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.
An interesting tintype. It is 3 1/8 x 4- inches on the kind of plate that one finds on the earliest tintypes, though it doesn’t have the “Melainotype” stamp. The picture itself is more like what one sees on daguerreotypes; when you look at it directly the character of the image on the plate is different than what one normally sees. It seems to have once been in a case, and there is faint trace of an oval mat.
He’s in his apron, in his work position, on his forming bench that is something like a wooden horse. This was an important occupation in this period, though less commonly depicted than, say, blacksmiths.
½ plate tintype. Slight coloring to his face. Some dark scrapes at the bottom.