spitz charles georges (7 Ergebnisse)

Hardcover. Zustand: Near Fine. Oblong folio. Measuring 13" x 10.5". Red cloth album stamped in black with "Photographs" on front board in gilt. Album contains 38 large albumen prints with 36 of them by Charles-Georges Spitz and the other two by Frank Homes. The boards are lightly worn and have some modest stains, one on the rear board, the cardboard leaves have foxing on the margins, overall sound and very good. The images are especially bold, bright and are fine. Nice large (approximately 8.5" x 6.5") and very sharp images, each contained in a slotted frame in the thick card leaves of the album. Neatly hand-captioned in French in red ink. Most of the images depict indigenous Tahitians, mostly in native costumes; with a very few in Westernized clothing. Some depict dancing, harbor scenes, the Queen of Bora-Bora, working, and other scenes of daily life. Among the captioned pictures are: "Panorama de Papeete, Palais des Pomaré, Palais de justice, Pirogue de fête, Hôpital militaire, Concours de pirogues le 14 juillet 1898, Banian du Cercle Militaire, Concours de danse, Tahitiens, Himens, Groupes de danseurs, Costumes anciens, le Marché, Danse des Indiens de Pondichéry, Chef de l'île Atiu, 1er prix de costume anciens, Indigène des îles Marquises, Avenue de Fataua, la Upa-Upa, Une source à Tahiti, Pont Phaéton, La reine de Bora-Bora," etc. Exceptionally bold and bright images, a truly remarkable album. Bibliography: Charles Georges Spitz *Photographies de Tahiti 1880-1890* (Ministère de la culture de Polynésie Française, Tahiti, 2002); Jean-Yves Tréhin *Tahiti, L'Eden à l'épreuve de la photographie* (Ed. Gallimard - Musée de Tahiti et des Îles, 2003, p 88, 93, 95, 101, 104.); Jean-Yves Tréhin *Gauguin, Tahiti et la photographie* (Ed. Gallimard / Musée des Iles, 2003, p. 27, 87, 114, 131).

Albumen print, 107 x 166 mm, verso wet stamped 'G. Spitz, Papeete, Tahiti, Photographie Instantanée', and with a fully contemporary pencilled caption: 'The Diadem taken from the top of Aorai'; unmounted, in good condition with some very light creasing. Provenance: Found loose at the rear of an album of photographs of Tahiti, the Marquesas and Cook Islands compiled in the 1880s by Papeete merchant and Pacific Islands trader James Lyle Young (1849-1929).

[Circa 1885]. Albumen print photograph, 193 x 152 mm; verso with fully contemporary caption in pencil: Pomare's tomb - Tahiti; a strong print with dark tones; the print has some light creasing but is otherwise in very good condition; unmounted. [TOGETHER WITH] A smaller albumen print, 110 x 165 mm, with another view of the tomb probably taken around the same time, the verso inscribed in pencil: Pomare's IV tomb, and with the wet stamp of 'G. Spitz, Papeete, Tahiti'; heavier creasing than the larger photograph, and a couple of nicks to bottom edge. Queen Pomare IV reigned for 50 years. Upon her death on September 17, 1877 she was buried in this purpose-built tomb - an imposing pyramid with a rectangular base, constructed from coral blocks. Ten years later, however, her son King Pomare V had her body exhumed and moved to the nearby royal cemetery of the Pomare family.Pomare V ceded the islands to France and became the last monarch of Tahiti. When he died from alcoholism in 1891 he was buried in this tomb that had originally been designed for his mother. It is today known as King Pomare V's tomb. Provenance:James Lyle Young (1849-1929), Papeete merchant and Pacific Islands trader; by descent (Melbourne, Australia).

Albumen print, 128 x 216 mm, verso wet stamped 'G. Spitz, Papeete, Tahiti, Photographie Instantanée', and with a fully contemporary pencilled caption: 'Papeete from Signal House, right side'; unmounted; a strong print with rich tonal range, in good condition with some very light creasing. Provenance: Found loose at the rear of an album of photographs of Tahiti, the Marquesas and Cook Islands compiled in the 1880s by Papeete merchant and Pacific Islands trader James Lyle Young (1849-1929).

[Circa 1885]. Albumen print photograph (160 x 210 mm) of two pages of music notation (the original was most likely handwritten and then lithographically printed before it was photographed); generic title legible asAirs tahitiens at the head of the left-hand page, with the title of the individual tuneArue! Arue!(= Praise! Praise!) at the head of the right-hand-page; the print was laid down on a sheet of folding card (175 x 220 mm) by its original owner, Papeete resident Mary Young (see below), to create a unique "homemade" piece of sheet music; the albumen print has a few small small surface scratches but is otherwise in good condition; the card mount is toned and lightly foxed. This unusual photograph of a transcription of traditional Tahitian music was probably taken in Papeete by either Charles Georges Spitz or Mrs Sophia Hoare, the only two professional photographers working in Tahiti in this period. Provenance: Mary Young (Stringer) (1854, Tahiti - 1918, Auckland), wife of merchant James Lyle Young (1849-1929); by descent through the Australian branch of the Young family. Mary journeyed by herself from Australia (where she had been visiting relatives) to San Francisco, via Hawaii, at the end of 1888. She gave birth to their son, Walter Lyle, in San Francisco on 2 June 1889, before returning with her newborn to Tahiti in August. Later in life Mary settled in Homebush, Sydney. James Lyle Young (1849-1929) was a Pacific Islands trader based in Tahiti. He was the cousin of Irishpolitician, diplomat and historian James, 1stViscount Bryce (1838-1922). Young was a founding member of the Polynesian Society. He collected many important Micronesian and Polynesian artefacts which were either donated to the Auckland Museum, New Zealand, or sold to the Bishop Museum, Hawaii.His journals and miscellaneous papers are held in the Mitchell Library, Sydney.

Albumen print, 170 x 215 mm, verso wet stamped 'G. Spitz, Papeete, Tahiti, Photographie Instantanée', and with pencilled captions in two different hands: 'Atiu gathering (Cook Islands)' and, probably slightly earlier in date than the larger caption, 'The Himare [?] of the Atiu (Cook Islands)'; unmounted, loss at bottom corners, 50 mm vertical tear running from the bottom edge at lower right; otherwise a strong print with good tonal range. Provenance: Found loose at the rear of an album of photographs of Tahiti, the Marquesas and Cook Islands compiled in the 1880s by Papeete merchant and Pacific Islands trader James Lyle Young (1849-1929).

[Circa 1887]. Albumen print photograph, 200 x 140 mm, unmounted; verso with fully contemporary caption in pencil: Marquesan dancer; a strong print with rich tonal range and excellent clarity and contrast; the print is in very good condition, with the tiniest of nicks at two of the corners and some insignificant light creasing to the thin paper. This culturally significant portrait of a tattooed Marquesan dancerwas taken by Charles Spitz in his studio in Papeete, Tahiti around 1887 (cf.Tréhin, 89). Along with the perhaps more well-known image by Mrs Sophia Hoare (cf. Tréhin, 85), Spitz's striking full-length portrait is one of the two key nineteenth-century photographic images documenting traditional Marquesan and, by extension, Polynesian tattooing practice. The following extract from Frederick O'Brien's Atolls of the Sun(New York : The Century Co., 1922, p. 343) records the remarks of an indigenous informant regarding the significance of tattooing in Marquesan society: ?"Tattooing in these islands," said Nataro, "was usually begun upon those able to pay for it at the age ofpuberty; but there were many exceptions of tattooingcommenced upon boys soon after their infancy or deferred until mature manhood. Illness, poverty, orother obstacle might prevent, and the desire of parentsmight cause early tattooing. The father or other relative or protector of the youth or girl paid the tuhukabut at the festivals even the very poor orphans weregiven opportunities to be tattooed by a general contribution, or the chief of the valley paid the fee. Yearswere occupied at intervals in the covering of the entirebody of men, which was the aim; but many had to becontent with having a part pictured, and often elaboratedesigns were never finished. You see many bare places,meant to be covered when the tuhuka began his work.Queen Vaekehu was converted to Christianity with butone leg done and forewent further beautification toserve her new God. Though begun in boyhood, the fulladornment of a man could hardly be terminated beforehis thirtieth year. During his lifetime of sixty yearshe might have it renewed twice, and as each pore couldnot be duplicated exactly the third coat would make hima solid mass of color, the goal of manly beauty.Though men usually sought to look terrible so thatwhen they faced their enemies they would inspire fear,with women the sex motif was dominant," said Nataro.' Related literature: Tréhin, Jean-Yves. Tahiti :L'Edenà l'épreuve de la photographie. (Paris : Gallimard, 2003) Provenance:James Lyle Young (1849-1929), Papeete merchant and Pacific Islands trader; by descent (Melbourne, Australia).