Violet Morene and Yvonne Fitzroy

Violet Morene and Yvonne Fitzroy by Bassano Ltd., 5 August 1910. Whole-plate glass negative | src NPG
Violet Morene and Yvonne Fitzroy by Bassano Ltd., 5 August 1910. Whole-plate glass negative | src NPG

Leslie Jones ::

The man that squaled on Gerald Chapman and sent him to the gallows. His name is ‘Shean.’, ca. 1925 [Title and date from information provided by Leslie Jones or the Boston Public Library on the negative or negative sleeve.]. Courtesy of the Boston Public Library, Leslie Jones Collection

 via ohwiewunderbar / original source: leslie.jones.photography

more [+] by this photographer

La Lanterne japonaise, 1909

Paul Haviland (1880 – 1950) :: La Lanterne japonaise, 1909. Cyanotype à partir d’un négatif au gélatino-bromure d’argent. Musée d’Orsay
Paul Haviland (1880 – 1950) :: La Lanterne japonaise,1912. Héliogravure. Musée d’Orsay
Paul Haviland (1880 – 1950) :: La Lanterne japonaise, 1909. Épreuve au platine. Musée d’Orsay
Paul Haviland (1880 – 1950) :: La Lanterne japonaise,1909. Négatif verre. Musée d’Orsay
Paul Burty Haviland :: The Japanese Lantern. Published in Camera Work: A Photographic Quarterly, issue n. 39, 1912

Children’s dance rehearsal

Martin Munkácsi :: [Rehearsal for children’s dance performance], ca. 1934. Glass plate negative. | src ICP
Martin Munkácsi :: [Rehearsal for children’s dance performance], ca. 1934. Glass plate negative. | src ICP
Martin Munkácsi :: [Rehearsal for children’s dance performance], ca. 1934. Glass plate negative. | src ICP
Martin Munkácsi :: [Rehearsal for children’s dance performance], ca. 1934. Glass plate negative. | src ICP
Martin Munkácsi :: [Rehearsal for children’s dance performance], ca. 1934. Glass plate negative. | src ICP
Martin Munkácsi :: [Rehearsal for children’s dance performance], ca. 1934. Glass plate negative. | src ICP
Martin Munkácsi :: [Rehearsal for children’s dance performance], ca. 1934. Glass plate negative. | src ICP
Martin Munkácsi :: [Rehearsal for children’s dance performance], ca. 1934. Glass plate negative. | src ICP
Martin Munkácsi :: [Rehearsal for children’s dance performance], ca. 1934. Glass plate negative. | src ICP
Martin Munkácsi :: [Rehearsal for children’s dance performance], ca. 1934. Glass plate negative. | src ICP
Martin Munkácsi :: [Rehearsal for children’s dance performance], ca. 1934. Glass plate negative. | src ICP

A Marion Morgan dancer

Arnold Genthe ~ Marion Morgan dancer, portrait, 1914-27. Glass negative | src Library of Congress ~ Genthe collection
Arnold Genthe (1869-1942) ~ Marion Morgan dancer, portrait photograph, 1914-27. Glass negative | src Library of Congress
She looks very much like Dulcie Moore, view image below
Arnold Genthe (1869-1942) ~ Miss Dulcie Moore, portrait photograph, between 1916-1918. Glass negative | src Library of Congress

Zitkala-Sa, ca. 1898

Gertrude Käsebier :: Zitkala-Sa, Sioux Indian and activist, ca. 1898. Platinum print. | src National Museum of American History
Gertrude Käsebier :: Zitkala-Sa, Sioux Indian and activist, ca. 1898. Platinum print. | src National Museum of American History
Gertrude Stanton Käsebier :: Zitkala Sa, Sioux Indian and activist, 1898, platinum print

In addition to photographing the Sioux performers sent by Buffalo Bill Cody to her studio, Käsebier was able to arrange a portrait session with Zitkala Sa, “Red Bird,” also known as Gertrude Simmons (1876-1938), a Yankton Sioux woman of Native American and white ancestry. She was born on the Pine Ridge Reservation in South Dakota, like many of the Sioux traveling with the Wild West show. She was well educated at reservation schools, the Carlisle Indian School, Earlham College in Indiana, and the Boston Conservatory of Music. Zitkala Sa became an accomplished author, musician, composer, and dedicated worker for the reform of United States Indian policies.

Käsebier photographed Zitkala Sa in tribal dress and western clothing, clearly identifying the two worlds in which this woman lived and worked. In many of the images, Zitkala Sa holds her violin or a book, further indicating her interests. Käsebier experimented with backdrops, including a Victorian floral print, and photographic printing. She used the painterly gum-bichromate process for several of these images, adding increased texture and softer tones to the photographs. (quoted from NMAH)

Gertrude Käsebier :: Zitkala-Sa, Sioux Indian and activist, ca. 1898. Platinum print.
Gertrude Käsebier :: Zitkala-Sa, Sioux Indian and activist, ca. 1898. Platinum print. | src National Museum of American History
Gertrude Käsebier :: Zitkala-Sa, Sioux Indian and activist, ca. 1898. Platinum print. | src NMAH
Gertrude Käsebier :: Zitkala-Sa, Sioux Indian and activist, ca. 1898. Platinum print. | src NMAH
Gertrude Käsebier :: Zitkala Sa, Sioux Indian and activist, ca. 1898 | src NMAH
Gertrude Käsebier :: Zitkala-Sa (with violin), Sioux Indian and activist, ca. 1898. Platinum print.
Gertrude Käsebier :: Zitkala-Sa (with violin), Sioux Indian and activist, ca. 1898. Platinum print. | src NMAH
Gertrude Käsebier :: Zitkala-Sa, Sioux Indian and activist, ca. 1898. Gum bichromate print. | src NMAH
Gertrude Käsebier :: Zitkala-Sa, Sioux Indian and activist, ca. 1898. Gum bichromate print. | src NMAH
Gertrude Käsebier :: Zitkala-Sa, Sioux Indian and activist, ca. 1898. Platinum print. | src NMAH
Gertrude Käsebier :: Zitkala-Sa, Sioux Indian and activist, ca. 1898. Platinum print. | src NMAH