USA - Black and White Photography

An original silver gelatin black and white photograph by Agence Meurisse Photographer. Car race in Boulogne sur Mer, France, circa 1911. The French pilot Rene Thomas is speeding in ...

An original silver gelatin black and white photograph by Agence Meurisse Photographer. Car race in Boulogne sur Mer, France, circa 1911. Features: Original Silver Gelatin Print Phot...

An original silver gelatin black and white photograph by Press Agency Rol. Car race in Boulogne, France, September 21, 1913. This is a rare photograph of the Sunbeam racer driven by legendary driver Jean Chassagne during the 1913 Coupe de l'Auto in Boulogne. Features: Original Silver Gelatin Print Photograph framed. Press Photograph. Press Agency: Agence ROL Photographer: Unknown Title: Car Race, 1913. Provenance: Private collection. Frame Size: 15.75 in. high (40 cm) x 15.75 in. wide (40 cm) x 0.63 in. deep (1.5 cm). Image Size: 4.61 in. high (11.7 cm) x 6.61 in. wide (16.8 cm). Ink Stamp at the Back: ROL - Paris IXe. There is an unreadable hand-written caption on the negative at the bottom of the photograph. The hand-written caption at the back reads "Chassagne avec Sunbeam" - (Chassagne with Sunbeam). Check the last pictures for images of Jean Chassagne and images of the Sunbeam racecar of 1913. Note: Jean Chassagne (July 26, 1881 - April 13, 1947) was a pioneer submariner, aviator, and French racecar driver active 1906-1930. Chassagne finished third in the 1913 French Grand Prix, won the 1922 Tourist Trophy, and finished second in the 1925 Le Mans Grand Prix - all in Sunbeam motorcars. He finished second in the 1921 Italian Grand Prix with a Ballot, set speed records, and won races at Brooklands and hill climbs international. Chassagne was also associated with the Bentley Boys, who are known for having captured the spirit of the times, partying as hard as they worked. Larger than life, their restless and often reckless love of speed and adventure complemented perfectly the big green Bentleys from Cricklewood. As a result of his association with Bentley Motors, a Chassagne Square in Crewe was named in his honor. Chassagne applied to serve as a pilot during the Great War, but under the request of the British Admiralty, he joined Sunbeam to advise, develop and test aero engines for the war effort. (Credit: Wikipedia) The Coupe de l'Auto in Boulogne took place on 21 September 1913 as a separate event, and Sunbeam set out to defend its previous victory with three cars similar to those used in 1912. Jean Chassagne, Dario Resta, and Kenelm Lee Guinness drove the cars on a tougher course near Boulogne. Unfortunately, the team fell short of the resounding success of the previous year. Both Chassagne and Resta were forced to retire with broken rear axles, but luckily Guinness, the only team member to finish the race, saved the day by coming in 3rd, nine minutes behind the winner at an average speed of 61.45m.p.h. Results: Coupe de l’Auto in Boulogne, Sunbeam 4cyl 3L, Car no. 4, Jean Chassagne and A P Mitchell...

An original silver gelatin black and white photograph by Agence Meurisse Photographer. Car race in Boulogne sur Mer, France, 25th June 1911. This is a rare photography...

Paul Strand. The White Fence, Port Kent, 1916. Photogravure published by Aperture 1980. Edition 289 of 300

Alfred Stieglitz. Two Towers, Camera Work XLIV. 1913. Vintage photogravure. 7 5/8 x 6 3/8". [New York City]

Female nude composition by Frantisek Drtikol pigment print mounted on cardboard Framed Image size: 2.25 in. H x 1.75 in. W. Frame size: 17.5 in. H x 16.5 in. W Marks; top right: XII, bottom left: 5 From 1907-1910 he had his own studio, until 1935 he operated an important portrait photo studio in Prague on the fourth floor of one of Prague's remarkable buildings, a Baroque corner house...

No. 365 Yellow Avens From: Wild Flowers of New England, 1914, 6 volumes Volume II, Plate 86 Platinum print, mounted on presentation mount, 1914 Unsigned, as issued Condition: Excellent Image size: 9 1/4 x 7 1/4 inches Mount size: 15 x 13 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...

This is a photogravure that came out of a 1930's Camera Works. They are high quality prints from the artist's negatives and were put together in these historic spiral bound books. ...

Classic circa 1911 original b&w (3) framed gelatin photos of the Henley Regatta L-R: 'Entering the Gut'/ 'A Good Race'/ & 'Passing the Ferry' together...

ALFRED STIEGLITZ (1864 – 1946) THE FERRY BOAT, 1911 Photogravure, plate 5 from Camera Work, No 36 On thin paper. Image 8 ¼”x...

This early 20th century silver gelatin print depicts the iconic New York institution, Temple Emanu-El at its original location at 5th avenue and 43rd street in Manhattan, before it m...