Early 20th Century Still-life Photography

A collection of six monochromatic plant studies by Karl Blossfeldt. This selection of photogravures comes from Blossfeldt's books, Wunder in der Natur and Urformen der Kunst. Image...

When André Kertész moved to Paris from his native Hungary in 1925, he quickly became immersed in the city’s artistic milieu. The Dutch painter Piet Mondrian had been living in Paris ...

Albumen silver print from glass negative, from the Atget's series on sculptures on the grounds of Versailles, annotated in the artist's hand in pencil ...

No. 372 Low Sweet Blueberry From: Wild Flowers of New England, 1914, 6 volumes Volume II, Plate 93 Platinum print, mounted on presentation mount, 1914 Unsigned as issued Condition: Excellent Image size: 9 1/4 x 7 3/8 inches Mount size: 15 x 12 15/16 inches Edwin Hale Lincoln (1848-1938) was an award winning photographer at the end of the 19th and beginning of the 20th century. He took his photographs with a box camera and developed his negatives using the platinum printing process, one of the most durable and beautiful processes available. He began his career shooting nautical and architectural images, but his true passion was flora in nature. Lincoln’s work was especially important to two early 20th-century movements--the Arts and Crafts movement to preserve wild flowers and wild gardens in America and the movement to include photography in the fine arts. Courtesy Digital Commonwealth Approved biography for Edwin Hale Lincoln (Courtesy of Christian Peterson) Naturalistic photographer Edwin Hale Lincoln is known for his extensive series of flower images. Between 1904 and 1914, he self-published Wild Flowers of New England, eight volumes (issued both loose and bound) of four hundred original platinum prints. Lincoln was born on January 2, 1848, in Westminster, Massachusetts, the son of a Unitarian minister. At fourteen years of age he served as a drummer boy in the Union Army during the American Civil War. He started his photographic career in 1876, as a salesman and partner in a photographic business in Brockton, Massachusetts. In 1883, he began photographing Berkshire estates for their wealthy owners and wooden yachts sailing at Newport, Rhode Island. Before the turn of the twentieth century, he was involved with both amateur and professional organizations. He joined the Society of Amateur Photographers of New York and in 1885 showed work in the annual exhibition of the Boston Society of Amateur Photographers. His work was included in shows at the annual conventions of the Photographers’ Association of America in 1886 (St. Louis) and 1890 (Washington, D.C.). In 1892, his photographs were seen in the Fifth Annual Joint Exhibition, organized by the leading camera clubs of Boston, New York, and Philadelphia. In 1893, Lincoln moved to Pittsfield, Massachusetts, where he commenced his interest in wildflowers. A sensitive naturalist, he was always careful not to destroy his subjects or their habitat. Though he dug up the flowers he photographed, he lovingly nurtured them while in his care and returned them to their natural setting when done. He preferred working in his home studio, where he used an 8-x-10-inch camera and could more easily control the light. All of his photographs are contact prints made directly from his large-format negatives. To support himself and his family, Lincoln sold his finished portfolios and books largely to institutional collections. From 1902 to 1921, he also worked as the resident caretaker on a wealthy estate in Pittsfield. He may also have garnered fees for reproductions of his work, when they illustrated four 1915 articles in Craftsman, the leading magazine of the Arts and Crafts movement. In 1931, Lincoln issued his last set of photographs...

Hand-painted, soft focus and sepia photograph of Verrocchio's Fountain in the Italian pavilion at the 1915 P.P.I.E. World's Fair in San Francisco. The iconic fountain is visible in the foreground surrounded by a large room with tall supporting arches, designed by architect Piacentini, and it depicts a small angel holding a dolphin in bronze. Unsigned. Dated "1915 Exposition S.F." on verso. On verso is an original postcard from the 1915 P.P.I.E. San Francisco depicting the Italian Pavilion. Presented in a simple wood frame with glass. Image, 14"H x 10"L. The Panama-Pacific International Exhibition was a word's fair held in San Francisco from February 20 through December 4, 1915. Other exhibits at the Exposition included the C. P. Huntington, the first steam locomotive purchased by Southern Pacific Railroad; A telephone line was also established to New York City so people across the continent could hear the Pacific Ocean. The Liberty Bell traveled by train on a nationwide tour from Philadelphia, Pennsylvania, to attend the exposition. The original Verrocchio's Fountain, also known as "Putto with a Dolphin" (c. 1465-1480) initially decorated a fountain at the Medici Villa...

Imogen Cunningham Trust label on mount verso with copyright, print information and Rondal Partridge's signature. Imogen Cunningham (1883 – 1976) occupies a singular position in the h...

Gelatin silver print (Edition of 50) Estate stamp in red ink, verso Also titled, dated, and numbered, verso This artwork is offered by ClampArt, located in New York City.

Gelatin silver print (Edition of 50) Estate stamp in red ink, verso Also titled, dated, and numbered, verso This artwork is offered by ClampArt, located in New York City.

Printed plate number, Curtis's title, date, copyright, and photogravures by John Andrews and Son on recto. Known for his remarkable documentation of Native Americans in the early tw...

Hemlock & the Moon. 1910. Cyanotype. 15 x 9 (backing sheet 18 1/4 x 12). Provenance: the artist's estate. Titled, dated and annotated ‘S.H.’ (South Haven,Michigan) in ink by the artist on the backing sheet. Rose Cottage...

Heavy Roses, Voulangis, France, 1914 photogravure image size: 8 x 10 inches paper size: 20 x 15 1/4 inches Edition of 500

Four Karl Blossfeldt prints each approximately 10 x 8 in.