Akt am Meer by Koppitz

**Rudolf Koppitz** (1884-1936) ~ Akt am Meer (Nude by the Sea), Anna Koppitz, 1923. Vintage silver print | src liveauctioneers

**Rudolf Koppitz** (1884-1936) ~ Akt am Meer (Nude by the Sea), Anna Koppitz, 1923. Pigment print | src Spallart (S-0022)

Fräulein Etelka Marquita, 1927

**Atelier d’Ora ~** **Benda ::** Fräulein Etelka Maquita. Halbaktstudie, 1927. | Dancer Etelka Marquita, half-nude study, 1927. | src The Albertina Museum, Vienna

Dancer Kaja Marquita, 1920s

Roshanara by Underwood

**Underwood & Underwood ~** Olive Craddock (1894-1926), stage name: Roshanara; early 1920s | src Alamy

Die Tänzerin Mizzi Müller, 1928

Ernst Förster :: Mizzi Müller. Tänzerin-Portrait mit Spitze über nacktem Oberkörper. veröffentlicht: Uhu Magazin 5/1928 | Dancer portrait with lace top over naked torso, 1928 [for Atelier Adele] | source Getty Images

Der Spitzenschal als Kleid. Die Tänzerin Mizzi Müller. Phot. Förster. Uhu Februar 1928 - 5/1928. — Der Spitzenschal als Kleid. Die Tänzerin Mizzi Müller. Phot. Förster. Uhu, Februar 1928 – 5/1928. | Universitätsbibliothek der Humboldt

Sisters Bronia and Tylia Perlmutter

Sisters Bronia (left) and Tylia Perlmutter, 1922 | Scanned from Billy Klüver and Julie Martin’s *Kiki’s Paris* | src blogspot

“Bronia, the younger sister, demurely averts her eyes while elder sister Tylia stares almost insolently at the camera, holding a boudoir doll in her hand. […] The sisters were Polish Jews raised in the Netherlands who came to Paris in 1922 when Tylia was 18 and Bronia 16. They both found work modelling for various artists in Montparnasse. Bronia was particularly popular with Nils Dardel, Foujita, and Moïse Kisling (she would often act as hostess for Kisling at luncheons he hosted). She also modelled clothes for designers Paul Poiret and Nicole Grolt.” Quoted from source: tales of a mad cap heiress

Perlmutter by Abbott, ca. 1926

Berenice Abbott (1898-1991) :: Bronia Perlmutter (Ms. René Clair), ca. 1926 | src Howard Greenberg Gallery — **Berenice Abbott** (1898-1991) :: Bronia Perlmutter (Madame René Clair), ca. 1926 | src Howard Greenberg Gallery

In December of 1924 Bronia and Tylia Perlmutter were invited by Francis Picabia to attend a performance of the Dadaist ballet Relâche, which included a screening of a short film, Entr’acte, at intermission. Bronia was introduced to the film’s director, René Clair, after the show. Later that same month Picabia asked Bronia to participate in a production, Ciné Sketch, that he and Clair were putting on after the ballet on New Year’s Eve. Bronia agreed, and she and Marcel Duchamp appeared nude—Duchamp did have a strategically placed fig leaf—in a living tabloid of Lucas Cranach’s Adam and Eve, which Man Ray photographed.

A bit part in Clair’s film Le Voyage Imaginaire (1926) followed. The two fell in love and were married in 1926. Quoted from tales of a mad cap heiress (Blogspot)

Adam et Eve; tableau vivant

**Man Ray ::** *Ciné-Sketch; Adam and Eve* (Marcel Duchamp and Bronia Perlmutter), 1924. Gelatin silver print, on carte postale, printed in the 1930s. | src Christie’s & Philadelphia Museum of Art (Philamuseum)

In 1924 Francis Picabia asked Bronia to participate in a production, Ciné Sketch, that he and René Clair were putting on after the Relache ballet on New Year’s Eve. Bronia agreed, and she and Marcel Duchamp appeared nude —Duchamp did have a strategically placed fig leaf— in a living tabloid of Lucas Cranach’s Adam and Eve, which Man Ray photographed.

Ciné Sketch (1924) was a theatrical diversion conceived by Francis Picabia and René Clair, in which Marcel Duchamp and the Jewish-Polish model Bronia Perlmutter mime the figures of Adam and Eve in a tableau vivant of the Temptation after a painting by Cranach. Ciné-Sketch was performed only once, at the conclusion of Relache (by Ballets Suédois) at the Théâtre des Champs-Elysées on New Year’s Eve 1924.