 |
Register Subscribe Login |
| 1. |  | John Herschel 1837 Three leaves Photogenic drawing negative Source requested |
| 2. |  | John Herschel 1839, 26 February Study of an oak leaf Photogenic drawing Museum of the History of Science Inventory No: 25880, Herschel's Photographic Experiments This study is from one of Sir John Herschel's experiments with hypo. |
| 3. |  | Henry Fox Talbot 1838 (ca) Leaves on a stem Photogenic drawing National Science and Media Museum The Royal Photographic Society, Ref Number: 2003-5001/2/23360 |
| 4. |  | Henry Fox Talbot 1839, April Leaves of Orchidea Photogenic drawing negative 6 3/4 x 8 3/16 ins J. Paul Getty Museum 86.XM.621 |
| 5. |  | Henry Fox Talbot 1839 (ca) Five leaves on a stem Photogenic drawing National Science and Media Museum The Royal Photographic Society, Ref Number: 2003-5001/2/23358 |
| 6. |  | Henry Fox Talbot 1844 (published) Leaf of a Plant [The Pencil of Nature, Part 2, pl. 7] Calotype Hans P. Kraus, Jr., Inc. Taken from the reproductions in Larry J. Schaaf, H. Fox Talbot's The Pencil of Nature; Anniversary Facsimile (New York: Hans P. Kraus, Jr. Inc., 1989). The originals selected for this publication were the best single examples available for each plate. Not to be reproduced without permission of H.P. Kraus, Jr. Hitherto we have presented to the reader the representations of distant objects, obtained by the use of a Camera Obscura. But the present plate represents an object of its natural size. And this is effected by quite a different and much simpler process, as follows. A leaf of a plant, or any similar object which is thin and delicate, is laid flat upon a sheet of prepared paper which is moderately sensitive. It is then covered with a glass, which is pressed down tight upon it by means of screws. This done, it is placed in the sunshine for a few minutes, until the exposed parts of the paper have turned dark brown or nearly black. It is then removed into a shady place, and when the leaf is taken up, it is found to have left its impression or picture on the paper. This image is of a pale brown tint if the leaf is semi-transparent, or it is quite white if the leaf is opaque. The leaves of plants thus represented in white upon a dark background, make very pleasing pictures, and I shall probably introduce a few specimens of them in the sequel of this work: but the present plate shews one pictured in the contrary manner, viz. dark upon a white ground: or, speaking in the language of photography, it is a positive and not a negative image of it. The change is accomplished by simply repeating the first process. For, that process, as above described, gives a white image on a darkened sheet of paper: this sheet is then taken and washed with a fixing liquid to destroy the sensibility of the paper and fix the image on it. This done, the paper is dried, and then it is laid upon a second sheet of sensitive paper, being pressed into close contact with it, and placed in the sunshine: this second process is evidently only a repetition of the first. When, finished, the second paper is found to have received an image of a contrary kind to the first; the ground being white, and the image upon it dark. H. Fox Talbot, The Pencil of Nature, (London: Longman, Brown, Green and Longmans, 1844) |
| 7. |  | Johann Carl Enslen 1839 Face of Christ superimposed on an oak leaf Photogenic drawing National Science and Media Museum The Royal Photographic Society, Ref Number: 2003-5001/2/23368 Description of the process (Roger Watson, Curator, Laycock Abbey, 8 February 2017) First he would have taken a print of the head of Christ and placed that in contact with photogenic drawing paper. This would have created a negative image of the bust of Christ. He appears to have cut out the bust along its edges. This negative and a real oak leaf would have been placed in contact with another sheet of sensitive paper and exposed to the sun. This exposure would have given you the oak leaf in negative (it is) and the head of Christ in positive. Curatorial description To produce a photogenic drawing objects were placed on sensitized paper. The areas where light fell became darkened, while covered areas remained light, resulting in a negative image. |
| 8. |  | Robert Hunt 1844-1853 Photogenic Drawing of Leaves Photogenic drawing 17.7 x 13.3 cm Harry Ransom Humanities Research Center at the University of Texas at Austin HRC (Mark Osterman, 14 January 2022) That is a chromatype, a direct positive process, not a photogenic drawing as related to Talbot's nomenclature. |
| 9. |  | Anna Atkins 1854 (ca) Taraxacum Officinale [Dandelion] [Cyanotypes of British and Foreign Flowering Plants and Ferns] Cyanotype Victoria and Albert Museum Museum number: PH.382-1981 |
| 10. |  | Adolphe Braun 1860 (ca) Oak leaves with acorns and ferns study Albumen print 36 x 43.5 cm Dominic Winter Book Auctions Printed Books,& Maps, Vintage Photography (17 June 2009, Lot: 15) |
| 11. |  | Charles Hippolyte Aubry 1864 Berce - longue feuille Tirage sur papier albuminé d'après négatif sur verre au collodion 35 x 26 cm Bibliothèque Nationale de France, Département des Estampes et de la Photographie Estampes et Photographie. Eo 69 folio, tome 1. Dépôt légal 1864 |
| 12. |  | Charles Hippolyte Aubry 1864 [Study of Leaves on a Background of Floral Lace] Albumen silver print, from glass negative 46.7 x 36.7 cm (18 3/8 x 14 7/16 ins) (image) 56.7 x 45.3 cm (22 5/16 x 17 13/16 ins) (mount) Metropolitan Museum of Art Gilman Paper Company Collection, Purchase, Howard Gilman Foundation Gift, 2004, Accession Number: 2004.106 |
| 13. |  | Charles Hippolyte Aubry 1864 Hébécline - grandes feuilles Tirage sur papier albuminé d'après négatif sur verre au collodion 37 x 27 cm Bibliothèque Nationale de France, Département des Estampes et de la Photographie Estampes et Photographie. Eo 69 folio, tome 1. Dépôt légal 1864 |
| 14. |  | Frederick Gutekunst 1873 (ca) Cundurango De Tumbo Grande Albumen print 24.3 x 18.3 cm George Eastman Museum Record Id: 1999:0111:0006 William S.W, Rushenberger, M.D. A Report on the Origin and Therapeutic Properties of Cundurango. (Washington: Government Printing Office, 1873. |
| 15. |  | T.A. Beach n.d. A fern leaf Carte de visite Capitol Gallery Courtesy of Capitol Gallery (Fall 2008 Auction, #56) T.A. Beach (West Main St., Newark) |
| 16. |  | Unidentified photographer 1890 (ca) Leaves with photographs Albumen print 4.75 in (12.06 cm) x 3.75 in (9.52 cm) Robert Tat Gallery Courtesy of Robert Tat Fine Photographs (www.roberttat.com - #799) |
| 17. |  | T. Gaffield 1905 (publication) 1896 (copyright) Fig.26 Leaf Print. By T. Gaffield Book illustration This work is out of copyright Published in Photographic Amusements including a Description of a Number of Novel Effects Obtainable with the Camera by Walter E. Woodbury (New York: The Photographic Times Publishing Association, 1905) |
| 18. |  | T. Gaffield 1905 (publication) 1896 (copyright) Fig.27 Leaf Print. By T. Gaffield Book illustration This work is out of copyright Published in Photographic Amusements including a Description of a Number of Novel Effects Obtainable with the Camera by Walter E. Woodbury (New York: The Photographic Times Publishing Association, 1905) |
| 19. |  | György Kepes n.d. Leaf with Leaves and Prism Barry Singer Gallery |
| 20. |  | György Kepes n.d. Leaf and H Shape Barry Singer Gallery |
| 21. |  | 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. |
| 22. |  | 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 |
| 23. |  | Imogen Cunningham 1932 Calla and Leaf Gelatin silver print 9 5/16 x 7 5/16 Charles Isaacs Photographs, Inc |
| 24. |  | Karl Blossfeldt 1929 (2nd edition) Aconitum anthora. Jacquin's Yellow-flowered Monk's-hood. Leaf enlarged 3 times. [Urformen der Kunst / Art Forms in Nature, Pl. 31] Gravure Christopher Wahren Fine Photographs The gravures measure roughly 10.25 x 7.5 inches (26x19 cm) and are printed on sheets 12.25 x 9.5 inches (31x24 cm) with plate number printed in the lower right corner. Images illustrated in horizontal format have been rotated 90 degrees clockwise. Plate descriptions are transcribed from the American printing (E. Weythe, New York, 1929). |
| 25. |  | Karl Blossfeldt 1932 Ash Leaved Caucasian Walnut, Young LeafPterocarya fraxinfolia, enlarged 12X Photogravure Barry Singer Gallery |
| 26. |  | Edward Weston 1931 Cabbage Leaf Gelatin silver print 278 x 354 mm Private collection of Marco C. Antonetto © Center for Creative Photography, Arizona Board of Regents 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). |
| 27. |  | 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] |
| 28. |  | Edward Weston 1931 Cabbage Leaf Gelatin silver print Lee Gallery Signed by the photographer l.r. recto. Numbered 7/50, ZZ1032 |
| 29. |  | Hans Kaden 1940s Pattern (Leaf study) Gelatin silver print 48 x 37.5 cm Bassenge Photography Auctions Auction (17 June 2009, Sale 93, Lot 4440) Mounted to original board, signed and titled by the photographer in pencil below the image on the mount; various photography club exhibition labels on mount verso. |
| 30. |  | Max Pritikin 1946 Leaves Gelatin silver print, photogram 5 1/4 x 7 Silverstein Photography |
| 31. |  | Josef Sudek 1950s Leaf with water drops Gelatin silver print 27 x 29 cm Bassenge Photography Auctions Auction (17 June 2009, Sale 93, Lot 4591) Signed by the photographer in white ink in lower right corner; photographer's stamp, address Praha III, Ujezd 20 as well as annotated and signed by the photographer in pencil on the verso. |
| 32. |  | Toni Schneiders 1952 Verdorrtes Blatt (Withering leaf) Gelatin silver print, ferrotyped 40.3 x 29.7 cm Bassenge Photography Auctions Courtesy of Bassenge, 19th-21st Century Photography, 6 June 2012, Lot: 4302 |
| 33. |  | Ruth Bernhard 1952 Flying Leaves Gelatin silver print 13.38 x 10.38 Andrew Smith Gallery |
| 34. |  | Ruth Bernhard 1952 (taken) 1980 (ca, print) Two Leaves Silver print 13 1/2 x 10 1/4 in (34.3 x 26 cm), Swann Galleries - New York Courtesy of Swann Galleries (Auction May 20, 2010, Sale 2215 Lot 364) With Bernhard's signature, in pencil, on mount recto and her signature, title and date, in pencil, on mount verso. |
| 35. |  | Ruth Bernhard 1976 Leaf John Stevenson Gallery |
| 36. |  | Eliot Porter 1956, 3 October Maple Leaves and Pine Needles, Tamworth, New Hampshire New Hampshire, Dye imbibition print Amon Carter Museum © 1990 Amon Carter Museum, Fort Worth, Texas - Bequest of the artist (P1990.51.4068) |
| 37. |  | Eliot Porter 1957, 15 August Foxtail Grass, Lake City Colorado [Portfolio I (The Seasons)] Dye imbibition print Amon Carter Museum © 1990 Amon Carter Museum, Fort Worth, Texas, (P1990.51.1921.2) |
| 38. |  | Edmund Teske 1976 and 1956 Jeff Harris, Shiva, Shirley Berman's Face with Leaves (B12) Gelatin silver print, Composite Duotone Barry Singer Gallery © Edmund Teske Archives / Laurence Bump and Nils Vidstrand |
| 39. |  | Brett Weston 1986 Dead Leaf Gelatin silver print 27.3 x 27 cm Piasa Photographies, 28 October 2011, Lot 141 Signée a la mine de plomb sur le montage. Cachet de la galerie au dos du montage. |
| 40. |  | Christopher Burkett 1990 Pink Floating Leaves, Kentucky Ilfochrome print Various Afterimage Gallery |
| 41. |  | Adriene Veninger 1996 Leaf no. 24 Gelatin silver print, toned 20 x 24 Catherine Edelman Gallery |
| 42. |  | Adriene Veninger 1997 Leaf no. 34 Gelatin silver print, toned 20 x 24 Catherine Edelman Gallery |
| 43. |  | Cy DeCosse 1997 Rose and Leaves hand-coated Platinum Metals on Arches Paper 16 x 14 1/2 in John Stevenson Gallery This photograph was included in the Gioco di Luce [Play of the Light] exhibition at the Accademia Museum in Florence, Italy (May 18 - August 11, 2001). |
| 44. |  | Victor Schrager 1998 Untitled Platinum / Palladium print 8 x 10 Ariel Meyerowitz Gallery |
| 45. |  | Stephen Petegorsky 2001 Leaf [Gold Leaf] Polaroid emulsion over gold leaf and clay on board 10 x 8 in Provided by the artist - Stephen Petegorsky |
| 46. |  | Michael Kenna 2003 Autumn Leaves, Unpenji, Shikoku, Japan Gelatin silver print 7 x 7 HackelBury Fine Art Ltd |
| 47. |  | Charles Grogg 2006 Leaves [The Missing Farmer] Platinum/palladium print / Gelatin silver print Provided by the artist - Charles Grogg This photograph is printed in two editions: 1. 4x5", 11x14", and 16x20" platinum/palladium in a total edition of 30 2. 11x14", 16x20", 20x24" and 30x40" gelatin-silver in a total edition of 50 |