Benjamin Joseph Falk:: Full length portrait of Loie Fuller, for the portrait she was standing still while moving the fabric of her white costume during the exposure, she stood on top of a mirror and was brightly lit, 1896 (marked nº 12) | src The New York Public Library (NYPL) via Getty Images
Portrait of Loie Fuller wearing an early version of her “Serpentine” dress. The photograph features a full length portrait of the dancer kneeling amidst a pile of cushions, with her arms upraised, and a small carved snake clasped in her right hand. Her skirt, which is decorated with repeated images of snakes, is raised up and spread out in a wide circle behind her, date unknown, late 1890s. | src V&A Museum
Georges de Feure :: Tous les soirs [..] La Loïe Fuller dans sa création nouvelle: Salomé. Lithograph in colors, 1895, printed by P. Lenénil (Asnières). Comédie Parisienne. | src BnF ~ Gallica
Henri Manuel (1874-1947) ~ Loïe Fuller in Robert d’Humières’ Tragédie de Salomé at the Théâtre des Arts, Paris, 1907 | src AderHenri Manuel (1874-1947) ~ Loïe Fuller (1862 – 1928) in attrezzo for the Tragedy of Salome, 1896 | src getty images
Benjamin Joseph Falk:: Portrait of stage actress and dancer Loïe Fuller sitting barefoot atop a mirror, 1896 (marked nº 8). | src Washington University Libraries
Artist: Kawanabe Kyōsai 河鍋暁斎 (1831-1889) Title: Kyōsai hyakki gadan 暁斎百鬼画談 (1889 and 1890 editions) Publishers: Inokuchi Matsunosuke and Kaishinrō Medium: Woodblock printed book (gajōsō / orihon, accordion-style binding), ink and color on paper. image source: The Met and The Arthur Tress Collection at Kislak Center, University of Pennsylvania Libraries image on top from this edition: Kyōsai’s Pictures of One Hundred Demons. Painted by Kawanabe Tōiku Sensei. August, Meiji 23 (1890)