Unknown

Florence Devastated by the Waters of the Arno, and Victims - 1966

1966

Vintage View on the city of Sandakan is a b/w photographic print on polished paper, taken very likely in 1938 by Press Photo, Berlin. Stereotype on the back. In very good conditions....

San Lorenzo ai Monti - Disappeared Rome, is a photographic print on Baryta paper, by unknown photographer. Excellent condition, cm 21 x 16.5. The vie...

Pons Aemilius - Disappeared Rome is a gelatin silver - bromide print, realized between 1920 and 1930 from a older negative. The original image dates back to no later than 1887. Excellent conditions cm 19.5 x 25.5 The descriptive caption is printed on the lower margin: "N° 751 Roma. Ponte di Ferro con isola Tiberina". The logo "EPC" of the photographic agency is print on the image. The horizontal and strong body of the bridge runs the entire longer of the picture, perfectly framing the profile of the Tiber island...

Via Alessandrina - Disappeared Rome is a lot of two gelatine silver - bromide prints (one is on Gevaert paper), by Filippo Reale. Printed from a large format negative. Very good condition, cm 19.5 x 25.5 and 22.5 x 17.  On the back, the Photographer stamp: " Studio Fotografico Filippo Reale Via Arco de' Ginnasi 3 - Roma". Via Alessandrina was the main street of the ancient Alessandrino district, built by Pius V...

Via di Monte Savello - Disappeared Rome, is a photographic print on Baryta paper, by unknown photographer. Excellent condition, cm 22.5 x 16.5. The ...

Vintage View on the city of Taijuan is a b/w photographic print on polished paper, taken very likely in 1938 by Press Photo, Berlin. Stereotype in German on the back...

In images such as this, the influence of Ansel Adams and the other members of the group f.64 is clearly evident. The group f.64 was intent on truth in the medium of photography, wanting to push the camera to see even more clearly than the human eye. To do this, they used the small aperture, marked by the f-stop 64, which allows the camera to have an expansive depth of field. In this image, the earthy and sensuous textures of the brick and stone walls stand in direct contrast to the clean lines and graphic finish of the Route 66 sign. Ferderbar's mastery of the camera as an instrument brings out these contrasts following the legacies of the earlier American masters. 10 x 8 inches, image 13.75 x 11.5 inches, sheet 16.13 x 13.88 inches, frame Signed lower right Framed to conservation standards using archival materials including 100 percent rag matting, Museum Glass to inhibit fading, and housed in a modern profile silver finish wood moulding. ARTIST STATEMENT: I wanted to become a photographer at the age of 12, when my sister Grace gave me a Kodak Box Brownie camera for Christmas. (I still have that camera.) Since our family was quite poor, I built my first enlarger with an oatmeal box, while that same box camera was used as its lens. In 1947, just after graduation from high school, I had the opportunity to travel to California by car and house trailer with my uncle, aunt and mother, and in the process to shoot my first pictures along Route 66. Then, after graduation from college, a stint in the army followed by photography school, I opened an advertising photography studio in 1954. For over four decades my staff and I earned numerous local, regional and national awards for our achievements in photography, including several "best of show" honors. In 1958 I studied with renowned landscape photographer Ansel Adams at his Yosemite National Park workshop. In 1980, while still operating my advertising photography studio, I began a serious photographic study of the decaying artifacts along our country's former Mother Road, Route 66. The former national highway route from Chicago, Illinois to Santa Monica, California was not a popular subject at the time, and so I filed away my transparencies, not knowing what I might ever do with them. However, as time passed Route 66 did become a topic of national interest, and upon my retirement in 1997, I once again returned to record the Mother Road's artifacts. A number of my Yosemite series photographs are included in the Ansel and Virginia Adams collection at the Center for Creative Photography at the University of Arizona at Tucson, and several of my Route 66 photographs and other subjects have been acquired by the Milwaukee Art Museum. At this time I am preparing a book of my photographic experiences along Route 66, from 1947 to the present. -Tom Ferderbar

Les Pyrénées - Limited edition pigment print - Limited Editions of 15 Mountain between France and Spain This is an Archival Pigment print on fiber based paper ( Hahnemühle Photo ...

In his latest show, Benjamin Heller invites us to enter a poetic space of echo and convergence. As a photographer, sculptor, and performer, movement is key in this body of work, that...

Concorde - Limited edition pigment print - Limited Editions of 5 Paris under the snow, France, 2005 This is an Archival Pigment print on fiber based paper ( Hahnemühle Photo Rag® Baryta 315 gsm , Acid-free and lignin-free paper, Museum quality paper for highest age resistance and a popular alternative to analogue baryta paper). The inks used are also known for their longevity. Signed + numbered by artist with certificate of authenticity. Free delivery Archival pigment print available sizes ( Image size , the white margin is not counted) : 33.3 x 50 cm / 12.99 x 19.68 in. - Edition of 5 50 x 75 cm / 19.68 x 29.53 in. - Edition of 5 67.7 x 101.60 cm / 26,373 x 40 in. - Edition of 5 Sam...

England - Limited edition pigment print - Limited Editions of 5 Pebble beach in England with a single summer visitor under his umbrella, 2005 This is an Archival Pigment print on...

Quiet - Limited edition pigment print - Limited Editions of 8 Field under the snow, peaceful landscape with only one tree , rural France, 2006 This is an Archival Pigment print on fiber based paper ( Hahnemühle Photo Rag® Baryta 315 gsm , Acid-free and lignin-free paper, Museum quality paper for highest age resistance and a popular alternative to analogue baryta paper). The inks used are also known for their longevity. Signed + numbered by artist with certificate of authenticity. Archival pigment print available sizes ( Image size , the white margin is not counted): 30 x 65 cm / 11,81" x 25.59" - Edition of 8 48 x 101.6 cm / 18.89" x 40” - Edition of 8 A custom size is possible, it will be included in the nearest edition of 8 Sam Thomas...