Eugène Atget Photography

Remy Charlip 4 Photos of Carolyn at the Stevensons, 1955 Inscribed by Carolyn Brown on verso Photograph 10 x 8 1/4, 6 1/4 x 9 1/2 inches Provenance Estate of Carolyn Brown, New York 2025. Remy Charlip was born in January 1929 and raised by his Lithuanian Jewish parents in the Brownsville section of Brooklyn, New York. He showed a natural talent for the visual arts and became known as the “official” school artist, decorating the classrooms for his favorite holidays, Valentine’s Day and Thanksgiving. Although he had aspirations to become both a farmer and a clown, his mother recognized his artistic talent and thought it was more practical for him to attend Strabenmuller Textile High School where learned to design fabrics. This led him to being accepted into The Cooper Union School of Fine Arts where he received his BFA in 1949. After graduating and feeling he had nothing to say as a painter, he decided to become a dancer because he saw them as free spirits. He accepted a fellowship at Reed College to work with choreographer Bonnie Bird designing sets and costumes for The Marriage at the Eiffel Tower by Jean Cocteau. It was during that summer at Reed College he met and fell in love with composer Lou Harrison who composed music for the summer productions that were Remy’s first dance performances. After traveling across the country with Harrison, they settled back in New York where Remy began taking classes from The New Dance Group. This led to him dancing in Donald McKayle’s first piece, Games, at the Ziegfield Theater, for which he also designed costumes. Remy met John Cage and Merce Cunningham through Harrison and, due to his masterful calligraphy skills, was asked to design a flyer for an upcoming program. Cunningham then invited him to take dance classes with him and it wasn’t long before Remy began dancing with the Merce Cunningham Dance Company. He became a founding member of the company and did publicity and designed flyers as well as danced with them. For the first eight years with the company he also designed costumes and collaborated with Robert Rauschenberg on the productions of Springweather and People and Minutiae. As a member of the company he was also an artist-in-residence at Black Mountain College in Asheville, North Carolina, where he met many influential artists and thinkers of the time. He joined the extended family and befriended some of the most brilliant culture makers of the 20th Century including artists Josef and Annie Albers, Franz Klein, Cy Twombly, Willem and Elaine DeKooning, Jacob Lawrence, Arthur Penn, Ben Shahn, Ruth Asawa, Norman Soloman, Ray Johnson and Nicolas Cernovich; poets Charles Olsen, Robert Creely and M.C. Richards; musicians John Cage, Morton Feldman, David Tudor, and Earl Brown; architect Buckminster Fuller and children’s book author Vera Williams. Working as a dancer, director, choreographer, illustrator, author, costume and set designer provided opportunities to work with many notable artists and venues in New York’s avant-garde. Judith Malina and Julian Beck...

John Casado - Untitled 20266 figurative black and white, male body nude, figurative photograph. 2002 - Unique lith silver gelatin photographic print. image = 20 x 24 or 50.8 x 61 ...

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

John Casado - Untitled 20256, figurative black and white, dramatic nude male photograph from 2000 - Unique lith silver gelatin photographic print. imag...

Christopher Felver Rauschenberg Photo, 2003 Signed, dated and titled on verso Photography 13 3/4 x 10 3/4 inches Provenance Estate of Carolyn Brown, New York 2025. Mary Caroline (...

John Casado - Woman's Hands - lith silver gelatin photographic print - 10 x 8 inches vertical. Professionally matted and backed in an archival presentation mat and sleeve. outer dim...

John Casado - Untitled 20247, figurative black and white masked female nude. 2001 - Unique lith silver gelatin photographic print. image = 22 1/2 x 18 3/8 or 57 x 46.7 centimeters ...

An archival pigment print on Hahnemühle Photo Rag® Baryta 315 g/m² paper of a photograph by Harry Sutcliffe (1878- 1942) entitled ' Relaxing ' Scene of a riverside stroll near a po...

An archival pigment print on Hahnemühle Photo Rag® Baryta 315 g/m² paper, a photography of a delivery of foodstuffs from a shop of seeds, flour and provisions in Montreal cerca 1920 ...

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...

“It takes the passage of time before an image of a commonplace subject can be assessed. The great difficulty of what I attempt is seeing beyond the moment; the everydayness of life gets in the way of the eternal.” --George Tice GEORGE TICE was born in 1938 in Newark, NJ, the state in which his ancestors had lived for generations earlier. He joined a camera club when he was fourteen, and is largely a self taught photographer. Two years later, when his picture of an alleyway was commended by a pro photographer critiquing club members' work, Tice was off and running with what would become his life’s work.. Tice studied commercial photography for a short time at Newark Vocational and Technical High School then decided to join the Navy. After, he worked as a traveling portrait photographer for almost 10 years. In 1959, Edward Steichen, then director of photography at MOMA acquired Tice's photo of an explosion aboard the USS Wasp for the museum. Later he aided Lee Witkin in establishing the seminal Witkin Gallery in NYC. His work was included in the opening group show in 1969 and the first of many solo shows there began the following April. George’s change to larger format cameras in the 60’s furthered his ability to craft carefully toned and detailed prints. He portrayed traditional Amish and Shaker communities, as well as the hard lives of fishermen in Maine. In the 1970s, Tice began explore his native NJ and began to document the vestiges of American culture on the verge of extinction, the work he is best known for. Whether it is the rural people who reside in small communities or suburban buildings and neighborhoods in decline, his great talent is finding deep meaning and emotional content in the most mundane subjects. In 1972, Tice was the subject of a one-man show at the Metropolitan Museum of Art. A fellow of the Guggenheim Foundation and the National Endowment for the Arts, George Tice’s work is included in more than 80 major museum collections including the Museum of Modern Art (MoMA) in New York and the J. Paul Getty Museum in Los Angeles, as well as countless private collections. Some of his iconic New Jersey images form the scenic backdrop...

Yoko Ono and John Lennon In Love Bob Gruen, American (1945) Date: 1972 (printed 1982) Gelatin Silver Print Photograph, signed, titled and dated in pen Image Size: 12 x 16 inches Size...