Black and White Photography

Sepia-toned gelatin silver print, mounted to archival board Signed, dated, and numbered, verso 9 x 9 inches (Edition of 50) 15 x 15 inches (Edition of 30) This artwork is offered ...

Sepia Color Archival Pigment print Medium Ed of 10. Palm & Trees: For this series, the artist explores short poems, the expansion of the palms, textures, and ease of the male figur...

Yoshinori MIZUTANI (*1987, Japan) kawau 002, 2015 Archival pigment print on Hahnemuhle Fine Art Baryta paper 28 x 42 cm (11 x 16 1/2 in.) Edition of 5 plus 2 AP; Ed. no. 1/5 print on...

"Untitled 32" A young Suri boy displays the confidence prevalent in his tribe. Jewelry and ornamentation is an important part of his culture, and he takes great pride in wearing his...

11 x 8 1/2 inches Framed: 20 1/2 x 17 1/2 inches Not signed, from the book

"X" Photography 40.5" x 35" inch Edition 2/3 by VLADIMIR CLAVIJO-TELEPNEV Eglomise (bromoil gelatin silver print, gold and silver leaf, and hand painted mirror) Signed and numbered. Vladimir Clavijo-Telepnev was born in 1962 in Moscow, in the family of creative people. His father, Pedro Clavijo, was a Columbian journalist and a radio reporter. His grandfather by his father's side, Edmundo Clavijo Cubilios, was a famous Columbia's photograph and artist. His grandfather and grandmother by his mother's side, Vladimir and Margarita Telepnevs, were painters. In 1986 Vladimir graduated from the Moscow Polygraphic Academy, faculty of graphic art, specializing in painting, graphics, and polygraphic design. PRIVATE COLLECTIONS: ELTON JOHN PRINCESS MICHAEL of KENT MARIE CHRISTINE PETER GREENAWAY DMITRY MEDVEDEV NURSULTAN NAZARBAEV Vladimir's work of arts were put up for auction at PHILLIPS de Pury in 2003 in New York, in 2008 in London and New York, in 2010 in New York; at GENE SHAPIRO in 2008, 2009, 2010, 2011 in New York and at HERITAGE AUCTIONS in 2011 in New York. EXHIBITIONS: 2013 Group exhibition at the Gulbenkian Foundation, Lisbon, Portugal; Solo exhibition at the AZOR ROZA Gallery, Moscow, Russia. ​ 2012 Group exhibition of the best iconography for Lewis Carroll's "Alice", "A Mad Tea-Party", The Story Museum, Oxford, UK; Group exhibition "Museum's Centenary: a Photographer's View" at the Pushkin Fine Arts Museum; Solo exhibition at the ZEPPELIN Gallery, Moscow, Russia. 2011 Group exhibition at the ART MOSCOW FAIR. 2010 Pushkin Fine Arts Museum opened a section of photography with the participation of Vladimir Clavijo-Telepnev, the only Russian exhibitor. 2009 "Wayfaring Territory" group exhibition, St. Petersburg, Peter-and-Paul Fortress, Russia. 2008 "Joyance Territory" group exhibition in the Rumyantsev villa, St. Petersburg, Pskov, Belostok, Voronezh, Mikhailovskoye (all in Russia), and also in Berlin, Germany; Solo exhibition at the VINZAVOD Exhibition Center. 2007 Solo exhibition at the MILLIONAIRE FAIR, Moscow, Russia; Participation at the Moscow Fine Art Fair, MANEZH Exhibition Center. 2006 Art London, "Russian Asia", a joint project of Inna Khegai and the Artek Gallery, London, UK; Solo exhibition at the ESPECRTO Gallery in Krasnodar. 2005 Personal exhibition within the framework of the Russian Movie Week in Paris, Paris-Art-Moscow, Espace Cardin, Paris; personal exhibition at the MILLIONAIRE FAIR, Moscow; exhibition at the Grossman Gallery, Williams Visual Arts Buildings, Easton, Penn; personal exhibition at the Grand Hayat Hotel gallery, Dubai, Arab Emirates; exhibition at the STUDIO Gallery, Moscow Russia; exhibition of the Cherry Orchard project jointly with his student, Yulia Bochkova at the JAMES Gallery, Moscow; the Moscow Romanticism exhibition at the Wisconsin University Art Gallery, U.S; exhibition at the Tomsk House of Artists, Russia.2005: exhibition at the Benshaeb art gallery, Paris, France; 2004 Exhibition at the STUDIO Gallery, Moscow, Russia; Exhibition at the LEAGUE Art Gallery, Kolomna, Russia; Exhibition at the Krasnoyarsk Museum Center, Russia.2004: exhibition at Art-Service Gallery Center, Moscow, Russia; Exhibition at the Novosibirsk Art Museum, Russia; Exhibition at the Benshaeb art gallery, Paris, France; Exhibition at the HAY HILL gallery, London, U.K.2004: exhibition within the framework of the Russian Nights festival at the Art Hall of the Pacific Design Center, Los Angeles, California. 2003 Russian Post Modernism Nostalgia exhibition, New York, U.S; Exhibition at the LUMIERE, Moscow, Russia; Exhibition at the Russian Modern History State Central Museum; A participant at the 40 Views as to the Image of Comme de Garcon art...

The Element ‘Gold, (Au) can only be make in the nuclear reactor of stars. It came to our planet when the Earth was first forming, as dust from catastrophic astronomical events –stars...

Jamie, 2017 by Hunter & Gatti From the series of IWMYAS Wax, acrylic oil pastel on glicée print archival metallic paper. Image size: 107 cm H x 83 cm W Signed front and signed back w...

Archival Pigment Print on Glass Plate Backed with 24kt Gold Leaf, Framed by the Artist GOLDEN STARDUST The Element ‘Gold, (Au) can only be made in the nuclear reactor of stars. I...

Dominique TEUFEN (*1975, Switzerland) Untitled #4, from the series 'The Presence of Absence', 2018 Hahnemühle photo rag Sheet 105 x 70 cm (41 3/8 x 27 1/2 in.) Frame 115 x 80 x 3.5 ...

Yoshinori MIZUTANI (*1987, Japan) kawau 004, 2015 Archival pigment print on Hahnemuhle Fine Art Baryta paper 28 x 42 cm (11 x 16 1/2 in.) Edition of 5 plus 2 AP; Ed. no. 1/5 print only Yoshinori Mizutani's (*1987, Japan) works suggest new expressive possibilities that mix the domestic traditions of personal and street photography with those of foreign conceptual photography. Mizutani graduated from the Tokyo College of Photography in 2012. He has won a number of prestigious awards including Japan Photo Award in 2013 as well as Foam Talent Call and Lens Culture Emerging Talents Top 50 in 2014. His series Tokyo Parrots was on view at this years Bienne Festival of Photography in Bienne/Switzerland. His foray into photography is fairly recent, he started 5 years ago. Nonetheless, his photographs do demonstrate an innate understanding of how forms, colours, textures and depth translate to the pictoral plane. He is working with a visual vocabulary that has been well established by the work of many photographers active today. Mizutani’s work serves as a good gauge of the visual tropes and photographic styles that are prevalent among young photographers in Tokyo. „The themes of my work are the everyday and the familiar. What is familiar to me, however, could be new to the viewer. It could also be revelatory or something previously overlooked. It is the viewers’ varied responses to and interpretations of images, which makes photography interesting." – Yoshinori Mizutani 'KAWAU(2015) I have a growing interest in birds inhabiting Tokyo since I completed my previous series ‘Tokyo Parrots’. ‘KAWAU’, which is a Japanese term for cormorant, composes the second part of my trilogy on birds. Similar to the parakeets captured in ‘Tokyo Parrots’, kawau has increased dramatically in number over the past decade and now their over population is causing troubles to the human life as well as local ecosystem in several parts of the country. Despite their reported negative impact and reputation, it is breathtaking to watch a big flock of birds, and through my photography I want to reveal their existence, which makes our everyday urban landscape somehow surreal.' – Photography, Art, Japan, Sky, Abstract, Landscape, Nature, Sky, Birds on the wire...

Yoshinori MIZUTANI (*1987, Japan) kawau 015, 2015 Archival pigment print on Hahnemuhle Fine Art Baryta paper 28 x 42 cm (11 x 16 1/2 in.) Edition of 5 plus 2 AP; Ed. no. 2/5 print on...

11 x 14" vintage silver gelatin photograph of Merce Cunningham leaping in Jack Mitchell's studio, 1962. Comes directly from the Jack Mitchell Archives...

Sepia-toned gelatin silver print, mounted to archival board Signed, dated, and numbered, verso 9 x 9 inches (Edition of 50) 15 x 15 inches (Edition of 30) This artwork is offered ...

Archival Pigment Print on Glass Plate Backed with 24kt Gold Leaf, Framed by the Artist GOLDEN STARDUST. The Element ‘Gold, (Au) can only be make in the nuclear reactor of stars. ...

11 x 14" vintage silver gelatin photograph of Merce Cunningham leaping in Jack Mitchell's studio, 1962. Comes directly from the Jack Mitchell Archives...

Sepia-toned gelatin silver print, mounted to archival board Signed, dated, and numbered, verso 9 x 9 inches (Edition of 50) 15 x 15 inches (Edition of 30) This artwork is offered ...

Sepia-toned gelatin silver print, mounted to archival board Signed, dated, and numbered, verso 9 x 9 inches (Edition of 50) 15 x 15 inches (Edition of 30) This artwork is offered ...

Archival Pigment Print on Glass Plate Backed with 24kt Gold Leaf, Framed by the Artist GOLDEN STARDUST The Element ‘Gold, (Au) can only be made in the nuclear reactor of stars. I...

The Element ‘Gold, (Au) can only be made in the nuclear reactor of stars. It came to our planet when the Earth was first forming, as dust from catastrophic astronomical events –stars...

Layla Love's "The Fullest Bloom" series depicts Love's sense of color and composition through black-and-white photography and color tints. Each image is off...

11 x 14" vintage silver gelatin photograph of British pop artist and his wife Galina pose for wedding photos in Jack Mitchell's studio, 1969. The quintes...

This is a unique handmade platinum palladium print editioned #AP1

The Element ‘Gold, (Au) can only be make in the nuclear reactor of stars. It came to our planet when the Earth was first forming, as dust from catastrophic astronomical events –sta...

Archival Pigment Print on Glass Plate Backed with 24kt Gold Leaf GOLDEN STARDUST . The Element ‘Gold, (Au) can only be make in the nuclear reactor of stars. It came to our planet...

The Element ‘Gold, (Au) can only be make in the nuclear reactor of stars. It came to our planet when the Earth was first forming, as dust from catastrophic astronomical events –sta...

Linda Connor: Lick Observatory These celestial images are made from glass plate negatives that belong to the archive of the Lick Observatory in San Francisco. These images were mad...

The Element ‘Gold, (Au) can only be make in the nuclear reactor of stars. It came to our planet when the Earth was first forming, as dust from catastrophic astronomical events –sta...

From Nine Francois' "Animalia" series, Zebra 1 is one of 48 available animal images. Nine produces close-up photographs of animals which are presented against a stark white backgroun...

Series: ARKTOS prints Additional Sizes (All Edition of 4): 8.85" x 17.7" 14.8" x 28.5" 17.7" x 35.4" 23.6" x 47.3" This photograph will be printed once payment has been received and...

Series: GOLD All available sizes and editions: 40" x 40" editions of 18 50" x 50" editions of 7 60" x 60" editions of 3 72" x 72" editions of 1 Archival Pigment Print on Fine Art Baryta paper Mounted and Framed Guido Argentini is an Italian photographer, known for his highly stylized and erotic images of the body, both male and female. In Argentini's striking photography, people are turned into living shiny sculptures, made of silver and gold, a daring and innovative study of the human body and its range of movement. Color and texture radically influence how we perceive shapes. While looking for an innovative approach at a 1995 Miami photo shoot, photographic master Guido Argentini was moved to coat a model in silver makeup. The result was as beautiful as it was intriguing--the subtle greyish tones highlighted angles and surfaces in a way that was other-worldly. Inspired by the results, Argentini created a whole series of silver-hued models. In so doing, he uncovered a fresh perspective for nude photography. Evoking the luminous polished planes of Brancusi and the verve of Degas' ballet sketches, these photographs endow the human body with both the solidity of sculpture and the vivid energy of dance. Using geometrical props Guido Argentini created a contrast between the human body and the archetypal forms of geometry: triangles, circles, and squares. “I always felt that photography was too close to reality. Painting and sculpting allow you to be more abstract when working with the human figure. My love for dance and for sculpture inspired this series of photographs. The watercolors of Rodin, sketches of dancers in very erotic and dynamic positions and the polished abstract bronzes of Brancusi were my strongest source of inspiration. In the pictures of ARGENTUM, the skin, covered with silver paint, becomes an even, shiny surface and the human figure becomes more abstract. To each image I gave a title, the name of a god or a goddess from different cults and religions, Greek, Egyptian, Celtic and many more. ARGENTUM is, once again, a tribute to women. The monotheistic religions took away the important role and all the power that women had in the antique cults. Goddesses, symbols of women, the creators of Life, have been banished completely from any current monotheistic religion. Giving to the women in my photographs these forgotten names of goddesses I’m giving a tribute to their beauty as well as to their spirituality. In this historical moment we are beginning to feel that is time to restore the values of THE SACRED FEMININE. The world has been controlled by male values for a long time. This has brought violence, war and the cult of materialism to humanity. The only way to save ourselves is to restore peace and love and create a new world where spirituality will become the real value. I decided to include a few pages of text. These are antique texts...

Series: GOLD All available sizes and editions: 40" x 40" editions of 18 50" x 50" editions of 7 60" x 60" editions of 3 72" x 72" editions of 1 Archival Pigment Print on Fine Art Baryta paper Mounted and Framed Guido Argentini is an Italian photographer, known for his highly stylized and erotic images of the body, both male and female. In Argentini's striking photography, people are turned into living shiny sculptures, made of silver and gold, a daring and innovative study of the human body and its range of movement. Color and texture radically influence how we perceive shapes. While looking for an innovative approach at a 1995 Miami photo shoot, photographic master Guido Argentini was moved to coat a model in silver makeup. The result was as beautiful as it was intriguing--the subtle greyish tones highlighted angles and surfaces in a way that was other-worldly. Inspired by the results, Argentini created a whole series of silver-hued models. In so doing, he uncovered a fresh perspective for nude photography. Evoking the luminous polished planes of Brancusi and the verve of Degas' ballet sketches, these photographs endow the human body with both the solidity of sculpture and the vivid energy of dance. Using geometrical props Guido Argentini created a contrast between the human body and the archetypal forms of geometry: triangles, circles, and squares. “I always felt that photography was too close to reality. Painting and sculpting allow you to be more abstract when working with the human figure. My love for dance and for sculpture inspired this series of photographs. The watercolors of Rodin, sketches of dancers in very erotic and dynamic positions and the polished abstract bronzes of Brancusi were my strongest source of inspiration. In the pictures of ARGENTUM, the skin, covered with silver paint, becomes an even, shiny surface and the human figure becomes more abstract. To each image I gave a title, the name of a god or a goddess from different cults and religions, Greek, Egyptian, Celtic and many more. ARGENTUM is, once again, a tribute to women. The monotheistic religions took away the important role and all the power that women had in the antique cults. Goddesses, symbols of women, the creators of Life, have been banished completely from any current monotheistic religion. Giving to the women in my photographs these forgotten names of goddesses I’m giving a tribute to their beauty as well as to their spirituality. In this historical moment we are beginning to feel that is time to restore the values of THE SACRED FEMININE. The world has been controlled by male values for a long time. This has brought violence, war and the cult of materialism to humanity. The only way to save ourselves is to restore peace and love and create a new world where spirituality will become the real value. I decided to include a few pages of text. These are antique texts...

Series: GOLD All available sizes and editions: 40" x 40" editions of 18 50" x 50" editions of 7 60" x 60" editions of 3 72" x 72" editions of 1 Archival Pigment Print on Fine Art B...

Ocean Dance Galapagos Islands, 2019 Available sizes: 20 x 30 in / Edition of 6 32 x 48 in / Edition of 6 Archival Pigment Print printed on Hahnemühle Photo Rag Paper Diving in a...

'Lo faro il litterato tutta la vita' Photo Lithography on rag paper hand signed lower right in pencil: Kounellis numbered 37/90. Provenance: The Collection of Ileana Sonnabend (Mrs Leo Castelli) & the Estate of Nina Castelli Sundell I have seen this piece identified as being 1969 and I have seen it as 1972. Jannis Kounellis (Greek: Γιάννης Κουνέλλης; 23 March 1936 – 16 February 2017) was a Greek Italian contemporary artist based in Rome. A key figure associated with Arte Povera, he studied at the Accademia di Belle Arti in Rome. Kounellis was born in Piraeus, Greece in 1936. He lived in Greece during the Second World War and Greek Civil War before he moved to Rome in 1956. From 1960 to 1966, Kounellis went through a period of only exhibiting paintings. In some of his first exhibitions, Kounellis began stenciling numbers, letters, and words onto his canvases, often reflecting advertisements and signs seen on the street. In 1960 he began to introduce found sculptural objects such as actual street signs into his work, exhibiting at Galleria La Tartaruga. This same year he donned one of his stencil paintings as a garment and created a performance in his studio to demonstrate himself literally becoming one with his painting. This newfound convergence of painting, sculpture, and performance was Kounellis' way out of traditional art. By 1961 he began to paint on newspaper to reflect his feelings towards modern society and politics. From 1963, Kounellis introduced found objects in his artworks, among them live animals but also fire, earth, burlap sacks, and gold. He replaced the canvas with bed frames, doorways, windows or simply the gallery itself. Kounellis' work from the 1980s, which also consisted of sculptures and performances using unusual materials, traveled all over Europe. In 1974, he performed with Edward Kienholz, Wolf Vostell and other artists in Berlin at the ADA – Aktionen der Avantgarde. His work has become integral to numerous renowned, international museums' collections. In 1967, Kounellis became associated with Arte Povera, a movement theorized by curator Germano Celant as a major shift from work on flat surfaces to installations. Kounellis participated in the exhibition 'Arte Povera – e IM Spazio' at the La Bertesca Gallery in Genoa curated by Celant, Arte povera means literally ‘poor art’ but the word poor here refers to the movement’s signature exploration of a wide range of materials beyond the traditional ones of oil paint on canvas, bronze, or carved marble. Materials used by the artists included soil, rags and twigs. Leading artists were Giovanni Anselmo, Alighiero Boetti, Pier Paolo Calzolari, Luciano Fabro, Piero Gilardi, Jannis Kounellis, Mario Merz, Marisa Merz, Giulio Paolini, Pino Pascali, Giuseppe Penone, Michelangelo Pistoletto, Emilio Prini and Gilberto Zorio. They worked in many different ways. They worked in painting, sculpture and photography and made performances and installations, creating works of large physical presence as well as small-scale gestures. To solidify the movement, Celant curated yet another group show, 'Arte Povera', which was exhibited at the De' Foscherari gallery in Bologna in 1968 with similar artists. In the same year Kounellis exhibited 'Senza titolo (Untitled)', which consisted of raw wool, rope and a wooden structure all leaning against a wall. Finally, Kounellis was also included in 'RA3 Arte Povera + Azioni povere' which was organized by Marcello Rumma and curated by Celant. In 1967, Kounellis installed "live birds in cages along with rose-shaped, cloth cut-outs pinned to canvas" alongside his painting. Through this shift in his work, "Kounellis was more interested in anarchical freedom from linguistic norms and conventional materials. The space of the gallery and the exhibition site in general were transformed into a stage where real life and fiction could join in a suspension of disbelief." The viewers became part of the scene of these living natural sources of energy within the gallery space. He continued his involvement with live animals later in 1969, when he exhibited twelve living horses, as if they were cars, in the Galleria l'Attico's new location in an old garage in Via Beccaria. Gradually, Kounellis introduced new materials, such as propane torches, smoke, coal, meat, ground coffee, lead, and found wooden objects into his installations. He also looked beyond the gallery environment to historical (mostly industrial) sites. In 1997, Kounellis installed thirteen wardrobes and two doors that were sealed in lead along a scaffolding ledge that blocked the entry to a central hall. In 1968, in an interview by Marisa Volpi, Kounellis stated that incidental adjustments are certain as aspects that can indicate the human liberty of life. Selected Solo Exhibitions 1960: La Tartaruga gallery, Rome 1969: Attico Gallery, Rome 1981: Van Abbemuseum, Eindhoven 1982: Whitechapel Art Gallery, London 1988: Castle of Rivoli, Turin 1996: Museo Nacional Centro de Arte Reina Sofía, Madrid 2005: Albertina, Vienna 2007: Neue Nationalgalerie, Berlin 2007: Kounellis - Jaffa Port...

Combined Edition 25 Also available in 50 x 60 cm/ 20 x 24 inch and as combined Edition 10 in 76 x 101 cm / 30 x 40 inch 101 x 127 cm / 40 x 50 inch Portrait of the English musician....

"Ocean Dance" Galápagos Islands, 2019 Available sizes: 20 x 30 in / Edition of 6 32 x 48 in / Edition of 6 Archival Pigment Print printed on Hahnemühle Photo Rag Paper with deck...

In "WEST The American Cowboy", Anouk revisits this enduring iconic symbol of America's pioneering spirit. The new series inspire with a fresh and contemporary perspective of the Amer...

Signed by the artist. This piece is available at least four different sizes so contact us as availability is subject to change. ARTIST'S STATEMENT: I use photography to express selec...

Signed by the artist. This piece is available at least four different sizes so contact us as availability is subject to change. ARTIST'S STATEMENT: I use photography to express selec...

Signed by the artist. This piece is available in five different sizes so contact us as availability is subject to change. ARTIST'S STATEMENT: I use photography to express selective t...

Signed, dated and editioned. Signed, titled, editioned and dated on back of mount on artist copyright stamp. Available in 20 x 24, 26 x 32 and 44 1/2 x 56 inches (largest size includ...

Signed, dated and editioned. Signed, titled, editioned and dated on back of mount on artist copyright stamp. Available in 20 x 24, 26 x 32 and 44 1/2 x 56 inches (largest size includ...

That was the River, This is the Sea Portfolio Introduction: The past several years of my life have been colored by change, both positive and adverse: a new partner; a new child...

Eidolon Point is an apparition of a place. Within this liminal state between going and gone, the bones of architecture take on new forms to create spaces are neither inside or outsid...

All editions signed by the photographer.