Auguste Louis Lepère Landscape Prints

large format photograph of a summer beach scene along Portugal's Atlantic coast by iconic Italian photographer Massimo Vitali, renowned for his grand scale topographical observations of the rites and rituals of modern leisure Carcavelos Pier Paddle (2016) 61.25” x 81.68” / 155.60 cm x 207.46 cm limited edition of 6 + 2AP (signed, titled and dated on certificate of authenticity) original archival photography print with diasec (acrylic glass) face mount in contemporary white lacquered gallery frame Each limited edition original Massimo Vitali photograph is printed in Italy under artist supervision in strictly limited edition (6 + 2AP) , signed/titled/dated upon final inspection and expertly framed at renowned European art framing facility Disclaimer of authenticity: although it is possible to acquire (small size) single page offset prints from the book "A Portfolio of Landscapes and Figures" (published by Steidl) in the secondary market, the artist studio strongly dissuades collectors from purchasing these single page prints outside of the context and authenticity of the complete portfolio. About the artist: Massimo Vitali was born in Como, Italy, in 1944. He studied photography at the London College of Printing, in the 1970s initially working as a photojournalist, but at the beginning of the 80s a growing mistrust in the belief that photography had an absolute capacity to reproduce the subtleties of reality led to a change in his career path. Vitali worked in cinematography for film and television before beginning a fine art practice in 1995. Over the next two decades, he would gain recognition for his highly detailed, epic-scale panoramas — sociopolitical observations of the natural habitat of humankind at leisure. Vitali’s iconic series of beach panoramas, captured from a distance with an elevated large-format camera platform, began in the light of drastic political changes in Italy. Drawing inspiration from Renaissance and Old Flemish masters, in which the central space is fully exploited and the urban or natural landscape becomes the background, Vitali’s photographs grasp the viewer by capturing highly detailed observances of the recreational habitats of modern civilization. Vitali’s work has been collected in six monographs: Beach and Disco, Natural Habitats, Landscapes With Figures, Swimming Pools, Short Stories and Entering A New World. Additionally, his work is represented in the world’s major museums, including the Centro de Arte Reina Sofia in Madrid, the Guggenheim Museum in New York, the Museum of Contemporary Art in Denver, the Fond National Art Contemporaine in Paris, the Centre Pompidou in Paris, the Musée National d’Art Moderne in Paris, the Fondation Cartier in Paris and the Museo Luigi Pecci in Prato. Massimo Vitali lives and works in Lucca (Italy) and in Berlin (Germany). __________________________ SOLO EXHIBITIONS 2021 'PienoVuoto' Forte di Belvedere, Florence 2020 'Human Constellations' Museo Ettore Fico, Turin 2019 Massimo Vitali: Short Stories' Mazzoleni, London 2018 'Coastal Colonies' Spiral, Tokyo 2017 ‘Disturbed Coastal Systems’ Benrubi Gallery (New York, USA) 2016 ‘Landscapes with Figures’ Guido & Schoen Arte Contemponania (Genoa, Italy) 2016 ‘Massimo Vitali’ Crown Gallery (Knokke-Zoute, Belgium) 2016 ‘Massimo Vitali’ Ronchini Gallery (London, UK) 2015 ‘New Prints’ Hilger Next (Vienna, Austria) 2014 ‘Massimo Vitali’ Studio La Citta (Verona, Italy) 2014 ‘Into The White’ Erich Lindenberg Art Foundation (Porza, Switzerland) 2014 ‘Sempre più pallide. Towards Achrome’ Palazzo Tadea (Spilimbergo, Italy) 2013 ‘Between Normalities’ Bonni Benrubi...

FRANCES H. GEARHART and Sisters (THE GEARHARTS) SEA TREASURES...

Kiyomizu Temple, Scenes of Famous Places along Tôkaidô Road - Woodblock on Paper Full Title: Kyoto: Kiyomizu Temple (Kyô Kiyomizudera), from the series Scenes of Famous Places along...

Sumiyoshi: Dengaku dance performed during an Onda ceremony - Woodblock Print Bright woodblock print by Utagawa Hiroshige (Japanese, 1797-1858). In this scene, two dancers with swords and fans are facing each other, in the center of a courtyard. There are spectators surrounding them, including nobles in black clothing on a balcony. Presented in a new off-white mat with foamcore backing. Mat size: 16"H x 20"W Paper size: 9.63"H x 14.5W" Utagawa Hiroshige (1797-1858, sometimes called Ando Hiroshige) was the second of the two great masters of the Japanese landscape woodblock print...

Yellow Sky is a limited edition drypoint print by artist Kate Boxer, featuring two cowboys riding through a dessert scene. Kate Boxer, artist and printmaker, is available online and ...

"First Horse Day, 1896" - Chiyoda Palace - Japanese Woodblock by Chikanobu Yoshu Colorful and expressive court scne by Toyohara Chikanobu,"Yoshu" (Japanese, 1838-1912). This is the r...

A beauty turns to admire the Kirifuri Waterfall in Nikko Province. She holds the handle of an umbrella and wears fashionable clothing that is beautifully printed. This series pairs f...

"Various Himochi" Wagashi Festival Japanese Woodblock Print by Utagawa Toyokuni Rare oversized early 19th century 5-tiered woodblock by Utagawa Ichiyosai Toyokuni, (Japan, 1769-1825), a Japanese lord and wife oversee a sekku festival of food, music, and dolls or toys. '"oshi" is the first day of “Mi (Snake)” in the third month of the lunar calendar. This day, known in modern Japan as the Girls' Festival, originated in China as a form of purification ceremony in which water and drinking peach blossom wine were used to drive away evil. Many kinds of hishi-mochi appear in this picture of hina ningyo (dolls associated with Hinamatsuri, or the Girl’s Day) from Omochae. The custom of eating special dishes at events throughout the year and at milestones in people's lives has existed since ancient times. This paragraph specifically focuses on the annual event called sekku, and life events that involve eating sweets. Joshi is the first day of “Mi (Snake)” in the third month of the lunar calendar. This day, known in modern Japan as the Girls' Festival, originated in China as a form of purification ceremony in which water and drinking peach blossom wine were used to drive away evil. According to the Keiso saijiki, in ancient China, on the third day of the third lunar month, people ate “ryuzetsuhan,” which is the juice of gogyo (Jersey cudweed) mixed with rice flour and nectar. In Japan, there is a record in the Heian period history book Nihon Montoku tenno jitsuroku [839-5] that it was an annual event to make kusamochi using gogyo on the third day of the third month of the lunar calendar, which may have been influenced by Chinese customs. The tradition of eating kusamochi on the third day of the third month of the lunar calendar continued after that. By the Edo period, however, hishimochi had come to be used as a sweet to serve on the third day of the third month. A picture of a hishimochi is included in the Morisada manko , which we mentioned in Part 1. According to it, hishimochi in the Edo period were often three layers of green-white-green instead of the now common red-white-green. However, it is possible to see from our collection that not all hishimochi were made in this way. Omochae published in 1857, is a good example. Omochae is a type of ukiyoe print...

rare vertical work featuring iconic summer beach scene in Puglia by Italian photographer Massimo Vitali, renowned for his grand scale topographical observations of the summer rites and rituals of modern leisure Porto Miggiano...

The Ayase River and Kanegafuchi, Summer, One Hundred Famous Views of Edo Summer on the Ayase River by Hiroshige (Ando) Utagawa (Japan, 1797 - 1858 ). Woodcut circa 1856. Ima...

Polish painter and graphic designer, Czeslaw Tumielewicz was born in 1942. In 1968, he studied at the Architecture faculty of Gdank, before continuing his course at the Technical Un...

WILLIAM SELTZER RICE (1873 – 1963) WIND BLOWN POPLARS c. 1915-20 Color woodcut, Signed and titled in pencil. 9 x 12”. On thin paper. Remnants of o...