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== Contemporary evaluation ==
== Contemporary evaluation ==
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.<ref name=":5" /><ref>Quartermaine, Peter, ‘Johannes Lindt: Photographer of Australia and New Guinea’ in ''Representing Others: White Views of lndigenous People'' edited by Mick Gidley, Exeter: Exeter Studies in American and Commonwealth Arts, No.4 University of Exeter Press 1992.</ref><ref>Willis, Anne-Marie. ''Picturing Australia : A History of Photography''. Sydney: Angus & Robertson. 1988</ref> In the field, in New Guinea, his marketable imagery of the 'mysterious shores of Papua and their savage inhabitants'<ref>{{Citation | author1=Lindt, J. W. (John William) | title=Picturesque New Guinea : with an historical introduction and supplementary chapters on the manners and customs of the Papuans | date=1887 | publisher=Longmans, Green | url=https://trove.nla.gov.au/work/12432095 }}</ref> were posed, by subjects bribed or coerced to do so, against suitably picturesque backgrounds chosen by Lindt, and thus are no more accurate as [[Ethnography|ethnographic]] records than his studio [[Tableau vivant|tableaux]],<ref>{{Citation | author1=Ryan, James R | title=Photography and exploration | publication-date=2013 | publisher=Reaktion Books | isbn=978-1-78023-100-6 }}</ref>and are loaded with romance and prejudice derived from his reading of British accounts and diaries of colonialists' adventures in Africa.<ref>{{Citation | author1=Maxwell, Anne | title=Colonial photography and exhibitions : representations of the "native" and the making of European identities | publication-date=1999 | publisher=Leicester University Press | isbn=978-0-7185-0169-3 }}</ref> The 'natural' backdrop was, nevertheless, a device he continued even with his European subjects who were guests at 'The Hermitage'.<ref name=":3" />
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.<ref name=":5" /><ref>Quartermaine, Peter, ‘Johannes Lindt: Photographer of Australia and New Guinea’ in ''Representing Others: White Views of lndigenous People'' edited by Mick Gidley, Exeter: Exeter Studies in American and Commonwealth Arts, No.4 University of Exeter Press 1992.</ref><ref>Willis, Anne-Marie. ''Picturing Australia : A History of Photography''. Sydney: Angus & Robertson. 1988</ref> In the field, in New Guinea, his marketable imagery of the 'mysterious shores of Papua and their savage inhabitants'<ref>{{Citation | author1=Lindt, J. W. (John William) | title=Picturesque New Guinea : with an historical introduction and supplementary chapters on the manners and customs of the Papuans | date=1887 | publisher=Longmans, Green | url=https://trove.nla.gov.au/work/12432095 }}</ref> were posed, by subjects bribed or coerced to do so, against suitably picturesque backgrounds chosen by Lindt, and thus are no more accurate as [[Ethnography|ethnographic]] records than his studio [[Tableau vivant|tableaux]],<ref>{{Citation | author1=Ryan, James R | title=Photography and exploration | publication-date=2013 | publisher=Reaktion Books | isbn=978-1-78023-100-6 }}</ref>and are loaded with romance and prejudice derived from his reading of British accounts and diaries of colonialists' adventures in Africa.<ref>{{Citation | author1=Maxwell, Anne | title=Colonial photography and exhibitions : representations of the "native" and the making of European identities | publication-date=1999 | publisher=Leicester University Press | isbn=978-0-7185-0169-3 }}</ref> Quanchi criticises the voyeuristic intention of the cover image, widely reproduced and imitated, of Picturesque New Guinea, which shows an adolescent, bare-breasted, partially clothed Motu girl carrying. pot on her shoulder. The 'natural' backdrop was, nevertheless, a device he continued even with his European subjects who were guests at 'The Hermitage'.<ref name=":3" />


== Publications ==
== Publications ==

Revision as of 01:21, 1 March 2020

John William Lindt
J. W. Lindt, FRGS, from Picturesque New Guinea, Plate II
J. W. Lindt, FRGS, from Picturesque New Guinea, Plate II
Native name
Johannes Wilhelm Lindt
Born1845
Frankfurt-am-Main, Germany
Died1926
Black Spur, Victoria
Pen nameJohn William Lindt
OccupationPhotographer
NationalityAustralian
Years active1869-1925
Notable awardsFRGS
Spouses
Anna Wagner
​
​
(m. 1872; died 1888)​

Catherine Elizabeth Cousens
​
​
(m. 1889)​
Children2

John William Lindt, FRGS, (1845-1926), was a German-born Australian landscape and ethnographic photographer, early photojournalist, and portraitist.

Early life and arrival in Australia

Johannes Wilhelm Lindt[1] (often referred to in the literature simply as J.W. Lindt) was born at Frankfurt-am-Main, Germany, son of Peter Joseph Lindt a customs officer, and his wife Justine, née Rambach. At 17 he took a working passage to Australia on a Dutch sailing ship which he left at Port Melbourne. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before taking up residence in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner (c.1818- 1910).[2]

Photographer

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, equal to Sydney Houses. Large instantaneous pictures of horses and cattle’. Between 1870-3 he made township views, scenes of mining and group portraits.[3]

Indigenous subjects

J W. Lindt (c.1873-1874) Portrait of an Aboriginal man

Over c.1873-1874, using the slow and laborious wet-plate collodion process Lindt produced photographs of the local indigenous people both in their environment and conducting actual traditional ceremonies in the Clarence River district,[4] and in his studio.[5] In the latter, the subjects, set in elaborate recreations of natural environment, clothed traditionally, and surrounded by implements, are the more relaxed because Lindt was able to prepare and process his plates with the necessary complex chemistry close at hand in his darkrooms. His prints were contact-printed from 20 x 16 inch (50.8cm x 40.64cm) wet plate negatives. Twelve of this series is included his 1880 album Australian Aboriginals.

Contemporary commentary records them as "the first successful attempt at representing the native blacks truthfully as well as artistically."[6][7][8] The individuals in Lindt's group portraits and their clans and languages are not named, and the 'scenery' is generic and the accessories not those of the people depicted.[5] Despite their constructed nature and depiction of 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 scientific institutions in the old country’. The current identities of such institutions, the Museum of Mankind, the Royal Anthropological Institute, the Royal Commonwealth Society (in London) and the Pitt Rivers Museum in Oxford, all retain copies, and one set, now held in the Cambridge University Museum of Archaeology and Ethnology, was acquired by Von Hégel on his 1874-77 visit to the South Pacific. Among these, during his Grafton years, from 1869-1876, Lindt produced Australian Types (c.1873-1874); and Characteristic Australian Scenery (1875) commissioned by the New South Wales Government for the 1876 Philadelphia Centennial Exhibition. The albums include fastidiously composed and exposed images such as The Artist's Camp (Near Wintervale) (1875) and Tower Hill Creek, N.S.W. (1875) each meticulously printed, qualities he maintained in his imagery henceforth.

Melbourne

Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios in Collins Street in 1877. His cartes-de-visite had printed "J. W. Lindt, Photographer, Prize Medallist Philadelphia, Sydney, Brisbane, Paris, 7 Collins Street, Melbourne" on the back.[9] At a time of great wealth in Melbourne his broad subject matter included extensive records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. Tall and prepossessing,[10] Lindt is described by Jack Cato in The Story of the Camera in Australia:

"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."[11]

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 rails of the upstairs balconies.[11] He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892[5].The Victorian Railways featured his scenic views of the state in special frames in their carriages until the 1960s.

In June 1880 a Melbourne newspaper commissioned Lindt to document the capture of the notorious bush-rangers, the Kelly gang in Glenrowan, Victoria. Arriving after the event, Lindt produced a wet plate image Body of Joe Byrne, member of the Kelly gang, hung up for photography, outside the Benalla lock-up. His panoramic image, made on 29 June, encompasses the Victorian government photographer A.W. Burman (son of William Insull Burman ), the artist Julian Ashton sketching Byrne’s body for the Illustrated Sydney News, with casual bystanders.[12][5] It is amongst his most famous images and has been hailed as the earliest press photograph taken in Australia.[13][14]

From 1884 operated a second studio installed behind his newly acquired estate; ‘Ethelred’ in Hawthorn,[15][16] in order to accommodate the high demand for his work.[17] Keeping abreast of developments in the medium, from about 1881 he was using the recently introduced Voigtlander Euryscope lenses on his Haake & Albers’ studio cameras and to produce enlargements. Visiting Europe to source the latest photographic equipment, he became their sole Australian agent for numerous studio suppliers, including Enholtz’s scenic backgrounds. 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.[18]

New Guinea

J.W. Lindt (1885) Picturesque New Guinea Plate XXXIV - Village Scene at Moapa, Aroma District
John William Lindt (1885) The Haunt of the Alligator, Laloki River, Plate IX from Picturesque New Guinea

A keen ethnographer of the nineteenth-century persuasion, in 1885 Lindt joined Major-General Sir Peter Scratchley, superintendent of coastal defences, in an expedition from Sydney on the Governor Blackall to the newly proclaimed Protectorate of British New Guinea. 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 lakatois on Port Moresby harbour, before venturing into the Owen Stanley Range, at night processing his plates by the light of a hurricane lamp 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.

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 pictures in Picturesque New Guinea (London, 1887) which, printed in a new autotype process, took full commercial advantage of the advent of half-tone printing.[19] 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 is decided in a way that is a triumph for his profession.[20]

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 on 27 May 1888, of his first wife in giving birth to a stillborn.

He was commissioned by the Victorian Government to document the Chaffey brothers' pioneering irrigation works on the River Murray at Mildura in north-west Victoria.[21][22] The Royal Geographical Society (R.G.S.) supported Lindt’s further expeditions, first to the New Hebrides in 1890 where in June he climbed the Tanna volcano, and to Fiji in 1891 during which he documented a fire-walking ceremony,[23] first published as plates in the Transactions of the R.G.S and were hailed as proof that the traditional ordeal did exist and was not a visual figment of group hysteria.[11] Having made his island imagery into lantern slides he conducted numerous popular lectures which were credited with creating a boom in island tourism.[11]

Later career

During the mid-1890s depression Lindt managed to produce a last ethnographic portfolio, of a touring Northern Australian Aboriginal performing troupe in an indoor studio setting in 1893, before in 1894[22] or 1895,[24] he closed his studio. As early as 1883 he was exhibiting pictures of the Blacks' Spur (now Black Spur), and there he built and moved to a guesthouse ‘The Hermitage’ with a garden designed by his friend Ferdinand von Mueller, and featuring New Guinea tree houses from which he made frequent panoramas of his property and surrounding primeval forest of towering, 30-metre mountain ash. There he wrote articles, conducted international correspondence, and continued his photography in a studio 30m x 8m, with a wall glazed in ground glass. 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 Albert Street Art Gallery in 1909. In 1913 he collaborated with Nicholas Caire to produce a tourist booklet on the area.[25]

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 concentration camp, he continued to sell prints from his old glass negatives and from new photographs he took of his forest home, guests in his gardens, and genre scenes. In 1925 the Argus 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.”[26]

Aged 81[27] Lindt died of heart failure during disastrous bushfires on 19 February 1926 at the Hermitage.[22] 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 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.[28]

Contemporary evaluation

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.[4][29][30] In the field, in New Guinea, his marketable imagery of the 'mysterious shores of Papua and their savage inhabitants'[31] were posed, by subjects bribed or coerced to do so, against suitably picturesque backgrounds chosen by Lindt, and thus are no more accurate as ethnographic records than his studio tableaux,[32]and are loaded with romance and prejudice derived from his reading of British accounts and diaries of colonialists' adventures in Africa.[33] Quanchi criticises the voyeuristic intention of the cover image, widely reproduced and imitated, of Picturesque New Guinea, which shows an adolescent, bare-breasted, partially clothed Motu girl carrying. pot on her shoulder. The 'natural' backdrop was, nevertheless, a device he continued even with his European subjects who were guests at 'The Hermitage'.[11]

Publications

  • Lindt, J. W. (John William), 1845-1926; Centennial International Exhibition (1888-1889 : Melbourne, Vic.) (1888), British New Guinea : ethnographical collection and samples of raw products, J. W. Lindt, retrieved 29 February 2020{{citation}}: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
  • Lindt, J. W. (John William); Caire, Nicholas, 1837-1918 (1904), Companion guide to Healesville, Blacks' Spur, Narbethong and Marysville, Atlas Press{{citation}}: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
  • Lindt, J. W. (John William); V. V (1883), A few results of modern photography, Printed by Welch & Whitelaw, retrieved 29 February 2020
  • Centennial International Exhibition (1888-1889 : Melbourne, Vic.); Lindt, J. W. (John William), 1845-1926 (1888), Collections from British New Guinea exhibited by Her Majesty's Special Commissioner. : in charge of J.W. Lindt, Warwick and Sapsford Printers{{citation}}: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
  • Lindt, J. W. (John William), 1845-1926 (1885), Narrative of the expedition of the Australian Squadron to the south-east coast of New Guinea : October to December, 1884, T. Richards, Govt. Printer{{citation}}: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
  • Lindt, J. W. (John William) (1887), Picturesque New Guinea : with an historical introduction and supplementary chapters on the manners and customs of the Papuans, Longmans, Green

Retrospective exhibitions

  • Portraits of Oceania: 27 August-26 October 1997, The Art Gallery of New South Wales

Awards and recognition

  • April 1876: silver medal from the New South Wales Academy of Art[2]
  • International photographic exhibition at Frankfurt: judge[2]
  • Photographic Association of Vienna: gold medal[34]
  • Fellow of the Royal Geographical Society, London.[34]
  • Medals in exhibitions in Amsterdam, Calcutta and Frankfurt.[34]
  • 1888 Melbourne International Exhibition: official photographer[34]
  • 1893: councillor of the Victorian branch of the Royal Geographical Society[34]

References

  1. ^ Tampke, Jürgen; Doxford, Colin (1989), Australia, willkommen : a history of the Germans in Australia, New South Wales University Press, p. 138, ISBN 978-0-86840-307-6
  2. ^ a b c Johanson, Graeme; Jones, Shar. "Biography: John William Lindt". Design and Art Australia online. {{cite web}}: |archive-date= requires |archive-url= (help)CS1 maint: url-status (link)
  3. ^ Ken Orchard, Lindt, John William (1845-1926), in Hannavy, John (2008), Encyclopedia of nineteenth-century photography, Routledge, ISBN 978-0-415-97235-2
  4. ^ a b Annear, Judy; Donohue, Robyn; Tunnicliffe, Wayne; Velez, Silvia; Art Gallery of New South Wales (1997), Portraits of Oceania, The Art Gallery of New South Wales, ISBN 978-0-7313-1003-6
  5. ^ a b c d Ennis, Helen (2007), Photography and Australia, Reaktion Books, ISBN 978-1-86189-323-9
  6. ^ Australian Town and Country Journal
  7. ^ Hughes-d'Aeth, Tony (2001), Paper nation : the story of the Picturesque atlas of Australasia 1886 - 1888, Melbourne University Press, ISBN 978-0-522-84949-3
  8. ^ Konishi, Shino; Konishi, Shino, (editor.); Nugent, Maria, (editor.); Shellam, Tiffany Sophie Bryden, 1979-, (editor.); ANU Press (2015), Indigenous intermediaries : new perspectives on exploration archives, ANU Press, ISBN 978-1-925022-76-6 {{citation}}: |author2= has generic name (help)CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
  9. ^ "J. W. Lindt, photographer (1845–1926) | NGV". www.ngv.vic.gov.au. Retrieved 29 February 2020.
  10. ^ ‘The great Lindt’, Australasian Photo-Review, July, Aug 1952
  11. ^ a b c d e Cato, Jack (1955), The story of the camera in Australia, Cheshire, retrieved 29 February 2020
  12. ^ Batchen, Geoffrey (2001), Each wild idea : writing, photography, history, MIT Press, p. 35, ISBN 978-0-262-52324-0
  13. ^ Newton, Gael. Shades of light; Australian National Gallery (2009), 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, Photo-web, p. 44
  14. ^ Anderson, Fay; Young, Sally, (author.); Henningham, Nikki, (contributor.) (2016), Shooting the picture : press photography in Australia, The Miegunyah Press : The Miegunyah Press, ISBN 978-0-522-86856-2 {{citation}}: |author2= has generic name (help)CS1 maint: multiple names: authors list (link)
  15. ^ Lindt, J. W. "Ethelred, Hawthorn Collection". Item held by National Gallery of Australia. Retrieved 29 February 2020.
  16. ^ LINDT, J. W (1884), Ethelred, Hawthorn Collection (Mrs. Lindt and daughter in front garden, Ethelred, Hawthorn)
  17. ^ http://www3.slv.vic.gov.au/latrobejournal/issue/latrobe-76/fig-latrobe-76-081b.html
  18. ^ Davies, Alan, 1946-; Stanbury, Peter, 1934-; Tanre, Con (1985), The Mechanical Eye in Australia : photography 1841-1900, Oxford University Press, p. 78{{citation}}: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
  19. ^ Quanchi, Max (2007), Photographing Papua : representation, colonial encounters and imaging in the public domain, Cambridge Scholars Publishing, ISBN 978-1-84718-288-3
  20. ^ The Argus 27 November 1888
  21. ^ Royal Commonwealth Society; Queensland Art Gallery; International Cultural Corporation of Australia (1982), Commonwealth in focus : 130 years of photographic history, The Corporation, ISBN 978-0-9594122-5-3
  22. ^ a b c Valerie Frost, 'Lindt, John William (1845–1926)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, Volume 5, (MUP), 1974
  23. ^ Cochrane, Susan; Cochrane, Susan; Quanchi, Max; Australian Association for the Advancement of Pacific Studies (2007), Hunting the collectors : Pacific collections in Australian museums, art galleries and archives, Cambridge Scholars, ISBN 978-1-84718-084-1
  24. ^ 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 supplementary textual content.); Batchen, Geoffrey, (writer of supplementary textual content.) (2015), The photograph and Australia, Art Gallery of New Soth Wales, ISBN 978-1-74174-116-2{{citation}}: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
  25. ^ McDonald, Roger (2009), Australia's wild places, National Library of Australia, ISBN 978-0-642-27671-1
  26. ^ The Argus, 19 March 1925
  27. ^ M. McLardy, ‘Our oldest living photographer’, Australasian Photo-Review, Sept 1947
  28. ^ "The Hermitage". Heritage Council of Victoria. Retrieved 29 February 2020.{{cite web}}: CS1 maint: url-status (link)
  29. ^ Quartermaine, Peter, ‘Johannes Lindt: Photographer of Australia and New Guinea’ in Representing Others: White Views of lndigenous People edited by Mick Gidley, Exeter: Exeter Studies in American and Commonwealth Arts, No.4 University of Exeter Press 1992.
  30. ^ Willis, Anne-Marie. Picturing Australia : A History of Photography. Sydney: Angus & Robertson. 1988
  31. ^ Lindt, J. W. (John William) (1887), Picturesque New Guinea : with an historical introduction and supplementary chapters on the manners and customs of the Papuans, Longmans, Green
  32. ^ Ryan, James R (2013), Photography and exploration, Reaktion Books, ISBN 978-1-78023-100-6
  33. ^ Maxwell, Anne (1999), Colonial photography and exhibitions : representations of the "native" and the making of European identities, Leicester University Press, ISBN 978-0-7185-0169-3
  34. ^ a b c d e Valerie Frost, 'Lindt, John William (1845–1926)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, Volume 5, (MUP), 1974

Further Reading

  • Croft. Brenda. ‘Laying ghosts to rest’, in Portraits of Oceania, edited by Judy Annear. Sydney: Art Gallery of New South Wales. 1997.
  • Davies, Alan. An Eye for Photography: The Camera in Australia, Sydney, The Miegunyah Press in association with the State Library of New South Wales, 2004.
  • De Lorenzo, Catherine & Deborah van der Platt, ‘More Than Meet the Eye: Photographic Record of Humboldtian Imaginings.’ in Mosaic 237. Vol. 37. No.4 edited by Dawne McCance, Manitoba: University of Manitoba, Winipeg, Canada. 2004.
  • Johanson, Graeme & Shar Jones, ‘J. W. Lindt,’ in The Dictionary of Australian Artists Painters, Sketchers, Photographers and Engravers to 1870, edited by Joan Kerr, Melbourne: Oxford University Press. 1992.
  • Jones, Shar, J. W. Lindt: Master Photographer. Melbourne: Currey O’Neil Ross & the Library Council of Victoria, 1985.
  • Newton, Gael, Shades of Light: Photography and Australia 1839-1988, Canberra: Collins Australia & the Australian National Gallery, 1988.
  • Orchard, Ken, ‘J. W. Lindt’s Australian Aboriginals (1873-74) in History of Photography, Vol. 23, No.2, edited by Michael D. Galimany, London: Taylor & Francis 1999.
  • -- The John William Lindt Collection Grafton: Grafton Regional Gallery, New South Wales, 2005.
  • Poignant, Roslyn, ‘Surveying the Field of View: the Making of the R.A.I. Photographic Collection," in Anthropology and Photography 1860-1900, edited by Elizabeth Edwards, London: Yale University Press in association with The Royal Anthropological Institute, London. 1992.
  • Quartermaine, Peter, ‘Johannes Lindt: Photographer of Australia and New Guinea’ in Representing Others: White Views of lndigenous People edited by Mick Gidley, Exeter: Exeter Studies in American and Commonwealth Arts, No.4 University of Exeter Press 1992.
  • Willis, Anne-Marie. Picturing Australia : A History of Photography. Sydney: Angus & Robertson. 1988.
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