id: 155990 accession number: 1991.274 share license status: Copyrighted url: https://clevelandart.org/art/1991.274 updated: 2024-03-26 02:00:11.893000 Apparition #2, c. early 1930s. Edward W. Quigley (American, 1898–1977). Gelatin silver print, photogram; image: 34.9 x 25.4 cm (13 3/4 x 10 in.); matted: 55.9 x 45.7 cm (22 x 18 in.). The Cleveland Museum of Art, John L. Severance Fund 1991.274 title: Apparition #2 title in original language: series: series in original language: creation date: c. early 1930s creation date earliest: 1930 creation date latest: 1935 current location: creditline: John L. Severance Fund copyright: --- culture: America, 20th century technique: gelatin silver print, photogram department: Photography collection: PH - American 1900-1950 type: Photograph find spot: catalogue raisonne: --- CREATORS * Edward W. Quigley (American, 1898–1977) - artist Edward W. Quigley American, 1898-1977 Philadelphia-born Edward Quigley was a modernist photographer who became known in the 1930s for his pioneering experiments with light abstractions. A self-taught photographer, Quigley became interested in the medium as a child, taking his first photographs with a Brownie camera around 1910. In 1918 he embarked on a professional career and in 1930 opened a commercial studio in Philadelphia. During the 1930s-40s he produced innovative advertising and editorial photographs for clients ranging from Wanamaker's department store, Frances Denney Cosmetics, and S.K.F. Industries to Harper's Bazaar and Farm Journal. In the early 1930s Quigley undertook a number of photographic experiments. He created pure, projected light abstractions (which he called "light forms") as well as abstract images produced using raking light and cutout cardboard constructions. He also experimented with photograms (cameraless photographs). During this period Quigley showed his work in many exhibitions and photographic salons. In 1932 his light abstractions were featured in a one-person show at the Philadelphia Art Alliance, and two years later he took part in the First Salon of Pure Photography at the Adams-Danysh Galleries in San Francisco (juried by, among others, Ansel Adams, Willard Van Dyke, and Edward Weston). That same year Quigley had another one-person show, Designs with Light, at the Delphic Studios in New York and participated in an exhibition of modernist photography at the Cleveland Museum of Art that also included works by Margaret Bourke-White, Anton Bruehl, Edward Steichen, Alfred Stieglitz, Ralph Steiner, and Weston. In 1938 Quigley organized two exhibitions for the Photographic Society of Philadelphia (of which he had been a member since 1929), one featuring the photographs of Weston and the other the work of László Moholy-Nagy. Although Quigley did not participate in many exhibitions after the 1930s, he continued his commercial work during the 1940s and early 1950s and also began writing technical articles for such journals as American Photography, The Camera, and Good Photography. M.M. --- measurements: Image: 34.9 x 25.4 cm (13 3/4 x 10 in.); Matted: 55.9 x 45.7 cm (22 x 18 in.) state of the work: edition of the work: support materials: inscriptions: inscription: Written in pencil on verso: "5444 *"; "#2- Apparition"; "EW 602-279/12"; in red pencil "76 [circled]" translation: remark: --- CURRENT EXHIBITIONS title: Legacy of Light: Master Photographs from the Cleveland Museum of Art opening date: 1996-11-24T05:00:00 Legacy of Light: Master Photographs from the Cleveland Museum of Art. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 24, 1996-February 2, 1997). --- LEGACY EXHIBITIONS * {'description': 'CMA, November 20,1996 - February 2, 1997: "Legacy of Light: Master Photographs from the Cleveland Museum of Art."', 'opening_date': '1997-02-02T00:00:00'} --- PROVENANCE The Quigley Family; George Rinhart date: footnotes: citations: --- fun fact: digital description: wall description: --- RELATED WORKS --- CITATIONS Cleveland Museum of Art, Tom E Hinson. Catalogue of Photography. Cleveland, OH: Cleveland Museum of Art, 1996. page number: Reproduced: P. 270 url: --- IMAGES