Paul Strand (American, 1890-1976), "Young Woman and Boy, Toluca" (The Mexican Portfolio), Photogravure, second edition, 1933, printed later in 1967 by Da Capo Press, apparently unsigned, ebonized wood frame. Image: 6.25" H x 5" W; frame: 12" H x 10.75" W x 1.5" D. Provenance: From a Hudson Valley Estate. Keywords: Prints, Multiples, Photography, Photographs, Photo still, Photojournalism, American Modernism, Modern Art, Figurative, Figural, Travel, Documentary, 20th Century Art
Paul Strand Rebecca, New York (from the Founders & Friends: Aperture at 50 portfolio) 1923 / printed 2002 platinum palladium print image: 7.5 h x 9.5 w in (19 x 24 cm) sheet: 18 h x 13 w in (46 x 33 cm) Numbered to lower margin 'AP 2/16' with publisher's blindstamp. This work is artist's proof 2 of 16 apart from the edition of 100 published by Aperture, New York. This work will ship from Los Angeles, California.
"Abstraction, Porch Shadows, Twin Lakes, Conneticut (1916)", aus der Serie "Formative Years, 1914-1917". Nachdruck. 34x 25 cm. PP., schwarzer Lackrahmen (l. best.).
Paul Strand, American 1890-1976 - White washed house, from 'The Mexican Portfolio', c.1967; photogravure on paper, from an edition of 1000, 13.5 x 16 cm (unframed) Provenance: The Bayer Family Collection
Paul Strand (American, 1890-1976), "Woman and Baby, Hidalgo" (The Mexican Portfolio), Photogravure, second edition, 1933, printed later in 1967 by Da Capo Press, apparently unsigned, ebonized wood frame. Image: 5" H x 6.25" W; frame: 10.25" H x 11.5" W x 1.5" D. Provenance: From a Hudson Valley Estate. Keywords: Prints, Multiples, Photography, Photographs, Photo still, Photojournalism, American Modernism, Modern Art, Figurative, Figural, Travel, Documentary, 20th Century Art
Paul Strand (American, 1890-1976), "Fisherman, Gaspe, 1936", hand-pulled dust-grain gravure, from the original negative, edition of 350, hinged into mat, unframed, 7"h x 5.5"w (image)17"h x 13.5"w (sheet and mat)
Paul Strand (American, 1890-1976). Photogravure titled "House and Billboard" depicting the intersection of an urban landscape from an aerial perspective, 1916.
Paul Strand (American, 1890-1976), "Young Woman and Boy, Toluca" (The Mexican Portfolio), Photogravure, second edition, 1933, printed later in 1967 by Da Capo Press, apparently unsigned, ebonized wood frame. Image: 6.25" H x 5" W; frame: 12" H x 10.75" W x 1.5" D. Provenance: From a Hudson Valley Estate. Keywords: Prints, Multiples, Photography, Photographs, Photo still, Photojournalism, American Modernism, Modern Art, Figurative, Figural, Travel, Documentary, 20th Century Art
Paul Strand (American, 1890-1976), "Woman and Boy, Tenancingo" (The Mexican Portfolio), Photogravure, second edition, 1933, printed later in 1967 by Da Capo Press, apparently unsigned, ebonized wood frame. Image: 6.25" H x 5" W; frame: 12" H x 10.75" W x 1.5" D. Provenance: From a Hudson Valley Estate. Keywords: Prints, Multiples, Photography, Photographs, Photo still, Photojournalism, American Modernism, Modern Art, Figurative, Figural, Travel, Documentary, 20th Century Art
Paul Strand (American, 1890-1976), "Boy, Uruapan" (The Mexican Portfolio), Photogravure, second edition, 1933, printed later in 1967 by Da Capo Press, apparently unsigned, ebonized wood frame. Image: 5" H x 6.25" W; frame: 10.25" H x 11.5" W x 1.5" D. Provenance: From a Hudson Valley Estate. Keywords: Prints, Multiples, Photography, Photographs, Photo still, Photojournalism, American Modernism, Modern Art, Figurative, Figural, Travel, Documentary, 20th Century Art
Paul Strand (American, 1890-1976), "Girl and Child, Toluca" (The Mexican Portfolio), Photogravure, second edition, 1967, printed by Da Capo Press, apparently unsigned, ebonized wood frame. Image: 6.5" H x 5" W; frame: 11.25" H x 9.5" W x 1.5" D. Provenance: From a Hudson Valley Estate. Keywords: Prints, Multiples, Photography, Photographs, Photo still, Photojournalism, American Modernism, Modern Art, Figurative, Figural, Travel, Documentary, 20th Century Art
Paul Strand (American, 1890-1976), "Gateway, Hidalgo" (The Mexican Portfolio), Photogravure, second edition, 1933, printed later in 1967 by Da Capo Press, apparently unsigned, ebonized wood frame. Image: 6.25" H x 5" W; frame: 12" H x 10.75" W x 1.5" D. Provenance: From a Hudson Valley Estate. Keywords: Prints, Multiples, Photography, Photographs, Photo still, Photojournalism, American Modernism, Modern Art, Landscape, Entryway, Stone, Architecture, Travel, Documentary, 20th Century Art
Paul Strand (American, 1890-1976), "Woman and Baby, Hidalgo" (The Mexican Portfolio), Photogravure, second edition, 1933, printed later in 1967 by Da Capo Press, apparently unsigned, ebonized wood frame. Image: 5" H x 6.25" W; frame: 10.25" H x 11.5" W x 1.5" D. Provenance: From a Hudson Valley Estate. Keywords: Prints, Multiples, Photography, Photographs, Photo still, Photojournalism, American Modernism, Modern Art, Figurative, Figural, Travel, Documentary, 20th Century Art
Paul Strand (American, 1890-1976), "Women of Santa Anna, Michoacan" (The Mexican Portfolio), Photogravure, second edition, 1933, printed later in 1967 by Da Capo Press, apparently unsigned, ebonized wood frame. Image: 5.25" H x 6.25" W; frame: 9.75" H x 10.25" W x 1" D. Provenance: From a Hudson Valley Estate. Keywords: Prints, Multiples, Photography, Photographs, Photo still, Photojournalism, American Modernism, Modern Art, Figurative, Figural, Travel, Documentary, 20th Century Art
Paul Strand American, (1890 - 1976) Cristo, Oaxaca photogravure Pencil signed lower right. Biography from Metropolitan Museum of Art: The American artist Paul Strand had a long and productive career with the camera. His pictorialist studies of the 1910s, followed by the coolly seductive machine photographs of the 1920s, like the contemporary work of Alfred Stieglitz and Edward Weston, helped define the canon of early American modernism and set its premium on the elegant print. Experimenting with Charles Sheeler, Strand then pushed further in describing the movement of the city in the short film Manhatta (1920). In the 1930s, he became seriously involved with documentary film and, from the 1940s until the end of his life, he was committed to making photographic books of the highest quality. After 1950, when he relocated to France, landscape, architecture, and portraiture (the traditional humanist genres) continued to inspire Strand to embody the spirit of his subjects in the very materials of the photographic print. The high regard for his mature work suggests that he succeeded in his goals, and that his standards of excellence and his constancy of subject answered very human needs in a century of radical change. Treating the human condition in the modern urban context, Strand's photographs are a subversive alternative to the studio portrait of glamour and power. Strand was introduced to photography as a high school student at New York City's Ethical Culture School. His first photography teacher, Lewis Hine, instilled in Strand a deep sense of commitment to the social betterment of humankind. In 1907, the school's camera club took a field trip to Alfred Stieglitz's Little Galleries of the Photo-Secession at 291 Fifth Avenue, where they saw an exhibition of photographs by members of the Photo-Secession, including Gertrude Käsebier, Edward Steichen, Clarence H. White, Frederick H. Evans, and Joseph Turner Keiley. For Strand it was a defining moment: he decided that day to become a photographer. During the next seven years he applied himself to this task, shadowing in his development that of Pictorialists a generation older, and consciously emulating Steichen and White. In early 1915, his mentor Stieglitz criticized the graphic softness of Strand's photographs and over the next two years he dramatically changed his technique and made extraordinary photographs on three principal themes: movement in the city, abstractions, and street portraits. During the 1910s, New York thronged with pedestrians, carriages, and automobiles, and the streets became the unavoidable symbol of flux, change, and modernity. Photographers such as Alvin Langdon Coburn and Karl Struss and many painters, including John Marin, pursued the "great hastening metropolis" as a vital subject. Being a very deliberate artist, however, Strand was not initially taken with the "rush and go" but instead structured his images on relatively slow movements, usually of a single person, as is seen in From the El (1915; 49.55.221). Soon he increased the complexity and upped the tempo of his compositions with the multiple rhythms of midtown and downtown crowds. Following Stieglitz's exhibitions of avant-garde European art at 291 and the Armory Show of 1913, several other New York galleries began to show modern European painting. Thus by 1916, Strand had repeatedly immersed himself in the new artistic idioms, especially as represented by Cézanne and Picasso. Upon arriving at the summer cottage his family rented every year at Twin Lakes, Connecticut, he set about learning "how you build a picture, what a picture consists of, how shapes are related to each other, how spaces are filled, how the whole thing must have a kind of unity." Scavenging some crockery and fruit from the cottage kitchen, Strand made arrangements on the porch, learning how to create movement and depth in the compact universe that became the picture. First tilting the bowls, then the rocking chair and table, and then further rotating his photograph ninety degrees, Strand gradually abandoned the recognizable and comfortable for a space that is largely incomprehensible, a pattern of tones of extraordinary authority and dynamic formal coherence. These stunning photographs, including Abstraction, Twin Lakes, Connecticut (1916; 1987.1100.10), were the first significant abstractions intentionally made with a camera. For a long time, Strand had wanted to make "portraits of people such as you see in the New York parks and places, sitting around, without their being conscious of being photographed. … I felt that one could get a quality of being through the fact that the person did not know he was being photographed … [and I wanted to capture] these people within an environment which they themselves had chosen to be in, or were in anyway." Strand set out for Five Points, the heart of the immigrant slums on the Lower East Side, with his camera rigged with a false lens to distract attention. Approaching a potential subject, Strand turned ninety degrees away and aimed the false lens in the direction he was facing. The real lens, on an extended bellows, stuck out under his arm toward the person, whom Strand could see by looking into his lens hood sideways or sneaking a glance over his shoulder. The clumsiness of the operation made it exceedingly difficult and "nerve-racking," but it allowed Strand to capture his subject unaware. Many of the people Strand photographed were classic New York types of the period: unshaven toughs, red-nosed Irish washerwomen, Jewish patriarchs, aging Europeans, blind peddlers (33.43.334), and sandwich men. Like Lewis Hine, Strand was collecting the poignant evidence of poverty among the cultures that crowded the metropolis. Treating the human condition in the modern urban context, Strand's photographs are a subversive alternative to the studio portrait of glamour and power. A new kind of portrait akin to a social terrain, they are, as Sanford Schwartz put it, "cityscapes that have faces for subjects." Sources: Department of Photographs. "Paul Strand (1890-1976)". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000-. http://www.metmuseum.org/toah/hd/pstd/hd_pstd.htm (October 2004)
(New York City 1890–1967 Orgeval) posthum The white Fence. Port Kent. 1916/1991. Photogravure. Multiple. Unten rechts mit Prägestempel: "Hand-pulled Gravure Paul Strand Archive Copyright 1991". Verso in Bleistift bezeichnet: "Anthony Montoya". Plattengrösse 25,5x33,5 cm. Blattgrösse 51x41 cm. Gerahmt. - Ränder und Ecken minimst bestossen. Verso in allen Ecken an Rückkarton montiert.
Paul Strand (American 1890 - 1976) Market, Tahannaout, Morocco, 1962 gelatin silver print on Agfa with press label (on the reverse) sheet size 20.2 x 25.2 cm., frame size 33 x 38.5 cm. Condition: Attached to the passe-partout with tape along the reverse sheet upper edge, somewhat timestained, edges worn, creased and with three small vertical tears along the lower edge, overall in good condition. Framed behind glass.
Paul Strand (American 1890 - 1976) Old Massachusetts, Harvard, c. 1920's hand-coloured platinum print signed and titled (on the support) sheet size 23 x 17.8 cm., frame size 45 x 33.5 cm. Condition: Sheet mounted to the support at the reverse upper edge, in very good condition. Framed behind glass.
Paul Strand (American 1890 - 1976) Old Nassau, Princeton, c. 1920's hand-coloured platinum print signed and titled (on the mount) sheet size 23 x 17.2 cm., frame size 38.5 x 28.5 cm. Condition: Sheet mounted to the support, apparently in very good condition, unexamined out of the frame. Framed behind glass.
(New York City 1890–1967 Orgeval) posthum The white Fence. Port Kent. 1916/1991. Photogravure. Multiple. Unten rechts mit Prägestempel: "Hand-pulled Gravure Paul Strand Archive Copyright 1991". Verso in Bleistift bezeichnet: "Anthony Montoya". Plattengrösse 25,5x33,5 cm. Blattgrösse 51x41 cm. Gerahmt. - Ränder und Ecken minimst bestossen. Verso in allen Ecken an Rückkarton montiert.
Paul Strand (1890-1976) TAILOR'S APPRENTICE, LUZZARA, ITALY, 1953. Silver gelatin print, printed later under the supervision of the Paul Strand Archive, image size 15 x 11.5cm, sheet size 20.5 x 15cm, hand-dated [1955] in pencil within Aperture Foundation/Paul Strand Archive copyright stamp verso. Framed, frame size 48 x 38cm.
Paul Strand (1890-1976) WOMAN, PATZCUARO, MEXICO, 1933. Photogravure, printed 1967, image size 16.2 x 12.7cm, sheet size 31 x 40cm, plate from "The Mexican Portfolio", published by De Capo Press, New York, 1967.
Paul Strand (1890-1976) MAN, TENANCINGO, MEXICO, 1933. Silver gelatin print, printed 1950s, tipped-in to period card along the upper edge, image size 220 x 175mm, card size 255 x 207mm, with hand-annotated title and return label reading "Man", Tenancingo, Mexico, 1933, Photograph by Paul Strand / Return to Paul Strand / Orgeval 78, Yvelines, France, Strand's printing instructions reading Do not crop this photograph in reproducing it / Please Handle With Care / and return print to / Paul Strand / Orgeval 78 / Yvelines, France in blue ink card verso. With additional transparent print instruction paper affixed to top edge of board. Literature: Krippner, J. & Carrillo, A. Paul Strand in Mexico. New York: Aperture, 2010, n.p.
Paul Strand (1890-1976) ST FRANCIS CHURCH, RANCHOS DE TAOS, 1931. Palladium print, printed by Richard Benson in 1984, image size 17.2 x 21.5cm, editioned 63/100 in pencil verso. Housed in a blue cloth clamshell box, gilt-lettered morocco title label to upper cover, complete with text by Ansel Adams and Michael E. Hoffman on the colophon, with print details, edition notation in ink, and Paul Strand Archive blindstamp.
Paul Strand (American, 1890-1976), Untitled from "Photographs of Mexico," photogravure, unsigned, image: 5"h x 6.25"w, overall (with frame): 16.25"h x 13.25"w
PAUL STRAND (1890-1976) New York (rooftops), from Camera Work Number 48. 1916. Photogravure on Japan tissue, the image measuring 5¼x6¾ inches (13.3x17.1 cm.), the sheet 11x7 7/8 inches (27.9x20 cm.), the original page mount 11¾x8¼ inches (29.8x21 cm.). Provenance A West Coast Private Collection
Paul Strand 1890 - 1976 The Window, Stockburger's Farm, East Jamaica, Vermont gelatin silver print image: 9⅝ by 7½ in. (24.4 by 19.1 cm.) Executed in 1943.
Paul Strand 1890 - 1976 Wall Street photogravure on tissue, tipped to leaf, as issued, from Camera Work No. 48, framed image: 5 by 6¼ in. (12.7 by 15.9 cm.) frame: 20½ by 16½ in. (52.1 by 41.9 cm.) Executed in 1915, printed 1916.
Paul Strand (1890-1976) Alfred Stieglitz, 1922 Silver print (c. 1975) "Paul Strand archive /Library" stamp on the back 25,5×20,5cm Paul Strand (1890-1976) Alfred Stieglitz, 1922 Épreuve argentique (c. 1975) Tampon "Paul Strand archive /Library" au verso 25,5×20,5cm
PAUL STRAND (1890-1976) Campo Santo, New Mexico (cemetery). 1932. Platinum print, the image measuring 4½x5¾ inches (11.4x14.6 cm.), the mount 14¾x12 inches (37.5x30.5 cm.). Provenance Gerald Peters Gallery, Santa Fe, New Mexico; to the Collection of Dr. James and Debra Pearl
PAUL STRAND (1890-1976) Wall Street, New York. 1915; printed 1984. Platinum-palladium print, the image measuring 10⅛x12¾ inches (25.7x32.4 cm.), the sheet 11x14 inches (27.9x35.6 cm.), with the edition notation 66/100 in pencil on verso. This print was published by Aperture and printed by Richard Benson.
PAUL STRAND (1890-1976) Tailor's Apprentice, Luzzara, Italy. 1953; printed 1994 by Sal Lopes. Platinum print, the image measuring 8¼x6½ inches (21x16.5 cm.), the sheet 18x13 inches (45.7x33 cm.), with the Paul Strand Archive/Platinum print debossed stamp with Antony Montoya's signature and copyright date "1994" in pencil on recto. This limited-edition platinum print was made from the original 5-by-7-inch negative by master printer Sal Lopes in consultation with Richard Benson, who worked closely with Paul Strand at the end of Strand's life. The image was printed on Crane's parchment paper hand coated with platinum and palladium salts in accordance with Strand's procedures. The text is set in Monotype Bembo and was designed by Susi Oberhelman. No further photographic prints will be made from the negative used in reproducing Tailor's Apprentice, Luzzara, Italy, 1953, except for purposes of study, and none of the study prints will be offered for sale. This edition is limited to 150 numbered copies and 15 unnumbered artist's proofs. Each print bears the authorizing stamp and signature of the director of the Paul Strand Archive.
PAUL STRAND (1890-1976) The Mexican Portfolio [2nd Edition]. 1967. Introduction by David Alfaro Siqueiros. With 20 (of 20) beautiful photogravures of Strand's photographs depicting people, architecture, and religious folk sculpture, the images measuring 6¼x5 to 10x8 inches (15.9x12.7 to 25.4x20.3 cm.), and the reverse, the sheets 15¾x12¼ inches (40x31.4 cm.). Folio-sized printed slipcase over a linen clamshell box, lightly worn; with Strand's signature and the edition notation 387 in ink on the colophon; contents loose as issued. FROM AN EDITION 1000 SIGNED AND NUMBERED COPIES. (New York): Da Capo Press, 1967 Provenance The Collection of Neil Robert Berzak Near Salito * Church, Coapiaxtla * Virgin, San Felipe, Oaxaca * Women of Santa Anna, Michoacan * Men of Santa Anna, Michoacan * Woman, Patzcuaro * Boy, Uruapan * Cristo, Oaxaca * Woman and Boy, Tenancingo * Plaza, State of Puebla * Man with a Hoe, Los Remedios * Calvario, Patzcuaro * Cristo, Tlacochoaya, Oaxaca * Boy, Hidalgo * Woman and Baby, Hidalgo * Girl and Child, Toluca * Cristo with Thorns, Huexotla * Man, Tenancingo * Young Woman and Boy, Toluco * Gateway, Hidalgo
Paul Strand Boats at the Suez, Egypt c. 1959 gelatin silver print image: 7.75 h x 9.75 w in (20 x 25 cm) sheet: 7.875 h x 9.875 w in (20 x 25 cm) Signed to verso 'Paul Strand'. This work will ship from Chicago, Illinois.
PAUL STRAND (1890-1976) Young Ali, Kalata Al Kobra, Delta, Egypt, 1959, likely near vintage. Gelatin silver print, 9 1/4 by 7 1/4 inches (235 by 184 mm), on a double mount, unsigned. The card mount scarred by the removal of an overmat, auction labels on mount verso. Paul Strand and James Aldridge, Living Egypt (New York, 1969), p. 88. Provenance: Christie's New York, 14 October 2008, Sale 2106, Lot 413
(American, 1890-1976) Boy, Uruapam, from the Mexican Portfolio, image circa 1922-1923, unsigned, photogravure, image possibly varnished, image 10 x 8 in., sheet 16 x 12-3/8 in.; natural wood frame 17-1/8 x 14-3/8 x 1-1/2 in. Provenance: Private Collection
PAUL STRAND (1890-1976) Trees and Snow, New England. Circa 1940s. Silver print, the image measuring 9⅝x7½ inches (24.4x19.1 cm.), with the notation "#2" in pencil on verso. The notation on verso likely refers to the grade of paper Strand used. Provenance A California Collection
PAUL STRAND (1890-1976) Taos, New Mexico. 1931; printed 1950s. Silver print, the image measuring 6¾x8⅝ inches (17.1x21.9 cm.), the sheet slightly larger, flush mounted, with Strand's credit in Hazel Strand's hand with her initials, title, and negative date in pencil on mount verso.
PAUL STRAND (1890-1976) The Mexican Portfolio [2nd Edition]. Introduction by David Alfaro Siqueiros. With 14 (of 20) beautiful photogravures of Strand's photographs depicting people, architecture, and religious folk sculpture, the images measuring 6¼x5 to 10x8 inches (15.9x12.7 to 25.4x20.3 cm.), and the reverse, the sheets 15¾x12¼ inches (40x31.4 cm.), each with the plate number in ink on verso. Folio-sized printed slipcase over a linen clamshell box, lightly worn; with Strand's signature in ink on the colophon; contents loose as issued. FROM AN EDITION 1000 SIGNED AND NUMBERED COPIES. (New York): Da Capo Press, 1967 Near Salito * Virgin, San Felipe, Oaxaca * Men of Santa Anna, Michoacan * Woman, Patzcuaro * Cristo, Oaxaca * Woman and Boy, Tenancingo * Man with a Hoe, Los Remedios * Calvario, Patzcuaro * Cristo, Tlacochoaya, Oaxaca * Woman and Baby, Hidalgo * Girl and Child, Toluca * Cristo with Thorns, Huexotla * Man, Tenancingo * Young Woman and Boy, Toluco
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