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| 1. |  | Imogen Cunningham 1929 (before) Leaf Pattern, Carmel Mission Gelatin silver print 4.5 in (11.43 cm) x 3.5 in (8.89 cm) Robert Tat Gallery © The Imogen Cunningham Trust; all rights reserved This unsigned, vintage contact print was one of a series of photographs Imogen made of a plant by the Mission Wall. The print is made on Wellington triple weight paper which has a soft velvety quality. On the back are a Grove Street studio label along with Imogen's printing notes written in pencil. A letter of authenticity from Rondal Partridge, Imogen Cunningham's son, Trustee of the Imogen Cunningham Trust accompanies the print. |
| 2. |  | Imogen Cunningham 1920s (late) Leaf Pattern Gelatin silver print 13 in (33.02 cm) x 10 in (25.40 cm) Robert Tat Gallery © The Imogen Cunningham Trust; all rights reserved |
| 3. |  | Imogen Cunningham 1956 Money Plant Gelatin silver print 9 in (22.86 cm) x 6.5 in (16.51 cm) Robert Tat Gallery © The Imogen Cunningham Trust; all rights reserved This unsigned, original print was found in Imogen's files. The slightly skewed borders are characteristic of much of her Green Street studio printing in the 60s and 70s. Made on single weight paper, the print has a lovely aged golden tone. On the back of the print are Imogen's printing notes written in pencil. The image is published in Imogen Cunningham: Flora by Richard Lorenz. A letter of authenticity from Rondal Partridge, Imogen Cunningham's son, Trustee of the Imogen Cunningham Trust accompanies the print. |
| 4. |  | Imogen Cunningham 1920s Flax Gelatin silver print 9 in (22.86 cm) x 6.25 in (15.88 cm) Robert Tat Gallery © The Imogen Cunningham Trust; all rights reserved This unsigned, original print was found in Imogen's files. The slightly skewed borders are characteristic of much of her Green Street studio printing. Made on single weight paper, the print has a lovely aged golden tone. On the back of the print are Imogen's printing notes written in pencil. The image is published in Imogen Cunningham: Flora written by Richard Lorenz. A letter of authenticity from Rondal Partridge, Imogen Cunningham's son, Trustee of the Imogen Cunningham Trust accompanies the print. |
| 5. |  | Imogen Cunningham 1925/1967 Aloe Gelatin silver print 9 in (22.86 cm) x 7 in (17.78 cm) Robert Tat Gallery © The Imogen Cunningham Trust; all rights reserved This unsigned, original print was found in Imogen's files. The skewed borders are characteristic of much of her Green Street studio printing, which dates the print between 1947 and 1972. The print is made on double weight paper with Imogen's printing notes written in pencil on the verso. This image is published in Imogen Cunningham: The Modernist Years, Imogen Cunningham: Ideas without End, A Life in Photographs and Imogen Cunningham: Flora. A letter of authenticity from Rondal Partridge, Imogen Cunningham's son, Trustee of the Imogen Cunningham Trust accompanies the print. |
| 6. |  | Imogen Cunningham 1956 Desert Plant 3 Gelatin silver print, warm-toned 9 in (22.86 cm) x 7 in (17.78 cm) Robert Tat Gallery © The Imogen Cunningham Trust; all rights reserved This unsigned, original print was found in Imogen's files. This print has skewed borders characteristic of Imogen's darkroom style as well as her printing notes written in pencil on the back. A letter of authenticity from Rondal Partridge, Imogen Cunningham's son, Trustee of the Imogen Cunningham Trust accompanies the print. |
| 7. |  | Imogen Cunningham 1960s (print date unknown) Hands and Aloe Plicatilis Gelatin silver print, toned 7.5 in (19.05 cm) x 6.25 in (15.88 cm) Robert Tat Gallery © The Imogen Cunningham Trust; all rights reserved This unsigned, original print was found in Imogen's plant files. She made this print by sandwiching two negatives of the hands of a friend and one of her favorite plant, the Aloe Plicatilis. The print is made on double weight paper. The image is published in Imogen! Imogen Cunningham Photographs 1910-1973, Imogen Cunningham: Flora and Imogen Cunningham: 1883-1976. A letter of authenticity from Rondal Partridge, Imogen Cunningham's son, Trustee of the Imogen Cunningham Trust accompanies the print. |
| 8. |  | Imogen Cunningham 1974 Cunningham: Hand and Egg Gelatin silver print 9 in (22.86 cm) x 6.25 in (15.88 cm) Robert Tat Gallery © The Imogen Cunningham Trust; all rights reserved This unsigned, original print was found in Imogen's files. Made on double weight paper with Imogen's printing notes written in pencil on the back. A letter of authenticity from Rondal Partridge, Imogen Cunningham's son, Trustee of the Imogen Cunningham Trust accompanies the print. |
| 9. |  | Imogen Cunningham 1973 Hands of a Hand Surgeon Gelatin silver print 8 in (20.32 cm) x 7 in (17.78 cm) Robert Tat Gallery © The Imogen Cunningham Trust; all rights reserved This unsigned, original print was found in Imogen's files. The back of the print has Imogen's printing notes written in pencil. It is printed on double weight paper with slightly skewed borders characteristic of Imogen's darkroom style. A letter of authenticity from Rondal Partridge, Imogen Cunningham's son, Trustee of the Imogen Cunningham Trust accompanies the print. |
| 10. |  | Imogen Cunningham 1931-1932 (?) Martha Graham 48 Gelatin silver print 6.75 in (17.15 cm) x 9.25 in (23.49 cm) Robert Tat Gallery © The Imogen Cunningham Trust; all rights reserved This unsigned, original print was found in Imogen's files. Made on double weight paper with Imogen's printing notes and negative number written on the back. A letter of authenticity from Rondal Partridge, Imogen Cunningham's son, Trustee of the Imogen Cunningham Trust accompanies the print. |
| 11. |  | Imogen Cunningham 1910 The Dream Gelatin silver print 12.25 in (31.11 cm) x 9 in (22.86 cm) Robert Tat Gallery © The Imogen Cunningham Trust; all rights reserved This unsigned, original print was found in Imogen's files. It is one of the prints Imogen made on a Guggenheim Fellowship which enabled her to print from glass negatives she brought with her when he moved from Seattle to San Francisco in 1917. This print has skewed borders characteristic of Imogen's darkroom style as well as her printing notes written in pencil on the back. The image is published in several Cunningham monographs. A letter of authenticity from Rondal Partridge, Imogen Cunningham's son, Trustee of the Imogen Cunningham Trust accompanies the print. |
| 12. |  | Imogen Cunningham 1930s (late) Newsboy Gelatin silver print 4.5 in (11.43 cm) x 3.5 in (8.89 cm) Robert Tat Gallery © The Imogen Cunningham Trust; all rights reserved This unsigned, original contact print was found in Imogen's files. It is printed on double weight paper with slightly skewed borders characteristic of Imogen's darkroom style. A letter of authenticity from Rondal Partridge, Imogen Cunningham's son, Trustee of the Imogen Cunningham Trust accompanies the print. |
| 13. |  | Imogen Cunningham 1910 Ben Butler Gelatin silver print 8.5 in (21.59 cm) x 7 in (17.78 cm) Robert Tat Gallery © The Imogen Cunningham Trust; all rights reserved This unsigned, original print was found in Imogen's files. Imogen made this print from one of the few glass negatives she brought with her when she moved from Seattle to San Francisco in 1917. Until she was awarded a Guggenheim Fellowship in 1970 to print her early work, the two heavy packages of glass plates were used as weights to flatten prints, their contents unknown to anyone but Imogen. Made on double weight paper with Imogen's printing notes and her Green Street studio stamp on the back. A letter of authenticity from Rondal Partridge, Imogen Cunningham's son, Trustee of the Imogen Cunningham Trust accompanies the print. |
| 14. |  | Imogen Cunningham 1918 (later) Roi on the Dipsea Trail 2 Gelatin silver print 7.25 in (18.41 cm) x 9.25 in (23.49 cm) Robert Tat Gallery © The Imogen Cunningham Trust; all rights reserved This is a Trust print, printed by Imogen's son, Rondal Partridge, and bearing the Imogen Cunningham Trust authentication label with Rondal's signature, verso. During the last years of her life, Imogen Cunningham occupied the role of grande dame of American photography, encompassing one of the longest spans of any known photographer. Her career began in 1901 when she learned platinum printing while working for Edward S. Curtis in Seattle, and continued until shortly before her death in 1976. Her shared photographic concerns with Edward Weston, Ansel Adams, and other Bay Area photographers resulted in her joining Group f/64. Possibly the first woman to exhibit photographs of the male nude, Cunningham's work was frequently irreverent, always perceptive, and often years ahead of its time. |
| 15. |  | Imogen Cunningham 1918 (later) Roi on the Dipsea Trail 4 Gelatin silver print 7 in (17.78 cm) x 9 in (22.86 cm) Robert Tat Gallery © The Imogen Cunningham Trust; all rights reserved This is a Trust print, printed by Imogen's son, Rondal Partridge, and bearing the Imogen Cunningham Trust authentication label with Rondal's signature, verso. During the last years of her life, Imogen Cunningham occupied the role of grande dame of American photography, encompassing one of the longest spans of any known photographer. Her career began in 1901 when she learned platinum printing while working for Edward S. Curtis in Seattle, and continued until shortly before her death in 1976. Her shared photographic concerns with Edward Weston, Ansel Adams, and other Bay Area photographers resulted in her joining Group f/64. Possibly the first woman to exhibit photographs of the male nude, Cunningham's work was frequently irreverent, always perceptive, and often years ahead of its time. |
| 16. |  | Imogen Cunningham 1918 (later) Roi on the Dipsea Trail 5 Gelatin silver print 7.5 in (19.05 cm) x 9.5 in (24.13 cm) Robert Tat Gallery © The Imogen Cunningham Trust; all rights reserved This is a Trust print, printed by Imogen's son, Rondal Partridge, and bearing the Imogen Cunningham Trust authentication label with Rondal's signature, verso. During the last years of her life, Imogen Cunningham occupied the role of grande dame of American photography, encompassing one of the longest spans of any known photographer. Her career began in 1901 when she learned platinum printing while working for Edward S. Curtis in Seattle, and continued until shortly before her death in 1976. Her shared photographic concerns with Edward Weston, Ansel Adams, and other Bay Area photographers resulted in her joining Group f/64. Possibly the first woman to exhibit photographs of the male nude, Cunningham's work was frequently irreverent, always perceptive, and often years ahead of its time. |
| 17. |  | Imogen Cunningham 1920 Signal Hill Tanks and Towers 2 Gelatin silver print 7.5 in (19.05 cm) x 9.5 in (24.13 cm) Robert Tat Gallery © The Imogen Cunningham Trust; all rights reserved This unsigned, original print was found in Imogen's files. Signal Hill is near Los Angeles. Made on single weight paper with Imogen's printing notes written in pencil on the back. A letter of authenticity from Rondal Partridge, Imogen Cunningham's son, Trustee of the Imogen Cunningham Trust accompanies the print. |
| 18. |  | Imogen Cunningham 1972 Doll in Junk heap Gelatin silver print 7.5 in (19.05 cm) x 9 in (22.86 cm) Robert Tat Gallery © The Imogen Cunningham Trust; all rights reserved |
| 19. |  | Imogen Cunningham 1960s Abstract Wall Gelatin silver print 8.5 in (21.59 cm) x 7 in (17.78 cm) Robert Tat Gallery © The Imogen Cunningham Trust; all rights reserved This unsigned, original print was found in Imogen's files. The slightly skewed borders are characteristic of much of her Green Street studio printing in the 60s and 70s. Made on single weight paper. A letter of authenticity from Rondal Partridge, Imogen Cunningham's son, Trustee of the Imogen Cunningham Trust accompanies the print. |
| 20. |  | Imogen Cunningham 1930s (ca) Shells 5 Gelatin silver print 7 in (17.78 cm) x 8.5 in (21.59 cm) Robert Tat Gallery © The Imogen Cunningham Trust; all rights reserved This unsigned, original print was found in Imogen's files. Made on double weight paper with Imogen's printing notes written in pencil on the back. A letter of authenticity from Rondal Partridge, Imogen Cunningham's son, Trustee of the Imogen Cunningham Trust accompanies the print. |
| 21. |  | Imogen Cunningham 1915 Black Point from Ferry Boat Gelatin silver print 2.5 in (6.35 cm) x 1.5 in (3.81 cm) Robert Tat Gallery © The Imogen Cunningham Trust; all rights reserved This unsigned, original print was found in Imogen's files; it is believed to be a unique print for which the negative no longer exists. The photograph was taken during Imogen's honeymoon with Roi Partridge in Washington state. A letter of authenticity from Rondal Partridge, Imogen Cunningham's son, Trustee of the Imogen Cunningham Trust accompanies the print. This image is published in several Imogen Cunningham monographs. |
| 22. |  | Imogen Cunningham 1963 From the Back Porch of 1331 Gelatin silver print 9.5 in (24.13 cm) x 7.5 in (19.05 cm) Robert Tat Gallery © The Imogen Cunningham Trust; all rights reserved This unsigned, original print was found in Imogen's files. It is titled on the verso in Imogen's hand. This print has skewed borders characteristic of Imogen's darkroom style. A letter of authenticity from Rondal Partridge, Imogen Cunningham's son, Trustee of the Imogen Cunningham Trust accompanies the print. |
| 23. |  | Imogen Cunningham n.d. (taken) 1973 (print) Rocks and Driftwood Gelatin silver print 4.25 in (10.80 cm) x 3.25 in (8.26 cm) Robert Tat Gallery © The Imogen Cunningham Trust; all rights reserved This unsigned, original print was found in Imogen's files. The print has Imogen's exposure notes written on the front margins, and a San Francisco Museum of Art (now SFMOMA) label on the verso. A letter of authenticity from Rondal Partridge, Imogen Cunningham's son, Trustee of the Imogen Cunningham Trust accompanies the print. |
| 24. |  | Imogen Cunningham 1920s (taken, later print) Leaf Pattern Gelatin silver print 13.25 in (33.65 cm) x 10.25 in (26.03 cm) Robert Tat Gallery © The Imogen Cunningham Trust; all rights reserved This is a Trust print, printed by Imogen's son, Rondal Partridge, and bearing the Imogen Cunningham Trust authentication label with Rondal's signature, verso. Cunningham's signature and chop blind stamped on mount. Ron Partridge is no longer printing, so this is one of his last remaining prints. During the last years of her life, Imogen Cunningham occupied the role of grande dame of American photography, encompassing one of the longest spans of any known photographer. Her career began in 1901 when she learned platinum printing while working for Edward S. Curtis in Seattle, and continued until shortly before her death in 1976. Her shared photographic concerns with Edward Weston, Ansel Adams, and other Bay Area photographers resulted in her joining Group f/64. Possibly the first woman to exhibit photographs of the male nude, Cunningham's work was frequently irreverent, always perceptive, and often years ahead of its time. |
| 25. |  | Imogen Cunningham 1925 (taken later print) Magnolia Blossom Gelatin silver print 10 in (25.40 cm) x 12.75 in (32.38 cm) Robert Tat Gallery © The Imogen Cunningham Trust; all rights reserved This is a Trust print, printed by Imogen's son, Rondal Partridge, and bearing the Imogen Cunningham Trust authentication label with Rondal's signature, verso. Cunningham's signature and chop blind stamped on mount. Ron Partridge is no longer printing, so this is one of his last remaining prints. During the last years of her life, Imogen Cunningham occupied the role of grande dame of American photography, encompassing one of the longest spans of any known photographer. Her career began in 1901 when she learned platinum printing while working for Edward S. Curtis in Seattle, and continued until shortly before her death in 1976. Her shared photographic concerns with Edward Weston, Ansel Adams, and other Bay Area photographers resulted in her joining Group f/64. Possibly the first woman to exhibit photographs of the male nude, Cunningham's work was frequently irreverent, always perceptive, and often years ahead of its time. |
| 26. |  | Imogen Cunningham 1920s (late, later print) Two Callas 2 Gelatin silver print 13.5 in (34.29 cm) x 10.5 in (26.67 cm) Robert Tat Gallery © The Imogen Cunningham Trust; all rights reserved This is a Trust print, printed by Imogen's son, Rondal Partridge, and bearing the Imogen Cunningham Trust authentication label with Rondal's signature, verso. Cunningham's signature and chop blind stamped on mount. Ron Partridge is no longer printing, so this is one of his last remaining prints. During the last years of her life, Imogen Cunningham occupied the role of grande dame of American photography, encompassing one of the longest spans of any known photographer. Her career began in 1901 when she learned platinum printing while working for Edward S. Curtis in Seattle, and continued until shortly before her death in 1976. Her shared photographic concerns with Edward Weston, Ansel Adams, and other Bay Area photographers resulted in her joining Group f/64. Possibly the first woman to exhibit photographs of the male nude, Cunningham's work was frequently irreverent, always perceptive, and often years ahead of its time. |
| 27. |  | Imogen Cunningham 1925 (later print) Magnolia Blossom, Tower of Jewels Gelatin silver print 13.5 in (34.29 cm) x 10 in (25.40 cm) Robert Tat Gallery © The Imogen Cunningham Trust; all rights reserved This is a Trust print, printed by Imogen's son, Rondal Partridge, and bearing the Imogen Cunningham Trust authentication label with Rondal's signature, verso. Cunningham's signature and chop blind stamped on mount. Ron Partridge is no longer printing, so this is one of his last remaining prints. During the last years of her life, Imogen Cunningham occupied the role of grande dame of American photography, encompassing one of the longest spans of any known photographer. Her career began in 1901 when she learned platinum printing while working for Edward S. Curtis in Seattle, and continued until shortly before her death in 1976. Her shared photographic concerns with Edward Weston, Ansel Adams, and other Bay Area photographers resulted in her joining Group f/64. Possibly the first woman to exhibit photographs of the male nude, Cunningham's work was frequently irreverent, always perceptive, and often years ahead of its time. |
| 28. |  | Imogen Cunningham 1920s (taken) 2001 (print) Magnolia Bud Platinum / palladium print 6.75 in (17.15 cm) x 5.25 in (13.34 cm) Robert Tat Gallery © The Imogen Cunningham Trust; all rights reserved This is a Trust print, printed by Imogen's son, Rondal Partridge, and bearing the Imogen Cunningham Trust authentication label with Rondal's signature, verso. Cunningham's signature and chop blind stamped on mount. Ron Partridge is no longer printing, so this is one of his last remaining prints. During the last years of her life, Imogen Cunningham occupied the role of grande dame of American photography, encompassing one of the longest spans of any known photographer. Her career began in 1901 when she learned platinum printing while working for Edward S. Curtis in Seattle, and continued until shortly before her death in 1976. Her shared photographic concerns with Edward Weston, Ansel Adams, and other Bay Area photographers resulted in her joining Group f/64. Possibly the first woman to exhibit photographs of the male nude, Cunningham's work was frequently irreverent, always perceptive, and often years ahead of its time. |
| 29. |  | Imogen Cunningham 1928 (taken) 2000 (print) Triangles Platinum / palladium print 3.75 in (9.52 cm) x 2.75 in (6.98 cm) Robert Tat Gallery © The Imogen Cunningham Trust; all rights reserved This is a Trust print of one of Cunningham's most famous inages, printed by Imogen's son, Rondal Partridge, and bearing the Imogen Cunningham Trust authentication label with Rondal's signature, verso. Cunningham's signature and chop blind stamped on mount. Ron Partridge is no longer printing, so this is one of his last remaining prints. During the last years of her life, Imogen Cunningham occupied the role of grande dame of American photography, encompassing one of the longest spans of any known photographer. Her career began in 1901 when she learned platinum printing while working for Edward S. Curtis in Seattle, and continued until shortly before her death in 1976. Her shared photographic concerns with Edward Weston, Ansel Adams, and other Bay Area photographers resulted in her joining Group f/64. Possibly the first woman to exhibit photographs of the male nude, Cunningham's work was frequently irreverent, always perceptive, and often years ahead of its time. |
| 30. |  | Imogen Cunningham 1929 (later print) John Bovington 3 Platinum / palladium print 9.25 in (23.49 cm) x 7.25 in (18.41 cm) Robert Tat Gallery © The Imogen Cunningham Trust; all rights reserved This is a Trust print, printed by Imogen's son, Rondal Partridge, and bearing the Imogen Cunningham Trust authentication label with Rondal's signature, verso. Cunningham's signature and chop blind stamped on mount. Ron Partridge is no longer printing, so this is one of his last remaining prints. During the last years of her life, Imogen Cunningham occupied the role of grande dame of American photography, encompassing one of the longest spans of any known photographer. Her career began in 1901 when she learned platinum printing while working for Edward S. Curtis in Seattle, and continued until shortly before her death in 1976. Her shared photographic concerns with Edward Weston, Ansel Adams, and other Bay Area photographers resulted in her joining Group f/64. Possibly the first woman to exhibit photographs of the male nude, Cunningham's work was frequently irreverent, always perceptive, and often years ahead of its time. |
| 31. |  | Imogen Cunningham 1957 (later print) The Unmade Bed Gelatin silver print 10 in (25.40 cm) x 13 in (33.02 cm) Robert Tat Gallery © The Imogen Cunningham Trust; all rights reserved This is a Trust print, printed by Imogen's son, Rondal Partridge, and bearing the Imogen Cunningham Trust authentication label with Rondal's signature, verso. Cunningham's signature and chop blind stamped on mount. Ron Partridge is no longer printing, so this is one of his last remaining prints. During the last years of her life, Imogen Cunningham occupied the role of grande dame of American photography, encompassing one of the longest spans of any known photographer. Her career began in 1901 when she learned platinum printing while working for Edward S. Curtis in Seattle, and continued until shortly before her death in 1976. Her shared photographic concerns with Edward Weston, Ansel Adams, and other Bay Area photographers resulted in her joining Group f/64. Possibly the first woman to exhibit photographs of the male nude, Cunningham's work was frequently irreverent, always perceptive, and often years ahead of its time. |