Athol Shmith

A model poses for the camera with her head tilted slightly to the side. She has paper flowers tied into her hair and a pear necklace around her neck.

Photograph - Athol Shmith, 'Beauty', c. 1950s, National Gallery of Victoria

Courtesy of National Gallery of Victoria

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Courtesy of National Gallery of Victoria

Fashion photography was a major aspect of Shmith's work. His flair for fresh and exciting presentation soon earned him a reputaion as Melbourne's leading fashion photographer.

gelatin silver photograph

39.2 x 49.2 (image 40.4 x 50.5 cm (sheet)

Purchased through The Art Foundation of Victoria with the assistance of The Ian Potter Foundation, Governor, 1989

PH33-1989

A model leans on a bronze sculpture of a bird. She is wearing decorative costume jewelry and has a large paper flower attached to the side of her head.

Photograph - No Title (Fashion illustration), Athol Shmith, 1950, National Gallery of Victoria

Courtesy of National Gallery of Victoria

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Courtesy of National Gallery of Victoria

Shmith quickly established a reputation for combining the clean lines and bold arrangements of 'New Photography' with the seductive style of Hollywood glamour portraiture.

gelatin silver photograph

36.2 x 27.2 cm

Purchased through The Art Foundation of Victoria with the assistance of the Ian Potter Foundation, Governor, 1989

PH64-1989

A model sits on a chair, leaning one of her arms on the back of the chair. She is dressed in a ball gown and has elaborate costume jewelry on her wrists, neck and ears. Behind her on the wall is a satin sheet, bunched in positions with flowers to form a decorative backdrop.

Photograph - No Title (Fashion illustration, model Madame Chambrelant), Athol Shmith, 1949, National Gallery of Victoria

Courtesy of National Gallery of Victoria

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This media item is licensed under "All rights reserved". You cannot share (i.e. copy, distribute, transmit) or rework (i.e. alter, transform, build upon) this item, or use it for commercial purposes without the permission of the copyright owner. However, an exception can be made if your intended use meets the "fair dealing" criteria. Uses that meet this criteria include research or study; criticism or review; parody or satire; reporting news; enabling a person with a disability to access material; or professional advice by a lawyer, patent attorney, or trademark attorney.

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Courtesy of National Gallery of Victoria

By the 1940s, the professions of both fashion photographer and model were established in Australia. In 1948, an event occurred which was to have a huge impact on the Australian fashion scene: Myer imported a selection of Christian Dior's breathtaking 'New Look' garments.

To introduce these beautiful gowns to an avid Australian audience, a group of French models was brought to Melbourne for the opening parades. Athol Shmith was appointed the official photographer.

gelatin silver photograph

36.4 x 29.0 cm

Purchased through The Art Foundation of Victoria with the assistance of The Ian Potter Foundation, Governor, 1989

PH57-1989

A woman sits on the edge of a chair, one arm leant on the back of the chair and the other with her hand on her hip. She is pointing her leg out to the side. She is wearing a floor length black structured dress, black gloves and a large white feathered hat.

Photograph - No Title (Fashion illustration, model Patricia Tuckwell), Athol Shmith, 1949, National Gallery of Victoria

National Gallery of Victoria

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National Gallery of Victoria

This elegant photograph shows the clean lines of Dior's dress to wonderful effect. A reference to internationalism is neatly suggested by Shmith who shows the model holding an illustration of another model in a baroque French interior.

However, unlike the lushness of the illustration, Shmith's photograph has a pared down quality that draws the viewer's attention to the distinctively lean shape of the dress.

gelatin silver photograph

39.8 x 28.8 cm

Purchased through The Art Foundation of Victoria with the assistance of The Ian Potter Foundation, Governor, 1989

PH48-1989

A man stands with his side facing the camera. He is dressed in a suit and vest, with black rimmed glasses. One hand is holding a cigarette and the other is in his pocket.

Photograph - Helmut Newton, 'Athol Shmith', c. 1950s, Collection of Joyce Evans

Courtesy of National Gallery of Victoria

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In 1939, Athol Shmith moved to a studio at the 'Paris end' of Collins Street. The studio, located in the Rue de la Paix building, had originally been fitted out for Helena Rubenstein, and retained her elegant powder blue and deep pink fittings.

An older man stares straight at the camera. His hands are clasped together and he is resting his head gently on them. He is wearing a white turtle neck sweater.

Photograph - Athol Shmith, 'Sir Robert Helpman', 1952, National Gallery of Victoria

Courtesy of National Gallery of Victoria

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Photography played an important promotional role in the worlds of music, theatre and the performing arts.

Portraits of touring international performers and leading local talent were commissioned buy the newly formed Australian Broadcasting Corporation and theatre promoter J. C. Williamson to advertise forthcoming productions and promote matinee idols.

gelatin silver photograph

36.9 x 29.3 cm

Purchased through The Art Foundation of Victoria with the assistance of The Ian Potter Foundation, Governor, 1989

PH44-1989

A sepia advetisement of a woman staring off into the distance. You can only see the top half of her body, some of it partially obscured by a basket and lots of foliage. She is wearing a round broad brim hat, with the front section cut out to create a halo effect.

Photograph - No Title (Advertising illustration for Dew Deodorant), Athol Shmith, c. 1940s, National Gallery of Victoria

Courtesy of National Gallery of Victoria

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This media item is licensed under "All rights reserved". You cannot share (i.e. copy, distribute, transmit) or rework (i.e. alter, transform, build upon) this item, or use it for commercial purposes without the permission of the copyright owner. However, an exception can be made if your intended use meets the "fair dealing" criteria. Uses that meet this criteria include research or study; criticism or review; parody or satire; reporting news; enabling a person with a disability to access material; or professional advice by a lawyer, patent attorney, or trademark attorney.

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Courtesy of National Gallery of Victoria

In the post-war years, advertisers quickly realised that the exciting visual impact of the 'modern look' could be harnessed to sell thei products more effectively. Shmith's vibrant, contemporary style of photography was perfect for this.

gelatin silver photograph

35.5 x 27.8 cm

Purchased through The Art Foundation of Victoria with the assistance of The Ian Potter Foundation, Governor, 1989

PH79-1989

A 1950s model holden, pink in colour, is parked on the beach. Behind the car are two men standing looking out to sea.

Photograph - No Title (Advertising illustration for General Motors Holden), Athol Shmith, c. 1950s, National Gallery of Victoria

Courtesy of National Gallery of Victoria

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This media item is licensed under "All rights reserved". You cannot share (i.e. copy, distribute, transmit) or rework (i.e. alter, transform, build upon) this item, or use it for commercial purposes without the permission of the copyright owner. However, an exception can be made if your intended use meets the "fair dealing" criteria. Uses that meet this criteria include research or study; criticism or review; parody or satire; reporting news; enabling a person with a disability to access material; or professional advice by a lawyer, patent attorney, or trademark attorney.

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Courtesy of National Gallery of Victoria

In the post war years, advertisers quickly realised that the exciting visual impact of the 'modern look' could be harnessed to sell their products more effectively. Shmith's vibrant, contemporary style of photography was perfect for this.

type C photograph

49.2 x 39.1 cm

Purchased through The Art Foundation of Victoria with the assistance of The Ian Potter Foundation, Governor, 1989

PH52-1989

A black and white portrait of a woman's face. She is wearing detailed makeup and one dangling earring.

Photograph - No title (Fashion illustration, model Petricia Tuckwell), Athol Shmith, c. 1953, National Gallery of Victoria

Courtesy of National Gallery of Victoria

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Courtesy of National Gallery of Victoria

In the late 1930s, Athol Shmith moved his studio to Collins street, the fashionable heart of Melbourne. Expanding on his already thriving portrait business, Shmith launched into the would of fashion photography.

gelatin silver photograph

49.0 x 39.0 cm

Purchased through The Art Foundation of Victoria with the assistance of The Ian Potter Foundation, Governor, 1989

PH62-1989

A black and white image of a woman standing upright, posing with her legs tight together and her arms crossed over one another like a genie stance. To either side are sculptures that resemble drill parts.

Photograph - No title (Fashion illustration), Athol Shmith, c. 1950s, National Gallery of Victoria

Courtesy of National Gallery of Victoria

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This media item is licensed under "All rights reserved". You cannot share (i.e. copy, distribute, transmit) or rework (i.e. alter, transform, build upon) this item, or use it for commercial purposes without the permission of the copyright owner. However, an exception can be made if your intended use meets the "fair dealing" criteria. Uses that meet this criteria include research or study; criticism or review; parody or satire; reporting news; enabling a person with a disability to access material; or professional advice by a lawyer, patent attorney, or trademark attorney.

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Courtesy of National Gallery of Victoria

As a fledgling fashion photographer, working in a newly emerging industry, Shmith was forced to be inventive in his work.

One of the obstacles he faced was the lack of professional models. As Shmith himself put it, in Melbourne during the 1930s the word 'model' had 'connotations'.

gelatin silver photograph

51.6 x 40.6 cm

Purchased through The Art Foundation of Victoria with the assistance of The Ian Potter Foundation, Governor, 1989

PH78-1989

A woman poses for the camera. One arm is draped over the back of a chair, whilst the other lies across her body. She is wearing a buttoned down coat with a large triangular collar.

Photograph - No title (Fashion illustration, model Judy Potts), Athol Shmith, 1950, National Gallery of Victoria

Courtesy of National Gallery of Victoria

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This media item is licensed under "All rights reserved". You cannot share (i.e. copy, distribute, transmit) or rework (i.e. alter, transform, build upon) this item, or use it for commercial purposes without the permission of the copyright owner. However, an exception can be made if your intended use meets the "fair dealing" criteria. Uses that meet this criteria include research or study; criticism or review; parody or satire; reporting news; enabling a person with a disability to access material; or professional advice by a lawyer, patent attorney, or trademark attorney.

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Courtesy of National Gallery of Victoria

Shmith overcame this lack of models by recruiting the best looking girls he knew from Melbourne's most prominent families to pose for him. Thus ensuring an interested audience of potential customers and an air of fashionable respectability.

gelatin silver photograph

38.8 x 30.2 cm

Purchased through The Art Foundation of Victoria with the assistance of The Ian Potter Foundation, Governor, 1989

PH38-1989

A model stands slightly hunched over, posing in front of the facade of a crumbling old building.

Photograph - Athol Shmith, 'Haunted Ballroom', 1949-52, National Gallery of Victoria

Courtesy of National Gallery of Victoria

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This media item is licensed under "All rights reserved". You cannot share (i.e. copy, distribute, transmit) or rework (i.e. alter, transform, build upon) this item, or use it for commercial purposes without the permission of the copyright owner. However, an exception can be made if your intended use meets the "fair dealing" criteria. Uses that meet this criteria include research or study; criticism or review; parody or satire; reporting news; enabling a person with a disability to access material; or professional advice by a lawyer, patent attorney, or trademark attorney.

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Courtesy of National Gallery of Victoria

In contrast to the previous image, Shmith has taken his mode out of the studio. She is posed, dressed in an elegant evening gown, among the ruins of a once grand building.

The beautiful woman and her costume, seen at odds with the decaying environment, become the focus of the viewers attention. The surreal quality of the image lends an air of alluring mystery.

gelatin silver photograph

48.2 x 39.6 cm

Purchased through The Art Foundation of Victoria with the assistance of The Ian Potter Foundation, Governor, 1989

PH22-1989

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