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  Andre Kertesz, Paris, Gelatin silver print 1927

  ANDRÈ KÈRTESZ  (1894-1985)  Hungary

  Paris    1927

  Silver gelatin print

  Signed: Paris 1927, A.Kertesz, Page 150 (in pencil on back); ANDRÈ KÈRTESZ (stamped on back).

  Framed size: H: 16 5/8” x W: 17 13/16”

  Throughout most of his career, Kertész was depicted as the “unknown soldier” who worked behind the scenes of photography, yet was rarely cited for his work, even into his death in the 1980s. His work itself is often described as predominantly utilizing light and even Kertész himself said that “I write with light”. He was never considered to “comment” on his subjects, but rather capture them – this is often cited as why his work is often overlooked; he stuck to no political agenda and offered no deeper thought to his photographs other than the simplicity of life. With his art’s intimate feeling and nostalgic tone, Kertész’s images alluded to a sense of timelessness that was inevitably only recognized after his death. Unlike other photographers, Kertész’s work gave an insight into his life, showing a chronological order of where he spent his time; for example, many of his French photographs were from cafés where he spent the majority of his time waiting for artistic inspiration. Although Kertész rarely received bad reviews, it was the lack of them that lead to the photographer feeling distant from recognition. Now however, he is often considered to be the father of photojournalism. Even other photographs cite Kertész and his photographs as being inspirational; Henri Cartier-Bresson once said of him in the early 1930s, “We all owe him a great deal”.

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  Carlotta Corpron, Light Cubes, Gelatin silver print c. 1947

  CARLOTTA CORPRON (1901-1988) USA

  Light Cubes c. 1947

  Silver gelatin print, patinated steel frame

  Signed: Carlotta M. Corpron, Denton, Texas, RM6 #1081.47 (stamped on back)

  Framed size: H: 13 ¾” x W: 16 ¾”

  Price: $40,000

  Corpron became a teacher at Texas Woman’s University in 1935 and in 1942 she led a light workshop at Texas Woman’s University for photographer Laszlo Moholy-Nagy. Although he praised her rapport with her students, Moholy-Nagy did not encourage Corpron’s independent photography. More influential on her work was the arrival of Gyorgy Kepes, who came to Denton to write a book in 1944. His interest in Corpron’s work prompted her to produce several series of photographs that were the most original of her career. At his suggestion Corpron experimented by placing white paper cut in simple shapes within a perforated box that was open at one end. When flashlights were shined through the holes onto the paper shapes, interesting patterns of light and shadow were reflected. The resulting abstract photographs comprised Corpron’s “Light Patterns” series.

  In her “Light Follows Form” series she extended her exploration of the modeling properties of light to three-dimensional form. In this series, she used light filtered through Venetian blinds or glass to dramatize a plaster cast of a Greek head. She also experimented with solarization, a process in which already exposed negatives are exposed. Works such as Solarized Calla Lilies (1948) convey a surreal elegance, but Corpron favored more original methods of expression. She regarded her “Space Compositions” and “Fluid Light Designs” series as her best work. In the former she used still-lifes composed of eggs, nautilus shells, or glass paperweights, usually combined with a curving reflective surface, to produce an illusion of receding three-dimensional space. She emphasized distortions of form that occurred in her egg photographs by experimentation during the development process. Her work is included in the collections of the Museum of Modern Art in New York City, the Art Institute of Chicago, the New Orleans Museum of Art, the Dallas Museum of Art, and the Amon Carter Museum in Fort Worth.

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  Thomas F. Barrow, Ready Made, Gelatin silver print photogram with applied spray paint, 1978

  THOMAS F. BARROW (b. 1938) Kansas City, MO

  Ready Made Photogram 1978

  Gelatin silver print photogram with applied spray paint

  Signed: Ready Made – 1978 – Thomas F. Barrow (in ink on back)

  Exhibited: J.J. Brookings & Co. (San Jose, CA): Thomas F. Barrow: Inventories and Transformations, A Twenty Year Retrospective, Nov. 6 – Dec. 16, 1986. This exhibit occurred simultaneously with the following two museum shows: the San Francisco Museum of Modern Art (Nov. 6 – Jan 11, 1987) and the Los Angeles County Museum of Art (Feb. 26 – May 10, 1987).
  Related photograph illustrated: Aperture: The New Vision: Forty Years of Photography, no. 87 (New York: Aperture Foundation, Inc., 1987), cover image.

  Framed size: H: 19 5/8” x W: 23 7/16”

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  Werner Mantz, Untitled, Gelatin silver print 1929

  WERNER MANTZ (1901-1983) Germany

  Untitled 1929 (vintage)

  Silver gelatin print, patinated bronze frame

  Signed: W. Mantz 1929 (in pencil on back)

  Framed size: H: 8 ¾” x W: 11”

  Price: $42,500

  Werner Mantz is regarded as one of the most gifted architectural photographers of the twentieth century. His talent in this field we recognized early in his career and he received numerous commissions from a variety of prominent architects, first in Germany and later in the Netherlands. His work in Cologne especially, from the mid-1920s to the early 1930s, forms a definitive statement of the Neue Sachlichkeit movement in architecture.

  Works by Werner Mantz can be found in the collections of the Metropolitan Museum of Art in New York, The Museum of Modern Art in New York, The Art Institute of Chicago, Tate London and many more.