Dancer with pole, 1920s

Lotte Eckener (Atelier Alexander Binder) :: Tänzerin mit Stange, 1920s. | src Coll. Dorothea Cremer-Schacht via Fotografie am Bodensee

“Lotte Eckener was born in Friedrichshafen in 1906 to the famous airship pioneer Hugo Eckener. In 1924 she moved to Munich to study at the Bavarian State School of Photography. Her first professional stop was the renowned Atelier Alexander Binder on Kurfürstendamm, where the great and rich of the golden 20s came and went. She portrayed famous stars like Josef von Sternberg, Helene Thimig and Anny Ondra and took photographs for advertising orders.” quoted from source

Harald Kreutzberg by Strelow

Liselotte Strelow :: Portrait of Harald Kreutzberg with clenched fists, 1943. | src MutualArt
Liselotte Strelow :: Portrait of Harald Kreutzberg with clenched fists, 1943. | src MutualArt
Harald Kreutzberg (1902 – 1968) Tänzer. Porträt mit geballten Fäusten, um 1943. Aufnahme: Liselotte Strelow | src Getty Images

Anita Berber in lace underwear

Madame d’Ora :: Anita Berber in Spitzenunterwäsche, mit Kopftuch, 20-04-1921. | Anita Berber in lace underwear, with a headscarf, 04-20-1921. | src ÖNB
Anita Berber. Foto: Binder. Der Künstlerische Tanz (Eckstein) card # 77

«La Deésse Cypris»

Laure Albin-Guillot :: Female nude, ca. 1932. Photograph from the book «La Deésse Cypris» by Henry de Montherlant, illustrated by Laure Albin-Guillot. Published by Henri Colas et Bordeaux, Rousseau Frères, Paris, 1946. | src Andrew Cahan Bookseller
«La Deésse Cypris» by Henry de Montherlant, illustrated by Laure Albin-Guillot. Paris: Henri Colas, Éditeur; Bordeaux: Rousseau Frères, [1946]. Albin-Guillot, Laure. First edition. Folio, [42] pp., with 12 hand-pulled photogravures plates. | src Andrew Cahan Bookseller
Laure Albin-Guillot :: Female nude, ca. 1932. Photograph from the book «La Deésse Cypris» by Henry de Montherlant, illustrated by Laure Albin-Guillot. Published by Henri Colas et Bordeaux, Rousseau Frères, Paris, 1946. | src Andrew Cahan Bookseller
«La Deésse Cypris» by Henry de Montherlant, illustrated by Laure Albin-Guillot. Paris: Henri Colas, Éditeur; Bordeaux: Rousseau Frères, [1946]. Albin-Guillot, Laure. First edition. Folio, [42] pp., with 12 hand-pulled photogravures plates. | src Andrew Cahan Bookseller
Laure Albin-Guillot :: Female nude, ca. 1932. Photograph from the book «La Deésse Cypris» by Henry de Montherlant, illustrated by Laure Albin-Guillot. Published by Henri Colas et Bordeaux, Rousseau Frères, Paris, 1946. | src Andrew Cahan Bookseller
«La Deésse Cypris» by Henry de Montherlant, illustrated by Laure Albin-Guillot. Paris: Henri Colas, Éditeur; Bordeaux: Rousseau Frères, [1946]. Albin-Guillot, Laure. First edition. Folio, [42] pp., with 12 hand-pulled photogravures plates. | src Andrew Cahan Bookseller
Laure Albin-Guillot :: Female nude, ca. 1932. Photograph from the book «La Deésse Cypris» by Henry de Montherlant, illustrated by Laure Albin-Guillot. Published by Henri Colas et Bordeaux, Rousseau Frères, Paris, 1946. | src Andrew Cahan Bookseller
«La Deésse Cypris» by Henry de Montherlant, illustrated by Laure Albin-Guillot. Paris: Henri Colas, Éditeur; Bordeaux: Rousseau Frères, [1946]. Albin-Guillot, Laure. First edition. Folio, [42] pp., with 12 hand-pulled photogravures plates. | src Andrew Cahan Bookseller
Laure Albin-Guillot :: Female nude, ca. 1932. Photograph from the book «La Deésse Cypris» by Henry de Montherlant, illustrated by Laure Albin-Guillot. Published by Henri Colas et Bordeaux, Rousseau Frères, Paris, 1946. | src Andrew Cahan Bookseller
«La Deésse Cypris» by Henry de Montherlant, illustrated by Laure Albin-Guillot. Paris: Henri Colas, Éditeur; Bordeaux: Rousseau Frères, [1946]. Albin-Guillot, Laure. First edition. Folio, [42] pp., with 12 hand-pulled photogravures plates. | src Andrew Cahan Bookseller
Laure Albin-Guillot :: Female nude, ca. 1932. Photograph from the book «La Deésse Cypris» by Henry de Montherlant, illustrated by Laure Albin-Guillot. Published by Henri Colas et Bordeaux, Rousseau Frères, Paris, 1946. | src Andrew Cahan Bookseller
«La Deésse Cypris» by Henry de Montherlant, illustrated by Laure Albin-Guillot. Paris: Henri Colas, Éditeur; Bordeaux: Rousseau Frères, [1946]. Albin-Guillot, Laure. First edition. Folio, [42] pp., with 12 hand-pulled photogravures plates. | src Andrew Cahan Bookseller
Laure Albin-Guillot :: Female nude, ca. 1932. Photograph from the book «La Deésse Cypris» by Henry de Montherlant, illustrated by Laure Albin-Guillot. Published by Henri Colas et Bordeaux, Rousseau Frères, Paris, 1946. | src Andrew Cahan Bookseller
«La Deésse Cypris» by Henry de Montherlant, illustrated by Laure Albin-Guillot. Paris: Henri Colas, Éditeur; Bordeaux: Rousseau Frères, [1946]. Albin-Guillot, Laure. First edition. Folio, [42] pp., with 12 hand-pulled photogravures plates. | src Andrew Cahan Bookseller
«La Deésse Cypris» Front cover
by Henry de Montherlant, illustrated by Laure Albin-Guillot. Paris: Henri Colas, Éditeur; Bordeaux: Rousseau Frères, [1946]. Albin-Guillot, Laure. First edition. Folio, [42] pp., with 12 hand-pulled photogravures plates. | src Andrew Cahan Bookseller

Nus pour La Déesse Cypris

Laure Albin-Guillot (1879-1962) ~ Nu, 1938; tirage Fresson. cachet du photographe (au verso) | src Christie’s

Ce tirage fut réalisé pour illustrer l’ouvrage ‘La Déesse Cypris’ de Henri de Montherlant en 1946. Laure Albin Guillot utilisait fréquement ses photographies de nu des années trente en les recadrant parfois. | src Christie’s

Laure Albin-Guillot :: Female nudes, 1932. Photograph from the book «La deésse Cypris» by Henry de Montherlant, illustrated by Laure Albin-Guillot. Published by Henri Colas et Bordeaux, Rousseau Frères, Paris, 1946 | src La Gazette Drouot

Nu féminin endormi, 1932

Laure Albin Guillot (1879-1962) ~ Nu féminin endormi, 1932 | src Aguttes
Photographie provenant de l’ouvrage «La deésse Cypris» illustré par Laure Albin-Guillot)

Nu féminin endormi, 1932 (Mention au crayon au verso: «Thèmes pour une flèche arabe et avec les génies noires qui dorment la nuque dans la saignée de mon bras. Étude de nu. Femme au singulier». Photographie provenant de l’ouvrage «La deésse Cypris» de Henry de Montherlant, illustré par Laure Albin-Guillot). | Female Nude Asleep, 1932 (Written in pencil on the back: «Themes for an Arab arrow with black spirits who rest the neck on my bleeding. Nude study. Woman in Singular». Photograph from the book «Goddess Cypris» by Henry de Montherlant, illustrated by Laure Albin-Guillot). | src Aguttes

Laure Albin Guillot ~ La déesse Cypris, 1946. Planche 10. Plaque de cuivre encrée et vernie pour héliogravure. | src Ader
Laure Albin Guillot ~ La déesse Cypris, 1946. Fresson print. | src Collectie Koopman on NB nationale bibliotheek

Vice, Horror and Ecstasy, 1922

Anita Berber and Sebastian Droste in Martyrs, scene from ‘Dances of Vice, Horror and Ecstasy’. Photographed by Madame d’Ora
© Madame d’Ora /​ Privatsammlung, Wien
Anita Berber und Sebastian Droste in ihres Tanzstücks «Märtyrer». Die Tänze des Lasters, des Grauens und der Ekstase, 1922
foto: Atelier d’Ora, Wien | src Getty Images
Atelier d’Ora ~ Benda ~ Die Verführung des heiligen Sebastian. Die Tänzer Anita Berber und Sebastian Droste, aus “Die Tänze des Lasters, des Grauens und der Ekstase”, 1922
The Seduction of Saint Sebastian. Dancers Anita Berber and Sebastian Droste in ‘Dances of Vice, Horror and Ecstasy’, 1922 |
src MK&G ~ Museum fur Kunst und Gewerbe

Photographic Study, 1860s

Clementina Maude, Viscountess Hawarden, aka Lady Clementina Hawarden ~ Photographic Study, early 1860s. Albumen silver print from glass negative | src MetMuseum

Clementina Maude, her mother’s preferred model, is seen here in a reflective pose against a star-studded wall. The casual placement of the shawl on the table and the girl’s loose hair contribute to the feeling of intimacy. In the airy room time seems to be suspended. The sensuous curves of the table legs, the soft weight of the crushed velvet, and the crispness of the starry wallpaper are enhanced by the skillful handling of the collodion technique. The composition, devoid of Victorian clutter, brings together light, shadow, and compositional elements in a spare and appealing interplay. In contrast to the prevailing fashion of giving literary or sentimental titles to portraits of young women, Lady Hawarden titled her works simply “Photographic Study”.

Lady Clementina Hawarden aka Viscountess Hawarden ~ Photographic Study, early 1860s (detail) | src MetMuseum