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Swedish postcard by Förlag Nordisk Konst, Stockholm, no. 1057. Photo: A.B. Svenska Biografteatern, Stockholm.
Harriet Bosse (1878-1961) was a Norwegian-Swedish singer and actor.
Harriet Sofie Bosse [Bå'sse] was born 19 February 1878 in Christiania (Oslo) from a German father, the publisher Heinrich Bosse, and a Danish mother, Anne-Marie Lehmann. Bosse studied at the Royal Conservatory of Music in Stockholm. In the spring of 1897, after three years of study, she graduated with special grades in singing. Bosse debuted in 1896 on stage in Romeo and Juliet at the Tivoli Theater in Christiania, in a setting by her sister Alma and under direction of the latter's husband Johan Fahlström. In the winter of 1898, she got the opportunity to follow lessons at the conservatory of the Comédie Française in Paris, and, subsequently in 1899, she was engaged at the Royal Dramatic Theatre in Stockholm. Since she had difficulties with the Swedish language, she took lessons with a speech therapist to get rid of her Norwegian accent. At the ‘Dramaten’ she played e.g. Hero in Shakespeare’s Much Ado About Nothing (1902) and Nennele in Giacosa’s Come le foglie (1903).
In these years she met the renowned playwright August Strindberg. He was 51, she 22. Strindberg liked her combination of a strong, modern and independent woman with delicate looks, so he wooed her and wrote plays especially for her, such as To Damascus, Easter, Crimes and Crimes, Swan White, Queen Christina, and A Dreamplay. She felt intimidated and not yet up to his heavy roles but accepted to play Elena in Easter, which was a big breakthrough for her in 1901. Harriet Bosse has himself told how her engagement with Strindberg began: "Strindberg put his hands on my shoulders and looked deeply and sincerely at me and asked: - Would you like to have a small child with me, Miss Bosse? I curtsied and answered quite hypnotic: Yes, thank you. And then we were engaged." They would be married in 1901-1904 and had a daughter Anne-Marie (1902-2007). However, as modern as he was in his plays, as old-fashioned Strindberg was in his interior decoration, refusing to alter anything from his late 19th century style. Moreover, because of his agoraphobia he cancelled their honeymoon and gave her a Baedeker instead to do the virtual version. He was also an extremely jealous person, while she disliked her ‘imprisonment’. Not even the birth of their daughter in 1902 could save the marriage. As of 1902 they lived apart and they divorced in 1904.
In 1906 Bosse was engaged by Albert Ranft to the Swedish Theatre in Stockholm and became the theater's big star in plays less conventional than at the Dramaten. Though her marriage with Strindberg was over and she remarried with actor Gunnar Wingård in 1908 – with whom she had a son – Bosse played in 1907 in two Strindberg plays at the ‘Svenska Teatern’: Ett drömspel (A Dream Play) and Kronbruden (The Bridal Crown). With A Dream Play she wrote theatre history. She also kept up a relationship with Strindberg, leaving her daughter with him when on tour to e.g. Helsinki, until she remarried. In addition she also acted in plays by e.g. Gorki (The Petty Bourgeois), Maeterlink (Pelléas et Mélisande), Shaw (Man and Superman), Sudermann (Johannes), Somerset Maugham (Mrs Dot), Lagerlöf (Gösta Berlings saga), and others. She was engaged again at the Royal Dramatic Theatre in 1911 with the promise of playing heavier roles. In 1911 she also divorced Wingård for his infidelity or his spendthrift (versions vary). In 1912 Bosse was confronted with a series of disasters: Strindberg died, her second ex-husband killed himself, her sister’s son drowned with the Titanic, and Strindberg’s daughter Greta was killed in a train crash. Fans of Wingård threatened Bosse for having caused his suicide.
In 1919 Victor Sjöström directed Bosse in what was thought to be her breakthrough in cinema, and what still goes as a milestone in the Swedish naturalist cinema: Ingmarssönerna (Sons of Ingmar, 1919). It co-starred Sjöström as a rich farmer’s son, Lill Ingmar [Little Ingmar], who because of his stern mother has caused his fiancée, the poor farmer woman Brita, trouble by postponing his marriage. So Brita gives birth to a baby out of wedlock, kills it out of despair and spends time in jail. In the end, after a discussion with the ghost of his forefather, Lill Ingmar repents, marries Brita and the two leave the bigot villagers. It was based on the first part of Sjöström’s adaptation of Selma Lagerlöf's novel Jerusalem, originally published 1901-1902. In 1920 Sjöström would direct, and star in, the sequel Karin Ingmarsdotter, in which Bosse’s part in the previous film would only be referred to; instead the female lead was for Tora Teje.
Though Ingmarssönerna was hailed by critics, and afterwards director Ingmar Bergman confessed to have been deepy impressed by it, it didn’t mean a filmic breakthrough for Bosse, despite he fact she had been the star of the film. Only 17 years after she would act in Bombi Bitt and I (1936), based on Fritiof Nilsson Piraten's popular first novel with the same title and directed by Gösta Rodin. Even if Bombi Bitt was successful, it was rather a lightweight production and with a smaller role for Bosse. Bosse also played supporting parts in Anna Lans (Rune Carlsten, 1943), starring Viveca Lindfors as the title character, and Appassionata (Olof Molander 1944), again starring Lindfors.
In 1919-21 Bosse played during the spring season at the "Intimate theater". In addition, she did guest performances in the provinces, as well as in Göteborg, Oslo and Helsingfors. In 1927 Bosse married for the third time, with popular actor Edvin Adolphson (until 1932). Her last ten years she acted at the Royal Dramatic Theatre 1933-1943. These she described herself as a calvary when she found it increasingly difficult to get interesting roles. In May 1943, she went into retirement and in 1955 she moved to Norway, where her daughter lived with the family. She regretted her move though, dearly missing Stockholm. Harriet Bosse died November 2, 1961 in Oslo.
Sources: English and Swedish Wikipedia, Svensk Filmdatabas, IMDB.
I got the little vintage rabbit for my birthday
made by Walter Bosse in the 1950
- the brown one is from Gobel
You can licence my photos through Folio.
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This shot was taken at Bosse Field, located in Evansville, Indiana. Some filming of the movie "A League Of Their Own" took place here. In between innings when the Evansville Otters play, they have short games for the kids.
Camera: Vivitar V50 (Minolta X-300 clone)
Lens: Minolta MD Zoom 70-210mm
Film: Lucky SHD100 B&W 35mm
Shooting Program: Manual
Aperture: F/8
Shutter Speed: 1/60 sec.
Date: September 13th, 2016, 6.46 p.m.
Location: Evansville, Indiana, U.S.A.
Developing chemicals
Adox Adonal stand developing
1:150 - 1 1/2 hour
Water Rinse: 1 min.
Ilford Ilfostop Stopbath: 1 min.
Water Rinse: 1 min.
Ilford Hypam Fixer: 7 1/2 mins.
Water Rinse: 4 mins.
Kodak PhotoFlo 200: 1 min.
Vivitar V50 Lucky 100 17ff
30 seconds
f/22
ISO 100
Once I knew we had to get an architecture shot, this was it. It was actually a little more difficult than I thought to get because it was just dark in this room. pretty pleased with the result!
13 Jahre und ein "bißchen" weise...ist heute unser "Oldie" Bosse!
Er wurde am 3. Januar 1994 in Sindelfingen als 2. eines Dreierwurfs Basenji-Jungs als "Decemba tin.Abou-teka" auf einer Treppenstufe geboren...als seine Mama grad wieder auf dem Rückweg von draußen zur Wurfkiste war...der Bart ist weiß inzwischen und es fehlen ihm 3 Backenzähne, die vermeintliche "Weisheit" rührt vermutlich von eingeschränktem Reaktionsvermögen her...im Alter werden die Sinne halt ein bißchen leiser!
Herzlichen Glückwunsch, Alterchen
Bosse was born on January 3, 1994 as the 2nd pup of a three-boys litter in Sindelfingen/Southgermanyon the stairway when his mother Antari was on her way back to the from urgent outside duties. His beard is white meanwhile and he has already lost 3 molar teeth. His "oldie wisdom" might come from vanishing sharpness of senses...but at the dog's age of at least 72 he could be more wise than wild, huh?
Happy birthday, sweet oldie!
Série 12 photos
En préparation pour une autre escapade en VR, pas beaucoup de temps sur les réseaux
un petit partage photo de trois belles semaines en camping aux Bergeronnes avec les amis (es), encore beaucoup de photos, oiseaux, baleines, etc...
Au grand plaisir, les baleines a bosse, mes préférés des baleines sont venus nous visiter
Bosse Concert, GladHouse Cottbus, Germany 19.02.2012
Please visit my site: www.derbunar.de/blog/
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Série 12 photos
En préparation pour une autre escapade en VR, pas beaucoup de temps sur les réseaux
un petit partage photo de trois belles semaines en camping aux Bergeronnes avec les amis (es), encore beaucoup de photos, oiseaux, baleines, etc...
Au grand plaisir, les baleines a bosse, mes préférés des baleines sont venus nous visiter
Bosse, Glad-House Cottbus
Please press L for lightbox view
Please visit my site: www.derbunar.de/blog/
Follow me on facebook
German Postcard by Ross Verlag, no. A 1276/1, 1937-1938. Photo: Dührkoop.
Actor, presenter and journalist Peter Bosse (1931) was a popular child star of the German cinema in the 1930s. The boy with his cheeky face made 28 films.
Peter Bosse was the son of silent film actress Hilde Maroff. After some performances on the radio, he entered the film business. He made his debut as the son of the great opera singer Beniamino Gigli in Vergiß mein nicht (1935, Augusto Genina). The next year he became a popular child star with Schloß Vogelöd (1936, Max Obal) and as the small Peter in Schlußakkord (1936, Detlev Sierck/Douglas Sirk) with Willy Birgel and Lil Dagover. Another popular film was Das Gäßchen zum Paradies (1936, Martin Fric) with Hans Moser, in which Peter won the hearts of the public as a little orphan. Till the outbreak of the war followed many more films, including Solo per te (1937, Carmine Gallone) with opera singers Beniamino Gigli and Michael Bohnen, Frauenliebe - Frauenleid (1937) with Magda Schneider, Mutterlied (1938, Carmine Gallone) - again as the son of Beniamino Gigli, Asszony a valszuton / Die Frau am Scheidewege (1938, Josef von Báky) with Ewald Balser and Magda Schneider and Robert und Bertram (1939, Hans H. Zerlett).
Peter Bosse’s film career ended when WWII started. The Nazis didn’t permit him to act in films anymore on account of racial and ideological reasons. After the war, he followed acting classes and started to work as a stage actor in Berlin. Later he switched to the radio. He acted in many radio plays and worked also as a presenter. He played a few small roles in East German films like Der Prozeß wird vertagt (1958, Herbert Ballmann) and Der Traum des Hauptmann Loy (1961, Kurt Maetzig). Later he worked for television in the DDR as a child show host. In the 1990’s he founded the radio station 50 Plus (now Spreeradio), for which he was a presenter and the programme director.
Sources: Thomas Staedeli, Filmportal.de, Wikipedia and IMDb.