Vasily Kachalov in Anathema

Vintage Russian postcard depicting Russian actor Vasily Ivanovich Kachalov [Васи́лий Ива́нович Кача́лов] in Anathema, a play by Russian playwright Leonid Andreyev at the Moscow Art Theater. [ca. 1900] akademic.ru
Russian actor Vasily Ivanovich Kachalov in the title role of Leonid Andreyev’s Anathema. Kachalov led the so-called Kachalov Group within the Moscow Art Theater. [Ryckoff Collection]. | src Getty Images
Russian actor Vasily Ivanovich Kachalov in the title role of Leonid Andreyev’s Anathema. (ca. 1900) | src Getty images
К. С. Малевич. Василий Качалов в пьесе Л. Андреева “Анатэма”. 1908 г. Единственный пробный оттиск гг. Коллекция С. Григорьянца | Vasily Kachalov in Anathema by Kazimir Malevich (1908) | src wikimedia commons
Vasily Ivanovich Kachalov by Kazimir Severinovich Malevich (1908) | src twitter

Actress Alexandra Rebikova

Ребикова, Александра Васильевна. Молоко в спектакле «Синяя птица». | Russian actress Alexandra Vasilievna Rebikova as Milk in the play «The Blue Bird» in costume designed by Vladimir Egorov (?) for Konstanin Stanislavski’s production of Maurice Maeterlinck’s «Oiseau Bleu» at the Moscow Art Theatre, 1908. | src academia.ru
Мей в спектакле «Сверчок на печи». Actress Alexandra Vasilievna Rebikova as May Fielding in the play «Cricket on the Hearth» at the Moscow Art Theatre. Unknown date, probably before 1908.
Мей в спектакле «Сверчок на печи». Actress Alexandra Vasilievna Rebikova as May Fielding in the play «Cricket on the Hearth» at the Moscow Art Theatre. Unknown date, probably before 1908. [Full scan of programme]
Portrait of Alexandra Vasilievna Rebikova. | src academia.ru

In 1915, Alexandra Rebikova began to star in the movies of the film company “A. Khanzhonkov and Co.” [Торгового дома «А. Ханжонков и К°] and very soon became one of the leading silent film actresses.

Alexandra Rebikova with Oleg Frelyh (Frelikh) in 1917 in the film «The Clay God» («Глиняный бог», a silent film by Nikolai Larin, 1918)
Alexandra Rebikova with Gregory Khmara (Chmara) in the film «Symphony of Sorrow» («Симфония горя», 1918) | src academia.ru

Jules Antoine group portraits

Jules Antoine (1863-1948) :: Groupe d’enfants avec une nourrice devant un filet de tennis, raquettes à la main. Positif couleur transparent; Support verre; Procédé Autochrome, 1905-1912. | src Les Fonds de la MAP
Jules Antoine (1863-1948) :: Groupe devant une cabine de plage, Marthe Antoine en arrière-plan, le second mari de Marie-Louise Roussel-Bruyère à gauche, 1905-1912. | src Les Fonds de la MAP
Jules Antoine (1863-1948) :: Groupe assis sur une dune : Marthe Antoine à droite, Jean Antoine à gauche, un petit garçon au centre entre deux femmes, 1905-1912. | src Les Fonds de la MAP
Jules Antoine (1863-1948) :: Groupe portrait. Marthe et Jean Antoine avec leurs cousins devant une cabine de plage. Positif couleur transparent; Support verre; Procédé Autochrome. 1905-1912. | src Les Fonds de la MAP

J. Antoine’s autochrome sunsets

un regard oblique

Jules Antoine (1863-1948) :: Coucher de soleil sur la plage dans des tonalités rose-orangés, la mer à l’horizon, 1905-1912. Positif transparent; Support verre; Procédé Autochrome

Jules Antoine (1863-1948) :: Coucher de soleil sur la mer sous un ciel nuageux, 1905-1912. Positif transparent; Support verre; Procédé Autochrome

Jules Antoine (1863-1948) :: Coucher de soleil sur la plage, la mer à l’horizon, 1905-1912. Positif transparent; Support verre; Procédé Autochrome

Jules Antoine (1863-1948) :: Coucher de soleil sur la plage, la mer à l’horizon, la silhouette d’un homme se détachant sur le banc de sable, 1905-1912. Positif transparent; Support verre; Procédé Autochrome

Jules Antoine (1863-1948) :: Coucher de soleil sur la mer, falaises au premier plan, ciel nuageux en arrière-plan, 1905-1912. Positif transparent; Support verre; Procédé Autochrome

Jules Antoine (1863-1948) :: Coucher de soleil sur la plage, 1905-1912. Positif transparent; Support verre; Procédé Autochrome

Jules Antoine (1863-1948) :: Coucher de soleil sur la…

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Sipprell by Sipprell, 1900-1970

Francis J. Sipprell (1878-1958) :: Portrait of Clara E. Sipprell, ca. 1910. Platinum print. Burchfield Penney Art Center. | src l’œil de la photographie (broken link; linked to l’œil homepage)
Francis J. Sipprell (1878-1958) :: Clara E. Sipprell (1885-1975), ca. 1910. Platinum print. | src Burchfield Penney Art Center
Clara Sipprell :: [Fragment of portrait of Clara Sipprell], ca. 1900. Gelatin silver print. Clara E. Sipprell Collection. There is no mention on source whether this photograph was taken by Clara or Francis. | src Amon Carter Museum of American Art
Clara Sipprell :: Lucy Sipprell, ca. 1913. Platinum print. Scan from color transparency. | src Smithsonian American Art Museum
Allen Sipprell (1919-1998) :: Portrait of Clara E. Sipprell, ca. 1970. Gelatin silver print. | src Burchfield Penney Art Center

Clara E. Sipprell was one of America’s most important pictorial photographers of the early 20th century. Born in Canada, she moved to Buffalo, New York after her oldest brother Francis opened a photography studio. She worked part-time as an apprentice, but eventually dropped out of school to work full-time at his studio, where she learned all different types of photographic techniques. She partnered with him in 1905, and after working together for ten years and having many successful shows, she opened a studio in New York City and eventually traveled all over the world.

Clara E. Sipprell’s use of a soft-focus lens and her reliance upon entirely natural light gave her photographs an atmospheric effect and moody romanticism. She was a successful portraitist, photographing such notable people as Eleanor Roosevelt, Robert Frost, and Albert Einstein. However, she did not confine herself to that genre. Her landscapes, cityscapes, and still-life subjects were exhibited in national and international salons, galleries, and museums. There are over 1,000 photographs by Sipprell in the Amon Carter Museum collection, a gift from The Dorothea Leonhardt Fund of the Communities Foundation of Texas, Inc.  The (then) Burchfield Art Center presented a solo exhibition of her work in 1991.

quoted from Burchfield Penney Art Center

Pinatype by Perscheid, 1900s

Nicola Perscheid :: Fräulein Änne Jungmann in den Lupinen, um 1900. Pinatypie. The Pinatype is a dye transfer imbibition process. The colored picture is obtained by superimposing three gelatin films which have been exposed under negatives taken behind color-screens and dyed with corresponding colors. | src MK&G

Flower studies by De Meyer

Baron Adolph de Meyer :: Flower Study, 1908. Autochrome. (Royal Photographic Society Collection) | src The Dawn of Colour at Science and Media Museum via Flickr
Baron Adolf de Meyer :: Still Life # 3, 1908. Printed from an Autochrome. | src eBay via Flickr
Baron Adolf de Meyer :: Still Life # 3, 1908. Printed from an Autochrome. | src eBay via Flickr
Still Life, ca. 1908. From an Autochrome by Baron A. de Meyer. From: “Colour Photography and other Recent Developments of the Art of the Camera”. Charles Holme ed., 1908. | src internet archive & flickr
Baron Adolf de Meyer :: Still Life, 1908. Printed from an Autochrome. | src eBay & Flickr
Baron Adolf de Meyer :: Still Life, 1908. Printed from an Autochrome. | src eBay & Flickr

Das Goldfisch-Glas, ca. 1905

Pierre Dubreuil :: Das Goldfisch-Glas, ca. 1905. Photogravure. From: Photographische Mitteilungen 1905. | src Photogravure.com
Pierre Dubreuil :: Das Goldfisch-Glas [The Goldfish Bowl], ca. 1905. Photogravure. From: Photographische Mitteilungen 1905. | src Photoseed.com

Trost ~ Das Kruzifix, ca. 1905

Siri Fischer-Schneevoigt :: Das Kruzifix, ca. 1905. Photogravure. Atelier Georg Büxenstein & Co. (editor). From: Photographische Mitteilungen 1905. | src Photogravure.com
Siri Fischer-Schneevoigt :: Trost [Alternate title: Das Kruzifix  (printed in index)], ca. 1905. Photogravure. From: Photographische Mitteilungen 1905. | src Photoseed