Sun Bath, 1940

The Shadow of the Sand, 1935

**Forman Hanna** was internationally known for his pictorial-style photography. His photographs were exhibited nationally and internationally including exhibits in New York, Washington D.C., London, Glasgow and Paris. Raised in a small Texas town, Hanna had his first encounters with photography and most of his art training through camera-club magazines. Emulating the Pictorialist style, he used his western surroundings as subject matter.
While working as a pharmacist in Globe, Arizona, Hanna made frequent trips to nearby canyons and Pueblo villages to photograph what the believed was a lost way of life. Recognized for his Arizona landscapes, he often exhibited in the juried shows of camera clubs. Hanna’s choice of subject matter reflected his lifelong residence in Arizona. He frequently turned his camera on the Native Americans of the Southwest, idealizing the lifestyle of the Apache, Navajo, and Hopi tribes. He was also accomplished at picturing female nudes, which he classically posed in the area’s natural surrounding [quoted from source]

Nude by Forman Hanna

Forman Hanna, pictorial photographer of the Southwest. Northland Press; First Edition (January 1st, 1985) | src Prabooks

The Moon Maiden, 1933

Canyon Nymph, ca. 1920

Chrysalis (1933) by R. Maingot

**Rosalind Maingot ::** ‘Chrysalis’, Art Deco nude study, 1933. From: The Amateur Photographer, November 1933. | src eBay

**Rosalind Maingot ::** ‘Chrysalis’, Art Deco nude study, 1933. From the London Salon of Photography. Published in *The Amateur Photographer & Photographic News*, November 1933. | src eBay

Eyes of Youth by Rosalind Maingot

**Rosalind Maingot** (née Rosalind Beddome, 1894-1957) :: Eyes of Youth, ca. 1945. Halftone print. From: Photograms of the Year 1945. | src eBay

**Rosalind Maingot** :: Eyes of Youth, ca. 1945. Halftone print. | src eBay
Rosalind Beddome was born 1894 in Brisbane, Australia. After a successful career as an actress she studied at the London School of Photography and married surgeon Rodney Maingot. The influences of her previous career can be seen in her theatrically posed, expressive photographs of portraits, figure studies and flowers. In 1932 she was made a fellow of the Royal Photographic Society and in 1933 had a one woman show at the Camera Club. Her work was published in the Sketch between 1933 and 1946. Later she worked alongside her husband as a medical photographer and helped set up the Royal Photographic Society’s Medical group. In 1947 she went on a lecture tour in America where she socialized with American photographers including Mildred Hatry her account of which was published in the RPS Journal Feb. 1948 “A woman photographer visits America”. She died in 1957 in London. quoted from source

The Silk Scarf (Nude study), 1933

**Rosalind Maingot** (1894-1957) :: «The Silk Scarf» (Nude study), ca. 1933. From: Photograms of the Year 1933, the annual publication of pictorial photography. Plate VI. | src eBay

**Rosalind Maingot** (1894-1957) :: «The Silk Scarf» (Nude study), ca. 1933. Rosalind Maingot [FRPS] came into her photography career after a successful career as an actress. Born in Australia, Maingot studied at the London School of Photography after marrying a surgeon and settling in London. Her work includes figure studies, still lifes and flowers, but throughout her photographs of women, influences from her previous acting career can be seen both in terms of pose and emotion. The Camera Club Archive holds several works by Maingot, including some of her beautiful costume studies.
She later became a successful medical photographer, working alongside her husband, and was one of the key people involved in setting up the Royal Photographic Society’s Medical group.
She was one of the greatest of contemporary portrait photographers and one of the few women to be made a fellow of the Royal Photographic Society of Great Britain. | quoted from src eBay

Danse javanesque, 1916

**W. G. Fitz (*) ::** Javanese dance. Cleveland, USA, 1916. Vintage gelatin silver print, calligraphed in pencil at the top of the image: «Danse javanesque». | src Ader
(*) Grancel Fitz or W.G. Fitz, a Philadelphia pictorialist that published a review [“A Few Thoughts on the Wanamaker Exhibition”] of the Wanamaker Exhibition on Camera 22, April 1918, was a well known photographer in the advertising world in the 1930s.

Edle Nacktheit in China (1928)

**Heinz von Perckhammer ::** “Edle Nacktheit in China”, Macao, ca. 1920; photogravure on Japan paper | src Collezione Molinario

**Heinz von Perckhammer ::** The Culture of the Nude in China. Berlin; Eigenbrodler Verlag, [1928] | src heritage auctions

**Heinz von Perckhammer ~** From “Edle Nacktheit in China”. Eigenbrödler Verlag [Berlin, 1928] 1st edition (cover) | src sworders

**Heinz von Perckhammer ~** From “Edle Nacktheit in China /The culture of the Nude in China”. Eigenbrodler Verlag [Berlin, 1928]

**Heinz von Perckhammer ::** “The culture of the Nude in China”, Macao, ca. 1920; original photogravure on Japan paper | src Collezione Molinario

Heinz von Perckhammer was born in Merano, Austria-Hungary (now Italy) in 1895. During the First World War he served aboard the SMS Kaiserin Elisabeth during the Siege of Tsingtao and between 1917 and 1919 was held as a prisoner of war. It was during this time when he was held captive that his interest in photography began. He apparently remained in China for much of the 1920s, and took these soft-focused and stylized photographs of women from Macao brothels.

In the introduction to Edle Nacktheit in China he writes: ‘Pictures of nude women, setting aside the ugly caricatures of the “Spring pictures” of erotic scenes, simply do not exist in China. Therefore I believe, I have created something entirely new and of value.’ Edle Nacktheit in China was later banned by the Nazis as degenerate art (Entartete Kunst) and appeared on the Liste des schädlichen und unerwünschten Schrifttums [List of harmful and undesirable writing].