Although Cape Town has had a port for hundreds of years, it has never been a port city like, for example, Istanbul. It was started as a result of human necessity by the Dutch East India Company in the 17th Century as a half-way house and watering hole on the long voyage to India. However, by the fifties, the richer, mostly white population had moved away from the exfoliating atmosphere of tar and sea- winds of the docklands and made for the more salubrious suburbs with their welter of lush green lawns and stench of privilege.
This photograph has been in my wife’s Goles family since it was taken by Ravenscroft in about 1919 (click here to read more about Ravenscroft). Standing in the doorway of the Olympia Café is my wife’s Greek grandfather Athos (Arthur) Goles – who owned and ran it from the day it opened. To the right is the Olympia Picture Palace the then new bioscope that, as can be seen, is advertising the film The Vigilantes released in the USA in 1918.
With reference to the early Durban based photographers Caney, one author recently confirmed the challenge in “disentangling” the relationship between the various Caney individuals.
The number of Caney photographs identified in the Hardijzer Photographic Research Collection also confirms that closer scrutiny was required as to who these photographers were. The photographs in this research collection, all dating from prior to 1905, include studio-based images as well as images captured during the Anglo-Boer war.
Always in search of original South African photographic images from before 1915, the author recently acquired several photo albums from this era at a Pretoria based antique fair.
One of these photo album stands out in that the theme is purely tennis-based, spanning over a 4-year period (between 1909 and 1913).
By chance, whilst researching an unrelated topic, Annel Meyer stumbled upon a photograph taken by the Pretoria based photographer Samuel Tweddill around 1880. This photograph was included in an article published on theheritageportal during July 2018 (click here to view).
Toys, like play itself, serve multiple purposes for both humans and animals (just picture the joy created whilst watching a kitten at play with an arbitrary toy).
Toys provide entertainment and fun whilst fulfilling an educational role at the same time. Although unlikely to have been the original intent, they also enhance cognitive behavior, stimulate creativity and aid in the development of physical and mental skills which are necessary in later life.
Recently the author acquired a Victorian Photo album which contained a number of Carte-de-Visite format photographs of Berlin Mission Society missionaries, all attached to the German Lutheran church in Berlin (dating from between 1865 and late 1870s).
First National Bank (FNB) just celebrated their 180th birthday on 15 December 2018. What makes this particularly significant is that the FNB storyline runs in parallel with South African history.
Following the true corporate trend, FNB, as it exists today, came about following a complex tapestry of buyouts and amalgamations to become the well-established bank it is today. This journey certainly did not occur without any upheavals – but the bank managed to stand the test of time.
The South African Border War had an immense social, cultural and political impact on South African society at the time. It resulted in unnecessary loss of life and much trauma, not only for the conscripted men, but also families back home.
This article, which focuses solely on South African beach photography prior to 1970s, is an extension on a similar article recently published on South African pavement photography (click here to read).
The primary purpose of this article is to introduce the first known catalogue (Version 1 – as at November 2018 - click here to download) of Anglo-Boer war stereographic images produced by the American based Underwood and Underwood Publishing Group.
I recently came across the souvenir album Barnett's Views of Johannesburg and Suburbs. I photographed a panoramic view of the early town (in three sections) and thought I would share it. The book has no date but the look of the cover, very art nouveau design with floral garland, and the street scenes and buildings leads me to believe that it was published in the late 1890s or early 1900s.
In a recent article published by the author (click here to view), reference was made to a modern photographic phenomenon, namely “found photographs”. In short: “Found photographs” are discarded vintage photographs typically found at charity stores, car boot sales, flea markets or antique fairs. As a single image, any “found” or the converse thereof, “lost” photograph, has sadly lost its original context when viewed by a total str
In May 2018 Robyn Keet, our picture library manager at the time, teamed up with the PhotoZA Gallery in Rosebank Mall, Johannesburg, to create an exhibition of photography that covered the apartheid period in South Africa from the 1950s to the 1980s. DocuFest Africa: The Exhibition, showcased at times rare and unusual images of life in South Africa taken by leading photographers at the height of apartheid. Curated by Reney Warrington, the Exhibition was drawn from collections represented by Africa Media Online.
I recently came across a remarkable set of 33 period coloured and monochrome postcards of Johannesburg (click here to view). The postcards date from somewhere between 1904 and 1908. They are photographic images and show street and architectural views of Johannesburg in the Edwardian period. They were published and printed by a company called Braune and Levy of Johannesburg.
Recently the author was in Port Elizabeth searching for photographic material at book dealers, used goods and antique shops in town. At one of these stores he posed his standard question to a dealer: “Do you have any old photo-stories”? With the dealer not understanding the question, the author then explained what they were. To which the dealer responded: “Oh, you are referring to Café Bibles!”.
This article reflects on the influence of South African ethno-photographs on the picture postcard industry together with a reflection on their individual histories.
Most picture postcards at the turn of the 19th century had a strong photographic theme where publishers of the picture postcard relied on the original photograph for commercial purposes.
During the early commercially embryonic era of photography, photographers from all over the world attempted to generate an income from this new art form. Many aspirational photographers arrived and settled in South Africa from countries such as Ireland, England, Australia, Switzerland, Holland, Latvia and Germany, to mention but a few.
Rudolf Gottfried Steger was born in Germany on 11 March 1871. He left his country of birth aged 10 to attend school in Switzerland and then went on to complete four years of religious studies in Rome. Whilst in Switzerland, he also trained as a medical assistant at the Red Cross in Geneva – a skill that would later come in handy.
Steger arrived in South Africa during 1894 and became a naturalised burger (citizen) whilst based in Paarl during 1896. He established his first studio in Pretoria during 1898 aged 27.
In the early 1960s the Apartheid Government declared Pageview a white suburb (using the Groups Areas Act) and a decade later the bulldozers began their work. Residents were removed to Lenasia while many traders took up space at the Oriental Plaza. It was during this time that Franco Frescura set out to document some of the spaces, places and people of the area. Below are a few photos from 1973 that may interest readers. No captions have been added. If you recognise a person or building please post a comment below the article.