DOCSLIB.ORG

For Pictorial Photography You Must Have a " Sanderson."

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
For Pictorial Photography You Must Have a -:nr^n::rx;^^-^i-:rrriv,:^':^':~:":^;:: T"vt^":'""'^rr' '-T^^!?!g?^,^7^:^g^T^ gHg For Pictorial Photography [Ifa I you must have a " Sanderson." CATALOGUE of the . Year to and yeir out the « Sanderson " Hand Camera maintain* its fepremsey. Other cameras appear, aio *d«c--;ts«l, and disappear into the ofclrvion. of tie Thirteenth Annual Exhibition of the tu?V Selves or the sale.ami exchange columns. But the " Saivdersoo * is heiivfi ir.-de to ci-er-iiicreiaiii^ iranit^ ttety year! No one ever want* to . sell a " Sanderson " unless be fa-either going to buy another ot fiive up the' bobby altogether. We have written to dozens of people who hate; advertised PHOTOGRAPHIC SALON ** £*ndern.iiJ ** for talei but In nine eases out of ten flw advertise! i» going to buy another ** Sanderson," a different sue, perhaps, 01 adilTctent patlcffl—bo* always another "Sanderson.'* The tenor of t' e replies Wy be •tnniued »p in one short sentence, wlii^.1 we quote from a !:• • r Kc;i*;Iy iteei.td from the editor or a well- knosin dai!y pap-r— 1 "I woi-M rather five tip photo­ graphy (ha a be without a 'Saad*Moa/M rj H:.«f YOU tcetiscd <•' yet that, it fa the short- _ comings, (he incrtifeal' "*T£J88BEK of the ordinary I eawiii that pfc-cit yjur ^^^^^^_^^^^^^_-____^^^_ •J rtflg goudwQtW Are JKHf picture* hong at'thc leading exhibitions? I>o Ibe edito:* of the :;•; pho:o,jrap&ie papers a&yon to seed lli>''» p.*»»tR for reproduction? Is it sot -< because yo, hate to apcbd io mitco time over your camera thai yoo cannot 1: dt i -..-.-ii'.ioc to alt the little detaiti that go to molte a saccesini! pfcli Thiofc-It ouv Settle with, y--;. tier youi camera is ooj at f. If T.-.. n'wih-'- fot fsfflculari of the '{ Sandf r»a," and the bool let " An i . :..• Hobby that Cofcta Nothing" 6 *iU 'car?> y? h'-"* ^ ^^ndetsop" pays for.iuelf within two months, and it detail* tie ad espji-Btes ©/ an amatecr photcgr&ppej who did it. Gallery of the Royal Society" of Mafccra of Paipters in Water Colours, HOUGHTONS Ltd.. " Sandersons," (HI "Sar-tai-Mcsa" ar^; aW.t>i 88/89 HIGH HOLBORN, Sij Pall Mall East, S.W. , hy all dealers everywhere. Get tha kooxitf. LONDON, W.C. -^^awK^^aR^^a^a,^^ ^_ ri—« • i M •BLUIUUM a •••••• THrriirilllll«aMMMH«naMigwrgnMPB^^ '•"•- -.••*™»' 4+ ADVERTISEMENTS. T|5 AMATBUR * ILFORD PLATES iLUSTRATED IffiEKlYTn'OPDiCE 5rfSB-BV-AM8SStlY.KiNTCn} fl ILFORD a- • PA P E R S FINE-ART PHOTOGRAPHY - SOLD BY ALL DEALERS EVERYWHERE « Full Price Lists post free from ILFORD, Limited, ILFORD, LONDON, E. <tf •f.*,lll»Hiy |||.i « ».F^..^....-r.ft«WM——————P---*- AJJJJJJJJJJJJJ t l UMJWII ADVERTISEMENTS. PHOTOGRAPHIC SALON, 1905. Open from the 15th September to the 21st October, 1905. from 10 a.m. to 6 p.m. Also on Wednesday and Saturday evenings from 7 p.m. to 9.30 p.m. LIST of MEMBERS of the LINKED RING, who conduct the PHOTOGRAPHIC SALON. C. YARNALL ABROTT, A. ALEXANDRE, BERNARD ALFIKRI, J. CRAIG ASNAN, ERNEST R. ASHTON, W. SMEDLEY ASTON, HAROLD BAKER, WALTER BENINOTON, SHAPOOR N. BHEDWAR. DAVID BLOUNT, F. A. BOLTON, MAURICE BREMARD, TOM BRIGHT, MAURICE BUCQUET, ARTHUR BURCHETT, A. BUSCHBEK, \Y. A. CADBY, MRS. CARINK CADBY, EUSTACE CALLAND, H. HAY CAMERON, LYONEI. CLARK, A. L, COBURN, ARCHIBALD COCHRANE, HECTOR COLARD, WALTER L. A splendid negative COLLS, REGINALD CRAIGIE, I. CRUWYS-RICHARDS, L- DAVID, GEORGE DAVISON, F. HOLLAND DAY, ROBERT DEMACHY, M/RY DEVENS, medium for all svbjects W. B. DYER, R. EICKEMEYER, CHARLES EMANUEL, FRANK EUGENE, requiring better rendering FREDERICK H. EVANS, COL. J. GALE, JOHN PATTISON GIBSON, KARL of colour values. GREGER, GEORGES GRIMPREL, J. M. C GROVE, HUGO II EN NEB ERG, A. HLLDESHEIMER, A. HORSLEY HLNTON, FREDERICK IIOLLYER, CHARLES JOB, MRS. GERTRUDE KASRBIER, ALEXANDER KEIGHLEY, Wellington & Ward, JOSEI'H T. Kl.tLEY, 11E1NRICH KuHN, ROUILLE LADEVRZE, VlSCOUNT Elstrae, Hem. MAITLAND, THOMAS MANLY, ALIREJ MASKELL, BARON A. DE MEYER, CHARLES MOSS, WARD MUIR, C. PUYO, RALPH W. ROBINSON, Other Grades;— MRS. MARGARET RUSSELL, OTTO SCHARF, MRS. E. L. WATSON- SCHLTZE, MRS. SARAH C. SEARS, DR. F. VON SUTZER, EDUARD J. SPEEDY . STEICHEN, ALFRED STIEGUTZ, EDMUND STIRLING, J. STRAKOSCH, LANDSCAPE . FRANK M. SUTCLIKKE, CARL ULRICH, J. B. B. WELLINGTON, H. VAN LANTERN. DER WEYDI, CLARENCE WHITE, W. WILLIS. ORTHO PROCESS . REGINALD CRAIGIE, Honorary Secretary, The pictures from America end France have Ucn selected by the American and French Members of the Linked Ring. (Iisessi •ESHH •mw—nii 1 11 - 1 n 1 •• in 1 ii • ~Z~^^m—fl^a—la*—WBf—TT"^T7 .r.zr.^C^=r.T^T.J HBP THERE IS ONLY £100 PRIZE COMPETITION Presyttl&i amd F.nl<j Form Frtt, ONE BEST 70/- SET CLOSING DAY, Oct. \f\, 1905. • Deaiora and Photographers wilt ten you It U "ROYAL RUBY" AD VSR TISEMfiXTS. iFORNTi-PlCKARD TRIPLE EXTENSION. ' *.:. m . am IP'N.&G.'REFLEX "IMPERIAL" Self-Focussing TRIPLE EXTENSION OUTFIT. PqmppQ WITH SQUARE- UltlllUl a REFLECTOR. KING OF CAMERAS. A Superb and Pcrfeot Camera, suit­ able for r very Claw tf Work, with ALL MOVEMENTS ACTUATED AND HE 'N. & G.' Square-Reflector CONTROLLED BY RACK f* PINION. Camera ensures dead accuracy T of focus under all conditions, "ROYAL RUBY" OUTFIT, with Triple F.xteiiiiun Camera. Turntabl-, Three-Fold Tripod, Plate Holder, " Royal" Time aid Instantaneous and renders the mechanical adjust­ Shutter with Speed Indicator and Time Exposure ments necessary for taking a Valve, liali'-]ili!(- *in, picture practically automatic. The Long £11 2s, Get* importance of this absence of BxtensdoB Short rocua guesswork and uncertainty, leaving 22 in.; in 3 Indies. Half-plato the mind absolutely free to consider SIM. WHATEVER MAKE OF CAMERA YOU BUY, the artistic aspects of the picture, init*: on It l-eiiig fitted will- >h* SOItfE PERTINENT POINTS. THOnNTON-PICKARD can only be realised by those who REAL LEATHER BELLOWS. Thta n»Oat Im­ have used a good Camera of this portant feature should ho •peclally note J. Many ao-c»ued cheap Cameras are fittod with Bellows Patent type. It always brings success NOT of leather hut of a poor substitute for that Time within the reach of Beginners who, material, Bocb Cameras are not aerficsabic. Exposure Inclit on the Tborntor.-Fiehard "Imperial" and for any reason, have been unable you will obtain a Camera with REAL LEATHER. Valve BELLOWS. 8,0 to master a scale-focussing Camera, extra. and it gives to the oldest Expert SPRING STRETCHERS.—Thuao make tho ereo- tloo of the C#mera practloi'ly automatic. They increased confidence when doing are flitod to BOTH FRONT AND B\CK. which difficult work. they look at" right angioa to. and in "dead true" perpendicular with tho base-board. The great convenience in practlco of these Spring Slretchora cannot bo ovcr-e all mated. MOVEMENTS-—The "Imperial" liaaaGREATER BAMOE or MOVEMENTS tlian any other Camera Illustrated Ait Booklet, 6d. at a similar price. These IncludO Triple Swine TIME AND INSTANTANEOUS. Peit Fret. Front, Triple Swing- Back. Rising. Falling, and The iDOU perfect and reliable of all Shutters. Croia Front. Reversing Bp.ok for Horizontal and The *ma)!*vl «i«e cive* (with valve! :— Vertical Picture*, Long Extension, Wide Angle Short ••Time" Exposuresof (, i *, and I, Movement, and Revolving Turntable. ?. and i oecondt. Instantaneous Exposures upiolftCth of a Mcond. Prolonged Tlmo Exposures NEWMAN & GUARDIA, SPECIFICATION. of ar.y duration. LIMITED. TRIPLE EXTENSION" CAMERA, fitted with LEATHER Equal Illumination all over the plate. BELLOWS and fa; practical nufvcmcai. 90 & 92, Shaftesbury Avenue, Behind Ixa*, Tim •ad loilanl*'>eoai Shutter with Speed Absolutely without Vibration. Indicator, fitted M Cv-ser* front, riving ipeedi l/15to to L«Bh LONDON, W. we. and TIME EXPOSURES. Tbree-fotd Asfc Tr~od Stand. Double Book-fcr= Dark SH<k. CfmfttUCaiai'iur Pert fttt- Beek Symmetric Lent *it>i Iris Diaphrapn. HALF-PLATE SIZE 70 - THORNTON-PICKARD Manufacturing Co., Ltd., Mado in an SIZES j.piate to j-piate- ALTR1NCHAIW. miiiMwinnwi IIHIWIIHII faiWW M—I ppp -* •HIinilllHllllO—iWgHMssaag^aS r;f-S'"**""rTTT I .JUSHM ^Z) VERTISEMRMTS, FOREWORDS. Pictures made Uis:ble Image. by the Ozotype Unrewr$cd Prims. process are not like ordinary TO OUR CRITICS. iC photographs, but more nearly resemble water-colour drawings. The colours Some critics will persist in thinking, and saying, are carefully selected from the best artist's pigments, that some methods of art are right and others are and the results are absolutely wrong. permanent. As a medium for artistic ^^ expression Ozotype is unequalled. It It seems only too easy for the partisan critic to is also the simplest and easiest pigment process to work. Wellington Road, Kentish Town, be blind to the merits of a thing well done in a ivay THE OZOTYPE COMPANY, LONDON, N.W. of which he disapproves, and blind also to the defects of T. & R. ANNAN & SONS' a thing ill-done in the way of which he approves. fVcw Address is - . - 518, SAUCHIEHALL STREET, GLASGOW. An Illustrated Catalogue of Aulotype Reproductions may be had, post free for Sixpence. Photogravure and Half-Tone Process Work of Finest Quality. GLASGO.W : 518, SAUCHIEHALL STREET. IBB nrmf t M " " ™ \ttrrrm - — MBaMtafl £,.;:::-:- n-feeteekfel AD VER TISEMENTS. Catalogue. ROSS LENSES The prices In tlie Catalogue refer to the Pictures framed as they hang. Duplicates can be obtained In most A GREATER CHOICE THAN OFFERED cases. BY ANY OTHER MANUFACTURER. Information concerning Pictures not priced, which may, For the Amateur, for the Professional Photographer, however, be for sale, and all further particulars, and for the Process Worker.
Load more

Recommended publications
  • The Art of Victorian Photography
    THE ART OF VICTORIAN Dr. Laurence Shafe [email protected] PHOTOGRAPHY www.shafe.uk The Art of Victorian Photography The invention and blossoming of photography coincided with the Victorian era and photography had an enormous influence on how Victorians saw the world. We will see how photography developed and how it raised issues concerning its role and purpose and questions about whether it was an art. The photographic revolution put portrait painters out of business and created a new form of portraiture. Many photographers tried various methods and techniques to show it was an art in its own right. It changed the way we see the world and brought the inaccessible, exotic and erotic into the home. It enabled historic events, famous people and exotic places to be seen for the first time and the century ended with the first moving images which ushered in a whole new form of entertainment. • My aim is to take you on a journey from the beginning of photography to the end of the nineteenth century with a focus on the impact it had on the visual arts. • I focus on England and English photographers and I take this title narrowly in the sense of photographs displayed as works of fine art and broadly as the skill of taking photographs using this new medium. • In particular, • Pre-photographic reproduction (including drawing and painting) • The discovery of photography, the first person captured, Fox Talbot and The Pencil of Light • But was it an art, how photographers created ‘artistic’ photographs, ‘artistic’ scenes, blurring, the Pastoral • The Victorian
    [Show full text]
  • Pre-Raphaelites: Victorian Art and Design, 1848-1900 February 17, 2013 - May 19, 2013
    Updated Wednesday, February 13, 2013 | 2:36:43 PM Last updated Wednesday, February 13, 2013 Updated Wednesday, February 13, 2013 | 2:36:43 PM National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 Pre-Raphaelites: Victorian Art and Design, 1848-1900 February 17, 2013 - May 19, 2013 Important: The images displayed on this page are for reference only and are not to be reproduced in any media. To obtain images and permissions for print or digital reproduction please provide your name, press affiliation and all other information as required (*) utilizing the order form at the end of this page. Digital images will be sent via e-mail. Please include a brief description of the kind of press coverage planned and your phone number so that we may contact you. Usage: Images are provided exclusively to the press, and only for purposes of publicity for the duration of the exhibition at the National Gallery of Art. All published images must be accompanied by the credit line provided and with copyright information, as noted. Ford Madox Brown The Seeds and Fruits of English Poetry, 1845-1853 oil on canvas 36 x 46 cm (14 3/16 x 18 1/8 in.) framed: 50 x 62.5 x 6.5 cm (19 11/16 x 24 5/8 x 2 9/16 in.) The Ashmolean Museum, Oxford, Presented by Mrs. W.F.R. Weldon, 1920 William Holman Hunt The Finding of the Saviour in the Temple, 1854-1860 oil on canvas 85.7 x 141 cm (33 3/4 x 55 1/2 in.) framed: 148 x 208 x 12 cm (58 1/4 x 81 7/8 x 4 3/4 in.) Birmingham Museums and Art Gallery, Presented by Sir John T.
    [Show full text]
  • Download PDF Version
    100 Books With Original Photographs 1846–1919 PAUL M. HERTZMANN, INC. MARGOLIS & MOSS 100 BOOKS With ORIGINAL PHOTOGRAPHS 1846–1919 PAUL M. HERTZMANN, INC. MARGOLIS & MOSS Paul M. Hertzmann & Susan Herzig David Margolis & Jean Moss Post Office Box 40447 Post Office Box 2042 San Francisco, California 94140 Santa Fe, New Mexico 87504-2042 Tel: (415) 626-2677 Fax: (415) 552-4160 Tel: (505) 982-1028 Fax: (505) 982-3256 E-mail: [email protected] E-mail: [email protected] Association of International Photography Art Dealers Antiquarian Booksellers’Association of America Private Art Dealers Association International League of Antiquarian Booksellers 90. TERMS The books are offered subject to prior sale. Customers will be billed for shipping and insurance at cost. Payment is by check, wire transfer, or bank draft. Institutions will be billed to suit their needs. Overseas orders will be sent by air service, insured. Payment from abroad may be made with a check drawn on a U. S. bank, international money order, or direct deposit to our bank account. Items may be returned within 5 days of receipt, provided prior notification has been given. Material must be returned to us in the same manner as it was sent and received by us in the same condition. Inquiries may be addressed to either Paul Hertzmann, Inc. or Margolis & Moss Front cover and title page illustrations: Book no. 82. 2 introduction his catalog, a collaborative effort by Paul M. Hertzmann, Inc., and Margolis & Moss, T reflects our shared passion for the printed word and the photographic
    [Show full text]
  • Anne Brigman Visionary in Modern Photography
    ANNE BRIGMAN VISIONARY IN MODERN PHOTOGRAPHY Photographer, poet, critic, and mountaineer, Anne Brigman (1869-1950) is best known for her figurative landscape images made in the Sierra Nevada in the early 1900s. During her lifetime, Brigman’s significance spanned both coasts of the United States. In Northern California, where she lived and worked, she was a leading Pictorialist photographer, a proponent of the Arts & Crafts movement, and a participant in the burgeoning Berkeley/Oakland Bohemian community. On the East Coast her work was promoted by Alfred Stieglitz, who elected her to the prestigious Photo-Secession and championed her as a Modern photographer. Her final years were spent in southern California, where she wrote poetry and published a book of photographs and poems, Songs of a Pagan, the year before she died. This retrospective exhibition, with loans drawn from prestigious private and public collections around the world, is the largest presentation of Brigman’s work to date. ***** The exhibition is curated by Ann M. Wolfe, Andrea and John C. Deane Family Senior Curator and Deputy Director at the Nevada Museum of Art. We thank the following individuals for their scholarly contributions and curatorial guidance: Susan Ehrens, art historian and independent curator; Alexander Nemerov, Department Chair and Carl & Marilynn Thoma Provostial Professor in the Arts and Humanities at Stanford University; Kathleen Pyne, Professor Emerita of Art History at University of Notre Dame; and Heather Waldroup, Associate Director of the Honors College and Professor of Art History at Appalachian State University. ENTRANCE QUOTE Close as the indrawn and outgoing breath are these songs Woven of faraway mountains … and the planes of the sea … Gleaned from the heights and the depths that a human must know As the glories of rainbows are spun from the tears of the storm.
    [Show full text]
  • Century British Photography and the Case of Walter Benington by Robert William Crow
    Reputations made and lost: the writing of histories of early twentieth- century British photography and the case of Walter Benington by Robert William Crow A thesis submitted to the University of Gloucestershire in accordance with the requirements of the degree of Doctor of Philosophy in the Faculty of Arts and Technology January 2015 Abstract Walter Benington (1872-1936) was a major British photographer, a member of the Linked Ring and a colleague of international figures such as F H Evans, Alfred Stieglitz, Edward Steichen and Alvin Langdon Coburn. He was also a noted portrait photographer whose sitters included Albert Einstein, Dame Ellen Terry, Sir Arthur Conan Doyle and many others. He is, however, rarely noted in current histories of photography. Beaumont Newhall’s 1937 exhibition Photography 1839-1937 at the Museum of Modern Art in New York is regarded by many respected critics as one of the foundation-stones of the writing of the history of photography. To establish photography as modern art, Newhall believed it was necessary to create a direct link between the master-works of the earliest photographers and the photographic work of his modernist contemporaries in the USA. He argued that any work which demonstrated intervention by the photographer such as the use of soft-focus lenses was a deviation from the direct path of photographic progress and must therefore be eliminated from the history of photography. A consequence of this was that he rejected much British photography as being “unphotographic” and dangerously irrelevant. Newhall’s writings inspired many other historians and have helped to perpetuate the neglect of an important period of British photography.
    [Show full text]
  • Characterization, Contextualization and Reception of Robert Demachy's
    Julien Faure-Conorton Characterization, contextualization and reception of Robert Demachy’s photographic work (1859-1936) Ph.D. Thesis defended on 11 May 2015 at the École des Hautes Études en Sciences Sociales (EHESS), Paris to be granted the title of Doctor of Art History and Theory summa cum laude Examiners: - Jacques Aumont, Research Director, EHESS, Paris - Claire Barbillon, Professor, Poitiers University - Michel Frizot, Research Director Emeritus, CNRS, Paris (supervisor) - Bertrand Lavédrine, Professor, MNHN, Paris - François-René Martin, Professor, ENSBA, Paris - Anne de Mondenard, Curator, C2RMF, Paris Abstract: From 1894 to 1914, Robert Demachy (1859-1936) was the leader of French pictorial photography and his name became famous worldwide thanks to the excellence of his works. Touchstone of the Photo-Club de Paris, he is still considered today as one of the best “pictorialists” and remains one of the most important names in the history of French photography. Yet, until now, his work had never been studied extensively. This is the purpose of this thesis, which is not limited to the study of the pictorialist adventure but embraces all the phases and all the aspects of his work, from the 1870s to the 1930s. Almost 6000 original works of all kinds have been taken into account: negatives, prints, albums, glass slides, etc. Great technician, apostle of the pigment processes (gum bichromate, oil, oil transfer), Robert Demachy was also a prolific writer and his numerous articles had a decisive influence on the growth and legitimization of pictorial photography, from his technical instructions to his theoretical essays (notably those against “straight photography”). He also played a key role in the development of foreign pictorialism in France, especially British (Linked Ring) and American (Alfred Stieglitz’s Photo-Secession).
    [Show full text]
  • “He Hath Mingled with the Ungodly”
    ―HE HATH MINGLED WITH THE UNGODLY‖: THE LIFE OF SIMEON SOLOMON AFTER 1873, WITH A SURVEY OF THE EXTANT WORKS CAROLYN CONROY TWO VOLUMES VOLUME I PH.D. THE UNIVERSITY OF YORK HISTORY OF ART DECEMBER 2009 2 ABSTRACT This thesis focuses on the life and work of the marginalized British Pre-Raphaelite and Aesthetic homosexual Jewish painter Simeon Solomon (1840-1905) after 1873.This year was fundamental in the artist‘s professional and personal life, because it is the year that he was arrested for attempted sodomy charges in London. The popular view that has been disseminated by the early historiography of Solomon, since before and after his death in 1905, has been to claim that, after this date, the artist led a life that was worthless, both personally and artistically. It has also asserted that this situation was self-inflicted, and that, despite the consistent efforts of his family and friends to return him to the conventions of Victorian middle-class life, he resisted, and that, this resistant was evidence of his ‗deviancy‘. Indeed, for over sixty years, the overall effect of this early historiography has been to defame the character of Solomon and reduce his importance within the Aesthetic movement and the second wave of Pre-Raphaelitism. It has also had the effect of relegating the work that he produced after 1873 to either virtual obscurity or critical censure. In fact, it is only recently that a revival of interest in the artist has gained momentum, although the latter part of his life from 1873 has still remained under- researched and unrecorded.
    [Show full text]
  • Coburn Photographs 1912 to 1923
    Verity Andrews Section name Librar y A.L. Coburn and E.O. Hoppé , Photographs of artists 1912-1923 Special Collections featured item for October 2005 by Verity Andrews Alvin Langdon Coburn, 1882-1966 and Emil Otto Hoppé, 1878-1972. Photographs of artists 1912-1923 Selected from material held in the Coburn Collection, University of Reading Library Archives A. L.Coburn and E.O. Hoppé were contemporaries who both in their different ways advanced the art of photography. They were intimately involved in the artistic movements of their times, both photographed many of their fellow-artists and often shared subjects. Alvin Langdon Coburn Alvin Langdon Coburn, shown here in a portrait by Max Weber owned by Reading University, was born in Boston, Massachusetts, in 1882. He started taking photographs at the age of eight and by the time he was 15 had exhibited his work in Boston. From 1899 to 1912 he worked and travelled between America and Britain but after his marriage in 1912 he settled in Britain permanently. His work concentrated on landscapes and portraits, particularly of creative people. He produced both prints for exhibitions and finely produced books of photogravures. ©University of Reading 2007 Page 1 In October 1913 Coburn photographed ‘that brilliant and truculent figure’ Ezra Pound, who had recently defined the Imagist movement in poetry and was soon to champion Vorticism, the English variant of Cubism. ‘And then there was Ezra Pound!’ wrote Coburn in More Men of Mark, 1922. ‘But why do I speak of him in the past tense? Is not our Ezra always with us? At almost any private view of the very latest thing in Super- Modern Art are not his Leonine Mane and Large Lapis Coat Buttons to be found at the very heart and centre of the Vortex? … our Ezra is a fine fellow – a terrible adversary, but a staunch friend’.
    [Show full text]
  • Die Kunst in Der Photographie: Nostalgia and Modernity in the German Art Photography Journal, 1897–1908
    Die Kunst in der Photographie: Nostalgia and Modernity in the German Art Photography Journal, 1897–1908 A thesis submitted to the faculty of the University of Cincinnati College of Design, Architecture, Art, and Planning in partial fulfillment of the requirements for the degree of Master of Arts in Art History Emily Bauman March 2016 M.A., University of Cincinnati, 2008 B.A., University of Cincinnati, 2002 Committee members: Chair: Dr. Morgan Thomas Dr. Mikiko Hirayama Dr. Valerie Weinstein Abstract Die Kunst in der Photographie was an early art photography journal published in Berlin from 1897 to 1908. The photographs in its pages are predominantly nostalgic, with landscape and genre scenes that offer sentimentalized or ruralized depictions of contemporary life. This tendency to turn away from industrialization and to embrace a certain rusticity resonates with the Romantic ideals that saw their peak in the early half of the nineteenth century, seeming to imply that Die Kunst in der Photographie fixed a stubborn eye on the past. Yet portrait photographs in the journal reveal a focus on intersubjectivity—an attempt to put the viewer into contact with the distinct personality of the subject—which demonstrates a break from what had become the traditional conventions of photographic portraiture. Rather than emphasizing what the sitter looked like, these portraits display an inwardness of composition, depicting the sitter in shadows and with down-turned eyes. This inwardness cuts against the theatricality, and perhaps pompousness, of contemporaneous photographs that depicted the sitter surrounded by lavish objects, staring back at the viewer. These portraits provide a modern counterpart to the journal’s nostalgic landscape and genre scenes.
    [Show full text]
  • Camera Work (Alfred Stieglitz) the Complete Photographs
    Camera Work (Alfred Stieglitz) The complete Photographs @José Antonio Alcázar - elbojetivosubjetivo.com Camera Work (Alfred Stieglitz) The complete Photographs Contiene la colección completa de fotografías aparecidas en la revista “Cámera Work”. De la revista se publicaron 50 números entre 1910 y 1927. Fue la primera revista fotográfica eminentemente visual, y reconocida internacionalmente por la calidad de sus huecogragados. Comienza con una introducción de Pam Roberts, que fue conservador de la Real Sociedad Británica de Fotografía. La Introducción que ocupa unas 30 páginas, en cada uno de los tres idiomas en los que viene esta edición (Español, Italiano y Portugués) y el resto de las páginas hasta 552, quitando unas 5 para los índices y pies de página, está destinado a la reproducción de las fotos @José Antonio Alcázar - elbojetivosubjetivo.com Camera Work (Alfred Stieglitz) The complete Photographs La introducción hace una somera presentación de la figura de Alfred Stieglitz, fundador, editor, financiador, y el alma de Camera Work. Stieglitz fue un hombre polifacético, carismático, y muy polémico, y sin duda uno de los que más influyeron en el desarrollo de la fotografía, en una época en que aún no estaban claros los fines y posibilidades de esta disciplina en ciernes, ni los derroteros por los que habría de atravesar. Se hace también mención al trabajo de Stieglitz relacionado con su sala de exposiciones en el 291 de la Quinta Avenida de New York. Galería cuyas exposiciones estuvieron íntimamente relacionadas con las fotos que aparecieron en los diferentes números de la revista. @José Antonio Alcázar - elbojetivosubjetivo.com Camera Work (Alfred Stieglitz) The complete Photographs Es una gozada ver obras, algunas muy famosas, y otras casi desconocidas de grandes fotógrafos como Eduard Steichen, Paul Strand, Robert Demachy, George Davison, el propio Stieglitz.
    [Show full text]
  • Elias Goldensky: Wizard of Photography' Gary D
    Elias Goldensky: Wizard of Photography' Gary D. Saretzky Who would not, out of sheer vanity, like to have himself photographed by ... Elias Goldensky ... ? Sidney Allan [Sadakichi Hartmann], 1904 In June 1924, Elias Goldensky (1867-1943) traveled from his Philadel- phia studio to demonstrate his portrait photography technique at the Con- vention of the Ontario Society of Photographers in Toronto. To encourage attendance, the Society printed a publicity card with Goldenskys portrait. The text on the back reflects the esteem with which Goldensky was held by his professional colleagues: Mr. Elias Goldensky, the Wizard of Photography, is coming from Philadelphia to demonstrate at our convention .... He has dem- onstrated at Conventions perhaps more than any other living pho- tographer. He is a most interesting lecturer and has the great gift of being a natural teacher; he can, and will, solve your many light- ing problems. He will show how to so balance a lighting that he can light four subjects at opposite corners at one time, clever as this may be in its practical way; he will also demonstrate how to make pictorial work. He is an acknowledged artist, in addition to. his practical craftsmanship. Three Big Performances from the brain of this marvelous workman. You owe it to yourself to see and hear him. .2 The wizard did not disappoint his audience. As reported by the Toronto Star Weekly on June 28 under the headline, "King of the Camera Works Like Greased Lightning," Goldensky, described as "one of the six best in the coun- try," took 400 portraits in 55 minutes while keeping up an amusing running commentary: "Good morning, madam," he began, "in the ma-ter of portraits we have two sizes, one at six photos for twenty dollars, one at six for forty.
    [Show full text]
  • STIEGLITZ, Alfred (Editor). Camera Work 1904-1905: Issues 5-12
    87 Newtown Lane, East Hampton, New York 11937 T: 631-324-1131 F: 31-324-1191 E: [email protected] W: www.harpersbooks.com STIEGLITZ, Alfred (editor). Camera Work 1904-1905: Issues 5-12. New York: Camera Work, 1904-1905. Deluxe Editions. Large quartos. The publisher’s bound volumes of two years of Camera Work, 1904-1905, issues 5-12, two books in total; Eduard Steichen’s copies. One of a small number of such deluxe bound editions; very few have been offered in commerce. Historical association copies of the highest caliber: both books INSCRIBED by Alfred Stieglitz to Eduard Steichen. The 1904 volume reads: “To one true friend / from another true friend, / Eduard J. Steichen / from / Alfred Stieglitz / Feb. 17 1905 - / Third Anniversary / of the Photo-Secession’s Birth / after the surprise of 291 Fifth Avenue.” The 1905 volume reads: “To one who does - achieves - / and thereby helps us all - / Eduard J. Steichen / from his friend / Alfred Stieglitz / Christmas, 1905.” Light scuffing, hint of peeling; near fine copies in the publisher’s velour boards, with the Camera Work insignia blindstamped on the front covers, titles blindstamped on the spine. The binding has preserved the fragile contents, which are in remarkable condition; the wrappers are crisp, pages clean and bright, gravures uniformly immaculate. One of the greatest photobook associations of all-time, articulating nothing less than the origin of modern photography and art in America. $160,000.00 Contents of the issues are as follows: Number 5 includes six photogravures by Robert Demachy, one photogravure by Prescott Adamson, one photogravure by Frank Eugene, an essay by Joseph Keiley on Robert Demachy, an essay by Sadakichi Hartmann on criticism, quotations by James McNeill Whistler, and miscellaneous texts by F.H.
    [Show full text]