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

Hagemeyer’s flowers (I)

Johan Hagemeyer :: Magnolia Blossom, 1925. «This rare image of a magnolia flower, a sublime and thoughtful botanical close-up that reflects Hagemeyer’s early horticutural training». | src Bonhams
Johan Hagemeyer :: Rose. Pasadena, 1929. Gelatin silver print. | src OAC
Johan Hagemeyer :: [Rose. Pasadena.] [negative], 1929. | src OAC
Johan Hagemeyer :: Calla Lily, negative 1925; print 1926. Collotype. From: Pictorial Photography in America. Vol. 4 | src The J. Paul Getty Museum
Johan Hagemeyer :: Yellow Tulip, 1920s-1940s. Gelatin silver print. | src The Metropolitan Museum of Art
Johan Hagemeyer :: [Flower]. Gelatin silver print. | src OAC
Johan Hagemeyer :: [Flower]. Gelatin silver print. | src OAC

Water Lilies, ca. 1906

Baron Adolf de Meyer :: Water Lilies, ca. 1906. Platinum print, printed 1912.
«The critic Charles H. Caffin described this photograph by de Meyer as “a veritable dream of loveliness.” It is one of several floral still lifes de Meyer made in London around 1906–9, when he was in close contact with Alvin Langdon Coburn, a fellow photographer and member of the Linked Ring. Both men were inspired by the Belgian writer Maurice Maeterlinck’s 1906 book The Intelligence of Flowers, a mystical musing on the vitality of plant life. De Meyer exhibited several of his flower studies, including this platinum print, at Stieglitz’s influential Photo-Secession galleries in New York in 1909. The image also appeared as a photogravure in an issue of Stieglitz’s art and photography journal Camera Work.» [Camera Work, issue nº 24, 1908]
src The Metropolitan Museum of Art, Alfred Stieglitz Collection

Rose blanche et vase, 1951-1952

Josef Sudek :: Rose blanche et vase (White rose in vase), 1951-1952. Vintage gelatin silver print on matte paper.
Signed, dated 1952 and dedicated in ink below image. This rich autographed print, one of Sudek’s recurring motifs, was a wedding gift to a friend and his wife. A variant is conserved in the collection of the Art Gallery of Ontario. | src Binoche et Giquello via l’œil de la photographie

The Shadows on the Wall, 1906

Adolf de Meyer :: The Shadows on the Wall (Chrysanthemums), 1906. Platinum print.
Focusing his camera not on a still life per se, but on its evanescent trace, de Meyer creates a composition that approaches abstraction. (…) Here, the shadow of a vase of flowers cast onto the wall has the effect of a Japanese lacquered screen. | src Alfred Stieglitz Collection, MetMuseum

Composition à la poire, 1951

Josef Sudek :: Composition à la poire (Pear on a plate), 1951. Tirage argentique d’époque. Vintage gelatin silver print. From a collection of photographs from a close friend of the artist, gathered over 30 years of correspondence. | src l’œil de la photographie