Tag: neck bent backwards

Susanne Dombois by Herzfeld

Martin Herzfeld ~ Susanne Dombois. Solotänzerin an der Staatsoper Dresden. Originale RPPC von 1922 mit Widmung und Autogramm (16.12.1922) | src eBay
Martin Herzfeld ~ Susanne Dombois. Solotänzerin an der Staatsoper Dresden. Originale RPPC von 1922 mit Autogramm | src eBay

Simone Lancret par Rudomine

Mlle. Simone Lancret (des Ballets russes). Studio Rudomine. Paris-plaisirs: revue mensuelle esthétique et humoristique Nº 7. Décembre, 1922. | src BnF ~ Gallica
Mlle. Simone Lancret (des Ballets russes). Studio Rudomine. Paris-plaisirs: revue mensuelle esthétique et humoristique Nº 7. Décembre, 1922. | src BnF ~ Gallica
Mlle. Simone Lancret (des Ballets russes). Studio Rudomine. Paris-plaisirs: revue mensuelle esthétique et humoristique Nº 7. Décembre, 1922. | src BnF ~ Gallica

Soul of the Dance, 1933

Harold F. Kells :: Soul of the Dance, 1933, gelatin silver print toned, heightened with crayon (?). | src National Gallery of Canada

Fieret’s studies of women

Gerard Fieret :: Nude torso [Naakt torso], The Hague, ca. 1965. | src Rijksmuseum
Gerard Fieret :: Sitting nude with headband and high heels, seen from behind. Two copyright stamps and a signature are part of the image. The photo is pasted in passe-partout [Naakt zittend met haarband en pumps, op de rug gezien. Twee copyright stempels en een groot signatuur maken deel uit van het beeld. De foto is in passe-partout geplakt.], 1960 – 1980. | src Rijksmuseum
Gerard Fieret :: Studies of Women [Studies van vrouwen], The Hague, ca. 1965. | src Rijksmuseum
Gerard Fieret was an eccentric poet, painter and photographer who lived in The Hague. Between 1965 and 1975 he took hundreds of photos, mainly studies of women. Later, Fieret wandered the streets, fed the pigeons each day and kept his work in the freezer. His prints are creased and the edges frayed, with the occasional trace of pigeon droppings. On each photo, he signed his name in felt-tip pen and also furnished them with copyright stamps.

Valeska Gert, ‘Death’, 1940

Lisette Model :: Valeska Gert, ‘Death’, gelatin silver print, 1940. Gift of the Estate of Lisette Model. | src National Gallery of Canada
Lisette Model :: Valeska Gert, ‘Death’, gelatin silver print, 1940. Gift of the Estate of Lisette Model. | src National Gallery of Canada

Nude by Lucien Waléry, 1920s

Lucien Waléry [aka, Laryew, Yrélaw] :: Untitled female nude [1920s]. Photogravure in Sepia. | src Jeschke · Van Vliet
Lucien Waléry [aka, Laryew, Yrélaw] :: Untitled female nude [1920s]. Photogravure in Sepia. | src Jeschke · Van Vliet

From a collection of 100 Art Deco nudes by the Parisian photographer Waléry, who also used the anagrams Yrélaw or Laryew. He photographed mostly revue dancers 100 years ago – namely Josephine Baker and Mata Hari. Waléry is often confused with Stanislaw Julian Ignacy Count Ostroróg, maybe because from a stylistic point of view, Waléry and Count Ostoróg could very well have been one and the same person (cf. Jürg H. Meyer, Wer war Walery?). Quoted from source.

Nude bending backwards, 1923

Lucien Waléry :: Showgirl from the Folies Bergère. From ‘Portfolio de 100 Photogravures’ published in 1923 by the Librairie des Arts Décoratifs. Plate (planche) LXXVI. | src livejournal and wikibooks