Johnston lantern slides of gardens

**Frances Benjamin Johnston** (1864-1952) ~ the Drum bridge in the Japanese garden at Henry Edwards Huntington house, San Marino, California, 1923. Glass lantern slide (hand coloured) | src getty images

**Frances Benjamin Johnston** (1864-1952) ~ Drumthwacket, Moses Taylor Pyne House, Princeton, New Jersey, 1911 [official residence of the governor of New Jersey]. Glass lantern slide | src getty images

Tor Ekström ~ blood drop

**Tor Ekström ~** Potted plant (drop of blood), 1934. Agfa autochrome. (id. TEKA0024148) | src TEKA ~ Tekniska museet

**Tor Ekström ~** Krukväxt (bloddroppe), 1934. Agfa-autokrom. (Detail)

**Tor Ekström ~** Krukväxt (bloddroppe), 1934. Agfa-autokrom. (id. TEKA0024148) | src TEKA ~ Tekniska museet

Steichen’s Delphiniums, late 1930s

**Edward Steichen ~** Delphiniums, Ridgefield, Connecticut, 1939; printed 1940. Dye transfer photograph. | src NGV

**Edward Steichen ~** Block of blue wave delphiniums at Steichen’s plant breeding farm, 1938 | NGV ~ National Gallery of Victoria

**Edward Steichen** (American, b. Luxembourg, 1879–1973) ~ Delphiniums, ca. 1940. Dye imbibition print. | Eastman museum

Edward Steichen: painter, photographer, modern art promoter, museum curator, exhibition creator—and delphinium breeder.

Yes, in addition to his groundbreaking career as a visual artist and museum professional, Steichen was also a renowned horticulturist. While he lived in France, the French Horticultural Society awarded him its gold medal in 1913, and he served as president of the American Delphinium Society from 1935 to 1939. In the early 1930s, after leaving his position as chief of photography for the Condé Nast publications—including Vogue and Vanity Fair—and more than 10 years before beginning his career as Director of the Department of Photography at MoMA, he retired to his Connecticut farm to raise flowers.

Among the delphinium breeds Steichen hybridized there were “Carl Sandburg,” named for his brother-in-law and close friend (and Nobel Prize–winning poet and author), and, in the 1960s, “Connecticut Yankees”…

In June 1936, MoMA presented its first and only dedicated flower show, Edward Steichen’s Delphiniums, which exhibited—for one week only—plants Steichen had raised and then trucked to the Museum’s galleries himself. (Read the original press release for the exhibition in MoMA’s online press archives.)

quoted from MoMA blog

Edward Steichen with delphiniums (ca. 1938), Umpawaug House (Redding, Connecticut). Photo by Dana Steichen. Gelatin silver print. Edward Steichen Archive, VII. The Museum of Modern Art Archives. | MoMA blog

Dana Steichen colour portraits

Edward Steichen ~ [Dana Steichen draped in shawl], ca. 1920. Cyanotype and palladium print. | src George Eastman museum — **Edward Steichen ~** [Dana Steichen draped in shawl], ca. 1920. Cyanotype and palladium print. | src George Eastman museum

**Edward Steichen ~** Dana Steichen Holding a Sunflower, ca. 1924. Cyanotype and palladium print. | src George Eastman Museum

**Edward Steichen ~** [Dana Steichen draped in shawl], ca. 1920. Cyanotype and experimental process. | src George Eastman Museum

Still-lifes by Lumiere Brothers

**Auguste-Marie-Louis-Nicolas Lumière** and **Louis-Jean Lumière ~** Tulips, 1896-1903. Trichromie. Transparency. | src Getty Images

**Auguste et Louis Lumière ~** Nature morte, stéréo à la gomme bichromatée sur verre. 1899-1900

**Auguste et Louis Lumière ~** Nature morte, stéréo à la gomme bichromatée sur verre. 1899-1900 (Full stereo view)

**Auguste-Marie-Louis-Nicolas Lumière** and **Louis-Jean Lumière ~** Still Life of Flowers in a Stein, 1896-1903. Trichromie. Transparency. | src Getty Images

Flower portrait by Włodek, 1920s

Jan Zdzisław Włodek :: Autochrome of a flower in the greenhouse of the Włodków villa at Pędzichów, 1923-1929. | Fundacja im. Zofii i Jana Włodków

Tatiana par Lessieux, 1907

Ernest-Louis Lessieux :: Tatiana sur une plage d'Oléron (titre factice), plaque de verre Autochrome, 1907. Conseil des musées. Le musée de l'île d'Oléron — **Ernest-Louis Lessieux ::** Tatiana sur une plage d’Oléron (titre factice), plaque de verre Autochrome, 1907. Conseil des musées. Le musée de l’île d’Oléron

Ernest-Louis Lessieux :: Tatiana dans l'eau sur l'île d'Oléron (titre factice), plaque de verre autochrome, 1907. Conseil des musées. Le musée de l'île d'Oléron — **Ernest-Louis Lessieux ::** Tatiana dans l’eau sur l’île d’Oléron (titre factice), plaque de verre autochrome, 1907. Conseil des musées. Le musée de l’île d’Oléron

Ernest-Louis Lessieux :: Tatiana en costume de bain sur une plage d'Oléron (titre factice), plaque de verre Autochrome, 1907. Conseil des musées. Le musée de l'île d'Oléron — **Ernest-Louis Lessieux ::** Tatiana en costume de bain sur une plage d’Oléron (titre factice), plaque de verre Autochrome, 1907. Conseil des musées. Le musée de l’île d’Oléron

Tulips, ca. 1911 (Clara Sipprell)

**Clara Sipprell (1885-1975) ::** “Tulips“, ca. 1911. Glass transparency. Additive color screen plate(*). | src Amon Carter Museum

**Clara E. Sipprell ::** “Tulips“, ca. 1911. Glass transparency. Additive color screen plate(*). | src Amon Carter Museum of American Art

(*) Additive Color Screen Plate or Screen Plate were known commonly by the product name: Autochrome, Filmcolor, Lumicolor, Alticolor. Used mainly between 1907 and 1935. Initially it has a glass support; later products on film supports. This process was the first fully practical single-plate color process. The Autochrome plate or Screen plate could record both saturated and subtle colors with fidelity, and since the screen and the image were combined, there were no registration problems. Nonetheless, it had its drawbacks: the exposure times were long, and the processed plates were very dense, transmitting only less than the 10% of the light reaching them.

The result is a soft, subdued, dreamy colored image. And grainy. Although the starch grain filters were microscopically small their random distribution meant that inevitably there would be clumping of grains of the same color.

Pinatype by Perscheid, 1900s

field of flowers, pinatype, early color, colour, pinatipie

Nicola Perscheid :: Ms. Änne Jungmann in the lupins, ca1900. Pinatype. | src MK&G — **Nicola Perscheid ::** Fräulein Änne Jungmann in den Lupinen, um 1900. Pinatypie. | src MK&G

The Pinatype is a dye transfer imbibition process. The colored picture is obtained by superimposing three gelatin films which have been exposed under negatives taken behind color-screens and dyed with corresponding colors.