Karl Blossfeldt Black White Flower Photogravure Botanic Photography, 1942

Karl Blossfeldt Photogravure from the edition of the book 'Wunder in der Natur' in 1942. Photography number 74. In original condition, with minor wear consistent with age and us...

Karl Blossfeldt photogravure from the edition of the book 'Wunder in der Natur' in 1942. Photography number 87. In original condition, with minor wear consistent with age and us...

Karl Blossfeldt photogravure from the edition of the book 'Wunder in der Natur' in 1942. Photography number 2. 'Dispsacus laciniatus. Schilitzblätterige Karde, Weberkarde, Weberdi...

Karl Blossfeldt photogravure from the edition of the book 'Wunder in der Natur' in 1942. Photography number 32. 'Chrysanthemum macrophyllum. Großblätterige Wucherblume. Teil einer...

A set of botanical photogravures by Karl Blossfeldt (German, b. 1914 - d. 1932), "Urformen der Kunst", First Edition 1929, Berlin. Hung together, these make a very impressive and con...

Pictorialist photograph of a young woman. Silver print in the original oak frame. Inscribed on reverse R.S. Paddock, Early 20th century. Pictorialism is the name given to an intern...

Vintage black and white photograph, photography by Josef Ehm. "Resting Model II", circa 1960s, gelatin silver print. Josef Ehm: Czech, 1909-1989. Born in Habartov. Apprenticed i...

Robert Frank Untitled from the Americans, 1958, Beats Culture, Black & White. Photogravure print, mid-century, France,wax tissue mounted on conservation matboard. Influenced by the work of Jakob Tuggener and Bill Brandt, as well as Walker Evans, Frank, a native of Switzerland, Frank was fascinated by documentary photography and the notion and image of "America." Frank secured a Guggenheim fellowship in 1955 to do something new and unconstrained by commercial diktats. "The Americans" was first published in 1958 in France, before its first run in the US in 1959. The photographs were shocking and notable for their distanced view of both high and low strata of American society, creating a complicated portrait of a period that was, then and now, considered to be a skeptical portrait of post-WWII American values but also deeply empathetic and profoundly evocative of ubiquitous loneliness. Frank found a tension in the gloss of American culture and wealth over race and class differences, which gave his photographs a clear contrast to those of most contemporary American photojournalists, as did his use of unusual focus, low lighting and cropping that deviated from accepted photographic techniques. Shortly before the book was published in France, Frank returned to the US (1957) and met Jack Kerouac on the sidewalk outside a party. They started chatting. Frank showed him some of his photographs. Kerouac immediately told Frank "Sure, I can write something about these pictures." Kerouac would write the introduction to the American edition of the book, published two years later. Sociologist Howard S...