There are 314783 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe*China. Panorama of Shanghai, China, by Burr Photo Company, 1920s, gelatin silver print panorama photograph on one sheet, with photographer's details to right-hand edge, two creases, a few lighter ones, right edge slightly worn, but overall in good condition with clear details, 160 x 1100mm (1)
*Osborne (Li, 1883-1968, attrib.). Portrait of a young Bertolt Brecht, c. 1926, bromide print, head and shoulders in half profile, wearing shirt and tie and looking pensive with hair cut short, corner crease lower left, verso blank, 20.5 x 15.5cm, together with a portrait of Igor Stravinsky by an unidentified photographer, circa 1950s, gelatin silver print, showing the composer sitting in suit and tie staring into the camera, against a curtain backdrop, a few marks and light creases, verso blank, 23 x 13cm (1)
World War I - France. An album of 260 gelatin silver print photographs of Northern France, c. 1920, photographed by a British person taking in the battlefields and sights, with evidence of ruins and destruction, abandoned tanks, graves, etc., images 8 x 10 cm, neat small ink captions to lower thin margins, places identified include Monchy, Cambrai, Ancre, Arras, Armentieres, etc., mounted four-to-a-page, and back-to-back on stiff card mounts throughout, an additional 30 miliary photographs pasted in at rear, a few leaves detached, contemporary cloth, soiling and some wear, oblong folio (1)
*Capa (Robert, 1913-1954). Pablo Picasso and Francoise teaching their baby Claude to swim, c. 1950, printed later, gelatin silver print, light brown streak in the water, press caption, markings and stamps to verso including Robert Capa/Magnum Photos credit stamp (obscured), 19.5 x 22cm, together with three gelatin silver press prints by William Vandivert of Magnum, 1948, two from 'Emigrant Ship' series, one with a brown streak, plus one of the interior of the press room at the White House, press captions, markings and stamps to versos, the first two with Vandivert/Magnum Photos credit stamps, various sizes (4)
*Capa (Robert, 1913-1954). Israel's First Year, 1949, vintage gelatin silver print, showing two women preparing food, corner creases lower left and upper right, various press captions, stamps and markings to verso including photographer's Magnum credit stamp and Illustrated Magazine stamp dated 27 August 1949, 25 x 19cm (1)
*Capa (Robert, 1913-1954). Socialist Stronghold - Hemsworth in the Division of Yorkshire, c. 1951, vintage gelatin silver print, various label stamps and markings to verso including press captions and Illustrated Magazine date usage stamp 27 October 1951, small crease to lower left corner and long horizontal crease near lower margin, 19.5 x 25cm (1)
*Cartier-Bresson (Henri, 1908-2004). Kashmir: War Without a Front, 1948, vintage gelatin silver print of a command post, light brown spot to centre of image, together with a later printing from the same series showing a Hindustani lieutenant, plus a third later printing gelatin silver print by Cartier-Bresson of deputy prime minister of Sardar Patel addressing the Jammu population, 1948, press captions, markings and wetstamps to versos, the first with a used Illustrated Magazine date stamp 6 November 1948, the last with Cartier-Bresson/Magnum Photos credit stamp 24 x 16.5cm or the reverse (3)
*Cartier-Bresson (Henri, 1908-2004). Jammu, City of Refugees, 1949, five gelatin silver prints including one vintage print of militia women in a Jammu street in traditional dress, the other five later printings from the same series showing evacuation of refugees, distribution of food and refugees in the court of Ragunath Temple, all with press captions, markings and wetstamps to versos, including Cartier-Bresson/Magnum Photos credit stamps and first photo used Illustrated Magazine 23 April 1949, all 24.5 x 17cm (5)
*Cartier-Bresson (Henri, 1908-2004). A one-legged boy on crutches in Berlin, 1951, vintage gelatin silver print, short split to upper margin, 29 x 19cm, together with two further photographs by Cartier-Bresson from the sale Berlin series, one of an injured youth using a pram for mobility, the other an outdoor restaurant scene, both 16 x 23.5cm, all with press captions, markings and wetstamps to versos, the first used in Illustrated Magazine, 8 September 1951 (3)
*Cartier-Bresson (Henri, 1908-2004). In Search of London, 1951, vintage gelatin silver print of travellers on a tube train at Piccadilly underground station, 24 x 16cm, together with another vintage gelatin silver print by Cartier-Bresson of theatregoers at the first night of the 'Waters of the Moon' at the Haymarket Theatre, 1951, 17 x 24cm, both with press captions, markings and wetstamps to versos, the first used Illustrated Magazine, 26 May 1951 (2)
*Cartier-Bresson (Henri, 1908-2004). The American Scene, 1948, vintage gelatin silver print of a newspaper vendor on a sidewalk in New York, plus three later printings of picnickers on Belle Isle, Detroit, two men on a street in Knoxville, Tennessee and two women walking in Boston, all with press captions, markings and wetstamps to verso, the first used in Illustrated Magazine, 30 October 1948, a couple of minor corner creases, all 24.5 x 16cm (4)
*Cartier-Bresson (Henri, 1908-2004). The American Scene, 1948, vintage gelatin silver print of Ohio city dwellers escaping from the smoke and noise of Cleveland for a picnic, together with three later printings, two of bathers on Coney Island, New York City, and one of a picnic by the sea at Provincetown, all with press captions, markings and wetstamps to versos, first used for Illustrated Magazine, 30 October 1948, all 24.5 x 16cm (4)
Coronation Durbar, Delhi. A complete set of 96 gelatin silver print photographs of the Durbar by G.W. Lawrie & Co., Lucknow, 1903, images 115 x 90mm, window-mounted two to a page with photographers' printed broadside listing of the 96 photographs loosely inserted, contemporary half roan, backstrip deficient, small folio (1)
*Freund (Gisela, 1908-2000). Oil workers in Mexico, c. 1950, printed later, gelatin silver print, 19.5 x 24cm, together with nine other gelatin silver prints by Magnum photographers including Des Russell, Joe Pazen, Szasz & Cserna and Karl Gullers, various subjects including fashion interest, one with brown streak, press captions, markings and wetstamps to versos, 27.5 x 21cm and smaller (10)
*McCombe (Leonard, born 1923). Diego Rivera, 1949, vintage gelatin silver print of the artist holding paintbrushes, small crease to top left corner and a little bruising to top right corner, various labels, markings and stamps to verso, including 'Life Photo by Leonard McCombe' and 'Life Print by Al Asnis', 29.5 x 21cm (1)
*Delamotte (Philip Henry, after). Queen Victoria presiding at the ceremony for the opening of the re-erected Crystal Palace in Sydenham, 1854, later printing, 20 x 15cm, original card mount, together with The Crystal Palace Scrapbook [so titled on upper cover], early 1850s, 12 mounted albumen print photographs of the New Crystal Palace at Sydenham, 15 x 22cm, versos blank, some spotting, original morocco gilt, heavily rubbed and repaired at head and foot of spine, oblong small folio, plus an oval albumen print photograph of Queen Victoria and children mourning Prince Albert, 1862, 15.5 x 13cm, original mount (3)
*Perutz (Carl, born 1921). A group of Magnum press print photographs, c. 1949/1950, gelatin silver prints, mostly printed later but including four vintage prints, various subjects, including Josephine Baker at the Club des Champs Elysees, London bottle parties, Italian fashion, slum kids in Birkenhead, Paris social life, etc., press captions, markings and wetstamps to verso, a few scattered light creases and minor marks, two photos damp wrinkled, 26 x 20cm and smaller but similar sizes (15)
*Roth (Sanford, 1906-1962). The Magic of Stravinsky, 1952, vintage gelatin silver print, right-hand corners bumped, press caption, marks and stamps to verso including Magnum Photo stamp with photographer completed in manuscript, plus Illustrated Magazine stamp dated 7 June 1952, 25.5 x 20cm (1)
*Seymour (David, 'Chim', 1911-1956). Orphans of the Greek War, 1948, vintage gelatin silver print of an elderly woman with children in front of a crowd, press captions, markings and wetstamps to verso, together with four further Magnum photos by Seymour of Germany, 1949, later prints, press captions, markings and stamps to versos, various sizes (5)
*Seymour (David, 'Chim', 1911-1956). Filming 'St Francis, God's Jester' by Roberto Rossellini, 1950, a group of eight gelatin silver prints including three vintage prints, a few creases and occasional marks, printed captions, markings and wetstamps including David Seymour/Magnum Photos credit stamps to versos, 25 x 20cm and similar sizes, together with three further gelatin silver print photographs by Seymour from the filming of 'The Glass Mountain' in the Dolomites, 1948, later prints, press captions, markings and wetstamps to versos, 22 x 19cm and similar (11)
*Capa (Cornell, 1918-2008). Stainless steel abstract structure by Yaakov Agam, 1973, vintage gelatin silver print test photograph, 22 x 32 cm, press caption and photographer's credit wet stamp to verso, together with 13 other assorted press print photographers, including two large photographs of Marilyn Monroe by unidentified photographers, one with Arthur Miller, and one drinking coffee with another man, 28 x 35 cm, plus some female nudes (14)
*Chinese & Japanese Photographers. A group of 17 vintage and later printing gelatin silver print photographs by various photographers, c. 1970s & 1980s, mostly of women including some nudes, photographers include Ginnosuke Yoshino, Jun Yoshido (some nudes), and Isao Hirachi, the first two photographers with wet stamps to verso, 18 x 27 cm and larger sizes (17)
*Early Photography. A group of 9 early photographs, 1850s and 1860s, including images by James Mudd (albumen prints of Richmond Castle and Barnard Castle, Yorkshire), Roger Fenton (Trafalgar Square, London, circa 1858, salt print, soiled and damaged), Delamotte & Cundall (Kirkstall Abbey, Yorkshire, albumen print), Lord Otto Fitzgerald (Lord Canterbury, albumen print), plus other medium and large format photographs in mats, plus four small format (7 x 9.5 cm and smaller) salt prints of an English family and two outdoor scenes, one dated 1857 to verso (13)
Embley Park, childhood home of Florence Nightingale. An album of 136 albumen print photographs, c. 1870s, pasted onto rectos and versos of a total of 32 leaves, with approximately 20 blank leaves at rear, the majority of photographs 11 x 15.5cm with arched tops and mounted three to a page, the remaining photographs mostly carte-de-visite sizes and smaller but including five slightly larger, bold pencil block capital captions to mounts throughout, an additional five photographs of artworks at rear, oblong folio, ink provenance inscription to front pastedown, hinges weak, contemporary half roan, rubbed and some edge wear, lacks spine, oblong folio (32.5 x 43.5cm) The album was compiled by a member of Florence Nightingale's family while living at Embley Park during the seven years following the death in 1874 of Florence Nightingale's father, when the house passed to his wife's brother, Samuel Smith. The album contains numerous views of the house, its grounds, members of the family, the servants at Embley Park, Embley Farm, the local church, St Margaret of Antioch, and its churchyard where Florence Nightingale was later buried. Of particular interest are three good views showing the interior of the house as Florence Nightingale would have known it. Members of the family represented in the album include: Mary ('Mai') Smith, Beatrice Lushington, Blanche Clough, Mary Urith Coltman and her brother Arthur Francis Coltman (the five members of the family at the house on the night of the 1881 census); Florence Nightingale's uncle Samuel Smith (Mai's husband who died in 1880); Florence Nightingale's cousin Bertha Coltman, her husband William Bacheler Coltman and their four children. The album also includes a previous unknown outdoor portrait of Parthenope Nightingale and her husband Sir Harry Verney with Parthenope and Florence's father, William Edward Nightingale. Two photographs show an outside lunch given for the children of the local school. According to the Hampshire Advertiser (27 September 1879): ' SCHOOL TREAT - On Monday, the 15th inst., Mr and Mrs Samuel Smith, of Embley Park, gave their usual treat to the children of Wellow School, 140 of whom attended. Some visitors and several of the mothers of the children were kindly invited to join, making the party 170. A beautiful day added to the enjoyment of all. Some very good photographic views were taken of the happy group by Mr Galton, of West Wellow. After enjoying various games and again partaking of refreshment, the majority of the children were started In a conveyance provided for the purpose, and left the grounds with cheers and merry singing.' This 'Mr Galton' is in fact John Thomas Gaulton of West Wellow. He appears as a 'Photographer' living in West Wellow on both the 1871 and 1881 censuses. Towards the back of the album, there are several photographic reproductions of paintings of the family, including the 1828 watercolour of Frances Nightingale with her two daughters. There is also an albumen print portrait of Florence Nightingale by Henry Hering, a larger version of a photograph usually only seen in carte-de-visite format. Inscriptions on the inside front cover indicate that the album was compiled by Mary Urith Coltman, the young daughter of Florence Nightingale's first cousin, Bertha Coltman. On the death of Mary Coltman's grandmother Mary ('Mai') Smith in 1881, the house passed to William Shore Smith and Mary Coltman went to live elsewhere, but before her departure she gave the album she had compiled to her friend Caroline Long, daughter of local woodsman George Long of Thorpwood Cottage in East Willow. According to the 1881 census, Caroline was a 'charwoman,' so it seems likely that the girls' friendship came about through Caroline's employment at Embley Park. On 12 February 1893 Caroline married Albert George Harris, a 'Labourer,' at All Saints Church in Upper Norwood. The 1911 census shows Caroline and husband Albert Harris, now a 'Bricklayer,' living in Upper Norwood with their seven children. The first few pages of the album present various views of Combe Hurst at Kingston-upon-Thames, the Coltman residence in Surrey where Mary Coltman lived before she came to Embley Park in 1874. These have been misidentified by Caroline Long as Embley Park. (1)
*Saudek (Jan, born 1935). David boy 1973, together with David, the same boy, 1983, gelatin silver print contact prints, printed c. 1983, both signed and titled lower right and right margins, 20 x 15cm, together with an accompanying letter from Saudek, written in ink and signed Jan with a pen and pencil and colour felt tip sketch at head, one page, folio, plus the original postmarked envelope with hand-painted addressee design by Saudek (4)
*Saudek (Jan, born 1935). A group of five vintage gelatin silver prints, c. 1980s, including two contact prints, (both inscribed in pencil by the photographer 'Not for sale' and one signed Jan), giving image numbers 116 & 186, 11 x 11.5cm, two others with numbers 128 & 140 to versos, 18 x 13cm, the final print 11 x 8cm, with a brown manila envelope inscribed with the photographer's name in his hand in block capitals (6)
*Various Photographers. A group of approximately 45 vintage and later printing gelatin silver print press photographs, c. 1970s/1980s, photographers including Saline Renger, David Chadwick, Sebastian Knight, Greg Leach, Michael O'Cleary, Graham Keene, Shaun Smith, Pat Benetar, Peter Kovach, etc., various sizes, many with identification details and wet stamp to versos (approx. 45)
*Various Photographers. A collection of approximately 120 gelatin silver print photographs, c. 1970s, including press print photographs, mostly portraits and people including a series of female nudes, largely by unidentified photographers, mostly 10 x 8 and similar sizes, but also some larger, the largest a photograph of film director Ken Russell on the set of 'The Devils' by David Hurn, 30 x 38 cm, horizontal cracking to upper margin (approx. 120)
*Weston (Edward, 1886-1958). A group of seven gelatin silver prints, printed mid-1970s, exhibition press print labels to versos of five identifying titles as Sunny Corner in an Attic, 1921, Armco Steel, Ohio, 1922, Ralph Pearson, 1923, Eroded Rock, Point Lobos, 1930, Charis, Lake Ediza, 1937 and Hot Coffee, Mojave Desert, 1937, all with museum stamps to versos, 19 x 23 cm and one the reverse (7)
*Beard (Richard, 1801-1885). A hand-coloured salted paper print photograph of an elderly woman, 31 King William Street, London Bridge, 1850s, image 145 x 110mm, oval gilt-edged aperture in original Beard mount with blind stamp at foot and printed back board including address, royal arms and manuscript negative number 1173, back board lacking part of left edge, overall 300 x 265mm (1)
Annan (Thomas, photographer). Illustrations of Mary Queen of Scots: a Poem by Henry Glassford Bell..., being Photographs from Pictures painted for the Art-Union of Glasgow, by Robert Herdman, R.S.A., Glasgow: Art-Union of Glasgow, [1868], four mounted albumen print photographs, each approximately 31 x 23.5cm (12 x 9ins), title printed in red & black, occasional spotting and soiling, contents detached from cover, original gilt and blind-stamped cloth, lightly marked, spine worn with front joint splitting, folio Gernsheim Incunabula, 407. (1)
*Herschel (John Frederick William, 1792-1871). 'The Forty-Foot Telescope at Slough', photographic print made in 1890 [by John Werge] from John Herschel's glass negative of [9 September] 1839, circular silver print (diameter 92mm), some small areas of abrasions or insect damage to paper surface, mounted on paper support incorporating printed title and descriptive letterpress and dated August 1890, with signatures of Herschel's two sons, mounted on card, framed in period wooden frame, glazed, contemporary Ryman & Co. stationery label (split) and fragment of related (or original) printed paper descriptive notice to frame verso, overall 40 x 49cm This is one of only 25 prints made in 1890 from the original negative, the earliest surviving photograph on glass. This was the only image recorded of the 40-foot telescope in Slough, Berkshire, assembled in 1787 by William Herschel (1738-1822), and dismantled in 1839. The massive reflecting telescope used a metal mirror four feet in diameter and weighed over a ton, and became a much-visited wonder of the age. By the time Herschel's son John took this photograph, the telescope structure had become unsafe through neglect. The photograph is mounted in a frame using the rungs from John Herschel's telescope used at Slough and Cape Town, South Africa. The negative, now faded almost beyond recognition, is preserved in the collections of the Science Museum, London. Provenance: From the family of Sir John Herschel, by direct descent through his daughter Amelia and her husband Sir Thomas Wade. See also following lot. (1)
*Cameron (Julia Margaret, 1815-1879). Sir John Frederick William Herschel, April 1867, albumen print on original mount, signed, dated and annotated 'From life taken at his own residence Collingwood' and identified by her in a larger hand beneath, 'Sir J.F.W. Herschel (Bart)', gilt-ruled border, image 303 x 242mm, mount 359 x 298mm An excellent print of one of Julia Margaret Cameron's most iconic portraits. Sir John Herschel, son of the astronomer Sir William Herschel, was a polymath who took a very active interest in photography from its earliest days. A friend of Fox Talbot, and an early correspondent of Mrs Cameron, he invented the photographic use of sensitised paper (1839), introduced hyposulphate of soda (hypo) as a fixing agent, and coined the terms 'photograph', 'negative', 'positive' and 'snapshot'. This portrait of him was one of a series of four taken at his home Collingwood at Hawkhurst, Kent. Provenance: From the family of Sir John Herschel, by direct descent through his daughter Amelia and her husband Sir Thomas Wade. See also preceding lot. Cox & Ford, Julia Margaret Cameron: The Complete Photographs (2003), no. 674. (1)
*Cameron (Julia Margaret, 1815-1879). Love, 1864, albumen print, arched top, long horizontal closed tear from left margin to right margin crossing through both children's heads, 250 x 200mm, remounted on archival board with window mount Photographed at Dimbola, the study shows Mary Hillier with the semi-nude children Elizabeth ('Lizzie') and Alice Keown on either side of her. Provenance: This print - torn at some stage and remounted on archival board in the 1970s - comes from the collection of Major-General Charles Wake Norman (1891-1974), and was acquired by the art and photography collector Erich Sommer (died 2004) who gifted it to the present owner, John Hannavy. Major General Charles Wake Norman's grandfather was Charles Norman, Julia Margaret Cameron's son-in-law, married to her daughter Julia Hay Cameron, and the photographs in General Norman's collection were directly passed down through the family. It was Julia and Charles Norman who gave Julia Margaret Cameron her first camera. Cox & Ford, Julia Margaret Cameron: The Complete Photographs (2003), no. 35. (1)
*Cameron (Julia Margaret, 1815-1879). May Prinsep, 1868-69, albumen print photograph, trimmed to image with rounded corners, some damp mottling to lower area, 150 x 75mm, now separated from old album paper mount with sitter's name identification below, three further albumen prints to album leaf verso, carte-de-visite portraits of Evelyn and Julian, plus a house identified as Hopton with adults and children seated in front Cox & Ford, Julia Margaret Cameron: The Complete Photographs (2003), no. 415. (4)
*Cameron (Julia Margaret, 1815-1879). Mrs Herbert Duckworth, nee Julia Jackson, c. 1865, albumen print, 233 x 189 mm, original mount (spotting and soiling), pencil identification to verso in an unidentified hand Cox & Ford, Julia Margaret Cameron: The Complete Photographs (2003), no. 298. (1)
*Cameron (Julia Margaret, 1815-1879). 'The Dirty Monk', Alfred Lord Tennyson, May 1865, half-length albumen print profile, arched top, some speckling and spots, a little scratching and loss to lower left corner, 227 x 188mm, on original blue-grey mount within gilt border and with facsimile inscription at foot, 'I prefer the Dirty Monk to the others of me, A. Tennyson, except one by Mayall', some spotting to mount, laid down on old card Originally taken as part of a series to illustrate Tennyson's 'Idylls of the King', the portrait only later appeared as the frontispiece in Cameron's book of Alfred Tennyson's Idylls of the King and Other Poems Illustrated by Julia Margaret Cameron. Cox & Ford, Julia Margaret Cameron: The Complete Photographs, (2003), no. 796. (1)
*Carroll (Lewis, 1832-1898 ). Twyford School Eleven, Summer Term, 1859, albumen print, two caps with evidence of light blue tint, 124 x 165mm, mounted on paper within blue rule border, titled and dated in pencil in an unidentified hand beneath, modern aperture mount Provenance: Dr David Lansley Collection; Wyndham-Mallet Collection, Somerset, England; Private Collection, Somerset, England; Private Collection, France. Edward Wakeling, The Photographs of Lewis Carroll: A Catalogue Raisonn‚ (2015), [IN-0429]. (1)
*Carroll (Lewis, 1832-1898 ). Xie Kitchin as 'Dane', Oxford, 14th May 1873, albumen print photograph mounted as a cdv, numbered by Carroll in purple ink to recto 2132, 90 x 60mm on larger cdv format mount Taylor, Rodger and Wakeling, Edward, 'Lewis Carroll Photographer, the Princeton University Library albums', 2002. Recorded in Carroll's negative listing as compiled in Taylor and Wakeling. However, this is a variant format from Carroll negative 2132 which has been close cropped from what was a full length study of Xie. Edward Wakeling, The Photographs of Lewis Carroll: A Catalogue Raisonn‚ (2015), IN-2132, see nos. 13 & 20. (1)
*Carroll (Lewis, 1832-1898 ). Hugh Bridges Kitchin, Oxford, c. 1875, albumen print photograph, mounted on card in carte-de-visite format, image 98 x 61mm on slightly larger mount See Edward Wakeling, The Photographs of Lewis Carroll: A Catalogue Raisonn‚ (2015), IN-2334 (cabinet card). (1)
*Diamond (Hugh Welch, 1809-1886). Church of St Thomas, Winchelsea, 1850s, albumenised salt print, 154 x 200mm, inscribed in a near-contemporary hand to mount and dated 18 August 1854, together with a fine salted paper print study by Miss Hosmer of a classical female head, 172 x 115mm, large contemporary mount with inscription to front and rear, plus an albumen print of Tintern Abbey by Roger Fenton, printed and published by Francis Frith, 165 x 208mm, original mount with printed caption and imprint details to lower margin (3)
*Fenton (Roger, 1819-1869). Roslin Chapel, south side, Roslin, Scotland, 1856, salted paper print on original mount, signed in ink 'R Fenton' and 'H.41' on the image lower right, neatly titled in pencil on lower mount 'Roslin Chapel, south side' and numbered 'H No 41', 347 x 428mm Taken during Fenton's 1856 tour of Scotland, this view of the south side of the Chapel follows on in sequence from the view of the South Porch, prints of which are in the MoMA collection [as a later (1864) albumen print] and in the V & A (also as a signed salted paper print and numbered '40']. The tour ended at the newly completed Balmoral Castle where Fenton photographed the building and the Royal Princes. G. Baldwin, M. Daniel & S. Greenough, All the Mighty World, The Photographs of Roger Fenton, (2004). (1)
Loading...
