Vertical Photography

© 2025 Gerald Berghammer - Color cityscape photo. Colorful row houses with a prominent blue house in the center, potted small trees in front, and a paved courtyard. Archival pigment...

Vignette of a dancer creating shapes and folds in the sunlight. Rocket's favorite lighting source. The harsh lights and shadows in the warm Florida weather led Ricky Rocket to explo...

"Basquiat"is a photomosaic artwork by Destro. The first release in a series mosaic works called "Icons". Destro has created large prints which are made up of many hundreds of smalle...

Expansion and light come together here to capture the opening of the expulsion. The harsh lights and shadows in the warm Florida weather led Ricky Rocket to explore photography. The...

Rare early 1950s Original Vintage Gelatin Silver Photograph by DOUGLAS JULEFF - also known as DOUG OF DETROIT - of bodybuilder and model GENE STAGGS. This is #2 of two images of Stag...

Attached is a certificate from the Carmen Tatche Gallery and press clippings from the exhibition held in 2000 in Spain.

Edition 7 A naked woman is walking along a street by night with a superb blue sky in the background. These stunning photographs of Sieff’s subjects in Paris, in their homes, on the...

Artist: Man Ray (American born, 1890 - 1976) Title: FEMALE NUDE Date Of Negative: 1930 Type Of Print: Authentic Vintage Sheet Fed Photogravure/Heliogravure. Date Of Print: 1934 1st E...

This ethereal monochromatic underwater nude photograph captures a young woman wrapped in flowing translucent fabric. The sepia-toned composition emphasizes texture and movement, wher...

Real Coco de Mer Edition of 25 signed and numbered by the artist JJK shows his perfect play with light and shadow in this intimate photograph. The shape of the body reminds us of th...

José Sierra painted his body as a tribute to Afro-Colombian and pre-Columbian cultures, documenting the performance in photographs that portray him in erotic and suggestive positions...

Unique piece More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket of realism to...

This gun metal grey filing cabinet stands in the corner of a mid-century wood panelled bunker office. This interior artwork was photographed in Ho Chi Minh City, and is part of Richa...

Dancer/Choreographer Lar Lubovitch, 1971. This is an 8 x 10" vintage silver gelatin photograph that was published by a newspaper or magazine which they u...

Gelatin silver print mounted on board, 9 1/2 x 7 1/2 in. (241 x 190 mm) from the Roland Butler Collection, Press Agent, Ringling Bros. and Barnum & Bailey Circus (1930s-1960s) Roland...

Rare early 1950s Original Vintage Gelatin Silver Photograph by DOUGLAS JULEFF - also known as DOUG OF DETROIT - of an unidentified model (Unidentified #2). All of Juleff's records we...

Archival pigment ink print, produced in a limited edition of 7 // Gallery ID: 21021 Fine art prints are produced to order on Hahnemühle Photo Rag Baryta. Each print is stamped on the...

"Ethere" This best-selling, award-winning image is an intimate portrait of an iconic all-white horse native to the Camargue region in the South of France. The award-winning print ...

Andy Warhol Baroness de Waldner, ca. 1975 Unique Acetate positive This piece comes with a signed letter of provenance from the representative of Chromacomp, Warhol's printer. Frame i...

Shot by Barry Kramer (1921- 1984), one of the most prolific photographers of his time, captures the essence of 1950's Hollywood movie star, Jane Mansfield with "Seagram's Dogs. It w...

Miss Light Photo by Markus Klinko Limited Estate Edition C Print Produced from the original transparency Certificate of authenticity supplied Paper size 20×24 inches/ 51 x 61 c...

161.02.11 is a limited-edition photograph by contemporary artist Klaus Kampert. It belongs to the series "On body Forms". This photograph is sold unframed as a print only. It is av...

Rare early 1950s Original Vintage Gelatin Silver Photograph by DOUGLAS JULEFF - also known as DOUG OF DETROIT - of model MAYNARD KEITH. This is #2 of a series of 4 images of Maynard ...

16 x 20" vintage silver gelatin photograph, multiple exposure male nude. Titled, numbered, dated, and signed by Jack Mitchell on the recto. Comes directly from the Jack Mitchell Arch...

Rare early 1950s Original Vintage Gelatin Silver Photograph by DOUGLAS JULEFF - also known as DOUG OF DETROIT - of an unidentified model (Unidentified #3). All of Juleff's records we...

'George Hamilton' American actor George Hamilton holidays in Saint-Tropez, on the French Riviera, August 1977. Paper Size 24x20 inches / 60 x 50 cm Estate Stamped Collection E...

The 1998 Pirelli Calendar was photographed in Miami by Bruce Weber and titled "Women that men live for; Men that women live for." Eva Herzigivá was among the many iconic models photo...

"Trimmed in Grace" A young Rendille woman wears the traditional adornments of her culture with honor and pride in this iconic, award-winning portrait. The print series Desert Son...

This series is born from a personal experience. The model's husband told Uwe Ommer an idea: he wanted to watch his wife with other men hiding behind the curtains. This is how the series was born, with a more erotic style than the others. The diversity of German photographer Uwe Ommer, who frequently works with aesthetic nudes, makes his art a perfect gift for all nude devotees. In Ommer's series you can find adventure, vintage erotica, acrobats, models interacting with Icelandic landscapes and many other fascinating shots. From The secret Album...

Large portrait of a teenage girl seated in orange prom dress, titled "Sweet Sixteen #13" by Angela West. Chromogenic dye coupler print on paper. Limited Edition #1/16. Print is offer...

"Garden of Ethernity IV" Nude Photography 47 x 35 in Ed of 3 by Lukas Dvorak Pigment print on Epson Fine ART paper 2024 The photo is signed on verso Comes with COA issued by the Art...

Henry Rollins of Black Flag at Federal Building Legalize Weed show. Photo by Kevin Salk shot July 4, 1983 at the 'Smoke In for the California Marijuana Initiative. Edition Details: ...

A light and very becoming underwater photograph of a girl walking down the steps in pool toward you. The light blue photograph shows no swimsuit neither any places where you would ex...

This exquisite silver gelatin print by celebrated American photographer Bruce Weber showcases the artist's signature mastery of light, shadow, and form. Titled "29977-30 #16 Nude Por...

Unique piece More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket of realism to...

Dentist chair - Signed limited edition archival pigment print Edition of 10 This image was captured on film in 1986. This print that is being offered is a high-quality Archival Pi...

Hair Tales is a photography by the Zimbabwean artist Tamary Kudita from the series Birds of Paradise. Prints are available in two different dimensions: * 33 x 24.3 inches (84 × 62 cm...

A black and white self portrait of Mark Morrisroe masturbating, Untitled (Self Portrait) 1984/1996 Editioned in pencil, verso Photogravure (Edition of 46) 16 x 11 inches, sheet 3...

A black and white nude portrait by Victor Carnuccio. Self Portrait 2000 Signed, titled, dated, and numbered, verso Gelatin silver print (Edition of 25) 14 x 11 inches, sheet 13 x...

Portrait - Gregory, Contemporary Black and White Male Nude Portrait Photography by Victor Carnuccio. Portrait – Gregory 1991 Signed, titled, dat...

Kristine DeBell is a  vintage photo, realized by Helmut Newton in the 1970s. The artwork represent fashion model and actress in 1970s. 

"The artist was enchanted by some images he had a relationship with since childhood, working them into iconographies, such as the image of the fisherman carrying on his back a cod al...

Greta Garbo "Mata Hari" Film Photograph by Clarence Sinclair Bull, 1931 A black and white photograph, matte finish, double-weight paper, depicting a 1931 shot of the star titled 'Mata Hari,' printed decades later from the original negative, penciled in the lower left corner "A.P.," Estate stamped and blind embossed in the lower right corner "Clarence Sinclair Bull," further blind embossed in same corner "The Kobal / Collection," verso with the photographer's black ink credit stamp, verso further with two "Edward Weston" black ink credit stamps dated "1981" and "1992," originally from the John Kobal Collection. Greta Garbo was a Swedish-American actress. Regarded as one of the greatest screen actresses of all time, she was known for her melancholic, somber persona, her film portrayals of tragic characters, and her subtle and understated performances. In 1999, the American Film Institute ranked Garbo fifth on its list of the greatest female stars of classic Hollywood cinema. Clarence Sinclair Bull was born in Sun River, Montana, in 1896. His career began when Samuel Goldwyn hired him in 1920 to photograph publicity stills of the Metro-Goldwyn-Mayer film studio's stars. He is most famous for his photographs of Greta Garbo, taken between 1926 and 1941. Bull's first portrait of Garbo was a costume study for the silent romantic drama film Flesh and the Devil in September 1926. Bull was able to study with the great Western...

WALLSCAPE V by Frank Schott from a series of photographic observances capturing urban textures and wallscape color palettes 40 x 32 inches / 102cm x 81cm edition of 25 signed 60 x...

Andy Warhol Portrait of Roy Lichtenstein, 1975 Polaroid dye-diffusion print Authenticated by the Andy Warhol Foundation for the Visual Arts, bears the Foundation stamp verso Frame included: Framed in white wood frame with UV plexiglass; with die-cut window in the back to show official Warhol Foundation authentication stamp and text Measurements: 9 9/16 x 8 9/16 x 9/16 inches (frame) 3 1/2 x 2 3/4 inches (window) 4.16 x 3.15 inches (Artwork) Authenticated and stamped by the Estate of Andy Warhol/Warhol Foundation for the Visual Arts An impressive piece of Pop Art history! A must-have for fans and collectors of both Andy Warhol and Roy Lichtenstein: This is a unique, authenticated color Polaroid taken by one Pop Art legend, Andy Warhol, of his most formidable contemporary and, in many respects, rival, Roy Lichtenstein. One of only a few portraits Andy Warhol took of Roy Lichtenstein, during one tense photo shoot. Both iconic artists, colleagues and, perhaps lesser known to the public, rivals, would be represented at the time by the renowned Leo Castelli Gallery. The truth is - they were really more rivals than friends. (the rivalry intensified when Warhol, who was working with Walt Disney, discovered that Lichtenstein painted Mickey Mouse before he did!!) Leo Castelli was committed to Roy Lichtenstein, and, it's easy to forget today, wasn't that interested in Warhol as he considered Lichtenstein the greater talent and he could relate better with Roy on a personal level. However, Ivan Karp, who worked at Castelli, was very interested in Warhol, as were some powerful European dealers, as well as many wealthy and influential American and European collectors. That was the start of Warhol's bypassing the traditional gallery model - so that dealers like Castelli could re-discover him after everybody else had. Warhol is known to have taken hundreds of self-portrait polaroid photographs - shoe boxes full - and he took many dozens of images of celebrities like Blondie and Farrah Fawcett. But only a small number of photographic portraits of fellow Pop Art legend Roy Lichtenstein -- each unique,- are known to have appeared on the market over the past half a century - all from the same photo session. This is one of them. There is another Polaroid - from this same (and only) sitting, in the permanent collection of the Getty Museum in California. There really weren't any other collaborations between these two titans, making the resulting portrait from this photo session extraordinary. It is fascinating to study Roy Lichtenstein's face and demeanor in this photograph, in the context of the great sense of competition, but perhaps even greater, albeit uneasy respect, these two larger than life Pop art titans had for each other: Like Leo Castelli, Roy Lichtenstein was Jewish of European descent; whereas Warhol was Catholic and quintessentially American, though also of European (Polish) descent. They were never going to be good friends, but this portrait, perhaps even arranged by Leo Castelli, represents an uneasy acknowledgement there would be room at the top for both of them. Floated, framed with die cut back revealing authentication details, and ready to hang. Measurements: 9 9/16 x 8 9/16 x 9/16 inches (frame) 3 1/2 x 2 3/4 inches (window) 4.16 x 3.15 inches (sheet) Authenticated by the Estate of Andy Warhol/The Andy Warhol Foundation for the Visual Arts. Estate Stamped: Stamped with the Andy Warhol Estate, Warhol Foundation for the Visual Arts stamp, numbered "B 512536P", with the Estate of Andy Warhol stamp and inscribed UP on the reverse. Bears the Warhol Foundation unique inventory number. Roy Lichtenstein Biography Roy Lichtenstein was one of the most influential and innovative artists of the second half of the twentieth century. He is preeminently identified with Pop Art, a movement he helped originate, and his first fully achieved paintings were based on imagery from comic strips and advertisements and rendered in a style mimicking the crude printing processes of newspaper reproduction. These paintings reinvigorated the American art scene and altered the history of modern art. Lichtenstein’s success was matched by his focus and energy, and after his initial triumph in the early 1960s, he went on to create an oeuvre of more than 5,000 paintings, prints, drawings, sculptures, murals and other objects celebrated for their wit and invention. Roy Fox Lichtenstein was born on October 27, 1923, in New York City, the first of two children born to Milton and Beatrice Werner Lichtenstein. Milton Lichtenstein (1893–1946) was a successful real estate broker, and Beatrice Lichtenstein (1896–1991), a homemaker, had trained as a pianist, and she exposed Roy and his sister Rénee to museums, concerts and other aspects of New York culture. Roy showed artistic and musical ability early on: he drew, painted and sculpted as a teenager, and spent many hours in the American Museum of Natural History and the Museum of Modern Art. He played piano and clarinet, and developed an enduring love of jazz, frequenting the nightspots in Midtown to hear it. Lichtenstein attended the Franklin School for Boys, a private junior high and high school, and was graduated in 1940. That summer he studied painting and drawing from the model at the Art Students League of New York with Reginald Marsh. In September he entered Ohio State University (OSU) in Columbus in the College of Education. His early artistic idols were Rembrandt, Daumier and Picasso, and he often said that Guernica (1937; Museo Reina Sofía, Madrid), then on long-term loan to the Museum of Modern Art, was his favorite painting. Even as an undergraduate, Lichtenstein objected to the notion that one set of lines (one person’s drawings) “was considered brilliant, and somebody’s else’s, that may have looked better to you, was considered nothing by almost everyone.”i Lichtenstein’s questioning of accepted canons of taste was encouraged by Hoyt L. Sherman, a teacher whom he maintained was the person who showed him how to see and whose perception-based approach to art shaped his own. In February 1943, Lichtenstein was drafted, and he was sent to Europe in 1945. As part of the infantry, he saw action in France, Belgium and Germany. He made sketches throughout his time in Europe and, after peace was declared there, he intended to study at the Sorbonne. Lichtenstein arrived in Paris in October 1945 and enrolled in classes in French language and civilization, but soon learned that his father was gravely ill. He returned to New York in January 1946, a few weeks before Milton Lichtenstein died. In the spring of that year, Lichtenstein went back to OSU to complete his BFA and in the fall he was invited to join the faculty as an instructor. In June 1949, he married Isabel Wilson Sarisky (1921–80), who worked in a cooperative art gallery in Cleveland where Lichtenstein had exhibited his work. While he was teaching, Lichtenstein worked on his master’s degree, which he received in 1949. During his second stint at OSU, Lichtenstein became closer to Sherman, and began teaching his method on how to organize and unify a composition. Lichtenstein remained appreciative of Sherman’s impact on him. He gave his first son the middle name of “Hoyt,” and in 1994 he donated funds to endow the Hoyt L. Sherman Studio Art Center at OSU. In the late 1940s and early 1950s, Lichtenstein began working in series and his iconography was drawn from printed images. His first sustained theme, intimate paintings and prints in the vein of Paul Klee that poked lyrical fun at medieval knights, castles and maidens, may well have been inspired by a book about the Bayeux Tapestry. Lichtenstein then took an ironic look at nineteenth-century American genre paintings he saw in history books, creating Cubist interpretations of cowboys and Indians spiked with a faux-primitive whimsy. As with his most celebrated Pop paintings of the 1960s, Lichtenstein gravitated toward what he would characterize as the “dumbest” or “worst” visual item he could find and then went on to alter or improve it. In the 1960s, commercial art was considered beneath contempt by the art world; in the early 1950s, with the rise of Abstract Expressionism, nineteenth-century American narrative and genre paintings were at the nadir of their reputation among critics and collectors. Paraphrasing, particularly the paraphrasing of despised images, became a paramount feature of Lichtenstein’s art. Well before finding his signature mode of expression in 1961, Lichtenstein called attention to the artifice of conventions and taste that permeated art and society. What others dismissed as trivial fascinated him as classic and idealized—in his words, “a purely American mythological subject matter.”ii Lichtenstein’s teaching contract at OSU was not renewed for the 1951–52 academic year, and in the autumn of 1951 he and Isabel moved to Cleveland. Isabel Lichtenstein became an interior decorator specializing in modern design, with a clientele drawn from wealthy Cleveland families. Whereas her career blossomed, Lichtenstein did not continue to teach at the university level. He had a series of part-time jobs, including industrial draftsman, furniture designer, window dresser and rendering mechanical dials for an electrical instrument company. In response to these experiences, he introduced quirkily rendered motors, valves and other mechanical elements into his paintings and prints. In 1954, the Lichtensteins’ first son, David, was born; two years later, their second child, Mitchell, followed. Despite the relative lack of interest in his work in Cleveland, Lichtenstein did place his work with New York dealers, which always mattered immensely to him. He had his first solo show at the Carlebach Gallery in New York in 1951, followed by representation with the John Heller Gallery from 1952 to 1957. To reclaim his academic career and get closer to New York, Lichtenstein accepted a position as an assistant professor at the State University of New York at Oswego, in the northern reaches of the state. He was hired to teach industrial design, beginning in September 1957. Oswego turned out to be more geographically and aesthetically isolated than Cleveland ever was, but the move was propitious, for both his art and his career. Lichtenstein broke away from representation to a fully abstract style, applying broad swaths of pigment to the canvas by dragging the paint across its surface with a rag wrapped around his arm. At the same time, Lichtenstein was embedding comic-book characters figures such as Mickey Mouse and Donald Duck in brushy, expressionistic backgrounds. None of the proto-cartoon paintings from this period survive, but several pencil and pastel studies from that time, which he kept, document his intentions. Finally, when he was in Oswego, Lichtenstein met Reginald Neal, the new head of the art department at Douglass College, the women’s college of Rutgers University, in New Brunswick, New Jersey. The school was strengthening and expanding its studio art program, and when Neal needed to add a faculty member to his department, Lichtenstein was invited to apply for the job. Lichtenstein was offered the position of assistant professor, and he began teaching at Douglass in September 1960. At Douglass, Lichtenstein was thrown into a maelstrom of artistic ferment. With New York museums and galleries an hour away, and colleagues Geoffrey Hendricks and Robert Watts at Douglass and Allan Kaprow and George Segal at Rutgers, the environment could not help but galvanize him. In June 1961, Lichtenstein returned to the idea he had fooled around with in Oswego, which was to combine cartoon characters from comic books with abstract backgrounds. But, as Lichtenstein said, “[I]t occurred to me to do it by mimicking the cartoon style without the paint texture, calligraphic line, modulation—all the things involved in expressionism.”iii Most famously, Lichtenstein appropriated the Benday dots, the minute mechanical patterning used in commercial engraving, to convey texture and gradations of color—a stylistic language synonymous with his subject matter. The dots became a trademark device forever identified with Lichtenstein and Pop Art. Lichtenstein may not have calibrated the depth of his breakthrough immediately but he did realize that the flat affect and deadpan presentation of the comic-strip panel blown up and reorganized in the Sherman-inflected way “was just so much more compelling”iv than the gestural abstraction he had been practicing. Among the first extant paintings in this new mode—based on comic strips and illustrations from advertisements—were Popeye and Look Mickey, which were swiftly followed by The Engagement Ring, Girl with Ball and Step-on Can with Leg. Kaprow recognized the energy and radicalism of these canvases and arranged for Lichtenstein to show them to Ivan Karp, director of the Leo Castelli Gallery. Castelli was New York’s leading dealer in contemporary art, and he had staged landmark exhibitions of Jasper Johns and Robert Rauschenberg in 1958 and Frank Stella in 1960. Karp was immediately attracted to Lichtenstein’s paintings, but Castelli was slower to make a decision, partly on account of the paintings’ plebeian roots in commercial art, but also because, unknown to Lichtenstein, two other artists had recently come to his attention—Andy Warhol and James Rosenquist—and Castelli was only ready for one of them. After some deliberation, Castelli chose to represent Lichtenstein, and the first exhibition of the comic-book paintings was held at the gallery from February 10 to March 3, 1962. The show sold out and made Lichtenstein notorious. By the time of Lichtenstein’s second solo exhibition at Castelli in September 1963, his work had been showcased in museums and galleries around the country. He was usually grouped with Johns, Rauschenberg, Warhol, Rosenquist, Segal, Jim Dine, Claes Oldenburg, Robert Indiana and Tom Wesselmann. Taken together, their work was viewed as a slap in the face to Abstract Expressionism and, indeed, the Pop artists shifted attention away from many members of the New York School. With the advent of critical and commercial success, Lichtenstein made significant changes in his life and continued to investigate new possibilities in his art. After separating from his wife, he moved from New Jersey to Manhattan in 1963; in 1964, he resigned from his teaching position at Douglass to concentrate exclusively on his work. The artist also ventured beyond comic book subjects, essaying paintings based on oils by Cézanne, Mondrian and Picasso, as well as still lifes and landscapes. Lichtenstein became a prolific printmaker and expanded into sculpture, which he had not attempted since the mid-1950s, and in both two- and three-dimensional pieces, he employed a host of industrial or “non-art” materials, and designed mass-produced editioned objects that were less expensive than traditional paintings and sculpture. Participating in one such project—the American Supermarket show in 1964 at the Paul Bianchini Gallery, for which he designed a shopping bag—Lichtenstein met Dorothy Herzka (b. 1939), a gallery employee, whom he married in 1968. The late 1960s also saw Lichtenstein’s first museum surveys: in 1967 the Pasadena Art Museum initiated a traveling retrospective, in 1968 the Stedelijk Musem in Amsterdam presented his first European retrospective, and in 1969 he had his first New York retrospective, at the Solomon R. Guggenheim Museum. Wanting to grow, Lichtenstein turned away from the comic book subjects that had brought him prominence. In the late 1960s his work became less narrative and more abstract, as he continued to meditate on the nature of the art enterprise itself. He began to explore and deconstruct the notion of brushstrokes—the building blocks of Western painting. Brushstrokes are conventionally conceived as vehicles of expression, but Lichtenstein made them into a subject. Modern artists have typically maintained that the subject of a painting is painting itself. Lichtenstein took this idea one imaginative step further: a compositional element could serve as the subject matter of a work and make that bromide ring true. The search for new forms and sources was even more emphatic after 1970, when Roy and Dorothy Lichtenstein bought property in Southampton, New York, and made it their primary residence. During the fertile decade of the 1970s, Lichtenstein probed an aspect of perception that had steadily preoccupied him: how easily the unreal is validated as the real because viewers have accepted so many visual conceptions that they don’t analyze what they see. In the Mirror series, he dealt with light and shadow upon glass, and in the Entablature series, he considered the same phenomena by abstracting such Beaux-Art architectural elements as cornices, dentils, capitals and columns. Similarly, Lichtenstein created pioneering painted bronze sculpture that subverted the medium’s conventional three-dimensionality and permanence. The bronze forms were as flat and thin as possible, more related to line than volume, and they portrayed the most fugitive sensations—curls of steam, rays of light and reflections on glass. The steam, the reflections and the shadow were signs for themselves that would immediately be recognized as such by any viewer. Another entire panoply of works produced during the 1970s were complex encounters with Cubism, Futurism, Purism, Surrealism and Expressionism. Lichtenstein expanded his palette beyond red, blue, yellow, black, white and green, and invented and combined forms. He was not merely isolating found images, but juxtaposing, overlapping, fragmenting and recomposing them. In the words of art historian Jack Cowart, Lichtenstein’s virtuosic compositions were “a rich dialogue of forms—all intuitively modified and released from their nominal sources.”v In the early 1980s, which coincided with re-establishing a studio in New York City, Lichtenstein was also at the apex of a busy mural career. In the 1960s and 1970s, he had completed four murals; between 1983 and 1990, he created five. He also completed major commissions for public sculptures in Miami Beach, Columbus, Minneapolis, Paris, Barcelona and Singapore. Lichtenstein created three major series in the 1990s, each emblematic of his ongoing interest in solving pictorial problems. The Interiors, mural-sized canvases inspired by a miniscule advertisement in an Italian telephone...

"Lo" Nude Photography 24" x 18" in Edition of 28 by Yevgeniy Repiashenko Edition of 28. Mounting the photo under of glossy acrylic glass creates rich colors and strong contrasts and...

African Mines 001 is a limited-edition photograph by contemporary artist Bernhard Lang. This photograph is sold unframed as a print only. It is available in 3 dimensions: *90 × 72 ...

Total Edition of 15 signed and numbered Also available in: 40 x 50 cm / 16 x 20 in 90 x 120 cm / 35.4 x 47.2 in Nude woman bend over. Thierry Le Gouès...

Maria Magdalena (Sidewinder), 2005 Edition of 1/10, 50x40cm, digital C-Print based on an expired Polaroid photograph. Signature label and Certificate. Not mounted. Stefanie Schnei...

Listing includes framing with UV plexi ($1,700 value), free shipping to the continental USA, and a 14-day return policy. Also available for local pick up from our New York gallery. A Faithful...

11 x 14" vintage silver gelatin photograph, signed by Jack Mitchell. Comes directly from the Jack Mitchell Archives with a certificate of authenticity. This photograph was from a se...

An underwater nude photograph of a beautiful young woman diving in a red pool. Ripples and sunbeams are painting mysterious pattern on her perfect breasts. Original gallery quality...

Edition 25 Also available in 101 x 127 cm / 40 x 50 inch, Edition 10 Black and white portrait of the Italian actress Sophia Loren waring sunglasses and sits in a director's chair. ...

Troy House, Red Umbrella, archival pigment print. A bright red umbrella opens onto the promise of spring, sunlight, and the anticipation of travel. House captures the simple joy of a...

160.02.11 is a limited-edition black & white photograph by contemporary artist Klaus Kampert from the series entitled Tribute to Modigliani. In this series, Klaus Kampert pays tr...

Unique piece in this size More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket ...

Husband and wife Marcus and Debbie Williamson photographed nude for 'After Dark' magazine in 1973. This is a vintage gelatin silver print, made by hand by master photographer Jack Mi...

This exquisite heliogravure after Diane Arbus (1923–1971), titled Child with a Toy Hand Grenade in Central Park, N.Y.C., originates from the 1979 folio Diane Arbus, Electa Editrice P...

Beautiful limited edition art photography Printable in colour or black/white Editions: 20 Technique: Photography Surface: Photo Paper Country of Origin: Russia Signed: Signed, ...

Rare early 1950s Original Vintage Gelatin Silver Photograph by DOUGLAS JULEFF - also known as DOUG OF DETROIT - of model GEO WIEDER. Photograph is an excellent example of Juleff's ...