If the story is to be believed, the contents of a mystery trunk the artistic passion of yet another unknown early 20th Century photographer have been saved once again in the name of photographic collecting. The evidence was several hundred photographs tucked inside:

“The dealer had bought a trunk from an estate of a lady who had passed away.”

A story I’ve encountered before in my online foraging. My offer, in order to keep the archive together, was fortunately accepted, and now share with you a glimpse of some of these fruits.

Typically, when photographs enter this collection, initial research on origins and other factors are made and then set aside-often for years- until more deductions can be made or oftentimes additional primary source material percolates into that vast library we all humbly know as the public Internet.

But exceptions, at least in my world, always exist. For these latest trunk photographs coming to light, my discovery a small portion documenting a place and event celebrating 100 year anniversaries in 2015 were primary motivators in showcasing them now with this post. These were the establishment of the Japanese Hill-and-Pond Garden in 1915 at the Brooklyn Botanic Garden, considered the first Japanese garden created in an American public garden, as well as a small cache of photographs taken the same year at the Panama-Pacific International Exposition in San Francisco, California.

But there’s more as they say. Many of the photographs: gorgeous little jewels printed directly onto small impressed and ruled pieces of photographic paper which act as mounts-some toned in verdant hues of green for landscapes, blues for seascapes and others beautifully hand-colored, are known to have been taken in the mother of the Brooklyn Botanic Garden itself, the expansive 585-acre Prospect Park designed by Frederick Law Olmsted and Calvert Vaux- Brooklyn’s version of New York City’s Central Park which is celebrating its’ 150th anniversary in 2016.

Frustratingly, the photographer’s identity responsible for these fruits is presently unknown, other than a cyanotype image included with the collection showing a dapper gentleman believed to be this person standing behind a tripod-mounted Graflex model camera. Photographically printed within the outlines of a leaf while standing in a park-like setting, he wears a straw boater hat while dressed in a suit and raises his hand clenching a pipe towards the scene before him as if to say, “now that’s a scene worthy of my camera”, or something to that effect.

 Several other photographs showing an unknown woman, most likely the photographer’s wife, or perhaps the artist herself,  (can’t be ruled out) were also included in the trunk photographs. In one, a full-length profile view, she examines a Magnolia blossom in a park setting. (shown here) In another, her gaze is directed towards the camera while wearing an Asian influenced floral dress posing in front of blooming Wisteria vines.  The dealer who had initially acquired the photographs, according to the seller I purchased them from, stated they had been acquired from the estate of a woman, (most likely depicted in the photographs) who had (presumably) attended or graduated from Wesleyan Female College, (now Wesleyan College) in Macon, Georgia at the turn of the 20th Century.

And even though the photographs ended their life residing in a mystery trunk in the American South, I’ll label them for now as being the work of  Unknown Brooklyn, in order to keep their attribution consistent for those searching this archive going forward.

Photography up to our modern day is by definition “Drawing with Light”, whereby the permanent recording of an object is achieved via electronic or chemical action. Simplistically this makes sense, but in order to make the outcome relevant and interesting enough to matter, especially in our visually overloaded present, practitioners to put it mildly need to include a bit of heart and soul into their efforts.

Emery Gondor (Emerich Göndör: 1896-1977) had these last two qualities in abundance. A Hungarian artist of prodigious talent who worked in multiple artistic disciplines including photography, the recent acquisition by this archive of some of his signed 1925 linocuts prove a teachable moment for why the manipulations of light and dark in another medium are instructive for creative souls in the present.

Some background, including the reality and history of turbulence in early 20th Century Europe, are critical to our understanding in how artists like Gondor could not be defeated by hatred which destroyed millions of lives and split apart society’s fabric there.

Indeed, his empathy for those shattered lives were taken to heart in the aftermath of his three and a half year service as a soldier in World War I which changed his life forever. Combined with his interest in progressive art education for children discovered in the early 1920’s while attending Vienna’s Academy of Industrial Arts and his work with emotionally disturbed children at the University Clinic there gave him an outlet and purpose for artistic expression, and would culminate towards the end of his career in the 1960’s as director of the art program at the Institute for Mental Retardation at New York Medical College (today : Westchester Institute for Human Development) after earning a degree in Clinical Psychology from New York State University. (1.)

In an 1936 artist profile published in the graphic arts journal PM Magazine soon after his immigration to the United States from Europe, Emery Gondor writes:  

“But my real interest and love is children. I illustrated many children’s books for the “Union Verlag” Stuttgart, the biggest children’s publishing house, and other youth-publications.” …I made up many hundreds of games for children, puzzles for adults, comic strips. I exhibited again and wrote many articles about humorous observations of children. I always received hundreds of fan letters from my children friends.” (2.)

The Germinal Circle

As a young artist living and just getting by in Vienna after WWI, Gondor did not shy away from progressive ideas as well as the opportunity to sell his original artwork while promoting himself. Traveling to London in late 1923, he did live caricature sketches of poems read aloud by their authors on November 5th and 23rd as an invited guest of the Germinal Circle. Organized by the Italian anarchist Silvio Corio and his lover Sylvia Pankhurst, a like-minded British writer whose mother Emmeline Pankhurst was the leader of the British suffragette movement, the circle was an artistic and literary salon for their short-lived political and cultural monthly magazine Germinal  founded the same year. (3.)

Several of Gondor’s original linocuts, including one incorporated into an advertisement showing a figure with outstretched arms standing next to a grouping of over-sized flowers facing emanating sun rays were reproduced as part of promotional literature in Germinal. The artist from this period is described in a typescript document held with the reproduction in the library of the Leo Baeck Institute in New York City:

The Germinal Circle has pleasure in introducing the work of Emerich Gondor, a young Hungarian artist, who has not previously exhibited in this country. A rapid caricaturist and cartoonist, he works with equal facility through lithography, wood-cuts, lino-cuts and many other mediums. (4.)

Sehnsucht nach Licht: Yearning for Light

Emery Gondor’s style in his surviving linoleum cuts  from the early 1920’s were certainly influenced by the German Expressionists, and of the heartbreak and for many, hope in the aftermath of the first World War. With emotional joy and pathos rendered in exaggerated strokes of light and dark, the symbolism of the sun and its streaming rays reaching out to embrace humankind is duly represented by his hopeful thematic subjects among others including a family, baby, old man, a blind man, and prisoner locked in a cell as well as the artist himself in signed impressions, several of which are seen here.

The original 1925 cover maquette linoleum cut by Gondor, featuring the aforementioned figure with outstretched arms, has the hopeful title Sehnsucht nach Licht . (Yearning for Light) Featuring eight original linoleum cuts with the themes outlined above, the work is not believed to have been published other than several copies, although seven of the eight plates as well as the maquette can be found here on this website as well as the full compliment and other examples of Gondor’s artwork from his career at the Baeck Institute online site.

 

Sobering, but Necessary

Eventually, Gondor’s talents paid off. Besides honed artistic chops, abundant energy, charisma and a sunny disposition as evidenced by his ever-present smile seen in surviving photographs, he attained the title of Art Director for the Ullstein Verlag publishing house of Berlin, the largest concern in Europe. But then in 1933, the Nazis came, he wrote in the 1936 PM profile, and everything changed and was lost. In September of 1935, Gondor’s former editor Hartmuth Merleker of the Ullstein newspapers Tempo and Berliner Montagspost wrote a glowing review of his talents which spoke of this fine character giving him the needed credibility in the eyes of German authorities and the right to emigrate for his new life in America:

“He worked mainly as comic and propaganda artist and as a theater photographer and absolved himself to everyone’s satisfaction. He tactfully refrained from attending any non-artistic, non-photographic activities, and as a Hungarian citizen was never known to abuse the right to hospitality he enjoyed in Germany to Germany’s disadvantage.” (5.)

Sobering in hindsight of course. What true artist in their own mind could “tactfully refrain from “any non-artistic, non-photographic activities” during the course of his or her work? Fortunately for us, Emery Gondor had a bit of luck going his way as well, with earlier examples of his artistic legacy preserved here for posterity and later career achievements benefiting those children he helped and inspired a testament to the abundant light emanating from his own oversized heart and soul.

David Spencer- October, 2015

Notes:

1. background: Emery Gondor: Biographical/Historical Note: from: Emery I. Gondor Collection: Leo Baeck Institute online archive accessed Oct. 2015. In Gondor’s 1954 application to publisher Doubleday for his book Art and Play Therapy published the same year, it stated he “is a sensitive clinician of long and varied experience. Early in his career he had no intention of becoming a psychologist or psychotherapist, but began as an artist and teacher of art after attending the Royal Hungarian University and receiving his diplomas from the Federal Academy of Art in Budapest. As a young art teacher, however, he was faced with the misery of children who suffered tremendously during and after the first World War, and felt that he had to understand more about their problems in order to be able to help them. Thus began his interest in the study of psychology.”
2. PM: 1936: Mr. Gondor comes to America: p. 7
3. Germinal, a quarto monthly ran for two issues in July, 1923 and one other unknown issue published in 1924. “This illustrated journal published fiction by Gorky, drama by Ernest Toller, poetry by Alexander Blok, by Anna Akhmatova and by Pankhurst.” see: Morag Shiach: Modernism, Labour and Selfhood in British Literature and Culture, 1890-1930: Sylvia Pankhurst: labour and representation: 2004: p. 103
4. see: The Germinal Circle: Leo Baeck Institute Archives: New York: Folder 1/16: Call number AR 25397
5. translated, hand-written copy of Sept 7, 1935 letter by editor Hartmuth Merleker contained in Leo Baeck Institute online archives. 

Presenting a Summer idyll on the River Thames.

With this highlight, I hope to bring renewed attention to Louise Birt Baynes, an important woman photographer of the early 20th century whose work has gone unrecognized until now. With unattributed select examples of her flower studies purchased for the PhotoSeed archive in 2011, it was in April of 2012 they could definitively be identified through proper attribution in a 1904 issue of the journal Photo Era. Baynes, (1876-1958) was born in Halifax, Nova Scotia and eventually immigrated to America, becoming an art student in the Boston area and later marrying in 1901. After 1904 a lifelong resident of Meriden, New Hampshire, she continued as an amateur photographer, naturalist and author during a fruitful 25-year collaborative marriage with her life partner, the naturalist Ernest Harold Baynes.

— David Spencer         See work by Louise Birt Baynes in the Archive

The former Louise Birt O’Connell, an art student from the Boston area (1.) married the important naturalist and author Ernest Harold Baynes (1868-1925) in 1901, becoming Louise Birt Baynes. Born in Calcutta India, Harold Baynes was 11 when he first came to America from England. Also an  amateur photographer, his father was an inventor “who made substantial contributions to the science of photography.” (2.) Settling in Meriden, New Hampshire around 1904, one of his many accomplishments related to conservation efforts in the United States was his founding of the American Bison Society with the purpose of saving the buffalo from extinction. As for his wife, known as Birt, (3.) Louise Baynes first efforts at amateur photography were believed to be wildlife and or plant studies. Around the time of her marriage, she had “furnished the illustrations” of wildlife subjects for an unknown article written by her husband that was subsequently published. (4.) The flower studies in this online site are early examples of her work, with Golden-Rod published in the pages of the Photo Era in early 1904. Taken in their natural surroundings and not the studio, some of these photographs were done using artificial light sources-so called “flashlight pictures”- most likely photographed using magnesium ribbon as an illumination source. Author and photographer Frank Roy Fraprie, in his article titled Photographing the Wild Flowers for the previously mentioned journal, commented on Golden-Rod as well as a reflection study of skunk cabbage done by Baynes reproduced in the pages of the March issue:

 Mrs. Baynes has conquered all these difficulties, and her picture, “Harbingers of Spring,” is interesting to both the naturalist and the artistic photographer,— to one for its fidelity and to the other for its good composition. …

 Mrs. Baynes brings back to our memory the fragrance of New England fields, the anise odor of the omnipresent yarrow, lover of roadsides and pastures, and the resinous fragrance of the goldenrod, a magnificent specimen, half-emerging in lonesome majesty from the depths of the elder thicket. (5.)

 In 1906, Louise Birt Baynes is listed as being a leading American woman photographer, along with 31 other women, including Jessie Tarbox Beals, Francis Benjamin Johnston, Annie Brigman and others who contributed over 200 photographs for an exhibition hosted by The Camera Club of Hartford. (6.) The same year, she had five photographs, some of animal subjects, shown in the class: Scientific and Technical Photography and its Application to Processes of Reproduction at the Fifty-first Annual Exhibition of the Royal Photographic Society of Great Britain. (7.)

 The eight flower studies done by Louise Birt Baynes on this site are all loosely mounted or tipped to or within period supports. With the exception of one, they are further identified in ink as (h-(Harold)) L.B. on the support verso in Bayne’s hand. In addition to the title of the work appearing on the upper margin of the support rectos, lines of poetry, some original and from other sources further embellish the recto supports below the images. As to provenance, several of the photographs were previously owned by one Nellie B. Sawyer, believed to be a family member of the photographer. Attribution on one support verso states: Nellie B. Sawyer and another: One of Mrs. Bayne’s photographs-To Mother from Nellie.

 Notes:

1. BIOGRAPHICAL TRANSCRIPT: ERNEST HAROLD BAYNES: ONLINE PDF DOCUMENT GATHERED FROM MULTIPLE SOURCES, (1993?) STARTING WITH CROYDON (N.H.) HISTORIAN DANA S. GROSS, ET AL: ACCESSED: 2012 
2. IBID: PLEASE ALSO SEE ONLINE: NEW ENGLAND NATURALISTS: A BIO-BIBLIOGRAPHY BY FRED BURCHSTED, WHO LISTS IN HIS BIOGRAPHY ON BAYNES THAT HE WAS AN: ASSISTANT TO HIS FATHER, JOHN BAYNES, INVENTOR OF PHOTOGRAPHIC MODELING, 1893-1900. FROM JOHN BAYNES (1842-1903) SEPTEMBER 30TH OBITUARY NOTICE IN THE NEW YORK TIMES, IT IS SAID: “HIS FIRST GREAT INVENTION BEING THAT OF THE CELLULOID PHOTOGRAPHIC FILMS” WAS ACCOMPLISHED SHORTLY AFTER HIS ARRIVAL TO AMERICA FROM ENGLAND IN 1875. HE FOLLOWED THIS IN 1885 WITH THE INVENTION OF THE GOLD ETCHING PHOTO PROCESS AND THEN PHOTOGRAPHIC MODELING, AND PHOTOGRAPHICALLY MODELED RECORDS OF SOUND VIBRATIONS AMONG OTHER INVENTIONS.
3. IBID: ERNEST HAROLD BAYNES TRANSCRIPT
4. IBID
5. PHOTO-ERA-THE AMERICAN JOURNAL OF PHOTOGRAPHY: MARCH, 1904: PP. 37-38. “HARBINGERS OF SPRING”, A STUDY OF SKUNK CABBAGE, APPEARS ALONG WITH SEPARATE HALFTONE PLATES OF “YARROW” AND “GOLDENROD” IN THE ISSUE.
6. WITH THE CAMERA CLUBS: FROM: THE AMERICAN AMATEUR PHOTOGRAPHER: NEW YORK: MAY, 1906: P. 248
7.  THE PHOTOGRAPHS EXHIBITED WERE: 324. “PRAIRIE WOLF”, 325. “AT CLOSE OF DAY” 326. “PRAIRIE WOLF”
327. “EVENING” 328. “THE PRICE OF LIFE”. INTERESTINGLY, BAYNES IS ALSO LISTED WITH THE LONDON (REGENT’S PARK) ADDRESS OF 12, HILL ROAD, ST. JOHN’S WOOD, N.W. IN THE ONLINE CATALOGUE OF THE EXHIBITORS.