The Silver Mask, 1929

Gordon Coster :: The Silver Mask, 1929 src liveauctioneers
Gordon Coster :: The Silver Mask, 1929. Bromide print. | src liveauctioneers

Bromide print mounted on artist’s paper. Signed and titled in pencil on mount recto. Nine exhibition labels and two exhibition stamps on verso. The subject is wearing a half mask, a headdress (probably made of velvet) adorned in the middle with a flower-shaped ornament and a huge fluffy collar. He/she wears heavy lipstick and a drawn mole. This is a striking enigmatic picture. It is not clear whether this is a man or a woman.

Tatiana (nue) par Lessieux

Ernest-Louis Lessieux :: Tatiana posant accroupie sous un voile (titre factice), plaque de verre autochrome, après 1907. Conseil des musées. Le musée de l'île d'Oléron
Ernest-Louis Lessieux :: Tatiana posant accroupie sous un voile (titre factice), plaque de verre autochrome, après 1907. Conseil des musées. Le musée de l’île d’Oléron
Ernest-Louis Lessieux :: Tatiana posant nue de profil dans un jardin (titre factice), plaque de verre autochrome, après 1907. Conseil des musées. Le musée de l'île d'Oléron
Ernest-Louis Lessieux :: Tatiana posant nue de profil dans un jardin (titre factice), plaque de verre autochrome, après 1907. Conseil des musées. Le musée de l’île d’Oléron
Ernest-Louis Lessieux :: Tatiana posant nue avec un voile rouge (titre factice), plaque de verre autochrome, après 1907. Conseil des musées. Le musée de l'île d'Oléron
Ernest-Louis Lessieux :: Tatiana posant nue avec un voile rouge (titre factice), plaque de verre autochrome, après 1907. Conseil des musées. Le musée de l’île d’Oléron

Justema by Mather, ca. 1923

Margrethe Mather :: Semi-nude [Billy Justema Wearing a Kimono], ca. 1923. Center for Creative Photography. University of Arizona, Tucson
Margrethe Mather :: Semi-nude [Billy Justema wearing a Kimono]; ca. 1923. Center for Creative Photography. University of Arizona, Tucson

When Margrethe Mather (1885 or 1886-1952) met Billy Justema in 1922, she was 36 and he was 17. Through spending time with him, Mather found a way out of her grief over the unexpected suicide of her close friend Florence Deshon. Through their relationship, Justema searched for a state of mind that would allow him to define both his artistic path and his sexuality. Mather photographed him as an enigma, as he was at the time to himself, in the process creating a portfolio to rival that of Alfred Stieglitz’s images of Georgia O’Keeffe. I could point out the sure compositional structure that informs Billy Justema in a Kimono (above), the curves and angles that form a harmonious whole, all things typical of Mather’s work. [quoted from The Blue Lantern on blogspot]