Peter Pathé in Groteske, 1922

From : Walter Schnackenberg : Kostüme, Plakate und Dekorationen. Zweite Auflage. München, Musarion 1922. | src Ketterer Kunst
From : Walter Schnackenberg : Kostüme, Plakate und Dekorationen. Zweite Auflage. München, Musarion 1922. | src Ketterer Kunst
Greiner :: Peter Pathé in Groteske. From a book of Schnackenberg's works, published in Munich in 1922 by Musarion. | src Ketterer Kunst
Greiner :: Peter Pathé in Groteske. From a book of Schnackenberg’s works, published in Munich in 1922 by Musarion. | src Ketterer Kunst
Peter Pathé in Groteske. Photo by Greiner. Costume design: Walter Schnackenberg. | src L'Affichiste
Peter Pathé in Groteske. Photo by Greiner. Costume design: Walter Schnackenberg. | src L’Affichiste

Cahun · selfportraits with cat

selfportrait with cat, lucy schwob, marcel moore
Claude Cahun & Marcel Moore :: Lucie and kid, Nantes, vers 1926. Tirage argentique. | src Christie's
Claude Cahun & Marcel Moore :: Lucie and Kid, Nantes, vers 1926. Tirage argentique. | src Christie’s, also MAM

“Lucy and Kid”. Nantes, ca.1926. Original silver print. This piece seems to close the series of “self-portraits with a glass globe” (1926), which initiates complex manipulations, technical processes that Claude Cahun (along with Marcel Moore) will later use for photomontages (1929-1939). Note the disturbing position of the suspended cat, held above the void against a background reminiscent of the decor of an expressionist film.

Claude Cahun & Marcel Moore :: Autoportrait au Chat, ca. 1927. Tirage argentique sépia. | src Musée d'art de Nantes
Claude Cahun & Marcel Moore :: Autoportrait au Chat, ca. 1927. Tirage argentique sépia. | src Musée d’art de Nantes

Claude Cahun Cat 1925-1940

Claude Cahun (Lucy Schwob) :: Chat à la vasque, 1925 - 1930. Vintage silver print on Velox paper. | src Sotheby's
Claude Cahun (Lucy Schwob) :: Chat à la vasque, 1925 – 1930. Vintage silver print on Velox paper. | src Sotheby’s
Claude Cahun (Lucy Schwob) :: Chat à la cloche, 1925 - 1930. Vintage silver print on Velox paper. | src Sotheby's
Claude Cahun (Lucy Schwob) :: Chat à la cloche, 1925 – 1930. Vintage silver print on Velox paper. | src Sotheby’s
Claude Cahun (Lucy Schwob) :: La chambre du chat. Gelatin silver print signed, titled, and dated 1940 in ink on the reverse. | src Sotheby's
Claude Cahun (Lucy Schwob) :: La chambre du chat. Gelatin silver print signed, titled, and dated 1940 in ink on the reverse. | src Sotheby’s

Anaglyph of the moon, 1923

Leon Gimpel :: Anaglyph vom Mond, 1923. Handkolorierte Silbergelatine-Glasplatte. | src Kunstmuseum Basel
León Gimpel :: Anaglyph of the moon, 1923. Hand-colored silver gelatin glass plate. | src Kunstmuseum Basel

There are many different ways of creating and viewing stereoscopic 3D images but they all rely on independently presenting different images to the left and right eye.

León Gimpel :: Anaglyph of the moon, 1923. Hand-colored silver gelatin glass plate. | src Kunstmuseum Basel

Anaglyphs are a straightforward way of presenting stereo pair images is the stereoscopic 3D effect achieved by means of encoding each eye’s image using filters of different (usually chromatically opposite) colors, typically red and cyan. Anaglyph 3D images contain two differently filtered colored images, one for each eye. When viewed through the “color-coded” “anaglyph glasses”, each of the two images reaches the eye it’s intended for, revealing an integrated stereoscopic image. The visual cortex of the brain fuses this into the perception of a three-dimensional scene or composition.

There are three types of anaglyph glasses in common use: red-blue, red-cyan, and red-green.

Leon Gimpel :: Anaglyph vom Mond, 1923. Handkolorierte Silbergelatine-Glasplatte. | src Kunstmuseum Basel
Leon Gimpel :: Anaglyph vom Mond, 1923. Handkolorierte Silbergelatine-Glasplatte. | src Kunstmuseum Basel

Lily Steiner by André Steiner

aka Oeil de femme, eye of a woman (Lily Steiner) (?)
André Steiner :: Untitled, 1934. Vintage gelatin silver print. | src Gitterman Gallery
André Steiner :: Untitled, 1934. Vintage gelatin silver print. | src Gitterman Gallery
Andor Steiner :: Lily, Paris, 1928. Tirage argentique.
André Steiner [Andor Steiner] :: Lily, Paris, 1928. Tirage argentique. | src Binoche et Giquello
André Steiner :: Leica, Hongrie, 1935. Tirage argentique. | src Binoche et Giquello
André Steiner :: Leica, Hongrie, 1935. Tirage argentique. | src Binoche et Giquello
André Steiner :: Sans titre, Saint-Moritz, 1935. Tirage argentique. | src Binoche et Giquello
André Steiner :: Sans titre, Saint-Moritz, 1935. Tirage argentique. | src Binoche et Giquello

Portrait by Florestine Perrault

Florestine Perrault Collins :: Portrait of Mae Fuller Keller, gelatin silver print, early 1920s. From: The New Woman Behind the Camera (2021) at The Met
Florestine Perrault Collins :: Portrait of Mae Fuller Keller, gelatin silver print, early 1920s. From: The New Woman Behind the Camera (2021). | src The Brooklyn Rail
Florestine Perrault Collins :: Portrait of Mae Fuller Keller, early 1920s. From: The New Woman Behind the Camera (2021) at The Metropolitan Museum of Art
Florestine Perrault Collins :: Portrait of Mae Fuller Keller, early 1920s. From: The New Woman Behind the Camera (2021). | src The Met