15 1/2 x 15 1/2 gelatin silver print on 16 x 20 sheet.
Beginning in the 1970s, Solomon spent 25 years documenting how white and black southern American identities shape and contrast against one another. This image represents a particular fixation on the workings of southern law enforcement, and provides a striking image of a white child already emblazoned with symbols of authoritative power.
There is a small, less-than one-inch crinkle that doesn’t break the surface on the lower left of the image.
A large group of posters dealing with this 1938-39 anti-fascist film dealing with the Spanish Civil War. It was based on a scene in Malraux’s novel translated as “Man’s Hope.” It was not released until 1945 and was censored under pressure of the Franco regime and copies were destroyed, but it was later revived.
These were displayed in New York ca. 1950 by the Cultural Services of the French embassy. They are approximately 8 ½ x 11 or the reverse gelatin silver copy prints tipped onto 16 ½ x 13 ¼ inch or the reverse board mounts.
Four relate to the production or script writing of the film. There are 9 screen shots, and two portraits of Malraux. Six more deal with people involved in the production, one scene from a play about Shanghai and 3 more. Condition is good with no problems. $500
One of Solomon’s close studies of a worn and crushed doll. Solomon produced many such works in the early to mid 1970s. She claimed that dolls not only allowed her to hone her approach to photographing human subjects, but also that they presented opportunities to convey broken interiority.
His face seems covered with dust. He seems to have just stepped in from work, possibly mining, into this crude improvised studio. While there are many occupational tintypes, this raw subject is unusual. Small minor abrasions.
8 5/8 x 11- inch albumen print on the original album page.
When I purchased this, in 1999, I knew it would be difficult to sell. But I felt then, and do now, that this is a masterpiece of its genre. The figures are posed in front of a painted backdrop, but they are seated on what appears to be real grass. The girl and the woman at the left look towards the camera; the others face differently. Both of the women, especially the one at the right, have worried expressions. There is much else to admire here. Other photographs in the album are by the usual makers, but this is unsigned.
The lucky lad is identified on the verso as Julius Clyde Owen, “about 1892.” This is a crisp clean cabinet card with excellent detail of the bicycle. Cabinet card by Hayes “The Fotografer” Portland Oregon.
It includes a photographed design by Peter Britt, who was an artist as well as a photographer, His son Emil joined his father’s studio in 1883, and so it was appropriate for his portrait to be on this card.
Peter Britt (1819 – 1905) was the pioneering photographer in Southern Oregon throughout the 19th Century.
There is a soft horizontal bend about one inch to the right of the left edge that doesn’t break the surface.