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| 1. |  | André Adolphe-Eugène Disdéri 1859-1861 Emma Livry Carte de visite Paul Frecker Born in Paris on 14 September 1842, Emma Livry made her début on 20 September 1858 in La Sylphide. She quickly became one of the brightest rising stars of the Paris Opéra and the darling of Paris audiences. A glorious career seemed certain, particularly after she caught the eye of Marie Taglioni, who had originated the role. Taglioni worked with her daily, and created her only ballet for her, Le Papillion, with music by Offenbach. At that time, stages were lighted by gas jets, and since accidents were frequent, the long tutus worn by dancers were treated to make them flame resistant. However, the process made the muslin turn yellow and stiff, and like many other dancers, Livry refused to wear costumes that had been treated. During a rehearsal of The Dumb Girl of Portici, Emma's skirt caught fire. Two male dancers tried to extinguish the flames, but Emma suffered severe burns. She died of complications eight months later. She was twenty-one years old. |
| 2. |  | André Adolphe-Eugène Disdéri 1859-1861 The Walter Sisters Carte de visite Paul Frecker The Walter sisters were dancers with the Paris-Opéra. |
| 3. |  | André Adolphe-Eugène Disdéri 1859-1861 Louis Mérante and Mlle. Caroline Carte de visite Paul Frecker Louis Mérante was a dancer and choreographer with the Paris Opéra. |
| 4. |  | André Adolphe-Eugène Disdéri 1859-1861 Marie Petipa Carte de visite Paul Frecker Born Maria Surovshchikova, the illegitimate daughter of a St. Petersburg milliner, she studied at the Imperial Ballet academy in St. Petersburg. In 1854 she married Marius Petipa, one of the greatest choreographers of the nineteenth century, and joined the Bolshoi Theatre. She created many roles in her husband's ballets and was a great success in travestie parts. She made her Paris début at the Opéra on 29 May 1861 in Le Marche des Innocents. "She is truly Russian", wrote one contemporary critic. "She aspires neither to the fine classical effects of the French style, nor the warm and powerful fantasy of Italy, nor to a Spanish fury. She is a delightful caprice, ever floating between a heedless folly and a graceful melancholy, a strange mixture resulting from her Slav character." After her divorce from Petipa in 1869 her career went downhill. She died in 1882. |
| 5. |  | André Adolphe-Eugène Disdéri 1859-1861 Louise Fiocre Carte de visite Paul Frecker The dancer Louise Fiocre of the Opéra was the sister of Eugénie Fiocre, also a dancer with the same company. She made her début at the Paris Opéra in 1856 at the age of thirteen and retired in 1869 at the age of twenty-five. Her well-rounded legs made her particularly popular with the members of the Jockey Club. |
| 6. |  | Sebah & Joaillier 1870 (ca) Derviches tourneurs (no 233) Papier albuminé d'après négatif sur verre au collodion 20.5 x 26 cm Bibliothèque Nationale de France, Département des Estampes et de la Photographie |
| 7. |  | Unidentified photographer 1885 (ca) [M. Iranian] Derviches tourneurs Albumen print 7 3/8 x 9 3/4 Charles Nes Photography LLC New York - Paris |
| 8. |  | Paul Nadar 1890 (ca) Dancer in costume holding eggs Albumen print cabinet card 15.0 x 10.2 cm George Eastman Museum Courtesy of George Eastman House (GEH NEG: 37105) |
| 9. |  | Unidentified photographer / artist 1886 La Gouloe Cabinet card, composite, hand-coloured Charles Schwartz Ltd Courtesy of Charles Schwartz (#9343) Cabinet card featuring a hand colored composite of can can dancers at the Moulin Rouge featuring La Goulue. "La Goulue", the subject of some of Toulouse Lautrec's most famous lithographs, was the queen of the Moulin Rouge from 1886-1895. She was nicknamed "the glutton" both because of her habit of finishing patron's drinks and reputed sexual appetite. Printed on Card "Celebrites Choregraphiques" "La Goulue" and "Quadrille Au Moulin Rouge" |
| 10. |  | A.W.A. Plate 1880-1895 Nautch Dancers Albumen print Palinda Stephen de Silva Collection Greyscale version of an original albumen print. This photograph was included in "19th Century Photographs of Ceylon: The Palinda Stephen de Silva Collection" (Austin, Texas, 2006) - Produced by Palinda Stephen de Silva www.imagesofceylon.com |
| 11. |  | S.I.P. n.d. The Cake Walk Photo postcards, applied blue coloring Larry Gottheim, Be-hold, Inc Courtesy of Larry Gottheim (Auction: March 13, 2008, 51, part 2 / lot 105) The steps of the dance are illustrated by the "Elke" team of the Nouveau Cirqueà.. This dance originated in American black slave society, mocking the manners of their European masters. It was then taken up by Europeans themselves, as here, in these French postcards with imprinted technical explanations of the moves. In this group, someone has added pen inscriptions in Portuguese [from Brazil?] bringing out the elements of erotic courtship. |
| 12. |  | S.I.P. n.d. The Cake Walk Photo postcards, applied blue coloring Larry Gottheim, Be-hold, Inc Courtesy of Larry Gottheim (Auction: March 13, 2008, 51, part 2 / lot 105) The steps of the dance are illustrated by the "Elke" team of the Nouveau Cirqueà.. This dance originated in American black slave society, mocking the manners of their European masters. It was then taken up by Europeans themselves, as here, in these French postcards with imprinted technical explanations of the moves. In this group, someone has added pen inscriptions in Portuguese [from Brazil?] bringing out the elements of erotic courtship. |
| 13. |  | S.I.P. n.d. The Cake Walk Photo postcards, applied blue coloring Larry Gottheim, Be-hold, Inc Courtesy of Larry Gottheim (Auction: March 13, 2008, 51, part 2 / lot 105) The steps of the dance are illustrated by the "Elke" team of the Nouveau Cirqueà.. This dance originated in American black slave society, mocking the manners of their European masters. It was then taken up by Europeans themselves, as here, in these French postcards with imprinted technical explanations of the moves. In this group, someone has added pen inscriptions in Portuguese [from Brazil?] bringing out the elements of erotic courtship. |
| 14. |  | S.I.P. n.d. The Cake Walk Photo postcards, applied blue coloring Larry Gottheim, Be-hold, Inc Courtesy of Larry Gottheim (Auction: March 13, 2008, 51, part 2 / lot 105) The steps of the dance are illustrated by the "Elke" team of the Nouveau Cirqueà.. This dance originated in American black slave society, mocking the manners of their European masters. It was then taken up by Europeans themselves, as here, in these French postcards with imprinted technical explanations of the moves. In this group, someone has added pen inscriptions in Portuguese [from Brazil?] bringing out the elements of erotic courtship. |
| 15. |  | S.I.P. n.d. The Cake Walk Photo postcards, applied blue coloring Larry Gottheim, Be-hold, Inc Courtesy of Larry Gottheim (Auction: March 13, 2008, 51, part 2 / lot 105) The steps of the dance are illustrated by the "Elke" team of the Nouveau Cirqueà.. This dance originated in American black slave society, mocking the manners of their European masters. It was then taken up by Europeans themselves, as here, in these French postcards with imprinted technical explanations of the moves. In this group, someone has added pen inscriptions in Portuguese [from Brazil?] bringing out the elements of erotic courtship. |
| 16. |  | S.I.P. n.d. The Cake Walk Photo postcards, applied blue coloring Larry Gottheim, Be-hold, Inc Courtesy of Larry Gottheim (Auction: March 13, 2008, 51, part 2 / lot 105) The steps of the dance are illustrated by the "Elke" team of the Nouveau Cirqueà.. This dance originated in American black slave society, mocking the manners of their European masters. It was then taken up by Europeans themselves, as here, in these French postcards with imprinted technical explanations of the moves. In this group, someone has added pen inscriptions in Portuguese [from Brazil?] bringing out the elements of erotic courtship. |
| 17. |  | S.I.P. n.d. The Cake Walk Photo postcards, applied blue coloring Larry Gottheim, Be-hold, Inc Courtesy of Larry Gottheim (Auction: March 13, 2008, 51, part 2 / lot 105) The steps of the dance are illustrated by the "Elke" team of the Nouveau Cirqueà.. This dance originated in American black slave society, mocking the manners of their European masters. It was then taken up by Europeans themselves, as here, in these French postcards with imprinted technical explanations of the moves. In this group, someone has added pen inscriptions in Portuguese [from Brazil?] bringing out the elements of erotic courtship. |
| 18. |  | S.I.P. n.d. The Cake Walk Photo postcards, applied blue coloring Larry Gottheim, Be-hold, Inc Courtesy of Larry Gottheim (Auction: March 13, 2008, 51, part 2 / lot 105) The steps of the dance are illustrated by the "Elke" team of the Nouveau Cirqueà.. This dance originated in American black slave society, mocking the manners of their European masters. It was then taken up by Europeans themselves, as here, in these French postcards with imprinted technical explanations of the moves. In this group, someone has added pen inscriptions in Portuguese [from Brazil?] bringing out the elements of erotic courtship. |
| 19. |  | S.I.P. n.d. The Cake Walk Photo postcards, applied blue coloring Larry Gottheim, Be-hold, Inc Courtesy of Larry Gottheim (Auction: March 13, 2008, 51, part 2 / lot 105) The steps of the dance are illustrated by the "Elke" team of the Nouveau Cirqueà.. This dance originated in American black slave society, mocking the manners of their European masters. It was then taken up by Europeans themselves, as here, in these French postcards with imprinted technical explanations of the moves. In this group, someone has added pen inscriptions in Portuguese [from Brazil?] bringing out the elements of erotic courtship. |
| 20. |  | S.I.P. n.d. The Cake Walk Photo postcards, applied blue coloring Larry Gottheim, Be-hold, Inc Courtesy of Larry Gottheim (Auction: March 13, 2008, 51, part 2 / lot 105) The steps of the dance are illustrated by the "Elke" team of the Nouveau Cirqueà.. This dance originated in American black slave society, mocking the manners of their European masters. It was then taken up by Europeans themselves, as here, in these French postcards with imprinted technical explanations of the moves. In this group, someone has added pen inscriptions in Portuguese [from Brazil?] bringing out the elements of erotic courtship. |
| 21. |  | Frantisek Drtikol 1910 (ca) Dance study Oil pigment print 28.3 x 23.4 cm (11 x 9 ) Galerie Johannes Faber |
| 22. |  | Jos Rentmeesters 1920s Lizzy and Jenny Toned bromide silver print 5 x 7 in Private collection of Brad Feuerhelm |
| 23. |  | Jos Rentmeesters 1920 (ca) Clock Gelatin silver print 5 x 7 in Private collection of Brad Feuerhelm |
| 24. |  | Jos Rentmeesters 1920 (ca) Love Sisters Gelatin silver print, toned 5 x 6 7/8 in Private collection of Brad Feuerhelm |
| 25. |  | Edmund Kesting 1926 Tanz Dore Hoye, Dresden 15-3/4 x 11-3/4 in (400 x 298 mm) Source requested |
| 26. |  | Savitch Demeter 1925 (ca) Russian dancers Platinum print 22.2 x 16.6 cm Allsworth Rare Books Courtesy of Allsworth Rare Books (Catalogue: 5, #45) This item was in "Catalogue Five, Photographs" of Allsworth Rare Books (2007) |
| 27. |  | Savitch Demeter 1925 (ca) Russian dancers Platinum print 22.2 x 16.6 cm Allsworth Rare Books Courtesy of Allsworth Rare Books (Catalogue: 5, #45) This item was in "Catalogue Five, Photographs" of Allsworth Rare Books (2007) |
| 28. |  | Fred R. Dapprich (United States) 1920s-1930s Untitled, Studio portrait of the dancer Zora Gelatin silver print 9 1/2 x 7 1/2 in (24 x 19 cm) KaufmaNelson Vintage Photographs Signed by the photographer, in white ink, recto and with his studio stamp ("Photographer of Interesting People") verso. NOTE: The subject, Zora, may have been the photographer's wife. |
| 29. |  | Fred R. Dapprich (United States) 1920s-1930s Untitled, Studio portrait of the dancer Zora, in profile Gelatin silver print 4 3/4 x 3 7/8 in (12 x 10 cm) KaufmaNelson Vintage Photographs NOTE: The subject, Zora, may have been the photographer's wife |
| 30. |  | Fred R. Dapprich (United States) 1920s-1930s Untitled, Studio portrait of Zora dancing Gelatin silver print 4 3/4 x 3 7/8 in (12 x 10 cm) KaufmaNelson Vintage Photographs Signed by the photographer, in white ink, recto and with his studio stamp ("Photographer of Interesting People") verso. NOTE: The subject, Zora, may have been the photographer's wife. |
| 31. |  | Foto Rembrandt (Torino, Italy) 1920s Untitled, Harles dancing Gelatin silver print, toned 6 x 3 7/8 in (15 x 10 cm) KaufmaNelson Vintage Photographs With the dancer's name and "Foto Rembrandt, Torino" written in the negative, and "Harles et Robert" written in a period hand, in ink, verso. |
| 32. |  | Alfred Eisenstaedt 1930 First Lesson at Trumpey Ballet School, Berlin Gelatin silver print 16 x 20 Peter Fetterman Gallery |
| 33. |  | Alexey Brodovitch 1935-1937 (taken) 1950s-1960s (early, print) Untitled (from the Ballet series, "Choreartium") Silver copy print 8 x 10 in (20.3 x 25.4 cm) Swann Galleries - New York Courtesy of Swann Galleries (Auction May 20, 2010, Sale 2215 Lot 310) With Brodovitch's inscription, "To Patty, With Appreciation, Alexey," in ink, the date, in pencil, and his Design Consultant hand stamp, on verso. |
| 34. |  | Alexey Brodovitch 1935-1937 (taken) 1950s-1960s (early, print) Untitled (from the Ballet series, Les Sylphides) Silver copy print 8 x 10 in (20.3 x 25.4 cm) Swann Galleries - New York Courtesy of Swann Galleries (Auction May 20, 2010, Sale 2215 Lot 311) With Brodovitch's inscription, "To Patty with Love Alexey," in ink, on verso. |
| 35. |  | Alexey Brodovitch 1935-1937 (taken) 1950s-1960s (early, print) Untitled (from the Ballet series, Les Sylphides) Silver copy print 8 x 10 in (20.3 x 25.4 cm) Swann Galleries - New York Courtesy of Swann Galleries (Auction May 20, 2010, Sale 2215 Lot 309) With Brodovitch's inscription, "To Patty with Affection Alexey," in ink, the date and a number, in pencil and red pencil, and his Design Consultant hand stamp, on verso. |
| 36. |  | Alexey Brodovitch 1935-1937 (taken) 1950s-1960s (early, print) Untitled (from the Ballet series, SeptiÞme Symphonie) Silver copy print 8 x 10 in (20.3 x 25.4 cm) Swann Galleries - New York Courtesy of Swann Galleries (Auction May 20, 2010, Sale 2215 Lot 308) With the partial plate number 110, in the negative; Brodovitch's inscription, "To Patty with Thanks Alexey," in ink, and his Design Consultant hand stamp, on verso. Alexey Brodovitch's first encounter with ballet came soon after his arrival in Paris in 1920. He was 22 and a recent emigrant from Russia and the Bolsevik Revolution of 1917. An aspiring painter, Brodovitch began painting sets at the Ballets Russes after a chance meeting with the troupe's impresario Sergei Diaghilev. He fell in love with the medium and later, after moving to New York, began photographing visiting ballet companies for what he termed 'souvenir purposes.' Between 1935 and 1937 Brodovitch created one on the most influential bodies of work of the period. Just as Brodovitch's radical design would revolutionize publishing and magazine production, his photographs dramatically deviated from the typically more formal and neatly focused photographs of the period (this is not Cartier-Bresson's decisive moment). His early images, perhaps fortuitous accidents, compelled Brodovitch to push the medium as far as it could go. He used a 35mm Contax camera with no flash and set the shutter speed at one-fifth of a second, tracing the dancers's moments with his lens and allowing the stage lights and music to dictate his images. Indeed the images (and even more emphatically, the layout of his book) seem dictated by and humming with the score itself. He moves from the backstage, where the dancers wait expectantly in the wings, to the stage where he seems to be immersed, nearly participating, in the dance and finally to the moments of crescendo, when the formal elements of the world disappear and the dancers seem suspended in inky blackness while the brilliant white footlights explode around them. In the darkroom Brodovitch manipulated his images further, enlarging tiny details to exaggerate the grain and distortion, bleaching areas of the negative to highlight the glaring footlights and even covering the lens of the enlarger with cellophane to produce a faded effect at the edges of the image. His photographs, perhaps more than any other, seem to capture not only a certain arc of a raised arm, swish of a skirt, leap into the air, but also the moments before and after. They are nostalgic, evoking Brodovitch's own history with the ballet troupes, but also suspenseful, brilliantly evoking the momentous, purposeful inhale of dance itself. |
| 37. |  | Ilse Bing 1933 Balanchine, Ballet Errante, Paris Gelatin silver print 28.2 x 22.3 cm CEROS - Jean-Mathieu Martini / Serge Plantureux Binoche et Giquello, épreuves choisies, 18 november 2010, lot no: 193 Signed and dated recto, artist stamp and date recto, on original mount. "Ilse Bing's mesmerizing images of cancan dancers at the Moulin Rouge, as well as her photos of Balanchine's "Errante," were further evidence that the thrill of movement can be captured" (Mikhail Baryshnikov) |
| 38. |  | Robert Doisneau 1949 La Dernier Valse du Juillet 14, Paris Gelatin silver print 7 x 9.5 Silverstein Photography |
| 39. |  | André Kertész 1926 Satiric Dancer Gelatin silver print 9 3/4 x 7 3/4 Silverstein Photography This photograph was taken in the Paris studio of the Hungarian sculptor Istvßn Beöthy. The lady on the couch was Hungarian dancer and cabaret performer Magda Förstner. For an analysis of this photograph: Juliet Hacking (ed.), 2012, Photography: The Whole Story, (Prestel), pp. 228-229 |
| 40. |  | Cornell Capa 1958 Bolshoi Ballet School, Moscow Gelatin silver print Peter Fetterman Gallery |
| 41. |  | Alfred Eisenstaedt 1937 Future Ballerinas of ABT Gelatin silver print 16 x 20 Peter Fetterman Gallery |
| 42. |  | Georgii Petrusov 1940s (late) Cinderella (Jester - Leonid Shvachkin) [Bolshoi Ballet] Moscow House of Photography |
| 43. |  | Arnold Newman 1961 Martha Graham, New York Barry Singer Gallery |
| 44. |  | Brassaï 1933-1934 Petit Danseus Inclinée Gelatin silver print 8 x 10 Candace Dwan Gallery |
| 45. |  | Margaret Bourke-White 1943 Seminova, Premiere Ballerina, Russia Gelatin silver print 11 x 14 Candace Dwan Gallery |
| 46. |  | George Platt Lynes 1951 (ca) Maria Tallcheif and Jacques D'Amboise Silver print Vance Martin |
| 47. |  | Harry Lapow 1952 Wedding on the beach, Coney Island [Included in the Family of Man exhibition] Gelatin silver print 11 x 12 in (approx) Harry Lapow / Marcelle Lapow Toor © Harry Lapow Estate - courtesy of Marcelle Lapow Toor The following note was supplied by Tom Antoniello (October, 24 2006) "The woman in the middle is my grandmother. Every year on the "Feast of the Blessed Mother" Aug 15th. My grandmother "Queen of Coney Island" would participate in a celebration. Those who came donated money, which was sent to an orphanage in Italy. Her name was Antonetta DelCore. She took over the leading role in the celebration on Aug 15,1946 . Every year, for 27 years, on Aug 15th she would participate in this celebration and send money to orphanages in Italy. As far as I know there was no other queen after her and the celebration no longer a tradition." |
| 48. |  | George Zimbel 1955 Dance at the UN, NYC Gelatin silver print Stephen Bulger Gallery © George S. Zimbel, 2007 |
| 49. |  | Edward Quinn 1959 (taken, later print) Kim Novak and Cary Grant at the Restaurant Les Ambassadeurs in Cannes [Riviera Cocktail] Gelatin silver print 16 x 12 in Scalo|Guye (CLOSED - June 30, 2008) Estate print, open edition. Copyright stamp on verso, signed by the widow. |
| 50. |  | Ken Heyman 1965 (ca) Balinese Girls Gelatin silver print 14.25 x 9.25 in Carl Mautz Vintage Photographs |
| 51. |  | Chris Steele-Perkins 1976 GB. England. London. Lyceum Ballroom [The Teds] Black and white print Provided by the artist - Chris Steele-Perkins © Chris Steele-Perkins / Magnum Photos (LON26678) This photograph is included in Chris Steele-Perkins & Richard Smith The Teds 2002, (Dewi Lewis Publishing) |
| 52. |  | George Janecek 1984, 17 September Tay Haynes - Salt Lake City [Ballet - University of Utah] Gelatin silver print Provided by the artist - George Janechek © George Janecek |
| 53. |  | Barbara Morgan 1940 Letter to the World (Kick) Gelatin silver print 16 x 20 Silverstein Photography |
| 54. |  | Barbara Morgan 1944 Jose Limon, 'Mexican Suite' Gelatin silver contact print 4 x 4.75 Silverstein Photography |
| 55. |  | Barbara Morgan 1939 Martha Graham, 'Every Soul is a Circus' Gelatin silver print 8 x 8 Silverstein Photography |
| 56. |  | Barbara Morgan 1937 Martha Graham, Celebration (Trio) Gelatin silver print 17 1/2 x 14 on 20 x 16 paper Afterimage Gallery |
| 57. |  | Barbara Morgan 1944 Pearl Primus, Speak to Me of Rivers Gelatin silver print 11 x 14 Afterimage Gallery |
| 58. |  | Barbara Morgan 1940 (ca) Martha Graham Every Soul is a Circus Imperial Gesture Gelatin silver print Barry Singer Gallery |
| 59. |  | Martine Franck 2000 Young dancers, Ballet Moisseev Gelatin silver print 12 x 16 / 16 x 20 HackelBury Fine Art Ltd |
| 60. |  | Mark Arbeit 1990 M [Out of Focus] Gelatin silver print, warm-toned 18.5 x 15 in Meter Gallery |
| 61. |  | Philip Trager 1994 Persephone [Persephone] Gelatin silver print Provided by the artist - Philip Trager Courtesy of the artist |
| 62. |  | Brigitte Carnochan n.d. Merci, Degas [Nudes] Gelatin silver print, painted Provided by the artist - Brigitte Carnochan |
| 63. |  | Mark Sink 1997 Nymphs #1 Provided by the artist - Mark Sink © Mark Sink, 1997 Plus-X film. |
| 64. |  | Burton Pritzker 1989 Kabuki Dancer [Watermark] Gelatin silver print Provided by the artist - Burton Pritzker |
| 65. |  | Andrej Glusgold 2005 Polina Semionova [Commissioned work: Portraits] Archival pigment print, on cotton paper Provided by the artist - Andrej Glusgold |
| 66. |  | Elizabeth Opalenik 1996 Jo Jo Dancing, Cumberland Island, Georgia 12.5 x 18.5 in Verve Gallery of Photography (CLOSED - 2017) |
| 67. |  | Oscar Lozoya 1995 Carmen Muertanda Gelatin silver print 13.25 x 10.8 Andrew Smith Gallery |
| 68. |  | Jack Spencer 2001 Three Ballerinas Gelatin silver print painted with oleopasto 20 x 24 Catherine Edelman Gallery |
| 69. |  | Kim Weston 2003 #8 [Ballet Series 5] Gelatin silver print 8 x 10 in, 11 x 14 in, 16 x 20 in Provided by the artist - Kim Weston |
| 70. |  | Neil Folberg 2003-2005 Degas: Giselle, Op Ballet de Paris (b) [The French Impressionists] Color print Provided by the artist - Neil Folberg © Neil Folberg, courtesy of the artist This concentrates on the work Neil Folberg completed in France from 2003-2005. |
| 71. |  | Joy Goldkind 2006 Adagio #47 [Adagio] Bromoil print 50.8 x 61 cm Provided by the artist - Joy Goldkind |