Natacha Rambova by Karl Struss

Karl Struss (1886-1981); Natacha Rambova [production still]; Gelatin silver print; Amon Carter Museum of American Art, Fort Worth, TX
Karl Struss (1886-1981) :: Natacha Rambova [production still], 1920s. Gelatin silver print. | src Amon Carter Museum
Karl Struss (1886-1981); Natacha Rambova [production still]; Gelatin silver print; Amon Carter Museum of American Art, Fort Worth, TX
Karl Struss (1886-1981) :: Natacha Rambova [production still*], 1920s. Gelatin silver print. | src Amon Carter Museum
Karl Struss (1886-1981); Natacha Rambova [production still]; Gelatin silver print; Amon Carter Museum of American Art, Fort Worth, TX
Karl Struss (1886-1981) :: Natacha Rambova [production still*], 1920s. Gelatin silver print. | src Amon Carter Museum
Karl Struss (1886-1981); Natacha Rambova [production still]; Gelatin silver print; Amon Carter Museum of American Art, Fort Worth, TX
Karl Struss (1886-1981) :: Natacha Rambova [production still*], 1920s. Gelatin silver print. | src Amon Carter Museum

[*] production stills probably from the film Forbidden Fruit (Cecil B. DeMille, 1921). In the film Rambova (b. Winifred Shaughnessy), along with Mitchell Leisen, was the costume designer and Struss the cinematographer.

Margo Lion’s portraits

Privatfoto von Margo Lion, from a Fotoalbum (1920-1932). From Marcellus Schiffer und Margo Lion Archiv at Akademie der Künst, Berlin
headshot
smoking cigarette
Privatfoto von Margo Lion, from a Fotoalbum (1920-1932). From Marcellus Schiffer und Margo Lion Archiv at Akademie der Künst, Berlin
Privatfoto von Margo Lion, from a Fotoalbum (1920-1932). From Marcellus Schiffer und Margo Lion Archiv at Akademie der Künst, Berlin
3/4 length portrait
Privatfoto von Margo Lion, from a Fotoalbum (1920-1932). From Marcellus Schiffer und Margo Lion Archiv at Akademie der Künst, Berlin
Privatfoto von Margo Lion, from a Fotoalbum (1920-1932). From Marcellus Schiffer und Margo Lion Archiv at Akademie der Künst, Berlin
bildnis
3/4 length portrait
Privatfoto von Margo Lion, from a Fotoalbum (1920-1932). From Marcellus Schiffer und Margo Lion Archiv at Akademie der Künst, Berlin
Atelier Willinger :: Porträtfoto von Margo Lion, signiert (Seitenprofil). | src Akademie fur Künst
portrait
profile
profil
Atelier Willinger :: Porträtfoto von Margo Lion, signiert (Seitenprofil). | src Akademie fur Künst
Privatfoto von Margo Lion, from a Fotoalbum (1920-1932). From Marcellus Schiffer und Margo Lion Archiv at Akademie der Künst, Berlin
portrait
Privatfoto von Margo Lion, from a Fotoalbum (1920-1932). From Marcellus Schiffer und Margo Lion Archiv at Akademie der Künst, Berlin
Porträt und Atelierfoto von Margo Lion. Postkarte, signiert. | src Marcellus Schiffer und Margo Lion Archiv at Akademie der Künst
Porträt und Atelierfoto von Margo Lion. Postkarte, signiert. | src Marcellus Schiffer und Margo Lion Archiv at Akademie der Künst

Alicia Markova as Giselle, 1958

Thérèse Le Prat :: Alicia Markova dans Giselle (London Festival Ballet), 1958. | src Ministère de la culture (Médiathèque de l’architecture et du patrimoine) · RMN

Edith von Bonsdorff, 1910s

Tanssija ja koreografi Edith von Bonsdorff, 1910-luvun loppu. | Dancer and choreographer Edith von Bonsdorff, late 1910s. | src FHA – Museovirasto
Atelier Apollo :: Tanssija ja koreografi Edith von Bonsdoerff, 1917-1919. Inscriptions: Edith Helena v. Bonsdorff (1890-1968) os. Andersen’s dance artist, on the back of the picture in the middle. | src Finnish Heritage Agency (Museovirasto)

Decorative Study nº 1 Pomegranates, ca. 1906

Minna Keene (née Bergmann, Canadian born Germany, 1861-1943) :: Pomegranates, ca. 1910. Carbon print with some details reduced by hand. | src Stephen Bulger Gallery
Minna Keene (née Bergmann, Canadian born Germany, 1861-1943) :: Decorative Study nº 1. Pomegranates, Cape Town, South Africa, ca. 1906. Carbon print, mounted on exhibition board. Original photograph. | src Bonhams
A fine example of a signed exhibition-quality image of one of Minna Keene’s most famous of images, taken at her home in Cape Town. Using her young daughter Violet as the model, she created an iconic Pre-Raphaelite image, combining the beauty of a young girl with nature. This image was included in the famous Tate London Exhibition in 2016, Painting with Light alongside Julia Margaret Cameron, Millais, Emerson, Goodall, Hacker, Rossetti, and others. In 1911, “Pomegranates” was awarded Picture of the Year at the London Photographic Salon. [quoted from source]
Minna Keene (née Bergmann, Canadian born Germany, 1861-1943) :: Pomegranates (aka Decorative Study), ca. 1910. Green carbon print by Minna Keene. This photograph is believed to be of Violet Keene, her daughter, according to Getty Images. | src The Royal Photographic Society Collection, Victoria and Albert Museum, London via Getty Images

Anita Berber, 1917-1918

Tänzerin und Schauspielerin Anita Berber (1899-1928). Porträt. Veröffentlicht: Die Dame 10/1917 (Photo © Ullstein Bild) | src Getty Images
Tänzerin und Schauspielerin Anita Berber (1899-1928). Porträt. Veröffentlicht: Die Dame 10/1917 (Photo © Ullstein Bild) | src Getty Images
Tänzerin und Schauspielerin Anita Berber (1899-1928). Porträt mit Hut, 1918 | src Getty Images
Tänzerin und Schauspielerin Anita Berber (1899-1928). Porträt mit Hut, 1918 | src Getty Images

Als Teenager: Anita Berber 1917 mit der neuesten Hut-Kreation.

Hutmodell und Stilikone: Neben der Arbeit als Tänzerin verdiente Berber Geld als Foto-Model, unter anderem für Hüte und Kleider. Mit zunehmender Popularität avancierte Berber zur Stilikone, der ganz Berlin nachzueifern versuchte: “Verderbte Bürgermädchen kopierten die Berber, jede bessere Kokotte wollte möglichst genau wie sie aussehen”, schrieb Schriftsteller Klaus Mann.

As a teenager: Anita Berber in 1917 with the latest hat creation.

Hat model and style icon: In addition to working as a dancer, Berber earned money as a fashion model, among other things for hats and dresses. With increasing popularity, Berber became a style icon that all of Berlin tried to emulate: “Depraved middle-class girls copied the Berber, every cocotte wanted to look like her as closely as possible,” wrote writer Klaus Mann.

quoted from Der Spiegel: Anita Berber – die Hohepriesterin des Lasters

Danses Cambodgiennes, 1900s

Cléo de Mérode dans les danses Cambodgiennes. Album Reutlinger de portraits divers, vol. 6. (1900s). | src Gallica ~ BnF
Danseuse Cléo de Mérode dans les danses Cambodgiennes. Album Reutlinger de portraits divers, vol. 6. (1900s). | src Gallica ~ BnF