Intaglio Figurative Photography

This exquisite photogravure after Robert Mapplethorpe (1946–1989), titled Hand in Fire, from the folio A Season in Hell, originates from the 1986 edition published by The Limited Edi...

This exquisite photogravure after Robert Mapplethorpe (1946–1989), titled Back View of Male Nude, from the folio A Season in Hell, originates from the 1986 edition published by The L...

Juan Carlos Alom (Cuba, 1964) 'Tarjetas postales', 2004 photoengraving on paper 22.1 x 30 in. (56 x 76 cm.) Edition of 99 ID: ALO1534-006 Hand-signed ...

Rémy Duval, 'School Children, L'ile Saint Louis, Paris', photogravure, 1946. A fine, richly-inked impression in warm black ink, on cream wove B.F.K. Rives p...

This exquisite photogravure after Robert Mapplethorpe (1946–1989), titled Self-Portrait, from the folio A Season in Hell, originates from the 1986 edition published by The Limited Ed...

EDWARD CURTIS (1868 - 1952) BEFORE THE WHTE MAN CAME - PALM CANYON, 1924 Photogravure. Printed title along with 1924 copyright line. Photogravure Suffolk Eng. Co., Cambridge Mass...

Polaroid transfer on Rives BFK paper Signed, dated, and numbered in pencil, recto Also blindstamped, l.r. 22 x 15 inches, sheet 10 x 8 inches, image This artwork is offered by Clam...

Rémy Duval, 'Street Corner, L'ile Saint Louis, Paris', photogravure, 1946. A fine, richly-inked impression in warm black ink, on cream wove B.F.K. Rives pap...

This exquisite photogravure after Robert Mapplethorpe (1946–1989), titled Vibert's Back, from the folio A Season in Hell, originates from the 1986 edition published by The Limited Ed...

Photos pictured of information cards after the images of the black and white photos are not included. La Chute D'Icare (The Fall of Icarus) is a original, black and white photograp...

Photos pictured of information cards after the images of the black and white photos are not included. La Chute D'Icare (The Fall of Icarus) is a original, black and white photograp...

Polaroid transfer on Rives BFK paper Signed, dated, and inscribed (AP) in pencil, recto Also blindstamped, l.r. 22 x 15 inches, sheet 10 x 8 inches, image This artwork is offered b...

Rémy Duval, 'Street Scene, L'ile Saint Louis, Paris', photogravure, 1946. A fine, richly-inked impression in warm black ink, on cream wove B.F.K. Rives pape...

This exquisite photogravure after Robert Mapplethorpe (1946–1989), titled Gun Blast, from the folio A Season in Hell, originates from the 1986 edition published by The Limited Editio...

Rémy Duval, 'Parisian Balcony', photogravure, 1946. A fine, richly-inked impression in warm black ink, on cream wove B.F.K. Rives paper; the sheet with deck...

Rémy Duval, 'Tugboat, River Seine, Paris', photogravure, 1946. A fine, richly-inked impression in warm black ink, on cream wove B.F.K. Rives paper; the shee...

Juan Carlos Alom (Cuba, 1964) 'Sólo tú cabes en la palma de mi mano' (only you fit in the palm of my hand), 2004 Photoengraving on paper 30 x 22.1 in. (76 x 56 cm.) Edition of 99 ID:...

Juan Carlos Alom (Cuba, 1964) 'Esta obra no tiene título es sólo el silencio de mi veneración', 2004 photoengraving on paper 30 x 22.1 in. (76 x 56 cm...

Photos pictured of information cards after the images of the black and white photos are not included. La Chute D'Icare (The Fall of Icarus) is a original, black and white photograp...

This exquisite photogravure after Robert Mapplethorpe (1946–1989), titled Javier, from the folio A Season in Hell, originates from the 1986 edition published by The Limited Editions ...

Juan Carlos Alom (Cuba, 1964) 'Sólo tu cabes en la palma de mi mano', 2004 photoengraving on paper 30 x 22.1 in. (76 x 56 cm.) Edition of 106 ID: ALO1...

Polaroid transfer on Rives BFK paper Signed, dated, and numbered (5/6) in pencil, recto Also blindstamped, l.r. 22 x 15 inches, sheet 8 x 10 inches, image This artwork is offered b...

Pause that Refreshes (Vintage Tin Type Triptych of Young Man Drinking Coca Cola) Wet plate collodion on aluminum, unique Panel is 6 x 4 inches, 15.5 x 13.5 in...

Juan Carlos Alom (Cuba, 1964) 'Mandy y Tara', 2004 photoengraving on paper 30 x 22.1 in. (76 x 56 cm.) Edition of 106 ID: ALO1534-007-106 Hand-signed ...

Original photogravure of a young woman in the garden. Original painting was done by Jean Louis Harmon in 1857. Condition is very good. Le Crepuscule is the French word for twilig...

Photos pictured of information cards after the images of the black and white photos are not included. La Chute D'Icare (The Fall of Icarus) is a original, black and white photograp...

Photos pictured of information cards after the images of the black and white photos are not included. La Chute D'Icare (The Fall of Icarus) is a original, black and white photograp...

Photos pictured of information cards after the images of the black and white photos are not included. La Chute D'Icare (The Fall of Icarus) is a original, black and white photograp...

Original photolithograph. Hand signed, limited edition of 150 specimens. One of the most important and famous works of Land Art by Christo, realized in Rome...

Rémy Duval, 'Pont Marie, Paris', photogravure, 1946. A fine, richly-inked impression in warm black ink, on cream wove B.F.K. Rives paper; the sheet with dec...

Photos pictured of information cards after the images of the black and white photos are not included. La Chute D'Icare (The Fall of Icarus) is a original, black and white photograp...

Photos pictured of information cards after the images of the black and white photos are not included. La Chute D'Icare (The Fall of Icarus) is a original, black and white photograp...

Photos pictured of information cards after the images of the black and white photos are not included. La Chute D'Icare (The Fall of Icarus) is a original, black and white photograp...

Photos pictured of information cards after the images of the black and white photos are not included. La Chute D'Icare (The Fall of Icarus) is a original, black and white photograp...

Photos pictured of information cards after the images of the black and white photos are not included. La Chute D'Icare (The Fall of Icarus) is a original, black and white photograp...

Juan Carlos Alom (Cuba, 1964) 'Estudio anatotécnico para abandonar una isla', 2004 photoengraving on paper 30 x 22.1 in. (76 x 56 cm.) Edition of 106 ...

Juan Carlos Alom (Cuba, 1964) 'El cielo protector', 2004 photoengraving on paper 30 x 22.1 in. (76 x 56 cm.) Edition of 106 ID: ALO1534-004-106 Hand-s...

Juan Carlos Alom (Cuba, 1964) 'Esta obra no tiene título es sólo el silencio de mi veneración', 2004 photoengraving on paper 30 x 22.1 in. (76 x 56 cm...

The Ferry Boat by Alfred Stieglitz is a photogravure on tissue. The photograph depicts a ferry boat on the water with a crowd of people on the lower level o...

Printed plate number, Curtis's title, date, copyright, and photogravures by John Andrews and Son on recto. Photogravure on Holland Van Gelder tissue Known for his remarkable documentation of Native Americans in the early twentieth century, Edward S. Curtis, chronicled over 80 different tribes in the Southwest, the Great Plains...

Printed plate number, Curtis's title, date, copyright, and photogravures by John Andrews and Son on recto. Photogravure on Holland Van Gelder tissue Known for his remarkable documen...

These images are available as hand-pulled polymer photogravures, made with bone black and warm sepia inks on Hahnemühle Copperplate paper. Edition of 109 7 x 9 photopolymer gravure Signed numbered and dated by the artist Framing options available The photographs and poem that evolved into this series of photographs and the accompanying book “Yesterday” were made during the summer of 2020. Although much of the country was in the midst of the Covid 19 pandemic, on this remote island off the coast of Maine, we still felt free from much of the toll that Covid was taking. Able to spend time outside, in nature, we had the illusion of safety, of normalcy almost, whilst at the same time being painfully aware of how the virus was increasingly touching everyone's lives. By then we all knew of people who had died, or become ill and we were managing the stress of futures shifting and plans that had been derailed, fearing what would come with the change of the seasons. That summer represented a pause in time, a moment where life could feel normal, when we were still holding on to a world of yesterdays. Maine-based photographic artist and writer Sal Taylor Kydd uses various photographic media in a personal narrative that explores themes around memory and belonging; combining her poetry with alternative processes of photography and object-making. Taylor Kydd’s fine art photographs have been exhibited throughout the country and internationally, including Barcelona, San Miguel De Allende, Portland, Boston and Los Angeles; and she has been featured in numerous publications, including Shots Magazine, Don’t Take Pictures Magazine, Lenscratch, Diffusion Annual and The Hand magazine. She has self-published a number of books combining her poetry with her photographs. Her books are in private and museum collections throughout the country including The Getty Museum, Bowdoin College, The Peabody Essex Museum and the Maine Women Writer’s Collection at the University of New England. Taylor Kydd’s latest book “Yesterday”, produced by Datz Press, is a limited edition book of poems and photographs that explores our sense of loss around the pandemic of 2020. Taylor Kydd is also a veteran workshop leader and educator and has led workshops and conducted portfolio reviews throughout the country and internationally with Maine Media, Santa Fe Workshops, Palm Beach Photography...

Archival pigment print Signed and dated by the artist 16 x 20 - edition of 10 20 x 30 - edition of 5 Flickering in the Midday Silver Beyond the pane a glimmer, barely perceived...

Printed plate number, Curtis's title, date, copyright, and photogravures by John Andrews and Son on recto. Photogravure on Holland Van Gelder tissue Known for his remarkable documen...

Printed plate number, Curtis's title, date, copyright, and photogravures by John Andrews and Son on recto. Known for his remarkable documentation of Native Americans in the early tw...

Photogravure from the Tom Baril 'Manhattan' Portfolio. Edition of 75, signed by the artist on bottom right. Framing: acid free, archival framed, cotton rag mat. Glazing: Optium muse...

A Flickering Archival pigment print Signed and dated by the artist 16 x 20 - edition of 10 20 x 30 - edition of 5 Flickering in the Midday Silver Beyond the pane a glimmer, ba...

Printed plate number, Curtis's title, date, copyright, and photogravures by John Andrews and Son on recto. Tissue gravure Known for his remarkable documentation of Native Americans ...

Archival pigment print Signed and dated by the artist 16 x 20 - edition of 10 20 x 30 - edition of 5 Flickering in the Midday Silver Beyond the pane a glimmer, barely perceived...

These images are available as hand-pulled polymer photogravures, made with bone black and warm sepia inks on Hahnemühle Copperplate paper. Edition of 109 7 x 9 photopolymer gravure Signed numbered and dated by the artist. The photographs and poem that evolved into this series of photographs and the accompanying book “Yesterday” were made during the summer of 2020. Although much of the country was in the midst of the Covid 19 pandemic, on this remote island off the coast of Maine, we still felt free from much of the toll that Covid was taking. Able to spend time outside, in nature, we had the illusion of safety, of normalcy almost, whilst at the same time being painfully aware of how the virus was increasingly touching everyone's lives. By then we all knew of people who had died, or become ill and we were managing the stress of futures shifting and plans that had been derailed, fearing what would come with the change of the seasons. That summer represented a pause in time, a moment where life could feel normal, when we were still holding on to a world of yesterdays. Maine-based photographic artist and writer Sal Taylor Kydd uses various photographic media in a personal narrative that explores themes around memory and belonging; combining her poetry with alternative processes of photography and object-making. Taylor Kydd’s fine art photographs have been exhibited throughout the country and internationally, including Barcelona, San Miguel De Allende, Portland, Boston and Los Angeles; and she has been featured in numerous publications, including Shots Magazine, Don’t Take Pictures Magazine, Lenscratch, Diffusion Annual and The Hand magazine. She has self-published a number of books combining her poetry with her photographs. Her books are in private and museum collections throughout the country including The Getty Museum, Bowdoin College, The Peabody Essex Museum and the Maine Women Writer’s Collection at the University of New England. Taylor Kydd’s latest book “Yesterday”, produced by Datz Press, is a limited edition book of poems and photographs that explores our sense of loss around the pandemic of 2020. Taylor Kydd is also a veteran workshop leader and educator and has led workshops and conducted portfolio reviews throughout the country and internationally with Maine Media, Santa Fe Workshops, Palm Beach Photography...

These images are available as hand-pulled polymer photogravures, made with bone black and warm sepia inks on Hahnemühle Copperplate paper. Edition of 109 7 x 9 photopolymer gravure Signed numbered and dated by the artist Framing options available The photographs and poem that evolved into this series of photographs and the accompanying book “Yesterday” were made during the summer of 2020. Although much of the country was in the midst of the Covid 19 pandemic, on this remote island off the coast of Maine, we still felt free from much of the toll that Covid was taking. Able to spend time outside, in nature, we had the illusion of safety, of normalcy almost, whilst at the same time being painfully aware of how the virus was increasingly touching everyone's lives. By then we all knew of people who had died, or become ill and we were managing the stress of futures shifting and plans that had been derailed, fearing what would come with the change of the seasons. That summer represented a pause in time, a moment where life could feel normal, when we were still holding on to a world of yesterdays. Maine-based photographic artist and writer Sal Taylor Kydd uses various photographic media in a personal narrative that explores themes around memory and belonging; combining her poetry with alternative processes of photography and object-making. Taylor Kydd’s fine art photographs have been exhibited throughout the country and internationally, including Barcelona, San Miguel De Allende, Portland, Boston and Los Angeles; and she has been featured in numerous publications, including Shots Magazine, Don’t Take Pictures Magazine, Lenscratch, Diffusion Annual and The Hand magazine. She has self-published a number of books combining her poetry with her photographs. Her books are in private and museum collections throughout the country including The Getty Museum, Bowdoin College, The Peabody Essex Museum and the Maine Women Writer’s Collection at the University of New England. Taylor Kydd’s latest book “Yesterday”, produced by Datz Press, is a limited edition book of poems and photographs that explores our sense of loss around the pandemic of 2020. Taylor Kydd is also a veteran workshop leader and educator and has led workshops and conducted portfolio reviews throughout the country and internationally with Maine Media, Santa Fe Workshops, Palm Beach Photography...

Photogravure from the Tom Baril 'Manhattan' Portfolio. Edition of 75, signed by the artist on bottom right. Framing: acid free, archival framed, cotton rag mat. Glazing: Optium museum plexi. A graduate of New York’s School of Visual Arts, Tom Baril spent over fifteen years as Robert Mapplethorpe’s master printer. His subjects include urban architecture, seascapes and meticulously detailed botanical and nature photographs. Baril’s work demonstrates a command of technique that results from his extensive experience as a master printer. Baril developed a unique toning process that enriches the color and opulence of his photographs. Tom Baril is inspired by the nature studies of modernist photographers such as Edward Weston, Imogen Cunningham and Karl Blossfeldt. A similar attentiveness to the clarity of line, form, pattern and texture characterizes Baril’s still lifes. In composing the seascapes, Baril employs the traditional box camera obscura, better known as the pinhole camera...

Photogravure from the Tom Baril 'Manhattan' Portfolio. Edition of 75, signed by the artist on bottom right. Framing: acid free, archival framed, cotton rag mat. Glazing: Optium muse...

Photogravure from the Tom Baril 'Manhattan' Portfolio. Edition of 75, signed by the artist on bottom right. Framing: acid free, archival framed, cotton rag mat. Glazing: Optium museum plexi. A graduate of New York’s School of Visual Arts, Tom Baril spent over fifteen years as Robert Mapplethorpe’s master printer. His subjects include urban architecture, seascapes and meticulously detailed botanical and nature photographs. Baril’s work demonstrates a command of technique that results from his extensive experience as a master printer. Baril developed a unique toning process that enriches the color and opulence of his photographs. Tom Baril is inspired by the nature studies of modernist photographers such as Edward Weston, Imogen Cunningham and Karl Blossfeldt. A similar attentiveness to the clarity of line, form, pattern and texture characterizes Baril’s still lifes. In composing the seascapes, Baril employs the traditional box camera obscura, better known as the pinhole camera...

Archival pigment print Signed and dated by the artist 16 x 20 - edition of 10 20 x 30 - edition of 5 Flickering in the Midday Silver Beyond the pane a glimmer, barely perceived...

Archival pigment print Signed and dated by the artist 16 x 20 - edition of 10 20 x 30 - edition of 5 Flickering in the Midday Silver Beyond the pane a glimmer, barely perceived...

These images are available as hand-pulled polymer photogravures, made with bone black and warm sepia inks on Hahnemühle Copperplate paper. Edition of 109 7 x 9 photopolymer gravure Signed numbered and dated by the artist Framing options available The photographs and poem that evolved into this series of photographs and the accompanying book “Yesterday” were made during the summer of 2020. Although much of the country was in the midst of the Covid 19 pandemic, on this remote island off the coast of Maine, we still felt free from much of the toll that Covid was taking. Able to spend time outside, in nature, we had the illusion of safety, of normalcy almost, whilst at the same time being painfully aware of how the virus was increasingly touching everyone's lives. By then we all knew of people who had died, or become ill and we were managing the stress of futures shifting and plans that had been derailed, fearing what would come with the change of the seasons. That summer represented a pause in time, a moment where life could feel normal, when we were still holding on to a world of yesterdays. Maine-based photographic artist and writer Sal Taylor Kydd uses various photographic media in a personal narrative that explores themes around memory and belonging; combining her poetry with alternative processes of photography and object-making. Taylor Kydd’s fine art photographs have been exhibited throughout the country and internationally, including Barcelona, San Miguel De Allende, Portland, Boston and Los Angeles; and she has been featured in numerous publications, including Shots Magazine, Don’t Take Pictures Magazine, Lenscratch, Diffusion Annual and The Hand magazine. She has self-published a number of books combining her poetry with her photographs. Her books are in private and museum collections throughout the country including The Getty Museum, Bowdoin College, The Peabody Essex Museum and the Maine Women Writer’s Collection at the University of New England. Taylor Kydd’s latest book “Yesterday”, produced by Datz Press, is a limited edition book of poems and photographs that explores our sense of loss around the pandemic of 2020. Taylor Kydd is also a veteran workshop leader and educator and has led workshops and conducted portfolio reviews throughout the country and internationally with Maine Media, Santa Fe Workshops, Palm Beach Photography...

These images are available as hand-pulled polymer photogravures, made with bone black and warm sepia inks on Hahnemühle Copperplate paper. Edition of 109 7 x 9 photopolymer gravure Signed numbered and dated by the artist Framing options available The photographs and poem that evolved into this series of photographs and the accompanying book “Yesterday” were made during the summer of 2020. Although much of the country was in the midst of the Covid 19 pandemic, on this remote island off the coast of Maine, we still felt free from much of the toll that Covid was taking. Able to spend time outside, in nature, we had the illusion of safety, of normalcy almost, whilst at the same time being painfully aware of how the virus was increasingly touching everyone's lives. By then we all knew of people who had died, or become ill and we were managing the stress of futures shifting and plans that had been derailed, fearing what would come with the change of the seasons. That summer represented a pause in time, a moment where life could feel normal, when we were still holding on to a world of yesterdays. Maine-based photographic artist and writer Sal Taylor Kydd uses various photographic media in a personal narrative that explores themes around memory and belonging; combining her poetry with alternative processes of photography and object-making. Taylor Kydd’s fine art photographs have been exhibited throughout the country and internationally, including Barcelona, San Miguel De Allende, Portland, Boston and Los Angeles; and she has been featured in numerous publications, including Shots Magazine, Don’t Take Pictures Magazine, Lenscratch, Diffusion Annual and The Hand magazine. She has self-published a number of books combining her poetry with her photographs. Her books are in private and museum collections throughout the country including The Getty Museum, Bowdoin College, The Peabody Essex Museum and the Maine Women Writer’s Collection at the University of New England. Taylor Kydd’s latest book “Yesterday”, produced by Datz Press, is a limited edition book of poems and photographs that explores our sense of loss around the pandemic of 2020. Taylor Kydd is also a veteran workshop leader and educator and has led workshops and conducted portfolio reviews throughout the country and internationally with Maine Media, Santa Fe Workshops, Palm Beach Photography...

These images are available as hand-pulled polymer photogravures, made with bone black and warm sepia inks on Hahnemühle Copperplate paper. Edition of 109 7 x 9 photopolymer gravure Signed numbered and dated by the artist Framing options available The photographs and poem that evolved into this series of photographs and the accompanying book “Yesterday” were made during the summer of 2020. Although much of the country was in the midst of the Covid 19 pandemic, on this remote island off the coast of Maine, we still felt free from much of the toll that Covid was taking. Able to spend time outside, in nature, we had the illusion of safety, of normalcy almost, whilst at the same time being painfully aware of how the virus was increasingly touching everyone's lives. By then we all knew of people who had died, or become ill and we were managing the stress of futures shifting and plans that had been derailed, fearing what would come with the change of the seasons. That summer represented a pause in time, a moment where life could feel normal, when we were still holding on to a world of yesterdays. Maine-based photographic artist and writer Sal Taylor Kydd uses various photographic media in a personal narrative that explores themes around memory and belonging; combining her poetry with alternative processes of photography and object-making. Taylor Kydd’s fine art photographs have been exhibited throughout the country and internationally, including Barcelona, San Miguel De Allende, Portland, Boston and Los Angeles; and she has been featured in numerous publications, including Shots Magazine, Don’t Take Pictures Magazine, Lenscratch, Diffusion Annual and The Hand magazine. She has self-published a number of books combining her poetry with her photographs. Her books are in private and museum collections throughout the country including The Getty Museum, Bowdoin College, The Peabody Essex Museum and the Maine Women Writer’s Collection at the University of New England. Taylor Kydd’s latest book “Yesterday”, produced by Datz Press, is a limited edition book of poems and photographs that explores our sense of loss around the pandemic of 2020. Taylor Kydd is also a veteran workshop leader and educator and has led workshops and conducted portfolio reviews throughout the country and internationally with Maine Media, Santa Fe Workshops, Palm Beach Photography...

These images are available as hand-pulled polymer photogravures, made with bone black and warm sepia inks on Hahnemühle Copperplate paper. Edition of 109 7 x 9 photopolymer gravure Signed numbered and dated by the artist Framing options available The photographs and poem that evolved into this series of photographs and the accompanying book “Yesterday” were made during the summer of 2020. Although much of the country was in the midst of the Covid 19 pandemic, on this remote island off the coast of Maine, we still felt free from much of the toll that Covid was taking. Able to spend time outside, in nature, we had the illusion of safety, of normalcy almost, whilst at the same time being painfully aware of how the virus was increasingly touching everyone's lives. By then we all knew of people who had died, or become ill and we were managing the stress of futures shifting and plans that had been derailed, fearing what would come with the change of the seasons. That summer represented a pause in time, a moment where life could feel normal, when we were still holding on to a world of yesterdays. Maine-based photographic artist and writer Sal Taylor Kydd uses various photographic media in a personal narrative that explores themes around memory and belonging; combining her poetry with alternative processes of photography and object-making. Taylor Kydd’s fine art photographs have been exhibited throughout the country and internationally, including Barcelona, San Miguel De Allende, Portland, Boston and Los Angeles; and she has been featured in numerous publications, including Shots Magazine, Don’t Take Pictures Magazine, Lenscratch, Diffusion Annual and The Hand magazine. She has self-published a number of books combining her poetry with her photographs. Her books are in private and museum collections throughout the country including The Getty Museum, Bowdoin College, The Peabody Essex Museum and the Maine Women Writer’s Collection at the University of New England. Taylor Kydd’s latest book “Yesterday”, produced by Datz Press, is a limited edition book of poems and photographs that explores our sense of loss around the pandemic of 2020. Taylor Kydd is also a veteran workshop leader and educator and has led workshops and conducted portfolio reviews throughout the country and internationally with Maine Media, Santa Fe Workshops, Palm Beach Photography...