Payne in Confetti (Nelson revue)

Nina Payne (holding a mask) in costume for the Nelson revue “Confetti”, by Studio Manassé (1910s) | src liveinternet.ru
Nina Payne In costume for the Nelson revue “Confetti”, by Hill, ca. 1916 | src HZG
Dancer Nina Payne with a dance mask in the Nelson revue “Confetti”, Nelson Theater Berlin, 1925. Photo: Atelier Binder 1925 (Photo by Atelier Binder) | src Getty Images
Tänzerin Nina Payne (USA) in einer interessanten Tanzmaske in der Nelson-Revue “Confetti”, Nelson Theater Berlinerschienen Nr. 42/1925. Foto: Atelier Binder | src Getty Images

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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Clotilde von Derp by Watson

George Spencer Watson (1869-1934) :: Portrait of Clotilda [sic] von Derp (Frau Sakharoff), 1912. Signed, inscribed and dated ‘Clotilda [sic] von Derp / [Frau Sakharoff.] / Dancer 1912 / by George Spencer Watson R.A.’ (on the backboard). Oil on canvas laid down on board. | src Christie’s

Hagemeyer by Hagemeyer

Johan Hagemeyer (1884-1962) :: [Johan Hagemeyer] [glass negative, retouched] undated but the item belongs to Early Works folder (circa 1908-1915). | src OAC · Calisphere
Johan Hagemeyer (1884-1962) :: [Johan Hagemeyer] [negative] selfportrait [reading] | src OAC · Calisphere
Johan Hagemeyer (1884-1962) :: [Johan Hagemeyer reading in forest.] [negative] selfportrait | src OAC
Johan Hagemeyer (1884-1962) :: [Johan Hagemeyer reading] [negative] selfportrait | src OAC
Johan Hagemeyer (1884-1962) :: [Johan Hagemeyer reading in chair.] [negative] Selfportrait | src OAC
Johan Hagemeyer (1884-1962) :: Johan Hagemeyer. Nitrate negative. Selfportrait. | src OAC · Calisphere

Potted Plants 1910s – 1940s (?)

Karl Struss (1886-1981) :: Three Potted Plants in Window [Chrysanthemums], Willard White NYC, 1911. Platinum print. | src Amon Carter Museum of American Art
Johan Hagemeyer :: Rex begonia in window of Carmel house. [photographic print] | src OAC · Calisphere
Johan Hagemeyer (1884-1962) :: [Plant.] [negative], n.d. | src OAC · Calisphere
Johan Hagemeyer :: [Plants. Unidentified interior] [negative] | src OAC · Calisphere

Vaslav Nijinsky as Petrushka, 1911

Elliott & Fry :: Vaslav Nijinsky as the Rag Doll ‘Petrouchka’ (1911). Petrushka [French: Petrouchka] premiered June 13, 1911 at the Theatre du Chatelet in Paris with costume and scenery design by Alexandre Benois, music by Igor Stravinsky and choreography by Michel Fokine. | src Leo Boudreau, visit his site for more info about Petrouchka and links to the ballet’s videos
Dover Street Studios (Photographer) :: Nijinsky, London, 1910-1911. | src NYPL
Portrait of Vaslav Nijinsky in three-quarter profile, left fist clenched before him in the title role of Petrouchka (a rag doll), 1910-1911.
Petrouchka (Choreographic work: Michel Fokine); uncredited photographer on source | src NYPL

Tulips, ca. 1911 (Clara Sipprell)

Clara Sipprell (1885-1975) :: Tulips, ca. 1911. Glass transparency. Additive color screen plate(*). | src Amon Carter Museum
Clara E. Sipprell :: Tulips, ca. 1911. Glass transparency. Additive color screen plate(*). | src Amon Carter Museum of American Art

(*) Additive Color Screen Plate or Screen Plate were known commonly by the product name: Autochrome, Filmcolor, Lumicolor, Alticolor. Used mainly between 1907 and 1935. Initially it has a glass support; later products on film supports. This process was the first fully practical single-plate color process. The Autochrome plate or Screen plate could record both saturated and subtle colors with fidelity, and since the screen and the image were combined, there were no registration problems. Nonetheless, it had its drawbacks: the exposure times were long, and the processed plates were very dense, transmitting only less than the 10% of the light reaching them.

The result is a soft, subdued, dreamy colored image. And grainy. Although the starch grain filters were microscopically small their random distribution meant that inevitably there would be clumping of grains of the same color.