Tag: handstands

Jako-Mica and dance partner

Studio Piaz :: Jacqueline Jako-Mica (Nicole Chaumot) with a dance partner at Casino de Paris, 1940s | src Abebooks and Zvab
Studio Piaz :: Jacqueline Jako-Mica (Nicole Chaumot) with a dance partner at Casino de Paris, 1940s | src Abebooks and Zvab
Studio Piaz :: Jacqueline Jako-Mica (Nicole Chaumot) with a dance partner at Casino de Paris, 1940s | src Abebooks and Zvab
Studio Piaz :: Jacqueline Jako-Mica (Nicole Chaumot) with a dance partner in Harlequin costume at Casino de Paris, 1940s | src Abebooks and Zvab
Studio Piaz :: Jacqueline Jako-Mica (Nicole Chaumot) with a dance partner at Casino de Paris, 1940s | src Abebooks and Zvab
Studio Piaz :: Jacqueline Jako-Mica (Nicole Chaumot) with a dance partner in Harlequin costume at Casino de Paris, 1940s | src Abebooks and Zvab

Ilse Schmidt (1933) by Munkácsi

Martin Munkácsi :: Tänzerin und Schauspielerin Dinah Grace bei einer Übung (Dinah Grace at a practice), 1933. Erschienen: Die Dame 26/1933. Fotografie: Martin Munkacsy. | src Getty Images
Martin Munkácsi :: Tänzerin und Schauspielerin Dinah Grace macht einen Handstand auf einer Bühne (performing a handstand on stage), 1933. Erschienen: Die Dame 26/1933. Fotografie: Martin Munkacsy. | src Getty Images

Contortionist Alberto

Huis van Alijn :: Contortionist Alberto. Albert Van Royen (1904-1980) became famous as the contortionist Alberto or the Human Alligator. | src The House of Alijn, Gent, Belgium
Huis van Alijn :: Contortionist Alberto. Albert Van Royen (1904-1980) became famous as the contortionist Alberto or the Human Alligator. | src The House of Alijn, Gent, Belgium

Dancer in handstand, NY

Strand (NY) :: Dancer in handstand wearing rhinestone costume. “The Littlejohns, Inc., Rhinestone Specialists” stamped on verso. | src Variety, Vaudeville & Burlesque. Jerome Robbins Dance Division, The New York Public Library (NYPL)

Dancer Dinah Grace, 1930s

Lotte Jacobi :: Dancer Dinah Grace, Berlin, 1930s. | src realityayslum [‘Grace was very young when this picture was taken, but Lotte thought she was the best dancer she ever photographed. She was amazed at how easily Grace could move and do anything asked of her.’ quoted and scanned from ‘Lotte Jacobi: Theater & Dance Photographs’, Countryman Press, 1982.]