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Lewis CARROLL (Charles Lutwidge Dodgson) (English, 1832-1898) Xie (Alexandra) Kitchin as a "Dane", 1873 Albumen print from a collodion negative 21.0 x 16.5 cm on 21.0 x 16.7 cm paper, untrimmed and unmounted "2132" inscribed in violet ink by Carroll. "Xie Kitchin" inscribed in ink and various numeric notations inscribed in pencil, likely not in Carroll's hand, on verso.

Lewis Carroll (Charles Lutwidge Dodgson) (English, 1832-1898)
Xie (Alexandra) Kitchin as a "Dane", 1873
Albumen print from a collodion negative
21.0 x 16.5 cm on 21.0 x 16.7 cm paper, untrimmed and unmounted
"2132" inscribed in violet ink by Carroll. "Xie Kitchin" inscribed in ink and various numeric notations inscribed in pencil, likely not in Carroll's hand, on verso.

A young girl, Alexandra “Xie” Kitchin, fixes the viewer with her direct stare in an 1873 albumen print by Lewis Carroll, best known as the author of Alice in Wonderland. Xie’s father, a mathematician and classicist, was a close friend of Carroll’s at Oxford, but it is to her mother that the roots of this image can be traced.  She was a childhood friend of Princess Alexandra of Denmark who was to become the Princess of Wales.  Xie was named after the Princess. Carroll once declared the key to obtaining excellence in a photograph was simply to “take a lens and put Xie before it.” This is the only known untrimmed print from the negative and was almost certainly the personal print of the artist.  All other known prints have been trimmed to cabinet card or carte-de-visite sizes.

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Julien VALLOU DE VILLENEUVE (French, 1795-1866) Young girl with tambourine and basket, circa 1852 Paper negative 16.6 x 12.9 cm on 19.0 x 13.6 cm paper Original retouching and crop marks in graphite

Julien Vallou de Villeneuve(French, 1795-1866)
Young girl with tambourine and basket, circa 1852
Paper negative
16.6 x 12.9 cm on 19.0 x 13.6 cm paper
Original retouching and crop marks in graphite

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John Beasley GREENE (American, born in France, 1832-1856) Venus de Milo on rooftop in Paris, 1852-1853 Waxed paper negative 31.1 x 24.3 cm

John Beasley Greene (American, born in France, 1832-1856)
Venus de Milo on rooftop in Paris, 1852-1853
Waxed paper negative
31.1 x 24.3 cm

 

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Attributed to Edgar DEGAS (French, 1834-1917) Ludovic Halévy, circa 1895-1896  Gelatin silver printing-out paper print 8.2 x 7.4 cm

Attributed to Edgar Degas (French, 1834-1917)
Ludovic Halévy, circa 1895-1896 
Gelatin silver printing-out paper print
8.2 x 7.4 cm

 

One of the most revered of the artists associated with French Impressionism, Degas was also a talented photographer whose body of work in this medium ranged in subject from portraits to dancers to street scenes and landscapes. Famous for his paintings and pastels, Degas was introduced to photography late in life by Daniel Halevy, son of his close friends Louise and Ludovic Halevy, who prompted Degas to acquire a camera which used glass plates and a tripod. Making photographs challenged Degas to explore a new form of visual expression. Degas shared his bold experiments in photography with a small circle of friends and fellow artists. The son and nephew of men of the theater, Ludovic Halevy wrote the librettos for Orphee aux Enfers, La Belle Helene, and, in collaboration with Henri Meilhac, La Vie Parisienne, among others, all of them to music by Jacques Offenbach. One other known print of this image (but cropped differently) exists in the Clark Art Institute; a variant of this print is in the collection of The J. Paul Getty Museum.

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DUCHENNE DE BOULOGNE and Adrien TOURNACHON (French, 1806-1875 & 1825-1903) Profound suffering, with resignation, , 1862, negative, circa 1856 Albumen print from a glass negative 22.4 x 16.6 cm oval on 22.7 x 17.2 cm paper, mounted on 41.0 x 27.5 cm paper "20" in pencil on mount. "Fig 20" in pencil on mount verso.

Duchenne de Boulogne and Adrien Tournachon (French, 1806-1875 & 1825-1903)
Profound suffering, with resignation,1862, negative, circa 1856
Albumen print from a glass negative
22.4 x 16.6 cm oval on 22.7 x 17.2 cm paper, mounted on 41.0 x 27.5 cm paper
"20" in pencil on mount. "Fig 20" in pencil on mount verso

 

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Giuseppe ENRIE (Italian, 1886-1961) Detail of the Shroud of Turin, 1931 Gelatin silver print from a glass negative 29.5 x 23.4 cm mounted on 41.9 x 31.5 cm paper, ruled Blindstamped “FOT. CAV. G. ENRIE / RIPRODUZIONE INTERDETTA”. Printed “SANTO VOLTO DEL DIVIN REDENTORE / (PARTICOLARE DELLA S. SINDONE) / CAV. G. ENRIE FOTOGRAFÒ / RIPRODUZIONE INTERDETTA / ADORAMUS TE, CHRISTE, ET BENEDICIMUS TIBI / IL PRESIDENTE DELLA COMMISSIONE ESECUTIVA / TORINO 3 – 24 MAGGIO 1931” on mount with ecclesiastical authentication in facsimile signatures. Luigi Gay Caroleria label on mount verso.

Giuseppe Enrie (Italian, 1886-1961)
Detail of the Shroud of Turin, 1931
Gelatin silver print from a glass negative
29.5 x 23.4 cm mounted on 41.9 x 31.5 cm paper, ruled
Blindstamped “FOT. CAV. G. ENRIE / RIPRODUZIONE INTERDETTA”. Printed “SANTO VOLTO DEL DIVIN REDENTORE / (PARTICOLARE DELLA S. SINDONE) / CAV. G. ENRIE FOTOGRAFÒ / RIPRODUZIONE INTERDETTA / ADORAMUS TE, CHRISTE, ET BENEDICIMUS TIBI / IL PRESIDENTE DELLA COMMISSIONE ESECUTIVA / TORINO 3 – 24 MAGGIO 1931” on mount with ecclesiastical authentication in facsimile signatures. Luigi Gay Caroleria label on mount verso

In May 1931 the Shroud’s owner, King Victor Emmanuel 3rd of Savoye, agreed to have a new series of photographs made on the occasion of an exhibition of the Shroud held that year. The last time photographs had been taken was in 1898 when Secondo Pia had made the series showing that the image on the Shroud was like a photographic negative which then set in motion scientific interest in the Shroud. There had been great advances in photographic technologies since Pia's time, and Enrie was given the opportunity to photograph the complete Shroud in 3 sections, making a series of life-size close-ups of the face, the back and the shoulders, and the bloodstain on the wrist area of the left arm.

In 1931, the most reliable light-sensitive material was an orthochromatic emulsion on glass plate. This emulsion was sensitive to the blue and green elements of white light and insensitive to red, allowing for excellent reproduction of the image and enhancement of the image's details. His photographs show a richness of detail that has not been surpassed.

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Adam FUSS (American, born in England, b. 1961) Untitled silhouette, 1997 Toned silver print from a photogram 59.7 x 49.5 cm Signed and dated "Adam Fuss, 1997" on label on verso

Adam Fuss (American, born in England, b. 1961)
Untitled silhouette, 1997
Toned silver print from a photogram
59.7 x 49.5 cm
Signed and dated "Adam Fuss, 1997" on label on verso

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Vera LUTTER (German, b. 1960) Marble Torso of Eros, Metropolitan Museum, 5 November 2012 Unique gelatin silver print 52.7 x 31.1 cm

Vera Lutter (German, b. 1960)
Marble Torso of Eros, Metropolitan Museum, 5 November 2012
Unique gelatin silver print
52.7 x 31.1 cm

 

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Leonida CALDESI and Mattia MONTECCHI (Italian, 1822-1891 & Italian, 1816-1871) The Serenade (Mario and Grisi in "Il Trovatore"), 1857 Albumen print from a collodion negative 41.8 x 34.9 cm, mounted within 53.0 x 41.3 cm plate mark on 71.3 x 52.7 cm paper Titled in pencil on mount with [illegible] pencil notation

Leonida Caldesi and Mattia Montecchi(Italian, 1822-1891 & Italian, 1816-1871)
The Serenade (Mario and Grisi in "Il Trovatore"), 1857
Albumen print from a collodion negative
41.8 x 34.9 cm, mounted within 53.0 x 41.3 cm plate mark on 71.3 x 52.7 cm paper
Titled in pencil on mount with [illegible] pencil notation

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Lewis CARROLL (Charles Lutwidge Dodgson) (English, 1832-1898) Xie (Alexandra) Kitchin as a "Dane", 1873 Albumen print from a collodion negative 21.0 x 16.5 cm on 21.0 x 16.7 cm paper, untrimmed and unmounted "2132" inscribed in violet ink by Carroll. "Xie Kitchin" inscribed in ink and various numeric notations inscribed in pencil, likely not in Carroll's hand, on verso.

Lewis Carroll (Charles Lutwidge Dodgson) (English, 1832-1898)
Xie (Alexandra) Kitchin as a "Dane", 1873
Albumen print from a collodion negative
21.0 x 16.5 cm on 21.0 x 16.7 cm paper, untrimmed and unmounted
"2132" inscribed in violet ink by Carroll. "Xie Kitchin" inscribed in ink and various numeric notations inscribed in pencil, likely not in Carroll's hand, on verso.

A young girl, Alexandra “Xie” Kitchin, fixes the viewer with her direct stare in an 1873 albumen print by Lewis Carroll, best known as the author of Alice in Wonderland. Xie’s father, a mathematician and classicist, was a close friend of Carroll’s at Oxford, but it is to her mother that the roots of this image can be traced.  She was a childhood friend of Princess Alexandra of Denmark who was to become the Princess of Wales.  Xie was named after the Princess. Carroll once declared the key to obtaining excellence in a photograph was simply to “take a lens and put Xie before it.” This is the only known untrimmed print from the negative and was almost certainly the personal print of the artist.  All other known prints have been trimmed to cabinet card or carte-de-visite sizes.

Julien VALLOU DE VILLENEUVE (French, 1795-1866) Young girl with tambourine and basket, circa 1852 Paper negative 16.6 x 12.9 cm on 19.0 x 13.6 cm paper Original retouching and crop marks in graphite

Julien Vallou de Villeneuve(French, 1795-1866)
Young girl with tambourine and basket, circa 1852
Paper negative
16.6 x 12.9 cm on 19.0 x 13.6 cm paper
Original retouching and crop marks in graphite

John Beasley GREENE (American, born in France, 1832-1856) Venus de Milo on rooftop in Paris, 1852-1853 Waxed paper negative 31.1 x 24.3 cm

John Beasley Greene (American, born in France, 1832-1856)
Venus de Milo on rooftop in Paris, 1852-1853
Waxed paper negative
31.1 x 24.3 cm

 

Attributed to Edgar DEGAS (French, 1834-1917) Ludovic Halévy, circa 1895-1896  Gelatin silver printing-out paper print 8.2 x 7.4 cm

Attributed to Edgar Degas (French, 1834-1917)
Ludovic Halévy, circa 1895-1896 
Gelatin silver printing-out paper print
8.2 x 7.4 cm

 

One of the most revered of the artists associated with French Impressionism, Degas was also a talented photographer whose body of work in this medium ranged in subject from portraits to dancers to street scenes and landscapes. Famous for his paintings and pastels, Degas was introduced to photography late in life by Daniel Halevy, son of his close friends Louise and Ludovic Halevy, who prompted Degas to acquire a camera which used glass plates and a tripod. Making photographs challenged Degas to explore a new form of visual expression. Degas shared his bold experiments in photography with a small circle of friends and fellow artists. The son and nephew of men of the theater, Ludovic Halevy wrote the librettos for Orphee aux Enfers, La Belle Helene, and, in collaboration with Henri Meilhac, La Vie Parisienne, among others, all of them to music by Jacques Offenbach. One other known print of this image (but cropped differently) exists in the Clark Art Institute; a variant of this print is in the collection of The J. Paul Getty Museum.

DUCHENNE DE BOULOGNE and Adrien TOURNACHON (French, 1806-1875 & 1825-1903) Profound suffering, with resignation, , 1862, negative, circa 1856 Albumen print from a glass negative 22.4 x 16.6 cm oval on 22.7 x 17.2 cm paper, mounted on 41.0 x 27.5 cm paper "20" in pencil on mount. "Fig 20" in pencil on mount verso.

Duchenne de Boulogne and Adrien Tournachon (French, 1806-1875 & 1825-1903)
Profound suffering, with resignation,1862, negative, circa 1856
Albumen print from a glass negative
22.4 x 16.6 cm oval on 22.7 x 17.2 cm paper, mounted on 41.0 x 27.5 cm paper
"20" in pencil on mount. "Fig 20" in pencil on mount verso

 

Giuseppe ENRIE (Italian, 1886-1961) Detail of the Shroud of Turin, 1931 Gelatin silver print from a glass negative 29.5 x 23.4 cm mounted on 41.9 x 31.5 cm paper, ruled Blindstamped “FOT. CAV. G. ENRIE / RIPRODUZIONE INTERDETTA”. Printed “SANTO VOLTO DEL DIVIN REDENTORE / (PARTICOLARE DELLA S. SINDONE) / CAV. G. ENRIE FOTOGRAFÒ / RIPRODUZIONE INTERDETTA / ADORAMUS TE, CHRISTE, ET BENEDICIMUS TIBI / IL PRESIDENTE DELLA COMMISSIONE ESECUTIVA / TORINO 3 – 24 MAGGIO 1931” on mount with ecclesiastical authentication in facsimile signatures. Luigi Gay Caroleria label on mount verso.

Giuseppe Enrie (Italian, 1886-1961)
Detail of the Shroud of Turin, 1931
Gelatin silver print from a glass negative
29.5 x 23.4 cm mounted on 41.9 x 31.5 cm paper, ruled
Blindstamped “FOT. CAV. G. ENRIE / RIPRODUZIONE INTERDETTA”. Printed “SANTO VOLTO DEL DIVIN REDENTORE / (PARTICOLARE DELLA S. SINDONE) / CAV. G. ENRIE FOTOGRAFÒ / RIPRODUZIONE INTERDETTA / ADORAMUS TE, CHRISTE, ET BENEDICIMUS TIBI / IL PRESIDENTE DELLA COMMISSIONE ESECUTIVA / TORINO 3 – 24 MAGGIO 1931” on mount with ecclesiastical authentication in facsimile signatures. Luigi Gay Caroleria label on mount verso

In May 1931 the Shroud’s owner, King Victor Emmanuel 3rd of Savoye, agreed to have a new series of photographs made on the occasion of an exhibition of the Shroud held that year. The last time photographs had been taken was in 1898 when Secondo Pia had made the series showing that the image on the Shroud was like a photographic negative which then set in motion scientific interest in the Shroud. There had been great advances in photographic technologies since Pia's time, and Enrie was given the opportunity to photograph the complete Shroud in 3 sections, making a series of life-size close-ups of the face, the back and the shoulders, and the bloodstain on the wrist area of the left arm.

In 1931, the most reliable light-sensitive material was an orthochromatic emulsion on glass plate. This emulsion was sensitive to the blue and green elements of white light and insensitive to red, allowing for excellent reproduction of the image and enhancement of the image's details. His photographs show a richness of detail that has not been surpassed.

Adam FUSS (American, born in England, b. 1961) Untitled silhouette, 1997 Toned silver print from a photogram 59.7 x 49.5 cm Signed and dated "Adam Fuss, 1997" on label on verso

Adam Fuss (American, born in England, b. 1961)
Untitled silhouette, 1997
Toned silver print from a photogram
59.7 x 49.5 cm
Signed and dated "Adam Fuss, 1997" on label on verso

Vera LUTTER (German, b. 1960) Marble Torso of Eros, Metropolitan Museum, 5 November 2012 Unique gelatin silver print 52.7 x 31.1 cm

Vera Lutter (German, b. 1960)
Marble Torso of Eros, Metropolitan Museum, 5 November 2012
Unique gelatin silver print
52.7 x 31.1 cm

 

Leonida CALDESI and Mattia MONTECCHI (Italian, 1822-1891 & Italian, 1816-1871) The Serenade (Mario and Grisi in "Il Trovatore"), 1857 Albumen print from a collodion negative 41.8 x 34.9 cm, mounted within 53.0 x 41.3 cm plate mark on 71.3 x 52.7 cm paper Titled in pencil on mount with [illegible] pencil notation

Leonida Caldesi and Mattia Montecchi(Italian, 1822-1891 & Italian, 1816-1871)
The Serenade (Mario and Grisi in "Il Trovatore"), 1857
Albumen print from a collodion negative
41.8 x 34.9 cm, mounted within 53.0 x 41.3 cm plate mark on 71.3 x 52.7 cm paper
Titled in pencil on mount with [illegible] pencil notation

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