Posts Tagged ‘Nude photography’


Erwin Blumenfeld was a renowned photographer whose work is situated between 1930 and 1969. He was born in Berlin on 26 January 1897, moved to Holland late 1918, and started a professional career in photography in 1934. He moved to France in 1936. From 1937 to 1939, he published in Vogue and Harper’s Bazaar. When the Second World War broke out, he was interned in French camps as an alien, but was eventually allowed to leave for New York in 1941. He became a US citizen in 1946. His more personal work is in black and white; his commercial work in fashion, much for Vogue and Harper’s Bazaar, is mostly in color. In both media he was a great innovator. In black and white he did all his work personally in the dark room. In color he drew on his extensive background in classical and modern painting. He married Lena Citroen in Holland in 1921 and had three children there: Lisette, Henry Alexander and Frank Yorick. He died in Rome on July 4th, 1969.

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For details of his life one should read his picaresque autobiography, which he wrote in German and on which he worked from 1955 till 1969. It has been published in German under the title: Einbildungsroman, Eichborn Verlag, 1998. It also has come out in English under the title: Eye to I, Thames and Hudson, 1999. It was first published in French under the title: Jadis et Daguerre, Robert Laffont, 1975, with a re-edition by Editions de la Martinière, 1996. It also has come out in Dutch: Spiegelbeeld, Uitgeverij de Harmonie, 1980. There were several earlier German editions under the title: Durch tausendjährige Zeit.

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Text from Wikipedia, the free encyclopedia

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sun bathers 23Photographers Bertram Park and Yvonne Gregory married in 1916. They opened a studio with Marcus Adams on at 43 Dover Street, London. Bertram Park and Yvonne Gregory’s style was similar to John Everard’s but a little more refined. They did some outdoor work which I have not seen yet and hope to get onto this page.

 Bertram Park was a highly regarded establishment photographer whose body of work encompassed both society portraits, still life, and figure studies. He exhibited as part of the European avant-garde movement in the first international salon of the photographic which took place in Paris in 1933 in the company of Man Ray, Drtikol, Albin-Guillot, Yva, Moholy-Nagy, and others, in all photographers from 17 countries. A catalogue of that exhibition entitled ‘Nus: La Beaute de La Femme’ was subsequently published by Daniel Masclet is rare and is regularly listed as one of the landmark books of photography. In 1935 Bertam Park and Yvonne Gregory published ‘The Beauty Of The Female Form’ containing 48 photoengraved plates of romantic s in a pictorialist style and spectacular settings using powerful contrasts of light. The best compositions however are those taken in the open air, on beaches or in meadows with models posing in a completely natural way. ‘The Beauty of Female Form’ is becoming more difficult to obtain since its inclusion in Alessandro Bertolotti‘s ‘Books On Nudes’.

Sun Bathers” was published as a companion volume to “The Beauty of Female Form” by George Routledge & Son Ltd. at Broadway House in Carter Lane in London in 1941

  Images from Sun Bathers:

Sources: *Private Peeks Member, National Portrait Gallery, Amazon, Abe Books
– Article found on

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the english maid 01Roye, who claimed to have seen more than 10,000 naked women through the lens, always helped the police when they were investigating obscene pictures, but he was himself prosecuted when he refused to airbrush out pubic hair — the convention of the time — from the image of a model called Desirée in his Unique Edition collection. He successfully defended himself in court, arguing that the representation of beauty should be untrammelled by prudery.

The English Maid:

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the welsh maid 09Before the war Roye had become the first photographer to have a nude published in a national newspaper, the Daily Mirror, and afterwards he was quickly back into his stride, selling more than two million nude portraits worldwide by mail order. The Rank Organisation commissioned him to picture its “starlets”, and he worked on a new technique, the Roye-Vala 3-D stereoscopic process, which resulted in the booklet Diana Dors in 3-D.

The Welsh Maid:

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the irish maid 27

Second out of Horace Roye’s studies of British maids is “The Irish Maid”. As a noted photographer of nudes, he successfully contested the obscenity laws of his day.

The Irish Maid:

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The Scottish Maid 01Horace Roye (born Horace Roye-Narberth, 4 March 1906 – 11 June 2002) was one of the 20th century’s pioneering British  photographers. Flamboyant, famous for his nudes and pictures of starlets – and for water-skiing into old age and whose familiarity with cinema and stage stars during the war years led to international fame — and some notoriety. Beginning with Perfect Womanhood in 1938, Roye produced a succession of studies of the female nude. The English Maid was next, followed by Welsh, Scottish, and Irish maids, all of whom proved extremely popular, especially during the war.

The other maids will follow together with other Horace Roye publications in the weeks to come – Ted
  The Scottish Maid:


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 London Times, obituary, June 18, 2002
Horace Roye: Flamboyant photographer famous for his nudes and pictures of starlets – and for water-skiing into old age Horace Roye was one of the 20th century’s great pioneering photographers, whose familiarity with cinema and stage stars during the war years led to international fame — and some notoriety. As a noted photographer of nudes, he successfully contested the prudish obscenity laws of his day, paving the way for others to publish work that Roye himself considered to be pornographic.

His personal life was as unconventional as his professional milieu. He lived in South Africa, Paris, London, Ireland and Portugal before finally settling in the 12th-century kasbah of Rabat, Morocco.

He was born Horace Roye-Narbeth in Aylesbury in 1906, the son of a draper. On leaving Aylesbury Grammar School he wanted to become a solicitor, but his father, hoping that he would join the family business, insisted that he accepted a trainee’s job in Marshall & Snelgrove’s drapery department. He was dismissed, however, for going to work in his evening suit after a drunken night on the tiles, and his life’s odyssey began as he boarded a boat for South Africa.

After effectively being expelled from South Africa for diamond smuggling — although he proudly pointed out that the police found no stones because he had cut the lining in his jacket, allowing them to fall out before he was searched — the draper, pugilist, dancing instructor and sheep-shearer returned to London, where he worked in the silent movie industry and developed his love of photography.

11187_hr11Returning to London in 1935, he established a photographic studio in Chelsea, where he took conventional portraits of the likes of Cecil Beaton, James Mason, Arturo Toscanini and Sir Henry Wood. But he was back at his best in 1938, when George Routledge commissioned Perfect Womanhood, a collection of nudes.

Roye’s startling depiction of a nude model wearing a gas mask while pinned to a crucifix caused controversy during the Munich crisis of 1938; during the war, however, Roye’s imagination was used to full effect by the Ministry of Information, with whom he helped to compose a propaganda photograph of a Nazi officer caught in flagrante with two call girls. He also worked closely with Christopher Clayton Hutton in MI9, the department devoted to prisoner-of-war escape tactics.

Before the war Roye had become the first photographer to have a nude published in a national newspaper, the Daily Mirror, and afterwards he was quickly back into his stride, selling more than two million nude portraits worldwide by mail order. The Rank Organisation commissioned him to picture its “starlets”, and he worked on a new technique, the Roye-Vala 3-D stereoscopic process, which resulted in the booklet Diana Dors in 3-D.

11187_hr12Roye, who claimed to have seen more than 10,000 naked women through the lens, always helped the police when they were investigating obscene pictures, but he was himself prosecuted when he refused to airbrush out pubic hair — the convention of the time — from the image of a model called Desirée in his Unique Edition collection. He successfully defended himself in court, arguing that the representation of beauty should be untrammelled by prudery.

He lived briefly in Ireland to escape the furore, but claimed that he was forced out by the Roman Catholic priesthood, which objected to him introducing his maids to some of the racier magazines of the decade. After writing Nude Ego, his autobiography, Roye retired to Portugal in 1959 and, in the early 1960s, after sailing extensively along the Algarve coast, he bought a plot of land, Praia da Luz, where he built a series of luxury villas, which he later sold to friends, including Alan Ball, of Lonrho, and Lord Devlin. As the Algarve’s popularity grew, he moved north to the Alentejo, south of Lisbon, where he lived quietly until the revolution in 1974.

Known for his right-wing views and support for the dictatorship, Roye found himself under siege, and had to take his shotgun out on the causeway leading to his house. He was forced to sell up, and moved back briefly to England.

He had bought a holiday home in the kasbah at Rabat, and he and his wife decided to settle there in 1980. He had taken up water-skiing at the age of 60, and enjoyed a tow along the River Bouregreg each morning with the help of the local yacht club’s speedboat. The oldest British expatriate living in Morocco, Roye was murdered there in 2002. He is said to have been involved in a struggle with a painter who allegedly broke into his bedroom and stabbed him 14 times with the knife that Roye kept beneath his pillow.

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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…”

11168_menasse Studio Manasse, which flourished in the 1930s in Vienna, captured more than 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 11168_menasse4glamour. Attracting some of the leading ladies of the time from film, theatre, opera, and vaudeville,Studio Manasse created masterpieces, employing all the techniques of makeup, retouching, and over painting to keep their subjects happy while upholding an uncompromised artistic vision.Molded bodies were dreams with alabaster or marble-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 in 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.

Images and text found at:Studio-Menasse

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From Wikipedia, the free encyclopediaJulian Mandel (1872-1935) is the identity given to one of the best-known commercial photographers of female nudes of the early twentieth century. Signature photography bearing that name became known in the 1910s and was published in Paris through the mid-1930s by such firms as Alfred Noyer, Les Studios, P-C Paris, and the Neue Photographische Gesellschaft.

11149_man2Biographical information on Mandel is scarce and there has been speculation that the name is only a pseudonym.

The models often are found in highly arranged classical poses, photographed both in-studio and outdoors. The images are composed artfully, with exquisite tones and soft use of lighting—showing a particular texture created by light rather than shadow.

Reportedly, Mandel was a member of, and participated in, the German avant-garde "new age outdoor" or "plein air" movement. Numerous pictures sold under this name feature natural settings, playing on the ultra pale, uniform skin tones of the women set against the roughness of nature.

The nude photographs were marketed in a postcard-sized format, but as "A Brief 11149_man3History of Postcards" explains, "A majority of the French nude postcards were called postcards because of the size. They were never meant to be postally sent. It was illegal to send such images in the post (see History of erotic photography). The size enabled them to be placed readily into jacket pockets, packages, and books.

The full name, Julian Mandel, usually appears on the front of these card-sized photographs, being one of the few photographers of the day to stamp or sign a name on the front of works. This application of a marketing concept, contributes to the idea that the name might have been a pseudonym. Large numbers were sold.

There is a belief nowadays that Julian Mandel was the pseudonym of Julian Walery, a well known photographer of the same period. Walery also created "plein-air" and exquisite deco-style nudes in the 1920s. It may well be that Walery used the name "Mandel" when selling work to publisher Alfred Noyer, for publishing as postcard-sized images. The use of the name "Julian" and the similarity of the imagery where nudes are concerned is too great to write off as mere coincidence.

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Alfred Cheney Johnston (April 8, 1885– April 17, 1971) was a photographer born in New York City, known for his portraits of Ziegfeld Follies showgirls.

Johnston was born into a New York banking family. Initially he studied painting and illustration at the National Academy of Design in New York but after graduating in 1908 he failed in his attempt to become a portrait painter. Instead, he started to use the camera previously used to record his subjects as his creative medium. Early in his career he did unaccredited work as a retoucher at the Sarony Studio.


In approximately 1917 Johnston was hired by famed New York City live-theater showman Florenz Ziegfeld as his staff photographer, and was affiliated with the Ziegfeld Follies for the next fifteen years or so (he also maintained his own personal commercial photo studio at various locations around New York City as well, photographing everything from aspiring actresses and society matrons to a wide range of upscale retail commercial products — mostly men’s and women’s fashions — for magazine ads). He photographed possibly more than a thousand actresses and showgirls (mainly in New York City, and whether they were part of the Follies or not) during that time period. For his indoor studio work, Johnston often employed a large "Century"-brand view camera that produced 11×14-inch glass-plate negatives, so a standard J
11128_alf4Johnston 11×14 photographic print was actually just a "contact print" from the negative and not enlarged at all. This size of negative afforded extremely fine image detail. (However, Johnston also is confirmed to have shot with a Graflex camera in 3-1/4 x 4-1/4-inch roll-film format; an unknown brand of 8×10 view camera; and a Zeiss Ikon camera in 120 [2-1/4 x 2-1/4-inch] film format.)

Johnston’s "standard" work, of course, was used by Flo Ziegfeld for the normal advertising and promotional purposes for the Follies. However, after Johnston’s death in 1971, a huge treasure trove of extremely artistic full-nude and semi-nude full-figure studio photos (and their accompanying glass-plate negatives) was found stored at the farm near Oxford, Connecticut, where he’d lived since 1940. Most of these untold hundreds of models were, in fact, showgirls from the Ziegfeld Follies, but such daring, unretouched full-frontal images would certainly have had no public-publication possibilities in the 1920s-1930s, so it is speculated that these were either simply his own personal work, and/or done at the behest of Flo Ziegfeld for that showman’s personal enjoyment.

The only book known to have been published by Alfred Cheney Johnston during his lifetime devoted to his nudes/glamour photography is the 1937 spiral-bound softcover "Enchanting Beauty", which contains 94 black-and-white photos (mostly about 7×9 inches, centered on a 9×12-inch page, although a number are cropped circular or in other designs). Unusually (compared to virtually all other examples of his work seen today on the Web or other sources), 37 of these photos were taken outdoors along a stream or in flower-dappled fields, etc. Unfortunately–but not surprisingly–all the shots in the book are "airbrushed" in the pubic area, to keep them legal with respect to the publishing standards of the day. Text from Wikipedia 


In 1960, Johnston donated a set of 250 large prints of his work (largely nude and semi-nude Follies showgirls and some well-known actresses of the 1920s/1930s) to the Library of Congress in Washington, DC. Apparently five of them have "gone missing" over the years, but the Library still has 245 images in its Prints and Photographs divison (Lot 8782).

Alfred Cheney Johnston died in a car crash in Connecticut on April 17, 1971, a few years after the death of his longtime wife, Doris.

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11039_aaa2Oh, the young women who roared through the ’20s! Flappers frolicked while Bernice bobbed her hair. A new book titled "Premiere Nudes" contains hundreds of photos of these girls, half-dressed and naked.

Nothing makes a woman seem more naked than standing au naturelle wearing an antique hairdo. Almost all of California photographer Albert Arthur Allen’s women have bobbed coiffures — short hair marked with art deco swirls. He was a refugee of a wealthy New England family, as well as the victim of a San Francisco motorcycle accident that left him a hunched-over gimp. That said, from 1915 to 1930, Allen compelled hundreds of California girls to drop their knickers and pose naked. He was not shooting dirty pictures. He believed sex appeal was "human appeal." He also believed "the true nude gives a version of beauty, both physical and spiritual — two great needs of humanity."

Allen was a seer who thought his photos would inspire a kind of paradoxical chaste lust and reveal the potential of all naked women to become icons. His first series of nudes was of girls posing along the Pacific Coast or among nearby timber. Then Allen put his nude beauties in bourgeois or fake Moorish interiors: a naked dame musing at her piano. Or in her bath. Or inside the confines of her harem tent. Allen’s inadvertent masterpiece is a choreographed extravaganza of a dozen dancing naked women, a vision that predates Busby Berkley by a good 10 years.


I suspect in the 1920s, Allen girls would have been considered slender enough. Not that I have any proof. Nude photography was almost always illegal in the 1920s, so there is not an abundance of photographic evidence. As it was, Allen bore the wrath of San Francisco bluenoses more than once during the ’20s and was hauled before a judge because of his photos.

11039_aaa3Allen’s work was immediately different from that of other photographers of nudes at the time. For one thing, his work depicted the models’ pubic hair. Daile Kaplan, author of the foreword to Allen’s book, devotes many words to how radical photographing muff was in those Comstock days. Allen himself said he was a "trail finder." And like all trail finders he expected "a certain amount of criticism." He then compared his "humble" photographs to "those of the early martyrs of the Christian church." "We are in the same position, relatively," he said.

In 1923, this "easy rider" martyr ran his motorcycle into a streetcar, crumpling his right leg. "After numerous medical procedures, his right hip was fused, a condition that meant his left leg was permanently set in a sitting position," Kaplan writes. "Disabled for the rest of his life, Allen walked bent over or on crutches."

In 1924, Allen’s martyrdom continued. He was indicted for mailing obscene materials interstate. In 1925, Allen was indicted again for using American Express to send obscene material. This litigation would last for years. Compared to Parisian pornography, Allen’s work was obscene only by American hayseed standards. He tried whenever possible to choose models with "red-blooded American good looks." He invented the word "sexin" to describe his two classifications of womanhood — "virgin" and "mother." For Allen, a virgin was any woman who had not given birth.


In a way Allen saw his work as a great democratic project. "To see womankind entirely nude would place all women on equality," he wrote. "And it would be only their true mental and physical charm that would lift them from the ordinary." In 1925, Allen lifted women from the ordinary by putting them into groups and having them perform nude choreography and military drills. Read more at salon.com

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Fabulous: Elizabeth Taylor aged 24 in the photograph she gave to third husband Michael Todd. The picture was taken by one of her closest friends, actor and photographer Roddy McDowall.

The picture was taken by one of her closest friends, actor and photographer Roddy McDowall. He persuaded her to pose naked by promising her it would be done tastefully.

She then gave it to Todd as a present after he proposed in 1956 – the pair married a few months later but the relationship was tragically short-lived.

Todd was killed 13 months after their wedding day when his private plane crashed during a storm over New Mexico.

The article on MailOnline


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gloria_dawn7She writes: For my first modelling assignment, with Peter Gowland for Cavalier, I used my real name at the time Gloria Moeser – and that is the name Cavalier used as well. I did this because:

1)  – I was naive and thought all models used their real names;

2) – Neither Alice nor Peter Gowland suggested I adopt a special modelling name; and

3) – I thought this would be my one and only magazine appearance

Read it all on her new blog:

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01852_jaJean Agélou was the largest producer of nude postcards during the period of 1908-1916. He left little of his personal history behind but a vast amount of nude works in the form of stereo views, postcards, and magazines.

In the a book, "Jean Agélou: De l’académisme à la photographie de charme" by Christian Bourdon and Jean Agélou, the grandson of George Agélou, GA. Bourdon, a collector of postcards, accumulates many images bearing the initials JA. Starting with very few clues, he was able to trace the birth of the photographer, the address of his business (which we only have seen on one JA cabinet card) and the registration of his business. He finds the grandson of George Agelou (GA), whose name is also Jean Agélou and, together, they write a compelling story, filling in some of the missing details of the two photographers’ lives.

Images of nude women are as old as photography itself but the distribution of the nude image was very poor. Agélou started his business marketing stereo views but due to the obvious limitations, he needed another outlet. Postcards were just beginning to revolutionize the distribution of the photographic image, in particular, the nude, and timing couldn’t have been better for Jean Agélou.


In 1908, Jean Agélou began producing magazines for artists called "L’Etude Académique". Billed as model references, the magazines were sold in newsstands in a sealed envelope complying with the law of 1899 and while artists benefited from the production of the magazine, Agélou’s "real" business was dealing in mail order, fully nude, un-retouched postcards, which were discreetly delivered directly to the home.

JA photographed women both dressed and undressed but he preferred a model that would eventually sit down and take off her clothes. Elaborate backdrops, including landscapes, a seaside bathhouse, boudoir, and exotic props were trademarks in his career. He marketed his work in many forms.

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