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856. Adams, Ansel. Parmelian Prints of the High Sierras. [116] pp. Illustrated with eighteen signed photographic prints, 5-3/4x7-3/4 to 6x8 [image] laid in individual paper folders with printed titles. 13x10-1/4, black silk-covered boards with gilt cover title and logo lined with padded yellow silk, folders with text and prints laid in. Limited edition of 150 copies printed at the Grabhorn Press stated on the limitation page. However, only 110 sets were completed. San Francisco: Jean Chambers Moore, Publisher, 1927. This was really the first portfolio of original prints by Ansel Adams although not titled as such because the publisher thought that it would not have enough aesthetic appeal if labeled photographs. At that time photographers were still struggling to be regarded as artists. The battle had not yet been won and much of the art-consuming public regarded them as technicians. In his autobiography Adams tells of his persistent embarrassment about the title of this work. Front of first folder and back of last folder darkened as usual from contact with the padded silk lining; small remnants of previous bookplate on inside front cover; minor silvering of a few prints - otherwise in fine condition. (18,000/25,000).
857. Adams, Ansel. Portfolio. Portfolio Six. Introduction by Beaumont and Nancy Newhall. Ten photographic prints mounted on 23x29 archival boards. Laid in original cloth-covered box. Limited edition of 110 copies. Portfolio Six features the following photographs:
858. Adams, Ansel. Print Charred and live trees on eastern side of the Sierra near Mount Tom. Gelatin silver print. 13-1/2x9-1/4, mounted on 22x18 archival board, matted, framed and glazed. Signed by Ansel Adams on the mount. Fine condition. (1000/2000).
859. Adams, Ansel. Print Half Dome from the Merced River, Winter. Gelatin silver print. 15-1/2x19, mounted on 21-1/2x27-1/2 archival board, matted, framed and glazed. Signed on the mount with Ansel Adams stamp and written title on the reverse. Fine condition. (5000/8000).
860. Adams, Ansel. Print Hills and Sheep, Sonoma County. Gelatin silver print. 15-1/2x18- 1/4, mounted on 21-1/2x27-1/2 archival board, matted, framed and glazed. Signed on the mount with studio stamp and title on the back. Fine condition. (3000/5000).
861. Adams, Ansel. Print. San Francisco from San Bruno Mountains. Gelatin silver print. 14-1/2x19, mounted on 21-1/2x27-1/2 archival board, matted, framed and glazed. Signed on the mount with studio stamp and title on the back. Fine condition. (4000/7000).
862. Adams, Ansel. Special Edition Print. Bridalveil Falls. Gelatin silver print. 9-1/2x7-1/4, mounted on 16-1/2x13-1/2 archival board. Initialed by Ansel Adams on the mount with the Ansel Adams label and the title printed on the reverse with additional stamp attributing the printing to Alan Ross under the supervision of Ansel Adams. Fine condition. (200/300).
863. Adams, Ansel. Special Edition Print. El Capitan. Gelatin silver print. 9-1/2x7-1/4, mounted on 16-1/2x13-1/2 archival board. Initialed by Ansel Adams on the mount with the Ansel Adams label and the title printed on the reverse and additional stamp attributing the printing to Alan Ross under the supervision of Ansel Adams. Fine condition. (200/300).
864. Adams, Ansel. Special Edition Print. Lake Tenaya. Gelatin silver print. 7-3/4x9-1/2, mounted on 13-1/2x16-1/2 archival board. Initialed by Ansel Adams on the mount with the Ansel Adams label and the title printed on the reverse. Fine condition. (200/300).
865. Adams, Ansel. Special Edition Print. Mirror Lake. Gelatin silver print. 7-1/2x9-1/4, mounted on 13-1/2x16-1/2 archival board. Initialed by Ansel Adams on the mount with the Ansel Adams label and the title printed on the reverse with additional stamp attributing the printing to Alan Ross under the supervision of Ansel Adams. Fine condition. (200/300).
866. Adams, Ansel. Special Edition Print. Valley View. Gelatin silver print. 7x9-3/4, mounted on 13 12x16-1/2 archival board. Initialed by Ansel Adams on the mount with the Ansel Adams label and the title printed on the reverse. Fine condition. (200/300).
867. Adams, Ansel. Special Edition Print. Yosemite Falls. Gelatin silver print. 7-1/4x9-1/2, mounted on 13-1/2x16-1/2 archival board. Initialed by Ansel Adams on the mount with the Ansel Adams label and the title printed on the reverse. Fine condition. (200/300).
868. Adams, Ansel. Special Edition Print. El Capitan, Winter. Gelatin silver print. 9-1/2x7- 1/2, mounted on 16-1/2x13-1/2 archival board. Ansel Adams label and the title printed on the reverse of the mount with an additional stamp attributing the printing to Alan Ross under the supervision of Ansel Adams and initialed by Alan Ross. Fine condition. (100/150).
869. Adams, Ansel. Special Edition Print. Jeffrey Pine, Sentinel Dome. Gelatin silver print. 7-1/2x9-1/4, mounted on 13-1/2x16-1/2 archival board. Ansel Adams label and the title printed on the reverse of the mount with an additional stamp attributing the printing to Alan Ross under the supervision of Ansel Adams and initialed by Alan Ross. Fine condition. (100/150).
870. Adams, Ansel. Special Edition Print. Moon and Half Dome. Gelatin silver print. 9- 1/2x7-1/2, mounted on 16-1/2x13-1/2 archival board. Ansel Adams label and the title printed on the reverse of the mount with an additional stamp attributing the printing to Alan Ross under the supervision of Ansel Adams and initialed by Alan Ross. Fine condition. (100/150).
871. Adams, Ansel. Special Edition Print. Morning, Merced River Canyon. Gelatin silver print. 7-1/2x9-1/2, mounted on 13-1/2x16-1/2 archival baord. Ansel Adams label and the title printed on the reverse of the mount with an additional stamp attributing the printing to Alan Ross under the supervision of Ansel Adams and initialed by Alan Ross. Fine condition. (100/150).
872. Adams, Ansel. Special Edition Print. Mt. Lyell and Mt. McClure. Gelatin silver print. 7-1/2x9-1/2 mounted on 13-1/2x16-1/2 archival board. Ansel Adams label and the title printed on the reverse of the mount with an additional stamp attributing the printing to Alan Ross under the supervision of Ansel Adams and initialed by Alan Ross. Fine condition. (100/150).
873.Adams, Ansel. Special Edition Print. Oaktree. Snowstorm. Gelatin silver print. 9-1/2x7- 1/2, mounted on 16-1/2x13-1/2 archival board. Ansel Adams label and the title printed on the reverse of the mount with an additional stamp attributing the printing to Alan Ross under the supervision of Ansel Adams and initialed by Alan Ross. Fine condition. (100/150).
874. Adams, Ansel. Vintage print El Capitan. Gelatin silver print. 4-1/2x6-1/2, mounted on 16x13-1/4 archival board and hinge-matted. Signed and dated "c. 1930" by Ansel Adams on the mount [in 1979]. Fine condition. (2000/3000).
875. Adams, Ansel. Vintage Print Yosemite Falls. Gelatin silver print. 6-1/2x4-1/4, mounted on 13-1/4x16 archival board and hinge-matted. Signed and dated "c. 1930" by Ansel Adams on the mount [in 1979]. Fine condition. (2500/3500).
876. [Adams, Ansel] Byrd, Richard. Portrait of Ansel Adams. Gelatin silver print. 9-1/2x7-1/2, mounted on 14x11 archival board. [ca. 1980]. Signed by the photographer on the mount. Fine condition. (200/300).
877. [Album] California scenes. Forty-eight gelatin silver prints ca. 3-1/2x4-3/4, mounted on twenty-four stiff 6x6-1/2 leaves bound in three-quarter leather and pebbled cloth album with gilt-stamped morocco spine label. Circa 1890s. Broad range of photographs from city to countryside but limited to Northern California. Twenty- two of the photographs are of Yosemite. Several photos of Monterey, the Shasta/Laasen area, San Francisco, redwoods and Stanford [including a shot of Leland Stanford's race horses]. Photographs labeled in ink on the mount. No identification of the photographer is present [probably not taken by a professional but the quality, never-the-less, is quite good]. Original spine leather and label replaced with new. Some silvering of a few prints - otherwise in near-fine condition. (500/800).
878. [Album] California scenes. Sixty gelatin silver prints. 2-1/4x3 to 6x8, mounted on 7x10-1/2 pages with tissue guards, bound in full suede leather with elaborate monogram design in copper attached to front cover. Circa 1906-1915. Twenty-two of the photographs are of San Francisco soon after the 1906 earthquake and fire. Other subjects include the California coast, California missions, Salt Lake City, Mormon Temple and Tabernacle, Indians, great white fleet, Panama-Pacific Exposition, rural scenes, and others. Quality of the photography varies considerably - from excellent to poor and some of them appear to have been purchased. The quality of the post-earthquake photographs is generally very good. Most of the latter are 4x6 or larger. Front hinge broken, suede worn at the corners, some silvering of a few prints - otherwise in very good condition. (300/500).
879. [Album] California. Twenty photogravures. 9-3/4x11-1/4, full flexible leather with gilt cover title. No place: Southern Pacific, [ca. 1910]. Exquisite photogravures of California scenes with the only identification of the source a small gilt stamping on the inside leather margin of the front cover reading as follows: "Compliments of Southern Pacific Company" [probably used as a gift to their political lackeys in California]. Minor wear to covers - otherwise in fine condition. (200/300).
880. [Album] California - especially Southern California. Thirty-two albumen prints from 3-3/4x3 to 4- 1/2x7-3/4 on thirteen stiff leaves laid in limp cloth case. Fourteen of the prints are 4-1/2x7-3/4 and are of professional quality. The scenes are exceptionally good photographs of Baldwin's Ranch, the Ostrich Farm, Beach scenes, Old Town San Diego and Los Angeles. One of the latter is an outstanding photograph of the old plaza with the most prominent structure being the Pico House [earliest fine hotel in that city - established 1869] and some of the city's finest homes on a hill only two or three blocks from the Plaza. Eighteen of the photographs are of unidentified rural, family and sailing scenes and probably are not of professional origin. Fine condition. (300/400).
881. [Album] California - especially Southern California. Twenty-four gelatin silver prints. 4-3/4x7-3/4, mounted on 11x8-1/2 modern boards in three-ring notebook. Only a few photographs identified with the photographers stamp "Lemuel S. Ellis, Landscape photographer, Los Angeles, Cal. P.O. Box No. 200" on the back although they are all of professional quality and probably all by the same photographer. Most of the photographs have a brief written description on the reverse. They appear to date circa 1870-90. Typed labels on back of each board identify the opposite photograph from the information written on the reverse. Some chipping, especially of corners, three photographs moderately faded - otherwise in good to very good condition. (200/300).
Philip Aldrich is an excellent physician in Carson City who specializes in internal medicine. I know he is an excellent physician because he received his specialty training in the UCSF-Fresno program when I was chief. Phil had a budding interest in photography then which was nurtured by his contact with Ansel Adams' son, Michael [also training in internal medicine in the UCSF-Fresno program], and polished by later study under such masters of photography as Bruce Barnbaum and John Sexton. He has had several one-man shows in Carson City. Philip combines the artistry and realism of photography to produce striking images of the rural west.
882. Aldrich, Philip. Canyon Wall and Tree, Canyon de Chelly, Airzona. Gelatin silver print. 22x19-1/4, mounted on 30-1/2x27-1/2 archival board and matted. Signed by Philip Aldrich on the mount below the photograph with printed label on the back. Fine condition. (400/500).
883. Aldrich, Philip. Graffiti and Ruins, Coaldale Junction, Nevada. Gelatin silver print. 18- 1/4x23, mounted on 27x31-1/4 archival board and matted. Signed by Philip Aldrich on the mount below the photograph with printed label on the back. Fine condition. (300/400).
884. Aldrich, Philip. Live Minnows, Silver Springs, Nevada. Gelatin silver print. 18-3/4x22- 1/2, mounted on 27-1/2x30-1/4 archival board and matted. Signed by Philip Aldrich on the mount below the photograph with printed label on the back. Fine condition. (300/400).
885. Aldrich, Philip. Lone Tree, Snow, Hayden Valley, Yellowstone National Park. Gelatin silver print. 14-1/2x23-1/4, mounted on 23-1/4x31-1/4 archival board and matted. Signed by Philip Aldrich on the mount below the photograph with printed label on the back. Fine condition. (400/500).
886. Aldrich, Philip. Along the Merced River, Yosemite National Park, California. Gelatin silver print. 15x19, mounted on 22x26 archival board and hinge matted. Signed by Philip Aldrich on the mount below the photograph with printed label on the back. Fine condition. (300/400).
887. Aldrich, Philip. Mill Ruins #1, Belmount Nevada. Gelatin silver print. 17-1/2x22-1/2, mounted on 26-1/2x30-1/2 archival board and matted. Signed by Philip Aldrich on the mount below the photograph with printed label on the back. Fine condition. (400/500).
888. Aldrich, Philip. Mummy Cave, Canyon de Chelly, Arizona. Gelatin silver print. 22- 1/2x22-3/4, mounted on 27-3/4x30-3/4 archival board and matted. Signed by Philip Aldrich on the mount below the photograph with printed label on the back. Fine condition. (400/500).
889. Aldrich, Philip. Ruins and Clouded Peak, Marrieta, California. Gelatin silver print. 10- 1/2x12-3/4, mounted on 19x20-3/4 archival board and matted. Signed by Philip Aldrich on the mount below the photograph with printed label on the back. Fine condition. (300/400).
890. Aldrich, Philip. School Room, Fourth Ward School, Virginia City, Nevada. Gelatin silver print. 13-1/2x10-1/2, mounted on 22x18-1/2 archival board and matted. Signed by Philip Aldrich on the mount below the photograph with printed label on the back. Fine condition. (300/400).
891. Aldrich, Philip. Storage Tanks, Luning Nevada. Gelatin silver print. 13-1/4x10-1/4, mounted on 18-1/2x21-3/4 archival board, matted, framed and glazed. Signed by Philip Aldrich on the mount below the photograph with printed label on the back. Fine condition. (300/400).
892. Aldrich, Philip. Tracks and Hills, Weeks, Nevada. Gelatin silver print. 18-3/4x22-3/4, mounted on 27-1/4x30-3/4 archival board and matted. Signed by Philip Aldrich on the mount below the photograph with printed label on the back. Fine condition. (400/500).
893. Baer, Morley. Double Surf, Garrapata Beach, Sur Coast, 1966. Gelatin silver print. 7-1/2x9-1/4, mounted on 14x16 archival board. Signed by Morley Baer on the mount with photographer's stamp and Friends [of Photography] stamp on reverse. Fine condition. (500/800).
894. Baer, Morley. South Shore, Malpaso, Sur Coast, 1962. Gelatin silver print. 13-1/2x9- 3/4, mounted on 20x16 archival board. Signed by Morley Baer on the mount with photographer's stamp on reverse. Limitation number [#9/75] on mount. Fine condition. (500/800).
895. Barnbaum, Bruce. Basin Mountain, Approaching Storm, 1973. Gelatin silver print. 15- 1/2x19, mounted on 22x28 archival board. Signed by Bruce Barnbaum on the mount with photographer's stamp and title on the reverse. Fine condition. (500/800).
896. Barnbaum, Bruce. Dune Ridges at Sunrise, Death Valley, 1976. Gelatin silver print. 10-1/2x13, mounted on 17x20 archival board. Signed by Bruce Barnbaum on the mount with photographer's stamp and title on the reverse. Fine condition. (400/600).
897. Barnbaum, Bruce. Mount Clarence King, 1976. Gelatin silver print. 15-1/2x19-1/4, mounted on 22x28 archival board. Signed by Bruce Barnbaum on the mount with photographer's stamp and title on the reverse. Fine condition. (500/800).
898. Barnbaum, Bruce. Sandstone and Sage, Pazia Canyon, 1978. Gelatin silver print. 14x18, mounted on 22x28 archival board. Signed by Bruce Barnbaum on the mount with photographer's stamp and title on the reverse. Fine condition. (400/600).
899. Barnbaum, Bruce. Untitled - mountain peak and clouds. Gelatin silver print. 15x19, mounted on 22x28 archival board. Signed by Bruce Barnbaum on the mount with photographer's stamp and title on the reverse. Fine condition. (500/800).
900. Bullock, Wynn. Cannery Row, Monterey. Gelatin silver print. 8x10, hinge-mounted on 14x16 archival board. Scene of Cannery Row from the ocean side with dozens of sea gulls roosting on the roofs and in the water. No date but probably an early print. It is unlike his later photographs that have a mystical or surrealistic quality. Fine condition. (1000/1500).
901. Christensen, Jack. Dunes, Death Valley. Gelatin silver print. 9-1/4x13-3/4, mounted on archival board and hinge matted. 1987. Signed by Christensen on the matte. Title label with date on reverse. Fine condition. (200/300).
902. Curtis, Edward. Photogravures. Number: two. Subject: Havusupai Indians Size: approximately 6x8 photogravures tipped to 12-1/4x 9-1/4 leaves removed from one of the twenty volumes of North American Indians, laid in clear plastic folders. Titles: 1) Havasupai Basket Maker 2) Havasupai Cliff Dwelling. Faint water stain of one leaf margin without affecting image - otherwise in near-fine condition. (100/150).
903. Curtis, Edward. Photogravures. Number: five. Subject: Maricopa Indians. Size: approximately 6x8 photogravures tipped to 12-1/4x 9-1/4 leaves removed from one of the twenty volumes of North American Indians. Laid in clear plastic folders. Titles: 1) Gathering Arrow-Brush 2) Hipah, Maricopa [portrait of an older male] 3) Maricopa House 4) Maricopa Woman Mealing 5) Maricopa Water Girl Faint water stain of one margin of all leaves without affecting images - otherwise in near-fine condition. (300/500).
904. Curtis, Edward. Photogravures. Number: five. Subject: Miscellaneous Size: approximately 6x8 photogravures tipped to 12-1/4x 9-1/4 leaves removed from one of the twenty volumes of North American Indians. Laid in clear plastic folders. Titles: 1) Casa Grande Ruin 2) Palo Verde 3) Stone Maze 4) Stone Maze 5) Stone Maze Faint water stain of one margin of each leaf without affecting images, slight scattered foxing - otherwise in near-fine condition. (300/500).
905. Curtis, Edward. Photogravures. Number: six. Subject: Mojave/Apache Indians Size: approximately 6x8 photogravures tipped to 12-1/4x 9-1/4 leaves removed from one of the twenty volumes of North American Indians. Laid in clear plastic folders. Titles: 1) Apache-Mojave House 2) An Apache-Mojave Woman 3)
Chacha, Mojave [portrait] 4) An Old Mojave [portrait] 5) Primitive Transportation, Mojave 6) Sholya, Mojave Girl [portrait]. Faint water stain of one margin of four leaves without affecting images - otherwise in near-fine condition. (200/300).
906. Curtis, Edward. Photogravures. Number: three. Subject: Papago Indians. Size: approximately 6x8 photogravures tipped to 12-1/4x 9-1/4 leaves removed from one of the twenty volumes of North American Indians. Laid in clear plastic folders. Titles: 1) Hokak, Papago [portrait] 2) Papago Burial 3) Papago Kitchen. Faint water stain of margins of two leaves without affecting images - otherwise in near-fine condition. (200/300).
907. Curtis, Edward. Photogravures. Number: seven. Subject: Pima Indians Size: approximately 6x8 photogravures tipped to 12-1/4x 9-1/4 leaves removed from one of the twenty volumes of North American Indians. Laid in clear plastic folders. Titles: 1) Antonio Azul, Pima 2) Ceremonial Ki, Pima 3) Gathering Arrow Brush, Pima 4) Isevik, Pima [cactus plants] 5) Pima Burial Ground 6) Pima Granaries 7) A Pima House. Faint water stain of one margin of all leaves without affecting images - otherwise in near-fine condition. (400/700).
908. Curtis, Edward. Photogravures. Number: two. Subject: Qahatika Indians. Size: approximately 6x8 photogravures tipped to 12-1/4x 9-1/4 leaves removed from one of the twenty volumes of North American Indians. Laid in clear plastic folders. Titles: 1) Qahatika Home 2) Qahatika Village Scene. Faint water stain of margin of both leaves without affecting images - otherwise in near-fine condition. (100/150).
909. Curtis, Edward. Photogravures. Number: four. Subject: Walapai Indians. Size: approximately 6x8 photogravures tipped to 12-1/4x 9-1/4 leaves removed from one of the twenty volumes of North American Indians. Laid in clear plastic folders. Titles: 1) Author's Camp, Walapai Land [Curtis' tent in a winter scene] 2)
Nerije, Walapai [portrait] 3) Tathamichie, Walapai [portrait] 4)
Walapai Winter Camp Faint water stain of margins of two leaves without affecting images - otherwise in near-fine condition. (200/300).
910. Curtis, Edward. Photogravures. Number: four. Subject: Yuma Indians Size: approximately 6x8 photogravures tipped to 12-1/4x9-1/4 leaves removed from one of the twenty volumes of North American Indians. Laid in clear plastic folders. Titles: 1) Yuma Girl [portrait] 2) A Yuma Home 3) A Yuma House 4) Yuma Maiden [portrait]. Faint water stain of margins of three leaves without affecting images - otherwise in near-fine condition. (200/300)).
911. Dassonville, William Edward. California Landscape [Owens Valley]. Gelatin silver print. 7x10, mounted on 16x18 archival board, matted, framed and glazed. Signed by Dassonville on the mount with recent stamp of Madison Street Gallery, Petaluma and two exhibit labels on the back: one from the eighth annual photography exhibit of the Bohemian Club [1948] and the other from the San Francisco Museum of Art "California Pictorialism" exhibit in 1977. Fine condition. (800/1200).
912. Dawson, Robert. View from the Friends #3. Gelatin silver print. 7-3/4x9-3/4 image on 11x14 photographic paper. Signed, titled and dated by Robert Dawson on the reverse. This photograph was featured on the cover of Review [newsletter of the Friends of Photography] for January, 1988 [copy included]. Also included is a copy of Robert Dawson Photographs, an 84 page exhibit catalog with thirty-eight black and white plates from photographs by Robert Dawson published in pictorial wrappers by Gallery Min of Takyo, 1988. Inscribed, signed and dated by Robert Dawson on the title page. Fine condition. (200/300).
913. Dresser, Rod. S-Shaped Sand Dune, Death Valley Monument. 1986. Gelatin silver print. 10-1/2x10-1/4, mounted on 20x16 archival board. Signed by Rod Dresser on the mount below the photograph with stamp of Friends of Photography on the back of the mount. Fine condition. (200/300).
914. Fiske, George. A Bit of Yosemite Winter. Gelatin silver print. 10x13, hinge- mounted on 14-3/4x17-3/4 archival board and hinge matted. Title written in pencil on reverse of photograph. One slight surface wrinkle - otherwise in fine condition. (400/600).
915. Fiske, George. Cathedral Rocks in Nov. Gelatin silver print. 10x13, hinge- mounted on 14-3/4x17-3/4 archival board and hinge matted. Title written in pencil on reverse of photograph. One slight surface wrinkle - otherwise in fine condition. (400/600).
916. Fiske, George. Going to the Top of Nevada Falls. Albumen print. 7-1/2x4-1/2, mounted on 9-1/2x7-1/4 board, framed and glazed. Photographer identified in the negative. Title written in ink on the mount below the photograph. Fine condition. (150/250).
917. Fiske, George. Half Dome. Albumen print. 7-1/2x4-1/2, mounted on 9-1/2x7-1/4 board, framed and glazed. Photographer identified in the negative. Title written in ink on the mount below the photograph. Fine condition. (150/250).
918. Fiske, George. Overhanging Rock at Glacier Point, 3200 ft. Albumen print. 7-1/2x4- 1/2, mounted on 9-1/2x7-1/4 board, framed and glazed. Photographer identified in the negative. Title written in ink on the mount below the photograph. Fine condition. (300/500).
919. Fiske, George. The Domes after the Storm. Sepia-tone gelatin silver print. 10x13, edge-mounted on 14-1/2x17-1/2 archival board and hinge-matted. Title written in pencil on the back of the photograph. Fine condition. (400/700).
920. Fiske, George. Pinus Jeffreyii. On Top of Sentinel Dome. Sepia-tone gelatin silver print. 10x13, edge-mounted on 14-1/2x17-1/2 archival board and hinge-matted. Photographer identified in the negative. Title written in pencil on the back of the photograph. Striking picture of the lone, wind-sculpted Jeffrey pine that marked the top of Sentinel Dome for centuries before succumbing to the elements in recent years. One dark defect, 1/2x3/16 ", in the print which appears to have resulted from a defect in the negative - otherwise in fine condition. (300/500).
921. Fiske, George. Set of twelve photographs, various titles. Albumen prints. 7-1/2x4-1/2, mounted on 10x7 boards. Photographer identified in the negatives. Titles written in ink on the mount below the photograph and again on the back [in all but two photogaphs]. Photographer's stamp on the back. The titles are as follows: 1) Sentinel Rock during a Storm 2) Lower Yosemite Falls 3) Instanteous View of Vernal Fall, 300 ft.4) Instanteous View of Nevada Fall 700 ft. 5) Bridal Veil Fall, 900 ft. 6) Upper Yosemite Falls, 1600 ft. 7) Up the Valley from Bridalveil Meadows. 8) Down the Valley, "Spirit - Land" 9) Wind playing with Bridal Veil Fall 10) Mirror Lake and Cathedral Rocks 11)
Cascade Falls 12) Cathedral Spires, 2200 ft. Some surface abrasion without effect on the images, few dark streaks on photograph #8, light foxing and soiling of some mounts but overall in very good condition. Fine condition. (800/1200).
922. Forbes, A. S. C. Three items as follows 1) Catalog: First San Francisco Photographic Salon, 1901. [50], [14 adv.] pp. Illustrated with thirty-four black and white plates from photographs of various photographers. 7-1/2x7-1/2, decorative wrappers with printed cover title. Second edition. [San Francisco: Committee on Publicity, 1901]. 2) Forbes, A. S. C. Photograph: Padres Home. Sepia tone silver print. 5-1/2x8-1/2, mounted on board with San Francisco Photographic Salon, 1901 label, on the reverse. Hinge matted [later addition]. 3) Forbes, A. S. C. Photograph: Past Glories. Sepia tone silver print. 7x9-1/2, mounted on board with San Francisco Photographic Salon, 1901 label on the reverse. Hinge matted [later addition]. Three items from San Francisco's first photographic exhibit. The catalog lists 475 photographs and 123 paintings. Thirty-four of the photographs were selected for plates in the catalog. This exhibit was cosponsored by the California Camera Club, the Mark Hopkins Institute of Art, and the San Francisco Art Association. The two photographs by A. S. C. Forbes are listed in the catalog and have the Salon label on the back. They are photographs of mission ruins that appear to be San Juan Capistrano. Some abrasions of catalog covers and chipping of spine, small surface defect of one print - otherwise in good condition. (100/150).
923. Genthe, Arnold. San Francisco "Chinatown" scene with two Chinese men cooking over charcoal. Gelatin silver print. 10-1/2x12-3/4, corner-mounted on archival board and hinge-matted. One of the men appears to be smoking a long stem pipe and the other is tending food, presumably cooking over a charcoal fire with typical "Chinatown" background. Fine condition. (600/900).
924. Harmston, Gordon. Golden Moment. Cibachrome print. 14x19-3/4, mounted on board and hinge-matted. Fine condition. (400/500).
925. Harmston, Gordon. Pacific Sunburst. Cibachrome print. 15-3/4x19-1/2, mounted on board and hinge-matted. Fine condition. (400/500).
926. Harmston, Gordon. Springtime. Cibachrome print. 15-3/4x19-3/4, mounted on board and hinge-matted. Fine condition. (400/500).
927. Harmston, Gordon. Vineyard. Cibachrome print. 15-3/4x20, mounted on board and hinge-matted. Fine condition. (400/500).
928. [Harte, Bret] W. & D. Downey. Portrait of Bret Harte. Gelatin silver print. 5-1/2x3-3/4, mounted on 9-1/2x7-1/4 printed board. Bret Harte's fame spread rapidly after publication of The Luck of Roaring Camp in 1870 [see item # 85] and he quickly became the darling of Eastern society. Just as quickly he fell out of fashion. In 1885 he moved to London where he was once again lionized by society. He remained there until his death in 1902 at the age of 64. This is a portrait of a very properly attired Bret Harte by a very proper London photographer. Mount lightly soiled and darkened in the margin - otherwise in near-fine condition. (100/150).
929. Holub, Leo. San Francisco from Red Rock Hill, 1972. Gelatin silver print. 13-1/2x19, mounted on 20x24 archival board. Signed and titled in pencil by Leo Holub on the mount. Fine condition. (300/500).
930. Hylen, Anold. The Vanishing Face of Los Angeles. 8 [1] pp. Illustrated with fifteen gelatin silver prints of various sizes from 9x7 to 13-1/2x10, mounted on 12-3/4x15-3/4 archival boards. Laid in cloth-covered folding box with gilt-titled black morocco cover label. Limited edition of 100 copies. Los Angeles: Dawson's Book Shop, 1968. A remarkable collection of photographs of central Los Angeles made in the 1940s and 50s by photographer Arnold Hylen before the forces of civic progress bulldozed its history into the dust of foundations for the present and future temples of mammon. Staining of bottom of cloth- covered box, two small nicks on the top edge of the morocco label - otherwise in near-fine condition. (500/800).
931. Jackson, William Henry. Boulder Canyon. Albumen print. 12-1/2x9-3/4, mounted on 20x16 flexible board, which is corner mounted on archival board and hinge matted. Titled in the negative, right lower corner. "Department of the Interior, U. S. Geological Survey of the Territories , Prof. F. V. Hayden in Charge" and "W. H. Jackson, Photo." printed on the mount below the photograph. Slight darkening of one edge of the original mount - otherwise in fine condition. (400/600).
932. Jackson, William Henry. Eroded Sandstones, Monument Park, Colorado. Albumen print. 12-1/2x9, mounted on 20x16 board. Titled in the negative. "Department of the Interior, U. S. Geological Survey of the Territories, Prof. F. Y. Hayden" printed below the photograph on the original mount. This is the photograph reproduced on the rear cover of William Henry Jackson's 1875 catalog of available prints. Few areas of discoloration on the photograph and some staining of the margins of the original mount - otherwise in very good condition. (100/200).
933. Jackson, William Henry. Gateway of the Garden of the Gods, Colorado. (?) Albumen print. 9x12-3/4, mounted on 16x20 flexible board which is corner-mounted on archival board and hinge- matted. Titled in the negative. "Department of the Interior, U. S. Geological Survey of the Territories" stamped at top of original mount. Few areas of discoloration on the photograph - otherwise in very good condition. (300/500).
934. Jackson, William Henry. The Gateway and Pike's Peak. Albumen print. 6-1/4x10, mounted on 14x17 board. Titled in the negative. This scene shows the photgraphers supply/darkroom wagon in the right foreground. Mount chipped at edges - otherwise in fine condition. (300/500).
935. Jackson, William Henry. Grand Canyon of the Arkansas. Silver print. 7-1/4x4-1/4, mounted on stiff board. Titled and photographer identified in the negative. Canyon of the Arkansas River with railroad tracks. Minor abrasions - otherwise in fine condition. (200/300).
936. Jackson, William Henry. Hairy Bear. Silver print. 7-1/4x4-1/4, mounted on archival board and hinge-matted. Titled and photographer identified in the negative. Studio portrait of an Indian in ceremonial dress with tomahawk. One corner creased, few very fine wrinkles - otherwise in near-fine condition. (100/150).
937. Jackson, William Henry. Mission of San Juan Capistrano, California. Photochrom print. 16-1/2x19-1/2, mounted on 20x24 archival board and hinge-matted. Title, negative number and photographer identified in the negative - lower right hand corner of the print. This print was probably produced by a patented process of color photolithography brought from Switzerland in 1896 and incorporated in the United States under the name of Photochrom while Jackson was still located in Denver. With this method, color prints could be made from black and white negatives. William Henry Jackson was made one of the directors of Photochrom and given a significant share in the company for providing his huge stock of negatives from which the color prints could be made [see chapter XXI of WHJ.'s autobiography, Time Exposure and Beaumont Newhall's The History of Photography]. Fine condition. (300/500).
938. Jackson, William Henry. Mount Holy Cross. Albumen print. 7x9-1/4, corner- mounted on 12x14 archival board and hinge matted. Titled in the negative. This is perhaps the most famous of all Wm. Henry Jackson's photographs [see Clarence Jackson's book on his father's search for and discovery of this peak - item # 782]. Numerous small surface abrasions without effect on the image - otherwise in near-fine condition. (200/300).
939. Jackson, William Henry. Ute Chief. Silver print. 7-1/4x4-1/4, mounted on archival board and hinge-matted. Titled and photographer identified in the negative. Studio portrait of an Indian in native dress. Near-fine condition. (100/150).
940. Jackson, William Henry. Yellowstone Park, Golden Gate. Silver print. 5x8, mounted on stiff 10x12 board. Road through mountain scenery with a wagon and passengers drawn by four horses. Titled by hand on reverse of the mount. Photographer not identified but attributed to William Henry Jackson. Several surface abrasions with no major effect on image - otherwise in very good condition. (100/150).
941. Jackson, William Henry. Yellowstone Park, Shoshone Lake from the Divide. Silver print. 5x8-1/4, mounted on stiff 10x12 board. Road through mountain scenery with a two-horse-drawn wagon and driver and a mounted horse. Lake barely visible in the background. Titled by hand on reverse of the mount. Photographer not identified but attributed to William Henry Jackson. Several surface abrasions with no major effect on image, significantly faded - otherwise in fair condition. (100/150).
942. Jackson, William Henry. Yosemite from Artist's Point. Photochrom print or silver print with hand tinting. 21x45, glazed and framed. Dramatic view of Yosemite Valley taken from a spot near Inspiration Point. Recent framing. Fine condition. (1000/1500).