Paul Himmel :: Ballet Swan Lake, New York, 1951-1952 | src Kunst Camera
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Tag: ballerina
Paul Himmel :: Untitled (Das New York City Ballet tanzt Schwanensee), 1951-1952. | src arttattler via madivinecomedie and
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Emil Otto Hoppé :: Anna Pavlova Dancing a Japanese Solo at Ivy House, Hampstead Heath, London, England, 1923
| src photoshelter
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Boris Lipnitzki ::
Olga
Spessivtzeva
in ballet costume, Paris, ca. 1934
| src NSW State Library
“Mes meillieurs souvenirs a Maisie Sommerhoff, Olga Spessiva”, signature lower right hand corner of photograph.
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Olga
Spessivtzeva
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Boris Lipnitzki ::
Olga
Spessivtzeva (billed Spessiva for phonic simplicity)
in Prince Igor costume, Paris, ca. 1934 | src NSW State Library
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Olga
Spessivtzeva
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Boris Lipnitzki :: Olga Spessiva in Giselle, probably 1930s. | src barcarole
Olga
Spessivtzeva (billed Spessiva for phonic simplicity or maybe to make
the name more the same length as “Pavlova”.
She was most famous for dancing Giselle, a ballet in which a young girl goes mad from grief when she discovers her lover is betrothed to another. When she first danced the role of Giselle she researched the role by visiting asylums and watching the way the patients moved and behaved. According to her dance partner Pierre Vladimirov “Her Giselle… breathed a genuine insanity, not theatrical illusion. Giselle seemed to be an extension of her own existence“.
She toured the world with the Ballet Russes and later joined the Paris Opera Ballet, but sadly her fears followed her wherever she went and she eventually broke down on stage in Sydney Australia in 1937.
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Carlo Leonetti :: Laurent Novikoff and Anna Pavlova, nd | src Broadway Photographs
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Anna Pavlova as Lise and Nikolai Legat as Colas in “La fille mal gardée” [The Wayward Daughter], Berlin, 1909 or
St. Petersburg, ca. 1910. Unknown photographer. | src wikimedia commons
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Moisei Nappelbaum :: Portrait of Nina Podgoretskaya, Ballet Dancer at the Bolshoi, 1934. Vintage gelatin silver print.| src Nailya Alexander Gallery
un regard oblique 