Hella Wuolijoki in Koidula

**J. & P. Parikas ~** Hella Wuolijoki „Koidula“, Estonia, 1932 | src ETMM

**J. & P. Parikas ~** Hella Wuolijoki „Koidula“, Estonia, 1932 (glass negative) | src ETMM

Olga Petrova by de Strelecki

**Jean de Strelecki ~** Camera study of stage and film actress Olga Petrova (born Muriel Harding), 1910s | src abebooks

Olga Petrova, born Muriel Harding in England, Petrova moved to the US and rose to success in vaudeville before entering the film industry. She was best known for “The Vampire” (1915), “Bridges Burned” and “Daughter of Destiny” (1917), and “Tempered Steel” (1918). She retired from film in 1918, but continued working as a stage actress .

Kreutzberg von Renger-Patzsch

**Albert Renger-Patzsch** (1879-1966) ~ Harald Kreutzberg. Klage aus dem Tanzzyklus ‘Das Opfer’ | Harald Kreutzberg. Lament from the Dance Cycle ‘The Sacrifice’, 1931. Gelatin silver print, printed ca. 1931. | src Kicken Galerie ~ Art Basel 2019

Die Troerinnen · foto Strelow

Liselotte Strelow ~ Ida Ehre als Hekuba in "Die Troerinnen", 1947. LVR-Landesmuseum via Deutsche Fotothek
Label: T Asta B / Ida Ehre als Hekuba in Euripides / Werfels "Troerinnen". Kostüm aus Sackleinen. Kammerspiele, Hamburg / 7407/2a — **Liselotte Strelow** ~ Ida Ehre als Hekuba in “Die Troerinnen”, 1947. LVR-Landesmuseum via Deutsche Fotothek
Label: T Asta B / Ida Ehre als Hekuba in Euripides / Werfels “Troerinnen”. Kostüm aus Sackleinen. Kammerspiele, Hamburg / 7407/2a

**Liselotte Strelow** ~ Gisela Mattishent in “Die Troerinnen” als Andromache. Porträt einer Frau in dem Stück “Die Troerinnen” trägt ein Kostüm aus Sackleinen; Strelow Nr. 7407.

Freeman by Stieglitz, 1921-1922

Alfred Stieglitz :: American stage actress Helen Freeman (1886 – 1960), 1921. Palladium print. | src NGA (The Key Set · National Gallery of Art) — **Alfred Stieglitz ::** American stage actress Helen Freeman (1886 – 1960), 1921. Palladium print. | src NGA (The Key Set · National Gallery of Art)

Alfred Stieglitz Key Set

In 1949, Georgia O’Keeffe and the Alfred Stieglitz Estate donated 1,311 photographs by Alfred Stieglitz to the National Gallery of Art and placed on deposit an additional collection of 331 portraits of O’Keeffe, which were later given to the Gallery in 1980. This collection, known as the Key Set, is an unparalleled selection of Stieglitz’s photographs, containing at least one print of every mounted photograph in his possession at the time of his death. It remains one of the most important photographic collections in existence. Carefully selected by O’Keeffe to include the finest examples, the Key Set traces the evolution of Stieglitz’s work, from its inception in the 1880s to its rich maturation in the 1930s, and thoroughly documents all aspects of his decisive contribution to the art of photography.

Previously available only in print, the Alfred Stieglitz Key Set online Edition represents the definitive publication on the artist’s work. Incorporating updated scholarship, including recent conservation findings, as well as overviews of the major periods in his art, robust search functionality, and advanced image viewing and comparison tools, the Online Edition opens up new avenues for researching—and being inspired by—Stieglitz’s work.

Explore highlights of the Key Set, browse by subject or person, or search the Key Set to view all Key Set photographs and filter results by Key Set number, negative date, photographic process, or other criteria. [permalink]

Alfred Stieglitz :: Helen Freeman, 1921. Palladium print. Alfred Stieglitz Collection · NGA — **Alfred Stieglitz ::** Helen Freeman, 1921. Palladium print. Alfred Stieglitz Collection · NGA

A dancer, actress, and writer, Helen Freeman (Corle) probably met Stieglitz and O’Keeffe in the early 1920s through her friendship with Mitchell Kennerley, owner of the Anderson Galleries.

The photographs and Key Set numbers 711-716 were made on at least two separate occasions between late November 1921 and Fall 1922.

“My Dear Miss. Freeman: The exposures have been developed. And there are proofs.—I have been thinking them over.—Some I feel are acceptable.—At least as a beginning. Early next week, should you find time, I’ll make another series.—And when you come, you’ll see the proofs” (Stieglitz to Helen Freeman, 1 December 1921 [Sotheby’s, auction catalogue, 17 April 1991, lot 123A])

quoted from NGA

Fokina as Tabor in «Kleopatra»

Vera Fokina i baletten Kleopatra, Kungliga Operan 1913. Glasnegativ Detail

Atelier Jaeger, Stockholm :: Vera Fokina som Tabor i baletten Kleopatra (Cléopâtre), Kungliga Operan, 1913. Skannat glasnegativ | Vera Fokina as Tabor in the ballet Cleopatra (Cléopâtre), the Royal Opera, 1913. Scanned glass negative. | src Musik- och teaterbiblioteket — **Atelier Jaeger ::** Vera Fokina as Tabor in the ballet Cleopatra (Cléopâtre), the Royal Opera, 1913. Scanned glass negative. | src Musik- och teaterbiblioteket

Vera Fokina en tenue de scène dans Cléopâtre [assise, tendant le bras] / [photo : Atelier Jaeger] Stockholm : Théâtre Royal, 14-03-1913 | src BnF — Vera Fokina en tenue de scène dans Cléopâtre [assise, tendant le bras] drame chorégraphique en 1 acte | chorégraphie de Michel Fokine. [photo : Atelier Jaeger] Stockholm : Théâtre Royal, 14-03-1913 | src BnF

Leni Riefensthal by Lotte Jacobi

Atelier Jacobi :: Kleine Sphinx. Leni Riefensthal showed strong dramatic qualities in The White Hell of Pitz Palu (1929). Scherl's Magazin, Band 6, Heft 2, Februar 1930 — **Atelier Jacobi ::** Kleine Sphinx. Leni Riefensthal showed strong dramatic qualities in The White Hell of Pitz Palu (1929). Scherl’s Magazin, Band 6, Heft 2, Februar 1930

Kleine Sphinx. Die schöne Filmschauspielerin Leni Riefenstahl, die in dem Hochigebirgsfilm „Die weiße Hölle vom Piz Palü” starke darstellerische Kraft verriet. Phot. Atelier Jacobi, Berlin. Scherl's Magazin, Band 6, Heft 2, Februar 1930 — **Kleine Sphinx**. Die schöne Filmschauspielerin Leni Riefenstahl, die in dem Hochigebirgsfilm „Die weiße Hölle vom Piz Palü” starke darstellerische Kraft verriet. Phot. Atelier Jacobi, Berlin. Scherl’s Magazin, Band 6, Heft 2, Februar 1930

Rolf Arco · Dance of Suicide

cry, suicide, desperation, dancer, dance, Tanz

Desperate cry. Rolf Areo in the Dance of the Suicide from the ballet "The Five Wishes" by Max Terpis and Rolf Areo. Stage design. Photographer: Elli Marcus.
Published in Scherl's magazine in November 1929 — **Elli Marcus ::** Verzweifelter Aufschrei. Rolf Arco im Tanz des Selbstmörders im Ballett “Die fünf Wünsche” von Max Terpis und Rolf Areo. Bühnenbild. Scherl’s Magazin, B. 5, H.11, November 1929

Desperate cry. Rolf Arco in the Dance of the Suicide from the ballet “The Five Wishes” by Max Terpis and Rolf Arco. Stage design. Photographer: Elli Marcus.

Published in Scherl’s magazine in November 1929