Sigismund BlumannEarly 20th Century Photograph -- "Impressions of the High Sierras"1920
1920
About the Item
- Creator:Sigismund Blumann (1872 - 1956, American)
- Creation Year:1920
- Dimensions:Height: 16 in (40.64 cm)Width: 20 in (50.8 cm)Depth: 1 in (2.54 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:some age toning to mat.
- Gallery Location:Soquel, CA
- Reference Number:
Sigismund Blumann
Sigismund Blumann was a prominent tastemaker in Californian photography during the 1920s and 1930s. Based in the San Francisco Bay Area for his entire career, he edited magazines, wrote books, and made creative photographs. Between 1923 and 1932, his pictures were accepted at photographic salons in Amsterdam, Toronto, Rochester, Seattle, and Los Angeles. In 1927, a one-person exhibition of his bromoil prints traveled to camera clubs in Chicago, Akron, Cincinnati, and New York. In addition to bromoil, a process that yields pointillistic images, Blumann utilized such unusual processes as kallitype (Vandyke brown), lithobrome, and pastelograph (the latter two were probably his inventions) to create original photographs using chemical processes he invented.
From 1924–33, Blumann edited Camera Craft, the leading West Coast photographic monthly. Subsequently, he established his periodical, Photo Art Monthly, which he published until 1940. In these two magazines — for over 15 years — Blumann found a large audience of mainstream pictorial photographers. Besides, he wrote five instructional books on photography, providing a substantial amount of technical information for committed picture makers. During the 1920s, Blumann also made accomplished pictorial photographs of his own, concentrating on landscape work. In August 1924, Blumann was appointed editor of San Francisco’s Camera Craft (begun in 1900) and, at 52 years of age, began working in photography full time. He continued most of its regular columns, covering professional photographers, camera clubs, technique, and amateur troubles. Blumann was the magazine’s most prolific author during his nine-year tenure, writing nearly 130 signed articles and, presumably, most of the unsigned ones. The magazine included his monthly editorials, reviews of books and exhibitions, and feature articles on the laws of art, different processes, the difficulty of nude subjects, and pictorialists such as Léonard Misonne and William Mortensen. Blumann paid attention to professional photographers by running profiles on them, covering activities of their national and regional organizations, and addressing specific topics like advertising photography. And he consistently maintained a populist and positive attitude, running monthly competitions and including many of his poems. Blumann edited his last issue of Camera Craft in August 1933, but within a few months had started up his periodical, Photo-Art Monthly. With the help of only one assistant, he ran this magazine for the next seven years, carrying a very heavy load of writing and editing. The most notable changes were more attention to "artistic" photography (as suggested by the title), less coverage of professional photography, and increased anti-modernist attitudes.
In 1937, Blumann opened a gallery in the magazine’s offices, providing an exhibition venue unique in the country, where both group and solo shows of about 100 photographs were presented. Somehow Blumann found the time while he was an editor to write five manuals on photographic technique. Camera Craft published the first one in 1927—his Photographic Workroom Handbook, which went into four editions and sold over 60,000 copies. In the 1930s, he self-published a reworking of this title plus books on enlarging, toning and photographic greeting cards. Claiming that his calling was as a critic, Blumann downplayed his ability as a photographer, yet he achieved modest success as a pictorialist. He enjoyed being outdoors with his camera and turned it primarily on the natural environs of Oakland and California’s state parks and national forests. Reproductions of his work appeared in Camera Craft (both before and during his editorship), Photo-Art Monthly, and the American Annual of Photography 1927. In 1933, he was a charter member of the Photographic Society of America and received fellowship status from the Royal Photographic Society (FRPS). Sigismund Blumann’s last known photographic appearance was in the December 1943 issue of Popular Science, for which he wrote an illustrated article on toning black-and-white prints.
- ShippingRetrieving quote...Ships From: Soquel, CA
- Return PolicyA return for this item may be initiated within 14 days of delivery.
- Mt Lyell Clouds, Yosemite - Black & White California Landscape PhotographBy Charles CramerLocated in Soquel, CAElegant hand signed black & white photo highlighting the sharp contrast between the Yosemite mountain range of Mt. Lyell and the beautiful clouds above by Charles Cramer (American, b...Category
1980s Realist Landscape Photography
MaterialsPhotographic Paper, Silver Gelatin
- "A Dance in the Moonlight" - Landscape Lithobrome PhotographBy Sigismund BlumannLocated in Soquel, CA"A Dance in the Moonlight" a Lithobrome photograph by Sigismund Blumann (American, 1872-1956). Signed "Sigismund Blumann" lower right. The blue color is the artist's own invention using a copper sulphate toning process. Unframed. Titled "A Dance in the Moonlight" on verso. Image size, 13.25"H x 10.5"W. Sigismund Blumann (1872–1956) was a prominent tastemaker in Californian photography during the 1920s and 1930s. Based in the San Francisco Bay Area for his entire career, he edited magazines, wrote books, and made creative photographs. From 1924 to 1933 Blumann edited Camera Craft, the leading West Coast photographic monthly. Subsequently he established his own periodical, Photo Art Monthly, which he published until 1940. In these two magazines — for over fifteen years — Blumann found a large audience of mainstream pictorial photographers. In addition, he wrote five instructional books on photography...Category
1920s Realist Landscape Photography
MaterialsPhotographic Paper, Silver Gelatin
- Adobe Landscape - Black & White Landscape PhotographBy Robert TracyLocated in Soquel, CAAdobe, a black and white silver photographic print by California landscape photographer Robert Tracy (American, 1926-2006). circa 1990. Signed lower right on white board. Image size,...Category
1990s Realist Black and White Photography
MaterialsPhotographic Paper, Silver Gelatin
- Cat in the Shadows - Black and White Photo by Carmel Artist Peter McArthurLocated in Soquel, CABlack and white photo of a cat on a gravel road by Peter McArthur (American, b. 1947). In the top portion of the composition, a cat sits in the shadows of a gravel road. The exposure of the photograph perfectly captures the texture of the gravel, the delicate highlights on the cat, and the deep shadows in the background. Signed "Peter McArthur" in the lower right corner. Presented in a white mat. Image size: 9.25"H x 6.25"W Mat size: 16"H x 13"W Peter McArthur (American, b. 1947) is a long time Carmel Valley resident specializing in Black and white landscape photography. He is also one of very few artists in the country that hand make frames for his work from scratch. McArthur has been photographing in black and white since...Category
1970s Realist Black and White Photography
MaterialsSilver Gelatin, Photographic Paper
- The Palms at the Boardwalk - Santa Cruz Beach Boardwalk Color PhotographBy Deborah EddyLocated in Soquel, CAWonderful color photograph of the roller coaster and palm trees at the Santa Cruz Boardwalk by California artist Deborah Eddy (American, b. 1943)....Category
1980s Realist Color Photography
MaterialsPhotographic Paper, Silver Gelatin
- Sierra Mountain Reflections - Black & White Landscape PhotographBy Robert WerlingLocated in Soquel, CAStunning black & white landscape photograph with trees reflecting in water in the Sierra Nevada mountains by California artist Robert Werling. Signed on mat lower right: "Bob Werling." Presented in a silver metal frame. Image, 15"H x 19"W. Robert Werling was born in San Francisco, California in 1946 and realized an interest in art at an early age. While briefly attending a commercial art school, he found photography to be his medium and went on to obtain both a BA and an honorary MS from the Brooks Institute of Photography in Santa Barbara, CA. He also studied privately under Ansel Adams from 1966 to 1970 and Imogen Cunningham from 1969 to 1975. Through his affiliation with Adams, Werling came to know and work with other noted photographers. Brett Weston became his close friend and mentor and Marion Post Wolcott, relying on his darkroom expertise, entrusted her negatives to his printing genius. While creating an impressive number of his own fine art prints, Werling also lectured extensively and worked as an instructor for the Brooks Institute, the University of California, Santa Barbara, the Zone System Seminars and Workshops in the United States, and for the Werkschule fur Fotografie in Soltau, Germany. Werling has exhibited his photographs in over sixty one-man and group shows in both the United States and Europe. He was guest curator of photography for the Santa Barbara Museum of Art organizing VIVO, the Contemporary Japanese Photography and Brett Weston’s photographs...Category
1990s Realist Landscape Photography
MaterialsPhotographic Paper, Silver Gelatin
- Pyramid & Palms: black & white framed photograph, monument in landscape w/ treesBy Jenny LynnLocated in Bryn Mawr, PA"Pyramid & Palms" is a black & white framed silver gelatin print (photograph) of a stone monument in landscape w/ trees from artist Jenny Lynn's "Little Rit...Category
Early 2000s Realist Black and White Photography
MaterialsSilver Gelatin, Photographic Paper
- Cour 29 Rue Broca, 5ème arrondissement. Atget negative no. 1394By Eugène AtgetLocated in Middletown, NYAlbumen print on thin photographic paper (printed out from glass plate); 8 1/2 x 7 inches (217 x 178 mm). Marked by the photographer in pencil on verso "Courtyard 29 Rue Broca 1394."...Category
Early 20th Century Realist Black and White Photography
MaterialsPhotographic Paper, Silver Gelatin
- Entrée del la Cour 29 Rue Broca, 5ème arrondissement. Atget negative no. 1296By Eugène AtgetLocated in Middletown, NYAlbumen print on thin photographic paper (printed out from glass plate); 7 x 8 5/8 inches (178 x 219 mm). Marked by the photographer in pencil on verso "Entrance to the Courtyard at ...Category
Early 20th Century Realist Black and White Photography
MaterialsPhotographic Paper, Silver Gelatin
- "Au petit temple" / hôtel meublé des Bons Enfants, rue Saint-Médard, 5ème Arr.By Eugène AtgetLocated in Middletown, NYAlbumen print on thin photographic paper (printed out from glass plate); 7 x 8 1/2 inches (178 x 217 mm). Marked by the photographer in pencil on verso "Rue St. Medard 442." Deckled ...Category
Early 20th Century Realist Black and White Photography
MaterialsPhotographic Paper, Silver Gelatin
- "A l'exactitude" boutique de cordonnerie, 93 rue Broca, 5ème arr. Neg. no. 1398By Eugène AtgetLocated in Middletown, NYAlbumen print on thin photographic paper (printed out from glass plate); 8 5/8 x 7 inches (219 x 178 mm). Marked by the photographer in pencil on verso "Vieille maison, 93 Rue Broca ...Category
Early 20th Century Realist Black and White Photography
MaterialsPhotographic Paper, Silver Gelatin
- Une cour de la rue Saint-Médard, 5ème Arrondissement. Atget negative no. 1486By Eugène AtgetLocated in Middletown, NYAlbumen print on thin photographic paper (printed out from glass plate); 7 x 8 1/2 inches (178 x 218 mm). Marked by the photographer in pencil on verso "Une cour del la rue St. Méda...Category
Early 20th Century Realist Black and White Photography
MaterialsPhotographic Paper, Silver Gelatin