To celebrate the gallery’s 20th year, Michael Hoppen exhibits 130 photographs from his own extensive and varied personal collection. Encompassing genres such as anonymous and evidential photography, boxing images, travel and anthropological photography, Port presents Hoppen’s five personal favourites
Unknown Photographer, Sumo Wrestlers, Japan, 1880s
“This was one of the very first 19th-century pictures I ever bought. I found it on Portobello Road in the market. One can still find pictures on the stands, but the pickings are rather slim. The rich hues of this albumen print add an exotic tone to what was already exotic subject matter. Even though this is a posed image and they are not in motion (film and shutter-speeds were far too slow), the intensity of the picture is inescapable. These early photographs from Japan were made for travellers to take back to Europe so they could show their friends how otherworldly their travels had been.”
“The woman pictured is from German South West Africa… and was subject to the sometimes dubious techniques used to lure individuals away from their tribal beliefs and convert to Christianity.”
Unknown photograher, Nude Study, 1870
“This beautiful small albumen print came my way through another dealer who had a jewel-like collection of 19th-century nudes for sale that had been owned by Graham Ovenden. The model’s perfect sculptural form and the soft natural studio north light are perfect partners and are extremely seductive. The light has almost engraved itself in perfect proportions on to the albumen paper leaving a beautiful residual image that is now some 143 years old. I have loaned this picture to museum shows over the years and she captivates all who see her. The picture itself was almost certainly originally made as an artist’s study.”
Unknown photographer, Nude Zoomorphic, 1870s
“This is one of the most bizarre and beautiful small images and I have no idea what it actually means, but this has not dissuaded me from the opinion that it is one of the most bizarre and most beautiful small images I have ever acquired. There is something wonderfully perfect about all the elements, from the circular shape of thissmall albumen print to the composition, and of course, the surreal juxtaposition of a nude and a small owl. The way in which the owl’s head lines up perfectly with the model’s face is uncanny and I am sure the owl is alive and not stuffed. The model, with her seductive long tresses and perfect elbows, resembles one of Ingres’ models. She looks through the owl at us as if the animal was a camera, her fingers poised, ready to take a picture. I am captivated by this print and fought hard to acquire it.”
Unknown photographer, Pagan Before Conversion, 1855
“What struck me immediately, when I first saw this extraordinary salt print, was that this was not a carved head but a real woman’s head. Upon closer inspection, it became clear that the photographer had painstakingly montaged the head on to a dark marble pediment. This would have been a laborious and difficult task, considering the date and type of print. The image is full of European and religious iconography but also the colonial undercurrent is somewhat disturbing. The caption is in German, so one might surmise that the woman pictured is from German South West Africa (or Namibia as it isknown today), and was subject to the sometimes dubious techniques used to lure individuals away from their tribal beliefs and convert to Christianity.”
Unknown photographer, The French House boxing collection, dates various
“I was fortunate enough to be introduced to Gaston Berlemont, the landlord of the French House in Soho, by Bruce Bernard. Gaston knew I had an interest in photography and boxing and all things Fitzrovian. When Gaston died in 1999, I was called by a mutual friend, who knew of my conversations with him, and offered the collection of boxing pictures that had covered the walls of the infamous watering-hole. They are now a permanent and important part of our collection: many hundreds of small vintage prints, each signed by the boxer and often with an affectionate message for Victor Berlemont (Gaston’s father), who had shown the fighters great hospitality and kindness during their visits to London to fight or search out a manager and accommodation.”
Finders Keepers is at Michael Hoppen Gallery until January 30th
Michael Hoppen Gallery
