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Peter Stackpole: Building the San Francisco Bay Bridge
1935, vintage silver print, signed and dated on mount recto. Image size: 6.375″ x 9.625″, sheet size: 6.375″ x 9.625″ ($1,300–$2,600)
Peter Stackpole, The Bridge Builders: Photographs and Documents of the Raising of the San Francisco Bay Bridge, 1934–1936 (1984), frontispiece [therein titled: At the top of a tower bridgemen prepare to push a preassembled section of the catwalk into place.]
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1935, vintage silver print, signed and dated on mount recto. Image size: 6.375″ x 9.625″, sheet size: 6.375″ x 9.625″ ($1,300–$2,600)
Peter Stackpole, The Bridge Builders: Photographs and Documents of the Raising of the San Francisco Bay Bridge, 1934–1936 (1984), frontispiece [therein titled: At the top of a tower bridgemen prepare to push a preassembled section of the catwalk into place.]
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Isaiah West Taber: Santa Clara Street and the Electric Light Tower, San Jose, CA
1880s, albumen print, number (“3751″), titles, and with photographer name and location recto. Image size: 7.625″ x 9.5625″, sheet size: 11.5″ x 14.75” mounted ($750–$1,500)
The San Jose electric light tower, also known as Owen’s Electric Tower after its creator and chief booster, was constructed in 1881 at an intersection in downtown San Jose, CA, as a ‘high light’ or moonlight tower to light the city using arc lights. A pioneer use of electricity for municipal lighting, it was later strung with incandescent bulbs and was destroyed in a storm in December 1915.
The electric light tower was proposed by J. J. Owen, publisher of the San Jose Mercury, the precursor of The Mercury News, as a way of lighting the entire center of San Jose on the ‘high light’ principle, at less expense than gas street lighting. Owen was inspired by the electric lighting in San Francisco, the first in the world, which he had visited in 1879. He designed the tower, estimating that it would require $5,000 and one month to build it. Just under $3,500 was raised by public subscription, and groundbreaking took place on August 11, 1881. The tower was dedicated on December 13 the same year.
As built, the tower was 207 feet (63 m) tall, topped by a platform holding six arc lamps with a diffusing and protective shield above them and a 30 ft. (9.1 m.) flagpole for a total height of 237 feet (72 m.) and a total of 24,000 candlepower. It stood on a brick foundation and spanned the intersection of Santa Clara and Market Streets. It was made of hollow iron pipe and braced with iron hoops. Owen modeled it on the moonlight tower built earlier in 1881 in Akron, OH, widening the base to 75 feet (23 m.) square, so that supporting cables would not be needed; the Akron tower collapsed when the cables broke.
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1880s, albumen print, number (“3751″), titles, and with photographer name and location recto. Image size: 7.625″ x 9.5625″, sheet size: 11.5″ x 14.75” mounted ($750–$1,500)
The San Jose electric light tower, also known as Owen’s Electric Tower after its creator and chief booster, was constructed in 1881 at an intersection in downtown San Jose, CA, as a ‘high light’ or moonlight tower to light the city using arc lights. A pioneer use of electricity for municipal lighting, it was later strung with incandescent bulbs and was destroyed in a storm in December 1915.
The electric light tower was proposed by J. J. Owen, publisher of the San Jose Mercury, the precursor of The Mercury News, as a way of lighting the entire center of San Jose on the ‘high light’ principle, at less expense than gas street lighting. Owen was inspired by the electric lighting in San Francisco, the first in the world, which he had visited in 1879. He designed the tower, estimating that it would require $5,000 and one month to build it. Just under $3,500 was raised by public subscription, and groundbreaking took place on August 11, 1881. The tower was dedicated on December 13 the same year.
As built, the tower was 207 feet (63 m) tall, topped by a platform holding six arc lamps with a diffusing and protective shield above them and a 30 ft. (9.1 m.) flagpole for a total height of 237 feet (72 m.) and a total of 24,000 candlepower. It stood on a brick foundation and spanned the intersection of Santa Clara and Market Streets. It was made of hollow iron pipe and braced with iron hoops. Owen modeled it on the moonlight tower built earlier in 1881 in Akron, OH, widening the base to 75 feet (23 m.) square, so that supporting cables would not be needed; the Akron tower collapsed when the cables broke.
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Isaiah West Taber: Wawona (Giant California Redwood)
c.1880, albumen print, photographer’s name and location and titled in negative “A 270 “Wawona” – 28 feet diameter, 275 feet high-Mariposa Grove” reversed out in strip at the bottom of the image. Written in period ink on verso: “Amerika. California, Yosemite.”. Image size: 11.75″ x 8.25″, sheet size: 11.75″ x 8.25″ ($750–$1,500)
A very rich and beautiful print. See: Francoise Heilbrun and Quentin Bajac: Orsay: La Photographie (editions Scala 2000) p. 70 for a very slight variant.
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c.1880, albumen print, photographer’s name and location and titled in negative “A 270 “Wawona” – 28 feet diameter, 275 feet high-Mariposa Grove” reversed out in strip at the bottom of the image. Written in period ink on verso: “Amerika. California, Yosemite.”. Image size: 11.75″ x 8.25″, sheet size: 11.75″ x 8.25″ ($750–$1,500)
A very rich and beautiful print. See: Francoise Heilbrun and Quentin Bajac: Orsay: La Photographie (editions Scala 2000) p. 70 for a very slight variant.
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Stephen Thompson: 306. Musical Instruments
c.1870, albumen print from wet collodion negative, title and previous owner’s stamp on mount recto. Image size: 9.375″ x 11.25″, sheet size: 14″ x 17.875″ original mount ($800–$1,600)
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c.1870, albumen print from wet collodion negative, title and previous owner’s stamp on mount recto. Image size: 9.375″ x 11.25″, sheet size: 14″ x 17.875″ original mount ($800–$1,600)
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Ruth Thorne-Thomsen: Limbo Man, Wisconsin, from the series Songs of the Sea
1992, silver print, ed. 2/25, signed, titled, dated, and numbered verso. Image size: 4.5″ x 5.5″, sheet size: 4.5″ x 5.5″ ($5,000–$8,000)
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1992, silver print, ed. 2/25, signed, titled, dated, and numbered verso. Image size: 4.5″ x 5.5″, sheet size: 4.5″ x 5.5″ ($5,000–$8,000)
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Lincoln H. Turner: Crucifix in the Narthex (St. John’s Cathedral)
nd, platinum print, ed. 4/25, signed and numbered recto. Image size: 8.25″ x 6.5″, sheet size: 20″ x 16″ ($300–$600)
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nd, platinum print, ed. 4/25, signed and numbered recto. Image size: 8.25″ x 6.5″, sheet size: 20″ x 16″ ($300–$600)
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Unknown: Brooklyn Bridge
c. 1880, albumen print . Image size: 4.625″ x 7.5″, sheet size: 4.625″ x 7.5″ ($300–$600)
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c. 1880, albumen print . Image size: 4.625″ x 7.5″, sheet size: 4.625″ x 7.5″ ($300–$600)
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Unknown: Woman and Child in Sailboat
c.1905, unique later print 1995, color carbon print. Image size: 9.875″ x 7″, sheet size: 10″ x 7.25″ ($300–$400)
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c.1905, unique later print 1995, color carbon print. Image size: 9.875″ x 7″, sheet size: 10″ x 7.25″ ($300–$400)
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Unknown: Group portrait of theater troupe (25 male subjects many in female costumes)
c. 1900, vintage silver gelatin or albumen print. Image size: 7″ x 13″, sheet size: 16″ x 20″ ($200–$400)
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c. 1900, vintage silver gelatin or albumen print. Image size: 7″ x 13″, sheet size: 16″ x 20″ ($200–$400)
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Unknown: Woman with two children
c. 1870s, tintype. Image size: 4.5″ x 3″, sheet size: 6.5″ x 4.25″ paper mount ($200–$400)
In original paper mount.
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c. 1870s, tintype. Image size: 4.5″ x 3″, sheet size: 6.5″ x 4.25″ paper mount ($200–$400)
In original paper mount.
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Vogue Magazine Photographer: Woman in Gown
1920s, silver print. Image size: 9.5″ x 7.5″, sheet size: 10″ x 8″ ($1,200–$1,500)
Provenance: photographer to Vogue; collection of Dr. Agha, Vogue’s art director. Probably late 1920s-early 1930s. Some of the photographers that Agha used in Vogue included Edward Steichen, Charles Sheeler, Hoyningen-Huene, Horst, Cecil Beaton, Anton Bruehl, Chalon, Lusha Nelson, Toni Frissell and Andre de Dienes.
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1920s, silver print. Image size: 9.5″ x 7.5″, sheet size: 10″ x 8″ ($1,200–$1,500)
Provenance: photographer to Vogue; collection of Dr. Agha, Vogue’s art director. Probably late 1920s-early 1930s. Some of the photographers that Agha used in Vogue included Edward Steichen, Charles Sheeler, Hoyningen-Huene, Horst, Cecil Beaton, Anton Bruehl, Chalon, Lusha Nelson, Toni Frissell and Andre de Dienes.
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Al Wachlin, Jr.: Pelham Road, Washburn, #192
2008, hand-coated silver gelatin print on Gampi paper, ed. 3/10, signed, titled, dated, and numbered verso. Image size: 14.5″ x 20″, sheet size: framed 22.75″ x 28.75″ ($600–$1,200)
This series has been featured in numerous group and solo shows including the Print Center, 3rd Street Gallery, the Woodmere Art Museum, PhoPA Gallery, Perkins Center for the Arts, and the Light Room Gallery.
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2008, hand-coated silver gelatin print on Gampi paper, ed. 3/10, signed, titled, dated, and numbered verso. Image size: 14.5″ x 20″, sheet size: framed 22.75″ x 28.75″ ($600–$1,200)
This series has been featured in numerous group and solo shows including the Print Center, 3rd Street Gallery, the Woodmere Art Museum, PhoPA Gallery, Perkins Center for the Arts, and the Light Room Gallery.
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Tony Ward: Wasteland
2005, archival pigment print, AP, signed recto. Image size: 13″ x 20″, sheet size: 15″ x 22.5″ ($1,000–$1,600)
Commission for Vault Productions, Amsterdam, The Netherlands.
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2005, archival pigment print, AP, signed recto. Image size: 13″ x 20″, sheet size: 15″ x 22.5″ ($1,000–$1,600)
Commission for Vault Productions, Amsterdam, The Netherlands.
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Bradford Washburn: South Crillon Glacier and Canoe, Alaska
1934/later, silver print, signed verso. Image size: 10″x13″, sheet size: 11″x14″ ($2,500–$3,500)
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1934/later, silver print, signed verso. Image size: 10″x13″, sheet size: 11″x14″ ($2,500–$3,500)
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Hiroshi Watanabe: Lotus Dreams 06
2018, toned gelatin silver print, ed. 2/10, signed, titled, dated, and numbered verso. Image size: 10″ x 10″, sheet size: 11″ x 14″ ($1,000–$2,000)
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2018, toned gelatin silver print, ed. 2/10, signed, titled, dated, and numbered verso. Image size: 10″ x 10″, sheet size: 11″ x 14″ ($1,000–$2,000)
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Christine Welch: Maxine’s Restaurant and Lounge, Ravine, PA
1995, chromogenic print, signed verso. Image size: 12.5″ x 18.125″, sheet size: framed 20.25″ x 24.25″ ($500–$1,000)
In the collection of the Philadelphia Museum of Art.
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1995, chromogenic print, signed verso. Image size: 12.5″ x 18.125″, sheet size: framed 20.25″ x 24.25″ ($500–$1,000)
In the collection of the Philadelphia Museum of Art.
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David H. Wells: Flower Market, Bangalore, India
2008/2024, chromogenic print, signed and titled recto. Image size: 11.75″ x 9″, sheet size: 14″ x 11″ ($200–$400)
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2008/2024, chromogenic print, signed and titled recto. Image size: 11.75″ x 9″, sheet size: 14″ x 11″ ($200–$400)
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Cole Weston: Bristlecone Pine Forest
1977, vintage chromogenic print, signed and dated recto, photographer’s stamp verso. Image size: 16″x19.5″, sheet size: mounted 20″x24″ ($1,400–$2,800)
Sold in part to benefit the Philadelphia Museum of Art.
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1977, vintage chromogenic print, signed and dated recto, photographer’s stamp verso. Image size: 16″x19.5″, sheet size: mounted 20″x24″ ($1,400–$2,800)
Sold in part to benefit the Philadelphia Museum of Art.
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