97
the Canadian Center for Architecture and the How-
ard Gilman Foundation include rare treasures, which
emanated directly from Christie’s South Kensington or
Sotheby’s Belgravia. There can be few collections of
19th century photographs established since the 1970s
that do not include auction purchases made either di-
rectly or acquired later through dealers.
Like other markets there has been gradual evolu-
tion and during the 1990s, the lure of regular auctions
in Paris attracted international dealers and collectors.
Again, examples have made their way into such famed
collections as those of the Metropolitan Museum of Art
in New York.
The complex relationship between museum curators,
collectors, dealers and auctioneers is both competi-
tive and supportive and has played a major part in the
rescue and recognition of works by many photogra-
phers. Through such discoveries our knowledge of
photography’s history has been enhanced. The role of
auction houses and dealers has contributed to the gradual
acceptance of the historical and aesthetic importance of
19th century photographs.
Lindsey S. Stewart
See Also: Murray & Heath, Vernon; Hering, Henry &
Co.; Photographic Exchange Club and Photographic
Society Club, London; Cameron, Julia Margaret;
Cole, Sir Henry; South Kensington Museum; Goupil
& Cie; Blanquart-Evrard, Louis-Désiré; Mansell,
Thomas Lukis; Agnew, Thomas and Sons; Frith,
Francis; Stieglitz, Alfred; Atget, Jean-Eugène-
Auguste; Nadar (Gaspard-Félix Tournachon);
Newhall, Beaumont and Nancy; and Fenton, Roger.
Further Reading
Bennett, Stuart, How to Buy Photographs, Oxford: Phaidon,
Christie’s Ltd. 1987.
Haworth-Booth, Mark, Photography: An Independent Art/ Pho-
tographs from the Victoria and Albert Museum 1839–1996,
London: V & A Publications, 1997.
Jacobson, Ken, the Lovely Sea-View/ A Study of the Marine Pho-
tographs published by Gustave Le Gray, 1856–1858, Petches
Bridge: Ken and Jenny Jacobson, 2001.
McCauley, Elizabeth Anne, Industrial Madness/ Commercial
Photography in Paris 1848–1871, New Haven and London:
Yale University Press, 1994.
Therond, Roger, Une passion française/ Photographies de la
collection Roger Therond. Paris: Editions Filipacchi, Maison
Européene de la Photographie, 1999.
Gee, Helen, Limelight/ A Greenwich Village Photography Gal-
lery and Coffeehouse in the Fifties, Albuquerque: University
of New Mexico Press, 1997, 287.
AUSTRALIA
When the French barque Justine arrived in Sydney from
Valparaiso, Chile, via New Zealand on 29 March 1841,
Gallic Captain, Augustin Lucas (1804–54?) brought
with him a daguerreotype camera and plates. His arrival
was only a few days after Richard Beard (1801–85)
opened London’s fi rst studio in Regent Street on 23
March 1841. The Australasian Chronicle of 13 April re-
ported Lucas’s intention to “dispose of the instrument at
prime cost. The purchaser will be fully instructed in the
method of taking views.” A demonstration by a number
of “gentlemen” took place a month later on 13 May. “At
the stores of Messrs Joubert and Murphy, an interesting
trial of the advantages of the Daguerreotype was made
on Thursday, at which we were present, and received
the politest attention at the hands of the gentlemen who
conducted the experiment...an astonishingly minute and
beautiful sketch was taken of Bridge-street and part of
George-street, as it appeared from the Fountain in Mac-
quarie-place” (Australian, 15 May 1841). No trace of
the fi rst photograph made in Australia has been found
since its announcement over 164 years ago.
Captain Lucas returned to France in the Justine on 3
June 1841 (Sydney Morning Herald, 4 June 1841).The
equipment may have been sold to one of the reported
witnesses, Didier Numa Jourbert (1816–81), a French
wine and spirit merchant and partner of Irishman Jer-
emiah Murphy. In 1843 Jourbert sold “a very superior
daguerreotype [camera], complete, with all the appara-
tus, and a great number of plates” along with the con-
tents of his Macquarie place household before leaving
for Europe (Sydney Morning Herald, 21 March 1843).
No further mention of photography by the media is
known until the arrival of George Baron Goodman (w.
1842–48, died 1851) the fi rst professional photographer
in Australia. Goodman was a Beard licensee who arrived
in the Eden at Sydney on 5 November 1842 (Sydney
Morning Herald). Goodman made around seventy
miniature portraits in his “laboratory,” a blue glass
conservatory designed to capture the sun on the roof
of the Royal Hotel in George Street. A week prior to
the public opening, he showed them to the press. “The
likenesses are indeed exact, and the sitter is only kept in
suspense about half a minute...The charge is extremely
moderate—a portrait, frame and case being less than
the cost of a new hat, or a box at the theatre” (Sydney
Morning Herald, 13 December 1842).
Goodman advertised to provide sitters with “highly
fi nished refl ections of themselves” (Hobart Town Crier
and Van Diemen’s Land Gazette, 6 October 1843), but
it seems his daguerreotypes disappointed many sitters
with their likenesses. A common complaint was the
blue-grey deathly pallor. Extant daguerreotypes by
Goodman verify the inadequacies of his technique, but
with virtually no competition from any other photogra-
phers, he had a monopoly during the four and half years
he was in business.
With the economic depression depleting customers in