#1896 Photographs

[princesselisabethofhesse]

Princess Elisabeth of Hesse, in her mother's arms and surrounded by her father, her paternal aunts and cousins.

Wolfsgarten, 1896.

Source: Thomas Aufleger's latest book "Geschehnisse und Menschen. Erinnerungen von Ernst Ludwig von Hessen und bei Rhein"

[dimity-lawn]

1896

Right: “Oh”, William H. Walker.

Leit: Cycling Suit, Trouville. MET Accession Number: 2009.300.547a, b

Center and Right: Court Presentation Ensemble, probably American, and a photograph of Emily Warren Roebling wearing it. MET Accession Number: 2009.300.941a-e

Left: Bridesmaid Dress, A. F. Jammes. MET Accession Number: C.1.41.14.2

Center and Right: Wedding Dress, House of Worth, and sleeve detail. MET Accession Number: C.1.41.14.1 Death’s Head Buttons!!!

[walzerjahrhundert]

A publicity photo for The Geisha, 1896

The actresses shown are Alice Davis (l), Blanche Massey (c) and Hetty Hamer (r)

[kommabortsig]

Bluebeard-stars-act_3.JPG

[chic-a-gigot]

La Mode Pratique, 1896.

Collet en mousseline de soie plissée ornée d'un galon en passementerie de jais dessinant un empiècement; cravate de mousseline brodée. Chapeau rond en chenille de soie garni de deux paires d'ailes et d'un volant de mousseline de soie plissée, retenu par une jarretière de velours avec boucle bijouterie.

Pleated silk chiffon collar decorated with a jet braid trimmings forming a yoke; embroidered muslin tie. Round silk chenille hat trimmed with two pairs of wings and a pleated silk chiffon ruffle, held by a velvet garter with a jeweled buckle.

Librairie Hachette & Cie.

Fashion plate from The Met’s Costume Institute Collection.

[fashion-from-the-past]

Elisabeth de Caraman-Chimay, Comtesse Greffulhe (1860–1952) made this dress famous by posing in it for the photographer Nadar in 1896. The museum also possesses the photographs made at the time, in which the elegant countess opted for being photographed in back view so as to highlight the slimness of her waist: this close-fitting 'princess line' dress – there were no seams at waist level – and the sinuous lines of the lily plants accentuate the impression of tallness and slenderness.

One of the leading figures on the Paris social scene – not only for her rank and sovereign elegance, but also for her culture and intelligence – Comtesse Greffulhe was a significant source of inspiration for Marcel Proust, who used her as the model for the Duchesse de Guermantes in Remembrance of Things Past. She was also the cousin of Robert de Montesquiou, who drew on her for some of his poems, including a sonnet whose closing line Beau lis qui regardez avec vos pistils noirs ('Beautiful lilies gazing with your black pistils') doubtless refers to this dress. The bertha collar, whose original form was altered, certainly during its owner's lifetime, could be turned up to form bat's wings; a bat being Montesquiou's emblematic animal, making this a true dress-poem.

[bobemajses]

Photograph of a Jewish girl from the Lublin Voivodeship named Ye. Kalmanovich, 1896. The surname Kalmanovich originates from the Jewish male name Kalman meaning “good name”

[publicdomainreview]

A collaboration with time: beautifully decayed and damaged daguerreotypes from the studio of one of the most celebrated 19th-century photographers Mathew Brady, who died #onthisday in 1896: https://publicdomainreview.org/collection/decayed-daguerreotypes

[oledavyjones]

Fine photo of a Danish build brig under Norwegian flag, colored by Frank Hellsten.

Found the following info supplied by Frank Hellsten: Norwegian customs officer ready to board the brig Fanø on August 1904. The photographer was Anders B Wilse, and makes part of of the collection of The Maritime Museum of Norway. We have informs, that the ship was built on the island of Fanø by Søren Abrahamsen, sold to a Norwegianin 1896. In 1906 sha eas damaged in a storm on the North Sea, towed to Tyne... and eventually condemned.

Foun on FB

[princesselisabethofhesse]

Do you have a link to the photo of Elisabeth and Olga sitting on their mothers lap?

Hello!

It comes from the Hessian State Archives. Here goes the link to the full picture:

[houghtonlib]

Page from an album of photographs of Herbert Charles Pollitt performing as Diane de Rougy at the Cambridge Footlights in the 1890s. Wikipedia notes "He became notorious as a Cambridge undergraduate due to his taste for Decadent art and literature, and was immortalised as the eponymous hero of an E.F. Benson novel (The Babe B.A.) in 1896. He became a very close friend of the artist Aubrey Beardsley, and had a brief but significant relationship with the occultist Aleister Crowley."

MS Thr 447

Houghton Library, Harvard University

[walzerjahrhundert]

Wilhelm Dreesen

Seilskipet Agatha i Kanalen, Trondheim

1896

[memories-of-ancients]

Photograph of Charles "Dynamite Dick" Clifton, infamous outlaw and member of the Doolin-Dalton Gang. Killed by Deputy Marshal Alfred Lund on December 17th, 1896 near Blackwell, Oklahoma.

[pmamtraveller]

GALATEA /1896/ by GUSTAVE MOREAU

This artwork shows a scene from Ovid's Metamorphoses where the cyclops, Polyphemus, experiences one-sided love for the Nereid sea nymph, Galatea. Galatea loves the shepherd Acis instead, and he is unattainable to her. Galatea lies on a seaweed-covered bed with the two figures encircled by underwater blooming plants.

The tale recounts, "Here is a terrible giant who loves a beautiful nymph." The contrast between the light complexion of Galatea's lying figure, symbolizing how out of reach she is, and the dark hues of desolate Polyphemus, who melds into the backdrop, is striking

The piece highlights the contrast between attractiveness and unattractiveness, brightness, and darkness. The luminous body of Galatea enhances her ethereal beauty. Moreau's precise focus on nature is evident in the complex features of the nearby underwater flora and coral, influenced by his research in marine botany.

This is the second piece Moreau did of this subject, the first being an oil on wood painting from 1880. Moreau was very fond of this myth and had two photographs of works by other artists depicting this same subject hanging in his living room. These include Raphael’s “Triumph of Galatea” and Sebastiano del Piombo’s “Polyphemus”.

[chic-a-gigot]

La Mode Pratique, 1896.

Robe de visite, jupe et corsage en soie brochée, bretelles en passementerie de jais terminées par des franges en perles de jais. Col de velours drapé.

Visiting dress, skirt and bodice in brocaded silk, straps in jet trimmings finished with jet bead fringes. Draped velvet collar.

Librairie Hachette & Cie.

Fashion plate from The Met’s Costume Institute Collection.