McIntosh Collection

Ansel Adams

Ansel Easton Adams (February 20, 1902 – April 22, 1984) was an American landscape photographer and environmentalist known for his black-and-white images of the American West. Adams helped found Group f/64, an association of photographers advocating "pure" photography that favored sharp focus and the use of the full tonal range of a photograph.

Ansel Adams

“Tennis Courts, Yosemite Valley, CA, 1938” (From The Four Season in Yosemite)

8”x10” vintage silver gelatin print

Signed in pencil on mount recto

Ansel Adams

“Mannequins, Columbia Movie Lot, Hollywood, CA, 1940” (Printed 1970’s)

13”x19” silver gelatin print

Signed and dated in pencil on mount recto. Stamped, titled and dated on verso

Ansel Adams

“Skiers, Yosemite Valley, CA, 1930's” (From The Four Season in Yosemite)

8”x10” vintage silver gelatin print

Stamped in ink on recto

Ansel Adams

Snag near Scotia, Medicino, CA, 1938

5”x7” vintage silver gelatin print

Signed in pencil on mount recto

Ansel Adams

“Snow on Branches, Yosemite Valley, CA, 1939”

4"x5” vintage silver gelatin print

Inscribed in ink on mount verso.

Ansel Adams

“Masonic Lodge, Medicino, CA, 1930’s

5”x7” vintage silver gelatin print

Signed in pencil on mount recto

Ansel Adams

“Carolyn Anspacher, San Francisco, 1932” (Vintage, printed 1930's)

8”x10” vintage silver gelatin print

Signed in pencil on mount recto. Label 1 on verso.

Ansel Adams

“Television Relay Antenna and Moon, Maui HI, 1957” (Printed 1960’s)

11”x14” Vintage silver gelatin print

Signed in pencil on recto. Stamped, titled and dated on verso.

Ansel Adams

"Moonrise from Glacier Point, Yosemite National Park, CA, 1955" (Printed 1970's)

8"x10" silver gelatin print

Signed in ink on mount recto. Stamped, titled and dated on mount verso.

Ansel Adams

”Moon and Half Dome, Yosemite National Park, CA, 1960” (Printed 1960’s)

Set of four 8”x10” silver gelatin prints

Unmounted with various darkroom exposure notes written on top edge.

Accompanied by a letter from Adams to his darkroom technician which explains an issue of his enlarger increasing in voltage during use, thus producing gradually darker prints. The four identical prints show a slight increase in darkness with each print.

Ansel Adams

“Salt Flats from Dante’s View, Death Valley, CA, 1949”

8”x10” vintage silver gelatin contact print

Stamped, titled and dated in artist hand on verso

Ansel Adams

”Tombstone Ornament, Laurel Hill Cemetery, San Francisco, CA, 1936” (Printed 1970’s)

8”x10” silver gelatin print

Stamped, titled and dated on verso.

Robert Adams

Robert Adams (b. 1937) is a photographer who has documented the extent and the limits of our damage to the American West, recording there, in over fifty books of pictures, both reasons to despair and to hope. “The goal,” he has said, “is to face facts but to find a basis for hope. To try for alchemy.”

Adams grew up in New Jersey, Wisconsin, and Colorado, in each place enjoying the out-of-doors, often in company with his father. At age twenty-five, as a college English teacher with summers off, he learned photography, choosing as his first subjects early prairie churches and early Hispanic art, subjects of unalloyed beauty. After spending time in Scandinavia with his Swedish wife, Kerstin, however, he realized that there were complexities in the American geography that merited exploration.

Robert Adams

”Redlands, Looking toward Los Angeles across San Timoteo Canyon, San Bernardino County, California, 1978” (Printed 1982)

16”x20” silver gelatin print

Signed, titled, dated, numbered in pencil on verso

Robert Adams

”Dead Palms, Partially Uprooted, Ontario, California, 1983” (Printed 1989)

16”x20” silver gelatin print

Signed, titled, dated, numbered in pencil on verso

Robert Adams

”Broken Trees, near Box Springs Mountains, east of Riverside, California 1982” (Printed 1996)

11”x14” silver gelatin print

Signed, titled, dated in pencil on verso

Robert Adams

”Santa Ana Wash, Next to Norton Air Force Base, San Bernadino County, California, 1978” (Printed 1978)

11”x14” vintage silver gelatin print

Signed, titled, dated in pencil on verso

Robert Adams

”Nebraska State Highway 2, Box Butte County, Nebraska, 1979” (Printed 1989)

16”x20” silver gelatin print

Signed and dated in pencil on verso.

Robert Adams

”Amongst the last trees and lilacs surrounding a farmhouse, Longmont, CO, 1982” (Printed 1989)

16”x20” silver gelatin print

Signed, titled, dated, numbered in pencil on verso

Robert Adams

“Larimer County, CO, 1979” (Printed 1979)

11”x14” vintage silver gelatin print

Signed, titled, dated in pencil on verso.

Robert Adams

“Alkali Lake, Albany County, Wyoming, 1979” (Printed 1980)

11”x14” vintage silver gelatin print

Signed, titled, dated in pencil on verso.

Robert Adams

"Summer Nights # 22", Weld County, Colorado, 1976” (Printed 1985)

11”x14” Gelatin silver print on Agfa-Paper (Image 5”x5”)

Signed, titled, photographer's copyright stamp and twice dated on the verso.

Robert Adams

“Burning Oil Sludge, Boulder County, CO, 1974” (Printed 1977)

8”x10” vintage silver gelatin print

Signed, titled, dated and stamped on verso.

Robert Adams

“Beneath Federal Highway 6, Jefferson Country, CO, 1970” (Printed 1981)

11”x14” silver gelatin print

Signed, titled, dated in pencil on verso.

Robert Adams

“House Construction, Colorado, 1975”

6”x7.5” Vintage silver gelatin print w/ hand-ruled black ink border on mount.

Signed and dated in pencil on mount recto and verso.

Robert Adams

“A second growth stump on top of a first growth stump, Coos County, Oregon 1999” (Printed 1999)

16”x20” silver gelatin print

Signed, titled, dated and numbered on verso

Robert Adams

“Bulldozed Slash, Tillamook County, Oregon” (Printed 1980)

11”x14” silver gelatin print

Stamped, signed, titled, dated and numbered on verso

Diane Arbus

”Xmas Tree in a Living Room in Levittown, Long Island, 1962" (Vintage Print)

14.75"X14.75” silver gelatin print

Diane Arbus

"A House on a Hill, Hollywood, CA, 1963"

16"x20" silver gelatin print

Printed 1970's, Signed by Doon Arbus

Lewis Baltz

Lewis Baltz (September 12, 1945 – November 22, 2014) was an American visual artist, photographer, and educator. He was an important figure in the New Topographics movement of the late 1970s. His best known work was monochrome photography of suburban landscapes and industrial parks which highlighted his commentary of void within the "American Dream".

Lewis Baltz

“Galveston (Prototype), 1973”

6”x9” Vintage silver gelatin print. Flush mounted w/ inked edges and clipped corners, mounted on board.

Lewis Baltz

Maryland, 1976

8”x10” vintage silver gelatin print

Signed, dated and numbered on verso

Lewis Baltz

“Fos, Secteur 80, 1987”

21 - 8”x10” silver gelatin prints

Signed and numbered on verso. Edition of 21.

(Images Below)

Berenice Abbott

Berenice Abbott (July 17, 1898 – December 9, 1991), Bernice Abbott, was an American photographer best known for her portraits of between-the-wars 20th century cultural figures, New York City photographs of architecture and urban design of the 1930s, and science interpretation in the 1940s to 1960s.

Berenice Abbott

”Magnetic Field, 1958” (Printed 1982, from The Science Pictures)

18”x22” silver gelatin print

Signed and numbered on recto. Stamped on verso.

Berenice Abbott

”Dead Person, NYC, 1930”

Vintage silver gelatin print

3”x4”

Signed, titled and stamped on verso.

Wynn Bullock

Wynn Bullock (April 18, 1902 – November 16, 1975) was an American photographer whose work is included in over 90 major museum collections around the world. He received substantial critical acclaim during his lifetime, published numerous books and is mentioned in all the standard histories of modern photography.

Bullock was deeply inspired by fellow photographer Edward Weston, who he met in 1948, and Weston’s work motivated him to investigate straight photography. Throughout the 1950s, Bullock clarified his unique point of view, establishing a deep, direct connection with nature. A lifelong learner, he also read widely in the areas of physics, general semantics, philosophy, psychology, Eastern religion, and art.

Wynn Bullock

“Stark Tree, CA, 1956” (Printed 1950’s)

8”x10” vintage silver gelatin contact print

Signed and dated on mount recto. Stamped with photographers stamp in ink on verso.

Wynn Bullock

“Under Monterey Wharf, 1969” (Printed 1970’s)

8”x10” silver gelatin contact print

Signed in pencil on mount recto. Titled and dated on verso.

Wynn Bullock

“Tide Pool, Point Lobos, CA, 1957” (Printed 1970’s)

8”x10” silver gelatin print

Signed in pencil on recto. Titled and dated on verso.

Wynn Bullock

“Woman and Dog in Forest, 1953” (Printed 1950’s)

8”x10” vintage silver gelatin contact print

Signed in ink on mount recto. Stamped, titled and dated on verso.

Wynn Bullock

“Photogram, 1970” (Printed 1970’s)

8”x10” silver gelatin print

Signed in pencil on recto. Titled and dated on verso.

Wynn Bullock

”Tree Trunk, 1971”

8”x10” vintage silver gelatin print

Signed in pencil on recto. Titled and dated on verso.

Wynn Bullock

“Wood, 1972” (Printed 1970’s)

8”x10” silver gelatin print

Signed in pencil on recto. Titled and dated on verso.

Wynn Bullock

“Rock, 1971”

8”x10” silver gelatin print

Signed in ink on recto. Titled, dated on mount verso

Wynn Bullock

“Wave, Point Lobos, CA, 1958” (Printed 1960’s)

8”x10” silver gelatin print

Signed in pencil on recto. Titled and dated on verso.

Wynn Bullock

“Abstraction (Wood), 1972”

8”x10” vintage silver gelatin contact print

Signed and dated in ink on recto. Titled, dated on verso.

Wynn Bullock

”Pebble Beach Forest, CA, 1963”

8”x10” vintage silver gelatin print

Stamped, titled and dated on verso. Signed by Edna Bullock.

Wynn Bullock

Solarized Woman, 1940

4”x5” vintage silver gelatin print

Signed in pencil on mount recto

Wynn Bullock

“Gravitation Acceleration, 1950” (Printed 1954)

4”x4” silver gelatin print

Signed in ink on verso. Inscribed and dated on verso

Harry Callahan

Harry Callahan was born in Detroit, studied engineering at Michigan State University, and worked for Chrysler before taking up photography as a hobby in 1938. Callahan cited a visit by Ansel Adams to his local camera club in 1941 as the time he began to view photography seriously. Self-taught as a photographer, he found work in the General Motors Photographic Laboratories. In 1946, shortly after meeting László Moholy-Nagy, he was asked to join the faculty of the New Bauhaus (later known as the Institute of Design) in Chicago, where he became chairman of the photography department in 1949. He left Chicago in 1961 to head the photography department at the Rhode Island School of Design, where he remained until 1973. He has won many awards for his photography, including a Guggenheim Fellowship in 1972 and the Photographer and Educator Award from the Society for Photographic Education in 1976, and he was designated Honored Photographer of the Rencontres Internationales de la Photographie in Arles, France in 1977, and received ICP's Master of Photography Infinity Award in 1991.

Harry Callahan

“Atlanta, GA, 1984”

14”x17.5” vintage dye transfer print

Signed in pencil on recto margin

Harry Callahan

“Providence, RI, 1963”

8”x8” vintage silver gelatin print

Signed in pencil on recto and verso

Paul Caponigro

Born in Boston in 1932, Paul Caponigro is renowned as one of America’s most significant master photographers. When he was thirteen, he began to explore the world around him with his camera and subsequently sustained a career spanning nearly seventy years. He is currently regarded as one of America’s foremost landscape photographers.

Acclaimed for his spiritually moving images of Stonehenge and other Celtic megaliths of England and Ireland, Caponigro has also photographed the temples, shrines and sacred gardens of Japan and inspires viewers with glimpses of deep, mystical woodland of his New England haunts.

Caponigro approaches nature receptively, preferring to utilize an intuitive focus rather that merely arranging or recording forms and surface details.

Music has always been an essential aspect of his life. Although he shifted from the piano to photography early in his artistic career, he remains a dedicated pianist and believes his musical training and insight contributes significantly to his photographic imagery. In his photographs the visual ‘silence’ becomes as tangible as ‘sound’.

Paul Caponigro has exhibited and taught throughout the United States and abroad. He is the recipient of two Guggenheim Fellowships and three National Endowment for the Arts (NEA) grants, Caponigro’s images will be found in the photographic collections of most museums, texts on the history of photography and is one of the undisputed masters of photography.

Paul Caponigro

“Rock Wall #2, West Hartford, Connecticut, 1959” (Printed 1960’s)

11”x14” Vintage silver gelatin print

Signed in pencil on mount verso

Paul Caponigro

”Two Pears, ME, 1999”

8”x10” silver gelatin print

Signed on mount recto and overmat.

Paul Caponigro

“Running White Deer, County Wicklow, Ireland, 1967” (Printed 1960’s)

5”x13” silver gelatin print

Signed in pencil on mount recto

Paul Caponigro

“Reflecting Stream, Redding MA, 1968”

16”x20” silver gelatin print

Signed and numbered in pencil on mount recto

Paul Caponigro

”Frost Window 1, Revere MA, 1957” (Printed 1973)

8”x10” silver gelatin print

Signed in pencil on mount recto

Paul Caponigro

“Frosted Window, Ipswich, MA, 1961” (Printed 1961)

8”x10” vintage silver gelatin print

Signed in pencil on mount recto

Paul Caponigro

“Blue Ridge Parkway, Virginia, 1965”

16”x20"” silver gelatin print

Signed in pencil on mount recto

Paul Caponigro

”Black Tree, Hiei-San Temple, Kyoto, Japan, 1976”

16”x20” silver gelatin print

Signed on mount recto.

Paul Caponigro

“Ice, Newton Center, Massachusetts, 1960” (Printed 2000’s)

11”x14” silver gelatin print

Signed in pencil on overmat. Signed, titled and dated on mount recto.

Paul Caponigro

”Stone and Tree, Avebury, England, 1967” (Printed 1973)

11”x14” silver gelatin print

Signed in pencil on mount recto

Paul Caponigro

“Monument Valley, Utah, 1970” (Printed 1973)

9”x13” silver gelatin print

Signed in pencil on mount recto

Paul Caponigro

“Redding Woods, Connecticut, 1969” (Printed 1973)

9”x13” silver gelatin print

Signed in pencil on mount recto

Paul Caponigro

“Monument Valley, Utah, 1970” (Printed 1973)

8”x10” silver gelatin print

Signed in pencil on mount recto

Paul Caponigro

“Nahant Beach, MA, 1958” (Printed 1973)

5”x7” silver gelatin print

Signed in pencil on mount recto

Paul Caponigro

“Pebble Beach, CA, 1969” (Printed 1973)

8”x10” silver gelatin print

Signed in pencil on mount recto

Paul Caponigro

“Landscape, Kalamazoo, Michigan, 1970” (Printed 1973)

8”x10” silver gelatin print

Signed in pencil on mount recto

Paul Caponigro

“Stonehenge, Wiltshire, England, 1977”

14”x19” silver gelatin print

Signed in pencil on mount recto

Paula Chamlee

Paula Chamlee returned to college in the 1980s majoring in the visual arts to finish a degree she had begun in the 1960s in the performing arts. She earned a B.F.A. in painting in 1988. During this latter part of her college career, she discovered photography and quickly found direct involvement with the world outside the studio to be irresistible. In the thirty years since, she has traveled extensively, making photographs both in the United States and abroad. Chamlee has been the recipient of several grants, including one from the Leeway Foundation for "Excellence in Photography." Her photographs have been widely exhibited in museums and galleries, most recently at Gallery 291 in San Francisco and at the James A. Michener Art Museum, Doylestown, Pennsylvania. Her photographs are in numerous collections, both public and private in the United States and abroad. She is collected in forty museums in the United States, including the Los Angeles County Museum of Art, Cleveland Museum of Art, Museum of Fine Arts, Houston, Philadelphia Museum of Art, Norton Museum of Art, West Palm Beach, and Library of Congress. She has taught workshops in photography in the United States, Austria, Germany, Tuscany, England, France, Iceland, and Australia. She has had seven monographs of her work published.

Paula Chamlee

“Cataviña, Baja, 2003”

8”x10” silver gelatin print

Signed and dated in pencil on recto. Titled, dated and numbered on verso.

Paula Chamlee

“Muley Point, Utah, 1993”

8”x10” silver gelatin contact print

Signed, dated in pencil on recto. Titled, dated and numbered on verso.

Paula Chamlee

“San Raphael Valley, Arizona, 1990”

8”x10” silver gelatin print

Signed and dated in pencil on recto. Titled, dated and numbered on verso.

Paula Chamlee

“Near Nicasio, California, 1990”

8”x10” silver gelatin contact print

Signed, dated in pencil on recto. Titled, dated and numbered on verso.

Paula Chamlee

“Jökulsárlón, Iceland, 2004”

8”x10” silver gelatin contact print

Signed, dated in pencil on recto. Titled, dated and numbered on verso.

Paula Chamlee

“Jökulsárlón, Iceland, 2004”

8”x10” silver gelatin contact print

Signed, dated in pencil on recto. Titled, dated and numbered on verso.

Paula Chamlee

“Skardsfjordur, Iceland, 2006”

8”x10” silver gelatin contact print

Signed, dated in pencil on recto. Titled, dated and numbered on verso.

Paula Chamlee

“Jokulsarlon, Iceland, 2006”

4”x5” silver gelatin print

Signed and dated in pencil on recto. Titled, dated and numbered on verso.

Paula Chamlee

“Grand Canyon, Arizona, 1990”

8”x10” silver gelatin contact print

Signed, dated in pencil on recto. Titled, dated and numbered on verso.

Paula Chamlee

“Grand Canyon, Arizona, 1990”

4”x5” silver gelatin contact print

Signed, dated in pencil on recto. Titled, dated and numbered on verso.

Paula Chamlee

“Near Nicasio, California, 1990”

4”x5” silver gelatin contact print

Signed, dated in pencil on recto. Titled, dated and numbered on verso.

Paula Chamlee

“High Plains Farm, Adrian, TX, 1995”

5”x7” silver gelatin print

Signed and dated in pencil on recto. Titled, dated and numbered on verso.

Paula Chamlee

“High Plains Farm, Adrian, TX, 1995”

8”x10” silver gelatin print

Signed and dated in pencil on recto. Titled, dated and numbered on verso.

Paula Chamlee

“Mia’s Room, Ohio, 1998”

8”x10” silver gelatin contact print

Signed, dated in pencil on recto. Titled, dated and numbered on verso.

Carlotta Corpron

Carlotta Corpron (December 9, 1901 – April 17, 1988) was an American photographer known for her abstract compositions featuring light and reflections, made mostly during the 1940s and 1950s. She is considered a pioneer of American abstract photography and a key figure in Bauhaus-influenced photography in Texas.

Carlotta Corpron

”Chambered Nautilus, 1947”

2”x3” vintage gelatin silver print

Signed in pencil on mount recto.

Carlotta Corpron

Solarized Flowers, 1940

3”x4” vintage solarized gelatin silver print

Signed in pencil on mount

Carlotta Corpron

”Fluid Light Design, 1950”

3”x4” vintage silver gelatin print

Signed in ink on verso

Carlotta Corpron

“Solarized Calla Lilies, 1948” (Printed later)

11”x14” solarized gelatin silver print

Signed and dated in pencil on mount.

Carlotta Corpron

”Fluid Light Design, 1950”

8”x10” vintage silver gelatin print

Signed in ink on verso

William Dassonville

William Dassonville (1879–1957) produced idyllic landscapes and escapist city scenes in and around San Francisco, representing California as the new “Promised Land.” He exhibited his photographs widely and was friendly with the naturalist John Muir, artist William Keith, and fellow photographer Ansel Adams, who initially used Dassonville’s own brand of printing paper. In tune with the times, Dassonville embraced the Arts and Crafts Movement, which shunned factory production in favor of craftsmanship. As a Pictorialist he strove for harmonious compositions that emulated paintings in order for his prints to be considered fine art and used soft focus and a limited tonal range to idealize his subjects. As a result, his poetic images go against the inherent nature of photography as a mirror of reality―during a period of marked industrialization in Northern California.

William Dassonville

“San Francisco from Telegraph Hill, 1925”

11”x14” vintage silver gelatin print

William Dassonville

“San Francisco from Telegraph Hill, 1925”

11”x14” vintage silver gelatin print

William Dassonville

“San Francisco from Telegraph Hill, 1925”

11”x14” vintage silver gelatin print

William Dassonville

“San Francisco from Telegraph Hill, 1925”

11”x14” vintage silver gelatin print

William Dassonville

“San Francisco from Telegraph Hill, 1925”

11”x14” vintage silver gelatin print

William Dassonville

“San Francisco from Telegraph Hill, 1925”

11”x14” vintage silver gelatin print

Bruce Davidson

Bruce Davidson is an American photographer known for capturing images of communities and individuals living on the fringes of society. Imbued with sympathy for those potentially hostile to the general population, Davidson’s work is marked by a fearlessness and a lack of moral judgement. Some of the artist’s most famous photographs depicts scenes and portraits of individuals riding on the New York subway system during the early 1980s—when it was exceptionally dangerous to ride, covered in graffiti, and full of trash—which were compiled in the famous photo book Subway (1986).“Look, I’m kind of an explorer,” the artist once declared. “I’m entering a world and it takes time.” Born on September 5, 1933 in Oak Park, IL, he began taking photographs from the age of 10 and had a darkroom built in his single mother’s home. Davidson went on to attend the Rochester Institute of Technology and Yale University.

Bruce Davidson

Nature of Los Angeles, 2009

11”x14” silver gelatin print

Signed in pencil on recto

Bruce Davidson

Campground 4, Yosemite National Park, 1966

11”x14” vintage silver gelatin print

Signed in pencil on recto

John Divola

John Divola’s photographs of landscapes and interiors complicate and challenge our perception of space. An MFA graduate of the University of California, Los Angeles, Divola frequently engaged with Southern California’s diverse ecosystems in his work, training his lens on the surreality of sites like suburban lawns and untamed deserts. He received early recognition for his “Zuma” series (1977–78), which documented the scars of firefighters training at a beachfront property in Malibu.

Divola’s witty, conceptual approach to imagemaking led to his inclusion in both the 1981 and 2017 Whitney Biennials. Inspired by Minimalism and Earthworks, Divola understood photography as a uniting medium; his practice synthesized performance and painting with documentary. A Guggenheim Fellow, he has works in museum collections including the Museum of Modern Art, the Hammer Museum, and the Art Institute of Chicago.

Elliott Erwitt

”Macy’s Thanksgiving Day Parade, NYC, 1988”

11”x14” silver gelatin print

Signed, titled and dated in pencil on verso.

Elliott Erwitt

”Coke Machine and Missiles, Alabama 1974

11”x14” silver gelatin print

Signed, titled and dated in pencil on verso.

Walker Evans

"Coal Dock Workers, Havana, 1933"

8"x10" silver gelatin print

Flush mounted on another Evans print. Signed in pencil on the margin.

Walker Evans

"Coal Dock Worker, Havana, 1933"

5"x7" silver gelatin print

Signed in pencil on the mount.

Lee Friedlander

Lee Friedlander (born July 14, 1934) is an American photographer and artist. In the 1960s and 1970s, Friedlander evolved an influential and often imitated visual language of urban "social landscape," with many of his photographs including fragments of store-front reflections, structures framed by fences, posters and street signs. His work is characterized by its innovative use of framing and reflection, often using the natural environment or architectural elements to frame his subjects. Over the course of his career, Friedlander has been the recipient of numerous awards and his work has been exhibited in major museums and galleries worldwide.

Lee Friedlander

“New York City, NY, 1966” (Printed 2005)

11”x14” silver gelatin print

Signed and stamped on verso.

Lee Friedlander

“Self Portrait New Orleans, 1966” (Printed 1990)

11”x14” silver gelatin print

Signed and stamped on verso.

Lee Friedlander

Colorado (Self Portrait with JFK), 1967

9”x11” vintage silver gelatin print

Signed and stamped on verso

Lee Friedlander

“New York City, NY, 1964”

16”x20” silver gelatin print

Signed, titled, dated in pencil on verso.

Lee Friedlander

“Mt. Rushmore, South Dakota, 1969” (Printed 1980)

11”x14” silver gelatin print

Signed, titled, dated in pencil on verso.

Lee Friedlander

“Old Route 202, Katz, 1979”

5”x7” vintage silver gelatin print

Inscribed and signed on verso

Lee Friedlander

“.Canyon de Chelly, 1983”

20”x24” silver gelatin print

Signed, titled, dated and numbered in pencil on verso.

Lee Friedlander

“Honolulu, HI, 1974”

11”x14” silver gelatin print

Signed, titled, dated in pencil on verso.

Lee Friedlander

“Worker, Factory Valleys, 1979” (Printed 1980)

11”x14” silver gelatin print

Signed, titled, dated and stamped verso

Lee Friedlander

“Canton, Ohio, 1979” (Factory Valleys)

11”x14” vintage silver gelatin print

Signed and stamped on verso.

Lee Friedlander

“Canton, Ohio, 1979” (Factory Valleys)

11”x14” vintage silver gelatin print

Signed and stamped on verso.

William Garnett

William Garnett took his first cross-country flight after serving as a United States Army Signal Corps cameraman during World War II. What he saw below inspired him to learn how to pilot a plane so he could photograph the American landscape. Garnett's aerial photographs resemble abstract expressionist paintings or views through a microscope.

During 10,000 hours of flying, Garnett simultaneously piloted a plane while photographing out the window-traveling above every state and many parts of the world. His light 1956 Cessna plane allowed him to fly to just the right location to capture subjects with precision.

William Garnett

“Dry Wash with Alluvium, Death Valley, CA, 1957”

16”x20” silver gelatin print

Signed in pencil on recto. Stamped, titled, dated on verso.

William Garnett

Sand Dune with Sage Brush, Death Valley, CA, 1954

16”x20” Silver gelatin print

Signed in pencil on mount recto. Stamped, titled and dated on verso.

William Garnett

Sand Dune #1, Death Valley, CA, 1954

16”x20” Silver gelatin print

Signed in pencil on mount recto. Stamped, titled and dated on verso.

William Garnett

Snow Geese in Flight with Reflection of the Sun over Buena Vista Lake, CA, 1953

11”x14” silver gelatin print

Signed in pencil on recto. Stamped,. titled, dated and signed on verso.

William Garnett

“Tractor Plowing Field, Arvin,, CA, 1951”

11”x14” silver gelatin print

Signed in pencil on recto. Stamped, titled, dated on verso.

William Garnett

“Butte, Marble Canyon, AZ, 1954”

8”x10” silver gelatin print

Signed in pencil on recto. Stamped, titled, dated on verso.

William Garnett

“Train Crossing Desert, Kelso, CA, 1960”

8”x10” silver gelatin print

Signed in pencil on recto. Stamped, titled, dated on verso.

William Garnett

“Two Trees on Hill with Shadows, Paso Robles, CA, 1974”

8”x10” silver gelatin print

Signed in pencil on recto. Stamped, titled, dated on verso.

William Garnett

“Waterhole and Cattle Tracks, Santa Fe Trail, NM, 1975”

16”x20” silver gelatin print

Signed in pencil on recto. Stamped, titled, dated on verso.

William Giles

Henry Gilpin

Henry Gilpin (1922-2011) was a California-based landscape photographer who became serious about the medium while attending the Ansel Adams photography workshop in Yosemite in the 1950s. He was deeply inspired by Adams, of course, but also Edward Weston, Paul Strand, and other classic American modernists.

Highway 1 from 1963 is one of his most impressive works, in both composition and tonality, and is perfectly representative of his devotion to the inimitable California coastline.

Henry Gilpin

”Rocher Perce, Quebec, Canada1977”

16”x20” silver gelatin print

Signed in pencil on recto. Stamped on verso.

Kenneth Josephson

Kenneth Josephson's conceptual photography experiments with playful illusion to explore and question his medium. Josephson was a graduate among the first generation of photography candidates from the Illinois Institute of Design. A student of such masters as Aaron Siskind, Harry Callahan, and Minor White, Josephson went on to teach for 35 years at the Art Institute of Chicago, where he routinely taught the "Introduction to Photography" course as it inspired him to continue experimentation. In his well known image New York State (1970), Josephson pictured his own outstretched arm holding a photograph of a ship superimposed over an ocean horizon. À la René Magritte's "Ceci n'est pas une pipe" (The Treachery of Images, 1928-29), the image is a reminder that regardless of how real a two-dimensional image may appear, it is still merely an illusion.

Kenneth Josephson

Matthew, 1965

11”x14” silver gelatin print

Signed on verso

Michael Kenna

"Ratcliffe Power Station, 1984" (Printed 1984)

6.5"x9.5" vintage silver gelatin print

Signed, dated and numbered in pencil on recto. Stamped, titled, dated and numbered on verso.

Michael Kenna

"Ratcliffe Power Station, 1984" (Printed 1984)

6.5"x9.5" vintage silver gelatin print

Signed, dated and numbered in pencil on recto. Stamped, titled, dated and numbered on verso.

Michael Kenna

"Ratcliffe Power Station, 1984" (Printed 1984)

6.5"x9.5" vintage silver gelatin print

Signed, dated and numbered in pencil on recto. Stamped, titled, dated and numbered on verso.

Michael Kenna

"Ratcliffe Power Station, 1984" (Printed 1984)

6.5"x9.5" vintage silver gelatin print

Signed, dated and numbered in pencil on recto. Stamped, titled, dated and numbered on verso.

Michael Kenna

"Ratcliffe Power Station, 1984" (Printed 1984)

6.5"x9.5" vintage silver gelatin print

Signed, dated and numbered in pencil on recto. Stamped, titled, dated and numbered on verso.

Michael Kenna

"Ratcliffe Power Station, 1984" (Printed 1984)

6.5"x9.5" vintage silver gelatin print

Signed, dated and numbered in pencil on recto. Stamped, titled, dated and numbered on verso.

Ralph Eugene Meatyard

Roger Minick

”Airstream in Monument Valley, 1982”

11”x14” vintage silver gelatin print

Signed and dated in pencil on verso.

Roger Minick

”Truck on Levee, 1968”

11”x14” vintage silver gelatin print

Signed and dated in pencil on recto.

Richard Misrach

Beaumont Newhall

Beaumont Newhall was an American curator, art historian, writer, photographer, and the second director of the George Eastman Museum. His book The History of Photography remains one of the most significant accounts in the field and has become a classic photographic history textbook.

Beaumont Newhall

”Chase National Bank, New York, 1928

11”x14” silver gelatin print

Signed, titled and dated on mount recto

Nicolas Nixon

Nicholas Nixon is known for the ease and intimacy of his black and white large format photographs. Nixon has photographed porch life in the rural south, schools in and around Boston, cityscapes, sick and dying people, and the intimacy of couples. Recording his subjects close and with meticulous detail, he facilitates an emotional connection between the viewer and the subject.

Nicolas Nixon

West Springfield, MA, 1978

8”x10” silver gelatin contact print

Signed, titled and dated on verso

Nicolas Nixon

Summer Cottage Camp, Chatham, Massachusetts, 1976

8”x10” silver gelatin contact print

Signed, titled, dated in pencil on verso

Bill Owens

"I Don't Feel That Rickie Playing with Guns Will Have a Negative Effect on His Personality, 1971" (Printed 1999)

8"x10" silver gelatin print

Signed in ink on verso.

John Sexton

John Sexton is perhaps the most widely known contemporary black and white landscape photographer and educator. He was an assistant of Ansel Adams for many years, and his work, in high demand, demonstrates the technical and artistic expertise that one would expect from such an association. John’s work has a very distinctive feel and is immediately recognizable, for he has clearly stepped out of the shadow of his mentor and established a worldwide reputation.

John Sexton was born in 1953, and resides in Carmel Valley, California. Respected as a photographer, master printmaker, and workshop instructor, he is best known for his luminous, quiet photographs of the natural environment.

John Sexton

”SCAPE Suits, Kennedy Space Center, FL, 1998” (Printed 2020)

16”x20” silver gelatin print

Signed and dated on mount recto. Stamped, titled, dated on verso.

John Sexton

Black Oak, Fallen Branches, Yosemite, CA, 1984”

16”x20” silver gelatin print

Signed and dated in pencil on recto. Stamped, titled, dated on verso.

John Sexton

”Aspens, Dusk, Conway Summit, California, 1978”

16”x20” silver gelatin print

Signed and dated on verso. Stamped, titled and dated on recto.

John Sexton

”Sandstone Forms, Antelope Canyon, AZ”

11”x14” silver gelatin print

Signed and numbered on recto. Stamped, titled and dated on verso.

Aaron Siskind

Aaron Siskind was an American photographer best known for his black-and-white, close range, and aerial photos of surfaces and objects. With the transformative properties of monochromes and their lack of scale or context, Siskind’s photos can seem both sculptural and vast or diminutive and painterly. Their ambiguity has caused spectators to “muse (sometimes in print) in front of a Siskind photograph like analysands in front of ink blots,” wrote art critic Thomas B. Hess. Born on December 4, 1903 in New York, NY, Siskind didn’t begin photographing until he received a camera as a wedding gift and soon after joined the New York Photo League. His work follows in the lineage of Bauhaus photographer László Moholy-Nagy and American photographer Harry Callahan, inspired by their formal and technical approaches to the medium. His works—which range in subject matter from volcanic lava to graffitied walls—are in the collections of the Art Institute of Chicago, the J. Paul Getty Museum in Los Angeles, and the Smithsonian Museum of American Art in Washington, D.C., among others. Siskind died on February 8, 1991 in Providence, RI.

Aaron Siskind

“Jerome 21, 1949” (Printed 1950’s)

5”x7” silver gelatin print

Signed in pencil on mount recto

Aaron Siskind

“Gloucester, 1944” (Printed 1970’s)

8”x10” silver gelatin print

signed in ink on verso

Aaron Siskind

“Chicago Facade, 1957” (Printed 1970’s)

36”x50” Mural sized silver gelatin print on aluminum

Sgned, titled and dated in ink on verso

Aaron Siskind

“Chicago Facade, 1957” (Printed 1970’s)

36”x50” Mural sized silver gelatin print on aluminum

Sgned, titled and dated in ink on verso

Aaron Siskind

“Chicago Facade, 1957” (Printed 1970’s)

36”x50” Mural sized silver gelatin print on aluminum

Sgned, titled and dated in ink on verso

Aaron Siskind

”Martha’s Vineyard, 1954” (Printed later)

20”x24” silver gelatin print

Signed, titled and dated in ink on verso.

Aaron Siskind

“New York I, 1951” (Printed later)

20”x24” silver gelatin print

Signed, titled and dated in ink on recto.

Michael A. Smith

Michael A. Smith, born in Philadelphia in 1942, has been working in photography since 1966. Less than a year later, in 1967, he began photographing exclusively with an 8x10-inch view camera, committing himself to the contact print. Later he added both an 8x20 and an 18x22-inch view camera.

During his second year as a photographer, he began teaching his own seminars and workshops, but after seven and a half years, he stopped teaching to dedicate himself solely to the making of his photographs.

His photographic journeys during the past 50 years have taken him to every state in the continental United States, western Canada, Mexico, and Europe. The results of these remarkable odysseys are included in the permanent collections of over 125 museums in the United States, Europe, and Asia, including the Metropolitan Museum of Art and the Museum of Modern Art in New York, Art Institute of Chicago, Bibliothèque Nationale, Paris, Stedelijk Museum, Amsterdam, and the Victoria and Albert Museum, London.

Michael A. Smith

“Blue Mesa, AZ, 1978”

8”x10” vintage silver gelatin print

Signed and dated on recto. Titled, dated and numbered on verso.

Michael A. Smith

“Near Frenchtown, New Jersey, 1969”

8”x10” vintage silver gelatin print

Signed and dated on recto. Titled, dated and numbered on verso.

Michael A. Smith

“Near Frenchtown, New Jersey, 1969”

8”x10” vintage silver gelatin print

Signed and dated on recto. Titled, dated and numbered on verso.

Michael A. Smith

“Canyon de Chelly, AZ, 1975”

8”x10” vintage silver gelatin print

Signed and dated on recto. Titled, dated and numbered on verso.

Michael A. Smith

“Capital Reef, Utah, 1975”

8”x10” vintage silver gelatin print

Signed and dated on recto. Titled, dated and numbered on verso.

Michael A. Smith

“Canyon de Chelly, AZ, 1975”

8”x10” vintage silver gelatin print

Signed and dated on recto. Titled, dated and numbered on verso.

Michael A. Smith

“Point Lobos, CA, 1975”

8”x10” vintage silver gelatin print

Signed and dated on recto. Titled, dated and numbered on verso.

Michael A. Smith

“Utah, 1975”

8”x10” vintage silver gelatin print

Signed and dated on recto. Titled, dated and numbered on verso.

Michael A. Smith

“Near Frenchtown, New Jersey, 1969”

8”x10” vintage silver gelatin print

Signed and dated on recto. Titled, dated and numbered on verso.

Michael A. Smith

“Yellowstone, 1960’s”

8”x10” vintage silver gelatin print

Signed and dated on recto. Titled, dated and numbered on verso.

Michael A. Smith

“Shore Acres, Oregon, 1979”

8”x20” vintage silver gelatin print

Signed and dated on recto. Titled, dated and numbered on verso.

Michael A. Smith

“Atchafalaya Basin, Louisiana, 1985”

8”x20” vintage silver gelatin print

Signed and dated on recto. Titled, dated and numbered on verso.

Michael A. Smith

“Near Guerrero Negro, Baja California, 2013”

8”x20” vintage silver gelatin print

Signed and dated on recto. Titled, dated and numbered on verso.

Michael A. Smith

“Near Delaware, Ohio, 1983”

8”x20” vintage silver gelatin print

Signed and dated on recto. Titled, dated and numbered on verso.

Michael A. Smith

“Toledo, Ohio, 1980”

8”x20” vintage silver gelatin print

Signed and dated on recto. Titled, dated and numbered on verso.

Michael A. Smith

“New Orleans, Louisiana, 1985”

8”x20” vintage silver gelatin print

Signed and dated on recto. Titled, dated and numbered on verso.

Michael A. Smith

“Nude, 1994”

8”x20” vintage silver gelatin print

Signed and dated on recto. Titled, dated and numbered on verso.

Michael A. Smith

“Between San Quirico d’Orcia and Pienza, Tuscany, 2000”

8”x20” vintage silver gelatin print

Signed and dated on recto. Titled, dated and numbered on verso.

Michael A. Smith

“Tuscany, 2000”

8”x20” vintage silver gelatin print

Signed and dated on recto. Titled, dated and numbered on verso.

Michael A. Smith

“Dynjandi, Iceland, 2006”

8”x20” vintage silver gelatin print

Signed and dated on recto. Titled, dated and numbered on verso.

Michael A. Smith

“Self Portrait, Jokulsarlon, Iceland, 2006”

8”x20” vintage silver gelatin print

Signed and dated on recto. Titled, dated and numbered on verso.

Michael A. Smith

“South Coast, Iceland, 2006”

8”x20” vintage silver gelatin print

Signed and dated on recto. Titled, dated and numbered on verso.

Michael A. Smith

“Reynisfjara, Iceland, 2006”

8”x20” vintage silver gelatin print

Signed and dated on recto. Titled, dated and numbered on verso.

Michael A. Smith

“Baja, CA, 2013”

8”x20” vintage silver gelatin print

Signed and dated on recto. Titled, dated and numbered on verso.

Michael A. Smith

“Chicago, 2006”

8”x20” vintage silver gelatin print

Signed and dated on recto. Titled, dated and numbered on verso.

Michael A. Smith

“Chicago, 2006”

8”x20” vintage silver gelatin print

Signed and dated on recto. Titled, dated and numbered on verso.

Michael A. Smith

“Chicago, 2006”

8”x20” vintage silver gelatin print

Signed and dated on recto. Titled, dated and numbered on verso.

Frederick Sommer

Frederick Sommer was an Italian-born American artist best known for his unique photography. His experiments with double exposures and striking portrait Livia (1948), are among his most acclaimed works. “When you go out to make a picture you find you are moved by something which is in agreement with an image you already held within yourself,” he once said. Born on September 7, 1905 in Angri, Italy, he raised by German-speaking parents in Brazil. Sommer went on to receive an MA in landscape architecture from Cornell University, and after being diagnosed with tuberculosis moved with his wife to Arizona in 1931. During the next decade, Sommer met Max Ernst, Man Ray, and Dorothea Tanning in Los Angeles, their conversations spurred Sommer’s interest in experimenting with photographic processes. The artist was also friends with more traditional photographers including Edward Weston and Ansel Adams. From 1957 to 1958, Sommer taught photography at the Institute of Design in Chicago, substituting for his friend Harry Callahan. Notably, during his career the artist produced drawings of musical scores and despite not being able to read music himself, his composer friends were able to play from his drawings. Sommer died on April 10, 1999 in Prescott, AZ. Today, his works are held in the collections of the National Gallery of Art in Washington, D.C., the Victoria and Albert Museum in London, and the J. Paul Getty Museum in Los Angeles, among others.

Frederick Sommer

”Livia, 1948” (Printed later)

8”x10” silver gelatin contact print

Signed, titled and dated in pencil on mount verso.

Frederick Sommer

”Colorado River Landscape, 1942” (Printed later)

8”x10” silver gelatin contact print

Signed, titled and dated in pencil on mount verso.

Notated by Sommer as Only Print

Frederick Sommer

”Coyotes, 1945” (Printed later)

8”x10” silver gelatin contact print

Signed, titled and dated in pencil on mount verso.

Frederick Sommer

”Coyotes, 1941” (Printed later)

8”x10” silver gelatin contact print

Signed, titled and dated in pencil on mount verso.

Frederick Sommer

”Eight Young Roosters, 1938” (Printed later)

8”x10” silver gelatin print

Signed, titled and dated in pencil on mount verso.

Frederick Sommer

“Virgin and Child with St. Anne and the Infant St. John, 1966”

8”x10” vintage silver gelatin contact print

Signed, titled and dated in pencil on verso

Fredrick Sommer

“Valise d’Adam, 1949”

8”x10” vintage silver gelatin print

Signed, titled and dated in pencil on mount verso

Frederick Sommer

”Amputated Foot, 1941” (Printed later)

8”x10” silver gelatin contact print

Signed, titled and dated in pencil on mount verso.

John Szarkowski

John Szarkowski (December 18, 1925 – July 7, 2007) was an American photographer, curator, historian, and critic. From 1962 to 1991 Szarkowski was the director of photography at New York's Museum of Modern Art (MoMA).

John Szarkowski

“From Country Elevator, Red River Valley, 1957” (Printed 2006)

11”x14” silver gelatin print

Signed, titled and dated on verso.

George Tice

GEORGE TICE, a tenth generation New Jerseyan, was born in Newark in 1938. He began photographing in 1953, when he joined a local camera club. Fields of Peace 1970, Paterson 1972, and George Tice: Urban Landscapes 2002 are among his most celebrated books. His photographs are included in over 80 public collections worldwide, and his numerous exhibitions include one-man shows at the Metropolitan Museum of Art 1972, The National Museum of Photography, Film, & Television, England ’90-’91, and The International Center of Photography 2002. He has been awarded fellowships from the Guggenheim Foundation, the National Endowment for the Arts, the Bradford Fellowship England, and the New Jersey State Council of the Arts.

George Tice

“Petit's Mobil Station, Cherry Hill, New Jersey, 1974” (Printed before 1980)

8”x10” Vintage hand-coated platinum/paladium

Signed on recto in pencil, titled and dated on verso

George Tice

“Petit's Mobil Station, Cherry Hill, New Jersey, 1974” (Printed 1970’s)

16”x20” Vintage silver gelatin print

Signed on recto, titled and dated on verso.

George Tice

“White Castle, Route #1. Rahway, NJ, 1973”

8”x10” vintage silver gelatin print

Signed “GEO. A. TICE” on recto. Titled and dated on verso.

George Tice

“Country Road, Lancaster, PA, 1961”

8”x10” Vintage silver gelatin print

Signed in pencil on recto. Titled, dated on verso.

George Tice

”Phone Booth, 3am, Rahway, NJ, 1974” (Printed 1980)

11”x14” silver gelatin print

Signed “GEO. A. TICE” on mount recto. Titled and dated on verso.

George Tice

“From The Chrysler Building, New York, 1978” (Printed 1980)

16”x20” Vintage silver gelatin print

Signed in pencil on recto. Titled and dated on verso.

George Tice

”Water Tower, Holmdel, NJ, 2010”

8”x10” silver gelatin print

Signed in pencil on recto. Titled and dated on verso.

George Tice

”Oak Tree, Holmdel, NJ, 1970”

11”x14” vintage silver gelatin print

Signed “GEO. A. TICE” on recto. Titled and dated on verso.

George Tice

“Esso Station and Tenement House, Hoboken, NJ, 1972”

11”x14” Platinum / Palladium Print

Signed on recto. Titled and dated on verso.

George Tice

“Explosion Aboard the U.S.S. Wasp, 1959”

11”x14” Platinum / Palladium Print

Signed in pencil on recto. Titled and dated on verso.

George Tice

”Porch, Monhegan Island, Maine, 1971” (Printed 1970’s)

8”x10” Vintage silver gelatin print

Signed in pencil on recto. Titled and dated on verso.

George Tice

”One Room Schoolhouse, Lancaster, Pennslyvania, 1962”

5”x10” vintage gelatin silver print

Signed “GEO. A. TICE” on recto. Titled and dated on verso.

George Tice

“Self-portrait, Carteret, New Jersey, 1978”

8”x10” silver gelatin print

Signed, titled and dated on verso.

George Tice

”Ice No.1, Clark, New Jersey, 1967”

4”x5” silver gelatin print

Signed, titled and dated on recto

George Tice

”Ice #18, New Jersey, 1966”

4”x5” vintage silver gelatin print

Signed “GEO. A. TICE” on recto. Titled and dated on verso.

Jerry Uelsmann

Jerry Uelsmann is an American photographer born in Detroit in 1934. He studied at the Fine Art Rochester Institute of Technology of which he graduated in 1957, then at the Indiana University until 1960. Later, he taught photography at University in the state of Florida, where he still lives.

The solo show in 1967 at the MoMA in New York has definitely promoted his career. Jerry UELSMANN is well known for his gelatin silver-print photomontage. He has considered his photographs compared to the post-visualization, concept thanks to he has qualified his practical work of negatives. The main idea is to consider the shot as a part of the work. Then the artist’s view comes true in the darkroom, experimentation place which gives birth to the final photography. He has adapted his laboratory so that it corresponds to the photomontage’s requirements.

Jerry Uelsmann

“Apocalypse II, 1967” (Printed 1971)

11”x14” vintage silver gelatin print

Signed and dated on recto. Titled and dated on verso.

Jerry Uelsmann

“Untitled, 1980”

11”x14” silver gelatin print

Signed, titled, dated and stamped on verso.

Jerry Uelsmann

“Untitled, 1982”

11”x14” silver gelatin print

Signed, tiled, dated and stamped on verso.

Jerry Uelsmann

”Untitled, 1976”

16”x20” silver gelatin print

Signed, titled, dated and stamped on verso.

Jerry Uelsmann

”Philosophers Desk, 1976”

11”x14” platinum/palladium print

Signed, titled and dated on verso

Jerry Uelsmann

“Untitled, 1997”

11”x14” platinum/palladium print

signed, titled and dated on verso

Jerry Uelsmann

“Journey Into Night, 2006”

11”x14” platinum/palladium print

Signed, titled and dated on verso

Jerry Uelsmann

“Untitled, 1999”

11”x14” platinum/palladium print

Signed, titled and dated on verso

Jerry Uelsmann

”The Committee, 2002”

11”x14” platinum/palladium print

Signed, titled and dated on verso

Jerry Uelsmann

“Untitled (House), 1978”

11”x14” platinum/palladium print

Signed, tiled and dated on verso

Jerry Uelsmann

“Untitled, 1997”

11”x14” platinum/palladium print

signed, titled and dated on verso

Jerry Uelsmann

”Untitled, 1991”

11”x14” platinum/palladium print

Signed, titled and dated on verso

Jerry Uelsmann

“Untitled, ND”

11”x14” platinum/palladium print

signed, titled and dated on verso

Jerry Uelsmann

“Untitled, ND”

11”x14” platinum/palladium print

signed, titled and dated on verso

Jerry Uelsmann

“Home is a Memory, 1963”

8”x10” vintage silver gelatin print

Stamped on verso

Henry Wessel

For four decades, Bay Area photographer Henry Wessel has observed and documented the brilliant light, vernacular architecture, and social landscape of Northern and Southern California.

Wessel came to photography almost accidentally during his years at Pennsylvania State University, but he was immediately hooked after first discovering (with a borrowed Leica) how the world looked through the camera's lens. He began to photograph seriously in 1967, inspired by the work of Wright Morris, Robert Frank, and Garry Winogrand, and in 1971 he was awarded a Guggenheim grant to document the landscape that flanks the American highway system, a once-natural terrain profoundly transformed by human presence. In the 1970s, Wessel became part of a generation of artists who challenged and expanded the categories of landscape and documentary photography, foregoing traditional views of pristine nature in favor of straightforward and personal depictions of the built environment.

Exploring the territory where nature and culture meet, Wessel's deadpan pictures share the spontaneity and authenticity of snapshots, combining disarming frankness with irreverent humor. His low-key style matches the modest nature of his subject matter: he has found an inexhaustible richness in the aesthetics of the everyday, turning the least monumental of subjects into a kind of personal poetry.

Henry Wessel

Walapai, 1971

11”X14” silver gelatin print

Signed in pencil on verso

Henry Wessel

Point Richmond, 1985

11”X14” silver gelatin print

Signed in pencil on verso

Henry Wessel

Point Richmond, 1985

11”X14” silver gelatin print

Signed in pencil on verso

Henry Wessel

Waikiki, 1975

11”X14” silver gelatin print

Signed in pencil on verso

Henry Wessel

Untitled (Beach), 1973

11”X14” silver gelatin print

Signed in pencil on verso

Edward Weston

Edward Weston was a seminal American photographer whose radical approach to composition, lighting, and form changed the history of the medium. The photographs Shell (1927), and Pepper No. 30 (1930), evinces Weston’s ability to transform landscapes, portraits, and still lifes into visual enigmas. “The camera should be used for a recording of life, for rendering the very substance and quintessence of the thing itself, whether it be polished steel or palpitating flesh,” the artist once stated. Born on March 24, 1886 in Highland Park, IL, he was given his first camera by his father at the age of 16, sparking a lifelong interest. Weston enrolled at the Illinois College of Photography after having failed to start a photography career in California without a degree. Finishing the course in six months, he returned to California better prepared and began working as an assistant in portrait studios around Los Angeles. The artist opened his own studio in 1909, where he would work for the next 20 years. In 1932, Weston helped form the influential Group f/46 alongside Ansel Adams and Willard Van Dyke. The purpose of the group was to further their common aesthetic interests by establishing a formal rubric for photography. Over the course of his career, the artist’s style shifted from the Pictorialist’s blurred painterly effects to the crisply focused images of Alfred Stieglitz. The artist died on January 1, 1958 in Carmel, CA. Today, his works are held in the collections of the J. Paul Getty Museum in Los Angeles, The Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., and the Art Institute of Chicago, among others.

Edward Weston

“Pepper 34P, 1930”

8”x10” silver gelatin print

Project Print

Edward Weston

”Eroded Rock, Point Lobos, 1930”

8”x10” silver gelatin print

Signed, dated and numbered on recto. Titled and dated on verso.

Edward Weston

“Woman in Evening Gown, 1922”

8”x10” vintage palladium print

Signed and dated in pencil on mount recto

Cole Weston

“Portrait of Edward Weston, 1946”

8”x10” silver gelatin print

Signed and dated on recto. Titled and dated on verso.

Brett Weston

Brett Weston (1911-1993) is widely regarded as one of the leading photographers of the twentieth century. He is known primarily for his bold compositions based on Western landscapes and natural forms, and for his extraordinary printing style. Weston was among a small group of California photographers in the 1930s, known as the Group f/64, who favored large-format view cameras, straight and uncropped images, and stark black-and-white prints.

Brett Weston

“Cracked Glass, 1955”

20”x24” silver gelatin print

Signed and dated on mount recto.

Brett Weston

“Cracked Glass, Garapata, CA, 1955” (Printed 1955)

11”x14” vintage silver gelatin contact print

Signed and dated on mount recto.

Brett Weston

“School Desk Supports, 1952”

8”x10” vintage silver gelatin print

Signed and dated on mount recto.

Brett Weston

“Wormwood, 1937”

8”x10” vintage silver gelatin print

Signed and dated on mount recto.

Brett Weston

“Keeler Plant, Owens Valley, CA, 1954”

8”x10” vintage contact print

Signed and dated in pencil on mount

Brett Weston

”Near Rio Grande River, TX, 1947” (Printed 1947)

8”x10” vintage silver gelatin print

Signed and dated on mount recto

Brett Weston

“Swamp, North Carolina, 1947”

8”x10” vintage silver gelatin print

Signed and dated on mount recto.

Brett Weston

“Swamp, North Carolina, 1947”

8”x10” vintage silver gelatin print

Signed and dated on mount recto.

Brett Weston

“Succulents, Point Lobos, CA, 1943” (Vintage Print)

8”x10” silver gelatin contact print

Signed and dated in pencil on mount verso

Brett Weston

“Ice Formation, 1955”

8”x10” vintage silver gelatin print

Signed and dated on mount recto.

Brett Weston

”Stairway and Broom, New York, 1943” (Printed 1970’s)

11”x14” silver gelatin contact print

Signed and dated on mount recto.

Brett Weston

“Glen Canyon, Utah, 1960” (Printed 1960)

8”x10” silver gelatin print

Signed and dated on mount recto.

Brett Weston

“Cracked Glass, Garapata, CA 1952” (Printed 1960)

8”x10” Vintage silver gelatin print

Signed and dated on mount recto.

Brett Weston

“Broken Window, 1937”

8”x10” vintage silver gelatin print

Signed and dated on mount recto.

Brett Weston

“Window Display Reflection, California, 1945”

8”x10” vintage silver gelatin print

Signed and dated on mount recto

Minor White

Minor White (1908-1976) was born in Minneapolis, Minnesota and earned a degree from the University of Minnesota in 1933. In 1938, Minor White moved to Portland, Oregon. There he began his career in photography, first joining the Oregon Camera Club, then taking on assignments from the Works Progress Administration and exhibiting at the Portland Art Museum.

Through his mystical approach to photography, Minor White has become one of the most influential photographers of the postwar era. His landscape photographs often create abstract images that disorient the viewer and penetrate beneath the surface of the subject. White developed sequences for these pictures that underscored the meditative possibilities of reading photographs as a means of spiritual self-knowledge, a practice that continues to inspire many contemporary photographers.

Minor White

“Axe and Plowed Field, 1948”

8”x10” Vintage silver gelatin print

Signed and dated in pencil on mount.

Minor White

The Three Thirds, 1957

11”x14” vintage silver gelatin print

Minor White

“Moon and Wall Encrustations, Pultneyville, New York. 1964” (Printed 1970’s)

14”x17” silver gelatin print

Signed in pencil on margin recto

Minor White

“Rye Beach, New Hampshire, 1966”

11”x14” vintage silver gelatin print

Signed and dated in pencil on mount recto

Minor White

”Capital Reef National Park, Utah, 1963” (Vintage)

8”x10” silver gelatin print

Signed and dated in pencil on mount recto

Minor White

Hands, 1949

4”x5” vintage silver gelatin contact print

Signed and dated in pencil on mount

Minor White

”Sculpture, 1950’s”

8”x10” vintage silver gelatin print

Stamped on verso with Minor White’s address

Garry Winogrand

Garry Winogrand was a legendary American photographer, regarded as highly influential for his street photographs documenting the social and cultural landscape of mid-century metropolitan United States. Shot almost exclusively in black and white, Winogrand's images provide a slice of 20th-century American culture, replete with all the nightlife, excitement, heartbreak, trauma, and banality that constitutes life. “Photography is not about the thing photographed,” he famously said. “It is about how that thing looks photographed.” Born on January 14, 1928 in the Bronx, NY, he studied painting and photography at City College and Columbia University and graduated in 1948, embarking on a commercial and personal photographic career. He participated in the groundbreaking 1955 exhibition “The Family of Man” at the Museum of Modern Art in New York, and gained acclaim among his peers Diane Arbus and Lee Friedlander. Winogrand's later life and work was marked with landmark acclaim and success, garnering an exceptional three Guggenheim Awards in 1964, 1969, and 1979, as well as a plethora of exhibitions that included a major retrospective at The Museum of Modern Art in 1988. Winogrand died on March 19, 1984, having taken and developed some 20,000 rolls of film over the course of his life.

Garry Winogrand

New York City, NY, 1950’s

9”x14” vintage silver gelatin print

Signed on mount recto. Flush mounted w/ inked edges