Posts Tagged ‘Henry Fox Talbot


Exhibition: ‘Concrete – Photography and Architecture’ at Fotomuseum Winterthur, Zurich

Exhibition dates: 2nd March – 20th May 2013


Anonymous photographer.
 'Hardstrasse with Hardbrücke in construction' 1972


Anonymous photographer
Hardstrasse with Hardbrücke in construction
Gelatin silver print
8.8 x 12.6cm
Baugeschichtliches Archiv der Stadt Zürich



When creating this archive, so much of my time is spent cleaning up clearly inadequate media images, an example of which can be seen below. I have become very adept at this process and my thoughts are this: would you want to be the artist whose work is displayed to the public in a remarkably decomposed manner, one not up to a standard of any artist who cares about their prints and reputation? I certainly would not. It is a wonder to me that museums and galleries spend thousands of dollars staging exhibitions and producing costly catalogues and yet cannot spend a tiny proportion of time, money and care on their media images to promote artist and said exhibition. I had to spend a lot of time on over half of these images to bring them up to presentable standard.

Having said that, there are some cracking photographs in this posting. The Sugimoto is sublime, Walker Evans so muscular, Lucien Hervé a masterpiece of light and texture, and Moriz Nähr a symphony of light and tone, to name but a few. I hope you enjoy all the effort it takes to bring these images to you.

Dr Marcus Bunyan

Many thankx to the Fotomuseum Winterthur, Zurich for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.


Moriz Nähr (Austrian, 1859-1945) 
'Stiegenhaus im Haus Stonborough-Wittgenstein' 1928 (composite)


Moriz Nähr (Austrian, 1859-1945)

Stiegenhaus im Haus Stonborough-Wittgenstein [Staircase in the house Stonborough-Wittgenstein] (composite)


Michael Wesely.
 'Canadian Embassy, Leipziger Platz, Berlin (5.2.2003 – 28.4.2005)' 


Michael Wesely (German, b. 1963)
Canadian Embassy, Leipziger Platz, Berlin (5.2.2003 – 28.4.2005)

125 x 175cm
Galerie Fahnemann, Berlin
© Michael Wesely/Courtesy Galerie Fahnemann


William Henry Fox Talbot
. 'The Bridge of Sighs, St. John’s College, 
Cambridge' 1845


William Henry Fox Talbot (English, 1800-1877)
The Bridge of Sighs, St. John’s College, 
Salt print from calotype negative
16.4 x 20.6cm
Museum Folkwang Essen


Charles Marville (French, 1813-1879) '24, Rue Bièvre, Paris' 1865-1869


Charles Marville (French, 1813-1879)
24, Rue Bièvre, Paris
Albumin print
27.4 x 36.6cm
Collection Thomas Walther


Lucien Hervé.
 'Le Corbusier: Façade of the Secretariat Building, Chandigarh, 1961' 1961


Lucien Hervé (Hungarian, 1910-2007)
Le Corbusier: Façade of the Secretariat Building, Chandigarh, 1961
Gelatin silver print
25.5 x 25.4cm
Canadian Centre for Architecture, Montréal
© Estate Lucien Hervé


F.C. Gundlach.
 '"Op Art" bathing suit by Sinz, Vouliagmeni/Greece' 1966


F. C. Gundlach (German, b. 1926)
“Op Art” bathing suit by Sinz, Vouliagmeni/Greece
Gelatin silver print
50 x 50cm
F.C. Gundlach, Hamburg
© F.C. Gundlach


Laurence Bonvin.
 'Blikkiesdorp, Cape Town, South Africa' 2009


Laurence Bonvin (Swiss, b. 1967)
Blikkiesdorp, Cape Town, South Africa
Inkjet print
40 x 50cm
Courtesy the artist
© Laurence Bonvin



Architectures and cities are both volumes and images alike. We experience them directly, physically and sensually, as well as through pictures. Pictures speak a language of their own. They offer a discourse that is quite unlike the physical experience of architecture. They transform volume into surface; distil matter into forms and signs – rarely, if ever, leaving it as it is. That is probably why so many architects try to get involved in determining the image of their buildings. Concrete – Photography and Architecture seeks to approach the singular and complex relationship between architecture and photography in light-hearted, narrative and dialectical ways. The exhibition explores issues of history and ideology, as well as the specifics of form and material, in the photographic image.

The visual appeal of destroyed or dilapidated buildings is also addressed, as are their powerful demonstrations of power and exclusivity, fragility and beauty. To what extent does photography influence not only the way architecture is perceived, but also the way it is designed? How does an image bring architecture to life, and at what point does it become uncanny? How do settlements develop into cities? Or, in sociological terms: how do work and life interconnect differently in, say, Zurich and Winterthur, as opposed to, say, Calcutta? And how do skyscrapers and living spaces translate into the flat, two-dimensional world of photography?

Concrete – Photography and Architecture is not, however, chronologically arranged. Instead, it is based on compelling positions, counterpositions and thematic fields that connect various concrete, fundamental and historical aspects. Alongside everyday buildings and prestigious architecture, structured by horizontal and vertical axes, alongside homes and houses, utopian fantasies, design and reality, an important aspect of the exhibition is the compelling appeal of architectural decay due to the passage of time, through both natural and deliberate destruction. It is almost as though photography were providing a moral reminder even such magnificence and presence, whether hewn in stone or cast in concrete, has its weaknesses too.

Architecture has always been an important platform for the frequently heated discussion of ideas and views, zeitgeist and weltanschauung, everyday life and aesthetics. Architecture is the bold materialisation of private and public visions, functionality and avant-garde art alike. It is, as Slavoj Žižek puts it, ideology in stone. Photography and architecture both play an undisputed role in our everyday lives. They confront us on a daily basis, often without our even noticing, and they influence how we think, act and live in subliminal and lasting ways. Concrete – Photography and Architecture provides visual answers to the question of what it is that makes up the intimate yet complex relationship between architecture and photography, architect and photographer.

The exhibition presents more than 400 photographs and groups of works from the 19th, 20th and 21st centuries, including William Henry Fox Talbot, Domenico Bresolin and Charles Marville as well as Germaine Krull, Lucia Moholy and Julius Shulman, and spanning an arc to contemporary works by Georg Aerni, Iwan Baan, Luisa Lambri and Hiroshi Sugimoto. Projects such as the long-term observations of Schlieren photography or Wolfgang Scheppe’s Migropolis show how the art of photography is playing an increasingly important role as an instrument of research and knowledge. The exhibition is accompanied by a lavishly illustrated book published by Scheidegger & Spiess, with some 300 colour and black-and-white pictures, essays by Jochen Becker, Johannes Binotto, Verena Huber Nievergelt, Michael Jakob, Nicoletta Leonardi, Lorenzo Rocha, Caspar Schärer, Aveek Sen and Urs Stahel as well as a conversation with Annette Gigon, Meret Ernst and Armin Linke.

Press release from the Fotomuseum Winterthur website


Guido Guidi. '#1176 01 29 1997 3:30PM Looking Southeast' From 'Carlo Scarpa's Tomba Brion' 


Guido Guidi (Italian, b. 1941)
#1176 01 29 1997 3:30PM Looking Southeast
From Carlo Scarpa’s Tomba Brion
C print
19.5 x 24.6cm
Courtesy the artist
© Guido Guidi


Tobias Zielony.
 'Le Vele di Scampia' 2009


Tobias Zielony (German, b. 1973)
Le Vele di Scampia
Blu Ray photoanimation
8.57 min
Courtesy Koch Oberhuber Wolff, Berlin
© Tobias Zielony/ KOW


Hiroshi Sugimoto.
 'Seagram Building, New York City' 1997


Hiroshi Sugimoto (Japanese, b. 1948)
Seagram Building, New York City
Gelatin silver print
58.4 x 47cm
Canadian Centre for Architecture, Montreal
© Hiroshi Sugimoto/Courtesy of Gallery Koyanagi Tokyo


Aage Strüwing.
 'Arne Jacobsen: Rødovre Town Hall' 1955


Aage Strüwing (Danish, 1913-1989)
Arne Jacobsen: Rødovre Town Hall
Gelatin silver print
23.7 x 17cm
EPFL Archives de la construction moderne, Lausanne
© Estate Strüwing


Moriz Nähr. '
Stiegenhaus im Haus Stonborough-Wittgenstein' 1928


Moriz Nähr (Austrian, 1859-1945)

Stiegenhaus im Haus Stonborough-Wittgenstein (Staircase in the house Stonborough-Wittgenstein)
Silbergelatine Abzug
13.8 x 8.9cm
Albertina, Wien
© Estate Moriz Nähr



Haus Wittgenstein, also known as the Stonborough House and the Wittgenstein House) is a house in the modernist style designed and built on the Kundmanngasse, Vienna, by the Austrian architect Paul Engelmannand the Austrian philosopher Ludwig Wittgenstein.

In November 1925, Wittgenstein’s sister Margaret Stonborough-Wittgenstein commissioned Engelmann to design and build a large townhouse. Margaret also invited her brother to help with the design in part to distract him from an incident that had happened while he had been a primary school teacher: he had hit a boy for getting an answer wrong and the boy had collapsed. The architect was Paul Engelmann, someone Wittgenstein had come to know while training to be an Artillery Officer in Olmutz. Engelmann designed a spare modernist house after the style of Adolf Loos: three rectangular blocks. Wittgenstein showed a great interest in the project and in Engelmann’s plans and poured himself into the project for over two years. He focused on the windows, doors, door knobs, and radiators, demanding that every detail be exactly as he specified, to the point where everyone involved in the project was exhausted. One of the architects, Jacques Groag, wrote in a letter: “I come home very depressed with a headache after a day of the worst quarrels, disputes, vexations, and this happens often. Mostly between me and Wittgenstein.” When the house was nearly finished he had a ceiling raised 30mm so the room had the exact proportions he wanted.

Waugh writes that Margaret eventually refused to pay for the changes Wittgenstein kept demanding, so he bought himself a lottery ticket in the hope of paying for things that way. It took him a year to design the door handles, and another to design the radiators. Each window was covered by a metal screen that weighed 150 kg, moved by a pulley Wittgenstein designed. Bernhard Leitner, author of The Architecture of Ludwig Wittgenstein, said of it that there is barely anything comparable in the history of interior design: “It is as ingenious as it is expensive. A metal curtain that could be lowered into the floor.”

The house was finished by December 1928, and the family gathered there that Christmas to celebrate its completion. Describing the work, Ludwig’s eldest sister, Hermine, wrote: “Even though I admired the house very much, I always knew that I neither wanted to, nor could, live in it myself. It seemed indeed to be much more a dwelling for the gods than for a small mortal like me”. Paul Wittgenstein, Ludwig’s brother, disliked it, and when Margaret’s nephew came to sell it, he reportedly did so on the grounds that she had never liked it either. Wittgenstein himself found the house too austere, saying it had good manners, but no primordial life or health. He nevertheless seemed committed to the idea of becoming an architect: the Vienna City Directory listed him as “Dr Ludwig Wittgenstein, occupation: architect” between 1933 and 1938.

After World War II, the house became a barracks and stables for Russian soldiers. It was owned by Thomas Stonborough, son of Margaret until 1968 when it was sold to a developer for demolition. For two years after this the house was under threat of demolition. The Vienna Landmark Commission saved it – after a campaign by Bernhard Leitner – and made it a national monument in 1971, and since 1975 it has housed the cultural department of the Bulgarian Embassy.

Text from the Wikipedia website


Lala Aufsberg.
 'Cathedral of Light' c. 1937


Lala Aufsberg (German, 1907-1976)
Cathedral of Light
c. 1937
Gelatin silver print
24 x 18cm
Town Archive Nuremberg
© Photo Marburg



Lala Aufsberg (actually, Ida Louise Aufsberg, born 26 February 1907 in Sonthofen, May 18, 1976) was a well-known art photographer. After attending primary school and six years of school for Higher daughters in Immenstadt she began training for the 1932 photo dealer in Oberstdorf. After completion of the training Lala Aufsberg moved to Nuremberg, where she worked in the photographers’ studios of Seitz and Rosemary. In 1931 she joined the photo club of friends of photography in Nuremberg.

From April 1938 Lala Aufsberg attended the State School of Applied Arts and Crafts in Weimar, Department Lichtbildnerei at Walter Hege. In July 1938, she passed the exam for the master photographer’s craft, and in the same year returned to Sonthofen and opened a photographic studio. In the years 1937 and 1938 she documented the Nazi Party rallies in Nuremberg (see above photograph). She received her first artistic job in the years 1941-1942, in which she photographed the murals in churches and monasteries in Carinthia and Styria. Owned by the University of Marburg “German documentation center for art history” – Bildarchiv Foto Marburg (listed in UNESCO Archives Portal) acquired 1976/1977 and 1996, the Lala-Aufsberg archive with about 46,000 art history, black and white negatives in sizes 6 x 6 and 9 x 12 and 103,000 photos.


Walker Evans. 
'Chrysler Building under construction, New York' 1929


Walker Evans (American, 1903-1975)

Chrysler Building under construction, New York
Gelatin silver print
16.8 x 8.3cm
Canadian Centre for Architecture, Montréal
© Walker Evans Archive, The Metropolitan Museum of Art



Fotomuseum Winterthur
Grüzenstrasse 44 + 45
Winterthur (Zürich)

Opening hours:
Tuesday to Sunday 11am – 6pm
Wednesday 11am – 8pm
Closed on Mondays

Fotomuseum Winterthur website


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Exhibition: ‘Treasures of the Alfred Stieglitz Center: Photographs from the Permanent Collection’ at the Philadelphia Museum of Art

Exhibition dates: 22nd December 2012 – 7th April 2013


Many thankx to the Philadelphia Museum of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.



William Henry Fox Talbot. 'Group of Persons Selling Fruit and Flowers' 1845


William Henry Fox Talbot (British, 1800-1877)
Group of Persons Selling Fruit and Flowers
Salted paper print from a paper negative
6 11/16 x 8 1/4 inches (17 x 21cm)
Philadelphia Museum of Art, Purchased with the Robert A. Hauslohner Fund, 1967


Felice Beato. 'Confucius, Canton, April 1860 April' 1860


Felice Beato (English, born Italy, 1825-1913)
Confucius, Canton, April 1860
April 1860
Albumen silver print
10 x 12 inches (25.4 x 30.5 cm)
Philadelphia Museum of Art, Purchased with funds contributed by Dr. Chaoying Fang, Harvey S. Shipley Miller and J. Randall Plummer, and with the Alice Newton Osborn Fund, 1978


Dorothy Norman. 'Harbor II, (Osterville), Cape Cod' 1930s


Dorothy Norman (American, 1905-1997)
Harbor II, (Osterville), Cape Cod
Gelatin silver print
Sheet: 2 7/8 x 3 7/8 inches (7.3 x 9.8cm)
Philadelphia Museum of Art, From the Collection of Dorothy Norman, 1980


Edward Weston. 'Dunes, Oceano' 1936


Edward Weston (American, 1886-1958)
Dunes, Oceano
Gelatin silver print
Philadelphia Museum of Art


Louise Lawler. 'Living Room Corner Arranged by Mr. and Mrs. Burton Tremaine, Sr.,' 1984


Louise Lawler (American, b. 1947)
Living Room Corner Arranged by Mr. and Mrs. Burton Tremaine, Sr.,
Dye destruction print
Sheet: 18 1/4 x 23 3/4 inches (46.4 x 60.3cm)
Philadelphia Museum of Art, Gift of Henry S. McNeil, Jr., 1988


Richard Misrach. 'Pink Lightning, Salton Sea' 1985


Richard Misrach (American, b. 1949)
Pink Lightning, Salton Sea
Chromogenic print
18 5/16 x 23 1/16 inches (46.5 x 58.6 cm)
Philadelphia Museum of Art, Gift of the Friends of the Philadelphia Museum of Art, 1986


Joachim Koester. 'Room of Nightmares #1' 2005


Joachim Koester (Danish active United States, b. 1962)
Room of Nightmares #1
Chromogenic print
18 7/8 x 23 7/8 inches (47.9 x 60.6cm)
Philadelphia Museum of Art, Gift of Lynne and Harold Honickman



This exhibition presents a survey of photographs from the permanent collection and includes an important group of works by Dorothy Norman and her mentor Alfred Stieglitz, one of the greatest figures in twentieth-century American art. There are also early masterworks by Gustave Le Gray, whose images of light and motion inspired the Impressionists; Edward Weston; Julia Margaret Cameron; and Charles Aubry. These striking images are complemented by an array of modern and contemporary works that trace the medium’s history as a visual art form, including recent acquisitions by artists such as Florence Henri, Roy DeCarava, and Hiroh Kikai, many on view for the first time in Philadelphia.

The mainly black-and-white photographs reflect the strengths of the Museum’s photography collection, ranging from the 1840s to 2005. Nineteenth-century photographs include works by William Henry Fox Talbot, an early inventor of photography; a group of views from Felice Beato’s 1860 album China; and Rue des Prêtres SaintÉtienne, de la rue Descartes by Charles Marville, who documented the narrow quarters of nineteenth-century Paris.

Post-World War II American and Japanese photography is seen through a number of works by Robert Frank including Jehovah’s Witness, Los Angeles (1955), Diane Arbus’s Untitled (6) (1970-71), and Masahisa Fukase’s Untitled (1976). The exhibition continues with contemporary photography by a broad range of international artists, including Joachim Koester’s Room of Nightmares #1 (2005) and Gerhard Richter’s Guildenstern (Rhombus II) (1998), a cunning investigation of the shared terrain between painting and photography.

The works by Norman and Stieglitz were made during the years of their creative exchange, from 1929 until Stieglitz’s death in 1946. These include a number of portraits, such as Norman’s cropped close-up Alfred Stieglitz IX, New York (1933); cityscapes and landscapes, as seen in Stieglitz’s New York from the Shelton (1935), showing the interplay of light and shadow on the skyscrapers of a changing New York skyline; and Norman’s Harbor II, Osterville, Cape Cod (1930s), a study in line and composition. These images are complemented by photographs made by their contemporaries, including Man Ray’s surrealist Marquise Casati (1922) and Florence Henri’s Portrait (c. 1930).

Press release from the Philadelphia Museum of Art website


Dorothy Norman. 'Alfred Stieglitz IX, New York' 1933


Dorothy Norman (American, 1905-1997)
Alfred Stieglitz IX, New York
Gelatin silver print
Sheet: 2 5/8 x 2 11/16 inches (6.7 x 6.8cm)
Philadelphia Museum of Art, From the Collection of Dorothy Norman, 1968


Man Ray. 'Marquise Casati' 1922


Man Ray (American, 1890-1976)
Marquise Casati
Gelatin silver print
Image and sheet: 8 1/2 x 6 9/16 inches (21.6 x 16.7cm)
Philadelphia Museum of Art, Gift of Carl Van Vechten, 1949
© Man Ray Trust / Artists Rights Society (ARS), New York / ADAGP, Paris


Robert Frank. 'Jehovah's Witness. Los Angeles' 1955


Robert Frank (American, 1924-2019)
Jehovah’s Witness, Los Angeles
Gelatin silver print
Philadelphia Museum of Art


Diane Arbus. 'Untitled (6)' 1970–71'


Diane Arbus (American, 1923-1971
Untitled (6)
Gelatin silver print
Philadelphia Museum of Art


Charles Marville. 'Rue des Prêtres Saint-Étienne, de la rue Descartes' c. 1865


Charles Marville (French, 1816-1879)
Rue des Prêtres Saint-Étienne, de la rue Descartes
c. 1865
Albumen silver print
Image and sheet: 12 13/16 x 10 3/8 inches (32.5 x 26.4cm)
Philadelphia Museum of Art, Purchased with the Lola Downin Peck Fund, 2009


Alfred Stieglitz. 'New York from the Shelton' 1935


Alfred Stieglitz (American, 1864-1946)
New York from the Shelton
Gelatin silver print
Image and sheet: 9 5/8 x 7 9/16 inches (24.4 x 19.2cm)
Philadelphia Museum of Art, From the Collection of Dorothy Norman, 1997
© The Georgia O’Keeffe Foundation / Artists Rights Society (ARS), New York



Philadelphia Museum of Art
26th Street and the Benjamin Franklin Parkway
Philadelphia, PA 19130

Opening hours:
Tuesday through Sunday: 10am – 5pm

Philadelphia Museum of Art website


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Sciagraphy: Henry Fox Talbot

November 2008


“Sciagraphy: the art of depicting an object through its shadow.”

(William Henry Fox Talbot’s private name for photography)


Schaaf, Larry. “The Paper Multiple: Talbot’s Invention and Early Photographic Books,” in Foster, S., Heiting, M. and Stuhlman, R. Imagining Paradise. Rochester NY: George Eastman House, 2007, p. 45.




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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, an art and cultural memory archive, which posts mainly photography exhibitions from around the world. He holds a Doctor of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

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