Detail from : Otto Lilienthal flying one of his gliding planes near Berlin, 1893. Photo by Alex KrajewskiAlex Krajewski ~ Otto Lilienthal flying one of his gliders near Berlin, Rhinower Berge, 1893. Collodion print | src Galerie Bassenge Auktion 123
Alex Krajewski (Court photographer of Prince Aribert von Anhalt, active in Berlin, 1890s). Otto Lilienthal flying one of his gliding planes near Berlin, Rhinower Berge, Germany, 1893. Vintage collodion paper print. Mounted to original ornamental board
The evolution of photography and aviation shares interesting similarities. In 1884, Ottomar Anschütz began capturing images of storks in flight, marking the first momentary snapshots in the history of photography. By 1890, he developed the “Tachyscope,” displaying sequential images of people and animals in motion, which gained popularity at the 1893 Chicago World’s Fair, highlighting advancements in transportation and industry through widely distributed photographs. In 1891, Otto Lilienthal initiated his flight experiments, lasting five years until his unfortunate death in 1896, due to a flight accident. During this period, photographers such as Ottomar Anschütz, Carl Kassner, Richard Neuhauss, and Alex Krajewski documented Lilienthal’s flights near Berlin. These images often circulated as photo postcards and served as crucial documentation for Lilienthal. Unfortunately, the glass negatives of Lilienthal’s photographs, archived in the Deutsches Museum in Munich, were destroyed during WWII. This particular image, part of a series by Alex Krajewski capturing Lilienthal’s flights in the Rhinow Hills near Berlin, is exceptionally rare, with only eight images from this series preserved in the photo archives of the Otto Lilienthal Museum in Anklam. (source: Bassenge Auktion 123)
Detail from : Otto Lilienthal gliding experiment, [1895?] | src Library of CongressOtto Lilienthal gliding experiment, [1895?]. Unknown / unidentified photographer | src Library of CongressFlug Otto Lilienthals mit seinem Normalsegelapparat am Fliegeberg in Lichterfelde bei Berlin, 1894 | src wikimedia
Detail from Cat Watching a Spider, ca. 1888–92 by Oide Tōkō (Japanese, 1841–1905)Oide Tōkō (Japanese, 1841–1905) ~ Cat Watching a Spider, ca. 1888–92. Album leaf; ink and color on silk | src the Met
Alphonse Mucha (1860-1939) ~ A model in Mucha’s studio on the Rue du Val-de-Grâce, dressed in a traditional Bohemian folk costume, circa 1900 | src Mucha-Museum PragueAlphonse Maria Mucha (1860-1939) ~ Model in a long white Bohemian folk robe and a hat with ribbons, Paris, 1899Alphonse Mucha (1860-1939) ~ Model posing at Mucha’s studio on Rue du Val-de-Grâce, Paris, ca. 1901
Marie Hoeg casually posing in her woolen underwear. Photo: Berg & Hoeg ca. 1895-1903. Glass plate negativeMarie Hoeg casually posing in her woolen underwear (back). Photo: Berg & Hoeg ca. 1895-1903Marie Høeg posing as an Arctic explorer (Portrett av Marie Høeg i selskinnspels med hette). Photo: Berg & Hoeg ca. 1895-1903Marie Hoeg as a young soldier with a sword (Marie Høeg i undertøy, som soldat med sverd). Photo: Berg & Hoeg ca. 1895-1903Marie Høeg stuper kråke. Photo: Berg & Hoeg ca. 1895-1903 | src The Preus museum collection on FlickrMed hendene på ryggen (Som soldat uten sverd)Photo: Berg & Hoeg ca. 1895-1903Marie Hoeg scolds the dog Tuss. Photo: Berg & Hoeg ca. 1895-1903. Glass plate negativeMarie Høeg greeting her dog Tuss (Marie Høeg hilser på hunden Tuss). Photo: Berg & Hoeg ca. 1895-1903. Glass plate negativeComposite photograph, Marie Høeg sitting on a swing (with Tuss. the dog). Two motives put together on one glass plate
In a box marked “private”, an amazing collection of glass plates were found 30 years ago, amongst the remnants of the two portrait photographers Marie Høeg (1866-1949) and Bolette Berg (1872-1944).
In 1895, they established the Berg & Høeg photography studio in Horten, Norway, where they took portraits and views of Horten and surroundings and lived on the proceeds from sales. At that time, photography was seen as a decent and acceptable profession for women, as it was a profession that demanded a certain amount of aesthetic sense – as part of the female nature.
Horten was a naval base with the main shipyard for the Norwegian navy and had a strong flow of people who needed photographs for celebration and recollection. Perhaps that is how the two photographers understood by the very process of portraiture how important it is to stage oneself and to what a large degree that contributes to how we are perceived.
The Preus museum collection has 440 glass negatives from Berg & Høeg. Among the cartons in the 1980s were discovered some on which had been written “private.” It is not unusual that photographers also have private photographs in their archives. But these were not ordinary keepsake pictures. They indicate that the two photographers, especially Marie Høeg, experimented with various gender roles.
Imagine the fun they must have had, cross-dressing and playing! At the same time, the images are deeply serious, as they reflect upon the expectations and attitudes towards women, and their lack of rights and freedom. We know that Høeg was the extrovert and started groups to fight for women’s rights. Bolette Berg was less in the public view. However, she must have been back of the camera in many of these photographs, which have attracted international notice.
We find several such boundary-breaking photographic projects in Europe and America around 1900. They correspond with women’s battle for full civil rights and the right to define their own identity. So these photographs are a part of an international history – or herstory – that has meaning and recognition value for all women, including now. All images are digital reproductions of the original glass plates. Some of the plates have cracks and damages, left visible in the reproductions.
All images and text retrieved from The Preus museum on Flickr
Marie Høeg (in underwear) as a young boy with cigarette. Photo: Berg & Hoeg, ca. 1895-1903 | src The Preus museum collectionMarie Høeg sits crossed-legged in her underwear, with her initials embroidered on the collar. Short hair, direct gaze to the camera, and a cigarette dangling. (ca. 1895-1903)Marie Høeg as a young boy with a cigarette. Photo: Berg & Hoeg, ca. 1895-1903Marie Høeg. Photo: Berg & Hoeg, ca. 1895-1903 | src The Preus museum collection on FlickrMarie Høeg i sjømannslue og kåpe. Photo: Berg & Hoeg, ca. 1895-1903. The Preus museum collectionMarie Høeg. Photo: Berg & Hoeg, ca. 1895-1903. Glass plate negativeKind of triptych of Marie Høeg. Two motives put together on one glass plate. Photo: Berg & Hoeg, ca. 1895-1903Composite photograph, Marie Høeg sitting on a swing. Two motives put together on one glass plate. Photo: Berg & HoegMarie Høeg. Photo: Berg & Hoeg, ca. 1895-1903Marie Høeg ‘after the burglary‘ sitting at a table counting money (gun on table). Photo: Berg & Hoeg, ca. 1895-1903
In a box marked “private”, an amazing collection of glassplates were found 30 years ago, amongst the remnants of the two portrait photographers Marie Høeg (1866-1949) and Bolette Berg (1872-1944).
In 1895, they established the Berg & Høeg photography studio in Horten, Norway, where they took portraits and views of Horten and surroundings and lived on the proceeds from sales. At that time, photography was seen as a decent and acceptable profession for women, as it was a profession that demanded a certain amount of aesthetic sense – as part of the female nature.
Horten was a naval base with the main shipyard for the Norwegian navy and had a strong flow of people who needed photographs for celebration and recollection. Perhaps that is how the two photographers understood by the very process of portraiture how important it is to stage oneself and to what a large degree that contributes to how we are perceived.
The Preus museum collection has 440 glass negatives from Berg & Høeg. Among the cartons in the 1980s were discovered some on which had been written “private.” It is not unusual that photographers also have private photographs in their archives. But these were not ordinary keepsake pictures. They indicate that the two photographers, especially Marie Høeg, experimented with various gender roles.
Imagine the fun they must have had, cross-dressing and playing! At the same time, the images are deeply serious, as they reflect upon the expectations and attitudes towards women, and their lack of rights and freedom. We know that Høeg was the extrovert and started groups to fight for women’s rights. Bolette Berg was less in the public view. However, she must have been back of the camera in many of these photographs, which have attracted international notice.
We find several such boundary-breaking photographic projects in Europe and America around 1900. They correspond with women’s battle for full civil rights and the right to define their own identity. So these photographs are a part of an international history – or herstory – that has meaning and recognition value for all women, including now. All images are digital reproductions of the original glass plates. Some of the plates have cracks and damages, left visible in the reproductions.
All images and text retrieved from The Preus museum on Flickr
Marie Høeg and Ingeborg Berg in a rowing boat. Photo: Berg & Hoeg ca. 1895-1903 The Preus museum collection on Flickr
In a box marked “private”, an amazing collection of glass plates were found 30 years ago, amongst the remnants of the two portrait photographers Marie Høeg (1866-1949) and Bolette Berg (1872-1944).
Marie Høeg and Bolette Berg in a rowing boat. Photo: Berg & Hoeg, ca. 1895-1903 | src Preus museum
In 1895, they established the Berg & Høeg photography studio in Horten, Norway, where they took portraits and views of Horten and surroundings and lived on the proceeds from sales. At that time, photography was seen as a decent and acceptable profession for women, as it was a profession that demanded a certain amount of aesthetic sense – as part of the female nature.
Horten was a naval base with the main shipyard for the Norwegian navy and had a strong flow of people who needed photographs for celebration and recollection. Perhaps that is how the two photographers understood by the very process of portraiture how important it is to stage oneself and to what a large degree that contributes to how we are perceived.
Ingeborg Berg, Julie Antonsen and Trine Ulriksen having a nice time together, sitting on the floor drinking and card-playing, doing the things “nice girls” shouldn’t do. Marie Høeg, sitting at the back with a hat on. Ingeborg Berg, Julie Antonsen and Trine Ulriksen having a nice time together with Marie Høeg, sitting in front to the right. Photo: Berg & Hoeg, ca. 1895-1903
The Preus museum collection has 440 glass negatives from Berg & Høeg. Among the cartons in the 1980s were discovered some on which had been written “private.” It is not unusual that photographers also have private photographs in their archives. But these were not ordinary keepsake pictures. They indicate that the two photographers, especially Marie Høeg, experimented with various gender roles.
Imagine the fun they must have had, cross-dressing and playing! At the same time, the images are deeply serious, as they reflect upon the expectations and attitudes towards women, and their lack of rights and freedom. We know that Høeg was the extrovert and started groups to fight for women’s rights. Bolette Berg was less in the public view. However, she must have been back of the camera in many of these photographs, which have attracted international notice.
Marie Hoeg posing with her brother Karl in the studio. Photo: Berg & Hoeg, ca. 1895-1903Marie Høeg utkledt som mann, med pelslue. Helfigur. / Marie dressed as a man. Photo: Berg & Hoeg, ca. 1895-1903Marie Høeg’s brother Karl posing in women clothes with an umbrella. Photo: Berg & Hoeg, ca. 1895-1903
We find several such boundary-breaking photographic projects in Europe and America around 1900. They correspond with women’s battle for full civil rights and the right to define their own identity. So these photographs are a part of an international history – or herstory – that has meaning and recognition value for all women, including now. All images are digital reproductions of the original glass plates. Some of the plates have cracks and damages, left visible in the reproductions. (quoted from the Album description)
Marie Høeg and Bolette Berg in their home sitting on sofa. Photo: Berg & Hoeg, ca. 1895-1903Staged portrait of one of Bolette Berg’s five sisters. Photo: Berg & Hoeg, ca. 1895-1903“Vestalinne II”. One of Bolette Berg’s five sisters. Photo: Berg & Hoeg, ca. 1895-190
All images from this post were retrieved from The Preus museum collection hosted on Flickr. Link to album (x)
Emma Justine Farnsworth ~ From Sunshine and Playtime, 1893 | src internet archiveEmma Justine Farnsworth ~ From Sunshine and Playtime, 1893 | src internet archiveEmma Justine Farnsworth ~ From Sunshine and Playtime, 1893 | src internet archiveEmma Justine Farnsworth ~ From Sunshine and Playtime, 1893 | src internet archiveEmma Justine Farnsworth ~ From Sunshine and Playtime, 1893 | src internet archive
Jan Toorop ~ Poster for Delft Salad Oil, 1894 (RP-P-1912-2395) | src Rijksmuseum
Affiche Delftsche Slaolie (1894) This poster was commissioned by the Nederlandsche Oliefabriek, an oil manufacturer in Delft. Two women with wavy hair and billowing draperies occupy most of the composition. One of them is dressing a salad.
The inscription on top Delftsche Slaolie makes it clear that the advert concerns salad oil, as do the bottles of salad oil on either side of the text. Below it is the crowned coat of arms of the factory (N O F), with a decorative area with peanuts on the left. The majority of the poster is taken up by the two graceful female figures with long hair and billowing draperies. One sits and is dressing a lettuce salad in a large container; the other has her gaze and hands raised. The women with their emphatic contours draw attention away from the actual advertisement, namely for the salad oil. The wavy, rhythmic interplay of lines with which the women’s hair fills the picture surface made such an impression that it became an icon and lent Dutch Art Nouveau its nickname, slaoliestijl, the ‘salad oil style’. | text adapted from Rijksmuseum [x]
Jan Toorop ~ Image Design for a Poster. Wagenaar’s Cantata ‘The Shipwreck’, 1899. Zincograph in blue-black on yellow wove paper | src AICJan Toorop (1858-1928) ~ Two female figures with clock in hand, 1913 (?). Pencil and chalk on paper. | src RijksmuseumJan Toorop ~ Twee gestileerde vrouwelijke figuren met klok in de hand (1894)
Jan Toorop (1858–1928) was born on the island of Java in the Dutch East Indies, Toorop settled in the Netherlands at the age of eleven. After studying art at the Rijksakademie in Amsterdam, he’d spend his time between The Hague, Brussels, England (where his wife was from), and, after 1890, the Dutch seaside town of Katwijk aan Zee. It was during this time that he developed his distinctive style: highly stylized figures, embedded in complex curvilinear designs, with his dynamic line showing influence from his Javanese roots. While perhaps most famous for turning these techniques to his exquisite poster designs, Toorop also produced a substantial body of work far removed from the anodyne demands of the advertising industry, beautiful but haunting works dealing with darker subjects such as loss of faith and death (that you can find in this other post). | text adapted from Public Domain review
un regard oblique 