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A Hundred Years of Photography 1839–1939

  • Kind of Object:
    Book
  • Name:
    A Hundred Years of Photography 1839–1939

    Word Count: 5

  • Creator (Person):
    Lucia Moholy
  • Year Start:
    1939
  • Year End:
    1939
  • Known addresses in Metromod cities:

    Lucia Moholy, 39 Mecklenburgh Square, Bloomsbury, London WC1.

  • City:
    London (GB)
  • Introduction:

    Six years after her arrival in London, the photographer Lucia Moholy published her book A Hundred Years of Photography 1839–1939, on the occasion of the centenary of photography.

    Word Count: 27

  • Content:

    Already since the early 1930s and while still living in Berlin, the Bauhaus photographer Lucia Moholy (1894–1989) had explored the early history of photography. A foundation for her work was the historical photo collection of the collector and author Erich Stenger (Sachsse 1985, 53). From 1934, Moholy lived in London and worked as, among other things, a portrait photographer with her own residential studio in Mecklenburgh Square in Bloomsbury. In 1937, the Bauhaus textile artist Otti Berger lived with her for a time. On the occasion of the upcoming centenary of photography, Lucia Moholy was commissioned in 1938 to write the survey work A Hundred Years of Photography 1839–1939, which was published a year later as a paperback by Penguin Books in the “Pelican Specials” series. The bibliography lists many relevant survey works on the history of photography: Gisèle Freund’s socio-historically oriented dissertation La Photographie en France au dix-neuvième Siècle (1936), Photography. A short critical history by Beaumont Newhall (1938), Heinrich Schwarz’s book on David Octavius Hill (1931), Erich Stenger’s Geschichte der Photographie (History of Photography, 1929), and Robert Taft’s Photography and the American Scene: A social history, 1839–1889 (1938).
    Lucia Moholy wrote photographic history as a history of technology and invention, referring to its commercialisation through studio photography. Moholy balanced the relationship between art and photography, dealt with art photography at the turn of the century and the establishment of amateur photography. Her overview, though condensed – the small paperback (dimensions approx. 18 x 11 cm) comprises only 182 pages with an additional picture section – did not lose sight of the trends in artistic photography of the 1920s, discussing surrealism, new objectivity and photomontage. Moholy concluded her history in the present with the photojournalism of the 1920s and 1930s. Moholy linked the history of photography to the present by formulating overarching reflections on the social and artistic significance of the visual medium.

    Lucia Moholy wrote a cultural history of photography with a focus on social and media history (see Hoimann 2016, 11). Photography, as Miriam Halwani writes, is presented as art and social practice, applying art historical as well as sociological parameters of investigation - epochs, styles, photographers, but also statistics, tables, audiences and the use of photography are presented in equal measure (Halwani 2012, 162). Moholy spans the range from the classics of photography such as Talbot and Daguerre to the photographers of the 20th century, i.e. her contemporaries: Cecil Beaton, László Moholy-Nagy, and her own practical work also found consideration in her book.
    The cover is illustrated with Honoré Daumier’s Nadar élevant la Photographie á la hauteur de l'Art, and a quote from the artist, “Je suis de mon temps”, introduces the book. Lucia Moholy was not alone in this reference to the 19th century caricaturist and graphic artist in the 1930s and 1940s. The émigré artist John Heartfield dedicated his essay to Daumier in the newsletter Freie Deutsche Kultur of the Free German League of Culture (Heartfield 1942). St. George's Gallery, owned by the Viennese art dealer Lea Bondi Jaray, exhibited Daumier's work in 1946. And art historian Ernst Gombrich, author of The Story of Art, published a review on Wilhelm Wartmann’s book on Daumier’s lithographs in the Burlington Magazine in 1947 (Gombrich 1947).

    Moholy’s Penguin book appealed to a wide readership and sold 40,000 copies as an inexpensive paperback at 6 pence within two years (Sachsse 1985, 61). Even though the paperback never aimed to be, nor ever could be, a weighty foundational work of photographic history, its negative reception within the profession was probably due to gender-based exclusion. A review by Beaumont Newhall, curator of photography at the Museum of Modern Art (Newhall 1941) described it as superficial. Moholy was also effectively excluded from the historiography of photography when Helmut Gernsheim, who was to have a decisive impact on research into early photographic history, omitted to mention her book in his later publications. The photo historian Rolf Sachsse has described this “loss of memory” by Gernsheim: If she is still thanked in his first book New Photo Vision (1942), Moholy is only mentioned in the bibliography of the weighty survey work The History of Photography from the Earliest Use of the Camera Obscura in the Eleventh Century up to 1914 (1955); in the second edition of the 1969 book, Lucia Moholy’s A Hundred Years of Photography 1839–1939 is no longer listed (Sachsse 1985, 61; Szwast 2019, 15).
    Nevertheless, with A Hundred Years of Photography 1839–1939, a paperback addressed to a general readership, Lucia Moholy wrote herself into photographic history and was able (finally) to make herself visible as a photographer who was also versed in photo theory. Together with her husband, the Bauhaus master László Moholy-Nagy, Lucia Moholy also worked on writings on photography and film theory, which, however, appeared under his sole authorship (Valdivieso 2000). Lucia Moholy is now widely known for her object and architecture photographs taken between 1923 and 1928 at the Weimar and Dessau Bauhaus which have shaped perceptions of the art school to the present day (Schuldenfrei 2013). Lucia Moholy and László Moholy-Nagy separated in 1929, and the two went into exile in London by different routes after the National Socialists came to power. László Moholy-Nagy lived in London between 1935 and 1937, where he worked as a graphic designer, painter and photographer and published three photobooks, including The Street Markets of London (1936).

    Lucia Moholy lived in London from March 1934, where she established herself as a portrait photographer. The National Portrait Gallery in London owns a portfolio of 45 portrait photographs by Lucia Moholy-Nagy, including of the writer Margaret Goldsmith (1935), the physicist Patrick Blackett (1936) and the writer and socialite Margot Asquith, Countess of Oxford and Asquith (1935). The latter portrait was reproduced by Lucia Moholy in her book A Hundred Years of Photography 1839–1939 (page 96).
    These and other portrait photographs from her early London period illustrate that Lucia Moholy must have made a name for herself as a portraitist shortly after her arrival. Nevertheless, her exile remained marked by economic instability and, like many other emigrants, she had to rely on various professional footholds. Lucia Moholy lectured at the Central School of Arts and Crafts and taught at the London School of Painting and Graphic Art, where the photographer Elsbeth Juda, who had also emigrated, was one of her students (Mitchell/March 2020, 14).
    From 1940 onwards, Lucia Moholy worked as a microfilming specialist for the library of Cambridge University and on behalf of the British Association of Special Libraries and Information Bureaux (ASLIB). In 1942, her London home was destroyed in a bombing raid (Müller 2019, 65f.). After the end of the war, Lucia Moholy engaged in long-lasting struggles with Walter Gropius to retrieve her negative archive from the Bauhaus period (Schuldenfrei 2013). In 1946, she was appointed by UNESCO and travelled to the Near and Middle East. In 1956, Lucia Moholy settled in Switzerland.

    Word Count: 1106

  • Signature Image:
    Lucia Moholy. A Hundred Years of Photography 1839–1939. Penguin Books, 1939, cover (METROMOD Archive).
  • Media:
    Lucia Moholy. A Hundred Years of Photography 1839–1939. Penguin Books, 1939, bastard title with Daumier’s quote “Je suis de mon temps” (METROMOD Archive).
    Lucia Moholy. A Hundred Years of Photography 1839–1939. Penguin Books, 1939, title page (METROMOD Archive).
    Lucia Moholy. A Hundred Years of Photography 1839–1939. Penguin Books, 1939, page with daguerreotypes (METROMOD Archive).
    Lucia Moholy. A Hundred Years of Photography 1839–1939. Penguin Books, 1939, page with a multiple flash photograph of the golfer Bobby Jones with a driver (METROMOD Archive).
  • Bibliography (selected):

    Freund, Gisèle. La Photographie en France au dix-neuvième Siècle. La Maison des Amis des Livres, 1936.

    Gernsheim, Helmut. New Photo Vision. Fountain Press, 1942.

    Gernsheim, Helmut, and Alison Gernsheim. The History of Photography from the Earliest Use of the Camera Obscura in the Eleventh Century up to 1914. Oxford University Press, 1955.

    Gernsheim, Helmut, and Alison Gernsheim. The History of Photography from the Earliest Use of the Camera Obscura to the Beginning of the Modern Era. McGraw-Hill Book Company, 1969.

    Gombrich, Ernst H. “Daumier, Honoré; Wartmann, Wilhelm: 240 Lithographien (review).” The Burlington Magazine, no. 89, 1947, pp. 231–232.

    Halwani, Miriam [Miriam Szwast]. Geschichte der Fotogeschichte 1839–1939. Reimer Verlag, 2012.

    Halwani, Miriam. Lucia Moholy. Fotogeschichte schreiben (Sammlung Fotografie, Museum Ludwig, 2), exh. cat. Museum Ludwig, Cologne, 2019.

    Heartfield, John. “Daumier im ‘Reich’.” Freie Deutsche Kultur, no. 2, 1942, pp. 7–8.

    Hoiman, Sibylle. “Einleitung.” Lucia Moholy. A Hundred Years of Photography 1839–1939. Hundert Jahre Fotografie 1839–1939 (Bauhäusler. Dokumente aus dem Bauhaus-Archiv Berlin, vol. 4), Bauhaus-Archiv Berlin, 2016, pp. 8–13.

    Maggi, Angelo. “A Hundred Years of Photography. A Critical Rereading of an Innovative Contribution.” Lucia Moholy (1894–1989) between Photography and Life (Fotografia, 3), edited by Nicoletta Ossanna Cavadini, exh. cat. m.a.x. museo, Chiasso, 2012, pp. 41–47.

    Mitchell, Carla, and John March. Another Eye. Women Refugee Photographers after 1933, exh. cat. Four Corners, London, 2020.

    Moholy, Lucia. A Hundred Years of Photography 1839–1939. Penguin Books, 1939.

    Müller, Ulrike. “Lucia Moholy.” Frauen am Bauhaus. Wegweisende Künstlerinnen der Moderne, edited by Patrick Rössler and Elizabeth Otto, translated by Birgit van der Avoort, Knesebeck, 2019, pp. 62–67.

    Newhall, Beaumont. Photography. A short critical history. MoMA, 1938.

    Newhall, Beaumont. “Lucia Moholy: A Hundred Years of Photography (review).” The Art Bulletin, vol. 23, no. 3, 1941, pp. 246–247.

    Sachsse, Rolf. Lucia Moholy. Edition Marzona, 1985.

    Sachsse, Rolf. Lucia Moholy. Bauhaus-Fotografin. Bauhaus-Archiv, 1995.

    Schuldenfrei, Robin. “Images in Exile: Lucia Moholy’s Bauhaus Negatives and the Construction of the Bauhaus Legacy.” History of Photography, vol. 37, no. 2, 2013, pp. 182–203.

    Schwarz, Heinrich. David Octavius Hill. Der Meister der Photographie. Insel Verlag, 1931.

    Stenger, Erich. Geschichte der Photographie (Abhandlungen und Berichte des Deutschen Museums, vol. 1, no. 6). VDI-Verlag, 1929.

    Taft, Robert. Photography and the American Scene: A social history, 1839–1889. Macmillan, 1938.

    Valdivieso, Mercedes. “Eine ‘symbiotische Arbeitsgemeinschaft’ und die Folgen – Lucia und László Moholy-Nagy.” Liebe Macht Kunst. Künstlerpaare im 20. Jahrhundert, edited by Renate Berger, Böhlau, 2000, pp. 6–85.

    Word Count: 360

  • Archives and Sources:

    Word Count: 10

  • Author:
    Burcu Dogramaci
  • Metropolis:
    London
  • Entry in process:
    no
  • Burcu Dogramaci. "A Hundred Years of Photography 1839–1939 ." METROMOD Archive, 2021, https://archive.metromod.net/viewer.p/69/1470/object/5140-11251867, last modified: 09-05-2021.
  • Edith Tudor-Hart
    Photographer

    The Viennese photographer Edith Tudor-Hart emigrated to England in 1933 and made a name with her photographs focusing on questions of class, social exclusion and the lives of marginalised people.

    Word Count: 29

    Edith Tudor-Hart took a series of photographs of the construction and opening of Lawn Road Flats in 1934 (Pritchard Papers, University of East Anglia, © The Estate of Wolfgang Suschitzky).
    Edith Tudor-Hart, Lawn Road Flats’ Christmas card, 1934, cover (Pritchard Papers, University of East Anglia, © The Estate of Wolfgang Suschitzky).Edith Tudor-Hart, Lawn Road Flats’ Christmas card, 1934, inside (Pritchard Papers, University of East Anglia, © The Estate of Wolfgang Suschitzky).Edith Tudor-Hart, Gee Street, Finsbury, London, c. 1936, in Wal Hannington’s The Problem of the Distressed Areas, Left Book Club Edition, 1937, pl. 23 (© The Estate of Wolfgang Suschitzky).Lilliput, vol. 4, 1939, p. 426: “Should we have this? A beauty parlour for dogs”, photo: Edith Tudor-Hart, c. 1937 and p. 427: “Must we have this? A London slum”, photo: Edith Tudor-Hart, c. 1936 (© The Estate of Wolfgang Suschitzky).Margery Spring Rice. Working-Class Wives. Their Health and Conditions. Penguin Press, 1939, cover with photograph by Edith Tudor-Hart (© The Estate of Wolfgang Suschitzky).Margery Spring Rice. Working-Class Wives. Their Health and Conditions. Penguin Press, 1939, pl. 2–4: photographs by Edith Tudor-Hart (© The Estate of Wolfgang Suschitzky).
    London
    Otti Berger
    Textile DesignerWeaver

    The textile designer and weaver Otti Berger lived in exile in London in 1937/38, where she sought to open up a new field of activity.

    Word Count: 24

    Otti Berger, Christmas and New Year’s Card, 1937, typewriting on silk (Harvard Art Museums/Busch-Reisinger Museum, gift of Lydia Dorner in memory of Dr. Alexander Dorner, Accession Number BR58.166, © President and Fellows of Harvard College).
    T. Lux Feininger, Otti Berger, sitting, in window, c. 1930 (Dessau © The Estate of T. Lux Feininger, repro: www.kunst-archive.net).Otti Berger, Translucent dividing curtain, Haus Schminke, Löbau, 1933, photo: Ernst Nipkow (Harvard Art Museums/Busch-Reisinger Museum, Gift of Mrs. Walter Gropius, Accession Number BR52.331, © President and Fellows of Harvard College).Otti Berger, Burdale, textile design for Helios Ltd., Bolton, 1938 (Courtesy of the Whitworth, The University of Manchester, Image © Michael Pollard).Judith Raum, Day by Idle Day / In den Tag hinein, 2020, installation, Kunsthaus Hamburg (photo: Hayo Heye).
    London
    Margaret Leischner
    Textile Designer

    The designer Margaret Leischner lived in England from 1938, worked for textile and furniture companies, taught at the Royal College of Art and was honoured as Royal Designer for Industry.

    Word Count: 29

    Tintawn Carpets brochure featuring designs by Margaret Leischner (Bauhaus-Archiv Berlin, Margaret Leischner Papers, Folder 6, Inv. No. 7568).
    Margaret Leischner, Advertisement for BOAC (British Overseas Airways Corporation), seat fabrics, 1955 (Bauhaus-Archiv Berlin, Margaret Leischner Papers, Folder 12, Inv. No. 75693).Brochure: “Choose comfort with Guy Rogers for 1963” featuring Leischner’s fabric for the ‘New Yorker’ upholstered furniture series (Bauhaus-Archiv Berlin, Margaret Leischner Papers, Folder 6, Inv. No. 10523).Company brochure: “Design in Yarn”, R. Greg & Co. Ltd. South Reddish, Stockport (Bauhaus-Archiv Berlin, Margaret Leischner Papers, Folder 6, Inv. No. 10522).Tintawn Carpets brochure (Eileen Ellis, Photo: Burcu Dogramaci, 2011).Margaret Leischner, Sisal sample Tintawn Carpets, 1960s (Eileen Ellis, Photo: Burcu Dogramaci, 2011).Margaret Leischner obituary, by Donald Tomlinson, Design Journal, vol. 5, no. 259, 1970, p. 83 (Photo: Private Archive).
    London
    Focus on Architecture and Sculpture
    Book

    Focus on Architecture and Sculpture by émigré photographer Helmut Gernsheim brought together his work and experience as a photographer for the National Buildings Record (NBR).

    Word Count: 25

    Helmut Gernsheim. Focus on Architecture and Sculpture. An Original Approach to the Photography of Architecture and Sculpture. The Fountain Press, 1949, cover (Archive Burcu Dogramaci).
    Helmut Gernsheim. Focus on Architecture and Sculpture. An Original Approach to the Photography of Architecture and Sculpture. The Fountain Press, 1949, pl. 1 (Archive Burcu Dogramaci).Helmut Gernsheim. Focus on Architecture and Sculpture. An Original Approach to the Photography of Architecture and Sculpture. The Fountain Press, 1949, pl. 2 and 3 (Archive Burcu Dogramaci).Helmut Gernsheim. Focus on Architecture and Sculpture. An Original Approach to the Photography of Architecture and Sculpture. The Fountain Press, 1949, pl. 4 and 5 (Archive Burcu Dogramaci).Helmut Gernsheim. Focus on Architecture and Sculpture. An Original Approach to the Photography of Architecture and Sculpture. The Fountain Press, 1949, pl. 6 and 7 (Archive Burcu Dogramaci).Helmut Gernsheim. Focus on Architecture and Sculpture. An Original Approach to the Photography of Architecture and Sculpture. The Fountain Press, 1949, pl. 14 and 15 (Archive Burcu Dogramaci).Helmut Gernsheim. Focus on Architecture and Sculpture. An Original Approach to the Photography of Architecture and Sculpture. The Fountain Press, 1949, pl. 52 and 53 (Archive Burcu Dogramaci).Helmut Gernsheim. Focus on Architecture and Sculpture. An Original Approach to the Photography of Architecture and Sculpture. The Fountain Press, 1949, pl. 54a, 54b and 55 (Archive Burcu Dogramaci).Helmut Gernsheim. Focus on Architecture and Sculpture. An Original Approach to the Photography of Architecture and Sculpture. The Fountain Press, 1949, pl. 60a and 60b (Archive Burcu Dogramaci).
    London
    St. George’s Gallery
    Art Gallery

    In 1943, the art dealer Lea Bondi Jaray, with support of Otto Brill, also exiled from Vienna, took over St. George’s Gallery in Mayfair, exhibiting contemporary British and continental art.

    Word Count: 30

    Honoré Daumier. Lithographs, exh. cat. St. George’s Gallery, London, June 1946, cover (METROMOD Archive).
    Honoré Daumier. Lithographs, exh. cat. St. George’s Gallery, London, June 1946, p. 5 with Denys Sutton’s essay “Honoré Daumier” (METROMOD Archive).Honoré Daumier. Lithographs, exh. cat. St. George’s Gallery, London, June 1946, p. 8–9 (METROMOD Archive).Announcement of the Waldemar Stabell exhibition at St. George’s Gallery, London, in The Observer, 19 January 1947, p. 7 (Photo: Private Archive).Review of the exhibition of Mary Swanzy and Mary Krishna at St. George’s Gallery, London, in The Observer, 30 March 1947, p. 2 (Photo: Private Archive).Review of The New Generation exhibition with Lucian Freud, John Craxton and William Scott at St. George’s Gallery, London, in The Observer, 11 May 1947, p. 2 (Photo: Private Archive).Announcement of The Known and Unknown Paintings by British and Continental artists exhibition at St. George’s Gallery, London, in The Observer, 17 August 1947, p. 7 (Photo: Private Archive).
    London
    László Moholy-Nagy
    PhotographerGraphic DesignerPainterSculptor

    László Moholy-Nagy emigrated to London in 1935, where he worked in close contact with the local avantgarde and was commissioned for window display decoration, photo books, advertising and film work.

    Word Count: 30

    László Moholy-Nagy, Cover of sales leaflet for Marcel Breuer’s Isokon Long Chair, 1937 (Pritchard Papers, University of East Anglia, © László Moholy-Nagy).
    László Moholy-Nagy, Bill of Fare, farewell dinner menu for Walter Gropius, London, March 1937, front page (Pritchard Papers, University of East Anglia, © László Moholy-Nagy).Mary Benedetta. The Street Markets of London. Photographs by László Moholy-Nagy. (reissued 1972). Benjamin Blom, 1972, “Petticoat Lane: The Spectacle Man” and “Petticoat Lane: In a side street. Some Arabian visitors at a second-hand clothes stall” (Photo: Private Archive, © The Moholy-Nagy Foundation).Barbara Hepworth, Ben Nicholson, their triplets and Hattula Moholy-Nagy at 7 Farm Walk, the London home of László and Sibyl Moholy-Nagy, June 1936 (provided by The Moholy-Nagy Foundation).
    London
    John Heartfield
    ArtistGraphic DesignerFotomonteur (mounter of photographs)

    After escaping from his first exile in Prague in December 1938, the political artist John Heartfield lived in London since 1950, working for Picture Post and the publisher Lindsay Drummond.

    Word Count: 28

    Richard St. Barbe Baker. Africa drums. Lindsay Drummond, 1943, cover design by John Heartfield (METROMOD Archive, © The Heartfield Community of Heirs / VG Bild-Kunst, Bonn 2021).
    London
    The Story of Art
    Book

    The Story of Art by the émigré art historian Ernst H. Gombrich was published in 1950 with Phaidon Press. The book is a comprehensive and accessible introduction to visual culture.

    Word Count: 29

    Ernst Gombrich’s The Story of Art, published with Phaidon Press in 1950, cover (Photo: Private Archive).
    Ernst Gombrich’s The Story of Art, published with Phaidon Press in 1950, cover without dust jacket (Staats- und Universitätsbibliothek Bremen, photo: Private Archive).Ernst Gombrich’s The Story of Art, published with Phaidon Press in 1950, first page with dedication by G.B., probably Gertrud Bing from the Warburg Institute in London and a colleague of Gombrich (Staats- und Universitätsbibliothek Bremen, photo: Private Archive). It reads “On 29 June 1950 from your friends from the Warburg Institute G.B.”.Ernst Gombrich’s The Story of Art, published with Phaidon Press in 1950, title page with Velazquez’s Las Meninas (Staats- und Universitätsbibliothek Bremen, photo: Private Archive).Ernst Gombrich’s The Story of Art, published with Phaidon Press in 1950: Introduction by the author (Staats- und Universitätsbibliothek Bremen, photo: Private Archive).Ernst Gombrich’s The Story of Art, published with Phaidon Press in 1950, p. 10–11: comparing Géricault’s Horce-racing at Epsom with a photo from 1948 (Staats- und Universitätsbibliothek Bremen, photo: Private Archive).Ernst Gombrich’s The Story of Art, published with Phaidon Press in 1950, p. 20–21: reproductions of cave paintings in Altamira and Font de Gaume (Staats- und Universitätsbibliothek Bremen, photo: Private Archive).Ernst Gombrich’s The Story of Art, published with Phaidon Press in 1950, p. 102–103: looking eastwards (Staats- und Universitätsbibliothek Bremen, photo: Private Archive).Ernst Gombrich’s The Story of Art, published with Phaidon Press in 1950, p. 440: reproduction of Henri Rousseau’s Portrait of Joseph Brunner, 1909, and Marc Chagall’s The Musician, 1912–13 (Staats- und Universitätsbibliothek Bremen, photo: Private Archive).
    London
    The Street Markets of London
    Photobook

    In 1936, émigré photographer László Moholy-Nagy realised The Street Markets of London together with the journalist Mary Benedetta, setting the book within the overarching theme of urban photography.

    Word Count: 28

    Mary Benedetta. The Street Markets of London. Photographs by László Moholy-Nagy. John Miles, 1936, cover (Photo: Private Archive, © The Moholy-Nagy Foundation).
    Mary Benedetta. The Street Markets of London. Photographs by László Moholy-Nagy. John Miles, 1936, title page (Photo: Private Archive, © The Moholy-Nagy Foundation).Mary Benedetta. The Street Markets of London. Photographs by László Moholy-Nagy. (reissued 1972). Benjamin Blom, 1972, title page (Photo: Private Archive, © The Moholy-Nagy Foundation).Mary Benedetta. The Street Markets of London. Photographs by László Moholy-Nagy. (reissued 1972). Benjamin Blom, 1972, p. vii: Foreword by László Moholy-Nagy (Photo: Private Archive, © The Moholy-Nagy Foundation).Mary Benedetta. The Street Markets of London. Photographs by László Moholy-Nagy. (reissued 1972). Benjamin Blom, 1972, p. viii: Foreword by László Moholy-Nagy (Photo: Private Archive, © The Moholy-Nagy Foundation).Mary Benedetta. The Street Markets of London. Photographs by László Moholy-Nagy. (reissued 1972). Benjamin Blom, 1972, “Petticoat Lane: general view” (Photo: Private Archive, © The Moholy-Nagy Foundation).Mary Benedetta. The Street Markets of London. Photographs by László Moholy-Nagy. (reissued 1972). Benjamin Blom, 1972, “Petticoat Lane: The Spectacle Man” and “Petticoat Lane: In a side street. Some Arabian visitors at a second-hand clothes stall” (Photo: Private Archive, © The Moholy-Nagy Foundation).Mary Benedetta. The Street Markets of London. Photographs by László Moholy-Nagy. (reissued 1972). Benjamin Blom, 1972, “Petticoat Lane: Alf, the Purse King” and “Petticoat Lane: The wealth of a trinket stall” (© The Moholy-Nagy Foundation).Mary Benedetta. The Street Markets of London. Photographs by László Moholy-Nagy. (reissued 1972). Benjamin Blom, 1972, “Petticoat Lane: The Glass Man’s burly auctioneer” and “Petticoat Land: An old customer” (Photo: Private Archive, © The Moholy-Nagy Foundation).Mary Benedetta. The Street Markets of London. Photographs by László Moholy-Nagy. (reissued 1972). Benjamin Blom, 1972, “Petticoat Lane: ‘Pick me out two soft roes,’ she says” and “Berwick Street: A family business – Flower sellers” (Photo: Private Archive, © The Moholy-Nagy Foundation).Mary Benedetta. The Street Markets of London. Photographs by László Moholy-Nagy. Reissued 1972. Benjamin Blom, 1972, “Caledonian Market: North Road entrance” and “Caledonian Market: ‘They have no stalls, but spread them out on the ground’”(Photo: Private Archive, © The Moholy-Nagy Foundation).Mary Benedetta. The Street Markets of London. Photographs by László Moholy-Nagy. Reissued 1972. Benjamin Blom, 1972, “Billingsgate: Where you find every age and every type” (Photo: Private Archive, © The Moholy-Nagy Foundation).Anonymous. “London Street Markets.” The Observer, 20 September 1936, p. 9 (Photo: Private Archive).J. B. “London’s Street Markets.” The Manchester Guardian, 23 October 1936, p. 6 (Photo: Private Archive).
    London