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| 1. |  | 1895 Title page for "the Photographic Salon" London (1895) [The Photographic Salon - 1895 (London)] Photoseed Photograph courtesy PhotoSeed.com |
| 2. |  | Hugo Henneberg 1895 At the Rushy Pool [The Photographic Salon - 1895 (London) Pl. 1] Photogravure 20 x 12.3 cm Photoseed Photograph courtesy PhotoSeed.com Included in: "The Photographic Salon" London (1895) Camera Notes, October, 1897 |
| 3. |  | Hans Watzek 1895 Michel (Etude) [Photo-Club de Paris / 1895, Pl. XXVIII] Photogravure Antiq-Photo Courtesy of Anthony Davis - Antiq-photo / Rainbow creations (www.19cPhoto.com) Included in: "Deuxieme Exposition d'Art Photographique" of the Photo-Club of Paris (1895), Pl. XXVIII - Michel (Etude) The Photographic Salon - 1895 (London) Pl.6 - Michel Camera Notes, April, 1899 |
| 4. |  | Robert Demachy 1895 Etude [Photo-Club de Paris / 1895, Pl. II] Photogravure Antiq-Photo Courtesy of Anthony Davis - Antiq-photo / Rainbow creations (www.19cPhoto.com) Included in: "Deuxieme Exposition d'Art Photographique" of the Photo-Club of Paris (1895), Pl. II - Etude The Photographic Salon - 1895 (London) Pl.13 - Study of a Head Camera Notes, July, 1898 - Study in Red Note the different titles given to this photograph when it was published. |
| 5. |  | D.Y. Cameron 1897 Detail of the Kodak Portfolio's emblem designed by D.Y. Cameron (1865-1945) [Kodak Portfolio: Souvenir of the Eastman Photographic Exhibition 1897, a Collection of Kodak Film Pictures by Eminent Photographers] Photoseed Photograph courtesy PhotoSeed.com Included in: Kodak Portfolio: Souvenir of the Eastman Photographic Exhibition 1897, a Collection of Kodak Film Pictures by Eminent Photographers. Published by the Eastman Photographic Materials Co., Ltd. 115-117 Oxford Street, and 60 Cheapside London Rochester, New York: Eastman Kodak Co. Paris: Avenue de l'Opera 5. Place Vendome 4 Berlin: Markgrafen Strasse, 91 |
| 6. |  | Unidentified photographer / artist 1897 Title page [Kodak Portfolio: Souvenir of the Eastman Photographic Exhibition 1897, a Collection of Kodak Film Pictures by Eminent Photographers] Photoseed Photograph courtesy PhotoSeed.com Included in: Kodak Portfolio: Souvenir of the Eastman Photographic Exhibition 1897, a Collection of Kodak Film Pictures by Eminent Photographers. Published by the Eastman Photographic Materials Co., Ltd. 115-117 Oxford Street, and 60 Cheapside London Rochester, New York: Eastman Kodak Co. Paris: Avenue de l'Opera 5. Place Vendome 4 Berlin: Markgrafen Strasse, 91 |
| 7. |  | J. Craig Annan 1897 Portrait with Interior [Kodak Portfolio: Souvenir of the Eastman Photographic Exhibition 1897, a Collection of Kodak Film Pictures by Eminent Photographers, Pl. 3] Photogravure 12.8 x 9.1 cm Photoseed Photograph courtesy PhotoSeed.com On the Contents page this photogravure is called "A Home Portrait" but on the description page it is entitled "Portrait with Interior". Included in: Kodak Portfolio: Souvenir of the Eastman Photographic Exhibition 1897, a Collection of Kodak Film Pictures by Eminent Photographers. Published by the Eastman Photographic Materials Co., Ltd. 115-117 Oxford Street, and 60 Cheapside London Rochester, New York: Eastman Kodak Co. Paris: Avenue de l'Opera 5. Place Vendome 4 Berlin: Markgrafen Strasse, 91 In the book: Buchanan, William (Ed.) (1994) J. Craig Annan: Selected Texts and bibliography - World Photographers Reference Series Volume 6 (Clio Press Ltd.) on page 139 of the bibliography section, citation 15 for the year 1897 it states that the sitter was Mrs. Grosvenor Thomas. |
| 8. |  | J. Craig Annan 1897 Portrait of a Lady [Kodak Portfolio: Souvenir of the Eastman Photographic Exhibition 1897, a Collection of Kodak Film Pictures by Eminent Photographers, Pl. 10] Photogravure 12.3 x 7.5 cm Photoseed Photograph courtesy PhotoSeed.com Included in: Kodak Portfolio: Souvenir of the Eastman Photographic Exhibition 1897, a Collection of Kodak Film Pictures by Eminent Photographers. Published by the Eastman Photographic Materials Co., Ltd. 115-117 Oxford Street, and 60 Cheapside London Rochester, New York: Eastman Kodak Co. Paris: Avenue de l'Opera 5. Place Vendome 4 Berlin: Markgrafen Strasse, 91 In the book: Buchanan, William (Ed.) (1994) J. Craig Annan: Selected Texts and bibliography - World Photographers Reference Series Volume 6 (Clio Press Ltd.) on page 139 of the bibliography section, citation 15 for the year 1897 it states that the sitter was Mrs. Grosvenor Thomas. |
| 9. |  | George Davison 1897 Oxford Street - A Wet Day [Kodak Portfolio: Souvenir of the Eastman Photographic Exhibition 1897, a Collection of Kodak Film Pictures by Eminent Photographers, Pl. 13] Photogravure 10.5 x 7 cm Photoseed Photograph courtesy PhotoSeed.com Included in: Kodak Portfolio: Souvenir of the Eastman Photographic Exhibition 1897, a Collection of Kodak Film Pictures by Eminent Photographers. Published by the Eastman Photographic Materials Co., Ltd. 115-117 Oxford Street, and 60 Cheapside London Rochester, New York: Eastman Kodak Co. Paris: Avenue de l'Opera 5. Place Vendome 4 Berlin: Markgrafen Strasse, 91 |
| 10. |  | Alfred Stieglitz 1897 Cover for "Picturesque Bits of New York and Other Studies" [Picturesque Bits of New York and Other Studies] Cover Private collection Published in New York by R. H. Russell. Please note that this image has been reproduced from: Greenough, Sarah. "Alfred Stieglitz: The Key Set, The Alfred Stieglitz Collection of Photographs, Volume Two, 1923-1937." Washington: National Gallery of Art, 2002, p. 937. |
| 11. |  | Alfred Stieglitz 1893 (taken), 1897 (print) Winter on Fifth Avenue [Picturesque Bits of New York and Other Studies] Photogravure 10 7/8 x 8 3/4 in Lee Gallery Courtesy of Lee Gallery (U1364) Artist's printed copyright in u.l. corner of mount above photograph. |
| 12. |  | Alfred Stieglitz 1894 (taken), 1897 (print) Reflections - Venice [Picturesque Bits of New York and Other Studies] Photogravure 8 3/8 x 11 1/2 in Lee Gallery Courtesy of Lee Gallery (U1368) Artist's printed copyright in u.l. corner of mount above photograph. |
| 13. |  | Alfred Stieglitz 1894 Wet Day on the Boulevard [Picturesque Bits of New York and Other Studies] Photogravure 6 x 11 in Lee Gallery The original photograph was taken in 1894 but it was reproduced as a photogravure in 1897. "Copyright 1897 by Alfred Stieglitz" printed on mount above u.l. corner of photo. |
| 14. |  | 1897 Cover: Die Kunst in der Photographie (1897-1903) [Die Kunst in der Photographie] Photoseed Photograph courtesy PhotoSeed.com This is the 4th year (1900), 2nd issue supplement art folio. Woodblock artwork and Jugendstil typography by the artist Hermann Hirzel (1864-1939). The cover and inside artwork was executed in 1896 Six thin cardstock individual art folios were issued for each year from 1897-1903. Plain green cardstock folios with plain black typography issued beginning in 1904; plain red cardstock folios with plain black typography were issued for the years 1906-1907. Gray cardstock folios with plain white typography issued for the the final 8 folios published in 1908. I have not determined the color of the 1905 folios. (David Spencer, Dec 2006) Size of folios are 36cm x 26cm. Publisher: Martin Oldenbourg (Berlin) (1900) Translation of the original German text. Introduction The development of amateur photography has now arrived at a turning point. Among the many amateurs a small group has formed which sees more in photography rather than a game or a way to spend time. A new era for amateur photography has dawned - the artistic, the personal photography. How this developed, how it had to culminate, this is reflected by the outstanding essays by Alfred Buschbeck, a Horsley Hinton, a Marcel Vanderkindere, and the editor has attempted to achieve in this issue to demonstrate the problems of artistic photography, the results which have been documented, and to show the reproductions. First and foremost we are attempting to showcase the master works of the Vienna Camera-Club, the Paris Photo-Club and the Linked Ring in England; alongside we are showing the Association belge de Photographie in Brussels and also the Berliner Vereine which are included for the first time in the society of art photographers. They have no reason to withhold their outstanding works, but they lack a meeting location where they can gather to work together artistically, which other organizations have available in excellent form. Many important artists of these organizations are not included which we were unable to reproduce for this issue, since we can only publish a limited number of art pages in each issue, but we do not want to deny them the well-earned place, since it will be our next commitment to repeat and continue the stroll through cultural lands which appreciate artistic photography - we are thinking first of America, Holland, Italy and Russia - at the same time we also want to deeply honor the cultural life in our German clubs, and at this first time Hamburg, where the Society for the Development of Amateur-Photography has been instrumental in promoting artistic photography in Germany, therefore we will devote one of the first issues of the second year to the artistic efforts of this society. It is our goal to be constantly looking with open eyes inside and outside Germany and plan to document the latest developments in this art form, so it can remain a true mirror image of artistic photography. With my thanks to all devoted and unselfish assistants which have helped us to give this issue its very own character, to which we are committed since it is our vision to place artistic photography in its very own honorable place next to all other art forms. In order to achieve this vision, we need the cooperation of other art connoisseurs. - It is a very open and for a long time debated question if photography can even be regarded as art, a question which brings contradictory opinions by those who are closest to art - the artists themselves. While some of them do not relate photography with 'art' at all, others recognize the loving closeness of the artistic emotions of amateur photography, and even in the contradiction of the opinions lays the principal meaning of this question. Although there might be limits to artistic photography which cannot be surpassed, at least the successful efforts should be recognized which creates artistic achievements and at the same time elevates photography to a level where it should be - an art form. ---Franz Goerke Introduction I wanted to add a few words to this young undertaking. The development of artistic photography has entered a stage which we can describe in the history of photography as a turning point. Among the large number of amateurs a small community has formed which perceives more in amateur photography than a game, a way to spend time, and which desires to place photography art on the same level with other art forms. It has been debated for many years if photography can even be regarded as art, a question which even leads artists to voice contradicting opinions, although they are the closest to all art forms. While some artists do not want to equate photography to 'art' at all, others recognize the artistic vein of many amateur photographers; in this contradiction rest the many opinions on this question. It is not our intent to determine to solve this issue. A picture should speak to the observer; it should attempt to reflect the emotions of the amateur photographer by careful reproduction; and even if many a reproduction is unable to reflect the uniqueness of the original object, it should be attempted to come as close to the original as possible. I dedicate this first issue to the artistic endeavors to the Camera-Club of Vienna; I therefore fulfill my noble obligation to applaud the high achievements without any envy which this club as the first in Germany and Austria has earned with its artistic amateur photography, and even if I am permitted to show just a few masters' high achievements of this club in this first issue, so I do hope that a subsequent issue will showcase pictures of other outstanding members of this club. At this time I do want to recognize these gentlemen which have supervised the reproductions personally and would like to express my deep gratitude to them. So I am offering this first issue to the public. Hopefully it will be received warmly by all those artistic circles that show sincere interest in photography. Franz Goerke [With many thanks to Helga Lunsford & Wilhelm Bierling for providing the English translation from the original German.] |
| 15. |  | Philipp Ritter Von Schoeller 1897 Cõcilie [Die Kunst in der Photographie (Art Folio #1)] Photogravure-Chine-collé 16.7 x 12.3 cm Photoseed Photograph courtesy PhotoSeed.com Heliographed (Plate) & Printed by: Blechinger & Leykauf |
| 16. |  | Hans Watzek 1897 Der Kiebitz [Die Kunst in der Photographie (Art Folio #1)] Photogravure 13.2 x 16.0 cm Photoseed Photograph courtesy PhotoSeed.com Heliographed (Plate) & Printed by: Blechinger & Leykauf |
| 17. |  | Edouard Hannon 1897 Waldlichtung [Die Kunst in der Photographie (Art Folio #4)] Photogravure-Chine-collé 20.5 x 15.7 cm Photoseed Photograph courtesy PhotoSeed.com Heliographed (Plate) & Printed by: Meisenbach, Riffarth & Co. (Berlin) This beautiful photograph is also known as "The Clearing" |
| 18. |  | Frank Meadow Sutcliffe 1897 Auf Dem Felde [Die Kunst in der Photographie (Art Folio #6)] Photogravure-Chine-collé 13.8 x 18.8 cm Photoseed Photograph courtesy PhotoSeed.com Heliographed (Plate) & Printed by: Meisenbach, Riffarth & Co. (Berlin) Franck. M. Sutcliffe Whitby. on plate This photograph is a variation of this scene where the man guiding the plow takes a break and looks at his pocket watch titled "Dinner Time". It was taken in Foulbriggs Field, Lealholm, with Hill House Farm in the distance (source: The Sutcliffe Gallery, Whitby. |
| 19. |  | Unidentified photographer / artist 1898 Title page [Die Kunst in der Photographie] Title page Photoseed Photograph courtesy PhotoSeed.com |
| 20. |  | F. Holland Day 1898 Beauty is truth, truth beauty, that is all Ye know on earth and all ye need to Know [Die Kunst in der Photographie (p.7)] Halftone Photoseed Photograph courtesy PhotoSeed.com The photograph is printed centered on the page with no other text. This photograph, taken circa 1896, is reproduced as plate 16 in the book: F. Holland Day: Suffering the Ideal Twin Palms, 1995, The title of the photograph is a quotation from "Ode on a Grecian Urn" by John Keats (1795-1821). Letterpress: Julius Becker-Publisher (Berlin) |
| 21. |  | Charles Berg 1898 Portrait-Studie [Die Kunst in der Photographie (Art Folio #1)] Photogravure 15.0 x 11.5 cm Photoseed Photograph courtesy PhotoSeed.com Heliographed (Plate) & Printed by: Georg Buxenstein & Comp. (Berlin) Charles I. Berg (sic: listed as C. J. Berg on photogravure and on plate list) (New York) Berg (1856-1926.) studied at the Ecole des Beaux Arts in Paris and London and began a practice as an architect in New York City in 1880. In 1897, the Gillender Building, which he designed, was completed. The Gillender, demolished in 1910, was one of New York City's earliest skyscrapers at twenty-stories. In 1896, he became a founding member of the Camera Club of New York and its first print committee chairman. Berg's photographs frequently pictured classically draped models surrounded with architectural elements. (Peterson, Christian A. Alfred Stieglitz's Camera Notes The Minneapolis Institute of Arts in association with W.W. Norton & Company, Inc., 1993, p.159) This rather "straight" photograph is reminiscent of studies done by Stieglitz of his wife Georgia O'Keefe. A fascinating variant of this image was published in The Photographic Times in 1897 titled "Adoration". This version can be seen at www.photogravure.com. |
| 22. |  | Alfred Stieglitz 1894 (taken) 1898 (print) Netzflickerin [Die Kunst in der Photographie (Art Folio #1)] Photogravure 16.0 x 20.6 cm Photoseed Photograph courtesy PhotoSeed.com Heliographed (Plate) & Printed by: Georg Buxenstein & Comp. (Berlin) The subject of this important Stieglitz photograph is of a young Dutch woman concentrating on her task of mending a fishing net on the dunes at Katwyk in North Holland. In 1899, writing in the publication Photographic Life 1 (July: pages 11-12) Alfred Stieglitz writes that this is "My Favorite Picture". My Favorite Picture: It is a most difficult and unsatisfactory task to single out one of my pictures as a favorite. But you insist, and so it must be done. Possibly, if I have any preference, it may be for Mending Nets, as it appeals to me more and more, and time is the true test of merit. Then, too, the picture brings before my mind's eye the endless poetry of a most picturesque and fascinating lot of people, the Dutch fischer folk. What artistic temperament does not delight in studying them and portraying them either in art or literature! Mending Nets was the result of much study. It expresses the life of a young Dutch woman: every stitch in the mending of the fishing net, the very rudiment of her existence, brings forth a torrent of poetic thoughts in those who watch her sit there on the vast and seemingly endless dunes, toiling with that seriousness and peacefulness which is so characteristic of these sturdy people. All her hopes are concentrated in this occupation-it is her life. The picture was taken in 1894 at Katwyk. Taken on an 18-by-24 centimeter plate, with a Zeiss lens. The exhibition prints used are enlarged carbons, as the subject needs size to fully express it. (Source: Stieglitz on Photography: his selected essays and notes compiled and annotated by Richard Whelan: Bibliography of Stieglitz's writings compiled, with a preface, by Sarah Greenough: Aperture: 2000) |
| 23. |  | Unidentified photographer / artist 1899 Title page for "Herausgegeben Von Franz Goerke (Edited by Franz Goerke) Dritter Jahrgang: 1899 (third Year)" [Die Kunst in der Photographie] Title page Photoseed Photograph courtesy PhotoSeed.com Published in Berlin: Verlag Von Julius Becker. |
| 24. |  | J. Craig Annan 1899 Janet Burnet [Die Kunst in der Photographie (Art Folio #1)] Photogravure 19.6 x 15.8 cm Photoseed Photograph courtesy PhotoSeed.com The subject of this portrait, Janet Burnet, was the aunt of the Glasgow architect John James Burnet. The year 1893 has been etched into the plate at upper right in a technique similarly used by the artist Hans Holbein in his miniatures. In the book, The Art of the Photographer- J. Craig Annan 1864-1946 by William Buchanan (National Galleries of Scotland, 1992,.20-21) we learn more about this photograph: "His best known portrait, Janet Burnet, which was seen in Berlin, Bradford, Brussels, Buffalo, Glasgow, London and New York, proved immensely popular although it is not appreciated to the same extent today. Cameron (the etcher and painter D.Y. Cameron) described it as "a masterpiece and one of the finest things in photography." The critics saw it as a relation of Whistler's Mother (1872 - Louvre) but it bears a closer kinship to Hill and Adamson's Mrs. Rigby, which Annan knew well because he made photogravure prints of it from their calotype negative, and kept one on his mantlepiece. He said of it, "There is no sweeter presentment of old age." Heliographed (Plate) & Printed by: Georg Buxenstein & Comp. (Berlin) |
| 25. |  | J. Craig Annan 1899 Portraitstudie [Die Kunst in der Photographie (Art Folio #2)] Photogravure 15.9 x 18.1 cm Photoseed Photograph courtesy PhotoSeed.com Heliographed (Plate) & Printed by: Georg Buxenstein & Comp. (Berlin) |
| 26. |  | Albert-Edouard Drains 1899 Fischer [Die Kunst in der Photographie (Art Folio #3)] Photogravure 14.2 x 21.0 cm Photoseed Photograph courtesy PhotoSeed.com Alexandre (Albert-Edouard Drains) This lyrical photograph shows a fisherman on horseback: his nets seemingly scooping up the clouds. Heliographed (Plate) & Printed by: Georg Buxenstein & Comp. (Berlin) |
| 27. |  | Unidentified photographer / artist 1900 Title Page: (Martin Oldenbourg) Die Kunst in Der Photographie [Die Kunst in der Photographie] Letterpress Photoseed Photograph courtesy PhotoSeed.com Herausgegeben Von Franz Goerke (Edited by Franz Goerke) Vierter Jahrgang: 1900 (Fourth Year) Berlin: Verlag Von Martin Oldenbourg (Published by) |
| 28. |  | Léonard Misonne 1900 Au Coucher Du Soleil [Die Kunst in der Photographie (Art Folio #1)] Photogravure 16.2 x 21.9 cm Photoseed Photograph courtesy PhotoSeed.com Leonard Misonne (Gilly) Heliographed (Plate) & Printed by: Georg Buxenstein & Comp. (Berlin) This image reproduced as a halftone in the July, 1901 issue of Camera Notes. |
| 29. |  | Emile Joachim Constant Puyo 1900 Chant Sacrth (Sacred Song) [Die Kunst in der Photographie (Art Folio #1)] Photogravure 14.9 x 19.9 cm Photoseed Photograph courtesy PhotoSeed.com Constant Puyo (Paris) There were several variations of this photograph taken by Puyo with some including only one figure. This photograph was used as the cover illustration to the book Le Pictorialisme En France by Michel Poivert (Hoebeke/Imprimerie Nationale, 1992) Heliographed (Plate) & Printed by: Georg Buxenstein & Comp. (Berlin) |
| 30. |  | René Le Begue 1900 Act-Studie [Die Kunst in der Photographie (Art Folio #3)] Photogravure 13.7 x 12.5 cm Photoseed Photograph courtesy PhotoSeed.com René Le BÞgue (Paris) Title of "Akt-Studie" printed in index A variant of this image published as photogravure in Photo-Club de Paris / 1896, Pl. XXIV. The critic Ludwig Schrank, the founder of the Photographische Korrespondenz, a journal reflecting the professional photographic community, weighed in with his thoughts in 1900 on this photograph by René Le Begue: "In a terrible, treeless, rocky gorge, there lies a beautiful, totally nude model, resting on a stone, just tumbled from the heights. (Since the artist is French, the model is female, naturally.) Her hair falls freely over the boulders, her left hand dangles like that of a corpse. Actually, a ghastly picture. However, René Le BÞgue knew how to introduce a redeeming note: with her right hand, the accident victim appears to take, ever so delicately between thumb and forefinger, a pinch of snuff…Let us admire these amateurs, who travel so far to deserts and rocky wildernesses in order to practice their art." (Krauss Texts in Abstract p.278). Heliographed (Plate) & Printed by: Georg Buxenstein & Comp. (Berlin) |
| 31. |  | Unidentified photographer / artist 1901 Title Page: (Wilhelm Knapp) Die Kunst in Der Photographie, Fünfter Jahrgang: 1901 (Fifth Year), Halle: Verlag Von Wilhelm Knapp (Published by) [Die Kunst in der Photographie] Letterpress Photoseed Photograph courtesy PhotoSeed.com |
| 32. |  | Gustave Marissiaux 1901 Studienkopf (1899) [Die Kunst in der Photographie (Art Folio #1)] Photogravure, Chine-collé 21.3 x 15.0 cm Photoseed Photograph courtesy PhotoSeed.com Gustave Marissiaux (Liége) Printed (Druck) by: Meisenbach Riffarth & Co. (Berlin) |
| 33. |  | Fred Boissonnas 1901 Studienkopf [Die Kunst in der Photographie (Art Folio #3)] Photogravure, Chine-collé 19.4 x 16.0 cm Photoseed Photograph courtesy PhotoSeed.com Fréderic Boissonnas (Genf) Heliographed (Plate) & Printed by: Meisenbach, Riffarth & Co. (Berlin) |
| 34. |  | Rudolf Eickemeyer 1901 The Vesper Bell (1894) [Die Kunst in der Photographie (Art Folio #5)] Photogravure, Chine-collé 18.7 x 14.5 cm Photoseed Photograph courtesy PhotoSeed.com Rudolph Eickemeyer Jr. (New York) The subject of this photograph is the grandmother of the photographer Rudolph Eickemeyer Jr. , who endured a month of sittings in a dairy barn on her farm outside of Yonkers, New York before Eickemeyer was satisfied with the final result. The photographs made at this sitting were the subject of a five-page essay - "How a Picture Was Made" in the third issue of Camera Notes (January, 1898-pages 63-66) . The essay is described briefly in the book by Mary Panzer In My Studio: Rudolf Eickemeyer, Jr. and the Art of the Camera 1885-1930 (Yonkers: The Hudson River Museum of Westchester Inc.: 1986). From Page #36: Eickemeyer's article, "How a Picture Was Made," revealed the painstaking revisions he made to create a deceptively simple portrait of his grandmother, "Vesper Bell" This five page essay described the long complex interaction between photographer and subject mediated by the camera. Eickemeyer deliberately destroyed the notion that the process was automatic, unplanned, or mechanical. Narrative meaning was strengthened by changing the old woman's activity from simple devotion to a homely scene of chores interrupted for prayer. Added props and adjusted light improved the composition. Each modification required a new print and planning. The entire process took one month. "Vesper Bell" went on to win medals in London, Calcutta, and Vienna." This photograph also reproduced as a photogravure in Camera Notes January, 1898. In addition, two different versions reproduced as halftones in this issue of Camera Notes accompanied Eickemeyer's essay. |
| 35. |  | Gertrude Käsebier 1901 Eine Sioux-Indianerin (Plenty Wounds) (ca.1900) [Die Kunst in der Photographie (Art Folio #6)] Photogravure, Chine-collé 20.0 x 15.1 cm Photoseed Photograph courtesy PhotoSeed.com Gertrude Kõsebier (New York) Heliographed (Plate) & Printed by: Meisenbach, Riffarth & Co. (Berlin) "Kõsebier's Indian photographs, which are among her earliest and most remarkable portraits, fall into two groups. More than forty of them portray Sioux members of Buffalo Bill's Wild West Show; these are mostly studio portraits of Indian men but include some portraits of their wives and families and of life in Buffalo Bill's temporary Indian village in Brooklyn. The other group consists of at least nine photographs of the beautiful, accomplished young Sioux, Zitkala-Sõ, a teacher, writer, violinist and later a crusader for Indian rights, who was also known as Gertrude Simmons Bonnin." Page 29, Gertrude Kõsebier: The Photographer and her Photographs Barbara L. Michaels (Harry N. Abrams, Inc., 1992) [Please see pages 29-44 for an in-depth analysis of Kõsebier's Indian photographs.] |
| 36. |  | G.L. Arlaud 1920 Portfolio cover for G.L. Arlaud "Vingt Etudes de Nu en Plein Air" (Paris, Horos Editions, 1920) [Vingt Etudes de Nu en Plein Air] Portfolio cover Photoseed Photograph courtesy PhotoSeed.com |
| 37. |  | G.L. Arlaud 1920 Le Sapin [Vingt Etudes de Nu en Plein Air, pl. II] Photogravure 16 x 22 cm Photoseed Photograph courtesy PhotoSeed.com This photogravure was included in G.L. Arlaud "Vingt Etudes de Nu en Plein Air" (Paris, Horos Editions, 1920) |
| 38. |  | G.L. Arlaud 1920 Cariatide [Vingt Etudes de Nu en Plein Air, pl. IX] Photogravure 16 x 22 cm Photoseed Photograph courtesy PhotoSeed.com This photogravure was included in G.L. Arlaud "Vingt Etudes de Nu en Plein Air" (Paris, Horos Editions, 1920) |
| 39. |  | Gustave Marissiaux 1908 VII. Figure de Vieillard, étude [Visions d'Artistes (1908)] Photogravure 16.7 x 11.5 cm AnamorFose Courtesy of Xavier Debeerst (Anamorfose - www.anamorfose.be) |
| 40. |  | Gustave Marissiaux 1906 XIV. Les Pauvresses [Visions d'Artistes (1908)] Photogravure 17.2 x 12.8 cm AnamorFose Courtesy of Xavier Debeerst (Anamorfose - www.anamorfose.be) |
| 41. |  | Unidentified photographer / artist 1894 Première Exposition d'Art Photographique: Paris 1894: Photo-Club De Paris 40, rue des Mathurins, 40 [Photo-Club de Paris / 1894] Cover 40 x 28.6 cm (including plates) Photoseed Photograph courtesy PhotoSeed.com Première Exposition d'Art Photographique: Paris 1894: Photo-Club De Paris 40, rue des Mathurins, 40 From the personal copy of Constant Puyo: #42 of 470 examples printed on hand-made white Marais paper. Included in the "Première Exposition d'Art Photographique" of the Photo-Club of Paris (1894) |
| 42. |  | John S. Bergheim 1894 Gazaleh [Photo-Club de Paris / 1894, Pl. II] Heliogravure / Photogravure 15.5 x 12.2 cm Photoseed Photograph courtesy PhotoSeed.com Plate and print by M. Fillon of the ateliers LeMercier & Cie, Paris. Included in the "Première Exposition d'Art Photographique" of the Photo-Club of Paris (1894) |
| 43. |  | Baron Albert de Rothschild 1894 Téte d'étude: Dans le style italien du XVIth siÞcle [Photo-Club de Paris / 1894, Pl. VIII] Heliogravure / Photogravure 16.9 x 12.5 cm Photoseed Photograph courtesy PhotoSeed.com Baron Albert De Rothschild: (Vienna) Plate and print by M. Fillon of the ateliers LeMercier & Cie, Paris. Included in the "Première Exposition d'Art Photographique" of the Photo-Club of Paris (1894) |
| 44. |  | Edouard Hannon 1894 Matinée d'automne [Photo-Club de Paris / 1894, Pl. XXVI] Heliogravure / Photogravure 12.0 x 15.0 cm Photoseed Photograph courtesy PhotoSeed.com Listed as Edouard Hannon (Brussels). Included in the "Première Exposition d'Art Photographique" of the Photo-Club of Paris (1894) Hannon, an important Belgian pictorialist, lived from 1853-1931. |
| 45. |  | J. Craig Annan 1894 Travail du Soir [Photo-Club de Paris / 1894, Pl. XLII] Heliogravure / Photogravure 14.2 x 11.8 cm Photoseed Photograph courtesy PhotoSeed.com Listed as James Craig Annan (Glasgow). Copper plate by James Craig Annan (pretée par l'auteur) - print by M. Fillon of the ateliers LeMercier & Cie, Paris. Included in the "Première Exposition d'Art Photographique" of the Photo-Club of Paris (1894) Note: Tissue guard attributes this photograph to G. Craig-Annan (sic) Annan was elected to the Linked Ring in 1894. His father was the important English photographer Thomas Annan. This photograph, taken in 1893 is also known as "Evening Work" in Weston Naef: The Collection of Alfred Stieglitz, we learn the thoughts of Alfred Stieglitz when he was an editor for "The American Amateur Photographer" regarding this photograph: "We have seen but few pictures to equal that called "Labor-Evening" (called erroneously "Toil" in the last number of "The American Amateur Photographer"). The picture breathes of atmosphere, it is a piece of nature itself. We can give it no higher praise". (Biblio. 882, p. 213). (May, 1894 issue) Annan was a contemporary of Stieglitz - he was not only a gifted photographer but also a publisher who made his own copper plates for printing photogravures for himself and the family firm: T & R Annan & Sons. Today, the Annan family is still in business - operating The Annan Gallery (a fine art gallery) at 164 Woodlands Road in Glasgow. |
| 46. |  | Henry Peach Robinson 1894 Temps orageux [Photo-Club de Paris / 1894, Pl. LIV] Heliogravure / Photogravure 15.9 x 12.6 cm Photoseed Photograph courtesy PhotoSeed.com Listed as Henry Peach Robinson (Tunbridge Wells) Plate and print by M. Fillon of the ateliers LeMercier & Cie, Paris. Included in the "Première Exposition d'Art Photographique" of the Photo-Club of Paris (1894) This composite photograph by H.P. Robinson (1830-1901) is also known as "Wild Weather" and was taken in 1893. |
| 47. |  | Unidentified photographer / artist 1895 Untitled [Photo-Club de Paris / 1895] Title page Antiq-Photo Courtesy of Anthony Davis - Antiq-photo / Rainbow creations (www.19cPhoto.com) Included in the "Deuxieme Exposition d'Art Photographique" of the Photo-Club of Paris (1895) |
| 48. |  | Baron Adolph de Meyer 1895 Un Cantique [Photo-Club de Paris / 1895, Pl. VII] Photogravure Antiq-Photo Courtesy of Anthony Davis - Antiq-photo / Rainbow creations (www.19cPhoto.com) Included in the "Deuxieme Exposition d'Art Photographique" of the Photo-Club of Paris (1895) |
| 49. |  | John S. Bergheim 1895 Bayadére [Photo-Club de Paris / 1895, Pl. XVI] Photogravure Antiq-Photo Courtesy of Anthony Davis - Antiq-photo / Rainbow creations (www.19cPhoto.com) Included in the "Deuxieme Exposition d'Art Photographique" of the Photo-Club of Paris (1895) |
| 50. |  | Hugo Henneberg 1895 Novembre [Photo-Club de Paris / 1895, Pl. XXVII] Photogravure Antiq-Photo Courtesy of Anthony Davis - Antiq-photo / Rainbow creations (www.19cPhoto.com) Included in the "Deuxieme Exposition d'Art Photographique" of the Photo-Club of Paris (1895) |
| 51. |  | Edme Couty 1896 Lithograph: from reduced lithographic mural poster (detail) [Photo-Club de Paris / 1896] Lithograph Photoseed Photograph courtesy PhotoSeed.com Lithograph: from reduced lithographic mural poster published as an individual plate in the limited edition catalogue for the Troisiéme Exposition d"Art Photographique held at the Galerie Des Champs Elysées: Organized by The Photo-Club de Paris. Exhibition dates: May 12 through 31st: 1896. Gallery was located at 72 Avenue des Champs Elysées in Paris. Lithographic print: Atelier Charles Wittmann (on vellum by the French paper manufacturer Blanchet et Kléber of Rives, France.) Included in the "Troisième Exposition d'Art Photographique" of the Photo-Club of Paris (1896) |
| 52. |  | George Berteaux 1896 Etude [Photo-Club de Paris / 1896, Pl. III] Heliogravure / Photogravure 7.1 x 19.9 cm Photoseed Photograph courtesy PhotoSeed.com Country: France: Neuilly Plate (Graveur) by Fillon et Heuse Printed by Ateliers Charles Wittmann Included in the "Troisième Exposition d'Art Photographique" of the Photo-Club of Paris (1896) |
| 53. |  | Hector Colard 1896 Fine day in London [Photo-Club de Paris / 1896, Pl. X] Heliogravure / Photogravure 14.4 x 18.3 cm Photoseed Photograph courtesy PhotoSeed.com Country: Belgium: Brussels Colard, (1851-1923) was an important promoter of artistic photography in Belgium. Besides being a member of the British Linked Ring Brotherhood and the Photo-Club de Paris, Colard translated at least three of Henry Peach Robinson's books on photography and the Alfred Horsley Hinton book The Art of Landscape Photography (1894). Plate (Graveur) by Fillon et Heuse Printed by Ateliers Charles Wittmann Included in the "Troisième Exposition d'Art Photographique" of the Photo-Club of Paris (1896) |
| 54. |  | J. Craig Annan 1896 Les Frères Blanc [Photo-Club de Paris / 1896, Pl. XIV] Heliogravure / Photogravure 9.9 x 9.1 cm Photoseed Photograph courtesy PhotoSeed.com Country: Scotland: Glasgow This photograph, taken in Italy in 1894 and also known as The White Friars, is an early example of stop-movement photography made by Annan with a hand-held camera. This plate is a slight variant crop on one made by Annan and reproduced as Plate #2 in the book by Weston Naef (1978) The Collection of Alfred Stieglitz: Fifty Pioneers of Modern Photography (The Metropolitan Museum of Art / The Viking Press) That version shows the entire shadow cast on ground in lower right and more detail in the print. Annan, a contemporary of Stieglitz and important influence on him, was not only a gifted photographer but also a publisher who made his own copper plates for printing photogravures for himself and the family firm: T & R Annan & Sons. Today, the Annan family is still in business- operating The Annan Gallery (a fine art dealer gallery) at 164 Woodlands Road in Glasgow. Plate (Graveur) by James Craig Annan Printed by Ateliers Charles Wittmann Included in the "Troisième Exposition d'Art Photographique" of the Photo-Club of Paris (1896) |
| 55. |  | Unidentified photographer / artist 1897 Portfolio: opened to show unbound letterpress title-page to portfolio. [Photo-Club de Paris / 1897] Letterpress: (L'Imprimerie Chaix) Photoseed Photograph courtesy PhotoSeed.com Included in the "Quatrieme Année Salon de Photographie" of the Photo-Club of Paris (1897) |
| 56. |  | 1897 Advertising the "Salon de Photographie" IV Année (1897) [Photo-Club de Paris / 1897] Poster / Lithographic print 34 x 47 2/3 in Private collection The entrance fee for the 4th Annual International Photographic Exposition was 1 franc and is printed on the poster. The exhibition was at the Galerie Des Champs Elysées - 72 Avenue des Champs Elysées, Paris, from April 13-28th, 1897. Poster Lithograph: "Salon de Photographie", 1897 Color lithograph printed by "Imprimerie Chaix (Ateliers Chéret), rue Bergere 20 - Paris, 6286-97". From the Auction Team Breker online catalogue of September, 30, 2006 (Lot #936 - unsold) source: http://auction-team.de/new_highlights/2006_09/ph/075.html The artist and or photographer for the subject matter in this poster is unknown. We would welcome further details on the current owner of this important poster. |
| 57. |  | Albert-Edouard Drains 1897 Eclaircie [Photo-Club de Paris / 1897, Pl. I] Heliogravure / Photogravure 16.5 x 23.3 cm Photoseed Photograph courtesy PhotoSeed.com Alexandre (Albert-Edouard Drains) Country: Belgium: Brussels Plate (Graveur) by Fillon et Heuse Print: Ateliers Charles Wittmann Included in the "Quatrieme Année Salon de Photographie" of the Photo-Club of Paris (1897) |
| 58. |  | Achille Darnis 1897 La berge inondée [Photo-Club de Paris / 1897, Pl. XVIII] Heliogravure / Photogravure 14.6 x 14.6 cm Photoseed Photograph courtesy PhotoSeed.com Country: France: Paris Plate (Graveur) by Fillon et Heuse Print: Ateliers Charles Wittmann Included in the "Quatrieme Année Salon de Photographie" of the Photo-Club of Paris (1897) |
| 59. |  | 1894 Detail of leather binding of "Wiener Photographische Blätter: Herausgegeben Vom Camera-Club In Wien" - The book is a quarto volume [Wiener Photographische Blätter: Herausgegeben Vom Camera-Club In Wien] Book binding Photoseed Photograph courtesy PhotoSeed.com |
| 60. |  | Unidentified photographer / artist 1894 Titlepage of "Wiener Photographische Blätter: Herausgegeben Vom Camera-Club In Wien" [Wiener Photographische Blätter: Herausgegeben Vom Camera-Club In Wien] Letterpress Photoseed Photograph courtesy PhotoSeed.com Included in: "Wiener Photographische Blätter: Herausgegeben Vom Camera-Club In Wien: 1894" |
| 61. |  | Julius Strakosch 1894, March Im Winter [Wiener Photographische Blätter: Herausgegeben Vom Camera-Club In Wien] Photogravure 15 x 10.8 cm Photoseed Photograph courtesy PhotoSeed.com Included in: "Wiener Photographische Blätter: Herausgegeben Vom Camera-Club In Wien: 1894" Photogravure von R. Paulussen, Wien |
| 62. |  | Hugo Henneberg 1894, April Stilleben [Wiener Photographische Blätter: Herausgegeben Vom Camera-Club In Wien] Chine-colle Heliogravure 12.2 x 17.1 cm Photoseed Photograph courtesy PhotoSeed.com Included in: "Wiener Photographische Blätter: Herausgegeben Vom Camera-Club In Wien: 1894" Heliogravure & Druck v. J. Blechinger, Wien. (Chine-colle) |
| 63. |  | Julius Strakosch 1894, December Gewitter [Wiener Photographische Blätter: Herausgegeben Vom Camera-Club In Wien] Photogravure 9.5 x 13.2 cm Photoseed Photograph courtesy PhotoSeed.com Included in: "Wiener Photographische Blätter: Herausgegeben Vom Camera-Club In Wien: 1894" J. Blechinger, Wien, hel & imp. (Chine-colle photogravure) |
| 64. |  | Unidentified photographer / artist 1896 Detail of leather binding for "Wiener Photographische Blätter 1896" [Wiener Photographische Blätter: Herausgegeben Vom Camera-Club In Wien] Book spine Photoseed Photograph courtesy PhotoSeed.com |
| 65. |  | 1896 Title page for "Wiener Photographische Blätter 1896" [Wiener Photographische Blätter: Herausgegeben Vom Camera-Club In Wien] Letterpress Photoseed Photograph courtesy PhotoSeed.com Included in: "Wiener Photographische Blätter: Herausgegeben Vom Camera-Club In Wien: 1896" |
| 66. |  | Hugo Henneberg 1896, January Am Schilfweiher [Wiener Photographische Blätter: Herausgegeben Vom Camera-Club In Wien] Photogravure (chine colle) Photoseed Photograph courtesy PhotoSeed.com Included in: "Wiener Photographische Blätter: Herausgegeben Vom Camera-Club In Wien: 1896" J. Blechinger hel. & imp. |
| 67. |  | Dr. R. Obermayer 1896, June Selbstportrait [Wiener Photographische Blätter: Herausgegeben Vom Camera-Club In Wien] Photogravure (chine colle) Photoseed Photograph courtesy PhotoSeed.com Included in: "Wiener Photographische Blätter: Herausgegeben Vom Camera-Club In Wien: 1896" J. Blechinger, Wien, hel & imp. |
| 68. |  | J. Craig Annan 1896, September Der Franciscaner [Wiener Photographische Blätter: Herausgegeben Vom Camera-Club In Wien] Photogravure Photoseed Photograph courtesy PhotoSeed.com Included in: "Wiener Photographische Blätter: Herausgegeben Vom Camera-Club In Wien: 1896" Hand-printed photogravure on heavy paper similar to Japan Vellum or parchment |
| 69. |  | Thomas A. Sindelar (cover design) 1898, April Front cover for "Camera Notes" (Vol 1 No 4, April 1898) Magazine cover Creative Commons - Wikipedia |
| 70. |  | Alfred Stieglitz 1903, January Camera Work, No. 1 Book cover Metropolitan Museum of Art Alfred Stieglitz Collection, by exchange, 1953, Accession Number: 53.701.1 |
| 71. |  | A.M. Allen n.d. Portrait of Daguerreotypist, A.M. Allen, Pottsville, PA Daguerreotype Archives of Modern Conflict OR National Gallery of Canada |
| 72. |  | Edward Steichen 1903 Dawn-flowers [Camera Work, no. 02, pl. 04] Photogravure 5 7/8 x 7 3/4 in Lee Gallery Image courtesy of the Lee Gallery (www.leegallery.com) |
| 73. |  | Gertrude Käsebier 1905 Pastoral [Camera Work, no. 10, pl. 06] Photogravure 8 5/16 x 5 1/2 in Lee Gallery Image courtesy of the Lee Gallery (www.leegallery.com) |
| 74. |  | Alfred Stieglitz 1903 (taken) 1911 (print) In the New York Central Yards [Camera Work, no. 36, pl. 14] Photogravure 19.4 x 15.8 cm (8 x 6 ) Galerie Johannes Faber |
| 75. |  | George H. Seeley 1907 The Black Bowl [Camera Work, no. 20, pl. 02] Photogravure 8 in (20.32 cm) x 6.25 in (15.88 cm) Robert Tat Gallery Courtesy of Robert Tat Fine Photographs (www.roberttat.com - #2023) |
| 76. |  | Clarence H. White 1908, July The Arbor [Camera Work, no. 23, pl. 03] Photogravure 8 in (20.32 cm) x 6 in (15.24 cm) Robert Tat Gallery Courtesy of Robert Tat Fine Photographs (www.roberttat.com - #645) |
| 77. |  | Baron Adolph de Meyer 1908 Still Life [Camera Work, no. 24, pl. 04] Heliogravure 19.2 x 15.5 cm Bibliothèque Nationale de France, Département des Estampes et de la Photographie |
| 78. |  | Edward Steichen 1913 Steeplechase Day Paris: After the Races [Camera Work, no. 42/43, pl. 11] Duogravure 6 1/4 x 6 3/4 in Lee Gallery Image courtesy of the Lee Gallery (www.leegallery.com) |
| 79. |  | Paul Strand 1916 Telegraph Poles [Camera Work, no. 48, pl. 03] Photogravure 8 x 5 1/2 in Lee Gallery Image courtesy of the Lee Gallery (www.leegallery.com) |
| 80. |  | Unidentified artist 1906 (published) Advertisement for the Photo-Secession and "Little Galleries" 291 Fifth Avenue, New York City Advert Creative Commons - Wikipedia Published in Camera Work, No.13, 1906. This illustration is similar to the gelatin silver print "Alfred Stieglitz Photographing on a Bridge" taken ca. 1905 (Metropolitan Museum of Art, Gilman Collection, Purchase, Ann Tenenbaum and Thomas H. Lee Gift, 2005, Accession Number: 2005.100.506) |
| 81. |  | Alfred Stieglitz 1906, April The Little Galleries of the Photo-Secession Halftone reproduction Metropolitan Museum of Art Alfred Stieglitz Collection, by exchange, 1953, Accession Number: 53.701.14 Camera Work, No.14 |
| 82. |  | Alfred Stieglitz 1906, April The Little Galleries of the Photo-Secession Halftone reproduction Metropolitan Museum of Art Alfred Stieglitz Collection, by exchange, 1953, Accession Number: 53.701.14 Camera Work, No.14 |