
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Though he suffered from anti-German sentiment during and after WW1, and had to defend himself when a public meeting was called at the local shire council hall to demand that he be sent to a
646:. There, from the age of 50, and in semi-retirement, he wrote articles, conducted international correspondence, and continued his photography in a studio 30m x 8m, with a wall glazed in
249:
558:. By this means, the 1880s photographs by Lindt were the earliest from PNG to be seen by a wider audience, which enhanced his reputation as a photographer. Hasselberg and
297:
Contemporary commentary records the aboriginal studio portraits as "the first successful attempt at representing the native blacks truthfully as well as artistically." The
526:. As its official photographer, his first journey was up the Laloki River as far as the Rano Falls to the native villages at Sadara and Makara, then he made pictures of a
673:, Lindt continued to sell prints from his older glass negatives and from new photographs he took of his forest home, guests in his gardens, and genre scenes. In 1925 the
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girl carrying a pot on her shoulder. The 'natural' backdrop was, nevertheless, a device he continued even with his European subjects who were guests at 'The Hermitage'.
2033:
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Shades of light online : based on text from the original book: Shades of light: photography and Australia 1839-1988, Gael Newton, 1988 Australian National Gallery
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650:. In it he photographed guests, of whom he also made outdoor portraits in the bush setting, and projected lantern slides for their entertainment. He showed in the
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guest house until the 1950s after which the condition of the property deteriorated until in 1979 it was sold and restored, and reopened as a guest house in 1988.
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Though he had speculated in the 1880s land boom as a director of the Melbourne and Adelaide Real Estate Company, Lindt was adversely impacted by the subsequent
562:
note that Lindt's iconic images, such as the water-carrier, lakotoi sailing canoe and the tree houses, became exemplars imitated by photographers who followed.
237:
equal to Sydney Houses. Large instantaneous pictures of horses and cattle'. Between 1870 and 1873 he made township views, scenes of mining and group portraits.
270:. His prints were contact-printed from huge 20 x 16 inch (50.8 cm x 40.64 cm) wet plate negatives. Twelve of this series is included his 1874 album
494:
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his plates as was the convention, Lindt physically inserted a small wooden sign 'LINDT, MELBOURNE, COPYRIGHT' in white lettering, into the scene (see above;
627:
portfolio, of a touring Northern Australian Aboriginal performing troupe in an indoor studio setting in 1893, before in 1894 or 1895, he closed his studio.
726:
Lindt's landscapes, even his earliest made along the Orara River, a tributary of the Clarence, have continued to earn praise as fine examples of 'proto-'
661:
173:
642:, and featuring New Guinea tree houses from which he made frequent panoramas of his property and surrounding primeval forest of towering, 30-metre
2251:
459:. His panoramic image, made on 29 June, encompasses the Victorian government photographer A.W. Burman (son of William Insull Burman ), the artist
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wrapped in red trade cloth. Receiving news that his wife was ill, they returned, but Sir Peter Scratchley died of fever on the return journey.
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and, having survived the economic depression, in 1894 he built and moved to a guesthouse 'The Hermitage' with a garden designed by his friend
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2018:
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712:, and are loaded with romance and prejudice derived from his reading of British accounts and diaries of colonialists' adventures in Africa.
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process Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the
2497:
897:
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During the early 1880s Lindt contemplated exchanging his career from photographer to photographic supplier, after his return abroad the
469:, with casual bystanders. It is amongst his most famous images and has been hailed as the earliest press photograph taken in Australia.
2522:
2532:
352:
2470:, edited by Elizabeth Edwards, London: Yale University Press in association with The Royal Anthropological Institute, London. 1992.
1214:
2163:
Picturesque New Guinea : with an historical introduction and supplementary chapters on the manners and customs of the Papuans
848:
Picturesque New Guinea : with an historical introduction and supplementary chapters on the manners and customs of the Papuans
2517:
2512:
1440:
262:
2428:
De Lorenzo, Catherine & Deborah van der Platt, ‘More Than Meet the Eye: Photographic Record of Humboldtian Imaginings.’ in
879:
837:
Narrative of the expedition of the Australian Squadron to the south-east coast of New Guinea : October to December, 1884
393:
1141:, Lindt Research Group (sponsoring body.); Grafton Regional Gallery (N.S.W.) (host institution), Grafton Regional Gallery,
177:(1845–1926), was a German-born Australian landscape and ethnographic photographer, early photojournalist, and portraitist.
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888:
619:
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edited by Mick Gidley, Exeter: Exeter Studies in American and Commonwealth Arts, No.4 University of Exeter Press 1992.
2225:
2137:
edited by Mick Gidley, Exeter: Exeter Studies in American and Commonwealth Arts, No.4 University of Exeter Press 1992.
1919:
Cochrane, Susan; Cochrane, Susan; Quanchi, Max; Australian Association for the Advancement of Pacific Studies (2007),
1699:
623:"15 shillings a dozen to 8s. and 6d a dozen" for work that had "won thirty gold medals". He managed to produce a last
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He was commissioned by the Victorian Government to document, for a series of promotional lantern slide lectures, the
208:(Frost and Boddington, basing their accounts on Cato, incorrectly have him disembarking—even 'deserting'—his ship at
812:
Collections from British New Guinea exhibited by Her Majesty's Special Commissioner. : in charge of J.W. Lindt
591:
360:
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in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of
2203:
Colonial photography and exhibitions : representations of the "native" and the making of European identities
1389:
651:
447:
In June 1880 a Melbourne newspaper commissioned Lindt to document the capture of the notorious bush-rangers, the
384:
2310:
1765:
Hasselberg, Jan (2018). "The Visual Inheritance: Collections of Historical Photographs from Papua New Guinea".
397:
225:
205:
1870:
Royal Commonwealth Society; Queensland Art Gallery; International Cultural Corporation of Australia (1982),
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Centennial International Exhibition (1888-1889 : Melbourne, Vic.); Lindt, J. W. (John William) (1888),
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Lindt, J. W. (John William); Centennial International Exhibition (1888-1889 : Melbourne, Vic.) (1888),
465:
433:
scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892.
348:
253:
Studio portrait of an Aboriginal Australian (ca. 1870-1892) J. W. Lindt State Library Victoria H2001.60/7
1190:
Annear, Judy; Donohue, Robyn; Tunnicliffe, Wayne; Velez, Silvia; Art Gallery of New South Wales (1997),
639:
283:
2336:
2009:
supplementary textual content.); Batchen, Geoffrey, (writer of supplementary textual content.) (2015),
2466:
Poignant, Roslyn, "Surveying the Field of View: the Making of the R.A.I. Photographic Collection," in
1658:
1607:, Henningham, Nikki, (contributor.), The Miegunyah Press : The Miegunyah Press (published 2016),
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2502:
1508:
217:
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237. Vol. 37. No.4 edited by Dawne McCance, Manitoba: University of Manitoba, Winipeg, Canada. 2004.
715:
Quanchi criticises the voyeuristic intention of the cover image, widely reproduced and imitated, of
1921:
Hunting the collectors : Pacific collections in Australian museums, art galleries and archives
610:
he conducted numerous popular lectures which were credited with creating a boom in island tourism.
452:
442:
Body of Joe Byrne, member of the Kelly gang, hung up for photography, outside the Benalla lock-up.
1782:
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535:
523:
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A keen ethnographer of the nineteenth-century persuasion, in 1885 Lindt joined Major-General Sir
483:
457:
Body of Joe Byrne, member of the Kelly gang, hung up for photography, outside the Benalla lock-up
364:
1743:
Photographing Papua : representation, colonial encounters and imaging in the public domain
1465:
228:
in 1863 where he became assistant and apprentice to photographer Conrad Wagner (c.1818- 1910).
185:
Johannes Wilhelm Lindt (often referred to in the literature simply as J.W. Lindt, and his name
2463:-- The John William Lindt Collection Grafton: Grafton Regional Gallery, New South Wales, 2005.
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2014:
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1118:
979:
820:
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340:
294:, N.S.W. (1875) each meticulously printed, qualities he maintained in his imagery henceforth.
258:
2437:
The Dictionary of Australian Artists Painters, Sketchers, Photographers and Engravers to 1870
2425:, Sydney, The Miegunyah Press in association with the State Library of New South Wales, 2004.
2226:"John William LINDT, 'Im Bette des Urara Flusses' Grafton Regional Gallery Collection Online"
1356:
Konishi, Shino (2015), Konishi, Shino; Nugent, Maria; Shellam, Tiffany Sophie Bryden (eds.),
482:
From 1884 operated a second studio installed behind his newly acquired estate; 'Ethelred' in
1774:
1483:
1030:
Jennie Boddington (1975) J. W. Lindt, photographer (1845–1926) Art Bulletin of Victoria, #16
865:
1893, March; Views of Melbourne and other cities, Austral Studio, 119 Collins St., Melbourne
635:
515:
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scientific institutions in the old country'. Several were sent in 1875 to Italian Darwinist
193:, Germany, son of Peter Joseph Lindt, a customs officer, and his wife Justine, née Rambach.
1944:
1686:
Ethelred, Hawthorn Collection (Mrs. Lindt and daughter in front garden, Ethelred, Hawthorn)
2386:
2084:
1894:
388:
221:
1803:
Photographing Papua: Representation, Colonial Encounters and Imaging in the Public Domain
510:
The haunt of the alligator, Laloki River (1885) J. W. Lindt State Library Victoria H42424
1215:"The Clarence Valley Photographs by John William Lindt :: Grafton Regional Gallery"
1161:
Giblett, Rodney James; Tolonen, Juha Pentti (2012), Giblett, Rod; Tolonen, Juha (eds.),
311:
the individuals in Lindt's group portraits were identified in an article in the Grafton
709:
655:
579:
478:
2252:"Damaged Two-Masted Sailing Vessel by J W. Lindt, Australian on Josef Lebovic Gallery"
1971:
1018:, National Centre of Biography, Australian National University, Volume 5, (MUP), 1974
2491:
1786:
607:
539:
460:
301:, of 24 November 1874 expanded on what made the photographs attractive to Europeans;
186:
2109:
1722:
2473:
Quartermaine, Peter, ‘Johannes Lindt: Photographer of Australia and New Guinea’ in
2133:
Quartermaine, Peter, ‘Johannes Lindt: Photographer of Australia and New Guinea’ in
727:
647:
595:
583:
531:
336:
317:
213:
2460:, Vol. 23, No.2, edited by Michael D. Galimany, London: Taylor & Francis 1999.
1778:
1081:
665:
J. W. Lindt (Hermitage, Narbethong) ca. 1890-1910 State Library Victoria H94.170/1
1334:
Paper nation : the story of the Picturesque atlas of Australasia 1886 - 1888
1390:"Photographs of Aboriginals and of Aboriginal subjects - price guide and values"
720:
705:
675:
624:
603:
559:
201:
2278:
Picturing empire : photography and the visualization of the British Empire
751:
British New Guinea : ethnographical collection and samples of raw products
417:
rails of the upstairs balconies. He continued with landscape, producing folios
670:
631:
430:
1821:
2446:. Melbourne: Currey O’Neil Ross & the Library Council of Victoria, 1985.
1441:"Mystery of the historic Lindt photographs solved by family of main subject"
448:
436:
401:
380:
197:
190:
62:
1727:. University of California Libraries. London : Longmans, Green and Co.
2453:, Canberra: Collins Australia & the Australian National Gallery, 1988.
1801:
956:
1893: councillor of the Victorian branch of the Royal Geographical Society
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As early as 1883 he had been exhibiting pictures of the Blacks' Spur (now
518:, superintendent of coastal defences, in an expedition from Sydney on the
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1836:
1684:
1641:
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1358:
Indigenous intermediaries : new perspectives on exploration archives
846:
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792:
781:
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209:
1961:
The Age (Melbourne, Victoria, Australia) · Tue, 21 August 1888 · Page 14
1052:
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Companion guide to Healesville, Blacks' Spur, Narbethong and Marysville
587:
527:
455:, Victoria. Arriving after the event, Lindt produced a wet plate image
371:, was acquired by Von Hégel on his 1874-77 visit to the South Pacific.
315:
covering the occasion of his departure to Sydney on the paddle steamer
2418:, edited by Judy Annear. Sydney: Art Gallery of New South Wales. 1997.
286:. The albums include fastidiously composed and exposed images such as
2337:"An unorthodox flow of images / Centre for Contemporary Photography"
1586:
Newton, Gael. Shades of light; Australian National Gallery (2009),
696:
J.W. Lindt (1885) 'Motu Water Carrier, Port Moresby,' Plate I from
654:'s Albert Street Art Gallery in 1909. In 1913 he collaborated with
282:(1875) commissioned by the New South Wales Government for the 1876
274:. Also during his Grafton years, from 1869 to 1876, Lindt produced
976:
Australia, willkommen : a history of the Germans in Australia
691:
660:
505:
493:
435:
248:
2456:
Orchard, Ken, ‘J. W. Lindt’s Australian Aboriginals (1873-74) in
1895:"Walking over the red hot stones | J. W. LINDT | NGV | View Work"
241:
features as a theme amongst his images of teams of bush workers.
2439:, edited by Joan Kerr, Melbourne: Oxford University Press. 1992.
938:
April 1876: silver medal from the New South Wales Academy of Art
599:
1872:
Commonwealth in focus : 130 years of photographic history
953:
1888 Melbourne International Exhibition: official photographer
719:, which shows an adolescent, bare-breasted, partially clothed
1439:
Farrow-Smith, Elloise; Marciniak, Catherine (17 April 2015).
1139:
Photographs are never still : the J. W. Lindt collection
594:(R.G.S.) supported Lindt's further expeditions, first to the
1643:
The Mechanical Eye in Australia : photography 1841-1900
1269:'Books, Stationery and Music, Australian Aboriginal Album,'
885:
Australien im Auge der Kamera: Charles Kerry, John W. Lindt
1484:"5 - 9 Collins Street Melbourne, Statement of significance"
950:
Medals in exhibitions in Amsterdam, Calcutta and Frankfurt.
598:
in 1890 where in June he climbed the Tanna volcano, and to
367:
in Oxford, all retain copies, and one set, now held in the
1605:
Shooting the picture : press photography in Australia
566:
is decided in a way that is a triumph for his profession.
941:
International photographic exhibition at Frankfurt: judge
554:
process, took full commercial advantage of the advent of
400:. Tall and prepossessing, Lindt is remembered in 1955 by
1626:"Later English and Cape News: Adelaide 31st August", in
486:, in order to accommodate the high demand for his work.
369:
Cambridge University Museum of Archaeology and Ethnology
326:
article gives descriptions of each image, for example;
2475:
Representing Others: White Views of lndigenous People
2435:
Johanson, Graeme & Shar Jones, ‘J. W. Lindt,’ in
2135:
Representing Others: White Views of lndigenous People
2085:"No title (Bushfire) | J. W. LINDT | NGV | View Work"
1972:"Austral Buildings 115-119 Collins Street, MELBOURNE"
780:
Lindt, J. W. (John William); Caire, Nicholas (1904),
2451:
Shades of Light: Photography and Australia 1839-1988
502:
Plate XXXIV - Village Scene at Moapa, Aroma District
2482:
Picturing Australia : A History of Photography
2299:
The Sydney Morning Herald, Tuesday 29 Aug 1876, p.2
2148:
Picturing Australia : A History of Photography
1835:Royal Geographical Society (Great Britain) (1898),
1564:
Each wild idea : writing, photography, history
538:, at night processing his plates by the light of a
351:. The current identities of such institutions, the
159:
111:
103:
95:
87:
79:
69:
56:
46:
23:
1640:Davies, Alan; Stanbury, Peter; Tanre, Con (1985),
1014:Valerie Frost, 'Lindt, John William (1845–1926)',
423:Scenery on the Ovens and Buckland Rivers, Victoria
1535:Marie McLardy, ‘Our oldest living photographer’,
1417:Calling the shots : aboriginal photographies
1310:Calling the shots : aboriginal photographies
1111:Ken Orchard, Lindt, John William (1845-1926), in
978:, New South Wales University Press, p. 138,
947:Fellow of the Royal Geographical Society, London.
2423:An Eye for Photography: The Camera in Australia
862:1876, August; 'Queensland Exhibition', Brisbane
410:
328:
303:
257:Over c.1873-1874, using the slow and laborious
1115:Encyclopedia of nineteenth-century photography
944:Photographic Association of Vienna: gold medal
1509:"J. W. Lindt, photographer (1845–1926) | NGV"
1419:, Aboriginal Studies Press (published 2014),
8:
2032:: CS1 maint: multiple names: authors list (
1294:Sydney Morning Herald, 24 November 1874, p.5
896:, Melbourne Festival, 29 Sep – 12 Nov 2017,
189:in Australia as 'John William') was born at
2414:Croft. Brenda. ‘Laying ghosts to rest’, in
1603:Anderson, Fay; Young, Sally (August 2016),
825:: CS1 maint: numeric names: authors list (
771:: CS1 maint: numeric names: authors list (
2036:) CS1 maint: numeric names: authors list (
1663:Item held by National Gallery of Australia
1566:, MIT Press (published 2001), p. 35,
925:Clarence River Historical Society, Grafton
791:Lindt, J. W. (John William); V. V (1883),
658:to produce a tourist booklet on the area.
31:
20:
1860:The Age, Saturday, 30 November 1889, p.10
419:Fernshaw and Watt River Scenery, Victoria
1312:, Aboriginal Studies Press, p. 79,
913:State Library of New South Wales, Sydney
736:The Haunt of the Alligator, Laloki River
427:Lorne, Louttit Bay and Cape Otway Ranges
974:Tampke, Jürgen; Doxford, Colin (1989),
966:
922:National Gallery of Victoria, Melbourne
919:National Library of Australia, Canberra
916:National Gallery of Australia, Canberra
550:(London, 1887) which, printed in a new
131: 1872; died 1888)
2484:. Sydney: Angus & Robertson. 1988.
2468:Anthropology and Photography 1860-1900
2025:
1994:
1992:
1302:
1300:
1194:, The Art Gallery of New South Wales,
818:
764:
2543:19th-century Australian photographers
2150:. Sydney: Angus & Robertson. 1988
1736:
1734:
1646:, Oxford University Press, p. 78
1531:
1529:
1241:
1239:
1237:
1235:
602:in 1891 during which he documented a
582:' pioneering irrigation works on the
404:in this colourful description in his
7:
2230:collection.graftongallery.nsw.gov.au
2160:Lindt, J. W. (John William) (1887),
1721:Lindt, J. W. (John William) (1887).
1219:collection.graftongallery.nsw.gov.au
1185:
1183:
1181:
1107:
1105:
1103:
1101:
1099:
1097:
1095:
1075:
1073:
1071:
1054:The story of the camera in Australia
1046:
1044:
1042:
1040:
1038:
1036:
1026:
1024:
1010:
1008:
1006:
1004:
1002:
1000:
998:
996:
994:
910:State Library of Victoria, Melbourne
845:Lindt, J. W. (John William) (1887),
834:Lindt, J. W. (John William) (1885),
406:The Story of the Camera in Australia
387:opposite the Treasury, in 1877. His
2181:, Reaktion Books (published 2013),
1283:Australian Town and Country Journal
898:Centre for Contemporary Photography
794:A few results of modern photography
534:harbour, before venturing into the
288:The Artist's Camp (Near Wintervale)
196:At 17 he took a working passage to
181:Early life and arrival in Australia
2013:, Art Gallery of New South Wales,
1998:The Age, Thursday, 2 Mar 1893, p.2
1539:, 54, September 1947, pp. 484–489.
1137:Gahan, Kate; Orchard, Ken (2017),
1016:Australian Dictionary of Biography
524:Protectorate of British New Guinea
284:Philadelphia Centennial Exhibition
212:). Taking up work as an itinerant
14:
2055:, National Library of Australia,
1745:, Cambridge Scholars Publishing,
797:, Printed by Welch & Whitelaw
280:Characteristic Australian Scenery
2444:J. W. Lindt: Master Photographer
2366:State Library of New South Wales
2362:"Collection search: J.W. Lindt"
2311:"Australien im Auge der Kamera"
2280:, University of Chicago Press,
1659:"Ethelred, Hawthorn Collection"
1470:Design and Art Australia online
1086:Design and Art Australia online
1082:"Biography: John William Lindt"
1080:Johanson, Graeme; Jones, Shar.
815:, Warwick and Sapsford Printers
463:sketching Byrne's body for the
357:Royal Anthropological Institute
216:, he traveled amongst towns in
149:
128:
2387:"Lindt | Search Results | NGV"
2309:Berlin, Staatliche Museen zu.
2205:, Leicester University Press,
2177:Ryan, James R (15 July 2013),
1945:"Land Boom in 1880s Melbourne"
1767:The Journal of Pacific History
1379:Grafton Argus 16 November 1874
1336:, Melbourne University Press,
880:Art Gallery of New South Wales
878:: 27 August-26 October 1997,
592:The Royal Geographical Society
204:sailing ship which he left at
16:German-Australian photographer
1:
2528:German emigrants to Australia
1779:10.1080/00223344.2018.1471781
889:Ethnological Museum of Berlin
2114:Heritage Council of Victoria
2011:The photograph and Australia
1630:Thursday, 1 Sep 1881, Page 3
1332:Hughes-d'Aeth, Tony (2001),
1273:, Thursday, 31 Dec 1874, p.8
894:An unorthodox flow of images
840:, T. Richards, Govt. Printer
50:
2498:Australian photojournalists
2179:Photography and exploration
1488:Victorian Heritage Database
138:Catherine Elizabeth Cousens
2559:
1851:The Argus 27 November 1888
1562:Batchen, Geoffrey (2002),
361:Royal Commonwealth Society
2523:Documentary photographers
1976:Heritage Council Victoria
1550:Australasian Photo-Review
1360:, ANU Press, p. 58,
1271:The Sydney Morning Herald
1248:Photography and Australia
1163:Photography and landscape
870:Retrospective exhibitions
652:Victorian Artists Society
30:
2533:Australian ethnographers
2074:The Argus, 19 March 1925
2051:McDonald, Roger (2009),
1702:. State Library Victoria
928:Grafton Regional Gallery
708:records than his studio
590:in north-west Victoria.
522:to the newly proclaimed
37:J. W. Lindt, FRGS, from
2518:German photojournalists
2513:Landscape photographers
2053:Australia's wild places
1592:, Photo-web, p. 44
1537:Australian Photo-Review
887:, 29 Oct – 5 Dec 2004,
688:Contemporary evaluation
466:Illustrated Sydney News
39:Picturesque New Guinea,
2458:History of Photography
2276:Ryan, James R (1997),
2201:Maxwell, Anne (1999),
1943:Gillespie, R. (2008).
1923:, Cambridge Scholars,
1724:Picturesque New Guinea
1466:"Batchelder biography"
1113:Hannavy, John (2008),
933:Awards and recognition
717:Picturesque New Guinea
700:
698:Picturesque New Guinea
666:
548:Picturesque New Guinea
511:
503:
500:Picturesque New Guinea
444:
429:(1883). Sales of his
414:
332:
308:
272:Australian Aboriginals
254:
51:Johannes Wilhelm Lindt
2256:Josef Lebovic Gallery
1800:Quanchi, Max (2009).
1741:Quanchi, Max (2007),
1285:5 December 1874, p.21
1246:Ennis, Helen (2007),
695:
664:
640:Ferdinand von Mueller
604:fire-walking ceremony
570:Collins Street studio
509:
497:
439:
299:Sydney Morning Herald
266:close at hand in his
252:
2538:German ethnographers
2480:Willis, Anne-Marie.
2416:Portraits of Oceania
2146:Willis, Anne-Marie.
1838:Year-book and record
1683:LINDT, J. W (1884),
1192:Portraits of Oceania
876:Portraits of Oceania
363:(in London) and the
75:Black Spur, Victoria
1874:, The Corporation,
1700:"No 76 Spring 2005"
1548:‘The great Lindt’,
1051:Cato, Jack (1955),
278:(c.1873-1874); and
259:wet-plate collodion
245:Indigenous subjects
224:before settling in
2391:www.ngv.vic.gov.au
2089:www.ngv.vic.gov.au
1899:www.ngv.vic.gov.au
1513:www.ngv.vic.gov.au
1472:. 19 October 2011.
1394:www.carters.com.au
1250:, Reaktion Books,
701:
671:concentration camp
667:
556:half-tone printing
536:Owen Stanley Range
512:
504:
498:J.W. Lindt (1885)
445:
440:J.W. Lindt (1880)
365:Pitt Rivers Museum
255:
170:John William Lindt
25:John William Lindt
2287:978-0-226-73233-6
2212:978-0-7185-0169-3
2188:978-1-78023-100-6
2166:, Longmans, Green
2062:978-0-642-27671-1
2020:978-1-74174-116-2
1930:978-1-84718-084-1
1881:978-0-9594122-5-3
1813:978-1-4438-0674-9
1752:978-1-84718-288-3
1614:978-0-522-86856-2
1573:978-0-262-52324-0
1426:978-1-922059-59-8
1367:978-1-925022-76-6
1343:978-0-522-84949-3
1319:978-1-922059-59-8
1257:978-1-86189-323-9
1201:978-0-7313-1003-6
1172:978-1-84150-472-8
1148:978-0-9874245-9-4
1124:978-0-415-97235-2
985:978-0-86840-307-6
851:, Longmans, Green
520:Governor Blackall
394:Botanical Gardens
353:Museum of Mankind
191:Frankfurt-am-Main
167:
166:
96:Years active
63:Frankfurt-am-Main
2550:
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2250:Lebovic, Josef.
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2005:
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1949:Museums Victoria
1940:
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1552:, July, Aug 1952
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787:
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762:
761:
759:
636:Dandenong Ranges
620:1890s depression
580:Chaffey brothers
516:Peter Scratchley
425:(c.1878–82) and
389:cartes-de-visite
292:Tower Hill Creek
276:Australian Types
176:
153:
151:
132:
130:
35:
21:
2558:
2557:
2553:
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2548:
2547:
2488:
2487:
2449:Newton, Gael,
2411:
2409:Further reading
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2171:
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2128:
2118:
2116:
2110:"The Hermitage"
2108:
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747:
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690:
616:
572:
492:
379:Lindt moved to
377:
349:Enrico Giglioli
247:
234:
222:New South Wales
183:
172:
155:
152: 1889)
147:
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2433:
2426:
2421:Davies, Alan.
2419:
2410:
2407:
2404:
2403:
2378:
2353:
2328:
2315:www.smb.museum
2301:
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2019:
2000:
1988:
1963:
1954:
1935:
1929:
1911:
1886:
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1827:
1812:
1792:
1773:(3): 287–309.
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831:
806:
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777:
743:
740:
689:
686:
656:Nicholas Caire
615:
612:
608:lantern slides
571:
568:
540:hurricane lamp
491:
488:
421:( c.1878-82),
398:Port Melbourne
385:Collins Street
376:
373:
263:Clarence River
246:
243:
233:
230:
206:Port Melbourne
182:
179:
165:
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161:
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145:
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105:
104:Notable awards
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58:
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4:
3:
2:
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2479:
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2465:
2462:
2459:
2455:
2452:
2448:
2445:
2442:Jones, Shar,
2441:
2438:
2434:
2431:
2427:
2424:
2420:
2417:
2413:
2412:
2408:
2392:
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2204:
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2170:
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2164:
2156:
2153:
2149:
2143:
2140:
2136:
2130:
2127:
2115:
2111:
2105:
2102:
2090:
2086:
2080:
2077:
2071:
2068:
2064:
2058:
2054:
2047:
2044:
2039:
2035:
2029:
2022:
2016:
2012:
2004:
2001:
1995:
1993:
1989:
1977:
1973:
1967:
1964:
1958:
1955:
1950:
1946:
1939:
1936:
1932:
1926:
1922:
1915:
1912:
1900:
1896:
1890:
1887:
1883:
1877:
1873:
1866:
1863:
1857:
1854:
1848:
1845:
1841:, The Society
1840:
1839:
1831:
1828:
1823:
1819:
1815:
1809:
1805:
1804:
1796:
1793:
1788:
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1737:
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1725:
1717:
1714:
1701:
1695:
1692:
1688:
1687:
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1676:
1664:
1660:
1657:Lindt, J. W.
1653:
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1210:
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1203:
1197:
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1178:
1174:
1168:
1165:, Intellect,
1164:
1157:
1154:
1150:
1144:
1140:
1133:
1130:
1126:
1120:
1117:, Routledge,
1116:
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900:, Melbourne
857:Exhibitions
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479:Voigtländer
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214:piano-tuner
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2341:ccp.org.au
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