Flo Peterson avec un parapluie

Paul Haviland :: Florence Peterson debout, avec un parapluie, entre 1909 et 1910, Autochrome. | src Musée´d'Orsay
Paul Haviland :: Florence Peterson debout, avec un parapluie, New York, entre 1909 et 1910, Autochrome. | src Musée d’Orsay
Paul Haviland :: Florence Peterson debout, avec un parapluie, entre 1909 et 1910, Autochrome. | src Musée´d'Orsay
Paul Haviland :: Florence Peterson debout, avec un parapluie, entre 1909 et 1910, Autochrome. | src Musée d’Orsay
Paul Haviland :: Florence Peterson debout, avec un parapluie, entre 1909 et 1910, Autochrome. | src Musée´d'Orsay
Paul Haviland :: Florence Peterson debout, avec un parapluie, entre 1909 et 1910, Autochrome. | src Musée d’Orsay
Paul Haviland :: Florence Peterson debout, avec un parapluie, entre 1909 et 1910, Autochrome. | src Musée´d'Orsay
Paul Haviland :: Florence Peterson debout, avec un parapluie, entre 1909 et 1910, Autochrome. | src Musée d’Orsay

Paul Haviland, while working in New York as a representative for his father’s porcelain factory, explored the arts. His interest in writing and photography eventually led him to the Little Galleries of the Photo-Secession, where Alfred Stieglitz and his circle of photographers strove to have the medium recognized as a fine art. In 1910 Haviland was made associate editor of Stieglitz’s publication Camera Work.

Haviland’s Portrait of a Man [SAAM, 1994.91.65], made about the same time he met Stieglitz (ca. 1908), is an impressionistic study rather than a conventional likeness. Although Haviland continued making portraits upon returning to France after World war I, they lacked the engaging inventiveness of his work in New York. [quoted from Smithsonian American Art Museum : SAAM]

Meiji Era Hand Colored Photos

Meiji Era Hand Colored Japanese Albumen Photograph "# 1518 Wind Costume"; ca. 1880s. | David Pollack Vintage Posters
Meiji Era Hand Colored Japanese Albumen Photograph “# 1518 Wind Costume”; ca. 1880s. | David Pollack Vintage Posters
Meiji Era Hand Colored Japanese Albumen Photograph "# 1518 Wind Costume"; ca. 1880s. | David Pollack Vintage Posters
Meiji Era Hand Colored Japanese Albumen Photograph “# 1623 Girl in heavy storm”; ca. 1880s. | David Pollack Vintage Posters

A. Rasch portrait and postcard

albertina rasch portrait probably 1920s
Albertina Rasch (1891-1967), prima ballerina at the Hippodrome and later choreographer of the Albertina Rasch dancers who performed between vaudeville acts in the mid-1920s. | src Hippodrome research blog
Albertina Rasch (1891-1967), prima ballerina at the Hippodrome and later choreographer of the Albertina Rasch dancers who performed between vaudeville acts in the mid-1920s. | src Hippodrome research blog
Albertina Rasch (1891-1967), prima ballerina at the Hippodrome and later choreographer of the Albertina Rasch dancers who performed between vaudeville acts in the mid-1920s. | src Hippodrome research blog
Albertina Rasch (1891-1967), prima ballerina at the Hippodrome and later choreographer of the Albertina Rasch dancers who performed between vaudeville acts in the mid-1920s. | src Hippodrome research blog
Austrian-American dancer and choreographer Albertina Rasch (1891-1967). German postcard, nº 7492. Collection: Didier Hanson

Pinatype by Perscheid, 1900s

field of flowers, pinatype, early color, colour, pinatipie
Nicola Perscheid :: Ms. Änne Jungmann in the lupins, ca1900. Pinatype. | src MK&G
Nicola Perscheid :: Fräulein Änne Jungmann in den Lupinen, um 1900. Pinatypie. | src MK&G

The Pinatype is a dye transfer imbibition process. The colored picture is obtained by superimposing three gelatin films which have been exposed under negatives taken behind color-screens and dyed with corresponding colors.

Nicola Perscheid :: Ms. Änne Jungmann in the lupins, ca. 1900. Pinatype. | src MK&G
Nicola Perscheid :: Ms. Änne Jungmann in the lupins, circa 1900. Pinatype. (Detail) | src MK&G

Ode to Necrophilia, 1962

Kati Horna :: Untitled (Leonora Carrington), from Oda a la Necrofilia (Ode to Necrophilia), 1962. | src Princeton University Art Museum
Kati Horna :: Untitled (Leonora Carrington), from Oda a la Necrofilia (Ode to Necrophilia), 1962. | src Princeton University Art Museum

Anne Branché als “Bet-ti-bo”

Rudolf Krziwanek :: Rollenporträt. Anne Branché als “Bet-ti-bo” in Der Mikado oder Ein Tag in Titipu, um 1890.
Rudolf Krziwanek :: Role portrait. Anne Branché as “Bet-ti-bo” in The Mikado or A Day in Titipu, ca. 1890.
src Theatermuseum Wien

Autumn by Yoshio Markino

Yoshio Markino :: Autumn. From: Posters; a critical study of the development of poster design in continental Europe, England and America by Charles Matlack Price (1913) New York: G.W. Bricka. | src Smithsonian Libraries @ internet archive

Dancer Albertina Rasch 1920s

Max Pollak :: Ballet dancer Albertina Rasch, aka Ballett, ca. 1925. Drypoint. | src Annex Galleries
Max Pollak :: Ballet dancer Albertina Rasch, aka Ballett, ca. 1925. Drypoint. | src Annex Galleries
albertina rasch as a dancer, german postcard, probably late 1910s
Austrian-American dancer and choreographer Albertina Rasch (1891-1967). German postcard, nº 7492. Collection: Didier Hanson

Revuetänzerin Ruth Bayton, 1927

Atelier d’Ora :: Ruth Bayton, Revuetänzerin von Folies Wagram im der Revue: ‘Der Zug nach dem Westen’ erschienen Uhu Magazin 10/1927. | Ruth Bayton, revue dancer from Follies Wagram in the revue: ‘The train to the west’ published in Uhu magazine 10/1927. | src and hi-res Getty Images