Madame d’Ora :: Tamara de Lempicka, french-polish painter with a hat designed by Rose Descat, 1932. [Tamara de Lempicka, polnisch-franzoesische Malerin, in einem Hutmodell von Rose Descat. Paris. 1932.] Sotheby’sMadame d’Ora (Dora Kallmus) :: Tamara Lempicka, Paris, 1929 (sic). Gelatin silver print on Agfa Lupex paper. | src Sotheby’sMadame d’Ora · Dora Kallmus :: Tamara de Lempicka with a hat designed by Rose Descat 1932. Vintage gelatin silver print.
Berber in Kokain. Die Tänze des Lasters, des Grauens und der Ekstase (detail)Atelier d’Ora :: Anita Berber in her dance “Cocaine” from Dances of Vice, Horror and Ecstasy in the Great Concert Hall in Vienna, 14.11.1922 | src Theatermuseum Wien related post, here
From the exhibition ‘L’elica e la Luce’ curated by Chiara Gatti and Raffaella Rech, at Museo MAN di Nuoro | src italtecnica.it Image: Giannina Censi in “Aerodanze # 3: rovesciamento d’apparecchio”, 1931.Giannina Censi in “Aerodanze 3: rovesciamento d’apparecchio”, 1931. Mart, Archivio del ’900, Fondo Censi. | src Mart, Museo di arte moderna e contemporanea di Trento e Rovereto on Google Arts
The dancer Mila Cirul (Rollenfoto / rollenporträt), 1920s by Trude Fleischmann. All three alternative renditions are from Theatermuseum (Wien) website
Trude Fleischmann :: Mila Cirul in „Tschinellen Tanz“, Wien, um 1926. Silbergelatinepapier. | src Wien MuseumTrude Fleischmann :: Mila Cirul in „Tschinellen Tanz“, Wien, um 1926. Silbergelatinepapier Untersatzkarton | src Wien Museum [full image]
Trude Fleischmann :: Sybille Binder. Role-picture as Empress ‘Carlota of Mexico’ in the play ‘Juarez and Maximilian’ by Franz Werfel, 1925. Published by ‘Berliner Illustrirte Zeitung’ 48/19 | src Getty Images