Edward Weston

Eggs and Slicer

1950's

"Leaf on Asphalt is signed and dated on the front of the mount. Limited Edition work from the Hawaii Portfolio.

An original gelatin silver print by American social documentary photographer Milton Rogovin depicting a resident of Buffalo's West Side in the early 1970's. This work is hand signed ...

An original gelatin silver print by American social documentary photographer Milton Rogovin depicting a resident of Buffalo's East Side in the early 1960's. This work is hand signed ...

Signed and dated on the front of the mount. Limited edition of 35. Number 9 of 35. From the “Twenty Photographs, 1970-1977” Portfolio.

"Manufacturer's Trust Bank" from the portfolio "Fifteen Photographs". Signed and dated from a limited edition.

An original silver gelatin print from the 1960's by American social documentary photographer Milton Rogovin.

Black and white photograph of Edward Weston's desk, by Kim Weston (American, b. 1953). This photograph was taken in the former home of Edward Weston, Kim We...

"Hand & Foot" is a black & white framed silver gelatin print (photograph) studio still life with glove, leopard print fur, and tree bark textures from artist Jenny Lynn...

Albumen silver print from glass negative, from the Atget's series on sculptures on the grounds of Versailles, annotated in the artist's hand in pencil ...

"Gardenia" is a black & white framed archival pigment print (photograph) of a flower w/ vines & leaves in landscape from artist Jenny Lynn's "Little Rituals" series. It is the last r...

Stunning 1960's black and white photograph still-life of a Porsche behind a large traditional Japanese lantern with trees in the background.

Artist: Jed Devine American (1944- ) Title: Untitled (Stacked Cups) Date: 1987 Medium: Platinum-palladium print on Japanese rice paper Image size: 9.5 x 7.5 inches (9.25 x 7.25 inches within mat) Sheet size: 12 x 9 inches Framed size: 20.25 x 16.25 inches Signature: signed lower right in pencil Edition: unknown This sublime photograph is by Jed Devine. It is signed in the lower right in pencil. There is a gallery label from the Fraenkel Gallery in San Francisco on the reverse of the framed work. It is framed in a simple metal frame. The photograph, mat and frame are in very good condition. Jed Devine was born in Mount Kisco, New York, in 1944 and raised in Pleasantville, a Westchester County suburb. Devine cites Walter Hahn, his junior high school art teacher, as having an instrumental role in his art career decision: “I don’t know how it happened that a serious artist like Walter Hahn was teaching art at Pleasantville Junior High, but I was most fortunate to have him as a mentor and I’ve always been grateful to him.” In 1967, Jed Devine graduated cum laude from Yale University with a BA in fine arts and began his career as a painter. In 1972, he returned to Yale to study design and photography and was awarded an MFA degree. He joined the Purchase College faculty in 1977. During his tenure at Purchase, several of his students went on to receive recognition as photographers, among them Adam Baer, Gregory Crewdson, Regina DeLuise, Andrea Modica, Deborah Mesa-Pelly, and Roger Newton. Jed Devine’s photography is represented in many major museum, corporate, university, and private collections, including the Metropolitan Museum of Art, New York; Victoria and Albert Museum; London; the International Center of Photography, New York; the San Francisco Museum of Art; the Art Institute of Chicago; the Museum of Fine Arts, Houston; and the Museum of Modern Art, New York. Originally trained as a painter, Devine began taking photographs in 1972 and became fascinated by the effects of light on objects and surfaces, and the sensuality that was possible with the platinum-palladium process. This sensuality is on full display in Devine’s only book, Friendship, a collaboration with the writer Jim Dinsmore, whose 64 images “form an extended sequence that moves from innocence to decay and return. The images emphasize the beauty and primacy of light while capturing the visual drama and irony of the Maine landscape.” Devine also has a long-standing relationship with New York City, which is most evident in his portfolio of panoramic photographs celebrating New York bridges...