Imogen Cunningham Sold at Auction Prices

Photographer, b. 1883 - d. 1976

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  • IMOGEN CUNNINGHAM 'MY MOTHER' SILVER GELATIN PRINT
    Apr. 12, 2025

    IMOGEN CUNNINGHAM 'MY MOTHER' SILVER GELATIN PRINT

    Est: $1,500 - $2,000

    Imogen Cunningham 'My Mother' silver gelatin print from 'My Mother, My Father, & Bossy'. Pencil signed lower right. Image measures 9 7/8" x 7 3/8". Frame measures 17 1/2" x 15 3/4".

    Antiques & Modern Auction Gallery
  • Photograph, Imogen Cunningham
    Mar. 21, 2025

    Photograph, Imogen Cunningham

    Est: $800 - $1,200

    Imogen Cunningham (American, 1883-1976), "Magnolia Blossom, 1925," gelatin silver print, later printing by the Imogen Cunningham Trust, with embossed signature and Chinese chop lower right, sheet: 10.75"h x 13.5"w, overall (with frame): 17.5"h x 21"w

    Clars Auctions
  • Imogen Cunningham, American (1883-1976), Pentimento, 1973, black and white silver gelatin photographic print, 7 1/2"H x 9 1/4"W(sight), 16"H x 20"W(frame)
    Feb. 22, 2025

    Imogen Cunningham, American (1883-1976), Pentimento, 1973, black and white silver gelatin photographic print, 7 1/2"H x 9 1/4"W(sight), 16"H x 20"W(frame)

    Est: $400 - $600

    Imogen Cunningham American, (1883-1976) Pentimento, 1973 black and white silver gelatin photographic print signed and dated on backing board under photograph. Exhibited: The Oakland Museum, Oakland, CA. Purchased from John Stevenson Gallery, NY. 2004. Biography from the Archives of askART Imogen Cunningham was born in Portland, Oregon on April 12, 1883. While at the University of Washington, Cunningham was inspired by the work of Gertrude Käsebier to take up photogrphy. After gradating in 1907, she went to work with Edward S. Curtis in his Seattle studio. After further study in Dresden at the Technische Hochschule, she returned to Seattle and opened a photography studio. She became a sought after photographer and exhibited at the Brooklyn Academy of Arts and Sciences in 1913. She married artist Roi Partridge and moved to San Francisco in 1920. During the 1930s she contributed work for Vanity Fair and in the 1940s taught at the California School of Fine Arts. Cunningham was a nationally-known photographer at the time of her demise in San Francisco on June 24, 1976.

    Ripley Auctions
  • IMOGEN CUNNINGHAM (1883-1976), Martha Graham, Dancer 1931 (later print)
    Feb. 11, 2025

    IMOGEN CUNNINGHAM (1883-1976), Martha Graham, Dancer 1931 (later print)

    Est: $500 - $800

    IMOGEN CUNNINGHAM (1883-1976) Martha Graham, Dancer 1931 (later print) bromide print with embossed signature and stamp on margin 18 x 23.5cm PROVENANCE The Estate of Joyce Evans

    Gibson's
  • Selected Photographs
    Dec. 19, 2024

    Selected Photographs

    Est: $4,000 - $6,000

    Imogen Cunningham 1883-1976 Selected Photographs signed and dated 1922 in pencil (on the mount), and with title, date, and facsimile signature on the photographer's Green Street studio label (on the reverse of the mount of Boy in the Mountains); with title and date 1910 in pencil, and with the photographer's Green Street studio stamp (on the reverse of Eve Repentant) 2 gelatin silver prints, comprising Boy in the Mountains, mounted, and Eve Repentant images to 9½ by 7⅛ in. images to 24.1 by 18.1 cm. Executed in 1910-22, printed later.

    Sotheby's
  • Imogen Cunningham, contact print, 1937
    Dec. 04, 2024

    Imogen Cunningham, contact print, 1937

    Est: $300 - $500

    Imogen Cunningham (American, 1883-1976), "Alfred Salmony, Chinese Art Scholar at Mills", gelatin silver print mounted on board, in larger mat, pencil signed "Imogen Cunningham" underneath, Museum of Modern Art inventory label and artist's studio labels verso, 9"h x 7.5"ws (print), 18"h x 14"w (board), 20"h x 16"w (mat)

    Millea Bros Ltd
  • Imogen Cunningham
    Dec. 03, 2024

    Imogen Cunningham

    Est: $3,000 - $5,000

    (American, 1883-1976) Magnolia Blossoms, 1925, printed later, signed and dated in pencil mount lower right "Imogen Cunningham 1925", Imogen Cunningham Trust label mat verso, gelatin silver print, image 10-1/2 x 13-1/2 in., mat 16 x 20 in.; matted not framed Provenance: Imogen Cunningham Trust (label mat verso); Private Collection, Wisconsin Literature: Imogen Cunningham, Frontiers: Photographs 1906-1976 (Berkeley: The Imogen Cunningham Trust, 1978), table 4, image C; and pl. 34; Richard Lorenz, Imogen Cunningham: Ideas without End (San Francisco, 1993), pl. 38; Richard Lorenz, Imogen Cunningham: the Modernist Years (Tokyo, 1993), unpaginated; Richard Lorenz, Imogen Cunningham: Flora (New York, 1996), pl. 11; Richard Lorenz and Manfred Heiting, Imogen Cunningham: 1883-1976 (Cologne, 2001), p. 200

    Brunk Auctions
  • Imogen Cunningham, Randal and Patraic, 1927
    Nov. 29, 2024

    Imogen Cunningham, Randal and Patraic, 1927

    Est: €800 - €1,000

    With accompanying certificate of authenticity from Rondal Partridge, the photographer's son, dated October 18, 2001.

    Kunsthaus Lempertz KG
  • Imogen Cunningham "Two SIsters" Henry Art Gallery
    Oct. 31, 2024

    Imogen Cunningham "Two SIsters" Henry Art Gallery

    Est: -

    Imogen Cunningham "Two SIsters" Henry Art Gallery Exhibition Poster Framed- 26x24.5"

    District Auction
  • Imogen Cunningham Exhibition Poster Framed
    Oct. 31, 2024

    Imogen Cunningham Exhibition Poster Framed

    Est: -

    Imogen Cunningham Exhibition Poster Framed- 26x25"

    District Auction
  • IMOGEN CUNNINGHAM (1883-1976) Flax. Circa 1926.
    Oct. 31, 2024

    IMOGEN CUNNINGHAM (1883-1976) Flax. Circa 1926.

    Est: $15,000 - $25,000

    IMOGEN CUNNINGHAM (1883-1976) Flax. Circa 1926. Silver print, the image measuring 12¾x7¾ inches (32.4x19.7 cm.), with the inscription "print one reversed" in blue ink on verso. This print is accompanied by an authentication letter from the Imogen Cunningham Trust signed by Cunningham's son, Rondal Partridge. The letter, on The Imogen Cunningham Trust letterhead states, "This vintage print of Flax (n.d.) has the instruction "one print reversed [sic]" on the back. It was intended for use in a triptych." Provenance Halsted Gallery, Birmingham, Michigan; to a California Collection

    Swann Auction Galleries
  • Sunbath (Alta on the Beach)
    Oct. 17, 2024

    Sunbath (Alta on the Beach)

    Est: $80,000 - $120,000

    Imogen Cunningham 1883 - 1976 Sunbath (Alta on the Beach) gelatin silver print, signed in pencil in the margin, framed image: 6½ by 6½ in. (16.5 by 16.5 cm.) frame: 18½ by 18½ in. (47 by 47 cm.) Executed in the 1920s.

    Sotheby's
  • Amaryllis
    Oct. 17, 2024

    Amaryllis

    Est: $4,000 - $6,000

    Imogen Cunningham 1883 - 1976 Amaryllis gelatin silver print, mounted, signed and dated '1930' [sic] in pencil on the mount, The Imogen Cunningham Trust label, with typed title and date, on the reverse, framed image: 9½ by 7⅝ in. (24.1 by 19.4 cm.) frame: 20⅝ by 16½ in. (52.4 by 41.9 cm.) Executed in the 1933, printed later.

    Sotheby's
  • Agave Design
    Oct. 17, 2024

    Agave Design

    Est: $4,000 - $6,000

    Imogen Cunningham 1883 - 1976 Agave Design gelatin silver print, mounted, signed and dated in pencil on the mount, The Imogen Cunningham Trust label with typed title and date, on the reverse, framed image: 9½ by 7⅝ in. (24.1 by 19.4 cm.) frame: 20⅝ by 16½ in. (52.4 by 41.9 cm.) Executed in the 1920s, printed later.

    Sotheby's
  • IMOGEN CUNNINGHAM (California/Oregon, 1883-1976), "Triangles Plus One," 1928., Gelatin silver print, 7.25" x 8.75". Framed 19.5" x 15.5".
    Sep. 26, 2024

    IMOGEN CUNNINGHAM (California/Oregon, 1883-1976), "Triangles Plus One," 1928., Gelatin silver print, 7.25" x 8.75". Framed 19.5" x 15.5".

    Est: $700 - $1,000

    IMOGEN CUNNINGHAM California/Oregon, 1883-1976 "Triangles Plus One," 1928. A later printing by the photographer's estate. Artist's signature blind stamp and chop mark on the mount lower right. Identified on an Imogen Cunningham Trust label on the reverse of the mount.

    Eldred's
  • IMOGEN CUNNINGHAM (California/Oregon, 1883-1976), "False Hellebore", 1926., Gelatin silver print, 6.75" x 6". Framed 14" x 13".
    Sep. 26, 2024

    IMOGEN CUNNINGHAM (California/Oregon, 1883-1976), "False Hellebore", 1926., Gelatin silver print, 6.75" x 6". Framed 14" x 13".

    Est: $1,000 - $1,500

    IMOGEN CUNNINGHAM California/Oregon, 1883-1976 "False Hellebore", 1926. Printed in the early 1970s. Signed in ink lower margin. Artist's "1331 Green Street, San Francisco" letterpress studio label with title and date affixed verso. Accompanied by the book Imogen!: Imogen Cunningham Photographs 1910-1973, numbered 31 in ink from an edition of 150.

    Eldred's
  • Photographs, Imogen Cunningham
    Sep. 21, 2024

    Photographs, Imogen Cunningham

    Est: $50 - $100

    (lot of 2) Imogen Cunningham (American, 1883-1976), "Portraits of Mr. and Mrs. Edward Moose," gelatin silver prints, sheet (for each): 6"h x 6"w, overall (with frame/each): 15.25"h x 12.25"w. Note: Commissioned from the artist.

    Clars Auctions
  • Imogen Cunningham, Bud of the Dudleya from Imperial Valley
    Sep. 18, 2024

    Imogen Cunningham, Bud of the Dudleya from Imperial Valley

    Est: $1,000 - $2,000

    Imogen Cunningham (1883 - 1976) Bud of the Dudleya from Imperial Valley gelatin silver text impressed on lower margin: Bud of the Dudleya from Imperial Valley. twice enlarged. inscribed verso: 1926-RP

    Santa Fe Art Auction
  • Photographs, Imogen Cunningham
    Aug. 17, 2024

    Photographs, Imogen Cunningham

    Est: $100 - $200

    (lot of 2) Imogen Cunningham (American, 1883-1976), "Portraits of Mr. and Mrs. Edward Moose," gelatin silver prints, sheet (for each): 6"h x 6"w, overall (with frame/each): 15.25"h x 12.25"w. Note: Commissioned from the artist.

    Clars Auctions
  • Photographs, Imogen Cunningham
    Jul. 20, 2024

    Photographs, Imogen Cunningham

    Est: $200 - $400

    (lot of 2) Imogen Cunningham (American, 1883-1976), "Portraits of Mr. and Mrs. Edward Moose," gelatin silver prints, sheet (for each): 6"h x 6"w, overall (with frame/each): 15.25"h x 12.25"w. Note: Commissioned from the artist.

    Clars Auctions
  • Photographs, Imogen Cunningham
    Jun. 22, 2024

    Photographs, Imogen Cunningham

    Est: $300 - $500

    (lot of 2) Imogen Cunningham (American, 1883-1976), "Portraits of Mr. and Mrs. Edward Moose," gelatin silver prints, sheet (for each): 6"h x 6"w, overall (with frame/each): 15.25"h x 12.25"w. Note: Commissioned from the artist.

    Clars Auctions
  • Imogen Cunningham, Two Callas, c. 1929
    Jun. 04, 2024

    Imogen Cunningham, Two Callas, c. 1929

    Est: €800 - €1,000

    Mounted to cardboard, photographer's blind stamp below the image on the mount. Typewritten notes on the image as well as signed and dated by the printer in felt-tip pen on an estate label affixed to the reverse of the mount.

    Kunsthaus Lempertz KG
  • Photograph, Imogen Cunningham
    May. 17, 2024

    Photograph, Imogen Cunningham

    Est: $400 - $600

    Imogen Cunningham (American, 1883-1976), "The Three Harps, 1937," printed 1983, gelatin silver print, embossed signature stamp lower right, printed by the Imogen Cunningham Trust, image: 9.25"h x 7.25"w, overall (with mat): 18"h x 14"w

    Clars Auctions
  • Photographs, Imogen Cunningham
    May. 17, 2024

    Photographs, Imogen Cunningham

    Est: $500 - $700

    (lot of 2) Imogen Cunningham (American, 1883-1976), "Portraits of Mr. and Mrs. Edward Moose," gelatin silver prints, sheet (for each): 6"h x 6"w, overall (with frame/each): 15.25"h x 12.25"w. Note: Commissioned from the artist.

    Clars Auctions
  • Imogen Cunningham (1883-1976), THE UNMADE BED, 1957
    May. 16, 2024

    Imogen Cunningham (1883-1976), THE UNMADE BED, 1957

    Est: $1,500 - $2,500

    Imogen Cunningham (1883-1976), American THE UNMADE BED, 1957 gelatin silver print on archival board Modern "Trust" print, 415.848.7285 WG#5; signature embossed on mount recto; artist card adhered to mount verso image 10.25 x 13 in — 26 x 33 cm Provenance: Private Collection, Toronto, ON Note: With varied subjects including portraits, nudes, florals, and street photography, Imogen Cunningham was a prolific artist. Though born in 1883, Cunningham was a pioneer of the 20th century as well as a feminist icon. Cunningham disregarded the opposition between men and women. Alex Greenberger writes that “Early on, in 1913, she wrote a manifesto called “Photography as a Profession for Women.” She insisted that women were just as physically able to undertake the then-laborious process of shooting and developing photographs and that the two genders had different but equally worthy forms of expression.” (1) Cunningham wanted to be a photographer from a young age. At the time, photography was not offered as a course, so she enrolled at the University of Washington as a chemistry student to better understand film and the chemical processes of photography. After a two-year stay in Dresden, Germany, under the tutelage of Dr. Robert Luther at the Technische Hochschule, Cunningham became proficient in platinum printing. Returning to the United States in 1910, the artist started her own studio in Seattle, producing images in line with the Pictorialist movement. After a brief stay in San Francisco, Cunningham settled in Oakland, where her initial interest in floral photography began in the late 1910s. Occupied with raising her children, Cunningham was tethered to her home, which sparked an interest in gardening. Far from impeding her artistic practice, this newfound passion led her towards a new vein – her floral works. “Magnolia Blossom,” 1925, is the result of her many experiments, and is a detailed and modernist picture which echoes Georgia O’Keeffe’s celebrated paintings. (2) With a botanist’s clinical approach, her work from the 1920s is clear and detailed, and the roots of Modernism can be observed. (3) Cunningham became one of the founding members of the Group f/64 in 1932, along with Ansel Adams, John Paul Edwards, Preston Holder, Consuelo Kanaga, Alma Lavenson, Sonya Noskowiak, Henry Swift, Willard Van Dyke, Brett Weston, and Edward Weston. Their aim was to break free from the Pictorialist movement, and instead replace it with sharply focused and well-framed images. A lack of artifice combined with an emerging “American” aesthetic was their drive, influenced by Modernism. (4) In “The Unmade Bed,” 1957, Cunningham pursued her experiments. Moving past her nude works from the 1920-1930s, the artist considered an unmade bed. A certain mood is made clear. Of her work, Cunningham said that her “taste lay somewhere between reality and dreamland,” a combination of a precise image and an abstract perspective from a brilliant photographer. (1) https://www.artnews.com/feature/imogen-cunningham-why-is-she-important-1234571453/ (2) https://iphf.org/inductees/imogen-cunningham/ (3) Her passion for plants resulted in the creation of the California Horticultural Society in 1933 in response to a terrible freeze. (4) “The name referred to the smallest aperture available in large-format view cameras at the time and it signalled the group’s conviction that photographs should celebrate rather than disguise the medium’s unrivalled capacity to present the world “as it is.” As Edward Weston phrased it, “The camera should be used for a recording of life, for rendering the very substance and quintessence of the thing itself, whether it be polished steel or palpitating flesh.”” in https://www.metmuseum.org/toah/hd/f64/hd_f64.htm Estimate: $1,500—2,500

    Waddington's
  • Imogen Cunningham (1883-1976), MAGNOLIA BLOSSOM, 1925
    May. 16, 2024

    Imogen Cunningham (1883-1976), MAGNOLIA BLOSSOM, 1925

    Est: $15,000 - $20,000

    Imogen Cunningham (1883-1976), American MAGNOLIA BLOSSOM, 1925 gelatin silver print signed and dated to mat; titled to trust label verso 10 x 13.75 in — 25.4 x 34.9 cm Provenance: Art Mûr, Montreal, QC Private Collection, Montreal, QC Literature: Paul Martineau, Imogen Cunningham: A Retrospective. Getty Publications, 2020. Magnolia Blossom is used as the cover. Note: With varied subjects including portraits, nudes, florals, and street photography, Imogen Cunningham was a prolific artist. Though born in 1883, Cunningham was a pioneer of the 20th century as well as a feminist icon. Cunningham disregarded the opposition between men and women. Alex Greenberger writes that “Early on, in 1913, she wrote a manifesto called “Photography as a Profession for Women.” She insisted that women were just as physically able to undertake the then-laborious process of shooting and developing photographs and that the two genders had different but equally worthy forms of expression.” (1) Cunningham wanted to be a photographer from a young age. At the time, photography was not offered as a course, so she enrolled at the University of Washington as a chemistry student to better understand film and the chemical processes of photography. After a two-year stay in Dresden, Germany, under the tutelage of Dr. Robert Luther at the Technische Hochschule, Cunningham became proficient in platinum printing. Returning to the United States in 1910, the artist started her own studio in Seattle, producing images in line with the Pictorialist movement. After a brief stay in San Francisco, Cunningham settled in Oakland, where her initial interest in floral photography began in the late 1910s. Occupied with raising her children, Cunningham was tethered to her home, which sparked an interest in gardening. Far from impeding her artistic practice, this newfound passion led her towards a new vein – her floral works. “Magnolia Blossom,” 1925, is the result of her many experiments, and is a detailed and modernist picture which echoes Georgia O’Keeffe’s celebrated paintings. (2) With a botanist’s clinical approach, her work from the 1920s is clear and detailed, and the roots of Modernism can be observed. (3) Cunningham became one of the founding members of the Group f/64 in 1932, along with Ansel Adams, John Paul Edwards, Preston Holder, Consuelo Kanaga, Alma Lavenson, Sonya Noskowiak, Henry Swift, Willard Van Dyke, Brett Weston, and Edward Weston. Their aim was to break free from the Pictorialist movement, and instead replace it with sharply focused and well-framed images. A lack of artifice combined with an emerging “American” aesthetic was their drive, influenced by Modernism. (4) (1) https://www.artnews.com/feature/imogen-cunningham-why-is-she-important-1234571453/ (2) https://iphf.org/inductees/imogen-cunningham/ (3) Her passion for plants resulted in the creation of the California Horticultural Society in 1933 in response to a terrible freeze. (4) “The name referred to the smallest aperture available in large-format view cameras at the time and it signalled the group’s conviction that photographs should celebrate rather than disguise the medium’s unrivalled capacity to present the world “as it is.” As Edward Weston phrased it, “The camera should be used for a recording of life, for rendering the very substance and quintessence of the thing itself, whether it be polished steel or palpitating flesh.”” in https://www.metmuseum.org/toah/hd/f64/hd_f64.htm Estimate: $15,000—20,000

    Waddington's
  • Imogen Cunningham (1883-1976), THE UNMADE BED, 1957
    May. 16, 2024

    Imogen Cunningham (1883-1976), THE UNMADE BED, 1957

    Est: $15,000 - $20,000

    Imogen Cunningham (1883-1976), American THE UNMADE BED, 1957 gelatin silver print signed and dated to mat; titled to trust label verso 10.5 x 13.5 in — 26.7 x 34.3 cm Provenance: Art Mûr, Montreal, QC Private Collection, Montreal, QC Note: With varied subjects including portraits, nudes, florals, and street photography, Imogen Cunningham was a prolific artist. Though born in 1883, Cunningham was a pioneer of the 20th century as well as a feminist icon. Cunningham disregarded the opposition between men and women. Alex Greenberger writes that “Early on, in 1913, she wrote a manifesto called “Photography as a Profession for Women.” She insisted that women were just as physically able to undertake the then-laborious process of shooting and developing photographs and that the two genders had different but equally worthy forms of expression.” (1) Cunningham wanted to be a photographer from a young age. At the time, photography was not offered as a course, so she enrolled at the University of Washington as a chemistry student to better understand film and the chemical processes of photography. After a two-year stay in Dresden, Germany, under the tutelage of Dr. Robert Luther at the Technische Hochschule, Cunningham became proficient in platinum printing. Returning to the United States in 1910, the artist started her own studio in Seattle, producing images in line with the Pictorialist movement. After a brief stay in San Francisco, Cunningham settled in Oakland, where her initial interest in floral photography began in the late 1910s. Occupied with raising her children, Cunningham was tethered to her home, which sparked an interest in gardening. Far from impeding her artistic practice, this newfound passion led her towards a new vein – her floral works. “Magnolia Blossom,” 1925, is the result of her many experiments, and is a detailed and modernist picture which echoes Georgia O’Keeffe’s celebrated paintings. (2) With a botanist’s clinical approach, her work from the 1920s is clear and detailed, and the roots of Modernism can be observed. (3) Cunningham became one of the founding members of the Group f/64 in 1932, along with Ansel Adams, John Paul Edwards, Preston Holder, Consuelo Kanaga, Alma Lavenson, Sonya Noskowiak, Henry Swift, Willard Van Dyke, Brett Weston, and Edward Weston. Their aim was to break free from the Pictorialist movement, and instead replace it with sharply focused and well-framed images. A lack of artifice combined with an emerging “American” aesthetic was their drive, influenced by Modernism. (4) In “The Unmade Bed,” 1957, Cunningham pursued her experiments. Moving past her nude works from the 1920-1930s, the artist considered an unmade bed. A certain mood is made clear. Of her work, Cunningham said that her “taste lay somewhere between reality and dreamland,” a combination of a precise image and an abstract perspective from a brilliant photographer. (1) https://www.artnews.com/feature/imogen-cunningham-why-is-she-important-1234571453/ (2) https://iphf.org/inductees/imogen-cunningham/ (3) Her passion for plants resulted in the creation of the California Horticultural Society in 1933 in response to a terrible freeze. (4) “The name referred to the smallest aperture available in large-format view cameras at the time and it signalled the group’s conviction that photographs should celebrate rather than disguise the medium’s unrivalled capacity to present the world “as it is.” As Edward Weston phrased it, “The camera should be used for a recording of life, for rendering the very substance and quintessence of the thing itself, whether it be polished steel or palpitating flesh.”” in https://www.metmuseum.org/toah/hd/f64/hd_f64.htm Estimate: $15,000—20,000

    Waddington's
  • IMOGEN CUNNINGHAM (1883-1976) Four Shells.
    May. 16, 2024

    IMOGEN CUNNINGHAM (1883-1976) Four Shells.

    Est: $4,000 - $6,000

    IMOGEN CUNNINGHAM (1883-1976) Four Shells. Silver print, the image measuring 10¼x13¼ inches (26x33.7 cm.), the mount 13x16 inches (33x40.6 cm.), with Cunningham's signature in pencil on mount recto. Circa 1930 Provenance: Private Collection, Los Angeles, California; Leland Little Auctions, September 19, 2020, lot 264; to the Present Owner

    Swann Auction Galleries
  • IMOGEN CUNNINGHAM (1883-1976) Rubber Plant.
    May. 16, 2024

    IMOGEN CUNNINGHAM (1883-1976) Rubber Plant.

    Est: $2,500 - $3,500

    IMOGEN CUNNINGHAM (1883-1976) Rubber Plant. Silver print, the image measuring 12⅝x9½ inches (32.1x24.1 cm.), the mount 20x15 inches (50.8x38.1 cm.), with Cunningham's signature and negative date in pencil on mount recto, and her Green Street label with her facsimile signature and typed title and negative date on mount verso. 1929; printed early 1970s

    Swann Auction Galleries
  • IMOGEN CUNNINGHAM (1883-1976) Martha Graham 78.
    May. 16, 2024

    IMOGEN CUNNINGHAM (1883-1976) Martha Graham 78.

    Est: $1,800 - $2,200

    IMOGEN CUNNINGHAM (1883-1976) Martha Graham 78. Platinum palladium print, the image measuring 6⅛x5 inches (15.6x12.7 cm.), the sheet 7⅜x6 inches (18.7x15.2 cm.), with Cunningham's facsimile signature blind stamp and Estate blind stamp on mount recto, and a Cunningham Trust label with her facsimile signature, typed title, medium, negative and print dates, and the printer's signature (Rondal Partridge) in ink on mount verso. 1931; printed 1999 Provenance: John Stevenson Gallery, New York; to the Present Owner, 2001

    Swann Auction Galleries
  • Imogen Cunningham - Frida Kahlo
    Apr. 27, 2024

    Imogen Cunningham - Frida Kahlo

    Est: $500 - $1,000

    IMOGEN CUNNINGHAM (1907-1954)Frida KahloPhoto litho9 1/8" x 7 1/4"

    Morgan Auctions
  • Imogen Cunningham (American, 1883-1976).
    Mar. 24, 2024

    Imogen Cunningham (American, 1883-1976).

    Est: $500 - $700

    Imogen Cunningham (American, 1883-1976). Portrait of Alicemarie Mutrux, 1973. Gelatin silver print, mounted, signed and dated in pencil, the 1331 Green Street label on the verso. 8 1/2 x 7 /2in. (21.7 x 19cm) 14 x 11in. (35.6 x 27.9cm/mount).

    Fine Estate Inc.
  • Imogen Cunningham (American, 1883-1976).
    Mar. 24, 2024

    Imogen Cunningham (American, 1883-1976).

    Est: $500 - $700

    Imogen Cunningham (American, 1883-1976). Portrait of Alicemarie Mutrux, 1965. Gelatin silver print, mounted, signed and dated in pencil, the 1331 Green Street label on the verso. 8 1/2 x 7 /2in. (21.7 x 19cm) 14 x 11in. (35.6 x 27.9cm/mount).

    Fine Estate Inc.
  • Imogen Cunningham (American, 1883-1976).
    Mar. 24, 2024

    Imogen Cunningham (American, 1883-1976).

    Est: $1,000 - $1,500

    Imogen Cunningham (American, 1883-1976). A binder of 60 Fashion gelatin silver prints of Alicemarie Mutrux (12 with Cunningham's Green Street label on the verso), none signed by the artist.

    Fine Estate Inc.
  • Imogen Cunningham (American, 1883-1976).
    Mar. 24, 2024

    Imogen Cunningham (American, 1883-1976).

    Est: $300 - $500

    Imogen Cunningham (American, 1883-1976). A binder of 28 Fashion gelatin silver prints of Alicemarie Beckham Mutrux, (7 with Cunningham's Green Street label on verso), none signed by the artist.

    Fine Estate Inc.
  • Imogen Cunningham (American, 1883-1976).
    Mar. 24, 2024

    Imogen Cunningham (American, 1883-1976).

    Est: $300 - $500

    Imogen Cunningham (American, 1883-1976). Five exhibition catalogues: "Imogen Cunningham Photographs 1921-1967", "Photograph U.S.A." (2 copies), "Imogen Cunningham"-Aperture, "Imogen Cunningham original photographs offered by The Imogen Cunningham Trust".

    Fine Estate Inc.
  • Imogen Cunningham (American, 1883-1976).
    Mar. 24, 2024

    Imogen Cunningham (American, 1883-1976).

    Est: $150 - $250

    Imogen Cunningham (American, 1883-1976). A group of magazines about Imogen Cunningham ("Infinity Magazine" (2 copies), "After Dark" (2 copies), "San Francisco Annual Guide to the Bay Area's Finest Restaurants", 1971, "Westways," 1976, "Life Magazine", 1972, "Holiday San Francisco", 1970, and a color photographic image of Imogen.

    Fine Estate Inc.
  • Imogen Cunningham (American, 1883-1976).
    Mar. 24, 2024

    Imogen Cunningham (American, 1883-1976).

    Est: $200 - $300

    Imogen Cunningham (American, 1883-1976). A group of Imogen Cunningham negative and contact prints of various people, 3 photographic images of Alicemarie Mutrux by Stan Ciccone, Macy's fashion photographer, a folder of newspaper clippings about Imogen Cunningham, a 1966-67 West Coast Airline calendar with Cunningham images.

    Fine Estate Inc.
  • Imogen Cunningham (American, 1883-1976).
    Mar. 24, 2024

    Imogen Cunningham (American, 1883-1976).

    Est: $400 - $600

    Imogen Cunningham (American, 1883-1976). Sixteen gelatin silver prints of Alicemarie Mutrux, five signed in pencil, 13 with Cunningham's Green Street label on verso, three gelatin silver prints of two women, three photographic images of plants. Generally in good condition aside from some with surface scuffs and rubs.

    Fine Estate Inc.
  • Imogen Cunningham (American, 1883-1976).
    Mar. 24, 2024

    Imogen Cunningham (American, 1883-1976).

    Est: $300 - $500

    Imogen Cunningham (American, 1883-1976). A collection of approximately 10 letters, signed by Imogen Cunningham, (1960-1975), a 1982 calendar with Cunningham illustrated images, two announcements of Cunningham exhibitions (1968 & 1973), various photographic images of Alicemarie Mutrux, approximately 9 typed letters from Ann Heatlie to Alicemarie and Philippe Mutrux, some newspaper clippings of Cunningham exhibitions, and other miscellaneous items.

    Fine Estate Inc.
  • Imogen Cunningham (American, 1883-1976).
    Mar. 24, 2024

    Imogen Cunningham (American, 1883-1976).

    Est: $300 - $500

    Imogen Cunningham (American, 1883-1976). Three Books: "Imogen Cunningham Photographs, 1910-1973", 1974, by Margery Mann, each signed in ink on the title page (2 copies); "Imogen Cunningham Photographs", 1970, Margery Mann, signed in ink on the titled. In good condition aside from some rubs, soiling to the dusk jackets.

    Fine Estate Inc.
  • Imogen Cunningham (1883-1976) - Phoenix Recumbent, 1968
    Mar. 14, 2024

    Imogen Cunningham (1883-1976) - Phoenix Recumbent, 1968

    Est: €3,000 - €4,000

    Modern gelatin silver print, printed by "The Imogen Cunningham Trust", mounted on original passepartout cm 30 x 23,7 (cm 50 x 40 passepartout) | 11.8 x 9.3 in. (19.7 x 15.7 in. passepartout) Photographer's credit blindstamp on the passepartout recto and The Imogen Cunningham Trust caption label on the passepartout verso LITERATURE Richard Lorenz, Imogen Cunningham: On the Body, 1978, p. 14 Skilled in the technical field thanks to her studies in chemistry, Imogen Cunningham has refined her expressiveness by collaborating with authors such as Edward S. Curtis and the members of the f/64 Group, even though from the beginning her aesthetic choices have been very personal. In this splendid shot, one can see the sinuous delicacy of the hair that dominates the scene, recalling the same harmony that the American photographer gives to her images of flowers.

    Finarte
  • IMOGEN CUNNINGHAM (1883-1976) Triangles, 1928 signed in pencil (mount, rect
    Feb. 28, 2024

    IMOGEN CUNNINGHAM (1883-1976) Triangles, 1928 signed in pencil (mount, rect

    Est: $3,000 - $5,000

    IMOGEN CUNNINGHAM (1883-1976) Triangles, 1928 signed in pencil (mount, recto); credited, titled and dated on photographer's 1331 Green Street Studio label (mount, verso); credited, titled, dated on affixed Sir Elton John Photography collection label (frame backing board) image/sheet: 3 5⁄8 x 2 5⁄8 in. (9.2 x 6.6 cm.) mount: 12 x 8 7⁄8 in. (30.4 x 22.5 cm.)

    Christie's
  • The Unmade Bed, Imogen Cunningham estate print
    Feb. 22, 2024

    The Unmade Bed, Imogen Cunningham estate print

    Est: $800 - $1,200

    Heading: Author: Cunningham, Imogen Title: The Unmade Bed, 1957 Place Published: Berkeley, CA Publisher:The Imogen Cunningham Trust Date Published: 1957; estate print Description: Gelatin silver print mounted on board. Image: 26.6x34.1 cm (10x12½"); board: 40.8x50.8 cm (16x20"). Printed by Rondal Partridge for the Imogen Cunningham Trust. With blind-stamped facsimile signature of Imogen Cunningham on mount recto. Estate label on mount verso with signature of Cunningham's son Rondal Partridge. Rondal's father was California printmaker and artist Roi Partridge.

    PBA Galleries Auctions & Appraisers
  • IMOGEN CUNNINGHAM (1883-1976) Tuberose, 1920s credited 'Imogene Cunningham'
    Feb. 22, 2024

    IMOGEN CUNNINGHAM (1883-1976) Tuberose, 1920s credited 'Imogene Cunningham'

    Est: $8,000 - $12,000

    IMOGEN CUNNINGHAM (1883-1976) Tuberose, 1920s credited 'Imogene Cunningham' (sic), titled and dated in an unknown hand, annotated with artist's printing notes in pencil (verso); credited, mistitled and dated on affixed Sir Elton John Photography collection label (frame backing board) image: 7 x 9 ¼ in. (17.7 x 22.8 cm.) sheet: 8 x 10 in. (20.3 x 25.4 cm.)

    Christie's
  • IMOGEN CUNNINGHAM (1883-1976) Aeonium, 1920s credited 'Imogene Cunningham'
    Feb. 22, 2024

    IMOGEN CUNNINGHAM (1883-1976) Aeonium, 1920s credited 'Imogene Cunningham'

    Est: $8,000 - $12,000

    IMOGEN CUNNINGHAM (1883-1976) Aeonium, 1920s credited 'Imogene Cunningham' (sic), titled and annotated in pencil in unknown hand, annotated with artist's printing notes in pencil (verso); credited, mistitled and dated on affixed Sir Elton John Photography collection label (frame backing board) image: 9 ¼ x 7 ½ in. (23.4 x 19 cm.) sheet: 9 7⁄8 x 8 in. (25 x 20.3 cm.)

    Christie's
  • IMOGEN CUNNINGHAM (1883–1976) Amaryllis Bud, 1933 credited 'Imogene Cunning
    Feb. 22, 2024

    IMOGEN CUNNINGHAM (1883–1976) Amaryllis Bud, 1933 credited 'Imogene Cunning

    Est: $8,000 - $12,000

    IMOGEN CUNNINGHAM (1883–1976) Amaryllis Bud, 1933 credited 'Imogene Cunningham' (sic) and titled in pencil in an unknown hand (verso); credited, mistitled and dated on affixed Sir Elton John Photography collection label (frame backing board) image: 9 ½ x 8 in. (24.1 x 20.3 cm.) sheet: 10 x 8 in. (25.4 x 20.3 cm.)

    Christie's
  • IMOGEN CUNNINGHAM (1883-1976) Wandering Jew, c. 1920s signed and dated '20s
    Feb. 22, 2024

    IMOGEN CUNNINGHAM (1883-1976) Wandering Jew, c. 1920s signed and dated '20s

    Est: $12,000 - $18,000

    IMOGEN CUNNINGHAM (1883-1976) Wandering Jew, c. 1920s signed and dated '20s' in pencil (mount, recto); credited, titled and dated on affixed Green Street studio label and with Trust stamp ink (mount, verso); credited, titled and dated on affixed Sir Elton John Photography collection label (frame backing board) image: 8 1⁄8 x 6 ¼ in. (20.6 x 15.8 cm.)

    Christie's
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