Baron Adolf de Meyer 1868-1949

a group of 3 photographs, comprising Mrs. J. J. Astor (Alva Lady Ribbesdale), Olga de Meyer, and Arline Chase, the first two signed by the photographer in pencil in the margin, the first and third titled, possibly by the photographer, in pencil, and the second and third with the de Meyer Archive stamp, numbered in an unidentified hand in pencil, on the reverse, 1900-20s, the first two printed in 1940 (Of Passions and Tenderness, Portraits of Olga by Baron de Meyer, p. 64) (3) 

The prints of 'Mrs. J. J. Astor (Alva Lady Ribbesdale)' and 'Olga de Meyer' are on warm-toned embossed card that renders subtle texture to the images. These are in generally excellent condition. There is slight wear at the edges of each, and the top margin edge of 'Olga de Meyer' has two tiny (1/8- and 1/4-inch) tears at the left and a 3 3/4-inch crease at the right corner. These do no not affect the image in any way. The archive number on 'Olga de Meyer' is '048.' 'Arline Chase,' a bridal fashion study on warm-toned, matte-surface paper, is an early print in excellent condition. On the reverse, there are three small (3/8-inch) circular paper remains at the corners, where the photograph was likely once affixed to a mount. The fourth corner has a circular abrasion. The archive number is '369.'
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More than other photographers of his day, Baron de Meyer invested his portraits with a heightened sense of drama through glamorous lighting and poses. The portraits of Olga de Meyer and Mrs. John Jacob Astor offered here are no exception.  These prints were almost certainly made for a 1940 exhibition of his work held in the home of actor Edward G. Robinson and his wife.  In 1935, De Meyer had destroyed many of his prints and negatives, so that vintage examples of his work were scarce.  Unable to locate enough vintage work for the exhibition, new prints such as these were made on large sheets of warm-toned Eastman Kodak paper.

The portrait of the Arline Chase was undoubtedly made during de Meyer's tenure as Vogue's first staff photographer, when he set the tone for fashion photography during the 1910s and 1920s.