images that haunt us
The Fondazione Alinari per la fotografia (Archivio Alinari) hosts four similar postcards, the captions are as follows:
This has not been an involuntary mistake, the images had been credited as there were in their respective sources. But there is further to be noticed, as you can see, the image below look more like one of Farnsworth in style and motive.
(***) credits on source is as follows :
Charles I. Berg : Odalesque, 1899
series Title : American Pictorial Photography, Series I
Medium : photogravure in red mounted on green wove paper
Plate 16 : La Cigale …………….. by Emma J. Farnsworth
Plate 17 : Odalesque ………….. by Charles I. Berg
Bearing in mind the photographers’ styles and motives it is highly probable that the plates had been miscredited at the National Gallery of Art. We reckon the last but one image in this post is plate number 16 (La Cigale / Farnsworth); and the other images correspond to plate number 17 : ‘Odalesque’ by Charles Berg.
Anyway, we are not certain about it, but hope that you have enjoyed the images.
Photographer’s stamp with address at “Wien I. Ebendorferstraße 3”, her copyright stamp and her re-order stamp with handwritten negative no. “1039/a” in ink, “Wiener Foto-Kurier” agency stamp, several numbers and handwritten annotated “Frl. Marianne Rosenberg” in pencil on the reverse. LITERATURE “Die junge Frau von Heute”, in: Die Bühne, no. 299, March 1931, Vienna, p. 5 (titled “Fräulein Maria Rosenberg”); Frauke Kreutler, Anton Holzer (eds.), Trude Fleischmann. Der selbstbewusste Blick, cat. Wien Museum, Vienna 2013, p. 127 (ill. from “Die Bühne”).
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 ~ [Dana Steichen draped in shawl], ca. 1920. Cyanotype and palladium print. | src George Eastman museum](https://unregardoblique.com/wp-content/uploads/2023/06/dana-steichen-draped-in-shawl-ca.-1920.-cyanotype-and-palladium-print.jpg)
After a quiet romance, Steichen married the actress Dana Desboro Glover in March 1923 in Blairstown, New Jersey, where Dana’s family owned a farm. From 1928 on they lived together on a large farm in West Redding, Connecticut where Steichen continued his extensive work in plant genetics, breeding award-winning delphiniums and other flowers. A strikingly modern glass home they built there continues to garner praise for its extraordinary siting and craftsmanship. Up until 1927, they also spent a part of each summer at Steichen’s home in Voulangis. Dana Steichen died in 1957 after thirty-four years of marriage. (quoted from E.S. Estate)
![Edward Steichen
American, b. Luxembourg, 1879–1973
[Dana Steichen with apple]
ca. 1920
Cyanotype and palladium print](https://live.staticflickr.com/65535/52939805172_c426b43d9f_o.jpg)
Coburn was given his first camera at the age of eight and was introduced to photography by his cousin Fred Holland Day. As early as 1902 he became a member of the New York Photo-Secession initiated by Alfred Stieglitz, and two years later his first pictures appeared in Stieglitz’s magazine “Camera Work”. A vintage print of this beautiful motif is hold at The Museum of Fine Arts, Houston (MFAH), there titled and dated. Coburn also made autochromes of the same model, showing the red colour of her kimono.
un regard oblique 