Black and White Photography

Fratelli Alinari (19th century): View of the back figure of Hercules Farnese in the large hall in the National Archaeological Museum, Museo Nazionale, Naples, c. 1880, albumen paper ...

Bauhaus I Portfolio Ed. 33/70 Signed and dated in black ink on print margin.

A 1920s Tina Modotti photograph of a painting by Manuel Rodriguez Lozano. Archivally matted to 16" x 20". Tina Modotti was born in Udine, Italy in 1896 and by the age of 14 she wa...

A 1920s Tina Modotti photograph of a Diego Rivera mural, depicting the Agricultural School in Chapingo, Mexico. Stamped “Photographs-Tina Modotti Mexico, D.F.” on reverse. Tina Mod...

Human and Animal Locomotion. Plate 615. Canter; bareback; dark-gray Belgian horse Hansel 14 x 20 inch original vintage collotype print from 1887 Image size 9 x 12.75 inches Muybridge...

Human and Animal Locomotion. Plate 597. Trotting; bareback; dark-gray Belgian horse Hansel 14 x 20 inch original vintage collotype print from 1887 Image size 7 5/8 x 13 inches Muyb...

Human and Animal Locomotion. Plate 646. Jumping a hurdle; saddle; rider, 105, nude; gray mare Pandora 14 x 20 inch original vintage collotype print from 1887 Image size 6 1/2 x 17 in...

Human and Animal Locomotion. Plate 173. Walking; saddle; rider, 43, nude; light-gray horse Smith 14 x 20 inch original vintage collotype print from 1887 Image size 7.25 x 15.25 inche...

Human and Animal Locomotion. Plate 647. Jumping a hurdle; bareback; rider, 105, nude; gray mare Pandora 14 x 20 inch original vintage collotype print from 1887 Image size 5 7/8 x 17 ...

Human and Animal Locomotion. Plate 631. Gallop; saddle; thoroughbred bay horse Bouquet 14 x 20 inch original vintage collotype print from 1887 Image size 7 x 16 inches Muybridge copy...

Human and Animal Locomotion. Plate 620. Canter; saddle; thoroughbred bay mare Annie G. 14 x 20 inch original vintage collotype print from 1887 Image size 7 3/8 x 16 inches Muybridge ...

Human and Animal Locomotion. Plate 592. Racking (pacing); saddle; brown horse Pronto 14 x 20 inch original vintage collotype print from 1887 Image size 7.25 x 16.5 inches Muybridge c...

Human and Animal Locomotion. Plate 644. Jumping a hurdle; saddle; clearing and landing; knocking over hurdle; rider, 105, gray mare Pandora. 14 x 20 ...

An original 1920s silver gelatin print by photographer Tina Modotti, showing a drawing of soldiers and families by Clemente Orozco. Photo is stamped “Photographs-Tina Modotti Mexico...

An original 1920s silver gelatin print by photographer Tina Modotti, that shows a fresco in the Secretariat of Education Buiilding, Mexico City that illustrates a popular ballad. Ph...

An original 1920s silver gelatin print by photographer Tina Modotti, showing a fresco, "The Spirit of Fire", in the Agricultural School-Chapingo, Mexico by artist Diego Rivera. Phot...

An original 1920s silver gelatin print by photographer Tina Modotti of the Diego Rivera mural "Lightning Striking Down the Destructive forces in Society Mother Nature, Harmony Betwe...

A unique original silver gelatin black and white photography, Boulevard Haussmann in Paris, France, June 1926. A view of the Boulevard Haussmann in Paris with buildings under constr...

An original 1920s silver gelatin print by photographer Tina Modotti, showing a fresco by artist Diego Rivera. Photo is stamped “Photographs-Tina Modotti Mexico, D.F.” on reverse. A...

A unique original silver gelatin black and white photograph, in the countryside near Paris, France, April 1926. A soldier in uniform poses in front of the ruins of a house destroyed...

A unique original silver gelatin black and white photography. International Decorative Arts Exhibition in Paris, October 1925. The view from inside the USSR Pavilion. Features: Origi...

A unique original silver gelatin black and white photograph. On the 12th of April, 1927, the iconic "Foire au Jambon" (Ham Fair), was a well-known outdoor antique show in Paris. Feat...

An original silver gelatin black and white photograph by Press Agency ROL, Paris. February 1929, Notre Dame Cathedral, and the Ile de la Cité. Features: Original silver gelatin print...

Original gelatin silver print by Photographer Tina Modotti. Stamped “Photographs-Tina Modotti Mexico, D.F.” on reverse. Archivally matted to 16” x 20”. The Patio in the Public Edu...

An original 1920s silver gelatin print by photographer Tina Modotti, showing a fresco in the Agricultural School-Chapingo, Mexico by artist Diego Rivera. Photo is stamped “Photographs-Tina Modotti Mexico, D.F.” on reverse. Archivally matted to 16” x 20” Tina Modotti was born in Udine, Italy in 1896 and by the age of 14 she was supporting her entire family by working in a local silk factory. Modotti’s father emigrated to San Francisco, sending for his family in 1913. Modotti was hired in the sewing room at the I. Magnin department store, but her great beauty attracted the attention of her superiors who then employed her to model the store’s fashions. In 1915, Modotti attended San Francisco’s Pan-Pacific Exposition, where she got her first look at Modern art and photography. She also met her first husband at the Exposition, painter and poet Roubaix de l’Abrie Richey. At this time Modotti began acting in local Italian theatre and was discovered by a talent scout for the new silent film industry in Hollywood. She arrived in Los Angeles in 1918 and was cast in “The Tiger’s Coat” and “I Can Explain”. Through her Hollywood connections, Modotti met the married photographer Edward Weston, with whom she began an affair. Modotti was a favorite subject of Weston’s photographs, but moreover he taught her the art of photography. She actually ran Weston’s studio in exchange for photography lessons. Due to the on-going affair between Modotti and Weston, Modotti’s husband moved to Mexico where he died of smallpox. This tragedy and the death of her father made Modotti dissatisfied with Hollywood. Modotti and Weston arrived in Mexico in 1923 at a time when the country was in the midst of a social, political and cultural revolution. She photographed the Mexican...

An original 1920s silver gelatin print by photographer Tina Modotti, showing a fresco in the Secretariat of Education in Mexico City by artist Diego Rivera. Photo is stamped “Photog...

An original 1920s silver gelatin print by photographer Tina Modotti, showing a Diego Rivera fresco in the Secretariat of Education in Mexico City, Mexico. Photo is stamped “Photogra...

An original 1920s silver gelatin print by photographer Tina Modotti, showing a detail of an image of St. Francis in a fresco in a prep school in Mexico City by Clemente Orozco. Ar...

LE GRAY Gustave Villiers-le-Bel 1820 † 1884 Le Caire et MESTRAL Auguste Rans 1812 † 1884 id. Autoportrait de Gustave Le Gray. 1851. Photographie. 338 x 243 mm (épreuve). 450 x 314 mm (montage). Feuille montée sur vélin. Manque important en pied, atteignant la pointe de la veste du photographe. Quelques très légères et fines griffures en surface. Au dos du montage : 3 gravures anciennes, et marque de collection mauve, « L. BONGARD » (lugt non décrit). Épreuve sur papier salé, d’après un négatif papier ciré sec. Numéroté « 540 » dans le négatif, dans l’angle supérieur gauche. Marque des étaux bien visibles dans le négatif, dans l’angle supérieur droit, et dans l’angle inférieur gauche. De toute rareté. Une seule autre épreuve connue : Pierre Bergé & Associés, vente du 19 mars 2015, lot n°101. La mission héliographique : Au mois de mai 1851, Gustave Le Gray est délégué par la commission des Monuments historiques pour photographier une liste de monuments remarquables du sud-ouest de la France. D’autres figures pionnières de la photographie participent à cette vaste campagne de recensement, et doivent couvrir le reste du pays : Hippolyte Bayard, Henri Le Secq, Édouard Baldus et Auguste Mestral. Le Gray décide de fusionner son itinéraire avec celui de son élève et ami, Auguste Mestral. Entre juillet et octobre 1851, équipé d’une voiture et de deux chambres noires, le tandem sillonne le territoire de la Loire aux Pyrénées, du château de Chambord à la cité de Carcassonne. Les deux hommes, qui se connaissent depuis 1848, réalisent ensemble les prises de vue - et se présenteront d’ailleurs en tant que coauteurs devant la commission. Un champ d’expérimentation Pour Gustave Le Gray, qui vient de mettre au point le « négatif papier ciré sec », la mission héliographique est un champ d’expérimentation inespéré. Pendant trois mois, les photographes exécutent jusqu’à trente prises de vue par jour, une véritable prouesse rendue possible par l’invention de Le Gray. En effet, celle-ci dispense de maintenir humides les négatifs papier, facilitant considérablement le travail en extérieur. Les feuilles peuvent être préparées jusqu’à quinze jours à l’avance, et développées plusieurs heures après la prise de vue. « Tout le monde comprendra combien ce nouveau procédé facilite les opérations en voyage », écrit Le Gray. Méthodiques, les deux hommes numérotent les négatifs dans l’ordre chronologique. Cette numérotation, allant jusqu’à 605, témoigne d’une production soutenue et indépendante, débordant largement le cadre imposé par la commission des monuments historiques. Progressivement, le recensement scientifique s’accompagne de véritables digressions artistiques. Entre leur séjour à Carcassonne – point culminant du voyage – et leur retour à Paris, les « photographistes » s’autorisent de nombreux clichés personnels : des vues d’Amélie les Bain, du Pont Palaldas et du pont du Gard. Dans les Pyrénées-Orientales, les cloîtres gothiques d’Elne et d’Arles-sur-tech servent d’écrin à deux autoportraits de Gustave Le Gray. Le premier, réalisé à Elne, est aujourd’hui en mains privées (nous n’en avons trouvé aucune reproduction dans la littérature). Le second, pris très peu de temps après, n’est connu pour l’heure que par deux épreuves, dont celle que nous présentons. Un manifeste artistique Vêtu d’un costume noir de ville, Le Gray pose sous une arche gothique, jambes croisées et cigarette à la main. La blancheur insolente des guêtres, du chapeau et du col, accroche irrésistiblement l’œil du spectateur, et rehausse l’austère architecture médiévale d’une touche de modernité et de dandysme. L’élégance et la familiarité subtile de la mise en scène rappellent, dans leur esprit, d’autres portraits de Le Gray, habitué de compositions libres et volontiers énigmatiques – nous pensons ici à son fantomatique Autoportrait dans le miroir de la table de toilette de la duchesse de Parme, réalisé la même année, où le photographe parvient à capter son ombre fuyante dans un miroir. Contrairement à ses pairs, Le Gray s’est peu consacré au portrait, lui préférant le paysage. Il en a cependant maîtrisé tous les codes, et signé d’authentiques chefs-d’œuvre en la matière : citons ici le portrait rêveur et mélancolique du dramaturge Edmond Cottinet (1849), et celui du sculpteur Auguste Clésinger (1855), d’une vigueur éblouissante, qui fut longtemps donné à son élève Félix Nadar...

Home of Colonel William H. Terrill Roanoke Virginia Original Photograph Home of the Colonel William Terrill (CSA) Roanoke Virginia, original period s...

A unique original silver gelatin black and white photograph. View of Charenton le Pont, east suburb of Paris, France, June 1926. This original photograph shows a view of the canal w...

A unique original silver gelatin black and white photography, Place des Renaux in Lyon, France, March 1927. The photograph presents a view of Place des Renaux in Lyon, France, with ...

Stamford Bridge (1920) Limited Edition Silver Gelatin Fibre Print (Photo by Alfred Hind Robinson/Getty Images Archive) Stamford Bridge, Chelsea Foo...

Detail of The Three Graces, Antonio Canova (1757-1822), National Collection of Sculpture, Victoria and Albert Museum © Victoria and Albert Museum, London Beautiful Extra Large 60 x ...

A unique original silver gelatin black and white photography. View from the Place des Vosges in Paris, November 1928. Features: Original Silver Gelatin Print Photography Unframed. Pr...

A unique original silver gelatin black and white photography. The International Decorative Arts Exhibition in Paris, in October 1925. By the river Seine, access to the Department Sto...

A unique original silver gelatin black and white photography. A view of Paris with Notre Dame Cathedral, June 1927. Features: Original Silver Gelatin Print Photography Unframed. Pres...

Weston created 2S after his return to America from two extended stays in Mexico between 1923 and 1927. Throughout 1927 he took twenty-six still life images of shells, including Nauti...

A unique original silver gelatin black and white photography. Paris, Faubourg du Temple, view of one of the numerous cafés in Paris, 1926. Features: Original Silver Gelatin Print Pho...

A unique original silver gelatin black and white photography. In the eastern suburb of Paris, France, in June 1926. A view of the canal with its barge boats in Charenton le Pont, an...

Weston created 2S after his return to America from two extended stays in Mexico between 1923 and 1927. Throughout 1927 he took twenty-six still life images of shells, including Nauti...

A unique original silver gelatin black and white photography. The Tuileries Garden in Paris under the snow, France, 26th of January 1926. The Parisians braved the cold at the end of...

With a socially critical eye and Berlin humor, the prints by Heinrich Zille (1858 - 1929) capture the milieu of the "little people" around 1900. The fact that the famous artist was a...

A unique original silver gelatin black and white photography. The International Autumn Fair in Lyon, France, 16th of March 1927. The crowd rushes to the entrance of The Internationa...

A unique original silver gelatin black and white photography. The Town Hall street in Lyon, France, March 1927. A view of the town hall street in Lyon, France, dated March 13th, 192...

An original silver gelatin black and white photograph by Press Agency ROL, Paris, August 1928. Construction works in the Champs Elysées, Paris. Features: Original silver gelatin prin...

With a socially critical eye and Berlin humor, the prints by Heinrich Zille (1858 - 1929) capture the milieu of the "little people" around 1900. The fact that the famous artist was a...

An original silver gelatin black and white photograph by Press Agency ROL, Paris 1929. Summer on the beach near Paris. Features: Original silver gelatin print photography unframed. P...

A unique original silver gelatin black and white photography. Paris, a salt truck on Place de la Concorde under the snow, January 16th, 1926. The employees of the mayor of Paris spre...

With a socially critical eye and Berlin humor, the prints by Heinrich Zille (1858 - 1929) capture the milieu of the "little people" around 1900. The fact that the famous artist was a...

With a socially critical eye and Berlin humor, the prints by Heinrich Zille (1858 - 1929) capture the milieu of the "little people" around 1900. The fact that the famous artist was a...

With a socially critical eye and Berlin humor, the prints by Heinrich Zille (1858 - 1929) capture the milieu of the "little people" around 1900. The fact that the famous artist was a...

With a socially critical eye and Berlin humor, the prints by Heinrich Zille (1858 - 1929) capture the milieu of the "little people" around 1900. The fact that the famous artist was a...

From a Portfolio printed by Mother Jones. Authorized copy. Stunning reproduction.

This supremely elegant photograph illustrates why Imogen Cunningham’s botanical pictures are a keystone of modernist photography. In the 1920s, Cunnin...

A unique original silver gelatin black and white photograph by Press Agency, Paris 1925. The International Decorative Arts Exhibition in Paris, October 1925, with an Art Deco sculptu...

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Human and Animal Locomotion. Plate 173. Ascending stairs and jumping off. 14 x 20 inch original vintage collotype print from 1887 (image size 6.875 x 14.125 inches)