Portfolio Naples October 2017 - Page 58

north into central Florida. Using photographs of the farms and groves that he had visited, Ju- lian wrote four articles for Country Life in America that appeared between November 1910 and February 1911. Some of the pub- lished photographs were colorized. Later that year, Julian was persuaded by the anthropologist Alanson Skinner to ac- company him as photographer on an Amer- ican Museum of Natural History expedition to southern Florida to make collections of Seminole Indian items for the museum. at expedition resulted in Julian’s accumulating a collection of photographs, some showing Seminole people wearing or using clothing and other items that Skinner collected. Today, both the photographs and the objects, all well documented, are curated at the American Museum of Natural History, where some of the objects are on display in the Hall of North American Indians. A .W. (whose first wife had died in 1901 and who remarried in 1909) and Julian would return to southwest Florida in mid- August 1913 with a small entourage that may have included their spouses. A. W., appar- ently wanting to impress some of his fellow members of the Camp Fire Club with the fishing amenities southwest Florida offered, invited William E. Coffin (president of the New York–based Camp Fire Club of which both Dimocks were members) and Gifford Pinchot (first chief of the United States Forest Service and governor of Pennsylvania in the 1920s and again in the 1930s and also a club member) along on the trip. Also with the Di- mocks was Gilbert C. Demorest, a teenager whose father, William C., was a magazine publisher in New York and a club member. e Dimocks and their guests took the train to Fort Myers, where a large house- boat—the Kennesaw—was rented to trans- port the group up and down the coast for a month. Julian again took photographs, the last he would take in Florida, and this time he also brought along a movie camera (though the whereabouts of any movies he made are not known). Five of the photo- graphs he took of the men fishing were fea- tured in an article in the New York Times on Sunday, February 1, 1914 (“Tarpon Fishing in Florida Waters Told in Pictures”). By 1913, the frontier had caught up to Fort Myers. Since 1900, its population had more than doubled to around 2,900 people, and Lee County held about 6,600 residents. e Ten ousand Islands, however, remained largely unpopulated. Across the interior of south Florida, the Seminole Indians contin- ued to live in a number of small settlements. rough their growing interactions with the outside world, the Seminoles were laying the groundwork for the relative prosperity they would earn later in the twentieth century. Julian Dimock’s photographs provide a valuable record of people and places that en- ables us to better understand and value our collective past and to appreciate southwest Florida’s natural history. H OW T HIS P ROJECT C AME TO B E Prior to 1978, Julian’s glass-plate negatives were kept by the American Museum of Nat- ural History’s General Service Department. In that year, they were transferred to the mu- seum’s Research Library, where Nina Root, director, “discovered” them. Over the years, as time permitted, she became familiar with the thousands of images, and in August 1996 she published “Legacy of a Reluctant ‘Cam- era Man’ ” in Natural History magazine, a project that led to the book Camera Man’s Journey: Julian Dimock’s South (2002), ed- ited by her and omas L. Johnson. In 2007, Root invited Milanich to join her in research on Julian’s images from Florida, a collaboration that resulted in the book Hidden Seminoles: Julian Dimock’s Historic Florida Photographs (2011) and this volume. GALLERY 1305 THIRD STREET SOUTH NAPLES, FL. 34102 FEATURED ARTISTS: HAMILTON AGUIAR KAREN BARROW JORGE BLANCO CLARITA BRINKERHOFF DALE CHIHULY ALEXANDER CALDER JIM DINE MARK DICKSON HELEN FRANKENTHALER MARCUS JANSEN JEFF KOONS TED LINCOLN JOAN MIRO HENRY MOORE ROBERT NATKIN PABLO PICASSO DARRYL POTTORF ROBERT RAUSCHENBERG FRANK STELLA ANDY WARHOL p: 239.263.6640 w: www.hwgallery.com e: hwgallery@earthlink.net fb: facebook.com/HWGALLERY/ NEXT TO BAD ASS COFFEE 56 PORTFOLIO MAGAZINE Robert Rauschenberg, Cock Sure, 6 Color Acrylic Screenprint on Paper, 1 Color Fire Wax on Paper w/ Silver Pigment Dusted on Surface; 2 Color Acrylic Screenprint on Lexan; Aluminum Frame, 63 1/2” x 44”, 1993