Farm Security Administration – Vintage Photo by John Vachon – San Augustine, TX
Photographed is identified on verso as «San Augustine, Texas / Mrs. Rushing, the wife of the Mayor / Photo – Vachon – 1943.». Farm Security Administration (John Vachon). The RA and FSA are well known for the influence of their photography program, 1935-1944.
DOROTHEA LANGE- WPA Photographer-Signed Gelatin Silver Print of Roi Partridge
Dealsrus is well known for offering quality artwork at reasonable prices. Our reputation is stellar and we stand behind everything we sell. Sales on ebay can be made through ebay’s payment system. Privately, we accept credit card payments Visa and Mastercard through our own merchant account. We also accept payments through Authorize net. Please read the terms of sale before bidding on our items. Good Luck, and as always please ask all questions before bidding. On ebay our name is dealsrus. Our company name is EastCoastArt. Dorothea Lange (1895 – 1965) Important 20th century WPA photographer best known for her socio-political subjects and portraits. Original hand signed and dated gelatin silver print mounted on matte board. This is a portrait of Roi Partridge, a close family friend of Dorothea Lange and Maynard Dixon. Created in 1931 Image: 4.5″x 3.5″ Frame: 11″x 9″ Hand pencil signed and dated upper right–see photos Dorothea Lange was married to Maynard Dixon. They were close friends with Roi Partridge and Imogen Cunninham. Her friendship with fellow photographer Imogen Cunningham was especially significant. The two families often shared holidays and parenting, with Cunningham’s son Rondal Partridge becoming Lange’s assistant on photographic road trips during the Great Depression. Throughout her career, Lange was an important figure in the West Coast photographic community, both socially and professionally. The Lange archive contains many photographs of her colleagues and friends. PLEASE NOTE: this is an original gelatin silver print, not a recent reproduction. Looks excellent, in «as found» original untouched condition, minor creases, light water stains on left edge, mounted on matte board, scuff on glass, not examined out of the frame– please look at photos carefully. Glass may be removed or shipped with the artwork according to the buyer’s preferences. Fantastic composition by important photographer Dorothea Lange depicting a male portrait. Lange’s portraits are highly significant among 20th century photography, particularly her «Migrant Mother» image which became an icon of the Great Depression. This is a fine example of her work in great condition. Original signed gelatin silver prints by Lange have recently sold for $5,000-$11,000 and significantly higher at auction. My price of $2,499 is extremely reasonable and far below what one would be expected to pay at a gallery or at auction. Please view my other Dorothea Lange gelatin silver print as well as my other artwork listed on ebay this week–we are adding a new bunch every Thursday. If not sold they will go into my ebay store at a more realistic and higher buy-it-now price, or removed. Biography: Dorothea Lange was born in Hoboken, New Jersey, in 1895 and studied photography in New York City before the First World War. In 1919, she moved to San Francisco, where she earned her living as a portrait photographer for more than a decade. During the Depression’s early years Lange’s interest in social issues grew and she began to photograph the city’s dispossessed. A 1934 exhibition of these photographs introduced her to Paul Taylor, an associate professor of economics at the University of California at Berkeley, and in February 1935 the couple together documented migrant farm workers in Nipomo and the Imperial Valley for the California State Emergency Relief Administration.Copies of the reports Lange and Taylor produced reached Roy Stryker, who offered Lange a job with the Resettlement Administration in August 1935. Unlike the agency’s other photographers, Lange did not move to Washington but used her Berkeley home as a base of operations. She and Taylor were married that winter.Lange returned to the Imperial Valley in early 1937 for the Resettlement Administration. The valley was in a state of crisis, and on February 16 Lange reported on the situation to Stryker:I was forced to switch from Nipomo to the Imperial Valley because of the conditions there. They have always been notoriously bad as you know and what goes on in the Imperial is beyond belief. The Imperial Valley has a social structure all its own and partly because of its isolation in the state those in control get away with it. But this year’s freeze practically wiped out the crop and what it didn’t kill is delayed–in the meanwhile, because of the warm, no rain climate and possibilities for work the region is swamped with homeless moving families. The relief association offices are open day and night 24 hours. The people continue to pour in and there is no way to stop them and no work when they get there. As many as six thousand migrants arrived in California from the Midwest every month, driven by unemployment, drought, and the loss of farm tenancy. In An American Exodus, which he co-authored with Lange, Taylor wrote that the Okies and Arkies had «been scattered like the shavings from a clean-cutting plane.» Many drifted to the Imperial Valley after the completion of Boulder (Hoover) Dam in 1936, which guaranteed the valley a supply of water for irrigation. But the migrants, who competed with Mexicans and other immigrants for work, were offered «not land, but jobs on the land.» The land was held by relatively few owners. In 1935 one-third of the farm acreage in the six hundred square miles of the Imperial Valley consisted of operations in excess of five hundred acres; seventy-four individuals and companies controlled much of the cropland.In his biography of Lange, Milton Meltzer includes a marvelous account of Lange’s trip. He reports that shortages of funds had led Stryker to lay off the photographer in October 1936. After two months of anxiety for them both, Stryker was able to rehire Lange in late January 1937; the photographer and her friend Ron Partridge set out for the valley the day after Stryker approved the trip. Long, exhausting days of photography were followed by overnight stays in rickety tourist courts paid for by Lange’s four-dollar-per-diem maintenance allowance. Partridge has described how Lange worked:She would walk through the field and talk to people, asking simple questions–what are you picking? . . . How long have you been here? When do you eat lunch? . . . I’d like to photograph you, she’d say, and by now it would be «Sure, why not,» and they would pose a little, but she would sort of ignore it, walk around until they forgot us and were back at work.In the file, Lange’s ninety-seven Imperial Valley photographs from 1937 are integrated with more than one hundred other images of California migrants she made that year. Some of her Imperial Valley photographs document conditions: the makeshift camps on the banks of irrigation ditches, the use of irrigation water for cooking and washing, the crowds at the relief offices, and, when work was available, the stoop labor. Her photography was not limited to Okies and Arkies for she also photographed the camps occupied by Mexican laborers, a Japanese-owned farm, and Filipinos picking lettuce.The most poignant and moving photographs from Lange’s trip convey a mood rather than describing circumstances or activities: the man hunkered at the edge of the field, the mother and child in the tent opening, and the trio of men, one of whom casts a defiant glance at the photographers. The photographs are character studies that render the textures of skin and clothing with an artist’s eye and depict posture, gesture, and gaze with an ethnologist’s. But their subjects are anonymous and the pictures become genre studies: «the pea picker» or the «jobless man on relief.»Lange’s photographs were intended to bolster support for the establishment of migrant camps in the area by the Resettlement Administration. On 12 March, five days after she returned home, Lange wrote Stryker that her «negatives are loaded with ammunition.» She added that the situation was «no longer a publicity campaign for migratory agricultural labor camps» but rather «a major migration of people and a rotten mess.»Much of Lange’s correspondence with Stryker during this period concerns the distribution of prints of these photographs. She saw an immediate need for pictures by the agencies endeavoring to help the migrants and received permission to supply prints to the head of the state emergency relief office in the Imperial Valley and to the Resettlement Administration’s regional office. She also wanted to supply photographs to a variety of other organizations and, between 1937 and 1940 the pictures were used in a report to the U.S. Senate, in An American Exodus, for a Works Progress Administration exhibit in San Francisco, and by a number of newspapers and periodicals.Both Stryker and Lange were keen to place a story about migrants in Life magazine, but disagreements about who would edit and submit material to the magazine muddled the process. In December 1936, Stryker found himself in a debate with his boss about whether the agency or the photographer should submit the story, and whether the agency should approve the final text and layout. The same issue also emerges in the correspondence between Lange and Stryker. On 16 February 1937, as she set out for the valley, Lange wrote that she had contacted Life about the story and that she wanted to send them «some of this new Imperial stuff to choose from, if they decide to run the series.» Stryker replied that «LIFE is terribly interested in a migrant lay-out, but we are holding everything up now, awaiting the new migrant stuff you can send us.» Ten days later, Lange asked, «Do you want me to do this story for Life, or shall I send on the material with factual captions, place, date, etc. — for assemblage elsewhere.»In the end Lange herself compiled the story, informing Stryker that she would limit the pictures to ones made in California and explaining that this would make «a more pointed story» than a series of pictures from across the nation. Lange submitted twenty-five pictures on the theme of human erosion, but Stryker had separately sent Life the set of pictures from the Senate report, instructing them not to use any photographs until the report had been published.Only one of Lange’s photographs of migrants ultimately appeared in Life. At the end of a six-page spread on the Dust Bowl in the issue dated 21 June 1937, following an optimistic look at new farming practices designed to reduce erosion, the magazine displayed a striking full-page close-up of the man with the defiant glance, cropped from the center of the four-by-five-inch negative. Lange was not credited, although the agency was. Life did not present the unidentified man as a victim of human erosion but called him a «new pioneer» seeking a new life in California. According to Life, his «courageous philosophy» led him to say, «I heerd about this here irrigation. . . . I figured that in a place where some people can make a good livin’ I can make me a livin’.»In a 1964 interview conducted by Richard Doud, Lange discounted the contemporary impact of the Resettlement Administration and Farm Security Administration photographs, forgetting for a moment the fact that her own pictures had influenced public opinion and government policy. Life’s use of her Imperial Valley photograph may have contributed to her bleak assessment that «during the years [the section] was being formed, it was not a [public relations] success.» Recalling Stryker’s encounters with major magazines, she asked, «Did Roy ever tell you of the many, many trips he made to New York, with pictures under his arm, trying to peddle them to periodicals and to publications, and didn’t make it . . . ? That’s a little bit humiliating, and embarrassing to him.»The picture magazines were reluctant to use the Resettlement Administration and Farm Security Administration photographs, Lange speculated, because of the media’s emphasis on current events. The photographs «got mixed up with news,» Lange told Doud, adding, «This was a state and a condition we were describing, and had no appeal.» But she concluded that the judgment of history has established the importance of the photographs. «But time of course is a very great editor, and a great publicist,» Lange said. «Time has given those things the value.» 100% Guaranteed to be as described. Ask all questions beforehand. Please contact us before purchasing if you have any questions. All Sales are Final. All sales are final. There are no exchanges or returns.Once payment has been cleared, merchandise will ship within 4-10 days. We try to ship in a timely fashion but sometimes we are away and it is impossible to ship immediately. We ask for your patience and assure you we are acting as quickly as we can.All payments are due at the time of purchase. Payments can be made credit cards Visa and Mastercard (no ultra-high rewards cards allowed) through our own merchant account. Paypal not acceptedAll lots are sold “as is”All lots are accompanied by a name and/or description and lot number for referenceUnless the prospective buyer has a resale tax certificate, all Pennsylvania residents are required to pay 6% sales tax, which will be included in the final amount, to the State of PennsylvaniaShipping, handling and insurance determined after sale according to final destination. An approximation can be provided beforehand if requested. An email will be sent to your registered ebay email with actual S/H/I charges after the end of the auction. The shipping charges displayed on ebay are meant to be an approximation and do not reflect true costs. 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Prospective buyers are responsible for asking any and all questions about the merchandise, and to view all photos carefully, before purchasing. Live preview of any merchandise is available before purchase simply by asking. We at EastCoastArt.com are diligent in trying to convey all aspects of our merchandise, but it is ultimately the responsibility of the prospective buyer to satisfy themselves as to conditions and authorship of merchandise. All merchandise is sold “As Is”. EastCoastArt warrants the authorship for a period of 15 days from the date of shipment only to the original purchaser of record. If it is determined to EastCoastArt’s satisfaction that the description was incorrect, the sale will be rescinded and the purchase price will be refunded providing the merchandise is returned in same condition and in the same packaging that it was at the time of the sale, at the expense of the buyer. Should a dispute arise over the authenticity, it is our policy to have the purchaser obtain at their expense, an opinion (or two, in some cases and at our discretion) of recognized experts in the field, mutually acceptable by both EastCoastArt.com and the purchaser. We try to depict the merchandise and artwork as accurately as possible with photographs. We do not overly enhance the photos. However, every computer and monitor is different, and how we see the merchandise might differ from what you see. Please bear this in mind when viewing. We can not accept returns based on color variation, shading, toning, etc. Please contact us to arrange an in-person preview before purchasing if there is any doubt as to what you are seeing. Contact before purchasing for any questions you have. All sales are final. By placing a bid on our items on ebay you accept our terms of sale.Unless otherwise specified, frames are considered a throw-in and are not guaranteed in any fashion. Sizes listed in the descriptions are a very close approximation, ie., if the painting is 12.2” x 14.2” we would describe such as a 12” x 14”.
1962 – 73 Original PHILIP HYDE Baja California Beach Landscape Silver Photograph
Scarcity: In most cases Hyde made only 2 or 4 prints of a given image and on rare occasions would print 8 prints from a specific negative but, never more. Hyde made his first landscape photograph in 1942 and trained directly under Ansel Adams, Minor White, Imogen Cunningham, Dorothea Lange and other renowned photographers at the California School of Fine Arts which is now the San Francisco Art Institute.
1955 Original PHILIP HYDE Olympic Ocean Strip Beach Starfish Silver Photograph
1955 Olympic Ocean Strip Beach Starfish Original PHILIP HYDE Silver Gelatin Photograph FINEPHOTO: «Since 1989 – The Name You Can Trust For Fine Original Vintage Photographs, Photogravures & Antique Prints.» – Serving the Design & Decor trades for over 20 years. See our vintage and original prints featured in Coastal Living, Dwell Magazine and other fine quality publications. *WE LIST DOZENS OF NEW ARRIVALS EVERY DAY! We sell only authentic original and vintage items – never a copy or modern reprint. Please Visit Our eBay Store where you can search our World Class Selection of authentic vintage prints by photographer, subject or process. Browse THOUSANDS of fine vintage photography prints from silver gelatin to photogravure. **The «Fine Photo Galleries» does not appear on the actual print…it is on our listing scans to deter online image theft. Print Specifications: Photographer: Philip Jean Hyde (American, 1921–2006) – Pioneer landscape photographer and conservationist. Hyde’s photographs of the American West were used in more environmental campaigns than those of any other photographer. Later in his career Hyde, along with Eliot Porter, became the leading pioneers in advancing color landscape photography as an art form. Hyde made his first landscape photograph in 1942 and trained directly under Ansel Adams, Minor White, Imogen Cunningham, Dorothea Lange and other renowned photographers at the California School of Fine Arts which is now the San Francisco Art Institute. He was the only full time professional landscape photographer who learned his craft directly from these historic artists and became a master darkroom printer in his own right.Scarcity: In most cases Hyde made only 2 or 4 prints of a given image and on rare occasions would print 8 prints from a specific negative but, never more. These extremely low print numbers (Ansel Adams routinely printed hundreds of prints from a negative) have resulted in Hyde’s vintage silver gelatin prints being extremely rare and mostly unavailable (long ago snapped up by savvy collectors). A small number of Hyde’s vintage silver gelatin prints were offered by a handful of prestigious photography galleries (Weston Gallery, Scott Nichols Gallery, etc.) some years back and sold in the $1,800.00 – $4,500.00 range depending on the image, date and other variables (information from the Philip Hyde website). Our thanks to Philip Hyde’s son David Leland Hyde (an accomplished landscape photographer himself and preservationist of his father’s work) for some of the insights and information contained in this listing. Subject: Starfish on Rialto Beach, Olympic Ocean Strip, Olympic National Park, Washington.Type Of Print: Original vintage silver gelatin photograph – scarce. Ink Stamped/Marked: Yes – photographer’s ink stamps and notations on verso.Provenance: Print acquired directly from Philip Hyde in 2002 via Al Weber and Russell Levin. Date Of Negative: Circa 1955 Date Of Print: Circa 1955 Paper: Double weight fiber based photographic paper – semi-gloss finish. Image Dimensions: 8 x 10 inches Overall Dimensions: 8 x 10 inches Condition Grade: Very Fine – original photograph, (please look at scans closely) – may have common photographic paper curl at edges. Verso: Blank – photographer’s ink stamps on verso. Certificate Of Authenticity (COA): Yes – Gallery Certified COA from Fine Photo Galleries.Hologram Protected: Yes – tamper proof hologram COA certification. Shipping: USPS with MUSEUM QUALITY ARCHIVAL PACKING Guarantee: Always 100% Complete Customer Satisfaction Guaranteed! FINE PHOTO GALLERIES is pleased to offer this original vintage silver gelatin photograph by the American landscape and nature photographer Philip Hyde. Please visit our eBay Gallery and click on «Philip Hyde» for more of the highly collectible original work of this prolific photographer of the natural landscape. We list beautiful original vintage photographs and photogravures everyday! For more Historic Photographic Collections Please Visit Our eBay Store where you can search our World Class Selection of authentic vintage prints by photographer, subject or process. HOLOGRAM CERTIFIED: Each vintage artwork comes with a fully authenticated gallery certified Certificate Of Authenticity. This COA contains a unique serial number and small corresponding tamper proof hologram with matching serial number affixed to the backside of the print with archival adhesive. Our exclusive authentication system and the ensuing COA/Hologram not only provides our clients with essential peace of mind but, adds value to the print in the future by providing provenance and the original gallery authenticity guarantee documents. Archive C-01 ***WARNING: The above listing description is COPYRIGHT protected material under United States & International Copyright & Intellectual Property laws. Unauthorized copying or use of ANY PART of this description is prohibited. We vigorously pursue copyright infringement. The entire text of this listing description is Copyright protected – © by K.W. Wright. inkfrog terapeak
1962 Original PHILIP HYDE California Point Reyes Landscape Silver Gelatin Photo
1962 Original PHILIP HYDE California Point Reyes Landscape Silver Gelatin Photo FINEPHOTO: «Since 1989 – The Name You Can Trust For Fine Original Vintage Photographs, Photogravures & Antique Prints.» – Serving the Design & Decor trades for over 20 years. See our vintage and original prints featured in Coastal Living, Dwell Magazine and other fine quality publications. *WE LIST DOZENS OF NEW ARRIVALS EVERY DAY! We sell only authentic original and vintage items – never a copy or modern reprint. Please Visit Our eBay Store where you can search our World Class Selection of authentic vintage prints by photographer, subject or process. Browse THOUSANDS of fine vintage photography prints from silver gelatin to photogravure. **The «Fine Photo Galleries» does not appear on the actual print…it is on our listing scans to deter online image theft. Print Specifications: Photographer: Philip Jean Hyde (American, 1921–2006) – Pioneer landscape photographer and conservationist. Hyde’s photographs of the American West were used in more environmental campaigns than those of any other photographer. Later in his career Hyde, along with Eliot Porter, became the leading pioneers in advancing color landscape photography as an art form. Hyde made his first landscape photograph in 1942 and trained directly under Ansel Adams, Minor White, Imogen Cunningham, Dorothea Lange and other renowned photographers at the California School of Fine Arts which is now the San Francisco Art Institute. He was the only full time professional landscape photographer who learned his craft directly from these historic artists and became a master darkroom printer in his own right.Scarcity: In most cases Hyde made only 2 or 4 prints of a given image and on rare occasions would print 8 prints from a specific negative but, never more. These extremely low print numbers (Ansel Adams routinely printed hundreds of prints from a negative) have resulted in Hyde’s vintage silver gelatin prints being extremely rare and mostly unavailable (long ago snapped up by savvy collectors). A small number of Hyde’s vintage silver gelatin prints were offered by a handful of prestigious photography galleries (Weston Gallery, Scott Nichols Gallery, etc.) some years back and sold in the $1,800.00 – $4,500.00 range depending on the image, date and other variables (information from the Philip Hyde website). Our thanks to Philip Hyde’s son David Leland Hyde (an accomplished landscape photographer himself and preservationist of his father’s work) for some of the insights and information contained in this listing. Subject: Landscape, Seascape – Point Reyes National Seashore, California.Type Of Print: Original vintage silver gelatin photograph – scarce. Ink Stamped/Marked: Yes – photographer’s ink stamps and notations on verso.Provenance: Print acquired directly from Philip Hyde in 2002 via Al Weber and Russell Levin. Date Of Negative: Circa 1962 Date Of Print: Circa 1962 Paper: Double weight fiber based photographic paper – semi-gloss finish. Image Dimensions: 8 x 10 inches Overall Dimensions: 8 x 10 inches Condition Grade: Very Fine – original photograph, (please look at scans closely) – may have common photographic paper curl at edges. Verso: Blank – photographer’s ink stamps on verso. Certificate Of Authenticity (COA): Yes – Gallery Certified COA from Fine Photo Galleries.Hologram Protected: Yes – tamper proof hologram COA certification. Shipping: USPS with MUSEUM QUALITY ARCHIVAL PACKING Guarantee: Always 100% Complete Customer Satisfaction Guaranteed! FINE PHOTO GALLERIES is pleased to offer this original vintage silver gelatin photograph by the American landscape and nature photographer Philip Hyde. Please visit our eBay Gallery and click on «Philip Hyde» for more of the highly collectible original work of this prolific photographer of the natural landscape. We list beautiful original vintage photographs and photogravures everyday! For more Historic Photographic Collections Please Visit Our eBay Store where you can search our World Class Selection of authentic vintage prints by photographer, subject or process. HOLOGRAM CERTIFIED: Each vintage artwork comes with a fully authenticated gallery certified Certificate Of Authenticity. This COA contains a unique serial number and small corresponding tamper proof hologram with matching serial number affixed to the backside of the print with archival adhesive. Our exclusive authentication system and the ensuing COA/Hologram not only provides our clients with essential peace of mind but, adds value to the print in the future by providing provenance and the original gallery authenticity guarantee documents. Archive C-01 ***WARNING: The above listing description is COPYRIGHT protected material under United States & International Copyright & Intellectual Property laws. Unauthorized copying or use of ANY PART of this description is prohibited. We vigorously pursue copyright infringement. The entire text of this listing description is Copyright protected – © by K.W. Wright. inkfrog terapeak
1950s Original PHILIP HYDE California Canyon Rock Abstract Silver Gelatin Photo
Scarcity: In most cases Hyde made only 2 or 4 prints of a given image and on rare occasions would print 8 prints from a specific negative but, never more. Hyde made his first landscape photograph in 1942 and trained directly under Ansel Adams, Minor White, Imogen Cunningham, Dorothea Lange and other renowned photographers at the California School of Fine Arts which is now the San Francisco Art Institute.
DOROTHEA LANGE-NJ Photographer-Hand Signed LIM.ED Gelatin Silver-Roi Partridge
Great looking gelatin silver print by Dorothea Lange depicting a profile portrait of friend and fellow visual artist Roi Partridge. This is a fine example of Lange’s work in good condition for its age and with a fantastic subject.
Dorothea Lange Photo «Migrant Mother» 1936, 8.5×11″
Offering a new Fine Art quality reprint of Dorothea Lange’s photo «Migrant Mother» 1936. This is a high quality reprint, unframed, approximately 7.5×10″ on 8.5×11″ archival paper, suitable for matting, framing and display. Dorothea Lange (1895-1965) was an influential American documentary photographer and photojournalist. She is best known for her Depression Era work for the Farm Services Administration. Her photographs humanized the Great Depression and influenced the development of documentary photography. From the Fine Art Los Angeles American Photo Treasures Collection, a unique group of photos from the National Archives, the Library of Congress and the Farm Services Administration.Your print will not have a watermark and will be shipped safely in a rigid photo mailer for its protection. FREE SHIPPING in the U.S.Enjoy! International buyers, each additional print in your order adds only $1 to postage.
DOROTHEA LANGE Pakistani Girl (1958) Silver Gelatin ex-MoMA Collection
Lange worked with the master printer Irwin Welcher to print the photographs for her retrospective at the Museum of Modern Art in 1966. She died before the exhibition but she hand-picked the photographs for inclusion in the exhibition.
Dorothea Lange (1895-1965) Art Photo Print Card MOMA 2019
Inventory Code: B23.