(SAN FRANCISCO.) Jackson, William Henry
San Francisco Panoramic View. W. H. Jackson, c. 1888
This is a magnificent, unique view of a vanished San Francisco by William Henry Jackson, a giant of American West photography. This enormous view, extending to six and one-half feet in length, appears to be Jackson’s largest known panoramic albumen photograph. This is the only known example of this important albumen panorama.
BRADY, GARDNER, MORSE, DAGUERRE, RUSSELL, WATKINS &c
An extraordinary collection of 26 photographic portraits of leading photographers. Various processes, 1850s-1890s
This superb collection of photographs of photographers documents the spread of photography from its inventor Daguerre through the art’s earliest practitioners in the United States and ultimately to the great photographers of the Civil War and the American West.
(SAN FRANCISCO.) Muybridge ,Eadweard
Panorama of San Francisco from California St. Hill. San Francisco: Morse’s Gallery, 1877
“One of the supreme conceptual and technical achievements in the history of architectural photography.” – David Harris
This iconic, 7-foot long image of San Francisco is one of the landmarks of 19th-century American photography. “The photographs show the extraordinary extent of a city that had come into existence a mere thirty years before and which would be destroyed by earthquake and subsequent fires thirty years later” (Getty Museum Journal). Seamlessly combining a series of eleven photographs, Muybridge created a 360 degree view of the city, producing what Rebecca Solnit calls “an impossible sight, a vision of the city in all directions, a transformation of a circular space into a linear photograph.”
WEED, CHARLES LEANDER
Magnificent pair of views of Big Tree Grove, near Yosemite. Charles Weed, 1864
Each photograph: $35,000
Collection of Ten Photographs from Mooney’s Pioneering Investigations of the Ghost Dance and Other Native American Circle Dances. Various places, c. 1892-93
The rare and important collection documents the famous Ghost Dance and related circle dances soon after Wounded Knee. The collection testifies to the tragic demise of the Native American spiritual and cultural practices during the tumultuous Ghost Dance period. These photographs were taken by James Mooney (1861-1921), an anthropologist with the Bureau of American Ethnology. He left Washington in late 1890 to investigate the potentially incendiary Ghost Dance movement. Mooney’s rare portrait of Wovoka is one highlight of the collection. Mooney’s Ghost Dance photographs are of the greatest rarity in the market. We can trace no others having appeared for sale.
“Take a good look. We’re not going to see this kind of thing much longer. It already belongs to the past.” – George Bird Grinnell to Edward CurtisCURTIS ,EDWARD S.
Original glass plate photograph, Hopi Woman, prepared by Curtis for the printing of The North American Indian.. This portrait, titled Hopi Woman, was published as a photogravure in The North American Indian, volume 12, plate 411.,
This is a splendid original glass plate made for Curtis’s The North American Indian, the greatest photographic work on Native Americans.
(WATKINS, TABER &c.)
An album of 32 photographs of the Yosemite and American West. Various places, c. 1890s
This beautiful album contains many splendid views of the scenic wonders of Yosemite. Subjects include the many magnificent falls, the Mariposa Grove of sequoias, and the great geological formations. At least two of the views in this collection were taken by Carleton Watkins. Those for which attribution to Watkins has been confirmed are singled out below, but this collection merits further investigation to identify Watkins photographs.
Stumbling Bear, Kiowa Chief. Fort Sill, Indian Territory, c. 1869-74
Photographer Will Soule arrived at Fort Sill in Indian Territory in late 1869 or early 1870. Fort Sill was then a military headquarters and agency for several Indian tribes, including the Kiowa. Before returning to Boston in 1874, Soule made an important series of Native American portraits, including this charismatic image of Chief Stumbling Bear.
JACKSON, WILLIAM HENRY
Great Salt Lake City, Wasatch Mts. Salt Lake City, 1869
William Henry Jackson is the greatest figure on the photography of the American West in the nineteenth century. This image is from his series of photographs made in the summer of 1869 upon the completion of the Union Pacific transcontinental railroad. Jackson’s catalogue of photographs describes this great image:
“Great Salt Lake City, Utah. A view looking south from the bluffs just north of the city, giving a bird’s-eye view and also a view of the Wasatch Mountains in the distance. In the center of the first view are grouped the many fine buildings of President Young. The one with the many gable windows is the ‘Lion House,’ the abode of his numerous wives, while the one just to the left of it is the ‘Bee-Hive’ House, his own private residence. The houses are so called from the emblems placed on them. Plainly visible are also many others of the finest private and public buildings” (Descriptive Catalog of the Photographs of the United States Geological Survey of the Territories (1869).