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| 1. |  | Anna Atkins 1852 (ca) Title page from "British and Foreign Flowering Plants and Ferns" Cyanotype 35 x 25 cm Victoria and Albert Museum © Victoria and Albert Museum, London (Ph.379-1981) |
| 2. |  | Anna Atkins 1845 Peacock Cyanotype 26 x 20.8 cm Harry Ransom Humanities Research Center at the University of Texas at Austin HRC (964:0084:0001-0002) |
| 3. |  | Anna Atkins 1850 (ca) Carix (America) Cyanotype 25.6 x 20.0 cm George Eastman Museum Record Id: 1995:2633:0001 |
| 4. |  | Anna Atkins 1853 Equisetum sylvaticum [collaboration between Anna Atkins and Anne Dixon] [In her book "Cyanotypes of British and Foreign Ferns" (ca. 1860)] Cyanotype 10 x 7 7/8 J. Paul Getty Museum © J. Paul Getty Trust (84.XO.227.45) |
| 5. |  | Anna Atkins 1854 Polypodium crenatum, Norway Cyanotype 32.9 x 23.6 cm National Gallery of Canada / Musée des beaux-arts du Canada Courtesy of the National Gallery of Canada (no. 19712), Purchased 1983 |
| 6. |  | Anna Atkins 1854 (ca) Adiantum Capillus Venerum Museum Ludwig |
| 7. |  | John Dillwyn Llewelyn (Circle of) 1848-1852 (ca) Ferns Albumen silver print 20.1 x 24.2 cm National Gallery of Canada / Musée des beaux-arts du Canada Purchased 2002, no. 41027 This photograph is available through CyberMuse - cybermuse.gallery.ca (Accessed: August 2010). |
| 8. |  | Anna K. Weaver 1874 God Bless Our Home Albumen print 8 1/4 x 20 in Private collection of Shawn & Tammy Parsley © Shawn & Tammy Parsley - Used with permission |
| 9. |  | Anna K. Weaver 1874 No Cross, No Crown Albumen print, photogram 26.3 x 21.5 cm (10 3/8 x 8 1/2 in) American Art Museum, Smithsonian Institution Museum purchase from the Charles Isaacs Collection made possible in part by the Luisita L. and Franz H. Denghausen Endowment |
| 10. |  | Bertha Jaques 1905 (ca) Rye, Blue Grass Cyanotype 13 x 9 1/2 in Lee Gallery Image courtesy of the Lee Gallery (www.leegallery.com) |
| 11. |  | Bertha Jaques 1910 Lavender, Lavendula labiatae Cyanotype, photogram 35.6 x 15.9 cm (14 x 6 1/4 in) American Art Museum, Smithsonian Institution Museum purchase from the Charles Isaacs Collection made possible in part by the Luisita L. and Franz H. Denghausen Endowment |
| 12. |  | Bertha Jaques 1910 (ca) Dandelion Seeds, Taraxacium officinale Cyanotype, photogram 34.6 x 7.3 cm (13 5/8 x 2 7/8 in) American Art Museum, Smithsonian Institution Museum purchase from the Charles Isaacs Collection made possible in part by the Luisita L. and Franz H. Denghausen Endowment |
| 13. |  | Bertha Jaques 1910 (ca) Milkweed Pods, Asclepias cornuti Cyanotype, photogram 32.4 x 20.3 cm (12 3/4 x 8 in) American Art Museum, Smithsonian Institution Museum purchase from the Charles Isaacs Collection made possible in part by the Luisita L. and Franz H. Denghausen Endowment |
| 14. |  | Man Ray 1922 (ca) Untitled (rayograph with a screen) Silver print after the original rayograph 8 3/4 x 6 3/4 in (22.2 x 17.1 cm) Swann Galleries - New York Courtesy of Swann Galleries (Auction, Oct 22, 2009, Photographs & Photographic Literature, Sale 2191 Lot 99) With Man Ray's "31 bis. Rue Campagne" hand stamp and the number "3," in colored pencil, in an unknown hand, on verso. This rayograph was included in Man Ray's 1922 portfolio Champs Delicieux (introduction by Tristan Tzara) which featured 12 photographs, and is considered his first definitive statement on the medium. In order to produce an edition of 40 copies, Man Ray's original rayograph (which is typically a unique object), was re-photographed to create a negative. Given the notations on print verso, the photograph offered here is believed to be a proof print for this portfolio, and bears an early Paris hand stamp. Though the photogram is a precursor to modern photographic practices, and was explored by artist and scientist William Henry Fox Talbot, for Man Ray the discovery of the process (which he subsequently referred to as a "rayograph") was an accident. Developing portraits in a hotel room, he placed some objects on photographic paper and turned on the light, creating contrasting silhouettes of black and white. Like other photographers before him, the direct relationship between the object and resulting image fascinated the artist. He primarily used utilitarian or familiar household objects, including his hands, pubic hair, light bulbs, glasses, keys, vises, combs and doilies. The layering, shifting, and occasional transparency facilitated by these recognizable forms gave his compositions a dimensionality and animation that Jean Cocteau called "phantasmagorical." In this modernist image, the pattern of the mesh screen is reminiscent of a printer's dot matrix, which contrasts visually with the clean parallel lines of the industrial objects depicted. The grid-like background and overall effect alludes to Man Ray's experience as a technical illustrator. Man Ray created rayographs for short period of time. The companion portfolio images, which are bold black-and-white compositions that reflect his mastery of light and form, are perhaps more direct comparisons with nineteenth-century studies. However, Man Ray's willingness to experiment and push the boundaries of this elegant technique further, make this a moving homage to Talbot's abstracted study of lace, which is offered as Lot 1 in this sale. The hand stamp is identified as "M2" in historian Steven Manford's book, "Behind the Photo, The Stamps of Man Ray." |
| 15. |  | Man Ray 1923 (taken) 1978 (print) Rayogram Gelatin silver print, on Agfa paper 30 x 24.3 cm Bassenge Photography Auctions Courtesy of Bassenge, Berlin (Photography, Dec 2, 2009, Sale: 94, Lot: 4271) Man Ray stamp, Griffelkunst edition stamp and rayograph stamp as well as signed and dated by the estate executor in ballpoint pen on the verso, mounted along upper edge to board. Lit.: Man Ray. Photographs. London 1982, ill. P. 141. |
| 16. |  | Man Ray 1926 Untitled Gelatin silver print 11¢ x 8+ins (29.2 x 21 cm) Christie's - London Courtesy of Christies, London (Sale: 7434 - Photographs, Lot: 54 - Nov 13, 2007) Signed in pencil on recto; credit and reproduction limitation stamps, printing notations on verso. de l'Ecotais, Man Ray: Rayographies, Léo Scheer, 2002, p.141, no.177, for the Rayograph. This print was made for Man Ray's 1963 portfolio 12 Rayographs, 1921-1928. |
| 17. |  | Willy Zielke 1930 (ca) untitled [Photogram] Gelatin silver print, photogram 18.4 x 24.3 cm (image) Sotheby's - Paris Photographies, 11 November 2011, Lot 54 Contrecollé sur carton d'époque. Signé au crayon sur le carton en bas a droite. |
| 18. |  | Christian Schad 1930-1950 (ca) 2002 (print) Schadographien Gelatin silver print 22 x 16 cm Bassenge Photography Auctions Auction (17 June 2009, Sale 93, Lot 4551) Each with Griffelkunst edition text printed on the verso, in original half-canvas folder with illustrated text brochure. |
| 19. |  | Christian Schad 1977 Schadographie Nr. 152 Gelatin silver print, photomontage 10 x 7.7 Galerie Zur Stockeregg |
| 20. |  | László Moholy-Nagy 1920s (early) Photogram Gelatin silver print Sotheby's - New York This photograph sold at Sotheby's (New York) on 13th April 2010 for $290,500 to a California-based Collector (Sale No: NO8624 Photographs, Lot 143). |
| 21. |  | László Moholy-Nagy 1923 (ca) Fotogramm Gelatin silver print, on printing-out paper, toned, unique 4.9 x 6.8 Galerie Zur Stockeregg |
| 22. |  | László Moholy-Nagy 1923 Photogram Silver print, on warm-toned matte surface pape 9.25 x 7 in (235 x 178 mm) Charles Isaacs Photographs, Inc Courtesy of Charles Isaacs (v1113j) |
| 23. |  | László Moholy-Nagy 1928 (ca) Photogram Number 1 - the Mirror Gelatin silver print J. Paul Getty Museum © Estate of László Moholy-Nagy / Artists Rights Society (ARS), New York [Getty: 84.XF.450] |
| 24. |  | László Moholy-Nagy 1943 Untitled [Photogram] Gelatin silver print, photogram 199 x 254 mm Private collection of Marco C. Antonetto © L. Moholy-Nagy Foundation This print was included in the exhibition Photo20esimo - Maestri della fotografia del XX secolo [Masters of 20th Century Photography] at the Museo d'Arte of Lugano, Switzerland (October 5, 2008 - January 11, 2009). |
| 25. |  | Lotte Jacobi 1946 Photogenic/Photogram Gelatin silver print, photogram 24,5 x 17,8 cm Bassenge Photography Auctions Auction (17 June 2009, Sale 93, Lot 4436) Signed and dated by the photographer in pencil below the image in lower right corner on the mount. Encouraged by Leo Katz, in the early 1940s Lotte Jacobi began experimenting in making photographs without using a camera. It was Katz who coined the term "Photogenics" for these renditions of paths of light and for him these images were true "original" art objects, devoid of the reproducible nature of normal photographs. Jacobi's photogenics follow the new concepts in the visual arts of the time and were included in such avantgarde exhibitions as In and Out of Focus in 1948 and Abstraction in Photography in 1951, both at the Museum of Modern Art in New York, as well as in the second Subjektive Fotografie exhibition in 1954 in Saarbrucken. - Minimal chip in lower right corner, otherwise in very good condition. Marion Beckers/Elisabeth Moortgat. Atelier Lotte Jacobi - Berlin, New York. Berlin 1997. ill. Pp. 191 - 192 (similar photogenics). Provenance: Private Collection U.S.A. |
| 26. |  | Herbert Bayer 1935 Contact # 31 Photogram 21.5 x 18 cm (9 x 7 ) Galerie Johannes Faber |
| 27. |  | György Kepes 1939 (ca) Bird Shape with Paper Coil and Heart Barry Singer Gallery |
| 28. |  | György Kepes 1953 Abstraction study Gelatin silver print, ferrotyped 22.5 x 17.8 cm Bassenge Photography Auctions Courtesy of Bassenge, Berlin (Photography, Dec 2, 2009, Sale: 94, Lot: 4247) Annotated in pencil on the verso. |
| 29. |  | Harry Nankin 2003, 25 October Contact/Quadrat 8 (the night of October 25) [Contact, 2003-4] Plein Air, Tonal negative. A unique toned and hand-inscribed, silver gelatine plein air film shadowgram, polyester diffusion sheet encased in a mylar envelope. 74 x 199 cm Provided by the artist - Harry Nankin |
| 30. |  | Harry Nankin 2005 Quadrat 5 [The Rain] Gold toned silver gelatine plein air shadowgram on fibre paper 106 x 106 cm Provided by the artist - Harry Nankin |
| 31. |  | Hajicek & Panaro-Smith 2006 06-6 [Botanicals] Photogram 16 x 16 in Watermark Fine Art Photographs & Books (CLOSED) |
| 32. |  | Hajicek & Panaro-Smith 2006 06-6 [Earth Vegetation] 24 x 18 in Watermark Fine Art Photographs & Books (CLOSED) |
| 33. |  | Adam Fuss 1992 Love Silver dye bleach print 110.5 x 85.1 cm (43.5 x 33.5 in) Metropolitan Museum of Art Purchase, Rogers Fund, by exchange, and Joyce and Robert Menschel Gift, 1997 (1997.195) © Adam Fuss |
| 34. |  | Adam Fuss 1992 Invocation Cibachrome, unique 101.6 x 76.2 cm (40 x 30 in) Fabien Fryns Fine Arts (CLOSED) |