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Group of 5 mounted albumen photographs of Native Americans, each being a chief or warrior of the Dakota Sioux

By SHINDLER, Antonio Zeno (1823-1899), photographer

[Washington, D.C., 1869. Albumen photographs on original cream card mounts. Image sizes: approx. 7 1/4 x 5 1/4 inches. Mount size: approximately 14 x 11 inches. Rare photographs of Dakota Sioux by Shindler: images from the very first museum exhibition of photographs in America. Following the Smithsonian fire of 1865, which destroyed the collection of painted portraits of Native Americans by John Mix Stanley and Charles Bird King, Smithsonian secretary Joseph Henry sought the assistance of Dr. Ferdinand V. Hayden and the financial backing of William Henry Blackmore, to collect photographic portraits of Native Americans and hold an exhibition of the images. Held in 1869, the exhibition displayed 304 photographs of Native Americans -- believed to be the very first museum exhibition of photographs in America. The images for the exhibition were all derived from one source: photographer A. Zeno Shindler. Shindler had arrived in Washington in 1867, becoming the proprietor of the Addis Photographic Gallery. Commissioned by Blackmore to make photographic copies of his collection of images, he was also contracted by the U.S. government to photograph visiting delegations of Native Americans between 1867 and 1869. In addition, as Addis had taken over the McClees Studio, Shindler had access to those negatives of visiting delegations from 1857-58. Thus the 1869 exhibition included photographs printed from his own negatives, McClees negatives, and copy prints made by Shindler of Blackmore's images. Although Shindler must have sold images from his studio, they rarely appear on the market. Indeed, the only evidence that the Smithsonian exhibition even took place is the existence of a very rare printed catalogue of the exhibition, which was recreated in 2003 by Paula Fleming. This collection includes the following five images, on their original card mounts: 1) Ma-to-kti-nang-ma-ni, The Bear That Walks Lying Down. A Yankton Sioux Brave. Upper Missouri, Dak. T. "Taken between February 17 and April 8 1867 in Washington, DC, probably before April 1 when the U.S. government ordered portraits of this delegation from Shindler" (Fleming 14). 2) Ma-ta-wa-yu-mi, The Bear That Frightens. A Yankton Sioux, Brave, Upper Missouri, Dak. T. "Taken between February 17 and April 8 1867 in Washington, DC, probably before April 1 when the U.S. government ordered portraits of this delegation from Shindler" (Fleming 22). 3) Ma-to-ho-kan-tan-ke, The Bear with the Big Voice, A Two-Kettle Sioux Chief, Dakota. "Taken between February 17 and April 8 1867 in Washington, DC, probably before April 1 when the U.S. government ordered portraits of this delegation from Shindler" (Fleming 27) 4) Tshe-ton-wa-ka-wa-ma-ni, The Hawk that Hunts Walking; or Little Crow, A Mde-wa Kan-ton Sioux. Chief Leader of the Massacre in Minnesota. "Taken April 16, 1858 ... The negative was made by the McClees Gallery ... Shindler was not the photographer and only printed images for the exhibition. In the late 1860s, he was the proprietor of the Addis Studio, formerly the McClees Gallery, and had access to the 1857-1858 negatives" (Fleming 48). 5) Psi-ka-wa-kin-yan, Jumping Thunder. A Yankton Sioux Warrior. Dakota. "Taken between December 13, 1857 and April 26, 1858 ... the negative was made by the McClees Gallery" (Fleming 58). Paula Richardson Fleming, Native American Photography at the Smithsonian: The Shindler Catalogue (Washington: Smithsonian, 2003).

$15000.00

The Orchids of New England and New York. Photographed from Life and Published by Edwin Hale Lincoln [manuscript title]
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The Orchids of New England and New York. Photographed from Life and Published by Edwin Hale Lincoln [manuscript title]

By LINCOLN, Edwin Hale (1848-1938)

Pittsfield, Massachusetts, 1930. 3 volumes, folio. (14 x 11 inches). Manuscript title in each vol., manuscript preface in vol. 1), and manuscript lists of plates in each vol. with both Latin nomenclature and common names. 81 platinum photographs, each tipped to cream Japanese vellum and mounted to larger gray sheets, each image captioned in manuscript. Contemporary red half morocco and red cloth covered boards, spines with raised bands in six compartment, lettered in the second and fourth, the others panelled in gilt A unique photographically-illustrated work on the orchids of the eastern United States. This remarkable collection of photographs reveals Lincoln's vision, his skill as a photographer using a large camera and his superb craftmanship producing difficult and time-consuming platinum prints. Unsurprisingly, Lincoln developed strong connections with the American Arts & Crafts movement, and his work appeared in several issues of Gustave Stickley's The Craftsman. Lincoln was a pioneer and his photographs can be viewed as elegant examples of the modernist photographs produced in the 1920s and 1930s by Imogen Cunningham, Edward Weston, Ansel Adams, and other members of the loosely associated Group f/64. A proto-conservationist, Lincoln was pains-taking in his attempts to photograph each specimen without further endangering the species: with this in mind he would carefully dig up the selected plant, wrap the roots in moss, and return to his studio. Here he replanted his finds, allowing them to continue to grow until they reached their peak. He then took the required photograph using only the natural light from a window in his studio, taking only a single exposure of each plant which was quickly developed and printed by hand on platinum paper. After the exposure was made, the plant was returned unharmed to the spot in the woods where he had found it. This care and attention to the individual plants well-being seems to have suffused the resulting images, which are true "portraits" of individual flowers and plants. The large negatives obviated the need for enlargements. Lincoln insisted upon platinum paper as the best medium to convey the subtleties of his delicate subjects. "This series of plates includes, with one exception, a life-size print on platinum of every orchid known to grow in the United States east of the Mississippi and north of the parallel of Washington. The scientific nomenclature is that of Professor Oakes Ames, prepared in 1924 for the American Orchid Society. All plates are made to scale and each print is mounted on hand made cream Japanese vellum which in turn is mounted on a gray Japanese vellum of the same quality. This is the first publication comprising the full series" (Preface). Edwin Hale Lincoln (1848-1938) was born in Westminster, Massachusetts. Following service in the Civil War as a drummer boy and work as a page in the Massachusetts House of Representatives, he entered the photographic profession in Brockton in 1876. His early work included photographing yachts under full sail and documenting large estates. He visited Lenox initially in 1883 and moved permanently to the Berkshire area ten years later. His move coincided with the height of the development of Berkshire's "Summer Cottages," and Lincoln photographed many of these grand structures in the following years. Also at the end of the 19th-century, Lincoln began what was to become his best known work: an extensive study of New England wild flowers, all photographed with a large-format view camera. Self-published between 1910 and 1914 in sixteen parts, the eight volumes of this magnificent work consisted of 400 platinum prints on individual mounts with printed captions, and titled Wild Flowers of New England Photographed from Nature. The present 3-volume work, with manuscript titles dated 1930 and complete with 81 plates, would appear unique. In 1931, Hale would publish a similar 2-volume work containing 84 images and with printed lists of plates and titles, Orchids of the North Eastern United States . Only three examples of that work are known (Yale [formerly the Massachusetts Horticultural Society copy], University of Chicago, and the State Library of Massachusetts). Cf. William B. Becker "Permanent Authentic Records: The Arts & Crafts Photographs of Edwin Hale Lincoln," in History of Photography: an International Quarterly, vol. 13, no. 1, January 1989; cf. Keith Davis An American Century of Photography: From Dry-Plate to Digital , second edition, (Kansas City, 1999), pp. 57-58; cf. Lisa Bush Hankin'No Record So True': The Wildflower Photographs of Edwin Hale Lincoln, 1848-1938, September 19-October 26, 20O2.(Richard York Gallery Exhibition Catalogue); cf. A Persistence of Vision: photographs by Edwin Hale Lincoln . (Lenox, Ma., 1981). (Lenox Library Association / Berkshire Museum Exhibition Catalogue).

$45000.00

Valley of the Yosemite, from Sandy Flat
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Valley of the Yosemite, from Sandy Flat

By MUYBRIDGE, Eadweard James (1830-1904)

San Francisco: Bradley & Rulofson, 1873. Mammoth plate albumen photograph, mounted onto the photographer's lettered card mount. Image size: 17 x 21 1/2 inches. Sheet size: 24 3/8 x 29 1/2 inches. Rare mammoth-plate photograph of Yosemite by Muybridge. "Muybridge was justifiably celebrated as a landcape photographer for his series of mammoth-plate Yosemite views made [between June and December] in 1872 and offered for sale by Bradley and Rulofson in 1873. These fifty one ambitious photographs were made in direct competition with C.E. Watkins's equally acclaimed views of 1861-1866." Muybridge's 1872 Yosemite photographs were "his most significant and last extensive body of landscape photographs. Drama was the foremost quality in Muybridge's esthetic, and he continued to place heavy emphasis on unique points of view to achieve dramatic intensity" (Naef). As an artist, Muybridge is acclaimed not only for his compositions, but also his deliberate choice of points of view, which were often contrary with the realities of the difficult terrain. Comparisons between the Yosemite photographs of Muybridge and Watkins, both today and even at the time, are and were inevitable. They are perhaps summed up best by Naef, who describes the two photographers "as different as romanticism and classicism" and elsewhere as "painterly" (Muybridge) versus "sharp focus precision" (Watkins). Muybridge announced his intentions in a May 1872 prospectus which sought financial support for the Yosemite project prior to his expedition: "I am encouranged in this undertaking from the generally expressed opinion, especially of our best Art Critics, that although many carefully large-size photographs of our scenery have already been published, yet the wonderful improvement in the science of photographic manipulation, and a judicious selection of points of view, with an aim at the highest artistic treatment of the subject affords, will result in a more complete realization than has hitherto been accomplished of the vast grandeur and pictorial beauty for which our State and Coast have so world-wide a reputation" (quoted in Hood and Haas). The prospectus continues by advertising the sale of 40 mammoth prints (selected by the subscriber from the fifty-one) for $100; individual images sold to non-subscribers would be at a higher price. Although Muybridge produced over 500 negatives between June and November 1872 in various formats, only fifty-one views were produced in mammoth format (17 x 21 inches from his mammoth 20 x 24 inch negatives). These impressive large scale views immediately attracted national and international acclaim and Muybridge was awarded the Vienna Medal in 1874. Despite this attention it would appear that far fewer were sold, or have survived than those of his competitor Carleton Watkins. Writing of the 1872 mammoth-plate photographs, Hood and Haas conclude: "These magnificent landscape compositions stand alone, as the peak of Muybridge's Yosemite contribution." Naef, Era of Exploration , (Albright Knox Art Gallery/Metropolitan Museum of Art, 1975) pp. 167-200; Hood and Haas, "Eadweard Muybridge's Yosemite Valley Photographs" in The California Historical Society Quarterly, March 1963, pp. 5-26.

$1200.00

Mirror Lake, Valley of the Yosemite
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Mirror Lake, Valley of the Yosemite

By MUYBRIDGE, Eadweard James (1830-1904)

San Francisco: Bradley & Rulofson, 1873. Mammoth plate albumen photograph, mounted onto the photographer's lettered card mount. Image size: 17 x 21 1/2 inches. Sheet size: 24 3/8 x 29 1/2 inches. Rare mammoth-plate photograph of Yosemite by Muybridge. "Muybridge was justifiably celebrated as a landcape photographer for his series of mammoth-plate Yosemite views made [between June and December] in 1872 and offered for sale by Bradley and Rulofson in 1873. These fifty one ambitious photographs were made in direct competition with C.E. Watkins's equally acclaimed views of 1861-1866." Muybridge's 1872 Yosemite photographs were "his most significant and last extensive body of landscape photographs. Drama was the foremost quality in Muybridge's esthetic, and he continued to place heavy emphasis on unique points of view to achieve dramatic intensity" (Naef). As an artist, Muybridge is acclaimed not only for his compositions, but also his deliberate choice of points of view, which were often contrary with the realities of the difficult terrain. Comparisons between the Yosemite photographs of Muybridge and Watkins, both today and even at the time, are and were inevitable. They are perhaps summed up best by Naef, who describes the two photographers "as different as romanticism and classicism" and elsewhere as "painterly" (Muybridge) versus "sharp focus precision" (Watkins). Muybridge announced his intentions in a May 1872 prospectus which sought financial support for the Yosemite project prior to his expedition: "I am encouraged in this undertaking from the generally expressed opinion, especially of our best Art Critics, that although many carefully large-size photographs of our scenery have already been published, yet the wonderful improvement in the science of photographic manipulation, and a judicious selection of points of view, with an aim at the highest artistic treatment of the subject affords, will result in a more complete realization than has hitherto been accomplished of the vast grandeur and pictorial beauty for which our State and Coast have so world-wide a reputation" (quoted in Hood and Haas). The prospectus continues by advertising the sale of 40 mammoth prints (selected by the subscriber from the fifty-one) for $100; individual images sold to non-subscribers would be at a higher price. Although Muybridge produced over 500 negatives between June and November 1872 in various formats, only fifty-one views were produced in mammoth format (17 x 21 inches from his mammoth 20 x 24 inch negatives). These impressive large scale views immediately attracted national and international acclaim and Muybridge was awarded the Vienna Medal in 1874. Despite this attention it would appear that far fewer were sold, or have survived than those of his competitor Carleton Watkins. Writing of the 1872 mammoth-plate photographs, Hood and Haas conclude: "These magnificent landscape compositions stand alone, as the peak of Muybridge's Yosemite contribution." Naef, Era of Exploration , (Albright Knox Art Gallery/Metropolitan Museum of Art, 1975) pp. 167-200; Hood and Haas, "Eadweard Muybridge's Yosemite Valley Photographs" in The California Historical Society Quarterly, March 1963, pp. 5-26.

$1200.00

Yowiye Falls. Valley of the Yosemite

By MUYBRIDGE, Eadweard James (1830-1904)

San Francisco: Bradley & Rulofson, 1873. Mammoth plate albumen photograph, mounted onto the photographer's lettered card mount. Image size: 17 x 21 1/2 inches. Sheet size: 24 3/8 x 29 1/2 inches. Minor repairs at edges of card mount. Rare mammoth-plate photograph of Yosemite by Muybridge. "Muybridge was justifiably celebrated as a landscape photographer for his series of mammoth-plate Yosemite views made [between June and December] in 1872 and offered for sale by Bradley and Rulofson in 1873. These fifty one ambitious photographs were made in direct competition with C.E. Watkins's equally acclaimed views of 1861-1866." Muybridge's 1872 Yosemite photographs were "his most significant and last extensive body of landscape photographs. Drama was the foremost quality in Muybridge's esthetic, and he continued to place heavy emphasis on unique points of view to achieve dramatic intensity" (Naef). As an artist, Muybridge is acclaimed not only for his compositions, but also his deliberate choice of points of view, which were often contrary with the realities of the difficult terrain. Comparisons between the Yosemite photographs of Muybridge and Watkins, both today and even at the time, are and were inevitable. They are perhaps summed up best by Naef, who describes the two photographers "as different as romanticism and classicism" and elsewhere as "painterly" (Muybridge) versus "sharp focus precision" (Watkins). In this image by Muybridge, as in many of his images depicting the various falls of Yosemite, the soft focus of the background enhances the raging power of water as a backdrop for the serenity of the rocks and stream in the foreground. Muybridge announced his intentions in a May 1872 prospectus which sought financial support for the Yosemite project prior to his expedition: "I am encouraged in this undertaking from the generally expressed opinion, especially of our best Art Critics, that although many carefully large-size photographs of our scenery have already been published, yet the wonderful improvement in the science of photographic manipulation, and a judicious selection of points of view, with an aim at the highest artistic treatment of the subject affords, will result in a more complete realization than has hitherto been accomplished of the vast grandeur and pictorial beauty for which our State and Coast have so world-wide a reputation" (quoted in Hood and Haas). The prospectus continues by advertising the sale of 40 mammoth prints (selected by the subscriber from the fifty-one) for $100; individual images sold to non-subscribers would be at a higher price. Although Muybridge produced over 500 negatives between June and November 1872 in various formats, only fifty-one views were produced in mammoth format (17 x 21 inches from his mammoth 20 x 24 inch negatives). These impressive large scale views immediately attracted national and international acclaim and Muybridge was awarded the Vienna Medal in 1874. Despite this attention it would appear that far fewer were sold, or have survived than those of his competitor Carleton Watkins. Writing of the 1872 mammoth-plate photographs, Hood and Haas conclude: "These magnificent landscape compositions stand alone, as the peak of Muybridge's Yosemite contribution." Naef, Era of Exploration , (Albright Knox Art Gallery/Metropolitan Museum of Art, 1975) pp. 167-200; Hood and Haas, "Eadweard Muybridge's Yosemite Valley Photographs" in The California Historical Society Quarterly, March 1963, pp. 5-26.

$4800.00

Men and Women of the Day. A Picture Gallery of Contemporary Portraiture
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Men and Women of the Day. A Picture Gallery of Contemporary Portraiture

By BARRAUD, Herbert (1845-1896)

London: Richard Bentley and Son, 1893. 6 volumes, folio. (14 x 10 1/2 inches). 216 carbon print photographs on cards. A few with minor chips at board edges of cards. Contemporary morocco-backed cloth boards Provenance: Peabody Institute (bookplate, inked stamp on titles and versos of photographs) A noted photographically illustrated work of portraiture and biography. Barraud was among the most fashionable portrait photographers of the Victorian era. These volumes Include portraits of Robert Browning, Lady Churchill, Arthur Conan Doyle, Henry Irving, Lord Tennyson, Sir Richard Owen, John Ruskin, Adalina Patti, George Du Maurier, J. M. Barrie, H. M. Stanley, W. S. Gilbert, and other writers, actors, politicians, scientists, aristocrats and notables of the day. The final volume includes portraits by other photographers. The biographies are edited by Charles Ellington.

$10000.00

Sketches of Camp Boone. The First Encampment of the Kentucky State Guard; held near Louisville, from August 23rd to August 30th, 1860. Also, photographic views of the camp, and Portraits of the General's Staff
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Sketches of Camp Boone. The First Encampment of the Kentucky State Guard; held near Louisville, from August 23rd to August 30th, 1860. Also, photographic views of the camp, and Portraits of the General's Staff

By KENTUCKY - Garrett & Nickerson, photographers

Louisville: Published by G. T. Shaw for Garrett & Nickerson, Photographists, 1860. 4to. (10 x 7 3/4 inches). 27, [1]pp. plus 9 oval salt paper print photograph portraits mounted on one sheet with printed captions, 11 salt paper print photograph views of the camp, with rounded corners mounted on 11 sheets. Contemporary red morocco, upper cover titled in gilt, rebacked, with original spine laid down Very rare early photographically-illustrated work, depicting military camp life on the eve of the Civil War in Louisville Kentucky. On March 5th, 1860, fore-seeing the coming of an armed conflict, the Kentucky State Legislature organized the Kentucky State Guard. By early spring the officers had received their commissions, with Simon Bolivar Buckner named Inspector-General with the rank of Major General. On August 23, 1860 the Kentucky State Guard assembled for the first time on the grounds of the South-Western Agricultural Association in Louisville, naming their camp for famed Kentuckian Daniel Boone. Seeing a commercial opportunity, Louisville photographers Garrett & Nickerson captured the week-long event. The preliminary text in this work gives a detailed record of all the orders given during the first encampment, as well as a complete roster of the officers. The illustrations within the work are all salt paper prints from collodion glass negatives by Louisville photographers C. Alfred Garrett and George H. Nickerson. The nine officers depicted on the first page of photographs are: Major General S. B. Buckner, Colonel Frank Tryon, Colonel Benjamin Hardin Helm, Colonial Isaac W. Scott, Colonel Charles D. Pennebaker, Colonel Samuel Gill, Major James A. Beattie, Captain Philip Vacaro and Rev. James Craik. The views comprise (titles as per captions listed on the final page of text): 1) First View of Camp Boone, looking North 2) Second View of Camp Boone, looking North-East 3) Dress Parade 4) Guard Mounting 5) Visit of the Governor to Major Hunt 6) Street Scene after Parade [#1] 7) Visit of Commissioned Officers to Capt. Hayes 8) Street Scene after Parade [#2] 9) Visit of the Governor to Col. Frank Tryon 10) Meeting of Officers after Parade 11) Street Scene after Parade [#3] At the start of the Civil War, border-state Kentucky vowed to stay neutral. It was not long, however, before the state legislature moved to side with the Union. Nevertheless, many of its citizens, and many of the soldiers in the Kentucky State Guard, sided with the Confederacy. Indeed, the Confederates formed their own Camp Boone in Tennessee to attract the well-trained Kentucky militiamen. This included Buckner, as well as Captain John Hunt Morgan, the infamous leader of the Morgan Raiders. Interestingly, the final image within the work would seem to depict Morgan's men, as one of the crates in the foreground is labelled "Lex. Rifles", after the name of Morgan's company (the Lexington Rifles). Thus the present work, depicting the Kentucky State Guard in August of 1860, inadvertently captures the images of many soon-to-be soldiers in the Confederate Army. Photographically-illustrated works from this early period were seldom printed in large quantities. That fact, coupled with the destruction caused by the Civil War in the years immediately following the publication has made this work very rare. OCLC cites but two known examples (University of Chicago and University of Kentucky); an additional example is held in the Gilder-Lehrman Collection at the New York Historical Society and we know of another in private hands. A significant photographic incunable. Not in Truthful Lens.

$32500.00

Album of Original Photographs from three Arctic expeditions commanded by Donald Baxter MacMillan
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Album of Original Photographs from three Arctic expeditions commanded by Donald Baxter MacMillan

By MACMILLAN, Donald Baxter (1874-1970)

[Labrador, Baffin Island, Ellesmere Island, and Greenland, 1925. Oblong quarto. 83 silver gelatin photographs, plus 4 photo postcards, most approximately 3 x 5 inches. Manuscript captions on supports in white pencil throughout. Contemporary black leather, cord-tied photo album. A lively collection of photographs documenting an important series of 20th century Arctic voyages. A collection of eighty-seven images from three different Arctic voyages commanded or co-commanded by Donald Baxter MacMillan in the early 1920s. MacMillan made over thirty voyages to the Arctic during a nearly fifty year career that spanned the first half of the 20th century. After World War I, he designed and commissioned his own schooner, named the Bowdoin , specifically for Arctic exploration. The photos in this album document the first two expeditions made by the craft to Baffin Island in 1921-22, and to North Greenland, Ellesmere Island, and several other locations in 1923-24, as well as a third exploration, also to Greenland, made jointly with another ship called the Peary in 1925. The present images depict many views of the Bowdoin and the Peary , as well as sea planes transported into the Arctic by the Peary for testing, detail features of the passing landscape, seascape, and document local wildlife. Further photos show the activities of the men in camp and in the course of their duties, such as building, dog sledding, hiking, and ship loading. Finally, a number of pictures record the lives of the native Eskimo populations and show the ruins of building left by early Norse explorers.

$15000.00

The Art of Making and Colouring Ivorytypes, Photographs, Talbotypes, and Miniature Painting on Ivory & c. together with valuable Receipts never before published
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The Art of Making and Colouring Ivorytypes, Photographs, Talbotypes, and Miniature Painting on Ivory & c. together with valuable Receipts never before published

By COOPER, Peregrine F.

Philadelphia: By the Author, 1863. 12mo. 52pp. With a hand-painted manuscript colour chart mounted on verso of the title and a signed and inscribed photograph of the author bound in following the title. With a letterpress ad for Cooper's Photographic Gallery mounted onto the rear pastedown. Publisher's cloth, covers stamped in blind and titled in gilt, rebacked and with endpapers renewed Rare American manual detailing an unusual hand coloured photographic process. This rare mid-19th-century American technique involved hand colouring salted paper or albumen prints, mounting them to white board and then specially glazing a piece of glass with a wax-based heated mixture and adhering the photograph face down to the glass on the waxed side. The effect is soft and beautiful and has the appearance of a hand-painted ivory miniature. The process was first used in America in the late 1850s by photographer Frederick Wenderoth, which he called the Toovytype. The author of this manual operated from a studio on Chestnut Street, according to his ad on the rear pastedown, and specialized in equestrian pictures, views of buildings, cased portrait images and the colouring of prints and photographs. In addition, the author offered lessons "in painting photographs of all sizes" and sold the present book to aid his students.

$4500.00

The Acropolis of Athens, Illustrated Picturesquely and Architecturally in Photography
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The Acropolis of Athens, Illustrated Picturesquely and Architecturally in Photography

By STILLMAN, William J. (1828-1901)

London: F.S. Ellis, 1870. Folio. Title page illustrated with a mounted photograph. 25 mounted carbon print photographs (images approx. 7 1/2 by 9 1/2 inches, or the reverse). Publisher's green cloth, upper cover lettered in gilt, expertly rebacked to style with green morocco The best 19th century photographs of the Acropolis: one of 100 copies printed. Stillman's The Acropolis of Athens "may be considered a precursor of the twentieth-century modernist photobook in that self-expression is deemed as important as making a record. Stillman's title determines the book's tone -- the Acropolis is 'illustrated picturesquely and architecturally in photography', with the artistic side of the enterprise being placed before the documentary ... [Stillman's] work is nominally in a straightforward nineteenth century topographical mode, fulfilling the brief of documenting the Parthenon and Erecheum, but it also functions as a conscious vehicle for the photographer's artistic ambitions. Stillman takes us on a tour of the Acropolis in 25 well-executed and richly toned photographs that transport us from far to near, beginning with distant views that place the hill and its monuments in context, and ending with close-ups of statue fragments" (Parr and Badger). Stillman, born in Schenectady, New York, trained as an artist under Frederic Church; travelling to England and Europe in the 1850s, he became an important member of the Pre-Raphaelite circle, befriending Rossetti, Millais and others. It was around this time that he also took up photography. Following the Civil War, Stillman was named U.S. Consul to Crete, but fled to Athens during the Cretan Revolt. In the winter and spring of 1869 he began photographing the Acropolis. Encouraged by others, he privately published his work, with the carbon print photographs printed by the Autotype Company of London. Contemporary advertisements reveal that only 100 copies were published at the price of $25 (with images subsequently offered for sale individually at $1). The work is quite rare on the market, with only a single example in the auction records. Truthful Lens 155; NYPL 223; Parr and Badger, The Photobook, I:p. 68; Frederick N. Bohrer, "Fixing the Acropolis: William J. Stillman and the Restoration of Athenian Antiquity" History Of Photography Vol. 40 , No. 3 (2016); Andrew Szegedy-Maszak, "An American on the Acropolis" in Antiquity in Photography , pp. 148-193 (Getty Publications: 2005).

$52000.00

Group 60 photographs depicting the people and landscape of Ceylon, and including a number of images documenting the visit by Archduke Franz Ferdinand
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Group 60 photographs depicting the people and landscape of Ceylon, and including a number of images documenting the visit by Archduke Franz Ferdinand

By CEYLON - William Louis Henry SKEEN, photographer (1847-1903); and others

Ceylon, 1893. Mounted albumen photographs, many captioned in manuscript on the mounts, many signed in the negative by Skeen. Image sizes approximately 10 1/2 x 8 1/2 inches; card mounts measuring 14 7/8 x 12 inches. Housed in a contemporary full morocco box, by A. Guenther of Vienna, gilt patterned endpapers and edges, metal hinges and clasps. Lovely collection of 19th century images of Ceylon's people and landscape, including images of a royal visit by Archduke Franz Ferdinand of Austria. In 1892, Archduke Ferdinand, the Prince and heir apparent of the Austro-Hungarian Empire, departed on a 10-month journey around the world, including visits to India, Ceylon, Australia, New Guinea, Japan, and the United States. The voyage held a dual purpose: the Archduke was recovering from tuberculosis and needed a cover in which to convalesce; in addition, however, the 28-year-old Prince was an avid sportsman and travelled in search of exotic game. The Archduke and his large entourage arrived in Colombo on January 5, 1893; travelling overland to a hunting campe at Kalawewa, returning to India on January 13. The Archduke is best remembered for being assassinated in 1914 which would trigger World War I. Many of these images are by the important photographer William Skeen. Skeen, trained at the London School of Photography, arrived in Ceylon in 1862. His father, a noted printer on the island, had purchased an existing photography studio for him to operate. "During its existence W.L.H. Skeen and Co. was the premier firm in Ceylon, producing an extensive documentation of agriculture and industry (particularly tea and spices), landscapes and ethnic groups ... The company were photographers by appointment to the Duke of Edinburgh during the tour of 1870 and photographed elephant kraals ... It also exhibited at major international exhibitions from the 1870s to the 1900s" (RCS Photographers Project, Cambridge University Library). Other images are attributed to the two photographers who traveled with the Archduke, the Bohemian Eduard Hodek (1858-1929) (who in addition to being the royal photographer for the trip, was also the Archduke's head taxidermist) and German photographer Karl Pietzner (1853-1927).

$28500.00

Panorama der K. Haupt-u.-Residenz-Stadt München. Aufgenommen in der Vogelperspective vom Sct. Petersthurme aus, zur Zeit des 700 jährigen Jubilaeums 1858
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Panorama der K. Haupt-u.-Residenz-Stadt München. Aufgenommen in der Vogelperspective vom Sct. Petersthurme aus, zur Zeit des 700 jährigen Jubilaeums 1858

By BÖTTGER, Georg (1821-1901)

Munich, 1858. 11 large-format collodion dry plate photographs, mounted on card accordion-style with linen joints to form a 360 degree panoramic view of Munich, titled on the mount below the image and with the photographer's name in contemporary manuscript at the lower right. Overall size: 20 3/4 x 178 inches. Folds into a contemporary green cloth-backed box with gilt edges Provenance: Ludwig II (contemporary manuscript inscription on a small sheet affixed inside the front cover of the box) Among the earliest photographic panoramic city views ever accomplished. Taken from the tower of St. Peter's Church on the occasion of the 700 anniversary of the city, Böttger's panorama is the first such panoramic photograph of Munich. Georg Böttger (1821-1901) began his career as an engraver and lithographer, taking up photography circa 1850. His earliest photographic works were portraits and architectural studies, the latter particularly including monuments dedicated to Ludwig I and II. In 1854, he participated in the Deutsche Industrieausstellung, and would both teach photography and sell photographic equipment. In the 1860s he would photographically document bridge and railroad engineering projects in Germany, and in 1872 be named the official photographer of the Bavarian royal family. The present panorama is by far his most famous image, being among the largest photographs accomplished to that date, the earliest 360 degree photographic city view, and among the earliest photographic panoramas ever taken (preceded only by a panorama of Paris by Bisson freres in 1855). It is extremely scarce. Not in Heidtmann and with only a single example located in the Stadtmuseum, Munich. This example with provenance to Ludwig II, King of Bavaria.

$37500.00

[Incredible album of photographs documenting Peary's final expedition to the Arctic]
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[Incredible album of photographs documenting Peary's final expedition to the Arctic]

By PEARY ARCTIC EXPEDITION - G. Frederick NORTON (1876-1917)

[Northern Greenland], 1909. Oblong small folio. (11 x 15 1/4 inches). 238 silver print photographs (comprising 71 panoramic images measuring 3 1/4 x 11 1/2 inches, 147 measuring 3 3/4 x 4 7/8 inches and 20 measuring 3 x 3 7/8 inches). Mounted recto and verso on grey card mounts within the album. Some images captioned in ink on the mount. A few cards detached, some fading to the images. Contemporary leather, missing part of one post, leather worn. Housed in a morocco backed box. Provenance: G. Frederick Norton An important photographic record of Peary's Arctic expedition. In 1908, G. Frederick Norton accompanied Robert Peary on the start of his final Arctic expedition. An acclaimed adventurer and hunter, Norton was additionally an amateur photographer and here documents Peary's journey north, as well as camp life, landscape and natives of Greenland. George Frederick Norton (1876-1917), born in Kentucky, attended the Lawrenceville School and served as a partner at the brokerage Ex Norton & Co. However, his life's passion was travel, adventure and big game. Norton made numerous trips to the west and Alaska on private hunting expeditions, and collected and donated specimens (with a particular emphasis on bear skulls) to the American Museum of Natural History the Smithsonian and other institutions. In 1901, he journeyed around the world and in 1908 he helped finance the final Peary expedition to the North Pole, accompanying him aboard the ship Erik as far north as Etah, Greenland. The images include panoramic landscapes taken from aboard the ship, showing icebergs and the coast of Greenland. The smaller format images include portraits and candid shots of Peary, Matthew Henson, Captain Bartlett, Professor Marvin and other crew members at work and repose aboard the ships Erik and Roosevelt, as well as numerous images of native Inuit aboard ship and on land. Furthermore, images include landscapes and camp life at the whaling station at Hawk's Harbor, Holseteinborg, the Cape York settlement, Etah and elsewhere en route. Among the Peary-related photos, are a series of images showing his preparations to leave the ship at Etah. An extraordinary album of vernacular photographs in the Arctic on a noted expedition.

$35000.00

The Yosemite Book; A Description of the Yosemite Valley and the Adjacent Region of the Sierra Nevada, and of the Big Trees of California...
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The Yosemite Book; A Description of the Yosemite Valley and the Adjacent Region of the Sierra Nevada, and of the Big Trees of California...

By WHITNEY, Josiah Dwight

New York: Julius Bien, 1868. Large quarto. 116pp. plus twenty-eight mounted albumen photographs, each 6 x 8 inches, and two folding maps. Repairs to maps, text moderately foxed in places, photo mounts lightly so, but the photos themselves clean and bright. Three-quarter morocco, publisher's green cloth, title stamped in gilt on front board, neatly re-backed, with original gilt morocco spine preserved, gilt edges Twenty-eight Mounted Photographs of Yosemite An important photographically illustrated piece of Western Americana, containing twenty-eight original albumen photographs, the first twenty-four produced by Carleton T. Watkins in 1866 and the final four by W. Harris the following year. The Yosemite Book ... was assembled by the office of the California State Geologist, headed by J.D. Whitney. The text was based mainly on the field survey work done by Clarence King in the 1866 season, supplemented with material from other sources. The whole was intended as a lavish guide to Yosemite. Only 250 copies were issued with photographs, as in the present copy. The rest were done on a smaller format to serve more practically as a guide book. The maps are the best of the Yosemite region produced up to that time. Whitney was justifiably proud of the work, which appeared early in 1869, although completed in December 1868. Currey & Kruska conclude that it is "one of the major contributions to Sierra Nevada literature." This work is now scarce. It was notably absent from the DeGolyer Library exhibition devoted to photographically illustrated western books (although it is listed in the appendix). Important and visually impressive. Cowan, p.699; Currey & Kruska, Yosemite Bibliography 60; Farquhar 7a; Graff 4646; Howell 50:929; Howes W389, "aa"; Kurutz, California Books Illustrated with Original Photographs 88; ROCQ 5170; Truthful Lens 896; Zamorano Select 32.

$18500.00

Album of 25 albumen photographs of flower arrangements
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Album of 25 albumen photographs of flower arrangements

By [BRAUN, Adolphe (1812-1877)]

[Paris, 1855. Folio. 25 albumen photographs, most with rounded corners, each mounted onto white paper and mounted onto tan sheets within the album. Contemporary navy blue morocco, bound by C. Lewis, covers with wide elaborate borders in gilt, central floral wreath stamped in gilt and blind and lettered in gilt, flat spine gilt, cream silk endpapers A stunning album of early floral photographs attributed to Braun. A noted French textile designer, Braun was an early adopter of the use of photography in his studio to aid in the design of floral patterns. "It was his flower images that brought Adolphe Braun into the top rank of photographers. The subject could not have been more appropriate for him, as flowers were the most important theme in the printing factories' design studios ... Adolphe Braun disliked the distorted, repetitive and conventional floral compositions of the schools and design studios. His stated goal for his Fleurs photographiées was to allow designers to work from natural models" (O'Brien and Bergstein, p. 15). In 1854, Braun presented an album of 300 photographs to the Academie des Sciences in Paris and exhibited additional images at the Exposition Universelle of 1855. "With the collodion process, Adolphe Braun was able to reproduce his flower wreaths and arrangements with perfect subtlety and finess ... These images compose one of the major works of art produced in this period, known as the 'golden age of photography'" (O'Brien and Bergstein, p. 16) Braun catalogues show that his large albumen prints were offered for sale at ten francs each. Although he produced hundreds of glass plates, he found the market for the larger, more expensive images was limited among textile artists and students of design and therefore produced far fewer of the larger sizes like the present images. While a few scattered images appear in museums and private holdings, the principal repository of Braun photographs is held by the Musée de l'Impression sur Étoffes, Mulhouse. Braun floral photographs of the size and quality as those in the present album are seldom seen on the market. Maureen C. O'Brien and Mary Bergstein, Image and Enterprise: The Photographs of Adolpe Braun (London: Thames and Hudson, 2000).

$28000.00

Seven Mile Funeral Cortège of Genl. Grant in New York Aug. 8, 1885 [cover title]
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Seven Mile Funeral Cortège of Genl. Grant in New York Aug. 8, 1885 [cover title]

By (GRANT, Ulysses S.) - The U.S. Instantaneous Photographic Co

Boston: The U.S. Instantaneous Photographic Co, 1886. Oblong folio. (13 1/4 x 15 3/4 inches). 99 mounted albumen photographs. 2pp. ads. Some minor browning and staining. Publisher's black morocco, covers panelled in blind and lettered in gilt, repairs to joints Rare published album of photographs depicting President Grant's final journey. An elaborate memorial album, photographs depict Grant's house, the train carrying the coffin from Mount McGregor to New York, the procession in Albany, the temporary tomb in Riverside Park, various regiments marching to New York (including a view of State Street, Boston), the laying in state, army camps in Riverside Park, navy ships in the Hudson River, several views of the funeral procession in New York City including Fifth Avenue, floral tributes at the tomb, and crowds gathered there. There are also many photographs of Grant and his family including his last known photograph of Grant taken 19 July 1885, only four days before his death. The caption states in part, "For the first time, the old soldier.is seen with his eye glasses on, reading a newspaper. Our artist had taken the old hero several times before, by his permission, but it was in family groups and in constrained and unnatural positions.but when this last view of the great man was snatched from him, he was unaware of it, and it looks very natural.and shows the simplicity of the man more than volumes of writing could do." The The U.S. Instantaneous Photographic Co. firm produced several versions of the present album, with varying numbers of prints, for display in hotel lobbies on complicated custom-made cast iron display stands. The present album with more images than usually found and is numbered "No. 9" on the front pastedown. The album is rare, with only 8 extant examples located by OCLC and only three other examples in the auction records for the last 40 years.

$9500.00

The Progress of his Royal Highness Prince Alfred Ernest Albert through the Cape Colony, British Kaffraria, the Orange Free State, and Port Natal, in the year 1860
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The Progress of his Royal Highness Prince Alfred Ernest Albert through the Cape Colony, British Kaffraria, the Orange Free State, and Port Natal, in the year 1860

By [SOUTH AFRICA]: [PHOTOGRAPHY]

1861. Quarto. xii,180pp. plus photographically illustrated titlepage and sixteen mounted albumen photographs. Original publisher's cloth, stamped in gilt; rebacked with most of original spine laid down. Corners lightly worn. Contemporary ownership inscription on front flyleaf. Light foxing and toning, heavier in some places. Most images clean, though one or two with some light foxing at the edges. Very good. With Some of the Earliest Photographic Images from South Africa, with a Striking Portrait of a Basuto Chief An early photographically illustrated book, and the first such book printed on the African continent. The volume was made to commemorate the visit of Alfred, Duke of Saxe-Coburg and Gotha, one of Queen Victoria's sons. The book was designed to showcase the colony, which had hitherto been viewed in a less than positive light by the general British public. Prince Alfred was well-received by the colonists in South Africa, and the volume contains many positive facts about the colony's usefulness to the British Empire. The book includes seventeen images by photographer Joseph Kirkman, who was active in South Africa from 1859 to 1870. Some of the images in this volume are photographs of drawings or other artwork, but others do capture live scenes along the Prince's route, including a grand portrait of the African chief Moshesh and his advisors. The chief is pictured seated in the center of the image, dressed in a top hat and suit, holding a cane. The man seated next to him glowers at the camera and is draped in an animal pelt and holds a spear. Four men, all in Western dress, stand arrayed behind them. The images taken from life during the Prince's progress are as follows: [Untitled image on the titlepage showing several men next to a rail car full of large rocks. In 1860 Kirkman and Frederick York were employed by the Government and the Harbour Board to photograph the tilting of the first truck of stone off the Breakwater by Prince Alfred. This is, presumably, an image from that scene.] "Graham's Town, from the West" "The Reception of the Prince by a Burgher Escort near Queenstown" "The Prince's Interview with the Tambookies" "Moshesh and His Counsellors" "The Prince and His First Wildebeeste" "The Prince's Travelling Equipage" Not in THE TRUTHFUL LENS. A rare and interesting work, and notable for being the first photographically illustrated book produced in Africa.

$4500.00

Egypt and Palestine Photographed and Described
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Egypt and Palestine Photographed and Described

By FRITH, Francis (1822-1898)

London: James S. Virtue, 1859. 2 volumes, small folio. (17 1/8 x 12 3/8 inches). 76 mounted albumen photographs. Extra-illustrated with 3 additional images by Frith in the rear of vol. 2, dated in the negatives 1873-1875. Foxing, principally to the mounts. Contemporary half green morocco and green pebbled cloth boards, spine gilt with raised bands Provenance: Arthur G. Soames (armorial bookplate) Frith's Egypt and Palestine: "one of the most renowned nineteenth century photobooks" (Parr & Badger). By the mid 1850s, Frith had sold his grocery and printing businesses to devote himself full time to photography. Between 1856 and 1860, he made three expeditions to Egypt, Sinai, Ethiopia, and Jerusalem, photographically documenting Middle Eastern architecture and culture. "On the first, he sailed up the Nile to the Second Cataract, recording the main historic monuments between Cairo and Abu Simbel. On the second, he struck eastwards to Palestine, visiting Jerusalem, Damascus and other sites associated with the life of Christ. The final expedition was the most ambitious, combining a second visit to the Holy Land with a deeper southward penetration of the Nile. His photographs of the temple at Soleb, 800 miles south of Cairo, represent a genuinely pioneering achievement. Unlike many travel photographers of this period, Frith used the wet collodion process in preference to the more convenient paper-based calotype. Because it involved chemically sensitizing the glass plates on site, this process posed particular problems in a climate dominated by heat, dust and insects. Commenting sardonically on how his chemicals often boiled on contact with the glass, he nevertheless produced negatives that are remarkable for their consistently high technical standard ... Frith photographed most of the key monuments several times, combining general views with close studies of their significant details and broader views of their landscape environment. The clarity of his images proved to be of immense value to archaeologists. The photographs are also often powerfully composed, revealing an understanding of the poetic qualities of light that gives them lasting aesthetic value" (McKenzie, Grove Art). The present work was the first published fruit of these travels, originally published in 25 monthly parts, with three images per part, between 1858 and 1859, with the parts re-issued upon completion in two volumes (as here). Although most famous for his much larger photographs (Egypt, Sinai and Jerusalem, 1862-63), Parr and Badger praise the artistry of the present images: "With the 9 by 7 inch view camera, Frith was liberated not only from the technical difficulties, but also from the aesthetic responsibilities of making a grand statement." Depicting landscapes, monuments and views, Frith's photographs of Egypt and the Holy Land established his reputation as one of the most important photographers of the 19th century. "It is for good reasons that Firth's views of Egypt and Palestine were the star attractions of the 1858 exhibition of the Photographic Society ... 'His subjects in Palestine and Egypt impress us with a consciousness of truth and power which no other art production could produce'" (Truthful Lens, p. 30). Many of the negatives, first printed here, were reused by Frith in later publications, including his deluxe edition Queen's Bible, and his four-volume set printed by Mackenzie in 1863. Blackmer 1942; Gernsheim 88; Truthful Lens 61; cf. Parr and Badger I:p.28.

$12500.00

The Pageant of Peking. Comprising Sixty-six Vandyck Photogravures of Peking and Environs ... With an Introduction by Putnam Weale. Descriptive notes by S. Coulie
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The Pageant of Peking. Comprising Sixty-six Vandyck Photogravures of Peking and Environs ... With an Introduction by Putnam Weale. Descriptive notes by S. Coulie

By MENNIE, Donald, photographer (1875-1941)

Shanghai: Published by A. S. Watson, printed and bound by Kelly & Walsh, 1922. Folio. (15 x 11 inches). Title and text printed in red and black. 66 photogravures by Mennie, each tipped to larger sheets within a printed border with captions to the facing images on verso. Calligraphic manuscript presentation leaf bound preceding the title, signed by the trustees and vestry of the Holy Trinity Cathedral in Shangahi. Publisher's blue silk, upper cover decorated and lettered in gilt. Housed in a contemporary custom carved wooden box with Chinese motifs, velvet lining. Provenance: Lord John Hubbard, 3rd Baron Addington (presentation inscription) A spectacular collection of photographs of early 20th-century Beijing and the surrounding countryside: special presentation copy housed in a wonderful carved wooden box. Includes images of the Summer Palace, the Forbidden City, the Great Wall, and scenes of shopkeepers, merchants, travelers and monks going about their business. Mennie was a Scottish entrepreneur and amateur photographer, who first came to China in circa 1899. His first published work as a photographer were the illustrations in Elizabeth Cooper's My Lady of the Chinese Courtyard , a story of women's lives in China (New York,1914), with his own photobooks first appearing in 1920. The Pageant of Peking was his most successful and best known work, first published in November 1920. This copy stated third edition on verso of the half title, published in February 1922.

$6000.00

[Album containing 154 albumen photographs of Chicago by a noted photographer, including important architectural images, as well as images relating to the preparations for the 1893 World's fair, the stockyards as described by Upton Sinclair, and more]
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[Album containing 154 albumen photographs of Chicago by a noted photographer, including important architectural images, as well as images relating to the preparations for the 1893 World's fair, the stockyards as described by Upton Sinclair, and more]

By CHICAGO - John W. TAYLOR, photographer (1846-1918)

Chicago, 1890. Oblong folio. (10 3/4 x 13 inches). 152 albumen photographs, most 7 x 9 inches, mounted recto and verso of each leaf within the album. Images captioned in manuscript on the mount below the image, many signed in white ink or in the negative by Taylor. Expertly bound to style in half dark purple morocco over period cloth covered boards, spine lettered in gilt, marbled endpapers A remarkable album of early Chicago photography by John W. Taylor: a significant photographic record of Chicago in the late 19th century. A major photographic record of the city of Chicago and its architecture in the late 19th century, almost entirely the work of the significant photographer John W. Taylor, with his imprint in the negative. Taylor was a bookseller and stationer before advertising himself as a commercial photographer in the late 1880s. He concentrated his work on Chicago-area architecture and city infrastructure. Today he is recognized as a pioneering photographer of architecture, working in Chicago at the very beginning of the skyscraper era. This superb photograph album presents a fairly comprehensive view of Chicago's architecture and life during one of the city's most interesting and vibrant periods, from the highest of the skyscrapers to the interiors of pig pens in the stockyards, with numerous residences, parks, lush interiors, the 1893 World's Fair, and more in-between. Taylor's importance as one of the earliest significant architectural photographers is addressed in Peter Bacon Hales' Silver Cities: Photographing American Urbanization, 1839-1939 : "Photographers of the older generation managed to retain their identities even as they adjusted to their more prosaic role as visual adjuncts to the architects who designed the buildings they photographed. J.W. Taylor of Chicago, for example, made an extensive survey of the "modern" buildings of Chicago and its environs, many of which traveled throughout the globe as architects and engineers converged on the city in the later 1800s and beyond to see the miracle of the Chicago style of building. Taylor's pictures went as far as Melbourne, Australia, in the collection of Australian architect E.G. Kilburn, who made his pilgrimage to the architects' mecca in 1889. Kilburn stared, sketched, and took notes; then he brought back photographs by Taylor of everything from the Pullman company town to the Palmer House." Chicago has been an especially important architectural center since the period represented in this collection. After the Great Chicago Fire of 1871 destroyed most of the buildings in the downtown area, a special class of architects and engineers flocked to the city, resulting in an architectural boom unequaled in the history of 19th century urban development. Hallowed names such as Louis Sullivan, Dankmar Adler, John M. Van Osdel, Daniel Burnham, William W. Boyington, William LeBaron Jenney, John Wellborn Root, William Holabird, Martin Roche, Edward Baumann, Harris W. Huel, Solon Spencer Beman, and Clinton J. Warren stamped their unique architectural character on the Chicago landscape. Each of these architects is amply represented in the photographs contained herein. There is even one photograph of the magnificent lobby of the Rookery Building, considered the grandest lobby in Chicago at the time. This view is especially interesting to architectural historians because this interior was remodeled a short time later, in 1905 by Adler & Sullivan's former head draftsman, Frank Lloyd Wright. The late 19th century was also a transitional time in building construction, when architects were beginning to leave behind cast iron frames and experiment with steel-frame construction and large areas of plate glass, especially in the "Commercial Style" made famous by Sullivan and others in the Chicago School. As a result, some of the earliest modern skyscrapers are found in Chicago. A general summary of the photographs in the album is as follows: forty-two buildings including the Masonic Temple (the tallest skyscraper in the world at the time), the Woman's Temple, the Rookery Building, the Chamber of Commerce, the Monadnock Building, the Northern Hotel, the Home Insurance Building, the Tacoma Building, the Caxton Building, the Pullman Building, the Oakland Hotel, the Grand Pacific Hotel, Palmer House, the Auditorium Building, Marshall Field's, the Lester Building, the Hotel Metropole, Libby Prison, the New Regiment Armory, depots, and churches; seven downtown street scenes; seventeen residential streets, including Lake Shore Dr. and Michigan Ave., and residences of prominent citizens, including Potter Palmer and Lambert Tree; twenty parks, pavilions, and recreation scenes; three of Grant Monument and its unveiling; ten Lincoln Park scenes, some with animals; three of Garfield Park; ten featuring World's Fair building construction; nine views of the October 1892 World's Fair dedication, showing ceremonies and a large parade; two scenes of boating; twelve views of stockyards and meat processing, six exterior and interior views of an auditorium; eight interiors including Palmer House and a bank; and three scenes of horse racing at Washington Park. Taylor's photographs reside in the collections of the Art Institute of Chicago (fifty-six images) and the Chicago History Museum (150 images). The subject matter of those collections, and the present work overlap significantly, testament to the prodigious nature of Taylor's output. For example, this collection has a significant number of images related to the World's Columbian Exposition (a.k.a., the Chicago World's Fair) of 1893; the Chicago History Museum collection contains no images from this monumental event in Chicago's history. A truly remarkable record of Chicago architecture by a significant photographer.

$27500.00

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