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Bearers Carrying Hydria, Parthenon Frieze
Albumen print, c. 1870s
9-10/10; 287 x 370 mm, mounted
$875.
Albumen print, c. 1870s
9-10/10; 287 x 370 mm, mounted
$875.
Chrysanthemum
Albumen print (hand-coloured), c. 1880s
9/10; 265 x 207 mm, mounted
$800.
An unusual and attractive still life from Japan.
Albumen print (hand-coloured), c. 1880s
9/10; 265 x 207 mm, mounted
$800.
An unusual and attractive still life from Japan.
Crown of St. Ferdinand, Seville
Albumen print, 1870s
9-10/10; 240 x 339mm, mounted
$825.
Albumen print, 1870s
9-10/10; 240 x 339mm, mounted
$825.
Decorative lamp post. Le Nouvel Opéra de Paris, Bronzes, No. 4
Albumen print, 1870s
Tonality 8/10, minor foxing.; 360 x 128 mm., mounted
$900.
Albumen print, 1870s
Tonality 8/10, minor foxing.; 360 x 128 mm., mounted
$900.
Detail on Palazzo Strozzi, Florence
Albumen print, 1870s
Tonality- 9/10; 240 x 188 mm., unmounted
$450.
Note there is a white strip with printing at the bottom edge of this print which is not illustrated.
Albumen print, 1870s
Tonality- 9/10; 240 x 188 mm., unmounted
$450.
Note there is a white strip with printing at the bottom edge of this print which is not illustrated.
Floral still life
Albumen print, c. 1856
8/10; 218 x 260 mm, unmounted
$1500.
One of Braun's early still life's intended for designers.
Albumen print, c. 1856
8/10; 218 x 260 mm, unmounted
$1500.
One of Braun's early still life's intended for designers.
Hyacinth
Albumen print, 1860s
Tonality- 10/10, minor creasing; 244 x 177 mm., unmounted with photographer's blindstamp on recto
$2400.
Famin is a striking example of a photographer who was little known from exhibitions and press coverage during the 19th century as he mostly produced his work as study aids for artists. Many of Famin's prints, however, were lodged with the Dépôt Légal in Paris from the late 1850s (therefore now in the Bibliothèque Nationale) and show him to be a photographer of rare talent.
Albumen print, 1860s
Tonality- 10/10, minor creasing; 244 x 177 mm., unmounted with photographer's blindstamp on recto
$2400.
Famin is a striking example of a photographer who was little known from exhibitions and press coverage during the 19th century as he mostly produced his work as study aids for artists. Many of Famin's prints, however, were lodged with the Dépôt Légal in Paris from the late 1850s (therefore now in the Bibliothèque Nationale) and show him to be a photographer of rare talent.
L'Enfant Prodigue by Rodin
Carbon print, c. 1905
10/10, corner bent; 364 x 267 mm, unmounted
$1850.
Rodin employed a number of photographers over the years to make high quality copies of his works, showing them off to best advantage. According to the web site of the Musée Rodin: 'In 1903, Rodin ended his collaboration with his appointed photographer, Eugène Druet, who was about to open an art gallery. The sculptor began looking for a professional photographer who could cope with the growing demand for reproductions of his work.
The photography publisher Jacques-Ernest Bulloz met all his requirements : a good technician and rigorous manager, he signed an exclusive contract with Rodin on 5 May 1903, which lasted until the artist’s death 15 years later. Bulloz not only worked as a photographer for the sculptor, but also gradually took charge of all the paperwork concerning the distribution of photographs of Rodin’s oeuvre, even those taken by other photographers, such as Haweis and Coles... He worked methodically and laid the foundations of photographic conventions related to museum exhibits that are still observed today.'
Contains 'Editions J.E. Bulloz Papier de Luxe' rubber stamp on verso.
Carbon print, c. 1905
10/10, corner bent; 364 x 267 mm, unmounted
$1850.
Rodin employed a number of photographers over the years to make high quality copies of his works, showing them off to best advantage. According to the web site of the Musée Rodin: 'In 1903, Rodin ended his collaboration with his appointed photographer, Eugène Druet, who was about to open an art gallery. The sculptor began looking for a professional photographer who could cope with the growing demand for reproductions of his work.
The photography publisher Jacques-Ernest Bulloz met all his requirements : a good technician and rigorous manager, he signed an exclusive contract with Rodin on 5 May 1903, which lasted until the artist’s death 15 years later. Bulloz not only worked as a photographer for the sculptor, but also gradually took charge of all the paperwork concerning the distribution of photographs of Rodin’s oeuvre, even those taken by other photographers, such as Haweis and Coles... He worked methodically and laid the foundations of photographic conventions related to museum exhibits that are still observed today.'
Contains 'Editions J.E. Bulloz Papier de Luxe' rubber stamp on verso.
Le Nouvel Opéra de Paris, Sculpture Ornementale, No. 15
Albumen print, c. 1870s
10/10; 381 x 178 mm, mounted
$2850.
'These large-format albumen prints [c. 1864-1869] enable the viewer to follow the progress of architect Charles Garnier's lavish Opera. Remarkable for their wealth of informational detail, the photographs are a milestone in the use of the medium for extended architectural documentation. They also provide a crucial stylistic link between the work of earlier French urban photographers, such as Charles Marville and Edouard Baldus, and the later photographs of Eugene Atget.' C. Phillips, International Center for Photography, 2001.
Albumen print, c. 1870s
10/10; 381 x 178 mm, mounted
$2850.
'These large-format albumen prints [c. 1864-1869] enable the viewer to follow the progress of architect Charles Garnier's lavish Opera. Remarkable for their wealth of informational detail, the photographs are a milestone in the use of the medium for extended architectural documentation. They also provide a crucial stylistic link between the work of earlier French urban photographers, such as Charles Marville and Edouard Baldus, and the later photographs of Eugene Atget.' C. Phillips, International Center for Photography, 2001.
Le Nouvel Opéra de Paris, Sculpture Ornementale, No. 24
Albumen print, c. 1870s
10/10; 212 x 277 mm, mounted
$1750.
'These large-format albumen prints [c. 1864-1869] enable the viewer to follow the progress of architect Charles Garnier's lavish Opera. Remarkable for their wealth of informational detail, the photographs are a milestone in the use of the medium for extended architectural documentation. They also provide a crucial stylistic link between the work of earlier French urban photographers, such as Charles Marville and Edouard Baldus, and the later photographs of Eugene Atget.' C. Phillips, International Center for Photography, 2001.
Albumen print, c. 1870s
10/10; 212 x 277 mm, mounted
$1750.
'These large-format albumen prints [c. 1864-1869] enable the viewer to follow the progress of architect Charles Garnier's lavish Opera. Remarkable for their wealth of informational detail, the photographs are a milestone in the use of the medium for extended architectural documentation. They also provide a crucial stylistic link between the work of earlier French urban photographers, such as Charles Marville and Edouard Baldus, and the later photographs of Eugene Atget.' C. Phillips, International Center for Photography, 2001.
Le Nouvel Opéra de Paris, Sculpture Ornementale, No. 34
Albumen print, 1870s
Tonality- 8-9/10.; 280 x 386 mm., mounted
$3000.
'These large-format albumen prints [c. 1864-1869] enable the viewer to follow the progress of architect Charles Garnier's lavish Opera. Remarkable for their wealth of informational detail, the photographs are a milestone in the use of the medium for extended architectural documentation. They also provide a crucial stylistic link between the work of earlier French urban photographers, such as Charles Marville and Edouard Baldus, and the later photographs of Eugene Atget.'
C. Phillips, International Center for Photography, 2001
Albumen print, 1870s
Tonality- 8-9/10.; 280 x 386 mm., mounted
$3000.
'These large-format albumen prints [c. 1864-1869] enable the viewer to follow the progress of architect Charles Garnier's lavish Opera. Remarkable for their wealth of informational detail, the photographs are a milestone in the use of the medium for extended architectural documentation. They also provide a crucial stylistic link between the work of earlier French urban photographers, such as Charles Marville and Edouard Baldus, and the later photographs of Eugene Atget.'
C. Phillips, International Center for Photography, 2001
Le Nouvel Opéra de Paris, Sculpture Ornementale, No. 35
Albumen print, 1870s
10/10; 207 x 278 mm, mounted
$SOLD
'These large-format albumen prints [c. 1864-1869] enable the viewer to follow the progress of architect Charles Garnier's lavish Opera. Remarkable for their wealth of informational detail, the photographs are a milestone in the use of the medium for extended architectural documentation. They also provide a crucial stylistic link between the work of earlier French urban photographers, such as Charles Marville and Edouard Baldus, and the later photographs of Eugene Atget.' C. Phillips, International Center for Photography, 2001
Albumen print, 1870s
10/10; 207 x 278 mm, mounted
$SOLD
'These large-format albumen prints [c. 1864-1869] enable the viewer to follow the progress of architect Charles Garnier's lavish Opera. Remarkable for their wealth of informational detail, the photographs are a milestone in the use of the medium for extended architectural documentation. They also provide a crucial stylistic link between the work of earlier French urban photographers, such as Charles Marville and Edouard Baldus, and the later photographs of Eugene Atget.' C. Phillips, International Center for Photography, 2001
Le Nouvel Opéra de Paris, Sculpture Ornementale, No. 7
Albumen print, c. 1870s
10/10; 209 x 273 mm, mounted
$1250.
‘These large-format albumen prints [c. 1864-1869] enable the viewer to follow the progress of architect Charles Garnier's lavish Opera. Remarkable for their wealth of informational detail, the photographs are a milestone in the use of the medium for extended architectural documentation. They also provide a crucial stylistic link between the work of earlier French urban photographers, such as Charles Marville and Edouard Baldus, and the later photographs of Eugene Atget.' C. Phillips, International Center for Photography, 2001.
Albumen print, c. 1870s
10/10; 209 x 273 mm, mounted
$1250.
‘These large-format albumen prints [c. 1864-1869] enable the viewer to follow the progress of architect Charles Garnier's lavish Opera. Remarkable for their wealth of informational detail, the photographs are a milestone in the use of the medium for extended architectural documentation. They also provide a crucial stylistic link between the work of earlier French urban photographers, such as Charles Marville and Edouard Baldus, and the later photographs of Eugene Atget.' C. Phillips, International Center for Photography, 2001.
Sample from Duchess of Gramont's lace collection
Cyanotype, 1880s
10/10; 34 x 221mm, unmounted
$375.
Cyanotype, 1880s
10/10; 34 x 221mm, unmounted
$375.
Sculpture in park
Gelatin silver print, c. 1890s
10/10; 175 x 137 mm
$300.
This image appears to be in the centre of a larger sensitised sheet of photographic paper.
Gelatin silver print, c. 1890s
10/10; 175 x 137 mm
$300.
This image appears to be in the centre of a larger sensitised sheet of photographic paper.
Still life of bronze objects
Albumen print, c. 1870
9-10/10, minor edge fading; 247 x 193 mm, unmounted
$1350.
Albumen print, c. 1870
9-10/10, minor edge fading; 247 x 193 mm, unmounted
$1350.
Still life with game and vinegar
Albumen print, 1860s
8/10; 236 x 188 mm, mounted
$1650.
Bailey belonged to the British Amateur Photographic Association and was a one of the few members to be a specialist in still life. Members exchanged prints, each having their own 'number' as a photographer and a further number for each print they submitted. This print appears to be inscribed 620/2 on the mount.
Albumen print, 1860s
8/10; 236 x 188 mm, mounted
$1650.
Bailey belonged to the British Amateur Photographic Association and was a one of the few members to be a specialist in still life. Members exchanged prints, each having their own 'number' as a photographer and a further number for each print they submitted. This print appears to be inscribed 620/2 on the mount.
Study of tulips
Albumen print, c. 1880s
8/10, a few corner creases; 254 x 191 mm, unmounted
$1000.
Albumen print, c. 1880s
8/10, a few corner creases; 254 x 191 mm, unmounted
$1000.
Swords in the Musée d'Artillerie
Albumen print, c. 1860s
9/10; 179 x 238 mm, mounted
$SOLD
Coming from Barcelona, where Franck (real name – F.M.L.A. Gobinet de Villecholle) made daguerreotypes, he had a long career in photography in Paris. He is known for a large series of views of ruined buildings made after the Paris Commune in 1871. The front of the mount bears his name and 18 rue de Vivienne Parisian address (he was there from 1862).
Albumen print, c. 1860s
9/10; 179 x 238 mm, mounted
$SOLD
Coming from Barcelona, where Franck (real name – F.M.L.A. Gobinet de Villecholle) made daguerreotypes, he had a long career in photography in Paris. He is known for a large series of views of ruined buildings made after the Paris Commune in 1871. The front of the mount bears his name and 18 rue de Vivienne Parisian address (he was there from 1862).
Vase
Salt print, 1850s
9/10, minor edge fading; 212 x 176mm, mounted
$1500.
Salt print, 1850s
9/10, minor edge fading; 212 x 176mm, mounted
$1500.