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| 1. |  | Alvin Langdon Coburn 1910 Wapping [London] Photogravure 17 x 22.7 cm Private collection For an analysis of this photograph: Juliet Hacking (ed.), 2012, Photography: The Whole Story, (Prestel), pp. 172-173 |
| 2. |  | Alvin Langdon Coburn 1910 The Williamsburg Bridge Photogravure 7 3/8 x 5 7/8 Barry Singer Gallery |
| 3. |  | Pierre Dubreuil 1911 Avenue Corner Oil print 9.2 x 7.5 Galerie Zur Stockeregg |
| 4. |  | Pierre Dubreuil 1920s (ca) Le Metronome Silver print 9 5/8 x 7 7/8 Lee Gallery (S2088) Barchan stamp, Le Metronome and other inscriptions on verso. |
| 5. |  | Ralph Steiner 1921 Typewriter Keys Gelatin silver print 8 1/16 x 6 in Library of Congress, Prints and Photographs Division Warren and Margot Coville Collection, Prints & Photographs Division, Library of Congress [LC-DIG-ppmsca-05985] Clarence H. White School of Photography |
| 6. |  | Anton Bruehl 1929 (ca) Top Hats (Weber and Heilbroner Advertisement) Library of Congress, Prints and Photographs Division Warren and Margot Coville Collection, Prints & Photographs Division, Library of Congress Clarence H. White School of Photography |
| 7. |  | Wynn Richards 1922 Abstraction (Sugar Cubes and Shadows) Library of Congress, Prints and Photographs Division Warren and Margot Coville Collection, Prints & Photographs Division, Library of Congress Clarence H. White School of Photography |
| 8. |  | Paul Outerbridge 1922 Still Life, Cheese and Crackers Library of Congress, Prints and Photographs Division Warren and Margot Coville Collection, Prints & Photographs Division, Library of Congress Clarence H. White School of Photography |
| 9. |  | Margaret Bourke-White 1931 Organ Pipes Library of Congress, Prints and Photographs Division Warren and Margot Coville Collection, Prints & Photographs Division, Library of Congress Clarence H. White School of Photography |
| 10. |  | Bernard S. Horne 1917 (ca) Design - Princeton Gelatin silver print 11 7/8 x 9 15/16 in Library of Congress, Prints and Photographs Division Warren and Margot Coville Collection, Prints & Photographs Division, Library of Congress [LC-USZC4-9781] Clarence H. White School of Photography |
| 11. |  | Stella F. Simon 1925 (ca) Violin Platinum print 8 x 6 1/16 in Library of Congress, Prints and Photographs Division Warren and Margot Coville Collection, Prints & Photographs Division, Library of Congress [LC-USZC4-9810] Clarence H. White School of Photography |
| 12. |  | Paul Strand 1915 New York [Camera Work, no. 48, pl. 02] Photogravure 5 x 6 Peter Fetterman Gallery |
| 13. |  | Paul Strand 1916 Abstraction, Twin Lakes, Connecticut Silver-platinum print 32.8 x 24.4 cm (12 15/16 x 9 5/8 in) Metropolitan Museum of Art Ford Motor Company Collection, Gift of Ford Motor Company and John C. Waddell, 1987 (1987.1100.10) |
| 14. |  | Paul Strand 1916 Still Life with Pear and Bowls, Twin Lakes, Connecticut Platinum print 10 1/8 x 11 5/16 J. Paul Getty Museum © Aperture Foundation |
| 15. |  | Paul Strand 1923 The Lathe Gelatin silver print 9 3/4 x 7 1/2 ins George Eastman Museum Courtesy © Aperture Foundation, Inc., Paul Strand Archive |
| 16. |  | Edward Weston 1925 Boats, San Francisco Silver print 7¢ x 9¢ in (19.1 x 24.1 cm) Swann Galleries - New York With Weston's signature, date and "S.F.," in pencil, on mount recto. According to Weston scholar Amy Conger, seven images of ships that were taken in 1925 have been located. Weston described the ships as "The majestic old boats at anchor in an estuary across from San Francisco." Five of the photographs depict the same boat, 'The Daylight' which was distinguishable by the figurehead on the prow. It is believed that all the photographs were made on the same day, when son Neil accompanied the photographer. This photograph was included in a lot sold at the Swann Galleries auction "Important 19th & 20th Century Photographs" (New York, Mon Oct 15, 2007). |
| 17. |  | Edward Weston 1926 Nude Gelatin silver print 8 1/2 x 7 1/2 ins Center for Creative Photography Collection Center for Creative Photography © 1981 Arizona Board of Regents. Weston's sensual and sexual energy can be seen in over one hundred nude female studies made between 1918 and 1945. Unlike Stieglitz, Weston's approach was less romantic and more modern, not commemorating an individual but gazing at the female body with a coolness that eluded him in his private life. Weston's photographs acknowledge the beauty of the female body, and he later makes this appeal eternal by linking it with other organic life forms. |
| 18. |  | Edward Weston 1927 Shell Silver print 9 1/4 x 7 1/4 in Dayton Art Institute Courtesy of Dayton Art Institute, Gift of Mr. and Mrs. John W. Longstreth (2001.70) |
| 19. |  | Edward Weston 1930 (taken) 1970s (print) Artichoke Halved Silver print 7 1/4 x 9 1/4 in (18.4 x 23.5 cm) Swann Galleries - New York Courtesy of Swann Galleries (Auction, May 22, 2007, #2115, Lot 268) Printed by Cole Weston. With Cole Weston's signature, title and date, in pencil and the Edward Weston/Cole Weston hand stamp, on mount verso. The Daybooks of Edward Weston, 7. |
| 20. |  | Edward Weston 1931 Cabbage Leaf Oakland Museum of California © Collection of the Oakland Museum of California. Gift of Concours D'Antiques, Art Guild Photo Synthesis Colin Westerbeck "Edward Weston: Masterworks From the Collection" is on view at the Oakland Museum of California through June 11. (2006) Where his contemporary and colleague Ansel Adams saw timeless harmony in nature, Edward Weston saw dynamic energy. His views were a mélange of the "life force" described by French philosopher Henri Bergson and the all-pervasive eroticism of English novelist D. H. Lawrence, whom Weston photographed in Mexico in 1924. The sensuousness Weston felt coursing through all existence was manifest in the way vegetable, mineral and animal subjects became metaphors for one another in his photographs. He made many nude studies of his lovers, but the closest he ever came to the pornographic was his famous 1930 picture of a bell pepper. This cabbage leaf is typical of Weston's vision, and typically beautiful. Isolated against a black background, it is a lava flow surging down a volcano, the undulating grain of a desiccated cypress tree, the seaweed writhing in the surf at China Cove or the hair of his lover and muse Charis Wilson floating above her naked body. It is the universal principle of ceaseless flux in nature in which Weston believed. [Originally published in West Magazine : March 19, 2006, p.13] |
| 21. |  | Brett Weston 1929 Sewer Pipes, New York Gelatin silver print 9 3/8 x 7 Barry Singer Gallery |
| 22. |  | Johan Hagemeyer 1927 Telephone Building Gelatin silver print 7 3/4 x 5 1/2 Silverstein Photography |
| 23. |  | Johan Hagemeyer n.d. San Francisco scene Gelatin silver print 6 x 4 1/2 in Larry Gottheim, Be-hold, Inc Courtesy of Larry Gottheim - Be-Hold (49 / 94) Looking down from roof or window. "Johan Hagemeyer/ Camera Portraits/ 371 Filbert St./ San Francisco 11" backstamp. (Larry Gottheim) |
| 24. |  | Albert Renger-Patzsch 1920s Industrial harbor view Gelatin silver print 22,5 x 16,5 cm Bassenge Photography Auctions (88 / 4306) |
| 25. |  | Albert Renger-Patzsch 1925-1926 Ilsender Foundry: Generators Gelatin silver print Source requested |
| 26. |  | Florence Henri 1928 [Untitled] Kunst Museum Bonn Kunst Museum Bonn, © Florence Henri |
| 27. |  | Florence Henri 1930 (ca) Composition aux roues de charrette Heliogravure 11.5 x 16 cm Bibliothèque Nationale de France, Département des Estampes et de la Photographie Estampes et Photographie. Ad 1291 4o. Don de l'Etat, 1939. (c) Galleria Martini & Ronchetti, GÛnes, Italie. www.florencehenri.com |
| 28. |  | László Moholy-Nagy 1925 View from Radio-Tower, Berlin Gelatin silver print 24.2 x 18.8 cm (9.5 x 7.425) Galerie Johannes Faber For an analysis of this photograph: Juliet Hacking (ed.), 2012, Photography: The Whole Story, (Prestel), pp. 220-221 There is a copy of this photography in the Museum of Modern Art, New York, USA. |
| 29. |  | László Moholy-Nagy 1926 (ca) Head Gelatin silver print 14 9/16 x 10 5/8 (37 x 27 cm) MoMA - Museum of Modern Art, New York Given anonymously. ® 2002 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn |
| 30. |  | László Moholy-Nagy 1930 (ca, taken) 1994 (print) Woman in a park Gelatin silver print 28 x 20 cm Dominic Winter Book Auctions Printed Books,& Maps, Vintage Photography (17 June 2009, Lot: 136) Printed Griffelkunst. |
| 31. |  | Alexander Rodchenko 1926 Shukhov tower Moscow House of Photography |
| 32. |  | Alexander Rodchenko 1927 A part of Moscow Source requested |
| 33. |  | Alexander Rodchenko 1928 Glass and Light [Moscow] Gelatin silver print 29.5 x 23.3 cm (11.5 x 9 ) Galerie Johannes Faber |
| 34. |  | Alexander Rodchenko 1935 Column of Sports Society "Dinamo" Moscow House of Photography |
| 35. |  | E.O. Hoppé 1928 Cranes, Cammell Laird Shipyards, Liverpool Gelatin silver print E.O. Hoppé Estate © E.O. Hoppé / Curatorial Assistance, Inc., Ref: 17943-Q |
| 36. |  | E.O. Hoppé 1928 Skeleton of Graf Zeppelin, Friedrichshafen Gelatin silver print E.O. Hoppé Estate © E.O. Hoppé / Curatorial Assistance, Inc., Ref: 18014-H-I |
| 37. |  | Germaine Krull 1925 (ca) Building Abstract (variant from Métal) Gelatin silver print 8.2 x 5.5 Galerie Zur Stockeregg |
| 38. |  | Germaine Krull 1929 (ca) Roues de vélo Reproduction photomécanique 23 x 17 cm (image) Bibliothèque Nationale de France, Département des Estampes et de la Photographie Estampes et Photographie. Le-106 -4o. Dépôt légal éditeur |
| 39. |  | Germaine Krull 1929 Quarry Gelatin silver print 6 1/4 x 7 7/8 Silverstein Photography |
| 40. |  | Charles Sheeler 1927 Criss-Crossed Conveyors, River Rouge Plant, Ford Motor Company Gelatin silver print 23.5 x 18.8 cm (9 1/4 x 7 3/8 in) Metropolitan Museum of Art Ford Motor Company Collection, Gift of Ford Motor Company and John C. Waddell, 1987 (1987.1100.1) © The Lane Collection Curatorial description A realistic painter as well as a photographer, Sheeler rarely failed to uncover harmonious coherence in the forms of indigeneous American architecture. His series of photographs of the Ford plant near Detroit was commissioned by the automobile company through an advertising agency. Widely reproduced in Europe and America in the 1920s, this commanding image of technological utopia became a monument to the transcendant power of industrial production in the early modern age. For an analysis of this photograph: Juliet Hacking (ed.), 2012, Photography: The Whole Story, (Prestel), pp. 206-207 |
| 41. |  | Charles Sheeler 1918 Side of White Barn, Bucks County Gelatin silver print 8 x 10 Lee Gallery Titled, signed, and dated on mount recto, "Bucks County Barn, photographed by Charles Sheeler, 1918", Z1438 |
| 42. |  | Charles Sheeler 1928 (ca) Upper Deck Gelatin silver print 25.3 x 20.2 cm (9 15/16 x 7 15/16 in) Metropolitan Museum of Art Gilman Collection, Purchase, 2005 (2005.100.155) |
| 43. |  | Charles Sheeler 1939 Suspended Power Silver print (after his painting) 5 1/2 x 4 1/4 in (14 x 10.8 cm) Swann Galleries - New York Courtesy of Swann Galleries (Auction, Feb 7, 2008, #2135, Lot 138A) With Sheeler's name on mount recto. |
| 44. |  | Unidentified photographer 1940s Foundry Stack Gelatin silver print 4.5 in (11.43 cm) x 3.5 in (8.89 cm) Robert Tat Gallery Courtesy of Robert Tat Fine Photographs (www.roberttat.com - #1226) |
| 45. |  | Harcourt Studio 1930s Woman with Shadows Gelatin silver print 9 in (22.86 cm) x 6.5 in (16.51 cm) Robert Tat Gallery Courtesy of Robert Tat Fine Photographs (www.roberttat.com - #2421) "Harcourt Paris" label burned into negative lower right. The Harcourt studio was founded in the 1930s by Jean and Jacques Lacroix. Its original personnel was recruited from the ranks of movie set photographers, which would fit with the very dramatic styling of this photograph. |
| 46. |  | Paul Wolff 1926 Reisender mit zwei Koffern 17.8 x 23.8 cm Gallery argus fotokunst |
| 47. |  | Ruth Bernhard 1930 Lifesavers Gelatin silver print 11 x 14 / 16 x 20 Peter Fetterman Gallery |
| 48. |  | Ruth Bernhard 1930 Straws Gelatin silver print 11 x 14 / 16 x 20 Peter Fetterman Gallery |
| 49. |  | Lewis W. Hine 1920 Power house mechanic working on steam pump National Archives and Records Administration Records of the Work Projects Administration (69-RH-4L-2) [VENDOR # 36] |
| 50. |  | T. Lux Feininger 1928-1929 (ca) Metalltanz Gelatin silver print 10.8 x 14.4 cm (4 1/4 x 5 5/8 in) J. Paul Getty Museum Object number: 84.XM.127.24, © Estate of T. Lux Feininger |