"After Picasso" (Book 2 Image 61)
- Item
Part of Virna Haffer Collection
"After Picasso" - photogram (Virna Haffer Collection)
"After Picasso" (Book 2 Image 61)
Part of Virna Haffer Collection
"After Picasso" - photogram (Virna Haffer Collection)
"Alley Doll and Chestnuts" (Book 1 Image 38)
Part of Virna Haffer Collection
"Alley Doll and Chestnuts" - photogram. Figure appears to be a female nude in motion with head obscured by "chestnut." (Virna Haffer Collection)
Part of Virna Haffer Collection
"Ancestors" - photogram of skeletal remains (Virna Haffer Collection)
"Arrangement of Bamboo Leaves and New Shoots" (Book 1 Image 23)
Part of Virna Haffer Collection
"Arrangement of Bamboo Leaves and New Shoots" - photogram. Photograms are created in a camera-less process using shadows that appear by placing objects between light-sensitive paper and a light source.
"Bird Dance" (Book 3 Image 100)
Part of Virna Haffer Collection
"Bird Dance" - photogram (Virna Haffer Collection)
"Bird on Cherry branch" (Book 1 Image 35)
Part of Virna Haffer Collection
"Bird on Cherry branch" - Photogram of bird lit from back by disc of light (sun) (Virna Haffer Collection)
Part of Virna Haffer Collection
"Bone Man" - photogram (Virna Haffer Collection)
"Bowl of Fruit" (Book 1 Image 34)
Part of Virna Haffer Collection
"Bowl of Fruit" - photogram (Virna Haffer Collection)
"Dedication" (Chapter 3 Image 25)
Part of Virna Haffer Collection
ca. 1934. "Dedication" - multiple exposures of nude man walking right to left across frame. According to the book "A Turbulent Lens," Haffer posed her husband, Norman Randall, in her studio with neutral backdrop and backlighting. A Graflex revolving magazine holder was used to take multiple exposures on several films and those resulting images were then sandwiched together. "Dedication" was used as the front and back inside covers for "Abundant Wild Oats," a book combining the poetry of Elizabeth ("Bettie") Sale and Haffer's photography. The book was never published although a prototype was made. (Virna Haffer Collection) (Bullock: A Turbulent Lens, p. 21, 126. 138, 117)
"Don of Taos Pueblo" (Album 2 Image 37)
Part of Virna Haffer Collection
ca. 1930. "Don of Taos Pueblo" - profile portrait, circa 1930.
"Dude Cowboy, Pecos, New Mexico" (Album 1 Image 31)
Part of Virna Haffer Collection
"Dude Cowboy, Pecos, New Mexico" - lower half of squatting cowboy - undated portrait. Man has studded boots, colorful long sleeved shirt and is holding a cigarette in one hand.
"Eleventh Street Bridge" (Chapter 13)
Part of Virna Haffer Collection
This circa 1928 image depicts a shadowy figure walking on downtown Tacoma's Eleventh Street Bridge in heavy fog.
"Elizabeth Sale" (Album 2 Image 57)
Part of Virna Haffer Collection
"Elizabeth Sale" - portrait of person with drawn castle in background, only head and hands are visible. Elizabeth ("Bettie") Sale was a poet who collaborated with Virna Haffer to produce a book incorporating her poetry along with photographic illlustrations by Haffer. "Abundant Wild Oats" was never published although a prototype was made. (A Turbulent Lens: The Photographic Art of Virna Haffer, p. 116-information on Bettie Sale and "Abundant Wild Oats.")
"Flashlight Drawing" (Book 2 Image 44)
Part of Virna Haffer Collection
"Flashlight Drawing" - photogram of a female with elongated nose and neck, full lips. (Virna Haffer Collection)
"Fox Glove or Digitalis" (Book 5 Image 165)
Part of Virna Haffer Collection
"Fox Glove or Digitalis" - photogram (Virna Haffer Collection)
"Franz Brasz, Artist" (Album 1 Image 21)
Part of Virna Haffer Collection
ca. 1937. "Franz Brasz, Artist" - circa 1937 portrait of artist with drawing as background
"Gian Paola" (Album 2 Image 48)
Part of Virna Haffer Collection
ca. 1929. "Gian Paola" - portrait of person with brightly lit face and clenched hand emerge from a sea of black. This circa 1929 photograph was exhibited at the 1928 Seattle Camera Club (SCC) show. According to the book, "A Turbulet Lens: The Photographic Art of Virna haffer," this unusual work had "intense and disturbing qualities" quite at odds with other exhibition entries that stressed beauty. (A Turbulet Lens:The Photographic Art of Virna Haffer, p. 92)
"Hard Rock Randall" (Album 1 Image 30)
Part of Virna Haffer Collection
ca. 1935. "'Hard Rock' Randall" - portrait of unsmiling, stubble-faced individual, circa 1935. This is believed to be Virna Haffer's third husband, Norman Randall. He would be extensively photographed by Haffer in the 1930s and '40s. This portrait of Randall would win first prize in a San Francisco competition sponsored by Camera Craft magazine in 1936. (A Turbulent Lens: The Photographic Art of Virna Haffer, p. 60-61)
"Isabel Morrison- Dancing Teacher" (Album 2 Image 47)
Part of Virna Haffer Collection
ca. 1930. "Isabel Morrison, Dancing Teacher" - circa 1930 portrait of person in kimono standing against a vertically striped wall with Chinese or Japanese characters written on it. According to the book "A Turbulent Lens: The Photographic Art of Virna haffer," Isabel Keith Morrison was a dancer and taught dance in Tacoma during the 1920s. She later moved to Los Angeles where she continued teaching and dancing in regional productions. (A Turbulent Lens: The Photographic Art of Virna haffer, p. 110; p. 20)
"Kay with Silver Shawl" (Album 2 Image 53)
Part of Virna Haffer Collection
"Kay with Silver Shawl" - undated portrait of person in shawl
Part of Virna Haffer Collection
ca. 1929. Digitized for use by Frye Museum/jg. This is entitled "Kwei Dun" and was a bromoil print which resembled a painting. This is believed to be a portrait of Chinese finger painter Kwei Dun who arrived in Seattle in 1924 to study art and architecture at the University of Washington. (Virna Haffer Collection) (Bullock: A Turbulent Lens, p. 107)
Part of Virna Haffer Collection
ca. 1929. Digitized for use by Frye Museum/jg. This painting-like piece is listed as "Kwei Dun" according to the book "A Turbulent Lens." A black and white version can be seen at series VH, image KWEI. The circa 1929 portrait was made of Chinese finger painter Kwei Dun who had traveled to Seattle to study art and architecture at the University of Washington. (Bullock: A Turbulent Lens, p. 107)
"Male Beauty" (Chapter 3 Image 15)
Part of Virna Haffer Collection
ca. 1929. "Male Beauty" - soft focus portrait of naked male torso printed in sepia tone (Virna Haffer Collection)
"Male Beauty" (Chapter 3 Image 24)
Part of Virna Haffer Collection
ca. 1929. "Male Beauty" - soft focus male nude (back view) printed in sepia tone (Virna Haffer Collection)
"Man in Derby" (Album 2 Image 34)
Part of Virna Haffer Collection
ca. 1928. "Man in Derby" - portrait of person (Ralph Rosenberg) in derby hat and dark suit holding a lit cigarette, circa 1928. Haffer would use this photograph as a basis for a print, made from wood or linoleum blocks in 1929. (A Turbulent Lens: The Photographic Art of Virna Haffer, p. 95)
Part of Virna Haffer Collection
"Mask" - photogram (Virna Haffer Collection)
"Model a La Chinese" (Album 2 Image 40)
Part of Virna Haffer Collection
"Model a la Chinese" - undated portrait of person with furrowed brow, face strongly lit from below
Part of Virna Haffer Collection
"Moss" - photogram (Virna Haffer Collection)
"Newell Griffith and Shadow" (Album 2 Image 35)
Part of Virna Haffer Collection
"Newell Griffith and Shadow" - undated portrait of man dressed in black, with well lit head floating in shadow.
"Nineteen Twenty Seven" (Chapter 3 Image 21)
Part of Virna Haffer Collection
"Nineteen Twenty Seven" - female nude holding drape across front of her body. This is possibly a self-portrait of Virna Haffer. She wore her dark hair heavily banged and cut short during the late 1920s. (Virna Haffer Collection)