Anne Maxwell is Associate Professor in the English and Theatre Program in the School of Culture and Communication at the University of Melbourne. She has published numerous articles and essays on colonial and postcolonial literature and colonial photography. Her other books are Colonial Photography and Exhibitions (2000), Picture Imperfect: Photography and Eugenics (2008) and Shifting Focus: Colonial Australian Photography, 1860-1920 (2015).

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• 1. Introduction Part One: The First Settler Women Photographers Introduction to Part One 2. Elizabeth Withington, Pioneering Professional 3. Mrs Rudolph’s Gallery 4. The Māori Portraits of Elizabeth Pulman Part Two: Women Photographers of the Late Nineteenth Century Introduction to Part Two 5. The Imaginative World of Hannah Maynard 6. The Stylish Portraits of Abigail Cardozo 7. Margaret White’s Challenge to Settler Colonialism Part Three: Ethnographic Pictorialists, 1903-1930 Introduction to Part Three 8. Celebrating Racial Hybridity: Caroline Gurrey’s Portraits of Hawai’ian Children 9. Laura Adams Armer in Navajo Land 10. Emma Freeman: Between Romance and Ethnography Part Four: The Persistence of Pictorialism Introduction to Part Four 11. The Celebrity Portraits of May and Mina Moore 12. Anne Brigman and the Power of Creativity 13. Una Garlick and the New Zealand Picturesque 14. Conclusion: Histories, Canons and Legacies

Anne Maxwell is Associate Professor in the English and Theatre Program in the School of Culture and Communication at the University of Melbourne. She has published numerous articles and essays on colonial and postcolonial literature and colonial photography. Her other books are Colonial Photography and Exhibitions (2000), Picture Imperfect: Photography and Eugenics (2008) and Shifting Focus: Colonial Australian Photography, 1860-1920 (2015).

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• 1. Introduction Part One: The First Settler Women Photographers Introduction to Part One 2. Elizabeth Withington, Pioneering Professional 3. Mrs Rudolph’s Gallery 4. The Māori Portraits of Elizabeth Pulman Part Two: Women Photographers of the Late Nineteenth Century Introduction to Part Two 5. The Imaginative World of Hannah Maynard 6. The Stylish Portraits of Abigail Cardozo 7. Margaret White’s Challenge to Settler Colonialism Part Three: Ethnographic Pictorialists, 1903-1930 Introduction to Part Three 8. Celebrating Racial Hybridity: Caroline Gurrey’s Portraits of Hawai’ian Children 9. Laura Adams Armer in Navajo Land 10. Emma Freeman: Between Romance and Ethnography Part Four: The Persistence of Pictorialism Introduction to Part Four 11. The Celebrity Portraits of May and Mina Moore 12. Anne Brigman and the Power of Creativity 13. Una Garlick and the New Zealand Picturesque 14. Conclusion: Histories, Canons and Legacies

Anne Maxwell is Associate Professor in the English and Theatre Program in the School of Culture and Communication at the University of Melbourne. She has published numerous articles and essays on colonial and postcolonial literature and colonial photography. Her other books are Colonial Photography and Exhibitions (2000), Picture Imperfect: Photography and Eugenics (2008) and Shifting Focus: Colonial Australian Photography, 1860-1920 (2015).

Select Guide Rating

• 1. Introduction Part One: The First Settler Women Photographers Introduction to Part One 2. Elizabeth Withington, Pioneering Professional 3. Mrs Rudolph’s Gallery 4. The Māori Portraits of Elizabeth Pulman Part Two: Women Photographers of the Late Nineteenth Century Introduction to Part Two 5. The Imaginative World of Hannah Maynard 6. The Stylish Portraits of Abigail Cardozo 7. Margaret White’s Challenge to Settler Colonialism Part Three: Ethnographic Pictorialists, 1903-1930 Introduction to Part Three 8. Celebrating Racial Hybridity: Caroline Gurrey’s Portraits of Hawai’ian Children 9. Laura Adams Armer in Navajo Land 10. Emma Freeman: Between Romance and Ethnography Part Four: The Persistence of Pictorialism Introduction to Part Four 11. The Celebrity Portraits of May and Mina Moore 12. Anne Brigman and the Power of Creativity 13. Una Garlick and the New Zealand Picturesque 14. Conclusion: Histories, Canons and Legacies