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Item Tag: Gelatin-Silver Print

Antique Washington DC Cherry Blossoms

This product is an antique photograph featuring cherry blossoms in Washington D.C., framed in a landscape orientation. Measuring 8 x 10 inches, the color image was captured on paper using a gelatin-silver print technique during the time period of 1925-1949. The photograph showcases the beauty of nature and famous places in the city, with a unique hand-tinted style that adds to its charm. Perfect for art collectors interested in nature and American culture, this original piece from the United States captures a moment in history.

Martin Roberts Framed Signed Photo «The Bread Store»

The Martin Roberts framed signed photo «The Bread Store» is a unique and collectible piece of artwork from the 1990s. This portrait-oriented photograph features a gelatin-silver print on paper with a matte finish, measuring 19.5×23.5 inches. The image captures a nostalgic scene from a bread store, adding a touch of charm to any art collection. The signed photo adds value to the piece, making it a special addition for art enthusiasts. The artist is still alive and retails them for over $1,200.

Arnold Newman Gelatin Silver Photo Joseph Hirshhorn w/ Model of Hirshhorn Museum

Photographer Arnold Newman Gelatin Silver Photograph of Joseph Hirshhorn w/ Model of famous cylindrical Hirshhorn Museum Washington, DC. The man in the background is Al Lerner, the first director of the museum.  Gelatin Silver Mint Condition 8” x 10” B/W Photograph by Arnold Newman 5773-3 9-9A Arnold Abner Newman (March 3, 1918 – June 6, 2006) was an American photographer, noted for his «environmental portraits» of artists and politicians. He was also known for his carefully composed abstract still life images. Arnold Newman Born Arnold Abner Newman March 3, 1918 New York, New York, United States Died June 6, 2006 (aged 88) New York, New York, United States Nationality American Known for Portrait Photography News Photography Photography Teacher Notable work Fortune Life Newsweek Movement Environmental Portraiture (founder/coined phrase) Awards Infinity Award (1999) Lucie Award (2004) Early life and career Success as a photographer Newman found his vision in the empathy he felt for artists and their work. Although he photographed many personalities—Marlene Dietrich, John F. Kennedy, Harry S. Truman, Piet Mondrian, Pablo Picasso, Arthur Miller, Marilyn Monroe, Ronald Reagan, Mickey Mantle, and Audrey Hepburn—he maintained that even if the subject is not known, or is already forgotten, the photograph itself must still excite and interest the viewer. Newman is often credited with being the photographer who articulated and who consistently employed the genre of environmental portraiture, in which the photographer uses a carefully framed and lit setting, and its contents, to symbolise the individual's life and work; a well known example being his portrait of Igor Stravinsky in which the lid of his grand piano forms a gargantuan musical note representative of the melodic structure of the composer's work. Newman normally captured his subjects in their most familiar surroundings with representative visual elements showing their professions and personalities. A musician for instance might be photographed in their recording studio or on stage, a Senator or other politician in their office or a representative building. Using a large-format camera and tripod, he worked to record every detail of a scene. Igor Stravinsky by Newman photographed at the Louisiana Art Museum, Humlebaek, Denmark «I didn't just want to make a photograph with some things in the background,» Newman told American Photo magazine in an interview. «The surroundings had to add to the composition and the understanding of the person. No matter who the subject was, it had to be an interesting photograph. Just to simply do a portrait of a famous person doesn't mean a thing.» Newman's best-known images were in black and white, although he often photographed in color. His 1946 black and white portrait of Stravinsky seated at a grand piano became his signature image, even though it was rejected by Harper's Bazaar, the magazine that gave the assignment to Newman. He was one of the few photographers allowed to make a portrait of the famously camera-shy Henri Cartier-Bresson. Among Newman's best-known color images is an eerie portrait from 1963 that shows former Nazi industrialist and minister of armament Alfried Krupp in one of Krupp's factories. Newman admits his personal feelings influenced his portrayal of Krupp. Newman taught photography at Cooper Union for many years. On December 19, 2005, Newman made his last formal portrait of director James (Jimmy) Burrows at the NBC studio on the Saturday Night Live stage. This session was particularly special for Newman because he had photographed Jimmy's father Abe Burrows several times. He was recovering from a stroke when he died at Mt. Sinai Medical Center, New York on June 6, 2006. Joseph Herman Hirshhorn (August 11, 1899 – August 31, 1981) was an entrepreneur, financier, and art collector. Joseph Herman Hirshhorn Born August 11, 1899 Mitau, Latvia Died August 31, 1981 (aged 82) Occupation Entrepreneur, Financier, Art collector Biography Born in Mitau, Latvia, the twelfth of thirteen children, Hirshhorn emigrated to the United States with his widowed mother at the age of six. Hirshhorn went to work as an office boy on Wall Street at age 14. Three years later, in 1916, he became a stockbroker and earned $168,000 that year. A shrewd investor, he sold off his Wall Street investments two months before the collapse of 1929, realizing $4 million in cash. Hirshhorn made his fortune in the mining and oil business. In the 1930s, he focused much of his attention on gold and uranium mining prospects in Canada, establishing an office in Toronto in 1933. In the 1950s, he and geologist Franc Joubin were primarily responsible for the «Big Z» uranium discovery in northeastern Ontario and the subsequent founding of the city of Elliot Lake. Hirshhorn Avenue, a residential street in that city, is named after him. By 1960, when he sold the last of his uranium stock, he had made over $100 million in cash from the uranium business. From 1961 to 1976, Hirshhorn lived in a three-story Norman chateau in a 22-acre (89,000 m2) estate at the summit of Round Hill, a 550-foot (170 m) rise in north-central Greenwich, Connecticut, with a view of the Manhattan skyline. Art collecting When Hirshhorn began to make money, he began to buy art, both paintings and sculpture. He amassed a collection of paintings and sculptures from the 19th and 20th centuries. Applying himself seriously to the study of art, he would question dealers, critics, and curators, and visit artists in their studios. He made quick decisions on buying a piece. «If you've got to look at a picture a dozen times before you make up your mind», he once said, «there's something wrong with you or the picture». Hirshhorn graced his Greenwich mansion with paintings by Willem de Kooning, Raphael Soyer, Jackson Pollock, Larry Rivers, and Thomas Eakins, and the grounds outside with sculptures by Auguste Rodin, Pablo Picasso, Henri Matisse, Alberto Giacometti, Alexander Calder, Richard Bernstein (artist), and Henry Moore. He allowed many nonprofit groups to use tours of his sculpture garden for fundraising. In 1966 Hirshhorn donated much of his collection, consisting of 6,000 paintings and sculptures from the 19th and 20h centuries (and constituting one of the world's largest private art treasures), to the United States government, along with a $2 million endowment. The Smithsonian Institution established the Joseph H. Hirshhorn Museum and Sculpture Garden in Washington, D.C., in 1966 to hold the collection; the museum opened in 1974. At Hirshhorn's death in 1981, he willed an additional 6,000 works and a $5 million endowment to the museum. The Hirshhorn Museum and Sculpture Garden is an art museum beside the National Mall, in Washington, D.C., the United States. The museum was initially endowed during the 1960s with the permanent art collection of Joseph H. Hirshhorn. It was designed by architect Gordon Bunshaft and is part of the Smithsonian Institution. It was conceived as the United States' museum of contemporary and modern art and currently focuses its collection-building and exhibition-planning mainly on the post–World War II period, with particular emphasis on art made during the last 50 years. Hirshhorn Museum and Sculpture Garden Established 1974 Location Washington, D.C., on the National Mall Type Art museum Director Melissa Chiu Hirshhorn Museum Sculpture Garden The Hirshhorn is sited halfway between the Washington Monument and the US Capitol, anchoring the southernmost end of the so-called L'Enfant axis (perpendicular to the Mall's green carpet). The National Archives/National Gallery of Art Sculpture Garden across the Mall, and the National Portrait Gallery/Smithsonian American Art building several blocks to the north, also mark this pivotal axis, a key element of both the 1791 city plan by Pierre L'Enfant and the 1901 MacMillan Plan. The building itself is an attraction, an open cylinder elevated on four massive «legs,» with a large fountain occupying the central courtyard. The Hirshhorn Museum and Sculpture Garden is an art museum beside the National Mall, in Washington, D.C., the United States. The museum was initially endowed during the 1960s with the permanent art collection of Joseph H. Hirshhorn. It was designed by architect Gordon Bunshaft and is part of the Smithsonian Institution. It was conceived as the United States' museum of contemporary and modern art and currently focuses its collection-building and exhibition-planning mainly on the post–World War II period, with particular emphasis on art made during the last 50 years. Hirshhorn Museum and Sculpture Garden Established 1974 Location Washington, D.C., on the National Mall Type Art museum The Hirshhorn is sited halfway between the Washington Monument and the US Capitol, anchoring the southernmost end of the so-called L'Enfant axis (perpendicular to the Mall's green carpet). The National Archives/National Gallery of Art Sculpture Garden across the Mall, and the National Portrait Gallery/Smithsonian American Art building several blocks to the north, also mark this pivotal axis, a key element of both the 1791 city plan by Pierre L'Enfant and the 1901 MacMillan Plan. The building itself is an attraction, an open cylinder elevated on four massive «legs,» with a large fountain occupying the central courtyard.

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