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Adolf Meyer

(1867 -  1940 )
MEYER Adolf Two Studies With Dolls

Sotheby's
Oct 24, 2002
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Artworks in Arcadja
10

Some works of Adolf Meyer

Extracted between 10 works in the catalog of Arcadja
Adolf Meyer - Claude Monet

Adolf Meyer - Claude Monet

Original
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Lot number: 84
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Description:
tipped at corners to a double-mount, signed by the photographer in pencil on the second mount, titled in an unidentified hand in red crayon or pencil on the reverse, matted, 1921
condé nast archive
provenance:
provenance: condé nast archive literature: vanity fair, march 1921, p. 22, the article \\`\\`monet--last survivor of the old guard' (this print, laterally reversed ehrenkranz, de meyer, p. 102 edkins, vanity fair: photographs of an age, p. 42
Adolf Meyer - ``maria, A Study'

Adolf Meyer - ``maria, A Study'

Original 1910
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Lot number: 58
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Description:
platinum print, on a triple mount, signed calligraphically by the photographer in pencil on the third mount, annotated 'no. 7,' '201,' and with other notations in an unidentified hand in pencil on the reverse, in the original exhibition frame, a printed \\`\\`201' exhibition label affixed to the glass, titled and inscribed 'reserved' in an unidentified hand in pencil and with a framer's label on the reverse, circa 1910
exhibited albright art gallery, buffalo, new york, international exhibition of pictorial photography, 3 november-1 december 1910 literature academy notes, volume vi, january 1911-december 1911, p. 12 (this print) photograms of the year, 1912, pl. lxix this photograph was one of 25 shown by de meyer in the landmark international exhibition of pictorial photography at the albright art gallery in buffalo, new york, 1910. the print is housed in its original frame with the original exhibition number affixed to its glass. a letterpress framer's label, from 'chapman bros., 251 king road, chelsea, london,' is on the reverse. beyond the 12 prints by different photographers purchased by the albright art gallery in 1910, very few prints from the exhibition have been located. by any reckoning--in terms of de meyer's extant oeuvre, or the scarcity of prints from the 1910 exhibition--the present print is a remarkably rare artifact. the 1910 buffalo exhibition was, as critic sadakichi hartmann wrote, 'the most complete and comprehensive survey of pictorialism ever arranged in this country' (wilson's photographic magazine, january 1911, p. 2-4). neither its scope nor depth have been matched by any subsequent exhibition. organized by alfred stieglitz, the exhibition featured nearly 600 photographs. during its 29-day showing, it drew over fifteen thousand visitors, breaking all previous attendance records. in his review in harper's weekly, alvin langdon coburn praised the high quality of the prints in the exhibition: 'if anyone is considering the advisability of starting a collection of photographic prints (and even from a commercial point of view it is an excellent investment), this exhibition offers the finest opportunities, for in the days to come the fact that a print was shown in the buffalo exhibition of 1910 will give it a place in the history of photography' (quoted in camera work). many attendees availed themselves of the opportunity to purchase the prints. by the end of the exhibition, 53 prints had been sold to the public--an astonishing number given that photography was not generally considered a fine art, much less a collectible one. the de meyer print offered here was one of the purchased prints, and in the january 1911 issue of academy notes, the newsletter of the buffalo fine arts academy, it is reproduced over the caption, 'purchased by a buffalo collector from recent exhibition of pictorial photography at the albright art gallery.' with 25 entries, de meyer was one of best-represented photographers in the exhibition. his work drew many favorable reviews. f. austin lidbury, in american photography, praised de meyer's 'wonderful assortment of portraits and character studies. . . each one a wonderful conception, exhibiting a rare originality of view, and carried out with an extraordinary mastery of tone, light, and texture. here is a worker whose prints are stamped with an unmistakable individuality. . . a great artist; and a great collection of prints! it is interesting to note that his most recent work is also his best' (quoted in camera work). more than other photographers of his day, de meyer invested his portraits with a heightened sense of drama and symbolism. he almost certainly made \\`\\`maria, a study' in 1909, during the same session and with the same model that appears in \\`\\`the cup' and \\`\\`the silver cap' (camera work number 40, pp. 5 and 7). of the three portraits made during this session, the present image is unquestionably the most powerful. the intensity of the model's direct gaze is heightened by the bravura quality of the print. in its conception and execution this print shows de meyer working at the peak of his creative and technical abilities. because de meyer destroyed many of his prints and negatives, vintage examples of his work are scarce. in a 1940 letter to alfred stieglitz, de meyer despaired 'i have in 1935 destroyed all that was superfluous, it seemed to me a burden--all my photographic work especially--what is left--is due to fortunate incidents--some of my work being elsewhere. . . i should have waited--never to see any of it again!' (stieglitz archive, yale university, 2/15/40, as quoted in a singular elegance, p. 48).
Adolf Meyer - Selected Children's Fashion Studies

Adolf Meyer - Selected Children's Fashion Studies

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Lot number: 93
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a group of 3 photographs, comprising children posed by stacks of wooden beams, each credited and dated in an unidentified hand in pencil on the reverse, 1919 (3)
provenance: condé nast archive literature: vogue, 15 august 1919, pp. 29-31, these captioned in part, 'an unpretentious play frock of tobacco brown chambray,' 'a play frock . . . of white dimity with french blue dots,' and 'the little girl writing her old-fashioned name is new-fashioned in a frock of dull blue voile' (these prints)
Adolf Meyer - Two Studies With Dolls

Adolf Meyer - Two Studies With Dolls

Original
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Lot number: 92
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2 photographs, comprising a model holding dolls and a still life with dolls, each credited and dated in an unidentified hand in pencil on the reverse, 1919 (2)
provenance: condé nast archive literature: vogue, 15 december 1919, p. 64, the article 'from france come new and bewitching luxuries for boudoir and costume,' these captioned in part, 'no more must one be below the teen stage in one's career in order to have a legitimate excuse for playing dolls. . .' and 'it is much more fun to have a court jester, a white-haired grande dame, or a very saucy up-to-date child doll sit on one's chaise longue instead of a cushion. . .' (these prints)
Adolf Meyer - Helen Lee Worthing Modeling A Wedding Dress

Adolf Meyer - Helen Lee Worthing Modeling A Wedding Dress

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Lot number: 94
Other WORKS AT AUCTION
Description:
condé nast reproduction rights and 'library copy' stamps and annotated in various unidentified hands in pencil and ink on the reverse, 1920
provenance: condé nast archive literature: vogue, 1 september 1920, p. 68, this captioned in part, 'very arch and radiant is this bride who follows the extravagant example of her gay young sovereign, the ill-starred marie antoinette, and wears an elaborate gown of white satin clouded with tulle, and a tulle veil. . .' (this print) jullian, de meyer, pl. 27 (variant) ehrenkranz, de meyer, p. 99 (variant) szarkowski, looking at photographs, p. 79 (variant) this extravagant shot was posed by helen lee worthing herself, with 'decorations' from elsie de wolfe. "among the first magazines to make inventive use of photography were the fashion magazines, and baron de meyer was probably the first photographer of exceptional talent to turn this opportunity to advantage. de meyer's picture of helen worthing is distinguished by its frank and luxurious use of artificial light; the techniques and the glamour of the theater had been adapted to photography"--szarkowski, op. cit., p. 78
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