Peter A. Juley (1862-1937), Paul P. Juley (1890-1975), and Others

a group of 4 albums titled New York I-IV, comprising 227 photographs of American Artists, each flush-mounted, 2 signed by the photographer, 10 signed by the sitters, many with the 'Peter A Juley & Son, 225 West 57th Street - New York City' studio stamp and some with title in pencil on the reverse, mounted again, most with title in ink on the album leaf.  Large thick 4to, gilt-lettered dark brown leatherette with peach moire lining, post-bound; each with typed plate list laid in, circa 1910s-30s (4)

American Artists in Photographic Portraits from The Peter A. Juley & Son Collection (National Museum of American Art, Smithsonian Institution, 1995), pls. 6, 15, 40, 43, 53, 54, 75, 76, 77, 89, 95, 99, 101, 146, 149-151, 178, 185, and 199

Many of these early prints, most warm-toned and on matte-surface paper and flush-mounted to slick white paper, are in generally very good or excellent condition. On many, the edges are rubbed. They are glued along the upper edges to the taupe/gray paper mounts on the album pages, and many have become detached. Where the photographs have become detached, deposits of adhesive remains can be found along the tops of the paper mounts. The album pages are soiled, rubbed, and age-darkened at the edges. There are also some small tears at the edges. The albums are worn. They have rubbed edges with some losses. The spine has loosened from New York I. The fabric linings are soiled, and some are lifting at the corners. In some instances, the actual photographs do not correspond to the typed plate lists. What follows here is our listing of the sitters in each album. The print of John Marin is by Alfred Stieglitz, and is being sold separately, in Lot 56. NEW YORK I (55 photographs) Charles Dana Gibson - there are tiny losses at the upper left corner (detached) Rudolf Evans (detached) Malherb Group Stanislav Rembski - there are droplet like deposits of indeterminate nature in the light areas of the print, and it has been affixed to the paper mount asymetrically. William J. Glackens - rubbed edges (detached). Kyobei Inukai - on paper with a surface sheen (detached). Pietro Montana Carl Rungius Henry R. McGinness - silvering at edges Allen Lewis Mahonri Young - discoloration is present Georg Lober V. A. Svoboda - crease and lifting of emulsion in lower left corner A. Salzbrenner J. William Fosdick - heavy silvering at periphery John Ward Dunsmore (detached) Charles Daniell (important modernist dealer) - very warm-toned William Macbeth (important dealer) - silvering at periphery Robert G. McIntyre - signed 'Juley N. Y.' on the image in ink Albert Milch Edward Milch - silvering at periphery John Kraushaar (dealer) - heavy silvering and fingerprints at periphery Gari Melchers Edward Bruce Albert Sterner Albert Groll Leo Katz Barry Faulkner F. W. Hutchison Rockwell Kent Thomas H. Benton William Auerbach Levy Julius M. Delbos Van Dearing Perrine Ernest C. Peixotto Miss Hilda Belcher (detached) Walter Farndon & Y. G. Debonnet C. Powell Minnegerode - very warm-toned (detached) Ernest Roth Orlando Campbell - silvering (detached) Prof. Roerich - very warm-toned (detached) Kenneth Hayes Miller - silvering at periphery (detached) Junius Allen William Yarrow - very warm-toned Joel Levitt - silvering at periphery Marguerite Zorach - very warm-toned Chester Beach - silvering in dark areas (detached) Paul Manship (detached) Jerome Myers - silvering at periphery (detached) Frank O. Salisbury David Tauszky John Flanagan (detached) Adolph A Weinman (a Paul P. Juley, Peter A. Juley & Son, 219 East 39th Street business card is affixed to the back of a page opposite this image) John Gregory NEW YORK II (59 photographs) Bashka Paeff - signed by Juley on the first mount Leon Kroll - silvering in dark areas Edward Dufner Edmund Graecen - possibly signed on the first mount by the artist Max Weber - silvering in lower portion (detached) Leon Gordon - silvering; upper right edge of paper mount missing Arthur Crisp - very warm-toned George Wright - silvering at the periphery; signed by Wright in ink on the image Nikol Schattenstein - very warm-toned; silvering in lower portion William Zorach - very warm-toned (detached) Peggy Bacon (detached) Allyn Cox - very warm-toned (detached) Stuart Davis - heavily silvered in lower portion (detached) Georgia O'Keeffe - silvering in dark areas (detached) Olaf Olson - silvering in lower portion Bradford Lambert - silvering in periphery Antoinette Schulte Andrew Schwartz - signed by Schwartz in ink on the image Orlando Rouland - silvered in lower portion; signed by Rouland in ink on the image Natalie Hammond - very warm-toned and silvered Harry Watrous - very warm-toned Walter Palmer Ogden Pleissner - silvering at periphery Kimon Nicolaides (detached) Gleb Derijinski (detached) Willy Pogany - very warm-toned (detached) Hans Reiss - silvery at the periphery Winold Reiss (detached) F. W. Wright A. H. Wyant - This image is by George B. Good. There is silvering at the periphery (detached) J. Alden Weir Henry W. Ranger - silvering at the periphery J. Francis Murphy Joseph Pennell (detached) Willard Metcalf Robert Henri (detached) - signed in pencil on the image, lower right Homer Martin - silvering at the periphery Winslow Homer (detached) - This is likely a copy print. George Inness - This image is likely by Edward S. Bennett. It has been signed 'Juley NY' in pencil on the mount. John H. Twachtman - This image is by Gertrude Kasebier. While it appears to have been signed, it is not. The original print that has been photographed was signed. Horatio Walker - very warm-toned; This appears to have been signed by Walker on the image, but we suspect that this is a copy print, and that it was the original photograph that was actually signed. Frederick C. Prieseke Alfred M. Barr, Jr. (detached) William McCormick - very warm-toned; silvering in the periphery Edwin Alden Jewell (important critic) (detached) Dr. Christian Brinton - very warm-toned; silvering Forbes Watson N. E. Montross (dealer) - very warm-toned Alfred Stieglitz (detached) F. Newlin Price - very warm-toned; silvered; signed by Price on the image Stefan Hirsch (detached) Mr. Erwin S. Barrie (detached) William Robinson Leigh (detached) Robert Bros Cathal O'Toole - very warm-toned and faded Louis Bouche (detached) Catherine Morris Wright Ralston Crawford John Corbino (detached) NEW YORK III (61 photographs) Kenneth How F. Stow Wengenroth - some discoloration at the upper and right edges Franklyn Watkins Ulysses A. Ricci (detached) Audrey Buller - heavy silvering in the lower portion Bryn Strandenes Dana Pond John Alonzo Williams - signed 'Juley N. Y.' in pencil on the mount Guy Pene duBois - silvering at the periphery Jere Wickwire Frank Russell Green - very warm-toned Donald Teague Joseph Lauber Paul King Alexander Shilling Reginald Marsh (detached) Harrington Mann (detached) Stephen Etnier (detached) Gustav Wiegand (detached) Max Kalish Elizabeth Weber-Fülop Reeves Lewenthal - discoloration Arthur Freedlander Abraham Manievich Robert Philipp George de Forest Brush (detached, no paper mount) Martin Gambee - discolored in the lower portion (detached) Burr Miller Chester Price C. Jac Young James Allen Alpheus Cole Alexander Brook Olle Nordmark (detached) Helene Sardeau, George Biddle, and their infant Gustave Cimiotti (detached) A. Stirling Calder (detached) Theodore Van Soelen (detached) Juliana Force (detached) Unidentified Louis Kronberg James Chapin K. Lascari Young Hunter (detached) Group of Artists, 1938 - all signed in ink on the image Black & White Jury, Academy, 1935 National Academy Jury, 1934 Academy Sculpture Jury, 1934 (detached) Academy Jury (detached) Council of national Academy of Design (detached) Group of Men Academy Jury, 1935 Academy Jury, 1936 (detached) Academy Jury, 1936 - very warm-toned (detached) Ulric H. Ellerhusen, A. Stirling Galder, and Herbert Adams Council of the society of American Etchers - very warm-toned (detached) Group of 27 Artists, Identified Group of 23 Artists, Identified Group of 23 Artists, Identified 2 loose photographs of unidentified artists NEW YORK IV (52 photographs) Leopold Seyffert - very warm-toned Edwin Blashfield (no paper mount) George L. Nelson - warm-toned with silvering in lower porttion; signed by Nelson in ink Philip DeLazlo Irving Wiles - heavy silvering at periphery Wells Sawyer - some discoloration at left and to right of sitter's head Bernard Boutet de Monvel (detached) Louis Betts - silvering in lower portion and dark areas (detached) E. L. Ipsen - silvering at periphery Anne Goldthwaite - silvering in lower portion Douglas Volk - silvering at periphery; signed and dated 1917 by Volk in ink on image Wayman Adams - silvering at periphery Abram Poole Raymond P. Neilson - very warm-toned Ezra Winter Hobart Nichols - signed by Nichols in ink on the image Maurice Sterne - some discoloration at left and right sides George Luks - This image is by Gertrude Kasebier. While it appears to have been signed by Luks in ink on the image, it has not. The original photograph that was copied was signed. This print is detached, is yellowed and scuffed at the upper portion. Charles Curran -it is warm toned, and there silvering in lower portion Jeno Juszko D. Putnam Brinley - this is a very warm-toned print A. Sheldon Pennoyer Frederick Detwiller - silvering in the dark areas; signed by Detwiller in ink on the image Jonas Lie Henry Rittenberg - very warm-toned Attillio Piccirilli - this is signed by Juley in pencil on the first mount Howard Chandler Christy (detached) Edmund Pizzella - silvering in the dark areas Hildreth Meiere Charles S. Chapman John C. Johansen Ernest Lawson - very warm-toned Arturo Noci William Steene - very warm-toned Albert Lucas - very warm-toned; this is likely a copy print of a photograph that was originally signed by Lucas in ink on the image Penrhyn Stanlaws Julian Bowes Victor Anderson - silvering at the periphery J. Scott Williams George Bellows (detached) Franklin DeHaven (2) - silvering in the dark areas Arthur B. Davies - This is a copy print of an image by Gertrude Kasebier. Chauncey Ryder - very warm-toned Phillip Schmand Charles Baskerville, Jr. Sidney Waugh (detached; no paper mount) Andrew Winter Morris Kantor Paul Trebilcock & Oscar of the Waldorf Astoria Royal Cortissoz Jose de Creeft
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The portraits in these four albums include many of the best-known American artists of the early 20^th century.  From 1896 to 1975, Peter A. Juley and his son Paul were the pre-eminent photographers of art and artists in New York City.  According to Joan Stahl, in her American Artists in Photographic Portraits from the Peter A. Juley & Son Collection (Washington, D. C., and New York, 1995), to which this entry is indebted, the duo produced some 127,000 negatives of artists and their works, not only for the artists themselves, but also for galleries, corporations, collectors, and institutions, among them the National Academy of Design.  These images, of which approximately 4,500 are portraits, comprise a unique record of the American art world of the early 20^th century.

The elder Juley emigrated from his native Germany to the United States in 1888 and in 1896 opened a photo studio/ barber shop in Cold Spring, New York.  It was during a stint at Harper’s Weekly, from 1901 to 1906, that Juley developed his specialty in studies of artists and their works.   He subsequently opened a studio on New York City’s 57^th Street, across from Carnegie Hall, with its many artists’ studios, and near the Arts Students League, a few doors away.  When son Paul became an adult, he joined his father’s flourishing business.  In addition to creating skillful, sensitive portraits and dependably-rendered images of art works, the two were also part of the arts scene in and around New York.  They were members of the Salmagundi Club, the social organization, still active today, that is committed to bringing artists and those interested in the arts together.  The Juleys also participated in the nearby summer art colonies in Woodstock, New York, and Old Lyme, Connecticut.

 The Peter A. Juley & Son studio continued until Paul’s death in 1975.  At that time, the studio’s negatives were acquired by the Smithsonian Institution’s National Museum of American Art. 

It is believed that most of the 227 images within the albums offered here are by the Juleys.  Some are not consistent in terms of size and point of view, however, and may be the work of others.  According to Joan Stahl, in her book about the Juley & Son Collection  at the Smithsonian, commercial photographers often purchased the negatives of other photographers who had passed away or were no longer in business.  Indeed, the oft-published portrait of John Marin by Alfred Stieglitz (Lot 56) was found in New York III, one of the albums that comprise the present lot.