POWERHOUSE COLLECTION

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Collection of photographs of China

Object No. 2009/104/6

The photographs are significant documents relating to the operations of the Eurasia Aviation Corporation in China in the early twentieth century. They depict places such as Canton, Hankou, Lanzhou, Beijing including Forbidden City, Summer Palace and Ming Tombs, Shanghai, Xian and the Yangtze River. The photographs also document life and people in those places. Many of the photographs have been stamped on the back with the name 'Hans Koester', who was a German pilot working for the Eurasia Aviation Corporation. The address written on one of the boxes marked "ILFORD", 27 Billyard Avenue Elizabeth Bay, Sydney is likely to have been the residence of J.P. Koester. It is likely that J.P. Koester was a relative of 'Hans Koester' and migrated to Australia. Number 27 Billyard Avenue is now a block of flats. The telephone number FL 3504, also written on the box, is a Sydney telephone number. Alphabetic area codes were used in phone numbers up until the early 1940s. FL was the code for the Eastern Suburbs. Among the photographs in the collection are rare images of senior figures in Tibetan Buddhism documenting their interactions with Chinese and Western officials. Many photographs portray the life of ordinary people. Aspects of Koester's life and travels can also be glimpsed. It would appear that Koester had considerable contact with Chinese and Tibetan people. Many of the photographs document ceremonies that he attended as a consequence of transporting Panchen Lama (meaning "Great Scholar") back to Tibet. This specific event that a number of the photographs document occurred when the Panchen Lama arrived on the upper Xining River near the capital of Gansu following his travels in Central China, Manchuria and Inner Mongolia. The Panchen Lama depicted in 3 of the photographs was the 6th Panchen Lama, Thubten Choekyi Nyima (1883-1937), who was recognised as the Panchen Lama in one of the four great monasteries of the Gelugpa School of Tibetan Buddhism. The Gelungpa school was found in 1447 considers Thubten Choekyi Nyima the 9th Panchen Lama as they count back three incarnations further to Khedrup Glek Pelsang who they consider to be the first Panchen Lama. During 1913, on the basis of political experience gained abroad, the 13th Dalai Lama decided to reform Tibet to provide it with a well-equipped and well-trained army. The Dalai Lama and Tibetan government decided to introduce a special levy for the aristocracy and religious institutions to cover this cost. The 6th Panchen Lama, who had previously not paid any taxes, initially declared that it was unfair. In 1923, the Lhasa government again reminded the Panchen Lama that he had to pay the levy but the negotiations remained deadlocked. The Panchen Lama sent an offering of incense to the Dalai Lama indicating that he was changing his residence. In return, the Dalai Lama sent a white horse to the Panchen which in symbolic terms, authorised him to leave Tibet. After his departure from the Tashilhunpo monastery, the Panchen Lama travelled to Inner Mongolia and then Gansu. The Panchen Lama, an important religious figure for the Republican Chinese government exercised spiritual influence to pacify Tibetan and Mongolian people who had seceded from China in 1911 and whose territories stretched along China's north-western border. As a result, from the middle of 1924 to early 1925, the Panchen Lama was under the protection of local warlords in Gansu who provided for his security and material requirements. According to the American scholar Warren Smith, the Panchen Lama's flight hampered the Dalai Lama's Attempt to create Tibetan political unity and to centralise Tibetan administration. One photograph taken by Koester records the 6th Panchen Lama sitting in an airplane (Guomindang or KMT is the Chinese National People's Party that ruled China from 1912). After extensive travels in Gansu, the Panchen Lama accepted an invitation to visit Beijing. He travelled there on 17 January 1925 with a large escort. The historian Jamyang Norbu says of this image: "the photograph depicting a saintly though naïf figure was possibly used by the Chinese Nationalist government to weaken Tibetan effort to demonstrate their independence". The majority of the photographs in the collection are thought to have been taken by Hans Koester, a German Pilot. Hans Koester served Eurasia Aviation from 25 January 1934 to 28 February 1937. At the time, the airways were controlled by the Chinese Nationalist Government. Private aeroplanes were not allowed. The photographs provide important documentation of China during that period. The Eurasia Aviation Corporation was established in February, 1930. The China National Aviation Corporation (CNAC) was founded earlier in 1929 and commenced commercial services between Shanghai and Hankou, a distance of 539 miles. At about the same time, a German company was in negotiation with the Chinese government, to open a new airline. On 21 February 1930 a ten-year agreement between Luft Hansa Deutsche and the Chinese Ministry of Transport was for the operation of "Eurasia", a Sino-German corporation. Luft Hansa was at the time one of the largest aviation enterprises in Europe. Air Eurasia was set up to open up a shorter and faster route between China and Germany (Berlin). The Eurasia Aviation Corporation was a transport company controlled by the Chinese government and had weekly service to Lanzhou, north western China. The international route was never operational. In 1931 and 1932, 40% of Eurasia's passengers were officials who travelled free of charge. The plan to link Shanghai to Tchukuchak (Chuguchak) on the boarder of Xinjiang was short lived owing to political disturbances in Xinjiang. In 1937, the airline operated some 2,480 miles from Shanghai to Lanzhou and Baotou and to Kunming in Yunnan province. The company grew rapidly. In 1936, its planes flew 565,015 miles and carried 5,115 passengers, 59,314 pounds of mail and 433,831 pounds of freight, an increase of nearly 100% over 1935. Reference Hall E. Russell 'Expanding Airways in the Far East' in Far Eastern Survey, Vol. 6, No. 9 (Apr. 28, 1937), Institute of Pacific Relations, pp.95-101 Karl Morgenstern & Dietmar Plath, Eurasia Aviation Coorporation: Junkers & Lufthansa in China 1931-1943, Geramond, Munchen, 2006 Lillico Stuart, 'The Punchen Lama' in The China Journal Vol., XXI September 1934, No.3 http://www.talesofoldchina.com/journal/193409/t-340902.php, 06/05/09 'The flight to the Middle Kingdom', Lufthansa China newslink Special13/2006, pp3-6, http://konzern.lufthansa.com/en/downloads/presse/newslink/newslink_2006_09sp13/nl_sp13e_china.pdf, 06/05/09 William C. Kirby, "Technocratic Organization and Technological Development in China, 1928-1953." In Science and Technology in Post-Mao China, edited by Denis Fred Simon and Merle Goldman, 23-44. Cambridge: Harvard University Press, 1989 William C. Kirby, "The Chinese War Economy: Mobilization, Control, and Planning in Nationalist China." In China's Bitter Victory: The War With Japan, 1937-1945, edited by Steven I. Levine and James C. Hsiung, 185-213. New York: M.E. Sharpe, 1992. William C. Kirby, "Intercultural Contacts and International Relations: China's Relations with Germany, the Soviet Union and the United States, 1927-1944." In Deutschland und China, edited by Kuo Heng-yü and Mechthild Leutner, 225-252. Münich: Minerva, 1994. Warren Smith, Tibetan Nation, Westview Press, Boulder, Colorado, 1996 Jamyang Norbu, BLACK ANNALS: Goldstein & The Negation Of Tibetan History (Part II), http://www.jamyangnorbu.com/blog/2008/07/27/black-annals-goldstein-the-negation-of-tibetan-history-part-ii/, 10/06/09 Anna Kim, Curatorial Research Assistant

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Summary

Object Statement

Collection of photographs in boxes and envelopes, paper / cardboard, various photographers and makers, China, 1930s

Physical Description

One (1) thick commercial cardboard box for 'ILFORD Photographic Paper MADE IN ENGLAND' inscribed "Rejects", "J.P. Koster, 27 Billyard Avenue, Elizabeth Bay" (and "Laobao" in Chinese characters) containing 54 loose photographs, one (1) yellow envelope containing 59 black and white photographs and four (4) thick commercial cardboard boxes for "Kodak" inscribed "A.V China. Sian - Lanchow - Peking", "A.V. China. Shanghai - Hankow- Canton", "G.V. Sian - Lanchow - Peking" and "G.V Shanghai - Hankow - Canton" containing black and white loose photographs in small envelopes. All taken in China by 1930s. 1. One (1) ILFORD box The "ILFORD" box is covered with glossy yellow paper. The colour is faded and the corners of the box are worn. The box contains 54 black and white photographs of China including 37 aerial views. The photographs in the box are copies of photographs from 4 Kodak boxes. The subjects of the photographs include scenery, landscapes, pagodas, palaces, streets and genre scenes. There are 8 large-sized prints with green stamps on the reverse of the photograph "COPYRIGHT RESERVED BY CPT. J. P. KOSTER FILM NO_ NEG. NO_", 44 large prints with no stamps and 1 small photograph bears a blue stamp "COPYRIGHT BY HANS KOESTER 'EURASIA' 25 JINKEE ROAD, SHANHAI - CHINA" in an airplane shape on the reverse. 2. One (1) yellow envelope The yellow envelope contains 59 black and white photographs. There is one small yellow envelope included, inscribed in pencil : 'B. LIFE + PEOPLE IN HANKOW SPARES'. Most of the photographs are copies of photographs in the 4 "Kodak" boxes. The photographs are different sizes. The largest photo measures 25x19.4cm, the smallest 15.2x21cm and the rest are approximately 25x18.5cm. The photographs also have different stamps on the reverse. 2 large prints bear "Copyright reserved by Cpt. J.P. Koster" in green, 47 of the other photographs bear airplane-shaped stamps inscribed: "COPY GHT BY HANS KOESTER "EURASIA" 25 JINKEE ROAD, SHANHAI - CHINA" in blue. The photographs depict genre scenes such as people waiting for the Panchen lama, lamas, houses, festivals, Chinese junks, and landscapes such as Ming Tombs, pagodas, the Forbidden City (Peking) and aerial scenes of northwest China. On the back of one photograph depicting a lama riding a horse waiting for the Panchen Lama's arrival, a hand written inscription reads, "All the cardinal colours use included this Lamas garments and saddlery". One photograph also portrays a lama with sunglasses riding a horse, with a piece of paper adhered to the back with typed information: "WAITING PRIEST. Lama priests awaiting the arrival of their ecclesiastical ruler along the valley of the Upper Sining [Xining]River". One photograph depicts junks: "Chinese junks at anchor, with sails furled, lying on the Yangtse. The little sanpans [sampans] are used for plying backwards and forwards to the land.". There are some photographs of the Panchen Lama. One portrait in particular is descrived on the back, "PANCHEN LAMA RETURNING TO KOKONOR (Koko No is the Mongolian name of Qinghai Lake). The pageants shown by the surrounding pictures were taken by Mr Hans Koester, Eurasia Aviation Corporation pilot, on a recent flight when he took the Panchen Lama, - Living Budda, back to Tibet. They depict the ceremonies which occurred when the Lama, the Spiritual head of Tibet after his travels in China Manchuria and Inner Mongolia, arrived on the grass lands on the Upper Sining (Xining) River near the capitol of Kansu (Gansu). A reception was offered to his supreme Holiness at Sining Fu, before he made the climb over the mountain range to the famous Tibetan Temple City situated 9,000ft above sea level. Kumbum, which is also situated at the entrace to the Tibetian highlands. Accounts of Kunbum have been available through the travels of Father Pere Huc and Frere when they made the route from Eastern Mongolia to Lhassa in 1842. In his 'Travels in Eastern Tibet' Sir Eric Teichman gives accounts in extenso of Kumbum where 700 years the dominant of Yellow Church of Lamaism was founded." 3. Four (4) Kodak boxes The 4 cardboard boxes are covered with faded brown paper and are damaged with worn corners. The boxes contain small envelopes of black and white silver gelatin photographs taken in China in the 1930s. The loose prints are slightly different in size. Many photographs are stamped on the reverse "Copyright reserved by Cpt. J.P. Koster" and "COPY GHT BY HANS KOESTER 'EURASIA' 25 JINKEE ROAD, SHANHAI - CHINA" in black and blue ink. On the back of one photograph in Box 2, from a collection, relating to the Panchen Lama, there is a date stamped '6 DEC 1935', and a paper label glued to the back records; 'Lama dignitaries attired in citron-yellow silk robes and peculiar festival hats, awaiting the arrival of the Living Budda.". Box 1. Marked "A.V CHINA SHANGHAI - HANKOW - CANTON" containing 322 photographs in 20 yellow envelopes. 1. An envelope marked "8x10 Loes A.V. LANCHOW - NINGSIA" containing 5 photographs. 2. An envelope marked "10 8x10 different subjects G.V. " containing 4 photographs. 3. An envelope marked "Peking 28 MING TOMBS 8x10 + Spares" containing 8 photographs. 4. An envelope marked "Spares" containing 35 photographs. 5. An envelope marked "Japanese Alps" containing 20 photographs. 6. An envelope marked "CHANGCHA Spares" containing 13 photographs. 7. An envelope marked "CHENGHSIEN - SIAN, CAVE DWELLINGS Spares + Repeats" containing 13 photographs. 8. An envelope marked "SHANGHAI (ROOFS) " containing 10 photographs. 9. An envelope marked "NINGSHIA - MONGOL GRALES, ORDOS - DESERT, TEMPLE - TOWN" containing 25 photographs. 10. An envelope marked "PAOTO 1)LAMA MONASTRY" containing 21 photographs. 11. An envelope marked "Lanchow" containing 16 photographs. 12. An envelope marked "PEKING 1)LAMA TEMPLE 2)PAGODA" containing 22 photographs. 13. An envelope marked "Spares" containing 13 photographs. 14. An envelope marked "Shanghai HANGCHOW BAY" containing 17 photographs. 15. An envelope marked "SHANGHAI - NANKING" containing 23 photographs. 16. An envelope marked "PANCHEN - LAMA B" containing 13 photographs. 17. An envelope marked "CANTON Spares" containing 14 photographs. 18. An envelope marked "CANTON C GENERAL STREET LIFE" containing 13 photographs. 19. An envelope marked "HANKOW - CHANGSHA + YANGTZE RAFTS G.V. + A.V. " containing 22 photographs. 20. An envelope marked "CHENGCHOW - SIAN 1) Cave dwellings" containing 15 photographs. Box 2. Marked "G.V. Shanghai - Hankow - Canton" containing 510 photographs in 17 yellow envelopes. 1. An envelope marked "Private, Collection" containing 72 photographs. 2. An envelope marked "Lanchow, G.V" containing 23 photographs. 3. An envelope marked "4x10 Temple G.V." containing 15 photographs. 4. An envelope containing 8 photographs. 5. An envelope marked "PEKING - CITY, 1) Forbidden City 8, 2)Temple & Actor, 3) Palace" containing 14 photographs. 6. An envelope marked "Chang" containing 36 photographs. 7. An envelope marked "PANCHEN - LAMA, Spares" containing 14 photographs. 8. An envelope marked "PEKING, SUMMER PALACE" containing 20 photographs. 9. An envelope marked "Lanchow, Spares" containing 10 photographs. 10. An envelope marked "Brick Yard" containing 27 photographs. 11. An envelope marked "CANTON, general street life, Spares" containing 14 photographs. 12. An envelope marked "LANCHOW" containing 67 photographs. 13. An envelope marked "SIAN - CHENGTU - YUNAN FU"containing 50 photographs. 14. An envelope marked "SIAN - FU" containing 50 photographs. 15. An envelope marked "CHANGSHA - CANTON, TUNNEL TO CANTON" containing 50 photographs. 16. An envelope marked "HENGYANG, building" containing 7 photographs. 17. An envelope marked "PANCHEN - LAMA" containing 33 photographs. Box 3. Marked "A.V China. SIAN - LANCHOW - PEKING" containing 443 photographs in 21 yellow envelopes. 1. An envelope marked "SIAN - LANCHOW, LOES TERASSES, SPARES" containing 31 photographs. 2. An envelope marked "Mongolia - Paots, (Spares & Repeats)" containing 22 photographs. 3. An envelope marked "SHANGHAI (GENERAL)" containing 9 photographs. 4. An envelope marked "MINGSIA - CITY" containing 17 photographs. 5. An envelope marked "CHENGTU (SZECHWAN) containing 16 photographs. 6. An envelope marked "NINGSIA - CITY, Spares" containing 9 photographs. 7. An envelope marked "Peking - Paoto (Whites), NOT INTERESTING" containing 11 photographs. 8. An envelope marked "MUGDEN & MANCHULIE" containing 22 photographs. 9. An envelope marked "LANCHOW - CITY, 1) HWANG - HO VALEY 9" containing 9 photographs. 10. An envelope marked "CHENGSIEN - SIAN, HOLY MT. & LOES, Spares" containing 10 photographs. 11. An envelope marked "Sandrow, Spares" containing 10 photographs. 12. An envelope marked "CHANGSIA (HUNAN)" containing 15 photographs. 13. An envelope marked "Junkies" containing 48 photographs. 14. An envelope marked "CHENGCHOW - SIAN, 1) Holy Mts 5, 2) Loes 11, 16" containing 16 photographs. 15. An envelope marked "CANTON. D., GRAVE MOUNTAINS" containing 29 photographs. 16. An envelope marked "SIAN - LANCHOW" containing 49 photographs. 17. An envelope marked "SIAN - LANCHOW, Spares" containing 26 photographs. 18. An envelope marked "NINGSIA - PAOTO, 28, OK" containing 28 photographs. 19. An envelope marked "LANCHOW - SINNING (B.), OK" containing 8 photographs. 20. An envelope marked "SIAN - LANCHOW, 29, OK" containing 29 photographs. 21. An envelope marked "Lanchow, Duplicates" containing 29 photographs. Box 4 G.V. SIAN - LANCHOW - PEKING containing 355 photographs in 18 yellow envelopes. 1. An envelope marked "CANTON A REIS" containing 29 photographs. 2. An envelope marked "CHAYCHOW (SOUTH HUNAN)" containing 13 photographs. 3. An envelope marked "PEKING (general street scenes)" containing 31 photographs. 4. An envelope marked "CANTON E." containing 16 photographs. 5. An envelope marked "LANCHOW (KANSU PROV.) LIFE ON HWANG-HO RIVER" containing 17 photographs. 6. An envelope marked "C. PANCHEN - LAMA" containing 28 photographs. 7. An envelope marked "MONGOLIA" containing 15 photographs. 8. An envelope marked "JUNKS Spares" containing 21 photographs. 9. An envelope marked "Dragon boat Festival (Canton)" containing 20 photographs. 10. An envelope marked "HEADS" containing 49 photographs. 11. An envelope marked "Shanghai Roofs Spares" containing 17 photographs. 12. An envelope marked "PEKING - FORBIDDEN CITY" containing 1 photograph. 13. An envelope marked "CANTON (MODERN ARCHITECTURE) Spare" containing 10 photographs. 14. An envelope marked "YUNAN 1) Pagoda in KUNMING" containing 9 photographs. 15. An envelope marked "Rests - Spares" containing 6 photographs. 16. An envelope marked "Spares" containing 7 photographs. 17. An envelope marked "A. LIFE + PEOPLE IN HANKOW, 1) Hankow Pagoda, 2) CHENGCHOW (HONAN) Pagoda" containing 30 photographs. 18. An envelope marked "CANTON B, 1) LIFE ON PEARL RIVER, 2) CHOW DOG MARKET, 3) WATER BUFFALO" containing 36 photographs.

PRODUCTION

Notes

The silver gelatin process is the photographic process used with currently available black and white films and printing papers. The term originally came from black and white film, which is made with tiny platelets of silver called silver-halide gelatin. They were the dominant print medium until the 1960s, when colour photography took over, and are still in use. More contemporary prints can be reliably distinguished from other photographic media only under microscopic examination. Intense research in the last 125 years has lead to current materials that exhibit low grain and high sensitivity to light. The first silver gelatin process was introduced by R. L. Maddox in 1871 with subsequent considerable improvements in sensitivity obtained by Charles Harper Bennet in 1878. A suspension of silver salts in gelatin is coated onto acetate film, fibre-based or resin coated paper and allowed to dry. These materials remain stable for months and years. When small crystals (called grains) of silver salts such as silver bromide and silver chloride are exposed to light, a few atoms of free metallic silver are liberated. These free silver atoms form the latent image. This latent image is relatively stable and will persist for some months without degradation provided the film is kept dark and cool. Films are developed using solutions that reduce the free silver atoms. An 'amplification' of the latent image occurs as the silver salts near the free silver atom are also reduced to metallic silver. The strength, temperature and time for which the developer is allowed to act allow the photographer to control the contrast of the final image. The development is then stopped by neutralising the developer in a second bath. Once development is complete, the undeveloped silver salts must be removed by fixing in sodium thiosulphate or ammonium thiosulphate, and then the film or paper must be washed in clean water. The final image consists of metallic silver embedded in the gelatin coating. The silver gelatin dry plate process, http://www.alternativephotography.com/process_dryplate.html

HISTORY

Notes

The 5 boxes and 1 envelope containing black and white photographs were transferred to the museum from Sydney University together with the collections of photographs by Vargassoff. The relationship between the collections is not known. It is unclear how the various albums and photographs came to be lodged at Sydney University. It is thought that they may have been deposited in the Oriental Studies Department at Sydney University with Mrs Militza Colan after Serge Vargassoff's death in 1965. Mrs Colan, a friend of Vargassoff's family and also a white Russian, was secretary to Professor A. R. Davis (died 1996) in the Oriental Studies Department. The albums remained undisturbed in a cupboard in the Department of Chinese studies for many years until they were transferred to Powerhouse Museum in 1996.

SOURCE

Credit Line

Transferred from the School of Asian Studies University of Sydney, 2009

Acquisition Date

10 December 2009

Copyright for the above image is held by the Powerhouse and may be subject to third-party copyright restrictions. Please submit an Image Licensing Enquiry for information regarding reproduction, copyright and fees. Text is released under Attribution-Non Commercial-No Derivative licence.

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