la mort aux trousses – USA, circa 1920s, from Anonymous by Robert Flynn Johnson
seen from Austria
seen from China

seen from United States

seen from United States

seen from United States
seen from Germany
seen from United States

seen from Malaysia
seen from China
seen from Russia

seen from Türkiye
seen from United States
seen from United States
seen from United States

seen from United States
seen from Türkiye
seen from United States

seen from United States
seen from Türkiye
seen from United States
la mort aux trousses – USA, circa 1920s, from Anonymous by Robert Flynn Johnson
anonymous: enigmatic images from unknown photographers - robert flynn johnson (2004)
* * * *
“How does one hate a country, or love one? Tibe talks about it; I lack the trick of it. I know people, I know towns, farms, hills and rivers and rocks, I know how the sun at sunset in autumn falls on the side of a certain plowland in the hills; but what is the sense of giving a boundary to all that, of giving it a name and ceasing to love where the name ceases to apply? What is love of one's country; is it hate of one's uncountry? Then it's not a good thing. Is it simply self-love? That's a good thing, but one mustn't make a virtue of it, or a profession... Insofar as I love life, I love the hills of the Domain of Estre, but that sort of love does not have a boundary-line of hate. And beyond that, I am ignorant, I hope.” ― Ursula K. Le Guin, The Left Hand of Darkness
Book 511
Plant Kingdoms: The Photographs of Charles Jones
Sean Sexton and Robert Flynn Johnson
Smithmark 1998
Charles Harry Jones (1866–1959), the son of a butcher, was an English gardener and photographer whose work might have passed into obscurity were it not for a chance discovery in 1981. That year, perusing through a London antiques market, Sean Sexton found an old suitcase containing hundreds of Jones’ prints—gorgeous photographs of flowers, fruit, and vegetables. His work had never been exhibited and was unknown even to his closest friends and family. Isolated against neutral backgrounds like formal still lifes, using long exposure times and small apertures, Jones’ botanical photos are dazzling, sensuous, and decades ahead of their time. Why Jones took them and what he was hoping to achieve will probably never be known—he left no notes, diaries, or writings. His only statement is the work itself—a suitcase full of prints. None of the original plates have ever been found.
An image from Working Girls: An American Brothel, circa 1892 / The Private Photographs of William Goldman by Robert Flynn Johnson
The book features imaginative and artful photographs, which capture the artist’s deep appreciation and understanding for women who, circa 1892, lived and worked at an upscale brothel in Reading, PA.
Anonymous photo, circa 1920
As seen in “The Face in the Lens - Anonymous Photographs” by Robert Flynn Johnson
(048)
nitescence: Bob Carlos Clarke (1981) thunderstruck9: Pol Mara (Belgian, 1920-1998), How much is that doggy in the window …,1967 last-picture-show: Anonymous Photographs by Robert Flynn Johnson, Unidentified Woman on a Train, USA, 1925
(via triptychon64)
Visit me on triptych193.wordpress
Image from The face in the lens: anonymous photograph by Robert Flynn Johnson.
Barricade of String, from Being Human, Robert Flynn Johnson collection of found photography