photographs we like: two

PHOTOGRAPHS WE LIKE:

TWO

CONDITIONS OF SALE.

The photographs in this catalogue are offered subject to prior sale. Prices

are subject to change.

Customers will be billed for shipping. Shipments outside of the United

States will be made by Fedex, unless other arrangements have been

made. Applicable sales tax will be charged.

All photographs are copyrighted by the photographers or their estates.

Because the quality of reproductions in this catalogue may vary according

to the computer they are viewed on, additional jpgs are gladly supplied.

SUSAN HERZIG ! PAUL HERTZMANN

P.0. Box 40447 San Francisco, California 94140 Tel 415 626-2677

E-mail [email protected] www.hertzmann.net

Member: Association of International Photography Art Dealers (AIPAD); Private Art Dealers Association

(PADA)

Arnold Genthe [1869-1942] The Toy Peddler, San Francisco

Vintage silver print, ca. 1900. [6617]

Size of image: 9 3/4 x 7 !”

Illustrated: Genthe, Old Chinatown [1908], after p. 10; Genthe, Old Chinatown [1913], p. 199;

Genthe & Tchen, Genthe’s Photographs of San Francisco’s Old Chinatown [1984], p. 75.

After his arrival in San Francisco from Germany in 1895, Arnold Genthe began to record his

fascination for Chinatown with his camera. He frequently cropped and retouched his negatives in

order to portray this ten-block square San Francisco district as more foreign than it was. However,

for this print he retained the original English words “Chinese Candies” instead of etching out these

words and replacing them with Chinese characters, as he did in other versions of this image.

Price: $6500

Imogen Cunningham [1883-1976] “Wind”

Vintage platinum print, 1915. [2271]

Size of image: 9 5/8 x 6 "”, on a 12 5/8 x 9 # tissue mount attached to a 16 " x 12 7/8” board.

Signed “Imogen Cunningham Partridge” in pencil on the tissue mount; titled in pencil on the

reverse of the board mount. [Cunningham only used her husband’s last name “Partridge” during

1915, the first year of their marriage.]

Illustrated: Mann, Imogen Cunningham Photographs (1970), pl. 5; Rule, Imogen Cunningham

(1992) pl. 3, p.7.

Price: $25,000

Decoration Day Parade, Anchorage, Alaska, May 30, 1917

Phinney S. Hunt Anchorage, Alaska: Building the Railroad [1866-1917]

An archive of 86 vintage silver prints, 1916-1917. [6232]

Size of images: 6 ! x 8 !”

Most prints signed in the negatives; each print captioned, annotated “ A.E.C.” [Alaska

Engineering Company] and numbered in the negative. In a custom clamshell box.

Some of the earliest photographs of Anchorage, these images detail the Alaska Engineering

Company’s numerous buildings: commissary, hospital, bunkhouses, machine shop, and the

interior of the powder house. Passengers landing at the dock, the Decoration Day Parade of

1917, including the militia, and a baseball game at the new baseball park are depicted. There are

photographs of the landing of Panama freight and the stacking of hundreds of railroad wheels. A

series of seven images show a point of land on the Cook Inlet’s Turnagain arm before, during and

after dramatic blasting carried out in preparation for laying the track. Other photographs show the

outlying camps, primarily along Turnagain Arm.

In 1914, after two bankrupted attempts to build a railroad in Alaska, Congress authorized

President Woodrow Wilson to “locate, construct and operate” a railroad that would originate in the

Gulf of Alaska and extend into the interior as far as Fairbanks. The Alaska Engineering

Commission was formed to supervise construction. Anchorage (originally called “Ship Creek”)

was chosen for the railroad construction port. Equipment from the Panama Canal, including

steam shovels, derricks, bridge timbers, steel, flat cars, wheels, boilers, drills, and shop

machinery, was shipped to Anchorage for use in the massive construction effort.

Price: $9,500

Anchorage, New Depot & Freight House from the Ry. Yards, Looking Up “C” St.

Coyote Shot, 1000 Kegs Powder 25,000 Lbs, Moving 13,000 Yds. of Rock

The First Depot, A.E.C. Ry. Anchorage, Alaska

Rainbow Creek Camp, Mile 94, A.E.C. Ry.

Electric Thawing Machine, A.E.C. Ry.

Grandstand, Anchorage Baseball Park, May 30, 1917

Fourth Ave. Looking East, Anchorage, Alaska

Looking Across Turnagain Arm, Alaska, to Hope, from Rainbow Camp at Mile 94, A.E.C. Ry.

Lewis Hine [1874-1940] An Industrial Design

Vintage silver print, ca 1920. [6554]

Size of image: 8 ! x 7 !”

Signed “Hine” in pencil, titled in ink ‘AN INDUSTRIAL DESIGN-Pennsylvania Rubber Co. At the

control of a great “calendar”--making auto tires!, and with the photographer’s Interpretive

Photography Hastings-on-Hudson stamp on the reverse of the print.

Price: $6500

Man Ray [1890-1976] Notre Dame, Paris

Vintage silver print with original pencil retouching by the photographer, ca. 1925. [6354]

Size of photograph: 10 ! x 7 "”

Photographer’s 31 bis, Rue Campagne Premiere, Paris studio stamp [M2] and an illegible

annotation in red pencil on the reverse of the print.

Man Ray scholar Steven Manford has identified the stamp on this print [M2] as definitely in use by

the mid 1920s and possibly the photographer’s first address stamp.

Price: $15,000

Ansel Adams [1902-1984] Calaveras Grove Vintage “Parmelian” silver print, ca. 1929. [6562]

Size of image: 7 " x 6” on a 9 " x 7 7/8” sheet of paper.

Signed in pencil on the print margin. An Ansel Easton Adams Parmelian Print label, numbered

‘1727’ in pencil affixed to the original backboard, which accompanies the photograph.

Provenance: Gift from the photographer to Francis and Marjorie Farquhar; to their son Peter

Farquhar.

Price: $7500

Ansel Adams In the San Joaquin Valley, Farm Road Corner [1902-1984] Vintage silver print, ca. 1937. [6389]

Size of image: 4 3/8 x 6” on a 9 # x 11 5/8” mount.

Signed in pencil on the mount; titled in pencil and dated ‘ca. 1937’ in ink, with the photographer’s

131 - 24th Avenue, San Francisco! stamp [crossed out] and the Photograph by Ansel Adams,

Route 1, Box 181, Carmel, California, 93921 stamp on the reverse of the mount.

Illustrated: De Cock, Ansel Adams (1972), pl. 31.

Little known Adams photographs, such as this one, demonstrate how fully the photographer could

engage with a wide range of themes, including–here –vernacular Americana. As Liliane De Cock

wrote in her book Ansel Adams “we see [Adams] invest straight photography with a princely

quality rare in any medium.”

Price: $12,500

Edward Weston [1886-1958] Surf, China Cove, Point Lobos

Vintage silver print, 1938. [3300]

Size of image: 7 5/8 x 9 !” on a 15 x 16 !” mount.

Signed and dated in pencil on the mount; titled ‘Point Lobos! and inscribed with negative number

‘PL-S-9g’ in pencil on the reverse of the mount.

Illustrated: Conger, Edward Weston - Photographs from the Collection of the Center For Creative

Photography, fig. 1367/1938; Weston, My Camera on Point Lobos (1950), pl. 10; Enyeart,

Edward Weston’s California Landscapes (1984), pl. 1 & front of slipcase; Newhall, Supreme

Instants: The Photography of Edward Weston (1986), cat. 194, pl. 104; U.S. Camera, (1940), p.

49.

Price: 30,000

Marion Post-Wolcott [1910-1912] Cotton Plantation, Mississippi


Size: 10 ! x 13 !” on an 11 x 14”’ sheet.

Signed, titled & dated ‘Marcella Cotton Plantation, Mileston, Miss. 1939!, initialed MPW and

inscribed ‘A vintage FSA print form the personal collection of Marion Post Wolcott’ in pencil by the

photographer on the reverse of the print; annotated ‘rewashed 87’ and with the Farm Security

Administration number ‘52262D’ in pencil in an unknown hand on the reverse of the print.

Price: $5000.

Minor White [1908-1976] Nude [Gino Cipolla, Portland, Oregon]

Gelatin silver print, 1940; printed early 1950s.

Size of image: 9 x 6 !” on an 18 x 15” mount. [6465]

Initialed MW on the print margin beneath the lower right corner of the image.

Illustrated: Bunnell, Minor White-The Eye That Shapes (1989), pl 15.

Provenance: The collection of Tom Barrow.

Price: $12,500

Wright Morris Barber Shop Chair, Chapman, Nebraska [1910-1998]


Size of image: 9 5/8 7 "”

Annotated by the photographer in ink ‘Return to Wright Morris’, with various markings and other

notations in ink, pencil and wax pencil on the reverse of the print.

Illustrated: Morris, The Home Place (1948), p. 89; Morris, God’s Country and My People (1968),

unpaginated; Morris, Wright Morris: Structures and Artifacts, Photographs 1933-1945, (1975), p.

93; Alinder (ed.), Wright Morris: Photographs & Words (1982), pl. 34.

Price: $14,000

Max Yavno [1911-1985] Aaron Siskind in the Old Yuma Jail Vintage silver print, 1947. [6624]

Size of image: 3 x 4 !” on a 7 ! x 9 !” mount.

Signed in pencil on the mount.

Illustrated: Maddow, Ben, The Photography of Max Yavno (1981), pl. 14 and elsewhere.

“From his friend Aaron Siskind…[Yavno] learned something of the inner spirit of photography.

Their contact was long…and one its by-products was a strange, headless, disquieting, and very

beautiful portrait….[Traveling together the two photographers] “visited an abandoned jail in Yuma,

Arizona; while Siskind was focusing under the cloth, obviously on some detail of corroded iron

and concrete,Yavno photographed him.” [Maddow, The Photography of Max Yavno [1981],

unpaginated]

Price: $3500

Carlotta Corpron [1901-1988] Solarized Cala Lilies Vintage silver print, 1948.

Size of image: 12 ! x 8 1/8” on a 20 x 16” mount, with original the overmat attached to mount.

Signed and titled in pencil by the photographer on the overmat; titled and dated in pencil by the

photographer, with annotation in an unknown hand, on the reverse of the mount.

Illustrated: Sandweiss, Martha A., Carlotta Corpron – Designer with Light (1980), pl. 9.

Price: $15,000

After studying art and design, Carlotta Corpron bought her first camera in 1933 to use in teaching

a textile design course. In 1935 she began to teach design and art history at Texas State College

for Women (now Texas Woman's University) in Denton, a post she held until her retirement in

1968. She quickly immersed herself in experimental photography, and her interest in light as the

source of the photographic image led her to incorporate solarization and light abstractions into her

imagery. The avant garde photographers Lazslo Moholy-Nagy and Georgy Kepes from the

Institute of Design in Chicago came to Denton to teach in 1942 and 1944, respectively, and

proved highly influential to Corpron.

The inclusion of Corpron's photographs in the San Francisco Museum of Art's exhibition “Women

of Photography: An Historical Survey” in 1975 sparked a revival of interest in her work. The Amon

Carter Museum in Fort Worth organized a retrospective exhibition of her work in 1980. Her

photographs are included in the collections of the Museum of Modern Art, New York, the Art

Institute of Chicago, the New Orleans Museum of Art, the Dallas Museum of Art, and the Amon

Carter Museum, Fort Worth, Texas.

BIBLIOGRAPHY:

Paula E. Bennett, "Carlotta Corpron," Photographic Portfolio 2 (June 1979).

Texas Trends in Art Education, Autumn 1960. Margaretta Mitchell, Recollections: Ten Women of

Photography (New York: Viking, 1979).

Martha A. Sandweiss, Carlotta Corpron: Designer with Light (Austin: University of Texas Press,

1980).

Arthur Siegel [1913-1978] Ceramic Brick, no 13.

Vintage dye transfer print, 1951.

Size of image: 6 ! x 9 !” on a 12 x 15” mount. [6032]

Signed titled and dated in ink on the reverse of the mount. In the original frame with the exhibition

label of the American Federation of Arts on the reverse of the frame back board. See next page.

Exhibited: “Abstract Photography,” September 1957-September 1958. Circulated by the

American Federation of Arts.

Arthur Siegel’s innate talent earned him an invitation from Moholy Nagy to study photograpy at

the New Bauhaus in 1937. In 1946 Moholy hired Siegel to develop and teach the photography

curriculum at the renamed Institute of Design. Siegel also made his first color photographs that

year and exhibited his color work in 1949. Fourteen of Siegel’s color photographs were notably

published in the November 20, 1951, issue of Life in an article entitled “Modern Art by a

Photographer.”

Using complementary color strategies and the patterns and reflections inherent in his subject

matter Siegel was intent upon revealing the essential nature of color. In Ceramic Brick no. 13 he

juxtaposed a single primary color, red, to a simple black-and-white repeating pattern of bricks.

Price: $9500

Photograph in original frame

Reverse of mount

Revere of original frame

Label on reverse of original frame, lower left.

Dorothea Lange County Clare, Ireland [Bridie O’Halloran] [1895-1965]


Size of image: 9 " x 7 "”

Titled and dated in ink by the photographer; stamped San Francisco Examiner Pictorial Living,

with printing notations and a typed label on the reverse of the mount; flush-mounted.

Illustrated: Dorothea Lange’s Ireland, (1996) p. 31; “Irish Country People,” Life Magazine,

March 21, 1955, p. 137; San Francisco Examiner Pictorial Living, January 23, 1955, p. 18.

Lange submitted this print for reproduction in the San Francisco Examiner Sunday magazine,

Pictorial Living of January 23, 1955.

Price: $15,000

Berenice Abbott [1898-1991] Bouncing Ball


Size of image: 3 3/8 x 6 7/8” on 3 ! x 7” mount.

Mounted to green card.

Berenice Abbott used a strobe in this photograph to capture the trajectory of a bouncing steel ball.

In 1939 Abbott wrote “endowing [scientific phenomena] so strange and unfamiliar to the public

with the poetry of its own vast implications would seem to me to lead logically from my previous

experience.” In 1958 she secured a contract with the Massachusetts Institute of Technology to

photograph scientific subjects. Three books of her photographs documenting the principles of

physical science were published: Magnet (1964), Motion (1965), and The Attractive Universe

(1969). Currently, two museums honoring Abbott’s accomplishments in the field in exhibitions

entitled “Photography and Science: An Essential Unity” [May 3, 2012 to December 31, 2012] at

the MIT Museum and "Making Science Visible: The Photography of Berenice Abbott," which

opened Aug. 31 at the Fralin Museum of Art at the University of Virginia.

Price: $4500

Berenice Abbott [1898-1991] Spring


Size of image: 7 3/8 x 4 #”

Photographer’s 50 Commerce Street/New York 14, N.Y. and Please Credit / Berenice Abbott /

Educational Services, Inc. stamps on the reverse of the print.

Price $4000

Charles Gatewood [born 1942] Bob Dylan

Vintage silver print, 1966.

Size of image: 7 1/8 x 5 #” [6581]

Signed, titled and dated in ink, with the photographer’s Woodstock, NY stamp and label including

his copyright on the reverse of the print.

Illustrated: Gatewood, Charles, A Complete Unknown (2009), cover and unpaginated.

Gatewood made this photograph during Bob Dylan’s press conference on the day of his concert

in Stockholm, April 29, 1966. Dylan’s 1966 World Tour was the first tour in which he employed an

electric band as back-up (he had first gone electric at the Newport Folk Festival of 1965). The

musicians in the back-up group became famous as “The Band.”

Price: $3500

Richard Misrach [born 1949] “Amy”


Size of image: 10 3/8 x 10 #” on an 11 x 16” mount.

Signed, titled and dated in pencil on the original overmat. Signed with the copyright insignia, titled,

dated and annotated print made 1975 and Not to be reproduced without written permission of the

photographer in pencil on reverse of the mount. Mount taped to the reverse of the original

overmat.

Illustrated: Misrach, Richard. Telegraph 3 A.M. The Street People of Telegraph Avenue, Berkeley,

California. Berkeley: Cornucopia Press, 1974, unpaginated.

Price: $6500

Lew Thomas [born 1932] Book Spine/Richard Misrach


Size of image: 20# x 1 1/16” on a 24 x 20” sheet

Signed and dated in pencil on the reverse of the photograph, lower left.

Photographer and conceptual artist Lew Thomas created a series of 26 photographs of book

spines in 1979 and 1980. His photographs are in the collections of the San Francisco Museum of

Modern Art, the Museum of Fine Arts, Houston, The Menil Collection, and the Museum of Modern

Art, New York. Thomas is also well known as an editor and publisher of books on photography.

Price: $5500

photographs we like: two

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