Fatma Carell by Emil Bieber

portrait study of dancer Fatma Carell, 1920s
Emil Bieber :: Die Filmschauspielerin Fatma Carell. Scherl’s magazine Band 4, H. 11, November 1928

From : Die persönliche Note im Gesicht der modernen Frau • The personal touch on the face of the modern woman • Scherl’s Magazin, Band 4, Heft 11, November 1928.

Studie der Tänzerin Fatma Carell von [Emil] Bieber. Revue des Monats Band 2, H.11, September 1928
Melancholie. Studie der Tänzerin Fatma Carell von [Emil] Bieber. Revue des Monats Band 2, H.11, September 1928
Emil Bieber :: Studie der Tänzerin Fatma Carell. Revue des Monats Band 2, H.11, September 1928
Emil Bieber :: Studie der Tänzerin Fatma Carell. Revue des Monats Band 2, H.11, September 1928

Dancer Stella Gojo (1928)

dancer, neck bent back, portrait, 1920s, magazine
Becker & Maaß :: Dekorativ und mondän. Die Tänzerin Stella Gojo. Scherl's Magazin, Band 4, H. 11, November 1928
Becker & Maaß :: Dekorativ und mondän. Die Tänzerin Stella Gojo. Scherl’s Magazin, Band 4, H. 11, November 1928

Irmin von Holten (1928)

The gentle, inward gesture. The dancer Irmin von Holten. Photograph by Hans Robertson for the article: Die persönliche Note im Gesicht der modernen Frau [The personal touch on the face of the modern woman] by Werner Suhr published in Scherl's magazine in November 1928 (nº  4-11)
Atelier Robertson :: Die weiche, verinnerlichte Gebärde. Die Tänzerin Irmin von Holten. Scherl’s Magazin, Band 4, H. 11, November 1928

The gentle, inward gesture. The dancer Irmin von Holten. Photograph by Hans Robertson for the article: Die persönliche Note im Gesicht der modernen Frau [The personal touch on the face of the modern woman] by Werner Suhr published in Scherl’s magazine in November 1928 (nº 4-11)

Rose Dolores by Frieda Rieß

Frieda Gertrud Rieß :: Die kühle und distanzierte Erscheinung. Die selbstbewusste und kluge Frau. [The cool and distant appearance. The confident and smart woman] Mrs. Tudor Wilkinson. Scherl’s Magazin, Band 4, Heft 11, November 1928

From : Die persönliche Note im Gesicht der modernen Frau • The personal touch on the face of the modern woman • Scherl’s Magazin, Band 4, Heft 11, November 1928.

Mrs. Tudor Wilkinson, born Kathleen Mary Rose (1893-1975), known as Dolores or Rose Dolores started to work for the fashion designer Lucy, Lady Duff-Gordon around 1910. During the First World War, Duff-Gordon’s focus shifted to her New York office which she had opened in 1910. For her New York fashion shows she imported her own models from England, although Dolores was not among the first she brought over. The shows became so popular that she had to start holding them in a theater. It was probably at one such event around 1916 that Florenz Ziegfeld and his wife Billie Burke discovered Duff-Gordon’s designs and her model Dolores. Ziegfeld was enraptured by Dolores and the luxurious spectacle of the show and Burke ordered two of Duff-Gordon’s creations. Soon, Duff-Gordon was making costumes for Ziegfeld’s theatrical productions, the Ziegfeld Follies.

Ziegfeld decided to base a scene in his next Follies on one of Duff-Gordon’s fashion shows and to use Duff-Gordon’s girls to model the clothes. Dolores made her first appearance for Ziegfeld in the Ziegfeld Follies of 1917 in which she played the Empress of Fashion. In Midnight Frolic of 1919, Dolores played the part of The White Peacock in the Tropical Birds number (wearing the iconic peacock costume).

Rose Dolores was called “the loveliest showgirl in the world”. She had a laconic and androgynous beauty, and a haughty demeanor on stage that had been cultivated by Duff-Gordon and was naturally aided by Dolores’ height. Dolores, like the other former mannequins, was only required to walk and pose when on stage. It was said that she never smiled during an appearance. It was also said that Duff-Gordon had trained her to act like a Duchess. 

Diana Vreeland commented, “I remember his [Ziegfeld’s] girls so vividly. Dolores was the greatest of them – a totally Gothic English beauty. She was very highly paid just to walk across the stage – and the whole place would go to pieces. It was a good walk I can tell you – it had such fluidity and grace. Everything I know about walking comes from watching Ziegfeld’s girls.”

In 1923, Dolores married the St. Louis art collector Tudor Wilkinson in Paris and retired from the stage. After her marriage, Dolores adopted the severe masculine style of dress and hair popular at that time, appearing in Eve, The Lady’s Pictorial in March 1925 [see picture below] in a suit jacket and tie. [partially quoted from wikipedia]

Mrs. Tudor Wilkinson. Published in : Eve: The Lady’s Pictorial, March 1925. Retrieved from: Laura L. Doan: Fashioning Sapphism. The origins of a modern English lesbian culture (published 2001) @ internet archive

Renate Green by Man Ray

Melancholic portrait by Man Ray ca. 1928
Man Ray :: Die melancholisch Sensitive. [The melancholic sensitive] Renate Green. Scherl's magazine, Band 4, Heft 11, November 1928
Man Ray :: Die melancholisch Sensitive. [The melancholic sensitive] Renate Green. Scherl’s magazine, Band 4, Heft 11, November 1928

Isa Tribell by Riebicke (ca 1928)

dancer bending backwards 1920s
Gerhard Riebicke :: Isa Tribell. Welche Zukunft hat der Kunsttanz? | What is the future of artistic dance? Scherl's magazine; Band 4, Heft 11, November 1928
Gerhard Riebicke :: Isa Tribell. Welche Zukunft hat der Kunsttanz? | What is the future of artistic dance? Scherl’s magazine; Band 4, Heft 11, November 1928

Helen Tamiris by Cami Stone

Cami Stone :: From the grid perspective. The American dancer Helen Tamiris. Scherl's Magazin, Band 6, Heft 2, February 1930
Cami Stone :: Aus der Schnürboden-Perspektive. Die amerikanische Tänzerin Tamiris. Scherl’s Magazin, Band 6, Heft 2, Februar 1930
Cami Stone :: From the grid perspective. The American dancer Helen Tamiris. Scherl's Magazin, Band 6, Heft 2, February 1930
Cami Stone :: From the grid perspective. The American dancer Helen Tamiris. Scherl’s Magazin, Band 6, Heft 2, February 1930

Leni Riefensthal by Lotte Jacobi

Atelier Jacobi :: Kleine Sphinx. Leni Riefensthal showed strong dramatic qualities in The White Hell of Pitz Palu (1929). Scherl's Magazin, Band 6, Heft 2, Februar 1930
Atelier Jacobi :: Kleine Sphinx. Leni Riefensthal showed strong dramatic qualities in The White Hell of Pitz Palu (1929). Scherl’s Magazin, Band 6, Heft 2, Februar 1930
Kleine Sphinx. Die schöne Filmschauspielerin Leni Riefenstahl, die in dem Hochigebirgsfilm „Die weiße Hölle vom Piz Palü” starke darstellerische Kraft verriet. Phot. Atelier Jacobi, Berlin. Scherl's Magazin, Band 6, Heft 2, Februar 1930
Kleine Sphinx. Die schöne Filmschauspielerin Leni Riefenstahl, die in dem Hochigebirgsfilm „Die weiße Hölle vom Piz Palü” starke darstellerische Kraft verriet. Phot. Atelier Jacobi, Berlin. Scherl’s Magazin, Band 6, Heft 2, Februar 1930

Sisters G by Binder, 1929

Alexander Binder :: Sisters G. Scherl’s Magazin, Band 5, H.7, Juli 1929
Alexander Binder :: Sisters G. Scherl’s Magazin, Band 5, H.7, Juli 1929
Alexander Binder :: Sisters G. Scherl’s Magazin, Band 5, H.7, Juli 1929 [Detail]
Alexander Binder :: Sisters G. Scherl’s Magazin, Band 5, H.7, Juli 1929
Alexander Binder :: Sisters G. Scherl’s Magazin, Band 5, H.7, Juli 1929

Crossed Lines. Matray Ballet

Elli Marcus :: Gekreuzte Linien. Maria Solveg und Keith Lester vom Ernst Matray Ballett. Scherl's Magazin Band 6, Heft 2, Februar 1930
Elli Marcus :: Gekreuzte Linien. Maria Solveg und Keith Lester vom Ernst Matray Ballett. Scherl’s Magazin Band 6, Heft 2, Februar 1930