Hydrangea by Jaromir Funke

Jaromír Funke ~ Untitled (Hydrangea in blossom in pot), ca. 1920-24 [HGG2-summer 2019] — **Jaromír Funke ~** Untitled (Hydrangea in blossom in pot), ca. 1920-24. Gelatin silver print; printed ca. 1920-24 | src Howard Greenberg Gallery : HGG2, Summer 2019

A very rare photograph in a rather pictorialist style among the modern, abstract production by Funke.

Jaromír Funke ~ Untitled (Hydrangea in blossom in pot), ca. 1920-24 [detail] — **Jaromír Funke (1896–1945) ~** Untitled (Hydrangea in blossom in pot), ca. 1920-24 [detail]

Jaromír Funke (1896–1945) studied medicine, law and philosophy at Charles University in Prague but did not graduate. Instead he concentrated on becoming a professional freelance photographer. By 1922 he was a leader of the young opposition movement in photography and a founder of the Czech Society of Photography (1924) whose mission was to create photography that would fulfil new social functions. In his work Funke managed to combine some of the leading trends in modernist European photography, uniting constructivism and functionalism with surrealism and social commentary, with traditional Czech aesthetics. His interest in modernist ideas led him to make clearly focused studies of simple objects. As the decade progressed, he turned to the production of carefully arranged still lifes emphasizing abstract form and the play of light and shadow. During this time he also produced several important series of photographs, including two inspired by the images of Eugène Atget: Reflexy (Reflections, 1929) and as trvá (Time Persists, 1930-34).

Funke was also influential as a teacher, first at the School of Arts and Crafts, Bratislava (1931-34/35), which followed a Bauhaus-inspired curriculum, and then at the State School of Graphic Arts, Prague (1935-44). While in Bratislava, he became interested in social documentary photography and joined the leftist group Sociofoto, which was concerned with recording the living conditions of the poor. Throughout his career Funke published articles and critical reviews dealing with photography. From 1939-41 he worked with Josef Ehm to edit the magazine Fotografik obzor (Photographic Horizon).

quoted from HGG ~ Howard Greenberg Gallery / Jaromir Funke

Virgin Mary by Charles Berg

**Charles I. Berg ::** [Mary] Woman posed as the Virgin Mary, head-and-shoulders with halo, 1900s | src Library of Congress

**Charles I. Berg** (1856-1926) :: [Mary] Woman posed as the Virgin Mary, head-and-shoulders with halo
[between 1900 and 1910] Platinum print. Signed in pencil on back of mount: “Chas. I. Berg, N.Y.”

**Charles I. Berg ::** [Mary] Woman posed as the Virgin Mary, head-and-shoulders with halo, 1900s [DETAIL]

Night by Charles Berg

**Charles I. Berg ::** Night. A nude woman draped in gauzy fabric posing as if a statue. Copyrighted 1896 by Chas. I. Berg. Platinum print. | src Library of Congress

Charles I. Berg :: Night. A nude woman draped in gauzy fabric posing as if a statue. Copyrighted 1896 by Chas. I. Berg. Platinum print. | Library of Congress — **Charles I. Berg ::** Night. A nude woman draped in gauzy fabric posing as if a statue. Copyrighted 1896 by Chas. I. Berg. Platinum print. | Library of Congress

La Cigale or Odalesque?

**Emma Justine Farnsworth** :: La Cigale, 1899; photogravure in blue mounted on light gray wove paper.
From : American Pictorial Photography, Series I | src National Gallery of Art

Controversial: is this image Berg’s or Farnsworth’s?

**Charles I. Berg** (American, 1856-1926) :: Odalisque, circa 1897. Photogravure. Camera Notes Vol. 3 No. 3. | The Art of Photogravure

**Charles I. Berg** (American, 1856–1926) :: Odalesque (sic), No. 17 from the portfolio “American Pictorial Photography, Series I” (1899); edition 146/150 | AIC · Art Institute Chicago

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

Index : American Pictorial Photography, Series I (1899) Published for ‘Camera Notes’ by the Publication Committee of the Camera Club (New York)

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.

Toodles by Alvin L. Coburn

**Alvin L. Coburn** (1882–1966) :: ‘Toodles (Elsie Thomas)’, ca. 1908. Gelatin silver print, printed in the 1980s | Ostlicht Auktion 2023

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.