Adolf Fassbender Sold at Auction Prices

ADOLPH FASSBENDER (1884–1980)

ADOLPH FASSBENDER (1884–1980) | View of Venice, Italy 1940s Image Size: 48,8 x 35,6 cm English: Gelatin silver print, toned, printed in the 1990s on double-weight matte paper 49,7 x 36,8 cm, in excellent condition. Numerical notes in pencil on the reverse. PROVENANCE Howard Greenberg Gallery, New York. * Fully Taxed Deutsch: Silbergelatineabzug, getont, geprintet in den 1990er Jahren auf kartonstarkem mattem Papier 49,7 x 36,8 cm, in ausgezeichnetem Zustand. Rückseitig numerische Vermerke mit Bleistift. PROVENIENZ Howard Greenberg Gallery, New York. * Vollbesteuert

ADOLF FASSBENDER Gorgeous Street Scene 1940

ADOLF FASSBENDER. Street Scene, c. 1940. 10.6x8" gelatin silver print on 13.9x11" paper. Printed c. 1950s. Inscribed in pencil on print verso: 2 [circled] / 2 [circled] refuce man, stones [?]; inscribed in pencil PF111209-111. Adolf Fassbender (1884-1980) was born in Grevenbroich, Germany, a small town near Cologne. Before entering the military, he initially assisted a photographer in Freiburg, Germany and subsequently worked in Dresden (where he also studied drawing and painting), Vienna (where he began specializing in hand-colored miniature portraits), and Antwerp. In 1911, he emigrated to the United States. He was first employed by the Selby Sisters and in 1921 opened his own New York studio. For the next seven years, he produced commercial, illustrative, and portrait photographs, some of which were exhibited at national conventions of the Photographers' Association of America. He closed the business in 1928. At about this time, Fassbender became interested in pictorialism and began making creative pictures with the camera. He exhibited in pictorial salons for twenty years, beginning in 1925, when his work was first accepted by London's Royal Photographic Society. He presented solo shows in 1934 at the Camera Club of New York and in 1951 at the Smithsonian Institution. He joined camera clubs in New York, received honorary memberships from groups elsewhere, and was a founding member of the Photographic Society of America. Fassbender shared his techniques and theories by writing for the photographic press. He began in the early 1930s with a short series of articles in Camera about various control methods. His article "Why Bother," about the importance of manipulating the negative, was printed over time by three different publications. Most significant was his book Pictorial Artistry: The Dramatization of the Beautiful in Photography, published in 1937. After closing his studio in the late 1920s, Fassbender made his living as an instructor. He taught photography at the Brooklyn Institute of Arts and Sciences from 1930 to 1935 and in the late 1940s at the Central Branch Brooklyn YMCA. He also conducted private and group classes at his Manhattan and New Jersey residences and lectured to camera clubs and professional conventions throughout the country. Over the course of his teaching career, from which he retired in 1970, he had more than 18,000 students. Credit: http://www.howardgreenberg.com/artists/adolf-fassbender

Adolf Fassbender (American, 1884-1980) Becalmed, c. 1920

Adolf Fassbender (American, 1884-1980) Becalmed, c. 1920 bromoil print signed and titled (mat) 13 1/2 x 16 1/2 inches. Property from the Ginny L. Williams Collection, Denver, Colorado Please Note: This lot is located in and will ship from Denver, Colorado.

Adolph Fassbender, NY City Symphony, c. 1935

Adolph Fassbender, City Symphony, c. 1935, printed 1937, Photogravure, 11" x 8.5" image, 15.5" x 12.25" page. From "Pictorial Artistry: The Dramatization of the Beautiful in Photography," 1937. Artist Biography: Adolf Fassbender (1884-1980) was born in Grevenbroich, Germany, a small town near Cologne. Before entering the military, he initially assisted a photographer in Freiburg, Germany and subsequently worked in Dresden (where he also studied drawing and painting), Vienna (where he began specializing in hand-colored miniature portraits), and Antwerp. In 1911, he immigrated to the United States. He was first employed by the Selby Sisters and in 1921 opened his own New York studio. For the next seven years, he produced commercial, illustrative, and portrait photographs, some of which were exhibited at national conventions of the Photographers’ Association of America. He closed the business in 1928. At about this time, Fassbender became interested in pictorialism and began making creative pictures with the camera. He exhibited in pictorial salons for twenty years, beginning in 1925, when his work was first accepted by London’s Royal Photographic Society. He presented solo shows in 1934 at the Camera Club of New York and in 1951 at the Smithsonian Institution. He joined camera clubs in New York, received honorary memberships from groups elsewhere, and was a founding member of the Photographic Society of America. Fassbender shared his techniques and theories by writing for the photographic press. He began in the early 1930s with a short series of articles in Camera about various control methods. His article "Why Bother," about the importance of manipulating the negative, was printed over time by three different publications. Most significant was his book Pictorial Artistry: The Dramatization of the Beautiful in Photography, published in 1937. After closing his studio in the late 1920s, Fassbender made his living as an instructor. He taught photography at the Brooklyn Institute of Arts and Sciences from 1930 to 1935 and in the late 1940s at the Central Branch Brooklyn YMCA. He also conducted private and group classes at his Manhattan and New Jersey residences and lectured to camera clubs and professional conventions throughout the country. Over the course of his teaching career, from which he retired in 1970, he had more than 18,000 students. (Howard Greenberg Gallery)

Adolph Fassbender, NY City, Thy Name Be Blessed, 1934

Adolph Fassbender, City, Thy Name Be Blessed, 1934, printed 1937, Photogravure, 11" x 8" image, 15.5" x 12.25" page. From "Pictorial Artistry: The Dramatization of the Beautiful in Photography," 1937. Artist Biography: Adolf Fassbender (1884-1980) was born in Grevenbroich, Germany, a small town near Cologne. Before entering the military, he initially assisted a photographer in Freiburg, Germany and subsequently worked in Dresden (where he also studied drawing and painting), Vienna (where he began specializing in hand-colored miniature portraits), and Antwerp. In 1911, he immigrated to the United States. He was first employed by the Selby Sisters and in 1921 opened his own New York studio. For the next seven years, he produced commercial, illustrative, and portrait photographs, some of which were exhibited at national conventions of the Photographers’ Association of America. He closed the business in 1928. At about this time, Fassbender became interested in pictorialism and began making creative pictures with the camera. He exhibited in pictorial salons for twenty years, beginning in 1925, when his work was first accepted by London’s Royal Photographic Society. He presented solo shows in 1934 at the Camera Club of New York and in 1951 at the Smithsonian Institution. He joined camera clubs in New York, received honorary memberships from groups elsewhere, and was a founding member of the Photographic Society of America. Fassbender shared his techniques and theories by writing for the photographic press. He began in the early 1930s with a short series of articles in Camera about various control methods. His article "Why Bother," about the importance of manipulating the negative, was printed over time by three different publications. Most significant was his book Pictorial Artistry: The Dramatization of the Beautiful in Photography, published in 1937. After closing his studio in the late 1920s, Fassbender made his living as an instructor. He taught photography at the Brooklyn Institute of Arts and Sciences from 1930 to 1935 and in the late 1940s at the Central Branch Brooklyn YMCA. He also conducted private and group classes at his Manhattan and New Jersey residences and lectured to camera clubs and professional conventions throughout the country. Over the course of his teaching career, from which he retired in 1970, he had more than 18,000 students. (Howard Greenberg Gallery)

Adolph Fassbender, Budding Contenders, c. 1937

Adolph Fassbender, Budding Contenders, c. 1937, printed 1937, Photogravure, 8.25" x 10.5" image, 15.5" x 12.25" page. From "Pictorial Artistry: The Dramatization of the Beautiful in Photography," 1937. Artist Biography: Adolf Fassbender (1884-1980) was born in Grevenbroich, Germany, a small town near Cologne. Before entering the military, he initially assisted a photographer in Freiburg, Germany and subsequently worked in Dresden (where he also studied drawing and painting), Vienna (where he began specializing in hand-colored miniature portraits), and Antwerp. In 1911, he immigrated to the United States. He was first employed by the Selby Sisters and in 1921 opened his own New York studio. For the next seven years, he produced commercial, illustrative, and portrait photographs, some of which were exhibited at national conventions of the Photographers’ Association of America. He closed the business in 1928. At about this time, Fassbender became interested in pictorialism and began making creative pictures with the camera. He exhibited in pictorial salons for twenty years, beginning in 1925, when his work was first accepted by London’s Royal Photographic Society. He presented solo shows in 1934 at the Camera Club of New York and in 1951 at the Smithsonian Institution. He joined camera clubs in New York, received honorary memberships from groups elsewhere, and was a founding member of the Photographic Society of America. Fassbender shared his techniques and theories by writing for the photographic press. He began in the early 1930s with a short series of articles in Camera about various control methods. His article "Why Bother," about the importance of manipulating the negative, was printed over time by three different publications. Most significant was his book Pictorial Artistry: The Dramatization of the Beautiful in Photography, published in 1937. After closing his studio in the late 1920s, Fassbender made his living as an instructor. He taught photography at the Brooklyn Institute of Arts and Sciences from 1930 to 1935 and in the late 1940s at the Central Branch Brooklyn YMCA. He also conducted private and group classes at his Manhattan and New Jersey residences and lectured to camera clubs and professional conventions throughout the country. Over the course of his teaching career, from which he retired in 1970, he had more than 18,000 students. (Howard Greenberg Gallery)

Adolph Fassbender, The Ice Serpent, c. 1933

Adolph Fassbender, The Ice Serpent, c. 1933, printed 1937, Photogravure, 11" x 8.75 image, 15.5" x 12.25" page. From "Pictorial Artistry: The Dramatization of the Beautiful in Photography," 1937. Artist Biography: Adolf Fassbender (1884-1980) was born in Grevenbroich, Germany, a small town near Cologne. Before entering the military, he initially assisted a photographer in Freiburg, Germany and subsequently worked in Dresden (where he also studied drawing and painting), Vienna (where he began specializing in hand-colored miniature portraits), and Antwerp. In 1911, he immigrated to the United States. He was first employed by the Selby Sisters and in 1921 opened his own New York studio. For the next seven years, he produced commercial, illustrative, and portrait photographs, some of which were exhibited at national conventions of the Photographers’ Association of America. He closed the business in 1928. At about this time, Fassbender became interested in pictorialism and began making creative pictures with the camera. He exhibited in pictorial salons for twenty years, beginning in 1925, when his work was first accepted by London’s Royal Photographic Society. He presented solo shows in 1934 at the Camera Club of New York and in 1951 at the Smithsonian Institution. He joined camera clubs in New York, received honorary memberships from groups elsewhere, and was a founding member of the Photographic Society of America. Fassbender shared his techniques and theories by writing for the photographic press. He began in the early 1930s with a short series of articles in Camera about various control methods. His article "Why Bother," about the importance of manipulating the negative, was printed over time by three different publications. Most significant was his book Pictorial Artistry: The Dramatization of the Beautiful in Photography, published in 1937. After closing his studio in the late 1920s, Fassbender made his living as an instructor. He taught photography at the Brooklyn Institute of Arts and Sciences from 1930 to 1935 and in the late 1940s at the Central Branch Brooklyn YMCA. He also conducted private and group classes at his Manhattan and New Jersey residences and lectured to camera clubs and professional conventions throughout the country. Over the course of his teaching career, from which he retired in 1970, he had more than 18,000 students. (Howard Greenberg Gallery)

ADOLF FASSBENDER Spectacular Winter NY Scene 1935 c

ADOLF FASSBENDER, Central Park in Snow, New York, c. 1935, 19.5x14" Gelatin silver print, Printed c. 1935, Miscellaneous gallery numbers in pencil on print verso. Adolf Fassbender (1884-1980) was born in Grevenbroich, Germany, a small town near Cologne. Before entering the military, he initially assisted a photographer in Freiburg, Germany and subsequently worked in Dresden (where he also studied drawing and painting), Vienna (where he began specializing in hand-colored miniature portraits), and Antwerp. In 1911, he emigrated to the United States. He was first employed by the Selby Sisters and in 1921 opened his own New York studio. For the next seven years, he produced commercial, illustrative, and portrait photographs, some of which were exhibited at national conventions of the Photographers’ Association of America. He closed the business in 1928.  At about this time, Fassbender became interested in pictorialism and began making creative pictures with the camera. He exhibited in pictorial salons for twenty years, beginning in 1925, when his work was first accepted by London’s Royal Photographic Society. He presented solo shows in 1934 at the Camera Club of New York and in 1951 at the Smithsonian Institution. He joined camera clubs in New York, received honorary memberships from groups elsewhere, and was a founding member of the Photographic Society of America.  Fassbender shared his techniques and theories by writing for the photographic press. He began in the early 1930s with a short series of articles in Camera about various control methods. His article "Why Bother," about the importance of manipulating the negative, was printed over time by three different publications. Most significant was his book  Pictorial Artistry: The Dramatization of the Beautiful in Photography, published in 1937.  After closing his studio in the late 1920s, Fassbender made his living as an instructor. He taught photography at the Brooklyn Institute of Arts and Sciences from 1930 to 1935 and in the late 1940s at the Central Branch Brooklyn YMCA. He also conducted private and group classes at his Manhattan and New Jersey residences and lectured to camera clubs and professional conventions throughout the country. Over the course of his teaching career, from which he retired in 1970, he had more than 18,000 students. CREDIT: Howard Greenberg Gallery  http://www.howardgreenberg.com/artists/adolf-fassbender

Fassbender, Adolf: Portrait of Adolf Fassbender

Photographer: Florence Conrad. Portrait of the photographer Adolf Fassbender (1884-1980). 1920s. Vintage large-format gelatin silver print. 35 x 28 cm. Adolf "Papa" Fassbender began his photographic career in 1897 as an apprentice. He moved to America in 1912 and worked for the Selby Sisters Studio and then for Pirie McDonald, New York's famed society photographer. He operated his own studio for five years and photographed in the pictorialist style and eventually began teaching as well. His influence also reached overseas where he received many honorary awards. – Traces of glue from previous mounting on the verso, otherwise a rich dark, tonal print in very good condition. - Sollten Sie detailliertere Zustandsberichte wünschen, kontaktieren Sie uns bitte. / Should you need more detailed condition reports, please contact us.

Signed by Fassbender, stunning pictorialist gravures

Heading: Author: Fassbender, Adolf Title: Pictorial Artistry The Dramatization of the Beautiful in Photography Place Published: New York Publisher:B. Westermann Company, Inc. Date Published: 1937 Description: Illustrated with 40 hand-pulled photogravure plates, some tinted. Photogravures interleaved with a full page of text en face describing each photograph, composition, technical problems, equipment and techniques used. 39.2x31.5 cm (15½x12½"), spiral-bound on steel rings in cloth-covered binder, gilt-lettered, linen-coated endpapers. No. 171 of 1000 copies. Signed by Fassbender at colophon, as issued. In a facsimile letter to Fassbender included in this volume, John Oswald, then President of The National Arts Club, wrote "I have been an enthusiastic follower of pictorial photography for many years, but never did I realize the artistic heights to which it might be made to ascend until I witnessed your accomplishments. It has been said that the eye is the window of the soul. One can readily accept the statement when contemplating the pages of this beautiful book."

Adolf Fassbender: Winter Solitude, 1947, toned silver print

Winter Solitude, 1947, toned silver print, signed and titled recto, with personal note inside, Image size: 5.5"x4"; Sheet Size: 6.75"x5"

Adolf FASSBENDER (1884-1980) The crooked mile - The sentinels - Solemnity - When knights were bold, 1937 4 planches en héliogravure...

Adolf FASSBENDER (1884-1980) The crooked mile - The sentinels - Solemnity - When knights were bold, 1937 4 planches en héliogravure provenant du portfolio "Pictorial Artistry" édité à 1000 exemplaires en 1937. Un texte de Fassbender légende chaque image. 39 x 30,5 cm avec marges. Lit : Adolf Fassbender, "Pictorial Artistry : the dramatization of the beautiful in photography", New York, B. Westermann Company inc., 1937. Message laissé le 15/02/12

Adolf Fassbender (American, 1884-1980); The Ice Serpent; The Wet Road; (2)

The Ice Serpent; The Wet Road, 1937 Photogravures, each signed and titled in pencil on the mounts, each in good condition aside from specks of foxing, soiling, time- and backboard staining, framed. (2) 11 x 8 3/4in; 7 3/4 x 10 3/8in

Photograph

Photographs: Fassbender, Adolf 1884 - 1980 "Mist O'er the Mohawk". 1940s. Vintage. Brom silver print. Original backing board. Mat. 36,2 x 47,5cm (original backing board: 40,5 x 51cm). Signed and titled below the image in pencil. Verso inscribed with the photographer's name, address, the title and lettering in pencil. The original backing board with soft handling traces.

Photographs: Adolf Fassbender (1884-1980)

Photographs: Adolf Fassbender (1884-1980) Pictorial Artistry. New York. 1937. Deux héliogravures d'époque, éditées par B. Westermann Company Inc. 39 x 30 cm avec les marges. Trace d'humidité en bas à gauche

Adolf Fassbender (1884-1980), AmericanTHE THREE GUARDIANS, GASPE PENINSULA, 1937; SAILOR'S GUIDE, LIGHTHOUSE, YARMOUTH HARBOUR, BAY OF FUNDY, N.S., 1937; IN MEMORIAM, GASPE PENINSULA, QUEBEC, 1937

Adolf Fassbender (1884-1980), AmericanTHE THREE GUARDIANS, GASPE PENINSULA, 1937; SAILOR'S GUIDE, LIGHTHOUSE, YARMOUTH HARBOUR, BAY OF FUNDY, N.S., 1937; IN MEMORIAM, GASPE PENINSULA, QUEBEC, 1937; Three photogravures; each with stamped signatures verso, each titled and dated in pencil verso. Unframed.Plate 8.5" x 10.5" - 21.6 x 26.7 cm.

FASSBENDER, ADOLF (1884-1980) "Industry of the West."

FASSBENDER, ADOLF (1884-1980) "Industry of the West." Silver bromide print, 19 1/4x13 1/2 inches (48.9x34.3 cm.), with Fassbender's signature and title, in pencil, on mount recto and his credit with the title, in pencil, in an unknown hand, on mount verso. Circa 1935

[ Photograph ]

Adolf Fassbender (1884-1980) Pictorial Artistry. The Dramatisation of the Beauty in Photography. 1937. 26 héliogravures d'époque, éditées par B. Westermann Company Inc., New York, 1937. 39 x...

ADOLF FASSBENDER (1884-1980)

PICTORIAL ARTISTRY, NEW YORK, WILLIAM BRADFORD PRESS, 1937 Edition originale. Vingt photographies reproduites par héliogravure. Exemplaire n°429 sur 1000, signé par l'artiste. Reliure à spirale et couverture de toile beige. First edition limited to 1000 copies.

Adolf Fassbender (American, 1884-1980) Six gelatin

Adolf Fassbender (American, 1884-1980) Six gelatin silver copy prints (printed, signed and titled by the artist): City Symphony, Central Park; 9 1/2'' x 7 3/8'' (sheet); Figure Eight, Central Park; 9 1/4'' x 6 7/8'' (image); Snow Caps, Central Park; 6 5/8'' x 9 1/4'' (image); In Memoriam, Gaspe; 7 3/8'' x 9 1/4'' (image); Giddy Up, Prince Edward's Island; 7 1/4'' x 9'' (image); Haylolf, Germany; 9'' x 7 1/4''; Provenance: Private Collection, New Hampshire

ADOLF FASSBENDER (American, 1884-1980) ''Light and

ADOLF FASSBENDER (American, 1884-1980) ''Light and Shade,'' silver bromide print, 1940 (printed ca. 1940). 16 1/4'' x 12 3/4'' (sheet)

ADOLF FASSBENDER (German/American, 1884-1980)

ADOLF FASSBENDER (German/American, 1884-1980) Total Eclipse, 1925 Vintage toned gelatin silver on matte surface, circa 1925 11 x 14 inches (27.9 x 35.6 cm) Verso: A.© F. etched in negative State: unmounted, matted

ADOLF FASSBENDER (1884-1980)

ADOLF FASSBENDER (1884-1980) City--Thy Name Be Blessed, 1934 gelatin silver print signed and titled in pencil (on the original overmat) 13 5/8 x 10 1/8in. (14.5 x 25.5cm.)

Adolf Fassbender (American, 1884-1980) Today,

Adolf Fassbender (American, 1884-1980) Today, World's Fair, 1938; Silver bromide print (printed ca. 1938); Signed and titled; 17'' x 14'' (sheet); Exhibition: Sarasota Art Association, Sarasota, FL, 1940 (label on verso); The London Salon of Photography, 1954 (label on verso)

FASSBENDER, ADOLF (1884-1980) "Mist O'er the Mohawk."

FASSBENDER, ADOLF (1884-1980) "Mist O'er the Mohawk." Silver bromide print, 14x18 3/4 inches (35.6x47.6 cm.), with Fassbender's signature and title, in pencil, on the secondary mount recto and his name and address, the title and notations, in pencil, in an unknown hand, on mount verso. Circa 1940s

FASSBENDER, ADOLF (1884-1980) "No Pickings."

FASSBENDER, ADOLF (1884-1980) "No Pickings." Bromoil print, 14 1/4x19 inches (36.2x48.3 cm.), with Fassbender's signature and title, in pencil, on mount recto and his foundation hand stamp on verso. Circa 1930

FASSBENDER, ADOLF (1884-1980) "Fish a Plenty."

FASSBENDER, ADOLF (1884-1980) "Fish a Plenty." Silver print, 10 1/4x13 1/2 inches (26x34.3 cm.), with Fassbender's signature and title, in pencil, on the overmat and various labels on mount verso. Circa 1930

*Adolf Fassbender, (German, 1884-1980), A group of 19 photogravures from the "Dramatization of the Beautiful"

Adolf Fassbender (German, 1884-1980) A group of 19 photogravures from the "Dramatization of the Beautiful" photogravures each stamped "Adolf Fassbender" (verso) 8 1/2 x 10 3/4 inches.

¤Adolf FASSBENDER (1884 - 1980) Untitled (man fishing in the rain), années 1940 Tirage d'époque au bromoil d'époque

ADOLF FASSBENDER (1884-1980) - Fishermen's menace,

ADOLF FASSBENDER (1884-1980) - Fishermen's menace, 1937

ADOLF FASSBENDER (1884-1980) - Weed Beauty, 1937

ADOLF FASSBENDER (1884-1980) - Weed Beauty, 1937

ADOLF FASSBENDER (1884-1980) - Onward - The Last

ADOLF FASSBENDER (1884-1980) - Onward - The Last Furrow, 1937

ADOLF FASSBENDER (1884-1980) - The crooked mile -

ADOLF FASSBENDER (1884-1980) - The crooked mile - The sentinels

FASSBENDER, ADOLF (1884-1980) "Just Drifting."

FASSBENDER, ADOLF (1884-1980) "Just Drifting." Silver bromide print, 14 1/4x19 1/2 inches (36.2x49.3 cm.), with the Fassbender Foundation copyright stamp on verso. 1939

FASSBENDER, ADOLF (1884-1980) "Days Work Done."

FASSBENDER, ADOLF (1884-1980) "Days Work Done." Chloro-bromide print, 13 3/4x18 3/4 inches (35x47.6 cm.), with Fassbender''s signature and title, in pencil, on mount recto and his New Jersey address and caption label, on mount verso. 1942

FASSBENDER, ADOLF (1884-1980) "Deep Water."

FASSBENDER, ADOLF (1884-1980) "Deep Water." Blue-toned silver print, 13x16 1/4 inches (33x41.3 cm.), with Fassbender's signature and title, in pencil, on mount recto, his lengthy typewritten caption affixed to mount verso and New Jersey address, in pencil, on mount verso. 1937 Fassbender's caption states, "After negative reduction and corrective work was done, the original negative was placed on ground glass so that the light effect could be accentuated on the masts and sailboat. Great depth is conveyed by emphasizing the tall ladder and reflective masts in the water." All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues and are posted below.

FASSBENDER, ADOLF (1884-1980) "Just Drifting."

FASSBENDER, ADOLF (1884-1980) "Just Drifting." Silver print, 14 1/4x19 inches (36.2x48.3 cm.), with Fassbender's signature and title, in pencil, on mount recto, his lengthy typewritten caption affixed to mount verso and New Jersey address, in pencil, on mount verso. 1939 Fassbender's caption states, "Taken with Plaubel Makina camera 2 1/2 x 3 1/4. Tone balance in the original film was done via local reduction. This was followed by an 8x10 film diapositive from which an 8x10 film negative was made. To increase sparkle on water and the subject matter, chalk work was done on acetate behind negative." All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues and are posted below.

FASSBENDER, ADOLF (1884-1980) The Ice Serpent.

FASSBENDER, ADOLF (1884-1980) "The Ice Serpent." Blue-toned bromide print, 191/4x151/2 inches (49x39.3 cm.). Circa 1933

FASSBENDER, ADOLF (1884-1980) Spring Brook Trail, Sparta, New Jersey.

FASSBENDER, ADOLF (1884-1980) "Spring Brook Trail, Sparta, New Jersey." Silver bromide print, 19x133/4 inches (48.4x34.6 cm.), on the original mount, with Fassbender's signature, in pencil, on mount recto, and his signature, title, and number, in ink, on mount verso. Circa 1932

ADOLF FASSBENDER 1884-1980

'THE ICE SERPENT' measurements note 15 1/4 by 11 5/8 in. (38.7 by 29.6 cm.) chloride print, matted, circa 1933, accompanied by the original mount, signed, titled, and hand-ruled by the photographer in blue pencil, signed, titled, numbered 'No. I,' and annotated 'chloride' and inscribed with six exhibition venues by him in ink and with the Museum's collection stamp, label, and accession number in an unidentified hand in pencil, on the reverse PROVENANCE Gift of the photographer, 1933 EXHIBITED London, The Royal Photographic Society of Great Britain, 1933 Chicago, The Century of Progress International Photographic Salon, 1933 Pittsburgh, The Pittsburgh Salon of Photographic Art, 1933 Philadelphia, The International Salon of Photography, 1933 Los Angeles, All American Photographic Salon, 1933 Boston, The American Annual of Photography, 1933 Museum of Science and Industry, Chicago, Imagination to Image, April - September 1999; and traveling thereafter to The Haggerty Museum of Art, Marquette University, Milwaukee, September - December 2000; and The Montclair, New Jersey, Art Museum, January - April 2001 LITERATURE Christian A. Peterson, The Pictorial Artistry of Adolf Fassbender (Nutley: Fassbender Foundation, 1994), pl. 4

FASSBENDER, ADOLF (1884-1980) "Caressing Snow, New York City."

FASSBENDER, ADOLF (1884-1980) "Caressing Snow, New York City." Gold chloride blue-toned silver print, 16x12 inches (40.5x30.5 cm.), with Fassbender's signature and title on mount recto and a lengthy typewritten caption label on mount verso. 1947

ADOLF FASSBENDER (1884-1980)

Pictorial Artistry: The Dramatization of the Beautiful in Photography New York: B. Westermann Company, Inc., 40 toned photogravures. Each approximately 11 x 7 5/8in. (28 x 19.2cm.) or the reverse. Folio, spiral bound volume with cloth covers, signed and numbered '649' in ink on the endpaper. One of an edition of one thousand.

ADOLF FASSBENDER (American, 1884-1980) CRA...

ADOLF FASSBENDER (American, 1884-1980) CRASHING WAVE, circa 1930s chlorobromide print 14 11/16 x 19 1/8 in. (37.3 x 48.60 cm); Estate stamp on verso

FASSBENDER, ADOLF

"Weed Beauty." Bromoil print, 9 1/2 x6 1/2 inches (24.1x16.5 cm.), with Fassbender's signature and title, in pencil, on mount recto; titled, with printer's notations, in pencil, and the photographer's hand stamp, on mount verso. 1930s.

FASSBENDER, ADOLF

"Weed Beauty." Bromoil print, 9 1/2 x6 1/2 inches (24.1x16.5 cm.), with Fassbender's signature and title, in pencil, on mount recto; titled, with printer's notations, in pencil, and the photographer's hand stamp, on mount verso. 1930s

FASSBENDER, ADOLF

Sun's total eclipse. Silver print, 10 3/4 x13 1/4 inches, with the photographer's initials in the negative and an estate hand stamp on verso. 1925