Ballet dancer Serge Oukrainsky

James Wallace Pondelicek :: "Serge Oukrainsky in Algerian Dance (Grieg). The only barefoot toe dancer and greatest Oriental dancer of the Chicago Opera and head of the Pavley-Oukrainsky Ballet" (title devised from caption on photograph's verso). | Worthpoint
James Wallace Pondelicek :: "Serge Oukrainsky in Algerian Dance (Grieg). The only barefoot toe dancer and greatest Oriental dancer of the Chicago Opera and head of the Pavley-Oukrainsky Ballet" (title devised from caption on photograph's verso). | Worthpoint
James Wallace Pondelicek :: “Serge Oukrainsky in Algerian Dance (Grieg). The only barefoot toe dancer and greatest Oriental dancer of the Chicago Opera and head of the Pavley-Oukrainsky Ballet” (title devised from caption on photograph’s verso). | Worthpoint

Dance performance in 1924

A scene from a dance performance: Annsi Bergh, Mary Hougberg and Marianne Pontan in 1924. | Finnish Heritage Agency · Museovirasto
Kohtaus Annsi Berghin, Mary Hougbergin ja Marianne Pontanin tanssiesityksestä vuonna 1924. JOKA Journalistinen kuva-arkisto Otava @ Finnish Heritage Agency
Kohtaus Annsi Berghin, Mary Hougbergin ja Marianne Pontanin tanssiesityksestä vuonna 1924. JOKA Journalistinen kuva-arkisto Otava @ Museovirasto
A scene from a dance performance: Annsi Bergh, Mary Hougberg and Marianne Pontan in 1924. JOKA [Journalistic photo archive Otava] | Finnish Heritage Agency · Museovirasto

Martta Bröyer, 1927

Studio Helander (Ivar Helander) :: Tanssija Martta Bröyer (1897–1979), 1927. | Poem - Vision - Intoxication
#studio helander#women artists#1920s#women in the arts#martta broyer#martta bröyer#dancer#danseuse#Tänzerin#bailarina#bending over forward#bending over#dismay#helander#ivar helander#broyerism#dance poetry#poetic dance#dance poem#Ivar Helander
Studio Helander (Ivar Helander) :: Tanssija Martta Bröyer (1897–1979), 1927. | Poem – Vision – Intoxication

Bröyer, one of the pioneers of modern dance in Finland, created her own controversial style, bröyerism, or Bröyer-style in the 1920s and 1930s, in which dance was accompanied only by poetry recitation, an art form that, in it’s time, had a conflicted reception.
From: Poem – Vision – Flush: A dancedramatic series & Poem – Vision – Intoxication: A dance drama series in which poems used by Bröyer meet contemporary poetry and influences from her movement language are integrated into contemporary dance. Venues: Helsinki City Museum and Burgher’s House Museum

Vera Sabina in Sylphide, 1927

Ritratto fotografico della ballerina Vera Savina (Vera Clark) in costume di scena per il balletto Sylphide, 1927. | src Libreria antiquaria Gonelli
Ritratto fotografico della ballerina Vera Savina (Vera Clark) in costume di scena per il balletto Sylphide, 1927. | src Libreria antiquaria Gonelli

Al verso della fotografia timbri della ‘Casa d’Arte Bragaglia’ e della ‘Rivista Popolo d’Italia’, insieme ad una annotazione manoscritta, parzialmente errata, nella quale si legge il nome della Savina.

La celebre ballerina inglese (Vera Clark, in arte Savina) lavorò a Mosca nel corpo di ballo dei Ballets Russes di Diaghilev e sposò Léonide Massine (Myasin), altro grande coreografo russo. È ripresa seduta nell’atto in indossare una scarpetta. L’acconciatura, il costume di scena, il gioiello ed il bracciolo della sedia corrispondono esattamente a quelli con cui la ritrasse il pittore scozzese Herbert James Gunn nel quadro ‘Sylphide‘ (1927 – collezione privata).

On the back of the photograph, stamps of the ‘Casa d’Arte Bragaglia’ and ‘Rivista Popolo d’Italia’, together with a handwritten annotation, partially incorrect, in which the name of Savina can be read.

The famous English dancer (Vera Clark, aka Savina) worked in Moscow in the ballet troupe of Diaghilev’s Ballets Russes and married Léonide Massine (Myasin), another great Russian choreographer. She is shown sitting in the act of wearing a shoe. The hairstyle, the stage costume, the jewel and the armrest of the chair correspond exactly to those with which the Scottish painter Herbert James Gunn portrayed her in the painting ‘Sylphide‘ (1927 – private collection).

Der Tanz by Anny Heimann

Anny Heimann, Berlin :: Der Tanz. Autotypie. From: „Die Kunst in der Photographie", 1908
Anny Heimann, Berlin :: Der Tanz. From: „Die Kunst in der Photographie", 1908
Anny Heimann, Berlin :: Der Tanz. Autotypie. From: „Die Kunst in der Photographie”, 1908
Anny Heimann, Berlin :: Der Tanz. Autotypie. From: „Die Kunst in der Photographie", 1908
Anny Heimann, Berlin :: Der Tanz. Autotypie. From: „Die Kunst in der Photographie”, 1908

Amateur dancers, 1920s

Just magic. Off studio postcard (1920s) | src unexpectedtales on Flickr
Just magic. Off studio postcard (1920s) | src unexpectedtales on Flickr
Serious Charleston dancing, 1920s (London studio stamp) | src unexpectedtales on Flickr
Serious Charleston dancing, 1920s (studio stamp: Anglo French Photo Co., 46 New Kent Road, London) | src unexpectedtales on Flickr
Egyptian in the studio, unknown date. | src unexpectedtales on Flickr
An Egyptian in the studio, unknown date. | src unexpectedtales on Flickr