Tyree Studio ~ Meredith College students in costume all posing with props while sitting inside trunks, ca 1916. Glass negativeSenseless Souls: What fools these mortals be! (detail from glass plate negative) The J.C. Knowles photograph collection
The photograph is titled “Senseless Souls: What fools these mortals be!” and it appears in the 1916 ‘Oak Leaves’ Meredith College yearbook. A poem accompanied the photo in the yearbook in which each stanza refers to the women pictured from left to right. | src State Archives of North Carolina on flickr
Tyree Studio (1905-1911) ~ Meredith College students in costume all posing with props while sitting inside trunks, ca 1916. Glass negative
The J. C. Knowles Photograph Collection consists in a collection of glass plate negatives dating from ca. 1900 through the late 1910s, attributed to Wharton & Tyree Studio and Tyree Studio of Raleigh, NC. Based on the age of the negatives, where they were found initially, and a notation on one of the plates, it is likely they were all created by Wharton’s Gallery, 1886-1905, Wharton & Tyree Studio, 1905-1912, and Tyree Studio, 1912-1916 of Raleigh, North Carolina.
Cyrus P. Wharton (1852-1929) operated one of the best-equipped and largest photography studios in North Carolina beginning with Wharton’s Gallery on Fayetteville Street in downtown Raleigh in 1886. In 1905 he partnered with Manly W. Tyree (1877-1916) and operated as the Wharton & Tyree Studio. Wharton appears to have retired in 1911, and Tyree continued on alone as the Tyree Studio until his death.
Negatives from J. C. Knowles collection attribution is as listed below:
Unbekannt, Bauhäusler hinter Tapeten (unten links August Rauh, unten rechts Andreas Burkhardt), ca. 1927-28 | src getty.edu Five students wearing sheets of wallpaper and one wearing a sheet of newspaper (ca. 1927-28), attributed to Edmund Collein
Oliver family. Carnival at chacra Santa Ana. Pepe Salas with Josefina’s bathing suit, San Vicente, Buenos Aires, Argentina, February 1910. Photograph hand colored by Josefina Oliver | src YO Josefina OliverSiblings García Oliver, San Vicente, Buenos Aires, Argentina, 1909. Photograph hand colored by Josefina Oliver | src Josefina OliverCarnival. Pepe Salas with Josefina’s bathing suit, San Vicente, Buenos Aires, Argentina, February 1910 [Detail]Josefina Oliver and Pepe Salas cross dressed with niece, San Vicente, March 1908. Hand colored photograph by Josefina Oliver | src YO Josefina Oliver
‘(…) Sunday 8th- Very nice day. Carnival’s burial. (…) Pepe went hunting and I dressed up as a man having a succès d’estime. Pepe came a little later and I decked him out with a dress of mine, Porota wore her paper suit and after dressing up granddaddy ridiculously, we devoted ourselves to perpetuate the memory of our joke through photography. As the audience, all the people from the kitchen, Luis, his wife, his children and even the workman celebrating the scene (…)’. Diary 4, p. 257 and 258, March 1908
Postcard sent by Josefina to her sister Catalina, with her cross-dressed self-portrait, saying that it is a friend of Pepe, her husband.Nephews García Oliver cross-dressed, San Vicente, February 1910. Photograph hand colored by Josefina Oliver | src Josefina Oliver«Con los trajes trocados la Nena y Pedrito», San Vicente, February 1910 Hand colored photograph by Josefina Oliver | src YO Josefina Oliver
Josefina Oliver (1875-1956) began as a vocational photographer among her friends in 1897. Two years later, she takes the first one of her one hundred self-portraits and photographs her friends and relatives, houses’ interiors and landscapes in the family farm in San Vicente. Josefina, a common porteña, was almost invisible. Author of a luminous ouvre, hidden until 2006, as a consequence of a society that disregarded women’s inner self.
Josefina Oliver reflects this reality in her artistic work so far composed by 20 volumes of a personal diary, more than 2700 photographs, collages and postcards. Plenty of her shots are conceived with scenographies; she always develops them and paints the best copies with bright colors. She makes up twelve albums, four of them are wonderful and only have illuminated photographs. At the same time, a transversal humor appears behind her multiform ouvre.
Gertrude Käsebier (1852-1934) ~ [The Artist’s Daughter, Hermine, and her Children at Tea]; Waban, Massachusetts, 1910. Platinum print. | src Getty museumGertrude Käsebier ~ A group of two women, one boy, and three young girls having tea outdoors, ca. 1905. One of the girls attends to a kitten with a bowl of milk. (George Eastman Museum via getty images)
Photographer’s copyright stamp with handwritten number “4949” in pencil, annotation “Tanzgruppe Trude Goodwin” and handwritten numbers in pencil on the reverse.
Children doing gymnastics in 1936 (Finnish: Lapset voimistelemassa) JOKA (ref. JOKAOT3UR13:7)Lapset voimistelemassa. Children doing gymnastics, 1936. JOKA (Journalistinen kuva-arkisto) | src Museovirasto
Webereistudierende der Klasse von Webmeister Kurt Wanke im Webstuhl [Urheberschaft unklar], 1927-1928
Group portrait of the weaving class of weaver Kurt Wanke at the Bauhaus Dessau. Front row from left: Lotte (Stam-)Beese, Anni Albers, Ljuba “Ljuka” Monastirsky, Rosa “Rosel” Berger, Gunta Stölzl, Otti Berger, Webmeister Kurt Wanke.
Back row from top: Lisbeth (Birmann-) Oestreicher, Gertrud “Gert” Preiswerk, Helene “Lene” Bergner (Léna Meyer-Bergner), Margaretha “Gretel” Reichardt.]
Uncertain photographer, sometimes credited as T. Lux Feininger’s (Theodore Lukas Feininger)
Students of the weaving workshop of master weaver Kurt Wanke in a loom [Authorship uncertain], (Leben am Bauhaus: Gruppenportrait der Weberinnen hinter einem Webstuhl in der Weberei Bauhaus Dessau), 1927-1928 | src Kunst Archive
Gruppenporträt der Webereiklasse von Webmeister Kurt Wanke am Bauhaus Dessau. Vordere Reihe von links: Lotte Beese (Lotte Stam-Beese), Anni Albers, Ljuba Monastirsky, Rosa Berger, Gunta Stölzl, Otti Berger, Webmeister Kurt Wanke Hintere Reihe von links: Lisbeth Birmann-Oestreicher, Gertrud Preiswerk, Helene Bergner (Léna Meyer-Bergner), Grete (Margaretha) Reichardt.
Felice Beato (1832 – 1909) ~ Burmese Type Silk Sitter, Burma, about 1885. Albumen silver print. Portfolio of Views in Burma src Wilson Centre for Photography at Getty MuseumFelice Beato (1832 – 1909) ~ Burmah, about 1885. Albumen silver print. Portfolio of Views in Burma A full length studio portrait of a young woman dressed in Burmese clothing. She holds a parasol over her right shoulder.Felice Beato (1832 – 1909) ~ A Sawbwa Daughter, Burma, about 1885. Albumen silver print. Portfolio of Views in Burma src Wilson Centre for Photography at Getty MuseumFelice Beato (1832 – 1909) ~ An Interpreter’s Wifer, Burma, about 1885. Albumen silver print. Portfolio of Views in Burma A full length studio portrait of a Burmese woman smoking a cheroot.Felice Beato (1832 – 1909) ~ Burmese Girl and her Cheroot, Burma, about 1885. Albumen silver print. Portfolio of Views in Burma src Wilson Centre for Photography at Getty MuseumFelice Beato (1832 – 1909) ~ Burmese Princesses, Burma, about 1885. Albumen silver print. Views in Burma src Wilson Centre for Photography at Getty MuseumFelice Beato (1832 – 1909) ~ Burmese Peasant Girl as Decolté, Burma, about 1885. Albumen silver print. Views in Burma Full length studio portrait of a girl in traditional Burmese clothing with a clay water jug under one arm. In her right hand she holds a coiled rope and basket.Felice Beato (1832 – 1909) ~ Burmese Type Silk Sitter, Burma, about 1885. Albumen silver print. Portfolio of Views in Burma (Group Title) | src Wilson Centre for Photography at Getty Museum
Joseph Albert ~ “Maskenball von ‘Jung-München’ 1862 / Frl. Pfeiffer, Frl. Bischoff, Frl. Pfeiffer, Frl. Bischoff / Aus der Gruppe: ‘Graf v. Gleichen'” (Count of Gleichen), Februar 1862, Albuminpapier / Münchner Stadtmuseum ~ Sammlung Dietmar SiegertJoseph Albert ~ “Maskenball v. ‘Jung-München’ 1862 / Frl. Pfeiffer, Frl. Pfeiffer, Bildhauermeister von Tiesenhausen, Frl. Bischoff, Maler A. Klein und Moosbrugger, Max Stuttgarter, E. Küster / “Maskenball von ‘Jung-München’ 1862 / ‘Gruppe des Grafen von Gleichen'” (Counts of Gleichen), Februar 1862, Albuminpapier Münchner Stadtmuseum ~ Sammlung Dietmar SiegertJoseph Albert ~ “Märchenball von ‘Jung-München’ 1862 / Frau von Passerant, M. v. Liebig, Schlierholz, Frl. Knapp, Frl. Stöger / Gruppe ‘Nixenkönigin'” (Mermaid Queen), Februar 1862, Albuminpapier Münchner Stadtmuseum ~ Sammlung Dietmar SiegertJoseph Albert ~ “Frl. Knapp / Münchener Künstlermaskenfest 1862”, Februar 1862, Albuminpapier Münchner Stadtmuseum ~ Sammlung Dietmar Siegert
Von Künstlervereinigungen ausgerichtete Maskenfeste waren im 19. Jahrhundert in München überaus populär. Zu den frühen Aufnahmen dieser speziellen Festkultur zählen die fast surreal anmutenden, rund 30 Gruppen- und Einzelporträts, die der Fotograf Joseph Albert (1825–1886) von den Teilnehmenden am Maskenfest “Die Märchen” schuf. Das von der Vereinigung “Jung-München” veranstaltete Fest fand in der Faschingszeit am 15. Februar 1862 statt, geladen wurde in das königliche Odeon, zahlreiche Mitglieder der bayerischen Königsfamilie nahmen daran teil, darunter auch der spätere “Märchenkönig” Ludwig II.
Die Kostüme entsprachen der Vorliebe der Zeit für das mittelalterliche und märchenhafte Genre, das sich auch in der Kunst der Epoche widerspiegelte. Zu den dargestellten Märchen gehörten “Kindermärchen” wie “Hänsel und Gretel”, “Waldmärchen” wie “Rotkäppchen” oder auch “Thiermärchen” wie der “Gestiefelte Kater” oder “Hase und Igel”. Für den Fotografen Albert präsentierten sich die Kostümierten abseits des Geschehens entweder allein in typisch nachempfundener Pose oder zu mehreren für ausgewählte Szenen in der Tradition “lebender Bilder”, den sogenannten “tableaux vivants”. [quoted from : Münchner Stadtmuseum ~ Sammlung Dietmar Siegert]
Joseph Albert ~ “Eduard Lang, Frl. Clara Lang, Seder, Heinrich Lang / Maskenball von ‘Jung-München’ 1862 / Der gestiefelte Kater” (Puss in Boots), Februar 1862, Albuminpapier / Münchner Stadtmuseum ~ Sammlung Dietmar SiegertJoseph Albert ~ “Heinrich Lang / Maskenball von ‘Jung-München’ 1862 / Der gestiefelte Kater” (Puss in Boots), Februar 1862, Albuminpapier. Münchner Stadtmuseum ~ Sammlung Dietmar SiegertJoseph Albert ~ Hermann Oehlmann / Maskenball von ‘Jung-München’ 1862. / Wettlauf des Igels und des Hasen” (Race of the Hedgehog and the Hare), Februar 1862, Albuminpapier / Münchner Stadtmuseum, Sammlung Dietmar Siegert
Mask festivals organized by artists’ associations were extremely popular in Munich in the 19th century. The early photographs of this festival culture include these almost surreal-looking images: around thirty group and individual portraits that the photographer Joseph Albert (1825-1886) created of the participants in the masked festival “The Fairy Tales”, the festival, organized by the “Jung-München” association, took place during the carnival period on February 15, 1862. Among the invited guests were numerous members of the Bavarian royal family, including the later “fairy tale king” Ludwig II.
The costumes corresponded to the period’s penchant for the medieval and fairytale genre, which was also reflected in the art of the period. The fairy tales presented included “children’s fairy tales” such as “Hansel and Gretel”, “forest fairy tales” such as “Little Red Riding Hood” or “animal fairy tales” such as “Puss in Boots” or “Hase and Hedgehog”. The costumed people presented themselves, for the photographer, away from the action either alone in a typically imitated pose or in groups for selected scenes in the tradition of “living pictures”, the so-called “tableaux vivants”.
un regard oblique 