The Larsen dancers · C.H. White

Clarence Hudson White (1871–1925) ~ Larsen Dancers [7/11], ca. 1923 – 1924. Platinum print. | Princeton University Art Museum
Clarence Hudson White (1871–1925) ~ Larsen Dancers [6/11], ca. 1923 – 1924. Platinum print. | Princeton University Art Museum
Clarence Hudson White (1871–1925) ~ Larsen Dancers [9/11], ca. 1923 – 1924. Platinum print. | Princeton University Art Museum
Clarence Hudson White (1871–1925) ~ Larsen Dancers [10/11], ca. 1923 – 1924. Platinum print. | Princeton University Art Museum
Clarence Hudson White (1871–1925) ~ Larsen Dancers [5/11], ca. 1923 – 1924. Platinum print. | Princeton University Art Museum

Sunshine and Playtime · 1893

Emma Justine Farnsworth ~ From Sunshine and Playtime, 1893 | src internet archive
Emma Justine Farnsworth ~ From Sunshine and Playtime, 1893 | src internet archive
Emma Justine Farnsworth ~ From Sunshine and Playtime, 1893 | src internet archive
Emma Justine Farnsworth ~ From Sunshine and Playtime, 1893 | src internet archive
Emma Justine Farnsworth ~ From Sunshine and Playtime, 1893 | src internet archive

Girl in Pierrette costume · ca 1915

Arthur William Emmerton ~ ‘Child posing in Pierrot costume’, probably  ca. 1915. Glass negative. Inscriptions: “H17” on negative sleeve. | src National Library of Australia
Child posing in Pierrot costume (ca. 1915) by Arthur William Emmerton [Detail]

Electricity · Madam Satan

Theodore Kosloff dans un costume Electricity d’Adrian, pour la séquence de ballet intitulé Ballet Mécanique, dans Madam Satan, le film de Cecil B. DeMille, 1930
Madam Satan” film photograph featuring Theodore Kosloff as “Electricity”, 1930. | src Special Collections Research Center, George Mason University Libraries C0468
Madam Satan” film photograph featuring Theodore Kosloff as “Electricity” and a group of dancers dressed as turbines or generators for the ballet sequence entitled Ballet Mechanique. | src George Mason University Libraries

Lilyan Tashman costume by Erté

Publicity still for the American romantic comedy film Bright Lights (Robert Z. Leonard, 1925)
Lilyan Tashman in the perfume bottle costume designed by Erté in Bright Lights (Robert Z. Leonard, 1925)

Image retrieved from Wikimedia commons. Original source, according to Wikimedia: Vieira, Mark A. (2019). Forbidden Hollywood: The Pre-Code Era (1930-1934): When Sin Ruled the Movies (eBook). New York: Running Press. Hachette Book Group

Lilyan Tashman in the perfume bottle costume designed by Erté in the now lost silent film Bright Lights (Robert Z. Leonard, 1925) | src Grapefruitmoon Gallery on eBay
Lilyan Tashman in the perfume bottle costume designed by Erté in Bright Lights (Robert Z. Leonard, 1925)

Standing nude by Ernst Fuchs

Ernst Fuchs ~ Stehender weiblicher Akt in Rückenansicht mit Frucht; ca. 1969. Farbserigraphie auf Japon Nacré (Colour silkscreen). | src Jeschke Jádi (JVV) Auktion 147 lot 902

Halbakt und Porträt von Schein

Abraham Myron Schein ~ Beate Inaya, um 1926. Postkarte. Bromsilberabzug (braun) | src Poskartenarchiv Photoinstitut Bonartes

Gluck · Hannah Gluckstein

Howard Coster ~ Gluck [Hannah Gluckstein (1895–1978)], ca. 1932 © Fine Arts Society | src BBC ~ A Queer Eye
Gluck (Hannah Gluckstein) (1895-1978) by unknown. From : Gluck : Art and Identity | src NYT
Romaine Brooks ~ Peter (A Young English Girl), 1923-1924, oil on canvas SAAM-1970.70_2

Peter depicts British painter Hannah Gluckstein, heir to a catering empire who adopted the genderless professional name Gluck in the early 1920s. By the time Brooks met her at one of Natalie Barney’s literary salons, Gluckstein had begun using the name Peyter (Peter) Gluck. She unapologetically wore men’s suits and fedoras, clearly asserting the association between androgyny and lesbian identity. Brooks’s carefully nuanced palette and quiet, empty space produced an image of refined and austere modernity. ~ The Art of Romaine Brooks, 2016

Quoted from : Smithsonian American Art Museum (x)

Photo of Gluck by Howard Coster, 1932. Courtesy of The Fine Art Society | src Gluck: Art and Identity Review