Figurative Photography

Héliogravure on vélin paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Diane Arbus, Electa Editrice Portfolios, 1979. Published by Unite...

Missing -2018 50x50cm, Edition of 7 plus 2 Artist Proofs. Archival Print, based on an original Polaroid. Signed on the back and with certificate. Artist inventory PL2016-458. No...

American socialite Wendy Vanderbilt at home in Palm Beach, Florida, USA, 1964. Gorgeous print measuring 20 x 20" inches / ca 50.8 x 50.8 cm’s paper size. Estate Stamped Collection...

Héliogravure on vélin paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Man Ray, Electa Editrice Portfolios, 1980. Published and printed ...

By Nan Goldin Swan-Like Embrace, Paris (2001), printed later, 2021 C-Print on paper 8 x 5 1/8 inches Signed verso (please see image 3) From the 2021 timed release, published by Pain.

Beth Moon is an American-born photographer. She has gained international recognition for her large-scale, richly toned platinum prints. This portfolio focuses on totem-like beliefs ...

Sharon Stone by Phillip Dixon is a collection of three photographic prints on RC paper. Photographs published on Playboy of July 1990 and printed from l...

Video Game Arcade, 1988 From a 6cm x 4.5cm negative, scanned in 2020 Archival Pigment Print available in this size of 16" x 20" in an Edition of 12 with 3 Artist Proofs Print size...

Artist: Timothy Greenfield-Sanders (1952) Title: Jenna Jameson (Diptych-Clothed/Nude) from the XXX 30 PORN-STAR PORTRAITS SERIES Year: 2004 Medium: Color Print Edition: 6 plus 3 AP Size: 20 x 16 inches each, 20 x 32 inches total Condition: Excellent Inscription: Signed, dated, titled by the artist. Exhibitions & Literature: “XXX: 30 Porn Star Portraits” appeared at Mary Boone Gallery, New York [Oct. 30-Dec. 18, 2004] and at John Berggruen Gallery, San Francisco [Jan. 12-Feb. 12, 2005]. Accompanying the exhibition was a 144-page catalogue published by Bulfinch Press, a soundtrack distributed by Emperor Norton (Ryko) and a documentary on the making of the photographs aired by HBO [Oct. 22, 2004-Feb. 22, 2005]. Notes: Since this item will be shipped directly from the photographer, the seller can only provide the specific edition number to buyers at the actual point of sale. Please message the seller to request this information at the point of purchase. BACKGROUND, XXX 30 PORN-STAR PORTRAITS SERIES Art in America “Body Double” by Sarah Valdez 4/2005 — From rock stars to presidents, literary figures to actors, not to mention pretty much everyone of consequence in the blue-chip art world, Timothy Greenfield-Sanders has for some three decades now photographed celebrities, in the process institutionalizing himself as one. Ever a fan of the big negative’s capacity for crisply rendering minutiae larger than life, Greenfield-Sanders has made a formidable career out of satisfying the public’s desire to scrutinize ordinary aspects of extraordinary people, at once acknowledging and confirming their iconic status. He has captured, for instance, the young David Bowie, transformed with a goatee and feathery earring; Warhol wringing his hands, for once caught unawares by the camera; Hillary Clinton with that impeccable blonde bob; Agnes Martin in an adorable black cardigan, gold buttons done up to the top; Robert Mapplethorpe wide-eyed in his boodle. Like school portraits, set consistently against solid backdrops, Greenfield-Sanders’s portraits possess a reassuring sameness, encouraging scientific scrutiny–all the while bestowing on his sitters a cultural legitimacy of which they cannot help but be aware. His latest exhibition did no less, chronicling celebrities of the adult-film industry. “XXX: 30 Porn Star Portraits” consisted of a series of 30 photographic diptychs showing his muses posed more or less the same way twice, once with street clothes on and then with them off. But the project also included an ambitious number of spinoffs: a catalogue (with essays by 16 well-known figures, among them Gore Vidal, John Waters, Karen Finley, JT LeRoy and Salman Rushdie, as well as bios written by each of the porn stars he photographed), a Greenfield-Sanders-directed and -produced documentary on the making of the porn-star photographs (aired by HBO) and a slick soundtrack for the documentary (including music by the Velvet Underground, Peaches, Felix da Housecat and Rabbit in the Moon, among others). In the choppy documentary, Greenfield-Sanders appears here and there, but reveals little about his motivation for undertaking “XXX,” mostly allowing his models and catalogue essayists to speak, one after another, as if to an omniscient interviewer. All amicably hold forth on porn and sex, plus a little about life in general. We meet a few self-proclaimed born exhibitionists, who explain that they got into the industry with verve and on purpose. Others, of course, found themselves compelled by cash. Characters become endearing as we gain knowledge of their personal lives. A strapping, square-jawed Russian, for instance, explains that he’s proud to have earned enough to bring his whole family to this country. Porn legend Nina Hartley and her husband cheerfully show off the elaborate dungeon in their home. We see some stars on location, driving around or sitting on lawns, explaining that they’re actually attending college or pursuing careers as artists or tappers: porn as means to an end. Models unselfconsciously mill about Greenfield-Sanders’s studio in the buff and tell life stories while having their makeup done. Somebody’s small dog makes a cameo. Some porn stars confess to having been shunned by parents for their choice of career; one or two describe families proud or at least accepting of their accomplishments. We learn that Greenfield-Sanders got the idea of doing double portraits of the same person, clothed and nude, from Goya, whose La Maja Vestida and La Maja Desnuda...

George Platt Lynes Photograph #11 of dancer Francisco Moncion 1949. George Platt Lynes rare original vintage 1949 gelatin silver photograph of dancer Francisco Moncion. Stamped on verso - GEORGE PLATT LYNES. Photo is 7 3/4 x 9 1/2 inches, glossy finish in excellent condition. This photograph is #11 from a collection of 12 different poses in this series taken in Platt Lynes's NYC studio in 1949 (as per the NY Public Library archives). The cloud backdrop is recognizable in other Platt Lynes photographs. Moncion was a personal friend of Platt Lynes and this photograph is from Moncion's personal photographic collection. George Platt Lynes (1907–1955), was a gregarious American portrait, dance, fashion, and male nude photographer whose career spanned the late 1920s through the early 1950s. From age eighteen, Lynes entered the cosmopolitan world of the American expatriate community in Paris when he became acquainted with the salon of Gertrude Stein and Alice B. Toklas. He began photographing authors like Stein, Jean Cocteau, André Gide, and Colette and soon established himself as one of the premier fashion photographers in the Condé Nast stable, documenting the ballet companies of George Balanchine/Lincoln Kirstein, and pursuing a private obsession with seductive images of young male nudes rarely published in his lifetime. Platt Lynes photographs are in the collections of every major art museum and university archive including the Metropolitan Museum of Art, Museum of Modern Art, Yale Art Museum, and the Smithsonian. Francisco Moncion (July 6, 1918 – April 1, 1995) was a charter member of the New York City Ballet. Over the course of his forty year career, choreographers George Balanchine, and Jerome Robbins in the New York City Ballet created 22 major roles for Moncion including the Dark Angel in Orpheus, Death in La Valse, Prince Ivan in Firebird, and the Boy in Afternoon of a Faun. He was also a choreographer and a talented painter who exhibited alongside Miro, Picasso and Carrado Cagli. Moncion was a popular model for many famed mid-century (late 1930s, 1940s - 1950s) figure photographers including Platt Lynes, Carl van Vechten, Maurice Seymour...

Historical Places Photo- Old Folkestone is a black and white vintage photo, realized in the early 20th century. It belongs to historical album including masterpieces of historical pl...

Héliogravure on vélin paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Cecil Beaton, Electa Editrice Portfolios, 1981. Published and pri...

Stretch - Signed limited edition archival pigment print - Edition of 10 This image was captured on film in 1982. From the same photoshoot, the so-called 'Zip' print by Ian Sa...

Flooded Mall (1934) - Silver Gelatin Fibre Print (Photo by H. F. Davis/Getty Images) A man crossing a stretch of floodwater with the help of two chairs after a storm caused floodi...

Ariane - Signed limited edition archival pigment print - Edition of 10 Signed + numbered by artist with certificate of authenticity, unframed This print that is being offered is...

Héliogravure on vélin paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Man Ray, Electa Editrice Portfolios, 1980. Published and printed ...

Memory of a Dream (29 Palms, CA) - 2006 38x36cm, Edition 2/10. Archival C-Print, based on the Polaroid. Certificate and Signature Label. Artist inventory Number 3602. Not mounted....

The Dancers, 1984 is an 8" x 8" vintage gelatin silver sepia-toned photograph by contemporary Czech artist Jan Saudek. Signed “Jan,” titled and dated “July 20-23, 1985” in ink below ...

Iconic portrait photograph by midcentury society photographer Slim Aarons, capturing young Jackie Kennedy (Jacqueline Onassis) (1929 - 1994) wife of Senator Jack Kennedy, at a 'April...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft, or the creation of avatars are also interesting worldwide phenomena of virtual realities that are not only relevant for children and teens. So when a middle-aged Berlin photographic artist (like Christian Rothmann) chooses to study 120 toy robots with great difference in form, it represents a journey back to his own childhood - even if at the time, he played with a steam engine rather than a robot. Once batteries had been inserted, some of the largely male or gender-neutral robots, could flash, shoot, turn around and even do more complicated things. Some can even still do it today - albeit clumsily. This, of course, can only be seen on film, but the artist intends to document that as well; to feature the robots in filmic works of art. The positioning of the figures in the studio is the same as the tableau of pictures in the exhibition room. In this way, one could say Rothmann deploys one robot after the other. This systematic approach enables a comparative view; the extreme enlargement of what are actually small and manageable figures is like the macro vision of insects whose fascinating, sometimes monster-like appearance only becomes visible when they are blown up a hundredfold. The same thing goes for the robots; in miniature form, they seem harmless and cute, but if they were larger than humans and made noises to match, they would seem more threatening. Some of the tin figures...

A black-and-white image shot on film by Roberta Fineberg becomes an abstract chiaroscuro portrait of a woman in elegant clothing -- a semi-sophis...

© Michael Putland Billy Joel Billy Joel in concert New York, USA 1978 Billy Joel is a celebrated American singer-songwriter and pianist known for his timeless hits like "Piano Man...

Gerry Adams, Leader of Sinn Fein is a vintage photograph realized in the 1970s. Good conditions. The artwork is depicted in a well-balanced composition.

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

Twiggy – at David Steen’s Home, Surrey Lesley Lawson (born 19 September 1949) is an English model, actress, and singer widely known by the nickname Twiggy. She was a British cultura...

A stunning original Gordon Abbott photograph depicting Central American in the 1940's. Signed on the mat and reverse. Abbott was a twentieth century American photographer born in 1...

image size: 10 x 8 inches Young male sitting against dark background Polaroid Transfer on 22 x 15 inch Rives BFK paper, unframed signed SM Beard in pencil on bottom right corner. ed...

Underwater photograph of a naked young woman standing on her hands on the bottom of a pool. Her perfect body on the red background and classic heavy breasts leave spectators speechle...

Kindling - 2016 20x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory PL2016-2002. N...

Wrestling Match on Clinton Street, 1990 From a 6cm x 9cm negative, scanned in 2020 Archival Pigment Print available in this size of 16" x 20" in an Edition of 12 with 3 Artist Proo...

David Bailey Marie Helvin, 1976-2021 Archival Inkjet Signed by the artist, on verso Accompanied by a COA 132 x 91.4 cm - Sheet size 135.5 x 94 x 4 cm - Framed Edition of 5 Marie Hel...

Mythology is a modern artwork realized by Nobuyoshi Araki in 2001. Black and white gelatin silver print. Signed on the back. Provenance Taka Ishii Gallery Tokyo . Certificate of ...

Warm ice. Erotic Photograph, 22.5x16 cm Erotic woman photograph by Latvian photographer Juris Abramenko. Photo made at winter by the sea at sunny day

All that Glitters ain't Gold - 2017, 20x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inven...

An original signed archival pigment print on Hahnemühle Photo Rag® Baryta 315 gsm paper by Scottish artist Ian Sanderson (1951- 2020) titled ‘ Sandrine ‘ who was captured on film in...

Heartbreak Motel - 2016 20x20cm, Edition of 7 plus 2 Artist Proofs. Archival print, based on the original Polaroid. Signature label and certificate. Artist inventory PL2016-123....

Slim Aarons Desert House Party, 1970. (printed later) C print Estate stamped and numbered edition of 150 with Certificate of authenticity A poolside party at a desert house, desig...

Underwater photograph of a naked woman Her young body on the red background and classic heavy breasts leave spectators speechless. It is particularly true for the big prints 44 by 58...

Other Side of the Eye (Shot 2019 on 600 film) Edition of 10 - 20 x 20 cm - Digital C-Print based, not mounted. Signed on back and certificate. Artist: The image was in part influ...

Héliogravure on vélin paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Man Ray, Electa Editrice Portfolios, 1980. Published and printed ...

Innuendo, 2016, Edition of 7 plus 2 Artist Proofs Archival C-Print, based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2016-2001. Not mounted. Ki...

Donald Leas Mr and Mrs Donald Leas with their Rolls Royce and two pet dogs outside The Flagler Museum in Palm Beach, Florida. Slim Aarons Archival Pigment Print. Printed 2024. Slim...

Mere Mortal #4 (Archival Photograph of Male Nude in Islamic Window) 30 x 18 inches archival pigment print, unframed Limited edition of 10 Inspired by the story of Icarus in Greek my...

Edition of 10 More sizes available on request. Silhouette of a woman in black and white. Artist Statement: Art is the air that I breathe. I grew up in an artistic family, surround...

Cortina, by Ricky Cohete From the Viva series Small size: 30 in H x 20 in W. Edition of 13 + 1AP Unframed Exploring color in the darkness, inspired by the Italian and Dutch renaissa...

Photogravure on papier gravure Cartiere Enrico Magnani à la main, mounted on papier Cartiere Enrico Magnani à la main moulé-pressé paper, as issued. Inscription: unsigned and unnumbe...

A group of people relaxing in a chalet in the Sugarbush Mountain ski resort, one of the largest ski resorts in New England, in Warren, Vermont, USA, circa 1960. Estate stamped and h...

"Doris and Henry (and her brothers)" is an original piece by Shawn Theodore made from found/family photos, polaroid lift, acrylic on wood panel. This pieces measures 16.75"h x 16.75"...

An original signed archival pigment print on Hahnemühle Photo Rag® Baryta 315 gsm paper by Scottish artist Ian Sanderson (1951- 2020) titled ‘ Caroline 2 ‘ A naked woman at her be...

Gelatin silver print Signed, dated, and numbered, verso 10 x 8 inches, sheet 7 x 7 inches, image (Edition of 10) 14 x 11 inches, sheet 10 x 10 inches, image (Edition of 10) 20 x 1...

An original signed archival pigment print on Hahnemühle Photo Rag® Baryta 315 gsm paper by Scottish artist Ian Sanderson (1951- 2020) titled ‘ Helene ‘ Signed by Ian Sanderson lower...

The Journey I - 2019 Influenced by 1950s and 1980s cinema, The Journey sees a young woman heading off into the unknown where fate and chance all come into play. Edition of 10 - 40 ...

Through light and shadow, a gaze, a mindset, Bill Phelps fourth solo show at the Robin Rice Gallery VISITOR inspires the imagination. About life, about being, eye and heart his great...

The image shows a cyclist on a wooden pier extending over the calm waters of Guanabara Bay. The cyclist, shirtless and with his back turned to the viewer, seems to be gazing into the...

Artist: Marilyn Minter (1948-) Title: ​Prism Year: 2009 Medium: ​C-Print Edition: 9/27, 18 proofs Size: 20 x 15.88 inches Condition: Excellent Inscription: Signed, titled, dated, and...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for more information. ABOUT THIS ARTIST: Cameron Burns is a freelance 3D artist who pri...

Gerbera (2019) Edition of 10 plus 2 Artist Proofs. Photograph printed in Canson Barita Fiber Rag 340gr, based on a reclaimed Fuji Instant Film Negative (not mounted). Signed on bac...

Winter (The Last Picture Show) - 2005, 50x49cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist I...