Florence Peterson by Haviland

Paul Haviland :: Florence Peterson nourrissant le poisson rouge, New York, 1909-1910. Autochrome. Musée d'Orsay
Paul Haviland :: Florence Peterson nourrissant le poisson rouge, New York, 1909-1910. Autochrome. Musée d’Orsay
Paul Haviland :: Florence Peterson, assise, de face, 1909-1910. Autochrome. Musée d'Orsay
Paul Haviland :: Florence Peterson, assise, de face, 1909-1910. Autochrome. Musée d’Orsay
Paul Haviland :: Florence Peterson assise, de profil, 1909-1910. Autochrome. Musée d'Orsay
Paul Haviland :: Florence Peterson assise, de profil, 1909-1910. Autochrome. Musée d’Orsay
Paul Haviland :: Florence Peterson debout, de face, 1909-1910. Autochrome. Musée d'Orsay
Paul Haviland :: Florence Peterson debout (?), de face, 1909-1910. Autochrome. Musée d’Orsay

Eating an apple (a sequence)

Paul Haviland (1880 - 1950) :: Jeune femme assise, mangeant une pomme, 1898-1916. Autochrome. Musée d'Orsay
Paul Haviland (1880 – 1950) :: Jeune femme assise, mangeant une pomme, 1898-1916. Autochrome. Musée d’Orsay
Paul Haviland (1880 - 1950) :: Jeune femme assise sur un muret, tenant une pomme, 1898-1916. Autochrome. Musée d'Orsay
Paul Haviland (1880 – 1950) :: Jeune femme assise sur un muret, tenant une pomme, 1898-1916. Autochrome. Musée d’Orsay
Paul Haviland (1880 - 1950) :: Jeune femme debout, tenant une pomme, 1898-1916. Autochrome. Musée d'Orsay
Paul Haviland (1880 – 1950) :: Jeune femme debout, tenant une pomme, 1898-1916. Autochrome. Musée d’Orsay
Paul Haviland (1880 - 1950) :: Jeune femme debout, tenant une pomme, 1898-1916. Autochrome. Musée d'Orsay
Paul Haviland (1880 – 1950) :: Jeune femme debout, tenant une pomme, 1898-1916. Autochrome. Musée d’Orsay

Nu de dos by Paul Haviland

Paul Haviland (1880-1950) :: Femme nue de dos, 1898-1916. Autochrome. Musée d'Orsay
Paul Haviland (1880-1950) :: Femme nue de dos, 1898-1916. Autochrome. Musée d’Orsay

The Spanish Shawl, 1912

Paul Burty Haviland :: The Spanish Shawl. Published in Camera Work nº 39, 1912. | src Brown University
Paul Burty Haviland :: The Spanish Shawl. Published in Camera Work nº 39, 1912. | src Brown University
Paul B. Haviland :: The Spanish Shawl. Published in Camera Work: A Photographic Quarterly, Heft 39, 1912
Paul B. Haviland :: The Spanish Shawl. Published in Camera Work: A Photographic Quarterly, Heft 39, 1912

The Japanese Lantern, 1912

Featured
Paul B. Haviland :: The Japanese Lantern. Published in Camera Work: A Photographic Quarterly, nº 39, 1912. | Brown University
Paul B. Haviland :: The Japanese Lantern. Published in Camera Work: A Photographic Quarterly, Heft 39, 1912
Paul B. Haviland :: The Japanese Lantern. Published in Camera Work: A Photographic Quarterly, Heft 39, 1912

Passing Steamer, 1912

Paul Burty Haviland :: Passing Steamer. Published in Camera Work nº 39, 1912. | src Brown University
Paul B. Haviland :: Passing Steamer. Published in Camera Work, Heft 39, 1912
Paul B. Haviland :: Passing Steamer. Published in Camera Work: A Photographic Quearterly, Heft 39, 1912.

Miss Doris Keane, 1912

FeaturedPaul B. Haviland :: Miss Doris Keane. Published in Camera Work: A Photographic Quarterly, Heft 39, 1912
Paul Burty Haviland ::  Miss Doris Keane. Published in Camera Work nº 39, 1912. | src Brown University
Paul Burty Haviland :: Miss Doris Keane. Published in Camera Work nº 39, 1912. | src Brown University
Paul B. Haviland :: Miss Doris Keane. Published in Camera Work: A Photographic Quarterly, Heft 39, 1912
Paul B. Haviland :: Miss Doris Keane. Published in Camera Work: A Photographic Quarterly, Heft 39, 1912

Seated Nude, ca. 1908-1916

paul burty haviland seated nude 1908-1916
Paul Burty Haviland (French, 1880-1950) :: Seated Nude, ca. 1908-1916. Platinum print. | src RISD Museum
Paul Burty Haviland (French, 1880-1950) :: Seated Nude, ca. 1908-1916. Platinum print. | src RISD Museum

With its diffuse lighting and soft tones, Paul Haviland’s Seated Nude demonstrates his stylistic allegiance to the Photo-Secession group of American photographers.
Haviland was a French émigré and heir to a successful porcelain manufacturing firm, but after meeting Alfred Stieglitz in 1908, he devoted the next decade to establishing the legitimacy of photography as a form of high art. He published both photographs and essays in Camera Work, the preeminent American journal of avant-garde art, and helped found its successor, 291. This image is similar to photos of female nudes published by Haviland’s colleagues, with the model assuming an unusual and contorted pose in a hazy, empty interior space, her face turned away or concealed in shadow.

Quoted from Changing Poses: The Artists’ Model