Fine Art Photography Collector's Resource

A Resource for Collectors of Fine Art Photography, The Landscape Photography Of Philip Hyde And His Colleagues

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Vintage Black And White Prints Now At Select Photography Galleries

October 28th, 2010 · No Comments · Special Announcements

A Selection of Vintage Photography School Era Philip Hyde Original Black and White Prints Now Available At Select Galleries

Ponderosa Pines, Winter, Lake Almanor Near Westwood, Sierra Nevada-Cascade Mountains Transition, California, 1950 by Philip Hyde. Exhibited with members of Group f64.

A group of 4X5 and 5X7 black and white vintage contact prints and 8X10 vintage prints of Yosemite National Park and Point Lobos State Reserve archivally hinge matted on Rising mat board with hand-made paper corners are now at the Weston Gallery. A selection of vintage prints, 4X5, 5X7, 8X10, 11X14 and 16X20 are now at several other select galleries including Lumiere Gallery, Peter Fetterman Gallery, Scott Nichols Gallery and Smith Andersen North. These are Philip Hyde original black and white vintage prints from “Photography’s Golden Era,” 1942-1952, before and during Philip Hyde’s attendance at photography school.

To learn more about the vintage prints produced during the first 10 years of Ansel Adams’ photography department at the California School of Fine Arts, now the San Francisco Art Institute, when Minor White was lead instructor and Group f64 members Imogen Cunningham, Dorothea Lange and Edward Weston were guest lecturers see the blog post, “The Golden Decade: Photography at the California School of Fine Arts, 1945-55.”

Philip Hyde original black and white vintage prints NOW AVAILABLE AT:
LUMIERE GALLERY in Atlanta, Georgia
PETER FETTERMAN GALLERY in Santa Monica, California
SCOTT NICHOLS GALLERY in San Francisco, California
THE WESTON GALLERY in Carmel, California

or call David Leland Hyde 303-562-8198
or write prints[at]philiphyde[dot]com

What Does Vintage Mean? Black and White Vintage Print Pricing.

The black and white prints we refer to here as “vintage prints” are vintage in two ways, as we understand the term’s application to black and white photography. These black and white prints are both made within a year or two of the negative AND more than 40 years old. This double criteria of course applies to any black and white prints Philip Hyde printed before 1970.

Galleries, dealers, collectors and museum curators use the term “vintage prints” in two ways. It can refer to any print regardless of age that was printed within a year or two of the making of the photograph. A wider meaning of “vintage prints” is simply any prints that are over 40 years old. Philip Hyde only made prints within a year or two of the negative, except for a small number of exceptions in the late 1990s. He had planned to make many more newer black and white prints of his older black and white photographs, but he began to lose his eyesight which made darkroom printing impossible. Regardless, nearly all Philip Hyde original black and white prints fit the first definition of “vintage prints” and any prints Philip Hyde made before 1970 also fit the second definition.

The black and white vintage prints Philip Hyde made during photography school at the California School of Fine Arts under Ansel Adams, Minor White, and Edward Weston are increasingly sought after by collectors and are in limited supply. Philip Hyde original vintage prints are RARE. He never printed more than eight prints of a given image and in most cases he printed only two to four. For several print exchanges between the photography school classmates, Philip Hyde printed as many as 19 prints of each photograph for the students and a few extras for faculty who attended the print exchange gatherings. Besides the exchange prints, today there are usually only one or two left of each photograph. Those now available were all made from 1942 to 1952.

Variations in value are due to several factors, but are primarily based on the photograph’s subsequent significance, exhibition history, publishing history, etc. There is generally little variation in condition, with a few exceptions. The Weston Gallery, Scott Nichols Gallery, Camera Obscura and Smith Anderson North are now selling 4X5 and 5X7 contact prints hinge mounted with hand-made paper corners on Rising Board for $900 to $1600 depending on the image. Vintage black and white 8X10s are also now officially available in the above locations in a range between $1800 and $2500 depending on the photograph and print date.

Ansel Adams signed all prints made by him. Do prints have to be signed to be authentic?

Philip Hyde and many other photographers of the time did not sign many of their small prints. Edward Steichen for example, when printing made at least two prints of each image. One would go to the press unsigned and one would go to the galleries signed. The 8X10 Philip Hyde prints that remain are often Press Prints and some are unsigned. Signed prints by Philip Hyde were made specifically for major museums and gallery exhibitions, are even more rare and are priced $500-$1,000 higher.

The contact prints are identified with Philip Hyde’s stamp and printing notes and some are signed, while the 8X10s are sometimes signed as exhibition prints and sometimes not signed but identified with Philip Hyde’s press prints stamp. In the mid 20th Century it was common practice for many photographers to stamp rather than sign small contact prints and 8X10 black and white press prints. The 4X5 and 5X7 contact prints are particularly of interest because they were made in the same contact printing style of Edward Weston, who also printed many 4X5 and 5X7 black and white contact prints around the same time period and earlier.

COMING SOON to Landscape Photography Blogger will be a description of Philip Hyde’s black and white silver gelatin printing process for black and white prints, with variations as originally taught by Ansel Adams, Edward Weston and Minor White at the California School of Fine Arts, now the San Francisco Art Institute.

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