
Photograms of the Year. The annual review of the world’s pictorial photographic work, 1920 issue (plate XXXIII). Edited by F. J. Mortimer. | src archive.org
images that haunt us





Laure Albin-Guillot :: Feuilles mortes, 1948, tirage au charbon. Illustration pour les Préludes de Claude Debussy. La page est composée de deux parties: à gauche se trouvent dessinées les notes introductives et le titre du Prélude illustré; à droite, le tirage au charbon illustratif est maintenu dans des fentes par ses quatre coins. Cet ensemble constitue la treizième des 23 illustrations du port-folio intitulé ‘Illustrations pour les Préludes de Claude Debussy’. Au recto, à l’intérieur de la page double, à gauche, portée calligraphiée avec la mention “Lent et mélancolique”; au recto, à l’intérieur de la page double, à gauche, titre calligraphié: “Feuilles mortes”; au recto, en bas à droite, sur le tirage, signature manuscrite: “Laure Albin Guillot”. | Dead leaves, 1948, charcoal print Illustration for the Preludes by Claude Debussy. The page is made up of two parts: on the left are the introductory notes and the title of the illustrated Prelude; on the right, the illustrative charcoal print is held in slots by its four corners. This set constitutes the thirteenth of the 23 illustrations in the portfolio entitled Illustrations pour les Préludes by Claude Debussy. On verso, inside the double page, on the left, handwritten: “Slow and melancholy”; on verso, inside the double page, on the left, handwritten title: “Dead leaves”; on verso, bottom right, on the print, handwritten signature: “Laure Albin Guillot”. | src Musée Français de la Photographie



Leonard Mccombe ::
Arthur Langton floating a model ship in Central Park, NYC, June 20, 1961. For Life magazine. / src: Time-Life

Nickolas Muray :: Ruth St. Denis and Ted Shawn at Mariarden, 1923 | src: NYPL
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Choiselat and Ratel [
Marie-Charles-Isidore Choiselat and
Stanislas Ratel] ::
Landscape with Cottage, 1844.
Daguerreotype. / src: The Met
Choiselat and Ratel emphasized the two-dimensional organization of the
picture’s surface. The poplars, reflected in the water, seem to stretch
across the plate from top to bottom instead of sitting on the far side
of the pond; the cottage forms, with its reflection, a single geometric solid
floating in space. (Quoted from source)