B.C. & A.H. - Brødrene C. & A. Halvorsens, Oslo
Brødrene C. & A. Halvorsens kunstforlag was established in Kristiania (Oslo) in 1914 by Kristoffer Cornelius Halvorsen and Alexander Halvorsen. The company had premises in Munchs gate 10 and produced postcards, among other things. They were active until around 1930. The postcards are labelled B.C. & A.H., Brødr. Halvorsen and Brødr. H.
Source: Universitetsbiblioteket i Bergen.
Brødrene C. & A. Halvorsens published both topographical and portrait postcards. The portrait cards have been cataloged in below.
In addition to the logos cited by the Universitetsbiblioteket i Bergen, the logo, 'B.H.' was observed on several cards. These cards are presumed to have been published by Brødrene C. & A. Halvorsens as the inventory numbers correspond to cards issued as B.C. & A.H., differing only in the format.
At the end of this section are several cards marked 'Becker & Co.' They are similar to many B.C. & A.H. cards, using the same type face, photo format, and inclusion of the studio name on the card. Because they seem to follow in sequential order with the B.C. & A.H. cards, they have been included in the catalog. It is possible some type of arrangement was made between the two publishers to pass the production of Hollywood film star postcards from Halvorsens to Becker.
"],
["J. Chr. Olsens","#1J. Chr. Olsens - Copenhagen
J. Chr. Olsens, Copenhagen, produced several hundred postcards of Hollywood film stars in the late 1910's and early to mid-1920's, with dates established through an advertisement in the 1919 Dansk Boghandlertidende and through movie release dates such as 'Blood and Sand' in 1922 (card 490) and 'The White Moth' in 1924 (card 812) and 'Lady of the Night in 1925 (card 810).
The Olsens cards generally are full sized photos, without a white border. Cards numbering around 650 were produced with a brown frame around the photo.
An interesting composite photo card for the series is presented at 533.
"],
["Axel Eliassons","#1
Axel Eliassons
Axel Eliasson's Konstförlag (AE) was a publisher that began selling its own postcards in 1890 through its founder Axel Eliasson. During the first half of the 20th century, the company was Sweden's leading producer of postcards with its premises on Drottninggatan in Stockholm.
Axel Eliasson got the idea for his postcard production in Berlin. At first, Eliasson himself was behind the camera and therefore he was able to launch his products under the designation 'Swedish manufacture'.
The first views showed Stockholm and Gothenburg and were advertised in Aftonbladet in 1891. However, the first postcards, where the image only took up 1/3 of the front, had no great success. Only after Eliasson changed the layout and increased the size of the pictures in 1896 did the popularity increase. From 1895 postcards were also issued in color lithography.
The official postcards that the publisher issued in connection with the Stockholm exhibition in 1897 were widely distributed. In 1894, Jenny Nyström was contracted to draw postcards, and from 1897 also Anna Palm, who was the one who made the illustrations for the postcard from the Stockholm exhibition in 1897. Illustrated Christmas cards initially became one of his main products.
. . . The AE logo was introduced around 1920 and was designed by David Blomberg, who previously designed the NK logo. After Axel Eliasson's death in 1932, the publisher was transformed into a limited company.
Eventually postcard motifs were published from all over Sweden, Denmark and Norway, where some were hand-coloured. Aerial photographs were also included in the assortment. At the end of the 1930s, there were small booklets with ten motifs from the same city on loose photographs in the format 10x6 cm. Right up until the 1920s, the company expanded, but success stalled during the 1940s.
| In 1940, it was decided to liquidate the limited company. However, it took time and was only completed in 1941. Already in 1941, however, the company had been bought by Alrik Hedlund Förlag in Gothenburg, which created Nya Aktiebolaget Axel Eliassons Konstförlag. In 1943 the name was changed to Axel Eliasson Konstförlag Aktiebolag and in 1969 to Axel Eliasson Aktiebolag. When Sven-Göran Östh, who had previously been CEO at Gerhard's art publishing company, became CEO of the company in 1989, he decided to move the company to Sågmyra.
Axel Eliasson's art publishing house had the reproduction rights to Ateljé Jaeger's photographs of royalty and famous people. The publisher also had the exclusive rights to postcards with Jenny Nyström motifs. The company still exists under the name Axel Eliasson AB in Sågmyra, but is no longer active in the postcard industry, but mainly produces art publishing items such as Christmas cards and gift items.
Narrative by: Wikipedia
Date Retrieved: 13 Feb 2024
Translated with Google Translate
Cataloger's Notes: The AE cards cataloged in the Ross Image Archive relate to stage and film performers. They were produced in at least five iterations over time, from 1903 to the late 1920's, with multiple instances of the same card number appearing in the different iterations. Mats Blückert's spreadsheet at TEATER SARGASSO was indispensable in clarifying the sequencing order.
Also helpful was Arne Sandström's article in 'The Postcard Album' #29 (published by Helmfried Luers) relating to Axel Eliassons.
The Eliasson cards may be accessed via the links at the left.
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"],
["AE 1903","#1Axel Eliasson
Lithos
Circa 1903
Several of these early lithographic cards are marked 'A.E.' rather than Axel Eliassons. The litho cards of Cléo de Mérode were provided by Johan Delbecke, Belgium.
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"],
["AE 1907-1910","#1Axel Eliasson
1907-1910
Although most cards in this section are marked with the name of the stage production as well as the performer's name, productions have not been tagged in the catalog as search terms.
The catalog only presents those numbers where a card has been located or appears in the Teater Sargasso spreadsheet. Cards for other numbers will be added to the catalog as they are encountered.
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"],
["AE 1910-1916","#1Axel Eliasson
1910-1916
Although most cards in this section are marked with the name of the stage production as well as the performer's name, productions have not been tagged in the catalog as search terms.
|
"],
["AE 1916-1926","#1Axel Eliasson
1916-1926
Numbering 1 - 504
Primarily Swedish Performers
Cards issued during this period are a mix of stage and film performers and performances. Most are marked with the name of the stage production or film as well as the performer's name. Generally, stage productions have not been tagged in the catalog as search terms; only film titles have been assigned performance keywords.
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"],
["AE 1925-1932","#1Axel Eliasson
1925-1932
Numbers 1 - 46 American Performers
Numbers 155 - 213 Swedish Performers
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"],
["AE Unnumbered","#1Axel Eliasson
Unnumbered Cards
|
"],
["AE Other Card Types","#1Axel Eliasson
Non-Performer Cards
Throughout it years of operation, Axel Eliasson issued thousands of postcards that were not related to performers. Major categories were: art cards, folk traditions, royalty, and topographical. A few samples for each category, spanning the issue years, are presented below.
Included at the end of the samples are several Axel Eliasson postcards sent by Cléo de Mérode to her good friend Léontine Beauvais (and her mother) during Cléo's 1904 tour in Sweden. This series of cards was made available by Johan Delbecke, Belgium. |
"],
["Names-","#1Name Selections
Name selections return performer cards across all publishers contained in the Archive's catalog. Cards for a selected performer are displayed in the order in which the publishers appear in the navigation tree, with Ross Verlag first, followed by Rotophot and RPH-Ross, and then Other Publishers. Within publisher, cards are sorted by control number.
The selection listing for the performers and other models includes name entries from several countries. In creating the list, names generally were formatted as LASTNAME FirstName, with the surname in all caps, followed by a mixed-case given name.
In the case of sister acts, the word Sisters (in mixed case) follows the act name which appears in all caps, resulting in entries such as DODGE Sisters and ESMERALDA Sisters.
One word names appear in all caps, such as MARY and WALLY.
Some stars performed under more than one name. In such cases, the most commonly known name appears first, followed by the alternative name enclosed in parentheses. For example, LAMARR Hedy (Hedy Keisler).
Alphabetizing rules vary by country, and the following conventions guided the preparation of the listing for the navigation tree:
• Where there is a known preference for sorting, that preference is used
• Names containing van and von are alphabetized by the surname appearing after the prefix: EYCK Toni van, WINTERSTEIN Eduard von | • French performers whose name contains the prefix de or d’ also are sorted by the surname appearing after the prefix: VÈRE Elise de and ALBANY Liane d’. However, if the prefix consists of an article such as Le or La, the name is sorted by the prefix: L’ARRONGE Lu
• American performers whose name contains de or d’ are sorted with the D’s: DE HAVILLAND Olivia and D’ARCY Roy. Italian names containing Di or De also are sorted with the D’s: DE LIGUORO Rina and DI MARZIO Ilia. Likewise, Spanish language names containing Del are sorted with the D’s: DEL RIO Dolores.
After the full alphabetical listing, a section of Descriptive Names is provided for the selection of models who appear with some frequency in the catalog but whose names remain unknown. At the top of the Descriptive Name list is an index that presents a photo of the model, along with the name assigned. The name generally describes the photo in the index.
At the end of the alphabetical listing is a section that provides access to cards where animals either are the subject of the card or appear with the model.
Many NPG series were comprised of multiple performers. Because the NPG catalog contains only one sample image per series, the performer displayed in a Name Search may not match the search criteria. Selecting the More link under the name will cause the full series to appear,and the selected performer will be displayed on that image.
|
"],
["HERZBERG Martin","#1
Martin Herzberg (1911 - c. 1972)
Collector's Notes
"],
["Films and Other Productions-","#1Films and Other Productions
Many of the cards in this visual archive include captions referencing a film, stage, or other production title. In those instances, a keyword phrase has been added to the selection tree at the left under the Films and Other Productions header.
These keywords also appear in the caption under the associated cards, enclosed by single quotes.
Because the postcards in this archive were published by companies in several different countries, the captions often reflect the language of the publisher, not the language of the film. And frequently, especially during the silent film era, the films themselves were released under different titles in different countries.
During the process of creating these catalog pages, film keywords were assigned to the cards using the original title from the country of the film’s production. This allows the retrieval of all cards associated with a film from one selection item in the tree. | Consequently, the caption beneath the thumbnail image on the catalog page may differ from the film caption that appears on the card itself. To clarify this, film details have been included on the Full Size image that is called when the catalog thumbnail is selected.
Additionally, film keywords do not include initial articles such as The, A, Der, Das, Die, etc., but are listed under the initial letter of the first non-article word in the title.
Also, commas have a special meaning to the code behind this application; therefore they were not used within the keywords. Generally, a hyphen has been exchanged for commas in the keywords.
Finally, film keywords may have been truncated to improve the readability of the selection tree. Again, the Full Size image presents the full title. |
To make the keyword assignments, several internet resources were referenced:
• wikipedia.org at https://www.wikipedia.org/
• Filmportal.de at https://www.filmportal.de/
• The Internet Movie Database at https://www.imdb.com/
•The Early German Cinema Database at https://earlycinema.dch.phil-fak.uni-koeln.de/
• Truus, Bob & Jan too! at https://www.flickr.com/photos/truusbobjantoo/
Because the image cataloger is not a subject-matter expert in the area of film and other productions, the information on the sites above are more authoritative than the details on the Full Size image page. If, as you look through the archive’s catalog pages you see an error, please let us know at j_ritsema@msn.com.
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"],
["Photographers-","#1
Photographers
In December 2023, we began to add searchable keywords for the names of photographers on postcards within the Image Archive. The task of adding photographer names is expected to take about 6 months to complete. Until then, it should be considered a work-in-progress.
Ivo Blom and Paul van Yperen's Flickr album and European Film Star Postcard blogpost were of critical importance in undertaking this task. Their work was key to the identification of the photographers, and many of the introductory narratives relating to the photographers were derived directly from their sites.
Because the Image Archive cataloger is not a subject-matter expert in the area of photography, the information on the sites maintained by Ivo and Paul are more authoritative than the details within this section.
If, as you look through the archive’s catalog pages you see an error, please let us know at j_ritsema@msn.com.
"],
["A.B.C.","#1
Aktuelle-Bilder-Centrale
Berlin, Germany
"],
["ABBE","#1
James Abbe
James Edward Abbe was born in 1883 in Alfred, Maine. His career as an international photographer was first boosted by The Washington Post, which commissioned him to travel and take photographs of a 16-day voyage with the American battleship fleet to England and France in 1910. Many years later he traveled throughout Europe as a young photojournalist in the late 1920s and early 1930s recording the unstable power struggles of the early 20th century. However, he first made a name for himself photographing theatre stars of the New York stage and subsequently movie stars in New York, Hollywood, Paris, and London throughout the 1920s and 1930s. His unusual technique of working outside the studio set him apart from other photographers of the period. To make money, Abbe sold his photographs to magazines, including Vogue and Vanity Fair, which brought his subjects greater fame.
Narrative by and additional information: Wikipedia |
"],
["ADÉLE","#1
Atelier Adéle
Vienna, Austria
"],
["AHRLÉ","#1
Ahrlé
Berlin, Germany
"],
["AJAX","#1
Ajax
"],
["ALBAN","#1
Aram Alban (1883-1961)
Fascinated by the camera from his teenage years and perhaps encouraged by his relatively affluent, middle class parents, Alban apprenticed the Alexandria-based photographers Belian and Tachjian. But by 1910 he was confident enough to open a studio of his own. Aware of the latest currents in European photography (Alban travelled there regularly), he successfully applied the soft-focus, glamorous style favoured by German pictorialist masters to his Egyptian clientele.
This approach to portraiture, which transported the sitter into the realm of performance and fantasy, proved to be enormously popular, enabling Alban to move to Europe in early 1920s based on the profits from his Alexandria studio. He initially opened a studio in Brussels and only a few years later in Paris. Considering the huge number of exceptional studio and freelance photographers working in the French capital at the time, this achievement was nothing short of a triumph for the dwarfish-looking Armenian émigré. Fluent in at least four languages, an accomplished musician and a witty raconteur, Alban had no difficulty in attracting commissions from the world of fashion, theatre, film, the nobility and Royalty (Queens of Belgium and Egypt were among his regular clients).
Narrative by and additional information: Armenian Photography Foundation |
"],
["ALBIN","#1
Charles Albin
New York, New York USA
Born in Canada, Charles Albin emigrated to the United States with his parents in 1892; he was ten years old. Intensely religious, he prepared to enter holy orders. Because of his artistic talents the Catholic Church dispatched him the Cincinnati Art Academy to be trained as a painter by Frank Duveneck. Initially, his sponsoring monastery intended that he become a creator of devotional images, but a change in the monastery's leadership led to its questioning of the value of painting as a means of worship. Albin was ordered to return to the cloister; he refused, staying with Duveneck who finished his training. After graduation Albin settled in New York plying both painting and photography at his studio on Fifth Avenue. He enjoyed success as a Society photographer, but always regarded himself as a painter.
Narrative by and additional information: Broadway Photographs
Date Retrieved: 9 Jan 2024
"],
["ALEXANDER","#1
Kenneth Alexander
Kenneth Alexander (March 3, 1887 – January 24, 1975) was a photographer for United Artists, 20th Century Studios and Samuel Goldwyn Productions. He was known for his celebrity portraiture, photographing such stars as Marlene Dietrich, Lillian Gish, Betty Blythe, and Vilma Bánky.
Narrative by and additional information: Wikipedia
Date Retrieved: 3 Feb 2024
"],
["ALLAN","#1
Ted Allan
Ted Allan, the popular Hollywood photographer known as 'Rembrandt' at MGM and dubbed 'Farley Focus' by Frank Sinatra, has died at the age of 83.
Allan, who lived in the Hollywood Hills home he built in 1929, died Monday at St. Joseph Medical Center in Burbank after a long illness.
The veteran photographer was under personal contract to Sinatra for nine years in the 1960s and 1970s, taking pictures of the singer at recording sessions, during film productions and on world tours.
Born Theos Alwyn Dunagan in Clifton, Ariz., Allan changed his name during a brief fling at acting. As a teen-ager, he enhanced stars’ photographs with oil paint for display in theater lobbies. The experience stuck with him, and years later stars praised his ability to retouch their images.
| Allan quickly moved behind the still camera when he established his own portrait studio in Hollywood in 1933. He later worked for MGM studios, CBS Radio (taking publicity photos for Cecil B. DeMille’s “Lux Radio Theatre”), ABC television and several film productions, including 'The Sand Pebbles' and 'Von Ryan’s Express.'
Over the years he photographed such stars as Jean Harlow, Clark Gable, Carole Lombard, James Stewart, Spencer Tracy, Shirley Temple, Helen Hayes, and John, Ethel and Lionel Barrymore.
Allan, according to a catalogue entry during a 1987 show at the Los Angeles County Museum of Art, 'adhered to the portrait photographer’s mandate, to make mere men and women into objects of fantasy . . . with poses and dramatic lighting . . . and retouching.'
| His work has also been exhibited at the New York Museum of Modern Art, the National Gallery of Art in Washington, and in London and Venice, Italy.
'Carole Lombard was a favorite of mine,' Allan told The Times in 1987. 'She was real down to earth. She was the first movie star I ever heard use a four-letter word.'
Another favorite was Eleanor Powell. 'She liked my pictures so much that she proposed marriage,' he told The Times. 'I said, ‘That’s all well and good, but I don’t think my wife would understand.’
Allan is survived by his wife of 64 years, Jeanne, a daughter, Holly Allan-Young, a granddaughter and two great-grandchildren.
The family has asked that any memorial donations be made to the Motion Picture and Television Fund in Woodland Hills.
Narrative: L.A. Times Obituary
23 Dec 1993
Date Retrieved: 4 Jan 2024
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"],
["AMERLING","#1
Atelier Amerling
Vienna, Austria
"],
["AMSTER","#1
Atelier Amster
Berlin, Germany
"],
["ANCRENAZ","#1
Pierre Ancrenaz
Parisian photographer and cinematographer
"],
["ANDERSEN","#1
Th. Andersen
Stuttgart, Germany | 
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"],
["ANDERSON","#1
C. Henry Anderson
"],
["ANGELO","#1
Angelo
Pál Funk was born in Budapest, Hungary in 1894. Among the names he used internationally are P. F. Angelo, Angelo Pál, Paul Angelo, Funk Pál, and Funk Pinkász.
In his family history were many famous sculptors, painters and graphic artists. His Italian great-grandfather, Alessandro Angelo was responsible for the stuccos of the Viennese Hofburg in the 18th century.
Between 1902 and 1912, Pál Funk did his primary and secondary studies in Budapest. In 1912 he entered the Academy of Fine Arts in Munich, Germany to study painting with Carl Bauer. There his attention was drawn to the new art form photography and he started to practice a camera.
Between 1912 and 1919 he studied in Berlin with Nicola Perscheid; in Hamburg in the Dührkoop studio of professor Peters; in London with Emil Oho Hoppe and Marcus Adams; and in Paris with Charles Reutlinger.
In Paris, he worked mostly as a fashion designer, but when the First World War broke out he had to return home. He was attracted by the cinema, and worked as an assistant director and cameraman for director Mihaly Kertesz - the future Hollywood director Michael Curtiz.
| Funk’s film career would last for a decade. Every year he worked at the European Section of the Franco-British Film Corporation, and on MGM productions. He worked with Rex Ingram, Erich Pommer, Fritz Lang, Alexander Volkoff, and Ernst Lubitsch. In 1927 he would take part in the birth of the first Hungarian talking pictures with István Eiben.
In 1916 he also became first assistant in the studio of photographer Aladár Székely. After many attempts he opened his own more significant photo studio in Budapest in 1919, but the following year he had to flee due to the 'white terror.' The following years he opened photo ateliers across Europe.
Between 1920 and 1938, Pál Funk worked in the Netherlands, France and Hungary and he opened ateliers in The Hague, the Dutch sea resort Scheveningen, Paris and Nice, where he photographed celebrities and artists.
From 1923, he took part in international photo exhibitions and won many gold, silver and bronze medals. Respected newspapers and magazines like Vanity Fair, Harper’s Bazaar, and die Berliner Illustrierte Zeitung published his works. In 1926, The Royal Photographic Society of Great-Britain admitted him as one of its members. Hungary honoured him with the Golden Crown in 1937 as a master of his metier.
| He returned to Hungary in 1939, where he worked as a teacher, a tireless organiser and creator. During his career, he taught more than fifty Hungarian photographers, who studied under his personal tutelage.
In 1951 his studio was nationalised and until he retired in 1964 Funk worked at the photographers cooperative in Budapest. At the same time he took photographs for himself to suit his artistic ambitions.
He was a founding member of the Association of Hungarian Photographers (1956). In 1958 he got the prize of the Federation Internationale de l’Art Photographique (EFIAP), then in 1969 he got the prize Honoraire Excellence.
Funk retired in 1964. During his fifty-year career as a studio photographer, he photographed over 450,000 people, including many of the major artistic influencers of his time like Gustav Mahler, Pablo Picasso, Charlie Chaplin, Josephine Baker, and Béla Bartók. He has been awarded the French Minister of Art’s award (1961) and the Niepce-Daguerre Medal (1960), among many other major awards.
In 1974, Pál Funk died in Budapest.
Narrative by: European Film Star Postcards
Date Retrieved: 31 Dec 2023
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"],
["ANGST","#1
Richard Angst
Richard Angst (23 July 1905 – 24 July 1984) was a Swiss cinematographer who worked on more than ninety films during his career, most of them in Germany. Angst emerged as a leading photographer of mountain films during the silent era. He often worked with the director Arnold Fanck, and accompanied him in 1937 for The New Earth his troubled 1937 co-production with Japan. While he worked on some Nazi propaganda films such as My Life for Ireland, many of the films he was employed on during the era were less political.
After the Second World War, he worked regularly in German commercial cinema often at CCC Film. He was the cinematographer for Fritz Lang's The Indian Tomb and The Tiger of Eschnapur (both 1959).
Narrative by: Wikipedia
Date Retrieved: 19 Jan 2024
"],
["ANIEL","#1
Aniel
"],
["APERS","#1
P. Apers
"],
["ATLANTIC PHOTO","#1
Atlantic Photo
Berlin, Germany
"],
["APEDA","#1Apeda (Alexander W. Dreyfoos)
Apeda Studio was a photography business in New York City. It was established as a partnership between Alexander W. Dreyfoos, Sr. It incorporated in 1914. In 1913 the studio was sued unsuccessfully for copyright infringement, for reproducing the work of another studio, marking it as its own work, and selling it. Its photo of Bert Errol in drag featured on a postcard. It published a photograph of minstrel performers in blackface.
Alexander W. Dreyfoos Jr. was the son of its co-founder.
The International Center of Photography (ICP) and Library of Congress have collections of photographs from the studio.
Narrative by: Wikipedia
Date Retrieved: 1 Jan 2024
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"],
["ARANY","#1
Arany
Berlin, Germany
"],
["ARBEIT","#1
Arbeit
Munich, Germany
"],
["ARENBERG","#1
Arenberg Atelier
Vienna, Austria
"],
["ARNAL","#1
Studio Arnal
Arnal, a small French photo studio, was located in Paris at the Boulevard de Rochechouart, the street situated at the foot of Montmartre. In the 1930s, Arnal was specialised in glamorous portraits of stars of the stage and the screen. They were produced on many postcard of publishers like Editions Chantal and Cinémagazine-Édition. The Lithuanian exile photographer Izis (Izraëlis Biderman), to whom the city of Paris paid tribute in 2010 with the exbibition ‘Izis, Paris des rêves’, worked at studio Arnal in 1933-1934.
Narrative by: European Film Star Postcards
Date Retrieved: 3 Jan 2024
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"],
["AUTREY","#1Max Munn Autrey
Max Munn Autrey (1891-1971) was an American photographer who worked in Hollywood during the 1920s and 1930s. He portrayed many of the Fox stars. Autrey was also the uncredited still photographer on such Hollywood classics as 7th Heaven (Frank Borzage, 1927), Sunrise (Friedrich Wilhelm Murnau, 1927) and Modern Times (Charles Chaplin, 1936).
Max Munn Autrey was born in 1891 in Dallas, Texas, USA.
He was trained as a painter, but as an adult, Autrey moved around the state taking photographs. He was employed by P.T. Collier & Son in Dallas, per his World War I registration papers.
In 1918, he married his wife, Bonnie, in her hometown of Tyler. They lived in Burleson in 1920, but soon decided to move to California.
In 1922, the great Hollywood photographer Albert Witzel needed a steady hand to help produce the many portraits turned out by his studio, occasioned by the departure of his head photographer Walter Frederick Seely to establish his own studio.
Autrey’s artistry impressed the portraitist, renowned for producing high-quality, striking images. Autrey found his niche in portraiture, helping devise mystique and sensuousness in star portraits. Clients loved the lush look of his portraits and seated compositions.
Industry enthusiasm for Autrey’s work was so great that Witzel established a branch studio in Hollywood, run by Autrey from 1922 to 1925. Pictures and Picture Goer called Autrey “a master photographer” in an August 1925 article, stating that he produced most of the Witzel Studios portraits and earned that position only two months after joining the studio.
| The Fox Film Corporation quickly seized upon Autrey and his talents, signing him to an exclusive contract late in the year. His first assignment as a still photographer for Fox was the drama Hell's Four Hundred (John Griffith Wray, 1926) starring Margaret Livingston.
Soon followed more prestigious assignments like What Price Glory? (Raoul Walsh, 1926), 7th Heaven (Frank Borzage, 1927) with Charles Farrell and Janet Gaynor, and Street Angel (Frank Borzage, 1928). Autrey became noted for his glamorous style.
For director Friedrich Wilhelm Murnau he did the stills for Sunrise (Friedrich Wilhelm Murnau, 1927) starring George O'Brien and Janet Gaynor, and the lost masterpiece Four Devils (1928). Later followed Dressed to Kill (1928) with Mary Astor.
Autrey portrayed many film stars. He photographed Madge Bellamy coyly poised on tiptoe for The Play Girl (Arthur Rosson, 1928) and portrayed Dolores del Rio as an exotic Russian dancer for The Red Dance (Raoul Walsh, 1928).
Max Autrey employed a sharp focus, high-contrast style, inscribing his name into the negative. Fox stars soon appeared as radiant and ravishing as those at the more luxurious studios, posing as Jazz Age cuties, holiday belles, and, like actor George O’Brien, almost nude camera studies.
One of the best known stars photographed by Max Autrey for Fox is Clara Bow. He photographed her for her early sound film Call Her Savage (John Francis Dillon, 1932). David Atfield at IMDb: 'What a film! Daring to tackle issues few films would even look at today. Stunningly photographed and directed, and with greater style than many early talkies.'
Bow was known as the It girl. Cathy Curtis in the L.A. Times: 'It of course, really meant sex, and, even in the demure bathing suit of the time, Bow's exuberant, upraised-arm stance in swirling surf gave her an air of ready-for-anything sauciness.'
| In 1932, Autrey established his own portrait studio on the side, where he worked part-time. Many Fox stars and other film people continued coming to him for portraits and special work at the 7075 Sunset Blvd. location.
Autrey’s best known later works are his stills for Chaplin’s Modern Times (Charles Chaplin, 1936). During the same time, his wife, Bonnie, began breeding and selling Irish setters out of their home, dogs which won many awards at competitions.
As time passed, Autrey turned his attention to shooting society portraits, while occasionally making star headshots, which he entered in the Academy of Motion Picture Arts and Sciences Still Show.
During World War II, he shot photographs of soldiers on leave.
While Autrey and many of his peers like Fred Hartsook, Albert Witzel, Nelson Evans, and Melbourne Spurr helped devise and establish the field of glamour photography in the 1910s and 1920s, they were all virtually forgotten by the 1950s and 1960s.
In 1967, Autrey closed his studio and retired.
Max Munn Autrey died in 1971 in Los Angeles, California at the age of 80, with little notice taken in local newspapers. In 1996, his photos were hanging alongside master photographer George Hurrell’s in the exhibition Still Men: The Glamour Photography of Max Munn Autrey and George Hurrell, 1920-1940 at the Laguna Beach Museum. It was the start of the rediscovery of one of the major pioneers of Hollywood glamour photography.
Narrative by: European Film Star Postcards
Date Retrieved: 22 Dec 2023
|
"],
["B.J.G.","#1
Berliner Illustrations Gesellschaft (B.J.G.)
Berlin, Germany
"],
["BACK Grete","#1
Grete Back
Dresden, Germany
"],
["BÄCK Manci","#1
Manci Bäck
Szeged, Hungary
Bäck, Manci, born Margit Bäck (Vágvecse, 25 December 1891 – Budapest, 9 January 1989) is a little known Hungarian photographer and photographic artist, one of the most outstanding figures of Hungarian photography, and within it, of Szeged photography. Through Gyula Juhász, she was also known in intellectual circles and took portraits of many celebrities.
Manci Bäck was born in 1891 in Vágvecsé, in Felvidék, to József Bäck, a wood merchant, and Berta Singer to an Israelite. In 1907, she graduated with honours from the Szeged High School for Girls. There she distinguished herself with her talent for reciting poetry: the newspaper Szeged és vidéke (Szeged and Surroundings), writing about the graduates, described her as a girl of 'uncalled for simplicity and therefore a very fine reciter'.
In 1921 she married Dr. Lajos Szekerke, a lawyer, five years older than her, and had a daughter, Dr. Mária Szekerke, in 1924. They lived at 11 Csekonics Street at that time, but later moved to Tisza Lajos Boulevard 56, and in the dining room of their apartment on the second floor of the Reök Palace she established her studio. After the Second World War, her studio was nationalised in 1950 and she gave up all photographic activities. By then widowed, she moved to Budapest to live with her daughter, where she remained until her death in 1989. She spent the last ten years of her life bedridden, unable to move.
Narrative by: Cultural and tourist route
Date Retrieved: 11 Jan 2024
"],
["BADEKOW","#1Atelier Badekow
The work of German photographer Martin Badekow (1896–1983) has been overlooked for a long time, but his photographs from the Berlin cabarets have become emblematic images of Weimar Germany.
Vintage prints by Badekow are auctioned today for hundreds of dollars, but you can still find Ross Verlag postcards with his glamour portraits of film stars for the price of a bus fare.
Martin Badekow had his photo studio, Atelier Badekow, at the famous Kurfürstendamm in Berlin. There he and his compagnon Grosz produced many fashion photos and celebrity portraits.
| During the 1920s, Martin Badekow was frequently referred to in the German press as 'famous' or 'world renowned'. Many film stars came to his studio for glamour portraits, including Henny Porten, Dita Parlo and the beautiful exotic dancer La Jana.
The then still unknown Marlene Dietrich also often posed at Badekow's studio for fashion photos, showing her beautiful legs. Badekow sold the pictures to the many illustrated magazines in Berlin. However none of his portraits of Marlene were used for Ross Verlag postcards.
A well-known 1927 photo by Badekow shows Marlene playing the singing saw, which she had learned to play ffor the silent (!) film Café Elektric/Café Electric (Gustav Ucicky, 1927). Her teacher was co-star Igo Sym, who later became a Gestapo agent and was liquidated by the Polish resistance. During the second World War, Dietrich would let the saw sing again for the US troops.
| After the war, Martin Badekow and his son Heinz (1920) photographed the ruins of Berlin. Their devastating pictures of the city can be seen at Getty Images, including one of the destroyed Kurfürstendamm.
In the following decades Badekow slowly disappeared from the radar, till his work of the 1920s suddenly became the focus of revived interest.
And today, Martin Badekow's photographs from the Berlin cabarets and the stars of the silent German cinema can be admired in museums and are worshipped as emblematic images of Weimar Germany.
Narrative by: European Film Star Postcards
Date Retrieved: 9 Feb 2024
|
"],
["BADODI","#1Attilio Badodi
Attilio Badodi (1880-1967) was a famous Milanese portrait photographer of the Belle Epoque. His studio became a point of reference for stage and film celebrities who wanted themselves to be portrayed, such as Lyda and Alda Borelli, Antonio Gandusio, and Armando Falconi.
Attilio Badodi was born in Reggio Emilia, in 1880. He learned the techniques and tricks of the photographic trade from an uncle who was a photographer.
At the age of 22, he moved to Milan, wherein 1908 he opened a photo studio in Via Brera, 5. Quite soon he became a well-known studio photographer.
| He was so enthusiastic about the world of art and the stage, that soon his studio became a point of reference for stage celebrities who wanted themselves to be portrayed, such as Lyda Borelli and her sister Alda Borelli, Antonio Gandusio, and Armando Falconi. Many of his actors' portraits circulated as postcards as well.
Then, all the famous actors and actresses and the people from the Milanese beau monde - aristocracy, artists, musicians, politicians - had themselves photographed in his studio.
| In 1922 Badodi participated in the Prima Esposizione Internazionale di Fotografia (First International Exhibition on Photography) in Turin and he was a reporter for Illustrazione Italiana, but he is most remembered for his portraits.
When in the 1960s the vogue for photo portraits was over, he quitted. Attilio Badodi passed away in 1967.
Narrative by: European Film Star Postcards
Date Retrieved: 31 Dec 2023
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"],
["BALÁZS","#1Atelier Balázs
Alexander Balázs was born in Budapest, Hungary, in 1890. In 1916, during the First World War, he moved to Wilmersdorf, a borough in the centre of Berlin, where he started his studio in the Martin Luther Strasse no. 9. During the era of the Weimar Republic Wilmersdorf became a popular residential area for artists and intellectuals and they flocked to his studio.
Alexander Balázs died in Berlin in 1932. The building, where he worked in Berlin, does not exist any longer, but thanks to the many film star postcards for which his portraits were used his photo legacy still exists.
Narrative by: European Film Star Postcards
Date Retrieved: 11 Jan 2024
|
"],
["BALG","#1
Erich Balg
Germany
Johannes Hugo Erich Balg (1904-1977) was a German photographer.
Balg received his training from 1921 to 1923 in the studio of his father, the court photographer Martin Balg, after which he attended the teaching and research institute for photography, chemical photography, collotypes and engraving in Munich. After completing his training, he worked as a portrait photographer in the Berlin Atelier Binder. In 1933, together with the architect Fritz Breuhaus, he founded Contempora, a school for applied art, which he directed until it closed in 1938. He did his military service from 1940 to 1945 as an aerial photo interpreter in Golm near Potsdam. After the end of the war, he ran a studio for fashion and advertising photography in Hamburg until 1967.
Source: Wikipedia
Translated by Google Translate
Date Retrieved: 15 Jan 2024
"],
["BALL","#1
Russell Ball
Russell Earp Ball (24 March 1891 – 12 June 1942) was a studio glamour photographer who made stills for films and portraits of Hollywood film stars including Jean Harlow, Greta Garbo, Louise Brooks, Mary Pickford, Esther Ralston and Carol Dempster.
Ball was born in Philadelphia. His father died while Russell was still a teenager; by 1910 Ball was working as a salesman for the Gas Light Manufacturing Company. He moved to New York and on 1 February 1912 he married the film journalist Gladys Hall, with whom he had two children, while working as a newspaper photographer. By 1917 he was working as a photographer, and by 1920 he had specialised into making portrait publicity stills for films, among others for the Shubert Organization. After working independently for Metro-Goldwyn-Mayer in 1925 (on the East Coast), he opened his own studio at 9528 Brighton Way, Beverly Hills to work for private patrons and celebrities at the end of the 1920s.
Narrative by and additional information: Wikipedia |
"],
["BALZAR","#1
Balzar
Prague, Czech Republic
"],
["BARAKOVICH","#1
Atelier Barakovich
Vienna, Austria
Edith Barakovich (1896-1940) studied photography at the Grafische Lehr- und Versuchsanstalt in Vienna, while working as an apprentice at the studio of Dora Kallmus (1881-1963) - professionally known as Madame d’Ora – between 1913 and 1915. In 1918, once her training was completed, she was accepted to the prestigious Wiener Photographische Gesellschaft (Vienna Photographic Society). That same year, she opened her own studio, where she began a successful career as portrait and fashion photographer.
Her work was regularly featured in Die Dame, Das Magazin and Die Bühne; the latter being Austria’s premier theatre and culture magazine established in 1924. She married the screenwriter Paul Frank (1885-1976) and relocated to Berlin in 1930 to open Atelier de Moda. Unfortunately, she returned to Vienna in 1933 due to the rise of National Socialism and fled to Casablanca via France following the Austrian Anschluss in 1938. She committed suicide in Morocco in December 1940, due to the anxiety caused by problems with her visa to the USA.
Narrative by and additional information: Sisters of the Lens
|
"],
["BARM","#1
Rolf von Barm
"],
["BARUCH","#1
Lili Baruch
Berlin, Germany
As owner of the Atelier Lili Baruch in Berlin, Lili Baruch photographed actors and dancers of the Goldenen Zwanziger Jahre with a Leica. Between 1925 and 1931, she worked for various Berlin magazines.
Because of her Jewish ancestry, Baruch was forced to emigrate to Switzerland in the early 1930s with her husband and daughter Mirjam . She died in 1966, aged 71.
Source and additional information: Wikipedia
Date Retrieved: 13 Jan 2024
"],
["BASARKE","#1
Käte Basarke
Dresden, Germany
"],
["BATZWIAT","#1
Batzwiat
Bremerhaven, Germany
"],
["BAUERMANN","#1
Bauermann
Frankfurt, Germany
"],
["BAUM-SALM","#1
Ellen Baum-Salm
Berlin, Germany
"],
["BAUMANN Adolf","#1
Adolf Baumann
München, Germany | 
|
"],
["BAUMANN","#1Ernst Baumann
Ernst Baumann (1906-1985) was a German photographer and publisher of picture postcards. He became famous for his dramatic photos of mountain landscapes, and his glamorous portrait photos of German and Italian film stars for the Ufa. But his pictures of Eva Braun, Hitler's mistress, nearly got him killed. . .
Ernst Baumann was born in 1906 in Bad Reichenhall, Bavaria, Germany. After school, he attended the Fachschule für Korbflechterei (technical college for basket weaving) in Lichtenfels. In 1924, he was given a camera and from then on, he dedicated himself to photography. As early as 1926, he registered as a photographer.
Baumann was a keen mountaineer and skier, and his photo series appeared in numerous alpine magazines. He published two books on mountain photography, 'Meine Berge, meine Kamera' (My Mountains, My Camera, 1935) and 'Fotografieren in den Bergen' (1936).
From 1932 to 1939, he also worked as a still photographer for Luis Trenker's mountain films, including the historical drama Der Rebell/The Rebel (Kurt Bernhardt, Edwin H. Knopf, Luis Trenker, 1932), the drama Der verlorene Sohn/The Prodigal Son (Luis Trenker, 1934) and the Italian historical drama Condottieri (Luis Trenker, 1937).
In addition to his work in the Alps, he was a portrait photographer for the Ufa and a photo reporter for the Berliner Illustrirte Zeitung. He did also industrial reports for the automotive industry and travel reports in the Mediterranean and on the Atlantic islands.
| Baumann's glamour portraits for the Ufa were used for many postcards by Ross Verlag and Film-Foto-Verlag. He also made publicity stills for such Ufa productions as the romantic comedy Frau am Steuer/Woman at the Wheel (Paul Martin, 1939) starring Lilian Harvey, the historical drama Es war eine rauschende Ballnacht/The Life and Loves of Tschaikovsky (Carl Froelich, 1939) starring Zarah Leander and Marika Rökk, and Liebesgeschichten (Viktor Tourjansky, 1941-1942) with Willy Fritsch and Hannelore Schroth.
During the Second World War, Baumann was a war correspondent and cameraman for the Waffen-SS. As his reputation grew, he was transferred to the Berghof to serve as Eva Braun's official photographer.
Guido Knopp in his book Hitler's Women: 'Eva enjoyed making home movies and taking photos, and particularly liked being photographed herself. The pictures taken by a photographer named Ernst Baumann were among her favourites. His son-in-law tells us: 'She wished to have more pictures taken of herself. The shots that my father-in-law took of her were a purely private commission.'
However, the photographer got dangerously close to Hitler's mistress. Some of his shots found their way into gift albums - but many did not. Those too have been discovered in Baumann's archive. They show Eva in the late summer of 1941, relaxing in the sun, doing gymnastics, or bathing in the Koenigssee. The collection includes photos of her sister Gretl.
| 'The photos were never intended for anyone else to see,' says his son-in-law. But somehow they were seen by Martin Bormann, Hitler's secretary and chief factotum on the Obersalzberg. 'Towards the end of '41 [note: this was actually the fall of 1942], my father-in-law was suddenly posted to the front, without a word of warning. After the war, he found out from a former superior officer [note: Fritz Darges, former aide-de-camp at the Obersalzberg] that he should have actually been sent on a mission from which he was not meant to come back alive.' But the photographer survived - and so did his pictures.
After the war, Ernst Baumann returned to Bad Reichenhall from American captivity in 1947. There he rebuilt his photography business with an attached postcard publishing house. He kept making film star portraits.
Baumann passed away in 1985 in Bad Reichenhall in Bavaria. He was 78.
On 14 May 2006, a permanent exhibition of his work from his early creative period from 1925 to 1950 was opened in the mountain hotel on the Predigtstuhl near Bad Reichenhall to mark Ernst Baumann's 100th birthday.
Narrative by: European Film Star Postcards
Date Retrieved: 14 Jan 2024
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"],
["BECKER & MAASS","#1Becker & Maass
Becker & Maass was a German studio for portrait and fashion photography in the first decades of the 20th Century. They portrayed dozens of German film stars for magazines and postcards.
Little is known about the Berlin company Becker & Maaß (or Maass), which made so many film star portraits in the late 1910s and early 1920s.
During the late 1870s, Otto Becker had a studio located at Leipziger Strasse 94 in Berlin. Heinrich Maass name appears in conjunction on cartes de visite dated in the 1890s.
They founded Becker & Maaß in Berlin in 1902. The studio made a beautiful picture of Geisha girls in Berlin, and they travelled to Holland for a series of photographs. Pictures of a sailors family from the island Marken, farm houses, boys on wooden clogs and girls in traditional clothes were published in magazines like Praktische Berlinerin in 1907-1910.
| They also did landscapes and portraits. Among the celebrities they portrayed were publisher Ernst Rowohlt, author Gerhardt Hauptmann, Russian dancer Anna Pavlova, Dutch playwright Herman Heijermans and stage actor Alexander Moissi.
Between ca. 1917 and 1933, Marie Böhm was the studio photographer.
Becker & Maass then focused on portrait photography while the German film industry started booming after WW I.
The studio photographed many of the new stars of the silent Weimar cinema. Among their customers were the Danish diva Asta Nielsen, her German counterpart Henny Porten, serial queen Mia May, Paul Wegener and women idol Bruno Kastner.
Many modern young ladies, like Mia’s daughter Eva May, Lotte Neumann, Wanda Treumann and Hanni Weisse, were glamorously portrayed by the studio.
| Becker & Maas photographed Controversial dancer-actress Anita Berber was photographed with a mouse in her hand.
These sepia star portraits quickly found their ways to Berlin magazines and countless postcards. Initially these postcards were published by Verlag Hermann Leiser and Rotophot, and later by Ross Verlag.
In 1933 the studio was sold to Else Kutznitzki, who probably worked there till 1938. She maintained the studio’s name during this period an focused on fashion and design photography.
What happened to Otto Becker and Heinrich Maass is not known.
Narrative by: European Film Star Postcards
Date Retrieved: 23 Dec 2023
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"],
["BECHINGER","#1
Bechinger
Berlin, Germany
"],
["BEGER","#1
Werner Beger
"],
["BEHNCKE","#1
Clara Behncke
Berlin, Germany
"],
["BELGE","#1
Belge
Nice, France
"],
["BENDA","#1
Artur Benda
Vienna, Austria
"],
["BENDER","#1
A. Bender
Elberfeld, Germany
"],
["BENDER & JACOBI","#1
Bender & Jacobi
Berlin, Germany
"],
["BENGSCH","#1
Alexander Bengsch "],
["BENKOW","#1
M. Benkow
Atelier Kronan
Stockholm, Sweden
"],
["BENQUE Wilhelm","#1Wilhelm Benque
Wilhelm Benque (1843-1903) was a French portrait photographer of German origin, belonging to an important dynasty of photographers, the Benques.
Wilhelm Benque, known as 'the Younger', descended from a family from Ludwigslust (Mecklenburg, Germany). His uncle, the landscape painter Wilhelm Friedrich Alexander Benque, had a younger brother, Christian Benque whose son, Franz Benque became a photographer, first in Hamburg, then in Brazil before finally settling in Trieste. From the 1880s onwards, the Benques represented a dynasty of photographers, with a presence on three continents.
| When Wilhelm Benque arrived in Paris, he was associated with one of the members of the Benque family, Franz Wilhelm Benque, son of the landscape photographer Wilhelm Benque.
In the 1880s and 1890s, the Benques established their studio in Paris at 33, rue Boissy-d'Anglas under the name Benque, Benque et Cie. A successful venture, the they occupied a private mansion at this address, targeted a luxury clientele, and even opened an exhibition store at 5 rue Royale.
In the meantime, the company joined forces with two other photographers, named Klary and Kneubuhler, and the name became Benque & Klary for a time until it was taken over by Matuszewski after 1902.
The Benques also opened a second studio in Nice around 1883-1884.
| Benque was particularly active with personalities linked to the world of opera and the Parisian stage. They took well-known photographs of Louise Abbéma, Valentin Duc, Eleonora Duse and Cléopâtre-Diane de Mérode when she was promoted to 'grand sujet' among the ballerinas in 1896.
The Benque studios enjoyed an international reputation by the end of the 19th century.
Narrative by: Wikipedia
Date Retrieved: 26 Dec 2023
|
"],
["BERGEN","#1
von Bergen
"],
["BERGER Paul","#1
Paul Berger
Paris, France | 
|
"],
["BERGHEIMER","#1
Bergheimer
"]
["BERNHARDT","#1
Atelier W. Bernhardt
Berlin, Germany | 
|
"],
["BERT","#1Auguste Bert
Auguste Bert (Toulouse 1856 – ?) was a photographer who was active in Paris in the field of studio portraiture, specializing in portraits of artists from the entertainment world.
Before dedicating himself to photography, Bert worked in commerce, managing his father's hat manufacturing company. Bert graduated in science in 1885. The previous year he had been made president of the Société de photographyie of Toulouse.
| In 1887, Bert moved to Paris and began working as a photographer, partnering with Paul Boyer with whom he produced many postcards using the Boyer & Bert logo. Bert remained at the studio until 1919, when he sold it to Jules Sabourin.
After Boyer left the studio circa 1910, Bert continued to take photographs of theatrical and musical stars and to print and publish the negatives made by his predecessor.
Nothing is known of Bert's life after he sold the firm in 1919. However, many of his photos, particularly those of the Ballets Russes, are preserved in the Fonds Kochno of the Musée de l'Opéra section of the BnF.
| Source (with additional information): fotografiaedanza
Date Retrieved: 26 Dec 2023
|
"],
["BERSSENBRUGGE","#1
H. Berssenbrugge
The Hague, The Netherlands
"],
["BERTAZZINI","#1
S.A. Bertazzini
"],
["BESSER","#1
Besser
"],
["BETTINI (Ph.)","#1Riccardo Bettini
Cavaliere Dottore Riccardo Bettini stemmed from a family of photographers. He was the man behind Roman publisher Edizione Sociéta Anonima Italiana Bettini. . .
Dr. Carlo Napoleone Bettini, born in 1819 in Bologna, was forced to emigrate for his political beliefs to Egypt, where he worked as a photographer by applying the lessons he had learned in Paris from 1853 on, just for pleasure. In 1859, he was able to return to Italy when the political conditions changed at the beginning of the Second Italian War of Independence.
In Livorno, he opened Studio Felsineo. Some of his portraits of general Giuseppe Garibaldi are preserved now at the Museo del Risorgimento in Bologna. Bettini participated in the first National Exhibition of Florence in 1861 and around 1866 he became co-holder of the photo studio of C.B. Simelli in Rome.
| Flanked by his son Ugo Bettini, born in Bologna in 1843, Carlo opened in 1866 another branch in Livorno, which became the main plant. Shortly after, Carlo left the entire business to his son. Ugo was a photo-chemical expert, who would become well known in the community of national photographers due to the success of his technical treatises. Ugo was a board member of the Italian Photographic Society, founded in Florence in 1889.
During the late 1890s, the Lumière brothers had some of their 'views' in Livorno shot by Bettini and his colleague Felicetti. The two operators, albeit with a still shot, treated the subject in a totally different ways. Despite the attribution to Felicetti (official photographer of the event) in the contemporary sources, some believe that Bettini was the Lumière operator present in Livorno, because Bettini never minded shooting film.
From the early 20th century, Ugo’s son, Cav. Dott. Riccardo Bettini, born in Livorno in 1878, started to keep up the family name in photography. He had a degree in chemistry. In 1908 Riccardo moved the studio to Rome, to Via del Mortaro 19. This had been the headquarters of the well known photo artist Henri Le Lieure. Riccardo took over the vast photo archive of Le Lieure, from his former days in Turin and Rome. | Bettini inherited the clientèle of Le Lieure: the aristocracy, the world of culture and that of politics. They came to Studio Le Lieure for photo portraits of themselves. Bettini participated in the International Exhibition of Photography in Dresden in 1909, was awarded an honorary diploma in 1911 at the Exhibition of Turin and that of Rome, and participated in the Third Italian Photographic Congress, held in Rome in 1911.
In the years between c. 1910-1930, Riccardo Bettini shared an art studio with Anton Giulio Bragaglia in Rome (Fotoritratti d’Arte Bettini Bragaglia). In 1924 he founded the Società anonima Ritratto Bettini to preserve and make known his powerful historical archive consisting of over 80,000 negatives.
The surviving core of the Bettini collection (some 3,000 glass negatives) was purchased in 1954 (some say 1958) by the City of Rome when Riccardo Bettini settled in Argentine. Bettini's collection is now hosted by the Archivio Fotografico Comunale.
Narrative by: European Film Star Postcards
Date Retrieved: 2 Jan 2024
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"],
["BIEBER","#1Atelier Bieber
Atelier Bieber was one of Germany's oldest photo studios. The studio was founded in 1853 by a Jewish woman, Emilie Bieber, one of the first German photographers.
Originally, the studio was located in Hamburg. Emilie was succeeded by her nephew Leonard Berlin, who opened another studio in Berlin, also under the name Atelier Bieber. During the 1910s and the 1920s, many German stars and directors of the stage and the cinema were photographed here.
Little is known about the life of Emilie Bieber. Wikipedia notes that she was born in 1810 in Hamburg. Only when she was over 40 did she appear as the founder of a photographic studio.
In early February 1853, Emilie opened with Adelgunde Köttgen a 'Daguerreotype studio' on the top floor of Gr. Bäckerstraße 26 in Hamburg. The collaboration was short-lived, as Koettgen and her family moved to Düsseldorf in the spring of 1854.
Emilie Bieber took over the studio as the sole owner under the name Atelier E. Bieber. Emilie specialised in hand-coloured portraits that could not be recognized as photographs when viewed briefly.
After gaining some years of experience and improving the technical possibilities, Emilie Bieber presented her portraits at the first International Photographic Exhibition in Berlin in 1865, which the Photographic Association Berlin had organised.
| Bieber belonged to a small group of women who pursued a trade. She was involved in the Hamburg women's movement. In the 1850s she was on the board of a kindergarten and was friends with Emilie Wüstenfeld, a German women's rights activist and philanthropist who campaigned for girls' education and female vocational training.
In 1868 Emilie Bieber bought a house at Neuer Jungfernstieg 20 in Hamburg and set up a photographic studio there. Her brother-in-law Julius Berlin was temporarily registered as a resident at both addresses. His son Leonard Berlin later succeeded Emilie Bieber.
Around the age of 65, Emilie Bieber retired from daily work. Her nephew Leonard had entered the photographic studio in 1862. In 1869, the studio presented itself for the first time abroad at the 8th exhibition for photography in Paris, which was organised by the Société française de photographie. Several presentations at international exhibitions followed, such as in 1870 in Paris and at the World Exhibition in 1873 in Vienna.
In 1875, Emilie Bieber was appointed 'Hof-Photographin' (court photographer) by Crown Princess Victoria. In 1877, when Emilie Bieber celebrated the 25th anniversary of her studio, Atelier Bieber counted 30 employees. These employees included Arnold Mocsigay, who was in charge from 1869 to 1897, Max Jaffé and Johann Hamann, who worked as a retoucher in the late 1870s.
Emilie Bieber was 65 in 1875 and retired. In 1884, Emilie Bieber passed away in her hometown Hamburg. She was interred at the Jüdischer Friedhof Ohlsdorf, a Jewish cemetery in the Ohlsdorf district of Hamburg.
| After Emilie's death in 1884, her nephew Leonard Berlin (1841-1930) took over the studio 'at her will'.
In 1887 he was awarded the title of professor by Ernst II Duke of Saxony-Coburg and Gotha. This was followed by further awards such as court photographer, Saxony-Ernestine House Order II. Class and appointment to the court council.
In 1890 he opened a second studio under the name Atelier Bieber - but in Berlin. In 1892 he moved to Berlin with the family. In 1865 Leonard had married Marianne Meyer from Copenhagen in Hamburg.
The Berlin Atelier Bieber was highly regarded. 'Tout Berlin' liked to be photographed by Bieber. In 1910 Leonard retired but the open trading company 'E. Bieber, photographic studio in Hamburg and Berlin' continued. Even in retirement, Leonard Bieber initially remained connected to his profession. He was a curator for the photographic royal schools in Berlin and was a member of the Hamburg and Prussian Chamber of Experts for Works of Fine Arts.
The Hamburg studio was taken over by his son Emil Bieber, who had been a partner since 1902. His photos were greatly appreciated. In 1938, he left Hamburg to protect himself and his family from persecution. The branch in Berlin was taken over in 1910 by the merchant Julius Rosenberg, who in 1918 became the k.k. Court photographer. Atelier Bieber continued at Leipziger Strasse 124 in Berlin until 1929.
Narrative by: European Film Star Postcards
Date Retrieved: 22 Dec 2023
|
"],
["BINDER","#1Atelier Binder
From the late 1920s through the 1930s, Atelier Binder was the largest photo studio in Europe. The star photos of this Berlin studio can be found on countless Ross Verlag postcards. Founder was Alexander ‘Alex’ Binder (1888–1929).
Alexander Binder was born in Alexandria in 1888. The photographer was Jewish and probably of Swiss origin.
He studied engineering, but interrupted his studies prematurely. From 1908 to 1910 he attended the Lehr- und Versuchsanstalt für Photographie, Chemie, Lichtdruck und Gravüre (Teaching and Research Institute of Photography, chemicals, light pressure and engraving) in Munich and then went to Berlin.
There he opened in 1913 his first photo studio, Atelier für Bildmäßige Porträt Photographie in a room in the Motzstraße. Two years later he moved his studio to Kurfürstendamm 225, in a posh shopping and entertainment area in the centre of Berlin.
He soon became one of the leading photographers of Berlin. Binder created advertising and portrait photography. His focus was primarily on celebrity and fashion photography.
Binder’s photos were exhibited in 1921 at the first Annual Exhibition of Photography at the Kunstgewerbemuseum (Museum of Decorative Arts) in Berlin. In 1925-1926 he had an exhibition in London.
| Berlin was at the time the Mecca of the European film industry. Binder photographed all the stars of the German silent cinema, including Conrad Veidt, Lilian Harvey, Leni Riefenstahl, the Italian Carmen Boni, the Dutch Truus van Aalten and the Hungarian Lya de Putti.
During the filming of Die Freudlose Gasse/The Joyless Street (G.W. Pabst, 1925), he also portrayed the young Greta Garbo. His photographs appeared in the monthly photo and film magazine Die Linse, and in many other magazines.
Alexander Binder’s photos were also used for the popular star postcards, published by Ross Verlag and Photochemie. These photos have the signature ‘Alex Binder Photogr. Atelier’, ‘Alex Binder, Berlin’ or ‘Phot. A. Binder, Berlin’. Many photographs also contained the signature tie in the photo.
Since 1921 Alex Binder had his own logo ties: his signature inscribed in a rhombus. He signed with the tie or as ‘A. Binder’. These ties stopped to appear in 1929. Alexander Binder had suddenly died in February 1929 in Berlin.
During the late 1920s his studio had been 'the largest photo studio in Europe ...'. Mark Goffee writes on his great Ross Cards website that Binder's death date is interesting, and wonders how Ross cards could appear with photos of Atelier Binder until 1937.
| German Wikipedia describes how after Binder’s death, his studio was moved to the Kurfürstendamm 205 in 1929. The business name was changed into Atelier Binder, under which name new photographs were published.
The photographer was probably Hubs Floeter (1910-1974), who was employed at the studio as first operator until 1938. The owners of the studio were now Binder's widow, Mrs. Binder-Allemann and their two daughters.
Manager was the Jewish Elisabeth Baroness von Stengel, who was deported to the Theresienstadt concentration camp in 1943, writes Wikipedia. It also cites other sources that claim that Stengel was deported in 1938 and died in 1978 in Ascona.
However, in 1938, the Nazi Labour Inspectorate closed the studio. Aryan photographer Karl Ludwig Haenchen then moved in and continued to make celebrity portraits, which also were published on star postcards by publishers as Film-Foto-Verlag. After World War II, the Hasse und Wiese company took over the studio in 1948 or 1949.
Narrative by: European Film Star Postcards
Date Retrieved: 24 Dec 2023
|
"],
["BINZ","#1Tita Binz
Tita Binz (1903-1970) was a German photographer, who portrayed in her Atelier Binz many of the film stars of the Third Reich. For Film-Foto-Verlag, she also made portraits of the soldiers who were holders of the Knight's Cross.
Tita Binz was born as Juanita Ladewig in Frankfurt am Main in 1903. Binz was the daughter of the chemist Prof. Arthur Binz and his wife, the writer Juanita Reutlinger. In 1911, her family moved to Berlin. During her school years Tita was already fascinated by photography.
From 1928 till 1930, she did an apprenticeship in Paris at the photo studio of her uncle, the famous photographer Léopold Reutlinger. The renowned Reutlinger Studio was opened in 1850 and had become one of the most prestigious photo studios internationally since then.
Later, Binz settled in Berlin. She first earned her living as an assistant in photo studios, but in 1938 she opened her own studio, Foto Binz, located on the chic Kurfürstendamm. Her studio had five employees.
From the start, Foto Binz specialized in portrait photography. Tita Binz portrayed actors, scientists, artists as Käthe Kollwitz, authors, but also military and politicians. The newspaper Berliner Tageblatt praised her for 'her talent to show the personality of the person she portrayed'.
| One of the first clients of Foto Binz was the publisher Film-Foto-Verlag, formerly Ross Verlag. Since 1937, Ross Verlag was no longer in the control of its Jewish founder, Heinrich Ross. The National Socialists had forced Ross out through their Arisierung (Aryanization) program (no Jews could own a business.)
Interestingly enough, the Nazis retained the Ross Verlag name until 1941, next to the new name Film-Foto-Verlag. Film-Foto-Verlag became known for its postcards of film stars who figured in the German and also in the fascist Italian cinema during the years just before and during World War II.
Tita Binz was also asked by Film-Foto-Verlag to portray soldiers who were holders of the Ritterkreuz (the Knight's Cross) for their R series of military propaganda postcards. The Nazi regime needed more propaganda and therefore the R series was started in 1939.
At his blog, Pantorijn writes: 'It is at this point that two different worlds seem to run together at least in pictures. The actor, the hero of the silver screen and the soldier, the hero of the theatre of war were both raised in the same way. (…) it was not only the image itself but also the design of the postcard that ensured that these two worlds together began to look like one another. It was decided that the lay-out for actors also had to be used for the knight cross bearers.'
Pantorijn illustrates this with the example of film star Hannes Stelzer, a popular Ufa hero during the Nazi period. In 1941 he starred as a Luftwaffe pilot in the propaganda film Stukas (1941). Director of the film was Luftwaffe Major Karl Ritter and director and star worked five times together.
| In 1941, Stelzer was photographed (by Baumann) for Ross-Verlag/Film-Foto-Verlag in a uniform of the Luftwaffe to promote Stukas. Two years later, Stelzer was obliged to report for active duty and got a pilot training. In 1944, the Luftwaffe pilot died when his airplane was shot in Russia.
Binz did never photograph the Waffen-SS. Pantorijn: 'This might be due to the fact that she was friends with Hans Oster, a convinced opponent of the Nazi regime. She knew by that friendship also the 'conspirators' Erwin von Witzleben and Erich Hoepner who she portrayed all three. These pictures were not made for Film-Foto-Verlag.'
Immediately after World War II ended in 1945, Tita Binz left Berlin. Until 1949, she lived and worked in Heidelberg. That year, she moved to Mannheim.
Tita Binz died in 1970 in Mannheim at the age of 67. In the collection of the Deutsches Historisches Museum (DHM) are her portraits of Konrad Adenauer, Luise Rinser, Viktor de Kowa, Otto Hahn, Gustav Heinemann, Theodor Heuss, and many other celebrities.
Narrative by: European Film Star Postcards
Date Retrieved: 26 Dec 2023
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"],
["BLANKERS","#1
L. Blankers
"],
["BLOMBERG","#1
Anton Blomberg
Sweden
"],
["BÖHM","#1
Atelier Böhm
Berlin, Germany
"],
["BÖHM Hans","#1
Hans Ludwig Böhm (1890-1950)
Vienna, Austria
Austrian photographer (1890-1950), who worked in Berlin the 1910s, making photo portraits of the stars of the stage. In 1915 he returned to Vienna and was called up for service. After the First World War he returned to Vienna where he worked for the Austrian section of the Berlin magazine Das Theater and continued to portray stage actors. In 1923 he donated his whole collection of ca. 2.200 photo portraits of stage actors to the Austrian National Library.
Narrative by: Truus, Bob, & Jan Too!
Date Retrieved: 24 Feb 2024
"],
["BÖHM-WILLOTT","#1
Atelier Böhm-Willot
Berlin, Germany
"],
["BOISSONNAS et TAPONIER","#1François-Frédéric Boissonnas and André Taponier
In 1901, André Taponier and Frederic Boissonas opened a studio in the prestigious Rue de la Paix in Paris. Celebrities of the time - writers, politicians, royals, etc. - filed to have their portrait made there. The studio closed in 1958.
Source by: Photo 12 website
Date Retrieved: 26 Dec 2023
See also Wikipedia article on Boissonnas
|
"],
["BONFORT","#1
C. Bonfort
Marseille, France | 
|
"],
["BORGEN Gustav","#1
Gustav Borgen
Norway
Years Active: Circa 1891 - 1922
"],
["BORIS","#1
M.I. Boris
M. I. Boris [Boris Majdrakoff] was born in Sofia, Bulgaria, and educated in the studio of the pioneer Balkan photographer and Bulgarian freedom fighter Toma Hitrov by Hitrov's widow, Elena Chernova. Boris eventually married their daughter Ivanka Hitrova, also a photographer.
Sent by his father to Vienna in 1905 to study engineering, Boris took courses in painting instead. He secured work in Atelier Adele, the photographic studio of the Austrian Emperor Franz Joseph, and was eventually appointed studio manager. On a vacation to Sofia in 1912, the First Balkan War erupted. As a young male Bulgarian he was drafted and served in the First and Second Balkan Wars, as well as World War I. Because of his photographic abilities, he was assigned to military intelligence. After the cessation of hostilities, he discovered that his possessions in Vienna had been seized; he settled in Sofia, and worked out of the Hitrov Studio.
In 1922, in pursuit of Ivanka Hitrova, and to evade retribution for shooting a man, he moved to New York. He married and set up a studio in an apartment over the Stork Club, adopting his commercial name, M.I. Boris. He enjoyed immediate success and established a studio on W. 57th in the premises once occupied by photographer J.A. Foley. Boris worked for three years on special jobs for Paramount Studio, supplying his elaborately etched star portraits, but quit when pressured to move to the West Coast where Paramount relocated in late 1926. The New York Times contacted him in the late 1920s about replacing Victor Georg at its studios, but Boris preferred working independently. Throughout the 1920s, he expanded into Society portraiture as a supplement to his theatrical and movie star projects.
| In the late 1930s, his style grew less painterly and more 'straight' as he established himself as a fixture in the New York scene. He became greatly active in the professional associations, particularly as an exhibition judge. He opened a branch of his studio in Washington, D.C. and took occasional students, such as Ralph Oggiano. Aside from his portraiture, he did photograms, abstract marbalized images, and painted on exposed photographic paper. These experimental works were for the delection of his family and photographic friends. He died on July 17, 1962 after falling into the elevator shaft at 697 Fifth Avenue, where his studio was located.
NOTES: The information in the sketch is extracted from a series of letters from 9/2004 to 10/2005 written by Ivan Majdrakoff and three written biographical recollections by Tom Majdrakoff. David S. Shields/ALS
Specialty: An adherent of Jungenstil, the proto-modernist aesthetic that reigned in Austria before the War, Boris developed a mode of portrait photography with sinuous profiles and backgrounds aswirl with quasi-abstract graphic patterning. He brought the style to New York in 1923. His pictures bear strong affinities with those of Orval Hixon, Homer K. Peyton, and William Mortensen in the aggressive manipulation of the negative and the concern with creating a synthetic image of great allure. His vintage prints of the 1920s are among the rarest and most visually arresting of the portraitists of the inter-war years.
Narrative by: Broadway Photographs
Date Retrieved: 9 Jan 2024
|
"],
["BOSSELMANN","#1
G. Bosselmann
"],
["BOUGUEREAU","#1
Marcel Bouguereau
"],
["BOYER Paul","#1Paul Boyer
Paul Boyer (28 Sept 1861–1952) was a French photographer born in Toulon. He was the son of Charles Boyer, architect, and of Séraphine Grec.
A student from École des Beaux-Arts (Paris), Boyer invented the use of magnesium for the flash-lamp in photography, and received the gold medal at the Exposition Universelle of 1889.
Boyer had a studio at 35 boulevard des Capucines in Paris, making numerous portraits of actors, actresses, and other personalities of his time, often published on postcards.
He died in 1952.
Source: Wikipedia
Date Retrieved: 26 Dec 2023
| 
|
"],
["BRAAE","#1
J. Braae
Berlin Germany | 
|
"],
["BRADLEY STUDIOS","#1
Bradley Studios
"],
["BRAGAGLIA","#1
Arturo Bragaglia
Arturo Bragaglia began his career making photographs in collaboration with his older brother Anton Giulio Bragaglia. His artistic training was developed as an assistant, alongside his brothers, in his father Francesco Bragaglia’s film production company in Rome.
With the publication of his brother Anton Giulio Bragaglia’s book 'Fotodinamismo futurista' (Futurist photodynamism), in 1911, Arturo began collaborating with his brother on photographic experiments. He continued this work until 1932 after Anton Giulio’s focus had shifted to the cinema.
In 1914, Arturo established his own studio. From 1922 until 1928, he was the official photographer of his brothers’ establishment, the Teatro degli Indipendenti, Rome.
In 1925, he co-organised the Mostra fotografica italiana (Italian photography exhibition) in Genoa and became a national advisor of the Federazione dei Fotografi.
| From 1933 on he was increasingly involved in the cinema, as the photographic director at Cinecittà, Rome, and later as a screenwriter and actor in a number of major productions, such as René Clair’s film La Beauté du diable/Beauty and the Devil (1950) and Vittorio De Sica’s Miracolo a Milano/Miracle in Milan (1951).
After World War II, Bragaglia continued to work as a photographer, photojournalist, and screenwriter for major directors. He also played a studio photographer in Luchino Visconti's film Bellissima (1951).
Narrative by: European Film Star Postcards
Date Retrieved: 1 Jan 2024
|
"],
["BRAHM","#1
Brahm
Berlin, Germany
"],
["BRANDL","#1
Steffi Brandl
Steffi Brandl (1897–1966) ran a successful photography studio specialising primarily in portraits for publication in the various illustrated magazines of the 1920s. In Vienna, after studying at the Graphische Lehr- und Versuchsanstalt, she began an apprenticeship in 1921 at the internationally renowned photography studio of Trude Fleischmann. By now she was already developing her own personal style and in May 1926 she opened her first independent studio, the Atelier für photographische Bildnisse on Kurfürstendamm in Berlin.
Narrative by: Berlinische Galerie, Museum of Modern Art
Date Retrieved: 9 Jan 2024
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"],
["BRASCH C.","#1
C. Brasch
Berlin, Germany | 
|
"],
["BREER","#1
Anny Breer
Hamburg, Germany
"],
["BREYER","#1
Juanita Breyer
"],
["BREYER L.","#1
L. Breyer
Stockholm, Sweden
"],
["BRILL","#1
S. Brill
Paris, France
"],
["BROCKMEYER","#1
Luise Brockmeyer
Darmstadt, Germany
"],
["BROCKSHUS","#1
Oskar Brockshus
Bremin, Germany
"],
["BROWN","#1
Lansing Brown
Los Angeles, California U.S.A.
Lansing 'Lansa' Vanwoert Brown Jr. (August 24, 1900 – February 16, 1962) was an American photographer.
Brown is often recalled for an event on September 2, 1934, in which he accidentally shot and killed his friend, crooner Russ Columbo, when an antique pistol discharged and the bullet ricocheted into Columbo's skull. After Columbo's death, Brown was cleared of all charges, but he remained deeply affected by the incident.
Brown served in the military during World War II as a photography instructor. He died of a stroke at the West Los Angeles Veterans Administration Hospital.
Source: Wikipedia
Date Retrieved: 16 Jan 2024
"],
["BROWN M.","#1
Milton Brown
"],
["BRUCKMANN","#1
Bruckmann
"],
["BRÜHLMEYER","#1
H. &. V. Brühlmeyer
Baden bei Wien, Austria
"],
["BRYANT","#1
S. Bryant
New York, New York U.S.A
"],
["BUCOVICH","#1Mario von Bucovich
Mario von Bucovich (1884-1947) was described as 'one of the great unknown photographers of 20th Century European photography'. He worked in Berlin in the 1920s and the early 1930s, where he took over the photo studio of Karl Schenker in 1925. He photographed stage and film personalities of the Weimar Republic, including Marlene Dietrich, Elisabeth Bergner and Leni Riefenstahl. After the rise of the Nazis, he went in exile in New York.
Mario von Bucovich or Marius von Bucovich was born in 1884 in Pula in the Istrian region of the Austro-Hungarian Empire. He held the title of Baron. His father, August, Freiherr von Bucovich, was a former Corvette Captain in the Austro-Hungarian navy and later an entrepreneur in the railroad concession sector. His mother was Greek.
Mario began studying mathematics and mechanics at the Eidgenössischen Technischen Hochschule (Swiss Federal Institute of Technology) in Zurich in 1904. He continued these studies in Nancy, France. From 1908 to 1909 he studied electrical engineering and mechanical engineering at the Technikum Mittweida in Saxony. He began his professional career in 1909 at the Otis Elevator Company in New York City, USA, which sent him to the Russian capital St. Petersburg in 1911. There he also dealt with the profitable sale of agricultural machinery.
In 1913, Von Bucovich acceded to his title as Baron upon his father's death. In 1914 he was deported to Siberia as an enemy foreigner but was able to flee and return to St. Petersburg. From 1918 he dedicated himself to the repatriation of the deportees who remained in Siberia, which was very difficult due to the civil war in Russia. The title of Baron and the privileges lapsed with the 1919 Law on the Abolition of the Nobility.
| In the 1920s, he worked primarily in Germany but also travelled to France and England. Bucovich was active in the art and antiques trade and settled in Berlin, where he became an authorised signatory in Karl Schenker's photo studio in 1925. The following year, he took over the photo studio. Between 1926 and 1930, von Bucovich and his wife, Marie, who was also a photographer, ran their studio from Budapester Straße 6, in Berlin's Tiergarten district.
In his published work he was most noted for his urban studies with a focus on streetscapes, but his studio work undertaken at the Atelier Karl Schenker was often of entertainment personalities of the Weimar period stage and screen. He photographed Marlene Dietrich, Elisabeth Bergner and Leni Riefenstahl in her days as a dancer, preceding her career as a film director. Von Bucovich also became known as a nude photographer. Amongst Mario von Bucovich's most notable books were 'Berlin, Das Gesicht Der Stadt' (Berlin, Portrait of a City) and 'Paris' (with a foreword by Paul Morand). The Paris book included photos by Germaine Krull. The Berlin book published originally by Albertus Verlag, a publishing house he founded in 1928, had a foreword written by the author Alfred Döblin.
During the late 1920s, his photos appeared across the gamut of German photojournalism including the titles: Der Querschnitt, Uhu, Die Dame, Die neue Linie, Das Magazin, Skizzen, Welt-Magazin, Kölnische Illustrierte Zeitung, Revue des Monats, Das Kriminalmagazin, Das Leben, Das Kunstblatt, Farbe und Form, Das Deutsche Lichtbild, Deutscher Kamera Almanach, Die Reklame, and Der Photo-Freund. His views of Girona in Spain taken in 1933 were published in the National Geographic magazine.
| In 1931, Von Bucovich moved to New York, via Wiesbaden, London and Paris. In New York, he had a studio at 687 Lexington Avenue and worked for a publishing house on 41st Street. In his American period, he published two photographic essays, 'Washington D.C. City Beautiful' and 'Manhattan Magic: A Collection of Eighty-Five Photographs'. In 1939, he moved to Mexico and was working there through at least the early part of that decade, until his death in 1947 in a traffic accident in Mexico City. He is believed to have been married four times.
His work was shown at major photography salons of the day. He was represented at probably the most important German photography exhibition of the Bauhaus period, 'Fotografie der Gegenwart' (Contemporary photography) in Magdeburg in 1929. He was also shown at the Fourth International Exhibition of Pictorial Photography at the California Palace of the Legion of Honor, the Third International Exhibition of Pictorial Photography Seattle Camera Club, and the 15th and 16th Annual Pittsburgh Salon of Photographic Art at the Carnegie Institute.
His work is in the collections of the New Orleans Museum of Art, the National Museum of Mexican Art and the National Gallery of Canada. The Berliner Morgenpost described him in 2009 as 'one of the great unknown photographers of 20th Century European photography'.
Narrative by: European Film Star Postcards
Date Retrieved: 9 Jan 2024
|
"],
["BULL","#1
Clarence Sinclair Bull
Clarence Sinclair Bull (May 22, 1896 – June 8, 1979) was a portrait photographer who worked for movie studios during the Golden Age of Hollywood. He was head of the Metro-Goldwyn-Mayer stills department for nearly 40 years.
Bull was born in Sun River, Montana, in 1896. His career began when Samuel Goldwyn hired him in 1920 to photograph publicity stills of the Metro-Goldwyn-Mayer film studio's stars. He is most famous for his photographs of Greta Garbo, taken between 1926 and 1941. Bull's first portrait of Garbo was a costume study for the silent romantic drama film Flesh and the Devil in September 1926.
Bull was able to study with the great Western painter, Charles Marion Russell. He also served as an assistant cameraman in 1918. Bull was skilled in the areas of lighting, retouching and printing. He was most commonly credited as 'C.S. Bull'.
Bull died on June 8, 1979, in Los Angeles, California, aged 83.
Narrative by: Wikipedia |
"],
["BULLOCH","#1
Charles E. Bulloch
"],
["BYK","#1Suse Byk
German photographer Suse Byk (1884-1943) was one of Berlin's leading portrait photographers in the 1920s. Between 1913 and 1938, she had her own studio for portrait, fashion and dance photography, which was frequented by many film stars, including the actresses Colette Brettel, Helga Molander, Hertha Thiele and Manja Tzatschewa.
Suse Byk was born Susanne 'Suse' Sarah Wally Byk in 1884 in Berlin. As for many other photographers of her time, her life could only be reconstructed in fragments. This also applies to her photographic work, which has not been preserved in one or more convolutions, but only individual pieces can be found in various books, collections and archives.
Her parents were Dr Siegmund Byk, a chemist and factory owner with a doctorate, and his wife Clara. Clara Byk was a cousin of her husband; she wrote a family history and died in Berlin in 1926. Dr Siegmund Byk retired from the board of Chemische Fabrik Byk, founded in 1873, in 1905.
Suse Byk served an apprenticeship as a photographer which she completed at the Lette School. In 1910 she was admitted to the Photographischer Verein zu Berlin. There is evidence of a photo studio under her name for the first time in 1911 at her father's private address at Kurfürstendamm 14/15 on the III floor. Later she took over Ernst Sandau's studio.
| In 1913 she took part in the first Conference for German Women Photographers in the rooms of the Berlin Women's Club, at which time she was called 'a master photographer'. In 1919, she opened a studio for photographic portraits under her name at Kurfürstendamm 230, which she ran until 1938.
Her father, Siegmund Byk, supported her in the management as an authorised signatory. The photographers Martha Maas and Lore Feininger began their apprenticeships as photographers with Byk in 1916 and 1919 respectively. By 1929, Suse Byk employed five people.
Suse Byk's studio (in German: Atelier Suse Byk) photographed a number of female artists, artists and scientists (including Albert Einstein) in Berlin in the 1920s. Byk also had commissions to shoot fashion for illustrated magazines in the 1920s and she worked as a theatre photographer for the artists of the Städtische Oper. In 1926 she expanded her company name to include family and film photography, and from 1924 she also shot films of children and animals for private clients.
In 1925 she made role portraits and film recordings of the modern dancer and pantomime Valeska Gert. In addition to role portraits of Georg Groke as Kastschej in 'Feuervogel' and of Rudolf von Laban and his troupe, dance photographs of Niddy Impekoven, Gret Palucca, Hertha Feist, Lizzi Maudrik and her dance troupe Maudrik, Vera Skoronel and the Skoronel-Trümpy group, among others, have survived.
| In 1927, she took a photograph of Judith Kerr and her brother Michael Kerr in her studio.
In January 1927, she married the journalist and writer Hellmuth Falkenfeld. Byk and her husband remained in Berlin after the transfer of power to the Nazis in 1933 and continued to work under conditions of anti-Semitism, although her work did not initially seem to be directly affected by the state measures, as a work of hers was published as late as 1935. Under political pressure to emigrate, she gave up in 1938 and attempted to sell her business.
Liselotte Strelow had learned in Byk's business and she then worked at Kodak in Berlin. Strelow took over the business and flat in 1938 for the Aryanisation price of RM 2,500, half the sum demanded by Byk, and opened the studio on 1 October 1938, which she continued under the established name. In July 1939, the Byk company was deleted from the commercial register. The studio and Byk's photographic archive, which may have been in it, were destroyed in the air war.
In 1938, Suse and Hellmuth Falkenfeld emigrated to London and from there to New York. Nothing is known about the last years of Suse Falkenfeld-Byk's life. She died in 1943 in Manhattan, New York City.
Narrative by: European Film Star Postcards
Date Retrieved: 29 Dec 2023
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"],
["CAHN","#1
Elli Cahn
Berlin, Germany
"],
["CAMPBELL STUDIOS","#1
Campbell Studios
The New York branch of Campbell Studios was one of the active celebrity portrait studios in the 1900s to early 1920s. Its forte was the half length portrait photo of stage or screen stars in fashionable modern dress. It regularly supplied photographs to The Theatre and to movie magazines. There may have been two or more staff photographers shooting clients, for the style of portraiture varies from static poses shot in natural light to fanciful fashion poses.
Narrative by and additional information: Broadway Photographs |
"],
["CAMUS","#1
G. Camus
Paris, France | 
|
"],
["CAMUZZI & LOMAZZI","#1
Camuzzi & Lomazzi
Milan, Italy
"],
["CANNONS","#1
George Frederic Cannons (1897-1972)
George Frederic Cannons was a Hollywood portrait photographer of the 1930s. Professionally known as Cannons of Hollywood. Cannons worked in both Hollywood and London.
Narrative by and additional information at: Wikipedia
Date Retrieved: 20 Jan 2024
|
"],
["CARLET","#1
Carlet Ainé, Paris
Paris, France | 
|
"],
["CARPENTER L.A.","#1
Carpenter L.A.
In Los Angeles, J. Cyrus Carpenter ... established a portrait studio on the top floor the Burns Building at 525 South Broadway in the first decade of the century. In 1912 these premises suffered an extensive fire, destroying Carpenter's negative archive and equipment. By 1913 he was up and running again, but had lost his zest for work.
In 1915 he sold out his business to Richard G. Marsh. Marsh, born in 1855 in Indiana, may have been the oldest active photographer engaged in movie publicity in the 1910s and 1920s. Issuing his images with 'Carpenter, LA' inscribed in the negative in squarish, spidery letters, Marsh favored lucid, featureless backgrounds. . .
Narrative by and additional information: STILL, David Shields. The University of Chicago Press, 2013, p. 130-131.
"],
["CARSEY","#1
Harold Dean Carsey (1886-1947)
The Tennessee-born Carsey emerged suddenly as a Hollywood portrait photographer in 1925, at age thirty-nine. He devised a purposely flat style, annihiliating depth of field and any sculptural qality to the face or body.
Narrative by and additional information: STILL, David Shields. The University of Chicago Press, 2013, p. 358.
"],
["CARSTENSEN","#1
P.A. Carstensen
Bergedorf, Germany
"],
["CASPARIUS","#1
Hans Gustav Casparius (1900 - 1986)
Hans Gustav Casparius was born into a wealthy Jewish family in the textile trade in Berlin, Germany in 1900. A self-taught photographer, he originally worked as an actor, before collaborating with noted Weimar era director GW Pabst as a stills photographer; from the late 1920s Casparius made iconic photographic portraits of celebrated figures, including Sigmund Freud (1933), and travelled widely, creating short cultural documentaries. He immigrated to London in 1935 where he continued his film and photographic career.
Narrative by and additional information at: Ben Uri Research Unit
Date Retrieved: 12 Jan 2024
|
"],
["CAUTIN & BERGER","#1
Cautin & Berger
Paris, France | 
|
"],
["CHACUN","#1
Daniel Chacun
"],
["CHARLOTT","#1
Studio Charlott
Berlin, Germany
"],
["CHIDNOFF","#1
Irving Chidnoff
Russian-born celebrity photographer Irving Chidnoff founded his studio in 1925 and for thirty years would photograph the famous and would-be famous of New York City. From the first he recognized that periodical and newspaper publication was the key to establishing his reputation. Photographing theatrical personalities he saw was the way to break into print.
His first sale to the New York Times was a full-body portrait of Dorothy Brown in the operetta 'Polly' published on October 25, 1925. Four months later, Edward Steichen accepted Chidnoff's first submission to Vanity Fair. Because of the number of talented photographers working in Manhattan, Chidnoff knew he would have to diversify to survive. By late 1926 he was doing fashion photography in addition to portraiture.
| In 1928 he entered aggressively into the Society portrait trade and quickly established himself as a power, rivaling Ira Hill and Hal Phyfe, and eclipsing them among the New York City's Jewish elite. In 1931 his wedding portraits to the New York Times outnumbered his theatrical images for the first time, as they would throughout the remainder of his career. Even in the social conscious 1930s, Chidnoff's disavowal of glamour put him at odds with Hollywood aesthetics; fortunately, his humanistic style better suited the style of the theater. His 1930s portraiture communicated a humanity and solidity that clients found extremely attractive. In the mid 1930s Chidnoff turned his camera from the stage to the concert house, concentrating on portraiture of classical musicians. By the late 1940s he had retired to Miami, selling both his name and facilities.
| Throughout much of the 1930s Chidnoff operated as a major photographer of University yearbook portraits. His mobile team of photographers included James and Lou Colonna, Sol Herzon, and record keepers Margaret Richards and Ann Harvey. The volume of these images kept the Studio solvent during a difficult decade for celebrity photography. He published these until 1946. At that juncture Chidnoff turned the management of the studio over to a member of his staff. The studio remained open until the mid 1950s as Chidnoff Block.
David S. Shields/ALS
Narrative by and additional information: Broadway Photographs
Date Retrieved: 13 Jan 2024
|
"],
["CIE BELGE","#1
Cie Belge
Photo Compagnie Belge
Brussels, Belgium | 
|
"],
["CIOLFI","#1
"],
["CIVIRANI","#1
Carlo Civirani
Italian photographer Carlo Civirani (?-?) belonged to the group of Roman studio photographers which also included Pinto, Villoresi and d'Alessandri. He photographed many Italian film actors of the 1910s. His son, Osvaldo Civirani (1917-2008) later became one of Italy's most notable still photographers, who worked with such famous film directors as Luchino Visconti, Federico Fellini and Roberto Rossellini.
'Commendatore' Carlo Civirani had a well-frequented photo studio in Via Nazionale 22 in Rome. He was an acclaimed distinguished photographer, his son told in an interview, wearing a redingote and a monocle. Carlo Civirani belonged to the group of Roman studio photographers which also included Pinto, Villoresi and d'Alessandri.
Carlo's son Osvaldo Civirani learned photo retouching from his father and did this also for the other Roman photographers. In 1934 on the recommendation of his father, Osvaldo Civirani would start at the photo studio of Aurelio Pesce at the Cines Pittaluga film studio complex in Via Veio.
In 1935 he would make his first set photos, becoming one of Italy's most notable still photographers.
| In 1943, being hired as a still photographer on the set of Luchino Visconti's Ossessione/Obsession (1943), Civirani introduced the novelty of taking pictures, not after the scene was shot - in a constellation that was staged for this purpose -, but while the scene was being shot, using for that purpose the lighter and unobtrusive Plaubel Makina 3. According to Civirani, this was also the first time that the still photographer appeared in the title credits.
As a set photographer, he worked with other famous film directors such as Alessandro Blasetti on Fabiola/The Fighting Gladiator (1949), Roberto Rossellini on Francesco, giullare di Dio/The Flowers of St. Francis (1950), Federico Fellini on Lo sceicco bianco/The White Sheik (1952), and Carlo Lizzani on Cronache di poveri amanti/Chronicle of Poor Lovers (1954).
Until 1963, Civirani worked mainly as a still photographer on over two hundred films. From 1963 to 1976, Osvaldo Civirani would also produce and direct 20 films in various genres: Peplum, Euro-Spy films, Spaghetti Westerns, and comedies with Franco & Ciccio. He later wrote two books: 'Un fotografo a Cinecittà' and 'La donna dei sogni', in which Civirani collected the memories and experiences of a whole life dedicated to cinema.
Narrative by: European Film Star Postcards
Date Retrieved: 1 Jan 2024
|
"],
["CLAASEN","#1
Claasen
Cologne, Germany
"],
["CLAUSEN","#1
Rosemarie Clausen
Rosemarie Clausen (née Kögel), 5 March 1907 – 9 January 1990, was a German photographer. She worked as theatre and portrait photographer and received several awards for her work.
Narrative by and additional information: Wikipedia |
"],
["COBURN","#1
Robert W. Coburn
Robert Coburn was one of the most influential portrait photographers working in the major Hollywood movie studios from the 1930’s to 1960’s. His star subjects included Rita Hayworth, Joan Crawford, Kim Novak, Carole Lombard, William Holden, Glenn Ford, and Orson Welles. Coburn’s most infamous portraits immortalized Hollywood’s greatest icons and helped to define this era as the Golden Age of Cinema. In 1940, Robert Coburn began a twenty-year career with Columbia Pictures as the head of the still production department and the studio’s chief portrait photographer for many landmark films including 'Picnic', 'Gilda', and 'The Big Heat'.
In 1963, Robert Coburn worked as still photographer on the set of Alfred Hitchcock’s film 'The Birds'. Based on a novelette by Daphne Maurier, starring Rod Taylor and Tippi Hedren, this classic thriller employed cutting edge film techniques to portray dizzying hordes of birds violently and inexplicably attacking the residents of a small coastal town. Hitchcock enhanced the film’s unique look, by giving the moviegoer a bird’s eye view of unfolding scenes of terror and death. His film disturbed audiences by turning delicate birds into swarming, senseless, menacing creatures attacking helpless victims for no apparent reason. The film’s modern apocalyptic imagery of a world in violent chaos garnered the film an Academy Award nomination for visual effects, making the thriller an indisputable Hitchcock classic.
| Robert Coburn’s still photographs from the set of 'The Birds' capture the two sides of the filming of this iconic Hitchcock thriller. His photographs from set effectively document the evolution of the movie making process while dramatically portraying the creation of chaotic scenes of victims fleeing the birds’ violent attacks. The swirling mania and the onslaught of a senseless mass of birds hurtling themselves down an open chimney and into a claustrophobic living room illustrate elements of the surreal within this story.
Coburn made candid portraits of Hitchcock on the set, occasionally pictured with a wry grin, directing and joking with fellow crew members and actors. A carefully coifed Tippi Hedren, with a wire birdcage on one knee, sits and smiles jovially at the end of the dock on location. One of Robert Coburn’s most memorable publicity shots, used for the film, portrays a famously droll Hitchcock, balancing a large, menacing raven on one arm, while at the same time giving the ominous bird a stern, yet suspicious glare.
In both 1941 and 1943, Robert Coburn was awarded the Academy of Motion Pictures, Arts and Sciences’ Still Photography Exhibition Award.
Narrative by: Fahey - Klein Gallery
Date Retrieved: 28 Jan 2024
|
"],
["COLLMANN","#1
Atelier Collmann
Darnstadt, Germany
"],
["COMPANY PHOTO","#1
Company Photo
"],
["CONTINENTAL","#1
Continental
"],
["CORBEAU","#1
Roger Corbeau
Roger Corbeau was born in 1908. In 1932, he arrived in Paris where he became a dresser for the operetta 'Violettes Imperiales'. Later, while Corbeau was serving as a props designer for Marcel Pagnol, photos taken by Corbeau were discovered by chance by Pagnol on the set. Pagnol then decided to make Corbeau the set photographer for his next film.
Corbeau then began a career that would make him one of the great still photographers of French cinema, from the 1930s to the 1970s.
Corbeau died in Paris in 1995.
Narrative by and additional information: Wikipedia |
"],
["CRIMELLA","#1
Crimella
"],
["CSONGÁR","#1
Csongár (Artist)
"],
["DÄHN","#1
Dähn
Berlin, Germany |  |
"],
["DE GROOT","#1
Godfried de Groot
Godfried Cornelius (Frits) de Groot was born in Den Helder, The Netherlands in 1894. He was the second of the three children of the innkeeper Adrianus Cornelius de Groot and Johanna Geertruida Geurds.
Between 1906 and 1908 Godfried attended the Friary school in Goirle. Then he returned to Den Helder and was registered as a photographer. He was a student of the photographer S. Dijkstra, and later had apprenticeships in Den Bosch, and Bad Nauheim in Germany.
In 1916, he returned from Germany and settled in Amsterdam. Between 1917 and 1921 he worked as assistant to photographer Frits Geveke, who portrayed many actors and actresses. Reportedly, De Groot took several of these clients with him when he opened his first studio in Amsterdam at the Amstellaan (now Vrijheidslaan) around 1922.
In 1928, he established his studio in the prestigious Jan Luykenstraat 2a opposite the Rijksmuseum and also went to live there with his friend and attorney Piet Bakker.
De Groot was an aesthete. On many of his portrait photos the light falls on one or two shoulders, on the side (usually the left) of the face, on the ridge of the nose, the hair, sometimes on the ear. In the portraits of men, the white collar usually the lightest part of the picture, in women’s portraits the light often focuses on the necklace.
De Groot often photographed obliquely from the side, and the left head is generally rotate relatively to the fuselage. Portraits in profile are in the minority. The photographed rarely laughed or looked into the lens. The tint of the face, hair, and clothing often contrasts with that of the background. De Groot continuously varied combinations of these 'ingredients' so that no portrait is exactly the same.
From 1936 on, De Groot had Jan Wieling as an apprentice, with whom he also had a relationship. Until De Groot’s death in 1963, Wieling also took care of the business side of the company. De Groot and Wieling lived from circa 1940 in a villa in Naarden, although De Groot remained formally registered in Amsterdam.
| Godfried de Groot’s photos are recognizable by the careful use of lighting and pose. His flattering, sometimes glamorous portraits are in the tradition of the Pictorialism: beautiful portraits executed with care.
The influence of film stars portraits of his work is unmistakable. His photographs show similarities with the German glamour photos that were published in large numbers on Ross postcards and in Dutch magazines like Cinema & Theater.
Hans Rooseboom at the Dutch photography site ScherpteDiepte (Depth of Field): 'In the studio at the Jan Luykenstraat, Godfried de Groot went from daylight to artificial light on. As props, he used a pair of large rectangular blocks and a quarter circular increased by a few steps. By letting the people lean against a block or sit on it they could still move easily and be rearranged. Stiff, uncomfortable poses were thus prevented.
De Groot had the talent to make people at ease. He treated them all with respect and especially with women he was easy going. They fell often under his charm. He gave them compliments, and made them feel beautiful. No doubt he was a good actor, but his enthusiasm was often sincere. Godfried de Groot loved people and preferred to photographed them at their best.'
He focused on a wealthy clientele who could afford to have their portrait taken with special care at a corresponding price. He had many famous people before the lens throughout his career, including especially many actors, but also dancers, musicians, writers, the mayor of Amsterdam W. de Vlugt, and the director of the Rijksmuseum Dr. F. Schmidt-Degener.
In 1937 Godfried de Groot got his most prestigious commission when he was invited to portray Queen Wilhelmina. It proved to be a very lucrative commission. In addition to his portraits he also did some fashion and advertising photos. And he did a lot of nude photography, of which some pictures were sent to exhibitions.
On 16 July 1945, Godfried de Groot was arrested by the Political Investigation on suspicion of membership of the NSB (the National Socialist Movement in the Netherlands) since February 1941.
| He was interned for about a year, but on 8 June 1946 he was conditionally withdrawn from prosecution for unknown reasons. His studio was already reopened in September 1945.
After World War II, De Groot's method of photographing changed. He used the soft-focus lens only a few times and gave more attention to the distribution of large quantities of light and dark. His post-war pictures while not razor sharp but - seen from a distance – they seem sharp. He occasionally used projected shadows in the background and made little use of attributes.
While it was for a long time customary to depict actors in stage clothes, De Groot almost always made portraits of them. Therefore there is no essential difference between his portraits of famous and non-famous people.
Among his assistants through the years were Zus Ziegler and Eddy Postuma de Boer, and among the chief operators of the studio were Willy Schurman and Cor van Weele.
Around 1960 Godfried de Groot discovered that he was suffering from cancer. He was replaced by Theo Teuwen in 1961, but De Groot kept working as long as possible.
After a long illness, he died on 1963 in an Amsterdam hospital. Jan Wieling was his sole heir. The company was dissolved that same year, although s studio with his name continued to exist for some years.
His wartime past had cast a slur on his name. In his life Godfried de Groot had been famous in the Netherlands, but there was hardly any serious attention to him after his death in 1963. So several legends could be created around his person.
A large part of the archive of Godfried de Groot was demolished by the later owner of his studio. The remains are now housed at the Prentenkabinet in Leiden.
Narrative by: European Film Star Postcards
Date Retrieved: 14 Jan 2024
|
"],
["DEGENER","#1
Degener
"],
["DEBSCHITZ","#1
Wanda von Debschitz-Kunowski
Wanda von Debschitz-Kunowski (née Wanda von Kunowski; 8 January 1870 – 23 April 1935) was a German portrait photographer based in Munich.
Kunowski was born in Hammer, Kreis Czarnikau, province of Posen, she was the daughter of August von Kunowski and Helene von Bethe. She was the first wife of Wilhelm von Debschitz; there were three children born of that marriage, including daughter Wanda Ziegert von Debschitz and Irene von Debschitz who would later marry Bauhausler Xanti Schawinsky. From 1902 through 1914, she worked at the Debschitz School, first in the metal workshop (1902-1905) and later teaching photography (1905-1914).
By 1921, she had opened her own photography studio in Berlin. Her work included nudes, and dancers. Debschitz-Kunowski's vision was known to have differed with that of the photographer Cami Stone, wife of Sasha Stone, in some of their collaborations.
Debschitz-Kunowski died in Berlin in 1935.
Narrative by: Wikipedia
Date Retrieved: 9 Jan 2024
|
"],
["DERUSSA","#1
Derussa
"],
["DIAS","#1
Dias
"],
["DIETRICH","#1
Dietrich
Vienna, Austria
"],
["DOBSON","#1
Dobson
"],
["DOMKER","#1
Alice Domker
Berlin, Germany
"],
["DORYS","#1
Dorys
Warsaw, Poland
Jerzy Benedykt Dorys (real name: Rotenberg) was a prominent fashion photographer and portraitist. He was born in 1901 in Kalisz and died in 1990 in Warsaw.
Source and additional information: Culture.PL Artists
Date Retrieved: 14 Jan 2024
"],
["DOUS","#1
Adolf Dous
Dresden, Germany
"],
["DOWNEY W. & D.","#1
"],
["DRABER","#1
Draber
"],
["DÜHRKOOP","#1Atelier Dührkoop
Rudolf Dührkoop (1848-1918) was a famous German portrait photographer. He also made artistic photographs in the style of Pictorialism. After his death his studio was taken over by his daughter Minya. In the following decades, the studio portrayed many German film actors. After Minya's death in 1929, the studio kept the name Dührkoop as a brand for quality portrait photography.
Rudolph Dührkoop was born as the son of a carpenter, Christian Friederich Dührkoop and his wife, Johanna Friederica Emile, in Hamburg in 1848. In 1870 he took part in the Franco-German War. Two years later, he returned home, went into business and married Maria Louise Caroline Matzen, with whom he had two daughters: Hanna Maria Theresia (1872) and Julie Wilhelmine (1873), called Minya.
Dührkoop was interested in photography from the 1870s onwards and gradually acquired the necessary techniques, in particular the collodion process, with limited resources. Collodion, a flammable, syrupy solution of cellulose nitrate in ether and alcohol could be used as an alternative to egg white on glass photographic plates. Collodion reduced the exposure time necessary for making an image.
In 1882, Rudolph Dührkoop published for the first time a photograph in Photographisches Wochenblatt, a Berlin photographic magazine. The following year, he opened a studio in Hamburg and actually became a professional photographer without any training.
| Dührkoop started his professional career with making 'Cartes-de-Visite', a kind of business cards with small photos. In addition, he mainly made portrait photographs.
Dührkoop quickly gained success, was often asked to photograph prominent German personalities and in 1886 he became a member of the leading 'Deutschen Photographen-Verein'. Since 1887, Minya worked as an assistant of her father in his studio. From that time they also showed artistic aspirations and in 1898 they held their first exhibition, with a series of portraits by Minya.
From that time on, the fame of the Dührkoops fame rose all over Germany and later internationally. They opened a second studio in Berlin, Rudolph published in leading photo magazines such as Die Kunst in der Photographie and also wrote articles about portrait photography.
In 1904, Rudolf and Minaya Dührkoop took part in the Louisiana Purchase Exposition in Saint Louis, where they came into contact with well-known pictorialist art photographers such as Gertrude Käsebier and George Eastman.
In 1905, Rudolph became the first German member of the prestigious English Royal Photographic Society and in 1906 of the Pictorialist photography association Linked Ring. In addition to his artistic work, Dührkoop always remained active as a portrait photographer and in his career he portrayed a large amount of well-known German personalities.
| Minya had worked in the Hamburg studio of her father with growing independence. In 1894, she married the Spanish photographer Luis Diez Vazquez. By 1900 she and father were operating different branches of their Berlin business. The following year she divorced her husband but retained his name Diez in her name.
Father and daughter Dührkoop had a successful business and they took portraits of many notable subjects, including several film actors like Henny Porten and Paul Heidemann. They mixed in artistic circles and they owned a modernist painting by Alma del Banco.
Rudolf Dührkoop died in 1918, 69 years old. After his death his studio was taken over by Minya. One of her contacts was German dancer and actress Lavinia Schulz and her husband Walter Holdt. Schulz's Expressionist costumes were photographed by Diez-Dührkoop. On 18 June 1924, Schulz, in financial ruin, shot Holdt, and then turned the gun on herself. They both died from their wounds.
Minya Diez-Dührkoop died in 1929 in Hamburg. Joachim Gerstenberg became the new owner of Foto-Atelier Dührkoop. In the following years, the studio produced several portraits of German film stars like Hertha Thiele, Camilla Horn and cheeky little Peter Bosse, credited as Atelier Dührkoop, Gerstenberg-Dührkoop or simply Dührkoop. The studio remained active during the war years into the 1950s.
Narrative by: European Film Star Postcards
Date Retrieved: 22 Dec 2023
|
"],
["DUNCAN","#1
Preston Duncan
Los Angeles, California U.S.A.
Photographer Preston Duncan was an early stillsman, shooting striking portraits in the late 1920s and early 1930s. His movie star portraits appear in the Los Angeles Times. He worked for Warner Bros. and also operated a gallery in Los Angeles, known as “Lindoldun.”
Source: Vintage Every Day
Date Retrieved: 16 Jan 2024
"],
["DUPONT Aimé","#1
Aimé Dupont
Belgian-born American photographer
Best known for his pictures of opera singers when he was the official photographer for the Metropolitan Opera in New York City. |  | | Source and additional information: Wikipedia |
"],
["DUPONT-EMERA","#1
G. Dupont - Emera
Brussels, Belgium
| 
|
"],
["DYAR","#1
Otto Dyar
Otto Dyar was a prominent stills photographer who began his career at the Paramount studios in the 1920s. Initially working as an assistant on major film productions such as the 1927 ‘Wings’, Dyar quickly rose through the ranks to become one of Hollywood’s most notable image-makers.
Despite all the high-contrast lighting, skewed angles and often tiny ‘surrealist’ interventions that point to the influence of photographers like Man Ray, Dyar faithfully accomplished the task of elevating the studio stars to the realm of deities. Like his peers George Hurrell, Ted Allen and Clarence Sinclair Bull, Dyar was not concerned with the psychologies of his sitters. What interested him was amplifying and consolidating the image the stars exuded in their roles, which was usually so powerful that it eclipsed the ‘real’ person that was in front of the camera.
| As noted by film historian John Kobal, Hollywood stills photographers like Dyar ‘were not mirroring life, but illusion; their subjects were not humans but gods – of love, of allure, of luxury, perfection incarnate from the golden age of Hollywood glamor.
During the 1950s, Dyar left Paramount and moved to MGM where he continued to work up to mid 1950s. His work can be found in the collections of Metropolitan Museum of Art and other major art museums throughout the USA.
Source and additional information: Wordpress |
"],
["EBEL","#1
Herm. Ebel
Berlin, Germany
"],
["EBERTH","#1Atelier Eberth
In her Berlin studio, German photographer Anny Eberth portrayed aristocratic ladies and elegant fashion models, but also film actors and expressionist dancers, including the notorious Anita Berber. During the 1910s and 1920s, her photos were published in such Berlin magazines as Die Dame and Berliner Illustrierte Zeitung, and were used for many sepia film star postcards.
Very little information about Anny Eberth and her work can be found online. That is why Ivo Blom contacted the Museum für Fotografie in Berlin.
| Ms. Dr. Britta Bommert of the Staatliche Museen zu Berlin was so kind to respond and she wrote Ivo that she found the following information about Anny Eberth in the database of her organisation.
Eberth was active as a photographer since 1901. Later, she worked in Madame d'Ora's studio in Vienna. This was one of the most important Austrian photo salons of the first decades of the 20th century. The studio was founded in 1907 by Dora Kallmus with the support of Arthur Benda.
Between 1916 and at least 1926, Anny Eberth lived in Berlin. Her address was Lennéstraße 5, Berlin W9.
| She specialised in fashion photography. Her fashion photos were published in many magazines and other publications. Examples are 'Die Dame', no. 5, Mid-December 1916, and in 'Die Deutsche Elite', 1926, p. 202.
For her work, Anny Eberth received medals at international exhibitions in Dresden, Ghent, Brussels, Rome, and Berlin.
Narrative by: European Film Star Postcards
Date Retrieved: 23 Dec 2023
|
"],
["EBINGER","#1
Ebinger
Salzburg, Germany
"],
["ECKERT","#1
Ferry Eckert
"],
["ECKSTEINS","#1
Adolf Ecksteins Verlag
Charlottenburg, Germany
"],
["ELITE","#1
Atelier Elite
Berlin, Germany | 
|
"],
["ELKAN","#1
Hanna Elkan
Hanna Elkan (Berlin, 19-12-1893 – Santiago de Chile, 1967) was a Dutch photographer born in Berlin. From 1928 she had a portrait studio in the Van Baerlestraat in Amsterdam and, due to the proximity of the Concertgebouw, photographed many internationally renowned musicians.
Narrative by and additional information: Wikipedia
Translate by GoogleTranslate
Date Retrieved: 8 Feb 2024
"],
["ELLIOT & FRY","#1
Elliott and Fry
London, England | 
|
"],
["ELLIS Alfred & WALERY","#1
Alfred Ellis & Walery
London, England
Additional Information: Historic Camera
| 
|
"],
["ELLQVIST","#1
Oscar Ellqvist
"],
["EMANUEL","#1
Emanuel
"],
["ENDEMANN","#1
Endemann
"],
["ENGELSCHAFT","#1
Toni Engelschaft
"],
["ENERA","#1
Enera
"],
["ENGLISH","#1
Don English
Los Angeles, California
Don English (1901-1964) was a unit still photographer at various studios during the 1920s but his claim to fame was capturing the meticulously composed and lit images of Marlene Dietrich created by director Josef von Sternberg and cinematographer Lee Garmes at Paramount on various films in the 1930s. English later worked with Cecil B. DeMille and Billy Wilder.
Narrative by: Fathom | Art
Date Retrieved: 22 Feb 2024
"],
["ENKELMANN","#1
Atelier S. Enkelmann
Berlin, Germany
"],
["EPHRON H.","#1
Heinrich Ephron
Vienna, Austria | 
|
"],
["ERFURTH","#1
Hugo Erfurth
Dresden, Germany
"],
["ESCHEN","#1
Fritz Eschen
Berlin, Germany
"],
["ESTERHAZY","#1
Esterhazy
"],
["EUGÈNE","#1
Studio Eugène
Berlin, Germany |
"],
["EVANS L.A.","#1Evans L.A.
Nelson Evans (1889-1922), who signed as Evans, L.A., was a photographer during the days of early Hollywood. Evans was known for his portraits of film actors such as Mary Pickford, Marie Prevost, Jackie Coogan, and many others during the silent film era including director Philip Rosen. He is also considered one of the creators of pin-up photography.
Nelson Frazier Evans was born in Columbus, Ohio in 1889. He was the son of a coal mine operator, who objected to Evans' choice to pursue a career in photography.
Initially working in the eastern United States, Evans moved to the west coast in the 1910s to pursue a career as a portrait photographer in Hollywood.
In 'Still: American Silent Motion Picture Photography', historian David Shields writes that Evans 'had the most playful visual imagination of any of the early photographers of Hollywood'. He took the first candid film star photos in an assignment for Photo-Play in late 1914.
| In 1915, Evans established a studio at 6039 Hollywood Boulevard. At the time, Hollywood studio photographers focused mainly on shooting film stills of sets and scenes — actors and actresses were forced to find personal photographers to take portrait shots.
This market niche was filled by professional photographers like Evans. He also did more traditional still photography for a number of prominent film studios, including Paramount, Fox, Famous Players-Lasky, First National, and Metro Ince Studios.
Evans introduced several innovations to the photography scene of Old Hollywood. He avoided using the traditional fancy props like the ornate chair and the brocade drape. He painted effects or backgrounds directly on photo negatives.
Evans is also credited by David S. Shields with creating the genre of 'Cheesecake Photography', a forerunner to pin-up photography. He made seaside portraits of Mack Sennett's bathing beauties cavorting on the rocks and in the surf in swimwear. Some of these full-body swimsuit photos appeared in magazines and on cigarette packages.
| During World War I, Evans was drafted into government service and stationed in New York City. He was commissioned as a first lieutenant and was involved with the growing field of aerial photography, for which he attempted to develop a new camera.
In the early 1920s, Evans rivaled Albert Witzel as Hollywood's favourite photographer. David S. Shields: 'Evans borrowed liberally from a broader range of models than any of his competitors in Los Angeles. His focus could be sharp, like Mojonier, or as poetically soft as Sartov. He could shoot fanciful full-figure vignettes like James Abbe, or superbly lit and expressive close-ups like Melbourne Spurr.'
In 1922, Nelson Evans died in Los Angeles at the age of 33. Following his death, Evans' studio was converted into an art gallery. In 1929, his studio was damaged by a fire possibly set as part of a wider vendetta against still photographers operating in Hollywood. Evans' early death resulted in him fading from memory more so than his contemporaries, such as Fred Hartsook and Witzel.
Narrative by: European Film Star Postcards
Date Retrieved: 23 Dec 2023
|
"],
["EWALD","#1
Karl Ewald
Berlin, Germany | 
|
"],
["EWALD O.","#1
Otto Ewald
Berlin, Germany
"],
["FALK Benjamin J.","#1
Benjamin J. Falk
New York, New York USA
Benjamin J. Falk (1853-1925) was an American photographer active in New York City during the late 19th and early 20th centuries. His portrait studio was at Twenty-Third Street and Broadway, on the site where the Flatiron Building stands today. After he left Twenty-Third Street (probably around 1902, when the Flatiron Building was completed) Falk had an establishment at the Waldorf Astoria Hotel.
Falk was born in 1853, and graduated City College of the City University of New York in 1872. He was described at his death in 1925 as 'one of the leading New York photographers.' (Obituary, New York Times, March 21, 1925, p. 13). | Source: New York Public Library Archive and Manuscripts
Additional Information: Musuem of the City of New York blog posting
|
"],
["FAIN - d'ORA","#1
S. Fain - K. d'Ora
Berlin, Germany
"],
["FAIRCHILD","#1
Charlotte Fairchild
Charlotte Fairchild (1876–1927) was an American photographer. Married to wealthy Bostonian John Cummings Fairchild in 1898, she initially had no interest in becoming an artist. However, after the sudden death of her husband in 1915, she had to support her three children, and needed a career. She moved to New York to start her successful art career as a photographer.
Source: Wikipedia
Date Retrieved: 3 Feb 2024
"],
["FALKENGREN","#1
Uno Falkengren
Swedish, 1889-1964
Uno Falkengren belonged to the inner circle around Henry B. Goodwin. Goodwin was also instrumental in allowing Falkengren to study under the distinguished German photographer Nicola Perscheid in Berlin. It was a formative period during which Falkengren developed a minimalistic, elegant style. Among his works are a number of interesting portraits of famous dancers in expressive scenes and groups.
In 1916, he was appointed head of the Nordiska Kompaniet studio. He then worked at his own studio for a few years until he moved to Berlin in 1924. Only a year later, he returned to Stockholm and gave up photography completely. On account of his homosexuality, Falkengren lived an itinerant, partly secret, life. There are elements of queer culture within Pictorialism, as practitioners were often attracted to alternative settings or artists’ communities. Text from the Moderna Museet website | Narrative by: Art Blart
Date Retrieved: 1 Jan 2024
|
"],
["FANTA","#1
Theodor Fanta
Berlin, Germany
"],
["FAßBENDER","#1
Max Faßbender
The German cinematographer, Max Faßbender, was busy as a photographer before he entered the film business in 1913 where he became a demanded cinematographer of the 10s.
Narrative by: IMDB
Date Retrieved: 20 Feb 2024
"],
["FAYER","#1
Fayer
Vienna, Austria
"],
["FECHNER","#1
Wilhelm Fechner
Berlin, Germany | 
|
"],
["FELDSCHAREK","#1
Pepa Feldscharek
Pepa Feldscharek (1899-1962) was born on 8th June 1899 in Náchod (modern Czech Republic). Around 1915, Feldscharek began studying at the Graphische Lehr- und Veruschsanstalt in Vienna, from which she graduated in 1918. In 1920, she opened her own photo studio with Melanie Heller (1899-) in the first district of Vienna. The studio, which Feldscharek would manage independently from 1922 onwards, specialised in fashion photography, dance photography and portraits of various celebrities. Her photographs were first exhibited internationally in 1932 at the I Biennale Internazionale d’Arte fotografica in Rome. Following the Anschluss of Austria with Nazi Germany in 1938, Feldscharek fled the country. Changing her name to Josefine Schreier when she emigrated to New York, Feldscharek would eventually settle in Narbeth, Pennsylvania. She died on 21st August 1962 in Gloucester, Massachusetts.
Narrative by: Palais des Beaux Arts
Date Retrieved: 10 Jan 2024
|
"],
["FELVÉTELE","#1
Inkey Felvétele
"],
["FÉLIX","#1
Félix
Paris, France | 
|
"],
["FENDIUS","#1
R. Fendius
Magdeburg, Germany
"],
["FERNSTÄDT","#1
Carl Fernstädt
Berlin, Germany
"],
["FIEDLER","#1
Franz Fiedler
Franz Fiedler was born in Moravia. In the mid-1900's through the eary 1910's, he worked with both Rudof Dührkoop in Hamburg and Hugo Erfurth in Dresden. In 1916, he married and established a studio in Dresden.
Fiedler's studio was bombed in 1945. He stored exhibition photos with family in Moravia. Post-1945, he authored photography books in East Germany.
Source: Wikipedia
Date Retrieved: 9 Jan 2024
|
"],
["FIELBRAND","#1
M. Fielbrand
"],
["FILM-FOTO","#1
Film-Foto
Warsaw, Poland
"],
["FIRNER","#1
Walter Firner
Berlin, Germany
"],
["FISCHER (Ph.)","#1
Fischer
Berlin, Germany
"],
["FISCHER-SCHNÉEVOIGT","#1
Siri Fischer-Schnéevoigt
Siri Alina Schnéevoigt (1870–1948) was a photographer and actress, born in Finland, but active in Denmark.
She moved from Copenhagen to Berlin with her sons and started her own studio before 1907. She is known for her portraits of famous dancers and musicians, but also for ordinary studio portraits and art photographs. She was active among the Pictorial photographers. Her photographs were published regularly in International and Central European photography magazines and publications along with for example Gertrude Käsebier, Alfred Stieglitz and Robert Demachy.
Narrative by: Wikipedia
Date Retrieved: 22 Jan 2024
"],
["FLAGG","#1
James Montgomery Flagg
James Montgomery Flagg (June 18, 1877 – May 27, 1960) was an American artist, comics artist, and illustrator. He worked in media ranging from fine art painting to cartooning, but is best remembered for his political posters, particularly his 1917 poster of Uncle Sam created for United States Army recruitment during World War I.
Narrative and additional information: Wikipedia
Date Retrieved: 16 Jan 2024
"],
["FLEISCHMANN","#1
Trude Fleischmann
Vienna, Austria
"],
["FLODIN","#1
Ferdinand Flodin
Stockholm, Sweden |  |
Additional information: DigitaltMuseum
|
"],
["FLÖTER.","#1
Flöter
"],
["FOLKMANN","#1
Julius Folkmann
Copenhagen, Denmark
Julius Doris Folkmann (24 December 1864 - 29 January 1948) was a Danish photographer. He was chairman of Dansk Fotografisk Forening in 1921–1040. He also worked as a cinematographer on a few films in the early 1910s.
Narrative by and additional information: Wikipedia
Date Retrieved: 8 Feb 2024
"],
["FOLKWANG-ARCHIV","#1
Folkwang-Archiv
"],
["FONTAINE G.","#1
G. Fontaine
"],
["FONTANA","#1Fontana
Fontana in Rome portrayed many divas an other stars of the Italian silent cinema. These portraits were reproduced for a series of popular postcards in sepia and later in black and white by Edizione A. Traldi in Milan. Sadly, we could not find more information on the photographer and his/her studio.
Narrative by: European Film Star Postcards
Date Retrieved: 31 Dec 2023
|
"],
["FORBECH","#1
L. Forbech
Christiania, Norway | 
|
"],
["FÖRSTER","#1Roger Förster
Roger Förster started in cinema in 1917 as a voluntary assistant to his brother Maurice Förster, himself an operator. At that time, the profession of still photographer did not exist and the photos released to promote films were most often taken by one or more members of the image team. Roger Forster was undoubtedly entrusted with the production of some of them, at the same time as he became director of photography, such as on Gribiche by Jacques Feyder. It was this same filmmaker who, when he made Carmen, encouraged him to specialize.
Pioneer of the profession of still photographer in France - Raymond Voinquel, whom he started, says of him that he created the profession - Roger Forster was the photographer of great directors such as Marc Allégret, Marcel Carné, Jean Renoir , Marcel Pagnol, Marcel L'Herbier, Jacques Feyder, Jean-Pierre Mocky, Pierre Etaix, Abel Gance...
From the twenties until the end of the sixties, he worked on at least a hundred films with the same precept: 'The essential thing is to thoroughly possess the subject of the film in progress in order to synthesize in a photo what the screen will translate into a multitude of images.'
Narrative by: Notre Cinéma
Date Retrieved: 9 Jan 2024
|
"],
["FOSSHAG","#1
René Fosshag
Berlin, Germany
"],
["FRANK","#1
S. Frank
Berlin, Germany
"],
["FRENSDORF","#1
Hildegard Frensdorf-Hoeland
Berlin-Charlottenburg, Germany | 
|
"],
["FRETTÈ","#1
Frettè Photo
"],
["FREULICH","#1Roman Freulich
Polish-born photographer Roman Freulich (1898–1974) was a pioneer in the Hollywood film industry, who worked for Universal and later for Republic. He made countless popular glamour shots of the stars which were also used for many European film star postcards, but he also did still photography for several classic films and made some interesting independent films. His brother Jack and nephew Henry were also well known Hollywood photographers.
Roman Freulich was born in 1898 in Czestochowa, Poland, Russian Empire (now Czestochowa, Slaskie, Poland). His parents were no longer young — Isaac Freulich was probably about 50 in 1898 and Nisla was 41. At Roman’s birth, his oldest sibling, his sister Sura Rifka was 20. His oldest brother Jacob, was 18.
He attended both grammar school and gymnasium — the equivalent of an American high school. He was quick to learn and did well in his studies — he became proficient in Russian, Polish, German and Yiddish — and acquired a taste for art, literature and classical music.
As a young teen he became active in the Jewish Socialist movement. Probably against the wishes of his mother and his father he began distributing literature for the movement in his after school time.
Late in 1912, Roman’s after school political activities became worrisome, and he immigrated with his father and a sister to the United States to join his eldest brother Jack (Jacob) in the Bronx. Freulich trained with New York photographer Samuel Lumiere.
In 1920, Freulich moved to Hollywood, where his brother Jack had become a portrait photographer at Universal Pictures. Jack's son, Henry Freulich, would also become a well known still photographer in Hollywood during the 1920s.
According to IMDb, Roman did the still photography for the silent film Outside the Law (Tod Browning, 1920), but it probably was his brother Jack while Roman was confined to a Sanatorium at the time.
| In October 1920, Jack had checked Roman into the Barlow Tubercular Sanatorium in Chavez Ravine near downtown Los Angeles. Roman spent the next 15 months of his life there.
In 1922, Roman met his future wife, Katia Merkin. After his honeymoon, a job as a still photographer at Universal was waiting for Roman in California.
During his first 12 years at Universal, he worked closely with his brother and undoubtedly learned a great deal about production work, publicity shots and portraiture.
Among the films for which he did the still photography are The Phantom of the Opera (Rupert Julian, 1925) with Lon Chaney, The Man Who Laughs (Paul Leni, 1928) starring Conrad Veidt, All Quiet on the Western Front (Lewis Milestone, 1930), and Dracula (Tod Browning, 1931) featuring Bela Lugosi.
He also did the still photography for the horror films by James Whale, Frankenstein (James Whale, 1930) with Colin Clive and Boris Karloff, The Old Dark House (James Whale, 1932), The Invisible Man (James Whale, 1933) featuring Claude Rains, and The Bride of Frankenstein (James Whale, 1935) with Boris Karloff and Elsa Lanchester.
Another horror classic for which he did the still photography is The Black Cat (Edward G. Ulmer, 1934) starring both Boris Karloff and Bela Lugosi.
Later in the 1930s, he photographed for Universal such musicals as the Deanna Durbin vehicles One Hundred Men And A Girl (Henry Koster, 1937) and Mad About Music (Norman Taurog, 1938) and The Under-Pup (Richard Wallace, 1939) with Gloria Jean.
In 1941, 1942, 1944, and 1947 he won awards at the Hollywood Studio Still Photography Show, sponsored by the Academy of Motion Picture Arts and Sciences.
In 1944, Roman Freulich was offered a position at Republic Studios as head of its still department. During his 13 years at Republic the Western played the same role as the horror film had played at Universal — it was the company bread and butter.
Thus photographs of John Wayne, Roy Rogers, Dale Evans, 'Wild Bill' Elliot, Gabby Hayes, Gene Autrey and the Sons of the Pioneers began to take a prominent place in Roman’s portfolio.
| He photographed Roy Rogers Westerns like Don't Fence Me In (John English, 1945) but also She Wore a Yellow Ribbon (John Ford, 1949), Sands of Iwo Jima (Allan Dwan, 1949) and John Ford’s The Quiet Man (1952), all starring John Wayne.
In the late 1950s, after Republic ceased production, Freulich freelanced, mostly for United Artists, until the mid-1960s. He worked on such B-films as the prostitution drama Vice Raid (Edward L. Cahn, 1959) with Mamie van Doren, and the Western Young Jesse James (William F. Claxton, 1960).
Freulich's immigration to America and the loss of his family members who had remained in Poland during the Holocaust are two legacies that distinguished Freulich from his fellow cameramen in Hollywood. In 1938, Freulich had made a trip to Poland in part to encourage family members to immigrate to the United States. He made photos of his family in Lodz and also made images of street scenes in Łódź, and two images taken in Warsaw.
The remarkable output of Freulich's independent work, consisting of film projects that ventured far beyond the relative professional shelter provided by his popular glamour shots. Freulich sought to give voice to the voiceless as evidenced in his self-produced short film Broken Earth (Roman Freulich, 1936) – the first film to feature a black actor (Clarence Muse) in a starring role – as well as his collaborations with the actor Paul Robeson.
Freulich authored Soldiers in Judea, Stories and Vignettes of the Jewish Legion (1964) and The Hill of Life (1968), a fictionalised biography of Joseph Trumpeldor.
Two years later, he worked for the last time as still photographer on a film, Tora, Tora, Tora (Richard Fleischer, Kinji Fukasaku, 1970).
Roman Freulich died in 1974 in West Los Angeles. He was 76.
Narrative by: European Film Star Postcards
Date Retrieved: 2 Jan 2024
|
"],
["FRIČ","#1
A. Frič
"],
["FRISCH","#1
Atelier Frisch
Berlin, Germany
"],
["FRITZ","#1
Christine Fritz
Cologne, Germany
"],
["FROEHLICH","#1
Anna Froelich
"],
["FROLIK","#1
Richard Frolik
Prague, Czech Republic
"],
["FRYER","#1
Elmer Fryer
Hollywood, California U.S.A.
Elmer Fryer(1898 – 1944) was in charge of the Stills Dept. in 1929 when Warner Brothers and First National merged. He remained with Warners till 1941 and died at the age of 45 in 1944.
During WW2, he made documentaries while in the Air Force.
Source: Tribute by Grandson
Date Retrieved: 19 Jan 2024
"],
["FUCHS","#1
J. Fuchs
"],
["FULDA","#1
Atelier Fulda
Berlin, Germany
"],
["GALLO","#1
Micheal Gallo
New York, New York U.S.A.
"],
["GÄRTNER","#1
H. Gärtner
Berlin, Germany
"],
["GAZA","#1
von Gaza
Star-Foto-Atelier
"],
["GEIRINGER & HOROVITZ","#1
Atelier Geiringer & Horovitz
Trude Neumann Geiringer (1890 – 1981) and Dora Horovitz (1894 – 1959)
Trude and Dora jointly ran a portraiture studio Atelier Geiringer & Horovitz at Stubenring 2, Vienna from 1925 taking many well known pictures of the artists and celebrities of the day, including actress Elisabeth Bergner and Fatma Karell. They were forced to close the studio by the Nazis in 1938.
Like contemporaries Trude Fleischmann, Edith Glogau and Edith Tudor Hart, they fled Europe. Trude settled in the United States, working at the Apeda Studio in New York and then opening her own which she ran until the end of the war. Dora went via Belgium to France and then to California in 1939 where she ran her own successful photography business – Harvey Studio – with her brother, Harvey, until her death.
Narrative by: Hundred Heroines
Date Retrieved: 9 Jan 2024
|
"],
["GEMIZC","#1
Atelier Gösta Hard
Nordwyk, The Netherlands?
"],
["GEORG","#1
Victor Georg
The Georg photo dynasty documented Springfield, Illinois' history for a century. The three best-known family members were Victor Emmanuel Georg (1858-1911) and his sons Victor Emil (1884-1961) and Herbert (1893-1964). Sister Irma Georg Pree’s (1886-1964) forte was women’s and children’s photography. Another son, Raymond (1900-58), managed the family photo businesses, but his artistic specialty was oil and charcoal portraiture.
The younger Victor, however, didn’t stay in Springfield long. In 1914, he moved to Chicago, where he built a reputation for his portraits of opera stars. That, in turn, gave him the connections to move again to New York City, where he set up a studio on West 57th Street. There, Georg became the favorite photographer of what was known as “the 400,” the upper crust of the New York social scene. In 1916 and 1917, Vanity Fair magazine published a series of full-page portraits Victor made of those socialites.
He began to work with movie studios in 1918, doing publicity photos and designing titles for artists including director D.W. Griffiths. He also became the house photographer for the Ziegfeld Follies. Among the actors and actresses Georg photographed were Lillian and Dorothy Gish, Leslie Howard, Rudolph Valentino, and Lionel and Ethel Barrymore. Georg followed up that part of his career by, in 1925, becoming the photo editor of the New York Times.
Narrative by: History of Sangamon County, Illinois
Date Retrieved: 5 Feb 2024
"],
["GEORGI","#1
Georgi
"],
["GERD","#1
Susanne Gerd
"],
["GERLACH Carl","#1
Carl von Gerlach
"],
["GERLACH Georg","#1Georg Gerlach
Georg Gerlach & Co, A.G. (GGCo), Berlin, was a significant printing and publishing company in the first decades of the 20th century. A narrative relating to the company and a presentation of its postcard offerings are presented in this catalog under the 'Other Publishers - German' header.
Many of GGCo's cards are marked with 'Gerlach' or 'Georg Gerlach' as a photographer's signature. The nature of the relationship between Georg Gerlach the publisher and Georg Gerlach the photographer is unknown. Whether it is one and the same person or a relative, or whether there was a photographic studio within GGCo, it is apparent there was some connection. In later years, the Gerlach photographer signture appears more frequently on postcards published by other companies.
Postcards bearing the Gerlach signature represent stage and opera performers, musicians, ice shows at the Admiralspalast, as well as a few film stars.
|
"],
["GERMANIA","#1
Atelier Germania
"],
["GERSCHEL","#1
Charles Gerschel
Paris, France | 
|
"],
["GERSTENBERG","#1
Joachim Gerstenberg
Berlin, Germany
See Dührkoop
"],
["GERSTENBERG-DÜHRKOOP","#1
Gerstenberg-Dührkoop
See Dührkoop
"],
["GERSPACH","#1
A. Gerspach
Neustadt an der Weinstraße, Germany
"],
["GERTRUD","#1
Gertrud
"],
["GHERGO","#1Arturo Ghergo
Arturo Ghergo (1901-1959) was one of Italy’s great glamour and fashion photographers between 1930 and 1959. All the people who counted at that time could be found in his photography studio on Rome’s Via Condotti. His work is characterised by a special shooting technique and subsequent manipulation of the photos that were quite cutting edge for the times. His shots were very much in vogue and many Italian VIPs competed to be captured by his camera’s lens. With his camera, he immortalised the beauty and elegance of upper middle-class personalities, and descendants of noble families in the 1930s, 1940s and 1950s. He also managed to establish a special relationship with Cinecittà.
Arturo Ghergo was born in 1901 in Montefano in the Italian province of Macerata, the Marche region. At the age of 28, Ghergo moved to Rome in 1929 and opened a photography studio in the highly central location of Via Condotti. Within a few years, he managed to make a name for himself as the most sought-after portrait artist in Rome. His work was much in demand with film stars, politicians, and other personalities from the world of culture.
Above all, Ghergo was in demand by the Rome's high society which was anxious to use every means, including photography, to reaffirm its traditional role at the head of society which a new phase in history was in danger of calling into question, and which very often lent its prestige to the then embryonic fashion industry.
| Ghergo was a pioneer of fashion photography in Italy. His photos are testimonials for the exclusive creations of the emerging fashion houses Fontana, Gabriella Sport, Galitzine, Simonetta, Carosa, and Gattinoni. The models of the day, carrying the grand-sounding names of the 'beau monde', included a very young Marella Caracciolo long before she was married to Fiat's Giovanni Agnelli, or Consuelo Crespi, Mary Colonna, Josè del Drago and Irene Galitzine.
But above all, it was the world of the cinema that placed the exaltation of its photogenic qualities in Ghergo's hands. In the years in which Italy was setting off, down the path of self-sufficiency in the celluloid industry, the country's film stars were determined to use Ghergo's skilled lens to ensure that the Italian filmgoing public did not miss the celebrities from across the Atlantic.
From Isa Miranda to Mariella Lotti, Leda Gloria, Alida Valli, Marina Berti, Assia Noris, Maria Denis, Valentina Cortese, Clara Calamai, Paola Barbara, Amedeo Nazzari, Massimo Girotti and right on into the 1950s with Sophia Loren, Silvana Pampanini, Gina Lollobrigida, Silvana Mangano and Vittorio Gassman and an endless list of aspiring starlets, all transfigured by Ghergo's touch into sophisticated demigoddesses.
A connoisseur of perfection and a professional with impeccable taste, Ghergo invented his own style of sophisticated classicism, carefully constructed without fear of experimentation, through diagonal cuts, disorienting dissonances and refined illuminations. Ghergo's iconographic formula ensured that he was to enjoy a practically unchanged reputation and immense public consideration right up to his premature death in 1959.
| Even as fashions changed and as new forms of expression were being introduced and tested with colour photography, advertising and painting, Ghergo remained essentially loyal to his style, continuing to evince his own personal and unfaltering allegiance to the cult of beauty - a beauty which was not necessarily real, which may have been the result of a chemical and physical recording process in analogue mode, but which was laboriously and meticulously constructed with the contrived, exalted and inspiring light that lay more in Ghergo's mind than in his sitter's features.
He also worked in advertising and painting. In the 1950s, Ghergo created paintings, influenced by Pablo Picasso's cubism and his futurist and cinematographic experience. He combined in his paintings the instinctive search for framing, typical of his craft, with the exaltation of a visual layout of broader direction, typical of painting.
From 3 April to 8 July 2012, the Palazzo delle Esposizioni in Rome presented the exhibition 'Arturo Ghergo - Fotografie 1930-1959' (Arturo Ghergo. Photographs 1930-1959), with over 250 photographs by Ghergo. The exhibition was curated by Ghergo's daughter, Cristina Ghergo.
Narrative by: European Film Star Postcards
Date Retrieved: 8 Jan 2024
|
"],
["GLOGAU","#1
Atelier Glogau
Vienna,Austria
Born in Vienna in 1898, Edith Glogau specialised in portrait and fashion photography. Between 1913 and 1917 she studied at the Graphische Lehr und Veruchsanstaldt and then apprenticed with Studio D’Ora, the studio of Austrian fashion and portrait photographer Madame D’Ora (Dora Kallmus) and German photographer Arthur Benda.
She opened her own studio at 8 Singerstrasse in 1925, when Madame D’Ora went to Paris, and became one of the most glamorous portrait and fashion photographers of pre-war Vienna.
In 1929 she married press photographer Hans Strenitz with whom she ran a second studio called Strenitz-Kalmar, before emigrating to New York in 1938 when Hitler invaded Austria.
After working in the photography studios of Bachrach in Newton, Massachusetts and later at Harris and Ewing in Washington, Edith opened her own studio, Glogau Photographers, at 1803 Connecticut Avenue, North Washington. Although she died in Washington in 1970, the Glogau Studio still exists today.
Much of her work is held in the Granger Picture Archive and Ullstein Bild archive.
Narrative by and additional information: Hundred Heroines
Date Retrieved: 8 Jan 2024
"],
["GLUNZ","#1
Richard Glunz
"],
["GNEME","#1
Gneme
Pisa, Italy
"],
["GOODWIN","#1
Henry B. Goodwin
1878 – 1931
Henry B. Goodwin was a German-born Swedish photographer and linguist.
Goodwin was born in Munich, Germany, as Heinrich Karl Hugo Bürgel. His father Hugo Bürgel (1853–1903) was a landscape painter. Goodwin studied Nordic languages at the University of Leipzig, graduating in 1903 with a Ph.D. thesis on the Icelandic manuscript, Konungsannáll. Annales Islandorum Regi. While in Leipzig, he also learned to photograph in the studio of Nicola Perscheid.
In 1903, Goodwin married Hildegard Gassner, and the following year, they moved to Uppsala in Sweden, where Goodwin held a position as lecturer in German at Uppsala University from 1906 until 1909. With his move to Sweden, where he was naturalised in 1908, he also began to anglicise his name: he first added the 'Goodwin' surname and omitted the Umlaut, changing 'Bürgel' to 'Buergel', and in 1907, he changed 'Heinrich' to 'Henry' and henceforth went by the name 'Henry B. Goodwin'. In 1909, he was divorced from Hildegard, who would move back to Germany with their three children three years later. Only a short time later, Goodwin wed Ida Helander, née Engelke (1874–1963), a teacher from Stockholm.
When his academic career did not really advance, Goodwin began concentrating more on photography. In 1913 he organised a photography course given by Nicola Perscheid, and from 1916 on, he worked as a professional photographer with his own studio. Goodwin became known as Sweden's foremost pictorialist photographer, and his works were exhibited and acclaimed internationally
Narrative by: Wikipedia
Date Retrieved: 9 Jan 2024
|
"],
["GOTTMANN","#1
Irene Gottman
Berlin, Germany
"],
["GRABOW","#1
R. Grabow
"],
["GRAINER","#1
Franz Grainer
Munich, Germany
Franz Grainer (born 28 September 1871 in Bad Reichenhall, died 1948 in Munich) was a Bavarian photographer.
Narrative by and additional information: Wikipedia
Date Retrieved: 9 Feb 2024
"],
["GRAUDENZ","#1
John Graudenz
Berlin, Germany
Wolfgang Kreher Johannes 'John' Graudenz (12 November 1884 – 22 December 1942) was a German journalist, press photographer, industrial representative and resistance fighter against the Nazi regime. Graudenz was most notable for being an important member of the Berlin-based anti-fascist resistance group that would later be named by the Gestapo as the Red Orchestra and was responsible for the technical aspect of the production of leaflets and pamphlets that the group produced.
Gruadenz was murdered at the order of Adolf Hitler on 19 Dec 1942.
Narrative by and additional information: Wikipedia
Date Retrieved: 13 Jan 2024
"],
["GRAYBILL","#1
Durwood Graybill
1878 – 1931
Born Durward Burton Graybill on April 29, 1909 in Los Angeles, California.
Graybill often worked as an uncredited still photographer on some of the greatest films ever made, including: 'Body and Soul,' 'Arch of Triumph,' 'Joan of Arc' (Ingrid Bergman version), and most notabley, Hitchcock's 'Strangers on a Train.'
His photographs show stars not only on the sets of films but also at premieres and lunchens. As a result he did many fine candid shots of the stars of the golden age.
Died on Halloween, October 31, 1978 at the age of 69
Narrative by: Vintage Movie Star Photos blog
Date Retrieved: 9 Jan 2024.
|
"],
["GREINERT","#1
Greinert
"],
["GREINERT-SERDA","#1
Greinert-Serda
Berlin, Germany
"],
["GRENBEAUX","#1
Paul Grenbeaux
Los Angeles, California (U.S.A.)
"],
["GRIMM","#1Arthur Grimm
Arthur Grimm (1908–ca. 1990) was a German photographer. He was one of the most prominent photojournalists in the Nazi era, and after the war he worked for cinema and television and made many portraits for German film star postcards.
Arthur Grimm was born in Rehau, Germany, in 1908. His older brother was the director Hans Grimm, and his sister Betti was married since 1938 with the director and producer Kurt Hoffmann.
In 1933 Grimm was a member of the NSDAP group in Rehau. The following year, he moved to Berlin. Before the Second World War, Grimm made press photos of numerous political events of the Nazis.
In 1936, he was responsible for the stills and some of the set photographs during the filming of Leni Riefenstahl's Olympia (1936). He accompanied Riefenstahl and her team to Greece.
In the same year he recorded the Spanish Civil War as a photojournalist for a French news agency. In March 1939, he photographed the mob from the roadside when the Germans marched into Prague.
| In the fall of 1939, Grimm worked in the Warsaw Ghetto. His anti-Semitic ‘photojournalism’ appeared on 5 December 1939 in the Berliner Illustrierte Zeitung.
From May 1940 to 1945 he worked as a special agent in a propaganda company for the magazine Signal. There appeared his photo stories about the war in France, the Balkan and especially in the Soviet Union.Around 1945 Arthur Grimm moved his studio to Wernigerode in the Harz Mountains. In the immediate post-war years, he trained young photographers including the later known photographer Horst Lang.
At some point he returned to West Berlin and from 1951 until 1984 he worked successfully as still photographer for film and television.
Films for which made film stills were Sündige Grenze/Illegal Border (Robert A. Stemmle, 1951) with Inge Egger, the crime thriller Die Spur führt nach Berlin/Adventure in Berlin (František Čáp, 1952) and the adventure film Stern von Rio/Star of Rio (Kurt Neumann, 1954) with Maria Frau.
In 1955, the former Nazi propaganda photograph even made the stills for the war film Der 20. Juli/The Plot to Assassinate Hitler (Falck Harnack, 1955).
| For the drama Die Ratten/The Rats (Robert Siodmak, 1955) with Maria Schell and Curd Jürgens, Grimm was credited as the ‘star photographer’. Later he also made the stills for Fritz Lang’s Die 1000 Augen des Dr. Mabuse/Diabolical Dr. Mabuse (1960).
When the German television took over the cinema, the ZDF station became one of his regular clients. One of his last feature films was Herrliche Zeiten im Spessart/Glorious Times in the Spessart (Kurt Hoffmann, 1967) with Liselotte Pulver.
His studio was located in the Englerallee in Berlin-Dahlem. The last years of his life he lived in Hamburg. In 1971 he handed over parts of his archive to the Bildarchiv Preußischer Kulturbesitz (Prussian Heritage Image Archive) in Berlin. Additional material from his collection was in 1983 bought by the kPa-Fotoarchiv which passed again in 1998 in the possession of the Agency Content Mine International AG in Cologne.
Where and when exactly Arthur Grimm died is unclear.
Narrative by: European Film Star Postcards
Date Retrieved: 28 Jan 2024
|
"],
["GRIMM-QUICK","#1
Artur Grimm-Quick
"],
["GRÖBER","#1
R. Gröber
Charlottenburg
"],
["GRUNEMANN","#1Rudolf Grunemann
Rudolf Grunemann, born in Frankfurt (Oder) and raised in Dammvorstadt – today's Słubice – discovered his calling for art very early on. Encouraged and supported by the Frankfurt artist Max Heilmann, the trained photographer initially began his artistic training self-taught, then studied at the United State Schools for Free and Applied Arts in Berlin-Charlottenburg in 1927 . From the same year he worked as a freelancer in Frankfurt (Oder).
He became known, among other things, for the two photo folders of the art treasures of the Marienkirche in Frankfurt (Oder) , which he made at the end of the 1920s. Throughout his life, however, he was particularly interested in the Nordic cultural area, its people and its landscapes. From his numerous trips - in 1928 he undertook his first trip to Lapland , which lasted several months - through the whole of Northern Europe, Norway , Sweden , Denmark and Finland , and from his long stays among Lappish nomads in the 1920s and 1930s - despite considerable war losses - There is still a very rich body of work in fantastic drawings, dreamlike pictures and photographs. Above all, the portraits , animal studies and landscape paintings he created during this time still have a very special appeal today.
His travel diary about his first trip to the North in 1928 provides information about the enormous fascination that this region exerted on him. His two publications - one about Roald Amundsen , which was written in 1934, and a book of fairy tales 'The Star Chariot', which he wrote and illustrated for his eldest daughter in 1941 - are also thanks to this fascination.
| In 1945 he took part in the first all-German exhibition in the Berlin Armory , followed by several solo exhibitions in Frankfurt (Oder) in 1972 and 1978, as well as numerous participations in group exhibitions in the region, including from 1964 to 1979 at four district art exhibitions.
In the mid-1930s he became increasingly involved in wall painting, using secco and fresco techniques . Construction-related art and graphic productions further determined his work. In terms of the techniques and materials used , they are as diverse as his themes. In addition, numerous illustrations have been created in children's and non-fiction books.
Rudolf Grunemann lived mainly in his hometown of Frankfurt (Oder) until his death in 1981. He was a member of the GDR's Association of Visual Artists . He left behind more than 3,000 works, some of his construction-related works can still be seen in the cityscape of Frankfurt today. The drawings and pictures from the 1920s and 1930s, of which not many have survived, are mostly privately owned. However, they show today's viewer a previously largely unknown Rudolf Grunemann.
Narrative by: Wikipedia
Translation by Google Translate
Date Retrieved: 9 Jan 2024
|
"],
["GUDENBERG","#1
Freiherr Wolff von Gudenberg
Berlin, Germany
"],
["GUIGONI & BOSSI","#1
Guigoni & Bossi
Milan, Italy | 
|
"],
["GUTMANN","#1
L. Gutmann
Vienna, Austria
"],
["GUTTMANN","#1
Irene Guttmann
"],
["HAAS","#1
Haas
Hamburg, Germany
"],
["HALS","#1
Frans Hals
The Hague, The Netherlands
"],
["HÄMMERER","#1
Hämmerer
Arthur (or Artur) Hämmerer was a now-forgotten portrait and still photographer and painter from the Nazi period. From 1935 on, he was one of the most prominent photographers who worked for the Ufa. This gigantic film company, headquartered in Babelsberg, near Berlin, produced and distributed hundreds of films from 1917 until the end of the Nazi era.
During the war years, Hämmerer moved to Vienna and started to work for Wien-Film. After the war, he stayed in Austria and continued to make great star portraits for the film industry. Many of his pictures can be discovered on Ross Verlag postcards but also on cigarette cards and on post-war postcards by Film-Foto-Verlag and other publishers.
Ross Verlag seemed to disappear by the end of the war. The National Socialists had retained the name after they had forced Heinrich Ross out of his own company. But during the Second World War, they also started to use the name Film-Foto-Verlag. The design of the cards and the numbering system did not alter. Hämmerer's photos for Wien-Film also found their way to the postcards of this publisher.
Narrative by: European Film Star Postcards
"],
["HAENCHEN","#1Haenchen
Karl Ludwig Haenchen (1911-2003) was a German photographer, television producer and pop songwriter and composer. He started as a fashion photographer in the 1930s. Haenchen's photos of German actors and musicians were used for countless star postcards during the 1940s and 1950s.
Karl Ludwig Haenchen or K.L. Haenchen or simply Haenchen was born in 1911 in Berlin. He grew up as the eldest of seven children of the grammar school teacher and historian Karl Haenchen and his wife Erna Haenchen, née Fruchtermann in Kleinmachnow near Berlin. He was the nephew of the theologian Ernst Haenchen.
He initially studied history and sports for the teaching profession but then turned to photography, in which he was self-taught. Around 1930, he opened his first photo studio in Berlin, where he was considered one of the most important fashion photographers of his time in the 1930s and 1940s.
At times he ran three studios simultaneously in Berlin. From 1932 his photographs also appeared in fashion magazines such as 'Elegante Welt' (from 1935), 'Die Dame' (1936-1942), 'Die neue Linie (1936-1939), 'Hella' (1936-1942) and 'NS-Frauen-Warte (1936-1944). An early colour photograph appeared as the cover of 'Die Dame' in 1942.
| In accordance with the style of the time, the models often appear in Haenchen's works shot from below. In this way, he also photographed hundreds of Nazi soldiers.
After the end of the war, Haenchen initially produced mainly portraits. Later, he returned to fashion and press photos for 'Film und Frau' (from 1948), 'Inspiration', 'Die Zeitschrift für die Dame' (from 1950) and the illustrated magazine 'Stern' (1950-1955). In 1938, the Nazi Labour Inspectorate closed Atelier Binder, the studio of famous photographer Alex Binder, who had died in 1929. After his death, Mrs. Binder-Allemann and their two daughters were the owners of the photography studio. The manager was the Jewish Elisabeth Baroness von Stengel and the first operator was probably the photographer Hubs Floeter. They were employed at the studio until 1938 and Elisabeth Baroness von Stengel was deported to the Theresienstadt concentration camp in 1943.
The Aryan Haenchen moved in in 1938 and continued to make celebrity portraits. His film portraits were published on star postcards by such publishers as Film-Foto-Verlag. After World War II, the Hasse und Wiese company took over the studio in 1948 or 1949. Karl Ludwig Haenchen continued to work as a star photographer for the film company Sascha/Tobis.
| In 1954 he moved to Hamburg. In the early 1960s, he wrote and composed a number of pop songs, including 'Don't Turn Around' (1961, with Bobby Schmidt), 'Paris is Worth a Trip' (1961, with Jupp Schmitz) and 'Das Glücksrad' (1962, with lyrics by Kurt Feltz) which was featured in the film Das süsse Leben des Grafen BobbyThe Sweet Life of Count Bobby (Géza von Cziffra, 1962) with Peter Alexander and Ingeborg Schöner.
He directed the short television film Eine weiße Hochzeitskutsche/A White Wedding Carriage (Karl Ludwig Haenchen, 1964) with Maria Litto and Klaus Beelitz, and also worked as a television producer in 1966. From 1970 he was no longer active as a photographer.
Karl Ludwig Haenchen passed away in 2003 in Dolcedo-Castellazzo in Italy. In his first marriage, Haenchen was married to the fashion journalist Petra Fiedler, née Behrens, the eldest daughter of the architect Peter Behrens. From 1948 he was married to Ilse Haenchen, née Oeberg (1918-2019), with whom he had two sons.
Narrative by: European Film Star Postcards
Date Retrieved: 24 Dec 2023
|
"],
["HAMEISTER","#1
Hameister
"],
["HAMM","#1
Eugen Hamm
Berlin, Germany
"],
["HANSA","#1
Kunstatelier Hansa
Berlin, Germany
"],
["HARBOU","#1
Horst von Harbou
"],
["HARCOURT","#1Studio Harcourt
Studio Harcourt is a photography studio founded in 1933 by Cosette Harcourt at 11, rue Christophe-Colomb in Paris. In 1934, she joined forces with the Lacroix brothers, press bosses and Robert Ricci, son of Nina Ricci to found the Harcourt studio. It is known in particular for its black-and-white photographs of movie stars and celebrities, but having one's photo taken at Harcourt a few times during one's life was once considered standard by the French upper middle class. The studio is currently located at 6, rue de Lota in the 16th arrondisment of Paris.
Narrative by and additional information at: Wikipedia
Date Retrieved: 27 Dec 2023
|
"],
["HÄRD","#1
Atelier Gösta Hard
Stockholm, Sweden
"],
["HARLAN","#1
Veit Harlan
Film director and actor Veit Harlan (1899-1964) was one of Nazi Germany’s most notorious filmmakers. His most perfidious film was the treacherous anti-Semitic propaganda film Jud Süß/Jew Süss (1940) filled with vicious stereotypes of Jews.
Narrative by: Truus, Bob & Jan too! Flickr account
Date Retrieved: 10 Jan 2024
|
"],
["HARLIP","#1Harlip
Harlip was a photographic studio specialising in celebrity portraits, based at 161 New Bond Street, Mayfair, London, England and run by Dr Gregory Harlip, and later his widow Madame Monte Harlip, both of Eastern European origin. Up until 1937, the Atelier Harlip, as it was called in German, had been based at Kurfürstendamm, Berlin. In 1937, the Harlips left Berlin because of growing Nazi repressions against Jewish companies.
After Dr Harlip's death on 7 April 1945, Madame Harlip continued the business as one of the great society photographers of the 1950s. Known for catchphrases to the sitter such as 'Give me Rembrandt', her ingredients for a good portrait were 'life, honesty of expression, simplicity'. She lived at Stanmore, Middlesex, and died in 1982.
Narrative by: Wikipedia
Date Retrieved: 29 Dec 2023
|
"],
["HARREN","#1
Ludwig Harren
Nürnberg, Germany
"],
["HARRIS","#1
Claude Harris
"],
["HARTSOOK","#1
Fred Hartsook
Fred Hartsook (26 October 1876 – 30 September 1930) was an American photographer and owner of a California studio chain described as 'the largest photographic business in the world' at the time, who counted Henry Ford, Charles Lindbergh, Mary Pickford, and sitting President Woodrow Wilson among his celebrity clients. He later became the owner of the Hartsook Inn, a resort in Humboldt County, and two ranches in Southern California on which he reared prized Holstein cattle
Narrative by and additional information: Wikipedia
Date Retrieved: 10 Jan 2024
|
"],
["HARTUNG","#1
Atelier Hartung
Berlin, Germany
"],
["HAUS","#1
Walther Haus
Düsseldorf, Germany
"],
["HAUSTEIN","#1
Haustein
"],
["HELD","#1
Held
"],
["HENKEL-SZYMANSKI","#1
Henkel-Szymanski
Berlin, Germany
"],
["HENRY","#1
Studio V. Henry (Henri)
"],
["HÄNSE-HERRMANN","#1
Hänse Herrmann
Berlin, Germany
Hänse-Herrmann, working as a photographer in Berlin (verifiable from 1908 onwards). Studio in Berlin W. 9, Potsdamer Straße 134 a. From September 16, 1908, member of the Berlin Photographic Association. Died on December 31, 1917, the Hänse Herrmann studio can still be found in address and telephone books in 1921 and 1929 with the owner Felix Frank.
Narrative by: Wikipedia
Date Retrieved: 16 Jan 2024
"],
["HERMANN","#1
Hermann
Munich, Germany
"],
["HERTWIG","#1
Aura Hertwig
Charlottenburg, Germany
"],
["HERZFELD","#1
Martin Herzfeld
Dresden, Germany
"],
["HESS","#1
Nini and Carry Hess
In the years between 1914 and 1933, numerous significant personalities in art, culture, politics, society and sport met in the photographic portraiture studio of Nini and Carry Hess. With their technical and aesthetic brilliance, the sisters were among the leading photographers in Germany of the time. Their long collaboration with Frankfurt theaters resulted in the portraits of numerous actors, both in the roles they played and in their person. The Hesses were compelled to terminate their collaboration with the theaters in 1933. The Nazis destroyed the Hess studio, including all its technical equipment and the archives of negatives. Carry fled to the South of France, where she survived the war in hiding. Nini was deported and murdered in Auschwitz in 1942.
Narrative by and additional information at: Jewish Women's Archive
Date Retrieved: 10 Jan 2024
|
"],
["HESSE","#1
Gertrud Hesse
"],
["HESSER","#1
Edwin Bower Hesser
United States
Edwin Bower Hesser (1893-1962) was a prominent photographer who worked in New York and Los Angeles during the golden age of Hollywood and developed his own color photography system known as Hessercolor. The bulk of the collection consists of photographic materials such as negatives, prints, transparencies, and periodicals featuring Hesser's work. The collection also includes paper materials, such as miscellaneous manuscripts, business papers and journals.
Narrative and additional information: Online Archive of California
Date Retrieved: 16 Jan 2024
"],
["HEWITT","#1
Hewitt
"],
["HILL","#1
Ira L. Hill
United States
Ira Lawrence Hill opened a photographic studio in New York City about 1905, and died in 1938 or 1939.
Narrative and additional information: Smithonian Online Visual Archive
Date Retrieved: 16 Jan 2024
"],
["HIRSCHFELD","#1
Käthe Hirschfeld
Berlin, Germany
"],
["HOENISCH","#1
E. Hoenisch
Leipzig, Germany
"],
["HÖFFERT W.","#1
W. Höeffert
Berlin, Germany | 
|
"],
["HOFFMANN C.","#1
Carl Hoffmann
Berlin, Germany
"],
["HOFFMANN K.","#1
Kitty Hoffmann
Vienna, Austria
"],
["HOFFMANN P.","#1
Paul Hoffmann
"],
["HOFMANN","#1
Alice Hofmann
Hannover, Germany
"],
["HOINKIS","#1Ewald Hoinkis
Ewald Hoinkis (born January 7, 1897 in Görlitz; † May 1, 1960 in Bühl [Baden]) was a German photographer.
Hoinkis was already doing photographic experiments at the age of 15 with a self-made camera. After graduating from secondary school, he completed a commercial apprenticeship and served in the German air force during the First World War from 1915 to 1918, where he was able to train as a photographer in a military laboratory. After the end of the war, he took private art lessons and worked as a freelance painter and graphic artist, although he also had to earn a living as a bank and office worker for a time.
From 1924 onwards he became more intensively involved with photography, creating landscape photographs, city views and portraits of his wife Jenny. He also experimented with photograms, the results of which were shown in the “Film and Photo” exhibition of the German Werkbund in Stuttgart in 1929. In the same year he took part in the traveling exhibition “Contemporary Photography”, which was first shown in Berlin, and opened a studio for advertising and portrait photography in Görlitz; from 1931 there was also a branch in Berlin.
In the following years, Hoinkis specialized in fashion photography and his photographs appear in numerous German and international magazines, including Der Bazar, Berliner Illustrierte Zeitung, Die Dame, die NEUE linie, Uhu and Vogue. In the 1930s, Hoinkis experimented with carbro-color prints. During this time he was also friends with George Grosz, of whom he took several portraits.
| From 1932 Hoinkis taught in Berlin, from 1932 to 1933 at the municipal workshop for teachers and from 1938 to 1941 at the advertising training institute.
During the air raids on Berlin in 1943 and 1944, Hoinkis' studio and archive were destroyed. In 1944 and 1945, Hoinkis was involved in the so-called Führer mission for monumental painting and documented wall and ceiling paintings in southern Germany on color slide material. These photographs are now in the holdings of the Deutsche Fotothek, SLUB Dresden.
In 1949, Hoinkis opened a studio for photography and film in Munich, and in 1954 he moved to Frankfurt am Main with his daughter. In the following years he published photographs in the magazines Constanze, Elegante Welt, Frankfurter Illustrierte, Today and Quick. He also took commercial photos for, among others, Reemtsma, Kaffee Hag and Elbeo.
Works by Hoinkis can be found in the Berlinische Galerie, the Folkwang Museum in Essen and the Gundlach Collection in Hamburg.
Narrative by: Wikipedia
Translation by Google Translate
Date Retrieved: 15 Jan 2024
|
"],
["HOLDT","#1
Hanna Holt
Munich, Germany
"],
["HOLLAENDER","#1
A. Hollaender
"],
["HOOVER","#1
Hoover Art Co.
Los Angeles, California U.S.A.
Frank Sheridan Hoover founded one of L.A.'s earliest portrait studios, the Hoover Art Co., which was known for its soft-focus lenses and dramatic lighting effects. He is also credited with luring the first film studio to Hollywood, and he later developed the posh Sunset Palms apartments.
Narrative and additional information: SCV History
Date Retrieved: 16 Jan 2024
"],
["HOPPÉ","#1
E. O. Hoppé
Emil Otto Hoppé (1878 – 1972) was a German-born British portrait, travel, and topographic photographer active between 1907 and 1945. Born to a wealthy family in Munich, he moved to London in 1900 to train as a financier, but took up photography and rapidly achieved great success.
Source and additional information: Wikipedia |
"],
["HORN","#1
F. Horn
"],
["HOROVITZ","#1
Horovitz
See GEIRINGER & HOROVITZ??
"],
["HOSTRUP","#1
Hostrup
"],
["HOVEN","#1
Hoven
Krefeld, Germany
HR COLOR=black SIZE=3px />"],
["HÜBNER","#1
Hübner
"],
["HUCH","#1
Louis Huch
Stockholm, Sweden
"],
["HUGHES","#1
Hughes Studios
London, England
"],
["HÜNICH","#1
Conrad Hünich
"],
["HURRELL","#1
George Hurrell
American photographer George Hurrell (1904-1992) was a major contributor to the image of glamour presented by Hollywood during the 1930s and 1940s. Always an innovator, he invented the boom light and developed several - now standard - lighting techniques. Hurrell’s signature use of precision lighting, spotlights, shadows, and hand-retouching on the negatives produced romantic portraits that became his trademark style. His influential look became known as the 'Hurrell style'.
Narrative by and additional information: European Film Star Postcards
Date Retrieved: 16 Jan 2024
|
"],
["HURT Helmy","#1
Helmy Hurt
Photographer Helmy Hurt (active 1920s) had a photography studio in Berlin and together with Gerhard Riebicke she was the set photographer for the UFA film 'Wege zu Kraft und Schönheit. Ein Film über moderne Körperkultur' (1925), directed by Wilhelm Prager and Dr. Nicolaus Kaufmann.
Narrative by and additional information: un regard oblique |
"],
["ILLENBERGER","#1
Illenberger
Stuttgart, Germany
"],
["INCE","#1
Ince Studio
"],
["ISABEY","#1
Isabey
Paris, France
"],
["IVANS","#1
Ivans Studio
Los Angeles, California U.S.A>
"],
["JACOBI","#1Atelier Jacobi
Atelier Jacobi was a Berlin film studio, which made numerous film star photos for Ross Verlag postcards. The Jacobi family had the most famous portrait-photography business in Germany, with studios in Thorn, Poznan, and Berlin. The main photographer of the studio during the late 1920s and early 1930s was Lotte Jacobi (1896–1990) who was the fourth generation of the photographer family Jacobi. She captured the heady spirit of the Weimar Republic, particularly the intellectual and artistic elite who lived in Berlin or passed through it, before Lotte fled the Nazis in 1935.
Lotte Jacobi came from a German Jewish family of photographers. Her great-grandfather Samuel Jacobi had reportedly been an apprentice to Louis Daguerre, the photographic pioneer who invented the Daguerreotype process. Samuel, who had been a glazier, founded a photographic studio in the 1840s.
Lotte and her less-known sister Ruth Jacobi (1899-1995) were the daughters of Samuel's grandson Sigismund Jacobi and his wife Mia Jacobi née Lublinski.
From 1920, Ruth Jacobi learned her craft in the photography school of the Lette-Verein photographic school for women in Berlin, then worked for five years in her family's new photo studio at Joachimstaler Strasse 5, later Kurfürstendamm, in Berlin.
Ruth moved to New York in 1928, joining her husband, Hans Richter, whom she had married two years earlier. There she lived and photographed the Jews in the Lower East Side. Returning to Europe in the early 1930s, she divorced Richter in 1933 and then married the Hungarian physician Maurus Roth in Budapest.
The Jacobi-Roth couple emigrated to the USA in 1935. There they lived in Queens. Ruth and her sister Lotte opened a photo studio in New York. During Ruth Jacobi's lifetime, there were no exhibitions of her pictures; however, some have been published.
The dust jacket of Michael Gold’s best-selling novel 'Jews Without Money' (1930) showed one of her pictures. Between 1937 and 1939 she was able to publish several pictures in Popular Photography. Some of her portraits of Albert Einstein were used in a biography of the scientist in 1939 and 'U.S. Camera 1940', an illustrated book on the centenary of photography also featured a photograph by Ruth Jacobi-Roth.
Ruth abandoned the craft of photography for which her sister, Lotte Jacobi, became famous, and spent decades living quietly as a doctor’s wife in Astoria, Queens. Ruth died in 1995 and had no children. Her photos and negatives lay in storage with a relative in Mission Viejo, Calif.
In 2004, archivist Aubrey Pomerance learned of the trove of photographs by the lesser-known Ms. Jacobi. Pomerance was the chief archivist at the Jewish Museum Berlin. Pomerance arranged for the Jewish Museum Berlin to acquire much of the collection - some 800 prints and 3,000 negatives - in 2005. And after years of research and preparation, he mounted an exhibition of around 70 images, 'Ruth Jacobi: Photographs', in 2009 in Berlin.
| Sewell Chan in The New York Times in 2009: 'I was struck by Ruth Jacobi’s images on a recent vacation in Berlin during a visit to the museum, which was designed by Daniel Libeskind and opened in September 2001 (two days before the 9/11 attacks). The works evoked other famous images of early 20th-century life on the Lower East Side — like those made by Helen Levitt and Rebecca Lepkoff — but with a different sensibility and mood.'
Johanna Alexandra Jacobi was born in 1895 in Thorn, West Prussia (now Torun, Poland). She was the eldest of three children. The name Lotte was a nickname given to her by her father. She began her photographic career at 14, documenting the world around her with a homemade pinhole camera.
In 1916 she married Fritz Honig, and a year later she gave birth to a son, John Frank. The marriage did not last, and in 1924 they divorced. In 1925, she joined her parents and her sister, Ruth, in Berlin, where the family had moved in 1921.
From 1925 till 1927, she attended the Bavarian State Academy of Photography and studied art history at the University of Munich. Lotte was in her early thirties when she finished her studies. Jacobi entered the family photography business in 1927. Following an apprenticeship with her father, she became the director of Atelier Jacobi. During this same period, she began her professional career as a photographer, represented by Agentur Schostal (Schostal Photo Agency) and she also produced four films, the most important being Portrait of the Artist, a study of Josef Scharl.
She was equipped for the job not only by talent but by temperament. An emancipated woman with a leftist political slant, she had an inquiring approach and a knack for bringing subjects to her lens. Her subjects were the arts, theatre, film, and dance. Her aim was to capture each sitter's individuality. 'In making portraits, I refuse to photograph myself,' she said. 'My style is the style of the people I photograph.'
One of her famous subjects was Peter Lorre. She was allowed only one image, and it turned out to be a classic, with Lorre shot as close up as possible. She captured his villainous look but softened the angle by shooting from above.
Her interest in modern dance led her to take photos of dancers in action, aided by her own quickness and new camera technology. Her now-classic photographs of Lotte Lenya holding a cigarette, Emil Jannings casually peeling an apple, and the dancer Claire Bauroff captured the essence of Berlin theatre life.
In 1932 her leftist sympathies led her to do a series of Ernst Thalmann, the Communist candidate that year against Hitler. From October 1932 to January 1933, she made a long trip to the Soviet Union which resulted in rare and interesting shots of street scenes in Moscow and the republics of Tajikistan and Uzbekistan.
She returned to Berlin in February 1933, one month after Hitler came to power. The Nazis questioned her about her trip, her political sympathies, and her Jewish background.
| After her father's death, Jacobi took on ownership of the Atelier Jacobi with a non-Jewish business partner, Alexander Bender, hoping to avoid Aryanisation. However, Bender did not meet the race law requirements and the studio was threatened with expulsion from the Reichspressekammer. In September 1935, Lotte Jacobi finally left Germany together with her son.
Lotte Jacobi arrived in September 1935 in New York City. With her sister Ruth Jacobi Roth, she opened a studio in Manhattan, but Lotte struggled to find work. An important American contact was Albert Einstein, whom she and her family had photographed in Germany.
He agreed to work with her when, in 1938, Life magazine commissioned a photo essay on the scientist. She made several informal photographs at Einstein's home in Princeton, N.J., in conversations with his students, but Life felt they were too casual and decided not to publish them.
However, in 1942, the magazine U.S. Camera, at the instigation of Edward Steichen, published a photo of a dreamy Einstein, in a rumpled leather jacket, hair askew, that became one of the most famous images of him.
In the 1940s Jacobi explored the technique of photogenics, expressive abstract images made by drawing with a flashlight on photographic paper. The process had been extensively explored in the early 20th century by Man Ray and Laszlo Moholy-Nagy.
In 1940, in New York, she married her second husband (she and her first husband had divorced), Erich Reiss, a German avant-garde publisher and writer, who was rescued from a Nazi death camp. He died in 1951.
In 1955, Jacobi left New York with her son and daughter-in-law and moved to Deering, New Hampshire, a move that changed her life. There she opened a new studio and served as a mentor to younger artists for 30 years. She continued her interest in the forms of nature, taking pictures of snow, water, and other phenomena in the countryside.
She remained active as a portrait photographer, developing a new set of subjects and friends, including the poets Robert Frost and May Sarton, the ecological activists Helen and Scott Nearing, and a fellow photographer, Paul Caponigro. Among her other notable portraits – all in black and white – were those of the dramatist Kurt Weill, Eleanor Roosevelt, Marc Chagall, and the musician Pablo Casals.
Lotte Jacobi passed away in 1990 at the age of 93. She bequeathed a collection of 47,000 negatives to the University of New Hampshire. Her earlier work was lost to the Nazis, but this post offers a glimpse of the film star portraits she took in Berlin.
Narrative by: European Film Star Postcards
Date Retrieved: 31 Dec 2023
|
"],
["JAEGER W.","#1
Walther Jaeger
Berlin, Germany
"],
["JAEGER","#1
Hofatelier Jaeger
"],
["JANDEZ","#1
Jandez
"],
["JANSON","#1
Janson
"],
["JEIDELS","#1
Harry Jeidels
Born in 1905 in Berlin, Harry Jeidels worked as a press photographer and for Fox-Film Deutschland in Berlin. Circa 1933, he relocated to Vienna as a journalist, later joining the Viennese-based Residenz-Atelier für moderne Photography Friedmann & Co., where he worked as a portrait, theater and dance photographer.
Jewish, Jeidels fled Austria to England in 1938 after annexation by the Nazis. In the summer of 1940 he emigrated to Australia, where he was initially interned as an enemy alien. After the war he resumed his work as a photographer in Australia. Jeidels died in 1987.
The studio was Aryanized. Jeidels's partner at the Residenz-Atelier, Regina Friedmann, also Jewish, was deported to the Theresienstadt ghetto on 20 June 1942 and subsequently transferred to the Treblinka concentration camp on 23 Sept 1942 and where she was murdered.
Source and additional information: Das Residenz-Atelier von Regina Friedmann und Harry Jeidels |
"],
["JENSEN","#1
Jensen
"],
["JESSEN","#1
Lisi Jessen
"],
["JEVONS","#1
Janet Jevons
London, England
'Janet Jevons' was a photographic partnership between Ruby Caroline Jevons (1894-1974) and Emilie Janet Tyrell (1887-1972) who worked together in various London studios from 1921-1949. Their first published and credited photograph appeared on 6th December 1921 in the Illustrated Sporting and Dramatic News. They operated their first studio at 66 Piccadilly from 1921-1925 before moving to New Bond Street, London.
Narrative by and additional information: Photographers of Maitland
Date Retrieved: 23 Dec 2023
"],
["JOËL & HEINZELMANN","#1
Joël & Heinzelmann
Charlotte Joël (1882 or 1887-1943), was a Jewish-German portrait photographer, who, with photographer Marie Heinzelmann, opened the studio Joël & Heinzelmann in Charlottenburg, near Berlin Zoo station, around 1918. Their clients included many of the prominent figures of the day, including Walter Benjamin and his family, Karl Kraus, Martin Buber, and Marlene Dietrich. The studio’s celebrated photographs of children and movie stars appeared in magazines and were issued as postcards.
From 1933, Joël was no longer able to work in her profession, but the studio continued under the name Joël & Heinzelmann until 1938/39. On April 19, 1943, Joël was deported from Berlin to the extermination camp Auschwitz II-Birkenau on transport no. 37, where she was murdered.
In 2013, a Stolperstein was laid in Berlin in her memory. A catalogue raisonne was published in 1919.
Narrative by: Flickr album of pellethepoet
Date Retrieved: 23 Dec 2023
"],
["JOFFRES","#1
C.I. Joffres
"],
["JOHNSTON","#1
Alfred Cheney Johnston
Alfred Cheney Johnston (April 8, 1885 – April 17, 1971) was a New York City-based photographer known for his portraits of Ziegfeld Follies showgirls as well as of actors and actresses from the worlds of stage and film.
Narrative and additional information: Wikipedia
Date Retrieved: 10 Jan 2024
"],
["JONAS","#1
Genja Jonas (1895 - 1938)
Dresden, Germany
Genja Jonas was born as the second child of the Jewish cigar dealer Simon Sigismund Jonas and Laura Loewenthal. After her schooling and training as a photographer, Jonas opened a studio in Dresden, becoming one of the most sought-after portrait photographers in Dresden, and taking part in international exhibitions and assignments.
Jonas was expelled from the Society of German Photographers in 1935 because of her 'non-Aryan origins'. Jonas, who wanted to emigrate to England, fell ill with cancer and died on May 8, 1938 in Dresden.
Source and further information: Wikipedia
Translation by Google Translate.
"],
["JONAS E.","#1
Erna Jonas
Berlin, Germany
"],
["JONES","#1
Ray Jones
Ray Jones was the first still photographer to win an Academy Award as head of Universal Studio’s still photography department during the Golden Age of Hollywood from the 1920s to the 1950s.
Source: Early California Antiques
Date Retrieved: 28 Jan 2024
"],
["JOSEPH","#1
Lily Joseph
Berlin, Germany
"],
["KAHAN","#1
Roger Kahan
France
Between 1933 and 1939, Roger Kahan was one of the preferred set photographers for the great French filmmakers. According to the French Cinémathèque, the most researched stills in their archives are those of films by Alfred Hitchcock, Godard, and Marcel Carné. Those of the latter are almost always taken by his set photographer, Roger Kahan.
Fleeing France after its fall to Germany in World War II, Kahn passed through Lisbon, Brazil, Haiti, New York, Rome and Israel.
An extensive essay of his life was posted by Ferreira Fernandes on 28 Oct.2023
Date Retrieved: 10 Jan 2024
"],
["KAHAN","#1
Roger Kahan
"],
["KAHN","#1
Kahn
"],
["KANARIAN","#1
Lucas Kanarian
"],
["KATHER","#1
Claire Kather
Berlin, Germany
"],
["KATZ","#1
Stefanie Adele Katz
"],
["KAUFHAUS","#1
Atelier Kaufhaus des Westens
"],
["KAUFMANN (Hindelang)","#1
Kaufmann
Hindelang, Germany
"],
["KAUFMANN","#1
Milan Kaufmann
Zagreb, Croatia
"],
["KEHREN","#1
Paul Kehren
Paris, France
"],
["KESSLÈRE","#1
G. Maillard Kesslère
George Maillard Kesslère (b. 1894) was an artist and photographer of many famous personalities. Following his training as an artist, Kesslère ran a studio in Syracuse, N. Y., where he made portrait paintings and photographs. In 1921, he moved to New York City to pursue a position as art editor for the magazine The Debutante.
In New York, his paintings and pastels of thinly draped, female nudes, captured in motion, gained the attention of theatrical producer Earl Carroll. He hired Kesslère as a photographer in 1928, and published his paintings and photos in programs for his Vanites series of musicals.
In the early 1920s, Kesslère set up a photography studio in Manhattan, where he made portraits of thousands of well-known figures. His subjects included people involved in almost every aspect of the entertainment arts. In 1935, Kesslère exhibited 500 of his photographs, paintings and drawings in the Patricia Lounge of the Loew's Ziegfeld Theater, located on Sixth Avenue in Manhattan. Kesslère also collaborated on various book projects, including the 1940 Women of Achievement; Biographies and Portraits of Outstanding American Women.
In 1947, an exhibition of Kesslère's work entitled 'Stars of Yesterday and Today', sponsored by the Theatre Library Association, toured the United States. In 1952, Kesslère donated a collection of his portraits of major entertainment and performing arts personalities, amassed mostly from 1925-1946, to the Theatre Collection of the New York Public Library.
The artist and photographer died in Cresskill, N. J. in 1979 at the age of 84.
Narrative by: New York Public Library
Date Retrieved: 3 Feb 2024
"],
["KETTLER","#1
Kettler
Berlin, Germany
"],
["KEYES","#1
Donald Biddle Keyes
Donald Biddle Keyes, a pioneer photographer and motion-picture cameraman, started out as a publicity phtotgrapher at the Ince Triangle studios at Culver City (later MGM). After World War I he moved to the Lasky studios, photographing such stars as Rudolph Valentino, Pola Negri, Gloria Swanson, and Wallace Reid, and taking stills on a number of their films. He left the studio in 1922 and alternated between working as first cameraman and still photographer.
Narrative by and additional information: Vintage Photographers - Blog
Date Retrieved: 1 Feb 2024
"],
["KEYSTONE","#1
Keystone View Co.
The Keystone View Company was a major distributor of stereographic images, and was located in Meadville, Pennsylvania. From 1892 through 1963 Keystone produced and distributed both educational and comic/sentimental stereoviews, and stereoscopes. By 1905 it was the world's largest stereographic company. In 1963 Department A (stereoviews sold to individual families) and the Education Departments were closed down, but Keystone continued to manufacture eye-training stereographic products as a subsidiary of Mast Development Company. In 1972 Mast closed the Meadville manufacturing site.
Source: Wikipedia
Date Retrieved: 16 Jan 2024
|
"],
["KIESEL","#1(H.E.) Kiesel
Atelier Kiesel was one of the renowned photo studios of Berlin during the 1920s. Little is known about the history of Kiesel but many of the studio's portraits of elegeant Weimar film stars have been preserved through the postcards of Ross Verlag and its Austrian colleague Iris Verlag.
Narrative by: European Film Star Postcards
Date Retrieved: 27 Dec 2023
| Note from the cataloger: The connection of Kiesel to H.E. Kiesel, a Berlin photographer whose work appears on a number of postcards from the early 1910's, is assumed, but has not yet been confirmed.
|
"],
["KIPHO","#1
Kipho Production
"],
["KIRCHGEORG","#1
Kirchgeorg
"],
["KIRCHNERA","#1
W. Kirchnera
Warsaw, Poland
"],
["KLAGEMANN","#1
Klagemann
"],
["KLARY Charles","#1
Charles Klary
Charles Klary was born in France in 1837. While serving in the French Army in 1860, he was dispatched to Algeria where he became interested in photography. After leaving the army in 1863, he studied photography in Paris and London. He returned to Algeria two years' later where he opened a photographic studio.
Klary returned to Paris in 1879 to enter into a short-lived business partnership with Wilhelm Benque. Klary then built his own studio in Paris, featuring some of the most impressive photographic equipment inventories of its time.
| Klary's work as a photographer extended into a study of color photography at William Kurtz's studio in New York. Upon his return to Paris, Klary established his own school of photography, the first of its kind in France. The School of Practical Photography introduced established photographers to the latest techniques while educating amateurs on theories, applications, and processes.
During the 1890s, Klary began a period of intensive study and experimentation with the manipulation of light. He became a widely quoted expert on the uses of artificial lighting to maximize artistic effectiveness.
Source and additional information: Historic Camera |
"],
["KLAUDE","#1
L. Klaude
Berlin, Germany
"],
["KLEINKE","#1
Kleinke
Berlin, Germany
"],
["KLEITSCH","#1
Karl Kleitsch
Berlin, Germany | 
|
"],
["KLETT","#1
L. Klett
Wrocław, Poland
"],
["KLIMATSCHEK","#1
Klimatschek
"],
["KLINGEMANN","#1
Klingemann
"],
["KLINKE","#1
Klinke & Co.
Berlin, Germany
Klinke & Co. was a German company based in Berlin. It also operated under the contemporary name Industrial Photographers. These were photographic workshops with illustration and postcard publishing.
Source and additional information: Wikipedia
Translation by Google Translate
Date Retrieved: 16 Jan 2024
"],
["KOCH","#1
Dresdner-Presse-Foto-Koch
"],
["KOCH W. & A.","#1
W. & A. Koch
Aachen, Germany
"],
["KOLLINER","#1
Atelier Kolliner
Vienna, Austria
"],
["KÖNIG-ROHDE","#1
König-Rohde
Berlin, Germany
"],
["KORNMAN","#1
Gene Kornman
Eugene Kornman, also known as Gene Korman, was a photographer whose work ranged from movie stills (Scarface, Doctor Bull, Yellow Sky) to glamour shots of Hollywood stars such as Shirley Temple, Don Ameche, and Cesar Romaro. Korman's daughters (Mary and Mildred) were child actors in the famous Our Gang and Little Rascals silent films.
Source and additional information: The Giant
Date Retrieved: 16 Jan 2024
"],
["KRABBE","#1
R. Krabbe
Berlin, Germany
"],
["KRAHNERT","#1
Krahnert
"],
["KRENAN","#1
Atelier Krenan
Stockholm, Sweden
"],
["KRETSCHMAR","#1
W. Kretschmar
Wrocław, Poland
"],
["KREUTZBERGER","#1
Atelier Kreutzberger
Berlin, Germany
"],
["KROPP","#1
Elsbeth Kropp
Cologne, Germany
"],
["KRUGER","#1
J. Kruger
"],
["KRUMKAMP & d'HEUREUSE","#1
M. Krumkamp & R. d'Heureuse
"],
["KÜHN & MITZ","#1
Kühn & Mitz
Baden-Baden Germany
"],
["KUNST ATELIER K.d.W.","#1
Kunst Atelier K.d.W.
"],
["KURZROCK","#1
Atelier Kurzrock
Wiesbaden, Germany
"],
["KUZELOWSKY","#1
Kuzelowsky
Berlin, Germany
"],
["LAFAYETTE","#1
Lafayette
London, England
"],
["LAGORIO","#1
Lagorio
Berlin, Germany
"],
["LAMBECK","#1
Lambeck
Berlin, Germany
"],
["LANDAU","#1
Landau
"],
["LANDE","#1
Kurt Lande
"],
["LANGHAMMER","#1
F. Langhammer
Kassel, Germany
"],
["LANGHANS","#1
J.F. Langhans
Prague, Czech Republic | 
|
"],
["LANTIN","#1
Lantin
Cologne, Germany
"],
["LAZI","#1
Adolf Lazi
Stuttgart, Germany
Adolf Lazi (born December 22, 1884 in Munich, † January 9, 1955 in Stuttgart) was a German sculptor and photographer. In 1950 he founded the “International School for Advanced Photography – Lazi”, also known as the “Lazi School” in Stuttgart.
Narrative by and additional information: Wikipedia
Translated by Google Translate
Date Retrieved: 22 Jan 2024
"],
["LEBRUN","#1
Henri Lebrun
"],
["LEESER","#1
Paulus Leeser
Berlin, Germany
"],
["LEHMANN","#1
Horst G. LEHMANN
"],
["LENDVAI-DIRKSEN","#1
Atelier Erna Lendvai-Dirksen
Erna Lendvai-Dircksen (born Erna Katherina Wilhelmine Dircksen, 31 May 1883 – 8 May 1962) was a German photographer known for a series of volumes of portraits of rural individuals from throughout Germany. During the Third Reich, she also photographed for eugenicist publications and was commissioned to document the new Autobahn and the workers constructing it.
Narrative by and additional information: Wikipedia
Date Retrieved: 23 Jan 2024
"],
["LENARE","#1
Lenare
London, England
"],
["LÉNNE","#1
Studio Lenné
Berlin, Germany
"],
["LEONHARDT","#1
A. Leonhardt
Berlin, Germany
"],
["LERSKI","#1
Lerski
Berlin, Germany
"],
["LESSMANN","#1
H. Lessmann
Munich, Germany
"],
["LÉVIN","#1
Sam Lévin
Born in Ukraine, Sam Lévin settled in Paris in 1906. A freelance photographer for such publications as the New York Times, he established his own studio in 1934. A year later, the Ukrainian photographer was asked to replace a colleague on the set of Jean Renoir’s Great Illusion. A fruitful collaboration was then launched, Sam Lévin becoming the close observer of the director’s films such as The Marseillaise or the Human Beast, but also that of other major directors.
At the same time, he had become a recognized portrait photographer, depicting the greatest celebrities of his time, from Gérard Philippe to Josephine Baker to Romy Schneider. His most impactful work was his partnership with Brigitte Bardot. Almost discovering the young actress in the mid 1950s, Sam Lévin helped constitute her public identity with images ‘of sensuality and slight immorality’. He created modern images of a sex symbol capable of rivaling with Hollywood bombshells, a childish yet highly sensual beauty made of tousled hair, bare feet or a not-so-naive bikini.
Narrative by: Annenberg Space for Photography |
"],
["LIEBERT Alphonse J.","#1
Alphonse J. Liebert
Paris, France | 
|
"],
["LIEDTKE","#1
Liedtke
"],
["LIEDTKE I.","#1
Ilse Liedtke
Berlin, Germany
"],
["LIMOT","#1
Walter Limot
Walter Limot was born in 1902 as Walter Lichtenstein. At the age of twenty, Limot became a still photographer for Germany’s cinema industry. He worked for many directors including Fritz Lang and Georg Wilhelm Pabst. After the Nazis came to power in 1933 he fled to Paris. He continued to work in French cinema and documented over 120 films during his career. In France, he photographed for the JDC-funded Oeuvre de Secours aux Enfants (OSE).
Source, including photos of the OSE: JDC Archives |
"],
["LIMPERT","#1
Emy Limpert
Frankfurt am Main, Germany
"],
["LINDNER","#1
K. Lindner
Berlin, Germany | 
|
"],
["LINCKELMANN","#1
Olga Linckelmann
Hamburg, Germany
"],
["LINDSTEDT","#1
Albert Robert Lindstedt
Swedish born Alfred Robert Lindstedt (1877-1958) was one of the early society photographers in Los Angeles. He arrived in New York from Sweden in 1898 before making his way to Missouri. Trained as a photographer in his home country, Lindstedt opened a studio in Kansas City, where three vaudeville circuits converged. In 1905, finding the field dominated by a few select photographers, Lindstedt moved to California where he began working for the photographer George Steckel, etching photographs.
Lindstedt established his own studio in 1910. By the mid-1920s, Lindstedt formed the Lindstedt-Phelan Studio in Beverly Hills with his brother-in-law. They functioned as one of Beverly Hills’ top photography salons, shooting glamorous images for the next several decades.
Source, with additional information: Alfred Lindstedt, Early but Forgotten Stills Photographers |
"],
["LIPNITZKY","#1
Boris Lipnitzky
Haim Efime Boris Lipnitzki (or Lipnitzky) was born into a Jewish family in Oster, in Chernihiv Province of the Russian Empire (now Ukraine) on 4 February 1887. He died in Paris on 6 July 1971, aged 84.
Lipnitzki first worked for a photographer in Odessa, then opened his own studio in Pultusk. He arrived in Paris in the early 1920s. There, he established a studio at 40 rue du Colisée, where he photographed many of the artistic personalities of the 20th century from the 1920s-1960s, as well as picturing them in their own surroundings. His friendship with fashion designer Paul Poiret, with whom he would stay to photograph in Biarritz, provided an entrée into these circles.
Lipnitzki's prodigious output was decimated when the Athenaeum theatre, where his friend Louis Jouvet had helped him hide his prints during the Occupation was flooded while he had fled to stay with his friend Chagall in New York.
Narrative by and additional information: Wikipedia
Date Retrieved: 16 Jan 2024
|
"],
["LIPPMANN","#1
R. Lippmann
Berlin, Germany
"],
["LIPSCHITZ","#1
Annie Lipschitz
Berlin, Germany
"],
["LISSER","#1
Elli Lisser
Berlin, Germany
"],
["LISSNER","#1
Reinhard Lissner
Königs Wusterhausen, Germany | 
|
"],
["LOBE Lisa","#1
Lisa Lobe
München, Germany
"],
["LOEDERER","#1
Rob. Loederer
Vienna, Austria
"],
["LOEPERT","#1
K.H. Loepert
"],
["LOÉR","#1
R. Loér (Loés?)
Artist
"],
["LOEWENTHAL","#1
Atelier Emanuel Loewenthal
Berlin, Germany
"],
["LOEWISOHN","#1
Atelier Loewisohn
Berlin, Germany
"],
["LORELLE","#1
Lorelle Studio, Paris
Lucien Lorelle (1894-1968) was one of the great photographers of the early twentieth century. In his Studio Lorelle, he portrayed all the great French artists of his time.
Lucien Lorelle was born in Paris, France in 1894. He was a volunteer in the French infantry and aviation during World War I and later received the Croix de Guerre and the Légion d’Honneur for his bravery.
In 1920 he started to work as a photographer at the famous portrait Studio G.L. Manuel Frères.
In 1927, Lucien founded with his brother-in-law the Studio Lorelle, which focused entirely on studio portraits. Many young photographers went to work and study photography here, including Czech photographer Jaroslav Rössler, German photographer Erna Wagner-Hehmke and Rose Nadau.
Lorelle soon became a sought after portraitist. To his studio came famous artists like Jean Cocteau and Tamara de Lempicka, and international film stars like Louise Brooks, Jean Murat, Käthe von Nagy, Marie Glory and Brigitte Helm.
| In 1935 he sold the Studio Lorelle and founded the Studio Lucien Lorelle. This studio did advertising campaigns for Galeries Lafayette (with Cassandre), Perrier, Philips, Cinzano, Chanel, Shell etc.
Lorelle had already done a postcard campaign with film stars for Campari at Studio Lorelle. Campari was a client which he had taken with him from Studio G.T. Manuel Frères.
Though Lorelle dreamt of becoming a painter, photography monopolized his time, and the paintings he did complete, he systematically destroyed.
In 1946, Lucien Lorelle was one of the 15 founders of the Groupe des XV, an association which promoted photography as art and drew attention to the preservation of French photographic heritage.
The group (also including Robert Doisneau, Willy Ronis and René Jacques) organized from 1946 to 1957 annual exhibitions in various galleries.
Lorelle continued to portray all the famous French artists of his time including Annabella, Martine Carol, Danielle Darrieux, Gérard Philipe, Jean Marais, Michel Simon and Jean Gabin.
| In 1949 Lucien Lorelle published La Photographie publicitaire, co-written with Donald Langelaan. He also wrote books like Le Portrait photographique (1950) and Le Livre de la couleur directe (1951). His books were translated in many languages.
In 1952, he founded Central Color, a professional colour photography laboratory, involved with various international projects, including the Tour de France, L’Oréal and Giorgio Armani.
In 1957 he stopped with the Studio Lucien Lorelle and focused on writing. He was the author of many surreal photographic works and literary tributes combining text, drawings and photographs. He also was devoted to teaching photography. His other hobbies included painting, writing and poetry.
In the 1960s Lucien Lorelle handed over the presidency of Central Color to his daughter Françoise Gallois, who deceased in 2003. Lucien Lorelle himself died in 1968.
Narrative by: European Film Star Postcards
Date Retrieved: 18 Jan 2024
|
"],
["LOUISE","#1
Ruth Harriet Louise
Ruth Harriet Louise (born Ruth Goldstein; January 13, 1903 – October 12, 1940) was an American photographer. She was the first woman photographer active in Hollywood, and she ran Metro-Goldwyn-Mayer's portrait studio from 1925 to 1930.
Narrative and additional information: Wikipedia
Date Retrieved: 10 Jan 2024
"],
["LÖWY","#1
Franz Löwy
Franz Löwy began his career as a photographer in Paris, and then travelled to numerous European cities to continue his training. From 1911 to 1938, Löwy owned a studio (with multiple branches) in Vienna under the name Titan and later Werkstatt für moderne Bildnis-Photographie. Apart from portrait photography, he also took theatre, dance, fashion and nude photos.
Jewish, Löwy fled Austria with his family in 1938 after annexation by the Nazis, going first to Paris and then Brazil, where he worked as a photographer. Löwy's studios were Aryanized and his assets forfeited to the German Reich.
After the war, Löwy submitted a claim for restitution of his studio. He received partial settlement, but his extensive photo archive was not included.
Source and additional information: Lexicon of Austrian Provenance Research |
"],
["LUMIERE","#1
Lumiere
New York, New York USA
Samuel Lumiere was born in Persk, Russia, in 1878, and trained in St. Peterburg. He claimed relation to the Lumiere brothers of France, inventors of the Autochrome color process. After teaching photography in Europe, Lumiere emigrated to the United States. The Lumiere name helped establish his studio in the New York market about 1910. He made his reputation as an entertainment portraitist in 1916 shooting vaudeville performers. By 1917 he was contracting to shoot movie stars affiliated with New York film studios, particularly World Films and Vitagraph.
In the early 1920s he trained Roman Freulich, who would become an important still photographer for Universal Studios in Hollywood, and employed Elena Chernova, wife of M.I. Boris as a retoucher. In the early 1920s the Chicago Tribune retained him to supply pictures of touring stage and screen celebrities. In September 1930, the studio was burglarized. The Depression and competition forced him out of the city into Far Rockaway where he maintained a studio until 1945 when he went bankrupt.
Narrative by and additional information: Broadway Photographs
Date Retrieved: 1 Feb 2024
"],
["LUNDT","#1
F.O. Lundt
Berlin, Germany | 
|
"],
["LUTTEROTH","#1
Atelier Lutteroth
Munich, Germany
"],
["LUTZ","#1
Lutz
Berlin, Germany
"],
["LUTZE","#1
Max Lutze
"],
["LÜTZEL","#1
Gebr. Lützel
Munich, Germany
"],
["LUXARDO","#1
Luxardo Studios, Rome
The story of the Luxardo family began in the early 20th century when the young photographer Alfredo Luxardo decided to leave Pisa to set his lens on distant objects: America.
Alfredo, together with his wife Margherita, however, stopped in San Paolo in Brazil - a country that would mark the destiny of the entire Luxardo family. Not the American myth but the Amazonian tribes became his subjects: group photos and portraits developed and printed in a completely empirical way.
His three children were born in Brazil: Elio, Elda and Aldo. In 1928 Alfredo Luxardo returned to Italy where he took over the Sam Bosch photographic studio in Rome. (photographers of the Royal House) in Via XX Settembre. It was here that the history of the Rome-Luxardo association began. Elio, who had enrolled at the Centro Sperimentale di Cinematografia, Aldo and his daughter Elda all worked in their father's studio.
It was the 1930s and the famous studio in Via del Tritone imposed characteristics that set the standard and marked an era. Diffuse lighting, complemented by reflections, dark backgrounds and cuts of light that sculpted faces and designed bodies: in a word, the Myth of Beauty was born, the cult of the Body.
| The studio was populated by divas and sports champions, intellectuals and artists, from Pirandello to Marinetti, from Assia Noris to Isa Miranda, from Valentina Cortese to Alida Valli and world champion Primo Carnera.
The post-war period was characterised by collaboration with revue shows and then the start of the Miss Italy contest, which attracted divas such as Loren and Lollobrigida. La Dolce Vita - Elio Luxardo's intense friendship with Federico Fellini - , the films 'Poveri ma Belli' (Poor but Beautiful), actors such as Mastroianni and Gassmann: these are the images of the Sixties.
Elio Luxardo's last dream was called Sperlonga, where he retired to live. On the Mediterranean coast, the photographer sought the light and colours of his native land, but in vain. He died in 1969 at the age of 59. His brother Aldo continued to work alone in the family studio - which his sister Elda had left when she married the producer Argento, father of the director Dario. But the call of his homeland grew stronger and stronger and finally Aldo decided to return to Brazil.
Narrative by: Roma Sito Turistico Ufficiale
Date Retrieved: 18 Jan 2024
|
"],
["LYDOR","#1
Lydor
Berlin, Germany
"],
["MAAS","#1
Maas
Berlin, Germany
"],
["MACARI","#1
Macari
"],
["MAGER","#1
Atelier H.W. Mager
Berlin, Germany
"],
["MANDEL","#1
J. Mandel
"],
["MAHRENHOLZ","#1
Atelier Rolf Mahrenholz
Berlin, Germany
As a child Rolf Mahrenholz, fascinated by the art of portraiture, built up his own collection of postcards of the famous men and women of the day. At the age of nineteen he started studying photography at the studio of a leading Berlin portrait photographer. He began working as a freelance photographer, working for fashion magazines including Harper's Bazaar and publishing houses such as Ullstein Press and Scherl. He established a solid reputation and achieved considerable success and renown. Mahrenholz left Germany in 1938 and moved to London. After the war he returned to freelance photography of English and French society figures and celebrities.
Narrative by: National Portrait Gallery
Date Retrieved: 13 Jan 2024
"],
["MANASSÉ","#1Atelier Manassé
Atelier Manassé was a legendary Austrian photo studio that captured the golden age of cinema and cabaret in Vienna of the 1920s and 1930s. The studio was founded by Olga Spolarics and her husband Adorján von Wlássics.
Atelier Manassé, active from circa 1924 in Vienna and later also in Berlin, was founded by Adorján von Wlássics (1893-1946) and Olga Spolarics (1896-1969), both born in Hungary. Married in 1920, the Wlassics became part of Vienna’s high society, yet very little is known about their lives, education and training.
In the early 1920s, when the studio started, the film industry skyrocketed. From 1919 to 1922, the Austrian film studios like Sascha produced more than 140 films that found a global market. Popular variety shows flourished as well, bringing international stars such as Josephine Baker and the Tiller Girls, a popular British dance troupe, to Vienna.
Manassé's clients ran the gamut from magazine editors and advertising agencies to private buyers. Magazines aimed to satisfy a public obsessed with glimpses into the world of glamour. The Wlassics published their first film photos in publications like Wiener Magazin. The circa 30 magazines in Vienna needed images to accompany the increasing number of articles on film and theatre, in addition to gossip columns, sports news, fashion pieces and melodramatic stories of murder and mayhem.
Atelier Manassé started at the right time and the Wlassicas created masterpieces. They employed all the techniques of makeup, retouching, and over-painting to keep their subjects and buyers happy while upholding an uncompromised artistic vision. For us today, the studio’s rich visual legacy in part chronicles the golden era of cinema and theatre in Europe.
| Kristine Somerville in her article Darkroom Alchemy: The Photographic Art of Studio Manassé at ResearchGate: 'Styling, staging and photographic work was handled by Olga. She created the glamorous Manassé vision in their small but dazzling apartment, which also served as their studio in Vienna’s city center. The rooms and reception area were filled with lavish furnishings—bearskin rugs, Baroque furniture, tapestries, gilded mirrors, paintings and Greek pillars used as flower stands—which often appeared as backgrounds or props.'
Somerville: 'Adorján handled the artistic corrections and montages. He devoted a remarkable amount of time and ingenuity to perfecting techniques— primarily retouching, painting and overlaying images—to enhance Olga’s photographs.'
Till 1938 many European but also Hollywood film stars and starlets were photographed in the Manassé studio. Rudolph Valentino, Anna May Wong, French Lily Damita, and the legendary La Jana were among the stars who were photographed by the Wlassics.
Atelier Manassé also gained a high degree of popularity in the 1920s through erotic photographs, mainly of women.
Olga Spolarics (1896-1969) seems to have been the one interested in the nude photography. Atelier Manassé exhibited at the 1st International Salon of Nude Photography in Paris in 1933.
The artists liked to combine erotic with surreal motifs in their photographs. They used retouching techniques to create surreal and noir images that seethe with an erotic symbolism barely concealed beneath a mask of glorious styling, elegant poses, and extravagant costumes.
| In 1934, an entire edition of Muskete, a humorous magazine known for its caricature and pictorial jokes, was confiscated by Austrian censors. The Wlassics had failed to remove in the darkroom all traces of pubic hair on their nude cover photo.
The cover picture was one of their 'photographic jokes'. This genre was popularised by postcards that employed trick photography to depict such images as pretty girls growing on trees, the cherubic face of a loved one appearing in a wreath of pipe smoke or a lithe young woman hanging seductively from a businessman’s necktie.
The Wlassics went back to their studio and amended the photo, and the next month the magazine was republished without issue.
When Adorján von Wlássics and Olga Spolarics opened a new, smaller studio in Berlin, their business in Vienna was managed more and more by an associate.
They operated under various names, including Wlasics (the first name of the studio), WOG (in their Berlin studio) and Manassé-Ricoll (after the studio in Vienna was operated by an associate).
After the death of Adorján von Wlassics in 1947, the fame of the studio faded. Olga remarried and died in 1969.
In 1998 their photos were rediscovered through the publication Divas and lovers: the erotic art of Studio Manassé, by photographic historian Monika Faber, curator in the department of drawing and photography in the Museum of Modern Art in Vienna.
Billyjane & Drake Caperton regularly post pictures of Atelier Manassé on Facebook and Tumblr.
Narrative by: European Film Star Postcards
Date Retrieved: 13 Jan 2024
|
"],
["MANASSÉ-RICOLL","#1
Manassé-Ricoll
Vienna, Austria
See MANASSÉ
"],
["MANNATT","#1
James Mannatt
"],
["MANNINGER","#1
Manninger
"],
["MANUEL G.L.","#1
G. L. Manuel Frères
Photographic studio founded by brothers Gaston and Lucien Manuel
Paris, France
"],
["MANUEL Henri","#1
Henri Manuel
Paris, France | 
|
"],
["MANO","#1
Studio Mano
"],
["MARANIAN","#1
Maranian
Berlin, Germany
"],
["MARCUS","#1
Elli Marcus
Born in Berlin, Marcus opened her first photo studio in Berlin in 1918 and specialised in fashion photography and advertising photography. Outside her studio she worked mainly as a film and theatre photographer.
After Hitler's Machtergreifung in 1933, the early widowed Jewish woman emigrated with her son to Paris in 1934, where she opened another photo studio. When the National Socialists later occupied France, she fled to New York in March 1941. In Hollywood, she photographed Marlene Dietrich and other stars of the time.
Among her pupils were Rosemarie Clausen and Fred Erismann.
Marcus died in New York City at the age of 77.
Narrative by: Wikipedia
Date Retrieved: 10 Jan 2024
|
"],
["MARIGOLD","#1
Mickey Marigold
Los Angeles, California U.S.A.
"],
["MARION","#1
Atelier Marion
Berlin, Germany
"],
["MARQUARDT","#1
W. Marquardt
Berlin, Germany
"],
["MARTINIE","#1
Henri Martinie
Henri Martinie who was born in Corrèze in 1885 had a career particularly centered on literary circles. During the years 1920 to 1940 in his studio on the rue de Penthièvre, he took an exceptional group of portraits of French and foreign writers, among them Philippe Soupault, Georges Bernanos, Jean Cocteau, James Joyce and Paul Eluard. In addition, the Martinie Sudio worked regularly at the French National Assembly taking portraits of elected representatives until the 1950s. Henri Martinie died in Paris in 1965. His entire production--nearly 15,000 negatives--was acquired by Roger-Viollet in 1968.
Narrative by: Roger Violett Galerie
Date Retrieved: 16 Jan 2024
"],
["MARX","#1
Arthur Marx
Frankfurt am Main,Germany
"],
["MASSAGLIA","#1
Massaglia
Turin, Italy
"],
["MAY Frankfurt","#1
Atelier May
Frankfurt a. Main, Germany
"],
["MAY Mary","#1
Mary May
"],
["MEINEN","#1
Meinen
Berlin, Germany
"],
["MEISENBACH-RÖTTGERS","#1
Meisenbach-Röttgers
"],
["MELNECKE","#1
Franz Melnecke
"],
["MEMELSDORF","#1
Memelsdorf
Berlin, Germany
"],
["MERCK","#1
Merck
Hanover, Germany
"],
["MEYER","#1
Meyer
Berlin, Germany
"],
["MEYER Albert","#1
Albert Meyer
Berlin, Germany
|
"],
["MEYER Curt","#1
Curt Meyer
Wilmersdorf, Germany
"],
["MEYER-KUPFER","#1
Meyer-Kupfer
Berlin, Germany
"],
["MIEHLE","#1
John Miehle
John Miehle was born in 1902 in Los Angeles, California. Having been born so close to Hollywood, Miehle went to work as an assistant camera man on the 1931 movie 'Delicious' starring Janet Gaynor and Charles Farrell. He then worked exclusively in the Camera and Electrical Department doing uncredited still photography on some of the best known films.
Miehle's work included many films with Ginger Rogers, including several with Fred Astaire. He also took many publicity shots of such stars as Joan Crawford, Carole Lombard, Marilyn Monroe, and Lucille Ball.
Miehle died at the age in 1952 in Los Angeles, California.
Source and further information: Vintage Movie Star Photos blogspot
Date Retrieved: 24 Jan 2024
"],
["MIERENDORFF","#1
Hans Mierendorff
"],
["MINIATI","#1
Bruno Miniati
Livorno, Italy
"],
["MISHKIN","#1
Mishkin
Herman Mishkin (March 1870 – February 6, 1948) was a Russian-American photographer in Manhattan, New York City. He specialized in photographing opera singers. Mishkin was born in Minsk, Russian Empire in March 1870. He migrated to the United States in 1885. He bought a camera and started taking photographs in the 1880s. He married and had a son, Leo Mishkin. He died on February 6, 1948.
Narrative by and additional information: Wikipedia
"],
["MINDSZENTY T. von","#1Tibor von Mindszenty
Tibor Mindszenty, or Paul Vincenti as he was known in Hollywood, was born in 1899 and spent his childhood in Italy, Vienna and Budapest. In 1926, he left for America with the goal of a career as a Hollywood actor as the 'Hungarian Rudolph Valentino'. In the second half of the 1930s, Mindszenty switched from acting to photography. Having studied photography in America, he found that he preferred to work behind the camera, and opened a studio in Berlin.
Mindszenty worked on studio portraits and commercial photos primarily for Ufa film stars and magazines. He returned to the name ‘Mindszenty’ and ‘T. v. Mindszenty’ to sign his works.
In 1943, at the request of Ufa, he returned to Hungary to make a photo series of local stars. Information after 1943 has not been found.
Source and further information: National Film Institute - Hungary
Date Retrieved: 28 Dec 2023
|
"],
["MOCSIGAV","#1
A. Mocsigav
Hamburg, Germany
"],
["MODE","#1
Mode
"],
["MOLL","#1
Dr. Otto Moll
Munich, Germany
"],
["MOMBER","#1
H.J. Momber
Berlin, Germany
"],
["MONNERET","#1
Studio J.-C. Monneret
"],
["MONFÈRINO","#1
Monfèrino
Nice, France
"],
["MONROE E.","#1
Edward Thayer Monroe
U.S.A.
Edward Thayer Monroe (1890-1974) was an American photographer active in the first half of the twentieth century. He specialized in portraits of Broadway and movie celebrities.
"],
["MONROE","#1
C. Heighton Monroe
Los Angeles, California U.S.A.
"],
["MORGAN R.","#1
R. Morgan
"],
["MÖRLINS","#1
W. J. Mörlins
Berlin, Germany
"],
["MOSER","#1
Paul Moser
Berlin, Germany
"],
["MÜLER","#1
Marie Müler
Wrocław, Poland
"],
["MÜLLER","#1
Ilse Müller
"],
["MÜNCHS","#1
B. Münchs
Gotha, Germany
"],
["MUNCKEL","#1
Gertrud Munckel
Berlin, Germany
"],
["MURAY","#1
Muray
Nickolas Muray (born Miklós Mandl; 15 February 1892 – 2 November 1965) was a Hungarian-born American photographer and Olympic saber fencer.
Narrative by and additional information: Wikipedia
"],
["MUSACCHIO","#1
Cesare Musacchio
Caricaturist
Rome, Italy
Son of a public education official of Calabrian origin, Cesare Musacchio, born in Rome in the Regola district , revealed himself to be gifted at drawing very early. He left Rome at the end of his high school studies for Buenos Aires . There, he got in touch with the publishers of illustrated newspapers in order to offer them his collaboration; disappointed, he then left Argentina for Chile and settled in Valparaiso where he found a place in Los Sucesos and produced quantities of portraits of Chilean personalities. In 1908, he found himself in Paris where he spent a few years. . .
Returning to Rome, he became one of the main caricaturists and silhouette artists of the Giornale d'Italia. His unique style was noticed by Alberto Bergamini , director from 1901 to 1923. Musacchio opened a workshop and published his own albums and postcards. He became known abroad; the English magazine The Studio published some of his drawings. In 1911, he exhibited again in Paris, this time at the Italian embassy as part of the Society of United Italian Artists.
After the First World War , he was appointed artistic director of the Giornale d'Italia and then of L'illustrazione called by Aldo Molinari . With the arrival of fascism , he escaped censorship. In 1931 and then in 1933, he exhibited at the Salon des humouristes in Paris where an entire room was devoted to his portraits.
Narrative by: Wikipedia
Translated by Google Translate
"],
["MYERS","#1
Myers S.F. Photo
"],
["NACHEL","#1
Hahn Nachel
Dresden, Germany
"],
["NADAR","#1
Nadar (Gaspard-Félix Tournachon)
Paris, France | 
| | Nadar is the subject of a Wikipedia entry. |
"],
["NATGE","#1Hans Natge
Hans Karl Heinrich Natge (1893 - ) was a German photographer and film director. He completed an apprenticeship in photography before he was drafted into the First World War. After the War, he began his professional career as a theater photographer.
In the early 1920s, Natge focused his work towards film and, as a still photographer, established what was known as 'moment photography', collaboring with film directors such as E. A. Dupont and F. W. Murnau.
In the early years of the Third Reich, Natge suffered from several professional restrictions, but by 1935 he was able to resume his work as a still photographer. He spent the war years 1939 to 1945 in the service of Wien-Film. Natge's last works were still photos he took in the winter of 1944/45.
Source and additional information: Wikipedia
Date Retrieved: 29 Dec 2023
|
"],
["NAVANA","#1
Navana
"],
["NEHRDICH","#1
Rolf Werner Nehrdich
Kassel
Vital data
Kassel 1912 - 2002
Career
1926-29 apprenticeship with his father Max Nehrdich
1929-35 in the Binder Berlin studio
1935 Master's examination and own studio in Berlin
1943-45 Collaboration with the 'Führer Command' for the registration of stationary works of art
In 1947, the private college for photography was founded in Kassel, which the later fashion photographer F. C. Gundlach also attended. Then worked in Hamburg and Düsseldorf
Narrative by: Foto Grafen Wiki
Date Retrieved: 14 Jan 2024
"],
["NEUHAUSER","#1
Neuhauser
St. Moritz, Switzerland
"],
["NICLAS","#1
Yolla Niclas
Berlin, Germany
"],
["NICOLAIER","#1
Rose Nicolaier
Wrocław, Poland
"],
["NICZKY","#1
Joe Niczky
"],
["NIEDECKEN","#1
Niedecken
St. Moritz, Switzerland
"],
["NIEDERASTROTH","#1
Wilhelm Niederastroth
"],
["NIPPOLD","#1
Atelier Fritz Nippold
Frankfurt am Main, Germany
"],
["NOACK","#1
H. Noack
Berlin, Germany
"],
["NOËL","#1
Noël
"],
["NORAG","#1
Norag
Hamburg, Germany
"],
["NORTHLAND","#1
Northland Studios
"],
["OERTEL","#1
Grete Oertel
Berlin-Wilm., Germany | 
|
"],
["OGEREAU","#1
Ogereau
Paris, France | 
|
"],
["OHLMÜTZ","#1
Ohlmütz
Berlin, Germany
"],
["ORA d'","#1
d'Ora
Atelier d’Ora was one of the most important Austrian photo salons of the first decades of the 20th century. The studio was founded in 1907 by Dora Kallmus with the support of Arthur Benda, who was the technical director. Kallmus, who took the pseudonym Madame d’Ora in 1907, quickly became with her studio one of the most sought-after of Vienna's society photographers. She also portrayed many European film stars in her Vienna salon and from 1925 on also in her second studio in Paris.
Dora Philippine Kallmus was born in 1881 in Vienna, Austria. She came from a wealthy Jewish family. Her father Dr. Philipp Kallmus was a respected law attorney. Her mother died early and so she and her sister Anna were brought up by her grandmother and a governess.
Dora's first career aspiration was to become an actress. Because this job was not very well regarded in her family, she decided to become a milliner or tailor. On a trip to France, she discovered photography and decided to become a photographer.
Her family tolerated this plan more than her previous career plans, but there was another obstacle. As a woman, she was not allowed to attend a photography training. At that time women were denied a photography apprenticeship, but Dora Kallmus was allowed to work in the summer studio of the society photographer Hans Makart.
By an exemption, she could also attend the theoretical lectures of the at the Graphische Lehr- und Versuchsanstalt (Graphic Training Institute). However, she was not authorised to visit the practical seminars. Dora Kallmus: 'It was found sufficient that I was the first woman to be allowed access to the lectures, but the chemical reagents were kept away from me as if they were indecent jokes.'
In 1905, she became a member of the Association of Austrian photographers. It was through the mediation of her uncle and financial support from her father that she was able to train for a few months in 1907 with the famous photographer Nicola Perscheid in Berlin. Perscheid described her as his 'best student so far'.
After her internship was over, Perscheid offered to keep her as an employee in his studio, but Dora Kallmus wanted to become self-employed. From then on, Kallmus worked under the pseudonym 'Madame d'Ora'.
She returned to Vienna and founded her own studio, Atelier d'Ora. During her training in Berlin, she had met Arthur Benda, Perscheid's first assistant, and brought him with her to Vienna.
Arthur Benda was born in Berlin in 1885. He worked as an assistant for Nicola Perscheid from 1906 to 1907. Benda became the technical manager of Atelier d'Ora and from 1922 on, they ran the studio together.
| Atelier d’Ora soon gained a foothold in Viennese society. This success was probably partly due to the social ties that Dora Kallmus cultivated. Among the customers were the Austro-Hungarian aristocracy, rich industrialists, and politicians, but also such artists, actors, and writers as Gustav Klimt, Arthur Schnitzler, Marlene Dietrich, Oskar Kokoschka, Anna Sacher, Franz Werfel, and Richard Strauss.
D’Ora quickly was much in demand, especially for its society portraits, fashion photographs, and actor shots. It became chic to be portrayed by d’Ora. With her photographs, Madame d'Ora distinguished herself from the usually frozen portrait poses and looked for new, individual image solutions that matched the portrayed persons.
In addition to being a portrait studio for Viennese society, the Atelier d’Ora was also in high demand for its fashion shots. Designs of the Wiener Werkstätte were also photographed here. Many of the portraits and fashion photographs have been published in newspapers and magazines.
Atelier d’Ora was a commercial photo studio, but Madame d’Ora paid great importance to the artistic demands of her photographs and her studio. She strove for the recognition of her studio as an artistic photo studio. So she tried that to implement principles of pictorial photography and to create images as independent works of art could be viewed.
After the First World War, however, Vienna was no longer the centre of a world power, but only the capital of a small impoverished country. In the summer of 1921, d'Ora and Benda relocated their studio to the fashionable health resort Karlsbad (now Karlovy Vary). There, they worked during the summer months at the Olympic Palace Hotel. From 1921 to 1926 they were very successful there.
Possibly inspired by the French clientele that d’Ora found in Karlovy Vary, she decided to set up a second studio in Paris. In 1925, together with Benda, she opened the Parisian studio in rue Flachard in the 17th arrondissement. But Benda was not able to settle in Paris, their collaboration failed and Benda returned to Vienna.
In 1927, Madame d’Ora remained in Paris to continue her studio there. Arthur Benda took over the studio in Vienna, replaced d’Ora's share and it came to a long, violent legal dispute over the name of the Vienna studio.
After a long time, it was agreed that Benda had to add his name in Vienna. The studio would now bear the name 'd’Ora-Benda-Vienna' and the Paris studio operated under the name 'd’Ora-Paris'. From the Second World War on, Benda ran the Vienna studio only under his name.
| Arthur Benda stayed in Vienna for the rest of his life and became one of the most respected studio photographers and colour technology pioneers. He retired in 1965, and four years later he died of a stroke.
In Paris, Dora Kallmus managed to establish herself a second time and again attracted celebrities for her studio. Among d’Ora's Parisian clientele were again famous dancers, actors, painters, writers, and upper-class ladies. d'Ora portrayed such celebrities as Josephine Baker, Coco Chanel, Anna Pawlowa, Tamara de Lempicka, Alban Berg, Colette, and Maurice Chevalier.
Her photographs changed in terms of the contemporary taste of art and fashion. They became softer and more fluid in the transitions. Carefully elaborated light and glitter effects gave her pictures a glamour effect that was characteristic of this period.
During the Second World War, Dora Kallmus fled to the south of France. After the war, her photographs, her working methods, and their topics changed. In 1945, she travelled to Austria and took photos in a refugee camp where she documented the grief and displacement of the refugees.
She reopened her studio in Paris and again made photographs of artists, and did numerous fashion shoots.
Her last significant work is a series of animal carcasses in Paris slaughterhouses from 1956. Kallmus made countless photos of killed, cut, and skinned animal carcasses and documented the consequences of mass slaughter.
After a serious traffic accident in Paris in 1959, Dora Kallmus was no longer able to work. In 1961 she returned to Austria in need of care. At her request, she spent her last years in Frohnleiten in Styria in her family's house. Madame d’Ora died there in 1963.
In the last decade, Madame d'Ora has been rediscovered. Her work was shown in three major exhibitions in Austria: 'Vienna's Shooting Girls – Jüdische Fotografinnen aus Wien' (2012-2013) in the Jewish Museum Vienna, 'Madame d’Ora. Machen Sie mich schön!' (2018) in the Leopold Museum, Vienna, and 'Der große Bruch: d'Oras Spätwerk' (2019-2020) in the GrazMuseum in Graz, Austria.
Narrative by: European Film Star Postcards
Date Retrieved: 2 Jan 2024
|
"],
["ORA d' BENDA","#1
d'Ora Benda
Vienna, Austria
See ORA d'
"],
["ORTEGA","#1
Ortega
Berlin, Germany
"],
["ORICELLY","#1
J. Oricelly
Paris, France | 
|
"],
["OSTERMAYR","#1
OSTERMAYR
München, Germany
"],
["PACCHIONI","#1
Italo Pacchioni
Milan, Italy
"],
["PÁL","#1
Vada M. Pál
"],
["PALFI","#1
Marion Palfi
Berlin, Germany
"],
["PARIKAS","#1
Parikas
Reval, Estonia
"],
["PECQUEUX","#1
M. Pecqueux
"],
["PEIGNÉ C.","#1
Constant Peigné
Paris, France | 
|
"],
["PEKARSKI","#1
H. Pekarski
Leignitz, Poland
"],
["PENZ","#1
Theodor Penz
Charlottenburg, Germany | 
|
"],
["PERSCHEID","#1Nicola Perscheid
German photographer Nicola Perscheid (1864-1930) is primarily known for his artistic portrait photography. He developed the 'Perscheid lens', a soft focus lens for large format portrait photography. For several film star postcards of the 1910s and 1920s by Verlag Hermann Leiser, Photochemie, Rotophot and Ross Verlag, Perscheid took the photos.
Nicola Perscheid was born as Nikolaus Perscheid in Moselweiß near Koblenz (now part of Koblenz), Germany, in 1864. There he also went to school.
At the age of 15, he began an apprenticeship as a photographer in the studio Reuss & Müller in Koblenz. Subsequently, Perscheid earned his living as an itinerant photographer. He worked in Saarbrücken, Trier, and Colmar, but also in Nice, Vienna, or Budapest.
In Klagenfurt in Austria he finally found a permanent position and on 1 March 1887, he became a member of the Photographic Society of Vienna (Wiener Photographische Gesellschaft). In 1889, he moved to Dresden, where he initially worked in the studio of Wilhelm Höffert, a well-known studio in Germany at that time.
In 1891, Perscheid opened his own studio in Görlitz. The next year, he was appointed court photographer at the court of Albert, King of Saxony. In 1894, he moved to Leipzig, where he mainly made conventional studio photography.
Perscheid had his first publication of a photo in a renowned photography magazine in 1897, and from then on his work started to show new artistic impulses. He brought what was then a newer, painterly side to photography. His photography focused on portraiture, and especially his portraits of women are often in soft focus.
From 1899 to 1902, he participated in numerous national and international exhibitions in connection with the art photography movement and the artistic criteria this movement proclaimed. Perscheid also had contacts with the artist Max Klinger, whom he also photographed.
| As an established and well-known photographer, he moved in 1905 to Berlin, where he opened an elegant studio. Among the celebrities he portrayed are the physician Wilhelm Conrad Röntgen, politician Paul von Hindenburg, singer Fritzi Massari, author Gerhart Hauptmann and flying ace Manfred von Richthofen.
From 1903 on, he experimented with early techniques for colour photography, without much success. When his assistant Arthur Benda left him in 1907, Perscheid gave up these experiments altogether.
His portraits, however, won him several important awards. In 1909 he received the Grand Silver Medal, the highest award for professional photographers at the 38th convention of the German Photographers Association in Weimar.
Apparently his studio was not an economic success: he sold it in 1912. In October 1913, he held a course at the Swedish society of professional photographers, the Svenska Fotografernas Förbund, which must have been a success as it was praised even ten years later. In 1923, he followed a call by the Danish college for photography in Kopenhagen.
Sabine Schnakenberg notes about Nicola Perscheid: 'With Rudolph Dührkoop (1848-1918) and Hugo Erfurth (1875-1948) Perscheid belonged to those professional photographers who followed their own design ideas and were able to implement them for a small, affluent clientele. Characteristic was their closer examination of the person to be portrayed, whereby Perscheid succeeded in fulfilling the demanded contemporary demands on 'individuality', 'characteristics' and 'truth' of the portrayed by the use of simple clothes and backgrounds, the abandonment of studio props and to fulfil the economical use of retouching while exploiting the technical potential.'
Perscheid had several students who would later become renowned photographers themselves. Arthur Benda studied with him from 1899 to 1902, and joined him again in 1906 as his assistant for experimenting with colour photography. Benda left Perscheid in 1907. Together with Dora Kallmus, he went to Vienna and worked in her studio Atelier d'Ora, which he eventually took over. The studio continued to exist under the name d'Ora-Benda until 1965.
| Kallmus herself also had studied from January to May 1907 at Perscheid's. Henry B. Goodwin, who later emigrated to Sweden and in 1913 organised Perscheid's course there, studied with Perscheid in 1903. In 1924 the Swedish photographer Curt Götlin studied at Perscheid's studio. Perscheid also influenced the Japanese photographer Toragorō Ariga, who studied in Berlin from 1908 to 1914 and also followed Perscheid's courses. He returned in 1915 to Japan.
The Perscheid lens was developed around 1920. It is a soft-focus lens with a wide depth of field, produced by Emil Busch AG in Rathenow Germany, after the specifications of Perscheid. The lens is designed especially for large format portrait photography. Ariga introduced the Perscheid lens in Japan, where it became very popular amongst Japanese portrait photographers of the 1920s.
Even after the sale of his studio, Perscheid continued to work as a photographer and even rented other studio rooms in 1917. In these years, he made dozens portraits of film stars of the burgeoning German silent cinema. They were used for postcards by such Berlin publishers as Verlag Hermann Leiser, Photochemie and Rotophot with was later transformed into Ross Verlag.
Besides artistic photography, Perscheid also always did 'profane' studio portraits, for instance for the Postkartenvertrieb Willi Sanke in Berlin that between 1910 and 1918 published a series of about 600 to 700 numbered aviation postcards, including a large number of portraits of flying aces, a number of which were done by Perscheid.
Towards the end of the 1920s, Perscheid had severe financial problems. In autumn 1929 he had to sub-rent his apartment to be able to pay his own rent. Shortly afterwards, he suffered a stroke, and was hospitalised in spring of 1930. While he was at the hospital, his belongings, including his cameras and photographic plates, but also all his furniture were auctioned off to pay his debts.
Two weeks after the auction, on 12 May 1930, Nicola Perscheid died at the Charité hospital in Berlin.
Narrative by: European Film Star Postcards
Date Retrieved: 23 Dec 2023
|
"],
["PÉCSI","#1
József Pécsi
József Pécsi was a Hungarian photographer, innovator, and educator. Born in 1889 into a middle-class family in Budapest (then part of the Austro-Hungarian Empire), Pécsi was schooled in German and maintained lifelong ties with an international photography community. He studied photography at the Lehr- und Versuchsanstalt (Training and research institute) in Munich from 1909 to 1911, and began receiving international recognition soon after graduation.
In 1911 he returned to Budapest and opened his own studio, where he also offered instruction to apprentices. In 1913 he established the photography department at the Budapest School of Industrial Drawing, for which he is credited as the founder of photography education in Hungary. He was dismissed from teaching in 1920 due to conflicts with the conservative political regime but maintained his own studio, which served as a gathering place for students, including Eva Besnyö and her friend György Kepes.
| In 1922 Pécsi was elected vice president of the Budapest Industrial Guild of Photographers and served as editor of the guild’s journal, Magyar fotográfia (Hungarian photography). In 1930 he published the influential book Photo und Publizität (Photography and publicity) to promote the blending of typography, design, and photography in avant-garde advertising, with contributions from Kepes and others. The publication marks his crossover from the Pictorialist style of his early work to the ascendant international modernism of the interwar period.
The World War II years took their toll: he hid in Romania for a brief period; his studio and negatives were destroyed by a bomb in 1945; and, upon his return to Budapest, in 1946, financial hardship and an unfavorable regime forced him to take passport photographs to make ends meet. His passion for photography and innovative spirit were not lost, however; in 1952 he patented a combined duplex Pigment print process under the name PEJO.
Narrative by: Object Photo
Date Retrieved: 14 Jan 2024
|
"],
["PERCKHAMMER","#1
H. von Perckhammer
"],
["PERVEZ","#1
J. Pervez
"],
["PESCE","#1
Foto Pesce
Foto Pesce was an Italian photo studio that portrayed many Italian film stars of the late 1930 and early 1940s. Foto Pesce was a photographic agency founded in 1916 by Aurelio Pesce. Pesce's glamorous portraits were used for the postcards of such publishers as Rizzoli, Ballerini & Fratini (B.F.F.), and A. Scarmiglia (ASER). These portraits were often made for Scalera Film.
Aurelio Pesce was born in Naples in 1885. After moving to Rome, he established himself as a portrait photographer by opening a studio in Via dei Condotti 9, around 1916. His brother Franco Pesce joined him, albeit sporadically, as coadjutor.
Appointed head of the photographic department of Cines-Pittaluga, Aurelio left his studio in 1930. His photographs and portraits have been taken as models by other photographers for more than a decade.
In 1934 his brother Ettore Pesce began to work alongside him. The fire in the factories of Cines-Pittaluga in 1935, forced the productions to move to Turin and the Tirrenia studio. Aurelio also moved, while maintaining a photographic department at Cines, for which he remained responsible.
| In 1936 Aurelio also called with him his young stepbrother Sergio Pesce, who established himself as a stage photographer in 1938.
At the birth of Cinecittà in 1937, Aurelio left the responsibility of the photographic department, first, to his brother Ettore and then to Osvaldo Civirani.
In 1938, Aurelio became the official photographer of Scalera Film. He later founded his own photographic laboratory in Via Marco Tabarrini, in Rome where Pesce, Civirani, and Tosoni would create the first cinematic backdrop for the film La Principessa Tarakanova/Princess Tarakanova (Fyodor Otsep (as Fedor Ozep), Mario Soldati, 1938) starring Annie Vernay, printed and developed in one night.
After the war, the 'Foto Pesce' brand became 'Ettore Pesce' and 'Pesce Benfari'. Unlike Aurelio and Ettore, the other two brothers, Franco and Sergio, continued their career taking different paths from still photography.
| Franco was dedicated to the management of photography and after the war, he began his acting career. Sergio first worked as an assistant and cameraman for Scalera Film, assisting Ubaldo Arata, and later he established himself as director of photography.
. . .
During the late 1930s, Pesce often worked for Scalera Film, an Italian film production and distribution company that operated between 1938 and 1950.
Scalera had strong backing from the Italian state, as the Fascist government of Benito Mussolini was keen to build up and centralise the Italian film industry.
Scalera Studios was based in Rome, but in 1943 during the German occupation of Rome, the studio was relocated to Venice in the Italian Social Republic as part of a planned Cinevillaggio film complex developed by Mussolini loyalists.
However, after 1942 there are no postcards with photos by Pesce known.
Narrative by: European Film Star Postcards
Date Retrieved: 3 Jan 2024
|
"],
["PETERSEN","#1
Inga Petersen
Berlin, Germany
"],
["PHILLIPS","#1
Bertram Phillips
"],
["PHYFE","#1
Hal Phyfe
Los Angeles, California U.S.A.
Hal Phyfe was born into an American family based in Nice, France. He is a descendant of the American furniture designer Duncan Phyfe. He opened a New York photography studio in 1926. He photographed a range of celebrities including Florenz Ziegfeld Jr., Anna Q. Nilsson and Carveth Wells. He became known as 'the official photographer to high society' and 'one of the best amateur cooks in Manhattan'. He asked his subjects not to smile as they were being photographed.
Narrative by: Wikipedia
Date Retrieved: 19 Jan 2024
"],
["PFLUGFELDER","#1
Albert Pflugfelder
Berlin, Germany
"],
["PFLUGFELDER & MAGER","#1
Pflugfelder & Mager
"],
["PIEPERHOFF","#1
Pieperhoff
Leipzig, Germany
"],
["PIETSCH","#1
Martin Pietsch
Frankfurt am Main, Germany
"],
["PIAZ","#1
Teddy Piaz
It’s very hard to find any info on the Teddy Piaz studio in Paris. Teddy Piaz seems to be born in 1900, but the date of his death is unknown. His studio was specialised in portraits of Music Hall artists like Josephine Baker and Mistinguett, ballet dancers such as Serge Lifar, singers, film actors, and many other celebrities. Hundreds of his portraits were used for postcards.
Piaz is also associated with a number of 45 rpm records from the 1950s and 1960s, at a time when it was fashionable to include the portrait of the performer on the cover. Furthermore, it seems that Cosette Harcourt worked at his studio for a time before opening her own studio, Studio Harcourt.
The Piaz Studio was located at 122 Champs-Élysees, the avenue running between the Place de la Concorde and the Place Charles de Gaulle, where the Arc de Triomphe is located. The Champs-Élysees is known for its theatres, cafés, and luxury shops, for the annual Bastille Day military parade, and as the finish of the Tour de France. A fitting site for a glamorous photo studio visited by international celebrities. It’s a pity that the story of Teddy Piaz and his salon stays so obscure while it was such a famous photo studio in France during the 1930s, 1940s, and 1950s.
Narrative by: European Film Star Postcards
Date Retrieved: 3 Jan 2024
|
"],
["PIETZNER-GÖSCHKA","#1
Pietzner-Göschka
Carlsbad, Germany
"],
["PINTO","#1Pinto, Roma
All the stars of the silent Italian cinema seemed to visit Studio Pinto in Rome. Their portraits by Pinto graced many postcards by Ed. A. Traldi in Italy, but can also be found on several Ross Verlag postcards. Little is known about the studio.
Narrative by: European Film Star Postcards
Date Retrieved: 31 Dec 2023
|
"],
["PIROU Eugene","#1
Eugene Pirou
Paris, France | 
|
"],
["PLAPPERT","#1
Hermann Plappert
Munich, Germany
"],
["PLATH","#1
Plath
Berlin, Germany
"],
["POWELL & TOMATIS","#1
Powell & Tomatis
Nice, France
See Tomatis
"],
["PRAGNELL","#1
Kate Pragnell
London, England | 
|
"],
["PRENZEL","#1
Prenzel
Berlin, Germany
"],
["PRESSER & HAUS","#1
Inge C. Presser - Walter Haus
"],
["PUFFER","#1
B. Frank Puffer
New York, New York USA | 
|
"],
["QUICK","#1
Quick
Berlin, Germany
"],
["RAHMA","#1
Studio Rahma
"],
["RAHMN","#1
Knute Olaf Rahmn
Knute Olaf Rahmn was Mary Pickford's personal photographer who photographed her private, as well as professional, life throughout most of her career. Rahmn was the still photographer for a pair of her films, both in 1929, 'Coquette' and 'The Taming of the Shrew'.
Narrative by and additional information: The Daily Mirror
Date Retrieved: 24 Jan 2024
"],
["RAPHAEL","#1
Raphael
Warsaw, Poland
"],
["RAUPP","#1
Erwin Raupp
Dresden, Germany | 
|
"],
["RAVE","#1
Christopher Rave
Rave was a popular painter of naval art living in Hamburg. Between 1900 and 1909 he created about 300 paintings about 8,000 years of navigation.
Narrative by and additional information: Wikipedia
Date Retrieved: 26 Jan 2024
"],
["REDEL","#1
Jul. Redel
Kiel, Germany
"],
["REINHARD","#1
Fritz Reinhard
Leipzig, Germany
"],
["REIßNER","#1
Reißner
"],
["REISSNER","#1
Marie Reissner
Prague, Czech Republic
"],
["REMBRANDT","#1Rembrandt
Charlottenburg, Germany
Besides the famous Amsterdam painter, there also used to be an interesting German photo studio called Atelier Rembrandt. Under this name, the photographers Else and Alfred Cohn created the stills for stage productions and some classic German silent films of the 1910s and 1920s. Their star portraits are likewise exquisite and were reproduced on many film star postcards at the time. Atelier Rembrandt was located at Brückenstrasse 6 b, near the Jannowitzbrücke in Berlin and was active between 1911 and 1936
Narrative by: European Film Star Postcards
Date Retrieved: 31 Dec 2023
|
"],
["RÉNE","#1
Gilbert Réne
"],
["REPUTIN","#1
G.J. Reputin
Zagreb, Croatia
"],
["RESIDENZ","#1
Atelier Residenz
Vienna, Austria | 
|
"],
["REUTLINGER","#1
Reutlinger Studios
Paris
Also see cards in Other Publishers - French - SIP Reutlinger section of this catalog
"],
["RICHEE","#1
Eugene Robert Richee
Los Angeles, California
Eugene Robert Richee was head portrait photographer at Paramount Pictures from 1925 to 1941, creating definitive portraits of Gloria Swanson, Pola Negri, Emil Jannings, George Bancroft, Louise Brooks, Clara Bow, Marlene Dietrich, Gary Cooper, Carole Lombard, Bing Crosby, Bob Hope, Dorothy Lamour, Veronica Lake, Barbara Stanwyck, and numerous other stars at Hollywood’s second most powerful studio. Richee’s style was purposefully soft and diffused, and, although he adopted Josef von Sternberg’s spotlit lighting schemes in 1932, he resisted the Hurrell influence and declined to use hard lenses for sharp portraits.
Narrative by: Fathom | Art
Date Retrieved: 20 Feb 2024
"],
["RICHTER","#1
Ursula Richter
Dresden, Germany
"],
["RICOLL","#1
Ricoll
Vienna, Austria
See MANASSÉ
"],
["RIESS Frieda","#1
Frieda Riess
Riess was born in the Prussian Province of Posen where her Jewish parents were shopkeepers. At the end of the 1890s, her widowed mother moved the family to Berlin where Frieda first studied sculpture (c. 1907) and later photography. In 1918, she opened a studio on the Kurfürstendamm in Berlin, with a clientele of film actors, dancers, music hall performers, and other social figures.
In 1932, she married the former French ambassador in Berlin, moving with him to Paris. Further information is not known.
Source and additional information: Wikipedia |
"],
["RING","#1
Ring Atelier
Vienna, Austria
"],
["RISCHKE P.","#1
P. Rischke
Berlin, Germany
"],
["RISCHKE & MARBY","#1
Rischke & Marby
"],
["ROBERTSON","#1
Hans Robertson
Berlin, Germany
Hans Robertson (8 May 1883 – 11 September 1950) was a German photographer and photojournalist of the Weimar Republic. He had a studio in Berlin focused on photography of dance, theatre, and portraits of its people including Harald Kreutzberg, Vera Skoronel and Mary Wigman, and of other public figures such as Käthe Kollwitz, Heinrich Mann, Gustav Stresemann and Max Schmeling.
Narrative and additional information: Wikipedia
Date Retrieved: 24 Jan 2024
|
"],
["ROGGE","#1
K. Rogge
Hamburg, Germany
"],
["RÖHR","#1
R. Röhr
"],
["ROSENBERGER","#1
Heinz Rosenberger
Berlin, Germany
"],
["ROTH","#1
Herybert Roth
Frankfurt am Main, Germany
"],
["ROTHAUPT","#1
Rothaupt
"],
["ROTHAUPT","#1
Rothaupt
"],
["ROYAL","#1
Royal Atelier
New York, New York U.S.A.
"],
["RUMBLER","#1
J. Rumbler
Wiesbaden, Germany
"],
["RUDE","#1
Rude
Copenhagen, Denmark | 
| | Rude is the subject of a Wikipedia entry. |
"],
["SAAF","#1
Pierre Saaf
Amsterdam, The Netherlands
"],
["SAHM","#1SAHM
Anton Sahm (1891 - 1968) was an German photographer, receiving his training in Vienna, Budapest, Paris and Munich. In Vienna, he completed a long-term apprenticeship with Madame d'Ora. From 1913 he worked independently.
Sahm served in the First World War in the aerial photography department of the airforce. After the war, Sahm and his family moved to Munich where he opened a studio for portrait, fashion, theater and nude photography. Initially, he operated there under the name Wiener Kunst-Salon.
Anton Sahm died in Munich in 1968. The following year, his son, Walter, took over the photo studio.
Source and further information: Wikipedia
Date Retrieved: 29 Dec 2023
|
"],
["SAEGER","#1
Saeger
Berlin, Germany
"],
["SAMSON","#1
Atelier Samson & Co.
Elberfeld, Germany | 
|
"],
["SAMSON Berlin","#1
Atelier Werner Samson
Berlin, Germany |
"],
["SANDAU","#1Sandau
One of the Berlin studios which photographed film stars for the postcards of Ross Verlag was Atelier Sandau. Between 1919 and 1939, Ernst Sandau portrayed many actors in his studio at Unter den Linden, but he also made fashion photos for such women magazines as die neue linie. During the Third Reich, he changed his subject to Ritterkreuzträger (Knight Cross Holders).
Ernst Sandau was the son of another photographer named Ernst Sandau. His father was born in 1880 in Linköping in Sweden and his original name was allegedly Ernst Sigfrid Pettersson, which he changed around 1895. Sandau senior was a royal Swedish court photographer and a civil engineer. |
Ernst Senior came to Berlin around 1905 and established himself there as a portrait photographer. From about 1910, he ran his studio in the house Unter den Linden 19, where Erich Sellin had worked before him. Later the Atelier Sandau was in Unter den Linden 41, in which photographer Tita Binz later also worked.
After his death in 1918, Ernst Sandau's photo studio in Berlin was taken over by photographer Suse Byk.
Ernst Junior had also become a photographer. He focused on fashion and worked for such women magazines as die neue linie.
| Like Tita Binz, Ernst Jr. also got work orders from Ross Verlag. He started there around 1919. The last Ross Verlag postcards with his pictures date from ca. 1940. In this period, he also portrayed Ritterkreuzträger (Knight Cross Holders). Little is known further about Ernst Sandau's life.
Narrative by: European Film Star Postcards
Date Retrieved: 24 Dec 2023
|
"],
["SANDAU-BRAUER","#1
Sandau-Brauer
Berlin, Germany
"],
["SANTHO","#1
Imre von Santho
Imre Szántó, worked professionally as Imre von Santho, (1895, Budapest – 1957, Frankfurt/Main) was a Hungarian fashion photographer and illustrator, based in Berlin and Vienna between the wars.
Source and additional information: Wikipedia
Date Retrieved: 14 Jan 2024
"],
["SARONY","#1
Sarony
New York
"],
["SARRE","#1
Sarre
Star-Foto-Atelier
"],
["SARTONY","#1
Sartony
Paris, France | 
|
"],
["SARZETTI","#1
Sarzetti
Shanghai
"],
["SASHA","#1
SASHA
London, England
"],
["SATOW","#1
Eva Satow
"],
["SATOW-SCHRÖDER","#1
Eva Satow-Schröder
"],
["SAZERAC","#1
Sazerac
Paris, France | 
|
"],
["SCHAARWÄCHTER","#1
J.C. Schaarwächter
Berlin, Germany | 
|
"],
["SCHÄFER","#1
Paul Schäfer
Germany
"],
["SCHAFGANS","#1
Theo Schafgans
Bonn, Germany
"],
["SCHALLER","#1
Hans Schaller
"],
["SCHARTNER","#1
Schartner
Berlin, Germany
"],
["SCHENK","#1
Schenk
Hanau, Germany
"],
["SCHENKER Karl","#1Karl Schenker
had one of the most famous German photo studios between the early 1910s and early 1930s. Many German film stars of the era sat before the cameras of the two main photographers of the studio, Karl Schenker and Mario von Bucovich.
Karl Schenker was born in Bukovina in Romania in 1886. He moved to Berlin via Lviv and Munich around 1912 and opened an 'atelier', a photo studio, in the German capital.
Atelier Schenker quickly became a great success and everybody who was anybody had their portrait taken in his studio on the famous Kurfürstendamm. He also did fashion photography for magazines like Die Dame.
| As curator Miriam Halani of the Museum Ludwig noted: 'After all, no one made their subjects look better, and there was no greater master of retouching. He wrapped actresses, dancers, and society ladies in tulle and furs before taking their picture -- or he painted the fur into the picture afterwards.'
In 1925, Schenker left for the US, where he stayed for five years. In New York, he mainly illustrated and painted portraits under the name Karol Schenker. His atelier in Berlin was then taken over by Mario von Bucovich. Von Bucovich was born in 1884 in Pula in Istria [Croatia].
| Schenker returned to Berlin in 1930, but when the Nazis took the power in 1933 the Jewish Schenker could not stay in Berlin. He emigrated to England in 1938. There he opened a studio in London on Regent Street and he died in the British capital in 1954.
Mario von Bucovich worked during the 1930s in Wiesbaden, London, Paris, and the US, before settling at the end of the decade in Mexico. There he died in a car accident in 1947.
The exhibition 'Master of Beauty' on the work of Karl Schenker was presented at the Museum Ludwig in Cologne in 2016 and 2017.
Narrative by: European Film Star Postcards
Date Retrieved: 23 Dec 2023
|
"],
["SCHENSKY","#1
Schensky
Heligoland, Germany
"],
["SCHERAPOW-SCHRÖDER","#1
Scherapow-Schröder
"],
["SCHERL","#1
August Scherl
Berlin, Germany
"],
["SCHEURICH","#1
Scheurich
"],
["SCHINDLER","#1
Annemarie Schindler
"],
["SCHILTTER","#1
Eugen Schiltter
"],
["SCHLATTER","#1
Ernst E. Schlatter
"],
["SCHLESINGER","#1
Edith Schlesinger
Amsterdam, The Netherlands
"],
["SCHLOSS","#1
Schloss Atelier
Berlin, Germany
"],
["SCHLOSS Jacob","#1
Jacob Schloss
New York, New York USA | 
|
"],
["SCHLOSSER & WENISCH","#1
Schlosser & Wenisch
Prague, Czech Republic
Otto Schlosser in 1909 opened the Prague studio Schlosser & Wenisch together with Max Wenisch. Although Wenisch was a partner in the company, there is no concrete evidence that he himself took photos in the studio. From 1911 Otto Schlosser appears as sole proprietor, however, the double name of the shop remained.
Narrative by: Wikipedia
"],
["SCHLOWA","#1
Schlowa
"],
["SCHMIDT","#1
Schmidt
Berlin, Germany
"],
["SCHMIEGELSKI","#1
Atelier Schmiegelski
Berlin, Germany
"],
["SCHMITHALS","#1
Schmithals
"],
["SCHMITT-WEHL","#1
Helga Schmitt-Wehl
Friedenau, Germany
"],
["SCHMOLL","#1Atelier Schmoll
Atelier Schmoll was the Berlin studio of the German photographer Alexander Schmoll. From the late 1920s onward, Schmoll worked as set photographer in German cinema. He photographed many Henny Porten films such as Das Abenteuer der Sibylle Brant (1925), Violantha (1927), Meine Tante, deine Tante (1927), and Kohlhiesels Töchter (1930) - right into the early sound era. Schmoll also made studio portraits of many beloved German film stars.
Alexander Schmoll was born in 1880 in Saarbrücken, Germany. From 1894 Schmoll completed an apprenticeship as a photographer at Leibrock in Saarbrücken.
| Already in 1904, Schmoll opened his own Berlin photo studio, at Belle-Alliance-Straße 91. In 1914 he acquired the master's title.
He worked as a set photographer in German cinema from the late 1920s onward. According to Wikipedia, he started in 1927 at the Henny Porten film Violantha (1927), but in fact he worked already in 1925 at Das Abenteuer der Sibylle Brant/The Adventures of Sybil Brent (Carl Froehlich, 1925).
Several more Porten films followed: Lotte, Die grosse Pause, Meine Tante, deine Tante, Liebe und Diebe, Zuflucht, Wehe, wenn sie losgelassen...!, Kohlhiesels Töchter, Mutterliebe, and Skandal um Eva - right into the early sound era.
| Also, Schmoll made many studio portraits. He portrayed well-to-do families but also many stage and screen actors, such as Heinz Rühmann, Rudolf Platte, Gustav Knuth, Heinrich George, Grethe Weiser, and Brigitte Horney.
Alex Schmoll died somewhere between 1943-1945, but no exact date is known. His last film credit was the war film Spähtrupp Hallgarten (Herbert B. Fredersdorf, 1941).
Narrative by: European Film Star Postcards
Date Retrieved: 24 Dec 2023
|
"],
["SCHMOLL H.","#1
H. Schmoll
Berlin, Germany
"],
["SCHNEIDER","#1Ernst Schneider
Ernst Schneider was one of the most acclaimed studio photographers of Berlin during the 1910s, 1920s and 1930s. Many celebrities from the theatre, the opera, the circus, and later the cinema came to his studio. Schneider also belonged to the esteemed fashion photographers of the German capital, and published books with his nude photography.
Ernst Schneider started his career in photography sometime at the turn of the 20th Century. Exact data are not available at the net.
His first fashion shots were published in magazines like Welt der Frau (World of Women) and Gartenlaube (Gazebo).
| In 1908, he published Die Gestalt des Menschen und Ihre Schönheit: Vorlagen zum Studium des nackten menschlichen Körpers (The Human Form and Beauty: templates to study the naked human body). This book with nude photography was also published in the U.S. by the publisher J. Singer and Company in 1908.
In addition to beautiful women Schneider photographed opera and theatre stars such as Franz Lehar, Richard Tauber and Hans Albers. Even Mata Hari posed for Schneider’s camera.
Around 1908 Atelier Ernst Schneider started to work closely together with such postcard publishers as Rotophot and Neue Photographische Gesellschaft (NPG) and from 1919 on with Ross Verlag.
| From 1910 on, the studio was located at Unter den Linden 62-63. Atelier Ernst Schneider moved to the fashionable Kurfürstendamm in 1932. The company remained there until the end of the 1930s.
Schneider worked for the city's best fashion houses and he had a large villa in Wannsee, where many fashion photographs were taken. During the 1930s his work appeared in Vanity Fair and Die Illustrierte Berliner Zeitung.
What later happened to Ernst Schneider and his studio is unclear. If you have more information, please let us know.
Narrative by: European Film Star Postcards
Date Retrieved: 23 Dec 2023
|
"],
["SCHÖBEL","#1
Georg Schöbel
German painter (1860-1930)
"],
["SCHOSTAL","#1Schostal Photo Agency
The Schostal Photo Agency was founded by cousins Robert and Walter Schostal in 1929, with the aim of producing and distributing photographs both locally and globally. Its headquarters were in Vienna, with offices in major European cities of Paris, Milan, Berlin, and Stockholm. The Agency represented more than 400 photographers.
Source and further information: Wikipedia
Date Retrieved: 27 Dec 2023 |
"],
["SCHRECKER","#1
Schrecker
Berlin, Germany
"],
["SCHREIBER","#1
Ulrike Schreiber
Munich, Germany
"],
["SCHREYER","#1
Schreyer
Berlin, Germany
"],
["SCHRÖDER","#1
Schröder
"],
["SCHROEDER","#1
Ilia Schroeder
"],
["SCHULZE-MAURITIUS","#1
Annelise Schulze-Mauritius
"],
["SCHÜNEMANN","#1
Schünemann
"],
["SCHÜSSLER","#1
Hettie Schüssler
Berlin, Germany | 
|
"],
["SCHUSTER","#1
Schuster
"],
["SCHWARZ","#1Hanni Schwarz
Hanni Schwarz was a German nude and portrait photographer, who worked in Berlin from around 1901. She is considered a well-known professional photographer in the German Empire at the beginning of the twentieth century.
Source and further information: Wikipedia
Date Retrieved: 27 Dec 2023 |
"],
["SCHWER","#1
Schwer
"],
["SCHWERTFÜHRER","#1
Arthur von Schwertführer
"],
["SCOLIK Charles","#1
Charles Scolik
Vienna, Austria | 
|
"],
["SCOFFONE","#1
Scoffone
"],
["SEELY","#1
Walter F. Seely
Los Angeles, California U.S.A.
Walter Frederick Seely was born in 1886 and photographed stars primarily during the 1910s to the 1930s. He worked for the Witzel Studio (of Los Angeles) who were popular for their Ziegfeld girls.
According to David S. Shields: 'Walter F. Seely was one of the most artful of the L.A. performing arts photographers. Trained as a landscape painter, Seely had co-directed the Redwood Gallery in Eureka with his brother Ed Seely from 1907 to 1911, so knew how to run a studio. Seely stayed with Witzel until setting up an independent gallery under his own name in 1920 and created the most daringly designed images produced under the Witzel brand. His fine arts background inclined him to horizontal formats and reclining figures, a different orientation and disposition of subject than the vertical stock-in-trade of portraitists. A colorist whose eyes had been nourished by the natural tones of his native California, Seely imported into his photography an exquisite sense of tonal modulation and lighting dramatics. He favored the spare ornaments and props of pictorialist portraiture—the fat bellied urns, ewers, and ollas—and embraced pictorialism’s interest in exotic costume. He had a finer sense of pictorial design than Witzel, but not as great an interest in the subtleties of facial expression. That part of Witzel drawn to glitz—to visual sensation for its own sake—found an amplifying eye in Seely. After Seely’s departure, Witzel sought someone who could take his place.'
From 1914 to 1924 his studio photographed more motion picture performers than any on the planet.
Seely passed away in the 1960s.
Narrative by and further information: Vintage Movie Star Photos blog
Date Retrieved: 13 Jan 2024
"],
["SELLIN-SANDAU","#1
Sellin-Sandau
See Sandau
"],
["SERDA","#1
Charlott Serda
"],
["SERENISSIMA","#1
La Serenissima
Rome, Italy
"],
["SETZER","#1Setzer
Franz Xaver Setzer (1886 - 1939) was an Austrian photographer, receiving his training at the Imperial Royal Institute of Prints and Drawings, and establishing his own studio in 1909. His portraits displayed personalities from the theater, opera and cultural scene.
Setzer died in January 1939 as a result of a serious illness.
Source and further information: Wikipedia
Date Retrieved: 29 Dec 2023
|
"],
["SIEGERT","#1
R. Siegert
Berlin, Germany
"],
["SIMON G.","#1
Gerty Simon
Berlin, Germany
Gerty (Gertrud) Simon (1887-1970) was a German-Jewish photographer renowned in the 1920s and 1930s for her portraits of important political and artistic figures in Weimar Berlin and interwar London. In the 1930s, as a refugee from Nazism in Britain, Simon rapidly re-established her studio. She was soon photographing notable personalities from British public and cultural likfe to great acclaim.
Source and further information: The Wiener Holocaust Library
Date Retrieved: 14 Jan 2024
|
"],
["SIMSON","#1
"],
["SKALDEN","#1
Kurt Skalden
"],
["SKALL","#1
Skall
"],
["SKOWRANEK","#1
Skowranek
Berlin, Germany | 
|
"],
["SMITH","#1
Lizzie Caswall Smith
Lizzie Caswall Smith (1870–1958) was an early 20th-century British photographer who specialised in society and celebrity studio portraits, often used for postcards. She was associated with the Women's Suffrage movement and photographed many suffragettes including Flora Drummond, Millicent Fawcett and Christabel Pankhurst. She also photographed actors including Henry Ainley, Camille Clifford, Sydney Valentine, Billie Burke, and Maude Fealy.
Source and additional information: Wikipedia .
"],
["SOBOL","#1
Ruben Sobol
Paris, France
"],
["SOMMARIVA","#1
Sommariva
Milan, Italy
"],
["SONDEREGGER","#1
J.Sonderegger
Westerland, Germany
"],
["SONDERHOFF","#1
C. Sonderhoff
Berlin, Germany
"],
["SOTÉRO","#1
Sotéro Cosme Caricatures
Sotero Cosme (1905-1978) was a distinguished Brazilian painter, illustrator, caricaturist, and engraver.
Source: Flickr posting at the Truus, Bob & Jan too! account.
Date Retrieved: 9 Jan 2024
"],
["SOULAT-BOUSSUS","#1
Jean Soulat and Maurice Boussus
"],
["SOULIÉ","#1
M. Soulié
"],
["SPURR","#1
Melbourne Spurr
Los Angeles, California USA
Melbourne Spurr arrived in Hollywood around 1917 and worked for the noted photographer Fred Hartsook, taking portraits of the early stars. Spurr photographed Mary Pickford while working at the Hartsook studio and so impressed her that she personally helped launch his career as a Hollywood portrait photographer. By the mid 1920s he was one of the premier celebrity portraitists in the world.
By this time, though, the major movie studios were mandating that their stars could only be photographed by their own photographers. Spurr chose to keep his own studio, and was eventually shut out in favor of men like George Hurrell, Clarence Sinclair Bull, Eugene Robert Richee and others who worked for the big motion picture studios.
Spurr shined in Hollywood for one glorious decade - the 'Roaring 20s' - but then moved on to photographing other notables like US presidents, artists, authors and dancers.
Narrative by: IMDB Mini Bio
.
"],
["STACY","#1Charles E. Stacy
Charles Stacy was the still photographer for the Vitagraph Company, Brooklyn, New York's first motion picture company. He also was the official photographer with Buffalo Bill's Wild West Show and Congress of All Nations.
Source: New York Eagle Obituary
Date Retrieved: 17 Jan 2024 |
"],
["STAR","#1
Star
Paris, France
"],
["STAR-FOTO-ATELIER","#1
Star-Foto-Atelier
Paris, France
"],
["STASSOW-WENGEROW","#1
Stassow-Wengerow
"],
["STEBBING Edouard","#1
Edouard Stebbing
Paris, France | 
|
"],
["STEIN","#1
O. Stein
"],
["STEIN H.","#1
Harold Stein
New York, New York U.S.A.
"],
["STEINEMANN","#1
Steinemann
Lucarno, Switzerland
"],
["STEINER J.","#1
Jo. Steiner
Berlin, Germany
"],
["STIFFEL","#1
A. Stiffel
Munich, Germany
"],
["STONE","#1
Stone
Berlin, Germany
"],
["STEINHAU","#1
Steinhau
Berlin, Germany
"],
["STEINITZ","#1
Alwin Steinitz
Berlin, Germany
"],
["STRAUSS-PEYTON","#1
Strauss-Peyton
Kansas City, Missouri U.S.A.
Strauss-Peyton was Kansas City's most innovative portrait studio refining a method of background painting on the negative that made the hand of the artist visible in every image. Benjamin R. Strauss (1871-1952) and Homer K. Peyton collaborated in the creation of the portraits from 1903 until 1926 when each went his separate ways. Their style of photography would be imitated by other Kansas City camera artists--David Baker, Orville Hison, H. Kenyon Newman, James A. Wiese, and the photographers of Bert Studio. Indeed, the community of artistic portraitists inspired by Strauss-Peyton would constitute the most important school of celebrity portraiture developed outside of New York and Hollywood during the first half of the 20th century.
Narrative by and additional information: Broadway Photographs
Date Retrieved: 1 Feb 2024
"],
["STRELISKY","#1
Strelisky
Budapest, Hungary
Lipót Strelisky was one of the first to deal with daguerreotypes in Budapest in the 1840s. In his studio in Dorottya Street, he photographed the politicians, aristocrats and artists of the age. His son, Sándor Strelisky, who died a hundred years ago, was the first photographer in Hungary to take multi-character photographs with a special technique. Strelisky photos are invaluable today and help us learn about Budapest's past.
Source and additional information: PestBuda - 'The Strelisky photographer dynasty in Budapest'.
"],
["STRELOW","#1
Liselotte Strelow
Berlin, Germany
Liselotte Strelow (11 Sept 1908 – 30 Sept 1981) was a German photographer who specialized in portrait and theater photos. Born in Redel, Pommerania, she left for Berlin in 1930, where she took photography courses. In 1932, she apprenticed in the studio of Suse Byk, after which she was employed by Kodak (Germany). In 1938, she took over the Byk studio. The studio, as well as most of her photo archive, were destroyed in a bombing raid in the winter of 1944. She later opened a studio in Düsseldorf.
Source and additional information: Wikipedia .
"],
["STRÖMINGER","#1
Ströminger
Prague, Czech Republic
"],
["STWOLINSKI","#1
von Stwolinski
"],
["SZURGAST","#1
Margarete Szurgast
Berlin, Germany
"],
["SZYMANSKI","#1
Studio Henkel Szymanski
Berlin, Germany
"],
["TANNENWALD","#1
Atelier Tannenwald
Wiesbaden, Germany
"],
["TANNIGEL","#1
Tannigel
Berlin, Germany
"],
["TAUSSIG","#1
Taussig
Vienna, Austria
"],
["TENHOVAARA","#1
Tenhovaara
Helsinki, Finland
"],
["THOMA","#1
Dr. Thoma
"],
["TILLMANN-MATTER","#1
Tillmann-Matter
Mannheim, Germany
"],
["TORNQUIST","#1
Herbert Tornquist
Herbert Tornquist was a New Zealand-born artist who studied at Elam School of Art, under Claus Edward Fristrom and also at the Chicago Art Institute.
In addition to working as a commercial artist, he was a portrait photographer, whose work included the portraits of George Bernard Shaw, Anna Pavlova and Dame Sybil Thorndyke. Tornquist later retired from photography, and took up painting and writing about art full time.
Tornquist was often considered a modernist in his time working in the manner of the French impressionists.
Narrative by: Ferner Galleries
Date Retrieved: 27 Jan 2024
"],
["TRAUTSCHOLD","#1
Gustav Trautschold
Berlin, Germany
"],
["TRENKER","#1
Trenker
"],
["TREVISANI","#1Trevisani
Italian photographer Paolo Trevisani was based in Bologna and his studio was active between 1900 and ca. 1930. Little is known about his biography. In the 1910s, Trevisani started to make photo portraits of such celebrities as author Luigi Pirandello and stage and film diva Lyda Borelli.
Very little is known about photographer Paolo Trevisani. On 5 April 1901, Trevisani and his partner Mario Pozzi succeeded the Angiolini studio at the Palazzo Pepoli in the Via Castiglione 1339 (now no. 6), in the old Palazzo Pepoli in Bologna.
| In 1837, Luigi Angiolini, Girolamo Angiolini and Luigi Mazzoni set up a company for typography and lithography in Bologna in Via Altabella 1636. The opening of the first photographic studio probably dates back to June 1858, when Luigi Angiolini moved the company to the premises in Via Castiglione.
In 1869, the year of Luigi Angiolini's death, the business passed to his four sons who kept the company name 'Luigi Angiolini e C.' until 1885. It was to be the three sisters Amalia, Cesira and Adele Angiolini who continued the business after their brother Ugo Felice left Bologna in c. 1870. From 1881 the sisters used the name 'M.lles Angiolini'.
| The sisters participated in the Italian General Exhibition in Turin in 1884 and received a silver medal from the Bologna Chamber of Commerce for the photographs exhibited including a portrait of Queen Margherita.
In 1901, the sisters sold the company in Bologna to Mario Pozzi and Paolo Trevisani. According to an advertisement, they produced 'portraits on novelty cards, unalterable enlargements, photographs on porcelain and on enamel, reproductions and watercolour works, and miniatures on ivory'.
Narrative by: European Film Star Postcards
Date Retrieved: 31 Dec 2023
|
"],
["TRIX","#1
Trix Photo
Berlin, Germany
"],
["TUCHOLKA","#1
Tucholka
Berlin, Germany
"],
["TUNBRIDGE","#1
Tunbridge
"],
["VENTURINI","#1
Venturini
Rome, Italy
"],
["VASELLI","#1Arnaldo Vaselli
Together with Aurelio Pesce and Osvaldo Civirani, Arnaldo Vaselli was one of the founders of Italian stills photography. Already at an early stage, in 1928, he started his career, working for various film companies. He founded one of the longest lasting and active companies in Italian cinema: Foto Vaselli. Vaselli provided the maximum number of Italian film stills. His label was printed on the back of many of his photographs, even if Vaselli had many collaborators.
Foto Vaselli was active between 1936 and 1969. Arnaldo Vaselli started with the stills for Cavallleria (Goffredo Alessandrini, 1936) and ending with L'asino d'oro (Sergio, Spina, 1969). Between 1939 and 1943 Vaselli had a huge production of stills for dozens of film titles: 1939 (15), 1940 (18), 1941 (22), 1942 (31) and 1944 (27). . .
| Among these titles were several films with Isa Miranda, Amedeo Nazzari, Macario, Alida Valli and others. The main companies for which Vaselli made his stills then were Lux Film, I.C.I., E.N.I.C., Italcine, and Juventus.
During the war Vaselli did the stills for a few films shot at the FERT studios in Turin, including Documento Z-3 (Alfreo Guarini, 1943), starring Guarini's wife Isa Miranda.
After the war stills production at Vaselli was relative low, though in 1951-1952 a new boom occurred.
In addition to countless lesser known genre films, Vaselli provided the stills for the neorealist films of Luigi Zampa (Vivere in pace, 1946; L'onorevole Angelina, 1947 and Alberto Lattuada (Il delitto di Giovanni Episcopo, 1947), the melodramas of Raffaele Matarazzo (Catene, 1949; Tormento, 1950; I figli di nessuno, 1951), comedies by Mario Mattoli and with Totò, star vehicles for Silvana Pampanini, and many historical films, by both prewar routinés such as Mario Bonnard and Mario Camerini as well as new generations.
| Apparently, Vaselli also made the stills for the Sergio Leone trilogy of Spaghetti Westerns Per un pugno di dollari/A Fistful of dollars (1964), Per qualche dollaro in più/For a few dollars more (1965), and Il buono, il brutto, e il cattivo/The Good, The Bad and The Ugly (1966).
Among the professional stills photographers who started their careers with Foto Vaselli were Sandro Baio, Vincenzo Palmarini, Ugo Urbino, Aldo Tonti, and Tonino Benedetti.
From 1937 Foto Vaselli has a photo studio at Via dei Mille 3a in Rome, but the agency also had a subsidiary in Turin, in Via Lombardia 104. The last known address of Vaselli in Rome, dating of 1968, was Via Imperia 2.
Narrative by: European Film Star Postcards
Date Retrieved: 2 Jan 2024
|
"],
["UEKERUS","#1
Uekerus
Berlin, Germany
"],
["ULLMANN","#1
Curt Ullmann
Berlin, Germany
"],
["ULLSTEIN","#1
Ullstein
"],
["UMBO","#1
Otto Umbehr
Umbo, born Otto Maximilian Umbehr (January 18, 1902 – May 13, 1980), was a German photojournalist and artist who had studied in the Bauhaus and worked as a photojournalist for the Wehrmacht in World War II. After the end of the war, he endured many years of financial hardships, which only changed after photography became an accepted discipline of art. From 1975 onwards he had several exhibitions.
Narrative by and additional information: Wikipedia
Date Retrieved: 26 Jan 2024
"],
["UNDERWOOD","#1
Underwood & Underwood Studios, N.Y.
"],
["UNVERDRUSS","#1
Unverdruss
Cologne, Germany
"],
["VENTURINI","#1
Venturini
Rome, Italy
"],
["VICTORIA","#1
Atelier Victoria
Berlin, Germany | 
|
"],
["VIELBRANDT","#1
Atelier Vielbrandt
Berlin, Germany
"],
["VILLORESI","#1
Villoresi
Rome, Italy
"],
["VIRGILIIS","#1
G. de Virgiliis
Genoa, Italy
"],
["VOGEL-SANDAU","#1
Vogel-Sandau
Berlin, Germany
"],
["VÖGELSANG","#1
Otto Kurt Vögelsang
Berlin, Germany
"],
["VOGL","#1
Georg Vogl
"],
["VOINQUEL","#1
Raymond Voinquel
Raymond Voinquel was a French still photographer, who was born in 1912 and died in 1994. Photographing the shooting of 160 films, he also collaborated with Studio Harcourt from 1940 to 1944 and was particularly interested in male nude photography
Source and additional information: Bomb Magazine |
"],
["VOLLMAR","#1
R. Vollmar
Stuggart, Germany
"],
["VOPEL","#1
F. Vopel
Berlin, Germany
"],
["WA-KIE","#1
Wa-Kie
Berlin, Germany
"],
["WAGHALTER","#1
Waghalter
Berlin, Germany
"],
["WALERY","#1Walery
Stanisław Julian Ignacy Ostroróg also known as Walery (1863-1929) was a Polish photographer active in London and Paris between 1890 and 1929. After inheriting his father's name and photographic studio in London, he continued with portraiture for about a decade until the turn of the century when he moved definitively to Paris. There he achieved celebrity as an innovator and accomplished photographer of cabaret stars and of the female form.
Stanisław Julian Ignacy Ostroróg was born in 1863 in London into a family of political emigrants of Polish noble descent. He was the eldest child of Count Stanisław Julian Ostroróg, a British subject and his Polish wife, Teodozja Waleria, née Gwozdecka. His father was born in the Russian Partition of what had once been the Polish–Lithuanian Commonwealth, not long after the November uprising of 1830 which led to severe repression of the insurgents, of which the family had been part.
After the war, his father settled in London and was granted citizenship in 1862 and married. After the birth of Stanisław junior, the family headed to Marseille to set up a photographic studio. In 1866 the family were back in Warsaw, but the following year after the death of the second son, they left for Paris in time for the birth of the third son, Leon. There Ostroróg senior resumed his successful photographic career under the brand name Walery (without an accent), in honour of his wife's first name.
In 1878 his creditor's financial difficulties forced him to give up trading and the family moved back to London in 1880. He opened a Regent Street studio where Stanisław junior was eventually to join his father.
Although born in England, Stanisław junior was sent to Poland, presumably to relatives, to learn Polish while his parents returned to France where his father developed his photographic career.
| In 1871, during the Paris Commune, he was sent there for his schooling. During that period, his parents divorced and his father remarried. At around 18 years of age and following family tradition, he obtained a commission in the army, only this time in the Royal Artillery at Woolwich. This was short-lived as he evinced an interest in his father's business and resigned from the army.
At his father's insistence, he went to Paris for two years to study the techniques of photography, including portraiture. He returned to England to rejoin his father, who by then was enjoying great success and found he was not needed in the studio and so accepted a proposal to go to Mexico for a year helping in the construction of a railway and opening up a colony. He spent the next few years travelling with a camera and survey instruments in Africa, to places like Natal and Zululand. The sudden death of his father from an aneurism brought him back to London, where he took over the management of his father's studio in 1890.
Stanisław Ostroróg junior was inspired to learn photographic techniques by his photographer father. He had worked briefly alongside him in the London studio named after his mother, Walery Ltd. After his father's death, however, he found the business side a struggle and soon went into partnership with the ambitious young English theatrical photographer, Alfred Ellis (1854–1930) and began trading as Ellis & Walery from new premises in Baker Street until 1908.
For four years between 1890 and 1894, he worked on developing a Heliogravure process for the reproduction of art, although that did not produce the results he desired until much later in Paris. In the meantime, he continued with portraits of society people including royalty as his father had done earlier.
The NPG records that Walery, father and son, is associated with 197 portraits, including comedian Dan Leno and King George V, while Ellis has 180 portraits to his name, mainly of 'theatrical royalty'. They appear to have kept their authorship and sitters separate while sharing studio facilities.
| Around 1900, Stanisław Ostroróg opened a Paris studio on his own account, in his father's former premises, at 9 bis rue de Londres, where initially he specialised in theatre and cabaret artists including Mata Hari and produced Cabinet cards. As his French business prospered he gave up his London interest in 1908. His Parisian clients included the Folies Bergères, the Société de Géographie, the salons de peintures, and a series for Les Grandes Figures médicales contemporaines. He was the official photographer for the 1912 Russian Season in Paris.
In the 1920s he focused on Art Photography and experimented with the figure of the model, entirely eschewing aspects of background and other perquisites. During this period he used the pseudonym 'Laryew' and under that name produced a book of 100 heliogravures, entitled Nus – Cent Photographies Originales. He achieved the greatest acclaim with his series of photographs of Josephine Baker, published in 1926. He also produced studies of the female nude destined for anatomy and art students.
Stanisław Ostroróg married Joyce Audrey Rede Fowke (1877–1930), a granddaughter of Sir Henry Cole, in 1897 in Chelsea. They had four children, Francis who died in infancy, Stanislaus John, Joyce and Sally. During his career, he used numerous pseudonyms such as Lucien Waléry, Stanislas Walery, Laryew or Yrelaw (an anagram of Walery), the latter two perhaps to conceal a production of pictures of an erotic nature. Stanisław Julian Ignacy Ostroróg died in Paris in 1929.
After his death, the studio was taken over by Charles Auguste Varsavaux (1866-1935).
Narrative by: European Film Star Postcards
Date Retrieved: 29 Dec 2023
|
"],
["WALTEN","#1
Mac Walten
Berlin, Germany
Berlin photographer in the 1910s and 1920s. Real name: Max Grünthal aka Max Gruenthal. There were several men with this name, one of them (1892-1943) was killed in Auschwitz, another one lived.
Source: Truus, Bob, & Jan Too! Flickr Album
Date Retrieved: 8 Feb 2024
"],
["WALTHER","#1
Hedda Walther
Berlin, Germany
"],
["WANGÖE","#1
E. Wangöe
"],
["WASOW","#1
Eduard Wasow
München, Germany
"],
["WAXMAN","#1
Henry Waxman
Los Angeles, California U.S.A.
Henry Waxman was a major portrait photographer in the 1920s-1930s. He started in New York and then went to LA to work for MGM and later, Warner Bros. He advertised himself as 'official photographer of the Ziegfeld Follies,' whom he had shot in 1922. He focused on portfolio shots for aspiring stars, who loved his dramatic flair and retouching.
Narrative by: Invaluable Auction House
Date Retrieved: 13 Jan 2024
"],
["WEBER","#1
L. Otto Weber
Meiningen, Germany
"],
["WEIDENBAUM","#1
Konrad Weidenbaum
Berlin, Germany
"],
["WEISSE","#1
Weisse
"],
["WELLER","#1
Dr. Peter Weller
Berlin, Germany
"],
["WENGEROW","#1
Wengerow
Berlin, Germany
"],
["WENGEROW & FULDA","#1
Wengerow & Fulda
Berlin, Germany
"],
["WESEL","#1
Wesel
"],
["WEIHMAYR","#1
Franz Weihmayr
Berlin, Germany
Franz Weihmayr (30 December 1903 – 26 May 1969) was a German cinematographer who worked on over 80 films between 1924 and 1964. He was one of the leading German cinematographers of the Nazi era, working on a number of Zarah Leander films and the 1935 propaganda documentary Triumph of the Will. His marriage to Ada Tschechowa ended in divorce. After the Second World War, Weihmayr worked in West German cinema, including rubble films such as Love '47.
Narrative by: Wikipedia
Date Retrieved: 15 Jan 2024
"],
["WEINBERG","#1
Weinberg
Constantinople, Turkey
"],
["WERTHEIM","#1
Ruth Wertheim
Berlin, Germany
"],
["WESTPHALEN","#1
Atelier Westphalen
Berlin, Germany
"],
["WHITE","#1
Luther White Studio
New York, New York U.S.A.
Luther White and his principal photographer, George W. Lucas, are credited with the development of flash-pan artificial lighting, which enabled the Studio to cut drastically the time necessary for studio and location photography. By 1904, with the further development of flashlighting, White Studio began to document theater, opera, music, dance and circus production on assignment from producers and theater owners such as David Belasco, Daniel Frohman, Lee and J.J. Shubert and Florenz Ziegfeld, Jr. who wanted to provide visual material for the press.
White's methods were considered ideal for creating images suitable for rotogravure reproduction in newspapers. Photographs were often taken from the first balcony or lighting booth at the final dress rehearsal and productions were often re-photographed after major cast changes, providing documentation of replacement actors as well as the original cast. In some cases, set models and costume sketches were also photographed.
White Studio soon became the leading entertainment photography studio of its day, providing publicity photographs for performers. The Studio, because of its fine reputation in portraiture, also became involved in fashion photography.
Narrative by: Smithsonian National Museum of American History
Date Retrieved: 1 Feb 2024
"],
["WIDMANN","#1
G. Widmann
"],
["WIEPRECHT","#1
Adrienne Wieprecht
Berlin, Germany
"],
["WIEHR","#1
Bruno Wiehr
Dresden, Germany
"],
["WILBRAND","#1
Wilbrand
Cologne, Germany
"],
["WILDING","#1
Dorothy Wilding
London, England
"],
["WILHELMI","#1
Ruth Wilhelmi
Berlin, Germany | 
|
"],
["WILLINGER","#1Willinger
Hungarian-born photographer Laszlo Willinger (1909–1989) is most noted for his phenomenal Hollywood star portraits of the 1930s and 1940s. Less known is that both Willinger and his mother, photographer Margaret Willinger, made also hundreds of portraits of film actors and other celebrities during the 1920s and 1930s. They were often used for European film star postcards, but which of the Atelier Willinger portraits is made by Margaret and which by Laszlo?
Laszlo Willinger was born in Budapest, Hungary in 1909. Willinger's father owned a news agency, and his mother was a professional photographer. He grew up surrounded by art and photography as his mother Margarete shared her passion for photography with her son at a very early age.
Laszlo went to Berlin to study photography. At 16, he became a professional photographer when he opened his first studio in Berlin. At 19 he went to Paris, where he managed the portrait studio of the Keystone Agency, also known as the Talbot Studios. In 1931, he established a new studio in Berlin. (The sources differ about which studio he opened where).
Later he said about his start: 'When I started out in Germany in the late 1920s, photographers used either daylight or a very diffused light. I never did. I used spots-arcs, which give you a point source of light.'
He worked as a freelance photojournalist for such German magazines as Berliner Illustrierte, Hamburger Illustrierte, and Munchener Illustrierte. His subjects included Josephine Baker, the French President Paul Doumer, Sacha Guitry, and Yvonne Printemps. In 1932 he visited the US on assignment of Mercedes Benz.
Willinger left Germany in 1933 when Adolf Hitler became chancellor. He settled in Vienna where his mother already had a studio, Atelier Weninger.
Willinger photographed such celebrities as Sigmund Freud, psychiatrist and psychotherapist Carl Jung, Marlene Dietrich, Hedy Lamarr (then Hedvig Kiesler), and Emil Jannings. He also documented Max Reinhardt’s stage productions.
| In 1936 Willinger travelled for Keystone Press Agency through Africa and Asia. His photos were published in the London Daily Express. That year, he was also stationed in Spain during the Civil War.
Between 1933 and 1937 he was unable to obtain the necessary working permits for Germany, so any photographs reproduced in German photo annuals during this period were credited to his mother, Margaret Willinger.
According to Wikipedia and to David Fahey and Linda Rich in their study Masters of Starlight, Laszlo Willinger was ‘discovered ‘and invited by studio photographer Eugene Robert Richee to move to the United States.
However, the blog mistress at Iconista cites a source which claims that it was Louis B. Mayer, who was looking for talent for MGM Studios. In Vienna, Mayer signed Willinger, but also Hedy Lamarr and Luise Rainer at the same time as part of the studio’s last European sweep for talent before the outbreak of the Second World War.
In Hollywood Willinger replaced studio photographer Ted Allan at MGM (others say he replaced George Hurrell).
Kendra Bean at her blog Vivandlarry.com: 'Willinger brought a fresh look to MGM and Hollywood photography — his prints have a crisp luminescence and his compositions often orient his subjects on the diagonal, which gives them a modern, European sophistication.'
Iconista describes how he worked in Hollywood: 'Willinger acted as the art director when photographing the stars. The only thing expected of him was to make images that the press would choose to print over everyone else’s. There could be up to 5000 pictures available on any major star. To get printed, your photograph had to be the best. One thing he always kept in mind, regardless of the subject, is that the photograph has a purpose – and that’s to sell.'
In Hollywood, Laszlo Willinger photographed as many as four stars every week, using lighting, costumes and emotion as a film director might.
| MGM divas Norma Shearer and Joan Crawford wanted Willinger to make all their portraits. He photographed Shearer beautifully for Marie Antoniette (1937) and The Women (1939).
Decades later, Willinger said in an interview with author and photo collector John Kobal: 'If Shearer liked 10 percent of a sitting, you were going great. With Crawford you could figure 80 percent would be okay.'
Willinger considered Crawford, Clark Gable and Vivien Leigh his favorite subjects: 'The one I liked best to work with was Vivien Leigh. She was a thorough professional.' His 1940 series of portraits of Olivier and Leigh are housed in the National Portrait Gallery in London.
Willinger was also one of the first Hollywood photographers to experiment in the use of colour. He worked exclusively for MGM until 1944.
Later, he spent 40 years at FPG, a New York photo agency that stocked about 50,000 of his photos. Willinger was a frequent contributor to magazines and periodicals, providing magazine cover portraits of the young Marilyn Monroe and other popular stars.
Wikipedia describes how Willinger shortly before his death was accused of stalking some celebrities, including Charlie Chaplin. An investigation into the matter led to the uncovering of thousands of personal pictures of Chaplin.
In 1989, Laszlo Willinger died of heart failure in Los Angeles at age 83 (some sources suggest that he committed suicide because of the investigation). He was survived by his wife Yvonne Willinger.
There is no information about what happened to his mother, Margaret Willinger.
Narrative by: European Film Star Postcards
Date Retrieved: 23 Dec 2023
Cataloger's note: Laszlo's father, Wilhelm, also was a photographer. A few postcards marked 'W. Willinger' have been encountered and are documented in a comment below the catalog image. It is unknown which other photos in the catalog may also have been taken by Wilhelm.
|
"],
["WILLINGER u. LECHNER","#1
Willinger u. Lechner
"],
["WILLOTT","#1
Charlotte Willott
Berlin, Germany
"],
["WILMKES & GOERLICH","#1
Wilmkes & Goerlich
Berlin, Germany
"],
["WINGARDH","#1
Freddy Wingardh
According to Danish Nielsen expert Ib Monty, in 1915, during a trip to South America, Nielsen met Freddy Wingårdh, Swedish fleet lieutenant and son of a shipbuilder. They soon fell in love. In the same year Nielsen separated from Urban Gad and in 1918 they officially divorced. Nielsen married Wingardh in 1919, but divorced him again in 1923. Apparently, during WWI, Wingardh made several photos of Nielsen, which were used for postcards issued by the German Photochemie company in Berlin. Wingårdh would also act in one of Nielsen's films: Das Eskimobaby ( Walter Schmidthässler, 1918).
Narrative by: Truus, Bob, and Jan too! Flickr account
Date Retrieved: 11 Jan 2024
"],
["WINTERFELD","#1
Atelier Winterfeld
Berlin, Germany
"],
["WITZEL","#1Witzel, Los Angeles
Albert Witzel was a pioneer and prominent portrait photographer of Los Angeles. He was born in 1871 and died in 1929 after a long illness. The rise of his studio paralleled the emergence of the film industry following its relocation from the East Coast. Witzel made portraits of many of Los Angeles' leading figures, including such film icons as Charlie Chaplin, Harold Lloyd and Theda Bara.
Distinguished by Rembrandt lighting and moody shadows, and by dramatic poses and settings, Albert Witzel’s photos set the tone for Hollywood studio photography. Witzel expanded his work with studios, occasionally shooting freelance images of Sennett bathing beauties in 1916 that were published in magazines and newspapers, and working on an assignment for Fox Studios in 1917, photographing Theda Bara in a series of somewhat soft pictorialist images for some of her best-known films, Cleopatra (J. Gordon Edwards, 1917), Madame du Barry (J. Gordon Edwards, 1917) and Salome (J. Gordon Edwards, 1918).
Film star photographs quickly became a regular part of film coverage by newspapers and magazines. Witzel made portraits of such silent film stars as Lilian Gish, Bessie Love, Theda Bara, Clara Bow, Bebe Daniels, and Charlie Chaplin.
| For the record, it was during a posing session in a Witzel studio that Harold Lloyd lost two of his fingers in 1919. Somehow, it was decided that Lloyd would pose with prop bombs, and pretend to light some. Unbeknownst to everyone, a real bomb created for action shoots had been thrown in the prop bomb box at the studio after a special practice that week. Through the late 1910s and 1920s Witzel's portraits featured frequently in fan magazines like The Moving Picture World, Photoplay and Motion Picture, becoming an important promotional and publicity tool.
His business flourished and Witzel opened a second studio downtown and a third at Hollywood Boulevard and Vine Street. To maintain the high quality and output required for his film work, Witzel hired Henry Nealson Smith as his laboratory manager to supervise the retouching, developing, and finishing of photographic prints. Charlie Chaplin helped finance a popular restaurant called Henry’s across the street from Witzel’s Hollywood studio and the two became acquainted. Witzel went on to have many photo shoots with the star. Photographers he hired to help him were Walter Frederick Seely and later Max Munn Autrey. Autrey eventually became head of Witzel’s Hollywood Studio at 6324 Hollywood Blvd. from 1922 to 1924. Their work became more intense and exotic, emphasizing a glamorous star look.
| From the mid-1920s onwards, film companies began to set up their own photographic studios, rather than continuing to use freelance photographers. Max Munn Autrey departed to found Fox’s portrait department. Witzel did not disappear from the scene, however, and, having established his reputation, continued to practise his craft. Witzel focused more on special shoots for newspapers and magazines, like the Peggy Hamilton fashion features for the Los Angeles Times, and other select sections. His portrait photos were used for many postcards. He signed his portraits by Witzel in holograph white pencil.
After a long illness, Albert Witzel died in 1929 of tuberculosis at age 49 in Banning, California. His brother Charles shut down all the studios except the 7th Street location, which he continued to run. Turning his back on Hollywood glamour, Charles Witzel focused the business on portraiture for high school graduations, special gatherings, businesses and upper-middle-class families. The studio eventually moved to 716 S. Bonne Brae St. and remained in operation through 1952. Albert Witzel is interred at Inglewood Park Cemetery.
Narrative by: European Film Star Postcards with Marlene Pilaete
Date Retrieved: 24 Dec 2023
|
"],
["WOG","#1
WOG
Berlin Studio of Manassé
"],
["WOLF Carl","#1
Carl Wolf
"],
["WOLFENSTEIN","#1
Wolfenstein
"],
["WOLFF Lothar","#1
Lothar Wolff
Berlin, Germany
"],
["WOLFF Marta","#1
Marta Wolff
Berlin, Germany | 
|
"],
["WORMS","#1
Atelier Worms
"],
["WULSON","#1
Atelier Wulson
Berlin, Germany
"],
["WUNSCH","#1
Kurt Wunsch
"],
["WYNDHAM","#1
Wyndham
"],
["YVA","#1
Atelier YVA
Berlin, Germany | 
|
"],
["ZANDER & LABISCH","#1Zander & Labisch
Zander & Labisch in Berlin was the first German photo studio that, as a photo agency, dealt exclusively with the production of professional press photos and their direct sales. It was founded in 1895, and at the turn of the century, the photo agency focused on new areas of activity, such as theatre photography. From 1918 on, the studio also produced many portraits of film stars.
Against the background of the development of photo and printing technology and its effects on the print media of the early days, the engineer and photographer Albert Zander (1864–1897) from Colmar near Poznan and the rabbi and photographer Siegmund Labisch (1863 –1942) from Samter in the same region recognised the possibilities and opportunities that arose from the increased demands of publishers, editorial offices and readers with regard to current press photos of good quality.
Albert Zander first worked as an engineer at the Berlin machine factory Carl Flohr. In 1895, a fire broke out at the factory, which was photographed by Zander. Two of his photos were then published by the Berliner Illustrirten Zeitung. A few months later, he and Siegmund Labisch founded a photo studio in Berlin under the company name Zander & Labisch-Illustrations-Photographen. Later they operated as Zander & Labisch Neue Photographische Gesellschaft A.G., and finally as Zander & Labisch oHG.
The photo studio specialised in supplying the press, daily newspapers, magazines and magazines, and was thus involved in the creation of the tabloid press in Germany.
The agency was initially located at Leipziger Strasse 105, in the immediate vicinity of important newspaper publishers such as the August Scherl Verlag and the Ullstein Verlag.
| The portfolio of the photo studio included current events as well as portrait photos of contemporary personalities that were of interest to the press. Already two years later, about a tenth of all photos published in the Berliner Illustrirten Zeitung were from Zander & Labisch.
In 1897 the photo studio had to search for larger premises and moved to Mohrenstrasse 19, where two of its employees, Olga Badenberg and Waldemar Titzenthaler, previously worked. When Zander suddenly died by poisoning in 1897, Labisch continued to run the photo studio alone but he retained the company name of Zander & Labisch.
At the turn of the century, Zander & Labisch focused on new areas of activity, such as architecture, industry, and theatre photography. As a result, the agency found new customers in addition to the press: AEG, Borsig, Osram, and Siemens were among its renowned international clients. The large companies used Zander & Labisch, for example, to have photo documentation of their products made for their company archives, but also for advertising purposes.
The photo agency was also active outside of Berlin. For example, in 1905 Zander & Labisch photographed for the magazine Ost und West - an illustrated monthly magazine for the entire Jewish community.
In 1917, Labisch accepted his nephew Paul Wittkowsky (1892–1949), born in Strasbourg in Alsace, as a co-owner of the company. In 1918 the agency moved from Mohrenstrasse 19 to Leipziger Strasse 115/116. There, rooms for portrait photography were created, on which a separate department specialised. At that time, the photo agency had nine employees, with whom it was able to process the numerous orders of the 1920s.
In 1929, the prominent society magazine Die Dame published five full pages with photos from Alfred Flechtheim's Berlin apartment, which was a celebrity get-together for artists, bankers, writers, journalists, and film and stage stars. The photos were all made by Zander & Labisch.
| Their artist portraits were used for many postcards. They made e.g. a popular 'stage stars' series on which artists posed in the costumes of their most famous roles. The autograph of Zander & Labish on the card was a quality label for collectors.
The rise of the National Socialists and their anti-Semitism in the early 1930s had a significant impact on Zander & Labisch. The result was a massive drop in sales. Orders from newspaper publishers were increasingly dropped because they were no longer wanted to employ Jewish employees and suppliers. The first layoffs occurred.
In 1936, the agency was banned from the Reich Association of German Correspondence and News Offices e. V. and thus excluded from the superior Reich Press Chamber (RPK). In architecture and industrial photography, however, Zander & Labisch was able to remain active for some time.
In 1938, however, the photo agency had to give up its premises in the Leipziger Strasse. The rest of the business was moved entirely to the private apartments of the two owners, Labisch and Wittkowsky, where they carried out small orders from the private sector.
When the ordinance to eliminate Jews from German economic life came into force, Zander & Labisch had to finally cease business on 31 December 1938. In 1939 the company was deleted from the Berlin commercial register. Paul Wittkowsky emigrated to Australia in 1939.
Siegmund Labisch was deported to the concentration camp Theresienstadt, where he died in 1942.
Narrative by: European Film Star Postcards
Date Retrieved: 24 Dec 2023
|
"],
["ZIEHM","#1
Arthur Ziehm
Berlin, Germany
"],
["ZIMBLER","#1
Zimbler
Vienna, Austria
"],
["About the Catalog","#1About the Catalog
The Image Archive catalog is controlled from the selection tree at the left. From the tree, users can select to search by either: publisher/series; performer name; or film/other production name.
Clicking on an item in the tree causes the tree to expand and the button color for the selected item to change to green. Clicking again on the same item causes the tree to collapse.
The tree sections have multiple branches. Once the lowest level of a branch has been reached, the related postcards are displayed in the catalog section at the right of the tree.
The size and alignment of items in the tree can be controlled by changing the size of the browser window.
Publisher/Series Searches are divided into three main groups: Ross Verlag, Rotophot & RPH-Ross, and Other Publishers. The Ross Verlag and Rotophot cards are further divided into series groupings. The Other Publisher cards are divided by country, and where applicable, series.
Most publishers marked their cards with a control number, and the catalog display presents the selected publisher/series cards in control number order. In cases where a control number is not present, the cards are displayed in alphabetical order.
Name and Film/Production Searches are made by selecting names from alphabetical listings. Name and Production Searches both display ALL cards for the selected performer or production, no matter the publisher. The cards are displayed in the order of the selection tree, with Ross Verlag cards first, Rotophot cards next, and Other Publisher cards following. | At the end of the Names listing is a Descriptive Name section which assigns fictitious names to models who appear repeatedly in the catalog on cards that were not marked with their true name. This most frequently is the case with non-performer cards in the Rotophot and NPG sections.
Also at the end of the Names listing is a branch that allows the selection of cards where the performer or model is posed with an animal. Again, these searches display ALL cards for the selection, no matter the publisher.
Images Displayed in the catalog are captioned with the name of the performer or model (where available) and the film or production name (if appropriate). Some images include additional details such as photographer name or the date of the photo. Many images in the Rotophot section and the NPG (Other Publishers - German) sections also include links to additional cards in the series.
Searches by publisher/series also include available details relating to the publisher (or series) in the section above the images.
The thumbnail images on the catalog pages can be enlarged by clicking on the image itself. Doing so calls a ‘Full Size’ image panel. The Left and Right arrows on this ‘Full Size’ panel can be used to navigate through the selected records. The Back to Catalog button below the arrows returns to the catalog view.
Printing from the catalog is achieved by first making a selection using the navigation tree and then pressing the olive ‘Printable current selection’ button near the top of the tree. A new window with the selected records will appear from which a standard browser print command can then be issued.
Return Home: The ROSS VERLAG MOVIE STAR POSTCARDS Home Page can be called from the ‘To main site’ blue button at the top of the navigation tree. |
Site Maintenance and Contacts:
Hosted By:: Mark Goffee, United States (rossverlag@bellsouth.net)
Application Developer: David Schofield, United Kingdom (rtcards@rthcards.co.uk)
Image Cataloger: Jean Ritsema, United States (j_ritsema@msn.com)
Contributors and Advisors:
Torsten Anklam (Germany), Ivo Blom (The Netherlands), Marina Dambrava (Portugal), Johan Delbecke (Belgium), Klaas Dierks (Germany), Anna Efird (Canada), Paul English (United Kingdom), Marie-France Fassin (Belgium), Crystal Glantz (United States), Neil Goulding (United Kingdom), Harold Hoff (Canada), Jaak Joekallas (Estonia), Helmfried Luers (Germany), Richard Minns (England), Werner Mohr (Germany), Nick Murphy (Australia), Marlène Pilaete (Belgium), Hans Schnepper (The Netherlands), Beth Rickert-Kinsey (United States), Olaf Schneider (Germany), Ines Schulz (Germany), Thomas Städeli (Switzerland), Vladimir Trofimov (Russia), and Hannu Varel (United States).
Additional information about contributors to the Ross Verlag site can be found on its Acknowledgement page and in the publisher narratives on many of the pages in the catalog.
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