Category: still life, Stillleben, nature morte, naturaleza muerta, natura morta

Calla Lilies by Corpron, 1940s

Carlotta Corpron (1901-1988) :: Solarized Calla Lilies, 1948. Gelatin silver print. | Amon Carter Museum of American Art, Fort Worth, Texas, Gift of the artist; P1986.43.4
Carlotta Corpron (1901-1988) :: Solarized Calla Lilies, 1948. Gelatin silver print. | Amon Carter Museum of American Art
Carlotta Corpron (1901-1988) :: Calla Lily with Lace, 1940s. Gelatin silver print. | Amon Carter Museum of American Art, Fort Worth, Texas, Gift of the artist; P1986.43.3
Carlotta Corpron (1901-1988) :: Calla Lily with Lace, 1940s. Gelatin silver print. | Amon Carter Museum of American Art

In a Blue Moon, 1939 (Nell Dorr)

“It’s only once in a blue moon that days like these can happen but, when they do, they add a new dimension to the years that follow.” – Opening text of In a blue moon by Nell Dorr.

Nell Dorr - Nell Koons :: from "In a Blue Moon", published by G. P. Putnam’s Sons in 1939. In a Blue Moon, a small hardcover made up of many of the same images from Mangroves (*) but printed in photogravure.
Nell Dorr ~ Nell Koons :: from “In a Blue Moon”, published by G. P. Putnam’s Sons in 1939.

In a Blue Moon, a small hardcover made up of many of the same images from Mangroves (*) but printed in photogravure. Lettering by George A. DuBerg.
(*) Mangroves, a softbound portfolio of her photographs was self-published in a limited edition, under her first married name, Nell Koons. It comprises two of her poems and fifteen tipped-in halftones of flowers and nude girls and women, often perched in trees.

Nell Dorr - Nell Koons :: from "In a Blue Moon", published by G. P. Putnam’s Sons in 1939.
Nell Dorr ~ Nell Koons :: from “In a Blue Moon”, published by G. P. Putnam’s Sons in 1939.
Nell Dorr - Nell Koons :: from "In a Blue Moon", published by G. P. Putnam’s Sons in 1939.
Nell Dorr ~ Nell Koons :: from “In a Blue Moon”, published by G. P. Putnam’s Sons in 1939.
Nell Dorr - Nell Koons :: from "In a Blue Moon", published by G. P. Putnam’s Sons in 1939.
Nell Dorr ~ Nell Koons :: from “In a Blue Moon”, published by G. P. Putnam’s Sons in 1939.
Nell Dorr - Nell Koons :: from "In a Blue Moon", published by G. P. Putnam’s Sons in 1939.
Nell Dorr ~ Nell Koons :: from “In a Blue Moon”, published by G. P. Putnam’s Sons in 1939.
Nell Dorr - Nell Koons :: from "In a Blue Moon", published by G. P. Putnam’s Sons in 1939.
Nell Dorr ~ Nell Koons :: from “In a Blue Moon”, published by G. P. Putnam’s Sons in 1939.
Nell Dorr :: Florida Keys, 1928. # 9 From In a Blue Moon, published 1939. Amon Carter Museum
Nell Dorr ~ Nell Koons :: Florida Keys, 1928. # 9 From In a Blue Moon, published 1939. Amon Carter Museum
Nell Dorr - Nell Koons :: from "In a Blue Moon", published by G. P. Putnam’s Sons in 1939.
Nell Dorr ~ Nell Koons :: from “In a Blue Moon”, published by G. P. Putnam’s Sons in 1939.
Nell Dorr - Nell Koons :: from "In a Blue Moon", published by G. P. Putnam’s Sons in 1939.
Nell Dorr ~ Nell Koons :: from “In a Blue Moon”, published by G. P. Putnam’s Sons in 1939.
Nell Dorr :: The Secret Pool, 1928. # 18 also # 58, From In a Blue Moon, published 1939. Amon Carter Museum
Nell Dorr ~ Nell Koons :: The Secret Pool, 1928. # 18 also # 58, From In a Blue Moon, published 1939. Amon Carter Museum

In a blue moon combines dream-like images of nude women with close-up and abstracted images of flowers. The narrative of this photo-novella is the transition into adulthood.  The effect of this book is that something that has so much potential to be lame – pictures of girls, pictures of flowers, girls and flowers and girls with flowers in their hair – actually comes across as being quite profound and unashamedly beautiful.  Nell Dorr photographed with a Rollei camera only ever using available natural light.  The simplicity of her approach did not necessarily mean simplicity in the results that she achieved. Her imagery is filled with amazing abstract constructions and her portraits have an almost primal quality.  Her photographs are the autobiographical work of a strong and sensitive woman who created an internal place where beauty and truth could still flourish. [quoted from an article by Matthew Carson (Head Librarian & Archivist at the International Center of Photography) on Monsters & Madonnas]

Nell Dorr - Nell Koons :: from "In a Blue Moon", published by G. P. Putnam’s Sons in 1939.
Nell Dorr (1893-1988) :: Flower Laden, 1928. Gelatin silver print. # 7 From The Blue Moon. Amon Carter Museum of American Art
Nell Dorr - Nell Koons :: from "In a Blue Moon", published by G. P. Putnam’s Sons in 1939.
Nell Dorr (1893-1988) :: Vine Leaves; 1928. Gelatin silver print. # 8 From The Blue Moon. Amon Carter Museum of American Art
Nell Dorr - Nell Koons :: from "In a Blue Moon", published by G. P. Putnam’s Sons in 1939.
Nell Dorr :: Flower Laden, 1928-29. Gelatin silver print. # 7 From The Blue Moon. Amon Carter Museum of American Art
Nell Dorr :: The Sea Grape Tree, 1927-29. # 36 From In a Blue Moon, published 1939. Amon Carter Museum
Nell Dorr :: The Sea Grape Tree, 1927-29. # 36 From In a Blue Moon, published 1939. Amon Carter Museum
Nell Dorr :: The Sea Grape Tree, 1923, printed after 1923. # 28 From In a Blue Moon, published 1939. Amon Carter Museum
Nell Dorr :: The Sea Grape Tree, 1923, printed after 1923. # 28 From In a Blue Moon, published 1939. Amon Carter Museum
Nell Dorr :: The Coco Loba Tree, ca. 1923-1929. # 44 From In a Blue Moon, published 1939. Amon Carter Museum
Nell Dorr :: The Coco Loba Tree, ca. 1923-1929. # 44 From In a Blue Moon, published 1939. Amon Carter Museum
Nell Dorr :: Harp of the Wind, 1929. # 38 From In a Blue Moon, published 1939. Amon Carter Museum
Nell Dorr :: Harp of the Wind, 1929. # 38 From In a Blue Moon, published 1939. Amon Carter Museum
Nell Dorr :: Wonder, 1928. # 75 From In a Blue Moon, published 1939. Amon Carter Museum
Nell Dorr :: Wonder, 1928. # 75 From In a Blue Moon, published 1939. Amon Carter Museum
Nell Dorr :: [Negative image of ‘Matin’], 1929. Amon Carter Museum
In a Blue Moon published by G. P. Putnam’s Sons in 1939. [1st edition]; Nell Dorr; lettering by George A. DuBerg.

content sources:

ICP · International Center of Photography

Monsters & Madonnas (ICP blog)

Amon Carter museum of American art

Harvard University & Yale University Library

Some Dugdale still-lifes

John Dugdale :: Figs and Pomegranates, 1997, cyanotype. | src Holden Luntz Gallery
John Dugdale :: Still Lifes (clockwise): Wonder Stings Me More than the Bee, ca. 1999 / Lone Tulip, ca. 2000 / A Certain Slant of Light, ca. 1999 / Offering, ca. 1999. Cyanotypes. | src John Dugdale Studio

Hagemeyer’s flowers (undated)

Johan Hagemeyer :: [Flower] [negative] [Sugarbush?], n.d. Copyright Owner: The Bancroft Library | src OAC
Johan Hagemeyer :: [Flowers] [negative] [Protea?], n.d. Copyright Owner: The Bancroft Library | src OAC
Johan Hagemeyer :: [Flowers] [negative], n.d. Copyright Owner: The Bancroft Library | src OAC · Callisphere

Roses by Clara Sipprell, 1920s

Clara Sipprell (1885-1975) :: [Rose in glass bottle], ca. 1922. Gelatin silver print. | src Amon Carter Museum of American Art
Clara E. Sipprell (1885-1975) :: Floating Rose, ca. 1920. Gelatin silver print. | src Freeman’s Auction # 4692
Clara Sipprell (1885-1975) :: Phyllis’s Roses, 1925. Gelatin silver print. | src Amon Carter Museum of American Art
Clara Sipprell (1885-1975) :: [Rose and figurines], ca. 1922. Gelatin silver print. | src Amon Carter Museum of American Art
Clara Sipprell (1885-1975) :: [Rose and figurines], ca. 1922. Gelatin silver print. | src Amon Carter Museum of American Art

Callas and Lilies by Clara Sipprell

Clara Sipprell (1885-1975) :: Auratum Lilies, 1950. Gelatin silver print. | src Amon Carter Museum of American Art
Clara Sipprell (1885-1975) :: Auratum Lilies, 1950. Gelatin silver print. | src Amon Carter Museum of American Art
Clara Sipprell (1885-1975) :: Calla Lilies, ca. 1925. Gelatin silver print on tissue. | src Amon Carter Museum of American Art
Clara Sipprell (1885-1975) :: Calla Lilies, ca. 1925, printed ca. 1926. | src Amon Carter Museum of American Art

Two Petunias or Hollyhocks

Clara Sipprell (1885-1975); [Two petunias]; ca. 1930’s; Gelatin silver print on tissue; Amon Carter Museum of American Art, Fort Worth, Texas, Purchase through gift of The Dorothea Leonhardt Fund of the Communities Foundation of Texas, Inc.; P1984.1.660
Clara Sipprell (1885-1975) :: Two Petunias, 1930s. Gelatin silver print on tissue. | src Amon Carter Museum
Clara E. Sipprell (1885-1975) :: Untitled [two hollyhock blossoms resting on a platter], undated. | src Burchfield Penney Art Center

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.