Anton Bruehl Sold at Auction Prices

Anton Bruehl, Sombreros

Anton Bruehl Sombreros 1930 / printed later gelatin silver print image: 13.75 h x 10.625 w in (35 x 27 cm) sheet: 14.875 h x 10.875 w in (38 x 28 cm) Signed and inscribed to verso 'Anton Bruehl 21'. Provenance: Collection of Susan and G. Ray Hawkins, Beverly Hills Literature: Photographs of Mexico by Anton Bruehl, Bruehl, pg. 21 This work will ship from Los Angeles, California.

WWII FREE LABOR WILL WIN POSTER ANTON BRUEHL

American WWII poster, 'Free Labor Will Win', photograph by Anton Bruehl (1900-1982), War Production Board, A-18, U.S. Government Printing Office 1942-O-473674, 40 x 28 inches. Mailing folds and minor loss along folds.

Anton Bruehl (American, 1900–1983), Free Labor Will Win, Unframed Linen-Back Photograph, Overall including linen back: 42 x 30 1/4 in. (106.68 x 76.84 cm.)

Anton Bruehl (American, 1900–1983), Free Labor Will Win, Unframed Linen-Back Photograph, U.S. Government Printing Office: 1942-O-473674; War Production Board, Washington D.C.

Anton Bruehl, Harlem Number, at the Versailles Cafe

Anton Bruehl Harlem Number, at the Versailles Cafe 1943 / printed later cibachrome print sight: 13..5 h × 10.5 w in (33 × 27 cm) Provenance: Howard Greenberg Gallery, New York | Acquired from the previous in 1998, Private Collection, Chicago | Thence by descent This work will ship from Wright in Chicago, Illinois. Condition of the item is not included in this description. Condition reports are available from Wright upon request. Wright strongly recommends that you review a condition report for each item on which you plan to bid. Email condition@wright20.com to request a condition report.

PHOTOGRAPH BY ANTON BRUEHL (1900-1982). FREE LABOR WILL WIN. 1942. 40x28¼ inches, 106½x71¾ cm. U.S. Government Printing Office, Washin

PHOTOGRAPH BY ANTON BRUEHL (1900-1982) FREE LABOR WILL WIN. 1942. 40x28 1/4 inches, 106 1/2x71 3/4 cm. U.S. Government Printing Office, Washington, D.C. Condition B+: repaired tears, creases, abrasions and restoration along vertical and horizontal folds; minor creases and abrasions in image. Judd p. 98.

Photographs of Mexico, Anton Bruehl

Anton Bruehl (American 1900-1983), "Photographs of Mexico," 1933, bound portfolio of 25 collotypes, copyright by Delphic Studios, New York, signed in pen on introduction page, overall (with porfolio case): 16.5"h x 12.75"w

ANTON BRUEHL Vintage Lights & Towers abstraction

ANTON BRUEHL, Columbia Broadcasting Station (composite print), c. 1935, 9.75x8" gelatin silver print, Printed c. 1940s, signed and titled Columbia Broadcasting Station George Bifur [Artg.?] Agency in pencil on mount verso; inscribed in pencil: 23.5 (circled) / xx (circled) / 3624/120/[illegible] / CASO / several other numerical inscriptions in pencil/crayon; stamped in red ink: Blue & Hold Very beautiful early print. Shown in The Photograph and the American Dream at the Van Gogh Museum in 2001. Anton Bruehl (1900-1982) studied engineering at the Christian Brothers School in Melbourne before emigrating to the United States in 1919 to accept a job with Western Electric. An exhibition of photographs at the Clarence H. White School in New York inspired him to give up engineering for photography. He enrolled in White's school in 1924-25, and soon became a teaching assistant for White in New York and Canaan, Connecticut. After Vogue published his photographs in 1926, Bruehl dedicated himself to freelance commercial photography by establishing a New York studio, which was active from 1927 through 1966. His photographs appeared in Vogue, Vanity Fair, and other prominent publications, and his work was shown in major international exhibitions, such as Film und Foto at the Deutscher Werkbund in Stuttgart (1929) and Photography 1839-1937 at the Museum of Modern Art. His best-known body of work produced outside the studio was published as Mexico (1933), a book of black-and-white photographs of life and people in Mexican towns. Bruehl is noted for the color photography he produced in the 1930s for Conde Nast, which at that time had a virtual monopoly on the color printing process. Fernand Bourges, a color technician at Conde Nast Engravers, developed a four-color separation transparency process in 1932 that allowed the company to print color images in its publications on a regular basis. This collaboration--Bruehl's color photographs, Bourges's color transparencies, Conde Nast's printing--accounted for the majority of color images that appeared in print in the mid-1930s. Besides his innovative color photography, Bruehl was recognized for his stylish advertising still lifes, and for the celebrity portraiture and fashion photography he did for Vogue during the 1930s. Lisa Hostetler Handy et al. Reflections in a Glass Eye: Works from the International Center of Photography Collection. New York: Bulfinch Press in association with the International Center of Photography, 1999, p. 210. Credit: https://www.icp.org/browse/archive/constituents/anton-bruehl

Anton BRUEHL: Black & White Photo of Mast

Anton Bruehl, black and white photograph of a mast. [Art: 12 x 9 inches; Frame: 18 x 12 inches].

ANTON BRUEHL (1900–1982) Portrait of My Father, 1915–1942

ANTON BRUEHL (1900–1982) Portrait of My Father, 1915–1942 gelatin silver print, mounted on card credited and variously annotated in pencil (mount, verso) image: 8 1/4 x 6 1/2 in. (21 x 16.6 cm.) sheet: 10 x 8 in. (25.5 x 20.4 cm.) mount: 11 x 9 in. (28 x 23 cm.)

Anton Bruehl - "Marlene Dietrich, 1937"

Anton Bruehl - "Marlene Dietrich, 1937" out of print item

Anton Bruehl - "Marlene Dietrich, 1937"

Anton Bruehl - "Marlene Dietrich, 1937" out of print item

Anton Bruehl - "Marlene Dietrich, 1937"

Anton Bruehl - "Marlene Dietrich, 1937" out of print item

Anton Bruehl - "Marlene Dietrich, 1937"

Anton Bruehl - "Marlene Dietrich, 1937"

Anton Bruehl - "Marlene Dietrich, 1937"

Anton Bruehl - "Marlene Dietrich, 1937"

Anton Bruehl - "Marlene Dietrich, 1937"

Anton Bruehl - "Marlene Dietrich, 1937"

ANTON BRUEHL (1900-1982) Stocking ad, 1930s stamped photographer's credit (mount, verso) image: 9 7/8 x 7 5/8 in. (25.1 x 19.3 cm.) sheet: 10 1/4 x 8 in. (26 x 20.2 cm.) mount: 11 x 9 in. (28 x 22.9 cm.)

ANTON BRUEHL (1900-1982) Stocking ad, 1930s gelatin silver print, mounted on board stamped photographer's credit (mount, verso) image: 9 7/8 x 7 5/8 in. (25.1 x 19.3 cm.) sheet: 10 1/4 x 8 in. (26 x 20.2 cm.) mount: 11 x 9 in. (28 x 22.9 cm.)

Anton Bruehl (Hawker, Australia, 1900 - San Francisco, California, 1983) Vendedora de cuerdas, Amanalco. Colotipia. Con certificado.

Anton Bruehl (Hawker, Australia, 1900 - San Francisco, California, 1983) Vendedora de cuerdas, Amanalco. Colotipia. Con certificado de autenticidad. Impresa en Estados Unidos, 1933. Sin enmarcar. 24 x 19 cm *Hijo de migrantes alemanes afincados en Australia, Anton Bruehl se marchó a Estados Unidos en 1919 para ejercer la ingeniería eléctrica a la par de su afición por la fotografía, el cual se convirtió en su trabajo de tiempo completo a partir de 1923. Se convirtió en un solicitado fotógrafo de publicidad gracias a su trabajo de fotografía en color, el cual desarrolló con Fernand Bourges. Bruehl comenzó a exhibir su fotografía artística en 1931 con el mecenazgo de la periodista Alma Reed, antigua amante de Felipe Carrillo Puerto, admiradora de la cultura mexicana e impulsora de los muralistas mexicanos, especialmente de José María Orozco. En 1932, posiblemente por sugerencia de Reed, Bruehl visitó México; fruto de este viaje, publicó su libro Photographs of Mexico, al cual pertenecen las fototipias que presentamos en esta subasta. Estimado $5,000-8,000

ANTON BRUEHL (1900 - 1982) "General Electric Light Bulbs" 1927, printed later. 13 ½ x 10 ½ -inch gelatin silver print, signed with a number on verso.

ANTON BRUEHL (1900 - 1982) "General Electric Light Bulbs" 1927, printed later. 13 ½ x 10 ½ -inch gelatin silver print, signed with a number on verso. Bruehl came to the US from Australia and worked for Western Electric Company as an engineer. This subject must have had personal significance to him. In 1923 he became a student of Clarence White, and opened his own studio in 1926. He later had a very successful career in fashion and advertising.

Anton Bruehl - ''Mexico''

Anton Bruehl (American 1900-1983)- ''Mexico''- Delphic Studios, New York, 1933, containing all 25 plates, hard cover, light foxing throughout pages, writing in ink on first page.

Bruehl, Anton: Photographs of Mexico

Photographs of Mexico. 32 l., 25 plates with photogravures. 41 x 32 cm. Original coarse linen covered boards with title and artist's name pressed in black and a black leather spine (edges and title rubbed). New York, Delphic Studios, 1933.Parr and Badger. The Photobook, p. 81. First edition. Published in a limited edition of 1000. The book presents a selection of "seductive photography, beautifully printed and presented in a handsome volume, an exemplary combination of modernist angles with pictorialist values" (Parr and Badger, p. 81). – Occaisonal toning/minimal soiling in edges, title page and list of photographs with paper clip rust mark, otherwise a good, clean copy.

FREE LABOR WILL WIN ORIGINAL VINTAGE WWII POSTER BY ANTON BRUELL 1942

An American welder preparing to work with the American flag as his backdrop says it all in Free Labor Will Win by Anton Bruehl. The Stars and Stripes were often used in WWII propaganda posters to uplift the national spirit of the country. This strong image created in 1942 is clear and direct. The American worker on the home front is just as valued as the soldier abroad. Anton Bruehl (1900-1982) was one of the leading commercial photographers 20th Century. Bruehl was one of the first photographers to shoot in color film and developed his own process,which allowed his employer,Conde Nast,a significant edge over other publishers in the early 1930?s. He is well known for his portraits and features for Vanity Fair and Vogue magazines,as well as celebrity portraits of well-known movie stars. This is an Original Vintage Poster; it is not a reproduction. This poster is conservation mounted,linen backed,and in excellent condition. We guarantee the authenticity of all of our posters.

ANTON BRUEHL

ANTON BRUEHL 1900-1982 Still life c. 1940 Stampa fotografica vintage alla gelatina sali d’argento. Timbro dell’autore al verso. cm 34,5 x 27,5 Vintage gelatin silver print. Photographer’s credit stamp verso. in.13.5 x 10.8

Laundry hanging in inner courtyard, New York c. 1925

ANTON BRUEHL (1900–1982) * Laundry hanging in inner courtyard, New York c. 1925 Vintage silver print Signed by the photographer in pencil on the reverse 17,1 x 22,9

Poster by Anton Bruehl - Free Labor Will Win

Free Labor Will Win - 72x102,5, 1942, on linen by Anton Bruehl (photo, 1900-1982)

Gas Tank

Anton Bruehl Gas Tank Laid down on cardboard, thereupon photographer's stamp on the reverse. Numbered in pencil by various persons Vintage or early gelatin silver print with warm-toned gelatine upper layer 12 3/8 x 9 3/4 in.

Anton Bruehl (1900-1982). Mexico, 1933. Delphic

Anton Bruehl (1900-1982). Mexico, 1933. Delphic Studios, New York, first edition, signed in black ink on introductory page and editioned 38/1000, hessian boards, black leather spine with slipcase, folio, 42 x 32cm (16 1/2 x 12 1/2in)

Bruehl, Anton (1900-1983) Photographs of Mexico. New York: Delphic Studios, [1933]. First edition, folio, illustrated with twenty-five

Bruehl, Anton (1900-1983) Photographs of Mexico. New York: Delphic Studios, [1933]. First edition, folio, illustrated with twenty-five black and white photographs, limited edition out of series review copy as noted on the limitation page, signed by Bruehl at the foot of his foreword, bound in publisher's black leather spine and burlap covered boards, boldly blocked in black lettering on the front board, in the original but damaged slipcase, open at the top, 16 1/2 x 12 1/2 in.

Bruehl, Anton (1900-1983) Photographs of Mexico. New York: Delphic Studios, [1933]. First edition, folio, illustrated with twenty-five

Bruehl, Anton (1900-1983) Photographs of Mexico. New York: Delphic Studios, [1933]. First edition, folio, illustrated with twenty-five black and white photographs, limited edition out of series review copy as noted on the limitation page, signed by Bruehl at the foot of his foreword, bound in publisher's black leather spine and burlap covered boards, boldly blocked in black lettering on the front board, in the original but damaged slipcase, open at the top, 16 1/2 x 12 1/2 in.

ANTON BRUEHL (1900-1983) Skylight, 1925 platinum print signed and annotation 'print made in 1925' in pencil (on the verso) image/sheet: 9¼ x 7¼in. (23.5 x 18.5cm.)

ANTON BRUEHL (1900-1983) Clothesline, 1924 platinum print signed, titled and dated in pencil (on the verso) image/sheet: 7 3/8 x 9 3/8in. (18.7 x 23.8cm.)

ANTON BRUEHL (1900-1982): "YOUNG GIRL, CANAAN, CT. 1924"

Platinum print, 8 x 9 3/4 in. (image), signed in pencil on the mount and signed, titled and dated on the verso.

Dolores, Mexico, 1933

Dolores, Mexico, 1933 Gelatin silver print. 14 x 11 in. (35.6 x 27.9 cm). 

Anton Bruehl (Australian/American, 1900-1982)

Anton Bruehl (Australian/American, 1900-1982) Mexican Mother and Child, 1933; Gelatin silver print (printed later); Signed; 10 7/8'' x 13 7/8'' (sheet)

(Photography, Mexico), Bruehl, Anton (1900-1983), Photographs of Mexico by Anton Bruehl, New York: Delphic S...

(Photography, Mexico), Bruehl, Anton (1900-1983), Photographs of Mexico by Anton Bruehl, New York: Delphic Studios, 1933, original cloth with slip-case, signed, number 94 of 1000, folio, (minor losses to spine, lower edge of slip-case cracked, minor spotting to cover).

BRUEHL, ANTON (1900-1982) Untitled (laundry hanging on clothesline).

BRUEHL, ANTON (1900-1982) Untitled (laundry hanging on clothesline). Warm-toned silver print, 6 3/4x9 inches (17.1x22.9 cm.), with Bruehl's signature, in pencil, on verso. Circa 1925

Study of Glassware, circa 1930

ANTON BRUEHL (1900-1983) Study of Glassware, circa 1930 gelatin silver print stamped 'Bruehl' (on the verso) 10¼ x 8 in. (26 x 20.3 cm.)

¤Anton BRUEHL (1900-1983) Oil Tank, 1926 Tirage argentique, c.1926

¤Anton BRUEHL (1900-1983) Hans of the Potter, 1933 Tirage argentique postérieur

¤Anton BRUEHL (1900-1983) Dolores, 1933 Tirage argentique

¤Anton BRUEHL (1900-1983) Untitled (Photogram made with tacks), n. d. Tirage argentique d'époque

Rope Market, 1932; Two Women, c. 1940s; Fruit Vendor, 1932; Zorina and Charles Laskay in 'Fools in Love' from Louisiana Purchase, c. 1940s

ANTON BRUEHL (1900-1982) Rope Market, 1932; Two Women, c. 1940s; Fruit Vendor, 1932; Zorina and Charles Laskay in 'Fools in Love' from Louisiana Purchase, c. 1940s 2 gelatin silver prints, 2 chromogenic prints, printed later each signed in pencil (on the verso or reverse of the mount) approx. 13¾ x 11 7/8in. (34.8 x 30cm.) (3); 16¾ x 13in. (42.4 x 32.9cm.) (1) (4)

ANTON BRUEHL (1900-1982)

Marlene Dietrich, 1935 chromogenic print, printed 1998 credited, titled, dated, numbered '1/40' in ink in an unknown hand and Estate stamp (on the verso) 13 5/8 x 10in. (34.5 x 25.3cm.)

ANTON BRUEHL (1900-1982)

Rope Market, 1932; Two Women, c. 1940s; Fruit Vendor, 1932; Zorina and Charles Laskay in 'Fools in Love' from Louisiana Purchase, c. 1940s 2 gelatin silver prints, 2 chromogenic prints, printed later each signed in pencil (on the verso or reverse of the mount) approx. 13 3/4 x 11 7/8in. (34.8 x 30cm.) (3); 16 3/4 x 13in. (42.4 x 32.9cm.) (1) (4)

ANTON BRUEHL 1900-1982

'HARLEM NUMBER, AT THE VERSAILLE CAFÉ' measurements note 13 7/8 by 11 in. (35.4 by 28 cm.) color carbro print, mounted to thick board, signed by the photographer in pencil on the mount, signed by him in pencil on the reverse, matted, 1943 PROVENANCE Christie's New York, 26 April 1988, Sale 6584, Lot 122 Acquired by the Gilman Paper Company from the above LITERATURE Other prints of this image: Bonnie Yochelson, Anton Bruehl (Howard Greenberg Gallery, 1998), p. 18 Therese Mulligan and David Wooters, eds., Photographs from 1839 to Today: George Eastman House (Köln, 2000), p. 565 NOTE Bonnie Yochelson, in her catalogue Anton Bruehl (Howard Greenberg Gallery, 1998), discusses the genesis of the Esquire Canteen series, in which this image was featured. During World War II, Esquire magazine hired Bruehl to create the Esquire Canteen, a series of photographs depicting fictional New York City night club scenes, made for the men of the armed forces. Each month a photograph of a different night club act was featured in the Canteen, accompanied by a story about the entertainers. Harlem Number, at the Versailles Café, was the Canteen image in the July 1943 issue. The photograph spotlights Eleonor Fairchild and her dapper partner Hugh Ellsworth. Notes in the Gilman Paper Company's files state that this photograph was one of only three examples of the image that were in the photographer's estate. There is a larger version of this image at the George Eastman House, Rochester (cf. Yochelson, p. 6).

BRUEHL, ANTON (1900-1982)

"Mary of New York." Platinum-palladium print, 7x9 3/4 inches (17.8x24.8 cm.), signed in pencil on verso. 1926

ANTON BRUEHL (1900-1983)

Still-life with jug Platinum-palladium print. 1924. Signed and dated in pencil on the verso. 71/2 x 6in. (19.1 x 15.2cm.) Framed.

ANTON BRUEHL 1900 - 1982

a group of 3 photographs, Variant Poses from the Same Sitting, each numbered in the negative, one with two Condé Nast stamps on the reverse, 1935 (3) PROVENANCE Condé Nast Archive LITERATURE One published in Vanity Fair, 1 July 1935, p. 38, the column 'Hollywood on Parade'; see also Witkin, Collector's Guide, p. 99

ANTON BRUEHL 1900 - 1982 AND PETER NYHOLM ACTIVE 20TH CENTURY

2 photographs, a Waist-Length Portrait by BRUEHL, mounted, and a Study of Robinson at a Piano by NYHOLM, each with Condé Nast stamps and annotated in unidentified hands in pencil, ink, and crayon on the reverse, 1933 and 1940 (2) PROVENANCE Condé Nast Archive LITERATURE Vanity Fair, 1 January 1933, p. 41; Vogue, 1 October 1940, p. 63