A. Aubrey Bodine Sold at Auction Prices

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        • A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, LAKE DRUMMOND, 1961, Gelatin silver print, Sheet: 11 x 14 in. (27.9 x 35.6 cm.)
          Nov. 19, 2024

          A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, LAKE DRUMMOND, 1961, Gelatin silver print, Sheet: 11 x 14 in. (27.9 x 35.6 cm.)

          Est: $100 - $150

          A. AUBREY BODINE AMERICAN, BALTIMORE, MARYLAND, 1906-1970 LAKE DRUMMOND, 1961 Gelatin silver print Lower left titled: Lake Drummond; lower right signed: A. Aubrey Bodine; verso stamped: Photograph & Printed by / A. Aubrey Bodine, Hon, F.P.S.A.,F.N.P.P./Image ID # 03-128 Catalogue note: In photographic circles around the world, A. Aubrey Bodine was regarded as one of the finest pictorialists of the twentieth century. His pictures were exhibited in hundreds of prestigious shows, in scores of museums, and he won awards against top competition. … Aubrey Bodine's photographic career began in 1923 when as an office boy with the Baltimore Sun he submitted photographs of the Thomas Viaduct at Relay to the editor of the Sunday oar, and they were published. From first to last Aubrey Bodine was a newspaperman covering all sorts of stories with his camera - news events, famous people, unusual places and curious activities. … Some of his best pictures were literally composed in the viewfinder of the camera. In other cases he worked on the negative with dyes and intensifiers, pencil marking, and even scraping to produce the effect he had in mind. He added clouds photographically, and made other even more elaborate manipulations. Bodine's rationale for all these technical alterations of the natural scene was simply that, like the painter, he worked from the model and selected those features which suited his sense of mood, proportion and design. The picture was the thing, not the manner of arriving at it. He did not take a picture, he made a picture. (Source: www.AAubreyBodine.com)

          Potomack Company
        • A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, VIRGINIA MUSEUM OF FINE ART, 1961, Gelatin silver print, Sheet: 11 x 14 in. (27.9 x 35.6 cm.)
          Nov. 19, 2024

          A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, VIRGINIA MUSEUM OF FINE ART, 1961, Gelatin silver print, Sheet: 11 x 14 in. (27.9 x 35.6 cm.)

          Est: $100 - $200

          A. AUBREY BODINE AMERICAN, BALTIMORE, MARYLAND, 1906-1970 VIRGINIA MUSEUM OF FINE ART, 1961 Gelatin silver print Lower left titled: Virginia Museum of Fine Arts; lower right signed: A. Aubrey Bodine; verso stamped: Photograph & Printed by / A. Aubrey Bodine, Hon, F.P.S.A.,F.N.P.P./Image ID # 20-143 Catalogue note: In photographic circles around the world, A. Aubrey Bodine was regarded as one of the finest pictorialists of the twentieth century. His pictures were exhibited in hundreds of prestigious shows, in scores of museums, and he won awards against top competition. … Aubrey Bodine's photographic career began in 1923 when as an office boy with the Baltimore Sun he submitted photographs of the Thomas Viaduct at Relay to the editor of the Sunday oar, and they were published. From first to last Aubrey Bodine was a newspaperman covering all sorts of stories with his camera - news events, famous people, unusual places and curious activities. … Some of his best pictures were literally composed in the viewfinder of the camera. In other cases he worked on the negative with dyes and intensifiers, pencil marking, and even scraping to produce the effect he had in mind. He added clouds photographically, and made other even more elaborate manipulations. Bodine's rationale for all these technical alterations of the natural scene was simply that, like the painter, he worked from the model and selected those features which suited his sense of mood, proportion and design. The picture was the thing, not the manner of arriving at it. He did not take a picture, he made a picture. (Source: AAubreyBodine.com)

          Potomack Company
        • A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, MABRY MILL, CIRCA 1960, Gelatin silver print, Sheet: 11 x 14 in. (27.9 x 35.6 cm.)
          Nov. 19, 2024

          A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, MABRY MILL, CIRCA 1960, Gelatin silver print, Sheet: 11 x 14 in. (27.9 x 35.6 cm.)

          Est: $100 - $200

          A. AUBREY BODINE AMERICAN, BALTIMORE, MARYLAND, 1906-1970 MABRY MILL, CIRCA 1960 Gelatin silver print Lower left titled: Mabry Mill; lower right signed: A. Aubrey Bodine; verso stamped: Photograph & Printed by / A. Aubrey Bodine, Hon, F.P.S.A.,F.N.P.P./Image ID # 05-014

          Potomack Company
        • A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, HARPERS FERRY, MD. VA. WEST VA., 1944, Gelatin silver print, Sheet: 11 x 14 in. (27.9 x 35.6 cm.)
          Nov. 19, 2024

          A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, HARPERS FERRY, MD. VA. WEST VA., 1944, Gelatin silver print, Sheet: 11 x 14 in. (27.9 x 35.6 cm.)

          Est: $100 - $150

          A. AUBREY BODINE AMERICAN, BALTIMORE, MARYLAND, 1906-1970 HARPERS FERRY, MD. VA. WEST VA., 1944 Gelatin silver print Lower left titled: Harpers Ferry, Md. Va. West Va; lower right signed: A. Aubrey Bodine; verso stamped: Photograph & Printed by/ A. Aubrey Bodine, Hon, F.P.S.A.,F.N.P.P./Image ID #08-154 Catalogue note: In photographic circles around the world, A. Aubrey Bodine was regarded as one of the finest pictorialists of the twentieth century. His pictures were exhibited in hundreds of prestigious shows, in scores of museums, and he won awards against top competition. … Aubrey Bodine's photographic career began in 1923 when as an office boy with the Baltimore Sun he submitted photographs of the Thomas Viaduct at Relay to the editor of the Sunday oar, and they were published. From first to last Aubrey Bodine was a newspaperman covering all sorts of stories with his camera - news events, famous people, unusual places and curious activities. … Some of his best pictures were literally composed in the viewfinder of the camera. In other cases he worked on the negative with dyes and intensifiers, pencil marking, and even scraping to produce the effect he had in mind. He added clouds photographically, and made other even more elaborate manipulations. Bodine's rationale for all these technical alterations of the natural scene was simply that, like the painter, he worked from the model and selected those features which suited his sense of mood, proportion and design. The picture was the thing, not the manner of arriving at it. He did not take a picture, he made a picture. (Source: AAubreyBodine.com)

          Potomack Company
        • BODINE, A. Aubrey (American, 1906-1970). 14 Original Press ...
          Oct. 02, 2024

          BODINE, A. Aubrey (American, 1906-1970). 14 Original Press ...

          Est: $300 - $500

          BODINE, A. Aubrey (American, 1906-1970). 14 Original Press Photographs of Religious Conscientious Objectors to War at Camp Avalon. Maryland: Baltimore Sun Times, 1941-1942. Group of 14 silver gelatin press photographs depicting men engaged in daily activities at the camp. Each stamped and annotated (likely by Bodine) verso. Most 8 x 10”; one 14 x 9”. Paper lightly toned, with some surface creasing. Provenance: Lorne Bair Rare Books via 2011 sale of “Baltimore Sun Times” archive sale.

          Potter & Potter Auctions Inc.
        • A. Aubrey Bodine (American 1906-1970), Mt. Rogers, 5719 Ft. Highest in VA, Two Black and White Photographs, Each signed and titled along lower margin in black ink, Unframed, First Image Size: 9 5/8 x 13 1/8 in. (24.4 x 3
          Sep. 17, 2024

          A. Aubrey Bodine (American 1906-1970), Mt. Rogers, 5719 Ft. Highest in VA, Two Black and White Photographs, Each signed and titled along lower margin in black ink, Unframed, First Image Size: 9 5/8 x 13 1/8 in. (24.4 x 3

          Est: $200 - $400

          A. Aubrey Bodine (American 1906-1970), Mt. Rogers, 5719 Ft. Highest in VA, Two Black and White Photographs, Each signed and titled along lower margin in black ink, Unframed, Property from the Estate of A. Aubrey Bodine

          Weschler's
        • A. Aubrey Bodine (American 1906-1970), Dredge Boats, Cape Charles, VA and Gwynne Island, Two Black and White Photographs, Each signed and titled along lower margin in black ink, Unframed, First Image Size: 9 3/4 x 13 in.
          Sep. 17, 2024

          A. Aubrey Bodine (American 1906-1970), Dredge Boats, Cape Charles, VA and Gwynne Island, Two Black and White Photographs, Each signed and titled along lower margin in black ink, Unframed, First Image Size: 9 3/4 x 13 in.

          Est: $200 - $400

          A. Aubrey Bodine (American 1906-1970), Dredge Boats, Cape Charles, VA and Gwynne Island, Two Black and White Photographs, Each signed and titled along lower margin in black ink, Unframed, Property from the Estate of A. Aubrey Bodine

          Weschler's
        • A. Aubrey Bodine (American 1906-1970), Reddish Knob and George Washington National Forest, Two Black and White Photographs, Each signed and titled along lower margin in black ink, Unframed, First Image Size: 9 1/2 x 13 i
          Sep. 17, 2024

          A. Aubrey Bodine (American 1906-1970), Reddish Knob and George Washington National Forest, Two Black and White Photographs, Each signed and titled along lower margin in black ink, Unframed, First Image Size: 9 1/2 x 13 i

          Est: $200 - $400

          A. Aubrey Bodine (American 1906-1970), Reddish Knob and George Washington National Forest, Two Black and White Photographs, Each signed and titled along lower margin in black ink, Unframed, Property from the Estate of A. Aubrey Bodine

          Weschler's
        • A. Aubrey Bodine (American 1906-1970), Dismal Swamp-Lake Drummond and Kinsale, VA-Schooner JW Knowles, Two Black and White Photographs, Each signed and titled along lower margin in black ink, Unframed, First Image Size:
          Sep. 17, 2024

          A. Aubrey Bodine (American 1906-1970), Dismal Swamp-Lake Drummond and Kinsale, VA-Schooner JW Knowles, Two Black and White Photographs, Each signed and titled along lower margin in black ink, Unframed, First Image Size:

          Est: $200 - $400

          A. Aubrey Bodine (American 1906-1970), Dismal Swamp-Lake Drummond and Kinsale, VA-Schooner JW Knowles, Two Black and White Photographs, Each signed and titled along lower margin in black ink, Unframed, Property from the Estate of A. Aubrey Bodine

          Weschler's
        • A. Aubrey Bodine (American 1906-1970), State Capitol, Richmond and Richmond VA, James River in Foreground, Two Black and White Photographs, Each signed and titled along lower margin in black ink, Unframed, First Image Si
          Sep. 17, 2024

          A. Aubrey Bodine (American 1906-1970), State Capitol, Richmond and Richmond VA, James River in Foreground, Two Black and White Photographs, Each signed and titled along lower margin in black ink, Unframed, First Image Si

          Est: $200 - $400

          A. Aubrey Bodine (American 1906-1970), State Capitol, Richmond and Richmond VA, James River in Foreground, Two Black and White Photographs, Each signed and titled along lower margin in black ink, Unframed, Property from the Estate of A. Aubrey Bodine

          Weschler's
        • A. Aubrey Bodine (American 1906-1970), Virginia Creeper and Ground Hog Mountain, Blue Ridge Drive, Two Black and White Photographs, Each signed and titled along lower margin in black ink, Unframed, First Image Size: 9 3/
          Sep. 17, 2024

          A. Aubrey Bodine (American 1906-1970), Virginia Creeper and Ground Hog Mountain, Blue Ridge Drive, Two Black and White Photographs, Each signed and titled along lower margin in black ink, Unframed, First Image Size: 9 3/

          Est: $200 - $400

          A. Aubrey Bodine (American 1906-1970), Virginia Creeper and Ground Hog Mountain, Blue Ridge Drive, Two Black and White Photographs, Each signed and titled along lower margin in black ink, Unframed, Property from the Estate of A. Aubrey Bodine

          Weschler's
        • A. Aubrey Bodine (American 1906-1970), McLean House, Appomattox and Fredericksburg, Marye Heights & National Cemetery and Wilderness, Three Black and White Photographs, Each signed and titled along lower margin, Unframed
          Sep. 17, 2024

          A. Aubrey Bodine (American 1906-1970), McLean House, Appomattox and Fredericksburg, Marye Heights & National Cemetery and Wilderness, Three Black and White Photographs, Each signed and titled along lower margin, Unframed

          Est: $300 - $500

          A. Aubrey Bodine (American 1906-1970), McLean House, Appomattox and Fredericksburg, Marye Heights & National Cemetery and Wilderness, Three Black and White Photographs, Each signed and titled along lower margin, Unframed, Property from the Estate of A. Aubrey Bodine

          Weschler's
        • A. Aubrey Bodine, Maryland (1906-1970), Hunting the Fox, circa 1935, gelatin silver print
          Jul. 13, 2024

          A. Aubrey Bodine, Maryland (1906-1970), Hunting the Fox, circa 1935, gelatin silver print

          Est: $200 - $300

          A. Aubrey Bodine Maryland, (1906-1970) Hunting the Fox, circa 1935 gelatin silver print signed lower right, framed.

          Link Auction Galleries
        • A. Aubrey Bodine, Maryland (1906-1970), Baltimore Harbor, circa 1950, gelatin silver print
          Jul. 13, 2024

          A. Aubrey Bodine, Maryland (1906-1970), Baltimore Harbor, circa 1950, gelatin silver print

          Est: $250 - $350

          A. Aubrey Bodine Maryland, (1906-1970) Baltimore Harbor, circa 1950 gelatin silver print signed in ink lower right, and again on the reverse, framed.

          Link Auction Galleries
        • A. Aubrey Bodine (1906-1970): Shadow Pattern
          Jul. 11, 2024

          A. Aubrey Bodine (1906-1970): Shadow Pattern

          Est: $300 - $500

          Gelatin silver print, unsigned. 7 1/2 x 9 in. (sheet), 15 x 16 1/2 in. (frame).

          STAIR
        • A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, MONTICELLO, 1961, Gelatin silver print, Sheet: 13 1/2 x 18 1/4 in. (34.3 x 46.4 cm.), Mat; 16 x 20 in. (40.6 x 50.8 cm.)
          Jun. 27, 2024

          A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, MONTICELLO, 1961, Gelatin silver print, Sheet: 13 1/2 x 18 1/4 in. (34.3 x 46.4 cm.), Mat; 16 x 20 in. (40.6 x 50.8 cm.)

          Est: $600 - $1,000

          A. AUBREY BODINE AMERICAN, BALTIMORE, MARYLAND, 1906-1970 MONTICELLO, 1961 Gelatin silver print Lower left titled: Monticello; lower right signed: A. Aubrey Bodine; verso stamped: Photograph & Printed by / A. Aubrey Bodine, Hon, F.P.S.A.,F.N.P.P./Image ID # 50-113 Catalogue note: In photographic circles around the world, A. Aubrey Bodine was regarded as one of the finest pictorialists of the twentieth century. His pictures were exhibited in hundreds of prestigious shows, in scores of museums, and he won awards against top competition. … Aubrey Bodine's photographic career began in 1923 when as an office boy with the Baltimore Sun he submitted photographs of the Thomas Viaduct at Relay to the editor of the Sunday oar, and they were published. From first to last Aubrey Bodine was a newspaperman covering all sorts of stories with his camera - news events, famous people, unusual places and curious activities. … Some of his best pictures were literally composed in the viewfinder of the camera. In other cases he worked on the negative with dyes and intensifiers, pencil marking, and even scraping to produce the effect he had in mind. He added clouds photographically, and made other even more elaborate manipulations. Bodine's rationale for all these technical alterations of the natural scene was simply that, like the painter, he worked from the model and selected those features which suited his sense of mood, proportion and design. The picture was the thing, not the manner of arriving at it. He did not take a picture, he made a picture. (Source: http://www.AAubreyBodine.com)

          Potomack Company
        • A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, ABSTRACTION LENS, 1948, Gelatin silver print, Sheet: 17 x 14 1/4 in. (43.2 x 36.2 cm.)
          Jun. 27, 2024

          A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, ABSTRACTION LENS, 1948, Gelatin silver print, Sheet: 17 x 14 1/4 in. (43.2 x 36.2 cm.)

          Est: $800 - $1,200

          A. AUBREY BODINE AMERICAN, BALTIMORE, MARYLAND, 1906-1970 ABSTRACTION LENS, 1948 Gelatin silver print Lower right signed: A. Aubrey Bodine; verso stamped: Photograph & Printed by/ A. Aubrey Bodine, Hon, F.P.S.A.,F.N.P.P./Image ID #50-422 Catalogue note: In photographic circles around the world, A. Aubrey Bodine was regarded as one of the finest pictorialists of the twentieth century. His pictures were exhibited in hundreds of prestigious shows, in scores of museums, and he won awards against top competition. … Aubrey Bodine's photographic career began in 1923 when as an office boy with the Baltimore Sun he submitted photographs of the Thomas Viaduct at Relay to the editor of the Sunday oar, and they were published. From first to last Aubrey Bodine was a newspaperman covering all sorts of stories with his camera - news events, famous people, unusual places and curious activities. … Some of his best pictures were literally composed in the viewfinder of the camera. In other cases he worked on the negative with dyes and intensifiers, pencil marking, and even scraping to produce the effect he had in mind. He added clouds photographically, and made other even more elaborate manipulations. Bodine's rationale for all these technical alterations of the natural scene was simply that, like the painter, he worked from the model and selected those features which suited his sense of mood, proportion and design. The picture was the thing, not the manner of arriving at it. He did not take a picture, he made a picture. (Source: http://www.AAubreyBodine.com)

          Potomack Company
        • A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, HARPERS FERRY, MD. VA. WEST VA., 1944, Gelatin silver print, Sheet: 11 x 14 in. (27.9 x 35.6 cm.)
          Jun. 27, 2024

          A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, HARPERS FERRY, MD. VA. WEST VA., 1944, Gelatin silver print, Sheet: 11 x 14 in. (27.9 x 35.6 cm.)

          Est: $200 - $300

          A. AUBREY BODINE AMERICAN, BALTIMORE, MARYLAND, 1906-1970 HARPERS FERRY, MD. VA. WEST VA., 1944 Gelatin silver print Lower left titled: Harpers Ferry, Md. Va. West Va; lower right signed: A. Aubrey Bodine; verso stamped: Photograph & Printed by/ A. Aubrey Bodine, Hon, F.P.S.A.,F.N.P.P./Image ID #08-154 Catalogue note: In photographic circles around the world, A. Aubrey Bodine was regarded as one of the finest pictorialists of the twentieth century. His pictures were exhibited in hundreds of prestigious shows, in scores of museums, and he won awards against top competition. … Aubrey Bodine's photographic career began in 1923 when as an office boy with the Baltimore Sun he submitted photographs of the Thomas Viaduct at Relay to the editor of the Sunday oar, and they were published. From first to last Aubrey Bodine was a newspaperman covering all sorts of stories with his camera - news events, famous people, unusual places and curious activities. … Some of his best pictures were literally composed in the viewfinder of the camera. In other cases he worked on the negative with dyes and intensifiers, pencil marking, and even scraping to produce the effect he had in mind. He added clouds photographically, and made other even more elaborate manipulations. Bodine's rationale for all these technical alterations of the natural scene was simply that, like the painter, he worked from the model and selected those features which suited his sense of mood, proportion and design. The picture was the thing, not the manner of arriving at it. He did not take a picture, he made a picture. (Source: AAubreyBodine.com)

          Potomack Company
        • A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, LAKE DRUMMOND, 1961, Gelatin silver print, Sheet: 11 x 14 in. (27.9 x 35.6 cm.)
          Jun. 27, 2024

          A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, LAKE DRUMMOND, 1961, Gelatin silver print, Sheet: 11 x 14 in. (27.9 x 35.6 cm.)

          Est: $200 - $300

          A. AUBREY BODINE AMERICAN, BALTIMORE, MARYLAND, 1906-1970 LAKE DRUMMOND, 1961 Gelatin silver print Lower left titled: Lake Drummond; lower right signed: A. Aubrey Bodine; verso stamped: Photograph & Printed by / A. Aubrey Bodine, Hon, F.P.S.A.,F.N.P.P./Image ID # 03-128 Catalogue note: In photographic circles around the world, A. Aubrey Bodine was regarded as one of the finest pictorialists of the twentieth century. His pictures were exhibited in hundreds of prestigious shows, in scores of museums, and he won awards against top competition. … Aubrey Bodine's photographic career began in 1923 when as an office boy with the Baltimore Sun he submitted photographs of the Thomas Viaduct at Relay to the editor of the Sunday oar, and they were published. From first to last Aubrey Bodine was a newspaperman covering all sorts of stories with his camera - news events, famous people, unusual places and curious activities. … Some of his best pictures were literally composed in the viewfinder of the camera. In other cases he worked on the negative with dyes and intensifiers, pencil marking, and even scraping to produce the effect he had in mind. He added clouds photographically, and made other even more elaborate manipulations. Bodine's rationale for all these technical alterations of the natural scene was simply that, like the painter, he worked from the model and selected those features which suited his sense of mood, proportion and design. The picture was the thing, not the manner of arriving at it. He did not take a picture, he made a picture. (Source: www.AAubreyBodine.com)

          Potomack Company
        • A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, VIRGINIA MUSEUM OF FINE ART, 1961, Gelatin silver print, Sheet: 11 x 14 in. (27.9 x 35.6 cm.)
          Jun. 27, 2024

          A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, VIRGINIA MUSEUM OF FINE ART, 1961, Gelatin silver print, Sheet: 11 x 14 in. (27.9 x 35.6 cm.)

          Est: $200 - $300

          A. AUBREY BODINE AMERICAN, BALTIMORE, MARYLAND, 1906-1970 VIRGINIA MUSEUM OF FINE ART, 1961 Gelatin silver print Lower left titled: Virginia Museum of Fine Arts; lower right signed: A. Aubrey Bodine; verso stamped: Photograph & Printed by / A. Aubrey Bodine, Hon, F.P.S.A.,F.N.P.P./Image ID # 20-143 Catalogue note: In photographic circles around the world, A. Aubrey Bodine was regarded as one of the finest pictorialists of the twentieth century. His pictures were exhibited in hundreds of prestigious shows, in scores of museums, and he won awards against top competition. … Aubrey Bodine's photographic career began in 1923 when as an office boy with the Baltimore Sun he submitted photographs of the Thomas Viaduct at Relay to the editor of the Sunday oar, and they were published. From first to last Aubrey Bodine was a newspaperman covering all sorts of stories with his camera - news events, famous people, unusual places and curious activities. … Some of his best pictures were literally composed in the viewfinder of the camera. In other cases he worked on the negative with dyes and intensifiers, pencil marking, and even scraping to produce the effect he had in mind. He added clouds photographically, and made other even more elaborate manipulations. Bodine's rationale for all these technical alterations of the natural scene was simply that, like the painter, he worked from the model and selected those features which suited his sense of mood, proportion and design. The picture was the thing, not the manner of arriving at it. He did not take a picture, he made a picture. (Source: AAubreyBodine.com)

          Potomack Company
        • A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, ZEBRA, 1960, Gelatin silver print, Photograph: 7 5/8 x 9 1/2 in. (19.4 x 24.1 cm.), Mat: 14 1/4 x 16 3/4 in. (36.2 x 42.5 cm.)
          Jun. 27, 2024

          A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, ZEBRA, 1960, Gelatin silver print, Photograph: 7 5/8 x 9 1/2 in. (19.4 x 24.1 cm.), Mat: 14 1/4 x 16 3/4 in. (36.2 x 42.5 cm.)

          Est: $500 - $750

          A. AUBREY BODINE AMERICAN, BALTIMORE, MARYLAND, 1906-1970 ZEBRA, 1960 Gelatin silver print Lower left titled on mat: Zebra; lower right signed on mat: A. Aubrey Bodine; verso stamped: Photograph & Printed by/ A. Aubrey Bodine, Hon, F.P.S.A.,F.N.P.P./Image ID #50-803 Catalogue note: In photographic circles around the world, A. Aubrey Bodine was regarded as one of the finest pictorialists of the twentieth century. His pictures were exhibited in hundreds of prestigious shows, in scores of museums, and he won awards against top competition. … Aubrey Bodine's photographic career began in 1923 when as an office boy with the Baltimore Sun he submitted photographs of the Thomas Viaduct at Relay to the editor of the Sunday oar, and they were published. From first to last Aubrey Bodine was a newspaperman covering all sorts of stories with his camera - news events, famous people, unusual places and curious activities. … Some of his best pictures were literally composed in the viewfinder of the camera. In other cases he worked on the negative with dyes and intensifiers, pencil marking, and even scraping to produce the effect he had in mind. He added clouds photographically, and made other even more elaborate manipulations. Bodine's rationale for all these technical alterations of the natural scene was simply that, like the painter, he worked from the model and selected those features which suited his sense of mood, proportion and design. The picture was the thing, not the manner of arriving at it. He did not take a picture, he made a picture. (Source: AAubreyBodine.com)

          Potomack Company
        • A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, TORSO, 1945, Gelatin silver print, Sight: 15 1/2 x 12 1/2 in. (39.4 x 31.8 cm.), Mat: 20 x 16 in. (50.8 x 40.6 cm.)
          Jun. 27, 2024

          A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, TORSO, 1945, Gelatin silver print, Sight: 15 1/2 x 12 1/2 in. (39.4 x 31.8 cm.), Mat: 20 x 16 in. (50.8 x 40.6 cm.)

          Est: $500 - $750

          A. AUBREY BODINE AMERICAN, BALTIMORE, MARYLAND, 1906-1970 TORSO, 1945 Gelatin silver print Lower left titled: Torso; lower right signed: A. Aubrey Bodine; verso stamped: Photograph & Printed by/ A. Aubrey Bodine, Hon, F.P.S.A.,F.N.P.P./Image ID #50-114; verso stamped: PHOTOGRAPH BY / A. AUBREY BODINE / 805 PARK AVENUE / BALTIMORE-1.MD.; verso exhibition labels: Photographic Society of Philadelphia; The Photographic Guild of Detroit; American Association of University Women Camera Group (Tiffin, OH); Newburgh Camera Club (Newburgh, NY); Chicago International Salon of Photography / Chicago Historical Society; The Queen City Pictorialists (Cincinnati, OH); The Cleveland Photographic Society Catalogue note: The subject is the artist's wife, Nancy Tait Bodine. The photo was taken in the Bodine family kitchen. In photographic circles around the world, A. Aubrey Bodine was regarded as one of the finest pictorialists of the twentieth century. His pictures were exhibited in hundreds of prestigious shows, in scores of museums, and he won awards against top competition. … Aubrey Bodine's photographic career began in 1923 when as an office boy with the Baltimore Sun he submitted photographs of the Thomas Viaduct at Relay to the editor of the Sunday oar, and they were published. From first to last Aubrey Bodine was a newspaperman covering all sorts of stories with his camera - news events, famous people, unusual places and curious activities. … Some of his best pictures were literally composed in the viewfinder of the camera. In other cases he worked on the negative with dyes and intensifiers, pencil marking, and even scraping to produce the effect he had in mind. He added clouds photographically, and made other even more elaborate manipulations. Bodine's rationale for all these technical alterations of the natural scene was simply that, like the painter, he worked from the model and selected those features which suited his sense of mood, proportion and design. The picture was the thing, not the manner of arriving at it. He did not take a picture, he made a picture. (Source: AAubreyBodine.com)

          Potomack Company
        • A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, NORFOLK WESTERN COAL PIER FOUR - LAMBETH PT. OFF HAMPTON ROADS, 1964, Gelatin silver print, Sheet: 11 x 14 in. (27.9 x 35.6 cm.)
          Apr. 23, 2024

          A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, NORFOLK WESTERN COAL PIER FOUR - LAMBETH PT. OFF HAMPTON ROADS, 1964, Gelatin silver print, Sheet: 11 x 14 in. (27.9 x 35.6 cm.)

          Est: $300 - $500

          A. AUBREY BODINE AMERICAN, BALTIMORE, MARYLAND, 1906-1970 NORFOLK WESTERN COAL PIER FOUR - LAMBETH PT. OFF HAMPTON ROADS, 1964 Gelatin silver print Lower left titled: Norfolk-Western Coal Pier Four - Lambeth Pt. off Hampton Roads; lower right signed: A. Aubrey Bodine; verso stamped: Photograph & Printed by/ A. Aubrey Bodine, Hon, F.P.S.A.,F.N.P.P./Image ID #04-341 Catalogue note: In photographic circles around the world, A. Aubrey Bodine was regarded as one of the finest pictorialists of the twentieth century. His pictures were exhibited in hundreds of prestigious shows, in scores of museums, and he won awards against top competition. … Aubrey Bodine's photographic career began in 1923 when as an office boy with the Baltimore Sun he submitted photographs of the Thomas Viaduct at Relay to the editor of the Sunday oar, and they were published. From first to last Aubrey Bodine was a newspaperman covering all sorts of stories with his camera - news events, famous people, unusual places and curious activities. … Some of his best pictures were literally composed in the viewfinder of the camera. In other cases he worked on the negative with dyes and intensifiers, pencil marking, and even scraping to produce the effect he had in mind. He added clouds photographically, and made other even more elaborate manipulations. Bodine's rationale for all these technical alterations of the natural scene was simply that, like the painter, he worked from the model and selected those features which suited his sense of mood, proportion and design. The picture was the thing, not the manner of arriving at it. He did not take a picture, he made a picture. (Source: AAubreyBodine.com)

          Potomack Company
        • A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, HARPERS FERRY, MD. VA. WEST VA., 1944, Gelatin silver print, Sheet: 11 x 14 in. (27.9 x 35.6 cm.)
          Apr. 23, 2024

          A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, HARPERS FERRY, MD. VA. WEST VA., 1944, Gelatin silver print, Sheet: 11 x 14 in. (27.9 x 35.6 cm.)

          Est: $300 - $500

          A. AUBREY BODINE AMERICAN, BALTIMORE, MARYLAND, 1906-1970 HARPERS FERRY, MD. VA. WEST VA., 1944 Gelatin silver print Lower left titled: Harpers Ferry, Md. Va. West Va; lower right signed: A. Aubrey Bodine; verso stamped: Photograph & Printed by/ A. Aubrey Bodine, Hon, F.P.S.A.,F.N.P.P./Image ID #08-154 Catalogue note: In photographic circles around the world, A. Aubrey Bodine was regarded as one of the finest pictorialists of the twentieth century. His pictures were exhibited in hundreds of prestigious shows, in scores of museums, and he won awards against top competition. … Aubrey Bodine's photographic career began in 1923 when as an office boy with the Baltimore Sun he submitted photographs of the Thomas Viaduct at Relay to the editor of the Sunday oar, and they were published. From first to last Aubrey Bodine was a newspaperman covering all sorts of stories with his camera - news events, famous people, unusual places and curious activities. … Some of his best pictures were literally composed in the viewfinder of the camera. In other cases he worked on the negative with dyes and intensifiers, pencil marking, and even scraping to produce the effect he had in mind. He added clouds photographically, and made other even more elaborate manipulations. Bodine's rationale for all these technical alterations of the natural scene was simply that, like the painter, he worked from the model and selected those features which suited his sense of mood, proportion and design. The picture was the thing, not the manner of arriving at it. He did not take a picture, he made a picture. (Source: AAubreyBodine.com)

          Potomack Company
        • A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, LAKE DRUMMOND, 1961, Gelatin silver print, Sheet: 11 x 14 in. (27.9 x 35.6 cm.)
          Apr. 23, 2024

          A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, LAKE DRUMMOND, 1961, Gelatin silver print, Sheet: 11 x 14 in. (27.9 x 35.6 cm.)

          Est: $300 - $500

          A. AUBREY BODINE AMERICAN, BALTIMORE, MARYLAND, 1906-1970 LAKE DRUMMOND, 1961 Gelatin silver print Lower left titled: Lake Drummond; lower right signed: A. Aubrey Bodine; verso stamped: Photograph & Printed by / A. Aubrey Bodine, Hon, F.P.S.A.,F.N.P.P./Image ID # 03-128 Catalogue note: In photographic circles around the world, A. Aubrey Bodine was regarded as one of the finest pictorialists of the twentieth century. His pictures were exhibited in hundreds of prestigious shows, in scores of museums, and he won awards against top competition. … Aubrey Bodine's photographic career began in 1923 when as an office boy with the Baltimore Sun he submitted photographs of the Thomas Viaduct at Relay to the editor of the Sunday oar, and they were published. From first to last Aubrey Bodine was a newspaperman covering all sorts of stories with his camera - news events, famous people, unusual places and curious activities. … Some of his best pictures were literally composed in the viewfinder of the camera. In other cases he worked on the negative with dyes and intensifiers, pencil marking, and even scraping to produce the effect he had in mind. He added clouds photographically, and made other even more elaborate manipulations. Bodine's rationale for all these technical alterations of the natural scene was simply that, like the painter, he worked from the model and selected those features which suited his sense of mood, proportion and design. The picture was the thing, not the manner of arriving at it. He did not take a picture, he made a picture. (Source: www.AAubreyBodine.com)

          Potomack Company
        • A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, DORIS HAMLIN, 1936, Gelatin silver print, Sheet: 11 x 14 in. (27.9 x 35.6 cm.)
          Apr. 23, 2024

          A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, DORIS HAMLIN, 1936, Gelatin silver print, Sheet: 11 x 14 in. (27.9 x 35.6 cm.)

          Est: $300 - $500

          A. AUBREY BODINE AMERICAN, BALTIMORE, MARYLAND, 1906-1970 DORIS HAMLIN, 1936 Gelatin silver print Lower left titled: Doris Hamlin; lower right signed: A. Aubrey Bodine; verso stamped: Photograph & Printed by / A. Aubrey Bodine, Hon, F.P.S.A.,F.N.P.P./Image ID # 18-049 Catalogue note: In photographic circles around the world, A. Aubrey Bodine was regarded as one of the finest pictorialists of the twentieth century. His pictures were exhibited in hundreds of prestigious shows, in scores of museums, and he won awards against top competition. … Aubrey Bodine's photographic career began in 1923 when as an office boy with the Baltimore Sun he submitted photographs of the Thomas Viaduct at Relay to the editor of the Sunday oar, and they were published. From first to last Aubrey Bodine was a newspaperman covering all sorts of stories with his camera - news events, famous people, unusual places and curious activities. … Some of his best pictures were literally composed in the viewfinder of the camera. In other cases he worked on the negative with dyes and intensifiers, pencil marking, and even scraping to produce the effect he had in mind. He added clouds photographically, and made other even more elaborate manipulations. Bodine's rationale for all these technical alterations of the natural scene was simply that, like the painter, he worked from the model and selected those features which suited his sense of mood, proportion and design. The picture was the thing, not the manner of arriving at it. He did not take a picture, he made a picture. (Source: AAubreyBodine.com)

          Potomack Company
        • A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, VIRGINIA MUSEUM OF FINE ART, 1961, Gelatin silver print, Sheet: 11 x 14 in. (27.9 x 35.6 cm.)
          Apr. 23, 2024

          A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, VIRGINIA MUSEUM OF FINE ART, 1961, Gelatin silver print, Sheet: 11 x 14 in. (27.9 x 35.6 cm.)

          Est: $300 - $500

          A. AUBREY BODINE AMERICAN, BALTIMORE, MARYLAND, 1906-1970 VIRGINIA MUSEUM OF FINE ART, 1961 Gelatin silver print Lower left titled: Virginia Museum of Fine Arts; lower right signed: A. Aubrey Bodine; verso stamped: Photograph & Printed by / A. Aubrey Bodine, Hon, F.P.S.A.,F.N.P.P./Image ID # 20-143 Catalogue note: In photographic circles around the world, A. Aubrey Bodine was regarded as one of the finest pictorialists of the twentieth century. His pictures were exhibited in hundreds of prestigious shows, in scores of museums, and he won awards against top competition. … Aubrey Bodine's photographic career began in 1923 when as an office boy with the Baltimore Sun he submitted photographs of the Thomas Viaduct at Relay to the editor of the Sunday oar, and they were published. From first to last Aubrey Bodine was a newspaperman covering all sorts of stories with his camera - news events, famous people, unusual places and curious activities. … Some of his best pictures were literally composed in the viewfinder of the camera. In other cases he worked on the negative with dyes and intensifiers, pencil marking, and even scraping to produce the effect he had in mind. He added clouds photographically, and made other even more elaborate manipulations. Bodine's rationale for all these technical alterations of the natural scene was simply that, like the painter, he worked from the model and selected those features which suited his sense of mood, proportion and design. The picture was the thing, not the manner of arriving at it. He did not take a picture, he made a picture. (Source: AAubreyBodine.com)

          Potomack Company
        • A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, OCEAN BALLET, 1946, Gelatin silver print, Photograph: 16 x 14 in. (40.6 x 35.6 cm.), Mat: 20 x 16 in. (50.8 x 40.6 cm.)
          Apr. 23, 2024

          A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, OCEAN BALLET, 1946, Gelatin silver print, Photograph: 16 x 14 in. (40.6 x 35.6 cm.), Mat: 20 x 16 in. (50.8 x 40.6 cm.)

          Est: $1,000 - $1,500

          A. AUBREY BODINE AMERICAN, BALTIMORE, MARYLAND, 1906-1970 OCEAN BALLET, 1946 Gelatin silver print Lower left titled on mat: Ocean Ballet; lower right signed and dated on backing: A. Aubrey Bodine / 1946; verso stamped: Photograph & Printed by / A. Aubrey Bodine, Hon, F.P.S.A.,F.N.P.P./Image ID # 50-011; verso stamped: PHOTOGRAPH BY / A. AUBREY BODINE / 805 PARK AVENUE / BALTIMORE-1-MD Catalogue note: This photograph captures dancer Marian Young on the beach at Ocean City, Maryland. It served as the cover for American photography magazine "The Camera: A Practical Monthly Magazine for Photographers" (published from the late 19th century until 1953). A note from The Camera's staff to the engraver reads, "This is a cover picture and needs plenty of guts. Exception..soften down the clouds above and in front of the dancer's head so they will not compete with it in interest." In photographic circles around the world, A. Aubrey Bodine was regarded as one of the finest pictorialists of the twentieth century. His pictures were exhibited in hundreds of prestigious shows, in scores of museums, and he won awards against top competition. … Aubrey Bodine's photographic career began in 1923 when as an office boy with the Baltimore Sun he submitted photographs of the Thomas Viaduct at Relay to the editor of the Sunday oar, and they were published. From first to last Aubrey Bodine was a newspaperman covering all sorts of stories with his camera - news events, famous people, unusual places and curious activities. … Some of his best pictures were literally composed in the viewfinder of the camera. In other cases he worked on the negative with dyes and intensifiers, pencil marking, and even scraping to produce the effect he had in mind. He added clouds photographically, and made other even more elaborate manipulations. Bodine's rationale for all these technical alterations of the natural scene was simply that, like the painter, he worked from the model and selected those features which suited his sense of mood, proportion and design. The picture was the thing, not the manner of arriving at it. He did not take a picture, he made a picture. (Source: AAubreyBodine.com)

          Potomack Company
        • A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, TORSO, 1945, Gelatin silver print, Sight: 15 1/2 x 12 1/2 in. (39.4 x 31.8 cm.), Mat: 20 x 16 in. (50.8 x 40.6 cm.)
          Apr. 23, 2024

          A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, TORSO, 1945, Gelatin silver print, Sight: 15 1/2 x 12 1/2 in. (39.4 x 31.8 cm.), Mat: 20 x 16 in. (50.8 x 40.6 cm.)

          Est: $1,000 - $1,500

          A. AUBREY BODINE AMERICAN, BALTIMORE, MARYLAND, 1906-1970 TORSO, 1945 Gelatin silver print Lower left titled: Torso; lower right signed: A. Aubrey Bodine; verso stamped: Photograph & Printed by/ A. Aubrey Bodine, Hon, F.P.S.A.,F.N.P.P./Image ID #50-114; verso stamped: PHOTOGRAPH BY / A. AUBREY BODINE / 805 PARK AVENUE / BALTIMORE-1.MD.; verso exhibition labels: Photographic Society of Philadelphia; The Photographic Guild of Detroit; American Association of University Women Camera Group (Tiffin, OH); Newburgh Camera Club (Newburgh, NY); Chicago International Salon of Photography / Chicago Historical Society; The Queen City Pictorialists (Cincinnati, OH); The Cleveland Photographic Society Catalogue note: The subject is the artist's wife, Nancy Tait Bodine. The photo was taken in the Bodine family kitchen. In photographic circles around the world, A. Aubrey Bodine was regarded as one of the finest pictorialists of the twentieth century. His pictures were exhibited in hundreds of prestigious shows, in scores of museums, and he won awards against top competition. … Aubrey Bodine's photographic career began in 1923 when as an office boy with the Baltimore Sun he submitted photographs of the Thomas Viaduct at Relay to the editor of the Sunday oar, and they were published. From first to last Aubrey Bodine was a newspaperman covering all sorts of stories with his camera - news events, famous people, unusual places and curious activities. … Some of his best pictures were literally composed in the viewfinder of the camera. In other cases he worked on the negative with dyes and intensifiers, pencil marking, and even scraping to produce the effect he had in mind. He added clouds photographically, and made other even more elaborate manipulations. Bodine's rationale for all these technical alterations of the natural scene was simply that, like the painter, he worked from the model and selected those features which suited his sense of mood, proportion and design. The picture was the thing, not the manner of arriving at it. He did not take a picture, he made a picture. (Source: AAubreyBodine.com)

          Potomack Company
        • A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, ZEBRA, 1960, Gelatin silver print, Photograph: 7 5/8 x 9 1/2 in. (19.4 x 24.1 cm.), Mat: 14 1/4 x 16 3/4 in. (36.2 x 42.5 cm.)
          Apr. 23, 2024

          A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, ZEBRA, 1960, Gelatin silver print, Photograph: 7 5/8 x 9 1/2 in. (19.4 x 24.1 cm.), Mat: 14 1/4 x 16 3/4 in. (36.2 x 42.5 cm.)

          Est: $1,000 - $1,500

          A. AUBREY BODINE AMERICAN, BALTIMORE, MARYLAND, 1906-1970 ZEBRA, 1960 Gelatin silver print Lower left titled on mat: Zebra; lower right signed on mat: A. Aubrey Bodine; verso stamped: Photograph & Printed by/ A. Aubrey Bodine, Hon, F.P.S.A.,F.N.P.P./Image ID #50-803 Catalogue note: In photographic circles around the world, A. Aubrey Bodine was regarded as one of the finest pictorialists of the twentieth century. His pictures were exhibited in hundreds of prestigious shows, in scores of museums, and he won awards against top competition. … Aubrey Bodine's photographic career began in 1923 when as an office boy with the Baltimore Sun he submitted photographs of the Thomas Viaduct at Relay to the editor of the Sunday oar, and they were published. From first to last Aubrey Bodine was a newspaperman covering all sorts of stories with his camera - news events, famous people, unusual places and curious activities. … Some of his best pictures were literally composed in the viewfinder of the camera. In other cases he worked on the negative with dyes and intensifiers, pencil marking, and even scraping to produce the effect he had in mind. He added clouds photographically, and made other even more elaborate manipulations. Bodine's rationale for all these technical alterations of the natural scene was simply that, like the painter, he worked from the model and selected those features which suited his sense of mood, proportion and design. The picture was the thing, not the manner of arriving at it. He did not take a picture, he made a picture. (Source: AAubreyBodine.com)

          Potomack Company
        • Signed A. Aubrey Bodine, 'Early Morning Charge'. Gelatin Silver Photography Print
          Apr. 12, 2024

          Signed A. Aubrey Bodine, 'Early Morning Charge'. Gelatin Silver Photography Print

          Est: $1,000 - $2,000

          Signed A. Aubrey Bodine, 'Early Morning Charge'. Gelatin Silver Photographic Print A. Aubrey Bodine (American, 1906-1970). 'Early Morning Charge', 1943. Gelatin silver print, signed lower right in pen and stamped to verso with Image ID # in pencil. Regarded as one of the finest pictorialists of the 20th century, his pictures were exhibited in many shows and museums. Bodine was a romantic pictorialist and this shows in his choice of subjects. This image depicts a civil war reenactment which was staged by him in a Baltimore, MD park. Sheet size - 10 1/2" high x 14" wide. Image - 10" high x 13" wide.

          Collective Hudson, LLC
        • A. Aubrey Bodine. Three Assorted Baltimore Photographs
          Apr. 06, 2024

          A. Aubrey Bodine. Three Assorted Baltimore Photographs

          Est: $300 - $500

          (American, 1906-1970). Depicting queues and consumers, from the ex Baltimore Sun Archives collection, 8 x 10 in., all with various photographers stamps and notes on verso and a two with editing marking on recto, all unsigned.

          Alex Cooper
        • A. Aubrey Bodine. Three Baltimore View Photographs
          Apr. 06, 2024

          A. Aubrey Bodine. Three Baltimore View Photographs

          Est: $300 - $500

          (American, 1906-1970). From the ex Baltimore Sun Archives collection, sizes of two of the photos: 8 x 10 in., sizes of the remaining one: 9 x 14 in., all with various photographers stamps and notes on verso and a two with editing marking on recto, all unsigned.

          Alex Cooper
        • A. Aubrey Bodine. 14 Views of Tyson St., Baltimore, photographs
          Apr. 06, 2024

          A. Aubrey Bodine. 14 Views of Tyson St., Baltimore, photographs

          Est: $300 - $500

          (American, 1906-1970). From the ex Baltimore Sun Archives collection, sizes of eleven of the photos: 11 x 14 in., sizes of the remaining three: 8 x 10 in., all with various photographers stamps on verso and a few with editing marking on recto, all unsigned.

          Alex Cooper
        • A. Aubrey Bodine. Group of 44 Assorted Photographs
          Apr. 06, 2024

          A. Aubrey Bodine. Group of 44 Assorted Photographs

          Est: $600 - $800

          (American, 1906-1970). From the ex Baltimore Sun Archives collection, depicting scenes and locations of the Maryland countryside, sizes of largest: 14 x 11 in., all unframed.

          Alex Cooper
        • "Pops in His Patio", Photograph by Aubrey Bodine.
          Feb. 24, 2024

          "Pops in His Patio", Photograph by Aubrey Bodine.

          Est: $300 - $600

          A. Aubrey Bodine (American, 1906-1970). The lower margin of this photograph reads "'Pops in His Patio', To a Grand Old Man who hung prints in his first year of exhibiting / A. Aubrey Bodine, 1944". It depicts Joseph "Pops" Woodson Whitesell and an older woman at his French Quarter home. The work is floated in a gilt frame against a black background. The photograph has a few scuffs and areas of discoloration. The picture measures 18 1/2" x 14 1/2", and the frame measures 26" x 20". In-house shipping is available. Please see our website regarding our in-house shipping procedures.

          Direct Auction Galleries, Inc.
        • A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, POTOMAC RIVER BRIDGE, 1949, Gelatin silver print, 11 x 14 in. (27.9 x 35.6 cm.)
          Feb. 06, 2024

          A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, POTOMAC RIVER BRIDGE, 1949, Gelatin silver print, 11 x 14 in. (27.9 x 35.6 cm.)

          Est: $300 - $500

          A. AUBREY BODINE AMERICAN, BALTIMORE, MARYLAND, 1906-1970 POTOMAC RIVER BRIDGE, 1949 Gelatin silver print Lower left titled; Potomac River Bridge; lower right signed: A. Aubrey Bodine; verso stamped: Photograph & Printed by/ A. Aubrey Bodine, Hon, F.P.S.A.,F.N.P.P./Image ID # 06-173 Catalogue note: In photographic circles around the world, A. Aubrey Bodine was regarded as one of the finest pictorialists of the twentieth century. His pictures were exhibited in hundreds of prestigious shows, in scores of museums, and he won awards against top competition. … Aubrey Bodine's photographic career began in 1923 when as an office boy with the Baltimore Sun he submitted photographs of the Thomas Viaduct at Relay to the editor of the Sunday oar, and they were published. From first to last Aubrey Bodine was a newspaperman covering all sorts of stories with his camera - news events, famous people, unusual places and curious activities. … Some of his best pictures were literally composed in the viewfinder of the camera. In other cases he worked on the negative with dyes and intensifiers, pencil marking, and even scraping to produce the effect he had in mind. He added clouds photographically, and made other even more elaborate manipulations. Bodine's rationale for all these technical alterations of the natural scene was simply that, like the painter, he worked from the model and selected those features which suited his sense of mood, proportion and design. The picture was the thing, not the manner of arriving at it. He did not take a picture, he made a picture. (Source: http://www.AAubreyBodine.com)

          Potomack Company
        • A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, IWO JIMA, 1955, Gelatin silver print, 14 x 11 in. (35.6 x 27.9 cm.)
          Feb. 06, 2024

          A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, IWO JIMA, 1955, Gelatin silver print, 14 x 11 in. (35.6 x 27.9 cm.)

          Est: $300 - $500

          A. AUBREY BODINE AMERICAN, BALTIMORE, MARYLAND, 1906-1970 IWO JIMA, 1955 Gelatin silver print Lower left titled: Iwo Jima; lower right A. Aubrey Bodine; verso stamped: Photograph & Printed by/ A. Aubrey Bodine, Hon, F.P.S.A.,F.N.P.P./Image ID # 21-148; Verso stamped: from/ THE FACE OF VIRGINA/ By A. Aubrey Bodine Catalogue note: In photographic circles around the world, A. Aubrey Bodine was regarded as one of the finest pictorialists of the twentieth century. His pictures were exhibited in hundreds of prestigious shows, in scores of museums, and he won awards against top competition. … Aubrey Bodine's photographic career began in 1923 when as an office boy with the Baltimore Sun he submitted photographs of the Thomas Viaduct at Relay to the editor of the Sunday oar, and they were published. From first to last Aubrey Bodine was a newspaperman covering all sorts of stories with his camera - news events, famous people, unusual places and curious activities. … Some of his best pictures were literally composed in the viewfinder of the camera. In other cases he worked on the negative with dyes and intensifiers, pencil marking, and even scraping to produce the effect he had in mind. He added clouds photographically, and made other even more elaborate manipulations. Bodine's rationale for all these technical alterations of the natural scene was simply that, like the painter, he worked from the model and selected those features which suited his sense of mood, proportion and design. The picture was the thing, not the manner of arriving at it. He did not take a picture, he made a picture. (Source: http://www.AAubreyBodine.com)

          Potomack Company
        • A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, U.S. CAPITOL, 1930, Gelatin silver print, 14 x 11 in. (35.6 x 27.9 cm.)
          Feb. 06, 2024

          A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, U.S. CAPITOL, 1930, Gelatin silver print, 14 x 11 in. (35.6 x 27.9 cm.)

          Est: $300 - $500

          A. AUBREY BODINE AMERICAN, BALTIMORE, MARYLAND, 1906-1970 U.S. CAPITOL, 1930 Gelatin silver print Lower right signed: A. Aubrey Bodine; verso stamped: Photograph & Printed by / A. Aubrey Bodine, Hon, F.P.S.A.,F.N.P.P./Image ID # 33-007 Catalogue note: In photographic circles around the world, A. Aubrey Bodine was regarded as one of the finest pictorialists of the twentieth century. His pictures were exhibited in hundreds of prestigious shows, in scores of museums, and he won awards against top competition. … Aubrey Bodine's photographic career began in 1923 when as an office boy with the Baltimore Sun he submitted photographs of the Thomas Viaduct at Relay to the editor of the Sunday oar, and they were published. From first to last Aubrey Bodine was a newspaperman covering all sorts of stories with his camera - news events, famous people, unusual places and curious activities. … Some of his best pictures were literally composed in the viewfinder of the camera. In other cases he worked on the negative with dyes and intensifiers, pencil marking, and even scraping to produce the effect he had in mind. He added clouds photographically, and made other even more elaborate manipulations. Bodine's rationale for all these technical alterations of the natural scene was simply that, like the painter, he worked from the model and selected those features which suited his sense of mood, proportion and design. The picture was the thing, not the manner of arriving at it. He did not take a picture, he made a picture. (Source: http://www.AAubreyBodine.com)

          Potomack Company
        • A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, MT. ROGERS 5719 FT HIGHEST IN VA, 1962, Gelatin silver print, 11 x 14 in. (27.9 x 35.6 cm.)
          Feb. 06, 2024

          A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, MT. ROGERS 5719 FT HIGHEST IN VA, 1962, Gelatin silver print, 11 x 14 in. (27.9 x 35.6 cm.)

          Est: $300 - $500

          A. AUBREY BODINE AMERICAN, BALTIMORE, MARYLAND, 1906-1970 MT. ROGERS 5719 FT HIGHEST IN VA, 1962 Gelatin silver print Lower left titled: Mt. Rogers 5719 ft. Highest in Va.; lower right signed: A. Aubrey Bodine Verso stamped: Photograph & Printed by/ A. Aubrey Bodine, Hon, F.P.S.A.,F.N.P.P./Image ID # 23-040 Catalogue note: In photographic circles around the world, A. Aubrey Bodine was regarded as one of the finest pictorialists of the twentieth century. His pictures were exhibited in hundreds of prestigious shows, in scores of museums, and he won awards against top competition. … Aubrey Bodine's photographic career began in 1923 when as an office boy with the Baltimore Sun he submitted photographs of the Thomas Viaduct at Relay to the editor of the Sunday oar, and they were published. From first to last Aubrey Bodine was a newspaperman covering all sorts of stories with his camera - news events, famous people, unusual places and curious activities. … Some of his best pictures were literally composed in the viewfinder of the camera. In other cases he worked on the negative with dyes and intensifiers, pencil marking, and even scraping to produce the effect he had in mind. He added clouds photographically, and made other even more elaborate manipulations. Bodine's rationale for all these technical alterations of the natural scene was simply that, like the painter, he worked from the model and selected those features which suited his sense of mood, proportion and design. The picture was the thing, not the manner of arriving at it. He did not take a picture, he made a picture. (Source: http://www.AAubreyBodine.com)

          Potomack Company
        • A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, FALLING SPRINGS - COVINGTON, 1960, Gelatin silver print, 14 x 11 in. (35.6 x 27.9 cm.)
          Feb. 06, 2024

          A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, FALLING SPRINGS - COVINGTON, 1960, Gelatin silver print, 14 x 11 in. (35.6 x 27.9 cm.)

          Est: $300 - $500

          A. AUBREY BODINE AMERICAN, BALTIMORE, MARYLAND, 1906-1970 FALLING SPRINGS - COVINGTON, 1960 Gelatin silver print Lower left titled: Falling Springs, Covington; lower right signed: A. Aubrey Bodine; verso stamped: Photograph & Printed by/ A. Aubrey Bodine, Hon, F.P.S.A.,F.N.P.P./Image ID # 34-147 Catalogue note: In photographic circles around the world, A. Aubrey Bodine was regarded as one of the finest pictorialists of the twentieth century. His pictures were exhibited in hundreds of prestigious shows, in scores of museums, and he won awards against top competition. … Aubrey Bodine's photographic career began in 1923 when as an office boy with the Baltimore Sun he submitted photographs of the Thomas Viaduct at Relay to the editor of the Sunday oar, and they were published. From first to last Aubrey Bodine was a newspaperman covering all sorts of stories with his camera - news events, famous people, unusual places and curious activities. … Some of his best pictures were literally composed in the viewfinder of the camera. In other cases he worked on the negative with dyes and intensifiers, pencil marking, and even scraping to produce the effect he had in mind. He added clouds photographically, and made other even more elaborate manipulations. Bodine's rationale for all these technical alterations of the natural scene was simply that, like the painter, he worked from the model and selected those features which suited his sense of mood, proportion and design. The picture was the thing, not the manner of arriving at it. He did not take a picture, he made a picture. (Source: http://www.AAubreyBodine.com)

          Potomack Company
        • A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, MONTICELLO, 1961, Gelatin silver print, Sheet 13 1/2 x 18 1/4 in. (34.3 x 46.4 cm.), Mat 16 x 20 in. (40.6 x 50.8 cm.)
          Feb. 06, 2024

          A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, MONTICELLO, 1961, Gelatin silver print, Sheet 13 1/2 x 18 1/4 in. (34.3 x 46.4 cm.), Mat 16 x 20 in. (40.6 x 50.8 cm.)

          Est: $1,000 - $1,500

          A. AUBREY BODINE AMERICAN, BALTIMORE, MARYLAND, 1906-1970 MONTICELLO, 1961 Gelatin silver print Lower left titled: Monticello; lower right signed: A. Aubrey Bodine; verso stamped: Photograph & Printed by / A. Aubrey Bodine, Hon, F.P.S.A.,F.N.P.P./Image ID # 50-113 Catalogue note: In photographic circles around the world, A. Aubrey Bodine was regarded as one of the finest pictorialists of the twentieth century. His pictures were exhibited in hundreds of prestigious shows, in scores of museums, and he won awards against top competition. … Aubrey Bodine's photographic career began in 1923 when as an office boy with the Baltimore Sun he submitted photographs of the Thomas Viaduct at Relay to the editor of the Sunday oar, and they were published. From first to last Aubrey Bodine was a newspaperman covering all sorts of stories with his camera - news events, famous people, unusual places and curious activities. … Some of his best pictures were literally composed in the viewfinder of the camera. In other cases he worked on the negative with dyes and intensifiers, pencil marking, and even scraping to produce the effect he had in mind. He added clouds photographically, and made other even more elaborate manipulations. Bodine's rationale for all these technical alterations of the natural scene was simply that, like the painter, he worked from the model and selected those features which suited his sense of mood, proportion and design. The picture was the thing, not the manner of arriving at it. He did not take a picture, he made a picture. (Source: http://www.AAubreyBodine.com)

          Potomack Company
        • A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, ABSTRACTION LENS, 1948, Gelatin silver print, Sheet 17 x 14 1/4 in. (43.2 x 36.2 cm.)
          Feb. 06, 2024

          A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, ABSTRACTION LENS, 1948, Gelatin silver print, Sheet 17 x 14 1/4 in. (43.2 x 36.2 cm.)

          Est: $1,500 - $3,000

          A. AUBREY BODINE AMERICAN, BALTIMORE, MARYLAND, 1906-1970 ABSTRACTION LENS, 1948 Gelatin silver print Lower right signed: A. Aubrey Bodine; Verso stamped: Verso stamped: Photograph & Printed by/ A. Aubrey Bodine, Hon, F.P.S.A.,F.N.P.P./Image ID #50-422 Catalogue note: In photographic circles around the world, A. Aubrey Bodine was regarded as one of the finest pictorialists of the twentieth century. His pictures were exhibited in hundreds of prestigious shows, in scores of museums, and he won awards against top competition. … Aubrey Bodine's photographic career began in 1923 when as an office boy with the Baltimore Sun he submitted photographs of the Thomas Viaduct at Relay to the editor of the Sunday oar, and they were published. From first to last Aubrey Bodine was a newspaperman covering all sorts of stories with his camera - news events, famous people, unusual places and curious activities. … Some of his best pictures were literally composed in the viewfinder of the camera. In other cases he worked on the negative with dyes and intensifiers, pencil marking, and even scraping to produce the effect he had in mind. He added clouds photographically, and made other even more elaborate manipulations. Bodine's rationale for all these technical alterations of the natural scene was simply that, like the painter, he worked from the model and selected those features which suited his sense of mood, proportion and design. The picture was the thing, not the manner of arriving at it. He did not take a picture, he made a picture. (Source: http://www.AAubreyBodine.com)

          Potomack Company
        • A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, BALTIMORE HARBOR, 1955, Gelatin silver print, Sheet 17 x 14 1/4 in. (43.2 x 36.2 cm.)
          Feb. 06, 2024

          A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, BALTIMORE HARBOR, 1955, Gelatin silver print, Sheet 17 x 14 1/4 in. (43.2 x 36.2 cm.)

          Est: $1,500 - $3,000

          A. AUBREY BODINE AMERICAN, BALTIMORE, MARYLAND, 1906-1970 BALTIMORE HARBOR, 1955 Gelatin silver print Lower right signed: A. Aubrey Bodine; verso stamped: Photograph & Printed by/ A. Aubrey Bodine, Hon, F.P.S.A.,F.N.P.P./Image ID #50-499 Catalogue note: In photographic circles around the world, A. Aubrey Bodine was regarded as one of the finest pictorialists of the twentieth century. His pictures were exhibited in hundreds of prestigious shows, in scores of museums, and he won awards against top competition. … Aubrey Bodine's photographic career began in 1923 when as an office boy with the Baltimore Sun he submitted photographs of the Thomas Viaduct at Relay to the editor of the Sunday oar, and they were published. From first to last Aubrey Bodine was a newspaperman covering all sorts of stories with his camera - news events, famous people, unusual places and curious activities. … Some of his best pictures were literally composed in the viewfinder of the camera. In other cases he worked on the negative with dyes and intensifiers, pencil marking, and even scraping to produce the effect he had in mind. He added clouds photographically, and made other even more elaborate manipulations. Bodine's rationale for all these technical alterations of the natural scene was simply that, like the painter, he worked from the model and selected those features which suited his sense of mood, proportion and design. The picture was the thing, not the manner of arriving at it. He did not take a picture, he made a picture. (Source: http://www.AAubreyBodine.com)

          Potomack Company
        • A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, BUILDERS ZIG SAW, 1956, Gelatin silver print, Sheet 15 3/4 x 13 1/8 in. (40 x 33.3 cm.)
          Feb. 06, 2024

          A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, BUILDERS ZIG SAW, 1956, Gelatin silver print, Sheet 15 3/4 x 13 1/8 in. (40 x 33.3 cm.)

          Est: $1,500 - $3,000

          A. AUBREY BODINE AMERICAN, BALTIMORE, MARYLAND, 1906-1970 BUILDERS ZIG SAW, 1956 Gelatin silver print Lower right signed: A. Aubrey Bodine; verso stamped: Photograph & Printed by/ A. Aubrey Bodine, Hon, F.P.S.A.,F.N.P.P./Image ID #51-501 Catalogue note: In photographic circles around the world, A. Aubrey Bodine was regarded as one of the finest pictorialists of the twentieth century. His pictures were exhibited in hundreds of prestigious shows, in scores of museums, and he won awards against top competition. … Aubrey Bodine's photographic career began in 1923 when as an office boy with the Baltimore Sun he submitted photographs of the Thomas Viaduct at Relay to the editor of the Sunday oar, and they were published. From first to last Aubrey Bodine was a newspaperman covering all sorts of stories with his camera - news events, famous people, unusual places and curious activities. … Some of his best pictures were literally composed in the viewfinder of the camera. In other cases he worked on the negative with dyes and intensifiers, pencil marking, and even scraping to produce the effect he had in mind. He added clouds photographically, and made other even more elaborate manipulations. Bodine's rationale for all these technical alterations of the natural scene was simply that, like the painter, he worked from the model and selected those features which suited his sense of mood, proportion and design. The picture was the thing, not the manner of arriving at it. He did not take a picture, he made a picture. (Source: http://www.AAubreyBodine.com)

          Potomack Company
        • A. Aubrey Bodine. "Amish, St. Mary's Co.," photograph
          Jan. 27, 2024

          A. Aubrey Bodine. "Amish, St. Mary's Co.," photograph

          Est: $300 - $500

          (American, 1906-1970). Silver gelatin print, signed "A. Aubrey Bodine" lr, titled ll, 14 x 11 in., unframed.

          Alex Cooper
        • A. Aubrey Bodine. Two Maryland Hunt Photographs
          Jan. 27, 2024

          A. Aubrey Bodine. Two Maryland Hunt Photographs

          Est: $500 - $700

          (American, 1906-1970). 1.) "MD Hunt 13th Jump," silver gelatin print, signed "A. Aubrey Bodine" lr, titled ll, 14 x 11 in., unframed 2.) "Maryland Fox Hunters," silver gelatin print, signed "A. Aubrey Bodine" lr, 11 x 14 in., unframed.

          Alex Cooper
        • A. Aubrey Bodine. "Fine Firemen," photograph
          Jan. 27, 2024

          A. Aubrey Bodine. "Fine Firemen," photograph

          Est: $300 - $500

          (American, 1906-1970). Silver gelatin print, signed "A. Aubrey Bodine" lr, titled on verso, 11 x 14 in., unframed.

          Alex Cooper
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