Studio Manassé

 

All the articles about Manassé HERE

Studio Manassé (foto-Salon Manassé) -Manassé-The light 1920s

Studio Manassé (foto-Salon Manassé) – Kitty Lorenz1920s

Studio Manassé (foto-Salon Manassé) -Nude with bear 1920s

 

Studio Manassé (foto-Salon Manassé) -Nude on fur 1920s

Studio Manassé (foto-Salon Manassé) -The rest 1920s

Studio Manassé (foto-Salon Manassé) -Daisi Lindley 1920s

Manassé-The Austrian dancer and actress La Jana (Henriette Margarethe Hiebel),Vienna, Around 1930

Studio Manassé (foto-Salon Manassé) -Nude with stole 1920s

Studio Manassé, 1930

STUDIO MANASSÉ (1922–1938) & OLGA WLASSICS (1896–1969) ‘Madame Bluebeard_ (Madame Blaubart), c. 1931 Vintage silver print,

Studio Manassé-Post card. Photography, Vienna. Around 1928.

Atelier Jacob Merkelbach

« Jacob Merkelbach was the founder of one of the most famous Amsterdam portrait photography studios of the twentieth century on the fifth floor of fashion house Hirsch at Leidseplein Studio J Merkelbach ( Atelier Merkelbach) In the luxurious studio above the fashion warehouse Hirsch on the Leidseplein, he photographed almost all famous Dutch people from the theater world, writers, artists, businessmen and the wealthy Amsterdam bourgeoisie. Taking pictures of Abel Herzberg, André Herzberger, Carel Asser Daniel comme Mata Hari , Fien de la Mar , Théo Mann-Bouwmeester , Willem Mengelberg et Abel Herzberg , se sont fait capturer sur l’album sensible.and many others. His photographs are unique and of exceptional quality. You can see here the galery of protraits  .The personal signature in the design and execution of each portrait, the technical knowledge of the staff and the professional cooperation of the daughter and son-in-law made this workshop a well-running company that, after Merkelbach’s death, could be continued until 1969.

 

Jacob was born on April 29, 1877 and was the son of John Wilhelm Merkelbach and Maria Antonia van Schaik. His parents had a shop on the Nieuwendijk 57-59, which was sold mainly technical toys, and a fireworks factory in Amsterdam.
The fireworks factory was rebuilt in the 90s of the 19th century to a daylight film. This father did after he came into contact with Lumiére. Financially it was not profitable and father decided to go into all the photography. The case on the Nieuwendijk was an important place for the sale of photographic equipment. Above the case opens the son-father Machiel Laddé a workshop.
This workshop is Jacob works and continues to do so for about 10 years. There he learned the profession. In 1902 married with Josephine Harmsen and get on April 21 1904 they can daughter Maria Antonia (Mies). Later, Mies goes to work in the photo studio.
In 1913 own studio opens on Leidseplein 29, on the 5th floor of Hirsch. In 1924 Mies is working in the studio after she completed training at the Dagteken- Art and Craft School for Girls in Amsterdam. Her work in the studio is to retouch, enhance, and print photos.

In 1932 comes Lambert JM Rosenboom (15 Feb 1905, also known as Bobby) in the company work. Mies married him in 1939.
On February 6, 1942 dies Jacob Merkelbach. His daughter Mies puts the company on, her husband Bobby is arrested in 1941 and the remainder of the war in German captivity. Mies makes this period illegal passport photos in the studio, while the Germans regularly on the floor is due to the anti-aircraft guns on the roof of Hirsch & Cie.
Atelier Merkelbach gets in 1948 the honorable mission to Queen Wilhelmina portraits, one of the pictures the ceremonial of the Queen is.
In the 50’s declining interest in portrait photography. Photography is available for consumers by becoming less expensive devices. This also affects Atelier Merkelbach. In 1969, the company, on April 29 – the birthday of Jacob Merkelbach – lifted. There are 150,000 glass negatives of exceptional historical value. These will be donated to the City of Amsterdam. « by  scherptediepte.nl

I made the choice to propose you the photographs which represent dancers or nudes and some delicate portraits
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Dancers

Studio Merkelbach Alice Sally Mary (Lili) Green,1915

Studio Merkelbach Johanna Wittrock,1919

Studio Merkelbach Adriana (Henriette Blazer) Blaaser,1923

Studio Merkelbach Luise Aguste Julie (Luise) Marheineke,1919

Studio Merkelbach Angèle Sydow,1916

Jacob Merkelbach Angèle Sijdow, 1917-19

Jacob Merkelbach, the dancer Claire de Jongh in profile in tight dance pose 1927 – 1928

Jacob Merkelbach, the dancers Menagerie Folmer   and Claire de Jongh with right leg raised 1927 – 1928

Atelier Jacob Merkelbach-The dancers Gerie Folmer and Claire de Jongh in a symmetrical pose , 1927-28

Studio Merkelbach Wilhelmina (Mien) Loevendie,1930

Studio Merkelbach Mary Wigman,1922

Jacob Merkelbach Mary Wigman , 1922

Atelier Jacob Merkelbach -Mary Wigman .19120-30

Studio Merkelbach 1920

Studio Merkelbach Wilhelmina (Mien) Loevendie ,1915

Studio Merkelbach Wilhelmina (Mien) Loevendie ,1915

Studio Merkelbach Wilhelmina (Mien) Loevendie ,1915

Studio Merkelbach Wilhelmina (Mien) Loevendie ,1915

Studio Merkelbach Wilhelmina (Mien) Loevendie ,1915

Studio Merkelbach Lydia Lyta ,1915

Studio Merkelbach Alice Sally Mary (Lili) Green ,1915

 

Studio Merkelbach Wilhelmina (Mien)- 1918

Studio Merkelbach Wilhelmina (Mien)- Angele Sydow 1916

Studio Merkelbach Mies Rosenboom-Merkelbach, Angele Sydow,1916

Studio Merkelbach Mies Rosenboom-Merkelbach, Angele Sydow,1916

Studio Merkelbach Mies Rosenboom-Merkelbach, Angele Sydow,1916

Studio Merkelbach Mies Rosenboom-Merkelbach, Angele Sydow,1916

Studio Merkelbach Margaret Walker,1915

 

Studio Merkelbach, 1928

Jacob Merkelbach- Josephina Johanna (Fien) de la Mar (1898-1965), 1919

Atelier Jacob Merkelbach-The dancer Gerie Folmer .1927

Atelier Jacob Merkelbach-The dancer Gerie Folmer, half-legged, with bare-chested, 1927-28

Jacob Merkelbach-Danseres met lichtbol, , 1920

Studio Merkelbach, 1928

Studio Merkelbach Mies Rosenboom-Merkelbach, Angele Sydow,1919

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Nudes

Studio Merkelbach Johanna Wittrock,1918

studio-merkelbach-mies-rosenboom-merkelbach-19132

Jacob Merkelbach-naakt, 1925 – 1940

Jacob Merkelbach- Porrtret van Mies Rosenboom-Merkelbach als zittend naakt, 1925 – 1940

Studio Merkelbach mies-rosenboom-merkelbach-1913

Jacob Merkelbach (Attributed to) – Portrait of a seated nude, 1915-1930

Jacob Merkelbach- Naked woman sitting with hands held up to a white circle painted been light, 1925 – 1945

Studio Merkelbach Johanna Suers ,1933

Studio Merkelbach Johanna Suers ,1933

Studio Merkelbach Johanna Suers ,1933

Studio Merkelbach Johanna Suers ,1933

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Portraits

Studio Merkelbach 1920

Studio Merkelbach 1920

 

Atelier Jacob Merkelbach-Woman’s portrait with eyes closed on behalf of Film Productie Maatschappij ‘Neerlandia’.1938

Studio Merkelbach Wilhelmina (Mien)-Portrait 1921

Atelier Jacob Merkelbach-Nola Hatterman, 1922

Atelier Jacob Merkelbach-Beschrijving A. Roland Holst de Meester , 1927

Atelier Jacob Merkelbach-Beschrijving Helena Dorothea Catharina .1919

Atelier Jacob Merkelbach-Fashion photo for ‘De Prijslijst’, Reguliersbreestraat 15-17,1920-22

Atelier Jacob Merkelbach-Toneelplayer Mien van Kerckhoven-Kling (1894-1966), 1914

Jacob Merkelbach- Mevr. Brandes met sigaret en roos in het haar,1910 – 1919

Atelier Jacob Merkelbach-Corry Schiller-Italiaander (1886-1971), 1907

Atelier Jacob Merkelbach-Corry Schiller-Italiaander , nd

Atelier Jacob Merkelbach-Corry Schiller-Italiaander .1917

Studio Merkelbach 1918

Studio Merkelbach 1918

Studio Jacob Merkelbach Mevr. van Kerkhoven, 1927

Studio Jacob Merkelbach Mevr. Kauffeld, 1926

Studio Jacob Merkelbach Mevr. Meyer, 1927

Studio Jacob Merkelbach Mevr. Jonas, 1928

Studio Jacob Merkelbach Mevr. Dresden, 1921

Studio Jacob Merkelbach Mej. Meijer, 1913

Jacob Merkelbach-Chaja Goldstein tijdens toneelspel,1930 – 1960

Atelier Jacob Merkelbach-Portrait of a young woman in white dress, 1920-22

Atelier Jacob Merkelbach-Maria Antonia (Mies) Merkelbach .1922

Atelier Jacob Merkelbach-Sophie Davids .1917

Atelier Jacob Merkelbach-Teddy Schaenk, nd

Jacob Merkelbach-Portret van Mies Rosenboom-Merkelbach,1920 – 1930

Jacob Merkelbach-Portret van Mies Rosenboom – Merkelbach met witte hoofdbedekking, 1930 – 1970

Jacob Merkelbach-Reclamefoto, voor het atelier van Merkelbach, met danseres Angèle Sydow,1916

Jacob Merkelbach-Portret van Manuela del Rio gekleed in Griekse jurk,1915 – 1930

Jacob Merkelbach-Portret van gesluierde vrouw,, ca. 1920 – ca. 1930

Jacob Merkelbach- Portrait Of Young Woman With Necklace, 1920 – 1930

Jacob Merkelbach-Portret Mies Rosenboom-Merkelbach in blauwe jurk, 1920 – 1930

 

Jacob Merkelbach- Portrait Of A Woman In A Red Dress, 1920 – 1930

Studio Merkelbach, [Portrait of an unknown woman], between 1919 and 1929, Jos-Pé colour process

Studio Merkelbach divas,

Atelier Jacob Merkelbach-Fashion Photo with lying model in evening dress, neck necklace and earrings, 1935

Atelier Jacob MerkelbachTeixeira de Mattos, 1930

Atelier Jacob Merkelbach-Margaretha Geertruida (Mata Hari) .1915

Studio Merkelbach 1921

Studio Merkelbach 1920

Studio Merkelbach 1920

             http://redeenportret.nl/

Sent M’ahesa (Else von Carlberg)

Sent M’Ahesa

“Such confusion of identity did not apply in the case of Sent M’Ahesa (Elsa von Carlberg 1893-1970), whom audiences persisted in identifying with Egyptian dances (though her dance aesthetic  included images from other ancient o exotic cultures). She performed all her dances solo. Born in Latvia, she went to Berlin in 1907 with her sister to study Egyptology but became so enchanted with ancient Egyptian art and artifacts that she decided to pursue her interest through dance rather than scholarship… Under he name of Sent M’Ahesa, she presented a program of Egyptian dances in Munich in December 1909 (Ettlinger). From then until the mid-1920s, she achieved fame for her exceptionally dramatic dances dominated by motifs from ancient Egyptian iconography. …

Her dances always functioned in relation to intricate, highly decorative costumes of her own design, so that it appeared as if she chose movements for their effect upon her costume.  In her moon goddess (or Isis) dance, she attached large, diaphanous cloth wings to her black-sleeved arms… Sent M’Ahesa often exposed her flesh below the navel, but I have yet to find a picture of her in which she exposed her hair, so keen was she on the use of wigs, helmets, caps, scarves, kerchiefs, tiaras, masks, and crowns. In her peacock dance, she attached a large fan of white feather plumes to her spine. In other dances, she draped herself with tassels, decorative aprons, double sashes, layers of jeweled necklaces, and arm, wrist, and ankle bracelets. Only in her Indian dances did she wear anything resembling pants. …

… her body was wonderfully svelte, and her face displayed a cool, chiseled beauty, I think, rather, that she sought to decontextualise female beauty and erotic feeling from archetypal images of them originating in cultures other than her own or her audience’s; she sought to dramatize a tension between a modern female body and old images of female desire and desirability. Ettlinger, in 1910, was perhaps more accurate when he remarked that

“Sent M’Ahesa’s dance has nothing to do with what one commonly understands as dance. She does not produce “beautiful,” “sensually titillating” effects. She does not represent feelings, “fear,” “horror,” “lust,” “despair,” as “lovely.” Her are requires its own style. Her movements are angular, geometrically uncircular, just as we find them in old Egyptian paintings and reliefs. Neither softness of line nor playful grace are the weapons with which she puts us under her spell. On the contrary: her body constructs hard, quite unnaturally broken lines. Arms and legs take on nearly doll-like attitudes. But precisely this deliberate limiting of gestures gives her the possibility of until now unknown, utterly minute intensities, the most exquisite of refinements of bodily expression. With a sinking of the arm of only a few millimeters, she calls forth effects which all the tricks of the ballet school cannot teach.”

Sent M’Ahesa was similar to Schrenck in one respect, even though Schrenck never performed exotic dances: both project and intensely erotic aura while moving within a very confined space. They showed persuasively that convincing signification of erotic desire or pleasure did not depend on a feeling of  freedom in space, as exemplified in the convention of ballet and modern dance, with their cliched use of runs, leaps, pirouettes, and aerial acrobatics. These dancers revealed that erotic aura intensifies in relation to an acute sense of bodily confinement, of the body imploding, turning in on itself, riddled with tensions and contradictory pressures. They adopted movements to portray the body being squeezed and twisted, drifting in to a repertoire of squirms, spasms, angular thrusts, muscular suspensions. Contortionist dancing is perhaps the most extreme expression of this aesthetic. But Sent M’Ahesa complicated the matter by doing exotic dances – that is, she confined her body within a remote cultural-historical context, as if to suggest that the ecstatic body imploded metaphorical as well as physical space.”

Karl Eric Toepfer, “Solo Dancing,” in Karl Eric Toepfer. Empire of Ecstasy: Nudity and Movement in German Body Culture, 1910-1935. University of California Press, 1997, pp. 175-179.  artblart.com

 

Atelier binder – The dancer Sent M’ahesa (Else von Carlberg)portrait – 1919

 

Atelier binder – The dancer Sent M’ahesa (Else von Carlberg)portrait – 1919

Atelier binder – The dancer Sent M’ahesa (Else von Carlberg)portrait – 1919

Sent M’Ahesa by Josef Pesci published in Deutsche kunst und dekoration by Koch, Alex. (Alexander), 1860-1939

Sent M’Ahesa by Josef Pesci published in Deutsche kunst und dekoration by Koch, Alex. (Alexander), 1860-1939

Hanns Holdt- Elsa Carlsberg aka Sent M´ahesa in The Artistic Dance Our Time by Hermann Aubel and Marianne Aubel, 1928 .

Hugo Erfurt, Dresden. La danza artística de nuestro tiempo 1928(Foto. Theatermuseum Düsseldorf)

Hugo Erfurt, Dresden. La danza artística de nuestro tiempo 1928

Hugo Erfurt, Dresden. La danza artística de nuestro tiempo 1928

Franz Löwy – Elsa von Carlberg aka Sent M´ahesa ( from Historical Magazine- Photos ) , 1910

Hanns Holdt- Elsa von Carlberg aka Sent M´ahesa München in The Artistic Dance Our Time by Hermann Aubel and Marianne Aubel, 1928

Hanns Holdt- Elsa von Carlberg aka Sent M´ahesa München in The Artistic Dance Our Time by Hermann Aubel and Marianne Aubel, 1928

Else von Carlberg (lavanimi Sent Mahesa)1923 aire.opera.ee

Hannes Holdt -Sent M’ahesa (Else von Carlberg) – Dancer, Sweden – portrait – 1918

Hannes Holdt -Sent M’ahesa (Else von Carlberg) – Dancer, Sweden – portrait – 1917, published in 1920

Hanns Holdt -Sent M’Ahesa 1928

Sent M’ahesa (Else von Carlberg) by Hanns Holdt, Berlin, 1928

Franz Löwy, Sent M’Ahesa (Elsa von Carlberg) in peacock costume , c 1928 from The artistic dance of our time by H. and M Aubel. Leipzig K. R. Langewiesche, 1928

 

sent-mahesa-dancer-sweden-portrait-1909

Hanns Holdt- Elsa von Carlberg aka Sent M´ahesa München in The Artistic Dance , 1920

Sent Mahesa Else von Carlberg-Hogo Erfurth, resden aus der kunstlerische tanz unserer zeit,1928

Hanns Holdt – Sent M’Ahesa 1917, From The Artistic Dance of Our Time 1928

Hanns Holdt- Elsa von Carlberg aka Sent M´ahesa München in The Artistic Dance , 1917 HALFTONE Photograph

Hanns Holdt- Elsa von Carlberg aka Sent M´ahesa München in The Artistic Dance , 1917 HALFTONE Photograph From The Artistic Dance of Our Time 1928

Sent M’ahesa (Else von Carlberg) – Dancer, Sweden – portrait – 1913

Madame d’Ora (Arthur Benda) -Sent M’Ahesa, nd

Albert Wyndham

 

Albert Wyndham -Contorsion Paris, fin des années 1920 Épreuve argentique

Albert Wyndham -Tension Paris, fin des années 1920 Épreuve argentique

Albert Wyndham -untitled Paris – stamped – 1920s silver gelatin

Albert Wyndham -Untitled 1930s, silver gelatin print

Albert Wyndham -Untitled 1930s, silver gelatin print

Albert Wyndham – from Album of Original Gelatin Silver Prints Erotic, Dessous by Albert Wyndham, c. 1930

Albert Wyndham – from Album of Original Gelatin Silver Prints Erotic, Dessous by Albert Wyndham, c. 1930

Albert Wyndham – from Album of Original Gelatin Silver Prints Erotic, Dessous by Albert Wyndham, c. 1930

Albert Wyndham -Untitled French Lingerie 1930s, silver gelatin print

Albert Wyndham – Untitled , Paris around 1919 with the courtesy of the personal collection © Siegfried Sander

 

Albert Wyndham -Untitled 1920s, silver gelatin print

Albert Wyndham -Down by the River 1930s, silver gelatin print

Albert Wyndham -Untitled 1920s, silver gelatin print

Albert Wyndham -Stylish Gal with a pair of unique hosiery 1930s, silver gelatin print

Albert Wyndham – Untitled 1930 , gelatine silver print From EroticPhotography by Alexandre Dupuyp 183 , 2011

Albert Wyndham -untitled 1920s to 1930s silver gelatin print

Albert Wyndham -untitled 1920s to 1930s silver gelatin print

Albert Wyndham -untitled 1920s to 1930s silver gelatin print

Albert Wyndham -untitled 1920s to 1930s silver gelatin print

Albert Wyndham -Untitled 1930s, silver gelatin print

Albert Wyndham Female Nude Wearing Black Hat and Mask, circa 1900

 

PETIT CHOC Les Deux Tournelles, 1930. Photographs by Albert Wyndham

PETIT CHOC Les Deux Tournelles, l’attente 1930. Photographs by Albert Wyndham

PETIT CHOC Les Deux Tournelles, 1930. Photographs by Albert Wyndham

PETIT CHOC Les Deux Tournelles,1930. Photographs by Albert Wyndham

PETIT CHOC #4 Fetish Photos, Photographs by Albert Wyndham

PETIT CHOC #4 Fetish photos, Photographs by Albert Wyndham 1930

PETIT CHOC #4 Fetish Photos, Photographs by Albert Wyndham 1930

PETIT CHOC #4 Fetish Photos, Photographs by Albert Wyndham

Carabin François Rupert

Carabin François-RupertFemme nue couchée de dos, les pieds en l’air 1895-1910

Carabin François Rupert Femme nue debout de dos jambe levée

Carabin François-Rupert Femme nue couchée de dos, visage vers objectif

Carabin François-Rupert

Carabin François-Rupert

Carabin François-Rupert

Carabin François-Rupert Femme nue accroupie de dos, 1895-1910

Carabin François-Rupert FFemme nue assise de dos 1895-1910

Carabin François-Rupert Femme nue debout de profil droit1895-1910

Carabin François-Rupert Femme nue debout de face, main droite derrière la tête

Carabin François-Rupert Femme nue debout de face, bras gauche plié, couvrant le visage 1895-1910

Carabin François-Rupert Femme nue accroupie de dos, 1895-1910

Albert Arthur Allen-Nudes outdoors

Albert Arthur Allen- Nude,The Isle , 1920s

Nude study,1920 by Albert Arthur Allen

Albert Arthur Allen- Cypress Cove, 1922, Oakland, California.

Albert Arthur Allen – 1919

Albert Arthur Allen – 1919

Albert Arthur Allen

Albert Arthur Allen

Albert Arthur Allen -, 1919

Albert Arthur Allen- Nude, From Out of the Sea , 1920

Albert Arthur Allen -, 1919

Albert Arthur Allen- Breakers

Albert Arthur Allen – 1919

Albert Arthur Allen Daisy,

Albert Arthur Allen Daisy,

Albert Arthur Allen Molly

Albert Arthur Allen Daisy,

Albert Arthur Allen Daisy,

Albert Arthur Allen Janet

Albert Arthur Allen Molly

Albert Arthur Allen Molly

Albert Arthur Allen Molly

Albert Arthur Allen Janet

Albert Arthur Allen Janet

Albert Arthur Allen Molly

Albert Arthur Allen Molly

Albert Arthur Allen Promotional Brochure from Alo Studios Oakland- Sepentine forest, 1922

Albert Arthur Allen Promotional Brochure from Alo Studios Oakland- Sepentine forest, 1922

Albert Arthur Allen Promotional Brochure from Alo Studios Oakland- Sepentine forest, 1922

Albert Arthur Allen The Soul of the Cypress,1922

Albert Arthur Allen- Nude-The Soul of the Cypress 1,920s

Albert Arthur Allen- The Pool , from The Grotto Series,1920s

Albert Arthur Allen, The Silver Pond Girl, 1920s,

Albert Arthur Allen – Sepentine forest, 1922

Albert Arthur Allen

Albert Arthur Allen

Albert Arthur Allen Nude, 1916

Albert Arthur Allen Nude, 1916

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