Boris Sergeevich Davydov

Boris Sergeevich Davydov - Untitled, 1970s

Boris Sergeevich Davydov – Untitled, 1970s

Boris Sergeevich Davydov - Untitled, 1970s

Boris Sergeevich Davydov – Untitled, 1970s

Boris Sergeevich Davydov - Untitled, 1970s

Boris Sergeevich Davydov – Untitled, 1970s

Boris Sergeevich Davydov - Untitled, 1970s 5

Boris Sergeevich Davydov – Untitled, 1970s

Boris Sergeevich Davydov - Untitled, 1970s

Boris Sergeevich Davydov – Untitled, 1970s

Boris Sergeevich Davydov - Untitled, 1970s

Boris Sergeevich Davydov – Untitled, 1970s

Boris Sergeevich Davydov - Untitled, 1970s

Boris Sergeevich Davydov – Untitled, 1970s

Boris Sergeevich Davydov - Untitled, 1970s

Boris Sergeevich Davydov – Untitled, 1970s

Boris Sergeevich Davydov - Untitled, 1970s 6

Boris Sergeevich Davydov – Untitled, 1970s

Boris Sergeevich Davydov - Untitled, 1970s 2

Boris Sergeevich Davydov – Untitled, 1970s

Boris Sergeevich Davydov - Untitled, 1970s 1

Boris Sergeevich Davydov – Untitled, 1970s

Boris Sergeevich Davydov - Untitled, 1970s 4

Boris Sergeevich Davydov – Untitled, 1970s

Boris Sergeevich Davydov - Untitled, 1970s 3

Boris Sergeevich Davydov – Untitled, 1970s

Brassaï – Série Filles dans un hôtel de passe, rue Quincampoix, 1932

« Brassaï, pseudonyme de Gyula Halász, né le 9 septembre 1899 à Brașov (hongrois: Brassó – ville alors austro-hongroise et rattachée à la Roumanie depuis) et mort le 8 juillet 1984 à Nice (Alpes-Maritimes), était un photographe français d’origine hongroise, et aussi dessinateur, peintre, sculpteur et écrivain.

Gyula Halász a trois ans quand sa famille emménage à Paris où ils rejoignent le père qui enseigne la littérature à la Sorbonne. Jeune homme, Gyula Halász étudie la peinture et la sculpture à l’école des Beaux-Arts de Budapest avant de rejoindre la cavalerie austro-hongroise pour y servir durant la Première Guerre mondiale. En 1920 il se rend à Berlin où il y travaillera en tant que journaliste, tout en suivant les cours de l’académie des Beaux-Arts Berlin-Charlottenburg.

Halász déménage en 1924 pour Paris. Seul, il apprend le français en lisant les œuvres de Marcel Proust. Installé à Montparnasse, au cœur du Paris artistique des années 1920, il se lie à Henry Miller, Léon-Paul Fargue et Jacques Prévert.

Il reprend sa carrière de journaliste. Il écrivit plus tard que la photo l’avait aidé à saisir la nuit Parisienne, la beauté des rues et des jardins, qu’il pleuve ou qu’il vente. En utilisant son lieu de naissance, Gyula Halász se forge dès 1923 le pseudonyme de Brassaï qui signifie « de Brassó ». C’est sous ce nom qu’il s’impose comme celui qui a su capturer l’essence de la ville dans ses clichés, publiant un premier recueil en 1932 intitulé « Paris de nuit » qui reçoit un grand succès et le fera même surnommer « l’œil de Paris » par Miller dans l’un de ses essais. En dehors de ses photos du Paris interlope et sombre, Brassaï s’est aussi intéressé à la haute société, aux intellectuels, à la danse et à l’opéra. Il photographia nombre d’entre ses contemporains, tels Salvador Dalí, Pablo Picasso, Henri Matisse, Alberto Giacometti et certains des écrivains majeurs de l’époque : Jean Genet, Henri Michaux. Une de ses photographies de la série des Graffiti sera utilisée en couverture du recueil de Jacques Prévert Paroles en 1946.

Ses photographies offrirent à Brassaï une célébrité internationale. En 1956, son film « Tant qu’il y aura des bêtes » gagne un prix à Cannes, puis en 1974, il est élevé au rang de Chevalier des Arts et des Lettres, avant de recevoir en 1976, la Légion d’honneur. Il gagne le premier « Grand Prix national de la photographie », deux ans plus tard, à Paris. Il est exposé aux Rencontres d’Arles, (France), lors des soirées de projection au Théâtre Antique, en 1970 pour “Brassaï” de Jean-Marie Drot,et en 1972 pour “Brassaï si, Vominino” de René Burri. Il est l’invité d’honneur des Rencontres en 1974. Une exposition et une soirée d’hommage lui y sont consacrées.

En plus de ses œuvres photographiques, Brassaï écrivit dix-sept livres et de nombreux articles, dont en particulier Histoire de Marie, publié avec une introduction de Henry Miller.

Brassaï est enterré au Cimetière du Montparnasse, à Paris « (Wilkipia)

Brassaï-  Hôtel de passe, rue Quincampoix, 1932 ( Diana Slip Co Lingerie,)

Brassaï- Hôtel de passe, rue Quincampoix, c.1932

Brassai sans titre Fille dans un hôtel de passe, rue Quincampoix, 1932 Culotte et talons hauts, Diana Slip Co

Brassaï -Hôtel de passe rue Quincampoix, publicité pour la lingerie féminine Diana Slip 1932

Brassaï -Hôtel de passe rue Quincampoix, publicité pour la lingerie féminine Diana Slip 1932

Brassai sans titre Fille dans un hôtel de passe, rue Quincampoix, 1932 Culotte et talons hauts, Diana Slip Co

Brassai sans titre Fille dans un hôtel de passe, rue Quincampoix, 1932 Culotte et talons hauts, Diana Slip Co

Brassaï -Hôtel de passe rue Quincampoix, publicité pour la lingerie féminine Diana Slip 1932

Brassaï -Hôtel de passe rue Quincampoix, publicité pour la lingerie féminine Diana Slip 1932

brassai-hotel-de-passe-rue-quincampoix-publicites-pour-la-lingerie-feminine-diana-slip-1932-1

Brassaï -Hôtel de passe rue Quincampoix, publicité pour la lingerie féminine Diana Slip 1932

brassai-hotel-de-passe-rue-quincampoix-publicites-pour-la-lingerie-feminine-diana-slip-1932-3

Brassaï -Hôtel de passe rue Quincampoix, publicité pour la lingerie féminine Diana Slip 1932

Brassaï -Hôtel de passe rue Quincampoix, publicité pour la lingerie féminine Diana Slip 1932

Brassaï -Hôtel de passe rue Quincampoix, publicité pour la lingerie féminine Diana Slip 1932

Brassaï -Hôtel de passe rue Quincampoix, publicité pour la lingerie féminine Diana Slip 1932

Brassaï -Hôtel de passe rue Quincampoix, publicité pour la lingerie féminine Diana Slip 1932

Brassai sans titre Fille dans un hôtel de passe, rue Quincampoix, 1932 Culotte et talons hauts, Diana Slip Co

Brassai sans titre Fille dans un hôtel de passe, rue Quincampoix, 1932 Culotte et talons hauts, Diana Slip Co

Brassaï- Fille dans un hôtel de passe, rue Quincampoix,1932

Brassaï – Fille dans un hôtel de passe, rue Quincampoix, 1932 Culotte et bas, Diana Slip & Co

Brassaï-Hotel de passe , rue Quincampoix-1932

Brassaï – Fille dans un hôtel de passe, rue Quincampoix, 1932 Culotte et bas, Diana Slip & Co

Brassaï -Hôtel de passe rue Quincampoix, publicité pour la lingerie féminine Diana Slip 1932

Brassaï -Hôtel de passe rue Quincampoix, publicité pour la lingerie féminine Diana Slip 1932

Brassaï -Hôtel de passe rue Quincampoix, publicité pour la lingerie féminine Diana Slip 1932

Brassaï -Hôtel de passe rue Quincampoix, publicité pour la lingerie féminine Diana Slip 1932

Brassaï - Fille dans un hôtel de passe, rue Quincampoix, 1932 Culotte et bas et talons hauts, Diana Slip & Co

Brassaï – Fille dans un hôtel de passe, rue Quincampoix, 1932 Culotte et bas et talons hauts, Diana Slip & Co

Brassai sans titre Fille dans un hôtel de passe, rue Quincampoix, 1932 Culotte et talons hauts, Diana Slip Co

Brassaï – Fille dans un hôtel de passe, rue Quincampoix, 1932 Corset et talons hauts, Diana Slip & Co

 

Brassaï-La toilette, rue Quincampoix, vers 1932 &

Brassaï-La toilette, rue Quincampoix, vers 1932

Jaroslav Vávra

Jaroslav Vávra- untitled, 1964

Jaroslav Vávra- Untitled, 1964 1

Jaroslav Vávra- Untitled, 1964

Jaroslav Vávra- Studie IV (Šrafůra) or Šachové, 1969

Jaroslav Vávra- Studie IV (Šrafůra) or Šachové, 1969

Jaroslav Vávra- Striped Nude , 1966

Jaroslav Vávra- Striped Nude , 1966

Jaroslav Vávra- Arkady, 1964

Jaroslav Vávra- Arkady, 1964

Jaroslav Vávra- Srovnání, 1969

Jaroslav Vávra- Srovnání, 1969

Jaroslav Vávra - Spona, 1960Ss

Jaroslav Vávra – Spona, 1960Ss

Jaroslav Vávra- Checkered Nude ,  1966

Jaroslav Vávra- Checkered Nude , 1966

Jaroslav Vávra -Akt, 1969

Jaroslav Vávra -Akt, 1969

Jaroslav Vávra – Untitled,1969

Jaroslav Vávra – Untitled,1969

Jaroslav Vávra – Untitled,1969

Jaroslav Vávra – Untitled,1969

Jaroslav Vavra - Akt, , 1965

Jaroslav Vavra – Akt, , 1965

Jaroslav Vávra, Toaleta, 1969

Jaroslav Vávra, Toaleta, 1969

Jaroslav Vávra,  Lovec obrazů, 1969

Jaroslav Vávra, Lovec obrazů, 1969

Jaroslav Vávra -Op Art Nude, 1969

Jaroslav Vávra -Op Art Nude, 1969

Jaroslav Vávra- untitled, 1964

Jaroslav Vávra- untitled, 1964

 Jaroslav Vávra- Studie IV (Šrafůra), 1964

Jaroslav Vávra- Studie IV (Šrafůra), 1964

Jaroslav Vávra  1969

Jaroslav Vávra – Cover Akt 1969

Jaroslav Vávra - Plates from Fom Akty, 1969

Jaroslav Vávra – Plates from Fom Akty, 1969

Jaroslav Vávra -untitled nude, 1969

Jaroslav Vávra -untitled nude, 1969

Jaroslav Vávra -untitled nude, 1969

Jaroslav Vávra -untitled nude, 1969

Jaroslav Vávra -untitled nude, 1969

Jaroslav Vávra -untitled nude, 1969

Jaroslav Vávra -untitled nude, 1969

Jaroslav Vávra -untitled nude, 1969

Jaroslav Vávra -untitled nude, 1969

Jaroslav Vávra -untitled nude, 1969

Jaroslav Vávra -untitled nude, 1969 1

Jaroslav Vávra -untitled nude, 1969

 Jaroslav Vávra -Akt, 1969

Jaroslav Vávra -Akt, 1969

Jaroslav Vávra -untitled nude, 1969 Fom Akty, 1969

Jaroslav Vávra -untitled nude, 1969 Fom Akty, 1969

Jaroslav Vávra - Plates from Fom Akty, 1969

Jaroslav Vávra – Plates from Fom Akty, 1969

Jaroslav Vávra - Plates from Fom Akty, 1969

Jaroslav Vávra – Plates from Fom Akty, 1969

Jaroslav Vávra - Plates from Fom Akty, 1969

Jaroslav Vávra – Plates from Fom Akty, 1969

Jaroslav Vávra - Plates ,1969, from Fom Akty, 1971

Jaroslav Vávra – Plates ,1969, from Fom Akty, 1971

Jaroslav Vávra - Plates ,1969, from Fom Akty, 1971

Jaroslav Vávra – Plates ,1969, from Fom Akty, 1971

Jaroslav Vávra - Plates ,1969, from Fom Akty, 1971

Jaroslav Vávra – Plates ,1969, from Fom Akty, 1971

&

Jaroslav Vávra – Plates ,1969, from Fom Akty, 1971

Benjamin Strauss and Homer Peyton (Strauss-Peyton)

Benjamin Strauss and Homer Peyton -Anastasia Reilly, 1925

 

Photographers Benjamin Strauss and Homer Peyton, known simply as Strauss-Peyton, worked in Kansas City, Missouri, between 1908 and 1927, is one of the oldest photography studios in the USA. Seen as a considerable force in the growing world of celebrity photography, their clientele included such notable names as Harry S. Truman, Anna Pavlova, Douglas MacArthur, Franklin D Roosevelt, Enrico Caruso, Fred Astaire, the Marx Brothers, Mary Pickford, Al Jolson, Bette Davis, Douglas Fairbanks, Charlie Chaplin and Kansas City’s own Jean Harlow.

Trained in portraiture by his brother, Benjamin Strauss moved from St. Louis to Kansas City in 1900 and opened Strauss Studio with the motion picture pioneer and photographer, George Curtiss.

Strauss Peyton took advantage of Kansas City’s theatrical life with the multitude of visiting artists, performers and dignitaries from the three different theatrical circuits which provided plenty of photographic subjects.This led to the opening of a third studio location for Strauss Peyton in the lobby of the Muehlebach Hotel.
Strauss Peyton likewise became sought after for portraits of local Kansas City children, brides, families, businessmen and politicians, often having their portraits published in the society pages of the Independent Magazine and the Kansas City star. They even personally would make the gossip column occasionally. One such published report of Mr. Peyton dancing after dinner at the Plantation Grill with actress Fritzi Scheff, commented: « Someone, a spectator, remarked that Mr. Peyton was Kansas City’s official entertainer of celebrities. ».
By the mid-20’s, the partnership was crumbling.  Homer Peyton had taken over the running of the New York location in 1926 and preferred to focus on celebrities while Ben wanted to maintain a strong presence in Kansas City.  According to a Cleveland newspaper article: « The lure of New York struck the boys and they moved into the finest studio in Manhattan.  Business was sensational, until one day the partners argued and Ben walked out.  He was tired out. »  Strauss sold the studio to the DeCloud Family in 1926 and moved to Cleveland where he opened Ben Strauss Studio.  Peyton kept the New York studio operating until the stock market crash in 1929.  He closed the studio and moved across the country to Seattle where he opened a studio in the Olympic Hotel, which is now the Fairmont Olympic Hotel in downtown Seattle.

 

 

Benjamin Strauss and Homer Peyton -The Barr Twins,1920

 

Benjamin Strauss and Homer Peyton -Molly Dodd, c. 1914

Benjamin Strauss and Homer Peyton -Suzanne Caubet for Broadway’s The Squall, 1926-1927

Benjamin Strauss and Homer Peyton -Anastasia Reilly, 1925

Benjamin Strauss and Homer Peyton ,Zulieka Anastasia Reilly 1920

Benjamin Strauss and Homer Peyton ,Mildred Davis , 1925

 

Benjamin Strauss and Homer Peyton- Amelita Galli-Curci, soprano, 1931

Benjamin Strauss and Homer Peyton – Hilda Ferguson, 1919

Benjamin Strauss and Homer Peyton ,Pola Negri .1920

Benjamin Strauss and Homer Peyton -Dolores del Rio, c. 1920

Benjamin Strauss and Homer Peyton -Louise Brooks, 1915

Benjamin Strauss and Homer Peyton- Bette Davis , 1920s

Benjamin Strauss and Homer Peyton ,Evelyn Nesbit, 1920

Benjamin Strauss and Homer Peyton , Shirley Booth, 1927

Benjamin Strauss and Homer Peyton -Mistinguette avec boucles d’oreilles et collier, 1930

Benjamin Strauss and Homer Peyton -Luise Squire .1926

Benjamin Strauss and Homer Peyton -Myrtle Pierce .1926

Benjamin Strauss and Homer Peyton -Marion Chambers .1925

Benjamin Strauss and Homer Peyton -Belle Baker, 1915

Benjamin Strauss and Homer Peyton -Ruth St. Denis , 1916

Benjamin Strauss and Homer Peyton -Ruth St Denis , 1916

Benjamin Strauss and Homer Peyton -Ruth St. Denis , 1916

Benjamin Strauss and Homer Peyton – Ruth St Denis, 1918

Benjamin Strauss and Homer Peyton – Barbara La Marr, 1920

Benjamin Strauss and Homer Peyton -Marguerite de la Motte from Shadowland, june 1922

Benjamin Strauss and Homer Peyton -Anna-Pavlova 1912

Benjamin Strauss and Homer Peyton -Anna Pavlova, c. 1913

Benjamin Strauss and Homer Peyton -Anna Pavlova, c. 1913

Benjamin Strauss and Homer Peyton -Grace la rue ,1920

Benjamin Strauss and Homer Peyton – Jane Connelly, 1915

Benjamin Strauss and Homer Peyton – Audrey Allen, 1915

Benjamin Strauss and Homer Peyton -Gertrude Lawrence in Theatre, August 1927

Benjamin Strauss and Homer Peyton – Sonia Ledinova, 1922

Benjamin Strauss and Homer Peyton -Beatrice Burk, 1918

Benjamin Strauss and Homer Peyton -Anna-Pavlova 1912Benjamin Strauss and Homer Peyton -Shannon Day , 1922

Benjamin Strauss and Homer Peyton -Nan Halperin 1927

William Goldman

« Working Girls: An American Brothel Circa 1892 featuring unseen photographs of a 19th-century brothel by William I. Goldman. The exhibit debuts in conjunction with the release of a recently published book by art historian and curator Robert Flynn Johnson, titled Working Girls. The exhibition and book feature imaginative and artful photographs, which capture the artist’s deep appreciation and understanding for women who, circa 1892, lived and worked at an upscale brothel in Reading, PA.

The project began nearly 15 years ago when Johnson came across the bordello scenes at a vintage paper fair in Concord, Calif. Fascinated by the beautiful, Degas-like images, Johnson shared the shots with Serge and Tatiana Sorokko who went on to purchase a large portion of the collection. Over a decade later, Sorokko, a prominent art dealer, publisher and owner of Serge Sorokko Gallery in San Francisco, will showcase 25 photographs by Goldman, for which no negatives are known to exist, including 20 never-before-seen images and five images featured in Working Girls.

“Robert is a talented author, brilliant curator and a dear friend. When he reached out to me almost 15 years ago regarding these striking photographs of unnamed women, I knew immediately he must have come across something extraordinary. At the time, our knowledge about the pieces was minimal – what we saw were captivating, raw and provocative images that captured the authenticity of these women’s everyday lives,” recalled Sorokko. “After more than a decade of exhaustive research executed by Robert, it was then that we confirmed our earlier impression of the uniqueness and artistic and historical significance of the photographs. Providing glimpses of modernism and insights into the culture, sociology and fashion of the times, I am proud to debut them to the world at Serge Sorokko Gallery.”

As famed burlesque dancer and Working Girls contributing writer Dita Von Teese notes, “The local photographer and his anonymous muses appear to straddle an artful titillation, at times striving toward Degas nudes and at another, more in the spirit of a strip and tease. There is beauty in even the most mundane moments.” Von Teese, along with Professor Ruth Rosen and Dennita Sewell, are among three distinguished female authors enlisted by Johnson to provide insightful essays into the significance of these photos, which are of the same subject matter explored by artists like Degas, Lautrec, and Picasso in the 19th and 20th Centuries.

In addition to their evocative, sometimes ravishing nature, the photographs present insight into the era’s fashion often spotlighting stockings as seductresses’ accessories. The various fashion ensembles highlighted in these works help to further tell the stories of the women pictured.

Johnson commented, “These images were compelling individually but as a whole, they captured an unseen world of negotiated passion in American life, written about extensively but rarely, for good reason, documented visually. Multiple feelings of curiosity and excitement came over me after finally realizing the potential importance of these photographs. There was also a recognition that their acquisition carried responsibility to find out the story, which lay hidden behind those faces and figures from another era.”

With each image carrying a persona of its own, Johnson, curious to know more, began an investigation into their origin, authorship, and purpose and unearthed an impressive trove of information about more than two hundred vintage photographs of the Reading women. From inside the brothel, posing artistically for the camera, to their off-duty routines, the images portray the depth and diversity of the subject matters while offering a deeper understanding of the private world of the Reading brothel and the women who inhabited it ». source Juxtapose

 

From Working Girls by Robert Flynn Johnson, copyright © 2018, published by Glitterati Editions , 1892 by William Goldman

From Working Girls by Robert Flynn Johnson, copyright © 2018, published by Glitterati Editions , 1892 by  William Goldman

rom Working Girls by Robert Flynn Johnson, copyright © 2018, published by Glitterati Editions , 1892 by William Goldman

rom Working Girls by Robert Flynn Johnson, copyright © 2018, published by Glitterati Editions , 1892 by William Goldman

From Working Girls by Robert Flynn Johnson, copyright © 2018, published by Glitterati Editions , 1892 by William Goldman

From Working Girls by Robert Flynn Johnson, copyright © 2018, published by Glitterati Editions , 1892 by  William Goldman

 

From Working Girls by Robert Flynn Johnson, copyright © 2018, published by Glitterati Editions , 1892 by William Goldman

From Working Girls by Robert Flynn Johnson, copyright © 2018, published by Glitterati Editions , 1892 by  William Goldman

 

From Working Girls by Robert Flynn Johnson, copyright © 2018, published by Glitterati Editions , 1892 by William Goldman

From Working Girls by Robert Flynn Johnson, copyright © 2018, published by Glitterati Editions , 1892 by  William Goldman

From Working Girls by Robert Flynn Johnson, copyright © 2018, published by Glitterati Editions , 1892 by William Goldman

From Working Girls by Robert Flynn Johnson, copyright © 2018, published by Glitterati Editions , 1892 by  William Goldman

 

 

From Working Girls by Robert Flynn Johnson, copyright © 2018, published by Glitterati Editions , 1892 by  William Goldman

From Working Girls by Robert Flynn Johnson, copyright © 2018, published by Glitterati Editions , 1892 by  William Goldman

From Working Girls by Robert Flynn Johnson, copyright © 2018, published by Glitterati Editions , 1892 by William Goldman

Buy the book;Here & Here