Girl in meadow by Sarra

Valentino Sarra (Italian, 1903-1982) ~ Girl in Meadow, 1930. Gelatin silver print | src heritage auctions
Valentino Sarra (Italian-American, 1903-1982) ~ Girl in Meadow, 1930. Gelatin silver print | src heritage auctions

Potted Plants 1910s – 1940s (?)

Karl Struss :: The Attic Window, Dresden, 1909. Platinum print. | src Smithsonian American Art Museum
Karl Struss (1886-1981) :: The Attic Window, Dresden, 1909. Platinum print. | src Smithsonian American Art Museum
Karl Struss (1886-1981) :: Three Potted Plants in Window [Chrysanthemums], Willard White NYC, 1911. Platinum print. | src Amon Carter Museum of American Art
Karl Struss :: Three Potted Plants in Window [Chrysanthemums], Willard White NYC, 1911. Platinum print. | src Amon Carter Museum
Johan Hagemeyer :: Rex begonia in window of Carmel house. [photographic print] | src OAC · Calisphere
Johan Hagemeyer :: Rex begonia in window of Carmel house. [photographic print] | src OAC · Calisphere
Johan Hagemeyer (1884-1962) :: [Plant.] [negative], n.d. | src OAC · Calisphere
Johan Hagemeyer (1884-1962) :: [Plant.] [negative], n.d. | src OAC · Calisphere
Johan Hagemeyer :: [Plants. Unidentified interior] [negative] | src OAC · Calisphere
Johan Hagemeyer :: [Plants. Unidentified interior] [negative] | src OAC · Calisphere

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.

Pelargonien · Geraniums

Gustaf Wernersson Cronquist (Sverige, 1878 - 1967) :: Titel saknas, 1938. Autokrom. | src Moderna Museet
Heinrich Kühn :: Stillleben mit Pelargonien (Still life with geraniums), 1907. Autochrome. | src ÖNB
Heinrich Kühn :: Stillleben mit Pelargonien (Still life with geraniums), 1907. Autochrome. | src ÖNB
Gustaf Wernersson Cronquist (Sverige, 1878 - 1967) :: Pelargonia, Torekov, 1922  | src Moderna Museet
Gustaf Wernersson Cronquist (Sverige, 1878 – 1967) :: Pelargonia, Torekov, 1922. Autokrom. | src Moderna Museet
Gustaf Wernersson Cronquist (Sverige, 1878 - 1967) :: Titel saknas, 1938. Autokrom. | src Moderna Museet
Gustaf Wernersson Cronquist (Sverige, 1878 – 1967) :: Titel saknas, 1938. Autokrom. | src Moderna Museet

Still life with geraniums, 1907

Heinrich Kühn :: Stillleben mit Pelargonien (Still life with geraniums), 1907. Autochrome. | src ÖNB

The Boy at the Window, 1908

Emma Barton :: The Boy at the Window. The Amateur Photographer & Photographic News, vol. XLVVII, 1234, p. 544, Mrs. G.A. (Emma) Barton (1872-1938), Birmingham (West Midlands), England, Illustration of the article «Window Photography». May 26th, 1908. | src Musée Nicéphore Niépce [detail]
Emma Barton :: The Boy at the Window. Illustration of the article «Window Photography». May 26th, 1908. | src Musée Nicéphore Niépce