1923, Black and White Panorama Aircraft Photograph Douglas Co Santa Monica CA

The caption of this charming pen and ink, watercolor and gouache vignette reads "A troupe of Eastern Entertainers taken from diary of G. Copeland 1830." Perhaps a rememberance from...

This outstanding and high quality pair of Italian 19th century Neo-Classical style Grand Tour period columns feature embossed gilded ormolu and orb finials atop. They are raised by ...

Scrimshaw is the art of carving bone, ivory, or other materials. It was a popular pastime for whalers in the 19th century, who created decorative and utilitarian objects. This very u...

Large size gold gilt wooden ceremonial fraternal Masonic Crook perched on a long painted wooden pole. Supported by a decorative three-footed metal base, the gilt wood crook itself me...

Collection of antique black and white ancestral photographs from Germany and perhaps Switzerland (Suisse/Allemagne) discovered inside an Alfonse Mucha Ar...

Antique Hand Colored Photograph of Nantucket Street Scene by Marshall Gardiner (1884-1942), circa 1910, a period hand tinted photograph entitled "Nantucket Shearing Cart and Quakers" showing classic grey shingled houses on a cobblestone paved street, with a couple in horse drawn cart riding away from the viewer, and four women on doorstep and sidewalk, all dressed in period Quaker attire. It is interesting to note that the couple in cart are seated on antique Nantucket Bow Back Windsor chairs. The photograph was titled and hand signed in pencil across the bottom of the old acid foxed mat; the photograph is now mounted in new archival acid free matting, and a photocopy of the original pencil inscription has been preserved on the reverse. The photograph itself remains in excellent condition. H. Marshall Gardiner (1884-1942) was born on September 18, 1884 in Windsor, Ontario, and immigrated to the United States circa 1890, where his father W.H. Gardiner opened two photographic studios, one in Detroit during the winter months and a second at Mackinac Island during the more tourist-oriented summer months. Recognizing the potential of Florida's rapidly growing tourist trade, around 1894-95 he moved with his family from Detroit to Daytona, Florida which proved much more accommodating to the family's photographic business during the colder winter months. Marshall learned many of his photographic techniques from his father prior to going out on his own at a relatively early age. Whereas his father generally used wet collodian negatives, technology had advanced to where he was able to use gelatin dry plates in his earlier years, and later the less expensive and much more convenient roll film. Another very important lesson learned from his father was strategy of setting up shop in a tourist resort. Early in his career he traveled to Bermuda where he shot a series of beautiful Bermuda scenes that he hand-colored and successfully sold over a number of years to the local tourist trade. Around 1910, at the age of around 24, he first traveled to the island of Nantucket. The year-round population of Nantucket was then just over 2500, not nearly enough to sustain a photographic business for the entire year, so he opened a joint Photography and Art Supplies Store. Working as Nantucket's exclusive agent for Eastman Kodak, his business expanded to include the island's only photo-finishing service. However, with such a small year-round population, even the addition of a Gift Shop to compliment the hand-painted photographs, general portrait...

Presented is a beautiful photogravure showing a Klamath man hunting from a dugout canoe. This image is Plate 458 from Volume 13 of Edward Curtis' epic project The North American Indian. The photogravure was published in 1923 by Suffolk Engr. Co., in Cambridge, MA. The Klamath people are from the inland region of Northern California and Southern Oregon. Their oral history records the volcanic eruption that created Crater Lake over 7000 years ago Edward S. Curtis created one of the most enduring and iconic visual records in the history of the photographic medium. He was an award-winning artist, a consummate craftsman, a visionary, an intrepid entrepreneur, and was highly regarded as a respected ethnographer and publisher. Curtis began photographing Native Americans in the mid-1890s and selling these images in his successful downtown Seattle studio. One of his earliest models was Princess Angeline, the aged daughter of chief Sealth, the Suquamish Indian after whom Seattle is named. At the National Photographic Convention of 1899 Curtis was awarded the grand prize for three of his soft-focused, sepia-toned images of Puget Sound Native Americans: Evening on the Sound, The Clam Digger, and The Mussel Gatherer. Curtis spent the summer of 1900 with George Bird Grinnell observing the Sun Dance at an encampment of Blood, Blackfeet, and Algonquin in Montana. This was a pivotal experience for Curtis, confirming his desire to study and photograph the Native tribes of North America. A trip to visit the Hopi reservation in Arizona a few months later further fueled his enthusiasm. Curtis envisioned a plan to create a massive scholarly and artistic work that would document the tribes west of the Mississippi, their ceremonies, beliefs, daily life, and landscapes. In 1906, Curtis approached railroad tycoon J.P. Morgan to request financial assistance for his project. Morgan agreed to pay him a total of $75,000, or $15,000 a year for five years. Morgan and Curtis decided that Curtis' masterwork, The North American Indian, would be a set of 20 volumes of ethnographic text illustrated with high quality photoengravings taken from his glass plate negatives. Each of these volumes would be accompanied by a portfolio of large size images, all sumptuously bound in Moroccan leather. The papers used for printing would also be of the best quality: a Dutch etching stock by Van Gelder, a Japanese vellum, and for the most discerning subscribers, a translucent Japanese tissue paper. To fund publication, Curtis would sell subscriptions at approximately $3,000 per set, with a total of 500 sets to be published. An ambitious and extensive project, Curtis spent much of his life documenting as many Native tribes as possible. The importance and the urgency of the task was clear to him, as he wrote in the introduction to his first volume of The North American Indians in 1907, "The information that is to be gathered ... respecting the mode of life of one of the great races of mankind, must be collected at once or the opportunity will be lost." In 1930, some 24 years after his initial request for funding, the last two volumes, Vol. 19 and Vol. 20, were published and The North American Indian project was finally completed. Curtis took over 40,000 photographs and made over 10,000 wax cylinder...

Between Seer and Seen: Celebrating the Artists of Santa Barbara County Book by Mark Robert Halper. Composed of 71 portraits and 15 still life images photographed from January to De...