Circus workers, Cologne, ca. 1926

aka. Indian Man and German Woman
August Sander, part six

Colorization by Manos Athanasiadis

Zirkusarbeiter, Köln, 1926 (Die Photographische Sammlung / SK Stiftung Kultur – August Sander Archiv)

August Sander (1876–1964) was a German portrait and documentary photographer. He has been described as “the most important German portrait photographer of the early twentieth century”. August Sander took a methodological approach in his monumental documentary project People of the 20th Century. He classified his photographs into seven groups and multiple sub-groups, reflecting the social structures and developments of his time. This portrait is from the portfolio entitled ‘Travelling People – Fair and Circus’ within the sixth group, ‘The City’. It is one of a series of photographs that August Sander took of performers and other members of the famous Barum Circus. Between 1926 and 1929 the circus toured the Rhineland cities of Dortmund, Remscheid and Cologne. Sander portrayed the circus people as representatives of a certain urban type that he named ‘travelling people’, which also included vagrants and gypsies. The caravans, tents and makeshift domestic environments depicted in the photographs of the members of the Barum Circus emphasise the nomadic nature of their lives. During the Weimar era (1918–33) circus caravans wound their way across Germany, occupying urban wastelands and other ‘in-between’ spaces, momentarily revitalising them as sites of wonder, exoticism and permissiveness. In the popular culture of Sander’s Germany, the mobile circus milieu was synonymous with ‘dangerous’ and ‘primitive’ types – particularly gypsies and people of colour. Sander’s dispassionate circus shots feature both these ‘types’. Historians have used them to illustrate the photographer’s liberal values, values that led to his victimisation under Nazism.
The Circus Barum was founded in 1878 by the East Prussian animal dealer Carl Froese in Konigsberg as Barum’s American Caravan menagerie. After the death of Carl Froese in 1907, his daughter Helene took over the management together with her husband, the animal trainer Arthur Kreiser. From 1935, Margarete Kreiser-Barum, the daughter of Kreisers, continued the family business. She run the circus successfully through the years of the Second World War until it was destroyed in a bomb attack in 1944. In 1946, she dared a new beginning and toured with a new Circus Barum until her death in 1970.  In 1972, Gerd Siemoneit-Barum bought the circus and directed it until 2008. On 26 October 2008 the last performance of the Circus Barum took place in Northeim. Rebecca Siemoneit-Barum and her company Barum & Bauer Performance GmbH took over a part of the animal stock and staff. Since 2012, she is presenting the “Circus Barum Weihnachtsspektakel” in Gottingen.
Sources/More to Read:
Wikipedia: August Sander
Tate Papers, Katherine Tubb: “Face to Face? An Ethical Encounter with Germany’s Dark Strangers in August Sander’s People of the Twentieth Century”
Die Photographische Sammlung/SK Stiftung Kultur
August Sander Foundation
Tate, London
Wikipedia: Circus Barum (in German)

See also my other posts about August Sander’s work
Widower with his sons, Cologne, 1914
Confirmation candidate, 1911
The Notary, Cologne, 1924
National Socialist, Germany, 1937
Cadet, Germany, 1944


The Notary, Cologne, 1924

August Sander, Part Three

Colorization by Manos Athanasiadis

Notar, Köln, 1924 (Die Photographische Sammlung / SK Stiftung Kultur – August Sander Archiv)

August Sander (1876–1964) was a German portrait and documentary photographer. He has been described as “the most important German portrait photographer of the early twentieth century”.
In 1911, Sander began with the first series of portraits for his work “People of the 20th Century”. In this series, he aims to show a cross-section of society during the Weimar Republic. August Sander became renowned for this work in which he put together hundreds of portraits of people from different levels of society and occupational groups in a series of portfolios developed in a project spanning decades. The series is divided into seven sections: The Farmer, The Skilled Tradesman, Woman, Classes and Professions, The Artists, The City, and The Last People (homeless persons, veterans, etc.). By 1945, Sander’s archive included over 40,000 images.

This portrait of a notary presents an unusual composition within the scope of its portfolio ‘The Judge and the Attorney’, and its larger group ‘Classes and Professions’, in August Sander’s ambitious project ‘People of the 20th Century’. Sander divided his photographic opus of more than 500 images into seven groups, made up of 45 portfolios classified according to the estates, professions and living environments of the German people. While many of the images taken after 1920 are studio portraits or set within the workplace, this outdoor image presents some external narrative detail. Perhaps at his subject’s behest, Sander photographed the notary standing before the stairwell leading to his home, his Doberman Pinscher poised at right angles before him, investing the scene with anticipation and dynamic tension. Attired in a walking coat and hat, and holding a walking stick and the dog’s rolled-up leash, the notary is here pictured far from his professional arena.
Sources/More to Read:
Wikipedia: August Sander
Die Photographische Sammlung/SK Stiftung Kultur
August Sander Foundation

See also my other posts about August Sander’s work
Widower with his sons, Cologne, 1914
Confirmation candidate, 1911

Out of Work, New York, 1921

Emil Otto Hoppé – Part One
Colorization by Manos Athanasiadis

Colorization by Manos Athanasiadis

Out of Work, New York, USA, 1921 ((E.O. Hoppé Estate Collection))

Out of Work, New York, USA, 1921 (E.O. Hoppé Estate Collection)

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. While working for the Deutsche Bank, he became increasingly enamored with photography and, in 1907, jettisoned his commercial career and opened a portrait studio.
Within a few years, E.O. Hoppé was the undisputed leader of pictorial portraiture in Europe. Rarely in the history of the medium has a photographer been so famous in his own lifetime among the general public. His reputation attracted many important British and North American figures in politics, literature, and the arts. In the era before the first World War, Hoppé photographed many leading literary subjects and figures from the art world, such as Henry James, Rudyard Kipling, John Masefield, Léon Bakst, Anna Pavlova, Tamara Karsavina and other dancers of the Ballets Russes, Violet Hunt, Richard Strauss, Jacob Epstein and William Nicholson, some of whom were included in his 1913 exhibition.
In the early 1920s he was invited to photograph Queen Mary, King George, and members of the royal family. Other subjects of the 1920s included Albert Einstein, Benito Mussolini, Robert Frost, Aldous Huxley, George Bernard Shaw and A.A. Milne. In the 1930s Hoppé photographed a number of dancers at the Vic-Wells company including Margot Fonteyn, Ninette de Valois, Hermione Darnborough and Beatrice Appleyard.
Hoppé also made portraits of the street types of London: he photographed English cleaners, maids, and street vendors both in his studio and on the street. He continued this practice of capturing ordinary working men and women throughout his career as he traveled throughout the world.
Although Hoppé was one of the most important photographic artists of his era and highly celebrated in his time, in 1954, at the age of 76, he sold his body of photographic work to a commercial London picture archive, the Mansell Collection. In the collection, the work was filed by subject in with millions of other stock pictures and no longer accessible by author. Almost all of Hoppé’s photographic work—that which gained him the reputation as Britain’s most influential international photographer between 1907 and 1939—was accidentally obscured from photo-historians and from photo-history itself. It remained in the collection for over thirty years after Hoppé’s death, and was not fully accessible to the public until the collection closed down and was acquired by new owners in the United States.
In 1994 photographic art curator Graham Howe retrieved Hoppé’s photographic work from the picture library and rejoined it with the Hoppé family archive of photographs and biographical documents. This was the first time since 1954 that the complete E.O.Hoppé Collection was gathered together. Many years were spent in cataloguing, conservation, and research of the recovered work.
Sources/More to Read:
Wikipedia: E.O. Hoppé
E.O. Hoppé state collection
National Portrait Gallery, Hoppé Collection

Female Workers of the Chocolate Factory Cima-Norma, Switzerland, 1904-1932

Colorization by Manos Athanasiadis

Colorization by Manos Athanasiadis

Operaie della fabbrica di cioccolato Cima Norma 1904-1932 (Fondazione Archivio Fotografico Roberto Donetta, Corzoneso)

Operaie della fabbrica di cioccolato Cima Norma 1904-1932 (Fondazione Archivio Fotografico Roberto Donetta, Corzoneso)

Roberto Donetta (1865-1932) is one of Swiss photography’s great outsiders.
He was born in the Blenio Valley in Ticino, one of the poorest regions in Switzerland; an Italian-speaking territory to the south of the Alps. Donetta had married young at the age of 21, and had seven children to feed and provide for. He was forced to emigrate, like most of his countrymen. He went to Northern Italy to sell chestnuts on the streets and later to London to work as a waiter, returning just 15 months later, sick and exhausted. Somewhere along the way, he met a sculptor, Dionigi Sorgesa, who in addition to teaching him the basics, gave him a camera. Making a living as a travelling photographer and seed salesman, Donneta eventually found his way back to Switzerland, settling in the Casserio of Corzoneso.
Between 1900 and 1930, he took more than 5.000 photographs, which were preserved merely by chance. These capture the archaic life of his compatriots in the Valle di Blenio, which at the time was totally isolated.
The Blenio Valley is a mountain valley, quite mild at the bottom and on the western slopes, but alpine and barren up on the heights. Just two entities still testify today to a more modern industrialised world: the hotel Terme di Acquarossa, a sophisticated place for urbanites on summer vacation in Donetta’s day; and the striking Cima Norma chocolate factory.
In 1903 Cima brothers established the chocolate factory “Cima” between Torre and Dangio villages. Torre village has been familiar with the production of chocolate since 19th century, when the population worked as chocolate manufacturers abroad. In 1913, Giuseppe Pagani became Cima’s owner, and in 1914 bought “Norma” chocolate factory in Zurich. Cima Norma factory constantly increased its growth until the 60s, when it produced 500 tons of chocolate and employed 340 people. But, in the following years, competition became stronger and finally the factory closed in 1968. Machinery and raw materials were sold, while the buildings became a military warehouse; they were later made available to organise arts and crafts workshops and to build lofts. Cima Norma deeply influenced the life of workers and citizens of Blenio Valley; for instance, it provided male workers with houses and female workers with a hostel, where nuns taught them housekeeping and manners. Donetta photographed both the Cima Norma factory and the hotel Terme di Acquarossa frequently as they were fixed points in social life in the valley.

“The details of the photographs are fascinating. The placement of the figures in Female Workers in Front of the Chocolate Factory Cima Norma for example, where the left two sitting figures have their legs crossed in the opposite direction while both rest their face in their hands, a central figure, and then two figures interlocked as in an infinity symbol looking at each other. The ‘line’ of the photograph changes from one height to another. We observe that Donetta stages his photographs with infinite care, even when there is a blank wall behind the sitter.” 
Dr Marcus Bunyan – Artblart

Roberto Donetta, Self-portrait –Bleniotal, © Fondazione Archivio Fotografico Roberto Donetta

Roberto Donetta, Self-portrait –Bleniotal, © Fondazione Archivio Fotografico Roberto Donetta

Donetta’s personality was full of contradictions. On the one hand, he expressed considerable interest in all the phenomena associated with the advent of modern achievements, such as photography. On the other hand, he was decidedly conservative when it came to the cohesion of the family or his close links with nature. The latter prevented him from leaving the valley to look for more secure work in town. He lamented the constant changes associated with road building and new railway lines, which he did not see as a blessing for the valley. In his capacity as a photographer he succumbed to the fascination of the modern, yet at the same time he expressed a deep respect for long-standing traditions and rituals. Festivals, weddings, funerals, processions, outdoor church services, these were inconceivable without “il fotografo”. Donetta made photography an important part of those rituals, and over the course of time the photographer was as much a part of the valley as the parson was of the church. This is surely the source of the quality of his photographs: the people did not dissimulate, indeed it’s almost as if they forgot that someone with a camera was watching, so self engrossed do they look, serious, at one with themselves.
Children have a special place in the work of Roberto Donetta – not only because he photographed them regularly and readily, but also because of the originality of the respective images. He took the young people seriously, and they in turn were his accomplices, becoming involved in his creative ideas. The presence of children in his work can also be explained from a socio-historical viewpoint: children played an important role in everyday life and contributed to their family’s economic survival. Sometimes even the worries of the older people are reflected on their little faces. The high infant mortality in the Blenio Valley at the beginning of the 20th century also left its mark. The repeated experience of losing a child increased the need for portraits. Roberto Donetta fulfilled the wish of many parents to try and hold on to their offspring, at least in an image. What is particularly moving is when they called on the photographer to immortalize a small child on his or her death bed.
In an era of great change, Donetta became a unique chronicler who at the same time saw himself as an artist who – self-taught – experimented freely and knew how to master his medium.
When he died, Donetta owed money to many of the town’s locals who had help support him throughout his economic hardships. His wife and family had abandoned him and moved to France years ago, but he was obviously well-liked within his community. When the Commune of Corzoneso held an auction of his belongings to retrieve some of the expenses that helped keep him afloat in his last years, his remarkable collection of photography was ironically the only thing they couldn’t sell for any value. By default, the Commune of Corzonesco became the owners of the Donetta archives, which were re-discovered in the mid-1980s by Mariarosa Bozzini. The Roberto Donetta Archives are housed in the Casa Comunale of Corzoneso, which is responsible for the supervision and conservation of his work.
Sources/More to Read:
Messy Nessy: Memories of a Lost Valley: 5,000 Photographs Discovered in an Attic
Wikipedia: Roberto Donetta (in German)
Fotostiftung Schweiz: Roberto Donetta – Photographer and Seed Salesman
Fondazione Archivio Fotografico Roberto Donetta (in Italian)
Artblart: Roberto Donetta at Fotostiftung Schweiz, Winterthur, Zurich
La Fabbrica Del Cioccolato: Our Story
Ticino Top Ten:  Historic Trail Blenio Valley


Mr. Jose D’Angelo’s family, Peru, ca. 1920’s

Colorized by Manos Athanasiadis

Colorized by Manos Athanasiadis

Mr. Jose D'Angelo's family (Jose D'Angelo) ca. 1920's

Mr. Jose D’Angelo’s family (Jose D’Angelo) ca. 1920’s

The following article: Exhibition honors Peruvian 3D photography pioneer Jose D’Angelo is from EFE Agencia’s site (March 4, 2015)

After almost a century of gathering dust, the work of a Peruvian amateur photographer has come to light in an unprecedented exhibition titled “Estereografias. El mundo en 3D del senor Jose D’Angelo” (Stereograms: The 3D World of Mr. Jose D’Angelo. The exhibition, which runs until May 17 (2015) at the Peruvian Catholic University Cultural Center in Lima, features 20 of the more than 300 three-dimensional images previously seen only by D’Angelo’s relatives, said curator Jokin Aspuru.

Jose D'Angelo in 1916

Jose D’Angelo in 1916

Jose D’Angelo Gutierrez (1873 – 1954) was born to Italian immigrant parents, in Ascope a town in Northern Peru. He was a bank manager of the former Caja de Depósitos, an entity that in time became the Banco de la Nacion. His work was to travel across Peru to open branches throughout the country. In his spare time, he took pictures of places he visited, creating a “serious and important” archive documenting family and social customs of the period, Aspuru said.
To create 3D images, D’Angelo learned the stereoscopy technique that became “the first mass visual phenomenon,” allowing people to view three-dimensional images through a stereoscope. D’Angelo employed a binocular camera that takes simultaneous photographs from slightly displaced angles. Once the images are placed in the stereoscope, the brain works to match the distance between them, creating the illusion of three dimensions.
D’Angelo was an organized, rigorous and meticulous photographer who classified all his material according to the subject of his photographs. Aspuru, found all of the photographer’s work stored in a small, four-drawer chest. Inside were more than 300 stereoscopic plates with pictures taken between 1915 and 1930, neatly classified with tags marking sections, such as “Family,” “Lima” and “Miscellaneous.”
“D’Angelo was always an amateur photographer, but he took photography very seriously,” Aspuru said. “He knew what he was doing.”
Sources/More to Read:
EFE Agencia: Exhibition honors Peruvian 3D photography pioneer Jose D’Angelo
Centro cultural PUCP: Estereografias, el mundo en 3D del Sr. D’Angelo
Wikipedia: Stereoscopy
Peru 21: Estereografias
Foro Peruano de las Artes: Jose D’Angelo Gutierrez


Citizen’s Military Training Camp, Maryland, 1922

Colorization by Manos Athanasiadis

Colorization & Restoration by Manos Athanasiadis

Citizens' Military Training Camp, Fort Meade, Maryland (August 21, 1922)

Citizens’ Military Training Camp, Fort Meade, Maryland (August 21, 1922)

Citizens’ Military Training Camps (CMTC) were military training programs of the United States, held annually each summer during the years 1921 to 1940. The purpose of CMTC’s was to train young men (17 to 30 y.o) for thirty days in order to promote citizenship, patriotism and Americanism, as well as benefit the young men individually and instil a sense of obligation to the country through physical, athletic, and military training. Those interested filed an application, which included a medical fitness statement, and a certificate of good moral character signed by a prominent citizen such as a member of the clergy, current or former officers of the armed forces, or a schoolteacher.
The program consisted of four training levels: Basic, Red, White, and Blue. There was no obligation to join the regular service, but opportunities did exist to do so.
The largest number of CMTC participants in the III Corps area, which included men from Pennsylvania, Maryland, Virginia, and the District of Columbia, trained at Camp Meade, Maryland. In 1923, about 4,000 attended Camp Meade, and the number remained high in 1940 at approximately 3,000. CMTC camps held at about 50 Army posts nationally. At their peak in 1928 and 1929, about 40,000 men received training, but as a whole the camps were a disappointment at their multiplicity of stated goals, but particularly in the commissioning of Reserve officers.
The photographic album containing the series was provided by Cronhardt and Son from Baltimore, Maryland, and depicts various activities that occurred at the Camp Meade CMTC, including rifle shooting instruction and practice; physical exams; marching; artillery practice; and cavalry training.
Among known participants were Harry S. Truman, Ronald Reagan, Robert Penn Warren, Walter S. McIlhenny, Chuck Yeager, and William Guarnere.
Sources / More to Read:
Wikipedia: Citizens’ Military Training Camp
Ghosts of DC: The Citizens’ Military Training Camp
US National Archives
Buy a Print:
Red Bubble



Tiger Hunting in India, ca. 1920s

Restoration & Colorization: Manos Athanasiadis

Restoration & Colorization: Manos Athanasiadis

Tiger Hunting in India, ca. 1920s

Tiger Hunting in India, ca. 1920s

The Bengal Tiger (Panthera tigris tigris) is the most common subspecies of tiger, constituting approximately 80% of the entire tiger population, and is found in Bangladesh, Bhutan, Myanmar, Nepal, and India and has been hunted in those countries for centuries.
The tiger hunting had been considered a manly and courageous feat with game trophies being collected as symbols of valor and prestige.
While the tiger was widely extant and not threatened up to the first decades of the twentieth century, hunting and habitat loss reduced its population in India from 40,000 to less than 1,800 in a mere hundred years.
Despite the prevalence of tiger hunting as a royal sport for centuries, the consequences were larger during the British Raj (rāj, meaning “rule” in Hindi – was British rule in the Indian subcontinent between 1858 and 1947) due to the use of far superior firepower and an interest to hunt shared by a much larger number of colonial aristocrats.

Never attack a tiger on foot—if you can help it. There are cases in which you must do so. Then face him like a Briton, and kill him if you can; for if you fail to kill him, he will certainly kill you.” —Walter Campbell, My Indian Journal

Tiger hunting was an important symbol in the construction of British imperial and masculine identities during the nineteenth century. Precisely because tigers were dangerous and powerful beasts, tiger hunting represented a struggle with fearsome nature that needed to be resolutely faced “like a Briton,” as Campbell put it. Only by successfully vanquishing tigers would Britons prove their manliness and their fitness to rule over Indians.
Kings and lords, generals, and Maharajas went out in large parties, carried by 10, 20, 30 or even 40 elephants; their servants often drugged and baited tigers before they arrived so the hunters were in little danger. They legitimized the slaughter by vilifying the cats, casting them as terrible, bloodthirsty beasts with an unquenchable desire for human flesh.
After ascending the throne in 1911, King George V and his retinue traveled north to Nepal, slaying 39 tigers in 10 days. Colonel Geoffrey Nightingale shot more than 300 tigers in India. In the 1920s, Umed Singh II, the Maharaja of Kotah, modified a flaming red Rolls Royce Phantom for tiger safaris in the Rajastani hills, outfitting it with spotlights for night hunting, a mounted machine gun and a Lantaka cannon.
The killing escalated after 1947. Independence ushered in a hunting free-for-all. Soon after, hunters streamed in from around the world, seduced by the guaranteed premiere trophies advertised by travel agencies – tiger, elephant, rhino, lion, and other iconic species. And then, as models and Hollywood starlets draped themselves in cat skin coats, a fashion craze for fur took hold in the U.S. and Europe. A tiger pelt fetched €47 in India during the 1950s; 10 years later, rugs and coats sold for €9.425. Things changed, however, when Indira Gandhi took the reins as prime minister in 1966, outlawing the export of skins and appointing a Tiger Task Force. In 1971, the Delhi High Court banned tiger killing, despite opposition from the trophy hunting industry that was raking in €4 million a year.
Today there are 45 tiger reserves, comprising about one percent of India’s land, but still the wild tiger is one of the most threatened species on the planet. By 2011, the total population was estimated at fewer than 2,500 individuals with a decreasing trend. None of the Tiger Conservation Landscapes within the Bengal tiger’s range is considered large enough to support an effective population size of 250 adult individuals. Since 2010, it has been classified as Endangered by the IUCN.

In November 1924, Brigadier General William Mitchell, published this account of a three-day tiger hunt in eastern India with the maharaja of Surguja. (Excerpts from National Geographic, see links)
…Used to hunting all my life, I had never dreamed of a spectacle and a moment like this… To the top of a rocky outcropping the tiger jumped, not more than 50 yards away, and at that instant I let go the bullet from the Springfield. The beast was knocked down flat in its stride; but, without losing speed, it was up with a terrific roar and on again… I could see its face plainly, depicting rage, fearlessness, and pain…
We examined the position of the tiger when I first fired and found pieces of cut hair where the bullet had struck; also deep claw-marks in the hard rock. We found where my second bullet had hit the rock and not the tiger, just as it fell for the second time, and were tracing it up the cut bank when the native who was posted in the tree behind my machan called that the tiger was lying in the water of the nala and had not moved for a long time… Soon we saw the tiger, stretched at full length in the water of the stream, with its teeth clutching the roots of a tree in a death grip and its legs drawn back as in the act of springing.

These animals are game as long as a breath remains in their bodies…

We had killed so many animals during our last three days that their pelts were not sufficiently dry to pack, so we had to spread them on top of the automobile truck that was to carry our baggage south, allowing them to dry en route.
The Maharaja saw us off, the band played the Star-Spangled Banner, the guard of honor presented arms, and our wonderful sojourn at Surguja was over.

Wikipedia: Bengal Tiger
Wikipedia: Tiger Hunting
National Geographic: Tiger Hunting in India 1924
National Geographic: A Concise History of Tiger Hunting in India
“Face Him Like a Briton”: Tiger Hunting, Imperialism, and British Masculinity in Colonial India, 1800-1875
Slate: Hunting the Hunters


Walter Smith, 1924


Color by Manos Athanasiadis

Walter Smith

Mug shot of Walter Smith, 1924, location unknown (Justice & Police Museum, Sydney)

Special Photograph no. 1357. Walter Smith is listed in the NSW Police Gazette, 24 December 1924, as

“charged with breaking and entering the dwelling-house of Edward Mulligan and stealing blinds &c value 20 pounds (part recovered)”

and with “stealing clothing, value 26 pounds (recovered) in the dwelling house of Ernest Leslie Mortimer.” Sentenced to 6 months hard labour.

For more about special photographs, see my other post: De Gracy & Edward Dalton

“Συνελήφθη για διαρρήξη σε δύο σπίτια, όπου απέσπασε στόρια αξίας 20 λιρών και ρούχα αξίας 26 λιρών που μερικώς αποκαταστάθηκαν.” Καταδικάστηκε σε 6 μήνες καταναγκαστικά έργα. Μπορείτε να διαβάσετε περισσότερα για τις “ειδικές φωτογραφίες” που τραβήχτηκαν στο Αστυνομικό τμήμα του Σύντνεϋ, σε προηγούμενη μου ανάρτηση: De Gracy & Edward Dalton

William Stanley Moore, 1925


Color by Manos Athanasiadis

Mug shot of William Stanley Moore, 1925, Central Police Station, Sydney

Mug shot of William Stanley Moore, 1925 (Justice & Police Museum, Sydney)

Special Photograph no. 1399. Τhis picture appears in the Photo Supplement to the NSW Police Gazette, 28 July, 1926 captioned:

“Opium dealer./ Operates with large quantities of faked opium and cocaine./ A wharf labourer; associates with water front thieves and drug traders.”

For more, see my other post: De Gracy & Edward Dalton

“Έμπορος ναρκωτικών. Διακινούσε μεγάλες ποσότητες νοθευμένης κοκκαίνης και όπιου.” Πορτραίτο του συλληφθέντα, στο Κεντρικό Αστυνομικό Τμήμα του Σύντνεϋ, το 1925.
Μπορείτε να διαβάσετε περισσότερα για τις “ειδικές φωτογραφίες” που τραβήχτηκαν στο Αστυνομικό τμήμα του Σύντνεϋ, σε προηγούμενη μου ανάρτηση: De Gracy & Edward Dalton

Adrienne Ames, Ziegfeld girl ca. 1920-25


Colorization by Manos Athanasiadis


Adrienne Ames (Alfred Cheney Johnston) ca. 1920-1925

The Ziegfeld Follies were a series of elaborate theatrical productions on Broadway in New York City from 1907 through 1931. Inspired by the Folies Bergère of Paris, the Ziegfeld Follies were conceived and mounted by Florenz Ziegfeld. Many of the top entertainers of the era (including W. C. Fields, Eddie Cantor, Josephine Baker, Bob Hope, Louise Brooks, and others) appeared in the shows.
The Ziegfeld Follies also were famous for many, beautiful chorus girls commonly known as Ziegfeld girls. They were not just admired for their beauty but for their elegant Art Deco costumes by designers such as Erté, Lady Duff Gordon or Ben Ali Haggin. The Ziegfeld girls paraded up and down flights of stairs as anything from birds to battleships. These beauties, of similar size, gained many young male admirers and they became objects of popular adoration. Many were persuaded to leave the show to marry, some to men of substantial wealth. Over the years they included many future stars such as Barbara Stanwyck, Paulette Goddard, Louise Brooks, Joan Blondell, Marion Davies, Bessie Love, Dolores Costello, Iris Adrian.
Wikipedia: Ziegfeld Follies
Wikipedia: Ziegfeld girls

Ζίγκφελντ Φολλίς ήταν μουσικοχορευτικά θεάματα στο Μπρόντγουεϊ, εμπνευσμένα από τα Φολλί Μπερζέρ του Παρισιού. Από το 1907 ως το 1931, εμφανίστηκαν πολλά μεγάλα ονόματα εκεί, όπως ο Μπόμπ Χόουπ, ο Γ.Κ. Φίλντς, η Τζοζεφίν Μπέικερ και άλλοι.
Μεγάλη φήμη είχαν και τα “Κορίτσια του Ζίγκφελντ” που χόρευαν και τραγουδούσαν στις παραστάσεις φορώντας κομψά Άρτ Ντεκό κοστούμια διάσημων σχεδιαστών. Όμορφες και καλλίγραμμες καθώς ήταν, είχαν πολλούς θαυμαστές. Κάποιες έκαναν καριέρα στον κινηματογράφο κι έγιναν σταρ όπως η Μπάρμπαρα Στάνγουϊκ, η Πωλέτ Γκοντάρ, η Λουίζ Μπρούκς και η Ντολόρες Κοστέλλο. Άλλες, απλά παντρεύτηκαν πλούσιους άντρες.

Adrienne Ames (1907-1947) hit Hollywood in the late 1920s. Although her career only lasted from 1929 to 1940, she crammed a lot of living into it, with three high-profile marriages and divorces. Her reputation as a glamor queen par excellance far outshone her reputation as an actress.
In 1938 appeared before a US Tax Appeals Board to explain why she wrote off more than $9,000 (today’s equivalent of $146,000) in wardrobe and jewelry on her 1934 tax form. She claimed was necessary for “professional reasons” (as was her maid) and that her “daily expenses” included hotel, taxis, food, flowers, tips, massages and beauty work.
She appeared in about 30 films, mostly “B” pictures. Essentially played herself on screen, bedecked in furs, satin and jewellery. Her most memorable performance was as the charming princess in You’re Telling Me! (1934) with W.C. Fields.
Adrienne Ames: L.A. Times

Alfred Cheney Johnston studied painting and illustration in New York. After graduating his efforts to earn a living as a portrait painter did not meet with success. In 1917, Johnston was hired by producer Florenz Ziegfeld as a contracted photographer, and was affiliated with the Ziegfeld Follies for the next fifteen years. Johnston’s “standard” work, of course, was used by Flo Ziegfeld for the normal advertising and promotional purposes for the Follies, and mainly consisted of individual or small-group shots of the Follies showgirls in their extravagant stage costumes. However, after Johnston’s death in 1971, a huge treasure trove of extremely artistic full-nude and semi-nude full-figure studio photos was found stored. Most of these images were, in fact, showgirls from the Ziegfeld Follies in the 1920s-1930s.
Wikipedia: Alfred Cheney Johnston

Η Άντριέν Έϊμς εμφανίστηκε στα τέλη της δεκαετίας του ’20, στο Χόλυγουντ, ως ηθοποιός. Λέγεται ότι ήταν τόσο όμορφη που η Πάραμάουντ την προσέλαβε χωρίς δοκιμαστικό. Ωστόσο έγινε γνωστή για τους τρεις πλούσιους γάμους και διαζύγια της, όπως και για τη χλιδάτη και κοσμική ζωή της.
Το 1934 δήλωνε στην Εφορία, ως επαγγελματικά έξοδα, 9.000 δολάρια (σήμερα 146.000$) για ρούχα, κοσμήματα και το μισθό της υπηρέτριας που τη βοηθούσε να τα φορέσει. Όπως είπε αργότερα, τα καθημερινά της έξοδα περιλάμβαναν ξενοδοχείο, ταξί, φαγητό, λουλούδια, φιλοδωρήματα, μασάζ και αισθητική περιποίηση.
Από το 1929 ως το 1940 εμφανίστηκε σε 30, κυρίως δευτεροκλασάτες, ταινίες, όπου έπαιζε βασικά τον εαυτό της, τη μοιραία γυναίκα, “πνιγμένη” στις γούνες, τα σατέν και τα κοσμήματα.
Πέθανε 40 χρονών, το 1947, από καρκίνο.

Ο Άλφρεντ Τσένεϋ Τζόνστον (1885 – 1971), ξεκίνησε ως ζωγράφος πορτρέτων αλλά μη μπορώντας να αντεπεξέλθει οικονομικά, στράφηκε στη φωτογραφία. Το 1917 τον προσέλαβε ο παραγωγός των Ζίγκφελντ Φολλίς και τα επόμενα 15 χρόνια έφτιαχνε τα διαφημιστικά των παραστάσεων, φωτογραφίζοντας τους πρωταγωνιστές και τις χορεύτριες με τα εντυπωσιακά κοστούμια τους.
Μετά το θάνατο του, ανακαλύφθηκαν σε μια αποθήκη, μια σειρά από εξαιρετικές καλλιτεχνικές φωτογραφίες, της περιόδου 1920-1930, με γυμνά και ημίγυμνα πορτραίτα, κυρίως των “Κοριτσιών του Ζίγκφελντ”. Ανάμεσα τους ήταν κάποιες κοπέλες που εξελίχθηκαν αργότερα σε διάσημες σταρ του Χόλυγουντ.