Studio Manassé

Atelier Manassé- Paris Plastique 1928 for The cover of Paris Plastique (art deco magazine)- #3, 1928

Atelier Manassé- Paris Plastique 1928 for The cover of Paris Plastique (art deco magazine)- #3, 1928

Atelier Manassé- Cover paris Studio,#2, 1930_

Atelier Manassé- Cover paris Studio,#2, 1930

Atelier Manassé-..In Plaisirs magazine 1932.

Atelier Manassé- Dangerous Passion, painting of Heroin addiction, published in Studio Manasse , paris Plaisir magazine, 1929 from the book Voluptuous Panic

Atelier Manassé- Déhbillage pour Pages Folles n°6, mars 1934

 

Roberto Baccarini Part II

Roberto Baccarini Arimand-Banu gelatin silver print, 1930’s

Roberto Baccarini Elizaveta “Lila” Nikolska gelatin silver print, 1930’s

Roberto Baccarini. Nude , gelatin silver print 1930

Roberto Baccarini Mary Raoul sul set di ‘Fiori d’arancio’ ,gelatin silver print, 1930’s

Roberto Baccarini Rosetta Pedrani , 1930s, gelatin silver print.

Roberto Baccarini -Wanda Osiris ,1930’s gelatin silver print

Roberto Baccarini – Wanda Osiris ,1930’s gelatin silver print

Roberto Baccarini Nana de Herrera ,gelatin silver print, 1930’s

Roberto Baccarini – Wanda Osiris ,1930’s gelatin silver print

Roberto Baccarini Lina Gennari ,1930s gelatin silver print, 1930’s

Roberto Baccarini – Lidia Martora ,1930’s, gelatin silver print.

Roberto Baccarini Jo-Hai Tong Vintage gelatin silver print, 1930’s

Roberto Baccarini Bea Egervary gelatin silver print, 1930’s

Roberto Baccarini Elizaveta “Lila” Nikolska gelatin silver print, 1930’s

Roberto Baccarini Claude Génia Vintage gelatin silver print.

Roberto Baccarini Donna Maria Mirka 1940

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

E.O. Hoppé- Anna May Wong’s hands , 1925-26

E.O. Hoppé- Anna May Wong, 1926 © E.O. Hoppé Corbis

E.O. Hoppé- Anna May Wong, 1926 © E.O. Hoppé Corbis

E.O. Hoppé- Anna May Wong, 1925-26 © E.O. Hoppé Corbis

E.O. Hoppé- Anna May Wong, 1925-26 © E.O. Hoppé Corbis

E.O. Hoppé- Anna May Wong, 1925 © E.O. Hoppé Corbis

E.O. Hoppé- Anna May Wong, 1925 © E.O. Hoppé Corbis

E.O. Hoppé- Anna May Wong, 1925 © E.O. Hoppé Corbis

je l’ai ai achetées donc je les marque puisque personne n’est capable , sauf les bons !!! de citer ses sources; je découvre des sites comme je ne le citerai pas, ( pas de pub pour lui) où mon blog en entier y est!!! Des magazines comme juxtapoz sinon, et ne parlons de the redlist là c’est le bouquet !!!!!

Cela en est assez des personnes qui se servent, qui ne se demandent pas si l’on paie pour avoir ces photos, si on achète des livres, si on redimensionne les photographies, si on les nettoie.

Le self service gratuit. Je dis Non.

Underwood & Underwood

Underwood & Underwood -active Ottawa, Canada and New York 1880s – 1940s, Photographer (Photography, Stereoscopic, Photojournalism),  Publisher. The Underwood brothers, Elmer (1859-1947) and Bert (1862-1943) began the company by selling stereoscopes door to door.TThe company originally sold stereoscopic , as well as home stereoscope kits. The company grew rapidly, eventually moving to New York (1887), producing its own photographs (1891). By 1901, they were selling 300,000 stereoscopes a year and producing more than 25,000 cards a day. The company established branches in Baltimore, London, and Canada, and relocated their headquarters to New York City in 1891. They providing photographs to newspapers (1896), and establishing a wire-service-like sales agency (1904). They sold their back catalogue and rights to the Keystone View Company (which was subsequently acquired by Mast Industries in the 1970s.) in 1920 and unincorporated in the early 1940’s.

Underwood and Underwood dominated the news-photography industry until 1920

An army of freelance news photographers was fielded and newspaper and magazine publishers seeking to break away from traditional line drawings and wood cut illustrations clamored for Underwood and Underwood prolific output.

Around 1904 they set up a sales agency that would virtually dominate the news photo field for the next 30 years.  For exemple they were activs in the Moffett Studio ( partnership between Evan Albert Evans and camera artist George Moffett in 1905). In the latter 1910s, Moffett turned over the theatrical photography to camera artist Paul R. Stone who, though he was not granted credit on images, was allowed to voice expert opinions under his own name in the press. Stone handled the celebrity shoots until Evan Evans turned over direction of the studio to a management team appointed by Underwood and Underwood in mid-1920s. At that juncture he joined Raymor Studios in Chicago, a gallery that ran a diversified business in the city. Rebranded the Paul R. Stone-Raymor Studios they remained an active business from the 1920s through the 1940s. However, the arrest by the F.B.I. of studio employee Earnest D. Wallis for possession of photographs of classified plans for the A bomb in 1947 fatally damaged the studio’s reputation. In the 1940s, Underwood & Underwood sold Moffett Studio to the partnership of Robert T. McKearnan and Jack Russell.

More on wikipedia.org

Of course, those are not the Stereoscopes interest in their work,  although that is what retains them. Rather, it is the second phase of their development which I like. Beautiful portraits , including the greatest artists of the time. They published mainly in magazines, (I put an example of what they could be asked to produce. ) , Which restricts the possibility of finding proof silver gelatin prints . No Nudes this time , but still the favorites subjects : Actresses years 1910-20s , dance, and the improbable event testimony. The next time i will propose  fashion photos and other artists)

( But i really like this album ( Publisher) ,   » Is Marriage a Failure? »

Underwood & Underwood and the actress Theda Bara

[More about their collaboration HERE]

Underwood and Underwood- Theda Bara, from the book Amillion and one Nights, a history of the motion Picture by Terry Ramsaye . Ed° Routlege, 2012

Underwood and Underwood- Theda Bara, from the book Amillion and one Nights, a history of the motion Picture by Terry Ramsaye . Ed° Routlege, 2012

Underwood & Underwood- Portrait of Theda Bara , Autographed © Underwood & Underwood- Corbis

Underwood & Underwood- Portrait of Theda Bara , Autographed , 1915 © Underwood & Underwood- Corbis

Underwood & Underwood - Theda Bara, as the vampire , in A Fool There Was directed by Frank Powell, 1915 variante

Underwood & Underwood – Theda Bara, as the vampire , in A Fool There Was directed by Frank Powell, 1915 variante

Underwood & Underwood-Theda Bara, 1916

Underwood & Underwood-Theda Bara, 1916

Underwood & Underwood-Theda Bara, 1916, [Direction William Fox], New York publicity For newspaper and magazines ( courtesy UCLA arts library)

Underwood & Underwood-Theda Bara, 1916, [Direction William Fox], New York publicity For newspaper and magazines ( courtesy UCLA arts library)

 

 

Theda Bara by Underwood & Underwood Studios, N.Y.1915

 

 

Underwood & Underwood- Theda Bara, 1915

Underwood & Underwood- Theda Bara, 1915

Underwood & Underwood- Theda Bara, 1915

Underwood & Underwood- Theda Bara, 1915

another one chicago tribune.1917

******************************

Underwood & Underwood and Performer,  Personality, Dancer, Painter, Actress, Still Life

 

The actress Virginia Pearson,posing for a risque shot. by Underwood & Underwood studio, 1926

Nude Study of Billie Dove, Motion Picture Star Ziegfeld. Photo by © Underwood & Underwood

Nude Study by © Underwood & Underwood, around 1915-1920

Underwood & Underwood-Isadora Duncan Performing on Beach, 1910s © Underwood & Underwood- Corbis

Underwood & Underwood-Isadora Duncan Performing on Beach, 1910s © Underwood & Underwood- Corbis

Agnes Boone, left,dancing with her sister, Honorita in New York City, March 16, 1927 Photo by Underwood & Underwood

Underwood & Underwood Anna may wong in Chicago1925

Underwood & Underwood Anna may wong in Chicago1925

Billie Dove Posing Nude around 1920 Photo by Underwood & Underwood

ca. 1910, USA --- Two women in swimwear enjoy a tandem bike ride down the beach with parasols in hand. --- Image by © Underwood & Underwood/Underwood & Underwood/Corbis

ca. 1910, USA — Two women in swimwear enjoy a tandem bike ride down the beach with parasols in hand. — Image by © Underwood & Underwood/Underwood & Underwood/Corbis

Mae West Starring in The Heat’s On1943 Photo by Underwood & Underwood

Underwood & Underwood-Miss Helen Mead of Washington Wearing Diving Cap Resembling a Rooster at the Lake Placid Swimming Club.© Underwood & Underwood- Corbis

Underwood & Underwood-Miss Helen Mead of Washington Wearing Diving Cap Resembling a Rooster at the Lake Placid Swimming Club.© Underwood & Underwood- Corbis

Underwood & Underwood-Mary Philbin on Chick-Drawn Cart Original caption by Rather Novel, nd © Underwood & Underwood- Corbis.

Underwood & Underwood-Mary Philbin on Chick-Drawn Cart Original caption by Rather Novel, nd © Underwood & Underwood- Corbis.

Underwood & Underwood- Miss Sonja Henie (Olympic Games champion)1928 © Underwood & Underwood-Corbis

Underwood & Underwood- Miss Sonja Henie (Olympic Games champion)1928 © Underwood & Underwood-Corbis

Underwood & Underwood- Virginia Pearson 1920s. Gelatin silver print (Coll Roger Corbeau)

Underwood & Underwood- Virginia Pearson 1920s. Gelatin silver print (Coll Roger Corbeau)

Underwood & Underwood- Portrait of Valeska Suratt, 1920s. Gelatin silver print (Coll Roger Corbeau)

Underwood & Underwood- Portrait of Valeska Suratt, 1920s. Gelatin silver print (Coll Roger Corbeau)

Underwood & Underwood- Dorothy Bernard (1890-1955) in 1920s Egypt. Gelatin silver print (Coll Roger Corbeau)

Underwood & Underwood- Dorothy Bernard (1890-1955) in 1920s Egypt. Gelatin silver print (Coll Roger Corbeau)

Underwood & Underwood- Dorothy Bernard (1890-1955) in 1920s Egypt. Gelatin silver print (Coll Roger Corbeau)

Underwood & Underwood- Dorothy Bernard (1890-1955) in 1920s Egypt. Gelatin silver print (Coll Roger Corbeau)

Underwood & Underwood-lore Revalles( russian Dancer) studies the motion of snakes to gain ideas for her new serpent dance, vening public ledger., October 05, 1916

Underwood & Underwood-lore Revalles( russian Dancer) studies the motion of snakes to gain ideas for her new serpent dance, vening public ledger., October 05, 1916 Found Here

Underwood & Underwood- The dancer Flore Revalles with a snake, 1916

Underwood & Underwood- The dancer Flore Revalles with a snake, 1916

Underwood & Underwood- Miss Eleanor Link, 16 year, Wrestling an Alligator © Underwood & Underwood-Corbis

Underwood & Underwood- Miss Eleanor Link, 16 year, Wrestling an Alligator © Underwood & Underwood-Corbis

Underwood & Underwood-Dorothy Newell Wearing a Suffrage Slogan, 1900-1910s© Underwood & Underwood- Corbis

Underwood & Underwood-Dorothy Newell Wearing a Suffrage Slogan, 1900-1910s© Underwood & Underwood- Corbis

Underwood and Underwood Studios- Edith de Lis – American Opera singer.

Underwood and Underwood Studios.Photograph of unidentified dancer

Underwood & Underwood - Nina Foch

Underwood & Underwood – Nina Foch, nd

Underwood & Underwood- The Performer Lilyan Tashman, Washington DC, c.1923.

Underwood & Underwood- The Performer Lilyan Tashman, Washington DC, c.1923.

Underwood & Underwood-Margaret Horton, Dr. Waite’s Plaza companion, Mystery Woman in Peck poison case, 1916

Underwood & Underwood-Gabrielle Coco Chanel in suit and beret, 1931 © Underwood & Underwood-Corbis.

Underwood & Underwood-Gabrielle Coco Chanel in suit and beret, 1931 © Underwood & Underwood-Corbis.

Underwood & Underwood., Nearly a mile straight down and only a step–from Glacier Point (N.W.) across valley to Yosemite Falls, Yosemite, Cal. 1900-1910

Underwood & Underwood- Claude Monet standing in his studio with a panel of his Nympheas mural., Giverny, France , 1914-18 © Underwood & Underwood-Corbis

Underwood & Underwood- Claude Monet standing in his studio with a panel of his Nympheas mural., Giverny, France , 1914-18 © Underwood & Underwood-Corbis

Carlo Mollino Polaroïds et posts travaux.

Ces Choix sont non exhaustifs, et ne représente qu’une partie de l’immense travail de Mollino. les sources sont le musé qui lui est dédié, ainsi que le livre Polaroïds de Fulvio Ferrari & Napoleone Ferrari aux Editons Arena.( photo à la fin)

 

Carlo Mollino- Photographs 1956  image courtesy museo casa mollino 9

Carlo Mollino- Photographs 1956 courtesy museo  mollino

Carlo Mollino- Photographs 1956-1962 image courtesy museo casa mollino

Carlo Mollino- Photographs 1956-1962  courtesy museo  mollino

Carlo Mollino- Photographs 1956-1962 image courtesy museo casa mollino

Carlo Mollino- Photographs 1956-1962  courtesy museo mollino

Carlo Mollino- Photographs 1950s image courtesy museo casa mollino

Carlo Mollino- Photographs 1950s courtesy museo  mollino

Carlo Mollino- Photographs 1956-1962  courtesy museo  mollino

Carlo Mollino- Photographs 1956-1962 image courtesy museo casa mollino 9

Carlo Mollino- Photographs 1956-1962 courtesy museo mollino

Carlo Mollino-Untitled 1956-1962

Carlo Mollino-Untitled 1956-1962

Carlo Mollino-Untitled 1956-1962

Carlo Mollino-Untitled 1956-1962

Carlo Mollino-Untitled 1956-1962

Carlo Mollino-Untitled 1956-1962

Carlo Mollino-Untitled 1956-1962

Carlo Mollino-Untitled 1956-1962

Carlo Mollino- Untitled,, 1956-1962, musea F. Alinari

Carlo Mollino- Untitled,, 1956-1962, musea F. Alinari

Carlo Mollino- Untitled, 1950–1960 ( source galerie salon94)

Carlo Mollino- Untitled, 1950–1960 ( source galerie salon94)

Carlo Mollino-Untitled 1956-1962

Carlo Mollino-Untitled 1956-1962

Carlo Mollino-Untitled 1956-1962

Carlo Mollino-Untitled 1956-1962

Carlo Mollino- A-C Minola House, 1970s

Carlo Mollino- A-C Minola House, 1970s

Carlo Mollino-Untitled polaroid-1962-73.

Carlo Mollino-Untitled nude avec une Olivetti, 1960-63 courtesy museo mollino

Carlo Mollino-Untitled nude avec  une Olivetti polaroid-1960

Carlo Mollino-Untitled nude avec une Olivetti , 1960-63 courtesy museo  mollino

Carlo Mollino-Untitled polaroid-1963

Carlo Mollino-Untitled nude avec une Olivetti, 1960-63

Carlo Mollino-Untitled polaroid-1962-73.

Carlo Mollino-Untitled polaroid-1962-73.

Carlo Mollino-Untitled polaroid-1962-73.

Carlo Mollino-Untitled polaroid-1962-73.

Carlo Mollino-Untitled polaroid-1962-73

Carlo Mollino-Untitled polaroid-1962-73

Carlo Mollino-Untitled polaroid-1962-73.

Carlo Mollino-Untitled polaroid-1962-73.

Carlo Mollino-Untitled polaroid-1962-73.

Carlo Mollino-Untitled polaroid-1962-73.

Carlo Mollino-Untitled polaroid-1962-73.

Carlo Mollino-Untitled polaroid-1962-73.

Carlo Mollino-Untitled polaroid-1962-73

Carlo Mollino-Untitled polaroid-1962-73

Carlo Mollino-Untitled polaroid-1962-73

Carlo Mollino-Untitled polaroid-1963

Carlo Mollino-Untitled polaroid-1962-73

Carlo Mollino-Untitled polaroid-1962-73

Carlo Mollino-Portrait with the model, serie polaroid-1962

Carlo Mollino-Portrait with the model, serie polaroid-1962

Carlo Mollino-Untitled polaroid-1962-73.

Carlo Mollino-Untitled polaroid-1962-73.

Carlo Mollino-Untitled polaroid-1962-73.

Carlo Mollino-Untitled polaroid-1962-73.

Carlo Mollino-Untitled polaroid-1962-73.

Carlo Mollino-Untitled polaroid-1962-73.

carlo mollino, untitled polaroid, 1962-73 image courtesy museo casa mollino 1

Carlo Mollino- untitled polaroid, 1962-73

Carlo Mollino-Untitled polaroid-1962-73.

Carlo Mollino-Untitled polaroid-1962-73.

Carlo Mollino-Untitled polaroid, Turin, ealy 1960s courtesy museo  mollino

Carlo Mollino-Untitled polaroid, Turin, ealy 1960s courtesy museo mollino

Carlo Mollino-Untitled polaroid-1962-73.

Carlo Mollino-Untitled polaroid-1962-73. courtesy museo mollino

Carlo Mollino-Self -Portrait polaroid-1962-73.

Carlo Mollino-Self -Portrait polaroid-1962-73. courtesy museo mollino

Carlo Mollino-Untitled polaroid-1962-73.

Carlo Mollino-Untitled polaroid-1962-73. courtesy museo mollino

Carlo Mollino-Untitled polaroid-1962-73.

Carlo Mollino-Untitled polaroid-1962-73.

IMG_2313

Carlo Mollino-Untitled polaroid-1962-73. courtesy museo mollino

Carlo Mollino-Untitled polaroid-1962-73.

Carlo Mollino-Untitled polaroid-1962-73.courtesy museo mollino

Carlo Mollino-Untitled polaroid-1962-73.

Carlo Mollino-Untitled polaroid-1962-73.courtesy museo mollino

Carlo Mollino-Untitled polaroid-1962-73.

Carlo Mollino-Untitled polaroid-1962-73.

Carlo Mollino-Untitled polaroid-1962-73

Carlo Mollino-Untitled polaroid-1962-73

Carlo Mollino-Untitled polaroid-1962-73

Carlo Mollino-Untitled polaroid-1962-73

Carlo Mollino-Untitled polaroid-1962-73

Carlo Mollino-Untitled polaroid-1962-73

Carlo Mollino-Untitled polaroid-1962-73 .

Carlo Mollino-Untitled polaroid-1962-73 .

Carlo Mollino-Untitled polaroid-1962-73.

Carlo Mollino-Untitled polaroid-1962-73.

Carlo Mollino-Untitled polaroid-1962-73

Carlo Mollino-Untitled polaroid-1962-73

Carlo Mollino-Untitled polaroid-1962-73

Carlo Mollino-Untitled polaroid-1962-73

Carlo Mollino-Untitled polaroid-1962-73.

Carlo Mollino-Untitled polaroid-1962-73.

Carlo Mollino-Untitled polaroid-1962-73

Carlo Mollino-Untitled polaroid-1962-73

Carlo Mollino-Untitled polaroid-1962-73

Carlo Mollino-Untitled polaroid-1962-73

Carlo Mollino-Untitled polaroid-1962-73

Carlo Mollino-Untitled polaroid-1962-73

Carlo Mollino-Untitled polaroid-1962-73

Carlo Mollino-Untitled polaroid-1962-73

Carlo Mollino-Untitled polaroid-1962-73

Carlo Mollino-Untitled polaroid-1962-73

Carlo Mollino-Untitled polaroid-1962-73.

Carlo Mollino-Untitled polaroid-1962-73.

Carlo Mollino-Untitled polaroid-1962-73.

Carlo Mollino-Untitled polaroid-1962-73.

Carlo Mollino-Untitled polaroid-1962-73.

Carlo Mollino-Untitled polaroid-1962-73.

Carlo Mollino-Untitled polaroid-1962-73.

Carlo Mollino-Untitled polaroid-1962-73.

Carlo Mollino-Untitled polaroid-1962-73.

Carlo Mollino-Untitled polaroid-1962-73.

the polaroid of carlo mollino is presented inside the metal tube for the expossition Mollino fragments, Triennale de Milan, 2005

the polaroid of carlo mollino is presented inside the metal tube for the expossition Mollino fragments, Triennale de Milan, 2005

the polaroid of carlo mollino is presented inside the metal tube for the expossition Mollino fragments, Triennale de Milan, 2005

the polaroid of carlo mollino is presented inside the metal tube for the expossition Mollino fragments, Triennale de Milan, 2005

the polaroid of carlo mollino is presented inside the metal tube for the expossition Mollino fragments, Triennale de Milan, 2005

the polaroid of carlo mollino is presented inside the metal tube for the expossition Mollino fragments, Triennale de Milan, 2005

the polaroid of carlo mollino is presented inside the metal tube for the expossition Mollino fragments, Triennale de Milan, 2005

the polaroid of carlo mollino is presented inside the metal tube for the expossition Mollino fragments, Triennale de Milan, 2005

the polaroid of carlo mollino is presented inside the metal tube for the expossition Mollino fragments, Triennale de Milan, 2005

the polaroid of carlo mollino is presented inside the metal tube for the expossition Mollino fragments, Triennale de Milan, 2005

the polaroid of carlo mollino is presented inside the metal tube for the expossition Mollino fragments, Triennale de Milan, 2005

the polaroid of carlo mollino is presented inside the metal tube for the expossition Mollino fragments, Triennale de Milan, 2005

IMG_1057

Erwin Blumenfeld, Self-Portrait in the Studio (9 rue Delambre), Paris, 1937

Erwin Blumenfeld, Self-Portrait in the Studio (9 rue Delambre), Paris, 1937

 

Les sculptures d’ Aristide Maillol par Erwin Blumenfeld Éd°E. Tériade, Paris, VERVE N° 1, 1937& Brassaï (Gyula Halász)Éd°E. Tériade, Paris, VERVE N° 5-6, 1939

« 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- sculpture Aristide Maillol, VERVE N° 1, 1937, ed° E. TÉRIADE, PARIS

Brassaï- sculpture Aristide Maillol, VERVE N° 1, 1937, ed° E. TÉRIADE, PARIS

Brassaï- sculpture Aristide Maillol, VERVE N° 1, 1937, ed° E. TÉRIADE, PARIS

Brassaï- sculpture Aristide Maillol, VERVE N° 1, 1937, ed° E. TÉRIADE, PARIS

Brassaï- sculpture Aristide Maillol, VERVE N° 1, 1937, ed° E. TÉRIADE, PARIS

Brassaï- sculpture Aristide Maillol, VERVE N° 1, 1937, ed° E. TÉRIADE, PARIS

Brassaï- sculpture Aristide Maillol, VERVE N° 1, 1937, ed° E. TÉRIADE, PARIS

Brassaï-L’Ile de France et Vénus au collier dans l’atelier de Maillol,1932

Brassaï – Groupe de statues dans l_atelier d_Aristide Maillol, Marly-le-Roi, vers 1936

 

George Maillard Kesslere (1894-1979)

 

George Maillard Kesslere- Maria Gambarelli et sa troupe, 1925

George Maillard Kesslere était un photographe et peintre américain. Diplômé de l’Université de Syracuse, Kesslere était l’un des derniers élèves du peintre impressionniste américain, William Merritt Chase. Après l’optention de son diplome, il a créé un studio ( surtout de portrait) à Syracuse,Etat de New York, où il a pratiqué la photographie et la peinture. Il a également collaboré à plusieurs projets muraux.

Bien que son travail de photographe ait gagné une reconnaissance immédiate pour son talent artistique, Kesslere ne put jamais gagner sa vie à ses debuts,car le prix des photogravure étant trop élevées. Donc, en 1921, The Debutante (La débutante), un périodique de New York peu cher, le convie à devenir éditeur d’art, Kesslere saute sur l’occasion, le déplacement à New York en Août 1921. Pour une brève période, il a maintenu les deux lieux de travail, mais son succès en tant que photographe à New York fit obturateur studio Syracuse en 1922.

La Débutante disparue, Il plublie un ensemble de portraits de Dorothy Dickson dans Vanity Fair qui cimente sa reputation comme un artiste photographe talentueux , ce qui lui a valu une clientèle de ville.Esthète, snob, bisexuels libertin, et le parti-donateur, il est devenu une figure importante dans la consolidation des liens culturels entre la communauté des arts et de la haute société homosexuels dans la période entre les deux guerres.

George Maillard Kesslere-Dorothy Dickson , November 1920

Remarquant la vogue dans les magazines culturels pour les photos floues de danseuses nues, Kesslere en 1923 a commencé à développer une série de peintures et pastels de filles nues drapées diaphonously fonctionnant à l’air libre. Ce genre arty de la peinture de pin-up a attiré l’attention de Broadway chair marchand, Earl Carroll qui a installé Kesslere comme son photographe officiel après la mort de John De Mirjian (voir article sur Lui ICI) en 1928. Les programmes pour « Vanités » série Carroll sélectionnée peintures et photos par Kesslere, et une appréciation effusive de son art par certains luminaire culturelle de la journée.

George Maillard Kesslere- Two nude with aveil in the wind,photo-painting 1924-25

George Maillard Kessler- Untitled, 1930 credited by in the date by 1000 nude, ed Taschen, 2005, but it seems to be from the same serie of the wind in 1924

George Maillard Kesslere-Early Morning 1924-30s

Dans le monde de la photographie théâtrale, la renommée de Kesslere reposait sur des représentations du corps, autant que ses traitements évocateurs et expérimentaux de la tête. Il était l’un des plus beaux des photographes de format de buste de la fin des années 1920 et 1930. Il excellait dans le traitement pictural de buste.Pour ses portraits, il a reçu la reconnaissance de l’Académie royale britannique de la photographie

Le 26 Mars 1935, Kesslere expose 500 de ses photographies, peintures, dessins, gravures et dans le salon de Ziegfeld Theater Patricia Loew. Le 1er Juillet 1947, une exposition itinérante du travail de Kesslere, «Stars d’hier et d’aujourd’hui, »fait le tour des Etats-Unis .

En 1952, Kesslere fait don de 6000 photographies et 500 tableaux à la Collection Théâtre de la New York Public Library. Malheureusement, l’atelier de Kesslere, a pris feu peu de temps avant le transfert des images, et la plupart des articles qui ont été enregistrés et transférés à la collecte NYPL souffrent de dégâts d’eau et une manipulation brutale. Texte de David S. Shields traduit par mes soins.

George Maillard. Kesslere- The Graces, posed by The Muller Dancers,pubished in Theatre Magazine, september 1923

George Maillard Kesslere Norma Talmadge ,1920-1925

George Maillard Kesslere-Norma Talmadge, 1924-27

George Maillard Kesslere Nude, Womanhood, 1925

George Maillard Kesslere Sultry Shirley 1922-25

George Maillard Kessler- Sultry Shirley in parshall (Série Earl Carrols Vanities), {Crop} 1931[source ebay]

Kesslere consacré son art photographique du portrait de théâtre et de la mode. Peintre de formation, il a poursuivi une carrière parallèle comme un bel artiste, excellant dans des tons pastels. De la première, il illustré l’approche-Hollywood lutte contre picturale, des photographes de Kansas City et les racloirs de New York négatifs. Il a rénové et modernisé le style de la photographie vignette fin du 19ème siècle . Le succès de ces portraits de médias mixtes conduit d’autres, comme Hal Phyfe , John De Mirjian , et même Irving Chidnoff , a expérimenter avec le style, conduisant à un moment en 1926-27 quand un style distinct de New York de l’art du portrait a prévalu. Même dans les années 1930 plus tard, quand un style rectiligne de représentation est devenu la norme, les images de Kesslere ont été si lourdement retouchées qu’ils semblaient graphique plutôt que photographique.

George Maillard Kesslere – Maria Gambarelli ( greatest dancer of the Metropolitan Opera ballet school, 1920s

George Maillard Kesslere- Portrait of Maria Gambarelli ( greatest dancer of the Metropolitan Opera ballet school, 1920s

George Maillard Kesslere- Jacqueline Logan

George Maillard Kesslere-Betty Blythe 1924

G MAILLIARD KESSLERE VIVIAN KEEFER SEMI NUDE 1920’S

George Maillard Kesslere – Maria Gambarelli ( greatest dancer of the Metropolitan Opera ballet school, 1922

George Maillard Kesslere – Maria Gambarelli ( greatest dancer of the Metropolitan Opera ballet school, 1922 ( ebay)

George Maillard Kesslere – Maria Gambarelli ( greatest dancer of the Metropolitan Opera ballet school, 1922

George Maillard Kesslere – Maria Gambarelli ( greatest dancer of the Metropolitan Opera ballet school, 1922

George Maillard Kesslere – Maria Gambarelli ( greatest dancer of the Metropolitan Opera ballet school, 1922

George Maillard Kesslere – Maria Gambarelli ( greatest dancer of the Metropolitan Opera ballet school, 1922

George Maillard Kesslere -Annette Margules, 1924

George Maillard Kesslere- Alice Burragen 1922-24

George Maillard Kesslere- Belle Bennett ( actress), 1920s

George Maillard Kesslere -Ethelind Terry, 1920s

George Maillard Kesslere-Betty Blythe 1924

George Maillard Kesslere- unknown model, 1924

George Maillard Kesslere-Dorothy Dickson , November 1920

George Maillard Kesslere -Marion Benda, 1920s

George Maillard Kesslere- Evangeline Raleigh ( miss Brodway, Sunny days), 1928

George Maillard Kesslere -Gloria Swanson, 1927

George Maillard Kesslere- silent Western star and speakeasy ownerunknown model, 1924, 1924-26

George Maillard Kesslere- unknown model, 1924

George Maillard Kesslere -The showgirl, dancer and actress Lota Cheek, 1924

George Maillard Kesslere -the showgirl dancer and actress Lota Cheek, 1924 police gazette COVER_

George Maillard Kessler- Womanhood, 1925

George Maillard Kesslere – The south wind, 1924

George Maillard Kesslere -Peggy Cornell, 1928

George Maillard Kesslere -Fowler and Tamara Dancers – Pierrot 1925 Magazine

George Maillard Kesslere -Gloria Swanson, For the magazine the Tatler 1927

George Maillard Kesslere -Gloria Swanson, 1927

George Maillard Kesslere -Gloria Swanson, 1927

George Maillard Kessler- Tallulah Bankhead, 1935

George Maillard Kesslere- Earl Carroll Vanities, 1921

George Maillard Kesslere- Earl Carroll Vanities, 1922

George Maillard Kesslere- Earl Carroll Vanities,

George Maillard Kesslere -Ruth Page and Adolph Bolm in Visions Fugitives, c1922_e

George Maillard Kesslère -Ruth Page in the Music Box Revue, 1922 and 1924 npgl

George Maillard Kesslère -Ruth Page in the Music Box Revue, 1922 and 1924 npgl

George Maillard Kesslère -Ruth Page in the Music Box Revue, 1922 and 1924

Count Théodore Zichy- (1908 – 1983)

Count Theodore Béla Rudolf Zichy de Zich et Vásonkeő (Hungarian: Zichi és Vásonkeői gróf Zichy Tivadar Béla Rudolf; 13 June 1908 – December 1987) was a British actor, photographer, film director, producer and playboy of Hungarian descent.

Early life

Born in Eastbourne in Sussex in 1908, the son of Count Béla Mária Rudolf Zichy de Zich et Vásonkeő (1868-1944), a Hungarian aristocrat, and an American mother, Mabel Elizabeth Wright (1865-1926),[2] His brother was Edward George Béla Mária Zichy de Zich et Vásonkeő (1898-1958). A great-nephew of Mihály Zichy, Theodore Zichy held British and Hungarian citizenship.

Career

In 1928, he started racing Bugattis, which he continued on and off until 1932.

As a photographer he mainly took pictures of women’s legs, feet and shoes. His 1948 photograph portfolio Chiaroscuros (from the Italian « chiaroscuro ») contained images of foot and shoe fetishism. In the mid-1950s he worked as a photographer for Baron Studios in London. His autobiography That Was No Gentleman, That Was Zichy was published in 1974

Count Theodore Zichy Chiaroscuros , Circa 1940 Silver prints

Film career

As an actor Zichy appeared as 2nd in Command in Gasbags (1941), Colonel Borg in The Life and Death of Colonel Blimp (1943), as the Duel Referee in the TV movie Liebelei (1954), and as a German Agent in Private’s Progress (1956).

Later, he directed and produced the shorts Death Was a Passenger (1958), Portrait of a Matador (1958) and Mingaloo (1958), also writing the latter, as well as directing and producing the films Night Without Pity (1961) and Doomsday at Eleven (1963). He produced the film Bomb in the High Street (1961).

Personal life

On 20 February 1928, he married Xenia V. Howard Johnston (1904-1931) in Paris, France; the couple divorced in 1930.

In 1964, he married Daphne Barker (previously of Jack and Daphne Barker Cabaret duo) in London and stayed married to her until her death in 1987.

Count Theodore Zichy committed suicide in London in December, 1987. However his death certificate was only issued in 1988.

Count Theodore Zichy Untitled Woman’s legs and crutch, 1948

Count Theodore Zichy- Untitled ‘ Plus çà change, plus c’est la même chose’ alphonse Karr ,1948

Cont Theodore Zichy – I will be correspondent to command, And do my , 1949

Count Theodore Zichy- Untitled-, a che Vuole, non Mancano modi, italian proverb, 1948

Count Theodore Zichy -,Il est faux que l’égalité soit une loi de la nature. La nature n’ait rien fait égal. Vauvenargues, nd

Count Theodore ZichyGirl in front of Fireplace,1948

Count Theodore Zichy – Chiaroscuros #11, Londres 1940

Count Theodore Zichy ~Chiaroscuros #1,1948

Count Theodore Zichy- Chiaroscuros #13, Londres 1948

Count Theodore Zichy- Chiaroscuros #10, Londres 1948

Count Theodore Zichy -Chiaroscuros #05 , 1948_e

Count Theodore Zichy Legs 1948

 

Count Theodore Zichy – Legs with dagger, Chiaroscuros #12, Londres 1948

Count Theodore Zichy- Chiaroscuros #10, Londres 1948

Count Theodore Zichy – Legs with dagger, Chiaroscuros #2, Londres 1948

Count Theodore Zichy – Chiaroscuros #20, Londres 1948

Count Theodore Zichy Legs , Circa 1948

Count Zichy Kayser Nylons, 1940’s,

Count Theodore Zichy – Legs, untitled,1948

Count Theodore Zichy Cupid And Shoes , Circa 1940

Count Theodore Zichy- Britian, 1948

 

Count Theodore Zichy - Untitled, 1948. [ Plus çà change, plus c'est la même chose //The more things change, the more they stay the same - Alphonse Karr]

Count Theodore Zichy – Untitled, 1948. [ Plus çà change, plus c’est la même chose //The more things change, the more they stay the same – Alphonse Karr]

Source Louminous

Source Mutual Art

Source Air de Paris

More of his work in the Baron Studio

Count Zichy by Baron Studios half-plate film negative, 8 February 1960 © National Portrait Gallery, London

***********************

Renata Bracksieck – Untitled, self portrait, germany,1920s

Renata Bracksieck ( active 1920s-1930s,  (1900-1992)) conjointe de Werner Rhode

Renata Bracksieck - Untitled, self portrait, germany,1920s

Renata Bracksieck – Untitled, self portrait, germany,1920s

Renata Bracksieck - Self-Portrait, 1920

Renata Bracksieck – Self-Portrait, 1920