Arthur Fleischmann wished to see his photographic work in Bali given a public platform. This ambition has been largely realised with the publication posthumously in 2007 of the book 'Bali in the 1930s' and several exhibitions over the years, three of which accompanied the book launch.

From the mid 1930s till his death in 1990, AF maintained a prolific output as a sculptor in many different media. This activity was continuous, however it seems that his photographic inspiration came in more sporadic phases. Whilst the Balinese project has had its exposure, his second burst of photographic activity which corresponds with the meeting with his future wife, Joy, and the birth of his son Dominique in the late 1950s - early 1960s, has so far been thought to be too intimate for for public consumption. 

Yet these black and white photographs also include brilliant compositions and understanding of the potential of the photographic medium. They depict Joy and Dominique in far-flung locations which remind one of stills from the films of Orson Welles or Carol Reid - unexpected angles, juxtapositions and sparkling light effects.

Like the Balinese photographs, these also are preserved for us in the form of Fleischmann's own prints mounted on heavy card.

To place this series of images in perspective, several examples of Fleischmann's earlier photographs of Bali are also included.

All the photographs were taken using a Dolina 35mm camera using 100 ASA Eastman Kodak Panatomic negative film and printed on matt paper in 10 by 8 format and mounted on stiff card. Much of the technical work was done in conjunction with James Ogler and John Furley-Lewis.