Henri Cartier-Bresson, Seville
Henri Cartier-Bresson
Seville (boy, shadows)
Silver Gelatin Photograph
1933, Printed circa 1980
9 1/2 x 14 1/4 inches

Cartier-Bresson's signature, in ink, on recto.

Henri Cartier-Bresson - Seville
Henri Cartier-Bresson
Seville
Silver Gelatin Photograph
1933
11 x 14 inches

Signed in pen on print lower right.

Henri Cartier-Bresson - Italy, Abruzze, Village of Aquila
Henri Cartier-Bresson
Italy, Abruzze, Village of Aquila
Silver Gelatin Photograph
1951, Printed 1980s
9 1/2 x 6 3/8 inches

Titled and artist's copyright stamp on verso.

Henri Cartier-Bresson| Three Juveniles, Montreal, Canada
Henri Cartier-Bresson
Three Juveniles, Montreal, Canada
Silver Gelatin Photograph
1964
9 1/2 x 14 1/4 Inches

Signed in ink lower right margin recto.

Henri Cartier-Bresson - New Orleans
Henri Cartier-Bresson
New Orleans
Silver Gelatin Photograph
1947
11 x 14 inches
Signed lower right on recto
Henri Cartier-Bresson - Tennessee
Henri Cartier-Bresson
Tennessee
Silver Gelatin Photograph
1947
11 x 14 inches
Signed lower right
Henri Cartier-Bresson - Srinagar, Kashmir
Henri Cartier-Bresson
Srinagar, Kashmir
Silver Gelatin Photograph
1948, Printed Later
16 X 20 Inches Paper, 11 5/8 X 17 1/4 Inches Image

Cartier-Bresson's signature, in ink, and artist's embossed copyright stamp on recto.

Henri Cartier-Bresson - Naples, Italy
Henri Cartier-Bresson
Naples, Italy
Silver Gelatin Photograph
1960, Printed 1980s
11 3/4 x 15 3/4 inches, Image size 9 1/2 x 14 1/4 inches

Cartier-Bresson's signature, in ink, and his embossed copyright stamp on recto.

Henri Cartier-Bresson - Picnic on the Banks of the Marne
Henri Cartier-Bresson
Picnic on the Banks of the Marne
Silver Gelatin Photograph
1938, Printed Later
Image Size: 11 3/4 x 17 1/2, Paper Size: 15 5/8 x 19 1/2 inches

Signed in margin on lower right recto.

Edward Weston - Kale Halved
Edward Weston
Kale Halved
Silver Gelatin Photograph, Printed Later by Cole Weston
1930, Printed Later
7 1/2 x 9 1/2 inches

Signed, titled, dated, numbered '35V' by Cole Weston in pencil and credit stamp (on the reverse of the mount).

Edward Weston - Pepper No. 30
Edward Weston
Pepper No. 30
Silver Gelatin Photograph
1930, Printed in 1971 by Cole Weston
9 3/8 x 7 3/8 inches

Signed, titled, dated, numbered '30P' by Cole Weston in pencil, credit stamp, number '6' of set '44' in ink on a portfolio label affixed (on the reverse of the mount).

Edward Weston- Toadstool
Edward Weston
Toadstool
Silver Gelatin Photograph
1931, Printed Later by Cole Weston
9 x 7 inches

Stamped, photographer's handstamp and Cole Weston's signature on mount verso.

Edward Weston - Fungus
Edward Weston
Fungus
Silver Gelatin Photograph
1932, Printed c.1970
8 x 10 inches

Negative by Edward Weston with his hand stamp, Cole Weston's signature, title, and date in pencil on mount verso.

Edward Weston - Dunes, Oceano
Edward Weston
Dunes, Oceano
Silver Gelatin Photograph
1936, Printed before 1964
9 1/2 x 7 1/2 inches, Mounted 13 1/4 x 15 inches

Edward Weston Facsimile stamp on mount verso. Titled, dated and negative number (4759) in pencil in Cole Weston's hand on mount verso.

Edward Weston - Dunes, Oceano
Edward Weston
Dunes, Oceano
Silver Gelatin Photograph
1936, printed circa 1953 by Brett Weston
7 1/2 x 9 5/8 inches

Initialed and dated in pencil on the mount; printed title, date and negative number on 'The Photographs of Edward Weston' label affixed to the reverse of mount.

Edward Weston - Nude on Sand, Oceano
Edward Weston
Nude on Sand, Oceano
Silver Gelatin Photograph
1936, printed later by Cole Weston
5 3/4 x 9 1/4 inches

Signed, titled 'Nude', dated in pencil by Cole Weston and Edward Weston signature stamp on the reverse of the mount.

Edward Weston - Church Door, Hornitos
Edward Weston
Church Door, Hornitos
Silver Gelatin Photograph
Executed in 1940
7 1/2 x 9 1/2 inches, mounted on 13 1/4 x 15 inches board

Initialed and dated on mount's recto. Titled and dated on mount's verso. Printed by Brett Weston.

Bill Brandt - Catch point, "Hail, Hell and Halifax"
Bill Brandt
Catch Point, "Hail, Hell and Halifax"
Silver Gelatin Photograph
1948, Printed Later
13 3/8 x 11 1/2 inches

Signed in ink on the mount

Bill Brandt - Train Leaving Newcastle
Bill Brandt
Train Leaving Newcastle
Silver Gelatin Photograph
1937, Printed Later
13 3/8 X 11 3/8 Inches

Signed in ink in the margin.

Bill Brandt - Early Morning on the River, London
Bill Brandt
Early Morning on the River, London
Silver Gelatin Photograph
1931-1935
14 x 11 inches
Printed under the supervision of the photographer in the 1970
Bill Brandt - Top Withens, Yorkshire
Bill Brandt
Top Withens, Yorkshire
Early Silver Gelatin Photograph
c. 1950s
13 1/4 X 11 1/2 inches
Artist's copyright stamp on verso. Documentation from Photo Researchers attached
Bill Brandt - Avebury: After Thomas Hardy (Stone Circle, Wiltshire)
Bill Brandt
Avebury: After Thomas Hardy (Stone Circle, Wiltshire)
Silver Gelatin Photograph
1941, printed 1980s
9 x 7 5/8 inches

Bill Brandt's credit hand stamp on verso.

Bill Brandt - Nude, London
Bill Brandt
Nude, London
Silver Gelatin Photograph
1957, printed 1970s
14 x 11 inches

Printed under the supervision of the photographer in the 1970’s. Signed in ink on recto.

Bill Brandt - "Nude"
Bill Brandt
Nude
Early Silver Gelatin Photograph
1954
10 X 8 Inches

Titled and artist's copyright stamp on verso. Photo Researcher's label on verso.

Bill Brandt - Nude, Campden Hill, London
Bill Brandt
Nude, Campden Hill, London
Silver Gelatin Photograph
1948, Printed Later
14 x 11 inches
Bill Brandt - Moira Shearer
Bill Brandt
Moira Shearer
Early Silver Gelatin Photograph
c. 1950s
10 x 8 inches
Artist stamp, and Rapho Guillumette Pictures on print verso
Bill Brandt - A Northumbrian Miner at His Meal
Bill Brandt
A Northumbrian Miner at His Meal
Silver Gelatin Photograph
1937, printed circa 1970s
13 1/2 x 11 1/2 inches mounted on 20 x 16 inches board

Brandt's signature, in ink, on mount recto.

André Kertész  - The Satiric Dancer, Paris
André Kertész
Satiric Dancer
Silver Gelatin Photograph
1926, printed c. 1980s
13 5/8 x 10 3/4 inches

Signed, dated and inscribed 'Paris' in pencil on the verso.

André Kertész - Chez Mondrian, Paris
André Kertész
Chez Mondrian, Paris
Silver Gelatin Photograph
1926, printed later
10 x 8 inches

Signed and dated on verso.

André Kertész - Carrefour Blois
André Kertész
Carrefour Blois
Silver Gelatin Photograph
1930, Printed early 1970s
7 1/4 x 9 3/4 inches

Kertesz's signature, title and date, in pencil, on verso

André Kertész - Blind Musician, Hungary
André Kertész
Blind Musician, Hungary
Silver Gelatin Photograph
1921, Printed 1980
9 3/4 x 7 1/2 inches

Signed on verso

André Kertész - Butcher, Paris, Les Halles
André Kertész
Butcher, Paris, Les Halles
Silver Gelatin Photograph
1927, Printed Later
10 x 8 inches

Signed and dated on recto

André Kertész - Savoie
André Kertész
Savoie
Silver Gelatin Photograph
1928, Printed Later
10 x 8 inches

Signed, titled and dated on verso.

André Kertész - Trio Ráckeve, Hungary
André Kertész
Trio Ráckeve, Hungary
Silver Gelatin Photograph
1923, Printed Later
8 x 10 inches

Signed and dated on recto

André Kertész - Carl Schurz Park, NY
André Kertész
Carl Schurz Park, NY
Silver Gelatin Photograph
1948, Printed Later
10 x 8 inches

Dated on recto

Edward Weston- Toadstool

Pioneers of Photography:
Classic Images from the 1920s to 1960s.

10/3/2015 - 11/21/2015

During the critical years spanning from the 1920s to the 1960s, a vital period emerged for the development of the medium of photography that would dramatically alter mankind’s perception and experience of the world. Photography would evolve technically from the limitations of large, heavy cameras with slow lenses and magnesium flash to smaller 35 and 110 mm hand-held cameras which were lighter, faster, and more adept at immediately capturing our surroundings. The modern era, marked by huge cultural, political, and economic changes saw increasing numbers of people both producing and consuming images which firmly brought photography into the forefront. With the growth of the production and dissemination of photography, its acceptance as a burgeoning art form was hotly debated and discussions would arise regarding what specific criteria makes a photograph a work of art.

Photographers were given greater latitude whether they used their lenses to document, invent, or experiment in their creation of photographic work while institutions began to accept and even champion the importance of photography as a cultural and aesthetic enterprise. In particular, individual photographers would emerge during this expansive time that would have a dramatic affect on the medium’s role as a modern art form. In their own unique manners and through a variety of subject matter, they created lasting influences setting precedents for what was possible through the camera. Above all, photographers such as Henri Cartier-Bresson, Edward Weston, Bill Brandt, and André Kertész included in the exhibition possessed a unique and enduring spirit of discovery by creating photographs that provided durable visual records of the extraordinary modern era. Collectively they empowered and matured the reach and significance of photography.

Upon first using a Leica camera in the early 1930’s, Henri Cartier-Bresson became captivated with the spontaneity of photography and went on to pioneer photojournalism over the next decades. His uncanny ability to capture life on the run helped to define the creative potential of modern photography by showing the world through his images that possess a zest and a compositional balance that energize them. He was a keen observer of international human affairs and also a founder of the influential Magnum Photos Agency.

Edward Weston was a highly influential American photographer of the early to mid-20th century who established a straightforward and exacting style characterized by the use of a large-format camera to create sharply focused and detailed images. His careful compositions, rigorous standards for printing, and his rejection of anything superfluous or artificial are legendary. Weston’s passion for form in his still lifes, portraits, landscapes, and nudes had qualities that seemed particularly suited for expressing the new American lifestyle and aesthetic.

Bill Brandt emerged as a seminal figure in modernist photography through his ability to present the dark and atmospheric world of England as something both haunting and extraordinary. His distinctive vision emerged in the 1930s focusing on documenting the war and economic depression of England and later pictured both landscapes and the stratified society of England. After the war, he turned his focus to the human body and created nudes using unusual perspectives to innovatively transform flesh into abstract landscapes being unconcerned with the prevailing narrow notions of idealized beauty.

André Kertész was a vital influence on photography for both journalism and as an art form particularly for photographers that worked with 35 mm cameras. The Hungarian-born ex-stockbroker is known for combining his seemingly effortless spontaneity with a sophisticated understanding of composition that characterized his practice from the 1920s onward. He captured the poetry of modern urban life with its quiet, often overlooked incidents and odd, occasionally comic, or even bizarre juxtapositions pioneering the photographic tenants for modernism.