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In the square in Torre Annunziata, Italy, civilians in a donkey cart stop to gaze in awe at the huge British tanks rolling into Naples, 1943-1945
Vintage ferrotyped gelatin silver print on paper

Creation Place: Europe
Technique: Photography
Credit Line: Restricted gift of Michael Mattis, Judy Hochberg, Fernando Barnuevo and Gloria Ybarra
Accession Number: P2020.6.23

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

Commentary
Italy Feels the War and Looks It: The square in Torre Annunziata, Italy reflects how Italy has felt the war so far. Doors rest perilously on balcony railings where they were blown out of battered buildings and streets are piled high with debris from crumbling buildings. Yet the war proceeds, as evidenced by these British tanks rolling into Naples. Civilians in a donkey cart at left stop to gaze in awe at the huge monsters.

The main Allied effort in the West initially centered on the port of Naples. That city was selected because it was the northernmost port that could receive air cover by fighter planes flying from Sicily.

Technique
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.

Marks
On recto: Label in bottom right corner, "DISPATCH / PHOTO NEWS / SERVICE / INC. / NEW YORK".

On verso: Typewritten label attached in center, "ITALY FEELS THE WAR AND LOOKS IT / The square in Torre Annunziata, Italy, depicts how Italy has felt the war so far. Doors rest perilously / on balcony railings where they were blown out of battered buildings, streets are piled high with debris / from crumbling buildings, and yet the war proceeds as is evidenced by these British tanks rolling into / Naples. Civilians in a donkey cart at left stop to gaze in awe of the huge monsters. / Produced Exclusively by Dispatch Photo News Service, New York City". Handwritten in graphite in top left corner, "DP-WW2-023".

Materials
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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