Contemporary Black and White Photography

Daisuke YOKOTA (*1983, Japan) Untitled #1, 2012 Inkjet print 74 x 100 cm (29 1/8 x 39 3/8 in.) Edition of 5; Ed. no. 2/5 Print only Daisuke Yokota (*19...

Open Edition Signed, titled, and dated in pencil on print verso by Earlie Hudnall, Jr. Gelatin silver print Paper size: 14 x 11 in., Image size: 10 1/2 x 10 1/2 in. Earlie Hudnall, who is one of the most notable African American photographers...

Do it yourself by Uwe Ommer Black and white Photography Archival Pigment Print Image size: 75 H x 50 W cm. Edition of 7 + 6AP Unframed Do it yourself Ser...

Unframed. Edition of 3.

Untitled, 2018 by Mauricio Velez From 'Serendipia' series Archival Pigment Print Image size: 40 in. H x 60 in. W Edition of 9 + 2AP "In a few photographers like Mauricio Velez does ...

Joey Arias Channeling Billie Holiday, NYC, 1992 by Michael James O’Brien Printed on Hahnemuhle fine art photo rag paper Image size: 36 in. H x 24 in. W Edi...

Black and white photograph on a ChromaLuxe metal panel with a UV coating bonded to substrates that include 0.45" metal. ChromaLuxe has superior fade, moisture, stain and scratch resi...

Nobuyoshi ARAKI (*1940, Japan) 69YK #39, 2009 Gelatin silver print 50.8 x 60 cm (20 x 23 5/8 in.) Print only Nobuyoshi Araki (Tokyo, 1940) is a Tokyo-based photographer. Araki completed his studies at Chiba University’s Department of Photography, Painting and Engineering with a focus on the study of film and photography. His photographic project Satchin earned him the prestigious Taiyo Award in 1964, shortly after he had joined the advertising agency Dentsu, where he worked until 1972. At Dentsu he met his wife Yoko, to whom he paid homage in Sentimental Journey, a photographic record of their honeymoon published in 1971. Eros and thanatos (sex and death) has been a central theme in Araki’s work; an abiding fascination with female genitalia and women’s bodies in Japanese bondage...

Black and White Photograph Archival Pigment print Medium Ed of 10 Channeling the energy of “water-signs” in astrology, he captures these mysterious men through a romantic lens. The b...

On the Bowery #1 60" x 40" Archival Pigment Print Edition of 5 + 2AP 2014 On the Bowery was shot for S Magazine. All sizes signed, titled, dated, and numbered on artist label vers...

Dominique TEUFEN (*1975, Switzerland) Above, 2018 From the series „Sterne? Kopierter Staub” Hanemühle Fine Art Baryta Sheet 80 x 120 cm (31 1/2 x 47 1/4 in.) Edition of 5, plus 2 AP;...

Nobuyoshi ARAKI (*1940, Japan) 69YK #7, 2009 Gelatin silver print 50.8 x 60 cm (20 x 23 5/8 in.) Print only Nobuyoshi Araki (Tokyo, 1940) is a Tokyo-based photographer. Araki completed his studies at Chiba University’s Department of Photography, Painting and Engineering with a focus on the study of film and photography. His photographic project Satchin earned him the prestigious Taiyo Award in 1964, shortly after he had joined the advertising agency Dentsu, where he worked until 1972. At Dentsu he met his wife Yoko, to whom he paid homage in Sentimental Journey, a photographic record of their honeymoon published in 1971. Eros and thanatos (sex and death) has been a central theme in Araki’s work; an abiding fascination with female genitalia and women’s bodies in Japanese bondage...

Invacuo Project #32, 2016 by Koray Erkaya From the series of Invacuo Project Hahnemühle Photo Matt Fibre Duo 210 Image size: 16 in. H x 24 in. W (40 cm H x 60 cm W) Edition of 10 All sizes signed, titled, dated, and numbered on artist label verso All Prices are quoted as "initial price". Please note that prices and availability may change due to current sales. _____________________ JAZZ AND GAS Joyful humor characteristic of the pro-democracy environmentalist Gezi Park protests in June 2013. People of all ages, students, writers, artists, actors, musicians, LGBT activists, Anti-Capitalist Muslims, Marxists, Anarchists, Kurdish and Turkish nationalists were peacefully together in the heart of modern Istanbul: Taksim Square. Then the police attacked with tear gas and their usual equipment. But if they use uneven brutal force, then we use uneven intelligence and creativity: “We are fair: Their gas is fresh air.” Such sarcastic slogans multiplied echoing the positive, hopeful, unyielding and determined character of our jazz-like plural harmony. If Sultanahmet Square is the heart of Classical Istanbul with its Byzantine and Ottoman heritage, Taksim Square represents the modern city: the central statue representing the national liberation war and the formation of the Turkish Republic, Gezi Park, Ataturk Cultural Centre, big hotels, and the historic Istiklal (Independence) Street. Eyes shed tears not only because we laughed due to high-quality satirical slogans but also because of the harmful gas and the deaths of several youngsters. Numerous citizens lost an eye or arm. Thanks to international media coverage, the inspiring Gezi Park resistance (or “June Movement”) in Turkey drew attention all over the world -while the pro-government media kept silent. Whether on purpose or not, tear gas –and its canisters at close range- took several lives. Don’t let anybody fool you: Tear gas may kill. And it did. Though “as a nation” we had been used to gas in previous demonstrations, one point was unique: The whole city was gassed. Babies, old people, and citizens with asthma suffered in their homes. Before the police attack, maybe most of the young protesters were “merely” environmentalists without a major political orientation. Tear gas brutality transformed most of them into political activists. Since that June, our lungs, souls, and future have been full of that gas. Tear gas has been used not only in Turkey but in many other countries as well –since the 1990s. We tend to think that “Every soul shall taste it,” –sounds like a statement from a holy book. The situation is unacceptable: A child on the way to get bread for breakfast may die –in fact, be killed by the police using tear gas without proper concern and care. Tear gas is a chemical weapon. It’s vital to comprehend that. The marketing is well-phrased but misleading: “Made from fruit and vegetables, wholly organic.” But when it is used at close range, its metal canister becomes a bullet. Fifty years ago, in the late 1960s, 90 countries signed a petition against the usage of tear gas. Our country signed the 1997 Convention on Chemical Weapons, which states that tear gas is considered to be a chemical weapon when it is used in closed places, at close range or in a crowd. Despite this, it has been used time and again in Brasil, Chile, Egypt, Germany, Gaza, Iraq, Ireland, Israel, Panama, the Philippines, South Korea, UK, USA, and Vietnam. The Association of Turkish Medical Doctors and the Initiative Against Tear Gas have been working and reacting diligently on this issue. “But the label says it’s harmless,” say some. But the firms that produce gas bombs put labels according to the demands of governments. Are you Shocked? Global trade has priority over humanitarian concern. But why this introduction? Don’t we all know all these things? We certainly do, but the “agenda” changes so fast that our knowledge does not find time to unite with our action in order to change the ongoing chain of events. Enter the arts. With the mission of contributing to collective memory, Artist Koray Erkaya creatively documents experience. In his new photographic art series, Erkaya revolts against individual and social de-sensitization. In order to address the memory and to increase awareness, he uses “gas” against everyone –without discrimination. He tests his models with gas in the specifically prepared labyrinth made of mirrors. But of course, the gas he uses is not one of the types of tear gas labeled OC, CS or CN. In any case, the violence the people suffer is not limited to the content of the gas. When he started his voyage to display the violence, loneliness, nakedness, helplessness, the spiritual and physical isolation of women, children, gays, transsexuals -all the humiliated people under some form of gas, Erkaya began working with models from various nations in Istanbul. Now he is on his way to show that this issue is a problem for all who live on the same planet. When we see ourselves in the eyes of the models in the mirrors...

Gelatin silver print Signed, titled, and dated in pencil on print verso by Earlie Hudnall, Jr. Paper size: 20 x 16 in., Image size: 19 x 15 in. Earlie Hudnall, who is one of the mos...

Dakekanba and Snow Barriers, Hokkaido, Japan by Michael Kenna presents a sublime scene. Dark snow barriers contrast with the blanket of stark white snow. A single tree stands in the ...

Nobuyoshi ARAKI (*1940, Japan) 69YK #61, 2009 Gelatin silver print 60 x 50.8 cm (23 5/8 x 20 in.) Print only Nobuyoshi Araki (Tokyo, 1940) is a Tokyo-based photographer. Araki completed his studies at Chiba University’s Department of Photography, Painting and Engineering with a focus on the study of film and photography. His photographic project Satchin earned him the prestigious Taiyo Award in 1964, shortly after he had joined the advertising agency Dentsu, where he worked until 1972. At Dentsu he met his wife Yoko, to whom he paid homage in Sentimental Journey, a photographic record of their honeymoon published in 1971. Eros and thanatos (sex and death) has been a central theme in Araki’s work; an abiding fascination with female genitalia and women’s bodies in Japanese bondage...

Nobuyoshi ARAKI (*1940, Japan) 69YK #19, 2009 Gelatin silver print 50.8 x 60 cm (20 x 23 5/8 in.) Print only Nobuyoshi Araki (Tokyo, 1940) is a Tokyo-based photographer. Araki completed his studies at Chiba University’s Department of Photography, Painting and Engineering with a focus on the study of film and photography. His photographic project Satchin earned him the prestigious Taiyo Award in 1964, shortly after he had joined the advertising agency Dentsu, where he worked until 1972. At Dentsu he met his wife Yoko, to whom he paid homage in Sentimental Journey, a photographic record of their honeymoon published in 1971. Eros and thanatos (sex and death) has been a central theme in Araki’s work; an abiding fascination with female genitalia and women’s bodies in Japanese bondage...

Daisuke YOKOTA (*1983, Japan) Untitled #3, 2012 Inkjet print 72.5 x 98.5 cm (28 1/2 x 38 3/4 in.) Edition of 5; Ed. no. 4/5 (from a sold out edition) Pr...

Albert WATSON (*1942, Scotland) Christy Turlington, Luxor, Egypt, 1987 1987 Archival pigment print Image 142 x 107 cm (55 7/8 x 42 1/8 in.) Edition of 10; Ed. no. 9/10 Print only ...

Lady Bunny, Wigstock, NYC, 1992 by Michael James O’Brien Printed on Hahnemuhle fine art photo rag paper Image size: 60 in. H x 40 in. W Edition of 5 + 2AP ...

Brigitte LUSTENBERGER (*1969, Switzerland) A Gaze of One’s Own, Collage‘, 2021 56 laser copies, canvas, adhesive tape, 4 magnets, 4 stainless steel discs, manual 188 x 188 cm (74 x 7...

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...

Edition of 45 Signed, dated and numbered in pencil on mount margin recto. Signed, titled, negative date, print date and numbered in pencil with the artist's stamp in black ink on mo...

Edition of 8 Signed, titled, dated, print date, numbered, and copyright by Kevin Horan Paper size: 30 x 24 in. Image size: 28 x 22 in. From the Chattel series. AVAILABLE SIZES: 13 x 17 in., Edition of 15, $1000 24 x 30 in., Edition of 8, $2100 Kevin Horan photographs goats in a very regal manner in his series, Chattel. A variety of domestic goats and sheep get their close-ups, allowing us to explore the detail of their beards, wattels, eyes, horns and hair. Horan's interest in exploring the exchange between people and animals lead to these dramatic, yet humorous portraits...

Balthasar BURKHARD (1944–2010, Switzerland) Tokyo 03, 2000 Silver gelatin print on Baryta paper Sheet 125 x 250 cm (49 1/4 x 98 3/8 in.) Frame 129 x...

Jem Jender, Studio, NYC, 1992 by Michael James O’Brien Printed on Hahnemuhle fine art photo rag paper Image size: 36 in. H x 24 in. W Edition of 7 + 2AP Unframed “We are living in...

Jardin des Plantes, Study 1, Paris, France by Michael Kenna presents a tranquil scene. Tall trees with barren branches line the park road, leading back to a building in the distance....

Kabuki Starshine, Wigstock, NYC, 1992 by Michael James O’Brien Printed on Hahnemuhle fine art photo rag paper Image size: 60 in. H x 40 in. W Edition of 5 + 2AP Unframed “Nobody w...

This black and white photograph is a portrait of Barbara Streisand backstage, getting ready for a performance. It is a beautiful and intimate portrait of the celebrity.

Albert WATSON (*1942, Scotland) Charlotte, New York City, 1988 1988 Silver gelatin print Image 61 x 51 cm (24 x 20 1/8 in.) Edition of 10, plus 2 AP Print only Albert Watson was b...

EMMA SUMMERTON (*1970, Australia) Hydrea #009 2020 Archival pigment print on Hahnemühle paper Image 76.2 x 115.6 cm (30 x 45 1/4 in.) Sheet 92.2 x 131.06 cm (36 1/4 x 51 5/8 in.) Edi...

Ebony Jet (Girlfriend), NYC, 1992 by Michael James O’Brien Printed on Hahnemuhle fine art photo rag paper Image size: 60 in. H x 40 in. W Edition of 5 + 2AP Unframed _____________...

Tabboo! Wigstock, NYC, 1992 by Michael James O’Brien Printed on Hahnemuhle fine art photo rag paper Image size: 36 in. H x 24 in. W Edition of 7 + 2AP Unframed _________________ ...

Nobuyoshi ARAKI (*1940, Japan) 69YK #2, 2009 Gelatin silver print 50.8 x 60 cm (20 x 23 5/8 in.) Print only Nobuyoshi Araki (Tokyo, 1940) is a Tokyo-based photographer. Araki compl...

Dominique TEUFEN (*1975, Switzerland) Driedout, 2015 From the series „Sterne? Kopierter Staub” Hanemühle Fine Art Baryta Sheet 40 x 60 cm (15 3/4 x 23 5/8 in.) Edition of 5, plus 2 A...

Please bear in mind that all prints are produced to order. Lead times are expected between 15-20 days. Black Dahlia #3 is a gorgeous Archival Inkjet Prin...

Nobuyoshi ARAKI (*1940, Japan) 69YK #62, 2009 Gelatin silver print 60 x 50.8 cm (23 5/8 x 20 in.) Print only Nobuyoshi Araki (Tokyo, 1940) is a Tokyo-based photographer. Araki completed his studies at Chiba University’s Department of Photography, Painting and Engineering with a focus on the study of film and photography. His photographic project Satchin earned him the prestigious Taiyo Award in 1964, shortly after he had joined the advertising agency Dentsu, where he worked until 1972. At Dentsu he met his wife Yoko, to whom he paid homage in Sentimental Journey, a photographic record of their honeymoon published in 1971. Eros and thanatos (sex and death) has been a central theme in Araki’s work; an abiding fascination with female genitalia and women’s bodies in Japanese bondage...

Edition of 25 Signed, titled, dated and numbered. Paper size: 20 x 16 in. AVAILABLE SIZES: 11 x 14 in., Edition of 25 16 x 20 in., Edition of 25 24 x 36 in., Edition of 25

Constance (Girlfriend), NYC, 1992 by Michael James O’Brien Printed on Hahnemuhle fine art photo rag paper Image size: 36 in. H x 24 in. W Edition of 7 + 2AP Unframed “Holly came f...

Tabboo! (Stephen Tasjian), NYC, 1992 by Michael James O’Brien Printed on Hahnemuhle fine art photo rag paper Image size: 80 in. H x 60 in. W Edition of 3 + 1AP Unframed __________...

Nobuyoshi ARAKI (*1940, Japan) 69YK #3, 2009 Gelatin silver print 50.8 x 60 cm (20 x 23 5/8 in.) Print only Nobuyoshi Araki (Tokyo, 1940) is a Tokyo-based photographer. Araki compl...

Black and white photograph on a ChromaLuxe metal panel with a UV coating bonded to substrates that include 0.45" metal. ChromaLuxe has superior fade, moisture, stain and scratch resi...

Black and white photograph on a ChromaLuxe metal panel with a UV coating bonded to substrates that include 0.45" metal. ChromaLuxe has superior fade, moisture, stain and scratch resi...

Black and white photograph on a ChromaLuxe metal panel with a UV coating bonded to substrates that include 0.45" metal. ChromaLuxe has superior fade, moisture, stain and scratch resi...

Black and white photograph on a ChromaLuxe metal panel with a UV coating bonded to substrates that include 0.45" metal. ChromaLuxe has superior fade, moisture, stain and scratch resi...

Black and white photograph on a ChromaLuxe metal panel with a UV coating bonded to substrates that include 0.45" metal. ChromaLuxe has superior fade, moisture, stain and scratch resi...

Black and white photograph on ChromaLuxe metal panels with a UV coating bonded to substrates that include 0.45" metal. ChromaLuxe has superior fade, moisture, stain and scratch resis...

Balthasar BURKHARD (1944–2010, Switzerland) Aile, 1993 Silver gelatin print on Baryta paper, artist's wooden frame, museum glass Sheet 67 x 63 cm (2...

Dominique TEUFEN (*1975, Switzerland) Mountainview, 2013 From the series „Sterne? Kopierter Staub” Hanemühle Fine Art Baryta Sheet 40 x 60 cm (15 3/4 x 23 5/8 in.) Frame 44.7 x 64.7 ...

Untitled, 2018 by Mauricio Velez From 'Serendipia' series Archival Pigment Print Image size: 60 in. H x 40 in. W Edition of 9 + 2AP "In a few photographers like Mauricio Velez does ...

Brigitte LUSTENBERGER (*1969, Switzerland) Not titled yet, from the series 'A Gaze of One's Own‘, 2021 Silver gelatin print on Baryta paper Sheet 70 x 70 cm (27 1/2 x 27 1/2 in.) Edition of 5, plus 2 AP; Edn. no. 1/5 print only Born in Zurich, Switzerland, Brigitte studied at Zurich University and received her MA in Social and Photo History in 1996. In the following years she established herself as an fine art photographer. She moved to New York and received her MFA in Fine Art Photography and Related Media at Parsons The New School of Design in 2007. The main issues in her works lie in her interest in the study of the gaze, the interplay between absence and presence in a photographic image, and the fact that the reading of a photograph is most often triggered by a collective memory. She explores the media itself and its close connection to themes like decay, memory, death and transitoriness. Brigitte Lustenberger has shown nationally and internationally in both solo and group shows. She had Solo Shows at the Museée de l’Elysée in Lausanne/Switzerland, at Walter Keller’s Scalo Gallery in Zurich and New York, at Le Maillon...

Lorenzo Agius (b.1962) Eddie Izzard 1997 digital C-Type print 60 x 48 in. / 40 x 30 in. / 24 x 20 in. signed and numbered printed later This work is avai...

Nobuyoshi ARAKI (*1940, Japan) Love-Dream, Love-Nothing #083, 2018 gelatin silver print 50.8 x 60 cm (20 x 23 5/8 in.) Print only – Nobuyoshi Araki Nobuyoshi Araki (Tokyo, 1940) is ...

Edition of 45 Signed, titled, negative date, print date, and numbered by Michael Kenna Sepia toned gelatin silver print, 8 x 7 3/4 in. Michael Kenna's black and white photographs ar...

Don't Tell Mamma #11, 1994-2010 by Koray Erkaya From the series of Don't Tell Mamma Hahnemühle Photo Matt Fibre Duo 210 Paper Deckled Edge Image size: 24 in. H x 16 in. W (60 cm H x...

Girlfriend, 1990-1992 by Michael James O’Brien Portfolio of 9 photographs Printed on Hahnemuhle fine art photo rag paper Dimension for each print is 22 in. H x 17 in. W (The overall size composition of the entire portfolio is: 66 in. H x 51 in. W) Limited Edition of 10 + 2AP All these portraits were made on tri-x BW film with a Pentax 6 x 7 photographed in Natural Light. Girlfriend; Men Women and Drag by Michael James O’Brien with text by Holly Brubach was published by Random House in 1999. 1. Lavinia (Girlfriend), NYC, 1992 “I came to Manhattan with just a handbag” - Lavinia Co-op 2. Ebony Jet (Girlfriend), NYC, 1992 “We’re all born naked, everything else is drag” - RuPaul Charles 3. Miss Guy (Girlfriend), NYC, 1992 “You’ve got your mother in a whirl; she’s not sure if you’re a boy or a girl.” - David Bowie, Rebel, Rebel 4. Ming Vauze (Benjamin Liu) NYC, 1992 “Impersonation is the supreme act of creation.” - Yukio Mishima...

Terry O'Neill (1938-2019) David Bowie, Diamond Dogs (v2) 1974 lifetime edition silver gelatin fine art archival print 24 x 20 in. (paper size) edition of 50 signed and numbered printed later Price: £9,360 GBP (inc. 20% UK VAT) Notes: David Bowie poses with a large barking dog for the artwork of his 1974 album Diamond Dogs in London. From the start of the 1960s and continuing until the present day the name of Terry O'Neill has become inextricably connected with some of the most interesting takes on photographic portraits of celebrities. From the Beatles and Rolling Stones in the 1960s to the Royal Family and the Prime Minister's family in more recent times Terry O'Neill has proved adept at recording the significant subjects of the day in a visually stimulating and sometimes unexpected way and thus illuminated history of our age. Terry O'Neill was born on 30 July 1938 in the East End of London. His career as a photographer evolved by chance out of his first ambition to become a jazz drummer. Leaving school at fourteen and then doing his National Service his ambition was to go to America to study with the great drummers there. He thought that the best way to travel frequently and inexpensively to the USA would be to get a job as an air steward for BOAC. The airline at that time had no vacancies for stewards but suggested he took a vacancy in their technical photographic unit, which he combined with time at an art school and he then became interested in photojournalism. At first, O'Neill worked as freelance at London Airport, later was offered a stunt as a reportage photographer at Heathrow. This was followed by three years in Fleet Street, with O'Neill at 21, the youngest photographer in Fleet Street taking pop pictures for the up-tempo Daily Sketch. One thing lead to another and O'Neill quickly became a significant image-maker and one of the group of talented young photographers who helped create the photographic icons of the 1960s and create part of the buzz that became Swinging London. The peer group that emerged in this decade included David Bailey, Terence Donovan and Brian Duffy from the East End and Patrick Lichfield and Lewis Morley...

Edition of 25 Signed, titled, dated, print date, and numbered. AVAILABLE SIZES: 11 x 14 in., Edition of 25 16 x 20 in., Edition of 25 24 x 36 in., Edition of 25 36 x 54 in., Edition...