#turn of the century

I may have waxed lyrical on the hazy, dreamlike qualities of F. Holland Day’s beautiful outdoor nudes before, and I know many of you must prefer clarity over atmosphere, yet I cannot help once more admiring the grainy, glowing softness in these turn of the century pictures which gives them such enduring charm.

Our regular dose of Carlo, lover of Robert Kitson and photographed by Vincenzo Galdi. I still have a few more from his photoshoot saved up ready to share, I do hope you dear readers not becoming bored seeing so many of the same model, but he is rather lovely so I shall continue until I run out of pictures!

At first glance the handstand may look a little proposterous, but take a moment to admire the balance and strength displayed in holding such a pose, every muscle taut and defined; though we cannot see his face his body is beautiful.

Although my selection of studio photographs usually features double portraits of affectionate gentlemen sitting together, I happened across this picture taken in the Floridsdorf district of Vienna, c.1900, and was so struck by the spectacular hat I just had to give him a moment in the spotlight! An opulent concoction of feather and flower atop what appears to be a relatively everyday and sensible gent’s hat, we can only guess at what prompted him to wear such magnificent and overblown decoration for his photograph, and if, indeed, he wore this on a more regular basis than the single occasion on which it was recorded!

jafcord:

• 1900

I’ve been unable to find out any further information on this photograph from the turn of the century - as always, if any of my readers can enlighten me I shall be glad of the kind contribution and add the details here.

[edit]
Not one but two of our fine followers have sent in their thoughts on this photograph -

“This is an anatomical demonstration, the ‘professor’ is pushing down on the model’s arm so that the model’s muscles will stand out as he resists. There was a Canadian anatomist named Lockhart who published a book of similar photos entitled Living Anatomy. I think that this photo is too old to be Lockhart’s, but it is the same genre.”

“I think this is part of the stereo collection of Dr Desbonnet -although I can’t find at this moment where in my blog I put it. Athlete pictured is probably Ernest Cadine.”

My thanks to you both.

A delightful double portrait of two unknown gentlemen at the turn of the century. The good-looking fellow on the right - he of the delightful curls - looked familiar enough that I wondered if I had seen a picture of him before, but I realise it is only a passing resemblance to the quite memorably handsome chap in the darkest suit here.

Proud of his muscles - and justly so! - this handsome gent with an admirable moustache stands for a studio photograph, circa 1900.

This lovely c1900 nude by Wilhelm von Gloeden employs a less clichéd sort of censorship than the usual paper fig leaf favoured by studio photography at the time, allowing a subtle and discreet level of nudity without the stuffy artifice of attaching fake leaves to the model’s person!

A dear little double portrait from the turn of the last century. I wonder which of this affectionate pair kept the print safe and sound, never knowing just how many people might look on it and smile, a hundred years later - such a touching look back in time.

Dated July 1900, a striking solo portrait by Guglielmo Plüschow, with a good-looking (but sadly anonymous) Sicilian man photographed in beautiful close-up detail, white shirt shrugged back off his shoulders to reveal the lovely contours of his chest.

A gorgeous bright, sharp studio portrait of two dapper young gents around the turn of the century, and what an unusual seat they have chosen!

Young man with flowers, dated very precisely to the 9th June 1900, a truly lovely photograph by Wilhelm von Gloeden.
Though the handsome model and his tangled handful of wild flower tendrils are the deserving focus of the piece, do take a moment to look closer and meet von Gloeden’s dear black dog, Nedda - she makes several appearances in his work, affectionately snuggling up to models, or almost vanishing in the dark tones of the foreground.

A truly heartwarming and intimate portrait of two affectionate men, by studio photographer Tobias Luck, active in Oshkosh, Wisconsin from 1888 to 1920.

A second extremely endearing photograph by Robert Gant, as that previously posted was so deservedly popular! Again, three sitters huddle close in intimate proximity, one hand of the smiling fellow on the right has found it’s comfortable place on the left-hand chap’s neck. 1885-1915.

Three men lounge in intimate embrace, in a New Zealand parlour at the turn of the century. Taken by ex-patriate Englishman Robert Gant, who amassed a beautiful and extremely touching catalogue of work between 1885 and 1915, a world of male beauty and affection which resonates so deeply today - a fascinating article can be found here.

An affectionate pair hold hands in their studio photograph, taken in turn-of-the-century America - note the little US flags tucked in hats, lapel buttonholes, and breast pocket.

The seascape behind these two affectionate fellows may offer a hint toward the origin of their photosgraph : seaside holidays became exceedingly popular in the 19th century and photography a fascinating and novel way to create a personal momento of an outing to enjoy the charms of the coastal towns catering for tourists. Many a photographer set up shop on or near the sea-front, with elaborately painted signs to entice customers in to have their picture taken ‘by the sea’ - but of course it is a painted sea backdrop, not the real thing.

Gracefully posed and charming eroticism at the turn of the last century - titled The Seduction, by Vincenzo Galdi.

From 1900, another truly charming example of two men sharing one seat in the photographer’s studio - lap-sitting seems to be a much favoured choice for the affectionate gents of the era.

An informal scene by Guglielmo Plüschow, one model looks on as the other carefully inscribes something into the wall; the initials of his name, perhaps, or could it be the year? The former fact unknown, the latter would read 1900, as the photograph was taken in July of that year.