Anna Lee (Анна Щукина) (ana_lee) wrote,
Anna Lee (Анна Щукина)

John Rawlings. Vol. 2.

One Cigarette, Two Lights, dress by Mildred Orrick, April 15, 1950

June 1, 1941 cover

Model wearing Sarmi silk dress and Trifari necklace, with actress Geraldine Page and actor Laurence Harvey in Summer and Smoke onscreen in the background,1961.

Prominent fashion photographer John Rawlings relaxes with his wife in the sunroom of their summerhouse.

1950, Fashion photographer John Rawlings (1912 - 1970) on the beach at Montego Bay, Jamaica.

Model Sunny Harnett holding cat wearing sleeveless dress, pleated from the hip in black and white geometric print.


Model Carmen Dell'Orefice gazing over her shoulder wearing a beige hat with net, coordinating long leather gloves, and a short Persian lamb wrap edged in fur.


Mr. and Mrs. Tyron in their living room

Mr. Tyron Impatiently Waiting for Mrs. Tyron 1947

Mrs. Tyron wearing a bathrobe and putting on nylon stockings.

Close up of Mrs. Tyron on the telephone

Model wearing Sarmi silk dress and Trifari necklace, with actress Geraldine Page and actor Laurence Harvey in Summer and Smoke onscreen in the background,1961.

Katharine Dunham, dancer, choreographer, in Tropical Revue by John Rawlings,1944

Television Host Ed Sullivan with Woman, 1948

The Kodak Bantam Special was designed by Walter Dorwin Teague. The camera features elegant Art Deco details and a folding cover.

Peter Ustinov portrait by John Rawlings

Photographer Irving Penn in his American Field Service uniform.

Alfred Hitchcock
Ogden Nash wrote a poem, "How to Hitchcock," to accompany a droll series of photos that John Rawlings snapped in 1956 at "21" Club, the New York hot spot, of an impish Alfred Hitchcock carving a Christmas turkey. Nash's ditty read in part:

"Pick a Hitchcock of opulence rather than corpulence,
just pleasingly plump, with a snug silhouette,
To embellish the board when the places are set.
For the ultimate test, more closely examine it.
The Hitchcock supreme has a wide streak of ham in it."

The poem and image ran in the December 1956 House & Garden.

Artist Pavel Tchelitchew in His Studio,1942.

Veronica Lake on Sofa
In this intimate portrait of Veronica Lake, the actress sits on a curved, tufted sofa in a studio. She wears a long, dark dress with sequined details and tulle overlay. The photograph, by John Rawlings, was intended for an issue of Vogue but was never published.

Lena Horne
conic jazz singer Lena Horne stands firmly in the spotlight. Wearing a strapless draped evening gown, she exudes a presence far beyond the stage. John Rawlings's stunning portrait, with its masterful use of darkness and light, appeared in the April 1, 1944, Vogue.

Lillian Hellman, playwright by John Rawlings

Lilly Dache seated with a sketch pad,1946

Marisol, sculptor, in her studio with her sculptures

Mrs. William Paley


Mrs. William Rhinelander Stewart in Sari and Veil,1947.

Socialite Brenda Frazier in Hattie Carnegie Gown photogrpahed by John Rawlings

Valentina in her self-designed long black dress with draped bosom line.

Valentina in off-the-shoulder blouse and a heart-shaped pillbox hat with a strip of diamonds,1943.

Wallis, Duchess of Windsor in a short-sleeved Vionnet dress and belt, holding a hip-length jacket.

Wendy Burden wearing a net dress with inset of taffeta diamonds on the skirt,1947

Actress Gertrude Lawrence wearing a Gertrude Lawrence Fashions dress, marketed to benefit wartime agencies,1941.

Vivien Leigh in a magenta Victor Stiebel gown with turquois tule, 1936

Carol Channing and Son
Carol Channing was just a year into her seven year run in Hello, Dolly, when she was photographed by John Rawlings, "back where she belongs"— at home in her apartment in New York's Waldorf Towers, with her son, Channing. The magazine noted that the place where the actress lived her off-stage life as the wife of TV writer-producer Charles Lowe was "bursting with color and brimming over with books, drawings, and a lifetime's photographs." This image ran in the September 1965 House & Garden.


Traveling in Style, May 1954

Ad for Haines hosiery, 1964

Advertisement for Traina-Norell, January 1950

Traina-Norell, March 1, 1947

Balenciaga apron dress, March 15, 1951

Suzy Parker in Dior, October 15, 1953

Exercise Ring and Jantzen Swimsuit
A 1940s-era exercise ring becomes an unusual prop in this John Rawlings photograph. A model wears a red-and-white printed Jantzen swimsuit, composed of a skirt and bra top. Her pose is quite sculptural, and placed inside the ring, she becomes part of a well-conceived still life. The image appeared in the June 1946 Glamour.

Flowered Hat
A model applies lipstick in a most unconventional manner in this John Rawlings photograph, which appeared in the March 15, 1943, Vogue. Her head and forearms are portruding from what appears to be a wall, and she is impeccably attired in bracelets, gloves, and even a flower-studded hat. This piece is quite surreal, and it's a rare example of a high-concept, offbeat photograph from the era.

Footlights Ballet Slippers
Decisions, decisions. A model in a black leotard and tights sits on a stool, surrounded by a barrage of ballet slippers from Footlights, a beloved brand in dance circles far and wide. The pastel styles quickly expanded beyond the professional dance community and became a streetwear trend that endures to this day. John Rawlings's beautifully composed photograph appeared in the March 1, 1944, Vogue.

Formal Tea Party for a Bride
When throwing a tea party for a bride, you must set the table with formal ware, including silver tea service and matching candlesticks, a heart-shaped white cake and a cookie tray. John Rawlings captured the hosts for the May 1949 House & Garden.

Hattie Carnegie Evening Dress
A model lies on an austere white shelf. She wears a star sequin–studded twilight-blue rayon and cotton net evening dress and cape by Hattie Carnegie. It's rare to see so much finery worn so horizontally, which gives this work a surreal, painterly feel. John Rawlings's cleverly conceived photograph appeared in the February 1, 1945, Vogue.

Awash in Pink
The images of Vogue legend John Rawlings often capture a certain cinematic quality. In this photograph, from the October 15, 1944, Vogue, a model wears an ambiguous but expressive look with her sculptural red and pink satin dinner hat by Suzanne et Roger and Helena Rubinstein lipstick.

Model Dorian Leigh wearing a pale pink cloche by Madame Reine and a plunge-necked rayon crepe dress from B.H.Wragge.

Mark Morning Taffeta Gown
One of the first lensmen to elevate fashion photography to an art form, John Rawlings is known for iconic, glamorous images with a certain underlying mystique. In this photograph, from the October 1, 1948, Vogue, he captures from above a model in a made-to-order chocolate brown taffeta gown by Mark Morning, worn with a matching Baum Martens fur shrug and bronze Delman slippers.

Sunny Harnett, November 15, 1952

One Cigarette, Two Lights, dress by Mildred Orrick, April 15, 1950

Meg Mundy in Cartier jewels, October 15, 1940

Meg Mundy wearing Castillo's evening dress and Van Cleef & Arpels jewels at Elizabeth Arden's Fashion Floor.1948

Little Red Dress
A model lounges on a bench, surrounded by woods, in this John Rawlings photograph, which appeared in the January 1, 1948, Vogue. She wears a full-skirted red dress and striped scarf. The outdoors lends this work a relaxed atmosphere, while the burst of red gives it a certain energy.

Metropolitan Museum's Temple of Dendur
The heavy geometric walls of the Metropolitan Museum of Art's Temple of Dendur provide a stark contrast to the fluid pose of a model in an Egyptian-inspired Omar Kiam dinner dress. This photograph, by John Rawlings, appeared in the June 1, 1945, Vogue

Model & Lincoln Continental
A model stands before a slide of a blue 1960 Lincoln Continental Mark V. She wears a black sweater and a leopard-fur hat with a squared crown and brim turned down over her left eye. She and the Lincoln compete for the viewer's attention. John Rawlings's photograph appeared in the November 1, 1959, Vogue.

Model on Red Chair
A lady in red steals the scene in this John Rawlings photograph. Draping herself across a red chair, her burgundy velvet dress achieves extra drama thanks to the white fur stole. The combined textures of the upholstery, velvet, and fur lend this work a sense of luxury. The image appeared in the September 1, 1959, Vogue.

Mrs. Hugh Chisholm in an Ermine Coat
An enlarged architectural drawing of a series of buildings provides the backdrop for this portrait of Mrs. Hugh Chisholm. She wears a champagne-colored ermine coat with full sleeves by Esther. Her hair is pulled back and she has an intent expression on her face. Photographer John Rawlings treats her with an informed sense of gravitas. The photograph appeared in the August 2, 1949, Vogue.

Navy Lambskin Jacket
In this spare photograph, a model emerges from her seat. Wearing a broadtail-processed lambskin navy blue jacket and doeskin-finished lambskin gloves, she looks almost dreamy. John Rawlings's elegant image appeared in the August 2, 1953, Vogue.

Parking Garage
A parking garage is the unlikely setting for this John Rawlings photograph, which appeared in the November 1, 1952, Vogue. A model wears a white brocade dress by Adele Simpson. She is accompanied by a gentleman friend, who follows her from a safe distance. The rows of cars beautifully locate this work in its era of heightened glamour and supreme style.

Roses in Silver Bowl
Roses are beautiful to look at, but scent is everything. John Rawlings captured one of life's simple pleasures for the June 1952 House & Garden.

Outtake of Face-Down Model in Maillot
A model lounges diagonally across the frame of this image. She wears a V-neck rayon and cotton satin twill maillot with a matching webbed belt. Her relatively small shadow alludes to a full midday sun, which makes this work feel equal parts oppressed and relaxed. The photograph, a Vogue outtake, was taken by John Rawlings.

Two Ladies and Their Poodles
Two poodle-flanked models appear in this John Rawlings photograph, which appeared in the April 15, 1945, Vogue. They wear contrasting ensembles from Sophie of Saks Fifth Avenue. The woman on the left wears a traditional dress and floral bonnet. Her more progressive companion wears a suit dress and fedora. Even the chairs mimic the fashion choices, with the antique style on the left contrasting with the contemporary chair on the right. This attention to detail suggests that Rawlings intended to document a period of changing styles, and that such transformation was a serious matter.

Wanted by Uncle Sam
An omnipresent Uncle Sam looms even larger in this photograph. A model in a red checked dress made of spun rayon stands in front of his image, regarding the icon intently. His face—and her dress—are the only things to fully emerge from the shadows, which suggests the photographer might have had more than one motive. John Rawlings's work appeared in the September 1947 Glamour.

1940s Lingerie
A smattering of home furnishings invade a bare white studio space, as a model gets dressed in this makeshift boudoir. She wears a blue strapless wired brassiere with a white petticoat by Iris. Her light pink lipstick further underscores the femininity of this image. The John Rawlings photograph, which appeared in the February 15, 1948, Vogue, recalls an era when getting dressed was a more elegant affair altogether.

1940s Swimsuit
John Rawlings focuses his attention on the female form in this photograph, which appeared in the May 1, 1946, Vogue. In the foreground, a model wears an ivory-colored maillot by Claire McCardell. Behind her, a nude model sits gracefully. The faceless nature of this work underscores the fixation with corporal lines and gives a sense of abstraction.

Adele Simpsons Ensemble
Clad in an outfit by Adele Simpson, a model regards the camera through an opened door. Her high-collared dinner jacket slants into her hips, while the narrow skirt has small slits. The muted color scheme and slightly murky look of the image makes it similar to a painting. John Rawlings's photograph appeared in the November 2, 1951, Vogue.

Mrs. John Heminway and her daughter Hilary admire the art hanging in the Museum of Modern Art in New York City. Mrs. Heminway wears a blue cotton chambray dress by Mildred Orick and a wide-brim hat by Dobbs; Hilary's similar frock is by Ellen Hewitt. This John Rawlings photograph, which appeared in the April 1, 1948, Vogue, is an early example of modern magazine portraiture, in which the equally fascinating setting and subject vie for the viewer's attention.

Blossoming Hat
n a woman's ensemble, the hat was not simply an accessory but an essential element to her total look. John Rawlings photographed this lovely vermilion velvet hat with rose appliqués by Bonwit Teller for the cover of the August 1, 1944, Vogue, emphasizing its beauty and prestige.

Broad Flowered Hat
John Rawlings creates a rather unconventional portrait of a couple in this photograph, which appeared in the March 1, 1946, Vogue. In the foreground, a woman wears a broad-brimmed off-white hat decorated with flowers by Reine. Behind her is a blurred male figure, who bends toward her inquisitively while she appears oblivious. This work is far from a straightforward fashion image; instead, it retains a bit of mystery that adds to its overall elegance.

John Rawlings: 30 Years in Vogue

Jean Patchett among the flowers, 1950

Jean Patchett Auer models a golden brown open neck satin evening dress with multistrand rhinestone choker.




Actress Lauren Bacall wearing yellow bare-midriff suit with black halter from B.H. Wragge.1945

Byra Hemingway, wife of John Hemingway,1947

Actress Loretta Young in Brown Suit with Conical Hat and in white silk jersey bodice and black silk crepe skirt.

Actress Loretta Young wears a cashmere turban with silk flowers,1940.

Actress Paulette Goddard in Dressing Room

Greer Garson in black six-button trench coat.1943

Babe Paley wearing black rayon dinner dress with cap sleeves and draped neckline by Omar Kiam for Ben Reig.

Constantin Brancusi's Bird in Space, July 1944

Cover photo, January 1, 1946

Dockside Clambake
A chic couple prepares for a dockside clambake, a breeze to pull off, thanks to the new accessories of the "portable age"—folding tables and chairs, freezer packs, plastic bags and aluminum foil—documented by John Rawlings for the August 1952 House & Garden. All this convenience, including frozen food, does not preclude the handmade touch, an embroidered Mexican cloth.

In a Mediterranean Mood
John Rawlings photographed a perfect midsummer moment complete with champagne and lobster for the August 1948 House & Garden. A painting of the Mediterranean coast and urns of geraniums provide the romantic backdrop.

Dressed for the Evening
Suzy Parker  wears a strapless white chiffon dress, its Empire waist banded with rhinestones, paired with an emerald green cloak by Gunther Jaeckel. The marbled background so complements the dress that it's almost as if the model stepped out of a painting. John Rawlings's photograph appeared in the October 15, 1953, Vogue.


Suzy Parker in Givenchy
John Rawlings turns his attention to model Suzy Parker in this photograph, which appeared in the October 15, 1953, Vogue. She wears Givenchy's Chinese swinging lacquer-print full skirt, complete with a layered lace petticoat and quilted satin jacket. The marbled background beautifully complements her attire, and her deliberate pose gives this work a painterly feeling.

Suzy Parker 1954
Photographer John Rawlings captured model and photographer Suzy Parker in profile for this image, which appeared in the August 1954 Vogue. She wears a black off-the-shoulder dress, with a gem-laden brooch and a small knotted hat.

Suzy Parker and Dovima

Tags: photographers, vintage fashion
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