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The Cathedral of Lucca - Vintage Photographic Print - Early 20th Century

Early 20th Century

Vintage Photo. Federico Fellini, Giulietta Masina, Marcello Mastroianni. Picture taken at the Leonardo Da Vinci's airport before the actors left Rome to present "8 e 1/2" in New York.

Portrait is an original photo on yellowish paper realized in 1870 by an Anonymous Artist of the XIX century. Included original passepartout: 32.5 x 26.5 cm. The state of preservat...

Japanese Woman Cooking by Shin E Do is an hand-inked Albumen print with aniline applied on hardcover. Very good conditions. Cardboard cm 26 x 34; Print ...

The Arrigoni collection, Esposizione Musicale Milanese, is a photographic albumen print applied on cardboard. The print is made by coeval enlargement and applied on cardboard witho...

Ethel, Joe and Kathleen Kennedy is a b/w photograph by Frank Teti during the 1960s. This picture takes a lovely moment of Ethel, Joe and Kathleen sitting down all together. Print ...

Autographed Portrait of Horst Janson is a b/w postcard reproducing the photographic portrait of the German actor, with the additional value of a green ink autograph and date on the lower margin at the center. 1961. This autographed postcard is in perfect condition, absolutely to collect! Horst Janson (1935) The German actor started his career with the film The Buddenbrooks in 1959. He has appeared in many other feature films, including spaghetti westerns with Franco Nero, Eli Wallach and other international productions with Roger Moore, Tony Curtis, Anthony Perkins, Charles Bronson...

Artist: Robert Jansen Title: Garbo at the Astor Theater Year: 1934 Medium: Gelatin Silver Print Photograph Paper Size: 9 x 12.5 inches Frame: 16 x 20 inches

In images such as this, the influence of Ansel Adams and the other members of the group f.64 is clearly evident. The group f.64 was intent on truth in the medium of photography, wanting to push the camera to see even more clearly than the human eye. To do this, they used the small aperture, marked by the f-stop 64, which allows the camera to have an expansive depth of field. In this image, the earthy and sensuous textures of the brick and stone walls stand in direct contrast to the clean lines and graphic finish of the Route 66 sign. Ferderbar's mastery of the camera as an instrument brings out these contrasts following the legacies of the earlier American masters. 10 x 8 inches, image 13.75 x 11.5 inches, sheet 16.13 x 13.88 inches, frame Signed lower right Framed to conservation standards using archival materials including 100 percent rag matting, Museum Glass to inhibit fading, and housed in a modern profile silver finish wood moulding. ARTIST STATEMENT: I wanted to become a photographer at the age of 12, when my sister Grace gave me a Kodak Box Brownie camera for Christmas. (I still have that camera.) Since our family was quite poor, I built my first enlarger with an oatmeal box, while that same box camera was used as its lens. In 1947, just after graduation from high school, I had the opportunity to travel to California by car and house trailer with my uncle, aunt and mother, and in the process to shoot my first pictures along Route 66. Then, after graduation from college, a stint in the army followed by photography school, I opened an advertising photography studio in 1954. For over four decades my staff and I earned numerous local, regional and national awards for our achievements in photography, including several "best of show" honors. In 1958 I studied with renowned landscape photographer Ansel Adams at his Yosemite National Park workshop. In 1980, while still operating my advertising photography studio, I began a serious photographic study of the decaying artifacts along our country's former Mother Road, Route 66. The former national highway route from Chicago, Illinois to Santa Monica, California was not a popular subject at the time, and so I filed away my transparencies, not knowing what I might ever do with them. However, as time passed Route 66 did become a topic of national interest, and upon my retirement in 1997, I once again returned to record the Mother Road's artifacts. A number of my Yosemite series photographs are included in the Ansel and Virginia Adams collection at the Center for Creative Photography at the University of Arizona at Tucson, and several of my Route 66 photographs and other subjects have been acquired by the Milwaukee Art Museum. At this time I am preparing a book of my photographic experiences along Route 66, from 1947 to the present. -Tom Ferderbar

Please be aware that the US recently imposed an import duty on photographs printed in the last 20 years which may apply if you are purchasing and importing this to the US. Edition o...

Adolph Studly, Swiss born American photographer. His work is kept in the Photographic Archive at The Museum of Modern Art Archives, New York. He was known for his gallery photographs of works by artists represented primarily by the Buchholz gallery, Curt Valentin, and Stephen Radich Galleries. Artists whose work he shot include Max Beckmann, Francis Bacon, Chaim Soutine, Allan Kaprow, Clyfford Still, Georges Braque, Paul Klee, Henri Matisse, Picasso, Auguste Rodin, Georges Rouault. He worked with Louis H. Dreyer, the pre-eminent architecture photographer in New York City. Chaim Jacob Lipchitz, 1891-1973, was born in Lithuania and came of age in Paris during the early 20th century, where he was active in the avante-garde community of Pablo Picasso, Amedeo Modigliani, Diego Rivera, Chaim Soutine, and Juan Gris. Art historian H. H. Arnason, who ranked Lipchitz with Picasso and Marc Chagall, wrote, "Lipchitz, as a pure sculptor, is ...unquestionably one of the greatest sculptors of this century." The architect Philip Johnson asked Lipchitz to make a wall sculpture to be placed on the brick chimney over a fireplace of a guest house owned by Mrs. John D. Rockefeller III on West 53rd Street in New York. Lipchitz decided to develop the piece from his Pegasus designs and call it Birth of the Muses in honor of the Rockefellers' interest in the arts. In 1950 he completed the work as a bronze relief five feet high. It was installed as planned and later was acquired by Lincoln Center. He participated in the Flight portfolio...

Adolph Studly, Swiss born American photographer. His work is kept in the Photographic Archive at The Museum of Modern Art Archives, New York. He was known for his gallery photographs of works by artists represented primarily by the Buchholz gallery, Curt Valentin, and Stephen Radich Galleries. Artists whose work he shot include Max Beckmann, Francis Bacon, Chaim Soutine, Allan Kaprow, Clyfford Still, Georges Braque, Paul Klee, Henri Matisse, Picasso, Auguste Rodin, Georges Rouault. He worked with Louis H. Dreyer, the pre-eminent architecture photographer in New York City. Chaim Jacob Lipchitz, 1891-1973, was born in Lithuania and came of age in Paris during the early 20th century, where he was active in the avante-garde community of Pablo Picasso, Amedeo Modigliani, Diego Rivera, Chaim Soutine, and Juan Gris. Art historian H. H. Arnason, who ranked Lipchitz with Picasso and Marc Chagall, wrote, "Lipchitz, as a pure sculptor, is ...unquestionably one of the greatest sculptors of this century." The architect Philip Johnson asked Lipchitz to make a wall sculpture to be placed on the brick chimney over a fireplace of a guest house owned by Mrs. John D. Rockefeller III on West 53rd Street in New York. Lipchitz decided to develop the piece from his Pegasus designs and call it Birth of the Muses in honor of the Rockefellers' interest in the arts. In 1950 he completed the work as a bronze relief five feet high. It was installed as planned and later was acquired by Lincoln Center. He participated in the Flight portfolio...

Adolph Studly, Swiss born American photographer. His work is kept in the Photographic Archive at The Museum of Modern Art Archives, New York. He was known for his gallery photographs of works by artists represented primarily by the Buchholz gallery, Curt Valentin, and Stephen Radich Galleries. Artists whose work he shot include Max Beckmann, Francis Bacon, Chaim Soutine, Allan Kaprow, Clyfford Still, Georges Braque, Paul Klee, Henri Matisse, Picasso, Auguste Rodin, Georges Rouault. He worked with Louis H. Dreyer, the pre-eminent architecture photographer in New York City. Chaim Jacob Lipchitz, 1891-1973, was born in Lithuania and came of age in Paris during the early 20th century, where he was active in the avante-garde community of Pablo Picasso, Amedeo Modigliani, Diego Rivera, Chaim Soutine, and Juan Gris. Art historian H. H. Arnason, who ranked Lipchitz with Picasso and Marc Chagall, wrote, "Lipchitz, as a pure sculptor, is ...unquestionably one of the greatest sculptors of this century." The architect Philip Johnson asked Lipchitz to make a wall sculpture to be placed on the brick chimney over a fireplace of a guest house owned by Mrs. John D. Rockefeller III on West 53rd Street in New York. Lipchitz decided to develop the piece from his Pegasus designs and call it Birth of the Muses in honor of the Rockefellers' interest in the arts. In 1950 he completed the work as a bronze relief five feet high. It was installed as planned and later was acquired by Lincoln Center. He participated in the Flight portfolio...