Colonel de Basil's "Original Ballet Russe" (Russian Ballet) season, Theatre Royal, Sydney, 1939-1940, / Sam Hood

The Ballet Russes changed the face of dance and opened a new era of modern dance. Sergey Diaghilev and his Ballets Russes incorporated choreography, visual arts, music, dance in their performances. The Ballets Russes was a continual experiment in the diversity and potential that are represented in dance. Its origins were in Russia. It was the homeland for the dancers, choreographers, composers, and designers. However, the Ballets Russes never actually performed in Russia itself. After the Revolution of 1905, the Ballets Russes took up its home in Paris, in the spring of 1909. The Ballets Russes performances took place across three continents and it's style varied with audiences. The influence of the Ballets Russes was far reaching and its vestiges remain today. The undeniable head of this enterprise was Diaghilev, its president from its inception until his death, and the company's in 1929. "He was a man of ferocious will and infinitely discerning taste, encyclopedic knowledge, and passionate curiosity- a Napoleon of the arts and a Renaissance man in one." Beyond the Ballets Russes, Diaghilev also was the editor and founder of the journal Mir Iskusstra, which was an artistic forum, asking for change in every way.4 Along with Diaghilev, founding members such as Alexandre Benois and Léon Bakst implemented a collaborative method, which became the central development behind the company.(5) Two of the early productions of the Ballets Russes were Petrouchka and Les Sylphides. Although both were performed in its first seasons, each represented unique characteristics of the Ballets Russes.

The State Library of New South Wales' major subject strengths are Australian history, culture and literature, including Aboriginal studies, Antarctic exploration, family history and genealogy, business and management, social sciences, applied science, biography, health and law. The State Library is home to one of Australia’s most significant historical and heritage collections. As well as nearly 11 kilometres of manuscripts – from nine 1788 First Fleet journals through to the archives of contemporary organisations and writers – the Library holds more than one million photographs. From the earliest surviving photograph taken in Australia – in January 1845 – through to digital photographs taken last month, the Library’s unrivalled photographic collections document with powerful clarity the way Australians have lived their lives over two centuries. You can find out more about the State Library's photographic collections on our website: www.sl.nsw.gov.au/about/collections/photographs.html More broadly the Library’s collecting reach spans a multitude of platforms: the Library’s mission is to collect, preserve and make accessible the documentary heritage of New South Wales. It holds over 5 million items including books, oil paintings, watercolours, architectural plans, engravings & lithographs, magazines and periodicals, posters, ephemera, sheet music, talking books, maps, CD-ROMs, newspapers, microfilm and microfiche, films and videos, computer software, kits, sound recordings, photographs, coins, postage stamps and other objects.

Samuel John Hood was born in Adelaide in 1872 but moved to Sydney as a child. While only a teenager, he followed in the footsteps of his photographer father, and began working in the industry, gaining employment with William Tuttle in his George Street studio in Sydney. In 1899, Hood established his own studio, The Adelaide Photographic Company, in Pitt Street, Sydney. However, two fires at the studio resulted in him moving his business to his home in Balmain. He gained steady income from photographing ships and maritime workers. He would often photograph ships in the harbour from tugboats and then board the ship when it docked to request permission to sell his photographs of the ship to the crew.

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