This article in the Sydney Morning Herald on 29 March 1938 featured photographer Olive Cotton.
Young Sydney Artist Discusses A Hobby for Women.
SIX women are represented at the Sydney Photographic Society’s International Exhibition which opened in Sydney on Wednesday. Among them is Miss Olive Cotton, a local amateur photographer, who has twice exhibited at the London Salon. The pictures on this page are examples of Miss Cotton’s work. (Note: newsprint cannot do justice to these photographs. Please see below links to collections of Olive Cotton’s work).
In an interview yesterday, in which she discussed photography for women, Miss Cotton said that the woman’s viewpoint can be captured by the woman behind the camera. She believes that women are doing photographic work comparable with that of men.
“How many women,” she said, “say at one time or another that they are bored? Yet they could find endless enjoyment with a camera assisted by eyes that are not inartistic. I consider that here is a field where women could do good work – work which has its reward in the production of a good picture.”
MISS COTTON is an attractive young woman with a penchant for art in several forms and a firm belief in women expressing themselves through an art medium. She was precipitated into photography at thirteen years of age when she found that an inclination towards graphic art was in her case handicapped by an apparent lack of talent with brush and pencil.
Her first camera was of a box type, but she now uses a more involved reflex camera; her first enlarging apparatus was made from a biscuit tin operated from an electric iron contact; and the laundry draped with rugs was her first dark room. Now she has at her disposal one of the best- equipped photographic dark rooms in Sydney.
The Right Spirit.
Women who potter about with a box camera photographing any landscape that appeals to them have the right spirit because they are expressing themselves rather than merely making tourist bureau records of beauty spots, Miss Cotto said. Those who want to express themselves and have no talent for painting or drawing will find as I did that photography is an excellent medium. It is a universal art form comprehensible to everyone, within reach of all.
The names of women are appearing more and more in the photographic annuals of the world and some of the important Continental exhibitions have included the work of as many as a dozen amateur women photographers.
I believe that photography will soon be used as a medium for design. It will provide a field for women who have mastered the technique of modern photography.
“ONE thing that women who wish to become good photographers should remember”, Miss Cotton continued, “is that the camera can do more than merely record an unchanging picture of a subject. A landscape, for instance, is there for everyone to photograph – an apparently changeless combination of earth, and trees, and grass; but it can be photographed in a hundred different ways. The lighting, the relation of the various objects to the shape of the picture, and many other factors can be changed by the individual, and this is where discernment and personality come into the picture, as it were.
I noticed at the exhibition of English pictures in Sydney a few weeks ago that a series of landscapes by a well-known woman photographer was obviously the work of a woman. One, in particular, was a picture of snow with a pattern of shadows. The approach was essentially feminine. A man could never have seen that landscape as she did.”
In the Dark Room.
“EVEN the casual hobbyist,” Miss Cotton declared, should develop and print her own pictures. Otherwise, it would be an expensive hobby and in any case, the treatment during these processes can always make or mar a picture. To become efficient at developing, printing and enlarging, experience over a number of years and constant practice are needed to make the most of one’s opportunties.
One of the commonest and most serious mistakes made by the inexperienced photographer is the tendency to take a dozen pictures of an object in the hope that one will be good. I find it much more satisfactory and less expensive to take one carefully considered and planned picture.”
Miss Cotton believes that more women should employ the camera as a hobby.
The article includes a photograph of Olive Cotton by fellow photographer Max Dupain.
In April of 1939 Cotton and Dupain were married in Sydney.
They separated two years later and divorced in 1944. Cotton taught mathematics at Frensham School, Mittagong (NSW), in 1941. From 1942-45 she managed the Max Dupain studio while Dupain was on war service.
…. In the 1980s Cotton’s photographs once again began to receive serious attention. They were included in Gael Newton’s exhibition, ‘Silver and Grey’ (Art Gallery of New South Wales), in 1980 and in the 1981-82 touring exhibition ‘Australian Women Photographers 1890-1950’, organised by Barbara Hall and Jenni Mather. In 1983 Cotton was awarded a Visual Arts Board grant to print photographs for the retrospective exhibition, ‘Olive Cotton Photographs 1924-1984’, which opened at the Australian Centre for Photography in 1985 and subsequently toured. Light Years , a film by Kathryn Millard on Olive Cotton’s life and work, was released in 1991. In the same year Teacup Ballet was issued on a stamp to mark the 150th anniversary of photography in Australia. Olive Cotton was awarded an Emeritus Fellowship from the Australia Council in 1993.
There’s not a lot to be found online about a photographer called George Rose and his impressive body of work within Australia and elsewhere.
I have selected a sample of the thousands of the Rose postcard series accessible online at the State Library of Victoria. These are out of copyright due to the uncertainty of the date they were taken. Most are tagged c 1920-1954. Here’s a link to photographs taken in Melbourne in the Olympic year of 1956 which are still in copyright and as such cannot be reproduced here.
Another source of these rich images is the work of Ron Blum who has collated George Rose’s work into two books and a CD.
At the foot of Deany’s Steps – Port Campbell I think the emulsion damage adds to the charm of this one.
The Twelve Apostles, Port Campbell The inset colour photo via Wikipedia shows the collapse of one of the stacks in 2005.
The State Library of Victoria holds over 7000 images (here) from the Rose Series. Other libraries have their own collections relevant to their state. Many of the photographs were taken by others after the deaths of George (in 1942) and Walter (George’s son and proprietor until he pre-deceased his father) in 1940.
It was certainly a man’s world (and an extremely elite one) at Oxford University as described by A D Godley in his book Aspects of Modern Oxford published in 1894 by Seeley & Co Ltd.
The plates in the book were produced by five artists. They illustrate all aspects of a student’s life, in particular participation in a wide variety of sports including tennis, rowing, cricket and golf. There was swimming too. The area called Parson’s Pleasure (see image 3 in this post) was a nude bathing area in the University Parks – men only, of course. The selected images are by Lancelot or Launcelot Speed, an illustrator of fiction and fairy tale books. The picture of the rowers waiting for the coxswain begs for a caption competition!
For your interest, here’s a link to the history of women at Oxford (who were admitted as full students in 1920). It includes a list of some of the University’s more well-known graduates.
This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.gutenberg.org/license.
One of Australia’s early feminists, Rose Scott, was apparently inspired to the cause by Shakespeare’s The Taming of the Shrew.
The list of organisations she was actively involved in is long. It includes The Prisoners’ Aid Association, the National Council of Women in New South Wales and the Women’s Political Education League. The well-connected Miss Scott was renowned for the salons she held in her home. She was active in industrial issues and influential in shaping legislation to improve working conditions. The Australian Dictionary of Biography entry, from which the following paragraph is extracted, mentions her opposition to Federation and the Olympic Games.
Rose Scott had strenuously opposed Federation and in 1900 wrote and spoke against Empire involvement in the South African War. Always a staunch opponent of competition and aggression, she became president of the Sydney branch of the Peace Society in 1908. As well as her involvement in post-suffrage feminist reform campaigns, including the Testator’s Family Maintenance and Guardianship of Infants (1916), Women’s Legal Status (1918) and First Offenders (Women) (1918) Acts, she took part in cultural activities and was a foundation member of the Women’s Club established in 1906 by Dr Mary Booth. She was president of the New South Wales Ladies’ Amateur Swimming Association from 1908 until 1911 when she clashed with its leading swimmer, Fanny Durack, over her competing at the 1912 Stockholm Olympic Games—she objected to the Olympics on pacifist grounds, also to women appearing in competitions when men were present.
Papers relating to her not insignificant contributions are held at the State Library of New South Wales.
In 1921, a few years before her death, Rose Scott gave an address to the Feminist Club in Sydney where they were honouring her with a luncheon. She concluded with these words.
My time for active work has now drawn to a close. The advice I give to you who are now to carry on the work is: Avoid distinctions of class and creed, party politics, and squabbles with men. Such things limit one’s outlook and dim one’s vision. Learn to distinguish between the good and the evil in every reform, and remember woman’s cause is man’s. Never descend to personal abuse. Be sure of your facts, and remember that every cause demands patience and self-sacrifice. And, above all, be loyal to your sex.
Her obituary appeared in the Sydney Morning Herald on 22 April 1925. She was 78 years old.
I keep going back to Project Gutenberg’s e-books to discover the new treasures regularly added to their collection.
Take, for example, this 1883 French book of children’s songs – Vieilles chansons pour les petits enfants.
The better known Frère Jacques and Sur le pont d’Avignon are included in the selection of over 30 songs. I’ve selected three of the rhyme illustrations. The original book would be wonderful to see as many of the images were coloured wood engravings. The first is a simple rhyme about a dance in single file. The second is about a mean person in possession of good quality snuff (ground tobacco leaves) and not sharing it. The third is a sad tale of Michael’s mother who lost her cat only to discover that it has been kidnapped and sold for a rabbit.
The Project Gutenberg EBook of Vieilles chansons pour les petits enfants, by Charles Marie Widor This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Vieilles chansons pour les petits enfants avec accompagnements de Ch. M. Widor Author: Charles Marie Widor Illustrator: Louis Maurice Boutet de Monvel
In 1916, when Beatrix Potter was 50 years old and her creation Peter Rabbit was a teenager, the following version of Potter’s classic was released in the United States by The Saalfield Publishing Company. Not by Potter’s publishers Frederick Warne & Co and not with Potter’s own illustrations. Well that last bit is not entirely true as I discovered while browsing through this e-book from Project Gutenberg. Here’s the original.
The part where it says “illustrations by Virginia Albert” is mostly true. Compare these images from both books.
Yes. There they are – copies of Potter’s work tucked in among the ‘new’ version of the illustrated bunny and looking a little strange in the company of the very different approach of Virginia Albert. Warne & Co must have had their copyright all stitched up in Europe as this French version [all rights reserved] was printed in Great Britain. Apparently Warne’s New York office did not register the copyright for The Tale of Peter Rabbit in the US thus opening the floodgates to imitators and blocking the considerable income stream that Warne and Potter herself would have earned.
At Abe Books (online sellers of used books) you can find pirated editions of Peter Rabbit that were published as early as 1904 when, for example, the Philadelphia publishers Altemus copyrighted The Tale of Peter Rabbit using all of Potter’s illustrations and text. They left one thing off – the author’s name! I note too that the Saalfield Peter Rabbit books were all copyrighted.
Virginia Albert went on to illustrate other Peter Rabbit books also published by Saalfield. One can only imagine the response of Beatrix Potter to the titles and content.
By Louise A Field with Albert’s illustrations there was Peter Rabbit and his Ma, then Peter Rabbit and his Pa. By an unknown author with Albert’s illustrations came Peter Rabbit and Sammy Squirrel and Peter Rabbit and Jimmy Chipmunk. The style of the illustrations is inconsistent. These images are via Amazon.
To add to the fun, another illustrator by the name of Ethel Hays put her oar into the Peter Rabbit waters. Ethel Hays was the illustrator of the Raggedy Ann stories. Images via Wikipedia and Amazon.
American children’s author and conservationist Thornton W Burgess wrote many stories based on Peter Rabbit. They included Mrs Peter Rabbit, Peter Rabbit Puts on Airs and Peter Rabbit Learns from the Striped Chipmunk. The Peter Cottontail character morphed out of these tales. (Remember that Cottontail was one of Peter Rabbit’s brothers in the original tale). Harrison Cady who illustrated many books for Burgess, including Peter Rabbit Proves a Friend, wrote and illustrated a newspaper comic strip called Peter Rabbit from 1920 to 1948. Image via e-Bay per Gibson Books.
And so it goes. Mr McGregor protected his vegetable patch. Warne & Co had one forgetful moment and let a whole lot of other rabbits slip out from under their fence.
The Project Gutenberg EBook of The Tale of Peter Rabbit, by Beatrix Potter This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net