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customs offi cer, and Justine, née Rambach. He arrived
in Melbourne, Victoria, in 1862, and settled in Grafton,
New South Wales in 1863. He assisted photographer
Conrad Wagner (c.1818–1910) until 1869, when Lindt
took over management. Lindt married Wagner’s daugh-
ter, Anna on 13 January, 1872 and opened a new studio
in March 1873. He moved to Melbourne in 1876 and
established studios at 7 Collins St. East, Melbourne in
- In 1884 he moved to “Ethelred,” Hawthorn, from
where he operated a second studio. Lindt made three
South Pacifi c ethno-photographic expeditions, travel-
ling to New Guinea (1885), the New Hebrides (1890)
and Fiji (1891). Lindt was made a Fellow of the Royal
Geographic Society of Australasia in 1887, and judged
the 1887 General International Photographic Exhibition,
Frankfurt-Main. Following the death of his wife, on 27
May, 1888, Lindt was appointed Honorary Commis-
sioner—British New Guinea Court at the Melbourne
Centennial Exhibition, 1888. He married, Catherine
Cousens in July, 1889. Lindt closed his Melbourne
studio in 1894, and established “The Hermitage,” a
mountain resort at Blacks’ Spur, Victoria. He lived there
until his death on 19 February, 1926.
Awards include; Brisbane, 1876; New South Wales
Academy of the Arts, Sydney, 1876; Philadelphia Cen-
tennial Exhibition, 1876; Paris, 1878; Sandhurst, 1879;
Christchurch, 1882; Melbourne, 1880; Amsterdam,
1883; Calcutta, 1884; Frankfurt-Main, 1885; Melbourne
Centennial Exhibition, 1888; World’s Columbian Exhi-
bition, Chicago, 1893. His publications include: A Few
Results of Modern Photography (Melbourne, 1886);
Apparatus, Chemicals and Requisites for Modern Pho-
tography (Melbourne, 1886); Picturesque New Guinea
(London, 1887); “Ascent of the Tanna volcano and a
tour through the New Hebrides group,” in Transac-
tions of the Royal Geographical Society of Australasia
(Victorian Branch), Vol. 8, No. 2 (Melbourne, 1891);
“The Resources and Capabilites of the New Hebrides,”
in Transactions, Vol. 10, (Melbourne, 1893); “The Fire
Ordeal at Beqa, Fiji Islands,” in Transactions, Vol. 11
(Melbourne, 1894); Companion Guide to Healesville,
Blacks’ Spur, Narbethong, and Marysville (co-pub-
lished with Nicholas Caire, Melbourne, 1904, reprinted
1912–13, 1916–17); and A Tale About a Wayside Inn
(1920).
See also: Royal Geographical Society; Dry Plate
Negatives: Non-Gelatine, Including Dry Collodion;
and Pictorialists.
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
Meets the Eye: Photographic Records 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: Cur-
rey 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 Re-
gional 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
Indigenous Peoples, edited by Mick Gidley, Exeter: Exeter
Studies in American and Commonwealth Arts, No. 4, Uni-
versity of Exeter Press, 1992.
Willis, Anne-Marie, Picturing Australia: A History of Photogra-
phy, Sydney: Angus & Robertson, 1988.LION, JULES (c. 1816–1866)
American daguerreotypist
Jules Lion, also sometimes spelled as Lyons, is the ear-
liest known African American daguerreian artist in the
United States. He was also the fi rst daguerreian artist
in New Orleans.
Born in Paris around 1816, Lion was listed as a
painter in New Orleans as early as 1837. News of the
daguerreotype process reached New Orleans on Oct.
1, 1839, with the publication of an article in the New
Orleans Bee. Within six months, in March 1840, Lion
was exhibiting daguerreotypes he had made, including
images of local buildings. He also demonstrated the
daguerreotype process. He may have been assisted in his
early experiments by his brother Achille, a dentist.
Although no documentation exists to confi rm it,
Lion may have infl uenced the renowned southern pho-
tographer George S. Cook, as Cook was a painter in
New Orleans at the time and learned the daguerreotype
process in the city.
Lion maintained daguerreotype studios at several
locations on Royal and Charles Streets in New Orleans
from 1840 to 1844. In 1843 he began offering hand-
colored daguerreotypes, but a year later largely aban-
doned the photography business in favor of painting and