A. Rasch portrait and postcard

albertina rasch portrait probably 1920s
Albertina Rasch (1891-1967), prima ballerina at the Hippodrome and later choreographer of the Albertina Rasch dancers who performed between vaudeville acts in the mid-1920s. | src Hippodrome research blog
Albertina Rasch (1891-1967), prima ballerina at the Hippodrome and later choreographer of the Albertina Rasch dancers who performed between vaudeville acts in the mid-1920s. | src Hippodrome research blog
Albertina Rasch (1891-1967), prima ballerina at the Hippodrome and later choreographer of the Albertina Rasch dancers who performed between vaudeville acts in the mid-1920s. | src Hippodrome research blog
Albertina Rasch (1891-1967), prima ballerina at the Hippodrome and later choreographer of the Albertina Rasch dancers who performed between vaudeville acts in the mid-1920s. | src Hippodrome research blog
Austrian-American dancer and choreographer Albertina Rasch (1891-1967). German postcard, nº 7492. Collection: Didier Hanson

A Cameron card and the original

"Summer Days" (1866) by Julia Margaret Cameron. Postcard
Marni Sandweiss (Amon Carter Museum) postcard sent to Carlotta Corpron. January 28, 1981. From Carlotta Corpron Papers
The photograph is a reproduction of “Summer Days” (c. 1866) by Julia Margaret Cameron printed by George Eastman House.
Back of the postcard is viewable here as a pdf file
Julia Margaret Cameron :: 'Summer Days', ca. 1866. Albumen print from wet collodion glass negative. A photograph of two young women (May Prinsep and Mary Ryan) wearing straw hats, two young children (Freddy Gould and Elizabeth Keown) are seated in front. | V&A
Julia Margaret Cameron :: ‘Summer Days’, ca. 1866. Albumen print from wet collodion glass negative. A photograph of two young women (May Prinsep and Mary Ryan) wearing straw hats, two young children (Freddy Gould and Elizabeth Keown) are seated in front. | V&A Museum

In late 1865, Julia Margaret Cameron began using a larger camera. It held a 15 x 12 inch glass negative, rather than the 12 x 10 inch negative of her first camera. Early the next year she wrote to Henry Cole with great enthusiasm – but little modesty – about the new turn she had taken in her work.

Cameron initiated a series of large-scale, closeup heads that fulfilled her photographic vision. She saw them as a rejection of ‘mere conventional topographic photography – map-making and skeleton rendering of feature and form’ in favour of a less precise but more emotionally penetrating form of portraiture. Cameron also continued to make narrative and allegorical tableaux, which were larger and bolder than her previous efforts.

Cameron’s ability to capture large groups improved with experience as well as with the use of her new, larger lens. Her friend and photographic advisor, the scientist Sir John Herschel, wrote that this picture was ‘very beautiful, and the grouping perfect.’ quoted from V&A

Clotilde von Derp, two cards

Clotilde von Derp in dance pose. Phot. Debschitz-Kurowski; Verlag Hermann Leiser, formerly Louis Blumenthal | src internet archive
Clotilde von Derp in dance pose. Phot. Debschitz-Kurowski; Verlag Hermann Leiser, formerly Louis Blumenthal | src internet archive
Clotilde von Derp. Photo by Hanns Holdt. Vintage card; Orami Serie E. | src Virtual History
Clotilde von Derp. Photo by Hanns Holdt. Vintage card; Orami Serie E. | src Virtual History

Amateur dancers, 1920s

Just magic. Off studio postcard (1920s) | src unexpectedtales on Flickr
Just magic. Off studio postcard (1920s) | src unexpectedtales on Flickr
Serious Charleston dancing, 1920s (London studio stamp) | src unexpectedtales on Flickr
Serious Charleston dancing, 1920s (studio stamp: Anglo French Photo Co., 46 New Kent Road, London) | src unexpectedtales on Flickr
Egyptian in the studio, unknown date. | src unexpectedtales on Flickr
An Egyptian in the studio, unknown date. | src unexpectedtales on Flickr

Movie star Vera Kholodnaya

Vera Kholodnaya. Portrait, in a white blouse with ruffles, in a white hat, looking to the right. Vintage postcard. | src Flickr
Vera Kholodnaya. Portrait, in a white blouse with ruffles, in a white hat, looking to the right. Vintage postcard. | src Flickr
Vera Kholodnaya. Portrait, in a white blouse with ruffles, in a white hat. Phot. M. Sakharov and P. Orlov, 1916. Postcard. | src Presidential Library
Vera Kholodnaya. Portrait, in a white hat and blouse with ruffles. Phot. M. Sakharov and P. Orlov, 1916. Postcard. | src Presidential Library
Vera Kholodnaya (1893-1919) was the first star of the Russian silent cinema. At 26, the ‘Queen of Screen’ died of the Spanish flu during the pandemic of 1919. Russian postcard, nº 135. Collection Didier Hanson. | src Flickr
Vera Kholodnaya (1893-1919) was the first star of the Russian silent cinema. At 26, the ‘Queen of Screen’ died of the Spanish flu during the pandemic of 1919. Russian postcard, nº 135. Collection Didier Hanson. | src Flickr
Vera Kholodnaya. Portrait, straight, looking to the left, in a white hat. Postcard nº 39. | src Presidential Library
Vera Kholodnaya. Portrait, straight, looking to the left, in a white hat. Postcard nº 39. | src Presidential Library

Margo Lion’s portraits

Privatfoto von Margo Lion, from a Fotoalbum (1920-1932). From Marcellus Schiffer und Margo Lion Archiv at Akademie der Künst, Berlin
headshot
smoking cigarette
Privatfoto von Margo Lion, from a Fotoalbum (1920-1932). From Marcellus Schiffer und Margo Lion Archiv at Akademie der Künst, Berlin
Privatfoto von Margo Lion, from a Fotoalbum (1920-1932). From Marcellus Schiffer und Margo Lion Archiv at Akademie der Künst, Berlin
3/4 length portrait
Privatfoto von Margo Lion, from a Fotoalbum (1920-1932). From Marcellus Schiffer und Margo Lion Archiv at Akademie der Künst, Berlin
Privatfoto von Margo Lion, from a Fotoalbum (1920-1932). From Marcellus Schiffer und Margo Lion Archiv at Akademie der Künst, Berlin
bildnis
3/4 length portrait
Privatfoto von Margo Lion, from a Fotoalbum (1920-1932). From Marcellus Schiffer und Margo Lion Archiv at Akademie der Künst, Berlin
Atelier Willinger :: Porträtfoto von Margo Lion, signiert (Seitenprofil). | src Akademie fur Künst
portrait
profile
profil
Atelier Willinger :: Porträtfoto von Margo Lion, signiert (Seitenprofil). | src Akademie fur Künst
Privatfoto von Margo Lion, from a Fotoalbum (1920-1932). From Marcellus Schiffer und Margo Lion Archiv at Akademie der Künst, Berlin
portrait
Privatfoto von Margo Lion, from a Fotoalbum (1920-1932). From Marcellus Schiffer und Margo Lion Archiv at Akademie der Künst, Berlin
Porträt und Atelierfoto von Margo Lion. Postkarte, signiert. | src Marcellus Schiffer und Margo Lion Archiv at Akademie der Künst
Porträt und Atelierfoto von Margo Lion. Postkarte, signiert. | src Marcellus Schiffer und Margo Lion Archiv at Akademie der Künst

Anita Berber as a poetess

Tänzerin und Schauspielerin Anita Berber, Rollenporträt, undtiert. (Photo © Ullstein Bild | src Getty Images
Tänzerin und Schauspielerin Anita Berber, Rollenporträt, undtiert. (Photo © Ullstein Bild | src Getty Images
Tänzerin und Schauspielerin Anita Berber, Rollenporträt, undtiert. (Photo © Ullstein Bild | src Getty Images
Tänzerin und Schauspielerin Anita Berber, Rollenporträt, undtiert. | src Welt.de

Anita Berber Dichterin: Die offen bisexuelle Anita Berber tanzte und provozierte nicht nur, sondern betätigte sich auch als Lyrikerin. In ihrem Gedicht “Orchideen” etwa heißt es: “Ich küsste und kostete jede bis zum Schluss / Alle alle starben an meinen roten Lippen / An meinen Händen / An meiner Geschlechtslosigkeit / Die doch alle Geschlechter in sich hat / Ich bin blass wie Mondsilber.”

Anita Berber as a poetess: The openly bisexual Anita Berber not only danced and provoked, but also was as a poet. In her poem “Orchids”, for example, it says: “I kissed and tasted each one to the end / All died on my red lips / On my hands / On my genderlessness / Which has all genders in it / I am pale as moon silver.”

quoted from Der Spiegel: Anita Berber – die Hohepriesterin des Lasters

Vasily Kachalov in Anathema

Vintage Russian postcard depicting Russian actor Vasily Ivanovich Kachalov [Васи́лий Ива́нович Кача́лов] in Anathema, a play by Russian playwright Leonid Andreyev at the Moscow Art Theater. [ca. 1900] akademic.ru
Russian actor Vasily Ivanovich Kachalov in the title role of Leonid Andreyev’s Anathema. Kachalov led the so-called Kachalov Group within the Moscow Art Theater. [Ryckoff Collection]. | src Getty Images
Russian actor Vasily Ivanovich Kachalov in the title role of Leonid Andreyev’s Anathema. (ca. 1900) | src Getty images
К. С. Малевич. Василий Качалов в пьесе Л. Андреева “Анатэма”. 1908 г. Единственный пробный оттиск гг. Коллекция С. Григорьянца | Vasily Kachalov in Anathema by Kazimir Malevich (1908) | src wikimedia commons
Vasily Ivanovich Kachalov by Kazimir Severinovich Malevich (1908) | src twitter

Julia Marlowe, 1892

Actress Julia Marlowe, 1892. Cabinet card. Newsboy # 318. Copyright Benjamin J. Falk. | src eBay
Portrait of the actress Julia Marlowe, 1892. Cabinet card. | src eBay

Dialogues 2015-1910s (?)

Ronit Porat :: Untitled Kinesphere (Valeska Gert) | Tmuna Theater Gallery, Tel Aviv, 2015 | src Flickr
Valeska Gert [Berühmte Tänzerinnen (Famous Dancers) # 98] Phot. Atlantic | src Flickr