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  Werner Rohde, Self-portrait, Silver gelatin print 1926

  WERNER ROHDE (1906-1990) Germany

  Self-portrait 1926

  Silver gelatin print, ebonized wood frame

  Signed: Werner Rohde 1926 (pencil signature and date on back on photo); inv. 3RMG 1081.27

  Photo: H: 6 13/16” x W: 4 15/16”
  Framed: H: 16 5/16” x W: 14 3/8”

  Price: $38,000

  Werner Rohde’s visual play with the animate and inanimate draws him close to the aesthetics of the surrealists while maintaining a strong alignment with Germany’s new-vision avant-garde. Rohde experimented widely with double exposures, photomontage, perspective and dramatic lighting that reflected his interest in filmic effects. The son of a glass painter (a medium he would turn to later in life), Rohde took up photography during his studies at the Arts and Craft School in Halle. Like Kesting, Willy Zielke and Kretschmer, he participated in the 1929 ‘Film und foto’ exhibition in Stuttgart that remains one of the historical focal points for Germany’s new photographic vision. Despite this early recognition of his work, Rohde fell into obscurity after the war until the rediscovery of his photographs in the mid 1970s.

  Rohde’s fascination with the play between life and lifeless, animate and inanimate, has strong reverberations with surrealism. Masks, mannequins and paper models were used in his photographs to illuminate the uncanny. They were also employed in his self-portraiture in which he mimicked his idol Charlie Chaplin. These techniques of visual illusion provided a mnemonic tool for the images of his wife in which she is posed and photographed to resemble a doll or mannequin. In the act of art imitating life, ‘Wachspuppenkopf’ is uncanny in its mimicry of the human form with realistic teeth, eyes, skin and even the unusual detail of small wrinkles under the eyes. The downward angle, lighting and odd doubling of the neckline utilizes standard surrealist methods to infer life and movement.

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  Grant Mudford, Long Beach, Gelatin Silver Print 1979

  GRANT MUDFORD (1944- ) Australia

  Long Beach   1979

  Gelatin silver print

  Signed: Long Beach 1979, LB-24/2 (in pencil on back); Grant Mudford 1980 (script in ink)

  Framed size: H: 28 ¼” x W: 32 7/16”

  Price: $29,000

  “Since he moved to Los Angeles from Australia in the late 1970s, Grant Mudford has composed photographs that crisply examine the streamlined geometries of West Coast architecture and landscape. Mudford has zeroed in on the abstract formal relationships lurking within the designs of gas stations, strip malls and apartment buildings. The geometrical arrangements highlighted in his photographs of the masterful modernist structures of Rudolf Schindler and Craig Ellwood have disclosed a link between their midcentury architecture and the contemporaneous hard-edge abstractions of L.A. painters John McLaughlin and Lorser Feitelson.” – Art in America, “Grand Mudford at Rosamund Felsen, September 2003

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  Edward Weston, Elbow, Gelatin Silver Print 1935

  EDWARD WESTON (1886-1958) USA

  Elbow   1935

  Gelatin silver print

  Signed: 12-40. Edward Weston 1935 (pencil below photo)

  Framed H: 17” x W: 14 9/16”

   

  Edward Henry Weston was an American photographer, and co-founder of Group f/64. Most of his work was done using an 8 by 10 inch view camera. Weston was renowned as one of the masters of 20th century photography. His legacy includes several thousand carefully composed, superbly printed photographs that have influenced photographers around the world for 60 years. Photographing natural landscapes and forms such as artichoke, shells, and rocks, using large-format cameras and available light. The subtle use of tones and the sculptural formal design of his works have become the standards by which much later photographic practice has been judged.

  Ansel Adams has written: “Weston is, in the real sense, one of the few creative artists of today. He has recreated the matter-forms and forces of nature; he has made these forms eloquent of the fundamental unity of the world. His work illuminates man’s inner journey toward perfection of the spirit.”

   

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  Werner Rohde, Mask, Gelatin Silver Print c. 1920’s

  WERNER ROHDE (1906-1990) Germany

  Mask   c. 1920s

  Gelatin silver print

  Signed on the back of the photo: Werkbundausstellung “Film und Foto” (typed on label); 9.) 9/ (in ink and red crayon); Kupfer ofun Rourk 60 m R 10.5 x 14.5 cm / ump ubonpposhm bu 6/5 10088 (all in pencil script); fmlg-Rohde Woopswerk (in pencil); Werner Rohde Malen Breuien Oobben 58 (ink script)

  H: 21 7/16” x W: 18 13/16” (framed)

  Price: $17,500

  Werner Rohde’s visual play with the animate and inanimate draws him close to the aesthetics of the surrealists while maintaining a strong alignment with Germany’s new-vision avant-garde. Rohde experimented widely with double exposures, photomontage, perspective and dramatic lighting that reflected his interest in filmic effects. The son of a glass painter (a medium he would turn to later in life), Rohde took up photography during his studies at the Arts and Craft School in Halle. Like Kesting, Willy Zielke and Kretschmer, he participated in the 1929 ‘Film und foto’ exhibition in Stuttgart that remains one of the historical focal points for Germany’s new photographic vision. Despite this early recognition of his work, Rohde fell into obscurity after the war until the rediscovery of his photographs in the mid 1970s. Rohde’s fascination with the play between life and lifeless, animate and inanimate, has strong reverberations with surrealism. Masks, mannequins and paper models were used in his photographs to illuminate the uncanny. They were also employed in his self-portraiture in which he mimicked his idol Charlie Chaplin. These techniques of visual illusion provided a mnemonic tool for the images of his wife in which she is posed and photographed to resemble a doll or mannequin. In the act of art imitating life, ‘Wachspuppenkopf’ is uncanny in its mimicry of the human form with realistic teeth, eyes, skin and even the unusual detail of small wrinkles under the eyes. The downward angle, lighting and odd doubling of the neckline utilizes standard surrealist methods to infer life and movement.