Impressionist Figurative Photography

MISS ERIS #29 [From the series Les Foxy Femmes de Carmen De Vos] Published in Carmen De Vos's new book 'The Eyes of the Fox' and on the cover of her TicKL Magazine, 2008. 80x80cm...

Duke Of Beaufort Hunt Gloucestershire England 1985 by Homer Sykes oversize 60 x 40 inches / 151 x 101 cm paper size signed limited edition print edition of 5 only this size printed 2022 Certificate of authenticity provided Note Other sizes available Fox hunting, the Duke of Beaufort hunt. In his black silk top hat, and wearing the traditional distinctive Blue and Buff, the colours of the Duke of Beaufort Hunt, a subscribers walks his horse back across the Badminton Park. Huntsmen and Whippers-In wear green. Badminton, Gloucestershire, England circa December 1985. Homer Sykes Sykes's father, Homer Warwick Sykes, was a Canadian-born American of English extraction who worked for the China National Aviation Corporation in Shanghai; his mother, Helen Grimmitt, was Canadian-born and raised in Hong Kong. The couple were married in August 1947, but in June 1948, in an early stage of his wife's pregnancy, Homer was killed in an accident at Lunghua airfield. Helen returned to her family home in Vancouver, and the son was born three weeks later, in 1949.[1][2] When the boy's mother remarried in 1954, the family moved to England.[3] Homer was a keen photographer as a teenager, with a darkroom both at home and at boarding school. In 1968 he started a three-year course at the London College of Printing (LCP),[1][3] while sharing a house in St John's Wood.[4] In the summer vacation during his first year, he went to New York, and was impressed by the work of current photographers – Cartier-Bresson, Davidson, Friedlander, Frank, Uzzle and Winogrand – that he saw at the Museum of Modern Art.[3] Solo exhibitions "Traditional British Calendar Customs", Arnolfini Gallery (Bristol), 1977;[14] Side Gallery (Newcastle), 31 August – 25 September 1977.[15] "Shanghai Odyssey", Open Eye Gallery (Liverpool), 24 May – 20 June 2003.[14][16] Festival of Photography and Contemporary Art (Biella), 2005.[14] "On the Road Again", Hereford Town Hall (Hereford Photography Festival), 2002.[17] "Green Man and Friends, photographs from the 1970s", WPS (Hastings), 2009.[18] "England 1970–1980", Maison de la photographie Robert Doisneau (Gentilly, Paris), 27 June – 12 October 2014.[10][11][19][20] "My Britain 1970–1980", Les Douches la Galerie, Paris. 5 September – 31 October 2015.[21][22][23] "Once a Year – Homer Sykes", Lucy Bell Gallery, St Leonards-on-Sea, May–June 2021[24] Other exhibitions "Personal Views 1850–1970", British Council touring exhibition, 1970.[3] "Traditional Country Customs" (with work by Benjamin Stone), ICA (London), 1971.[3][14] "Young British Photographers", Museum of Modern Art (Oxford), 1971.[14] Exhibition of photographs by Stone and Sykes of festivals, customs and pageants, Southampton and Birmingham, 1973.[7] "Reportage Fotografen", Museum des 20. Jahrhunderts (Vienna), 1978.[14] "Il Regno Unito si diverte". British Council, Milan, 1981. With Chris Steele-Perkins and Patrick Ward.[25] "The Other Britain", National Theatre (London), and touring in Britain, 1982.[26] "A British Eye on the World", Museum of Modern Art (Rio de Janeiro), 1986.[14] "Viva, une agence photographique", Jeu de Paume (Paris), 2007.[27][28] "How We Are: Photographing Britain." Tate Britain (London), 2007.[29][30] "No Such Thing as Society: Photography in Britain 1968–1987", Aberystwyth Arts Centre; Tullie House (Carlisle); Ujazdów Castle (Warsaw).[31] "Unpopular culture." De La Warr Pavilion (Bexhill), 2008.[32] "The Other Britain Revisited: Photographs from New Society", Victoria and Albert Museum, 2010.[26] "Goodbye London: Radical art and politics in the seventies", Neue Gesellschaft für Bildende Kunst (Berlin), 26 June – 15 August 2010. With Stuart Brisley, Victor Burgin, David Hall, Margaret Harrison, Derek Jarman...

This piece has been matted - image of flower is: 16 x 21.5 in. - matted with 8 ply museum archival matt, external dimensions: 22.5 x 28 in.- Edn of 25. 3 sizes, framing available up...

Please bear in mind that all prints are produced to order and lead times are between 15-20 days. Telecom Italia is a stunning Archival Inkjet Print by contemporary photographer Mor...

"Untitled 3" (Mustang) Photography 24" x 32" inch Edition 3/7 by Larsen Sotelo From the Mustang series Giclee (Archival Ink) print on 310G Platine Fibre Cotton Rag w/satin finish ...

Jeffrey Tamblyn Giddy Archival Pigment Print on Hahnemuehle Baryta Rag Year: 2021 Size: 10x8 inches Edition: 50 Signed, dated and numbered by hand on label COA provided Ref.: 924802-...

Altstadt Rêveries #06, 2008 [From the series Goldenbogen & Zouzou] Digital color print based on original Polaroid on beautiful PHOTO RAG ULTRA SMOOTH 305gsm - 100% cotton by HAHNEMÜHLE, Hand signed & numbered by the artist, edition of 7 - nr 02 Unmounted. Carmen De Vos - Artist statement Flying Freelance Portrayer. Purveyor of Exquisite Photographic Peculiarities. Chroniqueur and Archiver. Founder and Editor-in-Chief of the late TicKL-Magazine. The Belgian artist Carmen De Vos is a slow photographer. She registers, portrays and thinks up odd stories. She shoots Polaroids to frame these mental escapades, they get so easily out of hand. She enormously longs for what she’s afraid to loose: real human contact, the slowness of being and creating, the tangibility of materials. Almost without exception she uses old Polaroid camera’s, long time expired film and self-made filters. Her tools and methods - such as film bleaching and deliberate film obstruction - are not precise and are not even geared towards a perfect representation. They often yield results - such as colorisation, deformation, unsharpness - which she could never have predicted on forehand with any certainty, because their flaws do not allow for calculation. She’s not in control. She fights the material. She plans, stages and directs but the decayed chemistry and off-focus lenses add their magic. All by themselves. Which merrily surprises her. Or ruins her image. This battle attracts her as much as it frustrates her. She loves to create within these limitations, to try to produce the best possible image within the narrow circumstances given. Luckily, she’s a sucker for imperfections. Once upon a time she found herself guilty of home-crafted mischiefs for TicKL, her English art porn Polaroid magazine. She never really got cured from naughtiness. She can’t help but traveling back to these blessed times of free-love photography...

Series: Indulgence Chromogenic Print on Kodak Endura Luster Paper All available sizes and editions: 22.5" x 30" 30" x 40" 45" x 60" 56" x 72" 63" x 84" Editions of 3 + 2 Artist Proof...

SOME PEOPLE OF KUWAIT, 2000, Color iris print, on heavy rag photo paper signed on verso and inscribed "OK to print', from small edition of just 10. images 40 x 26 ¾", full margins; printed by Muse X. This was a series about Kuwaiti, Arab women or men dressed in Burka's from up close it appears completely abstract from a bit of a distance an image emerges. Jack Butler was a Professor of Art at California State University Los Angeles from 1988 to 2010. He received his Master of Arts degree from California State University Los Angeles in 1972 and earned his Master of Fine Arts degree from UCLA in 1979. He was a dedicated teacher from 1971 to 2010 and taught at numerous educational institutions including California State University Los Angeles, the University of California, Riverside, UCLA Extension, Pasadena City College, East Los Angeles College, Los Angeles Southwest College and was a visiting instructor at the School of the Art Institute in Chicago. He has participated in approximately one hundred exhibitions during that time including sixteen solo exhibitions. His work has been shown at such institutions as the Los Angeles County Museum of Art, Fahey / Klein Gallery, Los Angeles, San Francisco Museum of Art, Gallery Min in Tokyo, Japan, the Museum of Contemporary Art in Osaka, Japan, Photo-Tableau in Paris, France, the Photographers Gallery in London England, the Kansas City Art Institute, The Friends of Photography Ansel Adams Center, the Laguna Beach Art Museum, the Long Beach Museum of Art, Sala Arcs Gallery, Barcelona, Spain, the California Museum of Photography, the Center of Contemporary Art, Santa Fe, New Mexico, the George Eastman House, Rochester, New York, the Corcoran Gallery, Boston Mass., and the Santa Barbara Museum of Art and was represented by the former Sherry Frumkin Gallery. He has been published in numerous books and catalogs. These include publications from such seminal exhibitions as “ Proof: Los Angeles Art and the Photograph 1960-1980”, “Photography and Art: Interactions Since 1946”, “Photography and Language” and “Attitudes: Photography in the Seventies” as well as having a catalog of his work published by Min Gallery in Tokyo, Japan. Recent publications include catalogs from the exhibition "Transfictions" at the Fisher Gallery USC and the exhibition "COLA 2004" at Barnsdall Municipal Art Gallery as well as “The Polaroid Years, Instant Photography and Experimentation”, The Francis Lehman Loeb Art Center, Vassar College 2013. During his career he has been involved in numerous workshops and lectures and has curated numerous exhibitions. He has participated in a Distinguished Artists Forum, 20x24 Polaroid Project in 1989 and was supported the by Polaroid Corporation to work on the 20x24 Polaroid camera in New York Studio in 1990 and again in 1998. Polaroid Corporation was also instrumental in assisting with the production of his project Hot Rod "Kulture / Culture.” He was also a recipient of a SECA Award from the San Francisco Museum of Art in 1980, National Endowment for the Arts Fellowship (major individual grant) in 1981 and received a City of Los Angeles Individual Artists Fellowship (COLA Grant) in 2004. His work is included in such collections as the Los Angeles County Art Museum, San Francisco Museum of Art, California Museum of Photography, Grunwald Center for the Graphic Arts UCLA, La Jolla Museum of Contemporary Art, Georges Pompidou National Center for Art and Culture, Seattle Art Museum, the Kiyosato Museum of Photographic Art, Japan, the Graham and Susan Nash Collection, the Aaron Spelling Collection as well as numerous other private collections. Going back to the 1840s, the earliest days of photography, people like Fox Talbot, Hippolyte Bayard and Oscar Gustave Rejlander were manipulating images and producing work that they referred to as Art or “Light Drawings”. Moving on to the 1920s and 30s we discover people such as Kurt Schwitters, Christian Schad, Hana Hoch, Raoul Haussmann, Man Ray, John Heartfield, Max Ernst, Laszlo Moholy-Nagy, Lucia Moholy...

Horses - Limited edition archival pigment print , Edition of 5 This image was captured on film. The negative was scanned creating a digital file which was then printed on Hahne...

Series: Decadence Chromogenic Print on Kodak Endura Luster Paper Available Sizes: 22.5" x 30" 30" x 40" 45" x 60 54" x 72" 63" x 84" Edition of 3 + 2 Artist Proofs Tyler Shields is ...

24"x24" photograph, signed and editioned on reverse. (edition of 5) This photograph is from a series entitled, “(UN)THINKABLE,” the culmination of 25 years of Phillip Buehler’s work photographing remnants of the Cold War throughout the United States and Europe. Buehler has visited NATO airbases, Cape Canaveral, the Airplane Graveyard, missile bunkers and silos (even within New York City’s borders) among many other sites that are historic, and yet hidden, forbidden, and forgotten. Photographs from this series will be featured in a solo exhibition this September at the Front Room Gallery. For anyone growing up during the Cold War the sense of dread of the world’s annihilation was all to concrete. It was evidenced in films like “Dr. Strangelove” and “The Day After.” Everyone knew the U.S. had enough nuclear weapons to destroy the world 5 times over, and assumed something similar about the Russians. For those not old enough to remember this built in fear, don’t worry (worry) it is reawakening. We don’t need another Cuban Missile Crisis to push us to the brink, the renewed tension with the Russians, and now North Korea’s recent entry in the nuclear weapons club is more than enough to unnerve anyone who is watching these conflicts unfold. Phillip Buehler is watching closely. Through this comprehensive series Buehler’s photos show many aspects of this non-war war. In Buehler’s aerial photographs from a military airplane storage yard in Arizona the repetition of the same model of bomber aircraft are so abstractly pattern-based that the overall effect beginnings to feel like a Middle Eastern tapestry...