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Harry G. Hawker and his Sopwith trans-Atlantic machine are seen above, just before the hop off at Newfoundland, 1919
Vintage ferrotyped gelatin silver print on paper

Creation Place: North America, American
Technique: Photography
Credit Line: Restricted gift of Michael Mattis, Judy Hochberg, Fernando Barnuevo and Gloria Ybarra
Accession Number: P2020.6.285

Purchased by the Benton Museum of Art at Pomona College on August 12, 2020 from Edwynn Houk Gallery, New York.

Hawker and Grieve Rescued in Mid-Ocean! Harry G. Hawker and Lieutenant MacKenzie Grieve were forced to drop into the ocean halfway between Newfoundland and Ireland, due to engine trouble. They were rescued by the steamer Mary after an hour and a half in the water. The steamer’s lack of wireless withheld the news of the rescue. Harry Hawker and his Sopwith trans-Atlantic machine are seen above, just before the hop off at Newfoundland.

Harry George Hawker (1889-1921) was one of the world's pioneering aviators. In 1913, he set an endurance record of 8 hours and 20 minutes, set a new height record of 11,700 feet and then later set an air speed record of 92 miles per hour. In 1919, Hawker and McKenzie Grieve attempted to fly across the Atlantic to win a £10,000 prize offered by the Daily Mail. Their engine failed, and they crashed into the water. Luckily, they were rescued later, but both were assumed lost. Banjo Paterson wrote a poem in eulogy of Hawker. After WWI, Sopwith went out of business and Hawker started H. G. Hawker Engineering, which would later produce military designs such as the Hawker Fury, Hawker Hurricane and in more modern times, the Hawker-Siddely Harrier. Harry Hawker died in 1921 in an air accident.

Credited in plate with typeset credit and title on label affixed to verso.

Ferrotyped prints are processed in such a way that they are shiny. The print has a sensitive surface, usually thinner, because it was put through a press while still wet.

Ferrotyped prints have a sensitive surface, usually shiny and thinner, because they are put through a press while still wet. Ferrotyping makes the surface of the photograph smoother. Light does not scatter as much on a smoother surface, so this increases contrast. That makes ferrotyped images better for press photography.

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