Hazel Lavery by E.O. Hoppé (1916)

Hazel, Lady Lavery (1880–1935) was a socialite, actress and painter. She was the second wife of portrait artist Sir John Lavery.

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Hazel Lavery by E.O. Hoppé gelatin silver print, 1916 © 2019 E.O. Hoppé Estate Collection / Curatorial Assistance Inc. (NPG) via


Hazel Lavery by E.O. Hoppé gelatin silver print, 1916 © 2019 E.O. Hoppé Estate Collection / Curatorial Assistance Inc. NPG via

A Collection of Horst P. Horst Classics (1930s)

Horst P. Horst (1906 – 1999) was a German-American fashion photographer. His first exhibition took place at La Plume d’Or in Paris in 1932. It was reviewed by Janet Flanner in The New Yorker, and this review, which appeared after the exhibition ended, made Horst instantly prominent.

Horst made a portrait of Bette Davis the same year, the first in a series of public figures he would photograph during his career. Within two years, he had photographed Noël Coward, Yvonne Printemps, Lisa Fonssagrives, Count Luchino Visconti di Madrone, Duke Fulco di Verdura, Baron Nicolas de Gunzburg, Princess Natalia Pavlovna Paley, Daisy Fellowes, Princess Marina of Greece and Denmark, Cole Porter, Elsa Schiaparelli, and others like Eve Curie.

Horst rented an apartment in New York City in 1937, and while residing there met Coco Chanel, whom Horst called “the queen of the whole thing”. He would photograph her fashions for three decades.


Horst P. Horst, Mainbocher Corset, 1939 via


Horst P. Horst Classics, Lisa with Harp, 1939 via


Horst P. Horst Classics, Coco Chanel, Paris, 1937 via


Horst P. Horst Classics, Still Life, 1937 via

A Collection of Photos by Henri Cartier-Bresson (1950s)

Henri Cartier-Bresson (1908 – 2004) was a French humanist photographer considered a master of candid photography, and an early user of 35 mm film. He pioneered the genre of street photography, and viewed photography as capturing a decisive moment.

Cartier-Bresson was one of the founding members of Magnum Photos in 1947. In the 1970s he took up drawing—he had studied painting in the 1920s.


Henri Cartier-Bresson “Generations”, East Sussex. Brighton, UK via


Henri Cartier-Bresson Girl in Crowd Wearing Pearls, Velodrome d’Hiver via


Henri Cartier-Bresson Colette and Her Companion, 1952 via


Henri Cartier-Bresson Bullfighters, Pamplona, July 1952 via


Henri Cartier-Bresson Women in Traditional Dress of Brittany (Bretagne) via


Henri Cartier-Bresson Woman Shopping with Children, Lourdes, 1958 via

The Portraits feat. Anne-Marie Edvina (1961)

These portraits of 21 year old Anne-Marie Edvina were made by 10 photographers for an exhibition in Paris. Using Anne as their only model, they were free otherwise to experiment with any lighting, make-up or printing techniques they wished. In so doing they showed that the camera can be as wonderfully changeable as a pretty girl (source).


Sabine Weiss Portrait of Anne-Marie Edvina, 1961 via


Robert Doisneau Portrait of Anne-Marie Edvina, 1961 via


Henry Moncey Portrait of Anne-Marie Edvina, 1961 via


William Klein Portrait of Anne-Marie Edvina (Hair), 1961 via


Loomis Dean Portrait of Anne-Marie Edvina, 1961 via


Frank Horvat Portrait of Anne-Marie Edvina, 1961 via


Edouard Boubat Portrait of Anne-Marie Edvina, 1961 via


Therese Le Prat Portrait of Anne-Marie Edvina, 1961 via


Harry Ossip Meerson Portrait of Anne-Marie Edvina, 1961 via


Lucien Lorelle Portrait of Anne-Marie Edvina, 1961 via

A Collection of Self-Portraits by Gertrud Arndt (1930s)

Gertrud Arndt (1903 – 2000) was a photographer associated with the Bauhaus movement. She is remembered for her pioneering series of self-portraits from around 1930.

Over the five years she captured herself and her friends in various styles, costumes and settings in the series known as Maskenportäts (Masked Portraits). Although at the time Arndt refused to attribute any deep artistic meaning to her photographs, they were imaginative and provocative. Through her costumes, Arndt created playful reinterpretations of such feminine tropes as the widow, socialite, and a little girl.

The viewer is confronted with Arndt head on, unable to ignore the expression communicated by her face and the accessories that framed it. In an interview as a nonagenarian, Arndt told Sabina Leßmann, “I am simply interested in the face, what does one make from a face? There you only need to open your eyes wide and already you are someone else. Isn’t that true?”. Today Arndt is considered to be a pioneer of female self-portraiture, her work echoing in that of Cindy Sherman and Sophie Calle.


Gertrud Arndt, self-portrait via


Self Portrait© Gertrud Arndt via


Gertrud Arndt, Maskenportrait Nr. 29, via


Gertrud Arndt, Maskenfoto, um 1930 Bauhaus-Archiv Berlin © VG Bild‐Kunst, Bonn 2016 via


Mask portrait No. 131 by Gertrud Arndt, 1930 via

A Collection of Victorian Era Portraits by Lady Clementina Hawarden (1860s)

Clementina Maude, Viscountess Hawarden, née Clementina Elphinstone Fleeming (1822 – 1865), commonly known as Lady Clementina Hawarden, was a noted English portrait amateur photographer of the Victorian Era, producing over 800 photographs mostly of her adolescent daughter.


A photograph of a young woman in a dancing costume, possibly Isabella Hawarden (b. 1846), taken by Clementina, Lady Hawarden, in about 1863 © The Board of Trustees of the Science Museum via


A photograph of Isabella Grace Hawarden (b. 1846) taken by her mother, Clementina, Lady Hawarden, in about 1862 © The Board of Trustees of the Science Museum via


Two women by window, one standing and one kneeling. A photograph of two young girls, probably Clementina (b. 1847) and Florence Hawarden (b. 1849), taken by Clementina, Lady Hawarden, in about 1860 © The Board of Trustees of the Science Museum via


Portrait of ‘Clementina Maude’ by Lady Clementina Hawarden, albumen print, 1863, woman reading seated beside window © The Board of Trustees of the Science Museum via


Woman on balcony. A photograph of Clementina Hawarden (b. 1847), taken by her mother, Viscountess Clementina Hawarden in about 1862 © The Board of Trustees of the Science Museum via

Amazing Victorian Photography by Julia Margaret Cameron


The Gardener’s Daughter by Julia Margaret Cameron, 1867 via


Magdalene Brookfield by Julia Margaret, 1865 via


Mary Ann Hillier by Julia Margaret Cameron, 1873 via


Lionel Tennyson with bow & arrow by Julia Margaret Cameron, 1863 via


The Rosebud Garden of Girls by Julia Margaret Cameron, 1868 via


Gretchen by Julia Margaret Cameron, 1870 via