Photographer’s stamp with address at “Wien I. Ebendorferstraße 3”, her copyright stamp and her re-order stamp with handwritten negative no. “1039/a” in ink, “Wiener Foto-Kurier” agency stamp, several numbers and handwritten annotated “Frl. Marianne Rosenberg” in pencil on the reverse. LITERATURE “Die junge Frau von Heute”, in: Die Bühne, no. 299, March 1931, Vienna, p. 5 (titled “Fräulein Maria Rosenberg”); Frauke Kreutler, Anton Holzer (eds.), Trude Fleischmann. Der selbstbewusste Blick, cat. Wien Museum, Vienna 2013, p. 127 (ill. from “Die Bühne”).
«Die junge Frau von Heute». Fräulein Maria Rosenberg. Die Bühne, no. 299, March 1931, p. 5«Die junge Frau von Heute» Die Bühne, no. 299, March 1931, p. 6«Die junge Frau von Heute» Die Bühne, no. 299, March 1931, p. 7Elisabeth Martin, die Gattin des Direktors der Berliner Volksbühne Karl Heinz Martin. Die Bühne, 299, März 1931Hanne Wassermann, die bekannte Wiener Gymnastiklehrerin. Die Bühne, 299, März 1931
Kourtney Roy :: Northern noir, 2015 | src Kourtney Roy
Northern noir
The world has a secret potential to transform itself at any moment into a film set.
Northern Noir was photographed during the summer and winter of 2015 in Northern Ontario and British Columbia, Canada. My intent was to create a series of film stills taken from an unknown and fictional film, more precisely, a crime film. I wanted to photograph the non-events that encircle the places where transgressive acts may have taken place. The banality of the scenes photographed both hides and yet hints at the presence of shady and malevolent happenings. These fragments capture unintentional and marginal details. Their mundane and anecdotal qualities are fetishized and magnified, adding a sense of dread to the otherwise indifferent and un-extraordinary decors. The series was realised over several road trips through the wilderness and towns of my youth. The facet of memory, my memory, real or imagined, links itself to the screen memories of the film still. The road is not only a physical space but also a space of the imagination, a state of mind where the past and present convene. These stills of a nameless film intertwine with the aura of a specific place and time, melding the impervious with the personal.
Kourtney Roy :: Northern noir, 2015 | src Kourtney RoyKourtney Roy :: Northern noir, 2015 | src Kourtney Roy
Roy has produced several series which all share the artist’s bold and cinematic aesthetic. Staged in laundrettes, motels, supermarkets and various other banal locations Roy creates hyper-realistic images that resemble film stills. Throughout her work Roy plays with ideas of the bizarre and the uncanny, whether it be a lone female figure walking along a deserted road in a vast landscape or a woman photographed through the wing mirror of a car, Roy’s photographs are permeated with an unsettling air. In her work Roy creates familiar still images of stereotyped heroines, using herself as the model Roy invents numerous characters for herself. This is a crucial element to her work, Roy has stated “It’s usually the male gaze, and the woman is the object to be looked at. So the idea was becoming the person who objectifies, but also objectifying myself. I just thought it was interesting to play the dual role.” quoted from Huxley–parlour Gallery
Kourtney Roy’s work is bound up in an ambiguous and cinematic image-making that borders the real and the fantastic. Her approach to photography provokes contemplation and reconfiguration of common place subjects via playful revelation of the bizarre and the uncanny. She is fascinated with exploring the boundaries of liminal spaces; whether spatial, temporal or psychological. By using herself as the principal subject in her work, the artist creates a compelling, intimate universe inhabited by a multitude of diverse characters that explore these enigmatic themes. (quoted from Kourtney Roy)
Tirage argentique d’époque représentant Jeanne Roques, dite Musidora, dédicacé à l’encre « Pour la belle Madame Duclos. Hommage admiratif de Musidora ». Signature du photographe Arnal en bas à droite. Circa 1920 | src AuctionArt
Emma Barton / Mrs G.A. Barton (née Rayson) ~ Ave Maria, ca. 1905. Photogravure. Photographische Mitteilungen 1905 | src PhotoseedEmma Barton (née Rayson) ~ Dorothy Barton, undated. Private collection of Lesley & Cheryl Bousfield. Courtesy Luminous-lint : LL/28323Emma Barton / Mrs G.A. Barton (née Rayson) ~ (untitled on source). Photographische Mitteilungen 1905 | src The Art of PhotogravureEmma Barton / Mrs G.A. Barton (née Rayson) ~ The Song of Ages. Photograms of the year 1904. | internet archive
Marie Haushofer presented roles that women had played in different eras and centuries. At the same time, she also traced the path of women in their cultural-historical development – from servitude and lack of culture, interrupted by a brief flash of female domination in the kingdom of the Amazons […] Read more below
Evas Töchter. Münchner Schriftstellerinnen und die moderne Frauenbewegung 1894-1933
Eve’s daughters. Munich women writers and the modern women’s movement 1894-1933
Around 1900 profound changes took place in all areas of life. There is a new beginning everywhere, in the circles of art, literature, music and architecture. The naturalists are the first to search for new possibilities of representation. They are followed by other groups and currents: impressionism, art nouveau, neo-classical, neo-romantic and symbolism. Even if this epoch does not form a unit, one guiding principle runs through all styles: the awareness of a profound turning point in time.
It is generally known that before the turn of the century Munich became one of the most important cultural and artistic sites in Europe. What is less well known is that Munich has also become a center of the bourgeois women’s movement in Bavaria since the end of the 19th century. At this time, a lively scene of the women’s movement formed in the residence city, which subsequently gained great influence on the bourgeoisie throughout Bavaria.
Since 1894, Munich has been shaped by the modern women’s movement, which advocates the right to education and employment for women. At that time, the city was decisively shaped by women such as Anita Augspurg, Sophia Goudstikker, Ika Freudenberg, Emma Merk, Marie and Martha Haushofer, Carry Brachvogel, Helene Böhlau, Gabriele Reuter, Helene Raff, Emmy von Egidy, Maria Janitschek and many other women’s rights activists and writers and artists, all of whom are members of the Association for Women’s Interests, which is largely responsible for the spread of the modern women’s movement in Bavaria. At that time, they all set out in search of a new self-image for women, questioned the traditional role models in the bourgeoisie and attempted to redefine gender roles.
In this context, on October 1899 the First Bavarian Women’s day was celebrated. The crowning glory of the First General Bavarian Women’s Day in 1899 was a festive evening that took place on October 21, 1899 in the large hall of the then well-known Catholic Casino at Barer Straße 7.
The first part of the festive evening was the performance of an impressive festival play: Cultural images from women’s lives. Twelve group representations [„Zwölf Culturbilder aus dem Leben der Frau“]. The piece was written by the painter a poet Marie Haushofer (1871-1940) especially for this occasion. Sophia Goudstikker directed it and she also played a part. The majority of the roles were played by many other protagonists of the Munich women’s movement. A few days later, Sophia Goudstikker photographed the twelve group portraits in the Elvira photo studio (Atelier Elvira). She glued the photographs into a leather album entitled Marie Haushofer’s festival for the first general Bavarian women’s day in Munich. October 18-21, 1899 [Marie Haushofers Festspiel zum Ersten allgemeinen Bayrischen Frauentag in München, 18. – 21. Oktober 1899]. Those are the 13 surviving scene photos (group portraits) that documented the event; today they are part of the Munich City Archive (Stadtarchiv München).
In her festival play, Marie Haushofer presented roles that women had played in different eras and centuries. At the same time, she also traced the path of women in their cultural-historical development – from servitude and lack of culture, interrupted by a brief flash of female domination in the kingdom of the Amazons, to burgeoning knowledge, to work, freedom and finally the union of women who from then on did their work – but also have to assert powerfully achieved new social status through unity. The present represents the last group in which “modern women” appear in “modern professions”: telephone operators, bookkeepers, scholars, painters, etc. They are accompanied by the allegorical figures of Faith, Love, Hope (*) and the Spirit of Work (**) that liberates all women / working women. Finally, the female audience is called upon to work and to actively shape together the present role of women.
[(*) see photo on bottom of this post (last photo) / (**) last-but-one photo]
Further productions took place in Nuremberg in 1900 and on November 28 and 30, 1902 at the Bayreuth Opera.
But the festive evening of Bavarian Women’s Day did not end with the performance of the festival play. In the second part of the evening, “poems of modern women poets” were presented. There were works by Ada Negri, Lou Andreas-Salomé, Alberta von Puttkammer, Anna Ritter, Ricarda Huch and Maria Janitschek. The short prose text Nordic Birch by the Art Nouveau artist and writer Emmy von Egidy was also read.
[adapted text quoted (an translated) from : Evas Töchter : Frauenmut und Frauengeist : Literatur Portal Bayern]
Szenenfoto aus dem Festspiel, erstes Bild mit der Muse der Geschichtsschreibung Klio (gespielt von Sophia Goudstikker) und der Mutter Erde (gespielt von Therese Schmid) [The muse of history Klio (played by Sophia Goudstikker) and Mother Earth (played by Therese Schmid)]Szenenfoto aus dem Festspiel, zweites Bild: die fünf weisen und die fünf törichten Jungfrauen [The five wise and the five foolish virgins]Marie Haushofers Festspiel zum Ersten allgemeinen Bayrischen Frauentag in München, 18. – 21. Oktober 1899 Szenenfoto aus dem Festspiel, viertes Bild: Orientalinnen [Oriental women]Marie Haushofers Festspiel zum Ersten allgemeinen Bayrischen Frauentag in München, 18. – 21. Oktober 1899 Szenenfoto aus dem Festspiel, fünftes Bild: Germanen und Velleda [Teutons and Velleda]Szenenfoto aus dem Festspiel, sechstes Bild: zwei Benediktinerinnen, Knabe und “Roswitha” [Two Benedictine nuns, boy and “Roswitha”]Marie Haushofers Festspiel zum Ersten allgemeinen Bayrischen Frauentag in München, 18. – 21. Oktober 1899 Szenenfoto aus dem Festspiel, siebtes Bild: Frauenlob wird zu Grabe getragen [The burial of Frauenlob]Szenenfoto aus dem Festspiel, achtes Bild: Renaissance – Ariost, zwei Damen und ein Höfling [Renaissance – Ariosto, two ladies and a courtier]Szenenfoto aus dem Festspiel, neuntes Bild: ein Mann, eine Frau und Kinder des 17. Jahrhunderts [A man, a woman and children of the 17th century]Marie Haushofers Festspiel zum Ersten allgemeinen Bayrischen Frauentag in München, 18. – 21. Oktober 1899 Szenenfoto aus dem Festspiel, zehntes Bild: Königin Luise und ihre Kinder [Queen Louise and her children]Szenenfoto aus dem Festspiel, elftes Bild: Verwundeter Soldat und zwei Krankenschwestern [Wounded soldier and two nurses]Marie Haushofers Festspiel zum Ersten allgemeinen Bayrischen Frauentag in München, 18. – 21. Oktober 1899 Szenenfoto aus dem Festspiel, zwölftes Bild: der Geist der Arbeit [The Spirit of Work] Szenenfoto aus dem Festspiel, dreizehntes Bild: Glaube, Liebe, Hoffnung [Faith, Love, Hope] source of all images Stadtarchiv München
Imogen Cunningham :: The First Magnolia, circa 1923. Platinum print. | src Heritage AuctionsImogen Cunningham :: The First Magnolia, circa 1923. Platinum print. | src Heritage Auctions
Laura Gilpin (1891–1979) :: Narcissus, 1926; platinum print, mounted on card signed and dated in pencil. | src Christie’sLaura Gilpin (American, 1891-1979) :: Narcisus, 1928. Platinum print. | src BonhamsLaura Gilpin (1891-1979) :: Narcissus; 1928. Platinum print. | src Amon Carter Museum of American Art
On verso of the Amon Carter Museum version (above this), there are a list of exhibitions and awards : Print, Verso: u.l. to c.r. in ink: Narcissus \ 1926 [sic] \ Exhibited \ Brooklyn Institute of Arts & Sciences \ Oct. 1922 [sic] \ Photographic Society of Philadelphia \ Chicago Camera Club. 1929 (Feb) \ Omaha Camera Club \ Photo Pictorialists of Milwauke [sic] 1929 \ California Camera Club May 1929 \ Camera Club of New York. Dec 1-15 1928 \ Hon. Mention 8th Annual Competition American Photography
Also, this additional information: u.c. on paper label: [printed]: A PHOTOGRAPH BY \ LAURA GILPIN \ SANTA FE, NEW MEXICO \ [typed]: A PLATINUM PRINT \ NARCISSUS \ 1928