1950s Erotica Camera Negative Burlesque Maurice Seymour Nude Asian Dancer Photo

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Thanks to all our eBay bidders! We are honored to be your one-stop, 5-star source for vintage pin up, pulp magazines, original illustration art, decorative collectibles and ephemera with a wide and always changed assortment of antique and vintage items from the Victorian, Art Nouveau, Art Deco, and Mid-Century Modern eras. All items are 100% guaranteed to be original, vintage, and as described. Please feel free to contact us with any and all questions about the items and our policies and please take a moment to peruse our other great eBay listings. All sell no reserve!ITEM: You are bidding on a 1950's vintage, erotic, pin-up camera negative of Sen Lee Fu (Maurice Seymour had this catalogued as Lee Seu) in stunning, Orientalist style. Captured by the intrepid portraitist of the bump-n-grind era, Maurice Seymour, Sen Lee Fu is an exotic and tantalizing beauty as she strikes an artistic pose. From the personal estate collection of Seymour. A one of a kind, hand signed, original camera artifact. Measures 8" x 10" on Kodak Eastman safety film. PLEASE NOTE: This listing is for the original camera negative. Scans below are of a positive view. Additionally, all reproduction rights are reserved by the estate of Maurice Seymour and no copyright is attached with the purchase of this negative. CONDITION:� Fine condition with minor handling wear. ******************** Maurice Seymour Biography By: David S. Shields Maurice (1900-1993) and Seymour Zeldman (1902-1995), Russian expatriate photographers, formed the "Maurice Seymour" studio in 1929. Inspired by the example of Maurice Goldberg, the foremost photographer of classical dancers and concert musicians of the 1920s and regular contributor to the New York Times, the brothers chose to make a particular forte of ballet dancers. From 1929 to 1950 they plied their trade in a studio at the St. Clair Hotel in Chicago. In 1950 Seymour Zeldman moved to New York City; both men at this juncture legally changed their names to Maurice Seymour. The New York brother expanded his clientele from dancers and actors to singers, jazz musicians, and burlesque stars in the 1950s. He for a period partnered with James Kriegsmann, successor to Herbert Mitchell, and a practitioner of in situ photography of singers and musicians in their performance venues. The Chicago Maurice Seymour continued specializing in dance and theatrical photography, although he had, for a period of time in the 1930s, a healthy business from radio personalities as well. Both shuttered their studios in the 1970s. When in Chicago, they collaborated completely when creating images, sharing the posing and developing work. The images tended to be brightly illuminated, posed against neutral featureless backgrounds, and developed on glossy paper. The studio's skill at retouching was particularly well known. All of the Chicago portraits were taken with a large accordion portrait camera using 8x10 negatives. From 1935 onward, the brothers were the preferred portraitists of the Ballet Russe de Monte Carlo. In 1947 the studio published Seymour on Ballet, a set of photographic studies, with a forward by Leonid Massine (Chicago: Pelligrini & Cudahy), and in 1952, an expanded portfolio, Ballet Portraits, featuring Margot Fonteyn (Chicago: Pelligrini & Cudahy). NOTES: Obituary, Chicago Tribune (Oct 19, 1993). "Photographing Dancers," Dance Magazine (Mar 1950), 16-19, 35. The estate of Maurice Seymour (Maurice Zeldman) is managed by his son, the photographer Ron Seymour: www (dot) ronseymour (dot) com/new/rs07 (dot) html David S. Shields/ALS — Biography By: David S. Shields c/o Broadway (dot) CAS (dot) SC (dot) edu read more

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