Wonderful Edwardian Hand-coloured Postcards of Gabrielle Ray

Gabrielle Ray (1883 – 1973), was an English stage actress, dancer and singer, best known for her roles in Edwardian musical comedies.

NPG x198003; Gabrielle Ray by Bassano Ltd, published by  Aristophot Co Ltd

Gabrielle Ray by Bassano Ltd, published by Aristophot Co Ltd
hand-coloured postcard print, 1900s.

© National Portrait Gallery, London via

NPG x198011; Gabrielle Ray by Bassano Ltd, published by  Aristophot Co Ltd

Gabrielle Ray by Bassano Ltd, published by Aristophot Co Ltd
hand-coloured postcard print, 1900s

© National Portrait Gallery, London via

NPG x160555; Gabrielle Ray published by Davidson Brothers

Gabrielle Ray by The Biograph Studio, published by Davidson Brothers
hand-coloured bromide postcard print, circa 1903

© National Portrait Gallery, London via

NPG x196335; Gabrielle Ray by W. & D. Downey, published by  The Philco Publishing Co

Gabrielle Ray by W. & D. Downey, published by The Philco Publishing Co
hand-coloured bromide postcard print with glitter and sequins, circa 1905

© National Portrait Gallery, London via

NPG x196336; Gabrielle Ray by W. & D. Downey, published by  The Philco Publishing Co

Gabrielle Ray by W. & D. Downey, published by The Philco Publishing Co
hand-coloured bromide postcard print, 1905

© National Portrait Gallery, London via

NPG x22002; Gabrielle Ray published by Davidson Brothers

Gabrielle Ray published by Davidson Brothers
hand-coloured postcard print, circa 1905

© National Portrait Gallery, London via

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Costumes de Théâtre by Redfern (1908)

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Exposition à l’Hôtel des Modes. Photograph in Les Modes : Revue mensuelle illustrée des arts décoratifs appliqués à la femme, 1908 via

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Exposition à l’Hôtel des Modes. Photograph in Les Modes : Revue mensuelle illustrée des arts décoratifs appliqués à la femme , 1908 via

Beautiful Turn of the Century Postcards by Rita Martin

Rita Martin (1875-1958) started her photographic career in 1897 when she helped her elder sister Lallie Charles to run her studio. In 1906 she opened her own studio, working in a similar studio to Charles, photographing subjects in pale colours against a pure white background, and focused on actresses such as Lily Elsie and Lily Brayton and child studies, particularly of Gladys Cooper’s two children.

Martin’s and Charles’ few surviving negatives were presented to the National Portrait Gallery by their niece Lallie Charles Martin in 1994.

NPG x131516; Dame Gladys Cooper by Rita Martin, published by  J. Beagles & Co

Dame Gladys Cooper

by Rita Martin, published by J. Beagles & Co
bromide postcard print, 1910. © National Portrait Gallery, London via

NPG x131515; Dame Gladys Cooper by Rita Martin, published by  J. Beagles & Co

Dame Gladys Cooper

by Rita Martin, published by J. Beagles & Co
bromide postcard print, 1910. © National Portrait Gallery, London via

NPG x131528; Lily Elsie (Mrs Bullough) by Rita Martin, published by  J. Beagles & Co

Lily Elsie (Mrs Bullough)

by Rita Martin, published by J. Beagles & Co
bromide postcard print, 1907. © National Portrait Gallery, London via

NPG x131530; Lily Elsie (Mrs Bullough) by Rita Martin, published by  J. Beagles & Co

Lily Elsie (Mrs Bullough)

by Rita Martin, published by J. Beagles & Co
bromide postcard print, 1907. © National Portrait Gallery, London via

NPG x131450; Lily Brayton as Katherine in 'The Taming of the Shrew' by Rita Martin

Lily Brayton as Katherine in ‘The Taming of the Shrew’

by Rita Martin
postcard print, 1904. © National Portrait Gallery, London via

NPG x131451; Lily Brayton as Katherine in 'The Taming of the Shrew' by Rita Martin, published by  Aristophot Co Ltd

Lily Brayton as Katherine in ‘The Taming of the Shrew’

by Rita Martin
postcard print, 1904. © National Portrait Gallery, London via

NPG x128831; Nora Kerin in 'The Prince and the Beggarmaid' by Rita Martin, published by  Rotary Photographic Co Ltd

Nora Kerin in ‘The Prince and the Beggarmaid’

by Rita Martin, published by Rotary Photographic Co Ltd
bromide postcard print, 1908. © National Portrait Gallery, London via

NPG x128832; Nora Kerin in 'The Prince and the Beggarmaid' by Rita Martin, published by  Rotary Photographic Co Ltd

Nora Kerin in ‘The Prince and the Beggarmaid’

by Rita Martin, published by Rotary Photographic Co Ltd
bromide postcard print, 1908. © National Portrait Gallery, London via

Revolutionary Belle Epoque Fashion: Jeanne Margaine-Lacroix

Jeanne Margaine-Lacroix has been neglected by fashion historians. She inherited her couture house from her mother Mme. Margaine, in 1899. The following year she changed the name to Margaine-Lacroix.

She influenced the new slender line of fashion. She was famous for her revolutionary corsetless dresses and her ground-breaking front-lacing corsets. In the 1900s, Paris was the fashion capital of the world. Couturiers routinely sent mannequins to the racecourse, wearing their latest designs. Her models caused a sensation at Longchamp in 1908.

Three mannequins walked onto the racecourse dressed in blue, white and havane brown creations by Margaine-Lacroix. According to newspapers, spectators called the three women a “monstrosity”, accused them of being semi-naked and showing revolting décolletage .

However, soon women everywhere were wearing dresses after Margaine-Lacroix’s design.

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In the Spring of 1908, three women walked onto the Longchamp racecourse in Paris and caused a scandal by the semi-naked clothes they were wearing via

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Longchamp racecourse, Paris 1908 via

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Tanagréenne back drape on Sylphide dress by Jeanne Margaine-Lacroix. Here is an example of her slender, corsetless line, the robe-tanagréenne. It is worn by her favourite model, who small bust and simple hairstyle were avant-garde for the time and contrasted strongly with the generally accepted ideals of fashionable feminine beauty in the first decade of the twentieth-century, 1908 via

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Sylphide dress with Tanagréenne back drape by Jeanne Margaine-Lacroix, 1908 via

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Margaine-Lacroix mannequins pictured in the Parc de Vincennes in March 1910, wearing the new jupe-culotte – an early version of trousers via

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March 1910. Margaine-Lacroix mannequins in the new jupe-culotte via

Extraordinary Vintage Photos of The American Circus by Frederick W. Glasier

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Queen, the High Diving Horse, Brockton Fair, Massachusetts, circa 1899 via

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Joan of Arc, circa 1912 via

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Ella Bradna, Equestrian, circa 1903 via

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Loie Fuller, Glorine, Butterfly Dancer, 1902 via

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Charmion, Strong Woman, 1904 via

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Nettie Carrol, circa 1904 via

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Annette Kellerman, circa 1907 via

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Gertrude Dewar, Mademoiselle Omega, Brockton Fair, Massachusetts, 1908 via

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Mademoiselle Scheel with Lions, circa 1905 via

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Living Statues, circa 1905 via

Beautiful Belle Epoque Couture by Redfern

Redfern & Sons (later Redfern Ltd), was a British tailoring firm founded by John Redfern (1820-1895) in Cowes on the Isle of Wight that developed into a leading European couture house (active: 1855–1932; 1936–1940). By the early 1890s the business had branches in London, Edinburgh, Paris and New York.

The Paris extension was operated as a couture establishment while its other branches functioned primarily as tailors and importers.

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“Robe de bal en chantilly blanc, incrustée de chantilly noir, bordée de sequins noirs. Au bord du décolleté et dans le bas de la jupe, haut marabout de sequins.” Photograph in Les Modes : Revue mensuelle illustrée des arts décoratifs appliqués à la femme, 1902 via

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“Robe en crêpe de chine avec incrustation d’angleterre ; devant en tulle plissé ; ceinture liberty brodée de perles fines.” Photograph in Les Modes : Revue mensuelle illustrée des arts décoratifs appliqués à la femme, 1903 via

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“Robe en tulle et dentelle d’Alençon, laissant entrevoir la taille, ceinte d’un ruban Pompadour.” Photograph in Les Modes : Revue mensuelle illustrée des arts décoratifs appliqués à la femme, 1903 via

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“Robe avec guirlandes de liserons en paillettes nacrées, sur tulle blanc ; épaulettes en perles fines , guirlande de liserons sur l’épaule gauche.” Photograph in Les Modes : Revue mensuelle illustrée des arts décoratifs appliqués à la femme, 1903 via

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“Robe en linon blanc brodé. Pélerine avec incrustations de valenciennes ; jupe avec incrustations et volant de valenciennes, monté sur fond Pompadour. Ceinture faite d’un large ruban Pompadour et munie de longs pans.” Photograph from Les Modes : Revue mensuelle illustrée des arts décoratifs appliqués à la femme, 1903 via

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“Robe en linon royal et broderie anglaise avec entre deux et volants de valenciennes ; ceinture de taffetas Pompadour.” Photograph in Les Modes : Revue mensuelle illustrée des arts décoratifs appliqués à la femme, 1904 via

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“Robe en voile blanc ; ceinture en taffetas brodé Pompadour ainsi que l’empiècement en dentelle du corsage”. Photograph in Les Modes : Revue mensuelle illustrée des arts décoratifs appliqués à la femme, 1904 via

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Robe d’après-midi par Redfern 1904 via

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“Robe en velours bois de rose, guirlandes de roses de velours, brodées vieux tons. Grande veste en faille noire tissée de roses de France ombrées vieux tons d’or, garnie de chinchilla.” Photograph in Les Modes : Revue mensuelle illustrée des arts décoratifs appliqués à la femme, 1906 via

Wonderful Belle Epoque Photos of Can-Can Dancer Saharet

Saharet (1879-1942) was an Australian dancer who made her New York City debut in February 1897. She performed in vaudeville music houses as well as in Broadway productions. Her given name was Clarissa Rose.

 

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Saharet by Georg Gerlach of Berlin ca. 1905 via

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Saharet by Georg Gerlach of Berlin ca. 1905 via

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Saharet by Georg Gerlach of Berlin ca. 1905 via