Carlo Mollino Polaroïds et posts travaux.

Publié par Lapetitemelancolie le 18/06/2021

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 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, musea F. Alinari

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

Carlo Mollino-Untitled 1956-1962

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 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-1963

Carlo Mollino-Untitled polaroid-1962-73

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, Turin, ealy 1960s courtesy museo mollino

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

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

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.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.

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

Albert Arthur Allen (for the Berkeley California) – From the portofolio The Sheik, 1929

Publié par Lapetitemelancolie le 06/06/2021

Albert Arthur Allen (for the Berkeley California) -Portfolio of eight silver gelatin nude photographs titled The Sheik, each with plate number stamped on verso 1929

Albert Arthur Allen (for the Berkeley California) – From the portofolio The Sheik, 1929

Albert Arthur Allen (for the Berkeley California) – From the portofolio The Sheik, 1929

Albert Arthur Allen (for the Berkeley California) – From the portofolio The Sheik, 1929

Albert Arthur Allen (for the Berkeley California) -Portfolio of eight silver gelatin nude photographs titled The Sheik, . 1929

Albert Arthur Allen (for the Berkeley California) -Portfolio of eight silver gelatin nude photographs titled The Sheik, . 1929

Albert Arthur Allen (for the Berkeley California) -Portfolio of eight silver gelatin nude photographs titled The Sheik, . 1929

Albert Arthur Allen (for the Berkeley California) -Portfolio of eight silver gelatin nude photographs titled The Sheik, . 1929

Albert Arthur Allen (for the Berkeley California) -Portfolio of eight silver gelatin nude photographs titled The Sheik, . 1929

Albert Arthur Allen (for the Berkeley California) -Portfolio of eight silver gelatin nude photographs titled The Sheik, . 1929

Albert Arthur Allen (for the Berkeley California) -Portfolio of eight silver gelatin nude photographs titled The Sheik, . 1929

Albert Arthur Allen (for the Berkeley California) -Portfolio of eight silver gelatin nude photographs titled The Sheik, . 1929

Studio Manassé

Publié par Lapetitemelancolie le 15/02/2020

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-..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

Studio Manassé

Publié par Lapetitemelancolie le 17/12/2019

Studio Manasse// Atelier Manassé

…Olga Solarics (1896-1969) and her husband Adorja’n von Wlassics (1893-1946) ran the Manasse’ Foto-Salon in Vienna from 1922-1938. Olga seems to have been the one interested in the photographic nude. She (or they) exhibited at the 1st International Salon of Nude Photography in Paris in 1933…”

“…Studio Manasse, which flourished in the 1930s in Vienna, captured morethan just portrait photography bursting with erotic charge; it immortalized the fluid state of beauty and the “new woman”: confident in her own sexuality as she struggled to redefine her position in the modern world. Each picture offers a conflict of concepts, as provocative poses are presented in such traditional roles that the cynicism intended renders them humorously absurd . Adorjan and Olga Wlassics, a husband-and-wife team, founded Studio Manasse in the early 1920s. The first Manasse illustrations appeared in magazines in 1924, a booming industry at the time, as the movie industry skyrocketed and publications aimed to satisfy a public obsessed with glimpses into the world of glamour. Attracting some of the leading ladies of the time from film, theater, opera, and vaudeville,Studio Manasse created masterpieces, employing all the techniques of makeup, retouching, and overpainting to keep their subjects happy while upholding an uncompromised artistic vision.Molded bodies were dreams with alabaster or marbel-like skin; backgrounds were staged so that the photographer could control each environment. And as their art found a home, the Wlassics found themselves able to afford a pattern of life similar to those reflected in their photographs. Their clients ran the gamut, from the advertising agencies to private buyers. When the Wlassics opened a new studio ni Berlin, their business in Vienna was managed more and more by associates, until 1937, when the firm’s name was sold to another photographer. Adorjan passed away just ten years later; Olga remarried and died in 1969…”

text courtesy of historical ziegfeld

Studio Manassé – Nude with spider’s web , 1930

Studio Manassé -Fräulein Reporterin, 1930’s

Atelier Manassé, The dancer Bea Egervári, Vienna c. 1928

Studio Manassé -« Dans le Bain », 1933

Atelier Manassé, Les Belles Filles, Vienna c. 1928

Atelier Manassé-portrait-Tala Birell , 1927

Atelier Manassé- Femme fumant, 1928

Atelier Manassé- Porte bonheur 1932

Studio Manassé- Untitled ,c.1932

Studio Manasse La Jana . 1930

Studio Manassé – Dagmar Helsing, Tanzerin, 1930

Studio Manassé –Femme à la grappe c. 1928

Atelier Manassé- Rêve Doré,1926

Atelier Manassé- Studie / Study, Vienna c. 1935

Atelier Manassé- Darmora , 1927

Studio Manassé – Dagmar Helsing, Tanzerin, 1930

Atelier Manassé– Masked naked, 1931

Studio Manassé –la valise, c.1930s

Atelier Manassé-Portrait de Grelt Berndt, 1930s

Studio Manassé- Ellentétes érzelmek, 1950

Atelier Manassé- Studie / Study, Vienna c. 1935

Studio Manasse, Modern Dancer Nina Payne , nd

Studio Manassé -Portrait de femme, 1930. [Tirage argentique d’époque.]source verdeau

Atelier Manassé-Gry Doresku, 1928

Atelier Manassé-Griserie 1926.

Atelier Manassé-portrait-Femme aux chandeliers, 1930

Studio Manassé- Photomontage with nude and flowers. Circa 1935

Atelier Manassé- Collectionneur de papillons, 1950

Atelier Manassé-l’ homme à la loupe, 1927

Studio Manassé- 1924

Studio Manassé- Totentanz, 1930

Manassé la cruauté (nosferatu)gelatin silver print, circa 1930

Studio Manassé –Bacchuskult c. 1928

Roger Parry (1905-1977) part I

Publié par Lapetitemelancolie le 06/07/2019

Né en 1905, Roger Parry se forme à l’Ecole nationale des Arts décoratifs avant de découvrir la photographie. Il devient l’assistant de Maurice Tabard en 1928, au studio de photographie publicitaire Deberny-Peignot. A l’aide d’images aussi dépouillées qu’efficaces, il introduit dans cet art appliqué qu’est la photographie publicitaire les audaces formelles des avant-gardes (photogrammes, photomontages, solarisations…).

Très vite, il prépare avec Fabien Loris l’illustration photographique d’un recueil de poèmes de Léon-Paul Fargue, Banalité. Sa publication en 1931 va le faire apprécier des milieux intellectuels ; il participe alors aux expositions collectives qui réunissent de nombreux talents de l’époque comme Kertész ou Man Ray.

A partir de 1931, Parry est chargé de la promotion de romans publiés à la NRF (Nouvelle Revue Française) qui lui commande plus de 200 couvertures pour des collections populaires.

Il est aussi photographe de plateau sur L’Atalante de Jean Vigo, illustrateur et portraitiste pour Gallimard ou collaborateur de Voilà et Détective.

En 1932, il s’embarque pour un long voyage vers les îles de la Polynésie française, où il réalise un reportage « tendant simplement à présenter un tableau aussi fidèle que possible de la vie actuelle à Tahiti et aux Iles sous le Vent» (Préface de « Tahiti »).
Ces photographies sont publiées dans Tahiti en 1934, ouvrage élaboré avec la complicité de Malraux.

En 1938, utilisant le prétexte de la publication de Zuyderzee (roman de Jeff Last aux éditions Gallimard), il effectue un reportage dans les polders hollandais. Dans une recherche constante de l’envers du décor, il y affine l’orientation documentaire de sa pratique personnelle.

Réformé en 1939, il intègre pendant la guerre la rédaction de Match et de Marie-Claire, avant de publier régulièrement dans La Semaine, principal hebdomadaire de divertissement sous l’Occupation. Il photographie alors les galas, les expositions ou les pièces de théâtre d’un Paris occupé dont la vie culturelle continue malgré tout.

En août 1944, il rejoint le Comité de Libération des reporters photographes de presse après avoir photographié le soulèvement populaire de Paris.

En tant que correspondant de guerre, il suit ensuite les Alliés jusqu’au printemps 1945, de l’Alsace à la poche de Royan.

Après la guerre, il couvre pour l’AFP la visite officielle du Général de Gaulle à New York en 1945 et la Conférence de Moscou en 1947. A la fin des années 1940 il délaisse progressivement le reportage de presse.

A partir de 1948, aux côtés d’André Malraux, il collabore aux collections de la « Galerie de La Pléiade » et surtout de « l’Univers des formes » dont il est le directeur technique pour les premiers volumes, révélant ainsi la vaste palette de ses talents d’illustrateur, de graphiste, de maquettiste et de photographe.

Il décède en 1977, quelques mois après André Malraux.

Voir tous les articles sur Roger Parry

Roger Parry -Etude pour la couverture de Les Trois jeunes filles de Vienne (fumeuse d’opium), 1934

Roger Parry – Sans Titre, 1933-1934

Roger Parry-Nu couché , 1933-34

Roger Parry -Nu (bras allongés°, 1930

Roger Parry-Nu, années 1930

Roger Parry- Une femme aux seins nus brandit un sabre à cheval sur une peau de bête, 1933-34( Etudes ; Illustrations de romans populaires, Collection Détective de Gallimard

Roger Parry-Bas et porte-jarretelles, 1935

Roger Parry-Femme les jambes croisées portant des bas, 1935

Roger Parry Femme s’habillant devant un miroir, Reportage. Publicité pour grande maison de blanc – Mode vers 1930

Roger Parry- Ludmilla Tcherina pour un spectacle de danse à Nice-Monte-Carlo , novembre 1943

Roger Parry -Portrait de Femme Double Image, 1928

Roger Parry -Nu, 1928

Roger Parry – Sans Titre, 1928 – 1930

Roger Parry. Double Exposure, Robert Couturier, 1931© Ministère de la Culture – Médiathèque du Patrimoine

Roger Parry.- femme dans un lit, double exposition 1933.© Ministère de la Culture – Médiathèque du Patrimoine.&

Roger Parry- La Malle,vers 1929

Roger Parry- Untitled, 1930s

Roger Parry -Pièce vide et œil (double exposition), 1929

Roger Parry-Banalité 3, 1930

Roger Parry- Mains avec boule de cristal, Variation, 1930 © Ministère de la Culture – Médiathèque du Patrimoine edité pour for André Maurois’ Le peseur d’âmes en1932

Roger Parry- Nature morte, 1929

Roger Parry- Etude, 1930

Roger Parry Main sur crépis avec traînée, 1928

Roger Parry-Un serpent s’enroule autour des doigts et du poignet d’un homme 1933

Roger Parry -Illustration pour la couverture d’un roman de Sidney Fairway , Un serpent et une main crispée,1933

Roger Parry- Un serpent dans des draps et deux mains crispées, 1933

Roger Parry-Illustration de la couverture d’un roman de Maurice Marrou ; Une femme renversée et une valise, 1933

Roger Parry- Une femme étendue sur le dos, les yeux ouverts, la tête contre une valise et une revue de tauromachie dans une main, 1933

Roger Parry Une femme inconsciente est soutenue par une rambarde 1934

Roger Parry- Femme soufflant dans un gros coquillage,nd1

Roger Parry- Femme soufflant dans un gros coquillage,nd

Roger Parry-autoportrait, , 1942

André Kertész – Distortions, 1933

Publié par Lapetitemelancolie le 27/06/2019

En 1933, suite à la demande de la revue de charme, Le Sourire, Kertész produit des photographies de nus féminins distordus. Plus connue sous le nom de Distorsions. Environ 200 photographies de Najinskaya Verackhatz et Nadia Kasine, deux modèles nues ( qu’on identifie très bien) sont photographiées dans des poses différentes, avec leur reflet pris dans une combinaison de miroirs provoquant la distorsion.Sur certaines photographies, seuls certains membres sont visibles dans la réflexion. elles sont plus ou moins belles, elle provoque parfois le beau comme le laid et le monstrueux, c’est ce qui en fait tout sont interet . je n’ai donc pas chosi les plus » agréables » à contempler, mais j’ai tenté de mettre l’ensemble. ils manques quelques pieces. Volontairement. je ne trouvais pas bien de mettre tout le livre. Il doit en manquer un 1/4.

La plupart des photographies présentées aujourd’hui sont des planches contacts et sont numérotées, j’ai préféré ce choix, ainsi aucun doute sur la numérotation qui est assez aléatoire sur le net. ( Vous pouvez trouvez dans un autre format ces planches dans » Distorsions » André Kertész, Editions du Chêne, Paris, 1976)

André Kertész – Distortion # 02, 1933

André Kertész – Distortion # 04, 1933

André Kertész – Distortion # 05, 1933

André Kertész – Distortion # 05, 1933 detail

André Kertész – Distortion # 06, 1933

André Kertész – Distortion # 07, 1933

André Kertész – Distortion # 09, 1933

André Kertész – Distortion # 10, 1933

André Kertész – Distortion # 11, 1933

André Kertész – Distortion # 14, 1933

André Kertész – Distortion # 15, 1933

André Kertész – Distortion # 16, 1933

André Kertész – Distortion # 17, 1933

André Kertész – Distortion # 18, 1933

André Kertész- Distortion # 18, 1933 Planche de travail

André Kertész – Distortion # 19, 1933

André Kertész – Distortion # 20 , 1933

André Kertész – Distortion # 21 , 1933

André Kertész – Distortion # 22 , 1933

André Kertész – Distortion # 23 , 1933

André Kertész – Distortion # 24 , 1933

André Kertész – Distortion # 25, 1933

André Kertész – Distortion# 28, 1933

André Kertész – Distortion # 29, 1933

André Kertész – Distortion # 31, 1933

Andre Kertesz-Distortion #33 ,1933

André Kertész – Distortion # 34 , 1933

André Kertész – Distortion # 35 , 1933

André Kertész – Distortion # 36 , 1933

André Kertész – Distortion # 37 , 1933

André Kertész – Distortion # 38 , 1933

André Kertész – Distortion # 39 , 1933

André Kertész – Distortion # 40 Ou 43 , 1933

André Kertész – Distortion # 41 avec autoportrait de Kertész, 1933

André Kertész – Distortion # 41, 1933

André Kertész – Distortion # 42, 1933

André Kertész- Distorsion #43 , 1933

André Kertész – Distortion # 44, 1933

André Kertész – Distortion # 45, 1933

André Kertész – Distortion # 46, 1933

André Kertész – Distortion # 47, 1933

André Kertész – Distortion # 48, 1933

André Kertész – Distortion # 49, 1933

André Kertész – Distortion # 50, 1933

André Kertész – Distortion # 51, 1933

André Kertész – Distortion # 52, 1933

André Kertész – Distortion # 53, 1933

André Kertész – Distortion # 54, 1933

André Kertész – Distortion #55, 1933

André Kertész – Distortion # 56, 1933

André Kertész- Distortion # 57 , 1933

André Kertész – Distortion # 58, 1933

André Kertész – Distortion # 59, 1933

André Kertész- Distortion # 60 , 1933

André Kertész – Distortion #61, 1933

André Kertész – Distortion # 62, 1933

André Kertész – Distortion # 63, 1933

André Kertész – Distortion # 64, 1933

André Kertész – Distortion # 65, 1933

André Kertész – Distortion # 66, 1933

André Kertész – Distortion #67, 1933

André Kertész – Distortion # 68, 1933

André Kertész- Distortion # 68, Paris, 1933

André Kertész- Distortion # 68 A, 1933

André Kertész – Distortion #69, 1933

André Kertész – Distortion # 70, 1933

André Kertész – Distortion # 71, 1933

André Kertész -Distorsion #72, 1933

André Kertész – Distortion # 73, 1933

André Kertész – Distortion # 74, 1933

André Kertész – Distortion # 76, 1933

André Kertész -Distortion # 78, 1933

André Kertész – Distortion #79, 1933

André Kertész – Distortion #80, 1933

André Kertész- Distortion # 86, 1933

André Kertész- Distortion # 88 , 1933

André Kertész – Distortion # 92, 1933

André Kertész- Distortion # 93, 1933

André Kertész- Distortion # 98 (variante), 1933

André Kertész- Distortion # 101, 1933

André Kertész – Distortion #102, 1933

André Kertész – Distortion # 111, 1933

André Kertész – Distortion # 113, 1933

André Kertész – Distortion # 114, 1933

André Kertész- Distortion # 116 , 1933

André Kertész – Distortion # 116, 1933 detail

André Kertész – Distortion # 117, 1933

André Kertész – Distortion #118., 1933

André Kertész – Distortion # 121, 1933

André Kertész – Distortion # 123, 1933

André Kertész- Distortion # 125 , 1933

André Kertész- Distortion # 128, 1933

André Kertész- Distortion # 130 , 1933

André Kertész- Distortion # 131 , 1933

André Kertész- Distortion # 132 , 1933

André Kertész- Distortion # 133 , 1933

André Kertész- Distortion # 134 , 1933

André Kertész – Distortion # 135, 1933

André Kertész- Distortion # 136 , 1933

André Kertész – Distortion # 137, 1933

André Kertész- Distortion # 137 , 1933

André Kertész- Distortion # 138 , 1933

André Kertész- Distortion # 139 , 1933

André Kertész- Distortion # 140 , 1933

André Kertész- Distortion # 141 , 1933

André Kertész- Distortion # 142 , 1933

André Kertész- Distortions # 143 , 1933

André Kertész- Distortions # 144 , 1933

André Kertész- Distortions # 145 , 1933

André Kertész- Distortions # 146 , 1933

André Kertész – Distortion #147, 1933 deatail

André Kertész- Distortions # 147 , 1933

André Kertész- Distortions # 148 , 1933

André Kertész- Distortions # 149 , 1933

André Kertész – Distortion #150, 1933

André Kertész- Distortion # 151 , 1933

André Kertész- Distortion # 154 , 1933

André Kertész- Distortion # 155 , 1933

André Kertész- Distortion # 156 , 1933

André Kertész- Distortion # 157 , 1933

André Kertész- Distortion # 159 , 1933

André Kertész- Distortion # 160 , 1933

André Kertész- Distortion # 161 , 1933

André Kertész- Distortion # 162 , 1933

André Kertész- Distortion # 163 , 1933

André Kertész- Distortion # 164 , 1935

André Kertész- Distortion # 165 , 1933

André Kertész- Distortion # 166 , 1933

André Kertész- Distortions # 167 , 1933

André Kertész- Distortions # 168 , 1933

André Kertész- Distortions # 169 , 1933

André Kertész- Distortions # 172 , 1933

André Kertész- Distortions # 173 , 1933

André Kertész- Distortions # 174 , 1933

André Kertész- Distortions # 200 , 1933

Frieda Gertrude Riess

Publié par Lapetitemelancolie le 22/02/2019

Riess was born in Czarnikau in the Prussian Province of Posen where her Jewish parents were shopkeepers. At the end of the 1890s, the family moved to Berlin where she first studied sculpture under Hugo Lederer (c. 1907) and later photography at the Berlin « Photographischen Lehranstalt », receiving her diploma in the summer of 1915.

In 1918, she opened a business on the prestigious Kurfürstendamm; it became one of the most popular studios in the city. Partly as a result of her marriage to the journalist Rudolf Leonhard in the early 1920s, she extended her clientele to celebrities such as playwright Walter Hasenclever, novelist Gerhart Hauptmann and actors and actresses including Tilla Durieux, Asta Nielsen and Emil Jannings. While on a trip to Italy in 1929, she was invited to photograph Benito Mussolini. In addition, she contributed to the journals and magazines of the day including Die Dame, Berliner Illustrierte Zeitung, Der Weltspiegel, Querschnit and Koralle

Her success in Berlin was however short-lived. In 1932, after falling in love with the elderly French ambassador in Berlin, she moved to Paris with him, disappearing from the public eye. Even the date of her death cannot be clearly established and her place of burial remains unknown (source wilkipedia)

Frieda Riess- Toni Freeden – Dancer, Germany in a dancing pose – 1927 via getty images

Frieda Riess- The dancer Grit Helgesa Portrait in the role of a Harlekin Vintage,1920 via getty images

Frieda Riess- Ellen Petz Dancer, choreographer, Germany with a partner in the Petz Kainer Ballet ‘Scherzo’; costumes designed by Ludwig Kainer – 1920 via getty images

Frieda Riess- Portrait of Margo Lion, Cabaret Artist, Chansonniere, Actress, Germany, Portrait singing the couplet ‘Die Linie der Mode’ in the Wilde Bühne in Berlin 1924 via getty images

Frieda Riess- Hands Beautiful female hands , 1924 via getty images

Frieda Riess- Portrait of The dancer Grit Hegesa,1919 via getty images

Frieda Riess-Mria Schreker, Opera SingerWife of the composer Franz Schreker ,1922 via getty images

Frieda Riess- Lotte Pritzel Costume designer, doll artist,1925 via getty images

Frieda Riess- Lally Horstmann1920 via getty images

Frieda Riess- Lani Mohr-Solf,1931 via getty images

Frieda Riess- Portrait of the actress Leontine Kühnbergy 1925 via getty images

Frieda Riess- Dare Vare The daughter of the Italian Ambassador in China, wearing a white dress in the summer,1933 via getty images

Frieda Riess-Trude Hesterberg – Actress, SingerPortrait in the cabaret Wilde Bühne, dressed in a long dress Vintage,1922 via getty images

Frieda Gertrud Riess The Sculptor Renée Sintenis (Die Bildhauerin Renée Sintenis) Gelatin silver print, 1925-35 Via moma

Frieda Gertrud Riess – Woman’s handS, 1924 via

Frieda Ries- Renee Sintenis, sculptor, Germany 1925 via

Frieda Riess-Baroness Nadine Uexküll dressed as Nefertiti,1928

Atelier Riess (Frieda Gertrud). Bara – Die Tänzerin Charlotte Bara. Ca. 1926-28.

Frieda Gertrud Riess Nude Model ,photogravure, 1925 via ebay

Frieda Gertrud Riess Nude Model ,photogravure, 1925 via ebay

Frieda Gertrud Riess Nude Model ,photogravure, 1920 via ebay

Frieda Gertrud Riess Nude Model ,photogravure 1920 via ebay

Atelier Willinger

Publié par Lapetitemelancolie le 05/02/2019

Laszlo Willinger Sun of Maurus Wilhelm Willinger & Margaret Willinger, Austro-Hungarian photographers who are best known for their portraits of actors of the early silent film era in Berlin.

László Josef Willinger was a Jewish-German photographer, most noted for his portrait photography of movie stars and celebrities starting in 1937.

He was born on April 16, 1909 Budapest, Hungary . Willinger established photographic studios in Paris and Berlin in 1929 and 1931 respectively, and at the same time submitted his photographs to various newspapers as a freelance contributor. He left Berlin in 1933 when Adolf Hitler became chancellor, settling and working in Vienna, where he began to photograph such celebrities as Marlene Dietrich, Hedy Lamarr, Pietro Mascagni, Sigmund Freud, Carl Jung, and Max Reinhardt.

By the mid-1930s he was travelling through Africa and Asia before being invited by studio photographer Eugene Robert Richee to move to the United States.

He crossed into the United States at Mexicali, Mexico on December 20, 1937 and resided in Los Angeles, California.

After establishing a studio in Hollywood, California, Willinger became a frequent contributor to magazines and periodicals, providing magazine cover portraits of some of the most popular stars. Willinger was one of the first Hollywood photographers to experiment in the use of color.

In later years, shortly before his death, Willinger was accused of stalking some celebrities of the time, including Charlie Chaplin. An investigation into the matter led to the uncovering of thousands of personal pictures of the male comedy star ( source wilkipedia.)

All the photgraphy are undated, but we can make the hypothesis, since it has settled in viennia in which these date from this time around 1930

Atelier Willinger (Wien). Sonja Georgiewand nd_

Atelier Willinger (Wien).Mara Ziperowitz als Merkur 1925

Atelier Willinger (Wien.) – Cäcilie Lvovsky nd

Atelier Willinger (Wien.) -Dagny Servaes in Turandot , nd

Atelier Willinger (Wien.) – Muna Libravic nd

Atelier Willinger (Wien.) -Anny Fey Moulin Rouge, Wien , nd

Atelier Willinger (Wien.) – Else Köring

Atelier Willinger (Wien.) – Inge Epp., nd

Atelier Willinger (Wien.) -Adele Heid, dancer from Moulin Rouge , nd

Atelier Willinger (Wien.) – Les Kervas

Atelier Willinger (Wien.) – Lily Damita , nd

Atelier Willinger (Wien.) – Ly Astra nd

Atelier Willinger,( Wien.) – Anna Bathy nd

Atelier Willinger (Wien.) -Karl Farkas in a scene with 2 girls. , nd

Atelier Willinger (Wien.) -Ly Horki , nd

Atelier Willinger,( Wien.) – Charlotte Ander nd

Atelier Willinger (Wien.) – Emmy Kosarynd

Atelier Willinger,( Wien.) -Alba Tiberio, nd

Atelier Willinger- Gertrud Bodenwieser 1930

Atelier Willinger,( Wien.) – Edmonde Guy, nd

Atelier Willinger (Wien.) -Nina Payne 1928

Atelier Willinger, Wien- Nina Payne 1928

Atelier Willinger,( Wien.) -Nina Payne was Mystery Dancer 1916

Atelier Willinger (Wien.) -Mill Silvano , nd

Atelier Willinger (Wien.) -Margarethe Freudenreich Solo dancer of the Vienna Court Opera, nd

Atelier Willinger,( Wien.) – Lore Wigand nd

Atelier Willinger,( Wien.)-Erna Carise., nd

Atelier Willinger,( Wien.) -Adele Heid nd

Atelier Willinger,( Wien.) -Christa de Vignos nd

Atelier Willinger,( Wien.) -Hilde Wagener as Vasantasena at the Vienna Burgtheater nd

Atelier Willinger,( Wien.) -Mia Lucka nd

Atelier Willinger,( Wien.) -Ria Hellwein nd

Atelier Willinger,( Wien.) -Janka Ladowska , nd

Atelier Willinger (Wien.) -Hilde Holger in Grotesk Charleston, nd

Atelier Willinger (Wien.) -Miquette Hirmer Members of the dance group Bodenwieser, nd

Atelier Willinger (Wien.) -Juita Fuentes in Madame Butterfly , nd

Atelier Willinger,( Wien.) -Rita Walter, photomontge nd

Atelier Willinger,( Wien.) – Maria Orska nd

®Theatermuseum, Wien

Boris Sergeevich Davydov

Publié par Lapetitemelancolie le 31/12/2018

Boris Sergeevich Davydov – Untitled, 1970s

William Goldman

Publié par Lapetitemelancolie le 15/12/2018

« 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