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Photographs: ‘Women’ 1960s British / Australian 35mm colour slides Part 2

February 2021

Unknown photographer (British)
Nude portrait
1960s?
35mm colour slide

This is the second part of my posting on 88 colour slides of nude women that I bought in Daylesford (an hour and a half from Melbourne) at an antique centre. I have spent hours digitally restoring these slides for they were in a poor state. Unfortunately the colour has gone but I felt the slides were so interesting, so beautiful, that they were worth preserving.

Compared to the women in Part 1 of the posting, the women in these photographs are more knowing of their sexuality and the part they are playing in their own representation, the acting for the camera. Even so, there is nothing prudish or smutty about these photographs. Despite the professional? amateur? photographer being almost certainly male (and all the appellations that the male gaze brings with it), the women are joyful when displaying their bodies, unafraid and uninhibited in the posing of their bodies before the camera. Here “the enshrining of Woman as a blank screen upon which the ideas and desires of both artist and viewer are projected” is balanced by the identity, presence and vitality of the women themselves. They take possession of their image, not simply as passive participants in the act of representation, but as active, engaged, powerful human beings who have a vital role in their own portrayal.

This selection features images that have a more British flavour including shots in a traditional back garden of an English house with lawn, crazy paving and roses (reminding me of my mother’s garden). Other photographs are shot in a flat – one in front of curtain, another using flash in a temporary studio made from rolls of paper hung down behind the model. Further photographs are shot in what looks like a rental bedsit using flash – against a door with the edge of the bed appearing at left, or in a small bedside mirror with overhead light, guest instructions for the room appearing at left. One can only surmise the arrangements made for the model and photographer to meet up in such a small, dingy space. Did they know each other beforehand, was money exchanged, did they have sex afterwards or part without ever seeing each other again, and what was going on in each of their lives, that they ended up in this space at this time for these photographs? What brought them to this place, and what happened to their lives afterwards? One can only surmise…

The setting of domestic suburbia is prevalent in many of these intimate images. Women lie on couches with cats; sit on a stool surrounded by chair, curtain and floral carpet; and are photographed as a pair using numerous props including a chair and a table covered with a bedspread, while on the ground a blanket is laid on the carpet for them to sit on. It’s all very amateur and experimental, using whatever surroundings and objects were available. My personal favourite is a magnificent woman, head titled down and away from the camera, strong dark shadow with the profile of a classical bust falling on the bed and wall behind, flattening the space of the image. Three Vincent van Gogh posters are tacked to the wall of the habitat behind: beauty and bed meets beauty and bed, that of van Gogh’s The Bedroom Arles 1888 (see below). I wonder what Vincent would have made of this Venus, how he would have painted her.

At the bottom of the posting you can see examples of naturist magazines, for the posing in these photographs has historical links to the history and photography of naturism (naturism is a lifestyle of non-sexual nudity, and the cultural movement which advocates for and defends that lifestyle). Of particular interest to me are the advertisements for the “Spielplatz” in St Albans, for my mother was a member for many years at this nudist retreat in the heart of Hertfordshire, owning a caravan and enjoying the summer months in England swimming and sunbathing nude. The Spielplatz (meaning playground) – “the place to be when you have nothing on” – is the UK’s longest-operating naturist resort founded in 1929 by Charles Macaskie and his wife Dorothy, and still going strong. Other magazines, such as the Australian Figure and Vigour (A Controversial Periodical Devoted to Fearless Fact … SEXOLOGY – ART – THEATRE – BEAUTY) and Australasian Post concentrate on the more salacious side of sex and the portrayal of the female body (for the desires of men): ‘ARE WE SLAVES TO SEX?’ screams the headline, and ‘IS OUR SOCIETY SEX-SICK?’ or, ‘SPANKED WOMEN! * YOU’LL BE SHOCKED! Meekly, at the word of a cruel husband or parent, they submit themselves to pain and utter humiliation!’ Meekly – there is the key word (in a quiet, gentle, and submissive manner) – women become subservient to men, submitting themselves to pain and humiliation not just from a husband, but even a parent. This is so wrong on so many levels.

Titles such as “The Triumph of Naturism”, “Health and Efficiency” “Health and Sunshine” emphasise the link between nature, the body and the machine, how a healthy body promotes a healthy mind, all the while lurking in the background are half-remembered links to the discredited science of eugenics (a set of beliefs and practices that aim to improve the genetic quality of a human population, historically by excluding people and groups judged to be inferior or promoting those judged to be superior) and to the 1935 Nazi propaganda film directed, produced, edited, and co-written by Leni Riefenstahl titled Triumph of the Will, which chronicles the 1934 Nazi Party Congress in Nuremberg, which was attended by more than 700,000 Nazi supporters. Meanwhile, portrayals of the male body in some of the very same magazines concentrate on the mightiest men of muscledom, bulging pinups and masters of muscle. A youthful Arnold Schwarzenegger (photographed by that wonderful artist Gregor Arax) poses in all his glory for these physical culture magazines, as does a very young Sean Connery – the muscular phallic body of the muscle gods transferring across to the desirability and availability of such a body in gay porn photographs from the 1970s. As they say in ‘Master of muscle’, “It begins with a picture…”

Dr Marcus Bunyan

Please click on the photographs for a larger version of the image. View Part 1 of the posting.

Addendum November 2021

On 30 October 2021 I received a wonderful email from Miss Ulrike Muehlbachler in Austria. She gave me some valuable information with regard to these colour slides as below:

“All of them should be digitalised at the highest possible resolution as soon as possible. 1960’s colour slides now tend to chemical reactions – which destroys the images more and more through the years (this has been done!)

1/ The blond model is Annette Johnson. For more information on Annette Johnson please see The Kamera Club website.

2/ The voluptuous woman is UK-model Ann Austin. For more information on Ann Austin please see The Kamera Club website.

Best regards from old Austria, Europe
Miss Ulrike Muehlbachler – painting artist, music producer & former stock photographer”

More valuable information came from Russ who runs The Kamera Club website:

“The slides seem to be a mixture of models from different countries including the UK, as I can name a few. Also I’d say that although several of the models posed for Harrison Marks none of the shots are taken by him. They were originally published as sets under ‘Esquire Color Slides’ and were notorious for going red!

They were not taken at Ewhurst Manor [a legendary UK-filming location at 37 Furzehill Road, Borehamwood used for “glamour” photography, now sadly totally demolished], at least those I’ve seen taken in the gardens. I know the grounds of Ewhurst fairly well having studied numerous images of the place over the years. I can safely say there wasn’t a walled round pond there 🙂

I will need to look through the slides again, but I can see Sue Owen, Models named Robyn and Georgina and a few others I recognise.

These slides seem to turn up all over the place, so the distribution must have been pretty good even back in the 1960’s.

Russ”

Unknown photographer (British)
Nude portrait
1960s?
35mm colour slide

Unknown photographer (British)
Nude portrait
1960s?
35mm colour slide

Unknown photographer (British)
Nude portrait (1)
1960s?
35mm colour slide

Unknown photographer (British)
Nude portrait
1960s?
35mm colour slide

Unknown photographer (British)
Nude portrait
1960s?
35mm colour slide

Unknown photographer (British)
Nude portrait
1960s?
35mm colour slide

Unknown photographer (British)
Nude portrait
1960s?
35mm colour slide

Unknown photographer (British)
Nude portrait (Annette Johnson)
1960s?
35mm colour slide

Unknown photographer (British)
Nude portrait (Annette Johnson and friend)
1960s?
35mm colour slide

Unknown photographer (British)
Nude portrait (Annette Johnson and friend)
1960s?
35mm colour slide

Unknown photographer (British)
Nude portrait (Annette Johnson and friend)
1960s?
35mm colour slide

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

Vincent van Gogh (1853-1890)
The Bedroom
Arles, October 1888
Oil on canvas
72.4 cm x 91.3 cm
Van Gogh Museum, Amsterdam

While he was in Arles, Van Gogh made this painting of his bedroom in the Yellow House. He prepared the room himself with simple furniture and with his own work on the wall. The bright colours were meant to express absolute ‘repose’ or ‘sleep’. Research shows that the strongly contrasting colours we see in the work today are the result of discolouration over the years. The walls and doors, for instance, were originally purple rather than blue. The apparently odd angle of the rear wall, meanwhile, is not a mistake on Van Gogh’s part – the corner really was skewed. The rules of perspective seem not to have been accurately applied throughout the painting, but this was a deliberate choice. Vincent told Theo in a letter that he had deliberately ‘flattened’ the interior and left out the shadows so that his picture would resemble a Japanese print. Van Gogh was very pleased with the painting: ‘When I saw my canvases again after my illness, what seemed to me the best was the bedroom.’

Text from the Van Gogh Museum website [Online] Cited 21/02/2021

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

Unknown photographer (British)
Nude portrait
1960s?
35mm colour slide

Hanimex slide carousel and box

35mm colour slide

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

Unknown photographer (British? Australian?)
Nude portrait
1960s?
35mm colour slide

Sun Bathing Review
Summer 1949

Rosemary Andrée
My life story
1945

Eve in the Sun
about 1956

“Are We Slaves to Sex?”
Figure and Vigour Vol. 1, No. 5
November 1952

Sun Bathing Review
Autumn 1955

“Spanked Women!”
Australasian Post
December 8 1955

Sunbathing For Health
January 1956

Health And Efficiency
February 1956

Health And Efficiency
February 1957
Adverts for Photographic Art Albums

The Naturist Vol. XX, No. 7
June 1957

The Naturist Vol. XX, No. 10
September 1957

Sun Bathing Review Vol. 16, No. 61
Spring 1958

The Naturist Monthly Vol. XXII, No. 3
February 1959

Advert for Nudist Life at Spielplatz by Charles Sennet.
The Naturist Monthly Vol. XXII, No. 3
February 1959

Spielplatz

1/ playground

2/playing field

Herbert Rittlinger (German, 1909-1978)
“An Island Paradise”
Health and Sunshine
Special Edition XIV
1960s

Herbert Rittlinger was not only known for his writing. His photographic work is equally popular. He dealt with nude photography in the sense of naturism. He also published several photo textbooks and illustrated books. For years he was also the author of a monthly column on the subject of “nude photography” in the photo magazine. From 1963 until his death he was a member of the DGPh (German Society for Photography). Above all, he dealt with the subject of water sports in photography and writing.

In many of his books, he joined committed to nudism a (nude), even in the more prudish 1950s. Rittlinger wrote as early as 1950 about the then disreputable term “nudity culture”:

“But to apply this beautiful expression to the very simple, very natural and in the appropriate place quite often practiced nudism, or to the honest nudist groups (many of their members are not by chance canoeists!) With their […] free and sporty and clean atmosphere – is impolite and, at best, shows gross ignorance. Only – the obscenity of the philistine is by no means “impolite” anymore, but rather malicious! “Naturism” (FKK) is also not a happy word. But it has asserted and naturalised itself from the distance to all speculative machinations. From the proper sportswear to Petrarcaup to here the jump is not that big: Our shores of the sun also call for ultimate physical freedom. What the gift of nudity in the air and sun means for women in particular, who withdraw three quarters of their bodies from the vital demand “let air on their skin”, even when doing sport, will be best appreciated by them. Fortunately, under the thicket of narrow and conventional convention, most people have enough cleanliness of sensation to enjoy fresh naturalness. In the face of venerable, dreamy Moselle towns, or under the peering amused or even evil glances of the honest rural population, any unintended challenge is strictly forbidden, if only for reasons of [good …] taste. But if you are in a lonely area.” ~ The new school of canoeing. River-sea-whitewater-open-air life. p. 295.

Herbert Rittlinger’s text and images in the “Sun Friends” and “HELIOS” magazine described the ideal opportunities to combine canoeing with naturism. So also the special editions written and illustrated by Rittlinger: “Dalmatian Summer”, “We moved to Friuli” and “Sun trip to Provence” from these then leading nudist publishers.

Text translated from the German Wikipedia entry

Hans-Joachim Fritzsch
“Naked in the Sun”
Health and Sunshine
Special Edition XIX
1960s

Health and Sunshine
1960s

Health and Efficiency
April 1960

Australasian Post
Jan 28 1965

“Topless Girl Tells”
Australasian Post
Jan 28 1965

“I am a nudist” from Australasian Post
November 18, 1965

New Zealand Naturist Magazine #39
June 1966
Naturism Nudism Adult Pamphlet

Australasian Post
July 27 1967
Photos by Arax (Krikor (Gregor) Djololian – Studio Arax)

Australasian Post
November 9 1967

Australasian Post
November 9 1967

Australasian Post
November 27 1969

Australasian Post
May 29 1969

Sun & Health Limited (Publisher)
Frank Stephens (Editor)
Sun Seeker No. 190
1 Jan 1970

Sun Lovers First Bumper Book
Jan 1972

Health And Efficiency Number 851
March 1972

Photographs from GAY magazine
mid-1970s
Barry Lowe papers
© Australian Queer Archives
With permission

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Photographs: ‘Women’ 1960s Australian 35mm colour slides Part 1

January 2021

Unknown photographer (Australian?)
Nude portrait (1)
1960s?
35mm colour slide

Before lockdown struck Melbourne I travelled up to Daylesford (an hour and a half from the city) and purchased a Hanimex carousel containing approximately 88 colour slides of nude women, from an antique centre for $80. Mounted in Kodak Ready-mounts, the slide film itself has no markings – no number and no name, completely blank. These could therefore be dupe (duplicate) slides, where the film has no brand.

I have spent hours digitally restoring these slides for they were in a poor state. You can see a detail from an unrestored slide below. Unfortunately the colour has gone but I felt the slides were so interesting, so beautiful, that they were worth preserving. What makes them rare is that most of the slides are Australian, set on the beach and in the bush. I have never seen anything like them in Australian photography before. This posting features the most Australian of the slides with background of surf, sand and sea, Australian gums and fauna.

There is nothing prudish or smutty about these photographs. Despite the professional? amateur? photographer being almost certainly male (and all the appellations that the male gaze brings with it), the women are joyful when displaying their bodies, unafraid and uninhibited in the posing of their bodies before the camera. Here “the enshrining of Woman as a blank screen upon which the ideas and desires of both artist and viewer are projected” is balanced by the identity, presence and vitality of the women themselves. They take possession of their image, not simply as passive participants in the act of representation, but as active, engaged, powerful human beings who have a vital role in their own portrayal.

This posing has historical links to the history and photography of naturism (naturism is a lifestyle of non-sexual nudity, and the cultural movement which advocates for and defends that lifestyle. Both may also be referred to as nudism) and vitalist1, movements which sprung up around the world before and after the First World War.2 Examples of magazines and pamphlets from 1921-1949 can be seen at the bottom of the posting including an Australian publication, Physique Culture Art Album, c. 1936-1940. As with early male physique magazines, early naturist magazines link the beauty of the physical form to the classical ideal; and being natural, in the sun, outdoors to health and vitality (“A Magazine for all interested in Physical Fitness, Hygiene, Diet, Sunbathing, and a Healthy Natural Life”).

Whether these photographs were for personal use, or for publication, remains unknown. Either way, the photographer has access to numerous models. In this posting there seem to be 6 separate photo sessions featuring different models – 1-9, 10-14, 15-19, 20-22, 23-32, and 33-37. Numbers 1-9 and 10-14 may be the same model but I am unsure of this.

What I am sure of is this: the photographer is not some drongo who does not know how to use a camera. He is wonderfully proficient with a camera, an artist in every sense of the word. I just look at the line of the body in No. 4 and 5 and note the light, the placement of the figure against the background and the position of the horizon line, the elongation of the female form, the sensuous curve of the body… similarly, the beauty, suppleness, lighting and placement of the body in No’s 23-27 is a delight. How he fills the pictorial frame with the horizontal body in No. 25 with the knee touching the edge of the frame on the right hand side, the feet and hands touching the sand, the head thrown back and cropped, the upper line of the body following the line of the dam behind, the undulating curve of the upper and lower body mimicking the curve of the hand, low depth of field and beautiful light, is superlative.

I have never had the opportunity to photograph the female form but in finding these colour slides, rescuing them from oblivion, studying them, imbibing them, the process has given me a greater insight into the vitality and beauty of the female form, a deeper understanding of the anima (originally used to describe ideas such as breath, soul, spirit or vital force, Jung began using the term in the early 1920s to describe the inner feminine side of men),3 and of mother / earth.

Dr Marcus Bunyan

Please click on the photographs for a larger version of the image. View Part 2 of the posting.

Addendum November 2021

On 30 October 2021 I received a wonderful email from Miss Ulrike Muehlbachler in Austria. She gave me some valuable information with regard to these colour slides as below:

“All of them should be digitalised at the highest possible resolution as soon as possible. 1960’s colour slides now tend to chemical reactions – which destroys the images more and more through the years (this has been done!)

1/ The blond model is Annette Johnson. For more information on Annette Johnson please see The Kamera Club website.

2/ The voluptuous woman is UK-model Ann Austin. For more information on Ann Austin please see The Kamera Club website.

Best regards from old Austria, Europe
Miss Ulrike Muehlbachler – painting artist, music producer & former stock photographer”

More valuable information came from Russ who runs The Kamera Club website:

“The slides seem to be a mixture of models from different countries including the UK, as I can name a few. Also I’d say that although several of the models posed for Harrison Marks none of the shots are taken by him. They were originally published as sets under ‘Esquire Color Slides’ and were notorious for going red!

They were not taken at Ewhurst Manor [a legendary UK-filming location at 37 Furzehill Road, Borehamwood used for “glamour” photography, now sadly totally demolished], at least those I’ve seen taken in the gardens. I know the grounds of Ewhurst fairly well having studied numerous images of the place over the years. I can safely say there wasn’t a walled round pond there 🙂

I will need to look through the slides again, but I can see Sue Owen, Models named Robyn and Georgina and a few others I recognise.

These slides seem to turn up all over the place, so the distribution must have been pretty good even back in the 1960’s.

Russ”

Footnotes

1/ “Faced with ‘a queasy sickening feeling that all was not right’, by the fin-de-siècle many Modernists in America, Australia, Britain, Canada and Europe expanded the field of art into raw nature, ethnic communities and tribal cultures as vitalisers of energy that could be emotionally and creatively liberating. Following theories of Vitalism by Henri Bergson, Hans Driesch, Alois Riegl and Friedrich Nietzsche, ‘the vital state’ (‘l’élan vital’) became widely engaged for its conception of life as a constant process of metamorphosis, impelled by the free flow of energies able to generate what Bergson called ‘creative evolution’. Imbricated within Neo-Lamarckian ecological evolutionary theories, Vitalism was also embraced for being anti-rationalist and anti-mechanistic, particularly in its opposition to Thomas Huxley’s conception of plants and animals as machines, and its reconception of them as inspiring organisms within unspoiled nature, perpetually mutating into increasingly complex species and solidarist colonies following the Transformist concept of ‘life-force’.

Pitched against mechanistic productivity and repressive materialism, Vitalism spawned an expanding field of Modernist art in which artists embraced nature, intuition, instinct, spontaneity, chance, intense emotion, memory, unconscious states, uncanny vibrations, and a psychology of time. This pursuit was enhanced by the further expansion of art into Anthroposophy, Organicism, Supernaturalism, Magnetism, Eurhythmics, Freikorperkultur, Heliotherapy, Herbalism, Homeopathy, Naturopathy, Nudism, Theosophy and Vegetarianism, free dance plus regenerative new sports and physical cultures. The artists exploring this expanded field were doing so … within cultures as geopolitically widespread as Britain, China, France, Iceland, Oslo, Switzerland and the Soviet Union.”

Anonymous. “Vitalist Modernism,” on the Association for Art History website [Online] Cited 27/01/2021.

2/ Body culture

The terrible physical losses and psychological traumas of the First World War changed Australian society and prompted anxious concerns about the direction of the nation. For some this meant an inward-looking isolationism, a desire that Australian culture should develop independently and untouched by the ‘degenerate’ influences of Europe.

The search for rejuvenation frequently involved explorations of the capabilities and vulnerabilities of the human body. In the hands of artists, corporeal forms came to symbolise nationhood, most often expressed through references to the art of Classical Greece and mythological subjects. The evolution of a new Australian ‘type’ was also proposed in the 1930s – a white Australian drawn from British stock, but with an athletic and streamlined shape honed by time spent swimming and surfing on local beaches.

This art often has a distinctive quality to it, which in the light of history can sometimes make for disquieting viewing. With the terrible knowledge of how the Nazi Party in Germany subsequently used eugenics in its systematic slaughter of those with so-called ‘bad blood’, the Australian enthusiasm for ‘body culture’ can now seem problematic. Images of muscular nationalism soon lost their cache in Australia following the Second World War, tainted by undesirable fascistic overtones.

In the 1930s Max Dupain responded to Henri Bergson’s book Creative Evolution (1907) in which he considered creativity and intuition as central to the renewed development of society, and the artist as prime possessor of these powers. Vitalism, as this philosophy was termed, was believed to be expressed through polarised sexual energies. …

The invocation of the Classical body as a modern prototype was a powerful idea in the 1930s. The Graeco- Roman goddess Diana, the virgin patron goddess of the hunt, was popularly invoked as an ideal of female perfection, and represented with a slender and athletic physique.

Anonymous wall text from the exhibition Brave New World: Australia 1930s at the Ian Potter Centre: NGV Australia, Melbourne, July – October 2017

3/ Anima originated from Latin, and was originally used to describe ideas such as breath, soul, spirit or vital force. Jung began using the term in the early 1920s to describe the inner feminine side of men.

Anima: The inner self of an individual; the soul. In Jungian psychology, the unconscious or true inner self of an individual, as opposed to the persona, or outer aspect of the personality. In Jungian psychology, the feminine inner personality as present in the unconscious of the male.

Unknown photographer (Australian?)
Nude portrait (2)
1960s?
35mm colour slide

Unknown photographer (Australian?)
Nude portrait (2) (detail unrestored)
1960s?
35mm colour slide

Unknown photographer (Australian?)
Nude portrait (3)
1960s?
35mm colour slide

Unknown photographer (Australian?)
Nude portrait (4)
1960s?
35mm colour slide

Unknown photographer (Australian?)
Nude portrait (5)
1960s?
35mm colour slide

Unknown photographer (Australian?)
Nude portrait (6)
1960s?
35mm colour slide

Unknown photographer (Australian?)
Nude portrait (7)
1960s?
35mm colour slide

Unknown photographer (Australian?)
Nude portrait (8)
1960s?
35mm colour slide

Unknown photographer (Australian?)
Nude portrait (9)
1960s?
35mm colour slide

Unknown photographer (Australian?)
Nude portrait (10)
1960s?
35mm colour slide

Unknown photographer (Australian?)
Nude portrait (11)
1960s?
35mm colour slide

Unknown photographer (Australian?)
Nude portrait (12)
1960s?
35mm colour slide

Unknown photographer (Australian?)
Nude portrait (13)
1960s?
35mm colour slide

Unknown photographer (Australian?)
Nude portrait (14)
1960s?
35mm colour slide

Unknown photographer (Australian?)
Nude portrait (15)
1960s?
35mm colour slide

Unknown photographer (Australian?)
Nude portrait (16)
1960s?
35mm colour slide

Unknown photographer (Australian?)
Nude portrait (17)
1960s?
35mm colour slide

Unknown photographer (Australian?)
Nude portrait (18)
1960s?
35mm colour slide

Unknown photographer (Australian?)
Nude portrait (19)
1960s?
35mm colour slide

Unknown photographer (Australian?)
Nude portrait (20)
1960s?
35mm colour slide

Unknown photographer (Australian?)
Nude portrait (21)
1960s?
35mm colour slide

Unknown photographer (Australian?)
Nude portrait (22)
1960s?
35mm colour slide

Unknown photographer (Australian?)
Nude portrait (23)
1960s?
35mm colour slide

Unknown photographer (Australian?)
Nude portrait (24)
1960s?
35mm colour slide

Unknown photographer (Australian?)
Nude portrait (25)
1960s?
35mm colour slide

Unknown photographer (Australian?)
Nude portrait (26)
1960s?
35mm colour slide

Unknown photographer (Australian?)
Nude portrait (27)
1960s?
35mm colour slide

Unknown photographer (Australian?)
Nude portrait (28)
1960s?
35mm colour slide

Unknown photographer (Australian?)
Nude portrait (29)
1960s?
35mm colour slide

Unknown photographer (Australian?)
Nude portrait (30)
1960s?
35mm colour slide

Unknown photographer (Australian?)
Nude portrait (31)
1960s?
35mm colour slide

Unknown photographer (Australian?)
Nude portrait (32)
1960s?
35mm colour slide

Unknown photographer (Australian?)
Nude portrait (33)
1960s?
35mm colour slide

Unknown photographer (Australian?)
Nude portrait (34)
1960s?
35mm colour slide

Unknown photographer (Australian?)
Nude portrait (35)
1960s?
35mm colour slide

Unknown photographer (Australian?)
Nude portrait (36)
1960s?
35mm colour slide

Unknown photographer (Australian?)
Nude portrait (36) (detail unrestored)
1960s?
35mm colour slide

Unknown photographer (Australian?)
Nude portrait (37)
1960s?
35mm colour slide

Athletic Publications Ltd. (London) (Publisher)
Through the Day. How workers can easily increase their health, efficiency, and happiness
1921

Vivre Integralement #103
15th October 1931
French Naturist Magazine

Health & Physical Culture Publishing Co. Ltd. (Sydney Australia) (Publisher)
Physique Culture Art Album
c. 1936-1940

Sun Bathing Review
Vol. 7, No. 26
Summer 1939

Health & Efficiency
Volume XI, No. 4
April 1941

Health & Efficiency
Volume XI, No. 4
April 1941

The Naturist
May 1943

The Naturist
Vol. VI, No. 6
May 1943

Sun Bathing Review
Vol. II, No. 43
Autumn 1943

Rosemary Andrée
My Life Story
1945

British performer, actress, dancer and physical culture expert Rosemary Andrée. Andrée became known as Britain’s “Pocket Venus” and toured internationally in stage shows, modelled for Britain’s finest photographers, made home exercise movies for women and enjoyed great public appeal during the 1930’s and 1940’s.

Douglas Stewart
Beauty and Naturism
Paperback
April 1947

Health and Efficiency
May 1949

Unknown photographer (Australian?)
Nude portrait (38)
1960s?
35mm colour slide

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