Nudes by George Platt Lynes

George Platt Lynes (American, 1907-1955) :: Acrobatics, 1941. Photogravure. Stanford Auctioneers / nudes — **George Platt Lynes** (American, 1907-1955) :: Acrobatics, 1941. Photogravure. Stanford Auctioneers

George Platt Lynes (American, 1907-1955) :: Underwear, 1942. Stanford Auctioneers / nudes — **George Platt Lynes** (American, 1907-1955) :: Underwear, 1942. Stanford Auctioneers

George Platt Lynes (American, 1907-1955) :: Black and White, 1952. Photogravure. Stanford Auctioneers — **George Platt Lynes** (American, 1907-1955) :: Black and White, 1952. Photogravure. Stanford Auctioneers

Jsenfels’ Getanzte Harmonien

Gelöste Linien • Dissolved Lines „ . . . only the plants can do something similar without being able to change its point of view…” (Rudolf von Laban) „ . . . nur die Pflanze vermag Ähnliches, ohne aher ihren Standpunkt wechseln zu können… “ (Rudolf von Laban) (Aus Isenfels ,,Getanzte Harmonien“, Verlag Dieck & Co., Stuttgart) Uhu August, 1927

Paul Jsenfels :: Dancer, Stuttgart Dance School, 1927. Photoengraving. | src liveauctioneers — **Paul Jsenfels ::** Dancer (nude, bending backwards), Stuttgart Dance School, 1927. Photoengraving. | src liveauct ioneers

Lovers by Kodet (2011)

Kristian Kodet :: Lovers, 2011. Etching on paper. | src Aukční dům Zezula

Oppenheimer und Kokoschka

Max Oppenheimer (MOPP) (1885–1954) :: Moderne Galerie Theatiner-Maffeistr. Max Oppenheimer (Exhibition Poster), 1911 — **Max Oppenheimer** (MOPP) (1885–1954) :: Moderne Galerie Theatiner-Maffeistr. Max Oppenheimer (Exhibition Poster), 1911 MoMA

Oppenheimer, who had begun signing works MOPP by 1911, was initially friendly with both (Oskar) Kokoschka and (Egon) Schiele. But this poster, which he designed for his first Munich exhibition, brought accusations of plagiarism from Kokoschka, who found its subject—a gaunt, naked self-portrait figure bleeding from a chest wound—too close to his own agonized poster of a year earlier (images below). | quoted from MoMA

Oskar Kokoschka :: Self-Portrait, Hand on Chest (Selbstbildnis, Hand auf der Brust), 1910. Das druckgrafische Werk im Kontext seiner Zeit @ Museum der Moderne Salzburg © Fondation Oskar Kokoschka and Museum of Fine Arts Budapest; also Art Institute Chicago — **Oskar Kokoschka ::** Self-Portrait, Hand on Chest (Selbstbildnis, Hand auf der Brust), 1910. Das druckgrafische Werk im Kontext seiner Zeit @ Museum der Moderne Salzburg © Fondation Oskar Kokoschka and Museum of Fine Arts Budapest; also Art Institute Chicago

Oskar Kokoschka :: Self-Portrait, Hand on Chest (Selbstbildnis, Hand auf der Brust), 1911. Poster for a conference at the Akademischer Verband für Literatur und Musik, Jänner 1911. Leopold Museum and MoMA: German Expressionism Project — **Oskar Kokoschka ::** Self-Portrait, Hand on Chest (Selbstbildnis, Hand auf der Brust), 1911. Poster for a conference at the Akademischer Verband für Literatur und Musik, Jänner 1911. Leopold Museum and MoMA: German Expressionism Project

Formes nues · Jacques Lemare

Jacques Lemare :: From ‘Formes nues’, album de nus féminins, pp. 46, 47, 1935. | src Arenberg Auctions — **Jacques Lemare ::** From ‘Formes nues’, album de nus féminins, p. 46, 1935. | src Arenberg Auctions

Jacques Lemare :: From ‘Formes nues’, album de nus féminins, p. 47, 1935. | src Arenberg Auctions — **Jacques Lemare ::** From ‘Formes nues’, album de nus féminins, pp. 46, 47, 1935. | src Arenberg Auctions

Formes Nues. Paris, Éditions d’Arts Graphiques et Photographiques, 1935. Spiral binding by Reliure Spirale Brevetée, photographic cover designed by Man Ray.

Limited first edition with 96 photographic reproductions (photogravures) by Laure Albin Guillot, Brassaï, Raoul Hausmann, André Kertesz, Herbert List, Kefer, Dora Maar, Georges Platt-Lynes, Man Ray, etc. “Amongst the numerous artistic manifestations of modern times, photography in all its applications arouses an ever growing interest among the general public. The photographers are guided in their works by various and even adverse conceptions. We have approached the most representative amongst them, who were kind enough to accept our invitation of expressing their unbiassed opinion on the matter, our only object being the coordination of the aggregate of subjects” (introduction). Text in French, English and German.

In a Blue Moon, 1939 (Nell Dorr)

“It’s only once in a blue moon that days like these can happen but, when they do, they add a new dimension to the years that follow.” – Opening text of In a blue moon by Nell Dorr.

Nell Dorr - Nell Koons :: from "In a Blue Moon", published by G. P. Putnam’s Sons in 1939. In a Blue Moon, a small hardcover made up of many of the same images from Mangroves (*) but printed in photogravure. — **Nell Dorr ~ Nell Koons ::** from “In a Blue Moon”, published by G. P. Putnam’s Sons in 1939.

In a Blue Moon, a small hardcover made up of many of the same images from Mangroves (*) but printed in photogravure. Lettering by George A. DuBerg.
(*) Mangroves, a softbound portfolio of her photographs was self-published in a limited edition, under her first married name, Nell Koons. It comprises two of her poems and fifteen tipped-in halftones of flowers and nude girls and women, often perched in trees.

Nell Dorr - Nell Koons :: from "In a Blue Moon", published by G. P. Putnam’s Sons in 1939. — **Nell Dorr ~ Nell Koons ::** from “In a Blue Moon”, published by G. P. Putnam’s Sons in 1939.

Nell Dorr :: Florida Keys, 1928. # 9 From In a Blue Moon, published 1939. Amon Carter Museum — **Nell Dorr ~ Nell Koons ::** Florida Keys, 1928. # 9 From In a Blue Moon, published 1939. Amon Carter Museum

Nell Dorr :: The Secret Pool, 1928. # 18 also # 58, From In a Blue Moon, published 1939. Amon Carter Museum — **Nell Dorr ~ Nell Koons ::** The Secret Pool, 1928. # 18 also # 58, From In a Blue Moon, published 1939. Amon Carter Museum

In a blue moon combines dream-like images of nude women with close-up and abstracted images of flowers. The narrative of this photo-novella is the transition into adulthood. The effect of this book is that something that has so much potential to be lame – pictures of girls, pictures of flowers, girls and flowers and girls with flowers in their hair – actually comes across as being quite profound and unashamedly beautiful. Nell Dorr photographed with a Rollei camera only ever using available natural light. The simplicity of her approach did not necessarily mean simplicity in the results that she achieved. Her imagery is filled with amazing abstract constructions and her portraits have an almost primal quality. Her photographs are the autobiographical work of a strong and sensitive woman who created an internal place where beauty and truth could still flourish. [quoted from an article by Matthew Carson (Head Librarian & Archivist at the International Center of Photography) on Monsters & Madonnas]