An early 20th century male nude by Guglielmo Plüschow, his typical set-dressing with patterned carpet and fabric making a fine backdrop to the timeless masculine beauty of his models.
The bejewelled boy from Naples, his distinctive necklace and bangles barely visible in this shot, but more revealed by the dropping of the dark fabric which carefully covered him, when he posed for the better-known image in this set, Pompeii c1895.
A soft-focus scene from Guglielmo Plüschow, around 1900 - I cannot quite make out what he holds in his hand, but the basket spilling grapes at his side could indicate he poses as Dionysos.
The drawing of a bow produces an interesting and powerfully taut pose, this example is sadly bereft of its correct credits. I have other archers collected together here.
An early 20th century photograph, striking in its simplicity with an unfussy, unpretentious pose, and no studio props to distract the eye and detract from the fine physique and charming handsome face of this unknown model.
The printed inscription on this magnificent man’s photograph looked familiar, on investigation I found I have another from the same photographer, one K. Pospishil of Bohemia.
A further photograph of the magnificently muscular body builder Eugen Sandow, by Napoleon Sarony of New York.
A gently beautiful nude portrait by J. G Paine, c1920, though sadly the sitter’s name is not credited - rather than the quaint and faintly comical censorship by carefully placed leaf, favoured in earlier decades, this time the charming model’s modesty is preserved by the pose alone, giving the image a refreshingly modern and unfussy look.
An exquisitely beautiful photograph by Guglielmo Plüschow; though I endeavour to avoid repeats this picture is well worthy of revisiting for a closer look, my previous copy being smaller and lacking the finer details which make this so striking to look upon.
One of Wilhelm von Gloeden’s most strikingly beautiful models from 1890s Taormina, we have seen this handsome and innately graceful Sicilian adopt a similar pose before, as well as here, and seated here, dressed each time in nothing but Roman-style sandals and a white headband.
Photographed on the same rock as the Cain series, but featuring a different model, this serene and summery scene by von Gloeden dates to the latter years of the 19th century.
If other photographers wished to give their work an air of respectability with classical allusions and reference to an Arcadian idyl, Vincenzo Galdi was publishing photographs with no such delicate gloss of innocence. Often explicit, always emphasising the sensual, the erotic, the full-frontal nude presented without discretion or modesty. We see variations on this pose - seated, knees parted - over and over and over again.
Making the most of the awe-inspiring Sicilian scenery and the shapely figure of a local amateur model, von Gloeden combines both natural beauties in perfect balance to make a magnificent image of timeless charm.
A second photograph of this unknown man, modelling in the studio of Belgian sculptor Jacques de Lalaing in the 1880-1890s.