To coincide with the major retrospective at Tate Britain (5th February – 6th May 2019), Hamiltons will be celebrating Sir Don McCullin’s lifetime achievement and decades of collaboration with Hamiltons by exhibiting rare and unseen vintage prints dating back to the 1950s.

Selected from the photographer’s personal archive, they were made shortly after the photographs were first taken on assignments around the world. Intimate and physically modest, the prints provide access to events witnessed and recorded by a photojournalist working on the frontline of multiple, international flashpoints from Vietnam to Cyprus. Largely produced for a photo editor or agency in a pre-digital age, these historic prints have been visibly put to work and bear the physical marks of their use. In these pictures McCullin shares the telling details of a human face or the gestures of a hand. As he earns his subjects’ trust, he communicates their crisis. To comprehend each remarkable scene, the viewer is pulled in tight as if we are standing beside McCullin in proximity to an anxious soldier, a pointed gun or a grieving wife.

McCullin was born in 1935 in London’s Finsbury Park. Leaving school at fifteen, McCullin signed up to National Service in the RAF as a photographic assistant. In 1958, McCullin took his first published photograph of The Guvnors, a London gang who had been involved in a murder, appearing in The Observer that same year. This professional success combined with his photographs documenting building of the Berlin Wall secured his contract with The Observer in 1961. At first working in London, he soon earned commissions that took him around the world, beginning with the Cyprus War in 1964. This marked the start of his career as a photographer of war and other human disasters.

Between 1966 and 1984, McCullin worked for The Sunday Times Magazine when the newspaper was at the cutting edge of investigative, critical journalism. It was the Rolls-Royce of journalism," recalls McCullin (Le Monde). During this period, McCullin’s assignments included Biafra, the Belgian Congo, the Northern Irish ‘Troubles’, Bangladesh and the Lebanese civil war. His photographs of Vietnam and Cambodia have become among the most famous images of those conflicts.

McCullin’s instinct for getting close to the heart of a conflict enables him to achieve these remarkably intimate images, as highlighted in this exhibition. His sympathies lie with the victims on both sides of the conflict. Perhaps his most reproduced photograph of The Vietnam War is his Shell-Shocked Marine, which is included in this exhibition. McCullin recalls dropping to his knees to take the picture, taking five consecutive shots. In each, the marine’s expression did not change; he did not blink once.

In addition to his war imagery, over the years McCullin has also produced iconic photographs of people and places in England, capturing his candid and uncompromising view of his homeland. McCullin’s England photographs reveal the social gulf where the separation of rich and poor is as distinct as ever. It is with the same honesty seen in his war photographs that McCullin portrays his view of the divisions in England’s society. This disillusionment is balanced with empathy and at times, wit and irony, where absurdity is as rife as misfortune. In contrast to the human tragedy he has witnessed and recorded, his landscapes reveal his deep and unwavering love for England, in particular around his rural home in the West of England. "When my time’s up on this Earth I want to leave a legacy behind of beautiful landscape pictures of Somerset."

In more recent years, McCullin has continued to travel internationally, photographing new work in locations such as India, Syria and the African continent, where he documented the AIDS crisis. One of his most ambitious journeys has been to explore the ruins of the southern Roman Empire, a project that spanned over a number of years, and is documented in McCullin’s book Southern Frontiers: A Journey Across the Roman Empire (2010).

Most recently Sir Don McCullin was awarded a knighthood in the 2017 New Years Honours list and this February Tate Britain will open a major retrospective of McCullin’s work, 5th February – 6th May 2019. McCullin has been awarded numerous awards over the years, including two premier Awards from the World Press Photo and the 2006 Cornell Capa Award by the International Centre for Photography in New York for his lifetime contribution to photography. In 1993, he was the first photojournalist to be made a Commander of the British Empire (CBE). He is the author of more than a dozen books (mostly published by Jonathan Cape), including his acclaimed autobiography Unreasonable Behaviour (1990), updated and published again in 2015, and his Don McCullin: The New Definitive Edition retrospective, published the same year. In 2011, alongside Hamiltons’ exposition of his platinum prints, the Tate Britain presented a solo exhibition comprising a wide selection of his subjects, and the Imperial War Museum displayed Shaped By War, featuring over 250 photographs, contact sheets and personal memorabilia. McCullin’s work has not only been exhibited in numerous exhibitions, but is held in various museum collections around the world. McCullin is today recognised as one of our greatest photographers.


Shell Shocked Marine, Vietnam, Hue, 1968
"What I was trying to make out of this image was a statement, not so much an iconic thing that edges itself towards being art, you might say. When I first did the editing when I photographed this great battle in Vietnam I missed this photograph, yet it has overtaken every other image I took in that battle and it has been accepted as an iconic image more so than the statement I wanted it to be. It is of a man who is shell shocked and waiting to be taken away from the battle because he could not take any more fear. It is the one photograph that is attached to my many years of covering the Vietnam war."

Don McCullin, Hamiltons Gallery
www.hamiltonsgallery.com/artists/don-mccullin/videos/5/


The Beatles
"We knew of Don McCullin from his war photography... We knew how good Don was. Don’s work was never ‘bang-bang’, but really focused on the human face. We were always looking for shots for album covers and magazines, and we thought about Don. It didn’t matter that he was a war photographer. He was still a photographer... Don’s a very cool guy. He is one of the great British photographers. We thoughts we’ve got to be the war. We’ll provide the battlefield and itll work. He’ll just click into action. That’s exactly what happened."
Paul McCartney, A Day in the Life of the Beatles.