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 ANONYMOUS. (American). Homestead Works of US Steel Munhall, Pennsylvania, Gelatin Silver print, 9 1/4 x 8"
ANONYMOUS. (American) Oil Well Supply company. Dallas TX, Richi Photo.Workmen place pipes in an oil well. Gelatin Silver print, 9 3/4 x 7"
ANONYMOUS. Assassins. Ca 1920 Photo collage. 6 1/8 x 5 1/2" Juges et Assassins.

D'OLIVIER, Louis-Camille. Stereo Card Ca 1855. Stereoscopic card on colored glossy papyrus paper made from a wet-glass plate collodion process negative. 3 3/8 x 6 3/4" Early Erotic Photography p.142 Etude D'Apres Nature: 19th Century Photographs in Relation to Art p.77 PL 140.
DISDERI, A.A. Mosaique - Opera and Dance. Ca 1862. Albumen print, carte de visite, 4 1/8 x 2 1/2" Similar carte de visite in A. A. E Disderi and the Carte De Visitem Portrait Photographn Elizabeth Anne McCauley p.95.
ESCHER, Karoly (1890-1966). Tramway. Ca 1929. Gelatin Silver print. First in HUngarian Photography to produce images that are not sharp and never uses a flash. 6 3/4 x 9" Exhibitions: 1938 - Venice Biennale (Wins Silver Medal). 1965 - Retrospective, National Gallery, Budapest. 1995 - Howard Greenberg Gallery, "The Hungarian Circle".
G.E (Handcolored photo of young woman in kimono) Oct 6 1906, 3 1/2 x 5 1/2"
JAHAN, Pierre. Composition depicting French and Oriental Manuscripts arranged as a still life. 1942. Vintage gelatin silver print, 13 x 17" Signed P. Jahan in the photograph.
Pierre Jahan’s photographic work encompassed the documentary tradition of French photography as well as 1930’s Surrealism. In 1937, he exhibited with Man Ray and Henri Cartier-Bresson. During the war Jahan turned his camera to important documentary work by creating powerful photographs of the removal of statues from Paris by the Germans. In 1949 Jahan and Jean Coctau collaborated on the book La Mort et les Statues to commemorate this desctruction.

KOLLAR, Francois. La Couture Nature. 1930. Signed and dated. Gelatin Silver print, 10 5/8 x 8 5/8" This photograph is reproduced in the book 25 Photos de Francois Kollar 1934.

Ref: 25 Photos de Kollar. 1934 Privately printed.
MAN RAY. La Monde. 1931. From the portfolio "Electricite". Photogravure, 8 x 10 inches
MAN RAY.(iron) 1931. From the portfolio "Electricite". Photogravure, 8 x 10 inches
MAN RAY. Salle de Bain. 1931. From the portfolio "Electricite". Photogravure, 8 x 10 inches
MAN RAY. La Souffle. 1931. From the portfolio "Electricite". Photogravure, 8 x 10 inches
MARTON, Ervin. Lace Glove. Ca 1930. Vintage photogram. Artist and copyright on verso, 7 x 9 1/2"
RENGER-PATSCH, Albert. Untitled 1925-30.Gelatin Silver print,
8 7/8 x 6 3/8". Provenance: Ludwig Museum, Cologne.
SMELOV, Boris. Lyubitel Kislogo (lover of sour things), 1973, Leningrad. Gelatin Silver print, 10 1/2 x 10 1/2". Changing Reality, Recent Soviet Photography p. 39
SMELOV, Boris. Still life with flask and clock, 1973. Leningrad, Gelatin Silver print, 14 1/2 x 9 5/8" Changing Reality, Recent Soviet Photography p. 109
STASTNY, Bohumil. Factory, Prague Ca 1940. Gelatin Silver print, Stamped verso, ca 5 1/4 x 4 6/8" Handcut by Artist, Czech Vintage collection.

VILENSKY, Dimitri. Red Return Home. 1984. 1/4 from Red City Collection.12 x 10 5/8" (b. Leningrad 1964) Photographs in permanent Collections: State Russian Museum. The Museum of St. Petersburg History. Yivo Institute for Jewish Research.Since the winds of perestroika began to blow communism away in 1989, Dmitry Vilensky has been a driving force on St. Petersburg's contemporary photography scene: writing articles, organizing exhibitions and creating haunting images of his beautiful, majestic and decayed hometown.
That energy and vision have earned him an international reputation as one of Russia's leading fine-art photographers. He has since settled and Germany which is where he continues to live and work.

VILENSKY, Dimitri. Lost Overcoat. 1987. 1/2 from Red City Collection. 9 3/4 x 11 5 ( b. Leningrad 1964) Photographs in permanent Collections: State Russian Museum. The Museum of St. Petersburg History. Yivo Institute for Jewish Research. Since the winds of perestroika began to blow communism away in 1989, Dmitry Vilensky has been a driving force on St. Petersburg's contemporary photography scene: writing articles, organizing exhibitions and creating haunting images of his beautiful, majestic and decayed hometown.
That energy and vision have earned him an international reputation as one of Russia's leading fine-art photographers. He has since settled and Germany which is where he continues to live and work.

VILENSKY, Dimitri. Mannequin, 1982. From Red City Collection 1/1. (b. Leningrad 1964) Photographs in permanent Collections: State Russian Museum. The Museum of St. Petersburg History. Yivo Institute for Jewish Research. Since the winds of perestroika began to blow communism away in 1989, Dmitry Vilensky has been a driving force on St. Petersburg's contemporary photography scene: writing articles, organizing exhibitions and creating haunting images of his beautiful, majestic and decayed hometown.
That energy and vision have earned him an international reputation as one of Russia's leading fine-art photographers. He has since settled and Germany which is where he continues to live and work.

ZIMIN, Georgij. Skrijabin in Lukins Tanz, 1923. Vintage Gelatin Silver print on warm-toned matte paper, 8 3/4 x 6 9/16". Exhibited in 1992, Sprung in die Zeit at the Berlinische Galerie Museym fur Moderne Kunst Photographie und Architektur, p. 180/216 PL 13/7. Provenance: Avant-Garde Gallery, Berlin.
ZIMIN, Georgij. Pierrot and Two Dancers, Ca 1920s. Vintage Gelatin Silver print, 9 1/2 x 7 1/4". Zimin received his training at the Stroganov Art School in Moscow and later at Vkhutemas, the bastion of Avant-garde art instruction whose teachers included Kliun, Malevich, and Rodchenko. While a student, Zimin worked on the monumental panneau for the festive days of the Moscow streets. He later worked in theatrical design, and book and exhibitiion design. Zimin is especailly well-known, however, for his work with experimental photograms. Íee: “Fotogramm, Kunsthaus, Zurich March 1990 - May 1990. “The Great Utopia”, The Russian Experiment in Russian and Soviet Avant-Garde, 1915-1932. Guggernheim Museum. Sept. 1992 p 468-471. Provenance: Avant-Garde Gallery, Berlin.

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