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Auction Information
Auctioneer Be Hold 9144235806
Auction Date Nov 17 Auction
Location
See Catalog
Yonkers, NY
Time 11:00AM
Auctioneer's Other ListingsE-mail AuctioneerAuctioneer's Web Site
Auction Listing
AuctionZip Auctioneer ID# 20873

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Lot: 1 - MAYALL, LONDON. Portrait of John Romeyn

MAYALL, LONDON. Portrait of John Romeyn Brodhead. ½ plate daguerreotype, 1848, in original case (separated cover) with Mayall's gilt logo for his Daguerreotype Institution at 433 Strand impressed on the cover.A rare paper later is glued to the

Lot: 2 - GIRL, CHAIR, GIRL ON CHAIR. 1/6 plate

GIRL, CHAIR, GIRL ON CHAIR. 1/6 plate daguerreotype, maker unknown. This has a beautiful creamy surface this is sometimes found in daguerreotypes that have had additional silver applied, but there is no silver on the back of the plate. There is

Lot: 3 - EDWARD TOMPKINS WHITNEY (1820 - 1893), FULL PLATE

EDWARD TOMPKINS WHITNEY (1820 - 1893), FULL PLATE AMBROTYPE (8 x 6 3/8 - inches), ca. 1855, in a mat stamped "Whitney Roch." It is in the original leather and wood case with the original spine intact. The ambrotype is still sealed and I have

Lot: 4 - W. C. NORTH, BUFFALO. ½ plate ambrotype,

W. C. NORTH, BUFFALO. ½ plate ambrotype, ca.1857. There are two Norths with the same name, an uncle and nephew. Important daguerreotypes are known by one or both from Cleveland, Ohio, and they were active later in Buffalo NY 1n 1857. The mat has

Lot: 5 - JAMES W. WILLIAMS, (attrib), GIRL WITH A SASH.

JAMES W. WILLIAMS, (attrib), GIRL WITH A SASH. Mammoth plate Ivorytype, 24 x 20 - inches, in an original frame. The ambrotype, being a photograph on glass, initiated a number of processes that used the transparent glass substrate to create colored

Lot: 6 - JOSIAH GURNEY, HALLOTYPE PORTRAIT OF A GENTLEMAN,

JOSIAH GURNEY, HALLOTYPE PORTRAIT OF A GENTLEMAN, Ca 1860. 12 ¾ x 10 ¾ in a 15 x 12 5/8 - inch French walnut frame with gilded interior panels. When the owner acquired this it was not clear what it was. Some of the components had

Lot: 7 - EDMUND RUFFIN. Photographer unknown. An original

EDMUND RUFFIN. Photographer unknown. An original strip of 3 glass negatives, from a multi-tube camera, 1862. Each negative measures 3 ½ x 2 ½ inches, from which cartes de visite would be made. These are probably copy negatives made by

Lot: 8 - STEPHEN DILL LEE, Confederate Officer.

STEPHEN DILL LEE, Confederate Officer. Photographer unknown. An original strip of 2 glass negatives from a multi-tube camera, each 3 5/8 x 2 5/8 - inches. Like previous, probably copy negatives made by Anthony to produce DVD's. Lee was the

Lot: 9 - REVEREND CHARLES F.E. MINNEGERODE., by D. H.

REVEREND CHARLES F.E. MINNEGERODE., by D. H. Anderson, Richmond, Virginia. Minnegerode had been the Minister of Saint Paul's Episcopal Church in Richmond since 1856, and served there throughout the Civil War. It was sometimes referred to as "the

Lot: 11 - MOTHER AND BABY. Glazed salted paper print

MOTHER AND BABY. Glazed salted paper print, 4 ½ x 2 ¾ inches, with signed note that seems to read "Joan's [?] Christian affection." This has quite a different feel than typical daguerreotypes of mothers and babies. Cut from an

Lot: 12 - WILLIAM CARRICK [?]. 3 cdv size albumen prints

WILLIAM CARRICK [?] 3 cdv size albumen prints mounted on album pages, cut from the pages. Two are occupational images, and one is a woman in Muslim garb. All are clean

Lot: 13 - ENGLISH AND EUROPEAN NOBILITY, cdv's

ENGLISH AND EUROPEAN NOBILITY, cdv's. An album page with a charming decorative arrangement of cdv's on each side. One side has English subjects in a fan-like arrangement. On the other side Queen Victoria, Napoleon III and Emperor Franz Josef of

Lot: 14 - "POLYCYSTINS" BY MRS. BURY, 1862. Special ediiton

"POLYCYSTINS" BY MRS. BURY, 1862. This is a special edition of a classic illustrated scientific book, with 25 stunning albumen prints by Negretti and Zambra, who were the official photographers of the London Crystal Palace. The full

Lot: 15 - AUGUSTE SALZMANN, "Jerusalem/ Saint - Sepulcre."

AUGUSTE SALZMANN, "Jerusalem/ Saint - Sepulcre." 13 x 9 ¼ - inch salted paper print from paper negative (calotype} by Blanquart-Evrard, on a 23 ½ x 17 ½ - inch mount with imprinted title and credits, 1854. This is an

Lot: 16 - MAXIME DU CAMP, "Temple du Dandour," Plate 93 from

MAXIME DU CAMP, "Temple du Dandour," Plate 93 from "Nubie." Printed by Blanquard-Evrard, 1852. 6 ½ x 8 ½ - inch salted paper print on the original mount with letterpress information. While most of Du Camp's photographs of ruins are

Lot: 17 - TURKISH SCHOLARS. Oval albumen print

TURKISH SCHOLARS. 7 ½ x 5 ¼ - inch oval albumen print on 19 ½ x 8 ½ - inch mount with gilt oval around the image. The person on the right holds an open book. He is barefoot with his shoes on the floor.

Lot: 18 - FRENCH CORVETTE IN BREST, 1860'S. Albumen print

FRENCH CORVETTE IN BREST, 1860'S. A nice 2 ½ x 3 7/8 albumen print with rounded corners mounted on a card, with an inscription in French stating that this is the Galathée with 30 sails, that took part in the Pacific campaign 1860 - 1866.

Lot: 19 - FRANCIS FRITH. Scene near Seville, Spain. Albumen

FRANCIS FRITH. Scene near Seville, Spain. 6 ¼ x 8 ¼ - inch albumen print within a gray border on a board mount. This may be by Robert Napier, who was associated with Frith from 1861 - 63. "Views in Andalusia" was published in 1864. Frith

Lot: 20 - MALTA HARBOR. 8 x 10 ½ - inch albumen print

MALTA HARBOR. 8 x 10 ½ - inch albumen print on an album page. No maker indicated. Ca. 1860 judging by the ships in the harbor.

Lot: 21 - SCENES IN MOSCOW. Board mount with albumen prints

SCENES IN MOSCOW. A board mount with albumen prints on both sides. One side has two prints of cathedrals. St. Basil's is 10 5/8 x 9 - inches. There's a carriage and people in the street. The Cathedral of St. Saviour is 10 5/8 x 7 ¾ - inches.

Lot: 22 - CREMATION IN KANDY, CEYLON. Albumen print

CREMATION IN KANDY, CEYLON. 10 5/8 x 8 ½ - inch albumen print. Modern pencil notation on verso. A lively image. The crowd mostly of boys and young men face the camera. A rich print, in a modern mat.

Lot: 23 - WILLIAM NOTMAN, SCENES IN CANADA. Albumen print

WILLIAM NOTMAN, SCENES IN CANADA. An albumen print, 6 5/8 x 8 7/8 - inches on a gray mount of the Victoria Bridge in Montreal. The bridge opened in 1860 when it was considered the "eighth wonder of the world." There is some construction

Lot: 24 - KANSAS CITY BRIDGE. Albumen print

KANSAS CITY BRIDGE. 5 3/8 x 7 ¾ - inch albumen print on a cream mount with nicely script title and date. "Launching first section of curb No. 1" "August 7th 1867." This is the Hannibal Bridge, engineered by Octave Chanute, the first bridge to

Lot: 25 - HENRY DIXON, THE SOCIETY FOR PHOTOGRAPHING RELICS

HENRY DIXON, THE SOCIETY FOR PHOTOGRAPHING RELICS OF OLD LONDON. "Churchyard of St. Lawrence Pountney." 7 x 8 7/8 - inch carbon print on the original mount. The Society hired Dixon and his son in 1875 to make carbon prints from negatives

Lot: 26 - CANONBURY TOWER. Carbon print by Henry Dixon,same

CANONBURY TOWER. Another carbon print by Henry Dixon from the same series, 8 7/8 x 7 - inches. Marks' initials and "137" are in the extreme right edge of the mount. The building was erected in 1509 - 1532. It was occupied by Cromwell. The tower was

Lot: 27 - OLD HOUSE, GREAT WINCHESTER STREET. Carbon print

OLD HOUSE, GREAT WINCHESTER STREET. 9 x 7 - inch carbon print by Henry Dixon, like the previous. It is #25. Marks' initials are partially cut by a cut in the extreme bottom right corner of the mount. The image is framed by edges of adjacent

Lot: 28 - SION COLLEGE LONDON WALL. Carbon print by Henry

SION COLLEGE LONDON WALL. 9 x 7 - inch carbon print by Henry Dixon, like the previous. Marks' initials and "143" in the extreme lower right corner. The original building goes back to the 14th century. It was damaged in the great fire of 1884 and

Lot: 29 - LAMBETH PALACE-GREAT HALL. Carbon print by Henry

LAMBETH PALACE-GREAT HALL. 7 x 8 ¾ - inch carbon print by Henry Dixon, like previous, No. 74. Marks' initials and "108" in extreme lower This has been the residence of the Archbishop of Canterbury. The original, build in the 15th Century, was

Lot: 30 - BARTHOLOMEW THE GREAT. Carbon print by Henry Dixon

BARTHOLEMEW THE GREAT. 9 ½ x 7 3.8 - inch carbon print by Henry Dixon, like previous, No. 40 in pencil in left corner of the mount, No. 13 below it, Marks' initials and "No. 51" in lower right mount corner. This is the oldest church in London.

Lot: 31 - TENNIS COURT, JAMES STREET, HAYMARKET. Carbon

TENNIS COURT, JAMES STREET, HAYMARKET. 8 ¾ x 6 ¾ - inch carbon print by Henry Dixon, like previous. Built in the 17th century, this was used as an indoor tennis court. The upper windows did not have glass, and the lower ones were added.

Lot: 32 - BANQUETING HOUSE WHITEHALL plus OLD HOUSE GREAT

BANQUETING HOUSE WHITEHALL. 7 x 9 -inch carbon print by Henry Dixon, like previous. Designed by Inigo Jones, it was built 1619 - 22. It was the first building in England in the Palladian style. Charles I was executed there in 1649. The magnificent

Lot: 33 - A. BRIQUET, FOUR SCENES IN MEXICO. Albumen prints

A. BRIQUET, FOUR SCENES IN MEXICO. Albumen prints, 8 x 10 3/8 - inches or the reverse, tipped onto album pages with credits, titles in Spanish and English.. Two show engineering feats for the railroad in the mountains of Vera-Cruz. 21. " Bridge

Lot: 34 - A. L. BEACH, EAGLE PASS, TEXAS. P.O.P. print

A. L. BEACH, EAGLE PASS, TEXAS. 5 x 8 - inch P.O.P. print on an 8 x 10 - inch board mount with stamped titles. Scene from the Fronteriza Silver Mines, Las Cruzes, Coahuilla, Mexico. Title on bottom is "Sierra del Carmen" and, in pen, "57. Breaking

Lot: 35 - E. A. BONINE, "YUMA INDIANS, ARIZONA". Matt sepia

E. A. BONINE, "YUMA INDIANS, ARIZONA". Matte sepia print, 7 x 4 - inches, on a red Boudoir mount. Elias Bonine operated a studio in Yuma, His name is here misspelled "Bonnie." The two subjects hold hands, appear to be father and son. [3]

Lot: 36 - W. H. JACKSON, "ROCHES MOUTONNIES, near the

W. H. JACKSON, "ROCHES MOUTONNIES, near the Mountain of the Holy Cross." 9 x 13 - inch albumen print on the original Hayden Survey mount. This is a wonderful dynamic composition of this wild landscape with a strong diagonal fallen tree in the

Lot: 37 - HOWARD CLINTON TIBBITTS (1863 - 1937), Panorama of

HOWARD CLINTON TIBBITTS (1863 - 1937), Panorama of Mariposa Grove, Yosemite. 20 ½ x 145 - inch toned gelatin silver continuous print on a linen backing, ca. 1892 - 1906. Tibbitts made numerous photographs of the West for the Southern Pacific

Lot: 38 - BRITISH UNIT IN 2ND BOER WAR. Glossy P.O.P. print,

BRITISH UNIT IN 2ND BOER WAR. 6 x 8 -inch glossy P.O.P. print, unmounted, by Nissen, Pretoria (credit in the negative.) They pose with a sign for the "41 Co ASC, S.A. WAR, 1899,1900, 01." Most are armed with rifles. Natives are conspicuously

Lot: 39 - SOVIET PARTISANS, WW2. Glossy P.O.P. print.

SOVIET PARTISANS, WW2. 4 x 6 ¾ - inch glossy P.O.P. print. Stamp on verso for SIB Photoservice, Moscow. The Partisans pursued guerilla operations behind the German lines. The attached paper slug in Russian identifies the central figure, in

Lot: 40 - ALBERTO KORDA, "El Quixote de la Farola" ["The

ALBERTO KORDA, "El Quixote de la Farola" ["The Quixote of the Lamppost"], 1959. Printed later. 15 1/4 x 12 - inch gelatin silver print, signed in ink recto. There is also a decorative blindstamp in the image. The crowd awaits the arrival of Fidel and

Lot: 41 - ALBERTO KORDA, "El Quixote de la Farola" 1959.

ALBERTO KORDA, "El Quixote de la Farola" 1959. Printed later. 11 ¼ x 9 ½ - inch gelatin silver print.. Blindstamp on the print. Boldly signed on the verso. Lighter than the previous print.

Lot: 42 - ALBERTO KORDA, "La Cabelleria de Camilo

ALBERTO KORDA, "La Cabelleria de Camilo Cienfuegos." 1959, printed later. 12 ¾ x 9 - inch gelatin silver print. Blindstamp on the print, boldly signed on the verso. This became an emblematic image of the revolutionary fervor. Cienfiegos was a

Lot: 43 - ALBERTO KORDA, "Fidel de Visite en Holguin," 1960,

ALBERTO KORDA, "Fidel de Visite en Holguin," 1960, printed later. 9 3/8 x 7 - inch gelatin silver print. Blindstamp in the print, Korda's stamp and signature on the verso. Holguin was Fidel's birthplace. [4]

Lot: 44 - ALBERTO KORDA, "David and Goliath." 1959, printed

ALBERTO KORDA, "David and Goliath." 1959, printed later. 25 x 19 ¾ - inch gelatin silver print, with blindstamp on the print and pen signature recto. Taken on Castro's visit to the United States. An excellent example of Korda's ability

Lot: 45 - EDDIE ADAMS, SAIGON EXECUTION, 1962, BEFORE AND

EDDIE ADAMS, SAIGON EXECUTION, 1962, BEFORE AND AFTER. The Pulitzer Prize Photograph became an emblem of the horrors of the war that helped stir popular opposition. Putting that image in the context of what Adams photographed immediately before and

Lot: 46 - DYE TRANSFER EXPERIMENTS. Two prints, 14 x 11 -

DYE TRANSFER EXPERIMENTS. Two prints, 14 x 11 - inches, ca. 1950's [o possibly earlier, on board mounts. A woman in brightly colored S. American type outfit poses in front of a colorful carpet. The vertical lines on the carpet are on the object,

Lot: 47 - DR. RAIMO GAREIS, "2. A Lost Guy." Color print

DR. RAIMO GAREIS, "2. A Lost Guy." 15 1/2 x 11 - inch color print, pen title and stamp and typical pictorialist exchange stamp on the verso. This amazing, striking print is a from a form of dye transfer called color derivation. Conservator Gawain

Lot: 48 - DR. RAIMO GAREIS, "1. Arche Noah" [Noah's Ark].

DR. RAIMO GAREIS, "1. Arche Noah" [Noah's Ark]. 15 ½ x 11 - inch color derivation print with similar stamps and title on the verso. In fact these two seem to have been a pair. This is equally spectacular. [4]

Lot: 49 - WERNER DÖPEL, Leverkusen. "Orientalische

WERNER DÖPEL, Leverkusen. "Orientalische Vase." 15 x 11 -inch color derivation print, with Döpel's stamp, pen title in a box, and several exhibition stamps on the verso. He likely was a colleague of Gareis. [4]

Lot: 50 - WOLFGANG KÖLLGES, Köln-Ehrenfeld. "4.

WOLFGANG KÖLLGES, Köln-Ehrenfeld. "4. Laborgläser" [Laboratory Vessels]. Another color derivation print, but a different effect. The effect of the reduced contrast is clearly visible. Köllges wrote "Perfect Technique of Black and

Lot: 51 - PAT NIXON'S TRIP TO AFRICA, 1972. Three

PAT NIXON'S TRIP TO AFRICA, 1972. Three 14 x 11 - inch or the reverse, chromogenic prints with "Official Photograph/ The White House" stamp and date and number on the verso. The first is to me the most interesting-a lively crowded image full

Lot: 52 - DAVID HUME KENNERLY, "The Obamas, Inauguration

DAVID HUME KENNERLY, "The Obamas, Inauguration Night." 26 x 14 ½ - inch C-Print, Titled and signed in ink beneath the image, and dated "Jan. 20, 2009." No. 2 from an edition of 40. An intimate moment in a historic event. [4]

Lot: 53 - DAVID HUME KENNERLY, "The President and Mrs. Obama

DAVID HUME KENNERLY, "The President and Mrs. Obama on the way to the Inauguration Ball, The Washington Hilton" 17 ½ x 22 ½ - inch C- Print. Titled, signed in ink, and dated "Jan. 20, 2009" beneath the image. This is

Lot: 54 - "THE STROBER SALE". Auction Catalog

"THE STROBER SALE." Excellent copy of the catalog with prices neatly written in pen by someone who attended that give this copy a special importance. This was a February 1970 auction by Parke-Bernet Galleries in New York [later Sotheby's] of "Rare

Lot: 55 - TINA MODOTTI, Portfolio by Electa Editirice, 1979

TINA MODOTTI, Portfolio by Electa Editirice, 1979. In connection with the 1978 show arranged by UNESCO and the Municipality of Venice in conjunction with the ICP. This is number 322 of an edition of 1000. There are 12 beautiful gravures on 11

Lot: 56 - "INDIANS OF SOUTHERN MEXICO; AN ETHNOGRAPHIC

"INDIANS OF SOUTHERN MEXICO; AN ETHNOGRAPHIC ALBUM" by FREDERICK STARR. Mammoth large quarto volume printed for the author by Lakeside Press Chicago, 1899. This is number 353 of 560 copies signed by Starr. In his Preface Starr writes:

Lot: 57 - MITLA, MEXICO. Albumen print

MITLA, MEXICO. 7 ½ x 9 ½ - inch albumen print on a mount with a framing rectangle around the print. No maker indicated, late 19th Century. This was the religious center of the pre-Columbian Zapotec culture in Oaxaca. There are a number of

Lot: 58 - ANTONIO REYNOSO CASTANEDA. (1919 - 1996). Rural

ANTONIO REYNOSO CASTANEDA. (1919 - 1996.) Rural scene with bulls and peasant. 8 1/8 x 11 ¾ - inch gelatin silver print, dry mounted, signed and dated 1975 in pencil recto. Reynoso was a student and friend of Manuel Alvarez Bravo. Prints of his

Lot: 59 - ANTONIO REYNOSO CASTANEDA. A peasant family in a

ANTONIO REYNOSO CASTANEDA. A peasant family in a bleak landscape under a cloudy sky. 9 ¾ x 12 ¾- inch gelatin silver print, dry mounted, signed and dated 1976 in pencil beneath the print. These differ from Bravo's posed and surreal

Lot: 60 - W. EUGENE SMITH AND LESLIE TEICHOLZ, by Leslie

W. EUGENE SMITH AND LESLIE TEICHOLZ, by Leslie Teichholz. 5 ¼ x 7 ½ - inch gelatin silver print on 8 x 9 ½ -inch sheet, with Teichholz's 450 West 20th Street stamp. ca. 1975. From her September 2015 obituary in the Berkshire Eagle:

Lot: 61 - BRETT WESTON by George Stillman (1921 - 97).

BRETT WESTON by George Stillman (1921 - 97). 9 ¼ x 7 - inch gelatin silver print, signed, titled and dated 1943 - 44 on the print verso, and the mount. Printed later. Stillman was a painter, printmaker, teacher as well as photographer. [4]

Lot: 62 - RURAL BLACK SCHOOL. Cyanotype

RURAL BLACK SCHOOL. 3 5/8 x 4 3/8 - inch cyanotype on a board mount. A surprisingly large group of students of many ages are dressed up to pose in front of the school. There are only a few girls. There are only two teachers, both black, a man at

Lot: 63 - WILLIAM MERRITT CHASE, CLASSES AT SHINNECOCK

WILLIAM MERRITT CHASE, ClASSES AT SHINNECOCK HILLS, LI. Four cyanotypes. Chase (1849 - 1916) was an American impressionist painter and a powerful teacher. His many important students included George Bellows, Charles Demuth, Edward Hopper, Georgia

Lot: 64 - Four stylish 6 7/8 x 4 5/8 - inch sepia gelatin

Four stylish 6 7/8 x 4 5/8 - inch sepia gelatin silver prints on paper with a tight texture, cut from album pages. Plus a photo postcard on similar paper. One is a profile, the others are back views. Slight soil but no damage. [3-]

Lot: 64A - PAUL NADAR (1856 - 1939), A woman with a fancy

PAUL NADAR (1856 - 1939), A woman with a fancy hat, back view. 6 ¼ x 4 ¼ - inch gelatin silver print, signed in ink recto. Probably printed ca. 1920, but may have been made from an earlier negative. The lighting is excellent. Paul was

Lot: 65 - "LA PERLE." French Carte Postale by "S.T.A.I.

"LA PERLE." French Carte Postale by "S.T.A.I" , title and "75" in the negative. A nude in an oyster shell at the bottom of the sea. Glossy gelatin silver print, with some green coloring on the oyster shell. [4-]

Lot: 66 - JOAN MURRAY, "The Hallway to the Room", 1970.

JOAN MURRAY, "The Hallway to the Room", 1970. 8 ¼ x 7 ¼ - inch gelatin silver print, signed and dated on the mount, with a label for the SFWA 3d Annual Photography Show, May, 1979 affixed to the mount, verso. Many know Joan Murray

Lot: 67 - BILL DANE, "New Orleans," 1974. Gelatin silver

BILL DANE, "New Orleans," 1974. 14 x 11 - inch gelatin silver print, signed, dated, titled in pen verso, with "Not For Sale." With Fraenkel Gallery stamp on verso. Dane had several major awards, and has been in numerous shows. He distributed some

Lot: 68 - ABIGAIL HEYMAN, (1942 - 2013) Untitled. No date.

ABIGAIL HEYMAN, (1942 - 2013) Untitled. No date. 13 7/8 x 11 - inch gelatin silver print, signed in pencil verso. She is most known for her 1974 book "Growing up Female: A Personal Photojournal." This photograph of a bride and her aged mother

Lot: 69 - HIROSHI HAMAYA, (1915- 1999), "A Farm Village in

HIROSHI HAMAYA, (1915- 1999), "A Farm Village in Winter." 9 7/8 x 11 7/8 gelatin silver print, with Hamaya's stamp on the verso, C. "1955" in pencil and title in English in an unknown hand. Probably printed later. Hamaya was a major Japanese

Lot: 70 - HIROSHI HAMAYA, "A Woman Planting Rice, Toyama

HIROSHI HAMAYA, "A Woman Planting Rice, Toyama Prefecture," 1955, printed 1972. 10 x 8 - inch ferrotyped gelatin silver print with Hamaya's blue copyright stamp verso. Also a blue "reproduction" stamp from ICP indicating this is a press photograph

Lot: 71 - KEITH CARTER, "White Horse in Moonlight" 1986.

KEITH CARTER, "White Horse in Moonlight" 1986. 15 x 15 - inch matte gelatin silver print, signed in the negative, signed, titled and dated in pencil on the verso. 15 x 15 inch image on a matte 20 x 16 - inch sheet. There is a 1 - inch cut in

Lot: 72 - CHARLES RIVERS (1904 - 1993), 'Bolter Up - Self

CHARLES RIVERS (1904 - 1993), 'Bolter Up - Self Portrait. Empire State Building 1930." 10 x 8 - inch gelatin silver print. A typed label on the verso gives the title, date, and has his ink signature. Printed later. Rivers was a laborer, Union

Lot: 73 - CHARLES RIVERS. Untitled. Gelatin silver print

CHARLES RIVERS. Untitled. Large 17 x 14 - inch gelatin silver print showing Rivers at work with another worker. This emphasizes the cooperative nature of the dangerous work. Some minor pressed crinkles at the left edge. An impressive photograph.

Lot: 74 - CHARLES RIVERS, "Storm over the Chrysler

CHARLES RIVERS, "Storm over the Chrysler Building. "7 ¾ x 9 3/8 glossy gelatin silver print, 1929, printed later. Signed and dated in ink on the print. A typed label on the verso has the number "8" [indicating this might have been made for an

Lot: 75 - CHARLES RIVERS. Two photographs. "Iron Workers -

CHARLES RIVERS. Two photographs. "Iron Workers - Empire State Building - 1930." 10 x 8 - inch glossy gelatin silver print on heavy paper, printed later. There is a typed label on the verso with the title, date, and with his pen signature A

Lot: 76 - CHARLES RIVERS. Four photographs of labor and

CHARLES RIVERS. Four photographs of labor and anti-war demonstrations. that illustrate the scope of Rivers' activities. a) A pro-Soviet labor street demonstration. Signs include "Metal Workers Stand Ready to defend the Soviet Union" and

Lot: 77 - CHARLES RIVERS. Four more photographs of

CHARLES RIVERS. Four more photographs of political, social protest. 11 x 13 34 - inches or the reverse, mounted on heavy board., printed later for some exhibition. a) Several people handcuffed, being interviewed. Possible Peace protesters. b) A

Lot: 78 - MARION POST WALCOTT, "Corn shocks & split rail

MARION POST WALCOTT, "Corn shocks & split rail fence, near Marion, W. Va. 1939." 8 1/8 x 10 7/8 - inch image on 10 ¾ x 14 - inch sheet, signed, titled and dated on the mount recto. Titled and signed in pencil verso, "Archivally

Lot: 79 - JAMES FEE (1949 - 2006), Untitled nude. Toned

JAMES FEE (1949 - 2006), Untitled nude. 8 x 10 - inch sheet, toned silver print., signed on the overmat, dry mounted to a mat with Fee's stamp on the back of the mat, with "Artist Proof" and date "7 - 91" in pencil. Fee's projects

Lot: 80 - MINOR WHITE, "Bird Lime and Surf, Point Lobos,

MINOR WHITE, "Bird Lime and Surf, Point Lobos, California, 1951." 9 1/8 x 10 ¾ - inch matte gelatin silver print on a 10 ¾ x 13 ¾ - inch sheet, dry mounted. Signed lightly in pencil on the margin of the print, and with the

Lot: 81 - MINOR WHITE (attrib) and NASSOS DAPHNOS, Studies

MINOR WHITE (attrib) and NASSOS DAPHNOS, Studies of tree peonies, 1950's. - 1960's. Two gelatin silver prints, 7 7/8 x 9 7/8 - inch and one 8 x 10 - inch. When White was teaching in Rochester he would often visit the William Gratwick estate

Lot: 82 - EDMUND TESKE (1911 - 1996), Untitled, no date.

EDMUND TESKE (1911 - 1996), Untitled, no date. 4 5/8 x 6 ¾ - inch gelatin silver print, dry mounted to a tall brown 20 x 12 ¾ - inch mat, signed on the bottom of the mat. Teske had numerous associations with artistic figures of his time,

Lot: 83 - PAUL CAPONIGRO, "Sunflowers" 1969. Gelatin silver

PAUL CAPONIGRO, "Sunflowers" 1969. 9 5/8 x 8 - inch gelatin silver print, dry mounted. Signed in pencil beneath the print, and again on the overmat. "PS 48 #69 - 35 1969" written in pencil on the back of the mat. His book "Sunflower" was published

Lot: 84 - ANTHONY HERNANDEZ (1947 -), "Saigon - Vietnam".

Two 7 ¾ x 11 5/8 - inch gelatin silver prints, dry mounted. Signed, titled and dated 1972 on the back mat, verso. These were made while Hernandez served in the army. He was in Saigon in 1968, (21 years old!) so 1972 is when they were printed.

Lot: 85 - ANNIE LEIBOVITZ, "Johnny and Rosanne Cash, Carter

ANNIE LEIBOVITZ, "Johnny and Rosanne Cash, Carter Family Fold, Virginia." Gelatin silver print, 16 x 20 ¾ image on 21 x 24 ½ - inch sheet. Signed, titled, dated 2001, and "ap3" in ink on the bottom margin. This is possibly

Lot: 86 - PHILIPPE HALSMAN, "DALI PORTFOLIO.," 10 gelatin

PHILIPPE HALSMAN, "DALI PORTFOLIO.," 10 gelatin silver prints in clamshell box, 1981. This is number 68 from an edition of 250. The box and contents are in mint condition, as though it has never been opened. So I don't want to take out the prints

Lot: 87 - PHILIPPE HALSMAN, "MARILYN PORTFOLI0," 10 gelatin

PHILIPPE HALSMAN, "MARILYN PORTFOLI0," 10 gelatin silver prints in clamshell box, 1981. This is number 68 from an edition of 250. The box and contents are in mint condition, as though it has never been opened. So I don't want to take out the prints

Lot: 88 - ROBERT DOISNEAU, "Un Regard oblique." 14 ½ x

ROBERT DOISNEAU, "Un Regard oblique." 14 ½ x 16 - inch gelatin silver print, 1948, printed 1980's. Signed in ink beneath the image. This is a wonderful print of one of Doisneau's most appreciated images. The man is sneaking a peak at the nude

Lot: 89 - JOHN METOYER (1966), "Bliss," Cyanotype on heavy

JOHN METOYER (1966), "Bliss," 17 x 20 - inch cyanotype on heavy watercolor paper. Signed in pencil with title and date "12/1996" on the verso. Metoyer is a poet and photographer. He is descended from a Frenchman who came to

Lot: 90 - JOHN METOYER, "Rag and Bone" Cyanotype

JOHN METOYER, "Rag and Bone." 20 x 17 - inch cyanotype on heavy water color paper, 11/ 1996. Signed in pencil with title and date on the verso. A striking composition of the skeleton of a fowl against and in the midst of a surface of blotches and

Lot: 91 - JOHN METOYER, "Dog Star Raging" - Cyanotype

JOHN METOYER, "Dog Star Raging." 17 x 20 -inch cyanotype on heavy water color paper, 12, 1996. Signed in pencil with title and date on the verso. The image of a dog on a decorated carpet that extends behind, also embedded in a surface of scratches

Lot: 92 - JOHN METOYER, "Morning Light" - Cyanotype

JOHN METOYER, "Morning Light". 20 x 17 - inch cyanotype on heavy water color paper, 7/1995. Signed in pencil with title and date on the verso. The flower buds reach up to the light. A beautiful and suggestive image. [4]

Lot: 93 - CATHERINE WAGNER (1953), "Mass Landing Elementary

CATHERINE WAGNER (1953), "Mass Landing Elementary School, First Grade Classroom" from her American Classroom series, 1986. 14 x 18 ½ - inch gelatin silver print, signed beneath the image. Wagner has produced numerous photographic

Lot: 94 - JOCK STURGES, "Floret et Fréderique,

JOCK STURGES, "Floret et Fréderique, Montalivet, France." 20 x 16 - inch (sheet) Gelatin Silver Print 1988. Titled and signed on the verso. This is No. 5 from an edition of 40. One of many of Sturges' photographs of female nudes at

Lot: 95 - JOYCE TENNESON, Young Man Holds Old Man.C-print

JOYCE TENNESON, Young Man Holds Old Man. 24 x 20 - inch C- Print on Agfa Paper. Signed, dated "1990" on the verso, with "Artist's Proof." This large print suffered some bends at the top when it was shipped to me. It has been worked on by a




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