The Readers by C.H. White

Clarence H. White :: The Readers (Letitia Felix and Ada Follett), Newark, Ohio, 1897. Platinum print. (Detail)
Clarence Hudson White :: The Readers (Letitia Felix and Ada Follett), Newark, Ohio, 1897. Platinum print. (Detail)
Clarence H. White :: The Readers (Letitia Felix and Ada Follett), Newark, Ohio, 1897. Platinum print. (Detail) | src Library of Congress
Clarence Hudson White :: The Readers (Letitia Felix and Ada Follett), Newark, Ohio, 1897. Platinum print. | src Library of Congress
Clarence Hudson White :: The Readers (Letitia Felix and Ada Follett), Newark, Ohio, 1897. Platinum print. | src Library of Congress

C.H. White portraits (1900s)

Clarence Hudson White :: Mrs. Fox (Kate Parsenau), New York, 1910. Platinum print. | src Library of Congress
better resolution: image below
Clarence H. White :: Kate (Parsenau) Fox, head-and-shoulders portrait, facing left, 1910. Platinum print. | src: Library of Congress
Clarence H. White :: Girl with Bowl, 1907. Platinum print. | src Princeton University Art museum
Clarence H. White :: Girl with Bowl, 1907. Platinum print. | src Princeton University Art museum

In his first years as a photographer, White concentrated on genre subjects like this one, often using young women as his models. Throughout his career, he continued to photograph women, from his mother and members of his wife’s family to well-known actresses of the day, such as Maude Adams. White attempted to imbue women with notions of truth and beauty, a view not uncommon among the photographers known as Pictorialists, who considered the female subject to be the most artistic and spiritual choice in the history of art. Photographs like this one allowed White to experiment with dramatic lighting while simultaneously relating photography to a long tradition of painting, through his use of a female model. [source of text]

Clarence H. White :: Woman on rocks, Caritas Islands, Connecticut, 1909. Platinum print. | src Princeton Univ. Art museum
Clarence H. White :: Woman on rocks, Caritas Islands, Connecticut, 1909. Platinum print. | src Princeton Univ. Art museum

Dance study by de Meyer

Adolf de Meyer :: [Dance study], ca. 1912. Platinum print | source The Metropolitan Museum of Art via wikimedia commons

It has been suggested that this photograph, the only [known] nude by de Meyer, has some connection to the Ballets Russes, but the nature of that link remains mysterious. The image vibrates with an uneasy erotic tension, a product of the figure’s exposed torso, startled body language, and disguised identity. (quoted from The Met)

image in higher resolution thanks to wikimedia commons

The duplication of images is due to errors in the process of importing files from tumblr (the images were not loaded in hi-res): tumblr post, here

Les Papillons Blancs, 1900

Émile Joachim Constant Puyo :: 'Les Papillons Blancs', 1900. Platinum print with trimmed decorative corners, mounted to cream paper, the photographer's stylized signature in ink and his blindstamp on the mount. | src Sotheby's [detail]
Émile Joachim Constant Puyo :: 'Les Papillons Blancs', 1900. Platinum print with trimmed decorative corners, mounted to cream paper, the photographer's stylized signature in ink and his blindstamp on the mount. | src Sotheby's [detail]
Émile Joachim Constant Puyo :: ‘Les Papillons Blancs’, 1900. Platinum print with trimmed decorative corners, mounted to cream paper, the photographer’s stylized signature in ink and his blindstamp on the mount. | src Sotheby’s [detail]
Émile Joachim Constant Puyo :: 'Les Papillons Blancs', 1900. Platinum print with trimmed decorative corners, mounted to cream paper, the photographer's stylized signature in ink and his blindstamp on the mount. | src Sotheby's
Émile Joachim Constant Puyo :: ‘Les Papillons Blancs’, 1900. Platinum print with trimmed decorative corners, mounted to cream paper, the photographer’s stylized signature in ink and his blindstamp on the mount. | src Sotheby’s | for higher resolution click right on image

Two lady portraits by Käsebier

Gertrude Käsebier · Untitled (Portrait of a woman with cherry blossoms), ca. 1905. Platinum print. | src Christie's
Gertrude Käsebier :: Untitled (Portrait of a woman with cherry blossoms), ca. 1905. Platinum print. | src Christie’s
Gertrude Käsebier - Untitled (Portrait of a woman with cherry blossoms), ca. 1905. Platinum print. | src Christie's
Gertrude Käsebier :: Untitled (Portrait of a woman with cherry blossoms), ca. 1905. Platinum print. | src Christie’s
Gertrude Käsebier :: Portrait of a Lady, ca. 1898. Platinum print. The image was shown at The NY Photography Virtual Fair, sponsored by The Daguerreian Society | src Lunn Ltd. [one of the hosted Dealers]
Gertrude Käsebier :: Portrait of a Lady, ca. 1898. Platinum print. The image was shown at The NY Photography Virtual Fair, sponsored by The Daguerreian Society | src Lunn Ltd. [one of the hosted Dealers]
Gertrude Käsebier :: Portrait of a Lady, ca. 1898. Platinum print. The image was shown at The NY Photography Virtual Fair, sponsored by The Daguerreian Society [full size]
Gertrude Käsebier :: Portrait of a Lady, ca. 1898. Platinum print. The image was shown at The NY Photography Virtual Fair, sponsored by The Daguerreian Society [full size]

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