johan hagemeyer (14 Ergebnisse)

First edition. Softcover. 35 pages. Guide Series Number Eleven. Introduction and biographical note by Roger Myers. Includes numerous small black and white images. A very near fine copy in stapled wrappers. A clean copy.

First edition. 4to., 16 pp., 5 b&w illustrations from photographs, including the cover. Pictorial stiff wrappers, which are slightly toned; near fine. Issued November 1976, as Number 3, in the series, The Archive, from the Center for Creative Photography.

First edition. Softcover. [4 pages.] Exhibition catalog for a show that ran February 6 through March 20, 1983. Features a brief foreword by Robert McDonald and an introduction by Richard Lorenz. Includes 5 black and white images and a checklist. A fine copy in stapled wrappers. Scarce, with only 1 copy listed in OCLC.

Softcover. Zustand: Very Good. First edition. Small quarto. 97, [3] pp. Illustrated from black and white photographs. Pictorial wrappers. Light foxing on the wraps and the page edges, thus very good.

First edition. 4to., 97, [3] pp., portfolio of 45 b&w plates from photographs, other illustrations in text and covers. Pictorial stiff wrappers; near fine. Issued June 1982 as Number 16, in the series, The Archive, from the Center for Creative Photography.

Zustand: Good. 4to. 100 pp. Soft Cover. B&W plates throughout. Very Good, minor shelf wear.Provenance: Collection of Richard Lorenz (1952-2001), author, art conservator, curator and director of the San Francisco Regional Art Conservation Center. As a trustee of The Imogen Cunningham Trust, Mr. Lorenz organized and curated exhibitions of Cunningham's photographs and authored four major books on the photographer.

Zustand: Good. 4to. 34 pp. Soft Cover. Stapled binding. B&W plates throughout. Very Good, minor shelf wear.Provenance: Collection of Richard Lorenz (1952-2001), author, art conservator, curator and director of the San Francisco Regional Art Conservation Center. As a trustee of The Imogen Cunningham Trust, Mr. Lorenz organized and curated exhibitions of Cunningham's photographs and authored four major books on the photographer.

Zustand: Good. 8vo. [6] pp. Stapled pictorial wraps. Five black and white illustrations. Includes Exhibition Checklist. Very Good, minor shelf wear.Provenance: Collection of Richard Lorenz (1952-2001), author, art conservator, curator and director of the San Francisco Regional Art Conservation Center. As a trustee of The Imogen Cunningham Trust, Mr. Lorenz organized and curated exhibitions of Cunningham's photographs and authored four major books on the photographer.Scarce, with only 1 copy in OCLC.

Zustand: Good. 4to. 100 pp. Soft Cover. Black and white illustrations throughout. Very Good, minor shelf wear.Provenance: Collection of Richard Lorenz (1952-2001), author, art conservator, curator and director of the San Francisco Regional Art Conservation Center. As a trustee of The Imogen Cunningham Trust, Mr. Lorenz organized and curated exhibitions of Cunningham's photographs and authored four major books on the photographer.

Zustand: Good. 4to. 100 pp. Soft Cover. Black and white plates throughout. Very Good, minor rubs to covers.Provenance: Collection of Richard Lorenz (1952-2001), author, art conservator, curator and director of the San Francisco Regional Art Conservation Center. As a trustee of The Imogen Cunningham Trust, Mr. Lorenz organized and curated exhibitions of Cunningham's photographs and authored four major books on the photographer.

Zustand: Good. 4to. [6] pp. Stapled pictorial wraps. Black and white illustrations. Includes Artist C.V., selected bibliography. Very Good, minor shelf wear, upper right cover corner lightly bumped.Provenance: Collection of Richard Lorenz (1952-2001), author, art conservator, curator and director of the San Francisco Regional Art Conservation Center. As a trustee of The Imogen Cunningham Trust, Mr. Lorenz organized and curated exhibitions of Cunningham's photographs and authored four major books on the photographer.

Zustand: Good. 4to. [6 pp]. Soft, stapled pictorial wraps. Very good with marginal toning along edges. Black and white photographs. Includes Artist C.V., selected bibliography. Catalog created for exhibit ?Johan Hagemeyer: Photographs 1918-1953? held at the San Francisco Museum of Modern Art from October 1 through November 14, 1982.

Vintage gelatin silver print, bust portrait in profile. Signed and dated in pencil ("Johan Hagemeyer, 1927") on the mount. 1 vols. 22 x 16.5 cm. (8-3/4 x 6-1/2 inches). Magnificent portrait of the great suffragist, reformer, activist, free-thinker, and poet, Sara Bard Field (1882-1974). Field was also the passionate lover of the anarchist C.E.S. Wood, and the couple lived together in a celebrated "free union" first in San Francisco, then in Los Gatos, "where they built a house . that became a gathering place for Bay area writers, artists, and political activists" (American National Biography); and where the famous Bay area photographer Johan Hagemeyer (1884-1962), made this fine, indelible portrait, in the year her first volume of poems appeared, THE PALE WOMAN. According to THE BANCROFT LIBRARY'S on line "Guide to the Johan Hagemeyer Photograph Collection": "In late 1916, just prior to [Hagemeyer's] return to California - and despite having had little photographic experience - Hagemeyer visited Stieglitz's 291 salon in New York City. The two developed an immediate rapport, and the meeting proved to be decisive for Hagemeyer. "We talked," Hagemeyer later recalled, "and he practically, by way of speaking, made me follow photography. I had already gone overboard for it" (OHT 22). "Back in California, Hagemeyer first apprenticed with a Berkeley-based commercial portrait photographer named McCullagh. Soon afterwards he moved south to Pasadena and in early 1918 met Edward Weston, already by then an accomplished photographer based in Tropico (now Glendale). The two took an immediate liking to each other and formed a friendship and working partnership that was of mutual benefit: Weston opened his home and studio to the upstart Hagemeyer, and Hagemeyer introduced the relatively unschooled Weston to new worlds of intellectual and aesthetic learning. The two would have a profound influence on each others' artistic development for years to come. (Arch. [see essays by Lorenz and Schaefer]) "Hagemeyer's talent developed rapidly and by the early 1920s he was exhibiting his work in many important photographic salons and garnering much popular and critical acclaim. After moving to San Francisco at the end of World War One, Hagemeyer soon discovered the intellectual and artistic colony of Carmel-by-the-Sea. In 1923 he established his first studio in Carmel and would remain anchored there for over 20 years. In 1924 he established the town's first art gallery - based out of his studio - where he exhibited the works of local painters, sculptors and photographers and hosted very popular musical performances. Shortly thereafter Hagemeyer opened a second studio in San Francisco, whose clientele could be rivaled by that of Carmel only during the smaller town's summer vacation season. In 1927, he was appointed staff photographer of the artistic/literary magazine The San Franciscan . " Matted. Fine. Docketed on verso of mount in pencil, "#3" Vintage gelatin silver print, bust portrait in profile. Signed and dated in pencil ("Johan Hagemeyer, 1927") on the mount. 1 vols. 22 x 16.5 cm. (8-3/4 x 6-1/2 inches).

Vintage gelatin silver print, bust portrait in profile. Signed in pencil ("Johan Hagemeyer, Carmel") on the mount. 1 vols. 21.5 x 16.5 cm. (8-1/2 x 6-1/2 inches). Charles Erskine Scott Wood (1852-1944) was a writer, poet, soldier, corporate lawyer, associate of Clarence Darrow, and a lover of books. He was a founder of Portland's Public Library and the Portland Art Museum, self-proclaimed anarchist, atheist, regular contributor to radical journals of the day, and the lover of the famous suffragist, author, and activist, Sara Bard Field. As Wood's wife would not grant him a divorce, he and Field settled in San Francisco, and later in Los Gatos, where their home was a creative center for writers, artists and political activists in the Bay area. According to THE BANCROFT LIBRARY'S on line "Guide to the Johan Hagemeyer Photograph Collection": "In late 1916, just prior to [Hagemeyer's] return to California - and despite having had little photographic experience - Hagemeyer visited Stieglitz's 291 salon in New York City. The two developed an immediate rapport, and the meeting proved to be decisive for Hagemeyer. "We talked," Hagemeyer later recalled, "and he practically, by way of speaking, made me follow photography. I had already gone overboard for it" (OHT 22). "Back in California, Hagemeyer first apprenticed with a Berkeley-based commercial portrait photographer named McCullagh. Soon afterwards he moved south to Pasadena and in early 1918 met Edward Weston, already by then an accomplished photographer based in Tropico (now Glendale). The two took an immediate liking to each other and formed a friendship and working partnership that was of mutual benefit: Weston opened his home and studio to the upstart Hagemeyer, and Hagemeyer introduced the relatively unschooled Weston to new worlds of intellectual and aesthetic learning. The two would have a profound influence on each others' artistic development for years to come. (Arch. [see essays by Lorenz and Schaefer]) "Hagemeyer's talent developed rapidly and by the early 1920s he was exhibiting his work in many important photographic salons and garnering much popular and critical acclaim. After moving to San Francisco at the end of World War One, Hagemeyer soon discovered the intellectual and artistic colony of Carmel-by-the-Sea. In 1923 he established his first studio in Carmel and would remain anchored there for over 20 years. In 1924 he established the town's first art gallery - based out of his studio - where he exhibited the works of local painters, sculptors and photographers and hosted very popular musical performances. Shortly thereafter Hagemeyer opened a second studio in San Francisco, whose clientele could be rivaled by that of Carmel only during the smaller town's summer vacation season. In 1927, he was appointed staff photographer of the artistic/literary magazine The San Franciscan . " Matted, with photographer's stamp on verso of mount Vintage gelatin silver print, bust portrait in profile. Signed in pencil ("Johan Hagemeyer, Carmel") on the mount. 1 vols. 21.5 x 16.5 cm. (8-1/2 x 6-1/2 inches).