| Apr 14, 2010 | Edward Weston "Nautilus" goes for $1,082,500 at Sotheby's New York (13 April 2010, Sale No: NO8624 Photographs, Lot 122). | | | |
The Sotheby's auction of Photographs yesterday produced some higher than anticipated results:
Edward Weston, Nautilus, 1927 - $1,082,500 (£704,019)
László Moholy-Nagy, Photogram, early 1920’s - $290,500 (£188,931)
Margaret Bourke-White, Gargoyle, Chrysler Building, New York, 1929/30 - $206,500 (£134,300)
Edward Weston, Civilian Defense, 1942 - $152,500 (£99,181)
Denise Bethel, Head of Sotheby’s Photographs Department said:
“We are thrilled with the stellar results of today’s sale, which show that the market for photography is strong across all categories, from the 19th century to the 21st. The prices we achieved for Edward Weston’s Nautilus, at $1.08 million, and the Moholy-Nagy Photogram, at $290,500, show the resiliency of the photographs market for the very best material."
| 
| | Apr 13, 2010 | Aerial photography | | | |
M. Nadar, a celebrated Parisian photographer, has distinguished himself as an aeronaut, and recently made an ascent, with about a dozen friends, in the largest balloon ever made. His balloon, called ' Le Géant,' is thus described in a daily contemporary:—"The design of M. Nadar is to render aerial voyaging not only instructive, but pleasant; so he has constructed reading- and billiard-rooms, and a photographic studio, in addition to the usual living apartments. The car which contains these is two-storied, the upper floor being a terrace, surrounded by a strong railing, or garde-fous (absit omen !), from which, I presume, our travellers are to fish for birds, for M. Nadar is amply supplied with fishing tackle, which must either be intended for aerial sport, else as provision against their ' falling in the sea.'"
The Photographic Journal being the Journal of the Photographic Society, 15 October 1863, No.138, p.383.
Further iconic examples of aerial imaging are requested.
PhVTitle | Lightbox | Checklist
Exhibition: Aerial photography
| 
| | Apr 11, 2010 | Scientific: Photomicroscopy | | | |
"Yet such has been shown to be the fact, and every improvement in the powers of the microscope has enlarged our ideas of the extent of animal life in the fluids of the globe; so that the philosopher is now ready to admit no limit to the possible minuteness of living beings, but looks to still further improvements in the microscope as a means of extending his acquaintance with them, and not as likely to set any bound to his inquiries."
William and Robert Chambers, eds. Chambers's Information for the People, New and Improved Edition (Edinburgh, William and Robert Chambers, 1842), Volume 1, p.534
This online exhibition follows two other Luminous-Lint shows on photomicroscopy - one on Joseph Janvier Woodward (1833-1884) and the other on Carl Heinrich Jakob Strüwe (1898–1988). The purpose of this exhibition is to provide a resource of classic images that can take some time to track down. If you would like to suggest additional images please contact me alan@luminous-lint.com.
PhVTitle | Lightbox | Checklist
Exhibition: Scientific: Photomicroscopy - An introduction
| 
| | Apr 11, 2010 | New book: Framing the West: The Survey Photographs of Timothy H. O'Sullivan | | | |
Toby Jurovics, Carol Johnson, William F. Stapp, Glenn Willumson & Page Stegner, Framing the West: The Survey Photographs of Timothy H. O'Sullivan (Yale University Press, 2010). (ISBN-10: 0300158912, ISBN-13: 978-0300158915). At the Smithsonian American Art Museum, Washington, D.C. an exhibition on this theme is being held from Febrary 12 to May 9, 2010 and should be seen by all those interested in early American landscape and survey photography.
The image of the untamed American West persists as one of our country’s most enduring cultural myths, and few photographers have captured more compelling images of the frontier than Timothy H. O’Sullivan. Trained under Mathew Brady, O’Sullivan accompanied several government expeditions to the West—most notably with geologist Clarence King in 1867 and cartographer George M. Wheeler in 1871. Along these journeys, O’Sullivan produced many beautiful photographs that exhibit a forthright and rigorous style formed in response to the landscapes he encountered. Faced with challenging terrain and lacking previous photographic examples on which to rely, O’Sullivan created a body of work that was without precedent in its visual and emotional complexities.
The first major publication on O’Sullivan in more than thirty years, Framing the West offers a new aesthetic and formal interpretation of O’Sullivan’s photographs and assesses his influence on the larger photographic canon. The book features previously unpublished and rarely seen images and serves as a field guide for O’Sullivan’s original prints, presenting them for the first time in sequence with the chronology of their production.
I've included a link here to a complete set of the stereocards for "Explorations and Surveys West of the 100th Meridian (1871-1874)" courtesy of the Etherton Gallery, Tucson, AZ, USA.
PhVTitle | Lightbox | Checklist
Exhibition: Timothy O'Sullivan: Explorations and Surveys West of the 100th Meridian (1871-1874)
More about this photographer
| 
| | Apr 11, 2010 | London, The Streets, Buildings and Monuments | | | |
"His first impressions of London were as gloomy as fog, smoke, and dingy brick buildings could make them; in addition to this, the question which his own judgment now put to him, " What do you intend to do in England '" absolutely startled him as not having before occurred;—the sum of a hundred pounds in hand constituted his whole worldly wealth. "
P.B. "The Life of the Rev. Joseph Blanco White" in The Westminster Review, No.LXXXVII, December 1845, p.145
PhVTitle | Lightbox | Checklist
Exhibition: London, The Streets, Buildings and Monuments
| 
| | Apr 11, 2010 | Car accident in a graveyard... | | | | This photograph taken by the Adolph B. Rice Studio (Richmond, Virginia) was taken on the 27th July 1961 in Riverview Cemetery and got me pondering on how many people have passed on through untimely accidents in cemeteries. An odd thought but I felt that I should share it just incase you know.
Library of Virgina, Rice Collection 3372A
| 
| | Mar 27, 2010 | Crime and Punishment: Identification - Source Documents | | | |
This online exhibition requires reading as it contains source materials on how photography was used for the identification of criminals in the 19th century.
Update - 29 March 2010
Prof. T. Max Hochstetler reminded me that there are descriptions of photography at Millwall Prison and Pentonville Pentitentiary in H. Baden Pritchard The Photographic Studios of Europe (London: Piper & Carter, 1882). Taking this as a hint that should be acted on I've added them to this exhibition.
PhVTitle | Lightbox | Checklist
Exhibition: Crime and Punishment: Identification - Source documents
| 
| | Mar 27, 2010 | Crime and Punishment | | | |
“There’s the King’s Messenger. He’s in prison now, being punished: and the trial doesn’t begin until next Wednesday: and of course the crime comes last of all.”
“Suppose he never commits the crime?” said Alice.
“That would be all the better, wouldn’t it?” the Queen said.
LEWIS CARROLL (Charles L. Dodgson), Through the Looking-Glass (1872).
PhVTitle | Lightbox | Checklist
Exhibition: Crime and Punishment: Photographic evidence
| 
| | Mar 27, 2010 | Colours: Red | | | |
passion, aggression, courage, energy, guilt, love, anger, hatred, pain, socialism, fire, heat, sacrifice, violence, bullfighting, emergency, danger, sin, negativity, blood, devils, lust, communism, stop, exit, honor, leadership, Valentine's Day, yield sign, blushing, Christmas, purity, attraction, beauty, error, failure, wrong way, conservatism (US), happiness (China), good luck (China), HIV/AIDS awareness and drug intolerance
Common connotations of the colour - Red
(Wikipedia, accessed: 27 March, 2010)
With thanks to all the photographers, galleries, fine art photography dealers and institutions who have provided examples for this exhibition.
PhVTitle | Lightbox | Checklist
Exhibition: Colours: Red
| 
| | Mar 27, 2010 | 19th Century Illustrations from Photographs | | | |
The purpose of this online exhibition is to provide an easily accessible collection of 19th century woodcuts, engravings and lithographs that were based upon photographs at a time when illustrations could not be printed directly from photographic positives or negatives in mass media or books.
Within this collection there are the well known images based on Daguerreotypes brought together by Noël Marie Paymal Lerebours for his publication Excursions daguerriennes : vues et monuments les plus remarquables du globe (1841-1842), and those of Timothy O'Sullivan at the "Shoshone Falls" and in the "Shifting Sand-Mounds" that were published in "Photographs from the High Rockies" in Harper's New Monthly Magazine (June 1869). Besides these there are less well known images based on original photographs by Abraham Bogardus, J.E. Mayall, Mathew B. Brady, Louis Auguste Bisson, Richard Beard and others. There is also the remarkable case of the Daguerreotype of the hand of Captain Jonathan Walker with the brand SS (Slave Stealer) burnt into it and how it was used as a propaganda image against slavery in the American South.
The magazine illustration of "The American and French Fashions Contrasted" from The Water-Cure Journal (New York) of 1851 shows two illustrations side-by-side. The one on the right is the pre-photograph style of magazine illustration and the one on the left was based on a photograph. The difference is striking.
PhVTitle | Lightbox | Checklist
Exhibition: 19th Century Printed Illustrations based on Photographs
| 
|
Ongoing • Newest • Newer • Older • Oldest Mode: LL C_NEWS_CF
|
LuminousLint 
@LuminousLint
