Lotte and Mary by Heinrich Kühn

Heinrich Kühn :: Lotte and Her Nurse, duplex half tone reproduction, published in Camera Work n• XXXIII, 1911. | src Fostinum
Heinrich Kühn :: Mary Warner und Lotte Kühn, um 1911. Japanpapier. Edeldruckverfahren (Gummigravüre); signiert: recto o.: in Braun: “HEINRICH / KUEHN”; beschriftet: verso u.: in Blei: “Miß [sic] Mary + Lotte Kühn. | src MK&G ~ Museum für Kunst und Gewerbe

Villanyi, 1919

Atelier Willinger, Wien :: Villanyi (Tanzfoto / Dance photo), ca. 1919 | src Theatermueseum, Wien
Willinger & Schnapper, Wien :: Villanyi [Rollenporträt], 1919. | src Theatermuseum Wien
Willinger & Schnapper, Wien :: Villanyi (Schattentanz | Shadow Dance), 1919. | src Theatermuseum, Wien

Women in balloon costume

Honor Blackman, English actress, wearing a bunch of balloons in a studio portrait, ca. 1950. Photo: Paul Popper | src Getty Images
Dancer Helen Barnes, wearing a costume and headpiece decorated with balloons. Ziegfeld Midnight Frolics. Photo: White (NY)

Ziegfeld Midnight Frolics : The Ziegfeld midnight frolics was an annual review playing at New York City’s New Amsterdam Roof that was produced from 1912 through 1929. “Helen Barnes, ‘Ziegfeld Midnight Frolic’, Danse de Follies, New Amsterdam Roof”– written on verso.

src New York Public Library (NYPL)

Ekaterina Galanta, 1917

Ira L. Hill’s studio (NYC) :: Russian ballet dancer Ekaterina Galanta, 1917. | src University of Washington Libraries | hi-res here

J. Antoine’s autochrome sunsets

Jules Antoine (1863-1948) :: Coucher de soleil sur la plage dans des tonalités rose-orangés, la mer à l’horizon, 1905-1912. Positif transparent; Support verre; Procédé Autochrome
Jules Antoine (1863-1948) :: Coucher de soleil sur la mer sous un ciel nuageux, 1905-1912. Positif transparent; Support verre; Procédé Autochrome
Jules Antoine (1863-1948) :: Coucher de soleil sur la plage, la mer à l’horizon, 1905-1912. Positif transparent; Support verre; Procédé Autochrome
Jules Antoine (1863-1948) :: Coucher de soleil sur la plage, la mer à l’horizon, la silhouette d’un homme se détachant sur le banc de sable, 1905-1912. Positif transparent; Support verre; Procédé Autochrome
Jules Antoine (1863-1948) :: Coucher de soleil sur la mer, falaises au premier plan, ciel nuageux en arrière-plan, 1905-1912. Positif transparent; Support verre; Procédé Autochrome
Jules Antoine (1863-1948) :: Coucher de soleil sur la plage, 1905-1912. Positif transparent; Support verre; Procédé Autochrome
Jules Antoine (1863-1948) :: Coucher de soleil sur la plage, 1905-1912. Positif transparent; Support verre; Procédé Autochrome
Jules Antoine (1863-1948) :: France ; Normandie ; Manche ; Granville, 1905-1912. Positif transparent; Support verre; Procédé Autochrome
Jules Antoine (1863-1948) :: Coucher de soleil sur la plage, la mer à l’horizon, la silhouette d’un homme se détachant sur le banc de sable, 1905-1912. Autochrome. [alternative rendition of photo on top] | src of all set Ministère de la Culture

Paul Poiret by Steichen, 1911

The First Modern Fashion Photography Shoot. Paul Poiret by Edward Steichen, 1911
The First Modern Fashion Photography Shoot. Paul Poiret by Edward Steichen, 1911
The First Modern Fashion Photography Shoot. Paul Poiret by Edward Steichen, 1911
The First Modern Fashion Photography Shoot. Paul Poiret by Edward Steichen, 1911
The First Modern Fashion Photography Shoot. Paul Poiret by Edward Steichen, 1911
The First Modern Fashion Photography Shoot. Paul Poiret by Edward Steichen, 1911
The First Modern Fashion Photography Shoot. Paul Poiret by Edward Steichen, 1911
The First Modern Fashion Photography Shoot. Paul Poiret by Edward Steichen, 1911

Embla's avatarFROM THE BYGONE

In 1911, publisher Lucien Vogel dared photographer Edward Steichen to promote fashion as a fine art in his work. Steichen responded by snapping photos of gowns designed by leading French fashion designer Paul Poiret, hauntingly backlit and shot at inventive angles.

The photographs were published in the April 1911 issue of the magazine Art et Décoration. According to historian Jesse Alexander, the occasion is:

“now considered to be the first ever modern fashion photography shoot,”

The garments were imaged as much for their artistic quality as their formal appearance

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Edward Steichen, L’Art de la Robe by Paul Poiret in Art et Décoration, 1911 via

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Edward Steichen, L’Art de la Robe by Paul Poiret in Art et Décoration, 1911 via

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Edward Steichen, L’Art de la Robe by Paul Poiret in Art et Décoration, 1911 via

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Edward Steichen, L’Art de la Robe by Paul Poiret in Art et Décoration, 1911 via

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Edward…

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