Sentences with phrase «albumen prints»

The exhibition, curated by Jerry Spagnoli, examines the contemporary use of those techniques and includes daguerreotypes by Takashi Arai, Adam Fuss, and Craig Tuffin; Stephen Berkman's albumen prints from wet - collodion negatives; Dan Estabrook's calotypes and salt prints; ambrotypes by Luther Gerlach, Craig Tuffin, and Matthias Olmeta; Vera Lutter's camera obscura photography; Sally Mann's positives; and «photogenic drawings» by France Scully Osterman & Mark Osterman.

The first exhibition to focus exclusively on photographs made in the eastern half of the United States during the 19th century, East of the Mississippi: Nineteenth - Century American Landscape Photography showcases some 175 works — from daguerreotypes and stereographs to albumen prints and cyanotypes — as well as several photographers whose efforts have often gone unheralded.

The exhibition will also look at the progression of portraiture, illustrating the medium's nearly immediate democratization through the use of daguerreotypes, albumen prints, and other early photo processes.

Albumen print from wet plate collodion negative Courtesy the artist and Howard Greenberg Gallery

Featured images: Milly, Tom Butler, Goauche on Albumen Print, 2014 Courtesy Charlie Smith, London Where Is It Now, Marie Navarre Film positive, book page, glass, steel, 1998 Courtesy Lisa Sette Gallery, Phoenix, Arizona Slip 17, Farrah Karapetian, unique photogram, 2014 Courtesy Von Lintel Gallery Alison Rossiter Nepera Chemical Company Carbon Velox, shipped from works November 8, 1897, processed 2014 (# 1), Courtesy Yossi Milo Gallery Broadway, New York City in the Rain, Edward Anthony, Albumen Print Courtesy Metropolitan Museum of Art Church Gate, Sebastao Salgado, Silver Gelatin Print Courtesy Peter Fetterman Gallery Dinka Camp, Sebastian Salgado, Silver Gelatin Print Courtesy Peter Fetterman Gallery Fred W. McDarrah Robert Kennedy in Slum Apartment, May 8, 1967 Vintage gelatin silver Courtesy Steven Kasher Gallery Reclining Odalisque, Roger Fenton, Salt Print, 1858 Courtesy Metropolitan Museum of Art Der Fotograf, Willi Ruge, Silver Gelatin Print, 1931 Courtesy Metropolitan Museum of Art Kahn & Selesnick, The Reluctant Conscript Courtesy Kopeikin Gallery Eugène Pelletan by Nadar, Salted paper print from glass negative, 1855 Courtesy Metropolitan Museum of Art Sandro Miller, Richard Avedon / Ronald Fischer, Beekeeper, Davis, California, May 9 (1981), 2014, Courtesy Catherine Edelman Gallery Album d'Études - Poses, Louis Igout, Albumen Silver Prints from Glass Negatives Courtesy Metropolitan Museum of Art Steamboat Lake, CO7 Matthew Brandt Courtesy M+B Gallery

Eadweard Muybridge The «Heathen Chinee» finding the color, c. 1871 Albumen print on stereograph; printed c. 1871 3 1/8 x 6 1/8 inches

Continent Stereoscopic Company Chinamen going to work in California, 1860s Albumen print on stereograph; printed c. 1870 3 x 5 1/2 inches

Highlights include Alex Soth's portraits of people who visited him at the Park Hyatt Tokyo after finding him on Craigslist and other internet sights (exhibited with Weinstein Gallery); a recently discovered image by Tina Modotti made in 1930 in Berlin (Richard Moore Photographs) and a circa 1867 albumen print The Garrison, Columbia River by Carleton Watkins (Hans P. Kraus Jr..

Anonymous Untitled (Indian nobleman), date unknown 5 1/2 x 4 inches Hand - colored albumen print on cabinet card

© Timothy H. O'Sullivan, A Harvest of Death, Gettysburg, Pennsylvania, July 4, 1863, from Gardner's Photographic Sketch Book of the War, Volume I, albumen print, Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts, museum purchase, Collection Care and Enhancement Fund.

Spanning 155 years, Gun Country brings together more than 40 works, ranging from an albumen print by Timothy H. O'Sullivan taken during the Civil War; photographs documenting pivotal scenes of 1968, including the assassination of Bobby Kennedy; to modern and contemporary works by artists Andy Warhol, Carroll Dunham, and others.

Louis - Auguste Bisson and Auguste - Rosalie Bisson, Gust of Wind on Mount Blanc, albumen print (photograph) from wet collodion negative, ca. 1860.

George Barker, Niagara Falls, 1886, albumen print, The Nelson - Atkins Museum of Art, Kansas City, MO, Gift of Hallmark Cards, Inc., 2005.27.3503

View on Santa Lucía Hill, Santiago de Chile, ca. 1870 — 1890, albumen print, 11 1/8 x 13 3/4 in.

Interior of Palace, Diwan - i Khas or Hall of Private Audience, Red Fort, Delhi Delhi, India, 1860 Albumen print

Aisle on the South Side of the Puthu Mundapum, from the Western Portico Madura, India, 1858 Albumen print

Carte de visite of Frederick Douglass, c. 1879; albumen print mounted on cardboard; 4 x 2 1/2 in.; courtesy Darcy Grimaldo Grigsby.

Julia Margaret Cameron, The red and white roses, 1865 Albumen print, 25.80 x 22.60 cm Collection: National Galleries of Scotland

Albumen print.

Albumen print from wet collodion negative.

White gouache paint on albumen print.

Robert Turnbull Macpherson (1814 - 1872), Panorama of Tivoli and the Falls of the Anio River, before 1858, Albumen print.

Three Scenic Photographs: Joseph Breitenbach (German / American, 1896 - 1984), Konarak (India), 1957, identified on an artist's label affixed to the reverse, gelatin silver print mounted to paperboard, unframed; Mills & Sons, identified in text on the paperboard, albumen print mounted to paperboard, matted, framed; and The Royal Gorge, April 16th, 1883, identified in text on the paperboard, albumen print mounted to paperboard, framed; board sizes to 14 1/4 x 16 3/4 in.

Robert Turnbull Macpherson (1814 - 1872), The Spanish Steps, ca. 1856, Albumen print.

Gelatin silver and albumen print, mounted, image size 15 3/4 x 20 1/2 in.

Gun Country is compiled of more than 40 works ranging from an albumen print by Timothy H. O'Sullivan taken during the Civil War; photographs documenting pivotal scenes of 1968, including the assassination of Bobby Kennedy; to contemporary works by artists Andy Warhol, Carroll Dunham, and others.

Works included: Roy Lichtenstein «Still Life with Picasso», 1973 Screenprint Edition of 90, 30 AP 30 x 22 inches Ellsworth Kelly «Study for «Red Orange Panel»», 1978 Pencil and collage on paper 30 x 27 3/4 inches Robert Smithson «Photomarkers, (Six Stops on a Section)», 1968 Photographs mounted with Plexi glass 24 x 24 inches SR1968 - 001 Constantin Brancusi «Brancusi dans l'atelier, autoportrait», 1915 Vintage gelatin silver print 9 x 6 3/4 inches Constantin Brancusi «Self Portrait», 1922 Vintage gelatin silver print 11 1/4 x 9 inches Andy Warhol «Self Portrait», 1966 Silkscreen ink and synthetic polymer paint on canvas 22 x 22 inches Andy Warhol «Buddhas», 1983 Graphite on paper 31 3/4 x 24 inches Courtesy of the Andy Warhol Foundation WA1983 - 001 Donald Judd «Untitled», 1966 - 7 Galvanized iron painted red (lacquer) 5 x 40 x 8 inches Courtesy Paula Cooper, New York JD1966 - 001 Weegee «The Critic», 1943 Vintage gelatin silver print 11 x 14 inches WE1943 - 001 Weegee «The Flower Seller», 1941 Vintage gelatin silver print 13 3/4 x 10 3/4 inches WE1941 - 001 Weegee «Mayor LaGuardia at 123rd Street Police Station With Officials on Night of Riot», 1947 Vintage gelatin silver print 10 3/4 x 14 inches WE2004 - 014 Weegee «Victory Celebration», 1945 Vintage ferrotyped silver print 11 x 14 inches WE1945 - 001 Weegee «Children's Performance, at the Palace Theater», 1940 Vintage gelatin silver print 10 1/4 x 13 1/4 inches WE2004 - 015 Weegee «Mother and Daughter, Tenement Fire, Harlem» [I cried when I took this picture], 1942 Vintage gelatin silver print 10 1/4 x 13 3/8 inches WE2004 - 012 Carleton Watkins «Mt. Broderick, Nevada Fall, 700 feet, Yosemite 1861», 1861 Albumen print from wet collodion negative 15 3/4 x 20 1/2 inches WAC1861 - 001 vitrine at gallery center - all works by George Ohr

Not exact matches

Albumen silver print, 14 1⁄8 × 8 ″ (36 × 23.5 cm).

Albumen silver print from a glass negative, 14 7⁄16 × 17 13⁄16 ″ (36.6 × 45.3 cm).

Albumen silver print, 7 x 9 in.

They represent a history lesson from 1843 to 1981, with prints of salted paper, albumen silver, platinum, palladium, gelatin silver, three - color carbro, dye transfer and chromogenic.

Gustave Le Gray's albumen silver print «The Great Wave» illustrates an early glitch in the photographic process: the difficulty of showing both sea (or land) and sky to equally dramatic effect, due to varying exposure times.

These thin albumen and bromide prints mounted to heavy paper cards were also the first accurate, reproducible recordings of the likenesses of everyday citizens.

Albumen silver print mounted to paper, image / sheet size 16 5/8 x 18 3/4 in.

Albumen silver prints, More...

C - print, Courtesy Steven Kasher Gallery André - Adolphe - Eugène Disdéri, Prince Lobkowitz, 1858 Albumen silver print from glass negative, Courtesy Metropolitan Museum of Art Massimo Vitali, # 4874 Tropea Shadow, Calabria, 2015 Courtesy the artist and Benrubi Gallery Edward Weston, Two Shells, 1927 Silver Gelatin Print, Courtesy Scott Nichols Gallery Edward Weston, Shells, 1927 Silver Gelatin Print, Courtesy Scott Nichols Gallery Ellen Carey, Pull 01 Unique Polaroid color dye - diffusion transfer print, Courtesy the artist and M+B Gallery Denis Brihat, Pelure d'oignon (onion skin), 2006 Gold - toned gelatin silver print, Courtesy Nailya Alexander Gaprint, Courtesy Steven Kasher Gallery André - Adolphe - Eugène Disdéri, Prince Lobkowitz, 1858 Albumen silver print from glass negative, Courtesy Metropolitan Museum of Art Massimo Vitali, # 4874 Tropea Shadow, Calabria, 2015 Courtesy the artist and Benrubi Gallery Edward Weston, Two Shells, 1927 Silver Gelatin Print, Courtesy Scott Nichols Gallery Edward Weston, Shells, 1927 Silver Gelatin Print, Courtesy Scott Nichols Gallery Ellen Carey, Pull 01 Unique Polaroid color dye - diffusion transfer print, Courtesy the artist and M+B Gallery Denis Brihat, Pelure d'oignon (onion skin), 2006 Gold - toned gelatin silver print, Courtesy Nailya Alexander Gaprint from glass negative, Courtesy Metropolitan Museum of Art Massimo Vitali, # 4874 Tropea Shadow, Calabria, 2015 Courtesy the artist and Benrubi Gallery Edward Weston, Two Shells, 1927 Silver Gelatin Print, Courtesy Scott Nichols Gallery Edward Weston, Shells, 1927 Silver Gelatin Print, Courtesy Scott Nichols Gallery Ellen Carey, Pull 01 Unique Polaroid color dye - diffusion transfer print, Courtesy the artist and M+B Gallery Denis Brihat, Pelure d'oignon (onion skin), 2006 Gold - toned gelatin silver print, Courtesy Nailya Alexander GaPrint, Courtesy Scott Nichols Gallery Edward Weston, Shells, 1927 Silver Gelatin Print, Courtesy Scott Nichols Gallery Ellen Carey, Pull 01 Unique Polaroid color dye - diffusion transfer print, Courtesy the artist and M+B Gallery Denis Brihat, Pelure d'oignon (onion skin), 2006 Gold - toned gelatin silver print, Courtesy Nailya Alexander GaPrint, Courtesy Scott Nichols Gallery Ellen Carey, Pull 01 Unique Polaroid color dye - diffusion transfer print, Courtesy the artist and M+B Gallery Denis Brihat, Pelure d'oignon (onion skin), 2006 Gold - toned gelatin silver print, Courtesy Nailya Alexander Gaprint, Courtesy the artist and M+B Gallery Denis Brihat, Pelure d'oignon (onion skin), 2006 Gold - toned gelatin silver print, Courtesy Nailya Alexander Gaprint, Courtesy Nailya Alexander Gallery

Used to print the whole sequence together onto albumen paper, this internegative served as an intermediary step in the production of Muybridge's 1881 album The Attitudes of Animals in Motion.

Oscar G. Rejlander, Mr. and Miss Constable (detail), 1866, albumen silver print, 16.8 x 22.1 cm; mount: 21.2 x 28.9 cm.

Right: Abraham Lincoln, 1865 Alexander Gardner, Albumen silver print (National Portrait Gallery)

Ihanktonwan Nakota delegates Long Foot and Little Bird, Washington, D.C. / Alexander Gardner (1821 - 1882) / Albumen silver print, 1867 / National Museum of the American Indian, Smithsonian Institution; William T. Sherman Collection of Alexander Gardner Photographs

/ Albumen silver print, 1863 / National Portrait Gallery, Smithsonian Institution; gift of Larry J. West

General Sheridan and His Staff / Alexander Gardner (1821 - 1882) / Albumen silver print, c. 1865 / National Portrait Gallery, Smithsonian Institution

Three Men at Shoshone Falls / Unidentified photographer / Albumen silver print, c. 1877 / National Portrait Gallery, Smithsonian Institution

Abraham Lincoln by Alexander Gardner / Albumen silver print, 1865 / National Portrait Gallery, Smithsonian Institution

Inauguration of Abraham Lincoln / Alexander Gardner (1821 - 1882) / Albumen silver print, March 4, 1861 / Smithsonian's National Museum of American History

John H. Surratt, John Wilkes Booth, and David E. Herold / Unidentified Artist / Printed Broadside with albumen silver prints, 1865 / National Portrait Gallery, Smithsonian Institution

The Patent Office Building in Washington, D.C. later became the Smithsonian American Art Museum and the National Portrait Gallery, Albumen silver print of Patent Office Building by Bierstadt Brothers.

Abraham Lincoln / Alexander Gardner (1821 - 1882) / Copy after: Mathew Brady Studio (active 1844 - 1894) / Publisher: E. & H. T. Anthony & Company (active 1852 - 1901) / Albumen silver print, 1861 / National Portrait Gallery, Smithsonian Institution

Abraham Lincoln / Alexander Gardner (1821 - 1882) / Albumen silver print, 1865 / National Portrait Gallery, Smithsonian Institution

Nearly every photographic process from its origins — daguerreotypes, albumen silver prints, gelatin silver prints, gum bichromates, platinum silver, cyanotypes and even digital archival prints — are in the collection, making it a keen contribution to the history of the medium itself beyond Albany's city limits.