Frank Yamrus Nude Photography

Contemporary figurative sepia toned photograph of nude male model Sepia toned silver gelatin print, edition 3 of 25 Image size: 8 x 8 inches 17.5 x 16.5 x 1 inches framed with 8-ply ...

Kate #9, 2002 by Leonard Freed is an 8” x 10” signed black and white photograph, stamped "vintage" by the Freed estate on verso (back of photo). Model, photographer, and yogini Kate ...

Winged: Sepia Toned Figurative Photograph of Nude Male by David Halliday, Framed Contemporary, horizontal figurative sepia toned photograph Sepia toned silver gelatin print, edition ...

Savannah Spirit Never Let the Same Snake Bite You Twice Silver gelatin on Ilford multigrade paper, signed, edition of 5 Scroll for more on the artist and this series and an excerpt from the recent monograph, The Archive #6: Savannah Spirit, published by Quiet Lunch: "When I first saw Savannah Spirit’s early nudes, I felt immediately struck by their power and awareness. Of course, they were traditionally beautiful, with classical lighting and shadows from Venetian blinds. Some of them were sexy, in the way bodies are sexy. But they weren’t sexualized. Looking at them, I felt powerful. I felt good. They depicted the body of an adult woman viewing herself with love. I’ve been devoted to them ever since. To me, these portraits invoke the power of a landscape. The way the light rolls over the body evokes the body’s connection with the earth, with sunrise and its long deep shadows. The patterns of darkness can break the figure into geometry, creating a distance between the viewer and the image, as in End of An Era and Staying Abreast. Yet others, like Resist and Be The Woman You Needed When You Were Younger, create direct address, and sometimes empathy. Sometimes, the viewer takes the vantage point of the artist, and the piece becomes a further study in introspection. The titles, like The Bottom Line and Read Between the Lines, often invoke idioms, figures of speech, or stereotypes that themselves point back to the culture that produced them. As conceptual components, they are both playful and political, which, when juxtaposed against image to elicit a mood or reaction. For me, it’s different every time. I am often pricked to discover how the vernacular of Hollywood capitalism, juxtaposed to a powerful, nude self-portrait of a woman, almost always feels a bit surprising–as if I wasn’t expecting her to be there. Recent works, like Network, use both shadow and mirror to create a doubled image, the artist and her reflection, further suggesting the sense of a dialogue with the self. The two bodies are not a mirror image, though seen in a mirror: a conversation between two sides of oneself, rather than a literal twinning. Over the past decade, as this series took on greater and deeper life, Savannah and I have had countless wonderful discussions about women, bodies and art. As a former artist’s model, early in her career, she participated in the form of power that was available to her: that of the quieted muse. She knew she was being objectified, she recalls, but at least she was included in the club. I instantly recognized that message. She was still creating her own work, though, and one day, she realized she’d had enough of seeing herself through someone else’s lens. She turned the camera on herself, and began to take a very different kind of picture. During the pandemic, the feeling of being alone with oneself can sometimes feel overwhelming. These recent pieces reflect that agitation of the dialogue alone, the being with oneself, seeking connection..." - Katie Peyton Hofstadter Classic black and white silver gelatin print, signed by the artist Savannah Spirit. This is a self portrait of the artist. Categorize between self-portrait, contemporary feminism, take back control, I am my own muse, my body my choice...

Savannah Spirit Waiting Silver gelatin on Ilford multigrade paper, signed, edition of 5 Scroll for more on the artist and this series and an excerpt from the recent monograph, The Archive #6: Savannah Spirit, published by Quiet Lunch: "When I first saw Savannah Spirit’s early nudes, I felt immediately struck by their power and awareness. Of course, they were traditionally beautiful, with classical lighting and shadows from Venetian blinds. Some of them were sexy, in the way bodies are sexy. But they weren’t sexualized. Looking at them, I felt powerful. I felt good. They depicted the body of an adult woman viewing herself with love. I’ve been devoted to them ever since. To me, these portraits invoke the power of a landscape. The way the light rolls over the body evokes the body’s connection with the earth, with sunrise and its long deep shadows. The patterns of darkness can break the figure into geometry, creating a distance between the viewer and the image, as in End of An Era and Staying Abreast. Yet others, like Resist and Be The Woman You Needed When You Were Younger, create direct address, and sometimes empathy. Sometimes, the viewer takes the vantage point of the artist, and the piece becomes a further study in introspection. The titles, like The Bottom Line and Read Between the Lines, often invoke idioms, figures of speech, or stereotypes that themselves point back to the culture that produced them. As conceptual components, they are both playful and political, which, when juxtaposed against image to elicit a mood or reaction. For me, it’s different every time. I am often pricked to discover how the vernacular of Hollywood capitalism, juxtaposed to a powerful, nude self-portrait of a woman, almost always feels a bit surprising–as if I wasn’t expecting her to be there. Recent works, like Network, use both shadow and mirror to create a doubled image, the artist and her reflection, further suggesting the sense of a dialogue with the self. The two bodies are not a mirror image, though seen in a mirror: a conversation between two sides of oneself, rather than a literal twinning. Over the past decade, as this series took on greater and deeper life, Savannah and I have had countless wonderful discussions about women, bodies and art. As a former artist’s model, early in her career, she participated in the form of power that was available to her: that of the quieted muse. She knew she was being objectified, she recalls, but at least she was included in the club. I instantly recognized that message. She was still creating her own work, though, and one day, she realized she’d had enough of seeing herself through someone else’s lens. She turned the camera on herself, and began to take a very different kind of picture. During the pandemic, the feeling of being alone with oneself can sometimes feel overwhelming. These recent pieces reflect that agitation of the dialogue alone, the being with oneself, seeking connection..." - Katie Peyton Hofstadter Classic black and white silver gelatin print, signed by the artist Savannah Spirit. This is a self portrait of the artist. Categorize between self-portrait, contemporary feminism, take back control, I am my own muse, my body my choice...

Leonard Freed’s authenticated/stamped vintage (back of photo), 16" x 20", gelatin silver print, Kate #14, is from the Kate series, 2002. A photographer herself, model and yogini Kate remains complicit in striking dramatic poses for the Kate nude series by Freed. In this image Kate is supine, arms outstretched, body arched on the backside of a person in a downward dog yoga pose. On the edge of a cliff with the ebb and flow of the sea and waves many feet below, the duo remain in balance above swirling waters. Kate's trust in the universe, a face of abandon, reveals youthful fearlessness and love of freedom. Freed captures a self-possessed modern woman and partner in a dance of sorts that Kate shares on the edge of time...

Silver print, titled (verso) by Paul Cadmus, 11cm x 13cm, (33cm x 38cm framed). the work is framed behind museum quality non-reflective UV glass. In 1937, the painters, Paul Cadmus...

Silver gelatin print, studio stamp (verso), 20cm x 23cm, (45cm x 46cm framed). The photographed behind museum quality, UV and non-reflective glass. A titan of American 20th century photography, Platt Lynes took his first photographs as a young artist living in New York and Paris in the 1920s. He maintained an interest in the male figure throughout his career and was part of a close-knit group of artists, including Paul Cadmus, Jared French, Margaret French...

A photograph by Lawrence Schiller. “Elliott Gould, Donald Sutherland, Jo Anne Pflug” is a vintage silver gelatin photograph in black and white by Ame...

Ed. 2/25, vintage gelatin silver print. Includes black frame with white mat. A Long Island native, von Hohenberg has always been a world traveler and took an interest in photography...

Silver gelatin print, with numeric notation and stamp of collection of Jon Anderson (verso), 12cm x 18cm (41cm x 44cm framed). Jon Anderson was Paul Cadmus' partner of 35 years. The picture depicts the artists Paul Cadmus and George Tooker, the photographer, George Platt Lynes, and publisher, Monroe Wheeler. The painter Paul Cadmus (1904 - 1999) and married artists Jared (1902 - 1989) and Margaret French (1906 - 1998) comprise the photographic collaborative known by their acronym, PaJaMa. Beginning in 1937, and over the course of nearly two decades, the trio collectively staged photographs set against the backdrops of Fire Island, Provincetown, and Nantucket, among other locations. Their psychologically and sexually charged images often served as studies for the artists' subsequent paintings and works on paper. The statuesque quality of the figures and the stillness of each scenario are key characteristics of PaJaMa’s photographs...

Silver print, signed and titled (recto), 35,5 x 28 cm (sheet size), (48cm x 42cm framed). George Valentine Dureau was an American artist whose long career was most notable for charcoal sketches and black and white photography of poor white and black athletes, dwarfs, and amputees. Robert Mapplethorpe is said to have been inspired by Dureau's amputee and dwarf photographs, which showed the figures as "exposed and vulnerable, playful and needy, complex and entirely human individuals." Some of his pieces are held at the Ogden Museum of Southern Art. Several of his works are displayed publicly throughout New Orleans, most notably, the pediment sculpture for Harrah's New Orleans, and his cast-bronze sculptures stand sentinel at the entrance gates of New Orleans City Park...