/tagged/studio+photo/page/2
Israël Zangwill, ca 1905 -by J.E. Purdy The only good photographs I have ever seen of myself were done by an amateur — most of the others might just as well have been taken in my absence.And there is always a painful neatness about photographs: my humble study was once photographed, and it looked like a princely library. Bags come out with artistic interstices, fustian gleams like satin. It is the true Platonic touch, glorifying and gilding everything. Filth itself would come out like roses. No, no, let us hear no more about Zola’s “photography”.— Israel Zangwill, in ‘Without Prejudice’ (1898) [PG] from loc

Israël Zangwill, ca 1905 -by J.E. Purdy

The only good photographs I have ever seen of myself were done by an amateur — most of the others might just as well have been taken in my absence.
And there is always a painful neatness about photographs: my humble study was once photographed, and it looked like a princely library. Bags come out with artistic interstices, fustian gleams like satin. It is the true Platonic touch, glorifying and gilding everything. Filth itself would come out like roses. No, no, let us hear no more about Zola’s “photography”.
— Israel Zangwill, in ‘Without Prejudice’ (1898) [PG]

from loc

1 month ago  11 notes View high resolution

Philippe Soupault (ab. 6 y. old), 1903 -nd   [+] from: Mauricette Berne, Jacqueline Chénieux-Gendron (dir.) ‘Portrait(s) de Philippe Soupault’ (BNF, Paris, 1997)

Philippe Soupault (ab. 6 y. old), 1903 -nd   [+]

from: Mauricette Berne, Jacqueline Chénieux-Gendron (dir.) ‘Portrait(s) de Philippe Soupault’ (BNF, Paris, 1997)

2 months ago  7 notes

… A Good Night - Good Day post… Alfred Eisenstaedt about 3 y. old, Dirschau [Tczew], 1901 - Studio Th. Lange via Life

… A Good Night - Good Day post…

Alfred Eisenstaedt about 3 y. old, Dirschau [Tczew], 1901 - Studio Th. Lange via Life

4 months ago  62 notes View high resolution

Paul Wittgenstein, Vienna, 2 July 1919 -Madame d’Ora Atelier[ref: Bildarchiv Austria] entregulistanybostan: Paul Wittgenstein (Nov. 5, 1887 to 1961), older brother of philosopher Ludwig. Photo: Madame D’Ora Atelier i12bent Paul Wittgenstein (Nov. 5, 1887 to 1961), older brother of philosopher Ludwig, was a well-respected concert pianist who lost his right arm in combat in WW I. Nonetheless, he persisted with his musical career, enticing several composers to write concertos for the left arm especially for him. Most celebrated among these works is that of Maurice Ravel which is still frequently performed by pianists today (one- and two-armed ones alike)… Photo: Madame D’Ora Atelier

Paul Wittgenstein, Vienna, 2 July 1919 -Madame d’Ora Atelier
[ref: Bildarchiv Austria]

entregulistanybostan:

Paul Wittgenstein (Nov. 5, 1887 to 1961), older brother of philosopher Ludwig.

Photo: Madame D’Ora Atelier

i12bent

Paul Wittgenstein (Nov. 5, 1887 to 1961), older brother of philosopher Ludwig, was a well-respected concert pianist who lost his right arm in combat in WW I. Nonetheless, he persisted with his musical career, enticing several composers to write concertos for the left arm especially for him.

Most celebrated among these works is that of Maurice Ravel which is still frequently performed by pianists today (one- and two-armed ones alike)…

Photo: Madame D’Ora Atelier

6 months ago  68 notes View high resolution

Lydia Kindermann -photo Ullstein

Lydia Kindermann -photo Ullstein

7 months ago  4 notes

Arturo Toscanini, 1941 -nd«To Alegra Breyer de Palanza / cordially / Arturo Toscanini / Buenos Aires 9-7-1941» [some ref.] from swann

Arturo Toscanini, 1941 -nd
«To Alegra Breyer de Palanza / cordially / Arturo Toscanini / Buenos Aires 9-7-1941» [some ref.]

from swann

7 months ago  19 notes

Francis Carco, ca 1928 -by G.L. Manuel Frères   [+] Là-haut, dans sa chambre vide,Gaspard joue du violonEt les mortes qu’il inviteÀ danser, tournent en rond…C’est la ronde, c’est la ronde…La ronde ou bien le sabbat?Cela grince, siffle, grondeEt sautille à petits pas… — from: Francis Carco, La Bohême et mon coeur (1912) from Archival Photographic Files, [apf3-01464]  [+]

Francis Carco, ca 1928 -by G.L. Manuel Frères   [+]

Là-haut, dans sa chambre vide,
Gaspard joue du violon
Et les mortes qu’il invite
À danser, tournent en rond…

C’est la ronde, c’est la ronde…
La ronde ou bien le sabbat?
Cela grince, siffle, gronde
Et sautille à petits pas…

— from: Francis Carco, La Bohême et mon coeur (1912)

from Archival Photographic Files, [apf3-01464]  [+]

8 months ago  11 notes View high resolution

Yvette Guilbert, ca 1928 -by G.L. Manuel Frères   [+] «Chicago! grande ville mécanique, tu fais aussi des grands savants et des “Penseurs” à ta patrie!» from Archival Photographic Files, [apf3-01496]  [+]

Yvette Guilbert, ca 1928 -by G.L. Manuel Frères   [+]

«Chicago! grande ville mécanique, tu fais aussi des grands savants et des “Penseurs” à ta patrie!»

from Archival Photographic Files, [apf3-01496]  [+]

8 months ago  12 notes View high resolution

Blaise Cendrars, ca 1928 -by G.L. Manuel Frères   [+] «Chicago, Chicago, ChicagoQuand te videras-tu de tes cagots?» In 1932, Parisian publisher M. Édouard Champion sent a gift of 135 photographs of French politicians, writers, diplomats, and artists to the University of Chicago. Each image of the gift collection titled “Messages Français” was framed and placed on display in Wieboldt Hall then in the International House. (notice SCRC, U. of Chicago). 63 photographs can be seen at the Archival Photographic Files.The same gift was offered to Harvard. from Archival Photographic Files, [apf3-01485]  [+]

Blaise Cendrars, ca 1928 -by G.L. Manuel Frères   [+]

«Chicago, Chicago, Chicago
Quand te videras-tu de tes cagots?»

In 1932, Parisian publisher M. Édouard Champion sent a gift of 135 photographs of French politicians, writers, diplomats, and artists to the University of Chicago. Each image of the gift collection titled “Messages Français” was framed and placed on display in Wieboldt Hall then in the International House. (notice SCRC, U. of Chicago). 63 photographs can be seen at the Archival Photographic Files.
The same gift was offered to Harvard.

from Archival Photographic Files, [apf3-01485]  [+]

8 months ago  12 notes View high resolution

William Henry Fox Talbot with camera and lens, 1864 -by John Moffat burnedshoes: © John Moffat, 1864, ‘William Henry Fox Talbot with camera and lens’ “How charming it would be if it were possible to cause these natural images to imprint themselves durable and remain fixed upon the paper! And why should it not be possible? I asked myself.” (William Henry Fox Talbot)

William Henry Fox Talbot with camera and lens, 1864 -by John Moffat

burnedshoes:

© John Moffat, 1864, ‘William Henry Fox Talbot with camera and lens’

“How charming it would be if it were possible to cause these natural images to imprint themselves durable and remain fixed upon the paper! And why should it not be possible? I asked myself.” (William Henry Fox Talbot)

8 months ago  10 notes View high resolution

(Lt to rt): André Breton, René Hilsum (standing), Louis Aragon, Paul Éluard, Paris 1919 -Studio photo (La photo mécanique) Totally agree with i12bent… This is NOT a Man Ray photo. Rather than a photo booth, ‘La photo mécanique’ was a studio with several addresses in Paris (43 Bld St Martin here, also: 26, rue de Rivoli; 81, Fbg du Temple; 11, Fbg St Martin). The written annotation by André Breton gives the date 1919, consistent with the publication of the review ‘Dada no 3’ (dec. 1918) in Zurich. We can imagine this photo was taken when the review was received in Paris.Besides, Man Ray arrived in Paris on July 22, 1921.photo from André Breton [ref.: ‘André Breton, la beauté convulsive’, Ed. Centre Pompidou, 1991] We can read in Denis Demonpion, ‘Arletty’ (Flammarion, 1996):Une de leurs joies consiste à aller se faire tirer le portrait à La Photo Mécanique, 43, boulevard Saint-Martin ou 81, faubourg du Temple, dans des décors en trompe l’œil champêtres et romantiques. i12bent: Souvenirs of Surrealism Dada: Annotated in hand by André Breton on back: From L to R - André Breton, René Hilsum [top], Louis Aragon, Paul Eluard [bottom] 1919. Photo taken for the issue of number 3 of the journal Dada. All 4 gents wear false beards… The image is often ascribed to Man Ray, but the Andre Breton collection claims “unknown photographer”. It looks like a photo booth snap to me - note that the top bears the imprint La Photo Mecanique…

(Lt to rt): André Breton, René Hilsum (standing), Louis Aragon, Paul Éluard, Paris 1919 -Studio photo (La photo mécanique)

Totally agree with i12bent… This is NOT a Man Ray photo. Rather than a photo booth, ‘La photo mécanique’ was a studio with several addresses in Paris (43 Bld St Martin here, also: 26, rue de Rivoli; 81, Fbg du Temple; 11, Fbg St Martin). The written annotation by André Breton gives the date 1919, consistent with the publication of the review ‘Dada no 3’ (dec. 1918) in Zurich. We can imagine this photo was taken when the review was received in Paris.
Besides, Man Ray arrived in Paris on July 22, 1921.
photo from André Breton

[ref.: ‘André Breton, la beauté convulsive’, Ed. Centre Pompidou, 1991]

We can read in Denis Demonpion, ‘Arletty’ (Flammarion, 1996):
Une de leurs joies consiste à aller se faire tirer le portrait à La Photo Mécanique, 43, boulevard Saint-Martin ou 81, faubourg du Temple, dans des décors en trompe l’œil champêtres et romantiques.

i12bent:

Souvenirs of Surrealism Dada:

Annotated in hand by André Breton on back: From L to R - André Breton, René Hilsum [top], Louis Aragon, Paul Eluard [bottom] 1919.

Photo taken for the issue of number 3 of the journal Dada. All 4 gents wear false beards…

The image is often ascribed to Man Ray, but the Andre Breton collection claims “unknown photographer”. It looks like a photo booth snap to me - note that the top bears the imprint La Photo Mecanique…

8 months ago  43 notes View high resolution

Grete Freudenreich, Vienna, 1926 -Studio ‘Residenzatelier’[Grete Freudenreich posiert im avantgardistischen Kostüm] from Schmidt auktionen

Grete Freudenreich, Vienna, 1926 -Studio ‘Residenzatelier’
[Grete Freudenreich posiert im avantgardistischen Kostüm]

from Schmidt auktionen

9 months ago  11 notes View high resolution

Israël Zangwill, ca 1905 -by J.E. Purdy The only good photographs I have ever seen of myself were done by an amateur — most of the others might just as well have been taken in my absence.And there is always a painful neatness about photographs: my humble study was once photographed, and it looked like a princely library. Bags come out with artistic interstices, fustian gleams like satin. It is the true Platonic touch, glorifying and gilding everything. Filth itself would come out like roses. No, no, let us hear no more about Zola’s “photography”.— Israel Zangwill, in ‘Without Prejudice’ (1898) [PG] from loc

Israël Zangwill, ca 1905 -by J.E. Purdy

The only good photographs I have ever seen of myself were done by an amateur — most of the others might just as well have been taken in my absence.
And there is always a painful neatness about photographs: my humble study was once photographed, and it looked like a princely library. Bags come out with artistic interstices, fustian gleams like satin. It is the true Platonic touch, glorifying and gilding everything. Filth itself would come out like roses. No, no, let us hear no more about Zola’s “photography”.
— Israel Zangwill, in ‘Without Prejudice’ (1898) [PG]

from loc

Philippe Soupault (ab. 6 y. old), 1903 -nd   [+] from: Mauricette Berne, Jacqueline Chénieux-Gendron (dir.) ‘Portrait(s) de Philippe Soupault’ (BNF, Paris, 1997)

Philippe Soupault (ab. 6 y. old), 1903 -nd   [+]

from: Mauricette Berne, Jacqueline Chénieux-Gendron (dir.) ‘Portrait(s) de Philippe Soupault’ (BNF, Paris, 1997)

… A Good Night - Good Day post… Alfred Eisenstaedt about 3 y. old, Dirschau [Tczew], 1901 - Studio Th. Lange via Life

… A Good Night - Good Day post…

Alfred Eisenstaedt about 3 y. old, Dirschau [Tczew], 1901 - Studio Th. Lange via Life

Paul Wittgenstein, Vienna, 2 July 1919 -Madame d’Ora Atelier[ref: Bildarchiv Austria] entregulistanybostan: Paul Wittgenstein (Nov. 5, 1887 to 1961), older brother of philosopher Ludwig. Photo: Madame D’Ora Atelier i12bent Paul Wittgenstein (Nov. 5, 1887 to 1961), older brother of philosopher Ludwig, was a well-respected concert pianist who lost his right arm in combat in WW I. Nonetheless, he persisted with his musical career, enticing several composers to write concertos for the left arm especially for him. Most celebrated among these works is that of Maurice Ravel which is still frequently performed by pianists today (one- and two-armed ones alike)… Photo: Madame D’Ora Atelier

Paul Wittgenstein, Vienna, 2 July 1919 -Madame d’Ora Atelier
[ref: Bildarchiv Austria]

entregulistanybostan:

Paul Wittgenstein (Nov. 5, 1887 to 1961), older brother of philosopher Ludwig.

Photo: Madame D’Ora Atelier

i12bent

Paul Wittgenstein (Nov. 5, 1887 to 1961), older brother of philosopher Ludwig, was a well-respected concert pianist who lost his right arm in combat in WW I. Nonetheless, he persisted with his musical career, enticing several composers to write concertos for the left arm especially for him.

Most celebrated among these works is that of Maurice Ravel which is still frequently performed by pianists today (one- and two-armed ones alike)…

Photo: Madame D’Ora Atelier

Lydia Kindermann -photo Ullstein

Lydia Kindermann -photo Ullstein

Arturo Toscanini, 1941 -nd«To Alegra Breyer de Palanza / cordially / Arturo Toscanini / Buenos Aires 9-7-1941» [some ref.] from swann

Arturo Toscanini, 1941 -nd
«To Alegra Breyer de Palanza / cordially / Arturo Toscanini / Buenos Aires 9-7-1941» [some ref.]

from swann

Francis Carco, ca 1928 -by G.L. Manuel Frères   [+] Là-haut, dans sa chambre vide,Gaspard joue du violonEt les mortes qu’il inviteÀ danser, tournent en rond…C’est la ronde, c’est la ronde…La ronde ou bien le sabbat?Cela grince, siffle, grondeEt sautille à petits pas… — from: Francis Carco, La Bohême et mon coeur (1912) from Archival Photographic Files, [apf3-01464]  [+]

Francis Carco, ca 1928 -by G.L. Manuel Frères   [+]

Là-haut, dans sa chambre vide,
Gaspard joue du violon
Et les mortes qu’il invite
À danser, tournent en rond…

C’est la ronde, c’est la ronde…
La ronde ou bien le sabbat?
Cela grince, siffle, gronde
Et sautille à petits pas…

— from: Francis Carco, La Bohême et mon coeur (1912)

from Archival Photographic Files, [apf3-01464]  [+]

Yvette Guilbert, ca 1928 -by G.L. Manuel Frères   [+] «Chicago! grande ville mécanique, tu fais aussi des grands savants et des “Penseurs” à ta patrie!» from Archival Photographic Files, [apf3-01496]  [+]

Yvette Guilbert, ca 1928 -by G.L. Manuel Frères   [+]

«Chicago! grande ville mécanique, tu fais aussi des grands savants et des “Penseurs” à ta patrie!»

from Archival Photographic Files, [apf3-01496]  [+]

Blaise Cendrars, ca 1928 -by G.L. Manuel Frères   [+] «Chicago, Chicago, ChicagoQuand te videras-tu de tes cagots?» In 1932, Parisian publisher M. Édouard Champion sent a gift of 135 photographs of French politicians, writers, diplomats, and artists to the University of Chicago. Each image of the gift collection titled “Messages Français” was framed and placed on display in Wieboldt Hall then in the International House. (notice SCRC, U. of Chicago). 63 photographs can be seen at the Archival Photographic Files.The same gift was offered to Harvard. from Archival Photographic Files, [apf3-01485]  [+]

Blaise Cendrars, ca 1928 -by G.L. Manuel Frères   [+]

«Chicago, Chicago, Chicago
Quand te videras-tu de tes cagots?»

In 1932, Parisian publisher M. Édouard Champion sent a gift of 135 photographs of French politicians, writers, diplomats, and artists to the University of Chicago. Each image of the gift collection titled “Messages Français” was framed and placed on display in Wieboldt Hall then in the International House. (notice SCRC, U. of Chicago). 63 photographs can be seen at the Archival Photographic Files.
The same gift was offered to Harvard.

from Archival Photographic Files, [apf3-01485]  [+]

William Henry Fox Talbot with camera and lens, 1864 -by John Moffat burnedshoes: © John Moffat, 1864, ‘William Henry Fox Talbot with camera and lens’ “How charming it would be if it were possible to cause these natural images to imprint themselves durable and remain fixed upon the paper! And why should it not be possible? I asked myself.” (William Henry Fox Talbot)

William Henry Fox Talbot with camera and lens, 1864 -by John Moffat

burnedshoes:

© John Moffat, 1864, ‘William Henry Fox Talbot with camera and lens’

“How charming it would be if it were possible to cause these natural images to imprint themselves durable and remain fixed upon the paper! And why should it not be possible? I asked myself.” (William Henry Fox Talbot)

(Lt to rt): André Breton, René Hilsum (standing), Louis Aragon, Paul Éluard, Paris 1919 -Studio photo (La photo mécanique) Totally agree with i12bent… This is NOT a Man Ray photo. Rather than a photo booth, ‘La photo mécanique’ was a studio with several addresses in Paris (43 Bld St Martin here, also: 26, rue de Rivoli; 81, Fbg du Temple; 11, Fbg St Martin). The written annotation by André Breton gives the date 1919, consistent with the publication of the review ‘Dada no 3’ (dec. 1918) in Zurich. We can imagine this photo was taken when the review was received in Paris.Besides, Man Ray arrived in Paris on July 22, 1921.photo from André Breton [ref.: ‘André Breton, la beauté convulsive’, Ed. Centre Pompidou, 1991] We can read in Denis Demonpion, ‘Arletty’ (Flammarion, 1996):Une de leurs joies consiste à aller se faire tirer le portrait à La Photo Mécanique, 43, boulevard Saint-Martin ou 81, faubourg du Temple, dans des décors en trompe l’œil champêtres et romantiques. i12bent: Souvenirs of Surrealism Dada: Annotated in hand by André Breton on back: From L to R - André Breton, René Hilsum [top], Louis Aragon, Paul Eluard [bottom] 1919. Photo taken for the issue of number 3 of the journal Dada. All 4 gents wear false beards… The image is often ascribed to Man Ray, but the Andre Breton collection claims “unknown photographer”. It looks like a photo booth snap to me - note that the top bears the imprint La Photo Mecanique…

(Lt to rt): André Breton, René Hilsum (standing), Louis Aragon, Paul Éluard, Paris 1919 -Studio photo (La photo mécanique)

Totally agree with i12bent… This is NOT a Man Ray photo. Rather than a photo booth, ‘La photo mécanique’ was a studio with several addresses in Paris (43 Bld St Martin here, also: 26, rue de Rivoli; 81, Fbg du Temple; 11, Fbg St Martin). The written annotation by André Breton gives the date 1919, consistent with the publication of the review ‘Dada no 3’ (dec. 1918) in Zurich. We can imagine this photo was taken when the review was received in Paris.
Besides, Man Ray arrived in Paris on July 22, 1921.
photo from André Breton

[ref.: ‘André Breton, la beauté convulsive’, Ed. Centre Pompidou, 1991]

We can read in Denis Demonpion, ‘Arletty’ (Flammarion, 1996):
Une de leurs joies consiste à aller se faire tirer le portrait à La Photo Mécanique, 43, boulevard Saint-Martin ou 81, faubourg du Temple, dans des décors en trompe l’œil champêtres et romantiques.

i12bent:

Souvenirs of Surrealism Dada:

Annotated in hand by André Breton on back: From L to R - André Breton, René Hilsum [top], Louis Aragon, Paul Eluard [bottom] 1919.

Photo taken for the issue of number 3 of the journal Dada. All 4 gents wear false beards…

The image is often ascribed to Man Ray, but the Andre Breton collection claims “unknown photographer”. It looks like a photo booth snap to me - note that the top bears the imprint La Photo Mecanique…

Grete Freudenreich, Vienna, 1926 -Studio ‘Residenzatelier’[Grete Freudenreich posiert im avantgardistischen Kostüm] from Schmidt auktionen

Grete Freudenreich, Vienna, 1926 -Studio ‘Residenzatelier’
[Grete Freudenreich posiert im avantgardistischen Kostüm]

from Schmidt auktionen

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