The Morton Salt Girl

(Last Updated On November 23, 2023)

Morton Salt Company – Morton Salt Girl 1914 (1914)

The images in this article are all taken from the Morton Salt site. They also provide a detailed history of their famous Morton Salt Girl, and I suggest that you visit their site for information about her. There is little for me to add, so I will only discuss two things not on the Morton Salt site; the reason why a girl is best to advertise the salt, and some observations about how the image has changed over time.

Morton Salt Company – Morton Salt Girl 1921 (1921)

During the twentieth century, at least up to the 1960s, neighborhood grocery stores were common in residential neighborhoods of large American cities. If a housewife needed something from the store, and was too busy to walk down to the store herself, she could send another member of the household to the store. Neighborhoods were generally safe, so even an unaccompanied child could walk to the grocer. The person carrying a box of salt home in the rain for the advertisement could have been an adult or a child; a male or a female. I believe that a girl is best for an advertisement because girls are cute and catch the attention of a potential customer better than an adult or a boy. In addition to that, an adult spilling salt as he or she walked home would look foolish, but it could be seen as an understandable mistake for a young girl. The salt has to be spilling in order to illustrate the slogan “When it rains, it pours.”

Morton Salt Company – Morton Salt Girl 1933 (1933)

Morton Salt Company – Morton Salt Girl 1941 (1941)

There are six versions of the Morton Salt Girl to represent the fifty-four year period from 1914 through 1968. Hair styles and clothing styles changed to stay contemporary, and there was a general trend toward simplifying the image. In the fifty-five years from 1968 to the present, there were no changes to the girl’s hair or clothing. The only change was a slight simplification of the image in 2014. There was no need for other changes because styles are not changing in the way they changed in the first part of the twentieth century. Girls here in Florida today usually, but not always, have their hair longer than the Morton Salt Girl. Most girls here wear shorts instead of dresses, but still it would not be anachronistic to see a girl with her hair and dress like the Morton Salt girl of 1968–2014. It would be strange to see a girl with her hair and dress like the earlier Morton Salt Girls.

Morton Salt Company – Morton Salt Girl 1956 (1956)

Changes were made to the salt as well as to the girl. In 1914 the salt flowed realistically straight down from the box. In later versions the salt is represented by dots which spill to the right. The girl is not walking faster than the wind is blowing. We know this because the wind blows her dress to the left. Therefore the salt should also be moving to the left. Nevertheless, it looks right for the salt to be spilling behind the girl. Even though it is not realistic, it makes for a better picture.

Morton Salt Company – Morton Salt Girl 1968 (1968)

Morton Salt Company – Morton Salt Girl 2014 (2014)

Mirrors from Laconia

(Last Updated On November 15, 2023)

Images or figures of young girls are not common in ancient Greek art. As the ancient Greeks saw things, adults were more important than children, and males were more important than females, and so adults, and especially males are more prevalent in Greek art of antiquity than are girls. Two exceptions to the rule are grave steles and the bronze mirrors made in Laconia in the 6th century BC. Mirrors were considered to be a typically female belonging, and are the origin of the female symbol ♀ .

Anonymous – Bronze Mirror (c 550 BC – 500 BC)

Laconia is a region in the southern part of the Peloponnese Peninsula. Sparta is the most famous city in Laconia. According to Agnes Bencze of the Department of Art History and Péter Pázmány of Catholic University in Budapest, small scale bronze working was an outstanding facet of ancient Laconian art. Bronze mirrors with handles in the shape of nude girls, often called caryatid mirrors, are characteristic of Laconia in the sixth century BC.

Anonymous – Bronze Mirror, back (c 550 BC – 500 BC)

The term caryatid is derived from the Laconian city Caryae. Pillars in the Temple of Artemis in Caryae are in the shape of women. It is believed that the figurines of girls that form the handles of carytid mirrors represent the nymphs that are the attendants of the goddess Artemis. The Temple of Artemis Orthia was one of the most important religious sanctuaries in ancient Sparta. The “Procession of the Girls” was one of the most ancient and revered ceremonies held at the Temple of Artemis Orthia. When pagan worship was suppressed in the fourth century AD, details of what occurred during the Procession of the Girls was lost.

The first mirror shown here is in The Metropolitan Museum of Art in New York City. The girl is standing on a lion, and two griffins on her shoulders help support the mirror. The mirror is the disc above the girl’s head, which when new was highly polished bronze. In her left hand the girl holds something which might be a pair of cymbals.

In the next bronze figure, which is also from the Metropolitan Museum, the girl appears to be playing a pair of cymbals. Perhaps cymbals were used during the Procession of the Girls. The actual mirror and the animals or birds on the girl’s shoulders have been broken off and lost, but fortunately we still have the figurine of the girl. Unlike the other mirrors in which the girl stands on a lion, this figure is standing on a frog. Whatever may have been the reason for the lion or frog, the cymbals, and other features has been forgotten.

Anonymous – Bronze Mirror Support (c 540 BC – 530 BC)

Paul Cartledge used an image of the last mirror as the cover illustration for his book Spartan Reflections. This mirror was found at the Laconian town of Hermione. It is similar to the first, but instead of griffins on the girl’s shoulders, there are birds with human heads on the girl’s hair. She seems to have been holding something, now lost, in her left hand.

Anonymous – Bronze Mirror from Hermione (Sixth Century BC)

Kinder (Kids) by Judith Wagner

(Last Updated On October 12, 2023)

Judith Wagner was born in Vienna, Austria in 1973. She studied sculpture at the University of Applied Arts Vienna, and earned her diploma in 1998. She is currently producing both sculpture and drawings. Subjects of her art include people, horses, and centaurs among other things. Most of her work has an abstract, even grotesque quality that can make me feel uneasy, but nevertheless I cannot deny its power. It is apparently the artist’s intention to challenge the viewer, to force him to see things in a new way. Wagner wrote, “The beautiful and the ugly, the abysmal and the sublime, heaven and hell, that is what people carry within them, layered on top of each other. Just as a plastic is created in layers, sometimes the lower layer can be felt through, sometimes the upper layer hides the lower one. That makes it exciting, that makes me pause and look in amazement. To represent that, to comprehend it in form, to make it visible and understandable is my concern.”

Judith Wagner – Kids (2015) (1)

Judith Wagner – Kids (2015) (2)

Kids, also titled in German Kinder, is the topic of this article. It differs from Wagner’s typical work in two ways. First, the subjects are children. Second, they are portrayed with a realism that is lacking in many of Wagner’s other sculptures and drawings. The stern expressions and the staring deep eyes are the most noticeable features of Kids that are common to Wagner’s art.

You can view more of Wagner’s art on her website.  When I enter the name Judith Wagner into a search engine, the first artist by that name that is found is another Judith Wagner that, coincidentally, also uses horses as a subject for her art.  They are not the same person, so don’t confuse the two.

Judith Wagner – Pink Kid (2015)

Judith Wagner – Blue Kid (2015)

Judith Wagner – Red Kid (2015)

Judith Wagner – Green Kid (2015)

The figures are life size; ranging in height from 4 feet 3 inches to 5 feet. Although the title is gender neutral, all four figures are girls. The original Kids of 2015 are painted resin. A second edition of Kids was made of white concrete in 2018.

Judith Wagner – Second Edition Kids (2018)

The model for the blue Kid is shown with Wagner’s abstract drawings of horses in the background.

Judith Wagner – Blue Kid and Model (2015)

Maiden Voyages: October 2023

(Last Updated On October 5, 2023)

My apologies dear readers for being so late. I have just been so exhausted the past few days but now I have a moment to cover a few items. And apropos to the work needed to run this site …

The Pigtails Job Fair: I have been thinking about this for a while. With all the contributions of readers and well-wishers, I have felt for a long time that this site needs to be a community project with a watchful editor to uphold our high standards and keep us out of legal trouble. There are many ways readers can volunteer their time so that interesting items can be shepherded to final publication. This month I will be establishing a job page that will give readers a more specific idea on our needs so that we can increase publication rates. Believe me when I say that we have a huge backlog of items that just need a little attention to complete. Therefore I expect to announce this dedicated job page in next month’s ‘Maiden Voyages’.

About Photo-Lolicon Collections: I understand readers’ enthusiasm about getting access to the more rare images produced during the Photo-Lolicon era which, due to legal concerns, are no longer generally available on the open secondary market. For those of you interested in purchasing or trading in hard-copy titles, I will endeavor to figure out a way to put you in touch with others who wish to sell or trade or know of the lesser-known secondary markets that occasionally sell these items. Be advised that Pigtails in Paint is not in the book business but as a favor to some of our readers, I can try to do some match-making so that you can build or liquidate your collection with other trusted collectors. In pursuit of this, I will be establishing a member-only page with artists (many already listed on the ‘Artists by Name’ page) along with pictures of the covers of their known publications so you know what has been produced out there. Obviously we will be depending on readers to inform us of anything we missed. Many of these items have been scanned over the years and have been made available to the public in the form of torrents and other peer-sharing applications. Unfortunately, these get shut down form time to time and there is no consistency about where to find works from a particular artist or what even exists out there. Also, as I have told many readers, Pigtails cannot ethically engage in this image sharing directly because it might expose us to too much legal risk. Not all materials have been vetted as to whether they represent legitimate girl-idol material or if they might be regarded as pornography in many nation states. With respect to this, I would be happy to entertain ideas on how these digital collections might be safely archived and appropriately distributed to interested parties. I remind readers that because Pigtails is a journalistic forum, it is safe to share items of interest with us so long as the items are not illegal material. I will inform you when a Photo-Lolicon publication page has been established so members can peruse and educate themselves on the scope of this genre.

Mysterious AI Community: With the advent of Large Data Models, generative AI images have started to become available to the general public. This has obviously led to an explosion of experimentation, including effort to “trick” (jailbreak) the application into producing images that are banned such as triggering violent scenes and most forms of nudity. I tried featuring some on this site, but it is just too much. A reader has come forward about a place where producers of AI images of little girls can congregate making it easier for the public to keep up on what is out there. The person who runs these mysterious communities goes by the handle Bericbone. His main site includes links to all his social media and the communities he started. They utilize a novel new decentralized social network called “Session”. The largest AI one he started has over 1200 active users. Berichone is apparently a huge supporter of freedom of speech and tasteful art featuring little girls.

Shoetsu Otomo and His Models

(Last Updated On October 7, 2023)

Shoetsu Otomo (大友正悦) was born in 1950. Very little information about his life prior to meeting his most famous model, Satomi Hiromoto (廣本悟己)is available. At the time he met her, in the latter half of 1980 or the first half of 1981, Otomo was already a photographer. When the Kanji characters for his name are entered into an automatic translator, the name is rendered as Masayoshi Otomo. On the covers of his books, however, Otomo spells his name with the Latin alphabet as Shoetsu Otomo, and that is the spelling I will use. Many thanks to a Pigtails reader who provided most of the photographs that illustrate this article.

Shoetsu Otomo – Satomi (circa 1984)

An article on the lolicon website Argonorakuza implies that Otomo specialized in travel and landscape photography. Children often appeared in the background of the scenes he photographed. Otomo was quoted as saying , “I can’t compete with the smiles of children.” and “When you meet the smiles of cute children, you can’t help but press the shutter.”

Shoetsu Otomo – Satomi at Age Eight (1980-81) (1)

Satomi Hiromoto was born in Tokyo, Japan on June 5, 1972. In 1979 she entered Oizumi Elementary School attached to Tokyo Gakugei University. When Satomi was eight years old, Otomo noticed her playing in a park. He approached Satomi’s mother and asked if he could take some photos of the daughter. The mother agreed, and in the discussion with her, Otomo learned that Satomi’s family was quite artistic. Satomi’s father was a painter, and her brother was a pianist. Satomi could also paint and play piano, but her main interest was the practice of classical ballet. Over the next two years, Otomo became a friend of the Hiromoto family. In addition to whatever photos were taken in the park, Otomo photographed Satomi at age eight wearing a white dress and frolicking in a field of tall grass. Although these photos were taken in 1980 or 1981, they were not published until 1995.

Shoetsu Otomo – Satomi at Age Eight (1980-81) (2)

When Satomi was ten years old, in the summer of 1982, Otomo planned a photo shoot for her in Spain. This shoot would be Satomi’s first experience in nude modeling, and would provide material for Otomo’s first lolicon book. Mallorca, a Spanish island in the Mediterranean Sea, was chosen as the location for the photo shoot. Otomo, Satomi, and a crew including a producer and a stylist travelled over 6,000 miles on a flight that lasted over 22 hours for the shoot. It was quite an elaborate production, and a gamble for Otomo who had never made a lolicon book before. It paid off when the photo book Satomi 10 Year Old Myth (さとみ十歳の神話) was released in January 1983 and quickly became one of lolicon’s biggest hits.

Shoetsu Otomo – Satomi in Spain (1982) (1)

Satomi was photographed both indoors and outdoors, both clothed and nude. She was usually alone, but a Spanish woman and a Spanish girl are present in a few of the photos. It is remarkable how comfortable she appears on her first nude shoot and in a foriegn land. Her training as a ballerina is evident in the grace with which she handles many of the poses. In photographs by Otomo, more than other lolicon photographers, it is apparent that the both the model and the photographer contribute to the success of the image. This is especially shown in the indoor photos of Satomi in Spain; note how she positions her arms and legs. In the photograph of Satomi with a seated Spanish woman, the woman is sitting casually while Satomi seems to be in a ballet inspired pose. In three illustrations for this article, Satomi is standing with one knee up and her foot resting against her leg. This is a common pose for Satomi, but it is not used by Otomo’s other models. This leads me to believe that posing this way is Satomi’s idea, rather than a pose dictated by the photographer.

Shoetsu Otomo – Satomi in Spain (1982) (2)

There are sequences in which Satomi stood by a mirror or lay on the floor and asssumed various poses while Otomo snapped the pictures. Satomi was uninhibited in her poses, but Otomo was restrained in choosing what to photograph and publish. When Satomi posed with legs open too far, if Otomo photographed it at all he did so at an angle from which the pubic area was not visible. He did this in the top photo of the illustration captioned Satomi in Spain (1982) (7); a page from the book Satomi Forever. A Spanish man is with Satomi in two of the photos in Satomi 10 Year Old Myth. Whenever a male is present in a photograph by Otomo, all figures, male and female, are clothed.

Shoetsu Otomo – Satomi in Spain (1982) (4)

Satomi 10 Year Old Myth also contains photographs of the Spanish landscape and architecture. Satomi is present in most, but not all of the landscape photos. Otomo is known for photographing models in natural settings. The photo of Satomi standing at the corner of a building Is typical of Otomo’s architectural compositions. I believe this photo is from Pohnpei, but it could also be from Hawaii.

Shoetsu Otomo – Satomi in Spain (1982) (5)

More photos from the Spanish photo shoot were released in the book Lolita Doll (ロリータ・ドール) in August 1983, but there were no new photos of Satomi for over a year after Satomi 10 Year Old Myth. Disappointed fans thought that Satomi would be one of many lolicon models with only one photo shoot. Then in July 1984 Otomo’s and Satomi’s second book, Peek-A-Boo (original title in English) was released.

Shoetsu Otomo – Satomi in Spain (1982) (6)

Peek-A-Boo, like Satomi 10 Year Old Myth, was a very expensive production of photo shoots in natural settings at exotic locales. Two separate locations over 3,000 miles (nearly 5,000 kilometers) apart were used for the photo shoots in Peek-A-Boo. It appears that most photos in Peek-A-Boo were shot on the island of Pohnpei. It is reported that some were shot in Hawaii. This raises the question of why Otomo chose Pohnpei and Hawaii for the photo shoots. Both are tropical Pacific islands with lush vegetation and blue water, but there are other tropical locations that are more economically accessible from Japan. In order to travel from Japan to Pohnpei by commercial air, one must first go to either Hawaii or Guam, then change airplanes to go the Pohnpei. Guam is significantly closer to both Japan and Pohnpei than is Hawaii.

Shoetsu Otomo – Satomi in Spain (1982) (7)

Satomi was not photographed with any unique features of either Pohnpei or Hawaii, such as the volcanoes of Hawaii, or in the ruins of Nan Madol of Pohnpei. Therefore, to a layman there seems to be no reason to go to the expense of paying for a production crew to go to the remote locale. There may be subtle differences in the scenery that makes Pohnpei a better choice than other places for an artist like Otomo, but it is likely that Otomo’s passion for artistry resulted in a lower profit margin. Perhaps Otomo and Satomi cared more about fine art than about making money.

Shoetsu Otomo – Satomi in Peek-A-Boo (1984) (1)

Peek-A-Boo was released in July 1984, when Satomi was twelve years and one month old. Some sources state that Satomi was twelve when photographed for Peek-A-Boo; according to others she was eleven. It is possible that both are correct, if her twelfth birthday occurred during the project.

Shoetsu Otomo – Satomi in Peek-A-Boo (1984) (2)

Satomi’s next, and last photo project was for the book Fly-A-Way, released in December 1984. She was twelve years old when photographed for Fly-A-Way, but she looks older. She was still a minor, but because she matured so quickly Fly-A-Way, in my opinion, is closer to the teen idol genre than to actual lolicon. Fly-A-Way was shot in two locations near opposite ends of Japan; Hokkaido in the north and Yakushima in the south. Yakushima is a small island, most of which is covered by tropical forest, south of the Japanese main islands. Both the photos and a video for Fly-A-Way were recorded in the summer of 1984.

Shoetsu Otomo – Satomi in Satomi Forever (1984) (1)

Otomo photographed Satomi in the summer in Spain and Japan, and her other photo shoots were in the tropics. However, photos of Satomi in the winter snow were published in Satomi Forever. I have not been able to discover when or where the winter photos were taken.

Shoetsu Otomo – Satomi in Satomi Forever (1984) (2)

Satomi seemed to be proud of her work, and wanted her fans to know her. Unlike many lolicon models, she always used her real name when modeling. She put personal details in her books; for example, her favorite colors are purple and burgundy, she enjoys reading fairy tales, and her favorite food is shrimp.

Shoetsu Otomo – Satomi in Fly-A-Way (1984)

On September 27, 1984 Satomi hosted a video release party at the Capitol Tokyu Hotel, a luxury hotel in the Nagatacho district of Tokyo. Fans and the news media were invited. Satomi’s parents and grandparents were there. Satomi’s brother played piano to entertain the guests. Satomi wore a sailor suit, held a press conference, and was reported to be a gracious hostess and a charming young lady. She said that her hope for the future was to become an actress. In my opinion, the video release party illustrates the Japanese attitude about lolicon at the height of the lolicon era. Lolicon was art; it was respectable. One of Tokyo’s finest hotels had no problem with being the site of the lolicon release party, and the mainstream press attended. Support that Satomi received from family, friends, and the public for her art as a nude model was no different than the support she would have received if her art had been painting or ballet. Her fans expected that Satomi would continue modeling.

Shoetsu Otomo – Satomi in Winter (no date)

Surprisingly, Satomi was never in another commercial photo shoot. Also, she never pursued her dream of becoming an actress. In April 1985 some photos of Satomi from old photo shoots, as well as photos of other models were published in Beppin Special Edition Lolita Scramble. After that, no photos of Satomi were published until November 1995. Why did her career end so abrubtly? I don’t know, but I can speculate.

Shoetsu Otomo – Reona (1998)

In 1985 Satomi entered junior high school. There was a report that she had difficulty in getting along with others. It was not specified who made the report or why Satomi had difficulties, but there may be an obvious reason why. Satomi was a glamorous model. She was paid well to travel to exotic locations and be photographed. Her photos were published in books which no doubt attracted favorable attention of the boys in her school. It would seem natural, in these circumstances, for girls in her school to be jealous of Satomi. Perhaps Satomi felt that she had to choose between continuing her career as a model or being accepted by her female classmates. On graduating from school Satomi married and devoted her time to raising a family; she had no time for a career away from home.

Shoetsu Otomo – Aoi (1996) (1)

Another possibility for the reason she quit modeling could be that she was getting old for lolicon. I don’t think that was the reason she quit modeling, because other lolicon models continued to model as adults. Of the many lolicon models that were active during the 1969 through 1999 lolicon era in Japan, four of them, Satomi Hiromoto, Rika Nishimura (real name unknown), Nozomi Kurahashi (aka Ayumi Yoshizawa) and Shiori Suwano (real name Shigeko Niimi) achieved exceptionally great popularity and may be considered lolicon supermodels. Rika and Nozomi continued to model successfully as adults. Shiori did not like modeling, but used the fame she gained as a model to launch a successful acting career. Otomo photographed models well past puberty, so it seems unlikely that he quit photographing Satomi because of her age.

Shoetsu Otomo – The Room (1997)

Although there were no new photos of Satomi, photos from old shoots were again published after she graduated high school. Two books exclusively dedicated to Satomi were Satomi, released November 1995; and Satomi Forever, released November 1998. Satomi and other models photographed by Shoetsu Otomo were featured in the book Dreams, released May 1998. After Satomi was printed, but before it was released for sale, three American service men on Okinawa gang raped and severely beat a young Japanese girl. I remember seeing news reports of the incident in both American media and an English language newspaper from the Philippines. Although it was reported from different viewpoints, I do not remember any report that lolicon was in any way involved. Nevertheless, the publisher of Satomi decided that because of the rape, it would be best to censor the book. Sandpaper was used to erase the pubic area of photos in books sold in bookstores. The books sent by mail to individuals who ordered them were not censored. They were mailed in white boxes and are known as “White Satomi“; they are sought after as collector’s items today.

Shoetsu Otomo – Shinobu on Saipan (1984) (1)

Shoetsu Otomo photographed eight other models, in addition to Satomi, who are usually classified as lolicon. Five of them are in my opinion, a little old for lolicon. Reona (Minori Ishiki) began her career as an advertising model at age five. She is one of the famous models of the lolicon era, and was very good at modeling. She was twelve when she modeled for Otomo, and was well developed for her age. She was still a child, but looked more like a teenager with fully developed breasts, a womanly figure, and pubic hair. Two photo books of Reona photographed by Otomo were released in 1998, and she was also in the book Dreams released the same year. Aoi Inoue, a Japanese actress, was fourteen when she modeled for Otomo, and also too old for lolicon in the strictest sense. Her book Sonatine was released in 1996. Three anonymous southeast Asian teen girls modeled for Otomo in the book The Room (1997). One source stated they were from the Philippines. They appear to be amateurs and trying not to laugh, aware that they are getting away with something (posing nude) that would not normally be allowed. The Room appears to be a low budget work, shot in one session in a hotel room with local amateur girls.

Shoetsu Otomo – Shinobu on Saipan (1984) (2)

Of the three models, other than Satomi, who definitely are lolicon, the first is Shinobu Nemoto (根本しのぶ). Shinobu started modeling at age eight months in an advertisement for powdered milk. She continued modeling in print advertisements and acting in television commercials through her childhood, appearing in about 200 television commercials and about 3,000 print ads. When Otomo photographed her in 1984, she was one of the most recognized faces in Japan. Shinobu was photographed on Saipan where she celebrated her eleventh birthday on January 19, 1984. The photos were published in the book I’m not a Child (こどもじゃないモン) which was released on May 30, 1984. There are no nudes in the book. The text is handwritten, aledgedly by Shinobu herself, and tells of her impressions of Saipan and the excitement of turning eleven. In the second picture of Shinobu in this article she is holding a seed pod from a tree. She wrote that she enjoyed swinging the pod like a sword. I’m not a Child gives the reader the feeling of being a guest at Shinobu’s birthday party. Saipan is a popular destination for Japanese tourists, and is also the site of Teruo Maeba’s lolicon photos of Shiori Suwano.

Shoetsu Otomo – Emi in Hawaii (c1996) (1)

Emi’s Summer Vacation (えみちゃんの夏休み), released in 1996, is similar to Shinobu’s book, in that both offer the reader a glimpse of the model’s personal life. Emi’s Summer Vacation gives the impression that the reader is tagging along with Emi Hirose (広瀬 絵美) and her parents on a vacation in Hawaii. The text is written in a childish hand by Emi, telling about her trip to Hawaii. Emi is not as polished in her poses as the more experienced models. In some photos she seems bored, as if she wants to stop posing and have fun. Emi’s Summer Vacation was shot in several locations in Hawaii, and even though Emi was not an experienced model, her photo sessions appear to have been an expensive project. Was Emi a relative of Otomo, or the daughter of Otomo’s friends?

Shoetsu Otomo – Emi in Hawaii (c1996) (2)

Satomi married young, and when she was nineteen gave birth to her first child, a daughter named Kirara. Shortly before the new Japanese law brought the lolicon era to an end, Otomo did a nude photo shoot of Satomi’s daughter Kirara. The photos were not published in a book, but were distributed to Satomi’s fans. People who have seen the photos say that Kirara looks much like her mother. If lolicon had lasted a little longer, Kirara may have been the second generation lolicon star in her family.

Shoetsu Otomo – Emi in Hawaii (c1996) (3)

Maiden Voyages: September 2023

(Last Updated On September 5, 2023)

I’m having a little trouble getting motivated this month. -Ron

Image Collections: I would like to take the time to let our readers know that it is not our policy to share image collections with those who request them. There are copyright concerns involved and the last thing we need to do is run afoul of the law in that regard. We publish a sampling of images for a legitimate journalistic purpose and are grateful when others share with us to make this possible. If you want to request images relevant to a particular post, make your request in the comments section and perhaps another reader will be gracious enough to respond. And if someone offers a download of a collection, please take advantage in a timely manner. Most downloads are time-sensitive and may require a password provided by the uploader.

Children’s Plight for Freedom: In an earlier ‘Maiden Voyages’ post, I mentioned a documentary about an effort in Haiti to overcome the practice of human trafficking, especially of children for the most nefarious purposes. The man involved in this project, Paul Hutchinson, not only operated in Haiti but the international trade generally. He collected enough footage of his efforts to share them on The Jordan Harbinger Show. A film documenting the greater scope of these activities—Sound of Freedom (2023)—has recently been released to high acclaim.

Album Cover Collection: One of our readers has discovered and shared a site with an extensive album cover collection featuring mostly naturist children. Many of these items were featured on Pigtails before, but many have not. These images feature both boys and girls.

Life in the USSR: In a recent episode of Bruce Carlson’s My History Can Beat Up Your Politics shared a few anecdotal stories about life in the Soviet Union. The Gorbachev era was especially confusing for the KGB and other law enforcement because of the push for more freedoms and the rule of law. Diplomats and spies were in a special position of having access to so-called corrupt Western culture in the form of books, audio recordings and film. Sometimes these things were collected without the knowledge of one’s own family—for their own protection. But a few allowed their children access to this contraband. In one case, a child was careless, having brought one of the books to school and was reported. The authorities raided the house and confiscated this extensive collection. The usual procedure was to destroy the materials and put the offender in prison, but these were strange times. Due to convoluted political forces in country, the collection was actually returned—all except two films: a gang film that was considered too violent and the other was Pretty Baby considered too pornographic!

Friedel Grieder

(Last Updated On August 26, 2023)

Ida Schweighauser became Friedel Grieder when she married Ernst Grieder in Switzerland in 1913. According to Wikipedia she not only changed her surname to Grieder, but also changed her given name from Ida to Friedel.  It was not explained why.  They had three children, one of whom died shortly after birth. The family lost their money during World War I. Friedel’s husband died in 1927, and their daughter Rösli died in 1929 when she was only 12 years old. In the same year Friedel Grieder, then age 39,entered into psychological treatment to cope with the tragedy in her life.

Friedel Grieder – Dreispitzpark Mädchen (no date) (1)

Friedel Grieder – Dreispitzpark Mädchen (no date) (2)

Her treatment included art therapy, and her talent was immediately evident.  She started sculpting, and created many sculptures of young children.  Two years later, in 1931, she opened her studio in Kreuzlingen, Switzerland. Grieder taught and gave art therapy at a sanatorium in Kreuzlingen. Several of her works are on public display in Kreuzlingen. Dreispitzpark Mädchen sits in Dreispitzpark. Wehrlischulhaus Mädchen is by the military schoolhouse. Both portray a girl about 12 years old, the age at which Rösli Grieder died.  Friedel Grieder died in 1980 at age 89.

Friedel Grieder – WehrlischulhausMädchen (1952)

Edward Berge

(Last Updated On August 1, 2023)

Edward Henry Berge was born in Baltimore, Maryland in 1876. He studied art first in Maryland then went to Paris and studied under Auguste Rodin. He returned to Baltimore and lived there until his death in 1924. Berge sculpted in both marble and bronze.

Edward Berge – Sea Urchin – (1921) (1)

Edward Berge – Sea Urchin – (1921) (2)

Edward Berge – Sea Urchin – (1921) (3)

Sea Urchin is a four-foot-tall statue of a girl standing on a sea urchin. It was sculpted in 1921 for a public fountain in Baltimore. Smaller editions were made, as shown in the second and third illustrations. In 1961 the Sea Urchin was replaced by a copy sculpted by Berge’s son, and the original was moved to Johns Hopkins University. Edward Berge had two sons who were also artists, and Edward’s father was a German gravestone carver.

Edward Berge – Wild Flower (1909) (1)

Edward Berge – Wild Flower (1909) (2)

Some of Berge’s finest work are his fountain statues of nude girls. Wildflower is one of his more famous. Originally cast life-size in 1909, subsequent editions were cast in 1916 and 1923. Professor Moses Slaughter purchased Wildflower in 1917 and donated it to the Madison Wisconsin Public Library in memory of his two daughters. Wildflower was placed in a pool fountain outside the library building. In the 1960s, the library was moved to a new location. Wildflower was moved to an indoor location on the second floor of the new library, and in 2015 it was moved again to the children’s room of the new library. Another copy of Wildflower is in Homeland Garden, Baltimore.

Edward Berge – Violet (c1916) (1)

Edward Berge – Violet (c1916) (2)

Violet is another sculpture that is similar to Wildflower. Three violets are in the girl’s hair. Violet was intended as a fountain, with water flowing from the girl’s hands.

Edward Berge – At Water’s Edge (1914)

At Water’s Edge differs from the other statues in this article in that it features a sitting girl. The serene expression on her face, however, is like the others.

Edward Berge – Poppy (1922) (1)

Edward Berge – Poppy (1922) (2)

Poppy represents a tiny wood nymph with a poppy on her head. Nymph on a Turtle (aka Will-o’-the-Wisp) is a water nymph on a turtle. This statue was featured in a previous article here.

Edward Berge – Nymph on a Turtle (date unknown)

The dates given for the sculptures in the captions are often the date from a particular example. When I could find the date a work was originally created, I used that date. Duck Mother is dated 1924. If that is the date of the original, it may be one of Berge’s last pieces.

Edward Berge – Duck Mother (1923)

Random Images: Full-Body Exposure

(Last Updated On August 1, 2023)

My apologies for the provocative-sounding title; I just couldn’t help myself. The exposure being referred to is sunlight. The prevalence of rickets increased after the advent of the Industrial Revolution but it was not until the early 20th century that the connection was made between this disease and a deficiency in Vitamin D. It was also learned that the human body produces this nutrient when exposed to adequate sunlight, specifically ultraviolet B (UVB) radiation. Although it is common practice to simply provide supplements in pill form, some people are unable to metabolize this nutrient in this form and sunlamps are sometimes needed. This technique was quite popular in middle of the 20th century, especially for children of more affluent parents or in a clinic where multiple children could be treated concurrently.

A reader provided a link to a photographic collection featuring images of this sunlight treatment. Browsing the images, one can see that these examples come from many countries in more northerly latitudes such as: the Soviet Union, Germany, UK, Canada and the US. Undoubtedly, other northern countries were also represented. I would recommend perusing the many examples that can be found with the above link including vintage advertisements for the lamps and treatment.

(Photographer Unknown) – From the Bundesarchiv, Berlin (1940)

Random Images: 1944 Liberation of Paris

(Last Updated On August 1, 2023)

This submission from a Pigtails reader shows a scene of a German sniper attack during the liberation of Paris during World War II in 1944. US Army photographers were on the scene to document these events. The credit given in the caption indicates the name of the senior officer of the No. 5 Army Film and Photo Section, Army Film and Photographic Unit, Captain E. G. Malindine, but Lieutenant Handford and Sergeant Hardy were also part of this unit and so it cannot be determined who captured this particular shot. The explanation for this image being submitted is the apparent heroism of the adults attempting to protect the children by surrounding them.

Capt E G Malindine et al – The Liberation of Paris 1944 (August 26, 1944)

The original photo is part of the War Office Second World War Official Collection. The attached comment states:

As Gen. de Gaulle arrived at the Notre Dame, German snipers opened fire. These photographs show scenes during the incident as Parisians fled for safety. The General and his staff were unhurt.