View List

Click on the photograph to display information about it. To ask about this photograph, click “Add Photograph to List”. To view your inquiry list, click on the orange button at the top right of this screen. Click on the photographer’s name to read additional biographical information.

Rose Mandel

Polish/American, 1910–2002
Navajo Woman, Vintage silver print, ca. 1950.
ReturnNavajo Woman

Inventory number: 2405

Title: Navajo Woman

Date: ca. 1950

Medium: Vintage silver print

Image size: 4¾ in (12.1 cm) high by 3¾ in (9.5 cm) wide

Description: Signed in pencil on mount.

Price: $2,500


ReturnRose Mandel

ROSE MANDEL In 1942 Mandel and her husband imigrated to the United States to escape Nazi persecution and settled in the San Francisco Bay Area. At the suggestion of Edward Weston, whom Mandel met in 1945, she enrolled in the new California School of Fine Arts photography program in 1946. Although employed as a photographer in the Art Department of the University of California, Berkeley from 1948 until 1967, Mandel never ceased pursuing her personal vision. One of the earliest practitioners of sequential imaging, she created one such series while wandering the streets of San Francisco with her 4x5 camera. Titled On Walls and Behind Glass, this sequence was exhibited at the San Francisco Museum of Art in the Fall of 1948 and praised by San Francisco Chronicle critic Alfred Frankenstein as “…one of the most delightful exhibitions of the year.” This same group of twenty sequential images was exhibited and purchased by the Art Institute of Chicago in 1992. Mandel’s style of “sharp and soft” focus contrast studies found particular favor with Minor White. He described them as having a “fluidity of expression hardly thought possible in such a limited field.” In the 1960s Mandel turned her attention to abstracted images of water and in 1967 she was awarded a Guggenheim grant to produce a photographic essay on the city of Berkeley. Of her photography, Mandel said: “One must strive for good photography, creative photography, no matter what the subject. Your imagination and impulses must lead you—the important thing is to produce a photograph that is strong and clear and alive.” Selected Exhibitions:On Walls and Behind Glass, San Francisco Museum of Art, 1948; Errand of the Eye: Photographs by Rose Mandel, M.H. de Young Museum, San Francisco, 1954 and George Eastman House, Rochester, NY; Perceptions, San Francisco Museum of Art, 1954; The Sense of Abstraction in Contemporary Photography, Museum of Modern Art, New York, 1960; From Subject to Symbol, San Francisco Museum of Art, 1962; Photography USA: National Invitational Exhibition, DeCordova Museum, Lincoln, NE, 1962; Legacy: Northern California’s Photographic Tradition, The Friends of Photography, Ansel Adams Center, San Francisco, CA, 1989; Photographs of Rose Mandel, Art Institute of Chicago, IL, 1992–1993.Selected Collections: Center for Creative Photography, Tucson, AZ; California Museum of Photography, Riverside; Santa Barbara Museum of Art, CA; Art Institute of Chicago, IL; Hallmark Photographic Collection, Kansas City, MO; George Eastman House, Rochester, NYSelected Publications: Dody Warren, “Perceptions,” Aperture Vol. 2, No. 4, 1954; Keith F. Davis, An American Century of Photography From Dry-Plate to Digital: The Hallmark Photographic Collection, Second Edition,1999. Periodicals: Alfred Frankenstein, “The Art Galleries,” San Francisco Chronicle, 12 September 1948, “This World” p. 20; “The Errand of the Eye,” Aperture Vol. 4, No. 4, 1956, pp. 126–133; Abigail Foerstner, “Encore Long-Overdue for Rose Mandel,” Chicago Tribune, 30 October 1992, p. 75; B&W Magazine, Millenium Issue, February 2000.


P.O. Box 40447 San Francisco, California 94140    415-626-2677
©2019 Paul M. Hertzmann, Inc. All rights reserved. PRIVACY POLICY