Léonard Tsuguharu Foujita, 1927

Dora Kallmus (Madame d’Ora) :: Foujita [Japanese painter Léonard Tsuguharu Foujita] with his cat, 1927. | src Fondation Foujita

Jean Börlin as the Prince, 1920

Le danseur Jean Börlin in ‘Maison de fous’ (as the Prince), 1920. Ballets Suédois. Photo Isabey. | src BnF, Bibliothèque-musée de l’Opéra via res musica 
Le danseur Jean Börlin in ‘Maison de fous’ (as the Prince), 1920. Ballets Suédois. Photo Isabey. | src BnF, Bibliothèque-musée de l’Opéra via res musica 
Jean Börlin as the Prince and Jolanda Figoni as The Wise Maiden in Dårhuset 1920. Dansmuseet IG
Jean Börlin som Prinsen och Jolanda Figoni som Den kloka flickan i Dårhuset 1920
Jean Börlin as the Prince and Jolanda Figoni as The Wise Maiden in Dårhuset, 1920. | Dansmuseet on IG

Nesbit by Käsebier: 5 renditions

Gertrude Käsebier :: Portrait of Evelyn Nesbit (Miss N.). Published in Camera Work, Nº 1, 1903. Portrait of Evelyn Nesbit [three-quarter length portrait, seated, wearing an off-the-shoulder dress], 1902. The Toledo Museum of Art | src NYTimes Lens Journal
Gertrude Käsebier :: Portrait (Miss N.). Published in Camera Work, Nº 1, 1903. Portrait of Evelyn Nesbit [three-quarter length portrait, seated, wearing an off-the-shoulder dress], 1902. © The Toledo Museum of Art | src NYTimes Lens Journal
Gertrude Käsebier (1852-1934) :: [Evelyn Nesbit about 1900 at a time when she was brought to the studio by Stanford White] Evelyn Nesbit, three-quarter length portrait, seated, wearing an off-the-shoulder dress. Glass negative. | src Library of Congress
Gertrude Käsebier (1852-1934) :: [Evelyn Nesbit about 1900 at a time when she was brought to the studio by Stanford White] Evelyn Nesbit, three-quarter length portrait, seated, wearing an off-the-shoulder dress. Glass negative. | src Library of Congress
Gertrude Käsebier (1852–1934) :: Evelyn Nesbit, 1902 [Carbon print?]. | src Princeton University Art Museum
Gertrude Käsebier (1852–1934) :: Evelyn Nesbit, 1902 [Carbon print?]. | src Princeton University Art Museum
Gertrude Käsebier  :: Portrait (Miss N.). Camera Work nº 1, January 1903. Photogravure. | src Brown University
Gertrude Käsebier :: Portrait (Miss N.). Camera Work nº 1, January 1903. Photogravure. | src Brown University
Gertrude Käsebier [Des Moines, Iowa, USA, 1852 - New York, USA, 1934] :: Portrait (Miss N.). From: Camera Work No. 1, January 1903. Date: 1898 (circa) / Printed circa 1903. Technique: Photogravure on Japanese paper. | src Museo de Arte Reina Sofía
Gertrude Käsebier [Des Moines, Iowa, USA, 1852 – New York, USA, 1934] :: Portrait (Miss N.). From: Camera Work No. 1, January 1903. Date: 1898 (circa) / Printed circa 1903. Technique: Photogravure on Japanese paper. | src Museo de Arte Reina Sofía

The Readers by C.H. White

Clarence H. White :: The Readers (Letitia Felix and Ada Follett), Newark, Ohio, 1897. Platinum print. (Detail)
Clarence Hudson White :: The Readers (Letitia Felix and Ada Follett), Newark, Ohio, 1897. Platinum print. (Detail)
Clarence H. White :: The Readers (Letitia Felix and Ada Follett), Newark, Ohio, 1897. Platinum print. (Detail) | src Library of Congress
Clarence Hudson White :: The Readers (Letitia Felix and Ada Follett), Newark, Ohio, 1897. Platinum print. | src Library of Congress
Clarence Hudson White :: The Readers (Letitia Felix and Ada Follett), Newark, Ohio, 1897. Platinum print. | src Library of Congress

C.H. White portraits (1900s)

Clarence Hudson White :: Mrs. Fox (Kate Parsenau), New York, 1910. Platinum print. | src Library of Congress
better resolution: image below
Clarence H. White :: Kate (Parsenau) Fox, head-and-shoulders portrait, facing left, 1910. Platinum print. | src: Library of Congress
Clarence H. White :: Girl with Bowl, 1907. Platinum print. | src Princeton University Art museum
Clarence H. White :: Girl with Bowl, 1907. Platinum print. | src Princeton University Art museum

In his first years as a photographer, White concentrated on genre subjects like this one, often using young women as his models. Throughout his career, he continued to photograph women, from his mother and members of his wife’s family to well-known actresses of the day, such as Maude Adams. White attempted to imbue women with notions of truth and beauty, a view not uncommon among the photographers known as Pictorialists, who considered the female subject to be the most artistic and spiritual choice in the history of art. Photographs like this one allowed White to experiment with dramatic lighting while simultaneously relating photography to a long tradition of painting, through his use of a female model. [source of text]

Clarence H. White :: Woman on rocks, Caritas Islands, Connecticut, 1909. Platinum print. | src Princeton Univ. Art museum
Clarence H. White :: Woman on rocks, Caritas Islands, Connecticut, 1909. Platinum print. | src Princeton Univ. Art museum

Lyda Borelli by Nunes Vais

Lyda Borelli in Salomé photographed by Mario Nunes-Vais (between 1905-1910)
Mario Nunes Vais ~ Lyda Borelli in Salome, 1909-1910. Archivio Nunes Vais | src Lombardia Beni Culturali
Mario Nunes Vais ~ Lyda Borelli in Salome, 1909-1910. ICCD. Gabinetto Fotografico Nazionale, Archivio Nunes Vais | src Foto Padova & Lyda Borelli
Lyda Borelli in an outfit for Oscar Wilde’s stage play ‘Salome’. Spanish postcard by Amadeo, Barcelona | src Flickr