“La Tombe des Coloniaux, a heart of grass, near Gerbéviller,” April 28, 1915, by Georges Chevalier, via Archives of the Planet Collection – Albert Kahn Museum /Départment of Hauts-de-Seine.
This seems to be the grave of a soldier (or perhaps soldiers) from one of the French Colonial Infantry Regiments. He probably fell in the Battle of Lorraine about seven or eight months before the photo was taken. Such men, called “Marines,” were recruited from both France and the white settler and indigenous populations of the French colonial empire.
The town of Gerbéviller itself had been caught in the same battle’s crossfire. German troops had systematically burned over 400 houses and killed over 60 inhabitants. It became “Gerbéviller-la-Martyre” in the press and a kind of pilgrimage site.
Today, there are both French and German WWI cemeteries in Gerbéviller.
This autochrome is one of about seventy-two thousand that were commissioned and then archived by Albert Kahn, a wealthy French banker and pacifist, between 1909 and 1931. Kahn sent thirteen photographers and filmmakers to fifty countries “to fix, once and for all, aspects, practices, and modes of human activity whose fatal disappearance is no longer ‘a matter of time.'”* The resulting collection is called Archives de la Planète and now resides in its own museum at Kahn’s old suburban estate at Boulogne-Billancourt, just west of Paris. Since June 2016, the archive has also been available for viewing online here.
“The Veranda, The Hotel at Beverly Hills, California,” ca. 1889 – ca. 1931, a postcard by the Detroit Publishing Company, via New York Public Library Digital Collections.
I love this formal pose in front of a vegetable garden — and it’s very typical of the photographer’s work.
Corkhill was an amateur who took thousands of pictures of his prosperous dairy farming community between 1890 and 1910.
His images were rediscovered in 1975, when his daughter gave his surviving glass plate negatives to the National Library. Among the 840 that could still be printed were portraits of family and neighbors of a “special intensity and intimacy,” according to the book, Taken at Tilba.
For the natural light, Corkhill had to work outside, in gardens and farmyards. But he often posed his subjects as if they were in a studio, with small tables, chairs, and books. His backdrops were sometimes shrubs and flowers, but he also seemed satisfied with rough fences, water tanks, or the space between two farm sheds. Occasionally, the sitters look a little amused by the process, but the photographer’s approach is not ironic.
“Corkhill’s familiarity with and affection for his subjects is evident . . . and imbues his photographs with a strange combination of authority and informality. He has a rather casual approach to the backgrounds in his portraits, as if his familiarity with the scenes he records makes him impervious to some of their oddities,” according to his biography on the Library’s website.
You can click on the linked titles below to see more of his pictures, or you can browse through the online catalog here.
Woman with a dog
Woman by a cane table
Boy by a chair
Mrs. Elizabeth Kendall Bate, aged about 83
Man sitting in a garden
Two young men
Frank Stanley Griffiths
Corkhill’s wife and their children
Young woman by a table
Two young men