Nona Hatay

Vintage Signed Silver Gelatin Photo Card Tina Turner

1982

José Yalenti, (1895-1967) Brazilian Photographer "Beiras" (Sides) Photo, numbered 5/15, circa 1950, (printed later) on premium luster photo paper with ultrachrome ink. Art: 15" H x 11" W; Frame: 20 1/4" H x 14 1/4" W. Provenance: Dickinson Roundell Gallery José Yalenti’s Architecture photos seem at first disorienting, abstract black & white and grey surfaces, cut through by startlingly straight lines and a variety of surface textures. Much of his work is of mid-century Latin American architecture, by the likes of Oscar Niemeyer and Roberto Burle Marx. José Yalenti was born in São Paulo, Brazil in 1895. On April 28, 1939, a group of photography aficionados, including Yalenti, formed the Foto Clube Bandeirante, later changed to Foto Cine Clube Bandeirante, or FCCB. Starting in the late 1940s, a contingent of FCCB photographers began creating photographs of abstracted architectural motifs (as in Architecture or Twilight), and eventually became known as the Escola Paulista, or “Paulista School.” Yalenti was among the members of the unofficial Paulista School. Between 1945 and 1960, the Paulista School photographers explored the rapidly changing formal qualities of São Paulo. By photographing skyscrapers and stairways at steep angles, creating closely cropped compositions from found geometric motifs, and capturing the flattening effects of shadows, Paulista School photographers investigated the new physical perspectives emerging in the urban environment. They created a distinctively Modern aesthetic that used strong contrasts of light and dark, geometric forms, linear compositions, and collapsed space to assert photography’s status as an artistic medium. As part of their pursuit of photographic Modernism, Yalenti and his fellow Brazilians adapted the stylistic innovations of U.S. and European photographers such as f.64, New Objectivity, Dada, Surrealism, and the Bauhaus, to the Brazilian context. Along with his FCCB compatriots—Thomaz Farkas, Geraldo de Barros, and German Lorca, among others—Yalenti explored the formal properties of black-and-white image-making. Yalenti and the Paulista’s School’s abstract photographs responded to the new trends in Brazilian Modernist architecture being developed by young architects in São Paulo and Rio de Janeiro. In 1939, Lúcio Costa, Oscar Niemeyer, and Affonso Reidy broke ground on the Ministry of Education and Health Building (MES), the building that would define Brazilian architectural modernism. The Rio-based team combined elements of Le Corbusier’s undecorated structural purity with Brazilian regional design to produce a more organic and “tropical” Modernism that responded to the local culture and climate. The sinuous and sensuous curves of Yalenti’s photograph are directly influenced by stylistic developments in architecture at the MES, including the building’s covered entry and its organically abstract contours. By 1957, when Yalenti created Architecture or Twilight, Brazil was globally recognized as an architectural leader. MoMA in New York City organized a popular exhibition of Brazilian architecture in 1943 (“Brazil Builds”), and highlighted the country again in its survey show "Latin American Architecture since 1945," that ran from 1955–56. Brazilian photography...

The mat measures 21 X 16 the images are around 12 X 9 inches. They bear the blindstamp of the American Colony Jerusalem. I am not sure if these are hand colored but they are from the period. Old City Shuk or Souq. The Original American Colony was a colony established in Jerusalem in 1881 by members of a utopian society led by Anna and Horatio Spafford. Now a hotel in East Jerusalem, it is still known by that name today. After suffering a series tragic losses following the Great Chicago Fire of 1871 (see hymn "It is Well with My Soul"), Chicago residents Anna and Horatio Spafford led a small American contingent in 1881 to Jerusalem to form a utopian society. The "American Colony," as it became known, was later joined by Swedish Christians. The society engaged in philanthropic work amongst the people of Jerusalem regardless of religious affiliation, gaining the trust of the local Muslim, Jewish, and Christian communities.During and immediately after World War I, the American Colony carried out philanthropic work to alleviate the suffering of the local inhabitants, opening soup kitchens, hospitals, orphanages and other charitable ventures. Towards the end of the 1950s, the society's communal residence was converted into the American Colony Hotel. The hotel is an integral part of the Jerusalem landscape where members of all communities in Jerusalem still meet. In 1992 representatives from the Palestine Liberation Organization and Israel met in the hotel where they began talks that led to the historic 1993 Oslo Peace Accord. Panorama of Jerusalem, c. 1890-1920 The Colony moved to the large house of a wealthy Arab landowner, Rabbah Husseini, outside the city walls in Sheikh Jarrah on the road to Nablus. Part of the building was used as a hostel for visitors from Europe and America. A small farm developed with animals, a butchery, a dairy, a bakery, a carpenter's shop, and a smithy. The economy was supplemented by a shop selling photographs, craft items and archaeological artifacts. The American Colonists were embraced by the Jewish and Palestinian communities for their good works, among them, teaching in both Muslim and Jewish schools. Photography Around 1900, Elijah Meyers, a member of the American Colony, began taking photographs of places and events in and around the city of Jerusalem. Meyers's work eventually expanded into a full-fledged photographic division within the Colony, including Hol Lars (Lewis) Larsson and G. Eric Matson, who later renamed the effort as the Matson Photographic Service. Their interest in archeological artifacts (such as the Lion Tower in Tripoli pictured here), and the detail of their photographs, led to widespread interest in their work by archeologists. The collection was later donated to the Library of Congress. World War I When the Ottoman Empire entered World War I as an ally of Germany in November 1914, Jerusalem and Palestine became a battleground between the Allied and the Central powers. The Allied forces from Egypt, under the leadership of the British, engaged the German, Austrian and Turkish forces in fierce battles for control of Palestine. During this time the American Colony assumed a more crucial role in supporting the local populace through the deprivations and hardships of the war. Because the Turkish military...

Underwater nude photograph of a young woman processed in an abstract black and white symmetrical composition. Original gallery quality archival pigment print on archival paper sig...

Cape Cross, ‘Hoof’, 2001 by John Reardon Edition of 2/7 Silver Gelatin Print, Mounted on Aluminium, Custom framed, UV protective Museum AR Glass This pie...