This video was made for Fiona Hooton to project on the walls of Verity Lane Canberra, as part of Localjinni’s AlleyHart video walk for Contour 556 2020, Canberra’s public art biennial, and the Design Canberra 2020 festival. The song was arranged and sung by Jacqui Bradley and Krista Schmeling. In a video studio they stood either side of the screen as I projected the original slides through a pair of magic lanterns, using the bat wing dissolver to dissolve between the slides, and a piece of black cardboard with a hole in it to ‘iris’ in on details. The video was shot and assembled by Amr Tawfik and then projected from a mini projector. The life-model magic lantern slides were made by Bamforth & Co after 1897. The song was written in 1877 by George W. Persley and Arthur W. French.
Figure 21. Detail from Centennial Photographic Company, Philadelphia International Exhibition, ‘Queensland Court, Philadelphia ’76, Evening Before Opening’, 1876.
Richard Daintree is well known as an Australian colonial photographer and geologist. I look at six international exhibitions he created from 1872 to 1879 that promoted the colony of Queensland by systematically integrating spectacular grids of painted photographs with displays of scientific samples. By analysing installation views, I argue that the popular success of these exhibitions came from the use of various new photographic technologies within the space of the exhibition, where the frontier directly interacted with the metropole. Further, I argue that Daintree’s personal passion for the science of geology profoundly structured the colonialist narrative of his exhibitions, which combined the latest apparatuses of scientific knowledge and imperial communication, revealing him to be an innovative and internationally significant creator of synthesised exhibitionary experiences.
The exhibition ‘Martyn Jolly’s Phantasmagoria of Magic Lanterns’ at the Canberra Museum and Gallery, 2020, was curated by Virginia Rigney, designed by Greer Versteeg, and installed by Gary Smith.
We displayed 560 slides in a large light box. Grids of 85x85mm square holes, each and 13mm apart, were laser cut into sheets of 4.5mm black acrylic. These were laid on 3mm clear backing acrylic, loaded with slides arranged in groups and sequences, and topped with a cover sheet of clear 2mm acrylic. The sandwiches were then taped around the edges and vertically held by a wooden frame against the inside doors of four bays a large display case. The front of the doors were covered with self-adhesive black vinyl except for the blocks of slides. The slides were lit from the front by ambient LED light, which allowed visitors to see the labels, and they were backlit through UV filtering film by fluorescent light bounced off the back wall of the case.
Interpretative handouts nearby were keyed with thumbnail images to allow visitors to find information and commentary about individual slides and slide sets within the overall grid.
As well as square glass slides, wooden mechanical slides were also displayed on glass shelves. These were lit from the front with LED lights, while the transparent painted glass images were lit from behind with electroluminescent panels trimmed down to size from 100mm x 100m sheets. The colour of each EL panel was corrected with an 81a photographic filter, and UV filtered with film. Each sandwich of EL panel, filter and UV film was lightly attached to the rear of the slide with conservation tape and individually wired into a low voltage circuit.
These displays were augmented with:
- Conventional displays of magic lanterns.
- A circular digital projection on a facing wall introduced visitors to the exhibition, transitioning between text and images.
- Four video screens showed performance documentation and demonstrating the mechanical slides, chromatropes and panoramic slides.
- Enlargements of an Australian lantern slide and a Primus slide box.
Interpretive text was included in the digital projection:
For more information search Heritage in the Limelight
Portrait of Hemi Pomara as a young man: how we uncovered the oldest surviving photograph of a Māori
It is little wonder the life of Hemi Pomara has attracted the attention of writers and film makers. Kidnapped in the early 1840s, passed from person to person, displayed in London and ultimately abandoned, it is a story of indigenous survival and resilience for our times.
Hemi has already been the basis for the character James Pōneke in New Zealand author Tina Makereti’s 2018 novel The Imaginary Lives of James Pōneke. And last week, celebrated New Zealand director Taika Waititi announced his production company Piki Films is adapting the book for the big screen – one of three forthcoming projects about colonisation with “indigenous voices at the centre”.
Until now, though, we have only been able to see Hemi’s young face in an embellished watercolour portrait made by the impresario artist George French Angas, or in a stiff woodcut reproduced in the Illustrated London News.
Drawing on the research for our forthcoming book, Empire, Early Photography and Spectacle: the global career of showman daguerreotypist J.W. Newland (Routledge, November 2020), we can now add the discovery of a previously unknown photograph of Hemi Pomara posing in London in 1846.
This remarkable daguerreotype shows a wistful young man, far from home, wearing the traditional korowai (cloak) of his chiefly rank. It was almost certainly made by Antoine Claudet, one of the most important figures in the history of early photography.
All the evidence now suggests the image is not only the oldest surviving photograph of Hemi, but also most probably the oldest surviving photographic portrait of any Māori person. Until now, a portrait of Caroline and Sarah Barrett taken around 1853 was thought to be the oldest such image.
For decades this unique image has sat unattributed in the National Library of Australia. It is now time to connect it with the other portraits of Hemi, his biography and the wider conversation about indigenous lives during the imperial age.
A boy abroad
Hemi Pomara led an extraordinary life. Born around 1830, he was the grandson of the chief Pomara from the remote Chatham Islands off the east coast of New Zealand. After his family was murdered during his childhood by an invading Māori group, Hemi was seized by a British trader who brought him to Sydney in the early 1840s and placed him in an English boarding school.
The British itinerant artist, George French Angas had travelled through New Zealand for three months in 1844, completing sketches and watercolours and plundering cultural artefacts. His next stop was Sydney where he encountered Hemi and took “guardianship” of him while giving illustrated lectures across New South Wales and South Australia.
Angas painted Hemi for the expanded version of this lecture series, Illustrations of the Natives and Scenery of Australia and New Zealand together with 300 portraits from life of the principal Chiefs, with their Families.
In this full-length depiction, the young man appears doe-eyed and cheerful. Hemi’s juvenile form is almost entirely shrouded in a white, elaborately trimmed korowai befitting his chiefly ancestry.
The collar of a white shirt, the cuffs of white pants and neat black shoes peak out from the otherwise enveloping garment. Hemi is portrayed as an idealised colonial subject, civilised yet innocent, regal yet complacent.
Angas travelled back to London in early 1846, taking with him his collection of artworks, plundered artefacts – and Hemi Pomara.
Hemi appeared at the British and Foreign Institution, followed by a private audience with Queen Victoria and Prince Albert. From April 1846, he was put on display in his chiefly attire as a living tableau in front of Angas’s watercolours and alongside ethnographic material at the Egyptian Hall, London.
The Egyptian Hall “exhibition” was applauded by the London Spectator as the “most interesting” of the season, and Hemi’s portrait was engraved for the Illustrated London News. Here the slightly older-looking Hemi appears with darkly shaded skin and stands stiffly with a ceremonial staff, a large ornamental tiki around his neck and an upright, feathered headdress.
A photographic pioneer
Hemi was also presented at a Royal Society meeting which, as The Times recorded on April 6, was attended by scores of people including Charles Dickens, Charles Darwin, and the pioneering London-based French daguerreotypist Antoine Claudet.
It was around this time Claudet probably made the quarter-plate daguerreotype, expertly tinted with colour, of Hemi Pomara in costume.
The daguerreotype was purchased in the 1960s by the pioneering Australian photo historian and advocate for the National Library of Australia’s photography collections, Eric Keast Burke. Although digitised, it has only been partially catalogued and has evaded attribution until now.
Unusually for photographic portraits of this period, Hemi is shown standing full-length, allowing him to model all the features of his korowai. He poses amidst the accoutrements of a metropolitan portrait studio. However, the horizontal line running across the middle of the portrait suggests the daguerreotype was taken against a panelled wall rather than a studio backdrop, possibly at the Royal Society meeting.
Hemi has grown since Angas’s watercolour but the trim at the hem of the korowai is recognisable as the same garment worn in the earlier painting. Its speckled underside also reveals it as the one in the Illustrated London News engraving.
Hemi wears a kuru pounamu (greenstone ear pendant) of considerable value and again indicative of his chiefly status. He holds a patu onewa (short-handled weapon) close to his body and a feathered headdress fans out from underneath his hair.
We closely examined the delicate image, the polished silver plate on which it was photographically formed, and the leatherette case in which it was placed. The daguerreotype has been expertly colour-tinted to accentuate the embroidered edge of the korowai, in the same deep crimson shade it was coloured in Angas’s watercolour.
The remainder of the korowai is subtly coloured with a tan tint. Hemi’s face and hands have a modest amount of skin tone colour applied. Very few practitioners outside Claudet’s studio would have tinted daguerreotypes to this level of realism during photography’s first decade.
Hallmarks stamped into the back of the plate show it was manufactured in England in the mid-1840s. The type of case and mat indicates it was unlikely to have been made by any other photographer in London at the time.
Survival and resilience
After his brief period as a London “celebrity” Hemi went to sea on the Caleb Angas. He was shipwrecked at Barbados, and on his return aboard the Eliza assaulted by the first mate, who was tried when the ship returned to London. Hemi was transferred into the “care” of Lieutenant Governor Edward John Eyre who chaperoned him back to New Zealand by early December 1846.
Hemi’s story is harder to trace through the historical record after his return to Auckland in early 1847. It’s possible he returned to London as an older married man with his wife and child, and sat for a later carte de visite portrait. But the fact remains, by the age of eighteen he had already been the subject of a suite of colonial portraits made across media and continents.
With the recent urgent debates about how we remember our colonial past, and moves to reclaim indigenous histories, stories such as Hemi Pomara’s are enormously important. They make it clear that even at the height of colonial fetishisation, survival and cultural expression were possible and are still powerfully decipherable today.
For biographers, lives such as Hemi’s can only be excavated by deep and wide-ranging archival research. But much of Hemi’s story still evades official colonial records. As Taika Waititi’s film project suggests, the next layer of interpretation must be driven by indigenous voices.
The authors would like to acknowledge the late Roger Blackley (Victoria University, Wellington), Chanel Clarke (Curator of the Maori collections, Auckland War Memorial Museum), Nat Williams (former Treasures Curator, National Library of Australia), Dr Philip Jones (Senior Curator, South Australian Museum) and Professor Geoffrey Batchen (Professorial chair of History of Art, University of Oxford) for their invaluable help with their research.
Elisa deCourcy, Australian Research Council DECRA Fellow 2020-2023, Research School of Humanities and the Arts, Australian National University, Australian National University and Martyn Jolly, Honorary Associate Professor, School of Art and Design, Research School of Humanities and the Arts, College of Arts and Social Sciences, Australian National University
As Percy Shelley knew when he wrote Ozymandias, the iconic is defined by the iconoclastic. In its brazen or marmoreal defiance of mortality every civic statue to this or that ‘King of Kings’ already has encoded into it its own death as a negative potentiality waiting to be fulfilled. Those who made history through destruction are already constructing the process which will make them in their turn colossal wrecks. As Shelley knew too, passion and mockery are perpetual. I vote that Edward Colston gets winched out back on to the Bristol dock. But every year he gets dunked again, in a new exuberant ritual as regular as the seasonal tides and annual currents of ocean voyages.
20,000 Leagues Under the Sea, 1916.
My review of Ann Elias’s excellent Coral Empire: Underwater Oceans, Colonial Tropics, Visual Modernity is in the Journal of Australian Historical Studies, volume 51, issue 1, 2020.
Waratah Lahy is painting up a storm; Alec Hunter and Charles Martin are composing up a storm; Jenny Gall and our special guest vocalists are limbering up; and Elisa deCourcy and myself are working on new ways of dissolving even weirder slides, some of which would be getting on to 150 years old.
Buy your tickets now!
Or google ‘ACT Historic Places Suburban Apparitions’
Remember! there’s a free drink included in the price.
For lovers of: suburbia, skies piled high with reddening clouds, monsters under the bed, cracker night, that sound you got when you changed stations on the AM dial, insect wings buzzing on a hot summer’s day, going to the pictures without your mum and dad, old songs (really old songs!), dreams…
‘The Tri-Unial lantern illuminated with the Oxy-Hydrogen Light, in the Hall of the Balmain School of Arts’, frontispiece, Catalogue of Optical Lanterns and Transparent Views, with the newest forms of Bi-unial and Tri-unial Dissolving View Apparatus (Sydney: William MacDonnell, 1882).
Our book The Magic Lantern at Work: Witnessing, Persuading, Experiencing and Connecting has been published, we’ll be organising a launch at some stage. In the meantime let your librarians know.
The Magic Lantern at Work: Witnessing, Persuading, Experiencing and Connecting
1. The Magic Lantern at Work: Witnessing, Persuading, Experiencing and Connecting
2. The Magic Lantern as a Creative Tool for Understanding the Materiality and Mathematics of Image-Making
3. Spirits in the Fairgrounds: Métempsycose and Its After-Images
Evelien Jonckheere and Kurt Vanhoutte
4. ‘We Fighters on the Outposts’: Suffragists and Lantern Slides, 1889-1913
5. Magical Attractions: Lantern Slide Lectures at British Association for the Advancement of Science Annual Meetings, c. 1850-1920
6. The Missionaries’ Servant: Babel, Funding and the Bible Society in Australia
7. The Endless Universe and Eternal Life: Clement L. Wragge’s Magic Lantern Lectures
8. Flights of Fancy: The Production, Reception and Implications of Lawrence Hargrave’s Magic Lantern Lecture Lope de Vega
Ursula K. Frederick
9. Anna Mary Longshore Potts and the Anglophone Circuit for Lantern Lecturing in the Late Nineteenth Century
10. Sidney Dickinson: ‘One of the Most Entertaining Speakers Ever Upon the Melbourne Platform’
11. The Difficulties of Witnessing: Armin T. Wegner’s Lantern Slide Show on the Armenian Genocide
Vanessa Agnew and Kader Konuk
In the early 1860s the wealthy family of Rouse Hill House and Farm, situated to the north west of Sydney, New South Wales, acquired a phantasmagoria lantern, several sets of hand-painted glass slides and a music box. This show is inspired by their use of the magic lantern at the house and in the surrounding districts for the next one hundred years. It uses fifty-five magic lantern slides projected through a pair of ‘dissolving’ magic lanterns from the latter half of the nineteenth century.