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Giovanni Crupi: Untitled
c. 1900, albumen silver print. Image size: 7″ x 9″, sheet size: 11″ x 14″ ($500–$1,000)
Giovanni Crupi was a noted photographer of landscapes, active in Taormina and Egypt. He taught photography to his apprentice and friend Wilhelm Von Gloeden.
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c. 1900, albumen silver print. Image size: 7″ x 9″, sheet size: 11″ x 14″ ($500–$1,000)
Giovanni Crupi was a noted photographer of landscapes, active in Taormina and Egypt. He taught photography to his apprentice and friend Wilhelm Von Gloeden.
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Edward S. Curtis: Klamath Matron
1923, photogravure from The North American Indian, Volume 13. Image size: 7.5″ x 5.5″, sheet size: 12.5″ x 9.5″ ($200–$400)
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1923, photogravure from The North American Indian, Volume 13. Image size: 7.5″ x 5.5″, sheet size: 12.5″ x 9.5″ ($200–$400)
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William Edward Dassonville: High Sierra in Snow
1920s, Dassonville’s own hand-coated paper, estate stamps on verso, including one stamp signed by Donald P. Dassonville. Numbered 4070 in pencil.. Image size: 6.5″ x 11″, sheet size: 9″ x 13.375″ ($750–$1,500)
William Edward Dassonville (1879-1957) was a California photographer primarily known for his landscapes. He was an associate of Ansel Adams and worked with William Keith, George Stirling, Maynard Dixon and John Muir. Born in Sacramento, CA, Dassonville contributed to Camera Craft. In 1904 Dassonville became secretary of the California Camera Club, then the world’s largest amateur photographer’s organization, and also contributed to Camera Craft, the club’s influential journal.
In the 1920s Dassonville created a velvety surfaced photographic printing paper that was a favorite among Pictorialist photographers, though the formula is now lost. He sold his studio in 1924 in order to manufacture the paper full time.
His chemistry was heralded by Ansel Adams and Imogen Cunningham, and he exhibited alongside Alfred Stieglitz, Clarence White and Gertrude Kasebier.
Provenance: Estate of William Dassonville.
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1920s, Dassonville’s own hand-coated paper, estate stamps on verso, including one stamp signed by Donald P. Dassonville. Numbered 4070 in pencil.. Image size: 6.5″ x 11″, sheet size: 9″ x 13.375″ ($750–$1,500)
William Edward Dassonville (1879-1957) was a California photographer primarily known for his landscapes. He was an associate of Ansel Adams and worked with William Keith, George Stirling, Maynard Dixon and John Muir. Born in Sacramento, CA, Dassonville contributed to Camera Craft. In 1904 Dassonville became secretary of the California Camera Club, then the world’s largest amateur photographer’s organization, and also contributed to Camera Craft, the club’s influential journal.
In the 1920s Dassonville created a velvety surfaced photographic printing paper that was a favorite among Pictorialist photographers, though the formula is now lost. He sold his studio in 1924 in order to manufacture the paper full time.
His chemistry was heralded by Ansel Adams and Imogen Cunningham, and he exhibited alongside Alfred Stieglitz, Clarence White and Gertrude Kasebier.
Provenance: Estate of William Dassonville.
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Edmund J. Duffy: Brass
1930s, silver print, title in pencil on recto of the mount; signed with studio name and address in pen on verso of mount, along with Museum of Science and Industry stamp and label with January 1934 date of accession. Comes with a letter of certification from the director and head curator of the museum.. Image size: 10.3125″ x 10.375″, sheet size: mounted 19.5″ x 15.375″ ($900–$1,500)
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1930s, silver print, title in pencil on recto of the mount; signed with studio name and address in pen on verso of mount, along with Museum of Science and Industry stamp and label with January 1934 date of accession. Comes with a letter of certification from the director and head curator of the museum.. Image size: 10.3125″ x 10.375″, sheet size: mounted 19.5″ x 15.375″ ($900–$1,500)
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John Dugdale: The Clandestine Mind (21st Editions: The Journal of
Contemporary Photography, Volume III)
1999, book, deluxe edition, 57/110, 7 photogravures, yes. Image size: 15.125″ x 13.375″ x 1″ book, sheet size: 17″ x 14.875″ x 2″ clamshell case ($3,000–$4,000)
Volume III, entitled The Clandestine Mind, is devoted entirely to the lyrical work of John Dugdale. This master photographer’s elegant male nudes and still lifes, printed in rich blue inks to match the original tones of his cyanotypes, are complemented by a short prayer for Dugdale by Pulitzer Prize winner Robert Olen Butler; a poem by prize-winning poet Morri Creech; and an essay by John Wood.
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Contemporary Photography, Volume III)
1999, book, deluxe edition, 57/110, 7 photogravures, yes. Image size: 15.125″ x 13.375″ x 1″ book, sheet size: 17″ x 14.875″ x 2″ clamshell case ($3,000–$4,000)
Volume III, entitled The Clandestine Mind, is devoted entirely to the lyrical work of John Dugdale. This master photographer’s elegant male nudes and still lifes, printed in rich blue inks to match the original tones of his cyanotypes, are complemented by a short prayer for Dugdale by Pulitzer Prize winner Robert Olen Butler; a poem by prize-winning poet Morri Creech; and an essay by John Wood.
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Leonard Eiger: Water, Croton Dam
1977, platinotype, signed, titled, dated on recto. Image size: 7.5″ x 9.375″, sheet size: 10.75″ x 13.75″ ($200–$400)
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1977, platinotype, signed, titled, dated on recto. Image size: 7.5″ x 9.375″, sheet size: 10.75″ x 13.75″ ($200–$400)
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Harold Feinstein: Soldiers, Ice and Fog
1952 / printed 1979 by Feinstein on Portriga paper, silver print, signed recto. Image size: 7.75″ x 8.5″, sheet size: 11″ x 14″ ($3,000–$6,000)
Courtesy and © Harold Feinstein Photography Trust.
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1952 / printed 1979 by Feinstein on Portriga paper, silver print, signed recto. Image size: 7.75″ x 8.5″, sheet size: 11″ x 14″ ($3,000–$6,000)
Courtesy and © Harold Feinstein Photography Trust.
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Susan Fenton: Antigua #1
2016, hand-colored silver print, AP, signed, titled, dated, and numbered verso. Image size: 11.875″ x 11.875″, sheet size: 22″ x 17″ ($2,000–$3,000)
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2016, hand-colored silver print, AP, signed, titled, dated, and numbered verso. Image size: 11.875″ x 11.875″, sheet size: 22″ x 17″ ($2,000–$3,000)
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Stephen Fletcher: Barn Alongside 500E, Clinton County, Indiana
1998, silver print, signed, titled, and dated on mat recto; signed, titled, dated, and notated verso. Image size: 7.875″ x 7.875″, sheet size: 10.5″ x 10.5″, framed 26″ x 16″ ($250–$500)
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1998, silver print, signed, titled, and dated on mat recto; signed, titled, dated, and notated verso. Image size: 7.875″ x 7.875″, sheet size: 10.5″ x 10.5″, framed 26″ x 16″ ($250–$500)
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Fran Forman: Portals
2016, archival pigment print, ed. 3/10, signed, titled, dated, and numbered verso. Image size: 9″ x 13″, sheet size: 13″ x 19″ ($900–$1,400)
Published in The Rest Between Two Notes: Selected Works by Fran Forman (Unicorn, UK, 2020).
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2016, archival pigment print, ed. 3/10, signed, titled, dated, and numbered verso. Image size: 9″ x 13″, sheet size: 13″ x 19″ ($900–$1,400)
Published in The Rest Between Two Notes: Selected Works by Fran Forman (Unicorn, UK, 2020).
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Godfrey Frankel: Men Sitting on Bench
1947, silver print, signed verso. Image size: 10.75″ x 10.5″, sheet size: 10.75″ x 10.5″ ($500–$1,000)
(Courtesy of Stephen Frankel)
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1947, silver print, signed verso. Image size: 10.75″ x 10.5″, sheet size: 10.75″ x 10.5″ ($500–$1,000)
(Courtesy of Stephen Frankel)
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Judy Gelles: To Improve, St. Lucia, Public School
2015, archival pigment print, on di-bond with frame back, ed. 1/1, signed and dated verso. Image size: 20″ x 16″, sheet size: 20″ x 16″ ($900–$1,500)
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2015, archival pigment print, on di-bond with frame back, ed. 1/1, signed and dated verso. Image size: 20″ x 16″, sheet size: 20″ x 16″ ($900–$1,500)
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Ann Ginsburgh Hofkin: Botswana_04_7
2004, archival pigment print, signed verso. Image size: 30.5″ x 24″, sheet size: 35″ x 28″ ($600–$900)
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2004, archival pigment print, signed verso. Image size: 30.5″ x 24″, sheet size: 35″ x 28″ ($600–$900)
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Tom Goodman: Railcars # (from the Second Sight series)
2024, archival pigment print, ed. 1/15, signed, titled, dated, and numbered verso. Image size: 12″ x 16″, sheet size: 13″ x 19″ ($500–$1,000)
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2024, archival pigment print, ed. 1/15, signed, titled, dated, and numbered verso. Image size: 12″ x 16″, sheet size: 13″ x 19″ ($500–$1,000)
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Photographie und Verlag Von C. Haack in Wien: Wien (Schönbrunn Palace)
1880s, albumen print, title, photographer and publisher credit and right limitation printed on mount recto. Image size: 7.875″ x 10.625″, sheet size: mount 13″ x 17″ ($200–$400)
Published by P. Kaeser’s Kunsthandlung.
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1880s, albumen print, title, photographer and publisher credit and right limitation printed on mount recto. Image size: 7.875″ x 10.625″, sheet size: mount 13″ x 17″ ($200–$400)
Published by P. Kaeser’s Kunsthandlung.
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Margo L. Hamilton: Brasserie Le President — Paris
2009, archival pigment print, signed recto. Image size: 10″ x 15.25″, sheet size: 13″ x 18.5″ ($300–$600)
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2009, archival pigment print, signed recto. Image size: 10″ x 15.25″, sheet size: 13″ x 18.5″ ($300–$600)
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John K. Hillers: Chelley Canyon, Arizona, Looking West
c. 1880, albumen print from wet plate negative, title and photographer’s signature in pencil on mount below photograph. Image size: 9.8125″ x 12.9375″, sheet size: 12.5″ x 19″ ($1,200–$1,750)
See: Fowler, The Western Photographs of John K. Hillers: Myself in the Water, p.122.
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c. 1880, albumen print from wet plate negative, title and photographer’s signature in pencil on mount below photograph. Image size: 9.8125″ x 12.9375″, sheet size: 12.5″ x 19″ ($1,200–$1,750)
See: Fowler, The Western Photographs of John K. Hillers: Myself in the Water, p.122.
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John K. Hillers: Navajo Church near Fort Wingate, NM
1882, albumen print from wet plate negative, title and photographer’s name reversed out of the negative. Image size: 13.125″ x 9.75″, sheet size: 19″ x 12.5″ mount ($1,200–$1,750)
See: Fowler, The Western Photographs of John K. Hillers: Myself in the Water, p.122.
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1882, albumen print from wet plate negative, title and photographer’s name reversed out of the negative. Image size: 13.125″ x 9.75″, sheet size: 19″ x 12.5″ mount ($1,200–$1,750)
See: Fowler, The Western Photographs of John K. Hillers: Myself in the Water, p.122.
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E. O. Hoppé: Befestigen der Hülle, Germany
c. 1930, photogravure. Image size: 7.75″ x 6″, sheet size: 10.875″ x 8.75″ ($250–$500)
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c. 1930, photogravure. Image size: 7.75″ x 6″, sheet size: 10.875″ x 8.75″ ($250–$500)
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George Hurrell: Shannon Tweed, Reclining Nude with Dog
1982 / 1995, silver print, ed. 9/250, with embossed blindstamp and ink initials on recto in the bottom margin, and with Playboy Special Editions Limited stamp on verso. Image size: 17″ x 20.875″, sheet size: 20″ x 24″ ($1,500–$2,000)
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1982 / 1995, silver print, ed. 9/250, with embossed blindstamp and ink initials on recto in the bottom margin, and with Playboy Special Editions Limited stamp on verso. Image size: 17″ x 20.875″, sheet size: 20″ x 24″ ($1,500–$2,000)
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