Book
Lewis Morley
The 60's
Christine Keeler, London 1963. Keeler had been living with society doctor Stephen Ward, who introduced her to John Profumo, Minister of War in Harold Macmillan’s Conservative government. Another of her frequent visitors was the Soviet naval attaché Eugene Ivanov. Pressure from Fleet Street scandal sheets forced Profumo’s resignation, Stephen Ward to suicide and Keeler to be imprisoned. Morley photographed Keeler in his studio above The Establishment at the behest of Peter Cook as publicity shots for a future film. As Morley has noted: “My own driving force has always been more emotional than intellectual and so the Sixties was also my period in that it sex became the great leveller. People had always experimented but in the Sixties it was done openly. When Christine Keeler was paid some subtantial amount of money to give her story to the newspapers, such things became common knowledge... Profumo resigned his post and the Government was brought into chaos and disrepute, and another of ‘our beloved institutions’, this time a central one like the Government, turned to dust.” © Lewis Morley
Christine Keeler, London 1963. Keeler had been living with society doctor Stephen Ward, who introduced her to John Profumo, Minister of War in Harold Macmillan’s Conservative government. Another of her frequent visitors was the Soviet naval attaché Eugene Ivanov. Pressure from Fleet Street scandal sheets forced Profumo’s resignation, Stephen Ward to suicide and Keeler to be imprisoned. Morley photographed Keeler in his studio above The Establishment at the behest of Peter Cook as publicity shots for a future film. As Morley has noted: “My own driving force has always been more emotional than intellectual and so the Sixties was also my period in that it sex became the great leveller. People had always experimented but in the Sixties it was done openly. When Christine Keeler was paid some subtantial amount of money to give her story to the newspapers, such things became common knowledge... Profumo resigned his post and the Government was brought into chaos and disrepute, and another of ‘our beloved institutions’, this time a central one like the Government, turned to dust.” © Lewis Morley
Mersey Girls, Liverpool 1964. Four female extras for the film Ferry Across the Mersey shot on location as a vehicle for Gerry and the Pacemakers © Lewis Morley
The River Seine, Pont Neuf, Paris 1967 © Lewis Morley
Stephen Hawking (with cane), Tariq Ali and Vanessa Redgrave front an Anti-Vietnam War demonstration, Grosvenor Square, London 1968 © Lewis Morley
Charlotte Rampling, London 1963. Morley had helped Rampling prepare her first modelling portfolio at age 17. Her first film role was a minor part in The Knack (1965), yet the last decade alone has seen her entrance in The Swimming Pool (2003) and The Eye of the Storm (2011)© Lewis Morley
Nicole Kidman, Sydney 1983. Kidman had attended the Phillip Street Theatre with Naomi Watts as teenagers, and was only sixteen at the release of her film BMX Bandits, when Morley took this portrait for a Pol feature. In 2003 she won the Academy Award for her role in The Hours © Lewis Morley
Lewis Morley: I to Eye, Cover
Christine Keeler, London 1963. Keeler had been living with society doctor Stephen Ward, who introduced her to John Profumo, Minister of War in Harold Macmillan’s Conservative government. Another of her frequent visitors was the Soviet naval attaché Eugene Ivanov. Pressure from Fleet Street scandal sheets forced Profumo’s resignation, Stephen Ward to suicide and Keeler to be imprisoned. Morley photographed Keeler in his studio above The Establishment at the behest of Peter Cook as publicity shots for a future film. As Morley has noted: “My own driving force has always been more emotional than intellectual and so the Sixties was also my period in that it sex became the great leveller. People had always experimented but in the Sixties it was done openly. When Christine Keeler was paid some subtantial amount of money to give her story to the newspapers, such things became common knowledge... Profumo resigned his post and the Government was brought into chaos and disrepute, and another of ‘our beloved institutions’, this time a central one like the Government, turned to dust.” © Lewis Morley
Born in Hong Kong in 1925 to a Chinese mother and English father, Morley spent much of the war in a Japanese internment camp, before being repatriated to England.
His early photographic work included magazine assignments for Tatler before devoting himself to theatre photography and studio portraits from a studio above Peter Cook’s nightclub The Establishment. Through Cook he help shape Beyond the Fringe and contributed photographs to Private Eye.
His body of work, particularly his portraits of key figures of 1960s London, is highly recognised, and with his famous photo of Christine Keeler naked upon a chair, Morley produced an image that is probably one of the most memorable, and most copied, of any photographs of any time.
In addition to the Keeler portrait, Morley photographed many of the most famous faces of the Sixties, including Salvador Dali, Somerset Maugham, Joe Orton, Andre Previn, David Frost, Dudley Moore, Tom Jones, Clint Eastwood, Judi Dench, Peter O’Toole, Charlotte Rampling, Susannah York, Michael Caine, Barry Humphries, and celebrity couples including John Cleese and Connie Booth, David Bailey and Catherine Deneuve.
Morley and his family emigrated to Australia in 1971 and he worked extensively in colour for the first time in Pol, Woman’s Day and the design magazine Belle. He continued his work in portraiture with studies of Australian celebrities such as Peter Carey, Brett Whiteley, and the young Nicole Kidman. This book includes several hundred photographs, many published for the first time.
Lewis Morley, I To eye
Photography / 1st Edition
Published by T&G Publishing
Hard Cover with Dust Jacket: 400 pages with over 270 duotone and colour plates
240mm wide x 286mm deep / 10 x 11 in. Spine: 40mm / 1.57 in.
ISBN:
9780977579082 (13)
0977579085 (10)
Links
http://www.tgpublishing.com.au
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