vintagraphblog:

Déesse. 16, rue Halévy, Paris. Goddess of the bicycle. Illustrated by Jean de Paleologue, c. 1898. Vintage French poster. New in Vintage Advertising Posters. (via Déesse Bicycle Poster – Vintagraph)

vintagraphblog:

Déesse. 16, rue Halévy, Paris. Goddess of the bicycle. Illustrated by Jean de Paleologue, c. 1898. Vintage French poster. New in Vintage Advertising Posters. (via Déesse Bicycle Poster – Vintagraph)

burnedshoes:

© Irina Ionesco, 1976, 'Griffe' ('Claw')
“And who are you, the proud Lord said that I must bow so low? Only a cat of a different coat, that’s all the truth I know. In a coat of gold or a coat of red, a lion still has claws. And, mine are as long and sharp, my Lord as long and sharp as yours. And so he spoke, and so he spoke, that Lord of Castamere, but now the rains weep o’er his hall, with no one there to hear. Yes, now the rains weep o’er his hall, and not a soul to hear.” ― George R.R. Martin, A Storm of Swords

burnedshoes:

© Irina Ionesco, 1976, 'Griffe' ('Claw')

“And who are you, the proud Lord said that I must bow so low? Only a cat of a different coat, that’s all the truth I know. In a coat of gold or a coat of red, a lion still has claws. And, mine are as long and sharp, my Lord as long and sharp as yours. And so he spoke, and so he spoke, that Lord of Castamere, but now the rains weep o’er his hall, with no one there to hear. Yes, now the rains weep o’er his hall, and not a soul to hear.” ― George R.R. Martin, A Storm of Swords

rivimadison:

VariousPix x Floofie x Rivi Madison in Paris. 

rivimadison:

VariousPix x Floofie x Rivi Madison in Paris. 

liquidnight:

László Moholy-Nagy
Pont Transbordeur, Marseilles, 1929
Gelatin silver print
[From the Metropolitan Museum of Art]

liquidnight:

László Moholy-Nagy

Pont Transbordeur, Marseilles, 1929

Gelatin silver print

[From the Metropolitan Museum of Art]

liquidnight:

"Down these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid. He is the hero; he is everything. He must be a complete man and a common man and yet an unusual man. He must be, to use a rather weathered phrase, a man of honor—by instinct, by inevitability, without thought of it, and certainly without saying it. He must be the best man in his world and a good enough man for any world.
He will take no man’s money dishonestly and no man’s insolence without a due and dispassionate revenge. He is a lonely man and his pride is that you will treat him as a proud man or be very sorry you ever saw him.
The story is this man’s adventure in search of a hidden truth, and it would be no adventure if it did not happen to a man fit for adventure. If there were enough like him, the world would be a very safe place to live in, without becoming too dull to be worth living in.”
— Raymond Chandler, “The Simple Art of Murder,” 1945
[Photo by René-Jacques, L’homme de la nuit, 1939, via All Things Amazing]

liquidnight:

"Down these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid. He is the hero; he is everything. He must be a complete man and a common man and yet an unusual man. He must be, to use a rather weathered phrase, a man of honor—by instinct, by inevitability, without thought of it, and certainly without saying it. He must be the best man in his world and a good enough man for any world.

He will take no man’s money dishonestly and no man’s insolence without a due and dispassionate revenge. He is a lonely man and his pride is that you will treat him as a proud man or be very sorry you ever saw him.

The story is this man’s adventure in search of a hidden truth, and it would be no adventure if it did not happen to a man fit for adventure. If there were enough like him, the world would be a very safe place to live in, without becoming too dull to be worth living in.”

— Raymond Chandler, “The Simple Art of Murder,” 1945

[Photo by René-Jacques, L’homme de la nuit, 1939, via All Things Amazing]

liquidnight:

Robert Doisneau
Baiser Passage Versailles, 1950
[via Le Clown Lyrique]

liquidnight:

Robert Doisneau

Baiser Passage Versailles, 1950

[via Le Clown Lyrique]

Hand-coloured glamour postcard (by totallymystified)

Hand-coloured glamour postcard (by totallymystified)

2000-lightyearsfromhome:

Elliott Erwitt

FRANCE. Paris. 1958.

2000-lightyearsfromhome:

Elliott Erwitt

FRANCE. Paris. 1958.

(via nikki-of-the-valley)

burnedshoes:

© Frank Horvat, late 1950s, Cabaret ‘Le Sphinx’ (from the series ‘Strip-Tease’), Paris

Between 1962 and 1963, Frank Horvat worked on his book project Strip-Tease, published in 1963 by Éditions Rencontre in Lausanne as part of the series Eintritt frei (original title: J’aime … ). The project assembles photographs of scantily clad and nude ladies taken at various establishments and nightclubs in late-1950s Paris.

Taken at the cabaret “Le Sphinx” on Rue Pigalle, above photographs depict scenes that appear like cutouts, photographed from slightly below, thus imitating the audience’s perspective on the stage show. The “strip-teaseuses”, as Horvat calls the dancers, are sometimes shown only dimly or partially; the focus is on their bodies, often in mid-motion, and on the desirous gaze of the male audience.

The images from “Le Sphinx” reflect Horvat’s journalistic aesthetics favouring miniature camera pictures as well as his sense for spontaneous image composition, arising from the moment.

The Italian photographer who started out as a photo journalist worked mainly as a reporter during the 1950s; from 1958 to 1961 he was a member of Magnum. However, Frank Horvat is mainly known for his expressive fashion shots, mostly taken with a Leica, which he published in magazines like Jardin des Modes, Harper’s Bazaar or Vogue. They are governed by a tension-filled, spontaneous visual aesthetic which is also clearly reflected by the Strip-Tease photographs. (+)

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