Struss views of lake Como (1900s)

Karl Fischer Struss ,1910s
Karl Struss (1886-1981) :: Ducks on Lake Como. Photogravure published in Camera Work nº 38, 1912. | src Modernist Journals Project
Karl Struss (1886-1981) :: Ducks on Lake Como. Photogravure published in Camera Work nº 38, 1912. | src Modernist Journals Project
Karl Struss (1886-1981) :: Ducks on Lake Como. Photogravure published in Camera Work nº 38, 1912. | src Modernist Journals Project
Karl F. Struss (1886-1981) :: Ducks on Lake Como. Photogravure published in Camera Work nº 38, 1912. | src Modernist Journals Project
Karl Struss (1886-1981); Ducks, Lake Como; Photogravure; from Camera Work #38; Alfred Stieglitz; 1912; Amon Carter Museum of American Art; Fort Worth, TX;  P1983.40.6
Karl F. Struss (1886-1981) :: Ducks, Lake Como, 1909, printed 1912. Hand-pulled photogravure printed by Alfred Stieglitz. Published in Camera Work # 38 (1912) | src Amon Carter Museum
Karl F. Struss (1886–1981) :: Near Lake Como [Woman walking along a road], 1909. Platinum print. | src Museum of Fine Arts (MFA) Boston
Karl F. Struss (1886–1981) :: Near Lake Como [Woman walking along a road], 1909. Platinum print. | src Museum of Fine Arts (MFA) Boston
Karl Fischer Struss (1886-1981) :: On Lake Como, 1909; Platinum print. | src Amon Carter Museum of American Art
Karl Fischer Struss (1886-1981) :: On Lake Como, 1909. Platinum print. | src Amon Carter Museum of American Art

Of boats and foliage

rowing boat, pictorialism, mood, 1920s
Martin Imboden :: Small Boat at Zurich lake, ca. 1927. | src and © Sammlung Fotostiftung Schweiz
Martin Imboden :: Weidling auf dem Zürichsee, um 1927. Silbergelatineabzug. | src und © Sammlung Fotostiftung Schweiz
Karl Struss (1886-1981) :: On Lake Como, 1909; Platinum print. | src Amon Carter Museum of American Art (P1983.23.115)
Karl Struss (1886-1981) :: On Lake Como, 1909; Platinum print. | src Amon Carter Museum of American Art (P1983.23.115)

Pictorial view by Seizo Katzu

pictorialism, american pictorialism, 1920s
Seizo K. Katsu :: Glimpse [The moon seen behind clouds. Bare vines and fern leaves hang in the foreground from the top of the image before a cloudy sky.], negative 1925; print 1926. Collotype. | The J. Paul Getty Museum
Seizo K. Katsu :: Glimpse [The moon seen behind clouds. Bare vines and fern leaves hang in the foreground from the top of the image before a cloudy sky.], negative 1925; print 1926. Collotype. | The J. Paul Getty Museum
Seizo K. Katsu (active 1925-1930) :: Glimpse, negative 1925; print 1926. Collotype. Pictorial Photography in America vol. 4
Seizo K. Katsu (active 1925-1930) :: Glimpse, negative 1925; print 1926. Collotype. Pictorial Photography in America vol. 4

Autochrome portraits

Henry-René d’Allemagne (1863-1950) et divers :: [Autoportrait], Parc, ca. 1900. Autochrome. | src Ader ~ Paris Photo 2022
Henry-René d’Allemagne (1863-1950) et divers :: [Autoportrait], Parc, ca. 1900. Autochrome. | src Ader ~ Paris Photo 2022
Henry-René d’Allemagne (1863-1950) et divers :: [Portrait de femme], ca. 1910. Autochrome. | src Ader ~ Paris Photo 2022
Henry-René d’Allemagne (1863-1950) et divers :: [Portrait de femme], ca. 1910. Autochrome. | src Ader ~ Paris Photo 2022

Remembering You · Hanabi

Paul Cupido :: Remembering You II, 2022 © Paul Cupido – Courtesy of Bildhalle Amsterdam | src l'œil de la photographie
Paul Cupido :: Remembering You II, 2022 © Paul Cupido – Courtesy of Bildhalle Amsterdam | src l’œil de la photographie
Paul Cupido :: Hanabi, 2022 © Paul Cupido – Courtesy of Bildhalle Amsterdam | src l'œil de la photographie
Paul Cupido :: Hanabi, 2022 © Paul Cupido – Courtesy of Bildhalle Amsterdam | src l’œil de la photographie

“Hana” means “flower” and  “bi” means “fire”, so “Hanabi” roughly translates to  “fire flowers”. The Japanese call fireworks Hanabi. The name suggests not only a physical resemblance, but also an existential one. Fireworks bloom, but only for a moment, dazzling onlookers before fading into oblivion.

Hanabi (lit. flower fire or fire flower) were popularised and developed during the resplendent days of Edo and have come to hold cultural significance in Japan both in physical displays and metaphorically as a symbol of ephemeral beauty.

Jugend cover by Julie Wolfthorn

Julie Wolfthorn (Berlin) :: Titelblätter (Cover). Jugend. Münchner illustrierte Wochenschrift für Kunst und Leben. — G. Hirth’s Verlag in München & Leipzig. 3 September, 1898. Nr. 36, III. Jahrgang
Julie Wolfthorn (Berlin) :: Titelblätter (Cover). Jugend. Münchner illustrierte Wochenschrift für Kunst und Leben. — 1898 [detail]
Julie Wolfthorn (Berlin) :: Titelblätter (Cover). Jugend. Münchner illustrierte Wochenschrift für Kunst und Leben. — 1898 [detail]
Julie Wolfthorn (Berlin) :: Titelblätter (Cover). Jugend. Münchner illustrierte Wochenschrift für Kunst und Leben. — G. Hirth’s Verlag in München & Leipzig. 3 September, 1898. Nr. 36, III. Jahrgang
Julie Wolfthorn (Berlin) :: Titelblätter (Cover). Jugend. Münchner illustrierte Wochenschrift für Kunst und Leben. — G. Hirth’s Verlag in München & Leipzig. 3 September, 1898. Nr. 36, III. Jahrgang

Pimpernel by William Morris

William Morris :: Pimpernel, 1876. Designed by William Morris. Produced by Morris & Co., London. | src AIC
William Morris :: Pimpernel, 1876 (detail). | Morris and Company: The Business of Beauty at Chicago Art Institute

Morris and Company: The Business of Beauty

Artist, designer, and writer William Morris (1834–1896) founded Morris & Co. in 1861. The company quickly became regarded for the objects it designed and made for home interiors—handmade wallpapers, textiles, and furniture—and its style became synonymous with the British Arts and Crafts movement of the late 19th century. Morris was both an avid student of art history and devotee of the natural world, and his and his company’s works were characterized by a design vocabulary drawn from both European and Middle Eastern historical fabric designs and featured, and were titled after, flowers and plants.

Morris and his collaborators—which included his wife Jane Burden Morris, younger daughter May Morris, artisan and designer John Henry Dearle, as well as artists such as Edward Burne-Jones and Dante Gabriel Rosetti—considered themselves design reformers. They were on a mission to bring beauty back into the lives of their consumers through thoughtful design and production that foregrounded the agency of artisans and anti-industrial techniques. Accordingly, they experimented with dye recipes based on natural materials, revived hand-printing methods for fabrics and wallpapers, and reintroduced hand weaving for woven wool and silk textiles as well as pictorial tapestries. [quoted from AIC]

Specimen of ‘Pimpernel’ wallpaper, an almost symmetrical pattern of entwined pale-green foliage and pimpernel plants with small yellow flowers; Block-printed in distemper colours, by hand, on paper. Designed by William Morris; Design registered 1876; Printed by Jeffery & Co. for Morris & Co.; Part of ‘Volume 1’, a pattern book containing 25 Morris & Co. patterns from 1862-81 | src V&A

Street view by Kertész, 1929

André Kertész :: Avenue de l'Opéra, Paris, 1929. Tirage Spare Plate (Serag), N° CX78. | src Auction.fr
André Kertész :: Avenue de l’Opéra, Paris, 1929. Tirage Spare Plate (Serag), N° CX78. | src Auction.fr

Femme au jardin en fleurs, 1911

Julien Gérardin :: Femme au jardin en fleurs, 31-07-1911. Autochrome. | src Collection Julien Gérardin à l’ENSAD
Julien Gérardin :: Femme au jardin en fleurs, 31-07-1911. Autochrome. | src Collection Julien Gérardin à l’ENSAD
Julien Gérardin :: Femme au jardin en fleurs, 31-07-1911. Autochrome. | src Collection Julien Gérardin à l’ENSAD
Julien Gérardin :: Femme au jardin en fleurs, 31-07-1911. Autochrome. | src Collection Julien Gérardin à l’ENSAD
Julien Gérardin :: Femme au jardin en fleurs, 31-07-1911. Autochrome. | src Collection Julien Gérardin à l’ENSAD
Julien Gérardin :: Femme au jardin en fleurs, 31-07-1911. Autochrome. | src Collection Julien Gérardin à l’ENSAD